Volume 40 • Issue 4 April 2012 Journal of the New Jersey Society Dedicated to the performance, promotion and preservation of jazz.

THE 43RD ANNUAL weePEE Russell Memorial STOMP

More photos begin on page 28.

Photo by Tony Graves

April is New JerseyJazzSociety

in this issue: NEW JERSEY JAZZ SOCIETY Prez Sez ...... 2 Bulletin Board ...... 2 NJJS Calendar ...... 3 The Mail Bag ...... 4 CD and Book Winners ...... 4 Prez Sez Editor’s Pick/Deadlines/NJJS Info ...... 6 Jazz Trivia ...... 16 By Frank Mulvaney President, NJJS Febuary Jazz Social: Al Caiola...... 48 Crow’s Nest ...... 50 New/Renewed Members ...... 50 ometimes a new trend can be underway and number of years, hiring 36 groups (many well- Change of Address/Support Swe don’t realize it until it becomes obvious. known) to perform at each of four outdoor NJJS/Volunteer/JOIN NJJS ...... 51 But there are usually telltale signs. Recently, I downtown locations every Tuesday evening STORIES noticed in The Star-Ledger Ticket, 29 jazz venue throughout July and August. New Jersey also 2012 Stomp ...... cover events listed for the week and I knew of quite a has numerous remarkable high school jazz in the Sky...... 8 few more that regularly have jazz. The New Memories of Amos Kaune ...... 14 ensembles, which perform in a series of Memories of Barbara Lea ...... 17 Brunswick Jazz Project, about to have its second competitions and present concerts at their own Dan’s Den ...... 18 anniversary, has worked with several different schools. Have we reached a tipping point yet? Talking Jazz: ...... 20 venues and has arranged gigs for over 200 ■ Roseanna Vitro at 4/15 Jazz Social. . . . . 31 musicians including Conrad Herwig, Ralph Boy oh boy, have I been pigging out on great Noteworthy ...... 32 Bowen, Tia Fuller, Arturo O’Farrill and Roseanna live jazz since my last epistle. The series of events 32nd North Carolina Jazz Festival . . . . . 33 started with a fabulous Bridgewater Benny 4th Annual Arbors Party ...... 34 Vitro to name a few. The Jazz Arts Project Goodman Tribute concert on January 21. Les Paul Exhibit at Mahwah Museum . . 36 annually presents seven to eight programs in Red While the music was splendid, for me the most REVIEWS Bank including a summer series in the beautiful Other Views ...... 38 Two River Theatre. Jazz impresario Bruce Gast noteworthy fact was that the 14-piece band College Jazz...... 41 produces 30-35 jazz events each year between the included four 20-somethings: the Anderson Caught in the Act: H.Allen/ Bickford Theatre in Morristown and Ocean twins, Bria Skonberg and Manhattan School of S.Hamilton/Konitz and Kenton ...... 43 Music student Aaron Johnson. The two four- Memories of the Oak Room ...... 47 County College. There are now three venues in Asbury Park that regularly feature jazz including clarinet features with the kids and Dan Levinson EVENTS were fantastic. On the 26th it was Conrad Herwig ’Round Jersey: Morris, Ocean ...... 52 Chico’s House of Jazz, now in its second year. Institute of Jazz Studies/ This past summer Somerville held its third jazz and his quintet at Makeda in New Brunswick Jazz from Archives ...... 53 festival and Morristown held its very first with tenor monster Ralph Bowen, pianist Orrin Somewhere There’s Music ...... 54 Evans, and bassist Kenny Davis. The next night The Name Dropper ...... 55 festival. Numerous libraries around the state present jazz programs and the six universities it was Sophie’s Bistro in Somerset to hear my ADVERTISERS young friend Brandon Wright, a terrific tenor Jazzguy Ensemble Workshop ...... 4 that I cover each year present a total of about WBGO ...... 5 50 programs, which include many big band saxophonist who is playing with the Mingus and Mayo Performing Arts Center...... 7 programs, and often with famous guest Maria Schneider bands. The night following it Shanghai Jazz ...... 9 musicians. Rutgers alone presents eight big band was the fantastic at the Unitarian Arbors Records ...... 11 concerts a year. The Westfield Downtown Church in Morristown. There is no doubt that Jazzfest at Sea ...... 13 Jazzdagen ...... 15 Association has had a summer jazz program for a Frank has few jazz guitar peers. We took Sunday Hibiscus...... 25 Jim Eigo Jazz Promo ...... 26 John Nobile SummerSwing Orchestra . . 26 Riverboat Swing ...... 31 Stay tuned to www.njjs.org WBGO PhotoBlog ...... 31 Arbors Harry Allen Monday Nights. . . . . 33 Sandy Sasso ...... 38 NJJS Bulletin Board Berrie Center at Ramapo College...... 39 PA Jazz Society ...... 40 Member Discount Claim your member privilege! Get free admission Marlene VerPlanck ...... 42 to NJJS socials, discounts to music events, discounts from partners! Full Count Big Band ...... 43 Bethany Baptist Church Newark ...... 44 NJJS Members Discounts Hibiscus offers NJJS members a discount of 10% off their check. The Theatre at RVCC...... 45 See ad page 25. The Berrie Center at Ramapo College offers NJJS members 5% off event tickets; see ad page 39. Shelly Productions ...... 46 FREE Film Series…Now on THURSDAY nights at 7 PM at Library of the Chathams. See calendar page 3 George Gee Swing Orchestra ...... 46 for details. Best of all? Free, free, free…invite your friends. LauRio Jazz ...... 51 CTS Images ...... 51 FREE Jazz Socials…ongoing. Join us for music and mingling. Free for members, $10 non-members Princeton Record Exchange ...... 56 (applicable to membership) with just a $10 venue minimum. Watch calendar page 3 for upcoming dates and details. Beyond the schmooze, there are some serious musical prizes raffled off at our socials!!

2 ______April 2012 New JerseyJazzSociety

Tell them you saw it in Jersey Jazz!

off and on Monday it was Bucky Pizzarelli’s we were at the first installment of the spring • Swingadelic Octet — Tribute to the Three Birthday Bash at the Bickford Theatre in William Paterson Jazz Room series for the Louies (Armstrong, Jordan and Prima in Morristown. On February 3 we were at the great Mulgrew Miller and WPU jazz faculty his centennial year) (see my College Scene column). Finally, we Princeton Arts Council for a sold-out • Andy Farber’s Swing Mavens with vocalist traveled 90 miles to Rowan University on performance by multi-reed/flute player Champian Fulton Audrey Welber’s band, Jazz4Soul. The next February 17 to hear their always exciting night we were at the Newark Bethany ensembles. I have not mentioned five other • Emily Asher’s Garden Party — Roving Baptist Church Jazz Vespers with the great sessions and I will be doing five upcoming Dixie band between theatre breaks Jon Faddis. He performed, without sheets, events in a four-day period. Hey, it’s a tough It’s going to be very exciting. the five movements of the suite written for job but somebody has to do it. ■ Our Sunday Social at Shanghai Jazz on by Lalo Shifron. I don’t think ■ We just booked the wonderful singer/ February 19 with our guest 91 year-old there was a dry eye in the house when he pianist Tony DeSare to complete the lineup guitarist legend Al Caiola brought out magnificently played “Come Sunday” for the for Jazzfest (June 16), which for the second benediction. Jon was his usual fun-loving, time will be held on the campus of The record attendance. What a great time it was! cut-up self even in church. Note that the NJ College of Saint Elizabeth in Morristown. I hope you don’t miss our April 15 City University Jazz ensemble and Grammy- Sunday Social when we will have Grammy- The rest of bill consists of: nominated Roseanna Vitro will perform at nominated (this year) vocalist Roseanna the vespers service on April 7. On February • The Harlem Renaissance Orchestra, Vitro and her college voice students. 9 it was the Todd Bashore Quartet at • Eddie Montiero’s Shades of Brazil, And then on May 20 we will have the Makeda with Orrin, Kenny and drummer • The Jon Burr Trio with , phenomenal young clarinetist Dave Bennett. Jerome Jennings. Todd is an absolutely Jonathan Russell and vocalist Lynn Stein Mark your calendars and make your plans awesome alto player. Sunday, February 12 for a Stephane Grappelli Tribute so that you don’t miss these events. JJ

Jersey Jazz magazine seeks your help to cover jazz in Jersey as comprehensively as possible. Please help us expand our reach to all corners of the musical Garden State. Consider submitting a story or even a brief paragraph when you visit any venue featuring jazz. If you can include a high-res photo, even better. We’ll happily credit your work when we print it and you’ll have the satisfaction of spreading the jazz message and fulfilling your creative impulses! JJ for updates and details.

Thursday Mar 22 Sunday April 15 Thursday April 26 Sunday May 6 Sunday May 20 FREE FILM JAZZ SOCIAL FREE FILM CO-PRODUCED JAZZ SOCIAL Solo Flight: Grammy-nominated : CONCERT Phenomenal The Genius of vocalist Roseanna Vitro An Evening with Marty Vince Giordano young clarinetist Charlie Christian, and her college voice Grosz. A documentary & His Nighthawks Dave Bennett plus Red Norvo: students. about Marty built around Mayo Performing Shanghai Jazz Jazz at the Shanghai Jazz a concert with Vince Arts Center 24 Main St, Madison Giordano, Dan Block and Smithsonian 24 Main St, Madison Morristown 3–5:30 PM Scott Robinson. Library of the 3–5:30 PM Library of the see ad page 7 Chathams Chathams 214 Main Street 214 Main Street Chatham 7 PM Chatham 7 PM NJJS Calendar

April 2012 ______3 New JerseyJazzSociety

I CHECKED OUT MY LATEST JERSEY JAZZ YESTERDAY and was The Mail Bag delighted with the space you provided for the John Bunch tribute concert. In fact, I even received a call already from one of our mutual I RECEIVED THE FEBRUARY 2012 ISSUE OF JERSEY JAZZ and found the recipients asking about how to buy tickets. article on discography very interesting. I have been studying the history of discography for many years and I have written a number of articles that Thanks so much for your help…the JJ magazine is a great read and you have been published in various magazines especially Names and Numbers should be very proud of your outstanding efforts! which is a specialist discographical magazine published in Holland. Best wishes, The first discographer? Bob Bush Collection Coordinator I believe that it is generally accepted that Hilton Schleman and Charles Memorial Jazz Collection — Kemp Library Delauney were the pioneers of jazz discography. Schleman is noted for East Stroudsburg University of Pennsylvania his comprehensive approach as he included some dance bands as well as jazz. However, his work is largely a listing of records with supporting information. Delauney was the first to list the records with personnels and recording dates and locations, albeit in a non-alphabetical sequence. From the Desk of The books of both these authors appeared in 1936. But, there was a document published at least a year and possibly two years before either Chickie the Jazz Dog of those books. The author was Victor Carol Calver who produced a discography of that appeared in 1934. Calver called his This month Chickie the Jazz Dog has publication a “Handlist” thus using a diminutive of the English word “Handbook,” a common term of the period for a reference work. TWO contest winners to announce! Compilation of the listing of an artist’s work would not qualify as a precedence in the field of discography until you look at what Calver NJJS member Stan Greenberg of Sarasota, Florida had done. He listed the recordings by recording company and then wins February’s CD contest and receives chronologically, giving the recording dates, although only by month and a copy of Jimmy Owens: year. He provides the personnel of the band and pseudonyms used in the artist credits. He gives American, British and occasionally “Continental” The Monk Project. release numbers. He even indicates which recorded tunes are Ellington compositions. The only thing that is missing is master numbers. Because Member Al Parmet of this was published in 1934 when Ellington’s output was small, the Springfield, New Jersey document runs to only 11 pages including the front cover. The page size is our book winner and is 15 by 21 centimetres. receives a copy of Something that indicates the pioneering approach of the author is that the final page of the booklet is an advance notice of his intention to Mr. Trumpet: publish a complete listing of the recordings of Spike Hughes made under The Trials, his own name and as a sideman. The innovation in this case is to be the inclusion of master numbers as well as references to the reviews of the Tribulations, records in The Melody Maker. Unfortunately, I have not seen a copy of and Triumph this document and enquiries to several leading discographers have drawn of Bunny Berigan a blank as they have either not seen the document or have never even heard of it. by Michael P. The rarity of the Ellington booklet and the apparently mythical status of Zippolo. the Spike Hughes document means that Victor Calver’s innovative efforts have gone largely unnoticed by the discographical fraternity. But this should not prevent us from acknowledging the fact that Calver produced a document that was recognisable as a discography. Like many researchers, he may have been the originator of the information format that he used but it is possible that even as early as 1934 there was a group Jazz Ensemble of record collectors exchanging information in a more-or-less standard format. To have published their books in 1936, Schleman and Delauney must have been working on the manuscripts at least a year or two earlier. Workshop It is unlikely that these two authors, as with Calver himself, were Free and relaxed. Northwest NJ. working in isolation. I now wonder what other small documents of a discographical nature remain to be discovered. Whatever now comes to Jam for fun, chops and meet jazz cats. light, it cannot detract from the fact that Victor Carol Calver of Ipswich Music and recording stuff here. in England deserves to be recognised as one of the first, if not the very first, discographer. contact: Bob 973-209-7716 George Hulme [email protected] London, England

4 ______April 2012 April 2012 ______5 New JerseyJazzSociety

The Editor’s Pick The Journal By Tony Mottola Jersey Jazz Editor of the New Jersey Jazz Society Volume 40 • Issue 4 Local 802 to Jazz Clubs: USPS® 00-668 Jersey Jazz (ISSN 07405928) is published monthly eleven times per year with a combined July/August “Why Don’t You Do Right?” issue for members of The New Jersey Jazz Society, 382 Springfield Ave., Suite 217, Summit NJ 07901. Membership fee is $40/year. Periodical postage hile musicians who work in New York’s symphony orchestras and Broadway pit paid at West Caldwell, NJ. Postmaster please Wbands have long been covered by union contracts, their counterparts in the jazz send address changes to 382 Springfield Ave. world labor in mainly non-union clubs with no guarantee of fair payment, no pension Suite 217, Summit NJ 07901. All material in Jersey Jazz, except where another or health contributions or state statutory benefits like workers’ comp, unemployment copyright holder is explicitly acknowledged, is or disability insurance. The situation has been a black mark for AFM Union Local 802 copyright ©New Jersey Jazz Society 2012. All rights reserved. Use of this material is strictly for a long time, and the union’s new leadership seems committed to doing something prohibited without the written consent of the NJJS. about it. Tony Mottola Editor 27 Upper Mountain Ave., Montclair, NJ 07042 In 2007, the organization Justice for Jazz Artists (J4JA), founded by Local 802, celebrated e-mail: [email protected] what appeared to be a clear victory in its fight to get retirement benefits for jazz artists Linda Lobdell Art Director/Co-Editor 352 Highland Ave., Newark, NJ 07104 — passage of a state law allowing for a tax break for club owners on the revenue they 201-306-2769 receive from admission charges. The intent of the law was to allow club owners to e-mail: [email protected] continue to collect the tax dollars and redirect them into the musicians’ pension fund. Fradley Garner International Editor e-mail: [email protected] But nearly five years later none of the affected clubs have entered into agreements with Dan Morgenstern Contributing Editor the union to collected the benefits. e-mail: [email protected] Mitchell Seidel Contributing Photo Editor “All we are asking is for club owners to agree to sit down and discuss a viable solution e-mail: [email protected] to a situation that they should frankly be ashamed of,” said John O’Connor, Recording Fran Kaufman, Tony Graves Vice President of Local 802 AFM. “Making these minimal contributions to a pension Contributing Photographers John Maimone Entertainment Contributor fund would show they truly value the hardworking and skilled musicians who bring 908-753-6722 | e-mail: [email protected] patrons through the doors of their clubs every single night — and who deserve to retire Fred McIntosh Entertainment Contributor with dignity.” 201-784-2182 | e-mail: [email protected] Recently J4JA turned up the heat with an informational leafleting campaign at Birdland, NEW JERSEY JAZZ SOCIETY OFFICERS 2012 the Blue Note, the Village Vanguard, Dizzy’s Club Coca-Cola and The Jazz Standard. Frank Mulvaney President O’Connor says that hammering out a bare-bones agreement with those high profile 219 Eton Place, Westfield, NJ 07090 clubs would enable unions to get similar agreements in other major cities and create a 908-233-4824 | e-mail: [email protected] Andrea Tyson Executive Vice President network through which touring musicians could earn pension credits. 732-356-3626 “Several efforts have been made to engage the clubs in being part of Mike Katz Treasurer 908-273-7827 the solution, without success,” says bassist , Local 802’s jazz Caryl Anne McBride Vice President, Membership organizer. “Now it is time for jazz fans to let the clubs know that 973-366-8818 | e-mail: [email protected] exploiting jazz artists is no way to show respect for the men and Sheila Lenga Vice President, Publicity women who fill their venues and sustain this great American art form.” 973-366-88188 | e-mail: [email protected] Al Parmet Recording Secretary J4JA has also launched a Web site at where you can learn more 908-522-1163 Jack Stine President Emeritus about the issue and sign a petition. Why not take a look and lend 908-658-3515 your support at www.justiceforjazzartists.org. JJ Laura Hull Immediate Past President 973-229-4275 Joe Lang Past President CORRECTION: In the February issue’s Pee Wee Preview, we misidentified 973-635-2761 Mona’s Hot Four pianist Jesse Gelber. DIRECTORS Kate Casano, Carolyn Clemente, Jersey Jazz welcomes your comments on any article or editorial. Cynthia Feketie, Sheilia Lenga, Comments? Stan Myers, Larissa Rozenfeld, Stewart Schiffer, Send e-mail to [email protected] or mail to the Editor (see masthead Mitchell Seidel, Jack Sinkway, Frank Sole, this page for address). Include your name and geographical location. Marcia Steinberg, Elliott Tyson, Jackie Wetcher, Linda Lobdell (Ex-officio), Tony Mottola (Ex-officio) New Advertising Rates Quarter page: $50; Half page $75; Full page $110. Biz card size $25. $10 discount on ADVISORS Schaen Fox, Amos Kaune, Bruce Lundvall, Bob Porter repeat full-page ads. To place an ad, please send payment at www.PayPal.com using our code: [email protected], or Marketing/Public Relations Consultant: Don Jay Smith mail a check payable to NJJS to New Jersey Jazz Society, 382 Springfield Ave., Suite 217, Summit NJ 07901; please Website: www.njjs.org indicate size and issue. Contact [email protected] or 201-306-2769 for technical information and to submit ads. e-mail: [email protected] Hotline: 1-800-303-NJJS (1-800-303-6557) NJJS Deadlines The deadline for submission of material for upcoming issues is as follows: May: March 26 • June: April 26 To join the NJJS and begin receiving this magazine, go to “JOIN NJJS” (see table of contents) or NOTE: EARLY SUBMISSIONS ARE GREATLY APPRECIATED. visit www.njjs.org for complete information.

6 ______April 2012 April 2012 ______7 JerseyStoriesJazz

Big Band in the Sky By Sanford Josephson

■ Amos Kaune, 80, club owner, August 26, 1931, Passaic, NJ – February 4, 2012, Clifton, NJ. Nothing describes Amos Kaune better than the sign he had in front of Gulliver’s, the jazz club he operated in West Paterson, NJ (now Woodland Park) and later in Lincoln Park. It read: “This is a jazz club. You are expected to be quiet. If you are talking or making noise and it disturbs the musicians or other customers, you will have to leave. There will be no refund of your music charge.” No wonder musicians loved him. As public relations executive and film producer Susan Brink said in an email to Jersey Jazz editor Tony Mottola, “Amos respected the music, and he insisted his patrons do the same… He gave his all to support jazz in New Jersey for many years. Everyone played his clubs — Wayne Shorter, Sonny Rollins, , the Heath Brothers — everybody.” Amos Kaune, left, wth bandleader Mercer Ellingon at Gullivers. Vocalist Marlene VerPlanck described him as “one of a kind,” telling Jersey Jazz,“He began booking the jazz for Trumpets in On The Modern Jazz Quartet: knew just what to do and how to handle all Montclair. Reporting in Jersey Jazz on a jazz “Those were the biggest weekends we ever situations.”When he opened the Lincoln club owners forum at a New Jersey Jazz had. In both cases, they were going to record Park location in 1986, she recalled, “Amos Society member meeting in 2006, Mottola and wanted to play before a live audience did everything with the most meticulous described Kaune as “a modest and soft- before they went in the studio. Any number attention to detail…As usual, he brought in spoken man. He’s also a pioneer who gave of musicians would do that.” all the wonderful artists that no other jazz audiences a place to hear top-notch play- On Bucky Pizzarelli and Harry Leahey: booker could seem to deal with.” ers at a time when there were precious few “We had big nights with Harry and Bucky Jazz guitarist Bob DeVos called Kaune “a opportunities to catch live jazz in the state.” Pizzarelli. I remember Bucky was in one jazz hero,” writing on his Facebook page night with Les Paul listening to Harry. They Amos Kaune’s story can perhaps best be told were so charged up by Harry they kept talk- that he played at and frequented Gulliver’s by his encounters with the musicians whom ing about him, and at three o’clock in the “…countless times. Without a doubt it was he both hired and admired. At the club morning we had to empty the place — that New Jersey’s best jazz club ever. Amos knew owners’ forum, he recalled that he once asked was the law.” the music and his customers’ preferences; he the tenor saxophonist , “How can On Gene Bertoncini: knew who to hire and got all the greats to you get so drunk and play so great?” Sims’s The guitarist Gene Bertoncini, “has a very play there.” Pianist-educator Noreen reply: “Easy. Practice drunk.” Jersey Jazz Lienhard played at Gulliver’s several times good sense of humor. He tells some really profiled Kaune in its February 2011 issue, corny jokes…One night we had the Bishop with the late drummer Joe Morello. Amos, and, in that interview with Schaen Fox, he of the Paterson Diocese in with a couple of she said, “was just a great guy. He really recounted many of his experiences. other priests. So Gene told this joke about a loved the musicians. People wanted to work On Joe Pass: painter that was hired to paint this little for him because he treated people well.” “Joe Pass was originally from New Bruns- church that was way out in the country. He Bassist Bill Crow added that Kaune was “a wick and had family all around this part of was all alone and he started to run low on good friend and a responsible employer of New Jersey. He was a great, great guitarist, paint and he realized the only way he was jazz musicians.” but he did show up drunk one night… going to get through it was to water the What happened was he had nothing to do paint…Finally, he finishes and steps back The predecessor of the original Gulliver’s was in the afternoon, so some German guy to admire his work, and there is a cloud- the Clifton Tap Room in Clifton. The first recognized him and said, ‘Come on in and burst. The paint washes off, and a voice Gulliver’s opened in the 1970s. When the have a drink.’ That was the worst thing you comes out of the cloud saying, ’Repaint and Lincoln Park location closed in 1989, Kaune could say to Joe.” thin no more.’” continued on page 10

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

NO COVER (except special events) Highlights, late March, April 2012: fri & sat 3/16 & 17: CLAUDIO RODITI sun 3/18: ALISON KALAHER wed 3/21: DEREK SMITH fri 3/23: GROVER KEMBLE with BRYNN STANLEY sat 3/24: ROB PAPAROZZI sun 3/25: HOLLI ROSS with EDDIE MONTEIRO thu 3/29: DIVA TRIO fri 3/30: CHAMPION FULTON wed 4/4: NICKI PARROTT with WARREN VACHÉ thu 4/5: HARRY ALLEN sat 4/7: MARK PETERSON wed 4/18: BUCKY PIZZARELLI Book your special parties at Shanghai Jazz. Call for information.

