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Berman Music Foundation Newsletter File Photo Jordan and Brown duo Sheila Jordan perform in Lincoln Feb. 8 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ ○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○ Winter 2003 Lincoln jazz fans had their first stringed instrument. Brown has his Vol. 8, Number 1 opportunity to bask in the warmth of own idea of what makes the marriage Cameron Brown’s bass when he ap- work so well. peared with pianist George Cables and “To me, there’s always been drummer Victor Lewis at last something special about the power of summer’s memorable Jazz in June the human voice,” he said. “There’s In this issue of Jazz.... performance. something about the transparency of Sheila Jordan-Cameron Brown.....1 Brown returns to Lincoln Feb. 8, the sound. Obviously, the two instru- Prez Sez.......................................2 this time to perform a duo concert with ments don’t come into each other’s legendary jazz vocalist Sheila Jordan. ranges at all, so you have this very Friends of Jazz............................3 It’s a 7:30 p.m. show at Westbrook transparent thing of the two-part har- Discorama..............................5 Music Hall, 11th and R streets on the mony of the melody and the bass line. Doug Talley Review........................6 University of Nebraska-Lincoln city It’s also a lot what Sheila brings to it, Doug Talley Workshop..................7 campus. and the little arrangements that she Westport Art Ensemble Review.....8 The singer had a long relationship works out, and the medleys. It’s a very Ivan Paduart Review...................10 in a similar duo setting with bassist intimate ensemble. Sometimes, we’re Harvie Swartz. Brown reconstructed playing and I’ll look up and realize Jazz and Blues on the Radio........11 Jordan’s bass-voice history in a recent that she’s so close to me. It’s almost Phil Woods Review....................12 phone interview. like she crawls into the bass some- KC Trip.......................................13 “The first time she did the bass times.” Tomfoolery...........................14 and voice was with (Charles) Brown’s personal rapport with Jazz on Disc.............................15 Mingus,” Brown said. “Later, she Jordan is another, more obvious fac- worked a lot with Steve Swallow, be- tor in the duo’s success. The two met Ray Brown Tribute...................16 fore he switched over to only play elec- in 1974 and have performed together Jazz in the Venues....................17 tric bass. She was working with a in other group settings, but the recent Antibalas Review....................18 band with (pianist) Steve Kuhn, merger as a duo is especially exciting Nebraska Jazz Orchestra............19 Harvie and (drummer) Bob Moses, for Brown. Charlie Burton & Friends.............20 and the duo kind of evolved out of “For me personally, on a lot of Blues on Disc...........................22 that.” different levels, it’s a huge thrill,” he The Jordan-Swartz duo was to said. “The thing about Sheila is that Connected..........................22 last more than 17 years, suggesting she goes back to a very personal rela- Letters to the Editor..............23 compatibility between the human tionship with Charlie Parker, as well Webcasting...........................23 voice and the deeper tones of the Jordan-Brown continued on pg. 4 Page 2 Berman Music Foundation Jazz ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Prez Sez New year brings good news and then some ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○ Dear jazz santas, elves and to downsize and cut our budget for Colorado for the third week, and a elvines, 2003. We still plan to come to you four special surprise artist will round out times a year—online—and will utilize another blockbuster summer jazz A major-league holiday greeting our extensive mailing list to further spectacular. to you all. Even though you’ll be read- alert you, our readers, of our upcom- Before I jet out of here, I want to ing this in 2003, ing projects and adventures. thank again Dean Haist and Melissa I’m beginning Please bear with us on this, and McCoy from Arts Incorporated and this letter to you feel free to continue to give us feed- the staff from P.O. Pears that made all on Christmas back and stay involved with our on- the six regional shows that we show- Day of ’02… going pursuit to present, preserve and cased there over the last 15 months and filled with protect jazz. such critical successes. We almost many feelings. broke even a couple of times, so we First of all, Butch Berman Past, present and future jazz news plan to do it again next fall. this is my sec- I also want to mention keyboardist ond Christmas with my beloved My dear friend, BMF consultant Tom Larson, whose jazz history class fiancée, Grace—and