File Photo File

Abate all-star quartet Greg Abate

plays Lincoln June 10 ○○○○○○○○○○○○○○○○○○○ ○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○ Spring 2003 ing a two-night stand at the Artists’ Greg Abate remains a resident Vol. 8, Number 2 of the Providence, R.I., area where Quarter, Abate speculated about his he was reared, a lifestyle choice that choice to live in Rhode Island rather might have meant obscurity for a than the Big Apple. lesser artist. The intrepid saxophon- “Living in New York may have ist, however, has achieved a body brought me to other areas,” he said. In this issue of Jazz.... of work and a level of recognition “Maybe I would be better known Prez Sez...... 2 that ensures his livelihood, in Eu- now, if I did live there. I’ve always

1961 Fender Esquire...... 3○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ rope as well as the United States. wondered about that. I really don’t His lyrical flights, biting tone know if it has hindered me, at all.” Jazz in June Schedule...... 5 and rhythmic sophistication draw One thing is sure. Whether Jordan and Brown Review...... 6 comparisons to Charlie Parker, but Abate plays in St. Paul or Duluth, Jordan CD Review...... 7 Abate also echoes the more tranquil Minn.; Moscow, Idaho; a small Dave Brubeck Quartet Review.....8 town on Cape Cod or Lincoln, Neb., ruminations of Paul Desmond. He Fortune-Morgan Review...... 9 has a broad repertoire of standards audiences are enthusiastic and per- at his nimble fingertips, but he also haps more appreciative than jaded Menza & Christlieb Review...... 10 is a first-class composer. His most jazz aficionados in New York City, Eldar Djangirov Review...... 11 recent release, “Evolution,” is a San Francisco or Boston. NJO-Tony Gulizia Review...... 12 showcase for his writing talents, “I’ve had a very good response. John McNeil Review...... 13 containing nine original tunes. People like my stuff, and I’m really Bob Popek...... 14 glad to be able to play.” Abate him- Abate brings all of this, and an Richard Thompson...... 16 all-star quartet, to Lincoln for a June self listens to his own playing with 10 performance at Jazz in June in a critical ear. Jerry Seinfeld Review...... 17 the sculpture garden of the Sheldon “I was listening to one of my Discorama...... 18 Art Gallery on the University of Ne- CDs, “Straight Ahead” (from Motown DVD...... 20 braska-Lincoln downtown campus. 1992), and I could really hear how Jazz on Disc...... 21 much I’ve evolved since then. I’ve Accompanying Abate on that trip Rocky Mountaini Hi-Fi...... 22 are pianist Phil DeGreg, bassist still got these recordings, and people Harvie S. (formerly Swartz) and are buying my old stuff and I don’t Letters to the Editor...... 23 drummer Billy Hart. sound anything like that. My play- Webcasting...... 23 In a phone interview from St. ing is really starting to fall into Paul, Minn., where he was perform- Greg Abate continued on page 4

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Newsletter goes online, bachelor goes offline ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○

Dear fanciers of “April showers Photo File in line is local educator and master bring May flowers,” the birds and the trumpeter Darryl White. He’s got his bees and all that jazz… Is winter re- Colorado cats to join him, and as their ally over??? Well, guess what? This CD was great, the live show with these is officially our first true Jazz news- guys should be a real gasser. Last, but letter online, and the last Prez Sez certainly not least, are Don Stiernberg, you’ll ever receive from the single, jazz mandolin virtuoso, and his group. semi-confirmed bachelor, moi. My Discorama review of his new re- Yup, as if you didn’t know al- lease, and Ted Eschliman’s letter to ready, the bebop man is getting hitched the editor should tell the rest of the to my beloved fiancée Grace Gandu story. on May 30. Plans to bring her family I also want to thank Mr. here from Nigeria are in the works, White for turning me on to his men- and an all-star group of my best pals tor, John McNeil, whose performance in the jazz biz from KC are scheduled is also covered in this issue. We fi- to perform. I, too, plan to reunite my Butch Berman nally got to gab about our lives and old chums from Charlie Burton and jazz in general on the phone last week, Rock Therapy and rock ‘n’ roll as great jazz pianist pal of mine, Jaki and had a blast. He’s a totally groovy, well. In all, a ball to be had by all. Byard, said the same thing to me when and very bright, fellow with heavy Full coverage and photos will be we had him here a few years ago. history behind him. Check out his brought to you in our next issue in the What a drag that we revere these catalogue, and pick up his stuff. fall. people by buying their records and The weather outside is de- A lot of cool stuff has gone down talking them up, but when you get lightful, my hammock is calling me since I last wrote to you. To quote my them to your hometowns they’re and the SF Giants are leading in the old Irving Junior High School science treated like cattle. Food for thought, Western division, so I’d better close teacher, Mr. Goebel, “please let me huh? and get outta here. Still gigging occa- summarize.” Even though Grace and I will sionally with Charlie Burton’s great First, I’m still reelin’ with the be heading off to Arizona for our hon- new band when regular ax man Mark feelin’ of wonderment in pulling off eymoon at the famed Canyon Ranch, Simpkins does his Mezcal thing. We our springtime concert coup featuring we probably won’t go until after June shook up Omaha’s 49ers club last the dynamic duo of jazz diva Sheila as—you guessed it—get ready for month, and Charlie’s last FAC at Jordan, and bassist Cameron Brown. another out-of-sight Jazz In June se- Lincoln’s famed Zoo Bar was one of As usual, attendance was small at ries. We were lucky enuff to have our his best, from what I’ve heard. They’ll Kimball Recital Hall on March 8, as hands in it again this year to help book be back again June 6, so go for it and Sheila and Cameron tore up the place three of the four acts and sponsor one support one of the best singer/ with their in-person renderings of the of ‘em. I don’t want to steal any thun- songwriter rockers around…as well as last CD together entitled “I’ve Grown der from Tom’s preview, but dig this. jazz EVERYWHERE, ya dig? Accustomed to the Bass.” Check out Norman Hedman, one of my best men Later, my friends. Here Tom Ineck’s in-depth coverage of that in my wedding will be bringing his comes the bride. memorable evening later in this issue. great, but slightly different line up of We had a lovely BMF staff lun- his band, Tropique, to lead off the se- cheon for them at the Green Gateau ries. Next, we welcome back my earlier that day. It made me a bit sad Rhode Island friend, saxophonist Greg when Sheila said no one had ever done Abate, bringing with him Phil DeGreg this for her in the U.S. in her 50-plus on piano, Harvie S. on bass and Billy years in the biz. Ya know, the late, Hart on drums. Yeah, WOW! Third

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Jazz is published online about four times a year by The Berman Music FoundationFoundation, 719 P St., Studio G, Lincoln, NE 68508.

Editor and Designer: Tom Ineck

Contributing writerswriters: Butch Berman, Tom Ineck and Dan Demuth

Photographers: Rich Hoover, Tom Ineck and Bev Rehkop

For inclusion of any jazz or blues related events, letters to the editor or suggested articles, either mail them to the office, phone (402) 476- Charlie Burton and Butch Berman jam in the BMF museum office. Butch is 3112, fax (402) 475-3136 or e- holding the 1961 Fender Esquire that Charlie sold him years ago. mail Berman guitar gets tender loving care [email protected]. Our website address is:

By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ www.bermanmusicfoundation.org For advertising information, Like most dedicated musicians, tar. So, I started using this guitar a contact Butch Berman at (402) Butch Berman’s relationship with lot. Like a sports car, it needs main- 476-3112. A business card- his instruments is close. He’s espe- tenance. I’d always been hanging sized ad for one issue is $25, a cially close to his 1961 Fender Es- around Dietze, and somehow I met half-page ad for one issue is quire, and when it comes to repairs Popek.” $100. Discounts apply for six- month or one-year rates. and maintenance of this classic axe, Berman told Popek he was hav- he turns it over to Bob Popek at ing problems with guitar, and took If you want to be added to Dietze Music House (Popek is fea- the instrument to Dietze’s third-floor our mailing list, call (402) 476- tured in a Friends of Jazz article repair shop. The skilled craftsman 3112, fax (402) 475-3136, or elsewhere in this issue of Jazz). saw the guitar’s value and potential. e-mail [email protected]. Berman recently related the He also understood exactly how story of his guitar and the man who Berman wanted it to play and sound. The Butch Berman keeps it humming. It began in the Popek has been the instrument’s Charitable Music Founda- mid-1970s. “caregiver” ever since. tion is a non-profit, tax exempt, “When the Megatones broke “Over the years, probably 501(c)(3) private foundation recognized by the Internal Rev- up, we were looking for a guitar about every season, I take my gui- enue Service and the Nebraska player. We tried a bunch of differ- tars into him and he strums it and Department of Revenue. It was ent things, and nothing really checks it out, changes the strings established in the spring of clicked.” and repairs it. I used to have a prob- 1995 to protect and promote Berman, a piano player with lem with breaking strings and tun- unique forms of jazz music. the Megatones, also played occa- ing, and now I hardly ever break a Trustee: Butch Berman sional guitar, so he offered his ser- string or go out of tune. He’s been Consultants: Dan Demuth, vices. the man for all my stringed instru- Norman Hedman, Steve Irwin, “It worked, but I didn’t have a ments ever since that day. He really Gerald Spaits and Wade guitar. At the time, Charlie had this has an understanding. He’s a real Wright really cool guitar, so he sold me his talented guy.” ’61 Fender Esquire. It’s a great gui-