Tuesday: 6:30 PM – 8:30 PM; Wednesday and Thursday: 7:00 PM – 9:30 PM Friday and Saturday two seatings: 6:30 and 8:30 PM Sunday: 6:00 PM – 9:00 PM for latest schedules and updates, please visit www.shanghaijazz.com Please note: We take reservations by telephone only 973.822.2899 and not by e-mail.

April 2012 ______9 JerseyStoriesJazz

BIG BAND IN THE SKY ■ Bruce McNichols, 72, saxophonist, banjo Among the more popular programs was Jim Lowe & Company pairing McNichols with continued from page 8 player, radio personality, April 6, 1939, Oceanside, NY – February 16, 2012, the onetime WNEW-AM radio personality. Mamaroneck, NY. Growing up on Long On Kenny Rankin: Island, McNichols began “He sang and was pretty good, but he was a having impromptu jazz real pain. He would hold up the guitar to sessions with his friends the overhead speakers. Now an amplified when he was in the eighth guitar is a microphone, and you are going grade. In the “Meet the to get feedback holding any microphone up to a speaker. Then he would look and shake Musicians” section of the his head like what kind of a joint am I www.OKOM.com Web site playing in?” (Our Kind Of Music), he recalled that, “The band In the preface to Schaen’s profile, trumpeter director took a liking to us Warren Vaché paid tribute to Kaune. He and urged us on. In all said: “Amos and Pat Kaune single-handedly fairness, we were just little kept jazz alive in northern New Jersey for kids, and we weren’t very years. Their club was always like a home, good, but the idea that we comfortable and warm…Amos gave us a were kids and played great place to play, and a place where the happy music made us a music was the most important thing.” big success.” VerPlanck recalled that the original In 1962, McNichols Gulliver’s was small and intimate. “Amos formed The Smith Street was trying his best to deal out front, and Society Jazz Band. After Pat [his wife] was cooking hamburgers on a that, he continued, “I single burner and making beautiful cheese started to get gigs in New plates.” The Lincoln Park location was much York City mostly at bars larger. “We had Mercer Ellington with the and restaurants.”Among Duke Ellington Orchestra,” he told Schaen. the musicians that he “We had ’s big band and that played with were the late Bruce McNichols. Photo by Bruce Gast. was something like 20 pieces — a big band Jim Lawyer, who doubled indeed. We had the Artie Shaw band, minus on string bass and tuba, Artie Shaw.” and trombonist Herb Gardner, who “played piano with us for Veteran jazz concert producer Bruce Gast, And the name Gulliver’s? “I went through several years.” In 1970, Lawyer and in an e-mail to McNichols’s daughter, Brett song titles and movie titles, and I guess I McNichols formed Muskrat Productions, Lando, wrote: “It is difficult to accept the came across Gulliver’s Travels, and it which specialized in presenting “happy fact that Bruce McNichols is suddenly sounded nice, so I used it. It worked pretty upbeat entertainment that delights people gone…The New Jersey Jazz Society grew well.” Booking the music at Trumpets was of all ages.” Featured entertainment included out of the Pee Wee Russell Memorial Stomp less stressful than owning a club. “That was jazz, sing-along bands and early in the decade of the 1970s. I was not fun,” he said. “Every night I would walk in barbershop quartets. The “A Band” consisted at the first Stomp, but I believe the Smith and get hit with all the problems. I could of McNichols on soprano saxophone and Street Society Jazz Band, Bruce’s prime commiserate with everybody, and when it banjo, Lawyer on banjo, Joe Hanchrow outfit, was*…Bruce was more than just a was over, I went home, and that was it.” In on tuba, Gardner on trombone and piano performer. He was an organizer, a leader, a 2007, the NJJS presented Kaune with a and Joe Madding on drums. In the ’80s, booker, perhaps even an agent. When young “Non-”Award at the McNichols’s wife Lynne joined the band musicians arrived in New York, they tended annual Pee Wee Russell Stomp. as vocalist and Robbie Scott replaced to work for either Bruce McNichols or Vince Giordano, thus a lot of musicians In addition to his wife, Pat, Kaune is Madding on drums. prominent today owe their initial ability to survived by a brother James of Bedminster, In the ’90s, Bill Taggart, once the tuba player make a living to playing jazz with either of NJ; nieces Tara Head of Hanson, MA, Lisa with the Southampton Dixie Racing & those guys, possibly both.” Marie Kaune of Bedminster and Patricia Clambake Society Jazz Band, created O’Dea of Alpharetta, GA; a nephew Norman www.OKOM.com (Radio OKOM), and McNichols was also a familiar presence on Sergeant of Wayne, NJ; and a great-nephew. McNichols became the program director. LMC-TV, Larchmont Mamaroneck *Editor’s Note: There is no record of the Smith Street band at the first Stomp. continued on page 12 But records do show that the band played every Stomp from 4 through 15.

10 ______April 2012 April 2012 ______11 JerseyStoriesJazz

BIG BAND IN THE SKY jazz.” His avant-garde period blossomed in 1965 when he and three other Chicago continued from page 10 musicians, pianist Muhal Richard Abrams, Community Television. He appeared in trumpeter Phil Cohran and drummer Steve several locally-produced programs and McCall formed the Association for the performed onstage at the Emelin Theater Advancement of Creative Musicians, an in Mamaroneck for LMC-TV award nights organization “dedicated to nurturing, and at holiday parties. “Bruce will be deeply performing and recording serious, original missed by all of us here at LMC-TV,” Erik music.” Later in his career he recorded Lewis, executive director of LMC-TV, told with the avant-garde saxophonist Roscoe thedailylarchmont.com. Mitchell, a member of the Art Ensemble of Chicago. Survivors include his daughter, Brett, his wife of 49 years, Lynne, and a granddaugh- Christian’s ability to navigate both musical ter. According to his daughter, the family worlds, however, also enabled him to hopes to hold a memorial service at a become a partner with legendary Chicago later date. hard bop tenor saxophonist Von Freeman. They made three together in the ■ Jodie Christian, 80, pianist, February 2, early ’90s on the Danish SteepleChase label. 1932, Chicago – February 13, 2012, Chicago. Christian was noted for his ability Howard Reich, writing in the Chicago When she joined Ellington, Al Hibbler was Tribune on the day of the pianist’s death, to move back and forth between avant- the male vocalist with the band, and the two said Christian had, “a vivid presence at the garde jazz and hard bop. In fact, Neil Tesser, collaborated on one of Ellington’s most keyboard. His tone was full-bodied, his writing in the Chicago Jazz Music Examiner popular songs from that era, “I Ain’t Got touch pervasively lyrical, his chords on February 13, pointed out that, “His Nothin’ But the Blues.”Another memorable uncommonly lush.” evident comfort with free and avant-garde moment of her career occurred on playing came as a shock to listeners Survivors include his wife, Juanita; three November 13, 1948, when she sang Billy accustomed to hearing him on disc behind sons, Jerome, Jodie, Jr. and Jonathan; and Strayhorn’s “Lush Life” at Carnegie Hall such straight-ahead players as saxophonists seven grandchildren and nine great- accompanied by Strayhorn at the piano. Eric Alexander, , Stan Getz grandchildren. and .” Davis often used her voice as an instrument ■ Kay Davis (Kathryn Wimp), 91, vocalist, within the orchestra. Jazz at Lincoln Center Tenor saxophonist Alexander described December 5, 1920, Evanston, IL – January Christian to Jersey Jazz as “a harmonic whiz curator Phil Schaap, pointing out to The 27, 2012, Apopka, FL. Davis, considered who had a style all his own as an accompa- New York Times that, “she was a classically one of the last links to Duke Ellington, sang nist and as a soloist. I remember feeling trained coloratura,” said Ellington took a as part of a trio of female vocalists in the really overwhelmed trying to keep up with work that featured the trombone, “Blue Ellington Orchestra from 1944 to 1950. his harmony when I first played with him in Light” and renamed it “Transbluency” and (The other two vocalists were Joya Sherrill the early ’90s. On one occasion, I thought “blended trombone with her highest-notes and Maria Ellington, no relation to Duke). I’d outsmart him with some tritone substi- coloratura voice.” She recorded many other Classically trained at Northwestern tutions on the bridge of rhythm changes. wordless vocals, often accompanied by University, Davis was discovered by He was on it immediately. After the set was Ellington trombonist Lawrence Brown. Ellington while he was in Evanston in 1944. over, he asked me, ‘Where did you learn He heard her at a recital and invited her to Richard Wang, associate professor emeritus that?’ I said George Coleman had showed join his band. She was one of only six of music at the University of Illinois at me, to which he replied, ‘I taught him that.’” African-American students in the school of Chicago told the Chicago Sun-Times Davis According to Tesser, Christian had “an music at the time and was prohibited from was “outstanding” among the three enormous impact on Chicago music of the living in the residence halls. In a 2001 Ellington female vocalists because of last half-century. As a collaborator with Ira interview in Northwestern magazine, she “her classical training and beautiful voice. Sullivan in the late 1950s, and as a regular said, “We used to drool over Willard Hall, It was haunting.” ‘house pianist’ with visiting soloists in the which was right across from the music decades after, he exemplified the bold and building. I had a good time at North- She is survived by her son, Edward brawny Chicago approach to mainstream western, but there were those limitations.” Lawson Wimp, and a grandson. JJ

Sanford Josephson is the author of Jazz Notes: Interviews Across the Generations (Praeger/ABC-Clio). He has written extensively about jazz musicians in a variety of publications ranging from the New York Daily News to American Way magazine and is currently director of marketing and public relations for the Matheny Medical and Educational Center in Peapack, NJ.

12 ______April 2012 April 2012 ______13 JerseyStoriesJazz

Memories of Amos

By Joe Lang NJJS Past President he jazz world is replete with special Tpeople, and among those whom I have been privileged to meet, Amos Kaune was among the most special. Unlike many jazz club owners, he truly cared about the music, the performers and his customers. I remember my first visit to the original Gulliver’s in West Paterson, and seeing the sign on the door that basically asked those who entered to show respect for the music and the players by being quiet during the sets or they would be asked to pay their bills and leave. There were occasions when I saw Amos bring the tab to a consistently noisy table, and request those in the group to settle up and go on their way. He was a man of principle, and his loss at the age of 80 will be felt by all who were lucky enough to know him. Although I visited Gulliver’s in West Paterson many times, I did not really get to know Amos as a friend until he relocated the club to Lincoln Park. The new venue did not have the retro smoky atmosphere of the original location, a place that seemed like the setting for a film noir flick. It was, however, a terrific place to hear the sounds of jazz. The first thing that you would notice was the magnificent oak bar that Amos had lovingly designed and hand finished. Amos Kaune, left, shown receiving his NJJS “Non-Musician of the Year” from Joe Lang at the Pee Wee Russell Memorial Stomp in 2007. Photo by Tony Mottola. Almost any serious jazz fan in the area saw Zoot Sims in a club at some point. Most famously, Zoot was a regular One night I arrived to find Amos engaged ing with a few customers, and turned to me performer at the legendary Half Note in in a conversation with Anita O’Day. I have as I approached to ask her to sign the book. New York City, but my finest memories of never been much of an autograph collector, Upon spying the book in my hand, she my favorite of all tenor sax players are of but knowing the accessibility of the per- grabbed it, and started to go through the sitting in the old Gulliver’s, staring through formers at Gulliver’s, I had decided that pictures, making comments about each the clouds of smoke at Zoot as he wove his evening to bring my copy of High Times one. She then launched into a lengthy majestic musical landscapes on the stage. Hard Times, Anita’s autobiography, to have dissertation on why the book should be Even today, that was for me the essence of her sign it. As she walked away from Amos, made into a movie, and who she would the live jazz listening experience. Thanks I approached her to request the autograph. want to play her. Finally, she looked at me to Amos, and his no talking policy, it was She hardly stopped as she headed toward and said, “I suppose that you would like the bar, and brusquely dismissed my request me to sign this,” and without waiting for always possible to enjoy performers like with the words, “When I’m working! I’m on an answer, asked me my name. She wrote: Zoot in a way that allowed you to escape my time now.” I was a bit taken aback, but into the sounds of the music completely. To Joe when Amos announced at the end of the It was often the case when I would arrive at first set that Anita would be at the bar How about this mess? (but good). the Lincoln Park location early enough to during the break, and would gladly sign Get ready for the movie: --- get a good table for the first set to find record albums, I swallowed my pride, and Love, Amos standing inside the front door talking once again approached her for an auto- Anita O’Day to the featured performer of the evening. graph. She was sitting on a bar stool speak- 8/1/87 continued on page 16

14 ______April 2012 April 2012 ______15 JerseyStoriesJazz

MEMORIES OF AMOS about picking up people like Chet Jazz Trivia continued from page 14 Baker, Helen Humes and Maxine Sullivan in New York City, and driving By O. Howie Ponder them to the clubs, and back home. The stories were particu- That was indeed a memorable DUKE ELLINGTON larly fascinating, and some reflected experience that probably would not the horrors of Chet’s addiction. Amos have happened at most other clubs. was a part of jazz history, and it is too Duke Ellington’s birthday comes Yes, Amos provided a special environ- bad that his stories never found their this month on April 29. It’s his ment for the enjoyment of the music way into a permanent form. that he and his patrons loved, but he 113th, nothing special, but then we was far from a one-dimensional cat. It was not only jazz and boxing that never need any special reason to held his interest. He was a well read remember the Duke, do we? Of course, an important part of his man who was knowledgeable about a life was his partnership with his wife wide range of topics. He was a big fan 1. Duke Ellington had a particular dislike for this color. Pat. She was always there at Gulliver’s of movies, and easily recalled details when I frequented the clubs, and her about films from years ago. There 2. What did Duke’s usual diet consist of? sunny presence was a welcome part were so many ways in which to bond 3. This physician looked after Duke’s health for 37 years. of the scene. It was only in the days with him. Rev. Martin Luther King, Jr. was another of his patients. following his passing on February 4 4. Duke recorded three significant songs in 1927 that that I learned of his and Pat’s Amos served as an advisor to the established him as a composer. Can you name them? dedicated involvement in the life New Jersey Jazz Society, and for 5. Duke wrote this song to be played by a trio in close of Holy Trinity Church in Passaic many years, I had the pleasant task proximity to the then-new electric microphones and called where they regularly attended mass, of interacting with him during the it “Dreary Blues,” but it found fame under another title. and contributed much of their time process of selecting the annual 6. Two of Duke’s songs, “Never Know Lament” and “Concerto to parish activities. honorees for the Pee Wee Russell for Cootie” were originally recorded as instrumentals, but Memorial awards given each year to a became more famous when lyrics were added. By what Another area of interest for Amos was titles are they better known? jazz musician and a jazz advocate. In boxing. As a youngster, he hung out at 7. Who created the phrase, “It Don't Mean a Thing 2007, I had the pleasure of telling him the famous Stillman’s Gym where he if It Ain’t Got that Swing?” that the other advisors had decided became a sparring partner for fighters that Amos should receive the jazz like Chico Vejar. It is funny, but I was advocate award. He was happy to hear only ever able to stump Amos with the news, but seemed surprised to be one boxing question. Who was on the (answers on page 50) so honored. I can still see his smile as Friday Night Fights telecast on the evening that Joey Maxim beat Sugar I presented the plaque to him. Tony Ray Robinson in a light-heavyweight Mottola recently forwarded to me a Howie also welcomes suggestions for future title fight at Yankee Stadium? The picture of Amos and me with his questions — or comments from readers. answer that eluded Amos was Chico award, and it is one that I shall value, Contact him at [email protected]. Vejar who lost to Chuck Davey. and place in a frame to remind me Boxing has changed a lot since those regularly of my friend Amos. days, but Amos continued to have an What I will remember most about interest in the sport. Pat told me that Amos was his warmth, and his Matching Gifts to NJJS he left behind an extensive collection generosity of spirit. I rarely heard Corporate matching gifts really add up! of Ring Magazine issues. Amos have negative things to say Please check with your employer to see if the company It was always fun to speak with Amos, about individuals. He may not have offers matches of dues and dug the music played by some cats, Jersey Jazz is an NJCSPJ and to hang with him while listening donations to NJJS. We are “Excellence in Journalism” to music. He had a bottomless well of or might have had differing views an eligible 501(c)(3) Award-Winning Publication stories about all of the players who with others about a variety of topics, institution. Funds sustain worked in his clubs, the two incarna- but he was always gentle in his our scholarships and tions of Gulliver’s, the Clifton Tap observations, and respectful of the musical programs. For Room and Kid McCoy’s, as well as the opinions of others. He will be missed, more information, people that he helped to book into but also frequently remembered by contact NJJS Treasurer Trumpets Jazz Club when he lent a those who were fortunate enough to Mike Katz at [email protected] hand at that venue. He would tell have enjoyed his friendship. JJ or 908-273-7827.

16 ______April 2012 JerseyStoriesJazz

Memories of On a personal level, I remember Barbara as a warm and engaging Barbara Lea person. She was indeed opinionated about a variety of topics, and we had By Joe Lang NJJS Past President some areas of disagreement, but that did not affect our friendship. uring 1976-1977, National Public DRadio broadcast the series When her problems with Alzheimer’s American Popular Song with Alec Wilder disease started to affect her, Jeanie and Friends. It was through that series Wilson, the kind of loving and that I first heard about many devoted friend we all should be wonderful singers who had escaped blessed with having, took on the my attention prior to my hearing them responsibility of caring for Barbara. on these programs. One of the first When Barbara could no longer live voices that I heard on that series was on her own, Jeanie and her husband that of Barbara Lea. Bill welcomed her into their home in North Carolina where Barbara was Barbara had been on the scene since treated with love and respect. For the 1950s when she released much- several years, Barbara and Jeanie acclaimed recordings on Riverside spent time living in both Manhattan and Prestige, but the kind of tasteful and Raleigh. I often saw Jeanie and and classic popular music she Barbara on those frequent occasions performed was losing attention and when Jeanie drove up from North popularity as Rock ’n’ Roll became a Carolina with Barbara to spend tidal wave that was crushing good music time at Barbara’s apartment, and to as it rushed to the center of musical A few times, I was able to engage her for experience some live music. As time attention. Barbara turned her concentration gigs. One was a transcendent program of passed, Barbara did not recognize old to acting, and the music that she loved took Alec Wilder songs that I organized for the friends any longer, but she sat in the clubs a back seat. This was the time when I was New York Sheet Music Society. Barbara and enjoying the music, and, on occasion, becoming absorbed in the music of jazz and Marlene VerPlanck, two of the premier humming along with a tune that registered the Great American Songbook, but Barbara’s interpreters of Wilder’s popular songs with her. These were poignant and touching recordings never came to my notice. volunteered their talents to sing a program moments that will always linger with me, My love for this music led me to tune of Wilder songs, accompanied by Tony and, I am sure, with others who were into the Alec Wilder radio show weekly, and Monte on piano. Fortunately, the program present at those tender times. one of the great benefits that I derived from was recorded on video, and I have enjoyed The news of Barbara’s passing was not that series was my discovery of the magical watching it again on frequent occasions. surprising, but sad nonetheless. All who singing of Barbara Lea, one program Another time I hired Barbara and pianist knew Barbara will have fond memories of devoted to the songs of Willard Roberson, to participate in a series at her wonderful talent, and the friendships and the other songs associated with Lee the Watchung Arts Center celebrating the that they shared with her. She is surely a Wiley. Her singing career was revived by centennial birthdays of Noel Coward, valued addition to the Heavenly Choir. the attention brought by her appearances R.I.P. dear Barbara. JJ on the Wilder show, and I soon found , Duke Ellington and Fred Astaire. Barbara and Keith had recently opportunities to hear Barbara in person. (Note: The vocal tracks from the Alec Wilder She proved to be even more wonderful done an of Coward songs, and they performed songs from that disc on the shows are on The Devil Is Afraid of Music than I anticipated. Those special intimate (Audiophile – 119), and Remembering Lee evenings at Jan Wallman’s with Wes McAfee Coward evening. Barbara was a natural interpreter of this sophisticated material. Wiley (Audiophile – 125). The album of were particularly memorable. Barbara and Coward songs is Barbara Lea and Keith Wes had a special chemistry that made each Barbara also was part of a Hoagy Ingham Are Mad About the Boy: The Songs appearance together a special occasion. Carmichael celebration under the leadership of Noel Coward (Challenge – 70073). Over the years, Barbara became a friend of Dick Sudhalter that was presented at Hoagy’s Children, Vols. 1 and 2 (Audiophile with whom I could share the love that we one of the New Jersey Jazz Society Jazzfests. – 291 and 292) have the material with the had in common for great songs, particularly Along with , Barbara provided Sudhalter group. These albums, and many those oft-ignored gems that she seemed to the vocals on the program. She was right at more by Barbara Lea, are available from uncover with regularity. home singing Hoagy’s distinctive songs. amazon.com and cdbaby.com).

