JazzWax

Laura, Jeanne and Dodo

This week in The Wall Street Journal, I interviewed actress-singer Laura Benanti for my "House Call" column in the Mansion section (go here). Laura co-stars in the film Worth due in September, playing a grieving widow in the drama about the fund set up to compensate families that lost family members during the 9/11 terrorist attacks and those who resisted signing up for payment out of guilt and pride. She's also in Gossip Girl. Laura is such a lovely person and emotionally open and fun, as you might imagine. And so talented. [Publicity still above of Laura Benanti courtesy of Laura Benanti]

Here's Laura last year (in her bathroom during lockdown) singing Stephen Sondheim's I Remember, from his Evening Primrose. Laura has a stupendous Broadway voice...

SiriusXM. For those of you who missed my appearance on SiriusXM twice over the past two weeks, here are both shows:

Here's the entire show on Jackson Browne...

And here's the entire show on Laura Nyro...

Diana Panton. Last week I posted on Diana Panton's first nifty studio concert accompanied by pianist Don Thompson and guitarist Reg Schwager, which you'll find here. The series will continue all summer. Catch Diana Panton's second studio concert at YouTube here [photo above of Diana Panton]...

Jeanne Lamon (1949-2021) died last week. She was 71. A superb violinist, she was the music director of the Tafelmusik Baroque Orchestra and Chamber Choir for 33 years, helping to make it one of the most important performing baroque ensembles, I love baroque music, probably because of the counterpoint and that it's perfect music for writing, given its highly organized structure. [Photo above of Jeanne Lamon courtesy of Lamon estate]

Here's a terrific New York Times obit of Lamon. And here's a clip of her in action in 2011...

And here's another clip from late last year...

Art Blakey's Jazz Messengers '70. Jonathan Horwich wrote to let me know that Discogs.com has CDs for sale of the album I posted about last week with Joanne Brackeen on piano. Go here.

Beach Boys. I just felt like hearing the isolated vocal stack on Wouldn't It Be Nice and thought you'd want to hear it, too...

Arnett Cobb radio. Sid Gribetz presents a five-hour radio broadcast celebrating the career of tenor saxophonist Arnett Cobb this Sunday, August 1, from 2 to 7 p.m. (ET) on WKCR-FM's “Jazz Profiles." To listen from anywhere in the world, go here. [Photo above of Arnett Cobb]

Louis Armstrong radio. Louis Armstrong always believed his birth date to be July 4, 1900. Years after the trumpeter's death in 1971, researchers discovered a baptismal certificate indicating Armstrong's actual birth date as August 4, 1901. So WKCR-FM in New York celebrates Armstrong's birthday on both days. Armstrong recordings will be featured all day. Listen from anywhere in the world by going here. [Photo above of Louis Armstrong by William P. Gottlieb]

And finally, let's close out with Dodo Marmarosa's Dary Departs, with Harry Babasin on cello and Jackie Mills on drums, recorded for Dial in Hollywood on December 3, 1947 [photo above of Dodo Marmarosa]...

Beverly Kenney: Vocalist in Distress

By my count, Beverly Kenney recorded seven albums between 1955 and 1959. She had a singing voice that was somewhere between Blossom Dearie and Marilyn Monroe, but her approach on songs was courageous, taking risks on melodies that made her interesting to hear. What wasn't evident from her publicity photos—showing a poised, attractive and seemingly upbeat woman—was her deep depression. Kenney suffered terribly at a time when medications for mental illness were barely effective or were powerfully strong. Those who suffered often were left with a terrible choice—take the pills and remain unable to function or don't take them and fend for yourself. The latter, of course, came with enormous peril. In April 1960, at age 28, Kenney took her own life by consuming a bottle of prescription medicine.

Earlier this week, Brett Gold sent along a link to a 10-minute documentary by Tony Guerrero and a link to Guerrero's Beverly Kenney tribute page. Here's the documentary...

