Jazz Fest West is Coming Back

You may or may not have read about it when it went under in this post.

Well, kids, it’s back. 

Here’s the thing. I’m actually pretty happy that Omega has decided to give the fest another shot. Why? Because in light of the unbridled fiasco that was BTW Concerts, we definitely need more events. I don’t know very much about the way Omega Events operates, but I have received pretty good reports. My quibbles with their lineups aside – the whole jazz/R&B commingling – I’ve yet to hear anything about Omega that was overall disconcerting. No one got sold tickets for seats that didn’t exist, and so on. Artists are treated decently. The only quibble I hear about most commonly is that it’s outside on the hottest days in Cali – but then again, I’ve gotten roasted to a fine crisp in late May in Newport Beach before, so I’ll take it as par for the course.

After the fiasco that was the Arizona Jazz Fest collapse, we need to have more music in the West/Southwest area. There is a void in the market that was left by the collapse of AZ and the hiatus – I guess we can call it – of JFW.

My one concern is this: who will be on the lineup of Jazz Fest West?

The reason it didn’t happen that time was because of lousy ticket sales. Considering Robin Thicke was the headliner – gimme a damn break, seriously? He is not jazz! – I’m not surprised at all. I have seen the Omega festivals take a decidedly jazzier slant as of 2015, though, and have hopes that there will be a good representation of jazz artists in their comeback lineup.

But I really cannot say this enough: JFW and all of the West Coast events need to give new artists adequate representation. We all know Boney James puts butts into seats. We know. And we love him, here on the East Coast too. But there needs to be a little room for the new artists as well. You can’t expect a genre to survive if you’re recycling the same lineup over and over again. This is what made radio stations lose listeners after Broadcast Architecture had its way; there’s absolutely no need to have the same thing happen with festival lineups.

Berks is a great example. Yes, there’s a ton of established artists, but the locals definitely get their bite at the apple as well. The new kids get their bite too. There’s no losing lineup at Berks. Yes, sometimes they have a soul artist or two, but it is a 90% jazz festival and upholds the genre title. But above all – it. allows. new. artists. in.

And the West Coast events need to take a page out of the Berks book in that respect. Spaghettini’s cannot be the only stage where artists like David P. Stevens and Phil Denny get in front of the West Coast audience.

You can’t expect a genre to get new audiences without new artists. Nor can you expect it to retain its current audience without variety. Stagnation doesn’t work for any genre, and a genre as dynamic as jazz cannot be allowed to stagnate.

Speaking of BTW/Arizona Jazz Fest, there are some news on that respect too, but that’s for a separate blog post.


The Lessons of the Recent Events in AZ.

Once again, my apologies: I cannot make a post as of yet as to what happened with the Arizona Jazz Fest. I am privy to a fair bit of info, but seeing as there are still things coming into play, on account that it is all still incomplete, I am keeping mum. Also, I am keeping mum until I have a more concrete idea of how to present it. The last thing I want is to sound off prematurely.

I have, however, gathered all the news articles that touch on this subject in one place, and here they are:

First news article: http://www.abc15.com/news/region-northeast-valley/scottsdale/canceled-arizona-jazz-festival-leaves-concert-goers-confused-and-without-their-money

And more about this from other news outlets:

From PhxSoul
From AZCentral

And from ABC15, again.

From Phoenix New Times, complete with BTW’s response.

What I recommend is 1. read the articles and 2. read the comments. I always find that comments are generally very revealing as to where things stand.

My opinion on them making an all-R&B lineup with only a tiny smattering of jazz artists and calling it a jazz festival is going to be put aside here – it’s another rant for another day.

The one thing I can tell you is that, if the comments are of note, filing a bank/credit card dispute has proved to be a good way of getting your money back. If you have not done so, do. I also advise, very strongly, talking to Mitchell Allee at the AZ Attorney General’s office, or filing online at http://www.azag.gov.

That all said, there is a lesson to be had from this:

Fans: ALWAYS! research who puts on your shows – and I don’t mean the artist lineup.

First of all, let me be clear about this: what happened was not your fault, and nor will it ever be. Whether BTW really was a victim of fraud or not, it is still not. your. fault.

But in light of this, I think knowing who’s putting on the shows should become a factor in your decision to attend an event.