April 2012 ______17 JerseyStoriesJazz

Dan’s Den section was in sync (haven’t mentioned up tempos, there was a truly swinging “Sweet Retired and On the Road Georgia Brown,” among others) and Miles, here and in all his other appearances, By Dan Morgenstern conjuring up memories of Jo Jones with his combination of drive and taste. lad to be back Ed Metz and Butch Miles; violinist Aaron One could hardly expect such group Gin the old Den! Weinstein, and the queen of jazz party perfection from other sets, but Bob Wilber, I may be retired singers, Rebecca Kilgore, with Nicki also always a great organizer, took advantage of from Rutgers, but what follows will show doing some vocalizing. the presence of frequent reed-mates Sarpila and Meijers to join him in some well- beyond doubt that I have not been a As is producer Mat Domber’s custom, the couch potato. crafted, three-way togetherness, and the troops were deployed in ever-shifting combi- Vaché brothers were fun together, with a The National Endowment for the Art’s nations, with the standard allotment of 20 good rhythm section anchored by Parrott annual Jazz Masters Fellowship in-gathering minutes per set — a few lucked out with five and Miles. Aside from the often brilliant in New York, on January 11 (Jersey Jazz, minutes more, as the old song has it, but two piano displays — Hyman, the old master, March), witnessed the biggest turnout in the very special hour-long sets were presided served up a torrid “Hallelujah” and a event’s 30-year history, with much socializ- over on consecutive nights by Terry Gibbs, at kaleidoscopic “I Got Rhythm,” among other ing and superb music. Once again, the the helm of a terrific sextet that provided the goodies — Mazetier, who also filled in for Lincoln Center Jazz Orchestra impressed festival’s most caloric moments. the absent Bernt Lhotsky, did a “Sweet and with its quality and flexibility. Drummer Lovely” that lived up to its title and in both Jack DeJohnette, vocalist Sheila Jordan and No slouch, he... band and solo appearances proved that he trumpeter and jazz advocate Jimmy Owens As spry and funny as ever at 87, Gibbs should not be typecast as a stride specialist basked in jazz’s highest honors. Our only remains one of jazz’s premier vibists, and no (he can do that, of course, including a regret was that two of the five Fellows, slouch as a bandleader. He’s had some great splendid Lion takeoff) but considered a tenor saxophonist Von Freeman and big ones. Here, he fronted Peplowski — fine all-round jazz piano player. bassist , had to stay home clarinet only, we didn’t get to hear his fine for health reasons. tenor — Ken was enlisted when Terry’s old Hardest test in stridedom A couple of days later, we were off to band-mate, Buddy Ehud also fits that description and got to Florida. Clearwater was cooler than metro- De Franco, begged off — Hyman, Bucky, me with his “You” spot on a Kilgore set (she politan New York, something for climate Nicki and Butch (who now prefers to be picks good tunes), and cute little Miss Trick, change deniers to ponder, but the music at called Charles, since he’s traded in the road in her third festival appearance and now all the Fourth Annual Arbors Records Invita- for the academy — his full moniker is of 21, tackled one of the hardest test pieces tional Jazz Party nudged up the mercury. Charles J. Thornton Miles Jr. in the stride canon, James P. Johnson’s “You Here again, the focus was on pianists. The term “all-star” may have lost its luster Got To Be Modernistic” in masterly fashion, Paolo Alderighi, Ehud Asherie, Dick decades ago, but it applied here. In Benny and also did well in a band setting. Hyman, Louis Mazetrier, John Sheridan Goodman- groove, a The guitar sets were standouts. It was Alden, and Rossano Sportiello were headliners, natural given the instrumentation, these Bucky, and the great Dane Jacob Fisher who while veteran Mike Lipskin and newcomer consummate professionals sounded like got most of the chances; Chirillo only got in Stephanie Trick held forth in the Mainstay anything but the ad hoc assemblage they on one of the guitar sets, scoring with a fine Tavern, but also got some innings on stage. were. Much of the credit must go to Gibbs, “Smoke Gets In Your Eyes,” love the way he All the keyboarders performed in band whose funny commentary put everyone at voices chords. The other three did have one settings as well as solo. The rest of the cast ease, and who beat off perfect tempos. pure trio op, in which they all copped on included cornetist Warren and clarinetist Among the highlights of two great sets: a “Honeysuckle Rose” and guitarist Fischer Allan Vaché, trumpeter Duke Heitger, “What’s New” with a standout contribution took honors. He also did so on two sets with trombonists Dan Barrett and John Allred, from Gibbs, who’s not just a speed demon; Bucky, backed by the senior cat in the cast, reedmen Harry Allen, Dave Bennett, Pieter a “Body and Soul” graced by Ken’s solo Jerry Bruno, who at 92 still keeps great time. Meijers, , Antti Sarpila, Bob turn — he’s reached a new plateau as a (These are the things that make your Wilber and Engelbert Wrobel; guitarists boss balladeer; a “Softly As In a Morning 82-year-old reporter happy). The two have Howard Alden, , Jacob Fischer Sunrise” in which Nicki offered a beaut of nicely contrasting styles. And instruments, and Bucky Pizzarelli; bassists Jerry Bruno, a solo and Hyman shone; a “Polka Dots Bucky with his seven strings, Jacob with a John Lamb, Nicki Parrott and Frank Tate; and Moonbeams” again elevated by Ken, guitar more in the acoustic mold. Bucky vibists Terry Gibbs and Chuck Redd and a “Mean to Me” featuring Terry at his responded well to the challenge of a truly (doubling drums); drummers Danny Coots, inventive best. Throughout, the rhythm original and inventive partner. Fittingly, one

18 ______April 2012 JerseyStoriesJazz

of their choices was “Just Friends.” Jacob, Lawrence, this year’s featured performer, Americans. (George has donated much of by the way, was discovered many moons whom I first met years ago when he was a his collection to his alma mater, Boston ago by another great Dane, Svend member of Buck’s New York big band. University.) So it was quite an afternoon, Asmussen; I had hoped to see Svend, now The special guest was , the great including a rare film clip of Norman at the 95, who spends winters in Florida, but he bassist who is probably best known to our first major auction of his collection. Read only stopped by for a minute; Jacob told readers for his fine work at William Paterson the book! me that he had injured an arm last year, University. Two Texas State faculty mem- and though it has healed, Svend decided bers, pianist Hank Hehmsoth and drummer Goodbye, Michael to put his violin away for good. Stephen Summer, rounded out the group. We’ve lost some great musicians and good All told, and with apologies to those Doug, in great form (many of you friends in recent months, and it doesn’t unmentioned, a fine earful in Florida, encountered him when he was featured seem to end. A recent passing that hit me with many thanks to Mat Domber, a with the Orchestra), offered a hard, though it wasn’t unexpected, was that true friend of jazz and its makers. Dexter Gordon special, “Cheese Cake,” a on February 22 of Mike Melvoin. Some of fine “Speak Low,” and a rousing “Cotton you may be familiar with that name, but ■ February 3 marked the fourth Eddie Tail,” but the capper was that favored tenor Mike was a great jazz pianist (look him up Durham Jazz Celebration at Texas State showpiece, “Body and Soul,” on which Doug in Wikipedia) as well as a very busy and University, San Marcos — the city where the proved that he is among today’s top tenors. successful studio musician, arranger and noted trombonist, composer, arranger and Come to New York, baby! As always, the composer. Mike performed on recordings man who put the electric guitar on the jazz visit to San Marcos included indulging in with, among many less notable names, map was born. It was Dr. Keith Winking, some of the best Tex-Mex and barbecue Sinatra, Streisand, Michael Jackson, who directs the school’s jazz orchestra, and and brisket imaginable. John Lennon, Helen Reddy, and the whose acquaintance I first made when he ■ Closer to home, we participated in one of Beach Boys. Closer to jazz home, he came to the Institute of Jazz Studies and accompanied Peggy Lee and Joe Williams. volunteered to organize some of its holdings several events at the National Jazz Museum of big band , starting with the in Harlem, celebrating the publication of When I first met Mike, at a Recording Collection, who came up the acclaimed biography, — Academy trustees meeting many years ago, with the idea of hometown honors to Eddie The Man Who Used Jazz For Justice,by Tad his name was only vaguely familiar to me. (1906-87), which found support from Hershorn. Tad, my friend and former col- But when he sat down at the piano during Dr. Gene Bourgeois, provost, and a native of league, is archivist at the Institute of Jazz happy hour, I sat up. This was someone New Orleans. It also resonated with the city Studies. He presided over these Saturday special. We served together for many years, so I had the pleasure of hearing Mike often, administration, and a park has been named afternoon happenings, this one with a panel informally but also at trio gigs in L.A., and for the musician, with plans for a museum including George Wein and a Hershorn on too-rare occasions, in New York. When as well, all this with the support of Marsha find, the art historian Olivier Berggruen, whose father, Heinz, was Granz’s favorite Mike became the first jazz musician to serve Durham, Eddie’s daughter. art dealer. as president of the Academy (then still The orchestra performs works by Durham Norman Granz, you may not know, was a mainly known as NARAS), I was his vice, — this year it was “Every Tub” and “Time major collector of modern art, with highly henceforth dubbed “Veep,” as he would Out,” from Eddie’s Basie period, very well particular tastes. His favorite was Picasso, greet me whenever we met. done (correct tempos), with saxophonist who became his friend, something very rare Mike was a staunch defender of jazz and educator Russell Haight in the key role indeed. He also bought Braque, Gris, Leger, interests at the Academy, and one of his of . Your reporter gave a talk, Klee, Schiele and Miro, whom he inroduced final public acts was to protest the recent illustrated with samples of the recordings, to and filmed with Duke Ellington. Accord- cuttings of Grammy categories — in jazz about the two key sessions issued on ing to Olivier, who came to know Granz and in Latin music, another area in which Commodore that first featured Eddie’s during the producer’s 40-year relationship he was active. Mike was a special man, and amplified guitar, with their interesting with his father, Granz had a great eye for a very special player. Fortunately, there are history, involving John Hammond and quality, in art as in many other things. some recordings to prove that, among them Milt Gabler, and the sublime clarinet Dining with Norman, Olivier told us, was the fairly recent CD with Phil Woods, a (and tenor, of course) of Lester Young. something to remember. To have George fellow Melvoin admirer, It’s Always You,on The great trumpeter Buck Clayton was also Wein there was doubly appropriate, since he the City Light label, and on the same label, prominent on those recordings, so they is the only jazz producer who can be named You Know. Michael Melvoin died after a made a nice lead-in to the main event, a in the same breath, and is also a notable art long and painful bout with cancer. quartet led by tenor saxophonist Doug collector, specializing in works by African He was 74. JJ

Dan Morgenstern, contributing editor of Jersey Jazz,is the former director of the Institute of Jazz Studies at Rutger’s University, Newark. He is the author of Jazz People (Pantheon Books).

April 2012 ______19 JerseyStoriesJazz

Talking Jazz A Jersey Jazz Interview with Joe Wilder By Schaen Fox ational Endowment for Nthe Arts Jazz Master Joe Wilder’s career began before World War II. He has worked with so many jazz legends it might be faster to note the few that he has missed. During his career he not only experienced the tough conditions endured by all musicians, he also faced the blind prejudice of the Jim Crow era. Happily, because of his musical gifts and gentlemanly demeanor, he has both provided us with decades of wonderful music and played a part in freeing us from the shallow view that a person’s potential is determined by their skin color. He agreed to do an After photographing the soundcheck at the Beacon Theater the night of Sonny Rollins’s birthday interview when we saw him at concert (Sept. 10, 2010), Jersey Jazz contributing photographer Fran Kaufman went outside for a cup of coffee and ran into Joe Wilder on the street. He was on his way home, bringing flowers to Birdland in June. his wife. Photo by Fran Kaufman.

JJ: I read that you were on the radio as a child performer and thought it might be a nice idea to sponsor a program featuring black children. and his orchestra backed you. They thought it was a nice way to pay back those orchestras. That is the program I was on when I was about 13 – 14 years old. JW: That was in Philadelphia. Horn and Hardart, a restaurant chain, had a children’s radio program but all the children were white. There was a tailoring There was a theater in Philadelphia where all the black entertainers performed: company, Parisian Tailors, that made uniforms for almost all the name African- the Lincoln Theater on Broad Street. That is where we rehearsed on Saturday American bands like Duke Ellington, Cab Calloway, and . and then played on Sunday. Pennsylvania had the blue laws, so the bars and The head cutter for the company was a fellow named Eddie Lieberman and he things were not open on Sundays, and the orchestras didn’t work. As a result,

20 ______April 2012 JerseyStoriesJazz

they agreed in their contracts to make up popular in Philadelphia for the sousaphone players bus. I never gambled or anything. These guys were improvised background for the children performing to play the bass violin, and he bought a bass violin gambling and, of course, they hadn’t gotten their on the radio program. That is where I met Louis that I think was made in Germany. I had a music salaries and they would be betting money that they Armstrong; but it wasn’t his orchestra then. It was teacher named Frederick Griffin who taught him didn’t have saying, “Well, I’ll pay you when we get Luis Russell’s orchestra backing him. to play the cornet and to play the bass. Then my paid.” Then when the pay day would come, the guy father studied with one of the bass players with who had won would say, “You owe me x number They called me “Little Louis” because I was playing the Philadelphia Orchestra. He became a very of dollars.” The guy would say, “I don’t have the a cornet, but not because I was playing like him. fine bass player. Then he doubled bass violin and money, I’m not going to pay you today.” Sometimes When they told him, he gave me a pass and said, sousaphone. it would end up in almost physical confrontations “You take this pass, and any day you want to come over this money. I was really upset about it. I was to the theater to hear the band, you just show it to JJ: OK, you spent time with Dizzy. Did you 19 years old. I used to say, “You know I can’t them and they will let you in for nothing.” I went first meet him in the band? understand you guys. You play and you gamble and that afternoon when they played and never went JW: No. I got to know Dizzy Gillespie when he then you don’t pay each other and you get into again because I was going to school. I knew he was came up from South Carolina and started playing in situations where you are willing to kill each other.” a famous musician, but I didn’t know how famous Philadelphia. Frankie Fairfax had a band, and he [Chuckles] Unbelievable to see that kind of a thing, because of my age. I was very flattered that he had played with Frankie. I was a little kid and he always but I used to see it and it was disturbing. given me the pass but I was too young even to used to kid me because when I was playing on the know to keep it. I don’t know what happened to it. JJ: Now, you were with radio program my father always had me wearing and Jimmy Lunceford after serving in the JJ: That is a shame. I read also that he was bow ties. [Chuckles] After I got older, he’d say, Marines during the war. proud that you made music your career. “Yeah, that Joe Wilder, he was always wearing bow ties.” I played in Dizzy’s band later on [and we] JW: Yeah. During World War II, if you were drafted, JW: Oh, yeah. Every time I would see him, he played together in the trumpet section of Les Hite’s there was a rule that when the war was over when would say, [In Louis’s voice] “You know, young man, band. He was a very talented guy. I was playing lead you were discharged, whatever job you had had, I remember you playing on the children’s radio trumpet, and anything we wanted to do, he would you were entitled to be rehired. When I was program,” –— or something like that. He was very say to me, “Why don’t we try this?” He had all these drafted, I was in Lionel Hampton’s band. After I nice, but I was very shy. When you are a kid, how wonderful ideas for creating backgrounds for some came out of the service in 1946, I went back but do you go up to somebody who is world-famous songs we’d be playing. We would try it if I could do I wasn’t very happy. I played with them for a while and start talking to him? Unfortunately, I never had it and it was usually very successful. He always and Lionel and I didn’t get along too well socially. the relationship that I could have had with no It was a good band, but I decided it was better to tried to help me. I loved him. He was a nice guy. problem. I just didn’t have the sense to go and try leave than to sit in a group where I wasn’t happy. to speak to him, but I admired him and I played on JJ: About Frankie Fairfax’s band as far I quit and joined Jimmy Lunceford’s band. the recording session that he did when he recorded as I know there are no recordings of He was a fine leader and a brilliant man. He was “What a Wonderful World.” I was in the orchestra. that organization. He was such a nice, heart-warming kind of a person. very proud to be an African-American and he was JW: No there weren’t. This was in the ’30s. very serious about the deportment of his orchestra. JJ: How did you feel about the criticism He was always concerned about the image of black JJ: Louis got from people like Miles Davis? That must be about the most famous musicians with the public. We had a couple of guys unrecorded band. What was it like? JW: A lot of the African-American musicians in the band who were alcoholics, and we would be didn’t like him because of his attitude. My father, JW: There were a lot of bands in Philadelphia. playing someplace and it would be apparent that along with many African-American musicians in Some were large. Frankie Fairfax and Jimmy they had been drinking because they would be Philadelphia, thought of him as an Uncle Tom, Goorum had big bands. The guys used to copy nodding or staggering or something. Jimmy would unfortunately, because he was always smiling. They recordings of Duke Ellington and the big-name go over to them while we were playing and say to thought his style was catering to some of the racial bands note-for-note and play them. But they didn’t the guy, “This one is on you.” That meant you prejudices and trying to ingratiate himself to the zero in on one band; they did a variety of things. weren’t going to get paid for that night. Maybe a people who made up most of his audiences. He That was a common thing at that time. couple of months later, he’d say, “Tonight, guys, was just trying to be friendly to the people he after we finish we are going to a restaurant and JJ: How was bus travel for you? played for. He was well aware of the racial prob- have dinner.” So we would go and be thanking lems in the country and his approach was to try Trummy Young told me about Jimmy, and Jimmy would say, “Don’t thank me.” He to get along with the people who were putting it some horrible conditions. would point to the guys who had been drunk and say. “Thank so-and-so and so-and-so,” because he out. A lot of the improvements we have in racial JW: Yeah. It was not the most comfortable thing, had docked them their salary for that night and the relationships in this country today started with but we got accustomed to it. First of all, they were money he had docked them he used to pay for the his friendliness with his audiences. renting the buses for the most part, and the com- meal. [Chuckles] He was unbelievable, but he set a panies weren’t giving us plush transportation. JJ: I’ve read different things about your great example. He was very intelligent. People [Chuckles] Often, they were very uncomfortable. father; just what did he play? respected him. As a leader, you couldn’t have a We had schedules where we would play in this better one. JW: He was a cornet player initially, and then town and the next would be 300 or 400 miles away. he switched from cornet to sousaphone. He only Because we had these long trips, the guys would If we went someplace and had some racial prob- played sousaphone for many years. Then it became be playing cards for money and shooting dice in the lems, he dealt with it very strongly. The Eddie continued on page 22

April 2012 ______21 JerseyStoriesJazz

JOE WILDER The people who owned the ballroom didn’t want blacks to come in. This was a strange thing. They continued from page 21 propositioned the band boy and said they would give him $50 if he stood in front of the entrance Vincent band was very popular, but these guys and when black people came to buy tickets he would check in to a hotel, play the engagement would go over to them and say. “Look, they don’t then get up and pack up and leave the hotel want people like us to come in there. If I were you without paying the bill. Then we’d come and they I wouldn’t buy tickets to the thing.” There weren’t wouldn’t want to rent a room to us. We were many blacks who came, but some did. When he playing at the Indiana raceway and we were trying told them that, they didn’t come in. We found out to get into a white hotel. The manager didn’t want and said we weren’t going to play. I was one of to rent rooms to us because Eddie Vincent had several in the orchestra who said, “Let’s not play.” been there. He said, “These guys left and didn’t pay.” He didn’t want black bands staying there. Eddie Rosenberg, our road manager, in the mean- Jimmy said, “Look, this is Jimmy Lunceford’s time, had come back after being with Jimmy. He orchestra, a world-renowned orchestra. We’re not didn’t tell us that Jimmy was dead. He told us, “You people like that and we are just trying to find a know, Jimmy would agree with you and wouldn’t place to stay overnight. We’ll pay and you won’t play, either; but if we don’t play then the contract have any problems. I guarantee it.”So the guy let us becomes null and void and we won’t get the stay. Of course, we took care of the rent and money.” Finally, he persuaded us, but we started everything else we had to do. But that was the kind about an hour after we were supposed to start. of thing we ran into quite frequently. We played, then packed up and that was it. I was infuriated that we did play. I felt, and so did other JJ: Freddie Webster had played in the people in the band, that we should have just said, Lunceford band. By any chance, did you “Well, we just won’t play; the heck with the know him? The hands of a master. Joe Wilder performing at Rutgers University Institute of Jazz Studies, money.” We weren’t in rural Mississippi; we were JW: I knew and admired Freddie Webster. I didn’t November 2010. Photo by Tony Mottola. in Seaside, Oregon. We started fighting segregation hang out with him but he was a nice fellow and a at an early stage. nice-looking guy too. He was one of the finest Two cops came in with their hands on the butt of trumpet players we had in this country. He was Then after we played, he told us that Jimmy had their pistols and asked us, “What’s going on here?” fantastic, but very few people are familiar with him died. Some of the guys wanted to shoot him, they We said, “We just want to order some food.” Some of today because he died so young. If he were playing were so angry. It was a very disturbing thing. Then the other patrons said, “Those men haven’t done a classical music, he would have been just as adept the manager said, “We have a few more engage- thing.” Somebody in the orchestra said, “In this state, as he was at playing jazz. He was a wonderful ments to play.” Instead of cancelling them and ballad-player, too. He was in the Lunceford band don’t you have a law where they have to serve coming back to New York immediately, we played before I was. I joined the band before he died. We anybody that comes into a restaurant?” The cop two or three more. By the time we got back to were rehearsing in Philadelphia when Jimmy got a looked at the woman and said, “Well, yeah, there is a New York, Jimmy’s funeral was over and we never telephone call telling him that Freddy had just died. law.” She said something to them and they said, “If got a chance to go and pay our respects. We were all very upset. you don’t want to serve them, you’ve got to be JJ: When Jimmy died, there was a rumor closed.” The woman went to the door and pulled After Jimmy Lunceford died, I played for a while that he had been poisoned. What is your down a curtain that had a sign saying closed and with ’s band. I wasn’t too thrilled with opinion of that? that was it. The cops said, “Well, if she doesn’t want that band. We’d go to a restaurant or something to serve you we can’t do anything about it.” So we and the owners would see me and say, “Who is There was some talk about that, but I have JW: didn’t eat. We went back to the ballroom and played. that?” They would say, “He is one of the members no idea. I’ll tell you what happened, as far as I can of the band.” They would say, “We don’t serve those remember. We were in Seattle, Washington, the The next morning we went to Seaside, Oregon, a people here.” Herbie would say, “Joe, you wait in night before he died, playing at this very famous summer resort. We got there early and somebody the car and I’ll bring you something when we finish chain ballroom. When we had intermission, we had asked Jimmy Lunceford if he would come to a eating.” [Chuckles] That didn’t win him any points 40 minutes off or something. We went to a restau- record store and sign some autographs for people. on my list either. rant that was directly across the street. We went in He said, “Yes.” He had been suffering with a head- and sat down and the place was pretty full. We sat ache or something and he took two pills that were Then I was with , and I was the only for at least 20 minutes and nobody came to ask us very popular to relieve the strain. I can’t think of the African-American player with the band. Sam’s if we wanted anything. Finally, we said to the name of the pills. While he was signing autographs, band was sort of patterned after the Lunceford woman who was the manager or owner, “Can we he got dizzy and fell to the floor. Some people band. He had a lot of arrangements that had been get some service?” She said, “We don’t serve helped him up. They didn’t have a hospital in copied from Lunceford. We were in Harrisburg, people like you in here.” We said, “You’ve got to be Seaside, so they ordered an ambulance to take him Pennsylvania, and went to a restaurant. As we were kidding.” We just refused to move. She called the back to a hospital in Seattle. The manager of the going in the manager said something like, “Wait a police and said she had some blacks who were band went with him. We milled around until it was minute; who is this?” One of the guys said, “He is causing a disturbance. time to play that night. one of our trumpet players.” [The manager said,]

22 ______April 2012 JerseyStoriesJazz

It was right in that there were no opportunities for blacks playing classical music. My father had some violinist friends and one pianist who auditioned for the Philadelphia Orchestra. They were exceptionally talented musicians, and they were told that they did very well but [the orchestra] wasn’t hiring blacks. But all my training was classical and it prepared me to do a lot of things that otherwise I might not have been able to do. JJ: Years later, you did help break that barrier by playing with the Philharmonic. How did that happen? JW: I got to play with them because they were having problems. The civil rights movement caused them to be questioned about the fact that they had an African-American violinist, Sanford Allen, who was a permanent member, but he was the only one at the time. They weren’t making any effort to hire African-American musicians. I had played on some commercial dates with the contractor, who was a French horn player. He decided he would hire me. I played under , the French conductor, and . I was an off-stage player. Joe Wilder, with guitarist Jack Wilkins and bassist Nicki Parrott, at Rutgers University They were doing “The Pines of Rome,” the Respighi Institute of Jazz Studies, November 2010. Photo by Tony Mottola. piece, and they add extra trumpets because there are a lot of fanfares that are played off stage. With “We don’t serve those black people in here.” talked to my mother one night and she told him Boulez I played sitting in the orchestra a couple of Sam Donahue said, “OK, guys, let’s go!” We turned how desperate we were. He said, “Look. Have your times, but that was the reason I was there. around and had to go someplace else. It was sons come up by the train at the steep incline by devastating to the guys in the band because now the trestle,” which was before our house. “We’ll be JJ: I’d like to go back to ask about your I am one of their players and we had a very close going so slow I’ll have the stoker throw off as much time in the Marine Corps. I read that you friendly relationship. They would go ape over this as he can during that slow period. You can use that were in special weapons and Bobby Troup and I would have to calm them down. Those guys coal.” My older brother and I went with buckets got you transferred into his band. remain dear friends of mine to this day. We had a and bags and we had some coal for a few days. JW: They only started recruiting black Marines at blood relationship. Sam died, of course, but he was I always try to mention that because in the midst the end of 1941. When I went down, I was classified a wonderful person to work with and it was a joy of the lynching and all the other heinous things 1-A. The sergeant who was in charge of recruitment playing with that band. that were happening, there were more godly asked, “What do you do?” I said, “I’m a musician.” people just trying to help each other. That is how I try to make the point when I talk about these He said, “They are not interested in you as a musi- a lot of us survived, black and white. things that were annoying socially and otherwise, cian because they are not taking any more non- that I probably had it better than a lot of other JJ: I read that you first wanted to be a combatants. You have a choice. You can go into the black musicians. I was born in Pennsylvania and classical musician, but were prevented Army, Navy or maybe even the Coast Guard. Oh, by lived in a section where there were, like, seven because of racism. the way, they are recruiting African Americans for black families. The only kids I knew in kindergarten the Marine Corps. Would you be interested in that?” and elementary schools were white; and all I knew JW: I know that was written with good intentions, I said, “Maybe it might be a good idea to go into the was I was a kid with other kids. We had some but it is kind of an overstatement. I was a young kid Marine Corps and learn to fight there.” That is how experiences that were so different from other trying to learn to play the cornet. The instruction I ended up being recruited into the Marine Corps. African-American families. During the Depression, books that we used at that time were more related I was in boot camp, and I made sharpshooter at the my father and mother couldn’t get work and my to symphonic playing. I didn’t even know the rifle range. They took the guys that made that and father was picking trash up and selling it to a junk difference between jazz and classical. All I was above to train to be a sniper or things like that in yard dealer to survive. We got coal on credit at the learning were the requirements to be a good player. Special Weapons. You had to have training with the Milles Coal Yard that was directly behind our house. So people assumed I was intending to play in the Browning automatic rifle and other weapons. I was At one point, they couldn’t give us credit anymore symphony orchestra. I wasn’t, really; I was just into all that, but I wasn’t into it for that long because of what we owed them. hoping that I would be able to play music per se, whatever it was without being a specialist in any because Bobby Troup was a morale officer there at Our neighbors next door were a German-Irish one particular field. The notion that I decided to Montford Point, where they trained all the black family, the Cokesburgers, and Mr. Cokesburger was play jazz because there were no openings for Marines. He knew I had played with Lionel Hampton an engineer on the Baltimore and Ohio Railroad. He African-American musicians is a little exaggerated. and Les Hite. When he found out I was there, he continued on page 24

