Critic Hits Sour Notes

It was uncharacteristically uncool of Don Heckman to flash the race card in his too-brief coverage of “LA Jazz 2000” (“USC Showcases Area Stalwarts,” April 15). In the three years that I’ve attended, the complexion of the artists has been of no consequence to the audience, a diverse group that only cares about good jazz.

Not that it should matter, but if Heckman is keeping a tally, the 1998 headliners were Wallace Roney, Kenny Garrett, the B-Sharp Jazz Quartet and Jon Faddis. In 1999 they included Kamau Daaood and McCoy Tyner. All are accomplished jazz artists, all are African American and a good percentage are local players.

The fans and organizers at “LA Jazz 2000” know what time it is. I hope that next year Heckman will get in the groove too.

ROBERT SAX

North Hollywood

“The Complete Miles Davis Featuring John Coltrane” is one of the most significant jazz reissues of recent years. Don Heckman’s piece was sophomorically written, blatantly inaccurate and uninsightful (“All That Jazz,” April 14).

What is really appalling about the piece is that Heckman clearly does not understand even the basic facts about the partnership between Davis and Coltrane, one of the most storied collaborations in jazz history. Even jazz neophytes are aware that the two worked together on five albums for the Prestige label in addition to the recordings included in the Columbia collection being reviewed. Heckman, however, is oblivious, summarizing their collective output as “three complete albums.” To make matters worse, Heckman mentions some of the Prestige titles, apparently unaware that Coltrane played on them.

JOE MARTIN

Oakland