jazz notes chapman option 2Unfortunately I find myself having to devote part of this month’s column yet again to a friend who recently passed away. I refer to Geoff Chapman an accomplished writer and a gentle man. He had wide-ranging interests and they included a great love of jazz, in fact it could rightly be called a passion. In the years that he wrote for the Toronto Star he covered theatre as well, but jazz stirred his emotions more deeply than anything else. Not that he ever made a big outward display of his feelings because nothing ever seemed to disturb that serene quality which has been described as a Buddha-like presence.

He was open-minded, always looking for something positive to say and I’ve yet to hear anyone say an unkind word about him. He was certainly a good friend to musicians, all of whom will think fondly of him.

Along with his talents, occasionally having the good fortune to be in the right place at the right time enabled him to leave the rest of the field trailing behind. I remember one night at the Montreal Bistro and Geoff was there to review the band. It was the same year that the jazz festival, because of imminent tobacco legislation, was about to lose the title sponsor, duMaurier. There was a grace period before the ban on tobacco sponsorship became law, but the sponsor decided to withdraw support as of that year.

To make a long story short, a good friend of the festival at City Hall, Sean Gadon approached the then mayor, Mel Lastman, and convinced him to intervene and call the then President of Imperial Tobacco, Don Brown. So there we were at the Bistro. Geoff was just getting ready to leave in order to file his review and in came a jubilant Sean Gadon with the news that the festival, which we had just cancelled had its funding for another year. Johnny-on-the-spot Chapman made some hasty notes before rushing off to file his story which scooped everybody else in town.

jazz notes chapman option 1But what made him much more than just a competent writer was that along with his language skills, an inbuilt natural ability to convey with words, he also had a broad knowledge of what he was talking about and a desire to communicate with his audience.

It starts to sound like the qualities of a good jazz musician, doesn’t it?

I remember one evening we had dinner together and in casual conversation I discovered we had shared an unusual childhood activity. As kids we had both chewed tar and to this day I love the aroma of hot tar! I initially thought that it might in some odd way have had something to do with the fact that we were both Brits until quite recently.
 I found a Canadian, albeit with the Irish name of O’Reilly, who, when he heard about our tar traits, exclaimed, “I used to do that!”

A good English beer, a cigar and listening to jazz was his recipe for a good time. Oh, and looking forward to seeing a good football — soccer, not rugby — match on TV.

When I think of Geoff, there is a line from a novel by Charles Dickens, “Our Mutual Friend” which seems a propos — “Have a heart that never hardens, a temper that never tires, a touch that never hurts.”

To The Letter

And now I will digress. My real introduction to acronyms was listening as a child to BBC — an acronym in itself — radio, and to a weekly comedy show starring Tommy Handley called ITMA which was made up from the first letters of the phrase “It’s That Man Again.” The show also introduced a classic, still widely in use today: TTFN — Ta Ta For Now.

Coming up with acronyms is a linguistic process that has existed throughout history. For example it was used in Rome before the Christian era, the official name for the Roman Empire, and the Republic before it, being abbreviated to SPQR (Senatus Populusque Romanus).

But acronyms became much more common in the 20th century with AT&T, Nabisco (National Biscuit Company), TV, Radar (short for for radio detection and ranging) and on and on. Back in the days when people actually wrote letters, some of you may have received or sent correspondence of a personal nature which had the letters SWALK on the back of the envelope meaning that it was Sealed With A Loving Kiss. Try that with a text message (lol).

Jazz has had its share of acronyms. Some of the most widely known were NORK (New Orleans Rhythm Kings), JATP — Jazz At The Phil, a travelling jazz extravaganza produced by Norman Grantz and the MJQ (Modern Jazz Quartet).

All of which is a preamble to KPMT, the Ken Page Memorial Trust which will hold its 14th annual jazz gala at The Old Mill on October 18 with a star-studded line-up including, from the United States, Harry Allan and Ken Peplowski on reeds, Warren Vache, cornet, Russ Phillips, trombone, and on piano Italian virtuoso Rossano Sportiello. The home team will consist of Terry Clarke, Alastair Kay, Reg Schwager, Neil Swainson, Don Thompson, Kevin Turcotte and your faithful scribe. Prior to the main event and in keeping with the goals of the Trust there will be a performance by the Ben Hognestad Trio featuring Matt Woroshyl from the University of Toronto Faculty of Music. You can enjoy them along with a complimentary cocktail. If you have never attended the gala this is a great year to get involved in support of jazz and the musicians who make the music. You’ll not see a line-up like this any place else in Toronto. For details see the ad in this issue of The WholeNote.

