1. What is DownBeat?

DownBeat is the nation’s oldest publication covering jazz, blues and improvized music, published since 1934. It’s mission has been, and remains, to serve as the book of record for the jazz world.

2. What is included on the DownBeat web site that is not included in the printed magazine?

DownBeat online has specially selected content from the magazine. The web site is designed to supplement the magazine with more in-depth content in certain areas, including reviews of rare recordings and opportunities to learn more about historical aspects of jazz. There are opportunities for interacting with reviewers and writers online, as well as more in-depth information about new musical gear and products. Only some advertising appears in both the magazine and the web site.

3. Does DownBeat cover any other types of music besides mainstream jazz?

DownBeat’s nameplate moniker, “Jazz, Blues & Beyond,” means that any music using blue notes, of a blues origin, and involving improvisation is part of DownBeat’s DNA. Therefore blues, jazz, blues-rock, jazz-rock and other fusion music involving those elements is covered.

4. Suppose I’m looking for a rare recording, can DownBeat help me locate it?

First, look for links in our review section. If information about a recording is not there, please contact our contributing editor, Randy Burton, at harcourtguitar@yahoo.com.

5. If I’m looking for information about an advertiser in the magazine, will there be links on the web site to those advertisers?

All advertisers in the magazine and all online advertisers will include links to their web sites.

6. If I am a performer or student of jazz, how will DownBeat online help me?

Because of the interactive nature of instruction, DownBeat will include all master class content from the magazine on the web site, and email addresses for writers will be included.

7. How do I contribute a review of something I’ve discovered or created. Is that possible?

All product review proposals should be sent to xxx@downbeat.com

8. If I have an issue with a record or DVD review, can I publish my comments on your web site? If so, how?

Letters will be published on the web site. Send them to: lettersxxx@downbeat.com. Specific questions about reviews can also be emailed to the reviewer. Reviewers will also forward comments to the letters column editor for possible inclusion on the web site.

9. What are other ways, as a reader, that I can contribute and interact with DownBeat?

There are 4 ways to contribute:

1) Write a letter to the editor.
2) Submit a comment to a reviewer.
3) Submit a proposal for a product review.
4) Write a letter to editorxxx@downbeat.com for any proposal to contribute an article or review.

Still have questions? Contact contributing editor Randy Burton at harcourtguitar@yahoo.com.

DownBeat Magazine

102 N. Haven Road, Elmhurst, IL 60126

804-555-1212, harcourtguitar@yahoo.com

November 11, 2007 – For Immediate Release
DownBeat Magazine to Launch Section on Trios on Downbeat.com

Chicago, IL – DownBeat magazine, the nation’s oldest chronicler of jazz, is launching a review section devoted, for the first time, exclusively to the trio performance format. The Trio Corner will appear Nov. 25th on DownBeat’s Web site, www.downbeat.com.

“The trio is setting that has served as a cornerstone for phenomenal jazz performances through the years…from Bill Evans to Keith Jarrett to Pat Metheny,” said editor Jason Koransky. “We will highlight such performances with The Trio Corner, a review section to appear monthly on our web site.”

The Trio Corner will feature reviews of new recordings and a retrospective of earlier releases, as well as links to artist and contributor web sites. DownBeat plans to add interviews and sample performance videos in coming months.

The Trio Corner’s debut will coincide with the publication of the online version of DownBeat’s January 2008 issue. A blue triangular Trio Corner link on DownBeat’s home page will take readers directly to the section.

“Some of the biggest selling jazz releases have featured trios, and we’ve found, through reader correspondence, that there’s a demand for more information about trios, from how and why they are formed to insights on the interplay among the musicians, said Koransky.

“Recent and upcoming releases by Paul Motian, Keith Jarrett, Pat Metheny and John Scofield showcase the power of the trio. Whether the trio is led by a pianist, guitarist, drummer or other instrumentalist or vocalist, the leader’s success is dependent upon the quality of his or her other players,” Koransky added.

“As with the great power trios of rock, like Cream and The Jimi Hendrix Experience, the jazz trio occupies a special place in America’s indigenous art form,” Koransky said. “It’s all about the interplay of three artists.”

DownBeat magazine has been published since 1934 as a unique source of information about jazz and jazz artists for fans, educators and performers worldwide.

by Randy Burton

It’s been said that things come in threes. There are three bases, three strikes, three wise men, and, of course, three musicians. What’s unique about three musicians?

• Is it that they could be three equals?
• Is it that, because there are only three players, there’s nowhere to hide, and each player’s real talent, or lack of talent, is exposed?
• Is it that the trio setting is more demanding, resulting in more effort and stronger performances from its members?

