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Home , Benny Green (pianist), Boogaloo (funk dance), Cameron Brown (musician), George Adams (musician), Harvie S, Ray Brown discography

File Photo File

Jordan and Brown duo

perform in Lincoln Feb. 8 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ ○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○ Winter 2003 Lincoln 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 ’s bass when he ap- work so well. peared with pianist and “To me, there’s always been drummer 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 , be- tor in the duo’s success. The two met 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) , merger as a duo is especially exciting Nebraska Jazz Orchestra...... 19 Harvie and (drummer) , 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 , as well Webcasting...... 23 voice and the deeper tones of the Jordan-Brown continued on pg. 4

Page 2 Berman Music Foundation Jazz

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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 —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- . (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 Butch by Photo 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. gently replace medication or con- Needs Computer, 5606 S. 48th St., Bahji, you see, was born autistic trolled substances that would produce Lincoln, (402) 421-1083. and requires much controlled, super- the same effects. The Butch Berman vised stimulation. Little did I know Given this background, Julie is Charitable Music Foundation when I purchased a piano for my starting to develop a program to en- is a non-profit, tax exempt, fiancée Grace Gandu’s household able Bahji to use the piano as a posi- 501(c)(3) private foundation from Gourlay Brothers that it would tive tool to help balance his neurologi- recognized by the Internal Revenue have such a definitive impact. Service and the Nebraska Depart- cal challenges. Music is transformed ment of Revenue. It was estab- Now… let me back up a long way, into almost a mantra to help calm and lished in the spring of 1995 to to my early 20s. I met a sage-like smooth him out. protect and promote unique forms gentleman named Daniel McCurdy In the future, we will continue to of jazz music. who turned me on to his (at the time) chronicle this fascinating saga of far-out concept of how music affects Trustee: Butch Berman Bahji’s development and share them Consultants: Dan Demuth, us, in much more depth than I’d ever with you, our concerned readers in- Norman Hedman, Steve Irwin, imagined before. He felt that each note terested in mental health issues. Gerald Spaits and Wade Wright not only had a distinctive tone and

Page 4 Berman Music Foundation Jazz

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Sheila Jordan is jazz vocal legend ○○○○○○○○○○○○○○○○○○○○

By Tom Ineck ○○○○○○○○○○○ File Photo File Sheila Jordan’s idiosyncratic vocal style is influenced more by in- strumentalists than by other singers. One of the most consistently creative Cameron Brown of all jazz singers, she has a rela- tively small voice, but she is one of Jordan-Brown continued from pg. 1 the few vocalists who can improvise lyrics that actually make sense (and as a profound musical relationship rhyme). She also is a superb scat with Charlie Parker. Playing with singer and an emotional interpreter Dannie (Richmond), I got to sort of of ballads. have a bridge to Mingus. Playing with Born Sheila Jeanette Dawson on Sheila, I feel like a have a more au- Nov. 18, 1928, in , Mich., she thentic bridge to Bird. It’s so excit- Sheila Jordan was still in her early teens when she ing. She has absorbed so much of his began working in Detroit clubs. She View,” yielded a famous 10-minute tradition. A lot of the tunes that she was a member of a vocal trio called version of “You Are My Sunshine.” sings are songs that Bird played. We Skeeter, Mitch and Jean (she was Her appeal remained narrow un- do ‘If I Should Lose You,’ for ex- Jean), sort of an early version of the til the late 1970s, when her popu- ample, which is a song that Bird more famous Lambert, Hendricks and larity increased as she began to played. Your have the lyric and the Ross. record more frequently, including meaning of the song, but you also have In the early 1950s, she moved sessions with pianist Steve Kuhn, the scatting and the thing that Bird to New York, where she married bassist-arranger Steve Swallow, pia- brought to that music, improvisation- Charlie Parker’s pianist, Duke Jor- nist-composer , trombon- ally.” dan, and studied with bassist ist and, most promi- Jordan’s singing style is unique and pianist Lennie nently, with bassist Harvie Swartz. and more closely related to the phras- Tristano. She made her first record- She and Swartz recorded numerous ing of horns than it is to more conven- ings under her own name in the early duo sessions, which she has contin- tional crooners. 1960s, including “Portrait of Sheila” ued with bassist Cameron Brown on “She feels like she was more in- on Blue Note. Her collaboration their recent release “I’ve Grown Ac- fluenced by horn players, in terms of with George Russell, “The Outer customed to the Bass.” the way she phrases,” he explained. “Even though she’s absolutely sing- ing the song and delivering the lyric theorist George Russell, creator of the ferent styles. My early influences, in- and thinking about the lyric, the way Lydian mode. Over the course of the terestingly enough, were the so-called she does it is coming more from the next three decades, Brown worked avant garde. I got a chance to be around way horn players played, rather than with a wide range of jazz musicians quite a bit when I was 19 the way other singers might have done in many different styles, including years old, which was very inspiring. He it.” trombonist Roswell Rudd, saxophon- was such a charismatic guy. He just Brown and Jordan have released ist and drummers Bea- lived and breathed music.” “I’ve Grown Accustomed to the Bass” ver Harris, , Philly Joe Of course, growing up in Motor (reviewed in the Summer-Fall 2002 Jones, Ed Blackwell, Idris City had a big impact on him, as well. issue) and are working up tunes for a Muhammad and Joe Chambers. “When I was a kid in Detroit, I second recording. They also are pre- “The critics have a tendency to pi- got to hear Miles and Blakey and paring for a two-week European tour. geonhole styles and compartmentalize Coltrane come through, and they’d Born in December 1945, Brown the music too much,” Brown said in a play a whole week in Detroit. I wor- began his career in the mid-1960s, re- recent phone interview. “I really hear shipped at the altar of (bassist) Paul cording with trumpeter Don Cherry the music as one whole cloth. It feels, Chambers. My dad loved Dixieland, and composer, arranger and music to me, very organic to play all those dif- so I listened to , Fats

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File Photo File , and dedicated to Richmond and Brown’s Terumasa Hino, saxophonists Booker father, who also died in ’88. Ervin, , and In addition to his collaborations , vocalist , with vocalist Sheila Jordan, Brown in and the Trio. recent years has worked with saxo- But it was at the mere mention of phonist , Lou Donaldson his 8 ½-year tenure with the Don and , singer Pullen/ Quartet—fea- and pianists George Cables and Marc turing pianist Pullen, saxophonist Copland, as well as his own ensemble, Adams and drummer Dannie Rich- Cameron Brown and the Hear and mond—that Brown was quick to ac- Now. He has appeared on more than knowledge that association as a ca- 80 recordings. reer high point. “I’ve Grown Accustomed to the “This was the band of my life. To Bass,” the Feb. 8 performance by get to stand next to Sheila Jordan and Cameron Brown, for 8 ½ years and just absorb the depth is a collaboration of the BMF, Aging and breadth of his was just Services PEAK and the Seniors Foun- Cameron Brown incredible.” The quartet continued dation, with additional funding from until Richmond’s death in March the Nebraska Arts Council. Tickets Waller and Sidney Bechet.” 1988. A sporadic composer, Brown are $15 for the general public and $10 Brown also performed or re- wrote “Lullaby for George, Don and if you’re age 60 or older. Call (402) corded with trumpeters , Dannie” and “For Dad and Dannie,” 441-7158 to reserve seats. Discorama

Paduart’s live recording is highly flammable ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○

