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Volume 36 • Issue 4 April 2008 Journal of the Society Dedicated to the performance, promotion and preservation of jazz. Stomp 39 he joint was packed, the dance floor Twas jumping, and the music was HOT. In a nutshell, the NJJS’s annual Pee Wee Russell Memorial Stomp delivered the goods for the 39th straight year. The fun began at noon with a set of modern The award jazz classics, smoothly performed by a septet was presented to Eddie Bert. of Jersey college players, and was capped five The octogenarian trom- hours later by some rocking versions of bonist drove down from Swing Era standards by George Gee’s Jump, his home in Jivin’ Wailers Swing Orchestra, who closed Connecticut to pick the show to rousing applause. In between, up his award, but had the clock was turned back to the 1920s and to leave early to get ’30s as vocalist Barbara Rosene and group, back for a gig later in the Jon Erik-Kellso Group and the Smith the day! Street Society Band served up a tasty banquet And John Becker, who had been of vintage Jazz Age music. The Hot Jazz fans unable to attend the NJJS Annual in the audience ate it all up. Meeting in December, was on hand to There were some special guests in attendance receive the 2007 Nick Bishop Award. at the Birchwood Manor in Whippany on The event also featured the presenta- March 2. NJJS President Emeritus, and tion of annual NJJS Pee Wee Russell Stomp founder, Jack Stine, took the stage to scholarship awards to five New present Institute of Jazz Jersey jazz studies college students. Studies Director with As for Stomp 40…same time several items of jazz memorabilia for the next year. See you there. JJ Institute’s collection, and Mr. Morgenstern joined in presenting the NJJS’s non-musician Bandleader George Gee. Photo by Tony Mottola. of the year award to the Institute’s . More photos on pages 16–18.

JAZZFEST Jazzfest facts, PREVIEW hot off the press. See p 8 and ad p 3

Talking Jazz: Jack Livingstone . . . . 20 Ellington Love Songs JALC . . . . . 51 Salt Creek Grille...... 11 Tomaso’s ...... 39 in this issue: Four Freshmen ...... 26 North Carolina Jazz Festival . . . . 52 Cape May Jazz Festival ...... 13 Borderline Jazz Band ...... 40 NEW JERSEY JAZZ SOCIETY The Metronome...... 28 February Member Meeting . . . . . 56 Margie Notte/Cecil’s...... 21 Improvisational Promotions . ....41 Pres Sez/NJJS Calendar Dan’s Den: ...... 32 Free Film Series: Jackie Paris . . . 57 BergenPAC...... 23 CTS Images...... 41 & Bulletin Board...... 2 Crow’s Nest ...... 34 Lana’s...... 25 PA Jazz Society...... 43 EVENTS The Mail Bag/Jazz Trivia...... 4 Jazz U: College Jazz ...... 36 Novita...... 27 Don Braden Quartet...... 44 ’Round Jersey: Morris, Ocean . . . . 60 Editor’s Pick/Deadlines/NJJS Info. . . 6 Noteworthy ...... 40 Community Theatre...... 29 Jazzfest at Sea...... 45 Institute of Jazz Studies/ Music Committee ...... 8 Jazz Festival ...... 41 Shelly Productions/Glen Rock Inn. ..30 Noldes & Organs...... 47 Jazz from Archives ...... 61 New Members/About NJJS/ Yours for a Song ...... 42 Margie Notte...... 30 Jazz at Chautauqua...... 49 Somewhere There’s Music . . . . . 62 Membership Info ...... 59 REVIEWS American Fed. of Jazz Societies.... 31 Sidney Bechet Society...... 53 The Name Dropper ...... 63 ARTICLES Other Views ...... 44 RVCC...... 33 JJ Directory ...... 54 Classic Stine...... 9 The Priory...... 47 ADVERTISERS Jazzdagen Tours...... 35 Shelly Productions/Escape Rest . . . . 55 Big Band in the Sky ...... 10 Fleck/Corea at NJPAC ...... 48 Shanghai Jazz...... 5 SOPAC...... 37 Laura Hull...... 64 Jazz Ambassadors ...... 14 Eric Comstock ...... 50 ...... 7 Riverboat Swing...... 38 Weichert Realtors...... 64 New JerseyJazzSociety

NJJS Calendar Tell them you saw it in Jersey Jazz!

Thursday March 27 2008 Jazz Film Series Prez Sez Chatham see p 8 By Andrea Tyson President, NJJS

Wednesday ur Stomp was held March 2 — and a good time and continental breakfast. There are other deals April 23 2008 Owas had by all — I think especially those swing available, too. They took ownership several years ago dancers — can they move! A special thanks to and have renovated the guest rooms and bathrooms. Jazz Film Series member Steve Gruber for being so generous as to The jazz was hot, and the newly renovated guest Chatham see p 8 return his 50/50 winnings to NJJS — we sure do rooms were beautiful. The bar and dining room are appreciate that. The was donated for our use cozy and it’s easy to hear and see well from either Sunday by Joe Dorio, President of Nolde’s Pianos & Organs, space. We heard the Orrin Evans Quartet (Orrin on Flemington Music Centre, Inc., Routes 202 & 31 and piano; Madison Rast, bass with his wife Joanne April 27 2008 Reaville Road, Hunterdon Shopping Center, Pascale on vocals; and Rocky Bryant on drums). Flemington, and we thank them once again this year. These were seasoned players who put on a terrific Trio The bands kept the audience in the palm of their evening of music. Check [email protected] for Morristown hands as they sang and played some oldies — some more information. The Inn has a very ambitious newbies — and with wonderful timing and talent. lineup every month. The East Stroudsburg University see Bulletin Board p 2, From the college scholarship winners to George Gee’s of Pennsylvania Regional Jazz Coalition has a series p 8, & ads pp 19 & 29 last number, we had a beautiful afternoon. I’m glad close by which could make your stay that much more so many of you came out to support our efforts. enjoyable when combined with the Deer Head Inn. Sunday am working my way into April slowly with my ■ The Highlights in Jazz Series has also been May 18 2008 Ihead still very much in February and March (for around for many years with Jack Kleinsinger Monthly Member instance, there’s snow on the ground). Elliot and I assembling excellent groups for this very accessible went to some out-of-state venues, which is not our venue. We saw Danny Mixon and Jane Monheit, Meeting norm during the winter months: (1) the North whose groups were both very entertaining. The space see p 55 Carolina Jazz Festival (see my review on page 52), is beautiful with no sight obstructions. This spring (2) the very charming Deer Head Inn at the Delaware the series presents Christian McBride Big Band with Saturday & Sunday Water Gap, PA and (3) Jack Kleinsinger’s Highlights Jay Leonhart and Wycliffe Gordon (who have both in Jazz at the Borough of Manhattan Community been at our Jazzfests in the past) on April 17 and June 7 – 8 2008 College (BMCC) Tribeca Performing Arts Center. Dave Brubeck on May 15. If you’re inclined to JAZZFEST ■ The Deer Head Inn has been around for a very venture into the Big Apple, consider an evening with Drew long time and had been recommended to us for Jack Kleinsinger, who’s always present for University/Madison years. We finally made it as a Valentine’s gift to performances. www.tribecapac.org. see p 8, 58 & ad p 3 ourselves and stayed overnight. Dennis and Mary ■ Closer to home we went to the Sharp Theater in Carrig were gracious hosts and would love to see the Berrie Center at Ramapo College for their more NJ Jazz Society members. We thoroughly Singing Astaire: A Fred Astaire Songbook enjoyed our package plan of the room, dinner, show presentation by Hilary Kole, Ronny Whyte and continued on page 55

NJJS Bulletin Board

Save the Date The Bucky Pizzarelli Guitar Musicians: Join NJJS, Monthly Member Meetings Trio: Sunday, April 27, 2008 at 3 PM. Spend a Sunday Get Linked! Musicians…already NJJS Our series of entertaining meetings continues at afternoon with one of New Jersey’s jazz titans, guitar members? Contact Steve Albin ([email protected]); Trumpets on 5/18. Members attend free. See page virtuoso Bucky Pizzarelli, along with say you’d like a LINK on the NJJS site. Not a member? 55 and ad page 30. Future programs TBA. and Ed Laub. $15 A co-production of NJJS Just join at our regular $40 member rate and Got E-mail? Some special offers for NJJS w/Community Theatre in Morristown. See ads pages connect with your worldwide audience at members are late-breaking — so please send your 19 and 29. www.njjs.org. e-mail address to [email protected].

2 ______April 2008 April 2008 ______3 New JerseyJazzSociety

Frank Capp. The Mail Bag

I ATTENDED YOUR (PEE WEE Bucky and Ruth Pizzarelli and son AS A FAITHFUL RUSSELL STOMP) event at the John; Jerry Bruno, , JERSEY JAZZ Birchwood Manor and had a truly Dick Meldonian, , READER for memorable afternoon. The music Sonny Igoe; the list goes on. A very over a decade, was great and very upbeat. The dear friend of mine, who is no learning about dancers added yet another longer with us, Milt Jackson, and top jazz events dimension. Thank you. I’m still close with his Mrs. Sandra — mainly Barbara Warshaw Kaye and daughter Cherise. happenings on Montville, NJ Sorry to go on like this, once I get the east coast — I’m dropping a started it’s hard to stop me. combo of one of the dwindling, REALLY ENJOY BEING A MEMBER line to let other JJ readers know legendary drummers of the big and attending the functions. I am However I will, and thank you and that there is also jazz emanating band era, Frank Capp. Capp chose trying to locate an old friend the gang at NJJS for the lovely gift. from here past the Rockies, on or trombonist/arranger Scott through his brother, Milton (Milt) Musically speaking, near the west coast. Living in Palm Whitfield who is bi-coastal, and Gold, a jazz sax player of the late John A. Viola, Sr. Desert, I only have to drive a who not only leads a fine band ’50s. Any information on Milt Blauvelt, NY couple of hours for some of the here on the west coast but on the would be appreciated. Many best mainstream jazz in the JUST A NOTE TO SAY THAT the east coast where he still has a band thanks. country — as last weekend, at the February issue of Jersey Jazz is started when living in NYC, where annual San Diego Jazz Party, Feb. Joe Catto beautifully laid out with great he performed in many Broadway 23-25. Many of the performers Morris Plains, NJ photos. And the content has a little Shows. Capp also chose one of were alumni of the Jazz [email protected] of everything — book reviews, L.A.’s finest bass players, Chuck party of Maddie’s, and the late local society news items, Berghofer, a member of Pete Jolly’s WHAT A NICE SURPRISE when we Dick Gibson, who helped the obituaries, historical articles and trio for 40 years, until Pete’s death got home from a month long originators of the San Diego party, more! Keep up the good work. I in 2004. A studio recording artist vacation at “The Villages” in Bill, and Beverly Muchnic, get look forward to every issue. who has performed on over 400 Florida to find not only my March started. Beverly hosted the party movie soundtracks, Capp rounded copy of Jersey Jazz, but the book Norman Vickers for a number of years after Bill’s the quartet with Llew Matthews, I won, Being Prez. I know I will Volunteer Executive death. Old timers this year, piano/electric keyboard, who in enjoy it greatly, he was something Director, Emeritus included the venerable , 1987 became musical director and else. Jazz Society of Pensacola, Inc. , , Howard pianist for song stylist Nancy Pensacola, FL Alden, Warren Vaché, and a not- Even though I’m a New Yorker, I Wilson, a position he still holds. thoroughly enjoy Jersey Jazz, and so-old timer, . Bill Smith have the privilege of having some On Sunday afternoon, Feb. 25., I Palm Desert, CA great friends in the business: heard jazz performed by the

Jazz Trivia 2008 Centennial By O. Howie Ponder II All of these American Jazz Hall of Fame artists were born in Questions 1908 and thus would be 100 years old this year, if still alive.

1. Born in Paris, he was bered as the leader of the Tympani 7. His fondness for alcohol cut sang “St. James Infirmary ” and a pianist, but is best remembered Five and the group’s novelties like short this trumpeter’s life at 33. He “,” among others. as a jazz violinist who, with Django “Caldonia” and “Five Guys Named is best remembered for his solo on 10. Although this alto Reinhardt, formed the Quintet of Moe.” Tommy Dorsey’s rendition of “Marie” saxophonist played with Jelly Roll Hot Club of France in 1934. and his own band’s “I Can’t Get 5. Although this diminutive Boston- Morton, , Chick Webb, Started.” 2. This vibes player was the “Mr.” born cornetist played mostly in small and John Kirby, groups, he was featured in Artie of the “Mr. & Mrs. Swing” partnership 8. This is best remembered he is remembered for his 28-year with . Shaw’s pre-war and WWII Navy bands for his sextet’s arranged small-band tenure with ’s and documented his life in a book orchestra. 3. He preceded Freddie Green My Life in Jazz. jazz, nicknamed “The Biggest Little as the guitarist in the Band in the World.” answers on Orchestra, but spent most of his 6. This vibist/drummer/showman Born in Texas, this trumpeter page 61 long career as a jazz violinist. starred with in the 9. 1930s before leading his own big and vocalist led his own groups and 4. Although a fine jazz player, this band, best known for its rendering was featured with Artie Shaw’s band alto saxophonist is better remem- of “Flying Home.” in 1941-42 where he recorded and

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“It’s a true night out please visit www.shanghaijazz.com on the town.” Please note: We take reservations by telephone only 973.822.2899 and not by e-mail.

April 2008 ______5 New JerseyJazzSociety

The Editor’s Pick JerseyJazz The Journal By Tony Mottola Jersey Jazz Editor of the New Jersey Jazz Society Volume 36 • Issue 4 USPS® 6668 Jersey Jazz (ISSN 000-004) is published monthly eleven times per year with a combined July/August issue for members of The New Jersey Jazz Society, PO Box 410, Brookside, NJ 07926. Dear Dick…Dear Bill Membership fee is $40/year. Periodical postage paid at Morristown, NJ 07960. illiam F. Buckley Jr., who died on February 27 at 82 years, was a noted editor and author, a wry, Postmaster: send address changes to PO Box 410, Brookside, NJ 07926-0410. Wquick-witted and engaging television host, a notorious verbal gymnast, and an icon of American political conservatism. All contents ©2008 New Jersey Jazz Society. Tony Mottola Editor He was also a jazz fan, and a friend and patron of pianist ; even once writing the liner notes 27 Upper Mountain Ave. Montclair, NJ 07042 for a Wellstood of duets with (CR129). “…this is the best. I hope 973-509-9437 you like it,” Buckley wrote. “If you don’t, I’m sorry about that; sorry about you.” E-mail: [email protected] Linda Lobdell Art Director/Associate Editor To mark the passing of a famed fan of jazz music we present two pieces of correspondence between these 352 Highland Ave. gentlemen touching on, among other things, financial matters. The notes were among 27 letters between Newark, NJ 07104 the two published by Mr. Buckley in the September 25, 1987 issue of his magazine National Review to 201-306-2769 E-mail: [email protected] remember his friend after the pianist’s untimely death at age 59 the previous July. Fradley Garner International Editor JULY 12, 1976 E-mail: [email protected] “Dear Dick: I have been waiting for your statement, which is not here yet, thanks to the mail. On Mitchell Seidel Contributing Photo Editor the other hand it would be miraculous if you made it back to New Jersey without stopping for a [email protected] deep sleep somewhere. You were terribly fatigued after such a heavy day, and I felt sadistic. But John Maimone Entertainment Contributor then you do that to people who listen to you play. If you would simply play less, you could go 908-753-6722 home earlier. You were in wonderful form, personally and musically, and I thank you for the E-mail: [email protected] pleasure.” Fred McIntosh Entertainment Contributor 201-784-2182 SEPTEMBER 19, 1984 E-mail: [email protected] “Dear Bill: Well, I sent you a bill for the pleasure of playing for Nancy Reagan, why shouldn’t I send you a bill for the pleasure of meeting Nika Hazelton? Actually, the dizzying experience of NEW JERSEY JAZZ SOCIETY playing “Nobody Knows You When You’re Down and Out” for an august gathering within the OFFICERS 2008 Andrea Tyson President confines of the Union League Club [seventieth-birthday party for Ernst van den Haag] should be 110 Haywood Ave. reward enough. But it ain’t. This is a bill, Bill.” Piscataway, NJ 08854 732-356-3626 [Enclosed] Mike Katz Vice President For playing the piano……………………...$ 0.00 908-273-7827 For listening to six speeches………………$250.00 Kate Casano Treasurer 732-905-9063 Thanks to Jack Stine for sharing this material. Caryl Anne McBride Membership Chairperson 973-366-8818 One More One Al Parmet Recording Secretary 908-522-1163 Last month we printed a list of venues hosting regular jazz jam Jack Stine President Emeritus sessions. Add Tierney’s Tavern in Montclair to the list, free, every 908-658-3515 Joe Lang Past President Wednesday beginning at 9 PM. (Try the cheeseburger.) JJ 973-635-2761

DIRECTORS Jersey Jazz welcomes your comments on any article or editorial. Send e-mail to [email protected] or Steve Albin, Carolyn Clemente, Joanne Day, Comments? mail to the Editor (see masthead page 6 for address). Include your name and geographical location. Edy Hittcon, Laura Hull, Claudette Lanneaux, Sheilia Lenga, Bruce Lundvall, Vincent Mazzola, Frank Mulvaney, Stan Myers, Tune Us In to Your E-mail Address! Some special offers for NJJS members are late- Walter Olson, Jack Sinkway, Marcia Steinberg, breaking, not possible to include in Jersey Jazz or to do a separate postal mailing. So if you haven’t already — Elliott Tyson, Jackie Wetcher, please send your E-mail address to [email protected]. Also keep us informed of changes. We want to be Tony Mottola (Ex-officio) sure you get the message when we have something special to offer! ADVISORS Jeff Atterton, Amos Kaune, Bob Porter Advertising Rates Quarter page: $50; Half page $75; Full page $100. NEW! Biz card size: $25! Marketing/Public Relations Consultant: Don Jay Smith 10% discount on repeat ads. To place an ad, please send a check made payable to NJJS to Kate Casano, 274 Jackson Pines Rd, Jackson, NJ 08527; please indicate size and issue. Website: www.njjs.org Contact [email protected] or 201-306-2769 for technical information and to submit ads. E-mail: [email protected] Hotline: 1-800-303-NJJS (1-800-303-6557) NJJS Deadlines The deadline for submission of material for upcoming issues is as follows: May issue: March 26, 2008 • June issue: April 26, 2008 To join the NJJS, send a $40 check payable to “NJJS” to: NJJS Membership, PO Box 410, Brookside, NJ 07926-0410. NOTE: EARLY SUBMISSIONS ARE GREATLY APPRECIATED.

6 ______April 2008 Trumpets Jazz Club & Restaurant 6 Depot Square Montclair, New Jersey 07042 Jazz 6 Nights a Week! and Continental Cuisine March/April Highlights Stanley Jordan Saundra Silliman Ted Curson THURSDAY 3/27 (vocals) () FRIDAY 4/4 FRIDAY 4/18 Carrie Jackson: A Tribute to Hendrik Meurkens Mel Davis (vibes/harmonica) (organ) Sarah Vaughan SATURDAY 4/5 SATURDAY 4/19 FRIDAY 3/28 Ellington Legacy Band T.K. Blue Thierry Arpino’s FRIDAY 4/11 (sax) Brazilian Band FRIDAY 4/25 (drums) with special guest Catia, Machan Werner Helio Alves (piano) and (vocals) Bob Baldwin Itaiguara (bass) SATURDAY 4/12 (piano) SATURDAY 3/29 SATURDAY 4/26

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April 2008 ______7 New JerseyJazzSociety

JAZZFEST Notes from the Music Committee PREVIEW By Joe Lang NJJS Music Committee Chair

he 39th Pee Wee Russell Memorial 6, featuring the three winning bands of the unique sound, somewhat reminiscent of TStomp is now just a pleasant memory, New Jersey chapter of the International Jackie Paris, and his personal approach to and it is time to turn our full attention to Association for Jazz Education Big Band jazz singing has proven popular with an our upcoming events. competition. This competition will be held ever-widening audience. on April 25–26. (For details about this ■ Our film series continues on Thursday Putting bassist Nicki Parrott, pianist competition, please check out the “NJ March 27 with Brotherly Jazz: The Heath Rossano Sportiello and guitarist Bucky College” page on the NJJS website — Brothers, a documentary about the Heath Pizzarelli together assures the audience of www.njjs.org.) Brothers, Percy, Jimmy and Tootie. These two things — the music will be swinging brothers from Philadelphia all became stars This year we have an exciting lineup, and, as and the room will be lit up by three of the in the world of jazz, and their tale is one we’ve discovered, Drew is a wonderful place most warm and winning smiles in jazz. that should fascinate all who love the music. to hold Jazzfest, with a beautiful setting, Nicki, a simply terrific bassist, has appeared The film will be presented at the Library of terrific venues, and terrific support from the at Jazzfest many times since she was a the Chathams, 214 Main Street in Chatham university. There will be barbecue-oriented member of DIVA at the first Jazzfest held at Boro, starting at 7 PM. There is no admission food for sale provided by the new food Fairleigh Dickinson University, after the charge, and the programs are open to the service at Drew. Jazzfest is a jazz picnic, a move from Waterloo Village. She is the general public. Bob Porter will join us for a wonderful time to bring family and friends regular bassist for Les Paul’s weekly gig at discussion following the film. The April 23 together for a fun day, filled with great the Iridium, plays frequently with Warren program will feature Anita O’Day: The Life music. You are welcome to bring a picnic of a Jazz Singer, an in-depth examination basket, chairs and blankets, and enjoy the continued on page 58 of the life of the great jazz vocalist. This new grass and tree area surrounding the Tent as documentary will not be released to theatres the music floats through the air. There is no until Memorial Day weekend, so attendees better way to introduce your children and *NEW* will get a sneak preview of a film that has grandchildren to the joys of jazz. received rave advance notices. You will not The Black Box Theatre is the smallest want to miss this exciting conclusion to our venue, seating about 200 people. This spring film series. Plans are underway to intimate setting is the perfect way to enjoy resume the jazz film series in the fall. the small groups that play here. Those ■ Make plans to be at The Community groups are the Jerry Vezza Trio with Theatre in Morristown on Sunday, April 27 vocalist Frank Noviello, and the all-star at 3 PM. This is our fourth year of co-spon- trio of Nicki Parrott, Rossano Sportiello soring a Sunday afternoon jazz concert with and Bucky Pizzarelli on Saturday; and the theatre; this year’s program features the Carrie Jackson & Her Jazzin’ All-Stars exciting guitar trio of Bucky Pizzarelli, plus the Eric Comstock Trio on Sunday. NJJS presents James Chirillo and Ed Laub. This will be an afternoon of explosive string fireworks. The Pianist Jerry Vezza has been popular on FREE SERIES price for tickets is only $15; they can be pur- the New Jersey jazz scene for many years. JazzFilm Thursday, March 27 at 7PM chased through The Community Theatre He frequently plays at Shanghai Jazz in either at the box office at 100 South Street in Madison, and was a big hit the last time BROTHERLY JAZZ: Morristown, or online at www.mayoarts.org. he appeared at Jazzfest in 2005. Jerry The Heath Brothers (See ads on pages 19 and 29.) is a subtly swinging player who cites Bill Followed by discussion with Bob Porter. Evans as a major influence. Bassist Rick ■ With the sanofi-aventis Jazzfest 2008 on Crane and drummer Glenn Davis, two long Wednesday, April 23 at 7PM the horizon, it’s time to provide details time colleagues, will join Vezza. Crane is a about the bands that will be playing at this superb bassist who is one of New Jersey’s ANITA O’DAY: two-day jazz extravaganza. The dates are busiest jazz players. He’s been performing The Life of a Jazz Singer June 7 and 8, and the location is Drew frequently in a hip duo with pianist Bob Followed by discussion. University in Madison. Twelve groups plus Himmelberger. Glenn’s tasteful percussion Library of the Chathams two high school bands will participate. artistry has supported many jazz giants like 214 Main Street, Chatham NJ We are also in the planning stages for a free Marian McPartland, and FOR MORE INFO: www.njjs.org concert in the Tent on Friday evening June . Vocalist Frank Noviello has a

