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Home , Al Cohn, Bill Crow, Bill Potts (musician), Carl Jefferson, Carson Entertainment, Chuck Riggs

Volume 40 • Issue 11 December 2012 Journal of the New Jersey Society Dedicated to the performance, promotion and preservation of jazz.

Pam Purvis adds some amplification to Bob Dorough’s performance at the 2012 Zootfest. Photo by Mitchell Seidel. 2012: ZootFestESU Celebrates the Music of and Story page 28 NJJS Annual Meeting with Bria Skonberg December 2. Page 3. Check www.njjs.org or get on email list for info on rescheduled NJJS 40th Anniversary Celebration. New JerseyJazzSociety in this issue: NEW JERSEY JAZZ SOCIETY Prez Sez ...... 2 Bulletin Board ...... 2 NJJS Calendar ...... 3 Mail Bag...... 4 Jazz Trivia ...... 4 Prez Sez New Patron Level Benefits ...... 4 Editor’s Pick/Deadlines/NJJS Info ...... 6 By Frank Mulvaney President, NJJS October Jazz Social...... 48 Crow’s Nest ...... 50 New/Renewed Members ...... 50 s I write this, the trees are bursting with was Jazzfest, our premier and signature event. We Chickie Jazz Dog Announces Winner . . . 51 A fall color and I am anxious about ticket thought we had tweaked the talent/price/venue/ Change of Address/Support sales for our big 40th Anniversary event at Drew promotion formula such that we couldn’t miss. NJJS/Volunteer/JOIN NJJS ...... 51 University. If just 15% of our members will have Everyone has their own theory, but one thing we STORIES bought two tickets we will have had a foundation are sure of is that a -hour program is not a Zoot Fest East Stroudsburg U...... cover in the Sky...... 8 for a successful celebration and fundraiser that selling point and we will have to make changes. Justin Kauflin Montclair Art Museum . . . 10 would enable us to make up the loss on our Noteworthy ...... 12 Looking forward, as of press time, we have Talking Jazz: ...... 14 Jazzfest. We’ll know the score about the same drummer/educator/band leader Sherrie Maricle Mickey Freeman CD Release ...... 22 time we know the presidential election results. for our November Sunday Social, and rising jazz NJPAC Moody Festival ...... 24 Vocal Competition . . . . . 26 It’s been a very exciting year. The 43rd Annual star Bria Skonberg for our annual meeting on LA Jazz Institute Big Band Jazz...... 30 Memorial Stomp was a financial December 2. Sherrie is one of the finest NOJO at Carnegie Hall ...... 33 success in that we covered expenses (just barely) drummers in the business and Bria, who could REVIEWS and we heard many comments that it was one pass for a high school student, released her first College Jazz...... 34 vocal CD this year and it hit No. 7 on the jazz Other Views ...... 36 of the best ever from a music/entertainment Book: ...... 42 standpoint. The traditional Spring concert that charts. Her voice is only her secondary instru- Caught in the Act: E.Comstock/B.Fasano/ ment and those who have seen her perform at L.York/D.Sherman/H.Allen Quartet/ we cosponsor with the Mayo Performing Arts B.Mays/T.Cecil ...... 43 Center in Morristown was financially successful the Pee Wee Stomp and at the Bickford Theatre Andrea Marcovicci ...... 46 although we had hopes that Vince Giordano’s know that she blows trumpet like Satchmo. Next EVENTS Nighthawks would be a bigger draw. After all, year we hope more of our members will take ’Round Jersey: Morris, Ocean ...... 51 he had provided the music for the HBO series advantage of our wonderful Sunday programs. Institute of Jazz Studies/ Jazz from Archives ...... 53 Boardwalk Empire and received a 2012 Grammy October was a very busy and personally reward- Somewhere There’s Music ...... 54 Award for the album. We had outstanding ing month for seeing live jazz from both an The Name Dropper ...... 55 Sunday Social programs with performers obligation and strictly pleasure standpoint. It ADVERTISERS Jim Fryer, Al Caiola, 2012 Grammy nominee Marlene VerPlanck ...... 4 started at Makeda in New Brunswick for world- NJJS Pee Wee Russell Memorial Stomp . . 5 Roseanna Vitro, , Dave Bennett, class drummer Winard Harper and his boss WBGO ...... 7 Petra van Nuis and Miche Braden. That’s quite trumpet playing brother, Phil. Then the Shanghai Jazz ...... 9 ...... 11 a load of entertainment that was free to our following Sunday, it was an incredible piano duo Monroe Quinn ...... 13 members. The Princeton JazzFeast which we performance at William Paterson by Mulgrew Ocean County College ...... 15 co-sponsor was an unprecedented success and Miller and Kenny Barron —something I will RVCC Arts ...... 17 Chicken Fat Ball ...... 19 we signed up more new members in one day never forget. The next day it was Banu Gibson at Jazzdagen ...... 21 than ever before. The only real disappointment the Bickford. I was surprised it was not a sellout William Paterson University ...... 23 North Carolina Jazz Festival ...... 27 Cadence Magazine ...... 31 Stay tuned to www.njjs.org Sandy Sasso ...... 32 WBGO Photo Blog ...... 32 McCarter Theatre Center ...... 33 Jim Eigo Jazz Promo ...... 36 NJJS Bulletin Board Swingadelic...... 38 Shelly Productions/Glen Rock ...... 39 Member Discount Claim your member privilege! Get free admission Roxbury Arts Alliance ...... 41 to NJJS socials, discounts to music events, discounts from partners! John Nobile Summerswing Orchestra ...... 43 NJJS Members Discounts Hibiscus offers NJJS members a discount of 10% off their check. Full Count Big Band ...... 44 The Berrie Center at Ramapo College offers NJJS members 5% off event tickets. Diane Perry ...... 45 LauRio Jazz ...... 46 FREE Film Series…Now on THURSDAY nights at 7 PM at Library of the Chathams. See calendar page 3 Jazz in Bridgewater: for details. Best of all? Free, free, free…invite your friends. Tribute ...... 47 NJJS 40th Anniversary Celebration. . . . . 49 FREE Jazz Socials…ongoing. Join us for music and mingling. Free for members, $10 non-members CTS Images ...... 51 (applicable to membership) with just a $10 venue minimum. Watch calendar page 3 for upcoming dates and details. Princeton Record Exchange ...... 56 Beyond the schmooze, there are some serious musical prizes raffled off at our socials!!

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Tell them you saw it A New Jersey Jazz Society membership always makes a great gift! Plus, if you are in Jersey Jazz! already a member, a gift membership costs just $20! See page 51 for details!

for this fabulous entertainer. That Friday and still has marvelous pipes. Finally, the proud of and we should be grateful for the it was a fantastic young pianist named next night it was a recital and master class tireless efforts of the leadership over the Justin Kauflin and trio at the Montclair Art by piano monster Alan Broadbent at past four decades that made it possible. Museum. This was a special treat for me as I NJ City University. Montclair and NJCU We had some recent technological develop- had seen Justin several times while he was a were invitations; I paid a modest fee for ments, which we are quite excited about. In student at William Paterson a few years ago; the others. the past month our website generated reve- his genius was very apparent back then. The You may have read in one of my previous nue for the first time with a banner on our next night it was Princeton and the early epistles that I think there is a resurgence of home page for the Moody festival at NJPAC Fall concert for the jazz ensemble. In the interest in jazz taking place in Jersey. I have and we will soon have a second banner for week that followed I had the Sunday Social, become convinced that it is true and I another NJPAC event for a similar fee. a board meeting, a recruitment dinner and believe that our Jazz Society has played a In closing, I must tell you that in the spring, then on Friday at the last minute I bought major roll in making that happen. It hap- my wife Kathy and I are moving to southern tickets to the Moody’s Democracy of Jazz pened rather gradually over time and has to be with our two children and event at NJPAC. It was one of the best accelerated in recent years. Before there was our five grandchildren, all of whom are concerts ever. The next night I was at the OSPAC festival, the Somerville Festival, under the age of six. The six years that I Rutgers for a big band concert that included the Red Bank Festival, the Morristown have served on the NJJS Board have been a bunch of charts by some of my favorite Festival, the Montclair Festival, the Down- among the most rewarding of my life. I will arrangers. The day after that, I was at town Westfield Festival, The New Brunswick cherish memories of numerous wonderful William Paterson again, and this time the Jazz Project and The Jazz Arts Project, there musical experiences and the many good guest artist was recent Jazz Master Awardee was just NJJS to carry the torch and keep friends that I have made during that time, Sheila Jordan. The woman is 84 years old the flame alive. We have something to be all the days of my life. JJ

Jersey Jazz magazine seeks your help to cover jazz in Jersey as comprehensively as possible. Please help ★ ★ us expand our reach to all corners of the musical Garden NJJS AnnuaL State. Consider submitting a story or even a brief paragraph ★ ★ when you visit any venue featuring jazz. If you can include a MeetinG high-res photo, even better. We’ll happily credit your work The end-of-year member sum-up and thank-you! when we print it and you’ll have the satisfaction of spreading the jazz message and fulfilling your creative impulses! December 2 for updates and details. ★ at Shanghai Jazz ★ 2 – 5:30 PM Sunday Sunday 24 Main Street, Madison NJ 07940 December 2 March 3 ANNUAL MEETING PEE WEE RUSSELL Mingle and enjoy trumpeter/vocalist Bria Skonberg! Bria Skonberg MEMORIAL STOMP This concert is a member benefit. Shanghai Jazz Birchwood Manor, Meeting convenes 2PM; music begins 2:30PM. 24 Main St., Whippany We’ll introduce new board members, officers, volunteers. Holiday Madison noon –5pm gifts for sale — CDs, memberships, signed copies of Stine’s Songs. 2 – 5:30 PM No reservation necessary. Just come! Food and drink available for purchase. NJJS Calendar $10 food/beverage minimum required.

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The Mail Bag NJJS Launches A WONDERFUL ISSUE, I READ MR. MOTTOLA’S REVIEW of Cat Russell's New Patron Level Benefits “duo” set with her guitarist at JazzFeast. In fact, Ms. Russell was accompanied, in addition to her guitarist, by bass (Lee Hudson) and he New Jersey Jazz Society is a non-profit organization with a piano (Mark Shane). Tnumber of ambitious programs and a finite level of resources. Mark Shane Event ticket sales and member dues cover only a fraction of our expenses, making it necessary to find sponsors and partners to help us make ends meet. Your donations in excess of basic member dues are a great way of partnering with us, and very much needed. In an effort to encourage higher-level memberships, New Jersey Jazz Jazz Trivia Society has defined several new categories of benefits for such donors. Fan ($75 – 99): acknowledgement in Jersey Jazz By O. Howie Ponder Jazzer ($100 – 249): acknowledgement in Jersey Jazz, 1 Pee Wee Stomp ticket plus preferred, reserved seating CENTENARIANS Sideman ($250 – 499): acknowledgement in Jersey Jazz, While we in the Jazz Society were celebrating our 40th year of existence 2 Pee Wee Stomp tickets, 1 Jazzfest ticket, plus preferred, in 2012, Howie forgot to acknowledge the jazz greats who would reserved seating at both events have been 100 this year. Needless to say, they are now in that Bandleader ($500+): acknowledgement in Jersey Jazz, Big Band in the Sky, but they made their marks when they were 2 Pee Wee Stomp tickets, 4 Jazzfest ticket, plus preferred, among us and deserve remembering. reserved seating at both events Please consider making an extra donation in one of these amounts, or 1. This big band leader was most famous 6. This pianist was a Society favorite; he an amount of your choosing. Donations are tax-deductible to the full for the loud and energetic way his bands played with Chuck Slate’s band at the performed what he called “Progressive Chester Inn, although he had an extensive extent of the law. For more information, contact Caryl Anne McBride Jazz.” Like Paul Whiteman before him, his earlier career with Tab Smith, Sidney at [email protected] or call 973-366-8818. To make a donation bands incorporated jazz artists, including at Bechet, Wild Bill Davison and others. In right away, send a check to NJJS, c/o Mike Katz, 382 Springfield Ave., various times Zoot Sims, , Lee later years he joined Panama Francis’s Suite 217, , NJ 07901 or call him at 908-273-7827. JJ Konitz, , , Frank “Savoy Sultans” band. Rosolino, , and . 7. An early disciple of , this tenor saxophonist took ’s 2. The Big Band Era was documented by place in the band. He later MARLENE VERPLANCK this jazz journalist in Metronome magazine became an early convert to bebop. At under his own name or sometimes under mid-century he emigrated to Europe where the noms de plume Jimmy Bracken or he spent most of his later career, living — Gordon Wright. His books The Big Band Era and dying — in the Netherlands. Surprise and Glenn Miller and his Orchestra are milestone documents of that period. 8. This clarinetist was born in New Orleans and named Irving Henry Prestopnik. Louis me 3. Born in Newton, New Jersey, as Wilbur Prima gave him the stage surname which Schwichtenberg, this trombonist became he later legalized, derived from the names somewhere! famous under his stage name. He co-led a of notes in the scale, “do-re-mi-…. “ big band with drummer Ray McKinley that ~~~~~~~~~~~~~~~~~~~~~~~~ capitalized on the “boogie- woogie” phase 9. A pianist known for his elegant style Sunday, Sunday, Friday, of popular music. and technique, he is best remembered for his playing with Benny Goodman. He also December 2 December 23 December 28 Shanghai Jazz owner, New York is gorgeous this Jazz at Kitano. 4. He led ”The Band of Renown.” That made a name for himself as a leader of David Niu, presents time of year. Come celebrate Marlene with should be all the clue you should need. small groups and as a sensitive singers’ Marlene with an early the season. Marlene returns Tedd Firth Trio. accompanist, particularly Billie Holiday, Christmas gift. Joining to The Blue Note Brunch. 66 Park Avenue, 5. Known for his trombone playing and and Lena Horne. for singing, he started with ’s Marlene on this date This was such a fun gig last at East 38th St. band before his definitive tour with 10. This Texas-born artist was master of is the inimitable year despite the snow storm Easy street Jimmie Lunceford. His breathless vocal two diverse instruments; trombone and Warren Vaché. which got in the way, but parking. Look on “Margie” is imitated to this day. He vibes. Best known for his years with You won’t want to only a little. LOOK! Brunch, for new entrance served eight years in Louis Armstrong’s Cab Calloway’s orchestra and later with miss this! Two one drink, AND the show on 38th St. 8:00 All Stars and appeared with them in the Louis Armstrong’s All Stars, he also had a shows, 6 and 7:30 PM. for $29.50. Doors open & 10:00PM shows. movie “High Society.” lengthy career on the CBS music staff. Reservations a MUST! 11:30 AM, first show 12:30 PM. Reservations: 973-822-2899 Reservations: 212-475-8592 212-885-7119 (answers on page 50) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~ for complete upcoming Howie also welcomes suggestions for future questions — schedule details, please visit or comments from readers. Contact him at [email protected]. www.marleneverplanck.com

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PRESENTS PeeWeeTHE 44TH ANNUAL Russell Memorial STOMP SUNDAY, MARCH 3, 2013

From noon to 5 PM at THE BIRCHWOOD MANOR 111 North Jefferson Road, Whippany, NJ 07981 (Off Route 10) 973-887-1414 A S H E R M I L Y ’ S G A R D T Y E R N T R E N P A R V I N D O I O W I T A N E K E N E H M A R K S H H E N S O N ’ S W M I L L R S T E V I F E AT E N N I U S TA R T L U R I N G M A L L H A A N E H O R A N D R E I N D H T S A Y T R D I N E S We’ll have CDs for sale. A cash bar and food buffet will be set up next to the ballroom. Bring your dancing shoes! PLEASE DO NOT BRING FOOD OR BEVERAGES INTO BIRCHWOOD MANOR. Advance: Members $25, Non-Members $30; At the Door: Members $35, Non-Members $40 Students with current i.d. $10 (in advance or at the door) For tickets, please send check payable to “NJJS” together with a stamped, self-addressed envelope to: NJJS, c/o Mike Katz, 382 Springfield Avenue, Ste. 217, Summit, NJ 07901. Or use a credit card via Website, phone, mail or fax. A $3 per ticket handling fee will be charged except for orders by check with stamped self-addressed envelope. Reserve a table and get in free! Available for groups of 10 to 14. Purchase tickets for your entire group and get one free admission. Book early for best results. By phone only: 908-273-7827. To order, or for directions and more information, please see our Website: www.njjs.org call: 908-273-7827 or fax: 908-273-9279 The New Jersey Jazz Society is qualified as a tax-exempt cultural organization under section 501(c)(3) of the Internal Revenue Code. Contributions to NJJS are tax deductible to the extent allowed by law. Proceeds of the event help support scholarships.

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The Editor’s Pick The Journal By of the New Jersey Jazz Society Jersey Jazz Editor Volume 40 • Issue 11 USPS® PE6668 Women in Jazz: Jersey Jazz (ISSN 07405928) is published monthly eleven times per year with a combined July/August issue for members of The New Jersey Jazz Society, Photographs by Lena Adasheva, 382 Springfield Ave., Suite 217, Summit NJ 07901. Membership fee is $40/year. Periodical postage paid at West Caldwell, NJ. Postmaster please Enid Farber, and Fran Kaufman send address changes to 382 Springfield Ave. Suite 217, Summit NJ 07901. Now through December 12, 2012 All material in Jersey Jazz, except where another copyright holder is explicitly acknowledged, is Sidney Mishkin Gallery | Baruch College | 135 East 22nd Street | copyright ©New Jersey Jazz Society 2012. All rights reserved. Use of this material is strictly prohibited without the written consent of the NJJS. Tony Mottola Editor nce Dr. Eugene Marlow, co-chair of the Jazz Perspectives Concert Series at 27 Upper Mountain Ave., Montclair, NJ 07042 e-mail: [email protected] OBaruch College, determined the program would have a “Women in Jazz” theme for its Linda Lobdell Art Director/Co-Editor 21st season, the inclusion of an accompanying photo exhibit by women jazz photographers 352 Highland Ave., Newark, NJ 07104 201-306-2769 may have been a no-brainer. After all, Mr. Hinton is revered not only as one of the greatest e-mail: [email protected] bassists; he is also regarded as an important chronicler of the music’s history through the Fradley Garner International Editor large body of photographs he made of musicians on the road and in the studio during his e-mail: [email protected] Dan Morgenstern Contributing Editor long career working alongside some of the most iconic figures in jazz. e-mail: [email protected] Mitchell Seidel Contributing Photo Editor The Mishkin Gallery exhibition features the great female stars of classic jazz, and performers e-mail: [email protected] who are transforming jazz music for contemporary audiences, such as Cassandra Wilson. The Fran Kaufman, Tony Graves exhibit features the work of three talented photographers: Enid Farber, Lena Adasheva and Contributing Photographers John Maimone Entertainment Contributor Fran Kaufman, a frequent contributor to Jersey Jazz (including this issue — see page 26.) 908-753-6722 | e-mail: [email protected] Fred McIntosh Entertainment Contributor Enid Farber has been photographing musicians since 1979. She was the first of her 201-784-2182 | e-mail: [email protected] generation to receive the Jazz Journalist Association Award for Excellence in Jazz NEW JERSEY JAZZ SOCIETY Photography and the Best Photo of the Year in 2002. OFFICERS 2012 Frank Mulvaney President Lena Adasheva, a Russian-born photographer, won the Jazz Journalist Association Award for 219 Eton Place, Westfield, NJ 07090 Best Photo in 2010. She highlights the spirit of jazz improvisation in her photographs during 908-233-4824 | e-mail: [email protected] live events, allowing the viewer to experience the musical moment through the visual image. Andrea Tyson Executive Vice President 732-356-3626 Fran Kaufman has been a jazz fan since her teen years and began photographing musicians Mike Katz Treasurer 908-273-7827 in earnest after retring from the corporate world. She’s captured images of the jazz world for Caryl Anne McBride Vice President, Membership the past 15 years, following musicians as they perform onstage, backstage and in the studio. 973-366-8818 | e-mail: [email protected] Sheilia Lenga Vice President, Publicity Collectively, the work of these three photographers constitutes an important sociological 908-346-0558 | e-mail: [email protected] overview, depicting the life of jazz musicians in the second half of the 20th century into the Al Parmet Recording Secretary 908-522-1163 beginning of the 21st. Jack Stine President Emeritus 908-658-3515 Gallery hours are: Tuesday – Friday, 12 noon – 5 PM; Thursdays, 12 noon – 7 PM. Laura Hull Immediate Past President All exhibitions at the gallery are free and open to the public. JJ 973-229-4275 Joe Lang Past President 973-635-2761 DIRECTORS Kate Casano, Carolyn Clemente, Cynthia Feketie, Sanford Josephson, Sheilia Lenga, Comments? Jersey Jazz welcomes your comments on any article or editorial. Stan Myers, Larissa Rozenfeld, Stewart Schiffer, Send e-mail to [email protected] or mail to the Editor (see masthead Mitchell Seidel, Jack Sinkway, Frank Sole, Marcia Steinberg, Elliott Tyson, Jackie Wetcher, this page for address). Include your name and geographical location. Linda Lobdell (Ex-officio), Tony Mottola (Ex-officio) ADVISORS New Advertising Rates Quarter page: $50; Half page $75; Full page $110. Biz card size $25. $10 discount on Schaen Fox, Bruce Lundvall, Bob Porter repeat full-page ads. To place an ad, please send payment at www.PayPal.com using our code: [email protected], or Marketing/Public Relations Consultant: Don Jay Smith mail a check payable to NJJS to New Jersey Jazz Society, 382 Springfield Ave., Suite 217, Summit NJ 07901; please Website: www.njjs.org indicate size and issue. Contact [email protected] or 201-306-2769 for technical information and to submit ads. e-mail: [email protected] Hotline: 1-800-303-NJJS (1-800-303-6557) NJJS Deadlines The deadline for submission of material for upcoming issues is as follows: January: November 26 • February: December 26 To join the NJJS and begin receiving this magazine, go to “JOIN NJJS” (see table of contents) or NOTE: EARLY SUBMISSIONS ARE GREATLY APPRECIATED. visit www.njjs.org for complete information.