10), with a stellar rhythm section con- sisting of K.C. bassist Bob Bowman and fellow Topeka native and long- time stablemate Todd Strait, who re- cently relocated from K.C. to Port- land, Ore. On this recent effort, recorded in 1999, Ivan is joined by his European rhythm section, comprised of Stefan BILL McKEMY IVAN PADUART Duende Trio Live Lievestro on bass and Hans Van Virgin Music Belgium Oosterhout on drums. It’s a rich mix- ture of originals and tunes by current Herky, jerky, quirky, like France, like Berlin, like , like On fire are the first two words that artists, with only “I’ll Remember April” reaching back. international, man… maybe even in- come to mind while reviewing terplanetary. Like wow! Belgium’s Ivan Paduart’s 2001 CD Ivan’s live performance demands your attention and rivets your gaze on Dark, brooding, mysterious… entitled Trio Live, recorded at maybe even deep. Bill McKemy... L’Espace Paul Delvaux. his animated concentration. A little McCoy Tyner there, a little Bill Evans jazz...this CD—magnificent. Why? I I love it when an artist occasion- dunno, but I really dig this weird, ally recreates his live set on a CD that here and a lot of Ivan throughout, this latest in a strong catalog of releases wired piece of genius. Alan Watts you can revisit at will. You’ll feel the would have dug it, too, and so will fire and passion in Bill Wimmer’s re- is solid and inspiring. But live… on fire! you. view of Ivan’s bristling show at P.O. Music for the mind—ingest, let Pears in Lincoln (see review on page go and… dream away.

Page 6 Berman Music Foundation Jazz

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Talley Quartet cultivates common ground ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Eight years and three full-length Hawkins delivering a stunning solo on Hoover Rich by Photo recordings have done wonders for the his versatile Kurzweil keyboard. Doug Talley Quartet, honing the group’s By contrast, they attacked the stan- sound to a fine edge and liberating the dard “Autumn Leaves” in an unconven- soloists to attempt more adventurous tionally fast tempo, propelled by flights within the security of a long- Talley’s driving tenor statement, full of standing relationship. interesting twists and turns, building in The Kansas City quartet’s veteran momentum and spinning off variations status is a rarity in jazz, where musi- on the theme while Brewer and Hawkins cians shift allegiances with the seasons, deftly traded interweaving lines. moving as stylistic or economic needs With a mid-tempo rendition of dictate. Saxophonist Talley and his co- Charlie Parker’s “Billie’s Bounce,” they horts—pianist Wayne Hawkins, bass- proved their ability to play the blues with ist Tim Brewer and drummer Keith feeling. Cole Porter’s classic “Night and Kavanaugh—are the exception, four Day” accelerated from a medium tempo, talented artists who have cultivated a moving from an opening tenor statement common ground where all are able to to a brilliant keyboard solo by Hawkins. express themselves and continue to Throughout the tune, and throughout the Doug Talley grow as a team. evening, the transitions were flawless. tempo. Another outstanding piano solo That was apparent in their Dec. 5 Again drawing from their 1998 was followed by a tenor/bass finale. appearance at P.O. Pears in downtown Cole Porter tribute CD, Night and Day: Dipping into their most recent re- Lincoln. Whether performing original Musings on the Cole Porter Songbook, cording, 2001’s original Kansas City music or unique interpretations of fa- the group played a Hawkins arrange- Suite, Talley and company belted out miliar standards, the rhythm section was ment of “I Concentrate on You,” with the swaggering “Pendergast,” a refer- always in the pocket and everyone ef- Brewer stating the melody on bass, fol- ence to the tough boss who ruled Kan- fortlessly followed the often-difficult lowed by Talley on soprano sax and sas City as mayor in the 1920s and early changes. Hawkins on piano. Talley and Brewer 1930s. Hawkins’s piano solo and Vincent Youmans’ “Without a took brief solos, with Talley exhibiting comping was pounded out in an aptly Song” kicked things off with an impres- a lovely “cool” tone on soprano. two-fisted style. Also from the KC suite sive tenor sax statement by Talley. Shift- Porter, the favored composer of the came “City of Fountains,” shifting from ing to a Latin mood, the quartet evening, got another nod with an up- tempo to a straight 4/4 and back launched into a mid-tempo reading of tempo “I Love You,” arranged by again. Well-named, the tune had a Clare Fischer’s “Pennsativa,” with Kavanaugh. After solo statements from bright, shimmering, bubbling major-key

Photo by Rich Hoover Rich by Photo Hawkins, Talley (on tenor) and Brewer,

Kavanaugh brought it all together with Hoover Rich by Photo a solo that demonstrated his ability to easily change direction while keeping the time constant. Hawkins was the star on an up-tempo version of Porter’s “Just One of Those Things.” Talley’s unag- gressive—almost passive—playing on tenor was overwhelmed by the pianist’s two-fisted Tyneresque style. “ Dots and Moonbeams” got a delicious reading with Talley on tenor, shifting from a ballad to a medium Tim Brewer Keith Kavanaugh

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Talley and crew lend personal insights into jazz ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○

Saxophonist Doug Talley and his T by Photo longtime bandmates are as engaging in the classroom as they are on the performance stage. That became clear Ineck om when the Kansas City quartet attended a Dec. 6 session in front of Tom Larson’s jazz history class at the Uni- versity of Nebraska-Lincoln. A couple of hundred students gathered to hear the quartet in the lec- ture hall at Westbrook Music Build- ing. They were treated to a well-cho- sen clutch of tunes, both old and new, as well as some personal insights into the world of the professional jazz musician. Doug Talley Quartet performs for UNL jazz history class. The Talley quartet began with a bit of Kansas City jazz history entitled Afro-Cuban styles. Finally, the subject of income “Basie and the Pres,” an original piece Talley’s arrangement of Cole Porter’s reared its ugly head. Most jazz musi- from the quartet’s CD Kansas City “Love for Sale” served as another excel- cians, even in Kansas City, can’t make Suite. The bluesy swinger, of course, lent example of time changes, smoothly a living at music alone. pays homage to and tenor moving from 6/4 to 4/4. Of the four, only Hawkins is a saxophonist (also The subject then turned to the fulltime musician, but he supplements known as “Pres”), whose careers were musicians’ backgrounds and what led jazz performances with composing launched in the musical hothouse of them to jazz. When Talley was grow- and arranging jobs, commercials and 1930s Kansas City. ing up, for example, his father, while documentary films, jazz and classical Switching to a Latin rhythm, the not a musician himself, loved to play symphony gigs. Talley is a music quartet evoked the Spanish architec- Dixieland-style recordings at home. teacher and conducts youth camps. ture of KC’s Country Club Plaza in Like many who grew up in the 1960s, Brewer is a dentist, and Kavanaugh “Plaza Lights.” The stark rhythmic Hawkins was a Beatles fan, but had is a graphic artist specializing in de- contrast between these two tunes loved music in general from a very signing CD covers. sparked a discussion about the impor- early age. Bassist Tim Brewer, whose In its music and its commentary, tance of time in jazz music. With ex- dad was a drummer, began playing in the Talley quartet shed new light on amples, pianist Wayne Hawkins ex- rock bands when he was just 13. the agony and the ecstasy of follow- pertly delineated the differences be- Drummer Keith Kavanaugh turned ing the jazz muse. tween , , montuno and from rock to jazz in high school.

optimism about it, which was reflected lowed, with Photo by Rich Hoover fast rendition of “Cherokee,” building in Hawkins’ upbeat solo. Brewer stat- from tenor and drums, then adding bass Brewer’s tribute to his son, “For ing the and keys to finish with a grand finale. John,” was a tender waltz that received melody line, Again, the quartet exuded a confi- an especially creative solo from which was dence that results from years of work- Hawkins. Porter returned with a won- then taken up ing together—in long hours of rehearsal derful, buoyant rendition of “Love for by Talley on and in heat-of-the-moment improvisa- Sale,” that featured an intriguing tenor. tion. Wayne Hawkins Hawkins solo. Porter’s great ballad Sending “Ev’ry Time We Say Goodbye” fol- everyone home with a smile was a very

