THE NEW

There’s never been a better time to listen to jazz in Columbus. It’s played nearly every night EDItED by ANTHONY Jazz DOMINICAge AnD of the week in bars, clubs KRISTEN SCHMIDT

and in the city’s vaunted Photos by TESSA BERG

cultural institutions. IllustRAtIons by We can go out and hear REMIE GEOFFROI Tony Monaco and Bobby

Floyd play the keys. See stoRIEs by ANTHONY DOMINIC, TRISTAN Byron Stripling direct the EDEN, JOEL OLIPHINT, Columbus Jazz Orchestra. KRISTEN SCHMIDT, MICHELLE SULLIVAN, Play the recordings of EMILY THOMPSON AnD local greats like Rusty PETER TONGUETTE Bryant, Hank Marr and Gene Walker. Haven’t caught the groove yet? Let us show you how.

52 Columbus monthly DECEMBER 2014 DECEMBER 2014 Columbus monthly 53 The relationship between a musician and his or her instrument is—as most Columbus players will tell A to Listen Here you—beyond words. We asked three of the Colum- Jazz A Love bus Jazz Orchestra’s most accomplished instrumen- Six great jazz venues in Columbus talists to take us back to when they first picked up A: AABA ForM their instruments and why, decades later, they are Chances are, you’ve shOrt NOrth still driven to hone their craft. listened to this song Brothers drAke MeAdery supreme form (also known 1 this meadery has slowly evolved from a pro- as 32-bar form) duction facility to include a bar, a food truck hundreds of times, and a robust musical calendar. the intimate whether you realized space lends itself to jazz in particular, with its it or not. Rooted in cabaret seating and, mellow atmosphere. tin Pan Alley music, Park it: Grab a small table in front. AAbA describes a Sip it: the ohio Gold ($9), with Apple Pie melodic deviation in mead, bourbon, ginger liqueur and a splash the bridge, or the third of ginger beer, is deceptively smooth. line, of a verse (think Post-show munchies: stay put and order “heart and soul” by from house food truck tokyo Go Go. larry Clinton or “sail- brothersdrake.com boat in the moonlight” Birdshack performs jazz at by billie holiday). Old NOrth Natalie’s Coal Fired Pizza. dick’s den 2 this has been the spot for club jazz in Columbus since the 1960s. Dick’s Den is the WOrthiNgtON epitome of a classic dive bar with cobbled- nAtAlie’s coAl-Fired PizzA And liVe MUsic together space, a dearth of fussy drinks and a 4 Jazz has been part of the mix—along with Americana, country, blues and rock—since this : pool table in the back. Worthington spot opened in 2012. music and pizza are stars with equal billing at natalie’s, B BeBoP swing and big bands Park it: A favorite perch is next to the short where tables are positioned perpendicular to the small stage and every seat in the house weren’t wooing divider wall that runs parallel to the bar. has an equally good view of the glowing pizza oven. the jazz brunch on sunday is excel- everyone in the 1940s. Sip it: Check out the selection of bottled lent and family-friendly. saxophonist Charlie craft beer or keep it old-school with whiskey. Park it: Ask for one of the high-top tables along the far wall for the best all-room views. Parker and trumpeter Post-show munchies: the blue Danube, a Sip it: the amazing bloody mary, with pepper-spiked vodka and, yep, pizza sauce in the mix Dizzy Gillespie were few doors down, keeps the dive vibe going. Post-show munchies: If you do it right, you won’t have room. dicksdencolumbus.com among the first musicians to develop dOWNtOWN AreNA district KiNg-liNcOlN district increasingly fast-tempo de-noVo PArk street tAVern zAnziBAr Brews