I contend that it’s all of the above, and that the trio is perhaps the most compelling format in jazz performance. While the rhythm section is usually made up of drums and bass, the third member can be a pianist, organist, guitarist or other player or vocalist. The makeup really doesn’t matter. It’s the interplay and the trust among the musicians that makes the trio so special.

Ground-breaking Threesomes

From the bebop era forward, trios have played a significant role in jazz. Bud Powell, Bill Evans, McCoy Tyner, Keith Jarrett are some pianists that come to mind. Guitarists Joe Pass, John Scofield and Pat Metheny, among many others, have led ground-breaking trios. Then there are vocalists, with the piano and bass configuration, that are almost too numerous to mention.

The Trio Corner will showcase trio performances monthly beginning with the review below. Welcome to the Corner!

Keith Jarrett, Jack DeJohnette, Gary Peacock – “My Foolish Heart

Keith Jarrett’s latest release (on ECM) showcases his trio of 25 years, with equal billing going to drummer Jack DeJohnette and bassist Gary Peacock. Formerly called The Standards Trio, this group still specializes in performing standards from the great American songbook.

As DownBeat’s first installment of the The Trio Corner, why are these performances worth highlighting? It is the quality of the improvisations around these standards and the communication among these near-legendary performers.

A Live Recording

Recorded live at the Montreaux Jazz Festival in July, 2001, Jarrett chose this recording to release and coincide with the trio’s 25th anniversary. According to Jarrett’s liner notes, this recording “shows the trio at its most buoyant, swinging, melodic and dynamic. Now is the time to release it.” Kudos to producer and ECM founder Manfred Eicher for heeding Jarrett’s call.

Why The Trio?

In DownBeat’s November issue, Jarrett says he chose the trio format all those years ago to avoid another chordal instrument from muddying the mix. “It’s like Japanese flower arrangements. You put a fourth flower in and it looks weird.” He adds in the liner notes, “There is a trust between us that is hard to beat.”

Ragtime, Show tunes, Bebop

The two-CD set includes songs by Miles Davis, Sonny Rollins, Oscar Hammerstein and Jerome Kern, Thelonious Monk, Gerry Mulligan and even Fats Waller.

The 13 cuts across range from ragtime and show tunes to bebop.

Miles Davis’s “Four” starts off with the recognizable Miles melody but quickly moves into improvisation powered by DeJohnette’s churning snare and cymbal work and bass drum polyrhythms. Jarrett’s annoying scat singing is at a minimum but can be heard nonetheless. Peacock’s bass playing is highly supportive and only comes to the forefront during his solo, which seems carefully structured off of the melody.

The title track, “My Foolish Heart,” starts as a rich chordal solo reminiscent of Bill Evans, but then develops into a single-note melodic rendition featuring strong interplay with bass and drums. This performance captures the essence of the classic piano-bass-drums jazz trio.

The Sonny Rollins composition, “Oleo,” sounds like it needs Sonny’s sax. Jarrett’s single-note blues doesn’t quite work; then DeJohnette’s machine kicks in. At that point, the piece comes alive as an almost free-form blast of notes, held together by Peacock. DeJohnette is clearly the man in charge on this cut.

“What’s New” is an easy listening standard. I wonder why Jarrett played such a schmaltzy song? It is a standard, so I guess that makes it fair game. Still, he makes some creative stabs, including a funny insert of the “Lullaby of Birdland” melody that actually works.

“The Song is You” showcases the Jarrett that many know as the blazingly fast, accurate, lyrical player with a rock bent. This 1934 show tune is transformed into a real rocker.

Having Fun with Fats Waller

Fun times begin with a rendition of “Ain’t Misbehavin’” that would make Fats Waller proud. Sounds a little like Art Tatum at the bench, wailing away with all fingers engaged. Couldn’t be any more fun and fiery. DeJohnette’s strong brush work, Peacock’s old-fashioned but authentic solo and Jarrett’s flights up and down the keyboard will make your mouth drop.

CD number two (that is almost impossible to identify on the label) begins with another Fats Waller tune, “Honeysuckle Rose.” The approach is similar to “Ain’t Misbehavin’,” but with a less recognizable melody. The real showman here is DeJohnette with his New Orleans style rim shots and snare rolls.

Scat Singing Returns

“You Took Advantage of Me,” a 1928 Rogers and Hart composition, features fiercely creative piano work that comes with a price: Jarrett’s scat singing and moaning. Some of the moaning is a little strange and out of place. By contrast, Peacock’s bass solo is civilized and expertly executed.

