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Eldar Djangirov wows crowd with his Berman Music Foundation amazing technique Djangirov performance draws standing ovations By Tom Ineck ...... ······.··Fal.10;iJ01~····· ldar Djangirov, the 14-year in June. Bassist Gerald Spaits and Vql.~6J.Jumbe{ 5 . E old jazz piano wunderkind drummer Todd Strait, his regular from Kyrgyzstan, hit a home run his Kansas City bandmates, accompa first time at bat playing to a Lincoln nied him. The same trio is featured audience June 12, the second concert on Djangirov's recently released CD in the 10th anniversary Jazz in June debut. series at Sheldon Memorial Art Gal Like his recent performance at the In this issue of Jazz .. .. lery Sculpture Garden. Topeka Jazz Festival (reviewed else Djangirov ...... l The Tuesday evening series was where in this issue ofJazz), Djangirov The Prez Sez ...... 2 stretched to six began with a bravura Hedman at the Lied ...... 4 weeks to celebrate rendition of Clifford Tomfoolery ...... 5 the first decade of Brown's "Daahoud," free concerts, spon alternating double Karrin Allyson ...... 6 sored by the N e octave phrases and Lady Day ...... ;...... 7 braska Art Associa single-note runs. He Jazz on Disc...... 8 tion with help from followed with a Topeka Jazz Fest...... 9 corporate and foun bluesy, two-fisted dation funding, The take on Ornette Unsung Hero ...... 14 season also featured Eldar signs autographs for his Coleman's "Turn- Discorama ...... 15 strong performances throng of fans around." Joe Henderson ...... 16 by the Rhythm Club Orchestra on The first surprise of the evening Jazz on the Radio...... l? June 26 and the Darryl White Quin was the young pianist's choice of the tet on July 3 and a disappointing sea old warhorse "Slow Boat to China," Sam Phillips ...... 18 son opener by the Daugherty which the trio updated with a very hip Jazz in the Venues ...... 18 McPartland Group on June 5 (re interpretation. Marian McPartland's Blues on Disc...... 19 viewed in the Tomfoolery column "Afterglow" shimmered with imagi elsewhere in this edition ofJazz). native keyboard harmonies, and Blues Corner ...... 19 Sponsored by the Berman Mu "Lester Leaps In" leaped with Jazz Sabbatical ...... 19 sic Foundation, Djangirov's astound virtuosic runs reminiscent of Oscar ing performance wowed the crowd - Peterson's powerful pyrotechnics. estimated at 4,000 people - into mul Djangirov displayed his penchant tiple standing ovations, a first for Jazz (Djangirov continued on pg. 3) 2 Berman Music Foundation Jazz I ~:g: ...... , PrezSez 2001-02 jazz scene looks promising By Butch Berman ...... come and pack the place to show that end to give you the entire Topeka Jazz we can dig jazz here as much as they Festival picture. The only thing miss- do in KC. ing is you, our readers - if you haven't Got to hang with myoId friend, made it yet - run, don't walk to your Karrin Allyson, who sang beautifully mailbox with next year's early bird all weekend pushing her newest, and application (yup - you can save a few one of my all-time favorite Karrin bucks here) to attend. If you go once Allyson CDs (Ballads: Remembering - you'll go every year - it's just that John Coltrane). We're hosting her good. again with her top-notch KC band As usual - a lot of good stuff is along with a string section this time coming our way due to the BMF's to perform for you all again at the al D ear Everybody, festival schmoozing. ways great to work with Lied Center I finally got to meet my fave and their excellent staff. Mark the I rarely start anything with an apol Monty Ale~ander and his lovely wife date, November 9th on your calendar ogy, but to you our readers and to our Caterina Zapponi during our dinner - this should be truly lovely. artist, sort of in residence - percussion meeting at the hotel. After discover- Of course - what more can you ist extraordinaire - Norman Hedman - ing that we were all old friends who say about "The Kid" - 14-year-old sorry - the entire BMF staffhad a Gang just hadn't met yet-my mind started piano jazz genius and prodigy Eldar Goof as we all thought Norman's su to buzz ... and yes - get ready - Monty Djangirov stole the show at Jazz in perb Lied Center performance was in is coming to Lincoln for my 5yd, B- June with a record attendance - three cluded in our last issue-including Tom, th day bash. Saturday, March 9 (my standing Os and an encore - all firsts. who took notes as usual at the concert, t birthday is March 10 h, but I didn't Eldar tore up at the Topeka Jazz Fes and all ofour proofreaders who missed want to do the gig on Sunday). We tival and repeated with his straight it. .. anyway, I guess, a good review is are working to finalize the venue at ahead trio (Gerald Spaits on bass and never too late. the Royal Grove (don't freak - it's Todd Strait on drums) on June 12th Now - onward ... I mustn't forget not the same tough joint it was when (see review on page 1). I was at my to welcome back Mark Dalton, writ we were kids) - it's got the best sound, proudest after the show on all ing a splendid story on Sam Phillips' lights, and stage in town with perfect counts ... of Lincoln finally showing visit to Seattle; and to introduce you sightlines and a dance floor to boot their love and respect for jazz and the to the writing style of myoId pal Blade with ample parking. If reggae goes performer, and the marvy job this (John Wiederspan) on his perception over big there - then Monty young man did, blowing all the minds on the state of the art of jazz. Alexander'sjazzy Jamaican influence of all those present. We're trying to As usual, the Topeka Jazz Festi should make this a bamburner not to bring Eldar back next year to do a val was a complete and total gas. In be missed. We're just getting started show with the NJO - stay posted, as my opinion - Monty Alexander has with negotiations - so hang in there, we'll stay toasted. always kinda stole the show - but keep your fingers crossed, and leave ... And last but not least - the hearing Ray Brown's thundering bass the driving to us. Jazz at the Grove - Topeka Jazz Festival bossman and was a close second with all other acts why the hell not? founder - Mr. Jim Monroe and their complying to a well-balanced three th Next - on September 20 - we align director of marketing, Kate Hastings, day extravaganza. The weather was with Dean Haist Enterprises to book an visited me and Tony Rager (my legal beautiful- and everyone - musicians occasional Thursday at p.o. Pears - so liason from Cline Williams) to see and guests alike dug staying at the get ready for probably KC's hottest pia- how much further the BMF could col Capitol Plaza Hotel (Topeka's version nist, Joe Cartwright and his trio. laborate with them to make this al- of our new Embassy Suites). Check We gabbed at the festival, I put it ready fine musical experience even out our fab pictures, Tom's review, together with Dean, and we obtained better down the line. Ideas and ban- and Bill Wimmer's first-timer's ac a nice grand from Keith Heckman at ( S t' d 3) count of his Kansas jazz festival week- Dietze Music House - now, ya'lljust Prez ez con tnue on pg. Fall 2001 Page 3 I ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• (Prez Sez continued from pg. 2) (Djangirov continued from pg. I) Jazz is usually published six times ter were tossed around with no ego for tunes of the early bebop era with a year by The Berman Music problems, so soon as we can let you "All the Things You Are," Tadd Foundation, 71 9 PSt., Studio G, know of some possible changes that Dameron's "Ladybird" and Charlie Lincoln, NE 68508. could occur from the sum of the parts Parker's "Confirmation." Best of all addressed at this junction - it'll prob Editor: Dave Hughes was his playful, uptempo arrangement Newsletter and computer con ably be our cover story in the near of Thelonious Monk's "Well You sultant: Rebecca Kaiser future. Needn't." Contributing writers: Butch I'm probably leaving something out He also introduced three superb Berman, Dan Demuth, Rich Hoover, Dave Hughes, Mark - but need to close and make room original compositions, the mid-tempo Dalton, Tom Ineck, & Bill Wimmer. for ... the rest of the story. I must men "Recollection," which shifts from mid Photographers: Butch Berman, tion - we lost some heavy hitters since tempo bossa to straight 4/4 time, the Rich Hoover; Tom Ineck, and Glennda the last issue - Billy Higgins, Joe funky "Rhododendron" and "In the Magner: Henderson, Chet Atkins, and John Lee Haze," a mysterious melody with Hooker are big chunks of musical his For inclusion of any jazz or blues some enchanting chord changes. related events, letters to the editor; tory. As we get older, it has to happen, Despite his elfish physical stature, or suggested articles, you can ei but no one's everready. Just keep their Djangirov had a commanding pres ther mail them to the office, phone flames lit by always appreciating your ence when he attacked "Body and us at 402-476-3112, fax us at 402- artist, seeing them when you can and Soul" with powerful right-hand flour 475-3136, or e-mail us at: supporting them by keeping abreast of