Page 8 Berman Music Foundation Jazz

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Westport Art Ensemble even better live ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

In concert, the Westport Art Hoover Rich by Photo group’s founding drummer—the Ensemble (wae) generates an ex- ubiquitous Kansas City time- citement level that transcends keeper Todd Strait (who has even its extraordinary recording moved to Oregon)—Sikora is an debut. admirable successor in a setting The wae’s highly anticipated that demands an advanced sense performance Oct. 10 at P.O. Pears of time and varied percussion tal- in downtown Lincoln exceeded all ents. expectations, providing a show- One of the highlights of the case for the Kansas City quintet’s evening was a guest appearance artful composing, arranging and by percussionist Norman Hedman, playing skills, as well as its sym- who was visiting from his home biotic and adventurous interplay. in New York City as a BMF con- Perhaps the youthful vitality sultant. can be attributed to the fact that Hedman first joined the quin- saxophonist Josh Sclar, guitarist tet on Sclar’s “Theme for This Jake Blanton and drummer Ian Gerald Spaits American Life,” a Latinesque Sikora are all in their 20s, and ramble that was a perfect vehicle “Dot of Oz” paired Sclar’s tenor keyboardist Roger Wilder is in his for Hedman’s virtuosity on con- sax with Blanton’s shimmering 30s. At age 44, the eldest by a gas. His percussive statements guitar lines in an ominously spi- decade is veteran bassist Gerald gradually grew in intensity and raling melodic line expertly an- Spaits, who sounds particularly complexity, obviously amazing chored by Spaits’ bass. inspired in such young company. and inspiring his bandmates. He Wilder contributed “Labyrinth In “Seascape,” a Spaits com- took another conga break during Therapy,” another complex com- position, the musicians’ individual “Elisha’s Safari,” a Todd Strait position with an incessantly pul- contributions were not so much composition for his son. sating rhythm and percussive solos as statements in an ongoing Guitarist John Abercrombie’s flourishes. In his solo statement, discussion. Sclar’s cleverly titled Hoover Rich by Photo Wilder explored the electronic Photo by Rich Hoover Rich by Photo keys in spirit kindred to Herbie Hancock. Even the cover tunes proved imaginative and even provocative. Lennon and McCartney’s “I’m Only Sleeping” again paired Sclar on tenor with Blanton’s fleet-fin- gered guitar passages in an in- triguing reconstruction of the Beatles song. Wilder’s “Haenehmehr” accel- erated rapidly out of the gate, launching Sclar into the tenor stratosphere and allowing the composer to respond with a bril- liant piano solo, all held together by Sikora’s solid drumming. Jake Blanton Despite the recent loss of the Josh Sclar

Winter 2003 Page 9

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Photo by Rich Hoover Rich by Photo Photo by Rich Hoover Rich by Photo some I Could Cry.” Wilder sat this one out while Sclar and Blanton took the spotlight. Interestingly, many of the quintet’s arrange- ments end with a slow fade, in- stead of the usual, clichéd finales. Hedman again contributed his considerable skills on congas to Sclar’s “Late Call,” a slow tune again featuring the combination of tenor sax and guitar. In a humorous vein, the wae brought the show to a close with a wildly careening blues number, the aptly titled “Almost Hit That Lady.” Throughout the evening, it was the young saxophonist Sclar Roger Wilder Ian Sikora who most impressed this listener moody “Arcadia” was an interest- with his composing and playing leaving the remaining trio to pick ing choice for a cover tune, and skills, his wit and sense of adven- up the pieces. The seeds of great- the quintet created an appropri- ture. It came as no surprise when ness are in the Westport Art En- ately stately, even solemn atmo- it was announced that he had just semble. Let’s hope they continue sphere. moved to New York City to pur- to grow, even in the care of new By comparison, the Spaits sue a career in the jazz capital of “gardeners.” composition “Worlds Past” was the world. The quintet’s Lincoln perfor- bright and optimistic, featuring an Since then, guitarist Blanton mance was funded by the Berman

inventive and hard-blowing tenor also has made the eastward move, Music Foundation. solo by Sclar. Hoover Rich by Photo Sclar was back in the spotlight for his own tune “Eden or Lucas, Kansas.” Playing fast and loose with the changes, the saxophonist took listeners on a captivating ex- cursion to the outer limits before turning it over to solo statements by Wilder and Blanton. Perhaps the most interesting performance of the evening was the quintet’s version of the Byrds’ late-‘60s hit “Eight Miles High,” whose soaring lines purportedly were inspired by the tenor flights of John Coltrane. Led by Sclar’s saxophone, the group quickly got to the essence of the melody, then Hedman took a spirited solo on Norman Hedman congas as Blanton and Wilder pro- vided lush harmonies. Another inspired cover was a Spaits waltz-time arrangement of Hank Williams’ “I’m So Lone-

Page 10 Berman Music Foundation Jazz

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Paduart benefits from K.C. stalwarts ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Bill Wimmer ○○○○○○○○

Belgian pianist Ivan Paduart ap- Hoover Rich by Photo musicians would be really upset if peared Sept. 12 at P.O. Pears in Lin- their equipment failed onstage, but a coln as part of the Berman Music great player with a beautiful attitude Foundation’s local concert series. like Strait just shrugged it off and said When I arrived, the trio was well it made it a little more of a challenge. into “It Could Happen to You,” with Bowman told me that he didn’t even some spirited trading of fours bring- miss it! You’ve got to love these guys. ing it back to the head. Paduart was The group came back with “I lucky to be accompanied by the ever- Hear a Rhapsody,” introduced by supportive Bob Bowman on bass and Paduart’s up-tempo solo introduction drummer Todd Strait, two of Kansas and a rousing solo with dashing runs City’s finest. up and down the keyboard, which was The group then launched into a nicely tuned baby grand provided ’s “Rainwaltz,” a nice by Dietze Music House. Bowman mid-tempo waltz with a sparse, pretty had a nice solo spot with a lot of quick melody. Paduart, showing his Bill double-stops, and the group traded Evans and Hersch influence, was en- fours with the drummer, who shone joying the beautiful rhythm section, at this burning tempo, even without a and I was enjoying Bowman’s fat tone high hat setting the beat. finding his way on new material, with Ivan Paduart Paduart chose the ballad “I Fall nice rhythmic diversity and dynam- in Love Too Easily.” It’s tough to play ics. the first set without the use of his sock a ballad in a crowded bar, but he Next up was the standard “Like cymbal, and no one else in the crowd pulled it off pretty well. The bassist Someone in Love,” with Strait on the noticed, or missed it. stole the spotlight on this one with a brushes and Bowman laying down a Chuckling, Todd informed me tasteful, melodic solo, without the py- loping two-beat groove. Paduart ate that they were his drums and not a rotechnics most bassists can’t resist up the changes in a solo marked by borrowed set, and that the high hat when they get their chance to shine. double-time flourishes. Bowman was broke so badly on the first song of the They followed with a Michel impressive in his turn and Strait fol- night that he just did without it. Many Petrucciani tune that had a nice open

lowed with a very tasteful display of Hoover Rich by Photo brushwork. “The Mood Is Due” was a pretty waltz from pianist Enrico Pieranunzi that Paduart used to fea- ture lush chordal statements. A direct Herbie Hancock-inflected solo from Paduart showed more of his broad influences. The band then took a break, and while discovering that Ivan’s limited English and my complete inability at French wouldn’t give me any extra insight to his playing, I had the most interesting chat with Todd Strait and Bob Bowman. My first comment to Todd was, “Too bad they couldn’t get you a drum set with a working high hat,” because he had to play most of Bob Bowman

