Courtesy Photo Courtesy

BMF reconfirms partnership with Arts Inc. Freddie Cole will perform on 2011

Jazz Cruise Jan. 30-Feb. 6. ○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○ ○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—The last File Photo time we caught up with Arts Incor- porated, the non-profit arts manage- October 2010 ment and promotion organization was Vol. 15, Number 4 in a hectic period of transition. It had just moved its offices into 2,000 square feet of newly remod- eled space at 315 S. Ninth St. in the historic Peanut Butter Factory. One In this issue of its primary agencies, the Capitol Jazz Society, had just shifted its Capitol Jazz Society...... 4 twice-weekly performances to a new Jazz Forecast...... 5 venue—the lower level of Brewsky’s Tomfoolery: Jazz Cruise○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ preview...... 6 Food & Spirits at 201 N. Eight St.— after the sudden closing of P.O. “We Always Swing” turns 16...... 7 Pears., where the jazz series had Ahmad Alaadeen memorial...... 8 been housed for many years. Evolution of the jazz “album”...... 9 And the U.S. economy was still The NJO’s 2008 Young Jazz Artist was Hardly Strictly Bluegrass fest...... 10 thrumming along nicely, oblivious to saxophonist Andrew Janak. Trumpeter the monumental greed and misman- Bob Krueger looks on with approval. Bergeron/NJO review...... 13 agement that were about to cause a Valerie Capers Quintet review...... 14 near meltdown of the nation’s finan- Arts Inc. agencies reeled from the Homage to Luigi Waites...... 15 cial system. effects of the Great Recession, the More than two years later, Arts NJO and its other jazz performance Poncho Sanchez review...... 16 Inc. is firmly ensconced in its down- and education programming are on Jazz on Disc reviews...... 17 town Lincoln digs, and Brewsky’s relatively firm financial footing. Jazz Essentials, Part 5...... 22 Aware that finding and retain- Jazz Underground remains home for From the Photo Archives...... 24 the Monday Night Big Band and ing corporate support for jazz remains Wednesday’s Lincoln Jazz Series, a challenge, the Berman Music featuring a variety of small combos. Foundation recently awarded a After a couple of years in which the Nebraska Jazz Orchestra and other Arts Inc. continued on page 2

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File Photo File Bill Stephan, the new Lied executive director, has been aggressive in partnering with Lincoln’s other per- forming arts organizations to their mutual benefit. In an unusual collaborative pub- licity piece, a recent brochure tout- ing “Jazz in Lincoln” was mailed to thousands of area music fans. Co- sponsored by the Lied Center, the NJO, the Capitol Jazz Society, the University of Nebraska-Lincoln School of Music, Nebraska Wesleyan University and the Berman Music Foundation, it details seven major jazz performances, plus sched- ules for the Capitol Jazz Society, The Nebraska Jazz Orchestra has featured many great soloists, including UNL jazz ensembles and faculty re- trombonist Bill Watrous.

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The BMF Newsletter is published online at: www.bermanmusicfoundation.org The offices and museum of The Berman Music Foundation are in the Skylight Gallery, The Burkholder Project, 719 P St., Lincoln, NE 68508.

Editor and Designer: Tom Ineck

The popular Brewsky’s Jazz Underground is the Capitol Jazz Society venue for Contributing writerswriters: Tom Big Band performances on Mondays and small combos on Wednesdays. Ineck, Grace Sankey-Berman, Dan DeMuth and Jesse Starita

Photographers: Tom Ineck, citals, the Wesleyan jazz ensemble Through “Jazz Goes to School,” Grace Sankey-Berman, Jesse and the Wesleyan summer jazz camp. members of the NJO visit elemen- Starita, courtesy and file photos It is the kind of joint effort that bodes tary and middle schools in small com- For inclusion of any music- well for the future of Lincoln’s jazz bos to perform for students, giving related events, letters to the scene. them a better understanding of jazz editor or suggested articles, “This is a result of Bill’s efforts history and the role that each instru- mail them to the office, call (402) to reach out a little more in the com- ment plays in the music. The annual 261-5480 or e-mail munity, collaborative events at the Nebraska Jazz Camp is a week-long [email protected]. Lied with other organizations,” Haist intensive program for young jazz mu- To be added to our mailing list, said. “It’s not that those weren’t sicians—middle school to college— call (402) 261-5480 or e-mail there in the past, but it’s a very dif- allowing them to work individually [email protected]. ferent situation. We’re hoping that it with professional jazz musicians and will be good for their organization participate in big bands, combos and The Butch Berman Charitable Music and ours.” jam sessions. Classes include jazz im- Foundation is a non-profit, tax BMF funding will support the provisation and theory, standard jazz exempt, 501(c)(3) private NJO’s educational programs, which literature and electronic music. foundation recognized by the ranges from the annual Young Jazz “That is good news for us. It’s Internal Revenue Service and Artist Competition and Young Lions one of the few organizations where the Nebraska Department of Revenue. It was established in all-Star Band to “Jazz Goes to we have some hope of increased the spring of 1995 to protect School” and the Nebraska Jazz support as opposed to losing support,” and promote unique forms of Camp, held every summer at Haist said of the BMF’s enhanced American music. Wesleyan. The young artist compe- sponsorship. “We lost three or four tition awards cash prizes to a winner significant sponsors in a year-and-a- Trustee: Tony Rager and runner-up after an audition. The half period that aren’t coming back. Consultants: Grace Sankey- winner also performs a solo with the We’ve pulled back on some of edu- Berman, Russ Dantzler, Kay NJO in concert. The Young Lions is cational outreach, in terms of pre- Davis, Dan DeMuth, Tom Ineck, a big band comprised of young mu- senting things in schools where there Gerald Spaits, Leslie Spaits and sicians selected by audition who re- wasn’t financial support for it. We’ve Wade Wright hearse and perform with the NJO really just focused on trying to stay and a guest artist. alive, trying to generate revenue.”

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Capital Jazz Society furthers education ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—Two recent Omaha area and plays with the U.S. reminiscent of Pete Christlieb. “April Wednesday night performances at Air Force Heartland of America band. Mist” was a breezy Latin number that Brewsky’s Jazz Underground caught The quartet dug into some well- provided a nice platform for Helfand’s our attention as the intimate lower-level worn jazz standards with energy and imaginative percussion work. venue continues to host some lively Lin- expertise, including “Alone Together,” Carlini’s approach was more im- coln Jazz Series small combo sessions. “All Blues,” “I Remember You,” “Bye provisational, with unusual key changes On Sept. 15, guitarist and harmonic variations, even Peter Bouffard fronted a Tom by Photos Ineck on otherwise conventional quartet also featuring saxo- standards, like “You Don’t phonist Paul Haar, bassist Know What Love Is,” which Jeffry Eckels and drummer the quartet treated as a bossa Steve Helfand. On Oct. 20, nova. Carlini’s quirky creativ- keyboardist extraordinaire ity gave a funky shuffle beat John Carlini led his quar- to Fats Waller’s venerable tet, with Tommy van den “Jitterbug Waltz” and re-lo- Berg on trombone, Sean cated Kurt Weill’s “Septem- Murphy on bass and John ber Song” to a New Orleans Scofield on drums. street parade. Bouffard’s outfit Scofield’s percussion tended to embrace the more Peter Bouffard, Jeffry Eckels, Steve Helfand and Paul skills were on display through- scholarly and classic post- Haar at Brewsky’s Jazz Underground. out the evening, especially dur- bop conventions, not unex- ing an extended solo on the pected considering the impressive edu- Bye Blackbird,” and the Charlie Parker Miles Davis classic “Nardis,” lively cation credentials of the players. All but burner “Confirmation.” “Solid,” a slow, drum breaks on a mid-tempo rendition Helfand are professors of their instru- swinging blues shuffle, featured Haar of Cole Porter’s “I Love You,” some ments at the University of Nebraska- on tenor sax taking the melody and slinky Latin syncopation on “Softly, As Lincoln School of Music. Eckels, the pinching off some high notes in a solo. in a Morning Sunrise,” and a little out- most recent addition, took over the UNL Eckels proved a capable composer side exploration on a typically twisted bass chair after Rusty White retired. and arranger on “Upper Fargo,” a tech- Carlini arrangement of “It Ain’t Nec- Helfand is a private instructor in the nical workout with Bouffard demon- essarily So.” Van den Berg and Murphy, strating Pat Metheny- the juniors by a couple of decades, held style tone and pro- their own despite the musical challenges gressions with for- that Carlini repeatedly introduced. The ward-leaning inten- versatile keyboardist never settles for sity. “The Newness of the merely conventional and revels in You,” another Eckles the unexpected, always with a mischie- original, was an obvi- vous glint in his eyes. ous variation on “The All performances sponsored by the Nearness of You,” a Capitol Jazz Society, both Monday soulful swinger with Night big bands and Wednesday night echoes of Mancini’s combos, are 7:30 p.m. to 10 p.m. Gen- “Pink Panther” eral admission is $5, and student admis- theme. Haar laid sion is just $4. John Carlini, Sean Murphy, Tommy van den Berg and down a greasy, swag- John Scofield at Brewsky’s. gering tenor solo

October 2010 Page 5 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Jazz Forecast

Jazz weather report for Lincoln and Omaha ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

