Quarter Notes

Volume 4, Issue 1 January-March, 2009

P.O. Box 329 Somers Point, NJ 08244 SPJS Presents 2009 Master Award to Joe Barrett 609-927-6677 On Saturday, February 21st, 2009, The www.spjazz.org Somers Point Jazz Society was busy presenting South Jersey jazz lovers Susan Ayres, Co-Editor & Design with more of the great music perform- Tim Lekan, Co-Editor ances that listeners have come to ex- pect from this thriving organization. It Jim Bonar, Contributing Editor was the 4th installment of the Blue Dr. Robert Rawlins , Guest Colum- Moon Brewery Third Annual Win- nist ter Jazz Series, with the Johnny An- drews Quartet performing at The Inlet Inside this issue: Restaurant, and Bob Ferguson's Tradi- tional Jazz All-Stars performing at 2009 Jazz Master Award 1 Gregory's Restaurant.

Coleman Mellett 2 Audience members were in for a spe- cial treat on this night, Upcoming Events 2 as SPJS honored its 2009 Jazz Master Award recipient Joe Barrett, in recog- 2008 Jazz Master Johnny Andrews and 2009 Jazz Master Joe Barrett nition of Mr. Barrett's lifelong contri- Gina Roché 3 bution to jazz and the South Jersey music community. The presentation of the On this particular ‘jazz night’, Somers Point Jazz Cape Bank Jazz @ the 4 award took place at a reception at The Inlet Society Vice-President, Susan Ayres, welcomed Point 2009 Lineup prior to the performance by Johnny Andrews, those in attendance, and thanked everyone for and, to the delight of all in attendance, provided their support of the jazz society. 1st Annual Benefit Concert 5 for a 'meeting of the masters' -- Johnny An- drews was honored by SPJS a year ago, with the A brief statement by SPJS President, Nick Regine, 2008 Jazz Master Award. was followed by the introduction of board mem- Sittin’ In 5 ber and master of ceremonies, Tim Lekan, Barrett was born in Atlantic City, and was in- who proceeded to introduce tributes to Mr. Bar- rett by his friends and fellow musicians Charlie Winter Jazz Series 6 spired at the age of 10 by the recordings of . and les- Logeman, George Mesterhazy, Barbara Devlin and sons soon followed and Joe was on his way to a Stan Weiss. A Little Bird Told Me... life that has brought his beautiful and warm clarinet tone to the ears of many Charlie Logeman spoke fondly of Joe, and recalled (Overheard by our sax-playing a grateful listener. For more than 40 years, Mr. when Joe donated his time to play a September seagull) Barrett balanced a full-time job as an electrician 11th benefit concert for veterans.

—Check out the SPJS radio show with an active music schedule, which saw him perform at nearly all of the major hotels, casinos Pianist and arranger Mesterhazy, who is currently on alternate Monday nights from and legendary clubs in Atlantic City. Barrett has performing in San Francisco with vocalist Paula 8-10 P.M., on WCFA-LP 101.5 (Cape performed with a long list of jazz greats, includ- West, filmed his tribute and with the help May), with your host Bob Dolge. ing , Billy Bauer, Tal Farlow, of modern technology, all were able to enjoy it on Bob and Charlie Logeman will be Maxine Sullivan and Warren Vache. He contin- a large movie screen. Mesterhazy reflected with featuring interviews with artists ues a daily practice regimen, still searching warmth and a sense of humor on 40 years of friendship and music-making with Barrett. performing at upcoming events, for new songs to add to his repertoire, and he including this year’s Cape Bank can often be heard at the Merion Inn in Cape May, performing on 'jazz night' with the George Barbara Devlin shared some memories of singing Jazz @ the Point Festival! (Continued next page) Mesterhazy Trio. Page 2 Quarter Notes

