October 2009.Pmd

“The Rest of the Story” by Ahmad Alaadeen, offers music instruction and jazz history.

New book tells "The Rest of the Story" ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

By Grace Sankey-Berman ○○○○○○○○○○○○○○○○○○○○○○○○○

KANSAS CITY, Mo.—Ahmad Sankey-Berman Grace by Photo Alaadeen has written a jazz instruction October 2009 manual called “The Rest of The Story,” Vol. 14, Number 4 which the Berman Music Foundation helped to publish. It is a collection of music and lessons the Kansas City saxophonist compiled over many years, with fascinating stories about his music In this issue career. On Aug. 2, I attended a book- Ahmad Alaadeen and Fanny at book- signing event at the Musician Mutual signing in Kansas City BMF history documented...... 3 Institute. Lincoln Center Jazz review...... 4 It was also a celebration of sic from an early age, but said that he Alaadeen’s 75th birthday. A cross sec- could not have published this book with- John Kay & Steppenwolf review...... 5 tion of the Kansas City arts community out the persistence of his long-time part- Andrea Marcovicci review...... 6 was in attendance, including Stan ner and manager, Fanny. His face lit up Wycliffe Gordon review...... 7 Kessler of the Sons of Brasil and when he spoke of Fanny, whom he re- Mulgrew Miller Trio review...... 8 Sharon Valleau of Kansas City fers to in his book as “the heartbeat Barbeque and All That Jazz, which pro- next to mine.” Mark Eisenman Quintet review...... 9 vides hospitality services for visitors He also credits her for saving his Les Paul memorial...... 10 who want to combine the food and the life. He had met Fanny after a gig when Johnny Smith birthday tribute...... 11 music that have made this city famous. she asked him if he could introduce her Tomfoolery: Trip to Toronto...... 12 As I walked into the room, to someone who could teach her how Alaadeen was sitting at the back of the to play the saxophone. He volunteered Jazz on Disc reviews...... 14 music room with his saxophone sitting to be her teacher and they’ve been to- Jazz Essentials, Part 1...... 17 on a stand next to him. He was dressed gether ever since. At that time he was Feedback: Letters to the Editor...... 19 to the nines—black suit, gold tie and sick and wouldn’t go to the doctor, but handkerchief and a fedora hat. His ap- Fanny insisted that he go. The news From the Photo Archives...... 20 pearance was very distinguished and was not good. When he finally got to the whole atmosphere of the room re- the doctor, he found out he had bladder minded me an old jazz club. cancer. She helped to nurse him back Alaadeen credits his family for pushing him to write and practice mu- Book-signing continued on page 2

Page 2 Berman Music Foundation Jazz

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Book-signing continued from page 1 His earlier influences include McShann in Kansas City. Over the Charlie “Bird” Parker, John Coltrane years he played in Chicago, Houston, to health. and Miles Davis. He first met Bird in New York, Denver and San Antonio. His goal for writing a jazz manual 1951 at a night club in Kansas City. He While living in Chicago he became a is to encourage upcoming jazz musi- said the alto saxophone master was a Muslim, which he credits for changing cians to play from the heart and to be big guy who could play any song with his life. He even had a chance to play more creative. Most of them train at any band without practice. That night with Miles but turned it down because “jazz factories” where they learn to play Bird played with Woody Herman and of his new-found religion. technically well but, he asked, “Where when Woody asked Bird about what A great band consisting of some is the beef?” The music usually lacks songs they should play he replied, of Alaadeen’s students and Roger feeling, he said. Yet, he remains excited “Whatever you want to play.” And they Wilder on piano played throughout the about the future of jazz because of the went on to play great music. evening. Alaadeen sat in with the band many young musicians—like former Alaadeen plays tenor and soprano and played two songs from his 2005 Alaadeen apprentice Logan Richard, a saxophones, but alto mastered the flute, “New Africa Suite” CD. The band con- senior at the Paseo Academy of Visual clarinet and oboe. He was overjoyed tinued to play with various KC musi- and performing Arts—who are produc- to play with old-timers like Ella cians sitting in while Alaadeen ing great jazz. Fitzgerald, Billy Holiday, Rufus, and Jay autographed books.

Alaadeen book combines instruction and jazz history ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Ahmad Alaadeen’s skill as an edu- 1950s. Like his lectures, it includes per- Musicians Union Local 627, the Orchid cator has been acknowledged by the sonal philosophy and an insider’s glimpse Room, and Miles Davis. Berman Music Foundation at least since of some of the greats. He modestly As fellow Kansas City saxophon- December 1998, when the BMF claims to be a “street musician or one ist and educator Bobby Watson writes brought the renowned saxophonist from who learned from the oral tradition by in his testimonial blurb: “With this book, his home in Kansas City to conduct a listening to the musicians on the street, Alaadeen has opened the door to the series of workshops at the University asking questions, going to jam sessions, complex mind of the jazz musician. The of Nebraska-Lincoln School of Music. and experimenting through trial and er- information inside this book is extremely You can read my account of that ror,” but he also received formal train- personal and informative at the same appearance in the January 1999 issue ing at R.T. Coles High School, where time. It is very specific but still leaves of the BMF newsletter. It was part per- he studied music four hours a day. room for the user to discover for them- sonal jazz history and part demonstra- Alaadeen stresses the importance selves their own paths to self expres- tion of jazz style, with pianist Tom of an individual sound, a sound that is sion using the information provided.” Larson and bassist Rusty White accom- impossible to achieve by acquiring aca- For more information or to obtain panying Alaadeen, who also proved a demic technique alone. The book of- a copy of “The Rest of the Story,” con- witty storyteller. fers many tips on how to reach that tact Fandeen Publishing Company at Noting that “jazz has been el- unique sound, that personal identity. 6610 W. 67th St., Overland Park, KS evated to America’s classical music,” “I’m a firm believer in the rule of 66202 or visit www.alaadeen.com. he related his own less dignified intro- discovery,” he writes. “I never give my Recommended listening: duction to the music. He said his par- serious students a complete outline of • “And the Beauty of It All: Bal- ents and their generation thought you what they should be playing as a solo- lads,” Alaadeen, ASR Records (2007) would go to hell if you listened to jazz. ist. I only give examples of what I was • “New Africa Suite,” Alaadeen, “Well, welcome to hell,” Alaadeen taught or other harmonies or chord for- ASR Records (2005) deadpanned. mations that I discovered by extending • “Time Through the Ages,” His new book, “The Rest of the my mind past what was given to me.” Ahmad Alaadeen, ASR Records (1997) Story: Jazz Improvisation and History,” The book ends with a series of • “Plays Blues for R.C. and vignettes and historic photographs fea- combines instruction for advanced stu- Josephine, Too” Alaadeen and the turing Jay McShann, Miss Brown’s af- dents and a fascinating view of Kan- Deans of Swing (1995) sas City jazz in the 1930s, 1940s and ter-hours club, R.T. Coles High School,

October 2009 Page 3 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ BMF history documented online

“No negative thinking can be allowed, if our jazz garden is going to continue to bloom. If everyone is aware of how cool this really can be, it will be a gasser.”

-- Butch Berman, BMF newsletter, November 1995 The BMF Newsletter is published online at:

