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Chords & DiscordsInterventionsI’ve noticed that ManfredEicher’s interventionson his recordingscan be too strong(“Jazz Producers: ANew Reality,” March).I know how some ofthe Italian musicianshe has producedsound when they playlive sets: StefanoBollani or Enrico Rava,for example. On therecordings all of themhave been deprived oftheir joyful and energeticfeatures. I prefer Jordi Pujol’s statementabout how each musician has his backgroundand way of thinking. Maybe the truth is in themiddle. As a producer you need to be presentand give suggestions when needed, but mostof the time you don’t need to say anythingbecause musicians have clear ideas.Marco Valentejazzengine@gmail.comSatchmo Not FirstIn his review of Terry Teachout’s Pops, EricFine calls Armstrong “the first virtuoso to performpopular music rather than classical”(“Reviews,” April). That simply is not correct.If any individual can lay claim to that distinction,it is Sidney Bechet, whose fluidity andpower on the clarinet and soprano saxophonewas established before Armstrong came onthe scene. Teachout himself notes, on page12 of his book: “It is not even right to call[Armstrong] the first great jazz soloist, asmany critics and scholars have done. SidneyBechet, the New Orleans clarinetist who wasfour years his senior, preceded him by adecade.”Michael WestonEvanston, Ill.Where’s Akiyoshi?I was disappointed with your “My FavoriteBig Band Album” article (April). When 12 ofyour list of 25 essential big band albums arefrom the same three artists (Duke Ellington,Count Basie and Miles Davis), it makes havinga list rather pointless. Also, I was shocked notto find any mention of Toshiko Akiyoshi. TheAkiyoshi–Tabackin big band ruled the ’70sand beyond, with Akiyoshi becoming the firstwoman and first Asian to win a DownBeataward. It’s no coincidence that she was commissionedto compose and debut three newsongs at the 1999 Monterey Jazz Festival, incelebration of the 100th anniversary ofEllington’s birth. Akiyoshi and Ellington werearguably the two most original big band composersof all time.Gordon WebbSanta Clara, Calif.Hodges’ Last JamI loved the “My Favorite Big Band Album”article. All due respect to Roy Nathanson, but…And His Mother Called Him Bill was notJohnny Hodges’ last recording. Hodgesplayed some nasty blues on his very lastrecording: April 27, 1970’s “Blues For NewOrleans.” This incredible song, with Wild BillDavis on organ, can be heard on DukeEllington’s New Orleans Suite. Sadly, Hodgesdied two weeks later, on May 11, 1970.Mick CarlonCenterville, Mass.Longo Deserves PraiseRobert L. Doerschuk’s review of Mike Longo’sSting Like A Bee (“Reviews,” April) was offthe mark. Even though he is a respected journalist,his remarks have all the earmarks of afrustrated musician with an axe to grind. Iconfess I may be a bit prejudiced, having metMike at a concert and found him to be friendlyand a wealth of jazz knowledge.Henry LloydLancaster, Pa.Corrections• The story about Columbia College’s bluescamp (“Summer Camp Guide,” March)misstated Fernando Jones’ title. He is thecollege’s blues ensemble director, and GaryYerkins is the director of Columbia’sContemporary Urban and Pop Musicdegree program.• Drummer Paul F. Murphy and pianist LarryWillis were misidentified in the review oftheir Foundations (April).DownBeat regrets the errors.Have a chord or discord? E-mail us at editor@downbeat.com.10 DOWNBEAT May 2010