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Big Band in the Sky By Sanford Josephson

■ David S. Ware, 62, alto, baritone and album, Ascension (remastered by tenor saxophonist, November 7, 1949, Polygram Records in 2000). Plainfield, NJ — October 18, 2012, New After dropping out of music to Brunswick, NJ. A self-described “avant- study meditation and yoga for garde purist,”Ware was mentored by Sonny many years, Tchicai returned to Rollins and once signed to a recording con- Europe in 2001, eventually settling tract by Branford Marsalis. John Fordham, in southern . Survivors writing in the guardian on October 24, include his daughter, Julie Tchicai 2012, described Ware as “one of the few Iverson; a son, Yolo; and a structure-busting radicals in jazz history to brother,Mauritz. reach beyond the music’s cognoscenti with- out compromise. His impassioned, wound- ■ Joe Cinderella, 83, guitarist, ed-beast sound inspired a devoted follow- June 14, 1929, Newark — ing, despite his rejection of the accessible October 26, 2012, Manchester, song structures commonly used in jazz.” NJ. In his teens, Cinderella was being compared to both Django In the late ’60s, Ware headed a -based Reinhardt and Charlie Christian. Davis S. Ware. Photo by David Katzenstein. free jazz group called Apogee. He often But his legacy will be that of an played with the free jazz pianist Cecil Taylor educator. He started teaching jazz guitar in Angeles,” Lucas said, in a tribute on his and was part of New York’s loft-jazz scene in 1969 at Paterson State College (now William Facebook page. “He was an innovator, the ’70s, playing with Taylor sidemen Paterson University), and those who learned pushing the envelope of the instrument with trumpeter Raphe Malik and drummer from him either there or in private lessons a harmonic concept built on eight-string Andrew Cyrille. Marsalis signed him to are passionate about his influence on their guitars tuned in thirds for close voicing.” Columbia Records in 1997, and he released playing abilities. Guitarist Bob Devos echoed the others, two albums, Go See the World and telling Jersey Jazz, “I studied with him all Jimmy Vivino, now the guitarist on the Surrendered. through my high school years. He was my Conan O’Brien TV show, started studying first jazz guitar teacher, and he really showed In the ’90s, Ware developed kidney failure, with Cinderella in 1978 at the age of 23. me a lot about chord voicings. I would go to undergoing a transplant in 2009. His final “I had only studied trumpet and piano up his house in Paterson, and he would have performance was this past August in . to that point,” he told Jersey Jazz, “and I me listen to guitarists he really liked such as His last album was Live at Jazzfestival thought it was time to settle on one instru- and Django Reinhardt. I Sallfelden 2011 (Aum Fidelity). He is ment. Guitar was it, and Joe was the go-to always got a kick out of Joe because he was survived by his wife Setsuko and a sister, guy on ’s recommendation. always experimenting with things like the Corliss Olivia Farrar. Joe instantly treated me like family. In short, eight-string guitar. He was trying to use it to ■ John Tchicai, 76, alto saxophonist, April he laid out a smorgasbourd of chords, get piano voicings, like a voicing 28, 1936, Copenhagen — October 8, 2012, scales, arpeggios, harmonic theory and all on a guitar. He was real adventurous.” Perpignan, France. Tchicai was a key figure the tools necessary for me to play and, more in the free jazz movement of the 1960s. As a importantly, work in this business. “I will In the ’50s, Cinderella played on vocalist child in Copenhagen, he switched from always cherish the time I spent growing, Chris Connors’s hit single recording of classical violin to jazz alto after with Joe as my guru in all things music Billy Strayhorn’s “Lush Life.” He also seeing Duke Ellington and other American related. I am still standing on the musical worked with trumpeters and jazz musicians perform. foundation we built together.” , tenor saxophonist Zoot Sims and baritone saxophonist . In 1962, at a jazz festival in Helsinki, he met Cinderella was “a major factor” in the career During the 1960s, he worked as a studio tenor saxophonist Archie Shepp and of guitarist Jerry Topinka. “I studied with guitarist and played on the soundtracks of trumpeter Bill Dixon. Later that year, he Joe when I was in my early 20s,” he recalled. such movies as Midnight Cowboy, Sugarland moved to New York, becoming part of the “No matter what guitar he played, he could Express and Barbarella. He also recorded New York Contemporary Five, which play every song in every key. He was a with a wide range of pop artists including included Shepp and trumpeter Don Cherry. monster player.” Guitarist Steve Lucas met Neil Diamond, and Barry The following year he helped form the New Cinderella in 1978 as a student at William Manilow. York Art Quartet with trombonist Roswell Paterson. “He taught many of the guitarists Rudd. He also played with of the next generation, who are currently on He is survived by his daughter, Daria and was part of Coltrane’s 1965 avant-garde the scene in New York, New Jersey and Los Boyd, and a grandson, John Van Vliet. JJ Sanford Josephson is the author of Jazz Notes: Interviews Across the Generations (Praeger/ABC-Clio). He has written extensively about jazz musicians in a variety of publications ranging from the New York Daily News to American Way magazine.

8 ______December 2012 Restaurant and bar 24 Main St. (Rt. 124), Madison, NJ 07940 973.822.2899 • [email protected]

NO COVER (except special events) Highlights, late November/December 2012: thur 11/29: JAY LEONHART fri 11/30: BERNARD PURDIE sat 12/1: sun 12/2: MARLENE VER PLANCK and WARREN VACHÉ fri 12/7: BRYNN STANLEY sun 12/9: JOHN CARLINI tues 12/11: JOHN KORBA fri & sat 12/14 & 15: JAVON JACKSON sun 12/16: NANCY NELSON wed 12/19: BUCKY PIZZARELLI fri 12/21: ROB PAPAROZZI sat 12/22: ERIC MINTEL mon 12/31: CATHERINE RUSSELL by reservation only Book your special parties at Shanghai Jazz. Call for information.

Tuesday: 6:30 PM – 8:30 PM; Wednesday and Thursday: 7:00 PM – 9:30 PM Friday and Saturday two seatings: 6:30 and 8:30 PM | Sunday: 6:00 PM – 9:00 PM for latest schedules and updates, please visit www.shanghaijazz.com

Please note: We take reservations by telephone only 973.822.2899 and not by e-mail.

December 2012 ______9 JerseyStoriesJazz

Justin Kauflin Delights the Crowd at Montclair Benefit

By Sanford Josephson

hen Justin Kauflin began his transition Wfrom a classical to a jazz pianist in his early teens, he was most influenced by Bill Evans, Chick Corea and Keith Jarrett. Now, at age 26, those early influences have given way to Art Tatum, and Mulgrew Miller. But it is Tatum who has had the greatest impact on Kauflin, not just as a pianist but as a role model. Kauflin, who lost his vision at age 11 from a rare eye disease, was the featured performer at “Just Jazz,” a benefit concert for the New Jersey Foundation for the Blind, held October 12 at the Montclair Museum of Art. Speaking with Jersey Jazz after the concert, he recalled the first time he heard Tatum recordings. “As a pianist, he was fascinating to me. The stuff he did — it was so unique, it was outside of the jazz timeline. To me, it still sounds fresh and new.” But his admiration for Tatum extends beyond his music making. Tatum, who was legally blind, did not want any special treatment, Kauflin said. “He would show up early at a club to get the layout, and he would really get pissed if they moved something. That Justin Kauflin meeting with supporters and students of New Jersey Foundation for the Blind attitude is real inspirational to me.” after his performance at the Montclair Art Museum. Photo by Kathy Caviston. According to an article in The Star-Ledger the day added, “I’ll jump on a plane and go play somewhere whenever before the Montclair concert, Kauflin had a similar approach to anybody asks me.” Let’s hope some of those future trips include his years spent in the jazz studies program at William Paterson New Jersey. JJ University in Wayne. For days, as an incoming freshman, he walked around the campus with his parents, and, according to David Demsey, coordinator of the jazz studies program, “By the time classes began, he had memorized the campus.” About the New Jersey His inspiring performance at the NJFFB benefit displayed his Foundation for the Blind virtuosity on a mix that included his original composition, NJFFB is a 501(c)3 not for profit organization which helps “Exodus,” from his 2010 CD, Introducing Justin Kauflin; jazz adults with low vision or vision impairment live with standards such as “Stompin’ at the Savoy;” and popular songs such dignity and personal independence, travel safely without as “Sunny” and the Beatles’s “She’s Leaving Home.”Accompanied by fear, and enjoy a higher quality of life, free of the isolation Christopher Smith on bass and Billy Williams on drums, Kauflin that comes with vision loss. would often begin slowly and quietly, letting his playing gradually build into an incredibly powerful finish, which delighted the crowd. NJFFB is New Jersey’s only non-residential, comprehensive “I like to let things simmer,” he explained. “It’s a nice way to tell a vision rehabilitation center. Individuals can access essential story, create a little suspense.” He always includes some pop songs in and advanced classes in orientation and mobility, assistive his repertoire, he said, because he remembers that his parents were technologies and home management. Wellness programs never into jazz before he started playing it, but “when I played include an award-winning art and music program, yoga, something familiar, they would say, ‘Oh, we know that song.’ I think fitness and balance, African drumming, and horticulture, it’s important to expose as many people to the music as you can.” among others. Small group classes using adult learning strategies make the program an innovative, effective and Home for Kauflin is Virginia Beach, VA, where he is the resident friendly learning environment. pianist at a local jazz club, Havana Nights. He was off to Colorado after the Montclair gig and said he was writing some new music for For more information visit: www.njffb.org. his next CD, scheduled for release in the spring of 2013. “But,” he

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Noteworthy Fradley Garner International Editor Jersey Jazz

SHAKESPEARE'S SONNETS SUNG TO A JAZZ BEAT … CABARET MUSIC EVOLVES FOR YOUNGER FANS … THE END OF JAZZ? NO WAY … WHO’LL GET THE REINS AT JAZZ STUDIES INSTITUTE?

“IF MUSIC BE THE FOOD of love, play on.”And while you’re younger artists.” (Adds Friedwald: “It's also where a Beatles song is at it, set 16 of Shakespeare’s sonnets to music, and play and sing regarded as contemporary.”) Google: Will Friedwald Cabaret WSJ them to a jazz beat. for full article. Which, by my troth, is exactly what Caroll “THE END OF JAZZ — Vanwelden has done. The How America’s most comely Belgian pianist vibrant music became a wanted to produce a new relic,” in the November album of her own Atlantic magazine, compositions. “One day disturbed many readers I found a book of the who managed to plow sonnets I used 13 years past the two opening ago when I worked with sentences of Benjamin an Iranian composer who Schwarz’s (positive!) wanted to put Shakespeare book review: “Musician, on classical compositions. composer, scholar, teacher, I went through the pages perhaps a bit of an sitting at my piano and Caroll Vanwelden operator — albeit of a stopped intuitively on distinctly nerdy variety — lyrics that inspired me. I didn’t try to understand their meaning. Ted Gioia is also the sort of compulsive, encyclopedically When I read Shakespeare, I hear melodies in my head.” The 16 knowledgeable enthusiast the jazz world engenders. (Dan pieces “came very fast, one after another, really amazing.”Vanwelden Morgenstern, Will Friedwald, and the winningly neurotic savant saved everything on her little R09 stereo recorder, and worked and broadcaster Phil Schaap immediately come to mind as other further from there. She titled her new release Caroll Vanwelden Sings examples of the type.)” The review is “off base,” Dan e-mailed me. Shakespeare Sonnets because she wanted people to know she wasn’t The stuff of jazz goes far beyond the American songbook, he noted. reciting them. She is adroitly backed by Thomas Stiffling on It includes “the endless possibilities offered by the blues and trumpet and flugelhorn, Mini Schultz on , and Marcus ‘rhythm’ changes, which continue to be the basis of so many jazz Fuller on percussion. Caroll pronounces Elizabethan English well; ‘originals.’ And what jazz musician worthy of the name won’t find still, it helps at first listening to look at the words as you listen. Monk tunes a reservoir of innovation? The author does not seem You’ll find them at: www.carollvanwelden.be to understand that jazz, in its own way, is very much like classical music insofar as it is, yes, repertory based.” Google “The end of “CABARET,” ONCE A STYLE of music, has come to stand for jazz/atlantic” and also check rebuttals. both a medium and a location. “It can be jazz-driven, like that of Ann Hampton Calloway, or theatrically oriented, like that of most THE GEARS OF ACADEME grind slowly. At presstime, of the leading ladies headlining at 54 Below,” writes Will Friedwald those driving the Institute of Jazz Studies at Rutgers University- in The Wall Street Journal, referring to clubs in New York, London Newark seemed to have ground to a halt. Dan Morgenstern and Glasgow. The medium has long been linked with 70- to 80- retired in April as director (since 1976) of IJS. Dan’s associate, year-old songs and fans of the same vintage. But it’s evolving and Vincent Pelote, continues as acting director of the world’s largest attracting younger audiences. The veteran artist K. T. Sullivan library and archive of jazz and jazz-related materials. Pelote started points to Andrea Marcovicci doing a song by the pop star Pink with a work-study stint in 1975-1978, continued as a cataloger in in her show at New York’s Café Carlyle, while Sullivan included a 1978-1987, then as librarian until now. Edward Berger began as a Joni Mitchell tune in her closing production at the now-closed Oak curator in 1976-1977 and rose to assistant director in 1977-1987, Room. Sullivan has a new show, a tribute to Mabel Mercer, opening when he became associate director. “Tad Hershorn, the lone at Crazy Coqs, in London. “One of the things about cabaret,” 37- archivist, is holding the fort,” a knowledgeable source told this year-old Emily Bergl, a protégée of Sullivan, said onstage this fall, column, adding that interns come and go. So we’ll go on “is that it’s the only medium where I’m considered one of the waiting to see. JJ

12 ______December 2012 Featuring ten original Jazz compositions played on electric, acoustic and 12-string guitar.

Available at iTunes and CD Baby. Visit www.MonroeQuinn.com to hear sound clips or for more information.

December 2012 ______13 JerseyStoriesJazz

Talking Jazz A Jersey Jazz Interview with Ken Peplowski

By Schaen Fox en Peplowski is another stalwart who has Kbrightened so many of our society’s musical events. We did a phone interview in January 2012. It was an enjoyable conversation about his growing up in Cleveland, Ohio, his humor, moving to New York, what our Society has meant to him, and some of the notables he has worked with. Fair warning if you, like me, love the stage version of his encounter with Sinatra, you may want to skip what really happened, but it is a good story.

JJ: How did you get the nickname “Peps?” KP: I guess it’s because people initially couldn’t pronounce my name. They used to call my father that also. When I moved to New York and started working, no one would have known that is what they called him. They just fell into that. JJ: Your brother is also a musician. Is there a history of musicians in your family? KP: Not really, no. My father was a frustrated amateur musician. He tried different instruments and would give them up. That is how I wound up with the clarinet. He tried to play the trumpet, couldn’t play it. Then he tried the clarinet, and I got the clarinet. The family really liked music, but my brother and I were the only ones to pursue it. We used to sit around and listen to music together. We listened to everything from the Beatles to big band music. JJ: I read that you used to play with local jazz musicians while you were in high school; might we know any of them? Ken Peplowski performing at NJJS Jazzfest in 2006. Photo by Tony Mottola. KP: Probably not. They were guys known in Cleveland, but I was also playing at and sitting in at a Chinese restaurant called Chung’s Restaurant. The guy that ran it loved traditional jazz. He’d JJ: Were your parents happy when you said you were going to make have people like Art Hodes, Ralph Sutton, and would always have music your career? me sit in — whether they wanted me or not. In fact, somebody sent me photos years later of me playing with Davern and Ralph before I really knew them. That KP: Yes and no. I think this is kind of typical; when I was living in Cleveland, was a very nice thing for the guy to do. my brother and I had a Polish polka band. We were working when I was maybe 11 or 12 years old, and my brother was two years older. When I wanted to go JJ: Do you recall anything from those times with them? on the road with the Tommy Dorsey Band with Buddy Morrow, they did a KP: No. I was probably so scared I just wanted to be up on the bandstand, complete about-face and discouraged me. I felt so strongly about it I went. stay out of their way and not make them mad. I think Kenny was pretty nice to I left college to go with that band. me. He always was. He had a reputation for being a little prickly, but we always JJ: I assume your family soon came around. hit it off well. And Ralph was his usual congenial self. He was just fine with whatever happened generally. If you could play the tunes, he was fine with that. KP: Oh yeah. They couldn’t stop me, and they could see that I was making a continued on page 16

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KEN PEPLOWSKI People always say, “You should do comedy.” Not in gave me some of my first breaks. Red went out a million years; I think that is the hardest job in the of his way to hire the younger guys that he continued from page 14 world — to get up by yourself and try to make a thought could play mainstream jazz. He whole room laugh for even a 30 minute set or encouraged and hired us any chance he could. nice living. In fact, my father was still alive when I whatever they do at a comedy club. Most of my He really championed us, as did the rest of the made my first record and got to play with Benny stuff is just off the cuff and whatever pops into my Society. I remember we used to play those really Goodman, so he knew I was getting somewhere in head. I also like to work off of the crowd. That is fun weekends out at Waterloo Village with Jay the music business. really fun. Sometimes I get audiences to yell things McShann, , Ralph, and Kenny and everybody. JJ: You said Buddy Morrow was generous. back at me, and then it turns into a In what way did you mean that? show or something. I like that interaction. One year, Dick Hyman was doing one of his piano KP: Well when I came on that band I was 19 or JJ: OK, would you share some funny road spectacular shows. He had a cast of thousands. 20 years old. I was in the lead alto chair and he stories from your career? One after another would play, and they were yelling gave me a 10 – 15 minute feature on clarinet with at him about time to go on. He was still trying to KP: In England, they call a certain kind of jazz fan just the rhythm section on every show. He really organize it when he saw me in the tent. He said, “a gripper.” It is the kind of fan that grips on to your encouraged me as a player and gave me a lot “Ken, I need you to go up there for five or ten arm and doesn’t let go. They are a little too rabid. of advice about playing lead in . minutes for me.” I said, “With a rhythm section?” “Do you remember in May of 1980 I heard you play I stayed with that band for two or two and a half He said, “No just you.” I said, “Well, when do you in Denton, Texas and you said such and such? years. After that, Buddy convinced me to move to want me to go on?” He said, “Now.” [Chuckles] Do you remember that?” Or they will come up and New York. He said, “If you are going to leave, you I just shrugged my shoulders and went out there say something like, “You’ve really put on a lot of shouldn’t go back to Cleveland and be a big fish and played a couple of solo numbers. I got a really weight.” They are usually the sweet old ladies. They in a small pond. You should go where you are nice reception, but that was the kind of stuff that are the most deceptive. I was in England playing going to be challenged.” When I came to New York, happened there. a concert and this nice old lady taps me on the he made some phone calls on my behalf to some shoulder and said, “Excuse me, I bought your last of his old studio pals. He was part of that scene I met a lot of great friends out there; that is why album.” Before I could get out a “Thanks,” she said, for a long time. He presented a gruff face, but he we still do that bash every year. It is kind of in “I was very disappointed.” I said, “I appreciate that. sure helped me a lot. remembrance of all those good times. That music I’m going to have the rest of them recalled.” She we made was old friends getting together and JJ: I enjoyed your writings on your Web looked at me like I was insane and walked away. having fun. Warren [Vaché], the Allreds, are all site, but it looks like you have abandoned it. This is absolutely true. I was supposed to do a people I probably first met at those functions. KP: Yes. You know the expression, “You get what workshop and then a concert at a high school an JJ: That is great. You also did Stravinsky’s you pay for.” I had a guy doing it for nothing. He hour and a half away from Grand Rapids, Michigan. “The Soldier’s Tale” for a work with Kurt was falling behind on everything and misspelling They were supposed to pick me up at the airport Vonnegut. Would you tell us about that? words; and you can’t yell at somebody when you and there was nobody there. I had never been are not paying them. He was just doing it as a favor. KP: Stravinsky’s estate is really tough about any there before. I had the phone number of this guy at I tried a couple of times to take it over myself, but re-workings of his pieces. Kurt Vonnegut did get the high school and finally reached him about an he wrote it in some arcane computer language that permission to write his own libretto for “The hour later. He said, “I’m so sorry. We forgot to send is almost impossible to decipher. In the last year or Soldier’s Tale.” It was an anti-war message that he a student to get you. Just rent a car with a GPS and two, I have been doing everything on Facebook. wrote based on the Private (Eddie) Slovik story. We That is a good way to get the word out for where we will reimburse you.” He gave me the address. did the original music, though, which was written you are playing and what you are doing. I’m just I’m driving and everything is going fine. It was this for six musicians. The guy that put this concert now in the process of getting the Web site back up nice English lady talking on the GPS. Finally the together had the idea that he would use three jazz again. I’m actually pulling money out of my wallet lady said, “Make your next right.” I make the musicians and three classical musicians because and paying somebody to revamp it. right and find myself pulling into a cemetery Stravinsky did love jazz and was influenced by it. while the voice said, “You have reached your final JJ: I also enjoy your humor. Have you done He wrote for and wrote a few kind- destination.” I kid you not. The school was on the any professional comedy writing? of jazz pieces. So he picked guys who could play other side of the cemetery. classical music too, Warren Vaché, John Allred, and KP: No, although that has always been a dream me. Then we had classical violin, oboe, and I forget JJ: Since this is for Jersey Jazz, has of mine. I love that. Some of my heroes were some the third, but it was the original instrumentation. of those old humorists from the New Yorker — anything of importance in your Then we also did a little segment in front of the S. J. Perelman, Thurber, and Robert Benchley. Also, career happened in Jersey? concert improvising with a rhythm section. We did I’m really into older comedy, like the Jack Benny KP: No. [Laughs] Show with all those great writers — that kind of two performances because it is really hard to do JJ: [Laughing.] Well you could at least lie humor. I’ve been putting things down on the road those things under the umbrella of the Stravinsky about it. in notebooks and trying to see what comes out. people. I got to meet Kurt Vonnegut. He was very I may pursue that. I think when the website is up, JJ: [Laughing] I’m kidding. That would be a good nice. He loved the idea and told me that he used that is going to force me to put content there; so way to end it, right? Actually the Jersey Jazz to play the clarinet. He disappointed me a little that means I’ll be writing on that. Society, way back when Red Squires was there, because he called it “the licorice stick.” I thought continued on page 18

