I don’t mean to sound snitty or disrespectful and in fact I am a donor for the first time in 50 years, and I bought three or four sets of tickets but as a former journalist—who in fact wrote about the 10th anniversary of the stanford Jazz camp— it does still trip me out that a good story is still sometimes contorted.
I had this exact conversation with Adam Klipple my fellow Dartmouthian a wonderful organ player who was with the Will Bernard band at Lytton Plaza this week that there’s a really interesting confluence of Jim’s jazz camp, Stan Getz coming to town to dry out and Nathan Oliveira putting jazz into his paint that catalyzed Stanford incorporating jazz as an academic pursuit—for example recruiting Larry grenadier—And the camp becoming a series and a workshop etc.
I mean I spoke to Mr. Klipple 10 minutes ago on this point and we’re looking for some shows to go to together and suggested he should sit in on the jam. (He Moved to Palo Alto four years ago with wife and two kids —the kids are actually enrolled in the camp..)
It’s kind of a shibboleth but if the term “stanford Jazz camp” does not appear in the article I think the article is a bit off.
Neither Taylor Eigsti nor Josh Redman are exemplars; one was a protégé and getting professional gigs at age 8 and the other is the son of a legend—- incidentally the Shedroffs have family in Palo Alto; I’m not sure if that influenced Josh’s enrollment.
Ethan Iverson who by the way recorded a Monk program with Dayna Stephens —bass— recently in Rudy Van Gelder’s studio — told me in 2004 that he too was a SJW camper but Jim was not aware that that was the same Ethan Iverson.
I think a big part of the program is the jobs created for mid-level professionals, and people like Josh Milgrom and Ivor Holloway.
See you soon.
Yes I do have a Marta Sanchez Quintet show that conflicts with both the city of Palo Alto’s world music day, the city of Palo Alto’s Beatles cover band in the park, and an Indian jazz show at Stanford; so I’m adding three more acts to the bill and going from 12 to 9 at Lytton, sat 6/25.[in honor of George Orwell’s birthday I am double plus good producing a Sylvie Simmons concert simultaneously to the Marta Sanchez sound check Sylvie’s set includes David Bowie’s “1984” from 1974 in about 96 hours. I will 72 hours ahead of the load in put up NO PARKING signs, which is where Sylvia and Marta will park.
Mark Weiss Dba Earthwise 1994-
Former stringer Stanford Daily
While performance had
always been an important
component since the early
jam days, Nadel said it wasn’t until sometime in the late 1980s or early
1990s that the SJW’s concert series started being referred to as the
Stanford Jazz Festival.
Actually it was a camp for its first 15 or so years and then the freak coincidence of gets being on campus hanging with Nathan Oliveira led to the series being added to the camp. I know this because I interviewed Jim Nadel in 1982— my first six professional/adult years I was trained as a journalist.
I point this out every five years — although this year I also gave a donation and bought three or four sets of tickets— several of the people who have appeared in my series also teach at the jazz workshop at Stanford: Josh Milgrom, Dayna Stephens, Caroline Davis…
2011, Plastic Alto, my blog: At the event Thursday at Stanford shopping center, I button-holed Jim Nadel, the founder of the Stanford Jazz Workshop. I showed him an article I had written, from June 27, 1982 for the Stanford Daily. “Jazz in the Summer” was the headline. I had interviewed him in honor of his tenth season at what was then more of a camp than a concert series. There were jam sessions between pros and students, and they were excited about special guest instructors Lanny Morgan and Stan Getz. A public lecture by Getz — probably billed as such to avoid going through his normal booking agency fee structure — is what has evolved years later into a truly world-class schedule of 36 ticketed events this season. The festival’s new marketing director, keyboardist, writer and editor Ernie Rideout, has arranged for banners in downtown Palo Alto that proclaim “Stanford Jazz Festival: Our 40th season”. “Festival” versus “series” versus “camp” versus “workshop,” Nadel and company have accomplished a “coliseum” of jazz and jazz education, semantics and “stretchers” aside: they’re the tops! Of lamp-poles, but also of the hierarchy of jazz presenters and educators.
I have tickets to Ben Goldbergs show but might be going away that weekend its my wife’s 35th birthday.
pS heard from Thomas Pridgen a former stanford jazz camp asset who was once the youngest endorsee of a certain drum company
TIME LOVES A HAIR-o
probably doesn’t go here but my wife took two pictures of my head: