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Dan Thomas will perform with his quintet June 10 at Jazz in June. ○○○○○○○○○○○○○○○○○○○ Jazz in June dedicated to Berman

June 2008 ○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○ Vol. 13, Number 3

LINCOLN, Neb.—Butch Courtesy Photo Berman devoted much of his final days to future plans—an April 14 ben- efit for Norman Hedman in New York City, a May 23 salute by the Nebraska Jazz Orchestra to the music of Russ ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Long, and the upcoming Jazz in June In this issue of Jazz.... outdoor concert series. Grace’s tribute to Butch...... 2 Though his death on Jan. 31 pre- vented him from experiencing these Celebration of Life...... 6 events, the Berman Music Foun- Celebration of Life Photo Gallery...... 8 The Dynamic Les DeMerle Orchestra dation will continue to carry on his will perform June 17 at Jazz in June. Norman Hedman benefit concert...... 10 vision by participating in Jazz in June Tomfoolery: Springtime in NYC...... 13 for the first time since 2004, when the have been afforded the opportunity to BMF sponsored the Eldar Djangirov experience outstanding talent and the NJO/Russ Long review...... 15 Trio and the Kendra Shank Quartet. community’s has been educated Monty Alexander review...... 17 To show its appreciation for the BMF through countless artist’s work- Stefon Harris review...... 18 support through the years, the Jazz in shops.” NJO/Scott Wendholt review...... 19 June folks are dedicating the 2008 Before each performance this series to Butch Berman. year, someone from the Lincoln jazz Jazz on Disc reviews...... 20 “For more than 10 years, the community will make a few remarks Randy Brecker review...... 24 Berman Music Foundation has served about Butch, his contribution to jazz Ruth Thone memorial to Butch...... 25 as a valued partner, team member and in Lincoln and to Jazz in June. stakeholder to the Jazz in June music As always, the free concerts Letters to the Editor...... 26 series,” said Marthaellen Florence, begin at 7 p.m. every Tuesday in June From the Photo Archives...... 27 chair of Jazz in June. “Under the tu- on the plaza west of the Sheldon telage of Butch Berman, Jazz in June Museum of Art at 12th and R streets was able to bring many of the nation’s on the University of Nebraska-Lin- most accomplished jazz artist to the coln campus. stage. With the foundation’s generous contributions Jazz in June audiences Jazz in June continued on page 3

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Tribute to husband, music lover, promoter ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Grace Sankey-Berman ○○○○○○○○○○○○○○○○

Seven years ago, I met Butch at File Photo not be at the top of the charts or be his house on a blind date. We were played on the popular radio stations. two different people from separate He spent countless hours collecting worlds. Butch, a hip musician, was great records and succeeded in col- witty and funny. On the other hand, I lecting an impressive array of musi- was a rather serious and up-tight cal gems. He was not only enthusias- woman from Africa. We seemed so tic about finding new music, but gen- different and yet it was easy for me erously wanted to share this music to fall in love with him. I found him with whoever was interested in lis- extremely honest and open about his tening to it. lifestyle and who he was, and he was Butch and Grace celebrate New Year’s Butch clamored for information not defensive about the decisions and Eve 2001. about music and musicians and was choices he made. It was very refresh- well versed with all the details of their ing to hear such honesty from some- Let me seize this moment to talk art and lives. His radio shows were one I had just met. I immediately felt about the life of the man I love, his like music history classes, but more safe with him and soon discovered love for music and vision to promote entertaining and in-depth. He played that we both had a passion for great unique forms of music. Butch worked great music and would talk to his au- music and much more. And so began relentlessly, locally and across the dience about the musicians and their our wonderful love affair. nation, producing records with great musical journey and about the artist We found each other at a time artists who otherwise may not have as man or woman. In other words he when we were both ready for a seri- been able to afford to cut a record. tried to humanize these great musi- ous relationship. My kids and I were He sponsored live performances lo- cians. I regret not paying more atten- very happy because Butch fit right in cally in venues like the Zoo bar, P.O. tion to the wealth of information he and we became a family. Butch was Pears and the Lied Center for Per- tried to share with me. May be it did totally committed and did not shy forming Arts, to mention a few, and not cross my mind that he would de- away from the responsibilities that in other parts of this country. The de- part so early. came with a new family. He became tails about the work he has done are His passion for music can also protective of us and provided for our well documented on the BMF be seen in how well-organized the every need in the best possible way. website. He wanted to educate people BMF museum, which is in his house, He loved my kids and tried to be a about the great music this country has is kept. Even though he had thousands good male influence to the boys. As a to offer, the kind of music that may of records, Butch knew exactly where to find almost every one of result, he has made a lasting and posi- Photo File tive impact in our lives. them. He handled each record or CD But on Jan. 31, I lost my hus- very carefully, as if it was the last one. band and lover. I could not have writ- Every record was meticulously ten this sooner because the pain was cleaned and preserved. He worked very intense and the emptiness I felt with almost surgical precision arrang- was deep. It is still hard to grasp that ing and rearranging stacks of records Butch is gone, and the finality of his and CDs and loved every minute of death is immensely difficult to deal it. He derived a lot of satisfaction from with. Butch was a free thinker who the knowledge that everything was in loved and celebrated life and I would order. like to honor that legacy. He lived and The BMF intends to keep his vi- loved passionately and I feel privileged sion alive and I would like to invite all to have been a part of his life, no matter how briefly it seems. Butch and Grace Grace continued on page 4

June 2008 Page 3 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Courtesy Photo Jazz in June continued from page 1

Again, the foundation will fund two of the four artists on the 2008 line- up—the Dan Thomas Quintet on June 10 and the Dynamic Les DeMerle Band, featuring singer Bonnie Eisele, on June 17. The other artists are the Darryl White Group on June 3 and Jazz is published online at: the Lao Tizer Band on June 24. www.bermanmusicfoundation.org “Jazz in June continues to value The office of The Berman Mu- contributions of BMF and Butch sic Foundation is at 719 P St.,, Berman,” Florence said. “We also Suite C-1, Lincoln, NE 68508. recognize that there was a great value Editor and Designer: in Butch’s decision to engage his foun- Tom Ineck dation in the philanthropic process. Contributing writerswriters: Tom When those who share a commitment Darryl White to one another share an equally heart- Ineck, Grace Sankey-Berman and Ruth Thone felt commitment to something beyond DeMerle toured 12 years with big the community both are enhanced.” band trumpet master Harry James Photographers: Rich A jazz educator teaching saxo- and has played with the likes of Lionel Hoover, Tom Ineck, Butch phone and jazz history at the Univer- Hampton, The Manhattan Transfer Berman and others (File sity of Missouri-Kansas City, Dan and Red Allen. Vocalist Bonnie Eisele, Photos) Thomas has been a favorite of the DeMerle’s wife, specializes in rendi- For inclusion of any jazz or foundation for several years. He per- tions of jazz classics and breezy Bra- blues related events, letters to formed with his group in September zilian ballads. The Florida-based band the editor or suggested 2004, as part of the Berman Jazz Se- also features pianist Mike Levine and articles, mail them to the ries in Topeka, Kan. His recording bassist Jamie Ousley. office, phone (402) 476-3112, fax (402) 475-3136 or e-mail “City Scope” was reviewed that same Darryl White, professor of trum- [email protected]. year, and “Musical Sanctuary” was pet at the University of Nebraska-Lin- reviewed on its release the following coln since 1997, will make his first To be added to our mailing year. The Canadian-born jazz educa- Jazz in June appearance as a leader list, call (402) 476-3112, fax tor also was the subject of a feature since 2003. He will be accompanied (402) 475-3136 or e-mail [email protected]. interview in the August 2004 edition by a diverse group of top-flight play- of the BMF newsletter. ers—saxophonist Dave Pietro, pianist The Butch Berman The Dan Thomas Quintet in- Jeff Jenkins, bassist Craig Akin, drum- Charitable Music cludes Joe Parisi on trumpet and mer Brandon Draper and percussion- Foundation is a non-profit, tax flugelhorn, Brandon Draper on drums, ist Michael Pujado. exempt, 501(c)(3) private foun- dation recognized by the Inter- Roger Wilder on piano and Bram This year’s wild card is young nal Revenue Service and the Wijnands on bass, in addition to Tho- keyboard whiz Lao Tizer, whose 2006 Nebraska Department of Rev- mas on saxophone. release, “Diversity,” displays his broad enue. It was established in the New to the BMF—and to Jazz influences while remaining rooted in spring of 1995 to protect and in June—is The Dynamic Les his smooth jazz style. The album promote unique forms of jazz music. DeMerle Band, a group that Butch reached Billboard’s Top 50 Contem- Berman first heard at his bedside porary Jazz chart. Backed by a hand- Trustee: Tony Rager while still in the hospital after a sei- picked band, he has performed with zure in early October. He was so im- Isaac Hayes, Wayne Shorter, George Consultants: Grace Sankey- pressed by the band that he wrote a Benson, The Rippingtons, Bruce Berman, Russ Dantzler, Kay Davis, Dan Demuth, Norman review of its CD “Cookin’ at the Cor- Hornsby and Spyro Gyra. Hedman, Tom Ineck, Gerald ner, Vol. 2” and made his pitch to bring Jazz in June 2008 promises to be Spaits, Leslie Spaits and Wade the band to the Jazz in June stage. a welcomed return for the Berman Wright A Brooklyn native, drummer Les Music Foundation.

