by Patrick Jarenwattananon

Where we're sporting the latest fashions in jazz. (Not really.)

—A John Zorn Interview: It's been sitting in my bookmarks for some time, but after Mike wrote up Tzadik Records the other day, I finally had a look at this brilliantly candid JazzTimes feature. Highlights:

—On his record label: "As the music industry crumbles before our eyes and major companies are now going belly-up and people aren't buying CDs, Tzadik is standing like a f——-g oak!"

—How he introduced Lou Reed to (now wife) Laurie Anderson in a Munich airport

—Why doesn't own a TV or read periodicals

—On being called "jazz": "And now I'll do a gig at the Marciac Jazz Festival and I'll get offstage and Wynton Marsalis will say, 'That's not jazz.' And I'll say, 'You're right! But this is the only gig I've got, man. Give me another festival and I'll play there.'"

And there's a suggested listening list at the end too worth checking out.

—In Defense Of Jazz Education: But because he's Irish, Ronan Guilfoyle spells it "defence." He does some debunking of myths about jazz education and the supposed homogeneity it produces in musicians. Now, I've seen some forgettable young musicians in my day, but I think he's on point here: the value of jazz college isn't to teach creativity, because you can't do that. The idea is to instruct students on the basics and provide a social environment in which they can collaborate and then create original works. As long as there are musicians, there will be mediocre musicians. But the cream will always rise to the top, and being made to take a few theory classes can't hurt that process. Of course, we could always wish that they taught different things in the schools, but that's nitpicking the macro argument, right?

—Jazz Is Democracy ...: But also anarchy. And fascism. And communism. So says Twenty Dollars. Frankly, I've never appreciated that "jazz is democracy" analogy in the first place. Jazz is good music. Shouldn't that be enough?

—Cecil Taylor Panel Discussion, 1964: To my previous question: apparently, not.

—Frank Teschemacher And The Tastemakers: Say it: "tesh-maker." I think we can rightfully call him a now-obscure Chicago clarinetist, though to a certain early jazz scene, he was anything but. I've listened through the Time/Life set that Frank Oteri talks about here, but I clearly didn't read the liner notes carefully enough. Apparently, HughesHugues Panassie — the first jazz discographer — called Tesch the "greatest jazz clarinetist ever" in 1934, then issued a conflicting sentiment in 1942 — "too many choppy, rough places." Thus, we are stuck again with another case of that strange modern phenomenon: the cult favorite. Anyway, see also: "the Austin High Gang."

—Apres Moi, Le Deluge: Two years ago, I lived eight blocks away from Smoke. Monday night, the club flooded. Coincidence? I think not.