Rabbit Holes

New recordings of Julius Eastman compositions aren't as rare as they were a decade ago. Eastman's profile has grown with each repetition of his story, which seems to become more dramatic with each iteration. Trained at the Curtis Institute of Music; worked with Peter Maxwell Davies, Meredith Monk, and Petr Kotik; composed significant works often for instrument multiples (four pianos, 10 cellos); then drugs, homelessness, and dying alone in a hospital at the age of 49. A recent resurrection has brought new recordings, new research, and new visibility. An exciting recent realization of his 1974 composition Femenine, recorded jointly by Talea Ensemble and Harlem Chamber Players, offers fresh perspective. It led me to listen to some older releases, some with the composer himself performing.

The best Christmas gift in history was George Bailey being shown what the world would be like without his being born, courtesy of Angel Second Class Clarence, in the classic 1946 film It's a Wonderful Life. More recently, and in the real world, the best gift ever was the release of pianist Les McCann's Never a Dull Moment! (Live from Coast to Coast 1966–1967) a few weeks before Christmas 2023 and less than a month before his death at 88, on three vinyl LPs.

That title must have gotten your attention. Not the part about Art Pepper but the part about the CD. Nobody has anything good to say about the compact disc anymore. CD sales suck. Streaming and downloads rule the world. Vinyl (an album format that warps, scratches, and has to be flipped every 22 minutes) now outsells CDs.

But the CD still deserves a place in your heart. One reason: box sets. Many of them are worthy of coveting. For example, there is an amazing new project on the Omnivore label, Art Pepper's The Complete Maiden Voyage Recordings. It contains eight hours and 20 minutes of music on seven CDs. Collections that large do not lend themselves to LPs.

Something has happened in jazz culture in the new millennium. There is more emphasis on original composition than ever before. There has been remarkably little discussion and analysis of this phenomenon, perhaps because many assume it is a positive development. Jazz, after all, prioritizes originality.

There is a counterargument. It goes like this: Jazz today is vital and dynamic because great players keep popping up, all over the world. Very few of those great players are also great composers. Yet they apparently feel obliged to be. A large proportion of new jazz albums contain all or mostly originals.

FLASH! Record Business Conquers Death! Musicians Live Forever! There is life after death in the world of recorded music. Elvis left the building 46 years ago. Jimi Hendrix has been absent for 53 years. Yet both continue to release albums of unreleased material. Bob Dylan, Neil Young, and Bruce Springsteen wisely recorded much of their music throughout their careers, live and in the studio; they'll continue to release "new" music long after they pass.

Keeping fans satisfied but also looking forward is an effective marketing tool, one that Ernst Mikael Jørgensen, the guru of all things Elvis, has mastered. His latest project is the six-CD box set Elvis On Tour, which is connected to the 50th anniversary of Presley's 1972 US tour and the rerelease of the MGM documentary/concert film of the same name, a Blu-ray of which is also included.

The year 1965 was turbulent, pivotal, and consequential. LBJ sent soldiers to the Dominican Republic, stepped into Vietnam with both feet, and signed laws expanding voting rights and creating Medicare and Medicaid. Antiwar protests gathered steam, Bob Dylan went electric, the Beatles played Shea Stadium, Sandy Koufax pitched a perfect game, and pioneering DJ Alan Freed died.