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Grace continued from page 2 File Photo

of you to join us in this effort because, with your support, together we can accomplish a lot. We will dedicate our efforts to promoting music education and live performances. We have an immense opportunity to take Butch’s vision to a different level. Butch listened to music con- stantly in his house and in the car. His musical palate included rock ‘n’ roll, soul, country, jazz and every thing in between. He was an equal-opportu- nity music lover. But most of all he enjoyed playing and making music with other musicians. Some of his best memories included playing with Butch Berman and Grace Sankey-Berman on their 2003 honeymoon in Chicago. Charlie Burton, Dave Robel and Otto Spalti in The Megatones. Even in later years, he was always tickled and ex- musicians were amazed at his hospi- chicken and good food with his friend cited at any opportunity to play with tality and generosity. Once during din- Rich on Thursday nights. He loved the those guys. Of course, he had a lot of ner with singer Sheila Jordan, she said, game of Ping Pong and looked for- fun playing with many other musi- “I have never been treated so well in ward to Saturdays when he played cians, like his last band, The Cronin my musical career. Butch, you are the with his friends Brad Krieger and Brothers, who were kind enough to first sponsor that ever took me out to Daniel Nelson for many years. Butch play at Butch’s celebration of life on dinner.” When Butch passed away, was always thoughtful and generous. March 23. I had a lot of fun the last Alaadeen, a horn player from KC, He spent the last days of his life plan- few years listening and dancing to their sent me a card that said, “The music ning a benefit concert for his dear music. Not only did he enjoy playing family has lost a great man.” friend Norman Hedman, who is cur- with other musicians, but he looked Butch was a good friend. I know rently in remission from cancer. He forward to the camaraderie with because he was my best friend. Most was worried about Norman’s illness, them. He continued to practice with of his friendships were life-long. He but never complained about his own The Cronin Brothers up to just two spent countless hours on the phone illness. That benefit took place April weeks before his death. He was not talking with his friends, such as Wade 14 in New York. about to let a damned tumor stop him Wright in San Francisco. I was always Above all, he was always very from playing. He kept practicing and amazed at how well he nurtured his attentive and loving to me, never miss- planning for the next gig, which was friends, constantly keeping in touch ing a chance to show me or tell me a few days away. But it was not with them, remembering their birth- how much he loved me. We had a lot meant to be. That is the kind of guy days and spending time with them of fun being together and creating Butch was, an eternal optimist. whenever possible. He enjoyed fried memories that I will forever cherish. Butch loved musicians and was Our goal was to listen to every record

respectful of their individual talents. Photo File he had and watch all the movies in He understood how much work and his collection. We could not accom- dedication it took to be good. He al- plish that goal, but we sure had a lot ways advocated for the better treat- of fun trying. Living with Butch was ment of musicians, and insisted that an American cultural experience. For they be paid better. He was a good a girl from Africa, it was the class host and went out of his way to make room I never could have dreamed of. sure they were comfortable. He I am comforted by the fact that would always take them out to dinner Butch lived a happy, full life without before or after gigs. Most of all, the Butch and Sheila Jordan in 2003 compromise. I am touched by the

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outpouring of support from friends and File Photo people he dealt with to come around, Most importantly, I wish to thank strangers. A lot of you have reached even if they only agreed to disagree. all the care providers who were at the out to me at this difficult time by He was the first to reach out and frontline, working to make Butch com- phone, cards, letters and visits. I want apologize for anything necessary. fortable during his illness. They came to say thank you for every thing you Thanks to all the musicians who by to see Butch at home after busy have done. Many of you brought donated their time to play at the cel- days in the office. They include Dr. meals or took me out and made sure ebration of Butch’s life. Special thanks Kevin Coughlin, Butch’s personal phy- that I ate. Your care and support has to The Cronin Brothers, his fellow sician, the “hippest doctor in town,” been of immense help to me. bandmates who worked hard to make as Butch liked to say; Dr. David Butch was loved and touched by Butch’s day special. Butch was proud Lauer, his chiropractor, who under- many. I got notes from total stood Butch very well; Kassi strangers who were touched File Photo Riordan, Butch’s missus who when they read about his is the most generous person passing in the paper. Some I know; and Joyce Latrom, joined us to celebrate his Butch’s longtime friend, who life. Arleen Fowler, a de- was always generous and lightful lady whom I had willing to lend a hand or a never met before, came by shoulder to cry on. Butch’s house when she To the BMF family, I heard about his passing. She thank you for making it a lot informed me that she was easier for me and Butch. the secretary at The Fa- Thank you, Tony Rager and mous, a ready-to-wear Kay, for helping me keep it store owned by the Berman all together. I also wish to family from 1946 to 1976. thank Tom Ineck for work- She took time to tell me ing tirelessly to keep the about Butch’s family. She website updated. Your had known Butch from birth thoughtfulness and hard work and had watched him grow over the last few months up while she worked at The have not gone unnoticed. Famous. She obviously was Butch and I enjoyed your ra- fond of him and enjoyed his dio show immensely, and we sense of humor and wit. She greatly appreciated the dedi- could not get over how tal- cations you made to Butch. ented he was and how his Thanks to Ruthann, Paul, and ideas were not always what Matt, who spent hours to put his mom wanted, but he be- Butch and Grace in Northern California in 2003. together the slide pictorial for lieved in himself enough to the celebration of life. stick to his own beliefs. to play with such great guys. Thanks Special thanks to my friends Kim That is essentially the core of the to Michael Opoku and Ashanti Afri- Jasung, Rose Spencer, Cathy Moss man I knew, fell in love with and mar- can Root band for playing the Afri- and Mousa Drammeh for being there ried. He was not afraid to go against can drums that Butch loved so much, when I needed them the most. rigid sub-cultures, regardless of the to Kansas City musicians Gerald I feel privileged to have been price he may pay. He taught me that Spaits, Joe Cartwright, Ray married to Butch. He was a great to be an individual or to be vulnerable DeMarchi, and Alaadeen for taking husband who did his best to navigate is empowering, not diminishing. That time from their busy schedules to play through this journey called life. I love was the key to him having such a great jazz and to Karrin Allyson, who you, darling, and miss you dearly. I happy life. graced us with her presence and great remain eternally grateful for having Therefore, Butch remained hon- music. To all the Lincoln musicians, I been loved by you. Rest in peace, my est almost to a fault. He did not make want to thank you for all you did. I love. a lot of friends that way. But in his am sure Butch was watching and style, he always managed to get loved every minute.

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Butch’s life celebrated in grand style ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—Hundreds Tom by Photos Ineck Headliner Karrin Allyson, the of Butch Berman’s friends, family first artist that the Berman Music and fans were on hand March 23 for Foundation brought to Lincoln—back the six-hour celebration of the life in March 1995—performed a stun- of the legendary Lincoln musician ning set that included the appropri- and founder of the Berman Music ate “Live for Life” and Randy Foundation. Newman’s “Guilty,” which she re- The main ballroom of The corded on her 1992 Concord Records Cornhusker Marriott Hotel in down- debut, “I Didn’t Know About You.” town Lincoln swarmed with fellow Cartwright and company gave a musicians, family members, associ- Headliner Karrin Allyson pays tribute wonderful reading of a bop tune that to Butch Berman. ates of the foundation and other was one of Butch’s favorites, Charlie folks who were touched in some way Parker’s “Yardbird Suite.” by the ebullient lover of life, who extending well past the scheduled 10 Singer David Basse of Kansas died Jan. 31 at age 58. Those in at- p.m. closing time. City, who also has had a long asso- tendance expressed a mixture of joy The stellar Kansas City rhythm ciation with the BMF, put everything and sadness—joy that they had section of pianist Joe Cartwright, into his performance of the classic known Butch and sadness that he bassist Gerald Spaits and drummer farewell ballad, “I’ll Be Seeing You.” was not able to share this grand Ray DeMarchi set the mood for the He turned to the blues for “The event in his honor. afternoon with Eagle Flies on Friday,” with Ed Love Both jazz and rock musicians a set of familiar tunes. KC of Lincoln on tenor sax, who also paid their sincerest respects by par- saxophonist and longtime BMF joined the band for Cole Porter’s “I ticipating in the Easter Day celebra- friend Ahmad Alaadeen fronted the Love You.” tion of life, with jazz music relegated band for a heart-felt rendition of the To begin the segue from jazz to to the 4-7 p.m. slot and rock music classic “Body and Soul.” rock, The Lightning Bugs contributed a set of their trademark swing, with vocals inspired by the sweet harmo- nies of the Mills Brothers. Among the classics of the genre performed by guitarist Steve Hanson, bassist Jim Pipher and drummer Reynold Peterson were “Glow Worm,” “Satin Doll” and “Moonglow.” For Butch’s widow, Grace Sankey Berman, they dedicated the touching “Be My Life’s Companion.” The wonderful band Ashanti had dozens of people taking to the dance floor for a set of reggae numbers that included the Bob Marley composi- tions “Trenchtown Rock” and “No Woman, No Cry.” Of course, any celebration of Butch’s life and love of music would David Basse with Joe Cartwright, Gerald Spaits, Ray DeMarchi and Ed Love have been incomplete without the