8 ______April 2008 JerseyArticlesJazz

Classic Stine Tibialibus Rubris XV, By Jack Stine NJJS President Emeritus Eboracum Novum V*

uamquam nos incipimus beguinam rursus eo through my years of service, from Fort Monmouth to Washington, “Qtempore variatas est. Eo tempore nos insipimus to North Africa, to India, and back home. It was a good companion. tempestatem globi castrorum quae iam est aequa ante But get it straight. George Frazier, in my own opinion, for all his globus iacietur optima omnium tempestatum postea…” undeniable service to music, was not a great jazz writer though pieces he did on performers like Bunny Berigan, Lee Wiley, Bix Readers of The Boston Globe on April 7, 1973, could easily have been Beiderbecke, , and Ellington have moments of pardoned for the shock they felt upon reading that morning’s lead greatness. Some of his opinions I thought were dead wrong. I story in the paper’s sports page. could never forgive him for his putdown of the Jimmie Lunceford As the good Bostonians they were, they no doubt were already aware Orchestra or the playing of Barney Bigard, but I could that their beloved Red Sox had beaten the New York Yankees the day forgive all for giving us such gems as: before on the first day of the new season. Now, to read about it in — Anyone who doesn’t think George Gershwin is better off dead the city’s prime newspaper, was the perfect way to start the day. never heard Leslie Uggams do one of his songs. But what was this? Not all Bostonians had attended their world — Ringo Starr says he recorded his latest LP to please his mother, famous Latin School and even a lot of those who did attend might and after hearing it, I’d say his mother is very easily pleased. well have blanched to see the story of the great opener presented in — Calling themselves The Supremes does seem to be taking a lot for a tongue more suited for the Roman Forum than Boston Commons. granted, don’t you think? To win the opener was one thing; to be foiled in being able to read For four decades Frazier set himself up as the champion of good about it was another. And in Latin, yet! taste. It made no difference if the issue was music, or writing, or Who was responsible for this gaffe? The answer might have been dress, or table manners — anything that smacked of something less clear from the start. It was the irrepressible George Frazier, the than acceptable was the subject of his scorn. His code word for all Globe’s prime columnist whose pieces had always outraged, titillated. this was “duende,” a word he appropriated from the Andalusian amused, and enamored the writer to his legion of readers, indeed as which refers to something spritelike or ghostly. In Frazier’s adapta- did the Red Sox themselves. All was forgiven on the next day when tion it meant something of grace or special attraction. He made lists the piece’s translation appeared along with an explanation. Wrote to demonstrate the difference between those who possessed duende Frazier, “…the other day while Leo Glynn, Dave Miller, and I were and those who did not. Hence, Robert Frost had it, Sandburg did sitting around in our togas, I confessed that my one aim in life was not; had it, , no; Clark Gable, yes, Rock to be the first columnist to say ‘designated hitter’ in Latin.”A drink Hudson, no; Babe Ruth yes, Lou Gehrig no. Frazier’s list went on or two later the phrase appeared as if by magic: designatus clavator. and on. And speaking of lists, one of Frazier’s proudest moments To my knowledge the phrase never again appeared in print; once was when he learned that he had “made” Richard Nixon’s “White was enough. House Enemy List.” But fortunately for us jazz lovers, many of Frazier’s writings on jazz George Frazier died of lung cancer on June 13, 1974, three days have appeared and reappeared over the years. Thank goodness there after his 63rd birthday. During the final weeks of hospitalization, have been enough to assure Frazier a permanent place where they he learned that Duke Ellington, the musician he idolized above all keep the list of writers who performed great service to jazz. He first others, had died on May 24. Frazier expressed a desire to write the appeared in print at a time when there were few other writers of any obituary for the Globe from his hospital bed, but it proved to be merit bothering with jazz. Panassie, writing in French, in the early the old curmudgeon’s last deadline and he couldn’t meet it. Too ’30s had made the case that jazz as an independent art form was weakened by the disease that had hounded him for years, he was worthy of discussion in print, and by the end of that decade, good denied the strength to write the one piece that may have meant writing began to crop up. Foremost of these were writers like Otis more to him than anything he’d ever written before. Ferguson (whose perception and style often approached pure Almost four decades have gone by and it’s not easy to find much poetry), Philip Larkin, and Wilder Hobson. By the time of World of Frazier’s writings. One book of articles on various friends called War II, the jazz library was starting to bulge. The year 1939 started The One With The Moustache Is Costello has been out of print for with Frederic Ramsey’s and Charles Edward Smith’s famous years as is a biography, Another Man’s Poison, by Charles Fountain. Jazzmen, and jazz publications ceased to be either novelties or works But they occasionally show up in used book shops, and my of questionable worth. I carried my copy of Jazzmen with me all advice is to latch onto one if you can. You won’t be sorry. JJ

*Red Sox 15, Yankees 5.

April 2008 ______9 JerseyArticlesJazz

Big Band in the Sky

By Tony Mottola Jersey Jazz Editor

■ Philip Bodner, 90, reeds player, June 13, 1917, Waterbury, CT – February 24, 2008, Tamarac, FL. The master of 12 woodwind instruments, Phil Bodner was one of the most sought-after and prolific of ’s elite studio musicians from the 1950s through the 1980s, appearing on thousands of recordings and commercial jingles as well as film scores. He was particularly renowned for his swinging jazz clarinet playing and full-toned alto and tenor sax style. He was a NARAS Most Valuable Player of the Year award recipient between 1972 and 1989 (for clarinet, flute, oboe, soprano sax, and alto sax), band leader, , composer, and publisher. Bodner studied music with renowned woodwind teachers and began his professional career in New York City in 1938 when he joined Local 802 of the American Federation of Musicians. He played with Benny Goodman’s small combo of the early 1950s, made five as a member of MGM’s Metropolitan Jazz Quartet and a series of Living Jazz recordings for the RCA Camden label. Bodner was also a mainstay of dozens of recordings for ’s Command Records label as one of a stable of top session players that included, among others, Doc Severinson, Urbie Green, Dick Hyman, Terry Snyder and Tony Mottola. In the 1960s Bodner led a group called The Brass Ring that included Mottola and fellow session woodwind virtuoso Stan Webb. The pop group was modeled after ’s highly successful Tijuana Brass, but gave the lead parts to the reeds and added an easy swinging beat. Recording for ABC Dunhill the group scored two top 40 hits, “The Love Theme from The Flight of the Phoenix” and “The Dis-Advantages of You” (which was appropriated by Benson and Hedges cigarettes for a series of television commercials). Phil Bodner performs at the Newport-New York Jazz Festival’s childrens’ As studio work tapered off in the 1980s Bodner appeared regularly concert. July 2, 1976. Photo © Mitchell Seidel. in New York City clubs, including Michael’s Pub, Bechet’s, Marty’s and at Carnegie Hall. His work included appearing in clubs backing vocalists Mel Torme, Jonathan Schwartz, Maxine Sullivan, and Helen Ward, and performing in a swing quartet with bassist George For many years Anderson worked as house pianist in several of Duvivier, on drums and Marty Napoleon on piano. ’s jazz clubs where he had the opportunity to work with , Sonny Rollins, Clifford Brown, Gene Ammons, Max He is survived by his wife Judith, his sons Mark and Neal and their Roach, , , Roland Kirk and many other top respective spouses Beth and Pam, and six grandchildren. His wife players who came through the Windy City. In 1960, a young of 38 years, Harriet, died in 1992. Herbie Hancock heard Anderson play; “I begged him to let me ■ Chris Anderson, 81, pianist, Feb. 26, 1926, Chicago, IL – study with him,” Hancock said. “Chris Anderson is a master of February 4, 2008, New York, NY. Despite lifelong medical condi- harmony and sensitivity. I shall be forever indebted to him and tions including a crippling brittle bone disease and cataracts that left his very special gift.” him blind by the age of 20, the self-taught Chris Anderson was an In 1961, Dinah Washington invited Anderson to tour with her. Six innovative player who was greatly respected by his piano-playing weeks later the famously ill-tempered Washington (who’d been peers and fellow jazz artists. Anderson cited film scores among his through several accompanists the previous year) fired him in New most important influences, contending he was more fascinated by York. Anderson decided to stay on and play in the city, but within arrangers than other pianists, and he was celebrated for his two years had broken both hips and performed in public only occa- sophisticated harmonic inventions. sionally after that, appearing at Bradley’s, the Village Vanguard, the continued on page 12

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BIG BAND IN THE SKY

continued from page 10

Chris Anderson at home, New York City. Circa 1993. Photo © Mitchell Seidel.

Sandy Maxwell.

Jazz Gallery and Smalls and as a featured guest at performances by jazz community. Brunious joined Preservation Hall in 1987 and had New Jersey pianist Barry Harris. served as the group’s leader for a dozen years. He was rescued from Anderson recorded a small but significant catalogue of recordings and the roof of his house by boat after Hurricane Katrina and relocated there are plans for future reissues of this special artist’s work. to Orlando, but resumed touring with Preservation Hall. One of his last recordings was a moving trumpet and vocal on “Do You Know ■ John Brunious Jr., 67, trumpeter, Oct. 12, 1940, Orlando, FL – What it Means to Miss New Orleans” on the 2006 boxed set of Feb. 12, 2008, New Orleans, LA. Leader and senior member of the Preservation Hall music entitled Made in New Orleans. Preservation Hall Jazz Band, John Brunious died suddenly of an apparent heart attack. He learned traditional jazz from his father ■ Sanders Maxwell, 90, pianist, 1918, Germantown, PA – John Brunious Sr., a trumpeter and pianist who had written February 23, 2008 Princeton, NJ. Sanders (Sandy) Maxwell was arrangements for and Count Basie. As a young man a longtime New York advertising executive, U.S. Air Force WWII he added and rhythm and blues to his repertoire. veteran and 1939 Princeton University graduate who was also a Brunious served a combat tour of duty as a member of the U.S. popular area pianist, over the years playing in New York night clubs, Army in Vietnam and then returned to New Orleans where he at local society events and for 60 Princeton reunions. resumed his musical career working record sessions at studios owned ■ Former NJJS president John L. (Jack) Wallace passed away by Cosimo Matassa and Allen Toussaint. He also played with Ellis on February 25. An obituary will appear next month. We extend Marsalis and at Lu and Charlie’s, home to The Big Easy’s modern our condolences to the Wallace family. JJ

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America’s Music Around the World The Jazz Ambassadors Program By Tony Mottola Jersey Jazz Editor

uring the chilliest days of the Cold of America as a racist country was in DWar, Soviet Premier Nikita conflict with the political and social Khrushchev dispatched the famed realities of life for blacks in a Jim Crow Bolshoi Ballet to the world’s stages to and segregated United States. Frustra- demonstrate the USSR’s cultural superi- tion over a lack of progress on civil ority. U.S. President Dwight Eisenhower rights and school desegregation at — at the urging of Congress- home caused Armstrong to cancel a man Adam Clayton Powell Jr. — scheduled tour of the Soviet Union. countered with , and the And a Congressional cut in program Jazz Ambassadors Program was born. funding engineered by the Texas Senator Lyndon Johnson drew a harsh The golden years of the U.S. State response from Dizzy Gillespie. Department-sponsored program that sent legendary jazz performers to the Ultimately, for the musicians, the four corners of the globe, from the mission was to spread the gospel of jazz mid-1950s to the 1970s, are chronicled music to emerging nations, the Soviet in Jam Session: America’s Jazz Bloc, and anywhere else they were sent, Ambassadors Embrace the World,an and their converts ran to the millions. exhibit of photographs and documents And if America could be the birthplace assembled from archives around the of something so wonderful and country by the Meridian International freedom loving as jazz, well then, the Center in Washington, DC. place couldn’t be all that bad, could it? The exhibit includes images of Dizzy One thing readily apparent in images Gillespie, Louis Armstrong, Count included in the exhibit is the seeming Basie, Dave Brubeck, Charlie Byrd, immediate connection between the Duke Ellington, Benny Carter, Benny artists and their newfound listeners: Goodman, , Sarah Satchmo blowing his horn to the Vaughn, , and many delight of children in a Cairo Street, others “(who) served as cultural diplo- Dizzy astride a motorcycle in the midst mats, transcending national boundaries, of a throng of admiring Yugoslavians and making friends for our country,” and Benny Goodman looking every bit according to the exhibit’s press release. the Pied Piper performing for a young audience in Moscow’s Red Square. The Perhaps. But the program was not with- exotic locales of the photos along with out controversies, for example when its the colorful (even in black and white) “diplomatic” goals to blunt the criticism garb of local residents testify mightily to the universal appeal of the music. After the collapse of the Soviet Union, funding for

left: Dave Brubeck and Paul musician and composer Nikica Courtesy of the Duke Ellington Desmond (center) encounter Kalogjera and fans. Zagreb, Collection, Archives Center, Indian musicians. Bombay, Yugoslavia, 1956. Courtesy of National Museum of American India, 1958. Courtesy of the Institute of Jazz Studies, History, Behring Center, Smithsonian Institution. Brubeck Collection, Holt- Marshall Stearns Collection, Atherton Special Collections, Rutgers University. Benny Goodman performs for a University of the Pacific Library. young audience in Red Square. The Bharatiya Kala Kendra Moscow, Soviet Union, 1962. Copyright Dave Brubeck. Orchestra performs for Duke Courtesy of the Irving S. right column, top to bottom: Ellington. New Delhi, India, Gilmore Music Library, Yale Dizzy Gillespie with Yugoslav 1963 University.

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Jam Session: America’s Jazz Ambassadors Embrace the World will be on display from April 3 – July 13 at Meridian’s Cafritz Galleries, White-Meyer House, 1624 Crescent Place, NW, Washington, DC. Following, the exhibit will embark on a two-year national tour. Keep an eye on Jersey Jazz for news of when it reaches our area.For information on The Rhythm Road American Music Abroad Program please visit www.jalc.org/ theroad.

cultural diplomacy programs steadily declined, reaching a low point by 2000. But in the aftermath of the September 11, 2001 terror attacks the jazz program was reconstituted as Rhythm Road: American Music Abroad and is now administered by , averaging some 260 days of touring annually. And if the diplomatic motives may still be suspect, the music hasn’t lost its knack for winning new converts. Consider this newwindpress.com report of a Rhythm Road performance by drummer Alvin Atkinson, trumpeter Charlie Porter, bassist Ari Roland, and pianist Eli Yamin in Chennai, India last September: “For over one hour music hold the centre stage. The composition by Eli Yamin was performed along with students of Jayaganesh Tala Vadhya Vidhyalaya and another with painist Madhav. As the band performed the composition by Colonius Monk (sic) “Evidence,” the crowd joined with a hand clapping expedition. The show wrapped up the number The Saint Go Marching In.” Maybe jazz makes for great diplomacy because nothing much gets lost in translation. JJ

clockwise from top left: Louis Armstrong entertains children at the Tahseen Al Saha Medical Center. Cairo, Egypt, 1961. Courtesy of the Louis Armstrong House Museum. Count Basie at the final rehearsal of the popular Burmese song Emerald Dusk. Rangoon, Burma, 1971. L to R: Win Oo, Burma’s leading singer and film star; Sandaya Hla Htut, composer and pianist; Basie; unidentified man; U Than Myint, Deputy Director, BBS. Courtesy of Special Collections, University of Arkansas Libraries, Fayetteville. The Charlie Byrd Trio jams with the Lito Molina Jazz Group at the U.S. Embassy ballroom. Manila, Philippines, 1975. Courtesy of Special Collections, University of Arkansas Libraries, Fayetteville. and his Jolly Giants perform at the Pakistan American Cultural Center. Karachi, Pakistan, 1978. L to R: Hilton Ruiz (piano; not visible); Clark Terry (trumpet); (bass); Ed Soph (drums); Chris Woods (). Courtesy of Special Collections, University of Arkansas Libraries, Fayetteville.

April 2008 ______15 Pee Wee Russell

Barbara Rosene, Skye Steel, violin; Conal Fowkes, piano; Kevin Dorn, drums; Michael Hashim, sax; Brian Nalepka, bass.

Music Committee Chair Joe Lang and Dan Morgenstern present the Jon-Erik Kellso Pee Wee Stomp Quintet: Jon- Musician Award Erik Kellso, to Eddie Bert. leader and trumpet; Mark Lopeman, sax and clarinet); Mark Shane, piano and vocals; Joel Forbes, bass; Rob Garcia, drums.

above: John Becker gets the Nick Bishop Dancers galore…danced like Award from NJJS President Andi Tyson crazy from start to finish. and former Jersey Jazz Editor Don Robertson. right: NJJS President Emeritus Jack Stine congratulates Ed Berger with a Pee Wee Stomp Award.

Super dance floor panache was exhibited by NYC dance scene legend Dawn Hampton (sister of Slide), here with crooner John Dokes.

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Smith Street Society Jazz band: Bruce McNichols, soprano sax, banjo and leader; Chicken Joe Hanchrow, tuba; Herb Gardner, and vocals; Dan Block, reeds; Conal Fowkes, piano; Lynne McNichols, vocals, Robbie Scott, drums. Pee Wee pow-wow.

George Gee and the Jump, Jivin’ Wailers: George Gee, leader; Walt Szymanski and Steve Wiseman, trumpets; Brian Bonvissuto, trombone; Dan Block, Ed Pazant, Alex Harding, Mike Hashim, reeds; Steve Einerson, piano; Marcus McLaurine, bass; Mike Campenni, drums. John Dokes contributed vocals.

The oft- unsung: Bill Dudley, John Becker, Bruce Gast, Al Parmet perform vital tech functions behind the scenes.

Jack Stine makes gifts of jazz artifacts to Dan Morgenstern’s Institute of Jazz Studies.

See Scholarship winners on page 18. All photos by Tony Mottola.

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Pee Wee Russell Memorial STOMP New Jersey Jazz Society 2008 Scholarship Recipient Profiles

s in previous years, scholarship grants were awarded at the Pee Wee Russell Memorial Stomp to five deserving students pursuing degrees Ain Jazz Studies at each of the four New Jersey Universities offering such degree programs. Two grants to Rutgers jazz studies students were made through an endowment established with the Rutgers Foundation in memory of Pee Wee Russell. The students performed together to open the Stomp. Here are brief profiles of the students and photos of them performing at the Birchwood Manor on March 2. Brandon Blackburn, Drummer, Rowan University (Don Robertson Scholarship) A junior from Hutchinson, Kansas, Brandon has been studying and improvising on drums since the age of 12. Among his favorite musicians are , Dave Brubeck, and jazz legend Joe Morello, who is also his teacher. He’s already played Carnegie Hall. His favorite musical style is funk and among his favorite composers is J.S. Bach. He believes that “interpretation and expression of self through music inspires belief in something much bigger than ourselves.”

Adam Lomeo, Guitarist, William Paterson University (Bill Walters Scholarship) Adam is a junior from Utica, New York. He’s been studying music since the age of 6, improvising since the age of 9, and has written many jazz compositions beginning at age 14. His biggest musical thrill to date was sitting in with the great in a Manhattan club. Adam began performing in bars and blues clubs when he was 12 with his younger brother who sings and plays harmonica. Pablo Rodriguez, Trombonist, New Jersey City University (Jack Stine Scholarship) Pablo is a graduate student from West New York, New Jersey who has been studying music since he was 13. He plays guitar, piano, electric bass and recorder. He began improvising and composing while still in high school. Herbie Hancock and Jobim are among his favorite composers. While studying at William Paterson and the Manhattan School of Music, Pablo developed a love for arranging. He is a well-rounded young man with interests in cycling, basketball and philosophy; he is also a full-time music teacher in the West New York school system. Matt Janiszewski, Saxophonist, Rutgers University (Pee Wee Russell Scholarship) A graduate student from Avon, Connecticut, Matt began studying music at 10 and now plays all the , clarinet and flute. Among his favorite musicians are Coltrane, Bird, and Ralph Bowen (RU Jazz Director). He’s composed and arranged many charts for all size groups beginning at age 16. His favorite musical style is hard bop, and his biggest musical thrill was sitting in with Michael Brecker at Photos his master class. by Tony Mottola. Donald Malloy, Trumpeter, Rutgers University (Pee Wee Russell Scholarship) Donald is a graduate student from Cleveland, Ohio, who began studying music with drums at 11 and by 14 knew he was going to be a jazz musician. Before graduating from high school he had already played with the likes of , and Winard Harper. He was awarded a scholarship to the prestigious Oberlin Conservatory where he studied with jazz greats like Marcus Belgrave, and . Donald was commissioned to compose the piece “Stark Winters” for the independent film Man Cry and has composed a four movement suite for the Jazz Heritage Orchestra entitled “Spirit of New Orleans.” For Donald, “Music is life.”

Hired hands who formed the rest of the rhythm section for the performance were pianist Robert Langslet and bassist Leo Sherman, both from WPU.