Joanne Brackeen and Art Blakey

Joanne Brackeen is a jazz pianist with thunderous talent. She's an original who soars as a soloist, in duets, in trios, quartets and beyond. Her hands hit the keyboard with enormous power and her churning style mixes abstraction, bop and hard bop, turning standards inside out and setting her own originals on fire. I love her playing. It's daring, fierce and emotionally organic. She's all in and always finds her way out with clarity and polish. [Photo above of Joanne Brackeen from a publicity still]

Born in Ventura, Calif. in 1938, Brackeen was a child prodigy who admired the balance and order of pop music until she heard jazz in the late 1940s. She began playing professionally at 12, performing in the late 1950s with saxophonists Dexter Gordon, Teddy Edwards and Charles Brackeen, whom she would marry. The couple moved to New York in 1965, where she began her recording career by playing and recording with vibraphonist Freddie McCoy from 1965 to 1968. [Photo above of Joanne Brackeen from a publicity still]

Her first solo album was Snooze in 1975 for the Choice label. Then she went on to have an extraordinary career as a leader, recording more than 20 albums under her own name in groups that included Joe Henderson, Eddie Gomez and Jack DeJohnette. She also recorded on albums led by Stan Getz and Freddie Hubbard, among others.

Between her work with Freddie McCoy and Snooze, she was hired by Art Blakey in 1969 to tour extensively with the Jazz Messengers. They recorded just one album—Jazz Messengers '70. If Blakey ever had a true partner on par with his percussive intensity, it was Brackeen on piano. Recorded in Tokyo in February 1970 for the Japanese JVC label, the Messengers album featured Bill Hardman (tp), Carlos Garnett (ts), Joanne Brackeen (p), Jan Arnet (b) and Art Blakey (d). The tracks were Moanin', Blues March, Whisper Not, It's Only a Paper Moon, Garnett's What the World Needs Now Is Peace and Love, Hardman's Politely and A Night in Tunisia.

Brackeen is miraculous on this album. Blakey and Brackeen power the rest of the band with muscular playing. The way Brackeen and Blakey feed off of each other is spellbinding. I'll even go so far as to say that this is arguably the finest studio recording by any Jazz Messengers lineup. That's why this album is a perfect introduction to Brackeen if you're unfamiliar with Brackeen and you can find it. Then I suggest you move forward with her leadership discography. She's the musical definition of remarkable.

Which brings us to the inevitable question: If Brackeen is so special, why isn't she better known? The decline of pure jazz recording in the 1970s certainly had something to do with her not being celebrated in jazz circles early on. By the 1980s, Brackeen's expressionist style wasn't as in vogue as those playing bop and other familiar forms and therefore not commercially desirable. Sexism also probably played a role, as it often did in jazz and rock of the period. And certainly raising four children would have made touring difficult.

But now you know. Many of Brackeen's recordings are readily available, and exploring her music has never been easier. When you do explore her albums, trust me, you're in for quite an adventure.

JazzWax tracks: Though I own Jazz Messengers '70 digitally, I've never seen a CD of the album. But if you own a turntable, buy it. You'll find the tracks here and here on vinyl.

JazzWax clips: Fortunately I found a track on YouTube. Here's What the World Needs Now Is Peace and Love...

Here's Moanin'...

Moanin'

Here's It's Only a Paper Moon...

It's Only a Paper Moon

Here's Brackeen in 1986 and a stunning solo performance of Bewitched, Bothered and Bewildered...

And here's Brackeen being interviewed in 2018, the year she became an NEA Jazz Master...

Diana Panton: Cheerful Session

This summer, Canadian jazz vocalist Diana Panton has graciously invited us to enjoy a series of 30-minute live in-studio concerts. Each video in the series has a theme. The first features songs from her albums A Cheerful Little Earful (released in 2019) and I Believe in Little Things (released in 2016). [Photo above of Diana Panton by Jose Crespo]

The concerts provide intimate access to Diana singing, backed by the ever-tasteful Don Thompson on piano and Reg Schwager on guitar.The first of these sessions, held at Inception Studios in Toronto, was streamed on Sunday, and Diana's voice is precious and in beautiful form.

The songs are Happy Talk (Oscar Hammerstein II and Richard Rodgers), "A" You’re Adorable (Buddy Kaye, Sidney Lippman and Fred Wise), Halfway Down the Stairs (Harold Fraser-Simson and A.A. Milne), Everybody Sleeps (Joe Raposo and Daniel Wilcox), The Rainbow Connection (Paul Williams, Kenneth Ascher and Lee Norris), Sing (Joe Raposo) and Music and Me (Don Fenceton, Jerry Marcellino, Mel Larson and Michael Cannon). [Photo above of Don Thompson by François Aubry © 2021]

Diana's next live-streaming concert will take place on Saturday, July 31, at 7 p.m. (ET). A listening link will be posted that day at Diana's Facebook page. After the session, the video will be up on YouTube for a period of time. If after watching and listening to Diana you're moved to donate to help offset her next album recording and production expenses, you can do so at PayPal (paypal.me/dianapanton). Or contact her through Facebook if you prefer another form of payment. [Photo above of Reg Schwager by François Aubry © 2021]

For more on Diana, go here. Her nine albums can be found here.

