Bassist Jim Ferguson has been touring with Crystal Gayle for nearly ten years. But it's his burgeoning solo career, marked by his first release "Not Just Another Pretty Bass," that have critics and jazz fans singing his praises. His intimate and idiosyncratic sound draws comparisons to Chet Baker and Mose Allison. Terry Teachout of the New York Times said that "Pretty Bass" heralds "a jazz singer of the first rank...the most distinctive recording debut since Diana Krall." As Bob Edwards put it on NPR's "Morning Edition": "This is music you play on your first date". This truly original CD is one that both seasoned jazz fans as well as casual jazz listeners will enjoy. And AAJ enjoys bringing you this special insiders' look at the musical endeavors of this extraordinary singing bassist. For more information about Jim, visit his page in the AAJ Artists Directory. For sound samples, go to the AAJ Audio Samples page. Read Jim's interview with AAJ's Jim Santella.

About Jim: Jim was born James Warner Ferguson on December 10, 1950 in Jefferson City, Missouri. By the time he reached four years old he was singing in the children's choir at the church in South Carolina where his father was the music minister. After subsequent years of piano lessons and choral group participation, Jim began formal voice lessons with a University of South Carolina voice faculty member. He was sixteen years old then, and in his junior year of high school. He stayed on at USC earning a Master of Music degree in Jazz Performance in 1981. Then Jim moved to his current home town of Nashville, Tennessee. Nashville has afforded Jim many opportunities to play with some of the greats of jazz and popular music. Additionally, he has participated in The Main Street Jazz Festival in Columbia, South Carolina as a returning artist for several years. Jim has worked with Teddy Wilson, Kenny Burrell, Lenny Breau, Mose Allison, Jimmy Raney, Martin Taylor, the Hi-Los, Jay McShann, Gene Bertoncini, Joe Williams, Maxine Sullivan, Jackie Cain and Roy Kral, Bonnie Herman and Gene Puerling of Singers Unlimited, Marian McPartland, Benny Goodman, Joe Locke, Stephane Grappelli, Clark Terry, Red Rodney, Nat Adderly, Jimmy Heath, Lew Tabackin, Ira Sullivan, Chris Potter, Eddie Daniels, Nick Brignola, Bill Watrous, Urbie Green, Bucky and John Pizzarelli, Mundell Lowe, Ross Tompkins, Don Thompson, Bernard Purdie and Louie Bellson. As singer and/or bassist, Jim has worked on television and radio shows, commercials, sound recordings and movie soundtracks. As one might expect, he has worked with almost all the top names in country music at one time or another. Currently he is bassist/vocalist/vocal arranger in Crystal Gayle's touring band, he keeps a busy schedule of his own playing jazz at every opportunity, and he is a member of the Jazz Faculty in the Music Department at Middle Tennessee State University.

Your thoughts and words of encouragement are welcome throughout his tour. You can participate by clicking the "Add Your Comment" button on the bottom of the page.

Date:	25-Aug-1999 10:30:28
From:	Jim Ferguson
	Since this feature at AAJ is called "On The Road" I'll start the conversation by talking about my current gig. Being on the road with Crystal Gayle has been a challenging and growing experience for me. I've developed a completely different dicipline (country bass playing) while trying to maintain and improve my jazz vocabulary. It's a tough juxtaposition. One dicipline demands the learning of a part that is repeated intentionally night after night. The other demands that spontaneity be the core of its expression. It's taken me a while to "settle in" to the duties of playing country music. I still don't think I sound "like I was born there", but I'm more convincing at it now than when I started. Crystal's band is very diverse and requires players that cover different styles of music well. We might go straight from a Hank Williams tune to a Gershwin medley. One minute it's a tender folk song, the next a romping, bass slapping bluegrass tune. From Billie Holliday to "Don't It Make My Brown Eyes Blue" to an old fashioned gospel medley, Crystal is an unintentionally demanding employer, musically speaking. It's difficult to play with a high level of authenticity in such a variety of genres. I guess that's one of the reasons I've stayed with her as long as I have. It's hard to get bored. There's always something that I can feel good about at the end of a night and something that I wish I'd played a bit better. Crystal likes to sing standards, and she appreciates hearing them performed well. She's featuring me in the show on Mancini's "Charade". I recorded it on my CD, though the 6/8 CD version gives way to a slower 3/4 version in Crystal's show. Acoustic guitar and mandolin add a French cafe vibe. Bill Evans once said that he had a "conviction that all good music exists in one category of musical understanding, so a love as well as a technical understanding of it should allow performance a validity from any area of musical life".{1} That statement has encouraged me over the years to have the freedom to move between different genres of music without the feeling that I was abandoning or weakening my musical identity. I believe the diversity of the music that I play has contributed directly to my identity as an artist. I certainly hope that I perform with some degree of "validity" in each "area of [my] musical life". At the very least, I don't think I'll often be mistaken for someone else! I'll be in and out for the next several weeks (ah, the glamorous life of a road musician), but I'll get back to you if anyone has any thoughts or questions. I hope you have a chance to check out my current CD, too. {1} Bill Evans, from the liner notes of "Bill Evans Trio With Symphony Orchestra", Verve V6-8640.