April 2012 ______23 JerseyStoriesJazz

given a warning — don’t do it again. He kept it up, [Chuckles] The whole thing was derogatory about JOE WILDER continued from page 23 he and the guys that were with him, and brought the conditions in North Carolina and Jacksonville in about some changes on the base. In the particular. Everything in the song was true, and he middle of all the segregation, there were guys was a great lyricist. What he put together was as trying to do what they could to eliminate it definable as it could be about [those] terrible and make it easier for us African-Americans. conditions. The band was playing at the USO and he was there. The mayor had some of his people there, We had athletic groups in competition with and he came up and asked him, “Captain Troup, we each other. On the black base they had a heard that you wrote a song about Jacksonville. boxing unit, a football team, a baseball team in Everybody says it is popular, would you sing that for which Dan Bankhead, who became a member us?” He said, “Oh, no, no. I don’t want to do that.” of the Dodgers, was the star pitcher and hitter. They kept insisting so finally he sang the song and All the bases had baseball teams, some of it was putting down the whole city and, of course, which were comprised of guys from the New they wanted to lynch him. [Chuckles] York Yankees and Boston Red Sox, and these black marines were defeating most of the I never went on liberty down there, the segregation other teams that they played. Instead of calling was so bad. I didn’t want to have anything to do them a baseball game, they called them with it. If I didn’t have enough time to go to exhibition games. Everything they did was Philadelphia, I would just stay on the base. We had considered an exhibition, so they weren’t one African-American marine sergeant whose wife given credit. This was another thing that we was a very fair-skinned African-American. He was said, “It is dumb having a guy with that kind of thought was unfair. The Marine general had to send very dark-skinned. He and his wife on occasion musical experience training for combat when we small units to guard installations that the would go into town and the cops would grab him need musicians for the band.” He talked to the government had in different sections of the United and say, “Hey, boy, what are you doing with that general and had me transferred to the head- States. He would take some of the stars of these white woman?” Of course, he would get incensed quarters’ band. Eventually, I was made the assistant athletic groups and put them in these depot and start arguing with them. They said something bandmaster. I had a lot of friends in that Special companies and break up the teams. derogatory about his wife and he threatened to Weapons unit who were killed in the Pacific. fight them and they put him in jail overnight. They Bobby Troup and his group of officers went to the JJ: called the commandant’s office and said, “We got Did you spend time with Bobby Troup? general and said, “We are having a problem with one of your smart marines down here in jail and JW: I most certainly did. He was a lieutenant at morale because you keep sending these stars to you can bail him out.” He said, “What has he the time he got me transferred; then he was these depot companies.” The general said, “Really? done?” “He got nasty with some of our police.” The promoted to captain. He was very nice to me; we Well, what do you want me to do?” Bobby said, general got him out and had him come to his office. were very good friends. He was from Pennsylvania “Well if you could avoid doing that, it would boost He said, “Listen, sergeant, you got that woman too, and a remarkable guy. The discrimination in the morale of the black Marines.” The general said, down here — and he didn’t say “wife” — and as North Carolina and on the military base was “Well, I tell you I don’t know what I can do for you, long as she is down here you are going to have a unbelievable. I had a friend, Stanley Kay; he was but I’ll do what I can. It seems to me that you want problem. Why don’t you send her home?” He had with ’s band. He knew I was at Camp to keep your boys with you.” Bobby said, “Yes sir, to send his wife home. Lejeune and wanted to have lunch with me but basically that is what we want to do.” The general couldn’t because of the segregation. We didn’t have said, “Well, I can’t keep your boys with you, but I JJ: Wow that is all so awful. Did you work a theater on the black base; we had a mess hall can keep you with your boys.” He assigned all of with Bobby after the war? utilized as a theater. When some bands, singers and them to the next combat unit leaving our base and JW: I wish I remembered. I seem to have done performers came they would designate a certain going to the Pacific to fight in the hope that none something with him, but I stayed in close touch area in which the blacks could sit. That would be of them would come back. They had to go into with him. When he and his wife came in from the last three rows and the rest would be taken up combat — but they all managed to come back. California, they stayed at one of the big hotels on by the white marines. That is a horrific true story. They were almost 57th Street. He would call me up and invite me treated like outcasts for championing the cause Bobby Troup — and a few other officers who were down to have lunch with them. So I used to see of some black Marines. friends of his — thought this was terrible. They him all the time. Then he and his first wife divorced started a campaign against segregation on the JJ: Bobby must have been threatened by and he married Julie London. She was very nice, base. They would have a dance there and we would some of the locals as well. too. He was a wonderful person, very likeable and play. Bobby Troup — this was a dangerous thing he very intelligent. JW: Oh, he was. The people and the mayor in the did — brought his wife and had her dance with a town despised him. He had written a song about JJ: After the war, you also worked with couple of the African-American sergeants just to Jacksonville, North Carolina, where the base was set a precedent. He mentioned to me that he was Nobel Sissle. Did he have a similar attitude located. It was called “Take Me Away From going to do this to show how stupid segregation about being an example and the deportment Jacksonville.” was and break it down. This was North Carolina of his musicians as Jimmy Lunceford? and they vilified him and a couple of other officers “Take me away from Jacksonville, because I’ve had JW: He did, actually. I worked with him in the for doing it. They were brought up on charges and my fill and that’s no lie.” Diamond Horseshoe in 1947–48. He was a nice man. continued on page 26

24 ______April 2012 THE NEW SPOT FOR LIVE JAZZ IN MORRISTOWN OFFICIAL HOME OF THE NEW JERSEY JAZZ SOCIETY PIANO Join us weekly for dining and live music!

Sundays Jazz Brunch 12– 3PM Sunday 10/2:4/1: ChampianRestaurant Fulton will be Tuesdays 4/8: Easterclosed. Sunday Tuesdays Jazz RioCome Clemente join us at& Co.the PianoPiano JazzJazz Festival On the 4/15: Jackie Jones 6–96–9PMPM Brunch Green in 4/22: Elena Zabiyako 4/3: Steve Meyerson in full Morristown. 10/4: Sue Maskaleris 4/29: Pam Purvis 10/11:4/10: Rio Clemente swing. 10/18:4/17: Betty Liste One-of-a-kind 10/25:4/24: Rio Clemente Sunday Brunch FridaysFridays JazzJazz at the only 7–107–10PMPM place you’ll 10/7:4/6: Joshua Sue Giles Breakstone SaturdaysSaturdays find traditional 4/13: Stephen Fuller 10/14: Laura Hull 6–96–9PMPM American fare as 4/20: Sue Giles 10/21: John Bianculli LiveCaribbean Caribbean music/ music 4/27: Rosalind Grant well as delicious 10/28: B.D. Lenz by JustinSteel Durhman Drums and Larry’s Culture Club Band Caribbean foods. 10/1, 10/8, 10/15, 10/22, 4/7, 4/14, 4/21, 4/28 10/28 Reservations recommended.

NJJS Located in the Best Western Morristown Inn Mon ...... 5:30PM–9:30PM members 270 South Street, Morristown NJ 07960 Tue–Thu. . 11:30AM–9:30PM (973) 359-0200 Fri...... 11:30AM–10PM enjoy a Sat ...... 2–10PM www.hibiscuscuisine.com 10% Sun...... 12–8PM Walk-ins welcome/Reservations recommended Hours may vary; discount! Call us for more info and music updates please call.

April 2012 ______25 JerseyStoriesJazz

JOE WILDER continued from page 24 JJ: How did you learn about ’s had hired me were aware of it and they took care remark? of it. Then, after we started rehearsing, the guy wanted to be friendly with me. Every time he I got a call from some people in a Broadway show JW: Oh, the producers told me. They didn’t came near me I wouldn’t talk to him. The same and they asked if I’d be interested in playing in their want to offend him and they knew I was qualified thing almost verbatim happened to me when orchestra. I said I would. They said, “We are going to to do it. we went to Boston. start rehearsing a week from now.” I said, “I can’t JJ: then because I have to give two weeks’ Did you ever get to talk to Porter The people I worked with in the road company notice.” They said, “See if Noble will let you go.” I about it? were nice. I had no problems with them. We spoke to Mr. Sissle and he said, “Well, young man, JW: I never did. I thanked him, but I didn’t get to rehearsed at the Masonic Temple on Broad Street you have to give me two weeks’ notice.” Then he talk to him on the level that I should have; but again while they were breaking in the show. When said, “Wait a minute, there are no Negroes playing in it was because of my own shyness. I wish I had opening night came, they sent a letter to the road the Broadway pits. This might be the chance for us had the nerve to say, “Look, I’m extremely proud of company inviting everybody to a special party for to get an opening in the pit orchestras. It might be a what you have done here.” I was just too shy to do the people who used their facility. The letter ended start. I tell you what, I’ll let you go without the two it. This was one of the greatest composers in the with everybody was invited but no Negroes or weeks’ notice, but if you are gone for four weeks, or world, and who am I to go up and pat him on the Japanese. There were two wardrobe department something like that, I’ll have to get a permanent shoulder or something? But he was aware of it people who were African-Americans with the road replacement.” That show was called Alive and through the people that hired me. They knew I company, and the head electrician for Feurer and Kicking and it lasted seven weeks. appreciated it and they were happy, too. He was Martin Productions was Japanese. The producers a nice and brilliant man. Think of how fortunate I spoke to Noble Sissle when the show was going said, “Anybody who goes to that party can consider I was to be dealing with people like that. to close and he said, “Well, OK. I’ll let you come himself fired.” Nobody went. That is the kind of support I had. And it was not just bad for me. It back.” I played there for two or three months and It wasn’t always that easy. We went with the road was bad for members of the company who had then got a call to do another Broadway show under company to Philadelphia to try out the show. This the same conditions. He let me go again without was the first time they had a Broadway show on never seen that kind of racism up close. the two weeks’ notice; but he said, “Look, young the road with a black musician in the orchestra that JJ: Would you tell us about your working man, this time if you are gone for more than four wasn’t a black show. The night before we started with ? weeks, that’s it. I’ll have to hire a permanent rehearsing we were introduced to the house replacement for you.” That is what he did; the show contractor to the Shubert Theater. He was asking, JW: When we lost him, it was a real blow to me. was Guys and Dolls. It went for almost three years. “Who is this? Who is that?” He saw me and said, He was like a brother to me. He was one of the [Chuckles] Actually, it was one of the things that led “Who is that guy?” The road company manager guys on the recordings I did. If I did anything to integrating some of the orchestras in the pits. said, “That is Joe Wilder. He is our first trumpet worthwhile he should be given credit for it because it was his musicianship that enhanced mine and JJ: Now, I read about Cole Porter being player.” And this guy said, “Wait a minute! What do you mean he is your first trumpet player? You mean gave me ideas that I might otherwise not had or asked if he cared if you were hired for his to tell me of all the trumpet players in New York tried. We used to do a lot of dates for Savoy. We show and saying, “Can he play my music? you brought a nigger over here?” I’m standing there were like members of a house band there. Every That is all that matters. Hire him.” close to where he is talking and I was so angry I time they decided to have a record date and JW: Yeah, that was when I did Silk Stockings. That was thinking, “I ought to knock this idiot’s head off.” wanted to try something different, they would hire was the first time they were hiring a black trumpet Then I realized I had to be like Jackie Robinson and him and me and a lot of other steady guys that they player to play principal chair with a Broadway show. try to ignore it, and I did. Of course the people who used. We weren’t making a great deal of money; we

26 ______April 2012 JerseyStoriesJazz

were getting scale. Actually, we should have been the year before last. I take pictures of things I like worked in a darkroom and I was always sending it getting royalties because we were creating original and have printed a lot of them: portraits, nature, out to somebody else. I got into it so heavily that I things to play. We weren’t compensated in the way construction and animals. My interest started when was using a Crown Graphic, a Linhof 4x5 view that we should have been, but it gave us all a I was in junior high school in Philadelphia. My older camera, a Hasselblad, Leicas, a Swiss chance to play and do some things that we created brother was in a photography thing that they had at Arca and Nikon. ourselves. That was one highlight of our careers, West Philadelphia High School. Through him, I got I used to do a lot of work in the really. darkroom I set up in our apartment. At the end of a session, the I was doing the Dick Cavett producer would say, “Look, you were television show and we used to the leader for this session.” And they prerecord that at ABC. So I came would pay Hank, or me or somebody home at 6:30 or 7 o’clock and else, like, another $50.00. That was maybe at 8 or 9 o’clock I’d go into the end of it. The records that we the darkroom and I’d be in there made were finally sold to a Japanese and all of a sudden my wife would company and we never got a penny be knocking on the door. She would of royalties from any of those say, “Do you know what time it is?” records. I would say, “Actually, I don’t.“ ”It is 7:30 AM.” [Chuckles] I had been in JJ: Sad to say, that is a very there all that time and didn’t even common story. realize how much time I had spent JW: Yeah, it was, very common; in there. I had a lot of fun doing it. and if you complained about it and JJ: Well, do you have photos said, “I don’t think we are being paid commensurate with what we are with the Lunceford band and producing here,” then your name others? was put on a “Don’t Hire” list. I don’t JW: I did, but I lost those a long think that has changed for any time ago when my first wife and I musicians, even in the theaters. They Marty Napoleon, Joe Wilder and a fan. Photo by Geri Reichgut. got a divorce. It is a shame. Every are always trying to find ways of not time I think about it I get angry paying you as much as they should almost to tears; Duke Ellington’s or cutting down on the number of musicians that interested in it. I wanted to join a camera club that band was playing at the Royal Theater in Chicago are being used. It’s very frustrating. they had in school, but there was a lot of racism at and I went backstage to see the guys when the that time. The teacher who was in charge of it show was over. I had my camera and said, “Why JJ: Do you have a favorite story that might asked, “Well, do you have a camera?” I said, “No.” don’t I take a picture of you guys as if you are in a give us an idea of what Hank Jones was like She said, “I don’t know if it makes sense for you to police lineup?” [Chuckles] I took a whole series of off the bandstand? get involved with this because most of the people pictures of the whole Duke Ellington band JW: I can’t think of anything I can say. One reason who are involved have their own cameras.” That pretending to be in a lineup and I never got a is he didn’t live here in town for the most part. For was true to some degree, but they also had a chance to print them. a time he lived in New Jersey and then upstate couple of cameras for those who didn’t have JJ: Oh, that is a shame. Thank you for these New York. I never had many opportunities to hang cameras, but she never suggested that I do that. amazing stories and for giving us so much out with him, except when we played on some She didn’t let me sign up. of your time. dates. He had a tremendous sense of humor. He My interest kept on and when I went into the was three years older than me but because of the Marine Corps I had some extra money and had JW: OK. Thanks so much. JJ era in which he and I came up a lot of the musical become friendly with a professional photographer Take care and stay well. ideas we had were similar. He could be playing a from Philadelphia who was in the Marines with me. ballad and say, “Play a couple of chords.” I’d play I told him, “If you ever see a camera that you think On June 4, Feinstein’s at Loews something harmonically or rhythmically that I could use and afford; if you buy it for me I’ll Regency will feature Joe Wilder seemed to be almost cloned. We could almost read reimburse you.” He went to a hock shop one day each other’s minds. Some of the nicest things I ever and found what was later called a Baby Roloflex and as the special did on a recording I played on recordings that I did that had been made with females in mind. It was guests for Harry Allen’s Monday with him. He was a wonderful gentleman, a fine sort of a novelty. He bought this thing and gave it to bright guy, and I miss him. me and I paid him the difference. I started learning Night Jazz. from him how to use it. As soon as I got out and JJ: I saw that you are interested in had enough money to buy a camera I started with a Schaen Fox is a longtime jazz fan. Now retired, photography. Kodak Reflex and I had that when I was with Jimmy he devotes much of his time to the music, and JW: [Chuckles] Very interested in it for many, Lunceford. I started taking some pictures, but I shares his encounters with musicians in this many years. I had an exhibit at St. Peter’s Church didn’t take many because at that time I had never column.

April 2012 ______27 TONY GRAVES PHOTO TONY GRAVES PHOTO

Honorees: Joanne Day for her many years of service on the NJJS Board; The Scholarship Band: pianist Billy Test accompanied scholarship winners Marty Napoleon (Louis Armstrong’s All-Star piano player), Musician of the trumpeter Marcell Bellinger; vocalist Melissa Meehan; bassist William Year; Producer and Recording Engineer Jim Czak, Jazz Advocate Award. Macirowski; drummer Errold Lanier, Jr.; NJJS President Frank Mulvaney, right, made the presentations. back row: NJJS volunteer James Pansulla. E O R G E G G E E S E M IL Y A W A W S R I N G N A ’S H O H E R E M O T F R N O U ’S V A C H É R G W A R N IT H D E V O C A LIS T

TONY MOTTOLA PHOTO

TONY GRAVES PHOTO

TONY MOTTOLA PHOTO Mona’s Hot Four vocalist Tamar Korn enjoys Dennis Lichtman’s sounds.

TONY MOTTOLA PHOTO top: The golden-toned Warren Vaché blows as Tardo Hammer tickles the keys. above: Marty Napoleon slides onto the piano bench for several tunes with Vaché.

28 ______April 2012 TONY MOTTOLA PHOTO

LYNN REDMILE PHOTO right to left (for a change): Bria Skonberg and Warren Vaché join the Scholarship Oh, that John Dokes! With pianist Steve Einerson Band’s Marcell Bellinger for a rollicking impromptu close to the first set. and George Gee’s Swing Orchestra. Hula hoop reprise: Emily Asher’s physical prowess complements her musical achievements. We’ll let the pictures do the talking. In no particular order, we present… THE 43RD ANNUAL PeeWee Russell Memorial STOMP

SUNDAY, MARCH 4, 2012 LYNN REDMILE PHOTO LYNN REDMILE PHOTO Photography by Tony Graves, Tony Mottola and Lynn Redmile

TONY MOTTOLA PHOTO

Guitar and banjo whiz Nick Russo doubled in both Mona’s Hot Four and Emily Asher’s Garden Party bands.

there’s more on page 30

April 2012 ______29

LYNN REDMILE PHOTO THE 43RD ANNUAL PeeWee Russell Memorial STOMP SUNDAY, MARCH 4, 2012 continued from page 29

George Gee with bassist Marcus McLaurine and Michael Hashim, tenor sax.

TONY MOTTOLA PHOTO

TONY MOTTOLA PHOTO

TONY MOTTOLA PHOTO

Also with George Gee’s Swing Orchestra, Ed Pazant and Jason Marshall.

TONY MOTTOLA PHOTO

TONY MOTTOLA PHOTO

30 ______April 2012 Roseanna Vitro to Headline NJJS Social at Shanghai Jazz oin us on Sunday, April 15 to hear and talk with 2012 Grammy- Jnominated jazz vocalist Roseanna Vitro. She’ll perform at Shanghai Jazz along with some of her vocal jazz students from NJ City University. Find out what she’s all about and meet other jazz aficionados while enjoying the ambience and the delectables at this beautiful, intimate jazz club. Did you know we always have great

TONY MOTTOLA PHOTO concert tickets to raffle off? Will Anderson and bassist Jared Engel Among Ms. Vitro’s credentials: she’s been a U.S. Jazz Ambassador; with Emily Asher’s Garden Party. she’s done 11 critically acclaimed recordings for Telarc, Concord, Challenge and Half Note Records; she is Chair of the Vocal Jazz Department at the New Jersey City University (NJCU) since 1998 and faculty member of the Wachovia Jazz for Teens program at Even more photos can NJPAC; she has headlined at jazz’s most prestigious venues, be seen at www.njjs.org including The Blue Note and Lincoln Center in New York, and The Kennedy Center in Washington DC. NJJS Jazz Socials run from 3 – 5:30PM at Shanghai Jazz, 24 Main St., Madison NJ. Admission is free for NJJS members, $10 for non-members (applicable to a membership). There is a $10 minimum at the venue. For more information visit www.njjs.org. JJ

TONY GRAVES PHOTO See you next year! LYNN REDMILE PHOTO Tenor saxophonist Lew Tabackin goes over the drill at a sound check for “Tenor Madness,” produced by pianist Ted Rosenthal at the Da Capo Theater in NYC on February 5, 2009. Listening intently are bassist Martin Wind and drummer Tim Horner. Riverboat Swing 2012 Fran Kaufman photographs the world of jazz Reserve the Date: August 19, NOON – 4PM —on stage and behind the scenes. 908-852-2926 for info or reservations See what’s happening—with a new photo every day— on the WBGO Photoblog.

