Sunday Session: October 25, 2020

Keith Jarrett

Here's this week's roundup of various music-related items of interest:

* Ronnie's review – fascinating story of the fabled Soho jazz club (TheArtsDesk.com)
* 5 Questions to Tyshawn Sorey (composer, multi-instrumentalist) (ICareIfYouListen.com)
* Met Opera’s musicians haven’t been paid since April. Now, a third have left New York (ClassicFM.com)
* Master Jazz Drummer Rodney Green on Jason Moran, Charlie Haden and Purgatory Perceptions (WhiteHotMagazine.com)
* With COVID-19 stimulus stalled, L.A. clubs face doomsday scenario: ‘We’re in the deep end, drowning’ (Los Angeles Times)
* Earl Freeman: Poems and Drawings (AquariumDrunkard.com)
* Louis Armstrong and Comedy Part 2: “Always a Showman!” 1922-1933 (LouisArmstrongHouse.org)
* Jazz Educators Step Up to Face COVID-19’s Challenges (Jazz Times)
* The Genius Of… Super Session by Mike Bloomfield, Al Kooper and Stephen Stills (Guitar)
* Toshinori Kondo, Trailblazing Modern Trumpeter, Dies At 71 (NPR)
* Acid, nudity and sci-fi nightmares: why Hawkwind were the radicals of 1970s rock (The Guardian)
* Pianist Keith Jarrett unlikely to perform again after two strokes (The Guardian)
* National Endowment for the Arts Announces 2021 NEA Jazz Masters (Arts.gov)
* Nubya Garcia Injects Fresh Energy Into The UK Jazz Scene (DownBeat)
* A Cultural History of the Cranked Snare Drum (Full-Stop.net)
* Analog Africa: digging deeper into forgotten corners of global groove (AllAboutJazz.com)
* Inside Bob Dylan’s Lost Interviews and Unseen Letters (Rolling Stone)
* Slo-mo artistry of a sax genius (Sydney Morning Herald)
* Little Richard Made Millions. It All Went to His Label (Vice.com)
* Jazz singer Kurt Elling moves back home to Chicago: ‘It was always a question of when was going to be right’ (Chicago Tribune)
* “You Need Both Sides of the Coin to Feel Like There is Substance:” An Interview with Nubya Garcia (PassionWeiss.com)
* With The Specter Of Winter Looming, Venues Explore Paths Forward (DownBeat)
* A Guide to the Music of Archie Shepp, Who Kept Jazz Vitally Political (Bandcamp.com)
* Jazz Clubs Are in Crisis (Jazz Times)
* Cindy Blackman Santana Blends Music, Spiritual Approaches (DownBeat)
* As Keith Jarrett Closes a Chapter, Jazz United Reflects on His Monumental Solo Piano Career (WBGO)
* Five Songs That Exemplify the Musical Legacy of Pharoah Sanders (WDET)
* Canadian musician Angie C just used a brainwave-reader to play the monster analogue synth TONTO with her mind (MusicRadar.com)

Music Education Monday: A workshop with saxophonist Dewey Redman

Today for Music Education Monday, you can take in a workshop with saxophonist Dewey Redman, the late Texas tenor man known for his big, bluesy tone, his associations with Ornette Coleman and Keith Jarrett, and these days, for being the father of saxophonist Joshua Redman.

The elder Redman, who died in 2006, was born in 1931 in Fort Worth and went to high school with Ornette Coleman, forming a friendship that would last a lifetime. He played in Coleman's band from 1968 to 1972, and later started the group Old And New Dreams with fellow Coleman alumni Don Cherry, Charlie Haden, and Ed Blackwell, releasing four albums of music influenced by their former employer.

Redman was much more than just a Coleman disciple, though, putting out a dozen albums under his own name, and a dozen more with Jarrett, recorded during the 1970s when he was a member of the pianist's "American Quartet." He also also performed and recorded with Haden's Liberation Music Orchestra, Paul Motian, Pat Metheny, and numerous other jazz musicians active during the 1980s and 1990s.

In 1993, Redman went back to Texas to conduct a workshop with students at Houston's High School for the Performing and Visual Arts, and fortunately, someone had the presence of mind to record the event on video. You can see that video of Redman's workshop, presented in three parts, after the jump.

And if you're curious to know more about Dewey Redman, he was the subject of an award-winning documentary film, Dewey Time: The Sound of A Giant, released in 2001. You can see that film in its entirety in the fourth video embed below...