File Photo

Butch Berman in full regalia Prez Sez ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

It’s been a long, strange trip ○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○

To my dear, faithful, loving File Photos friends, fans and supporters, January 2008 Vol. 13, Number 1 What a long, strange trip it’s been. Even though I have no recol- lection of it, on the night of Sunday Oct. 1, after watching “Desperate Housewives” with my perfect dar- ling wife, Grace, I guess I didn’t Butch and Grace Sankey Berman at a feel well, went over to her house, Nebraska Jazz Orchestra concert and had some sort of weird seizure. featuring Greg Abate in March 2005. In this issue of Jazz.... They rushed me to the hospital, and to find out why I had the seizure thank all of you for loving and pray- Tomfoolery: Upcoming concerts...... 5 they induced me into a six-day-long ing me back to life, so to speak. I Bill Charlap Trio review...... 7 coma. can’t tell you all Joe Cartwright/NJO review...... 8 They luck- how much I love Jazz on Disc reviews...... 9 ily found only a all of you for lov- little brain lesion ing me so much. Discorama reviews...... 13 that may have I finally Letters to the Editor...... 14 caused it, and woke up, got had a bit of a back to my be- time bringing me loved home and out of it. How within a few The Cronin Brothers odd to wake up weeks even in an unfamiliar hospital room sur- played again with my band The rounded by all of your worried Cronin Brothers at the Zoo Bar, to friends not knowing why you were a packed house of caring people there. With tears streaming down my eyes as I write this, I want to Prez Sez continued on page 2

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me of how important our friends are gratitude. Even though I’m no for all the good things about life we longer doing my “Soul Stew” and sometimes take for granted. “Reboppin’ Revisited” radio shows, Two of my best friends ever, I do hope to be back on the air on Wade Wright from San Francisco perhaps another local radio chan- and Norman Hedman from New nel in the very near future, as I miss York City, checked in with heart- and loved doing my shows and the felt phone calls almost daily. opportunities to both entertain and Norman’s been dealing with a few educate my faithful fans with the health issues himself, so please join gifts of music I’ve carried with me Jazz is published online at: me in sending him your kind my entire life. I will keep you all www.bermanmusicfoundation.org The office of The Berman Mu- thoughts and prayers for a speedy posted on details when I hear more. sic Foundation is at 719 P St.,, recovery as well. All of us in our My old pal Doug Campbell and Suite C-1, Lincoln, NE 68508. late 50s and early 60s all plan to be Marthana Florence from Jazz in happy, health old buddies for years June dropped by on a recent Sun- Editor and Designer: Tom Ineck

to come and File Photo day afternoon enjoy our to gather in- Contributing writerswriters: shared inter- put from me Butch Berman and Tom Ineck ests. on the possi- And, of bilities of the Photographers: Butch course, last BMF being Berman, Rich Hoover and Tom Ineck (File Photos) but not least, included for my beautiful the upcoming For inclusion of any jazz or wife, the 2008 season blues related events, letters to amazing with some the editor or suggested Grace artists I feel articles, mail them to the office, phone (402) 476-3112, Sankey- will keep the fax (402) 475-3136 or e-mail Berman was Doug Campbell and Butch in 2004 tradition of [email protected]. and is truly Jazz in June my saving Grace, as her love and as jazzy as it was in the earlier days To be added to our mailing non-stop care of me chases away when the BMF was more active. list, call (402) 476-3112, fax (402) 475-3136 or e-mail the fears and bad memories from Keep your fingers crossed for this [email protected]. all of this rather nightmarish expe- situation to be continued. rience, on a 24/7 continued basis. A Lots of new, great CDs have The Butch Berman god-sent nurse who gives me rea- come to me over the past few Charitable Music sons to exist with positivity, with months and I will share them with Foundation is a non-profit, tax exempt, 501(c)(3) private foun- every breath I take, my loving an- you in this issue’s “Discorama” col- dation recognized by the Inter- gel. My sister-in-law Lois from Ni- umn. Dig it, music lovers nal Revenue Service and the geria also showed up to lend love The Lied Center for Perform- Nebraska Department of Rev- and support. Let’s wish her a safe ing Arts is a nice venue when the enue. It was established in the and restful journey home despite the sound system is engineered prop- spring of 1995 to protect and promote unique forms of jazz usual first of December winter erly, and it was on Oct. 29, the night music. weather we’re having as I write that “Solid Blues” was presented, this. featuring the still-powerful Mavis Trustee: Butch Berman Now, let’s move away from me Staples. Grace and I saw her in and get into the world of music that 2003, during our honeymoon in Chi- Consultants: Grace Sankey Berman, Russ Dantzler, Dan I have loved sharing with you within cago, doing a tribute to Spike Lee’s Demuth, Norman Hedman, these Jazz newsletters over the great musical soundtracks. The late, Gerald Spaits, Leslie Spaits and past 13 years. Get ready for some great Gerald LeVert gave one of his Wade Wright good news ahead. last shows that night. This was one Thanksgiving season I was overwhelmed with Prez Sez continued on page 4

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Prez Sez continued from page 3 File Photo