By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ www.bermanmusicfoundation.org The offices and museum of The Berman Music Foundation Thus wrote Butch Berman in his are in the Skylight Gallery, The first contribution to the BMF newslet- Burkholder Project, 719 P St., ter. He was addressing the need for Lincoln, NE 68508. community support of live music, especially jazz, but he also was expressing Editor and Designer: Tom Ineck the hope that this publication would make a difference. With the latest develop- Contributing writerswriters: Dan ments, we are trying to ensure that his Demuth, Tom Ineck and Grace vision for the BMF remains alive. Sankey-Berman All available issues of the BMF Photographers: Dan newsletter—65, at last count—are BMF newsletters from October 1995 Demuth, Tom Ineck, Grace now online in PDF format. For the first (left) and July 2009 Sankey-Berman, Claus Weidner time since the foundation was formed and others (Courtesy Photos in the spring of 1995, website visitors listing of upcoming local performances, and File Photos) can peruse its entire documented his- brief CD reviews and editorial columns. For inclusion of any jazz or tory. Artist interviews, features on re- The design became more attractive, blues related events, letters to cording sessions, concert and CD re- going from two columns to three and the editor or suggested articles, views, travel stories, original photo- adding more original photos, eventually mail them to the office, phone graphs and commentary of every sort in full color. Most recently, we adopted (402) 261-5480 or e-mail are included, creating a panoramic view a new BMF logo for the newsletter, de- [email protected]. of a whole era of jazz and other Ameri- signed by a longtime friend of the foun- To be added to our mailing list, can roots music, not only in Lincoln and dation, Lincoln graphic artist Reynold call (402) 261-5480 or Omaha, but in Kansas City, Mo., To- Peterson. A more generic symbol, it e-mail peka, Kan., Chicago, San Francisco, affirms the BMF mission to protect and [email protected]. New York City and beyond. promote all forms of American music. The Butch Berman Originally, the newsletter was pub- It soon will be adapted to the website. Charitable Music lished in a hard-copy edition only, and My association with the Berman Foundation is a non-profit, tax then mailed to hundreds of jazz fans Music Foundation began with the exempt, 501(c)(3) private nationwide. As it grew in size—often newsletter’s July 1996 edition, for foundation recognized by the exceeding 20 pages—the cost of print- which I wrote a couple of CD reviews, Internal Revenue Service and the Nebraska Department of ing and postage became prohibitive, so an overview of that summer’s Jazz in Revenue. It was established in in January 2003 it became an online- June concert series and a review of a the spring of 1995 to protect only publication. Since then every issue recent performance by the Dave and promote unique forms of has been archived on the BMF website, Stryker Quintet in Omaha. From the American music. but earlier issues remained rare and perspective of more than 13 years later, Trustee: Tony Rager unavailable to the general reader. it was an inauspicious beginning to a Since its ragged but righteous, very important part of my life. It is very Consultants: Grace Sankey- four-page debut in October 1995, the satisfying that—finally—readers, Berman, Russ Dantzler, Kay newsletter has gone through many friends and fans of the Berman Music Davis, Dan DeMuth, Tom Ineck, changes. It quickly grew to eight, 10 Foundation have the complete BMF Gerald Spaits, Leslie Spaits and Wade Wright and 12 pages monthly, primarily as a opus at their fingertips. Read on!

Page 4 Berman Music Foundation Jazz

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Marsalis name draws full house at Lied ○○○○○○○○○○○○○○

By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Courtesy Photo Courtesy LINCOLN, Neb.—No other name on today’s jazz scene has the proven ability to fill nearly all of the 2,200 seats at the Lied Center for Perform- ing Arts except Wynton Marsalis. He has done it before and he did it again Oct. 7, fronting the formidable Jazz at Lincoln Center Orchestra. As the debut performance of the Jazz at Lincoln Center Orchestra with Wynton Marsalis (middle, with trumpet) Lied Center’s 20th anniversary season, it couldn’t have been a more auspicious bone solo. Iowa, is no stranger to Nebraska jazz occasion. The 15-piece big band has Marsalis finally tapped the stan- fans who first witnessed his astound- been the resident jazz orchestra at Lin- dard jazz repertoire with Wayne ing skills as a teenaged guest soloist with coln Center since 1988, and under the Shorter’s “Free for All,” which had the Nebraska Jazz Orchestra. Confirm- leadership of the famed New Orleans- outstanding solos by Victor Goines on ing what we have known about Kisor bred trumpeter it has established a tenor sax, Elliott Mason on trombone for many years, Marsalis described him worldwide reputation for excellence in and Marcus Printup on trumpet. Lou as “a freak of nature” on his horn, ca- composing, arranging and instrumental Donaldson’s “Blues Walk” was a trib- pable of playing difficult lip exercises proficiency. ute to the uniquely American music style that no one else can perform. Consid- No prima donna, Marsalis leads that Marsalis referred to as “our na- ering the source, that’s quite a compli- the band from a seat in the back row, tional anthem.” Indeed, the arrangement ment. Marsalis also thanked Kisor’s just another player in a star-studded by alto saxophonist Sherman Irby was parents, who were in the audience. trumpet section. He modestly played the rife with the blues, as he and pianist Dan From Duke Ellington’s late-period leadership role simply by introducing the Nimmer exchanged classic call-and- “New Orleans Suite,” Marsalis intro- tunes and offering brief comments and response phrases. duced “Portrait of Mahalia Jackson” proper credit for his many talented ar- The orchestra opened the second with a slow, bluesy trumpet obbligato, rangers and soloists. half of the concert with a piece Marsalis muting the horn with a plunger. The As an introductory nod to the Mid- wrote for the Vitoria Jazz Festival in trombones “shouted” in gospel fashion, western setting, the band kicked off Spain. Rhythmic hand claps conveyed and Irby turned in a soulful flute solo in with a swinging version of the familiar a flamenco feel, leading to a Marsalis keeping with the African-American children’s song “Old McDonald Had a trumpet solo, a swaggering baritone sax spiritual. It must be noted that drum- Farm.” Saxophonist Ted Nash’s ar- statement by veteran Joe Temperley mer Ali Jackson contributed to every rangement included simulated barnyard and a trombone solo by Vincent performance with a wide array of per- cried from the horns, a tenor sax solo Gardner. A pair of Thelonious Monk cussion skills, while remaining tasteful by Walter Blanding and a growling, tunes began with a Gardner arrange- and unobtrusive. slurred trumpet statement by Marsalis, ment of “Light Blue,” imaginatively fea- A standing ovation brought a sex- who deftly employed a derby mute for turing piccolos and clarinet and Nimmer tet of players back to the stage for a vocal effect. Remaining in the nursery, faithfully rendering the melody before brief set combining a mid-tempo blues the band followed with a creepy contributing an original piano solo. tune and a bebop blazer. Marsalis led Marsalis arrangement of “Itsy Bitsy Trombonist Chris Crenshaw arranged the charge, with saxophone, trombone, Spider.” It could have been sub-titled “Epistrophy” to feature Ted Nash on piano, bass and drums in hot pursuit, a “The Arachnid Blues,” with its crawl- alto sax, Carlos Enriquez on bass and nice contrast to the earlier orchestral ing pace, its colorful use of two flutes Ryan Kisor on trumpet. jazz. and clarinet and a plunger-muted trom- Kisor, 36, a native of Sioux City,

October 2009 Page 5 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

Steppenwolf continues to rock and rebel ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—The Labor Photos Courtesy most overtly political album. Day appearance by John Kay and Steppenwolf at the Nebraska State “And though the past has its share Fair was almost as good as that magic of injustice, carpet ride we first took more than Kind was the spirit in many a way, 40 years ago. But its protectors and friends have These hardened road warriors been sleeping, have shortened their tour schedule and Now it's a monster and will not even spoken of retirement in recent obey.” years, so it was a rare privilege to once John Kay again witness the full power and Or as Kay reminded his audi- prowess of The Wolf, their youthful, the band’s tradition of original good- ence, “The Constitution does not say 65-year-old leader stalking the stage time tunes. They paid homage to the ‘We the corporations’ or ‘We the lob- like the band’s lupine namesake, blues with “Hoochie Coochie Man” byists.’ It says ‘We the people.’” growling the familiar lyrics in his trade- and “Hey Lawdy Mama” and even The set list also included fine mark baritone. John Kay remains one dipped into country with the Hank performances of Hoyt Axton’s anti- of the most vital proponents of the Snow classic “I’m Movin’ On,” which drug song “Snowblind Friend,” “Who music genre now known as Ameri- Kay first recorded for his 1972 solo Needs Ya,” “Ride With Me” and cana, a blend of blues, roots rock, folk release “Forgotten Songs and Unsung “Screaming Night Hog,” dedicated to and country influences. Heroes.” It is his deep-seated respect the band’s many biker friends. Sav- Ironically, Kay (born Joachim for the history of American music that ing the best for last, they concluded Fritz Krauledat in Tilsit, East Prussia) makes Kay one of the great interpret- with “Magic Carpet Ride,” “Born to was first introduced to American roots ers of song, as well as a formidable be Wild,” and an encore rendition of music via U.S. Armed Forces radio composer. “The Pusher,” also written by Axton. after the family moved to East Ger- His most lasting contribution as The multitalented Michael Wilk many. When he was 14, they relo- a songwriter may be “Monster,” a has anchored the essential keyboard cated to Toronto, where he formed nine-minute suite that encapsulates role since 1981, as well as providing the band Sparrow. After a brief stay the history of America—the good, the harmony vocals and bass lines and in New York City, the band finally bad and the ugly. As Kay said in his even maintaining the band’s website. landed in Los Angeles, changed their stage introduction, the song continues Drummer Ron Hurst has been with name to Steppenwolf—after the to resonate 40 years after its release the band since 1984 and guitarist novel by Hermann Hesse—and re- as the title track of Steppenwolf’s Danny Johnson joined in 1996. With leased their first record in 1968. The Kay adding rhythm guitar, slide guitar single “Sookie Sookie” was the soul- and harmonica to the mix, these guys ful cover of a song by Don Covay and have developed a high level of musi- Steve Cropper, but it was the follow- cal compatibility and obvious cama- up hit, “Born to be Wild,” that put the raderie. band on the map. For the complete Steppenwolf In 2009, Kay and his veteran story, narrated by Kay, see the 2008 bandmates still kick off their concerts DVD “A Rock ‘n’ Roll Odyssey.” with “Sookie Sookie.” From there, Using archival footage and interviews they sampled the best from the entire with past and current band members, Steppenwolf songbook. “Rock Me” it chronicles the 40-year journey of and “Rock and Roll Rebels” captured John Kay and Steppenwolf one of the great American rock bands.

