Newport Jazz Turns 60 the Latest Edition of the George Wein Newport All-Stars Perform He Newport Jazz Festival Hasn’T Always Been in Rhode Island

Total Page:16

File Type:pdf, Size:1020Kb

Newport Jazz Turns 60 the Latest Edition of the George Wein Newport All-Stars Perform He Newport Jazz Festival Hasn’T Always Been in Rhode Island Volume 42 • Issue 1 January 2014 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Newport Jazz Turns 60 The latest edition of the George Wein Newport All-Stars perform he Newport Jazz Festival hasn’t always been in Rhode Island. In 1971 the in the Chase Room at NJPAC on December 6 (from left): Tfestival moved to New York City, and during that decade also presented George Wein, Bucky Pizzarelli, Lew Tabackin, Jay Leonhart, Newport events jointly with the NJJS at Waterloo Village in northwest New Bria Skonberg and Clarence Penn. Photo by Tony Graves. Jersey. In 1973, there were also two concerts at Fenway Park in Boston, under the name “Newport New England Jazz Festival,” and in 1977 the festival presented an ancillary “Newport Jazz Festival-Saratoga” in upstate New York. The festival returned to Rhode Island at Newport’s Fort Adams State Park in 1981 and, after 17 years of joint presentations in NYC ended in 2008, still continues there. But for 60 years the festival’s one constant has been the leadership of impresario George Wein, first an employee and then longtime owner of the festival. Newport Jazz celebrates the 60th year of its founding this year and the illustrious Mr. Wein was feted at an NJPAC reception last month PEE WEE RUSSELL where he reminisced about the famed festival’s storied history. MEMORIAL STOMP SUNDAY MARCH 2 See story on page 28. see details page 2 and ad page 5 New JerseyJazzSociety in this issue: New JerSey Jazz SocIety Prez Sez. 2 Bulletin Board ......................2 NJJS Calendar ......................3 Jazz Trivia .........................4 Editor’s Pick/Deadlines/NJJS Info .......6 October Jazz Social: Giacomo Gates ...47 Crow’s Nest. 48 Prez Sez New Patron Level Benefits ...........49 Change of Address/Support NJJS/ By Mike Katz President, NJJS Volunteer/Join NJJS. 49 New/Renewed Members ............52 programs. On the other hand, it DIVA at the annual Mayo NJJS/Pee Wee T-shirts. 53 Happy Jazzy must be said that a major factor Theater concert, although the StorIeS in this year’s profitability was Newport Jazz Fest Turns 60. ......cover New Year to attendance was somewhat North Carolina Jazz Fest ..............4 one and all! not having to take losses from disappointing. We again Big Band in the Sky ..................8 Jazzfest, which had been awarded scholarships to jazz Talking Jazz: Catherine Russell ........12 n On Sunday afternoon, substantial in the last few studies majors representing Dan’s Den ........................18 December 8, we had our Forest Hill Follow-Up ...............20 years, mainly due to lack of Rutgers, William Paterson, NJJS Annual Meeting. .22 Annual Meeting at Shanghai a lead sponsor and declining New Jersey City and Noteworthy .......................24 Jazz. Those who attended were Autumn in New York ...............26 attendance. We are still hopeful Rowan Universities, and our treated to two terrific sets by ACS and The Philadelphia Experiment ....29 of reviving Jazzfest in the future Generations of Jazz program Has Jazz Changed Your Life? .........29 singer Sarah Partridge. Sarah in some way, and if anyone presented five performances NJPAC Brick City Jazz Orchestra ......30 is not a stranger to NJJS, 3rd Annual Zootfest ................32 reading this knows of any under the capable leadership of Max Raabe Palast Orchester having appeared several times potential sponsors, I would Pam Purvis, featuring Bob in New Brunswick ................34 at Jazzfest and been a frequent certainly appreciate hearing Ackerman and other musicians, reVIewS performer at Shanghai and about it. If we are to produce and coordinated by Board Book: Duke Ellington. .36 other venues in the area. Jazzfest in the future, we will Other Views. 38 member Frank Sole. Cotton Club Legacy. 40 Before the music began, we have to have greater support of Vaché and Corrao. .42 the event from the membership We then conducted an election Caught in the Act ..................44 conducted our annual business Maria Schneider/Jazz Standard .......47 meeting. I was pleased to report — in 2012, less than 20% of for the Board of Directors. member households were Going into the meeting we had eVeNtS that NJJS is in good fiscal shape, ’Round Jersey: Morris, Ocean .........50 and our treasurer, Larissa represented in the audience. 20 elected directors (plus Jersey Institute of Jazz Studies/ Rozenfeld, reports that we will We continue to receive reports Jazz co-editors Tony Mottola Jazz from Archives ...............53 of other long-running jazz Somewhere There’s Music. 