I know, I know: you see a great lineup, you get excited and you want to go and have a great time. Believe you me: I get it. However, you really want to do your due diligence as a consumer and find out about who is taking your money. The old saying is an ounce of prevention is worth a pound of cure. Believe me when I say it’s more than applicable in the world of music. Spend ten minutes on Google, look up reviews. It’s not much, but it’s something.

Among the people who have contacted me looking for help in sorting out what happened in Arizona, more than one person said that had they known that BTW also bungled the Maxwell and the Seven Seas cruise, they’d have never given them a cent for AZ. This is an example of the due diligence that needs to be done, and that is precisely why I wrote the post about that cruise. In light of that particular fiasco, I also found out about the Kem New Year’s Eve show that BTW was putting on some years ago, that they suddenly canceled on short notice as well. What the fallout was from that, I don’t know, but already, there has been enough in the air about BTW over the years that even if I never found out about Kem, or even if they didn’t bungle anything, they would not have received a penny of my money. Money isn’t so plentiful that we can afford to put it into unscrupulous ventures, and if we invest it in a show – yes, music events are an investment in a sense – then we need to be sure that we are going to get a good return on it.

Yes, I have had the good fortune to work with and befriend a fair few musicians, who told me a fair few things. But – the former attendees talked as well. A lot. People who attended the show and did not have a good experience told me of what happened to them, and the stories range from ridiculous to enraging. This is the sort of research that’s necessary, and though you may say word of mouth may not be the most reliable reflection of a business, when it comes to music events and concert promotion, it’s the first, if not the only, reference.

And, like it as not, reputation is the most important factor of a promoter. In a business like music, where sometimes reputation is the only thing one can go on insofar as attendance, whether or not to work with that production, etc, it’s crucial to research it. And in my experience, most people whom you ask are willing to give you the answers you need. It’s A-OK to ask questions.

The other thing is, a lot of information is publicly available. Corporate registration is public record in Arizona, as well as a lot of other states. And it will help you unearth some crucial information.

For example, let’s take BTW’s ticket processor, Alternatix. Most people don’t think twice about the ticket processor. Take a good look at the ownership on the Arizona corporate registry – it’s public and free to access – and you will find that the owner of Alternatix and BTW Concerts is one and the same. Ordinarily, things like these are what people either overlook or not think about in the slightest. And you know, with a majority of shows, you don’t stop to think about the ticket processing. But what would that mean when the show doesn’t go on? The first impulse would be to contact whoever processed the sale; the ticket agent. And if they’re owned by the same person who folded the event?

It’s important to research who puts on the show, and what the details are. It may seem like extra time, but truly: it prevents a lot of headaches if you do a little digging.

What really got to me, though, is that some people didn’t know about the event cancellation until they came to Arizona. Yes, the news outlets ran with the story well before the scheduled event date, but I’d bet you that coverage was localized to AZ, and possibly CA, and the reason it spread is because of the social media response. Some people didn’t find out until others told them. But imagine getting on a plane, spending money for a hotel, going to the venue, only to find out it’s a no-go?  I would be enraged. From what ticketholders of the fest told me, BTW did email them about the cancellation, but they have done so only after the media (ABC, etc.) have picked up the story and ran with it.

Now, here’s another part to this, and I am likely going to earn some consternation, but this needs to be said:

Musicians: note how the fans are treated at your gigs.

And believe me, I know your situation as well. This is a tough time for jazz all around. This is a tough time for live shows. The music industry has been turned upside down the past fifteen years, and I know: you all have families. You have dinners to put on the table. You have records to produce. Bills to pay. I know that you need to make money as much as anyone else does, and far be it from me to ever tell you to turn down one gig or another.


You also may not realize just how much power you have insofar as dictating your treatment, as well as the treatment of your fans.

I know you love your fans. Believe me. Otherwise, I know you wouldn’t do business with unscrupulous individuals. I know you guys, and I know you well. I’ve seen you take charge behind the scenes, and I’ve also seen the treatment that you had to put up with over time. It’s not all roses. The fact that you’re doing this for the fans is very commendable. I would not be able to do what you do, because my built-in bullshit meter would not survive. I take my hat off to you.

