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Home , Allen Eager, Al Levitt, At Long Last, Brian Torff, Brooks Kerr, Copenhagen Concert

Volume 39 • Issue 5 May 2011 Journal of the Society Dedicated to the performance, promotion and preservation of jazz.

Ellington Legacy Band Headlines Jazzfest at New Venue College of Saint Elizabeth, Morristown

Saturday, June 11 Lineup and details, see page 26. 2011 New JerseyJazzSociety

in this issue: NEW JERSEY JAZZ SOCIETY Prez Sez ...... 2 Bulletin Board ...... 2 Jazz Trivia ...... 3 NJJS Calendar ...... 3 The Mail Bag ...... 4 Prez Sez Editor’s Pick/Deadlines/NJJS Info ...... 6 Crow’s Nest ...... 24 By Laura Hull President, NJJS New/Renewed Members ...... 47 Change of Address/Support on the campus of the College of Saint Elizabeth NJJS/Volunteer/JOIN NJJS ...... 47 Up jumps Jazzfest! in Morristown, NJ. The format will be slightly STORIES ■ Before I move into Jazzfest country, I’d like to different from last year in that we will not present in the Sky...... 8 thank everyone for coming out to the April Jazz an outdoor mainstage, however, we will Book Signing Bethany. . . . 14 Social. We featured pianist-educator Dave Frank, offer outdoor activities including vendors, food Talking Jazz: Hod O’Brien ...... 16 Attilio’s Jazz Nights: M. Freeman ...... 25 who presented a master class format to a room court and dining, and live music. We will present Notes from a Jazz Volunteer ...... 25 filled with members and non-members alike. in two indoor venues: Dolan Hall in the brand Noteworthy ...... 29 What an afternoon that was! I felt like signing up new Annunciation Center, and in the Octagon Jazz Journeys ...... 30 for classes, it was so interesting. You can see all of Theatre located in an adjacent building. Our REVIEWS Dave’s master classes at YouTube.com, and he has stellar lineup of artists for the afternoon includes College Jazz...... 31 quite a number of them. The Jazz Lobsters, Quartet, Jay Highlights in Jazz Salute Derek Smith . . 32 ■ The May Jazz Film series will present “Johnny Leonhart Trio featuring Joe Cohn and Harry Bird with Strings ...... 33 Allen, Winard Harper Sextet featuring Philip Portland Jazz Festival ...... 34 Mercer — The Dream’s on Me,” a documentary Dave Frank with ...... 36 that traces the life of the great lyricist through Harper: A Harper Brothers Reunion, and more to Other Views ...... 37 commentary, film footage and interviews. The be confirmed. In the evening hours, we will Caught in the Act: date is May 18, the third Wednesday of the present rising star vocalist-guitarist Allan Harris J. Sheehan/J.Molaskey/D.Frishberg. . . 40 month, and not the usual fourth Wednesday. Joe and his group, and closing out the event is the Akiyoshi at ...... 42 outstanding Ellington Legacy Band led by Antoinette Montague ...... 43 Lang hosts and leads a discussion immediately Book: Brian Torff autobiography ...... 44 following the film. The film series takes place at saxophonist-composer-arranger Virginia March Jazz Social: Solomon Hicks . . . . . 46 Library of the Chathams in Chatham beginning Mayhew with master pianist-arranger Norman PM EVENTS at 7 . Simmons and featuring Edward Kennedy ’Round Jersey: Morris, Ocean ...... 48 ■ The next Jazz Social is scheduled for May 22 Ellington II, guitarist and grandson of the late Institute of Jazz Studies/ and will feature New Jersey jazz vocalist Sue Giles great Duke. What a fest this is going to be! Jazz from Archives ...... 49 Somewhere There’s Music ...... 50 presenting her tribute to the music of Ella Tickets are available at www.njjs.org and pricing is The Name Dropper ...... 51 Fitzgerald with discussion of a musical she is as follows: Tickets are $45.00/$55.00 in advance writing that is currently in the works. Sue hails ADVERTISERS and $60.00/$70.00 at the gate for members and Marlene VerPlanck ...... 4 from the Princeton area and we’re excited to have non-members respectively; students are $10.00 NJJS Jazzfest June 11 ...... 5 her join us at the Social. with ID. The College of Saint Elizabeth is located WBGO ...... 7 ■ At long last…Jazzfest! I am thrilled to at 2 Convent Road (on Route 124/Madison Shanghai Jazz ...... 9 Jazzdagen ...... 11 announce that the 36th annual Jazzfest will take Avenue) just a couple of miles east of Route 287 M.Taylor/T.Doyle/J.Topinka @ Chico’s. . . 13 place on Saturday, June 11 from 12:00 – 9:00 PM in Morristown, New Jersey. Great Connecticut Trad Jazz Fest ...... 14 Jazzfest at Sea ...... 15 Hibiscus...... 17 ...... 19 Stay tuned to www.njjs.org Spirit Cruises...... 21 Shelly Productions ...... 24 NJJS Bulletin Board for updates and details. Hot Steamed Jazz Festival ...... 24 Riverboat Swing ...... 30 Member Discount Claim your member privilege! Get discounted admission to CTS Images ...... 30 NJJS Jazzfest June 11. See ad page 5; see detailed preview page 1 and pages 26–28. Jim Eigo Jazz Promo ...... 36 LauRio Jazz ...... 38 Hibiscus Dining Discount Hibiscus offers NJJS members a discount of 10% off their check. John Nobile SummerSwing Orchestra . . 39 See their ad page 17. Jane Stuart ...... 41 FREE Film Series…Some Wednesday nights at 7 PM at Library of the Chathams. Lisa Hearns ...... 42 See calendar next page for details. Best of all? Free, free, free…invite your friends. Skipper’s ...... 44 WBGO PhotoBlog ...... 45 Socials…Join us for music and mingling. Free for members, $10 for non-members (applicable Princeton Record Exchange ...... 52 to membership) with just a $10 venue minimum. Watch calendar page 3 in coming issues for upcoming dates and details. Beyond the schmooze, there are some serious musical prizes raffled off at our socials!!

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Ms. Antoinette Montague literally wowed the crowd at the Community Theatre March 27. The concert was co-produced by NJJS. For the story and more photos see page 43. Photo by Tony Graves.

WWW.NJJS.ORG: Learn more about all NJJS events at the NJJS Website. And please be Jazz Trivia By O. Howie Ponder II sure we have your E-mail address. Maybe you’ve just added E-mail, or changed your SONG address recently. Whatever the case, drop us a line to be sure we have yours. You’ll want to NICKNAMES stay tuned to our monthly eBlasts for more Most traditional jazz tunes have information about NJJS events, and other jazz venues, raffle opportunities, and more. Send it been around so long and played so often that some musicians to me — [email protected] — and I’ll make Nicknames sure it gets into our database. have given them nicknames, A. “George O’Brien” based on either corrupting the I look forward to seeing you soon. B. “Oh, Mahoney” title, lyrics or onomatopoeia; the And, whenever you go to hear music C. “Mousetrap Strangle” sound they make. The late Pee tell them you saw D. “Savory Blues” it in Jersey Jazz! Wee Erwin was fond of giving E. “Rum Dum" songs nicknames and the F. “Mahoney’s Eleven Arms” WELCOME RECENT/NEW ADVERTISERS! following might represent a set, G. “Soused Rumpot St.” NJJS is proud to welcome Jane Stuart, or two, in his band. H. “Royal Garbage” Spirit Cruises, Great Connecticut Traditional I. “Riverboat Scuffle” Jazz Festival, Hot Steamed Jazz Festival, See if you can guess J. “The Bear Missed the Train” Jerry Topinka, John Nobile Summerswing the real song titles. Orchestra and Lisa Hearns as recent/new K. “Jasmine Blues” advertisers. Please see their ads in this and (answers on page 45) L. “Hand-hand, Foot-foot.” other issues. Advertisers help to support our work and mission while keeping their names in the minds of our readers. Howie also welcomes suggestions for future questions — Please support them as well! JJ or comments from readers. Contact him at [email protected].

Wednesday April 27 Wednesday Saturday Wednesday Sept 21 FREE FILM May 18 June 11 FREE FILM Stan Kenton: FREE FILM JAZZFEST TBA Artistry in Rhythm Johnny Mercer: 12 – 9 pm Library of the Chathams Library of the Chathams The Dream’s On Me College of St. Elizabeth 214 Main Street 214 Main Street Library of the Chathams 2 Convent Road Chatham 7 PM Chatham 7 PM 214 Main Street Morristown Wednesday Oct 26 Chatham 7 PM see ad page 5 story begins page 1 and FREE FILM continues on 26–28 TBA Library of the Chathams 214 Main Street NJJS Calendar Chatham 7 PM

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The Mail Bag

AS A LONGTIME FRIEND OF On his second tour, Larry opened best track he ever cut was The recordings are real gems. THE LATE LARRY WEISS, I was the Birmingham International jazz “Carolina In The Morning” Just great stuff for the Jazz fan delighted to see such glowing Festival, playing the opening with Chuck Slate’s Band on the and the Jazz drummer (as am I). tributes to him in the last edition Breakfast Dance, sessions during Dee Bess label. Eric Kahler of Jersey Jazz, and from such the Festival and the closing set on Having just played this over, Blairstown, NJ highly-respected names. the final evening. He also appeared I would say that Larry was I would like to mention a few at The Canteen in London, playing also a pretty good judge! THE JERSEY JAZZ MAGAZINE things that have been overlooked with ’s group. KEEPS GETTING BETTER AND Clarrie Henley BETTER. Each editor has improved and, indeed, may not be well Larry was one of the lesser-known Carnforth, England known in the States. American names to visit the U.K. it over the years and with Tony (There is a video on YouTube of but his reputation soon spread and Mottola and Linda Lobdell it has Besides appearing at the Manassas Larry Weiss and Vic Dickenson he was greatly appreciated developed by leaps and bounds. Jazz Festival and the Sacramento playing,“If I Could Be With You“ wherever he played. I wonder what We were thrilled to read the article Dixieland Jubilee, Larry also made at the 1983 Manassas, VA Jazz his British audiences might have on Amos Kaune. I have known two successful solo tours of the Festival.) U.K. playing with British bands felt had he also played a few him and Pat since the Clifton Tap and trios. On his first visit, Larry numbers on the ! THANK YOU FOR THE Room in the ’60s, Schaen Fox played mainly with The Fred Hunt Besides his talent on two OPPORTUNITY to support your reported a excellent interview as Trio in the North of England and instruments, Larry also possessed fundraising efforts as a Jazz and well as Marty Napoleon’s two-part drew a full house for the one of the sharpest ears for Blues artist at the New Jersey Jazz piece. Manchester area concert. Fred harmony and melody. Sometimes, Society/MAYO Performing Arts Thank you for a fine publication. Hunt was the talented and much- his thoughts were ahead of his Community Theatre show on Walter and Jill Bennett loved pianist with the technique. He was seldom satisfied Sunday, March 27. Jensen Beach, FL Band and he and Larry soon with his performances, especially Your attendance and spirit was formed a close rapport. on record, and he claimed that the wonderful and appreciated. I wish I ATTENDED THE CONCERT all your events great success and yesterday in Morristown with great attendance. Antoinette Montague and enjoyed it very much. It was such a lively Bright Moments to you all, MARLENE VERPLANCK event. She really knows how to Antoinette Montague work an audience and her supporting musicians were Surprise IF YOU HAVEN’T ALREADY, I was excellent. hoping you might mention these Thanks for sponsoring it. freely available recordings in a me coming edition of Jersey Jazz [a satisfied customer] (which, by the way, I enjoy somewhere! immensely). On the Web page http://www.pas.org/experience/ora lhistory/mellewis.aspx at the Marlene celebrates CD# 21, Percussive Arts Society is a newly One Dream At A Time posted collection of MP3s from broadcasts that did Wednesday, May 4 with on The Kitano, Park Ave @ 38th St., NYC. 212-885-7119. WKCR in 1989 on the history Beautiful venue, no cover. Reservations essential. of jazz drumming. Founding Member I’ve been listening to them every Also in May: day now, to and from work. Mel May 20, 21, 22 and Loren introduce a drummer Concord Symphony Pops Concert, Concord MA. who was important to jazz, and 617-969-3629 then play one to three tunes Marlene sings a tribute to Jobim and some featuring the drummer and great choices from the American Songbook. discuss his style and approach, as well as the circumstances in which he worked. They also ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ for complete details, visit the compare and contrast the styles tour schedule on the Website: and approaches of a drummer with his predecessors and www.marleneverplanck.com Building an International contemporaries. Jazz Community

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The Editor’s Pick The Journal By Tony Mottola Jersey Jazz Editor of the New Jersey Jazz Society Volume 39 • Issue 5 USPS® 00-668 A Book for the Baroness Jersey Jazz (ISSN 07405928) is published monthly eleven times per year with a combined July/August Nica’s Dream issue for members of The New Jersey Jazz Society, 382 Springfield Ave., Suite 217, Summit NJ 07901. THE LIFE AND LEGEND OF THE JAZZ BARONESS Membership fee is $40/year. Periodical postage By David Kastin paid at West Caldwell, NJ. Postmaster please send address changes to 382 Springfield Ave. (W.W. Norton & Co. 2011 | 288 pages | $26.95) Suite 217, Summit NJ 07901. All material in Jersey Jazz, except where another he first biography of the Rothschild heiress who became a muse and patron to jazz copyright holder is explicitly acknowledged, is copyright ©New Jersey Jazz Society 2011. Tmasters and will be published on June 20. All rights reserved. Use of this material is strictly prohibited without the written consent of the NJJS. Raised in fairy-tale splendor, Kathleen Annie Pannonica Rothschild de Koenigswarter Tony Mottola Editor (known as “Nica”) piloted her own plane across the English Channel, married a 27 Upper Mountain Ave., Montclair, NJ 07042 E-mail: [email protected] French baron, fought in the Resistance, and had five children — but then she heard Linda Lobdell Art Director/Co-Editor a recording of Thelonious Monk’s “‘Round Midnight.” Beguiled by the beauty and 352 Highland Ave., Newark, NJ 07104 201-306-2769 liberating spirit of jazz, she left her family behind and moved to , where she E-mail: [email protected] began hosting late-night jam sessions, socializing with Beat poets, and driving her Fradley Garner International Editor silver Rolls Royce to the Five Spot and other fabled jazz venues. The tabloids first E-mail: [email protected] splashed her name across the headlines after Charlie Parker died in her hotel suite, Dan Morgenstern Contributing Editor E-mail: [email protected] but through her remarkable ministrations to Monk and dozens of other musicians she Mitchell Seidel Contributing Photo Editor became a legend. Based on interviews with musicians, family members, historians, [email protected] and artists. David Kastin’s probing biography unwraps this enigmatic figure and evokes the vibrancy of John Maimone Entertainment Contributor 908-753-6722 during the birth of and the advent of abstract expressionism. E-mail: [email protected] Fred McIntosh Entertainment Contributor A music historian and educator, David Kastin is the author of I Hear America Singing. His work has appeared 201-784-2182 in DownBeat, the Village Voice, and the Da Capo Best Music Writing series. E-mail: [email protected]

Pre-publication praise for the book has been enthusiastic, including this from Robin D. G. Kelley, author of NEW JERSEY JAZZ SOCIETY Thelonious Monk: The Life and Times of an American Original. OFFICERS 2010 Laura Hull President PO Box 771 Morris Plains 07950 “Finally! Nica’s story told in Technicolor, with the grandeur to 973-229-4275 | [email protected] match her own. David Kastin penetrates the myths and Frank Mulvaney Vice President 908-233-4824 legends about the Jazz Baroness. In doing so, he gives us a Mike Katz Treasurer 908-273-7827 stunning cultural biography of and a riveting Caryl Anne McBride Membership Chairperson 973-366-8818 | [email protected] portrait of one of the most fascinating figures of Al Parmet Recording Secretary 908-522-1163 the 20th century. Bravo!” Jack Stine President Emeritus 908-658-3515 Andrea Tyson Immediate Past President WIN THIS BOOK 732-356-3626 Jersey Jazz has a copy of Nica’s Dream to give away to one lucky NJJS member. Joe Lang Past President To enter simply E-mail your name and mailing address to: [email protected] 973-635-2761 with the words “Book Contest” in the subject line. You may also mail your entry DIRECTORS to the editor at the address on the publication masthead on this page. JJ Steve Alexander, Kate Casano, Carolyn Clemente, Joanne Day, Cynthia Feketie, Carrie Jackson, Sheilia Lenga, Stan Myers, Larissa Rozenfeld, Jersey Jazz welcomes your comments on any article or editorial. Stewart Schiffer, Mitchell Seidel, Jack Sinkway, Comments? Marcia Steinberg, Elliott Tyson, Jackie Wetcher, Send E-mail to [email protected] or mail to the Editor (see masthead Linda Lobdell (Ex-officio), Tony Mottola (Ex-officio) this page for address). Include your name and geographical location. ADVISORS Jeff Atterton, Schaen Fox, Amos Kaune, Bruce Lundvall, Bob Porter Advertising Rates Quarter page: $50; Half page $75; Full page $100. Biz card size $25. 10% discount on repeat Marketing/Public Relations Consultant: Don Jay Smith full-page ads. To place an ad, please send payment at www.PayPal.com using our code: [email protected], or mail a Website: www.njjs.org check payable to NJJS to New Jersey Jazz Society, 382 Springfield Ave., Suite 217, Summit NJ 07901; please indicate E-mail: [email protected] size and issue. Contact [email protected] or 201-306-2769 for technical information and to submit ads. Hotline: 1-800-303-NJJS (1-800-303-6557) NJJS Deadlines The deadline for submission of material for upcoming issues is as follows: To join the NJJS and begin receiving this magazine, June: April 26 • July/August: May 26 go to “JOIN NJJS” (see table of contents) or NOTE: EARLY SUBMISSIONS ARE GREATLY APPRECIATED. visit www.njjs.org for complete information.

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Big Band in the Sky

By Sanford Josephson

■ Joe Morello, 82, drummer, July 17, 1928, Springfield, MA – March 12, 2011, Elizabeth, NJ. Marian McPartland was flattered when she noticed Dave Brubeck and Paul Desmond coming into the Hickory House. “I thought, ‘Isn’t that nice? They’re coming into the club to hear my trio.’ I didn’t realize Dave and Paul were coming into the club to steal my drummer.” The year was 1955, the third year that Morello had played with the Marian McPartland Trio, which also included Bill Crow on bass. In retrospect, McPartland acknowledged to Jersey Jazz that, “It was really time for him to move on. I honestly think he really Joe Morello plays at Sparky J’s in Newark, NJ August 1980. Photo by Mitchell Seidel. helped Dave with the fantastic time signatures. He had that riff going, and got me my first steady gig. We would talk Morello becoming interested in exotic Dave and Paul picked up on it. We had a every couple of months. Joe was both a meters well before his Brubeck years, wonderful three years together. He was the master musician and a great put-on artist. recalling how he had played 5/4 beats most terrific drummer I ever heard. I loved He once said to me, ‘If you go first, don’t against 4/4 time during a jam session. every minute of playing with him. I will forget to call me.’ He was one of my oldest Once the Springfield friends moved to New miss him terribly.” Crow feels Morello had and dearest friends.” York, their careers took them on divergent “the best technique of any drummer I’ve Serra, now retired, recalls a special moment paths, but Serra does recall one night in the ever worked with. He was good-natured, during their teenage years. “Joe got a phone ’60s when he and Morello had a surprise modest and a pleasure to be with.” call from the musicians union. We weren’t reunion. Serra had just been hired to Although Desmond had first brought in the union; we were too young. But they replace Vince Guaraldi as vocalist June Morello to Brubeck’s attention, the alto said they were making an exception. The Christy’s accompanist. “We were at Basin saxophonist initially resented the amount Glen Gray Casa Loma Orchestra was Street East along with the Dave Brubeck of solo time the drummer received with the playing in Holyoke, and they needed a Quartet and the Cannonball Adderly quartet. Morello had accepted a temporary, drummer. We rushed there just in time for Quintet. June and I started to play, and two-week engagement, and, according to the show, and Glen Gray handed Joe a pile Joe came crashing in from the back of Brubeck, “He said he would come with me of music (not knowing that Morello had the room. He knew right away who was if I featured him. The first night, I featured impaired vision from birth), and Joe threw on piano.” him on a drum solo, and the place went it on the floor behind him and played the After the Brubeck Quartet broke up in late wild. He got a standing ovation. Paul didn’t arrangements as if he had written them want someone else featured besides himself. himself.” Salvador, according to McPartland, 1967, Morello began concentrating on That night, he said to me, ‘Either he goes initially brought Morello to her attention. teaching, conducting drum clinics and or I go.’ It took a couple of years, but they “He brought Joe to the Hickory House and publishing several instructional books and became terrific friends.” Brubeck told said, ‘You must hear this drummer.’ Once videos. McPartland believes, had Morello Jersey Jazz he will always remember he sat in, I couldn’t wait to hire him.” never performed, “he would be remem- Morello as “one of the greatest drummers bered as a teacher and an educator. He Serra said Morello,“wanted to be the who ever lived.” taught my five-year-old grandson how to greatest drummer who ever lived, and, play the drums. My grandson, Doug Morello grew up in Springfield, MA, and, as sometimes, that could be irritable because Kassel, is now 65, and he’s been playing the a teenager, hung out with a group of friends he always wanted me to critique him.” For drums for years. He attributes everything that included alto saxophonist , example, “He had heard about a drummer he knows to Joe.” pianist Hal Serra and the late guitarist Sal who played a seven-stroke roll on a sheet of Salvador and late bassist Chuck Andrus. tissue paper without breaking the tissue. At Drummer Greg Caputo, who has played “We were kids together,” Woods remembers. our next rehearsal, he put the tissue in my with several big bands including those of “He lived down the street from me. We all hands, played the roll and the tissue never and Harry James, studied with came to New York at the same time, and Joe broke or moved.” Serra also remembers Morello in the late ’70s and early ’80s. “I continued on page 10