arrangements with 3 Proprietor yavonne sarber opened De- 5 this unassuming bar is the flip side of the 6 by day, it’s a spot for breakfast, lunch and syncopated melodies— novo in 2011 shortly after closing Vonn rambunctious Park street nightlife scene. coffeehouse activity. by night, it’s a space music that was decid- Jazz, her popular north side jazz club, and the only hollering you’re likely to hear during for musical and spoken-word performance, edly undanceable. she brought the music with her. De-novo’s a tuesday night jazz jam is encouragement complete with a full bar. Visit the Facebook space has sarber’s signature dramatic for the musicians—and they deserve it. saxo- page to keep up with bookings. c: cool JAzz decorative flourish. musicians typically phonist Pete mills leads a quartet through a Park it: the sight lines in this narrow space Cool is the flip side perform on Friday and saturday during din- first set before inviting drop-in musicians on aren’t great, but you’ll be able to hear every- to bebop. sure, ner service (check the Facebook page for stage to jam. thing from any seat in the house. it sounds hip, but upcoming acts). Park it: Jazz jam starts at 8:30 p.m., but the Sip it: For a night show, try a cocktail at the the name actually Park it: the bar area is neither too far from bar doesn’t get busy until 10 or so. Arrive bar or choose from the long list of specialty BoBBy Floyd refers to a musical or too close to the musicians. early to get prime seating close to the stage. coffee drinks. Age: 59 color palette—think slow tempos, gentle Sip it: A glass of wine or a specialty cocktail Sip it: bourbon—the selection is surprising. Post-show munchies: skip out a little early Lives in: Pickerington Post-show munchies: Grab late-night fried Post-show munchies: head to mikey’s to order jambalaya at Creole Kitchen before melodies and classical Instrument: cheese curds or poutine at little Palace. late night slice for spicy-Ass Pepperoni. they close at 9 p.m. Fridays and saturdays. influences. the style denovobistro.com parkstreettavern.com zanzibarbrews.biz Pictured with: steinway baby was popularized by grand piano miles Davis’ seminal Started playing at: 2 years old “birth of the Cool” Member of the CJO for: 10 years (released in 1957; recorded from 1949 to ’50) and its play- Eugene “Gene” Walker (1938–2014) I tried playing other instruments. I ers, like saxophonist kind of got into playing , lee Konitz. colUMBUs JAzz FoUnding FAther and I tried to play bass when I was little. But I was so at home on the : Walker, who attended East high school, was a “classic example of a street player who everybody wanted to play like and piano; I would always go back to it. d dixielAnd this joyful and often sound like,” says ohio state university lecturer Jim Rupp. Walker played alongside Aretha Franklin and neil Diamond, And there are other things in life rambunctious music, and he was a member of an act that opened for the beatles in 1965. “he was there in old mets stadium when it all that I enjoy doing, but I felt like I also known as hot started in the united states,” says Ray Eubanks, founder of the Jazz Arts Group. late in life, Walker earned a degree couldn’t master those things like I’d jazz, was born in new from ohio state. ted mcDaniel, director of jazz studies at ohio state, says Walker was “a walking encyclopedia for mastered the piano. students and always willing to help out in any way that he could.” Walker later taught at ohio state, too. orleans in the early