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KEN PEPLOWSKI started subbing for a couple people on some rehearsal continued from page 16 bands and big bands. When you sub in a big band, you that was a little corny. That was my big have just met 14 other people, conversation with him. so there are 14 other potential JJ: Was your performance recorded? jobs and contacts. If you do a good job and make a good KP: There was a reference copy done, but they impression, it just takes a few can’t do anything with it. I don’t have a copy either. of those. was really JJ: That is a shame. Do you have the music? nice to me back then. He used KP: The music is widely available. It has been to have me sub at Condon’s all the time. Actually I didn’t performed many times. The music was the original know a lot of the traditional “The Soldier’s Tale.” We didn’t jazz up that part at jazz songs when I first came all. He had this whole narration, and some actors to New York. I knew Benny were doing that. Then the music was interspersed Goodman going forward into through the narration just like the original. We the bebop stuff and standards. were so busy trying to play the music, which is so I was playing and listening and difficult, that it was hard to follow the story line. learning on the job. I’m sure There are time changes all over the place and he knew that, but he gave me really difficult passages. a chance. JJ: I’m sorry that I never saw it. Peplowski on tenor. NJJS Jazzfest at College of Saint Elizabeth, The older musicians were June 2011. Photo by Vicki Fox. KP: Yeah, we just did two performances and that really, really kind to us all and was it. Now Kurt Vonnegut is not around. The guy very helpful. Milt Hinton, Bucky, Buddy Tate, Flip Ruby. He would basically rant against the rest of called me a few years ago wanting to restage it and Phillips all helped me a lot. Those guys didn’t feel the world and give you unwanted advice on your do it again, but he had no money. He was basically threatened if you could play. They welcomed you own life and talk about music — which was really fun. Lord forbid if you had to get off the phone asking me if I could virtually put the whole thing into their club. Guys moving here now have a really first. Then he would say, “What? You don’t want to together for him and book it, which I didn’t have hard time. There are fewer chances to play and less talk to me? You don’t have time for me anymore? the time to do. It was an interesting idea, and I of that family feeling because everybody is just You are just like everybody else.” It was almost wonder how many fans of Kurt Vonnegut even trying to scuffle to stay alive. know about that. better when you were on his B list as opposed to I have a student now who is living with three other the A list. JJ: Well, from WWII to 9/11. Do you people in an apartment. They are paying $2,500 a He was one of the most beautiful improvisers of all have any memories of that you would month, and he is out playing $50 jobs. I don’t know time, really so inventive. He was also a great band share with us? how they do it. I was living in Hell’s Kitchen back in leader. He could make things happen with seven 1981-82. I think the rent was $400 a month, and we KP: I was in the city with my family when it strangers and make it sound like a band; little were playing $100 jobs. You could make a really happened. I don’t know if I have anything that arrangements are happening. He could teach you nice living on that. Also we would play private anybody else didn’t experience. I remember flying a song you never heard before in five minutes. parties, dances, and weddings where you would out of LaGuardia the first weekend we could fly Everybody talks about his personality and, yeah, he again. The airport was so eerily quiet and almost just play jazz. In fact one of the first weddings I was crazy but he really was one of the great jazz empty. Everybody was spooked getting on the played when I moved to New York, the band was musicians of all time and very under-appreciated in plane, and I sat next to a Middle Eastern guy. The Mel Lewis, Milt Hinton, Bucky Pizzarelli, Buddy Tate, that regard. Really inventive, and you can’t just call plane took off and he pulled out his cell phone. All and . I don’t think the people had any him a traditional player as a lot of people do. He heads turned, and we all called for the stewardess idea some of the greatest jazz musicians in the could play as “modern” as anybody else. He just and the air marshal. Every plane at the time had world were in this band. That happened a lot. I was chose to play songs from an earlier era, but he one. They just surrounded this guy, but he was learning on the job, which is the best way to do it played them in a very contemporary way. just an idiot who didn’t know he shouldn’t use with jazz music. his cell phone. An example of Ruby at his best and worst: He JJ: I’d like to ask you about some late greats called me to do a record with him. He said, “I want JJ: When you moved to New York, did you you worked with starting with . you to bring your saxophone too. Everyone thinks have trouble fitting into the jazz scene? KP: Ruby? [Chuckles] How much time do we have of you as a clarinet player, but I love your tenor KP: Oh yeah. It was tough then. It is probably for this? He was a really complicated guy. He could playing. I think you are a great tenor player.” OK, harder now. I was probably in New York for three or be just the sweetest guy in the world, could be fine. I get to the session, and Ruby is in a foul four months before I got a real paying job. What you your best friend, and he was. He would latch on to mood. He is mad at everybody. On the first song, had to do was sit in every place you could like one or two people, and I was one of them for about the bass player stopped the tape because he Condon’s and Jimmy Ryan’s. What happened was I three months. I would get daily phone calls from played some wrong notes. Ruby went ballistic, “You continued on page 20

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KEN PEPLOWSKI When we got to “Stealing Apples,” he opened up his instrument takes a little bit of pride just in the fact solo and took chorus after chorus and the that we play it. It is a really unforgiving and continued from page 18 just literally stopped playing one by demanding instrument. A saxophone you can put one. We were supposed to be playing background, down for a few days and then pick it up, and it is but our jaws just hit the floor. We were saying, “Oh OK. The clarinet you can feel it if you don’t play it all my God, listen to this guy. The old man is blowing the time, so you have to work a little harder on that don’t stop a tape. I do. This is not your record. I us off the stage right now.” one. At the same time, I like to play both. I like to decide.” I play about four songs on clarinet and as play tenor because I like the color of the saxophone we are getting ready for the next, I said, “Ruby, do I did get to meet Sinatra that night backstage. I just in different tunes. That is always fun for me to pick you want me to play tenor on anything?” He thought, “This is it. It is now or never. I've got to say a song and play whatever voice I hear on it. It gives looked at me and said, “This is not a wedding.” I something to him.” As I walked up to him, his two you another option. I like to play a little bit of alto bodyguards stepped in front to block my way. He could never help myself; I can have just as sharp a too, but traveling has gotten so difficult that it is said, “No, that is OK. Let him come over.” I’ve met tongue as anybody else, so I said, “I guess it would hard enough to take two instruments. The alto just be a bad time to ask when does the bride cut the all kinds of famous people, but he is the only one doesn’t get out a lot because you just can’t travel cake.” The whole room froze. Nobody dared laugh, where I was actually shaking because I was in such with all that stuff anymore. and he is staring laser beams through me. We got awe of him. I just said, “Look I'm working with through the date, but he was so unpleasant on the Benny Goodman’s band. I want you to know you've JJ: Yeah, the modern world. Do you have a record that Carl Jefferson of just been as great of an influence on all of us jazz novel, film or play that you feel might give buried the tapes and forgot he even did the musicians as any instrumentalist. I've learned so us non-musicians an idea of what a musician's life is like? session until years after we did it. They were many things from you.” He actually patted my reorganizing their tape vaults and found these cheek and said, “You are a sweet kid.” That was KP: Yeah. One is Sweet and Lowdown, the things and wound up putting out two LPs. The my encounter with Frank Sinatra. movie. That is a really good music records actually sound good. movie. It captures a lot of things about musicians, JJ: That is not like your stage version, but and is a lot closer to the way things are than a lot JJ: I expected something like that, but do really nice. How about James Moody? you want to balance things out with of other movies. There is another one that is really KP: James Moody would probably tie with Louis something about his best side? hard to find, but I know that those crazed Bellson and Milt Hinton as one of the nicest guys in collectors out there will be able to find this. There KP: Yeah. He was one of these guys that really the business. James Moody was an interesting guy. is a Swedish movie that I saw years ago called appreciated younger guys that were into the same He was like a life-long student of religions, music, Sven Klang’s Quintet. It is so good. It is a black kind of music as him. Ruby really looked out for and everything. Every time somebody put out a and white movie done in the early ‘60s. They used those people. He gave me a lot of work and methods book of their own jazz concepts or jazz real musicians as the actors. The alto player who recommended me for things when I really needed it patterns, James Moody would buy it and check out plays the lead character was a great alto player and was very encouraging. Coming from people like their approach. He was always trying to learn. I who died young. It is about this great jazz player that really means the world. Benny Goodman was used to talk to him about that. If you were sitting who winds up having to play weddings and dances. the same way — a complicated guy. He had a side on a plane with him, he would ask you questions People treat the band like crap. It is a real look at that you couldn’t understand and a side where he and then tell you things almost teaching you in a the great musicians who don’t even come close could be very gracious, helpful, and encouraging. completely non-condescending fashion. He was so to making it. It is a bit depressing, but it really Frank Sinatra loved musicians and did a lot of really warm and so giving and such an interesting guy. captures that side of the business better than nice things for them and never wanted credit. He any other movie I have seen. He reinforced something for me. I dread practicing. would very quietly help somebody if they had I actually hate it. I’ll only do it under two JJ: financial problems. He would quietly slip a check Do you have any souvenirs that you to a musician who was in the hospital. circumstances. If I haven’t played a gig in a while would like to tell us about? or if somebody is holding a gun to my head. KP: Well, something that is dear to my heart JJ: Would you like to add something James Moody would say, “I practice as much about Sinatra? would be Flip Phillips’s handmade wooden box away from the instrument as I do with it.” In other where he kept his reeds, practice cassettes (he KP: I didn't know him. I met him on a few words, you can, in your head, visualize lines and would play along with Sinatra and Lester Young), occasions. Everybody tells stories like he was some improvise songs and go through chord changes and assorted knick-knacks — I kind of keep that goon who went around getting whatever he and think of alternate ways to play a tune. You get preserved as a good-luck charm. wanted. Every musician that worked for him talks as much accomplished that way as you do with JJ: Will you be playing in this area soon? about what a great guy he was to them. I idolized the instrument. I actually do a lot of that kind of him. I met him with Benny. We did a TV special at practicing. KP: I’ve got lots of dates in NYC — Dizzy’s Club Radio City Music Hall that Sinatra ran. I think it was w/Barbara Carroll June 19 – 24, Small’s July 13 and JJ: On that line, you play a variety of reed in 1985. It was a charity show with Sinatra, Ella, 14, 92nd Street Y with July 24th. Placido Domingo, and Benny Goodman’s band. instruments. Which is your best voice? JJ: Thank you so much for doing this. Everybody was at the top of their form because KP: I think the favorite, it is almost a sentimental It was a real pleasure talking to you. whoever was on stage, the others were in the favorite, is the clarinet because I started on it, and wings watching. Benny played so great that night. there are not a lot of clarinet players out there KP: Great, my pleasure. Talk to you soon. We rose up out of the floor playing “Let’s Dance.” anyway. I think everybody that plays that Bye. JJ

Schaen Fox is a longtime jazz fan. Now retired, he devotes much of his time to the music, and shares his encounters with musicians in this column.

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CD Release Party | Mickey Freeman: Living the Dream

Randolph Performing Arts Center | October 12, 2012 | (Regan Ryzuk, piano; Tim Metz, bass; John Hvasta, drums; Marty Fogel, sax and flute) By Tony Mottola and Linda Lobdell Jersey Jazz Co-editors Photos by Tony Mottola

he Randolph Performing Arts Center is Blues,” noteworthy Tan intimate 118-seat theater on the for a burlesque- upper level of The Music Den, a mammoth tinged drum beat 20,000 square-foot music store on Route 10. interlude. The space is used for master classes, student And next a tune from recitals and performances by local artists, out of the blue — and, this night, it’s hosting a show by vocalist The Foundation’s (and NJJS member) Mickey Freeman who is exuberant 1968 hit celebrating the release of her first CD, Living “Build Me Up Butter the Dream (Blue Duchess Records). Cup” — offered for Pianist Regan Ryzuk kicks off the proceed- a friend in the ings with a sweeping arrangement of “The audience, “Happy Night Has a Thousand Eyes” and introduces Birthday Annie.” Freeman to a welcoming round of applause. And so the tunes “They like me, they really like me!” the flow. Ellington’s “It singer exclaims to Ryzuk. Don’t Mean a Thing” First up is, appropriately, the CD’s first cut, offers a chance for some scatting, a quiet In 1982, she formed the vocal group The “I’ve Got the World on a String.” The tune’s “I’ve Grown Accustomed to His Face” Ritz, which was inspired by the likes of opening, a vocal/bass duet, showcases showcases her voice’s purity backed by only Lambert, Hendricks and Ross and The Freeman’s voice. She posses a gorgeous tone minimalist accompaniment, the tropically Transfer. The Ritz played jazz and sings Ella-like liquid legato phrases flavored and saucy “An Occasional Man” is festivals around the world and toured with weaving a seamless melodic line, sometimes highlighted by Fogel’s airy and playful flute, such artists as , Woody sliding from one note to the next while and Jon Hendricks’s “Red Top” features a Herman, , , maintaining perfect intonation. The rest of vocalese style that deftly navigates the ups The Pointer Sisters, and Spyro the band joins in and she leaves no doubt and downs of the tricky melody. Gyra, performing in far-reaching places like she can swing as well. Finland, Morocco and Singapore. The Ritz “The Surrey with the Fringe on Top,” also released two albums: Steppin’ Out in The swinging continues with “It Might As “Bewitched,”“Watch What Happens,” 1985 and Born to Bop in 1987. Well Be Spring.”While the tempo is spright- “Twisted,” and a breakneck “I Got Rhythm,” ly, driven by Hvasta’s rapid-fire brush work, with Rio Clemente joining Ryzuk on the Mickey and her husband moved to New Freeman’s vocal seems easy and unhurried. piano bench for some criss-cross stride Jersey in 1987 and she put her career on A ballad favorite of the singer’s, “Someone fireworks, round out the set and Freeman hold to raise a family, but resumed it in to Watch Over Me,” follows. She’s been closes with “Route 46,” her lyrical Jersey 1992, singing with pianists and trios in clubs encouraged to learn the song’s verse by send-up of the Bobby Troup classic throughout the state. In 2008, she returned pianist Rio Clemente on a recent gig and she (“Straight through Parsippany, it’s next to to her love of harmony singing and became sings it here languorously. “Hopefully, on Whippany.”) the newest member of the Starliters, a four- my next CD,” she says, clearly pleased with part vocal group in the style of The Ms. Freeman began her career in Boston in the result. Modernaires, who perform with The Silver 1980, answering an ad in a local newspaper Starlite Orchestra. Back to the new CD and more swing, from a band looking to complete a vocal “Taking a Chance on Love” prompts a quartet. Although the band was looking for The release of her first solo CD is, as the couple of dancers to take to the aisles. For someone who could scat and sing harmony title implies, a dream come true for the her part, Freeman, an avid swing dancer — Freeman had no experience with either singer. Here’s hoping there’s a follow-up to herself, announces “I’m gonna take a load — she was hired on the this first-rate first effort off.” She settles on a nearby stool and sings spot after an audition and this musical dream “S’wonderful,” done here as a lazy swaying and became a member continues. You can cha-cha. of the campy swing learn more at It’s time for a blue tune. Freeman snaps her group, The Boo-Bettes, www.blue fingers with deliberation to slow things way who toured throughout duchess down for “I Ain’t Got Nothing But the New England. records.com. JJ

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Newark Celebrates the Spirit of Moody Story and photos By Mitchell Seidel

he last time TNewark held a major jazz festival, it had nearly every- thing the recent TD James Moody Democracy of Jazz Festival had: enthu- siastic local support, participation of local venues and some name talent. It became obvious in October what was missing before: support of a major performing arts Celebrating the music of James Moody in Newark are, from left: Paquito D'Rivera, Jimmy Heath, Tim Hauser, Bill Lee, Janis Siegel, Alan center. Paul, Cheryl Bentyne, Adam Nussbaum, Paul Lieberman, Jon Faddis.

With the addition of Ably presented by the New Jersey Performing Arts Center to musical director a list of venues that included WBGO, the Renee Rosnes, the Bethany Baptist Church, the Newark event presented a Museum and the Institute of Jazz Studies cross-section of what at Rutgers University, the festival had a made James Moody a place that could sustain major events great jazz musician and name recognition. and personality. Star That last piece of the puzzle became obvious egos were left at when one saw the two major festival concerts home and the musi- that took place — a tribute to Moody and cians meshed perfect- large-scale live recreation of the Miles ly. The Manhattan Davis- collaborations, Miles Ahead, Transfer performed Sketches of Spain and . with Heath, Sanborn and Faddis. D’Rivera On paper the star-studded “For the Love of told heavily accented Moody: A Jazz Celebration,” with George jokes that were totally Benson, , David in Moody’s spirit. Sanborn, Jimmy Heath, Jon Faddis, Paquito Benson reminisced George Benson gets a chuckle out of the Manhattan Transfer's Janis Siegel as D’Rivera, Kenny Barron and others looked about what it was like they duet on “Moody's Mood for Love.” like another throw everything at the wall and playing in the clubs see what sticks affair. When you see this of Moody’s adopted home of Newark before was the kind of concert that Moody himself many luminaries on one bill, you hardly joining the Transfer’s Janis Siegel for a duet would have been happy to participate in. expect cohesion. Happily, this wasn’t the case. on “Moody’s Mood for Love.” In short, it If the Friday night Moody free-for-all attracted more jazzers, the Saturday night presentation, “ and Gil Evans: Participating in a panel discussion Still Ahead,” with principal trumpet soloists on James Moody at the Rutgers Institute of Jazz Studies were (l-r) : Terence Blanchard and Sean Jones and a George Kanzler, former Star- densely populated big band conducted by Ledger jazz writer who moderated Vince Mendoza, was the kind of event that the discussion; trumpeter Jon crossed over to attract jazz-curious NJPAC Faddis; Moody’s widow Linda; pianist Mike Longo; Ina Dittke, subscribers. With a band that featured Moody’s longtime manager, and bassist and festival artistic advisor Christian bassist Todd Coolman. Photo by Mark Papainni.

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Bassist Rufus Reid performs in the opening concert of the TD James Moody Former Miles Davis drummer , right, shows off a gift from Democracy of Jazz Festival at the Bethany Baptist Church in Newark. fellow drummer Peter Erskine: a pair of socks with Erskine’s picture on them. The two performed in a concert re-creating classic Miles Davis- Gil Evans collaborations in Newark.

talented youngsters from NJPAC’s instructional program. Other venues away from NJPAC that have been offering jazz for some time were thrown into the mix with free concerts at the Newark Museum and the Bethany Baptist Church, where bassist-educator Rufus Reid had the honor of opening the festival with his Out Front Trio and guests that drew an enthusiastic crowd on a stormy . NJPAC started a tradition of its own with the debut of Sunday brunch series, “Dorthaan’s Place,” paying tribute to WBGO-FM’s Dorthaan Kirk, widow of saxophonist Rahsaan Roland Kirk, who over the last 30 years has become a force for jazz in her own right in New Jersey. Anyone who knew Moody in the later years of his life invariably met his wife, Linda, who came in from California to be a part of the festival. She was as much a presence at Linda Moody, center, waits for the start of the first concert in the jazz festival the festival that honored her late husband as she was at any honoring her late husband, James Moody, at the Bethany Baptist Church in event when he was alive. Newark. With her are Doris Reid, wife of bassist Rufus Reid and John Schreiber, president and CEO of the New Jersey Performing Arts Center. Another ever-present figure was NJPAC’s recently installed president and CEO John Schreiber. It should come as no McBride, drummer Peter Erskine and Howard Johnson on surprise that he would helm the facilty presenting a major tuba, the Gil Evans arrangements, usually heard only as jazz festival, because his resumé includes a long stint with decades-old recordings, jumped at the audience with Newport Jazz Festival producer George Wein. delightful energy. A special added feature of the event was a The only thing that seemed to be missing from this festival guest appearance by drummer Jimmy Cobb, the last was a little more awknowledgement of the old Newark jazz surviving member of the Miles Davis group from the late scene. Previous fests paid tribute to the city’s place on the 1950s. Hammond B3 circuit with organ jams. Similarly, venerable Youth was served with a benefit celebration of the Jazz Symphony Hall’s ballroom, the former Mosque Theatre, was House Kids educational program, a pair of matinee the site of big band dances. Something more casual like that, performances of a new musical Magic Tree House: A Night in with less of a concert atmosphere, would be a welcome New Orleans and intermission music by some incredibly addition, if only for one performance. JJ

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Sarah Vaughan International Jazz Vocal Competition Photos by Fran Kaufman The finals of the first Sarah Vaughan International Jazz Vocal Competition: The Sassy Awards were conducted at NJPAC on Sunday, October 21. Five finalists, culled from close to 1,000 entrants, sang beautifully — each in her Young Jazzmeia Horn, winner of the first Sarah Vaughan New Artist Award, wowed the audience with her own style — and confirmed performance of “Sweet Georgia Brown.” for me that jazz singing certainly has a strong future.

Cyrille Aimee can’t contain her pleasure at winning the competition. Celebrating with her Hilary Kole, who introduced herself as the only “Jersey Girl” are NJPAC CEO John Schreiber, first runner-up Ashleigh Smith (left), second runner-up among the finalists, singing “Nobody Else But Me.” Sandra Booker (right), and DeeDee Bridgewater.