orman Hedman's Tropique together as a unit. Against an infectious cessive solos by Byam on alto sax, Riv N warmed an audience of 800 rhythm set down by bass, piano and ers on flute, Mantas on vibes, Momoe with its combustible tropical jazz in a percussion, the alto sax, flute and vibes on bass, Martinez on timbales and, fi March 24 concert at the Lied Center stated the melody in unison. Mantas then nally, Hedman on congas. Throughout for Performing Arts. took a spirited solo, followed by a driv the performance, Hedman proved a By opening for Jerry Gonzalez and ing alto solo and Tsyganov's brief, but most democratic leader, emphasizing the the Fort Apache Band, Tropique clearly enthusiastic keyboard statement. group sound over individual virtuosity. defined its smoother, brighter sound in From the "One Step Closer" CD By comparison with Tropique's contrast to Fort Apache's edgier, bop came "Flight ofthe Spirit," with Momoe warm, listener-friendly approach, the influenced attack. The concert was a setting the mood on kalimba (or African Fort Apache Band seemed aloof, even good lesson in the diversity ofjazz styles, thumb piano) and Hedman's expert conga detached from its audience. Leader Jerry especially in the Latin realm, where the playing fortifying the traditional African Gonzalez ignored the house while he Afro-Cuban model is the standard with flavor. After solos by Tsyganov and absently tuned the congas, getting things which most people are familiar. Martinez, Hedman returned with a series off to an uncomfortable start. With its frontline instrumentation ofinspired conga breaks that powered the There is no mistaking the technical of vibes (AJ. Mantas), flute (Craig tune to its conclusion. virtuosity of the Fort Apache Band, an Rivers) and saxophone (Roger Byam) Tsyganov's exuberant composition Afro-Cuban-style quintet featuring the and the rhythm section consisting of "That Unpredictable Eugene" displayed superb playing ofsaxophonist Joe Ford, pianist Misha Tsyganov, bassist Ron the pianist's way with complex changes, pianist Larry Willis, bassist Andy Monroe, timbales master Willie aided by thrilling solos from Rivers on Gonzalez, drummer Steve Berrios and Martinez and leader Hedman on con flute and Byam on tenor sax. On "Soft conguero Jerry Gonzalez doubling on gas, Tropique adheres more closely to Serenade," Rivers and Byam stated the trumpet and flugelhom. the model established by Cal Tjader, beautiful melody on dual flutes, creat But the result is a frequent lapse with echoes of Hedman's other main ing a light, shimmering sound, before into long, rambling and abstract post influences, Mongo Santamaria and turning it over to piano and vibes for bop solos that have the effect of boring Armando Peraza. short solos and a final return to the flute the listener, especially after hearing Tropique drew its set list primarily twosome. Tropique's more focused and melodic from the band's recent Arabesque re The highlight ofthe concert was the group sound. As on the band's 1996 live lease "Taken By Surprise," recorded in exciting "Light at the End of the Tun recording "Fire Dance" at Blues Alley New York City in August 1999 and pro nel," a tune that built from a simple in Washington, D.C., the "tunes" duced by the Berman Music Founda melody line combining Byam's tenor stretched up to 20 minutes each. tion. Having attended and reported on sax, Rivers' piccolo and Mantas' vibes An eccentric hipster, Gonzalez not those recording sessions for Jazz, I was to a series of solo breaks that raised the only refrained from announcing the anxious to hear the same tunes per intensity level to exhilarating heights. tunes or any other audience banter, he formed live on the Lied Center stage in Like the original studio recording, the obsessively doted on his drums, his a performance also made possible by live version was a masterpiece ofmusi horns and his bandmates, effectively cre theBMF. cal dynamics. ating a gulf between musician and lis Getting things off to a churning, Martinez played master ofceremonies tener. It was reminiscent ofMiles Davis' rhythmic start was "Pa' Bailar," with on "One For Ahmad," deftly conducting behavior, which often was interpreted Hedman patiently setting the pace on con with the wave of a timbales stick, count (rightly or wrongly) as rudeness. gas as the tune built in intensity, leading ing off segues between solos. Hedman's Despite brilliant bursts ofmusician first to a piccolo flute solo, then to a loving tribute to his wife, "Micheline," was ship, mostly from Willis and Ford, the polyrhythmic timbales statement, all the stated by Mantas on vibes before Tsyganov overall reaction of this listener was while urged on by a percussive piano riff. took a sensitive solo. "Why should I care?" I prefer the "Rudy's Mambo" was a perfect "Head Theme" was Hedman's warmth of Tropique to Fort Apache's example of how well this band works grand, uptempo finale, featuring suc- cold shoulder. Fall 2001 Page 5 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Tomfoolery: Jazz in June's 10th year features heavy hitters By Tom Ineck ......
oung pianist Eldar Djangirov Throughout the performance, approach to the music. Y was the undisputed favorite in Moore and Warren anchored the rhythm From the early Ellington songbook the 10th anniversary season of the Jazz section with taste and imagination. came "Doin' the Voom Voom," "Gold in June series of outdoor concerts, but Warren's punchy, wrist-snapping tech Digger" and "Jubilee Stomp." The Kan there were other performances worth nique put life into "Sweet Georgia sas City sound of Bennie Moten and noting. Bright" and Moore created the appro Count Basie were represented by "Baby In contrast with Djangirov's indi priate groove for "Bemsha Swing." Dear" and "Rhumba"Negro." Fletcher vidual display of virtuosity (reviewed "lJ Henderson's songbook yielded ::r " elsewhere in this edition ofJazz), the @- "Copenhagen and "Song ofthe Vi- Darryl White Quintet showed the im ~ per," and McKinney's Cotton Pick portance of experience and a more at ers got their due with "Crying and democratic group interplay in its July 3 ~ Sighing." Even the sweeter, classi performance. The professor of trumpet a cally oriented English bands contrib- at the University of Nebraska-Lincoln uted to the mix with "Buffalo was accompanied by his occasional Rhythm" by the Picadilly Rebels and "Black and Blue Rhythm" by the Jack working group - saxophonist Gerald Darryl White Quintet Dunn, pianist Jeff Jenkins, bassistArtie Hilton Orchestra. Moore and drummer Mike Warren. But, ultimately, it was White who de Though devoid oftrue jazz impro White's confidence and clarity of fined the quintet's style, moving easily visation, the musicians' expert playing tone are out of the Clifford Brown from trumpet to flugelhorn and show and unswerving fidelity to history Ie"' school of trumpet playing, though his casing a number of his own composi gitirnized the Rhythm Club Orchestra's dark, modal moods and his choice of tions. Especially effective were tunes literally "dated" performance. tunes are more reminiscent of Miles written for his parents - the ballad for The summertime series hit only one Davis. Indeed, the opener was Davis' his mother, "Be Sweet," and the memo foul ball, and that was the season opener "Jean Pierre," complete with extended rial to his father, "The Tree is Fallen by the Daugherty McPartland Group. notes, abstract phrasing and a funky (But the Roots Will Live Forever)." The The band was at its best on fusion num backbeat. latter began with a chilling solo trum bers such as Herbie Hancock's "Can "Ancient Memories" the title track pet statement and ended with a trumpet taloupe Island" and Steely Dan's "Do from White's most recent CD, was a solo that beautifully expressed the title's It Again." group effort that featured solos by sentiment. But the quintet, co-led by pianist White, Dunn on tenor sax and Jenkins Whereas the Darryl White Quintet Tim Daugherty and drummer Dennis on piano. Dunn took the spotlight on was the quintessence of modem jazz, McPartland, was out of its element Kenny Garrett's "Two Step," taking the the Rhythm Club Orchestra was a re when trying to sound jazzy on "Softly, melody and a soulful solo full of origi minder ofthe music's roots. In note-for As in a Morning Sunrise" and "On nal ideas. Jenkins, a Nebraska City na note transcriptions, the 13-piece Kan Green Dolphin Street" or hip on "Route tive, contributed a solo that drew on sas City ensemble recreated the dance 66" and "It Don't Mean a Thing (If it McCoy Tyner. music of the 1920s and early 1930s, a Ain't Got That Swing)." Jenkins delivered some ofthe most transitional period between traditional Occasional vocalist Paula Brady inspired playing of the evening, taking New Orleans polyphony and the advent did nothing to improve the group's im brilliant solos on Thelonious Monk's of the Swing Era. pression on this listener. She absolutely "Bemsha Swing," Charles Lloyd's The instrumentation also echoed tortured "Take the A Train" with awk "Sweet Georgia Bright" and Wayne that period with three saxophones, two ward phrasing, poor enunciation and an Shorter's "United." It is a tribute to trumpets, trombone, tuba, three violins, overall lack of soul. Add to this her ten White's evenhanded leadership that he guitaribanjo, piano and drums; Plunger dency to waver offkey and the perfor allowed his sidemen such room to mutes, a bass· saxophone and novelty mance became a painful experience. stretch out. lyrics completed the conservatory-style 'Nuffsaid. Page 6 Berman Music Foundation Jazz • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • .t Allyson talks about Coltrane ballad tribute By Tom Ineck· ......
