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What makes one musician able to turn out a multitude of CDs and another, tremendously talented, just a few? I'm thinking, of course, of Wynton Marsalis and Portland's own THARA MEMORY. This is not a comparison between the two trumpet players as jazz players. While no one begrudges Marsalis's talent and skill, like all very high profile artists, he has come in for his share of criticism. Well, he is very outspoken. Thara is skilled and talented also. He is his own man, even if not quoted so widely. I've always felt that biography is not important to the listener, only the composition at hand, but I know that both men share similar musical ambitions, including working in several genres. Thara Memory's JUKE MUSIC (Flying Heart FH342D), recorded in 1991 is a snapshot of two groups, The Super Band, recorded at The Hobbit (now a Walgreen's, I believe), and a studio group somewhat smaller. Tight arrangements, interesting tunes, mostly by Mr. Memory and classy sidemen make Juke Music one of the better albums of the Nineties. I went online to search DOWNBEAT Magazine's archives and found nothing on this album or artist. I tried JAZZ TIMES, but their site is still not up. But you, dear reader, can pick up a copy of this CD. Every piece is good, but you might start with STOMPIN' AT THE HOBBIT, a piece with a touch of grease featuring the Super Band, whose members included Joe Keel, keyboards, Warren Rand, Alto sax, Michael York, tenor sax, Andre St. James and Jake Kot, bass, Ron Steen and Greg Fisher, drums, and Curtis Craft, congas. SHABA is an exciting piece, as is the title song. Actually, I like every piece on the album. Thara's sense of fun and humor surface often. I wonder if that scares some people. Ever since bop became established on the jazz scene, only Dizzy Gillespie seems to have been able to keep high humor in jazz. The other group, recorded in the studio, on this recording consisted of Warren Rand, Michael York, George Michael, Hammond B3, Gordon Lee, piano, Andre St James, and Ron Steen. Jazz, makes up a minuscule part of CD sales. Most talented men and women cannot make a living from their chosen field. Alas,culture, like music and specifically, Jazz are conditioned by economic realities. The big bands nearly disappeared because it became too expensive to tour with a large group for many years. Two things need to be done to make a change in this dangerous condition: buy as many CDs as you can afford and turn on as many kids to jazz as you possibly can. The latter doesn't cost, so be brave and go for it.
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