Saturday, May 23, 2020

Visionary vocalist/songwriter Esperanza Spalding and renowned pianist/composer Fred Hersch announce a 5-song duo EP to benefit musicians impacted by the COVID-19 pandemic

Visionary vocalist/songwriter Esperanza Spalding and renowned pianist/composer Fred Hersch announce a 5-song duo EP to benefit musicians impacted by the COVID-19 pandemic

Released to raise funds for the Jazz Foundation of America, Live at the Village Vanguard will be available exclusively at Bandcamp ONLY throughout the month of June

The COVID-19 pandemic is having a devastating effect on the jazz community, leaving countless musicians to face an uncertain future. Visionary vocalist, bassist and songwriter Esperanza Spalding and iconic pianist/ composer Fred Hersch have committed to do their part to help fellow musicians in need with the limited release of Esperanza Spalding & Fred Hersch: Live at the Village Vanguard - Rough Mix EP, a five-song EP captured during the duo’s 2018 run at the iconic New York City nightclub. The EP is a live rough mix with no edits. 

The EP will be offered exclusively for download through Bandcamp, with all proceeds benefitting the Jazz Foundation of America and the organization’s efforts to assist members of the jazz community impacted by this ongoing crisis. Released on May 29, the scintillating performance will be available only through the month of June for a minimum of $17, with additional donations encouraged on a pay-what-you-wish basis.  Purchase the album here:

“All of my musician friends are in the same boat,” Hersch laments. “People who rely on gigs to make ends meet have seen entire tours cancelled. What opportunities may come – and when – remains a huge question mark.”

Besides raising much-needed funds for a vital cause, Live at the Village Vanguard provides a rare opportunity for listeners to enjoy this singular and thrilling collaboration. Spalding and Hersch have convened for only a handful of NYC performances since their first meeting during Hersch’s annual duo series at the Jazz Standard in 2013. In that limited time the pair has developed a wholly unique approach, not only in the annals of piano-voice duets but in their own already distinctive practices.

“This recording feels like you’ve got the best seat in the house for a very live experience,” Hersch says. “You can really feel the energy of the room, of the audience, and of our interplay, and I think it’ll make people feel really good to hear it.”

“I think there’s a lot of joy and beauty in this music that Fred and I made,” adds Spalding. “Beyond collecting money for musicians in need, sharing the beauty in our hearts can have a healing effect as well.”

The five pieces included on Live at the Village Vanguard span a vast spectrum of repertoire, from original compositions to a Brazilian classic to familiar standards offered with a stunningly fresh perspective. A determined original in her own music, Spalding rarely sings standards, and her approach here is unique to her partnership with Hersch. Her improvisation on the Gershwins’ “But Not For Me” becomes a witty, poetic extemporization on the lyric itself, examining the changes in language represented by the original’s sometimes archaic terminology. Neal Hefti and Bobby Troup’s chauvinistic ditty “Girl Talk” comes under barbed scrutiny from not only a feminist but also an eco-conscious perspective.

Hersch’s “Dream of Monk” has been a staple of the duo’s sets since the beginning. With lyrics penned by the pianist himself, the tune is a dedication to one of Hersch’s most indelible influences. “Some Other Time” is a Sammy Cahn/Jule Styne song, less well known than the Leonard Bernstein classic of the same name but a favorite of Hersch, who weaves an elegant and vivid tapestry during his mesmerizing solo. The set closes with Egberto Gismonti’s “Loro,” launched by Spalding’s unconventional scatting, which she eventually uses to engage in a nimble dance with Hersch’s jaunty piano.

“Playing with Fred feels like we’re in a sandbox,” Spalding says. “He takes his devotion to the music as serious as life and death, but once we start playing, it’s just fun. I like to live on the edge in my music, but I find myself trying things that I usually wouldn’t when I play with him, finding new spaces to explore in the realm of improvised lyrics.”