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Talking Jazz A Jersey Jazz Interview with Jack Livingstone

By Schaen Fox

ew York City has Yankee Sunday afternoon, but I can’t greatest concerts NStadium — The House get any musicians. He said we ever had, but That Ruth Built. Manalapan don’t worry about that, I‘ll get Ruby was impos- has the Monmouth County the musicians. So he brought in sible to deal with. about eight local guys with one Library Headquarters — The He just drove you exception, the trumpet player up a wall, but he House That Jazz Built. Of was from Philadelphia, but played such course, that is only because of nobody heard of any of these beautiful music. Jack Livingstone, the retired musicians. If he could just County Librarian who began keep that mouth- Now to do these concerts, offering free jazz events in the piece in his we used to play in the main mouth everything library 35 years ago, first at the reading room and we had to was fine. Two Eastern Branch Library in move all the furniture. My two weeks before the Shrewsbury and now in sons were in high school, so concert he starts Manalapan. Since 1973, once they came with me the night to call and harass a month from September until before and we unloaded me about the May, the library has featured hundreds and hundreds of concert. He‘d call books off the bookshelves, a lineup of performers ranging talking about all this musical theory me at midnight at home: “Hey Jack, picked them up, and moved them from emerging talents to major and people start to leave. So you (he talked like Louie Armstrong) I‘m to the perimeter of the room. Then stars. In the past, the high point know it‘s the old story of mixed emo- not coming down there. You‘re way we put down all the chairs. Dorian of the season was Jazz Week tions: you watch your mother-in-law down in South Jersey someplace.” I Parriott, at that time the head of the go over the cliff in your new Cadillac. with something each day. Now music department at Asbury Park said, “Ruby, it‘s not that far. You take that has became Jazz Month (Laughs) That‘s what I had; we lost the turnpike to the Parkway, get off at High School, loaned me some stage most of the audience. He did a few with the events stretched over risers for the band. So, we got every- Exit 109 and you are there.” He said, more concerts for me, but never “Oh man, by the time I get there my four weekends. The jazz series thing set up and we go up there on drew very many people after that. he began so long ago is only Sunday afternoon and there‘s this hands will be shaking so much I won‘t part of Jack’s important impact long line of cars and I‘m thinking, I didn‘t know any jazz musicians. I be able to play. I thought you meant on the cultural life of the “What the heck is all this traffic knew a lot about jazz musicians, but I the other side of the George anyway?” And they are all going into didn‘t know any personally. Then my Washington Bridge.” And he went on region. After a concert this like that for a long time. Finally one past December we sat down the library. I mean we packed the wife and I were in a watering hole in Spring Lake and Kenny Davern was night I said, “Well, you know what and talked about it. place. It was a mob scene and as I said, we didn‘t have a single playing. I introduced myself to him Ruby? I‘ll come pick you up.” He said, JJ: Would you tell us how this musician anyone ever heard of. and I said I would love to do more “It will take you out of your way won‘t all started? jazz because it is great publicity for it?” I said, “Yeah, I didn‘t expect to go I had already warned Al don‘t try to the library, but I don‘t know where to to New York, but I can see that you There was a disc jockey who JL: tell your musical theories. I had never go now. He said, “Well, I‘ll play the are all upset, so I‘ll come pick you up.” played jazz in Long Branch years ago, done this, but I knew very well this library for you.” I said, “Kenny, I have He thought about that and said, “No, I Art Vincent. He had a program called was not Burlington Community very little money,” and he said, “It want this to be an experience I will “Art Vincent — The Art of Jazz” and College. These people want to be won‘t cost you much. I‘ll come in never forget.” he said he had this guy, Al Main, who entertained. If they learn something with a quartet with Vic Dickenson and played guitar and taught jazz at I had him one February and he called that‘s a plus, but they are really com- Cliff Leeman.” It was a great group Burlington County Community me and said, “If I see one snowflake, ing to hear music. He didn‘t listen to and of course Kenny was always a College. He was trying to find a place I‘m not coming down to that lousy no me. He came prepared with a black- popular person so the place was to play, but he didn’t have any money. good low paying library gig.” He board and everything. Well, to make filled. He played for me for many He had these musical theories that he always called it that. “Ruby,” I said, matters worse, the trumpet player years before he went out to New wanted to show people. They were “don‘t worry about a thing. The got lost, so we literally waited an Mexico. That‘s how it all got started. supposedly different. At that time the hour because he was our feature. weather is always good when we Eastern Branch of the library wasn’t Nobody left, everybody sat there for I think the next concert after that was have a library gig.” I had a record, open on Sundays. So I said I have no an hour, waiting. Then Al gets up and the – whenever I had a jazz concert the money but I’ve got a place for you to starts to tell his theories and I‘m Quartet. They had just gotten together weather was fine. For years it was play. I can open up the library on a passing notes up: play, play, play. He ‘s and I got them. That was one of the like that. When I woke up that continued on page 22

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JACK LIVINGSTONE continued from page 20 morning, it was snowing like crazy. I didn‘t know what to expect, so I went to the library to move the furniture. The phone rang and it was Johnny Morris who was to play piano. Johnny asks, “Is the concert still on, Jack?” I said, “Sure, the roads are clear, there is no problem.” Then about 15 minutes later who walks in but Ruby, the one I was worried about. He says, “Is anybody here?” I said, “No, you‘re the first, but Johnny just called.” “What did he want?” “He wanted to know if the concert was still on.” He said, “I wonder why he did that?” Oh, he was something, (laughs) but once he got there he was a beautiful guy, a wonderful guy. JJ: How was George Barnes? JL: Great, he was great, one of my favorites. I re- member he had a brick, that‘s what he put his foot on when he played the guitar. He and Ruby couldn‘t stand each other. When George died I had Ruby Dick Hyman with Jack Livingstone, 2005. Photo courtesy of Jack Livingstone. again and I said it‘s a shame about George and he McPartland played classical piano once and it wasn‘t said, “It serves him right.” That‘s the way he was. that good and she admitted it. She said she never They both had huge egos, but that‘s not unusual. worked so hard in her life getting ready for that. Chuck Wayne was the same way. He played a library gig and everybody raved about it and complimented JJ: How was Dave McKenna? him, but one person came up and said how much JL: He was all right. He stayed at my house he liked . It destroyed him. That‘s all he overnight because he wanted more money than I could talk about for the rest of the day, “Joe Pass, could afford. He was coming from Massachusetts that guy came up to me and talked about Joe Pass.” and was going to stay overnight at a hotel some- where around Newark, so I said why don‘t you just We have had so many great musicians, and stay at my house? It will be much easier and you unfortunately too many have passed away now: won‘t have to pay a hotel fee. He was a dyed-in- Dick Wellstood, Kenny Davern, Roy Eldridge, the-wool Red Sox fan. That is all he wanted to talk , Dave McKenna, Vic Dickenson, about. So I announced him as the greatest Red Sox Cliff Leeman, Maxine Sullivan, The Count‘s Men fan in the country. He loved that. But Dave was one including . Oh, it goes on and on. We had of those guys who would come in, sit down and the Mercer Ellington Orchestra for one night. That start playing. He never would look at the audience, was just a short time after Duke died and it was a wouldn‘t smile, wouldn‘t pay any attention, just thrilling night. keep playing then get up and leave. That is the way people they should know these people are going to Marian McPartland was so great. She was aware of he was. want the music of the ’30s, ’40s and maybe the everything. There was a photographer there from JJ: I imagine after all these years you must ’50s, but not the ’90s. one of the newspapers and wherever he was, she have had some problems from the crowds. We had the Alvin Ailey dancers once at the Eastern was facing him. He took a shot through the piano Well, any time I try to get a group that is at all Branch. It wasn‘t a jazz program. We had so many and she was playing and looking right at him. I still JL: progressive my crowd doesn‘t like it. They want to people there I had to lock the door because I could remember a lady was leaving early with her be able to hum the melody. Every so often I like to not move, literally, I could not move. All the seats daughter and she saw that woman and, without mix it up a little and get some newer sounds but I‘ll were filled and people were standing shoulder to missing a beat, said, “I‘m sorry you have to leave,” lose the audience. I‘ll see it at the break. I had one shoulder. Then the fire marshal came in. I thought and just kept playing, a wonderful piano player. during Jazz Month. I knew I was going to lose he was going to close us down but somehow he let The pianist I really loved was Dorothy Donegan. She people at the break and I lost a lot. us continue. Then the next week I had a jazz told me she practiced 12 hours a day. She studied concert with the – Mel Lewis Band. He JJ: How did the musicians react? under some of the finest classical pianists in the stood and counted people and stopped me when it world, but being a black woman, she didn‘t stand a JL: They seemed to take it in stride. They haven‘t hit 400. That was all that was allowed in the chance in the classical field. She was so great; she said anything to me anyway. They are probably building. He said no one comes in until I see really had the chops to do it. I know Marian used to it. When they see a bunch of gray haired someone leave. That was a disappointment. continued on page 24

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JACK LIVINGSTONE JL: Not really. I did have the big open area. It permits one freeholder who was us to have concerts while continued from page 22 concerned because she the library is open. JJ: Why, was Thad or Mel one of those left thought of jazz in the same JJ: Have any other terms as . So she outside? county librarians was worried that we were having JL: (Laughs) Yeah, well I‘ve had that too. One night approached you about these programs where something was due to come down from New duplicating this elsewhere? might go wrong. She came to see what the York City and at 8:00 at night he calls me from programs were all about and she realized that all I JL: Well there are other libraries that do program- Manhattan, he was still trying to get another had were middle-aged people sitting quietly and ming now. At one time I got grants both from the musician. I said forget about him, just get in the car enjoying themselves. So, she became a fan. New Jersey State Council of the Arts and the and get over here. I‘ve got a packed house and it‘s National Endowment for the Arts. Then I sat down going to take you an hour at best. And the people JJ: Did you convert any others? with some friends of mine who were directors in stuck around. God bless them, they stuck around. JL: Well [Freeholder] Ted Narazonick became one other library systems and talked about splitting And I had that happen with Bill Mays. Jimmy of our strongest boosters. He had the interest to these grants up if they would match them. I put Witherspoon was the singer that night. He was come and see what was going on. Most freeholders together a whole series of traveling jazz programs there with the drummer, but no piano. Bill Mays couldn‘t care less. You wouldn‘t get them to come and they could pick from them. I did that with a called and told me he took a wrong turn on Route out unless it was a political rally. But, Ted would and number of libraries: Plainfield, Passaic, Camden 80 and was heading toward the Poconos. It was a what he found was I had 500 happy voters sitting County and Burlington County Library. Plainfield and terrible night, foggy and rainy, so I said you‘ll never there. I put him right up on the platform the minute Passaic stayed with it even after the grants ran out. make it here. So I started calling all the bars within he showed up and explained that here is a man You have to understand this is a lot of work and a 10-minute radius to see if I could find a piano who is helping the library with our budget and he is most library directors don‘t want to spend their player. In fact, I announced if there is anybody here in favor of our programs. Well, the people loved Sundays at the library. I was different (laughs). It who wants the thrill of a lifetime, you can accom- him. They were enjoying themselves; they didn‘t took years and years of working just about every pany the great Jimmy Witherspoon. Well, nobody have any hard questions or argue with him. So it Sunday before this all came into play. It‘s a long took me up on it. Then somebody finally said, “Why became a wonderful opportunity both for the process and you have to have enthusiasm to keep don‘t you call Tal Farlow?” So I called and lucky for library and for Narazonick. doing it. me he was home. So he came over and Larry Ridley JJ: And would you tell us about the role was sitting in the audience, so he got up and played JJ: Why did you change Jazz Week into you and the concerts played in the building bass. We had a great gig. You know those things Jazz Month? don‘t happen too often, but they do happen. of the new library headquarters? JL: I just tried it this year because where we are, JL: I was doing programs every Sunday at the I do have a few interesting tapes. I did a series on it‘s an older crowd and they don‘t like to come out Eastern Branch. It would be jazz, classical, authors Thursday nights for a few years called Roots and at night. So the last couple of years, I‘ve had some or a theatrical performance. We had something Riffs. Chris White, the bass player for one of the great programs that were sparsely attended. So I every Sunday and people from the western part of best Dizzy Gillespie groups, put me in touch with figured I could avoid that by changing it into Jazz the county kept saying we need a library where we musicians I would never be able to reach: Budd Month and just have programs in the daytime on are. The mayor of Manalapan came to me and said Johnson, Billy Taylor, people like that. It was really weekends. we want the county library to locate here. I‘m more talk than music and some of them were very willing to give them the site if they will guarantee to interesting. JJ: What is the worst part of doing this? build the library within four years. Finally, the JL: I don‘t know. It is a great thing to do. JJ: Now Budd Johnson was a man with a freeholders agreed to build the library. Still a lot of it It is fun to do. rather mercurial temper. How was he? was because we had so much activity from people coming from the western part of the county to JJ: Do you have any disappointments? JL: Mercurial. (Chuckles) Well, first of all he liked to those jazz concerts. The jazz concerts stimulated a drink and that was a problem. He showed up one lot of things that happened to the library system JL: I guess there were, but the highlights block time loaded. He played great, but he was mad that had nothing to do with jazz. Adding new books them all out. because I was recording it. His drummer said just to the library didn‘t mean a thing to the board of JJ: Well, thank you both for doing this don‘t pay any attention, go ahead and record. So I freeholders. But when they found that I was having interview now and all the pleasure did. When he was sober he was fine. these programs that had all these happy voters there, naturally they became interested. you have given to so many of us for JJ: Did you have a problem getting money all these years. JJ for the concerts? So the architect that we hired sat down with all our staff to work out the overall design. Then we had The library‘s web site is JL: Well, I worked it into my budget. I had an meetings, which he would open to the public. The www.monmouthcountylib.org. overall budget for services and I just worked it in only thing that people ever talked about was that once I saw that this was going to be something we Schaen Fox is a longtime jazz fan. we needed a wing for programs. So, that became would continue. Now retired,he devotes much of his time to the wing that we now use and it is very flexible. We the music, and shares his encounters with JJ: Were any county officials a problem? can divide it into five rooms, three rooms or into musicians in this column.

24 ______April 2008 Lana’s Jazz at Lana’s Restaurant and Lounge Every Thursday, 7-11 at the Hyatt Hills The Warren Vaché 1300 Raritan Road Quartet Clark, New Jersey 07066 www.lanasfinedining.com 732.669.9024 Fridays, 7:30-11:30: April 4: Vic Juris Quartet Never a cover charge April 11: James Chirillo Trio with nor minimum; Jon Burr and Taro Okimoto Lana’s boasts an award-winning chef; April 18: Janice Friedman Trio consistently receives the April 25: Warren Chiasson Trio Zagat Review of Excellence; was voted one of the top May 2: Nilson Matta 50 restaurants in New Jersey Brazilian Voyage Trio by NJ Monthly Magazine. Special Latin Menu and Sangria available!

April 2008 ______25 JerseyArticlesJazz

The Four Freshmen — 60 Years of Harmony

By Joe Lang NJJS Music Committee Chair n 1948, four young men at the www.fourfreshmensociety.com, where IArthur Gordon Conservatory in many Four Freshmen recordings are Indianapolis, brothers Ross and Don also available. Barbour, their cousin Bob Flanigan, The Four Freshmen remain my and classmate Hal Kratzsch, formed favorite of all vocal groups. I first saw a vocal quartet, The Four Freshmen. them on tour in 1959 with the Stan They met in 1950, and Kenton Orchestra and June Christy, he became their champion, getting the tour that resulted in a great live Capitol Records to sign them. When album Road Show, released on Capitol, their initial efforts did not take off, and last available on a 1991 compact Capitol refused to issue their third disc. Around 1970, a similar show, this single of “Tuxedo Junction” backed time with rather than with “Blue World.” Kenton talked June Christy, performed a concert at Glen Wallichs, the president of Central Park, and it rekindled my Capitol, to run off some dubs for the enthusiasm for the music of Kenton Freshmen to use for promotion. One and The Four Freshmen. Subsequently, went to Bob Murphy of WJBK in I have seen several iterations of The Detroit, and he played it frequently. Four Freshmen, including catching the The response from listeners was current quartet on four occasions. enthusiastic. Listeners wanted to know where they could purchase the Live in Las Vegas (Four Freshmen, Inc.) recording, and it led to a two-month is an 80-minute DVD of a 2006 gig in Detroit that had people wait- performance by The Four Freshmen at ing in line to get into The Crest the Suncoast Hotel and Casino. They Lounge. Kenton urged Wallichs to perform 23 selections, including release the record. Luckily for music Freshmen classics like “Day In, Day lovers everywhere, Wallichs relented, The Four Freshmen Out,”“Angel Eyes,”“Blue World” and “We’ll released the “Blue World” single, and The in person April 5 Be Together Again.” The current group has Four Freshmen were off and running, also penned new arrangements of standards in The Four Freshmen style, and this becoming one of the most influential and Raritan Valley program includes several like “Young and continuously functioning vocal groups in Community College Foolish,”“Something’s Gotta Give,”“If I Had musical history. You” and “September Song.”All of these cats The creative and distinctive vocal harmonies North Branch sing well, and are also fine instrumentalists, of The Four Freshmen have garnered them with Brian Eichenberger on guitar and lead critical acclaim, a legion of followers, and www.rvccarts.org vocals, Curtis Calderon on trumpet and have influenced many vocal groups since 908-725-3420 singing the second parts, bassist they came onto the scene. Suddenly, there Vince Johnson sings the third parts, and Bob were many jazzy vocal groups springing up the ’50s. There have been 22 different Ferreira plays drums and sings bass. This that owed their inspiration to the Freshmen. combinations of members during their 60 DVD is a fine representation of The Four , the creative genius of the years of performing, with the current lineup Freshmen of today. It can be purchased at Beach Boys, has frequently cited the Fresh- of Bob Ferreira, Brian Eichenberger, Vince The Four Freshmen website, men as his primary influence. Johnson and Curtis Calderon performing as www.the4freshmen.com. a unit since 2001. Bob Flanigan, who was the Throughout the 1950s, The Four Freshmen Even more exciting is to see The Four longest running member, having partici- had many chart topping albums, and suc- Freshmen in person. In recent years, they pated almost continuously for 44 years, still cessful singles like “Mood Indigo,”“Day By have not been frequent visitors to this area, is involved with the management of The Day” and “Graduation Day.”As musical but we in New Jersey will have an opportu- Four Freshmen, and calls the current lineup tastes changed, their record sales declined, nity to catch them at 7 PM on April 5 at “the best of them all.” but they remained a popular in-person draw. Raritan Valley Community College in North As recently as 2007, they won the Jazz Times Their complete story is told in the account Branch. For details and ticket information poll for Best Vocal Group. Over the years, the by Ross Barbour, Now You Know: The Story go to www.rvccarts.org or call the box office personnel has changed, with Ken Errair, and of The Four Freshmen (Balboa Books), at 908-725-3420, Monday – Friday 11 AM – then Ken Albers replacing Kratzsch during published in 1995, and available at 4 PM. It should be a gas of an evening! JJ Tell them you saw it in Jersey Jazz!

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Tick–tick-tick…or pling–thump-twang goes the music beater It took a horse cart to tote the world’s first metronome. Today it can be a virtual gadget. You can’t touch it, but you hear it tick and learn to keep the beat. By Fradley Garner Jersey Jazz International Editor

Ching!, tick, tick, tick, days were also conductors. Written direc- descriptives like medium up,or fast swing, tions for playing speed were rare, anyway. ballad, etc.,” says Chris, who is also associate Ching!,tick,tick,tick,… professor of at Columbia “But a century later, in 1816, early in the These are metronome sounds with four University. “Same with Latin jazz arrangers: Industrial Revolution, Johann Maelzel beats to the measure — a time signature of medium cha-cha, up-tempo Guaguanco,etc.” created the first metronome of the kind 4/4, with stress here on the first beat Getting back to the score: we’re accustomed to,” writes the late Robert (Ching!). A metronome produces a pulse Jourdain in his 1997 book, Music, The Brain A jazz composer writes something in an you can hear and/or see. It lays down a and Ecstasy: How Music Captures Our Imagi- “irregular” time of 7/8. That might produce steady rhythm in beats-per-minute (BPM) nation. “In short order, metronome mark- this pattern: Ching!,tick,tock,tick,tock, when you play a piece of music. It’s an ings went on to everything, new and old tick, tick,… Another pattern for 7/8 is invaluable composing and practice tool that alike. [BPM numbers were added] to the Ching!,tick,tick,tock,tick,tock, tick,… goes back hundreds of years. music of Haydn and Mozart…Never again Try reading either bar aloud and briskly You remember the pyramid-shaped classic would there be confusion about the proper (up-tempo) — keep repeating it without a metronome with an inverted swinging tempo!” break while you tap your foot in rhythm. pendulum. These days, synthesizer key- Except there was. Beethoven at first embraced Julius Hemphill (1938–1995), a reeds player boards have built-in audible timekeepers. Maelzel’s invention. He added metronome remembered as leader of the World Many newer metronomes are button- markings to the Italian expressive directions Saxophone Quartet, left a body of extended battery-powered; you can slip them into a (allegro, andante, moderato, etc.) in his works, works (Last Supper at Uncle Tom’s Cabin) as shirt pocket. They may beep, show a pulse of including all nine symphonies. After BPM- rich as anyone in jazz since Duke Ellington light, swing a needle on the beat and display marking all movements of the Ninth, and . To replicate the band’s the BPM number on a little LCD screen. A however, he lost the manuscript somewhere sound without Hemphill in it would be as few attach to your ear. One instrument in his cluttered loft. “He later marked a hard as recreating Duke’s sound without maker, Korg, claims its “MetroGnome” second score, then rediscovered the first,” Johnny Hodges. All the same, as his onetime MM-1 is the world’s smallest timekeeper. writes Jourdain. “Hardly any metronome sideman Marty Ehrlich points out, “Little larger than an earring,” it’s yours markings matched.” The composer threw up Hemphill’s “manuscripts had metronome for $19.99. Check ’em all out at his hands. “No metronome at all! Whoever markings and expressive markings, so we’re http://tinyurl.com/3e3po6. has the right feeling needs none; and who- not flying blind.” You can order metronome beats sent to ever lacks it, has no use for one — he will YOU CAN’T HOLD the newest form of your cell phone. You can even download a run away with the whole orchestra anyhow.” metronome in your hand because you can’t virtual metronome to your computer. Set it In our own times, Stravinsky, Ellington and touch it. The gadget exists only virtually. for all kinds of beat sounds at any tempo. Marsalis have taken metronome markings You see it and program it on screen. You More about that in a minute (or two). lightly in recording their own music. “BPM hear it, in whatever beat sounds you enter, The word metronome first appeared in markings are used for sight-reading charts over your computer loudspeakers. Many English c.1815, formed from the Greek for the first time, but professionals often models are offered on the Net. “Weird words metron = measure and nomos = vary the speed once they get to know the Metronome,” as Los Angeles animator David regulating. The earliest metronome, first tune,” Chris Washburne, the New York Johnston dubbed his creation, is “a program described in 1696, took a team of horses to trombonist and Latin jazz bandleader, that runs in Windows and functions as a cart around. It drew little more than gawks explained in an E-mail from the road. “Most timekeeper.” and guffaws because composers in those jazz composers use markings as well as

continued on page 30

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METRONOME continued from page 28

The inventor plays several instruments. He emphasized sound (I use ‘Bass Drum 1’), set out “to make the metronome that I had and set your custom measure to read been looking for,” he told me in an e-mail. “21211.” “That meant the ability to play weird time We’ll leave it there. Except to say that Weird signatures and be as customizable as Metronome is — hold that ticker — FREE. possible.”Weird uses any of some 50 “I wanted to share what I had created with different instrument “voices” to sound the others,” Johnston told me. “It gives great beats. Say you’re playing a jazz piece with satisfaction to have so many people use my five beats to the bar. Say the first and third program.” beats should be accented. “For this,” writes Johnston on his Web site, “you would set You can download it and ask tick sound 1 to be a basic beat sound (I like questions of the inventor at: ‘Side Stick’) and tick sound 2 to a more http://pinkandaint.com/weirdmet.shtml JJ

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Dan’s Den Milt Hinton’s Book Party

By Dan Morgenstern

Not since Johnny Hodges has “Isfahan” had it so good.