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BIG BAND IN THE SKY viewing her about McGhee for my book, Jazz Notes: Interviews Across the Generations continued from page 8 (Praeger/ ABC-Clio), she told me a Morello was 12 years old when I saw the Dave story. “I had my kids doing a project,” she Brubeck Quartet at Carnegie Hall,” he recalled, “and one of my little guys who’s a recalled. “Joe Morello was just astounding. drummer in the band chose something My father had grown up with Joe, and from a big band that Joe had for awhile. It when he thought I was ready, he brought was called ‘Drumorello’. I hadn’t talked to me to Joe. Joe taught me how to be a Joe in awhile, but I called him on the phone musician first and a drummer second.” and said, ‘This sixth grader chose your Sherrie Maricle, drummer-leader of the video, and we’re watching it. If I put you Diva Jazz Orchestra, didn’t know on speakerphone, will you talk to the kids?’ Morello,“but was thrilled to have met him He spoke to the kids, and then I put Zach, a few times. As with every other jazz the drummer, on. He had his practice pad drummer in the world, he inspired me and his sticks, so I said, ‘Zach, come up and through his innovative, ground-breaking play something for Joe.’You should have mastery of time, finesse, creativity and seen the look on the kid’s face.” Morello, musicianship.” Lienhard feels, “touched everyone who Arkansas and Mississippi juke joints. He met him. He was always willing to share could not read music but said he could Educator/pianist Noreen Grey Lienhard his expertise. He was always out there. “hear the chord changes coming to me was finishing up her music degree at the Music was his passion.” before it gets to me.” University of Wisconsin-Eau Claire in 1977 when a faculty member, Ronald Keezer, He is survived by his wife, Jean. Perkins has been the recipient of several who was running a percussion clinic, asked awards including: National Heritage ■ her to stick around and help out at the Pinetop Perkins, 97, pianist, July 7, Fellowship from the National Endowment clinic. She got a chance to sit in with 1913, Belzoni, MS – March 21, 2011, for the Arts in 2000; Grammy Award for Morello and Roy Haynes. “We really had a Austin, . A self-taught musician, Lifetime Achievement in 2005; a shared blast,” she remembers, “and Joe said, ‘I’m Perkins switched from guitar to piano Grammy Award in 2008 for Last of the starting a trio in New York’ and invited me because he felt it was louder. A legendary Great Mississippi Delta Bluesmen: Live in to join him. I moved to Irvington, NJ, blues and boogie-woogie artist, he worked Dallas (The Blue Shoe Project); and a where Joe was, and we played at gigs all with other blues legends such as Muddy Grammy Award this year for Joined at the over New Jersey and New York.” Morello, Waters and B.B. King. He played with Hip: Pinetop Perkins and Willie ‘Big Eyes’ she said, “introduced me to so many great Waters from 1969–1980, replacing the Smith (Telarc). He also won the Blues musicians. He was generous to a fault. He pianist Otis Spann. In 1976, Perkins Foundation’s Blues Music Awards as best gave and gave and gave.” In the late ’90s, appeared on the Johnny Winter-produced blues pianist from 1992–2003. In 2004, the Lienhard and her bassist husband Nate Sony album, Hard Again, which marked Foundation retired him from the competi- Waters’s major label debut and is credited Lienhard reunited with Morello and tion and re-titled the award the Pinetop with revitalizing his career. appeared in gigs together at such venues as Perkins Piano Player of the Year award. Shanghai Jazz in Madison, NJ, Birdland in Over the past 10 or so years, Perkins had Commenting to about New York and at a regular gig he had at the become a headliner, recording and perform- his longevity, he said: “I remember the days Essex House in West Orange, NJ. Also a ing at blues festivals. In 2005, Washington when I played at chicken fights and your vocalist, Lienhard would sing the alto parts Post reviewer Steve Kiviat wrote: “This living only pay was the dead chicken. But now I of “Take Five” and “Blue Rondo Ala Turk.” legend does not walk fast, but his fingers are can’t retire even if I want to. Everybody’s Morello, she said, “was always so generous quick as ever on the 88.” calling me.” He has outlived his four chil- with solo space.” And he would sometimes In the 1940s, Perkins had performed on the dren, and his common law wife died in 1994. try to trick his sidemen. “When we would radio with harmonica player Rice Williams, trade fours,” she said, “he would deliber- aka Sonny Boy Williamson. He is also ■ Melvin Sparks, 64, guitarist, March 22, ately turn the time around on purpose to credited with teaching a young Ike Turner 1946, , TX – March 13, 2011, see if he could screw you up.” (Trading the basics of boogie-woogie piano. Perkins’s Mount Vernon, NY. When Sparks moved to fours refers to playing something for four stage name was derived from boogie- New York in the late 1960s, he became a bars and then whomever you’re playing woogie pianist Clarence “Pinetop” Smith session player for Prestige and Blue Note with “answers back” with four bars, etc.) whose 1920 recording, “Pinetop’s Boogie and appeared in recordings with several top Lienhard, who currently teaches music in Woogie”,became Perkins’s signature song. jazz organists including , the Caldwell-West Caldwell, NJ, School He ran away from home in Mississippi to Dr. Lonnie Smith and Jack McDuff. He District, played with trumpeter Howard escape an abusive grandmother, drove played on Earland’s 1969 crossover hit, McGhee in the early ’80s. While inter- tractors, picked cotton and played guitar in Black Talk!(Ojc). continued on page 12

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BIG BAND IN THE SKY ■ Danny Stiles, 87, radio personality, December 2, 1923, continued from page 10 Newark, NJ – March 11, 2011, Nate Chinen, writing in The New York New York City. Danny Stiles Times, described Sparks’s sound as “a hosted Big Band Sounds on clean, flinty tone, combining the brisk Saturday nights on WYNC 830 harmonic fluency of bebop with the AM for more than 25 years, but bite and feeling of the blues. His early that was only one of four New career coincided with a golden age York-New Jersey area stations he from soul music, and he took its could be heard on until shortly lessons deeply to heart. He liked to say before he died. The others were: simply that he played ‘jazz over a WPAT 930 AM, WNSW 1430 AM funky beat.’” and WJDM 1530 AM. Gene Heinemeyer, a public affairs While still in high school in Houston, programming official for WPAT’s Sparks played with and owner, Multicultural Radio , a Broadcasting, told WNYC’s Karen group. He later joined the Upsetters, Frillman that Stiles “never lost his led by . The band backed vibrancy and enthusiasm.” such vocalists as , and . Stiles, who had lived in Short Hills for 40 years, spent 64 years in the In New York, his first album was radio business, appearing on more Sparks! (Prestige: 1970). He recorded than 20 stations. His specialty was 10 additional albums as a leader. The nostalgia, and he coined several last was a 2006 Savant release called names for himself including “King Groove on Up. However, in 2009 he of Nostalgia,”“Vicar of Vintage appeared on organist ’s Vinyl” and “Dean of Déjà Vu.” LRC Ltd. album, The Cisco Kid, which After graduating from New York also featured bassist Bob Cranshaw University with an accounting Guitarist Melvin Sparks in the basement workshop of his and drummer Mickey Roker. degree, he landed his first radio Mt. Vernon, NY home. January 22, 1986. Photo by Mitchell Seidel. In the mid-’90s, he became popular on job in 1947 with Newark station the jam-band circuit, appearing on WHBI. Known as “Midnight Dan,” popular jam-band saxophonist Karl he hosted a rhythm & blues show Denson’s 2001 Blue Note release, that aired in the pre-dawn hours. Dance Lesson #2. A review of that CD But, as his radio career progressed, by Tad Hendrickson on Amazon.com he gravitated toward hits of the pointed out that, “An all-star cast of big band era and artists such as sidemen that includes Melvin Sparks, , Charlie Hunger, Chris Wood and DJ and Harry James. Logic urge Denson on by holding “I pick the songs that hit me in nothing back themselves.” According the heart,” he once told The New to The Times, Sparks influenced several York Times. “I pick by feeling. I modern guitarists. One of them, concentrate on the record itself, Soulive’s Eric Krasno, paid tribute on not the songwriter, not the Twitter, calling him, “one of the great musician, but the whole thing.” guitarists of our time and the coolest His wife, Barbara, died in 1997, dude I knew.” and, in recent years, he would close his programs with eight- Count Basie with Danny Stiles. From Stiles’s web site. He is survived by his wife, Judy year-old Shirley Temple singing Hassan; four daughters, Akilah “Goodnight, My Love.” Stiles Sanford Josephson is the author of Jazz Notes: Interviews Waldrond of Fuquay-Varina, NC, would sing along with the last Across the Generations (Praeger/ABC-Clio). He has written Aisha Sparks of Greenburgh, NY, verses and say, “Goodnight, extensively about jazz musicians in a variety of publications Idrissa Sparks of White Plains, NY, and Shirley,” followed by “Goodnight, ranging from the New York Daily News to American Way Elizabeth Lockwood of Mount Vernon; dear sweet Barbara.” magazine and is currently director of marketing and public a son, Melvin Hassan, Jr. of Mount relations for the Matheny Medical and Educational Center in JJ Vernon; and 13 grandchildren. He is survived by his son, Gary. Peapack, NJ.

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Book Signing at Bethany Baptist Church’s Jazz Vespers

fter being snowed out on his first Ascheduled appearance date in February, legendary jazz saxophonist Jimmy Heath visited Newark’s Bethany Baptist Church on March 5. He was interviewed by Linda Epps and signed copies of his well-reviewd 2010 autobiography I Walked with Giants. The book (Temple University Press) was co-written with Joseph McClaren and includes a foreword by Bill Cosby and an introduction by . The book signing was followed by a Jazz Vespers performance by the Trio. The Jazz Vespers series is in its 10th season and the church, located at 275 Market Street, Newark, presents jazz artists at 6 PM the first Sunday of each month from October through June. Upcoming Vespers artists are Jack Wilkins on JJ May 7 and Brandee Younger on June 4. Linda Epps and Jimmy Heath at Bethany Baptist Church. Photo by Tony Graves.

2011 Great Connecticut Traditional Jazz Festival 25TH ANNIVERSARY REUNION One Day Jazz & Blues Extravaganza Save the Date: Saturday July 30 Four Points Sheraton Hotel, Meridien CT (275 Research Parkway - same location as last year)

for details see www.greatctjazz.org ▲▲▲▲▲▲▲▲▲▲▲▲▲▲▲▲▲▲▲▲▲▲▲

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Talking Jazz A Jersey Jazz Interview with Hod O’Brien By Schaen Fox he Smithsonian Institution has, as part of its vast T holdings, the Jazz Oral History Project, an amazing collection of interviews. (Incidentally, The Institute of Jazz Studies at Rutgers University in Newark is the repository for all those made between 1972 and 1984.) By the time this interview is published, Hod O’Brien will become one of the newest members of that select group. In August and September, we had some extended phone conversations about his music and life. His music is known to many of us, thanks in part to his past appearances at our society’s events; but Hod is a quiet man in public, so it was a real treat to hear some of his personal stories. These include working with an appropriate list of jazz luminaries, but also some surprising career turns, such as working in a psychology venue at NYU.

JJ: How did you get your name “Hod?” HO: It is a nickname that has been in my father’s family. It’s probably a nickname for Howard. His name and my grandfather’s name was Howard. I might be Howard III but I don’t like to be called Howard. [Chuckles] I like Hod. JJ: Would you tell us about your being interviewed by the Smithsonian? HO: Well, I’ve been approached by Ken Kimery. I think he kind of runs the jazz programming there and does these histories of the jazz musicians. A friend of mine, John Jensen, a good trombone player who lives in the DC area, works with him on it. They both do the interview and bring video cameras and stuff like that, and it is a two-day event going over your past and it gets in the archives of the Smithsonian. JJ: Congratulations for receiving the recognition, but it sounds vaguely like a tax audit. I was interested to learn you were a marathon runner. When was that? HO: Oh, back around the ’70s and ’80s. I lived in New York from 1956 to 1986, and in my younger days I was doing a lot of dissipation as you might expect. Somehow during the ’70s a lot of people started cleaning up, eating health foods and getting into health programs. Everything went from heroin continued on page 18

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HOD O’BRIEN continued from page 16 became an obsession of mine, the way he plays to the girl then took it outside and buried it. I think solo jazz piano. So I’ve been going back to older he was trying to start up with me, but I don’t know to macrobiotics. [Chuckles] I got into it. I gave up styles and repertoire and trying to play like him. why because I’m always quiet and shy. I think he smoking in 1973 because I had a little flutter in my [Chuckles] It has affected my playing ensemble expected more out of me, so he wanted to shake heart when I took a drag on a cigarette. I thought I’d music, as well. I think I’m getting a good piece of me up. both worlds. Now I’m kind of mixing them both in better quit, and did — cold turkey. Then I started JJ: When you first came down to New York, some kind of hybrid. [Chuckles] I’m trying to make it running. I used to do it in high school. I was a track did your time with J. R. Monterose help you work and I’m finally getting to where I can play solo athlete then. I got more and more serious about it. break into the jazz scene? I belonged to the Central Park Track Club doing reasonably acceptably [chuckles] I think, according road races and long distance running. Sure enough to my standards, anyway. I finally made a solo HO: No. I didn’t get to know J. R. until I came to eventually I brought it up to marathon level and album about a year ago. It is on the Philology label. New York. I played with Pettiford from November ran five of them, three New York and two Boston. I’d made about five albums as a sideman for that of ’57 until July of 1958 at which time he went I never broke the three hour mark in Boston, but label. One time the producer asked if I would play overseas to Europe and never came back. He told I did twice in New York. That was good enough one solo number and I thought of playing “Silver us he was going to send for us, but we never went for me. Do you know that Calvin Hill, the bass Lining.” At that he asked me to do a complete solo over. Then I went looking for gigs. I was up at my player, is a runner? And Joe Cohn is a runner. album of tunes that are associated with . parents’ home visiting. It was near Albany and I I don’t know what his marathon time is, but I I fulfilled his request and the album came out in heard that J. R. was playing over there and looking know it is better than mine. January. It’s called Solo for Chet. for a piano player. The one he was using was Wolfgang Knittel and Wolfgang told J. R. that he was JJ: You mentioned your gig with Oscar JJ: You grew up in Lakeville, Connecticut going to leave the band and go back to Eastman Pettiford. I read that played a with Roswell Rudd. Were you in school School for another semester. So I went over one part in your landing that. How did you together? night and sat in. J. R. liked my playing and hired me. connect with him? HO: Yes, we were. I went to the Hotchkiss We played four nights a week. We had a bunch of Boarding School my last year of high school HO: Well in the jam sessions I was going to in different drummers and bass players but we ended and Roswell was there. We did a lot of jamming those days. I moved to New York in the Fall of ’56 up having for the last three months of together. His father was a wonderful drummer. so I kind of got started late in ’56. In ’57 I was the gig and Wilber Ware came in on the bass. That We had a little nucleus of a band. There was a guy jamming a lot around the lofts, and Red would be was my second apprenticeship I would say. at some of them. He liked my playing and we got named Pete Pulver who lived just five miles away, a JJ: Would you say anyone in those bass player who would jam with us. Roswell at that along musically. One night, I think he said, “Come early days was your mentor? time was more into Dixieland and I was just starting down to the Five Spot.” I went down and listened into bebop. Roswell was playing with people like and unbeknownst to me, Oscar was getting HO: Yeah, J. R. and Oscar, but I’d say J. R. more Ely’s Chosen Six. That was a Dixieland band that annoyed with Bill Evans’s style. [Chuckles] At that because I spent more time socially in his home and Yale had. They were Yale students who would come time Bill had a different time feel; when I first heard stuff like that just with him. I was living in New up every now and again to our neck of the woods. him I thought he was influenced by , York, but I’d take the train up to Albany on Thursday got into that mix at some point. He especially in terms of his rhythmic approach. Oscar and then come back Monday. I had a little apart- knew Roswell from that period, too. Roswell went wanted the old mainstream style. I was in the band ment there in Albany. I’d hang with J. during the day straight from Dixieland to avant garde. He went to for two weeks of Red’s stint and then Red was and learn a lot about jazz life, music and everything. Yale and I went to Oberlin for a while. I had an replaced by Johnny Coles. Red was using when he It was more of a social experience than I had with illness and had to be hospitalized. During that was in the band and Oscar didn’t like that. Oscar because we were living in New York and there was always so many other things going on illness I just did a lot of wood shedding. I was in JJ: How was it working for ? a place where I could play piano every day and we didn’t spend a lot of time with each other. not bother anybody; this was an isolated room. HO: For me it was great. He was always good to JJ: Do you recall any advice that J. R. [Chuckles] Later on, I was down in New York and me and kind of a father figure. By then he had gave you? I ran into Roswell and he was playing with John calmed down a bit. I heard stories about how he Tchicai’s experimental adventurous band, and used to get real testy. If he was drinking and HO: One big piece of advice was don’t start using then he ended up with Archie Shepp. something rubbed him the wrong way, he’d get drugs. [Chuckles] I didn’t need that advice because violent. Well, I never witnessed anything like that I wasn’t about to get into it. I tried to once and I When I went to New York, after about a year of except one time when we were at an after-hours got sold some fake dope and so my usage led to hanging around with the musicians and jamming jam session at a building where , Gerry nothing fortunately. [Laughs] I don’t think I would in the lofts, I ended up getting a gig with Oscar Mulligan and were living. It was a big party have made a good junkie. I couldn’t think of how Pettiford’s quintet. My first big gig and I was and I was kind of going with the girl whose I would manage to keep a habit. In those days a playing bebop. That was my music for many years. apartment it was. Somehow we found ourselves in $20.00 a day habit was a lot of money, probably [Chuckles] Bud Powell’s style was my early the bathroom together at one point. All of a sudden like $200.00 a day today. But I had a lot of trouble influence. I probably owe 90% of my life to Bud he grabbed me by the arm and tried to wrestle with with alcohol in my time. Powell. I played nothing but music derived from his me. He slipped and fell in the bathtub. Unfortunate- style for many, many years until I got hip to Dave ly, this girl had a little baby kitten and it was in the Oscar gave me some musical advice. He said, McKenna. Around 1980 I heard McKenna and totally tub. Oscar fell on it and broke its neck and it died. “Learn to use your left hand, man.” [Chuckles] You flipped out over his prowess as a solo player. It He felt terrible. He took the cat out and showed it know, you should learn to be a solo player. A lot of continued on page 20