54 Columbus monthly DECEMBER 2014 DECEMBER 2014 Columbus monthly 55 Rusty Bryant (1929–1991) A toJazz colUMBUs JAzz FoUnding FAther Tenor and alto saxophone 20th century. the bryant (born in West Virginia but raised in Columbus) could play both tenor and alto saxophone with equal proficiency. original Dixieland “Rusty had that big boss tenor sound, and he could fill a room with that tenor. but when he would switch to alto sax, he Jazz band popularized sounded like Cannonball [Adderley],” says Jim Rupp, a lecturer at ohio state. A big break came with “All nite long,” a influential polyphonic re-imagination of “night train,” which bryant “energized … by doubling the tempo,” according to the book “ohio Jazz.” arrangements, in the Dot record of “All nite long” sold about 700,000 copies, and a 1954 item in Billboard quotes a disk distributor say- which a single, steady ing the record “has taken hold with operators at greater speed … than any other record in his experience.” melody is flanked by improvisation.

unspoken A toJazz from one chord to etiquette another, in style. e: eMBoUchUre most wind players h: hAlF-tiMe will tell you the key to What to know before going If a band begins play- achieving perfect pitch to a jazz show ing in half-time, the is to blow through, rhythm instrumentalists not into, an instrument. Even for those who frequent double their tempo (or this French term concerts, going to a jazz show begin playing the same (rooted in the word for the first time can feel like a arrangement in half as “bouche,” or mouth) completely different experience. much time) while the describes the varying “There’s a lot of spontaneity in the lead melody remains manner in which a at the same, fixed musician uses facial genre in general,” says Kimberlee tempo. this is the muscles, lips, teeth and Hall, the concert and events venue she opened in Goodman, orchestra and produc- opposite of double- tongue to produce the 1988, closed in 2008. A ragtime pianist who played tion manager for Jazz Arts Group. time, when only the best sound. an annual show at her venue didn’t want to cancel “It’s a little bit more of a laid-back House music lead melody under- after she shuttered the business, so he held the next atmosphere. There’s audience goes a tempo change. F: Free JAzz one at Ogden’s house. participation.” We chatted with Forget genre conven- It’s Sunday night, and Becky Ogden’s place is rock- About 70 people showed up for that inaugural musicians Goodman and Lou i: iMProVisAtion tions; few styles of ing. Music lovers sit shoulder to shoulder in rows of concert. Friends brought food to share, and those Fischer, jazz studies area coordi- If you’ve ever asked musical expression are mismatched chairs, tapping their toes and rhyth- who wanted to imbibe brought alcohol. Everyone nator at Capital University, to get yourself what makes more extreme than mically bobbing their heads to the spunky melody left a donation for the musicians at the door. That’s tips on how to be an active audi- jazz, well, jazz—this is free or avant-garde your quick and dirty jazz. Atonality, over- that fills the big, old East Columbus house. A five- how the informal event has run ever since. ence member. answer. Improvisa- blowing and lengthy, piece jazz band entertains the animated audience “I have no plan, no organization,” says Ogden, tion is perhaps the improvised arrange- for two hours with a loosely planned set and rous- 74. “I just sort of throw it out there, and hopefully tAke note oF the setting. “If it’s only constant across ments—often without ing improvisation. Their stage? Odgen’s living people come. You never know who will show up.” a formal concert in a theater and all styles of jazz, breaks—define key room floor. She says she meets someone new every time. in seats, people are dressed up, I from Dixieland to recordings like ornet- This is BUngAlow JAzz. Ogden, a semi-retired “It’s monkey business,” Ogden says. “It’s just house think things are a little bit more cool to avant-garde. te Coleman’s “Free elementary school teacher, has been hosting spo- music.” She emphasizes the word “just”—as if Bunga- subject to etiquette control,” Rarely in jazz are Jazz: A Collective radic concerts in her home since Columbus Music low Jazz weren’t something special. bungalowjazz.com Fischer says. “But if you’re in a the recording and Improvisation” (1961) nightclub setting, and everyone’s performance of any and John Coltrane’s one tune intended to “Ascension” (1966). standing around and having a drink, it’ll be more laid-back.” be identical. That goes for tips, too. “When g: glissAndo : people make requests [at a night . “I really think you totally distracted by it. So you kind J JAzz FUsion you’ll hear plenty reAd the rooM In 1965, bob Dylan of these when the Hank Marr (1927–2004) club], it’s very appropriate to tip,” get a lot of cues from other audi- of have to feel it out.” picked up an electric Columbus Jazz he says. ence members,” Goodman says. guitar and turned orchestra’s bobby colUMBUs JAzz FoUnding FAther “The only time [audience partici- JUst hAVe FUn. “You can par- the folk-music world Floyd is sitting behind Jazz organ and piano clAP when yoU like whAt yoU pation] could be inappropriate is ticipate as little as tapping your upside-down. similarly, his hammond b-3 born and raised in Columbus, marr was inspired by the magic jazz organist Jimmy heAr. “With jazz, when a person during a slow or soft mood, like toes or nodding your head, or miles Davis changed organ. Glissandos are smith created with the hammond b-3. “most jazz organ players tend to rush,” says the trajectory of jazz in rapid hand-sweeps takes an improvisational solo, if you’re shouting in the middle you can be one of the crazy fools Jim Rupp, a lecturer at ohio state. “hank had just rock-solid time.” one professional you acknowledge that person by of a slow ballad.” Fischer says the who gets up and dances around,” the late ’60s when he across successive highlight came courtesy comedian George Kirby, for whom marr was musical director musician will let the audience began incorporating ON clapping and sometimes by shout- Goodman says. “You should feel keys (they can be in the 1960s and ’70s. like Gene Walker, he later became a professor at ohio state. electric instruments ing,” Goodman says. “At the end know how much participation he comfortable.” Says Fischer, “If you performed on other And you had to hear his sound to believe it. “hank did things on a hammond organ and rock ’n’ roll time

instruments, too), im J OhNs of the entire piece, that’s the time or she wants. “Some will love it,” approach whatever concert you

that no one else did,” says Ray Eubanks, founder of the Jazz Arts Group. And, he t signatures into his : often carrying a player adds, marr saw to it that no one tried: “At the end of a tune, his hand would go up, to applaud for the tune itself,” he says. “Some will hoot and hol- go to with an open mind, you can once-acoustic music.