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Cabaret chanteuse Marcovicci toasts Astaire ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

BROWNVILLE, Neb.—By os- Tom by Photos Ineck movies, from “The Carioca” to “The mosis, the classic compositions of Tin Continental” to the nadir of the genre, Pan Alley are firmly ingrained in the Irving Berlin’s “The Piccolino.” American psyche. Even if we don’t She also included lesser-known know their origins, the melodies and tunes, like “A Needle in a Haystack,” words of the Great American Songbook “I’ve Got My Eyes on You,” and “I are everywhere—in film, in television Used to Be.” No tribute to Astaire and in the very roots of our shared pop would be complete without Gershwin. culture. She obliged with takes on “He Loves It is important for us to know and She Loves,” “S’Wonderful,” and where they came from and acknowl- “They Can’t Take That Away From edge the composers and singers of the Me.” She sang the last one while seated Golden Age of popular song, roughly on the piano and followed it with a stir- 1920 to 1950. Through the years, caba- ring rendition of “One for My Baby ret singers have served as genial instruc- (and One More for the Road).” tors and exemplars of the song form, The second half of the show was faithfully carrying on the tradition, devoted to the art of the dance. chiefly in big city night clubs, dinner the- Marcovicci travels with a framed, Marcovicci sported a black tuxedo, aters and concert halls. autographed portrait of Fred Astaire. white dress shirt and black tie and car- Occasionally, they make an ap- rying a top hat. It made her look even pearance at the Brownville Concert Hall sexier than she did in the earlier, more in rural Nebraska, a former church in revealing costume. She brilliantly es- its 19th year presenting a series of world- sayed the terpsichorean muse with the class performers, including some of the standards “Steppin’ Out,” “Let’s Face great cabaret singers. Most recently, the Music and Dance,” “Dancing in the Andrea Marcovicci and pianist Shelly Dark,” “Cheek to Cheek,” “Change Markham came to town for three per- Partners” and the more obscure formances celebrating songs associated “You’re So Near and Yet So Far.” with Fred Astaire. We were there for Markham, who until now had per- the two-hour, Sept. 13 matinee. Marcovicci sits atop a grand piano for formed discreetly as piano accompa- In the grand tradition of cabaret, dramatic effect. nist, sang harmony on “Since I Kissed Marcovicci’s act is an audience-pleas- My Baby Goodbye.” Marcovicci lav- ing mix of vocal talent, flamboyant cos- Day” and “Something’s Gotta Give.” ished praise on Markham for his ex- tumes, music history, personal In rapid order, she delivered classic ren- tensive work as her music director and storytelling, humor and good-natured ditions of “A Foggy Day,” “Isn’t This a record producer. They closed with “You flirtation. For “Andrea Sings Astaire,” Lovely Day (To Be Caught in the Were Never Lovelier” and “The Way she began by taking a framed portrait Rain),” and the gorgeous “This Heart You Look Tonight.” of the renowned singer-dancer from the of Mine.” From the musical “Funny In a well-paced show, Marcovicci grand piano and relating her long-time Face,” she performed a syncopated alternated between song and story, in- crush on the man and his music. She “Let’s Kiss and Make Up.” cluding a discussion of the relative mer- noted with pride that Astaire had per- A devoted musicologist with a rare its of Astaire’s dance partners, from his sonally autographed the portrait. sense of humor, Marcovicci told of the sister, Adele, to Ginger Rogers, Eleanor Still caressing the photo, popularity of dance numbers as they Powell, Rita Hayworth, Audrey Marcovicci launched into “Night and were written and choreographed for the Hepburn and others. She also noted that

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Astaire and Rogers were a perfect compatible by nature. dramatic effect and a deep respect for vocal match, implying that their Mid- As a singer, Marcovicci combines lyrical content. After “Andrea Sings western roots—Astaire in Omaha and the best of the cabaret style, a full- Astaire,” her audience left feeling both Rogers in Missouri—had made them throated voice with lots of technique, entertained and informed. Concert Review

Trombonist Gordon swings the jazz tradition ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

BROWNVILLE, Tom by Photo Ineck Swing,” taken at that famil- Neb.—Wycliffe Gordon’s iar Basie jump blues tempo. bluesy, tradition-laden Again, Gordon used the trombone sound has been plunger to create soulful ubiquitous since he first wah-wahs and growls then came on the scene as an joined with Bowman as he important element in the walked the bass. Wynton Marsalis Septet The second half be- of 1989. He established his gan with a mid-tempo “Just reputation in that historic Friends,” with Martin es- group, as well as the Lin- saying a breezy, Garner-like coln Center Jazz Orches- flow during his solo. Gor- tra, and since 1996 he has T.J. Martin, piano; Wycliffe Gordon, trombone, Bob Bowman, don sang “On the Sunny recorded nearly 20 CDs bass and Ryan Lee, drums, at Brownville Concert Hall Side of the Street” with the under his own name. irrepressible joy it deserves. Martin Gordon is a well-traveled road ing on the horn and even singing a few stated the theme of Dave Brubeck’s warrior. In addition to several appear- lines in the raspy, soulful manner of “In Your Own Sweet Way” on the pi- ances with the Marsalis combo and big Louis Armstrong. Martin, Bowman and ano before turning it over to Gordon and band, I have seen him in performance Lee got enough solo time to establish Bowman for their own solo statements with fellow trombonist Ron Westray in their own credentials. and finishing with his own variations. Kansas City, Mo., and as a guest solo- A mid-tempo “I’ll Remember Gordon’s ballad “Savannah Song” ist at two Topeka jazz festivals (in 2002 April” proved a goldmine for an adven- was a complex composition beginning and 2004). Most recently, Gordon turous piano solo and some expert with a brief piano intro, the trombone brought his road show to the Brownville drumming, as Gordon’s lyrical trombone stating the melody along with some Concert Hall for a July 12 matinee, soared to the upper ranges. Thelonious lovely Arco bass, and then another pi- along with KC-based accompanists T.J. Monk’s “Rhythm-a-ning” began with ano solo before Gordon’s trombone Martin on piano, Bob Bowman on bass some fancy triple-tonguing trombone, brought it to a close on a high note. Lee and the young Ryan Lee on drums. lead to an aptly angular piano solo and showed his sensitivity on brushes dur- Though somewhat unfamiliar with finished with a Gordon solo that shifted ing a moving rendition of “Body and his bandmates, Gordon’s thorough pro- to double time and stop-time while build- Soul,” with Gordon stating the familiar fessionalism and charming stage pres- ing in intensity. melody and the piano taking the bridge. ence helped them rise to the occasion. “Amazing Grace” seemed espe- Finishing in grand style, Gordon It also helps that much of his repertoire cially appropriate for a Sunday concert, gave “Hello Dolly” and “It’s a Won- is drenched in the swing tradition and is and it received the deluxe treatment, derful World” the Armstrong treatment, well known to most jazz musicians. including a growling plunger solo, a great singing, scat-singing and blowing the The familiar opener, “It Don’t bowed bass solo, stately piano chord- horn with everything he had. It was a Mean a Thing (If It Ain’t Got That ing and a final horn solo that “testified” rousing finale to a memorable perfor- Swing)” set a casual mood and set the with shouts and moans. As a tribute to mance. In its 19th season, the Brownville audience at ease. He utilized the plunger the Kansas City jazz tradition, the band Concert Hall series is still bringing mute for a bluesy introduction, vocaliz- finished the first set with “Moten world-class music to rural America.