 

Date:	29-Aug-1999 00:40:17
From:	Marco Thomas (sonmoku@hotmail.com)
	Hello, My name is Marco Thomas. I am a bass trombone player. Lately, i have been thnking about the path I should take as a musician. I read a comment in your notes about how the diversity of your career gives you an identity. From your experience, is it possible to balance teaching and performing. Also, I like to play classical music as well as jazz. I was also wondering, is there a way to balance out the music you play?

 

Date:	29-Aug-1999 02:38:21
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Good questions Marco. I'm not sure the answers to all your questions are exactly the same for Bass Trombone as they are for Double Bass. I'll try to give you my take on them one at a time. There used to be a somewhat misguided statement that floated around that went something like, "There are those who play and there are those who teach." The implication was that there were none who were members of both groups. If that was ever even partially true it's less so these days. Many fine musicians augment their incomes by teaching. Most well known jazz schools are staffed by at least a few former members of "name" recording bands. I'd say that teaching and playing can be delicately balanced. The problem I've encountered in the college setting is that there is an increasing amount of paperwork that can take up your spare time allowing little time for practice and renewal. In this age of educational accountability (consumer driven, I might add) teachers spend an inordinate amount of time, in my humble opinion, in defense of themselves and their methodology, not only to students, but to administrators as well. With an understanding administration, however, you can find ways to balance it all. Few artists have evenly balanced jazz and classical careers. Wynton Marsalis is probably one of the most visible right now. There are others though. Andre Previn comes to mind. I think that, in general, bassists are required to handle more diversity than trombone players. They also have more diverse opportunities.As an example, I've never heard of a country trombone player. The bass is a necessary component in almost every musical setting. The trombone is somewhat limited in that regard. You just don't see the trombone in every band. That doesn't mean that you don't have to develop a unique voice, and diversity of experience can definitely help that process. The balance that you achieve in all these areas of your musical life is, in many ways, the musician that you will become. Good luck with it. ---Jim

 

Date:	29-Aug-1999 10:46:49
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	To Marco again, In reading what I typed late last night, I didn't mean to say that any particular instrument is less demanding to master. I just think that it's harder to make a living as a bassist, much less develop stylistically, if you limit yourself to one musical genre. If there is adequate work in one style of music a bassist might be fortunate enough to gain a reputation as the person to call for that style of playing. Then, as long as the style remains popular, he or she could have a great career, limited though it might be. I like to approach music in a more open fashion though. I think you will assimilate stylistic traits that will make up your musical identity as you are exposed to as many stylistic challenges as possible. Maybe there are bass trombone players who specialize in only brass quintet music and become known for that. I'm not very knowledgeable on the subject. I do believe that whatever you do to push yourself in different directions, whether it be teaching, playing ethnic standards on a club date, playing classical music in a variety of styles and group sizes, even playing bass trombone on a country record (it could happen), etc., etc.,... will come back to you as part of the identity that you're developing as a musician. All the best, Jim

 

Date:	31-Aug-1999 05:43:48
From:	Win Hinkle (winhink@bellsouth.net)
	It is very interesting that your first post was from a trombone player, asking about balancing a career. I played trombone (symphony orchestra) doublebass and bass guitar (not in a symphony) in order to balance my carrier to the point of making a living to support my family. It has been quite a trip. Now at age 52 I do computers full time, presently as a web developer at IBM. Now I’m a gentleman, (not playing trombone) but continue to play doublebass in jazz situations. As far as being influenced by Bill Evans, I am absolutely fascinated by the man and his music and find it extremely difficult to play jazz with anyone accept those who aspire to obtain his level of musicianship. Guess I’ve become a musical snob. RE: advice for young musicians who wish to maintain a balanced career, I would advise to always retain some of that “don’t give up your day job” mentality. Keep several non-musical skills along the way to fall back on. Is this way when your sons and daughters need to go to college and graduate school you may have the means to help them, more than the average professional musician is able to. (Jim, I worked with Crystal in the early seventies when she was pretty much an undiscovered talent. She did a spot on a TV show we did at Sea World in Florida, “Bob Hope at Sea World” or something like that. I was playing bass trombone. Dudley Moore, Martin Mull were also on the gig. Still waiting with anticipation for your CD to come from Amazon.com. Sometimes the anticipation can be just as good as the music.) Win

 