To provide our readers—espe- Photo Courtesy band cially those who are also patrons of live Friday, Feb. 18, Julian Lage Group, music—with news they can use, this is jazz guitar the first edition of an ongoing series Saturday, Feb. 26, Karrin Allyson called Jazz Forecast, in which we will with the UNO Jazz Ensemble list upcoming performances in Lincoln, Saturday, May 21, Miguel Zenon, Omaha and beyond. saxophone In addition to concerts by the Ne- Capitol Jazz Society, braska Jazz Orchestra and at the Lied Brewsky’s Jazz Underground, 201 Center for Performing Arts, we will in- N. Eighth St., Lincoln, 7:30 p.m. clude performances at the Holland Branford Marsalis and Terence Monday, Nov. 15, Monday Night Blanchard will perform Feb. 25. Center and other venues in Omaha, plus Big Band, Dean Haist, director the Lincoln Jazz Society schedule and Wednesday, Nov. 17, Marc some of the University of Nebraska- Lied Center, 301 N. 12th St., LaChance Combo, Lincoln Jazz Series Lincoln recitals, especially those fea- Lincoln, 7:30 p.m. Monday, Nov. 29, Nebraska turing special guest soloists. Let us Saturday, Dec. 11, “Swingin’ Bells Wesleyan University Jazz Ensemble know if there is other information you of Christmas,” featuring the Boston Special Event, Wednesday, Dec. would like us to feature on this occa- Brass and Brass All-Stars Big Band 8, Group Sax, Lincoln Jazz Series sional jazz calendar. performing Stan Kenton jazz carols UNL Jazz, Sheldon Museum of Nebraska Jazz Orchestra, Friday, Feb. 25, Branford Art or Westbrook Music Building, Cornhusker Marriott, 333 S. 13th Marsalis, saxophone, and Terence University of Nebraska-Lincoln

St., Lincoln, 7:30 p.m. Blanchard, trumpet Photo Courtesy City Campus Tuesday, Dec. 14, “Christmas & Friday, March 18, Tuesday, Dec. 7, All That Jazz,” featuring Melissa Lewis, Count Basie Orchestra 7:30 p.m., Sheldon Mu- vocalist Friday, April 29, seum of Art, “Thad, Mel Friday, Feb. 18, “Live from New “Simply Sinatra,” featur- and the VJO,” featuring York,” featuring Scott Robinson, wood- ing vocalist Steve Lippia Jazz Ensembles I and II, winds, and the 2011 Young Lions All- Kiewit Hall (Hol- with guest soloist Scott Star Band land Center), 1200 Wendholt, Vanguard Jazz Tuesday, April 26, “Ace of Bass: Douglas St., Omaha Orchestra trumpeter The Music of Jaco Pastorius,” arranged Friday, Nov. 19, 8 Tuesday, Feb. 8, 7:30 by Peter Graves and featuring bassist p.m., “To Billie with p.m., Sheldon Museum of Andy Hall and the 2011 Young Jazz Love—a Celebration of Art, UNL Jazz Faculty Artist Winner Lady Day,” with vocalist Miguel Zenon Thursday, March Dee Dee Bridgewater 31, 7:30 p.m., Kimball Courtesy Photo Courtesy Saturday, Feb. 5, 8 p.m., Jazz at Hall, Jazz Ensembles I and II with Ray Lincoln Center Orchestra with Wynton Anderson, featured guest trombonist Marsalis Friday-Sunday, April 1-3, 5th An- Thursday, April 14, 7:30 p.m., nual Honor Jazz Weekend with Ray Stefon Harris and Blackout Anderson, featured artist Club 1200 (Holland Center), Friday, April 29, 7:30 p.m., Kimball 1200 Douglas St., Omaha, 8 p.m. Hall, “Tree Lines: The Music of Chris- Saturday, Dec. 11, Sachal tine Jensen,” Jazz Ensembles I and II Vasandani, singer with Christine Jensen and trumpeter Bassist Andy Hall Saturday, Jan. 22, Bonerama, funk Ingrid Jensen, guest soloist

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2011 Jazz Cruise promises total immersion ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

While covering almost ev- who will perform with others on ery performance of the now-de- the roster include reed players funct Topeka Jazz Festival— Harry Allen, Ken Peplowski, which ran its course from 1998 Wessell Anderson, Jon Gordon, to 2005—it became abundantly Grant Stewart and Gary clear that total immersion is the Smulyan, trumpeters Brian best way to enjoy live jazz. Lynch, Terell Stafford, Bob Every Memorial Day week- Millikan and Gilbert Castellanos, end dozens of world-class jazz trombonists Wycliffe Gordon, musicians and hundreds of fans John Fedchock, John Allred and shared the same performance Jennifer Wharton, guitarist spaces, the same dining room Bucky Pizzarelli, pianists Shelly tables and the same hotel, often Berg and Bill Mays, singers Jane bumping into each other in the lobby, in Monheit, Dena DeRose, Clairdee and the parking lot or strolling on the side- Anita Rosamond, bassists Jay Leonhart, walks of downtown Topeka. After a Tom Kennedy and Kristin Korb and while, we began to think of this captive drummers Butch Miles, Chuck Redd audience—and these captive musi- and Ernie Adams. cians—as part of a brotherhood and sis- The mind boggles. Aside from the terhood, a close-knit fraternity that immense musical talent represented by lacked only a secret handshake to con- this list of performers, the mere pres- firm our exclusive status. Jeff Hamilton ence of George Wein on the ship is I still miss those experiences, but noteworthy. At 85, Wein is the foremost I hope to recreate an approximation of Cay, Bahamas, with stays of 12 to 16 jazz impresario in the world and the fa- them on The Jazz Cruise, embarking hours in each port of call, enough time ther of the jazz festival tradition. A well- Jan. 31 from Fort Lauderdale, Fla., and to leave the Holland America ship on regarded pianist, he studied under the returning Feb. 6, a full week on the shore excursions to shop, see the sights, tutelage of Teddy Wilson at Juilliard. In Caribbean with more than 50 great and recover your land legs. Two days 1950, he opened the jazz club Storyville musicians aboard, many of whom were will be spent at sea. Of course, this in Boston, which eventually led to es- regulars in Topeka during the festival’s means we will have plenty of time on tablishing the Newport Jazz Festival in golden years. board, listening to jazz and visiting with 1954. In 1960 he launched Festival Pro- The 10th annual cruise has sched- fellow jazz buffs and musicians. ductions Inc. Since then he has pro- uled stops in Nassau, Bahamas; San This brings me to the musicians duced some 30 jazz festivals worldwide. Juan, Puerto Rico; St. Maarten, who are booked for the cruise. Chief Concert and record producer Netherland Antilles; and Half Moon among them are groups fronted by Todd Barkan also will be among the saxophonists Houston Person, trum- peter Randy Brecker, bassist John Clayton and saxophonist Jeff Clayton, singers Freddie Cole, Janis Siegel, Nnenna Freelon and Jamie Davis, drummers Lewis Nash, Jeff Hamilton and Tommy Igoe, and guitarist Bobby Broom, plus the George Wein Newport Jazz All-Stars. Wycliffe Gordon But that’s not all. Individual artists Ken Peplowski

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guests. From 1972 to 1983, he was the inclusion of hilarious jazz hipster Pete room with tub and shower, a sitting area owner and artistic director of the leg- Barbutti. A versatile jazz musician, he and a private verandah with floor-to- endary Keystone Korner jazz club in is best known for his frequent appear- ceiling windows. Ergonomic design San Francisco. Among the recordings ances on the TV talk-show circuit, in- makes the most of every square inch. made there is the classic “Bright Mo- cluding more than a dozen times on Cruise officials assured me that no deck ments” by Rahsaan Roland Kirk. In all, “The Tonight Show” with Johnny is better than another for access to live he has produced more than 800 jazz Carson, as well as visits with Jay Leno, music, with venues positioned through- recordings for labels in the U.S., Japan David Letterman and Merv Griffin. out the ship. This promises maximum and Europe. Since October 2004, he has We booked a somewhat secluded enjoyment with minimal effort! been the programming director for rear stateroom on the Navigation Deck, For more information, visit Dizzy’s Club Coca-Cola at New York the eighth deck of the 11-deck m/s www.thejazzcruise.com. Expect a full City’s Jazz at Lincoln Center. Noordam. Just 254 square feet, the report with lots of photos in our April Comedy also is on the bill with the cabin features a queen-size bed, bath- 2011 newsletter and website update.

Feature Story

“We Always Swing” jazz series celebrates 16th ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Like the Berman Music Foun- to recording some 10 Photo Courtesy Bobby Watson and Ho- dation in Lincoln, Neb., the “We Al- CDs as leader. The BMF rizon, vibraphonist Stefon ways Swing” Jazz Series of Columbia, plans to cover the 3:30 p.m. Harris, saxophonist Mo., is celebrating 16 years of promot- Sunday matinee and re- Branford Marsalis, the ing and presenting jazz music in the port on the concert in the Clayton Brothers Quintet heartland. Both organizations also share January newsletter and and trombonist Conrad a common purpose in jazz preservation website update. Herwig. and education. Additional concerts “We Always Founded in 1995 by jazz journalist in the series include a Feb. Jon Poses Swing” also has pro- Jon Poses, the not-for-profit corpora- 1 appearance by bassist duced a couple of CDs, tion has maintained an annual series of Stanley Clark and pianist Hiromi at The including “Home: Live in Columbia, Mis- concerts featuring world-class jazz Blue Note, a Feb. 13 performance by souri,” documenting a June 2009 house musicians at various venues in the Co- the Ellis Marsalis Quartet in the Windsor concert by pianist Bruce Barth and lumbia area, which is about 5½ hours Ballroom at the Holiday Inn Select, two saxophonist Steve Wilson, and “Soulful drive from Lincoln. shows Feb. 20 by trumpeter Ray Vega’s Serendipity” with saxophonist Bobby The current season began Oct. 10 Latin Jazz Quintet at Murry’s, the Anat Watson and the late pianist James Wil- with two performances by the Tierney Cohen Quartet March 12 at The Blue liams. Sutton Band at Murry’s jazz club. It Note, the Lynn Arriale Quartet featur- “We Always Swing” receives sup- continues Nov. 17 with the Alfredo ing trumpet great Randy Brecker and port for its jazz series operations from Rodriguez Trio at The Columns Ball- the MU Concert Jazz Band April 7 at ticket revenue, the Missouri Arts Coun- room at the University Club in the The Blue Note, two performances by cil, and the City of Columbia through Reynolds Alumni Center at the Univer- the Danilo Perez Trio April 17 at the Office of Cultural Affairs’ Commis- sity of Missouri. Murry’s, and two shows by husband- sion for the Arts. Additional funding is The Joey Calderazzo Trio—also and-wife piano duo Bill Charlap and secured from the National Endowment featuring bassist Orlando le Fleming and Renee Rosnes, May 1 at Murry’s. for the Arts and gifts from a variety of drummer Donald Edwards—will give Due to poor health, 89-year-old national, regional and local corporations two performances Dec. 5 at Murry’s, piano legend Dave Brubeck had to can- and businesses, as well as through the an intimate club and restaurant at 3107 cel an Oct. 16 quartet performance. generous tax-deductible contributions Green Meadows Way. Calderazzo was During the 2009-2010 season, art- from individuals. pianist in the Branford Marsalis Quar- ists included guitarist Pat Martino, bass- For more information, visit http:// tet for more than a decade, in addition ist Christian McBride, singer Kurt Elling, www.wealwaysswing.org.

