Hi listeners-- I know it's been a while with no updates. Unfortunately I haven't been performing nearly as often as I'd like lately (an Obama fundraiser here, a street fair there), and with the recent closing of two more San Francisco jazz venues (Jazz at Pearl's and the Octavia Lounge), prospects don't seem encouraging. Pearl's was an especially tough blow, as it was home to the Contemporary Jazz Orchestra, which I really enjoyed playing with once or twice a month. But no excuses, we musicians just have to get out there and find new places to play.In this month's JazzTimes and in a post on his blog, the great jazz writer Marc Myers takes a critical look at the cult of adoration surrounding Miles Davis' Kind of Blue (1959), which has been widely hailed as the greatest (or at least most essential) jazz album of all time. The post is definitely worth a read, as it places the album in the context of its time and looks at factors (on both the musical and the marketing sides) which contributed to its lofty stature.

After mulling the post over for a few days and seeing Marc accused of being a "reactionary nitpicker," I left the following comment which sums up my feelings about Kind of Blue, and why, for once, I agree with the "conventional wisdom":

I know Marc ISN'T a reactionary nit-picker, so I took this post as a legitimate question, and one that deserves to be asked periodically of any canonical artwork.Aside from the question of whether KoB can be separated from its reputation, as I thought about this post I realized the more difficult task for me was separating it from my memories of the record. Although I'd grown up hearing my dad's copies of the Miles/Gil Evans compilations, KoB was the first jazz CD I bought myself, mainly because of its rep (and despite the cheesy cover the first Columbia CD issue featured). My first listen to it was a sort of rubicon, and maybe because of its reputation, I listened to it with a focus I'd never given any other album. It was moody without being somber; bluesy without being corny; intelligent without being effete; virtuosic without being cold.And even though over the years I've come to see it in the continuum of Miles' output (and jazz history in general), it still remains above and beyond for me because of that near-religious response I initially had to it, and which has stuck with me.The other records mentioned are great, too, but I hear them as great jazz albums, whereas KoB still feels like the Gutenberg bible (even if I hear it in Starbucks). How much of that is due to the hype-based expectations of a teenager, it's hard to say--but I'd still rather take it to a desert island than any other jazz record.

I also read an interesting post by the excellent New York jazz writer Howard Mandel talking about his visit to Berklee College of Music and the incredible number of young musicians still dedicating themselves to jazz even as the market dwindles. It reminded me of my student days, and I left the following comment:

I've often wondered whether it would've been helpful for someone to clue me in to the incredible imbalance of supply and demand in the jazz world when I was going into a mountain of debt to finance my jazz education at the New School... (I think I remember my roommate at the time telling me that the average starting salary of a Parsons design grad was over $50,000, and thinking that the average starting salary of a New School Jazz grad would be tips and a beer.) However, I probably wouldn't have listened if they had, since I was young and invincible and little things (like the fact that there seem to be more people making jazz than listening to it) couldn't faze me.

Howard nicely responded with this note: "... I don't mean to dissuade anyone from studying jazz; as you write the power of jazz to attract the young and invincible is stronger than financial considerations for them. Those of us involved in the music though ought to look at our society clearly, and consider how to work with the gap between what we're called to do and how we can live. This is what jazz musicians have done since the get-go. I think such reality-checks strengthen the musician and the music. Who said it was gonna be easy?" Damn straight.

Joe Cohen, Me, and Noel Jewkes with 8LM. Photo from Baytaper.com.

Hello, listeners, and a happy summertime to you all. I wanted to share two things with you: the first is that the great local music website Baytaper.com has posted photos and audio recordings from last months 8 Legged Monster show at Club Deluxe. The band featured local luminaries such as Noel Jewkes, Rob Barics, Vince Lateano, and others, and I really enjoyed playing with them. There's also a guest appearance by local trumpet phenom Mike Olmos, who stopped by and sat in on a tune written especially for him by bandleader Mike Irwin Johnson. So swing by Baytaper and check it out (and be sure to browse their extensive library of recordings of other fine local musicians).

Secondly, I promised to put up some recordings from my April Quintet show at Anna's in Berkeley for those who weren't able to attend. The band was smokin' (if I may say so), and we played some interesting new (or new to us, anyway) material. So here are two tracks for your (absolutely free) enjoyment--if you like what you hear, please consider buying our CD (if you haven't already).

• Sink/Swim (I. Carey): The title track from our CD, in maybe the best live version we've done.
• Sockdolager (I. Carey): A disjointed minor blues in 6/4 time, which I wrote in NYC years ago but updated for this group. Personnel on both tracks: myself on trumpet; Evan Francis, alto saxophone; Matt Clark, piano; Kurt Kotheimer, bass; Tim Bulkley, drums. Recorded live, 4/23/08.