Check out where Fran’s hanging, and see what she sees, at www.wbgo.org/photoblog www.riverboatswing.com

April 2012 ______31 JerseyStoriesJazz

Noteworthy Fradley Garner International Editor Jersey Jazz 2 MILLION VISITS TO 1941 ANDREWS SISTERS HIT … OSCAR-NOMINATED FLICK A TRIBUTE TO JAZZ … PLEDGES SOUGHT FOR ‘JAZZ CLUBS’ SITE … BIG APPLE JAZZ TOUR MAKES A MEMORABLE BIRTHDAY PRESENT … CATCH ‘ONE MORE ONCE’ FROM BASIE CENTENNIAL

THE ANDREWS SISTERS SANG a war song in 1941 that stirs although — like so many jazz ventures — you wouldn’t doubt that the hearts of a swelling corps of teenagers today. Launched in Buck it is one man’s not-for-profit labor of love. He is Peter Maguire,a Privates, the first Bud Abbott and Lou Costello movie, “The Boogie- Scottish trombonist, who’s appealing for help to meet the costs of Woogie Bugle Boy of Company B” was a mighty springboard for server hosting and software. “Tens of thousands of hours of my own Laverne, Maxene and Patricia Andrews. Their record topped the time” have gone into his life’s calling, Maguire writes in an open charts. In January 2008, Philip Glaser, an American ex-pat in letter posted on the site. “A small annual subscription” would help Denmark, posted the movie version on cover some of the costs, “and also give time to devote to the further YouTube. By the end of February this development of this unique website.” year, Phil tells me, the clip had been Your suggestions? Write to: seen over 2 million times. “Only 47 [email protected]. people have clicked ‘Don’t Like.’” Every day, YouTube relays comments A GREAT WAY TO CELEBRATE to Glaser, who answers a number. a birthday is to take a guided tour of “Surprisingly, very, very young people New York City jazz spots with a love that song and the movie clip. knowing guide who cares. A local Many teenagers and others tell me they woman and two friends who didn’t perform the song publicly in America.” know much about the music, marked Many of the very young, he says, her husband’s 35th recently in the profess to “hate today’s music, company of Gordon Polatnick, especially rap.”A few expressed the hope that Patty Andrews knows founder-director of Big Apple Jazz Tours. For four hours, “We how popular the video clip is. Patty turned 94 on February 16. The enjoyed the oldest jazz clubs in town, where we listened to Latin trio was inducted into the worldwide Vocal Group Hall of Fame, in jazz, Soul jazz and Straight Ahead,” Magda Gil wrote on the guide’s Sharon, PA, in 1998. At last official count, in the mid-1970s, 75 blog. “Gordon was welcomed as a good friend wherever we followed million Andrews Sisters records had been sold. Google: philipglaser. him. We always got the best tables, right in front of the band. Time between sets was filled with great stories on the history of jazz and “CHICO AND RITA,” an animated fictional movie about a performers.”At each stop, the party was served a birthday cake with pianist and a silky singer in the heart of mid-20th century Havana, candles, and the bands sang “Happy Birthday to You.”As the hours with visits to Manhattan, was up for an Oscar in its category. This passed, she wrote, “it felt like celebrating with an old friend.” The year’s Academy Award went to Rango.Still,Chico and Rita,from party enjoyed a New Orleans style birthday dinner at a restaurant Spanish director Fernando Trueba (Belle Epoque), is a powerful with a Latin band. Throughout, Polatnick was “very professional. tribute to jazz. Transmitting “the blend of soul and scholarship that He met us on time and e-mailed me the invoice the same day he signifies true jazz devotion,” writes The New York Times, “the film charged my credit card.” Hope nobody got a stomachache. brings alive an almost unimaginably rich and resonant moment in Check out the bus and walking tours at www.bigapplejazz.com. JJ musical history.” The Afro-Cuban lovers and sometime artistic associates cope with discrimination and tragedy while rubbing elbows with living legends like Dizzy Gillespie, Thelonious Monk WEB HIT-OF-THE-MONTH and the seminal Cuban conga drummer Chano Pozo. The music marries some jazz standards to new scores by the Cuban-born “ONE MORE ONCE: A Centennial Celebration of the Life and pianist and composer Bebo Valdés. Now 93, Valdés also bestows the Music of Count Basie” link was forwarded to this column earlier physical and life inspiration for Chico (voiced by Emar Xor Oña). this year by Joán McGinnis, our research assistant in California. Produced by The Institute of Jazz Studies at Rutgers University JAZZ CLUBS WORLDWIDE has been online now for more Libraries, this is engaging reading. Google: Count Basie Centennial - than 16 years. Used as a primary information source by thousands Rutgers. Also, take 56 minutes to watch the “Jazz Icons Count Basie of clubs in most American states and 100 countries, as well as by live in ’62” concert. Google that, or (better): musicians, bands, agents, promoters, journalists and jazz lovers, v=5rlkFRZxBrc&feature=share JCW may be the most valuable resource of its kind on the Net. Thanks to NJJS member Joán McGinnis You’d hardly believe that this could be a one-man operation, of Mission Viejo, CA for Web research assistance.

32 ______April 2012 JerseyStoriesJazz

Ed and his golden cornet led off Friday night, and there 32nd North Carolina followed a delightful evening of spirited, joyful, and Jazz Festival mellow music. Highlights: February 2-4, 2012, Wilmington, NC Keyboard: , a swinging pianist with Hilton Riverside Hotel interesting vocal presentation; also a superb and robust vibraphonist. John Royen, an exponent of stride By Walter Olson piano with an eclectic mix of Jelly Roll Morton and Fats Waller, definitely a New Orleans style. y wife and I recently attended our first North

MCarolina Jazz Festival, and experienced a George Ball Drums: Kevin Dorn, one of the busiest drummers in wondrous performance of classic jazz played by world- traditional jazz. Based in NYC he formed the “Big 72” class musicians. We went to bed happy, anticipating a great weekend of with a group of young musicians. They perform in clubs jazz. in and around New York. Chuck Redd, a seasoned The event began on Thursday evening with a piano/vocal presentation by Grenoldo Frazier, a NCJF is staged in the ballroom of the Wilmington performer on drums and vibes. Featured on over 35 recordings with many greats. A member of The Wilmington native, who rose to fame in NYC as an Riverside Hilton on the banks of the Cape Fear river a Smithsonian Jazz Masterwork Orchestra for 15 years. actor, composer and music director for jazz and gospel few blocks from the historic downtown area. theatre shows. He was followed by Bucky Pizzarelli, Friday is a free day, so attendees have time to enjoy Acoustic bass: Nicki Parrott, beautiful, talented jazz world renowned jazz guitarist, who did a beautiful 20- bassist from Australia, based in NYC since 1994. She minute solo and anchored the rhythm section for the the scenic Riverwalk, explore many historic sites and/or sample nearby coffee houses and restaurants. has performed with jazz greats, The NY Pops, regularly All-Stars set. appears on Arbors recording dates, festivals and We were next introduced to Melba Houston, jazz and Several All-Star musicians spent daytime performing at cruises. She is a joy to watch and her vocals are blues vocalist, accompanied by bassist Herman Burney. The Wilmington Middle School. Bucky, Bria Skonberg outstanding. Herman Burney, multi-talented musician Her repertoire included American Songbook and blues and Adrian Cunningham gave workshops for young (clarinet, drums, tuba) who switched to his beloved classics. Her sexy voice, visible emotion and strong area musicians. double bass after meeting in 1987. stage presence made a powerful impact. The Friday and Saturday night sessions (4 hours each) Bassist for many jazz singers, he frequently tours The evening was capped by a spirited set played by a featured seven sets with various combinations, each around the world. Since returning from Japan and group led by John Cocuzzi, multi-talented jazz, blues led by a different All-Star. This format produces Russia he’s been mixing his first two CDs; First Fruits and swing musician. He specializes in piano and vibes incredible music. , a longtime favorite at the and Offering (both released in 2011 featuring JJ and also plays the drums. NC JazzFest, served as the Music Director. mostly original songs).

April 2012 ______33 JerseyStoriesJazz

The 4th Annual Arbors Records Invitational International Jazz Party

Story and photos by Mitchell Seidel

Guitarist James Chirillo likes what he hears as he Bob Wilber appears with one of the many mix-and-match musical performs on groups that rotate on and off the bandstand at the soprano sax while Arbors Invitational Jazz Party. bassist Nicki Parrott helps to keep time at the January 2012 “Did you hear the one about the two old jazzers?” Arbors Invitational. Even if Bucky Pizzarelli and , right, have spent two lifetimes together on the bandstand, there’s always time for some reminiscing backstage. t seems that Matt Domber can go back to I buying green bananas again. When the head of Arbors Records was diagnosed with cancer last year, the prognosis wasn’t great. However, his response to treatment was so good that by the time his annual jazz party rolled around in January, Domber was ready to go, looking only slightly follically challenged and still able to nicely fill out his customary multicolored surgical scrub pants. The party, which always was pretty much a mom-and-pop affair of Matt and Rachel Domber became even more this year with the addition of son Jeff helping to briefly spell his father as master of ceremonies. It’s incredible to think that any jazz weekend that started with a casual piano jam in the bar Thursday evening and ended with a ballroom Uh…who packed your stage crowded with musicians Sunday afternoon lunch? At the Arbors jazz could leave you asking for more, but that’s often the way party, Clarinetist Ken it seemed. Most of the sets at Domber’s mix-and-match Peplowski explains why his axe is covered with weekend lasted about 20 minutes apiece, always leaving you orange peels in its case. wanting more. Fortunately, as fast as one was over, the next The rinds help prevent one was immediately ready to start. the instrument’s wood from drying out. The framework of the party is always a collection of world class piano players who play in various groups, occasionally with each other. And when they’re not on the stage, there’re always a few hanging in the hotel bar, jamming with whoever walks in. Add to all this a variety of horn players,

34 ______April 2012 JerseyStoriesJazz

Clarinetist Allan Vaché draws an admiring look from a familiar playing partner: his brother, cornetist Warren Vaché. The two could be found on and off the bandstand during the three-day Arbors jazz party.

Former Duke Ellington bassist John Lamb keeps time in Drummer Butch Miles is among the veteran Clearwater musicians who helped propel the music at the Beach. Arbors jazz party. It wasn’t an “international” trip for the recently retired music Matt Domber and a handful of keyboardists. educator, who Standing, from left: John Sheridan, hails from Mike Lipskin, Dick Hyman, Ehud Asherie, nearby St. Louis Mazetier, Rossano Sportiello. Petersburg. Seated: Paolo Alderighi, Domber, Stephane Trick.

drummers, singers and a bass player or two, and there’s enough variety to satisfy most jazz fans. This year, in addition to the likes of pianists Dick Hyman, Louis Mazetier, Rossano Sportiello, Paul Alderighi, John Sheridan and Ehud Asherie, legendary vibes player Terry Gibbs was on hand for a pair of one-hour sets that saw him mixing music and memories, often sharing anecdotes about his one-time boss, (“He’d go onstage and forget to button his fly”). While the good news this year was that Matt Domber was able to present his Fourth Annual Arbors Records Invitational International Jazz Party, it is even better news that he just gave the go-ahead to continue with number five next January. For more information, go to www.arborsrecords.com or call 800-299-1930. JJ

April 2012 ______35 JerseyStoriesJazz

Les Paul in Mahwah: Small Museum Has a Big Show

Story and photos by Tony Mottola

hat Les Paul’s famously successful career Tas a musician is overshadowed by his work as a self-taught inventor is really quite amazing. After all, he hosted popular radio and television programs, played guitar with the likes of Bing Crosby and Nat King Cole, and — as a recording artist — he hit the Billboard top 40 charts nearly 50 times from 1945 to 1961, including earning a Gold Record for the #1 hit “Vaya Con Dios” in 1953 with Mary Ford. But eclipsing all of that are Paul’s ground- breaking innovations of recording technol- ogy and pioneering development of the modern solid body electric guitar design — 1940s Disc-to-Disc Multi-tracking Lathe Recorder and that extraordinary legacy can be seen in the many items now on display at the through arrangements with private But the exhibit’s most eye-popping objects Mahwah Museum. collectors, the Gibson Guitar Company are examples of his technical innovations, The exhibit, Les Paul: A Tribute, represents and The Les Paul Foundation. including one of his early 1940’s “Log” the first public display of Paul’s artifacts and guitars, a 4x4 piece of pine to which he Of course, there are a large variety of runs through June 30, according to Charles attached a guitar neck and headstock, two Gibson Les Paul solid body guitars — the Carreras, the museum’s vice president and homemade pickups and a Vibrola tailpiece. iconic design embraced by rock, country, exhibition chairman. Some items will When he first approached Gibson with the jazz and blues guitarists around the world remain permanently, he said. invention they dismissed him as “the — in the show. Some can even be played by character with a broomstick.” But a decade Paul, who lived in Mahwah in a sprawling members of the public during 45-minute later when Paul was an established star the ranch house not far from the museum for sessions for a fee of $25. Among the guitars company, much to their financial benefit, five decades, met with Carreras several times offered are Paul’s favorite Gibson Special changed its mind and he began a long in 2008 and 2009 to discuss an exhibition, and a Gibson Jimmy Page prototype model association with Gibson Guitars. The first but he died before the plans were finalized. modified by Paul for the Led Zeppelin Les Paul Standards were produced in 1952 The exhibit finally came together in 2010 guitarist.

Al Caiola is first to play the 9/11 Les Paul special model guitar on loan from Gibson Guitar. The instrument, emblazoned with a Ground Zero graphic below the tail piece, will begin a national tour next summer after "Les Paul" and "Mary Ford" in Paul's Mahwah, NJ recording studio. which it will be auctioned and the proceeds donated to a 9/11 charity.

36 ______April 2012 JerseyStoriesJazz

Exhibit Chairman Charles Carreras chats with guitarist Al Caiola. Les Paul's guitars may be played by members of the public in 45-minute sessions. Call the Mahwah Museum at (201) 512-0099 for information. and a variety of Les Paul models remain top autographed to Paul by guitar stars like the ongoing Les Paul Tribute. The current sellers for the company’s Gibson and Keith Richards and Paul McCartney. Three retail price of the prizes is approximately Epiphone lines today. video installations play clips of the 1950s $6,000. TV program, The Les Paul and Mary Ford The Log’s predecessor is even more startling According to Paul’s longtime accompanist, Show, broadcast from their Mahwah home. to see, a railroad rail to which the teenaged guitarist Lou Pallo, the intimate show at Among the more unusual items are guitar Paul attached strings raised by railroad picks that Paul handmade, to which he Mahwah Museum show is just what Les spikes. He wired a telephone microphone to affixed sandpaper on one side. would have wanted. his mother’s radio and placed it under the strings. Legend has it his mother convinced A series of gallery talks at the museum “Les had an idea of how to handle people, him he wouldn’t look good sitting on a has featured guitarists Lou Pallo, Bucky and what he liked was a small, intimate horse with such a “guitar.” Pizzarelli and Ed Laub and collector Ronald room,” he told The New York Times.“He Gantz. The series continues on April 17 with didn’t like it when people were so far away Another seminal piece of recording a presentation by Russ Paul, Les Paul’s son. technology is a pre-tape era disc-to-disc he couldn’t touch them.” multi-track lathe recorder developed in his Also planned is a Les Paul 97th birthday Learn more about the exhibit and the garage studio in Hollywood in 1946, a tribute on June 9 at Ramapo College. The upcoming Russ Paul gallery talk, enter device that he “built out of two Cadillac event features a raffle for two guitars with the guitar raffle and make reservations flywheels — cost a lot less that way, and they a first prize of an Epiphone E Series Guitar to play a guitar by visiting worked better than anything else that was signed by Les Paul, Lou Pallo and many www.mahwahmuseum.org. JJ around then.” Seven hit records were made of the guitarists in that garage studio with tracks layered one who played with Visitors happily encountered another guitar legend at the Mahwah Museum’s at a time from the first disc to the second on Les Paul at the Les Paul show on February 22, when guitarist Al Caiola visited the exhibit, acetate records while repeating the process Iridium around played an impromptu set of songs and chatted about his storied career in music. many times using a Log guitar. His first 1989, and a overdubbed recording, “Lover,” contained 24 second prize parts. By the time he had a record he was Fender satisfied with he had discarded 500 disks. Stratocaster Series signed The exhibit also recreates Paul’s Mahwah by Les Paul and home studio, complete with the stacked Steve Miller 8-track sound-on-sound tape recorder he in 2006. The developed with the Ampex company, his donation to mixing board and an elaborately carved enter the raffle is wooden sound wall. $25. Proceeds Other items on display include records, will be used by sheet music and photographs — many the Museum for

April 2012 ______37 JerseyReviewsJazz

hat there in 1996. One of his activities has been to stage of his career immediately lets you know that Other form the FRANK GRIFFITH BIG BAND, and they have the originality he always displayed was already Views recently released their first album, Holland-Park deeply ingrained in his playing. Montgomery was Non Stop (HEP – 2095). It is a straight-ahead, truly one of the giants of jazz guitar, and this By Joe Lang swinging disc that includes three vocals from the glimpse into his early years is enlightening and Past NJJS President fine British thrush Tina May. Most of the 12 tunes fascinating. (www.resonancerecords.org) are pop and jazz standards, and Griffith’s four ■ Imagine hearing new selections by a group led original pieces, including the title track, fit com- ere are the albums by vibraphonist Peter Appleyard, with Zoot Sims on fortably into the mix. Griffith’s no frills arrange- that caught my tenor sax, Bobby Hackett on cornet, on H ments keep things moving nicely along, and May’s attention during the past month. trombone, Hank Jones on piano, Slam Stewart on vocalizing on “Oh, You Crazy Moon,” “That’s All” and bass and Mel Lewis on drums. The Lost Sessions ■ BOB LARK has been a jazz educator at DePaul “Travelin’ Light” is first rate. Unlike many contem- 1974 (Linus – 270135) does just that, and it is University for 20-plus years. Over the years he has porary big band albums, this one never burdens welcome indeed. Appleyard had a concert in developed many fine musicians. On Reunion you with an overly long soli the horn players. The Toronto the night after he had played with this (Jazzed Media – 1057), he has gathered a section playing is tight, and the soli are fine and to group as members of Benny Goodman’s band the dynamite aggregation of DePaul alumni together for the point. These cats should get back into the previous evening. Actually Grady Tate was the Bob Lark and his Alumni Big Band. The program is recording studio ASAP! (frankgriffith.co.uk) drummer with Goodman, but he was not available comprised of 11 Lark original pieces arranged by ■ Resonance Records does thing right. Their so Appleyard recruited Lewis to fill the drum chair. Lark and several of the Alumni Big Band members. releases are always well recorded, nicely packaged, He called the group Peter Appleyard and the Jazz This is a wonderfully executed album, with terrific and contain music of merit. On the occasions when Giants. The day after the Toronto concert, he tunes, artfully arranged and played with precision they release older and previously unreleased gathered the group into a recording studio to put and great musicianship. Lark, who plays trumpet material, they choose only material of substance, down nine tracks, a medley of Ellington tunes, and flugelhorn, has a knack for writing songs that and provide informative liner notes. Their new “After You’ve Gone,” “Tangerine,” “You Don’t Know immediately click with a listener, and his solo release of material is a What Love Is,” “But Beautiful,” “You Go to My Head,” interludes show him to be a fine player as well. wonderful look at the artistry of the legendary “Indiana,” “A Smooth One” and “Dancing on the There are too many big band albums that come guitarist before he came to national prominance. Ceiling.” Each track is preceded by some of the along devoid of personality. Lark and his crew are Echoes of Indiana Avenue (Resonance – 2011) studio dialogue, and there is a bonus track that an exception, and it is a joy to hear what they have consists of nine tracks performed on three different contains about 25 minutes of outtakes. The results achieved. (www.JazzedMedia.com) occasions during the period of 1957-58. They were are just what you would expect, exciting music ■ Transplanted American saxophonist Frank Griffith recorded in Indianapolis with local musicians. Four from a septet of master jazz players. There is no has been making music in the UK since hanging his tunes, “Diablo’s Dance,” “’Round Midnight,” “Nica’s need for a track by track analysis. The playing and Dream” and “Darn That tunes are first rate, and it is our good fortune that Dream, were recorded these “lost sessions” have finally seen the light of in a studio with Melvin day. (www.truenorthrecords.com) Rhyne on keyboards ■ New Jersey is a spawning ground for many fine and organ. “Straight No young jazz musicians. With the highly regarded jazz Chaser” was recorded live at an unknown studies programs at William Paterson University, location with his Rutgers University, New Jersey City University and brothers Buddy on Rowan University, there are scores of talented piano and Monk on young players coming out of these universities, bass. The final four many of them New Jersey natives. Drummer tracks, “Take the ‘A’ JON DI FIORE, a graduate of the NJCU program, Train,” “Misty,” “Body has just released his initial album as a leader, and Soul” and “After Patience (Jon Di Fiore). On it he is joined by two Hours Blues,” were WPU graduates, pianist Billy Test and bassist Adrian recorded at an Mooring, and two New Jersey educators, Trumpeter Indianapolis club with Joe Magnarelli (NJCU) and tenor saxophonist Rich Earl Van Riper on piano, Perry (WPU), with New Jersey-based tenor saxo- Mingo Jones on bass phonist Jeremy Fratti contributing on one track. and Sonny Johnson on The program consists of seven Di Fiore originals drums. This material is plus his of Thelonious Monk’s a pleasure to hear, and “Epistrophy.” Di Fiore has a gift for composition that the folks at Resonance makes his debut album resonate with tunes that have done a wonderful are likely to find their way into the performance job of mastering the books of many other players. He is also a sensitive original tapes to give and creative drummer. All of the playing is superb, us terrific sound. most notably that of Test, a remarkable young Hearing Montgomery at pianist who should become a well recognized name this relatively formative in jazz within the near future. This is a well continued on page 40

38 ______April 2012 Jazz at the Berrie Center at Ramapo College presents

Paula Poundstone Frank Sinatra: Saturday, March 24 My Obsession 8 PM | Sharp Theater You may know her from featuring her numerous HBO and Cary Hoffman BRAVO comedy specials or NPR’s Wait Wait… Saturday, May 5 Don’t Tell Me. Paula 8 PM | Sharp Theater Poundstone is famous for her Cary has performed the razor-sharp wit and Paula Cary Hoffman music of Frank Sinatra for the spontaneity that has Poundstone past eight years in over 35 audience members at performing arts centers all her live shows complaining that their over the country, and has become New York’s premiere Sinatra cheeks hurt from laughter and debating interpreter. His compelling blend of vocal performance and stories led to a whether the random people she talked to were “plants.” National PBS Television special, viewed by more than 10 million people. Tickets: $30/27/24; Children under 17: $20; “Dead on.” — the New York Times. 5% off regular ticket prices for Seniors, WBGO Radio, Tickets: $26/23/20; Children under 17: $17; 5% off regular ticket prices for Seniors, WBGO Radio, New Jersey New Jersey Jazz Society members and Ramapo Affiliates. Jazz Society members and Ramapo Affiliates.

BY THE TIME I GET TO PHOENIX CABARET PERFORMANCE “Forget that Roslyn Kind is Barbra Streisand’s kid The Legendary sister — she’s too good and too special to have to Jimmy Webb Roslyn Kind worry about comparisons.” — Los Angeles Times Sunday, April 1 Saturday, May 12 7 PM | Sharp Theater 8 PM | Sharp Theater Best known for the A vibrant musical artist, Ms. Kind instant classics he is familiar to both national and provided for such artists as Glen Campbell international audiences for her (“By The Time I Get to Jimmy headlining appearances at some Webb Phoenix,” “Wichita of the most prestigious venues Lineman,” “Galveston”), including Lincoln Center, and Richard Harris (“MacArthur Park,” “Didn’t We”), The Fifth Dimension, (“Up, Up London’s Café Royal. In 2006 and Away”), and many more, Jimmy Webb, she made her long awaited the Oklahoma-born son of a preacher, is a ad rapturously received Carnegie critically-acclaimed songwriting talent whose Hall debut with her frequent music has thrilled audiences over more than 40 years. Webb continues to write new songs musical collaborator and friend, that are as carefully crafted and magical as Michael Feinstein. his legendary hits. Tickets: $26/23/20; Children under 17: $17; Tickets: $30/27/24; Children under 17: $20; 5% off regular 5% off regular ticket prices for Seniors, WBGO Radio, ticket prices for Seniors, WBGO Radio, New Jersey Jazz New Jersey Jazz Society members and Ramapo Roslyn Kind Society members and Ramapo Affiliates. Affiliates.