Date:	31-Aug-1999 09:18:17
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi Win, Good to hear from you again. I agree somewhat with your comment about "day gigs". My fear is that it's all too easy to let the "money maker" become the driving factor in your life to the exclusion of your creative side. Could there be something to the idea that starving performers practice a bit more seriously? I'm not sure, but it bears some thought. Having said that, when I was teaching full time on the college level I'd have my freshman voice seminars take out a sheet of notebook paper on the first day of class and write down three things they could do to make a living while they were struggling to get established as performers. Needless to say, they didn't like me very much for suggesting that they'd have any trouble in that regard. The ones I'm still in touch with have all had the need to recall that exercise. I think it's better to find something as close to the music business as possible to bring in some dough while you're getting established. It's more forgivable in the eyes of others in the business to work in a musical environment than to sell real estate, insurance or Amway or something like that. I do bass repair VERY part time. Some months it saves my checkbook. Fortunately, I think the business looks on it as an extension of my bass playing. If I did something totally removed from music on the side the perception could be something like, "What a shame, he's not making it as a performer". Probably your computer work is perceived as an extension of your creative side. I know lots of musicians who've become very active in the creative side of computer work in one way or another. The few I know who got into selling computers hardly play anymore. I don't know if there's any message in that or not, but, once again, I think it bears some thought. All the best, --- Jim

 

Date:	31-Aug-1999 14:29:50
From:	Ed Fuqua (efuqua@guggenheim.com)
	Hi, Jim. And hi, Win. We met at the Charlie Haden masterclass at Atlantic Center for the Arts in the dim and distant past. I have checked out your Bill Evans website on a number of occassions, very happening. And also have noted yours (and Hal Galper's) commentary on the impending web/music possibilities. There is a nice BBS at talkbass.com that you might want to check out. Anyway, Jim, a couple of questions/statements: First, I have not really done "road" for any serious time, at the most two weeks at a time. For longer excursions, how do you keep a consistent practice schedule (and what do you take to work on) given the imposition of many other peoples schedules? Since you are involved in a primarily "pop" (eclectic tho' it may be)musical arena, do you feel it affects your jazz playing (given your involvement with musicians that are playing jazz more consistently? One concern of many of the guys in the city is being off the scene for too long, if you are on the road with a group outside of your chosen "genre", how do you maintain a touring schedule and connections with clubs and musicians at home? And as a comment: I think hungry musicians are more likely to take any job that comes along, rather than hold out for a gig that may be more satisfying musically. Most of the calls to sub I get are from guys that have given up a jazz gig to do a higher paying club date. I work a day gig and play only jazz dates, my good friend the drummer who just plays music for a living basically has to say yes every time the phone rings. And as hard as may be to fathom, there are times that I would have been better off staying at home and practicin or doing a session than playing a gig.

 

Date:	01-Sep-1999 02:07:49
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi Ed, Yet another familiar name logs on. Glad to hear from you. I'll try to take your questions/comments in order. I don't have to do many long runs with Crystal, so I don't have huge absence issues to deal with. I take out a Merchant Vertical Bass (5-string) with a Schertler pickup on it. It's not my preference, of course, but it's a very usable practice bass in the hotel room. The scale is pretty good and I can hear it acoustically, too. I carry (pardon the term) a "Rock and Play" tape deck that I can plug the bass and headphones into, but mostly I just play tunes and exercises acoustically with my metronome. There isn't much of a scene in Nashville to be away from, I'm afraid. I don't have a steady diet of jazz gigs at all. I keep in shape by the seat of my pants and the grace of God, I'm convinced. When I do get to play with good players in a nice venue, I'm grateful and ready. Ed, I know you're right about the pressure on full timers to take every gig that comes along. Being on Crystal's band allows me to turn down those gigs that you're talking about that I feel I'd be better off missing. (Some of them can drag you down for days, right?) I'll be checking in from time to time from the road. Don't give up on me if I seem a bit slow to respond. Thanks again for your comments. Best regards, Jim

 

Date:	01-Sep-1999 12:10:57
From:	ALAN PETERSEN (vanguardalan@mailcity.com)
	Jim, how neat to find you on this discussion thread, and congratulations on the success of your new CD! And it must have been pretty satisfying to appear in the NY Times, yes? How much manipulation of your original recordings did the label do before releasing your project? And I have to ask, who is your favorite Evans bassist? I also want to say how nice it is to run into Win in this discussion. I have admired his devotion to Bill Evans for many years, as have many of us. Thanks, Jim. -alan petersen from Cleveland

 

Date:	01-Sep-1999 13:55:30
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi Alan, Thanks for the note. It is VERY nice to be getting some notice at this point in my career. I feel a bit of validation in the process, which is especially satisfying. I guess, if you really press me, I'd have to say that Scotty was the most spontaneous player that Bill had over the years. I think he fit Bill's concept of small group improvisation really well. There are, of course, many other fine players who made some great music with Bill. I still remember the commercial radio station in my hometown of Columbia, S. C. waking me up for school with an Evans track and then announcing his death. My heart sunk. He's still one of my all time favorite players. Jim I must say that the label didn't manipulate my recordings at all. I did all the mixing and had the mastering done here too, so all they had to do was copy & package.

