L ofu S UNIVERSIWOF NEWHAMPSHIRE OUR FORTY-SEVENTHPROGRAM ART HODES soLo PIANO SPONSOREDBY THEDEPARTMENT OF TIUSIC AND THENEW HAMPSHIRE LIERARYOF TRADITIONALJAZZ 8 PMMONDAY DECEMBER8, 1986 STRAFFORDFOOM UEMORIALUNION DURHAM,NEW HAMPSHIRE THEARTIST ARTHODES Firstlet it be understoodthat Art Hodescan, does, and will speak for himselt,with the pointedeloquence characteristic of so muchof his60-plus years as a protessionalmusi- cian;thus the words on thispage are even more preliminary than usual! Certainlyit is appropriateto recallthat several of themost memorable performances in our serieshave been given by artistson thenear or tar sideof thethree-quarter cenlury mark; the memorabilitycomes not Jrom antiquarian nostalgia but ratherits opposite, an art remainingtruly contemporary because the perlormersconsistently live anew its expressive substance.Classical musicians are often active into their eighties; lhe reasonthat jazz audiencesare sometimes surprised at analogousphenomena is simplybecause the art is so newthat this is virtuallythe first generation in whichsuch can be witnessed.Besides, realjazz artists are more creators than re-creators, and that particular human impulse tendsto be timeless. Art Hodeswas born in Nikoliev,Russia, on Nov.14, 1904, and came to thiscountry the fol- lowingyear when his tamily emigrated to Chicago,settling on theWbst Side "where hood- lumsgrew like vegetables in a garden"(Art's words). He studied piano at HullHouse, the settlementhouse founded by thefamous Jane Addams-Benny Goodman also had les- sonsthere. By 1925Art hada regularsolo lob, playing almost non-stop from I pm to 4 am at an upstairscafe leaturing beverages ot the bootlegvariety. lronically, he had not yet beenexposed to the bluesand jazz of thecity's black musicians; this came a fewyears later,after meeting trumpeter and future roommate Wingy Manone who introduced him to LouisArmstrong. This was the start of a rangeof associationsthat it is no exaggerationlo describeas legendaryin bothquantity and quality; Bix Beiderbecke,Frank Teschmacher, BessieSmith, Sidney Bechet, Eddie Condon, Gene Krupa, Pee-Wbe Russell, Edmond Hall, Bud Freeman,the Doddsbrothers, Pinetop Smith, Earl Hines, James P Johnson,Joe Sullivan...adinfinitum. And flavor this roster with such variegated items as making radio transcriptionswith Gloria Swanson, accompanying Connie Boswell and Frankie Laine, publishinga magazine(The Jazz Recod,1943-471, having a radioshow on WNYC,win- ninga ChicagoEmmy for a televisiondocumentary on PBS,and carrying the traditional jazzmessage to highschool assembly programs (inspiring Dick \Jellstood and Dick Hyman,among others),-and the complex richness, commitment, and inlluence of the life dramatically€merge. More rec€ntlyArt has be€nhonored with a plaqu€from the mayorof his nativeAmerican city of Chlcago,has b€enrocorded for 5 hoursby the SmithsonlanInstitution, has had a book drawnfrom his magazinepublished by the Universityof CaliforniaPress (Se/eclions Frcm th6 Gutter),and has beentitorally in demandaround the world as what Gillespie- biographerRay Horricks calls "lhe custodian of the blues': T o N A (k, R E S ART HODES Art wasactive in NewYork both as a musicaland journalistic figure during the turmoil of the mid-1940swhen the beboppersand traditionalists were generally picture as beingat eachothers'throats. His insights into this unfortuante situation are perspicacious; he blamesmost ol theproblem on overlyzealous and doctrinaire modernist crltics rather than the musiciansthemselves, a iudgment verilied by historyand reflsctedIn currentjazz prac- ticos.(The writer ot thesenotes remembers flrst listening to the musicin thecontext ol this strifethat seemed so unnecessaryeven to a high-schooler.)Art's own tastee extend io HoraceSilver. Bill Evans. and Junior Manc6. Studentsmay wish to retlecton thefollowing; Art developed his ear by singlngin a choir, alternatingsoprano, alto, and tenor parts daily! And in referenceto certainapproaches to "lt's iazzeducation he notes, likethe richkid who sees a poorkid climbing a treeand says 'l am goingto havemy tutorteach me that tomorrow": In welcomingArt Hodesto UNHwe wisely give him the lastword-accurate, authentic, andeven, as they say, awesome-"The thing is, l'm a happening,not a has-been!". TaW rccordaraand camerasare not permltteddue to conl/actual artangemenls. Your coopalatlon b requested. THESERIES TheUNH Tradilional Jazz Series began in 1979.lt promotesthe enjoyment and under- standingot theart through concerts featuring musicians ol regional,national, and interna- tionalprominence, The program represents a unique endeavor to expandinterest and honoroutstanding talent and achievement. Musicianswishing to do soare encouraged to otlertheir recordings for saleor mailorder duringintermission; a brief announcement may be made. The sponsors have no financial interestin suchsales beyond offering a courlesyservice to theartists and the public. ProgramNotes - PaulVerrette Production- David Seiler THESCHEDULE Seplember15 While Heal Swlng Orcheslra: A Trlbule lo Benny Goodman Oclober 13 Butch Thompson-Jlmmy MazzyOuartel November17 Soulh Frisco Jazz Band December8 Art Hodes.Solo Piano FebruaryI Paul Verrelle& Tommy Gallant:Two Planos March 9 cray SargenlTrlo April 13 ParamounlJazz Band.