Thelonious Monk’s classic “Straight, No Chaser” opens with the familiar line, then Peacock takes over with a solo that weaves the melody through some blissfully fat tones. Jarrett’s playing reminds me of his days in the 70’s with his ground-breaking quartet that included Dewey Redman, Charlie Hayden and Paul Motian.

Pre-911 2001

If there’s a theme in this collection–And why not? It was all recorded on the same day– it is that the music is fun, lively and almost celebratory. 2001 was a year filled with tragedy, but this performance was recorded that summer, before the world seemed to change forever on September 11th. You can feel the pre-911 carefree, whimsical, innocent spirit in this music.

Gerry Mulligan’s “Five Brothers” captures that whimsical spirit beautifully. From DeJohnette’s high-hat spankings to Jarrett’s playful major-seventh and sixth chords, it’s a joy.

The Power of the Melody

The power of Jarrett’s lyrical touch cannot be underestimated. “Guess I’ll Hang My Tears Out to Dry” is the most moving song on this collection. These three players melt together as if they were a lava lamp flowing in the mellow light. Brushes and ride cymbals frame the melody painted by masterful bass and ivory work.

“On Green Dolphin Street” is one of the most recorded jazz tunes ever written. The trio’s interpretation moves along like most of their other takes, with style and sophistication. Most of the way, it’s pure improvisation; the tune’s hardly recognizable.

Sammy Cahn co-wrote “Guess I’ll Hang My Tears Out to Dry,” along with the final cut, “Only The Lonely.” It’s clear why Jarrett and company chose these songs. They both resonate with wistful lyrical melodies that would make the setting for a perfect movie scene where the lovers tell each other “I Love You.” What more can be said?

A Fitting 25th Anniversary

And what more can be said about “My Foolish Heart”? It’s a fitting silver anniversary celebration for 25 years of trust among Jarrett, DeJohnette and Peacock. “My Foolish Heart” illustrates the strength and power of the trio setting with three of the jazz world’s most accomplished players.

Rating: ****1/2

The Trio Corner’s Rating Guide:

**** Great Performance, Highly Recommended

**** Good performance, recommended

*** Solid performance, may appeal to many

** May appeal to some

* Don’t bother

Track Listing, CD1: “Four,” “My Foolish Heart,” “Oleo,” “What’s New,” “The Song Is You,” “Ain’t Misbehavin’.” CD2: “Honeysuckle Rose,” “You Took Advantage of Me,” “Straight, No Chaser,” “Five Brothers,” “Guess I’ll Hang My Tears Out to Dry,” “Green Dolphin Street,” “Only The Lonely.” ECM 2021/22.

Next Month in The Trio Corner, Pat Metheny talks about his upcoming Pat Metheny Trio release, “Day Trip,” with Christian McBride and Antonio Sanchez.

Comments or Questions about The Trio Corner? Contact me at harcourtguitar@yahoo.com.

The readings were enlightening and insightful. Some of them seemed a little dated, particularly for a course dealing with rapidly advancing technology and changing user habits.

I think more writing assignments and maybe a little less of the reading assignments would help many students. Besides developing an understanding of how digital media is different, I would guess most students would want to improve their writing skills as much as possible.

In place of some of the readings, students could be required to search the Web and come up with readings of their own that are relevant. These could be shared with the class as one or more of the module assignments.

Readings that were most useful:

• All readings from the study guide
• Vonnegut and Palser from module 1
• “Revising with Feedback”
• Time magazine’s “Person of the Year”
• “When, How to Tell Stories with Text, Multimedia”
• Anderson’s Long Tail
• Nichols’ Newspapers and After

The readings that were least useful:

• Living in the Information Age
• Gallagher reading

Writing for digital media is more precise and focused. It must be, because, unlike other media, on the web you only have a few seconds to get and maintain someone’s attention.

For me, I witnessed a series of small improvements and tweaks that resulted in a huge turnaround in quality without losing my personal style and orientation. Below are some examples

1) I learned the importance of maintaining parallel structure and verb tenses throughout a sentence.

2) I pared down my sentences, eliminating unnecessary words and punctuation.

3) I realized the importance of headlines and lists.

4) I discovered the value and importance of hyperlinks.

5) Through the study of page design, organization and navigation, I learned what works best for the web.

6) I was reminded of the importance of knowing and addressing the audience.

There are nuggets of key information about the web and writing for it that will be extremely useful going forward because they increased my understanding of what truly differentiates the web from other media.

Module by module, here are some of the nuggets that created my field of gold mined from this class:

1 & 2 – Simple Rules

Be brief, precise, active, imaginative, deliberate and consistent. Simple rules to keep it simple!

A quote I love: “If it is possible to cut a word out, always cut it out.”

