Berman Music Foundation Monty Alexander
Pianist's March 9 appearance blends jazz, reggae Monty Alexander to play
Lincoln's Royal Grove WinterjSprin~f20q2 By Tom [neck ...... Vol~ltNtH)1b~tl ..· Alexander, warming to the subject. o stranger to the irresistible "It's somethin' that is about dancin' 41 rhythms of reggae, Jamaica and feelin' good. People like to feel a 41 N 41 born jazz pianist Monty Alexander has rhythm, and when you apply a different Jazz ... . sown and cultivated a common ground In this issue of approach, it is a happy marriage for the Alexander ...... , by creating a popular musical fusion on listener, and certainly for me playin' it, his last three Telarc Jazz recordings. because even though it's different from Prez Sez ...... 2 It began with the 1999 release Stir gettin' on the bandstand with a straight Allyson ...... 4 It Up: The Music of Bob Marley and ahead jazz musician, I find the value in Russ Long ...... 6 continued in 2000 with Monty Meets it. To me, it's a whole world of culture. Sly and Robbie, a collaboration with It's my life as a young Jamaican and Tomfoolery ...... 7 reggae pioneers Sly Dunbar and Robbie keepin' in touch with what's come out Rufus Thomas ...... 7 Shakespeare. With last year's Gain' of Jamaica." Cartwright...... 8 Yard, Alexander documented the brave Alexander was born in Kingston, Last Chorus ...... 9 new sound in live performance at the Jamaica, in 1944. He developed his key Manchester Craftsmen's Guild in Pitts board technique by working with some Jazz on Disc...... 10 burgh. ofthe country's best skamusicians, then Discorama ...... 12 Alexander will perform with his cur moved to America in 1961, at age 17. Unsung on Disc ...... 13 retlttrio March 9 at Lincoln's Royal Grove, F or the next four decades, he would a concert appearance made possible by the build a solid jazz reputation by forming Scrapple from the Apple ...... 14 Berman Music Foundation. musical relationships with Milt Jackson, Etta Jones ...... 15 His recent commercial crossover Ray Brown, Dizzy Gillespie, Clark Last Chorus ...... 16 success is no surprise to Alexander. In Terry, Sonny Rollins and Les McCann. a recent phone interview from his New He has recorded more than 50 albums, Duke Ellington ...... 16 York City home, he described the including more than a dozen on Con Jazz in the Venues ...... 17 music's allure. cord Records. Mile High Musings .. '...... 17 "It's a flavor. It's a reality that is so . The reggae-jazz fusion of Boogie Kings ...... 18 infectious to regular people. I don't Alexander's recent recordings reaches mean, necessarily, sophisticated people a much younger audience than his more Rockin' with Charlie ...... 22 who are well-read on the ins and outs conventional jazz outings, receiving ra~ Blues on Disc ...... 23 of jazz as we love it, brought to us by dio airplay on reggae programs and hip Blues Corner ...... 23 the masters. This is comin' from a dif jazz programs alike. Comparing it with ferent source, altogether," said (Alexander continued on pg. 3) Berman Music Foundation Jazz • •Page • • 2• • • • • • • •• • • ••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Prez Sez Love is in the Air By Butch Berman ...... : ......
by my standards - P.O. Pears' at the Zoo over the holidays along Thursday Night Jazz series is get with, Dave Robel, Bob Letheby, and ting off the ground nicely. We had Bill Dye. I am the "bebop man" but two grand performances by first - stil1love to rock - and Charlie Bur Hod O'Brien and Stephanie ton is one of the best in the biz. Nakasian, followed by the Joe More on all dis by the next issue. Cartwright Trio from Kansas City, May 2002 be the swingingest, and had decent turnouts for both jazziest, and rockin' year we had in shows .. I've also caught a couple of a long time. My heartfelt prayer to shows featuring Chris Steinke on us all. one occasion and Bill Wimmer on Happy New Year Everyone; another. We're doing a CD release party for my new project, a new If 9-11 was THE day of hell on outing by the Russ Long Trio called earth ... then 12-12 was the total an Never Let Me Go. Backed by local Butch Berman tithesis for me. By the grace of God KC stalwarts Gerald Spaits on bass on that very day I finally met ... yes, and Ray DeMarchi at the drum helm P.S. My dear friend Glennda her name IS Grace (Gandu). The girl - this album is taking off with a Magner is redesigning the new of my dreams/love of my life (mega flourish. The date will be February website along with Tom Ineck and thanx to my good buddy and chef - th 28 - the last Thursday of the Rich Hoover. Norman Hedman took Jimmy Akpen - for this important month. Mark it on your calendars a small break from his busy sched intro). You may ask yourselves - why and don't miss it. Russ is an in ule with his Latin ensemble am I sharing this personal essay of credibly bluesy jazz artist that will Tropique from New York to add his good fortune with y'all? Well, for one, make you want to dance one minute brilliant percussion work to the I can, and secondly, I haven't felt this and dab your eyes the next with his soundbites of our site. Check us out free and happy for many a year - and sensitive stylings backed by a at
arrin Allyson 's voice, ~ the heart-wrenching K a supple and soaring §. "What's New," beginning instrument capable of a won ~ with a lush string intro- 29 d' d derful dynamic and emotional g.: uctlOn an Bowman's range, requires little enhance ~ powerful bowed bass and ment. It leaps in spontaneous ~..., also featuring a sensitive bop vocalise one minute and piano solo. Also from the modulates to the tenderest Ballads CD, "All or whisper the next. Nothing at All" had the But for her Nov. 9 debut combo demonstrating its at the Lied Center for Per ability to swing at mid tempo. Rod Fleeman, forming Arts in Lincoln, Karrin and Butch take in the reception after her Allyson received the ideal fine performance. who has developed a very treatment, as a string en distinctive sound playing semble and a small jazz group al matching miniskirt and jacket and only nylon-stringed guitars, took a ternately added new sparkle and black spike-heeled boots. The deft and imaginative solo, followed splendor to her vocal gems. With grand illusion was complete with by another tasteful solo statement special string arrangements writ out being pretentious. from Smith. ten and conducted by Bill Opening with the eminently Allyson's musical sensitivity McGlaughlin, Allyson was in her compatible combo of Kansas City and pianistic prowess were evident element and the near-capacity au favorites pianist Paul Smith, gui in her brilliant rendition of dience showed its appreciation. tarist Rod Fleeman, bassist Bob The Berman Music Foundation Bowman and drummer Todd funded the concert. Strait, Allyson loosened her vocal chords on the lyri ~ cally challenging o uptempo waltz CJ- ;;0 "Show Me," fea- r;' . . . ::;- tunng VIrtUOSIC so- ~ los by Smith and ~Fleeman. Bowman's prodi Rod Fleeman, Paul Smith, and gious chops were Karrin Allyson enjoy dessert after a put to the test on sweet show. "My Little Boat," Coltrane's "Naima." Rather than Karrin, flanked by her manager Mary O'Keefe with Smith and attempt a contrived lyrical treat and her husband Steve. Fleeman also trad- ment, she simply sang a wordless As though physically strad ing licks. vocal line while playing the beau dling the two musical styles - high Turning to her latest, most tiful melody, which Coltrane wrote brow classical and middle-brow critically acclaimed and best-sell for his first wife. Fleeman's uni jazz - Allyson had cleverly donned ing CD, the tribute to John son guitar line and Bowman's a pseudo-formal faux tuxedo with Coltrane's Ballads, Allyson sang breathtaking bass solo made it one CAllyson continued on pg. 5) Winter/Spring 2002 Page 5 •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• (Allyson continued from pg. 4) Martini's "Plaisir D' Amour (Plea showcased with "It Could Happen of the evening's highlights. sures of Love )." Singing in French to You." Smith's block-chorded For a change of pace, Allyson without piano accompaniment, piano solo and Fleeman's solo were followed by a voice-gui tar trade that reaffirmed how well these musicians work to gether; The singer returned to the piano for Billy Joel's "And So it Goes," accompanied by Lin coln cellist Tracy Sands. The duo blended beautifully, bringing out the full melan choly meaning of Joel's song. Saving the best for last, however, the entire string sec tion rejoined Allyson for Ennio Morricone's sad, haunt The coffee finally kicked in after Nebraska Public Radios "Live from the Lied" ing theme from the film "Cin- broadcast. Left to right: Rod Fleeman, Karrin Allyson, Bill McLaughlin, Butch Berman, Nancy FinKen, Charles Bethea, and William Stibor. ema Paradiso," with lyrics by Stan Dunn. Allyson sang and turned to Oscar Brown Jr.'s "Hum a chamber music ambiance. In an played the melody on piano, and Drum Blues," a lesser-known stan unlikely, but well-executed segue, Fleeman's guitar blended phrases dard that proved an excellent ve Allyson launched into Bud with the classical strings for a hicle for the singer, a longtime Powell's "Parisian Thoroughfare," stunning finale. blues fan who can turn a blue a scat-singing vehicle with solos But, so as not to leave the au phrase with the best of them. She by Smith and Fleeman and a funny dience in tears, Allyson and the brought the tune to a stunning con attempt by Allyson to elicit audi combo added a rousing, two-part clusion by deftly trading vocal ence participation on an incredibly phrases with Fleeman's guitar. tricky melody line. The string ensemble returned The second set began with for a gorgeous take on Giovanni several tunes that have an exalted place in the Allyson repertoire, beginning with "0 Pato (The Duck)," a Portuguese tune that is a good example of her multi NPRNs William Stibor and James lingual vocal talents. Clifford Duchesneau prepare for Karrin Brown's bebop standard "Joy Allysons radio interview. Spring" has been in the Allyson coda consisting of "Stompin' at songbook for many years, and the Savoy" and "Some of My Best here it received an uptempo Friends Are the Blues." After that treatment with drum-vocal bit of musical therapy, the linger trades and a fiery drum solo by ing mood was anything but tear Strait. Allyson also gave an af ful. fectionate reading of another old favorite, Jay Leonhart's quirky, wistful "Robert Frost." Website designer Glennda Magner Allyson's breezy, exhilarat and Butchs Girl Friday Ruthann Nahorny shake it up at Allysons ing scat-singing technique was Lied reception. Page 6 Berman Music Foundation Jazz ...... " .. " . Russ Long Trio packs Phoenix for CD release By Tom Ineck ......