“I don’t think anybody’s heard Esperanza sing like this,” Hersch says, returning the compliments. “She’s fearless, and is one of the smartest people I know. She’s got a huge reach in her intellectual knowledge and is a big thinker in her projects and in her outlook.”

This particular music, recorded October 19-21, 2018, has already made a restorative impact on the two dauntless artists who created it. Though it’s hard to believe given the buoyant spirits and playful interaction of the performances, both Spalding and Hersch were working through pain that weekend. Although the stint ended on a celebratory note with the occasion of Hersch’s 63rd birthday, he was also scheduled to enter the hospital the very next day for hip replacement surgery.

“I was in a lot of pain and walking with a crutch,” he recalls. “Just getting down the famous stairs to the Vanguard was an ordeal.”

Spalding, meanwhile, was struggling with family issues while juggling an intense schedule that included writing an opera with the legendary Wayne Shorter and beginning a teaching position at Harvard University. “I was going through a very difficult time in my life,” she admits. “I was miserable every day when I got to the Vanguard, so I had to decide to plug into the capacity for this music to heal. I wanted to emanate something positive even though I was feeling so horrible. Neither of us were feeling well in our lives outside of the music, so the stage of the Vanguard became an alchemizing place for both of us, and I think you can feel that in the music.”

Esperanza Spalding
Four-time Grammy Award-winning visionary Esperanza Spalding aims to ignite and portray various hues of vital human energies through composition, singing, bass playing and live performance. A lover of all music, especially improvisation-based musics emerging from black American culture, Spalding’s musical aesthetic is prismatic. With projects like Radio Music Society, Chamber Music SocietyEmily’s D+ Evolution and her latest album, 12 Little Spells, she has inventively combined and reimagined influences from jazz, funk, rock, musical theater and beyond. She has taught at Berklee College of Music and Harvard University, and is in the process of writing an opera in collaboration with Wayne Shorter.

Fred Hersch
A select member of jazz’s piano pantheon, Fred Hersch is an influential creative force who has shaped the music’s course over more than three decades. A fifteen-time Grammy nominee, Hersch has long set the standard for expressive interpretation and inventive creativity. A revered improviser, composer, educator, bandleader, collaborator and recording artist, Hersch has been proclaimed “the most arrestingly innovative pianist in jazz over the last decade” by Vanity Fair, “an elegant force of musical invention” by The L.A. Times, and “a living legend” by The New Yorker. For decades Hersch has been firmly entrenched as one of the most acclaimed and captivating pianists in modern jazz, whether through his exquisite solo performances, as the leader of one of jazz’s era-defining trios, or in eloquent dialogue with his deeply attuned duo partners. His brilliant 2017 memoir, Good Things Happen Slowly, was named one of 2017’s Five Best Memoirs by the Washington Post and The New York Times.

Esperanza Spalding & Fred Hersch:
Live at the Village Vanguard – Rough Mix EP
Recorded Oct. 19-21, 2018
Release date May 29, 2020
Available exclusively for download via Bandcamp only through June 2020

Thursday, May 21, 2020

Dutch street named after Rosetta Reitz

Dutch street named after Rosetta Reitz

Rosetta Reitz, jazz historian, author and record producer has been honored with a street dedicated to her in Leiden, Netherlands.

We heard the news from her daughter, Rebecca. A group of community activists in Leiden, Netherlands live in or near a street called ReitzStraat (Reitz Street) that was named for a leader in the Boer War, Francis W. Reitz.

They decided to change the dedication of the street for two reasons:
1) To rethink the role the Boers played as colonists and their link to rise of apartheid.
2) There are not enough streets named after women.

In their research to find a woman named Reitz, the Dutch activists quickly discovered Rosetta and were impressed with her all accomplishments.  They especially loved Rosetta Records, the label she established in 1980 where she retrieved lost women’s blues and jazz. The double fold albums were lavishly illustrated with photos of the women.  Rosetta wrote about the historical context of the music in liner notes that presented a new view from a woman's perspective.