54 finish out the year in the black and Linda Lobdell who serve The Name Dropper .................55 for the first time in several festivals no longer being ex-officio). The maximum produced for similar reasons. adVertISerS years. This is good news in the number of directors authorized Rosalind Grant ......................4 sense that we did well at the I reported last year’s Pee Wee by the by-laws is 30. Directors Pee Wee Russell Memorial Stomp ......5 WBGO ............................7 40th anniversary event last Russell Memorial Stomp was serve 3-year terms. Re-elected Shanghai Jazz ......................9 January and recently received a well attended and enjoyed by this year for terms expiring at William Paterson University ..........11 the end of 2016 were Cynthia NJPAC ...........................13 substantial member donation everyone. We also had an Jazzdagen ........................17 towards our educational outstanding performance by Feketie and Sheilia Lenga. Arbors Records ....................19 Trumpets .........................21 Barbara Kukla .....................22 SOPAC ...........................23 Stay tuned to www.njjs.org for updates and details. Ocean County College ..............25 Rutgers Mason Gross School .........27 Hibiscus ..........................31 Concert to Honor Bruce Gast ........33 NJJS Bulletin Board Berrie Center at Ramapo College ......35 Sandy Sasso ......................38 Member discount Claim your member privilege! Get free admission to NJJS socials, Jim Eigo Jazz Promo ................40 McCarter Theatre Center ............40 discounts to music events, discounts from partners! Cadence Magazine .................41 RVCC ............................43 NJJS Members discounts Hibiscus offers NJJS members a discount of 10% off their Stephen Fuller .....................44 check. The Berrie Center at Ramapo College offers NJJS members 5% off event tickets. WBGO Photo Blog. .45 Diane Perry .......................48 Free Jazz Socials…ongoing. Join us for music and mingling. Free for members, CTS Images .......................49 $10 non-members (applicable to membership) with just a $10 venue minimum. Watch calendar John Bianculli/Italian Bistro ...........51 LauRio Jazz .......................52 page 3 for upcoming dates and details. Beyond the schmooze, there are some serious musical Princeton Record Exchange ..........56 prizes raffled off at our socials!! 2 ___________________________________ January 2014 New JerseyJazzSociety tell them you saw it New Jersey Jazz Society membership makes a great gift! Plus, if you are already a member, in Jersey Jazz! a gift membership costs just $20! See page 49 for details! Bob Beck and Lowell Schantz were elected n As we head into next year, we are eagerly n On a sad note, we learned recently that as new Board members. Bob lives in Raritan anticipating the two annual events that we Ray Kennedy, the great jazz pianist who and is a musician and music teacher. Lowell, will be producing in March — the Pee Wee worked with John Pizzarelli until about who resides in Westfield, is a senior vice Russell Memorial Stomp on Sunday, three years ago, has multiple sclerosis and is president of a major bank and is on the March 2 at the Birchwood Manor in no longer able to play. The New York Times boards of several other non-profit Whippany, and the NJJS/Mayo Performing once described him as “making music that organizations. We look forward to both Arts Center concert on Sunday, March 30, wore an ear-to-ear grin. It made you want of them bringing their enthusiasm for starring trumpeter-vocalist Bria Skonberg to jump for joy.” Ray appeared on over 100 jazz and their areas of expertise to the with her quartet, and special guest Tia Fuller jazz albums and played with and inspired Board as we move ahead. on alto sax. While the Stomp practically sells top jazz musicians the world over. After the membership meeting, the Board, itself, having been a sellout for the last two An on-line fundraising campaign has been including its new members, met for its years, we have 1,300 seats to fill at the Mayo established to help support Ray, his wife, December meeting. In addition to theater and would like to fill every one of Eve, and their two young daughters, ages 10 conducting routine business, the Board them. Bria is truly a rising star, having and 12, in this time of need. Ray now elected the officers for 2014. All current had her debut as a leader at Dizzy’s Club requires full-time care and the family faces members of the management team were Coca-Cola at Jazz at Lincoln Center last high health care costs not covered by re-elected, including yours truly for another month, and there may not be many more insurance. Donations may be made online year as president, Stew Schiffer as executive opportunities to see her at only $20 a ticket vice president, Al Parmet as secretary, at www.YouCaring.com. NJJS is going to before she really hits the “big time.” Please
Recommended publications
  • Duke Ellington Kyle Etges Signature Recordings Cottontail
    Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the ​ band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke ​ Ellington, states that Cottontail “opened a window on the future, predicting elements to come in ​ jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & ​ ​ Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more ​ grandiose pieces with more extended forms.