Here's Diana, Don and Reg in the studio for her first Cheerful Session...

Documentary: Don Byas Returns

In 1970, tenor saxophonist Don Byas returned from Europe to perform at New York's Village Vanguard. He had been living abroad since 1946. A Dutch documentary called Homecoming was made of Byas's one-time return visit. In the documentary, the artist who Byas refers to as his close friend is pianist Jaki Byard. The band he plays with is the Thad Jones/Mel Lewis Orchestra. Previous clips of this film on YouTube were excerpts or were blurry. Byas died in 1972. [Photo above of Don Byas]

At YouTube, Milan Simich recently posted the full video but added the following:

The last four minutes of this documentary were distorted so I cut them off. I was at the Vanguard for Byas's return. I was sitting on the side between Don and Jo Jones on drums. After the first tune, Jo said something to Don, Don turned around and said something to Jo and and a big argument ensued. I thought Don was going to walk out, but the show went on. Jo Jones had a bad temper in his old age.

A special thanks to Matt LGroulx for sending along a link and to Milan Simich, for posting.

Here's Homecoming...

Harvie S Trio: Going for It

One of the finest and most rewarding live albums of the year is Going for It (Savant), by the Harvie S Trio. The album was recorded in 1985 on July 8, 9 and 10 at the 1369 Jazz Club, at 1369 Cambridge St. at Inman Square in Cambridge, Mass. Bassist Harvie S, who by then had played with all the living greats and today plays with singer Sheila Jordan, was joined by guitarist Mike Stern, who by then had spent years perfecting his swinging, ringing metallic sound in a series of top fusion bands. The trio was rounded out by the towering drummer Alan Dawson, who taught Tony Williams and many others at the Berklee College of Music. Dawson began recording in '53, with Lionel Hampton and then worked with Gigi Gryce, Quincy Jones, Booker Ervin, Bill Evans Sonny Rollins and many others. He died in 1996. [Photo above of Harvie S by Nick Carter, courtesy of Harvie S]

The musical conversation taking place among these three is astonishing. Harvie notes that on that Monday, Tuesday and Wednesday in July 1985 when the group appeared at the club, the space was packed with excited fans and inspired musicians. After the gig ended, Harvie says, the run became part of local jazz lore. Decades later, Harvie returned to the area to play at a Cambridge club near where the 1369 was located. Since 1993, the location has been occupied by the 1369 Coffee House.

On a break, Harvie caught up with David Lee, a longtime fan. When their reminiscing turned to the 1369 gig in '85, Harvie sighed. It was a pity, he said, no one had recorded the electrifying music everyone was still talked about. Lee then stunned Harvie, telling him that he had done so with a high-quality cassette recorder and two mics for each set. “I almost fell down when he told me that,” Harvie said. [Photo above of Mike Stern courtesy of Discogs.com]

Now the music is finally out after sitting on a shelf for the past 36 years. The tracks are On Green Dolphin Street, Softly as in a Morning Sunrise, Horace Silver's Peace, Like Someone in Love, John Coltrane's Moment's Notice, Chick Corea's Windows and Mike Stern's Bruze. On each song, the trio works together with familiarity and ease. Harvie's upright bass is warm and swings the guitar and drums. Stern's guitar is exceptional. It has an steely edge with straight-ahead jazz at its core. The two of them together not only produce beautiful music but their sounds create engaging textures. The sparks shooting off of Stern's guitar are fielded smoothly by Harvie's bass. Moment's Notice will leave you breathless. [Photo above of the 1369 Coffee House, former home of the 1369 Jazz Club]

And then there's Dawson (above) on drums. A gorgeous player who deftly brings his snare to life, mixing rhythms without ever overshadowing. As for Lee, I have no idea what cassette recorder he used on those nights, but the quality of the sound is astonishing, with perfect recording levels and mixes. Don't miss this album.

JazzWax tracks: You'll find the Harvie S Trio's Going for It (Savant) here.

JazzWax clips: Here's Moment's Notice...

And here are Harvie and Mike chatting about the gig and the tapes...