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A section in 2, a swinging bridge and Hoover Rich by Photo nice, cascading changes. The group then explored the waltz “Windows.” Paduart, who obviously favors things in 3, gave Bowman a lot of space, which he used to great advantage in his solo statement. The trio finished with ’s “Stablemates,” one of the great originals in jazz, which was ar- ranged and somewhat reharmonized by Paduart. This is a beautiful song with a few twists and turns of its own and a rare harmonic beauty of its own, and while this version was musically Todd Strait correct, it really lacked some of ing modulation of the ending with it that you won’t hear the likes of here Golson’s blues sensibility and came going through 4 keys, this arrange- any time soon. off a little European, if you don’t mind ment was lacking. You don’t need to These guys came to play and all me saying so. reharmonize Benny Golson, OK? in attendance were impressed with the The original release of this tune That being said, this concert was results. This was an excellent show was with pianist and a big success, with a large crowd that by all accounts and we will really miss trumpeter , after all, and included more adult listeners than Todd Strait, who recently moved to I must admit, other than an interest- usual and an unusually fine piano trio Oregon. On the Air

Jazz and blues on Nebraska radio ○○○○○○○○○○○○○○○○ Compiled by Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Nebraska Public Radio p.m.-midnight, “Variations on Jazz” with noon” with Chris Cooke KUCV 91.1 FM Lincoln Ed Rumbaugh WEDNESDAY: 1-2 p.m., “” FRIDAY: 10 p.m.-midnight, “The Jazz WEDNESDAY: midnight-2 a.m., with Marian McPartland; 2-3:30 p.m., Show” with Graham House “Spindle” with James, Joseph and “Jazz in the Afternoon with Mike Jacobs SATURDAY: 7-8 p.m., “Big Band Jonathan; “Round Sunrise” with Carl THURSDAY: 1-2 p.m., “One Night Spotlight” with Don Gill; 8-10 p.m., Schneider; 1-3 p.m., “The Best of Brazil” Stand” with Chris Nielsen; 2-3:30 p.m., “Early in the Evening” with Dave Hughes; with Randy Morse; 3-6 p.m., “Mystic “Jazz in the Afternoon” with Chris Cooke 10 p.m.-midnight, “Late in the Evening” Mile” with Mike Flowers FRIDAY: 1-2 p.m., “Jazz from Studio 1”; with Dave Hughes THURSDAY: 1-3 p.m., “Rachel’s Jazz” 2-3:30 p.m., “Jazz in the Afternoon” with For a program guide, call 800-290-6850. with Rachel Principato; 3-6 p.m., “Bare Mike Jacobs Bottom Blues” with Tammy Lee; 8:30-10 SATURDAY: 8-9 p.m., “Jazz Profiles”; KZUM Community Radio p.m., “NightTown” with Tom Ineck m., 9-11 p.m., “Jazz Junction” with Rick 89.3 FM in Lincoln FRIDAY: 1-3 p.m., “Women’s Blues and Erben; 11 p.m.-midnight, “Last Call” MONDAY: 6-8 a.m., “Uncle Booga’s ” with Carol Griswold; 3-6 p.m., For a program guide, call 402-557-2777. Coffee and Tea Time” with Larry Kubert; “Confessin’ the Blues” with Jim Anderson 8-10 a.m., “ Bands: When Melody and Bill Wagner KVNO was King” with Con Good; 10 a.m.-noon, SATURDAY: 6-9 a.m., “Blues at Sunrise” 90.7 FM in Omaha “Jazz Journey” with Bill Wimmer; 1-3 with Brendon McCauley FRIDAY: 7 p.m.-2 a.m., “JazzSource” p.m., “Dave’s Closet” with Dave Hoffman; For a program guide, call 402-474-5086. with Cortland Kirkeby and Stacy 3-4 p.m., “Blues Quest” interviews; 4-6 Robinson p.m., “Another Blue Monday” with Dr. KIOS SATURDAY: 6 p.m.-2 a.m., “JazzSource” Blues; 8-10 p.m., “Hotter Than That” with 91.5 FM in Omaha Warren Rudolph MONDAY: 1-2 p.m., “Beale Street KIWR TUESDAY: 2-6 a.m., “NightHawk Radio” Caravan”; 2-3 p.m., “Blues in the 89.7 FM in Council Bluffs with Rich Hoover; 1-3 p.m., “Djust Djazz” Afternoon,” with Mike Jacobs SUNDAY: 9 a.m.-noon, “P.S. Blues” with with Doc Davidson; 3-6 p.m., “Blues and TUESDAY: 1-2 p.m., “The Brazilian Rick Galusha Other Related Stuff” with Ken Hoage; 10 Hour”; 2-3:30 p.m., “Jazz in the After-

Page 12 Berman Music Foundation Jazz

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Woods brings youthful energy to The Folly ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Bill Wimmer ○○○○○○○○

KANSAS CITY, Mo.—Saxo- Photo File at a time when his career has skyrock- phonist Phil Woods fronted a quintet as eted to the point of having Tony Bennett a part of The Folly Theater Jazz Series appear on his last CD. Oct. 12. I last saw Woods in 1977 at The group then returned to feature the University of Nebraska-Lincoln, so the leader on Billy Strayhorn’s I looked forward to seeing this living “Bloodcount,” one of the prettiest and legend perform again. most dramatic ballads in Woods looked much as he did all jazz. Dedicating it to , those years ago, and his playing hasn’t Woods showed why he is still the great- lost a step, either. Drummer Steve est living exponent of the alto with his Goodwin and bassist Steve Gilmore steaming and streaming glissandos and have played with Woods since that time, ability to wail one second and whimper and they anchor the rhythm section and the next. The eldest on stage, Woods breathe together as one. Pianist Bill made old men out of the others all night Charlap has been playing piano for long. Phil Woods Woods for a few years now and also After an interesting arrangement of has developed quite a telepathic rapport “Stranger in Paradise” in his turn, and “If I Should Lose You,” the concert with the leader. Jon Gordon, on alto sax, Goodwin played an interesting drum changed gears a little when hometown is a former student of Woods’ with some solo with his hands for great dynamic favorite David Basse came onstage. nice recordings of his own and a style effect. Saying that it was fitting to play Basse is a singer/entertainer who that contrasts nicely with Woods. a Charlie Parker tune in Kansas City, has a lot of stage presence and charisma The band opened with a Woods Woods tore into “Chasin’ the Bird,” a but tends to take it a little too far for his original titled “All Bird’s Children,” seldom heard Parker blues line that gave own good. Although Basse sounded fine featuring nice harmonies for the horns the band a chance to stretch out on the on a couple of numbers, his onstage and a singing solo by Woods. Woods blues. After a Gordon solo, the band mannerisms and delight with his own showed his obvious approval with the traded a spirited set of fours that brought utter hipness took away from the band’s support and with Charlap and the first set to a rousing end. music. I longed for Kevin Mahogany, Gordon’s solo statements. The saxo- The band opened up after a break who wouldn’t have to rely on his hat phonist then told the story of how a with the Oscar Pettiford bop anthem for a stage prop like this guy to get his couple from the area whose great Uncle “Bohemia after Dark.” Woods took an message across. had composed the song “We Could incredible solo on this one, featuring a The band finished up with the same Make Such Beautiful Music,” and re- series of call-and-response phrases with closer that Phil has been playing for alized he was going to be in Kansas City, himself and showed that he is a master years, a tune that combines a medley of had e-mailed him. Woods said the of nuance and dynamics. Charlap re- about 10 songs you recognize and couple was in the house, and that he ally impressed me as he backed up other makes you laugh as they fly by. would love to honor them by playing soloists and on his own flights. This was a great concert by one of the song and meeting them after the Charlap was featured next on the true masters who has stayed at the show. Nice touch. The band played a Parker’s famous version of the top of his game for many years. The nice arrangement with tight harmonies Gershwin tune “Embraceable You,” and Folly has an excellent jazz series this by the horns and a hot Woods contrast- he played the ballad for all it was worth. year and is a great place to hear a ing with a little cooler, more studied Parker’s original improvised melody is concert. It’s disappointing that we have Gordon and a fine Charlap solo. considered one of the most pure melodic virtually nothing going on at the Lied Gordon was featured on the stan- statements in jazz, and it was really Center when just up the road The Folly dard “Invitation,” which he opened up worth hearing in the hands of a master has Phil Woods, Rene Marie, Gonzalo a cappella, setting up the song’s Latin like Charlap. The piano was turned up Rubalcaba, Jimmy Cobb’s Mob featur- groove. He played an excellent solo, louder in the second set, which had been ing Randy Brecker, the followed by a brilliant trip through the the only drawback of the sound earlier Trio, The Dave Brubeck Quartet and changes by Charlap. Gilmore quoted in evening. It was a treat to hear Charlap James Moody all in one year!