 

Date:	02-Sep-1999 01:56:56
From:	Marty Forrer (bassman@pin.co.nz)
	Hi Jim, we conversed briefly at Bass on the Net, which is how I got here! Just calling to say congrats on the CD, I haven't heard it but it sure is getting good reviews. Regards, Marty

 

Date:	02-Sep-1999 16:05:24
From:	Sharon Moore (skmoore@bellsouth.net)
	Hi, Jim. We've met a couple of times at F. Scott's in Nashvegas. I was just surfing around today and came across your name on this great site and am very happy for you on your new CD. I'm getting ready to order it as soon as I finish this quick note. I remember when you sat in with us one night at F. Scott's and you sang this absolutely incredible ballad which I had never heard before. I'd be surprised if you could remember what it was since it's been awhile, but if you do, please let me know the name of it. Great song, great bass, great voice, it was breathtaking. I'm getting ready to record a CD myself beginning Sept. 13, and Charlie Chadwick will co-produce with me. I'd also appreciate any info you have on the ins and outs of netcommerce for folks like us. Congratulations again! Sharon Moore

 

Date:	04-Sep-1999 02:42:11
From:	Curtis Gorham Jr. (babycorea@hotmail.com)
	Hey Jim, I am a drummer/keyboardist. I have a pretty good ear, and I can play both pretty well. I can't read music yet. I love jazz music, and I desire to play jazz and develope on both instruments. I sat in at a club last week and played on this straight ahead gig. I loved every single minute of it. I was playing the drums, and all of the older jazz heads were checking me out because my instructer from a jazz program I was in 2 years ago pumped me up and the called me up to play. he was bragging about me being his student. This was my first time playing out and it went pretty good. However, the older jazz heads were telling me that I they want to take me under their wing, but all of them kept telling me I need to give up one of my instruments. I love the drums and the keyboards. I know that I can grow very well on both of my instruments, but these guys want to teach me their instruments, and they told me to make a choice. I am just turned 18 about a month ago, and it is not in my spirit to commit to one instrument right now. What should I do?

 

Date:	07-Sep-1999 14:05:49
From:	Ed Fuqua (efuqua@guggenheim.org)
	Thanks for the response, Jim. I wasn't sure how much of a scene Nashville has (for jazz), but whatever kind of music, it must take a lot to maintain a full schedule of "road" and "at home". Are you still keeping up with the cats in Columbia? I'm sure that has afforded you many great opportunities to keep your jazz playing fresh. Anyway, hope the tour has been going well.

 

Date:	17-Sep-1999 14:14:17
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi All, Thanks to everyone who has e-mailed a comment while I was "On The Road". I'll try to catch up with you quickly. Sharon, I have no idea what the song you refer to might be. It's been a while ago and my memory is failing me. As far as Netcommerce goes, I have been learning by the seat of my pants. One helpful discovery I made was Amazon Associates. I think several of the online outlets offer a similar program. If you provide a link to Amazon from your site, any sales that result from someone going to Amazon from your site will net you a 5% share of that sale. You won't get rich, but it's a nice gesture on their part and totally seperate from any record company royalties. I think Amazon handles independent recordings now, too. Curtis, I can only advise you by telling you what Red Mitchell told me years ago. At the time, I was singing, playing bass, writing songs and repairing basses. Red said that I shouldn't let go of any aspect of my creative life. I think his advice was from personal experience. He was a bassist, pianist and songwriter. He felt that each area of creativity bolstered the other areas in a tangible way and added to artistic identity. He told me that if I stopped any of my creative activities it might affect the way I approach the others. I've heard it said many times that we only use about 10% of our brains. Surely you can study and master two things at the same time. Clifford Brown was said to have been an excellent pianist and Chris Potter is a fine pianist, too. Most people will know you for one particular thing, like Clifford's trumpet or Chris's tenor sax, but that doesn't mean that you shouldn't try to do more than one thing. I'm sure Chris would tell you that his piano skills have added certain things to his saxophone playing and visa versa. My own singing has certainly helped my bass playing achieve a melodic quality, and the bass playing has made me more aware as a singer. I hope that answer is helpful. Thanks again to all who've written in. Keep 'em comin'. I'll respond as quickly as I can. All the best, Jim

 