Page 8 Berman Music Foundation Jazz

Jazz Showcase maintains 62-year reputation ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

CHICAGO—The venerable Tom by Photo Ineck Congress Plaza Hotel on Michigan Avenue by Grant Park is definitely on this city’s hectic, well-beaten path. But just a few blocks off the beaten path, at 806 S. Plymouth Court, is one of the world’s most famous jazz clubs. The Jazz Showcase has been op- erated by Joe Segal since he started booking music for Roosevelt Univer- sity in 1947. That’s right. Segal, 83, has been at the helm for 62 years, bringing the best jazz available to Chicago, moving from one venue to another as ne- Mulgrew Miller Trio at Joe Segal’s Jazz Showcase in Chicago. cessity dictated but never abandoning his mission to present live, world-class Jazz Institute of Chicago. Children ages 1987 Russian River Jazz Festival. jazz. I was last at the Showcase in 1988, 12 and under are admitted free. The So, it was with much anticipation when the club was housed off the lobby early Sunday show also allows jazz fans that I awaited the performance of this of the Blackstone Hotel. It was the to get home by a reasonable hour. piano master, perhaps as close to Os- place to be after performances of the On the day we were there, the car Peterson’s heir apparent as we’re 1988 Chicago Jazz Festival wrapped policy appeared to work pretty well, with likely to hear. He began with a lyrical, up and musicians sought a more infor- some obvious grandparents and grand- mid-tempo rendition of “A Sleeping mal club setting. children in attendance and quite a few Bee,” and proceeded to accelerate Much has changed since then, but others, as well. Of course, a perfor- mightily on “You and the Night and the not that special vibe at Joe Segal’s Jazz mance by pianist Mulgrew Miller is rea- Music,” with Riggins effortlessly driv- Showcase, as my wife and I discov- son enough to make the effort. ing the tempo. Miller’s “Carousel” was ered when we walked from the Con- Miller was accompanied by young a Latin tune featuring a bass interlude gress Plaza Hotel to the club July 19 bassist Ivan Taylor and the amazing and slyly quoting a children’s ditty. for a 4 p.m. Sunday matinee perfor- drummer Karriem Riggins, a former Miller launched into “What Are mance by the Mulgrew Miller Trio. member of the Ray Brown Trio who You Doing the Rest of Your Life” in a Despite the daylight hour, the 170-seat has also performed or recorded with gorgeous ballad style before moving club maintained that soft-lighted ambi- Betty Carter, Diana Krall, Oscar uptempo. Riggins, on brushes, proved ence conducive to live jazz, and the Peterson, Bobby Hutcherson, Ron a master at any speed. The drummer walls displayed dozens of old photos and Carter, Cedar Walton and others. locked into a solid, soulful pocket on a other memorabilia. Miller himself has 15 recordings bluesy, mid-tempo “What a Difference The jazz matinee is a relatively of his own since his debut as a leader in a Day Makes.” Duke Jordan’s classic new phenomenon across the country, 1985, plus dozens of others as a bopper “Jordu” was taken at a blazing with clubs attempting to augment their sideman with Art Blakey, Donald Byrd, tempo, allowing Miller to illustrate his aging audiences by encouraging folks Betty Carter, Freddie Hubbard, Johnny mastery over the entire keyboard. to introduce their children and grand- Griffin, Benny Golson, James Moody, A gentle, soft-spoken man, Miller children to this priceless American art Dianne Reeves and Woody Shaw. One thanked the audience for coming out form. At the Showcase, there are spe- of his most memorable associations was on a Sunday to listen, suggesting that cial matinee discounts for students, with the great Tony Williams Quintet jazz was an alternate form of worship musicians, seniors and members of the of the mid-1980s, which I saw at the “if you didn’t go to church.” Amen.

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On a somewhat bizarre, and dis- ing music.” As we left the club, he was letter. He and Grace had just returned cordant, note, Segal then took the stage still arguing his point with a Jackson fan from their honeymoon trip to Chicago, to briefly thank the audience for their at the bar. Perhaps it is his crankiness where they had spent two evenings at patronage, and proceeded to harangue that has kept the curmudgeonly octo- the club (with drummer Roy Haynes them about what he sees as the demise genarian going all these years. one night and clarinetist Buddy of jazz. Alluding to the recent death of Butch Berman shared his impres- DeFranco the next). He was under- Michael Jackson, he blamed the King sions of Joe Segal and the Jazz Show- standably enthused. of Pop and Elvis Presley for “destroy- case in the October 2003 BMF news-

Concert Review

Toronto’s live jazz scene depends on The Rex ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

TORONTO—Travel Tom by Photo Ineck cians and flinching in fear of fly- plans to a city I’ve never vis- ing spittle from their horns. While ited always involve research- the sound was grand from that ing available music venues. Pre- proximity, I later moved to the paring a trip to Ontario’s capi- bar for a better view. tal city, I found there are few I arrived as the band was jazz clubs in this metropolis of counting off the first tune, Cole 2½ million people (5½ million Porter’s “Everything I Love.” in the greater Toronto area). Eisenman introduced one of his In fact, only one club The Mark Eisenman Quintet at The Rex in Toronto cleverly titled compositions, stood out from the rest. The “Fathom,” as a tune based on Rex Jazz & Blues Bar, adjacent to The half a dozen recordings of his own. the changes for “How Deep Is the Rex Hotel at 194 Queen Street West, I decided that any band that in- Ocean.” The beautiful “Ballad for is a night spot favored by local jazz buffs cluded the reed virtuoso was worth Benny” is a tribute to saxophonist for 20 years. One loyal patron told me checking out, and I was not mistaken. Benny Golson. The hard-bopping “Ap- it is the last great jazz club in Toronto, The rest of the quintet consisted of parition” is the title track from the which used to boast several world-class leader and prolific composer Mark pianist’s 2006 release on Cornerstone. venues. The Rex hangs on, making the Eisenman at the piano, trumpeter John A rather unusual but effective most of a prime downtown location and MacLeod, bassist Steve Wallace and choice was Dave Frishberg’s “Saratoga a policy of heavy jazz and blues book- drummer John Sumner. In format, it Hunch,” sans lyrics. LaBarbera was ing. For the month of July, the club listed was a typical bebop quintet, but its front- featured on soprano sax on the waltz 72 shows on its calendar! Most are lo- line soloists were atypically imaginative “My Mind,” based on the classic “On cal artists who vary greatly in quality. and accomplished. LaBarbera and Green Dolphin Street.” Eisenman’s During my three-day stay in the MacLeod ran unison lines with ease, “Bird’s Assurance” is another cleverly city, the schedule included a group of then alternately soared on their respec- titled tune, obviously inspired by Charlie jazz veterans that caught my attention. tive horns in extended, frequently ex- Parker’s “Confirmation.” The Mark Eisenman Quintet featured citing solo passages. Despite its cramped quarters and Pat LaBarbera on saxophones, a New After a brisk, 20-minute walk from somewhat down-in-the-heels condition, York native and older brother of drum- my room at The Bond Place Hotel, I The Rex Jazz & Blues Bar has a com- mer Joe LaBarbera and arranger/trum- paid the cover charge for the 9:45 p.m. fortable, well-worn ambiance and a peter John LaBarbera. He toured and show and slipped into the last remain- well-deserved reputation, drawing an recorded with Buddy Rich, Elvin Jones ing seat—just inches from the bandstand enthusiastic Thursday night crowd of and others. Since moving to Canada in and directly in front of LaBarbera and jazz lovers. Many of them gathered af- 1974, he has recorded with Rob MacLeod! My vantage point had me terwards to chat with the musicians and McConnell, Kevin Mahogany, Ranee alternately peering over their music enjoy one more for the road. Lee, and Gap Mangione. He also has stands in an attempt to see the musi-

Page 10 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Colorado Correspondent

Growing up with guitarist Les Paul (kind of) ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Dan DeMuth ○○○○○○○○

PUEBLO, Colo.—It’s a very small farm community in east central Nebraska during that idyllic time between the end of WWII and the Ko- rean conflict. My only access to hearing music is coming from some old 78s and radio. Available radio music fare includes some Polish and Czech ethnic stations in the region, with a handful from Lincoln and Omaha offering occasional programs on the popular hits of the day and, perhaps, hillbilly and western. The closest thing to jazz would be finding a network feed of Martin Block's “Make Believe Ballroom.” Clockwise from left are “Galloping Guitars,” by Les Paul and His Trio, “Jazz Me Songs dominating the various "hit pa- Blues,” by Les Paul and “How High the Moon,” by Les Paul and Mary Ford. rades" bore such innocuous titles (with lyrics to match) as “Cruising Down the On radio in 1948, a definitive week of March 17, 1951, reaching No. River,” “Bibbidi-Bobbidi-Boo,” and sound separate from all others could 1 five weeks later and remaining in the “Dear Hearts and Gentle People.” occasionally be heard, and the pop top 10 through the week of July 21. These "hit parades" were loosely com- charts confirmed that the listening pub- Meanwhile, “How High the Moon” was piled stats from requests to disc jock- lic was taking notice. Lester Polfuss, in the top 10 from May 12 through July eys, band leaders and from plays on better known as Les Paul, had charted 21. By the first week of October they juke boxes. In Omaha, Todd Storz of with “Lover” and “Brazil.” We didn't were back with “The World Is Waiting the brewery family would not initiate hear much the next year but by 1950 for the Sunrise.” the nation’s first "top 40" radio format he had teamed up with Colleen Sum- And so it went, throughout the on KOWH until 1955. mers, aka Mary Ford, and the hits early 1950s—“Josephine,” “Whisper- started coming. A pioneer in multiple- ing,” “Tiger Rag,” “Carioca,” “Just One track recordings, Les' fantastic guitar More Chance,” “Meet Mr. Callaghan,” runs and Mary's dubbed harmonizing “Bye Bye Blues,” “Sitting On Top Of literally created a sound like no other. The World,” “I Really Don't Want to Mary was no slouch on guitar, either. Know,” “I'm A Fool To Care” and per- With their respective back- haps the most memorable of all, “Vaya grounds of country corn to jazz for Les, con Dios.” Actual recording dates are and Mary's western-tinged pop, they not known as they recorded virtually achieved a unique sound. Most records everything at home. would feature a Les instrumental on one Generational tastes and buying side with Les backing a Mary vocal on habits change, as did my listening pref- the other. At times, both sides were erences. Came the rock and roll jug- getting significant airplay and they were gernaut of the mid 1950s and the duo's masters at having one hit on the way popularity waned. In a rather cruel twist up as the one preceding had maxed out. of fate, Les' pioneering guitar work The sheet music for “Mockin’ Bird As an example, “Mockin' Bird Hill” would later be hailed as a major influ- Hill,” by Les Paul and Mary Ford entered Billboard's charts at No. 9 the ence ushering in rock and roll which in