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HOD O’BRIEN continued from page 18 movie music. Willy took us into New York and intro- Then the club moved up to 8th Street between 2nd duced us into the loft scene. I was kind of cocky and 3rd; right near the Jazz Gallery which was kids in those days playing bebop were almost and I felt good enough to play with owned by the same guys, the Termini brothers. totally devoid of left hand usage and couldn’t cut and Gigi Grice. So I was jamming with those guys After the move it was much bigger; a big cavernous it at solos. So I started doing some things. I heard already, so when it came time to do the date, room. I was there one night with my ex-wife and some people doing solo playing and use a bass line nothing was going to stop me. I had a 103-degree we were listening to . A guy sitting at in the left hand. I hadn’t heard McKenna do that fever that day, but I went because I would have the next table was going, “Yeah Sonny! Yeah! Yeah! yet. When I first heard him do that I realized how had to die not to make that date. I’m with you man. I’m with you…so far.” [Laughs] That was about ’64 and I was already a student at good it could be. I don’t think anybody else is ever JJ: Wow. And when you heard the record, Columbia and in my jazz dropout phase. [Chuckles] going to play the left-hand bass on a piano and were you pleased with what you had done? make it sound as groovy as McKenna could do it. JJ: Ah, yes, I wanted to ask about that. HO: Yes, I was. As time has gone by, I’m less and You majored in math and psychology? JJ: When you were with Oscar, less pleased, but I’m not disappointed. My playing the group alternated at the Five Spot has improved a lot since then. I’ve gotten more HO: Well, I started to and then I switched it to with Thelonious Monk. grease into my playing. It was kind of laid-back psychology because math was way over my head. HO: Yeah. Not nightly; we didn’t alternate sets playing, for me. But the lines were nice. I was work- It’s an interesting topic, but one that I’m not gifted like they used to do in a lot of clubs. The guys ing on building up those long lines that everybody at. [Chuckles] says I have. One of my influences at that time was that owned the Five Spot would let Monk take JJ: Steve Lacy of all people. I loved the way Steve put And I read that you worked in that a vacation, like a month or something, and then “until the grants ran out.” they would bring us in. his lines together. was another one. A lot of horn players influenced me. Outside of Bud HO: Well, yeah, I worked in a psychology venue: JJ: Oh, I was wondering at that early age Powell, Pepper Adams and Steve Lacy are more The Research Center for Mental Health at NYU. if you ever looked out into the audience influential on my line playing than anybody else. [Laughs] I was a research assistant working for a and saw Monk watching you? man who was doing research on reaction time and JJ: Did you hang around with trying to correlate it with brain waves. He was also HO: No, but he heard me play one night. I was Pepper Adams much? sitting in with Teddy Charles in January of ’57 and a a psychoanalyst and had another project he was girl I was hanging out with said Monk was standing HO: Yeah, we used to end up at jam sessions a working on that involved recording all his psycho- near her while I was playing. He said he liked my lot together. In fact, the first loft session that Willie analytical interviews with a particular patient. He playing, which astounded me. Jones took us to the Detroit guys played there a lot. was trying to correlate certain words with certain Pepper Adams, , Freddie Redd, stages of psychoanalysis. Then the money ran out JJ: That Teddy Charles event led to your Kenny Burrell, Doug Watkins, you know, the Detroit- and that was the end of that gig. That was from first record date, Three Trumpets, now called ers. Cedar Walton was there; of course he’s not the Fall of ’68 until the Spring of 1970. I went to Trumpets All Out with Art Farmer, Donald from Detroit, nor Freddie Redd. I guess you could college and spent a lot of time trying to become a Byrd and . How did you call it the Detroit style that was one of my first influ- mathematician. It was the wrong move. I was not feel doing your first recording with three ences: long gorgeous driving lines. Tommy Flanagan working much, performing-wise. If I had been, I established musicians of their caliber? played those wonderfully. He always did play might have been better off in terms of reputation. wonderfully but in those days I think he was even HO: Fortunately, I was brazen and stupid. I Actually, nobody was working much in those days. better. He got more caressive as he aged whereas thought I was hot shit. One of my ambitions was he was more percussive in his earlier days. JJ: It was a bleak period. Did you play being realized — playing with all these guys. Only at home or just stop completely? two years earlier, I was listening to them on records JJ: The Five Spot is one of those legendary and saying, “Gee, I’d like to play with these guys lost jazz shrines. Would you describe it for HO: I did a little bit. I was kind of off into other and do stuff like play in the clubs and everything.” those of us who were never in there? fields of interest, contemporary music and modern And I was living up in the country then, now I was classical. My ex-wife was Joan Tower. She is a very playing with them. I already had the experience up HO: Well, at first it was at 5th Street and Bowery well respected and well known composer. So we in Lenox where a lot of New York musicians were and kind of small. It could hold maybe a hundred were all involved with a group of musicians who giving at the Music Inn every Sunday people. You’d walk in and on the right would be the put on concerts at Columbia University under the night. Randy Weston was playing nightly at a place bar, on the left was the bandstand. It was not as name Group for Contemporary Music at Columbia up the hill from the Music Inn, so I was hanging out upscale looking as Birdland or Basin Street East. University at the Columbia–Princeton Electronic there all the summers of ’55 and ’56 getting to It was several levels up from a dive, but it wasn’t Music Center. So I was dabbling in avant garde know the musicians. really swanky; a lot of smoke with people just music. Charles Wourinen was a teacher of mine drinking, hanging out and digging the music. The for a while, but I never lost my love for jazz even Actually, Randy had asked me to sub for him for a piano was pretty hard to keep in shape. It wasn’t though I strayed from it for a while. I was still doing couple of weeks when he was on tour. I filled in for the greatest. Monk used to put his cigarettes on gigs — not a lot, but every now and then. Al Levitt him and got to play with Willy Jones who was there. Sometimes he’d lay them on the top of the was living up near me and I’d go over to Al’s house playing drums with Randy at the time. I got some lid and burn holes in it. Pettiford used to look at it and jam and do some gigs. other musicians to play on the gig; Jim Atlas, a bass and say, “Aw, that motherfucker. What’s the matter player, and Fred Carlin, a trumpet player who ended with that cat? Look at what he’s doing to this Bebop was too much into my blood and so I got up going to Hollywood and getting Oscars writing piano.” [Chuckles] back into it. My ex-wife was teaching at Bard where continued on page 22

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HOD O’BRIEN his horn and walking out of the club. I ran to Chet and asked, “Where are you going?” “Nobody ever continued from page 20 walks in front of me particularly at the end of a Roswell was. When they met Roswell said, “Oh, tune like that.” He gave me this whole mad Hod O’Brien, tell him to give me a call.” It turned harangue about how I had upstaged him and out Roswell was living just 10 blocks south of us screwed up his performance. I pleaded with him and told him about my landlord problems and he on 97th Street and Riverside Drive. So I resumed ended up coming back and playing for the rest of my friendship with Roswell which later became a the night. disaster. We went into business together, largely because of Moselle, his wife. She was a very JJ: Well you have convinced me not to impressive personality and knew a lot of people in open a jazz club. the Village. She knew club owners and bartenders HO: It’s not easy and I was not the guy to do it. and all kinds of stuff that you needed to know for I’m not a business person. That is one reason why that kind of business. She got me started on the I should not have been in it. I was in it just to head idea of putting a club together. My fantasy was to up the house and get back into the open a jazz club. She would run it and Roswell and music business. And Chet always was a friend to I would be the music directors. me about that club. I’m one of the few people It started out OK. I had a small inheritance at that Chet never burned or stole from. time so I decided to put it into buying the night JJ: How did you meet Chet? club. We called it the St. James Infirmary. [Laughs] It was on Leroy Street and 7th Avenue South. Beaver HO: When I locked Moselle out of the St. James, Harris and Cameron Brown and myself were the Roswell pulled out and she convinced Beaver and original rhythm section with Roswell when it Cameron to go with him. So I called Richard Youngstein, a bass player I had known and worked opened. Things got so difficult with Moselle that it with. He happens to be a cousin of Ruth Young who became impossible to run the business properly. I Photo by John Strader. was Chet Baker’s girlfriend at the time. Anyway, ended up having to buy them out. I haven’t spoken Youngstein got Bob Mover and Jimmy Madison and to Roswell since 1975. We opened the club in ’74 JJ: we played a couple of nights there. And Mover told and it closed in August of ’75 after several different Who picked the name for the club? me that he was working with Chet two nights a people tried to be partners. The last was Marshall St. James Infirmary isn’t the first title I’d week at Striker’s and I said, “Oh, wow.” I had met Brown. He was the only well-minded person who expect from a Bopper. Chet in ’58. I was working at the Cork and Bib with came into it with me. By then, so many problems HO: Moselle did, but she was not organized Phil Woods. The Cork and Bib was a big room. It had arisen because Moselle was not managing the business-wise. She would get me on the phone for could hold maybe a thousand people. Most of the club at all. Bills weren’t paid, the rent wasn’t paid hours as I was going down to the gig. One night time with headliners like or and I was in debt for quite a lot of money to liquor Charlie Hayden was playing there with Shelia Cannonball you would see the room half full but companies and stuff like that. It finally got closed Jordan singing and they waited an hour for us to when Chet played this one night with Phil the down. The city marshal had a public auction which arrive. I finally had to hang up on her and get down whole damn room was filled. So I realized Chet I didn’t even know was going to happen. I went there and make some music. She picked two working at my club two nights a week would be a down there to get one of the musician’s amplifiers partners for me who eventually tried to lock me great draw. Bob said, “I’ll sound Chet about it.” And out and saw all the tables and chairs up on the out of the club and my bank account. [Laughs] I got Chet wanted to do it and we became tight; as tight street. I said, “What’s going on here?” They said, rid of them real fast. Fortunately, my lawyer was an as you could get with Chet because he was very “This is a public auction.” I said, “Why didn’t immense help. I had to file corporate bankruptcy. underspoken. anybody inform me?” They said, “It was in the Then I had a $125,000 suit charged against me by a place out on Long Island called the St. James JJ: There are so many negative stories about papers.” Infirmary for using their name. [Laughs] I had no Chet’s life off stage; would you like to say Anyway, when I had the falling out with Roswell and idea of their existence. anything to balance that a bit? cut them lose, Chet Baker came in doing two nights The owner of the building was my landlord and an HO: Yeah, he and Bill Evans, both being junkies a week regularly for me. I would have different horn ex-Mafia guy on his last leg. Somebody in his family until they died, had done the same thing in terms of players on the weekends and Chet on Wednesdays was taking the checks, forging his signature and the their music. They got better and better racing right and Thursdays. He was at Striker’s on Mondays and rent never got to him. He came down one night to up to their deaths. They got into such deep spaces Tuesdays. So it had a good reason for being for a ask when I was going to pay him. I was working in their music. I am so floored by Chet’s music in while because that was a period when Chet was with Chet that night and he came in as Chet was his late life. I like to say that he was a very moral really getting his chops back. His teeth were all just finishing a tune. I think I stopped playing even person but never seemed to be able to live up to it. knocked out around 1968 and he couldn’t play for a before the tune stopped and walked in front of I’m one of the few people, if not the only one, that couple of years. When he started playing again he Chet while he was finishing. I had a conversation he was totally straight with. He always paid me for came to New York and opened at the and with the landlord to try to cool him out. I told him, the gigs I did with him and if I lent him money, he got a real bummer of a review. He was getting his “I don’t know why you are not getting paid, paid me back. These are things that didn’t happen chops back by playing four nights a week. Every because I’ve been paying you every month.” Blah, to everybody. Ruth told me that when he was living night he’d get better and better. blah, blah and I look out and see Chet packing up with her she left the apartment for a day or some-

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thing and when she came decided to let Frank Sonny would say, “You can’t put exposure in your back her grand piano was Hod will be perform at WNYC go and then Ronny pocket.” [Chuckles] One night he was standing at gone. “What happened?” Public Radio’s The Greene Space at Markowitz played most the bar before we started to play and just shouted “Well, I pawned it. You 44 Charlton St. in New York City on of the rest of the years right out, “I’m a sex therapist. I make house calls.” never used it.” [Laughs] May 12, at Shanghai Jazz in Madison there. He was so funny. on May 26 and at The Deerhead Inn in JJ: JJ: What do you Wow! Well I also Delaware Water Gap, PA on May 27. JJ: Do you have any mementos of your wanted to ask about mean about Frank career we might see if we came to your your five year long gig becoming overconfident? house? at Gregory’s with Joe Puma. HO: [Laughs] I’m trying to put it nicely. Frank used HO: Oh no. I’m really not into that. I don’t have HO: It started off as a duo with Frank Luther. I had to like to play and to play experimentally. [Laughs] much interest in anything except music and my already been working there in place of Brooks Kerr Once Joe cracked me up saying, “Man, I’m sitting in family life. I’m very careless about keeping pictures who was recuperating from a serious operation. this gig trying to play Dixieland and he’s playing and stuff. I did have a picture with Chet Baker, and I Brooks was there with and Sonny Stravinsky.” [Laughs] Frank had a lot of chops so he don’t know what happened to that; and a picture Greer. He used to have other members of the could play a lot of fast what Marshall Brown used with Dave McKenna, but I’m terrible about that stuff. to call “fly bass.” The kind of bass playing that Scott Ellington organization come in and join him from JJ: Is there a movie or novel that you would time to time. He had a three-year gig there before I LaFaro introduced, but Frank would really take it recommend as giving a good idea of what a started. He was kind of a protégé of Duke’s. I under- out at times. [Laughs] We would play fours and musician’s life is like? stand that at one point Duke used to take him on Frank would do all contorted little fill solos and play the road because Brooks knew all of his music and all kinds of sixteenth notes and stuff. We would all HO: Hmmm, well the other night The Fabulous if sometimes Duke couldn’t remember something, take fours and one night we came to Frank’s four Baker Boys was on. Bits and pieces of that remind- he’d have Brooks play it for him. Brooks was in total and he did something utterly fantastic and finished ed me of the kinds of things that go on in the music awe of the Duke Ellington band, so he’d always it right in time. So Puma leaned over and said, life of my experiences. I think the two best movies have guys from Duke’s band come in and join him “Safe!” [Laughs] But when it came to walking, Frank I’ve seen on the jazz life are Chet Baker’s Let’s Get at Gregory’s. was one of the best ever. He had a marvelous beat, Lost and Monk’s Straight No Chaser. Bird was real smooth. Joe could keep great time, Freddy doctored up a lot, but seemed to give some sort When Brooks had this operation, Norman the Green type rhythm guitar. They were both walking of an indication. All the musicians put it down, owner called me to come in and play with Russell one night and it made me think of a Swiss clock. especially Chan Parker. We used to visit with Chan and Sonny. After that, I think Norman wanted to [Chuckles] back in the 90s when we would perform in France. change things around and I understand that it was a mutual agreement between Brooks, Russell, JJ: Joe Puma’s sense of humor was so JJ: How did you meet her? Sonny and Norman. Anyway I always think of it famous; would you want to tell us any? HO: Me and Stef were living in the Delaware as a thrill and an honor to have played with them, HO: I don’t know if some of them can be on the Water Gap at that time and her daughter Kim especially who goes back to day one record. One story: I was marathon and road running Parker was there and we knew Kim. I think Chan in jazz history. [Chuckles] then, and we always did a lot of stretching by set up tours for her in the ‘80s. Because of Kim we made a point of visiting with Chan. She welcomed JJ: Well yeah, at least day one of the putting your hands on a wall and stretch the backs us and she didn’t welcome a lot of people. People of your legs a certain way. So Puma came in to Washingtonians. wanted to interview her about Bird and she Gregory’s one night and I was doing that and he Sonny said he started that band and later apparently didn’t like to deal with that and some HO: came by and said, “What are you doing, trying to let Duke take it over and we know what happened. took advantage of her. Allen Eager came and drove hold up the building?” [Chuckles] Anyway, Ruth Ellington used to come in and the her nuts. He spent all the time making long distance James brothers, Mike and Steve (Duke’s nephews). JJ: I love that. Did you spend much time phone calls. [Chuckles] She was generous with us. Papa Joe Jones used to come in a lot with his with Sonny Greer? I remember enjoying her company and listening to newspaper and set it up on the little upright piano, her stories about Bird and Phil Woods. I felt like I Yeah. I’d take him in a cab every night to his sit down and play with us. Norman hired me and HO: was visiting a shrine. She was the last person close house because he’d be wasted from drinking and Frank Luther, a wonderful bass player. [Chuckles] to Charlie Parker outside of the Baroness. We he was already over 80 years old. I had to watch We did a duo thing for a couple of months. Then actually performed some duo stuff for her. She had and make sure he’d get into his apartment building. Norman decided he wanted to add Joe Puma. I a piano and it was very relaxed type of fun. She think Puma and Chuck Wayne had worked there Just hanging out with him was a trip. He had all liked me and Stephanie and said she was happy to several times as a duo. Chuck used to work there kinds of stories, but I can’t remember most of see people who were honest about their music. every Monday or Tuesday night with . them. [Chuckles] He’d always be watching the door Anyway, at first it was my band but then Joe being to see who was coming in to see if it was someone What Kim’s doing now, I just don’t know. She lives higher up in the protocol was a little miffed that it he could schmooze. He’d start talking to people and in Stroudsburg, in the Water Gap area and owns a was my band and not his. We had to rearrange they would say where they were from and he’d say, bookstore of some kind I think. I don’t know if she who was the leader and I didn’t care about it. Joe’s “Yeah, I know all about that town. I was there in… is doing much music anymore, but what she did need to be the leader was much greater than mine. whatever.” He would make up shit and carry on was wonderful. It became his band for the next five years. Frank with people. I guess it was part of a schtick to JJ: Thank you very much for this. It has Luther played with us for the first half of that make them feel at home and spend money in the been a real pleasure talking to you. period then he got a little too overconfident for club or give him a tip. Sometimes people would tell one moment and pissed off Joe and Norman. They him of little places to perform for exposure and HO: OK. Thank you. JJ

Schaen Fox is a longtime jazz fan. Now retired, he devotes much of his time to the music, and shares his encounters with musicians in this column.

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From the Crow’s Nest By Bill Crow Shelly Productions presents ohn Altman got this story from Mike Lang, and Jpassed it along to me: Archie Schepp was playing a gig at Shelly’s Manne Hole in Los Angeles some Live Jazz Thursday Nights time in the late 1960s. One night, two heavily tatooed bikers wandered in looking for a hospitable at The Glen Rock Inn bar. They had a number of drinks, staring APRIL 28 impassively at Schepp while he played. Then during one of Schepp’s Joe Caniano & Mitzi Rogers particularly raucous bouts of honking and squealing, one of the bikers lept to his feet and yelled out, “You keep dishing it out, and I can take it.” MAY 5 ■ Scott Robinson told me about a gig he played at the Ear Inn in Bucky Pizzarelli & Jerry Bruno downtown Manhattan, with Jon Kellso’s jazz group. Greg Cohen was on (Make Reservations) bass. They were about to begin their when someone came up and MAY 12 asked, “How long will you be playing?” Greg said, “I hope to have about Vic Danzi & Lou Sabini 20 more good years. Then I’ll probably kick the bucket.” MAY 19 ■ On my first trip to with the Sextet in 1956, I killed Rio Clemente & Muzzy a rainy afternoon at a Champs Elysées movie theater where an American western was being shown, with subtitles in French. In one scene, a MAY 26 fearsome looking bad guy burst through the doors and walked to the bar Jack Wilkins & radiating danger. To the cowering bartender he growled, “Gimme a 222 Rock Road, Glen Rock, NJ Entertainment Starts 7:00 PM shot of red-eye!” The subtitle read: “Un Dubonnet, s’il vous plait.” JJ Call for Reservations 201-445-2362 Host — Victor Quinn Bill Crow is a freelance musician and writer. His articles and reviews have appeared in Down Beat, The Jazz Review, and Gene Lee’s Jazzletter. His books include Jazz Anecdotes, From Birdland to Broadway and Jazz Anecdotes: Second Time Around. Shelly Productions, Inc. The preceding stories are excerpted, with permission, from Bill’s column, The Band P.O. Box 61, Elmwood Park, NJ • 201-796-9582 Room in Allegro, the monthly newsletter of A.F. of M. Local 802.

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Attilio’s Jazz Nights Continue Photos by Tony Mottola Mickey Freeman and Lots of Friends Last Wednesdays of the Month

or some months, the jazz programming at Attilio’s Restaurant in Dover has featured Fvocalist Mickey Freeman on the last Wednesday of the month. Backed by great players: Brandon McCune, piano; Gerry Cappuccio, sax; Steve Freeman, bass; and Earl Grice, drums, the sets are varied, engaging, and very tight. Guests on March 30 included Pam Purvis and members of the Starliters — the vocalists, including Mickey, of the popular big band the Silver Starlight Orchestra.

Mickey’s deft handling of everything from ballads to all-out swing ensured that the dancers would not sit still. The dance floor is small but superb, and it was very well-used.

This same ensemble appears again April 27. The atmosphere is comfortable and there are plenty of great food and wine selections. We hope to see jazz offerings continue here…keep an eye on the Web site: www.attiliostavern.com or better yet, get on their E-mail list for updates. JJ

For me it was great to see the NJ Jazz based. This all takes place at two provides instruments and lessons to Notes from a Society and Jazz House Kids join up downtown Montclair locations, just students whose families are going Jazz Volunteer for an afternoon, and I hope there can off Bloomfield Avenue. through tough times. be a lasting association. All the students I have talked to seem Jazz House Kids is now “in residence” By James Pansulla Biographies for all the Jazz House well aware that they are in good in several schools, including Arts High azz House Kids put out a call for Kids instructors can be found at their hands and part of something special in Newark. Here’s why I think this is Jvolunteers in 2008. Just as I did website (www.jazzhousekids.org) if and memorable. During the Q & A big news: someone has just managed with the NJ Jazz Society, I liked what I you link to STAFF. Many of the names session at that recent Jazz Social, a to add, not cut, a jazz program into a saw and became involved. In this age will be recognizable to readers here. seventh-grader named Alex Laurenzi New Jersey public school, which of shysters, pitchmen, snake oil The cost for a 16-week semester of acknowledged as his includes a jazz appreciation politicians and a continual race to the group instruction in the Fall or Spring primary influence in picking up the component for students other than lowbrow entertainment bottom, here runs about $25 per week (speaking of tenor sax. Sonny Stitt! From a the ones performing the music. was a group on a simple mission to pitchmen). seventh-grader! But these are the Perhaps someone else is making the put musical instruments into the types of pleasant surprises one There are even classes for leisurely same inroads without fanfare in hands of as many kids as possible continually encounters at Jazz House involved adults on Sunday afternoons another budget-strapped corner of and team them up with jazz Kids. and Executive Director Melissa Walker the state, and I haven’t heard about professionals. What’s not to like? I is launching an adult vocal Melissa got the ball rolling in 2002, it. But these efforts by Jazz House began by helping out with the performance class. A New Orleans when she began presenting school- Kids look like a public/private model equipment set-up for their newly second line class is planned for next wide programs, assemblies and jazz or prototype, the likes of which we formed classes, now grown in summer, from June 6 to July 4. And curriculum workshops for teachers. haven’t seen for at least, say, the 15 number from three to ten. then the two-week Summer Jazz Since then, she has added things like years since Mr. Holland’s Opus was Two JHK student groups performed Camp next August will be a little the “Give an Instrument, Build a released, and we know during one of our recent Jazz Socials. more intensive and performance Musician” program which currently how that story ends. JJ

May 2011 ______25 On the Road Again PREVIEW By Tony Mottola Co-Editor Jersey Jazz continued from page 1 he ongoing difficult Teconomic times have been rough on jazz festivals, and with corporate sponsors pulling back, several annual events have opted to take 2011 off. Not so for the NJJS. Thanks to yeoman efforts by the Society’s Music Committee over the past winter, Jazzfest is scheduled for June 11 and the jazz is on. Looking to pull a rabbit from its cash-strapped porkpie hat, the committee engineered a change of venue, tweaked the program format and put together a lineup of top-flight bands stocked with star players that figures to keep intact our 36-year streak of presenting the summer season’s first great jazz festival. Afternoon Program Jazzfest’s new home is the DOLAN PERFORMANCE College of Saint Elizabeth in HALL/OCTAGON THEATRE Morristown. Gates open at ■ THE JAZZ LOBSTERS BIG BAND 11 AM with first set The Jazz Lobsters Big Band swings to rap things to order at noon hard, featuring the timeless music of sharp. During the afternoon, Count Basie, , Benny bands will perform simultane- Goodman and Quincy Jones, as well ously on stages in the recently as hip new arrangements — from built Dolan Performance Hall ’40s swing to hot Latin and salsa. Led and the adjacent, more intimate, by keyboardist and arranger James Octagon Theatre. The bands “King Salmon” Lafferty, the full-tilt will play two sets each to enable big band boasts five saxes, four the audience to catch all the trumpets, four trombones, and a acts. The evening headline kickin' rhythm section. bands perform in Dolan Hall. For this show the lobster is being To trim expenses the committee served with some hot sauce as tenor decided to forgo a tented stage sax great and arranger Larry on the campus grounds, but McKenna joins the group as featured there will be outdoor jazz (band artist. Known for a gorgeous, velvety to be announced), along with a sound, the beauty of his balladry and host of vendors and a food fluid, bebop-inspired improvisations, court and picnic area. We may Larry’s résumé includes work with have beer! (The committee is , , Buddy top: Jazz Lobsters Big Band currently seeking a vendor.) DeFranco, , Rosemary bottom: Ken Peplowski Here is the music lineup. Clooney and Frank Sinatra.

