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Meet Jack Sirica

Courtesy Jack Sirica
Art Blakey gets to me in a very visceral way. It almost seems as if anyone in the audience—or the band—were to dare to drift off, Blakey would fire off a series of sharp rim shots to snap everyone back to attention.
Tell us a bit about yourself.
I was born and grew up in Washington, DC, and I now live with my wife in Northport, NY, on Long Island. I work as one of two political editors at Newsday, a daily newspaper that circulates on Long Island. My boss and I assign and edit stories about New York State government and politics, and the same subject matter in Nassau and Suffolk counties, and Washington, DC. I feel very lucky to have a wife and two great children who actually enjoy being around me after all this time. And I'm a huge fan of dumb comedythe Farrelly Brothers, Mel Brooks, Family Guy, South Park, and on and on.Besides Washingtonwhere I grew up and returned to later as a news reporterI've lived in Denver, CO; Santa Cruz, CA; Nashville, TN; New York City ; Durham, NC (attending college at Duke); and Florence, Italy, during a semester abroad. I majored in English Literature, where I was exposed to books I don't think I'd ever have tackled on my own, including James Joyce's Ulysses, and John Milton's Paradise Lost. Although I didn't major in journalism, I worked periodically for the student newspaper, The Duke Chronicle, and started in journalism right after graduating, as a general assignment and police reporter at The Tennessean, in Nashville.
What's your earliest memory of music?
Lying on the floor in our living room as a kid in Washington, watching my mother work the pedals on the baby grand piano she had inherited from her family. I think I picked up a sense of rhythm from connecting how the pedals affected the pulse of the music she played. She was a good enough singer to have been accepted at Julliard, only to turn her place down, because she didn't want to leave home! I was exposed to a good dose of tunes from My Fair Lady, South Pacific, and other shows from listening to her.I'm embarrassed to reveal that when my mother encouraged me to take piano lessons, I replied that it was for "sissies." I'm sorry she let me off the hook, because I clearly knew nothing. I did take guitar lessons when I was about 14, after talking my father into buying me a powder blue Fender Mustang electric guitar and a small Fender amp. Soon after, I began to fail at math in school, and I guess in Dad's mind that was the result of the focus on the guitar. So back we went to Chuck Levin's music store in Washington, and returned everything. My father was a great dad, but having been born to first generation Italian parents in 1904, he was very old school and very conscious of moving up in the world in a paying profession. He certainly succeeded, becoming a trial lawyer, a federal prosecutor, and then a federal judge in Washington. At the end of his career, he presided over pretty much all the Watergate cases, including those of the burglars who broke into the Democratic National Committee offices, the conspiracy trial of President Nixon's senior staff and the constitutional battle over the White House tapes. But I suspect he saw a musician's career basically as a likely ticket to poverty, and hence did his best to steer me in a different direction. I've become a very good journalist, but always wished I'd taken up music as well. So now I'm having my revenge at age 68 learning how to play drum set!
How old were you when you got your first record?
Probably about 12 or 13 years old, when I somehow came up with the money for Meet the Beatles, their first big LP in the United States. We lived in Northwest Washington, near the Maryland line, and my friend Joe Bradley and I would get the D-4 bus on Saturdays, to F Street, near the White House, where there were a couple of blocks with a lot of record stores. I'd play my purchases on our Zenith record player, which played a stack of records automatically, and pumped out the hits through a self-contained tube amplifier and one big speaker. None of those records survive.What was the first concert you ever attended?
It had to have been in early high school, when we were bused to DAR Constitution Hall for concerts by the National Symphony. I am embarrassed now by the lack of attention to the music that was characteristic of most of us, me included. So, I'm afraid my sharpest memory of these concerts was the time I felt a tap on my left forearm, and the guy next to me handed me a wooden armrest from one of the seats along the row. Hopefully, someone reattached it when the piece made its way back down the line.Was there one album or experience that was your doorway to jazz?
In my recollection of my LP collection are several
Ahmad Jamal
piano1930 - 2023
I really have no idea how the person described above came to discover jazz. Having raised myself on rock 'n roll, perhaps I was primed to like jazz without knowing it, by listening to the drumming of

Charlie Watts
drums1941 - 2021
How long have you been going out to hear live music?
Since I was a teenager.How often do you go out to hear live music?
Pre-pandemic, at least once a month.What is it about live music that makes it so special for you?
It's that live music, particularly jazz, gets to me on a deep, spiritual level. For an hour, I'm pretty much in the moment, which has never been an easy place for me to get to for any length of time.What are the elements of an amazing concert?
The intimacy and sound of the room, and the attentiveness and passion of the audience help create the atmosphere for a good jazz show. And when you have musicians who not only are experts at their craft, but feed off each other creatively and enjoy playing with each other you'll likely be rewarded with a great show. I've been lucky living near New York for almost 30 years to have seen many great performers live, including: saxophonists
Charles McPherson
saxophone, altob.1939