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semble also included sioned vocals on the bluesy “One Hanson and Mike Way Out” and the Traffic master- Herres on guitars piece “Feelin’ Alright.” and Boye on bass. A sort of “shrine” to Butch on Last, but not display near the back of the ballroom least, the surviving featured a recreation of his familiar members of the basement retreat, including a center- Cronin Brothers, piece table with a full glass of wine Butch’s last band, and a sampling of his favorite col- took the stage for a lectibles and kitschy memorabilia. very personal tribute Throughout the event, a photo slide to their fallen com- show documenting Butch’s entire life rade. With Butch’s was projected on a screen, making Two-year-old Ella Jane Lounsbury swings to the beloved Telecaster his presence (in spirit) even more sounds of Ashanti, playing popular reggae tunes. on display at the front palpable. of the stage, cohorts Between sets of music, friends participation of legendary rockabilly Bill Lohrberg on singer and songwriter Charlie Bur- guitar, Craig ton, who was accompanied by fid- Kingery on bass dler Dave Fowler, bassist Dave and Don Boye, drummer Dave Robel, and Holmquist on special guest Steve Hanson on gui- drums carried on tar. Appropriately, their set included like troopers, with “Rock ‘n’ Roll Behavior” and “Gui- Brian Hull capably tar Case,” tunes first recorded by taking on the key- Charlie Burton and Rock Therapy board chores once (with Butch on guitar) in 1976 and handled by Butch. 1977, respectively. Kelly McGovern The mood returned briefly to a and special guest more jazz-tinged style with the Hot Sean Benjamin Club of Lincoln doing “It Don’t contributed addi- Mean a Thing (If It Ain’t Got That tional vocal and A sort of “shrine” to Butch Berman featured a recreation Swing).” The brainchild of fiddler guitar. of his familiar basement retreat, including a glass of wine. Dave Fowler, the gypsy jazz en- Early on, the Cronins performed took the stage to share stories at the “Trinidad Rocks,” a microphone. Among them was rocking instrumental Arleen Fowler, who related her long written by Butch experience with The Famous, the many years ago. women’s ready-to-wear shop where Then it was time for she worked for the Berman family their own take on from 1948 until it closed Jan. 31, classic rock, with 1976. She recalled the day in March great renditions of 1949 when she first heard the news “Dirty Water,” “Five that Byron Lee Berman had been O’clock World,” born to Harriett and Alfred Berman. “Little Sister,” “Pe- Most touchingly, Grace took the ter Gunn,” “Secret microphone to thank everyone for Agent Man,” “Slow showing their love and support—es- Down,” “Sleep pecially the participating musicians, Walkin’,” and who gave the greatest gift of all. May The Cronins perform with Butch’s beloved Fender “Lucille” McGovern the music never end Telecaster on display front and center. delivered impas-

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Hundreds gather to celebrate Butch’s life

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Dawn DeBlaze Gerald Spaits Joe Cartwright Ahmad Alaadeen

Kay Davis and Terry Schwimmer

Dave Fowler Tony and Tammy Rager and children Alan Smith, Warren Rudolph and Marthaellen Florence

Dave Boye Charlie Burton Dave Robel and Don Holmquist

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Jayne Sebby, Deb Higuchi and Tad Fraizer Friends and family of Grace Sankey-Berman

Photos by Rich Hoover

Ray DeMarchi and Joe Cartwright

Grace Sankey-Berman expresses her thanks to everyone who attended the Ed Love and John Horn Doug Fenton and Dave Landis celebration of life.

Gale Cooper, Richard Sullivan and Tom Dayton Lightning Bugs Jim Pipher, Reynold Peterson and Steve Hanson

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BMF attends benefit for Norman Hedman ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

NEW YORK, N.Y.—When Tom by Photos Ineck Butch Berman heard the news that his good friend, master conguero and Berman Music Foundation consultant Norman Hedman was ill, he began to help with plans to sponsor a benefit concert to defray some of Hedman’s growing medical expenses. Unfortu- nately, Butch himself was unable to attend the April 14 benefit concert. He died Jan. 31. So it was with mixed sadness and hopeful anticipation that an en- tourage of BMF associates traveled to New York—sadness that Butch was unable to join us and hope that Norman would soon show signs of recovery after treatment for acute myelogenous leukemia. Kay Davis, Tony Rager, Andrienne Wilson, Norman Hedman and Grace Sankey- The support for Norman in his Berman gather at Norman’s midtown Manhattan apartment. time of need was inspiring. Often struggling with their own financial 116 E. 27th St. Hosted by WBGO her home in the Pacific Northwest. worries, the generous musicians of Radio’s Rob Crocker, the event was Though much thinner than the New York rallied around their com- produced and sponsored by 8 Bar last time we had seen him, Norman rade to perform for “Rhythm Relief,” Management and the Berman Mu- was in his usual high spirits, despite a two-show event at Jazz Standard, sic Foundation. having completed a six-week series Hedman was diagnosed with of cancer treatments and preparing AML in January, while rehearsing for yet another. Downplaying his own with Alicia Keys for her upcoming dire condition, he expressed sadness world tour. Since then, he has been at the sight of so many children with undergoing rounds of treatment at cancer at Sloan-Kettering, noting that Memorial Sloan-Kettering Cancer he had already lived a full life, but that Center. they had barely begun theirs. On the day before the benefit, Because of his compromised we were able to visit with Norman immune system, Norman could not for an hour or so at his midtown Man- attend his own benefit for fear of pos- hattan high-rise, his residence of many sible air-borne infection. But his pres- years. At his side were his wife, ence was palpable that night, as so Michelline, and his manager and many friends and fellow musicians friend Dawn DeBlaze of 8 Bar Man- gathered to show their love and sup- agement. Joining us later was drum- port. mer and upstairs neighbor Horacee Featured musicians included Arnold and Andrienne Wilson, singer- bassists Ron Carter and Buster Will- flutist and longtime friend of iams, vibraphonist Joe Locke, drum- Jazz Standard club in Manhattan Norman’s, who had just arrived from mers Horacee Arnold and Will

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Opening their wonderful set was “Hed-Theme,” from the BMF-spon- sored CD “One Step Closer,” released in 1999. Andrienne Wilson joined the band on flute for the Hedman theme song, which also received nice solo statements from Misha Tsiganov on piano, Roger Byams on alto sax and Alexei Tsiganov on vibes. Taking the microphone, Martinez paid personal tribute to Norman, cit- ing their “10 or 12 years and four CDs” together. He continued simply by introducing Norman’s love song to his wife, “Michelline.” On congas, Norman Hedman’s Tropique performs at Jazz Standard. From left they are Misha Cristian Rivera paid his own tribute Tsiganov, piano; Alexei Tsiganov, vibes; Mario Rodriguez, bass; special guests by sitting in for Norman. The Mason Brad Mason on flugelhorn and Elliott Mason on trombone; Willie Martinez, brothers—Brad on flugelhorn and timbales; and Cristian Rivera on congas, sitting in for Norman Hedman. Elliott on trombone—joined Tropique

Calhoun, percussionists Ray Mantilla online auction was initi- and Steve Kroon, singer Kendra ated to raise additional Shank, pianist Frank Kimbrough, funds. saxophonist T.K. Blue, singer Queen The contemporary Esther Marrow, singer and flutist R&B singer Alicia Keys, Andrienne Wilson, trombonist Dick though on tour, offered a Griffin, guitarist B.D. Lenz, and—of video salute to Norman course—members of Norman as the event began. Ap- Hedman’s longtime band Tropique propriately, Kendra (music director Willie Martinez on tim- Shanks and pianist Frank bales; Misha Tsiganov on piano; Kimbrough got the music Alexei Tsiganov on vibes; Roger off to a start with a stun- Grace Sankey-Berman, Kendra Shanks, Tony Rager Byam and Craig Rivers on saxo- ning ballad rendition of and Kay Davis at Jazz Standard phones; Mario Rodriguez on bass; and “Blue Skies.” Then it was Cristian Rivera on percussion). An time for Tropique to take the stage. for a rousing rendition of the Juan Tizol classic “Caravan.” Bringing down the tempo, Martinez and Wilson crooned “The Nearness of You” to each other, as Dick Griffin assisted on trombone. Queen Esther Marrow, a versa- tile blues, jazz and gospel singer who has performed with everyone from B.B. King to Bob Dylan, ranged from the gospel fervor of “Walk With Me” to the jazz ballad beauty of “In My Solitude,” which she once performed with Duke Ellington, to the funk of “Elijah Rock.” Tropique returned to the stage for a first-show finale featuring a per-

Singer Queen Esther Marrow and her band performed gospel and jazz favorites. Norman continued on page 12

Page 12 Berman Music Foundation Jazz

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D-Train Williams sings “Angel of the Night” with Tropique.

An all-star percussion ensemble performs “Afro-Blue.

Norman continued from page 11 It was a somewhat mournful set of tunes, but played with an abundance cussion ensemble that included of energy, hope and musicianship. Martinez, Steve Kroon, Ray Mantilla Tropique took the stage for a and Chembo Corniel churning the series of vocal guest appearances, polyrhythmic waters of Mongo first with the fabulous singer Ada Dyer Singer Erika Rose is Norman Hedman’s Santamaria’s “Afro-Blue.” on “Closer (To Your Heart),” from the niece. The second show began with the band’s most recent release, 2006’s all-star quartet of Joe Locke on vibes, “Garden of Forbidden Fruit.” Wilson us who knew the connection, it was a Eldar Djangirov on piano, Ron Carter returned to sing “Alone in Love with very moving performance. on bass and Horacee Arnold on You” from the 1996 Tropique debut Another highlight of the evening drums. This masterful ensemble recording, “Healing Hands.” Finally, was the performance of “Stolen Mo- worked their magic on such standards D-Train Williams performed an in- ments” by an ensemble consisting of as “You Don’t Know What Love Is” spired rendition of “Angel of the alto saxophonist T.K. Blue (formerly and the Miles Davis classic “All Night,” a tune from “Forbidden Fruit” known as Talib Kibwe), guitarist B.D. Blues,” which contained a brilliant in- that was initially dedicated to Grace Lenz, trumpeter Wayne Cobham, terpolation of “Willow Weep for Me.” Sankey-Berman. At least for those of bassist Buster Williams, drummer Will

Eldar Djangirov, piano; Joe Locke, vibes; Ron Carter, bass; and Horacee Arnold, drums, started the second show.