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Latest KC trip was both social and musical ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

By Butch Berman ○○○○ Photo by Butch Berman Butch by Photo Grace and I set out upon our third

sojourn to my adored “second home,” K.C., and had the Gandu Grace by Photo usual royal blast. My main fo- cus on this occa- sion was twofold. After checking into our lovely suite at the Heri- tage House at Butch Berman Sixth and Central introduces wae (I highly recom- mend this fab, cozy, but spacious New York loft-style accommodation, with free breakfast and lots of amenities, in-

cluding off-street parking and oh, so Westport Art Ensemble at CD release party, Westport Coffeehouse close to all the chosen venues) we pre- Berman Butch by Photo pared ourselves for another excellent K.C.’s famed night-life hot spot on dining experience at the Majestic on Pennsylvania Avenue. Broadway. A huge crowd of pals, families, jazz This time, we planned a dinner lovers and the curious just hanging pro- party with as many of our K.C. associ- vided the perfect foil for the terrific mu- ates as were available. Included, besides sic awaiting them. Grace and myself, were sax great The band was in high gear that Ahmad Alaadeen and his manager, Ahmad Alaadeen, Julie Turner, Fanny night, with everyone blasting on all cyl- Fanny, and former co-organizers of the inders. Bassist Gerald Spaits, saxophon- defunct but forever memorable K.C. In- stop by the Music Exchange in Westport ist Josh Sclar, guitarist Jake Blanton, ternational Jazz Festival John Jessup, and check out their amazing local CD drummer Ian Sakura and keyboardist radio and stage personality (and date, selection. If you read ‘bout it here and Roger Wilder make up the wae. There Kathy) and Steve Irwin of the Marillac they got it there, just flat get it! were lots of pix snapped, tons of CDs Foundation and his wife, Jo Boehr (a After leaving the Majestic, most of sold and a shitload of new and old fans fine singer in her own right), dear friends us, including late arrival bassist Gerald to remember this evening for years. all. Spaits, adjourned to the Heritage House Since then, only Gerald, Roger and We had planned to meet, eat and to discuss jazz and future potential col- Ian (who replaced the legendary Todd dig the sounds of one of my faves, drum- laborations into the wee, wee hours. In Strait, now residing in the Northwest) mer Tommy Ruskin, and his talented all, a grand evening of delicious food remain in K.C. as, like birds leaving the wife, songstress Julie Turner. Turns out and drink, the usual top-notch K.C. nest, Jack and Josh headed off to live Tommy had another engagement, so sounds and the best friends and fans of ‘n’ learn more about it all in N.Y.C. Still, Julie, along with her guitarist son Brian jazz you could ask for. a band that caused such a stir in their and pianist-vocalist Mike Ning enter- The next evening, as expected, was jazzy community and whose CD was tained and joined us for awhile. just a gas. This was the CD-release received favorably nationally, will at Ning, one of the nicest guys I’ve party of the Westport Art Ensemble, least regroup periodically to continue ever met in the biz, gave me two CDs— with funding from the Berman Music recording and sharing their creativity one I’ve heard and the other still on deck. Foundation. They performed in a the- and evolution. I think you’ll enjoy I Remember Mr. ater-like atmosphere, with great stage, Stay tuned for K.C. trip No. 4 and Evans—a tribute by Mike and his part- lights and sound housed beneath the our first totally online newsletter, com- ner, Sherry Jones. In fact, when in K.C. Westport Coffeehouse in the heart of ing to you this spring.

Page 14 Berman Music Foundation Jazz

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Darryl White reveals complex personality ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

I recently had an opportunity to sit throughout the Midwest, the band mem- Photo File down and chat with Darryl White, trum- bers gather from their respective homes pet professor at the University of Ne- to join their talents. braska-Lincoln and a growing favorite “It’s interesting. When we do gigs, trumpeter among jazz fans throughout we don’t get a chance to rehearse much. the Midwest. The interview was re- We pull everybody together, throw ‘em corded for future broadcast on “Live on a plane and we show up an hour be- and Local,” engineered, produced and fore the gig and talk about the music. edited by Craig Lowe for KZUM Com- But they’re all great musicians.” munity Radio in Lincoln. They have to be. White’s own com- In the course of the hour-long in- positions and the tunes he chooses to terview, White revealed a complex per- cover are not simple ditties with changes sonality, containing both a bold, uncom- that can be learned during a 10-minute promising musical vision and a tender, rehearsal. Even the titles reflect his Darryl White sentimental feeling toward his family, thoughtfulness. “Chronophage,” for White also admits to a more tender side. his friends and his art. example, is Greek for “time-eater,” a That side is revealed quite openly on A Cleveland, Ohio, native, White phrase used by one of White’s mentors, his compositions “Nanpet (The Called lived in Chicago, Grand Junction, Colo., trumpeter John McNeil, to describe of God),” which is dedicated to his wife, and Denver before moving to Lincoln someone who wastes his time. Rose, and “Lil I,” named for his son, six years ago to take the professorship “In the Fullness of Time” is a Bib- Isaiah, both from his current CD. Simi- held for many years by the revered Den- lical reference. South African Bishop larly, his debut recording, Ancient nis Schneider, who was retiring. Desmond Tutu used it in a speech that Memories, contains a memorial to his White’s first job as a professional White attended at the Lied Center for father called “The Tree Has Fallen… musician was actually in the classical Performing Arts in Lincoln. Not long but the roots will live forever” and “Be realm, with the Denver Brass and its after that, White heard it in a sermon at Sweet,” written for his mother. off-shoot, the Aries Brass Quintet, a his church. “I want people, when they hear the group-in-residence at the University of “I felt like it was inevitable that I music—since there are no lyrics—I Denver. needed to use that title. That phrase kept want to convey as much emotion as “From that, I made a lot of connec- up in different situations.” possible. Some day I think I would like tions, and shortly after I started with Thematically, philosophically and to do a recording session of some of my that group, I established a musically, White challenges his listen- favorite lullabies and ballads. I think group, which was the beginning of what ers. More than anything, he wants his probably my biggest strength is play- I have now.” music to convey sincerity. ing in that style. But I also have a more What he has now is a first-rate, “I have no intention of watering aggressive side,” White said, laughing. straight-ahead jazz quintet that since down my music so that you can have a His life as a professional player comple- 1995 has maintained a consistent lineup nice dinner around it. I’m trying to be ments his career as a teacher, he said. also featuring Nebraska native Jeff as artistic and as creative as possible. It “My teaching is so enhanced by my Jenkins on piano, Dave Pietro on alto comes out of a lot of my experiences, a performance experiences. I don’t think sax and flute, Matt Houston on drums lot of listening.” I could be an effective teacher if I didn’t and Artie Moore on bass. Bassist Kenny He mentions trumpeters Woody have all the tools and experiences to Walker of Denver also has become one Shaw and as two of share with my students.” of White’s first-call colleagues and is his most profound influences. His hope Already White has plans for future featured on White’s current release, In is to expand on their contributions to recordings, including a collection of the Fullness of Time (reviewed on page the music. classical pieces. Here’s hoping we hear 15). While readily acknowledging his much, much more from the talented Lin- As they are booked into venues desire to push the musical envelope, coln-based trumpeter.