Date:	01-Oct-1999 17:20:06
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi Jazz Lovers, I have a nice review of my current CD and an article on me to tell you about. The review, written by Simon Woolf, is in the UK magazine, Double Bassist. Double Bassist is a high quality publication dedicated to the string bass. It contains sections on classical and jazz bass issues plus fine articles on luthiers and bass repair subjects. The article on me, by Ed Friedland, is in the October issue of Bass Player Magazine. This publication deals with all aspects of electric and acoustic bass playing in popular styles. I hope you'll have an opportunity to check these out. Crystal Gayle is beginning to perform material from her upcoming release of Hoagy Carmichael songs, "Heart and Soul", in her current road show. It's great fun to play those songs, particularly on orchestra dates. We'll be in Columbus and Augusta, GA. with their respective orchestras this month. Come see us if you're in the neighborhood. Best, Jim

 

Date:	04-Oct-1999 14:30:20
From:	Ed Fuqua (efuqua@guggenheim.org)
	Hey, Jim. If you have any down time in Augusta, check out a place called the SOUL BAR downtown. On Wednesdays they have been having a quartet led by this piano player, Bud Hudson. he's an older cat that plays a lot of bop, nothin' fancy but his playing makes sense. The times that I've been back in town they've been very cool about in-sitting. There's a joint on the Hill called the Partridge Inn that has jazz/pop bands on the weekend as well. Have a good gig!

 

Date:	04-Oct-1999 23:26:00
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi folks, Thanks for the tip, Ed. I'll check into the clubs you mentioned. I'm always looking for places to hear the locals play jazz when I'm out on the road. But, I'm not sure of my schedule after the Augusta gig yet. I may stay over a day or so to see family. There is a jazz festival that's trying to get off the ground in Nashville that weekend, too. I'm not sure if it's going to fly or not. If it does I may be returning home in time to do a set with my band. Looking forward to seeing you in New York later this month. Are you gigging while I'm there? Any thoughts from anyone out there on the risks of going out on your own? When should you take a gig and when should you leave it? What should you be willing to deal with to be in the music business and to what should you say, "No way"! Here's to a good week in the jazz world. Swing on! Jim

 

Date:	06-Oct-1999 15:23:01
From:	Ed Fuqua (efuqua@guggenheim.org)
	Hi, Jim. Right now it looks like I have you pretty well bracketed in the NO GIGS zone. I will have just finished 6 Thursdays at KAVEHAZ the week before and a Thus, Fri, SAt at the Guggenheim Museum (w/Eliot Zigmund on drums). Then I've got a couple of big band hits on the 25th and the 31st. We'll see what else comes up, on the other hand I'll have plenty of free time to hang. As far as your questions about music: if what you are doing is pushing your own thing, it seems that the risk/reward ratio is tilted a little more in your favor. I know you like playing with Chris, but if he can't make it you can get a sub; not so for you, it's your band. You and I may know who Ben Wolfe is, but almost everybody knows who Harry Connick is. On the other hand, without some kind of financial support net (grants, record company advances, etc.) it's going to be hard to play that nice Iowa Jazz festival gig if you don't have some stuff between Nashville and Iowa City to pay the bills. Medeski et al, had a real garage band approach, get in the van play for the door, but in a lot of ways their music is more accessible to a rock crowd. I know from trying to book a trio without a commercially released recording, it's almost impossible to get collegiate and festival venues interested. We were able to get some bookings at clubs along the tour route, but ended up having to cancel because none of the college or festival gigs that would have anchored the tour came through and the club money wasn't enough to justify going out.

 

Date:	06-Oct-1999 17:08:04
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi Ed, I suppose I was referring more to the difficulties of cutting the umbilical cord of a steady gig in favor of your own thing, whether it be a leader thing or a shared band identity. Working for someone else has definite advantages. Someone else tells you when to show up, what to wear, how much you'll take home from the dates, what material will be performed, etc. On the other hand, when you're the artist or artists, you have to either get someone to handle those things for you or do them yourself. I tend to get lazy with the security of steady employment. There are those, as we have discussed in the past, who feel that hungry musicians automatically play with an emotion that's sometimes lacking in those who "have it made" and don't have to think about where the next meal is coming from, much less the next rent check. Best, Jim

 

Date:	14-Oct-1999 17:30:34
From:	Ed Fuqua (efuqua@guggenheim.org)
	Well, I think some of my answer still stands, as far as the risk/reward thing. With the critical response to your record, for example, you are in a much stronger position to take advantage of performance grants, Meet the Composer, kind of things that can attract the festival and college bookings (where they are trying to stretch that dollar)which can increase record sales in other parts of the country, etc. It is more work, as you say, but you benefit personally in a lot of ways that you never will be able to with Crystal. Most of the cats here in the city still have a lot of other stuff going on, though. As far as the "hunger" of somebody without a steady gig, i think a lot of that depends on the market you're in. Around here it seems that everybody does everything until they get to a point where they can turn down work that doesn't A.)put them in a venue B.) feature their own work/project or C.) put them in a group they want to play with. I don't think Mike Formanek does many club dates at this point, but it took him awhile to get to that point. A lot depends on personality as well; I could put together a project that would do music I would like to play, but I get the opportunity to do a lot of that just staying at home waiting for the phone to ring.