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Greg Abate continued from page 1 Hoover Rich by Photo place, where I can really have more control over what I want to do.” Artistic control is especially evident in his last several record- ings, where Abate has been moving from standards to a more personal expression. Never one to rely solely on the melodies most familiar to his audience, he has either chosen more obscure compositions (Hank Mobley’s “This I Dig of You,” Monk’s “Ask Me Now”) or written them all himself, as with “Evolu- tion.” That 2002 recording features the same lineup that will be in Lin- coln, with the exception of DeGreg, Greg Abate conducts workshop during an earlier appearance in Lincoln. who subs for pianist James Will- iams. The fact that Abate wrote all nine tunes in the year preceding the most likely hit the same type of at least three recordings as a leader. sessions gives the recording an im- rhythm and the same type of articu- Another native New Englander, mediacy often missing in CDs that lation.” Harvie S. is perhaps best known for are cobbled together from many dif- His own agent, road manager his series of duet recordings and per- ferent sources and different time and paymaster, Abate negotiates oc- formances with singer Sheila Jor- frames. The fact that Abate first put casional solo jobs at festivals and dan. His experience ranges from pen to paper on Sept. 11, 2001, for clubs in Europe. His trips to France, gigs with Al Cohn and Zoot Sims, the ballad “Dearly Departed,” gives England, Germany, Switzerland, Mose Allison and Chris Connor in the recording an especially timely Spain and Russia have taken him far Boston to work with Jackie & Roy, poignancy. The tune is jointed dedi- from home, allowing jazz fans Jackie Paris, Thad Jones, Gil Evans, cated to those who lost their lives in worldwide to experience his incred- Lee Konitz, David Friedman, and the terrorist attack and to Abate’s ible talents. When at home, he Steve Kuhn since he moved to New parents, who died in 1998 and 1999. teaches in the jazz program at Rhode York City in 1972. He also has Adding to the personal touch on Island College. headed his own groups, including “Evolution,” Abate doubled the alto Thirty years ago, Abate gath- the fusion band Urban Earth. with tenor sax or flute on several ered valuable experience in the Ray Hart, a Washington, D.C., na- tracks. Charles Orchestra (succeeding tive, is a much-in-demand drummer “The overdubs were easy to David “Fathead” Newman). He fi- who is capable of playing in a vari- play,” he said. “The solos were all nally took the helm as a leader in ety of settings. While still in the live, in sequence. I didn’t do over- the 1990s, recording several fine nation’s capital, he worked with dubbed solos.” He had first at- releases on various small labels saxophonist Buck Hill and singer tempted the effect while practicing since 1991. A multi-instrumentalist, Shirley Horn. He later traveled with with a four-track recorder at Abate plays tenor, flute, and so- the Montgomery Brothers, Jimmy home—overdubbing piano and three prano, but it is the alto horn for Smith and Wes Montgomery. He saxes—but this was the first time which he is known. was a member of Herbie Hancock’s he applied the technique for com- Abate’s sidemen on his trip to sextet in the late 1960s and early mercial release. Nebraska also deserve wider atten- ‘70s, and played regularly with “You can do that because you tion. DeGreg is a wonderful McCoy Tyner and Stan Getz know how you play, you know your straight-ahead pianist who is on the throughout the ‘70s, in addition to feeling and your habits. When you faculty of the University of Cincin- extensive freelancing. play with the other track, you can nati Conservatory of Music. He has

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BMF helps book another outstanding Jazz in June ○○○○○○○○○○○○○○

By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Photo by Rich Hoover Rich by Photo Again the Berman Music Foundation has provided the con- sulting expertise and financial sup- port to help produce another top- flight Jazz in June concert series, featuring artists with varying styles and broad audience appeal. The free outdoor concerts are held every Tuesday in June begin- ning at 7 p.m. in the Sculpture Gar- den just west of the Sheldon Art Gallery on the University of Ne- braska-Lincoln downtown campus. The concerts routinely draw audi- ences of more than 1,000 people and often several thousand. The BMF has worked exten- sively in the past with the first two artists, and Jazz has carried CD re- Norman Hedman on congas drives the band during a CD release party at the Blue Note club in New York City in spring 1999. His new edition of Tropique will views of all four. The series begins perform June 3 at Jazz in June. June 3 with the return of Norman

Hedman’s Tropique. Saxophonist drummer Billy Hart. Except for the guest soloist Hoover Rich by Photo Greg Abate will front a bop quartet keyboard chair that James Williams with the Ne- June 10. UNL trumpet professor usually fills, it is the same band that braska Jazz Darryl White will head a sextet also accompanied the hard-edged saxo- Orchestra. featuring alto saxophonist Bobby phonist on his most recent release, At least Watson on June 17, and mandolin “Evolution.” An interview with in this neck of virtuoso Don Stiernberg will appear Abate appears on the cover. the woods, with his quartet June 24. Trumpeter Darryl White has little was Percussionist Norman developed a local and regional repu- known of Hedman, a longtime friend, consult- tation on trumpet and flugelhorn, mandolin ant and associate of the BMF, has both in performances and with two player Don Bobby Watson will appeared in the Jazz in June lineup recordings, the latest of which, “In Stiernberg perform as part of the before, but this time his New York the Fullness of Time,” was reviewed until his 2001 Darryl White Sextet. City-based tropical jazz group, in the winter 2003 edition of Jazz. Blue Night Tropique, will feature a slightly dif- White’s sextet will feature release, “Unseasonably Cool,” ferent lineup of players. Hedman’s some of the best players in the Mid- landed on the desk of Butch Berman, combo plays an engaging blend of west, including Denver pianist and who gives it a rave review in this warm-climate dance rhythms, in- Nebraska native Jeff Jenkins, bass- edition of Jazz. cluding salsa, Latin jazz, bomba and ist Kenny Walker and drummer Matt Though he plays an instrument samba. A world-class conguero, Houston. usually associated with bluegrass Hedman has a percussion style in- But the big news is the Kansas music, the Chicago-based fluenced by Cal Tjader and City sax “section” of Gerald Dunn Stiernberg and his sidemen (playing Armando Peraza. and Bobby Watson. Watson’s addi- guitar, bass and drums) prefer a rep- New Englander Greg Abate tion to the program makes this a ertoire consisting of such jazz stan- returns to Lincoln with an all-star must-see. The world-class alto saxo- dards as “Where or When,” “Easy group including pianist Phil phonist has appeared in Lincoln Living,” “Lover, Come Back to Me” DeGreg, bassist Harvie S. and with his group Horizon and as a and “I Cover the Waterfront.”

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Jordan and Brown keep the music alive ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Sheila Jordan, 74 years young, Hoover Rich by Photo proved herself a bold, ever-searching improviser when she and bassist Cameron Brown took the stage March 8 at Kimball Recital Hall in Lincoln. She also established an immediate rap- port with her listeners that lasted throughout the concert. Her off-the-cuff vocal intro was a timely rap on the air-travel blues, as she and Brown had just experienced them in their snow-delayed sojourn from NYC to Lincoln, via Chicago. Most in the audience could empathize with the unexpected hassles that can create fear and loathing for frequent flyers. Having made the connection that is essential for an intimate artist-audi- Sheila Jordan and Cameron Brown perform at Kimball Recital Hall March 8. ence experience, Jordan launched into on the next page), she chanted the title she dedicated a ballad rendition of “On the Oscar Brown Jr. classic “Hum track, a moving Jordan creation called a Slow Boat to China” to George Bush Drum Blues.” By ending her phrases “Little Song,” which flowed naturally Jr. with rising notes, she gave the other- into a stunning rendition of Lennon- Inextricably bound to Charlie wise depressing lyric a sense of uplift, McCartney’s “Blackbird” and back to “Bird” Parker and his bop legacy, Jor- hope and optimism. In “Better Than the chant. The story behind her compo- dan tackled the difficult “Confirmation,” Anything,” her joyful delivery con- sition—her Cherokee grandfather called a Parker tune with lyrics by Leroy vinced the listener of her sincerity, es- her Little Song—gave the tune a poi- Mitchell. Brown launched the affair pecially when she improvised “better gnant and soulful depth. with a bass solo before Jordan entered than anything except singing in Lin- Next, the duo pulled out the ob- the fray, singing, swinging and soaring coln.” scure “Real Time” by a Portland, Ore., like the alto horn of “Bird” himself. The Brown, ever the sensitive accom- vibes player, then paid tribute to the im- mood was light, lilting and playful. panist, joined the scatting Jordan in a mortal dance team of Astaire and Jordan chose Mal Waldron’s voice-bass dialogue during “The Very Rogers with “Freddie and Ginger,” a lovely “You” as a memorial to the late Thought of You.” The two master mu- medley of dance tunes ranging from pianist. As Brown provided the bass sicians have a rare compatibility, honed “Let’s Face the Music and Dance” and background, the singer told a dark in the studio on such recordings as “I’ve “Cheek to Cheek” to “I Won’t Dance,” Waldron joke about a man who had just Grown Accustomed to the Bass” and and “I Could Have Danced All Night.” returned from the doctor under instruc- allowed full flight in live performance. Jordan again exhibited her refreshing tions to take pills for the rest of his life. Jordan displayed an incredible optimism with a bright reading of “Pick The man expressed some doubt over the range of material, moving deftly from Yourself Up (Dust Yourself Off and prognosis, saying, “He only gave me the evocative Scottish folk ballad “The Start All Over Again).” seven pills.” Water is Wide” to Bobby Timmons’ Despite her basically sweet nature, Their rendition of “Blues Skies” composition “Dat Dere,” with whimsi- Jordan is not without some stinging criti- demonstrated Jordan and Brown’s un- cal lyrics by Oscar Brown Jr. and dedi- cism of our president, his aggressive derstanding of the importance of silence cated by Jordan to children and grand- foreign policy and his reckless disregard and well-chosen spaces between children. She handled the tough time for international opinion. After noting phrases. Brown was especially imagi- changes with ease. how embarrassing it was to be an native as he provided bass fills. Miles Turning to her latest CD (reviewed American on a recent European tour, Davis was given his due with “All

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Blues,” “Freddie Freeloader” and do.” cated to the film “Bird” and director “Now’s the Time,” which included a Jordan and Brown didn’t neglect Clint Eastwood. scatted vocal recreation of the Miles the classics of the great American Completing the astoundingly var- trumpet solo on a classic Parker record- songbook, faithfully interpreting “Hon- ied concert were the voice-and-bass ing. eysuckle Rose,” “Ain’t Misbehavin’,” masterpieces “I’ve Grown Accustomed “Art Deco,” with lyrics by Jordan, “Mood Indigo” and “I Got Rhythm,” to the Bass,” “Sheila’s Blues” and was the duo’s homage to another late, as well as Thelonious Monk’s “Rhythm- Jordan’s own take on Michel Legrand’s great trumpeter, the under-appreciated a-ning,” Charles Mingus’ tribute to “You Must Believe in Spring,” as she Don Cherry. As she moved through Lester Young entitled “Goodbye Pork added, “You must believe in love, in you, these loving tributes to fallen jazz art- Pie Hat,” and “Good Morning Heart- in jazz.” ists, Jordan showed an unmistakable ache,” dedicated to Billie Holiday. Jor- Jordan’s evident passion for the emotional connection. With touching dan invited members of the audience to music is infectious, and makes believ- honesty, she said that “keeping the mu- scat along with her bop rendition of ers of everyone within earshot. sic alive is all I’ve really ever wanted to “Embraceable You,” which she dedi- Jordan’s latest CD release is a multicolored palette