(con’t from previous page) surgery isn't so bad after all.' invited Barrett to sit in, and they wowed in bands with Joe, and being moved by the audience with “Pennies from Heaven”, his lyrical solos. While she acknowledged Saxophonist Stan Weiss, Barrett's friend and “What’s New?” The quartet continued her musical inexperience at the time, she and frequent band mate of 50 years was their great performance, which included was quick to point out that Joe always unable to attend due to a minor health set- “Just Friends”, “Bye Bye Blackbird”, “My treated her with kindness and respect. back. Lekan informed the audience Old Flame”, and “Moanin’/Work Song”. She also noted that following Joe's open that Weiss wrote a piece about Barrett, heart surgery a few years ago, she and a which Lekan was asked to read in Mr. Weiss' Over at Gregory’s Restaurant, trumpeter friend marveled that Joe's playing had even absence. It was a fitting tribute, reflecting Bob Ferguson and the Atlantic City Tradi- gotten better, 'if that were possible', leading Weiss' great admiration and respect for tional Jazz All-Stars brought a Mardi Gras her to conclude that 'maybe open-heart Barrett. Lekan pointed out that Weiss was celebration to Somers Point with their Dix- particularly proud of a long, complex sen- ieland repertoire. The sextet featured Herb tence which captured Joe's mastery of the Roselle on trombone, Dr. Robert Rawlins clarinet. With Stan's permission, we have on clarinet, Fran Smith on banjo, Jim included it here, for all of our readers to McClernan on tuba, and Tom Angello on ponder and enjoy: drums. They entertained the enthusiastic

crowd with favorites such as “Shine”, "Undaunted by the pesky cross-fingerings and “Ain’t Misbehavin”, “Avalon”, and “A Kiss rigid tonal requirements, Joe’s warm sound to Build a Dream On”. Joe Barrett made an brings forth the pretty notes and musical lines with the flawless execution of what his im- appearance and sat in on a couple of tunes, provisational instincts inspire him to play with with Dr. Rawlins switching over to alto flowing ease”. saxophone. In summation, it was a wonderful evening Lekan then presented the 2009 Jazz Master of love, friendship, and great music. Award to Joe, along with a lifetime member- ship in the Somers Point Jazz Society. Ms. Congratulations, Joe! Ayres presented a bouquet of flowers to Joe’s wife, Sunny, on behalf of the Society.

Shortly afterward, 2008 Jazz Master and Upcoming Events pianist Johnny Andrews took the stage with his quartet, which featured Behn Gillece on March 5-8 vibes, Joe Kearney on bass, and Keith Hollis Cape Bank Jazz @ the Point 2009 on drums. After a lovely rendition of the classic “It Could Happen to You”, Andrews See Page 4 for the complete lineup Bob Ferguson Visit our website www.spjazz.org for more details and ticketing information, or call Coleman Mellett: 1974-2009 our hotline at 609-927-6677 On February 12, 2009, guitarist Coleman Mel- March 15 lett, saxophonist Gerry Niewood, and 48 oth- Evolution of Jazz—Part 3 ers lost their lives in the crash of Continental Airlines Flight 3407, a few miles from Buffalo Jazz After the Big Bands—Bop, Cool, Mod- Airport. ern Presenter: Denis DiBlasio Coleman and his wife, vocalist Jeanie Bryson, gave a memorable performance with the Stumpo’s Italian Grill @ 3 P.M. George Mesterhazy Trio, to close out Cape April 4 Bank Jazz @ the Point 2008. Blue Moon Brewery Winter Jazz Series To hear 'Coley' play guitar was to experience The Antfarm Quartet the honesty, beauty and kindness that he expressed so effortlessly as a human being. The Inlet Restaurant, 8 P.M. 998 Bay Avenue Our thoughts and prayers go out to his wife Jeanie, and all of his family and friends. Radam Schwartz Organ Quartet Gregory’s Restaurant, 8:30 P.M. R: Coleman Mellett at Cape Bank Jazz @ the Point 900 Shore Road March 9, 2008 Page 3 Quarter Notes A Conversation with Gina Roché

Gina Roché is the area’s premier and most versatile vocalist, and is known for her capti- vating performances. Singer, guitarist, song- writer, and Mom, Roché imbues a Brazilian flavor into her unique blend of jazz, blues, and original compositions. She has toured the U.S., Japan, the Grand Cayman Islands, and Aruba. Bassist and SPJS Board Member Tim Lekan had the opportunity to chat with Gina about her music and what inspires her. Their conversation follows.

