Where to Go & Who to See Since 1982
Total Page：16
File Type：pdf, Size：1020Kb
DIGITAL - ONLY ISSUE March 2021 www.hothousejazz.com Livestream from WPU Page 2 Smalls Jazz Club Page 4 John Fedchock Brandi Disterheft Johnathan Blake Adrian Cunningham Livestream from WPU and Bar Bayeux Page 6 Livestream Page 7 Where To Go & Who To See Since 1982 looked from other instruments. “Since I was always tall for my age—I’m six foot six JOHN FEDCHOCK: now—I was intrigued by the trombone and was able to play the entire range of the Honoring tradition instrument earlier than most kids because of my height and reach.” By George Kanzler Two significant encounters pointed John toward what would become his career. When he was 12, an uncle gave him an album by the Tommy Dorsey Orchestra. He was bowled over by Tommy’s playing: “His sound was incredible, otherworldly, and I was also impressed by how tight the big band was. I even tried to transcribe the arrangements to figure out how they worked.” Then, when he was in high school, the Woody Herman big band gave a concert at the school. “They played tunes by Chick Corea, John Coltrane, The Beatles,” remembers John, “showing me that big band jazz wasn’t just something from another era but could be as contempo- rary as any other kind of jazz.” John never forgot his admiration for Woody as he pursued his education at The Ohio State University and the Eastman School of Music. After graduation he land- ed his dream job with Woody, not only anchoring the trombone section but also serving as musical director and arranger ROMBONIST JOHN FEDCHOCK, for the band for seven years. “We toured 48 Tnow 63, belongs to the last generation or more weeks a year, so basically we lived of big band jazz musicians who traveled on the road, on the bus and in hotels,” the the road on buses. He toured with Woody trombonist says. Woody was not an Herman’s Thundering Herd from 1980 arranger, but he always knew what he until 1987, and after he settled in New wanted from his arrangers. Though he York he formed his own big band, the John never told them what to do, he would tell Fedchock New York Big Band, which cur- them when what they did was not his rently has released five recordings and is sound, since he had a definite idea of what still intermittently active. However, John’s his band’s sound should be. latest CD, Into the Shadows (Summit), When John left the road and settled in which he is celebrating with a virtual New York, the big band ethos was part of release video concert this month, is by his his blood, so he formed the John Fedchock NY Sextet. New York Big Band, recruiting for its “I model the sextet on classic quintets ranks from the myriad jazz musicians who and sextets of the [post-swing] era,” John call the New York-area home. says. Album tracks reference everyone At the same time, John continued to from Art Blakey (“Alpha Dog,” a Blakey develop his technique and mastery of the shuffle) to Richie Powell’s work for the trombone. “It’s called the instrument clos- Clifford Brown-Max Roach Quintet (“I est to the human voice,” he says, “and that Should Care” as scintillating hard bop). sound makes it unique. The sound comes There’s also a “Nature Boy” eschewing the before the notes, and every trombonist has usual ballad treatment for a swinging 12/8. his own personal sound. After Tommy For John, the sextet allows him to bring Dorsey, I was into Urbie Green’s sound.” some of the strategies of big band arrang- Since then, he’s also been influenced by ing into a more flexible and open format, such trombonists as Slide Hampton and with more individual space for soloists. Curtis Fuller, plus J.J. Johnson, specifical- Joining him in the sextet are Scott ly citing the album Stan Getz and J.J. Wendholt, trumpet and flugelhorn; Walt Johnson at the Opera House for rare exam- Weiskopf, tenor saxophone; Allen ples of J.J.’s extended improvisations. Farnham, piano; David Finck, bass, and Eric Halvorson, drums. The John Fedchock NY Sextet CD John grew up in what he calls “a non- release concert for Into the Shadows musical family” in Cleveland. In middle takes place March 21, part of William school he tried out for band and was fasci- Paterson University’s Jazz Room at nated by how different the trombone Home virtual concert series. 