For this collection of mostly bal- obscure gems like Kenny Dorham’s lad, Jordan is joined by an exemplary “Fairweather,” a lovely ballad also cast of compatible musicians, includ- featuring an exquisite Harrell ing the Steve Kuhn Trio with bassist flugelhorn solo. Johnny Mercer’s David Finck and drummer Billy “Something’s Gotta Give” also gets a Drummond, with four superb contri- ballad treatment, a departure from the butions by Tom Harrell on trumpet usual light and shallow, uptempo in- and flugelhorn. terpretations. “If I Should Lose You” It opens and closes with the cleverly shifts from a jaunty Latin SHEILA JORDAN chanted title track, a loving homage rhythm to a heartfelt vocal interlude Little Song to the Cherokee grandfather who to a scat section in bop shuffle time to HighNote Records called her “Little Song” as a child. The a meaty muted trumpet solo by Harrell first version leads effortlessly into a and back to Jordan. In a career spanning more than brief passage from Lennon- Finck’s “The Way He Captured 40 years, bop vocal stylist Sheila Jor- McCartney’s “Blackbird.” Harrell and Me” is an excellent choice for Jordan, dan has produced only about 15 re- Kuhn set the mood for a tender rendi- who sings the ballad as if she’s lived cordings, most in the 1980s and tion of “Autumn in New York,” and every letter of the lyric. The Chero- 1990s. Thankfully, the pace has quick- Jordan pays tribute to her bop roots kee chant returns unexpectedly in ened in recent years, with several bass- with a spirited scat on Charlie Parker’s Kuhn’s “Deep Tango,” and it seems a vocal collaborations and work with the “Barbados.” perfectly appropriate segue to Kuhn’s wonderful pianist Steve Kuhn. At the Lincoln concert with inspired piano solo. Released shortly before her Lin- Cameron Brown (reviewed on the pre- “The Touch of Your Lips” often coln appearance in March, “Little ceding page), Jordan dedicated “Slow seems overdone when other singers Song” is one of the finest examples of Boat to China” to President George tackle this evergreen. In Jordan’s Jordan’s good taste and stylistic range. Bush as a wry protest against U.S. supple style, it jumps with joy as she Though she possesses a rather thin adventurism abroad. Here, she and the leaps irresistibly from the lyric into a voice that is beginning to show some Kuhn Trio simply caress the hoary scat section. Harrell, on muted trum- wear as she nears age 75, Jordan pop song at an ever-so-slow tempo. pet, and Kuhn add similarly uplifting makes the most of her plentiful gifts On the waltzy “Hello Young Lovers,” statements. Like this recording as a and her unconcealed passion for the she shows her deft skill at vocal dy- whole, “When I Grow to Old to music. She brings personal feelings to namics and self-assured phrasing. Her Dream” is a heart-wrenching summa- bear on every number she sings, a rare approach to standards is never con- tion of a legendary career. thing in the age of the pre-packaged ventional, always bold and inventive. emotion and melodramatic delivery of She also shows a penchant for most singers.

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Brubeck tells history of jazz piano at Folly ○○○○○○○○○○○○○○○

By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Photo by Bev Rehkop Bev by Photo KANSAS CITY, MO.-Dave Brubeck, at age 82, possesses all the skill and range of experience needed to embody the history of the jazz piano, and in his March 8 quartet performance at The Folly Theater he recited that history in elegant detail. The current Brubeck quartet, also featuring alto saxophonist Bobby Militello, bassist Michael Moore and drummer Randy Jones, is the best since the classic foursome that included Paul Desmond, Eugene Wright and Joe Morello. Their compatibility allows each soloist complete confidence in his compatriots and creates a level of sophistication that never falters. Dave Brubeck stops to chat with Tom Ineck for a few minutes after the concert. Though considerably older than his sidemen, Brubeck treats them as equals From a symphonic suite written for sical piano introduction and moving into a and never dominates. (and recorded with) the Cincinnati Sym- mid-tempo waltz featuring Militello with Brubeck and company began with phony and director Erich Kunzel, the a lilting sax statement. Moore followed “On the Sunny Side of the Street,” the same Brubeck quartet introduced a fast waltz with a breath-taking bass solo, taken up tune that launches its current CD, “Park that included some marvelous alto sax-pi- by Brubeck with supreme elegance as his Avenue South,” recorded live last summer ano trades. Brubeck proved his versatility fingers skittered gently over the keys in at a Starbucks coffee shop in New York by moving on to a Latin tune, with some fugue style. The tune eventually returned City. Militello’s sax warmed quickly to the spicy flute work by Militello, followed by to the ballad tempo and a scintillating sum- mid-tempo swing and sway of the melody, the master in a remarkable piano solo that mation by the composer. doubling the time in short, boppish bursts. reached to the very heart of the music. To a spontaneous roar from the au- Moore, best known for his tenure with pia- Militello was the focus in a power- dience, the quartet kicked off the Desmond- nist Bill Evans, delivered a lyrical solo. ful, free alto performance on an unnamed penned Brubeck standard “Take Five. Brubeck’s solo contained several chapters piece, which segued into an exchange be- Militello, never one to mimic his prede- from the history of the piano, including a tween the alto and drums, then to an as- cessor, deconstructed the well-worn two-fisted stride technique deftly acceler- tounding drum solo by Jones. Brubeck was melody, quoting from other Brubeck com- ating in tempo and venturing briefly into in his element with a lighting quick rendi- positions and, at one point, reproducing the realm of the avant garde. tion of the Gershwin warhorse “I Got the sound of a siren, as though to call in “The Nearness of You” received a Rhythm,” again featuring Militello’s hard- the fire units to bring his blazing perfor- beautiful reading from Militello, switch- blowing, inventive improvisations. mance under control. Jones’ drum solo ing from alto sax to flute. Moore also of- Brubeck’s lovely dirge, “Elegy,” was tastefully recreated and rhapsodized on the fered a lovely arco solo. a moving duo for piano and bass. The piece familiar 5/4 time signature, superimpos- Brubeck, feeling comfortable in the was written for Randi Hultin, a Norwe- ing his own alternative rhythm patterns on recently restored grandeur of the historic gian journalist who recently died of can- the classic structure. Folly Theater, told his audience that the cer. Paying tribute to the music of New With good-natured humor, Brubeck quartet would be trying out some new ma- Orleans, Brubeck introduced his compo- announced the finale, “Show Me the Way terial with them. On what the leader de- sition “Crescent City Stomp,” with Mardi to Go Home,” which also closes the live scribed as a traveling blues, Militello burst gras-style march rhythm and a tour de CD. Militello on alto, Moore on bass and forth with a hot alto solo, bending notes force alto solo. Brubeck on piano contributed soulful so- and traversing the scales with effortless Perhaps the showcase piece of the los, anchored by the solid drumming of skill. Moore again followed with a bowed evening was Brubeck’s lengthy “Don’t Jones, to send everyone home with a warm bass statement on the mid-tempo number. Forget Me,” beginning with a tender clas- feeling.

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Saxophonists pay tribute to Bird in his hometown ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

KANSAS CITY, Mo.-Organiz- Photo File Cables’ brilliant solo was both me- ers of the 5th Annual Charlie Parker lodic and percussive. Finally, Mor- Memorial Concert on March 22 in gan and Fortune traded four-bar Kansas City could not have asked breaks in a fantastic display of vir- for a more appropriate group of mu- tuosity. sicians to celebrate the occasion Slowing the pace for a ballad than the Frank Morgan-Sonny For- medley, Fortune turned his attention tune Quintet. to the standard “What’s New?” He Although the two alto saxo- gave it a lush reading, compara- phonists bring much different influ- tively faithful to its familiar melody. ences to their playing styles, they de- Cables got the spotlight for his ren- cided to assemble and co-lead a dition of “Body and Soul,” which quintet in homage to the legendary he concluded with a beautiful key- bop innovator for a two-week tour board coda. For his ballad feature, in March. The tour included dates Morgan chose Cables’ “Helen’s in Oakland and Santa Cruz, Calif., Song,” with he performed with the Sonny Fortune and St. Paul, Minn., before the stop composer, adding a soaring alto sax in Kansas City. The quintet com- phia native. The contrasting styles solo. pleted its brief run with perfor- of the two horn men created an ex- mances in Albuquerque, N.M., and citing study in dynamics. Photo File Hollywood. Bolstering the performances of Even more apt was the KC Morgan and Fortune were the com- venue, the Gem Theater Cultural & bined harmonic and rhythmic in- Performing Arts Center at 1601 E. stincts of pianist George Cables, 18th St., a recently restored 500-seat bassist Henry Franklin and drum- performance hall. Along with the mer Steve Johns. Cables, especially, nearby American Jazz Museum, Ne- was more collaborator than accom- gro Leagues Baseball Museum and panist. The Blue Room jazz club, it has Parker’s “Confirmation” been instrumental in the revival of opened the proceedings with flair. the historic 18th and Vine Street Morgan and Fortune played a uni- area, which spawned Kansas City son lead line before taking separate jazz in the 1920s and 1930s but had solos, leaving plenty of space for fallen into disrepair in recent times. solos by Cables and Franklin. The Frank Morgan The 69-year-old Morgan is a bassist’s searching, experimental light and lyrical player in the clas- phrasing was closer to Fortune’s The two saxophonists reunited sic Parker mold, and despite a stroke style than Morgan’s. for “A Night in Tunisia,” with Mor- that left him partially paralyzed a Paying tribute to another influ- gan stating the melody and Fortune few years ago, he still can sustain a ential saxophonist, Fortune domi- taking the first solo, a swirling, ex- strong melodic line through the nated Wayne Shorter’s “Footprints” hilarating improvisational journey. chord changes. The younger For- with his brawny, hard-edged sound, Morgan took the lead-off solo on tune, 64, draws his sound from the circular breathing and powerful “All Blues,” delving deeply into the beefier, bluesy sound of John Trane-like phrasing. Morgan’s solo, modal changes. Fortune proved the Coltrane, a reputation he earned by comparison, was constructed more powerful soloist, taking 10 during his tenure with pianist from short staccato bursts, rather choruses of sustained brilliance. McCoy Tyner in the early 1970s. than Fortune’s long, flowing lines. Like Coltrane, he’s also a Philadel- As though following Morgan’s lead,

