Free Jazz and Free Improvisation by Todd S. Jenkin

[Guest Chaney]

Any thoughts on this soon to be released, rather expensive (two volumes: list $175) tome? Thoughts on Todd S. Jenkins?

The free jazz revolution that began in the mid-1950s represented an artistic and sociopolitical response to the economic, racial, and musical climate of jazz and the nation. In parallel with the American civil rights movement, free jazz exemplified an escape from the restrictive rules of musical performance with an emphasis on individual expression and musical democracy. A handful of major individual artists opened the gateway to intense personalization of performances through astonishing new techniques, and inner-city collectives were formed to support artistic experimentation and community education. Reviled by most critics and jazz fans in its nascence, and still highly misunderstood today, free jazz eventually had a profound influence on subsequent developments in jazz and rock, forever changing the musical landscape.

Todd S. Jenkins' handy encyclopedia of free music reflects upon the personalities, styles, organizations, philosophy and politics of a musical form to which too little prior attention has been devoted. Directing readers to outstanding recorded performances, it serves as an essential introduction to this difficult but rewarding music, offering a scholarly historical and cultural overview that provides a critical assessment of one of the most misunderstood periods in American music. Filling many gaps left in previously published literature on the subject, Jenkins's work is a necessary addition to the shelves of music libraries and the collections of jazz aficionados alike.

TODD S. JENKINS is a freelance writer who has contributed to Down Beat, Route 66, and Signal to Noise. A lifelong fan of jazz, he is a director of the American Jazz Symposium, a nonprofit arts organization.

Greenwood Publishing Group -- includes sample pages

Mingus Lives (Todd's blog)

[J.A.W.]

Why are Greenwood Publishing Group books so damn expensive... (sigh)

[7/4]

Why are Greenwood Publishing Group books so damn expensive... (sigh)

Because they're aiming to the University library?

[Chuck Nessa]

Never heard of the book or author. You might think he'd talk to me for a book like this (I ain't hiding). Maybe he should send me a copy.

Greenwood charges so much 'cause not many purchase them. This has nothing to do with quality. They do a great service for all of us and a bunch of slackers ask questions answered by members with the books.

Wanna find the problem, look in the mirror.

[7/4]

Never heard of the book or author. You might think he'd talk to me for a book like this (I ain't hiding). Maybe he should send me a copy.

Greenwood charges so much 'cause not many purchase them. This has nothing to do with quality. They do a great service for all of us and a bunch of slackers ask questions answered by members with the books.

Wanna find the problem, look in the mirror.

Ever consider doing any writing? (maybe you have, I don't know)

[Chuck Nessa]

Ever consider doing any writing? (maybe you have, I don't know)

I hate writing. It is not easy for me and I do not want to make mistakes. Ask Flurin.

I did write a piece, sent to friends about ESP and my old friend Bernard Stollman.

Here is the text.

MY CONTACTS WITH BERNARD STOLLMAN

Chapter 1: THE PHANTOM

Early 1968, with one record issued and a 2nd in the can, I received a

letter from Elizabeth Van Der Mei on ESP stationery (cream color

paper with green hand print). I recognized the name from "new music"

articles she had written for various publications. In the letter she

said she was working for ESP, they were considering distribution deals

with other independent labels and wanted to include me. I think we

exchanged a couple more letters and I decided to make my first trip to

NYC to discuss the proposal with Elizabeth and Bernard.

From 1967 through 1974 I worked for a chain of record stores called

Discount Records. I asked for a couple of days off, to make the trip and

booked a ticket for my first venture to the Apple. I wrote Elizabeth of

my plans and told her when to expect me.

I cabbed directly from the airport to ESP, suitcase in hand. I don't

remember the address, but their offices were in a quaint old building

that looked like it might house the office of Sam Spade. That may be why

my memories of the visit are in black and white. I opened the door to

the small reception area to be greeted by a pretty, young (18?), thin,

large breasted female in what seemed to be a perpetually wet t-shirt.

She was eating a sandwich at her desk (here you can insert an image of

the receptionist on "The Practice, if you ever watch it). She told me

Elizabeth was in Europe and maybe didn't work there anymore. She said

Bernard was at his psychiatrist's, and called down the hall for someone

to come talk to me.

This nice elderly couple waddled down the hall, and invited me

into another room. She was in a flowered dress and he was in a black

suit, unbuttoned vest, white shirt and tie. They said they were

Bernard's parents and though they were retired (from the garment

industry?), had gone to work for their son. Pop said Bernard needed help

with "business things". They were "beamingly" proud of Bernard and said

they were delighted to meet one of his colleagues. They told me Bernard

was having some problems, had gone to the doctor four days in a row, but

would be in the office at 4 o'clock. I mentioned the need to find a

hotel, and would return at 4. They yelled to the receptionist to book a

room for me and I returned to her desk. "Miss Congeniality" said I could

go home with her, but I declined and took a room at the New Yorker Hotel.