3 – The Elements of Writing

Writing my first piece for this course was a revelation. The comments of Brian and my classmate brought me down to this reality: being impartial is key to being credible.

4 – How New Media is Different

“Blog readers are seeking out information to support their views and are likely to consider information they receive from blogs as highly credible,” said Johnson and Kaye.
“The value of bias, or perspective, rather than its absence…..strongly suggests a new paradigm for credibility of information in blogs….” That certainly helps differentiate web writing from traditional media.

Tips about layering using headlines, visuals, links and the like, clarified what I’d noticed but never given much thought.

Another revelation: web users do not read; they scan. This simple fact defines virtually all web content that is of any quality.

The introduction to HTML is a primer I will re-visit. Somewhere in these readings someone said you can learn the basics in three days. Soon I’ll have those three days.

5 – Online Style and Techniques

“Web users read about 25% more slowly.”
“Readers no longer need labels such as ‘click here,’ or ‘enter.’ “Create a clear visual hierarchy on each page.”
“Have no dead-end pages.”
“No clown pants.”
“Only 10% of Web surfers ever scroll the page vertically.”

6 – Reporting

The reporting module made me appreciate the very respectable profession of reporting once again. As a journalism major, I’d known it before, but I’d forgotten. That was a lot of work.

7 – Headlines and Links

“Links should help create some sense of what the page is about.” “Broken links….chip away at a page’s credibility, and they are a sign of age.”
I never knew that fonts were created especially for certain applications. Now I know.
“Simplicity always wins over complexity.”

8 – Knowing Your Audience and Finding a Style

“A site is never fully complete or finally finished.”

“Think about gender and class” and geography and demography and everything else that defines your audience.

“What browsers and operating systems do audience members likely use?” Wow. Do I have to consider that? Yes, I do.

9 – Editing and Publishing

“Online publishing is not at all like print in terms of job responsibilities….”

“Web newsrooms are filled with content producers.” When copyediting, “check pages in different browsers, using different monitors and connection speeds.”
“The perception of the symbolism and meaning is as important as the intended communication.”

10 – E-mail and Discussion Groups

“Certain messages, like bad news, should never be conveyed via e-mail.”
“Don’t write when you’re angry.”
“Sending abusive or insulting e-mail, called flaming, almost always is a mistake.”

11 – Blogging

“Bloggers became reporters of a kind.”
“Blogging’s priority is to publish, then to begin filtering. Journalism’s priority is to
filter and only then to publish.”
“Blogs are not necessarily replacing other forms of journalism, but they are adding a
new, unique layer of coverage.”
“Never delete anything.”
“Publish as fact only that which you believe to be true. If a statement is merely
speculation, it should be so stated.”

12 -PR and Publicity

According to one source, when writing an internet news release use no more than six words to describe what the company does.
Web sites should minimize the Internet’s negatives. These limitations include:
• The amount of clutter and volume
• Rapid aging of information
• The learning curve in terms of using sites….
• Privacy and other legal concerns
• Similar names.

When dealing with a hoax or threat:
“Utilize the communication methods used to attack the company.”

13 – Online Advertising

“Print and television are used for brand-building and image projection. The Web site….is often used to close the sale….”

“Word of mouse – still works best for a lot of products, companies and consumers, spread most commonly via e-mail.”

14 – Business Communications

“Intranets are 10 to 100 times the size of the same companies’ external Web sites.”
“Extranets are designed to serve and connect privileged third-party or external sites.”
“Most intranets capture what leaders in the company think is important: They reflect
a top-down view of what’s happening in the organization.”

Summary

In the short term, awareness of the highlights above improve my daily communication at work through e-mails, client letters and proposals. In the long term, this knowledge opens up opportunities for career growth and development in the ever-expanding and increasingly influential world of online publishing.

Unanswered Questions

The key unanswered question for me is “what is the future of newspapers and magazines?” We had some discussion with valuable input from experts, but no one really knows the future. A big part of my current career path depends on the future of traditional print media.

Another question: What will future successful online advertising models look like? Will it consist of banner ads, in-stream videos, or something else?

Still another related question: Will books transition to more digital delivery systems?

My key questions are not about what I learned, but about what the future holds. Like much of what we learned in this class, we’ll all learn this together eventually as well.

1. What is DownBeat?

DownBeat is the nation’s oldest publication covering jazz, blues and improvized music, published since 1934. DownBeat online has specially selected content from the magazine. The web site is designed to supplement the magazine with more in-depth content in certain areas, including recording reviews and instructional content. Also, only some advertising appears in both the magazine and the web site.

2. What is included on the DownBeat web site that is not included in the printed magazine?

There are opportunities for interacting with reviewers and writers online, as well as more in-depth information about new musical gear and products. There are more reviews of rare recordings and opportunities to learn more about historical aspects of jazz on the web site.