Page 10 Berman Music Foundation Jazz

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Tenor titans ignite hall with concert sizzler ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

In the grand tradition of the jazz Photo File the fray for Menza’s fast samba called tenor saxophone battles of yore, tenor “Sambiana.” The two tenors stated the giants Don Menza and Pete Christlieb melody, took separate solos, and then went head-to-head March 25 as guest finished with traded passages as the soloists with the Nebraska Jazz Or- band, driven by drummer Greg Ahl, chestra. gathered momentum for the finale. Menza and Christlieb, longtime Christlieb took the spotlight for friends and two of the most popular the Nestico arrangement of Billy studio musicians of the past 40 years, Strayhorn’s “Chelsea Bridge,” a re- joined their horns in immortal com- cording that won the tenor player a bat, raising the temperature level con- Grammy nomination earlier this year. siderably for the 400 listeners at The His tone on the ballad standard was Cornhusker hotel ballroom. big and breathy but had an angular Before the two guests took the attack that kept the listener’s attention stage, the NJO sax section warmed up and prevented the performance from with a couple of tunes, including “Play slipping into cliché. It Again, Sammy,” a feature for the Nothing could have followed the saxophone section written for famed evening’s madcap capper, Menza’s big-band composer-arranger Sammy Tenor saxophonist Don Menza “Time Check,” an incredibly propul- Nestico, and “Coastin’,” a mid-tempo sive tune first waxed 30 years ago by swinger by Paul Baker that featured songbook came “Groovin’ Hard,” an the Bellson band, in a recording fea- brief, but effective statements by bari- irresistible, hard-charging tune first turing a younger Menza and tone saxophonist Scott Vicroy, trum- performed for a Munich radio broad- Christlieb. As Christlieb aptly noted peter Brad Obbink and bassist Andy cast in the mid-1950s and later re- before the duo dove into the demoni- Hall. corded by the Doc Severinsen, Buddy cally difficult piece, “Playing this tune Menza and Christlieb hit the Rich and Louis Bellson bands. is like changing a fan belt while the ground running with a brilliant, blaz- Christlieb’s solo was bluesy and engine is running.” ing Menza arrangement of Ray imaginative, while Menza’s began It was an accurate description of Noble’s venerable flag-waver “Chero- cautiously, building to a slow burn and the rhythmic tour de force, which kee.” After each of the tenor masters finally igniting in tenor pyrotechnics. again had the tenor twosome taking took a solo, they traded 4s, working Again the two brought the tune to a hard-driving solos, including a wry variations on the familiar theme from fiery climax with extended trades. The quote of “Summertime” by the comic every angle and from the lower regis- Menza arrangement also featured the Menza. A series of traded horn state- ters to the upper range of their horns. reed section in a nice saxophone soli. ments followed, with Menza and Despite a sudden, offensive electrical The orchestra began the second Christlieb again acting like a loving, short in guitarist Pete Bouffard’s amp, half of the concert with Menza’s long-married couple, finishing each the two kept focused at breakneck uptempo “Collage,” featuring fine other’s sentences in a natural, flow- speed. solos by Darren Pettit on tenor sax ing dialogue. “Nina Never Knew,” a ballad and Dave Sharp on alto sax. Rich They finished with a dual ca- written for the Sauter-Finegan band Burrows struggled with miking prob- denza that quoted “Blues Up and as a feature for trombonist Carl lems to deliver a tenor solo on Tom Down,” the famous sax duet by Gene Fontana some 50 years ago, featured Kubis’ “Witchcraft.” Throughout the Ammons and Sonny Stitt. It was a fit- Menza in his most romantic mood, evening, the sound-level inconsisten- ting conclusion to this good-natured playing a hard-edged tenor in contrast cies of monitors, solo microphones battle of tenor titans. with the light sound of clarinets, flutes and the piano plagued the perfor- and muted trombones. mance. From the extensive Menza Menza and Christlieb rejoined

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Old enough to drive, Djangirov puts pedal to metal ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Once a year, the Nebraska Jazz T by Photo Orchestra parades its Young Lions All-Star Big Band for all to see and

hear, but never has the NJO had a Ineck om young lion who roared so loudly as its guest soloist Jan. 22 at The Cornhusker hotel ballroom in Lincoln. Now old enough to drive, the 16- year-old Eldar Djangirov drove circles around his contemporaries. The young piano wizard from the Kansas City, Mo., area was making his return ap- pearance as guest soloist with the or- chestra, and it was everything that the capacity audience of nearly 600 could have imagined. The Young Lions, 15 hand- picked musicians from high schools Eldar Djangriove was guest soloist with the Nebraska Jazz Orchestra on Jan. 22 in Lincoln and Omaha, started things off with four tunes. As always, the Djangirov returned for a variety T by Photo young hopefuls were more confident of settings. First, he raced through and more successful in the ensemble Juan Tizol’s “Caravan,” combining passages that they were in improvised technical virtuosity with audacity and Ineck om solos. Standout soloists included saxo- supreme confidence, echoing the key- phonists Alex Levitov, John Guittar board pyrotechnics of Oscar Peterson and Elizabeth Love, all of whom also or even Art Tatum in his rolling left- were in last year’s all-star group. hand figures and his lightning-swift They did a nice job on “Stella by right hand. Starlight” and the Dizzy Gillespie With bassist Andy Hall and piece “Soul Sauce,” but it was a spe- drummer Carlos Figueroa, Djangirov cial treat when their visiting colleague expertly performed the Miles Davis Djangirov took the daunting piano role blues “Freddie Freeloader” and the on “88 Basie Street.” He played that ballad “You Don’t Know What Love role tastefully, as if holding back Is.” He reached heights of astounding slightly in the company of lesser mor- speed and improvisational prowess on tals. a solo rendition of Wayne Shorter’s The NJO began its set with “Footprints.” “Skank 7,” a reggae-influenced tune After this amazing display of Djangirov plays intensely. utilizing seven-count measures. Mu- Djangirov’s keyboard accomplish- It was the finale that proved most sic director Ed Love played the tenor ment, the members of the NJO meekly impressive. Gershwin’s “I Got sax intro, leading into a nice brass returned to the stage, but immediately Rhythm” has been done in many dif- statement that segued into a Love solo, proved themselves equal to the task ferent styles, but none like this Rob followed by Tom Harvill on piano and with the uptempo workout “Pressure McConnell arrangement with the the Hammond electronic keyboard. Cooker.” Djangirov stayed out of the brass section setting the furious pace Chick Corea’s “Sea Journey” featured spotlight for much of this tune and the and Djangirov exploding into an in- wonderful harmonies in the brass and next one, “Thelonious Assault,” a re- credible solo. a hearty solo by Rich Burrows on interpretation of Thelonious Monk’s His standing ovation was richly tenor sax. “Well You Needn’t.” deserved.

Page 12 Berman Music Foundation Jazz

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Gulizia helps NJO remember Sinatra and Basie ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

The Nebraska Jazz Orchestra’s T by Photo decision to salute Count Basie and Frank Sinatra in the season finale may not seem an obvious choice, but the Ineck om two legends of American popular song had much in common. Sinatra and Basie made two stu- dio recordings together and collabo- rated on the classic “Sinatra at the Sands” live performance in 1966. They swaggered with equal confi- dence and had a natural rapport, much like the teaming May 6 at The Cornhusker hotel. Guest vocalist Tony Gulizia, an Omaha native now living in Vail, Colo., has a longtime association with The NJO reed section includes the orchestra’s music director Ed Love (left). several members of the NJO, includ- ing music director Ed Love. Gulizia the calypso rhythm. Van den Berg also members and the audience of 400. also has that Sinatra panache, that sounded confident on the minor-key Back to business, Gulizia charismatic hipster charm. As a friend blues shuffle “A Switch in Time,” switched to Gershwin, singing a Dave observed, he has that “nouveau Rat written by Sammy Nestico for the Sharp arrangement of “Summertime” Pack thing.” Basie band. in samba time. Brother Joey added Following a snippet of the Basie Gulizia began with “Teach Me congas and Jeff Patton soared on a theme song, “One O’Clock Jump,” the Tonight,” displaying his sure sense of spirited trumpet solo. Moving to the NJO began the concert in earnest with vocal dynamics and a personal way piano, Gulizia led a quartet featuring the Basie-style riffing of “Count of phrasing the lyrics. In “The Lady guitarist Peter Bouffard, bassist Andy Bubba” by Gordon Goodwin, warm- is a Tramp,” he cleverly mimicked Ol’ Hall and percussionist Joey Gulizia ing up each horn section separately. Blue Eyes with casual lyric changes, for one of the highlights of the evening, The long piece also included indi- substituting “girls” with “broads.” a lovely rendition of Dori Caymmi’s vidual solos by trumpeter Bob From the Stan Kenton songbook “Like a Lover,” best known as a Krueger, trombonist Pete Madsen, came the Bill Holman tune Sergio Mendes hit in the late 1960s. guitarist Peter Bouffard and Love on “Cubajazz,” as though specially cho- The quartet continued with “In alto sax. sen for the evening’s extra percussion the Wee Small Hours of the Morning,” Trombonist Tommy van den players, including Gulizia’s younger with Gulizia diving immediately into Berg, a senior at Lincoln Southeast brother, Joey, on bongos and surprise the lyric with little introduction. He High School and this year’s Young guest Doug Hinrichs on congas. showed his two-fisted, driving piano Jazz Artist, was featured in an open- A wonderful musician who is style on the fast-paced “I Love Being ing set. Van den Berg handled the also adept on the piano and organ key- Here with You.” changes nicely on the mid-tempo Dave boards, singer Tony Gulizia showed A Quincy Jones arrangement of Sharp arrangement of “Then End of an impeccable sense of timing on “Fly “I’ve Got You Under My Skin” com- a Love Affair,” but really excelled on Me to the Moon.” As if to remind pleted the regular concert program, Sonny Rollins’ rollicking “St. Tho- Gulizia of his more modest and more but Gulizia returned for a well-re- mas,” with a small combo consisting ethnic musical roots, Love brought out ceived encore on “Every Day (I Have of piano, guitar, bass, drums and per- an accordion, on which Gulizia good- the Blues),” in the style of Basie and cussion. Tom Harvill’s lively piano naturedly played “The Chicken singer Joe Williams. solo captured the irrepressible joy of Polka,” to the delight of orchestra