KANSAS CITY, Mo. - Pianist swinging, from his performance of and his own composition Russ Long, bassist Gerald Spaits the Broadway chestnut "Surrey "Meatloaf." Never one to monopo and drummer Ray DeMarchi With the Fringe on Top" and the bop lize the spotlight, he featured bass showed why they are beloved by classic "Groovin' High" to the ist Spaits on several tunes, includ their fans and by their musical peers Gershwin standard "The Man I ing "Don't Go Away Mad" and when they appeared Dec. 4 for a CD Love" and the irresistible "I'm Be- "The Man I Love," and allowed ginning to See the Light." DeMarchi to amply demonstrate his ~ Long's original "Save solid time-keeping and inventive o . 0- That Time" already has re- percussion technique, especially on ~ ceived the ultimate compli "Delilah. " ~ ment of being covered by The keyboard talents of Long ~ vocalists Karrin Allyson, himself shone through during a solo ~ Joe Williams and Kevin Ma- piano rendition of Thelonious .... hogany. A capable singer in Monk's "Crepuscule With Nellie," his own right, Long put his as well as on Bud Powell's "Un own unique twist to the Poco Loco" and "How High the beautiful tune at the Phoe Moon." Perhaps the most touching nix. moment of the evening was his gor The evening's set list geous playing and vocalizing on ranged far and wide, includ Fred Neil's "The Dolphins." Russ Long, deserving of his accolades ing vocal renditions of With a similar CD release party he received at his CD release party. "Never Let Me Go," "All of planned for Feb. 28 at P.O. Pears in You," "Wildest Gal in Lincoln, jazz fans will have another release party at the Phoenix Bar and Town" and "You'd Be So Nice to opportunity to hear and celebrate Grill in downtown Kansas City. Come Home To." Long paid hom the music of the talented and swing The trio was officially introduc age to George Harrison with "Here ing Russ Long Trio. The Lincoln ing its sumptuous, 16-track record Comes the Sun," and recognized the appearance also is made possible by ing Never Let Me Go, with execu presence of Kansas City legend the Berman Music Foundation. tive production and liner notes by Claude "Fiddler" Butch Berman and funding by the Williams with Berman Music Foundation. The "Robbins Nest." He intimate club was jammed with showed his penchant Long fans and supportive musi for the blues with the cians, and the foundation was well uptempo Cleanhead represented by Berman, photogra Vinson tune "Kidney pher Rich Hoover, legal council Stew," and got funky from Cline Williams Tony Rager, on Cole Porter's writer Bill Wimmer, this reporter "Love For Sale." and a number of other Lincoln Long's engaging friends and colleagues, making for sense of humor a memorable celebration. emerged repeatedly, It is no coincidence that, like on "It Was a Dream," Butch hangs with his friend, sax legend Alaadeen this event, Long's style also is Mose Allison's and his wife Fanny at Russ Longs party in KC. celebrative, joyous and always "Fool's Paradise" Winter/Spring 2002 Page 7 •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Tomfoolery: Rufus Thomas KC musicians give lesson in dead at 84 community support By Rich Hoover· . . . . By Tom [neck· ...... Rufus Thomas, one ofthe great leader/mentors of southern blues, A significant number of people evening, eventually getting seats di died last year at 84. who turned out for pianist Russ rectly behind the piano. Long ac Thomas began leading the way Long's CD release party Dec. 4 at the knowledged his presence with a spe in 1941 asa WDIA deejay in Mem Phoenix Bar and Grill were fellow cial dedication later in the program. phis where he showcased newcom musicians, a very visible demonstra ers B. B. King, Bobby Bland, Jun tion of respect and mutual support for Many of the musicians also pur ior Parker, Ike Turner, and Roscoe Long and his band mates, bassist chased copies of Long's new CD, Gordon. His first hit was "Bear Gerald Spaits and drummer Ray Never Let Me Go. They were quickly Cat" in 1953, a humorous response DeMarchi. snapped up for $15 each at a table to Big Mama Thornton's "Hound near the door, graciously attended by Dog." "Bear Cat" made it to #3 on Spotted in the audience through Spaits' and DeMarchi's wives. The the R&B charts and was the first out the evening were such prominent spirit among fans, bandmates and national hit for Sun Records. He Kansas City jazz giants as pianist Paul family was generous and social, with then moved to Satellite Records, Smith, trumpeters Mike Metheny and conversations among total strangers soon to become Stax, and through Stan Kessler, saxophonist Ahmad feeling like a reunion of dear friends. the remainder of the 1950s he is Alaadeen, bassist Bob Bowman, As the Phoenix filled to overflowing, sued a string of dance/novelty drummers Tommy Ruskin and Doug some revelers moved outdoors on the tunes, musically introducing a thing Auwarter and singer Julie Turner. unseasonably warm December night. called the "funk groove" to the music scene. His most notable of Husband and wife, Ruskin and If nothing else, the presence of fering came in 1963 when "Walk Turner held down seats at the piano one's peers and colleagues is symbolic ing the Dog" was a top ten hit which bar throughout the evening, obviously of community. Kansas City'S jazz was immediately covered by The enjoying the special occasion and the community always has been a pretty Rolling Stones on their first album. presence of so many friends and col friendly fraternity, but that level of Since then thousands upon leagues. involvement and commitment is pos thousands ofbands have perfonned sible even in Lincoln. the tune. In the early 1970s Pianist Joe Cartwright made an Thomas's "funk groove" took hold appearance after finishing his own gig When jazz musicians have more and his tunes "Do the Funky at another club a few blocks away. gigs to divide up, they also have more Chicken," "Push and Pull," "The Cartwright is well known for his com opportunities to share the stage and Breakdown" made the R&B top patibility with other musicians and for establish friendships that will endure five. With his songwriting and ar- his ability to stay up late, having an off the stage. Seeking success in the . ranging matched with his onstage chored the after-hoursjam sessions at fickle music business can be just one dance footwork and his good time Jardine's jazz club for many years. struggle after another, so relationships persona, he gained his highest level among musicians gradually evolve of commercial success. The legendary Claude "Fiddler" into camaraderie, not unlike that of The demise ofthe Stax label in Williams was there most of the soldiers battling shoulder-to-shoulder the late 1970s, when Rufus was in evening. As we approached the club against a common foe. his sixties, meant the end of his on foot from the Savoy Hotel a block career. In 2001 Rufus Thomas was away, Williams was being dropped off Lincoln jazz musicians and fans inducted into the Blues Hall of in front of the Phoenix, just in time alike can take a lesson from Kansas Fame. On Dec. 15, 2001, he died for the first set. He and his wife sat at City. at St. Francis Hospital in Memphis. a high-topped table for most of the A great soul gone to the other side oflife. Page 8 Berman Music Foundation Jazz ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Cartwright makes belated Lincoln date count By Tom Ineck· ...... ing his unerring grasp of harmony and fter nearly two months of an Another highlight was rhythm. ticipation, Kansas City jazz Cartwright's clever solo piano inter A The mid-tempo Walter Booker piano great Joe Cartwright and his trio polation of "If I Only Had a Brain" composition "Saudade," which opens finally made an appearance Nov. 15 and "Ding! Dong! The Witch is Dead" Cartwright's latest recording, La Luna at P.O. Pears in Lincoln, and it was in the introduction to "Over the Rain well worth the wait. bow." When the trio finally stated the Cartwright was forced to cancel melody, it was delivered with a decid his