• Jim Merod is an outstanding recording engineer who in the early 1990s founded BluePort Sound recording studio and BluePort Jazz, a label with 15 published albums.

    For more than 25 years, he has recorded a “who’s who” of legendary jazz, blues, and Latin musicians: Wynton Marsalis, Herbie Hancock, Ella Fitzgerald, John Hicks, Sarah Vaughan, Kenny Barron, Clark Terry and Wayne Shorter, just to name a few. Read More

  • Jim has written about music, recording, audio gear, and the jazz scene for the Los Angeles Times, the San Diego Union, Jazz News, the Jazz Link, Jazz Now, and other publications. He is currently a consultant for several media and audiophile projects in the US and Europe as well as an equipment reviewer for POSITIVE FEEDBACK.

    He teaches literature and humanities alongside his annual seminar in jazz studies at Soka University of America in Orange County. Throughout the ‘90s, Jim was a member of the Board of directors at the Napa Valley Jazz Festival and played a vital role in establishing Elario’s Jazz Club, in La Jolla, California, as one of the premier jazz venues on the west coast. Find the Writings

  • Jim has taught critical theory and literature at Brown, Brandeis, Cornell, Stanford and UCLA. He founded and directed Cornell’s Freshman Summer College and coordinated the Ivy League Writing Consortium. He has been a Fellow at the University of California, and the University of Hawai’i, and Cornell. Author of a book on critical theory (Cornell Univ. Press) and another on “Jazz as a Cultural Archive” (Duke Univ. Press), Jim has lectured at Williams, Notre Dame, Reed, Marquette, Emory, University of Pittsburgh, and several campuses of the University of California. Jim is the recipient of the Harvard Book Award, the Bausch and Lomb Science Award, a National Science Foundation grant for elementary particle research, and was recognized at Brandeis with the Michael Walzer Award for outstanding teaching. He has twice been honored as “professor of the year” at Soka University. See the Book

Recent News

  • The First Annual Soka BluePort Jazz Festival

      The First Annual Soka BluePort Jazz Festival by Greg Weaver All images taken by Greg Weaver using handheld Nikon gear with no tripods. Every once in a while, a confluence of events occur that somehow permit you to be in the right place, at the right time. When such serendipitous events take place, you’re […]

  • An Interview With Acoustic Zen’s Robert Lee

    I received several messages from Robert Lee, the legendary cable-design guru at Acoustic Zen, politely but urgently requesting me to audition his proprietary cable-testing loudspeaker system – the Acoustic Zen Monitor Reference One. Since I had, on one occasion, heard these solidly-built and attractive (polished rosewood) monitors, I did not comprehend the invitation’s special energy. […]

  • Clarinet Madness | An Interview with Bobby Gordon

    Review by Jim Merod Jazz musicians sometimes refuse the limelight, preferring instead the shared energy of unheralded jam sessions on steady gigs. One of those is all-star clarinetist Bobby Gordon. The improbable loveliness of Bobby Gordon’s playing evolved from years of seeking out smokey bars and basement corners where jazz is played day and night. […]

  • An Interview with Art Farmer | You Have to Become

    JM; I think a lot of people who have been listening to you recognize that you are a very foxy musician, as Snookie Young put it the other night, a musician who knows how to get into and out of traps perhaps better than the usual musician. It’s a funny question to ask you, but […]

  • Jazz as a cultural archive

    Jazz as a cultural archive by Jim Merod To read the last pages of Edward Said’s Culture and Imperialism is to enter into the pathos and healing thoughtfulness of Beethoven’s late quartets. Far different than the repeated counterpoint of its favored fugal format, Said’s text moves from the adagio of a graceful stroll through waiting […]

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