TOPEKA, Kan. - Singer Karrin ential- inspiring many popular bal with two of her longtime friends and Allyson is justifiably enthused about lad collections in the four decades musical cohorts, guitarist Danny her latest project, the newly released since its debut. Embrey and pianist Laura Caviani. Ballads: Remembering John "It's really meant with great re "We'd been trying these things in Coltrane. spect toward his playing," Allyson the style of (Coltrane) for a little Between sets at the Topeka Jazz said of her version of Ballads. "It's while, but some of them are very, very Festival, she took time to sit down and not meant to sound like him. It's meant new to me, at least the way that we talk about the CD, her seventh and do them," she explained. I didn't -0 best for Concord Records. ~ feel like these tunes were particu- Asked why she chose to recreate ~ larly overdone, vocally. You don't the 1962 Coltrane classic Ballads in ~ hear "Say It (Over and Over o its entirety, with vocal renditions 3 Again)," you don't hear "I Wish I :l taken in the same order as the origi ~ Knew. " nal, Allyson immediately warmed to A Among those that have been the subject. recorded many times are "You "It's a tribute to his beautiful, Don't Know What Love Is," soulful playing ofthese standards and "What's New" and "It's Easy to the way they were done," she said. Remember." But it's difficult to The original Ballads recording find fault with such masterpieces, contains eight tracks and clocks in no matter how many times you've at just 32 minutes, so Allyson added heard them. Karrin Allyson three tunes that Coltrane recorded on Two selections - "Too Young other sessions, including his own as a very loving tribute. We actually to Go Steady" and "Nancy (With the composition, "Naima." She and her got clearance from Alice Coltrane. Laughing Face)"- proved lyrically colleagues also extended some of the She gave us the go-ahead." challenging. The protagonist of the improvised solos. For example, To ensure that she achieved the former is obviously much younger Coltrane's "All or Nothing At All" is highest possible degree of musician than the singer, and the latter was just three and a half minutes long, but ship and compatibility with Coltrane's written specifically for Frank Sinatra Allyson's is nearly seven minutes. style, Allyson hunkered down with to sing to his daughter, Nancy, later "We stretched out a little bit, pianist James Williams to work out known for her million-seller "These which of course he was famous for. the arrangements. The other musi Boots Are Made For Walkin'." He was so succinct on this particular cians on the session were bassist John Allyson solved the dilemma by album that it leaves you wanting Patitucci, drummer Lewis Nash and deftly tailoring her interpretations. more. It's been one of my favorite in three saxophonists sitting in for the For "Nancy," her phrasing is a third strumental albums for quite a while. departed master - Bob Berg and person observation, and for "Too One night I was listening to it and I James Carter on tenors and Steve Young" the title phrase is merely a thought, 'Wouldn't it be cool ifsome Wilson on soprano. metaphor for unrequited love. one were just to sing these down,just "What I wanted was a piano trio, Allyson herself arranged the like they are.' And then I thought, the same musical vein throughout the haunting, wordless "Naima." Her 'Well, how about me?''' recording," Allyson said. "I thought, vocalise seems to rise out ofthe ether, Both recordings consist of jazz at first, that we should feature one sounding much like the saxophone of standards, most of which were re horn player. That's a big job for one John Coltrane at his most spiritual. corded long before Coltrane did them horn player." Instead, she and pro "We did think about putting lyr with his legendary quartet, which also ducer Nick Phillips decided to spread ics to it," she said. "In fact, two people featured pianist McCoy Tyner, bass out the work among three of the best we asked did put lyrics to it. But, I ist Jimmy Garrison and drummer reed players in the business. never really wanted to do it with lyr Elvin Jones. But Coltrane's rendering Before entering the studio, ics. Monumental jazz tunes, when was typically exquisite - and influ- Allyson practiced some of the tunes (Allyson continued on pg. 7) Fall 2001 Page 7 t ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• (Allyson continued from pg. 6) transatlantic cruise, her first experi Allyson in the studio during the "Bal they get lyrics to them, really sound ence performing in a floating venue, lads" sessions, though not as arranger. corny, unless it's a great lyric. But I and the Ballads tour is off to a great "Bill is my help in the studio, wanted to do it justice and I didn't start with early stops in California, since he's so good in the studio and want to take away from the tune." the Twin Cities, Chicago, the Kansas knows my singing," Allyson said. In addition to the great music con City Blues and Jazz Festival and the "Our collaboration is subtle." rd tained therein, Ballads: Remembering 33 Annual Fujitsu Concord Jazz McGlaughlin, however, is more John Coltrane also boasts liner notes Festival. Upcoming dates include a involved in another aspect of by veteran jazz critic Nat Hentoff and a four-night stop at Dimitriou's Jazz Allyson's career, her relatively recent seductive photo spread of Allyson, all Alley in Seattle and two nights at venture into orchestral music. Last guaranteed to attract new fans. Birdland in New York City. spring, they appeared in concert with A recent career move from Kan New management and a new members of the Omaha Symphony sas City to New York City also has agent should also help to raise Orchestra. proven fruitful. Allyson's profile and allow her to con On Nov. 9, they will take the stage "I like it very much," she said of centrate on singing. ofthe Lied Center for Performing Arts her new home. "But, I'm not there that "I've done this so long by myself, in Lincoln for a similar performance, much." In other words, her perfor I'm really happy to have some help. entitled Jazz with Strings Attached. mance schedule has shifted from do It's not an easy road even when you Pianist Paul Smith, guitarist Rod ing five nights a week at local clubs have all kinds of help." Fleeman, bassist Bob Bowman and in her former hometown of Kansas Bill McGlaughlin, perhaps best drummer Todd Strait will accompany City to making more prestigious ap known as the longtime host of Na Allyson in the concert, sponsored by pearances worldwide. tional Public Radio's St. Paul Sun the Berman Music Foundation. She recently returned from a day Morning, worked alongside Lady Day at Emerson's Bar and Grill By Butch Berman ......
dmitting to occasionally be away, and still felt the buzz ofthe ex never really sounded like Ms. Holi A ing an entertainment snob citement of the evening the next day. day, but her acting and believability about what goes on here locally as All jazz lovers dig Billie Holiday of her role made her looks almost opposed to my former gallivanting - but today a star of her caliber with eerily transform her into Billie before coast-to-coast hotspot lifestyle - I al similar problems would be treated my tearful front row eyes. A beauti most flinched when my assistant more like Robert Downey, Jr. with fuljob well done. Ms. T did this play Ruthann suggested something 'bout multiple choices and high hopes - in in 1993, and reprised it in a two week an Omaha dinner theater doing some the '30s to '50s - a black woman end sold out gig at the Dundee Din kinda show on Billi~ Holiday, and junkie, who had an attitude to boot, ner Theater - turned very realistically would I like to get tickets and head and made poor choices in her men, into a NY Cabaret. up there. became a victim, shunned from per I'd see this show again and look Now driving eastward, I forming, j ailed instead of being reha forward to future return trips to the mumbled to myself about the Lincoln! bilitated and died at 44 from as much Dundee Dinner Theater for more Omaha traffic snarl due to President a broken heart as the ravages of heroin pleasant hospitality and perfor Bush and the College World Series all and alcohol on her body and soul. mances. Bravo to Shirley Tyree - girl, this same night. .. this better be good. Ms. Tyree, accompanied ably by you sent me and opened a lot of eyes Well, after attending Lanie Jim Boggess and under the fine di to situations somewhat improved over Robertson's wonderful New York rection of Bill Bohannon, told a story Ms. Holiday's time, but not enuff to screenplay - Lady Day at the within a story ofBillie's tragic life put make us forget our shame. Lady Day Emerson Bar and Grill, performed to to music with even a touch of humor at the Emerson Bar and Grill is a a "T" by the very talented Shirley thrown in amongst the pain. Inter most wonderful reminder. Tyree at the ever so quaint and groovy woven are segments of many of her Dundee Dinner Theater - I was blown famed tunes and a singing voice that Page 8 Berman Music Foundation Jazz ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Jazz on Disc Saxophonist Cole burns with intensity By Tom Ineck· ......