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Calhoun and pianist Misha Tsiganov. Norman Hedman’s niece, promising rock and R&B singer Erika Rose, sang a tune in honor of her beloved uncle. As always, Martinez was the master of poise and sensitivity, man- aging the difficult task of assigning the brief sets, getting everyone on the schedule without ruffling any feath- ers. Bravo, Willie! On behalf of representatives of the Berman Music Foundation who were in attendance (Grace Sankey- Berman, Tony Rager, Kay Davis and myself), I thank everyone involved, especially Norman Hedman for his Misha Tsiganov, piano; Buster Williams, bass; B.D. Lenz, guitar; T.K. Blue, resilient spirit and all the musicians alto sax; Wayne Cobham, trumpet; and Will Calhoun, drums. who donated their time and talent for the cause. still very susceptible to illness and for the support of “Rhythm Relief.” will undergo tests to determine if he The concert, auction and donations Editor’s Note: The latest on is still in remission. If so, he and have so far netted $7,571. Norman’s condition is that he has his sister will begin bone marrow completed two chemotherapy treat- transplantation at the end of June If you wish to donate, visit ments, arriving home May 26 after or July. Norman sends his thanks www.normanhedman.com and click four weeks in the hospital. He is to the Berman Music Foundation on “Rhythm Relief Fund.” Tomfoolery

Springtime in New York is season of change ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

NEW YORK, N.Y.—Springtime While in this fabulous city, there is Dantzler Russ by Photo in New York is legendary for good rea- no better guide than 20-year resident son. It is the season of rebirth and reju- Russ Dantzler. A Lincoln, Neb., native venation in the most exciting city on the and longtime friend and consultant for planet. But with hopefulness comes an the foundation, Russ also is a devoted inevitable sense of change, the rather jazz fan and advocate who has been discomfiting sensation of living on the manager and publicist for many artists cusp of an unknown future. over the years, including Claude “Fid- So it was with mixed emotions that dler” Williams, Benny Waters, Valerie the Berman Music Foundation entou- Capers, Houston Person, Earl May, Kay Davis, Grace Sankey-Berman, Tom rage arrived April 12 in the great me- David “Fathead” Newman and the Ineck, Mary Jane Gruba and Tony tropolis to attend an April 14 benefit Statesmen of Jazz. Rager in New York at night concert for the ailing Norman Hedman. On our arrival Saturday, we Without our dear friend and BMF checked into our rooms at the vener- pedic founder Butch Berman at our side and able Park Central Hotel near 57th and knowledge of the city, he later led with just three nights and two full days Seventh Avenue, and then headed to a us on a brisk walking tour through Mid- in the city, we were determined to make nearby Italian restaurant to meet Russ. the most of our brief stay. With his usual enthusiasm and encyclo- Tomfoolery continued on page 14

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Wall Street, past the art deco Tom by Photos Ineck Woolworth Building (closed to tourists), to our jazz brunch destination, Café Loup, at 105 W. 13th St. We had chosen to dine here pri- marily because of the entertainment, saxophonist Bob Kindred with Ron Affif on guitar and Santi Debriano on bass. The only table left happened to be right in front of the bandstand! I forget what Chico O’Farrill Afro-Cuban Jazz Russ Dantzler and Tony Rager on the Orchestra at Birdland Staten Island Ferry with NYC skyline I had to eat because I was too busy listening to the music—which included Tomfoolery continued from page 13 dining-friendly renditions of “Smoke 1995 release. On this occasion, it was Gets in Your Eyes,” “I’ve Never Been dedicated to Arturo’s mother, Lupe town Manhattan to a former speakeasy in Love Before,” and “Moonlight Ser- O’Farrill, who was sitting at the bar next for after-dinner drinks. enade.” to us. “Samba for Carmen” was dedi- Russ shifted into high gear Sun- Between sets, Kindred visited our cated to the memory of Carmen day, herding the BMF party to the sub- table to chat and extend his condolences McRae,” and “Something to Smoke” way for a ride to the Staten Island Ferry. on Butch’s death. The two had gotten was an aptly hot number. From there, despite overcast skies, we to be pretty good friends during the On a sunny Monday morning, we would get a decent view of the Statue years that the BMF covered the To- ventured out on our own to Rockefeller of Liberty and the city skyline before peka Jazz Festival, where Kindred was Plaza for some shopping. As if to re- returning to Lower Manhattan. We a regular. Kindred’s wife, the wonder- mind us again of spring’s arrival, tulips strolled through Battery Park and vis- ful singer Anne Phillips, also was at were in bloom everywhere and a work ited Trinity Church and St. Paul’s Café Loup that day to listen to her hus- crew was removing the ice from the Chapel, which miraculously survived the band and we had a chance to visit. Only world-famous skating rink for another collapse of the nearby World Trade in New York! year. Heading north, we spent much of Center towers in 2001. We maneuvered That evening, we attended “Rent” the afternoon strolling through Central our way through the milling crowd on at the Nederlander Threatre, where it Park, where the grass was a vibrant is scheduled to close Sept. 7 after an green, the trees and bushes were bud- amazing 12-year run of some 5,000 ding and the squirrels were feasting and performances. That will make it the fattening on horded nuts. seventh-longest-running Broadway The next day, we were headed show in history. Despite its undeniable home. We had, indeed, made the most financial success, I found it only slightly of our first springtime in New York. memorable. As they say, everyone’s a critic. After that disappointing diversion, I was ready for more live jazz, so we Cafe Loup made our way to Russ’s apartment to catch a bite to eat before the two- minute walk to Birdland. The Chico O’Farrill Afro-Cuban Jazz Orchestra was holding court, as it does every Sun- day night when it isn’t on the road. Di- rected by pianist Arturo O’Farrill since his father’s death in 2001, the 19-piece band is a genuine Afro-Cuban power- house. Among the tunes they played Ron Affif, Santi Debriano and Bob were “Mambo America,” “Cantina,” Workers remove ice from the skating Kindred at Cafe Loup and “Pure Emotion,” the title track of a rink at Rockefeller Plaza.

June 2008 Page 15 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

NJO salutes Russ Long and Butch Berman ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—The salute to Tom by Photos Ineck Russ Long that Butch Berman had been planning long before his death in January finally came to fruition May 23, when the Nebraska Jazz Orchestra and select Kansas City musicians performed Long’s music for an audience of 230 at Embassy Suites. The concert also served as a memorial for both Berman and Long, who died Dec. 31, 2006. The legendary Kansas City pia- nist and composer had had a long and productive relationship with the Berman Music Foundation, which had sponsored The Nebraska Jazz Orchesta at May 23 season finale several live performances and two CDs by Long. That relationship again was tunes received big-band arrangements, acknowledged when the BMF agreed three by Spaits and three by members to bring KC musicians to Lincoln for of the NJO. The KC players performed this special tribute. On hand were bass- additional tunes by Long during a small ist Gerald Spaits and drummer Ray combo set. In all, eight of the 15 tunes DeMarchi, who for more than 20 years included on the “Time to Go” CD were were the other two-thirds of Long’s trio. performed, plus the classic Long com- Also featured were pianist Roger position “Save That Time.” High energy Wilder and multi-reed virtuoso Charles and friendly improvisational interplay Perkins. were the keys to a sterling concert. Just for the occasion, six of Long’s The NJO got things off to a rous- ing, rhythmic start with Neal Hefti’s “Whirlybird,” with Paul Haar taking the lead tenor role brilliantly. Throughout the two-hour concert, everyone performed at a very high level, including tenor saxophonist Andrew Janak, the 2008 Gerald Spaits, Ray DeMarchi and NJO Young Jazz Artist. For his show- Charles Perkins case, Janak chose three tunes by mas- ters of his instrument, Wayne Shorter’s young saxophonist, who still is a senior “Witch Hunt,” Sonny Rollins’ “Tenor at Gross Catholic High School in Madness” and Stanley Turrentine’s Omaha. He was powerful, confident “Sugar.” and imaginative beyond his years on NJO trumpeter Bob Krueger Rollins’ challenging piece. Bouffard’s joined Janak at the microphone, as gui- arrangement of “Sugar” also included tarist Peter Bouffard doubled the a tricky flugelhorn soli. melody line of the Shorter tune. The Appropriately, the Long tribute small group setting, with only the rhythm began with the title track of his final section accompanying Janak and Andrew Janak and Bob Krueger Krueger, put the spotlight directly on the Long tribute continued on page 16

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Long tribute continued from page15 Tom by Photos Ineck

