NJJS org THE MAGAZINE OF THE JANUARY 2021 NEW JERSEY JAZZ SOCIETY JerseyJazz VOLUME 49 ISSUE 01

REGINA CARTER SALUTES ELLA FITZGERALD IN THIS ISSUE ARTICLES/REVIEWS 08 January Jazz Social 33 Jazz at William Paterson

10 Remembering Lou Pallo 36 Book Review: Peggy Lee: A Century of Song 12 Regina Carter and John Schreiber Pay Tribute 38 Book Review: Jazz to Ella Fitzgerald Dialogues

15 The Many Sides of 41 Other Views Conrad Herwig 48 Big Band in the Sky 19 Viola Smith: The Fastest Girl Drummer in the World COLUMNS

21 Talking Jazz: Allen 02 All That’s Jazz Farnham 05 Editor’s Choice 27 Alex Levin: English 39 Dan’s Den Teacher and Jazz Pianist 46 From the Crow’s Nest 30 Rising Stars: James ON THE COVER _ Regina Carter photo courtesy of NJPAC Haddad and Joe Block 51 Not Without You!

NJJS.ORG JERSEY JAZZ JANUARY • 2021 01 ALL THAT’S JAZZ

BY CYDNEY HALPIN

ood Bye 2020, and not a second this award-winning publication velopment and growth of NJJS. of Recording Secretary, Treasurer, too soon! Hello to change and to be “Google-able”—with select Further, I’d like to acknowledge VP Music Programming and VP of G creative, new possibilities in 2021. contents available to a worldwide and thank Jay Dougherty for the time Publicity/Editor, Jersey Jazz, and Ed- If you’re reading this message, you’ve audience—and allow NJJS to be- and effort he’s extended to NJJS for ucation Director, respectively. Sad- embraced our new reality, a more come part of the ever-expanding the past three years as Executive ly, we say goodbye to board member modern, online publication of Jersey digital world. What goes on in Jersey Vice President. He’s chosen to step Ted Clark who has generously served Jazz. We remain committed to the won’t just stay in Jersey anymore! down from the executive committee his three-year term but has needed same editorial excellence that has but will remain an active board mem- to resign. Thank you for all you’ve been the driving force of this maga- ber. I’d like to congratulate our new- done to support and promote NJJS. zine and steadfast to our mission to t’s been both a challenge and my est board member Jane Fuller for be- I’d also like to acknowledge and continue to preserve and promote jazz. privilege to serve the New Jer- ing elected Executive Vice President thank all of the Jersey Jazz contrib- With moving Jersey Jazz to an I sey Jazz Society as board pres- and assuming the responsibilities of utors and photographers: Fradley online publication, we’re able to ident this past year and I’d like this position. Heartfelt thank yous to Garner, Mitchell Seidel, Dan Morgen- offer a full color, monthly format to begin the New Year by thank- Irene Miller, Dave Dilzell, Mitchell stern, Bill Crow, Schaen Fox, Sandy which will better serve our mem- ing my fellow board members for Seidel, Sandy Josephson, and James Ingham, Sandy Josephson, Joe Lang, bers, musicians and advertisers. all of their vision, hard work and Pansulla who remain committed to Seth Cashman, Dave Dilzell, Al Kuehn, This online format will allow dedication to the continued de- their executive committee positions Christopher Drukker, Piper Ferguson, Carol Friedman, Jack Grassa, Tony Graves, John Herr, Patrick Hilaire, Curtis Knapp, Al Kuehn, Adriana THANK YOU TO ALL WHO CONTINUED Mateo, James Pansulla, Lynn Redmile, “ Bob Schultz and Bob Verbeek whose volunteerism and expertise have filled TO ADVERTISE THIS PAST YEAR.” these journal pages this past year. NJJS.ORG JERSEY JAZZ JANUARY • 2021 02 ALL THAT’S JAZZ

ith much gratitude I’d like to thank the following people W and companies who con- “WITH MUCH APPRECIATION, tributed the ongoing efforts and operations of NJJS in 2020: Tom I’D LIKE TO ACKNOWLEDGE OUR GRANTORS. Donohoe, Owner – Shanghai Jazz ” Restaurant & Bar; Sandy Josephson, editor and Mike Bessire, art direc- tor of Jersey Jazz; Rich Steinberg must have been an incredibly chal- whose support helps fund our Sunday year dedicated to the performance, and the crew at Bernardsville Print lenging year as well for all of you. Socials and who have committed to promotion and preservation of jazz. Center, Steve Kirchuk, NJJS web- In a year that saw a 75% decline in continued funding in 2021; the Rea Lists are tricky and my sincerest master, Travis Larson—new website ad revenue and a 50% increase in our Charitable Trust; Investors Bank; apologies if I’ve inadvertently designer, Jay Daniels—Timeless Socials budget due to the added costs and the Summit Area Public Foun- omitted anyone. Radio, The Bickford Theater, Bell associated with virtual programming, dation whose support helps fund the & Shivas, P.C., The Grunin Center, I’d like to thank Tony Freeman and Generations of Jazz program. We’re NJPAC, and Yardbird Entertainment. Nan Hughes Poole for their incred- very grateful to Morris Arts for alter- azz music requires collaboration. Advertisers are the sustaining life ible generosity in helping to bridge ing the terms of its funding to ac- Our “NOW, More than ever!” an- force for Jersey Jazz, as membership the gap in our advertising shortfall commodate the realities of the past J nual appeal campaign kicked off in fees alone are insufficient to finance and added programming expenses. year and for supporting our efforts December, and we need YOU to join a publication of this caliber. Thank With much appreciation, I’d like to provide streaming programming. with us in this collaborative effort. you to all who continued to advertise to acknowledge our grantors: Morris Lastly, I’d like to acknowledge Thanks to the dedication and gener- this past year, and to the many who Arts—through the New Jersey State and thank our NJJS members and osity of members and patrons like have done so year after year. The Council on the Arts/Department patrons. YOU are the heart and soul you, the 2019 campaign raised over board and I are so grateful for your of State, a Partner Agency of the of this organization and why we will $12,000 helping us in 2020 to publish continued patronage, in spite of what National Endowment of the Arts— celebrate in October of 2021, our 49th six bi-monthly issues of Jersey Jazz,

NJJS.ORG JERSEY JAZZ JANUARY • 2021 03 ALL THAT’S JAZZ

programming, look to grow our mem- auction, with the net proceeds ben- bership, attract more corporate spon- efiting our college scholarship fund. “IF YOU’RE NOT ALREADY sorship, and honor jazz and support The auction ended December it’s musicians, we’re grateful for your 20th with Dave Miner—Chair- ON THE NJJS EBLAST LIST stewardship. Memberships, Gift man of Benedetto Guitars—casting Memberships, Memorials and Trib- the winning bid. His benevolence utes, Corporate Matching Programs, nets over $900 to the scholarship YOU SHOULD BE. Planned Giving and Legacy Gifts are fund. Our deepest gratitude to the ” all ways to partner and celebrate with Pizzarelli family and to Mr. Min- NJJS in the promotion and preserva- er for their kindness and support. retool our event programming and arship money to worthy college re- tion of jazz. If you’d like more infor- present seven Sunday concerts—two cipients; and present performances mation about any of these programs, live and five virtual via our Facebook that provide musicians with livable please contact me at [email protected]. astly, if you’re not already on page, provide better working wages for wages. Credit card donations can eas- On behalf of my fellow board mem- the NJJS eBlast list you should NJJS hired musicians, and redesign ily be made online at www.njjs.org/ bers, thank you for all you do to sup- L be. Be assured, we do NOT sell our website to accommodate Jersey donate or by mail to: NJJS, P.O. Box port jazz performance and education. or share our lists we anyone! This is Jazz. These endeavors couldn’t have 223, Garwood, New Jersey, 07027. Together we’re preserving the future a vital communication tool for in- happened without the generous sup- Please make check payable to NJJS. of America’s great art form—jazz! formation and events concerning port from our donors. Thank you! Would you like to maximize all things NJJS, as well as our event If you haven’t already contrib- the impact of your gift? You can if partners and jazz colleagues. Sign uted to the 2020 campaign, please you work for an employer that has n a year that saw so much pain and up today at www.njjs.org/eblast. consider a generous tax-deductible a matching gift program. Please loss for so many, we’d like to thank donation to help us more creatively check with your Human Resources I the Pizzarelli family for gener- introduce people of all ages to jazz; Department for more information. ously donating to NJJS one of Bucky Here’s wishing everyone good provide more much-needed schol- As we continue to expand our Pizzarelli’s incredible paintings for health and great jazz in 2021!