Sept. 20 performance after a edly funky, mid-tempo edge. From Cornhusker football game was moved there, they veered to an even funkier to that night in the wake of the Sept. rendition of the Meters' "Something 11 terrorist attacks. The popular You Got," complete with the original downtown Lincoln pub would cater New Orleans-style flair. Again, the to Husker fans that night, and jazz spirited soul-gospel mood was remi would have to wait. niscent of the late Gene Harris. Mal Waldron's exquisite ballad When Cartwright finally arrived Bassist Gerald Spaits, a true at the club with bassist Gerald Spaits pro at his instrument. "Soul Eyes" was achingly beautiful, and drummer Ray DeMarchi, dozens with drummer DeMarchi demonstrat Negra, was followed by the Ellington of jazz fans arrived with high expec ing his sensitive brushwork and Spaits blues "Things Ain't What They Used tations. They were not to be disap taking a well-structured solo. to Be." Cartwright then launched into pointed. Known for his two-fisted key Cartwright's latest passion is "Cold Duck Time," the Eddie Harris board attack and a repertoire ranging Latin jazz, which is most evident on funk classic that is rife with tension from bebop and blues to soul and Bra and-release passages, hand-over-fist zilianjazz, Cartwright played the full keyboard antics and a driving rhythm. gamut with consummate skill. The It also is one of the strongest tracks Berman Music Foundation under on La Luna Negra. wrote Cartwright's appearance. One highlight followed ~another, as Cartwright eased ~ into "Georgia on My Mind" ~ with a gospel-style solo pi ~ ano introduction, tossing off ~trills and slowly building the Ray DeMarchi showed off his wide ~ excitement with dramatic array of drum techniques. -, pauses, before moving uptempo ala Gene Harris. La Luna Negra, and also emerges on Like Harris, Cartwright is ca other tunes in performance, including pable of creating a spirit of "Close Your Eyes." But the same Joe Cartwright dazzled the crowd at P.O. boundless energy and joy could be said of Cartwright's playing Pears. with his playing. on music that falls outside the realm Dipping into the bebop book, On "I Never Fall in Love", of Latin jazz. As the pianist writes in Cartwright drew out Bud Powell's Cartwright employed bluesy block the CD's liner notes, "It is my sincere little-kilown "So Sorry, Please." Re chord progressions, setting a high hope that the joy I experience when turning to La Luna Negra, he played standard of musicianship early in the performing this music can be trans show. His version of the keyboard "Samba Feliz" by fellow jazz pianist muted to you, the listener." classic "Poinciana" was absolutely Bill Cunliffe. "Too Close For Com That is exactly what happened rhapsodic, with bold improvisation fort" featured Spaits playing the Nov. 15 at P.O. Pears in Lincoln. and deft passing phrases demonstrat- melody on bass, followed by a piano Thanks, Joe. bass exchange. Winter/Spring 2002 Page 9 , .. " III III III III III •• III • III •• III • III III • III • III III ..... III " ..... III • III ., III III III III III " III III III III III III III III III III III III III III III III III III III III III III III III III III III III III Last Chorus: Tommy Flanagan By Bill Wimmer· ......
York scene. Flanagan quicldy devel Flanagan with the support of Mraz's oped areputation as a supportive, sen precision and Jones' heat. sitive accompanist as well as a great Sadly, there is about a seven year soloist with his own bluesy lyricism. void between the Enja sides and docu Early on he would find himself on clas mentation ofthe longest steady groups sic dates like Sonny Rollins' Saxophone of Flanagan's leadership. First Mraz Colossus and John Coltrane's epic Gi and then Peter Washington occupied the ant Steps. bass chair, while Kenny Washington, While Flanagan excelled at play known for his work with Betty Carter ing with many ofthe more modem play and Johnny Griffin, and the wonderful ers of the time, he also worked quite a Lewis Nash played drums in the last lot with some ofthe swing-era stars like groups of Flanagan's career. Coleman Hawkins, Roy Eldridge and These were tight, completely em ommy Flanagan,one ofthe great Jimmy Hamilton. He also cut his first phatic groups that set a new standard Tvoices of the piano, died sessions as a leader in the late' 50s, one for piano hio as much with its virtuos November 16,2001 in New York City. of which was the legendary The Cats, ity as with its ability to breathe as one His wife Diane reported he suffered featuring John Coltrane and Kenny with the leader. Flanagan's last record from an arterialaneurysm. Burrell and some fine playing and writ date as a leader was recorded live at Tommy Lee Flanagan was born in ing by Flanagan. The Village Vanguard, and his playing Detroit on March 16, 1930. He was In 1963, Flanagan began an asso is still fantastic, especially for someone interested in music from early on, and ciation with Ella Fitzgerald that lasted celebrating their 67th year. Just this last after losing the battle on clarinet, he on and off until 1978. Touring with year, Flanagan was the first act to play began to play piano at 11. Tommy at Fitzgerald, one ofthe most popular sing at the Vanguard just a few days after tended Northern High School, and also ers in jazz, was both a financially and September 11. Owner Lorraine Gor started to hang out at The Bluebird Inn, musically rewarding time for Tommy, don felt that Tommy was the Most logi a west side club quite famous in its time. although many missed his more featured cal choice to follow the worst tragedy Soon, Flanagan went from listening role in small groups. to ever hit New York. from the street to performing and be Playing with Fitzgerald gave There is an incredible legacy of coming the regular pianist. Detroit was Flanagan the chance to play for royalty what I call the three phases of Tommy a hotbed of musical activity at the time at the kind of places most jazzmen or Flanagan's career, a career in which he and produced the likes of Hank, Thad any person would never experience, and recorded over 250 albums over almost and Elvin Jones, Roland Hanna, Barry her musicianship was always first rate. 50 years. The first pmi consists of his Harris, Donald Byrd, Pepper Adams, He left to start his own group in 1978, incredible early sideman dates. Kenny Burrell, Yusef Lateef, Louis after all the touring brought on heart Some of the many highlights and Hayes, Paul Chambers, and others who problems and a yearning to go out on personal favorites are; Sonny Rollins, became jazz greats. his own. Saxophone Colossus; John Coltrane, With that level oflocal players and While recording many sideman Giant Steps; Wes Montgomery, The many visiting stars coming through and dates throughout his career, from this Incredible Jazz Guitar; Gene Ammons, sitting in at The Bluebird, Flanagan was time on Flanagan began working mostly Boss Tenor; Blue Mitchell, Smooth As more than ready for a move to New York with his own trio. He also began re The Wind; J.J. Johnson, First Place and City in 1956. While visiting that year cording some wonderful trio albums for Dial JJ; Philly Joe Jones, Blues For he found himself sitting in on short no the German Enja label that announced Dracula; Wilber Hardin, Jazz WclY Out; tice for idol Bud Powell for two weeks he'd lost nothing of his earlier intensity Art Farmer, Modern Art; Kenny at Birdland. Soon he was playing and or inventiveness during his tenure with Dorham, Quiet Kenny and Trompeta recording with Miles Davis, Sonny Fitzgerald. He began using George Toccata; Roy Haynes, Out Of The A/ Rollins, J.J. Johnson and virtually all Mraz on bass and often old pal Elvin ternoon; Dexter Gordon, The Panther; ofthe mainstreamjazzmen on the New Jones on these dates that gave flight to (Last Chorus continued on pg. I I) Page 10 Berman Music Foundation Jazz ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• II • Jazz on Disc Long and Talley add chapters to KC jazz history By Tom Ineck ......