ometimes you feel that you are in the charming and elegant Sright place at the right time. Such was Jean Bach. The genial the case on February 7, when I found myself owner and chief engineer and Shelley Shier. © Photo by Hank O’Neal. at the Mishkin Gallery of Baruch College, of Nola Studios, Jim on Manhattan’s East Side. The occasion was Zack, introduced us to the celebration of the publication of Playing Wally Kane of multi-reed the Changes: Milt Hinton’s Life in Stories and fame, a delightful gent Photographs, a beautiful book lovingly who recognized many of compiled by our hosts, the husband-and- his studio colleagues on wife team of David G. Berger and Holly the walls. Maxson, and the opening of an exhibit of Hank O’Neal, man of the great man’s pictures. many roles, including I’m told the book was not received in time that of lensman (some- for my friend Joe Lang to review in this times under the pseudo- issue, but you should be reading about it in nym of Rollo Phlecks) May. I do want to note that David and was there, sporting a Holly’s relationship with Milt was a long beautiful sweater, as was and close one. It resulted in two earlier the ubiquitous producer books, Bass Line: The Stories and Photographs Jack Kleinsinger. And of Milt Hinton, and Overtime, and the speaking of producers, Holly Maxson and David G. Berger (co-authors) with Sandra Kraskin, documentary film Keeping Time: The Life, we were happy to see Director of the Sidney Mishkin Gallery. Music and Photographs of Milt Hinton. All Paul Weinstein and his are dedicated to the preservation of Milt’s lady. As for ladies, it was a Cohn and an unanticipated visitor from huge legacy of musical, storytelling and welcome surprise to encounter California, John Clayton. Warren and Joe graphic jazz treasures. (Full disclosure: I Pat Willard, up from Washington, DC. were no bandstand strangers, but neither wrote the foreword to Bass Lines, reprinted had worked before with the great bassist — But the really special presence was Mona in the new book.) and noted arranger and bandleader. Hinton, Milt’s widow, frail but pleased to be The gallery walls were lined with Milt’s greeted by so many old friends. The couple Impromptu encounters are never uninter- photos, many of which we’d not seen before met in 1939, when Milt was touring with esting but don’t always click. In this case, (he left more than 60,000 images), and most Cab Calloway and he went back to Chicago however, there clearly was a special of which, alas, were of people no longer for his grandmother’s funeral. Mona chemistry already at work by the time I with us. I was delighted to spot a vintage traveled with the band for most of the arrived, into the first set. They were on a mid-1950s shot capturing three jazz icons, 1940s. When it broke up, the Hintons settled Strayhorn kick, and Warren’s lovely tone happily all alive and well: Eddie Bert, Nat in Queens. Mona still lives on 113th Avenue, and peerless phrasing, perfectly abetted by Hentoff and Billy Taylor. A triumvirate of which has been renamed Milt Hinton Place. the strings, brought that gorgeous “Isfahan” spry octogenarians, Nat here with a tie and theme into full perspective — not since Memorable in-gathering as it was, what no facial hair, Billy pre-Afro, now post, and, Johnny Hodges has it had it so good. The made this early evening (called for 6 to 8 of course, Eddie just like himself. interpretation is an example of what Ruby but running close to 9 PM) truly special was Braff called “adoration of the melody.” The members of that trio were not on hand, the music. Cozily ensconced in a corner was but notable elders present included Georges a notable threesome that never before had The mood and tempo changed for “Rain Wein and Avakian, and the perennially played together: Warren Vaché, guitarist Joe Check,” a seldom-heard gem first recorded continued on page 34

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DAN MORGENSTERN | MILT HINTON continued from page 32 by Duke Ellington in 1942. The three masters had it right under their magic fingers — the tempo was more than brisk, but those changes were flying right on course. You can tell when musicians are pleased with what they’ve done, and that was obvious here. It struck me that these three are of shared vintage — Warren’s a ’51, John ’52, Joe ’56 — all grand cru, and totally fluent in a shared language of what we might call mature music-making, if it weren’t so filled with youthful spirit. These cats clearly enjoyed each other, and there was no resistance when David suggested an additional set. That brought us one of Warren’s rare vocals, on “I’ll Never Be The Same.” Many trumpet (in this case, cornet) players like to sing (even Wild did); I think it has to do Warren Vaché, Joe Cohn and John Clayton. © Photo by Norm Harris, with the Armstrong imprint. Warren’s no crooner, but he has that feeling, and I suspect he doesn’t do this unless he’s in a good mood. So were his co-conspirators. I doubt that there is a more creative and original improviser on the jazz guitar today than Joe Cohn, who was sporting a most becoming crop of whiskers — we’ll see how that develops. And John Clayton is a superb instrumentalist — in the early 1980s the bassist was a member of the Amsterdam (now Netherlands) Philharmonic Orchestra — and a master of the art of arco. He treated us to a couple of bowed solos that were a joy, and so were his plucked offerings. For me, seeing and hearing John is always a treat because I well remember my first encounter with him, when I was a judge at the annual Collegiate Jazz Festival at Notre Dame back in the 1970s, and John, a student at Indiana U., won not only best bass but also outstanding musician of the festival; maybe composer and arranger as well. Last year I © Photo by Holly Maxson. heard his son, Gerald, play some terrific piano, and John told me that the young man has decided to settle in New York, which is good news. All in all, that book party for Milt From the Crow’s Nest was the place to be that night. Maybe By Bill Crow somebody taped some of the great an Levinson told Herb Gardner about a newspaper review he saw music, but I suspect not. In my Dwith this rather ambiguous headline: IT JUST DOESN’T GET experience, such perfect moments often ANY BETTER! remain unrecorded, and maybe that’s ■ When Turk Mauro was on the band in 1976, they were the way it should be, if only to keep doing about nine weeks of one-nighters. During an intermission, some members of the us from staying home! JJ audience came over to chat. One of them asked, “Where did you play last night?” No one in Dan Morgenstern, a columnist for Jersey Jazz, the band could remember. Then they were asked, “Where will you be playing tomorrow?” is the director of Rutgers University Institute A chorus arose from the band members, “We don’t even know where we are now!” JJ of Jazz Studies in Newark and editor emeritus Bill Crow is a freelance musician and writer. His articles and reviews have appeared in Down Beat, The Jazz of Down Beat magazine. Review, and Gene Lee’s Jazzletter. His books include Jazz Anecdotes, From Birdland to Broadway and Jazz Anecdotes: Second Time Around. The preceding story is excerpted, with permission, from Bill’s column, The Band Room in Allegro, the monthly newsletter of A.F. of M. Local 802.

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Jazz Goes to School | The College Jazz Scene

By Frank Mulvaney JAZZ U

Rowan University marriage of music and lyrics when I hear it. on the campus in Wayne. So many were mem- Flutist Samantha McLeod gave us an orable, but this concert was really special. A FEBRUARY 8 — The thing that I like most about Rowan jazz concerts is the amount interesting Latin hard swing composition, student quartet of young men from , of creativity you experience. One has to “Constant Revision,” that allowed guitarist, Kansas and Pennsylvania opened the program. wonder what’s in the water in South Jersey. Matt Leftkowitz a chance to show his stuff. I would say that this group could be playing The well of inspiration seems bottomless. The ’s “Witchhunt” featured an the hottest clubs in NYC and everyone would program this evening was entitled “A Tribute outstanding extended solo by altoist Dave say they belong. The first tune that they played to Jazz Drums” with guest artist drummer Lackner. The variety was uninterrupted, as was “All the Things You Are” with beautiful Rich DeRosa, who teaches drums and arrang- next we heard a New Orleans style parade melodic improvisations from pianist Joshua ing at William Paterson. Rowan’s much- march by bass clarinetist Kevin Hrobos that Richman and tenorist Joseph Schmidt. This acclaimed Lab Band was on first. The 19- livened up this lengthy set. Special guest Rich was followed by a very impressive composition member ensemble includes flutes, bass clari- DeRosa then made his first appearance and from freshman bassist Jacob Webb entitled net, bassoon, tuba, violin and an assortment of played drums on his own arrangement of “Leaving Home.”While this was a ballad, mallet instruments. The sounds produced are “Caravan”(). The man is a true Jacob’s older brother Nathan demonstrated his endlessly fascinating and pleasing to the ear master who makes the difficult look so easy. considerable creative drumming skills with and intellect. Of the 11 tunes performed, nine He also dazzled us on the theme from “The just the right accents. Jacob really impressed were either composed or arranged by the Simpsons” (Danny Elfman) which put a big on “My Romance” as he did extended bowing students. exclamation point on a marvelous set. on the upright electronic bass. If you closed Intermixed with the ensemble numbers were your eyes, you would have thought he was The opening number was a lesser known Miles three imaginative two-minute snare drum playing the cello. The spotlight next shone on Davis composition, “Move” arranged by solos by the very talented drummers: Stefan pianist Richman as he delivered a masterful Professor Denis DiBlasio, which, after a piano Griffin, John Shahavitz and Brandon rendition of “Someone to Watch Over Me” opening, progressively added voices of Blackburn. Professor DiBlasio might have with only minimal support from his buddies. bassoon, tenor, guitar, percussion and finally called the program “Creativity Unlimited.” “My One and Only Love” featured tenorist brass with interesting xylophone accents. The Schmidt with brilliant playing through several second tune was a clever ballad composed by After the break, the traditional big band changes and clever interplay with the pianist bassoonist Dave Rocca with a violin intro and conducted by George Rabbi took the stage. and enthusiastic support from bass and sound dominated by strong saxes and the They opened with a big bold and brassy drums. The set concluded with a rousing other woodwinds. This was followed by Duke’s version of “Have You Met Miss Jones” version of the ever popular “Bye Bye Black- “Satin Doll” arranged by Nick Fernandez. Here (Richard Rogers) featuring excellent solos by bird.” The way the boys handled this standard we had some excellent drumming with brush- tenorist Matt Martin and trombonist Phil you would never have guessed they were es by Brandon Blackburn and exceptional Verespey. This was followed by a great Basie- young college students. I hope I get a chance bowing by bassist Jeff Reiker. Violinist Frank style arrangement of “Brush Taps” (Louis to hear this group again soon. The large crowd Lakatos gave us an intriguing piece called “Mi Bellson) on which the trumpet section made applauded loudly for quite some time eliciting Frigorifico” that had a classical type prelude very strong statements. “There Will Never Be big smiles from these gifted musicians. which morphed into rousing big sound, Another You” (Harry Warren), a lush, full- rhythmically suggesting middle-eastern bodied slow swing, took us into the home Four years ago, I had the pleasure of seeing influence. The spirited funk tune “Cold Duck stretch. To cap off a great night of ensemble guitar master Bucky Pizzarelli and fellow Time” (E. Harris, arr. Nick Fernandez) jazz, Rich DeRosa got behind the for guitarists and Frank Vignola in featured fine solos by pianist, Eric Aldrich, his arrangement of “Drummin’ Man” (Gene this very same venue. At the time, I thought it altoist, Ryan Wakefield and trombonist Matt Krupa) that presented an opportunity for the was one of the finest concerts I’d ever had the Mazza. Next we heard an amazing song from conductor to demonstrate his marvelous pleasure of witnessing. I thank the Lord for the pen of retired faculty member, Ed Avril. virtuosity with the trumpet. allowing them to come back. I am not going “It’s Too Good to Be True” was beautifully out on a limb by saying that these guys are delivered by vocalist Mike Trotta. This vocally William Paterson University three of the finest guitarists on this planet. challenging tune reminded me of Strayhorn’s FEBRUARY 10 — In the last eight years, I have Bucky and Howard play rare seven-string “Lush Life” and “Something to Live For.” It attended 40 to 50 Jazz Room concerts at the instruments allowing them to do things that may seem like exaggeration but I know a great beautiful Shea Center for the Performing Arts lesser players can’t imagine. Frank uses an continued on page 38

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COLLEGE JAZZ continued from page 36 professional concert dedicated to Shaw’s music Herring, just 43 years old, has just joined the and I knew how challenging to the listener and faculty at William Paterson, filling a spot amplified acoustical steel string instrument the player it can be. Good luck kids! Well, I vacated by Don Braden, whose career took and can play in the style made famous by the will tell you I was shocked at what these him away from Jersey too often. You could tell legendary Django Reinhardt. Octogenarian youngsters pulled off. The first selection was from the first few notes that Vincent was a Bucky told us that he still practices every “Zoltan” and I was quickly impressed with the heavy hitter. The opening number, which title morning. What we experienced this afternoon group’s cohesiveness. Trumpeter David I failed to catch, served to warm up for the was three brilliant musicians having a Pomerantz and tenorist Alex Chilowicz crew, introducing the players and previewing conversation with each alternately playing complemented each other perfectly and their remarkable skills: Anthony Wonsey on baseline, rhythm and lead. When they opened generated beautifully complex harmony that piano, on bass, Jonathan Blake on with “If I Had You” we knew we were in for a would surely have pleased Woody. The tune drums and Scott Wenholt on trumpet. Mr. rare treat. They really kicked it up a notch with opened and closed with a military march beat, Herring proceeded with the seldom-heard “Three Little Words,” playing at a blistering and drummer Zach Pence provided the driv- ballad “My Ideal,” which gave us a chance to evaluate his tremendous soaring alto tones. tempo as hands were mere blurs. Howard ing force for this and the subsequent tune. Trumpeter Wenholt added some fine senti- called the next tune: the beautiful “Snowfall” “Moontrane” was my favorite of the set ments and pianist Wonsey made some pointed which we were informed was the Claude because the group was so well balanced with statements. The group really hit its stride with Thornhill Band’s theme song. This is a the rhythm guys working together like a trio of beautiful ballad with fingering only a master Vincent’s original “Mr. Wizard,” a solid hard old pros and the horns masterfully presenting bop tune played at high velocity. Audience can attempt and it was simply gorgeous. The the fundamental ideas of the piece. But it was reaction throughout the concert reflected boys did not know what they were going to the marvelous long piano solo by Billy Test knowledgeable fans who appreciate outstand- play when they came on stage, so we had that really demanded notice as his hands flew ing musicianship and intellectual stimulation. something of a musical mystery trip. Next we across the keyboard with blinding speed. The “Timothy” was another original with a heard the compulsory Ellington tune and this mandatory change of pace ballad, “Theme For beautiful quiet opening that transformed into afternoon it was “Mellow Tone.” Bucky called Maxine,” permitted guitarist Will Donavan to a hard swing as each of the players gave us the next one: “You’re Clear Out of This World” demonstrate his nimble-fingered advanced cause to marvel at their talents. No one cared and we heard continuous “ahs” from the technique. The final selection of the set was about the clock. The band seemed to be audience as each player delivered a batch of “Stepping Stone” and once again bassist Bill enjoying the gig and ran considerably over the delicious licks. Frank played a wonderful Thomas laid down a solid track on which the allotted time as we heard another original: classical-style extended intro to “When a Bee group could run. There was plenty of gas in “Elation.” Can one have too much musical art? Lies Sleeping” and just wowed us with his the tank as the boys drove us home, reminding I’d have stayed for hours. Vincent and his guys incredible technique. “Tangerine” was a great us of their exceptional talents and their feeling gave us one more musical present to take example of how brilliant improvisational for very sophisticated jazz. The audience home in our memories and we gave them musicians can pick up each other’s ideas and recognized an incredible performance for much warm sustained applause. give them a twist. This wonderful afternoon of mere freshmen and awarded them with music came to a conclusion as Bucky led “Easy tumultuous applause. Rutgers University to Remember” and we certainly will long The featured professional this afternoon was FEBRUARY 26 — The first RU jazz concert of remember this magnificent concert. For me, it the hard bop/post bop alto saxophonist the season was devoted to the music of Phil was almost a spiritual experience. , who brought along the other Nimmons, Canadian teacher/mentor of ensemble director Ralph Bowen. The first tune FEBRUARY 24 — I made excellent time getting members of his hard-swinging quintet. Mr. could have been selected just to please my to the Wayne campus from my taste. “The Dorian Way” is a deep, home in Westfield. You can’t do rich, full-bodied orchestration much better than 45 minutes. If I with wonderful harmonies and lived in the neighborhood I’d Riverboat Swing 2008 layers of sound in a complex probably haunt the place. The Reserve the Date samba rhythm. Tenorist Ryan opening student group was a Oliver and pianist Barry Spatz sextet of five freshmen and a August 24, 12 noon contributed excellent solos while sophomore that included three 908-852-2926 for info drummer Rudy Royston provided Jersey boys. Texas, Kentucky and the driving beat and explosive Pennsylvania were also repre- accents. The second tune was a sented. The group is known as the slow blues entitled: “Muse the Chamber Jazz Blues” that saw fine solos from Ensemble and naturally specializes guitarist Seth Johnson and Sarah in the music of trumpet great Mr. Matheson on bari sax. The brass Shaw. I had recently been to a was generally subdued and finally

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let loose near the end of the piece. Nimmons’s composition dedicated to “Quest” is a wonderful ballad that had the memory of trombone monster Spring College Jazz Calendar outstanding tenorist Matt Janiszewski . Here David Miller RUTGERS UNIVERSITY PRINCETON UNIVERSITY on his feet throughout while the delivered exceptionally strong, clever Mar. 25 West Point Mar. 29 Pianist/Composer trumpet section switched from flugels, statements and trumpeter Curtis Jazz Knights Omar Sosa (Grammy Nominee), Richardson to muted trumpets, to unmuted and Taylor added impressive ideas on this Apr. 15 University Concert Jazz Ensemble Auditorium, 8:00 PM back to flugels as they dominated the wailing ballad to a rock beat. The Apr. 21 University Jazz Apr. 12 Juilliard Jazz background theme. Closing out the concert concluded with “Bird Burger” Ensemble II Orchestra & University set was playful swing tune called a lively and melodic up-temp tune Concert Jazz Ensemble “The All performances are at Next Generation of Jazz,” “Threshold” that had a bit of a funky on which trumpeter, Greg Rivkin PM 8:00 at the Nicholas Music McCarter Theatre, 7:30 PM flavor to it. Trombonists Andrea displayed his virtuosity and we had Center on the Douglass May 10 University Concert Gonella and James Borowski along some interesting “call and response” College campus. Free admission and parking. Jazz Ensemble and guest with altoist Eric Neveloff chipped in exchanges between him and tenorist soloist, Richardson Auditirium, Apr. 22 & 24 Chamber Jazz with great solo on this one. The Oliver. 8:00 PM. $15 Ensembles 8:00 PM Schare mellow harmonies of “Think Nice I would bet that very few of you have Recital Hall (next to Nicholas). ROWAN UNIVERSITY Thoughts” opened the second set on Free admission and parking. ever heard of Phil Nimmons. He is one Apr. 8 Small Jazz Groups, which we heard a marvelous flugel- of many terrific big band composer/ NEW JERSEY CITY Boyd Recital Hall horn solo from Donald Malloy and arrangers who are not well-known but UNIVERSITY Apr. 10 University Concert fine guitar work by Grant Gardner. get a fair hearing in college ensemble Apr. 21 & Jazz Ensemble and With a return to ballad mode, we next University Concert Jazz Band, Pfleeger Concert Hall, concerts. You don’t know what you are heard “EEE-Suave” a long meandering Ensemble, Margaret Williams 8:00 PM missing if you sit home and watch piece on which pianist Andrew Theatre, 7:30 PM All four events are free cable. There is simply nothing that PM Michalec contributed a fine solo and Apr. 28 Spring Jazz Bash admission, 8:00 . compares with live jazz. JJ (small ensembles), Ingalls Eric Neveloff was sensational on alto as Recital Hall, 7:00 PM if the late/great Johnny Hodges might I invite your comments, Admission is $12 for each of have played it. The magnificent questions and suggestions, the three events. trombone section was featured on Mr. [email protected]. Upstazz

Jazz Tomaso’s at Tomaso’s 163 Old River Road Edgewater, NJ 201-941-3000

LIVE JAZZ Tuesday through Saturday starting at 8PM With FINE DINING AND FULL BAR JAZZ JAM on Wednesdays — Don’t miss it! Website in progress — Please call for music schedule ns

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Noteworthy to always break down doors; there’s music “Trum-petter” founded his own record label, inside the rooms, too.” Sula. Comes time for his next album, he plans to open a Web link entitling buyers to Newsspots from all corners of the jazz JOHANNA ADORJÀN writes in Frankfurter download seven or eight tracks free. Reason: world gathered and edited by Frad Allgemeine about a grand aunt who scorned “I think the artist should decide when and Garner and the JJ staff. Readers are modern technology. She was pianist Jutta how to give away his music.” welcome to E-mail items of interest that Hipp, the first white woman and European will still be timely a month and a half instrumentalist to be signed by the Blue Note DARMSTADT JAZZINSTITUT in Germany has later, to: [email protected]. label. Hipp moved to New York in late 1955 opened a temporary branch in Manhattan, TWENTY-FIVE YEARS AGO this January, and subbed for the touring house pianist where director Wolfram Knauer is working pianist Keith Jarrett formed his trio with Marian McPartland at the renowned Hickory until mid-May. Columbia University bassist Gary Peacock and drummer Jack House, in a trio with bassist Peter Ind and appointed Knauer the first non-American DeJohnette. They recorded “The drummer Ed Thigpen. She recorded with the Louis Armstrong Professor of Jazz Studies. Masquerade Is Over” without rehearsal or tenor sax giant in 1956 and was He’s teaching “Jazz in Europe” and organiz- any arrangement. Who could know this warmly received at that year’s Newport Jazz ing special events such as a JazzTalk with the partnership would survive for a quarter Festival. Within a couple of years she had German composer and multi-instrumental- century? To celebrate, the German ECM stopped playing altogether. Now a graphic ist Gunter Hampel and possibly a concert label has released My Foolish Heart,a CD artist, Hipp supported herself as a seamstress with DRA, a trio led by German vibraphon- box containing the first sessions from 1983, in Queens. Johanna Adorjàn searched the ist Christopher Dell. Knauer’s Jazz News,a with the trio playing mostly standards plus Web for Aunt Jutta, while Hipp looked up prime feed for JJ’s Noteworthy column, may some freer improvisations. Over all those her niece in an old diary of her mother’s she be e-mailed “directly from an apartment years, reports the San Francisco Chronicle, found in a bureau drawer. The pianist died of overlooking Harlem.” Do hope so, for our the only other musician Jarrett has worked pancreatic cancer in April 2003. readers’ sake. with is drummer Paul Motian, who subbed NILS PETTER MOLVAER blows a Bronx rasp- MIKE ZWERIN, the trombonist and syndi- for DeJohnette in 1992. Recording standards berry at Internet music pirates and uncaring cated European jazz critic, reports the clos- for a musician of Jarrett’s standing was “a Net users. The Norwegian trumpeter learned ing of Les 7 Lezards, a cozy basement club radical notion,” writes the Chronicle. And a that a Russian Web site was offering all his in the Paris Marais quarter. The room held gem from Jarrett: “Jazz musicians don’t have recordings for just $2.00. “My CDs take a lot about 55 and was a landmark. Owner of financial input,” Nils Caroline Volcovici went scouting for a new Petter told the German venue where she can lower the cover charge, daily Berliner Zeitung. making it up in food and drink. Zwerin also ANNOUNCING The trumpeter says the Duc des Lombards was to reopen Bria Skonberg and Jim Fryer’s debuted on the in February, and a new spot, Les Disquaires, Munich-based label has opened near the Bastille, with swinging BORDERLINE JAZZ BAND ECM. But four years jazz before midnight and early AM April East Coast Tour! ago, seeking to protect discotheque. Mike’s articles are JJ We’ll be celebrating the recent release of our first CD, all rights to his music, sometimes rerun in Jersey Jazz. OVER EASY, on the OKOM label! Many of the finest East Coast musicians will be joining us! APRIL 16, 7:30PM APRIL 21,8PM, The Bickford Theatre, Quinnipiac Univ., Hamden CT Morristown NJ WWW.MORRISMUSEUM.ORG (203-582-8937) APRIL 23,8PM, APRIL 17, 10:30PM Ocean County College, Toms River NJ The Garage, West Village, NYC HTTP://WWW.OCEAN. WWW.GARAGEREST.COM EDU/CAMPUS/ HELP WANTED: Project Manager, FINE_ARTS_CENTER/ APRIL 19,8PM SCHEDULE.HTM Potomac River Jazz Club, American Jazz Hall of Fame Website Rockville MD The AJHOF is a joint venture of the NJJS and the Institute of Jazz Studies at WWW.PRJC.ORG APRIL 20, Rutgers University. Since the AJHOF’s founding in 1983, 241 jazz greats 2PM, Tri-State have been inducted. As envisioned, the Website will include biographical Jazz Society, Brooklawn NJ profiles, photographs, selected discographies and biographies, links to WWW.TRISTATE related websites and sound clips. The Project Manager will work with NJJS JAZZ.ORG personnel and IJS staff to compile and organize the content. NJJS Webmaster Steve Albin will create the site and handle the technical management. Basic computer skills and knowledge are needed. Interested parties please E-mail [email protected], or call NJJS president Andrea Tyson at 732-356-3626.