Q: Who are some of your musical influ- ences? A: Musical influences...hmmm...well, do we have enough space? In my youth, I was addicted to Rickie Lee Jones, Earth Wind & Fire, Chaka Khan, and Bonnie Raitt. Then I fell for Patti Austin, Chet Baker, Carmen McRae, Al Jarreau, and Pat Metheny. The last decade was all about Antonio Carlos Gina Roché and her daughters (Photo credit: John Lore) Jobim, Ivan Lins, Keith Jarrett, and Kenny like a box of chocolates”. I feel that way always thought of him as a generation or Wheeler. Most recently, I've been inspired about music--you know it's going to be deli- two younger than I, only to learn that by Raul Midon, Chiara Civello, Sara Tavares cious, yet no one can say exactly what each we're similar in age. Keith must’ve found and Esperanza Spalding...Wow! experience will bring. I love that. the fountain of youth. We should all spend Q: What are your sources of inspiration? some time with this man, find out his nutri- Q: Could you talk about the band members? A: The obvious source is life's joy--the love I tional and spiritual habits and follow suit. If A: (Randy Porter on ) I met Randy Por- experience every day, looking at my chil- there were a picture next to the definition ter during the 1990's in Atlantic City, and we dren’s faces. We all have our set of circum- of a tasty player, it would be a picture of formed a deep and lasting friendship, and stances, life challenges, past hurts from Keith. musical connection. Randy and I are both childhood that color the way we "hear" and of Spanish and Irish descent, and have often "see". These can be a source of pain, or as (Nilson Matta on Acoustic Bass) Nilson laughed at how much we look alike (which I've found, a source of inspiration. Embrace Matta is a well-known and loved musi- isn't true, though we do have similar taste in the whole of who you are; allow it to come cian. He tours and records with YoYo Ma music). He plays with amazing complexity, through you. That's what I do when I sing (no, I'm not kidding), and has recorded harmony, grace and sensitivity. He knows and when I write. My inspiration comes with many of my favorite jazz artists (Ivan what to say, and when and how to say it. from a desire to understand, to comfort, Lins, Kenny Barron, João Gilberto, Hermeto Whatever we play, I trust him implicitly. and to shed light on the reality that we are Pascoal, and Rosa Passos), so it is with all of value, we are all sacred, and we all great delight that I didn't know who he (Tony Miceli on Vibes) Tony and I met when I matter. was 2 years ago when I walked in to do a was er, um, 18 years old. He opened the gig with Nilson on bass, for I may have fled Q: How do you prepare for performances door to what was the beginning of my love the building, or stammered through the and how do you choose your material? Any- affair with Jazz music (Thank you, Tony!). It night in awe. It was a lovely, exquisite mu- one who's heard you perform knows you was true then and is true now, that Tony is a sical experience, and I kept turning around have an extensive and diverse repertoire. passionate person, passionate player and to stare, agape and thinking to myself A: In preparing for gigs, I choose songs that passionate friend. If you want a smoking, "Who in the world IS this extraordinary move me. I like to think about each player burning vibe solo, call him. If you want sen- bassist?" I liked him from the moment I met and make sure there will be places for them sitivity and strength, call him. If you want to him, heard him, and knew him. Who he has to shine. I think about the set, constructing hear something real and true, call him--call played with speaks volumes of his talent; it with a good foundation, some solid tunes Tony Miceli. however, nothing compares to hearing him to open and close a set; then concentrate on (Keith Hollis on Drums) I met Keith many in person. You are all in for a treat (myself creating a flow within that. My favorite times before playing music with him. He has included)! songs to sing are the torchy, aching ballads; always struck me as a soulful person. Keith however, you have to place them delicately is a fellow Atlantic City resident and he is a Q: What qualities do you look for in the inside the set. As Forrest Gump said, "Life is dynamic, sensitive and soulful player. I've musicians you work with? (continued next page) Page 4 Quarter Notes

