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Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

The Jazz Life

The Jazz Life is a monthly column that aims to be a different take on how we write and read about jazz–stories of individual experiences, funny, sad, maddening and profound. A community talking to itself about what’s really important, or at least interesting to its members.

THE JAZZ LIFE

The Little Metal Buddha

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A short piece this time. But sometimes saying what you want, like playing what you want, in as few words--or notes as possible, is really the way to go. The Jazz Life is an interesting project I'm engaged in, writing and searching for things to say that focus on what we do in order to live and perform as jazz musicians. I'm interested in hearing from anyone via All About Jazz who has a story to tell about ...

THE JAZZ LIFE

Indecent Heroes and All That Jazz

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Bill Cosby's deserved fall from Grace, perhaps more than anyone else's--and there has been a dizzying final reckoning for a bunch of them--has really hit me. I've been trying to figure out why that is and it's not obvious. But I think it's partly about how the accusations against Chuck Close have been handled. The problem is not whether or not these guys should be defended--it's the more profound issue of whether we can or should separate the artist from ...

THE JAZZ LIFE

Intermission Riff: A Portrait of the Artist as a Young Cat

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In 1958 I was 20 and in my second year at Swansea University. I also played guitar in a small group with my good friend Russ John. We lived in a small village called Trallwn, four miles outside of Swansea. Swansea was a centre of heavy industry and extensive pollution, yet a few miles away was the Gower peninsular, one of the most beautiful regions of Britain. Sunday in our village was for chapel except for our family, communists and ...

THE JAZZ LIFE

Getting Past (E)Go

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I like to play squash, and the best advice a pro ever gave me was this: “Hit the ball in the middle of the racquet." Do you have any idea how difficult that simple piece of advice is to master? Not so long ago, a friend (Brent Vaartstra) posted a great podcast about overcoming low self esteem as a musician. This is something that has plagued me on and off most of my musical career, and I've been ...

THE JAZZ LIFE

Telling Stories and Singing Songs

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“I believe if you're paying a man to play, and that man is on the bandstand and can play, he should get a chance to tell his story." --Lester Young Prez was once asked how to improvise, and reportedly he said, “Tell them a story." Telling stories about living the jazz life in the early 21st is the heart of what this column is going to be about. Pour yourself a beer or a glass of wine, and ...