NJJS.ORG JERSEY JAZZ JANUARY • 2021 04 EDITOR’S CHOICE

BY SANFORD JOSEPHSON

leaves room for improvisation for the “Hit The Road, Jack”, but didn’t. Charles McPherson’s Dance Suites: musicians but is set in stone for the McPherson spent 12 years with Music That Will Move You dancers. They’re dancing, and the bassist Charles Mingus, and in “Re- movements are predicated on consis- flections” he recognizes “some of tent things every night. I had to learn the things I’ve written that remind llMusic’s Scott Janow, review- sion. All musical compositions were how to balance those two elements.” me of Mingus.” There are also hints ing alto saxophonist Charles written specifically for the ballet, Song of Songs, he said, “is episodic. of Ellington alto saxophonist John- A McPherson’s 1995 Arabesque al- with one exception, “Marionette”. It’s the Old Testament story of King ny Hodges, plus, McPherson added, bum, Come Play With Me, wrote that The 81-year-old McPherson has Solomon and a young lady in love “I also thought of cine noir. There “the best of the new compositions is written two other suites for the San with him – unrequited love. Musical- is a lot of great music that came the hard bop boogaloo, ‘Marionette’.” Diego Ballet – Song of Songs, inspired ly, I tried not to imitate the ancient from cine noir – the influence of That song, McPherson told me re- by “Song of Solomon” from the Old Hebrew music but to just understand Russian writers who migrated to cently, “was written for my daughter, Testament, and Reflection, Turmoil, the nuances and blend them with jazz Hollywood in the ‘40s, trained by Camille, when she was four or five and Hope, written after the 2016 pres- chords, rhythms, and sensitivities.” Stravinsky and Rimsky-Korsakov.” years old. The tune rhythmically tried idential election. A new album, Jazz Sweet Synergy, he pointed out, is It is tempting to listen to this to musically imitate a puppet, but it Dance Suites, produced by McPher- the direct opposite in that it “is just music and try to envision the danc- was also a dance. She was dancing, son’s record label, Chazz Mack Mu- a conglomeration of things based on ers adapting their movements to it. and I took her to ballet lessons.” sic, features music from Song of Afro-Cuban and Afro-Latin rhythms But it truly isn’t necessary because Camille is now a featured dancer Songs and Sweet Synergy Suite in put to ballet dance.” “Reflections the music soars on its own – from for the San Diego Ballet where her their entirety, plus “Reflection On on an Election”, though, has a defi- the samba style of “Wedding Song” father has been Resident Compos- An Election”, the first movement nite point of view; it’s McPherson’s and the bluesy “The Gospel Truth” er since 2016. His first large-scale of Reflection, Turmoil, and Hope. contribution to protest music. “It in Song of Songs to the call-and-re- work for the ballet company, Sweet “Dancers,” explained McPherson, was my reaction to Donald Trump,” sponse between McPherson and Synergy Suite, premiered in 2015. “don’t improvise. It’s tricky to write he said. He was tempted to include trumpeter Terrell Stafford onSweet It blends bebop and Afro-Latin fu- music and structure it in a way that sections from Percy Mayfield’s Synergy Suite’s “Sweet Synergy”.

NJJS.ORG JERSEY JAZZ JANUARY • 2021 05 ABOUT NJJS

ounded in 1972, The New Jersey Jazz Society MEMBER BENEFITS JOIN NJJS has diligently maintained its mission to promote 10 FREE Concerts Annually Family/Individual $45 and preserve America’s great art form—jazz. at our “Sunday Socials” (Family includes to 2 Adults and 2 children under 18 years of age) To accomplish our mission, we produce a bi- Bi-Monthly Award Winning Jersey Family/Individual 3-Year $115 Jazz Magazine - Featuring Articles, Fmonthly magazine, Jersey Jazz; sponsor live jazz Musician Member $45 / 3-Year $90 Interviews, Reviews, Events and More. events; and provide scholarships to New Jersey college (one time only, renewal at standard Discounts at NJJS Sponsored basic membership level.) students studying jazz. Through our outreach program Concerts & Events. Youth $15 - For people under Generations of Jazz, we provide interactive programs Discounts at Participating 21 years of age. Date of Birth Required. Venues & Restaurants Give-A-Gift $25 - Members in focused on the history of jazz. The Society is run by a good standing may purchase Support for Our Scholarship and unlimited gift memberships. board of directors who meet monthly to conduct Society Generations of Jazz Programs Applies to New Memberships only. business. NJJS membership is comprised of jazz devotees Fan $75 - $99 MUSICIAN MEMBERS from all parts of the state, the country and the world. Jazzer $100 - $249 Sideman $250 - $499 FREE Listing on NJJS.org “Musicians Bandleader $500+ List” with Individual Website Link Corporate Membership $1000 FREE Gig Advertising in our Bi-monthly eBlast Members at Jazzer level and above and Corporate Membership receive special benefits. Please THE RECORD BIN contact [email protected] for details. The New Jersey Jazz Society is qualified as a tax A collection of CDs & LPs available exempt cultural organization under section 501(c)(3) of the Internal Revenue Code, Federal at reduced prices at most NJJS ID 23-7229339. Your contribution is tax- Visit www.njjs.org or email [email protected] concerts and events and through deductible to the full extent allowed by law. For for more information on our programs and services mail order www.njjs.org/Store more Information or to join, visit www.njjs.org

NJJS.ORG JERSEY JAZZ JANUARY • 2021 06 Editorial Staff New Jersey Jazz Society, Officers 2020

EDITOR PRESIDENT Sanford Josephson Cydney Halpin, [email protected] [email protected] Magazine of the New Jersey Jazz Society EXECUTIVE VP VOLUME 49 • ISSUE 01 ART DIRECTOR Jay Dougherty, [email protected]

Michael Bessire TREASURER [email protected] Dave Dilzell, [email protected]

NJJS org INTERNATIONAL EDITOR VP, MEMBERSHIP Fradley Garner Pete Grice , [email protected] [email protected] VP, PUBLICITY CONTRIBUTING PHOTO EDITOR Sanford Josephson, [email protected] Mitchell Seidel VP, MUSIC PROGRAMMING [email protected] Mitchell Seidel, [email protected]

CONTRIBUTING EDITORS RECORDING SECRETARY Bill Crow, Schaen Fox, Irene Miller Joe Lang, Dan Morgenstern Jersey Jazz (ISSN 07405928) is published bi-monthly for members CO-FOUNDER CONTRIBUTING PHOTOGRAPHERS of The New Jersey Jazz Society Jack Stine Martin Cohen, Christopher Drukker, P.O. Box 223, Garwood, NJ 07027 Arnie Goodman, Olga Rainka, IMMEDIATE PAST PRESIDENT 908-380-2847 • [email protected] Bill Westmoreland Mike Katz Membership fee is $45/year. Periodical postage paid at West Caldwell, NJ DIRECTORS WEBMASTER Postmaster please send address changes Travis Larson Cynthia Feketie, Stephen Fuller, to P.O. Box 223, Garwood, NJ 07027 Carrie Jackson, Mike Katz, Caryl Anne McBride, All material in Jersey Jazz, except where another Robert McGee, James Pansulla, Stew Schiffer, copyright holder is explicitly acknowledged, Elliott Tyson, Jackie Wetcher is copyright ©New Jersey Jazz Society 2020. All rights reserved. Use of this material is strictly ADVISORS prohibited without the written consent of the NJJS. Don Braden, Al Kuehn, Bob Porter