bridge open new vistas on an old standard. Cole solos with soulful As for Vitro, her throaty, lounge lyricism and imagination. "Without style has always left me a bit cold, a Song" also gets a fresh treatment but these challenging melodies seem with an arrangement by bassist to inspire her to greater things. It Chuck Bergeron and another bril also helps that pianist Fred Hersch liant trumpet contribution by is along for some beautiful duos Brecker. with Vitro on "Two Lonely People" and "Turn Out the Stars," two of RICHARD COLE Bergeron provides a consis Evans most profound compositions. The Forgotten tently solid bass anchor throughout Former Evans bassist Eddie Gomez Origin Records the recording, allowing Cole to go also makes an appearance on four on his extended tenor excursions tunes, including "My Bells" and Occasionally an artist comes without losing sight of the groove. "Very Early." along who mixes all the right ingre Recorded in Seattle, The Forgotten dients and creates a surprisingly also is noteworthy for its lesser All singers who attempt to in heady brew for the first-time lis known sidemen - John Hansen and terpret Evans must be eternally tener. Randy Porter on piano, David grateful to jazz critic and sometimes Peterson on guitar and Gary Hobbs lyricist Gene Lees, who penned the Such an artist is tenor saxo on drums. wonderful words for "My Bells," phonist Richard Cole, and the in "Turn Out the Stars" and the jazz toxicating brew is called The For standard "Waltz For Debbie." gotten, but there is no forgetting this incendiary performance. Aided and abetted by some of the top hard-bop players around, Cole's big sound, brash attack and inventive phrasing are reminiscent of big leaguers like John Coltrane and Sonny Rollins.
The opener is Cole's composi ROSEANNA VITRO tion "Any Skynyrd," which also fea Conviction: Thoughts of Bill Evans tures some outstanding playing by A Records trumpeter Randy Brecker. Irving Berlin's "The Best Thing For You" Vitro's eighth recording has an is taken at a breakneck tempo that increasingly familiar theme - a hom brings out the best in pianist Joey age to influential pianist Bill Evans, Calderazzo and crack drummer who died 20 years ago. A lyrical Adam Nussbaum. In fact, the tenor/ player with a sizeable songbook of drum section is one of the most ex his own compositions, Evans has re Eldar preparing for Jazz in June citing moments on the record. cently been getting a lot of atten tion, with memorable tributes by Photo by Rich Hoover "Angel Eyes" has been done a guitarist John McLaughlin, pianist zillion times, but Cole's dark, sar Fred Hersch and arranger Don donic interpretation and uptempo Sebesky, among others. Fall 2001 Page 9 •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Topeka Jazz Fest exceeds expectations By Tom Ineck ......
TOPEKA, Kan. - Just when I driven festivals where art is treated tion of "Red Top Blues" that al had begun to doubt that the Topeka as a mere commodity. lowed both tenorists to excel, build Jazz Festival could continue its as What follows is just a brief re ing the intensity with successive so- cendancy as one of the greatest jazz port of some of this gatherings in the world, the event's year's festival high fourth edition May 26-28 proved me lights. wrong by raising the bar once again. Saturday morning's First, festival organizer and ar opening performance tistic director Jim Monroe upped the was a sterling example ante with an all-star lineup that in of things to come. cluded The Ray Brown Trio, The Fronted by saxophonists i:l Hamilton and fes ir tival regular Bob ~ Kindred, it fea- Eldar and Berman prepare for hisstel/ar Lincoln Q tured the Kansas show CD 5 City rhythm section of pianist los and patented blues licks. g. Joe Cartwright, bassist Gerald Even though I had heard numer ~ Spaits and drummer Tommy ous recordings by Gerald Wiggins, <0 16 Ruskin. Hamilton and Kindred his live performances were a revela ~ playfully sparred with widely tion, a keyboard history lesson com differing styles - Hamilton's bining technique, imagination, wit relaxed, mellifluous tone and grace. The respect of his peers TJF founder Jim Monroe and this years against Kindred's more ag was evident from the start, when the m.e. Dr. John Zimbrick gressive, edgy attack. veteran was teamed with bassist Jay Monty Alexander Trio, tenor saxo On "Moonlight in Ver Leonhart, drummer Jeff Hamilton phonist Scott Hamilton, pianist mont," Kindred Gerald Wiggins, saxophonist Alan pinched off each line Barnes and the big band Frank Capp of the melody, while and Juggernaut. Then, he staged the Hamilton displayed a Memorial Day weekend festival to breathy technique create imaginative combinations of reminiscent of Ben artists, forcing these world-class Webster. On the musicians into settings that brought bossa "Gentle Rain," out the best in everyone. The artists Kindred delivered the met the challenge, creating new fans melody and an as and establishing new bonds with tounding solo, inspir ing an equally pro their colleagues. Bob Kindred joins Joe Cartwright. Gerald Spa its, Finally, the best audience in the found solo from and Tommy Ruskin for the breakfast set festival's history responded with de Cartwright, then light and appreciation. This crowd lively three-way trades between and guitarist Rod Fleeman. knows and respects good music, a Hamilton, Kindred and Spaits. Wiggins strode mightily through But it was a mid-tempo rendi- rare thing in an era of commercially (Topeka continued on pg. ]0) Page 10 Berman Music Foundation Jazz •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• (Topeka continued from pg. 9) Hamilton, Kindred and Ken sung "Say it Over and Over" was "A Minor Madness," then caressed Peplowski, another Topeka favorite. followed by a stunning rendition of the keys on "IfIt Is the Last Thing I They launched into "You'd Be So Coltrane's "Naima," with Allyson Do (I'll Make You Mine)." As if to Nice to Come Home To," each tak- accompanying her versatile vocalise create a ing a solo that illustrated a differ- on piano and Bowman turning in a -;]dynamic ent approach to the tenor sax. booming bass solo. §-contrast Al Cohn's bouncy, mid-tempo Always a treat at the Topeka $[w i t h "P Town," Gershwin's "Embrace- fest, the Monty Alexander Trio (this ~Wiggins' able You" and the classic tenor year with bassist Hassan Shakur :::J" :r: light touch battle anthem "Blues Up and Down" and drummer Troy Davis) in its first o ~ on "Land also were ideal vehicles for set reached way back to Alexander's ~ o f Hamilton, Kindred andPeplowski's Jamaican roots with originals that Dreams," three-way -;] mixed reggae, gospel and jazz in- drummer collabora- §- fluences.· Hamilton tions. $[ On "The Reggaelator," the pia- pulled out Singer ~ nist quoted "Ain't Necessarily So" :::J" all the K a r r i n :r: in a dazzling display of uptempo rst o stops, in- Allyson's ~ pyrotechnics. He began "Sight Up" Leonhart from NY CD j e c tin g first of ..., in a stride piano style before powerful three sets switching to a reggae beat and backbeats, rim shots, bass drum over the quoting "Down by the Riverside." accents and foot-tapping. He also weekend Alexander's gospel roots were demonstrated that he knows the was a evident on the ballad "Hope," but value of restraint, skillfully using welcome- Third bassman Gerald they emerged again for the bluesy brushes for a beautiful rendition of home ap- Spaits from KC "Renewal," which the composer in- "Body and Soul." pearance troduced by saying, "There is al- Barnes, an amazingly proficient for the former Kansas City resident ways time for a fresh start." A vi bop alto saxophonist from England, who now calls New York City her cious drum introduction set the tore into such classics of the genre home. (You can read an exclusive scene for "Moonlight City," a de as Wes Montgomery's "West Coast interview with Allyson on Page 6 piction of the mean streets of Blues" and Dizzy Gillespie's "Wee," in this issue of Jazz.) Kingston, Alexander's hometown. using circular breathing on the lat- Allyson and her longtime K.C. The baI-