Cynthia, Elliot and Dom Um

In The Wall Street Journal this week, I interviewed fashion designer Cynthia Rowley for my "House Call" column in the Mansion section (go here). Growing up, Cynthia loved designing clothes. But a pair of elephant bell-bottoms she made for a middle school event was so radical, no one asked her to dance. Throughout high school and college, teachers constantly tried to suppress her creative streak, but Cynthia resisted and wound up having the last laugh. A lesson in believing in yourself, no matter what. [Photo above of Cynthia Rowley wearing one of her wetsuit designs in Montauk, N.Y., in June, courtesy of Cynthia Rowley]

Here's the elegant and irrepressible Cynthia at home...

Hamptons radio. Today (Saturday, July 24), starting at noon (ET), I'll be on Lunch on the Deck in Sag Harbor, N.Y., with hosts Jessica Ambrose and Bill Evans (above). They asked me for 20 favorite songs, so we'll be spinning discs and gabbing for two hours. You can listen in from anywhere in the world by going here and clicking "listen live." If you select "mp3 player," the show will open automatically in your iTunes.

Half-Nelson. In the wake of my post on cool jazz and the Miles Davis composition Half-Nelson, Lou Califano wrote:

Marc, WKCR-FM's "Bird Flight" host Phil Schaap tells the story of how "Half-Nelson" got its title. He said it was because bassist Nelson Boyd only got a half-chorus solo on the recording with Miles and Bird, who, by the way, played tenor on that session.

Elliot Lawrence. Last week, Matt Schudel of The Washington Post wrote a lovely and complete obit of Elliot Lawrence. Many thanks, Matt, for quoting me and citing my JazzWax interview. Go here.

Dom Um Romão. After my post on Brazilian percussionist Dom Um Romão, I received a lovely email from percussionist Frank Colón in Rio de Janeiro:

Hello, Marc! As a close friend of Dom Um Romão, I thoroughly enjoyed your article on him and his brilliant musical trajectory. Dom Um took me under his wing and pulled me and guided me through some very interesting situations and opportunities. We weren't pals like I am with Airto, but we'd visit each other and hang out whenever we got the chance. Thanks for bringing it all back.

In January 2020, Frank released Latin Lounge. Here's his amazing Latin Wonder album...

I also heard from Brazilian-American drummer Duduka De Fonseca:

Hi Marc. Bom dia. This is a great post! Dom Um was like a father to me when I arrived in New York at the end of 1975. He got me a gig with Astrud Gilberto that lasted 14 years. Dom Um helped many musicians in the city, including Dom Salvador, Claudio Roditi, Naná Vasconcelos and Cyro Baptista, among many others. He was a superb player with a big heart. He also was a black belt in Capoeira, a Brazilian martial art.

Here's Duduka Da Fonseca...

David Sacks. Following my post on Astrud Gilberto, I hard from Danilo Morandi in Switzerland:

Hi Marc. On Gilberto's 1988 clip of "The Girl from Ipanema," you can see (and almost hear) a fine American trombonist, David Sacks, who had quite a career in Brazil in the '80s. In 2017, back in Rio after 27 years away, he performed at Um Café La em Casa in a show led by guitarist Nelson Faria, with (mostly) Brazilian stars. Amazingly, on "Chega de Saudade," at 5:00 into the clip, Nelson and David point out some common mistakes made interpreting the tune.

Here's the entire show...

Chico Hamilton. If you're online on Tuesday evening, July 27, catch Uncivilized, an experimental Brooklyn collective when they take on the music on Chico Hamilton's El Chico album, recorded in 1965. Uncivilized has been a fixture at Brooklyn's Barbès club since 2013. The group features Rachel Housle (d/percussion), Ben Stapp (tuba), Nick Jozwiak (cello), Kevin Sun (ts) and Tom Csatari (g/effects). Their set will start at Barbès (376 9th St.) at 7 p.m. (ET) and will be live-streamed for free (the group urges a $20 donation). Live stream tickets can be found here.

Jazz samba radio. Sid Gribetz will host a special five-hour show on jazz samba this Sunday, July 25, from 2 to 7 p.m. (ET) on WKCR-FM in New York. To listen from anywhere in the world, go here.

