The Corona Blues

The coronavirus has disrupted the lives of musicians all over the world, bringing performances, rehearsals, and recording to a complete halt. Michigan has been hit hard, and the worst outbreak is in Detroit and surrounding areas, endangering the lives of many of our jazz musicians. With deep concern for the people we love and admire we reached out to three major jazz players of different generations, to learn how they were coping with the pandemic. Jim Gallert spoke with James Carter, Piotr Michalowski with Paul Keller, and Linda Yohn with Andrew Brown.

Paul Keller

In normal times it would be difficult to think of a busier jazz musician in our area than Paul Keller, bassist, band leader, composer, arranger, record company owner, and musical organizer. His amazing big band has been playing at one place or another since 1989 and he can be heard leading one of his many groups or accompanying local and visiting musicians every week somewhere in Southeast Michigan. When on the bandstand he exudes tremendous energy and his love of music and performing is always manifest; indeed, one cannot think of him without recalling his big smile and warm demeanor.

The closing of all performance and recording opportunities is difficult for all, but particularly trying for someone who is normally so active, ever in movement, creating new music, and running from one venue or rehearsal to another. SEMJA caught up to him last week to find out how he was coping with this sudden arrest of his normal, constantly moving life.

Keller, his wife Michelle and his two children live in Saline and have been holed up in their home, dealing with the new reality of our lives. For some, this has been distressing, but Keller, true to his self, has not allowed adversity to bring down his spirit and continues, as he always has, to accentuate the positive and make the most out of the situation, persistently staying as busy as before, only in different ways. He recently broadcast a solo video performance from home by means of the Kerrytown Concert House lockdown series and anyone who saw him walking the bass, talking, singing, and playing what used to be called arranger’s piano could witness that the new limitations on our lifestyles have not made a dent in his expansive creative spirit.

Much of his time is taken up writing new compositions and making new arrangements for his ensembles, mostly for the Paul Keller Orchestra that one hopes will soon be playing again on Monday nights at Ann Arbor’s Zal Gaz Grotto. Thus far he has completed 35 new songs, a feat that could hardly been possible in normal times before the lockdown. A new CD of Christmas music that he recorded before the lockdown has been mixed and prepared for production on Keller’s PKO label. He has also used the unexpected free time to master new electronic technology to keep up with the challenges of live performance and recording once the lockdown ends. He assures us that he is not abandoning acoustic playing, only catching up with new developments in equipment. As usual, he continues with regular instrumental practice. 
But music is an interactive art and just recently Keller has begun to play at home with one or two colleagues at a time in a safe and prudent manner and this has given his spirit a new lift: as he puts it, after two months “it is a tonic, like a drink of water.” 

Speaking with Keller, it is impossible not to be influenced by his warm and judicious optimism is in itself a tonic for us all. up in their home, dealing with the new reality of our lives. For some, this has been distressing, but Keller, true to his self, has not allowed adversity to bring down his spirit and continues, as he always has, to accentuate the positive and make the most out of the situation, persistently staying as busy as before, only in different ways. He recently broadcast a solo video performance from home by means of the Kerrytown Concert House lockdown series and anyone who saw him walking the bass, talking, singing, and playing what used to be called arranger’s piano could witness that the new limitations on our lifestyles have not made a dent in his expansive creative spirit.

Much of his time is taken up writing new compositions and making new arrangements for his ensembles, mostly for the Paul Keller Orchestra that one hopes will soon be playing again on Monday nights at Ann Arbor’s Zal Gaz Grotto. Thus far he has completed 35 new songs, a feat that could hardly been possible in normal times before the lockdown. A new CD of Christmas music that he recorded before the lockdown has been mixed and prepared for production on Keller’s PKO label. He has also used the unexpected free time to master new electronic technology to keep up with the challenges of live performance and recording once the lockdown ends. He assures us that he is not abandoning acoustic playing, only catching up with new developments in equipment. As usual, he continues with regular instrumental practice. 
But music is an interactive art and just recently Keller has begun to play at home with one or two colleagues at a time in a safe and prudent manner and this has given his spirit a new lift: as he puts it, after two months “it is a tonic, like a drink of water.” 

Speaking with Keller, it is impossible not to be influenced by his warm and judicious optimism is in itself a tonic for us all.