3. Does DownBeat cover any other types of music besides mainstream jazz?

DownBeat’s nameplate moniker, “Jazz, Blues & Beyond,” means that any music using blue notes, of a blues origin, and involving improvisation is part of DownBeat’s DNA. Therefore blues, jazz, blues-rock, jazz-rock and other fusion music involving those elements is covered.

4. Suppose I’m looking for a rare recording, can DownBeat help me locate it?

First, look for links in our review section. If information about a recording is not there, please contact our contributing editor, Randy Burton, at harcourtguitar@yahoo.com.

5. If I’m looking for information about an advertiser in the magazine, will there be links on the web site to those advertisers?

All advertisers in the magazine and all online advertisers will include links to their web sites.

6. If I am a performer or student of jazz, how will DownBeat online help me?

Because of the interactive nature of instruction, DownBeat will include all master class content from the magazine on the web site, and email addresses for writers will be included.

7. How do I contribute a review of something I’ve discovered or created. Is that possible?

All product review proposals should be sent to xxx@downbeat.com

8. If I have an issue with a record or DVD review, can I publish my comments on your web site? If so, how?

Letters will be published on the web site. Send them to: lettersxxx@downbeat.com. Specific questions about reviews can also be emailed to the reviewer. Reviewers will also forward comments to the letters column editor for possible inclusion on the web site.

9. What are other ways, as a reader, that I can contribute and interact with DownBeat?

There are 4 ways to contribute:

1) Write a letter to the editor.
2) Submit a comment to a reviewer.
3) Submit a proposal for a product review.
4) Write a letter to editorxxx@downbeat.com for any proposal to contribute an article or review.

Still have questions? Contact contributing editor Randy Burton at harcourtguitar@yahoo.com.

The Trio: A Circle of Trust

by Randy Burton

It’s been said that things come in threes. There are three bases, three strikes, three wise men, and, of course, three musicians. What’s unique about three musicians?

• Is it that they could be three equals?
• Is it that, because there are only three players, there’s nowhere to hide, and each player’s real talent, or lack of talent, is exposed?
• Is it that the trio setting is more demanding, resulting in more effort and stronger performances from its members?

I contend that it’s all of the above, and that the trio is perhaps the most compelling format in jazz performance. While the rhythm section is usually made up of drums and bass, the third member can be a pianist, organist, guitarist or other player or vocalist. The makeup really doesn’t matter. It’s the interplay and the trust among the musicians that makes the trio so special.

From the bebop era forward, trios have played a significant role in jazz. Bud Powell, Bill Evans, McCoy Tyner, Keith Jarrett are some pianists that come to mind. Guitarists Joe Pass, John Scofield and Pat Metheny, among many others, have led ground-breaking trios. Then there are vocalists, with the piano and bass configuration, that are almost too numerous to mention.

The Trio Corner will showcase trio performances monthly beginning with this review.

Keith Jarrett, Jack DeJohnette, Gary Peacock – “My Foolish Heart

Keith Jarrett’s latest release (on ECM) showcases his trio of 25 years, with equal billing going to drummer Jack DeJohnette and bassist Gary Peacock. Formerly called The Standards Trio, this group still specializes in performing standards from the great American songbook.

As DownBeat’s first installment of the The Trio Corner, why are these performances worth highlighting? It is the quality of the improvisations around these standards and the communication among these near-legendary performers.

A Live Recording

Recorded live at the Montreaux Jazz Festival in July, 2001, Jarrett chose this recording to release and coincide with the trio’s 25th anniversary. According to Jarrett’s liner notes, this recording “shows the trio at its most buoyant, swinging, melodic and dynamic. Now is the time to release it.” Kudos to producer and ECM founder Manfred Eicher for heeding Jarrett’s call.

Why the Trio?

In DownBeat’s November issue, Jarrett says he chose the trio format all those years ago to avoid another chordal instrument from muddying the mix. “It’s like Japanese flower arrangements. You put a fourth flower in and it looks weird.” He adds in the liner notes, “There is a trust between us that is hard to beat.”

Ragtime, Show tunes, Bebop

The two-CD set includes songs by Miles Davis, Sonny Rollins, Oscar Hammerstein and Jerome Kern, Thelonious Monk, Gerry Mulligan and even Fats Waller.

The 13 cuts across range from ragtime and show tunes to bebop.

Miles Davis’s “Four” starts off with the recognizable Miles melody but quickly moves into improvisation powered by DeJohnette’s churning snare and cymbal work and bass drum polyrhythms. Jarrett’s annoying scat singing is at a minimum but can be heard nonetheless. Peacock’s bass playing is highly supportive and only comes to the forefront during his solo, which seems carefully structured off of the melody.