The Quintet @ Anna's. Click for more photos.

First, I want to thank everyone who came out to our show at Anna's last week; it's very gratifying to play in front of a knowledgeable and passionate jazz crowd. I made a bootleg of the gig which came out pretty well, so check back soon for some live mp3s for your downloading pleasure.

Next, I have two shows coming up in the next couple of weeks that I wanted to tell you about--the first is this Wednesday, May 7th, when I'll be playing with 8 Legged Monster, a 9-piece all-star group of Bay Area bebop warriors focused on "the excitement of densely arranged small group big-band with a nod to tradition that still brings new life to the genre through exploration." The band has been making some serious noise locally since their founding last year, and I'm excited to be playing with them for the first time. It's going to be loud and raucous and swinging, so I encourage you to come out and support this big little band.

WHAT: 8 Legged Monster
WHO: Michael Irwin Johnson, guitar and arrangements; Noel Jewkes, tenor sax; Rob Barics, clarinet; Joe Cohen, alto sax; Tom Griesser, baritone sax; Ian Carey, trumpet; Joel Behrman, trombone; Eric Markowitz, bass; and Vince Lateano, drums
WHEN: Wednesday, May 7th, 10pm
WHERE: Club Deluxe, 1511 Haight St., San Francisco; Phone: (415) 552-6949
HOW MUCH: $10

You also may have heard that the North Beach landmark Jazz at Pearl's was closing, and then not closing, this month; word is that at the last minute, the club found a new owner, but will be continuing in the same tradition--and most importantly, keeping its two resident big bands. So I'll be doing my part to help celebrate the new start by playing a week from Monday (May 12th) with the 14-years-and-going-strong Contemporary Jazz Orchestra. So stop by for some thundering big band sounds.

WHAT: The Contemporary Jazz Orchestra, directed by Tod Dickow
WHEN: Monday, May 12th, 8pm & 10pm
WHERE: Jazz at Pearl's, 256 Columbus Ave., San Francisco; Phone: (415) 291-8255
HOW MUCH: $15

Hello Listeners:

I'd like to invite you to come out to Anna's Jazz Island in Berkeley next Wednesday night for the first appearance of my quintet this year.

We're going to be doing a bunch of new material, including some hot-off-the-press originals, along with rarities from Keith Jarrett, Ornette Coleman, Steve Lacy, and other groovy composers. We just rehearsed yesterday, and I must modestly say that the band is smokin' (as the young folks say).

Please feel free to pass on this information to anyone you know who also likes good music (or jazz islands).

WHAT: The Ian Carey Quintet
WHO: Ian Carey, trumpet & flugelhorn; Evan Francis, alto saxophone & flute; Matt Clark, piano; Kurt Kotheimer, bass; and special guest (direct from New York) Tim Bulkley, drums
WHEN: Wednesday, April 23, 8-11:30pm
WHERE: Anna's Jazz Island, 2120 Allston Way, Berkeley (tel: 510-841-JAZZ)
HOW MUCH: Just $8

Last week Linda and I decided celebrate the home stretch of my sabbatical and her spring break by taking a short trip up to Portland, Oregon (where she lived for a year or so after college). Although we were really only looking to explore and eat some delicious food, the trip wound up having some real musical highlights for me, as well.

I didn't know any musicians up there beforehand, but since I had heard there were some great players in town, we dug through the newspaper listings and were lucky enough to find a jam session the first night we were there. It was hosted by the great local drummer Ron Steen, and was at a cool little pub called Produce Row. They were nice enough to let me play quite a bit and hear some fine local players like bassists Scott Steed (formerly of the Bay Area) and Lea Ball, among many others.

Kate Davis & I with Ron Steen at Wilf's. More photos here.

Ron also kindly invited me to come by and sit in at his gig two days later at Wilf's, which is in the classic Union Station building downtown (with its flashing "GO BY TRAIN" sign). Also playing were pianist Dan Gaynor, who was a great soloist with a really nice touch, and 17-year-old phenom Kate Davis on bass and vocals, who will definitely be famous before long.

Another definite high point of the trip was my visit to the Monette trumpet and mouthpiece factory, where Dave Monette and his staff have been quietly revolutionizing the brass instrument business for the past few decades. First, Dean Comley treated me to a fascinating tour of the shop, where they make every part of their instruments and mouthpieces, "except for the rubber rings on top of the valve casings." They were just finishing a prototype of a new, hybrid instrument for Ron Miles (it looked a little like a larger, shorter trumpet, and was pitched in G!), which one of the employees demonstrated--it had a great, resonant sound.