(cont’d from previous page) have? How far away is it? Is it worth getting a song will come to me at the precise mo- A: Playing that is from the heart, swinging babysitter for? Can I get the players I'd love to ment my 4-year-old is calling for me to and soulful with fluidity, fearlessness and play with? (This festival qualifies on all of these help her in the potty--which causes many sincerity. I enjoy playing with musicians who counts). I do travel for gigs from time to time, early ideas for a song to be recorded are excited to make music. I like down-to- and my family comes with me, or we work out onto my husband’s phone machine, so earth players who are comfortable with a plan with Mom-Mom or Nana. As for influ- that I don't forget the idea I may be themselves and with their ability; players encing my writing, one of newest tunes came working on. Thankfully we've devised a who are really present for the music. A from watching my husband John playing with set time for me to work on my music good work ethic is imperative. Most of all, I our girls. The song is called “Thankfully.” I each week (I've never been so scheduled enjoy a musician who is comfortable with tried desperately to not make the song too before in my life!). John recently asked if open space. I once heard it said that open sweet; however, it was challenging because of he could delete a few "tune" ideas that space is as important as the notes/beats one how sweet it is to see the love he has and were left on his phone machine. I lis- plays. Amen to that! shares with them. Our love and our connection tened to 'em and found a gem that I'd continue to amaze and inspire me. totally forgotten about! That'll be my Q: Has being a Mom influenced your music, next song to write. your writing, your singing, the choices you Q: I know you are writing new music and play- Q: Are you working on a new CD? make regarding the gigs that you do? ing the guitar quite a bit. Will we hear some new compositions at your Jazz @ the A: Does writing songs for the CD count? A: Yes, Yes, Yes! Point performance? Then yes, I am working on a new CD. I Q: Could you talk about that? believe this one will have all original A: Most definitely, yes. We will be playing tunes. I have a hard time not putting at A: My children, my husband, and our life quite a few new tunes that I've written most least one or two well-known tunes on a together come first. My songwriting and recently. Some of them don't even have titles CD; it helps with CD sales and people live performing initially took a back seat to yet! love to hear a new rendition of a favorite song. Let me know what you think! I'm being a new Mom; however, as my children planning to record the day after this grow so too does my ability to write and Q: Could you talk about your songwriting festival, and I can't wait! perform. I am grateful to be a part of this process? loving family and to have the ability to do what I love. Regarding the gigs that I do, I A: I feel as if I am a conduit; my pen finding the purposely choose gigs that fit into our life- lyric, and my guitar telling me what chord to I leave you with my new favorite quote... style. Here are the questions I ask: Will the play next. Songwriting for me comes in "Do not fear mistakes, there are none." music be lovely? How much fun will we spurts. It's inevitable that an idea for a new ~

The Greatest Jazz Festival Value in the Universe! Cape Bank Jazz @ the Point 2009 Lineup

Thursday, March 5 The Magnificent 7 ~ Stumpo’s Italian Bar & Grill ~ 7 - 10 p.m. The Ken Fowser/Behn Gillece Quartet ~ Gregory’s Restaurant ~ 8:30 - 11:30 p.m. Friday, March 6 One For All, featuring David Hazeltine ~ Stumpo’s ~ 8 & 10p.m. The Tony Day Quartet with vocalist Denise King ~ The Inlet Restaurant ~ 8 & 10 p.m. The Dave Stryker Organ Trio ~ Gregory’s Restaurant ~ 10 & 11:45 p.m. Saturday, March 7 Vincent Herring and The Earth Jazz Agents ~ Stumpo’s ~ 8 & 10 p.m. Brian Lynch and Spheres of Influence ~ The Inlet Restaurant ~ 8 & 10 p.m. The Steve Giordano Spacetet ~ Gregory’s Restaurant ~ 10 & 11:45 p.m. Sunday, March 8 Vincent Herring The Joe Magnarelli Quartet ~ Gregory’s Restaurant ~ 2 & 4 p.m. An all-event weekend pass is only $40! The Jim Ridl Quintet ~ The Inlet Restaurant ~ 2 & 4 p.m. To purchase tickets, visit www.spjazz.org The Gina Roche` Quintet ~ Stumpo’s ~ 4 & 6 p.m. Page 5 Quarter Notes 1st Annual SPJS Benefit Concert a Big Success