The title track, “My Foolish Heart,” starts as a rich chordal solo reminiscent of Bill Evans, but then develops into a single-note melodic rendition featuring strong interplay with bass and drums. This performance captures the essence of the classic piano-bass-drums jazz trio.

The Sonny Rollins composition, “Oleo,” sounds like it needs Sonny’s sax. Jarrett’s single-note blues doesn’t quite work; then DeJohnette’s machine kicks in. At that point, the piece comes alive as an almost free-form blast of notes, held together by Peacock. DeJohnette is clearly the man in charge on this cut.

“What’s New” is an easy listening standard. I wonder why Jarrett played such a schmaltzy song? It is a standard, so I guess that makes it fair game. Still, he makes some creative stabs, including a funny insert of the “Lullaby of Birdland” melody that actually works.

“The Song is You” showcases the Jarrett that many know as the blazingly fast, accurate, lyrical player with a rock bent. This 1934 show tune is transformed into a real rocker.

Having Fun with Fats Waller

Fun times begin with a rendition of “Ain’t Misbehavin’” that would make Fats Waller proud. Sounds a little like Art Tatum at the bench, wailing away with all fingers engaged. Couldn’t be any more fun and fiery. DeJohnette’s strong brush work, Peacock’s old-fashioned but authentic solo and Jarrett’s flights up and down the keyboard will make your mouth drop.

CD number two (that is almost impossible to identify on the label) begins with another Fats Waller tune, “Honeysuckle Rose.” The approach is similar to “Ain’t Misbehavin’,” but with a less recognizable melody. The real showman here is DeJohnette with his New Orleans style rim shots and snare rolls.

“You Took Advantage of Me,” a 1928 Rogers and Hart composition, features fiercely creative piano work that comes with a price: Jarrett’s scat singing and moaning. Some of the moaning is a little strange and out of place. By contrast, Peacock’s bass solo is civilized and expertly executed.

Thelonious Monk’s classic “Straight, No Chaser” opens with the familiar line, then Peacock takes over with a solo that weaves the melody through some blissfully fat tones. Jarrett’s playing reminds me of his days in the 70’s with his ground-breaking quartet that included Dewey Redman, Charlie Hayden and Paul Motian.

Pre-911 2001

If there’s a theme in this collection–And why not? It was all recorded on the same day– it is that the music is fun, lively and almost celebratory. 2001 was a year filled with tragedy, but this performance was recorded that summer, before the world seemed to change forever on September 11th. You can feel the pre-911 carefree, whimsical, innocent spirit in this music.

Gerry Mulligan’s “Five Brothers” captures that whimsical spirit beautifully. From DeJohnette’s high-hat spankings to Jarrett’s playful major-seventh and sixth chords, it’s a joy.

The Power of the Melody

The power of Jarrett’s lyrical touch cannot be underestimated. “Guess I’ll Hang My Tears Out to Dry” is the most moving song on this collection. These three players melt together as if they were a lava lamp flowing in the mellow light. Brushes and ride cymbals frame the melody painted by masterful bass and ivory work.

“On Green Dolphin Street” is one of the most recorded jazz tunes ever written. The trio’s interpretation moves along like most of their other takes, with style and sophistication. Most of the way, it’s pure improvisation; the tune’s hardly recognizable.

Sammy Cahn co-wrote “Guess I’ll Hang My Tears Out to Dry,” along with the final cut, “Only The Lonely.” It’s clear why Jarrett and company chose these songs. They both resonate with wistful lyrical melodies that would make the setting for a perfect movie scene where the lovers tell each other “I Love You.” What more can be said?

And what more can be said about “My Foolish Heart”? It’s a fitting silver anniversary celebration for 25 years of trust among Jarrett, DeJohnette and Peacock. “My Foolish Heart” illustrates the strength and power of the trio setting with three of the jazz world’s most accomplished players.

Rating: ****1/2

The Trio Corner’s Rating Guide:

**** Great Performance, Highly Recommended

**** Good performance, recommended

*** Solid performance, may appeal to many

** May appeal to some

* Don’t bother

Track Listing, CD1: “Four,” “My Foolish Heart,” “Oleo,” “What’s New,” “The Song Is You,” “Ain’t Misbehavin’.” CD2: “Honeysuckle Rose,” “You Took Advantage of Me,” “Straight, No Chaser,” “Five Brothers,” “Guess I’ll Hang My Tears Out to Dry,” “Green Dolphin Street,” “Only The Lonely.” ECM 2021/22.