    [Show full text]
  • By Anders Griffen Trumpeter Randy Brecker Is Well Known for Working in Montana
    INTERVIEw of so many great musicians. TNYCJR: Then you moved to New York and there was so much work it seems like a fairy tale. RB: I came to New York in the late ‘60s and caught the RANDY tail-end of the classic studio days. So I was really in the right place at the right time. Marvin Stamm, Joe Shepley and Burt Collins used me as a sub for some studio dates and I got involved in the classic studio when everybody was there at the same time, wearing suits and ties, you know? Eventually rock and R&B started to kind of encroach into the studio system so T (CONTINUED ON PAGE 42) T O BRECKER B B A N H O J by anders griffen Trumpeter Randy Brecker is well known for working in Montana. Behind the scenes, they were on all these pop various genres and with such artists as Stevie Wonder, and R&B records that came out on Cameo-Parkway, Parliament-Funkadelic, Frank Zappa, Lou Reed, Bruce like Chubby Checker. You know George Young, who Springsteen, Dire Straits, Blue Öyster Cult, Blood, Sweat I got to know really well on the New York studio scene. & Tears, Horace Silver, Art Blakey, Billy Cobham, Larry He was popular on the scene as a virtuoso saxophonist. Coryell, Jaco Pastorius and Charles Mingus. He worked a lot He actually appeared on Ed Sullivan, you can see it on with his brother, tenor saxophonist Michael Brecker, and his website. So, all these things became an early formed The Brecker Brothers band.
    [Show full text]
  • Brechts 3Groschenfilm
    LARS TOBIAS HANNAH JOACHIM CLAUDIA EIDINGER MORETTI HERZSPRUNG KRÓL MICHELSEN BRITTA ROBERT PERI CHRISTIAN HAMMELSTEIN STADLOBER BAUMEISTER REDL EIN FILM VON JOACHIM A. LANG BRECHTS 3GROSCHENFILM WILD BUNCH PRÄSENTIERT MACKIE MESSER BRECHTS DREIGROSCHENFILM EINE PRODUKTION DER ZEITSPRUNG PICTURES IN KOPRODUKTION MIT SWR ARTE UND VELVET FILMS NACH DIE DREIGROSCHENOPER VON BERTOLT BRECHT UND KURT WEILL UNTER MITARBEIT VON ELISABETH HAUPTMANN FILMKOMPOSITION WALTER MAIR KURT SCHWERTSIK MUSIKALISCHE LEITUNG HK GRUBER FILMMUSIK SWR SYMPHONIEORCHESTER SWR BIG BAND SWR VOKALENSEMBLE CHOREOGRAPH ERIC GAUTHIER CASTING MARC SCHÖTTELDREIER BILDGESTALTUNG DAVID SLAMA MASKENBILD JEANETTE LATZELSBERGER KOSTÜMBILD LUCIA FAUST SZENENBILD BENEDIKT HERFORTH VFX SUPERVISOR ROLF MÜTZE SCHNITT ALEXANDER DITTNER LEITENDE REDAKTION (SWR) UND DRAMATURGIE SANDRA MARIA DUJMOVIC REDAKTION (ARTE) ANDREAS SCHREITMÜLLER HERSTELLUNGSLEITUNG (SWR) MICHAEL BECKER EXECUTIVE PRODUCER DANIEL MANN KOPRODUZENTEN SANDRA MARIA DUJMOVIC SEBASTIAN SCHELENZ ANDRÉ SOMMERLATTE PRODUZENTEN MICHAEL SOUVIGNIER TILL DERENBACH BUCH & REGIE JOACHIM A. LANG ARTWORK: WERK 3 BERLIN WERK ARTWORK: präsentiert eine Produktion von in Koproduktion mit Ein Film von Joachim A. Lang mit Lars Eidinger, Tobias Moretti, Hannah Herzsprung, Joachim Król, Claudia Michelsen, Britta Hammelstein, Robert Stadlober, Peri Baumeister, Christian Redl u.a. PRESSEHEFT Kinostart: 13. September 2018 gefördert durch MFG Baden-Württemberg Deutscher Filmförderfonds Tax Shelter Belgien Screen Flanders PRESSEBETREUUNG LIMELIGHT PR Martin Wieandt, Natalie Graf, Nora Debreslioska, Svenja Gelfert Bergmannstr. 103 | 10961 Berlin Tel. 030 - 263 96 98 -12 / -15 / -13 / -16 [email protected] | [email protected] [email protected] | [email protected] VERLEIH WILD BUNCH GERMANY GmbH Büro München Holzstraße 30 | 80469 München Büro Berlin Knesebeckstr. 59 – 61 | 10719 Berlin [email protected] VERTRIEB CENTRAL FILM VERLEIH GmbH Knesebeckstr.