Page 8 Berman Music Foundation Jazz

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Ahmad Alaadeen dies Aug. 15 at age 78 ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

We at the Berman Music Photos File Foundation received the news of Ahmad Alaadeen’s death Aug. 15, at age 76, with great sadness. We last wrote about him in August 2009, on the publication of his jazz instruction manual, “The Rest of the Story,” funded by the BMF. Grace Sankey- Berman attended the book-signing Clockwise from lower left, Alaadeen event in Kansas City, Mo., which also th and Butch Berman, Alaadeen plays at celebrated Alaadeen’s 75 birthday. 2005 Topeka Jazz Festival and The BMF’s relationship with Alaadeen and Fanny Dunfee at book Alaadeen goes back to at least De- signing in August 2009. cember 1998, when the foundation brought the saxophonist and educa- sity. He served in the military from tor to Lincoln for a series of work- 1957 to 1959, performing as the jazz shops at the University of Nebraska- saxophonist and principle oboist with Lincoln School of Music. In August the 4th Army Band. After his dis- 1999, the BMF flew Alaadeen to New charge, Alaadeen spent time in Chi- York City to play soprano sax on the cago, playing in a program led by pia- title track of Norman Hedman’s CD nist-composer Richard Abrams that “Taken by Surprise,” a part he nailed was the beginning of the acclaimed on the first take! Butch Berman also Association for the Advancement of booked Alaadeen and his band at the Creative Musicians (AACM). Other 2005 Topeka Jazz Festival—for which members included trumpeter Lester Butch was artistic director—and a Bowie and bassist Malachi Favors. month later at the 2005 Jazz in June The saxophonist picked up a lot series in Lincoln. of experience living and playing in Along the way, we reviewed two New York, Chicago, Denver, Hous- Alaadeen recordings, 2005’s “New is all about.” ton, San Antonio and St. Louis. In Africa Suite” and the 2008 collection Of “New Africa Suite,” I wrote addition to McShann, he worked in of jazz ballads, “And the Beauty of It at the time of its release, “On both countless settings, including stints with All,” one of the last pieces written by tenor and soprano saxophones, Miles Davis, Billie Holiday, Ella Butch before his death on Jan. 31, Alaadeen’s sound most closely re- Fitzgerald, the Count Basie Orches- 2008. Of Alaadeen and the CD, he sembles the African-influenced ex- tra, the Glenn Miller ghost band un- wrote, “He’s a beautiful cat, spiritual cursions of John Coltrane, Pharoah der the direction of Tex Beneke, Della and a deep thinker whose musical tal- Sanders, Archie Shepp and other pro- Reese, Eddie “Cleanhead” Vinson, T- ent has great healing potential as well gressive players of the mid-1960s. Bone Walker, Claude “Fiddler” Will- as being most entertaining. Alaadeen Like Coltrane, Alaadeen’s music con- iams and with R&B stars Rufus Tho- captures what is most essential in the tains a deep, warm current of spiritu- mas, Carla Thomas, Gladys Knight, treasured art form we call jazz. I rec- ality and universal brotherhood.” Smokey Robinson, the Temptations, ommend it for lovers only, as it totally A Kansas City native, Alaadeen Four Tops and Sam Cooke. transcends from the heart into our studied flute at the Kansas City Con- Alaadeen died after a long battle systems, making us, the listeners, truly servatory of Music, and oboe at St. with bladder cancer. He is survived appreciate what ‘the beauty of it all’ Mary’s College and DePaul Univer- by his wife Victoria “Fanny” Dunfee.

October 2010 Page 9 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Colorado Correspondent

Evolution of the jazz “album” is still debated ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Dan DeMuth ○○○○○○○○

The term “album” has been con- tinuously used up to and through the latest recording technology to describe a collection or compilation of musical renderings. Endless discussions have revolved around various types of mu- sic as to who or what was the “first,” serving no purpose other than to stir the passions of aficionados who are into this type of thing. Which leads to the ques- tion: “What was the first jazz album?” The inside cover features a nice In a recent article in the National photo montage of the various artists and Endowment of the Arts Award Jour- includes a 12-page booklet with brief nal, and in Max Kaminsky’s autobiog- bios of each artist and reviewer notes raphy “My Life In Jazz,” reference is and historical ruminations by critic made to a particular album. These George Avakian, who at the time was sources credit the “Chicago Jazz” 78 a writer for Tempo magazine and a rpm set produced by the fabled Milt member of the advisory board of the Gabler, recorded by a variety of musi- Hot Record Society. A brief quote from cians from August 1939 through Janu- his notes may help to explain the thrust ary 1940 and released on Decca album of the album as well as the era involved. #121. Gabler, the proprietor of the Com- on bass and Dave Tough on drums. “The purpose of this album is to modore Record Shop on 42nd Street in set down on wax once more a type of New York City, later became famous Jimmy McPartland’s group: music played in the twenties by a small by producing artists for recordings on “Jazz Me Blues/China Boy,” “Sugar/ group of young white musicians in Chi- his own Commodore label that are still The World Is Waiting For The cago,” Avakian writes. “What they sought after by collectors. At the time Sunrise” played has come to be known as Chi- this album was put together he was This group is comprised of Floyd cago style and is recognized as the working as the A&R man for Decca. Bean on piano, Boyce Brown on alto greatest advance of white musicians in Despite the title, only four of the 12 ses- sax, Bud Jacobson on clarinet, the essentially colored art of hot jazz.” sions were recorded in Chicago, the rest McPartland handling the trumpet with Lest too much is read into this in New York. Three groups were used, brother Dick on guitar, Jim Lannigan comment, the reader should remember their nominal leaders being Eddie on bass and Hank Issacs on drums. that at this time the references to the Condon, Jimmy McPartland and artist’s race were more to delineate George Wettling. The album includes: George Wettling’s group: rather than denigrate the different styles “(I Wish I Could Shimmy Like My) and were actually a compliment to the Eddie Condon and his guitar: Sister Kate/Bugle Call Rag,” “The black musicians. A later Decca album, “Nobody’s Sweetheart/Friars Point Darktown Strutters Ball/I Found a “An Anthology of White Jazz,” rein- Shuffle,” “Someday Sweetheart/ New Baby” forces that statement. There’ll Be Some Changes Made” This group features Jess Stacy on So, first jazz album? I’m not sure. These recordings feature Joe piano, Joe Marsala on tenor sax, Danny Perhaps the BMF resident hot jazz en- Sullivan on piano, Bud Freeman on tenor Polo on clarinet, Charlie Teagarden on trepreneur, Russ Dantzler, could weigh sax, Pee Wee Russell on clarinet, Max trumpet, Floyd O’Brien on trombone, in on this. Regardless, it’s amazing when Kaminsky on trumpet, Brad Gowans Jack Bland on guitar, Artie Shapiro on one thinks of the tens of thousands that on valve trombone, Clyde Newcomb bass and Wettling on drums. followed “the first.”

Page 10 Berman Music Foundation Jazz

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Hardly Strictly fest is most definitely wonderful ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Grace Sankey-Berman ○○○○○○○○○○○○○○○○

SAN FRANCISCO—The Hardly Strictly Bluegrass Festival be- gan 10 years ago when billionaire War- ren Hellman threw a birthday bash for his wife, an event attended by an esti- mated 15,000-20,000 people. It went so well that he decided to make it a free annual event for the public. An esti- mated 600,000 people attended this year’s festival, Oct. 1-3. It was my first time at the festival, Dukes of September Rhythm Revue featured Donald Fagen (melodica), Michael which is held at Golden Gate Park. McDonald (keys) and Boz Scaggs (guitar). Access to the venue was easy with a variety of public transportation that the band was scheduled to end its set cals, and Michael McDonald on keys takes you right to the site. On opening at 7 p.m., so we only had an hour to and vocals, who wowed the crowd with day, armed with maps, programs and soak up all the music and the great vibe old favorites like “What a Beautiful lots of information provided by our good that was everywhere. We heard crowd World This Could Be,” “Taking It to the friend and great host Wade Wright, my favorite Boz Scaggs on guitar and vo- Streets” and “Something in the Air,” by friends and I road a jam-packed bus to Thunderclap Newman. The whole band the park, where three of the six stages Berman Sankey Grace by Photos was swinging, backed by Kathryn were already set up and the festival was Russell and Caroline Lenard who took in full swing with what seemed like an us to church on vocals. They closed the endless sea of people. The Meadows first night with Steely Dan’s “Reelin’ in area provided a beautiful setting with the Years.” ample shade. Sunday was beautiful and we With some help from police offic- were determined to take in as much ers and the very helpful information music as we could on the festival’s fi- center, we easily got our bearings and nal day. There were many great acts, found a great spot at the Banjo stage, but we really wanted to see Patti Smith, where the Dukes of September Rhythm Elvis Costello, and Sharon Jones and Revue featuring Donald Fagen, the Dap-Kings. Unfortunately, they Michael McDonald and Boz Scaggs were scheduled to play on different were playing. It was about 6 p.m. and Elvis Costello and his bass player stages, with Sharon Jones closing the festival at the Rooster Stage. We chose to see Costello at the Star Stage since he and Smith were scheduled to play about the same time. Costello was a huge draw, so it was difficult to navi- gate the crowd. We managed to find a precious piece of real estate in the shade, but we were too far from the stage to enjoy the music. Before long even the pathway was packed with fans. We decided to relocate to the Elvis Costello (with hat) and his band drew a huge crowd at the festival. Rooster Stage to stake out a good spot