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McNeil Quartet gives seamless performance ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

No one could ever accuse the statement of the melody followed by McNeil entered with an extraordinary John McNeil Quartet of playing a subtle, searching guitar solo alter- solo, as though adding his own com- clichés. nating chords and single-note runs. ments to the conversation. With few comments from the McNeil’s trumpet solo soared freely Using a large shot glass as a slide leader regarding the title or the inspi- while staying narrowly and imagina- on the strings, Green created an eerie ration behind each tune, the band’s tively within the chord changes. effect, playing a quavering unison line two-hour performance Jan. 31 at An uptempo stop-time piece with McNeil on trumpet. Kimball Recital Hall in Lincoln metamorphosed into another tune, The one recognizable melody all flowed seamlessly, as though creating with Green’s jagged, hard-edged gui- night was “Nothing Like You,” an a symphonic suite or simply an ex- tar solo demanding attention. His obscure tune written by singer Bob tended conversation among four con- tasteful use of effects (assorted slides, Dorough for an otherwise instrumen- fidants. But none of the melodies, volume pedal, finger-tapping and tal Miles Davis recording session. chord changes or improvised solos hammer-on techniques among them) McNeil gave it an aptly quirky read- could be described as predictable. never got in the way and always added ing. McNeil is a trumpeter, composer color to the overall sound. In an intriguing departure from and band leader worthy of far more The same can be said of the jazz norm, the quartet performed recognition than he has acquired in his Hubbard’s warm tone and perfect in- McNeil’s composition “Urban Leg- 54 years. While leading a quartet since tonation, whether plucking or bowing end,” a tune whose rather conventional 1979, and the current lineup since the bass, and of Vincent’s bag of folk-rock sentiment contrasted dra- 1997, McNeil has developed a rare tricks, which included tambourine, matically with McNeil’s “outside” rapport with his sidemen: guitarist chimes, mallets and other percussion trumpet statements. Andrew Green, bassist Tom Hubbard paraphernalia. With “Blue Boat,” McNeil and and drummer Ron Vincent, who last Exhibiting a well-paced sense of company demonstrated their affinity performed in Lincoln as timekeeper dynamics, the quartet moved grace- for the blues, albeit a very odd sort of for baritone saxophone legend Gerry fully through a ballad, featuring a blues progression. It is unlikely that Mulligan in the early 1990s. guitar solo of restrained virtuosity. anyone in the audience of 300 could The midtempo opener seemed to After Green and the rhythm section have hummed along with these fast come out of left field, with a brief had created an exotic Eastern mood, and furious changes.

Jazz in the venues ○○○○○○ Compiled by Tom Ineck○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Monday Night Big Band Thursday Night Jazz For more information on jazz at P.O. Pears, call Arts In- The Monday Night Big The Thursday Night Jazz Se- corporated at (402) 477-8008. Band plays 7:30 p.m. to 10 p.m. ries, featuring small groups, plays Mondays at P.O. Pears, 322 S. 7:30 p.m. to 10 p.m. Thursdays Jazz at The Oven Ninth St. in Lincoln. at P.O. Pears, 322 S. Ninth St. Jazz duos continue on Sun- The cover is $4 for adults, The cover is $5 for adults, $4 day and Thursday evenings at $3 for students. for students. The Oven, 201 N. Eighth St. For more information, call (402) 475-6118.

Page 14 Berman Music Foundation Jazz

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Repairman Popek is a musician’s best friend ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

On most days, you can find Bob T by Photo Popek hunkered down in the back room of the third floor at Dietze Mu- sic House in downtown Lincoln, sur- Ineck om rounded by the well-worn tools of his essential trade. He’s a string musician’s best friend. For more than 25 years, Popek has been an instrument repairman, capable of returning life and harmony to the most dejected and abused of guitars, banjos, fiddles, mandolins, basses. Generations of rock, folk, bluegrass, jazz and classical string players have Popek to thank. “What I realized, very early on, is that people are very attached to their instruments, and they want them to Bob Popek restores an historic bass once owned by his mentor, Mark Pierce. play the way they want them to play,” needed to make a statement when I after running the Dietze repair shop Popek said. “And, no two people play started. I was pretty gung-ho.” Popek for many years. In storage for 30 alike.” quickly became known as the “setup years, the bass was only recently pur- He began by specializing in in- king,” which earned him many long- chased by the store for restoration. strument adjustments and custom gui- time friends among local string “When I found out it was Mark tar setups, the basic configuration of benders and fret meisters. Pierce’s, with the connections, I the instrument’s strings and fretboard. One of his current projects is re- thought it was too important to let that Then, he added a one-year warranty storing a double bass, vintage circa go on and lose the history it had, that on all of his work. 1890, which once belonged to his I had to buy it and restore it and use it “That was totally unheard of mentor, the late bassist and string re- for a better cause,” Popek said. back then, because an instrument’s pairman Mark Pierce, who was in his When brought back to playing made out of wood and it shifts. But, I 90s when he died in the mid-1970s, condition in Popek’s skilled hands, the

Photo by T by Photo bass will be made available for visit- ing bassists who have to leave their instruments at home, an increasingly

om Ineck om common situation when air travel is a dicey proposition. Already the carved instrument, which will be valued at $5,000 when finished, is scheduled for play during three of this year’s Jazz in June concerts in Lincoln. Popek began his association with Dietze as a guitar teacher in 1976. Within six months, he was helping out in sales and landed a part-time job This battered bass, which is more than 100 years old, awaits restoration by Bob with Pierce in the repair shop, in ad- Popek in Dietze Music House’s third-floor repair shop in downtown Lincoln. dition to teaching. Pierce was doing

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Photo by T by Photo evolve.” The repair operation now in- Omaha Symphony. I do work, on a cludes Popek, two fulltime assistants regular basis, as far west as Grand

in downtown Lincoln, one fulltime Island. I have regular customers as far om Ineck om repairman at the south Lincoln store away as Denver, Kansas City and and one at the Omaha location. Minnesota. We’ve diversified quite a He credits local bassist and UNL bit. We’re not a shop to limit ourselves Associate Professor Rusty White with to certain things. It’s not a surprise to helping him to broaden his skills into walk up into the shop and see a grand other areas, such as perfecting setups piano standing in what might be our for string basses, building his own ad- last available place to stand because justable bridges and designing his own somebody wanted a piano refinished. C-string extensions.“More than 20 We won’t turn anything down.” years ago, when he first came to town, Just the string family alone is a he came into the shop and said, ‘Bob, prolific one, including mandolin, gui- I’ve seen your work and you do OK, tar, banjo, steel guitar, bass, violin, but you’re going to do better,’” Popek viola and cello, not to mention such recalled. “I told him, ‘Tell me what second and third cousins as the uku- you expect, and I’ll try to meet it,’ so lele, zither and dulcimer. After refinishing the neck of the Pierce he was a very heavy influence on me.” “You can think of a thousand dif- bass and installing new strings, Popek The first music store in Lincoln ferences in each instrument, but there tries it out. to offer full service on all instruments are just as many similarities,” Popek orchestral string repair—basses, cel- sold, Dietze can handle anything that noted. “They all require the same los, violas and violins. comes through the door, from acous- mechanism to tighten the string. They “Mark Pierce taught me the prac- tic string instruments to brass, from all require a string, a sound box and a tical side of repair, realistically what drums to electric keyboards and am- neck to perform on.” you saw in life,” Popek said. “A lot plifiers. With the closing of other Lin- Popek also works with manufac- of things aren’t pretty. When some- coln area music stores and Dietze’s turers to create improvements in in- body falls with a bass—no two people solid regional reputation, business struments and accessories. For ex- fall alike.” continues to grow. ample, he helped to solve a design Pierce, however, didn’t have time “We’re doing work with the problem on a string bender that could

to teach his young apprentice every- T by Photo bend one or two strings independently. thing. He also devised a display model gui- “I worked with him for about a tar that allows customers to test dif-

year, until we realized that Mark Ineck om ferent pickups before they make a wasn’t going to be around much purchase. longer.” Dietze sent Popek to a repair What truly tests the repairman’s school in Minnesota for a year of for- knowledge and skill is restoring a vin- mal training that would groom him to tage instrument to its former glory. replace Pierce, who died while Popek “With restoration, you want to was away. Because Popek was the try to keep with the theme that the in- first student sponsored by a music strument was built in, in its time. A store, he was treated with special care, lot of lost knowledge you need at your to raise the school’s placement rate fingertips to do a job correctly.” In re- and to set an example for other stores. cent years, the Internet has become an When he returned to Lincoln, he was invaluable tool for Popek in his search ready. to access the history of instruments “We had enough work back then and the knowledge of instrument re- for it to be a good, solid part-time job, pairmen worldwide. and it took maybe four or five years Streve Streit, an instrument repairman to build up to where I couldn’t keep at Dietze, works on an electric guitar. up, and we slowly started to hire, to

Page 16 Berman Music Foundation Jazz

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Richard Thompson applies tourniquet to the soul ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