Winter 2003 Page 15 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Jazz on Disc

Westport Art Ensemble debut busts KC mold ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Wilder’s “Haenemehr” gets things There are no disappointments here. off to a rousing start, driven by Strait’s Returning from the first recording are solid drumming and Sclar’s big-toned alto saxophonist Dave Pietro, pianist tenor sax solo. That is followed by Jeff Jenkins and drummer Matt Hous- Sclar’s inventive “Dot of Oz” and ton. Also joining the team are Pete Wilder’s swirling “Labyrinth Therapy.” Sommer on tenor sax, bassist Kenny Sclar gives “Lonesome” a mourn- Walker and special guest Art Lande on ful reading, his lines swaying to the piano. waltz rhythm as though dancing in an The swaggering opener is WESTPORT ART ENSEMBLE empty ballroom. Spaits delivers an ex- “Orangewalk Town” by John McNeil, Westport Art Ensemble emplary bass solo on his “Worlds Past,” a fellow trumpeter who also produced a lilting mid-tempo tune. both of White’s recordings. In fact, three If you think you know what Kan- Strait’s beautiful composition, of McNeil’s compositions are included. sas City jazz sounds like, think again. “Lullaby for Naomi,” falls midway White’s challenging “Cronophage” This is not your grandfather’s KC jazz, through the recording. Blanton’s outra- (roughly translated from the Greek, not the jazz of Count Basie or Jay geous “Almost Hit That Lady” and the “something that eats time”) is a chal- McShann or Claude Williams. It has eight-minute group improvisation “Art lenging ramble, darting here and there little in common with the jump-style Isn’t Always Pretty,” were recorded live as though in an effort to escape the in- blues and riffing horns of traditional at the Westport Coffeehouse Theatre, evitable timekeeper. Kansas City , a style that sounds giving the listener a glimpse of contrast- Perhaps most important, White archaic in today’s eclectic jazz world. ing studio and performance styles. knows the importance of space. He ex- That is a good thing. On its debut Strait has moved to Oregon, while tends the lines of “Nanpet (The Called recording—funded by the Berman Sclar and Blanton are looking to the Big of God)” into shimmering waves of Music Foundation—the Westport Art Apple for their next musical challenge. sound, as though floating on a cloud. Ensemble (wae) points the way to a new If this must be the only product by the Appropriately, the tender tune is dedi- synthesis of styles that is both acces- Westport Art Ensemble, it will stand cated to his wife, Rose. Charles Mingus’ sible and swinging, while expanding the the test of time and provide an excellent “Nostalgia in Times Square” is given a horizon of rhythmic, harmonic and me- document of a great Kansas City band. funky backbeat, and the band responds lodic invention. with punchy, soulful statements. Wae is the brainchild of two KC McNeil’s “Abercrombie” is a beau- jazz veterans, bassist Gerald Spaits and tiful ensemble piece, followed by an- drummer Todd Strait, and their com- other rhythmically challenging White posing, arranging and playing is notable composition “A Cord of 3 Strands.” on this recording. However, it is the Again showing his tender side, White younger firebrands here—keyboardist offers the ballad “Lil I” for his young Roger Wilder and especially saxophon- son, Isaiah. The recurring theme of time ist Josh Sclar and guitarist Jake boldly reasserts itself in the title track, Blanton—who consistently infuse the “In the Fullness of Time.” music with energy and imagination. DARRYL WHITE “Accidents Happen,” practically a Of the 10 compositions, Wilder, In the Fullness of Time definition of jazz at its most unpredict- Sclar and Blanton each contributed two, able, gets an appropriately intense read- with the two elders composing one each. Fans of trumpeter Darryl White had ing, but the tight ensemble sound and Spaits also did a lovely ballad arrange- to wait three years after his 1999 debut well-constructed solos are no accidents. ment of Hank Williams’ “I’m So Lone- recording, Ancient Memories, for the Lande’s “El-Hai-La” is a gentle, almost some I Could Cry.” welcomed arrival of this brilliant sopho- zen-like dialogue between White on more effort. flugelhorn and the composer on piano.

Page 16 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Unsung Hero Bassist Brown was a legend with a big heart

By Bill Wimmer ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Ray Brown, one of the true leg- Photo File ends of jazz, died in his sleep July 3, ending one of the greatest and lengthiest careers in music. He was 76. Brown’s role in the history of jazz bass has no living comparison as far as variety, quality and con- sistency of his playing throughout his life. He would have been viewed as a great historical figure for any one phase or time period in his life, but his quest to grow and stay fresh in the music kept him a vital part of it for over half a century. Raymond Mather Brown was born in Pittsburgh on Oct., 1926, and was encouraged to pursue pi- Ray Brown (center) with bassists John Clayton (left) and Christian McBride ano by his father, who had hopes of him being the next Fats Waller or by Dizzy, Charlie Parker, , , both Hank Art Tatum. Ray was frustrated by Powell and Max Roach! and Elvin Jones, Count Basie, Duke the piano and the number of pianists Brown went on to play with Ellington and Lester Young, just to at school, so he turned to the bass Gillespie and, later, his big band. In name a few. when his father couldn’t afford a 1946, Brown began an association In 1966, Brown settled in Los trombone. By the time he was out with Norman Granz’s Jazz at the Angeles, where along with playing, of high school, Brown was ready to Philharmonic groups, often backing he began to manage hit the road. singer . Brown and The Modern Jazz Quartet. He He first toured with Jimmy would marry Ella and work with her also founded The L.A. Four around Hinsley’s band, and then with from 1948 to 1952. In 1951, Brown this time, owned a club for a while Snookum Russel’s group, just after was one of the original members of and freelanced extensively in the the departure of trumpeter Fats The Modern Jazz Quartet, a group studios. I remember seeing him on Navarro and trombonist J.J. that grew out of Gillespie’s rhythm “The Merv Griffin Show” in the Johnson. After eight months with the section of pianist John Lewis, vibra- ‘70s with saxophonist Harold Land group, at age 19, Brown decided to phonist , Brown and and others. Later in that decade. go to New York. drummer Kenny Clarke. Brown began touring with pianist On Brown’s first night in New The following year, Ray hooked and old Gillespie pal York, he went down to 52nd Street up with pianist ’s Milt Jackson. and saw many of the greatest play- trio, where he remained for 14 years, In the mid-‘80s, Brown started ers in jazz for the first time. When traveling the world first class with his own trio with pianist Gene Har- Ray asked his friend, pianist Hank one of the most popular groups in ris and drummer Jeff Hamilton and Jones, to introduce him to Dizzy jazz. Throughout the years Brown started touring extensively Gillespie, he asked Brown if he also found time to record with many again. Brown recorded a number of wanted a gig and if he could make a of the finest musicians, including records for Concord Records, and rehearsal the next morning at 7. Cannonball Adderly, Louis in 1989 signed with the Telarc la- When he arrived at rehearsal, he was Armstrong, , Roy bel, where he would record 19 al- shocked to find himself surrounded Eldridge, Charlie Parker, Bud bums over the last 13 years of his