When I returned at 4, I encountered a guy sitting behind the receptionist's

desk. He said he was Bernard's best friend, Bernard could not come to the

office, and his parents called him to talk to me. This "slick looking business

type" said "So you have a record. Give it to me and I'll check it out. I don't

understand this stuff myself, but I'll give it to my kid. He's only 14, but he's

smart as a whip". I declined and left.

I bummed around the city the next day and flew home that night. While

exploring the streets of Manhattan, I did notice a strange black and silver

record jacket in a store window and copped "Cosmic Music" on Coltrane

Records, so the trip was not a complete waste of time.

Chapter 2: THE PEDDLER

Jump ahead to 1973, I'm now a regional manager for Discount. We live in

Boston and I have stores in Burlington VT, Amherst, Albany, Cambridge,

Boston, Stamford CT, Greenwich Village and Scarsdale. The Scarsdale

store was the front part of a building that housed the home office of

the company. My normal routine when visiting the NYC area stores was to

call on Stamford first, then Scarsdale, get a room in the city and spend

the 2nd day at the Village store.

One afternoon after visiting the Stamford store, I arrive at the home

office to find Bernard waiting for me. He was a tall, thin, brown

suited, slightly shabby looking salesman with a tattered sample case. He

was there to sell records to Irwin Katz, the exec vp and buyer for the chain.

Earlier someone had mentioned my name in Bernard's presence, and he

waited to greet me. He seemed very untogether, and fumbled through his case

locating a copy of his new Frank Lowe record. He proudly pointed out Joseph

Jarman's name on the jacket, and mentioned a session occurring "as we speak"

with Raphael Donald Garrett "and his family".

By the time I got home with the new record, the liner notes separated from the jacket. I put

the record on the turntable, and the pressing was horrible. Obviously

ESP was on hard times.

Chapter 3: THE PHANTOM RETURNS

In the Spring of 1979 Ann and I traveled to Boston (from home in Chicago) to attend the NAIRD convention. This was a trade convention for

independent labels and distributors. A fixture at all these get togethers

is always a “trade show”, where companies had display tables and booths.

This year a larger than normal percentage of participants were jazz people.

On the first day, while setting up our table, I was aware of a couple

watching from across the room. The man wore black jeans, black

turtleneck, black stocking cap and carried a black leather coat. The tall,

woman was in black as well, with gold jewelry accents. They exhibited the

spare elegance of money. After a few minutes they approached and he

said "Mr. Nessa, Bernard Stollman here" then he introduced his companion

as his fiancé. During the introductions he told her "This is a very

great man". Where the hell did that come from? He said he came to

check out the business climate to see if he should reactivate the label.

As he walked away he said "It's important we talk tomorrow".

At breakfast the next morning someone, Bob Porter I think, suggested a

group photo of all the jazz producers at the convention. Ann got her

camera and we proceeded to round up all the appropriate people. Checking

with the desk, we discovered the Stollman party had checked out.

EPILOGUE:

A few months ago Bernard made an appearance on the Sun Ra mailing list.

I sent him an e-mail and he chose not to respond.

Edited to make the spelling correction as per Brownie. Thanks.

Edited August 24, 2004 by Chuck Nessa

[J.A.W.]

Any thoughts on this soon to be released, rather expensive (two volumes: list $175) tome?

Tome? Reminds me of someone, one of Chris A.'s great friends

[7/4]

Sounds like a strange cat. Interesting story too.

I used to write CD and show reviews, but except for the occasional CD review for Downtown Music Gallery, I've given it up. I have to work on my own music.

[Michael Fitzgerald]

Thank you, Chuck, for a great story - very amusing and illuminating. I've had only a couple minor dealings with Stollman. I will say he was kind enough to have a few promo CDs sent to me.

Mike

[Guest Chaney]

Any thoughts on this soon to be released, rather expensive (two volumes:  list $175) tome?

Tome? Reminds me of someone, one of Chris A.'s great friends

Good eye, Mr. K.