NJJS.ORG JERSEY JAZZ JANUARY • 2021 07 NJJS JANUARY JAZZ SOCIAL

The Guitar Magic of Frank Vignola & Vinny Raniolo A Tribute to Some of the New Jersey Jazz Guitar Greats

t the Morristown Jazz & Blues p.m., Vignola and Raniolo will team Festival in August 2019, Frank up again, this time from Vignola’s Vignola teamed with fellow home in Warwick, NY. The virtual guitarist Vinny Raniolo and concert will be the New Jersey Jazz Abassist Gary Mazzaroppi for a daz- Society’s January Jazz Social, which zling performance that included can be viewed free on the Society’s American Songbook standards from Facebook page (NJJS). This time Irving Berlin and Cole Porter as well they will be honoring New Jersey as Antonio Carlos Jobim’s “Girl From guitar greats such as Bucky Pizzarel- Impanema”, Rimsky-Korsakov’s li, Lou Pallo, Tony Mottola, Al Caiola, “Flight of the Bumblebee” and Djan- and Les Paul. “We will play a tune or Vinny Raniolo, left, go Reinhardt’s “Song d’Automne”. two for each of them,” said Vignola. and Frank Vignola. On Saturday, January 16, from 7-8 “It will be a special hour.” Pallo died

NJJS.ORG JERSEY JAZZ JANUARY • 2021 08 NJJS JANUARY JAZZ SOCIAL

on October 28, 2020, at the age of 86. The 55-year-old Vignola has Eric Mintel led his quartet in a vir- See Vignola’s tribute to him on page 9. performed with a wide range of tual tribute to Dave Brubeck, whose In Morristown, Vignola paid musical artists—from Ringo Starr 100th birthday would have occurred tribute to his 94-year-old mentor, and Madonna to Wynton Marsalis on December 6. That concert was Bucky Pizzarelli, who played with to the Boston and New York Pops originally scheduled as part of the him and Raniolo at several previous orchestras. His PBS Special, Four NJJS-sponsored Jazz on a Sun- festivals. “Without Bucky Pizzarel- Generations of Guitar, with Ranio- day Afternoon series at the Jay and li, we would not know jazz guitar as lo, Pizzarelli, and Tommy Emman- Linda Grunin Center for the Arts it is today,” Vignola said. Pizzarel- uel, aired on public TV stations in Toms River but was switched to li passed away eight months later throughout the country in 2015. an online event after live events at (See Jersey Jazz, May/June 2020). Raniolo, 36, grew up playing alto the Grunin Center were canceled Vignola and Raniolo have shared saxophone in his school band “until due to the pandemic. The Brubeck the stage on several occasions, and the guitarist showed me an ‘A’ chord tribute occurred too late for inclu- in 2019 released an album, Melody on his acoustic guitar. Then I was sion in this issue of Jersey Jazz, but Magic, on the Azica label. Mike Joyce, hooked.” He also learned how to play coverage appears in the News Up- reviewing it for JazzTimes, pointed electric bass in college because “a date section on the NJJS website. out that, “the chemistry they’ve de- teacher told me, ‘Every band needs VIGNOLA“ AND Funding for the New Jersey Jazz veloped over the years is evident on a bass player.’” As a result, Rani- RANIOLO HAVE Society socials has been made pos- every track here, from the opening olo is one of the most in-demand sible in part by Morris Arts through nod to Beethoven’s Fifth to the rhyth- rhythm guitarists. His recording SHARED THE STAGE the N.J. State Council on the Arts/ mically insinuating closer, Sting’s credits include the soundtracks of Department of State, a partner agen- Walking on the Moon ... In Raniolo, HBO’s Boardwalk Empire, Woody ON MANY cy of the National Endowment for Vignola has found a delightful match, Allen’s Café Society, and Mar- the Arts. Additional funding has a rhythm partner, and foil, who clear- tin Scorsese’s The Irishman. OCCASIONS been provided through a gener- ly shares his wide-ranging tastes.” On December 20, 2020, pianist ous gift from Nan Hughes Poole.

NJJS.ORG ” JERSEY JAZZ JANUARY • 2021 09 Remembering Lou Pallo Guitarist Lou Pallo died on October 28, 2020, at the age of 86. Jersey Jazz asked the youngest member of the “Jersey Guitar Mafia”, Frank Vignola, to write a reminiscence.

BY FRANK VIGNOLA

first met Lou Pallo in 1985, the year after I graduated from high school. I was invited by the legendary disc jockey for WFUV, Rich Conaty, to sit in Iand meet the great Les Paul at Fat Tuesday’s. Les had just emerged from retirement and had starting From left, Frank Vignola, playing in public again in this small Bucky Pizzarelli, Al Caiola, downtown New York jazz club. Lou Lou Pallo, and Gary Mazzaroppi. Pallo was Les’ rhythm guitarist and,

wow, I was just as impressed with ARNIE GOODMAN BY PHOTO

NJJS.ORG JERSEY JAZZ JANUARY • 2021 10 Lou as I was with Les. His rhythm musical life, thanks to Lou Pallo. playing was near perfect, and he One of my favorite projects was blended his sound so well with Les. the “Jersey Guitar Mafia” which In my humble opinion, Les’ greatest was led by Lou. It included Bucky period of playing was in the mid-‘80s Pizzarelli, Al Caiola, [bassist] Gary onward. This was due in large part Mazzaroppi, and myself. Although I to the music and spirit of Lou Pallo. am from New York, they made a very Not only was Lou an extraordinary unique exception letting me into the guitarist and musician, but from “Jersey Guitar Mafia”. I would always the minute I met him, I knew I bring a fresh supply of tomatoes and made a friend for life. He was such garlic to each rehearsal as a way of a nice, friendly, positive man. In ARNIE GOODMAN BY PHOTO saying thank you. The record we the year 2000, when Les fell ill, made holds such a special place in my Lou asked me to sub for Les at the heart. Being with three guitar masters, Iridium for three weeks. There is business. Lou was very encouraging, each sight reading piano music nothing more humbling than to be “I WAS JUST though, and we had a great time like they were reading a newspaper. sitting on stage and hear the MC playing the sets together. He was so The musicianship Lou, Al, and tell everyone, “Les Paul will not be AS IMPRESSED encouraging that he recorded the Bucky brought to the table was just appearing due to illness, but Frank sets, played them for Les; and this is unmatched. First takes, no mistakes, Vignola is taking his place”. Half what led to Les’ decision in asking and then ravioli and meatballs. You the place got up and wanted their WITH LOU AS me to join his trio with Lou and gotta love it! I feel blessed for the money back. I learned, quickly, this Nicki Parrott on bass. This started gift of Lou’s friendship and music. is the way you cut your teeth in the I WAS WITH LES. some of the greatest years of my May you rest in peace my friend.