and he would push all the stops off—so nobody could take a picture of it.” Ph OtO Fischer adds. ler back at you. And some will be generally be entertained.”

56 Columbus monthly DECEMBER 2014 DECEMBER 2014 Columbus monthly 57 Mark Flugge (1962–2014) A to colUMBUs JAzz FoUnding FAther Jazz Piano Columbus native Flugge parlayed his studies at ohio state university and the Eastman k: kAnsAs city school of music into a performing career. he had a knack for emulating others without style losing his own style, says Jim Rupp, a lecturer at ohio state. Flugge was also passionate While jazz may have about teaching; he held positions at both ohio state and Capital university. beginning been born in new in 2012, Flugge struggled with conditions, including tinnitus, that affected his hearing—a orleans, it’s often said tragic fate for one to whom music was everything. he ended his life in may 2014. “of the genre grew up in all the things that can happen to a musician, I can’t think of anything worse than what Kansas City. In the happened to him,” says Ray Eubanks, founder of the Jazz Arts Group. 1930s, the ensembles of bennie moten and Count basie redefined big-band music, placing emphasis on walking bass and aggressive horn sec- tions—both anteced- ents of bebop.

l: lick Also known as a riff, a lick is any recurring melodic phrase in an arrangement. licks differ from overarch- ing melodies in that they are typically brief and rhythmic.

M: ModAl JAzz modal jazz tunes rarely sound like chris Berg they’re in a rush to get Age: 60 Jazz at Brothers Drake Meadery where they’re going. Lives in: oakwood, ohio the base instruments Instrument: bass are sometimes dron- Pictured with: hornsteiner double bass ing, with chords being repeated for more Started playing at: 16 years old now pLAying December jazz performances than 16 measures. this Member of the CJO for: nine years static framework has opened the door for My bass was given to me; it’s a 180-year- the lee konitz QUArtet musicians and veterans of the Central Ohio jazz When: 8 p.m. Dec. 5 scene. nataliescoalfiredpizza.com some of jazz’s greatest old German bass. It’s worth a lot of money. I instrumental perfor- Where: Wexner Center for the Arts Performance Space could never buy it. But the guy who owned mances, such as those In his 69-year career, alto sax ace Lee Konitz has it played with the Cincinnati symphony, JAzz wednesdAys on miles Davis’ “Kind and he retired—he was in his 90s—and he never let critics pin down his style. Instead of taking When: 8 p.m. every Wednesday of blue” (1959). followed me around whenever I was playing cues from Charlie Parker, Konitz’s moody, winding Where: Brothers Drake Meadery in Cincinnati. He’d be in the audience, and voice remains his own, polished through collabora- Every week, Brothers Drake features a different jazz n: nU JAzz he’d come up and say, “I’ve got a bass for tions with Miles Davis and Lennie Tristano. For this artist. This month, see local jazz-fusion experts Fo/ nu jazz is an extension you!” And one day I called him up and said, gig, Konitz is joined by pianist and longtime accom- Mo/Deep (Dec. 3), forward-thinking piano-lead Tim of jazz fusion, with “What’s this about this bass?” It took me plice Dan Tepfer, bassist Jeremy Stratton and drum- Dvorkin Trio (Dec. 10) and guitarist Alex Schrock (Dec. musicians embracing like five years. He gave me his card dozens mer George Schuller. wexarts.org 17). brothersdrake.com elements of elec- of times. He just thought I should not be tronica, hip hop, soul playing the bass I was playing; I should and funk that emerged play this bass. So I went to this little shop rAchel sePUlVedA sPeAkeAsy in the 1980s and ’90s. in Cincinnati. It turned out he had like 20 & the colUMBUs JAzz QUArtet When: 6 p.m. Dec. 18 basses there. It was a violin-bass repair When: 9 p.m. Dec. 3 Where: The Refectory o: octAVe shop. He said, “You tell me which one is the Where: Natalie’s Coal-Fired Pizza and Live Music SpeakEasy is a five-piece fronted by two Denison Few music terms one I thought should be yours.” So I played Trained in jazz studies at Capital University’s Con- University music professors, Andy Carlson and Tom are more commonly all 20 basses, and I kept coming back to servatory of Music, Rachel Sepulveda is a skilled jazz Carroll. The group plays gypsy jazz, a style of jazz popu- confused than octave this one that I have. And I said, “I think this vocalist, able to make songs her own via her unique larized by guitarist Django Reinhardt in France in the and pitch. two notes one.” And he said, “That’s the one I wanted can register in differ- to give you.” And I said, “Give me? No, I’ll phrasing and subtly intense delivery. She will accom- 1930s. It’s characterized by a percussive style of guitar pany the Columbus Jazz Quartet, with Derek DiCenzo playing known as “la pompe.” SpeakEasy’s repertoire ent octaves (think high have to buy this.” And he said, “No, no—just sounds to low sounds) whenever you record, give me a CD of your (bass), Dave DeWitt (keyboards), Randy Mather (saxo- includes swing standards, blues, Latin and originals. recording.” And I did that until he died. phone) and Aaron Scott (drums), all accomplished therefectoryrestaurant.com