HASTINGS, Neb.—English trad- Photo File performed (in Italian) his rocking ar- rock apothecary Richard Thompson rangement of “So Ben Mi Ca Bon arrived April 23 at Hastings College Tempo,” written circa 1600 by Orazio carrying an old kit bag of tricks filled to Vecchi. By the way, the U.S. release of the brim. “Kit Bag” contains a limited-edition As promised in the subtitle of his bonus disc containing an acoustic live new CD, “The Old Kit Bag,” the con- version of this tune, Prince’s “Kiss,” and cert of largely new material contained a video clip from a BBC documentary “unguents, fig leaves and tourniquets for on Thompson. the soul.” On the rare occasion of a “One Door Opens” had the feel of Thompson electric band tour of a traditional dance number, with acous- America’s heartland, the quartet’s in- tic guitar, mandolin, acoustic bass and spired performance for some 650 people bongos setting the mood. After the rock- at French Memorial Chapel did, indeed, Richard Thompson’s latest release is ing “I’ll Tag Along,” Thompson again have welcomed healing powers. “The Old Kit Bag.” dipped into his considerable back cata- The band was one of the best I’ve log for “Bank Vault in Heaven,” “I Want seen since my first encounter with Th- “Gethsemane,” a meditation on the to See the Bright Lights Tonight” and ompson in 1985 at Parody Hall in Kan- meaning of life concluding with the “Shoot out the Lights.” sas City, on the heels of the “Across a question: “Who sucked out the freedom, “She Said It Was Destiny” was Crowded Room” release. The common days without end? Under the weight of another finger-snapping melody from denominator of both concerts was bass- it all you must bend.” “Kit Bag.” A very fast rendition of the ist Rauri McFarlane, then making his The rocker “Pearly Jim” was fol- favorite “Two Left Feet” was followed first U.S. visit, but now a seasoned vet- lowed by “Outside of the Inside,” a by the evening’s only extended jam, on eran on both electric and upright bass. scalding attack on the self-righteousness the breath-taking finale “You Can’t Multi-instrumentalist and harmony of the religious right. It begins, “God Win.” singer Pete Zorn, a long-time Thomp- never listened to Charlie Parker. Charlie The crowd brought the boys back son road warrior, and Earl Harvin, an Parker lived in vain. Blasphemer, wom- for two encores, beginning with a solo outstanding percussionist from Dallas, anizer, let a needle numb his brain. Wash acoustic “1952 Vincent Black Light- gave the foursome a tight, self-contained away his monkey music. Damn his de- ning,” “Wall of Death” and “Crawl sound, like a well-oiled machine. mons, damn his pain.” McFarlane’s Back (Under My Stone).” For the sec- “The Old Kit Bag” seems, at once, booming acoustic bass contrasted dra- ond encore, they brought out “Man In more accessible melodically and more matically with Harvin’s sharp rat-a-tat- Need” and finished with two new tunes, complex lyrically than many of his re- tat on the bongos. “Jealous Words” and “Word Unspoken, cent releases. As a composer, Thomp- From the past came “Razor Sight Unseen.” son has never avoided the tough sub- Dance” and the heart-wrenching Ever the professional, Thompson jects of life, love, faith and death, but “Missie How You Let Me Down,” fea- and the band played a generous 23 his new writing is especially pointed. A turing Zorn on alto flute. Zorn switched tunes, including 10 from the new release devout Sufi Muslim, he has undoubt- to soprano sax for a heavenly rendition (counting the Italian novelty). edly been affected by the world’s sor- of “Al Bowlly’s in Heaven,” with Th- Thompson fans, a famously ob- did events of the recent past. ompson on acoustic guitar and Harvin sessed clan of followers, have kindred Unexpectedly, Thompson immedi- displaying his subtle but effective brush spirit Turner McGehee and the Hastings ately launched into the rocker “Tear- technique. College Artist Lecture Series to thank Stained Letter,” a classic flag-waver that Returning to his new material, Th- for making possible this free concert usually is held in reserve for later in the ompson played a solo acoustic guitar appearance. show. He followed with several tunes version of “A Love You Can’t Survive.” from the new CD, beginning with As if to flaunt his versatility, he then

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Jerry Seinfeld improvises like jazz saxophonist ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○○ File Photo File DES MOINES, Iowa-Jerry Dig this. The parallels between Seinfeld—jazz? Yeah, why not? Im- a sax player’s own personal take on provisation is the ability (I know, whatever composition he is blow- Jamey Abersold sez everyone can ing—and keeping (sometimes, ever improvise, but you know what I so slightly) the intended tune intact mean) to alter the original arranged and Jerry’s shtick shows that he ob- piece of material, whether it be mu- viously has a game plan. There were sical or spoken word. Well, I tell several times I second-guessed what ya—after witnessing Jerry current hot topic he would put his Seinfeld’s new stand-up concert Jan. spin on next, yet his relaxed, but 21 at the Des Moines, Iowa, Civic slightly smug demeanor, almost took Center’s sold-out second show, I me back to the old Jack Benny days. could easily draw the comparison. Cover photo from “Jerry Seinfeld: His timing, like a veteran musician, Much Ado About Nothing” was and is and probably will always be flawless. Free weekly concerts through Sept. 23 After his opening act (I can’t

remember his name, but he was a ○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○ pretty damned good standupper who

The Downtown Performance Se- T by Photo really got the pro-Jerry audience ries began with a made-to-order spring primed) the lights dimmed as Jerry day May 7 with the John Carlini Expe- creeped on the bare stage, except for rience, featuring Carlini on keyboards, Ineck om his lone barstool, glass of water and bassist Jean Luc Davis and special guest mike to one of the most heartfelt Bill Wimmer on assorted reeds. standing Os before he even opened The hour-long, lunch-hour concert his mouth I’ve ever seen. It gave me included the group’s own unique ar- a rush I’ll always remember. rangements of such classics as Obviously, everyone in the au- Gershwin’s “It Ain’t Necessarily So,” dience, including myself, lived and Jobim’s “How Insensitive,” Freddie The John Carlini Experience, with breathed for Jerry, as well as his Hubbard’s very appropriate “Up special guest Bill Wimmer on May 7. daily reruns. His only faux pas, Jumped Spring,” and “You Don’t Know which I’ve experienced at the two June 4, The OK Chorale previous shows I’ve seen him per- What Love Is.” Wayne Shorter’s “Foot- June 11, Justice League of the Blues prints” got an extended interpretation, form at, was his attempt to use the June 18, Overtones audience in a question-and-answer beginning with Davis’ bass solo intro- June 25, Swing & Country Dancers session for his encore. It might work duction, followed by Wimmer’s soprano July 2, Baby Needs Shoes sax and Carlini’s electronic keys blend- July 9, Paul Newton in a super-hip venue like L.A. or ing in a spacey excursion. July 16, Pipher and Keefe New York, but the people he picked The free concert series continues July 23, Bev Jester & Tom Larson Trio out of the Lincoln, Omaha and Des every Wednesday through Sept. 25, July 30, Broad Appeal Moines audiences proved to be from noon to 1 p.m. in the beautiful Aug. 6, Capital City Cloggers fairly mundane. Yet, he takes his Aug. 13, Deb Davis Lincoln Community Foundation Gar- chances with that, and the trouper Aug. 20, Classified he is makes it sorta work. dens at 1214 N St. in downtown Lin- Aug. 27 The Happy Czechs coln. It is presented by Pinnacle Bank With “The Sopranos” and “Sex Sept. 3, Harv Brindell Blues Duo in the City” in their last season, and produced by Updowntowners Inc. Sept. 10, Kusi Taki please come back, Jerry! You’re the The following acts are scheduled for the Sept. 17, Honeyboy Turner and Sean Ben- series: jamin best… the best, Jerry! Sept. 23, The Clefs

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Origin Records is prolific Seattle label ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○

One of the most resilient and pro- from Mimi Fox and Greta Matassa, I Together/Yesterdays” and “West lific indie labels out of Seattle is Ori- can assure you that they, too, have a Coast Blues” stood out for me. Their gin Records. I became acquainted with fan for life. rendition of “Centerpiece” may be my the musician-owned and –run label via Now, let me reflect on these two favorite recorded version of this Harry an interesting networking, of sorts. recent releases: “Sweets” Edison and Jon Hendricks’ Before the BMF released Andrienne classic. You also get two bonus tracks, Wilson’s “She’s Dangerous,” my le- including a wonderful 12-minute ver- gal eagles from Cline Williams and sion of “Green Dolphin Street.” They myself headed west to Seattle to check were cookin’ at Bake’s that night. her out. The second stop, of course, Seattle’s famed record store Bud’s Records, got me acquainted with Mr. Bud Young himself. While listening MIMI FOX AND GRETA to an incredible sax album, I asked MATASSA “Who’s that?” to which Bud handed Live at Bake’s Place me a phone and said, “Say hello to Origin Records Don Lanphere.” A continuing dia- DON LANPHERE logue to this day ensued, leaving me I discovered Mimi Fox backing Where Do You Start? with his incredible collection of re- Don Lanphere on his lovely “Like a Origin Records corded music, which we’ve reviewed Bird” CD, and found her guitar prow- during our tenure. Hence, Origin ess enchanting. Her sure-fire tech- From the first notes you hear, Records has been Don’s label for a nique covers the gamut of all styles— you know it’s Don. Those soft, lush while, putting out top-notch shit. she could play with the Paul Shafer compelling tones envelope you like The reason this stuff is so good Band on “David Letterman” one night, stepping into a luxurious hot bath. may have something to do with the and dual it out with Jim Hall the next. Seductive, you almost have to sigh… record company’s own built-in rhythm Greta Matassa’s vocal style Yeah, we’re talkin’ about Don section. Drummer John Bishop, I be- complements Miss Fox’s phrasing like Lanphere, one of my all-time most lieve, runs the show, along with his they were born to play together, as she beloved jazz figures and one of the trio called New Stories, who also re- wails, howls, growls and soothes, a best friends that I’ve ever had in the corded some wonderful material. They very gifted, assured performer. To- jazz business that I’ve never met face consist of bassist Doug Miller and a gether—simply shimmering, trading to face (still keeping up our tradition, marvelous pianist named Marc Seales. riffs seamlessly yet very improv—and huh Don?) Anyway, this new CD is So, as you can assume, getting to having the time of their lives. entitled “Where Do You Start?” and know these guys spans the global jazz Bake’s sounds like a great room it’s another classic Don Lanphere network, which, in a sense, is a very to hear jazz, and their rhythm section masterpiece from this ageless, sagelike tight-knit connected community. accompanies them admirably. Bass- bopster. Backed as always by the Ori- Anyway, these nice people send ist Clipper Anderson and the sparse, gin team of head honcho drummer me more product than I can probably but deft piano stylings of Randy John Bishop, bassist Doug Miller and ever get to—all quality jazz recorded Halbertstad stood out. The drums/per- the superlative piano stylings of Marc primarily by artists from the North- cussion team of Mark Ivester and Seales, they glide effortlessly behind west. One thing I can tell you is, Don Larry Barilleau rather understatedly Don’s urgings. Add Jonathan Pugh on Lanphere is my personal favorite, as held their own, but it’s the two remark- cornet and Jeff Hay on the ‘bone… my review of his new CD “Where Do able women who rivet your attention you get it—this is one hell of a band, You Start” will attest. After listening from the first track to the last. with dynamite production from Don to the new CD, “Two for the Road,” No throwaways here, yet “Alone and John.