26 ______December 2012 Wonder what to give your jazz lover for a holiday gift? How about tickets to the NCJF! 33rd Annual February 7 - 9, 2013

Featuring ★ BUCKY PIZZARELLI ★ JONATHAN RUSSELL ★ ★ FRANK BONGIORNO WITH STRINGS A Tribute to with Strings ★ ★ BANU GIBSON’S HOT JAZZ ★ With all-stars Kevin Dorn, David Boeddinghaus, Dan Levinson, David Sager, Kerry Lewis, Randy Reinhart Friday & Saturday nights 4 1/2 hour concerts Featuring our All-star Musician lineup in our traditional presentation of 7 sets, each with a different leader. PIANO GUITAR VIBES CORNET David Boeddinghaus Bucky Pizzarelli Chuck Redd Ed Polcer Rossano Sportiello

TROMBONE REEDS BASS TRUMPET David Sager Dan Levinson Nicki Parrott Bria Skonberg Adrian Cunningham Kerry Lewis Randy Reinhart

DRUMS VOCALS VIOLIN Chuck Redd Banu Gibson Jonathan Russell Kevin Dorn Bria Skonberg Nicki Parrott

Saturday, February 9

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ZOOT FEST 2012 East Stroudsburg University of Pennsylvania October 21, 2012 By Joe Lang Past NJJS President Photos by Mitchell Seidel oot Fest 2012 was a wonderful afternoon of jazz and good cheer dedicated Z to the lives and musical legacies of Zoot Sims and Al Cohn. The festivities included much music, and a panel discussion by several players who had participated in international tours of jazz musicians sponsored by the State Department. East Stroudsburg University of Pennsylvania (ESU) is home to the Al Cohn Memorial Jazz Collection (ACMJC), a jazz archive that now includes the collections of Al Cohn, , Eddie Safranski, and is in the process of integrating the Zoot Sims legacy material into its catalog of jazz recordings, music, books and memorabilia. ESU has a Jazz Studies Concentration in its Music Department, and is an active part of the extensive jazz community that exists in the Pocono area of Pennsylvania. Zoot Fest, now in its second year, is part of the five-year old Jazz Synergy Series, “a community outreach initiative of ESU and the ACMJC.” After welcoming remarks from ACMJC collection coordinator Bob Bush, the proceedings were kicked off by a quartet led by Harry After their appearance at Zootfest, Harry Allen’s Allen on tenor trio headed to their gig at the nerby Deer Head Inn. sax, with Bob Allen and bassist Joel Forbes perform. Dorough on piano, The panel described above came next. The on bass and Marko participants were Bill Crow, , Marcinko on drums. Howie Collins, Phil Woods and Dave Liebman. Following a vocal by Much of the talk centered around their Bill Crow on “Zoot experiences with Benny Goodman on State Walked In,” a vocal Department tours, especially the now infamous Sue Terry prepares to join the musicians on stage at the version of Zoot Sims 1962 tour to . Benny Goodman stories are Second Annual Zoot Fest. and Gerry Mulligan, a staple of jazz lore, and this trip, one that “The Red Door,” with lyrics by , first Phil Woods and then Jerry included Zoot Sims in the band, was fertile Dodgion suddenly appeared on the stage with their alto saxophones to contribute territory for tales of humor and plenty about the their artistry to the moment. These cats were in fine form, and the song was taken personal peculiarities of Goodman. For those out with a restatement of the vocal by Bob Dorough. The original quartet then interested in a detailed accounting of this trip, it assayed “It’s All Right with Me,” and took “Blues in A Flat” for a burning ride. is worth visiting Bill Crow’s website for the details. The URL for this fascinating, but lengthy A planned presentation from Penny M. Von Eschen, author of Satchmo Blows Up the piece is (http://www.billcrowbass.com/billcrow World, about the period when jazz was used as an element in United States diplomacy, bass.com/To_Russia_Without_Love.html). was cancelled due to an illness that precluded Ms. Von Eschen from attending the event. In her place, Patrick Dorian, a professor in the ESU Music Department, Following a break for lunch, saxophonist Adam presented some comments about Al Cohn and Zoot Sims that were informative, Niewood took on the task of putting together and spiced with Dorian’s unique sense of humor. various combinations of players for a jam session

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Kim Parker sings during the jam session in East Stroudsburg.

Phil Woods enjoys listening to his fellow musicians during the Zootfest at East Stroudsburg University of Pennsylvania.

trumpet, Rick Chamberlain on trombone and on piano. Adam Niewood enjoys listening to NEA Jazz Master Dave Several guest soloists were Liebman play at the Second Annual Zoot Fest in Pennsylvania. brought on, including Nancy Reed, Bob Dorough and Kim Parker on vocals, Jerry Dodgion on alto sax billed as “A Jazz Jam á la Zoot.” The players included and Adam Niewood on Niewood, Liebman, Woods, Sue Terry, Bob Ackerman tenor sax. It was a thrill to and Hugh von Kleist on saxophones; on hear these charts played guitar; Jon Ballantyne, and Bob Dorough live, especially an original on piano; Gene Perla and Tony Marino on bass; written and arranged by Marko Marcinko, Sherrie Maricle and Danny Cohn for the Gerry D’Imperio on drums; and Nancy Reed and Mulligan Concert Jazz Pam Purvis on vocals. The tunes included Band, “Kitty City,” one “My Shining Hour,”“Footprints,”“How High the that was never recorded Moon/Ornithology,”“East of the Sun,”“Invitation” by the band. and “Yesterdays.” The highlight was a stunningly beautiful take on “Some Other Spring” by the Harry Allen Trio, with When things came to an end sometime after 6:00 PM, those present Rossano Sportiello on piano and Joel Forbes on bass. were smiling broadly, for they had just experienced an exceptional afternoon of music played by musicians who appeared to be having Things came to a truly swinging conclusion when the COTA Festival just as good a time as the audience. Kudos to Bob Bush for putting Orchestra, conducted by Phil Woods, played an extensive set of together this fabulous program, one that must have had Al & Zoot big band music concentrating mostly on charts written by Al Cohn. smiling down from the Big Jam Session in the Sky! The band was tight, swinging, and blessed with fine soloists. The primary soloists from the band on this day were Woods on alto sax, Zoot Fest 2013 will surely be placed on a lot of calendars as Tom Hamilton and Bob Keller on tenor sax, Chris Persad on soon as the date is announced. JJ

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LA Jazz Institute’s “Groovin’ Hard” Celebrates ’60s Big Band Revival

By John Tumpak

rtistic Director Ken Poston’s A Jazz Institute presented Groovin’ Hard, another in the Institute’s series of 22 years of outstanding big band jazz programs, from October 10 through October 14 at the Los Angeles Airport Marriott Hotel. The five-day festival that ran daily from early morning to late evening included 18 big band concerts, four film showings, and seven panel discussions. Groovin’ Hard celebrated the Big Band Renaissance that began in the mid-1960s Band Reunion, a roaring 15-piece band consisting of mostly alumni from with the emergence of The -Mel the original band, performs at Groovin’ Hard. Photo by John Tumpak. Lewis and Orchestras. Many of the young musicians who benefited from founder and President Graham Carter’s new film titled Woody ’s jazz education efforts were beginning to come of age Herman: Blue Flame — Portrait of a Jazz Legend. The 110-minute and a whole new era of big band jazz was born. Groovin’ Hard film that covers both the personal and professional life of Herman gathered an incredible array of star soloists and arrangers who all in striking detail received an enthusiastic response from the viewing played significant roles in the Big Band Renaissance. audience. A small group jam session followed the film premier with Among the 18 bands that performed were The Don Ellis Reunion eight Herman alumni playing. The Celebration closed with a concert Band, The Explosion, The Maynard Ferguson and by the 16-piece Woody Herman Alumni Orchestra conducted by Buddy Rich Alumni Bands, and an All-Star Big Band featuring Stan Frank Tiberi. Music from Herman's many Herds that he organized Kenton Alumni directed by Mike Vax. All the bands played in top during his 51-year career as a band leader was featured. form and were applauded by an excited audience. A high point of On October 14 Groovin’ Hard gave well deserved recognition to the the big band performances was “An Evening with Patrick Williams” legendary Tonight Show Band formed by when he on October 12. The legendary composer, music-educator, and two- took over The Tonight Show from Jack Paar in 1962. Skitch time Grammy Award-winner played selections from his influential Henderson was the band’s director until 1966 when he left to be Threshold and Aurora big band albums and between songs talked replaced by Milton DeLugg. A year later took charge about his music philosophy and big band history. At the end of his and remained director until 1992 when Carson retired and the near two-hour set he received a standing ovation. band was re-formed down to a smaller size by Branford Marsalis. Saxophonist Tommy Newsom was frequently the band’s substitute The outdoor lunch breaks were a unique treat. Each day a jazz band director filling in for Severinsen when he was absent from the show. from a local Southern California college played at a sun-splashed poolside concert. Those bands were superb in quality and provided The 17-piece Tonight Show Band was one of the all-time great big a wide variety of jazz music. For example, at the October 11 bands. In his book Lucky Drummer, the band’s drummer Ed luncheon concert, the highly talented California State University Shaughnessy wrote about how Count Basie admired the band and Northridge “A” Jazz Band directed by John Daversa played the music frequently told him so. He said that one time the owner of a club of Thad Jones and Mel Lewis. Their well-received hour long called the Americana on 36th Street in Manhattan told Basie he performance had both excellent ensemble and solo work. wanted to book him with . Basie told the owner, “You want me to play against that band?” Every year Poston presents a special event on the first day of the concert. This year on October 10 he featured a “Woody Herman The day started with a film showing of rare clips of The Tonight 100th Birthday Celebration.” It started with a panel discussion Show Band during its time in New York (1962-72) and California about Herman. The panel was comprised of Herman alumni and (1972-92). The clips featured great band musicians Pete Christlieb, moderated by Bill Clancy, author of Woody Herman: Chronicles of the Conte Condoli, Clark Terry, , Doc Severinsen in his Herds. Next came the world premiere of Jazzed Media record label early days in the trumpet section, and a guest appearance by Buddy continued on page 32

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GROOVIN’ HARD WANNA HEAR SOMETHING GOOD? continued from page 30

Rich and his Orchestra. Carson loved to play the drums since his childhood in Nebraska. There was a clip showing him playing brushes on a tin pail accompanying Benny Goodman playing clarinet. Next came The Tonight Show Band Reunion, a concert by a Saturday,Saturday, DecemberDecember 1515 roaring 15-piece band consisting of mostly alumni from the original band. High note trumpeter Chuck Findley led the TheThe 5555 BarBar band that was driven by swinging drummer Jeff Hamilton who 5555 ChristopherChristopher St,St, NYCNYC sat in for Ed Shaughnessy. At the opening note of the first 212-929-9883212-929-9883 song, “Johnny’s Theme” (The Tonight Show theme song), the audience erupted in applause. An unquestionable concert www.55Bar.comwww.55Bar.com highlight was tenor saxophonist Ernie Watts featured on “Body NoNo cover,cover, earlyearly showshow 6-96-9 and Soul.” The band played two songs, “April in Paris” and andand alwaysalways snacks.snacks. “Take the A Train,” from their album The Tonight Show Band, Vol. 2. The album won the Billboard Award for the 1987 Top withwith Contemporary Jazz Album and “Take the “A” Train” won a GladstoneGladstone TrottTrott pianopiano Grammy Award for the 1987 Best Instrumental Jazz DesiDesi NormanNorman vibesvibes Arrangement. Bill Holman did the arrangement. MikeMike CarinoCarino bassbass After the concert there was a panel discussion about the Tonight Show Band. The panel consisted of past band visitvisit www.sandysasso.comwww.sandysasso.com forfor moremore infoinfo musicians along with Jeff Sotzing, Carson’s nephew and President of the Carson Entertainment Group, and former band music supervisor Don Sweeney who wrote Backstage at The Tonight Show about his near 20-year association with the program. Los Angeles radio personality and musicologist Ken Borgers was the moderator. Two themes evolved from the discussion. First, the musicians said that playing on The Tonight Show was a wonderful experience and the highlight of their musical life. Second, all panel members expressed unanimous admiration for Carson who they fondly called “The Chief.” Many Carson stories were told. Among them, Carson was generous in promoting his band members’ careers. He would usually mention where they were playing locally in his monologue. Also, there was a bar for the show and Carson often would stick around after the show and swap stories with the musicians at the bar. Finally, Carson was proud of the band and consistently expressed that pride on his show. With a Tenor saxophonist goes over the drill at a sound check for “Tenor Madness,” produced by pianist at the Da Capo Theater in NYC on twinge of nostalgia he said on his last show in May 1992 that February 5, 2009. Listening intently are bassist Martin Wind and drummer Tim Horner. this was probably the last time a big swing band would regularly appear on television. He was right. Fran Kaufman photographs the world of jazz Ken Poston has been conducting jazz conferences since 1991, —on stage and behind the scenes. starting with his Stan Kenton Back to Balboa event. These annual symposiums have provided outstanding jazz See what’s happening—with a new photo every day— entertainment and academically furthered the cause of jazz on the WBGO Photoblog. research adding to the archives of his Los Angeles Jazz Institute. The Poston events are a must for enthusiasts of large Check out where Fran’s hanging, ensemble jazz. To find out information about the Institute’s and see what she sees, at past big band jazz programs see www.lajazzinstitute.org. JJ www.wbgo.org/photoblog

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NOJO Shows Off Its Mojo in Manhattan

By Sandy Ingham

he New Orleans Jazz Orchestra, celebrating its 10th anniversary T this year, took the party from the Big Easy to the Big Apple with a star-studded gala at Carnegie Hall on October 8.

Singers Aaron Neville and Dee Dee Bridgewater and saxophonist Branford Marsalis were the biggest names, but NOJO illustrated its commitment to sparking jazz interest in the younger generation by showcasing blues-warbling ingénue Haley Reinhart and “American Idol” contestant Casey Abrams, a bassist and singer.

The 16-piece big band put together by trumpeter Irvin Mayfield in 2002 has survived bad blows — i.e., Katrina — and hard times (2008-12) and emerged triumphant, gauging by this concert and its other achievements. It’s full of stellar players, and Mayfield has proven a creative composer and arranger. NOJO has taken on a major role in keeping jazz alive and well in its city of birth, not only by playing there but also by reaching out to schools and kids there.

There were highlights galore at Carnegie:

■ A scatting Dee Dee and Branford (on soprano sax) trading fours and bringing “Lady Sings the Blues” to a grand climax.

■ Neville’s stirring rendition of “Ave Maria,” accompanied by Marsalis again on soprano, neither of them trying to jazz up the elegiac melody.

■ Guest banjo player Don Vappie’s dizzyingly fast, bluegrass-inflected vamp, with Derek Douget on sax and then Evan Christopher on clarinet each conquering the challenge of reprising the tune’s twists and turns. Then the whole band joined in on this delightful romp.

■ Christopher’s tour de force, “It's a Creole Thang,” a concerto for clarinet that journeyed between a Havana rumba and New Orleans swing and back again.

■ Tenor saxophonist Ed Petersen’s roof-raising rant, “Sweetbread on the Levee,” full of honks and screeches, with blaring brass and moaning reeds adding to the bluster. Did he really blow the levees apart?

Mayfield reserved plenty of solo space for himself, deservedly so. His burnished trumpet tone cast a warm glow on “Autumn in New York” as a 16-piece string ensemble, Sphinx Virtuosi, created a shimmering backdrop. His pungent obbligatos prodded Reinhart as she sang a soulful “God Bless the Child.” And Mayfield brought the nearly full house to its feet playing his hymn “May He Rest in Peace,” a deeply moving prayer for his father, one of the 1,500 people to die in Hurricane Katrina’s aftermath.

Rocco Landesman, chairman of the National Endowment for the Arts, was one of several dignitaries on hand to salute the orchestra, and TV anchor Soledad O’Brien served as emcee.

The concert ended in quintessential New Orleans fashion as the band struck up the parade anthem “Second Line” and marched through the hall, as a couple thousand exuberant, hankie-waving fans clapped and cheered. JJ

Sandy Ingham is Jersey Jazz’s roving reporter.

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Jazz Goes to School | The College Jazz Scene JAZZ U By Frank Mulvaney NJJS President

William Paterson University, tasteful just prior to the last chorus of over the chords Mulgrew provided. Oct 7: Mulgrew Miller/ elegant ensemble playing. Incorporating dissonance, the effect was Kenny Barron Duo quite spectacular. When the final note was After a brief intermission we returned to see sounded, the entire audience rose to its feet. It’s Fall again and time to start covering the the stage set with two seven-foot concert The sustained applause continued after they college jazz scene, which I so dearly love. grand pianos somewhat mated front to back left the stage and they soon returned to gift Like the NJ Jazz Society, the Jazz Studies awaiting the two keyboard masters Mulgrew us with another Monk classic,“Blue Monk,” Program at William Paterson is celebrating and Kenny. These gentlemen account for a as an encore. It was marvelous, of course. its 40th anniversary. Kicking off the Fall Jazz shelf of albums under their own names Room Series, now in its 35th year, we had and many hundreds of other recordings as two giants of the keyboard: Mulgrew Miller sidemen. Mulgrew had been the Director of Princeton University, Oct 14: and Kenny Barron in a duo format. But the jazz studies program at WPU since 2005, Concert Jazz Ensemble — first, as usual we heard from one of the 24 while nine-time Grammy-nominated Early Fall Concert student small groups. Today it was a septet Kenny, who headed the Rutgers jazz coached by Cecil Bridgewater. The group program for 20 years, is currently on the If you have ever spent time on the Princeton consisted of three young men from Jersey faculty at Juilliard. They are not strangers to campus you might easily become infatuated and representatives from Maryland, each other and performed in duo format a with the place. I’ve been attending California and Arizona and South Korea by number of times abroad but not on our numerous events for a dozen years and it way of Palisades Park. The initial selection shores. Mulgrew started things off with the still feels like a bit of a fantasyland. The was an up-tempo bebop tune by gem “When Lights are Low.” guest conductor this evening was my friend called “Ray’s Idea.” The front line of Ben To say that the playing was sumptuous on and tenor monster Ralph Bowen, pinch- Kovacs (tenor sax), Peter Lin (trombone) this tune and the entire set would be a gross hitting for Jazz Program Director Tony and Zach Gillespie (trumpet) combined for understatement. The complementary Branker, who is on sabbatical. Ralph is also some marvelous three-horn harmony at the playing was awesome as the lead seamlessly on the faculty at Rutgers. This year’s edition start. Zach then delivered a torrid solo. Peter moved from one to the other. A torrent of of the ensemble has five freshmen. The first followed with his own eloquent statement. shared ideas kept flowing with numerous of the eight big band charts was from Scott All the while the rhythm section of David rounds of amazing trading. Another ballad, Whitfield, “G’Day Mates,” obviously inspired Zachs (piano), Daseul Kim (bass), Charlie “Like Someone in Love,” followed as by an experience in Australia. It was a short Sigler (guitar,) and Chris Brawley (drums) Mulgrew carried the ball at the outset once moderate swing that served as a good was really driving the tune forward. David more. The keyboard runs were glorious. warm-up. Early on we had a fine bass solo showed off his piano chops to much One idea begat another and another and from Noah Fishman and later some appreciation. The arrangement provided for another. At this point Mulgrew left the stage eloquent comments from Adam Gallagher some great three-horn harmonies between to allow Kenny to render “Spring Can Really (alto sax) and an impressive muted trumpet the solos. Next up was a lesser-known Hang You Up the Most.” Kenny’s stunning solo from Daniel Brooker. Drummer Phil Wayne Shorter composition called “Deluge.” improvising, subtle syncopation and McNeal did an outstanding job driving the This moderate swing tune begins with a opulent chords were overwhelming. Kenny band. From legendary drummer Louie three-horn intro leading into a tenor sax withdrew and Mulgrew took his turn in the Bellson with we had a Mark head statement. The ensemble playing was spotlight with “It Never Entered My Mind.” Taylor bossa arrangement of “His Dream.” integrated with fine solos from piano, guitar Mulgrew inserted a little dissonance to The trombones carried the early load with and a long one from the tenor sax. I’d never make things interesting. He did some hard help from the trumpet section on mutes. heard the wonderful ballad “My Ideal” in swinging as the piece progressed and mixed We had outstanding solos from trombonist the jazz idiom before and the boys did a in different tempos. Back together again Peter Gustafson and pianist Charles Stacey marvelous job with it. Featured on this one I was granted a mental wish and the over ensemble chords. Noah chipped in were some more great tenor sax playing and gentlemen gave us Joe Henderson’s “Recorda some adroit percussive ideas. “Insider” was a sweet trombone solo. Daseul got his turn Me.” This driving Latin favorite was the the first of two Neil Slater charts. Slater was to solo and made the most of it. Closing out highlight of the concert for me. Mulgrew longtime director of the jazz program at the set was a tune called “Speedball” by Lee played the vamp and Kenny went to town. North Texas State. This one was a standard Morgan. This was an up-tempo swinger. The conclusion was greeted with an swing that seemed challenging but the kids Everyone except the bassist soloed avalanche of appreciation. The penultimate were up to it. It was a brass (often on mutes) wonderfully as the rhythm boys were solidly selection was Monk’s “I Mean You.” Kenny dominant arrangement with some cool in the pocket. The drum solo was short and was the main man on this one improvising trumpet blasts. Pianist Spencer Caton