26 ______May 2011 See page 5 for complete Jazzfest Moves to Saint E’s ordering information.

left to right: Joe Cohn, , below: Winard Harper

■ JAY LEONHART TRIO A “2011 NJJS Musician of the Year,” Jay was traveling during last March’s Memorial Stomp and so will pick up his award on stage at Jazzfest. A superior bassist, Jay has also had a parallel, sometimes overlapping career as a witty lyricist and occasional singer. As a child he attended the Peabody Conservatory and by the time he went to the Berklee College of Music he was a jazz musician. He played with Buddy Morrow and and then became a busy freelance musician in New York. Among Leonhardt's many associations were Marian McPartland, Jim Hall, Urbie Green, Chuck Wayne, Phil Woods, Gerry Mulligan, , Don Sebesky, and Mike Renzi. Leonhart started becoming known as a lyricist in the 1980s when he began leading his own recording sessions and started having his songs being recorded by other singers. His trio at Jazzfest will be something to hear, as his bandmates are the smooth and swinging tenor saxophonist Harry Allen and the tasteful guitarist Joe Cohn. ■ KEN PEPLOWSKI QUARTET The late Mel Tormé said, “Since the advent of , there have been too few clarinetists to fill the void that Goodman left. Ken Peplowski is most certainly one of those few. The man is magic.” The New York Times was nearly at a loss for words reviewing Ken’s “Goodman Straight Up, With a Twist of Lightning” concert, raving: “These quotes only hint at Ken Peplowski’s virtuosity — not only is he an outstanding clarinetist and saxophone player, but he’s also a charismatic entertainer who has been delighting audiences for over Order on-line 30 years with his warmth, wit, and musicianship.”All that, and Ken may be the best standup comic in jazz history. So you can both at www.njjs.org dance, and roll, in the aisles. continued on page 28 or 1-800-303-6557 PREVIEW continued from page 27 PREVIEW

■ THE WINARD HARPER SEXTET WITH PHIL HARPER: A HARPER BROTHERS REUNION Drummer Winard Harper is passionate about jazz. “This music is powerful,” he says. “It can do a lot of good for people. If they’d spend some time each day listening to it, we would see many changes in the world.” His first major gig was with in 1982, and shortly thereafter with . It wasn’t long before his drumming skills captured the attention of . He spent four years working in her band. But it was the band formed in the late 1980s with his brother, trumpeter Phil Harper, that put the drummer on the jazz map. “Man for man,” wrote in 1990, “The Harper Brothers Quintet…is the most brilliant new jazz group of the Allan Harris new decade.” Remembrance, the band’s second album went to #1 on Billboard’s jazz chart in 1991. A 2011 reunion for the brothers should make for quite a show. (a Gibson Guitar Featured Artist) whose Duke’s music alive and moving forward.” style synthesizes rock, blues, R&B and jazz Nancy Reed is the vocalist and the band’s Evening Program roots. lineup includes Noah Bless, trombone; Jami Dauber, trumpet; Paul Wells, drums; Tom DOLAN PERFORMANCE HALL ■ THE ELLINGTON LEGACY BAND DiCarlo, bass; and Sheila Earley, percussion. ■ Edward Ellington II traveled with his THE ALLAN HARRIS QUARTET The band swings and the Ellingtonia comes grandfather Duke’s band, on occasion, for Allan Harris is a world-class singer, guitarist replete with “Duke stories,” lovingly served many years. After Ellington went on the and songwriter. Perhaps best known for his up by the engaging and witty grandson road for the last time, he joined his father, interpretations of jazz standards, Allan’s Edward. JJ smooth vocals and soulful guitar playing Mercer Ellington, as guitarist and roadie in easily crosses genres, from jazz to rock to the New Ellington Orchestra. After spending blues. Three-time winner of the New York five years on the road, he says: “I left the Ticket Information Nightlife Award for “Outstanding Jazz band for 20 years of self-imposed exile NJJS Jazzfest Vocalist,” Tony Bennett calls Alan Harris (details in my unauthorized autobiography, June 11, Noon to 9 pm College of Saint Elizabeth “my favorite singer” and The New York as yet to be printed — or written). I was 2 Convent Road Times’s Stephen Holden raves about “the resurrected in 2003, ironically, by future Morristown, NJ protean talent that is Allan Harris.”Allan members of the Ellington Legacy Band — has cultivated a global following, playing for Rob Susman and Virginia Mayhew. Since Tickets available at www.njjs.org packed audiences and received outstanding then, they have judiciously and continuously or 1-800-303-NJJS reviews throughout the , threatened to whip me beyond recognition Advance tickets: Europe, Russia and the Far East. He is if I fail to practice.” $45/members, $55/general public regularly featured at the world’s great music With fresh arrangements by the renowned At the gate: festivals, e.g. Jazz Aspen, Wien Jazz Festival Norman Simmons on piano and the $60/members, $70/general public in Austria and the Umbria Jazz Festival in powerhouse tenor player Virginia Mayhew, Students: $10 at the gate with ID Italy. He is a masterful and original guitarist the Ellington Legacy Band strives to “keep

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Noteworthy Fradley Garner International Editor Jersey Jazz WOODY ALLEN WAKES UP FOR SOLOS … HORACE PARLAN’S ‘LITTLE BROWN BOOK’ ISSUED … NEWFOUND MUSIC TO SPARK GIL EVANS CD … COLLEGE OFFERS 300 INTERVIEWS ONLINE … GOOD PR: LIVE CONCERTS ON YOUTUBE … ‘60S BROADCAST FETES JAPANESE JAZZ

“I’VE NEVER SEEN SUCH A SLEEPY BANDLEADER,” fund pledgers can follow progress through individual accounts on an elderly man told his companion on the way out of the ArtistShare.com. “All are excited at the prospect of hearing this Woody Allen and the Eddy Davis newly discovered music.” Evans Jazz Band concert in Copenhagen. (1912– 1988) was an orchestrator, “But he certainly was there when he composer, pianist and bandleader had to be.”Woody was clobbered by who, working closely with Miles jetlag after the easterly flight from Davis, played a seminal role in the New York, as it looked from the creation of cool and modal jazz and sixth row. The passionate clarinetist jazz-rock. Truesdell found nearly 50 is better known for his film classics unrecorded pieces spanning Evans’s Manhattan, Annie Hall, and recent entire career, from his stint with movies shot in Europe. Clad in Claude Thornhill in the late 1940s, droopy corduroy slacks and a through the 1980s, in thousands of crumpled shirt, Woody took the pages of music manuscript in microphone twice: first to ask his Manhattan. From these he’ll select a audience of 1,100 to “lean back, few to be recorded for the first time relax and enjoy” an hour of in August, by an orchestra under his unannounced songs, and later to let baton. The fan-sponsored album will be released May 13, 2012, Evans’s us know that the boys would “play a Simon Wettenhall and Eddy Davis keep an eye on sleepy few more tunes, and then we’ll Woody Allen at a rare Copenhagen concert. 100th birthday. “Right now,” says liberate you for the evening.” This Photo by Fradley Garner. Truesdell, “we’re taking preorders, post-New Orleans fan recognized and offering higher participation “Sweet Georgia Brown” and a couple levels (bronze, silver, gold, executive of other favorites. Trumpeter Simon Wettenhall blew a wake-up call producer) for people interested in donating a bit more and really at the cross-kneed and slumping clarinetist, who awoke to loosen a helping this project get out there.” Go to: GilEvansProject.com. stream of staccato and spiky notes. It was a joy to see and hear SOME 300 AUDIO AND TRANSCRIBED interviews with Woody so near. And then to be liberated. musicians, composers and critics, from the 1930s to the present, DOES THE NAME HORACE PARLAN strike a piano key? have been offered online and free by the Jazz Archive of little Yes, if you caught him with at New York’s Half Hamilton College, near Utica, NY. Conducted by the archive Note in 1957–1959. Or at other spots in the ’60s with the Johnny director and saxophonist Dennis “Monk” Rowe, professor of music Griffin/Eddie “Lockjaw” Davis Quintet and Roland Kirk’s band, Mike “Doctuh” Woods and the late singer Joe Williams, the interviews run from 30 to 120 minutes. , Oscar while he fronted his own trios and larger groups, recording albums Peterson, , Bucky Pizzarelli, , as well as for Blue Note. Then as a sideman with Dexter Gordon, Booker sidemen and singers with the great bands of Basie, Ellington, Ervin, Babs Gonzales and others. After that Parlan split — to Herman, Shaw, Goodman, Kenton and the Dorseys share their Denmark, his home now for more than three world-touring recollections, along with other artists. Selected interview decades. Paralyzed on the right side by polio at age five, Horace videos, too: www.hamilton.edu/jazzarchive. JJ turned his stiff right fingers to advantage, creating “the bluesy style that has made him one of the finest accompanists in modern jazz.” WEB HIT-OF-THE-MONTH Quote from the back cover of HORACE PARLAN My Little Brown Book – Seventy Years of Jazz Life, as told (from his home for the EYES ARE ON JAPAN these days. Let’s recall that troubled land’s aged) to publisher-friend Hans Barfod. Saxart airmails the book contribution to American jazz over the years. “Japan’s been a ‘golden gig’ for many musicians and countless recordings would never have for $40, plus postage. http://en.saxart.dk been made or distributed without Japan's love for the music,” noted THE GIL EVANS CENTENNIAL CD project is attracting the producers of Jazz on the Tube, a free daily video site. “We found participant sponsors, New York composer-arranger Ryan Truesdell this clip taken from a live broadcast in the 1960s when the country E-mailed me at presstime. The project’s primus motor added that was rebuilding.” www. jazzonthetube.com/page/835.html

Thanks to NJJS member Joán McGinnis of Mission Viejo, CA for Web research assistance.

May 2011 ______29 JerseyStoriesJazz

Jazz Journeys, near, far and in-between Chico’s House of Jazz lives of elder jazz and blues musicians What’s New Manning and to encourage the world- Proudly Presents… in crisis. We now assist in over 5,000 wide proliferation and promotion of the cases a year, including hundreds of with TGCTJF??? music and the dance Frankie loved so APEA Philanthropic Fundraiser New Orleans musicians and their SAVE THE DAY!!! Saturday, July 30, much ( and the Lindy Hop). forAsbury Park Firefighter, 2011, at the Four Points Sheraton children still recovering from Katrina. In accordance with Manning’s own Jason Fazio Saturday, May 7 at Hotel, 271 Research Parkway in Our goal: $2,000,000. We have raised values, and those of the Savoy Ballroom the Paramount Theatre at Meriden, CT…it’s a One Day Jazz & $1,313,875 to date. where the dance got its start, the fund 1200 Ocean Avenue, Asbury Park Blues Extravaganza in lieu of our annual Special guests include Danny Glover, seeks to promote projects which enable three-day event — a special 25th year Firefighter Jason Fazio, one of Michael Imperioli and The Sopranos. people of all different backgrounds to celebration on the same weekend. Asbury’s bravest, was severely This year's concert is produced by participate in this joyous dance. burned while battling a fire in January. Remember to BRING A FRIEND and Hal Willner of Saturday Night Live. The Legacy Fund is prepared to provide There will be a $40 charitable SPREAD THE WORD. Two venues, eight Schedules are subject to change. scholarships to attend Herräng Dance donation at the door and the hours of great music, excellent food, Tickets range from $55 to $1500. Camp in Sweden during July of 2011 — proceeds of the benefit will be abundant seating, free parking, and you Table sponsorships and program the world’s most comprehensive dance donated to Jason Fazio and his family. can stay overnight: call 203-238-2380 advertisements are available. and ask for the “Jazz Rate.” Check us camp focusing on African American Jazz The benefit will include performances For information and tickets call out on Facebook and YouTube. Dances from the Golden Age of Jazz. by The Blackberry Blues Band, The 212-245-3999, Ext. 10 or visit Send your email if you would like to For further information, and to submit Fins, Jerry Topinka, The Matt O’Ree www.jazzfoundation.org Can’t receive a monthly newsletter your application and supporting Band, and a special headlining attend? Please make a donation. ([email protected]). If you have any materials, please contact Judy Pritchett: performance by exceptionally interest in helping or volunteering [email protected] talented and well-known jazz New Orleans Trad please call 1-800-468-HOT-EVENt 707-995-8604 (leave message) trumpeter, Tom Browne. These Jazz Camp Awards (1-800-468-3836 ). Judy Pritchett, 6 Carteret Street, talented musicians and groups have Upper Montclair NJ 07043 been kind enough to lend their Scholarships Frankie Manning You may read more about how to apply support for a great cause; and with The 2nd Annual New Orleans Traditional by visiting www.yehoodi.com and a lineup as eclectic and magnificent Lindy Hop Legacy Fund Jazz Camp for Adults has awarded nine searching for frankie manning lindy hop as this one, this benefit concert The mission of the Frankie Manning scholarships to high school students legacy fund. will prove to be one of the most from the New Orleans Center for the Legacy Fund is to preserve and memorable events of the season! Creative Arts (NOCCA) to attend the promote the rich cultural, choreo- For a look at the dance camp, graphic and artistic legacy of Frankie visit www.herrang.com. JJ For more information: jazz camp in New Orleans from chicoshouseofjazz.com June 5–10, 2011. Adult campers from last year’s camp have started stepping Jazz Foundation of up to financially help support these | America presents young players. Scholarships are for CTSIMAGES The Face of Jazz trumpet, clarinet, tenor sax, trombone, LICENSING • RESEARCH • APPRAISALS 10th Fundraiser: piano, bass/tuba, guitar/banjo, drums A GREAT NIGHT and vocals. IN We are asking for donations in any Over 40 legends of jazz, R&B, blues, amount to help offset the cost of the and Rock ‘n’ Roll including Macy Gray, program. Sponsorships for individual Lou Reed, Roberta Flack, Christian instruments are available through the McBride, Dr. John and The Hot 8 Brass camp’s Website at www.neworleans Band with incredible last minute tradjazzcamp.com. surprises to come...will perform at Financial donations are accepted on the the Apollo Theatre in Harlem New site or by check to P.O. Box 15851, New York City on May 19 in a benefit Orleans, LA 70175. Help us help these concert to support the Jazz young and talented students keep Foundation of America. Traditional Jazz alive in New Orleans. For over 22 years, the JFA has been For additional information contact dedicated to saving the homes and Nita Hemeter 504-865-9792. Riverboat Swing 2011 Reserve the Date: August 21, 12NOON – 4PM 908-852-2926 for info © Ray Avery/CTSIMAGES.COM © Ray Photo Archives include vintage Jazz, Pop, Blues, R&B, Rock, Country/Western, Radio Personalities, Big Bands, Vocalists, Hollywood and more.

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Jazz Goes seemed to be custom tailored JAZZ U big band material by mostly for tenorist Petrucelli. Big John little-known composers. The to School was simply sensational on his first tune was one of the feet throughout and received exceptions, “Wiggle Waggle,” a The College resounding sustained applause. composition arranged by . I thought it was a great choice Jazz Scene When the two French horn players marched on stage, it was a dead giveaway that we to start with. It opens with a big percussive By Frank Mulvaney were about to hear some great Gil Evans blast and moves right into a catchy, driving funk rhythm providing a platform for an Rutgers University, Feb 28: arrangements. We would hear two of his best and most famous, beginning with outstanding tenor solo by Mark Chernoff. Early Spring ’s “Miles Ahead” which featured Trumpeter George Maher provided some Ensemble Concert an impressive flugel solo from Tanya Darby. tasteful hot licks over sax and trombone This University Jazz Ensemble concert did “Springsville” — one of those familiar tunes chords and Henry Mason gave us a won- not have a theme. I was familiar with only whose title one can never remember — derful piano solo before all was said and two of the 11 pieces but I love surprises and followed. It was the first track on the done. “Waltz of the Prophets” by composer we got a bunch of very pleasant ones. A famous Miles Ahead album. I had seldom Dee Barton followed, with arrangement by one-note blast from the trumpet section seen two bass clarinets and Ben Hankle’s Lennie Niehaus. This is a rather unusual announces Dizzy’s “Things to Come.” This marvelous trumpet solo helped make for a jazz waltz with a Gospel feel at times, up-tempo Gil Fuller arrangement driven very pleasant listening experience. Coming affording a great opportunity for tenorist hard by the drummer simply roars with the into the home stretch of this 90-minute James Ohn to display his virtuosity. It’s outstanding trumpet section playing the concert, we had yet another rather short in duration and gets a little far prominent role. Pianist Mike Bond and composition, “Suite for Pops Part 2” — a out before an abrupt conclusion. You might guitarist Peter Park made important solo tribute to . Of course, it have heard “Friday Night at the Cadillac contributions to help make the chart work featured the trumpet section and some nice Club” a few times and wondered who wrote so well. From my favorite composer, Thad interplay with trombonist Scott Smart in a it. It was Bob Berg, and Earl MacDonald’s Jones, we next heard “Little Rascal on a pleasant moderate swing. Later in the piece arrangement was a lot of fun. We had lots Rock.” So characteristic of Thad’s style we Scott had a hot solo and pianist Buzash also of trumpet shouts on this shuffle as the sax had flute, clarinets and muted brass on this made an important swinging contribution. section carries the melody before the entire beautiful shuffle that gets to really swinging, The concluding composition was another ensemble roars away. Following Russell but not before we had fine solos from Mark from Professor Tolliver called “Suspicion.” Gottlieb’s fine guitar solo things get to really Chernoff (bari) and Tara Buzach (piano). This was a vehicle for everyone to get in on swinging, thanks largely due to some clever Drummer Daniel Silverstein was the main the action. The tune opens with an out- drumming by Gusten Rudolph. Neil Slater’s man pushing the very complex arrange- standing long bass solo of at least 16 bars “Search” is very appealing as it moves ment of “Cherry Juice” (Thad again) that and piano, drums and horns are gradually between a funk and a samba feel. Mr. featured the sax section and a dynamite added for a satisfying buildup. There were Gottliebs’ guitar work was impressive over a solo from John Petrucelli at breakneck several outstanding solos, which made for a vamping baritone and soft trumpet chords. speed. Ben Hankle provided a marvelous very long piece. Bari player Mark Chernoff Mark Chernoff chipped in with a fine tenor flugel solo and Daniel got in a very cool was on fire; tenorist Taylor Savage made solo preceded by a major shift to up-tempo. solo before the conclusion. ’s some very cogent statements, drummer The band really cooked on ’s arrangement of Strayhorn’s “Inspiration Jarret Walser was really doing it; altoist gorgeous ballad, “Butter,” featuring Henry Suite Part 2” had some gorgeous harmonies Brett McDonald was most impressive and Mason displaying a sophisticated, sensitive but the highlight was a wonderful duet by Tara and Tanya chipped in to make this touch on piano. Here we had some wonder- Brett McDonald on flute and trumpeter chart rock. As a big band junkie, it drives ful full ensemble harmonies through some James Maher. Following next was Mr. me bonkers not to see the Nicholas Music interesting mood changes. Concluding this Hampton’s arrangement of ’s Center regularly packed to the rafters for compact concert we had ’s “Inner Urge.” This chart grabs you with a one of the finest college jazz ensembles in lively Latin composition “Algo de Fumar” strong full-ensemble statement right out of the country. arranged by Chico O’Farrill. Not surpris- the chute and has many winning compo- ingly the trumpets dominated the early nents from searing trumpets, interesting Rutgers University, Mar 1: going and we had a bunch of outstanding tempo changes, gorgeous textured har- Modern Big Band solos by very talented student musicians: monies and hot solos from Mr. Petrucelli Composer Concert David Periera (alto), Mike Webb (bari), again and drummer Michael Winnicki. It was two consecutive nights for me at the Scot Smart (trombone), David Gallagher Ensemble director Charles Tolliver created a beautiful Nicholas Music Center — not a (alto), and trumpeter Joe Christianson. And wonderful arrangement of ’s bad thing. This night the undergrad jazz oh yes, this was a free concert like all the JJ ballad “I Want to Talk About You” that ensemble performed a selection of modern undergrad concerts.