Meanwhile, now that the days are turning chilly it’s a good time to move inside and trade the hot sun for some hot choruses. As always, The WholeNote club listings, on page 55, are the town’s best guide to what’s on.

Happy live listening!

Jim Galloway is a saxophonist, band leader and former artistic director of Toronto Downtown Jazz. He can be contacted at jazznotes@thewholenote.com.

It’s all right — I’m talking about the season not the state of the music. Summer fades away, holiday makers come back to the city and the evenings begin to draw in and become cooler.

In Toronto the club activity ranges from the ever active Rex with up to 19 bands a week to other regular but less frequent spots such as Chalker’s, Gate 403, Grossman’s, Mezzetta, Musideum, Pilot Tavern, Quotes, Reservoir Lounge and so on.

For the most part the festival season has run its course, but not quite: on September 14 and 15 there is Jazz & Blues In the Village in Sarnia, now in its ninth year; the All-Canadian Jazz Festival in Port Hope takes place from the 21st to 23rd; and there is the Willowbank Tenth Annual Jazz Festival, a one-day event on September 16.

38 jazznotes abdullahibrahim  3 photo by ines kaiserA David among the Goliaths:A more contemporary program is on offer at the Guelph Jazz Festival from September 5 to 9. Nineteen years ago a group of jazz enthusiasts got together to create a festival showcasing the brand of music to which they were dedicated and I use the word “dedicated” advisably in that they were single-minded about the musical content. Now in its 18th year, they have retained the vision in a way that larger, more commercial enterprises cannot. The Guelph Festival has grown from small beginnings with audiences in the hundreds into a success that draws an audience of 16,000 annually. Now that is peanuts compared to say, Toronto and Montreal, but is bigger always better?

Ajay Heble, the festival’s artistic director, was out of town at the time of writing this piece but I spoke with Shawn Van Sluys, vice president of the Board of Directors of the Guelph Festival and executive director at Musagetes Foundation, an international organization which seeks to transform contemporary life by working with artists, cultural mediators and other partners to develop new approaches community and culture. The co-operation between these two entities makes sense and emphasizes the importance of the community aspect of the festival.

Some of the highlights this year include a solo performance by South African pianist Abdullah Ibrahim; Brew, an international trio which features Miya Masaoka on 17-string Japanese koto zither, bassist Reggie Workman and Gerry Hemingway on percussion; a John Coltrane tribute with Ascension; and an interpretation of his masterwork by Bay-Area-based ROVA Saxophone Quartet plus five rhythm, two violins and cornet.

38 jazznotes ajayheble 2 photo by trina kosterSo the ingredients are there — a city, but not too large, a University, strong community involvement, some corporate support, but not to the point where the tail wags the dog, and a dedicated team with a common vision.

This is not a put-down of large festivals. They do what they have to do in order to survive. Rather, it is an expression of regret that they have to dilute the content in order to be financially successful. But remember the immortal words of Yogi Berra: “If you don’t know where you are going, you’ll end up some place else.”

Any debate about the relationship between size and quality isn’t restricted to jazz festivals and I must confess that when I went online and asked the question, ‘Is bigger better?’ I had a host of replies that belong in a quite different sort of publication than The WholeNote. But I digress.

Of Olympic proportions: Undoubtedly the recent Olympic Games are a case in point. From the relatively innocent days of the early Games we now have a vast, commercial enterprise with a considerable number of events which — and this is a personal opinion — frankly don’t belong, largely because the judging is subjective and open to error or bias. Synchronised swimming requires a huge amount of ability and physical control, but is it really an Olympic event? Then why not include ballet?

However the name of the game is expand the audience base and make sponsors happy. And on the subject of sponsors and just how much influence they exert, here we have a huge event extolling the virtues of fitness and physical prowess sponsored by a huge corporation which sells a range of soft drinks that aren’t exactly health-giving.

Which reminds me of the disappointed Coca Cola salesman returning from his first Middle East assignment.

A friend asked, “Why weren’t you successful?”

The salesman explained, “When I got posted to the Middle East, I was very confident that I would do well as Cola is virtually unknown there and it would be a new and huge market. But, I had a problem; I didn’t know how to speak Arabic. So, I planned to convey the message through three posters , side by side ...

First poster, a man crawling through the hot desert sand totally exhausted and panting.

Second poster, the man drinking our Cola.