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before Sharon Jones took the stage. We were lucky to find a picnic table about midway to the stage, where Rosanne Cash was playing. She was not an exception—like most of the bands at the festival, she played and sounded great, performing a moving rendition of “One Too Many Morn- ings,” a duet recorded by her late fa- ther Johnny Cash and Bob Dylan. Af- terwards she said, “When done right, great songs last forever,” and jokingly Rosanne Cash and her band performed “One Too Many Mornings.” said she was pleased the crowd chose to see her instead of Costello. She also Kings. Jones is finally enjoying cross- had her daughter join her on stage for a over success after years of hard work chorus. in the music industry. For over a de- Next was Nick Lowe. I moved cade she worked as a backup singer closer to the stage hoping to take a good and studio musician and toured con- picture. A gentleman offered me a chair, stantly with her band. Despite great where I settled down to enjoy the mu- critical acclaim, over the years com- sic. This veteran English performer of mercial success was limited, but she more than 40 years did not miss a beat. gained a cult following around the coun- He masterfully delivered some of his try and especially in Europe. In recent great hits including “The Book About years, Sharon and the Dap-Kings have My Love,” “I Knew the Bride When enjoyed critical and commercial suc- She Used to Rock ‘n’ Roll,” and cess with their gritty, soulful and funky “(What’s So Funny About) Peace, Love sound. In 2009, she got a lot of notice and Understanding,” all to the delight when her rendition of Woody Guthrie’s of fans who sang along with him. “This Land Is Your Land,” was fea- When he sang “Cruel to Be Kind,” they Nick Lowe sings and strums guitar. tured in the soundtrack of the movie erupted with applause, and he teased, “Up in The Air,” starring George saying, “Oh, you just came to hear the was decades ago. Clooney. hits.” Lowe continues to deliver great The closing act of the festival was Jones was introduced as “The music that remains as fresh today as it headliners Sharon Jones and the Dap- Fireball of Soul.” Most of the people were on their feet even before she came on the stage and remained standing for the duration of the concert. She strut- ted and danced all over the stage as if possessed. Her vocals were electrify- ing, at times sounding and moving like a female James Brown. She delivered the lyric to her songs with conviction, re- minding me of the great gospel singer Shirley Caesar, who, like Sharon Jones and James Brown, hails from Georgia. The emotion she displays in her songs makes you hang on every lyric and move along with every beat. Her backup singers harmonized and moved like The Supremes and the rhythm sec-

Sharon Jones (“The Fireball of Soul”) and the Dap-Kings were festival favorites. Hardly Strictly cont. on page 12

Page 12 Berman Music Foundation Jazz

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Hardly Strictly cont. from page 11 It was heart-warming to see people share their space, their blankets and their tion and horns had a sound that reminded chairs. Occasionally, there was too me of James Brown’s band. much smoke in the air, but you could Jones successfully captured soul easily get away from it if you wanted. and funk music as it was back in the The festival food was great, the ’60s and ’70s, but still making it uniquely kind of healthy fare you will find at a her own. I am grateful to Tom Ineck farmers market. I had artichoke hearts for suggesting that I check out Sharon with white sauce, crabmeat and shrimp Grace Sankey-Berman (right) makes a Jones and the Dap-Kings. It was worth new friend at the festival. that was not like any typical festival going to the festival just to discover this food—fresh and delicious. And if you musical gem. Some sat in to play as guest artists, even didn’t want to buy from the vendors, Throughout the festival I was im- if they were not scheduled to do so. you could bring your own food and bev- pressed with the diversity of music and One of those instances was when The erages, even alcohol. the caliber of musicians who played to Punch Brothers played with Elvis Go to the festival early to find a tens of thousands of appreciative fans Costello and Steve Earle. Sometimes good spot and stay at one stage. Be- at each stage. The name of the event they just stood backstage to simply ap- cause of the large crowds, it takes too says it all: the Hardly Strictly Bluegrass preciate each other’s performances. much time to move from one stage to Festival featured country, jazz, blues, Highlight acts included festival founder another and you miss out on great mu- rap, and rock ‘n’ roll—with a wide range Warren Hellman himself playing the sic in the process. There is so much of acts that included the unconventional banjo and Steve Martin, the actor, who great music, but you can’t hear it all. Patti Smith, Emmylou Harris, Randy played banjo with his band, the Steep And whatever stage you choose to stay Newman, Elvis Costello, Lyle Lovett, Canyon Rangers. at, you will hear plenty of good music. the Ebony Hillbillies, the sensational The crowd was friendly, eclectic Thanks to Warren Hellman for Sharon Jones and the Dap-Kings and and sometime colorful. From hippies to giving the gift of great music to every- even MC Hammer. yuppies, young and old people, families one. It was also refreshing to not see The musicians clearly enjoyed with kids and even pets, some dancing, any obvious business ads. being part of this phenomenal festival. laughing, and sharing food and drinks.

Faces of the Festival

October 2010 Page 13 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

Bergeron dazzles audience of 600 at Lied ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—When trum- established by Tom Harvill’s piano Bergeron’s wacky, deadpan hu- pet great Wayne Bergeron appeared riffing. Bergeron contributed another mor emerged several times during the with the Nebraska Jazz Orchestra a solo of diamond-hard clarity, and other performance, as when he responded to year ago, he was sidelined by a serious notable solos came from Wallace on the band’s tuning up with, “It’s close lip injury that required the help of a ca- tenor and Todd Thatcher on trombone. enough for jazz.” Thanking NJO mu- pable young protégé who traveled with A Tom Kubis arrangement of sic director Ed Love for a wonderful him. On Bergeron’s return for an Oct. “You Go to My Head” featured five dinner and drinks at a local eatery the 15 performance with the NJO at the flutes setting the mood for Begeron’s night before, he said, “I don’t want you Lied Center for Performing Arts, no one mellow lead on flugelhorn, which he to think we had too much to drink, but it in the audience of 600 could have then alternated with trumpet for a soli sure feels good to be back in clothes.” doubted that he had fully recovered his passage with the sax section as the tune Before Bergeron took the stage embouchure, a trumpeter’s most val- accelerated. After an incisive tenor sax for the first set, the NJO warmed up ued possession. solo by Paul Haar, Bergeron returned with “Slauson Cutoff, a Tom Kubis tune In two dynamic sets of high-note, to the theme on flugelhorn, that featured Haar and high-speed virtuosity, he wowed the traded to Haar for another Wallace on tenor saxes, crowd with his dazzling technique and statement, then came back and a medley of familiar a set of big-band charts that challenged on trumpet for a mind-bog- Henry Mancini melodies everyone in the 17-piece ensemble. gling, high-altitude cadenza. expertly arranged by gui- From the downbeat of Allen Carter’s After a brief respite while tarist Peter Bouffard, in- “Ridin’ the ‘E’ Train,” Bergeron jumped the NJO performed cluding “The Pink Pan- in with the melody then soloed in a clus- Benson’s bebop waltz ther,” “A Shot in the Dark,” ter of bright high notes played with as- “Donn Lee,” the trumpeter “Moon River” and “Peter tounding power and precision. A Bill returned for perhaps the Gunn.” Using a guitar syn- Liston arrangement of “Waltz of the most astonishing perfor- thesizer to great effect, Flowers” turned the classical “Nut- mance of the evening, a Bouffard added the sounds cracker” favorite into a swinging jazz complex, rocking arrange- Wayne Bergeron of vibes, accordion and har- waltz, featuring fellow Maynard ment of “Besame Mucho” monica to the mix. The Ferguson alumni Bergeron on trumpet in which the ensemble excelled with abundant use of flutes gave much of and Matt Wallace on tenor sax. great facility as it kept pace. the medley a light, airy quality, at least “High Clouds and a Chance of “Rhythm Method,” another until the entrance of the horn-rocking Wayne” is the comical title for a mid- uptempo Kubis arrangement, had juggernaut “Peter Gunn,” with a swag- tempo blues composed for Bergeron by Bergeron essaying a slightly more sub- gering Matt Wallace tenor sax solo. friend Tom Kubis. It began with five dued sound using a Harmon mute. Ed The NJO brought a little levity to trumpets wailing in a breathtaking soli Love on soprano sax joined the trum- the occasion by beginning the second passage and featured Scott Vicroy on peter for a unison passage then soloed, set with a swinging Eric Richards ar- baritone sax and Mark Benson on alto. followed by solos from Bergeron and rangement of “Dear Old Nebraska U,” Bergeron turned in some stunning varia- Haar on tenor sax. The band returned jokingly referred to by Ed Love as “the tions during his solo, ending the first set to the theme with Bergeron on open national anthem.” with a typically grand flourish. horn joined by the saxes, leading to a With its high-profile concert per- On Bergeron’s return to the stage fine drum solo by Greg Ahl. The en- formance at the Lied Center—a more in the second half, he chose another core was a trumpet face-off between prestigious venue than the band’s usual favorite, “Friend Like Me,” from the Bergeron and Bob Krueger on the hotel ballroom setting—the NJO began Disney movie “Aladdin.” Originally ar- bluesy “Maynard & Waynard,” an ob- its 35th year with great flair and a level ranged for trumpeter Arturo Sandoval, vious tribute and stylistic nod to the late of respect its history and its veteran it received a Latin treatment with a beat master of the high-note trumpet. players deserve. Salute!