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life. Brown’s trio wasn’t just a iams’ Magical Trio 2. the greatest bowing bassists in jazz, showcase for the leader, but featured Ray Brown may have played on possessing a beautiful tone, abso- some of the major younger voices some average records, but he never lute pitch and the ability to make the in jazz like pianist , gave an average performance. He burly bass sing like a cello. One of drummer Greg Hutchinson, pianist was one of those rare individuals the most memorable concerts I’ve Geoff Keezer and bassist Karriem who could always find just the right witnessed was highlighted by Ray Riggins with the much older, but no way to place the right notes with just bowing a solo with his trio that was less enthusiastic, Brown. This group the right amount of feeling to pro- so gorgeous that it hushed a crowd became one of the most respected pel the music in so many different to complete silence at Half Moon trios in jazz, with the ability to settings, from the standard he helped Bay on a sunny Sunday afternoon soothe on a ballad, and come right set with the pioneering groups years ago. Brown’s greatest asset back and rock you with a hard-hit- to singers, to trios or small groups wasn’t his impeccable technique, ting blues. and big band work. though, but the fact that he could Ray Brown’s discography is so He found a way to fit in with use it to communicate pure emotion extensive it is hard to recommend a multitude of great players and on his instrument. only a few things in the space allot- usually improved the proceedings It has been a while since Ray’s ted, but you could start with the with his huge tone, perfect intona- passing, and while much has been early classic Gillespie sides from tion and beautiful walking lines. In written about his accomplishments, 1945, most any of his trio sides with 1956, the great bassist Oscar a picture has also emerged of a Oscar Peterson and some dates with Pettiford himself voted Brown the huge-hearted caring, nurturing indi- Jazz at the Philharmonic or Ella best bassist in jazz. vidual who helped the growth, de- Fitzgerald. Some of my own per- While Brown was more well velopment and careers of many sonal favorites are Something For known for his solid, driving beat bassists and other musicians. Ray Lester on Contemporary, any of the with mainstream groups, I was re- not only set the standard, but he Milt Jackson/Cedar Walton sides on minded last year of his incredible helped and learned from others as Pablo, The Red Hot Ray Brown Trio versatility with the reissue of Bill he explored and shared the music on Concord and many later Telarc Evan’s Quintessence, a rare group along the way. Ray Brown was by recordings like Live At Sculler’s. He recording by the pianist that features all accounts a beautiful human be- also can be heard to great advan- Brown in a very free melodic mode ing, and he was able to translate that tage on Sonny Rollin’s Way Out more like Scott La Faro than any- into music every time he picked up West, on Bill Evan’s Quintessence, thing recorded before or since by the bass. We’ll sure miss you, Ray, now out on OJC, and James Will- Brown. Ray was also one of, if not and thanks.

Jazz in the venues ○○○○○○ Compiled by Tom Ineck○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Monday Night Big Band Thursday Night Jazz For more information on jazz at P.O. Pears, call Arts Incor- The Monday Night Big Band The Thursday Night Jazz Series, porated at (402) 477-8008. plays 7:30 p.m. to 10 p.m. featuring small groups, plays Mondays at P.O. Pears, 322 7:30 p.m. to 10 p.m. Thursdays Jazz at The Oven S. Ninth St. in Lincoln. at P.O. Pears, 322 S. Ninth St. Jazz duos continue on Sunday The cover is $4 for adults, $3 The cover is $5 for adults, $4 and Thursday evenings at The for students. for students. Oven, 201 N. Eighth St. For more information, call (402) 475-6118.

Page 18 Berman Music Foundation Jazz

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Antibalas performed birthday salute to Fela ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Until I read Carter Van Pelt’s Hoover Rich by Photo informative review of the Afrobeat recording Talkatif (see Summer/Fall 2002 issue) by the Brooklyn-based group Antibalas, I was totally unaware of this pow- erful and talented ensemble. I had been somewhat prepared for the band’s polyrhythmic on- slaught by a fondness for drum- mer Ginger Baker’s early 1970s collaborations with Nigerian per- cussionist Fela Kuti and Africa 70. Therefore, it was with great anticipation that I arrived at the Royal Grove in Lincoln to witness a performance by the 10-piece en- semble. The concert was funded by the Berman Music Founda- tion. As the fates would have it, the Guitarists Dave Hahn and Luke O’Malley sustain riffs with Duke Amayo. show fell on Oct. 15, the birthday as well-known for his political beat in sensuous syncopation, and of the late, great Fela, who was outspokenness as his music. The many of those who attended the

Photo by Rich Hoover Rich by Photo irony did not escape Antibalas, concert took to the dance floor to who paid tribute to their greatest do just that.

influence with a second set com- Hoover Rich by Photo prised wholly of Fela tunes. The overriding impression of Antibalas on the first-time listener is the hypnotic effect of its pow- erful brass, guitar and percussion attack. In a way, their repeated lines reminded me of the irresist- ible blues riffs that were the trade- mark of early Kansas City swing bands, including the Count Basie Orchestra—the chugging rhythm guitar, the explosive, unison brass statements and the driving rhythm section. The undulating rhythms, how- ever, are more closely tied to the ancient, exuberant tribal of Africa than the lowdown blues of Saxophonist Martin Perna Kansas City in the 1920s and adds emotional depth. 1930s. The body’s nearly irresist- ible urge is to move against the Trumpeter Gerardo Cox punctuates the music.

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Photo by Rich Hoover Rich by Photo mood. Horn solos were sparse, rage at times almost obscured the used primarily to further build the vocals, many of which contained overall momentum of the piece. pointed and timely political state- Likewise, the presence of two ments, especially on the composi- rhythm guitars, bass, keyboards, tions “War Is a Crime” and “Co- trap drums, congas and assorted lonial Mentality.” One tune percussion created an overwhelm- seemed to fade seamlessly into the ing pulse. At times, the haunting, next, making it difficult to differ- otherworldly sounds emanating entiate between them and creating from the Farfisa organ were remi- for the listener a distinct sense of niscent of the late Sun Ra and his floating on the rhythms. And, so-called Intergalactic Arkestra. what an exhilarating sensation it

In fact, the instrumental bar- was! Photo by Rich Hoover Rich by Photo

Trombonist Aaron Johnson and singer Duke Amayo wail. Most prominent in the mix was the three-member brass sec- tion consisting of trumpeter, trom- bonist and saxophonist. The bari- tone sax was especially effective in providing the emotional bleats and blats that set the celebratory Bassist Del Stribling and drummer Phil Ballman keep a rock-steady rhythm.

NJO continues strong season lineup ○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

The Nebraska Jazz Orchestra Tony Gulizia, a longtime favor- year’s NJO Young Jazz Artist Com- continues a strong season lineup ite in his hometown of Omaha and petition. with returning favorites and new throughout the Midwest, is the spe- All concerts are held at the guests appearing in March and cial guest soloist May 6. A wonder- Cornhusker Hotel in downtown May. ful keyboard player and an equally tal- Lincoln. The music begins at 7:30 On March 25, saxophone great ented crooner who now resides in p.m. with priority seating for sea- Don Menza fronts the NJO again, Colorado, Gulizia will help the NJO son members beginning at 7 p.m. this time accompanied by another present a program “Remembering Tickets are $18 for each concert, outstanding tenor player, Pete Sinatra and Basie.” $15 for seniors and $6 for students. Christlieb, in a program showcas- Also scheduled May 6 is a guest ing these two “Tenor Titans.” appearance by the winner of this

Page 20 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Charlie Burton and friends gather for special night at the Zoo Bar

By Butch Berman

Charlie Burton and I go back a long way. Sometimes bickering like feuding brothers and other times like… brothers. Two Jew boys with a fierce reverence for the roots music that we have played together and separately for more than half of our lives. Charlie, a top composer and exciting performer, and myself, a guitarist/arranger, enjoy the sum of the parts of our craft. These days, I’m not a regular with Charlie Burton’s band, but after years with The Megatones and Charlie Burton and Rock Therapy, etc., it’s still a gas even being the second-call guitar guy. This evening last October at the Zoo bar was special, with a rare collection of Lincoln’s “old-timers” backing Charlie and calling themselves Snakehead Fish. Dig this—fiddlin’ Dr. Dave Fowler, steel guitarist Steve “Fuzzy” Blazek, Cutouts and Shithook rhythm section with the Daves—bassist Boye and drummer Robel—moi on guitar and, of course, Charlie. What a night! What a band! What a blast! Dave Fowler

Steve Blazek Photos by Rich Hoover

Butch Berman

Winter 2003 Page 21 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Charlie Burton Dave Robel (left) and Dave Boye

Charlie Burton and friends are (from left) Butch Berman, Dave Fowler, Charlie, Dave Boye and Steve Blazek.