Also on hand Oct. 29 was one of the best remaining harp players in the blues biz, Charlie Musselwhite, who cracked up the large crowd when he said it was great being back in Madison. Maybe he’s had a few too many nights on the road. He did mention the Zoo Bar, and after the show he dropped by to jam with Magic Slim. The back-up band for all of them were the sensational, young North Mis- sissippi Allstars, who cooked their asses off and are well on their way to becoming monster all-stars of the next few decades to come. It was Butch gives guests a personal tour of the Berman Music Foundation museum. a lovely night, indeed, and one of my first outings after my first sick can be utilized by many a wide va- my long-time dreams a blessed re- spell. riety of folks, especially the younger ality. Bird lives and so do I, now If you don’t already know this ones who need to be aware of this sleeping well at night knowing all of by now, my home, which is the base invaluable musical heritage I’ve my years of work and collecting of my Berman Music Foundation, amassed since my youth, from the were not in vain. is legally a museum that I plan to 1950s to the 21st century. People A major thank-you to Terry, keep preserving and protecting, with can come to study the history of Paul and the Cline Williams law firm all forms of my incredible collection some of the legends of our musical that handles my trust and enables of great Americana music of a wide and film history. From Hendrix to all of these worthwhile projects to variety of styles, including 45s and Coltrane, girl groups to surf and become realities, for years to come. LP records, VHS and DVD films garage, as well as embracing all the I know my time will come some day, and a huge library of books depict- unforgettable film-makers of our but I plan to check out the same way ing all of the aforementioned. Hope- time, from film noir, horror, comedy I plan on living, with my zest and fully, it will be preserved for many and classics to movies made lust for life and the quality in which years after my final demise (I plan abroad, including the works of we all have the choice to follow and to stick around until I’m at least 91, Bergman, Fellini, Hitchcock and all carry on. Please keep me in your as predicted by some of the spiritu- of our current auteurs. There will thoughts and prayers, and I prom- alists I believe and subscribe in). always be staff working here to ise you my self and the Berman You know me by now—Berman’s assist, and donations will help keep Music Foundation will carry on en- the name and positivity is the game. this project a valuable tool for years tertaining and educating you all be- Then my foundation and house to come. cause that’s what we’re all about. I finally found the right indi- With that I’ll close with best Courtesy Photo vidual to index all of the above ma- wishes for you all for a joyous terials on my computer, to keep tract Christmas and a Happy and Rockin’ of a collection that took many years New Year that we can all dig and to accumulate. Thanks to my ever- groove on. so-handyman Terry Schwimmer, who introduced me to his pal and God bless you all, master historian Paul Kelly, this amazingly difficult chore is now in effect and set for future use for years to come. Paul’s computer Mavis Staples skills and brilliant mind are making

January 2008 Page 5 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Tomfoolery

Winter hibernation to bear jazz fruit in the near future ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ File Photo Here in the Heartland of Photo Courtesy America, we are deep in winter jazz hibernation, when live performances are in short supply and we hunker down in front of a warm fire with fa- vorites from our own jazz libraries, which offer spiritual warmth and sus- tenance. For recommended listening, see the CD reviews in this issue. Even so, we like to look ahead for the spring thaw on the live jazz Drummer Les DeMerle will bring his horizon. What follows is a brief over- band to Jazz in June in 2008. view of what we have to look for- ward to. Drummer Ray DeMarchi (left), bassist March 15 at O’Donnell Auditorium on Thankfully, the Nebraska Jazz Gerald Spaits and other KC musicians the campus of the University of Ne- Orchestra continues straight through will join the NJO May 23 in a tribute braska-Lincoln. A virtuoso much-pub- the winter doldrums, with four more to the music of Russ Long. licized in the 1970s, Watrous worked concerts in its 2007-08 season. Trom- extensively in big bands led by Quincy bonist Matt Niess of Washington, DeMarchi, Jones, Maynard Ferguson and Woody D.C., is the featured soloist Jan. 12. keyboardist Herman before establishing his own For this year’s “Learning from the Roger Wilder career. Master” concert, Niess will perform and versatile Guitarists Larry Carlton and with both the NJO and the 2007 Young reedman Robben Ford will team up for a Lions All-Star Band. He is director Charles Perkins. March 5 performance at the Rococo of jazz studies, associate trombone Legendary Theatre in downtown Lincoln. Carlton professor and director of The Criteri- trombonist Bill Watrous will front the is best known for his smooth fusion ons Jazz Ensemble at West Chester Nebraska Jazz Festival All-Stars sound and for his playing on record- University. He also is a founding mem- ings by Steely Dan, Joni Mitchell, ber of The Capitol Bones jazz trom- Courtesy Photo Michael Jackson, Quincy Jones, bone ensemble. Bobby Bland and dozens of others. Scott Wendholt, acclaimed Ford combines jazz technique with a trumpet soloist for New York’s Van- sure feel for the blues. guard Jazz Orchestra, will join the Even the Lincoln Symphony Or- NJO April 20 for a tribute to the mu- chestra is getting into the jazz act, pre- sic of Nebraska native Neal Hefti, a senting vibraphonist Joe Locke April concert that also will feature the UNL 12 at Kimball Recital Hall on the UNL Jazz Ensemble. Finally, the Berman campus. Locke returns to Lincoln af- Music Foundation will sponsor a ter a highly-acclaimed performance May 23 concert featuring some of with the NJO at Lincoln’s 2005 Jazz Kansas City’s finest jazz musicians in June series, bringing with him a set joining the NJO in a tribute to the of music arranged for orchestra by music of late Kansas City icon Russ saxophonist Tim Garland. Local jazz Long. Among the special guests who musicians also will join Locke on will perform compositions by Long are Joe Locke will be featured soloist April bassist Gerald Spaits, drummer Ray 12 with the Lincoln Symphony. Tomfoolery continued on page 6

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Courtesy Photo Courtesy Jan. 27 at the LRW Ballroom at The March 7 concert will raise Stephens College. The Jazz at Lin- money for the foundation’s educa- coln Center Orchestra with tional and historical endeavors, which Wynton Marsalis makes an appear- include summer music camp scholar- ance Feb. 10 at Jesse Auditorium. At ships for Lee’s Summit high school Murray’s jazz club in Columbia, the students. calendar includes the Terell Stafford

Quintet on Feb. 24, the Heath Courtesy Photo Brothers Quintet (only saxophon- ist Jimmy and drummer Albert “Tootie” are still alive) on March 30, the Brad Mehldau Trio on April 13 and the Ray Brown Tribute Band, featuring bassist Christian McBride, pianist Benny Green, and drummer Gregory Hutchinson on Monty Alexander front a trio May 10 April 27. For more information, visit Pat Methey will front a trio March 7 at at the Folly Theater in Kansas City. www.wealwaysswing.org. Unity Village, Mo.