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Highlights in Jazz | Saluting Derek Smith

March 10, 2011, BMCC Tribeca Performing Arts Center Story by Linda Lobdell Co-Editor Jersey Jazz | Photos by Mitchell Seidel roducer Jack Kleinsinger (aka“The our greatest ingenuity and play a British PImpresario” –Daryl Sherman; “Ed song, one that would have a special meaning Sullivan with adrenaline”–Leonard Maltin) for Derek…” “‘Knees Up Mother Brown!’” opened this installment of New York City’s — interjects Pep. But no, it’s “The Gypsy” by longest-running jazz series, Highlights in composer Billy Reed. It’s mellow, clean and Jazz, with a story about visiting Russia in the tasteful with a waltzy piano interlude. Gorbachev era and discovering that jazz fans Hyman goes on: “I want to dedicate there knew all about him because they used the next song to James Moody, the first to meet secretly in a cellar when jazz wasn’t person I heard playing “The Cup Bearers.” permitted in the Soviet Union and listen It’s a sprightly, hopeful tune. through headphones to his concerts aired on Voice of America. Last year’s 37th HIJ Now more of Derek Smith’s own favorite series was purported to have been the last musicians arrive on stage. On drums, Jackie — a victim of grim financial realities. So the Williams, who’s played 17 Highlights shows, fact that four HIJ concerts are scheduled in Australian bassist Nicki Parrott (one of the 2011 comes as a surprise, albeit a welcome “loveliest” players who’s ever played High- one. We’re not asking, but obviously Jack’s lights), violinist Aaron Weinstein — “a found enough resources to continue. Berklee grad with 10 cds who’s definitely fulfilled his promise.” In the trumpet role it’s The hallmark of Jack’s series is his creative, . Powerhouse often unexpected, groupings of musicians fills the saxophone slot. And the surprise and surprise guests, ensuring a unique guest: guitarist . Their first Dick Hyman strikes a humorous chord with experience with every show. number together honoree Derek Smith, left, during the sound check. “My favorite shows are the ones where we is a muscular salute living jazz greats,” says Jack. “The only “Perdido,” with tricky part is deciding whom to salute. meaty solos all Number one, they have to be great. Number around. two, they have to have paid their dues to “It Might As Highlights in Jazz. And they have to be loved Well Be Spring” and respected by the jazz community.” embarks with Tonight’s honoree, pianist Derek Smith, strummed guitar “epitomizes all three.” Jack begins the chords. Houston introductions with clarinetist Ken Peplowski creates a who has been named a “talent deserving of contemplative wider recognition” in a Downbeat critics mood. Chirillo poll. Next, the “first pianist I ever hired for remarks, “That’s Highlights in Jazz, and the first ever honored, a nice sounding the versatile Dick Hyman!” These two greats saxophone.” take off, flawlessly interweaving elaborate solos. “That was ‘Hallelujah’,” announces He, Parrott and Hyman. “Oh, is THAT what it was?!” quips Williams give Ken. Hyman and Peplowski have been “That Sunday Guitarist James Chirillo; trumpeter Randy Sandke; sharing duo engagements recently. That Summer” a bassist Nicki Parrott and violinist Aaron Weinstein. swinging bounce. They next collaborate on a Joe Bushkin Jackie Williams. Gradually he works piece “that was through-composed for the Next Aaron, Randy, and Nicki take a fast into a tambourine, then mallets, and two of us,”“Oh Look At Me Now” — an take on “Just One of Those Things.” back to sticks. almost classical-sounding arrangement. For “Caravan,” all players are back with For the , honoree Derek Smith is Hyman states that since they’re honoring a marching band-style opener, and a on-stage with Williams and Parrott. He tells Brit Derek Smith, “we thought we’d exercise spectacular bare-handed drum solo by the story of his arrival in New York many

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there early “My favorite version of this was George and sat at the Shearing’s.” Derek plays it hauntingly, piano. I didn’t wistfully, with an impossibly delicate know her, and introduction and Big Ben chimes at the never saw a end. He admits, “It brings a tear to my eye.” girl play bass Next up, “Love for Sale” — which he before. I learned on English radio. “They weren’t thought ‘What allowed to broadcast the lyrics, but in the can SHE States the standards were a little more lax.” know?’ Well, Joined by bass and drum, it takes on a she knew salsa/swing rhythm. every song and played Dick Hyman now presents Derek with an better solos award for his “matchless musical achieve- than I did.” ments.”“Dick has been my mentor. I bow to his knowledge. He’s never led me wrong,” Nicki recalls, Derek professes. “Derek hired me for my And Hyman chimes in: “When we began very first to team up as a 2-piano act, that was one Guitarist James Chirillo, left, saxophonist Houston Person and drummer recording of the great achievements of my career, to Jackie Williams go over some last-minute details during a sound check. date,” and have met you and formed this partnership.” sings “I Kleinsinger brings the whole crew back years ago. “I stepped off the oceanliner, got Love the Way You’re Breaking My Heart.” into a cab and arrived at the President Hotel out — Peplowski feigns heartbroken on 48th — all the bands stayed there. Derek continues: “As it says in the book, sobbing when Jack almost neglects to Woody Herman’s band was there. Victor we’re getting older. Fifty-four years ago I announce him for the big finale — and said goodbye to England and came here. the group accompanies the two men Feldman, the best English jazz player there My wife is getting more and more English sharing one piano and sometimes ever was, was getting into the elevator. I said as she gets older.” In her honor he chooses swapping sides on the bench without to him, ‘I’m here. What do I do now?’ He “A Nightingale Sang in Berkeley Square.” missing a beat in “Just Friends.” JJ said ‘It’s okay, you’re young, you’ve got time.’ The elevator doors closed and I never saw him again. I’ve been at Highlights 24 times — every two years or so …not enough to live on [muttered].” Bird Strings Tribute “Here’s a song I played with Al Cohn years ago,“It Could Happen to You” — in a lively swing tempo. Dick Hyman can be seen watching from the wings. Smith: “It’s nice of Jack to do this to me. Should I be humble? Arrogant? I used to play this with Flip Philips. And by the way my grandchildren are here…I wanted them to see what I do for a living. My grand- daughter is 14 and my grandson —” “I’m SIX!” a little voice from behind us rings out. “I want to play this in honor of [grand- daughter] Sam who’s started playing flute and piano — “Sweet and Lovely.” “Zoot Sims taught me ‘Jitterbug Waltz.’ Tonight I want to play the things that mean the most to me.” “Nicki’s going to sing a song. We first met at Arbors [Records] Party in Florida. I got Charles McPherson solos on alto while Ben Wendel conducts the string section from the Philharmonic Orchestra of the Americas during a recreation of Bird with Strings presented by Jazz @ in the Rose Theater, March 12, 2011. Photo by Mitchell Seidel.

May 2011 ______33 JerseyStoriesJazz Portland Jazz Festival 2011 Story and photos by Fran Kaufman

have the good fortune to have access Ibackstage and at rehearsals when I work with my camera at major jazz events, including this winter’s PDX Portland Jazz Festival (the 8th since the series began in 2004). The theme of this year’s was Bridges and Boundaries: Jewish and African American Musicians Playing Jazz Together. These photographs from the Festival, which took place in Portland, Oregon from February 17 to the 24th, was especially meaningful to me. Along with 10 days in which the entire city of Portland seemed to be one big festival, an exhibition of my photographs of jazz musicians opened at the Oregon Jewish Museum. What a thrill! Especially the day two of the three Cohen siblings joined me for a visit to the Museum. It’s cold in some of the venues during rehearsal, especially in the cavernous Crystal Ballroom Here are some photos which, I hope, capture on a day that saw a rare sight in Portland — snow. That’s why Anat Cohen is wearing her the spirit of the event. winter coat in this photo. Matt Penman on bass, Avishai Cohen on trumpet and Yuval Cohen on soprano sax.

On stage later in the day — no coats — the Three Cohens perform for a sold-out house.

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Bassist/vocalist Esperanza Spalding, fresh from being awarded the Best New Artist Grammy Clarinetist Don Byron revived his Mickey Katz project for the Festival. Here award, returned to her native he performs a hilarious take on the Mambo with a local Klezmer singer. Portland as a Festival headliner. Esperanza seemed to be everywhere — at lectures, interviews, performances. Along with her mother and brother, Esperanza attended a performance for teenagers at Temple Beth Israel. When the music got going, Esperanza, unprompted, left her seat and joined in a scatting session.

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Dave Frank Master Class: An Afternoon with Dick Hyman

By Marian Calabro he exquisite back room of Klavierhaus, Ta high-end piano shop in Manhattan, turned into a salon on March 12 as Dick Hyman and Dave Frank played together and separately on twin Steinway grands. Between songs these musical masters conversed about pianistic technique, arm weight, and the importance of countermelodies. The audience of 60 fans sat enraptured, when we weren’t chiming in with questions. The session was the tenth in an ongoing series of master classes by Dave that he posts on YouTube. It was as intimate as a house concert, but with far better acoustics. Dick’s 60-year career truly qualifies as encyclopedic. In addition to playing and arranging for piano and organ, he has made 100 recordings, written the scores for 13 Woody Allen films, and composed ballet accompaniments, cantatas, and string quartets. “I never studied classical music, at Fine and Dandy: Dave Frank and Dick Hyman play duo piano at Manhattan’s Klavierhaus. least not enough to interfere with my jazz Photo by Marian Calabro. chops,” he claimed. His first teacher was his uncle, the recitalist Anton Rovinsky, but much of Dick’s learning came by ear from concern some players, such as arm weight ? “I use a framework — an recordings of , Fats Waller, and and velocity: “Somehow I just learned how introduction, melody, variations, a few little Teddy Wilson. As a college student he won to do what I wanted to hear.” devices,” Dick said. “Peak and subside. No a piano contest that earned him 12 lessons Soloing on “Just One of Those Things,” Dick big discoveries here; pianists have been with Wilson, and as a young man he played displayed a classicist’s ability to spin distinct doing this for 300 years.” He added that in a dance band in which Tatum soloed. variations on a theme. He also played a when he writes and records, he always He also learned informally from Ruth mean bass line. He achieved the near- imagines there’s a live audience at hand. Laredo when he played with her and Marian impossible by turning “All the Things You “You’re always playing for people, even if McPartland in an “unlikely trio” called Are” — perhaps the most (over)played tune they listen later,” he emphasized. In addi- Three-Piano Crossover. But he says he has in the jazz repertoire — into something I tion, the venue helps to determine how never obsessed over technical matters that wasn’t sure I’d ever heard. He piled on cool Dick starts a piece. “Here I could start with chord voicings, a meditative intro,” he said, referring to pushed the tempo, the small group of attentive listeners at and added carousel- Klavierhaus, “but in a big hall or on a like figures in the radio program, I might start with a bang, top octaves. to give a firm impression.”

Dave asked Dick Curiously, although Dick and Dave are big where he stands on fans of each other’s playing, they had not the improvisation/ rehearsed or played together before this arrangement session. They met by E-mail last year when spectrum: Does he Dave asked Dick for permission to do a go in for heavy master class on him, which led to a steady preparation, as Bill correspondence. (Dave is based in Evans did, or wing Manhattan and Dick, a native New Yorker, it every time, like now lives in Venice, Florida. He carved out

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Other Views

By Joe Lang Past NJJS President time for the master class between gigs with clarinetist Ken Peplowski at the Kitano Hotel.) ach month I listen to a lot of CDs to find those that I feel will They did confer on a song list in advance. Their Eappeal to those who read Jersey Jazz, and the fun is in finding first duo was “Fine and Dandy,” with Dave taking the good ones. I believe that there is something among those that the lead on the melody and Dick rolling intervals I chose this month for each of our readers. up the keyboard. They also tackled “Pennies from ■ This year we are celebrating the centennial birthday of STAN KENTON. Double Feature, Heaven” in a minor key, an oddball exercise that Volume 1 (Tantara – 1126) gives us a double treat with one disc featuring the 1959 Kenton Dave’s teacher Lennie Tristano loved to do. Dave’s band, and the other THE DEPAUL JAZZ ENSEMBLE playing mostly charts from the Kenton metronomic bass lines shone on that one. Since book that went unrecorded by his band. The program on the first disc is comprised of live both players excel at crafting countermelodies on recordings of tunes, mostly standards, which had been recorded by the band for studio the fly, the two sometimes sounded like albums. These live performances are taken from two dates, one at the St. Francis Hotel in four. “Techniques are extra-important with two San Francisco, and the other at The Blue Note in Chicago. These versions are opened up a bit players,” Dick said. “Sometimes you’re trying to to allow for some solo space, many by trumpeter Rolf Ericson and alto saxophonist Lennie stay out of each other’s way and sometimes Niehaus, who also contributed several of the arrangements. This was a tight band, and these you’re trying to get in each other’s way.” charts were mainly from the Kenton dance book that allowed the cats more room to swing a bit more than they could with some of the Kenton concert book. The arrangements played by An audience member asked Dick if he ever feels the DePaul band were written by Niehaus, Joe Coccia, Gene Roland, Wayne Dunstan, Bill Russo nervous. (“I guess I’m wondering if you’re and Bill Holman. It is a special treat for Kenton fans to hear most of this music for the first human,” he said.) Dick’s reply: “I learned long time. As with the first disc, the bulk of the selections are standards. This is an exceptional ago that the solution to nervousness is practicing college band that really digs into the music, and sounds as fine as a professional crew. In enough.” Even after 60 years, Dick still practices addition to the fine musicianship on display throughout both discs, the sound is exemplary. almost every day. “Scales, derivations of scales. This is a package of wonderfully satisfying big band performances. I might take a tune and play it for 20 minutes, (www.tantaraproductions.com) trying to stop as little as I can. Or I stop when ■ Trombonist DELFEAYO MARSALIS is a musician who does not shy away from challenges. I hit a clumsy spot, and try to see why.” He con- His latest undertaking is a daring and mostly satisfying reimagining of Duke Ellington’s Such sciously works on fast arm and wrist movements. Sweet Thunder, a suite inspired by the words of William Shakespeare. For Such Thunder “Almost anything, if you practice it, helps all (Troubador – 92110), Marsalis has arranged the suite for an octet. It has a much different around.” feeling than the original Ellington recording, but does work on its own terms. Interestingly, Marsalis has included in the liner notes letters from three people very familiar with the work The session included a screening of a chapter as originally conceived, and the reactions are diverse, with being the only one from Dick’s masterwork, Dick Hyman’s with some reservations about the Marsalis approach. It takes an artist with great confidence Century of Jazz Piano. It’s a collection of master and integrity to share these comments. The performers who participated in the project vary classes in itself, illustrating the history of the from track to track and include the leader on trombone; Branford Marsalis, Mark Gross, Jason genre from Louis Moreau Gottschalk to McCoy Marshall, Mark Shim and Victor Goines on reeds; Tiger Okoshi on trumpet; Mulgrew Miller and Tyner. “Just about everything I know is in here,” Victor “Red” Atkins on piano; Reginald Veal, David Pulphus and Charnett Moffett on bass; and Dick said — an amazing statement, since the Winard Harper and Jason Marsalis on drums. The musicianship and execution are first-rate boxed set includes 121 performances on five throughout the program. The moods of the music run the gamut from sublime to surreal, and CDs and one DVD. the listener is challenged to listen with open ears. The liner notes by Marsalis are a fine guide for the listener who desires to receive as much as possible from the listening experience The afternoon ended when Dave’s wife, Hari presented by Such Thunder. (www.DMarsalis.com) Kaur Khalsa, presented Dick with a birthday ■ There are times when you pick up a CD, look at the players and tunes, and you can almost cake. It took him a few minutes to confess that hear it before you put it into the CD player. Such is the case with Speak Low (Arbors – he’d turned 84 four days before. “It amazes me,” 19418) by JOHNNY VARRO. For this session, Varro called upon cornetist Warren Vaché, tenor he said quietly. Dave’s take on the afternoon: saxophonist Harry Allen, bassist Nicki Parrott and drummer Chuck Riggs to join him in a “Playing duo with Dick Hyman was like being 14-song romp. The word that never leaves your mind as you listen to this disc is swing. All on an episode of Oprah where you discover of the players have an innate sense of that attribute, and it invests all of their efforts with a you have a twin brother and meet him for the bountiful joy. The tunes are mostly standards like “Speak Low,” “Falling in Love with Love,” first time.” JJ “Tangerine” and “All the Things You Are;” a couple of tunes from Brazil, “Once I Loved” and “Summer Samba;” and a pair of jazz classics, “Waltz for Debbie” and “Four.” Two special More info at www.dickhyman.com treats are the too often ignored gem, “This Year’s Kisses,” and the charming “Sweethearts on Parade.” If this one does not make you smile, you had better put on your and www.davefrankjazz.com. curmudgeon button! (www.arborsrecords.com)

Marian Calabro, a history book writer and jazz ■ Every once in a while, I receive an album that almost begs to have a review written about aficionado, studies jazz piano with Dave Frank. not only the album, but each track as well. Space precludes my taking that approach with any

continued on page 38

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OTHER VIEWS continued from page 37 (PureMusic – 5111) by THE SHERYL BAILEY 4. The four players are Bailey, pianist Jim Ridl, bassist Gary Wang and drummer Shingo Okudaira. This is a of those I cover, but I was really tempted by In Search of… (Capri – 74108) quartet with swing in its blood, and a style that grabs a listener’s attention by KEN PEPLOWSKI. Each of the 12 selections is unique, and a study in from the first notes. The eight selections are all originals by Bailey, and they superb musicality from all involved in the album, one taken from two sessions are all good blowing tunes that quickly feel like old friends. Bailey is a fluid separated by three years. The first nine tracks have Peplowski on clarinet and and soulful player who is sure to gain wider recognition. Ridl is one of those , Shelly Berg on piano, Tom Kennedy on bass and Jeff pianists who has an endless fount of ideas that flow from him naturally and Hamilton on drums. It was recorded in February of 2010. Most of the tunes winningly. A quartet like this needs solid timekeepers to keep the grooves from this session are ballads, and Peplowski is one of the best at caressing a going. Wang and Okudaira fill this role nicely. If you get this disc, and I highly ballad with his soft and gentle sound. The exceptions are the Brazilian tune recommend that you do, be prepared to feel yourself unavoidably moving to “Falsa Baiana,” a spirited take that has an infectious presence from Hamilton, the music. (www.sherylbailey.com) and “Peps,” a composition from Berg in tribute to the leader, and it is a catchy ■ One of the most interesting developments in the fringes of the music scene treat indeed. Also deserving special mention is “In Flower,” a song composed is the interest that many younger performers have in the sounds of earlier by Berg dedicated to Billy Strayhorn that has Strayhorn’s influence all over it. jazz. Of course, folks like , Dan Levinson and David Ostwald, The balance of the album is comprised of three distinctly different tracks recorded in April 2007. The first track is a rhythmically shifting duet among others, have been carrying the torch for many years, but there is a consideration of “No Regrets” by Peplowski on tenor sax and bassist Greg new generation of musicians picking up the flame like the Baby Soda Jazz Cohen. Next, this pair is joined by vibraphonist and percussionist Band and the Cangelosi Cards. A new entry on the scene is BRIAN Joe Ascione for a haunting exploration of “Within and Without You,” with CARPENTER’S GHOST TRAIN ORCHESTRA with their first recorded effort Peplowski on clarinet. The disc closes with another duo track, this one with being Hothouse Stomp (Accurate – 5062). This disc is devoted to music of Peplowski on clarinet and Ascione on drums for “Rum and Coca Cola.” It lends the 1920s in Chicago and Harlem, concentrating on Charlie Johnson’s Paradise an enthusiastic exclamation point to an album that is full of twists and turns, Orchestra, McKinney’s Cotton Pickers, Tiny Parham and His Musicians, and and loaded with imaginative playing by all involved. (www.caprirecords.com) Fess William’s Royal Flush Orchestra. Carpenter’s liner notes give an in-depth look at the musical and social conditions of the period. The music is performed (Note: Ken Peplowski will be one of the featured artists at the by a 10-piece group led by Carpenter who plays trumpet and harmonica, and NJJS Jazzfest on June 11 at the College of St. Elizabeth in Morristown.) transcribed and arranged the material. Carpenter is a musical eclectic who ■ If you dig straight ahead guitar playing in the tradition of Wes Montgomery, has formed and led groups playing a wide variety of music. The initial track on then you will feel right at home listening to For All Those Living this disc is an other-worldly piece titled “Ghost Train Orchestra” that conjures up spectral images. Do not let this brief introductory interlude detract you from pursuing the other 11 tracks, as they are simply terrific. Hopefully, Carpenter will continue to explore this music as he continues on his diverse musical adventures. (www.accuraterecords.com)

■ Pianist DAVID LEONHARDT is a man with a commitment to good music. The David Leonhardt Jazz Group Plays Cole Porter (Big Bang Records – 9584) is devoted to one of the major contributors to the Great American Songbook, the source of a lot of good music. His cohorts in this musical tribute to Porter are tenor saxophonist Larry McKenna, bassist Matthew Parrish and drummer Paul Wells. Nancy Reed contributes several fine vocals to the session. Leonhardt is always looking for new ways to interpret standards, and his imaginative efforts give the 12 evergreens a freshness that is welcome. McKenna is a jazz player deserving wider recognition who comes out of the Zoot Sims/Al Cohn tradition of swinging, thoughtful saxophonists. The rhythm cats are solid and right on time. Reed has a timber to her voice that is somewhat reminiscent of Carmen McRae, but she is her own stylist. The songs are among the best of standards and include “Love for Sale,” “Ev’ry Time We Say Goodbye,” “Just One of Those Things,” “Night and Day,” “In the Still of the Night,” “You’d Be So Nice to Come Home To,” “I’ve Got You Under My Skin,” ”I Concentrate on You,” “It’s All Right with Me,” “ I Love You,” “All of You” and “Get out of Town.” I never tire of hearing the music of Cole Porter, especially when it is given the kind of ride given to it by Leonhardt and company. (ww.davidjazz.com)