CD, “Time to Go,” released just weeks before his death. Perkins, taking the lead on alto sax, did justice to the tune in an arrangement by NJO saxophonist Mark Benson. Delving into the ever-popular changes of “I Got Rhythm,” the band launched into Bouffard’s clever ar- rangement of “Meatloaf,” with occa- sional quotes from other tunes known for their “Rhythm” changes—“The Flintstones” theme song, Rollins’ “Oleo,” and, of course, the Gershwin Roger Wilder, Peter Bouffard, Gerald Spaits and Charles Perkins composition that started the whole thing. Superb solos came from Krueger on trumpet, Haar on tenor sax, Wilder on display of his skills. piano and Perkins on bass clarinet. Back on alto sax, Perkins played “Parallel,” a simple but beautiful series the touching melody of Long’s most of chord changes with a new arrange- famous tune, “Save That Time,” which ment by Spaits, served as the break has been recorded by singers Joe Will- song at the end of the first set, allowing iams, Karrin Allyson and Kevin Ma- for some nice keyboard harmonies. hogany. Even without lyrics, Perkins The KC rhythm section was joined “sang” the standard through his horn. by the NJO’s Scott Anderson on trom- The NJO returned for Spaits’ ar- bone for the dreamy ballad “Serenade,” rangement of “Woodland Park,” with again with Perkins on the rarely heard Perkins taking the first solo statement bass clarinet. Spaits took a wonderful on alto, followed by Todd Thatcher on solo reflecting the piece’s gentle nature. trombone and Bouffard on guitar. Dave Things went uptempo and Perkins Sharp’s arrangement of “I Don’t Care switched to flute on “Shoemaker,” a Who” had Perkins stating the melody showcase for DeMarchi, who was all on flute and solos by Thatcher on trom- over the drum kit, switching from sticks bone, Sharp on alto sax and Perkins. to bare hands to mallets to brushes and Finally, the uptempo rendition of Charles Perkins on alto sax back to sticks in a masterful, well-timed “Can City,” arranged by Spaits, gave solo space to Krueger on trumpet and Bouffard on guitar before turning loose Perkins and Benson on dueling altos, trading fours with gusto and wit. Several members of Long’s fam- ily were in attendance, including his widow and others from the KC entou- rage. The Berman Music Foundation was well represented by many friends and associates and by Butch’s widow, Grace Sankey-Berman. With such mutual respect, love and support for their memories and their achievements, it is no surprise that the spirits of Russ Long and Butch Berman also seemed Roger Wilder, Gerald Spaits, Ray DeMarchi and Charles Perkins to be present.

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Monty Alexander shifts gears at Folly concert ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

KANSAS CITY, Mo.—Versatile Nollendorfs John by Photos pianist Monty Alexander has long taken sly pride in the fact that he can—and frequently does—shift stylistic gears without a moment’s notice, leaving the listener dazzled and breathless. He did it again May 10 in concert with his trio at the beautiful Folly The- ater in Kansas City. Accompanied by longtime bassist Hassan Shakur and drummer George Fludas, Alexander ranged from the island rhythms of ca- lypso, ska and reggae to the more tra- ditionally American song forms of Broadway, blues, pop music, Ellington and the Great American Songbook. Alexander positions the piano so that he can easily communicate visu- ally with the others, and the three ex- hibit a telepathic degree musical inter- Monty Alexander shifts gears at Folly. play, signaling with a mere shrug or nod the difficult metric changes and the and quoted “These Boots are Made for mind-boggling segues from tune to tune. Walkin’,” perhaps another sly Sinatra The pianist began with an un- reference. named calypso melody, quoted from In the second half, Alexander took Gershwin’s “I Got Rhythm,” then up the hand-held melodica to begin “The shifted to “Young at Heart,” a tune as- Banana Boat Song,” the Harry sociated with Frank Sinatra. He moved Belafonte hit. He soon switched to pi- through a series of Broadway melodies ano to segue into the Johnny Mandel diately greeted with a standing ovation with a whimsical wantonness, gliding ballad “Close Enough for Love.” that brought them back for an extended from a stride piano style to blues funk Alexander’s own “Trust” began as a encore, a medley of tunes associated before settling on “Fly Me to the Moon.” ballad, moved into a funky mid-tempo with the American West or, as “Sweet Georgia Brown” was and segued into “Take the ‘A’ Train.” Alexander joked, “a tribute to Roy taken at a breakneck pace that set the “Good Life,” which Alexander Rogers and Gene Autry.” Beginning stage for a dazzling drum solo by Fludas. recently recorded in a tribute to Tony with “Happy Trails,” the pianist even The trio exhibited a true talent for jazz Bennett, was taken at a breezy, swing- whinnied in equine delight, eventually improvisation on another piece, which ing mid-tempo, just the way Bennett playing familiar passages from “Ghost began as a bluesy gospel number. would have wanted it. From there, the Riders in the Sky,” “I’m an Old Cow- Fludas laid down a New Orleans-style pianist paid tribute to his own home hand” and “Home on the Range.” drum roll, then into a straight blues country with Bob Marley’s “No The trio’s performance, which shuffle. As they continued into the next Woman, No Cry” and “Running Away,” drew a large and enthusiastic crowd, tune, Shakur bowed the bass and Fludas on which he sang the opening title was the last concert of the Folly’s year. switched to mallets for a moody intro- phrase before turning to the keys. The 2008-2009 season begins next fall duction. But, not to be taken too seri- Finishing with an uptempo blues, and is sure to showcase another stellar ously, Fludas played a funky bass solo Alexander and company were imme- lineup.

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Stefon Harris nonet achieves rare balance ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—In its synthe- mer,” a Photo Courtesy Charlie Parker of his instrument. sis of jazz and classical styles, the haunting Gully performed an incredible Stefon Harris nonet achieves a rare piece in- drum interlude entitled “The Other balance of technique, soul and impro- spired by the Side of Silence,” leading into two visational skill. vibraphonist’s more selections drawn from the “New That perfect music fusion was early Orleans Suite,” the rhapsodic “Bour- on display April 19 at the Lied Center struggle be- bon Street Jingling Jollies,” and the for Performing Arts, as the vibraphon- tween a ca- intensely bluesy “Portrait of Wellman ist and his eight colleagues performed reer as a Braud,” which featured a plunger- a repertoire largely consisting of Duke classical pia- muted trombone solo that moaned and Ellington compositions. Though first nist and his Stefon Harris growled. Harris played a marimba recorded and performed by the desire to take solo against a walking bass line with Ellington orchestra more than 40 up the vibraphone and emulate the a hesitation phrasing that heightened years ago, the pieces sounded as fresh heroic jazz trailblazer Charlie Parker. the blues effect. and timely as your morning newspa- “African Tarantella,” the origi- For an encore, the band returned per. nal title track from Harris’ most re- to the stage sans strings for a rousing In addition to Harris, pianist cent release, was a rhythmically rendition of “Caravan.” Xavier Davis, bassist Earl Travis, swinging, upbeat and thoroughly The only disappointment of the drummer Terreon Gully and trombon- danceable tune with Harris creating 90-minute performance was the fact ist Roland Barber, the ensemble in- some bluesy lines on the vibes after a that only 400 people were in atten- cluded cello, viola, clarinet and flute, stunning piano solo by Davis. At times, dance, an embarrassingly poor turn- a foursome that is frequently used for Harris did, indeed, sound like the out for such a major artist. its orchestral harmonic effect but is also capable off solo improvisation. The opener, “Thanks for the Beautiful Land on the Delta,” was BMF donates 200 CDs to Lincoln Schools drawn from Ellington’s “New Orleans Suite.” Harris immediately revealed LINCOLN, Neb.—The dation rededicates itself to the his virtuosity on combined vibraphone Berman Music Foundation preservation and promotion of and marimba, sweeping across both (BMF) recently donated 200 jazz music in Lincoln, despite the instruments with ease and imagina- jazz CDs to Lincoln Public recent death of BMF founder tion. Barber contributed a soulful solo. Schools to be used for music Byron L. “Butch” Berman. From “The Queen’s Suite,” Har- education in the city’s 10 middle Berman, 58, died Jan. 31 after ris chose the beautiful “Sunset and the schools. a four-month struggle with brain Mockingbird,” which was given a The CDs are copies of the cancer. funky twist by Gully and Harris. The 2001 release “Never Let Me Since its inception in spring 21-year-old Travis delivered a very Go” by the Russ Long Trio of 1995, the BMF has sponsored mature, imaginative and lyrical bass Kansas City, Mo., for which the dozens of jazz concerts through- solo. Vibes, drums, bass and piano BMF provided essential funding. out the Midwest. It has funded took up the tune and set up a solo for With this gift to Lincoln many recordings and maintains the clarinetist, who had a wonderful Public Schools, funding for the a local museum that includes a tone. NJO concert, and support for library containing thousands of Rather than come to halt, the this year’s Jazz in June concert music recordings, videos, books tune segued neatly into the Harris series, the Berman Music Foun- and magazines. ballad “Memoirs of a Frozen Sum-