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turn ushered them out to the pasture of in searching out jazz that I ran across of "Rhubarb Red," which are Les’ first has-beens. They were not alone some of Les' earlier works, which in- solo records. (If you've got 'em, let’s there—names such as Johnnie Ray, cluded backing such diverse artists as talk!) My last vinyl purchase was the Ella Mae Morse and Guy Mitchell come blues singer Georgia White in the 1930s "Chester (Atkins) & Lester" LP issued to mind. Ultimately the rigors of touring (over 80 years ago!), Bing Crosby, Dick in 1976. Though I lost track of them and attempting to please the fickle tastes Haymes, and performing with numer- over the years, Les (and Mary) were of the listening public took its toll on their ous jazz masters, particularly on Norman certainly a large part of my listening and personal life. They divorced in 1964 and Granz' JATP recordings. A serious col- learning experience. Mary died in 1977 at the too-young age lector might want to find the four sides Les kept performing up until the of 53. issued on the Montgomery Ward label end, which came on Aug. 13, at the age For me, it wasn't until later years from 1936 on 78 rpm under the name of 94.

Colorado Correspondent

Jazz twofer celebrates guitarist’s 87 years ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Dan DeMuth ○○○○○○○○

COLORADO SPRINGS, Weidner Claus by Photos improvisation?). Our table was in prox- Colo.—Local jazz fans in the Colorado imity to the guest of honor, and I was Springs area were treated to a great able to note the look of quiet satisfac- twofer on June 27, through the efforts tion as he heard his music and the trib- of members of the Pikes Peak Jazz & utes throughout the night. Swing Society. A guitar quartet, if you In the relatively short time I've will, paid tribute to and led the 87th birth- lived in this area I have been fortunate day celebration for the legendary Johnny to meet and call many of the local jazz Smith, a gentleman who has called professionals my friends. Five years Colorado Springs home for many years. Johnny Smith and his birthday cake ago, Johnny granted me an interview Headlining this quartet was Gene (which appears in the BMF Winter Bertoncini, a long-time friend of Johnny's some of both groups having brought al- 2004 online newsletter), at which time whose bio is as impressive as anyone’s bums to get autographed and perhaps he autographed my 78 rpm on the actively performing today. Gene was a photo op with Royal Roost augmented very ably by three other Johnny, who label of his first guitarists, the well-known Dale Bruning, graciously filled solo hit “Moon- who makes his home in the Longmont, all requests. light in Ver- Colo., area; Alan Joseph, who teaches And while the mont.” A copy and performs in the Colorado Springs performances of that label and Denver areas; and Wayne featured some graced the Wilkinson, also a local performer with of Johnny's hits, tables at his cel- impeccable credentials. each guitarist ebration. In ad- Getting the call on drums and bass was allowed to Smith (left) with guitarists Gene Bertoncini dition, some of were Richard Clark and Marc Neihof, showcase a bit and Dale Bruning his LPs from two sterling musicians culled from the of their own tal- my collection incredible pool of jazz musicians in this ents, along with some occasional ban- were a part of the front desk display. I area, a real honor indeed. And while ter recalling their friendship and learn- felt extremely honored. Johnny doesn’t pick up the guitar any- ing experiences with Johnny. In the interim between compiling more, his spirit was definitely in the air Respect was the word of the my notes and the publication of this throughout the evening. evening. A comfortable jam session piece, we lost Les Paul. In retrospect, The SRO crowd at Giuseppe’s feeling prevailed with each of the gui- it is intensely gratifying to have been was comprised not only of listening fans, tarists calling out tunes and the others present at a function honoring a living but many musician fans as well, with joining in after the lead-off (controlled guitar legend.

Page 12 Berman Music Foundation Jazz

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Trip includes Chicago, Toronto, Falls, friends ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

ON THE ROAD—By the time Tom by Photos Ineck Mary Jane and I left Lincoln, Neb., for a two-week road trip in July, our long-term plans to visit friends in rural Pennsylvania had morphed to include stops in Chicago, Niagara Falls and Toronto, with a return jog through Cleveland to see the Rock and Roll Hall of Fame and Museum. Jazz club experiences in Chicago and Toronto are chronicled elsewhere in this newsletter, but travel is never ALL about jazz, is it? Here are just a few none-jazz highlights. We had just two nights in Chi- cago, with full-day drives before and Niagara Falls at twilight from the observation deck after, so our visit there was limited to a few good meals, a walk to the downtown shopping district, a visit to the Art Institute and a pleasant stay at the Congress Plaza Hotel on Michigan Avenue, which is a short stroll from Grant Park and the lake. Knowing that we would cover a lot of unfamiliar territory, we had purchased a GPS system in an attempt to avoid getting lost, failing to ac- knowledge that some of the most in- Hanover House B&B in Niagara Falls Niagara Falls at night teresting and memorable experiences happen while trying to figure out and brochures. Despite its tourist covery Center and other attractions. where the heck you are and how you trappings, the roaring cataract still Still, it was the primordial power of will get to where you want to go. After inspires awe at first sight. The U.S. nature as we stared transfixed above the sweet, female-voiced GPS (which side of the falls is less developed and American Falls and Bridal Veil Falls we dubbed Candy Kane) sent us on more pristine, saved from most of the that continued to amaze. a wild-goose chase across Michigan commercial glitz by the fact that it was Crossing the border—again— and through Canada to get to Niagara named a state park in 1885, making it we made our way to Toronto for Falls, N.Y., we learned to take ev- America’s oldest. From the Hanover three nights at the centrally located erything she said with a healthy dose House bed and breakfast, it was a Bond Place Hotel, where we simply of skepticism. Interstate 90 along five-minute walk to the Niagara River parked our car and relied on the ex- Lake Erie would have gotten us to and another 10 minutes downstream cellent mass-transit system and our our destination with less grief, in less to the falls itself. Like most first-time legs to get us around the city. On a time, but we wouldn’t have seen as visitors, we purchased the all-in-one rainy day, we were able to catch the much of the Canadian countryside. admission, which covers the Maid of subway near the hotel and ride up- Niagara Falls is everything it’s the Mist boat ride, the Cave of the town to the door of the Royal Ontario cracked up to be in the guide books Winds walk under the falls, the Dis- Museum (ROM), where a special