■ Many people shy away from jazz albums that have a program comprised primarily of original tunes by the leader of the group. They are looking for something familiar to recommend the disc before they venture into unknown territory. Well, The Talented Mr. Pelt (HighNote – 7216) is the kind of album described above, but trumpeter JEREMY PELT and his band, J.D. Allen on tenor saxophone, Danny Grissett on piano, Dwayne Burno on bass and Gerald Cleaver on drums, quickly make the point moot by pulling you in with their engaging talents. By the end of the disc, you feel that you have been

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spending time with old friends who know how to ballad or exploring faster tempo material. Allen this selection, written by Rodgers Grant, is a communicate with anyone who happens upon and his mates are also believers in the sentiment pleasant discovery. This album has interested me their music. This is a working band that was expressed in the Ellington classic “It Don’t Mean a in hearing her previous albums. For now, I’ll together about three years when they recorded Thing (If It Ain’t Got That Swing).” Put this one on continue to give Inside You an occasional visit to this album, and the empathy among them is on your must have list. (www.arborsrecords.com) my CD player. (www.jennydavisjazz.com) display constantly. There are five tunes by Pelt that ■ ■ are well conceived and immediately accessible, I have just added a new singer to my “gotta see Listening to vocalist DANIELLE REICH, it is one each by fine jazz players who are not her” list. AUDREY SILVER is a New York City- quickly apparent that she has an ear for jazz, members of the band, pianist Anthony Wonsey and based singer who flat out knows how to sing and and the chops and creativity to bring that jazz saxophonist Myron Walden, and a lovely reading by swing. Listen to Dream Awhile (Messy House sensitivity to her singing. This Year’s Kisses is Pelt and the rhythm section of “I’m in Love Again,” – 102) and I dare you not to be impressed. This her initial recording following years of study and a mostly below the radar gem by Peggy Lee, Cy young lady has purity of tone, a terrific sense of performance that honed her talent to a point Coleman and Bill Schluger. Too many jazz fans try phrasing, and an obvious affinity for jazz. Having where her first album is one of a mature singer to classify jazz by style instead of substance. I just studied with the likes of Mark Murphy and Sheila ready to share her artistry with a wider audience. like good music, and The Talented Mr. Pelt supplies Jordan, you know that she has received the She is supported in this by her producer, trumpeter exactly what I dig. (www.jazzdepot.com) ultimate in hip guidance, as is evident throughout Carol Morgan, tenor saxophonist Seth Paynter, Dream Awhile. The duo of pianist Joe Barbato and pianist Andrew Lienhard, bassist David Craig and bassist Joe Fitzgerald are the anchors behind her drummer Dalton Lee. Her eclectic program includes his month there were several noteworthy vocalizing, with contributions from guitarist Chris standards like “On the Street Where You Live” and Talbums by female singers. It is good to know Bergson, drummer Anthony Pinciotti and percus- “Speak Low,” tunes in Spanish (“Sabor a Mi”) and that the Great American Songbook still has sionist Todd Osler on a few tracks. The program French (“Ne Me Quitte Pas”), a pop tune from the advocates who can share this great tradition of includes “The Song Is Ended,” “In the Wee Small 1970s (“At Seventeen”), and an interesting version song with eager listeners. Hours,” “Falling in Love with Love,” “Too Marvelous of “Softly, As in a Morning Sunrise,” with extensive ■ Last August, vocalist REBECCA KILGORE and for Words,” “I Will Wait for You,” “So Many Stars,” references to Monk’s “Green Chimneys.” Morgan‘s THE HARRY ALLEN QUARTET appeared at “Exactly Like You,” “That’s All,” “I Can’t Give You trumpet adds a consistently tasteful voice to the Feinstein’s and I started my review for Jersey Jazz Anything but Love,” “Day Dream” and “I Could mix. Reich is an impressive new voice on the jazz in this way, “Inspired is the best word that I can Write a Book,” all superb standards. Often a scene, and welcome indeed. apply to the pairing of vocalist Rebecca Kilgore program like this results in just another CD of well (www.daniellereich.org) sung songs, but you ask why do them again. This is with the Harry Allen Quartet, paying tribute to Billie ■ LISA LINDSLEY is a relative newcomer to the definitely not the case with Silver. She has her own Holiday and , for a three-night stand at world of vocalizing, but you would not know it perspective on each selection, giving you several Feinstein’s at Loews Regency.” Now everyone can from listening to Everytime We Say Goodbye surprises along the way. It is always a treat to find enjoy the music from that occasion on Live at (Blondsongstress Productions). With superb a new artist of this caliber to add to my listening Feinstein’s (Arbors – 19433). Kilgore vocalizes arrangements from her pianist, George Mesterhazy, experiences. (www.audreysilver.com) on 10 of the 12 selections, with the quartet of Allen she sounds right at home singing the nine on tenor sax, Rossano Sportiello on piano, Joel ■ The northwest sector of our nation has a rich selections on her program. The songs are well Forbes on bass and Chuck Riggs on drums giving supply of fine female vocalists who are imbued chosen, and include “The Nearness of You,” “Don’t an instrumental nod to Prez on “Tickle Toe” and with the spirit of jazz. Among them is JENNY Explain,” “Alice in Wonderland,” “Inside a Silent “I Want to Be Happy.” Kilgore, as do most jazz DAVIS, a lady who knows how to take a song and Tear,” “The Very Thought of You,” “It’s Only a Paper singers, gives Holiday credit for being an important put her own distinctive stamp on it. Throughout Moon,” “Ev’ry Time We Say Goodbye,” “Why Don’t influence on her, but she does not attempt in any the 10 tracks on Inside You (Jenny Davis – 9), You Do Right” and “The Girl from Ipanema.” The way to imitate the unique Holiday style. She is a Davis and her partners, Chuck Easton on guitar, most impressive thing about Lindsley’s first album fine vocalist who has developed a style that has an and occasionally on flute, and bassist Ted Enderle is her way with a lyric. She gets to the heart of unyielding swing feeling whether she is singing a maintain a high level of creativity. An added bonus each song. Her voice is light, smooth and easy on is the presence of tenor the ears. Mesterhazy’s accompaniment talents saxophonist Louis have graced performances by many of the better Aissen on “Into Each Life singers in the jazz tradition like Shirley Horn and Some Rain Must Fall.” Paula West. Having him on board for this project is Her original tune, “Inside a definite positive for Lindsley, as is the presence You,” rests comfortably of bassist Fred Randolf. Together, the three among standards like participants have produced an album that “When Your Lover Has hopefully points to future collaborations to be Gone” and “Green shared on disc. (www.LisaLindsley.com) JJ Dolphin Street.” She has a romp with singing Eddie Jefferson’s Remember that these albums are not available vocalese lyrics to Charlie through NJJS.You should be able to obtain most of them at any major record store. They are also Parker’s “Confirmation.” available on-line from the websites that I have “Morning Glory” is a shown after each review, or from a variety of other new song to me, and on-line sources.

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song that Sheehan first heard on a Marcovicci Caught in album. A large part of her early the Act performing experience was By Joe Lang going to entertain residents Past NJJS President in senior citizen complexes and nursing homes where the GAS songs were much Jennifer Sheehan appreciated. Sheehan told a touching tale of performing You Made Me Love “I’ll Be Seeing You” for an You: Celebrating 100 audience comprised primarily of older folks Years of the Great suffering from various stages of dementia. As she began American Songbook “Some of These Days” was the definable to sing the song, one of the listeners who Metropolitan Room, New York City break with the traditions of popular music seemed totally in another world started to March 10, 2011 that had previously prevailed, and that this hum the song, and by the time she finished ennifer Sheehan seems too young to have song was arguably the first popular song to it, many of those in the room were also Jmastered the many subtleties of style and establish the stylistic tradition that would humming along. When she performed it for interpretation that she put on display in evolve into what has become known as the those in the Metropolitan Room, I am sure singing an eclectic program of songs Great American Songbook (GAS). Her saucy that many others had to resist the celebrating the Great American Songbook performance of this tune captured a hint of temptation that I felt to react as did the at the Metropolitan Room on March 10. the famous Tucker brashness. She chose people in her story. As you listened to Sheehan describe how another song of a similar vintage, “You her interest in the songs of classic pop Made Me Love You” to augment her Sheehan performed several two-song developed, and how she pursued her dream exploration of this phase of the develop- medleys that were wonderfully well of performing them professionally, it was ment of the GAS, this time letting us know conceived. Her pairing of two Sondheim evident that this intelligent and talented that she could convey the emotional lyrics, “Take Me to the World” with his young lady worked hard to achieve the kind intensity that singing a torch song requires. music for Evening Primrose, and “Take the of stunningly effective performance that she Moment” from Do I Hear a Waltz written gave on this evening. Sheehan’s performing experience began at with composer Richard Rodgers, was for me the age of nine in her native St. Louis when The show was well conceived, mixing the highlight of an evening of highlights. she joined a company of youngsters who great standards with some lesser known Another exceptional set of songs was a sang show tunes. Her first involvement was evergreens, and giving a nod to some of the haunting “Two for the Road” with simply performing in a chorus singing an extended younger composers and lyricists who are the best reading of “What Are You Doing medley of Cole Porter material, a source working in and extending the tradition that the Rest of Your Life?” that I have ever that she used on this occasion to create a Sheehan was celebrating. From the opening heard. medley of Porter tunes that led to a passion- notes of her lovely reading of “All the Things ate version of “In the Still of the Night.” The other three medleys gave a taste of You Are” to her perfectly sung encore, “Love some of the contemporary writers. It was Is Here to Stay,” Sheehan combined her Most performers experience at least one life exciting to hear Sheehan pair two songs by marvelous voice, great dramatic sensibility changing moment that helps to set them on Susan Werner, a songwriter deserving wider and riveting stage presence to present a a particular career path. For Sheehan, it was recognition. They were “I Can’t Be New,” a consistently entertaining and engrossing being taken, at the age of 13, by her mother song with a -like feeling, and cabaret act that reflected a naturalness and to a cabaret performance by Andrea the humorous “Movie of My Life.” Irving warmth that few performers achieve at such Marcovicci. This led to her attending a Berlin’s ballad of touching sadness, “What’ll an early stage in their careers. Her musical workshop led by Marcovicci a few years I Do?” and John Bucchino’s “Unexpressed,” director and pianist James Followell and later, and gave her the opportunity to meet a song of romantic anticipation contrasted bassist Jered Egan provided superb support and develop a friendship with the cabaret the old master with one of today’s better for her. star who became a mentor for her. The songwriters. “Some Enchanted Evening” by In developing her story line Sheehan Marcovicci influence was evident when Rodgers and Hammerstein was sung with mentioned that her research led her to Sheehan performed “How Long Has This “Fable” by Adam Guettel, Rodgers’s conclude that Sophie Tucker’s recording of Been Going On,” and “Do You Miss Me,” a grandson.

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This program was an occasion of triumph Kern, Johnny Mandel, Alan Broadbent and Please Don’t Tell My Father. Here Frishberg for Jennifer Sheehan. A major new voice in Johnny Mercer. took the lyric down part way before asking cabaret has arrived, and this is wonderful They started their delightful show with a Molaskey to scat a bit. Her response was to news for those who love good songs sung tune that Frishberg wrote with Dorough for sing “I Won’t Scat,” a parody of the Jerome with the kind of artistry that makes each of those occasions when they appeared Kern/Dorothy Fields standard “I Won’t them shine like a precious gem. together, “Who’s on First.” This witty Dance.” This device was clever and effective. exchange was handled with great timing by It was then Molaskey’s turn to perform a Jessica Molaskey Frishberg and Molaskey, with Frishberg, pair of contrasting songs, Frishberg’s & Dave Frishberg who provided piano accompaniment for the humorous ditty, “My Attorney Bernie,” and act, tossing in a few Monkish chords along “You Are There,” a tender song of lost love, Do You Miss New York? the way. with a gorgeous melody by Mandel. The Oak Room, Algonquin Hotel, New York When they finally decided who was on first, A few years ago, Frishberg wrote a score for March 15 – April 2, 2011 Frishberg sang his wry lyrics for “Slappin’ a local theater in Portland, Oregon titled ave Frishberg’s songs are ones that the Cakes,” a song about a man who is the The New Yorkers: Tales from the Algonquin Drequire a sense of fun, some innate target of a wily woman in a bar. He then Roundtable. The Oak Room is certainly a hipness, a touch of skepticism or cynicism, turned around the mood with a touching perfect place to give New York audiences a and the ability to occasionally acknowledge evocation of an American icon, “Marilyn taste of the songs from this undertaking. the more tender sides of our experiences to Monroe,” set to a melody by Broadbent. Both of the selections that were performed bring them to full life. Frishberg himself and Among the most well-known songs in the centered around the legendary Roundtabler his partner at the Oak Room, Jessica Frishberg book is “I’m Hip,” with a melody Dorothy Parker. Parker, who had attempted Molaskey, both met those parameters as by Dorough that came to public awareness suicide several times, is the target of a group they explored a selection of tunes with lyrics through a recording by Blossom Dearie. It of reporters in the darkly humorous “Will by Frishberg and melodies by him and a few was also on the first album by Molaskey’s You Die” sung here by the two stars of the other cats named Bob Dorough, Jerome husband , I’m Hip…But evening. Molaskey then explored the Parker continued on page 42

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CAUGHT IN THE ACT Akiyoshi Triumphs at Carnegie Hall continued from page 41 By Fran DePalma-Iozzi Former NJJS Board Member mindset in “Excuse Me for Living.” Both songs are brilliant, though emotionally t was a privilege Wednesday night, April 6 continued throughout, while the right difficult, and it is to be hoped that the entire Ito hear an exquisite Carnegie Hall concert hand created powerful improvised lines. score will make the New York theatre scene by Jazz Master . The In the trio format, with Paul Gill on bass some day, or at least that there will be a concert was part of the JapanNYC Festival, and Mark Taylor on drums, Akiyoshi dug recording of the score. which dedicated its performances this year in with Bud Powell’s “Tempus Fugit.” to the victims of the earthquake and I first became aware of Frishberg when he As a young pianist in Japan, Akiyoshi had tsunami in Japan. was the pianist for the Al Cohn/Zoot Sims limited access to live music. So Bud Powell’s group in their heyday during the 1960s The concert featured Akiyoshi in solo, trio recordings became her early “music lessons.” when they were frequent performers at the and quartet formats, and all but two of the (Powell met an untimely death from warmly remembered Half Note. He wrote a pieces were her compositions. She is a tuberculosis, malnutrition and alcoholism superb song about his affection for those highly prolific composer who has also at the age of 42). The performance, as with days in “I Want to Be a Sideman,” and gave directed a big band since the 1970s, and tempus, truly flew! it an evocative reading. the band played her compositions almost “Children in the Temple Yard” featured exclusively. Now that she has disbanded Broadbent’s melodies seem to bring out the the elegant playing of one of my favorite the group (pun intended) she has gone sentimental side of Frishberg, as was evident drummers, British-born Mark Taylor. back to her first love, playing piano in when Molaskey sang about a parent’s wishes He plays with finesse and truly excelled solo and small group settings. Some for a child in “Heart’s Desire.” all evening. highlights of the program follow. Frishberg had an empathetic relationship When Akiyoshi extended the trio with the “Villages,” for solo piano, featured a with vocalist/pianist Blossom Dearie. At addition of master flutist and tenor scorching left hand ostinato pattern that one point they performed together, and she saxophonist Lew Tabackin (her husband), often sang his songs. One of them was they performed one of her “Long Daddy Green,” a rumination on signature compositions, the place that money has in our lives. “Long Yellow Road.”Akiyoshi Among her most requested selections performs often in Japan, where was a song written for her by Johnny she is as popular as a rock star Mercer, “My New Celebrity Is You,” a and if she does not perform zippy list song that makes use of many this work at a concert, the then contemporary references. audience does not allow her Frishberg and Molaskey gave new life to leave the stage. to the song with some up to the Several pieces during the minute lyrics added by Frishberg. evening were accompanied by This brought the show to the moment the taped sounds of Japanese when Frishberg sang the title song for drum, as well as a vocal the show, “Do You Miss New York,” a rendition of a Japanese folk song that evokes the sentiments of so song. many of us who never lose the New The formal program ended York spirit that lingers in our souls, with “Hope,” a movement even if life removes us from the Apple. from her Hiroshima Molaskey and Frishberg offered up Suite…both moving and one last duet, the humorous lament particularly appropriate. The “Can’t Take You Nowhere,” before standing ovation prompted Frishberg closed the evening with an encore in which, in the introspective “Listen Here.” characteristic Akiyoshi under- stated and surprising fashion, Frishberg is among the finest each performer left the stage at songwriters of recent decades, some time during the encore and this show cleverly and piece, leaving Lew Tabackin to effectively placed his finely improvise alone on stage… crafted gems on display. JJ as he slowly walked off. JJ

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All About “For all the ladies in the house,” the singer pairs “Sister You’ve Been on My Antoinette Mind” and “Shake that Shimmy.” Then Crossley channels Gene Krupa with an Story by Tony Mottola extended jungle drum opening to a Co-Editor Jersey Jazz swinging “Swinging Broadway.” The Photos by Tony Graves singer eases the ensuing audience frenzy with the lovely Burt Bachrach/ he concert date, March 27, was Sara Hal David ballad “Whoever You Are, TVaughn’s 87th birthday, so it was I Love You.” fitting that another Newark native, who grew up listening to and Ellington’s “Creole Love Call” opens The Divine One, headlined this year’s with a clarinet/wordless vocal duet NJJS-sponsored Sunday afternoon with Montague then moving to the Community Theatre show. wings vocalizing unseen. Soon the singer is boogie-walking up the aisle On stage the vocalist and her stage right, followed by Eric Johnson bandleader are constantly in motion. with his twangy guitar. As they turn to The elegant Ms. Montague strides and stalks the stage like a cat, then poses head back to the stage, a nervous with bright eyes that cast a penetrating theater page scurries behind, shining gaze at her audience that seems to his penlight to guide them back. The reach the hall’s back row. For his part, first set closes with Alberta Hunter’s reedman Bill Easley…well, Bill classic “Rough and Ready Man.” bounces. Continually, back and forth Easley and crew open the second set from his left to right foot and back, with “On a Clear Day” and Montague always in tempo of course. He bounces returns in a different, equally stylish when he solos, he bounces when he’s outfit. This time a red skirt and jacket ensemble with “standing still.” Occasionally he bounces over to the big gold buttons. During a funky “Muddy Water,” the bassist or the drummer and whispers in their ears. It’s singer engages in a little audience call and response, unclear whether he’s giving musical instructions or then segues to “Everyday I Have the Blues.” Montague telling jokes, but there are smiles and nodding heads. and Easley dance their way through much of “Squeeze Easley and the band open the show with an instru- Me.”“God Bless the Child,”Anthony Newley’s “Pure mental, appropriately, “The Jersey Bounce.” It’s a tight Imagination” and “Night Train” follow. After a moving outfit with Tommy James on piano, Hassan Shakur on reading of ’s “Throw It Away,” bass, Payton Crossley on drums, and, in from Montague sings Stevie Wonder’s “Ribbon in the Sky” Pittsburgh, Eric Johnson on guitar, a very bluesy guitar. and a medley of “Lady be Good,”“I Thought About Antoinette takes the stage, resplendent in a floor length You” and “I Hadn’t Anyone Till You.”An original ruffle-necked burgundy gown. A funky “All Right, follows —“Behind the Smile” — and the show closes Okay, You Win” is followed by a “Oh, What a Beautiful with “This Little Light of Mine.” Morning,” highlighted by At $15 a ticket, to say a rubato verse that rolls into Antoinette Montague gave a jazzy waltz. With the the audience its money’s appetizers served the singer worth is a gross under- turns up the heat with a burning run through “The statement. In his heyday, Song is You” that features a Bernie Madoff couldn’t have delightfully fleet right hand offered a bigger return. on a James piano solo. Luckily, having more fun than you paid for isn’t Off to Broadway, the singer illegal. offers “On The Street Where You Live,” featuring an airy You can find out more about clarinet solo by Easley. “Go Antoinette (and you should) cat, go,” Montague at www.antoinette encourages. montague.com. JJ