THE RUSS LONG TRIO Joe Williams. Never Let Me Go Passit Productions He returns to the blues on "It Was a Dream," a quirky tune that betrays Long's Southern twang. "Fascinatin' Rhythm" moves things uptempo, where all three musicians are confi dent and comfortable. Long sings the title track with heartfelt emotion and a whiskey tone, then returns to the On their ambitious new project, Gershwin songbook for a Gerald Kansas City saxophonist Doug Talley Spaits feature on "The Man I Love." and band mates Wayne Hawkins on piano, Tim Brewer on bass and Keith It's hard to imagine a more satis Long breezily vocalizes again on Kavanaugh on drums take the listener fying blend ofattributes than those on Cole Porter's ''All of You," playfully on an historic tour of the Midwest Never Let Me Go, the generous 16- playing a unison passage that matches "City of Fountains." track release by Kansas City stalwarts his voice to the piano. "Bebedo," a Russ Long on piano, Gerald Spaits on Long original, has an odd, Monkish Recorded live last year at Valley bass and Ray DeMarchi on drums, the quality in its construction. "Whatever View United Methodist Church in same veteran trio that will grace the Happened to You" is another wonder Overland Park, Kan., Kansas City stage of P.O. Pears Feb. 28 in Lincoln. ful choice for Long's casual vocal ap Suite captures this original music in proach and wit. "Meatloaf' is another the immediacy of the moment, com If the trio's performance Dec. 4 knockoff of the "I Got Rhythm" plete with appreciative applause from at the Phoenix Bar and Grill in Kansas changes, one that Long penned back the audience. City is any indication - and it is -lis in 1959. teners are in for a treat. But whether Kansas City, ofcourse, had a pro or not you make it to the Lincoln gig, "Wildest Gal in Town" is another found influence on jazz history. Un give this CD a listen. highlight, a story-song lovingly told by der the control of corrupt mayor and Long on piano and vocal. "Surrey political boss Tom Pendergast, it was Long, Spaits and DeMarchi have With the Fringe on Top" gallops along one of the original hotbeds of swing a swinging, clockwork compatibility, withjoyous abandon, resting only for music throughout the 1920s and and Long is gifted with a sure sense of an inventive bass solo by Spaits and a 1930s. Talley primarily pays tribute to dynamics in his playing and in his pro lesson in percussion from DeMarchi. that fabulous era and some of its most gramming. This CD is a good ex "Opus in Chartreuse" is an elegant in prominent artists. ample, progressing from the too strumental, followed by the greasy rarely-heard Rodgers and blues of "Kidney Stew." The slow, Kansas City Suite begins with a th Hammerstein tune "We Kiss In a bluesy "Anytime, Anyplace, Any geography lesson called" 1600 E. 18 Shadow" to the bluesy Long original where" is the perfect nightcap to a per St.," where the Blue Room jazz club "Can City," a slangy contraction ofhis fect set of tunes. now occupies the famous comer of th home town name. Long applies is 18 and Vine. Talley bops along on warm, relaxed and supple voice to his DOUG TALLEY QUARTET alto sax in the style of Charlie "Bird" own masterpiece, "Save That Time;' Kansas City Suite Parker, who got his start as a teenager which already has been covered by SerpentineRecords playing in the area's clubs. Karrin Allyson, Kevin Mahogany and (Jazz on Disc continued on pg. 9) Winter/Spring 2002 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Page 11 ( ...... Jazz on DIsc continued from pg. 8) quently recorded on a major label, (Last Chorus continued from pg. 9) "City of Fountains" has a more Cables is a master musician and com pastoral mood, like a stroll through one poser deserving of much wider rec Clifford Jordan, The Adventurer; of Kansas City's many parks on a ognition. In the 1990s, he recorded pri Hank Jones/Tommy Flanagan, Our th warm, sunny afternoon. Hawkins de- marily for SteepleChase Records, a Delights; Wayman Reed, 46th and 8 • and his own The Cats. ' livers a soul-stirring piano solo. The Swedish label with erratic distribution The next set ofmusic comprises just beautiful ballad "The Sleeping Child" in the United States. This lO-track, about any Ella Fitzgerald date from 1962 refers to one of the many sculptures hour-long collection of Cables origi to 1965 and 1968 to 1978. Most ofthese in the Country Club Plaza, while the nals does a lot to correct the lack of are to be found on the Verve and Pablo frantic-paced "The Buck Stops Here," domestically released recorded mate labels, and I must confess I'm not an refers to the famous pledge by Harry rial. expert on what the best ofthese are. This S. Truman, a native Missourian still is considered by critics to be a time when Shared Secrets is an sprightly and revered in Kansas City. Ella was perfonning at a high standard. funky fusion project with a world-class The last group of recordings fea ensemble featuring Bennie Maupin on Along the way we also taste the ture Flanagan at the helm of his own bass clarinet, RalfRickert on trumpet, city's legendary barbecue on "Stock trios. My own personal favorites include Gary Bartz and Larry Klimas on saxo yard Blues (KC Strip)" and stop into Eclypso, Confirmation, Giant Steps, another imaginary club oflong ago to phones and flute, Abraham Laboriel Theionica, The Jazz Poet, Beyond The listen to "Basie and Prez." We view and Alphonso Johnson bass, Peter Bluebird, Sea Changes, andSunsetAnd controversial artworks at Bartle Hall Erskine and Vinnie Coliauta on drums The Mockingbird. on "Sky Stations" and at the Nelson and Luis Conte and Pat Murphy on . Whether in support of others, tak Atkins Gallery ofArt on "Shuttlecocks percussion. In these capable hands, the mg his own solo flights or leading a (Badminton, Anyone?)." We visit the playing is never less than accom Tas~e~l trio, Tommy Flanagan always illuminated Country Club area during plished and the improvised passages mamtamed the highest standard of ex the Christmas holiday for "Plaza Lights are always imaginative. cellence. He was in such demand for (Plaza Nights)." recordings and perfonnances because he Cables recorded several of these always fit in so well with so many dif Finally, with "Pendergast," we are tunes during his tenure with ferent musicians. He always seemed to reminded again of how the city be SteepleChase, including "Blackfoot," add just the right feel to the music and it came a mecca for jazz. Talley, "Beyond Forever," "Phantom of the seems impossible to imagine all of the Hawkins, Brewer and Kavanaugh City" and "Why Not?" Infectious Latin c~as~ic dates he was on with any other work well together. They also are su rhythms assert their magic spell on "5 PianIst. Flanagan's elegant touch gave the kind of solid, unobtrusive support perb tour guides, making Kansas City Will Get Ya 10" and "S.F.c.B." that many musicians enjoyed. He was Suite a pleasant outing. The only tune not composed by also a master in his approach of Monk, Powell, Coltrane, and the blues, and his GEORGE CABLES Cables is the closer, the traditional playing continued to be refined over the Shared Secrets spiritual "Go Down Moses," here years. He also championed great jazz MuseFX Records given a funky rendition with Cables on acoustic and electric piano and composers like Tom McIntosh and Thad Jones. emulator synthesizer. Gary Bartz plays the soulful lead on alto sax. Tommy Flanagan became so much a part ofjazz that he will never truly be gone. I only regret the cancellation of a To my ears, Cables is best appre Kansas City concert last year took away ciated in a trio setting where the lis a chance for me to hear him live but tener can bask in the full heat and glory that's a little selfish. We will celebrate ofhis piano playing. I recommend "By Tommy Flanagan, one of the great George," a 1987 tribute to the music pe~ple in jazz, and I feel so lucky to have ofGeorge Gershwin with bassist John enjoyed so much of his music over the Pianist George Cables himself is Heard and drummer Ralph Penland. years. a Shared Secret, of sorts. Too infre- Page 12 Berman Music Foundation Jazz ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 4 Discorama By Butch Berman ......
BOB KINDRED WITH LARRY for a few days before returning it to This sacred work, commis WILLIS my collection. Each repeated spin sioned by John Winkles - who also Gentle Giant of the Tenor Sax takes me to different places. A truly chose the singers along with the per Mapleshade moving experience. fect acoustic yet inspirational venue - The Cathedral of the Immaculate STAN KESSLAR Conception laid down a potentially Jazz Meets Chant: Jazz Adaptations impenetrable obstacle for Stan, who of Gregorian Chants completed this project with perfec Standing Bear tion when recorded in September of '99. Jazz Meets Chant Backed by KC's top notch vets consisting of tenor man Doug Talley, keyboardist Wayne Considering deadlines, etc., I Hawkins, first call drummer Todd pretty much had my current faves Strait, and a bass player new to me to present to you all, when in the Bill McKerny - Kesslar came to the mail today came - Gentle Giant of forefront and delivered a variety of the Tenor Sax - Bob Kindred with jazz melodies and time signatures to Larry Willis. Just the vague thought Dig this - only in my slightly augment an amazing interwoven of these two musical monsters col wacky andjazzy world could an old musical quilt of the original chants. laborating on a project gave me pre Jewish hippie like myself review an Then, this talented band's clever mature chills and goose bumps. other Hebrew brother (in a Renais jazzy takes on each - occasionally Two of the heaviest, deepest cats in sance man sort of way) on record light hearted, but always reverent the biz, whose chops and soulful ing a CD of the jazz interpretations solidified it all. The "Dies Irae ness combine to produce jazz so of Gregorian Chants ... yet the last (Shuffle)" showcases the rhythm sublime and rich with a gritty ten time I saw this cat blow his mag section's bluesy abilities that equal derness that transcends you, the lis nificent horn he was wearing a straw any current blues band on the scene. tener, into grooveland. hat and playing Dixieland for the Soloists Kesslar, Talley, and Topeka Jazz Festival breakfast Hawkins soar to great heights Mapleshade has a lot to be crowd. Yes - enter the world ofMr. throughout this entire CD. proud of in this new release. Kin Stan Kesslar and marvel as I did of dred - whose lush lyrical style and his new Standing Bear release, Jazz A major accomplishment done eclectic choice of material all come Meets Chant, Jazz Adaptations of first class all the way. Jazz Meets Gregorian Chants. off with pizzazz. I've seen Bob's Chant = another successful creative extremely passionate rendition of outing for the boys, and another Billy Strayhorn's "Blood Count" I first met Stan when with reed great CD for your collection. I'll practically bring the audience to its phenom Kim Parks was added to pray for you to grab this gem. knees with his mournful, exquisite Karrin Allyson's spiffy homeboy tone and delivery. all-star band to perform at the now Look for a review of Don defunct Huey's. His on the money Lanphere and New Stories latest re Willis, a master of many jazz techniques and superb frontline lease Home at Last along with other forms, accompanies Kindred like work with Parks tore me up. His new Origin outpourings from the they have been playing together expertise and brilliance on this new great Northwest in the next issue of since childhood. Tight, playful, and work of art further emphasizes the Jazz. seductive. I'll be listening to this point...... Winter/Spring 2002 Page 13 Unsung on Disc By Bill Wimmer· ......