However, you need to be mindful of this: you have a lot of power when it comes to how your fans are treated at your gigs. And I mean a lot. If you have someone offering you a gig and you know that person doesn’t do right by the ticketholders, you will not have anywhere near as much of a turnout as you would if you take a gig with a smaller, perhaps unknown promoter, but one who has dotted every I and crossed every T on the contract. Why? Because if your fans, no matter how longtime, have been mistreated at a show before, they will not come back if they know it’s the same promoter. What does that do, ultimately, to your fan base?

Do you know how many of the people who love you utterly refuse to attend shows by certain promoters? The number would surprise you. And if people actually did their research about who puts on these events, you know that they won’t come to where they know people got burned.

Think on it as an even exchange of support. Your fans will come to any show you put on if they’re in town, and/or travel for it if it’s so possible. And I promise you this: your fan base will, without fail, rally behind you if you are burned in any way. If you are ever treated unscrupulously, your fans will make their displeasure known, and most crucially, they will not attend the shows put on by anyone unscrupulous. Their money ultimately talks. If they are mistreated, their money will talk the same way. It is in your best interests to look after your fans, and believe it or not, you and your management team hold a lot of power in whether or not your fans are treated well. Does it mean turn down a gig? Maybe, maybe not. That’s up to you, and I won’t dictate that – ever. But know that the promoters and the fans are well aware that without you, there is no show. That? Means power. Wield this power and wield it well.

My thing is this: research and reference is more than an expense category: it is an extremely necessary thing to do for the concert-goer and, if so applicable, to the artists as well. If I want to attend an event, I always ask: who is putting it on? What have their shows been like in the past? Done well? Attended well? What do the people say? And I ask. And if I know that someone didn’t get their dues, or wasn’t treated right, then I don’t attend. Not because I don’t want to see the artists, but simply because I know, and you know, and anyone else will tell you: no language in any market speaks louder than money. I will not buy tickets because I will not have a penny of my hard-earned cash go to anyone who will not do right by my people.

Likewise with my work. I photograph at a lot! of shows. A. Lot. And if I do not like the way an artist of mine has been treated, or if I know people had bad experiences, I would definitely think twice before inquiring about a photographer position. Yes, you can argue this limits my business. But you know something? There’s a certain caliber of people I prefer working with, and that caliber is reputable. I don’t want to take just any gig, shoot just any show. I want to work with people who will treat others well.

Far as the AZ jazz fest – still discovering more. I will do a comprehensive post once I actually have a clear picture and concrete evidence to back me up. If, however, I will find that posting the details will make for a dangerous liability, then I will let you know as such.

As usual, thanks for reading – and sarcastic social commentary too will resume. After all, it’s NaNoWriMo, and I am nose-deep in photo processing. Simultaneously. Busy girl is busy.


For Jeff. For Us.

Now I’m home. It’s a new year, and I’m waking up and thinking that if this is the way the year started, then it’s twice as important to make it count.

It’s still difficult to believe. Still tough to absorb that Jeff is gone, that the sound of his guitar is now limited to Youtube videos, CDs, radio stations – whichever ones are left – and our own memories. I will miss that smile. I’ll miss the conversation after a gig.

But it’s a strong reminder to us that tomorrow is not a promise. That our friends aren’t always going to be there with us. It’s a reminder to take care of our own, to always tell them you love them, to always see that show, make that trip work, to just be there – because there may not be a next time.

There is a show at BB King’s. It was originally planned as a fundraiser, and it still remains as such, but now it’s a tribute show as well. And I ask you, especially my readers from the opposite coast, to please board a flight for this show. I know how expensive travel is, but if you are a jazz fan, if you were a friend of Jeff’s, I think it’s hugely important that you are there for this show. It is for the family, and for Jeff himself. This is to make sure that his family will not be bankrupted by Jeff’s medical expenses, and to pay homage to one of the finest musicians jazz had to offer.

Tickets are here: http://www.bbkingblues.com/bio.php?id=4955

It’s an all-star lineup.

But most importantly, it’s for Jeff. And for us. This is for us to remember a great person and musician, and to remember that tomorrow is not always promised, and that we owe it to ourselves – and to Jeff too – to keep going, keep listening, and thrive. It’s important to live – really live – and to drink in the small moments.

We love you, Jeff. We miss you.

I’ll see you guys at the gig.


In Memoriam: Ricky Lawson

There have been originally premature reports on Facebook. But now…it’s true. Ricky Lawson has, in fact, passed away, after a period of time on life support following an aneurysm.

RadioFacts article linked here. Confirmation also received previously from people close to the family.