On January 25, 2009, the Somers Point Jazz Society held its 1st annual benefit concert at The Inlet Restaurant, which featured the amazing sounds of the George Mesterhazy Trio. The restaurant was filled to capacity for this fantastic concert. Camaraderie and wonder- ful music filled the air! SPJS would like to thank everyone who at- tended, in supporting our mission to keep the great American art form of jazz alive and kicking in the southern New Jersey area. An extra big thanks goes out to the George Mesterhazy Trio, Michelle Delp and the Inlet Restaurant, Melanie Rice, Ventnor Print, and all others who donated their time and tal- ents in making this concert a huge success!

Sittin’ In

Special Guest Columnist, Dr. Robert Rawlins The George Mesterhazy Trio (L to R): Mesterhazy, Tim Lekan, and Bob Shomo The Tradition would borrow from composers who today Victor Talking Machine Company to record Jazz thrives on a fascinating paradox. On we consider being of lesser stature than the first jazz record. His fear was that other the one hand, it demands spontaneity— Bach, but I assured them that this was the players would “steal his stuff.” (He was what you played yesterday, well, that was case, and that Handel was “guilty” of the right, in a sense. But little did he realize that yesterday. Even if you could remember same. Throughout music history we find the ground rules were being laid, like it or what you played, it wouldn’t be right to play composers learning from previous mas- not. Not too many years later, musicians it again, because you’re supposed to be ters—Mozart from Bach, Beethoven from throughout the world would “steal the improvising. This is now, this is today, and Mozart, Brahms from Beethoven, and on stuff” of Louis Armstrong, making him the it’s your job to play something new. Those and on. Musical “genes” are passed on most famous jazz musician in history and the are the rules of the game. from one generation to the next and the cornerstone of the entire future of the mu- On the other hand, jazz has a long and rich tradition never dies. sic.) tradition that most jazz musicians simply The difference is that jazz is not preserved Soon after, in 1917, a group of white musi- revel in. The historical masters—Louis Arm- in a musical score. It is created spontane- cians from , calling themselves strong, , , Charlie ously, and, unless recorded, is lost for- The Original Dixieland Jazz Band finally cut Parker, , Miles Davis—are re- ever. Fortunately, through a rather amaz- the first jazz records. Whether or not this spected and revered by every new genera- ing coincidence, the history of jazz coin- was a first-rate jazz band, and whether or tion of players. Younger musicians study cides almost exactly with the history of not they “deserved” this honor begs the their solos, learn from their modes of ex- recorded sound. Invented by Thomas Edi- question. What is important is that they pression, and absorb their styles. And, if son in 1878, the phonograph began to started the ball rolling, and finally jazz had a they do it right, the result is a new and origi- come into its own during the early years of means by which to propagate itself. Within nal personal statement that retains vestiges the century, just as the Ragtime era was months, musicians throughout the country of the past masters. sweeping the nation. During the 1910s, were hearing this new kind of music for the This respect for past or older musicians is some Ragtime bands, particularly in New first time, absorbing its qualities, imbibing its not unique to jazz. Today, in my theory Orleans, gradually morphed into jazz spirit, and recreating their own interpreta- class, a student asked me why the composer bands, and soon the phonograph compa- tions. Among those young musicians was of a certain excerpt was listed as Bach/ nies were ready to record this new kind of Bix Beiderbecke, a high school student from Vivaldi. I explained that Bach was well music. Davenport, Iowa, who was simply mesmer- known for making arrangements of other ized by the ODJB records that his older Surprisingly, New Orleans cornetist Freddie composers’ works, particularly those of brother brought home. Keppard turned down an offer from the Vivaldi. They seemed surprised that Bach (cont’d next page) Page 6 Quarter Notes