ter tune to -0 friends and accomplices - guitarist lads "Got to create a 8: Danny Embrey, bassist Bob Bow- Go" and new level of ~ man and drummer Todd Strait - had "T r u s t " in tens i ty. ;, just recently returned from a series beautifully n He was ~ of performances aboard the trans- exemplified ably ac- g atlantic QE2 cruise ship, and they Alexander's < . companied ~ were pnmed and ready for the more senti by Kansas hometown fans. They sailedjoyfully mental, lyri City stal- through "All of You," Wes cal side. warts Russ Montgomery's "West Coast Blues" U n - Long on pi- and "0 Barquinho (My Little doubtedly ano, Bob Boat)." the most an Bowman on Allyson maneuvered skillfully ticipated act bas s , through the unusual changes and at this year's Fourth bassman Dan n y John Clayton from LA beautiful lyrics of Benny Golson's festival was Bob Bowman from Embrey on "Whisper Not" before doing a The Ray KC guitar and Todd Strait on drums. couple of tunes from her latest Con- Brown Trio. Another sure-fire match was the cord release, a loving tribute to John A legendary bassist who has re "Three Tenors" set teaming Coltrane's "Ballads." The rarely (Topeka continued on pg. 11) Fall 2001 Page 11 •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• (Topeka continued from pg. 10) "My Romance" and "Willow Weep defatigable, inventive spirit mained at the forefront of main for Me," displaying a particularly spurred the others through a rous streamjazz for more than 50 years, bluesy inclination in her flute play- ing rendition of Cole Porter's Brown currently fronts a typically -0 "Love for Sale." superb band that also features :::r Hamilton made brilliant pianist Larry Fuller, drummer time statements on the aptly George Fludas and special guest ~ named "Five O'clock Whistle." n soloist Holly Hofmann on flute. :::r He showed his skill with brushes Launching into a swinging on the Ellington ballad "Just rendition of "You're My Every Squeeze Me," which also fea thing," Brown displayed his trade tured a masterful bowed bass mark thundering bass technique. solo by Clayton. "Honeysuckle Rose" revealed the Sunday morning began with slow, bluesy element of his play pianist Joe Cartwright's 15- ing, and "Whirly Bird," from the minute solo recital of George Count Basie songbook, was a per King of the bassman Ray Brown Gershwin's "Rhapsody in fect example of Brown's mid- flanked by Leonhard, Spa its, Shakur, Blue," a timeless classic draw and vocalist Karrin Allyson . tempo swing groove, which even ing on elements of classical and tually shifted to high gear without mg. jazz music. Cartwright, a Kansas missing a beat. By 10 p.m. Saturday, everyone City treasure deserving of wider Brown slyly adapts unlikely was ready for another dose of Scott recognition, maneuvered through tunes to very funky interpretations, Hamilton, and he delivered with a the piece's difficult dynamics with such as his arrangement of "You Are set accompanied by the Kansas City only a few fluffed notes. My Sunshine." He showed his bow rhythm section of pianist Russ ing technique on "Caravan," which Long, bassist Gerald Spaits and also featured a blazing piano solo drummer Todd Strait. They concentrated on well-. known standards taken at various tempos, including the bopper "Woody 'n' You," the mid-tempo "Come Rain or Come Shine," the fast-paced "Fascinatin' Rhythm" and the gorgeous Hoagy Carmichael ballad "Skylark." Hamilton's versa tility was well established, but the most remarkable moments were his authoritative take on "Fascinatin' Rhythm" and his plangent, soul searing tone on "Skylark." KC guitarist Rod Fleeman Despite a growing weariness, a serenades the breakfast few audience members were suffi audience ciently intrigued by the teaming of Ken Peplowski was at the helm KC guitarist Danny Embrey and Karrin Allyson share a moment drummer Jeff Hamilton, pianist for a set that also featured flutist Gerald Wiggins and bassist John Holly Hofmann, saxophonist Alan Clayton to stick around for one more Barnes, pianist Cartwright, bassist by Fuller. The spotlight shifted to set. We were amply rewarded. John Clayton and drummer Jeff Fludas for a drum solo on Hamilton's wit and incredible Hamilton, an all-star lineup. Ellington's "Happy Go Lucky Lo percussive technique were evident Cannonball Adderley's cal. " from the start, a comic take on "I'm "Wabash" got things off to a roar Hofmann showed her consider an Old Cowhand," complete with ing start with Peplowski, Hofmann able chops as she joined the trio for hoof-beat drumming. Wiggins' in- (Topeka continued on pg. 12) Page 12 Berman Music Foundation Jazz • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • (Topeka continued from pg. 11) "How High the Moon" into bunch of young guys, so all you and Barnes turning in successive Parker's "Ornithology." Allyson have to do is hitch 'em up and hold solos and Cartwright laying down a gave Long's gorgeous composition on." The bassist then took the spot- driving, two-fisted bluesy solo remi "Save That Time" a breath-taking niscent of the late Gene Harris. reading before pairing off with Hofmann and Barnes sat out as Leonhart on his witty tunes "Noth Peplowski switched to clarinet for ing in Common with the Human a quartet version of Billy Race" and the sly "Robert Frost," Strayhorn's exquisite "Ballad for with the singer doubling on piano. Very Tired The quartet returned for a rendi -oand Very tion of Clifford Brown's "Jordu" :::r sSad Lotus with lyrics by Allyson. o Eaters. " Ray Brown allowed pianist Hofinann Larry Fuller and drummer George the Fludas to fully stretch their play ing abilities in a set of tunes by great jazz instrumentalists. They first solo included the relentlessly swinging on "Some Wes Montgomery tune "Fried day My Pies," the J.J. Johnson ballad "La Prince Will ment" - played as a memorial to Tenor man Scott Hamilton takes Come," the recently deceased composer - you there every time taken at a fast waltz version of Thad Jones' fast waltz "A Child Is Born" and Oliver light on his composition, "Phineas Englishman Alan time and Nelson's "Stolen Moments." Can Be," an homage to pianist Barnes blew up a spotlight Fuller sailed through the Phineas Newborn. storm mg the uptempo cooker "I Should Care," In its Sunday evening set, The whole band. Outstanding solos were and Fludas' solid drumming was Monty Alexander Trio mixed stan delivered by Peplowski on clarinet showcased on "Remember." In a dards and originals for an exhila and Barnes on baritone sax, fol rating contrast, moving from a very lowed by Cartwright accelerating fast rendition of Juan Tizo1 's "Cara the tempo with Hamilton, followed van" to Alexander's medley of the by Clayton restating the melody on ballad "Consider" and the mid an arco bass solo before the wind tempo "You Can See," which he trio returned for a three-way impro spiced up with a contrapuntal quote visation. from Bach. When Karrin Allyson next ap Alexander employed the piano peared on stage, she was accompa strings on Charlie Chaplin's nied by pianist Russ Long, bassist "Smile," then segued from melodica Jay Leonhart and drummer Tommy to piano for the funky "Monty's Ruskin. They played a mix of bop Groove," a tune he recorded with standards, classics of the Great reggae traditionalists Sly Dunbar American Songbook and some and Robbie Shakespeare. He again newer, but well-chosen composi showed his gospel roots on "The tions. River," an original tune with flow In rapid succession came Ken Peplowski waits his ing, cascading lines. Charlie Parker's "Yardbird Suite", turn to solo Alexander's wife, Italian chan Hoagy Carmichael's "Skylark," humble tribute to his sidemen, teuse Caterina Zapponi, joined the Gershwin's obscure "Little Brown exclaimed, "When you get trio for "Estate (Summer)," "For J azzbird" and the metamorphosis of to be my age, you want to get a midable" and the Sinatra trademark (Topeka continued on pg. 13) .•..•. ~a!I.2p~~ ••...•.••.•.•.•.....•••..•..•.••..•.•..•••.•.•.•...••... f~g;}:. (Topeka continued from pg. 12) cently released debut CD and ac "All the Way." Capping the diverse companied by his regular set were the festive Jamaican mar bandmates Gerald Spaits on bass ket song "What .a Saturday Night" and Todd Strait on drums. Now and Sonny Rollins' "Don't Stop the age 14, Djangirov has virtually Carnival." grown up in front of the Topeka Scott Hamilton's final appear Jazz Festival audience, having ance of the weekend began at 11 played the event several times. p.m. Sunday with equally matched He began with Clifford Brown's "Daahoud," consUlt galternating block ant Dan Demuth gets chummy o chords, double octaves with Gerald Wiggins
;;0 and amazing single-not ~runs. On Ornette drummer Kenny Washington, trom gColeman's bluesy bonist Wycliffe Gordon, trumpeter ~"Turnaround, " Terell Stafford and vocalist Lynn Djangirov accelerated Roberts. Among returning favorites and slowed the tempo at are pianist Tamir Hendelman, bass will. The pianist own ist John Clayton, drummer Jeff "Recollection" is a mid- Hamilton, guitarist Bucky Pizzarelli, . tempo bossa with Bob Bowman and Eldar strut their stuff lovely changes shifting before 'The Wig" and Gerald Spa its to 4/4 time. cohorts Gerald Wiggins on piano, This climatic show- John Clayton on bass and Jeff case of adolescent talent also in Hamilton on drums. A speedy ren cluded a playful, faster-than-usual dition of Billy Strayhorn's version ofThelonious Monk's "Well, "Raincheck" set the standard for You Needn't" and Djangirov's mys Its Wigs time, backed by Hassan the set, which also included a mid terious "In the Haze." Throughout Shukar; as Cartwright, Spa its, and Eldar look on tempo take on Ray Noble's "The the set, he exhibited a sure sense of Touch of Your Lips" and Tadd the blues, bop and classical styles trombonist Dan Barrett, saxophon ~ that blend so seamlessly in his ists Ken Peplowski and Bob Kin [ playing style. dred, alto saxophonist Jeff Clayton o It goes without saying that we and vocalist Rebecca Parris. ~ anxiously anticipate the 2002 To Set aside your Memorial Day ~ peka Jazz Festival, May 25-27. weekend for a trip to Topeka. Call § Already booked for the 5th annual (785) 234-9800 for more informa fg fest are the Bill Charlap Trio, the tion or to order your tickets. Clayton Brothers Quintet and the Jeff Hamilton Trio. Featured artists new to The one and only Monty Alexander gets down with John Clayton the event will include pia- Dameron's "If You Could See Me nists Bill Cunliffe Now." and Ted A Memorial Day tradition con Rosenthal, bass tinued with another astounding ists Peter Wash- performance by the young Kansas ington, John City pianist Eldar Djangirov, this Leitham and time playing tunes from his re- Christoph Luty, I u~ ..... I I ...... -.-~.;~.~.;-~-~ ~-. ;-~~ ~ ...... Unsung Heroes Topeka Jazz Festival By Bill Wimmer· ......