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provided an intro and solo and we also a Rutgers University, Oct 20: and trombones came in with amazing had input from Jacob Shulman on tenor Jazz Ensemble II — harmony. There is a wonderful dynamic plus more fine trumpet playing from Early Fall Concert shift emphasizing the trumpets at the Brooker. “Friday Night at the Cadillac Club” conclusion. ’s “The Jody was the only tune I was familiar with this I hope there might be one or two big band Grind” with John Clayton’s arrangement is evening. It’s a catchy tune by Bob Berg junkies out there reading this. I’ve been such a fun funk tune that we really should saying in print for six years that there arranged by Earl McDonald. “Cadillac” hear it more often. Guitarist Adam Shaber really aren’t better places than our college comes on as a shuffle introduced by a did a great job leading the early going. campuses to hear big band material by trumpet shout and later morphs into hard Trombonist Peter Danch followed with an master arrangers. There are also a plethora swing. There were well-timed trumpet outstanding effort and the muted bone of modern arrangers like Michael Mossman. interjections berween an excellent bari solo section assumed responsibility for carrying In the Rutgers program a lot of emphasis is by Ryan Budnick and a stunning tenor sax the melody. There were a bunch of other placed on large ensemble playing, with two solo from Mark Chernoff. Phil McNeal excellent solos on this one: Peter Baldassare 17-piece ensembles, which do two concerts made an important contribution with his (tenor), Luca Provezano (tenor), Buzz each per semester. This night it was the “B” sticks. Opening the second set was another Ripperger (bari) and Gan Giannone, who team, largely undergrads. I took a quick Earl McDonald chart called “Bad Dream” did a great job driving the band forward which was based on the chord changes of look at the program listing and instantly got excited because of the names of so many until the hard swinging ending. With “You Stepped Out of a Dream.” Peter Mongo Santamaria’s “Afro Blue” the eclectic Gutafson shone brightly in the spotlight fabulous arrangers. Kicking off the concert picture was almost complete. Again it was a and James Bartusek provided a masterful was a familiar Billie Byers arrangement of sizzling Mike Mossman Latin arrangement. alto solo. But Phil McNeal was the main “All of Me.” It blasts off from note one and Dan Giannone and Dominic Palombi man with a long drum solo accented by quickly becomes a piano feature. Another handled the percussive duties superbly. Mr. interesting brass comments. The second blast and the ensemble settled into the Baldassare was once again in the spotlight Neil Slater chart, “This,” followed. I enjoyed groove. Pianist Nick Filomeno distinguished and we heard an outstanding bass solo from the full ensemble harmonies of this lyrical himself nicely on the piece. “Greensleeves” Riley Byrne as well. Perhaps the finest solo moderate up swinger. It was a long chart was a terrific arrangement by . that featured Jacob Shulman on tenor and Four clarinets set the table and then the of the night came from Joshua Orr whose trumpeter Brooker with support from the brass moved in for about eight bars. The trumpet chops are most impressive. Tadd other trumpets on mutes. Into the home clarinets carried the melody again backed Dameron’s “Just Plain Talkin” is a very stretch we had a composition from Clark by a rich ensemble blend as trombonist pleasant moderate swing tune that he wrote Terry called “Sheba.” It’s a beautiful ballad Ben Weisiger deliverd a splendid solo. There for Benny Goodman’s band. I believe the with wonderful harmonies. Daniel Brooker was more clarinet dominance before the clarinet solo that was written for Benny on flugelhorn carried the load; Noah trombone section provided a satisfying was transformed into one for trumpet and Fishman (bass), Spencer Caton (piano) and conclusion. Horace Silver’s “Nica’s Dream” Anthony Fazio did an awesome job with it. Mark Chernoff (tenor sax) enhanced the got first-rate treatment by arranger Michael The trumpet section was right on target and presentation. There always has to be a Mossman. We had big sound out of the we heard fine solos from Luca Provenzano burner in a big band concert and this night chute and the Latin rhythm, which (tenor) Adam Shaber and an especially good it was another Scott Whitfield chart called Mossman is famous for. Trombonist Joshua one from Ben Weisiger (trombone). “The “SST” (“Supersonic Transport”), based on Orr provided a sensational long solo and Eternal Triangle” is a classic frenetic bop the chords of “Sweet Georgia Brown.” It tenorist Peter Baldassare contributed some composition from the great . It roared out of the chute with the brass cogent ideas. We also had outstanding input featured tenor saxes Peter and Luca in a doing the heavy lifting. It presented an from James Merchant (alto sax) and Sam duet somewhat like Stitt and Sonny Rollins opportunity for some soloists not heard Johnson (guitar). Thad Jones is not nearly had on the original recording with Dizzy’s earlier. Francisco Avila got in some torrid as well known as most of the hall-of-famers band. Both tenors were on their feet trombone licks and guitarist Simon Segert but the experts will tell you that he was, exchanging statements sandwiched around had clever things to say. Altoist James indeed, a genius. His composition “A Child some hot licks thrown in by the trumpets. Bartusek supplied articulate commentary is Born” certainly justifies the label. In my The chart really rocked with things getting a and Mark Chernoff (tenor sax) added some humble opinion it is the most beautiful, little wild and the musicians swinging for icing for the cake. The ensemble did a great emotional ballad ever. Nick Filomeno the fences. What a treat! This was probably job this night with a difficult book and they demonstrated his beautiful touch on the the best concert that I’ve ever seen from should be proud. keys with just bass accompaniment as flutes this particular ensemble. JJ

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Honey,” “Caldonia” and “Bijou,” and often featured uncover a lot of rare performance footage, including Other vocals by Herman. selections from Herman appearances on several episodes of the Ed Sullivan Show. It is rare that Views Following a brief respite from the band business, complete performances of individual pieces are Herman returned with the Second Herd in 1947. By Joe Lang included in these kinds of documentaries, but Among the stars who played on this band were Past NJJS President Carter has opted to include numerous of these , Zoot Sims, and Serge performances, allowing the viewer to enjoy the full Chaloff, the famous “Four Brothers” sax section. This is that time of year impact of the arrangements. He has also gathered Other musicians who passed through this exciting when the Christmas CDs scores of still photos, and extensive footage of band were Al Cohn, Shorty Rogers, who also did a come my way, so I will interviews with Herman, many of those who played lot of arranging, , , Harris and cover some of the new ones available this year, on his bands, and others from the jazz world, to fill Jackson. They took excitement to an even higher along with other goodies recently released. out the story. level than the First Herd, but never enjoyed the DVDs level of popularity that enabled Herman to turn a The resulting package presents a comprehensive profit, and the Second Herd was disbanded in 1949. portrait of a bandleader who was innovative, ■ Woody Herman: Blue Flame — Portrait of a dedicated to the music, and a man who is recalled The Third Herd was organized in 1950 and lasted Jazz Legend (Jazzed Media – 9005) is the latest with affection by those who played for him. The into 1956. Among the musicians from this band documentary DVD from Graham Carter, this one players through the years offered many challenges who gained a wide degree of recognition were covering the life and career of WOODY HERMAN, for Herman, but he always found ways to get the Dave McKenna, Bill Perkins, Carl Fontana, Nat the legendary big band leader. This is a natural best out of his musicians, and to present music that Pierce and . This band, while still follow-up to his film on Stan Kenton, Artistry in strived to be contemporary and accessible to his capable of capturing some of the frenetic feeling Rhythm, that I reviewed in the April 2011 issue audiences. In this he generally succeeded, as does of the earlier Herds, was a bit more oriented to of Jersey Jazz. This pair of films gives keen Carter in his effort to present the Woody Herman a wider audience, and included many dance charts perspectives on the two most significant figures story in an interesting and entertaining manner. in its repertoire. in the development of modern big band jazz. (www.JazzedMedia.com) Following a series of small group ventures, Herman Woody Herman was a child performer, acting, ■ Several weeks ago, I was reading the Jazz Lives singing and playing instruments, performing in made a spectacular return to the big band scene blog of Michael Steinman, and came across public starting at around eight years of age. By his with a knockout performance at the 1959 Monterey reference to a singer who had until that time teenage years, he was playing in big bands like Jazz Festival with his New Thundering Herd. This escaped my attention. Her name is DAWN Tom Gerun and Gus Arnheim, eventually joining band evolved into one of Herman’s most swinging LAMBETH, and Steinman indicated that she Isham Jones. When Jones left the business, Herman bands, one that recorded a series of albums, first had recently released a DVD of a 2011 concert formed a band that was comprised of many of his on the Philips label, and then on Columbia, that that he found to be wonderful. Respecting his band mates from the Jones organization. The band featured musicians like Bill Chase, , Phil taste, I contacted Dawn Lambeth, and she kindly became known as “The Band That Plays the Blues.” Wilson, Jake Hanna and . forwarded a copy to me of this concert. Well, Live at Studios on the Park (Dawn Lambeth) By the mid-1940s, Herman took his band in a As the 1970s approached, Herman adapted to the arrived, along with her most recent CD (see direction that incorporated many of the sounds popularity of rock, and incorporated a lot of fusion below), and it went right into my player. Lambeth emerging from the bebop scene. In 1943, he formed sounds into his recordings on the Cadet, Fantasy is a charming presence, and one heck of a fine the first of a series of bands that were referred to and Chess labels. When he made his last recordings singer. The tunes are all classics from the Great as his Herds. The First Herd had players like Flip for the Concord label in the 1980s, he returned to a American Songbook. The first 10 tunes are Phillips, , Pete Candoli, more straight ahead approach. performed with accompaniment from a very and Davey Tough, plus arrangers like Ralph Burns During the second half of his career, he was special pianist, Chris Dawson, with Marc Caparone and Neal Hefti. They were a hard swinging bunch plagued by financial difficulties resulting from on trumpet, Mike Swann on guitar and Kate that created excitement with such tunes as “Apple misuse of the band’s earnings by a manager who Cavera on bass added for the final six selections. let his gambling habit In both musical settings, Lambeth is a joy to hear, interfere with his handling and the musicians enhance her artistry. The of the band’s receipts. As concert was filmed in one of the art galleries a result, Herman ended that comprise the Studios on the Park in Paso up working the last Robles, California, and the DVD conveys the several years of his life intimacy of the setting, one almost like being at trying to expunge a a private home. The performances are perfectly suited to the space, warm and personal. After significant debt to the watching the concert on the flat screen television Internal Revenue Service. in my living room, I had the feeling that I had All of this story is well actually been there as it was occurring. The captured by this film. best part is that I can revisit it whenever I want Carter has done the to do so. I am confident that you will have a similar necessary research to reaction. (www.dawnlambeth.com)

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CHRISTMAS ■ Those of you who have been reading my reviews ALBUMS during this past year are aware that I am fond of the work of vocalist SUSIE ARIOLI. When I received ■ OCTOBOP is a band dedicated to keeping alive Christmas Dreaming (Jazzheads – 1194),I the sounds of medium-sized units approached it with great expectations. Well, Arioli like the Dave Pell Octet and the Marty Paich and her regular partner on guitar, Jordan Officer, Dektette. Applying this style to a set of Christmas have not disappointed. Supported by bassist Bill songs is an interesting concept, and the results can Gossage and guitarist Michael Jerome Brown, Arioli be found on West Coast Christmas (Mystic and Officer give us a program of seasonal favorites Lane Productions – 050100). The arrangements with a few surprises here and there. Mixed in with are all written by members of the band, leader and familiar tunes like “Have Yourself a Merry Little reed player Geoff Roach (“Line for Santa” and Christmas,” “Winter Wonderland” and “Blue “Saturnian Sleigh Ride”), guitarist Jack Conway Christmas” are “Call Collect for Christmas,” a (“Santa Baby,” “Christmas Time Is Here,” “Jerry bluegrass tune, “La Peregrinación,” written by Mandelbaum (God Rest Ye, Merry Gentlemen),” “It Argentine composer Ariel Ramirez, and “Old Toy Came Upon a Midnight Clear,” and “The Christmas Trains,” a Christmas song by Roger Miller. Arioli has Song”), bassist Brian Brockhouse (“Angels We Have a mellow, inviting sound, and Officer complements Heard on High”), and trumpeter Randy Smith (“Carol her vocals brilliantly. This will be in the album of the Bells”). The album is a refreshing visit to a rotation on my CD player for this Christmas season. program of songs that deserve the kind of hip (www.jazzheads.com) attention that has been applied to them. The opening track, “Line for Santa,” gives “Santa Claus Is ■ Many Times, Many Ways: A Holiday Coming to Town” a platform comprised of the chord Collection (Justin Time – 8553) by vocalist changes used by Gerry Mulligan on “Line for Lyons,” HALIE LOREN and pianist MATT TREDER is a thus the title. This track is but one illustration of the highly enjoyable Christmas album, sense of humor that infuses many of the tracks, released on White Moon in 2008, but now receiving another being the inclusion of the Shorty Rogers wider distribution through Justin Time Records. This piece, “Saturnian Sleigh Ride,” on a Christmas 11-selection program shows both Loren and Treder album. This is not to say that the disc disrespects to be highly accessible and engaging performers. the spirit of Christmas, rather it brings some musical Among the familiar tunes are “The Christmas Song,” freshness to the season, and is a perfect addition to “Home For the Holidays,” and “Santa Baby,” but any holiday gathering. (www.octobop.com) they venture into some interesting territory with “Blue Holiday,” “Grown Up Christmas List” and a ■ As regional big bands go, the KNOXVILLE JAZZ song not normally associated with the Christmas ORCHESTRA is one of the best. Christmas Time season, “Nature Boy.” Loren has a pleasant voice, is Here (Knoxville Jazz Orchestra) is a collection and approaches each lyric with respect and of holiday tunes that are given a somewhat different understanding. Treder provides empathetic examination through the arranging imagination of accompaniment for Loren, and gives a taste of his leader, trumpeter and founder of the KJO, Vance composing chops on two piano pieces, “Sugar Thompson. This is a band filled with outstanding Cookies” and “From the Mouths of Babes.” They do musicians. They play their ensemble passages with offer many ways to enjoy the spirit of Christmas, precision, and the soloists shine as brightly as the and chances are if you listen to this album once, you lights on a Christmas tree. There are some tracks will listen to it many times. (www.justin-time.com) that stand out after just one listen. “Let It Snow” is a showcase for the strong KJO trombone section, and ■ Justin Time Records is an outstanding Canadian takes the melody down different roads than those in record label that has been producing jazz recordings the classic Les Brown recording. An extended bass for almost 30 years. They have combed their vaults solo by Rusty Holloway leads into a festive and to present Have Yourself a Merry Little exciting “Deck the Halls” that includes a whimsical Christmas (Justin Time – 245), a terrific tenor sax solo from Greg Tardy. I never thought collection of Christmas songs by VARIOUS about “Jingle Bells” as a samba. Well Thompson did, ARTISTS who have recorded for the label. They and the results are great fun. Perhaps the most have been particularly strong in featuring vocalists interesting track is “Children Go Where I Send Thee.” and pianists. Among the singers represented on this It has two different choirs, one stating the melody disc are Hilary Kole, Diana Krall, Ranee Lee, Johanne in a rather straight forward manner, and another Boulin and Coral Egan. The pianists include Oliver giving it a gospel feeling, separated by a funkish Jones, and Taurey Butler. Most of the instrumental interlude. This is an album full of daring songs are familiar ones. There are a few outstanding arrangements, well executed. (www.knoxjazz.org) selections that vary from the singer or pianist mold,

continued on page 38

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OTHER VIEWS with the sounds of hot jazz. This quartet holds forth at Mona’s, a bar on Avenue B near 13th Street in continued from page 37 the East Village every Tuesday night for a jam session that attracts a plethora of like-minded a “Christmas Calypso Medley” by the Montreal musicians for evenings of spirited musical Jubilation Gospel Choir, a pairing of “Minuit interaction. Tuesdays at Mona’s (Triple Treble Chrétien” and “O Holy Night” by Quartango, and Music) documents a typical evening’s festivities “The Christmas Medley” by the Rob McConnell with an impressive list of drop-ins, including Emily Tentet. This is an album that has quality, variety Asher, Ehud Asherie, Jim Fryer, Tamar Korn, Dan and fine talent, giving the listener an eclectic Levinson, Molly Ryan and Bria Skonberg. The and uplifting Christmas listening experience. music is fun, energetic and good. This CD contains (www.justin-time.com) 10 classic jazz tunes played by a revolving cast of ■ Wintertime Tunes of Drew Paralic is an musicians. The accompanying DVD captures the appealing collection of compositions by DREW ambience of the Mona’s experience. If you dig PARALIC, a -based composer/pianist who good old style jazz, this package is a must for you. has opted to write tunes, and use others to record (www.dennislichtman.com) them. For this album, he has chosen reedman ■ In 1976, tenor saxophonist SCOTT HAMILTON Mike McGinnis, bassist Elias Bailey, drummer made the move from Providence, Rhode Island to Vinnie Sperrazza, and pianists David Pearl, who New York City where he was among several young plays on four of the six tracks, Bennett Paster and musicians who were immersed in the swing styles James Newman to play his melodic pieces. Vocalist of sax players like and Zoot Sims. Laura Kenyon comes aboard for two selections, Twelve years later, another tenor player with Rhode “My Wintertime Sky,” lyrics by John Raymond Island roots, HARRY ALLEN, graduated from the Pollard, and “How Bill’s Heart Sings,” lyrics by jazz program at Rutgers, and also moved to the Big Thomas A. Raniszewski. She is a welcome addition Apple. His stylistic inclinations mirrored those of to the album. Paralic has a gift for melody that is Hamilton’s, and it was only natural that they often wonderfully embellished by the musicians. While found themselves on the same bandstands. For the not specifically a Christmas album, the opening last 25 years, these two tenor sax giants have track does have a Christmas theme, and the continued to meet up from time to time to create designation of the compositions as “Wintertime memorable music together. ‘Round Midnight Tunes” pushes this highly listenable collection into (Challenge – 73348) is their latest joint venture. the package of recordings for seasonal They are joined by the regular members of Allen’s consideration. (www.drewparalic.com) quartet, pianist Rossano Sportiello, bassist Joel CDs Forbes and drummer Chuck Riggs, for a nine-tune romp that is sure to elate all diggers of swinging MONA’S HOT FOUR is among the groups mainstream jazz. There is a strong tradition of two spearheading a revival of interest in traditional tenor sax front lines, Al Cohn and Zoot Sims, Dexter and swing jazz music in New York City. Along Gordon and Gene Ammons or , with groups like Emily Asher's Garden Party, the “Lockjaw” Davis and , among others, Baby Soda Jazz Band and the Cangelosi Cards, come to mind. Hamilton and Allen certainly belong clarinetist/violinist Dennis Lichtman, pianist Gordon among those monster duos. The program covers Webster, pianist/banjoist Nick Russo and bassist standards, “My Melancholy Baby,” “How Am I to Jared Engel have been engaging young audiences Know,” “Baubles, Bangles and Beads” and “Lover;” jazz tunes, “The Opener” by , “Hey Lock” by Davis, “Flight of the Foo Birds” by Neal Hefti, and “‘Round Midnight” by , Cootie Williams and Bernie Hanighen. Allen contributed one original “Great Scott,” a nod to his partner in jazz. Both cats are natural swingers, and they prove it over and over again on this disc. Mention must also be

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made of the spectacular pianism of Sportiello, and on the spot in a way that only superior jazz players memory, and her influence on Davidson and bassist the strong rhythm support from Forbes and Riggs. can do. It is exciting to hear, and satisfying to who participated on Davidson’s first If someone asked you why you dig jazz, putting this experience. (www.jazzbeat.com) jazz recording. Davidson added the masterful Lewis disc in your player would be a good place to start. Nash, a drummer with a list of credentials that ■ ACCIDENTAL TOURISTS is a trio comprised of (www.challengerecords.com) place him among the elite percussionists in jazz, German pianist/composer, Markus Burger, bassist to fill out the trio. The program has four Davidson ■ Bob Magnusson and drummer Joe LaBarbera, both British clarinetist JULIAN BLISS is most originals, including two inspired by Keene, one based in Los Angeles, who have gotten together recognized as a classical player, but he has had an original by Finck, one traditional song, “Joshua for a recording project titled The L.A. Sessions enthusiasm for jazz, particularly Benny Goodman, Fought the Battle of Jericho,” and nine classic pop (Challenge – 7332). Seven of the 12 selections are since his childhood. Upon revisiting the music of and jazz tunes, many of which were recorded by original pieces by Burger, while the others are two Goodman many years later, his interest in this Evans. This is a thoroughly enjoyable set by three standards, “I Loves You Porgy” and “In Love in Vain,” music was rekindled. An encounter with pianist excellent and empathetic musicians. Davidson is and three jazz tunes, “The Old Country” by Nat Neal Thornton led to the formation of a band a fine creator of melodies, so his originals fit Adderley and Curtis Lewis, “” by dedicated to playing Goodman’s music. Eventually seamlessly into the program. Helen Keane would Bill Evans, and “One World” by German guitarist they took the music into a studio, and A Tribute surely have been pleased with this nod of Thomas Hopf. This is an album of thinking men’s to Benny Goodman (Signum Classics – 288) appreciation in her direction. music. Burger, a name new to me, has his own ensued. They based the band on the Benny (www.rogerdavidsonmusic.com) Goodman Sextet by engaging vibist Jim Hart, sound and style, one that is interesting and distinct. guitarist Colin Oxley, bassist Tim Thornton and Magnusson is a forceful bassist who is a strong ■ For 17 years pianist GERARD HAGEN, bassist drummer Matt Skelton. In an effort to capture and wonderfully creative soloist, and LaBarbera is Domenic Genova and drummer Jerry Kalaf have some of the sound of Goodman’s big band, they among the most musical of drummers. They mesh been working as a trio in the Los Angeles area. augmented the sextet with trumpeter Martin Shaw. perfectly as a trio, and this does not sound like an Hagen and his wife, singer Leslie Lewis, made a The program has a mixture of big band and sextet album created by three cats who just happened to decision to move to Paris. He wanted to document associated selections. They open with a pairing of come together in a recording studio. There is a lot one more time the legacy of his trio before “Don’t Be That Way” and “Stompin’ at the Savoy,” as of thoughtful music played on this album, and it is relocating, and thus we have Song for Leslie classic Goodman as you can get. Among the other not one that you will be able to let remain in the (Surf Cove Jazz – 103), a superb piano trio tunes are “Moonglow,” Lady Be Good,” “Seven background. (www.challengerecords.com) recording. Hagan supplied two originals, the title Comes Eleven,” “Goodbye” and “Avalon.” Bliss has continued on page 40 ■ The genesis for We a terrific tone, and a fine feeling for the Goodman Remember Helen style. The other players fit right into the mix, and (Soundbrush – 1024) the result is a nicely swinging tribute to “The King was a 1987 meeting of Swing.” (www.signumrecords,com) between pianist ROGER DAVIDSON and Helen Shelly Productions presents ■ Among the most overlooked top flight pianists in jazz is MIKE LONGO. Give a listen to Keane, best remembered A Celebration of Diz and Miles (Consolidated for her managing the Live Jazz Thursday Nights Artists Productions – 1033) where Longo is career of Bill Evans during joined by bassist Paul West and drummer Ray the last 17 years of his life. Keane, who had known at The Glen Rock Inn Mosca for a live performance at the Baha’i Center in New York City. The tunes associated with Dizzy Davidson when he was a Gillespie and Miles Davis, and hearing this trio play classmate and friend of NO COVER CHARGE them will demonstrate why Longo deserves her son during their junior placement in the top tier of jazz pianists, and the high school days, attended DECEMBER MUSIC DATES recognition of all fans of the music. Longo played a concert by Davidson, piano and served as musical director for Dizzy and was immediately TO BE ANNOUNCED Gillespie for several years, and had occasion to jam impressed with his with Davis when both Davis and Gillespie shared performance of an original Check the web site for updates club dates in New York City. This album is a natural classical piece for choir outgrowth of those experiences. Other than and piano. They renewed www.glenrockinn.com “Summertime” and “You Don’t Know What Love Is,” their friendship, she the remaining nine tunes were composed either by became an important Gillespie (“Con Alma,” “Ow,” “Here Tiz,” “Tour De influence on Davidson, and Force” and “A Night in Tunisia”) or Davis (“All Blues,” helped lead him toward a 222 Rock Road, Glen Rock, NJ Entertainment Starts 7:00 PM “Milestones,” “Freddie Freeloader” and “So What”). stronger emphasis on jazz Call for Reservations The Trio is in fine form. They have played as a unit in his career, serving as 201-445-2362 Host — Victor Quinn many times over a long period, and were familiar producer for his first jazz with the material, so no rehearsals were needed. recording session. This Shelly Productions, Inc. Here are three musicians interacting and creating album is dedicated to her P.O. Box 61, Elmwood Park, NJ • 201-796-9582

