OUR TAKE: Change of Mind

Changing one’s mind. Doing so can be seen as a sign of flip-flopping or being insincere. Pointing out the inconsistencies of an opponent on issues has been a political tool for as long as I can remember. Effective ads have been built on split screening a candidate showing how his view on a particular matter has changed over time. 

As a person who is often described as mercurial, or less politely by some, I skew in favor of seeing changing one’s mind as a good thing. New ideas are akin to creating new friends. Some do separate or estrange you from prior friends or notions. Hostilities may even result. But most new friends and new ideas add growth and positive development. So, is changing one’s mind a friend to embrace or a foe to thwart? 

When in doubt, I turn to higher sources for clarity, Winston Churchill being one of my most trusted mentors. On this issue, Churchill famously offered the following, “Those who never change their minds, never change anything.” My man!

Those who espouse “if it ain’t broke, don’t fix it” are suggesting that nothing can be improved and that you must wait until disaster strikes to make modifications. I cannot abide by that. Granted, for those who are at the mercy of someone who freely changes the plan, the roller coaster ride can make you dizzy. In battling how changing my mind often should be viewed, I offer the following test. Is the change just making it different or is it making it better? The first is problematic. The second is gold. 

You are wondering, even questioning, what does this have to do with jazz. Quite a lot actually. Over the years, many musicians have changed their styles, the substance of their music and the way in which they present themselves. Others have remained consistent, true to their roots, so to speak. There are successes and failures on each side of this ledger. The remainder of this note is an unscientific, totally subjective analysis of this hypothesis. So as not to offend, no living musician will be dissected. My only hope is that no musician will rise from the grave to smite me if I offend them. I am fully prepared for the slings and arrows of our fan base. 

Here we go!

Ella Fitzgerald is the greatest vocalist in the history of jazz, man, woman, or child. You can argue this point. You would lose the argument, however. Jazz is filled with some great voices and some singers whose heart is the sound that you hear. Ella had them both. The clarity of that voice was astonishing, yet you could feel her soul and spirit in every note. If we must name a male vocalist in the same class, it would have to be Nat King Cole.
 
To our premise, both Ella and Nat sang their songs in later life in the same manner as they did in their 20’s. The songs changed, of course, and there were flourishes added here and there, but you could pull any Ella Fitzgerald or Nat King Cole album (for those unfamiliar with the term “album,” please Google for clarification) and you would know what you are about to hear before the stylist hits the vinyl. Then there is Miles Davis. 

In a music career that spanned nearly 50 years, Miles Davis reinvented or reengineered his music many times. Each time he set the standard for the burgeoning genre, even inventing a couple. None were universally accepted as Miles “changed his mind” faster and more often than his fans. From his bebop years with Charlie Parker, where he replaced Dizzy Gillespie in the group, to his origination of Cool Jazz highlighted by his famous Nonet, Miles was on the prowl for the next great thing. Hard Bop and heroin were next on the list. 

The late 50’s was the start of his rise in fame and fortune. Mostly due to the success of his quintet (Sonny Rollins then John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones). Cannonball Adderley would be added to the group. Jimmy Cobb would replace Jones. Bill Evans would take a turn on the piano and was replaced eventually by Wynton Kelly, only to have Evans return. All this activity was headed in one direction, the creation of Kind of Blue, clearly Miles’ most famous and most successful recording. Even today, the nearly 6X Platinum album is among the best-selling jazz recordings each year. 

Miles was far from finished changing his tune! He had a second quintet that featured budding superstars Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams. Big names such as Chick Corea, Jack DeJohnette and Dave Holland came and went. With illness and financial troubles, Miles toured as the opening act for several rock bands. This turn brought him broader appeal much to the dismay of the
jazz world. Though characterized as a “sell out,” with the success of Bitches Brew and his new audience in tow, Miles’ financial situation improved significantly. 

Success was not kind to Miles as he fell into a dark period from 1975 – 1980, both personally and professionally. Virtually no music was produced or performed. Ready to return, Miles turned to saxophonist Bill Evans and our very own Marcus Miller. Marcus would work with Miles
for the next few years including near the end of Miles’ career, including the GRAMMY® winning Tutu. That album was the first time
that Miles used modern studio tools. Another break from the past that enlivened some and enraged others. 

Whether apocryphal or true, at an upper scale New York cocktail party, a young actress, not knowing with whom she was speaking, asked Miles what he had accomplished in his life. Miles’ response encapsulates our discussion…“I changed the sound of jazz five times.” 