What can I say about Ricky that you’ve not already known? His work with the Yellowjackets? Whitney Houston? The Funk Brothers? The Pointer Sisters? His resume speaks for itself, certainly, but if you’ve known Ricky, or met him all of once, you’d always remember that smile. It was infectious. He was warm, open, and had the gift of making anyone at ease. You forget his resume and think of him as a member of your family.

He was family to a lot of us. And he always took time with new musicians and projects. You may have seen him as part of the Groove Messengers over the summer, with Will Donato and JJ Sansaverino.

I can only say that I wish I had seen him more often. But that’s part and parcel about being on opposite coasts. His energy and smile will be missed by all. But he remains with us, and lives on with his music and in people whom he had inspired along the way.

In Memoriam, friend. The jam session in the sky just got a lot groovier with you there.  It’s a bittersweet Christmas Eve today.


PS: In light of the premature reports on FB last week, I would also like to ask this of my readers: please wait until there’s a verified source before posting a memoriam. All the premature reports have put a lot of people through the emotional meat grinder, and I cannot even think about what this has done to his family. Please wait until there’s an obituary, or someone who has been in the hospital with the person has confirmed. Originally, I have put up a Facebook memoriam myself last week, and that’s on me. I should’ve known better than to do so without verification.

Let’s all hug our friends a little closer this Christmas, and my sole resolution for the coming year is thus: to see as much of my music family as I possibly can. This has been a tough year for loss, and we’ve lost too many dynamic, talented, amazing people already. I will certainly hug my music family a little closer at each gig I shoot…

CD Review: Marqueal R. Jordan’s Catalyst

CatalystI will preface this review by saying that while yes, Marqueal is a longtime friend thanks to Capital Jazz Cruises, you guys should know by now that knowing me doesn’t give anyone any special perks. In fact, if I know someone, then they’ll have double the pressure to prove their moxie and merit. I do not do favors for folks I know; I double down on them more than I would on complete strangers.  If they’re friends of mine, they know they need to stand to merit.

That said…

Marqueal Jordan’s debut album is interesting, and titled quite aptly. The definition of the term is agent of change, and if you’ve ever taken chemistry, then you can apply this to music. Indeed, Catalyst is an album that will change the way you see a person.

Chicago local sax slinger and vocalist Marqueal Jordan is no stranger to changes, and nor is he a stranger to versatility. You see him on the tenor sax, and you hear him sing, and usually you catch him on tour with Brian Culbertson. But pop this CD into your audio device of choice and you suddenly see him in a new light. The tenor sax takes on a whole variety of flavors between 2am and Maracas Beach, which push at a more straight-ahead flavor, and Chillin’ with MJ, in which Jordan calls on Chris “Big Dog” Davis and stews the same tenor sax in a sauceful of R&B. Between the Sheets is an immediate introduction to Marqueal as a vocalist independent of anyone else’s show, and while I know his voice well, something about the way he sounds is interesting. Engaging, easygoing. Somewhat reminiscent of Dwele. Featuring Brian Culbertson on When You Smile, Jordan firmly crosses into the R&B boundary, and does so in such a way in conjunction with the rest of the tracks on the album that you will not only not notice the shift but want more of it.

Whether or not the listener gets that, I won’t tell you. You just have to find out on your own.

A catalyst indeed: a catalyst for mixing genres, lyrical style on both vocals and tenor saxophone, a catalyst for propelling Marqueal Jordan out of the sidelines and firmly into a spotlight all his own  – any way you slice it this album is something you need to hear if . If you like your Euge Groove, if you like your Dwele, if you like Brian Culbertson, and don’t mind a Stanley Turrentine-gone-modern flavor to your instrumentals, then you need to pick up a copy of Catalyst  by Marqueal Jordan. Right away, if not yesterday.

Amazon link: http://amzn.to/1bx4SAW

Also on iTunes and CD Baby.

On the NY Times Smooth Jazz Article

Finally, they got it right

While I have my own qualms with the usage of smooth jazz and other things in it – NY Times, I love your article, but please don’t lump Kenny G in with contemporary jazz, huh? That’s not winning brownie points. – the article highlights what people like myself have been saying for years: the genre is far from dead. It’s still there. It still has a loyal and growing following. It still has new, exciting material waiting to be heard. It’s just not mainstream since the great radio shutdown. 

