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Era of the octogenarians


fasstrack

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It's really gratifying and wonderful to see so many of our leading musicians playing and writing vital music well into their 80s (and beyond, as in Hank Jones). It's really a unique time in jazz history and shows how music keeps us young.

Benny Golson, Billy Taylor, James Moody, Teddy Charles, Terry Gibbs, Clark Terry-----for openers. Then there are 'youngsters' Barry Harris and Phil Woods, both 78.

It's not just that they survived or sound great for old men. They're playing and writing their asses off!

And they survived.......

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I'll be 78 this year, I wish I could write my ass off (literally, as it were)! :)
Happy birthday in advance.

I forgot Bob Brookmeyer, also a kid at around 78.

I was friends with the great Bill Finegan, who we lost at 91 last June. James Chirillo and I both studied with him and he was very dear to us and to American music. He wasn't in great health and losing his wife was a real setback, but his mind was razor-sharp and he kept writing---and did three charts for Warren Vache on a recent record that are as good as anything he ever did. Chirillo conducted and played on it. His son told me he has stacks of piano music by dad that is great. Speaking of Brookmeyer, he also considered Bill a hero and called him every day after Rosemary passed away.

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Dan Morgenstern and Toshiko will turn 80 this year and neither of them is ready for the dust bin.

I certainly agree about Dan, but about Toshiko, I agree with this recent remark (from Doug Ramsey's blog Rifftides) by Bill Kirchner (and the Rayburn Wright remark inside it), which Bill made while responding to comments about a post he'd made there about the best big-band writing since (I think) 1960:

"I wish I could be more enthusiastic about Toshiko Akiyoshi's writing, but with occasional exceptions (I included 'Sumie' in the now-out-of-print Smithsonian Big Band Renaissance boxed set), I cannot. The late Rayburn Wright, one of the greatest composing-arranging teachers, once described her writing to me as follows: 'It makes sense horizontally but not vertically.' Her bands were consistently excellent, though."

I had the same feeling when I heard the band live in the mid-1980s and they played a Frank Wess chart between two of Toshiko's; the contrast couldn't have been greater along just the lines Wright described (though I arrived at that conclusion on my own). I wrote about that rather grating and to my mind revealing contrast in a review that appeared the next day; a few days later I got a postcard from Bill Russo, whom I'd never met, that read something like "God bless you for saying that." Take any of all of this for what you think it's worth, of course.

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