fter attending the Topeka self. vidual tickets next year and see if A Festival for the first time, I you could get more than 150 approached Butch Berman about In short, almost everything people in an auditorium that holds doing an ~rticle from my perspec about the festival runs so smoothly 2600. tive of the weekend, and he thought and is so easy to enjoy it is really that I could easily transfer my usual striking how few people actually at:' I have to admit that the hardest feature on an individual to the fes tend the shows. Let me put it this part about conveying my impression tival, and he was right. I usually way - any time you can leave your of the Topeka Jazz Festival is not do a feature on a musician: or mu hotel at seven minutes before a trying to sound preachy when I sicians who I feel are stress how easy it could somewhat overlooked in ~ be for any of us to make the post-Ken Burns era, 5- it to the festival next but it turned out that the ~ year. I realize that hav- :;0;:;. mg• a d ecent turnout for festival is quite unsung it :::r I an excellent weekend of self. First of all, let me say o ~ jazz will make the hotels, that it is a nice, fairly short CD ride down to Topeka (it ..... streets, and auditorium is less than 3 hours away more crowded than this from Lincoln, and only year, but that's a chance about 40 minutes from I'm willing to take. Kansas City). Next year's breakout It is a nice little capi schedule includes Bill tal city (the capital ofKan Charlap, Peter Washing sas) that is all but shut ton, Kenny Washington, "Badge Man" Jim Monroe with T.P.A.c. Director of Terrel Stafford, Wycliff down for the Memorial Marketing, Kate Hastings. Holiday, and it is very easy Gordon, Ted Rosenthal to make a late reservation at one of show, pull up, park out front and and The Clayton Brothers, along a few nice hotels that are located find a seat in the 5th row center to with many of the usual Kansas City about five minutes from the Topeka hear a set from The Ray Brown Trio and mostly West Coast established Performing Arts Center (TPAC). on a Sunday afternoon 40 miles stars. I had a really wonderful pres The furthest I had to park from the from Kansas City, a "jazz Mecca," sure-free weekend, and when you music was across the street at no something is amiss. consider the time, travel, cost and charge. Drinks and some food were convenience of any other jazz festi available at the festival for a rea Admittedly, much of the festi val trip compared to Topeka, it sonable price. The music was, of val publicity only emphasizes the 3 makes it extra special. course, all first-rate with headlin day passes with one or two-day ers who rarely, if ever, play in these prices listed in fine print, so there When Jim Monroe and his sup parts. The shows all started and might be some thought that you have porters put on a weekend like the stopped essentially on time and went to buy a ticket for the whole day, Topeka Jazz Festival and so few off without a hitch, and for the when you can buy one for just an fans take advantage of it, it makes whole weekend you kind offeellike afternoon session, for example. I the festival itself somewhat of an you have the whole town to your- would like to see them offer indi- "Unsung Hero." · -::1- .- •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Discorama By Butch Berman ......
live studio treat. cific Jazz's 36-year-old A lexander the Great and Spunky. Now, after hear Also, as always Mr. Hawkins ing him featured three times at the amazes me with his adept, yet sparse, grand Topeka Jazz Festival annual but Tatum-like touch in his delivery. Memorial Weekend gig - only three hours from my house - has been a A most clever and eclectic choice godsend. Anyhoo, no matter where I of tunes such as Bobby Troup's first discovered this very talented man "Meaning of the Blues" or Rodgers - he's the total package. Piano vir WAYNE HAWKINS & Hammerstein's "We Kiss in a tuoso, singer, and storyteller. .. his live Trio: Volume 2 Shadow" - none being overdone by performances are truly enchanting. Hawkins Productions anyone. Bowman and Hawkins both contribute two fine originals as well Thus - Gain' Yard, recorded live While stuck in the middle of my as a lovely tune from guitarist (and at the Manchester Craftsmen's Guild, Prez sez column - I felt compelled to cover art artist) Danny Embrey with is almost the next best thing to cap listen to Wayne Hawkins new CD his "Ergo." turing his mesmerizing show-stopping Trio: Volume 2 for the third time in adventure in the flesh. Always remind two days. Now, I'm so absorbed in Trio: Volume 1 was great - 2 is ing you of his heritage, yet a bebop this fresh new gem I had to write about even better - by the time Volume 3 hits element exists, maybe a little rock 'n' it immediately. I guess the best thing I the stores the Wayne Hawkins Trio roll, and yes - even cabaret akin to can say about his music, is how it in may be approaching their masterpiece. Tin Pan Alley, are all blended, stirred, spires you to think, and in tum create and served with a twist ... oflove -re from their creativity. gardless of what loyal group of play ers he's recording or gigging with, all Semi-jokingly I refer to this pow take you to the zone with a flourish. erful unit comprised of three ofKC's top-tiered players Wayne on key This CD is no exception. An boards, Bob Bowman - THE solo eclectic mix of Bob Marley ("King bassman - and drummer Todd Strait Tubby Meets the Rockers Uptown"); - Mr. Perpetual motion of mind and Jamaican folk tunes ("Day-O"); and body - the jazz version of Cream - several new originals (many of which (Clapton's UK supergroup from the he's playing on tour now) that all smolder 'n' cook. A reggae version '60s). Utilizing both brain and brawn MONTY ALEXANDER of "Exodus" is an epic journey within to wrap you up in their taut, tight ka Goin' Yard leidoscope of textures and tones. As Telarc itself. I've stated before - it may be Wayne's Bravo again, Monty - always world - but each individual shares I'm really not sure where I first awaiting your next sterling perfor melody duties and rhythmic comping heard the mighty, yet mystical musi mance, whether it be live or CD. Treat equally and powerfully. cal offerings of Jamaican-born jazz yourself to this fme piece ofwork with pianist Monty Alexander. While mar Gain' Yard and try to catch him live - Co-producer Bill Crain gets the veling to the exquisite new vibrations one of the best! best bass and drums sound I've heard emitting from my sound system while from a non-New York studio in a long debuting Gain' Yard - Monty time, as Bob and Todd play their asses Alexander's fine, fine, super fine off as enjoyably as I've ever heard Telarc release - I counted this new them (which is a lot) - a most "lively" edition as number 15, including Pa- Page 16 Berman Music Foundation Jazz ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Joe Henderson By Bill Wimmer· ......