Third poster, our man now totally refreshed.

I had these posters pasted all over the place.”

“That should have worked,” said the friend.

The salesman replied, “Well, not only did I not speak Arabic, I also didn’t realize that with Arabic you read from right to left ...”

I will add one Olympic footnote:

The chief executive, ODA (Olympic Delivery Authority), received a basic salary of $578,564.44 CAD plus bonuses paid from the public purse. And the Games’ top executives make substantially more than that. So it was with interest that I read in Britain’s Telegraph newspaper an article saying that the Musicians’ Union had received complaints from members that they had been asked to donate services at the Games “because it’s such great exposure.”

Does that sound familiar to any of you musicians out there? No comment.

In the meantime, happy listening and try to put some live music in your life. 

Jim Galloway is a saxophonist, band leader and former artistic director of Toronto Downtown Jazz.  He can be contacted at jazznotes@thewholenote.com.

Well, the TD Toronto Jazz Festival has come and gone for another year and musicians have had a chance to “strut their stuff” and demonstrate their onstage personas. But one of this year’s daytime features was a series of interviews with some of the featured performers held on the main outdoor stage under the aegis of the Ken Page Memorial Trust.

This column is being written before the fact, but I hope these were well attended because they were an opportunity to learn some things about what makes the musicians tick, something about individual philosophies, likes and dislikes, and get a glimpse into, as the series’ title suggests, The Inside Track.

I shared the hosting of the series with artistic director Josh Grossman and one of my interviews was with veteran tenor player Houston Person.

Less known to the younger generation than say, Joshua Redman,Houstonbrings a wealth of experience to his music and the same sort of approach as big-toned tenor players like Gene Ammons, Arnett Cobb and Buddy Tate. He has carved a special niche for himself with his distinctive sassy sound and his expressive style. But to hear him put into words the same sort of things he says through his playing is an entertaining education.

I mentioned Arnett Cobb and Buddy Tate as being two of the great big-toned tenor players. They were also visitors to Toronto and both played at Bourbon Street, the Queen St. club, and one of four clubs operated by Doug Cole, who passed away in June at the age of 87.

Doug was an ex-policeman whose love of jazz was one of the best things that ever happened for the jazz community in Toronto. His first foray into the world of the jazz impresario was in 1956 when he opened George’s Spaghetti House in downtown Toronto. Why George’s Spaghetti House? Simple. That was the name of the business operating there before Doug took it over and he didn’t have enough ready cash to change the sign! It wasn’t an immediate roaring success but Doug kept the faith and eventually it paid off and George’s became a showplace for a Who’s Who of Toronto talent and, on occasion, a visiting out-of-towner. On weekends the music ran an hour later than other clubs in town so musicians could catch the last set on a Friday or Saturday. Regulars would phone in their orders, and their drinks would be waiting for them when they arrived at the club.

Doug opened another room, Castle George, on the floor above, with a house trio, then in 1971 he opened Bourbon Street which presented a steady flow of American artists usually fronting a local rhythm section.

The booking policy at Bourbon Street helped, I believe, to create an awareness of just how good were many of our own Toronto players. A second floor club called Basin Street also showcased jazz on a less regular basis and it is no understatement to say that Doug Cole’s love of jazz helped greatly to maintain Toronto as a leading jazz city after the demise of the Colonial and Town Taverns.

We could certainly use another Doug Cole today.

There may not be a lot going on jazz-wise in Toronto but August is a busy month for out of town festivals.

August 16 to 19 are the dates of the 14th annual Markham Jazz Festival.

Among the featured musicians are pianist Bill Charlap and vocalist Gretchen Parlato, Tara Davidson, Samba Squad, Three Metre Day with Hugh Marsh, Michelle Willis and Don Rooke, Jeff Coffin and The Mu’tet, and Kellylee Evans.

Entering its 18th year is the Oakville Jazz Festival, August 10 to 12, and the program will include Peter Appleyard, Joey DeFrancesco, Holly Cole and Tierney Sutton.

August 15 to 19 are the dates for the Prince Edward County Jazz Festival with Emilie-Claire Barlow, the Louis Hayes “Cannonball” Legacy Band, Tribute to George Shearing with Don Thompson, Reg Schwager, Neil Swainson, Bernie Senensky and Terry Clarke, and a Boss Brass Reunion concert.

