[JPL] An ode to Studs Terkel – conceived in jazz

Dr. Jazz drjazz at drjazz.com
Mon Jan 17 21:18:21 EST 2011


chicagotribune.com
An ode to Studs Terkel – conceived in jazz

Howard Reich
Arts critic

9:04 AM CST, January 17, 2011

Studs Terkel loved jazz.

He wrote about it poetically in his first book, "Giants of Jazz" (1957), 
and in one of his last, "And They All Sang" (2005).

In the decades between, Terkel's celebrated radio show illuminated our 
understanding of jazz musicians, as well as their brethren in blues, 
gospel and other distinctly American folkloric sounds.

So perhaps it's not surprising that a promising Chicago jazz pianist, 
Josh Moshier, has composed an epic work exploring Terkel's connection to 
a music as indelibly associated with Chicago as Terkel himself.

Next Monday night, Moshier will present the world premiere of "The Studs 
Terkel Project," an extended suite for jazz quintet inspired by Terkel's 
writings but, Moshier hastens to add, not tethered to them.

"We're not going to be reading Studs in between the movements," says 
Moshier, of the forthcoming performance in the Chicago Cultural Center.

"And I didn't transcribe his speech and represent it rhythmically in 
music," adds Moshier.

Instead, says Moshier, he studied Terkel's texts to learn how the oral 
historian structured themes and emotional narrative, how Terkel built 
dialogue and sustained a sense of spontaneity.

If all this sounds a bit ephemeral and only tangentially linked to 
Terkel's works, it's worth remembering that Terkel's prose – whether 
spoken on the radio or printed on the page – itself embodied the spirit 
of jazz. Read or listen to a Terkel soliloquy, and you're beholding what 
jazz musicians try to do: state a theme and develop it in headlong 
bursts of energy, one phrase often tumbling urgently onto the next.

Terkel's words were jazz, complete with rhythm and pitch when he was 
speaking, and Moshier's jazz suite aspires to capture some of the 
character – if not the sound – of Terkel's artistic voice.

What's surprising is that Moshier, at 24, has focused on the work of an 
author-broadcaster several generations removed.

"That never was a barrier to entry," says Moshier, whose suite was 
commissioned by Chamber Music America.

"I think his work speaks for itself, it's compelling and there's a 
reason why so many people are drawn to it, why it's a reference point to 
many people.

"I just came late to the party."

Not that late, considering his age, but not very long ago, either. 
Moshier recalls that he was doing some canvassing in Iowa during the 
2008 presidential campaign, and on the way back to Chicago he picked up 
a newspaper and read that Terkel had died, at age 96. The people Moshier 
had been riding home with had known Terkel well, and their passion for 
Terkel proved contagious.

"They started to tell me a lot about who he was and what his loss 
meant," says Moshier, "and that was the trigger for me, my curiosity in 
learning more about what he meant to Chicago."

Naturally, Moshier expressed that interest in music, the commission 
enabling him to articulate his thoughts on a grander musical scale than 
he otherwise might have been able to do.

"I think that this project was a chance for Josh to take on a more 
ambitious chunk, to try to create a whole statement," says saxophonist 
Mike Lebrun, Moshier's partner in the Moshier/Lebrun Collective and a 
colleague since both were students at Northwestern University's Bienen 
School of Music.

"He's very interested in Chicago culture," adds LeBrun.

Moshier grew up in St. Charles and as a student drew inspiration from 
saxophonist-composer John Wojciechowski, one of the more accomplished 
jazz instrumentalists in this city. When Moshier wasn't taking classes 
at NU, he was studying somewhat less formally at Pete Miller's 
Steakhouse, in Evanston, where he savored performances of Chicago pros 
such as guitarist Bobby Broom and pianist Ron Perrillo.

Following next week's premiere of the Terkel homage, the Moshier-Lebrun 
Collective will perform the suite at the Jazz Showcase in February and 
in the San Francisco Bay Area in March, with further shows to be planned.

Though Moshier regrets that he never met Terkel, he has his own theories 
as to why the author was smitten with jazz.

"I think he was drawn to the fact that in jazz, you have to listen," 
says Moshier, indeed referring to a world-class listener.

"I think he was drawn to beauty. And I think that there might have been 
a little bit of a subversive quality in jazz that he took pleasure in."

More than a little.

To read more from Howard Reich on jazz, go to chicagotribune.com/reich.

hreich at tribune.com

The Moshier/Lebrun Collective will perform "The Studs Terkel Project" at 
6:30 p.m. Monday in the Claudia Cassidy Theater of the Chicago Cultural 
Center, 78 E. Washington St.; free; 312-744-6630 or 
chicagoculturalcenter.org.

Copyright © 2011, Chicago Tribune

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