June 2008 Page 19 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

Trumpeter Wendholt shines with jazz orchestra ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—The bright Photos Courtesy and sunny music of Neal Hefti seemed perfectly apt for a bright and sunny Sunday afternoon April 20 concert by the Nebraska Jazz Orchestra. Hefti’s Nebraska roots made it even more ap- propriate. But it was special guest soloist Scott Wendholt—like Hefti, a trum- peter—that made the concert so magi- cal. It was his second appearance in Lincoln this year, having visited in Feb- ruary as a member of the Vanguard Jazz Orchestra for a performance at the Lied Center for Performing Arts. This time, Scott Wendholt Wendholt was placed squarely in the spotlight. Nebraska-Lincoln Jazz Ensemble I, The orchestra warmed up with the which performed three tunes before the Hefti original “Splanky.” Like many off NJO portion of the show. They began the composer’s best-known tunes, it a stirring rendition that also featured a with Sonny Rollins’ “Oleo,” as arranged was written for the Count Basie band saxophone section soli and some spir- for the Maynard Ferguson big band. The in a suitably swinging style. The bluesy, ited give-and-take between the princi- old standard “Whispering” got a new but upbeat “Teddy the Toad,” also ritten pals. Slowing things down for a return lease on life with an intricate arrange- for Basie, featured the trombone sec- to the Hefti oeuvre, the orchestra ment by Eric Richards, the new pro- tion in the riffing style that was the brought out the venerable “Lil’ Darlin’,” fessor of composition at UNL. Finally, Count’s trademark. a masterpiece of poise and easy-swing- the wonderful Victor Lewis tune “Hey, Wendholt took the stage for the ing grace that again showcased It’s Me You’re Talkin’ To” brought popular standard “Just Friends,” quickly Wendholt’s brilliance on trumpet. Wendholt to the stage to join the younger demonstrating his piercing tone, clean Pianist Tom Harvill delivered a players in Dave Sharp arrangement. articulation and octave leaps at a quick hard-swinging intro to an uptempo ver- The ensemble turned in exemplary tempo. He took a more straight-forward sion of the standard “You Don’t Know performances, with plenty of energy, melodic stance for the ballad “’Round What Love Is,” and Dave Sharp’s edgy fiery ensemble playing and solo tech- Midnight,” which was contrasted with alto solo set the stage for another re- nique. Among the outstanding soloists unusual brass harmonies and an accel- markable Wendholt statement. The were saxophonists Brandon Holloman, erating tempo in an arrangement by Ian closer was Hefti’s bright and bouncy Gabriella Praetzel and Chris Steinke, McDougall. “A Night in Tunisia” was “Sure Thing,” a simple riff with a dis- trumpeter Paul Krueger, trombonist taken at a fast pace from the get-go tinct resemblance to the repetitive blues Tommy Van den Berg and guitarist and contained some bravura playing by pattern of “Shake, Rattle and Roll.” Paul Luke Polipnick. Their elders in the NJO the star trumpeter. Haar on tenor sax and Peter Bouffard may have to start practicing to meet From the Thad Jones songbook on guitar delivered fine solos, followed the challenge of these young upstarts. came “Three and One,” which by Wendholt, weaving dissonant trum- Surprisingly, the mid-afternoon Wendholt often performs with the Van- pet lines through the brass harmonies concert drew about 250 people to the guard band. In its original arrangement, and digging ever deeper into the blues. Embassy Suites ballroom on a spring- Wendholt’s trumpet was paired with the Haar appeared earlier on the pro- like day that might otherwise have found baritone saxophone of Scott Vicroy for gram as director of the University of them laboring in their yards.

Page 20 Berman Music Foundation Jazz

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Jazz on Disc

James Carter reaffirms his status among the greats ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Genus and some understated piano soulful tenor sax, acoustic guitar and work by Jackson is followed by a assorted percussion instruments, but virtuosic solo by Carter, who eventu- Lewis pours it on with his crackling ally hits and holds a stratospheric note drum work, and Adams on flugelhorn to the end. Guitarist Rodney Jones gives the tune an edge. Again on bari- enters the fray for Carter’s “Sussa tone, Carter caresses the harmonies Nita,” which swings with a mid-tempo on “Tenderly,” the familiar melody of Latin feel. Carter, on tenor sax, em- which is stated on muted trumpet by ploys his most burnished, full-bodied Adams, who also gets a lengthy, well- JAMES CARTER tone to give it the emotional thrust it deserved solo spot before the leader Present Tense requires. shows his stuff in a wide-ranging solo EmArcy Records The Victor Young standard on the big horn. “Song of Delilah” is turned into a With “Present Tense,” his first The music of James Carter is funky tour de force pitting Carter on release in three years, James Carter characterized by a prodigious tech- tenor sax against Adams’ trumpet as reaffirms his status among the great- nique on all reed instruments, coupled drummer Victor Lewis provides the est jazz saxophonists of all time. with a hard bop edge, a bluesy atti- essential rhythmic anchor and Jack- tude and a willingness to stretch be- son contributes his dazzling pianistics. yond conventional jazz to create a Jackson states the introduction to the truly exciting listening experience. breezy “Dodo’s Bounce,” by Dodo So it is with his latest release, Marmarosa. Carter on flute and “Present Tense,” an aptly named Adams on Harmon-muted trumpet are project that impresses from the get- delightful sparring partners on this go as an in-the-moment, no-holds- whimsical number, with Lewis swing- barred throw-down involving a very ing lightly on brushes and occasional compatible group of like-minded mu- kick-drum punctuation. Jones delivers sicians. Just listen to the opening track, a lively guitar solo. Dave Burns’ “Rapid Shave,” and see “Shadowy Sands,” by Jimmy ED REED what I mean. Carter blows a mean Jones, exudes an exotic Latin rhythm, The Song is You baritone sax while pianist D.D. Jack- and Carter’s outrageous bass clari- Blue Shorts Records son roves and slams the keyboard in net performance heightens the exotica a style reminiscent of Don Pullen. with its deep, woody tones. Adams From the opening salvo of the The tempo slows for the start of adds a crisply constructed flugelhorn title track, we know that singer Ed Carter’s “Bro. Dolphy,” but the mu- solo as Lewis, percussionist Eli Foun- Reed is not simply reprising his mo- sic is as adventurous as ever, with the tain, Jackson and Genus urge him on. mentous debut recording of last composer—on bass clarinet—paying All the stops come out for Gigi Gryce’s year, a gorgeous collection of bal- tribute to the iconoclastic genius of classic “Hymn of the Orient,” taken lads called “Ed Reed Sings Love the title. Trumpeter Dwight Adams at a furious tempo and featuring Stories.” enters with a fury as the tempo in- Carter wailing on baritone sax. The performance is a power- creases to a frenzied pace. Adams and Jackson also turn in daz- ful, joyous reading of the popular Django Reinhardt’s “Pour Que zling solos before everyone trades standard, with Russell George add- Ma Vie Demeure” gets a true ballad fours with Lewis in a spectacular dis- ing the unconventional sound of jazz treatment, with Carter switching to play of musicianship. violin to the tonal palette. In fact, soprano sax for a Sidney Bechet-style Carter’s “Bossa J.C.” lightens George plays the introduction on the sound. A lovely bass solo by James the proceedings somewhat with its second track, a lush version of

June 2008 Page 21 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Ellington’s “It Shouldn’t Happen to Pelt and Sheppard lock in a Dream.” with Locke on the melody of the What is consistent with “Love hard-charging, flag-waver “Four Stories” is the prominent role of Flags.” Pelt takes the first solo, multi-talented, multi-instrumentalist followed by Locke and Sheppard, Peck Allmond, featured on trumpet, before the tune comes to an tenor sax, flues, cornet and clari- abrupt stop after less then three net. The rest of Allmond’s backing minutes. sextet includes guitarist Jamie Fox, Roger Davidson’s “Ballad for pianist Gary Fisher, bassist Doug DAVID FINCK QUARTET a Future Day” is the stunning cen- Weiss and drummer Willard Dyson. Future Day terpiece, with its gorgeous chord At nearly 80 years of age, Soundbrush Records changes, the quartet’s sensitive Reed continues to amaze with his interplay, and Finck’s absolutely unique tone, broad range, near-per- It’s hard to believe that “Fu- beautiful bowed bass solo. fect intonation and unusual phras- ture Day” is bassist David Finck’s Wayne Shorter’s “Black ing. The 13 tracks vary greatly in debut recording as a leader. Eyes” again provides a vehicle for tempo, length and style, but Reed Stretching back nearly 30 years, the piano-vibes harmonies and, es- maintains a confident attitude. he has been the bass player of pecially for Ranier’s imaginative “Where or When” lightly choice for the likes of Mark and confident playing. Pelt on swings in mid-tempo for nine min- Murphy, Rosemary Clooney, Phil muted horn and Sheppard on so- utes. Reed duets beautifully with Woods, Eddie Daniels, Paquito prano sax return for Finck’s clever Fox’s guitar accompaniment on the D’Rivera, Claudio Roditi, Harry stop-time Latin swinger “Look at brief “I’m Through With Love.” Connick Jr., Sheila Jordan, You.” Always a heart-render, “For Ellington’s “All Too Soon” gets a Natalie Cole, Gladys Knight, Rod All We Know” is taken at a very relaxed treatment highlighted by Stewart and dozens of others in slow ballad tempo, which Locke brief statements from Allmond on the jazz and pop world. expertly caresses with long vi- tenor sax, George on violin, Fox on It’s about time, and Finck brato-rich lines before passing it guitar and Fisher on piano. makes the most of it. For “Future to Ranier for a tender solo. Reed returns frequently to his Day,” he has chosen a stellar The drummer’s contribution is forte—the romantic ballad—with “I lineup that includes the prolific and a lilting little number called “If Not Get Along Without You Very Well,” immensely talented vibraphonist For You.” After Locke states the “Don’t Like Goodbyes,” and “It Joe Locke, pianist Tom Ranier, and theme, Finck digs in with a note- Never Entered My Mind.” In all, the drummer Joe La Barbera, with ad- perfect solo, followed by solos by Ellington songbook yields four tunes ditional support from special Locke and Ranier and some very here, including “I Didn’t Know guests Jeremy Pelt on trumpet and nifty drum breaks. Locke’s “Ap- About You” and “Don’t You Know Bob Sheppard on saxophones. pointment in Orvieto” is a rhyth- I Care,” where the singer stretches All four of the principals con- mically and harmonically challeng- the phrases caressingly to a mellow tribute compositions, making this ing tune that the composer sails Latin rhythm. a pretty democratic affair. through with aplomb as the tempo Considering his new-found Ranier’s hip, brooding “I Know” accelerates. In fact, the whole fame, Reed seems to state the ob- opens the project and demon- band seems inspired here. vious with an ebullient take on strates how well this quartet Ranier also penned the lightly “Lucky to be Me” and the philo- works together, especially the swinging “Transparency,” with La sophical reflection of “Here’s to unique harmonizing between piano Barbera showing his skill on Life.” and vibes. brushes. The uptempo Cedar With nearly 70 minutes worth Finck’s “New Valley” is a Walton tune “Firm Roots” closes of music, “The Song Is You” is a breezy jazz waltz with some bril- the set with gusto. generous sampling of Ed Reed. With liant bass interpolations and a With “Future Day,” the David two recordings in two years, the San brief, but lyrical solo by the com- Finck Quartet is deserving of an Francisco-based septuagenarian poser. The evergreen “Nature encore. seems to be making up for lost time. Boy” gets a new coat of paint in 5/4 time. Jazz on Disc continued on page 22