Half Nelson: Cool Perfection

For those who don't quite get East Coast cool jazz or why it's special, I have two words for you: Half Nelson. The song is by Miles Davis, who created a new melody using most of the chord changes to Tadd Dameron's Lady Bird, first recorded in early 1947. Half Nelson was recorded for Savoy in August '47 by the Miles Davis All Stars, featuring Miles Davis (tp), Charlie Parker (ts), John Lewis (p), Nelson Boyd (b) and Max Roach (d). Originally a bebop tune, the song was later picked up by Lee Konitz and Warne Marsh, two exponents of the cool school. [Photo above of Charlie Parker and Miles Davis in the late 1940s by William P. Gottlieb]

The sound of cool jazz is distinguished by a light, airy sound, a more spacious geometry of notes and dry tones in contrast to bebop, which was more furious, dense and bluesy. Pianist Lennie Tristano's staccato rhythms and snapped off ideas in the late 1940s was an influence on cool but so were modern classical approaches. In the hands of leading cool players, Half Nelson was given a flat feel, allowing the song's beauty to surface without being overly rendered or juiced. Instead, the emphasis is on chord voicings by the horns, and their harmonies and counterpoint. [Photo above of Lennie Tristano by William P. Gottlieb]

Yesterday, I found a perfect example of what I'm talking about. In this video of Half Nelson, the cool jazz approach becomes apparent in the horns. Here's Warne Marsh (ts), Lee Konitz (as), Don Elliot (tp, mellophone), Billy Taylor (p), Mundell Lowe (g), Ed Safranski (b) and Ed Thigpen (d). They open with Lady Bird, with Elliot on trumpet. The second half is Half Nelson, when Elliot switches to mellphone.

Listen carefully to the modern chord voicings created by the horns. The performance was on the 1958 NBC TV show The Subject is Jazz, hosted by Gilbert Seldes with music direction by Billy Taylor. First Billy plays the song in its original bop idiom. Then the septet handles it with a cool approach. It's all in the horns. [Photo above of Lee Konitz from YouTube]

Here's Half Nelson...

A special thanks to Bill Kirchner.

Chuck Israels on Hampton Hawes

In May 1965, pianist Hampton Hawes recorded an album of mostly standards with bassist Chuck Israels and drummer Donald Bailey. The album was Here and Now, an extraordinary session for the Contemporary label. Seven of the eight songs were recognizable by most people picking up the album in stores, but the execution was anything by standard. Hampton, Chuck and Bailey sail into each song with fresh energy and determination to rock the canoe, so to speak. For example, Hawes and Chuck solo off each other for most of Fly Me to the Moon and What Kind of Fool Am I? and they turn The Girl From Ipanema inside out. It's a beautiful, invigorating recording, largely because all three players are so special and work together perfectly.

The tracks are Fly Me to the Moon, What Kind of Fool Am I?, The Girl From Ipanema, Hawes's Rhonda, Dear Heart, People, Chim Chim Cher-ee and The Days of Wine and Roses.

For Chuck, the album was sandwiched between his work in the Bill Evans Trio. The Evans group had returned from an extended European tour in February and March of '65, and then recorded The Bill Evans Trio With the Symphony Orchestra recorded for Verve in September.

Here's what Chuck told me about the Hawes date:

Even though Bill was successful, the trio wasn’t working all the time, so I had time to explore other opportunities. At the time, I was in Los Angeles working as a famous folk singer's music director. That was a frustrating, almost depressing experience because of her habit of singing every song as if the lyric was, “Listen to my beautiful voice.” Her voice was beautiful, and she’d achieved her success by depending on it. But it didn't suit songs we took on.
[Photo above of Chuck Israels in 1965]

I don’t remember how I ran into Les Koenig in L.A., but as soon as he knew I was going to be there for more than a day or two, he set up the recording session with Hamp. It was my impression that what interested Les and Hamp was the juxtaposition of the way I played with Bill against how Hamp played. If they hadn’t encouraged that, I might have been a little less adventurous and more supportive of Hamp on the session in a more conventional way. In any case, whatever I was doing seemed to please both Hamp and Les. And playing with Donald Bailey was magically uplifting. [Photo above of Lester Koenig by Ray Avery/CTSImages.com]

As far as the session, I do remember that Contemporary Records' studio where we recorded was filled with LP boxes. I recall Hamp and I discussed the harmonies for "What Kind Of Fool Am I?" Hamp was interested in the ones I had come up with while playing the song with Bill. We mostly used them. Hamp was friendly.