NJJS.ORG ” JERSEY JAZZ JANUARY • 2021 11 VIRTUAL PROGRAMMING AT NJPAC

hortly after violinist Regina Car- her violin as her “voice. Some tunes Regina Carter ter moved to New York in 1991, and lyrics,” she said, “are a natural S she was hired by trombonist Ty- fit for me on my instrument. Re- & John Schreiber rone Jefferson for a gig. “I performed gardless of how much I love a song, Pay Tribute to ‘Body and Soul’ as my feature,” she if it doesn’t work, I leave it alone.” recalled. “Afterwards, a saxophon- In 2017, to celebrate Ella Fitzger- Ella Fitzgerald ist, who was a special guest, asked if ald’s 100th birthday, Carter released I knew the words to ‘Body and Soul’. I an album on OKeh Records called Conversation didn’t. He explained the importance Ella: Accentuate the Positive. “Violin- and Music Celebrating of knowing the words and under- ist Regina Carter,” wrote DownBeat’s ‘An Amazing Singer’ standing the meaning of any song be- Frank Alkyer, “is at the top of her

BY SANFORD JOSEPHSON fore playing it, paying respect to the art here on this fantastic tribute to composer to properly interpret the Ella Fitzgerald ... At the heart of this tune. That special guest was Big Nick album are tunes so familiar you can Nicholas. That moment and his words see the words floating across the sky were forever etched in my memory.” as they’re virtually sung with me- On Tuesday, January 12 at 7:30 lodic perfection by Carter’s violin.” p.m., the New Jersey Performing At the January 12th salute to Arts Center will present “Regina Fitzgerald, Carter will be joined by Carter: A Salute to Ella in Stories NJPAC President John Schreiber, and Song”, the latest in NJPAC’s TD who was previously President of Jazz Series, “Free Virtual Program- George Wein’s Festival Productions, ming Celebrates Jazz Greats.” That producers of the Newport Jazz Fes- advice from Big Nick Nicholas 29 tival. Schreiber is “a huge fan of Re-

PHOTO BY OLGA RAINKA OLGA BY PHOTO years ago has helped Carter look at gina Carter on so many levels—as an

NJJS.ORG JERSEY JAZZ JANUARY • 2021 12 VIRTUAL PROGRAMMING AT NJPAC artist, as a human being, as someone one says Ella Fitzgerald, there are cer- who cares deeply about inspiring tain tunes that pop into your mind. For young people and using music as a example, ‘A Tisket a Tasket’, ‘Lady Be healing device. Regina is the Artistic Good’, and ‘Airmail Special’, to name Director of NJPAC’s Geri Allen Jazz a few. Ella recorded everything from Camp, our annual summer program country western to swing, bebop to doo for young female musicians. Her CD, wop, so this gave me a plethora of tunes “ELLA’S Ella: Accentuate the Positive, was from which to choose. Also, I want- INSPIRATION proof positive to me that Ella’s in- ed to play around with the arrange- spiration has truly touched Regina’s ments and felt it would be easier to do HAS TRULY life and music. So, we’ll talk about so with tunes that weren’t so popular that inspiration, and Regina has or that people had forgotten about.” TOUCHED agreed to intersperse our conver- A lot of the great American Song- sation with some song fragments.” book composers are represented on REGINA’S Two of the nine tracks on Ella: the album. In addition to Arlen and Accentuate the Positive feature vocal- Mercer, there are songs by Sammy LIFE AND MUSIC ists—Miche Braden singing Harold Cahn, Jimmy McHugh, and Hoagy Arlen and Johnny Mercer’s “Ac-cent- Carmichael. “All of these compos- tchu-ate The Positive”, and Carla ers wrote incredible music,” Carter ” Cook singing the Charlie Shavers/ said, “but I have to say my favorite Sid Robin tune, “Undecided”. But the tune is ‘Judy’ by Hoagy Carmichael. remaining seven tracks demonstrate That has everything to do with the Carter’s ability to make her violin “my story of young Ella’s night at the voice.” When she was planning the al- Apollo, and Marvin Sewell’s arrange- bum, Carter was “certain there would ment is delightful.” (When 17-year- John Schreiber be many tribute albums to Ella. When old Ella Fitzgerald appeared at the

NJJS.ORG JERSEY JAZZ JANUARY • 2021 13 VIRTUAL PROGRAMMING AT NJPAC

Apollo Theater’s amateur night in a strong sense of warmth and love.” exa’s self-released album, Ona. “I’m 1934, she sang “Judy” and within a One of Schreiber’s “most indel- thrilled to have been nominated in few months she had become a star). ible memories as a producer” is a that category,” Carter said. “I am even Other selections on the album concert he produced at the Kool Jazz more excited that Thana’s record has are: “Crying in the Chapel” (Artie Festival in Pittsburgh with Fitzgerald, been nominated. It’s an incredible Glenn), “I’ll Never Be Free” (Ben- her trio, and guitarist Joe Pass. “We project, and I am proud to have been nie Benjamin/George David Weiss), presented Ella outdoors for free at invited to contribute.” (Ona has been “All My Life” (Sam H. Stept/Sidney Point State Park in downtown Pitts- nominated for Best Jazz Vocal Album). Mitchell), “Dedicated To You” (Hy burgh,” he recalled, “and over 100,000 “Regina Carter: A Salute to Ella in Zaret/Sammy Cahn/Saul Chap- people came to hear her. She told Stories and Song” can be viewed for in), “Reach For Tomorrow” (Jimmy me that it may have been the largest free on zoom by logging onto: www. McHugh/Ned Washington), and crowd she ever appeared before; and njpac.org/event/echoes-of-ella-an- “I’ll Chase The Blues Away” (Ed- the sight of this amazing singer just hour-of-words-and-music-with-re- gar Sampson/Ken Harrison). with a small group and the remark- ‘Just don’t give up trying to do what gina-carter-and-john-schreiber/. When Carter was growing up in able attentiveness of the crowd was you really want to do where there is The virtual series is sponsored Detroit, “There were albums of dif- extraordinary. That was the power love and inspiration. I don’t think you by TD Bank and premiered in No- ferent genres in the house—Euro- of Ella. She was acknowledged as can go wrong.’ Those words are my vember with “Maria Schneider and pean classical, movie soundtracks, the world’s greatest jazz singer,” he mantra and help to keep me focused. Donny McCaslin Conversations.” comedy, Motown, and jazz. I loved continued, “but she wore that crown I am thrilled to have a conversation Other presentations have included putting the albums on and dancing, lightly and never acted like a diva— about the inspiration and influence “Take Five and More—Dave Brubeck: daydreaming, or going to sleep to the although she certainly could have.” Ella Fitzgerald has had on me.” A Centennial Celebration with Bill sounds. There was an Ella record in Carter has, “always loved Ella The Grammy Awards will be held Charlap and Kenny Washington” the house. I don’t recall the name of even before I knew who Ella was or on January 31, and Carter has been and “Wayne’s World: A Discussion the record or the album cover, but what she meant to the world. There is nominated for Best Improvised Solo, on Wayne Shorter with Danilo Perez, whenever I played this record, I felt a quote by her that I absolutely love: “Pachamama”, on vocalist Thana Al- John Patitucci and Brian Blade.”

NJJS.ORG JERSEY JAZZ JANUARY • 2021 14 THE MANY SIDES OF CONRAD HERWIG

mall events often prove just hero worship. A few times, he Trombonist/Educator life-changing. Once a school would give me some advice; it was Leads Jazz Studies Program band director was selecting very informal, but I was around who in a fourth-grade class him, and he was a huge role model.” at Rutgers Swould play what. He said to the tall- A few years later, prolonged hip est kid, “Put your arm out.” When the surgery recovery blocked Herwig His Afro-Caribbean Releases boy complied, he said, “Trombone,” from sports. He devoted that time to Have Ranked High on the Jazz Charts because he was the only kid with his horn. That allowed him to prog- BY SCHAEN FOX arms long enough for the instrument. ress far enough to enter the presti- “I really wanted to play saxophone,” gious music program at North Texas recalled trombonist/educator Con- State (Now the University of North rad Herwig. But that’s how his 40- Texas). It was a good choice be- year career as a trombonist began. cause, “Everybody was into big bands Another important step was com- in those days, and we all aspired ing under the influence of legend- to play in a big band on the road. ary master Trummy Young. “When “North Texas was a big band I was about 14, it was my birthday, program. There were 16 bands. You and we went to see Trummy, and had a one o’clock, two o’clock, three Trummy dedicated a tune to me o’clock, and then four o’clock, and saying, ‘We got a young trombone you had two five o’clock bands two six player in the audience.’ I remember o’clock bands, two sevens, two eights, at that moment, thinking, ‘Man, I and two nines. So, you’re looking at want to be a jazz trombone player. something like 200 students in the That’s what I want to do.’ I saw him jazz program. It was great training.”