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Charlap transcends all with sheer poetry ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

KANSAS CITY, Mo.—Some Courtesy Photos jazz pianists are merely technical virtuosi, while others delve deeply into the territory of blues and soul, but lack proficiency. Bill Charlap transcends all of them with a po- etic sense that combines both tech- nique and soul without exaggerat- ing either. His first priority is to the song and the story it tells, as though The Bill Charlap Trio in performance in compensating for the absence of lyrics he waxes lyrical on the keys. The trio performed four tunes from Indeed, Charlap seemed espe- that recording, beginning with a cially inspired Nov. 16 during a trio mid-tempo “Somebody Loves Me,” appearance at the beautiful Folly featuring an inventive bass solo. Theater. With his longtime, stalwart Continuing with a super-fast “Nice drummer Kenny Washington and Work If You Can Get It” and the bassist Sean Smith (instead of the touching ballad “I Was So Young other Charlap veteran, Peter Wash- and You Were So Beautiful,” the Bill Charlap in action ington), the pianist delivered a con- Gershwin set came to an end with fident, moving, often astounding an uptempo, but lyrical take on performance. Having already wit- Davis in his “Birth of the Cool” ses- “S’Wonderful.” nessed Charlap several times in re- sions, it was treated imaginatively The second set began with a cent years at the Topeka Jazz Fes- with Charlap employing percussive nod to jazz pianist Horace Silver, tival, his keyboard mastery came as block chords. Irving Berlin’s “The combining his tunes “Ecaroh” and no surprise, but it was dazzling Best Thing for You” was an “Summer in Central Park.” Charlap nonetheless. uptempo finger-bender that gave introduced Jerome Kern’s “The Charlap last appeared at the Charlap a chance to stretch out. Way You Look Tonight” with a long Folly Theater in 2002 with saxo- Charlap’s sheer poetry and solo statement before the trio took phonist Phil Woods, his employer at emotive powers are most evident on it uptempo and Washington added that time. Since then, Charlap has ballads, like Vernon Duke’s “Au- a tasty drum solo on brushes. From established his own reputation as a tumn in New York,” which featured the Leonard Bernstein songbook leader, with six recordings on the an exquisite solo piano interlude. came “Glitter and Be Gay” from Blue Note label. His latest, “Live “I’ll Remember April,” taken at a “Candide,” on which Charlap em- at the Village Vanguard,” was re- medium tempo, featured ployed a unique, rolling-hands tech- viewed in the July 2007 issue of the Washington’s sensitive brushwork. nique. Bernstein’s heart-wrenching BMF newsletter. Despite the differ- Another highlight was the Benny ballad “Somewhere” segued into the ence in venues, it provided an obvi- Carter ballad “Souvenir,” dedicated grand finale, a devastating version ous basis for comparison with the by Charlap to all of the many jazz of the classic love song “Body and Folly concert. greats who have passed on in re- Soul.” The opener was George cent years. The audience of several hun- Wallington’s “Godchild,” also in- The music of George Gershwin dred wanted more, but how do you cluded in the Village Vanguard re- has long been a favorite of Charlap, follow such brilliance? Charlap cording. Best known for its whose 2005 tribute to the composer wisely declined. groundbreaking treatment by Miles was subtitled “The American Soul.”

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Cartwright confirms reputation as KC’s best ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—His blues- infused, post-bop technique and sty- listic versatility have made Joe Cartwright Kansas City’s most sought-after jazz pianist for some 20 years, equally respected by vo- calists and musicians. His appear- ance Oct. 9 as guest soloist with the Nebraska Jazz Orchestra confirmed that reputation once again. Cartwright had ample opportu- nity to display his considerable key- board chops to an audience of about The Nebraska Jazz Orchestra 220 at the Embassy Suites ballroom in downtown Lincoln. Beginning Courtesy Photos The concert also featured an with the uptempo swing of Neal earlier selection of tunes arranged Hefti’s “The Kid from Red Bank,” and conducted by special guest Eric named for Count Basie’s New Jer- Richards, a music teacher in Fre- sey hometown, Cartwright drove the mont who has impressive national NJO with a full keyboard attack. credentials as well. Richards’ own Bobby Timmons’ “Moanin’” was composition “Synergy” kicked off the inspiration for an especially soul- the show with a subtle complexity. ful piano solo, as well as moving His whimsical arrangement of Sonny solos by Scott Vicroy on baritone Joe Cartwright at the piano Rollins’ bluesy “Doxy” cleverly pit- sax and Darren Pettit on tenor sax. ted Ed Love’s piccolo solo against Working up a visible sweat, with “I’ve Never Been in Love Tim Dickmeyer’s bass trombone. Cartwright dove into an amazing in- Before,” a mid-tempo swinger from “Ellesamba” was a gentle Latin terpretation of Thelonious Monk’s “Guys and Dolls.” It proved a per- tune lovingly dedicated to Richards’ “Well You Needn’t,” churning up the fect vehicle for Cartwright’s accel- wife. entire length of the keyboard with erating keyboard attack, as he fin- Special guest vocalist Christine appropriate octave leaps and care- ished with a rollicking intensity remi- Hitt took the stage for Richards’ ar- fully timed fore arm smashes that niscent of Oscar Peterson, Ray rangement of Billy Strayhorn’s dazzled the awestruck audience. It Bryant or Errol Garner. He’s that “Lush Life,” a difficult piece that was a tour de force combining tech- good. Hitt handled with perfect intonation nique and pure emotion. The rest of the NJO returned and intelligent phrasing. Paul Haar Most of the NJO left the stage for Benny Carter’s lovely ballad added a fine tenor sax solo to the so Cartwright, bassist George “Souvenir,” Fats Waller’s immortal band’s sensitive performance. Bryan and drummer Greg Ahl could “Jitterbug Waltz” and an uptempo “The Crawfish Stomp” was dig into a lush ballad rendition of Mal take on the old standard “Yours is Richards’ tribute to New Orleans Waldron’s “Soul Eyes,” a My Heart Alone.” Cartwright’s solo funk, and his arrangement of Tadd Cartwright favorite and the title piano introduction on the last piece Dameron’s bebop staple “Hot track of a recent CD. He proceeded slyly quoted from “Jitterbug Waltz” House” was turned into a funk to wring exquisite variations on the before cutting loose with the entire frolic, the only disappointment of the chord changes. The trio continued band for a flag-waving finale. evening.