This thoughtful group found the tribute website that her daughter Rebecca created and also discovered her book on Menopause and other meaningful achievements. They went ahead and created a new street sign that they placed over the old one.  They will also go through the official Council channels.

“To replace an imperialist warrior with a feminist historian is EXACTLY the kind of grassroots effort that my mother, Rosetta, would have loved,” said Rebecca. “Rosetta spent her life and creative energy correcting wrongs and giving women the chance to be heard. And now, this group has acknowledged her efforts in a most delightful and important manner.”

Source: Jim Eigo Jazz Promo Services

Tuesday, May 19, 2020

2020 JJA Jazz Awards winners!

2020 JJA Jazz Awards winners!

May 18th, 2020 | By 
Carla Bley, composer-arranger-bandleader and pianist, has won the 2020 JJA Jazz Award for Lifetime Achievement in Jazz in the 25th annual honors for excellence in music and music journalism.
Stanley Crouch, author, essayist, novelist, advisor to Jazz at Lincoln Center and president of the Louis Armstrong Educational Foundation, is winner of Lifetime Achievement in Jazz Journalism. 
This year’s Awards for instrumentalists advance a multi-year trend by the JJA’s voting members to recognize accomplished women among the multiple nominated finalists. Drummer and educator Terri Lyne Carrington (Musician of the Year), pianist-composer Kris Davis (Composer and Pianist of the Year), saxophonist Lakecia Benjamin (Up & Coming Musician of the Year), drummer-composer Allison Miller’s Boom Tic Boom (for Mid-Size Ensemble of the Year), baritone saxophonist Lauren Sevian and harpist Brandee Younger (Player of Instruments Rare in Jazz), and several other women were voted Best of the Year for their achievements in 2019. For the first time, women won half the instrumentalists’ categories.
Not that men are ignored in this year’s Jazz Awards. Miguel Zenón won Arranger of the Year and Alto Saxophonist of the year, Branford Marsalis’ quartet won Record of the Year for The Secret Between the Shadow and the SoulChristian Scott aTundé Adjuah was named Trumpeter of the Year and Joel Ross was Mallet Player of the Year, both for the first time. Mark Stryker’s Jazz From Detroit (University of Michigan Press) was voted Best Book About Jazz, San Francisco Bay Area radio show host Richard Hadlock and New York-based photographer Richard Conde won, respectively, the Marian McPartland-Willis Conover Award for Lifetime Achievement in Broadcasting, and the Lona Foote-Bob Parent Award for Lifetime Achievement in Photography.
“The JJA is pleased to congratulate these winners, and indeed all the musicians nominated in our two-stage voting process,” said Howard Mandel, president of the JJA. “Especially with listeners largely confined to home, it’s important to let artists know they’re being heard, and to advise music fans about the best current jazz creativity, as jazz journalists do.”
The Jazz Awards was initiated in 1996, and follows on the JJA’s Jazz Heroes Awards for “activists, advocates altruists, aiders and abettors of jazz (which are being promoted via interactive broadcasts featuring Boston hero Ran Blake on May 23, and Los Angeles Hero Billy Mitchell on May 28 (see details elsewhere on Since mid-March, the JJA has also published international reports, JazzOnLockdown, about responses to the coronavirus.
Winners of JJA Jazz Awards have previously been presented with engraved statuettes before audiences at summer performances. This year’s winners will receive hand-printed scrolls certifying their Awards.

2020 Winners

Congratulations to all the winners of the 25th annual Jazz Journalists Association Jazz Awards, listed below. Professional journalist members of the JJA made open nominations in a first-selection round; those who received the most nominations advanced to the finalists' ballot, and JJA's professional members voted on them to arrive at these honorees.

Our congratulations, of course, to all the 2020 Nominees in all categories. And please click the photos to expand them -- some wonderful images here reward much larger presentation.