Box Office: 201-684-7844 or www.ramapo.edu/berriecenter

April 2012 ______39 JerseyReviewsJazz

OTHER VIEWS continued from page 38 executed debut from Di Fiore that should receive kudos from reviewers, and lots of air play. (www.jondifiore.com) ■ Bob Wilber and the Three Amigos (Arbors – 19424) is a stomping good time release featuring BOB WILBER, PIETER MEIJERS and ANTTI SARPILA playing mostly clarinet and soprano sax, with Meijers also contributing some tasty tenor sax sounds. The rhythm section is a dream one with Rossano Sportiello on piano, Bucky Pizzarelli on guitar, John Cocuzzi on vibes, Nicki Parrott on bass and Ed Metz Jr. on drums. Wilber is a superb player, leader, arranger and composer, with three originals contributed to the program. Meijers, originally from the Netherlands, but a longtime resident here, and the Helsinki-based Sarpila are both possessed of wonderful tone and bubble over with their improvisational ingenuity. Feature spots were given to Sarpila on “The Best Things in Life Are Free,” Meijers who uses his curved soprano sax in the best tradition of Sidney Bechet on Bechet’s “Passport to Paradise, Sportiello who simply sparkles on his own “Basie-issimo,” Pizzarelli who assays “Willow Weep for Me,” and Cocuzzi who takes over on “Keeping Out of Mischief Now.” There are three visits to Ellingtonia with “The Mooche,” “Jubilee Stomp” and “Black and Tan Fantasy.” The closer is a rousing Wilber tune, “Bernfest ‘96” with solo space spread all around. You will have as much fun listening to these cats wail as they seem to be having playing their music. (www.arborsrecords.com) ■ Those of you who have seen the Paris Washboard group are familiar with one of the best of the stride pianists, LOUIS MAZETIER. For Volume 24 of the Arbors Piano Series, Mazetier performs a program of 17 original pieces, most of them paying tribute to the piano masters of the past. He does not limit himself to playing in the stride bag, rather shows his versatility as a player and composer. His moods and styles shift seamlessly throughout the album, always making the listener aware that this is a jazz pianist supreme. His ballads like “Nicolas,” “Marianne” and “In the Depth of Rouffignac,” the first two dedicate to his son and daughter, are touching and beautiful. In the hands of a masterful player like Mazetier, a piano is an orchestra, and he brings orchestral majesty to a program of well conceived compositions that grow more appealing the more you hear them. (www.arborsrecords.com) ■ It had to happen sooner or later. After playing on the Cole Porter piano at the Waldorf Astoria Hotel in New York City for almost 15 years, DARYL SHERMAN has released an album of songs by the talented gentleman who owned the piano in question. For the recording of Mississippi Belle: Cole Porter in the Quarter (Audiophile – 342), Sherman opted to travel down to New Orleans, engage Jesse Boyd on bass, and Tom Fischer on clarinet and tenor sax, and explore 13 Porter gems. In choosing tunes for her program, she used her imagination, selecting familiar songs, “Let’s Do It,” “Get out of Town,” “Rosalie,” “Looking at You,” “From This Moment On” and “You’d Be So Nice to Come Home To;” some that are heard occasionally, “Tale of the Oyster,” “Use Your Imagination,” “Who Wants to Be a Millionaire” and “Where Have You Been;” a few truly obscure, “Ours” and “By the Mississinewah;” and one never previously recorded, “Mississippi Belle.” An added bonus is the appearance of Banu Gibson, a fine jazz vocalist and New Orleans institution, as a duet partner on “By the Mississinewah.” Sherman’s intimate vocal style, fabulous phrasing and inventive self accompaniment on piano combined with the fine musicianship of her cohorts to produce an album that would surely have pleased Mr. Porter, and will have a similar effect on his legions of admirers. (www.jazzology.com) ■ LORRAINE FEATHER is a witty and insightful lyricist with a sense of irony, and a feeling for the absurd. In addition, she is a terrific singer. Tales of the Unusual (Jazzed Media – 1056) is her latest collection of self-penned lyrics, this time using melodies supplied by oft-time collaborators Russell Ferrante,

40 ______April 2012 JerseyReviewsJazz

Eddie Arkin, Tony Morales and Shelly Berg, and a tune each from Duke Ellington, Enrico Pieranunzi Jazz Goes to School | The College Jazz Scene and Nino Rota. Her subjects are all over the place, By Frank Mulvaney NJJS President from being inspired by film or television shows to slice of life portraits about people and relationships. E-mail: [email protected] The music is jazzy, but the lyrics are the JAZZ U centerpieces of the album, and they take careful William Paterson University, Harrison’s voice was like another horn in listening, often requiring a few hearings to register. Feb 12: Pianist Mulgrew the band as he scatted harmonically with This is not intended to sound intimidating, but is Miller and the Jazz Faculty Nathan. The amazing Mr. Cacioppo was the actually a fun challenge. The album is a great listen, dominant force with a bass solo and clever This concert was a tribute to Marin Krivin, and is well titled. It requires some work from you to trading especially with Nathan who earlier the founder of the WPU Jazz Studies fully absorb and enjoy, but it is worth the effort. had unloaded some hot riffs and a flood of Program 40 years ago who also initiated its (www.JazzedMedia.com) eloquent notes. Jazz Room Series, the longest-running ■ Among my favorite vocalists are the ladies like college jazz concert series, now in its 34th The second set was an absolute treat featur- June Christy, Chris Connor, Anita O’Day and Julie year. The student group that opened the ing some of the finest educator/musicians in London who defined the 1950s “cool school” concert is known as the Harold Mabern the world from the WPU faculty in several of vocalizing. The songs sung by the four ladies Quintet. Professor Mabern, a legendary different configurations. ’s “Mean mentioned above are the source for the program pianist/composer is the director/coach of What You Say” was the vehicle for a septet of singer KATHY KOSINS on her fine new album, the ensemble. This was the first vocalist-led led by Mulgrew Miller, the WPU Jazz To the Ladies of Cool (Resonance – 1018). Kosins has wisely chosen to apply her own vocal group that I have ever seen at the college Studies Director and one of the most influ- sensitivities to 10 tunes that were among those level. Only two of the boys were from Jersey ential pianists in the jazz world. You don’t performed by Christy, Connor, O’Day and London, and as is so typical at WPU the others were have to know anything about jazz to know with not even a hint of imitation. In doing so, she from four different states. The first selection instinctively that Mulgrew is simply brilliant did not rely on the songs that are most associated was an instrumental version of ’s once you hear him play. In the early going, with these ladies of song. There are no signature “Speak Low.” The piece served well to show- after Mulgrew’s marvelous intro, we had songs like Christy’s “Something Cool,” Connors’s case the talented young musicians. Nathan some wonderful duet harmony from David “All About Ronnie,” O’Day’s “Honeysuckle Rose” or Hook, a marvelous tenor saxophonist from Demsey (tenor sax) and Dave Rogers London’s “Cry Me a River.” She opted for tunes that Texas, got things started. After a brief guitar (flugelhorn). What followed was a parade Kosins felt suited her stylistically and emotionally, riff he delivered a masterful solo. Guitarist of splendid solos from Tim Newman and she renders them with taste, confidence, and Charlie Sigler (Baltimore) then jumped in (trombone), Dr. Demsey, Bob Keller (tenor a superb feel for phrasing that makes each lyric for a long impressive improv. Drummer sax), Mr. Rogers, and Rufus Reid (bass) — ring true. She did dig deep, as illustrated by the Nicolas Cacioppo (Haverford, PA) had my what a bunch of pros.The harmonic tune titled “Hershey’s Kisses.” The original Johnny attention throughout, as it was clear that he ensemble playing was scrumptious. Trom- Mandel melody was called “Hershey Bar,” and had was the man in charge but who also allowed bonist and trumpeter went offstage to leave been done as a wordless vocal by O’Day. Kosins has added clever lyrics, and updated the title to reflect plenty of room for his mates. Pianist Will a two-tenor quintet. Such a quintet was her words. Her instrumental support is supplied by Dougherty (Memphis) was the custodian of reminiscent of that of the greats pianist Tamir Handelman, who also penned the hip the beautiful melody and he had plenty to and Gene Ammons on the classic “There is arrangements, bassists Kevin Axt or Paul Keller, say when it was his turn to improvise. No Greater Love.” The two-tenor harmonic guitarist Graham Dechter, drummer and vibist Before it was over, another fine solo from solos and phrase trading were superb but Bob Leatherbarrow, reedman Steve Wilkerson and Nathan and some cool four-trading between the improv dueting was really awesome. trumpeter/flugelhornist Gilbert Castellanos. This is a the drummer and everyone else. Vocalist With the ensemble reduced to a trio, Rufus concept album of wonderful originality that recalls Harrison Young confidently stepped onto opened a slow version of “Con Alma” with a an era, but brings the music into the now. the stage and in just two bars of “If I Should terrific bowed solo as the drummer, Horace (www.resonancerecords.org) Lose You” it was apparent this young man Arnold, employed felt mallets largely on knew what he was doing. He overwhelmed cymbals. With a slick rhythm change to (Note: Last May, I reviewed a fine debut album by Bay Area-based vocalist Lisa Lindsley with pianist me with his tone, phrasing, dynamics, Latin, Mulgrew was off and flying and we all George Mesterhazy. There will be an opportunity to delivery and stage presence — wow. enjoyed the ride after in which Rufus hear them in person at The Metropolitan Room Harrison was ably supported by bassist showed us why he is one of the top in the (212-206-0440) in New York City on March 28 at Daseul Kim (Cherry Hill), who had an business. Mulgrew and Horace sat out to be 9:30 PM.) impressive solo, and by cogent comments replaced Harold Mabern (piano) and Dr. Remember that these albums are not available from Nathan and Will. Harrison’s take on Carl Allen (drums). Dr. Allen is a WPU through NJJS.You should be able to obtain most of “Body and Soul” was a pure delight with alum and currently the Jazz Director at them at any major record store. They are also amazing dynamic control. The fourth and Juilliard. The four horns returned to play available on-line from the websites that I have final selection for the group was Clifford my favorite Benny Golson tune, “Whisper shown after each review, or from a variety Brown’s “Daahoud.” This interesting up- Not.” The ensemble playing was spectacular of other on-line sources. JJ tempo tune does not have lyrics and with the clock starting to become an issue as continued on page 42

April 2012 ______41 JerseyReviewsJazz

COLLEGE JAZZ continued from page 41 Ortiz (alto). The clever Mr. Fernandez also “Pure Imagination,” which featured a fine contributed a marvelous arrangement of clarinet solo from Joe Allen. Faculty Carl and Rufus had to be in NYC for a gig “Laura,” a melody that can aptly be termed member Ed Vezhino’s arrangement of the with Mr. Golson at 7:00. Into the clubhouse “haunting.” The tune was introduced by “James Bond Theme” really created some turn, we had James Williams’s wonderful flutes and clarinet backed by the tubas and a excitement with guest soloist Mike Tomaro composition “Alter Ego.” James Williams was lovely harp solo by Andrea Chieffo provided alto solo. The full ensemble double forte a much-loved WPU Jazz Studies Director, the melody line. Tenorist Staczynski had a chorus sounded much like the original who was taken from us at a much too young gorgeous improv solo over soft ensemble film score with a hot solo from Ron an age. This moderate tempo tune featured chords preceding an interesting shift to a Chattopadhyay (bari sax) for added stunning solos from Mulgrew, Demsey on moderate swing and then a slow ballad measure. Then Mr. Tomaro who is the Jazz soprano sax and Newman. The concert finish. I’m sure you’ve never heard anything Studies Director at Duquesne University concluded with a short version of Thad like Mr. Fernandez’s amazing arrangement and has 150 published compositions and a Jones’s ballad “Summary.” Mulgrew’s intro of “White Christmas” which was integral in bunch of albums to his credit, treated us to was gorgeous and Dave Rogers’s lyrical two films 14 years apart. Flutes and clarinet an amazing alto rendition of “Days of Wine flugel solo was stunning as was Dr. Demsey’s were featured early on with an unusual and Roses” with just bass accompaniment. soprano sax contribution. Sadly, all good rhythm driven by Ryan’s drumming. The final selection of the set was a medley things must come to an end and now it was Christina Raczka delivered a splendid flute of 15 movie tunes arranged by the Jazz time for the trip home to Westfield. solo on this one and Andrew Ennis added Studies Director/ Maestro himself, Denis some hot licks as the chart evolved through DiBlasio, which included excerpts from such Rowan University, Feb. 17: some fascinating dynamic changes. Student diverse tunes as the Star Wars theme, “Baby “Jazz Goes to the Movies” arranger Jake Spinella conducted his own Elephant Walk,”“Hi Ho” and the Mission This was the traditional last event concert of inventive chart of the theme from Psycho Impossible theme — WOW! the annual Rowan High School Jazz Festival. which was percussion dominant with very As usual, the famous Rowan Lab Band did satisfying harp accents. Student arranger The 19-piece Rowan Jazz Band then came the first set. You don’t often see a 16-piece Matt Ercolani did a great job with the lovely on stage for their traditional share of the ensemble with two tubas and a harp. program. Mike Tomaro’s arrangement of Knowing many jazz standards that “Bewitched, Bothered and were written for films, we might Bewildered” overflowed with lush have predicted what we would chords and featured a stunning hear. Not tonight! When you trombone solo by Tyler Stone. attend a Rowan concert you have Mike’s arrangement of “There to expect the unexpected. How Will Never Be Another You” was a about a leadoff tune like classic big band swinger, notable “Steamboat Willie?” At the outset for awesome drum work by we had a strong march beat Gavin McCauley (2011 NJJS followed by flute comments and Scholarship Recipient) and a an artful drum solo (Ryan stunning solo by Jon Porco (alto Cullen). The tubas then cut in sax). What’s a jazz concert followed by the full ensemble as without a Thad Jones arrange- Ryan provided novel percussive ment and we got one in the form effects for this clever arrangement of “All of Me.” The chart was so by student Shannon Crumlish. very Thad with muted brass and Rowan alum Nick Fernandez put flutes and clarinets coloring the together a marvelous arrangement harmonies. Gavin drove the piece of “Secret Love,” which Doris Day and Mr. Porco was also promi- sang in a 1953 film and which was #1 on the Hit Parade for many nent, this time on soprano. The weeks back then. The well- final selection of the evening was rehearsed ensemble produced Ed Vezinho’s terrific arrangement wonderful layered harmonies as of “That’s All.” Guest soloist Mike the melody was carried by the Tomaro delivered a fabulous long trombones and saxes with improvisation to cap off another flute/clarinet accents. The piece sensational evening of jazz. The really got swinging with solos large crowd rose to its feet in from Alex Bizzarro (guitar), Joe warm recognition as they Straczynski (tenor) and Jeovani did at the end of the first set. JJ

42 ______April 2012 JerseyReviewsJazz

a feast of music just like the audience was There is a $20 music charge and a one-drink joyfully expecting. Both players obviously minimum, a real bargain for a New York Caught in came to play, and brought their A chops. City club. They immediately turned to a Philips the Act arrangement of “Comes Love” for some JAZZ AT LINCOLN CENTER By Joe Lang scintillating exchanges. Bill Potts is one of ORCHESTRA Past NJJS President those cats who escaped the broad recogni- LEE KONITZ, Special Guest tion that his talents deserved, but Al and Centennial Zoot made his tune “The Opener” a recog- Frederick P. Rose Hall | February 17–18, 2012 nizable jazz standard, and the Allen/ HARRY ALLEN and Hamilton combination used the Cohn/Sims here have been many tributes to the SCOTT HAMILTON reading as a launching pad for their explora- Tmusic played by the Stan Kenton Feinstein’s at Loews Regency | NYC tion of this swinging melody. There are few Orchestra over the years, and I have been at February 6, 2012 players in jazz who handle a ballad with as many of them. This is the first one that I much feeling as Hamilton, and he once again here was definitely an air of excitement have attended where the swinging side of proved that point on “Tenderly.” Flory was surrounding the February 6 installment the Kenton band was emphasized. In fact, T given the spotlight for a wonderfully creative of the Arbors Records Presents Harry Allen’s The Jazz at Lincoln Center Orchestra often visit to “The Lamp is Low” with just the Monday Night Jazz at Feinstein’s. On the first made the Kenton charts that they played rhythm section. To close out the set, they Monday of each month, Allen appears with sound a bit more Basie than Kenton. For revisited the Philips oeuvre for his tune titled his quartet, Rossano Sportiello on piano, those who dig toe-tapping big band music “A Sound Investment.” For the listeners, this Joel Forbes on bass and Chuck Riggs on this was wonderful. For Kenton purists, it set was certainly a sound investment. drums, with featured guests performing probably was a bit cringe inducing at times. during the last two of the evening’s three That all was just a warm-up for a lively I was a big Kenton fan, but am also a jazz sets. On this occasion, the guests were tenor second set that led off with a robust fan in a broader sense, so I find that artist saxophonist Scott Hamilton and guitarist “Tickletoe,” a Lester Young tune that was interpretation is a valid approach to any Chris Flory. once recorded by another team of tenor music, especially jazz. This was a rare New York City appearance giants, Eddie “Lockjaw” Davis and Johnny In honoring the Kenton legacy, Wynton for Hamilton, the popular mainstream tenor Griffin. The inspiration for Sir Charles Marsalis avoided any attempt to deal with man who has lived abroad for about 15 Thompson's “Robbins Nest” was one of the continued on page 44 years, the last four in Italy. When he came hip disc jockeys from the days of radio past, down from Providence to New York City Fred Robbins, and he would have dug the in 1976, Hamilton stood out among the relaxed swing that Allen and Hamilton younger tenor players on the scene, gravi- applied to it. It is never a surprise when a tating to the classic styles of Lester Young, Gershwin song finds its way into a jazz set, , Flip Philips, Zoot Sims, Al and the Allen/Hamilton duo applied their Cohn and Stan Getz, rather than the more improvisational artistry to “Someone to modern players, especially John Coltrane, Watch over Me,” trading the statement of who served as the main inspiration for most the melody between them. Appropriately, other young tenor saxophonists. When he they opted to close with “Flying Home,” and formed a working group in the early 1980s, fly they did, as did those gathered to hear Flory and Riggs, along with bassist Phil this magnificent evening of two jazz masters Flanigan were his team. meeting and challenging each other to reach creative heights. Allen has similar influences to those of Music Hamilton, and a pairing of these two tenor Sportiello, Flory, Forbes and Riggs offered titans is always welcomed with a sense of sturdy support, with Sportiello and Flory for any anticipation that something special will taking frequent eye-opening solos. Put it all occasion, occur. Well, the players did not disappoint. together, and I would be hard pressed to Their first set was strongly based on their imagine that any better music was presented big or regard for Sims, Cohn and Philips. The two- that evening anywhere else. small. tenor front line has been a favorite format These Harry Allen Monday sessions are for jazz fans, prime among them being Al becoming one of the don’t miss jazz events Con and Zoot Sims. Using the Cohn/Sims in New York City. Upcoming shows can be 908-347-0648 chart on “Just You, Just Me” as an opener, found at Feinstein’s website: www.fullcountbigband.com they immediately showed that this would be http://feinsteinsattheregency.com/.

April 2012 ______43 JerseyReviewsJazz

CAUGHT IN THE ACT continued from page 43 the more adventurous aspects of the Kenton catalog, and I believe this was a wise choice, as the Kenton approach to his music has never been evident in the DNA of the JALCO. The program opened with one of the best known Kenton pieces, Ray Wetzel’s “Intermission Riff,” a tune that owed much to Gerald Wilson’s “Yard Dog Mazurka,” written for the Jimmy Lunceford Orchestra. The early part of the first set gave a taste of the 1940s Kenton book, as they followed with “Artistry Jumps,” a Kenton variation on his theme, “,” another Kenton chart, “Southern Scandal,” based on “Tara’s Theme” from Gone with the Wind, and Pete Rugolo’s lush “Interlude,” performed by five trombones plus the rhythm section. From there on, the concert concentrated on the Kenton book from the mid-1950s when Bill Holman, Bill Russo and Gerry Mulligan helped to move the band in a more swinging direction, a change that was greeted with enthusiasm by the players on the band. There is a reported incident that occurred at a Kenton rehearsal where Kenton indicated to the band that he wanted to try something new, and trumpeter Al Porcino responded, “Yeah, why don’t we try swinging?” Holman was confronted by some inner conflict when Kenton asked him to write charts for the band. Holman had a Basie kind of swing in his soul, but realized that this was not what Kenton wanted. Through some trial and error, he soon learned how to satisfy his need to swing and still write charts that would be amenable to Kenton. The musicians loved playing what Holman wrote, and Kenton learned to accept that he needed to adapt a bit to their urges. The result was a new element in the Kenton world. It was epitomized by the unique Holman approach to “Stompin’ at the Savoy,” an arrangement that sounds as fresh today as when it first saw the light of day in the mid-1950s. The JALCO seemed to really dig playing on it. The first set closer was “Malagueña,” another Holman chart, this one written for the 1961 band, and it too has become a Kenton classic, one that he kept in the book for the rest of the band’s existence. Another Holman chart, “Zoot,” was written as a feature for Zoot Sims, and served as the opener for the second set, with the role of Sims effectively assumed by Walter Blanding. Bill Russo was a brilliant musical mind with a classical background. He was capable of writing in both the style that Kenton preferred, but also could bring in some elements of swing. Kenton was an enthusiast of Afro-Cuban music, and frequently included pieces that incorporated elements of this musical genre. Among the most well-known and popular of these pieces was “23 Degrees North, 82 Degrees West,” the title designating the location of Havana. It is a wonderfully expressive piece that was given a joyous reading by the JALCO. Marsalis and his trumpet were featured on another Russo chart, “Portrait of a Count,” a chart written to highlight t he trumpet style of Conti Condoli. Marsalis simply nailed it. The other Russo arrangement included in the evening was a scintillating version of “Fascinatin’ Rhythm.” continued on page 46

44 ______April 2012 April 2012 ______45 JerseyReviewsJazz

CAUGHT IN THE ACT arrangement on “Lover Man” in the later contributed some nice solos. Dan Nimmer set. His participation concluded with him continued from page 44 is always a thrill to experience, and while he and Marsalis considering “Stella By never attempted to capture the distinctive Starlight,” backed by the rhythm section. Mulligan and Kenton had a tenuous rela- Kenton approach to the piano, he was per- Konitz, who has been dealing with health tionship, as Kenton was reluctant to play the fect for the concept that Marsalis brought to problems in the recent past, was in great charts supplied by Mulligan at the tempos the music. James Chirillo is like an orchestra spirits, but a bit tentative in his playing this indicated by Mulligan. Hearing the JALCO unto himself in the guitar chair. time out. versions of “Swing House” and “Limelight” One thing that seemed a bit strange to me made it evident that these Mulligan charts The players on the JALCO are always during the evening was the lack of commen- had a swing in them that could not be impressive, as a unit, and as soloists. This tary about Kenton by Marsalis. Most of his evening was replete with sparkling solos totally contained, even by Kenton. remarks related to the specific charts being from all of the players. Particularly played. He made no mention of the overall Lee Konitz was on the Kenton band during memorable were Blanding's turns on Kenton legacy. Love his music or despise it, the 1952–1954 period. He was the featured “Artistry Jumps” and “Zoot,” the Marsalis alto player, and surprised people by reading of “Portrait of a Count,” Ted Nash Kenton was a major influence on big band adapting his “cool school” approach to the on alto sax and Ted Hatamiya on trombone jazz, and any celebration of his music seems needs of the Kenton band. Konitz is one of for Gene Roland’s “Jump for Joe,” and Joe incomplete without addressing this aspect the few surviving Kenton players from that Temperley’s baritone sax interlude on of his legacy, as well as the tremendous period, and he has remained active at the “Limelight.” The rhythm section sparkled contributions that Kenton made to jazz age of 84. He was spotlighted for two throughout the concert. Ali Jackson on education. Kenton was a man of great selections during each set of this concert. drums reminded me of the excitement that strengths and many weaknesses. In the first set he revisited Holman’s charts John Von Ohlen brought to the Kenton Addressing this was not part of the on “In Lighter Vein” and “My Funny band during the early 1970s. Carlos equation of this concert. Musically, Valentine,” and addressed another Holman Henriquez was steady as a rock on bass, and however, it was most satisfying. JJ