The article highlights the Spirit Cruise series here in NYC as well as the Smooth Jazz Cruise experience by Michael Lazaroff as examples of the new ways that the genre can reach the audience. Possibly so, but the best way to reach the audience is actually online. Really, look on the ‘net. There’s as many radio stations broadcasting contemporary jazz as there are stars in the sky right now, and that’s per country. The cruises are, honestly, less the new way to reach and more the experience for those who are there.

Let’s be realistic for a second. People who aren’t into jazz in the first place are not likely to wake up one day and say, “Hey, I’ll kill several thousand dollars on a jazz cruise as my vacation!” That’s hardly realistic. Sure, there will be folks who would love a theme cruise, but they won’t choose jazz unless they know what the artists sound like already. It’s just not the sort of a thing that one jumps into with both feet without first dipping a toe into the water. People who go to the concerts – such as the Spirit Cruises, per se – are that much more likely to get aboard the big ships because they already know what to expect. Folks who don’t set foot into the Blue Note or BB King’s likely will not. Ask yourself how many folks aboard Michael Lazaroff’s cruise lines are repeat customers. Chances are, there’s quite a lot of them coming back, and rightly so: it’s a great experience. Similar to Capital Jazz; I’m a repeat customer, and for a very good reason. 

The Internet is the great supporting platform for smooth jazz, and that’s something that the NY Times article fails to focus on. The highlights of it, though, are very correct. Rick Braun got it right when he opined on what had caused the cliff’s-edge decline of the genre, and while the NY Times article does give the jazz world a good bit of props, it doesn’t give as much credence to the die-hard fans who had kept the genre going. California’s festival circuit, Seabreeze, Capital Jazz Fest, Berks – all of these are attended by people willing to get on a plane. Just for the music. Where’s their props? 

Nonetheless, I’m glad to see that the Times has gotten on Spirit, and on the bandwagon, especially considering that at the time of the CD101.9 shutdown, it was singing an entirely different tune. This current tone gives me some hope. 



Hoo boy. Time to dust of the pissed-off file yet again.

As you know, tonight is Grammy Night. I stopped watching the Grammy Awards after they had butchered the Latin jazz category. Hell, I stopped watching right about when it became clear that performance was all about the skill of the pyrotechnics team and the sound guy, as opposed to the actual talent of the performer. And, considering that I have been lucky to spend the past six years heavily immersed in jazz music, I got a very different exposure to music. I – and a lot of my fellow friends from the jazz world – got to see it all from the inside. And trust me, I have no good reason to watch the Grammys.

But enough about that. Unfortunately, the Grammys are the pinnacle of acknowledgment in the music industry, for far too many people, and I’ve observed a curious thing. A lot of people I have met – Norman Brown, Gerald Albright, Chris Botti – were nominated. And I’m thinking, finally!!! Acclaim for great music!

And then I noticed for what: best instrumental pop album.

Instrumental pop.

Whiskey tango foxtrot?

Seriously, WTF?

Okay. If there’s one thing that infuriates me, it’s when people attempt to reinvent the wheel, especially when things are established and appreciated as they are. It’s contemporary jazz, people. Smooth jazz is a misnomer perpetuated by programmers of radio stations everywhere, who could not keep up with changes to the genre, who resisted introducing the new blood at all costs, who did not at all play the new material by the tried-and-true artists, and as a result, had paid for it with the existence of many of those stations. Conteporary jazz has grown and evolved, and the name smooth jazz has become a byword of what it was. It is no longer what it is, and as people get to know contemporary jazz – the new blood, the fresh, influenced, multifaceted sounds, not Kenny G (sorry Kenny) – they like it.

Jazz is one of the oldest forms of music. At last count, it’s about…what, 108 years old? It’s not just one thing, and never just one sound. It’s not just straight-ahead. It started as big-band swing. It evolved and continued evolving, from Brubeck, Davis and Coltrane to Clarke, Corea, Spyro Gyra. From there on to Grover, Boney James, Rick Braun, The Rippingtons. And now it’s  Dee Lucas, Matt Marshak, Vincent Ingala, JJ Sansaverino. It’s a dynamic, evolving genre. Latin jazz is one of its many, many subsets. And if you recall, Grammy committee people have decimated the jazz category and all but dropped the Latin Jazz segment. This resulted in legal action, and while I’m not fully up on the legal implicatins of this blatant eighty-sixing, there is a lot to be said for disenfranchising an entire subgenre.