Go to www.jfryer.com for all details.

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9th Annual Central Brooklyn Jazz Festival: Improvisational Brooklyn — In the JAZZ Tradition Promotions BROOKLYN, NY — The Central American Music at Brooklyn Brooklyn Jazz Consortium/ College, Brooklyn Historical My experience and CBJC presents its 9th Annual Society, Concord Baptist Church Central Brooklyn Jazz Festival of Christ as well as Brooklyn’s contacts can work for you! from March 29 – May 2, 2008, popular entertainment venues: with concerts and events in Fort Sista’s Place, Solomon’s Porch, Radio Promotion Greene, Prospect Heights, BAMcafe Live, Jazz Spot, Marketing & Mailing Clinton Hill, Brooklyn Heights, Williamsburg Music Center, Midwood, Williamsburg, Crown Sugar Hill Restaurant & Supper Jazz Club & Tour Support Heights and Bedford Stuyvesant Club and Jazz 966 and more. sections of Brooklyn. Highlights this year include an Please call or write: A.J. Julian Festival calendar of events is award presentation to legendary available on the Internet, jazz stylist Nancy Wilson; swing tel: (941) 255-9881 | fax: (941) 255-1350 www.cbjcjazz.org/or by phone, dance party with Ray Abrams Email: [email protected] 718-569-1896. Big Band featuring vocalist 12654 S.W. Doug Drive This year’s festival theme is, Donna Tulivu Cumberbatch; Lake Suzy BROOKLYN — In the JAZZ famed jazz photographer Chuck Arcadia, FL 34269-3756 Tradition. “Tradition makes Stewart displays his works at www.woodyherman.com reference to our ancestors and Afroarts Design gallery; film the cultural legacy they left screening of “The Music Inn” Over 35 years jazz promotion & marketing. behind. Eubie Blake (in the with Randy Weston; Jazz great 1920s), and Betty Houston Person; Ray Anderson Roche (in the late 1930s), Max & The Versatiles featuring Jann Roach, Cecil Payne, Chief Bey, Parker at Janes United CTSIMAGES |The Face of Jazz Willie Jones, Methodist Church; history of LICENSING • RESEARCH • APPRAISALS and C. Scoby Stroman (in the Brooklyn Jazz lecture/jam late 1940s and beyond) paved a session with The New Cookers; path for the jazz legacy of Latin Jazz with Arturo O’Farrill Brooklyn,New York.Today,in featuring Steve Turre; a special 2008, we must study the Jazz tribute to the life of Brooklyn’s legacy of Brooklyn and use it to native son . shape the future — ‘Music is the Central Brooklyn Jazz healing force of the universe Consortium, founded in 1999, is (Albert Ayler),’” said Jitu Weusi, an amalgam of jazz musicians, Chairman of Central Brooklyn entertainment venues, patrons Jazz Consortium. of the music, community and This festival brings together the faith based organizations. Over borough’s creative communities the past eight years, they have (literature, film, photography presented an annual spring and education) with Jazz. festival, established a Brooklyn Programs will be held at Jazz Hall of Fame, and produced Weeksville Heritage Center, yearly programs of events and Dr. S. Stevan Dweck Center for activities that feature local jazz Contemporary Culture at musical talents. CBJC is a Brooklyn Public Library's nonprofit organization Avery/CTSIMAGES.COM © Ray Central Branch, Medgar Evers committed to preserving, Photo Archives include vintage Jazz, Pop, Blues, R&B, Rock, Country/Western, Radio Personalities, Big Bands, Vocalists, Hollywood and more. College, Bedford Stuyvesant promoting and supporting Restoration Corporation, jazz music, musicians and • PHOTOGRAPH RESEARCH • LICENSING FOR COMMERCIAL USE • FINE ART LIMITED EDITION PRINTS • GALLERY EXHIBITIONS Institute for Studies in programs. JJ • RECORD & PHOTOGRAPH APPRAISALS

WWW.CTSIMAGES.COM e-mail: [email protected]

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PAULA: Mostly by listening to old records, and get- Yours For ting ideas for songs to learn. When you’re starting A Song out, it’s natural to go with the most obvious songs, like “Someone to Watch Over Me,” but then I By Laura Hull started learning more obscure songs that people NJJS Music weren’t as likely to hear. I’m always drawn to the Committee Member lyrics of the songs. LAURA: I know when I first came back to aula West brings her eclectic music I too was armed with a half-dozen Psongbook of jazz and pop standards, sang at small clubs and bars, and standards to the South Orange hotels, too. I was looking to get better acquainted with musicians. Was this true Performing Arts Center on for you? Saturday, April 12 at 8PM. Though she’s based in San Francisco, she PAULA: It’s important to a vocalist’s development frequently comes to the northeast, with to work with people that want to work with you regular appearances at the Algonquin Hotel’s and support what you’re doing, and aren’t only in it famed Oak Room. She’s been compared to for the paycheck. I began working with pianist Ken Nina Simone and Cassandra Wilson, and her Muir and we took the time to develop arrange- work in Manhattan has led to three straight ments, and worked together for a long time. Then I New York Nightlife awards as “Outstanding started working more with people from the east venues, did you give up the restaurant and Female Jazz Vocalist.” The New York Times’s coast, from New York, who would come to work bar venues entirely? with me at major performance venues. Stephen Holden has been particularly vocal PAULA: Yes, because as you know when you work in his praise for West, singling out her LAURA: So how did you make the transition a performance venue, you have to have exclusivity. “thickly textured voice [that] has ripened from small clubs and restaurants to I couldn’t work the Herbst Theatre or a major jazz into a driving expressive force” and an “ever- performance venues? festival, and then the next week work at a bar deepening feel for the blues.”West’s reper- where there’s no cover charge. toire has broadened as well, embracing PAULA: I was working a lot; sometimes I’d work country (Johnny Cash, Hank Williams), seven nights. I’d be working at the really high end LAURA: So was that the defining point for Cole Porter standards, and frequent dips into hotels, like the Ritz Carlton Hotel, and people would you, do you think, when you elevated Bob Dylan’s songbook. She’s all about the be having dinner and maybe not able to really listen yourself and your career? because other people were talking, and so I started music. I had the pleasure of chatting with PAULA: You know it just kind of happened. Honest- developing a following. At some point, you have to Paula and getting acquainted over the phone. ly, I didn’t set out thinking I was going to be calling take the plunge and decide what kind of artist you myself a singer. When I first started I felt I needed a LAURA: Tell me — at what age did you know want to be in your town. Do you want to be known creative outlet and luckily I found something I was you could communicate through music? as someone at performance venues or do you want passionate about, and the passion wound up being How did you get started? people to say I can see her every week somewhere. something I was able to make a living at. PAULA: I always sang to the radio and I knew I I was still waiting tables then, so I could make the didn’t have an offensive voice but I didn’t start choice. I didn’t want to just sing, covering Whitney LAURA: I thought I read somewhere that you singing until 1988. I never sang in a choir or anything Houston songs; I wanted to sing music I was pas- were singing rock ’n’ roll at some point? like that. I moved from San Diego to San Francisco sionate about. I got to the point where I was work- PAULA: No. Now, actually, I don’t just do what is at the end of ’88, and I waited tables for a living. ing at the Plush Room, a major cabaret room which the classic American song book anymore. Then I began sitting in at jam sessions singing is now closed, and I started doing long runs — standards, and I started taking some lessons. sometimes twice a year for 5 to 10 weeks and that LAURA: Yes, I read that you sing the music of was where you would come to hear me sing. Aside Bob Dylan, Brian Wilson and others, mixing LAURA: What was the scene like for you in from that I would wait tables and hopefully get it up. Tell me about that. San Francisco? How did you find the venues some other gigs. I began to travel too. and audience there? PAULA: Yeah, it’s too limiting to me now to sing LAURA: Now, the Plush Room was a cabaret just songs from the ’20s, ’30s, ’40s. I also feel that PAULA: I love San Francisco as a city, the attitudes room, so you had to put butts in the seats. the songbook has expanded to include this music of the people here are progressive and liberal, but — and these songs have been around for now 50 I didn’t move here specifically for music. When Did you find that challenging? years, give or take a few years, and they are I first started singing, I worked as often as I could. PAULA: I think everything is challenging, but I had classics now. I love doing it. I just felt I was too I began gigging in ’90-’91, just singing in hotels developed a following, and it wasn’t as difficult for limited to just sing Cole Porter and Rodgers & Hart and restaurants, just singing whenever I could so me as it was for other people. now. Now my program consists of standards but I could improve. LAURA: At the point that you decided to take half of it is incorporating Bob Dylan, Hank Williams, LAURA: How did you build your repertoire? this risk and move toward the performance Brian Wilson and Elvis Costello.

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LAURA: What grabs you about the material you sing? PAULA: I’m really drawn to lyrics. I want to take people to different places in a show, with ballads, songs that really swing, up-tempo numbers, creating different moods and keeping it varied. Now I’ve been working with pianist George Mesterhazy, who is a wonderful arranger. We just have a really good rapport with each other, and when we’re choosing and deciding on songs, we get really excited about our choices.

LAURA: In what formation do you prefer to play? PAULA: My favorite is a quartet — with piano, bass, drums and guitar. George on piano, who worked with Shirley Horn, guitarist Ed Cherry, who worked with Dizzy Gillespie, bassist Barak Mori who worked with Anat Cohn, and on drums, who worked with Freddy Hubbard. This is my group. We get along really well and have fun on and off stage. LAURA: Do you ever use the services of a director for your shows? P.O. Box 995 • Easton, PA 18044-0995 PAULA: No, only George as musical director. I think we’ve done okay. I go out to listen to a lot of music myself and that’s a good education. We’ve really grown and make the show stronger and better all the time. It’s always Presents important for me to have growth. I want people to come back and say that was even better than last year. LAURA: Do you have a community of singers you hang out with? Constitution PAULA: Not on a regular basis. Most of my friends are not musicians. Wesla Whitfield is a friend. Jazz Band LAURA: Do you do master classes when you tour? PAULA: I haven’t before but I am doing one in St. Louis. I’ve never really Terrific and been a teacher, but I’m looking forward to it. Dixieland Jazz Standards LAURA: Is there a geographic locale where you like to perform? How long is your show? Sunday, April 13, 2008 PAULA: I like to perform for people who like what we’re doing. I’d rather be in a room with fewer people who really enjoy what we’re doing than a room full 2:00 – 5:00PM of people who don’t look like they’re having a good time. My shows are usually 70 minutes long. American Legion Hall, 217 N. Broadway Wind Gap, PA 18091 LAURA: What’s your favorite tune? PAULA: I don’t have one tune as a favorite, but there are a lot of songs I like. LAURA: Was there one moment in your life when it all crystallized PJS Members~ $18 for you, when you knew this was the right thing to do, that you are a Others $20 Students $5 really good singer and feel good about it? Food and Drink Available PAULA: I’m still trying to grow and improve all the time. When it got to the point where I was waiting tables at 6 AM and making international phone calls, Tickets available at the door or send SASE to: taking faxes in between taking people’s orders, and asking for a lot of time off, I PENNSYLVANIA JAZZ SOCIETY realized then that waiting tables was getting in the way of singing. That’s when I decided to take the step and become a full-time performer. PO BOX 995 EASTON, PA 18044

LAURA: SOPAC is a beautiful space — you’re going to love it. Have a great gig. JJ Info: 610-740-9698 Paula West brings her show to the South Orange Performing More info: www.PaJazzSociety.org Arts Center on Saturday, April 12 at 8PM. For tickets, call 973-313-2787 or visit www.sopacnow.org. or e-mail: [email protected] Hey, don’t forget to applaud! May 18 – The Midiri Brothers 2 – 5PM American Legion Hall – Wind Gap, PA Laura Hull is a vocalist and music consultant serving the tri-state area. Visit her on the web: www.LauraHull.com

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one might expect from Dave Frishberg, one where with Fogel handling the former, and Hixson the Other Feather ties together a string of sports clichés to latter. The selection of tunes on this program is Views wonderful effect. Shelly Berg, who plays simply simply wonderful. They have dug a bit below the terrific piano on the majority of the tracks, provided surface to come up with ditties that are not over By Joe Lang most of the arrangements. Feather also happens to done, and, in some cases, sadly neglected. Their NJJS Music be a damn fine singer, affording her the luxury of chemistry on the duets at times recalls Steve and Committee Chair having her words sung in the precise way she Eydie, and at others and Buddy Clark. intends them to be sung. This is a perfect disc to Fogel is definitely a gentleman who has listened to It’s time to face another put on when you need an intelligent pick-me-up. a lot of Sinatra, while his voice reflects at different stack of CDs that are (www.jazzedmedia.com) times both Steve Lawrence and Julius LaRosa. not stocked by NJJS, and let you know about the Hixson sounds nothing like Eydie Gormé, but sure best of them. ■ Here with You (Libby York) is the latest has more than a touch of Doris Day, although she is release from vocalist LIBBY YORK, a singer who ■ LORRAINE FEATHER is a unique singer. She somewhat jazzier in her phrasing. One word is calls to mind the classic sound of sultry voiced primarily sings songs that have self-penned lyrics, sufficient to describe all of this — delightful! female jazz vocalists from the 1950s. She is not frequently attached to jazz tunes by the likes of (www.maudhixson.com) simply a throwback, however, as she brings a and Duke Ellington, but also, as is the freshness to the standards that constitute the 11- ■ Most music fans who have been listening to the case with Language (Jazzed Media – 1032), she song program. Having subtly hip arrangements by right music over the last 15 to 20 years are aware collaborates with more contemporary musicians. guitarist Howard Alden is a big plus. The team of the touching story of NANCY LA MOTT. She Whatever the source of her inspiration, she is a deft backing York, in addition to Alden, is Warren Vaché died at too young an age from cancer, just when lyricist, especially good at exploring the humor in on cornet, John Burr on bass and Vanderlei Pereira her career was really taking off. Her recorded occasions, situations and institutions. A case in on drums and percussion. Three tracks, “For All We legacy is not large, but the demand for new point is the opening track, “Traffic and Weather,” in Know,” “A Beautiful Friendship” and “Azure Te (Paris material from her many enthusiasts inspired two which she and Tierney Sutton team up to describe Blues),” are exceptions, as on these she has the close friends of hers, composer David Friedman, the inevitability of hearing the traffic and weather sole backing of guitarist Russell Malone, who is and disc jockey Jonathan Schwartz, to collaborate reports being combined on the radio. There are few outstanding. The balance of the tracks, “I Love on making available private recordings that La Mott of us who would not have their funny bone tickled Being Here with You,” “The Day the World Stopped had given to Schwartz, ones that Schwartz had by “Where Are My Keys,” a song that perfectly Turning,” “Walkin’ My Baby Back Home,” “You Go to played intermittently on his radio program, as well captures the frustration of having difficulty finding My Head,” “But Beautiful,” “Look for the Silver as recordings taken from the many appearances your car keys, especially when you are in a hurry. Lining,” “The Things We Did Last Summer” and she made on Schwartz’s program. The result is a There are several people I know who might “Flamingo,” have fine vocalizing by York, and two-disc set titled Ask Me Again (Midder Music consider adopting this as their theme song, myself wonderfully supportive playing from the cats on the – 008). While La Mott was not a jazz singer, she did and my wife included. She can also be poignant, as sessions. Two tracks deserve special attention. “The have some jazz influences in her arrangements, and she shows in “I Love New York at Christmas,” and Day the World Stopped Turning” is a fine tune by had a special something that so many singers lack, “In Flower.” “Hit the Ground Runnin’” is a lyric that Buddy Kaye and Phil Springer that had, until now, the ability to get to the heart of a lyric in a way that only been recorded by . It sounds truly touched those who heard her. Her long-time like a song from a film noir flick. “Walkin’ My Baby associate, pianist Christopher Marlowe accompanies Back Home” has a vocal contribution from Vaché, her on most of the 20 tracks. This album is a superb who adds a wry touch of humor to the proceedings. sampling of the La Mott oeuvre. The title tune is a I receive many new albums by female vocalists rarely heard gem from the brothers Gershwin. Don Braden each month, and many are far from memorable. Other selections that stood out for me are “Killing tenor/flute Here with You is one I expect will find itself in my Time,” “Right As the Rain,” “Moondance,” “The Tomoko Ohno player quite often. (www.libbyyork.com) Music Makes Me Dance,” and the combining of two Sondheim songs, “No One Is Alone” and “Not While piano ■ Last month, I wrote favorably about a CD by I’m Around.” It’s nice to have some more sounds vocalist Maud Hixson. Now I want to hip you to her available from this charismatic and talented singer. prior disc, Let’s Not Be Sensible! (BECCA – bass (www.NancyLaMott.com) TimGivens 3003) a duo recording by MAUD HIXSON and ARNE FOGEL. This album contains 14 fun-filled ■ Released simultaneously with the above CD set Nick Scheuble tracks, with each of them taking three solo turns, is a DVD that collects 24 live performances of drums and performing duets on the other eight. Hixson’s NANCY LA MOTT, I’ll Be Here with You solo efforts are on “Everything I’ve Got,” “Rules of (Midder Music – 101). These performances cover Friday April 11 the Road” and “I’m Way Ahead of the Game,” while the period from her early performing days in San Watchung Arts Center Fogel takes the attention on “Here’s to the Losers,” Francisco in 1978 through a December 4, 1995 18 Stirling Road | Watchung NJ 07069 “When I Take My Sugar to Tea” and “A Cockeyed television appearance, just nine days prior to her Optimist.” Jointly they assay “I Won’t Dance,” “The death. What is most striking in seeing her perform 8:00 PM • Tickets $18.00 Lady’s in Love with You,” “Love Won’t Let You Get is the vibrancy and humor she brought to a stage. Tickets available at (908) 753-0190 Away,” “Fascinating Rhythm,” “How Do You Like You get a taste of a less inhibited performer than is www.watchungarts.org Your Eggs in the Morning,” “Thanks for the apparent from her studio recordings. While the or at the door Memory,” “How Are You Fixed for Love” and a finely television appearances are fun to see, it is in a club Get $5 off with purchase of tickets conceived medley of two Cahn/Van Heusen songs, that La Mott really was at her best, interacting with to 4 or more concerts in the 2008 “Let’s Not Be Sensible” and “Call Me Irresponsible,” her audience in a way that seemed to energize her. WAC jazz series with subscription option. continued on page 46

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OTHER VIEWS quartet of Duke Ellington on piano, Joe Pass on ■ Dallas pianist BRIAN PIPER is a cat with chops guitar, Ray Brown on bass and Louis Bellson on galore. His second release on 90th Floor Records continued from page 44 drums. This affords the viewer a fascinating look at TerrrRIFFic (90th Floor – 11920) is terrific. He You get to see not only her evolution as a the interaction between the musicians as they ease has as his partners for this 11-song program bassist performer, but the ways that increased success led into each selection. It is particularly fascinating to Lynn Seaton and drummer Jason Thomas. Piper is a her to alter her appearance from club casual to watch the intensity of Ellington’s playing. He is con- dexterous gentleman at the keyboard, unpredict- sistently impressive as he solos with great percus- spotlight chic. The essence of what the DVD gives able, but winningly so, and always laying down a sive strength, and unbounded imagination. Of you, however, is that she was a gifted singer who path that lights up the imaginations of his accom- course, he is in fine company, the kind of group that also had that special ability to really connect with plished band mates. The selections are from the compels each member to maintain a high standard an audience. I highly recommend getting a copies standard songbook, “Secret Love” and “Body and of musicality and creativity. There are two selec- of both these new releases. Soul;” from the world of Ellingtonia, “C Jam Blues,” tions, “The Brotherhood” and “Carnegie Blues” that (www,NancyLaMott.com) “Caravan” and “Prelude to a Kiss;” from the minds are not on the released album. A welcome bonus is of jazz masters, Joe Henderson’s “Recordame,” ■ There is a new DVD release in the series that the inclusion of an informative interview with Ray ’s “All Blues,” ’s “Five comes from the archives of Norman Granz, and it is Brown. For those who wonder what it’s like to be at Brothers,” ’s “Up Jumped Spring” well worth your attention. DUKE ELLINGTON at a recording session, this DVD will get you on the and Chick Corea’s “Armando’s Rhumba;” and a the Cote d’Azur with and Joan inside. (www.eaglerockent.com) Piper original, “Who the @#96! Is Robert Peterson.” Miró/Duke: The Last Jam Session (Eagle Eye fter this interlude with some DVDs, it is time to The explanation of the last title in the liner notes is Media – 39069) is a must for Ellington enthusiasts, Areturn to the realm of CDs. worth a read and a smile. The attribute this trio has and highly recommended for all of those who dig that makes you really sit up and take notice is the fine jazz. ■ Guitarist COLEMAN MELLETT has released his organic feeling they have. This is not just a pianist first album, Natural High, and it is about time. He with rhythm support, rather it is three musicians The first disc contains a 1966 performance of the has been wowing audiences for some time with his interacting in the special way only superior jazz Duke Ellington Orchestra from the Jazz Festival at work as a member of Chuck Mangione’s group, players can. If you have never heard Brian Piper Antibes-Juan les Pins, with Ella Fitzgerald guesting. working with his wife, vocalist Jeanie Bryson, and in play, then it’s time you corrected that void in your Following an introductory message from Nat a variety of other contexts. On this album, Mellett listening life. (www.90thfloorrecords.com) Hentoff, some views of the setting, and some words demonstrates his versatility, playing seven different from Ellington, the Ellington Orchestra performs the in many styles, and overdubbing different ■ There is a new release out under the names of opening movement of “Such Sweet Thunder,” the parts on most of the tracks. His program is quite drummer and trumpeter/flugel- Shakespeare-inspired suite composed by Ellington. eclectic, combining standards, jazz tunes and origi- hornist CLARK TERRY titled Louie & Clark There follows a medley of three early Ellington nals. His inventive self-accompaniment on “Alone Expedition 2 (Percussion Power – 2). The classics, “Black and Tan Fantasy,” “Creole Love Call” Together,” the many colored original “Lummi Island,” album features these two grand jazz masters, with and “The Mooche.” The film then diverts to two the lovely caressing of “Skylark,” the dexterity on full a 17-piece big band, playing compositions penned selections performed outside the Maeght Founda- display on “Jingles,” and the duet on “Emily” with by Bellson, and arranged by Bellson, Tommy tion at St. Paul de Vence, by Ellington, bassist John South African guitarist James Scholfield, the only Newsome, Albert Alva, Jack Hayes and . Lamb and drummer Sam Woodyard, “Kinda Dukish” track that is not strictly Mellett, are illustrative of The fame Bellson has achieved as a drummer and and “The Shepherd.” Back to the Festival concert, Mellett’s many faceted playing. Jazz guitar fans — bandleader has overshadowed his considerable the viewer is treated to a glimpse of the band this one’s for you! (www.cdbaby.com) talent as a composer. The opening four tracks comprise “The Chicago Suite,” a work that captures rehearsing “The Old Circus Train Turn-Around ■ Any of you who have made your way over to the feel of the Windy City and its pivotal place in Blues,” immediately segueing into the concert Trumpets Jazz Club in Montclair in recent years are jazz history. “Two Guys and a Gal” is a clever tune performance of the same piece, highlighted by a aware that co-owner ENRICO GRANAFEI is a first that shows off the drum artistry of Bellson, Kenny solo from Johnny Hodges. “La Plus Belle ” rate jazz harmonica player, who often adds his is an interesting piece composed for a visit by the talent to a tune or two being played by the band of Washington and Sylvia Cuenca. Clark Terry incor- band to Senegal, with Lamb, Woodyard, baritone the night. Perhaps you have even caught the porates his elfin sense of humor frequently in his saxophonist Harry Carney and clarinetist Jimmy evenings when he sits in the leader’s chair, and playing, a trait evident on “Terry’s Mood.” “Well All Hamilton being featured. It is then time for Ella plays both harmonica and acoustic guitar. When Right Then,” arranged by Nat Pierce, would surely Fitzgerald to arrive on the scene to sing “Satin Doll” Granafei learned of the hands-free chromatic have brought a smile to the face of Bellson’s old as only she can. A moving rendition of “Something harmonica developed by a gentleman named Vern boss, Duke Ellington. Terry on trumpet, Whitney to Live For” follows, particularly poignant since she Smith, he immediately saw the possibilities it Slaton on tenor sax, Stafford Hunter on trombone had just been advised of the death of her sister afforded him to play a chromatic harmonica and and Stantawn Kendrick on alto sax handle the solo hours before the concert. Amazingly, she then guitar simultaneously, enabling him to approach turns on this hard hitting closer. This is big band launches into a joyful “Jazz Samba,” providing the songs with a new perspective. It was not an easy music that is unabashedly swinging, and free of the audience with a taste of her incredible facility for melding, as his liner notes explain, but In Search kind of endless soloing and ponderous arrange- scat singing. Ellington then takes the band out with of the Third Dimension (Miles High Records – ments that have become all too frequent a part of “Things Ain’t What They Used to Be” as he treats 8603) is proof that Granafei has wonderfully contemporary big band jazz. (www.cdbaby.com) the audience to his standard recitation of how to mastered this mating of sounds by a single player. Remember that these albums are not available snap one’s fingers in the most hip of ways, and the He has chosen a lineup of 10 songs, most of them through NJJS.You should be able to obtain most credits roll as the band plays out. at a moderate tempo. He jazzily sings and scats on “You’d Be So Nice to Come Home To,” and adds a of them at any major record store. They are also The second disc is a film of the session that pro- light vocal on “Calabrossa.” This is an impressive available on-line from the websites that I have duced the Pablo album produced by Norman Granz display of musicianship by Granafei, who has taken shown after each review, or from a variety of titled Duke’s Big Four, a release that featured a a chance, and succeeded. (www.mileshigh.com) other on-line sources. JJ