PHOTO BY MARTIN COHEN MARTIN BY PHOTO play a bunch of times, and it was It was, however, a sitting-in experi-

NJJS.ORG JERSEY JAZZ JANUARY • 2021 15 THE MANY SIDES OF CONRAD HERWIG

ence that next proved significant. “I at Rutgers, “That’s a full-time job would go to Dallas and sit in with Red teaching improvisation, composi- Garland, who was living in Dallas. “WE’RE RIGHT BETWEEN tion, arranging and trombone. I was That’s how I met Clark Terry when running, and have been coordinating, he sat in with Red. It was a blessing the chamber jazz ensembles for the in my life. My first road gig out of NEW YORK CITY AND PHILADELPHIA last 17 years. And one responsibility North Texas was with Clark Terry.” ” is to maintain an international ca- That NEA Jazz Master proved to reer to recruit students, and to pub- be another great influence. “Clark licize the program.” His successes Terry was one of the greatest hu- Frank Sinatra, Slide Hampton, Joe led to his becoming the Chair of the man beings ever to grace this earth. Henderson and Latin masters Ed- Rutgers Jazz Program at the Mason I mean, talk about people who are die Palmieri, Mario Bauza, and Tito Gross School of the Arts in 2011. an incarnation of the Buddha on the Puente. A call from bassist/educator Herwig is enthusiastic about planet. He was just the most giving, Rufus Reid was another significant both the university and why young mentoring human being. He always twist in his career. “He said there jazz students should choose Rutgers. had knowledge to give, He always was an opportunity to go into the Pat- “We’re right between New York City was full of joy. I had the good fortune erson, NJ, elementary schools and do and Philadelphia,” he said. “We have to be with a trumpet player’s trumpet an overview of jazz history. I would this history of outstanding profes- player, and just a great human being. play ‘When the Saints Go Marching sors, from Larry Ridley, Paul Jeffries, Not a day goes by that I don’t think In,’ and they would all join in march- Ted Dunbar, John Stubblefield, Ken- about Clark Terry. It was just an hon- ing around the class. We had a good ny Barron, to the current faculty. We or and a privilege to play with him.” time” That led to teaching at William have Ralph Bowen on saxophone one When Terry disbanded his big Paterson as well as other institutions. of the greatest players on the planet band, Herwig moved on to other leg- In 2004, Herwig became an As- and Kenny Davis on bass. We have ends: Buddy Rich, Toshiko Akiyoshi, sistant Professor of Jazz Studies Victor Lewis on drums, Dave Stryker

NJJS.ORG JERSEY JAZZ JANUARY • 2021 16 THE MANY SIDES OF CONRAD HERWIG

on guitar, plus so many high-level in- career, the four-time Grammy-nom- changes in personnel, but I have Bill structors and incredible role models. inated trombonist has produced an AFRO-CARIBBEAN“ O’Connell [on piano.] We’ve been A lot of these guys. are legends. And extensive and varied discography. playing together so long that we have the alumni that we have like Terence His latest album, The Latin Side of MUSIC IS synergy and a connection musical- Blanchard, Terrell Stafford, Sean Horace Silver (Savant: 2020), is an- ly. [Drummer] Robby Ameen and I Jones, Rudy Royston, and Frank Lacy, other of his successful Afro-Carib- CERTAINLY A VERY went to music camp together when all are great musicians. And, the cur- bean releases that have done well on we were teenagers. We’re talking riculum itself is evolving as we’re the jazz charts. (At press time, The IMPORTANT PART about a 45-year relationship. With hitting 21st century technology.” Latin Side of Horace Silver had been all the musicians, a lot of it goes Students also benefit, he said, on the Jazz Week charts for 12 weeks, OF MY LIFE back to us playing with people like from a local jazz institution, The reaching as high as Number 3). Eddie Palmieri and Tito Puente.” New Brunswick Jazz Project. The “It’s been about 25 years that Will there be more? “Well, that’s a NBJP, he said, “does fantastic work. we’ve been recording and perform- good question. Afro-Caribbean music Over the years, pretty much all the ing these projects. We started with ” is certainly a very important part of faculty have performed in conjunc- the Latin Side of Coltrane (Astor My Father,’ and ‘Nica’s Dream,’ are my life, but I have a whole other part. tion with them, and they’re bringing Place: 2019) and, fortunately, it was among the greatest jazz composi- I’ve been blessed to perform with peo- in international superstar musi- very successful. We moved on to the tions ever written, but they’re already ple like McCoy Tyner, Joe Henderson, cians that are live in the New York Latin Side of Miles, Wayne Short- in that ‘Latin’ framework. We decid- and, of course, Horace Silver. I’ve re- / Philadelphia area. That gives a er. Herbie Hancock, Joe Henderson. ed to reimagine them in our own way.” corded with Ralph Bowen, Orrin Ev- lot opportunities for students that We’ve had an opportunity to play the One factor in his success is the ans, and the Mingus Big Band. I have don’t exist in other places. Then greatest music that’s ever been com- quality of the musicians playing with a lot of different things and different there’s also an informal relationship posed in an Afro-Caribbean setting.” him. “This band has been together ideas going on. It wouldn’t surprise that they’ve had with students per- “It was really very gratifying for about 25 years. There’s a huge me if we come out with something forming some night in the week.” to record Horace’s music,” he said. comfort level when you have a band else. There’s nothing set in stone right As for the performing side of his ‘The Cape Verdean Blues,’ ‘Song for like that. Of course, there’s been now. You take it one day at a time.”

NJJS.ORG JERSEY JAZZ JANUARY • 2021 17 Our Commitment to Value for Clients

Regardless of the legal issue – from minor traffic violations to serious criminal charges or litigation – our attorneys first view the totality of the problem through the eyes of our clients. Then we put the best resources of our firm in play to meet their unique needs and secure the best possible results. BIG BAND IN THE SKY

Why not let the girls play There are many girl trumpet players, in the big name bands? In girl saxophonists, and girl drummers these times of national emergency, who can stand the grind of long tours many of the star instrumentalists of and exacting one-night stands. The the big name bands are being drafted. girls of today are not the helpless Instead of replacing them with what creatures of an earlier generation.” may be mediocre talent, why not Born Viola Clara Schmitz on No- let some of the great girl musicians vember 29, 1912, in Mount Calvary, of the country take their places?” WI, Smith grew up playing in the That was the lead of an article Schmitz Sisters Orchestra, a jazz written in 1942 in DownBeat by band consisting of Viola and her seven drummer Viola Smith, who died sisters. The band eventually split up October 21, 2020, at the age of 107 in because most of the sisters were get- Costa Mesa, CA. Described by Down- ting married and starting families, so Beat as “the famous girl drummer Smith started another all-female band and former leader of the Coquettes called the Coquettes. According to Viola Smith: ‘Fastest Girl Orchestra,” Smith praised Woody Alex Vadukul, writing in The New York Drummer In The World’ Herman for being “the most pro- Times shortly after Smith’s death, gressive bandleader in this respect “Ms. Smith became the first female First Female Star of Jazz Drumming Played by his wise use of Billie Rogers as a star of jazz drumming. She performed at President Truman’s Inauguration featured girl trumpet player ... We at President Harry S. Truman’s inau- BY SANFORD JOSEPHSON girls have as much stamina as men. guration gala, and she worked with