December 2012 ______39 OTHER VIEWS Reynolds on guitar and banjo, Clint Baker on guitar and bass, and Jeff Hamilton on drums continued from page 39 and piano, an outstanding aggregation. Most of the tunes are familiar, but not overdone song dedicated to his wife, and “464 Blues.” classics. There are a few surprises like “If You Drummer Kalaf also contributed two pieces. Were Mine,” “Dream Man,” “I Wish I Were One anticipates Hagen’s departure for Paris, Twins” and “Let’s Misbehave.” As I listened to “Where’s Gerard,” a sprightly tune indeed, this disc, I thought about what singers Lambeth and the other has the curious title of “Looking recalled, and three came immediately to mind, at the Despair Calendar.” “My Romance,” “A Maxine Sullivan, Rosemary Clooney and ” and “What Is This Thing Rebecca Kilgore, not because of the sound of Called Love” are the three standards that her voice, but because of her laid back but open the album. As should be expected from a confident reading of the lyrics to each song, group of long standing, the players have terrific done with respect for the words, and a full chemistry. Hagan, who has been impressive on understanding of the way that they should be previous releases, hits the mark once more sung to convey the lyricists intent. A special with an album that will leave his fan base in nod of tribute should be added toward California wondering why he and his wife are Michael Steinman for his literate, off to Paris, and regretting their loss from the informative and perceptive liner notes. Golden State. (www.gerardhagen.com) This is a musical package of pure pleasure. ■ The first dominant sound to be heard on Do (www.dawnlambeth.com) Something (La-La – 5604), the new album Remember that these albums are not available from vocalist/guitarist HANNA RICHARDSON through NJJS.You should be able to obtain most and bassist/guitarist PHIL FLANIGAN, is the of them at any major record store. They are tasty cornet of Randy Reinhart introducing also available on-line from the websites that “Three Little Words.” These three, along with I have shown after each review, or from a pianist Stefan Vasnier and bassist Jared variety of other on-line sources. JJ Mulcahy take a delightful journey through the world of mostly 1930s tunes, the exceptions being “Romance Without Finance,” a Tiny CD Review Grimes composition from the 1940s and “Talk to Me Baby,” written by Johnny Mercer and IMPROMPTU Robert Emmet Dolan for the 1964 Broadway John di Martino and Warren Vaché musical Foxy. Richardson has the right vocal We have believed for a long time that New approach for the 12 songs that comprise Jersey’s Warren Vaché is the most eloquent the program, understated and beautifully living brass player on the planet. We confirmed articulated. The inclusion of some relatively that belief on hearing the new recording neglected gems like “What Have You Got Impromptu from Kilamanjaro Disques. That Gets Me,” “Me Minus You,” “Do On this CD Warren joins his cornet with the Something” and “Show Your Linen Miss unique talent of piano virtuoso John di Martino Richardson,” the last of which could serve to form a duo that brings us expressive, as a self-admonition, is a plus. Richardson’s imaginative and soulful music. They deliver smooth vocalizing is perfectly supported by a song selection of great beauty: Love Me the musicians surrounding her. Put it all or Leave Me, You’re My Thrill, and It’s Been together, and the package is thoroughly So Long are played with muted cornet as appealing. (hannaphil.com) are Tres Palabras and . ■ I related above how I discovered the fine Emily and Yesterdays are solos for di Martino. California vocalist DAWN LAMBETH. Much of Warren is on open horn on I Remember You what I had to say about the performances in from Somewhere, A Time for Love, Blues in the my review of her DVD apply to what you will Night, People, through Strayhorn’s gorgeous hear on Let’s Get Lost (Spanish Shawl Isfahan to Do You Know What it Means to MIss Music – 002). This 18-song program was New Orleans. Skylark is soloed on open cornet. recorded over two days. The musicians include We are blessed to have artists like this living Bob Reitmeier on clarinet, John Smith on and creating among us. Get this CD! soprano and alto saxophones, Marc Caparone on cornet and bass, Dave Caparone on By the way there are three great photos trombone, Chris Dawson on piano, John in this CD package. — Fred McIntosh

40 ______December 2012 Ticket Price is $25.00, students $20.00. Pre-sale price through Feb.1st 2013 $20.00, students $15.00. For High School & College Group Sales e-mail [email protected]. Tickets are available online at www.roxburyalliance.org.

December 2012 ______41 JerseyReviewsJazz

BOOK REVIEW Jake Hanna: The Rhythm and Wit of a Swinging Jazz Drummer By Maria S. Judge | The History Press, Charleston – London 2012 | 189 Pages (Illus.), $19.99 By Joe Lang NJJS Past President

rummer Jake Hanna had the repu- He also hipped Jefferson to some of the Dtation of being as adept with a quip younger players on the scene, including or tale as he was as a drummer who had Scott Hamilton, Warren Vaché, Howard swing in his blood. Maria Judge, one of Alden, Ken Peplowski and Dan Barrett, Hanna’s nieces, undertook the pleasur- and they all became Concord artists. able task of gathering together the basic Hanna was the drummer for Bing biographical data about him, adding a Crosby’s quartet when Crosby toured wealth of personal quotes from Hanna, during his later years. He was a regular his relatives, friends and peers, and on the jazz party circuit, admired by his presenting readers with a profile of this fans and his peers alike. He was also busy talented, perceptive and witty man in a in the recording studios, recording over highly readable format. Jake Hanna: The 200 of the 250 or so albums on which he Rhythm and Wit of a Swinging Jazz Drum- appeared between 1975 and 2010. mer is one fun and informative read! Jake Hanna was born on April 4, 1931 in The year 1978 was a pivotal one for Dorchester, Massachusetts. His interest Jake, for that was the year when he in the drums began at an early age, met Denisa Heitman who became his following in the footsteps of his older constant companion, and, in 1984, his brother, Billy, both of whom frequented wife. Denisa has contributed a short the theaters in Boston where the big chapter to the book in which she says: bands played shows. By the age of 13, “I had a great life with Jake. He was Hanna began gigging around the Boston extremely supportive of anything I did, area. He joined the United States Air and life was always interesting. We had Force just short of his 19th birthday, similar senses of humor. I knew exactly and spent three years playing in the what he was going to say when he 761st Air Force Band that was based in him wider recognition as an exceptional started to say it. He was a very nice man, Wichita Falls, Texas. drummer, capable of swinging a big band temperamental as musicians can be, but Once out of the service, Hanna spent a year like few others. honest and loyal and true.” with Tommy Reed’s mid-western territory After leaving Herman, he became busy with That is a wonderful expression of affection band, and then headed back to Boston studio gigs, and spent 10 years as the and admiration from the female half of where he gigged around town, and drummer on the big band for The Merv this devoted couple. eventually enrolled at the Berklee School of Griffin Show. Griffin moved the show to Music in the spring of 1956. Around this California in 1970, and Jake found himself As you progress through this affectionate time, he was the house drummer for a time in the place that he would call home for the volume, the man described sounds like at George Wein’s Storyville where Marian rest of his days. one who would have been a kick to be McPartland heard him, and eventually hired around when he was getting off his quips In 1972, Carl Jefferson formed the Concord him for her trio. He also worked with his or telling one of his stories. Even more Jazz record label, an outgrowth of his Berklee classmate Toshiko Akiyoshi’s Trio. important was his talent as a drummer who Festival, and Hanna was on could make a group of any size swing like During the late 1950s, Hanna held down the the first album released by the label, Jazz the best jazz does. drum seat in several big bands, including at Concord, that also featured , those of Buddy Morrow, Maynard Ferguson, Ray Brown and . Hanna became a All of this comes through clearly in Harry James, and, for a few weeks, Duke mainstay of the label, appearing on over 50 the book. Maria Judge has captured Ellington. By now he had moved to New Concord recordings, and was influential in the essence of her Uncle Jake, and has York City. In 1962, he became one of the attracting people like Rosemary Clooney, added an important contribution to the main forces in Woody Herman’s Young Woody Herman, Dave McKenna and preservation and documentation of Swinging Herd. His time with Herman gave Marian McPartland to record for the label. jazz history. JJ

42 ______December 2012 JerseyReviewsJazz

songs from the classic period to When Fasano closed with the resurrect selections that are worthy, passion of “Don’t Ever Leave Me,” but too often ignored. the audience seemed to be hoping that she and Comstock, who were Caught in The exceptions mentioned above wonderfully supported all evening are usually handled by Fasano, by bassist Sean Smith, would not the Act and for this show form held true. By Joe Lang leave them, but continue on for She cleverly sandwiched the Tom some time longer. Past NJJS President Waits ode to wanderlust, “Shiver Me Timbers,” between “You’re a Of course, they did have to leave ERIC COMSTOCK & Lucky Guy,” a song about a chap to make room for Libby York in love sung by Comstock, and BARBARA FASANO: who brought along the superb “Isn’t It a Pity,” a story of love supporting cast of Warren Vaché The Night Has a found after a life of searching for on cornet, John Di Martino on Thousand Eyes it, a tune that they shared. Fasano piano, James Cammack on bass also addressed Jimmy Webb’s and Greg Sergo on drums for a LIBBY YORK haunting “Time Flies.” terrific set of songs, several from a The Metropolitan Room, NYC As expected with this team, you get recording made earlier in the week. October 19, 2012 a lot of unexpected, but always Right out of the gate, York made wonderful material, often included t is not often that I get to go to it evident that she can swing with in well conceived medleys. Ione venue, and see two first-rate a nice take on “Give Me the shows on the same evening. Well, Frederick Hollander was best Simple Life.” such was the case on October 19 known for songs that were associ- when the early show featured the ated with Marlene Dietrich. On Since its introduction on these dynamic husband and wife vocal this occasion, his work found its shores in the early 1960s, the team of Eric Comstock, who also way into a medley where Fasano sounds of bossa nova have been a handled the piano seat, and sang the verse to “Street of frequent element in the programs Barbara Fasano, followed by Dreams” as a lead-in to of most jazz and classic pop Chicago-based vocalist Libby York. Hollander’s “Illusions,” introduced singers. York took this path with by Dietrich in the film A Foreign the charming “Little Boat.” Eric Comstock and Barbara Fasano Affair, and Comstock concluded have wonderful chemistry on stage. the sequence with the mystical York indicated that she was soon They are devoted to the Great “The Night Has a Thousand Eyes.” to appear in Paris, and wanted to American Songbook, but Later, they jointly addressed “I’ve include some French lyrics in her occasionally stretch the usual Been in Love Before,” sung by performances over there, so she repertoire of this designation by Dietrich in Seven Sinners. sang both Johnny Mercer’s English including some songs by more lyrics and the original French contemporary writers who came Pacing is an important part of any lyrics by Jacques Prévert of along after what is considered the successful show, and this couple “Autumn Leaves.” She followed era of classic American popular provides it oh so well. The with “Darling, Je Vous Aime songs. They also dig deeper into poignant Tommy Wolf/Fran Beaucoup,” a song written by an Landesman song “The Ballad American, Anna Sosenko for of the Sad Young Men” was Hildegarde, and subsequently passionately performed by made a hit again by Nat Cole. Fasano, and immediately followed by the elation of It was good to hear “Cloudy “This Can’t Be Love,” effec- Morning,” a selection by Marvin tively conveyed by Comstock’s Fisher and Joseph McCarthy that is buoyant rendition. Another popular with jazz singers like pairing of songs found Carmen McRae, Jackie Paris and Comstock singing a rather Carol Sloane. York did a wonderful lusty plea, “I Want a Little job of capturing the romantic Girl,” followed by Fasano at her imagery of the lyric. sultry best reading Nellie Lutcher’s suggestive lyrics to York then got into a traveling “Hurry on Down.” mood with “Slow Boat to China,” continued on page 44

December 2012 ______43 JerseyReviewsJazz

CAUGHT IN THE ACT continued from page 43

“When in Rome,” and finally a more modest This evening she was full of surprises. She domestic trip “Walking My Baby Back started this evening with a rarely heard tune Home,” done as a vocal duet with Vaché, by Barney Kessel, “Here’s That Sunny Day,” who knows a lot about phrasing, and invests and followed up with “‘Tis Autumn,” his vocalizing with an infectious sense of “Autumn in Rome,”“Everything But You,” humor. “This Is New,” a Kurt Weill/Ira Gershwin song deserving of more attention, “Thanks for the Memory” is always an Sherman’s original “Forever Spring,”“Chase appropriate closer, and for York it really Me Charlie,” Noël Coward’s whimsical ditty worked well. She had just given her about a frisky feline, “With Every Breath I audience a memorable set of music. In this, Take,” an instrumental feature for Sherman she was greatly abetted by the stellar and Robinson, “I’ll Never Say ‘Never Again’ musicians who backed her. Di Martino is Again,”“Rainbow Hill,” a lovely tune by one of the cats that singers just love to have Billy VerPlanck and Carmen Biase, and “I’m as an accompanist. He is never intrusive, but Beginning to See the Light.” always supportive. Vaché is among the best at finding just the right notes to play behind The instrumental configuration varied with a vocalist, and when he has solo space, he selection, with Robinson playing tenor sax, weaves clouds of musical magic. Cammack flute and clarinet, Robinson or and Sergo provided the underpinnings of sitting out on some numbers, and Daryl rhythm and time that kept things together. singing with only the bass on “I’ll Never It all worked just fine! Say ‘Never Again’ Again.” and you get exactly what those in The Metropolitan Room has recently Robinson is probably the most eclectic attendance experienced when the Daryl undergone some changes that have made musician in jazz. He can play in any style, Sherman Trio held court at the Kitano. the room more comfortable, and the menu and on a variety of instruments that is has been upgraded to offer some more breathtaking. The amazing thing is that he variety in the food area. All in all, it makes a sounds great regardless of instrument or HARRY ALLEN QUARTET good venue even better. With the style, and has a level of creativity of enor- with REBECCA KILGORE, disappearance of many rooms that provide mous proportions. On this evening he blew NICKI PARROTT and the intimacy that help to make jazz and hot, and cool, but was always in the right LYNN ROBERTS cabaret singers effectively reach their place with the right time. audiences, it is nice to know that this room Feinstein’s at Loews Regency, NYC is not only supporting the music, but Harvie S is among the most in demand October 8, 2012 taking the initiative to make it even more bassists on the scene, and it is apparent why The Harry Allen Quartet performed their customer friendly. this is so when you listen to him. He is a monthly Monday evening gig at Feinstein’s strong player who keeps great time, and on October 8 with a different pianist, Mike DARYL SHERMAN TRIO develops his solos with logic, taste and Renzi instead of Rossano Sportiello, a occasional doses of humor. The Kitano, NYC | October 10, 2012 different drummer, Zach Campbell instead of Chuck Riggs, and a trio of fine vocalists, While she is most noted for her distinctive or her one-night gig at the Kitano, Rebecca Kilgore, Nicki Parrott and Lynn vocal style, Daryl Sherman is also one Fsinger/pianist Daryl Sherman opted for a Roberts. The evening was dedicated to the trio lineup with Harvie S on bass and Scott terrific pianist. Self-accompaniment is a memory of the late Arbors Records co- Robinson on a variety of reeds, and they challenge, but Sherman always makes it founder Mat Domber, the moving force proved to be a group that found a lot of seem like the most natural thing in the behind this series. common ground from the start to the end world to do. Her jazz chops are also of the set. impressive. Rebecca Kilgore has performed three shows with Allen’s quartet at Feinstein’s, so this was Sherman is a lady who loves to include a few Put all of the pieces together, the songs, the familiar territory for her. She is a singer who surprises among the songs in her programs. players and the chemistry between them, has swing in her DNA, an understated vocal

44 ______December 2012 JerseyReviewsJazz

style, and a feeling for lyrics that few can cost in a venue that is well conceived. Let’s Da Fonseca left the stage for the next two match. She did two songs from her recent hope that this room which is closing in this numbers, and we got a taste of the way that Judy Garland tribute with Allen, “You Made location at the end of this year will find a the album sounds. Sweeney Todd is one of Me Love You,” and “The Trolley Song.” Her new home quickly, and that the Harry Allen the most fascinating pieces ever created for take on “I Won’t Dance” included some Monday night tradition will continue. the musical theater. Its nightmarish opener, special lyrics written by Dave Frishberg, “I “The Ballad of Sweeney Todd,” turned into Won’t Scat.” AND an intense musical conversation between TOMMY CECIL Mays and Cecil. It was nothing short of While once known primarily as a superb brilliant. They went in a totally opposite bassist, Nicki Parrott is becoming as The Kitano, NYC | October 20, 2012 direction on “Broadway Baby” from Follies. recognized for her vocalizing as for her ne of the best jazz CDs of this year Their approach was bluesy and playful. As instrumental talent. She has recently Ois Side By Side: Sondheim Duos,a the number progressed, Mays really got into recorded an album of autumn songs, and collection of songs by the spirit of the character in Follies, giving provided us with a taste of that coming disc performed by pianist Bill Mays and bassist out with his best chorus line kicks while during the first set with a lovely “Autumn Tommy Cecil. (See September, 2012 Jersey semi-seated at piano. Leaves” blending into “Autumn Serenade.” Jazz for full review.) On October 20, they To stay on theme, she gave us “September in brought this music to The Kitano, and They detoured from the Sondheim catalog the Rain.” During the second set, she was added on drums to for one selection, “” spot on with “A Woman’s Prerogative” and enhance their view of the music. by Jerome Kern and Oscar Hammerstein II. “Let’s Face the Music and Dance.” This led Da Fonseca provided interesting to a “moon” duet with Kilgore, the songs What makes the music played by Mays and counterpoint that added some intriguing being “Blue Moon” and “Moonglow.” Cecil so special is the rich imagination that tension to the piece. impels their instrumental musings. They Lynn Roberts started singing with big bands The set concluded with a madcap version have chosen songs that offer interesting when she joined Charlie Spivak at the age of of “Comedy Tonight.” They pulled out all challenges and opportunities, and they take 15. As her career progressed, she spent time of the stops, starting off with Da Fonseca full advantage of the possibilities at hand. with Vincent Lopez, the Dorsey Brothers, playing a triangle, and Mays plucking the Mays is in the upper echelon of current Benny Goodman and Harry James. Now jazz pianists. Cecil, who is based in the continued on page 46 77 years of age, she retains her vocal Washington, D.C. area, opened a lot of strength, and remains an attractive presence New York eyes and ears on this gig with on stage. Her first song of the evening was, his stellar musicianship. Da Fonseca plays appropriately, “I’m the Big Band Singer.” with an infectious joy, always creative, Her second set portion closed with a but rock steady in rhythmic support for wonderful pairing of two classic saloon his bandmates. songs associated with Frank Sinatra, “In the Wee Small Hours of the Morning” The set began with “Rich and Happy,” a and “One for My Baby.” tune not included on the album, with the trio swinging this selection from Merrily Both sets ended with all three ladies on stage We Roll Along from the get go. It was for rousing closers, “On the Sunny Side of immediately apparent that this trio was the Street” in the first instance, and “The primed to please both the audience and Lady Is a Tramp” to end the show. themselves. “Every Day a Little Death” These ladies were at the top of their forms, from A Little Night Music was highlighted and were greatly benefitted by the quartet by the arco bass work of Cecil. that backed them. Allen is as good as there is on tenor sax, Renzi is one of the truly great “Something’s Coming” is one of the two accompanists on the scene, Joel Forbes on songs on the album where Sondheim the bass is steady and strong, and Campbell, served solely as the lyricist, this one, who is the grandson of Lynn Roberts, was having a melody by Leonard Bernstein, is right where he needed to be all evening. from West Side Story. Their performance was intense with a memorable solo from It was an inspired decision by Mat Domber Da Fonseca using his mallets. The other to present Allen and his various guests at non-Sondheim melody was “Small Feinstein’s once a month for the past two World,” composed by Jule Styne for years. The result has been a continuous flow Gypsy. Mays provided a solo intro before of top rank mainstream jazz at a reasonable the bass and drums came in.