My next clue was to use the word... peruse.

~~~~~~~~~~~~~~~

Thanks Chuck. Good stuff!

Edited August 24, 2004 by Chaney

[danasgoodstuff]

Great story 'bout Bernie S. Only way it could've been better was if you had gone home with Miss Congeniality! I have to wonder if Ayler and other might not have been better off without ESP...certainly there would be less documentation of their playing but it would've been done better(?) Even in the official ESP site bio, he and they come off as rather naive, especially for a NYC lawyer. Oh well, what happened happened.

[ajf67]

Chuck Nessa wrote:

Never heard of the book or author. You might think he'd talk to me for a book like this (I ain't hiding). Maybe he should send me a copy. [laugh.gif]

I'm one who would be the target audience for a book like this, because the more I listen to this type of music the more I want to find out about it. And I definitely don't want to be one of those 'slackers" Chuck talks about . But, relative to this book and it's price at least, I may have to be a while longer. I'd like to see the reviews and better understand its flaws. For example, I wonder what this guy wrote about The Art Ensemble, not having talked to Chuck.

I recently read "Black Nationalism and the Revolution in Music" by Frank Kofsky, and I think we could definitely use more and better books (maybe this is one) that put this movement as a whole in context and highlight its key figures. I came away from the Kofsky book, for example, dying to hear more Bill Dixon and learn more about him. If this book can accomplish giving the reader a solid reference for this music, I will probably buy it, although I'll probably wait a while and look for it used at Powell's or something.

[Chuck Nessa]

I have to wonder if Ayler and other might not have been better off without ESP...certainly there would be less documentation of their playing but it would've been done better(?) Even in the official ESP site bio, he and they come off as rather naive, especially for a NYC lawyer. Oh well, what happened happened.

I am more than grateful for the early ESPs. My opinion of Ayler would be 'fainter' without Spiritual Unity, etc. Without ESP what would you know of Byron Allen, Charles Tyler, Giuseppe Logan, Patty Watters, Burton Greene, Frank Wright, etc?

The ESP label, in many ways, was similar to Dial and the emergence of bop.

If you were there at the time, and open to new stuff, ESP was the only beacon.

We should all be thankful for such a "naive NY lawyer".

[Michael Fitzgerald]

Re: Bill Dixon - you can learn plenty from the bio-discography that Ben Young wrote. The title is "Dixonia" (a la Hendersonia by Walter Allen). Unfortunately(?) it's another publication from Greenwood Press. I have it and find it very useful. It's a model of research.

Dixon himself wrote a book "L'Opera Volume One" published by Metamorphosis Publishing in 1986, but I don't have that.

Mike

[ajf67]

Thanks Mike. I will check that out.

[J.A.W.]

Great story, Chuck.

Here's an interview with Stollman.

[brownie]

Interesting story, Chuck.

Met Stollman in the mid sixties when I travelled to New York. Quite a character. On my second visit to the city (in 1967), ESP offices were at 156 Fifth Avenue.

Don't think Stollman was that naive. He had a lot of good will and enthusiasm. And if he had wanted to make money - as he was so often accused of - he could have gone into more lucrative fields.

Elisabeth Van Der Mei (Mei not Mai) was not working for ESP at the time. She had an apartment on Lafayette Street and that place was open to any of the musicians she befriended. And she knew them all.

She had just started working for Atlantic. She was also doing some radio shows for WBAI. Did not stay very long with Atlantic. Don't think she stayed very long with ESP either. Last time I saw her was when she traveled to Europe and came to Paris. We spent very nice evenings with our mutual friend Marion Brown and with other musicians. That was in the late sixties.

Have lost contact with her. I hear from Stollman from time to time. He may have turned off a number of people but I wish there had been more people like him then. The ESP catalogue is still an unmatched sum of the very fertile contemporary jazz scene of the time.

[king ubu]

Hey Chuck, this is a great read! I'm sure you'll succeed doing that Wells thing, too!

Take it easy!

[sidewinder]

Fascinating stuff indeed ! I like the bit about finding that hen's teeth LP of 'Cosmic Music' on that NY trip. Must have been pretty difficult to track down, even then.

[Chuck Nessa]

I like the bit about finding that hen's teeth LP of 'Cosmic Music' on that NY trip. Must have been pretty difficult to track down, even then.

Not sure I ever saw another copy. I think I got $1000 for it. I don't have the music anymore, but we do have my Art Ensemble set as a result.

[Larry Kart]

That Chuck hates to write is I guess definitive for him, but anyone who can come with this sentence -- "They exhibited the spare elegance of money" -- and place it where he did can really write.

[7/4]

That Chuck hates to write is I guess definitive for him, but anyone who can come with this sentence -- "They exhibited the spare elegance of money" -- and place it where he did can really write.

I thought his writing was fine. Good example.

I always ask poeple to write.

[sidewinder]

This fascinating thread has got me curious on reading more about Bernie Stollman and ESP. There's frequent mention in the Leroi Jones 'Black Music', where Stollman comes across as something of a positive figure in something of a sea of sharks. Wonder how he managed to work that fiscal transformation Chuck observed in the 'Phantom Returns' section of his story?

[sidewinder]

Looks like the article in JAW's post may answer that one:

"In 1980, I became an assistant attorney general of the state of New York, where I stayed for the next 10 years..."

How did some of those ESP masters end up in Holland though?

Edited August 25, 2004 by sidewinder

[sidewinder]

'She introduced me to Lennon, and he said laconically, "Ah, yes, Paul has the Sun Ras." I asked Lennon whether their label, Apple, would be willing to distribute ESP. He drew himself up in mock horror. "What? Us distribute you?"'

I would never have guessed that McCartney was a Sun Ra sort of guy..