Next Month in The Trio Corner, Pat Metheny talks about his upcoming Pat Metheny Trio release, “Day Trip,” with Christian McBride and Antonio Sanchez.

Comments or Questions about The Trio Corner? Contact me at harcourtguitar@yahoo.com.

DownBeat Magazine

102 N. Haven Road, Elmhurst, IL 60126

804-555-1212, harcourtguitar@yahoo.com

November 11, 2007 – For Immediate Release
DownBeat Magazine to Launch Section on Trios on Downbeat.com

Chicago, IL – DownBeat magazine, the nation’s oldest chronicler of jazz, is launching a review section devoted, for the first time, exclusively to the trio performance format. The Trio Corner will appear Nov. 25th on DownBeat’s Web site, www.downbeat.com.

“The trio is setting that has served as a cornerstone for phenomenal jazz performances through the years…from Bill Evans to Keith Jarrett to Pat Metheny,” said editor Jason Koransky. “We will highlight such performances with The Trio Corner, a review section to appear monthly on our web site.”

The Trio Corner will feature reviews of new recordings and a retrospective of earlier releases, as well as links to artist and contributor web sites. DownBeat plans to add interviews and sample performance videos in coming months.

The Trio Corner’s debut will coincide with the publication of the online version of DownBeat’s January 2008 issue. A blue triangular Trio Corner link on DownBeat’s home page will take readers directly to the section.

“Some of the biggest selling jazz releases have featured trios, and we’ve found, through reader correspondence, that there’s a demand for more information about trios, from how and why they are formed to insights on the interplay among the musicians, said Koransky.

“Recent and upcoming releases by Paul Motian, Keith Jarrett, Pat Metheny and John Scofield showcase the power of the trio. Whether the trio is led by a pianist, guitarist, drummer or other instrumentalist or vocalist, the leader’s success is dependent upon the quality of his or her other players,” Koransky added.

“As with the great power trios of rock, like Cream and The Jimi Hendrix Experience, the jazz trio occupies a special place in America’s indigenous art form,” Koransky said. “It’s all about the interplay of three artists.”

DownBeat magazine has been published since 1934 as a unique source of information about jazz and jazz artists for fans, educators and performers worldwide.

In one case, I was delighted to find a web site for the kids bagpipe band. The participation of those children underscored a key point: that we need to pass down traditions and rituals to future generations.

I would like to have had captions for the photos, but I don’t think it was necessary, since the blog described what was going on in the photos.

I organized the information purely by timeline, based on what I observed and when I observed it. I’m not sure how I could have organized it differently without taking away some of the spontaneity of walking around. I attempted to report the event like someone simply walking around and gathering it all in.

An Event Celebrating History and Heritage

Saturday, October 27.

10 am – The Celtic Feeling

I have never been to a Highland Games and Celtic festival, so I don’t know what to expect. I’m getting ready to leave home, playing Van Morrison and The Chieftan’s version of the Irish classic, The County Down, on my i-pod. It puts me in the mood for some Celtic activities. I get into the car, and, with perfect timing, the Celtic Crush show is on one of my favorite satellite radio channels. The air is filled with all things Celtic. I’m almost ready for a Guinness.

11 am – Into the Mystic

I arrive at the state fairgrounds for the event. It’s cloudy, cool, with a slight mist in the air. Could I be in Ireland or Scotland? No, not quite. The entrance to the games has a huge banner that says “Welcome to Toyota Truck Country.” This is America, land of sponsorships and promotions.

There are flags everywhere. Flags of Ireland, Scotland and the dozens of clans that have tents with displays. Maps stand on tripods outside each tent showing each clan’s origin. Knowledgeable representatives from each clan stand inside waiting for someone to approach and say, “I’m a MacKenzie!”

Today, I kind of wish I were a MacKenzie or a MacMillan or an O’Brien. But I’m a Burton, of English origin. There’s probably some Irish or Scottish blood in there somewhere, but I feel a little like an outsider.

That so many of Americans feel as though they are outsiders is one of the reasons for many of our problems, the late philosopher Joseph Campbell once said. So many in our society have no strong traditions and rituals in their lives that there’s a void, he said. These lost souls find negative rituals instead of positive ones.

This festival is full of positive spirit. I listen to a warm-up from the St. Andrews Society of Richmond’s Celtic Heritage band. They’re in the pipe band competitions later today.

12:30 pm – The Competitions

I venture past the Family Name Histories and Coats of Arms tent to the games field to catch some weight throws, sheaf tosses, caber tosses and Scottish hammer throws. These make the event unique. You can always go out and find some Irish music or food, but where else can you go and find huge, rotund men heaving 20-foot, 150-pound poles?