Lifetime Achievement
Award in Jazz


Photo by Mark Marnie

Musician of the Year



Up and Coming
Musician of the Year


Composer of the Year


Arranger of the Year


Photo by Jimmy Katz

Record of the Year


Branford Marsalis Quartet (OKeh)

Historical Record of the Year


Eric Dolphy (Resonance Records)


Record Label of the Year


Male Vocalist of the Year


Photo by Anna Webber

Female Vocalist of the Year


Photo by Hector Perez

Large Ensemble of the Year


Photo by Marc PoKempner

Mid-Size Ensemble of the Year


Allison Miller's Boom Tic Boom; from left,
Jeff Lederer, bass clarinet; Kirk Knufke, trumpet; Jenny Scheinman, violin;
Myra Melford, piano; Todd Sickafoose, bass; Miller, drums.
Photo by Marc PoKempner

Trumpeter of the Year


Trombonist of the Year



Multiple Reeds Player of the Year


Photo by Jimmy Katz

Alto Saxophonist of the Year


Photo by Jimmy Katz

Tenor Saxophonist of the Year


Photo by Dave Stapleton

Baritone Saxophonist of the Year


Photo by Guinara Khamatova

Soprano Saxophonist of the Year


Flutist of the Year


Clarinetist of the Year


Photo by Jimmy Katz

Guitarist of the Year



Pianist of the Year



Keyboardist of the Year


Photo by Douglas Kirkland

Bassist of the Year



Strings Player of the Year


Photo by Tony Smith

Percussionist of the Year


Photo by Jim McGuire

Mallet Player of the Year


Photo by Lauren Desberg

Drummer of the Year



Player of Instruments Rare in Jazz




Lifetime Achievement in Jazz Journalism


Photo by Zack Zook

Stanley Crouch is a cultural critic, author, curator and recreational drummer. Based in New York City since 1975, he booked avant-garde jazz for the Tin Palace, wrote for the Village Voice from 1980-88, and became artistic consultant to Wynton Marsalis at Jazz at Lincoln Center. He's been a columnist for the New York Daily News, syndicated and commissioned by many periodicals, including a column for JazzTimes. His books include Notes of a Hanging Judge: Essays and Reviews, 1979-1989; The All-American Skin Game, or, The Decoy of Race: The Long and the Short of It, 1990-1994; Kansas City Lightning: The Rise and Times of Charlie Parker; The Artificial White Man: Essays on Authenticity;andConsidering Genius: Writings on Jazz.He speaks in Ken Burns' Jazz and other documentaries, and has been President of the Louis Armstrong Educational Foundation.

Publication of the Year



Blog of the Year

Nate Chinen, Director of Editorial Content Nate Chinen, Director of Editorial Content

Robert Palmer-Helen Oakley Dance Award for Excellence in Writing in 2019


Photo by Michael Lionstar

Marian McPartland-Willis Conover Award for Lifetime Achievement in Broadcasting


Book of the Year About Jazz

JAZZ FROM DETROIT (University of Michigan Press) by Mark Stryker

Jazz From Detroit

Lona Foote-Bob Parent Awards for Lifetime Achievement in Photography


Photo by Jerry Lacay

Photo of the Year



Album Art of the Year


for A Wall Becomes of Bridge
(by Kendrick Scott Oracle, Blue Note)

A Wall Becomes of Bridge (Kendrick Scott Oracle, Blue Note)

Sunday, May 17, 2020

Brian Landrus – an essential voice on low woodwinds – explores heartbreak, longing and romance on intimate new recording For Now

Brian Landrus – an essential voice on low woodwinds – explores heartbreak, longing and romance on intimate new recording For Now

Album features jazz masters Fred Hersch, Drew Gress and Billy Hart
plus Michael Rodriguez, Sara Caswell and a string quartet

For Now includes ten Landrus compositions, plus “Invitation,” “’Round Midnight”
and a milestone Landrus & Hersch duo flight on “Ruby, My Dear”

“Tonal nuance, melodic sense and instrumental command that set him apart from his peers.”
– Ed Enright, DownBeat