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exhibition of the Dead Sea Arriving mid-afternoon, we Scrolls had just opened. got a room about a mile from During our stay in the Rock and Roll Hall of Toronto, we enjoyed several Fame and Museum. After excellent meals, including a brisk walk, I had just 2½ dinner at the Baton Rouge hours to spend at the mu- restaurant and two break- seum before closing time. fast stops at Eggspectation, It was even more enter- both near the hotel. One af- taining and educational ternoon we road the eleva- than I had anticipated, con- tor to the observation deck taining hundreds of historic of the 1,800-foot CN Tower instruments, outrageous (even for the world's tallest stage costumes, rare pho- building, a rip-off at $24 The Second City cast of “0% Down, 100% Screwed” tographs and other defini- each), then dined at a quaint tive rock ‘n’ roll memora- East Indian bistro nearby before head- bilia. It’s an experience that should ing to The Second City for a hilarious be shared with a fellow rock fan, performance of the new recession- and I couldn’t help thinking how inspired comedy “O% Down, 100% much fun it would have been with Screwed.” Butch Berman along. He never After three hectic days in the made it to the museum, but I know city, it was nice to head south across he would have loved it. the border—again—this time bound There is no better way to re- for Kane, Pa., a borough of about connect with America—and 4,000 people with charming Victorian Canada—and experience the rare A scary view through the glass floor of homes, one of which is owned by our the 1,800-foot CN Tower in Toronto joy of travel than a long road trip friends Greg and Suzy. Much time with no deadlines and only a rough was spent simply relaxing over eats, itinerary. Our reinvigorating sojourn drinks and conversation, but one of housing rare Zippo lighters and Case encompassed 11 nights and 12 days, the highlights of our weekend visit knives. Maybe next time. with overnight stays in six cities and was a day trip to see the remains of Saying farewell to Greg and a round-trip journey of 2,600 miles. the historic Kinzua Bridge, which at Suzy and their gracious hospitality, we But such bare statistics don’t fully the time of its construction in 1882 began our westward return home, but reflect the value of the open road. I was the tallest and longest railway not without a side trip to Cleveland. heartily recommend it. bridge in the world. In 2003, a tor- nado collapsed much of the span as it was being restored. We narrowly missed a stop at the Zippo/Case Mu-

seum, a 15,000-square-foot building Photo by Greg Page Greg by Photo

Tom and Mary Jane at the remains of Rock and Roll Hall of Fame and Museum in Cleveland the Kinzua Bridge in Pennsylvania

Page 14 Berman Music Foundation Jazz

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Scofield embraces Crescent City gospel sound ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

“Just a Little While to Stay Here” and “Walk With Me.” Also making important contribu- tions to the overall sound are George Porter Jr. on bass, Ricky Fataar on drums, John Boutte on vocals and Shannon Powell on tambourine and drums. For full gospel-choir effect, everyone joins in backing vocals and JOHN SCOFIELD hand-clapping as The Hard Regula- MOODY Piety Street tors. 4A EmArcy Records Most of the 13 tracks are drawn IPO Recordings from the annals of the gospel tradi- At least since he hired New Or- tion, but Scofield adds to that tradi- In its hip shorthand, “4A” speaks leans drummer Johnny Vidacovich for tion with his compositions “It’s a Big volumes, and the artist identified simply his 1989 recording “Flat Out,” guitar- Army” and “But I Like the Message.” as Moody needs no introduction. It is ist John Scofield has frequently dis- The former is a rousing gospel march the first release of a stellar James played a penchant for the sounds and with guitar and piano playing the roles Moody quartet captured in two record- rhythms of the Crescent City. That of call-and-response preacher and ing sessions on consecutive days. inclination arrives full-blown from the congregation. “Message” is a soulful Moody, age 83 at the time of this first notes of his latest release, “Piety instrumental strut. July 2008 recording, is in top form, his Street.” Among the familiar classics of phenomenal breath control, keen har- This time, the New Orleans City the genre are “His Eye is On the Spar- monic sense, melodic invention and sly vibe is informed by the traditions of row,” Thomas Dorsey’s songs “The wit intact. And, he is ably accompanied gospel music, but you don’t have to Old Ship of Zion” and “Never Turn by pianist Kenny Barron, bassist Todd be a born-again Christian to enjoy the Back,” Rev. James Cleveland’s Coolman and drummer Lewis Nash. soulful nature of this enterprise. Re- “Something’s Got a Hold on Me” and Nash unexpectedly kicks off “Se- corded at Piety Street Studios in the the traditional “I’ll Fly Away.” One cret Love” at a medium march tempo Big Easy, it veritably reeks of that of the most moving interpretations is that indicates much fun will be had by city’s long musical tradition, steeped Scofield’s version of “The Angel of all. Moody’s own solo statements brim as it is in elements of the blues, jazz, Death,” a country classic by Hank with humor, tossing off quotes from “On soul, country and the island rhythms Williams. At nearly seven minutes, it the Trail” and “Bebop” while keeping of the Caribbean. is the emotional centerpiece of the the mood relaxed. Barron and Coolman Like 2005’s “That’s What I Say: project, with an absolutely hair-rais- contribute brief by sterling solos before John Scofield Plays the Music of Ray ing vocal by Cleary. Nash returns with military precision. Charles,” the guitarist has chosen to At any tempo, Scofield digs into Barron’s classic “Voyage,” a fa- augment his distinctive fretwork with these numbers with a passion. Utiliz- vorite of Stan Getz, Phil Woods and guest musicians and singers befitting ing the wah-wah and his usual bag of other reed men, inspires the best from the occasion. Most notable is the sig- sonic tricks, he wrenches every mor- all. The tune’s odd chord changes in- nificant presence of Jon Cleary on sel of the blues from them, squeezing vite harmonic experimentation. “Round vocals, piano and organ. Cleary’s off notes and bending strings as if Midnight” gets yet another reverent rough-hewn voice perfectly conveys vocalizing the lyrics—and lyrical im- ballad reading, with everyone fully en- the yearning and redemptive spirit of provisations—with his guitar. gaged in its overt romanticism. The “That’s Enough,” “Motherless Child,” rhythm section swings uptempo with

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assurance on “Without a Song,” allow- his tunes often sound timeless on first some very free playing as Simon and ing Moody to stretch his bop chops. hearing. That is a true composer’s natu- McCandless, on oboe, adhere to the Another familiar favorite, “Stella ral gift and a listener’s delight. simple folk melody. By Starlight,” gets a sprightly Latin Over a period of 30 years, Simon’s “Same Difference” is a piano- treatment. “East of the Sun” is a gor- musical associations have ranged from oboe duet with yet another memorable, geous duet between Moody and Barron, guitarists Larry Coryell, Ralph Towner haunting melody. Rodby is featured on perhaps the highlight of the set. It re- and Fareed Haque to violinist Jerry “Ways of Seeing,” exploring the bass’ minds this listener of “People Time,” a Goodman, bassists Steve Rodby and harmonic range from top to bottom in collection of live, profoundly beautiful Michael Manring and reed virtuoso Paul counterpoint to the piano and soprano duets between Barron and Getz shortly McCandless. For his latest, he again sax. “What’s the Magic Word?” is a before the saxophonist’s death in 1991. taps some of his longtime cohorts, cre- delightfully uptempo ramble. Simon in- Moody pays his respects to an- ating a seamlessly cohesive quartet that fuses a Middle Eastern sound on “Song other saxophonist with “Stablemates,” also features McCandless, Rodby and of the Sea,” with McCandless adding a Benny Golson standard taken drummer Mark Walker. to the mood on the duduk and oboe. uptempo. The quartet offers its fare- “Since Forever” has an elegiac At nearly 64 minutes, “Since For- well in waltz time with “Bye Bye Black- quality. In fact, three of the 12 tracks ever” is a generous offering from bird,” on which Moody turns up the heat are memorials. Yet, the recording es- underappreciated composer and pianist in a blazing romp, both Barron and chews cheap, maudlin sentimentality for Fred Simon. Coolman deliver brilliant solos and a more profound, sadness-tinged cel- Moody returns for a coda. ebration of life. The title track, a gor- Needless to say, we await “4B” geous anthem for folksinger and social with much anticipation. activist Pete Seeger, is a well-earned tribute to a living American hero. Simon and McCandless work so well in unison, it’s hard to tell them apart sometimes. On “No War Nowhere,” with McCandless on soprano sax, they simultaneously play the joyous melody, and then go their separate ways for solo QUARTET SAN FRANCISCO statements. Rodby and Walker are per- QSF Plays Brubeck fectly in synch with the tune’s shifting ViolinJazz Recordings time signature. Simon pays homage to his late sis- FRED SIMON ter with “Even in the Evening,” on which A classical string quartet playing Since Forever McCandless weaves intricate oboe the music of Dave Brubeck? Sure, why Naim Jazz lines against dark piano chords, sus- not? It’s no stranger than the Kronos tained by a bass ostinato and flashing Quartet paying tribute to the music of Pianist Fred Simon’s keyboard cymbals. “I Know You Know” is a tan- Bill Evans and Thelonious Monk on style has been unfairly labeled “fusion” talizing jazz waltz with an irresistible classic recordings that iconoclastic four- or “new age,” with all of the negative melody that sends McCandless soar- some made more than 30 years ago. In connotations those narrow confines ing on soprano. fact, given Brubeck’s own classical in- imply. His lyrical touch and keen me- The sole non-original tune is “In a fluences and proclivities, it makes per- lodic sense transcend the merely medi- Silent Way,” included as a memorial to fect sense. tative, and his original tunes haunt the its composer, Joe Zawinul. It is a hard Quartet San Francisco’s approach memory without ever seeming trite. to imagine a more touching tribute. is adventurous, while remaining true to Simon’s latest release, “Since For- “More Often Than Not” is a memorial the original tunefulness and wit of ever” has been haunting me for sev- to friend Patti McKenny, a Chicago Brubeck’s familiar melodies. It is im- eral weeks now. I find myself return- playwright who died of a heart ailment mediately apparent that violinists Jer- ing to it day after day, always discover- in June 2008, at age 57. “Simple Psalm” emy Cohen and Alisa Rose, violist Keith ing some subtle rhythmic change or is a new version of a tune first heard on Lawrence and cellist Michelle Djokic some exquisite harmonic phrase that I a Windham Hill recording many years had missed the last time. Conversely, ago. Walker and Rodby are allowed Jazz on Disc continued on page 16