2 Blake cover photo by Jimmy Katz, Fedchock cover by Christopher Drukker. Fedchock photo this page by Sanja Antic. You couldn’t get down to Brazil for Carnival this year because it was cancelled? TTHEH E RROOMO O M Then, your passport is right here on Bons Ritmos Youtube Channel. Youtube search "Andrew Scott Potter Sambao, Swing, Mangue Jazz - bonus DVD Bons Ritmos " AT HOMEHOME JOHNATHAN BLAKE https://www.youtube.com/watch?v=eGF7SpP1g-U&t=157 SHEA CENTER FOR Livestreamed Performances • 4:00 p.m. PERFORMING ARTS Sunday, March 7 Sunday, May 2 WAYNE, NJ Johnathan Blake’s Pentad The Steve LaSpina Quartet 973.720.2371 WP-PRESENTS.ORG Sunday, March 21 Sunday, May 9 John Fedchock New York Houston Person and Sextet Bill Charlap Sittin’ In one hour Sunday, April 25 before Elza Soares, Edi, Luizao Maia, Paulo Russo, Gilson Peranzzetta, Guest bassist Ron Naspo with performance Joao Reboucas, Passistas, Beaches and more. the WP Latin Jazz Ensemble, directed by Chico Mendoza Contact: [email protected] Bons Ritmos Youtube channel Sign-up for our E-ALERT at www.hothousejazz.com and be the 1st to know when the latest Hot House is available on line PUBLISHER/MANAGING EDITOR: Gwen Kelley (formerly Calvier) For advertising requests and listing [email protected] information contact Gwen Kelley VP OPERATIONS: 203-434-4646/[email protected] Joseph Kelley Hot House Jazz Magazine is published monthly and all [email protected] copyrights are the property of Gwen Kelley. All rights CONTRIBUTING EDITOR: reserved. No material may be reproduced without written Elzy Kolb permission of the President. Domestic subscriptions [email protected] areavailable for $37 annually (sent first class). For Canada PRODUCTION & ART DIRECTOR: $39 and international $50. Karen Pica PUBLISHER EMERITUS: Dave N Dittmann [email protected] CO-FOUNDERS: Gene Kalbacher, CONTRIBUTING WRITERS: Lynn Taterka & Jeff Levenson Ken Dryden, Ken Franckling, Raul da Gama, Seton Hawkins, COPY EDITOR: Yvonne Ervin 2012-2019 Eugene Holley Jr., Stephanie Jones, George Kanzler, For press releases and CD revues send a copy to Elzy Kolb, Michael G. Nastos, Don Jay Smith, Addie Vogt, Gwen Kelley: 219 Riveredge Drive, Chatham, NJ 07928 Eric Wendell CONTRIBUTING PHOTOGRAPHER: Fran Kaufman 3 The Pause Refreshes: Making music with octogenarians George Coleman and Portinho was a “dream come true” for Brandi. “You don’t BRANDI DISTERHEFT always get that level of musicianship and support,” she muses. “George’s approach is By Elzy Kolb ‘Anything I can do to help.’ Portinho is gen- tle and diplomatic, very nurturing. At HE PANDEMIC PAUSE APPEARS times he’s very reserved, then you feel this Tto be winding down far sooner than force behind you. That’s why he’s known as Brandi Disterheft expected. When the the James Brown of Brazilian funk shutdown began, “I thought it would last samba!” five years, I was budgeting for the worst,” Despite the pause, Brandi has been says the Canada-born, New York-based “surprisingly busy,” composing, practicing, bassist, singer and composer. “I’m opti- focusing on videos and publicity for mistic now. I hope New York will recover Surfboard, working with a Zoom student quickly, and hope people will come back. It and more. “I miss going out, seeing friends, could be a wonderful playground for young hearing peers, hooting and hollering in the artists coming into the city.” audience,” she says. “As a bass player in According to Brandi, developing an “exit New York, I was working practically every strategy” is crucial as we look forward to night, but now I’ve had the time to buckle easing our way out of the pandemic era down and practice every day, trying on into a changed world. “I’m anxious about new repertoire, setting goals.” reopening, getting back to the grind, back Brandi’s been working on a wish list of to the hustle. I want to be ahead of the personnel and projects. “Lately I’ve been game when the time comes,” she notes. thinking I want to play with Russell Part of her plan includes finally getting a Malone,” she reveals. “He’s so funny. I love chance to officially celebrate her latest his music and respect him. He was so kind recording, Surfboard (Justin Time), which to me at jams in Toronto years ago.” came out at the end of 2020. “An album New Orleans-based singer and guitarist release is a good stepping stone to gigs,” Albanie Falletta is another name that pops Brandi muses. up in conversation. “I’ve been trying to do She describes Surfboard, her fifth CD, everything on my own, but it would be nice as “My interpretation of Brazilian jazz,” to put two brains together. I’d like to com- comprising originals, compositions by fel- pose for two voices and two instruments low bassists such as Oscar Pettiford and with another singer/player. I like to com- Sam Jones, standards, and seldom-heard pose music and would like to collaborate on pieces by Brazilian masters Antonio Carlos lyrics,” Brandi continues. “The writers in Jobim and Moacir Santos. Pianist Klaus the Great American Songbook did that all Mueller and drummer Portinho round out the time.