58 Columbus monthly DECEMBER 2014 DECEMBER 2014 Columbus monthly 59 (1936–1977) Lead trombonist Linda Landis, in her 10th season in the Columbus Jazz A to in Her own words Orchestra, tells us how she fell in love with her instrument and how she Jazz colUMBUs JAzz FoUnding FAther found her first audience on the farm where she grew up. Multi-instrumentalist but in the same pitch Even as a youngster, Columbus native Kirk didn’t do things the predictable way. “his class (such as two C’s). sisters and parents noticed him blowing into a garden hose, trying to make sounds out discoVering the I was in Girl scouts in the fourth grade. there of it,” says Jack marchbanks, co-host of Jazz Sunday on WCbE 90.5 Fm. Kirk—who was a girl in the trombone section in the high played with Charles mingus and Quincy Jones—applied his creativity to his names, first school band. the only one. she was one of renaming himself Roland (from Ronald) then adding Rahsaan. “he woke up one morn- our assistant troop leaders. so she brought her ing and said, ‘I had this dream where everybody was calling me Rahsaan,’ ” marchbanks horn home every tuesday, and I was always says, adding the idea for the multi-instrumentation Kirk achieved fame with—playing the curious as to what was in that case. And then saxophone, stritch and manzello simultaneously—also came to him in his sleep. I got to see her play one of the concerts at the school. so when fifth grade rolled around P: Press roll and they said, “What do you want to play?” I A snare drum is most said trombone, and that was it. I played that taut around the outside horn all the time. nobody ever had to ask me of its head. When a know fAmous jAzz? listeN here! to practice. drummer presses his or her sticks successively colUMBUs A cAPtiVe AUdience into this area, it creates now get LocAL. my dad’s favorite story is when I’d go sit on the a tight, multiple- If John Coltrane and oscar Peterson are already on your iPod, get to know JAzz PriMer fence posts and play for the cows. Whatever bounce drum roll—or some of the musicians descended from the traditions they created. I knew, whatever would come off the top of the problem with a Columbus a press roll. this tech- my head, I would play. If it was the b-flat scale, jazz playlist is so much of the nique is often used to that’s what I’d play. And Dad was afraid they if yOu liKe: Jimmy smith great jazz in our city happens usher a soloist in or out would get frightened and go through the yoU’ll loVe: tony MonAco in clubs and music halls, not in of an arrangement. fence, and we’d be herding them up. but what’s tony monaco is internationally renowned, but it’s studios. still, if you dig around, funny about cows is music is a great thing for possible he wouldn’t be turning heads on the ham- r: rhodes there are some wonderful them, because they suddenly congregated in mond b-3 had he not discovered Jimmy smith as a recordings out there—far more the Fender Rhodes the middle of the barnyard. It didn’t scare them kid, which inspired him to move from accordion to than we can include in one playl- was a wildly popular at all. they loved it. And I’d be sitting up there organ. b3monaco.com ist. think of this as an amuse electric piano in the on the fence post, and one would come lick See him: Dec. 20 at Park street tavern for his annual bouche to get you started. my leg, and he’d take one step back, like, “oK, 1970s. Pianists like her- Christmas gig bie hancock used the guys, it’s cool.” It was my first live audience. instrument to achieve if yOu liKe: Jim hAll “lush life,” Columbus on Being A FeMAle MUsiciAn a sound more dynamic yoU’ll loVe: derek dicenzo Jazz Orchestra than that of an acoustic After college, there were a lot of obstacles. DiCenzo is one of the busiest jazz musicians in the opportunities never presented themselves, piano but not as harsh city, averaging a gig per day. (he played 375 last “beatrice, the Cat,” Mark Flugge as that of a Wurlitzer where they would automatically present year.) though comfortable on several instruments, themselves to guys. A lot of bandleaders electric piano. “Don’t Get Around much DiCenzo is best known for his guitar work. didn’t want girls on the road. they thought Anymore,” See him: mondays at Due Amici, tuesdays at local The Rick Brunetto they were a source of trouble. Women have to Roots in Powell, thursdays at Explorers Club Big Band work harder—almost twice as hard to get half as much out of it. When I came to Columbus, “Poinciana,” if yOu liKe: OscAr PetersON Bobby Floyd Trio gender didn’t seem to matter. having better yoU’ll loVe: BoBBy Floyd players mattered more. Everyone is so much “your basic Gospel song,” Bobby Whether on piano, b-3 or playing keyboard for the uillANte more accepting and supportive. like with (featuring bryan olsheski) Columbus Jazz orchestra, Floyd is a respected, Floyd “the lion King.” I chose to do “lion King” virtuosic king of the keys. bobbyfloyd.com over one of our CJo runs in late october. A s: syncoPAtion “the Inflated tear,” Roland Kirk See him: Columbus Jazz orchestra’s “home for the lot of people were saying, “man, where’s the