Once we finished the tour, Dave Monette himself came in and gave me an impromptu clinic on the concepts behind his mouthpieces--perhaps the most crucial point being that standard trumpet mouthpieces were originally sized for trumpets in the key of A, and are therefore too long to "slot" correctly over the range of the instrument without requiring the player to make body adjustments which introduce unhelpful tension and effort. He asked me to a) play notes over three octaves with my old mouthpiece and posture, then b) had me repeat them with my tuning slide pulled out until my horn was in the key of A, then c) pushed the slide back in, and had me repeat them again with a Monette mouthpiece and the posture and breathing adjustments he suggested. The results won me over immediately.

After that, all that remained was for Dean to very patiently hand me a long succession of mouthpieces while we looked for the right combination of comfort, sound, range, and flexibility--a process which made me pity the captive audience of guys working in the shop, but which finally helped me find "the one," which I fortunately settled on with just enough time left for the short drive to the airport and to make our flight home. (And although I was expecting an "adjustment period," I used the new mouthpiece on Ben Stolorow's CD release party gig, and it felt great.) For any trumpeters visiting the Portland area, I highly recommend a making an appointment to visit to the shop, even if you're not a current customer of theirs. But I warn you, you may walk out a believer.

Finally, I should mention another great thing for musicians about Portland--its wide variety of used record stores. I made it to just a handful, and came home with way too many new (used) albums and CDs--all reasonably priced, and (most importantly) sales tax-free. My favorite of those I visited was the funereally named Vinyl Resting Place, way out in the North part of town. Fortunately my stack of finds (including Jimmy Rowles, Charles Lloyd with Keith Jarrett, Gerry Mulligan and Lee Konitz, Toots Theilmans with Joanne Brackeen, Paul Motian, etc.) wasn't quite heavy enough to push the suitcase over the limit--but it was close.

Hi Listeners, and apologies for the long break in posting here. I'm currently in the middle of a 3-month sabbatical and have been hard at work in "the shed," practicing, listening, and working on new music for my group. (More about that in a moment.) But I'm breaking my radio silence to let you know about two shows coming up in April, both of which I'm pretty excited about.

The first is the release show for a new album by the great local pianist Ben Stolorow called I'll Be Over Here (click to sample or purchase). Ben was nice enough to ask me to do the design for the CD, and then even nicer enough to ask me to sit in with his trio during the second part of the release show. Here's the details:

WHAT: Ben Stolorow Trio CD Release Show
WHO: Ben Stolorow, piano; Greg Germain, drums; Ravi Abcarian, bass; + Ian Carey, trumpet & other special guests
WHEN: Friday, April 11, 8-11:30pm
WHERE: Anna's Jazz Island, 2120 Allston Way, Berkeley (tel: 510-841-JAZZ)
HOW MUCH: $12 (there will also be a special one-night-only supercheap price of $5 for the CD!)

Next, I'm excited to announce the first Bay Area show for the Ian Carey Quintet in many moons. We're going to be playing Anna's in Berkeley (a few weeks after Ben's previously mentioned show). Although Fred, Adam, and Jon (of the original ICQ) are unable to make it, I've put together a heavy-hitting group of all-stars (each of whom has played my music before) to take up the torch--and of course the inimitable Evan Francis will be holding down his usual role as saxophonist/flautist and general inspiration machine. We'll be playing highlights from the Quintet book, as well as plenty of new compositions and arrangements (including tunes by Keith Jarrett, Andrew Hill, Adam Shulman, and Ornette Coleman), hot off the presses for the event. Here's the scoop:

WHAT: The Ian Carey Quintet
WHO: Ian Carey, trumpet & flugelhorn; Evan Francis, alto saxophone & flute; Matt Clark, piano; Kurt Kotheimer, bass; and special guest (direct from New York) Tim Bulkley, drums
WHEN: Wednesday, April 23, 8-11:30pm
WHERE: Anna's Jazz Island, 2120 Allston Way, Berkeley (tel: 510-841-JAZZ)
HOW MUCH: $8 (Wednesday cheap!)

Finally, here's some video from an impromptu show last week at the Parc 55, where I filled in for Betty Fu while she recuperated from a little under-the-weatherness. It features me, Noah Shencker on bass, Adam Shulman on piano (unfortunately out of the frame) and the favorite improvising vocalist of everyone I know, Lorin Benedict on the microphone. The tune is "Just You..." Enjoy!