NJJS.ORG JERSEY JAZZ JANUARY • 2021 19 BIG BAND IN THE SKY

Ella Fitzgerald and Chick Webb. as she truly was ‘one of the first’ recalled to TomTom Magazine that surer of the Percussive Arts Society, Her showcase tune was a jazzy ar- women drummers and bandleaders she would pass Smith’s photo “on the the world’s largest percussion orga- abesque called ‘Snake Charmer’, in out of the swing era. Her positivity Wall of Fame (at Zildjian), and she nization and the central source of which she exhibited her virtuosity in on and off the bandstand continues was the only female on that section information and networking for per- a flashy solo.” She was billed as the to inspire me. May she rest swinging- of the wall (early 1900s-1960s). Her cussionists and drummers of all ages. “fastest girl drummer in the world.” ly.” Dr. Clark is an Adjunct Professor playing style and her unique setup During her career, Smith studied Sherrie Maricle, drummer-lead- of Music at UNT and the Borough influenced future generations of male timpani, aka kettledrums, at Juil- er of the Diva Jazz Orchestra, met of Manhattan Community College. and female drummers, and she blazed liard; played with Ada Leonard’s Smith in the 1990s. “She was a full-on Sarah Hagan, former Director of a trail for others to come.” Hagan is All-Girl Orchestra, which toured tornado of vibrance, energy, informa- Artist Relations at Avedis Zildjian, now First Vice President and Trea- with the USO during World War II; tion, passion, and fun,” Maricle told and performed with Phil Spitalny’s Jersey Jazz. “She was as exciting as a Hour of Charm, appearing with that person as she was a drummer, and she band in the Abbott & Costello movie, will always remain one of the most Here Come the Co-eds. She also per- inspirational figures in jazz. I am “ formed on the five I AM HONORED Ed Sullivan Show honored to stand on her shoulders.” times. In 1966, Smith was a member Another current female jazz TO STAND ON of the Kit Kat Band in the original drummer, Colleen Clark, recent- Broadway production of Cabaret. ly received her Doctorate in Jazz HER SHOULDERS At the height of her populari- Drumming from the University of ty, Smith was often referred to as North Texas. “Without Viola Smith’s the “female Gene Krupa.” She often contributions,” she said, “perhaps I corrected people, saying that Kru- would not have had the privilege of ” pa was “the male Viola Smith.” becoming a doctor in jazz drumming. Viola Smith with members Her life and work were remarkable of the Diva Jazz Orchestra More Big Band in the Sky, page 48

NJJS.ORG JERSEY JAZZ JANUARY • 2021 20 TALKING JAZZ A Jersey Jazz Interview with Allen Farnham BY SCHAEN FOX

Pianist/composer/arranger Allen Farnham has made several well received albums, played in the orchestras of numerous Broadway musicals, performed in Japan with Mel Torme, and served as musical director for the late vocalist Susannah McCorkle. And, he is married to pianist Tomoko Ohno.

JJ What attracted you to music? JJ What attracted you to jazz? AF I think it was basically my mom’s AF There was another family in the influence. She was an amateur town I grew up in, South Hadley, musician, but very serious. She grew Massachusetts. The father was Roger up in the bay area of San Francisco. Farnsworth, the high school music She took courses at Mills College teacher in South Hadley. He had and met people like Darius Milhaud. five sons, and was a trumpet player She was very interested in French himself. All of his sons played music. organ music and went to Paris One son, John Farnsworth, is the same and sought out a French organist age as me. I still stay in touch with him. composer called Jean Langlais, and We started a band soon after I started became very good friends with him. piano lessons. It was basically a band So, I have memories of her playing that played parties, etc. We learned all

PHOTO BY CHRISTOPHER DRUKKER CHRISTOPHER BY PHOTO piano, and always listening to music. kinds of music. I was playing electric

NJJS.ORG JERSEY JAZZ JANUARY • 2021 21 TALKING JAZZ

piano, John was playing trombone, and network. If you found someone his brother David was playing BROADWAY“ WAS you really enjoyed playing with, you’d drums. I don’t remember the bass stay in touch. Eventually you just got player. We got coached by the father. to know more and more people, and His youngest son was [drummer] ANOTHER FACET. THAT IS WHAT sometimes you’d get calls to work, Joe Farnsworth. He was much and that just gradually grew. That younger than me, too young to play BROUGHT ME TO JAPAN was the basic plan, and thankfully it with us. So, I knew Joe since my ” worked. The way I was able to survive childhood. John now lives on the financially was just to do a lot of Jersey Shore. He’s ended up with different types of gigs. I played some the same career as his dad, teaching classical gigs, I did a lot of gigs with music. A couple of years ago, I would about Oberlin. Those were my two top at Oberlin, and I was determined singers, jazz gigs, teaching private sometimes play with John and choices. I was going to audition as a to do well on that. I really worked piano, I even played for dance classes. Joe at Smoke in New York City. classical pianist. I’m pretty sure there hard preparing, and that audition Broadway was another facet. That weren’t any schools that were offering went a lot better. They accepted me. is what brought me to Japan. I was JJ Why did you decide to go to strictly jazz degrees at that point. You playing in the orchestra for Little Shop college at Oberlin Conservatory had to double it with a classical degree. JJ You moved to New York in 1984, of Horrors in Tokyo for five weeks. I in Ohio? I walked into the Eastman how difficult was it to find your met Tomoko about a week into the AF I wanted to go into music, to a audition, and there was one of the place in the city’s jazz community? trip. We stayed in touch long distance, school that was linked to liberal arts. piano professors who had a column AF It was daunting, because I was and, in 1990, she moved to the United My parents were very supportive. I in Keyboard Magazine that I read basically taking a leap of faith and States to attend William Paterson don’t think they realized the career every month faithfully. I got really hoping I would somehow be able to University as a jazz piano major. Up risks I was taking by doing that. I nervous, and I bombed. It was a support myself. When I got to New to that point I had been living in applied to Eastman in Rochester, disaster, and I didn’t get accepted York, the main plan was to go out at Brooklyn, but we decided, after getting and I was intrigued by what I heard to Eastman. The next audition was night to jam sessions, meet musicians, married in 1992, on New Jersey. It

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was an easier commute to William Paterson (where Farnham decided to pursue his Masters of Music degree in jazz arranging), and the general lifestyle seemed nicer. We ended up getting a place in Teaneck, New Jersey, a town with many jazz musicians. We were about two miles from Rufus Reid. (They now live in Tenafly).