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Capers Quintet suffers from lack of vocals ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

CRETE, Neb.—The Berman Capers has a longtime en- Tom by Photos Ineck Music Foundation was the only mu- semble of players she can sic or news organization present for the trust to make up the dif- return of the world-class Valerie Ca- ference—reed virtuoso pers Quintet to Doane College Oct. 9, Alan Givens, guitarist and if it hadn’t been for a couple of e- Mark Marino, bassist John mail alerts just two days before the con- Robinson and drummer cert, we might have missed it, too. Earl “Boom Boom” Will- It was the fourth time the BMF iams. They all were in top has covered Capers at Doane, in addi- form on Oct. 9 at tion to appearances in February 1998, Heckman Auditorium. Suffering from laryngitis, Capers spoke briefly from February 2000 and September 2003. As always, the band Braille notes. The performance had all the hallmarks began with a rousing of the band’s typical, well-rehearsed “Take the A Train,” with Givens taking and Capers’ quintet did it justice, from repertoire—with one unfortunate ex- the lead on tenor sax and quoting from a solemn and powerful opening state- ception. Still capable of holding her au- “Exactly Like You.” Marino’s solo re- ment by Givens on tenor, followed by a dience spellbound with her piano tech- minded us how much his style owes to mournful bowed bass solo, Capers’ nique, Capers suffered from a bad case Wes Montgomery, using leaping octaves gospel-flavored piano and a guitar solo of laryngitis and was barely able to to heighten the excitement level. that segued back to Givens on tenor. It speak, let alone sing. When in good Robinson’s briskly articulated bass solo was a stunning performance. health, her voice is reminiscent of reflected his classical background. Ca- The mood brightened for a brisk Shirley Horn or Ella Fitzgerald in her pers continued with a bluesy, swinging arrangement of Juan Tizol’s “Caravan.” later years, and she sings in French and rendition of the Bobby Timmons clas- Piano and bowed bass created an ex- Portuguese as convincingly as English. sic, “Moanin’.” We especially missed otic ambience, soon joined by Williams The absence of vocals forced the Capers’ romantic vocalizing on Leonard using mallets to great effect. His swing- quintet to rely on longer instrumental Bernstein’s ballad “Some Other Time,” ing percussion solo ranged from cym- passages and drop some of the stron- which was ably handled by the trio of bals to tom toms, picking up the pace ger tunes that provide variety in the Capers, Robinson and Williams, who for Capers’ dazzling, fleet-fingered pi- show. There were no “I’m Beginning exhibited his taste and skill on brushes. ano solo. Marino on guitar and Givens to See the Light,” “The Man I Love,” One of the highlights of the evening on soprano sax added to the urgency “I’ve Never Been in Love Before,” or was Capers’ recognition of the civil of the performance. “Always You,” a beautiful ballad of Ca- rights movement and its impact on John The concert’s brief second half pers’ own. It is fortunate for her that Coltrane, whose compositions typically began with “If I Had You,” a feature remained apolitical. By for Marino, Robinson and Williams in way of introduction, which the guitarist took full advantage Capers, who is blind, of the tune’s lush chord changes. Then read (in Braille) of the it was time for Robinson to deliver his 1963 bombing of a Bap- tour de force bass solo on “Mood In- tist church in Alabama digo,” compete with a quote from “No- that resulted in the body Knows the Trouble I’ve Seen,” deaths of four young and some heartfelt blues progressions. girls. Coltrane was in- “Bye Bye Blackbird” had Givens on spired by the incident to flute and Robinson on sopranino re- write his profoundly corder taking flight on a piercing ex- The Valerie Capers Quintet at Doane College moving “Alabama,” change of high notes in close harmony,

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a bit disconcerting for canines and au- tenor sax, then switched to flute for a We extend our thanks to friends dience members with sensitive ears. saucy salsa beat. Marino again dem- Peter and Jane Reinkordt of rural Kenny Dorham’s classic “Blue onstrated his fret board skills with climb- Denton and to Andy Rowan, Capers’ Bossa” proved an excellent way to end ing octaves, Capers added a very per- manager in New York City, for alerting the two-hour concert and act as a show- cussive piano solo, Robinson bowed the us to the return of this fine ensemble of case for the entire band. Givens gave bass with great precision and Williams veteran players. the tune a mellifluous samba feel on laid into the drum kit with fervor.

Performance Review

Omaha musicians pay homage to Luigi Waites ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Jesse Starita ○○○○○○○○

OMAHA, Neb.—Doyle Tipler Starita Jesse by Photo tet displayed a striking ability to deliver stands behind the stage, carefully con- originals, like Scheffler’s Latin-dipped sidering his words. The Omaha trum- “New England Suite,” and standards, peter has just finished the last notes of such as a pensive interpretation of this year’s Jazz on the Green series Wayne Shorter’s “Footprints,” with when he thinks back 16 years ago to equal care and nuance. his first encounter with Luigi Waites, Back in his day, Waites tirelessly the late Omaha jazz legend and subject encouraged younger musicians to sit in of the Aug. 12 evening tribute concert. with him and cultivate their skills. He “I was a snot-nosed kid who incubated talent with tough love, good thought he could play and he gave me humor, and his own exquisite play, like a chance.” Tipler, like everyone else at Art Blakey with his Jazz Messengers. Midtown Crossing, the city’s new ur- Luckily for Omaha, four returning ap- ban development diamond, is sweating prentices—conguero Michael Pujado, up a storm in the 92-degree heat. “He saxophonist Dave Polson, trombonist did crazy things to me and for me,” Rick Brown and guitarist Brad Tipler continues, “all in an effort to teach Thomson—came on board for set two. me.” Waites, a drummer and vibra- Each new player enlivened the engage- Saxophonist Curt McKean and phonist, who toured Europe with the ment with unique contributions; Polson’s trumpeter Doyle Tipler likes of Sarah Vaughan and Dizzy big city growl on Thelonious Monk’s Gillespie, was 82 when he died in April. “Well, You Needn’t” and Thomson’s Buoyed by a crowd of several thou- ferocious heat of an August sun. A large serenely punctuated guitar solo on “On sand, Luigi Inc.—a tribute band com- elliptical lawn smoothly slopes down- Green Dolphin Street” were two ad- prised of local and national talent—ce- ward to the stage. mirable examples. mented Waites’ legacy as Omaha’s jazz Tipler opened the evening on a A sure way to define legacy is to patriarch for the duration of their ani- farcical note. “I’m sorry we weren’t measure the lives one touched. Luigi’s mated, two-hour engagement. able to get hotter weather for you to- legacy revealed itself on stage, as the With a much shorter history, night.” Pacing back to his trumpet, he band’s infectious facial expressions— Turner Park at Midtown Crossing is carved the introduction to “Fuse This,” smiles, approving nods, the discovery already enjoying Waites-like popularity. a playful, irreverent cut from Luigi Inc.’s of a high note—spoke even louder than City officials estimate that 50,000 people debut CD, released earlier this year. their music. Sometimes, the opportunity attended the six Jazz on the Green con- Tipler, saxophonist Curt McKean, gui- to play is more important than the play- certs at Midtown Crossing—its first tarist Jeff Scheffler, bassist Steve ing. Behind the bandstand, as the year taking over hosting duties after Gomez and drummer Steve Knight evening wound down, Tippler toweled Joslyn’s illustrious 25-year run. Three forge Luigi Inc., owning a sound that’s his brow and grabbed his trumpet case, high-rise condominiums encircle the molded in Luigi’s spirit, but not beholden reflecting on Luigi. “He gave so many park’s west side and help suppress the to it. Throughout the evening, the quin- musicians a chance.”

Page 16 Berman Music Foundation Jazz

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Poncho Sanchez band fuses funk and salsa ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Jesse Starita ○○○○○○○○

OMAHA, Neb.—Less than two Starita Jesse by Photos range of emotion, from warm empathy months ago, a covey of Omaha lumi- to impulsive throb. Fittingly, after a few naries convened at 33rd and Farnam Stax-inspired numbers, including Wilson streets to snip the red tape on a won- Pickett’s “Funky Broadway,” the open- drous feat of urban planning. After years ing set concluded with a lavish Cuban of building its cosmopolitan profile, the salsa, ending with a quiet exchange be- city unveiled its latest effort—Midtown tween Poncho’s weathered mitts Crossing, a 15-acre mosaic of Somali (imagine your hands after 40 years of community centers, Mexican taquerias Midtown Crossing drew 7,000 people conga playing) and equally weathered for Jazz on the Green. and Polish sausage lunchrooms. Inside rawhide. the crossing, three soaring tan A lengthy half-time gave apartments, replete with cof- hoops and hops aficionados— fee shops, bars and art galler- myself included—a chance to ies, encircle a verdant ellipti- catch “The Decision.” Just as cal green space. Jazz and lei- Poncho was grabbing the sure would be hard pressed to towel, LeBron James, the find a more comforting host. NBA’s most coveted free So, on an unusually cool July agent of all time, was grabbing 8 evening, an estimated crowd national attention, announcing of 7,000 gathered to inaugu- his decision to join the Miami rate the 2010 Jazz on the Heat. A collective buzz of an- Green Series and to welcome ticipation echoed through the Poncho Sanchez to the neigh- Parliament Pub, a gothic- borhood. themed enclave overlooking As a conga player and Midtown Crossing. When the bandleader for four decades, Poncho Sanchez on congas music returned, the decision Poncho was not in unfamiliar between LeBron or Poncho territory. Over those decades, the and families lounged on cotton blankets; was easy: a fast-break directly to the Laredo, Texas, native has fused a part- Cuban brass and the sounds of a gentle stage. Wilson Pickett, part-Tito Puente sound summer evening melted together in the As day deferred to night, Poncho that strikes a universal appeal. His open air. reached for his bread and butter. And eight-member group, with whom he re- Lest things got too comfortable, the crowd reached with him on a per- corded his latest release “Psychedelic on the “Willie Bobo Medley,” Sanchez suasive remake of Eddie Floyd’s “Raise Blues,” is sharp and experienced, with exhorted Omaha to “get up and Your Hand.” Like a Motown brass sec- role-players who can share the lime- salsa!” His hands taped like a heavy- tion, saxophonist Javier Vergara, trom- light when called upon. Beneath a cloud- weight prize fighter, Sanchez lured his bonist Francisco Torres and trumpeter less sky stretched far above Farnam congas into a remarkable rhythmic Ron Blake pushed the rhythm outward, Street, Poncho carved out the opening range: a delicate pat, several thunder- like a delirious heart pumping blood in notes of Rudy Toombs’ “One Mint Ju- ous wallops, a series of intricate hide every direction. And while the music lep.” A ponderous version of Jerome spankings, and—when that pattern ran became more bare, more humble, the Kern’s “Yesterdays” followed, camou- dry—he repeated, faster or slower. crowd responded honestly: fathers flaging the rhythm-bonanza that would Unlike drums, guitar or saxophone, danced with daughters and grandmoth- ensue. Around the grounds, ostentatious which allows musicians to dip into a ers with grandsons as harmony, in its new pubs advertised fancy cocktails and reservoir of pyrotechnics, congas are various forms, swept across all 15 acres gourmet burgers, children hula-hooped no frills. Yet Poncho summons a wide of Midtown Crossing.