Page 22 Berman Music Foundation Jazz

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Brits bring artistry to Robert Johnson ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

By Rich Hoover ○○○○○○○○○○○○○○○○○○○○

Riverside Blues,” “Malted Milk,” drummer with blues and shuffle deep “Milkcow’s Calf Blues,” “Drunken in his heart; guitarists Rusty Zinn and Hearted Man,” “Crossroad Blues,” Billy Flynn at The Rhythm Room and and “Come On In My Kitchen.” guitarists Kirk Fletcher and Troy It is probably impossible to ex- Gonyea at Café . These gui- pand or improve on the volumes writ- tar gentlemen have the knowledge, ex- ten about Robert Johnson, but Peter perience and abilities to pour out an Green and Nigel Watson have inter- endless stream of musical joys. Mark preted Mr. Johnson in the highest de- Stevens is a relative newcomer whose PETER GREEN & NIGEL gree of artistry. talents on keyboards justifiably WATSON For more details, visit the website: perked Kim Wilson’s ears. Hot Foot Powder www.snappermusic.com/petergreen It’s a blues entertainment pack- Snapper Music age you can open time after time. For more details, visit the website: If you like the blues of Robert www.mc-records.com Johnson, as do thousands of musi- cians and millions of fans, then you need to checkout Hot Foot Powder, Connected the superlative production of guitar- ist Peter Green and lead guitarist Artists online Nigel Watson, released in 2000. To learn more about some of the This is the second in a series of artists mentioned in this issue of three collaborations. The first is the KIM WILSON Jazz, visit the following websites: ’98 release The Robert Johnson Smokin’ Joint Songbook, with a collection of 14 M.C. Records Sheila Jordan tunes. The third, released in ’02 is www.sheilajordanjazz.com Robert Johnson Favorites, which is It’s art, I tell ya’. Cameron Brown a collection of the faves of the first Smokin’ Joint is a masterful live www.jazzhalo.com/brown two releases. recording with top-drawer musicians Doug Talley In addition to Peter and Nigel are demonstrating the artistry of indi- www.geocities.com/doug_talley Ivan Paduart Splinter Group, which includes Roger vidual talents plus the ability to meld www.ivanpaduart.com Cotton on guitar and piano, Pete themselves together to form the gam- Phil Woods bit of power of emotion, prowess in Stroud on upright bass, Larry Tolfree www.philwoods.com on drums, Brian Bull on guitar and communication and the sense of tim- Ray Brown an enviable cast of guest instrumen- ing that makes the package greater www.hopper-management.com/ talists including Dr. John, piano; and than the sum of its parts. ray_brown Buddy Guy, Otis Rush, Hubert The tunes were recorded at The Antibalas Sumlin, Honey Boy Edwards and Joe Rhythm Room in Phoenix in 1999 and www.antibalas.com/pages/index2 Louis Walker, guitars. Café Boogaloo in Hermosa Beach, Charlie Burton The tunes on this CD are “I‘m a Calif., in 2000. The artists are Kim www.bulldogrecords.com/burton Steady Rollin’ Man,” “From Four Wilson, vocals, harmonica and lyrics www.nebrocks.org/burton Until Late,” “Dead Shrimp Blues,” on four tunes (He is deeply entrenched www.lazysob.com/artists/charlieburton Little Queen of Spades,” “They’re as one of the iconic pillars of blues www.musicaustin.com/country/cburton Red Hot,” “Preachin’ Blues,” culture); Larry Taylor, a rock-solid www.timmcmahan.com/burton “Hellhound On My Trail,” “Travelin’ walkin’ bass man; Richard Innes, www.randysrodeo.com/austin/burton

Winter 2003 Page 23 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Letters to the editor

Photographer has kudos all around KC transplant yearns for jazz me if they have any recordings or will news and Sons of Brasil I have to wait? Thank you so much for the great Further, when can we expect to article (Summer/Fall 2002) in your Somehow I have gotten on your see Norman Hedman again? newsletter—what an honor! mailing list (thankfully!) and I prom- Thanks in advance for any help What a terrific newsletter—very ise to join, send money, stamps, what- you can give me. Again, I really ap- high quality and easy to read. Butch, ever if you promise to keep me on your preciate your newsletter and the work a very nice gift from you to the jazz list. Since coming to Lincoln from you are doing. Don’t quit. community! Tom, you’re an excellent Kansas City in 1997, I have been interviewer and writer and quite a struck by the lack of info on coming Lynn Bowes good photographer, I notice! events and musicians in the area and I Lincoln, Neb. My compliments also to Rich really appreciate getting your news- Hoover on his photos. Thanks again! letter! With your mailing, I can finally Editor’s Note: The Sons of Brasil do make some plans to hear some great have a CD, available at most record Bev Rehkop music. Mostly, I read reviews in the outlets in the Kansas City area.Read Prairie Village, Kan. Journal Star of what happened yes- the Prez Sez column on page 2 for terday, but that’s not the real reason more on Norman Hedman’s next Lin- Former NJO musician has fond for my note to you—only a general coln appearance. memories whine. I missed (see?) hearing Stan Saxophonist Talley grateful to BMF I just received my first copy of Kessler when he was here for Jazz in your newsletter, the Summer/Fall June as part of Sons of Brasil. I am Thanks again for your wonderful hos- 2002 issue. I lived in Lincoln, Ne- thoroughly smitten with Cuban and pitality. We had a great time in Lin- braska, from April 1975 until May Brazilian music right now and would coln, and Omaha went well, too. 1977, and I played trombone with the love to find a CD of the Sons of Brasil Thanks for your invitation for a re- Nebraska Jazz Orchestra during those if one is available. I remember Stan turn engagement. Maybe we can put formative years when John Tavlin was when he was with the Youth Sym- something together for next school getting the band organized. phony in Kansas City in the ‘60s (can year or maybe fall ’04. Be sure to let Great times… great musicians… you believe it?) and heard him play me know when you plan to come to and lots of fun. from time to time with the Flat Five— KC. what a long time ago. I have searched Dick Sharpe the Internet for a Sons of Brasil re- Doug Talley Louisville, Ken. cording and fine none. Can you tell Kansas City, Mo. Webcasting Jazz radio streams on the Internet

WBGO (Newark, N.J.) Jazz on the Web Orleans area and beyond. Playing http://www.wbgo.org/ http://www.jazzradio.net/ blues, jazz, Cajun, zydeco, gospel, WBGO is America’s premier jazz Brazilian, Caribbean and a whole radio station serving the jazz WWOZ (New Orleans) lot more, WWOZ keeps the music capital of the world, the New York http://www.wwoz.org/ and musical heritage of the and New Jersey metropolitan area. WWOZ is a listener-supported, Crescent City alive. volunteer-operated radio station in Jazz at Lincoln Center New Orleans. Its broadcast signal KKJZ (Long Beach, Calif.) http://www.jazzradio.org/ reaches the entire metro New http://www.kkjz.org/

Page 24 Berman Music Foundation Jazz

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