 

Date:	18-Oct-1999 01:19:43
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi All, I understand completely, Ed. I think that's the way it happens for a lot of players these days. We can beat this one to death when I see you in the next few days. We just got back from a trip to Punta Gorda, FL. with Crystal Gayle. Hurricane whazzit's name got our date cancelled. We did get to Augusta, GA., and had a nice night with the symphony there. When we pulled up to the Partridge Inn the band was packing up. Murphy got us again. We did get to talk/hang with the guys in the band, however. All my best, Jim Ferguson

 

Date:	16-Nov-1999 14:56:07
From:	Ed Fuqua (efuqua@guggenheim.org)
	So, what's up? Any gigs for the quartet? I know Teddy and some of the other Columbia SC cats have a connection with the Hilton Head Jazz Society (they sponsor an annual festival/concert)and Savannah has a jazz festival. Check out the USC Aiken, they have a yearly performance series. Use the force, Jim.

 

Date:	19-Nov-1999 20:49:44
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi Ed, Yes, I'm getting some nice offers as a result of the CD's success. I'm doing a fundraiser for a station in the Northwest, and I've been tentatively booked on a nice series in the Spring that I'll fill you in on, too, once the contracts are signed. I spoke by phone with Johnny Helms yesterday. He's doing better, healthwise, and is looking forward to getting back into some playing. He was so influential in my early learning years, and he's been very supportive of me ever since. I haven't spoken to Teddy Linder in a while, but I assume he's swingin' on down to the end of the millenium. I hope everyone is doing well down there. I don't get back that way much anymore, since my mother moved to Nashville in '96. Thanks for staying in touch, Ed. How's your gigging life been lately? I hope to get to New York again in the Spring. I'll drop you a line as soon as I know when. Best, Jim

 

Date:	06-Dec-1999 22:46:36
From:	alan petersen (vanguardalan@mailcity.com)
	Hello, Jim! Hope you're still doing well out there. Really enjoy listening to your music while doing work here in my office. If you were considering a second CD release, what is the process by which you would select material?

 

Date:	12-Dec-1999 11:11:01
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi Alan, A second CD is in the works. I'm considering whether to choose material along some type of theme or just go with my instincts as I did on the first one. There are always numerous possibilities for presentation of material. Mel Torme did one CD of "Moon" songs, for instance. Picking material is the most time consuming aspect of the recording process for me. Happy Holidays to all you Jazz Fans! ---Jim

 

Date:	03-Jan-2000 13:34:24
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Welcome to the new year everyone. I hope it is good to all of you. Thanks for your past participation on this thread. I'll be attending the International Association of Jazz Educators Convention in New Orleans from January 12th through the 15th. I look forward to meeting some of you there. All the best, Jim

 

Date:	25-Feb-2000 23:49:33
From:	Bob Stockton (drbobwahoo@aol.com)
	I've given your title tune a lot of airplay down here, with very favorable feedback. Now I think we'll work the Mose Allison cut awhile. Best to you. Bob Stockton Jazz At The Beach With Dr. Bob Amelia Island/Fernandina Beach, Fl.

 

Date:	27-Feb-2000 17:42:11
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi Bob, I just got home and found your nice note. Thanks for all the airplay on "Not Just Another Pretty Bass". Any airplay, as you know, is very helpful, and it's very much appreciated in Florida. If your listeners liked my title cut I'd guess they might dig the Mose Allison cut, too. Thanks for keeping me in the rotation. I'll let you know if I find I'm headed your way. Maybe we can hook up for a bite or something. All the best, Jim

 

Date:	07-Mar-2000 00:23:40
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi ALLABOUTJAZZers, I'll be in Seattle this Thursday evening with my quartet doing a concert from 5:30PM to 7:30PM for KPLU Public Radio at the Seattle Art Museum. With me will be a fine group including Mike Allen on tenor, Miles Black on piano, and Ali Jackson on drums. I hope to meet some of you there. Best to all, Jim

 

Date:	22-Apr-2000 01:17:49
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi everyone, I hope AllAboutJazz-ers from the Washington, DC area will check out my quartet at the Smithsonian on the 11th of June. We'll be at The Museum of Natural History's Baird Auditorium at 7PM. The group, as it stands now, will include Chris Potter, tenor sax; Pat Coil, piano; and Jim White, drums. This is the same group that worked on my first CD, "Not Just Another Pretty Bass". My second CD should be out in early Fall. I'll keep you posted on a release date. We're just finishing the recording dates. Best wishes, Jim

 

Date:	04-Aug-2000 02:42:09
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi folks, I'd like to inform those who live in the Seattle area that I'll be performing with my trio on the KPLU Jazz Cruise the 13th of August. With me will be Miles Black on piano and Jim White on drums. I hope to see you there. My new CD release is scheduled for October 10th in the U.S. It features Chris Potter on tenor sax, Stefan Karlsson on piano, and Jim White on drums. There are 14 tracks on this one. I hope you'll have a chance to check it out. All the best, Jim Ferguson