ANTHONY WILSON TRIO stay with you for a long time. Bagg tion arranged in straight ahead Our Gang and Ferber lay down the light Latin swing, this one would do Frank Groove Note Records beat and react to every nuance of Sinatra proud(he sang it in the the song and to each other. Bagg movie). gets a particularly warm sound on this one and solos with great taste, "I Want You (She's So Heavy") able to pop off the occasional hot is yes, the same song from The lick, but more likely to pull juicy, Beatles' Abbey Road, is given a new choice notes that are plucked out of sense of urgency and swing from the the air and an uncanny use of space. trio's virtuosity. The guitar and or gan play hot and cool off of each "Chitlin's Con Carne" is an old other and the trio's heightened sense Kenny Burrell blues tune that lets of dynamics again come into play. Anthony Wilson's latest release, every member of the group lay into A beautiful reading of Ellington's Our Gang, on Groove Note a funky groove. This track also fo Prelude To A Kiss follows. Records, really focuses this fine cuses attention on the clarity and Wilson's singing tone, Bagg's sen guitarists playing talents with a dy presence of this recording itself, sitive support and Ferber's deft namite organ trio on one of the big which employs the Sony Direct brushwork all keep this one another gest surprise releases of the last Stream Digital System. When keeper. year. Ferber plays it heavy with his insis tent snare rhythm you begin to feel I would highly recommend this Wilson is best known for his ex like you're sitting right next to that record to anyone who likes jazz or cellent Nonet records that featured snare drum, and after a while you gan. I think it stands strong enough a range of great soloists and might feel almost like you're inside on its own merit for anyone who en Wilson's fine writing and arranging the snare drum. The whole record joys nice, swinging jazz and I think more than his guitar playing. He sounds incredible thanks to engineer it is one of the best sounding record steps out on this one and helps re Michael C. Ross. "Britta's Blues" ings I've bought in a long time. Just define the possibilities of the organ is a slow, loping blues waltz and the be forewarned, because this band is trio with Joe Bagg on Hammond B- next tune, "Time Flies," shows these not out of the Jimmy Smith or the 3 and drummer Mark Ferber, both guys really can fly when they funky school of organ groups he's of which appeared on Wilson's last choose. spawned over the years. These guys larger ensemble recording. To be are capable of a lot more diverse and honest, I begged Butch Berman to Ferber, who's studied with Billy subtle colors more in the Larry listen to and let me review this one, Higgins, has a lot of freedom and Goldings or Sam Yahel mode, and I and he liked it more and more as the ability to swing really hard with think you will enjoy the change of each new number played and out ever overplaying. "Road Trip," pace. This record bears repeated quickly approved of my wish. a Bagg original has funky overtones listening and will please with its that shift from blues to a climbing, surprises, and it is a job well done This one really sneaks up on you arching bridge that seems to imply on the music and in the recording from the start with the title track the stress of that road journey. booth. intra, with some of the most subtle use of the organ I've ever encoun Wilson opens up "Luck Be A tered. Lady" alone with a pretty statement that segues into a lively 3/4 version "Our Gang" is an intriguing of this old Broadway warhorse. melody with a logical hook that will With all of its changes and one sec- Page 14 Berman Music Foundation Jazz •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Scrapple from the Apple What Every Jazz Lover Can Do Now © Russ Dantzler 2002· ......
t never was easy to make a liv people for the 31 st annual "All and a half mile from the site, over I ing by presenting or performing Night Soul" on October 7 at his came impossible difficulties to open jazz.Things got worse when our ministry's Saint Peter's Church. "A on September 19. They rely heavily foundations were ravaged on Sep Great Night in Harlem," the Apollo on internet bookings, but had no tember 11. Clubs had to deal with benefit for the Jazz Foundation of phone lines working whatsoever. So artists who couldn't or wouldn't America on September 24, and they hacked into their own site else travel - if those clubs were even Veritas, the annual benefit to aid where, and each employee got a cell able to open their doors. Some per victims of substance abuse held in phone. Reservations were put on all formers were asked to take less Charlie Parker's name on October police checkpoint lists, and fifty money than they had agreed to long 1 were also very well-attended. people attended the re-opening. ago. Clubs may now close, some artists may seek day jobs. The Blue Note, the Village Van *** guard, the Knitting Factory and Living and working a little less smaller clubs within sight of the In mid-June, 1998, back in our than three and a half miles from Towers were not so fortunate. They age of innocence, I had booked my Ground Zero, I felt at once very near are located south of 14th Street, the favorite living vocalist into a spec and extremely far from the tragedy. "off limits" or closed for a time to tacular private party for Microsoft. Not a single person I know associ all-but-residents section ofthe city. The location was "Windows on the ated with jazz was lost or injured The Vanguard, a small room in the World," the 107th floor of World on that clear, blue day. But this busi same location since 1935, is north Trade Tower One. Etta Jones, who ness of music was bombed just as of the others mentioned. This insti lost her second long battle with can surely as the Towers, at least in the tution commonly sells out - but it cer on October 16 at the age of72, short term. took until Saturday, October 13 for was the performer. them to do so after the disaster. "The Live music has always been an Japanese are noticeable by their ab Etta was not accustomed to cor addiction of mine. I've needed a fix sence," said owner Lorraine Gor porate events, where a singer can be at least twice a week ever since my don. She added that New Yorkers in the background as people social teens to prevent withdrawal symp were coming out in force. ize. She came directly to me after toms. After "that day," it took a full the first set with a sad look and said, two weeks for me to want to go out The Blue Note, with 60% tour "They aren't listening, I don't think again. Now the music and lyrics ist business and normal covers of they like me." I asked her to tum mean more to me than ever. Music $30 to $50 and up, opened its doors around. A line of people wanting to certainly have healing powers. As to emergency workers and local jazz meet this great lady had formed be Art Blakey said, "Jazz wipes away organization members just to fill the hindherl the dust of everyday life." room for a while. "We want to give tickets away just to get back to life," Etta Jones never became as fa *** said Blue Note president Sal Haries. mous as her talent justified. She was In a clear demonstration of hard also too much of a friend to act the "You can't take away our song times, the club dismissed its very diva role. Divas remain detached - music is in the forefront of all of effective, long-term publicist six and "above" the fans. Etta couldn't these benefits," said Reverend Dale weeks after the attacks. be close enough to them. She re Lind, the Pastor to the Jazz Com membered every person's name, no munity in New York City. Lind was The Knitting Factory, about a matter how long it had been since optimistic, citing a turnout of 500 mile and a half south of 14th Street she'd seen them. (Scrapple continued on pg. 13) ...... Winter/Spring 2002 . Page 15 (Scrapple continued from pg. 12) she threw a birthday party in the Bronx with other childhood Etta Jones All of the great jazz musicians friends, including Gloria Lynne. I know wanted to play with Ms. . Shortly after the microphones were Dead at 73 Jones. This is certainly not true with put away, Etta was leading a dozen By Russ DantzLer· . . . . most female vocalists. But Etta was dancers doing the Electric Slide at the ultimate, team-playing musician, 4:00 a.m.! Etta Jones was dogged by the always interacting. Etta Jones was born in Akron, confusion between herself and Ms. Ohio, on November 25, 1928. In Etta James all ofher life. Her long Etta sang as beautifully as ever 1994, she spoke with me of beating time drummer (and poet) got mad with her musical partner, the great supposedly-fatal cancer, having when (again) an announcer intro tenorman Houston Person, at the just been informed by her doctor duced her as "Etta James" years Charlie Parker Jazz Festival in that she was then "clean" for five ago. He took out his anger on pa per, and wrote a poem about it. :tJ years. Cancer returned to a lobe of :::r ~ her left lung late last year. It never o JONES THAT IS prevented her from performing ~ with a smile. ~ She sings the music tJ more better g Since Etta's passing we have N" unmistakably it's Miss Etta ~ also sadly lost drummer David Jones that is "Panama" Francis, and The Poet of she really belts the blues the Piano, Tommy Flanagan (see and has paid her dues Bill Wimmer's obit in this issue). Jones that is