(cont’d from previous page) essence, he invented the improvised jazz decades ago. That’s not possible. We’ve Bix got himself a cornet, listened to these solo. These recordings capture the essence heard other things, practiced different recordings incessantly, and tried to imitate of his playing, and were influential beyond music, and we live in a different environ- the sounds he heard. He memorized every belief. It has been said that virtually every ment. That’s as it should be. I’d like to note that cornetist Nick La Rocca device, every nuance, and every technique think that if Louis could hear present-day played. But what came from Bix’s horn was used in jazz improvisation can be traced to jazz musicians, he’d be proud. He’d hear exponentially more profound. He soon de- these recordings. the perpetual growth and development that is an absolute requirement of the mu- veloped into a legendary player, and died Jazz history developed so rapidly that it is sic. But he’d also hear the vestiges of the very young, leaving a body of recordings of amazing to look back at the history and the tradition that he put in place, which will his own that are worshiped to this short spans of time that separate significant always be there. day. Walk up to any Dixieland player today style changes. For example, most agree that and mention Bix Beiderbecke and his or her there is one “great divide” in the history of Editor’s Note: Robert Rawlins is a professor, eyes will glaze over. He or she will be think- jazz, that being marked by the revolu- coordinator of music theory, and chair of the ing, “Gods once walked the earth.” tion of the early 1940s. (In the parlance of Department of Music at Rowan University. In Well, to trace even a modest survey of the the day, it was the “beboppers” versus the addition to a Ph.D. in Musicology, he holds history of influential jazz recordings would “moldy figs.”) was the genius master's degrees in Music History & Theory, turn this into a dissertation. (I wrote one of behind the bebop movement; along with his Humanities, and Public Relations. He wrote those once; it took so much out of me that I partner . But Parker’s style, with Nor Eddine Bahha (Moroccan jazz piano vowed never to write another.) But there without a doubt, came directly from that of composer) Jazzology: The Encyclopedia of are a couple that did so much to establish Lester Young. When I was a college student, I Jazz Theory for All Musicians (Hal Leonard, the tradition that they must be mentioned. remember telling the great jazz arranger 2005), A Simple and Direct Guide to Jazz Manny Albam that I read how Charlie Parker Improvisation (Hal Leonard, 1995), Interme- The most essential group of recordings in had memorized all of Lester Young’s re- diate Serial Duets for Two Flutes (Southern the history of jazz are the Hot Fives and Hot corded solos. His response was, “We all did.” Music, 1990), and has published nearly 100 Sevens, which Louis Armstrong recorded articles on various aspects of jazz, music You can’t overestimate the importance of between 1925 and 1929. Armstrong grew up theory and performance. Dr. Rawlins has tradition in jazz. It is a music of continual in New Orleans, moved to Chicago in 1922, performed extensively on flute, saxophone growth that never loses touch with its and set about defining the future of jazz. In and clarinet in both jazz and classical venues. past. We don’t sound like our heroes from Winter Jazz Series is Smokin’ Hot By Jim Bonar