Shelly Productions presents Live Jazz Thursday Nights at The Glen Rock Inn APRIL 5 Jerry Bruno & Bucky Pizzarelli (Make Reservations) APRIL 12 Annette Sanders & Howie Tavin APRIL 19 Vic Danze & Lou Sabini APRIL 26 Jerry Bruno & Al Caiola

222 Rock Road, Glen Rock, NJ Entertainment Starts 7:00 PM Call for Reservations 201-445-2362 Host — Victor Quinn Shelly Productions, Inc. P.O. Box 61, Elmwood Park, NJ • 201-796-9582

46 ______April 2012 JerseyReviewsJazz

Memories of the Oak Room get an idea of New York By Joe Lang NJJS Past President nightlife in the past, here are few institutions in New York City that mean as much to when there Tthe essence of what makes that wonderful city the cultural and were the social center of this nation as does the Algonquin Hotel, the Oak intimate Room, a supper club par excellence, and the historic lobby that has clubs like attracted countless numbers of people to drop in for drinks and Tony’s, the conversation. The history of the prominent guests who have stayed RSVP or the there, the denizens of the famous Algonquin Round Table, and the Bon Soir; big brassy legendary performers who have appeared there are important to the oyster.com clubs like cultural foundation of New York City. The announced plans to the Latin Quarter or the Copacabana; the hotel rooms like the permanently close the Oak Room as a supper club are a poke in the Empire Room at the Waldorf Astoria or the Persian Room at the eye of all those who have supported the best of the very special Plaza, plus the many jazz clubs and piano bars that were everywhere. music that is the Great American Songbook. An evening at the Oak Room was always something special. It was The Oak Room first presented live performers in 1939, but it did not a place where you casually dropped in for a drink. First, you had not survive World War II as an entertainment venue. In 1980, the to pass through the classic Algonquin lobby that was usually busy Oak Room was reopened as a supper club after having been without with people conversing, or perhaps reading a newspaper or a book, entertainment since its music policy ended during World War II. while having a drink. Then you were greeted at the Oak Room Through the efforts of Donald Smith, a staunch supporter of entrance, and shown to your table. As the years went by, the cost of cabaret and founder of the Mabel Mercer Foundation, the room an evening at the Oak Room became higher and higher, but you was reopened with Steve Ross, the dapper singer/pianist presiding. knew that going in, and you went there for the quality entertain- As the room evolved, Ronny Whyte replaced Ross at times. ment presented in a room that emitted memories of the New York I remember seeing both Steve and Ronny during these early years that had been. It was known as a cabaret room, but there were of the revived Oak Room. Both gentlemen epitomized New York plenty of jazz artists among the roster of stars who headlined there. nightlife at its most sophisticated. Soon, shows by Julie Wilson, Even the cabaret performers often had jazz accompanists, and jazz- accompanied by Billy Roy, became a staple at the Oak Room, and influenced arrangements. seeing Julie and her feather boa exploring the songs of the likes of The room itself had a chic retro quality that was unique among the Cole Porter, , the Gershwins, Stephen Sondheim, and remaining supper club venues. The wait staff, many of whom were other writers of the Great American Songbook was a must for all there for as long as I went there, or at least so it seemed, knew how lovers of good music, including me. to make each guest welcome without any signs of gratuitousness. As time passed, the room became a magnet for the best of the You never felt that a generous tip had not been earned. The menu established and rising stars on the jazz and cabaret scenes. was limited, and a bit steeply priced, but the food was reliable, if Harry Connick Jr., Michael Feinstein and Diana Krall, who were not spectacular. to become major stars, got their first major New York City exposure I spent many evenings with my wife and friends at this welcoming at the Oak Room. room, and always left uplifted, and happy that I had been able to The list of performers whom I got to see there went on and on, escape the often trying world around us for an interlude of pure and included, in addition to Whyte, Ross and Wilson, Karen Akers, pleasure. The closing of the Oak Room will leave a void in New York Richard Rodney Bennett, Barbara Carroll, Bill Charlap, Peter City nightlife, and in the lives of the patrons, performers and staff, Cincotti, Eric Comstock, Dena DeRose, Tony DeSare, Barbara that will be hard to fill. Fasano, Dave Frishberg, Christopher Gines, Mary Cleare Haran, (Some personal thoughts directed at the new hotel management. Bill Henderson, Jack Jones, Hilary Kole, Diana Krall, , There are times when a business should consider more than just the Maude Maggart, Andrea Marcovicci, Claire Martin, Susannah bottom line. I am not aware of what plans are being made for the McCorkle, Dave McKenna, Jessica Molaskey, Karen Oberlin, lobby, but to make significant changes to it would be desecrating an Sarah Partridge, Bucky Pizzarelli, John Pizzarelli, Daryl Sherman, institution. If you wish to be a viable and respected member of the David Staller, Sandy Stewart, KT Sullivan, Tierney Sutton, Sylvia New York City community, I urge you to reconsider your decision Syms, and Wesla Whitfield. There are certainly others, but these relating to the Oak Room, and assure us that the lobby will remain are the performers whom I remember seeing there. one of the most charming and appealing gathering places in the Big The most significant thing about the Oak Room, however, was not Apple. If you continue with your plans as stated, I and many others the roster of performers, impressive as it was, but the reality that it who have supported the Algonquin Hotel over the years will was one of the few places remaining in Manhattan where one could have no reason to continue to do so.) JJ

April 2012 ______47 New JerseyJazzSociety

February Jazz Social | A Guitar Bonanza with Al Caiola

By Tony Mottola Editor, Jersey Jazz n a shelf in the cozy music room Oof Al Caiola’s airy Hackensack high-rise apartment sits a small black and white photo of the young musician at Parris Island in South Carolina, where the Jersey City native completed basic training after enlisting in the U.S. Marines in 1942. Dressed in fatigues, a confident smile on his face, he holds an M16 rifle in his right hand and an Epiphone archtop guitar in his left, ready and able for whatever was to come. After stints leading Marine bands at Quantico in Virginia and Camp Pendleton in California, the newly minted Technical Sergeant was assigned, along with Bob Crosby, to lead the 5th Marine Division Orchestra and shipped out to Hawaii. From there, the band traveled to 19 islands in the Pacific Theater, performing for fellow Marines, until TONY MOTTOLA PHOTO the members were reassigned to active combat in the assault on Iwo Jima. on, but you get the point — Al was a Lawrence and Eydie Gormé. Most recently After that historic campaign the band was contractor’s lucky charm. No wonder he he toured with Frank Sinatra, Jr. in 2010 and reassembled and sent to Japan during the was for many years a first-call player in he played dates with Steve Lawrence early military occupation. It was a time when New York’s then-bustling recording and last year, when he decided to “retire” and “Guitar Heroes” were just that. broadcasting studios (see sidebar). return to New Jersey to be near his children after many years living most of the year in After leaving the service, Al used the G.I. Bill When he wasn’t playing on other people’s Florida. to study music composition and theory at records he was making his own, beginning the New Jersey College of Music. Shortly with Deep in a Dream recorded for the Retire, in quotes, since the ageless 91-year- after graduating he was hired as a staff Newark-based Savoy label in 1955 (check old Mr. Caiola has been playing monthly at musician by CBS Radio and embarked on out this backup band for your a career that made him one of the most debut recording: Bernie Privin, recorded guitarists in history. trumpet; Hank Jones, piano; A list of the hit records on which Al Caiola Clyde Lombardi, bass and appears would fill these pages. Just to give , drums). He an idea of the scope of it all, consider these became a featured artist for record dates: Paul Anka (“Diana,”“Put Your United Artists in the 1960s, Head on My Shoulder”), releasing dozens of albums (“Boulevard of Broken Dreams,”“Stranger which yielded hit records for in Paradise”), Rosemary Clooney (“Come his covers of TV and movie On A My House,”“Hey There”), Bobby themes, including “Bonanza,” Darin (“Dream Lover,”“Mack The Knife”), Hawaii Five-O” and “The Ben E. King (“Spanish Harlem,”“Stand By Magnificent 7.” Me”), (“Chances Are,” When the New York studio “Misty”), Dinah Washington (“What a scene went into a swoon in Difference a Day Made”), Simon and the 1970s, Al kept busy touring MITCHELL SEIDEL PHOTO Garfunkel (“Mrs. Robinson”)…I could go for many years with Steve

48 ______April 2012 New JerseyJazzSociety

THE MANHATTAN GUITAR CLUB The two decades from 1950 panying article, guitarist Al non-club members were The Glen Rock Inn, and recorded his most to 1970 were a golden age Caiola was one of the able to sweet talk their way recent CD — Jersey Guitar Mafia — with for the recording industry in busiest sidemen in those into getting it unlocked.” fellow guitarists Lou Pallo, Bucky Pizzarelli New York City. Dozens of days, and his standing as a The members paid annual and Frank Vignola late last year. studios scattered through- first-call player is attested to dues to cover the costs and out Manhattan were in use by his membership in The At his February NJJS Jazz Social appearance threw themselves a party from early morning till late Manhattan Guitar Club. Al was greeted with, excuse the expression, with what was left in the into the night, cranking out The MGC was put together kitty at the end of the year a hero’s welcome. Attendance at these the era’s popular music, by guitarist Art Ryerson so at Jim and Andy’s, the famed Socials can be up and down, but this day advertising jingles, and the members could avoid musicians’ hangout bar and the house (Shanghai Jazz in Madison) was recording TV and film hauling around amplifiers or restaurant on New York’s packed. More than a few attendees were scores. All those lucrative incurring cartage fees. The 48th Street off of Sixth guitarists, several of whom displayed the Al sessions, along with several group cut a deal with the Avenue. Caiola guitar instruction books they’d hundred positions for Ampeg Amplifier Company studied as teenagers (“Look, here are the network TV staff musicians, to place and maintain pencil notes my teacher made”), and fans drew the best players in the The Ampeg Gemini 1 amps in all the city’s major who brought long-treasured LPs, like country to the city. Amplifier was the model studios. The units could only predominantly used by the Johnny Mathis’s Gold Record Open Fire, It was a particularly good be turned through use of Manhattan Guitar Club. Two Guitars to be signed. time for guitar players, as it an “ignition key” by the Al was joined by the genial and sensitive wasn’t uncommon in those club members or studio bassist Gary Mazzaroppi, a favorite years for three or four staff, although guitarist accompanist of guitarists whose résumé guitarists to be booked on Vinnie Bell maintained includes long stints with Tal Farlow, Les the same recording session. that “it was no secret Paul and Frank Vignola. They performed a As noted in the accom- that a fair number of generous program of 16 standards over two sets. Opening gently with “Tenderly,” the first set mixed lyrical and lilting ballads with easy swingers, and a paean to his Sing Along With Mitch TV days (announcing “I’m going to play a verse and then I’d like you to sing along,” as he introduced “It Had To Be You” and the audience gamely joined in the performance). The flawless show nearly sprang a leak at the end of the first set when a loose wire caused his electric guitar pickup to start dropping out as a worried-looking Al several times whacked it back to life. As luck A membership would have it, local guitarist Nick Verdi roster for The Manhattan arrived near the end of the set, having just Guitar Club having finished a gig, and offered Al his from the early sweet-sounding Palen arch top, on which 1960s. Line at Mr. Caiola completed another set of bottom reads standards that were anything but “Emergency Ignition Key “standard.” Available at Jim For those who were there it was a most and Andys.” memorable afternoon. Those who were not From archives are encouraged to consider catching one of of guitarist Tony Mottola. Mr. Caiola’s upcoming Glen Rock shows, where he is accompanied by his somewhat older colleague, bassist Jerry Bruno. JJ

April 2012 ______49 New JerseyJazzSociety

From the Crow’s Nest What’s New? By Bill Crow Members new and renewed nother old friend of mine has passed on. We welcome these friends of jazz who recently joined NJJS or Bob , who died on Dec. 15 at renewed their memberships. We’ll eventually see everyone’s name A here as they renew at their particular renewal months. (Members the age of 81, was a large part of my musical with an asterisk have taken advantage of our new three-years-for-$100 life for many years. I met him at a jam session membership, and new members with a † received a gift membership. at Med Flory’s apartment in the early 1950s, Members who have joined at a patron level appear in bold.) and worked with him on Stan Getz’s quintet in Lorraine Tversky, Randolph, NJ 1952, with the Gerry Mulligan Sextet in 1955 and ’56, the Mulligan Renewed Members Ms. Bernice Antifonario, Dracut, MA Mr. & Mrs. Richard J. Vanderbilt, Quartet in ’56 and ’57, the Mulligan Concert Jazz Band in ’60 Oceanport, NJ Mr. & Mrs. John O. Bramick, thru ’64, the Mulligan Quartet again from ’62 thru ’65, and the Bernardsville, NJ wonderful quintet that Bob and co-led from 1962 Mrs. Betty K. Brodo, Hackettstown, NJ New Members thru ’66. We recorded together with that group, as well as with Getz, Mrs. Shirley Cook, Teaneck, NJ Marie Cirillo, Basking Ridge, NJ Mulligan, Zoot Sims, Jim Hall and , among others, Mr. Frank DePiola, Glen Cove, NY Ms. Linda J. Lynch, Rockaway, NJ and played together at countless New York jam sessions. Mr. Chris DeVito, Warren, NJ * Mr. & Mrs. Michael & Nancy Magenheim, Franklin Lakes, NJ In those days, Bob and I both lived in Greenwich Village, and we Mr. Donald H. Ernest, Staten Island, NY M. Samuel, Hackettstown, NJ * spent a lot of time at each other’s apartments, or hanging out in George and Anne Fritz, Westfield, NJ Daniel Scott, Flanders, NJ Village clubs and bars. I didn’t try to keep up with him as a Mr. Edward Joffe, Riverdale, NY Mr. & Mrs. J. Serleto, Mt. Arlington, NJ drinker…Bob had a hollow leg when it came to alcohol, and could Mr. Charles W. King, Florham Park, NJ Mr. & Mrs. Betty & Charles Sicher, Wanaque, NJ play beautifully even after inhaling many martinis. Ms. Claudette Lanneaux, Edison, NJ Lynn Smith, Verona, NJ Mr. Bobby Mansfield, Monroe, NY * I remember Bob’s laughter as much as I remember his wonderful Mr. & Mrs. Richard Steckler, music…he had a comical turn of mind, told stories with great Mr. A. Donald McKenzie, Westfield, NJ Maplewood, NJ relish, and laughed uncontrollably at the lines Zoot Sims and Vilma Veneziano, Belvedere, NJ Edward & Sharon Meyer, Austin, TX Al Cohn came up with while standing at one or another of the Wayne & Stephanie Witherspoon, Diane Montalbine, Union, NJ midtown bars that catered to musicians in those days. Paterson, NJ The New York Public Library, Bob’s intake of alcohol finally reached a dangerous level, especially New York, NY Founding Member after he moved to California in the late 1960s, but, with the help of Mrs. Marla Novy, Bridgewater, NJ some good friends, he got off the sauce, and returned to New York Anthony Ozga, Wallington, NJ * ten years later, where he began playing and writing again, to the joy Geri Reichgut, Sea Cliff, NY * of his friends in the jazz world. Ms. Holli Ross, Maplewood, NJ * Mr. & Mrs. H. P. Schad, Chatham, NJ He finally settled in New Hampshire, and I was only able to hang Mr. Bob Seeley, Flemington, NJ * out with him via e-mail, with an occasional visit when he came Novella and Karen Smith, down to the city. He continued to write wonderfully, mainly for Rockaway, NJ European bands, and never lost his trombone chops. I admired him Mr. Anders R. Sterner, Brooklyn, NY tremendously, and am sore at heart to lose him. Mr. & Mrs. Denis Sullivan, Building an International Ho Ho Kus, NJ Jazz Community He told me a story, once, that gave me a clue to the source of his great sense of humor. When his father was near the end of his life, he was rushed to the hospital after a paralyzing stroke. As he lay on JAZZ TRIVIA ANSWERS an ambulance stretcher in the entry to the emergency room, the questions on page 16 admitting nurse plodded through an interminable amount of formalities and paperwork. Finally, she leaned solicitously over the stretcher and asked, “And now, Mr. Brookmeyer, what are you in 1. Green. 6. “Don’t Get Around Much Anymore” and “Do Nothing 'Til You Hear From Me.” here for?” 2. Grapefruit, steak and black coffee. 3. Dr. Arthur C. Logan 7. Trumpeter James “Bubber” Miley, who Mr. Brookmeyer, barely able to speak, croaked, “Burglary!” played with Duke Ellington 1923–1929. 4. “East St. Louis Toodle-O,” “Black & Tan He died May 24, 1932, three months A memorial service for Bob will be held at St. Peter’s Church Fantasy” and “Creole Love Call.” after the popular song’s recording in in New York on April 11 at 6:30 PM. JJ 5. “Mood Indigo” February.

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

50 ______April 2012 New JerseyJazzSociety

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

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

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

April 2012 ______51 JerseyEventsJazz ’Round Jersey and perhaps vocalizes on occasional numbers. organized band with a long history, allowing them Morris Jazz This is the threesome that is filling Philadelphia to develop tight and complex arrangements for The Bickford Theater nightspots with new fans for what some still their enormous repertoire. They are among just a at the Morris Museum consider old music. few bands in the entire country who will attempt Morristown, NJ 07960 really difficult pieces, such as “Wrought Iron Rag,” Early jazz is being discovered by people in their 20s, Tickets/Information: 973-971-3706 the Wilbur de Paris masterpiece. if only because musicians of similar age are playing his is the tenth year that the Smithsonian it again. At the forefront of the movement that is It doesn't hurt that they have some of the most Institution, at the request of Congress, has T bubbling in lower Manhattan and Brooklyn, Baby popular and experienced regional jazz musicians sponsored the nationwide celebration on their roster. Backing Fred are of Jazz Appreciation Month Russ Whitman (reeds aplenty), (appropriately abbreviated JAM!). The Skip Hughes (trombone), Art Hovey Bickford Jazz Showcase has (alternating tuba and bass), Bill Sinclair participated every year since the (piano) and Bob Bequillard (drums). beginning, and is offering three diverse It is no wonder that Connecticut concerts for the 2012 edition. Magazine named Galvanized the First at bat is guitarist Marty Grosz. “best jazz band in the state!” The noted acoustic guitarist is a terrific Keep returning to the Bickford for player, of course, but also a treasure Joe Midiri’s tribute to Sidney Bechet trove of interesting stories and (during which he will play both clarinet historical asides that pepper every and soprano sax), a Leaderless performance. Plus, he has strong Quartet (with James Chirillo, Rossano opinions on properly presenting the Sportiello, Harry Allen and Laura music. “So much of his career has been Hull), stride pianist Neville Dickie riddled with joy,” writes A. D. Amorosi in (saluting Donald Lambert and more), Citypaper. “His brand of happy, dancing, Dan Levinson’s New Millennium hot jazz has long run in opposition to All-Stars celebrating 95 years of popular artists ‘coming out of jazz school playing Soda is a superb example of what can be achieved recorded jazz, boogie-woogie wizard Bob Seeley egghead music that most people don’t relate to by people who cannot possibly remember the and more, as the Bickford eases into its Jazz and is not much fun to hear,’ as he puts it.” Marty originators of the music they play so well. NJJS SummerFest, with nearly-weekly concerts has been characterized as “equal parts vaudevillian members may recall them from their Stomp throughout the warm season. Too many to list and serious jazz scholar, crooner and chordal appearance last year, before NBC named them this month, but you can learn more by sending guitar virtuoso.” “Band of the Week.” an e-mail to [email protected]. Among his skills is the ability to put together groups Their roster of players allows for an outstanding that deliver memorable performances of the “jazz team to be fielded even if one or more of their regulars has other studio or concert commitments. Jazz For Shore arcania” in which he specializes. For his return Arts & Community Center For their Bickford debut on Monday, April 23, they’ll visit on Monday, April 16, he has selected two at Ocean County College be sending some familiar names and a few new associates who might well be leaders in other Toms River, NJ 08753 contexts. Dan Tobias contributes his mellow introductions. Come and hear Bria Skonberg Tickets/Information: 732-255-0500 cornet, while Ed Wise plays an acoustic string bass, (trumpet), Adrian Cunningham (reeds), Emily Asher (trombone), Jared Engel MidWeek Jazz had only one open date with which to (banjo), Peter Ford (box bass) celebrate Jazz Appreciation Month (JAM!), but they Art Hovey and Fred Vigorito and Kevin Dorn (drums). made an exceptional choice. Emily Asher’s Garden They represent a new Party was the surprise hit of JazzFest 2011, and the generation of jazz players… only band invited back for JazzFest 2012…not to as did the Hot Five and the mention being included in this year’s Pee Wee Wolverines in their day. Russell Memorial Stomp as well. A smitten fan dubbed Emily “one of those musicians who seems The third JAM offering is on to be growing and developing before our eyes.” Monday, April 30, with hot cornetist Fred Vigorito (a Trombonist Emily Asher has filled her calendar veteran of several GroundHog with performance and prestigious recording dates Day Jams) bringing his since her arrival in NYC just a couple of years ago. Galvanized Jazz Band down This gives her a lot of top players she can call upon from New England, where they when assembling a band. The one she will present are the “must have” band if you on Wednesday evening, April 18 will resemble her are planning a festival or other rousing JazzFest/Stomp ensembles. Booked as her major event. They are an assistants for that date are Bria Skonberg