We’re used to hearing iester, fred sQ holidays,” Dec. 3 to 7 gal in the band? Is she sick? Where is she?” music that’s steady and “that’s All,” Gene Walker they miss me when I’m gone. on beat. this is why ugh N W if yOu liKe: JOhN cOltrANe A syncopation—or the yoU’ll loVe: Pete Mills “low Down,” Vaughn Wiester’s emphasis of weak or A featured soloist with the Columbus Jazz orchestra Famous Jazz Orchestra off beats, prevalent in and a jazz instructor at Denison, mills’ performances ; v rAlstON post-swing jazz—catch- “the Greasy spoon,” Hank Marr AN

on the tenor sax garner rave reviews. petemills.com egh es us off guard, making See him: At Park street tavern’s tuesday jazz jam (featuring Rusty bryant on an arrangement’s sessions at 8:30 p.m. tenor sax) groove and melody ete mills, m ete mills, P less predictable. if yOu liKe: cOuNt BAsie “I Remember Jimmy,” ; yoU’ll loVe: VAUghn wiester Tony Monaco t: tiMBre though basie played piano and Wiester plays two songs may “stompin’ at the savoy,” Dave , file PhOtO trombone, Wiester models his 21-piece “Famous Jazz cO have the same pitch, orchestra” after big bands led by basie, stan Kenton Powers (featuring Derek volume and tempo and Woody herman. DiCenzo on guitar) but entirely different Every monday at the Clintonville Woman’s ON y m ONA See him: s: t timbre, or tone color. Club at 7:30 p.m. “shiner,” Pete Mills Ph OtO