JJ I understand you are distantly related to Carl Jefferson, the creator of Concord Jazz. AF Carl had a car dealership in northern California selling Lincoln Continentals. He was also a serious jazz fan, and was very good friends with Ray Brown. He started a jazz festival in Concord, California, and would hire Ray, along with his friends, like Herb Ellis, Joe Pass and Jake Hanna. I believe it was Jake Hanna who suggested to Carl, “Why don’t you record one of these concerts? Then

we could release a record.” He took DRUKKER CHRISTOPHER BY PHOTO

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the advice and ended up starting the that. I would get shipments every JJ How did you get to be on the staff and also an artist. This was the record company, Concord Jazz. That couple of months from Carl of the album Mel Tormé Live in Tokyo? tour on which the album was recorded. would have been the early ‘70s. He latest Concord Jazz recordings. He AF That was a convenient complete had success selling these records, so would send the LPs to me as gifts. coincidence. I had a chance to visit JJ How was it traveling with Mel? he ended up leaving the car business, Eventually after I left college, Tomoko before she moved to the AF Mel was an intense guy. He and going into the recording business. Carl offered me a job. He was based United States because Concord had was a perfectionist, and one of the When I was about 15 years old, I in the city of Concord and offered a Japan connection. Carl Jefferson greatest jazz singers I have ever met him at a family wedding. He had me a job to work at the company. I had many Japanese friends and had known and a complete musician. a new record by Herb Ellis and Ross went out there. I had only been in developed a relationship with Fujitsu He played piano, he played drums. Tompkins, the pianist of the Tonight New York for a couple of years, so Corporation, because there were He was a perfectionist in himself Show band. He gave me the record, I went out and worked as a staff executives there who were jazz fans. and the people he worked with. He and I really liked it. That led me to producer, and also did promotional They had a joint venture called The really demanded a high level of getting some Oscar Peterson records. work with them, talking to radio Concord-Fujitsu Jazz Festival. He performance, so he was very strict Then I was completely hooked after stations trying to get records played. was a very smart entrepreneur and that way. There was a little bit of would use the festival to promote his pressure playing with him, but it was artists. Mel Tormé was one of them, good pressure. If you viewed it in a and Mel had a lot of fans in Japan. I positive sense, it would bring your would typically go with Carl every performance level up to a really high year, when we had this festival. It level. I really respected him for that. “PLAYING MUSIC just so happened that I was working I’ve actually been working over with Mel, and Mel was going to be the last couple of years with his son on the festival. I ended up being on now, James Tormé. It’s been great IS WHAT MAKES ME FEEL GOOD. that particular tour, and that was to reminisce with James about his kind of a good deal for Carl because I father. He definitely has got his IT’S THERAPY” functioned as both a record company father’s genes in terms of the voice. NJJS.ORG JERSEY JAZZ JANUARY • 2021 24 TALKING JAZZ

JJ For the last 11 years of her life, the music sounded. Her feeling was if and [bassist]Steve Gilmore were sort JJ What is your best memory you were Susannah McCorkle’s she didn’t like the lyric, there was no of the “working rhythm section” that of her? pianist and musical director. way she was going to do the song, no Susannah would use when she played AF I just remember that in the How did you meet? matter how strong the melody was. We live. They played on half the album, last few years of working with her, AF That was another Concord would have these sessions where she and the other half featured the great especially playing live, she seemed connection. She was signed to would have all this music on her piano, Brazilian drummer Vanderlei Pereira, to find her artistic groove. She Concord, and someone was unable to and she would say, “Okay, can you percussionist Thiago DeMello, and was so focused on stage, and the do the I’ll Take Romance recording, so play this for me? Let me see how this bassist Dennis Irwin. Most of the performances just seemed to flow I came in. I hadn’t really worked with sounds.” Then we would play it, and if previous albums I had done with effortlessly. It was so comfortable to her before. I had been at some of her the melody and chords weren’t strong Susannah had only one main group play with her. It was such a tragedy other recordings, so I had rehearsed enough, we would look at each other of musicians, so this was something that her life completely fell apart in with her. She was always looking for and say, “Nah,” and then go on. That of a departure for her. I think the year following her last recording. different pianists in case someone was the way she chose the repertoire. she was looking to do something couldn’t make a gig. So, I gradually She very frequently had a concept of different with this recording. JJ The music business can be started to do more gigs with her. the feeling of the arrangement that Also, this recording contains the terribly rough, especially when she wanted to complement the lyric tune, “The Computer Age”, which you are just beginning. What has JJ Her version of “The Waters treatment she was going to give it. was based on a composition by the kept you in it? of March” is my favorite. Did you Brazilian musician Portinho in which AF Because playing music is what arrange it? JJ Hearts and Minds was her she wrote her own lyrics. I think makes me feel good. It’s therapy. AF I think we arranged it together. She last. Do you have any memories her intent was to write a Frishberg- It’s kind of the reason I live, and I’ve was very instrumental in the concepts of that recording to share? type tune, with lots of word play, etc. been fortunate enough to be able to of the tunes. The way she would select AF I remember that we had two I remember that I introduced the make a living playing music. I can’t a repertoire is, first she would go different rhythm sections for that original version of the tune to her, and imagine going through a day without through lyrics without any idea of how recording. [Drummer]Tim Horner suggested that she write some lyrics. touching the piano.

NJJS.ORG JERSEY JAZZ JANUARY • 2021 25

PERFECT HARMONY

Alex Levin’s Two Careers English Teacher and Jazz Pianist

BY SANFORD JOSEPHSON

hen Jersey Jazz’s Joe Lang recalled, “we went into the studio at 11 reviewed pianist Alex Levin’s p.m. We just threw it down to get the W debut (self-produced) album, freshness and looseness.” The album New York Portraits, in 2010, he point- has eight standards and two Levin ed out that Levin “aimed to capture originals, Last Train to Brooklyn and the feeling of what so many jazz fans Blues for Charley, which Lang felt experienced in countless jazz clubs were “right at home” with such Amer- and piano bars during the ‘40s, ‘50s, ican Songbook classics as Rodgers and ‘60s, when they drifted in for a & Hart’s “My Heart Stood Still” and late evening of sounds and relaxation Irving Berlin’s “Cheek to Cheek”. ... He has succeeded admirably.” Levin’s latest album, A Sunday Ten years and four more albums Kind of Love, with Phil Rowan on bass later, Levin still remembers and ap- and Ben Cliness on drums, was re- preciates the review because that’s leased earlier this year and has five exactly the atmosphere that he, bass- original compositions, along with stan- ist Michael Bates, and drummer dards such as Berlin’s The Best Thing Brian Floody were trying to create. for You (Is Me) and Rodgers & Ham- “When we recorded that album,” he merstein’s The Surrey with the Fringe

NJJS.ORG JERSEY JAZZ JANUARY • 2021 27 PERFECT HARMONY

on Top (See Joe Lang’s review on page through his inventions. Every time I Kelly on piano along with bassist Paul New York before receiving his under- 44). The latter tune, from Oklahoma, hear him play, I feel rejuvenated and Chambers and drummer Art Blakey. graduate English degree from Brown is particularly important because Ah- ready to get back to the woodshed.” “There’s effusive joy in Wynton Kel- University and a Masters of Art from mad Jamal, who had a hit record with In his review of A Sunday Kind ly’s playing,” Levin said, and, “Every Middlebury College in Vermont. it, is one of Levin’s primary influences. of Love for AllAboutJazz, Don Phipps single piano solo on Soul Station is so In the liner notes to New York “I think that Ahmad Jamal is the wrote that, “The beauty of the album amazing.” “Blues for Wynton Kelly” Portraits, he recalled his time in New North Star of jazz pianists,” Levin lies with the originals.” Contempo- resulted from “just writing a song I York while attending the New School. said. “At least he is for me. I love his raryFusionReviews’ Dick Metcalf would love to hear Wynton Kelly play.” “My first apartment,” he wrote, “was concept at the piano which is mis- singled out one of the originals -- Levin is not a full-time musician. in the East Village, smack in the mid- chievous and playful and also deep- “Blues for Wynton Kelly”. It’s “a trib- He’s Head of the English Department dle of Saint Mark’s Place. I shared the ly positive and swinging. The other ute to Wynton,” Metcalf wrote, “that I at Germantown Friends School, an small one bedroom with an acting thing that I think Ahmad shares in expect will be getting MAJOR airplay independent early childhood through student and his girlfriend. My bed his playing is the notion of how to on stations ‘round the globe—it’s that 12th grade school in Philadelphia. was a mattress on the floor next to the use the trio format with space and good!” One of Levin’s favorite record- A 1993 graduate of Germantown kitchen ... When I had worked enough silence. And, he has an inherent trust ings is Hank Mobley’s 1960 Blue Note Friends, Levin studied jazz under pi- minimum-wage hours at the diner in his listeners to travel with him album, Soul Station, which featured anist Gary Dial at the New School in or the record store, I would take any extra money I had and go see a show. Usually I would head to Deanna’s, where I would listen to [pianist] Her- man Foster playing with [saxophon- “JAZZ HAS SO MANY LESSONS FOR TEACHERS ... ist] Arnie Lawrence. Arnie Lawrence would always blow the best solos ... INDIVIDUALS ARE ABLE TO SPEAK THEIR OWN TRUTHS Herman Foster would let loose on the piano, playing block chords and sing- AND EXPRESS THEMSELVES AS ARTISTS.” ing along with his own solos ... For a NJJS.ORG JERSEY JAZZ JANUARY • 2021 28 PERFECT HARMONY