52 ______April 2012 JerseyEventsJazz

Emily Asher

The Institute of Jazz Studies at Rutgers University– Newark is the largest and most comprehensive library and archive of jazz and jazz-related materials in the world! — a valuable resource for jazz researchers, students, musicians and fans. The archives are open to the public from 9 AM – 5 PM Monday through Friday, but please call and make an appointment. Institute of Jazz Studies, Rutgers, The State University of NJ John Cotton Dana Library, 185 University Avenue, Newark, NJ 07102 Web site: newarkwww.rutgers.edu/IJS 973-353-5595

calendar: free JAZZ RESEARCH ROUNDTABLES roundtables A series of lectures and discussions. 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. Names in italics are the presenters. Financial support for the Roundtable is provided by the Rosalind & Alfred Berger Foundation. ■ April 4, 2012: Radam Schwartz: Organ Jazz free CONCERTS/PERFORMANCE (trumpet), Dan Levinson (reeds), Nick Russo (banjo concerts Newark Jazz Legacy Concert Series, Dana Room, Dana Library, 2-4 PM and guitar) and Sean Cronin (string bass). These are Rutgers-Newark (free admission) 973-353-5595 all relatively young players, but with over a century This series is designed to bring to campus leading jazz soloists in duo and trio settings. Each concert will include an interview/Q&A segment. IJS will again partner with local schools to give students an opportunity to meet and interact of hot, energetic jazz playing among them. with these noted artists. Funded by a grant from the Rutgers-Newark Cultural Programming Committee. Cornetist Randy Reinhart follows on May 30 March 27, 2012: role in the musical “Ain’t Misbehavin’” standards singer who knows how to with an all-star band of his choosing, having been Carrie Jackson at the Villagers Theater, New put a song across!” Ms. Jackson will Salute to Sarah Vaughan Brunswick, NJ, and as principal artist in pay homage to one of Newark’s introduced to the MidWeek Jazz audience when Carrie Jackson is a native Newarker 49th Street Jazz musical review and greatest jazz legends—Sarah Vaughan. he substituted with the Atlantic City Jazz Band last who began her musical career at age 6 tribute to Eubie Blake, Duke Ellington, in the children’s choir at Newark’s , and Alberta Hunter. As April 3, 2012: The New year. For this date, he has drafted Herb Gardner Mount Calvary Baptist Church. A Zan Stewart wrote in The Star-Ledger: Generation: Organist (trombone), Brian Nalepka (bass), Ehud Asherie product of the Newark Public School “Carrie is an advocate of the Great Radam Schwartz is a jazz organist and pianist, recording artist, (piano) and Ken Salvo (guitar/banjo). Randy recently system, she attended Peshine Avenue American Popular Songbook, a Elementary School, and Weequahic timeless wealth of material, and composer, arranger, educator, and is filled the house with a similarly capable band at the H.S. Jackson studied piano and voice presents it with spirit and feeling; her currently a student at the Rutgers Bickford, followed by raves for his appearance as a with the legendary Howard “Duke” renditions have a personal, not Newark Jazz History and Research Anderson. Her vocal style evokes derivative, ring. Ms. Jackson delivers Program. He has been working with sideman at the St. Valentine’s Day Massacre there. memories of the Great Ladies of Jazz: these in just the right volume and vigor young jazz artists for years and will If you haven’t yet discovered Randy, you'll be Sarah Vaughan, , Billie to reach all listeners; she digs into her showcase some of them in a group he Holiday, Dinah Washington, Nancy comely lower ranges, mixed with her has assembled that includes himself especially impressed. Wilson, and Carmen McRae. Her own jazz smarts, and sings in a no- on organ, James Gibbs (trumpet), critically acclaimed performances nonsense manner, and makes the Anthony Ware (alto sax), Julian Lee The summer season kicks off on June 14 with the include a “Women in Jazz” salute at numbers breathe. Carrie Jackson is a (alto sax), Rahsaan Pickett (guitar), and amazing String of Pearls vocal trio, harmonizing in the Newark Jazz Festival, a featured rich-voiced blues, ballads and jazz Michael Mohammed (drums). the manner of the Andrews, Boswell and McGuire JAZZ FROM THE ARCHIVES Sisters. Bucky Pizzarelli follows on June 27, on Broadcast hosted by IJS Director, 2007 NEA Jazz Master Dan Morgenstern, WBGO radio working again with violinist Aaron Weinstein and every Sunday at 11:00 PM on WBGO Radio (88.3 FM). www.wbgo.org. bassist Jerry Bruno. Trumpeter Al Harrison returns ■ March 25 – For Bass Faces Only: Bryant played and recorded with Jo ■ April 22 – I Am the Walrath: Host with his Dixieland band on July 11, then the Vaché Host Joe Peterson examines the music Jones, Dizzy Gillespie, Miles Davis, and Bill Kirchner spotlights the music of Brothers Band (Allan Vaché on clarinet, Warren of bassist , who fol- among others. trumpeter, arranger, and composer ■ lowed Jimmy Blanton in the Duke April 8 – Good-Bye Ray, Pt. 2: Host Jack Walrath, who has recorded and Vaché on cornet) for August 8 and the Jazz Ellington Band and played and record- continues his tribute to played with Charles Mingus, Sam Lobsters Big Band returning on August 15. Tell ed with the Duke, , modern, two-fisted pianist , Dizzy Gillespie, and the cream of the Rivers, Richie Cole, Hamiet Bluiett, visiting and vacationing friends about this who died on June 2, 2011. jazz crop. ■ Bobby Watson, and many others. JJ April 15 – Bessie Smith at 118: Host impressive lineup. ■ April 1 – Good-Bye Ray, Pt. 1: Host Vincent Pelote plays his favorite cuts ■ Ed Berger pays tribute to modern, two- by the “Empress of the Blues” from the April 29 – The Duke at 111: The ’Round Jersey concerts are produced fisted pianist Ray Bryant, who died on 160 recordings she made for Columbia Peerless Ellington Legacy Lives On, as by Bruce M. Gast in conjunction with June 2, 2011. In his illustrious career Records. host Dan Morgenstern demonstrates. the New Jersey Jazz Society. Performance photos by Bruce Gast.

April 2012 ______53 JerseyEventsJazz You can find jazz all over the state Somewhere There’s Music in venues large and small. Here are just some of them. We continually update entries. Please contact [email protected] if you know of other venues that ought to be here.

Allendale Cape May Englewood Hopewell Manville HYATT MORRISTOWN AT HEADQUARTERS PLAZA NINETY SIX WEST CAFÉ VFW POST 386 BERGEN PAC HOPEWELL VALLEY RHYTHMS OF THE NIGHT 3 Speedwell Ave. 96 West Allendale Avenue 419 Congress St. 30 N. Van Brunt St. BISTRO & INN 729 S. Main Street 973-647-1234 201-785-9940 609-884-7961 201-227-1030 15 East Broad St. 908-707-8757 www.morristown.hyatt.com www.ninetysixwest.com usual venue for www.bergenpac.org 609-466-9889 rhythmsofthenight.net Thursday Jazz at the Hyatt Jazz Night Out Wednesdays Cape May Trad Jazz Society www.hopewellvalleybistro.com Open jam session 5:30–8:30 PM 8 PM Some Sundays 2 PM Fairfield Friday/Saturday 7 PM Wednesdays 7–10 PM live Dixieland Minimum $15 BRUSCHETTA RESTAURANT THE SIDEBAR www.capemaytraditional AT THE FAMISHED FROG Asbury Park 292 Passaic Avenue Mendham jazzsociety.com 18 Washington St. CHICO’S HOUSE OF JAZZ 973-227-6164 Lawrenceville KC’S CHIFFAFA HOUSE 973-540-9601 631 Lake Ave. www.bruschettarestaurant.com FEDORA CAFÉ 5 Hilltop Road MAD BATTER www.famishedfrog.com/ 732-455-5448 Live piano bar every night 2633 Lawrenceville Road 973-543-4726 19 Jackson St. thesidebar chicoshouseofjazz.com 609-884-5970 609-895-0844 www.chiffafa.com Jazz 6 nights a week Jazz at the Batter Garwood Some Wednesdays 6:00 PM Live Jazz — Call for schedule ST. PETER’S EPISCOPAL Wednesdays 7:30–10:30PM No cover/BYOB CHURCH TIM McLOONE’S CROSSROADS 70 Maple Avenue 78 North Ave. Metuchen SUPPER CLUB BOILER ROOM, Little Falls 973-455-0708 1200 Ocean Ave. CONGRESS HALL 908-232-5666 NOVITA 732-744-1400 251 Beach Ave www.xxroads.com BARCA VELHA New & Pearl Streets SUSHI LOUNGE RESTAURANT/BAR timmcloonessupperclub.com 888-944-1816 Jam Session Tuesday 8:30 PM 732-549-5306 12 Schuyler Place 440 Main St., 07424 Blues and Latin Jazz Saturdays novitanj.com 973-539-1135 973-890-5056 July 18 – Sept.19 No cover www.sushilounge.com Bayonne Glen Rock www.barcavelha.com 8:30 PM – 12:30 AM Sunday Jazz Nights 7–10 PM THE BOILER ROOM GLEN ROCK INN Fridays 7:30 PM Bossa Brazil 280 Avenue E MERION INN 222 Rock Road No cover Montclair 201-436-6700 106 Decatur St. 201-445-2362 CHURCH STREET CAFÉ Mountainside www.arts-factory.com 609-884-8363 www.glenrockinn.com Linden 12 Church St. ARIRANG Fri/Sat 10 PM; Sun 7 PM Jazz Piano daily 5:30 – 9:30PM Thursday 7 PM 1230 Route 22W ROBIN’S NEST FIRST CONGREGATIONAL 908-518-9733 RHYTHM & BLUES CHURCH Wednesday 7:30 PM Bernardsville Cherry Hill Hackensack 3103 Tremley Point Road 40 South Fullerton Ave. BERNARD’S INN ST. ANDREWS UNITED SOLARI’S Linden, NJ 07036 973-744-6560 27 Mine Brook Road METHODIST CHURCH 61 River St. 908-275-3043 Mount Holly PALAZZO RESTAURANT 908-766-0002 327 Marlton Pike 201-487-1969 www.robinsnestrhythm THE FIREHOUSE CAFE 11 South Fullerton Ave. www.bernardsinn.com Tri-iState Jazz Society venue 1st Tuesday 8:00 PM andblues.com. 20 Washington Street 973-746-6778 Monday – Saturday 6:30 PM www.tristatejazz.org Rick Visone One More Once 609-261-4502 Friday/Saturday 7:00 PM Piano Bar Big Band www.thefirehousecafe.net Lyndhurst Joe Licari/Guest Pianist Clifton No cover WHISKEY CAFÉ Bloomfield ST. PETERS EPISCOPAL STONY HILL INN 1050 Wall St. West, 07071 RICHIE CECERE’S Newark CHURCH 201-939-4889 PIANOS BAR AND GRILL 231 Polifly Rd. 2 Erie Street 27 MIX 380 Clifton Ave. www.whiskeycafe.com 36 Broad Street 201-342-4085 973-746-7811 27 Halsey Street 973-546-3406 One Sunday/month Bloomfield NJ 07003 www.stonyhillinn.com 973-648-9643 Saturdays 7:30 PM swing dance + lesson SESAME RESTAURANT (973) 743-7209 Reservations Friday and Saturday evenings & JAZZ CLUB www.27mix.com www.pianosbarandgrill.com 398 Bloomfield Avenue BETHANY BAPTIST CHURCH Jazz Thursdays, Piano Bar Closter Madison 973-746-2553 Highland Park 275 Market Street Fridays/Saturdays, Cabaret HARVEST BISTRO & BAR SHANGHAI JAZZ sesamerestaurant.com PJ’S COFFEE 973-623-8161 Wednesdays/Fridays 252 Schraalenburgh Road 24 Main St. Monthly Jazz Night, 315 Raritan Avenue www.bethany-newark.org 201-750-9966 732-828-2323 973-822-2899 call for schedule WESTMINSTER www.shanghaijazz.com www.harvestbistro.com Sunday 1–5 PM Somerset Jazz NEWARK MUSEUM ARTS CENTER/ TRUMPETS BLOOMFIELD COLLEGE Every Tuesday: Ron Affif/ Consortium Open Jam Wednesday/Thursday 7 PM 49 Washington St. 6 Depot Square 467 Franklin St. Lyle Atkinson/Ronnie Zito Friday/Saturday 6:30 PM 973-596-6550 973-744-2600 973-748-9000 x343 Sunday 6 PM www.newarkmuseum.org Hillsborough www.trumpetsjazz.com No cover Summer Thursday afternoons Cresskill DAY’S INN Tuesday/Thursday/ GRIFFIN’S RESTAURANT Brooklawn 118 Route 206 South Mahwah Sunday 7:30 pm NJPAC BROOKLAWN AMERICAN 44 East Madison Ave. 908-685-9000 Friday/Saturday 8:30 PM 1 Center St. BERRIE CENTER/ LEGION HALL 201-541-7575 Thursday 7 PM Open Jam RAMAPO COLLEGE 888-466-5722 Browning Road & Every Tuesday www.njpac.org Railroad Ave. 08030 Frank Forte solo guitar 505 Ramapo Valley Road Moorestown 856-234-5147 Hoboken 201-684-7844 SAINT MATTHEW THE PRIORY LUTHERAN CHURCH Tri-State Jazz Society MAXWELL’S www.ramapo.edu/berriecenter 233 West Market St. Deal 318 Chester Avenue usual venue 1039 Washington St. 973-242-8012 AXELROD PAC Tri-iState Jazz Society venue www.tristatejazz.org 201-798-0406 Friday 7:00 PM Jewish Community Center Manalapan www.tristatejazz.org Some Sundays 2:00 PM Every other Monday 9:00 PM No cover 732-531-9100 x 142 MONMOUTH COUNTY Swingadelic LIBRARY www.arthurtopilow.com Morristown SKIPPER’S Buena Vista PILSENER HAUS & 125 Symmes Drive PLANE STREET PUB 732-431-7220 THE BICKFORD THEATRE VILLA FAZZOLARI BIERGARTEN 304 University Ave. Dover TTY Hearing Impaired: AT THE MORRIS MUSEUM 821 Harding Highway 1422 Grand Street 973-733-9300 ATTILIO’S 732-845-0064 5 Normandy Heights Road Atlantic City Jazz Band 201-683-5465 www.skippers 80 East McFarland St. (Rt. 46) www.monmouth 973-971-3706 Third Wednesday of the month www.pilsenerhaus.com/ planestreetpub.com 973-328-1100 countylibrary.org www.morrismuseum.org and some Sundays events.html Some Mondays 8:00 PM www.attiliostavern.com Live music Wed & Thur, 8–12 PM, Free monthly jazz concerts Sept.–June. New Brunswick no cover charge THE COMMUNITY THEATRE Byram Edgewater Sun Brunch Jazz Sessions DELTA’S 100 South St. 19 Dennis St. The Restaurant at Adam Todd LA DOLCE VITA noon – 4 PM with solo Maplewood 973-539-8008 732-249-1551 263 Highway 206 270 Old River Rd. guitarist Greg Graham, BURGDORF www.mayoarts.org www.deltasrestaurant.com/nj www.adamtodd.com 201-840-9000 no cover CULTURAL CENTER Saturdays 7–11 PM 973-347-4004 Parking: 6 hrs for $4 just 10 Durand St. HIBISCUS RESTAURANT across from Pilsener Haus 973-378-2133 At Best Western Morristown Inn at 1501 Adams Street www.artsmaplewood.org 270 South St. | 866-497-3638 www.hibiscuscuisine.com Tues, Fri, Sat, Sun brunch

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

54 ______April 2012 JerseyEventsJazz

Tell them you saw it in Jersey Jazz!

We want to include any locale that offers jazz on a regular, ongoing basis. Also please advise us of any errors you’re aware of in these listings.

THE HYATT REGENCY Oakland Red Bank SOPHIE’S BISTRO LOUNGE ZEN Watchung NEW BRUNSWICK HANSIL’S BAR AND GRILL COUNT BASIE THEATRE 700 Hamilton Street 254 DeGraw Ave. WATCHUNG ARTS CENTER 2 Albany Street 732-545-7778 201-692-8585 732-873-1234 7 Ramapo Valley Rd. 99 Monmouth St. 18 Stirling Road 201-337-5649 732-842-9000 NO COVER www.lounge-zen.com 908-753-0190 NO COVER New Brunswick Jazz Project No cover New Brunswick Jazz Project [email protected] RUGA’S ”JAZZ IN THE PARK” presents live Jazz Fridays presents live Jazz PUFFIN CULTURAL FORUM www.watchungarts.org 4 Barbara Lane Riverside Park 8–11 PM Wednesdays, 7:30–10:30 PM Jazz programming; 201-337-0813 http://nbjp.org or 732.640.0001 20 East Oakdene Ave. http://nbjp.org or 732-640-0001 732-530-2782 check for details Tuesday thru Saturday 7:00 PM for dates/times 201-836-8923 for dates/times Ridgewood ULTRABAR KITCHEN Wayne MAKEDA ETHIOPIAN Pine Brook Somerville & COCKTAILS RESTAURANT WINBERIE’S WILLIAM PATERSON MILAN 400 Cedar Lane 338 George St. AMERICAN BISTRO VERVE RESTAURANT UNIVERSITY 13 Hook Mountain Road 201-357-8618 732-545-5115 30 Oak Street 18 East Main St. 300 Pompton Road 973-808-3321 www.makedas.com 201-444-3700 908-707-8605 973-720-2371 www.milanrestaurant.com NO COVER www.selectrestaurants.com www.vervestyle.com Tom’s River www.wpunj.edu Fridays 6:30 PM Stein Brothers New Brunswick Jazz Project Thursdays /Pop Occasional Thursdays 6 PM OCEAN COUNTY COLLEGE Sunday 4:00 PM presents live Jazz Thursdays, Fridays/Saturdays Jazz/Pop duos Fridays/Saturdays 8:30 PM FINE ARTS CENTER 7:30 – 10:30 PM Plainfield College Drive Weehawken CAFÉ VIVACE 732-255-0550 STATE THEATRE Rumson South Brunswick 1370 South Avenue www.ocean.edu/campus/ SPIRIT OF NEW JERSEY 15 Livingston Ave. SALT CREEK GRILLE JAZZ CAFÉ 908-753-4500 fine_arts_center 1500 Harbor Blvd. 732-246-7469 4 Bingham Avenue South Brunswick (Dayton) Some Wednesdays 866-483-3866 www.statetheatrenj.org www.cafevivace.com 732-933-9272 Municipal Complex Saturdays 7:30 PM www.spiritofnewjersey.com www.saltcreekgrille.com 540 Ridge Road Monthly Jazz Cruise; TUMULTY’S 732-329-4000 ext. 7635 Totowa 361 George St Call for Dates Princeton [email protected] SUSHI LOUNGE 732-545-6205 Sayreville MCCARTER THEATRE first Friday every month 235 Route 46 West New Brunswick Jazz Project SHOT IN THE DARK 91 University Place $5 admission includes light West Orange presents live Jazz & Jam SPORTS BAR & GRILL www.sushilounge.com 609-258-2787 refreshments 973-890-0007 WHOLE FOODS MARKETS Session Tuesdays 8–11 PM 404 Washington Road Baldwin Jazz Piano Series http://nbjp.org for dates/times 732-254-9710 Sunday Jazz 6 pm MEDITERRA Tuesday, 6-8 PM/Free 29 Hulfish St. Thursday 7:30 pm South Orange New Providence 609-252-9680 John Bianculli SOUTH ORANGE Trenton FRANKLIN TAVERN NO COVER PERFORMING ARTS CANDLELIGHT LOUNGE 97-99 Franklin Ave. PONTE VECCHIO CENTER RISTORANTE www.terramomo.com/ 24 Passaic St 973-325-9899 Seabright One SOPAC Way At Best Western Murray Hill Inn restaurant/mediterra www.jazztrenton.com No cover THE QUAY 973-235-1114 535 Central Ave. 609-695-9612 SALT CREEK GRILLE 280 Ocean Ave 908-464-4424 Saturdays 3–7 PM 1 Rockingham Row, 732-741-7755 Westfield Monthly Jazz Nights Thursday nights South River 3rd Saturday of each month Forrestal Village JOE’S MILL HILL SALOON 16 PROSPECT WINE BAR Jazz Lobsters big band LATAVOLA CUCINA & BISTRO 6:30–9:30 PM 609-419-4200 Market & Broad Streets RISTORANTE 16 Prospect St. 07090 www.saltcreekgrille.com 609-394-7222 700 Old Bridge Turnpike 908-232-7320 Sewell Occasionally Newton WITHERSPOON GRILL South River, NJ 08882 www.16prospect.com TERRA NOVA BULA 57 Witherspoon Street 732-238-2111 Jazz on Tue-Wed-Thu | 8 PM 590 Delsea Drive 134 Spring St. 609-924-6011 www.latavolacucinanj.com/ Union 856-589-8883 973-579-7338 www.jmgroupprinceton.com The New World Order SALEM ROADHOUSE CAFE ACQUAVIVA http://terranova www.bularestaurant.com Tuesday night jazz 6:30–9:30 PM Open Jam Session 829 Salem Road 115 Elm St. restaurantbar.com 908-301-0700 Fridays 8:00 PM Every Thursday 7:30-11 PM. www.RoadhouseCafe.org Fridays & Saturdays Live Jazz www.acquaviva- Rahway No cover, half-price drink specials. once per month dellefonti.com North Arlington ARTS GUILD OF RAHWAY proceeds benefit charities Fridays 7:00 pm 1670 Irving St. Short Hills UVA Summit VAN GOGH’S EAR CAFÉ 602 Ridge Road 732-381-7511 JOHNNY’S ON THE GREEN SUMMIT UNITARIAN CHURCH 1017 Stuyvesant Ave. Friday 7:00 PM www.rahwayartsguild.org 440 Parsonage Hill Road Woodbridge 4 Waldron Ave. 908-810-1844 Adam Brenner 8:00 PM 973-467-8882 JJ BITTING BREWING CO. Sunday www.vangoghsearcafe.com www.johnnysonthegreen.com 33 Main Street UNION COUNTY Sundays 8 PM 732-634-2929 North Branch PERFORMING ARTS Teaneck $3 cover NEW ORLEANS FAMILY CENTER Somerset www.njbrewpubs.com Fridays 9:30 PM RESTAURANT 1601 Irving Street SALTWATER’S SEAFOOD THE JAZZBERRY PATCH AT 1285 State Highway 28 www.ucpac.org AND SOUTHERN CUISINE THE CLASSIC QUICHE CAFE Warren 908-725-0011 732.499-0441 RESTAURANT 330 Queen Anne Rd. UPROOT RESTAURANT Wood Ridge 7:00 PM (Call for schedule) Teaneck, NJ 07666 9 Mount Bethel Road 1991 Route 27 MARTINI GRILL 201-692-0150 908-834-8194 (Lincoln Highway ) 187 Hackensack St. MySpace.com/thejazzberrypatch www.uprootrestaurant.com Nutley Raritan 732-821-1001 201-209-3000 Thursdays 7-9 PM Somerset Jazz Open Jazz Jam Jazz trios Thursday, Friday and HERB’S PLACE MUGS PUB AND Wednesday through every Tuesday night. Saturday, 8-11 PM AT THE PARK PUB RESTAURANT Consortium Open Jam No cover Friday nights. Saturday 785 Bloomfield Avenue 73 West Somerset Street Different artist every week. 973-235-0696 908-725-6691 Please check the site. 8:30–11:30 PM Fridays 7 PM

The Name Dropper Recommendations may be sent to [email protected]. At the Glen Rock Inn, 4/26 JERRY BRUNO At Hoboken’s Pilsener Haus: 3/29 RAPHAEL CRUZ At Bethany Baptist Church in Newark, 4/7 & AL CAIOLA. & THE LATE JAZZ BAND; 4/20 Start MAIFEST 2012 ROSEANNA VITRO. with ALEX MEIXNER’S BAND! At the Brick Oven of Morristown, PAM PURVIS At Trumpets Montclair, 3/28 DALTON GANG; 3/29 Tuesdays – Thursdays. 90 South Street. 973-984-7700. LARRY HUNT, piano man; 3/30 LENORE RAPHAEL New Brunswick Jazz Project presents 4/19 guitarist with HOWARD ALDEN and MARCUS MCLAURINE; ED CHERRY GROUP; and 4/26 pianist ORRIN EVANS Sinatra Tribute Dinner Dance 4/22 at Whiskey Café, 3/31 flutist RAGAN WHITESIDE and his quartet, both at Makeda in New Brunswick, Lyndhurst with TONY QUARANTI and JAMES L. DEAN and much more. BIG BAND. Also visit Andy McDonough’s njjazzlist.com

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

RETURN SERVICE REQUESTED