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Book Review brother, Bruce. Beverly, his mother, “was a short, By Joe Lang Past NJJS Prsident intelligent and attractive woman with a quick IN LOVE WITH VOICES smile and a refined air about her.” She was the By Brian Q. Torff parent who showed the iUniverse, Inc., New York, Bloomington | 207 pages, 2008, $18.95 kind of love to her children that was missing t did not take many pages of reading In Love with Voices, bassist in the relationship with IBrian Torff’s autobiography, to realize that this is a cat who, like their father. This all good jazz musicians, can paint imaginative musical pictures, but environment had a long one who is also a damned fine writer, equally as adept at massaging lasting effect on Brian, words as notes. one that caused him to His “Introduction: Powerful Voices (Like Frank…),” offers a moving make a concerted effort description of his encounters with Frank Sinatra, and sets the tone to show his children the for the series of word portraits of his parents, and some of the great kind of love and affection musicians whom he encountered and played with during his career. he had never received These are related within the framework formed by the story of his from his father. It also life, one that took him from his hometown of Hinsdale, Illinois to toughened him, and New York City to stages all around the world in the company of made him strongly some of the finest players in the history of jazz. focused on achieving the success he enjoyed in his chosen profession. He grew up in a home where his parents had a difficult relationship. Torff’s musical journey started at the age of eight with piano His father, Selwyn, was a “lawyer, civil rights advocate and chairman lessons. It was one area of his life where he had a connection with of the Fair Employment Practices Commission for the state of his father, who loved music, and was proud of his son’s musical Illinois.” For a man of standing and high intelligence, he was also a bent. In high school, he played bass in rock bands. His jazz epiphany man with low self-esteem, and was a distant father to Brian and his took place when he attended the Jamey Abersold Summer Jazz Camp before entering his senior year of high school. This newfound interest consumed him, and resulted in his heading to Boston to attend the Berklee College of Music. A chance opportunity to sit in with Mary Lou Williams during a visit to New York was a musical disaster, but marked another turning point for Torff who decided that a move to New York City was the one he had to make if he was Skippers to find his way in the world of jazz. He was fortunate to find an instructor who was to become a big PLANE STREET PUB influence on him, Orin O’Brien, a bassist with the New York Newark’s Best Kept Live Music Secret! Philharmonic. At her urging, he entered the Manhattan School Serving great food. NO cover. $10 minimum. of Music to continue his education. His stories of sitting in at the Mondays Live Jazz Jam (8PM–Midnight) hosted by West End Café with several ex-Ellington and Basie sidemen, having Newark’s own Eugene “Goldie” Goldston (Vocalist) Greg Bufford (Drums); Radam Schwartz (Keyboard) a chance to sit in at a Chicago club with Clark Terry and , and his amazing opportunity to play for a week with the Tuesdays TBA Visit our website or call for information Big Band in New York City are highlights of his early New York days. Wednesdays TBA Visit our website or call for information At the suggestion of a friend, he established contact with the man Thursdays Featured Live Jazz Artist (8PM–Midnight) who became his mentor, the great bassist . Hinton took Check calendar/call 973.733.9300 Torff under his wing, and this relationship resulted in Hinton Fridays Karaoke Night (8PM–Midnight) recommending Torff for his first major professional gig, a tour with hosted by the talented Denise Hamilton and Johnny Dankworth that started out with a concert Saturdays Available for Special Events at Carnegie Hall. Torff’s words about Hinton are reflective of the enormous gratitude and affection that he had for this warm and Sundays Live Jazz Matinee Sessions 4:00–8:00PM with Radam Schwartz (Organ) generous man. There follows a series of chapters about specific musicians with 304 University Ave., Newark, NJ 07102 whom he performed over the years, , Mary Lou 973.733.9300 skippersplanestreetpub.com

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Williams, Stephane Grappelli, Mel Tormé and Benny Goodman. His time with Garner was brief but memorable. Williams was a talented and complicated lady who was an important part of his You can help us musical development. His affection for Grappelli comes shining through in that chapter, and the exposure that he received to the music of Grappelli and was to become a promote Jazzfest continuing element in Torff’s career. In writing about Tormé, Tell us you’d like a stack of flyers — no Torff also touches upon his extended and important relationship number is too small — and distribute them, at work, to friends with George Shearing. This relationship is further expanded upon in the chapter that concludes with the one musical and family, in your local downtown, anyplace you visit. Please encounter between Shearing and Benny Goodman. contact us as soon as possible so we can get flyers into your hands and make the most of the remaining weeks. If you have The remaining section of the book affords Torff an opportunity to expound upon several aspects of his personal and musical E-mail, we can, if you prefer, send you a pdf of a flyer that you philosophy. It also includes a chapter on the concert that can print out in whatever quantities you need (and that Shearing and Torff gave at the Reagan White House, a strange contribution helps us conserve resources, too). yet pleasing occurrence for Torff who is the polar opposite of President Reagan politically. The chapter that revolves around Bring a Friend to JAZZFEST! the painful and touching recollection of the death of his mother affords Torff a few moments to recall his attending the funeral There’s something for everyone at this festival of music. of Duke Ellington during his early days in New York. Finally, he Young, old, jazz newbie or diehard, your friend will thank you writes of the difficulty of coping with his divorce, and facing a for the invitation, and you’ll be doing a great thing for NJJS. different kind of life. Part of the recovery process was writing this book. Torff has had an extended relationship with Fairfield University in Connecticut where he is currently the Music Program Director. He continues to be an active performer and composer, serving as the musical director for several years with the Django Reinhardt Festival that appears annually at Birdland and other venues. In Love with Voices is a highly readable book. Torff has an interesting story to tell, and he relates it in a manner that draws the reader in with its straight forward language and engaging style. Torff is a man who has a wide ranging intellect, and the ability to express his thoughts fluently and clearly. He is unashamedly opinionated, but expresses those opinions in a non-contentious way, making you feel that spending some time with him, whether in agreement or debate, would be a satisfying and enlightening experience. JJ

A. “Sweet Georgia Brown” JAZZ TRIVIA ANSWERS B. “Alexander’s Ragtime Band” questions on page 3 Tenor saxophonist Lew Tabackin goes over the drill at a sound check for “Tenor Madness,” produced by pianist at the Da Capo Theater in NYC on C. “Muskrat Ramble” February 5, 2009. Listening intently are bassist Martin Wind and drummer Tim Horner. D. “Savoy Blues” E. “Original Dixieland One Step” Fran Kaufman photographs the world of jazz F. “My Honey’s Lovin’ Arms” —on stage and behind the scenes. G. “South Rampart St. Parade” See what’s happening—with a new photo every day— H. “Royal Garden Blues” on the WBGO Photoblog. I. “Riverboat Shuffle” J. “Bei Mir Bis du Schoen” Check out where Fran’s hanging, K. “Jazz Me Blues” and see what she sees, at L. “Sensation Rag” www.wbgo.org/photoblog

May 2011 ______45 New JerseyJazzSociety

March Jazz Social | Solomon Hicks

Story and photos by Tony Mottola Co-editor Jersey Jazz

n print and promo guitarist Solomon IHicks is invariably referred to as “prodigy Solomon Hicks.” In person, the handsome young man appears poised and polished well beyond his 16 years, and the prodigy moniker seems a little thin. The trio of nicknames he’s garnered over performances at Harlem’s Cotton Club, the Blue Note, Minton’s Playhouse and other famed venues — “King Solomon,”“Li’l B.B.” and “EAST Montgomery” — may be more apt. Any thoughts that such references to biblical and jazz royalty may be a bit hyperbolic were quickly dispelled at the NJJS Jazz Social at Shanghai Jazz in Madison on March 20, as guitarist Hicks displayed fluid technique, an appealing tone, melodic improvisations — and a key equality missing in many jazz artists these days, young and old alike — showmanship. Tall, impeccably dressed, and bright-eyed with a ready smile, Hicks engaged the packed house (that included jazz luminaries Norman Simmons and Edward Ellington II) from After opening with a Wes Montgomery-like blues, Hicks offered up the get-go, and kept the audience in the palm of his hand for the “Blue Bossa” and then changed gears to R&B with “All Right, Okay, better part of two hours. You Win” (with vocal — he sings as well). After an unannounced bopper, he showed he’d learned his Melvin Sparks lessons well with The prodigy began playing on a toy guitar at age six, soon a richly-chorded run through “Misty.” The first set closed with emulating rock players like Jimi Hendricks and Carlos Santana. another vocal on “Don’t Get Around Much Anymore,” after which His mother, astutely, found him a guitar teacher. Soon after, hearing the guitarist headed off the afternoon’s emcee, Frank Mulvaney, at a recording, he turned his ears to jazz guitar. He met the pass with, “Anyone got any questions?” Russell Malone when he was 13 (for whom he opened at a 2009 The second set opened with Nat Adderly’s “Work Song,” after which Pennsylvania Jazz Society event) and played several times with the Hicks invited singer Carrie Jackson to the stage for respectively late jazz/funk guitarist Melvin Sparks, who served as a mentor. lovely then swinging turns on “Bye Bye Blackbird” and “Just in “I sure am happy I met Melvin Sparks. Without him I wouldn’t be Time.”Another funky blues was followed by a rollicking and rocking able to play “Misty” and jazz hard tunes,” Hicks said. run through Spiral Staircase’s “More Today The Yesterday” (“from my CD,” we’re told). Currently he attends the Music and Performing Arts High School, the Harlem School of the Arts (for classical and jazz guitar), Every good show needs a great closer, and Hicks delivered, returning Barry Harris’s BeBop Jazz Classes, the Harbor Conservatory to his toy guitar rock roots with Chuck Berry’s classic “Johnny B. for Afro-Cuban and Classical Guitar, and has been accepted into Goode.”After laying down the iconic, instantly recognizable guitar the Manhattan School of Music’s riff, he sang a chorus and then slung his pre-college program. In other Eastman archtop guitar behind his neck words, he’s on the music fast track. (“got this behind the back thing from T-Bone Walker,” he explained) and At Shanghai, Hicks was backed by a burned through two final choruses. veteran rhythm section — Roger Anderson (piano), John Cooksey When the ovation died away, ever the (drums) and Dave Marsh (bass) — showman, he bid adieu. “Again, my but it was clear the kid was in charge, name is Solomon Hicks and I hope laying out the tunes and setting the you had a wonderful time.” tempos for his sidemen. ’Deed we did. JJ

46 ______May 2011 New JerseyJazzSociety

What’s New? About NJJS Members new and renewed Mission Statement: The mission of the New Jersey Jazz Society is to promote and preserve the great American musical art form known as Jazz through live jazz We welcome these friends of jazz who recently joined NJJS or performances and educational outreach initiatives and scholarships. renewed their memberships. We’ll eventually see everyone’s name here To accomplish our Mission, we produce a monthly magazine, JERSEY JAZZ, sponsor as they renew at their particular renewal months. (Members with an live jazz events, and provide scholarships to New Jersey college students studying asterisk have taken advantage of our new three-years-for-$100 jazz. Through our outreach program, “Generations of Jazz,” we go into schools to membership, and new members with a † received a gift membership. teach students about the history of jazz while engaging them in an entertaining and Members who have joined at a patron level appear in bold.) ______interactive presentation. Founded in 1972, the Society is run by a board of directors who meet monthly to Mr. & Mrs. Denis Sullivan, conduct the business of staging our music festivals, awarding scholarships to New Renewed Members Ho Ho Kus, NJ Mr. Arthur Abig, Millburn, NJ Jersey college jazz students, conducting Generations of Jazz programs in local Mr. & Mrs. Thomas Swartz, Jr., school systems, and inducting pioneers and legends of jazz into the American Jazz Mr. Steve Albin, Montclair, NJ Chatham, NJ Hall of Fame, among other things. The membership is comprised of jazz devotees Mr. John Becker, Whippany, NJ Adeline Tallau-Brady, Somerset, NJ* from all parts of the state, the country and the world. Mr. & Mrs. Paul Bernhardt, Mrs. Barbara Warshaw, Montville, NJ The New Jersey Jazz Society is a qualified organization of the New Jersey Cultural Trust. Toms River, NJ* Mr. & Mrs. Henry G. Wilke, Visit www.njjs.org, e-mail [email protected], or call the HOTLINE 1-800-303-NJJS Mrs. Edmund W. Bilhuber, Madison, NJ Pittstown, NJ for more information on any of our PROGRAMS AND SERVICES: ■ Mrs. Betty K. Brodo, Maplewood, NJ Danny Zack, North Brunswick, NJ Generations of Jazz (our Jazz in the Schools Program) ■ Jazzfest (summer jazz festival) Mr. John Burns, Chestnut Ridge, NY Debbie Zak, Wayne, NJ Ms. Kate Casano, Jackson, NJ ■ Pee Wee Russell Memorial Stomp ■ e-mail updates Mr. & Mrs. Ted Curson, Montclair, NJ ’Round Jersey (Regional Jazz Concert Series): New Members ■ Ocean County College ■ Bickford Theatre/Morris Patricia Curtis, Sparta, NJ* Mr. Frederick Born, Hewitt, NJ ■ ■ Miss Donna Cusano, New York, NY John & Barbara Brinkman, Student scholarships American Jazz Hall of Fame Dr. & Mrs. Frank Dauster, Skillman, NJ Rockaway, NJ Mr. Frank DePiola, Glen Cove, NY Bill Callanan, Las Vegas, NV* Member Benefits Mr. & Mrs. Albert DeRienzo, Mr. Larry Carter, Branchburg, NJ* What do you get for your dues? Summit, NJ James & Vanecia Chambers, ■ Jersey Jazz Journal — a monthly journal considered one of the best jazz Mr. & Mrs. Manuel G. Ferri, Paterson, NJ society publications in the country, packed with feature articles, photos, jazz North Plainfield, NJ Samuel DeBerry, Boonton, NJ calendars, upcoming events and news about the NJ Jazz Society. Mr. L. Antony Fisher, Morris Plains, NJ* Ms. Susan Dumais, Florham Park, NJ ■ FREE Jazz Socials — See www.njjs.org and Jersey Jazz for updates. Mr. & Mrs. Herman Flynn, Mr. Martin I. Engel, Kendall Park, NJ ■ FREE Film Series — See www.njjs.org and Jersey Jazz for updates. Somerville, NJ Mr. & Mrs. Marc Epstein, Garwood, NJ ■ George and Anne Fritz, Musical Events — NJJS sponsors and co-produces a number of jazz events Westfield, NJ Marge Gerver, Wyckoff, NJ each year, ranging from intimate concerts to large dance parties and picnics. Members receive discounts on ticket prices for the Pee Wee Russell Mr. Herb Gardner, Spring Valley, NY Joseph & Patricia Giannone, Wayne, NJ Mrs. Sandy Grossman, Springfield, NJ Memorial Stomp and Jazzfest. Plus there’s a free concert at the Annual Mr. Robert Gerber, Mendham, NJ Meeting in December and occasionally other free concerts. Ticket discounts Mr. & Mrs. James R. Gilmartin, Jim Jakucyk, Bloomsbury, NJ (where possible) apply to 2 adults, plus children under 18 years of age. Chatham, NJ Tomas Janzon, New York, NY Singles may purchase two tickets at member prices. Ms. Cindy Gordon, Princeton, NJ Thomas Kelley, Point Pleasant, NJ ■ The Record Bin — a collection of CDs, not generally found in music stores, Mr. & Mrs. Edward F. Gore, William Knaus, Randolph, NJ available at reduced prices at most NJJS concerts and events and through Scotch Plains, NJ Miss Rhonda Levell, Irvington, NJ mail order. Contact [email protected] for a catalog. Sanford Josephson, West Orange, NJ Peter Lin, Whippany, NJ Mr. & Mrs. Ray Keown, Miss Kerli A. Mertl, Raritan, NJ Join NJJS Joseph Miserentino, Millington, NJ Mt. Arlington, NJ MEMBERSHIP LEVELS Member benefits are subject to update. Dr. Howard Kessler and Judith Kramer, Linda Moore, Morristown, NJ ■ Family $40: See above for details. Short Hills, NJ Mrs. Norine Mund, Spring Valley, NY ■ NEW!! Family 3-YEAR $100: See above for details. Mr. Charles W. King, Florham Park, NJ Anita & Ken Murski, West Milford, NJ ■ Youth $20: For people under 25 years of age. Be sure to give the year of Mr. & Mrs. Frank Kling, Chatham, NJ V. Eugene Shahan, West Orange, NJ your birth on the application where noted. Ms. Claudette Lanneaux, Edison, NJ Mr. Marc Slutzky, Montclair, NJ ■ Give-a-Gift $20: NEW! Members in good standing may purchase one or Mr. & Mrs. Joseph Lo Bianco, Mr. Robert Stevenson, Mahwah, NJ more gift memberships at any time for only $20 each. Please supply the Englewood, NJ Mr. Richard Stone, Towaco, NJ name and address of giftee. Good for new memberships only. Gus & Susan Loukedis, Montvale, NJ Peter Szego, Hillsborough, NJ ■ Supporter ($75 – $99/family) Mr. Vincent Mazzola, Fawel Teich, Montclair, NJ ■ Patron ($100 – $249/family) Members at Patron Level and above Basking Ridge, NJ Dr. Igor Vynnytsky, Little Falls, NJ ■ Benefactor ($250 – $499/family) receive special benefits. These change periodically, so please Mr. & Mrs. William J. Meyer, ■ Ken Weaver, Randolph, NJ Angel $500+/family) } contact Membership for details. Randolph, NJ* Mr. Fred Weber, Blackwood, NJ ■ Corporate Membership ($100) Mr. Walter N. Miller, Essex, CT Richard and Judy Weisenfeld, Mr. Tony Mottola, Montclair, NJ Mahwah, NJ To receive a membership application, Ms. Sandy Sasso, Oakhurst, NJ Mr. & Mrs. M. Jerry Weiss, for more information or to join: Gail Schaefer, Mendham, NJ* Upper Montclair, NJ Contact Membership Chair Caryl Anne McBride Adam H Schikkinger, Andover, NJ John & Denise Wennogle, at 973-366-8818 or [email protected] Mr. Richard Schliebus, Morristown, NJ OR visit www.njjs.org Roselle Park, NJ* Joe & Sue Youngman, Mr. Peter Schultz, West Orange, NJ Hackettstown, NJ OR simply send a check payable to “NJJS” to: Novella and Karen Smith, Ms. Patricia Yskamp, Maplewood, NJ* NJJS, c/o Mike Katz, 382 Springfield Ave., Suite 217, Summit, NJ 07901. Rockaway, NJ

May 2011 ______47 JerseyEventsJazz ’Round Jersey

The Beacon Hill Jazz Band

a veteran of Benny Goodman, the Tonight Show Morris Jazz and other prestigious berths. Guitar master Jazz For Shore The Bickford Theater follows on June 13, with his trio NOTE: New Venue! at the Morris Museum (blazing guitarist Vinny Raniolo and hot fiddler Arts & Community Center at Morristown, NJ 07960 Zach Brock). They filled the room on their last Ocean County College Tickets/Information: 973-971-3706 visit. “Boogie Bob” Seeley is back on June 20, Toms River, NJ 08753 enor player Marty Eigen never stops tweaking with a program of stride, blues, rags and, of Tickets/Information: Tand honing his Beacon Hill Jazz Band in course, his trademark “industrial strength” boogie 732-255-0500 search of adding still more variety to their woogie. Closing the month is reedman Dan he Atlantic City Jazz Band was well received concerts. Frequent appearances (over seven Levinson with his tribute to Chicago’s Jimmy Twhen they played for MidWeek Jazz last year, years!) at the intimate Watchung Arts Center Noone. His Apex Project band plays on June 27 and why not? With only a few years together as an demand this, and he is continuing the practice as and includes Pete Martinez (Albert clarinet, from organized band, they have still managed to thrill the band revisits the larger Bickford Theatre on Big 72), Kevin Dorn (drums), Cassidy Holden audiences at the Cape May and Tri-State Jazz Monday, May 2. (bass, from Fête Manouche), Jan Frenkel (piano) Societies — both with memberships fussy about and Molly Ryan (guitar and vocals). Noted singer and harmonica player Rob Paparozzi their traditional jazz — and arrange a tour of Italy has been added for that date, but that is atop an July’s segments open after an Independence Day as well.This seven-piece aggregation was the enviable roster of regulars: Bill Ash (trumpet), break with a band led by trumpet wonder Bria largest presented at the temporary Library site, so Chris Cottier (baritone sax), Doug Wintz Skonberg on July 11, followed by the return of they should fit in well now that the series is in (trombone), Flip Peters (guitar), Fred Fischer the popular String of Pearls vocal trio on July larger quarters back on the OCC campus. (piano), Bob Funesti (bass) and Mike Walter 18. The month’s offerings close in spectacular The ACJB is clearly inspired by the early heroes of (drums). The band works from arrangements used fashion on July 25 with an evening of swing the jazz movement, but they move beyond the by famous octets of the past, supplemented by music by the Full Count Big Band, a major force basics to also play the pop tunes of the jazz era. newer contributions from band members, resulting in this music. On August 1 Neville Dickie visits Any performance might have a bit of Scott Joplin in a repertoire that is both large and diverse. The from London to play stride piano for us, followed or Jelly Roll Morton, but also , resultant sound is potent, stronger than a combo the next day (yes, a Tuesday) by Paris Irving Berlin, or Johnny Mercer too. but lighter than that of a Big Band. Their fan club Washboard, this year with Louis Mazetier at These are seasoned players, not necessarily reaches into adjoining states. the piano. But save some energy to attend Allan famous as individuals, who nonetheless give a Vaché’s Benny Goodman tribute on August 15, a A packed calendar is a Jazz SummerFest spirited performance out of love for the music. Go powerful close for the summer season. tradition here, with a concert nearly every week out of your way to catch them when they on during the warm weather, mostly on Mondays. It In spite of this abundance of top talent, their low Wednesday, May 18. kicks off on June 6 when longtime favorite Derek price policy still prevails, so it is especially wise to Warm weather dates are not hard to fill here, with Smith returns for another solo piano romp. He’s reserve early. Sellouts can be very unforgiving! a number of stars eager to perform. MidWeek Jazz