*** She's fluid on the stand and swings like In just a blink of history's eye, no one else can the jazz world lost its complacency and three of its master performers. like the way she'll Did we need to be reminded that life interpret a ballad for everybody and every place is until it becomes Etta Jones (1928-200 1) temporary? personally valid
Harlem's Marcus Garvey Park last Your favorite artists and the Her flair, August 25. She concluded with her venues in which they perform won't style and class trademark "Don't Go To Strang be around forever. But if you sup make the memory ers." Typically, adoring fans port them, you may extend their of each note swarmed around her afterward, as lives. last and last she smiled radiantly. She went on to perform without compromise Go out an enjoy the healing and of course there's until two weeks prior to her death. power of jazz - be a part of the many singers extraordinary community that it but none can make Those of us who had gone lis brings. Get it while you can, because you pop your fingers tening to music with Etta knew that as Etta Jones would say, "Life ain't like Miss Etta Jones that is she kept her friends out until the no dress rehearsal." last note was played. People would by Chip White, from "I'm Just try to get her to go home, and she'd Russ Dantzler can be reached the Drummer in the Band" (c) respond, "This ain't no dress re at Hot Jazz Management Bright Colors Music hearsal." That was her approach to 212.586.8125 or living life to the fullest. In 1996 [email protected] Berman Music Foundation Jazz Page 16 ...... III III III " " ·····L~·~·t···Ch~·;~~·:····M·~·n ny Duke Albam and Scott Ihms Ellington By Bill Wimmer By Dylan Nelson· ...... Manny Albam tive, supportive player who en This article is by Dylan Nelson, an th joyed all kinds of music, and 11 year old 5 grader at Beattie El Manny Albam, a major com ementary. He has been playing piano played pop, rock, funk, fusion, poser, arranger and educator since he was four and loves jazz. This jazz and original music with died of cancer in early Decem article was written for a school project groups like Fidelity. He had per ber in Croton, New York. He on famous people and we thought you fect pitch, could compose and ar was 79. Albam, Born in the Do might enjoy it too. range and had the kind of talent minican Republic, was active as Edward Kennedy Ellington's life for getting along with people that th an arranger from the early 1940s, started when he was born on April 29 , was unparalleled. You could al and he was also an early propo 1899, in WashingtonD.C. Edward was ways depend on Scotty in and out nent of jazz education and spent spoiled by the women in his family while of music and he was always many years at the Eastman he was a child. His mother, Daisy, was helping somebody out. very protective ofhim, and did not want School Of Music in New York. to lose her only child. Scotty will be sorely missed Edward loved baseball, and when Albam arranged and com for his contributions as a man his mother heard that he had been hit posed for Count Basie, Woody and a player. He was a kind per by a bat, she started him on piano les Herman, Buddy Rich, Stan son who was universally liked by sons. When he was six years old, with Kenton and other big bands. He those who knew him, and he Mrs. Clinkscales as his teacher, piano also wrote arrangements for so spent much of the last few years was the last thing on his mind-base loists and singers, including Stan taking care of his parents. Scotty ball was what he wanted. So soon he Getz,Dizzy Gillespie, Jerry spoke softly but he had great in quit his piano for childhood fun. Mulligan, Coleman Hawkins, sight, and he played in much the At 15 he first heard "Ragtime" pi Carmen McRea, Dakota Staton same way. When he played the ano. He started up on piano again be and Sarah Vaughn. only thing he was asked occa cause ofthe new beat and all the atten tion he got with his new talent. Duke's sionally was to turn it up, so we Albam was in demand as an grades dropped as he spent more and could hear a little more. arranger even into the 90's, with more time on piano and less on school commissioned work with the work. As friend nicknamed Edward He was one of the best Carnegie Hall Jazz Band. His ar "Duke." This name fit Duke because friends I've ever had, and no one ranging skills, writing and his vi of his proud and elegant manner. could ask for one better. From sion for jazz education carved His sister was born when Dulce was the day I heard he was sick last out a piece of jazz history for this 16. Now his mother stopped pamper summer I started to miss him. In gifted man. ing Duke and gave them both equal at the end, I just couldn't get over tention. His family lived in first class the feeling that no one could do Scott Ihms style. His father James Edward, usu enough for this wonderful man ally known as JE, worked as a butler in who spent so much of his life the White House when Theodore Scott Ihms, guitarist, com giving help to others, and never Roosevelt was [resident. JE and his poser and friend of The Berman asking anything in return. If family dined on fine china because the Foundation died on January 25 you're playing right now, Scotty, presidential family would give staff sets at his Lincoln home. He was 45 wherever you are, please, go of dinnerware if pieces were broken or years old and spent the last 7 ahead and turn it up. missing. months of his life bravely fight His professional piano life started, ing cancer. Scotty was a sensi- (Ellington continued on pg. 17) Winter/Spring 2002 Page 17 •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• (Ellington continued from pg. 16) in 1916, when Duke was 17 with his time collaborator Billy Strayhorn. Jazz in the first perfonnance at a high school dance. In 1956 Duke had a breakthrough In the 1920s, he was one of the first at the Newport Jazz Festival. At the people to compose and play jazz. end of the festival while people were venues leaving, he was playing a song he had He started writing songs and was Compiled by Dave Hughes· hired first at the Kentucky Club, then recently composed and people started at the Cotton Club in 1927. The cotton pouring back in. Because of this he Monday Night Big Band Club, famous for its live music was lo ended up on the cover of Time maga The Monday Night Big Band cated in the middle of black Harlem, zine and was recognized as the best is still playing every Monday 7:30- th New York, and was for whites only. musician in his time. Whenever some 10 p.m. at P.O. Pears, 322 S. 9 Eventually a few richer African Ameri one asked Duke how old he was, he'd St. in Lincoln. The cover is $4, $3 cans were allowed to enter. Once, dur insists that he was born at the Newport for students. ing his years at the Cotton Club, Al Jazz Festival. Capone threatened to kidnap Duke and In 1958 he returned to England and Thursday Night Jazz Series the famous dancer Bill "Bojangles" performed a special group of songs for The Thursday Night Jazz Se Robertson, but Chicago got too danger Queen Elizabeth II. A year later he won ries, with much smaller groups, ous and Capone left. three Grammys for songs he composed also continues at P.O. Pears from for Anatomy ofa Murder. 7:30-10 p.m. The cover is $5, $4 In 1943he became the first African th American to perform at Carnegie Hall On Ellington's 70 birthday, Presi for students. For more info on both in New York City. He premiered his dent Richard Nixon awarded him the nights ofjazz, call 402-477-8008. first long piece, "Black, Brown, and Presidential Medal of Freedom, the Beige." highest civilian medal. Jazz at The Oven He composed many songs but was On May 24th, 1974 Duke died of And, jazz duos continue on best known as the performer of "Take cancer. But his music has left an im Sundays and Thursdays at The th theA Train," a song written by his long- pression on the world forever. Oven, 201 8 St. in Lincoln. For more info, call 402-474-7474. Mile High Musings By Dan Demuth ...... Hello to an of my friends in Lin promising musicians. Diverse programs you he will be in contact with you and coln (both of you!) Butch has asked such as a recent jazz film festival hosted enjoys getting the newsletter). It was a for an inclusion in this issue ofthe news by the dean of jazz film archivists - first time for us to see John Bunch who letter of some ofthe happenings here in Mark Cantor - round out the programs. is as good in person as his recordings colorful Colorado. Jazz venues are alive Hey out there in Lincolnland, anyone promised. The others we have seen at and well, both locally and as we like to listening? Topeka, but once is never enough. The say "up in Denver". The Colorado To celebrate a wedding anniversary irrepressible Mr. Leonhart told me he Springs based Pikes Peak Jazz and (I thought it was 84 years but my wife is writing a song that involves Balti Swing Society (PPJASS) recently cel says its 34) we headed "up to Denver" more and a potato carved in the shape ebrated its 17th birthday. This organi the last weekend in January. A little sad ofa man's uh - well I don't want to give zation started out with 35 jazz fans who ness with the passing of Ralph Sutton it away here, buy the CD when it comes put together a constitution with bylaws, who we had the pleasure of seeing there out and remember you read it here first. elected officers who serve on a rotating just one year prior, but life and jazz do Buy any of his CD's and see if you can basis, and now boasts some 540 mem go on, both the better because of the keep your mind on his great playing bers. Very affordable annual dues, and Suttons and the alarming number of ability while listening to the lyrics. This a monthly 3 hour live jazz session at greats we lost in 2001. Back on track, event and others like it are sponsored the same spot which usually features this concert featured Bucky Pizzarelli, throughout the year by the Summit Jazz local musicians but occasionally name Ken Peplowski, Jay Leonhart, John Organization. Ifanyone plans a trip west players. PPJASS sponsors weekly Bunch and Jackie Williams. In a one and would like a schedule of their up 'jazz in the parks" throughout the sum word review, "Great"! (Personal note coming concerts, contact me through mer and award scholarships to young to Squire Berman - Jackie said to tell Butch. Page 18 Berman Music Foundation Jozz ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• The Fabulous Boogie Kings: Part 1 By Ned Theall· ...... eventually added a bass player, Skip Stewart, and a sax man, Byron I probably would have never Launie, and the band was beginning gotten into "the combo scene" to sound pretty dam good. The kids if I hadn't seen the Fabulous were going nuts over this new Flippers at about age 15 or 16 caucasian group playing black rock between '64 and '65 at Lincoln s 'n'roll. In 1955, the closest thing to Keen Time - at the Auld Pavil live rock music for Louisiana kids was ion in Antelope Park. I thought a few black groups from New Orleans that the Flips had invented Blue that sounded like dog shit. Eyed Soul. Well, wrong. Thanks Ned Theall to Charlie Burton twice - I dis The Boogie Kings had the The Early Years covered the true innovators of "magic" from the getgo. It was like this genre - The Fabulous It all began in Mama Ardoin's God had picked this group to bless and Boogie Kings - Louisiana s R&B kitchen in Eunice, Louisiana in 1955. that's all there was to it. They could legends, while playing with When Doug Ardoin opened his Christ do no wrong. The band decided to Charlie Burton and Rock mas presents, he found the one thing concentrate on black soul music and Therapy in Minneapolis. While that he was wishing for - a brand new bypass the Anka's and Sedaka's type there, I visited their famed record electric guitar. When Doug put his of rock. In the late '50s, the band store The Oarfollq'okeopus (The hands on that guitar, he felt ten feet added two more saxophone players, Oar) and found my first Boogie tall. He knew he could play it, even Norris Badeaux and Bryan Leger, then Kings LP - and to excuse the pun though he had never had a lesson. a trumpet player, Willie Harmon, was - totally flipped. This year when Rock 'n' roll music was beginning to added and this completed big hom reforming the old Charlie Bur emerge as the music of the teenager, section sound that they were looking ton band for a special holiday and all of the kids in the USA were for. Even with a hom section, the band gig at the Zoo Bar - he brought being mesmerized by this new sound never read a note of music. They me a used copy of their '92 re and new beat. would just listen to the records that union video that he found while they wanted to learn, and then play living in Austin. Now the search As soon as Doug could playa few them. Why waste time with rehears was really on ... through the net tunes, he got together with a couple als? and several changed addresses of friends and decided to form a band. and phone numbers, lfinally lo He found a drummer that could sing, By the end of the decade of the cated the first, or at least one of Bert Miller, and another guitar player, '50s, the Boogie Kings had acquired the very first leaders (these guys . Harris Miller, and they began to jam Tommy McLain on bass and Clint date back to 1956-58 as their in Mama Ardoin's kitchen. Not ex West on drums. They were both pro origin) of this fine outfit - Mr. actly the perfect ingredients for a rock ficient vocalists of the day, and this Ned Theall. band, but it was all there was. It was allowed Bert Miller to be a stand up So with pride, I am running not too damn long before the trio jelled front man vocalist. a series from the pen of Mr. into a hot little jam group. After a Theall on the story ofthis incred while, Mama Ardoin's kitchen was The popularity of the Boogie ible musician s band - The Fabu overrun by enthusiastic teenage Kings in Louisiana and East Texas, lous Boogie Kings. Read on and friends of the guys, so the trio had to and the talk was that they were the dig it, daddy-of find a new place to practice. band that could bum all other bands. --Butch Not only the fans were overwhelmed Pretty soon, they decided to name with the fantastic sound of this bril the band, "The Boogie Kings," and liant white rhythm 'n' blues band, but they began playing teen dances. They (Boogie Kings continued on pg. 19) Winter/Spring 2002 Page 19 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • (Boogie Kings continued from pg. 18) equipment back in those days. I shud able to achieve such a high level of musicians would come from all over der to think of what may have hap success without the benefit of a hit, the state to get a lesson in the art of pened if the band would have achieved is probably the greatest piece of dumb rhythm 'n blues performance. One the one thing that has always eluded luck that we ever had by all rights, must remember that the popular mu them, namely a hit recording. It was the great Boogie Kings band should sic scene in the country was going fairly easy to get a record played on a have had a hit record. The band was through a complete metamorphasis in radio station in your home town, and as great as anything else out there at the '50s. On the Billboard music not that difficult to get airplay in a the time. But, even as tight as the charts, Fats Domino, Little Richard few major markets, but the big boys band was, with all ofthe success com and Chuck Berry recordings were be on the East Coast and the West Coast ing their way in the '50 and early '60, ginning to appear alongside of Bing were in the process of setting up con it was only a prelude of things to Crosby and Patti Page recordings. trols on the distribution of these fast come. The nation was splitting in two be selling items. cause of the new music invasion. It Creation of a Legend was young against old. The older Most of the musicians ofthe '50s generation wanted to keep the status were never to see any money to speak There was a major change in the quo, but the young set was deter of from their million sellers. Unscru Boogie Kings band in the '60s that mined to have their own music, pulous music labels and publishers was to have an effect on the future of geared to the freedom ofthe the band forever. Some key times. moves were made then that propelled what was already Alcohol and drugs a super group into a zone of were beginning to cause musical excellence that the some problems at this time, music industry has rarely but the whole country was ever witnessed. in a kind of denial about the consequences of these sub Here is how the change stances. This would come came about. I was playing to playa major part in the with a "weekend warriors" future of this great band at type of band making ten a later time. bucks a gig, and working a very boring day gig for sev After several years of enty-five bucks a week. I tremendous success, the ...... ---'-----'--- was already twenty-six Boogie Kings began to develop a had realized early on that a fortune years old and I was sure that my "macho" attitude about themselves could be made very quickly in the dreams of being a rock star had all and their music. It was like they be music business without the knowl but vanished. One day my good gan to feel invincible. They were edge or consent ofthe artists. All that friend, Dan Silas (a bari sax player) convinced that they were in a class the artist was interested in was to sim stopped by my office and told me that all by themselves. And they were: It ply have a record release, - that was he was going to Lake Charles to au hardly mattered where the Boogie validation enough. We were never dition for the Boogie Kings. He told Kings performed, they were always taught about the business end of the . me that they were re-organizing and admired by fans and musicians alike, music business. They wanted to keep looking for horn players and singers, and they became very comfortable us ignorant. Why not? They were and asked me if I would like to tag with their status. getting rich. along.