Available May 15, 2020 via BlueLand Records

For Now has a lot to say about romance, and it says it with quiet conviction and passionate declaration. Ace multi-reedist and composer Brian Landrus whose groundbreaking 2017 large-ensemble album Generations “takes the jazz big band tradition into the mesosphere” (Giovanni Russonello, New York Times), turns here to inner pathways, bringing together a remarkable quartet: pianist Fred Hersch bassist Drew Gress and drummer Billy Hart. Rounding out the musical equation are the brilliant young players Michael Rodriguez (trumpet) and Sara Caswell (violin), plus inventive and elegant string quartet arrangements by Landrus and the distinguished opera composer Robert Aldridge featuring Caswell and Joyce Hamman (violin), Lois Martin (viola) and Jody Redhage-Ferber (cello). The album is produced by Aldridge and composer/writer Herschel Garfein, both Grammy winners.

“A composer of great strength and substance,” (All About Jazz), Brian Landrus, has emerged from his 30s with elation, heartache, delight and disenchantment, and he brings all that experience to the album’s ten original compositions and three standards. “As I was writing For Now, I could feel it coming from a very deep place, directly from some truly difficult and some unforgettably beautiful life experiences,” Landrus says. “I felt, at every moment, ‘I need to do this.’” In compositions like “The Second Time,” “ JJ” and “Clarity in Time,” that need stirs just beneath the elegant surface of the music. In the title track, “For Now,” it pours out as an unaffected love ballad. Often, Landrus sets a forthright and open-hearted tune over deceptively complex harmonies, as in the tender “Her Smile,” and in his waltzes, which can be searching and impetuous (“The Night of Change”), sun-splashed melancholy (“The Miss”) or noonday cool (“The Wait”). His compositional voice confidently ranges from tunes that have the poise and assurance of standards-you’ve-never-heard, such as “The Signs” and “JJ,” to abstract romantic dreamscapes like “The Night of Change.”

Throughout these varied compositions, Landrus plays with infinite shadings and suppleness on instruments often associated with thundering harshness or compromised tone. On the baritone saxophone he sings out tenderly and with deep feeling on “Ruby, My Dear” and “The Second Time,” spins sweet roulades light as air on “Her Smile” and “The Miss,” stays low for a crushed-velvet sound on “JJ,” and plays with a dusky burnish that seems to linger after each phrase on “The Signs,” “Invitation,” and “Clarity in Time.” Landrus reserves the bass clarinet for intimate and lyrical musings (“For Now,” “The Wait,” “For Whom I Imagined”), but then sets free its full palette of colors for his astonishing solo version of Monk’s masterpiece “’Round Midnight.” The Night of Change” features Landrus soloing with glowing angularity on alto flute.

A perfect team of collaborators are at the heart of For Now. “I have wanted to play with Fred Hersch since first hearing him twenty years ago,” Landrus recounts. “I love how he finds the deepest color and beauty in everything he plays. From the moment we began recording, he played my original compositions as if he had written them.”  

As Landrus worked on the music for the album, another inspiration struck. “In certain compositions, the harmonies I was hearing could only be properly realized with a string quartet,” he says. “A longstanding inspiration from Harry Carney with Strings and Stan Getz’s Focus came back to fill my head with lush string sonorities.” He and Robert Aldridge added string arrangements that are clean, inventive and vibrant.

Rounding out this album of ten original Landrus compositions are three very special performances of standards, including Thelonious Monk’s “‘Round Midnight” featuring Landrus on solo bass-clarinet, Bronislaw Kaper’s “Invitation” featuring fresh, effortless swing from the whole ensemble in Landrus’s own arrangement, and an exhilarating duet performance featuring Landrus and Hersch on Monk’s “Ruby, My Dear.”

“I consider Fred to be the foremost Monk interpreter of our time,” says Landrus. “So I was astounded when he told me that he had never publicly played ‘Ruby, My Dear,’ What floored me was his freedom with it; most pianists don’t dare diverge from what Monk played. Fred made it his own in a deeply reverential way.”