 

Date:	06-Aug-2000 18:54:38
From:	ALAN PETERSEN (vanguardalan@mailcity.com)
	HEY JIM! Congratulations on the upcoming second CD release! How about a tune list for us to look at? -alan

 

Date:	09-Aug-2000 18:06:29
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi Alan, How are things in Cleveland. Hope your band is getting lots of gigs. I'll be happy to post the CD song list below. Thanks for asking. The title track is "Deep Summer Music". It's a Willard Robison song from 1935. There are a number of recognizable titles on the CD along with some not so familiar songs that I hope you'll enjoy. There are a few original things, too. Tracks 2 and 6 are humorous songs of mine. Track 5 is a Marian McPartland song. Track 9 is my tribute to Red Mitchell. Track 12 is a song by Loonis McGlohon, and track 11 Loonis and I wrote together. I think you'll probably recognize the rest of the titles. Hope you like the disc. Again, it's out October 10th in the U.S. Best regards, Jim _____________________________________ DEEP SUMMER MUSIC Jim Ferguson Chris Potter Stefan Karlsson Jim White 1. Deep Summer Music 2. What's A Guy Supposed To Do? 3. I'll Only Miss Her When I Think Of Her 4. Wait Till You See Her 5. There'll Be Other Times 6. Walkin The Dog 7. Slow Hot Wind 8. The Night We Called It A Day 9. Come Home To Red 10. Then I'll Be Tired Of You 11. When The Night Is Done 12. Nobody Home 13. When Your Lover Has Gone 14. In The Wee Small Hours Of The Morning

 

Date:	28-Aug-2000 22:28:35
From:	ALAN PETERSEN (vanguardalan@mailcity.com)
	Jim, thank you for the tune list of your latest production. It looks like a nice balance of material and we look forward to it's release. Where did you know Loonis McGlohon? He's from N.C. isn't he? In another life of mine, I am familiar (and appreciative of) some choral scores of his. How did you come to co-compose with him? -alan petersen Cleveland

 

Date:	02-Sep-2000 01:26:22
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi Alan, I've known Loonis for many years. I worked with him as staff bassist for the NPR program, "American Popular Singer", with Eileen Farrell. That was back in the 70s. Loonis was responsible for introducing me to Bill Kirchner. Bill is a jazz historian, producer, multi-reed player, and educator. He's also on Challenge/A-Records. He took my recording project to Challenge/A-Records. I've stayed in close touch with both Bill and Loonis. I enjoy many of the songs Loonis has written. He has co-written some lovely songs with Alec Wilder and also Marian McPartland. He also writes, as you mentioned, in a variety of other musical styles. He has been very good to me over the years, and I value his friendship. He still resides in Charlotte, N.C. Best regards, Jim

 

Date:	22-Oct-2000 22:04:08
From:	ALAN PETERSEN (vanguardalan@mailcity.com)
	HI, JIM! I just ordered Deep Summer Music from amazon. Can't wait to hear it. Congratulations. -alan

 

Date:	24-Oct-2000 15:14:54
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi Alan, Glad to hear from you. I hope you're well. I hope you enjoy the new CD, too. It's been well received, so far, I'm glad to say. How's your group doing? Any interesting gigs on the horizon? I just got back from Portland, Oregon. Diane Mitchell, Red's widow, put together a Sunday concert date for me at the Historic Old Church. Diane's a wonderful person and very active in the Portland jazz scene. I had Toni Pacini on piano, Lee Wuthernow on tenor, and Tim Rap on drums. Diane took me to several jazz clubs on Saturday night. I heard some fine local players and ate some good food, too. I hope to get back out there, soon. My wife has put together a CD release party for me in Nashville tonight at Cafe 123. It should be an enjoyable evening. I'm looking forward to it. All the best, Jim

 

Date:	22-Jan-2001 02:51:20
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi Folks, My trio did a gig in Racine, WI on January 12th at the Prairie School Performing Arts Center. Thanks to all who came out to support us. You have a wonderful venue. Also, I just got back from a very nice Jazz Weekend at the Grove Park Inn in Asheville, NC. I worked with my old friend, songwriter Loonis McGlohon and his group and also with Gene Bertoncini. I met many wonderful people from the area and had a great time. Diane Schurr closed out the weekend's festivities with her trio. She was great, and so was her group. Best, Jim

 

Date:	24-Jan-2001 23:11:12
From:	ALAN PETERSEN (vanguardalan@mailcity.com)
	JIM: There is that Loonis McGloohan name again. I just had on a Rob McConnell disc that includes Loonis's "Songbird". Rob arranged it as a brass choir thing - beautiful! Do you know this piece, Jim? -alan

 

Date:	25-Jan-2001 13:53:42
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Yes, Alan. It was used as the theme song for the NPR series, "American Popular Singer", with a vocal by Eileen Farrell, who hosted the show. I played bass on the series for several years in the late 70s. It is a beautiful song, and it has a lovely lyric, too. He wrote it for the singer, Teddi King.