    [Show full text]
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage
    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
    [Show full text]
  • Liebman Expansions
    MAY 2016—ISSUE 169 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE LIEBMAN EXPANSIONS CHICO NIK HOD LARS FREEMAN BÄRTSCH O’BRIEN GULLIN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2016—ISSUE 169 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Chico Freeman 6 by terrell holmes [email protected] Andrey Henkin: [email protected] Artist Feature : Nik Bärtsch 7 by andrey henkin General Inquiries: [email protected] On The Cover : Dave Liebman 8 by ken dryden Advertising: [email protected] Encore : Hod O’Brien by thomas conrad Editorial: 10 [email protected] Calendar: Lest We Forget : Lars Gullin 10 by clifford allen [email protected] VOXNews: LAbel Spotlight : Rudi Records by ken waxman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above CD Reviews or email [email protected] 14 Staff Writers Miscellany David R. Adler, Clifford Allen, 37 Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Ken Dryden, Donald Elfman, Event Calendar 38 Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Tracing the history of jazz is putting pins in a map of the world.
    [Show full text]
  • ART FARMER NEA Jazz Master (1999)
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right.
    [Show full text]
  • Nl262-2 Rev:Layout 1.Qxd
    Volume 26 Number 2 topical Weill Fall 2008 A supplement to the Kurt Weill Newsletter news & news events The Firebrand Returns Weill’s 1945 operetta with lyrics by Ira Gershwin and book by Edwin Justus Mayer, The Firebrand of Florence, will return to New York on 12 March 2009 for the first time since its ill-fated Broadway run. The Collegiate Chorale has assem- bled an all-star cast for the occasion, including Nathan Gunn (Benvenuto Cellini, the “Firebrand”), Anna Christy (Angela), and Terrence Mann (Duke). Lincoln Center’s Alice Tully Hall provides the venue for a concert performance directed and narrated by Roger Rees; Paul Gemignani conducts. Other Notable Productions Montreal audiences will have the opportunity to see François Girard’s acclaimed Opéra de Lyon 2006 double bill of Der Lindberghflug and Die sieben Todsünden when the production travels to the Montreal High Lights Festival next February after successful tours to the 2006 Edinburgh Festival and to the Anna Christy Nathan Gunn 2008 New Zealand International Arts Festival in Wellington. Four performances of Girard’s imaginative and luminous staging are scheduled for 18-21 February 2009. Charles Workman plays Lindbergh, and Magdalena Anna Hofmann plays Anna I to seven different Anna IIs (one per sin); Walter Boudreau conducts the Société de Musique Contemporaine du Québec. HK Gruber will lead the Klangforum Wien and Chorus Sine Nomine in a June 2009 European tour of Die Dreigroschenoper performed in concert. The multi-nation- al cast includes Ian Bostridge (Macheath), Hanna Schwarz (Celia Peachum), Dorothea Röschmann (Polly Peachum), Angelika Kirchschlager (Jenny), Florian Boesch (Tiger Brown), Lydia Teuscher (Lucy), and Christoph Bantzer (Narrator).
