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With Labor Day in the rearview mirror, northeast Ohio returns to the comfortable (clambakes, sweaters) and maybe less comfortable (fretting about the Browns) routines of early autumn. Hey, traditions are traditions, and they don’t change much–unless you’re a NEO jazz fan in which case you’ll want to add the Rubber City Jazz & Blues Festival to your list.
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One of the great pleasures of this project is the opportunity to do a weekly temperature check of the NEO scene., with a focus on live performance where it surely belongs. No performances, no scene, right?
But NEO artists have lately been as active in the studios as they are on the area’s stages and bandstands. That’s a good thing, too. Some projects have been covered here, including Work and Song, the exultant live recording by Alla Boara made at BOP STOP last July, Lucas Kadish’s Tundra, which was a big part of this entry from 2023, and the forthcoming recording laid down two weeks ago by the Third Law Collective wsg Russ Johnson, a project I profiled here. A few more will get the in-depth treatment in future posts here and at All About Jazz.
Still it’s been a while since let’s call this has called the roll on recordings, and given the spring shower of recent releases, now’s the time.
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Friendly experiencers,
A reaction to a COVID booster swamped my Tuesday preview (staying healthy is making me sick!) and a badly timed security certificate expiration wiped out my Wednesday. So to make up, it’s time for an expanded Thursday Countdown–not that I needed an excuse because the coming week is high-key loaded with notable jazz events. Touring artists and local luminaries alike await your appreciative ears and enthusiastic applause. So take a portion of that tax refund check (you DID get those done, right?) and head out to a club or concert hall near you and make the momentum happen.
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Tomorrow evening, Nov. 30 at BOP STOP, I’ll have the honor of presenting the Jazz Journalists Association’s 2023 Cleveland Jazz Hero Award to Gabe Pollack. To borrow the title of a great Paul Motian song, it should’ve happened a long time ago, but scheduling conflicts and my own disorganization got in the way. Oh well, it’s still 2023, isn’t it?
Rather than make a new case for this honor, I’ll refer you to the JJA’s own commemoration of Gabe’s award and repost below an appreciation I published last August. Any similarity in the language is purely coincidental.
If you’re reading this, I hope you’ll come out tomorrow night and give Gabe his well-deserved flowers. Stop by my table and say hello if you think about it. Now here’s that piece:
Word reached me late yesterday that Gabe Pollack, longtime director of Bop Stop at the Music Settlement, will be leaving the Hingetown club to become director of performing arts at the Cleveland Museum of Art (you can read CMA’s announcement here, the Settlement’s here).
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In his 30-odd years on the scene, Grammy-winning singer Kurt Elling has topped the Down Beat Critics Poll 13 times and has received the Jazz Journalists Association Male Singer of the Year award eight times. He’s done this while singing texts written by Theodore Roethke and Walt Whitman, a Monkees hit, one of Brahms’ Liebeslieder Waltzes. Whitney Balliett might have had Elling’s musical choices in mind when he wrote his famous characterization of jazz as being “the sound of surprise.”
Yet none of Elling’s neck-snapping musical eccentricities was as shocking as SuperBlue, which will come to Gartner Auditorium at the Cleveland Museum of Art Wednesday.
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