Billy Harper
saxophoneb.1943

Charles Lloyd
saxophoneb.1938

George Coleman
saxophone, tenorb.1935

Roy Haynes
drums1926 - 2024

Victor Lewis
drumsb.1950

Louis Hayes
drumsb.1937

Lenny White
drumsb.1949

Billy Drummond
drumsb.1959

Lewis Nash
drumsb.1958

Allison Miller
drums
Cedar Walton
piano1934 - 2013

Randy Weston
piano1926 - 2018

George Cables
pianob.1944

Pat Martino
guitar1944 - 2021

Mary Halvorson
guitarBut as the situation dragged on, I saw some excellent shows as well. Smalls Jazz Club in Manhattan, streamed shows at 4: 45 p.m. each day for a good part of 2020, and I remember one in particular featuring

Frank Lacy
tromboneb.1959

Kush Abadey
drums
John Coltrane
saxophone1926 - 1967

Pharoah Sanders
saxophone, tenor1940 - 2022
Is there one concert that got away that you still regret having missed?
I would liked to have seen the
The Rolling Stones
band / ensemble / orchestrab.1962

Charlie Watts
drums1941 - 2021
If you could go back in time and hear one of the jazz legends perform live, who would it be?

Art Blakey
drums1919 - 1990
What makes a great jazz club?
I'd say an acoustically great sounding room, a good staff, and a generally relaxed atmosphere. To me, anyway, it's easy to feel almost an intimacy with musicians in rooms that generally aren't terribly large. My wife and I have had many nice conversations with the musicians after shows. She is much more outgoing than I, and has no problem running the performers down in the dressing rooms, if necessary, to sign CD's. She also was the one to strike up a conversation at the bar of the Jazz Standard with the great jazz drummer Billy Drummond, who's taken me on as a student, even though the best I can offer him at the moment is persistence and checks that don't bounce.Which clubs are you most regularly to be found at?
Before the pandemic, we were a couple-times-a-month regulars at the Jazz Standard in Manhattan, with less frequent visits to other New York City clubs such as Smoke Jazz & Supper Club and Dizzy's Club Coca Cola at Jazz at Lincoln Center.Is there a club that's no longer around that you miss the most?
The Jazz Standard, which closed during the pandemic, but hopefully will be back in some other location. I found it a very welcoming, accessible place that catered to everyone from jazz nuts to foreign tourists who most likely were visiting for their first and last time. The room sounded goodI noticed it had floors made of butcher blockand it was great to be able to say a few words to the musicians before or after the shows. I talked briefly there with a lot of people I admire. Among them were
Jimmy Cobb
drums1929 - 2020

Kenny Washington
drumsb.1958

James Cotton
harmonicab.1935

Lenny White
drumsb.1949
How do you discover new artists?
Primarily I read reviews in the rear of the several hi-fi magazines I subscribe to. On Fridays, I preview new stuff on iTunes.Vinyl, CDs, MP3s?, streaming?
CD's, vinyl, and streaming.If you were a professional musician, which instrument would you play?
Drums. I love the combination of sounds you can get from cymbals, toms, snares, etc. This is no new insight, but drums along with the bass really give structure to a band, and can sort of provide a home to come back to for the soloists as a song progresses. And I'm hoping that once I get more of the basics downplaying with the wrists, rather than the shoulders, and letting the bounce from the drum heads do more of the workit'll actually be fun a lot of the time. Still, there is enjoyment in improving my basic skills, as I'm finding out...slowly.What's your desert island disc?
Kind of Blue. That ethereal intro to the famous opening song, "So What," as Bill Evans and Paul Chambers start together on piano and bass and Jimmy Cobb comes in quietly on the ride cymbal and hi-hat before Chambers introduces the song's melody, both grabs my attention and touches me deeply pretty much every time I hear it. Usually then, I'm off, listening to the entire album. I don't listen to it more than once at a sitting, but I'm sure I will never tire of it.Finish this sentence: Life without music would be...
Monochrome. Less joyful.Tags
Out and About: The Super Fans
Tessa Souter and Andrea Wolper
Ahmad Jamal
Charles McPherson
billy harper
charles lloyd
George Coleman
Roy Haynes
Victor Lewis
Louis Hayes
Lenny White
Billy Drummond
Allison Miller
Cedar Walton
Randy Weston
George Cables
Pat Martino
Mary Halvorson
SMALLS
Frank Lacy
John Coltrane
Charlie Watts
Beacon Theatre
Art Blakey
Jazz Standard
Smoke Jazz and Supper Club
Dizzy's Club Coca Cola
Jimmy Cobb
Kenny Washington
James Cotton
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