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The Institute of Jazz Studies at Rutgers University– Newark is the largest and most comprehensive library and archive of jazz and jazz-related materials in the world! — a valuable resource for jazz researchers, students, musicians and fans. The archives are open to the public from 9 AM – 5 PM Monday through Friday, but please call and make an appointment. Institute of Jazz Studies, Rutgers, The State University of NJ John Cotton Dana Library, 185 University Avenue, Newark, NJ 07102 Web site: newarkwww.rutgers.edu/IJS 973-353-5595

calendar: JAZZ RESEARCH ROUNDTABLES free A series of lectures and discussions. Programs are free and open to the public roundtables and take place on Wednesday evenings from 7:00 to 9:00 PM in the Dana Room, 4th floor, John Cotton Dana Library, Rutgers University, 185 University Ave., Newark, NJ. Refreshments are served. Information: 973-353-5595. Names in italics are the presenters. Financial support for the Roundtable is provided by the Rosalind & Alfred Berger Foundation. ACJB banjoist/vocalist Franny Smith ■ watch for announcements of future events took advantage of Bob Seeley’s presence in the area to invite him back for another hard-driving CONCERTS/PERFORMANCE free evening of solo piano on June 22. He is considered Jazz Dialogues: Intimate Improvisations, Dana Room, Dana Library, concerts by experts to be the finest living boogie-woogie Rutgers-Newark (free admission) 973-353-5595 This series is designed to bring to campus leading jazz soloists in duo and trio settings. player, but he works a bit of stride into every show, Each concert will include an interview/Q&A segment. IJS will again partner with local schools to and possibly some blues or rags too. Fans have give students an opportunity to meet and interact with these noted artists. Funded by a grant from expressed a certain amount of sympathy for the the Rutgers-Newark Cultural Programming Committee. piano! ■ April 21, 2011: , solo piano, 2–4 PM Al Harrison makes his first visit here on July 27, surrounded by his acclaimed Dixieland band. The JAZZ FROM THE ARCHIVES on Philadelphia-based trumpeter is not entirely new Broadcast hosted by IJS Director, 2007 NEA Jazz Master Dan Morgenstern, WBGO radio to NJJS members, having played a hot cornet with every Sunday at 11:00 PM on WBGO Radio (88.3 FM). www.wbgo.org. Ed Wise’s band at The Stomp this year. Here’s a ■ April 24 – Musical Time Capsule: February 1940. You won’t believe how many great jazz chance to enjoy him and his comrades for an recordings were made in just one month’s time! Join host Loren Schoenberg for some of the best entire evening. swing music ever played. ■ May 1 – Chu-ology: Host Vincent Pelote examines the music of tenor saxophone giant For those planning their vacations around jazz Leon “Chu” Berry, who in his brief career made wonderful recordings with Fletcher Henderson, offerings, the Vaché Brothers will bring their , and many others. band here on August 17. Clarinetist Allan Vaché ■ May 8 – It’s Mother’s Day, so let’s hear from some notable mothers, and cornetist Warren Vaché have each led popular says host Dan Morgenstern. (Sneak preview: Ethel Waters, Bessie, Mae West…). groups here, but this time they will be together ■ May 15 – Rowles: Solo and Duo: Host Tad Hershorn surveys the career of pianist (and sometime vocalist) Jimmy Rowles, featuring the eclectic artist in solo and duet settings. at the top of the ticket. Sellout potential? And the ■ 18-piece Jazz Lobsters, popular in this, their home May 22 – Kirchner on Kirchner: To commemorate his 100th Jazz From the Archives show, host Bill Kirchner samples his own music — from four decades as a reed player, composer-arranger, region, have just accepted a September 14 date. and bandleader. Mark your calendars. ■ May 29 – Freeman and Tough, Inc., Part 1: Loren Schoenberg documents the dynamic interaction of two Chicago-born mavericks, tenor saxophonist Bud Freeman and drummer Dave Tough, 1929–1946. ■ June 5 – Freeman and Tough, Inc., Part 2: Loren Schoenberg continues his survey of Bud Freeman and Dave Tough’s joint recordings. ■ June 12 – Benny Goodman’s been gone for 25 years as of this date, so host Dan Morgenstern pays tribute with some not-so-common selections from BG’s huge legacy. ’Round Jersey concerts are produced by Bruce M. Gast in conjunction with the New Jersey Jazz Society. Performance photos by Bruce Gast.

May 2011 ______49 JerseyEventsJazz You can find jazz all over the state Somewhere There’s Music in venues large and small. Here are just some of them. We continually update entries. Please contact [email protected] if you know of other venues that ought to be here.

Allendale MAD BATTER Glen Rock Mahwah Morristown NINETY SIX WEST CAFÉ 19 Jackson St. GLEN ROCK INN BERRIE CENTER/ THE BICKFORD THEATRE 96 West Allendale Avenue 609-884-5970 222 Rock Road RAMAPO COLLEGE AT THE MORRIS MUSEUM 201-785-9940 Jazz at the Batter 201-445-2362 505 Ramapo Valley Road 5 Normandy Heights Road www.ninetysixwest.com Wednesdays 7:30 – 10:30PM www.glenrockinn.com 201-684-7844 973-971-3706 Thursday 7 PM www.morrismuseum.org Jazz Night Out Wednesdays 8 PM www.ramapo.edu/berriecenter BOILER ROOM, CONGRESS HALL Some Mondays 8:00 PM 251 Beach Ave Hackensack Manalapan Asbury Park 888-944-1816 THE COMMUNITY THEATRE SOLARI’S MONMOUTH COUNTY LIBRARY 100 South St. CHICO’S HOUSE OF JAZZ Blues and Latin Jazz Saturdays 61 River St. 631 Lake Ave. July 18 – Sept.19 125 Symmes Drive 973-539-8008 201-487-1969 732-431-7220 www.mayoarts.org 732-455-5448 8:30 PM – 12:30 AM 1st Tuesday 8:00 PM chicoshouseofjazz.com TTY Hearing Impaired: 732-845-0064 Rick Visone One More Once Big Band HIBISCUS RESTAURANT Jazz 6 nights a week MERION INN No cover www.monmouthcountylibrary.org 106 Decatur St. Check events calendar At Best Western Morristown Inn TIM McLOONE’S SUPPER CLUB 609-884-8363 STONY HILL INN for occasional concerts 270 South St. 866-497-3638 1200 Ocean Ave. Jazz Piano daily 5:30 – 9:30PM 231 Polifly Rd. 732-744-1400 201-342-4085 www.hibiscuscuisine.com Maplewood Friday Jazz Nights call timmcloonessupperclub.com Cherry Hill www.stonyhillinn.com BURGDORF CULTURAL CENTER Friday and Saturday evenings for dates & times ST. ANDREWS UNITED 10 Durand St. Bayonne METHODIST CHURCH 973-378-2133 HYATT MORRISTOWN AT THE BOILER ROOM 327 Marlton Pike Highland Park www.artsmaplewood.org HEADQUARTERS PLAZA 280 Avenue E Tri-iState Jazz Society venue PJ’S COFFEE 3 Speedwell Ave. 315 Raritan Avenue 973 647 1234 201-436-6700 www.tristatejazz.org 732-828-2323 Manville www.morristown.hyatt.com www.arts-factory.com RHYTHMS OF THE NIGHT Thursday Jazz at the Hyatt Clifton Sunday 1–5 PM Somerset Jazz Fri/Sat 10 PM; Sun 7 PM Consortium Open Jam 729 S. Main Street 5:30-8:30 PM ST. PETERS EPISCOPAL 908-707-8757 CHURCH THE SIDEBAR Bernardsville rhythmsofthenight.net 380 Clifton Ave. Hillsborough AT THE FAMISHED FROG Open jam session BERNARD’S INN 973-546-3406 DAY’S INN 18 Washington St. Wednesdays 7–10 PM 27 Mine Brook Road Saturdays 7:30 PM 118 Route 206 South 973-540-9601 908-766-0002 908-685-9000 www.famishedfrog.com/thesidebar www.bernardsinn.com Closter Thursday 7 PM Open Jam Mendham Monday – Saturday 6:30 PM ST. PETER’S EPISCOPAL HARVEST BISTRO & BAR KC’S CHIFFAFA HOUSE CHURCH Piano Bar 252 Schraalenburgh Road Hoboken 5 Hilltop Road 70 Maple Avenue 201-750-9966 MAXWELL’S 973-543-4726 973-455-0708 Bloomfield www.harvestbistro.com 1039 Washington St. www.chiffafa.com PIANOS BAR AND GRILL Every Tuesday: Ron Affif/ 201-798-0406 Live Jazz — Call for schedule SUSHI LOUNGE 36 Broad Street Lyle Atkinson/Ronnie Zito Every other Monday 9:00 PM 12 Schuyler Place Bloomfield NJ 07003 Swingadelic Metuchen 973-539-1135 www.sushilounge.com (973) 743-7209 Reservations Cresskill NOVITA Sunday Jazz Nights 7–10 PM www.pianosbarandgrill.com GRIFFIN’S RESTAURANT Hopewell New & Pearl Streets Jazz Thursdays, Piano Bar 44 East Madison Ave. HOPEWELL VALLEY 732-549-5306 Fridays/Saturdays, Cabaret 201-541-7575 BISTRO & INN Fridays 7:30 PM Mountainside Wednesdays/Fridays Every Tuesday 15 East Broad St. No cover ARIRANG Frank Forte solo guitar 609-466-9889 1230 Route 22W WESTMINSTER ARTS CENTER/ www.hopewellvalleybistro.com Montclair 908-518-9733 BLOOMFIELD COLLEGE Wednesday 7:30 PM Deal Friday/Saturday 7 PM CHURCH STREET CAFÉ 467 Franklin St. AXELROD PAC Minimum $15 12 Church St. 973-748-9000 x343 Jewish Community Center Newark 732-531-9100 x 142 FIRST CONGREGATIONAL 27 MIX Lawrenceville CHURCH Brooklawn www.arthurtopilow.com FEDORA CAFÉ 27 Halsey Street 40 South Fullerton Ave. 973-648-9643 BROOKLAWN AMERICAN 2633 Lawrenceville Road 973-744-6560 www.27mix.com LEGION HALL Dover 609-895-0844 Browning Road & ATTILIO’S Some Wednesdays 6:00 PM PALAZZO RESTAURANT Railroad Ave. 08030 11 South Fullerton Ave. BETHANY BAPTIST CHURCH 80 East McFarland St. (Rt. 46) No cover/BYOB 275 Market Street 856-234-5147 973-746-6778 973-328-1100 973-623-8161 Friday/Saturday 7:00 PM Tri-State Jazz Society usual venue www.attiliostavern.com Little Falls www.bethany-newark.org www.tristatejazz.org Joe Licari/Guest Pianist BARCA VELHA Some Sundays 2:00 pm Edgewater RESTAURANT/BAR RICHIE CECERE’S NEWARK MUSEUM LA DOLCE VITA 440 Main St., 07424 2 Erie Street 49 Washington St. Buena Vista 270 Old River Rd. 973-890-5056 973-746-7811 973-596-6550 VILLA FAZZOLARI 201-840-9000 www.barcavelha.com www.newarkmuseum.org Fridays 7:30 PM Bossa Brazil SESAME RESTAURANT Summer Thursday afternoons 821 Harding Highway & JAZZ CLUB Atlantic City Jazz Band Englewood No cover 398 Bloomfield Avenue NJPAC Third Wednesday of the month BERGEN PAC 973-746-2553 1 Center St. and some Sundays 30 N. Van Brunt St. Lyndhurst sesamerestaurant.com 201-227-1030 888-466-5722 WHISKEY CAFÉ Monthly Jazz Night, www.njpac.org Byram www.bergenpac.org 1050 Wall St. West, 07071 call for schedule 201-939-4889 THE PRIORY The Restaurant at Adam Todd Fairfield www.whiskeycafe.com TRUMPETS 263 Highway 206 233 West Market St. BRUSCHETTA RESTAURANT One Sunday/month James Dean 6 Depot Square 973-242-8012 www.adamtodd.com 973-744-2600 292 Passaic Avenue Orchestras Friday 7:00 PM 973-347-4004 973-227-6164 swing dance + lesson www.trumpetsjazz.com No cover www.bruschettarestaurant.com Tuesday/Thursday/ Cape May Live piano bar every night Madison Sunday 7:30 PM SKIPPER’S PLANE STREET PUB Friday/Saturday 8:30 PM VFW POST 386 SHANGHAI JAZZ 304 University Ave. 419 Congress St. Garwood 24 Main St. 973-733-9300 609-884-7961 CROSSROADS 973-822-2899 Moorestown www.skippersplanestreetpub.com usual venue for 78 North Ave. www.shanghaijazz.com SAINT MATTHEW LUTHERAN CHURCH Cape May Trad Jazz Society 908-232-5666 Wednesday/Thursday 7 PM New Brunswick www.xxroads.com Some Sundays 2 PM live Dixieland Friday/Saturday 6:30 PM 318 Chester Avenue DELTA’S Jam Session Tuesday 8:30 PM www.capemaytraditional Sunday 6 PM Tri-iState Jazz Society venue 19 Dennis St. jazzsociety.com No cover www.tristatejazz.org 732-249-1551

Listings are alphabetical by town. All entries are subject to change; please call each venue to confirm schedule of music.

50 ______May 2011 JerseyEventsJazz

Tell them you saw it in Jersey Jazz!

We want to include any locale that offers jazz on a regular, ongoing basis. Also please advise us of any errors you’re aware of in these listings.

CHRISTOPHER’S AT Plainfield Sayreville Teaneck Watchung THE HELDRICH HOTEL CAFÉ VIVACE SHOT IN THE DARK THE JAZZBERRY PATCH AT WATCHUNG ARTS CENTER 10 Livingston Ave. 1370 South Avenue SPORTS BAR & GRILL THE CLASSIC QUICHE CAFE 18 Stirling Road 732-214-2200 908-753-4500 404 Washington Road 330 Queen Anne Rd. 908-753-0190 Friday Jazz Nights www.cafevivace.com 732-254-9710 [email protected] Call for dates and times Teaneck, NJ 07666 Saturdays 7:30 PM Thursday 7:30 PM 201-692-0150 www.watchungarts.org John Bianculli Jazz programming; MAKEDA ETHIOPIAN RESTAURANT MySpace.com/thejazzberrypatch Princeton check for details 338 George St. Open Jazz Jam every Tuesday night. MCCARTER THEATRE Seabright No cover Friday nights. 732.545.5115 91 University Place THE QUAY Different artist every week. Wayne www.makedas.com 609-258-2787 NO COVER 280 Ocean Ave Please check the site. WILLIAM PATERSON UNIVERSITY New Brunswick Jazz Project presents MEDITERRA 732-741-7755 live Jazz Thursdays, 7:30 – 10:30 PM 29 Hulfish St. Thursday nights LOUNGE ZEN 300 Pompton Road 609-252-9680 Jazz Lobsters big band 254 DeGraw Ave. 973-720-2371 STATE THEATRE NO COVER 201-692-8585 www.wpunj.edu 15 Livingston Ave. www.terramomo.com/restaurant/ Sewell www.lounge-zen.com Sunday 4:00 PM 732-246-7469 No cover mediterra TERRA NOVA www.statetheatrenj.org Weehawken 590 Delsea Drive PUFFIN CULTURAL FORUM SALT CREEK GRILLE 856-589-8883 SPIRIT OF NEW JERSEY New Providence 1 Rockingham Row, 20 East Oakdene Ave. http://terranovarestaurantbar.com 1500 Harbor Blvd. Forrestal Village 201-836-8923 PONTE VECCHIO RISTORANTE Fridays & Saturdays Live Jazz 866-483-3866 At Best Western Murray Hill Inn 609-419-4200 www.saltcreekgrille.com ULTRABAR KITCHEN www.spiritofnewjersey.com 535 Central Ave. Short Hills & COCKTAILS Monthly Jazz Cruise | Call for Dates 908-464-4424 400 Cedar Lane Monthly Jazz Nights 3rd Saturday WITHERSPOON GRILL JOHNNY’S ON THE GREEN 57 Witherspoon Street 201-357-8618 of each month 6:30-9:30 PM 440 Parsonage Hill Road West Orange 609-924-6011 973-467-8882 Tom’s River CECIL’S www.jmgroupprinceton.com www.johnnysonthegreen.com 364 Valley Road Newton Tuesday night jazz 6:30 – 9:30 PM OCEAN COUNTY COLLEGE 973-736-4800 BULA FINE ARTS CENTER cecilsjazzclub.com 134 Spring St. Rahway Somerset College Drive 973-579-7338 SALTWATER’S SEAFOOD 732-255-0550 ARTS GUILD OF RAHWAY AND SOUTHERN CUISINE www.ocean.edu/campus/ FRANKLIN TAVERN www.bularestaurant.com 1670 Irving St. 97-99 Franklin Ave. Fridays 8:00 PM RESTAURANT fine_arts_center 732-381-7511 1991 Route 27 ( Lincoln Highway ) Some Wednesdays 973-325-9899 www.rahwayartsguild.org 732-821-1001 No cover North Arlington 8:00 PM Thursdays 7-9 PM Somerset Jazz Totowa UVA Consortium Open Jam Westfield 602 Ridge Road UNION COUNTY SUSHI LOUNGE PERFORMING ARTS CENTER 16 PROSPECT WINE BAR Friday 7:00 PM 235 Route 46 West 1601 Irving Street & BISTRO Adam Brenner Somerville www.sushilounge.com www.ucpac.org 16 Prospect St. 07090 VERVE RESTAURANT 973-890-0007 732.499-0441 908-232-7320 North Branch 18 East Main St. Sunday Jazz 6 PM (Call for schedule) 908-707-8605 www.16prospect.com NEW ORLEANS FAMILY www.vervestyle.com Jazz on Tue-Wed-Thu | 8 PM RESTAURANT Trenton Raritan Occasional Thursdays 6 PM 1285 State Highway 28 ACQUAVIVA MUGS PUB AND RESTAURANT CANDLELIGHT LOUNGE 908-725-0011 Fridays/Saturdays 8:30 PM 115 Elm St. 73 West Somerset Street 24 Passaic St 7:00 PM 908-301-0700 908-725-6691 South Brunswick www.jazztrenton.com 609-695-9612 www.acquaviva- Nutley Fridays 7 PM JAZZ CAFÉ Saturdays 3 – 7 PM dellefonti.com South Brunswick (Dayton) HERB’S PLACE Red Bank Fridays 7:00 PM AT THE PARK PUB Municipal Complex JOE’S MILL HILL SALOON COUNT BASIE THEATRE 785 Bloomfield Avenue 540 Ridge Road Market & Broad Streets 99 Monmouth St. Woodbridge 973-235-0696 732-329-4000 ext. 7635 609-394-7222 732-842-9000 JJ BITTING BREWING CO. 8:30–11:30 PM [email protected] Occasionally first Friday every month 33 Main Street Oakland ”JAZZ IN THE PARK” $5 admission includes light 732-634-2929 Riverside Park Union www.njbrewpubs.com HANSIL’S BAR AND GRILL refreshments 732-530-2782 SALEM ROADHOUSE CAFE Fridays 9:30 PM 7 Ramapo Valley Rd. 829 Salem Road 201-337-5649 South Orange www.RoadhouseCafe.org Ridgewood SOUTH ORANGE Wood Ridge once per month RUGA’S WINBERIE’S AMERICAN BISTRO PERFORMING ARTS CENTER MARTINI GRILL proceeds benefit charities 4 Barbara Lane 30 Oak Street One SOPAC Way 187 Hackensack St. 201-337-0813 201-444-3700 201-209-3000 973-235-1114 VAN GOGH’S EAR CAFÉ Tuesday thru Saturday 7:00 PM www.selectrestaurants.com Wednesday through 1017 Stuyvesant Ave. Thursdays Piano Jazz/Pop Saturday Fridays/Saturdays Jazz/Pop duos Summit 908-810-1844 Pine Brook SUMMIT UNITARIAN CHURCH www.vangoghsearcafe.com MILAN Rumson 4 Waldron Ave. Sundays 8 PM 13 Hook Mountain Road SALT CREEK GRILLE Sunday $3 cover 973-808-3321 4 Bingham Avenue www.milanrestaurant.com 732-933-9272 Fridays 6:30 PM Stein Brothers www.saltcreekgrille.com

The Name Dropper Recommendations may be sent to [email protected]. 5/7 Bethany Baptist Church Newark presents 6 PM JANE STUART CD Release Party, 4/29, Trumpets in 5/11 & 23 AARON WEINSTEIN Metropolitan Room JACK WILKINS. Montclair, with Dave Stryker. debut in his new club act, “Have Strings, Will Swing,” a MICKEY FREEMAN vocalist, 4/27 Attilio’s, Dover. JAMES L. DEAN 5/15 BIG BAND at Whiskey Cafe, show which combines genial wit and erudition with At Cecil’s West Orange, ERYN SHEWELL blues singer Lyndhurst. Dance lesson 6 PM. spell-binding musicianship. With TEDD FIRTH on piano 5/22; PAM PURVIS & BOB ACKERMAN 5/2, 9, 23; SWINGADELIC 5/2 Maxwell’s, Hoboken NJ 9 PM, and TOM HUBBARD on bass. 34 West 22nd Street 5/15. no cover! www.metropolitanroom.com

May 2011 ______51 c/o New Jersey Jazz Society PERIODICALS Michael A. Katz Time Value Material 382 Springfield Ave., Suite 217 Deliver Promptly Postage PAID at Summit NJ 07901 West Caldwell, NJ Send all address changes and additional to the address above mailing offices

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