From Duke to Dylan, radio program explores connections between
jazz and other musical genres
Jazz Promo Services
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Wed Aug 6 09:08:32 EDT 2008
>From Duke to Dylan, radio program explores connections between jazz and
other musical genres
By JOHN FLESHER
Associated Press Writer
3:34 PM EDT, August 5, 2008
INTERLOCHEN, Mich. (AP) _ It's showtime in Studio E. A short, balding man
with a thick black mustache pops on headphones in the radio booth and leans
toward the microphone as a bouncy tune one of his compositions plays in
"Welcome to Jazz Connections," he says in a silky, inviting baritone. "This
is Jeff Haas, your host for this hour of music exploring the art form of
jazz and its connection to classic rock, R-and-B, blues, folk and more."
The show is a twist on the standard jazz format. It's not often jazz radio
shows intersperse Jimi Hendrix's "All Along the Watchtower" or Bob Dylan's
"The Times They Are A'Changing" with the trumpeting of Miles Davis and John
Coltrane's sensual saxophoning. Can Thelonious Monk peacefully coexist with
Absolutely, Haas says. The premise of his new weekly show on Interlochen
Public Radio, about 200 miles northwest of Detroit, is that common threads
run through many musical genres, and exploring them will enhance the
listener's appreciation for the music, the composers and performers and
the culture that produced them.
Using public radio as a classroom runs in Haas' family. For more than 40
years, his late father, Karl Haas, hosted "Adventures in Good Music," a
syndicated program that aired on hundreds of stations in the United States,
Canada, Australia, Mexico and elsewhere.
The elder Haas, a Peabody Award winner and the first classical music
broadcaster named to the Radio Hall of Fame, died in 2005. His 59-year-old
son, who was trained as a classical pianist before turning to jazz in his
youth, hopes "Jazz Connections" also will gain syndication and a nationwide
"My dad's philosophy was, let's make this music accessible to anyone and
everyone," Jeff Haas said. "My goal, and it's a lofty one, is to sort of
extend that vibe of accessibility, engaging people on an emotional level
with great music."
His idea of seeking links between works that, at first glance, would seem to
have little or nothing in common was inspired partly by Duke Ellington's
response when asked to define jazz. The only two categories of music that
matter, Sir Duke proclaimed, are "good music and music that isn't good."
"Most people don't commonly associate jazz with other types of music but in
reality all popular music in this country comes from jazz," said Rob Smith,
director of jazz studies at Central Michigan University in Mount Pleasant,
about 120 miles northwest of Detroit. He's a trumpet and sax player who
often performs with Haas.
In one radio show, Haas moves seamlessly from Debussy's beloved "Clair de
Lune" to a performance by Bill Evans in his "Live at the Village Vanguard"
sessions, featuring jazz pieces with chordal voicings based on French
impressionist harmonies. Another features a recording of Police rockers
Sting and Andy Summers performing "'Round Midnight," a Monk jazz standard.
"At first I was wondering if I might be boxing myself in, maybe I would run
out of connections in a year or so," Haas said. "But the possibilities are
really endless someone was influenced by someone else, or covered one of
their tunes, or shared the same mentors. So many different avenues to
His quest for connections extends to his own jazz compositions, beginning
with his first album, "L'Dor VaDor Generation to Generation," which
blended Jewish, black American and European traditions.
But for Haas, seeking common ground through music is more than art for art's
sake. A peace and civil rights activist whose maternal grandparents died in
Nazi concentration camps, he considers music a tool for building bridges
across racial, religious and cultural divides. Since 1996 the year "L'Dor
VaDor" was released the Traverse City resident and his Detroit-based jazz
quintet have conducted more than 500 "diversity workshops" in public
"It's amazing," Haas said. "The music engages people, opens hearts and
minds, on a level that you couldn't effectively do through words."
He wants to convey a similar message with his radio program without
The shows consist mostly of the musical selections themselves. Haas speaks
up just enough to introduce them and explain how they're linked.
It's is a radical step for Interlochen Public Radio, which has mostly
classical format, with a couple of hours of jazz a week. But general manager
Thom Paulson expects little, if any, negative feedback from listeners.
"I'm sure there will be some hard-core classical music listeners who won't
be interested in Jeff's show. But most of our audience came of age listening
to the Beatles and Elvis and ABBA and Mancini in the '60s and '70s. My guess
is they'll have a more inclusive attitude than their parents did about what
makes great music."
Haas hopes so. He'll be inviting his audiences to suggest ideas for future
Jazz Connections programs which may broaden his own horizons.
"I bring my own musical biases to the table, and the opportunity to produce
this show has helped me address them," Haas says. "It's really about the
challenge of keeping an open mind."
On the Net:
Jazz Connections: http://www.interlochen.org/ipr/jazz_connections
Copyright 2008 Associated Press. All rights reserved. This material may not
be published, broadcast, rewritten, or redistributed.
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