60 Columbus monthly DECEMBER 2014 DECEMBER 2014 Columbus monthly 61 teenAgers A to For high school-age jazz musicians, Jazz a week at Ohio State Jazz Camp is about as immersive an experi- basic descriptors ence as they can get. Students live include bright or dark on campus for a week, working and warm or cool. side by side with School of Music faculty and students to improve their skills. There are master classes, career exploration work- shops and, of course, lots of music making. Professor Ted McDaniel, who has directed the Ohio State kids Jazz Ensemble since 1990, runs the : Jazz Arts Group’s PBJ & Jazz concert series V VocAl JAzz program. music.osu.edu not only did they sur- is specially designed for young children. round themselves with It’s meant to be fun and interactive, and talented musicians, but little ones are treated to a peanut butter singers like Ella Fitzger- and jelly sandwich, cookie and juice. The ald and billie holiday series originated at the defunct Colum- knew how to use their bus Music Hall with educator and jazz voices as instruments, fALL for often employing aficionado Becky Ogden (read about horn-like phrasing her Bungalow Jazz series on page 56) techniques. Vocal jazz and is now at the Lincoln Theatre. The jAzz At has long been identi- next performance is Dec. 6 with the fied with scatting, or Rob Parton Quintet with Kristy Parton. the improvisation of jazzartsgroup.org Any Age nonsense syllables.

w: wAlking If a bassist or piano AdUlts is “walking,” he or For an enriched experi- she is playing steady, ence at a Columbus Jazz non-syn- Orchestra performance, yoUng AdUlts copated attend a pre-concert Off- Every Wednesday night, more than 100 notes that, stage at the Jazz Academy people meet at Nyoh’s Buckeye Bar not to over time, workshop. CJO artistic line dance like most nights, but to Lindy A to create a director Byron Stripling hop to jazz from the swing era. SwingCo- Jazz strong hosts a conversation with lumbus, an all-volunteer organization, rhythmic traditional forms of a guest artist, giving the runs the weekly event that starts with a les- founda- jazz. the movement’s tion. this audience terrific insight son for beginners—partner not required. de-facto leader, technique and perspective on the Part of the joy of swing dancing is changing trumpeter Wynton developed musician and the pro- partners. Says SwingColumbus president marsalis, was turned in tandem gram. The next opportu- Gail Clendenin, “It’s like having a conver- off by the emergence with bebop and nity is in February 2015 sation, and you get to have these conversa- of nonacoustic sub- other post-swing sub with vocalist Dee Daniels. tions with people with different personali- genres, like nu and fusion. Ironically, the genres, providing jazzartsgroup.org ties and styles.” swingcolumbus.com grounding for soloists lions were in some and listeners. circles as controversial as the styles of music x: x they opposed. on a music chart, “X” is almost always Sammy Stewart (1891–1960) z: zoot synonymous with In the 1930s and ’40s, time. so “8X” means many jazz musicians MichAel cox I’m always running. I teach anywhere from three or four to six or eight lessons colUMBUs JAzz FoUnding FAther “perform eight times.” Piano and bandleader wore oversize jackets Age: 54 in a day, so I’m either going from one lesson to the next or going from a lesson stewart was a son of Circleville but arrived in Columbus early in his life and was with wide-hipped, to a rehearsal to a gig, so I’m a little bit low maintenance when it comes to y: yoUng lions Lives in: berwick performing by age 10, says Arnett howard, co-author of “ohio Jazz.” tapped by narrow-legged slacks— things like reeds and mouthpieces. But I have a system that’s real consistent for this like-minded Instrument: saxophone booking agent Charlie Parker to join Parker’s Popular Players, by 1918 he formed a or zoot suits. “Zoot” me. I just always want to be able to pick up my instrument and know exactly collective of neo- group with an equally alliterative name: sammy stewart’s singing syncopators. Jazz was also the nickname Pictured with: selmer Paris Reference how it’s going to play every time I play it. So I don’t change a lot of things. I boppers emerged in wasn’t their only specialty, though: When playing at the Deshler-Wallick hotel in of saxophonist John 54 tenor saxophone don’t change reeds a lot. I don’t change mouthpieces very many times. Things the 1980s, deter- Columbus, howard says, “During the dinner hour, he would play classical music or he sims, who played in the Started playing at: 12 years old like that that saxophone players love to do and they love to talk about—I do mined to influence a would play just music with a four-or five-piece group.” his musical legacy is grounded bands of benny Good- Member of the CJO for: 23 years that less than anybody else that I know. I guess I’m a little conservative. widespread return to in his classical training, howard adds: “he really played music, while people like louis man and buddy Rich. Armstrong played jazz music.”

62 Columbus monthly DECEMBER 2014 DECEMBER 2014 Columbus monthly 63