October 2010 Page 17 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Jazz on Disc

Trombonist “Latinizes” music of Herbie Hancock ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

10-minute rendition of Hancock’s ex- Palmieri deserves special credit for in- otic “Oliloqui Valley.” Brecker takes the fusing this recording with an authentic first solo, dramatically building the in- Latin groove. tensity with multi-note flourishes and Drawing on a broad range of high notes, followed by Handy on tenor, Hancock tunes, from his early 1960s Herwig on trombone and Palmieri, who classics to his 1974 funk-fusion favor- takes the tune to the next level with ite, “Thrust,” Herwig’s homage reminds pounding chord clusters. The crowning the listener how influential and adapt- glory, however, is the harmonized three- able the pianist-composer has been over CONRAD HERWIG horn interlude that follows—a passage the years. And isn’t that what makes The Latin Side of Herbie by Herwig, Handy and Brecker that such tributes so valuable? Hancock quotes a Hancock piano solo verbatim. Half Note Records The tempo increases for an intricate O’Connell arrangement of “One Fin- Trombonist Conrad Herwig has ger Snap,” with Rodriguez in the trum- been successfully “Latinizing” legend- pet seat. Herwig takes a lengthy solo ary jazz composers at least since 1996, with confidence and imagination, and with his homage to John Coltrane, and Ameen on drums and Martinez on con- continuing with similar treatments of gas combine for a wailing percussion Miles Davis and Wayne Shorter tunes. duet. Now Herwig has convened a who’s The mood is considerably more who of great players to interpret the relaxed on “Butterfly,” a Herwig ar- JOHN SCOFIELD music of Herbie Hancock with a dis- rangement that allows for plenty of 54 tinct Afro-Cuban tinge. Recorded at the breathing space. Handy is featured on EmArcy Records Blue Note club in New York City dur- a bass clarinet solo of great beauty and ing a two-day stint in August 2008, “The warmth, but trumpeter Rodriquez, As if to emphasize strength in Latin Side of Herbie Hancock” seethes Herwig and O’Connell also make sen- numbers, the title of John Scofield’s with instrumental fire and infectious sitive solo statements. “The Sorcerer” latest release focuses like a laser on rhythms. is a potently pulsating vehicle for solos the 54-piece Metropole Orchestra The essential nucleus of this ex- by O’Connell, Brecker and Herwig, that helps to raise the guitarist’s own plosive ensemble is, of course, the capped by a set of incendiary trades latent funk and fusion potency to new, rhythm section, which consists of Pia- between trumpet and trombone. The more majestic heights. It is an aston- nist Bill O’Connell, bassist Ruben funk factor is palpable on “Actual ishing collaboration further aided and Rodriguez, drummer Robby Ameen and Proof,” which lends another opportu- abetted by the imaginative arrange- percussionist Pedro Martinez. They nity for Brecker to soar through the ments and conducting of Vince provide the fundamental backdrop for changes. Mendoza. Herwig’s powerful trombone excur- This stellar performance ends with It is a distinct departure from last sions and the equally formidable play- three timeless Hancock tunes. “Maiden year’s soulful “Piety Street,” a New ing of Craig Handy (on tenor and so- Voyage” is a gently flowing O’Connell Orleans gospel celebration on which prano saxophones, flute and bass clari- arrangement featuring Handy on a light Scofield fronts a stripped-down net), trumpeter Mike Rodriguez and and lilting flute. Brecker and Palmieri combo also featuring organ, bass, special guests Eddie Palmieri on piano return for “Cantaloupe Island,” and a drums, and lots of vocals. Here, the and Randy Brecker on trumpet. The tour-de-force “Watermelon Man.” orchestral horns, strings and percus- result is magical. Even though he appears on only three Things start off with a bang on a of the eight tracks, the venerable Jazz on Disc continued on page 18

Page 18 Berman Music Foundation Jazz

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Jazz on CD continued from page 17 the orchestral instruments hovering and the importance of intimacy in play- around it and Scofield winding deep ing and recording. Jarrett has dozens sion create a lush and colorful palette inside as he explores the harmonic of solo releases, most of them made over which Scofield can spin his snak- variations. Tenor saxophonist Leo live in concert, and his favored set- ing, fluid guitar lines. But the arrange- Janssen and drummer Martijn Vink ting over the last 25 years has been in ments deftly allow the ensemble to help define the tune and its rhythmic the “standards” trio also featuring help build the intensity and interact core. bassist Gary Peacock and drummer with the guitarist in a powerful and Scofield turns on the funk and Jack DeJohnette. Throughout his ca- exhilarating call-and-response. The wah-wah effects on the infectious reer Haden has explored a variety of orchestra also showcases some of its “Peculiar,” building to a squalling cre- musical conversation, often in a duo excellent soloists. scendo. Hans Vroomans helps to format with pianists—Hank Jones, “Carlos” opens the proceedings build the tension even higher with a Kenny Barron, Chris Anderson, with the orchestra stating the theme Hammond organ solo, before he, Gonzalo Rubalcaba and, now, Jarrett. and Scofield eventually entering the Scofield and the whole orchestra The two masters are near con- fray only tentatively. After restating trade licks to the finish. The mood temporaries (Jarrett is 65 and Haden the melody briefly on guitar, he turns suddenly turns romantic on Mendoza’s is 73) and old friends, and that’s ex- it over to the band, which ups the ante. “Say We Did” with Vroomans at the actly what “Jasmine” sounds like. Well into this nearly nine-minute piece, piano and Janssen on tenor sax join- They hadn’t played together in more Scofield leaps into a stirring solo with ing with Scofield to create a work of than 30 years, but the compatibility is his trademark octaves and fleet single- art. The lush orchestral palette is es- evident from the first tune, the senti- note runs. Saxophonist Paul van der pecially effective here, alternating mental classic “For All We Know.” A Feen takes a solo before returning it from dark brass to light strings. The quality of clarity and artful meditation over to his colleagues, who then pass swinging, robust tune “Out of the City” pervades the performances, as though it to Scofield for a final funky state- makes for an optimistic closer and both men understand the historical ment. allows the guitarist to soar on the fret nature of this collaboration. They lis- The mid-tempo swinger “Jung board one more time. ten to one another and respond, never Parade” is one of two compositions Most of the nine tunes—seven rushing the tempo, never hogging the by Mendoza. Complex string and by Scofield—run between seven and limelight, always aware of the power brass harmonies and thundering nine minutes, allowing for plenty of of judicious pauses and silence. tympanis threaten to obscure the so- instrumental interplay and the gradual “Where Can I Go Without You,” loists, but Scofield and trumpeter building of themes. The ambitious a love song made popular by Peggy Ruud Breuls break through for some project presents the guitarist in a set- Lee, Nat Cole, and Nina Simone, inspired playing. There is no mistak- ting worthy of his immense talent. among others, is evidence of the great ing the guitarist’s presence on his lyrical quality inherent in the playing funky rock tune “Polo Towers.” He of Jarrett and Haden. Their phrasing lets the crunchy signature chords sus- “breathes,” just as a tasteful singer tain for full effect, and then bites into would deliver the lyrics, “I went to nasty single-note runs and occasional London Town, to clear up my mind. octaves. This time it’s Marc Scholten Then on to Paris, for the fun I couldn’t on alto sax that gets the backup solo. find. I found I couldn’t leave my Scofield’s gorgeous ballad “Hon- memories behind. Where can I go est I Do” reminds the listener just how without you?” The two develop this powerful a well-arranged and con- theme for nearly nine and a half min- ducted orchestra can sound with the utes, and it’s not a second too long. KEITH JARRETT / CHARLIE right material. The guitarist puts the The tempo increases for the mys- HADEN essential grace notes on a big produc- terious “No Moon at All,” allowing Jasmine tion. The Crescent City beat of Jarrett to range deftly over the key- ECM Records “Twang” again has Scofield in funk board as he sets up Haden for a coun- territory, with trombonist Bart van Lier terpoint solo. The next tune is not usu- helping out with a bluesy tailgating Both pianist Keith Jarrett and ally considered a standard. Penned by solo. “Imaginary Time” does, indeed, bassist Charlie Haden have a deep ap- Joe Sample of the Jazz Crusaders, suspend from an implied tempo with preciation for the standard repertoire “One Day I’ll Fly Away” works beau-