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Jazz on CD continued from page 15 of hearing these talented musicians in- Hartman session with “A Poetic Jazz terpret my music in such an inventive Memory,” a historical narrative—with bring the requisite technique and sense way,” he writes inside the CD jacket. lush string accompaniment—that in- of humor to the project, injecting flights “It’s an honor for a composer to have creases our anticipation. It documents of fancy throughout the opener, the lilt- his music re-visited by a group such as the fact that although the two princi- ing “Three to Get Ready.” Quartet San Francisco.” We concur. pals had met only the week before, their “Strange Meadowlark,” the long- combined masterpiece would be com- est track at nearly eight minutes, yearns pleted in just three hours, with no charts with the somber beauty and romanti- and no rehearsal. Most tunes were re- cism of its title, but the QSF shows its corded in one take. willingness to improvise with pizzicato The story introduces a medley that passages, unconventional counterpoint begins with a rambunctious rendition of and imaginative harmonies. A sawing the song “Dedicated to You,” featuring rhythmic groove kicks off “The Golden an outstanding piano solo by Hobgood. Horn” and eventually shifts it into jazzy Pizzicato strings embellish the tune with overdrive. In a delightful arrangement bright percussive flashes. Watts returns by Brubeck’s son, Matt, the quartet for a lush instrumental version of KURT ELLING teases with Ellington quotes—”Don’t “What’s New,” another addition to the Dedicated To You: Kurt Elling Get Around Much Anymore,” “I’ve Got original program and a perfect segue Sings the Music of Coltrane It Bad (And That Ain’t Good”)—be- into Billy Strayhorn’s mournful “Lush and Hartman fore launching into “The Duke.” Life.” Elling and Hobgood state the Concord Jazz Of course, no Brubeck tribute opening verse before the rest of the would be complete without a rendition band enters. The singer is especially of “Take Five,” which was actually As Karrin Allyson paid homage to impressive as he soars into a beauti- written by alto saxophonist Paul Coltrane’s classic “Ballads” release of fully controlled falsetto. The medley Desmond during his halcyon days with 1962, Kurt Elling turns his attention to ends with Watts creating a nocturnal the quartet. While the others keep the the timeless “John Coltrane and Johnny mood on “Autumn Serenade.” rhythmic riff pulsing, a violin soars high Hartman” LP of the following year. To “Say it (Over and Over Again)” above before returning the theme to the the rhythm section of pianist Laurence is another great vehicle for Watts’ con- cellist. A brisk waltz tempo enters more Hobgood, bassist Clark Sommers and trolled power and improvisational skills than a minute into “Kathy’s Waltz,” drummer Ulysses Owens, he adds as he caresses the ballad with an ex- keeping the listener on his proverbial tenor saxophone great Ernie Watts and tended solo, setting the stage for Elling’s toes in three-quarter anticipation. a string quartet and performs it for a own vocal magic. The rhythm section The centerpiece is the virtuosic live audience at Lincoln Center in New proclaims “They Say It’s Wonderful” “Blue Rondo a La Turk,” with its driv- York. The result is magical. with swaggering confidence, and ing tempo, interweaving lines, alternat- Commissioned by the 2006 Chi- Hobgood delivers another stunning solo. ing themes and soulful solo improvisa- cago Jazz Festival for the commemo- A second medley begins with “My tions as the QSF morphs into a blues ration of Coltrane’s 80th birthday, Elling’s One and Only Love,” as Elling’s voice band. The more obscure “Bluette” is a tribute is a brilliantly paced program that pairs off with the string quartet in a call- gorgeous ensemble piece of delicate pays its respects to the iconic record- and-response dialogue. It segues nicely beauty and grace. Another highlight is ing while adding something of its own. into a smoothly swaying “Nancy with the brief foray into hillbilly jazz with The original recording lasted only the Laughing Face.” Elling and com- “Unsquare Dance.” Ragtime also gets 31 minutes in six tracks, so Elling and pany finish with one of the most memo- its due with a spirited reading of the arranger-pianist Hobgood added sev- rable songs from the Coltrane-Hartman Brubeck classic “It’s a Raggy Waltz.” eral other standards often associated recording, “You Are Too Beautiful.” “Forty Days” is a workout for the with Coltrane, most notably the open- By nature, Elling’s voice is pitched ensemble, with beautiful harmonies and ing “All or Nothing at All,” on which higher than Hartman’s smoky bass- a haunting melody line. The CD ends Watts demonstrates his own sound, baritone, but he is capable of sliding oddly with a lovely take on the Christ- never attempting to mimic the master. easily through several octaves. It may mas chestnut “What Child Is This?” Elling’s penchant for dramatic spo- not have seemed a likely project, but it Brubeck himself gives this project ken interludes is well served as he sets retrospect it works beautifully. Elling has his stamp of approval. “I got a kick out the scene of the March 1963 Coltrane- scored another triumph.

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Banner year in jazz history is celebrated ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

I have been asked many times over the years to suggest a list of essential recordings for listeners who want to assemble a basic jazz collection but don’t know where to begin. Such an enterprise is subjective by nature, but there are probably 50 or 100 recordings that nearly everyone acknowledges as classics of the genre. Beginning with this edition of the BMF newsletter, my goal is to recommend at least five classic jazz recordings in each issue. In my opinion, these belong in any jazz library worthy of the name, which is not to say that everyone will find them equally compelling. Whenever possible, my comments are based on the best edition of the CD in question. For the debut of this column, the five selections virtually chose themselves. Like the year 1939 in film history, 1959 was a banner year in jazz history, especially on the Columbia label. As a result, the label’s Legacy imprint has produced lavish, re-mastered multi-disc packages celebrating the 50th anniversary of some landmark releases. The first three CDs below fall into this category—”Kind of Blue,” by Miles Davis, “Mingus Ah Um,” by Charles Mingus, and “Time Out,” by the Dave Brubeck Quartet. The other two are equally historic releases of that same year, John Coltrane’s “Giant Steps” and Art Pepper’s “Modern Jazz Classics.” It was a very good year, indeed.

Jimmy Cobb. The first of two discs in this anniversary set contains all of the original recordings from sessions in March and April 1959, plus an alternate take of “Flamenco Sketches” and several brief studio sequences. Among these timeless tunes are “So What,” “Blue in Green” and “All Blues,” which MILES DAVIS stretches beyond 11 minutes. CHARLES MINGUS Kind of Blue For listeners already familiar with Mingus Ah Um (50th Anniversary Edition) these classic recordings, the second disc (50th Anniversary Edition) Columbia Legacy Records is the real revelation. It contains five Columbia Legacy Records tracks recorded in the studio nearly a The recording that introduced the year earlier in preparation for the final Recorded in the same 30th Street world to jazz improvisations based on sessions, including the standards “On Studio where “Kind of Blue” was simple “modal” chord changes, “Kind Green Dolphin Street,” “Stella by Star- “waxed” just a few months earlier, of Blue” is as much about moods as light,” and “Love for Sale,” and two these four productive sessions of May modes. Ranging from slow to mid- versions of Davis’ “Fran-Dance.” Fi- and November 1959 resulted in two tempo and built on mesmerizing, re- nally, the Legacy edition adds a 17- classics, “Mingus Ah Um” and the fol- peated phrases voiced by trumpeter minute performance of “So What,” re- low-up, “Mingus Dynasty,” plus four Miles Davis with typical nonchalance, corded live in Holland in April 1960 with tracks that were first released on a 1979 it still is a relaxing antidote to the fre- a quintet minus Adderley. LP called “Nostalgia in Times Square” netic pace and rapid chord changes of In addition to rare photographs and and three tracks that were later released early bop. Davis’ gifted collaborators informative liner notes by jazz critic on the Mosaic label. At more than 150 on these historic sessions included saxo- Francis Davis, the package contains a minutes, it is a staggering output of phonists John Coltrane and Cannonball digital booklet with an essay, transcrip- music from THE iconoclastic jazz gi- Adderley, pianists Bill Evans and Wynton tions of the session dialog and special ant at the height of his powers as com- Kelly (on “Freddie Freeloader” only), commentary. bassist Paul Chambers and drummer Jazz Essentials continued on page 18

