LATEST ADDITIONS

Lots of great poll questions have been submitted and we'll start working through them. Here's the first one: Have you studied music? Do you play music yourself?

Herman Leonard’s first New York show in 20 years got underway last week at the Morrison Hotel Gallery in SoHo. It’s open to the public every day until June 1, and anyone with a taste for classic jazz, gorgeous black-and-white photography, or both should take a look. If you don’t know Leonard’s name, you probably know him by his work. He has taken some of the most iconic shots of Sarah Vaughan, Billie Holiday, Miles Davis, Louis Armstrong, Dexter Gordon, Duke Ellington, Frank Sinatra, Ella Fitzgerald, Charlie Parker, Dizzy Gillespie, Art Blakey, Thelonious Monk—the list goes on. There are, or were, half-a-dozen great jazz photographers covering the same era of the late 1940s through early ‘60s, but Leonard was the genre’s Cartier-Bresson—a genius at capturing the “decisive moment,” when the essence of the man or woman and the music are revealed. Monk at Minton’s Playhouse, one hand on his chain, contemplative, the other hitting just the right-wrong note on the piano (you can almost hear it). Blakey beaming with delight as he bangs out a solo on his trapset. Sinatra, back to the camera, singing before the kliegs, and still, somehow, his very tone comes through. Leonard (who, at 85, is still hearty and good-humored) also captured the human side of jazz: Parker and Gillespie cracking laughs during a studio break; Ellington and Strayhorn sharing a cigarette break; Miles, late in life, fixated on an oil painting; Dexter, in perhaps Leonard’s most famous shot, sitting with his tenor and blowing more smoke than one would have thought human lungs could hold. The lighting is dreamy but not at all soft; these pictures are amazingly sharp, printed on gelatin silver. They’re signed and for sale. I own one of his prints (the Parker-Gillespie, from 1949). A jazz critic gets paid in Leonard photos for one of his regular columns. They are sources of endless pleasure, and they’re probably as safe an investment as any in the art world.

Try this:

My interest in New York City salsa and Cuban son was fueled in part by <a href="http://www.descarga.com/cgi-bin/db/catalog?adYB2HaU;;654">Descarga.com<…;, an impressive resource for all things Afro-Latin. The Spanish word "descarga" means <i>to unload</i>, but, in musical terms, is Cuban slang for a hot and riotous jam session. You'd often hear about guys getting together in the streets or on the beach for a wild, time-stopping <i>descarga</i>. Providing in-depth interviews with musicians and producers, well-informed think pieces, hard-hitting reviews, and tons and tons of great music, Descarga.com is a great destination for music lovers.

It drives me nuts when people, some of them intelligent and not prone to idiotic statements, say things to me like a colleague did the other day: "Do you ever hear a good record anymore?"

I just received my $600 from President Bush. I feel suddenly rich. Who said money doesn't grow on trees? In order to do my part in stimulating this dismal economy, I've decided to purchase a few phono accessories. (Yes, I will also be buying more records. Duh.) Wee!

Recent CD purchases that I need to buy all over again on vinyl, in alphabetical order (obviously):