It is so sad that the early Boogie In my own personal opinion, a hit At that moment, my whole out Kings were never recorded live, and record would have destroyed this look in life changed. My chops were only did a few bad 45 RPM record great legend of the Boogie Kings. It great, and I was about as ready as a ings in the '50s. I would give any would have made enemies out of musician could be to take on a new thing to have a tape of the early per friends. The very fact that this band, challenge. There was no doubt in formances, but alas, no one had any which is still performing today, was (Boogie Kings continued on pg. 20) ...... Page 20 Berman Music Foundation Jazz (Boogie Kings continued from pg. 19) Van said, "I've heard of you guys, up with that hit record. my mind that I could get the job as but I'm booked six nights a week." The greatest gig that we ever lead trumpet player. The band was So I said, "Well, there are seven played was in Hollywood. We were working a gig at the Bamboo Club nights in a week." Van replied, invited to play a concert for the in Lake Charles, so Dan and I went "Well, Ned, Monday nights are all "Hullabaloo" people. There were and sat in and we both got hired that that is open and to be perfectly frank some great bands at the auditorium, night. The band was so popular at with you, no one can draw a crowd including the Righteous Brothers, that time that half of the players in Houston on a Monday night." I who were big fans of ours. We had decided to quit and stay in college, told Van that I'd take anything that been told that California fans only and the other half decided to re-or I could get and I booked us on a got off to fast music, and we had ganize. Clint West eventually be Monday night. To make a long story dropped all of our dramatic, slow, came the leader, the position that I short, we drew over a thousand soulful tunes. We got on stage, really wanted. people on the first Monday that we played three songs and bombed. I played, and Monday night gigs be called Duane over and whispered in From the first day, I realized came the best night of the week for is ear, "Get down and dirty!" So that this was going to be a very great Van. God was with us once again. we played the slowest, most soulful band, but they had no direction, no tune that we had in the book. You organization, no promo, and very I then went to New Orleans to could have heard a pin drop in that little of anything else except talent. the Sands nightclub with the same jampacked auditorium. I looked at I made it my goal to get Clint's job pitch. The first person I met in the Duane as he was singing and we and drive this band to the very top. Sands was Jim Stewart, New both shrugged our shoulders as if Whatever the top was. This was to Orleans's top DJ. What luck, would to say, "What does it take?" When happen about a year later, when I wonders never cease? Jim spon we finished getting as bluesy as a took over the band and Clint left. sored us at the Sands every Wednes band could get, the whole place My first move was to hire GG Shinn day night and we drew such huge stood up and cheered for what and Jerry "Count Jackson" Lacroix. crowds that they had to enlarge the seemed a good five minutes. Great My next move was to get this band club three times. We were truly Scott, we had done it again! Every into the studio and record a hit al blessed at that time for some rea song we played after that was bum. Little did we know at the time son. cheered enthusiastically by that that we recorded the first album that huge crowd of California kids. Af it would become an all-time classic Then, by some odd quirk of fate, ter the gig, the Righteous Brothers that would sell for generations to I went to Shreveport to listen to a came up and hugged us and con come. My next move was to dress drummer that we were looking at to gratulated us. Oh what a night! up the band and make a show out of replace Clint West and stumbled into it. I convinced the guys that we a booking agent from Nevada who had We were all living the life that we needed seven different tuxedos, one heard rave reviews about the band. He had always dreamed of and it looked for every night of the week. I told offered to book us sight unseen in like there was no end in sight. Rock them that we needed to crack the two Reno and Lake Tahoe. I, of course, 'n'roll, sex and drugs, day after day, major markets of Houston and New thought that he was full of it, but I night after night. We couldn't wait to Orleans before we could even dream humored him nonetheless. To my wake up in the morning, knowing that about the pie in the sky. stark amazement, I received contracts there would be a new adventure each in the mail two weeks later from Reno and every day. By this time, most of I didn't know a soul in Houston with confirmed bookings. We were the guys in the band were smoking or New Orleans, but that didn't stop on a roll that wouldn't quit. herb and the incentive was beginning me. I drove to Houston and found to wane. the biggest club I could which was In the next three years, we were Van's Ballroom. When I walked in, to play in Hollywood, Vegas, San And then it happened. Two nights I asked for the owner, who just hap Francisco and Lake Tahoe again. We before we left Vegas for the last time, pened to be the person that I asked would go on tour out west and come I was notified that there would be a the question to. I said, "I'm Ned home to Cajun country bigger heroes band meeting after the gig. It was at Theall with the Boogie Kings and I than when we had left. We did two want to book my band in your club. more albums, but still could not come (Boogie Kings continued on pg. 21) Winter/Spring 2002 Page 21 •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Dan Silas, Norris Badeaux, Mike Pollard, Brian Leger, Gary Walker, Murphy Buford, GG Shinn, Jerry (Count Jackson) Lacroix, Jack Hall, Ned Theall, Bubba Marks, Johnny Giordano (Boogie Kings continued from pg. 20) looked me dead in the eye and said, three lead singers, Duane Yates, Gary this gig that I was notified that the "It's because you're an asshole!" I Walker, and Linda Clark); and the band had decided to become a co-op must say that remark cracked me up lead sax player, Jon Smith. I also band with no leader. I was shocked and put me on the floor in a fit of hired Bobby Rameriz, an ace young and deeply hurt to be taken down af laughter. I stood up, brushed myself monster drummer. We had a very ter I had busted my ass for so many off, and replied, "Gary, I'm glad you successful run for two years and gave years, but I had to accept my fate. I said that because that is the only rea- the Boogie Kings a run for their asked the guys one by one to give me son I could accept!" And with that, I money, but in the year of 1968, both a reason why, after such a string of walked out ofthe meeting, and formed groups had to disband because of the success that I was being taken down, another band the very next day. I new style of Beatles type music. It and one by one, I didn't get an an ended up taking with me the nuts of would never be the same again. swer. When I came to the last guy, he the Boogie Kings band, including the (Part 2 will be in the next issue aJJazz.) Page 22 Berman Music Foundation Jazz ...... " (I ...... It .... II ., ... " ...... , ...... III It " III ~ Rockin' with Charlie
Charlie Burton and the Dorothy Lynch Mob. Left to right: Butch Berman, Charlie Burton, Dave Robel, and Bob Letheby.
Lincoln's answer to the Glimmer lronman Twins? drummer Butch Dave Robel Berman and still going Charlie strong after all these Burton. years.
Lap steel guitarist Bill Dye struts his stuff as always. Charlie and the boys practice at Butch's pad prior to the performance at the Zoo. Left to right: Charlie, Butch, Bob, and Dave. I n By Rich Hoover· ...... There are 11 tunes, all written by Hughes, and an interview with him on the CD. The band members are: Bobby Murray, guitar; Leonard Gill, bass; Tim Brockett, organ; Dave Mathews, keyboards; Tony Coleman, drums; George Brooks, saxophone; Mic Gillette, trombone; and, Marvin McFadden, tmmpet. the beat daddys JOE "GUITAR~' HUGHES Delta Vision Stuff' Like That Waldoxy Records Blues Express Inc. Blues
The beat daddys continue to keep There's some great Texas blues on it up for southern blues/rock fans. This this live performance by Joe "Guitar" Corner latest release covers the Delta styles Hughes recorded in San Francisco. By Rich Hoover· . . . . from folksy to sweet ballads, swing, There are well placed horns scattered jump, R&B, and raucous rock. throughout the CD with the occasional Good Blues, and Good Brews, For horn lead, and the remainder of the a Good Cause A dozen of the l3 tunes are writ band are all excellent musicians with On July 5th and 6th Lincoln will ten by Larry Grisham, the vocalist and solid rhythm tempos, impeccable host one of the Midwest's prime sum harmonica player of the band, and his placement of accents including inspi mer music festivals. The Zoo Bar, lyrics are top notch and cover as wide rational lifts from each and everyone. along with Lincoln's Empyrean Ales a range as the musical arrangements. Brewery and the Juvenile Diabetes However, there is no doubt that Research Foundation (JDRF) is orga There are a couple of guest art Joe Hughes is the bluesman at the front nizing "The Zoo Bar Rhythm and ists as well; Bob Greenlee plays bass of the group. His last fifty years in Brews 2002" with event proceeds to and acoustic guitar on a tune from his the blues biz internationally have al benefit the JDRF. The two-day out own pen titled "Ten pounds of Love," lowed Hughes to become the master door festival will be a mix of local, which has bluesman, Sonny Rhodes ofthe blues show. He became so popu regional and national acts doing blues, doin' the vocals. lar he had to stay closer to home to be rock, jazz and reggae. with his wife and three kids. July 5th is The Zoo Bar's 29th The rest of the boys in the band anniversary, and the band lineup will are: Britt Meacham, guitars, percus He originally worked in several be every bit as exceptional as the Zoo's sion; Johnny Neel, keyboards, percus regional bands to the great enjoyment legendary 1998 25th Anniversary Fes sion; Ronnie "Byrd" Foster, drums. of all those south Texas fans. In the tival. In addition to the great music From checking out the mid-80s Joe went back on tour and has the event will feature the hometown flavor of Lazlo 's Brewery and Grill's www.beatdadd~com_ page, I find since made eight recordings and two that these are growing middle-age documentaries, one about Joe and Pete famous burgers, barbecue, and superb musician/friends who enjoy what they Mayes entitled Battle of the Guitars handcrafted beer from Empyrean are doing and want to do some morc. and another about the hot entertain Ales. Watch for them in your area. ment area of Houston that .I oe was in For updated info check fluential in creating titled Third Ward www.zoobaLcom or www.telcsis Blueso mc.com Non Profit Org. U.S. Postage PAID Permit No. 1359 Lincoln, NE
Butch Berman Charitable Music Foundation 719 PSt. Studio G Lincoln, NE 68508 Address Service Requested
Hedman and Berman How can vou help the foundation;» on "400 Years" The Berman Music foundation is a non-profit, tax exempt, 501[c](3] private foundation, and vour tax deductible donation is needed to help ollset the costs olll1ls newsletter and its programs. _$10 _$25 _$50 _$100 _$250 _SOther Name ______Address, ______Citv ______State IIp, ______Phonelll], ______[WJ ______fax ______E-mail ______---,- Make vour check pavable to '1he Berman Music foundation," and send it to: The Berman Music foundation 119 PSt, Studio G Norman Hedman and Butch Berman pose with deejay Carter Van Pelt lincoln, NE 68508 during his KZUM radio show "400 Thanks lor supporting jazzl Years."