words can’t truly and percussionist personified Norman makes these Pears shows a require- describe how happy and content I am Hedman—as in Norman Hedman’s ment and helps broaden these kids’ with our relationship and upcoming Tropique from New York City—came jazz awareness. These days that’s wedding in May. I’m not ashamed to to town for some important biz. what it’s really all about. admit, I’ve worn my heart on my He recorded some samples to aug- Let’s close on that high note (or sleeve… so you fans of our newslet- ment our new website, now under de- blue note) and the best to you all in ter in the past few years could prob- velopment, and Norman—the com- 2003 from all of us. ably read between the lines and tell puter whiz that he is—helped tune up that I wasn’t always a happy jazz our occasionally problematic com- Jazzically yours, camper. My spiritualists—Ananda puter (I should name it “Hal”). We from the West and Reggie Arthur in also firmed up plans for a new CD New York—predicted that my future with a partially new configuration of would change for the better between Tropique, featuring vocalist James my 52nd and 53rd birthdays. Well, lo “D-Train” Williams. The love affair and behold, Grace’s and my paths with Grace and me inspired a new crossed, thanks to Jimmy Apken, and Hed-tune entitled “Angel of the Newsletter goes online now we walk together, more at “home” Night.” Catch the new band, and pick than I’ve ever been. up his upcoming release, Because I Beginning with the spring Obviously, gratitude and thank- Can, at Jazz in June on June 3 in Lin- 2003 issue of Jazz, we will come fulness are now what I’m full of… for coln. Much more on that in our spring to you exclusively online at a change. That’s why, ever living in online issue. www.bermanmusicfoundation.org. the shadow of 9/11, dealing with our I’m also proud to say we helped Visit the website for all the shaky (at best) economic situation, bring back my old pal and alto sax latest details on Midwest jazz, and the possibility of war ever loom- champion Greg Abate to appear the especially those events sponsored ing, we too have a little bad news to week after Norman, with returning by the Berman Music Foundation. share. Cincinnatian pianist Phil DeGreg and The electronic newsletter will Thus, allow me to tell you that a master rhythm section consisting of be published quarterly, with you’re holding our last paper news- Harvie S. (formerly Swartz) on bass frequent updates and archives of letter. In order to make ends meet, and and Billy Hart at the drum helm. Lo- past newsletters made available. try to regroup and recoup some of our cal trumpeter and educator Darryl Printable newsletters also will resources, we (like many others) had White brings his stellar band from be available online. Winter 2003 Page 3 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Photo by Butch Berman Jazz is published about four times a year by The Berman Music FoundationFoundation, 719 P St., Studio G, Lincoln, NE 68508. Editor: Tom Ineck Newsletter consultantconsultant: Rebecca Kaiser Contributing writerswriters: Butch Berman, Rich Hoover, Tom Ineck and Bill Wimmer Photographers: Butch Berman, Grace Gandu, Rich Hoover and Tom Ineck For inclusion of any jazz or blues related events, letters to the editor or suggested articles, either mail them Bahji Gandu (left) and Julie Felzien to the office, phone (402) 476-3112, fax (402) 475-3136 or e-mail [email protected]. Friends of Jazz Our website address is: www.bermanmusicfoundation.org Music proves its healing power For advertising information, contact ○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○○ Butch Berman at (402) 488-1398. A business card-sized ad for one issue Music is a healing tool. Either on sound vibration, but that to each tone is $25, a half-page ad for one issue the playing end or the listening… the a color is generated that affects us in- is $100. Discounts apply for six- month or one-year rates. power of this age-old medium is end- ternally. Consequently, certain chords less. Now the stepfather-to-be of a could be constructed to alter the mood If you want to be added to our strapping 19-year-old boy-man named of whomever the sound waves enve- mailing list, call (402) 476-3112, fax Bahji Gandu, I recently witnessed this lope. The ability to render relaxation (402) 475-3136, or theory take wings. Angel wings, no to sleep, or excitation to anger could e-mail [email protected]. less, belonging to a piano teacher be utilized as an educational and/or Jazz is printed by PIP Printing, 461 named Julie Felzien, who my massage therapeutic massage. Therefore, mu- N. 66th St. in Lincoln, (402) 325- therapist Kassi Riordan referred me sic could more naturally and more 8000. It is sorted and mailed by All to.
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