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Jazz on Disc

Brecker’s final recording is a testament for the ages ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

lovely “Five Months from Midnight” close with an appropriately spiritual subtly hints at melancholy, but later mood. he delivers an unmistakably defiant Despite his progressing illness, and uplifting solo. The 10-minute Brecker throughout this recording “Anagram” is charged with electric- plays with seemingly boundless en- ity, mightily powered by DeJohnette, ergy, pouring torrents of notes in non- Patitucci and Metheny, who set the stop, improvised passages. Tracks stage for a staggering tenor solo. range from about seven minutes to One of the many highlights of this more than 10 minutes, allowing plenty MICHAEL BRECKER recording is “Tumbleweed,” a lilting, of time for the excitement to spread Pilgrimage breezy rocker with wordless vocal among all the players. It is, indeed, Heads Up Records passages by DeJohnette, an outstand- an inspiring musical “Pilgrimage” ing Metheny solo on guitar synthe- worthy of many repeat visitations. As if this beautiful recording sizer, and piano punctuation by needed any more poignancy than is Mehldau, leading into a transcendent contained in its inspired performances, Brecker solo. Mehldau then delivers “Pilgrimage” also is Michael a wonderfully funky solo before the Brecker’s final document, recorded ensemble returns to the powerful six months before his death of leuke- melody for an ecstatic conclusion. By mia in January and mixed just days contrast, the poignant ballad “When after his passing. Can I Kiss You Again?” is the sole His health failing with complica- reference to Brecker’s illness, a tions from the rare blood disorder question from his teenage son during myelodysplastic syndrome, Brecker the time of his father’s treatment ANDY BEY set out to make one last recording, when family members were not al- Ain’t Necessarily So enlisting the aide of close musical lowed to touch him. Metheny and 12th Street Records compatriots Pat Metheny on guitar, Hancock deliver breathtakingly ten- Herbie Hancock (on four tracks) and der solos in preparation for the In the course of a career span- Brad Mehldau (on five tracks) alter- composer’s own heart-rending tenor ning nearly 50 years, singer-pianist nating at the keyboard, John Patitucci statement. Andy Bey has been woefully under- on bass and Jack DeJohnette on The convoluted “Cardinal Rule” recorded, so this release is a wel- drums. The result is a testament for deftly alternates from Brecker’s comed addition to his oeuvre, even the ages, devoid of maudlin sentiment tenor to Mehldau’s piano to Patitucci’s though it was recorded in May 1997 but nonetheless brimming with emo- solo and DeJohnette’s driving percus- and held from release for a decade. tional impact. sion. Brecker and Metheny again join Bey first made a name for him- Of the nine original Brecker forces on the theme for “Half Moon self in the late 1950s and early 1960s compositions, only one is a ballad. The Lane,” a lyrical mid-tempo tune. with Andy and the Bey Sisters, fea- others churn and roil and burn with “Loose Threads” lopes and surges turing siblings Salome and Geraldine. varying degrees of intensity. The with ingeniously suspended stop-time Since they broke up 40 years ago, Bey opener, “The Mean Time,” pits passages that create tension without has released only five studio record- Brecker’s tenor against Metheny’s losing the “thread.” The title track, ings—four in the 1990s—and “Ain’t guitar, line for line, with Hancock featuring Hancock on electric piano Necessarily So” is only the second live lending jagged harmonic flourishes. and Brecker soloing on EWI and Brecker’s early plaintive tone on the tenor, brings the proceedings to a Jazz on CD continued on page 10