Other musicians and vocalists have “changed their minds” about their music over time and others have remain steadfast to their original, if not signature, sound. The eternal questions are these…what if Ella and Nat attempted different songs in a more robust manner? Ella doing Motown, for example. Nat singing on Broadway. Since neither took a deep dive in that direction, we can only speculate. Or, what if Miles stuck to the magic of Kind of Blue? Would this bow to more “straight-ahead” jazz have changed where jazz is today? More fans? 

Change your mind or stay the course? For me, John Greenleaf Whittier said it best, “For of all sad words of tongue or pen, The saddest are these: ‘It might have been!‘ ” At Jazz Cruises, the motto is “What’s next?” If it makes our cruises better, then bring it on. 

(SPECIAL NOTE: The Guinness Book of Records has confirmed that the foregoing note is the first time in the history of the English language that a quote from Winston Churchill, Miles Davis, and John Greenleaf Whittier have appeared in the same article. Hard to believe!)

By Michael Lazaroff, Executive Director of The Jazz Cruise, The Smooth Jazz Cruise, Botti at Sea and Journey of Jazz. Feel free to express your views or pose questions to him at @[email protected].

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Getting Ready to Cruise

You will continue to receive more Get Ready emails from us that will help you plan for your cruise. On Thursday the first Botti at Sea ’24 webinar was held. A very special guest joined us on the webinar. Can you guess who it was? To see if your guest was correct you watch/listen the webinar it is entirety.

In November, we have two more webinars planned, one for The Jazz Cruise and one for The Smooth Jazz Cruise. We will be discussing all aspects of the cruise and sharing insights as to the best way to prepare for the trip. You will be able to submit questions in real time and we will do our best to answer them during the call. We encourage you register. Below is the schedule of upcoming webinars.

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Chris Botti Releases Vol. 1 Album

Chris Botti, host of Botti at Sea, has just released Vol. 1, his first new album in more than 10 years. This small group project focuses on acoustic jazz and classic standards, such as “Bewitched, Bothered and Bewildered,” “My Funny Valentine,” “Someday My Prince Will Come,” and “Blue In Green.”

The album, his debut on Blue Note, was produced by David Foster and features performances by violinist Joshua Bell, pianist Taylor Eigsti, guitarist Gilad Hekselman, drummer Vinnie Colaiuta, and others.

“I turned 60 in 2022, at a time that seemed like a restart for so many things in the world,” Chris says. “I wanted to strip away all the orchestral arrangements and focus more on my playing, the playing of my band, and these jazz classics that we always love playing on stage.” 

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Christian Sands Releases Christmas Stories Album

Christian Sands, who has sailed on The Jazz Cruise several times, has just released his first holiday album, Christmas Stories, on Mack Avenue. With his working quartet of guitarist Marvin Sewell, bassist Yasushi Nakamura, and his brother, Ryan Sands, on drums, the pianist performs classics like “Let It Snow! Let It Snow! Let It Snow!,” “Have Yourself a Merry Little Christmas,” “Silent Night,” “Jingle Bells,” and “God Rest Ye Merry Gentlemen,” as well as a few surprises.

“For me, Christmas really is all about family,” Christian says. “Especially as an artist that travels a lot, Christmas is a time when I get to see people that I might not have seen for the entire year – not just my immediate family but friends and loved ones. It’s a time of mixed emotions, all the hustle and bustle mixed with moments of remembrance for people that are no longer with us.” 

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Mug Shots

Each guest on the cruises received The Weekender mug, which we hope you will use with your Saturday morning coffee while you read the latest edition. Please share a picture of yourself & your mug with us so that we can include it for the 100,000+ folks who receive The Weekender each Saturday. Tag us @thejazzcruise @bottiatsea @thesmoothjazzcruise #jazzcruises and #theweekender. Email your photo to [email protected].

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2024 Cruises

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2025 Cruises

The Smooth Jazz Cruise ’25
25.1 February 11-18, 2025
25.2 February 18-25, 2025The Smooth Jazz Cruise ’25 has launched and guests are encouraged to complete a Pre-Sale Reservation for that sailing (see link below). Completing a Pre-Sale Reservation is the best way to establish your priority for a stateroom on The Smooth Jazz Cruise ’25. 

COMING SOON

The Jazz Cruise ’25 – January 28-February 4, 2025
Botti at Sea ’25 – February 4-11, 2025