he jazz world is mourning ated Press who likened his lyrical Stripped down to the backing of T the passing of Joe playing to that of "the legendary Charlie Haden or Ron Carter on Henderson, who died of heart fail Stan Getz." bass and Al Foster at the drums, ure in San Francisco on June 30, at these records brought renewed re age of 64. Henderson, one of the Page One, Henderson's initial spect for Henderson's improvisa most individual saxophonists in Blue Note release, is quite simply tions and his originality. jazz, hadn't performed since last one of the greatest Blue Notes of all year. In 1991, Henderson re leased Lush Life: The Music Joe Henderson was born in Of Billy Strayhorn for Verve Lima, Ohio on April 24, 1937, Records and it led to the great and grew up musically in De est period of popularity of troit, where he attended college Henderson's career. He fol and started to hook up with lowed this up with tributes to some of the musical giants of the Miles Davis on So Near, So Detroit scene like Donald Byrd, Far and Jobim on Double Yusef Lateef, and others. Rainbow. All three titles won Grammy's and sold incredibly Joe started playing gigs in well for jazz albums, and in the late' 50s before a two-year 1996, Joe Henderson Big stint with the Army. In 1962 Band kept that Grammy streak Henderson burst onto the New alive. York scene, working with trum peter Kenny Dorham and mak Henderson also appeared ing some memorable recordings as on some other excellent dates well under his own name for the time, and one I always recommend over the last few years with such Blue Note label. to anyone who doesn't own it. Any artists as Donald Brown and of the early Blue Note recordings Mulgrew Miller, with whom he re Joe Henderson, along with are excellent and he also shines on corded the fantastic record Count Wayne Shorter, was one of the most such classics as Lee Morgan's The down, on the Landmark label. This original saxophonists to come out Sidewinder", Horace Silver's Song record features Miller on piano, of the post-Coltrane era. His tone, For My Father,. Grant Green's Solid along with Ron Carter and the pow concept, feel, and ability to summon and McCoy Tyner's The Real erhouse drumming of Tony Williams a virtual history of the music (past, McCoy. and is a great example of present, and future) always made Henderson's playing. ~hatever piece of music he touched Henderson played with Horace something that really touches you. Silver from 1964-1966 and another It is almost impossible to describe two years with Herbie Hancock Trust your ears, Joe Henderson the emotional way Henderson could starting in 1969. It was about this was a true jazz original who blessed playa phrase, so I urge you only to time that Joe started a 10 year as us with many years of beauty, heart go out and buy some of his music. sociation with Milestone Records, and love in his music and all the and he moved to San Francisco in world should regret the loss of a I also urge the critics to stop ig 1972. In the middle '80s, there was great American artist. noring the fact that Javon Jackson great critical acclaim for his trio is a Henderson clone, but I won't records on Blue Note and the one get into the critics or The Associ- on Red Records out of Italy. Fall 2001 Page 17 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Jazz on the radio By Dave Hughes......
Jazz on Nebraska Public Radio FM in Lincoln, offers jazz programs On Mondays it's all blues as ''Beale NPRN, the Nebraska Public Ra Monday-Thursday afternoons from 1 Street Caravan" starts off the day at 1 dio Network, KUCV at 90.9 FM in to 3 p.m. and some other days and p.m., then at 2 p.m. is "Blues in the Lincoln and at other frequencies times. Afternoon" hosted by Mike Jacobs. around the state (except Omaha), is The weekday afternoon schedule On Tuesdays, it's the "Brazilian making some changes to its Friday now goes like this: on Mondays, Dave Hour" at 1 p.m., followed by 'Jazz in and Saturday night jazz lineups. Hoffman hosts "Dave's Closet" from the Afternoon" with Chris Cooke from Starting August 10th at 10 p.m. 1 to 3pm. Bruce Bero programs "Gi 2-3:30p.m. (soon to be 10:30pm in October) Gra ant Steps;" on Tuesdays. Randy Morse On Wednesdays at 1 p.m. it's ham House will bring you "Round hosts "Som do Brasil" on Wednesdays; "Marian McPartland's Piano Jazz," Midnight," a bit earlier in the evening and on Thursdays, a new host, Robbin then 90 minutes of 'jazz in the After than it used to be. During most of the Cihal, has taken over for Butch noon" hosted by Mike Jacobs. rest of August, the program will fea Bennan, with her show 'Jammin' Jazz On Thursdays, "One Night Stand" ture highlights from this year's Play Borderline Blues." with host Chris Nielsen kicks off the boy Jazz Festival. Then, on August There are other jazz programs afternoon of jazz at 1 p.m., followed th 31 st and September 7 , you can hear scattered throughout the schedule. On by another 'jazz in the Afternoon" at highlights from this year's Chicago Mondays, "Dance Bands: When 2 p.m. with Cooke. th Jazz Festival. Also on August 10 , Melody was King" with Con Good airs On Fridays 'jazz From Studio 1" NPRN will be adding an overnight from 8 to 10 a.m.; "Jazz Journey," starts it off at 1 p.m., followed by even jazz service that will run from mid hosted by jazz musician Bill Wimmer, another 'jazz in the Afternoon" with night Friday night until 6 a.m. Satur runs from 10 a.m. to 12 noon; and Jacobs again that lasts until 3:30 p.m. day morning as part of the networks "Hotter Than That" with Warren On Saturdays KIOS now airs move to broadcasting 24 hours a day. "Rude Dog" Rudolph goes from 8:30 NPR's ''Jazz Profiles" at 8 p.m. fol On Saturday nights Don Gill will to lOp.m. lowed by "Jazz Junction" with Rick still host "Big Band Spotlight" at 8 "NightTown," with Tom Ineck, Erben at 9 p.m. and "Last Call" with p.m. and Marian McPartland will still continues to run from 8:30-10 p.m. on Cooke again at 11 p.m. host "Piano Jazz" at 9 p.m., but start Thursdays. For a free copy of the KI OS pro ing on August 11 th 10 p.m. is when On Friday mornings, Ed gram guide, give them a call at 402- the schedule gets tweaked a little. Rumbaugh starts off your day with 557-2777 in Omaha. Dave Hughes will still mix up the "Plug in the Sun" from 6 to 8 a.m. blues, roots, Cajun, zydeco, reggae This program features Ed's eclectic JazzonKVNO and world music for two hours on tastes in jazz and assorted world mu KVNO at 90.7 in Omaha contin "Late in the Evening," but will do it sic. Then on Friday evenings, tune in ues to have locally programmed jazz starting one hour earlier at 10 p.m. for some western swing on the on Friday and Saturday evenings. However, on September 1 and 8, you "KZUM Heyride" from 7:30 to 9 p.m. Jazz runs from 7 p.m. to 2 a.m. on can hear more highlights from the with long time host John Schmitz. Fridays, and from 6 p.m. to 2 am on Chicago Jazz Festival. If you would like detailed infor Saturdays, with hosts Jim Celer and Then at 12 midnight the overnight mation about the jazz programs on Tom Besse. For more information jazz service will run until 6 a.m. Sun KZUM, or would like to receive a cur about jazz programing on KVNO, call day morning. rent copy of their program guide, give 402-559-5866. For a free copy ofNPRN's program them a call at 402-474-5086. guide "Choice," call 472-2200, or 1-800- Blues onKIWR 290-6850. Jazz and blues on KIOS Rick Galusha programs "P.S. KIOS at 91.5 in Omaha has jazz Blues" from 9am-12noon every Sun JazzonKZUM (and some blues) every weekday from day on KIWR at 89.7 FM out of Coun KZUM Community Radio, at 89.3 1 p.m. until 3:30 pm. cil Bluffs. I o~c: I U ~~""~" .. ,--,-, --"---,-,, ••. _- t •••••••••• ••••••••••••••••••••••••••••••••••••••••••• •••••••••••••••••••• Rock and roll patriarch visits Seattle By Mark Dalton ......