I’ll close out with one of my favourite anecdotes from George’s.The story isn’t really meant as a reflection on the chef. He may not have been an escoffier, who would have been out of place anyway in an Italian restaurant, but generally speaking the food wasn’t bad and sometimes it did hit the spot, as the saying goes. But culinary mishaps can happen and this story does revolve around a steak dinner.

I was playing the club one week and two friends, Alastair and Vivien Lawrie, came in. Alastair’s name will be familiar to those of you who remember his jazz reviews in the Globe and Mail. Anyway, Viv ordered a steak. Now, granted the knives and forks weren’t exactly sterling silver, but her fork actually bent on the steak. So, Alastair called the waiter over and politely explained what had happened. The waiter apologized profusely, left the table and came back with another fork!

And no, we did not play All That Meat And No Potatoes.

This being a two-month issue, I’ll wish you an august summer and see you in September.

Happy Listening! 

Jim Galloway is a saxophonist, band leader and former artistic director of Toronto Downtown Jazz. He can be contacted at jazznotes@thewholenote.com.

Last month i wrote about three cities, New Orleans, Vienna and London. This month I’ll add two more, Norwich in England and Odessa, Texas, as different as chalk and cheese except for one thing they have in common: a Jazz Party.

jaznotes_houston_person_photo_by_john_abbott_1Around the 5th century, Anglo Saxons had a settlement on the site of present-day Norwich. By the 11th century, Norwich was the largest city in England after London. This year it was announced that Norwich would become England’s first UNESCO City of Literature. It is also home to the Norwich Jazz Party which was held on the first weekend of May and featured a line-up of prominent mainstream jazz musicians, including Harry Allen, Houston Person, Bucky Pizzarelli, Rossano Sportiello and Warren Vaché.

One of the welcome aspects of the jazz party is that musicians can make suggestions about what they would like to do. For example, Alan Barnes, a wonderful British reed player, presented a set of Ellington compositions arranged for 14 musicians; Ken Peplowski gave us a program of Benny Carter’s music, arranged for four reeds and rhythm; trumpeter Enrico Tomasso organised a tribute to Billy Butterfield; and I acknowledged the music of a lesser-known trumpeter, Al Fairweather, with a set of his original compositions. All of that plus the usual casual jam sessions made for a very special three days of jazz.

By contrast, Odessa, Texas was founded in 1881 as a water stop and cattle shipping point. Right beside it is Midland — with an airport separating the two towns — originally founded as the midway point between Fort Worth and El Paso on the Texas and Pacific Railroad in 1881. The discovery of oil in the early 1920s transformed the area and Odessa was a boom town. Things turned sour when the price of oil didn’t justify keeping the rigs going and the area fell on hard times.

But that has all changed with the price of oil now around $100 a barrel, bringing with it wealth and a major influx of workers. It has also brought with it a huge shortage of accommodation, so serious that there are even some workers making very good money but sleeping in their cars or trucks! No amount of money can pay for housing that doesn’t exist.

However, for some jazz musicians the raison d’etre for Odessa/Midland is a Jazz Party. The First Annual Odessa Jazz Party was held in 1967. Then in 1977 a group of Midland jazz enthusiasts formed the Midland Jazz Association and their Jazz Classic was born. In 1998 the two jazz parties merged under the umbrella of the West Texas Jazz Society and this year marks the 46th Annual Jazz Party. Held in May, it is now the longest-running jazz party in the United States and this year featured among others — yes, Harry Allen, Houston Person, Bucky Pizzarelli, Rossano Sportiello and Warren Vaché, as well as your resident scribe. Over the years they have presented a veritable Who’s Who of jazz musicians — Vic Dickenson, Herb Ellis, Milt Hinton, Flip Phillips, Ralph Sutton, Joe Venuti, Teddy Wilson, Kai Winding, and on and on.

Incidentally, film buffs might be interested to know that part of the Coen Brothers’ Oscar-winning film No Country For Old Men is set in Odessa. Midland/Odessa is also the home of the Commemorative Air Force, formerly called the Confederate Air Force until it was decided that the word Confederate was politically incorrect. Its home used to be in Harlingen, Texas, and I remember one year when I was playing at the Jazz Party, a couple of friends from Toronto, Joy and Billy Ray Blackwood, talked me into going off to the  annual C.A.F. air show, after the party. So we took off, literally, for Harlingen and the air show. Well, as a certain Scottish poet wrote, “The best laid schemes … gang aft agley,” — come unstuck — for when we got there the air show had already started and we couldn’t land! So we saw fragments of the air show, but from above! (I did get to see the planes on the ground another time, and it really is an impressive collection of WW2 aircraft, mostly American, but also R.A.F., Japanese and German Luftwaffe craft. And you can find them in Midland/Odessa — as well as a great jazz party.