Page 22 Berman Music Foundation Jazz

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Jazz on CD continued from page 21 with pumping horns, rock-solid rhythm artist hits the scene. Pianist Rave and Vitro’s soulful vocalizing. “Blue” Tesar is the latest favorite, and his receives a lush, romantic take, with debut as a leader is a gem. The fact smoky nightclub piano and a very hip, that “You Decide” is on Tesar’s moaning tenor solo by Carter. own label and features his brother Joni Mitchell gets her due when Bill on drums adds to the intrigue. Vitro pays tribute with “Be Cool.” Who is this guy? Rogers rips off another hot solo, this Tesar’s compositions and key- time sounding a bit like Larry Carlton. board style come from the vastly in- Another well-deserving tune is “Half fluential Bill Evans school, but with Moon,” best known for Janis Joplin’s more modern harmonic and rhyth- DELIRIUM BLUES PROJECT early ‘70s version. Here it is a show- mic excursions. The result is a set Serve or Suffer case for the horn section and Vitro’s of 10 beautifully realized pieces of Half Note Records smoldering delivery, much more re- clever construction (“The Scale strained than Joplin’s wail. Song”), tenderness (“Minor Delirium Blues Project is the “Cheater Man” is Vitro at her Mood”), and dazzling technique brainchild of pianist Kenny Werner and bluesiest, and the horns delve again into (“Have Some More”). singer Roseanna Vitro. Once you get the punchy Tower of Power sound. The title track is a brooding, past the gimmicky concept, this live re- Mose Allison’s “Everybody’s Cryin’ mysterious eight-minute exploration cording has real merit. While not a Mercy,” one of the great indictments of chord changes and harmony. straight jazz recording, it does contains of hypocrisy, gets another worthy in- “The Vision” is a driving, rambunc- some exciting performances by jazz terpretation, and Anderson’s mournful, tious tune, while “Everyone But masters of their instruments, including plunger-muted solo is the highlight. Me” lilts along in witty, care-free trumpeter Randy Brecker, tenor saxo- The music is so much fun that fashion. “Nobody’s at Nobody’s” phonist James Carter, trombonist Ray Werner and Vitro can be forgiven the struts in a soulful mood, reminiscent Anderson, bassist John Patitucci and pretensions of “Serve or Suffer,” which of Bobby Timmons or Les McCann guitarist Adam Rogers, plus the lesser- include comic-book artwork, blurbs and features a wonderful solo state- known but equally capable Geoff Coun- promising “True Thrills!”, “Madly Popu- ment by bassist Kermit Driscoll. tryman on baritone sax and Rocky lar!” and “Fearless Musicians!” and a “Someone Else’s Spell” is, indeed, Bryant on drums. statement that all the music was “con- a spell-binding, impressionistic foray Recorded at the Blue Note in New jured live at the Blue Note.” The music that begs comparison with the best York in August 2007, “Serve or Suf- is its own justification and doesn’t re- of Keith Jarrett. fer” is a bluesy session featuring an in- quire hype. Rave and brother Bill work to- teresting mixture of pop and soul mate- gether well on the Latin romp rial with innovative Werner arrange- “Midas,” and “Helium,” the finale, ments and heartfelt playing. The listener is an uptempo workout for the en- gets a good idea of what he’s in for tire trio, again displaying their sure with the opener, a new take on the old sense of three-way interplay. Tower of Power classic “What Is Hip?” Throughout the recording, that derives from the fusion influences Driscoll, who has recorded with of Miles Davis, Weather Report and such innovative jazz artists as Bill Return to Forever, with a smoking solo Frisell, John Zorn, Wayne Horvitz by Rogers. and Henry Kaiser, adds an impro- Vitro deserves kudos for her visational edge that acts as the glue choice of the obscure, but wonderful RAVE TESAR TRIO that binds the Tesars together. “Goodnight Nelda Grebe, the Telephone You Decide By the way, a little research re- Company Has Cut Us Off,” from the Tesar Music veals that Tesar is a New York- 1968 release “Living with the Animals,” based pianist, composer, recording by the eclectic rock band Mother Earth, Even after nearly 40 years lis- engineer and producer who has fronted by singer Tracy Nelson. The tening to jazz and more than 20 years been active in the pop and jazz original lasts less than three minutes, but writing about it, I still get an occa- worlds since the early 1980s, one here stretches beyond nine minutes, sional thrill when a fabulous new

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who obviously has not gotten the So Bad for Me” employs a reggae recording opportunities as a leader beat. Yarbrough’s rendition of “Joy that he deserves. Brother Bill Tesar Spring” breaks the mold as she has performed with Angela Bofill, whispers the lyrics to a moody rock Bob Berg and Mark Feldman. beat before a string section and I’ve already decided. Rave electric guitar enter the picture. The Tesar’s debut recording is a joy to result is a fascinating new look at listen to. But don’t believe me. an old evergreen. Track down the CD, buy it and “You “Dreamer’s Ball” is a some- Decide.” what understated acoustic blues, THOM ROTELLA with Takeshi Akimoto on rhythm Out of the Blues guitar. A gospel choir enhances the Four Bar Music traditional sound and Akimoto cuts loose with a nifty solo. All the while, Too many of guitarist Thom Yarbrough and the harmony voices Rotella’s previous recordings left me interact with satisfying results. cold with their light-weight, so-called “Sorrow’s Eyes” is a jazz waltz with “smooth” jazz sound, so “Out of the the Yarbrough lyric, “If it holds true Blues” came as a pleasant surprise. that love’s eyes are blind, sorrow’s For this 2007 release, he largely es- eyes are wide open. If your lonely chews the forgettable melodies and eyes are open, hold me in your sight lackluster performance for a set of RAYA YARBROUGH for awhile.” standards and bluesy Rotella originals Raya Yarbrough First-time listeners may not im- played with a sense of urgency, and Telarc Records mediately identify Yarbrough’s the result is very hip and very enjoy- imaginative take on “Mood Indigo,” able. My first impression of Raya with her voice initially accompanied It doesn’t hurt that the guitarist Yarbrough was that, at best, her vo- by bass only. It soon becomes ap- has gathered around him a group of cal style is an acquired taste that I parent as the rest of the band chimes very capable players—pianists Llew hadn’t yet acquired. At worst, I in. The sole remaining standard, Matthews and Rich Eames, bassist thought, the Southern California- “Early Autumn,” gets a more con- Luther Hughes and legendary bop based singer is just another medio- ventional, if mournful, reading from drummer Roy McCurdy. They per- cre talent hoping for the kind of in- Yarbrough, and she is backed by a fectly complement his Wes Mont- stant crossover stardom that Norah string quartet that gives the perfor- gomery-style fretwork. Jones achieved with her recording mance the feel of a classical tone The Montgomery influence is debut in 2002. poem. evident from the outset, Rotella’s After half a dozen listens, how- “Hollywood Love” is a dreamy swinger “Who Dat?” where he em- ever, I’m convinced that Latin number, with subtle horns and ploys the familiar octave chords to Yarbrough’s self-titled, major label percussion setting the mood as great effect. The blues and the word- debut is the real deal and that she Yarbrough’s voice soars above. The play continue on “Bluze 4 Youze,” a is a genuinely gifted songstress with singer shows her considerable skill more conventional blues shuffle with a unique approach to the music. at the piano on “’Round We Go,” nice keyboard comping by Matthews. Like Jones, she has a lovely voice, which has an irresistible rumba Hughes, best known for his long ten- mixes genres and writes and ar- beat. “Vice and Vanity” also utilizes ure with bluesy jazz pianist Gene Har- ranges much of her music and lyr- a Latin rhythm, but the music is less ris, provides a solid walking bass line ics (she penned eight of the 12 interesting. The closer, “Better and takes a tasty solo. tracks here). But she also appreci- Days,” is a cleverly constructed “My Foolish Heart” is one of ates the standards without slavishly tune with rapid-fire lyrics and a hip- three standards included, and it gets adhering to the “acceptable” ways hop attitude, but the chorus is the ultra-romantic treatment, with long of interpreting them. strangely appealing. and lush lines at a very relaxed tempo. “Lord Knows I Would” is a Rotella and Matthews trade solos, soulful opener with a gospel tinge and folk instrumentation, and “Your Jazz on Disc continued on page 24

Page 24 Berman Music Foundation Jazz

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Jazz on Disc continued from page 23 medium tempo that emphasizes the “Shimmer” is a lush ballad by tune’s gorgeous melody and Rotella that reflects the dappled sun- while Hughes and McCurdy, on danceable waltz tempo. While Rotella light-on-water imagery of its title. The brushes, assist with admirable skill and and Eames trip the light fantastic, guitarist sets the mood, and Eames de- sensitivity. “The Dr. Is In” returns to Hughes and McCurdy shine in their livers a similarly shimmering solo. The the bluesy Montgomery references at essential supporting roles, especially bouncy Latin closer, “Be Here Now,” a quicker tempo, and “Never Say McCurdy in his brilliantly brush- contains some unusual chord changes Goodbye” evokes a dreamy Latin stroked solo. The band briefly that resolve into a fairly conventional world with excellent mallet work by switches to a lilting Latin beat for “All melody. McCurdy and Rotella’s languorous, Ways,” then returns to more familiar Here’s hoping that Rotella con- single-note lines and alternating ground on the swinging standard “I tinues to pursue the true jazz muse, chords. Hear a Rhapsody,” which features a such as he does on “Out of the Blues.” Jerome Kern’s timeless “The passage of four-bar breaks that dis- Way You Look Tonight,” is taken at a play the quartet’s compatibility.