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tifully here, again inspiring romantic a subtle, but infectious rumba under- passages from both Jarrett and Haden. pinning as Moody and Barron float Though the Will Jennings lyrics are above on solo flights. not sung here, the lyrics are instruc- Two excellent originals are a wel- tional: “One day I’ll fly away, leave comed contrast to the familiar tunes. all this to yesterday. Why live life from Coolman’s “O.P. Update” is a tribute dream to dream, and dread the day to bassist Oscar Pettiford based on the when dreaming ends?” changes to Ellington’s “Perdido.” All The longest piece goes over 12 members of the quartet have ample solo minutes. Jarrett eases us into it with MOODY space. Barron’s granddaughter was the a brief introduction, and then the duo 4B inspiration for his composition “Nikara’s immerses itself in the depths of “I’m IPO Recordings Song,” a tender, relaxed tune that al- Gonna Laugh You Right Out of My lows both Moody and Barron to express Life,” taken at an appropriately sad Like its predecessor, 2009’s “4A,” deep-seated emotions as Coolman re- and wistful tempo. Jarrett seems es- the latest release by the James Moody peats a pulsating bass line. pecially inspired in a solo of exquisite Quartet is a scintillating swinger show- Benny Golson’s “Along Came beauty (and a few trademark vocal casing the continued brilliance of the 83- Betty” gets a bright and swinging treat- moans). Haden follows with a typi- year-old tenor saxophonist and his sen- ment greatly aided by the inspired cally stately and understated solo be- sitive sidemen—pianist Kenny Barron, rhythm section. Nash’s brushwork fore the two of them return to the bassist Todd Coolman and drummer embellishes an elegant rendition of theme. “Body and Soul” gets the req- Lewis Nash. Also recorded during two Gershwin’s “But Not for Me,” which uisite respect from these veterans in sessions on consecutive days in July features an early Coolman solo setting an 11-minute performance. The well- 2008, it is proof positive of the the stage for Moody’s confident entry worn changes fall easily under their foursome’s consummate compatibility on saxophone. fingers, opening up ample opportunity and prolific creativity during that brief As with the first product of these for improvised passages. Haden stay in the studio. sessions, the quartet’s performances keeps the pulse steady as Jarrett Barron launches the proceedings here are another reminder of Moody’s ratchets up the harmonic heat, and with a stately stride piano introduction many contributions to the jazz art form then the keyboard drops to a comping before the rest of the band takes kicks and his continued ability to excite and whisper as the bassist takes over with in with a swinging version of “Take the inspire his colleagues and his fans. subtle variations of his own. A Train.” Moody soon is soaring through Gordon Jenkins’ monumental variations on the familiar changes, fol- farewell song “Goodbye” signals that lowed closely by an equally brilliant the end of the session is near. Mov- Barron solo and some well-chosen per- ing at a dirge-like tempo, the two cussion permutations by Nash. Tadd musical comrades seem reluctant to Dameron’s “Hot House” is taken at bring the recording to an end, wring- mid-tempo rather than the usual frenetic ing every drop of emotion from the pace, but it serves Moody and company mournful chords. As though to post- well as they darken the harmonies and pone the inevitable, they bless us with explore the tune’s more mysterious im- a brief encore, a tender version of plications, especially notable in MASON BROTHERS Jerome Kern’s “Don’t Ever Leave Coolman’s solo. Two Sides, One Story Me,” which Jarrett also featured on Perky Latin rhythms pervade Archival Records his solo home-studio recording “The “Speak Low” and provide a fruitful Melody at Night, with You.” framework for solo statements by Native Britons, the Mason Recorded in Jarrett’s home stu- Moody and Barron. Romance is in the brothers—trumpeter Brad and trom- dio, the performances have a relaxed, air on “Polka Dots and Moonbeams,” bonist Elliott—have been making cozy ambience that can’t be dupli- as Moody squeezes every drop of lush waves on this side of the pond since cated in a commercial studio setting. balladry from this beloved standard over they came to America in the early Let’s hope these two old jazz road its nearly 10-minute length. Cole Porter’s 1990s on scholarships to the Berklee warriors meet again soon in another “I Love You” also gets the Latin treat- creative collaboration. ment with Coolman and Nash creating Jazz on CD continued on page 20

Page 20 Berman Music Foundation Jazz

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Jazz on CD continued from page 19 poser Elliott takes an incredible, ex- recorded by the Masons back in tended solo through the new, re-har- 1996, but was updated here for an College of Music. Neither has been monized changes, alternating be- acoustic approach. Colley’s con- short of work since they graduated tween 3/4 and 4/4 time. Potter goes stantly moving bass line is at the and moved to the Big Apple, but ballistic on a brilliant tenor solo. You core, with the others weaving lines “Two Sides, One Story” is their first get the idea. This is a very complex— around it. Elliott turns in an astound- recording as leaders. It’s a stunning but fun—exercise in music-making. ing trombone solo. “In the Third Per- debut. Things return to a more subdued son” triples the fun with three inter- Over the years, the Masons mood for the title track, penned by weaving melodies operating at have assembled impressive resumes. Elliott. Again, the title reflects the breakneck speed. Potter joins the Elliott has worked with the Mingus form in which it is written, with mir- Masons on tenor, but the tune also Big Band, the Count Basie Orches- ror melodies converging, one pas- takes advantage of Kikoski’s great tra, the Maria Schneider Orchestra sively and one more aggressively. In keyboard skills, Colley’s precision and Jazz at Lincoln Center Orches- other words, we hear two sides of bass-playing and the whirlwind tra, under the direction of Wynton the same story. The rhythm section polyrhythm of Sanchez. Marsalis, who wrote the liner notes expertly maintains a stately and dra- We anxiously await the next for this release. Brad has racked up matic splendor throughout. “The Evil chapter of “Two Sides, One Story.” experience with Natalie Cole, Mike Eye” is a tune by Elliott commis- Stern, Randy Brecker, Lionel Loueke sioned for the soundtrack of a silent and, since 2007, in rock singer- film by German director Hans Rich- songwriter John Mayer’s band. ter called “Filmstudie.” Colley’s bass Those varied connections probably sets up a dirge-like introduction as help account for the fact that they the tune builds in intensity, spinning have gathered some of the best and leaping in frenetic shards of sidemen available for this project— sound. Miller enters on guitar with including the rhythm section of pia- an abstract flourish of notes, Elliot nist David Kikoski, bassist Scott triple-tongues through a rapid-fire Colley and drummer Antonio trombone solo, Brad inserts percus- BRAD GOODE Sanchez, and guest soloists saxo- sive trumpet blasts, Kikoski adds his Tight Like This phonist Chris Potter, vibraphonist Joe own edgy punctuation and Sanchez Delmark Records Locke and guitarist Tim Miller. keeps the whole thing churning “Two Sides, One Story” is an rhythmically. It is a dark and disturb- excellent showcase for the Masons, ing masterpiece! I first heard trumpeter Brad not only their playing prowess and After so many years in the Goode in his hometown, as a featured band-leading talents, but their gifts as states, the Masons have mixed feel- player at the 1988 Chicago Jazz Festi- composers and arrangers. They ing about their definition of home, and val. At age 25, he looked more like 15 wrote all eight tunes here. that ambivalence comes through and had just release his debut record- The co-written “24/7” (24 bars forcefully on Elliot’s sad and beauti- ing on Delmark, “Shock of the New.” ending with a 7/4 vamp) seems to ful ballad “Gone Home,” which fea- A friend and I dubbed him “Baaaad reveal new wonders with every lis- tures Locke’s lovely, understated Goode” for his extraordinary technique ten. Its sound is progressive and its playing on vibes and a mournful and funkiness. mood is strictly optimistic as the trombone-trumpet interlude. The That funk factor also permeates rhythm section swaggers and the brothers were searching for a posi- Goode’s fourth and latest Delmark re- horns interlock. Elliott takes a tive, uplifting tone when they wrote lease, “Tight Like This.” It is evident brawny trombone solo before hand- “Outside In,” and they found it in the from the opening title track’s earthy ing it off to Brad for a more intro- blues. The tune shuffles and swag- backbeat, provided by drummer An- spective trumpet statement. Brad gers in mid-tempo, giving the rhythm thony Lee and reinforced by pianist opens “Stage Pints” with some trum- section a chance to show how well Adrean Farrugia and bassist Kelly Sill. pet ruminations over a sophisticated the work together. Brad’s early solo This is definitely NOT just another drum vamp before the rest of the brightly flashes and Elliott follows slavish cover of the classic by Louis band goes into the tune, whose title with gusto on trombone. Armstrong, although Goode proves he is an anagram of “Giant Steps.” Com- “Boots” was written and first is capable of squeezing off piercing,

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Satchmo-style high notes and glissandi ing counter-harmonies. The arranger singer Stephanie Nakasian for an during his climactic solo. delivers an outstanding solo, followed October 2001 performance at P.O. Goode delves again into the clas- by Goode’s even more spectacular Pears. sic repertoire of early jazz with solo, all propelled by Sill and especially For a more intimate sonic pro- “Changes,” a Bix Beiderbecke feature Lee in a mounting polyrhythmic bar- duction, the CD was recorded in the from 1927 that gets a distinctly rage. cozy confines of O’Brien’s living polyrhythmic interpretation, full of in- room, with the pianist performing on teresting twists and turns. Farrugia a small upright. O’Brien confidently boldly explores harmonic variations as navigates through the classic Lee keeps things interesting with some changes of “I Got Rhythm” for a exciting percussion, occasionally insert- swinging revamp called “They Had ing some nifty New Orleans street Rhythm,” perhaps a sly reference beats. “Nightingale” gets a sensuous to the good old days when it wasn’t rumba treatment with Goode stating the jazz unless it swung with feeling. theme, then galloping with obvious de- Campbell and O’Brien both solo light through the changes on a Harmon- with verve and imagination. muted horn. Farrugia and the trumpeter ROYCE CAMPBELL TRIO Only the name of the protago- later urge each other on with some What Is This Thing Called? nist changes for “Have You Met clever variations. Philology Jazz Miss Smith?” a well-paced oppor- Another old standard, “Reaching tunity for Campbell and O’Brien to for the Moon,” gets a bop-oriented up- listen and respond to each other’s date as Goode sails along on open trum- Jazz musicians frequently ideas. All the players stretch out on pet, figuratively “reaching for the deconstruct and reimagine the stan- “See Jam Blues,” an oblique refer- moon” while alternately accelerating dards of the Great American ence to Ellington’s “C Jam Blues.” and slowing the tempo. Lee easily Songbook, even superimposing new Among other tell-tale titles are keeps the pace through some tricky melodies over the original chord the egotistical “How About Me,” the twists and turns and even adds to the structures until the process begs the fictitious “I Could Write a Novel,” urgency as Farrugia turns in a dazzling question: Why not alter the titles to the very public “Not So Secret solo. The rhythm section applies a reflect the changes? That’s exactly Love” and “In a Sorta Mental funky backbeat to Freddie Webster’s what guitarist Royce Campbell has Mood,” a somewhat psychologically feel-good “Reverse the Charges,” on done on a couple of previous CDs unbalanced take on the Ellington ev- which Goode again employs a mute. as well as his latest release, clev- ergreen “In a Sentimental Mood.” The trumpeter contributed five of erly titled “What Is This Thing Actually, the titles are less indica- his own compositions to the session. Called?” tive of the various moods involved “Summary” is dedicated to Goode’s Essentially, Campbell has writ- than they are of Campbell’s playful late mentor, Eddie Harris and features ten 11 new tunes, but the titles are sense of humor. another outstanding solo by Farrugia. a tipoff to the familiar tunes that in- Campbell, O’Brien and Bowen Again on muted horn, Goode sounds spired them. “Love for Rent” is a shine even without the presence of elegiac on the lovely “Midwestern Au- nod to “Love for Sale,” the ballad a grand piano or the state-of-the- tumn,” a meditative number with su- “I Fall in Love Too Hard” is the in- art sound of a professional record- perb solo statements by Sill and evitable reply to “I Fall in Love Too ing studio. The drummerless trio Farrugia. The band boldly ventures into Easily,” and the title track is an ob- gains in intimacy what it lacks in a abstract territory on “Climbing Out,” vious reference to “What Is This more conventional studio setting. then returns to soulful gospel-style Thing Called Love?” You get the “What Is This Thing Called?” roots with “The River.” Delmark idea. comes on the heels of two Campbell Records founder and producer Bob In his effort to revisit familiar releases recorded just six weeks Koester gets an appreciative nod on territory in new and interesting apart, in late 2008 and early 2009. “Bob’s Bounce.” ways, the guitarist is joined by long- In fact, we reviewed those CDs ear- Farrugia wrote the inspired ar- time colleague Bob Bowen on bass lier this year, proof that Campbell rangement of “Softly, as in a Morning and the wonderful pianist Hod continues to produce noteworthy Sunrise” that closes the CD. It surges O’Brien, who the Berman Music music at a prolific rate. with a rhythmic tension and interest- Foundation brought to Lincoln with