Page 10 Berman Music Foundation Jazz

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Jazz on CD continued from page 9 piano, following with playful, discor- company slip into the comfortable dant variations on the theme. The mid-tempo swing of “Hot Lips,” turn- release. mood returns to the sublimely roman- ing up the string intensity for more Recorded May 13-15, 1997, at tic with Cy Coleman’s “On Second than four minutes. New York City’s legendary Birdland, Thought,” in which Bey starkly dem- Mehling is joined by current Hot it contains some of Bey’s most im- onstrates his ability to tell a moving Club members, Evan Price on violin, passioned singing and most tasteful love story with intelligence and total Jeff Magidson and Jason Vanderford keyboard work, not to mention the conviction. on rhythm guitars and Ari Munkres rock-solid accompaniment of bassist Perhaps it is the swinging rendi- on bass. Peter Washington and drummer tion of “Brother, Can You Spare a The Lennon-McCartney Kenny Washington. “Ain’t Necessar- Dime?” that best exemplifies how songbook has been represented in ily So” also is exquisitely produced, Bey puts all the pieces together—vo- every imaginable musical style, so the making it an absolutely essential docu- cal and keyboard technique, unique Hot Club’s rendition of “I’m Happy ment of an artist whose career has harmonic ideas, blues inflection and Just to Dance With You” seems per- been inadequately documented. humanity, as reflected in the Depres- fectly logical. Seth Asarno adds an Bey gives the full soulful treat- sion Era theme that still remains timely exotic flair on bandoneon. Special ment to Gershwin’s title track, with in the 21st century. The live recording guest and friend David Grisman lends special emphasis on Ira’s cleverly ends as it began, with a Gershwin his mandolin virtuosity to a blazing rhymed biblical references. With a classic. Bey, alone at the piano, takes version of “Sway.” Also known as voice that ranges over several oc- “Someone to Watch Over Me” at a “Quien Sera,” the tune was a hit for taves and is capable of dramatic fal- very slow pace, drawing every drop Dean Martin in 1954, but there’s no setto flights, Bey immediately estab- of emotion from its timeless lyric. mistaking the Hot Club take for lishes his credentials. The obscure Dino’s. “Hey, Love,” by Mary Rodgers and Mehling’s original “Number Martin Charnin, is a wonderful vehicle Two” purportedly found its inspiration for Bey, as he tenderly caresses each while the composer was otherwise lyric and hangs on a single note for occupied in a restroom in Iceland. It an eternity near the end of this nine- features a nice bass solo by Munkres. minute masterpiece. The Grappelli ballad “Souvenir de The tempo rises for the Jerome Villingen” gets a lovely treatment by Kern evergreen “All the Things You Price. Lester Young’s whimsical Are.” Working in tandem with the “Tickle Toe” swings with bluesy fabulous rhythm section, Bey percus- THE HOT CLUB OF SAN gusto. The rhythm guitars churn up sively punctuates each lyric line, FRANCISCO the water and Price soars high above stretching and repeating words and Yerba Buena Bounce them on “White and Black,” another improvising phrases like a true bebop Reference Recordings Reinhardt and Grappelli tune. master. Ellington’s gorgeous ballad “I Grisman and Asarno are used to Let a Song Go Out of My Heart” has The Hot Club of San Francisco good effect on Mehling’s tender Bey in a sweet, crooning mood, softly celebrates its 15th year and its 10th “Lullabye,” with Grisman stating the voicing the lyrics in falsetto, but not release with a recording stretching lovely theme, followed by a without soulful interjections. Through- across 17 tracks that go well beyond bandoneon solo. Mehling gleefully out the nine-minute performance, the one-hour mark and feature sev- leads the charge on Reinhardt’s fran- there is never a doubt whether Bey eral guest appearances. tic “Rhythm Futur,” and ups the ante believes the words. He seems to Lest you forget the guiding prin- with lead guitar flourishes on his own “live” them, embodying their senti- ciple behind the band, “Yerba Buena composition “Yerba Buena Bounce,” ment in passages half sung and half Bounce” begins with a brief but blaz- which also features an energetic solo spoken, with spontaneous cascades of ing rendition of that old gypsy jazz by Price. blue notes. favorite, “Mystery Pacific,” by Django In an unconventional arrange- “If I Should Lose You” is an in- Reinhardt and Stephane Grappelli, the ment, Munkres takes the lead on strumental, with Kenny Washington undisputed pioneers of the genre. “Stardust.” Walter Donaldson’s subtly driving the rhythm using Once their credentials have been es- “Borneo” gets an aptly exotic treat- brushes. Bey states the melody on tablished, leader Paul Mehling and ment with everyone stoking the rhyth-

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mic fire. The duo of Mehling and Price gallop on tenor sax, daring the oth- make “Georgia Cabin” sound like ers to follow, and they do so admi- home, sweet home, and Mehling goes rably. In his solo, Locke bears down it all alone on Reinhardt’s “Improvi- on the vibes as the rhythm section sation #2.” keeps the pace. La Barbera is es- In a departure from form, two pecially impressive. bonus tracks—“Gong Oh” and “Some Ranier’s “Resolution” is a of These Days”—feature Mehling on jaunty, mid-tempo tune that proves vocals, accompanied by an expanded an excellent vehicle for Daniels’ Hot Club that includes Bill Carter on clarinet, with vibes doubling. The CHARLIE HADEN & ANTONIO clarinet, Marc Caprone on trumpet tenor sax brings appropriate warmth FORCIONE and Clint Baker on trombone and tuba. to the ballad “Not Alone.” Finck’s Heartplay The result veers close to traditional deeply resonant bass anchors the Naim Audio New Orleans jazz. light, bouncy “Under the Wire,” as clarinet, vibes and piano blend and Charlie Haden’s penchant in re- weave lines almost imperceptibly cent years for moody ballads performed while the tempo escalates. in duo collaborations, usually with pia- The ensemble aptly pays trib- nists or guitarists, has drawn undeserved ute to the stately sound of the Mod- criticism from some quarters. On the ern Jazz Quartet with Roger contrary, his recordings with pianist Kellaway’s “Déjà VU MJQ,” add- Hank Jones (“Steal Away”), pianist ing Daniels’ lyrical clarinet to the Kenny Barron (“Night and the City”), MJQ-patented instrumentation of guitarist Pat Metheny (“Beyond the piano, vibes, bass and brush-stroked Missouri Sky”), pianist Chris Anderson EDDIE DANIELS percussion. Daniels, on tenor, gives (“None But the Lonely Heart”) and Homecoming: Live at the Ellington’s luscious “Warm Valley” pianist Gonzalo Rubalcaba (“Noc- Iridium the elegant treatment it deserves, turne”) are some of the most finely IPO Recordings weaving intricate lines against the crafted and eminently listenable harmonic backdrop created by projects of the bassist’s 50-year career. Double-threat reedman Eddie Ranier and Locke. Daniels turns the Add 2006’s “Heartplay” to the list. Daniels again scores a grand-slam tenor every which way but loose on The sensitivity that Haden and Italian homer with “Homecoming,” his sec- a lively rendition of Cole Porter’s guitarist and composer Antonio ond release on IPO Recordings. “Night and Day,” which also fea- Forcione bring to their playing and writ- Stretching generously across two tures a dazzling solo by Locke. ing makes them a perfect pair. Haden CDs, it documents a four-night Many of the 15 tracks stretch contributed three originals while stand at the famed Iridium jazz club beyond seven minutes, with John Forcione wrote four tunes, beginning in New York City in October 2006. Lewis’ classic “Django” expanding with the opener, “Anna” and continu- Again alternating between to more than 14 minutes as its vari- ing with “If…,” a lovely melody that tenor sax and clarinet, Daniels this ous themes develop and resolve. Forcione has recorded before. Haden’s time is supported by a solid combo Daniels himself contributes several Spanish-tinged “La Pasionaria” dates of veterans consisting of vibraphon- worthy compositions, including the from 1982’s “The Ballad of the Fallen,” ist Joe Locke, pianist Tom Ranier, lovely ballad “Love’s Long Jour- by the bassist’s Liberation Music Or- bassist Dave Finck and drummer ney,” the frantically paced “That’s chestra. With his dazzling fretwork, Joe La Barbera. They prove very for Afta,” and the wistful closer, Forcione gives it an aptly impassioned compatible teammates, each able to “Chosen Words,” a clarinet ballad flair. confidently carry his weight in the of uncommon beauty. Throughout this evocative record- jazz group dynamic. And they To ensure radio play, the pack- ing, emotion is the key. Forcione’s swing! age also contains bonus edits of “Snow” is perfectly suited for fireside Exploding from the starting “Django,” “That’s for Afta,” and listening this winter, and Haden’s haunt- gate, Daniels lunges—Sonny “Falling in Love with Love.” ing “Silence” (also from “The Ballad Rollins-style—into an uptempo “Falling in Love with Love” at a full Jazz on Disc continued on page 12