Concert Review Brecker shows wit at April Fools’ Day concert

By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—It was no pinched off the notes in his imagina- bass and guitar, and Brecker’s ballad joke when renowned jazz trumpeter tive trumpet solo. “Incidentally” was a showcase for his Randy Brecker performed at an April Next up was the University of wonderful trumpet playing, including Fools’ Day concert at Lin- a final breath-taking ca-

coln Southeast High Photo Courtesy denza. School. The trumpeter effort- Brecker, however, did lessly played double- and display a sense of humor in triple-time and hit sustained his choice of repertoire and high notes on the samba in his good-natured rapport “Tijuca.” Brecker soared on with the much younger his composition “Shanghigh” players who shared the au- from his 2003 release “34th ditorium stage with this N Lex.” The band finished master technician. with a rousing rendition of The evening began “Some Skunk Funk,” a clas- with a three-piece set by sic of the funk fusion genre the Lincoln Southeast Jazz first recorded by brothers Ensemble I, under the di- Randy Brecker Randy and Michael Brecker rection of Bob Krueger. in 1975. UNO saxophone “Skyhawk,” by Fred Sturm, was fol- Nebraska-Omaha Jazz Ensemble I, professor Darren Pettit took the sax lowed by the Victor Young standard directed by Peter Madsen, kicking part. “Beautiful Love,” featuring the things off with “A Little Minor Booze,” With the death of his younger director’s son Tommy Krueger on a bluesy number in a minor key. With brother in January 2007, Randy flugelhorn. Brecker made his first 1995’s “The Sleaze Factor,” composer Brecker still carries high the torch of appearance fronting the high school Brecker directed his ire at a former jazz-funk fusion. This stylistic amal- band on the clever “Southeast Six record company. He played the tune gamation will, no doubt, continue to Step,” a syncopated piece by Eric with especially funky, nasty verve. make his music both exciting and rel- Richards that had band members The Tim Hagans composition “Boo” evant for many years to come. clapping in time. Brecker deftly paired two trumpets with baritone sax,

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Understanding the sweet mystery of life ○○○○○○○○○○○○○○ By Ruth Thone○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

“Ah, sweet mystery of life,” some File Photo wise man wrote. I suspect that “sweet mystery” is about death. Surely I would be helped, or at least able to lighten up, if I simply con- sidered death and dying a mystery, in- stead of intermittently felled by that fact of existence. We all know, do we not, that all lives end in death, that fair price for the beauty and tragedy of living. What I don’t get is why it’s so hard, why each new death in our short and sweet existence feels like an unimag- inable wound. A good friend left us, as we some- times say, this winter after an accurate Butch Berman in 2005 visiting San Francisco, one of his favorite cities. death sentence of four months, due to a malignant, inoperable brain tumor. He Still, I have Courtesy Photo blank place he used to occupy, that vi- chose to live life cheerfully at the end— struggled with his tal, vibrant, joyously alive man. telling me that “being positive is hard death. Now I My old friend existed with his be- work,” to which I agreed, telling him think of bidding loved wife, Grace, in the world of his that I don’t even try. farewell to him obsessions, as we all do, and that off A few off his friends, including me, and his wife as loving friends, and richly in his enormous knew of the four-month diagnosis but we parted after and generous devotion to jazz music. he did not want to talk about it endlessly lunch that day I hate to whine; we all face death, or have to console his grieving friends less than three lots of it as we age, and meet our friends during his last few months. Even so, I weeks before he at funerals. Maybe this death was just Ruth Thone was shocked at his death, thrown into died. Never the tipping point for me, after a year of startling and uncomfortable grief. once did I think many losses. One of the operating systems we that would be the last time I would see Maybe struggling with loss and all have in our characters is that of de- him. grief is simply what we are required to nial. Mine had certainly kicked into high Another old friend tells of sitting experience in exchange for the gift of gear as he and I visited once a week in at her dying unconscious father’s bed- life. the office of our friend and massage side, reading the “Tibetan Book of the therapist, and at lunch with the four of Dead.” Another lent me her copy of Editor’s Note: Ruth Thone, author of us, old friend and his lovely wife, and “Good Life Good Death,” written by “Women and Aging, Celebrating therapist and myself. We’d been meet- her Buddhist teacher Gelek Rinpoche. Ourselves,” “FAT: A Fate Worse than ing for a Monday noon lunch a few My childhood Christian Science Death,” “Women, Weight and Ap- times a year for several years. told me that “Sin, sickness, disease and pearances,” and “Being Home,” can My massage therapist friend death are unreal.” I know our old friend, be reached at [email protected]. called to tell me our friend had died the in an African tradition, will be with us This article first appeared in the night before, so I’d not be more shocked as long as the last person to know him March 22 edition of Neighborhood to walk into my weekly appointment, to is alive. Extra. It is reprinted here with the discover that he was no longer with us. What I discover each day is the author’s permission.

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○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Letters to the Editor Friends, fans and musicians send respects

Guitarist’s music to be in upcoming film, Celebration of life keeps thanks to Butch Berman CD review Butch’s vision alive

Dear Mr. Tom Ineck: To all who planned the Celebration of Life event,

I just wanted send my condolences to the Berman What a grand celebration to honor the life of family at Butch Berman’s passing. He was very kind Butch Berman. Fabulous music, amazing people and to me in reviewing my CD “Fearless Shores” back in great food. Thank you for continuing to keep his vision 2004. Thanks in part to him and yourself, seven of the alive. songs have been acquired and mechanical licensing agreements signed with GAG Order Films for the pre- Sincerely, mier of their release “The Lawn Boy” and will be screening at the Hollywood Black Film Festival, June Marthaellen Florence 5, 2008. Laemmle Music Hall 3, 9036 Wilshire Blvd., Chair of Jazz in June Beverly Hills, Calif., at 7 p.m. Lincoln, Neb. Thanks again for you review at the Berman Mu- sic Foundation and all the great work you do. “When you are inspired by some great purpose, some extraordinary project, all your thoughts Respectfully, break their bonds; your mind transcends limita- tions, your consciousness expands in every Richard Hart direction, and you find yourself in a new, great, Innervision Records and wonderful world.” Jazz Guitarist -- Patanjali Celebration of life keeps the music and memories alive Editor’s Note: The 2008 Jazz in June concert series is dedicated to Butch Berman. Tom, Kansas City singer sends thanks What a fabulous celebration for a truly wonderful for inclusion in celebration of life man. Bravo to you and everybody that made it pos- sible. Best regards. Thank you, I had a terrific time.

Peace, David Basse Kansas City, Mo. Don Holmquist www.citylightentertainment.com Lincoln, Neb. Editor’s Note: At the Celebration of Life, David Editor’s Note: Don Holmquist is the drummer and Basse performed the classic farewell ballad, “I’ll singer for The Cronin Brothers, the last band Be Seeing You,” the blues tune “The Eagle Flies Butch Berman was in. The surviving members on Friday,” and Cole Porter’s “I Love You.” performed at the March 23 celebration of life.

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Non Profit Org. U.S. Postage PAID Permit No. 1359 Lincoln, NE

Berman Music Foundation Butch Berman Charitable Music Foundation 719 P St., Suite C-1 Lincoln, NE 68508 Return Service Requested

From the Archives Butch is artistic director of 2005 Topeka Jazz Fest Photo by Dawn DeBlaze How can you help the foundation?

The Berman Music Foundation is a non-profit, tax-exempt, 501(c)(3) private foundation, and your tax-deductible donation will help offset the costs of this newsletter and its programs.

____$ 10 ____$ 25 ____$ 50 ____$100 ____$250 ____Other Name______Address______City______State______Zip______Phone______Fax ______After seven years (1998-2004), the Topeka Jazz Festival was E-mail______struggling financially. Butch Berman was named artistic director of the 2005 festival, which featured Norman Make check payable to Berman Music Foundation at: Berman Music Foundation Hedman (left) and his band Tropique, who have had a long 719 P St., Studio C-1 relationship with the Berman Music Foundation. As it Lincoln, NE 68508 turned out, nothing could save the Topeka festival and it folded after the eighth year. On the right is Rich Hoover, Thanks for supporting jazz! BMF photographer and close friend of Butch’s.