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Jazz Essentials continued from page 17 phisticated, quirky, yet light-hearted ap- many musicians who have tried to proach, the collection of original tunes match its effusive spirit and odd meter. poser, arranger, bassist and bandleader. put the Dave Brubeck Quartet—pia- The date also produced such classic The shifting lineup of the band in- nist Brubeck, alto saxophonist Desmond, Coltrane originals as “Cousin Mary,” cluded Booker Ervin, John Handy, Shafi bassist Eugene Wright and drummer “Countdown,” “Spiral,” “Syeeda’s Hadi, Benny Golson and Jerome Joe Morello—on the map. Song Flute,” the haunting love song Richardson on reeds, Jimmy Knepper The original 38-minute LP se- “Naima” and “Mr. P.C.,” a tribute to on trombone, Richard Williams and Don quencing remains intact on the first of bassist Paul Chambers. Ellis on trumpets, Horace Parlan and three discs here. Disc two contains The core group consisted of tenor Roland Hanna on piano, Teddy Charles nearly an hour of music recorded live saxophonist Coltrane, pianist Tommy on vibes and stalwart drummer Dannie in Newport, R.I., in 1961, 1962 and Flanagan, bassist Chambers and drum- Richmond. Among the immortal tunes 1963. In addition to extended versions mer Art Taylor, with pianist Wynton they documented are “Better Git It In of “Blue Rondo” and “Take Five,” it Kelly and drummer Jimmy Cobb sitting Your Soul,” “Goodbye Pork Pie Hat,” includes the quartet’s unique takes on in on “Naima.” The alternate takes of “Fables of Faubus,” “Self-Portrait in the standards “St. Louis Blues,” “Pen- “Giant Steps” and “Naima” that are Three Colors,” “Open Letter to Duke,” nies From Heaven” and “You Go to My included in the deluxe edition were re- “Bird Calls,” “Pussy Cat Dues” and Head,” plus Brubeck originals “Waltz corded in April 1959 with pianist Cedar “Jelly Roll.” As though to warn—or Limp,” “Since Love Had Its Way,” and Walton, Chambers and drummer Lex entice—the listener, the two-disc pack- “Koto Song.” Like the other 50th anni- Humphries. age contains the descriptive disclaimer, versary Legacy editions, there are lots With “Giant Steps,” his first set of “There are shouts and howls on tracks of rare photos and new liner notes, here all-original material, Coltrane took a gi- rooted in earthy blues and gospel.” written by jazz historian Ted Gioia. ant leap forward and distinguished him- th This 50 anniversary edition also A bonus disc is a DVD featuring self as a formidable composer, arranger offers detailed notes by producer an interview with Brubeck on the mak- and bandleader. Jazz fans already knew Michael Cuscuna, rare photographs, ing of “Time Out,” an animated photo he could play the horn. and a digital booklet that includes origi- gallery and an interactive, multi-cam- The 1990 pressing contains re- nal album notes, previously unpublished era-angle piano lesson. But don’t ex- mastered tracks and five alternate takes, Columbia memos and assorted corre- pect to play like Dave Brubeck. His but is an otherwise modest package that spondences. unique style has yet to be matched! recycles the original liner notes by jazz critic Nat Hentoff.

DAVE BRUBECK QUARTET JOHN COLTRANE Time Out Giant Steps ART PEPPER + ELEVEN (50th Anniversary Edition) Atlantic Records Modern Jazz Classics Columbia Legacy Records Contemporary/OJC Records Shortly after working with Miles The jazz hit of 1959 was “Time Davis on “Kind of Blue,” John Coltrane Not the household name that Out,” which contains not only the entered Atlantic Studios to create his Miles, Mingus, Brubeck and Coltrane memorable “Blue Rondo a la Turk,” the own masterpiece. Primary sessions for have become, alto saxophonist Art Pep- lovely “Strange Meadow Lark” and the Coltrane’s landmark “Giant Steps” re- per is, nonetheless, a major figure in jazz whimsical waltz “Three to Get Ready,” cording were in May and December history, and “Modern Jazz Classics” is but the first million-selling jazz instru- 1959, and the LP was released in Janu- one of his finest hours. To some extent, mental on the Billboard Hot 100, Paul ary 1960. The mind-boggling title track it picks up where Miles Davis’ “Birth Desmond’s “Take Five.” With its so- has become a rhythmic conundrum for of the Cool,” let off a decade earlier,

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employing a large, brassy ensemble and Midnight,” Jimmy Giuffre’s “Four of “star power.” Among them are trum- complex arrangements in a bold refine- Brothers,” Gerry Mulligan’s “Walkin’ peters Pete Candoli, Jack Sheldon, and ment of an earlier, more informal bop Shoes,” Lieber and Stoller’s “Bernie’s Al Porcino, trombonist Dick Nash, style. It even begins with the same tune Tune,” Sonny Rollins’ “Airegin,” and saxophonists Bob Enevoldsen, Herb that kicked off the 1950 Davis classic, Charlie Parker’s “Anthropology” and Geller, Bud Shank, Charlie Kennedy, Bill Denzil Best’s infectious “Move.” “Donna.” Perkins, Richie Kamuca and Med Flory, Recorded in March and May In addition to Pepper’s own in- pianist Russ Freeman, bassist Joe 1959, “Modern Jazz Classics” features spired playing, the recording’s classic Mondragon and drummer Mel Lewis. 12 tracks, including wonderful reinter- status can be attributed to the superb A Japanese re-mastered pressing pretations of such modern jazz standards Marty Paich arrangements, which was released in 1998 and contains three as Dizzy Gillespie’s “Groovin’ High” and evoke great performances from a West alternate takes and the original liner “Shaw ’Nuff,” Horace Silver’s “Opus Coast band of thorough professionals, notes, again by Hentoff. de Funk,” Thelonious Monk’s “’Round even though they are virtually devoid

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Hey Tom, happy to see the new BMF digs (not Keep on keepin’ on for Butch! to mention a home for the ping I just got your latest BMF pong table, Blue Note 7 and Paul Mehling, leader newsletter notice and had a chance Madeleine Peyroux review). Butch Hot Club of San Francisco to take a look. It’s really great to would be very proud to see all that Oakland, Calif. see that you and the others are not you have accomplished. only keeping Butch’s dream alive, ------but continue to grow it. The new Dawn K. DeBlaze space looks very cool. I look for- St. Louis, Mo. Hi There ! ward to checking it out next time I make it out that way. ------Thanks for the cool newslet- Anyway, I just wanted to com- ter. We appreciate it. Would you be mend you on your dedication to the Kassie Riordan and I were able to put the KIOS web address music and the project. Thanks for lucky enough to be Grace’s guests on your website? We have our keeping me in the loop on what’s for a tour of the new office\museum. playlists and other jazz related links happening back home. Be sure to What a lovely space it is, second on our site and we publish our own give me a shout whenever you come floor of the Burkholder. Besides the monthly newsletter that folks can this way. history held there, the design of the sign up for. It’s all at www.kios.org. rooms, colors, and furnishings are Jeff Newell a joy to behold. Thanks! Director, New-Trad Productions We four, Kassie, Butch and Brooklyn, N.Y. Grace, and myself, went to lunch Mike Jacobs on occasion. Music Director, KIOS ------Thanks to all who put together Omaha, Neb. this musical treasure. Hi, BMF Friends, Editor’s Note: We have added a new Ruth Thone section to our Jazz Links page How is one of my favorite Lincoln, Neb. called “Jazz on the Radio,” with gangs doing? This newsletter was links to Nebraska stations KIOS, a breath of fresh air for me – thank ------KZUM and NET. you! It’s well-written and I’m so

Page 20 Berman Music Foundation Jazz

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From the Archives BMF and Alaadeen enjoy a longtime friendship File Photo How can you help the foundation?

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____$ 10 ____$ 25 ____$ 50 ____$100 ____$250 ____Other Name______Address______City______State______Zip______Phone______Fax ______E-mail______Butch Berman and the Berman Music Foundation began a Make check payable to Berman Music Foundation at: longtime relationship with Kansas City legend Ahmad Berman Music Foundation Alaadeen in 1998, when the BMF brought the saxophonist Skylight Gallery and educator to the University of Nebraska-Lincoln for a The Burkholder Project series of workshops on jazz history and improvisation. 719 P Street Alaadeen also played on the BMF-sponsored Norman Lincoln, NE 68508 Hedman recording “Taken By Surprise” and performed at Jazz in June in Lincoln and at the Topeka Jazz Festival, Thanks for supporting jazz! with financial support from the Foundation.