 

Date:	03-Feb-2001 22:11:42
From:	ALAN PETERSEN (vanguardalan@mailcity.com)
	HELLO, JIM: Thanks for your reply. Just wanted you to know that I had a two-hour drive to a gig this weekend, and took you along with me(my new van has a CD player so I spent lots of time with "Deep Summer Music"). You know, Stan Getz was right, the lyrics DO matter. These songs are so much more that just "good tunes to blow on". Thanks to you and your guys for your thoughtful contribution. -alan

 

Date:	04-Feb-2001 23:23:46
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Thanks Alan, The one thing I've tried very hard to do is pick great melodies and great lyrics. I think the choosing of material is the hardest part of the recording process for me. There are sOOOOOOOO many wonderful ballads. I seem to gravitate to them to the point that deciding what not to do becomes the difficulty. Finding medium to up tempo songs that haven't been overdone is also difficult, I think. Anyway, it's satisfying to hear from another musician that my efforts have been noticed. Thanks very much. Kind regards, Jim

 

Date:	29-Apr-2001 16:05:43
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi everyone, I'd like to invite you to check out two separate radio broadcasts. They'll both feature my music. The first will happen on May 8th at 11:06AM and again at 7:30PM by tape delay. The program is called "Live in Studio C" and is broadcast from WPLN, Nashville Public Radio. Will Griffin hosts the half hour live performance/interview program. It's also available on-line for a period of time following the live broadcast. The URL for the program is http://wpln.org/live_in_c/live_in_c.html. I'll have Chris Walters - piano, and Jim White - drums, with me for the broadcast. That same day, May 8th, an episode of the NPR program "Marian McPartland's Piano Jazz" (featuring me as Marian's guest) will be sent by satellite to all NPR affiliates that air the program. Those stations will have a two week window from that date in which to air the program. If you'd like to check availability in your area, go to the www.nprjazz.org website and click on "NPR jazz stations" for a list of stations by state, what NPR jazz programs they air (including Piano Jazz), date/time, and whether they stream the audio of their broadcasts over the internet. You'll find several optional times available to hear it by way of stations that stream. I hope you have a chance to catch one of both of these programs. Take care. Jim

 

Date:	15-Jun-2001 11:21:17
From:	ALAN PETERSEN (vanguardalan@mailcity.com)
	JIM: Oops! I missed both of these broadcasts. How did "Piano Jazz" go? What a nice honor for you considering her guest list over the years - Wow! I'll bet it was a blast. All the best, Jim. -alan

 

Date:	17-Jun-2001 13:47:23
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Piano Jazz went well, Alan. Marian is a great lady, and it was indeed an honor to do her show. She's celebrating 20 years on the air this year. She has quite a bit of stamina to keep going with it as long as she has. I'll be grateful to just be able to walk across a room by myself (or just breathe) when I'm her age. She's really something. I hope all is well with you and your group. Anything coming up for you guys? How's the Cleveland jazz scene these days? I just got back from two nights of benefit gigs for Habitat for Humanity with Crystal in St. Charles, MO. I heard some good jazz while there, too. I'm headed to NJ next weekend for a gig with Richard Sudhalter and Barbara Lea. It's an Armstrong/Carmichael night for the NJ Jazz Society at Farleigh-Dickinson University in Madison, NJ. It'll be on June 23rd. All the best, Jim

 

Date:	16-Aug-2001 20:51:00
From:	ALAN PETERSEN (vanguardalan@mailcity.com)
	JIM: Hope all is well with you. I know you like to pay attention to what the other jazz singers are doing. What do you think of what Shirley Horn and Johnny Mandel came up with on the "You're My Thrill" project? -alan

 

Date:	21-Aug-2001 13:51:53
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Hi Alan, How can someone not like the combination of Shirley Horn and Johnny Mandel? They have become role models for their respective crafts. Having the two of them on the same project is gravy, I'd say. What's your take? Jim

 

Date:	05-Sep-2001 22:48:32
From:	ALAN PETERSEN (vanguardalan@mailcity.com)
	Yes, state-of-the-art, both of them. When Shirley is working in one of her glacial tempos and Johnny starts to sneak that gorgeous string bed in under her voice, I usually say to myself, "Thanks John for giving us just what we were waiting for . . ."

 

Date:	11-Sep-2001 02:11:05
From:	Jim Ferguson (jim@jimfergusonmusic.com)
	Don't you have a new project in the works, Alan? How's it coming along?