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CAUGHT IN THE ACT Andrea Marcovicci “Smile” continued from page 45 By Robert Daniels

piano strings as Cecil keeping things arbara Cook, at the age well grounded with his bass work. As B of 85, remains cabaret’s they continued to effervesce, their undisputed first lady of song. energy and enthusiasm was infectious, Heir to the throne is Andrea and the room was filled with a feeling Marcovicci who has taken her of pure joy. songs to the cushy Cafe Carlyle after 25 seasons at the sadly It was a perfect conclusion to an shuttered Oak Room of the exciting set of jazz. One of the most Algonquin Hotel. Long the thrilling things for a music lover is to be throne room of the late Bobby present when all the stars are aligned, Short, whose portrait adorns creative players performing great music the hallway, the setting suits for an audience that is totally receptive, Marcovicci quite well. In her with the performers feeding off of the October debut she displayed inspiration from the crowd, and the her trademark elegance, grace crowd being lifted by the music that and a stylish sense of telling a they are hearing. That was what story in song. happened at the Kitano on this At her opening night performance the room was seasoned with occasion, and the result was the attendance by the leading stars of Gotham’s cabaret circuit: Maude best set of music that I have Maggart, Karen Akers, KT Sullivan and Jeff Harnar among others. heard this year. JJ Radiantly garbed in a white gown, the stately diva sidestepped her accustomed torchy repertoire. Gone was the longing and the heartbreak. Gone were the teardrops. I was reminded of the 1950 film title No Sad Songs for Me. Strumming a ukulele, the diva began her set with “It’s Only a Paper Moon,” a classic and rhythmic standard by Harold Arlen with lyrics by E.Y.‘Yip’ Harburg and producer Billy Rose. Echoes of Fred Astaire and Ginger Rogers in a park pavilion surfaced with Irving Berlin’s “Isn’t This a Lovely Day,” and recalled them stumbling on a dance floor with the Jerome Kern-Dorothy Fields tumble, “Pick Yourself Up.” And when is the last time you heard “Mairzy Doats?” For me it brought back fond memories of gathering around the upright with my brothers as my mother played the 1945 novelty hit. Assisted by musical director and pianist Shelly Markham, Marcovicci recalled giddy post-war fun. The buoyant wit of lyricist Lorenz Hart and the lasting lilt of Richard Rodgers music was comfortably coupled in a medley of “This Can't Be Love,” and “Thou Swell.” Marcovicci also gave a fond nod to the incomparable Hildegarde, the legendary cabaret diva, with the fanciful 1938 novelty “Umbrella Man.” Marcovicci’s sunny new repertoire includes songs by Irving Berlin, George and Ira Gershwin, Vincent Youmans, Richard Whiting, Harry Warren and is beautifully summed up in her finale with Charles Chaplin's “Smile.” The songs are also neatly packaged in her new CD of the same name, Smile (Andreasong). Marcovicci's voice does not posses the sonorous beauty and radiant gloss and glow of Barbara Cook, yet she is master of story telling and whether her songs are joyous or blue, she embraces a lyric with fine tuned clarity and truth. JJ

46 ______December 2012 December 2012 ______47 New JerseyJazzSociety

October Jazz Social | Miche Braden

By Tony Mottola and Linda Lobdell Jersey Jazz Co-editors

Miche con- set. When I sing the blues I give it fides that everything I’ve got.” she was out Indeed she does, beginning with “Down late the Home Blues” followed by “Gimme a Pig night before. Foot” (“Give the piano player a drink cause “My musical he’s bringing me down!”). twin (saxo- phonist) Bessie Smith rarely recorded ballads, Miche James Carter explains, noting she had to look through was at hundreds of her songs to find one that Birdland would fit the singer’s reflecting on the death and we did of her son for The Devil’s Music before a song.” She performing “I Ain’t Got Nobody.” first heard Noting that Ma Rainey was an early the song, influence on Smith, and could be equally Gary Mc raunchy, Miche delights us with Rainey’s Farland’s “Prove It On Me Blues.” Today’s “shockers,” “Sack Full of she explains, have nothing on Rainey’s 1928 Dreams,” on lyric of lesbian affirmation (“Say I do it, a recording ain’t nobody caught me, Sure got to prove Photo by Tony Mottola. by drummer it on me. I went out last night with a crowd Grady Tate, of my friends, It must’ve been women, and her ’cause I don’t like no men.”) erformer Miche Braden doesn’t waste version culls all of the emotion from the Talking about the relationship between Pany time in grabbing her audience, and rolling chord changes and its hopeful lyric, gospel and blues music, Miche says the two she begins her Sunday afternoon perform- “I got a dream for the world, peace in the are mixed in her next song, Percy Mayfield’s ance at Shanghai Jazz with a stunning a rivers and everywhere, bridges of steel and “Please Send me Someone to Love,” a tune cappella poem extolling her love for jazz love and cities that smile…” music. It’s an electrifying performance by she first heard on a Dinah Washington an artist with a keen sense of theater and a Asked about her primary musical influence recording. There’s also a relationship passion for her subject. We’re all ears. Miche immediately replies, “My mother.” between the blues and humor as is A pianist and accompanist, she says her apparent on the next tune, also recorded Recently, Miche (pronounced Mickey) mother exposed her to a wide variety of by Washington, “My Man’s an Undertaker, portrayed Empress of the Blues Bessie Smith music and encouraged her, no doubt partly and He’s Got a Coffin Just Your Size.” in the Off Broadway hit show The Devil’s in response to young Miche’s penchant for Miche comes back to Bessie Smith for her Music: The life and Times of Bessie Smith,but spontaneous vocal performances in super- this day, she says, she’s saving the blues for closing numbers, “Dirty No-Gooders Blues” market aisles. “When our family got the second set. (written by Smith) and Alberta Hunter’s and together we stood in a circle and sang,” Lovie Austin’s “Down Hearted Blues,” the Sitting at the piano she plays and sings a she explained. singer’s first big hit in 1923. The song’s first soulful “Summertime” and follows with the The first set closes with “My Funny line pretty much sums up the essence of the funky “Jazz Ain’t Nothing But Soul,” a nod Valentine,” imbued with the spirit of Dakota blues — “Gee but it’s hard to love someone to the great , raised, like Braden, Staton whose version of the Rogers and when that someone don’t love you.” in Detroit. (Miche has lived in New Jersey Hart classic was the first heard by Miche, for the past 23 years.) Back in the Motor It’s been quite an afternoon, and a tribute to and “After the Sunset,” a Kurt Weill-like bit City she performed with trumpeter Michael the performer’s stamina that — despite a of melancholy (“stir the ashes, your hopes Belgrave as MB2 and the two co-composed and a healthy helping of singing are still smoldering there”) composed by her next number, “All My Love.” The singer the blues — Ms. Braden can still speak at another fellow musician from Detroit, embodies jazz with a playful, free-flowing the show’s close. drummer Harold McKinney. style that can range from bawdy to operatic For more information about this dynamic to soulful, and at turns she displays both After a short break the singer returns and and multi-talented performer visit bravura and intimacy. predicts, “I may not be able to talk after this www.michebraden.com. JJ

48 ______December 2012 Hurricane Sandy forced Please check www.njjs.org for updates, or send a postponement of this your email address to [email protected] so you event. New date not won’t miss any news! OR buy your ticket now announced at press time. (see below) and find out the date later!

December 2012 ______49 New JerseyJazzSociety

From the What’s New? Crow’s Nest Members new and renewed By Bill Crow We welcome these friends of jazz who recently joined NJJS or renewed their memberships. We’ll eventually see everyone’s name here as they renew at their particular renewal months. (Members il Greenstreet sent me a snippet from with an asterisk have taken advantage of our new three-years-for-$100 Wan interview with : “I did membership, and new members with a † received a gift membership. a date with Jimmy Bowen… the song was Members who have joined at a patron level appear in bold.) ‘Fever.’ I had never worked with Jim, but I Rutgers U. SPCOL, New Brunswick, NJ had made the original record of ‘Fever’ with Peggy Lee. It actually Renewed Members Mr. Howard E. Schulien, Montville, NJ said on my part, ‘Play like Shelly Manne.’ So I played it just like I Dr. Raymond Addabbo, Teaneck, NJ Mr. & Mrs. Michael Banas, Shelly Productions, Inc., played it originally. The producer stormed out of the control room, Hillsborough, NJ Elmwood Park, NJ * walked over to me and said ‘Can’t you read English? It says play like Mr. William B. Brislin, Dunellen, NJ Mr. Edward Stuart, Short Hills, NJ Shelly Manne.’ When I told him I was Shelly Manne, he turned Mr. Tony Caltabiano, Wharton, NJ Mr. David Sullivan, Chester, NJ around and went back into the booth. I think he’s selling cars now.” Mr. Russell B. Chase, Kendall Park, NJ Mr. & Mrs. John Tierney, Berkeley Heights, NJ Mr. & Mrs. Joseph Conte, Montville, NJ ■ On a David Aaron gig last June, singer Sharon Bailey told me Bill and Sally Wallace, Avondale, PA Mr. Michael Curtis, Princeton, NJ Mr. Peter Ward, Marshall’s Creek, PA about one of her first gigs with a band. She was so pleased with the Mr. Charles H. Daly, way they were accompanying her that she turned around and gave Atlantic Highlands, NJ Mr. Herb Young, Lancaster, PA them a strong thumbs up. They immediately modulated to the next Joanne and John Dusinski, New Members Nazareth, PA higher key. Mr. & Mrs. Robert & Diane Casper, Mr & Mrs Jeffrey & Miriam Eger, Somerset, NJ ■ David Wundrow sent me a link to an interview, published on the Morristown, NJ Edward T. Dechant, Internet, that James Tarmy had with the composer Elliott Carter in Ms. Faith Giovino, Bound Brook, NJ Fort Lauderdale, FL his Greenwich Village apartment. Here’s a bit of it: Mr. William Hart, Cranbury, NJ Ms. Deborah Edley, Montclair, NJ Israel Herman, Hamilton Square, NJ Tarmy: How long have you lived in this apartment? Edward Holzwarth, Springville, PA Mrs. Nancy Vroom Johnson and Dr. Karen Hubbard, West Orange, NJ Roland Johnson, Green Village, NJ Carter: Since 1945, right at the end of the war. This part of the city Mrs. Barbara Kupritz, Livingston, NJ Ed Laub, Wyckoff, NJ * Eileen McInerney, Caldwell, NJ was my favorite. When I was in high school there were speakeasies Ms. Ginny Llobell, Maplewood, NJ Joe McManemin, Netcong, NJ down here, where we would drink wine in teacups. It was a real Mr. Conor Malloy, Morristown, NJ * Mr. Peter Pearson, Andover, NJ slum. Now the area has been discovered by Wall Street, so while we Mr. Joseph Mazotas, Princeton, NJ paid $15,000 for this apartment, it’s now worth $2 million. Mr. & Mrs. Ilse & David Pease, Dr. & Mrs. G. Edward McComsey, Bridgewater, NJ Manchester, NJ Mr. & Mrs. Stanley Roth, Fort Lee, NJ Tarmy: What was your favorite restaurant? Mr. & Mrs. Herbert R. Meisel, Mr. Ed Salomon, South Orange, NJ Carter: La Cote Basque, now sadly closed. I took Igor Stravinsky and Springfield, NJ Barbara and Kevin O’Connor, Todd Shipman, Madison, NJ his wife there. We got a table in the middle of the room, speaking Verona, NJ * Mr. Ethan W. Solender, Short Hills, NJ French, and a man came in, and said in rather good French, “Will Mr. & Mrs. Walter Olson, Chatham, NJ Steven Sussman, West Hartford, CT the maestro please give me an autograph?” Stravinsky said, Mr. Stanley Parker, Saddle Brook, NJ Dr. Ira L. Whitman, East Brunswick, NJ “Certainly not.” Mr. James Penders, Madison, NJ Valerie E. Wilson, Woodbridge, NJ Mr. & Mrs. Jeff Rantzer, His wife did a great deal of talking in Russian and finally he agreed, Mt. Arlington, NJ but took forever to write out his name. The man waited and waited and by this point the whole room was watching. Finally Stravinsky was done and the man thanked him and walked away. We asked Stravinsky if he knew who he was and he said, “Certainly, I see JAZZ TRIVIA ANSWERS him on television all the time.” The man was Frank Sinatra. JJ questions on page 4 Bill Crow is a freelance musician and writer. His articles and reviews have appeared in Down Beat, The Jazz Review, and Gene Lee’s Jazzletter. His books include Jazz Anecdotes, From Birdland to Broadway and Jazz Anecdotes: 1. Stan Kenton 5. Trummy Young 9. Tedy Wilson Second Time Around. The preceding stories are excerpted, with permission, 2. George T. Simon 6. Red Richards 10. Tyree Glenn from Bill’s column, The Band Room in Allegro, the monthly newsletter of 3. Will Bradley 7. A.F. of M. Local 802. 4. Les Brown 8. Irving Fazola

Got E-mail? Friends Got E-mail? Get on Board for Raffles, Freebies, Discounts! Some special offers for NJJS members are late-breaking — so please send your e-mail address to [email protected]. Some of our partners make discounts and free tickets available to us, and often we are only able to pass those deals on via our e-mail list.

50 ______December 2012 New JerseyJazzSociety

From the Desk of About NJJS Chickie the Jazz Dog Mission Statement: The mission of the New Jersey Jazz Society is to promote and preserve the great American musical art form known as Jazz through live jazz performances and educational outreach initiatives and scholarships. To accomplish our Mission, we produce a monthly magazine, JERSEY JAZZ, sponsor And the winner is… live jazz events, and provide scholarships to New Jersey college students studying jazz. Through our outreach program, “Generations of Jazz,” we go into schools to Chickie the Jazz Dog is pleased teach students about the history of jazz while engaging them in an entertaining and ______interactive presentation. to announce that the winner Founded in 1972, the Society is run by a board of directors who meet monthly to conduct the business of staging our music festivals, awarding scholarships to New of Jersey Jazz’s October Jersey college jazz students, conducting Generations of Jazz programs in local school systems, and inducting pioneers and legends of jazz into the American Jazz “Win This Book” contest Hall of Fame, among other things. The membership is comprised of jazz devotees from all parts of the state, the country and the world. is NJJS member John Viola The New Jersey Jazz Society is a qualified organization of the New Jersey Cultural Trust. Visit www.njjs.org, e-mail [email protected], or call the HOTLINE 1-800-303-NJJS of Blauvelt, NY, who for more information on any of our PROGRAMS AND SERVICES: ■ Generations of Jazz (our Jazz in the Schools Program) receives a copy of the ■ Jazzfest (summer jazz festival) new book Born To Play: The ■ Pee Wee Russell Memorial Stomp ■ e-mail updates ’Round Jersey (Regional Jazz Concert Series): Ruby Braff Discography and ■ Ocean County College ■ Bickford Theatre/Morris ■ Student scholarships ■ American Jazz Hall of Fame Directory of Performances by Thomas S. Hustad. JJ Member Benefits What do you get for your dues? ■ Jersey Jazz Journal — a monthly journal considered one of the best jazz society publications in the country, packed with feature articles, photos, jazz calendars, upcoming events and news about the NJ Jazz Society. ■ FREE Jazz Socials — See www.njjs.org and Jersey Jazz for updates. CTSIMAGES |The Face of Jazz ■ FREE Film Series — See www.njjs.org and Jersey Jazz for updates. ■ Musical Events — NJJS sponsors and co-produces a number of jazz events LICENSING • RESEARCH • APPRAISALS each year, ranging from intimate concerts to large dance parties and picnics. Members receive discounts on ticket prices for the Pee Wee Russell Memorial Stomp and Jazzfest. Plus there’s a free concert at the Annual Meeting in December and occasionally other free concerts. Ticket discounts (where possible) apply to 2 adults, plus children under 18 years of age. Singles may purchase two tickets at member prices. ■ The Record Bin — a collection of CDs, not generally found in music stores, available at reduced prices at most NJJS concerts and events and through mail order. Contact [email protected] for a catalog. Join NJJS MEMBERSHIP LEVELS Member benefits are subject to update. ■ Family $40: See above for details. ■ NEW!! Family 3-YEAR $100: See above for details. ■ Youth $20: For people under 25 years of age. Be sure to give the year of your birth on the application where noted. ■ Give-a-Gift $20: NEW! Members in good standing may purchase one or more gift memberships at any time for only $20 each. Please supply the name and address of giftee. Good for new memberships only. ■ Fan ($75 – $99/family) ■ Jazzer ($100 – $249/family) Members at Patron Level and above ■ Sideman ($250 – $499/family) receive special benefits. These change periodically, so please ■ Bandleader $500+/family) } contact Membership for details. ■ Corporate Membership ($100) © Ray Avery/CTSIMAGES.COM © Ray

Photo Archives include vintage Jazz, Pop, Blues, R&B, Rock, Country/Western, To receive a membership application, Radio Personalities, Big Bands, Vocalists, Hollywood and more. for more information or to join: • PHOTOGRAPH RESEARCH • LICENSING FOR COMMERCIAL USE Contact Caryl Anne McBride Vice President, Membership • FINE ART LIMITED EDITION PRINTS • GALLERY EXHIBITIONS at 973-366-8818 or [email protected] • RECORD & PHOTOGRAPH APPRAISALS OR visit www.njjs.org OR simply send a check payable to “NJJS” to: WWW.CTSIMAGES.COM e-mail: [email protected] NJJS, c/o Mike Katz, 382 Springfield Ave., Suite 217, Summit, NJ 07901.

December 2012 ______51 JerseyEventsJazz ’Round Jersey “Jesse Gelber is a fine laconic Morris Jazz pianist,” claims the blog Jazz The Bickford Theater Lives, adding that “his playing at the Morris Museum can summon up the right-hand Morristown, NJ 07960 epigrams of the great Harlem Tickets/Information: 973-971-3706 ticklers but I also hear the brisk As Dan Levinson once said, “There are jazz festivals cadences of nineteenth-century going on all over this country — and Jeff Barnhart parlor piano and a hint of is in every one of them!” This is a SLIGHT Garner.” Presenters love his exaggeration, but if you look through the ads in work too. “Jesse Gelber’s stride The American Rag you will be hard pressed to find piano is imbued with Jazz Age a sizeable festival with traditional jazz on the menu spirit,” observes the Tri-State that doesn’t feature Jeff as a piano soloist, as part Jazz Society, praising him for his of a duet or trio, or with one of his larger bands. “style of playing that features a He is clearly a major jazz festival magnet. fast and powerful left hand.” He’s found playing nearly every “Jeff scarcely needs introducing to Just Jazz Jeff Barnhart readers,” writes Mike Durham, “but for the record, he is a fantastic pianist, a fine goodtime vocalist, The Bickford has been celebrat- a positive cornucopia of tunes both familiar and ing Bucky Pizzarelli’s birthday obscure, and a wonderfully larger-than-life in recent years, so it is no personality.” An evening with Jeff Barnhart is likely surprise to fans of string jazz to be filled with James P. Johnson and that the eminent guitarist will favorites, a few bouncy rags played at breakneck be on their stage on Tuesday, pace, plus a dollop of humor by this Victor Borge January 22. Fellow guitarist of jazz piano. After 90 minutes of Jeff, you may Ed Laub will be at his side for wonder why others need six or seven musicians to this 88th birthday concert. There entertain! Your next opportunity to enjoy him here will be no trouble selling seats will be on Monday evening, December 3. for this one either.

Accustomed to playing for dancers, Benny Goodman The annual Saint Valentine’s probably picked January for his landmark jazz Day Massacre is scheduled for concert because dates at Carnegie Hall were easier February 11, with Herb Gardner Jesse Gelber to get in the winter. He was so doubtful of its assembling an all-star aggrega- chances for success that he supposedly was forced tion for music and mayhem. to buy his family’s tickets from a sidewalk scalper Another annual attraction is the after the huge hall was sold out! This should serve Big Bix Beiderbecke Birthday Bash on March 11, night in NYC, from the intimate clubs to Carnegie as early warning to local fans, who will want to be with a band being assembled by Dan Levinson, Hall, so he must be doing something very special at the Bickford on Tuesday, January 15 to celebrate with Mike Davis (the hot trumpet player from at the piano. the 75th anniversary of Benny’s Carnegie triumph. Emily Asher’s JazzFest band) doing the cornet Remember: only 300 tickets can be sold there. honors. The Jazz Lobsters will return, all 18 pieces, Toms River’s celebration of the 75th anniversary of on March 18, and later dates are awaiting Benny Goodman’s historic Carnegie Hall concert is The Midiri Brothers have no trouble filling that confirmation by an impressive list of leaders. very special, since it falls on the exact date — room, even without the drawing power of this Wednesday, January 16. Clarinetist Dan Levinson historic occasion. And Joe Midiri is a good fit for has drafted twin reedmen Will Anderson and Pete the Goodman repertoire. As Bob Fallstrom wrote in Jazz For Shore Anderson for a “Triple Benny” concert, or B3NNY the Herald-Review, “I’ve seen and heard hundreds Arts & Community Center for short. That’s THREE clarinetists, all veterans of of clarinet players. Joe Midiri is the best. I’ve seen at Ocean County College tributes at other sites, playing Goodman’s signature every Joe Midiri set here, enthralled by his tone, solos in harmony. Add the contributions of vocalist his technique, his creativity, his imagination and Toms River, NJ 08753 Tickets/Information: 732-255-0500 Molly Ryan and stellar sidemen Matt Hoffmann sound.” Brother Paul Midiri gets similar raves (vibes), Mark Shane (piano) and Kevin Dorn for his work on the vibes, and fashions all the Pianist Jesse Gelber has played MidWeek Jazz (drums), and you have the perfect evening. arrangements for the group. They looked at some several times before. He has been the pianist of guest possibilities for this anniversary concert, but choice with several groups that Kevin Dorn has Amazingly, prices have NOT been increased for this concluded they “can't imagine anybody better” fielded, and played there with Gelber & Manning, a special presentation, which ought to fill the hall, than their touring band: Pat Mercuri (guitar), vaudeville-type musical show overflowing with jazz given the quality of the material and the band Ed Wise (string bass) and Jim Lawlor (drums). content. It is fitting to give him a solo date to close involved. For your choice of reserved seats though, Hundreds of fans will agree. the jazz year there on Wednesday, December 12. you might want to order early.