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My pal, Ted Eschliman, part owner hair. The rather unusual collection of old of Dietze Music House, educator and fel- standards all seem fresh and well… dif- low musician, sent me this CD several ferent. A rare balance of brilliant chops months ago. I was a bit embarrassed when and clever rearrangements make tunes like he checked in on me regarding my feed- “Where or When,” “More Than You back on such. Feeling slightly put-upon I Know” and even “The Theme from thought, “Oh, what the heck, let’s check it Mannix” take on new identities. Definitely out.” I dig bluegrass a little, but my inter- all killer, no filler. DON STIERNBERG est in mandolin music falls far behind my I was so gassed, I even helped book Unseasonably Cool passion for jazz, rock ‘n’ roll and R&B. Don and his band for the upcoming Jazz Blue Night Records Lo and behold, what this gent can do with in June concert. Don’s performance is June his instrument—oh my God! 27. As I said in my other Discorama re- This CD literally knocked me out— Look for “Unseasonably Cool,” take view, people who write about or critique and I replayed it a second time immedi- it home and treasure it. If unavailable at music get tons of material from hundreds ately. What a great, jazzy, delightful and local stores, check out his website at of career-hungry players. Sometimes, well-produced surprise “Unseasonably www.bluenightrecords.com for more amidst a lotta boastful hopefuls, a gem lay Cool” turned out to be. Don, as well as his info—and by the way, thanks a lot Ted, in wait. Thus, my experience with “Un- ensemble of talented cats, previously un- for this year’s unsung hero.

seasonably Cool” by Don Stiernberg. known to me, gelled like Butch wax to ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Ted Eschliman ○○○○○○○○○○○○○○○○○○○○○○○ ownership in a successful Lincoln record- “Time Will Tell,” a delightful 5/4 rhyth- ing studio, and a current stint as Univer- mic romp. It’s the only track not written sity of Nebraska-Lincoln staff in the School by Larson. of Music, teaching jazz history the last “Sensei” gives us the best taste of several years. His first book, “The His- each artist’s individual improvisational tory and Tradition of Jazz” (Kendall Hunt skills without venturing into the uncom- Publishing) hit the bookshelves in the fall fortable terrain of accomplished jazz mu- of 2002, so he’s quite authoritative on the sician self-indulgence. Themes are con- TOM LARSON genre, despite his more familiar street- cisely presented, developed and entertained Flashback savvy commercial work. without overstaying their welcome. The CD opens with “Memphis;” the Featuring the Latin chops of Omaha The irony of Lincolnite Tom sultry “Elvis” growl weaves a new fabric area drummer/percussionist Joey Gulizia, Larson’s newly released CD “Flashback” into the smart blues progression, journey- “Street Fight” puts a salsa spin on a har- may be lost on most listeners. How a man ing through many keys, yet never aban- monically rich jazz waltz. who has recorded and produced literally doning a sense of “home.” The title track, Introducing the final track, “The In- hundreds of local and regional artists could “Flashback,” introduces us to well-coor- ner Path,” Larson treats us to an all-too- wait three decades to record his own project dinated dialogue between local (now Bos- brief glimpse of his underrated solo piano is quite baffling. ton-based) sax prodigy Chris Steinke and facility. Complemented by the lyrical This introspective, instrumental jazz veteran UNL trumpet Professor Darryl phrasing of trumeter Darryl White and gem is worth relishing, whether soaking White, taking appropriate turns in modal third UNL faculty member, bassist Rusty in the melodic dialogue between members conversation. White, we literally hear the real-life pro- of the sextet, or just immersing yourself in The jazz waltz “From Two” explores fessional relationship and friendship these the wash of superbly calculated structure. a chord relationship (the classic ii V7 ca- musicians harbor. Compositionally mature, Larson combines dence) familiar to the trained jazz ear and Though Larson’s tenure as a pro- his well-trained, sophisticated Berklee turns it backwards as if a kind of “pri- ducer and recording engineer could em- School of Music pedigree, with his battle- vate” joke. Yet this trick hardly betrays power him with all kinds of studio magic, hardened track skills to please us with 45 the untrained; rather, it yields a pleasant, he clearly resists temptation in this CD and minutes of musical self-discovery. accessible drive and later reintroduces us offers nothing but a well-honed, transpar- Larson’s credentials include numer- to the acoustic bass mastery of hometown ently acoustic performance that is a per- ous scores for documentary films for PBS boy (now New York) Steve Doyle, who fect snapshot of one of Lincoln’s musical and NETV, a two decade-long run of co- coincidentally penned the subsequent track, treasures.

Page 20 Berman Music Foundation Jazz

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Funk Brothers story makes life-shaking DVD ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○

If you’re lucky, and live long of the self-penned Funk Brothers, who enough, a few major incidents will prob- from 1959 to the early 70’s provided ably take place to shake and/or shape the back-up and rhythm sections for our lives. Berry Gordy and Motown Records. The Looking back, I recall being home Funk Brothers did make a fairly decent on furlough from Wentworth Military living, but were certainly not overpaid Academy (WMA) at the ripe age of 16 and were left fairly obscure and unher- and seeing Dylan in ’65. His first set alded. Motown made a fortune from was solo, followed by (at the time) the these incredible musicians, turning doz- loudest, in-your-face backup band I’ve ens of talented singer/songwriters into ever heard. Next, also while at WMA stars, and recording hundreds of hits. in 1968, I snuck out, ingested my first Hey, I had every 45 from this era, and LSD and saw Jimi Hendrix live in Kan- outside of bassist James Jamerson, I sas City. Lastly, catching Gerry hadn’t known the names of any of these Mulligan, months before his untimely cats. death, inspired me to embrace jazz as So please, from now on remem- never before, and to co-found the ber these names: Drummers William Berman Music Foundation with my “Papa Zita” Benjamin, Richard “Pis- then-partner, Susan Berlowitz. These “Standing in the Shadows of Motown” tol” Allen and Uriel Jones; bassists are three standouts that first came to is the story (on DVD) of the musicians James “Igor” Jamerson and Bob Babbit; mind. behind the scenes of some of the guitarists Robert White, Eddie “Chank” Yesterday…I had another. A full- funkiest music ever waxed. Willis and Joe Messina; pianists Joe page ad in Entertainment Weekly sent new DVD entitled, “Standing In the Hunter, Earl “Chunk of Funk” Van me on a search to Barnes and Noble. A Shadows of Motown,” inspired by au- Dyke and Johnny Griffith; percussion- nervous, near frantic hunt finally proved thor and educator Alan Slutskey and di- ist Eddie “Bongo” Brown and vibe- fruitful. VOILA! I’m now holding the rector Paul Justman. This is the story player/tambourine specialist Jack “Black Jack” Ashford, they comprise Motown’s house band extraordinaire the heart and soul brotherhood of funk. While researching a book on the Motown’s most valuable play- Supremes, Stevie Wonder, and the Motown bass phenom James Jamerson, ers toiled in anonymity during the rest of Motown’s gilt-edged ’60s visit to his widow turned author 1960s — outside the Motor City, stable. Slutsman’s project into a 15-year odys- anyway. Now, the Funk Brothers Jamerson’s elastic, ahead-of- sey to finish this film while these men are revered worldwide as the dev- their-time bass lines synched impec- were still healthy enough to appreciate astating in-the-pocket groove mak- cably with Benjamin’s equally in- their long over due adulation. Sadly, six ers powering the Sound of Young genious timekeeping to move rhyth- of these gentlemen have since passed, America. mic mountains. Norman Whitfield’s but this work of art is God sent. Truly a Keyboardist/bandleader Earl studio innovations in the late ’60s spiritual experience, as countless edu- Van Dyke was their leader, inherit- brought players like Dennis Coffey cational gifts lie within this two DVD ing the chair from Joe Hunter. and Melvin “Wah Wah Watson” set. Almost life-changing, the packag- These masterful Detroit musi- Ragin to the fore. Benjamin’s 1969 ing is as well done as I’ve ever seen, cians, steeped as deeply in modern death dealt the band a devastating and I’ve seen a lot. jazz as they were in bedrock R&B, blow, but it was ultimately Grab it, open your hearts, dance laid down the scintillating rhythms Motown’s shift to L.A. in the ’70s the night away and rejoice. The Funk driving countless smashes by the that ended their reign as house band Brothers are back again…encased for- Temptations, the Miracles, the extraordinaire. -- from Motown.com ever in a box set worth building a shrine for.