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Many Blessings at The Priory

Story and photos by Linda Lobdell Jersey Jazz Associate Editor

Jimmy Robinson, far left, with another of the Priory’s fine dancers. Near right, tap star David Gilmore.

very Friday night from 7 – 11 PM in Conversations run by New Community Corporation, a E Newark, an audience assembles in the with new friends not-for-profit community development soaring atrium of a former church for the led to unexpected corporation. There is no cover charge, just a purpose of celebrating jazz. insights. Some- food or beverage purchase required. Call On this particular night in February, one told me, for (973) 639-7812 for more information, or songstress Carrie Jackson held forth in her example, that there’s a swing dance every visit www.newcommunity.org. warm and gracious way, swingingly Sunday night at an Elks Club in Newark. I’ll Upcoming dates: supported by James L. Dean on sax, Bob have to look into that. I also bumped into 3/28 Daille Kettrell 4/4 Willie Williams DeBenedette enjoying the luxurious baby an old neighbor who moved to Piscataway 4/11 Carlos Francis 4/18 Leo Johnson grand piano, Ron Naspo supplying the bass years ago but who comes back to Newark 4/25 Visionary 5/2 Frank Noviello line, and Elliot Sigmund on drums. The every Friday night just for this jazzy 5/9 Madame Pat Tandy tunes ranged from Kenny Barron’s “Voyage” gathering. 5/16 Stein Brothers Quintet to Dexter Gordon’s “Fried Bananas,” to Carrie suggested I introduce myself to There’s also a Sunday Jazz brunch from Denise McCoy, who programs the music “Lament” by J.J. Johnson — and Dean told 11 AM – 3 PM. JJ me a Billy VerPlanck big band arrangement in this series. She’s a of this song may be in the works. terrific lady, Carrie had mentioned she’d arranged for a welcoming and dance floor in front of the band, and it down-to-earth. She’s NJJS THANKS NOLDE’S turned out there were plenty of groovy a probation officer by Pianos & Organs, Inc. for dancers in the crowd. Most notable of these day, and by night she proudly sponsoring the Yamaha was a gent who never misses any dance pursues her real piano for the 2008 Pee Wee anywhere it can be found, Mr. Jimmy passion — music. Russell Memorial Stomp. Robinson. I’ve danced with him in front of She says the 12 years NJPAC on a summer evening of music, and of jazz at the Priory Nolde’s is Hunterdon County’s probably also at a reception at WBGO. represent an effort premier dealer of fine pianos to bring art to the and keyboards, featuring a wide About midway through the evening, Carrie community without variety of traditional consoles, announced that David Gilmore had arrived. the hassle and uprights and grand pianos in He’s a well-known tap dancer, and, a rare expense of going to all the popular sizes and styles. treat, he danced a number with the band, Manhattan. Denise We also carry the amazing new microphones at his feet. (There’s a clip of grew up in Newark digital pianos and keyboards. him dancing on YouTube.com.) and she is thrilled to Watching and enjoying was Newark native be able to work with Yvette Glover, vocalist, and mother of artists she’s always Savion Glover, another tap dancer who admired. really gets around. The Priory Restaurant Also in the audience were NJJS’s own Stan and Jazz Club is Myers and member Stew Schiffer. I met located in the Atrium HUNTERDON SHOPPING CENTER John Anello, owner of Cexton Records, of St. Joseph Plaza at FLEMINGTON, NEW JERSEY 08822 who’s produced most of Jim Dean’s 233 West Market 908-782-5400 recordings to date. Street in Newark. It’s Hours: Mon.–Tues. 10 AM – 5 PM Wed. 10 AM – 8 PM; Thurs. – Sat. 10 AM – 5 PM Closed Sundays

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Dueling Virtuosi Corea and Fleck at NJPAC By Sandy Ingham

he Enchantment is the title of a 2007 TCD of duets by pianist Chick Corea and banjo pioneer Bela Fleck, and in concert they do enchant, carrying listeners off to a fiesta in Spain, a beach in Brazil, the hollows of Kentucky…to wherever their imaginations and ours could take us. Masters of their instruments, Corea and Fleck played dazzlingly in their February 15 appearance at NJPAC’s Prudential Hall in Newark. Nearly all the selections were drawn from the Concord CD, but whereas on record the 11 tunes average five minutes apiece, on tour they’ve been stretched out, embellished often with extended introductions and more fully realized explorations of the compositions’ harmonic possibilities. The duets often had a ping-pong match quality — Corea would take the lead, then flip it to Fleck and play full-bore Chick Corea and Bela Fleck. Photo courtesy of the artists. accompaniment, then vice versa, as the two shifted roles and tempos and keys with dizzying rapidity. They danced up and down scales, sometimes in unison, then in along like the late Freddie Green driving They danced counterpoint, chasing one another like that inimitable Basie rhythm section. Later, squirrels in a tree. the banjoist’s lightning-fingered runs up and down The opening number, “Señorita,” reflected elicited gasps and applause from the near- Corea’s longtime affinity for Flamenco. After capacity crowd. scales… a languid prelude, the artists gave a glimpse “Mountain” was Fleck’s homage to his of what the evening would be like, trading instrument’s bluegrass history, though his four-bar solos in which melodic threads brooding opening was eerie Carpathian as chasing one were woven seamlessly. much as Appalachian. Once Corea joined Fleck’s “Waltse for Abby” grew from a in, this was one of the most accessible works another like melancholy preamble into a sprightly tune, of the concert. while Corea’s “Joban dna Nopia” — an An encore, “Sunset Road,” was the most squirrels in anagram for “Banjo and Piano” — traditional-sounding jazz of the night, with superimposed a characteristically the pianist’s sparkling runs hitting just the unpredictable melody over solid 4-4 right blue notes and Fleck in matching a tree. JJ timekeeping, with Fleck at times chunking funky mode. Sandy Ingham is Jersey Jazz’s roving reporter.

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you realize exactly how lost one can become “While the City Sleeps,” a nod to the in those environs. pleasures of New York nightlife was sung by Caught in a male character, but in Fasano’s hands, it Throughout the program, Comstock found emphasizes the universality of the the Act suitable pairings of songs, an art at which he sentiments, especially in current times. “I excels. His combining of “Put on a Happy By Joe Lang Want to Be with You” and “Lorna’s Here” are Face,” from Bye Bye Birdie, with “You’re NJJS Music Committee Chair reversed from their original placement in Never Fully Dressed Without a Smile,” from the show, and take on a different meaning Annie, is a fine example of this. Comstock is when combined in this way, with Comstock never shy about injecting humor into his This Is the Life: handling the vocal chores on the first tune, arrangements, in this case using a hint of and Fasano singing the latter. Eric Comstock Salutes the song “Tomorrow” leading into this medley. Comstock then brought Charles Strouse Charles Strouse at 80 onto the stage. Strouse, who spent much of The lovely ballad from Applause, “Think the early part of his career playing jazz Allen Room, Jazz at Lincoln Center How It’s Gonna Be,” showed up Comstock’s February 6, 2008 piano, opened his brief segment with the ability to infuse deep emotion into his familiar theme song from All in the Family, reading of a lyric. While this song speaks of f I were a songwriter, I could think “Those Were the Days,” and followed with of no performer better suited than a couple parting, but anticipating a reunion, I the big hit song from Annie,“Tomorrow.” “There’s Always One You Can’t Forget,” Eric Comstock to devising a program that Strouse provided those present with a from Dance a Little Closer, speaks of the lost interspersed well-known songs with quality charming and touching interlude. selections that have slipped beneath the love that lingers, and was movingly sung by radar. He seems to know songs that their Comstock with the sole support of “Smashing, New York Times” is a song with creators probably did not even realize that Washington’s bass. “I’ve Just Seen Her,” from an interesting history. Originally written for they wrote. For This Is the Life, a celebration All American, is a song of love anticipated, Applause, a musical version of All About Eve, of the music of Charles Strouse, Comstock and the passion of the emotions were it was cut, only to be brought out of the did some real detective work. Six of the 24 highlighted by some passionate playing by trunk seven years later, for inclusion in A songs performed this evening were not Allen. Another song from the same show, Broadway Musical, another backstage piece included in Beautiful Broadway Melodies or “Once Upon a Time,” is as lovely a ballad as loosely based on the creation of Golden Boy. The Songs of Charles Strouse, the two song you could want, and it speaks to the fading It is a song that speaks to the tenuous reality folios of Strouse music that have come out. of love over time. This segment of the that performers have with relationships in Many of the others are rarely heard outside program was filled with emotion in both the their lives. of the context of the shows where they playing of the musicians, and the vocalizing To bring the evening to a close, Comstock appeared. The result of Comstock’s efforts of Comstock. once again opted to bring together two was a delightful evening of song and Comstock then turned to some selections complementary songs, “I’m Home,” from discovery. that were in the realm of the obscure, “Is Alice in Wonderland, and “N.Y.C.,” from To assist him in setting the Strouse songs in There Anything Better than Dancing,” from Annie. It was an appropriate conclusion a most favorable light, he called upon tenor Nick and Nora, “This Gentle Land” from I to a well-crafted program that brought a saxophonist Harry Allen, bassist Peter and Albert was combined with “Wait for broad smile to the face of Charles Strouse, Washington and drummer Vito Lesczak to Me,” the love theme from The Night They and much pleasure to an enthusiastic JJ add their special artistry. Comstock has Raided Minsky’s, and “The Woman for the audience. been constantly growing as a jazz player, and Man Who Has Everything,” from It’s a having players of this caliber surrounding Bird…It’s a Plane…It’s Superman. To bring him enhances the development of his jazz us back to the more familiar, Comstock The Eric Comstock chops. Having the lovely setting provided by chose another song from Superman,“You’ve the Allen Room also added to the magic of Got Possibilities,” and injected it with a Trio will be the occasion. Latin feel. The opening medley of “Maybe” from Songs from Golden Boy became the focus of appearing at the Annie, and “This Is the Life” from Golden the next four selections, with Barbara Boy, set the tone for what followed, espe- Fasano adding her vocal talents. The title sanofi-aventis cially with some tasty tenor from Allen on song, “Golden Boy,” is an attempt by the the latter number. “Night Song” from female lead to bring the title character face Golden Boy is a song of confused loneliness, to face with the reality of life, and Fasano, Jazzfest 2008 on and looking out the windows of the Allen accompanied by Comstock on piano, sung it Room over a brightly lit Manhattan, it made with the appropriate cynicism. In the show, Sunday June 8.

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JALC Delivers An Ellington Valentine

Jazz at Lincoln Center, February 2008 By Jim Gerard

or some years, ever since its birth, the love song, but became one when lyrics were Orchestra for sampling it with “Lady Mac,” FJazz at Lincoln Center project and its added and the title changed to “Do Nothin’ one of Ellington’s only waltzes, and given a mission to preserve the music’s heritage has Till You Hear From Me.” Ryan Kisor assayed fugue-like arrangement. alienated a subset of the jazz community ’s part beautifully, Houston Person ambled out to play who feel that historical preservation seamlessly switching from muted to open “Solitude,” caressing the melody with his precludes artistic advancement. horn and back again. Texas tenor and surrounding it with lots of However, the scrupulous presentation of Marsalis and the band dug up another deeply felt space. As Marsalis said in his “Ellington Love Songs,” the JALC nugget of gold from Duke’s oeuvre, “Self- introduction of Person, “to play not loud Orchestra’s February program, should Portrait of the Bean,” written for an album but with intensity” is a jazzman’s ideal. silence all contrarian outcries and succor the Duke did with in the Person added a touch of gutbucket soul in most lovelorn heart. This exceptional early 1960s. The orchestra then brought out his turn on the ballad “It Shouldn’t Happen assemblage recaptured the many facets of special guest soloist Scott Hamilton, who to a Dream.” America’s greatest composer: the rapturous magnificently synthesized Hawkins and Ben melodies1, ingenious, luxuriant harmonies Webster on this and the subsequent ballad, The up-tempo “Braggin’ in Brass,” one of and mysteriously ecstatic tone colors Duke “Tonight I Shall Sleep.” Ellington’s many three-minute masterpieces, could weave with as little as a clarinet trio. is nobody’s idea of a love song, but no The band ended the first half of the concert matter. The band impeccably executed this With the opening strains of the first with a swinging “Old Man Blues.” Most twisting, complex arrangement, with its number, “Warm Valley,” the audience definitely not a love song, this barn-burner formidable unison passages for the trumpets already was knee-deep in Ellingtonia, aided featured baritone saxophonist and . by altoist Sherman Irby, who paid homage blowing over wah-wah-ing trombones. The to Johnny Hodges’s rhapsodic solo on the band showed its mastery of jazz styles by The best was saved for last. Joe Temperley original 1940 recording. shifting the arrangement into more brought out his bass clarinet to play “The Single Petal of a Rose,” from “The Queen’s Though it comes from Duke’s classic modernistic terrain behind trombonist Suite.” Backed only by Nipper’s piano, “Blanton-Webster” period, “The Flaming Chris Crenshaw’s blazing, three-chorus solo. Temperley seemed to summon up not just Sword,” is (undeservedly) obscure Ellington. Ali Davis dropped bombs, while Printup the essence of Ellington and the French Yet there’s a strong case to be made for this blew careening between-chorus breaks. Impressionists who inspired him, but the rumba-influenced concoction as one of the Altoist Wess Anderson, a former longtime soul of his native Scotland. For all of jazz’s earliest examples of Afro-Cuban jazz. The member of JALC, opened the concert’s JALC Orchestra certainly underscored this emphasis on improvisation, a melody played second half with the lyrical “Isfahan,” by a master can distill the essence of human element by punching out its rhythmic dedicated to the ancient Iranian city in phrases and extending the piece with an Ali experience and reach the apex of emotional Ellington and Strayhorn’s “Far East Suite.” expression. Jackson drum coda that followed several (Ellington’s message was always “Make love, fervid choruses by trumpeter Sean Jones not war.”) Whether you’re coupled or not and and a trombone chase. regardless of the holiday, the music of Duke Anderson also played “Dancers in Love,” Ellington is the gift that keeps on giving. JJ The house lights went down and shaded from Duke’s Perfume Suite, but pianist Dan red, to better set the mood for “Creole Love Nipper stole the number with an extended © 2008 – Jim Gerard Call” from Duke’s late 1920s “jungle band” improvisation, the first chorus in perfect period. Marsalis repaid his indebtedness to Jim Gerard is an author and journalist who has stride, followed by two choruses that reveal written profiles of Dizzy Gillespie, , Duke and his trumpeters Bubber Miley and his indebtedness to both Bud Powell and (at Cootie Williams with a walking, bluesily Benny Carter and other jazz notables. least to this listener) Red Garland. Bassist [email protected]; 917-609-1574. muted solo. Carlos Henriquez followed with a nimble 1. Which raises the question: Why isn’t Ellington ever “Lady of the Lavender Mist,” another chorus, and Jackson climaxed the piece with included in the pantheon of our great songwriters? Is overlooked gem, featured Victor Goines a solo. it because almost all of his songs were written without playing clarinet fills behind a mellifluous “Such Sweet Thunder” — inspired by lyrics (although many were added later)? Because saxophone choir. they’re often through-composed and don’t follow the Shakespeare — is one of Duke’s most standard 32-bar, AABA Tin Pan Alley structure? “Concerto for Cootie” wasn’t originally a underrated works, and kudos to the JALC Racism?

Joe Temperley wil appear with his Quartet on Sunday June 8 at this year’s NJJS Jazzfest. See page 58 and ad page 3.

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he 28th North Carolina Jazz Festival, Nothing Finer quaint shops and cafés in which to stop and Theld January 31 – February 2, 2008 at shop and free trolleys to tour the City’s the Wilmington Hilton Riverside (where it’s (or Jazzier) than historic landmarks. All in all, the town was always been), was a three evening jazz party, filled with Southern hospitality and lots of from 7:30 – 11:30 PM, filled with 15 (North) Carolina good food. musicians who switched and changed Late Friday afternoon, we had what’s bandmates with such fluidity you’d think in the Wintertime becoming our traditional NJJS festival wine- they’d been playing (and rehearsing) By Andi Tyson NJJS President and-cheese party, entertaining several NJJS together for years! From Jonathan members who decided to join us Russell — 12 year old jazz violinist — down in NC before going on to other to Bucky — and everywhere in Southern adventures. Art and Kay between — they all found common MacDougall and Selma and Wes ground on some very tasty numbers. Fuchs made our stay that much I want to thank Sandy Evans, the more enjoyable. President of the Festival Committee In the ballroom each night a and emcee, who was a gracious different musician was chosen to lead hostess throughout the weekend. I each 25-minute set with usually six can attest to the fact that she tied up musicians per group; every musician lots of loose ends — as they were got a chance to lead a group — happening — and she did it with Jonathan included, which made his patience and aplomb. We thank her parents very proud. These were all for all that she did to make NJJS feel world-class musicians so there wasn’t welcome. one tune that wasn’t a hit with the The festival opened Thursday evening audience, from “Love Me or Leave with the NC University/Wilmington Me” — “I’m Nobody’s Sweetheart Big Band and closed with BED Now” — “Three Little Words” and (Becky Kilgore, Eddie Erickson, Dan on and on. And when Jonathan and Barrett (and Joel Forbes on bass) and Bucky co-led, the audience couldn’t then a festival jazz session. The get enough. opening night acts were snappy and ’s “Yellow Dog Blues” together and seemed to love what was a show stopper. He soloed on they were doing, getting us set up for “St. James Infirmary” and “Boogie some rousing music for the rest of the All By Myself.” I couldn’t believe how well weekend. Through the whole event, BED he sang! “Limehouse Blues” with Jonathan was the only “group” at the party and they also brought the audience to its feet. That stayed together for some sets, mixed and was how it went for the weekend — just a mingled on others and that was great fun. knock-your-socks-off kinda party! I don’t The daytime was left to touring: exploring have space to keep going into every set, the Riverwalk, where the Cape Fear River every piece played, every musician, but we meets the Atlantic forming an estuary, or were familiar with 14 of the 15 musicians going out to the Atlantic Ocean for a walk and they were all terrific. in the sun and surf (it was gorgeous weather Friday). Back in Wilmington, there were The festival took some of the musicians out of the hotel to the Roland Grise Middle top to bottom: Dan Barrett, trombone; Bria School for a special concert/seminar Friday Skonberg, trumpet and vocals; Ed Polcer, trumpet; afternoon. There was also a master class at Ken Peplowski, reeds. the New Hanover High School, so the area BED Jazz Group — Becky Kilgore, song stylist; youngsters got some time with the Eddie Erickson, guitar; Dan Barrett, trombone; musicians as well. Joel Forbes, bass. Saturday was a patron’s Brunch/Jam Session John Cocuzzi, piano and vibraphone. at 10:30 AM with the all-star musicians Ken Peplowski with violin wizard Jonathan Russell. entertaining the guests with more fine Photos © 2008 George Ball, member of the music. The ambience of the whole weekend Cape Fear Jazz Society. [email protected]. allowed musicians and audience members continued on page 61

52 ______April 2008 THE SIDNEY BECHET SOCIETY® is proud to announce the 2008 schedule of Three Exciting Jam Sessions. All performances start at either 6:15 or 9:00 p.m. Concerts are located at the Thalia Theatre of Symphony Space, 2537 Broadway at 95th Street, New York.

Wednesday June 11th. DAN LEVINSON: Dan Levinson presents a tribute to and Kenny Davern, featuring the music of Soprano . Guests include Bob Wilber, SPECIAL OFFER Dick Hyman, Nik Payton, Vince Giordano, Kevin Dorn and Matt Munisteri Attention New Jersey Monday, September 15th. EVAN CHRISTOPHER: After sold out Bechet Society Jazz Society performances in 2006 & 2007, Evan returns in 2008 for Evan Christopher and Friends: members: Purchase tickets In Sidney’s Footsteps. (Band in formation) in advance, and pay the same Monday, October 20th. VINCE GIORDANO: Vince Giordano Jazz Ensemble starring price as members of the Olivier Franc and Jean Baptiste Franc, with Jon-Erik Kellso, Mark Lopeman, Jim Fryer, Sidney Bechet Ken Salvo and Rob Garcia. Hear Olivier play on Sidney’s very own soprano saxophone. Society (just $25!).