52 ______December 2012 JerseyEventsJazz

Young trumpet phenom Geoff Gallante will be back on February 6 with his trio, followed on March 6 by the return of stride pianist Tom Roberts and Albert clarinetist Susanne Ortner-Roberts, with a diverse program that includes jazz, rags, swing and even some Klezmer. The popular Midiri Brothers, Bucky Pizzarelli, Aaron Weinstein and a trailblazing jazz group from NYC, Baby Soda, have been booked for later dates. Fête Manouche has been asked back to commemorate 60 years without Django Reinhart The Institute of Jazz Studies at Rutgers University– Newark is the largest and most comprehensive library and archive of jazz and jazz-related materials in the world! — a valuable too. The Box Office will have dates and tickets by resource for jazz researchers, students, musicians and fans. The archives are open to the public the time you read this. from 9 AM – 5 PM Monday through Friday, but please call and make an appointment. Institute of Jazz Studies, Rutgers, The State University of NJ John Cotton Dana Library, 185 University Avenue, Newark, NJ 07102 Jazz in Bridgewater Web site: newarkwww.rutgers.edu/IJS 973-353-5595 Theatre of the Somerset County Vo-Tech calendar: free Bridgewater, NJ 08807 JAZZ RESEARCH ROUNDTABLES roundtables A series of lectures and discussions. Programs are free and open to the public and take Tickets/Information 908-237-1238 place on Wednesday evenings from 7:00 to 9:00 PM in the Dana Room, 4th floor, John Cotton The New Jersey Jazz Society’s impressive success Dana Library, Rutgers University, 185 University Ave., Newark, NJ. Refreshments are served. Information: recreating Benny Goodman’s momentous concert 973-353-5595. Financial support for the Roundtable is provided by the Rosalind & Alfred Berger Foundation. — at Carnegie Hall itself — on its 50th anniversary ■ Dec 5: The Archival Abbey Lincoln with Anders Griffen IJS Archivist Anders Griffen, who is working on a two year grant from the Council on Library and Information inspired an annual Goodman tribute by Jazz in Resources (CLIR) to process five women in jazz collections at IJS, will talk about some of the gems he has discovered Bridgewater every January. Their latest venture, while processing the collection of singer, composer, actress, and civil rights activist Abbey Lincoln. scheduled for Saturday evening, January 26, will ■ Jan 23: A History of Jazz Marketing, by Steven Pond commemorate the 75th anniversary of the 1938 Dr. Pond, professor at Cornell, will discuss such topics as how the CD reissue business affected emerging original, but they only have 600 seats to sell, not performers, and how the Internet seems to be affecting live/recording career strategies. Carnegie’s 2800. ■ Feb 13: The Loft Jazz Era, by Brent Hayes Edwards They have, however, selected a worthy band, as Professor Brent Hayes Edwards of the Center for Jazz Studies at offers a multi-media presentation on “loft jazz,” the network of musician-run performances spaces that flourished in downtown anyone who has experienced James Langton’s Manhattan in the 1970s, drawing on extensive archives of unreleased concert recordings and photographs. New York All-Stars will attest. Dan Levinson plays the clarinet parts with ease, having done so many CONCERTS/PERFORMANCE free Goodman tributes (on both sides of the Atlantic!). Newark Jazz Legacy Concert Series, Dana Room, Dana Library, 2-4 PM concerts Molly Ryan is their vocalist, and the band is filled Rutgers-Newark (free admission) 973-353-5595 with recognized names: Randy Reinhart, Bria This series is designed to bring to campus leading jazz soloists in duo and trio settings. Each concert will include an Skonberg, Brian Pareschi (trumpets), Jim Fryer, interview/Q&A segment. IJS will again partner with local schools to give students an opportunity to meet and interact Harvey Tibbs (trombones), Will Anderson, Pete with these noted artists. Funded by a grant from the Rutgers-Newark Cultural Programming Committee. Anderson, Jay Rattman, James Langton (reeds), ■ March 12: Akua Dixon, cellist Rossano Sportiello (piano), Mike Weatherly (bass) Akua Dixon is a native of New York City. A graduate of the High School of Performing Arts, she studied cello with Benar Heifetz and composition with Rudolf Schramm. Akua studied bass concepts with Reggie Workman and Jazz and Kevin Dorn (drums). Practice Techniques with Jimmy Owens, at the Collective Black Artists Institution of Education. She is the 1998 There is advertising elsewhere in this issue describ- recipient of “The African American Classical Music Award,” given by the Northern New Jersey Spelman Alumnae ing the budget pricing and ordering alternatives for Association. Among the many noted artists she has performed with a few are: Duke Ellington, , , Betty Carter, , , etc. She has been engaged at many Broadway shows, including: seats. Past experience shows that the front section Doonesbury, Barnum, Cats, and Dreamgirls. sells out first, but there is nothing inferior about the Akua performs nationally and internationally at concert halls and colleges, public schools and libraries; at jazz upper section, and they have had total sellouts for festivals in Chicago, Hawaii, Berlin, St. Lucia, Tri-Sea, North Sea, Pori, Saalfelden, Jamaica, Puerto Rico, Martinique, lesser anniversaries in the past. All seats have a Guadaloupe, and San Diego, etc. Her music for string quartet has been featured on an eight country, 26 concert tour clear view, and the acoustics are very Carnegie-like. of Europe and Scandinavia. Parking lots surround the building. NJJS is a co-sponsor but does not dispense tickets JAZZ FROM THE ARCHIVES Broadcast hosted by IJS Director, 2007 NEA Jazz Master Dan Morgenstern, on for this event. Members are encouraged to consider WBGO radio every Sunday at 11:00 PM on WBGO Radio (88.3 FM). www.wbgo.org. this big band celebration, which will differ in content from the smaller group tributes in ■ December 2: To Be Announced Morristown and Toms River. Benny did, after all, ■ December 9: To Be Announced excel in both tight and hot swing ensemble ■ December 16: To Be Announced — Joe Peterson numbers and carefully crafted big band ■ December 23: Annual IJS Christmas Cheer: Vincent Pelote presents holiday tunes with a jazz flavor, and this arrangements. JJ year will dedicate this show to his long time co-host Annie Kuebler (who died in August) by playing clips featuring Ms. Kuebler from past Christmas shows. ■ December 30: Picks of the Year, Part 1: Host Dan Morgenstern (with input from Archives co-hosts) offers ’Round Jersey concerts are produced by personal best recordings of 2012. Bruce M. Gast in conjunction with the New Jersey Jazz Society. Performance photos by Bruce Gast.

December 2012 ______53 JerseyEventsJazz You can find jazz all over the state Somewhere There’s Music in venues large and small. Here are just some of them. Listings alphabetical by town. We continually update entries. Please contact [email protected] if you know of other venues that ought to be here. Asbury Park BOILER ROOM, CALANDRA’S PILSENER HAUS & Mahwah Montgomery CONGRESS HALL MEDITERRANEAN GRILLE BIERGARTEN CHICO’S HOUSE OF JAZZ 251 Beach Ave 118 US Highway 46 1422 Grand Street BERRIE CENTER/ TUSK RESTAURANT RAMAPO COLLEGE 631 Lake Ave. 888-944-1816 973-575-6500 201-683-5465 1736 Route 206 South 505 Ramapo Valley Road 732-774-5299 Blues and Latin Jazz Saturdays Piano – Fri. & Sat. www.pilsenerhaus.com/ 908-829-3417 201-684-7844 chicoshouseofjazz.com July 18 – Sept. 19 events.html 8:30 PM – 12:30 AM CALANDRA’S CUCINA www.ramapo.edu/berriecenter Jazz 6 nights a week Live music Wed & Thur, 8–12 PM, 216-234 Route 46 Moorestown MERION INN no cover charge HOTEL TIDES 973-575-7720 106 Decatur St. Sun Brunch Jazz Sessions ST. MATTHEW 408 Seventh Ave. Manalapan LUTHERAN CHURCH 732-897-7744 609-884-8363 noon – 4 PM with solo guitarist Greg Graham, MONMOUTH COUNTY 318 Chester Ave. Jazz Piano daily 5:30 – 9:30PM LIBRARY LANGOSTA RESTAURANT Garwood no cover 856-234-5147 125 Symmes Drive 100 Ocean Ave. CROSSROADS Parking: 6 hrs for $4 just Tri-State Jazz Society 732-431-7220 732-455-3275 Closter 78 North Ave. across from Pilsener Haus usual venue 908-232-5666 TTY Hearing Impaired: www.tristatejazz.org HARVEST BISTRO & BAR at 1501 Adams Street TIM McLOONE’S www.xxroads.com 732-845-0064 Some Sundays 2:00 PM 252 Schraalenburgh Road SUPPER CLUB Jam Session Tuesday 8:30 PM www.monmouth 1200 Ocean Ave. 201-750-9966 Hopatcong countylibrary.org 732-744-1400 www.harvestbistro.com Free monthly jazz concerts Morristown PAVINCI RESTAURANT timmcloonessupperclub.com Thursdays & Fridays Glen Rock Sept.–June 453 River Styx Road THE BICKFORD THEATRE GLEN ROCK INN AT THE MORRIS MUSEUM MOONSTRUCK 973-770-4300 222 Rock Road 5 Normandy Heights Road 517 Lake Ave. Cranbury 3rd Tuesday of the Month 201-445-2362 Manville 973-971-3706 732-988-0123 (Big Band) BLUE ROOSTER CAFÉ www.glenrockinn.com RHYTHMS OF THE NIGHT www.morrismuseum.org 17 North Main St. THE SAINT Thursday 7 PM 729 S. Main Street Some Mondays 8:00 PM 609-235-7539 601 Main St, Jersey City 908-707-8757 rhythmsofthenight.net THE COMMUNITY THEATRE 732-775-9144 CASA DANTE RESTAURANTE Hackensack Open jam session 100 South St. 737 Newark Ave. 973-539-8008 Cranford Wednesdays 7–10 PM MARRONE’S 160 201-795-2750 www.mayoarts.org Basking Ridge TONY’S CAFE 160 Prospect Ave. 21 N. Union Av., 07016 BAMBOO GRILLE 201-880-8750 MADAME CLAUDE CAFÉ HIBISCUS RESTAURANT 908-272-2874 Maplewood 185 Madisonville Rd. 07920 364 Fourth St. At Best Western Morristown Inn SOLARI’S 908-766-9499 201-876-8800 BURGDORF 270 South St. | 866-497-3638 CULTURAL CENTER 61 River St. www.hibiscuscuisine.com Cresskill 201-487-1969 MOORE’S LOUNGE 10 Durand St. (BILL & RUTH’S) Tues, Fri, Sat, Sun brunch GRIFFIN’S RESTAURANT 1st Tuesday 8:00 PM 973-378-2133 Belmar 189 Monticello Ave., 07304 44 East Madison Ave. Rick Visone One More Once www.artsmaplewood.org ROD’S STEAK NICCHIO RESTAURANTE 201-332-4309 201-541-7575 Big Band & SEAFOOD GRILLE 1000 Main St. PARKWOOD DINER Every Tuesday & Wednesday No cover One Convent Road 732-280-1132 1958 Springfield Ave. (Madison Ave.) STONY HILL INN Lincroft 973-313-3990 973-539-6666 Dunellen 231 Polifly Rd. BROOKDALE COMMUNITY Mondays Bernardsville 201-342-4085 COLLEGE THE SIDEBAR ROXY & DUKES ROADHOUSE BERNARD’S INN www.stonyhillinn.com 765 Newman Springs Road AT THE FAMISHED FROG 745 Bound Brook Road 27 Mine Brook Road Friday and Saturday evenings 732-224-2390 Mendham 18 Washington St. 732-529-4464 908-766-0002 BLACK HORSE TAVERN 973-540-9601 www.bernardsinn.com 1 West Main St. www.famishedfrog.com/ Hasbrouck Heights Linden thesidebar Monday – Saturday 6:30 PM Edgewater 973-543-7300 Piano Bar HOULIHAN’S ROBIN’S NEST Saturday Nights THE CRAB HOUSE 5 State Route 17 RHYTHM & BLUES 541 River Road Mount Holly 201-393-9330 3103 Tremley Point Road 201-840-9311 Bridgewater Thursdays Linden, NJ 07036 Metuchen THE FIREHOUSE CAFE Jazz, Thursdays THEATER OF SOMERSET 908-275-3043 NOVITA 20 Washington Street COUNTY VO-TECH www.robinsnestrhythm New & Pearl Streets 609-261-4502 andblues.com www.thefirehousecafe.net 14 Vogt Dr., 08807 Englewood Hawthorne 732-549-5306 908-526-8900 ALEX BISTRO novitanj.com BERGEN PAC STARBUCKS 142 Goffle Road No cover 30 N. Van Brunt St. 693 West Edger Road Newark 973-310-3019 908-862-8545 Cape May 201-227-1030 27 MIX Mondays VFW POST 386 www.bergenpac.org Montclair 27 Halsey Street 973-648-9643 419 Congress St. BLUE MOON MEXICAN CAFÉ Highland Park FIRST CONGREGATIONAL www.27mix.com 609-884-7961 23 E. Palisade Ave. ITALIAN BISTRO Lyndhurst CHURCH usual venue for 40 South Fullerton Ave. 201-848-4088 441 Raritan Ave., 08904 WHISKEY CAFÉ BETHANY BAPTIST CHURCH Cape May Society 973-744-6560 Sundays 732-640-1959 1050 Wall St. West, 07071 275 Market Street Some Sundays 2 PM 201-939-4889 973-623-8161 live Dixieland PJ’S COFFEE PALAZZO RESTAURANT www.whiskeycafe.com www.bethany-newark.org www.capemaytraditional 315 Raritan Avenue 11 South Fullerton Ave. Ewing One Sunday/month 973-746-6778 jazzsociety.com 732-828-2323 IDEAL LOUNGE VILLA ROSA RESTAURANTE swing dance + lesson Friday/Saturday 7:00 PM Sunday 1–5 PM Somerset Jazz 219 felinghuysen ave., 07107 MAD BATTER 41 Scotch Road Consortium Open Jam 973-824-9308 19 Jackson St. 609-882-6841 TRUMPETS 6 Depot Square 609-884-5970 Madison NJPAC 973-744-2600 Jazz at the Batter Hoboken SHANGHAI JAZZ 1 Center St. Fairfield 24 Main St. www.trumpetsjazz.com Wednesdays 7:30–10:30PM MAXWELL’S 888-466-5722 BRUSCHETTA RESTAURANT 973-822-2899 Tuesday/Thursday/ 1039 Washington St. www.njpac.org 292 Passaic Avenue www.shanghaijazz.com Sunday 7:30 pm 201-798-0406 973-227-6164 Wednesday/Thursday 7 PM Friday/Saturday 8:30 PM THE PRIORY Every other Monday 9:00 PM www.bruschettarestaurant.com Friday/Saturday 6:30 PM 233 West Market St. Swingadelic Live piano bar every night Sunday 6 PM 973-242-8012 No cover Friday 7:00 PM No cover

Since music offerings frequently change, we recommend you call venue to confirm there is live music at the time you plan to visit.

54 ______December 2012 JerseyEventsJazz

Tell them you saw it in Jersey Jazz!

We want to include any locale that offers jazz on a regular, ongoing basis. Also please advise us of any errors you’re aware of in these listings. New Brunswick Oakland OYSTER POINT HOTEL PAPILON 25 ST. PAUL’S LUTHERAN Wayne 146 Bodman Place 25 Valley St. CHURCH DELTA’S HANSIL’S BAR AND GRILL 61 Church St. WILLIAM PATERSON 7 Ramapo Valley Rd. 800-345-3484 973-761-5299 UNIVERSITY 19 Dennis St. 201-837-3189 201-337-5649 300 Pompton Road 732-249-1551 SALEM GARDEN SOUTH ORANGE Sundays www.deltasrestaurant.com/nj 2 Bridge Ave., 07701 PERFORMING ARTS 973-720-2371 Saturdays 7–11 PM Orange 732-224-1233 CENTER ULTRABAR KITCHEN www.wpunj.edu One SOPAC Way & COCKTAILS Sunday 4:00 PM THE HYATT REGENCY HAT CITY KITCHEN 973-235-1114 400 Cedar Lane NEW BRUNSWICK 459 Valley St. Riverton 201-357-8618 2 Albany Street 862-252-9147 Weehawken 732-873-1234 THE PORCH CLUB South River SPIRIT OF NEW JERSEY NO COVER PRIVATE PLACE LOUNGE 213Howard St. Tom’s River New Brunswick Jazz Project 29 South Center St. 856-234-5147 LATAVOLA CUCINA 1500 Harbor Blvd. presents live Jazz 973-675-6620 Tri-State Jazz Society RISTORANTE OCEAN COUNTY COLLEGE 866-483-3866 FINE ARTS CENTER Wednesdays, 7:30–10:30 PM occasional venue 700 Old Bridge Turnpike www.spiritofnewjersey.com http://nbjp.org or 732-640-0001 College Drive www.tristatejazz.org South River, NJ 08882 Monthly Jazz Cruise; for dates/times 732-238-2111 732-255-0400 Princeton Some Sundays 2:00 PM Call for Dates www.latavolacucinanj.com/ www.ocean.edu/campus/ MCCARTER THEATRE MAKEDA ETHIOPIAN fine_arts_center RESTAURANT 91 University Place The New World Order Some Wednesdays 338 George St. 609-258-2787 Sewell Open Jam Session Westfield 732-545-5115 Every Thursday 7:30-11 PM. TERRA NOVA 16 PROSPECT WINE BAR www.makedas.com MEDITERRA No cover, half-price drink specials & BISTRO 590 Delsea Drive NO COVER 29 Hulfish St. Trenton 16 Prospect St. 07090 856-589-8883 New Brunswick Jazz Project 609-252-9680 CANDLELIGHT LOUNGE 908-232-7320 http://terranova presents live Jazz Thursdays, NO COVER Spring Lake Heights 24 Passaic St www.16prospect.com 7:30 – 10:30 PM www.terramomo.com/ restaurantbar.com THE MILL www.jazztrenton.com Jazz on Tue-Wed-Thu | 8 PM restaurant/mediterra Fridays & Saturdays Live Jazz 101 Old Mill Road 609-695-9612 STATE THEATRE THE OFFICE BAR & GRILL 15 Livingston Ave. SALT CREEK GRILLE 732-449-1800 Saturdays 3–7 PM 411 North Ave. 732-246-7469 1 Rockingham Row, Somerset www.statetheatrenj.org Forrestal Village (908) 232-1207 609-419-4200 SOPHIE’S BISTRO Stanhope Union TUMULTY’S 700 Hamilton Street SORRENTO RESTAURANTE www.saltcreekgrille.com STANHOPE HOUSE CAFÉ Z 361 George St. 732-545-7778 631 Central Ave. 45 Main St. 2333 Morris Ave. 732-545-6205 WITHERSPOON GRILL NO COVER (908) 301-1285 973-347-7777 908-686-4321 New Brunswick Jazz Project 57 Witherspoon Street New Brunswick Jazz Project Blues Thurs. & Fri. presents live Jazz & Jam 609-924-6011 presents live Jazz Fridays Session Tuesdays 8–11 PM www.jmgroupprinceton.com West Orange 8–11 PM SALEM ROADHOUSE CAFE http://nbjp.org for dates/times Tuesday night jazz 6:30–9:30 PM http://nbjp.org or 732.640.0001 Succasunna (Townley Presbyterian Church) HIGHLAWN PAVILION for dates/times 829 Salem Rd., 07083 Eagle Rock Reservation ROXBURY ARTS ALLIANCE 908-686-1028 (973) 731-3463 Newfield Rahway Horseshoe Lake Park Complex Fridays LAKE HOUSE RESTAURANT UNION COUNTY Somerville 72 Eyland Ave. VAN GOGH’S EAR CAFÉ 611 Taylor Pl., 08344 PERFORMING ARTS 201-745-7718 1017 Stuyvesant Ave. LUNA STAGE CENTER VERVE RESTAURANT 856-694-5700 908-810-1844 555 Valley Road 1601 Irving Street 18 East Main St. www.vangoghsearcafe.com (973)395-5551 www.ucpac.org 908-707-8605 Summit New Providence 732-499-0441 www.vervestyle.com Sundays 8 PM McCLOONE’S BOATHOUSE (Call for schedule) Occasional Thursdays 6 PM SUMMIT UNITARIAN CHURCH $3 cover 9 Cherry Lane (Northfield Ave) PONTE VECCHIO Fridays/Saturdays 8:30 PM 4 Waldron Ave. (862) 252-7108 RISTORANTE Sunday At Best Western Murray Hill Inn Verona WHOLE FOODS MARKETS 535 Central Ave. Red Bank Baldwin Jazz Piano Series 908-464-4424 COUNT BASIE THEATRE South Brunswick MIELE’S Tuesday, 6-8 PM/Free Monthly Jazz Nights 99 Monmouth St. JAZZ CAFÉ Teaneck 125 Bloomfield Ave. 3rd Saturday of each month 732-842-9000 South Brunswick (Dayton) THE JAZZBERRY PATCH AT 973-239-3363 6:30–9:30 PM THE CLASSIC QUICHE CAFE Fridays Municipal Complex Westwood JAZZ ARTS PROJECT 540 Ridge Road 330 Queen Anne Rd. presents jazz at various venues 732-329-4000 ext. 7635 Teaneck, NJ 07666 BIBIZ LOUNGE Newton throughout the year…refer to [email protected] 201-692-0150 Watchung 284 Center Ave., 07675 TRINITY LOUNGE www.jazzartsproject.org for first Friday every month MySpace.com/thejazzberrypatch WATCHUNG ARTS CENTER 201-722-8600 173 Spring St. schedules and details $5 admission includes light No cover Friday nights. 18 Stirling Road 973-940-7916 908-753-0190 ”JAZZ IN THE PARK” refreshments PUFFIN CULTURAL FORUM Fridays [email protected] Wood Ridge Riverside Park 20 East Oakdene Ave. www.watchungarts.org MARTINI GRILL 732-530-2782 201-836-8923 South Orange Jazz programming; 187 Hackensack St. North Branch MOLLY PITCHER INN ABOVE RESTAURANT check for details 201-939-2000 STONEY BROOK GRILLE 88 Riverside Ave. 1 South Orange Ave. Friday–Saturday 1285 State Hwy 28 800-221-1372 973-762-2683 908-725-0011 Fridays

The Name Dropper Recommendations may be sent to [email protected]. Jersey Jazz is an NJCSPJ New Brunswick Jazz Project presents, At Tumulty’s: 12/4 Eric Neveloff Gp; Claudio Roditi “Jazz Turns Samba” at Luna Stage, “Excellence in Journalism” Award-Winning Publication 12/11 Mike Winnicki Gp; 12/18 Gusten Rudolph Gp. At the Hyatt: 12/5 West Orange, 12/9 at 7:00 PM. Andrea Brachfeld and Phoenix Rising; 12/12 Dezron Douglas & Lummie 12/8 Pat Tandy, and 12/15 Duane Eubanks at Spann; 12/19 Nat Adderley Jr. Gp. At Makeda: 12/6 Todd Bashore Qt; Candlelight Lounge, Trenton 3:30-7:30 PM. No Music 12/13 Dave Stryker; 12/20 Rudy Royston Qt; 12/27 Lee Hogans Qt Cover

Also visit Andy McDonough’s njjazzlist.com

December 2012 ______55 c/o New Jersey Jazz Society PERIODICALS Michael A. Katz Time Value Material 382 Springfield Ave., Suite 217 Deliver Promptly Postage PAID at Summit NJ 07901 West Caldwell, NJ Send all address changes and additional to the address above mailing offices

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