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It was Sunday, September 2nd, 2006 and we were in Chicago on Labor Day weekend. Leafing through an entertainment newspaper that morning, we saw that Donald Harrison and his band were scheduled to perform at the Chicago Jazz Festival that afternoon, so we made plans and went down to check them out. 

After an opening song, Harrison, dressed in a white linen suit, introduced the band in that unmistakeable New Orleans accent of his. The drummer was John Lamkin, the pianist was Dan Kauffman and Christian Scott, Harrison’s nephew, was on trumpet. When he got to the bassplayer, who was this young woman with an exploding mane of hair, there was a substantial increase in applause–and whistles. The bassplayer was Esperanza Spalding. Harrison noted that she played in Scott’s band, but was sitting in with his band for the occasion. He also said, “You’re going to hear big things from her in the future. So remember that name.” 

I had a feeling that he was right, and everything she’s done since has only confirmed this intuition. What’s as amazing as Esperanza’s many talents, as bassist, composer, producer and all, is that she does not allow the hype, which many times gets downright silly, nor the very real milestones she’s achieved, to cloud her vision and progress as an artist.

There are folk twice her age who might not be able to handle the historic opportunity to perfom twice for a history-making President at the White House, and then again, at his Nobel Peace Prize Ceremony in Norway. But Esperanza has kept her eyes on her own prize and her latest recording, Chamber Music Society , is further proof of this fact.

I had the opportunity to meet Esperanza in February 2009 and she is as warm a person as she is talented. It’s been beautiful to watch her grace in handling her ascencion since that Chicago afternoon in August of ’06.  

If jazz has ever needed an “ambassador”, and that’s subject to debate, it could not have a better one for these times than this lovely, insanely-talented and inspiring young woman from Portland, Oregon.

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One of our favorite singers, the great Abbey Lincoln, passed away today. She was 80 years old. Ms. Lincoln was the picture of style and dignity throughout her career. She leaves us with a distinguished body of recordings. Some of our favorites were from the latter albums of her career, including the albums, You Gotta Pay The Band, A Turtle’s Dream, and Who Used To Dance, but we especially liked her Devil’s Got Your Tongue, for her rendering of “Spring Will Be A Little Late This Year“. There’s a lyric in the mournful song that reads, “You have left us and where is our April of old”. There was something about the way she sang that line which was really affecting. At this moment, that line and that song are so appropriate. Abbey has indeed left us, but she’s given us a lifetime of beautiful work for which she will never be forgotten.

The family of Abbey Lincoln has asked that all donations be directed to The Jazz Foundation of America.

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HANOI, Vietnam — For many visitors new to Hanoi’s Old Quarter, stumbling upon Minh’s Jazz Club is so unlikely it is almost as if it were fated. This section of the city is a maze of wrecked, meandering roads and narrow French colonial buildings where the streets retain the names of the wares they offer and the families who have lived there for hundreds of years. 

The location of the jazz club is an unlikely intersection of Hang Ma, where they sell spirit money and incense, and Hang May, the place to buy bamboo and rattan furniture.

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We spoke with saxophonist Walt Weiskopf on Tuesday, August 10th. You can listen to the conversation on theJazzPage’s BlogTalkRadio Channel. Check it out!

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Jim Wilke, host of the national broadcast Jazz Afterhours was our guest for a conversation on Sunday, August 8th on our BlogTalkRadio Channel. Be sure to check it out!

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Video for Esperanza Spalding’s much-anticipated Chamber Music Society release, due out on August 17th.

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Physical album sales continued to decline and digital album sales grew during the first six months of 2010, according to data released Wednesday by Nielsen SoundScan.Through the end of June, album sales (physical and digital) were down 11% overall, with 154 million units sold. Physical albums declined 17.7% (112 million sold), while digital albums rose 13.7% (42 million sold). Digital track sales were flat during the first half, with 597 million sold.

CD sales dropped 17.9% during the first six months, with more than 110 million units sold. Current CDs were off 14.7%, while catalog CDs plunged 22.1%. However, the vinyl LP continued to gain, rising 9.1% (1.3 million units sold)

Physical album sales continued to decline and digital album sales grew during the first six months of 2010, according to data released Wednesday by Nielsen SoundScan.

Through the end of June, album sales (physical and digital) were down 11% overall, with 154 million units sold. Physical albums declined 17.7% (112 million sold), while digital albums rose 13.7% (42 million sold). Digital track sales were flat during the first half, with 597 million sold.

CD sales dropped 17.9% during the first six months, with more than 110 million units sold. Current CDs were off 14.7%, while catalog CDs plunged 22.1%. However, the vinyl LP continued to gain, rising 9.1% (1.3 million units sold)

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