So there you have it: two somewhat unlikely places 5,000 miles apart in which to find great jazz once a year.

And speaking of planes in general, and WW2 aircraft in particular, I have another story or two from the Norwich weekend.

Train travel to London for my trip home had been arranged giving lots of time to make the 6pm flight, the last Air Canada flight of the day. About a half-hour into the journey we stopped at a little town calles Diss — no jokes please about diss and dere — and that’s when the day took a nosedive. A disembodied voice, (no pun intended), on the intercom informed us that the train ahead had mechanical trouble and we all had to get off, taking our luggage with us because they had to move our train out of the way so that a rescue engine could come up from Norwich to move the disabled one.

An hour and a half later we were still standing on the platform and I was beginning to worry about that 6pm flight; we were still a two hour train ride from London, never mind Heathrow.

To cut a long story short, what started out as a comfortable train trip from Norwich ended up as a taxi ride from Diss to Heathrow at a cost of the equivalent of $240!

Here’s where the story gets interesting. The driver, whose name is Barry, was very friendly and talkative. He mentioned that he quite often drove a lady who had been Winston Churchill’s secretary. I immediately knew who he was talking about and responded by saying, “Her first name is Chips, isn’t it?” The driver looked at me in the rear mirror with a look of surprise. “And her last name is Bunch,” I continued. “How do you know?” “Because her husband was John Bunch who was a wonderful pianist and he and I were friends.” A small world.

There is another twist to the story, though. During the Second World War, John was a bombardier in B17 bombers. On his 17th mission he was shot down and miraculously survived but spent the remainder of the war as a P.O.W. Fast forward many years. John and Chips inherited their house near Norwich and the first time they used Barry’s taxi service they drove past Duxford Air Museum. John asked Barry if there was a B17 in the collection. In fact they had two of them and he said he’d really like to see them some day. Well, for the next ten years he said the same thing! Finally Barry said, “All these years you keep saying you want to go to Duxford and it never happens. Let’s do it!”

So they got to the base and there sat a B17 in all its glory, with a film crew around it. They were making a documentary about the plane and our faithful taxi driver called one of the crew over and said, “Do you realise that this gentleman with me was a B17 bombardier during the war?” End result? John was interviewed and included in the documentary.

By the way, good old Barry made it to Heathrow by shortly after 4pm, giving ample time to check-in. And that was when I found out that the flight was late and there would be a two hour delay!

Some days it just doesn’t pay to get out of bed.

Don’t forget that the TD Toronto Jazz Festival kicks off on June 22 and the celebration goes on until July 1, Canada Day. Lots of programming information can be found in this issue.

Enjoy your jazz and make some of it a live experience.

Jim Galloway is a saxophonist, band leader and former artistic director of Toronto Downtown Jazz. He can be contacted at jazznotes@thewholenote.com.

Since last month I have been in three cities, New Orleans, London and Vienna. Of the three, New Orleans is the least representative of the country where it is located. London is unmistakably British, Vienna with the Danube and echoes of the Hapsburg Empire is as Austrian as Wiener Schnitzel. But N.O. or “The Big Easy” is unique among American cities with its background of European, African and Caribbean influences and is far from one’s image of a typical American city.

In case you are not familiar with its history, the territory of Louisiana was claimed for the French in the 1690s. In 1718 the city of New Orleans was founded and in 1803 Napoleon sold Louisiana to the United States, (828,000 square miles for less than three cents per acre!).

The most famous street is Bourbon Street, the focal point of night-life in the French Quarter. Once a hub of New Orleans jazz with bands playing in clubs and bars along the length of the street, the tide of progress has washed that away, with the exception of a few places, making way for souvenir shops, clubs, bars and strip joints. There is still some jazz but you have to seek it out.

25_jazz_fritzels-jazz-club_img_0243_2I have to mention Fritzel’s which lays claim to being New Orleans’ oldest operating jazz club. It is one of the last venues on Bourbon as you head toward the Marigny and features traditional jazz. They welcome sit-ins which can be a mixed blessing — it certainly was the night I was there when a tenor player who couldn’t play his way out of a paper bag joined the resident musicians. But a fun place, nevertheless. At one time the wall opposite the bar was adorned with a large portrait of Field Marshal Rommel. The picture is still in the club, but has been moved round a corner away from open view, probably to avoid giving offence, although my understanding is that he was respected both by his troops and the allies.