    [Show full text]
  • Ken Peplowski Discography
    Discography – Ken Peplowski 1987 Double Exposure Concord Jazz 1989 Sonny Side Concord Jazz 1990 Mr. Gentle and Mr. Cool Concord Jazz 1990 Illuminations Concord 1991 Groovin' High Concord Jazz 1992 Concord Duo Series, Vol. 3 Concord Jazz 1992 The Natural Touch Concord Jazz / Concord 1993 Steppin' with Peps Concord Jazz 1994 Encore! Live at Centre Concord Concord Jazz / Concord 1994 Live at Ambassador Auditorium Concord Jazz / Concord 1995 The International All-Stars Play Benny Goodman, Vol. 2 Nagel Heyer Records 1995 The International Allstars Play Benny Goodman, Vol. 1 Nagel Heyer Records 1995 It's a Lonesome Old Town Concord Jazz / Concord 1996 The Other Portrait Concord / Concord Jazz 1997 A Good Reed Concord Jazz / Concord 1998 Grenadilla Concord Jazz 1999 Last Swing of the Century Concord Vista / Concord Jazz 2000 All This...Live in the UK, Vol. 1 Koch / Koch Jazz 2001 Tribute to Benny Goodman with the BBC Big Band Chandos 2002 Just Friends Nagel Heyer Records 2002 And Heaven Too: Live in the U.K. Vol. 2 Koch 2002 Remembering Louis Jump Records 2002 Ellingtonian Tales Mainstream 2002 Lost in the Stars Nagel Heyer Records 2004 Easy to Remember Nagel Heyer Records 2007 Memories of You Tokuma Records 2008 Gypsy Lamento Venus / Venus Jazz Japan 2008 When You Wish Upon a Star Tokuma Records 2011 In Search Of Capri 2013 Maybe September Capri 2013 ...Live at the Kitano Victoria Company 2018 Sunrise Arbors 2018 Duologue Arbors Credits 2018 Duologue Adrian Cunningham / Ken Peplowski Primary Artist 2018 Sunrise Ken Peplowski / Ken Peplowski
    [Show full text]
  • Keeping the Tradition by Marilyn Lester © 2 0 1 J a C K V
    AUGUST 2018—ISSUE 196 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM P EE ING TK THE R N ADITIO DARCY ROBERTA JAMES RICKY JOE GAMBARINI ARGUE FORD SHEPLEY Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East AUGUST 2018—ISSUE 196 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : ROBERTA GAMBARINI 6 by ori dagan [email protected] Andrey Henkin: [email protected] Artist Feature : darcy james argue 7 by george grella General Inquiries: [email protected] ON The COver : preservation hall jazz band 8 by marilyn lester Advertising: [email protected] Encore : ricky ford by russ musto Calendar: 10 [email protected] VOXNews: Lest We Forget : joe shepley 10 by anders griffen [email protected] LAbel Spotlight : weekertoft by stuart broomer US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviewS 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Miscellany 31 Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, Event Calendar 32 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Contributing Writers Mathieu Bélanger, Marco Cangiano, Ori Dagan, George Grella, George Kanzler, Annie Murnighan Contributing Photographers “Tradition!” bellowed Chaim Topol as Tevye the milkman in Fiddler on the Roof.
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • A Few of Goodman's Stellar Sidemen As the Movies Captured Them
    NEWS MUSIC AND DRAMA A Few Of Goodman's Stellar Sidemen As The Movies Captured Them «itienten Gene Kruj i, Harry Jame«, and Ziggy Elman, Gootlman composition called HwW’a Dream. from left to right- Î iird picture. from the 20th Century- hi« little daughter. public interest. Chambei jazz, whetted a musical appetite that slack by expanding. His early Bouquets' To stemming from a meeting between Benny <^ahed in on. Just how far training had been in classical mu­ Richards Named Goodman ano Teddy Wilson at the Goodman band would have sic and now, recognized as u mas Mildred Bailey’s, became a highly gone had Fletcher Henderson not ter of his instrument, he ventured Discovery Director Benny Goodman acceptable <diom. been available to provide the back­ into longhair fields. Hollywood — Johnny Richard) »Jumped from Page 1) And with the introduction of bone of -ts early book is one of There was a natural inclination Wilson to his entourage—and those self-defeating question! on the part of the residents of has been named general music di­ studio man, and cut innumerable later, Lionel Hampton, Charlie In any event, it was with Hen- those field - to look askance at this rector of Discovery records. The skies with Pollack men and Red Christian, and Cootie Willliams «le -ion’s arrangements many of invasion. They smelled a slight spot ha> been vacant since the Nichols. -Goodman modi thi’ first effec­ them strait it out of Henderson’r odor of publicity stunt. But ever resignation of Phil Moore. The Goodman story, like that tive rent in the idea that musi­ personal library — that Goodman the years, starting with a record­ Richards’ first assignment will ui Bix, has bee one of the leg­ cians bad to be grouped accord­ got started and the idiom was ing with the Budapest String be to prepare a series of albums ends of jazz, sufficiently so to have ing to racial distinctions.
    [Show full text]
  • The Recordings
    Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.
    [Show full text]