Page 12 Berman Music Foundation Jazz

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Jazz on Disc continued from page 11 mix of originals, several standards and a couple of tunes by Thelonious Monk. of the Fallen”) is paced with stately It is, however, Hersch’s first studio trio grace. The only cover is Fred Hersch’s recording since 1994’s “Fred Hersch “Child’s Song,” a playful tune reminis- Trio Plays…,” and that makes it essen- cent of Haden-penned folk melodies tial listening. and especially well suited to Forcione’s Cole Porter’s “So in Love” begins lyricism. tentatively before accelerating to an in- The brief “Nocturne” was writ- sistent Latin tempo. The haunting origi- ten by the guitarist, but is equally ap- nal “Rhythm Spirit,” with its swirling PAUL BOLLENBACK pealing to Haden’s romantic sense. convolutions, is dedicated to drummer Invocation From the most distant past comes Billy Hart, while Hersch composed the Elefant Dreams Records Haden’s “For Turiya,” first recorded by lovely “Heartland” for pianist Art the bassist in the 1970s. Here, it is given Lande. Guitarist Paul Bollenback estab- a searching, 11-minute treatment that For the “title” track, “You and the lished a stellar reputation during his long is dominated by the composer’s reso- Night and the Music,” Hersch wrote a tenure with organist Joey DeFrancesco nant, and uniquely plangent bass lines. brief introductory passage he calls “Gal- in the 1990s. Over the last decade, he Haden drops out long enough to allow axy Fragment,” which seems to gently has blazed his own stylistic trail with Forcione a heartfelt solo statement, launch the listener into outer space, seven recordings as leader. For his lat- before bringing the tune and the record- where the moon and stars seem within est effort, “Invocation,” Bollenback ing to a satisfying close. one’s grasp. The Dietz/Schwartz clas- gathered an all-star band in a tribute to sic is thus transformed into a spacey fallen jazz legends. rendezvous, with an appropriately soft Bassist Ed Howard and drummer landing. On the other hand, Monk’s Victor Lewis comprise the rhythmic playful “Boo Boo’s Birthday” sidesteps, core around which Bollenback erects crabwise, with jagged leaps and bounds. his fretwork constructions. Trumpeter The trio’s take on “Change Part- Randy Brecker contributes his usual ners” continues the terpsichorean ten- expertise on several tracks, and Chris dency, as Waits seems to dance lightly McNulty adds occasional flourishes of across the full range of drums and cym- vocalise. bals, accompanied by Gress’ bounding Without specific references to THE FRED HERSCH TRIO bass and Hersch’s acrobatic keyboard musical heroes who have passed, the Night & the Music excursions. Berlin returns with a ten- set opens with Bollenback’s own Palmetto Records der and relatively straightforward ren- “Dancing Leaf,” employing the dition of “How Deep is the Ocean.” guitarist’s trademark exotic chord pro- Fred Hersch has long been among “Gravity’s Pull” is a wonderful gressions and unique sense of time. The the first rank of jazz pianists following Hersch melody that evolves kaleido- beautiful “Alter Ego,” by the late pia- in the hallowed footsteps of Bill Evans, scopically in brilliant keyboard patterns. nist James Williams, features McNulty’s alternating dazzling improvised runs with Gress composed the ballad “Andrew crystal-clear voice against Brecker’s heart-wrenching ballads. Despite his John,” with the bass ringing the stately bright trumpet lines. “How Deep is the prolific recording output—some 30 re- changes. Monk’s “Misterioso” seems Ocean” gets an unconventional read- leases in little more than 20 years—he an apt closer to a beautifully mysteri- ing with blues-inflected guitar, a smooth has carved out a singular reputation for ous recording. shuffle rhythm and tasteful solo state- consistently high-quality performances, According to Hersch, seven of the ments by Howard and Lewis. Perhaps whether in the format of solo keyboard, 10 tracks were captured on the first the most evident reference to time and trio or larger ensemble. take, a testament to the trio’s compat- mortality is the ballad “Everything Must With 2007’s “Night & the Music,” ibility and powers of collective interplay. Change,” and Bollenback, with subtle his sixth release on Palmetto, Hersch Waits is a true percussionist, always assistance by Howard and Lewis, does continues that sterling record for excel- creating the most appropriate rhythmic it justice. lence, with longtime bandmate Drew “colors” for the occasion, and Gress is Of course, the centerpiece is the Gress on bass and drummer Nasheet virtually telepathic in his artistic two-part, 11-minute “Invocation,” Waits. It is typical Hersch, with a tasteful simpatico. weaving guitar, trumpet and voice in an