I was just starting to get to know Donald, who would later become a good friend as well as musical colleague. I know I was glad Les had included him on the date. Several years earlier, while attending Brandeis, I was at the Jazz Workshop in Boston listening to Herb Pomeroy’s quintet when Floyd “Floogie” Williams, a Boston drummer who’d been playing with Lionel Hampton’s band, ran in. [Photo above of Donald Bailey by Francis Wolff (c)Mosaic Images]

He grabbed me by the shoulder and said, “Chuck, you’ve got to come hear this genius drummer.” He took me across the street to hear the Jimmy Smith Trio with Donald playing drums. I remember being quite surprised, because I had no idea that Floogie had paid any attention to me or my bass playing—or why he assumed (correctly, it turned out) that I’d understand how extraordinary Donald’s playing was.

So, when Donald turned up on the Hawes date in '65, I was already looking forward to playing with him. Donald was unique. His playing had so much variety—so much going on quietly and subtly, generating commentary and enthusiastic lift. Yet all this activity never covered up what others were playing. He always had the appropriate dynamic, from a whisper (or even silence) to a roar, in perfect connection to the emotional shape of the music. Some of us were lucky enough to have had the chance to make music with him.

Hamp is, of course, the better known musician, and I enjoyed playing with him. But I didn’t get to know him as well as I got to know Donald. Donald didn’t like flying, so when I invited him to spend 10 days with us recording and teaching at Western Washington University, he took the long train ride from where he was living in Emeryvlle, Calif. Donald stayed with us in our home, and my family all loved him.

Those are my memories—not so much about Les and Hamp, both of whom I wish I’d taken more initiative with and gotten to know better. By the way, someone transcribed the piano and bass parts from "Fly Me To The Moon." Here it is...

JazzWax tracks: Hampton Hawes's Here and Now is difficult to find on CD. Try Discogs.com.

JazzWax clip: Here's the entire album, with Hawes, Chuck Israels and Donald Bailey...

Rock Concert: An Oral History

Yep, you're looking at the cover of my new book, Rock Concert: An Oral History as Told by the Artists, Backstage Insiders, and Fans Who Were There, coming on November 9 from Grove Press. Two and a half years ago, I was sitting in the office of Morgan Entrekin, my editor and Grove Atlantic's president and publisher. I was pitching him the idea of an oral history tracing the evolution of live rock, from 1950 to 1985. Morgan published my last book, Anatomy of a Song, in 2017. He immediately lit up.

At the heart of the book is the answer to a basic question: How did the rock concert transition from small R&B shows in Los Angeles to a teenage rite of passage at sporting arenas and stadiums throughout the country and eventually the world? The story weaves through L.A., Cleveland, Chicago, Memphis, New York and Newport, R.I., expanding to urban ballrooms and theaters and outdoor festivals and large controlled venues. Throughout the book, I trace the events, visionaries and inventions that allowed the rock concert and business to thrive and become an $8 billion industry.

I'm fortunate to have Morgan as my editor. He's shrewd, hip, literary and loves pop culture as much as he loves fiction and history. This year, a book he bought as publisher and edited, Wilmington’s Lie: The Murderous Coup of 1898 and the Rise of White Supremacy, by David Zucchino, won the Pulitzer Prize for general nonfiction. With me, Morgan was supportive throughout the writing process, letting me do my thing but providing critical advice along the way to reel me in and intensify the book's drama and crystalize its purpose. The mark of a great editor.

Rock Concert runs nearly 400 pages but it's a fast, engaging read, providing two histories in one. Not only does the book detail the flowering of live rock through the words of eyewitnesses, promoters and rock stars but it also gives you the history of the music, from jump blues events in 1950 and '51 to Live Aid in '85, the last of the old school, low-price spectaculars. You won't be able to put it down.

Pre-order a copy of Rock Concert for yourself or for family members and friends. It's a perfect birthday or holiday gift. And because the cover is glossy, you won't even have to wrap it. By pre-ordering, you'll be guaranteed a copy even if the advance buzz causes a rush on the book. And remember, all purchases are for a good cause. Buying the book will allow me to continue writing JazzWax and provide it to you six days a week for free. If that isn't an incentive, I don't know what is.

Tomorrow, JazzWax will return to the music—and I'll be starting my next book.

JazzWax pages: You'll find Rock Concert (Grove Press) here or here. For my friends in the U.K., Canada and Australia, Rock Concert will be published in your countries simultaneously as well. Check your favorite local bookstore or online retailer, including Amazon.