Women are competitors too. The first event I witness is the women’s weight throwing competition. This part of today’s North American Highland Games Championship, where professionals compete in what is know as Heavy Scottish Athletics. These women are throwing 28-pound weights with handles.

One competition is for distance, the other is for height. Mindy Pockoski, an attractive, but stocky blond, is heaving the weight upward toward a horizontal bar that’s 15 feet high. She makes it, so they raise the bar another foot. She also makes the 16-foot mark, but misses the 17-foot.

The next event is the sheaf toss, where a competitor uses a pitchfork to throw a 16-pound or 20-pound bag (depending on the event) over a bar. It’s a game for the best height and, obviously strength.

1:00 pm – Kilts, Bagpipes and Dogs

The sky starts to clear. We’re not in Scotland anymore….or are we? Men (and women) everywhere are dressed in kilts and bagpipe bands are involved in a competition of there own.

As I make my way over for some fish and chips, I spot a huge dog led by a man, or vice versa, I’m not sure. It’s an Irish wolfhound. Dogs are charged five dollars for admission to the festival, and there are even events for them, such as The Parade of Dogs of the British Isles. I’ll bet this wolfhound will be there.

1:30 pm – The Scottish Hammer and The Whiskey

It’s back over to the games field, where Kerry Overfelt is leading the hammer throw. The Scottish hammer is a 22-pound hammer with a long bamboo-like handle that is thrown for distance. The program says it is the ancestor of the modern Olympic hammer throw. Overfelt has thrown the hammer more than 110 feet and is in the lead.

Between competitions I overhear a young man say, “I almost never drink whiskey straight like this.” He’s been over to the Dewar’s tent, and had a sample of scotch whiskey in his plastic cup. He adds, “I worry that if I keep drinking like this I won’t go out much tonight.”

2:30 pm – Montgomery’s Rant

Looking for a change of pace, I wander to the Celtic Culture Stage, where dancers jump to a fiddle and keyboard duo. Some 20 or so dancers are on stage. An announcer approaches the microphone and introduces Montgomery’s Rant, and says it’s the most popular dance in the world. The odd thing about these Celtic dances is that many dancers stand there as if they’re not supposed to be there. Seconds later, someone grabs their hand and away they go, across the stage.

3:30 pm – The Kids Band

Heading back toward the games field, I see a bagpipe band assembled, apparently for a demonstration. This is the Guilford and Glencoe District Juvenile Pipe Band, an all kids band from Baltimore. The accompanying adults are selling raffle tickets to fund a trip to Scotland for the kids. Win the drawing, and you get a set of bagpipes or a drum. I buy a five-dollar ticket and hope that I win. This is a great cause to support as well; America’s kids could use more connection with their historical roots.

4:00 pm – Throwing Logs

At the games field, Dave MacKenzie, director of athletics for the event, announces that he’s looking for volunteers to be caber catchers. Caber catchers? Surely they don’t catch the caber in mid-air. The caber toss, billed as the signature event of the Highland Games, involves lifting an 18-to-21-foot long log and throwing it so it falls over it’s end in the opposite direction. Because this unwieldy log weighs 90 to 150 pounds, this looks like the toughest competition of the day. Still, it’s fun to watch the athletes run to get momentum while holding a 20-foot log upright. I see only one succeed among about a dozen attempts. All the caber catchers have to do is pick up the logs after they’re tossed and carry them back to the next competitor. It takes four catchers to carry a single log.

5:00 pm – Wrapping It Up

The day’s closing ceremonies start with an assembly of six or seven different bagpipe bands, all playing together in an impressive orderly fashion. There’s even a kilt-clad drum major to lead them.

I run into Jay Lugar, Marketing Director for the State Fair of Virginia, which presents the festival each year. Jay says that he estimates an attendance of eight to ten thousand for today, and says the promoters are pleased.

As the headlining Celtic band, Needfire (from Texas), rocks in the distance at the Irish Pub & Music Pavilion, I walk past the stands selling meat pies, pasties, birdies, lamb burgers, lamb sausage, corned beef and cabbage, sweet potato fries and haggis. I smell more Guinness in the air. I’ll miss this experience tomorrow when plans are for more music and an amateur athletics competition. But I’ll eagerly look forward to next year’s festival.

A Retrospective

This seemed to be an exercise in having fun and working at the same time.  My goal was to paint a picture of the event with as much imagery, photos and links as feasible, trying to capture the feeling along the way.

One thing is true from my point of view: these type of historical events that celebrate our heritage are good for the soul, the American psyche and our children.  Connecting with our roots provides the stimuli for the traditions and rituals that Americans often lack.