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eerie sound tapestry. Pitched at approxi- Mandel’s gently waltz “Emily.” the tempo. Coltrane’s classic “After the mately the same range, the three seem Bollenback explores interesting har- Rain” closes the set with the spiritual to clash uncomfortably before eventu- monic variations and exhibits some clarity suggested by the title. Brecker ally finding resolution, perhaps a meta- lovely Wes Montgomery-inspired play- states the simple melody on his horn as phor for the uneasy relationship be- ing before returning to the theme. Bollenback improvises with soulful gui- tween life and death. Bollenback’s own composition tar flourishes. The proceedings return to more “Songline” sings with appropriate lyri- conventional ground for Johnny cism and passion as the trio escalates

Discorama

Alaadeen recording captures essence of jazz ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○○

Alaadeen captures what is most lar basis. While I was recovering from essential in the treasured art form we by first bout of illness in early October, call jazz, a CD so full of love I recom- this wonderful new recording of mend it for lovers only, as it totally tran- “Cookin’ at the Corner, Vol. 2” by The scends from the heart into our systems, Dynamic Les DeMerle Band arrived making us, the listeners, truly appreci- and was brought to my hospital bed- ate what “the beauty of it all” is all about. side by my precious wife, Grace, with We’re both a couple of older cats that her portable Bose CD player. have beaten the odds of a variety of I dug it from the first listen, and it ALAADEEN health issues that seem to go with the truly played a big part in my speedy And the Beauty of It All: adventure of aging. Live to be 100 and recovery. It’s a swinging five-piece Ballads a day, my friend, as your music is the band led by the terrific drummer and ASR Records tonic that rejuvenates us all and makes singer Les DeMerle, and featuring his every new day a pleasure to breathe in lovely vocalist and wife, Bonnie Eisele, Kansas City’s pure treasure, God’s love and the beauty of it all. A as well as bassist Ricky Ravelo and pi- reedman personified Alaadeen is one must for everyone’s Xmas shopping lists, ano player Mike Levine, all out of of my best friends in the jazz biz and in or any time of the year. Florida, I believe. Every track is a win- the world. Even if I didn’t know him as ner, from “In a Mellow Tone” to “Our well as I do, I’d still consider him to be Love is Here to Stay” to great instru- one of the most prolific disciples of John mental classics like Nat Adderley’s Coltrane. “Work Song” and the Juan Tizol immor- He’s a beautiful cat, spiritual and tal “Caravan.” a deep thinker whose musical talent has There are beautiful renditions of great healing potential as well as being “I’m beginning to See the Light,” as well most entertaining. His lovely tribute to as “S’Wonderful,” “Do You Know my wife, Grace, on his last CD release, what It Means to Miss New Orleans?” “New Africa Suite,” was one of the fin- “Let’s Fall in Love,” “How High the est jazz outpourings of 2006. On his lat- LES DEMERLE BAND Moon” and “Autumn Leaves.” An est project, “And the Beauty of It All,” Cookin’ at the Corner, Vol. 2 outta sight finale of “Jumpin’ with Sym- he’s moved up another notch in creat- Origin Records phony Sid” rocked and swung me back ing a piece of work that touches you into good health. When I arrived home, with loving warmth that radiates One of my fave labels in the biz is I immediately got on Amazon and or- throughout your entire body and soul, a Origin, out of the great Northwest, dered every other Les DeMerle CD most splendid creation and most beau- which sends me a huge portion of their tiful, indeed. vast and fabulous catalogue on a regu- Discorama continued on page 14

Page 14 Berman Music Foundation Jazz

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available. I suggest that after you hear incredible group live either the second groovy details. It’s truly one hell of a “Cookin” at the Corner, Vol. 2,” done or last Tuesday of June, an event not to great band. Check them out NOW, and live, you’ll follow suit. be missed! you’ll thank me for this info in the near In fact, this band knocked me out I had fun chats with both Les and future, I’m sure. I can’t wait to hear so much I brought them to the attention Bonnie, so you’ll be reading more about them live. Get on it, jazz fans. These of the committee for Lincoln’s annual them in the spring edition of my Jazz cats are TOO MUCH! Check out Jazz In June series, so the Berman newsletter, as well as hopefully hear Origin’s website at www.origin- Music Foundation is back in the mix for their music and some interviews with records.com or call them at (206) 781- this upcoming 2008 season. Looks like them, if I get my jazz show back on the 2589. Xmas is just around the corner, the committee members all dug the shit air, which I’m working on, sometime in ya know, and this music is good any out of ‘em, too, so expect to see this early 2008. Stay tuned here for all the time.