ORDERS FOR CONCERT TICKETS There are now 2 shows each night!! Please choose either 6:15 or 9:00pm I WANT TO ATTEND THE WEDNESDAY JUNE 11TH, 2008 CONCERT BY DAN LEVINSON 6:15 pm or 9:00 pm (SBS and NJJS Members) @$25 per ticket { } $______6:15 pm or 9:00 pm (General public) @$35 per ticket { } $______

I WANT TO ATTEND THE MONDAY SEPTEMBER 15TH, 2008 CONCERT BY EVAN CHRISTOPHER 6:15 pm or 9:00 pm (SBS and NJJS Members) @$25 per ticket { } $______6:15 pm or 9:00 pm (General public) @$35 per ticket { } $______

I WANT TO ATTEND THE MONDAY OCTOBER 20TH, 2008 CONCERT BY VINCE GIORDANO 6:15 pm or 9:00 pm (SBS and NJJS Members) @$25 per ticket { } $______6:15 pm or 9:00 pm (General public) @$35 per ticket { } $______

{ } SBS 2007 Membership $25 regular, $15 senior $______{ } Donation (tax deductible) $______

TOTAL $______Please enclose your check or money order made out to SBS in the appropriate amount and include a self addressed stamped envelope. Send to:The Sidney Bechet Society, 20 Joy Drive, New Hyde Park, NY 11040-1109

April 2008 ______53 New JerseyJazzSociety

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Financial Services Public Relations & Marketing

54 ______April 2008 New JerseyJazzSociety

PRES SEZ continued from page 2 name out there. We are starting a new Educational Scholarship Fund — created at the suggestion of Board Member and College Jazz Scene Christopher Gines. The presentation was charming — some historical columnist Frank Mulvaney. Please, if you can, contribute something data, great singing and musical accompaniment in a lovely venue. Jane extra to this noble endeavor. We want to increase our scholarships and Stein (mother of Andy and Alex of the saxes) is kind enough to offer us cannot do so without your financial contributions. Any amount is tickets to raffle off at our member meetings and gives discounts to all jazz greatly appreciated. For a $1,000 totally tax-deductible contribution, performances to members of NJJS. Also, she offers suggestions for local you can have lifetime membership in NJJS and know that you’re doing restaurants if you’re interested. The Berrie Center has some good offer- a really wonderful deed for jazz students. There will be more about this ings coming up. Check out their website, www.ramapo.edu/berriecenter. upcoming so please check www.njjs.org for details. And if you can, ■ The Community Theatre in Morristown recently presented the contribute something to this fund, which will be used solely for jazz Band with Nnenna Freelon in front as their educational purposes, such as: songbird. What a wonderful singer — she has great range and ■ Our Generations of Jazz educational outreach program is going inflection. If you read about her performing locally, make sure to catch strong with school performances during March in Morristown and her act. It’ll be so worth your time. She is lovely to look at and delivers Newark and the Arts Council of the Morris Area (ACMA) Showcase. a song in her unique style that captivated the audience the night we The showcase is a two-day presentation for educators. The perform- caught them. Alongside her was James Moody, who is always a gas ances in Morris County are funded, in part, by a grant from the Arts at 83…funny and so talented. You just have to love this guy. The Council of the Morris Area through the New Jersey State Council group, consisting of Terence Blanchard (one of our Rutgers Annuity on the Arts/Department of State, a Partner Agency of the National scholarship winners in the 1980s!), , and Derrick Hodge, Endowment for the Arts. Please consider booking our history of jazz has been traveling around the country touring with this show and they performance led by Musical Director Pam Purvis. Again, more details seemed to still be enjoying themselves. We thank the Community are on our website. Theatre for offering our members a last minute 50% discount to this show. They have some wonderful talent coming in — and NJJS is ■ NJJS Development Committee. If you have corporate and/or foun- co-sponsoring their Bucky Guitar Trio Concert on April 27. dation grant writing experience, we could use your help expanding our committee work. As a nonprofit tax-exempt organization, we are a ■ I want to mention our May Member Meeting at Trumpets for you to perfect fit for some grants and we just need your help to broaden our save the date, May 18, as CoCoMaMa (www.cocomamamusic.com) will committee and to get the applications out to the right people at corpor- be on the bandstand discussing how they got to be CoCoMaMa (maybe ations and foundations. The State is cutting arts funding, so we not all eight of them, but we’ll see). Andrea Brachfeld, jazz flute player, need to develop some new areas of funding sources to keep afloat. JJ and maybe some of her group — consisting of some wonderful female musicians — among them Mayhew — has agreed to make a presentation that afternoon. This is a hot new Salsa band and this afternoon is not to be missed. Details to follow and on our Web site Shelly Productions when we know them. o as you can see — I’ve been busy. I do get around as President presents Strying to absorb what I can from other organizations events and also trying to bring NJJS into their world. I’ve had calls re: Cape May Jazz Live Jazz Wednesday Nights Festival later this month and the Great Connecticut Jazz Festival,in Moodus, CT, where we’ll be the weekend of July 25. at Escape Restaurant ■ But mostly I want to spread the word about our Society and get our APRIL 2 Joshua Breakstone & Lisle Atkins APRIL 9 Commercial Services Bob DeVos & Dave Stryker APRIL 16 Bucky Pizzarelli & Jerry Bruno (call for reservations) APRIL 23 & 30 TBA

238 Broadway, Elmwood Park, NJ Entertainment Starts 7:00 PM Call for Reservations 201-956-6085 Hosts — Galina & Michael Shelly Productions, Inc. P.O. Box 61, Elmwood Park, NJ • 201-796-9582

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this photo: Carrie takes a question from her granddaughter. bottom center: Barbara Kukla, longtime Newark Editor for The Star-Ledger and author of Swing City, spoke about Newark’s jazz history. bottom right: Gil “Bop” Benson took a turn at the microphone.

February Member Meeting at Trumpets Ms. Carrie Jackson Story and photos by Tony Mottola Jersey Jazz Editor s. Carrie Jackson and her Jazzin’ All-Star Band are Mnear ubiquitous on the New Jersey jazz scene, as anyone on her E-mail blast list can attest. Each week brings news of more Jackson performances at jazz clubs, restaurants, churches or other venues as she pursues her mission to spread the good news of jazz music. The lady possesses seemingly inexhaustible could swing. My mom taught me how to producer/drummer, and Bruce Williams, alto energy and enthusiasm, and those qualities swing. I can swing dance! She taught me to sax, garnered enthusiastic reviews and plenty were amply displayed as she spoke of the love jazz.” Once she heard Sarah Vaughn and of radio play. Ms. Jackson has been building road to a later-in-life career as a jazz vocalist Erroll Garner’s “Misty” on the radio she was a steady following ever since through her at the NJJS’s February Member Meeting at hooked for life. indefatigable performance schedule, and her Trumpets in Montclair. Raising three children, however, required a gigs are usually played to packed houses. Community, family and important mentors “regular job” and Carrie worked for many Carrie also performed a brief set accom- loom large in Jackson’s story. She spoke at years in the Newark Municipal Court. Dur- panied by pianist Ted Brancato with Don length about growing up in the Weequahic ing those years she studied piano and voice Moore on bass and Ted Curson offering section of Newark’s South Ward and attend- with Howard “Duke” Anderson, a legendary some tasty trumpet work. The trio swung through “That Old Devil Moon” and then ing Peshine Avenue Elementary School Newark pianist, teacher, composer and offered soulful reads on “Misty” and “I’ll be where singer Melba Moore was one of her arranger, and later worked as a featured vocalist with Duke’s big band. She also Seeing You” putting the cherry atop a very teachers. studied voice with Inez McClendon, Nadine entertaining afternoon. Moore “gave me inspiration,” Jackson re- Herman and Winston Hughes at the Carrie says she’s living a jazz life, looking to called, although, “I thought she was picking Newark Community School for the Arts. share the music with anyone who’ll listen. on me when she made me sing in front of “Once my children were raised it was time “I turn on WBGO for my 78-pound Boxer the classroom.” The poise and confidence to go back to my roots,” Jackson said, and in Queenie whenever I leave the house.” she exhibits on stage these days may owe 1990, she started C-Jay Records. “I decided Carrie Jackson’s most recent CD, If I Had My something to that early prodding and to be an entrepreneur,” she said. “I didn’t Way, features Lennie Argese, guitar; Tomoko encouragement. want to wait to be discovered.” Ohno, piano; Steve Freeman, bass; Dr. Yusef Carrie sang gospel music in the children's She set about learning how to make a CD Ali, drums; Bob Braye, percussion; Joe Ford, choir at Mount Calvary Baptist Church, but and her debut disc, The Nearness of You,fea- alto sax; and Herbie Morgan, tenor sax. her piano-playing mother also exposed the turing Duke Anderson, piano/arrangements, For more information, visit youngster to jazz. “She didn’t sing, but she Michael Logan, bass, Cecil Brooks III, co- www.cjayrecords.com. JJ

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Calling Jackie Paris

Story and photos by Linda Lobdell Jersey Jazz Associate Editor

he second film in Music Committee TChairman Joe Lang’s free NJJS series — ’Tis Autumn: The Search for Jackie Paris, elicited a great turnout on February 19 at the Library of the Chathams. Screened in a comfortable art-filled room, the film was a hip, funny and poignant capsule of the fascinating life and times of Nutley, NJ-born singer Jackie Paris. (For a complete review of the film, see Jersey Jazz October 2006.) On hand for the discussion later were the award-winning director Raymond DeFelitta, himself a jazz pianist and composer, and the producer, David Zellerford. After thinking Jackie had passed away in 1977, DeFelitta happened upon a small blurb in The New Yorker in 2004 indicating that Paris would be appearing at The Jazz Standard. He went to that gig and one on the following night. The first night wasn’t a successful evening for him, but the next was great. There’s some speculation that Jackie’s performances weren’t always consistent, and that that unevenness might have contributed to mixed feelings about him in the industry. Mr. DeFelitta said that when he met Jackie, Paris was already ill with cancer. Some of photos, top: DeFelitta, left, and Zellerford, right, chat with vocalist Amy London. their time together was spent making trips bottom left: Amos Kaune and his wife Pat, on the move after the flick. to and from the hospital. bottom right: NJJS Webmaster Steve Albin and singer Frank Noviello. Many jazz world giants are interviewed about Paris in this film. When Mr. DeFelitta asked Neil Hefti to participate, he asked many friends among the well-known asked about the soundtrack, which featured “Whattaya wanna know, kid?” DeFelitta said dancers of the day, like Steve Condos and original compositions and playing by guitarist Peter Mattson Zachary. he wanted Neil’s take on why Jackie didn’t Tip, Tap & Toe. He also loved the Mills make it in the industry. Mr. Hefti told him, Brothers, Buddy Rich (who was also a NJJS Board member Marcia Steinberg dancer in vaudeville as a child), and “Here’s why I’m not gonna do your movie. asked DeFelitta about his efforts to respected Perry Como and Andy Williams Jackie Paris left behind a lot of great records, distribute the film. Among other things, as singers. you’re making a movie about him…now he responded that PBS had wanted him how come he didn’t make it?” Jazz club Gullivers’s owner Amos Kaune had to cut the total run time substantially, known Jackie. He described him as “hyper.” Questions and comments came from the which he wasn’t willing to do. So they “His sheet music would be all over the audience, some of whom had had personal are still looking for a satisfactory acquaintances with Jackie Paris. Jackie Cain, floor,” Kaune said. “Jackie would always pick distribution deal. on the drummer. It was hard for a drummer the surviving half of the vocal duo Jackie Next films in the series will be screened to meet his standards.”“I hear everything,” and Roy (Kral), met Paris when she was 18, on March 27 and April 23. See page 8. JJ at the Royal Roost, with George Shearing. Jackie had told him, “Charlie Mingus told She said Paris taught her how to do the me I had elephant ears.” To learn more about this and other Apple Jack, a swing dance based on tap Guitarist Roni Ben-Hur and his wife vocalist Raymond DeFelitta films, visit dance steps. He loved tap dancers and had Amy London were present. Mr. Ben-Hur www.raymonddefelitta.com.

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MUSIC COMMITTEE continued from page 8 Vaché, participates in many jazz parties and solo spotlight, he generates continuous Admissions Officer. He also happens to be cruises, and is a much-in-demand bassist on excitement. This trio is guaranteed to one fine bassist. the New York scene. Recently, she’s added provide many memorable moments at this There are few performers around today who vocalizing to her repertoire, and has proven year’s Jazzfest. to be a charming singer with a fine sense of know more songs than singer/pianist Eric Carrie Jackson & Her Jazzin’ All-Stars knock phrasing. Rossano is a native of Italy who Comstock. I remember saying of him that audiences out wherever they perform. recently moved to New York City. He has “He knows songs that the writers did not Carrie is a dynamic singer who blends a appeared frequently stateside over the past even know they wrote.” He is equally at few years, earning an ever-expanding and variety of influences into a winning style of home in a jazz or cabaret setting. His enthusiastic fan base with each visit. her own. Her crowd-pleasing performances performing acumen is coupled with a Rossano is an exciting player who is capable have made her one of the busiest singers in natural wit that makes time spent with Eric of playing jazz piano styles ranging from New Jersey, and she is sure to be a popular an occasion full of good music and winning stride to bebop and beyond, all with equal attraction at Jazzfest. For this gig, the players humor. In addition, Eric’s knowledge of facility and creativity. He and Nicki have supporting Carrie will be Dave Robinson on songs and their creators enables him to often performed as a duo in the past few sax, Tony Signa on flute, Lou Rainone on provide informative interludes between years, and have an outstanding album out piano, Steve Freeman on bass and Gordon numbers. At Jazzfest, Randy Napoleon on on titled People Will Say Lane on drums. Tony is a familiar figure in guitar and a bassist will join Eric. Randy is a New Jersey, especially for his work with We’re in Love. Excepting the late Kenny Michigan native who has been in New York guitarist Jim DeAngelis. Lou has performed Davern, Bucky Pizzarelli has appeared at for several years, and has become the regular with the likes of Jimmy Heath, Joe Cohn, more editions of Jazzfest than any other guitarist for Freddy Cole, as well as being Grant Stewart and Eric Alexander, and has musician. Bucky is truly a jazz legend. He called upon to play in a variety of other has been constantly busy as leader and appeared at many clubs and festivals settings. sideman, and is one of the most in-demand throughout the United States, Europe and session players of the last 50-plus years. Asia. Steve is a familiar figure at Drew Next month, a look at the groups Whether playing rhythm or sitting in the University where he is on staff as an performing in the Concert Hall. JJ

Jazzfest Schedule (tentative) Saturday June 7 Sunday June 8: Tent: Tent: Noon - 1:00 PM Ed Metz and the Bob Crosby Bobcats Noon - 1:00 PM Swingadelic 1:20 - 2:20 PM Ed Metz and the Bob Crosby Bobcats 1:20 - 2:20 PM Swingadelic 2:40 - 3:40 PM James L. Dean Big Band 2:40 - 3:40 PM The Jazz Lobsters Big Band 4:00 - 5:00 PM James L. Dean Big Band 4:00 - 5:00 PM The Jazz Lobsters Big Band 5:15 - 6:00 PM High School Jazz Band TBA 5:15 - 6:00 PM High School Jazz Band TBA Concert Hall: Concert Hall: Noon - 1:00 PM Cynthia Sayer & Sparks Fly Noon - 1:00 PM The Joe Temperley Quartet 1:20 - 2:20 PM Tony DeSare Trio 1:20 - 2:20 PM The Earl May Memorial Band 2:40 - 3:40 PM Cynthia Sayer & Sparks Fly 2:40 - 3:40 PM The Joe Temperley Quartet 4:00 - 5:00 PM Tony DeSare Trio 4:00 - 5:00 PM The Earl May Memorial Band Black Box Theatre: Black Box Theatre: Noon - 1:00 PM Jerry Vezza Trio with Frank Noviello Noon - 1:00 PM Carrie Jackson and Her Jazzin’ All-Stars 1:20 - 2:20 PM Nicki Parrott, Rossano Sportiello and Bucky Pizzarelli 1:20 - 2:20 PM Eric Comstock Trio 2:40 - 3:40 PM Nicki Parrott, Rossano Sportiello and Bucky Pizzarelli 2:40 - 3:40 PM Eric Comstock Trio 4:00 - 5:00 PM Jerry Vezza Trio with Frank Noviello 4:00 - 5:00 PM Carrie Jackson and Her Jazzin’ All-Stars

Ticket prices and ordering information are in the full-page ad on page 3.

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What’s New? About NJJS The New Jersey Jazz Society is dedicated to the performance, promotion and Members new and renewed preservation of jazz. Founded in 1972, the Society is run by a board of directors who meet monthly to conduct the business of staging our music We welcome these friends of jazz who recently joined NJJS or festivals, awarding scholarships to deserving New Jersey college jazz studies renewed their memberships. students, conducting the Generations of Jazz programs in local school systems, and inducting pioneers and legends of jazz into the American Jazz Renewed Members Mr. Patrick Mercuri, Moorestown NJ Hall of Fame, among other things. The membership is comprised of jazz devotees from all parts of the state, the country and the world. The New Jersey Mr. Steve Albin, Montclair NJ Ms. Muriel O’Connor, Jupiter FL Jazz Society is a qualified organization of the New Jersey Cultural Trust. Mr. & Mrs. Herbert F. Baier, Mr. C. DeWitt Peterson, Visit www.njjs.org, e-mail [email protected], or call the HOTLINE 1-800-303-NJJS Chester NJ Moorestown NJ for more information on any of our PROGRAMS AND SERVICES: Mr. John Becker, Whippany NJ Mr. Richard Royce, Chatham NJ ■ Generations of Jazz (our Jazz in the Schools Program) ■ Jazzfest (two-day summer jazz festival) Mr. John Bianculli, Highland Park NJ Ms. Marcia Nutting Samuel, ■ ■ Mr. Edmund W. Bilhuber, Madison NJ Hackettstown NJ Pee Wee Russell Memorial Stomp e-mail updates ’Round Jersey (Regional Jazz Concert Series): ■ Bridgewater Mr. Robert D. Bright, Thompson PA Gail & Fred Schaefer, Mendham NJ ■ Ocean County College ■ Bickford Theatre/Morris Miss Donna Cusano, New York NY Ms. Lynn Scolarice-Kaplan, ■ Student scholarships ■ American Jazz Hall of Fame Mr. Frank DePiola, Glen Cove NY Basking Ridge NJ Mr. Kevin Dorn, New York NY Mr. & Mrs. W.L. Shaffer, Mr. William B. Dunham, New York NY North Myrtle Beach SC Member Benefits Mr. Linsy Farris, Tenafly NJ Mr. & Mrs. Thomas Shutkin, What do you get for your $40 dues? Mr. & Mrs. Manuel G. Ferri, White Mills PA ■ Jersey Jazz Journal — a monthly journal considered one of the best jazz North Plainfield NJ Ms. Sandra Simpson, Hillsborough NJ society publications in the country, packed with feature articles, photos, jazz calendars, upcoming events and news about the NJ Jazz Society. Mr. & Mrs. Herman Flynn, Mr. & Mrs. L. Robert Smith, ■ Somerville NJ NEW! FREE Monthly Member Meetings — See www.njjs.org and Rockaway NJ Jersey Jazz for updates. Mr. & Mrs. Richard J. Franklin, Mr. Robert F. Smith, Flemington NJ ■ Musical Events — NJJS sponsors and co-produces a number of jazz events Bloomfield NJ each year, ranging from intimate concerts to large dance parties and picnics. Mrs. Bill Steinberg, Roseland NJ Mr. & Mrs. Jack Gentempo, Members receive discounts on ticket prices for the Pee Wee Russell Stockton NJ Mr. Anders R. Sterner, Brooklyn NY Memorial Stomp and Jazzfest. Plus there’s a free concert at the Annual Meeting in December and occasionally other free concerts. Ticket discounts Mr. Robert Gerber, East Mendham NJ Mr. & Mrs. Denis Sullivan, (where possible) apply to 2 adults, plus children under 18 years of age. Mr. Michael Gilroy, Pipersville PA Ho Ho Kus NJ Singles may purchase two tickets at member prices. ■ Mr. & Mrs. Gerald A. Giordano, Wall NJ Wayne & Barbara Thoen, Teaneck NJ The Record Bin — a collection of CDs, not generally found in music stores, available at reduced prices at most NJJS concerts and events and through Mr. Stan Greenberg, Sloatsburg NY Mr. John B. Wehrlen, Seaside Park NJ mail order. Contact [email protected] for a catalog. Ms. Janet Susan Gunther, Mr. & Mrs. Henry G. Wilke, Somerset NJ Pittstown NJ Join NJJS Mr. Charles Harris, Westfield NJ New Members Dr. & Mrs. Louis A. Iozzi, Caldwell NJ MEMBERSHIP LEVELS Member benefits are subject to update. Mr. Arthur Albin, Chapel Hill NC ■ Family $40: See above for details. Mr. & Mrs. Ray Keown, ■ Mt. Arlington NJ Mr. Anthony R. Bentrovato, Youth $20: For people under 25 years of age. Be sure to give the year of Morris Plains NJ your birth on the application where noted. Dr. Howard Kessler, Short Hills NJ ■ Give-a-Gift $40 + $20: The Give-a-Gift membership costs the regular $40 Mr. Charles W. King, Florham Park NJ Diane & Chuck Burke, Edison NJ for you, plus $20 for a gift membership. (Includes your 1-year membership Ms. Arlene Corsano, Bergenfield NJ and your friend’s first year membership. Not available for renewals of gift Mr. & Mrs. Frank Kling, Chatham NJ memberships.) Mr. & Mrs. Ted Curson, Montclair NJ Mr. Luke Klisart, Washington NJ ■ Supporter ($75 – $99/family) Ms. Michelle Lelo, Milford NJ Ms. Cynthia Holiday, Fort Lee NJ ■ Patron ($100 – $249/family) Members at Patron Level and above receive special benefits. These Ms. Linda Lobdell, Newark NJ Dr. Frank Lang, Madison NJ ■ Benefactor ($250 – $499/family) change periodically, so please Mr. Peter Mackersie, Short Hills NJ Mr. & Mrs. Barry Levine, ■ Angel $500+/family) } contact Membership for details. Mr. Pat Mash, Port Reading NJ Toms River NJ Dr. Jack B. McConnell, Mr. Alan Liddell, Clinton NJ To receive a membership application, Hilton Head Island SC Ms. Svetlana Lisanti, Haworth NJ for more information or to join: Contact Membership Chair Caryl Anne McBride Mr. Thurman McDaniel, Ms. Antoinette Montague-Baugh, Haddonfield NJ at 973-366-8818 or [email protected] Fairfield CT OR visit www.njjs.org Mr. & Mrs. Norbert E. McGuire, Jr., Mr. Frank Noviello, Union City NJ OR simply send a check payable to “NJJS” to: Milford NJ NJJS Membership, PO Box 410, Brookside, NJ 07926-0410. Mr. A. Donald McKenzie, Ms. Mary Sue Schmaltz, Iselin NJ Maplewood NJ Mr. Peter Schultz, West Orange NJ