am Phillips blew into Seattle's thus launching the professional career head of still-dark hair, a flowing S Experience Music Project with of one of the greatest post-war beard, piercing eyes, and the sonorous, all the intensity and wonder of a bib bluesmen, is still considered by room-filling voice of a backwoods lical prophet. His appearance here Phillips to be his greatest accomplish preacher - Phillips at 78 had the im was part of a month long celebration ment - but he was really just getting pact of an early 20th century cross of Sun Records, the Memphis-based rolling at the time. between Moses and Robert E. Lee. studio and record label started by Phillips, and the remarkable stable of The list of artists first brought to His talk was laced with self-dep performers he recorded, released and public attention through Sam Phillips' recating humor, but he left no doubt promoted in the 1950s which literally genius goes on and on - Johnny Cash, about his place in American history - changed the sound of popular music Jerry Lee Lewis, Roy Orbison, Carl Phillips clearly saw himself as a man around the world. Perkins, certainly; but he also re of vision, a man who did not hesitate corded many other blues greats - Little to risk all he had in the pursuit and Many folks associate Phillips pri Milton, Roscoe Gordson, Rufus Tho capture ofthe music and southern cul marily with the discovery and nurtur mas, Willie Nix, Junior Parker, Doc ture he loved, and was determined to ing of the young white singer, Elvis tor Ross, and James Cotton, to name bring to the world. Presley, who had such a phenomenal just a few. As a talent scout and "psy impact on the spread of Rock 'n' Roll, chologist (as he called himself)," and To Seattle's credit, the packed but his part in the development and as a record producer and engineer house at the EMP gave Sam Phillips promotion of this revolutionary mu whose "Sun Records Sound" contin the love and recognition he deserves sic went far beyond Elvis. A few of ues to influence every generation be as a true patriarch of what "Shake the Phillips' other credits include "Rocket hind the board - Phillips' influence Shack" deejay Leon Berman calls 88," a monster R&B hit for the teen and accomplishments are literally im "Rock 'n' Roll Boogie Rhythm and aged Ike Turner and his Kings of measurable. Blues." Thanks are due to the EMP Rhythm in 1951, which some music for bringing this wonderful man (ac historians credit with beginning the Experienced in person, Phillips companied by the great music histo Rock 'n' Roll era. Recording a 40- has a presence that made these accom rian and Elvis biographer, Peter year-old Arkansas dirt farmer known plishments seem like a natural out Guralnick) to visit the Pacific North as Howlin' Wolf (also in 1951) and growth of who he is. With a massive west!
Jazz at the Oven Jazz in the charge is still $4, $3 for students. Jazz Duos continue on Sundays For more info, ca1l402-477-S00S. and Thursdays at the Oven, 201 8th venues St. in Lincoln. For more info,call Thursday Night Jazz Series Compiled by Dave Hughes. 402-475-6118. Now on every Thursday night a Monday Night Big Band continues much smaller group hits the stage at The Monday Night Big Band is Jazz at The Five Reasons P.O. Pears from 7:30 until 10 p.m. still playing every Monday night at They're taking the summer off at With the success ofthe Monday Night P.O. Pears, 322 S. 9th St in Lincoln. The Five Reasons Lounge in the Big Band series, Dean Haist and the Every week features a different Cornhusker Hotel in downtown Lin folks at Arts Incorporated decided to music director that leads the group coln, but hopefully pianist John give the smaller trios, quartets, and in three sets from 7:30 to 10 p.m. Carlini (sometimes with saxophonist other groups that aren't as large as the Audience members are still encour Bill Wimmer) will be back playing Monday night group a night of their aged to bring their own instmments jazz on Friday and Saturday nights own. The cover charge is a buck more and sit in with the band during the this fall. Call 402-474-7474 to find than Monday. second and third sets. The cover out when they will resume. ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Blues on Disc Blues By Rich Hoover· ...... Corner By Rich Hoover· . . .
Here we are midstream in the summer festival season and one of the better ones is right here in Lincoln. It's July Jamm Thursday th th July 26 thru Saturday the 28 • It's a family and friend oriented CHRIS CAIN DEBORAH COLEMAN kind of fun, with plenty of mu Cain does King Livin' on Love sic - mainly blues - showing lo Blue Rock'it Records Blind Pig cal, regional, and national acts of the highest caliber. Thursday's Chris Cain has made the official Well, this gal is a breath of fresh tribute to his mentor/teacher/master Mr. air for the blues community. A good headliners are Dave Hole, fol B.B. King. Chris, who worked with solid guitar player, an excellent expres lowed by A. J. Croce. Friday B.B. for many years before fronting his sive voice, and according to the cover heats up with headliners The Bel own group, has done well on his own photos, pretty, too. The group expresses Airs and then "bluesblaster" E. and has continuously carried the ban a very contemporary groove, and has C. Scott. Then, on Saturday it's ner of B.B.'s style and philosophy as Billy Crawford on guitar, Debra Salyer HOT, HOT, HOT starting at his standard. The selection of tunes is on bass, Marty Binder on drums, and material from the '50s to the '70s with guest artist Jimmy Thackery doin' gui 11 a.m. with Deborah Coleman; the focus on the workin' songs ofB.B. tar on three cuts. The CD has eleven 1 p.m. it's Jimmy Thackery; 3 - staying away from the signature tunes solid new tunes and is well produced. I p.m. Kelly Hunt; 5 p.m. Bernard BB has generated over the years. think you should check out this rising Allison; 7 p.m. Chubby Carrier; There are a dozen tunes on the CD star in the making. 9 p.m. Coco Montoya; than at 11 that give a well rounded selection from Deborah is scheduled to appear at p.m. Brave Combo will close the B.B.'s arsenal of material. Lincoln's July Jamm 20010n July 28th show. And, it will be a SHOW! If you know and enjoy B.B. King, at 11 a.m. followed by Jimmy Thackery or Chris Cain, or you just like the blues, at Ip.m. you will like this CD. Perfect jazz sabbatical By Dan Demuth ...... May I suggest some thoughts on de of the performing artists. Mingle, meet western city a short flight or a comfort signing the perfect jazz sabbatical? The and take with them, creating a feeling able day's drive from the Springs, and you setting would be a beautifully restored Of being a participant and not a remote have the Topeka Jazz Festival, every Me art deco performing arts center, one that observer. Close by hotels with very rea morial Day Weekend for three days. reflects the time when the music you're sonable rates, and yes, the performers Editor s Note: This article was re hearing was being nurtured in its ado (will be) staying there also. printedjrmn Pikes Peak JASS Notes, a lescent stage. Easy access with mini Who to see? How about the Ray jazz newsletter published by the Pikes mal traffic and free close by parking. A Brown Trio, or Monty Alexander's trio, Peak Jazz and Swing Society, a Colo helpful and knowledgeable staff at ev Jeff Hamilton, Gerald Wiggins, Ken rado Springs area jazz society. Former ery tum. Performances from mid-morn Peplowski, Frank Capp, Karrin Allyson, Linco/nite Dan Demuth and his w(le ing to (perhaps) midnight. Bob Kindred, Jay Leonhart ... space does Patti, who now live in Colorado Springs, Come and go as you please with not allow, etc. Then mix and match are now members of this group. For food and libations available throughout some various artists for some unique en more if~lormation about PPJASS, you the day. A breakfast and an evening food sembles. can reach them at PO Box 6802, Colo and cocktail function attended by many Put all of this in a slow paced Mid- rado Springs, CO 80934. Non Profit Org. U.S. Postage PAID Permit No. 1359 Lincoln, NE
Butch Berman Charitable Music Foundation 719 PSt. Studio G Lincoln, NE 68508 Address Service Requested
141Iul .. tnt.Mtmlulmt.tumUmU,ulusl,lli.I.I.,1 ****************AUTO**5-DIGfT68508 DAN STOGSDIll. 8 233 S 13TH ST STE 1900 liNCOLN NE 68508-2000
Eldar's Jazz in June Sideman Shine How can vou help the foundation;» The Berman Music Foundation is a non-profit, tax exempt, 501(cH3) private foundation, and vour tax deductible donation is needed to help offset the costs of this newsletter and its programs. _$10 _$25 _$50 ___$100 ___$250 ___$Other Hame ______Address ______Citv ______Bassist Gerald Spaits studies a State _____ Zip ______score Phone( H) ______(W) ______fax ______E-mail ______Make vour check pavable to "The Berman Music foundation," and send it to: The Berman Music foundation 119 PSI., Studio G Uncoln, HE 68508 skins Thanks for supporting jazz!