Letters to the Editor Friends, fans and musicians send best wishes

Editor’s Note: What follows is a Ed Love Dear Butch, small sampling of the many e-mail Nebraska Jazz Orchestra messages from friends, fans and I was shocked to hear about your musicians nationwide who sent Hey Butch!! sudden illness. I pray for a swift and their best wishes and healing vibes complete recovery from this. to Butch Berman, on hearing that We were very glad to hear that he was ill. you were awake and conversing and Prayerfully yours, we wish you a speedy and complete ======recovery. Sheila and I just returned Bobby Watson from a European tour and we did a Kansas City, Mo. So sorry to hear of Butch’s ill- couple of gigs this weekend—one in ness, and my thoughts will be with him Connecticut and yesterday in Hey Butch, and Grace and all the foundation fam- Schenectady, NY, trio, with the inimi- ily. table Steve Kuhn on piano. Next Sooooooooooo sorry to hear of weekend we do a little New England your travel away from us. Glad to hear John Jessup tour with trumpeter Dave Ballou and you’re back to swing again!! Sending Kansas City, Mo. the wonderful Adam Nussbaum on you lots of love and good wishes. Hod drums. We are at the Cornelia Street and I are headed to Russia with Harry We wish Butch a speedy recov- Cafe in Greenwich Village on Thurs- Allen and band—we’re so excited! ery and keep him in our thoughts. day, the Vermont Jazz Center in We’re back in Topeka with Harry in Brattleboro on Friday, Portland, September ’08. Hope to be able to Jim Eigo Maine, on Saturday and finish with a visit with you again and talk jazz! Jazz Promo Services concert at the U. of New Hampshire Keep swingin’, Daddy-o! on Monday night. Get well soon, Butch. I’ll be ea- Butch! Thank you for all your Love, ger to talk to you about being uncon- support and all you’ve done to help scious for six days. I’ve only man- keep this music alive. We look for- Stephanie Nakasian O’Brien, Hod aged to do that for a few minutes at a ward to many more years of the O’Brien and 13-year-old Veronica time, occasionally at your house! I’m same! checking your website to get updates Hey Butch, on your condition. Hang in there, man. Lots of love from, Us old cats got to stick together. Wishing you the best and jazz Cameron Brown and Sheila Jordan healing energy, more strength to heal, All the best, live and play jazz.

January 2008 Page 15 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Peace, Dear Butch, Hi Butch!

John Carlini Hey there, friend! How are You will never know how hon- Lincoln, Nebraska you?? I know you’re recovering and ored I am that you called last night. glad to hear that. Have thought of you You sounded like you are burning up often. with a fire for life and that’s fantas- Butch, tic! How blessed we are to have each Love, day, each other, each song that fills Thanks to your staff for keeping our lives with spirit and soul. So glad me posted. I was so relieved to hear Karrin Allyson that you are back at it and doing so the words “full recovery expected.” New York City, N.Y. well when the docs probably had you We had some great times and I hope ready for the dump heap. Screw them! we can reminisce sometime. Cur- Hi, Butch Let them go there and you can keep rently I keep busy with a full time on keeping on like you have always teaching job, part time lesson studio, Things are progressing nicely on done. co-direct the Topeka Jazz Workshop the Russ Long tribute concert. Gerald I read Prez Sez and loved it. Band, play the second Monday of Spaits and I are getting everything or- What a story and it is one with a fu- every month at a coffee shop with a ganized. It’s going to be a good show. ture. Sometime I really do want to get quartet, and free lance with various I wish you all the best. Hope you get up there and see all of this live. Sounds bands. I know you’re busy, too, but I better soon. like a good spring trip. was thinking a lot about Pinky Black Karrin was asking about you not lately and wanted to say my thoughts Ed Love long ago. I will pass your update on are with you. Nebraska Jazz Orchestra to her. She’s traveling over the next few days so will not get any of it until Sincerely, Hey Butch, early next week. Here’s hoping and praying that you Jerry Boster I got your phone message today. and all of yours have a wonderful Topeka, Kan. Thank you. We understand about the Christmas/Holiday season and your Jazz in June Festival. And we thank best year ever in ’08!! Butch, you very much for trying. We are very appreciative of your efforts. And we Stay tuned . . . Well, I guess you live to fight an- don’t want you to worry about any- other day. Glad you’re back, man. thing. We just want you to stay healthy Dean Hampton Stay loose and clean and take care. and you don’t need stress right now. Kansas City, Mo So please don’t worry about us. Just Stanton Kessler know that we are grateful for your ======Kansas City, Mo. efforts. And I am sooo excited to read your review. I’m so glad that you de- Tom, Butch, cided to do it yourself. I’d love to read it if you feel like e-mailing it to us and What a pleasure it was to talk I am very, very glad to read that I promise that I won’t circulate any- with you a couple of weeks ago. you are doing better. Best wishes on thing from it until you release it. Thanks so much for the great article. recovery. I was sending you good Alaadeen is out of the country on Hajj I have received a lot of positive feed- vibes. I didn’t want to bother you since now. He’ll be gone for three weeks back from it and many people from the email said not to call last week. It so we are in a spiritual place right around here and elsewhere found it is great that you are recovering. Hope now. Thinking of you and wishing you very informative. You are a real pro you are jammin’ out again real soon. the Jannah Now (Paradise on earth). and one of the good guys!

Sincerely, Peace, Take care and keep in touch,

Andrew Vogt Fanny (and Alaadeen) Andrew Vogt Fort Collins, Colo. Kansas City, Mo. Fort Collins, Colo.

Page 16 Berman Music Foundation Jazz

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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

Sax great Frank Morgan died Dec. 14 at age 73 File Photo

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 is needed to help offset the costs of this newsletter and its pro- grams. ____$ 10 ____$ 25 ____$ 50 ____$100 ____$250 ____Other Name______Address______City______State______Zip______Phone______Fax ______E-mail______

Make check payable to Berman Music Foundation at: Berman Music Foundation Alto saxophonist Frank Morgan died of kidney 719 P St., Studio G failure Dec. 14 in his hometown of Minneapolis. Lincoln, NE 68508 Age 73, he had just completed a European tour. Morgan was one of the great bop players in the Thanks for supporting jazz! style of Charlie Parker.