April 2008 ______59 JerseyEventsJazz ’Round Jersey in England!) and still finds time to be the lone trombonist with the Nighthawks. Morris Jazz And Noel Kaletsky’s exceptional reed work alone is worth the low admission The Bickford Theater at the Morris Museum price. Taken as a whole, it’s quite a band. Morristown, NJ 07960 The Summit Stompers have just signed on to do another Tickets/Information: 973-971-3706 John Gill West Coast-laden jazz program, joining Australia’s Wolverines, oe Oliver earned the title of “King” by being the top horn France’s Paris Washboard, the Palomar Quartet and the 24- Jplayer in New Orleans during the formative years of jazz. He piece Silver Starlite Orchestra, all highly respected organized is the only black leader of that period who was extensively bands that are coming here soon. Dan Levinson’s tribute to recorded, and his playing (particularly his innovative mute Kenny Davern has become a reed tour de force, and piano work) influenced most cornetists and trumpeters who fans will want to hear Derek Smith and “Boogie Bob” followed. Tunes he wrote or played greatly enriched the Seeley solo. Call for performance dates. traditional jazz repertoire and, significantly, he discovered and mentored Louis Armstrong. Learning he was buried in an NOTE temporary venue change! unmarked grave, NJJS raised funds for a proper headstone. Jazz For Shore Jack Stine has some interesting stories about that adventure. Mancini Hall, Ocean County Library, Toms River, NJ 08753 John Gill has had a sustained interest in the Oliver legacy, Tickets/Information: 732-255-0500 and inquired if April 8 was open at the Bickford Theatre so he could celebrate the 70th anniversary of the King’s passing anadian Bria Skönberg might be young on the appropriate date. The date was made “Cbut her musical chops, as a trumpeter, are available, even though it was on a Tuesday. fully developed,” notes the Hot Jazz Festival (of Noel Kaletsky with Bria Skönberg John then set about to assemble a band that Wilmington, NC). “The twenty-something cites would do justice to the occasion. Two trumpets Louis Armstrong as her personal inspiration. were needed to honor the Oliver-Armstrong front Appreciated across three continents, Skönberg is line, and Jon-Erik Kellso and Simon Wettenhall a young star on a meteoric rise.” The American (top NYC players who usually lead their own Rag concurs: “It isn’t really news to say that Bria groups) claimed those positions. For an authentic Skönberg has the trumpet chops to play with New Orleans sound, Orange Kellin (clarinet) and anyone.” Jerry Zigmont (trombone) were recruited. They’ll For her MidWeek Jazz debut on Wednesday, be backed by a dream rhythm section: Conal April 23, she chooses to play with trombone ace Fowkes (piano), Brian Nalepka (bass and tuba!) Jim Fryer, with whom she has recently recorded and Kevin Dorn (drums). a CD, one of 10 she’s heard on in a professional John Gill has appeared before NJJS audiences career still in its early stages. Fryer is a seasoned behind a period drum set, but he’ll confine pro and festival favorite, but he’s also a first- himself to the banjo this time. He’s played banjo timer with this series. Downstate fans will find since he appeared with the fondly remembered him skilled and creative. The pair thrilled the Southampton Dixie, Racing and Clambake Society Jazz Band audience last year in Morristown, where most were hearing as a youth, and honed his skills with a stint on the West Coast them for the first time. playing with Turk Murphy, then leading his own band (playing They’ve scaled down their band for the intimacy of trombone at the time). Mancini Hall, being backed by only bassist Ed Wise (from Bria and Jim’s Borderline Jazz Band will follow them Philadelphia, after years in New Orleans) and guitarist on Monday, April 21. The BJBJB, as it’s becoming known, Matt Munisteri, a busy, versatile player from New York. features NYC trombone star Jim Fryer and Canadian (thus Expect hot jazz, well played. the “borderline”) trumpet sensation Bria Skönberg, but Fans are reminded that the series is temporarily at the they’re surrounded by sidemen who would be leaders or Ocean County Library in Toms River while their campus featured soloists in other contexts: reedman Noel Kaletsky home is being renovated. Tickets are obtained through the (Rent Party Revellers, Bix Memorial Jazz Band), banjoist Gim OCC Box Office (not the Library) though, with prices still $13 Burton (BearCats), bassist Ed Wise (BENNY, leads his own NO- in advance and $15 at the door. Ask for driving instructions style band), drummer Robbie Scott (Bix Bash, GHD Jam, New Jim Fryer if you don’t know the way. It’s just half a mile from Garden Deal Orchestra) and the ubiquitous Mark Shane at the piano. State Parkway exit 81. Bria has attracted national attention by leading a couple of her While you have your credit card out, order tickets for own bands plus appearing at festivals (20 last year!) as a freelance guest star Bucky Pizzarelli and Jerry Bruno (May 7) and the return of boogie-woogie as well. You may have heard her playing with Jim Cullum’s band on his and stride piano specialist (June 25). Summer and fall dates nationally broadcast radio shows recently. She’s a hot player, in the Armstrong have been requested from the Library, but are not yet approved. mold, able to play the classics we know and the intricate West Coast tunes More news next month. JJ rarely heard here. People were really impressed when they discovered her at last year’s visit to the Wyeth Jazz Showcase, and will likely return…with friends. Photos by Bruce Gast. But don’t overlook Jim Fryer, who tours with that enormously popular festival ’Round Jersey concerts are produced band, the Titan Hot Seven, plus leads his own groups (including a touring band by Bruce M. Gast in conjunction with the New Jersey Jazz Society.

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NORTH CAROLINA continued from page 52 to get to know each other. A very friendly atmosphere existed in the hallways, restaurants and concert venue making everyone feel comfortable — newbies like me as well as old-timers who have been there since the beginning, like their very own “Dr. Jazz,” Harry Van Velsor, whom some of our members may know from The Institute of Jazz Studies at Rutgers University– several years ago. Newark is the largest and most comprehensive library and archive The Cape Fear Jazz Society is a partner for this event and we of jazz and jazz-related materials in the world! — a valuable hope you’ll check out their website for more information — resource for jazz researchers, students, musicians and fans. www.capefearjazz.com. The archives are open to the public from 9 AM – 5 PM Monday We hope to increase NJJS attendance next year; the ride down was through Friday, but please call and make an appointment. not bad at all. The dates are Feb. 5–7, 2009 for those who want to Institute of Jazz Studies, Rutgers, The State University of NJ plan ahead, because their theme will be “Lionel, Red & Bunny — John Cotton Dana Library, 185 University Avenue, a Tribute to Lionel Hampton, and Bunny Berigan.” Newark, NJ 07102 Lined up already are Nicki Parrott and Rossano Sportiello; Ed Web site: newarkwww.rutgers.edu/IJS 973-353-5595 Polcer, Judy Kurtz, Wycliffe Gordon, Joe Ascione, Houston Person, Frank Tate, John Cocuzzi, and I’m sure other wonderful players — many of whom were there this past festival but just couldn’t satisfy the audience enough so they’re invited back. calendar: How lucky we will be to see them in Wilmington again. JAZZ RESEARCH ROUND TABLE If anyone wants to see this year’s festival brochure, I brought A series of lectures and discussions. Names in italics are the presenters. some home so just let me know: [email protected]. And if you go to ■ April 16, 2008 David Tenenholtz — Jazz in Swedish: other festivals, please let us know as it’ll increase our readers’ The Career and Legacy of Jan Johansson knowledge of what’s happening in the wonderful world of jazz — it is alive and kickin! JJ Programs are free and open to the public and take place on Wednesday evenings from 7:00 to 9:00 PM in the Dana Room, 4th floor, John Cotton Dana Library, Rutgers University, 185 University Ave., Newark, NJ. Refreshments are served. Information: 973-353-5595. JAZZ FROM THE ARCHIVES Broadcast hosted by IJS Director, 2007 NEA Jazz Master Dan Morgenstern, every Sunday at 11:00 PM on WBGO Radio (88.3 FM). Infor- mation: www.wbgo.org. Cape May Traditional Jazz Society ■ March 23 — as a Leader: Host Bill Kirchner takes a look at the recordings that this legendary pianist/composer/arranger made MEMBERS WANTED under his name during the 1950s and ’60s. Send name & address for newsletter, gig information, etc. ■ March 30 — Jackie Williams 75th Birthday Salute, Pt. 1: Host Ed [email protected] Berger interviews the drummer whose subtle and swinging style has 609-827-7909 graced the recordings of Erroll Garner, Bobby Hackett, , Zoot Sims, Stephane Grappelli, and many others. ■ April 6 — Jackie Williams 75th Birthday Salute, Pt. 2: Host Ed Berger interviews the drummer whose subtle and swinging style has graced JAZZ TRIVIA ANSWERS questions on page 4 the recordings of Erroll Garner, Bobby Hackett, Doc Cheatham, Zoot Sims, Stephane Grappelli, and many others. 1. Stephane Grappelli 6. Lionel Hampton 2. Red Norvo 7. Bunny Berigan ■ April 13 — Wailing With Wilson: Host Bill Kirchner surveys the music 3. Claude “Fiddler” Williams 8. John Kirby of baritone saxophonist Glenn Wilson. 4. Louis Jordan 9. Oran “Hot Lips” Page ■ April 20 — Oscar Peterson Tribute: Host Tad Hershorn covers the 5. 10. Russell Procope career of the piano great who died on December 23, 2007. ■ April 27 — Variety Is The Spice Of Jazz: Host Dan Morgenstern continues his explorations of multiple versions of the same tunes; this time, “Someday Sweetheart” and “Tea for Two.”

April 2008 ______61 JerseyEventsJazz You can find jazz all over the state Somewhere There’s Music in venues large and small. Here are just some of them.

Asbury Park Deal SUSHI LOUNGE Metuchen JOYFUL NOISE CAFE AXELROD PAC Corner of 2nd St & Hudson St. NOVITA 1400 Asbury Ave. Jewish Community Center www.sushilounge.com New & Pearl Streets “JAZZ Alive Asbury Park” 732-531-9100 x 142 201-386-1117 732-549-5306 Sunday jazz 6 PM second Friday each month 8 PM www.arthurtopilow.com Fridays 7:30 PM $8 No cover Edgewater Hopewell Bayonne LA DOLCE VITA HOPEWELL VALLEY BISTRO & INN Montclair THE BOILER ROOM 270 Old River Rd. 15 East Broad St. CHURCH STREET CAFÉ 280 Avenue E 201-840-9000 609-466-9889 12 Church St. 201-436-6700 www.hopewellvalleybistro.com FIRST CONGREGATIONAL CHURCH www.arts-factory.com Englewood Friday/Saturday 7 PM Minimum $15 40 South Fullerton Ave. Fri/Sat 10 PM; Sun 7 PM BERGEN PAC 973-744-6560 30 N. Van Brunt St. Bernardsville 201-227-1030 Lawrenceville PALAZZO RESTAURANT BERNARD’S INN www.bergenpac.org FEDORA CAFÉ 11 South Fullerton Ave. 27 Mine Brook Road 2633 Lawrenceville Road 973-746-6778 908-766-0002 TOMASO’S RISTORANTE 609-895-0844 Friday/Saturday 7:00 PM www.bernardsinn.com 163 Old River Road, 07020 Some Wednesdays 6:00 PM Joe Licari/Larry Weiss (201) 941-3000 No cover/BYOB Monday – Saturday 6:30 PM RICHIE CECERE’S Piano Bar Garwood Little Falls 2 Erie Street 973-746-7811 PORT CITY JAVA CROSSROADS BARCA VELHA RESTAURANT/BAR 55 Mine Brook Road 78 North Ave. 440 Main St., 07424 SESAME RESTAURANT & JAZZ CLUB www.fridaynightjazzjam.com 908-232-5666 973-890-5056 398 Bloomfield Avenue 4th Friday 7 PM www.xxroads.com www.barcavelha.com 973-746-2553 Jam Session Tuesday 8:30 PM Fridays 7:30 PM Bossa Brazil sesamerestaurant.com Bloomfield No cover Jazz Evening once every month, usually WESTMINSTER ARTS CENTER/ Glen Rock 2nd or 3rd Wednesday BLOOMFIELD COLLEGE GLEN ROCK INN Lyndhurst TRUMPETS 222 Rock Road WHISKEY CAFÉ 467 Franklin St. 6 Depot Square 201-445-2362 1050 Wall St. West, 07071 973-748-9000 x343 973-744-2600 www.glenrockinn.com 201-939-4889 www.trumpetsjazz.com Brooklawn Thursday 7 PM www.whiskeycafe.com One Sunday/month James Dean Orchestras Tuesday/Thursday/Sunday 7:30 PM BROOKLAWN AMERICAN LEGION HALL swing dance + lesson Friday/Saturday 8:30 PM Browning Road & Railroad Ave. 08030 Hackensack SOLARI’S 856-234-5147 Madison Morris Plains Tri-State Jazz Society usual venue 61 River St. AMBROSIA RESTAURANT & BAR www.tristatejazz.org 201-487-1969 SHANGHAI JAZZ 24 Main St. 650 Speedwell Ave. Some Sundays 2:00 pm 1st Tuesday 8:00 PM 973-898-1111 973-822-2899 Mickey Gravine Big Band www.ambrosianj.com No cover www.shanghaijazz.com Clark Wednesday/Thursday 7 PM LANA’S FINE DINING STONY HILL INN Friday/Saturday 6:30 PM Morristown 1300 Raritan Rd. 231 Polifly Rd. Sunday 6 PM THE BICKFORD THEATRE 732-669-9024 201-342-4085 No cover AT THE MORRIS MUSEUM www.lanasfinedining.com www.stonyhillinn.com 5 Normandy Heights Road Warren Vaché Trio Thursdays 7–11 PM Friday and Saturday evenings Mahwah 973-971-3706 www.morrismuseum.org Live jazz (rotating artists) Fridays 7–11 PM BERRIE CENTER/RAMAPO COLLEGE Some Mondays 8:00 PM Hawthorne 505 Ramapo Valley Road Cherry Hill ALEXUS STEAKHOUSE TAVERN 201-684-7844 THE COMMUNITY THEATRE TRINITY PRESBYTERIAN CHURCH 80 Wagaraw Road, 07506 www.ramapo.edu/berriecenter 100 South St. Rt. 70 973-427-9200 973-539-8008 856-234-5147 7 –10 PM Maplewood www.mayoarts.org Tri-State Jazz Society occasional venue No cover BURGDORF CULTURAL CENTER www.tristatejazz.org AlexusSteakhouse.com 10 Durand St. THE SIDEBAR AT THE FAMISHED FROG Some Sundays 2 PM Bucky Pizzarelli & Frank Vignola 973-378-2133 18 Washington St. on rotating schedule Tuesdays & www.artsmaplewood.org 973-540-9601 Clifton every other Thursday www.famishedfrog.com/thesidebar ST. PETERS EPISCOPAL CHURCH Manville ST. PETER’S EPISCOPAL CHURCH 380 Clifton Ave. Highland Park RHYTHMS OF THE NIGHT 70 Maple Avenue 973-546-3406 PJ’S COFFEE 729 S. Main Street 973-455-0708 Saturdays 7:30 PM 315 Raritan Avenue 908-707-8757 732-828-2323 rhythmsofthenight.net SUSHI LOUNGE Closter Sunday 1 PM Open Jam Open jam session Wednesdays 7–10 PM 12 Schuyler Place HARVEST BISTRO & BAR 973-539-1135 252 Schraalenburgh Road Hillsborough Matawan www.sushilounge.com Sunday jazz 6 PM 201-750-9966 DAY’S INN CAFÉ 34 www.harvestbistro.com 118 Route 206 South 787 Route 34 Mountainside Every Tuesday: Ron Affif/ 908-685-9000 Jazz trios Wed and Thur 8 PM Lyle Atkinson/Ronnie Zito Thursday 7 PM Open Jam 732-583-9700 ARIRANG www.bistro34.com 1230 Route 22W Cresskill Hoboken 908-518-9733 Wednesday 7:30 PM GRIFFIN’S RESTAURANT MAXWELL’S Mendham 44 East Madison Ave. 1039 Washington St. KC’S CHIFFAFA HOUSE 201-541-7575 201-798-0406 5 Hilltop Road Newark Every Tuesday Frank Forte solo guitar Every other Monday 9:00 PM 973-543-4726 BETHANY BAPTIST CHURCH Swingadelic www.chiffafa.com 275 Market Street Live Jazz — Rio Clemente, others 973-623-8161 Call for schedule www.bethany-newark.org

Listings are alphabetical by town. All entries are subject to change; please call each venue to confirm schedule of music.

62 ______April 2008 JerseyEventsJazz

Tell them you saw it in Jersey Jazz!

NEWARK MUSEUM Oakland Red Bank South Orange Watchung 49 Washington St. HANSIL’S BAR AND GRILL COUNT BASIE THEATRE DANCING GOAT CAFÉ WATCHUNG ARTS CENTER 973-596-6550 7 Ramapo Valley Rd. 99 Monmouth St. 21 South Orange St 18 Stirling Road www.newarkmuseum.org 201-337-5649 732-842-9000 973-275-9000 908-753-0190 Summer Thursday afternoons www.thedancinggoat.com [email protected] RUGA’S ”JAZZ IN THE PARK” 8 PM NJPAC www.watchungarts.org 4 Barbara Lane Riverside Park 1 Center St. Jazz Series 2008 201-337-0813 732-530-2782 SOUTH ORANGE PERFORMING 888-466-5722 ARTS CENTER Two Fridays a month at 8:00 PM Tuesday thru Saturday 7:00 PM www.njpac.org One SOPAC Way Ridgewood 973-235-1114 Wayne THE PRIORY Pine Brook WINBERIE’S AMERICAN BISTRO WILLIAM PATERSON 233 West Market St. MILAN 30 Oak Street Summit UNIVERSITY 973-242-8012 13 Hook Mountain Road 201-444-3700 SUMMIT UNITARIAN CHURCH 300 Pompton Road Friday 7:00 PM 973-808-3321 www.selectrestaurants.com 4 Waldron Ave. 973-720-2371 No cover www.milanrestaurant.com Thursdays /Pop Sunday www.wpunj.edu Fridays 6:30 PM Stein Brothers Fridays/Saturdays Jazz/Pop duos Sunday 4:00 PM SAVOY GRILL Teaneck 60 Park Place Rumson LOUNGE ZEN West Caldwell 973-286-1700 Plainfield SALT CREEK GRILLE 254 DeGraw Ave. www.thesavoy CAFÉ VIVACE T’S TRATTORIA MARTINI BAR 4 Bingham Avenue 201-692-8585 1090 Bloomfield Ave. grillnewark.com 1370 South Avenue 732-933-9272 www.lounge-zen.com 973-882-3110 908-753-4500 www.saltcreekgrille.com No cover New Brunswick www.cafevivace.com Wednesdays/Thursdays/Fridays music CHRISTOPHER’S Saturdays 7:30 PM Sayreville PUFFIN CULTURAL FORUM 20 East Oakdene Ave. AT THE HELDRICH HOTEL SHOT IN THE DARK West Orange 10 Livingston Avenue Princeton SPORTS BAR & GRILL 201-836-8923 CECIL’S 732-214-2200 MCCARTER THEATRE 404 Washington Road Tom’s River 364 Valley Road www.theheldrich.com 91 University Place 732-254-9710 973-736-4800 Thursday 7:30 PM OCEAN COUNTY COLLEGE No cover 609-258-2787 FINE ARTS CENTER cecilsjazzclub.com Every Friday 8 – 11 PM John Bianculli College Drive FRANKLIN TAVERN MEDITERRA 732-255-0550 DELTA’S 29 Hulfish St. Seabright www.ocean.edu/campus/ 97-99 Franklin Ave. 19 Dennis St. 609-252-9680 THE QUAY fine_arts_center 973-325-9899 732-249-1551 www.terramomo.com 280 Ocean Ave Some Wednesdays No cover 732-741-7755 STATE THEATRE SALT CREEK GRILLE Tuesday nights Jazz Lobsters Westfield 15 Livingston Ave. Totowa 1 Rockingham Row, big band 16 PROSPECT WINE BAR 732-246-7469 Forrestal Village 46 LOUNGE 300 Route 46 East AND BISTRO www.statetheatrenj.org 609-419-4200 Sewell 973-890-9699 16 Prospect St. www.saltcreekgrille.com TERRA NOVA www.46lounge.com 908-232-7320 Newton Six nights a week WITHERSPOON GRILL 590 Delsea Drive Wednesday Jazz 7:30 PM BULA 856-589-8883 57 Witherspoon Street 134 Spring St. http://terranovarestaurantbar.com SUSHI LOUNGE ACQUAVIVA 609-924-6011 973-579-7338 Fridays & Saturdays Live Jazz 235 Route 46 West 115 Elm St. www.jmgroupprinceton.com www.bularestaurant.com www.sushilounge.com 908-301-0700 Tuesday night jazz 6:30 – 9:30 PM Fridays 8:00 PM Short Hills 973-890-0007 www.acquaviva- JOHNNY’S ON THE GREEN Sunday Jazz 6 PM dellefonti.com North Arlington Rahway 440 Parsonage Hill Road Fridays 7:00 PM UVA ARTS GUILD OF RAHWAY 973-467-8882 Trenton 602 Ridge Road 1670 Irving St. www.johnnysonthegreen.com JOE’S MILL HILL SALOON Woodbridge Friday 7:00 PM 732-381-7511 Market & Broad Streets JJ BITTING BREWING CO. Adam Brenner www.rahwayartsguild.org Somerville 609-394-7222 33 Main Street 8:00 PM VERVE RESTAURANT Occasionally 732-634-2929 North Branch 18 East Main St. www.njbrewpubs.com NEW ORLEANS FAMILY Randolph 908-707-8605 Union Fridays 9:30 PM www.vervestyle.com RESTAURANT STONEFIRE GRILLEHOUSE & BAR VAN GOGH’S EAR CAFÉ 1285 State Highway 28 500 Route 10 West Occasional Thursdays 6 PM Wood Ridge Fridays/Saturdays 8:30 PM 1017 Stuyvesant Ave. 908-725-0011 www.stonefirerestaurant.com 908-810-1844 MARTINI GRILL 7:00 PM 973-537-7070 South Brunswick www.vangoghsearcafe.com 187 Hackensack St. Sunday Jazz 6 PM Sundays 8:00 PM 201-209-3000 JAZZ CAFÉ Nutley $3 cover South Brunswick (Dayton) Wednesday through HERB’S PLACE Raritan Municipal Complex Saturday AT THE PARK PUB MUGS PUB AND RESTAURANT 540 Ridge Road 785 Bloomfield Avenue 73 West Somerset Street 732-329-4000 ext. 7635 973-235-0696 908-725-6691 [email protected] 8:30–11:30 PM Fridays 7 PM first Friday every month $5 admission includes light refreshments

We continually update entries. Please contact [email protected] if you know of other venues that ought to be here. We want to include any locale that offers jazz on a regular, ongoing basis. Also please advise us of any errors you’re aware of in these listings. The Name Dropper Vocalist JACKIE JONES & JOHN JAMES L. DEAN big band swings BORDERLINE JAZZ BAND with Jim JULIUS TOLENTINO on April 25 and BIANCULLI TRIO at Christopher’s at the Whiskey Café in Lyndhurst on Fryer and Bria Skonberg presented by 26 at Cecil’s in West Orange. the Heldrich Hotel in New Brunswick April 13 — $15 includes dinner, dance Tri-State Jazz Society April 20 at April 4 and 25 lesson. Brooklawn American Legion Hall

April 2008 ______63 Time Value Material PERIODICALS Deliver Promptly Postage PAID at Brookside, NJ c/o New Jersey Jazz Society and additional PO Box 410 mailing offices Brookside, NJ 07926-0410

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