Preservation Hall at 726 St. Peter St. in New Orleans’ French Quarter, is probably the most well known of all the jazz clubs in the city. Here you can hear the traditional acoustic New Orleans jazz.

Some other hot spots include Irvin Mayfield’s Jazz Playhouse (in the Royal Sonesta Hotel on Bourbon Street), Snug Harbor and Vaughan’s.

25_jazz_natchez_new_orleans_short_breaksI caught up with a couple of friends during the visit. Jon Cleary first played Toronto when I booked him into Café des Copains and more recently at the jazz festival when John Scofield brought Jon to play organ with his group. I found him at a club called dba on Frenchman St. at the down-river end of the French Quarter. I also enjoyed an evening on the Natchez, the last authentic steamboat on the Mississippi River, where the band, Dukes Of Dixieland, is led by trumpeter Kevin Clark, who spent some years in Canada and will certainly be remembered by Toronto audiences.

But before leaving The Crescent City I have to comment on this year’s New Orleans Jazz and Heritage Festival taking place at the end of April. Herbie Hancock, Mavis Staples, Al Green and the Dirty Dozen are among the headliners — but so are Bruce Springsteen, the Beach Boys and Eagles! Oh, well.

25_ronnie-scotts-jazz-club-londonNext port of call was London which seems to be doing relatively well in terms of “name “ players. Michel LeGrand, Pat Martino, Scott Hamilton, David Sanchez, Alan Broadbent, Al Di Meola, Howard Alden and Manhattan Transfer were among the musicians coming into town over the following few weeks. Most of them were scheduled to appear at Ronnie Scott’s, which means a pretty expensive night out. Nearby is the Pizza Express Jazz Club, plus two or three dozen pubs and clubs scattered throughout the city, some only presenting jazz once a week.

But talking to musicians, the general reaction when asked how the work scene is was pretty negative, with fewer gigs available and poorly paid at that. (It had been very much the same story in New Orleans — fewer gigs and very often paid by passing a jar round the room.)

Next, I waltzed over to Vienna. It is known as the City Of Music because of its strong connections with Wolfgang Amadeus Mozart, Ludwig Van Beethoven, Franz Schubert, Johannes Brahms and Gustav Mahler.

Where does it stand today as a jazz city? There are some names which most of the insiders will mention when asked, “Where is the jazz?” Jazzland and Porgy and Bess are the leading clubs in the city. I have a special place in my heart for Jazzland since I have been going there for 35 years and photos of musicians who have played there line the walls — everyone from John Lee Hooker to Art Farmer. The night I arrived Branford Marsalis was playing at Porgy and Bess and Lew Tabackin had been at Jazzland a couple of weeks before.

There are also a number of smaller venues, Blue Tomato and Miles Smiles Jazz Cafe among them catering to the more avant-garde, Reigen featuring blues and Lustiger Radfahrer with blues to bebop. But again, talking to local players, the common thread in our conversations was lack of work. Like every place else, one of the major problems is with the mass media and their lack of interest — make that almost complete disregard — for jazz. Radio pretty well ignores it and there is not a single newspaper with a weekly jazz column (does that sound familiar?).

Where they do much better than we do in Toronto is in the measure of support from government bodies. The following figures for Porgy and Bess are at least ten years old but make the point. They received almost $90,000 from the culture office and more than $130,000 from the state! That said, Porgy gets a much larger piece of the pie than any other club and that certainly causes some resentment among other club owners who get little or nothing. But at least the music is acknowledged as having cultural significance.

So it would seem that “name” touring acts, which make up a tiny proportion of what is out there trying to make a living, have some sort of a circuit going for them, but the thousands “in the trenches” have a hard go of it. Sound familiar?

Back to New Orleans where we began. While there, I tasted a freshwater fish called drum and very nice it was. But I use this only as an excuse to end with that most familiar topic, a jazz joke about a drummer:

A quartet out on the town in Amsterdam winds up in the heart of the Red Light District, where the working girls sit in windows seductively displaying their wares.The drummer of the band approaches one of the windows and knocks on the glass.

“How much?” he asks.

“Fifty euros,” replies the girl.

“Really?” says the drummer looking surprised, “that’s pretty cheap for double glazing.”

Happy listening right here at home.

Jim Galloway is a saxophonist, band leader and former artistic director of Toronto Downtown Jazz. He can be contacted at jazznotes@thewholenote.com.

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