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Five ground-breaking individuals of jazz ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

In this installment of essential jazz fresh and uncompromising. recordings, we again recommend CDs With his odd chord progressions, by five significant jazz artists who ex- his quirky, crablike piano technique and celled on their instruments of choice. his often unsettling personal demeanor, This time we explore their music as the ultimate jazz iconoclast may be much for its groundbreaking originality Thelonious Sphere Monk. One of as for the players’ technical mastery. the architects of the bebop movement, By looking at two alto saxophonists, two Monk’s keyboard innovations and ad- pianists and a very influential guitarist, vanced concepts made him unique it will help us understand to what de- among his contemporaries. Dozens of CHARLIE PARKER gree jazz is a musical form best defined his memorable compositions—including A Studio Chronicle 1940-1948 by the individual. “Straight No Chaser,” “Well You JSP Records No one has had a greater impact Needn’t” and the haunting ballad on the development of modern jazz than “’Round Midnight”—still intrigue young There are many impressive an- alto saxophonist Charles “Yardbird” players and present unique challenges thologies of Parker’s ground-breaking Parker, who virtually invented the to interpretation. early music, but this is probably the one bebop style within the context of a small On the other extreme of the spec- to go with if you can find it. It compiles combo—usually a quintet also featur- trum is the piano style of Bill Evans, 125 re-mastered Dial and Savoy record- ing trumpet, piano, bass and drums—in who opted for a more fluid approach ings from 1940 to 1948 on five discs sharp contrast to the big band swing reminiscent of chamber music. During and generally sells for about $30. It in- that preceded Parker’s emergence in his brief eight-month tenure with Miles cludes Jay McShann sides the early 1940s. An undisputed virtuoso Davis, Evans provided a perfect foil for “Swingmatism” and “Hootie Blues,” on his horn, he redirected the focus of the trumpeter’s modal excursions, es- plus many of the tunes on which Parker jazz from simple melodic progressions pecially on the landmark 1959 record- established his credentials—”Tiny’s to improvisations based on chords, es- ing “Kind of Blue.” Evans is heard to Tempo,” “Red Cross,” “Groovin’ sentially creating new song structures best effect on his numerous trio record- High,” “Hot House,” “Billie’s Bounce,” as a basis for endless exploration by the ings, where he often transformed jazz “Now’s the Time,” “Yardbird Suite,” soloists. The concept was earth-shak- standards with interpretations uniquely “Ornithology,” “Cool Blues,” “Relaxin’ ing for its time, sparking a backlash that his own. He also wrote such memo- at Camarillo,” “Donna Lee,” “Scrapple included Louis Armstrong’s character- rable tunes as “Waltz for Debby,” “Time from the Apple,” “Parker’s Mood,” and ization of bebop as “Chinese music.” Remembered,” “Song for Helen” and many more. It is hard to believe that Another controversial alto saxo- “Peace Piece.” Parker was just 19 or 20 years of age phonist who would turn the jazz world Perhaps no guitarist has been as when these recordings began and not on its ear in the late 1950s was Ornette influential among jazz players as Wes yet 30 when this very productive pe- Coleman, whose “harmolodic” system Montgomery. Self-taught using his riod ended. He would live just another abandoned bebop’s concentration on thumb instead of a pick, he developed seven years, dying at the age of 34. harmony in favor of free improvisation an individual technique by chording oc- Another recommended boxed set docu- loosely based on melodic themes and taves instead of plucking single-note menting Parker’s early years is the moods. Coleman’s odd technique and runs. Recording his first session as a three-disc “The Complete Savoy and shrill, wavering tone can be off-putting leader in 1959, he established his for- Dial Masters” on Savoy Jazz. It’s easier to a novice. Even more than Parker, midable reputation and solidified his to find but more expensive than the JSP Coleman upset the jazz establishment’s place in jazz history in less than a de- collection. “The Complete Dial Ses- apple cart, drawing ire from Miles Davis, cade. His prolific recording career sions” is a four-disc set on Stash among others. Now 80, Coleman still ended with his death of a heart attack Records that includes some superflu- eschews convention and still sounds in 1968, at age 43. ous alternate takes.

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sound and audacity of style and tech- “Some Other Time,” “I Loves You nique. No one else could have writ- Porgy,” “Alice in Wonderland,” “All ten “’Round Midnight,” “Well You of You” and Miles Davis’ “Solar.” Needn’t” or any of dozens of Monk Evans demonstrates why his lyrical, compositions that bear his unmistak- intense romanticism has influenced able stamp. The seminal 1957 release several generations of modern jazz “Brilliant Corners” introduced piano players, from Chick Corea and “Bemsha Swing,” “Pannonica,” “Ba- Herbie Hancock to Keith Jarrett, Lue Bolivar Ba-Lues-Are,” and the Fred Hersch and Brad Mehldau. ORNETTE COLEMAN title track. Among the outstanding The Shape of Jazz to Come sidemen are tenor saxophonist Sonny Atlantic Records Rollins, drummer Max Roach, bass- ist Oscar Pettiford, and alto saxophon- The first half-dozen or so of ist Ernie Henry. “Bemsha Swing” fea- Coleman’s break-through recordings tures trumpeter Clark Terry and bass- (1958-1961) still dazzle with their ist Paul Chambers, and Monk’s per- originality. We will go with 1959’s forms a solo piano rendition of the “The Shape of Jazz to Come” for its standard “I Surrender, Dear.” major-label introduction of some very un-mainstream music. Among the best WES MONTGOMERY tracks are “Lonely Woman,” “Con- Smokin’ at the Half Note geniality” and “Peace.” Of course, the Veve Records sidemen in Coleman’s classic quartet are all in good form—trumpeter Don Cherry, bassist Charlie Haden and Like Evans, much of drummer Billy Higgins. This is con- Montgomery’s finest recordings were sidered by many to be the Holy Grail captured in live performances, includ- of avant-garde jazz, but other worthy ing 1962’s “Full House” and this one from 1965. “Smokin’” is especially Coleman classics include “Something BILL EVANS noteworthy because it comes later in Else!!!!: The Music of Ornette The Complete Village the guitarist’s career, when his studio Coleman” (1958), “Tomorrow is the Vanguard Recordings, 1961 recordings had taken on a well-pol- Question” (1959), “Change of the Riverside Records Century” (1960), and “The Art of the ished and well-marketed commercial Improvisers” (1961). patina that often discouraged or ob- Evans amassed an impressive scured his dazzling fret board tech- catalog of recorded music before his nique behind an orchestral pop luster. death in 1980 at age 51. Some of his This set is a mid-‘60s exception to that best work was documented live with rule, an example of Montgomery’s a trio that also featured bassist Scott playing at its most inspired. This per- LaFaro and drummer Paul Motian. formance has been packaged in sev- During five sets on June 25, 1961, they eral versions, including the original created this classic of modern jazz. five-track release—featuring blister- Released in piecemeal fashion over ing renditions of “Unit 7” and “Four the years, the entire three-disc pack- on Six”—and this 2005 re-mastered age was finally re-mastered and reis- version with six additional tracks. THELONIOUS MONK sued in 2005. It contains superb in- Among the most notable are “Willow Brilliant Corners terpretations of Evans’ “Waltz for Weep for Me,” “The Surrey with the Original Jazz Classics Debby” and LaFaro’s “Gloria’s Step” Fringe on Top,” and “Impressions.” and “Jade Visions,” but the real trea- Throughout, Montgomery is master- Like Coleman, the music of sures are the trio’s inspired perfor- fully accompanied by the Wynton Thelonious Monk stands outside the mances of standards such as “My Kelly Trio—pianist Kelly, bassist Paul mainstream for its unconventional Foolish Heart,” “My Romance,” Chambers and drummer Jimmy Cobb.

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Non Profit Org. U.S. Postage PAID Permit No. 1359 Lincoln, NE

Skylight Gallery The Burkholder Project 719 P Street Lincoln, NE 68508

From the Archives Alaadeen and Fanny How can you help the foundation?

with Butch Berman The Berman Music Foundation is a non-profit, tax-exempt, File Photo 501(c)(3) private foundation, and your tax-deductible donation will help offset the costs of this newsletter and its programs.

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Make check payable to Berman Music Foundation at: Berman Music Foundation Skylight Gallery The Burkholder Project Butch Berman respected saxophonist Ahmad Alaadeen as a 719 P Street musician, a friend and a gentle spirit. He visited Alaadeen Lincoln, NE 68508 and Fanny Dunfee in Kansas City, and even flew Alaadeen to New York City in August 1999 to play soprano sax on the Thanks for supporting jazz! title track of Norman Hedman’s “Taken By Surprise.”