Winter 2003 Page 21 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Jazz on Disc

KC pianist Cartwright shines in classic trio ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

But it is the original compositions power of the larger ensemble. by Frank and Cartwright that are most It is fitting, therefore, that one of poignant and compelling. the most faithful legacies of the clown Frank wrote “Bro Samba” in prince of bop is The Dizzy Gillespie memory of his three deceased broth- Alumni All-Star Big Band, led by ers. The mid-tempo samba brings out Gillespie protégé Jon Faddis. The 18- the best in Rigazzi and Cartwright, piece powerhouse aggregation is well whose Latin leanings were most ap- documented on this release, recorded ARTT FRANK parent on the pianist’s 1999 quartet live at the Manchester Craftsmen’s JOE CARTWRIGHT release “La Luna Negra.” Similarly, Guild in Pittsburgh, Penn. STEVE RIGAZZI Cartwright’s jaunty composition One look at the band’s cross-gen- That Trio Thing “Unit VI” was written for his son. This erational roster tells us that this is a MJA Records wonderful tune first caught my atten- serious effort to pay homage to one of tion on his 1990 cassette-only trio re- the founders of bop. Music director This recording reminds us how cording “Triplicity.” Faddis, of course, is often heard front perfectly the basic elements of jazz are The horrific events of Sept. 11, and center, blasting away into the married in the classic trio, the piano 2001, inspired the Frank/Cartwright stratosphere in his trademark Gillespie carrying the melody and suggesting collaboration, “Refuge.” The only trumpet style, but the rest of the all- harmonic variations, the bass provid- ballad on the CD, it thoroughly cap- stars also are featured, including saxes ing the foundation and a tonal con- tures the sense of loss and the need James Moody, Jimmy Heath, Frank trast, and the drums keeping the pace for a safe haven. Music, it seems to Wess and Antonio Hart, trumpeters steady and hinting at all the potential say, is our deepest form of expression Terell Stafford and Claudio Roditi, rhythmic dynamics in the music. and our most lasting refuge. trombonists Slide Hampton and Jay On “That Trio Thing,” those es- Ashby and a rhythm section of Renee sential roles are played with sensitiv- Rosnes on piano, Marty Ashby on ity and a sense of shared adventure guitar, John Lee on bass and Dennis by drummer Artt Frank, pianist Joe Mackrel on drums. Cartwright and bassist Steve Rigazzi. The 11-tune program is a re- The key is Frank, an East Coast bop spectful nod to the Gillespie songbook, drummer best known for his longtime with Benny Golson’s “Stablemates,” association with legendary trumpeter Thelonious Monk’s “Round Mid- Chet Baker. Here his contributions are night” and the standard “Lover Come subtle (employing brushes only) but THE DIZZY GILLESPIE Back to Me.” Direct from Gillespie’s definitive, creating a resilient safety ALUMNI ALL-STAR BIG collaborative pen are the Afro-Cuban net for the improvisational flights of BAND masterpiece “Manteca,” “Emanon” Cartwright and Rigazzi. Things to Come and “A Night in Tunisia.” Recorded without rehearsal in a Telarc Jazz The title track (composed by piano store in Overland Park, Kan., Gillespie and Walter “Gil” Fuller) during two sessions in September Whenever he could afford to, seems a promise of more great music 2000 and January 2002, “That Trio Dizzy Gillespie toured and recorded ahead. Let’s hope it is a promise soon Thing” has the relaxed feel of com- with a big band. Despite his associa- fulfilled. patibility. The repertoire consists tion with the classic bebop quintet The Berman Music Foundation mostly of familiar standards, includ- (trumpet, alto sax, piano, bass and receives special thanks in the liner ing “My Romance,” “You and the drums), he seemed to prefer the notes for its financial support. The Night and the Music” and “I’ve Never polyrhythmic possibilities, deep har- BMF underwrote a transcription of “I Been in Love Before.” monies and downright explosive Can’t Get Started” for the band.

Page 22 Berman Music Foundation Jazz

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By Dan Demuth ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Ed Polcer brought “The Magic of Photo File Swing Street” to Colorado Springs on Feb. 19, musically recreating the period from the early ‘30s to the late ‘40s of New York’s famed 52nd Street—a street that Arnold Shaw titled his book as “The Street that Never Slept.” Accompanying cornetist Polcer was Alan Vache on clarinet, Dan Barrett on trombone, bassist Frank Tate, John Cocuzzi handling the piano and vices and Joe Ascione on drums. My notes will concentrate more on the event rather than the ritualistic listing of the songs played and comments on each. Remi- niscent of a club-size atmosphere, an appreciative crowd of just under 200 Our Colorado correspondent Dan Demuth and his wife, Patti. people comfortably filled this venue at the Red Lion hotel. tional” by those who don’t care to re- jazz as timeless. Ed Polcer has the too oft-unseen ally venture outside of their cozy but To name just a few of the perfor- ability to create a comfortable mood, limited sphere. As Shaw notes, Basie, mance highlights: Vache’s beautiful solo as if one were conversing with him in Hawkins, Gillespie, Goodman, Herman, performance of “Danny Boy;” Barrett your living room. It was obvious the Parker, Vaughan, Tatum, Garner, Holi- displaying his skill on the 88s; Polcer’s musicians were also comfortable in this day, (Artie) Shaw, Norvo and Shearing intuitive comments; the “just right” mode, it reflects in their playing and the were but a very few of the habitués of touch on all numbers by Ascione and mood resonates with the audience. The the 30-odd establishments nestled in an Tate; and Cocuzzi playing “intermis- selections were what one could have area of less than two blocks on The sion” piano, doing bluesy vocals on “I heard on The Street, perhaps mistak- Street. If that’s traditional, I’ll have Want a Little Girl” and “Hello Central, enly too often put into a back as “tradi- some. I would prefer to categorize this Give me Dr. Jazz.” A conversation with Polcer validated my thought that Harry Konitz and Broadbent collaborate “The Hipster” Gibson was perhaps the ”Live-Lee,” an album of live duo paths the next, and perhaps immedi- epitome of the many intermission pia- nd performances by alto saxophonist Lee ately thereafter for one to carry the nists who earned their bread on 52 Konitz and pianist Alan Broadbent, other into a two-way conversation. It Street. will be released by Milestone June 3. would certainly be hard to guess that All of the musicians lingered af- Produced by Orrin Keepnews, the week that culminated in these terwards to talk with anyone who the CD was recorded in October 2000 recordings was their first playing time wanted to, another nice touch. This at L.A.’s Jazz Bakery. together.” event was sponsored by the Pike’s Peak ”It was quickly apparent to both Also due out June 3: “The J.J. Jazz & Swing Society, which can be [musicians],” writes Keepnews in his Johnson Memorial Album,” a gener- found on the Web at www.ppjass.org. booklet notes, “that their natural af- ous sampling of the trombone giant’s While on tour, two weeks prior to com- finity extends beyond even their work as a leader for Prestige, Mile- ing to the Springs, Polcer’s group mutual affection for the unique cre- stone, and Pablo and as a sideman stopped in a studio in Durham, N.C., ativity of their shared mentor, [Lennie] with Coleman Hawkins, Benny and recorded an 11-track CD—“Let’s Tristano. I know that I thoroughly Golson, Count Basie, Joe Pass, Hit It!”—in one day, no rehearsals, no enjoyed their ability to merge at one and others. -- Fantasy Inc. kiddin’. It’s great. Check out the website moment, to move off on individual www.edpolcer.com for ordering.

Winter 2003 Page 23 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Letters to the editor

Bassist and singer express Pianist anticipates Jazz in June Best wishes from “Fiddler” appreciation with Greg Abate Williams and wife, Blanche

Just wanted to thank you so much I am looking forward to com- Thanks for the calendars. They were once again for having us out in Lin- ing to Nebraska with Greg in June, very nice. Claude and I are fine and wish coln. Your hospitality is matchless! I enjoy getting the magazine still, es- you and yours the best for the New Year! And you’ve got such a wonderful pecially seeing all my Kansas City Keep up the good work on the newsletter. group of people working with you. buddies of my youth getting old like Sheila and I were both blown away! me. Blanche and Claude Williams We will definitely keep in touch Just got back from Brazil Kansas City, Mo. and hope that you do the same. We where I recorded some with great would look forward to doing some- musicians there. Hopefully it will be BMF reader wants to stay thing in KC—Sheila’s “Bird” connec- another CD. informed tion makes that make a lot of sense. Phil DeGreg Thank you for sending me your Jazz Cameron Brown Cincinnati, Ohio quarterly newsletter the past few years. Thiells, New York Your winter 2003 issue will probably be BMF sponsorship helps to raise the last one. I don’t have a computer and Drummer grateful for inclusion $14,000 really don’t expect to have on in the near in KC calendar future. Thank you for sponsoring the My wife and I live part of the year The calendar looks great!! Thank Bill Wimmer Quartet again this on our Cozad, Neb., farm and your publi- you for sending them and for includ- year. Our event was successful in cation always has kept me well informed ing me on the page with Kevin (Ma- that we raised around $14,000. Af- about jazz happenings in Nebraska. hogany) and Karrin (Allyson). It’s fit- ter expenses we will use the money ting since I was with Kevin for five for our respite program and educa- “Peppy” Van Essen years, then “over-lapped” to Karrin. I tion. Temple City, Calif. love them both! Fran Reinert Editor’s Note: At your request, we will Todd Strait Special Events Coordinator mail a printed version of the newsletter. Beaverton, Ore. Great Plains Chapter The online newsletter also is available at Alzheimer’s Association the website in pdf format for printing.

Webcasting Jazz radio streams on the Internet

WBGO (Newark, N.J.) Jazz on the Web Orleans area and beyond. Playing http://www.wbgo.org/ http://www.jazzradio.net/ blues, jazz, Cajun, zydeco, gospel, WBGO is America’s premier jazz Brazilian, Caribbean and a whole radio station serving the jazz WWOZ (New Orleans) lot more, WWOZ keeps the music capital of the world, the New York http://www.wwoz.org/ and musical heritage of the and New Jersey metropolitan area. WWOZ is a listener-supported, Crescent City alive. volunteer-operated radio station in Jazz at Lincoln Center New Orleans. Its broadcast signal KKJZ (Long Beach, Calif.) http://www.jazzradio.org/ reaches the entire metro New http://www.kkjz.org/

Page 24 Berman Music Foundation Jazz

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

Berman Music Foundation Butch Berman Charitable Music Foundation 719 P St. Studio G Lincoln, NE 68508 Return Service Requested

How can you help the foundation? Sheila Jordan visits BMF Photo By Rich Hoover Rich By Photo The Berman Music Foundation is a non-profit, tax exempt, 501(c)(3) private foundation, and your tax deductible donation is needed to help offset the costs of this newsletter and its programs. ____$ 10 ____$ 25 ____$ 50 ____$100 ____$250 ____Other Name______Address______City______State______Zip______Phone______Fax ______E-mail______

While in town for her BMF-sponsored performance Make check payable to Berman Music Foundation at: with bassist Cameron Brown in March, singer Sheila Berman Music Foundation Brown visited the BMF museum, where she got the 719 P St., Studio G Lincoln, NE 68508 personal touch from host Butch Berman. Thanks for supporting jazz!