“Ruby, My Dear” is the capstone to this masterfully assured and variegated album; an interpretation for now and for the ages.

Brian Landrus
Brooklyn-based multi-instrumentalist and composer Brian Landrus has established himself as one of the world’s leading voices on low woodwinds. He has been voted #1 Rising Star Baritone Saxophonist in DownBeat Magazine’s 63rd Annual Critics Poll, and voted the #3 Baritone Saxophonist in the world in the 2020 JazzTimes Readers Poll. 

In addition to leading his own groups, Landrus has toured internationally with Esperanza Spalding and performed with Bob Brookmeyer, Lewis Nash, John Lockwood, Nicholas Payton, Nir Felder, Marcus Strickland, Jerry Bergonzi, Danilo Perez, Gary Smulyan, Maria Schneider, The Temptations, Feist, The Four Tops, George Garzone, The Drifters, Jason Palmer,  Rufus Reid, and Ralph Alessi, among others.

Landrus has released ten albums as a leader, including six on his BlueLand Records label. Born in 1978 and raised in Nevada, Landrus began playing saxophone at 12 and was performing professionally by 15. He earned his bachelor’s degree from University of Nevada-Reno and two Master of Music degrees from New England Conservatory, and a PhD in classical composition from Rutgers University. Landrus is on faculty at Rutgers University.

Saxophonist/composer Dave Glasser forges an adventurous path forward from the lessons of the past on his politically and musically charged new album

Saxophonist/composer Dave Glasser forges an adventurous path forward from the lessons of the past on his politically and musically charged new album

Due out May 8 2020 via his own Here Tiz Music, Hypocrisy Democracy presents risk-taking new compositions grounded in the jazz tradition with Andy Milne, Ben Allison and Matt Wilson

“Despite the fact that Glasser is an old soul in many ways, he shouldn't be mistaken for a nostalgia act… he lives in the here and now and his playing and writing continue to evolve.” – Dan Bilawsky, All About Jazz

“Dave Glasser makes the past his own… [his music is] a modern manifestation of hard bop tradition.”
— Phil Freeman, Burning Ambulance

“Those who cannot remember the past are doomed to repeat it,” the saying goes. While the title Hypocrisy Democracy could easily be interpreted as a reaction to today’s headlines, saxophonist/ composer Dave Glasser takes a much wider view. His startling new album finds echoes of past struggles in our present divide, and finds hope for the future in the lessons of the past. It’s an approach he’s also applied to his music, which stays grounded in the tradition but ventures closer to the edge than he’s dared in the past.

“Humanity has always faced challenges in terms of fairness and justice,” Glasser says. “Of course, things are certainly at an unstable place right now, but we’ve been here before. The question is how are we going to come together to overcome these common struggles?”

Musically, Glasser is very well acquainted with his history lessons. That rare creature in the music, a native New Yorker, he took lessons as a teenager from the great Lee Konitz, and went on to a long career playing alongside giants like Clark Terry, Illinois Jacquet, Barry Harris and Dizzy Gillespie and serving a considerable tenure with the Count Basie Orchestra that continues today.

Hypocrisy Democracy reveals Glasser to be determined not to end up doomed to repeat that past, much as he reveres it; the strikingly open-eared and tightrope-walking session finds him traversing boundaries that many familiar with his career would never have expected. To do so he’s assembled a knockout quartet of fellow musicians (and New School faculty members) well versed in defying jazz’s hidebound norms: pianist Andy Milne, bassist Ben Allison and drummer Matt Wilson.

“My roots are in the history of this music,” Glasser admits. “That’s where my inspiration comes from. These guys have all worked in different areas doing their own thing, so this is a group of people who have come together from very farflung places. We’ve worked side by side in academic circumstances, but never as musicians. Yet we’ve managed to unite to find the things that we have in common instead of thinking about our differences. I think that parallels artistically what I see as a big problem facing society right now: people are focused on their differences, so they’re warring and arguing and blaming as opposed to looking at what they have in common.”