Truthfully, regardless of what you think of the Grammy Awards as far as whether or not they’re sales-based, etc., it’s still something that a lot of people take seriously. So the trim-down of categories was a slap in the face for many artists.

But I never in my life thought that I would see contemporary jazz be re-titled as instrumental pop.

Say what?! Give me a damn break. It’s jazz. It’s contemporary jazz. It’s been firmly entrenched in jazz since the early days of Spyro Gyra. It’s been a mainstay with Special EFX. What part of the Rippingtons is instrumental pop? I mean, I can maybe see rock with the way Russ Freeman lets the electric rip. But the fact that they shoehorned Chris Botti (who won it, by the by) into instrumental pop is just an outright insult. I mean, really now. Botti is classically trained with the trumpet. You hear that in his every note. He is pure contemporary jazz, through and through: contemplative, intricate, maybe a little more sedate than some other trumpet gents out there (ahem, Rick Braun for the groove). Why in the ever-loving hell would you shoehorn Botti in anything even resembling pop?

I don’t know what in the world those people are thinking, if they are thinking, but I certainly never in my life thought I’d see a trained jazz instrumentalist be classified as pop in any way, shape, or form.

And you know, maybe it’s just me being a stalwart. Maybe it can be turned around and used as a resurgence for contemp-jazz artists everywhere. But on the other hand, I’m thinking: I have recently made a connection with some amazing vocalists, all of whom are circulate in the world of opera, and if that ever gets reclassified as anything, anything but classical, then by the love of all deities in the world, there will be some serious hell to pay.

…and on yet another hand, I should refrain from tempting Murphy’s Law.


Oh, and notabene: if you ever want to hear what instrumental pop sounds like, here.

“The Look” from Slowing Down The World

A WordPress writing prompt

Write about your strongest memory of heart-pounding belly-twisting nervousness: what caused the adrenaline? Was it justified? How did you respond?

…Way to make me remember certain things, WordPress…

Honestly, I’ve had many such moments, and they all had to do with one thing in common: risk. Each time, I was taking a risk, and each time, I had to make a choice: would I step forward and throw caution to the wind, or step back?

It’s a bit embarrassing for me to say it, but I’ve stepped back far more than taken the leap of faith at times like these, and usually, I regretted stepping back. Usually, it had to do with someone, rather than something. The one time I did decide to jump in with both feet and did not follow through, turned out that not following through was the best choice. It’s a bit of a pattern for me, unfortunately: when I feel an adrenaline rush, my immediate impulse is to take stock of all variable and possible outcomes, instantly, and decide on the safest course.

I tend to err on the side of caution, and sometimes, it’s to my detriment.

But the most recent moment of such nervousness came aboard the Capital Jazz Supercruise. Stanley Clarke Q&A. And Stanley Clarke in the world of music, especially among bassists, is kind of sort of synonymous with the Holy Grail. This was the man who played on Charles Mingus’s bass. Legend is a bit of an understatement for him.

And when the Q&A came around, I wanted to ask him something. He’s been around the world many times over, and looks it; his eyes speak volumes about what he’s seen, and me being a perpetual student, I wanted to learn something about his perspective.

You know how for some people, public speaking is a challenge? Their mouths dry up, they forget what they want to say, they stammer? I’ve not been one of those people…until that moment. All I knew was, when Angela Stribling handed me that mic, that here I was, a whippersnapper girl of 27, who’s got a knack with a DSLR camera…and I was standing across from a jazz legend who’s seen it all and I had no idea what to say. The noise of my blood in my brain was helping me very, very little. All I could think was, even though I want to know what I want to know, how in the universe can I possibly ask it of someone who has traveled the world over in such a way that my own mind can’t wrap around? It was, for the lack of words, a student-meet-teacher moment, but such was the school and such was the teacher that, for the first time since I had gotten entrenched in music, I truly felt how new I was in all of this. For the first time, I truly felt like a student getting schooled in perspective.

Later on in the cruise, though, at lunch, when I had another brief chance to converse with Mr. Clarke, I did not feel as nervous as before. But that original adrenaline rush, that feeling of absolute newness in all of it – and I’ve done a lot of traveling for the sake of jazz and music so far – that will stay with me for a while.