Straight ahead jazz lovers received a double in support of many well known musicians. Afterwards I asked Hassan “Who was that treat for the January installment of the So- Both got a chance to have their name on the on the piano--Wow!” With a sideways grin mers Point Jazz Society Blue Moon Brewery marquee as leaders on this night to show- he told me it was Luke O’Reilly. I wrote that Third Annual Winter Jazz Series. Not that a case their musical vision. This posed a bit of name down, with an asterisk. I was im- night out needs to have a theme, but if you a dilemma to those like me, who prefer to pressed by his youthful enthusiasm and were looking for one, you could say that pick one artist, show up early for a good obvious passion for playing jazz in addition both pianist/organist Luke O’Reilly and bass- seat, and stay until every instrument has to his possessing a world of talent. O’Reilly, ist Andy Lalasis are much-in-demand players been packed away at the end of the night. 26 years old and currently based in Phila- Luke O’Reilly or Andy Lalasis, how can I delphia, grew up being influenced by both choose? Alas, a choice of one jazz musicians and music from the golden would have left me regret- age of soul and funk. On his Web site he ting not seeing the other, so lists favorite musicians from both camps, in the SPJS mini-festival spirit including , Jimmy Smith, I did my best to see both. and Keith Jarrett, as well as Ray Charles, Stevie Wonder, B.B. King, and Earth, Wind First up was Luke O’Reilly, & Fire. He plays all keyboards and in addi- playing organ and leading a tion to playing jazz gigs has also recorded quintet at The Inlet (which and played funk and other types of music. has turned into a nice venue Some of the people he has played or re- to hear jazz). The first time I corded with include Curtis Fuller, Dave saw Luke was almost exactly Valentin, Nicolas Payton, Randy Brecker, a year ago. He was playing Jason Marsalis, Slide Hampton, Jimmy piano with Hassan Abdullah’s Heath, Clark Terry, , Bobby group at Stumpo’s during Watson, and Fred Wesley. last winter’s SPJS series. That night he reeled off a Tonight Luke designed his musical program bunch of lightning fast solos especially for fans of good old what some Keith Hollis and Luke O’Reilly that left the crowd abuzz. call “soul jazz”, played by an organ trio Page 7 Quarter Notes with Dai Miyazaki on guitar (who studied at Berklee College of Music in Boston) and Keith Hollis on drums, augmented by Ken Fowser on tenor sax and Joe Breidenstine on trumpet. Songs played included two set- opening groovers (as yet untitled) that Luke composed, John Coltrane’s “Trane’s Slow Blues”, Lee Morgan’s gorgeous “Ceora”, “Georgia on my Mind” featuring very soulful trumpet solos by Breidenstine, and ’ flag waver “Sonnymoon For Two”, which showcased Ken Fowser’s blistering tenor. (All you saxophiles out there look for Ken at Jazz at the Point, Thursday, March 5th!) This group was well balanced with plenty of solo space for all and fistfuls of fine organ throughout. A quick (but not quick enough on this cold night) walk to Gregory’s allowed me to ease into the crowded room at the begin- ning of bassist Andy Lalasis’s group’s last set. Andy has been a frequent visitor to SPJS and other local soirees past, fueling propulsive rhythm sections in support of Andy Lalasis and Bob Shomo Mike Pedicin, Bob Ferguson, Denis DiBlasio, and Robin Van Duzee. He is always ambi- Watching a quartet of this caliber perform in enjoyable it sent me scrambling to find it in tious musically, fingers always busy, search- a small room like Gregory’s made me think of my record collection where it led off the ing for new ways to express himself with something I read while studying the life and 1959 album “At the Jazz Corner of the each song’s rhythm and melody. music of the great Lester Young. World” recorded live at Birdland—yet an- Andy was joined by Paul Hannah on tenor other great Hank Mobley composition. He When asked whether he preferred playing sax, Jon Pruitt on piano, and the ubiquitous may not be a household name, but many with a trio, quartet, or larger band, Pres re- Bob Shomo on drums. The fresh takes on jazz musicians in the know are including at plied “No. Give me my little three rhythm and hard bop standards such as ’s least one Hank Mobley song in their set me—happiness…That’s four, the four Mills Jazz Messengers’ “Along Came Betty” and list.) In between those two songs, the quar- Brothers…That’s me, I can relax better, you “Hipsippi Blues” were truly collaborative tet played a moody version of Coltrane’s dig?” Yes, Pres, I dig it and I definitely dug it efforts, with each player contributing fine “Naima” and the tender ballad “Nancy during Andy Lalasis’s second set. Make sure solos and then trading choruses back and with the Laughing Face”, both featuring to catch Andy Lalasis and Jon Pruitt with the forth. (By the way, “Hipsippi Blues” was so beautiful playing by Paul Hannah on tenor. Magnificent Seven, also at Jazz at the Point, on Thursday, March 5th.

Jazz Birthdays

January: 10 Max Roach, drums (1924) 23 Django Reinhardt, guitar (1910) February: 2 , tenor sax (1927) 21 Warren Vache, cornet (1951) March: 6 Wes Montgomery, guitar (1923) 20 Harold Mabern, piano (1936) 29 Michael Brecker, tenor sax (1949)

Joe Breidenstine and Ken Fowser