Glasser comes by his social justice credentials naturally. His father, Ira Glasser, was the executive director of the American Civil Liberties Union (ACLU) for more than 20 years; it was while working for the New York Civil Liberties Union that he met the noted jazz critic and civil libertarian Nat Hentoff, who recommended Lee Konitz as an instructor for his colleague’s sax-playing son. That experience is honored through “Glee For Lee,” in which Glasser parries with longtime Konitz collaborator Matt Wilson in a pointed duet.

The zig-zagging “Knit Wit” is a running-with-scissors investigation of one of the album’s core conceits, the rise of misunderstandings via a difference in perception. Is the title an insult or a compliment? It could sound like either without the proper context or spelling (that pun makes all the difference). The taut, tense “Justice” muses on the many meanings of that word, from Old Testament to New, vengeance to equality, with “Freedom” as a companion piece, divided between opportunity and advantage.

“It’s Nothing New” recognizes the circularity of history in a particularly funky fashion, a reminder offered by how perennially fresh and exciting a timeless groove can be; the notion comes around again in the spiraling “Revolver.” The skulking “Dilemonk” grapples with weighty issues as well as the eccentric influence of the iconic Thelonious Monk – both of which can be thorny to deal with. “Coffees, Dogs, and Telelogs” confronts the imponderables faced on an average morning walk – the caffeine addictions, unconditional love for pets and absorption in handheld devices that sometimes seem to eclipse the love among fellow humans, encapsulated by Allison’s taut walking bass and the leader’s eloquent alto.

The mood set by Milne’s ominous, crashing chords and tolling tones, “Deep Dark” takes a plunge into profound melancholy, while “Minor Madness” leaps to the manic end of that scale, with an implicit hope that the insanity is only temporary and small in scale.

Finally, the album’s sole non-original is the unexpected choice of the Disney earworm “It’s a Small World,” whose message resonates with the theme of the album, as does the inspired arrangement in which each member gradually joins Glasser’s searching flute to form a united whole. But the choice has a more autobiographical significance as well; as a youngster taking his first trip to Disneyland, Glasser brought home a 45rpm record of the song and tried his best to sing along – largely unsuccessfully, as the story goes. “Years later my Mom told me that she had turned to my Dad and said, ‘We know one thing: he’s not going to be a musician.’ Then one day, suddenly I got it. Which is profound to me, because I’ve always been more determined and diligent than naturally gifted.”

It’s that kind of dedication and perseverance that’s not only necessary to weather the vicissitudes of the jazz world but to overcome the kind of struggles that we face now and have struggled with throughout history. Glasser hopes that the camaraderie, sharp humor and inspired artistry of Hypocrisy Democracy makes some small contribution to the cause.

“My hope is that the record will be part of a change in our culture whereby people educate themselves and think independently about the decisions that they make,” Glasser concludes. “To me, music is about listening and reacting, interacting and playing something that makes the whole thing sound good, move forward and reach people.”

Dave Glasser
Native New Yorker Dave Glasser encompasses a uniquely personal sound rooted in rich tradition. Currently the lead altoist for the Count Basie Orchestra, and a veteran of the Clark Terry quintet, the Count Basie Orchestra (under the direction of Frank Foster), Illinois Jacquet, Barry Harris and Dizzy Gillespie, Dave's music transcends genre and covers a wide range of expression while remaining connected to the roots of jazz. A faculty member at the New School for over 23 years, he is proud to have helped develop many of today’s younger jazz musicians. In gratitude to wisdom bestowed from elder musicians, he is tirelessly continuing the tradition of mentoring future musicians by remaining actively involved in sharing knowledge, inspiring, and mentoring through the aural tradition.

Dave Glasser – Hypocrisy Democracy
Here Tiz Music – Catalog Number: HTM003
Release date May 8, 2020 – Recorded June 20, 2019