music student at the age of 18, sitting Philadelphia along with their 12-year- ing them to add it—“library settings, at a small table at Deanna’s felt as ver- old son, Charley, two cats (Momo and churches, house concerts”. One of his tiginous as balancing on the pinnacle Pingsha) and a dog named Laura. Af- last concerts before the pandemic of the Empire State Building.” (Dean- ter returning to the United States in shut everything down was at the Old na’s was a club on East 7th Street 2001, Levin began teaching English Trinity Church in Philadelphia, a dual owned by vocalist Deanna Kirk). at Saint Ann’s, an arts-oriented pri- piano performance with his first pia- “I started interviewing to be a vate school in Brooklyn Heights. He no teacher, Peter Simpkins. Right now, teacher,” Levin said, “and I didn’t taught there for 14 years before mov- he’s “focusing on keeping it together. want to do that (yet).” He admittedly ing to his alma mater in Philadelphia. I want to be ready when the vaccine “had no plan”, but he wanted to learn Keeping a balance between his comes because I think there are going German, so he moved to Berlin, look- full-time job at Germantown Friends to be a lot of parties. I’m starting to get ing for jam sessions and teaching En- and his jazz career is something some gigs now for next fall.” glish as a foreign language. “I was at a Levin enjoys. “Jazz,” he said, “has so Musically, Levin has “one eye on very lively session,” he said, “and one many lessons for teachers. Jazz is a the past and one on the future,” but of the sax players kept coming closer Album cover of A Sunday milieu where individuals are able to admits to “liking the old- fashioned and closer to the piano. He was Max Kind of Love was designed speak their own truths and are able stuff because it has the romance.” by Asia Ng, a student at Hacker who went to the New School Germantown Friends School. to express themselves as artists.” And, he’s quick to add that, in ad- with me. And, we started playing And, in a special connection between dition to Jamal and Kelly, his other together. We played in little clubs in his two callings, Levin is delighted piano heroes include Bill Evans, Bud Berlin. It just felt like the right place the album cover of A Sunday Kind of Powell, Barry Harris, Tommy Flana- to be playing jazz.” Love was designed by one of his En- gan, Herbie Hancock, Brad Mehldau, Levin stayed in Germany for three glish students, Asia Ng. and Keith Jarrett. His dream for the years, and, during that time, met his In normal (non-pandemic) times, future would be to play and/or record future wife, Frauke, a documentary Levin concentrates on looking for with legendary Philadelphia tenor producer who lives with him now in places that don’t have music, convinc- saxophonist Larry McKenna.

NJJS.ORG JERSEY JAZZ JANUARY • 2021 29 RISING STARS

Trumpeter James Haddad and Pianist Joe Block Honing Their Skills in Socially-Distanced Classes at Juilliard, Looking Forward to Pursuing Professional Careers

BY SANFORD JOSEPHSON

n early 2019, James Haddad and Joe Block were students at Colum- I bia University majoring in Amer- ican Studies. They were also playing trumpet and piano, respectively, in the Columbia Center For Jazz Studies program, led by pianist Bruce Barth. “One of our classmates from Cal- ifornia,” Haddad recalled, “told us about a jazz competition in Monterey.” Joe Block, It was the College Combo division left, and of the Next Generation Jazz Festi- James val. Haddad and Block were part of Haddad

NJJS.ORG JERSEY JAZZ JANUARY • 2021 30 RISING STARS

first prize, which, Block said, “was a Brown, Miles Davis, and Tom Har- big surprise. I think it was the first rell, who Haddad feels is sometimes jazz competition Columbia had ever “overlooked, especially regarding his entered, and we beat all these con- compositions.” Block’s piano he- servatories.” The group’s repertoire roes are Herbie Hancock, Bill Evans, included one of Block’s original com- Bud Powell, Duke Ellington, Bar- positions, “Out of the Dark”, Freddie ry Harris, and McCoy Tyner—and, Hubbard’s “Jodo”, a medley of three among contemporary pianists, Brad American Songbook standards, and Mehldau and Sullivan Fortner. Herbie Hancock’s “Dolphin Dance”. Haddad and Block both singled Haddad and Block are now stu- out John Coltrane as their most im- dents in the Masters Program at the portant overall influence. “I like to Juilliard School in New York. Last think of Coltrane’s music on a spiritu- October 29, they performed in an al level,” Haddad said. Block grew up NJJS virtual concert, playing some in Philadelphia, and Coltrane’s asso- Columbia’s Louis Armstrong Columbia’s Louis Armstrong Jazz of their original compositions along ciation with the city and its jazz scene, Jazz Performance sextet: Performance Program, which in- with pieces by Thelonius Monk, Can- he said, was always very apparent. From left, pianist Joe Block, cludes several jazz ensembles. “Our nonball Adderley, and Roy Hargrove. One of the tunes Haddad and drummer Daniel Mesko, bassist Jack Aylor, alto ensemble submitted some tapes, and Hargrove, said Haddad “is a huge Block played during the NJJS virtu- saxophonist Aaron Kranzler, we went to the festival,” Haddad said. influence on me. When I was 14, my al concert in October, was “The Old guitarist Liam Broderick, and The sextet didn’t prepare anything father took me to see him at the Vil- Country”, written by Nat Adderley trumpeter James Haddad special for the competition. “We lage Vanguard. I wish I was older so and Curtis Lewis. It was on the 1962 played our regular set. We just want- I could have appreciated it more.” Capitol Records album, Nancy Wil- ed to play a New York vibe and really Other important trumpet influenc- son/Cannonball Adderley. Block said swing.” The Columbia students won es are Freddie Hubbard, Clifford he first heard the tune performed by

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the Keith Jarrett/Gary Peacock/Jack Orchestra, was a performance-driven DeJohnette piano/bass/drums trio. I LIKE TO THINK OF program that provided young jazz Haddad described its performance “ musicians the opportunity to perform on the album as “such a simple mel- regularly on Sunday afternoons at ody. Even if you didn’t know the COLTRANE’S MUSIC ON the New York club, often with guest tune, it sounds like something you’ve artists from the New York jazz scene. heard before. It almost sounds like The JSYO program was directed by a folk tune—a swinging folk tune.” A SPIRITUAL LEVEL guitarist David O’Rourke and tenor Block began taking classical pi- ” saxophonist Antoine Roney. Sadly, ano lessons when he was two years the Jazz Standard announced in De- old. He became interested in jazz Lincoln Center Orchestra and the the legendary New Orleans drum- cember it was closing due to business when he was in middle school be- Wynton Marsalis Septet. Marsalis, mer/vocalist ‘Uncle” Lionel Batiste, difficulties caused by the pandemic. cause, “I wanted to do something he said, “has been a great mentor.” who died in July of that year (2012). Block and Haddad currently have different. There were a lot of great Block and Haddad have also attend- “That,” Haddad recalled, “was the socially-distanced combo and opportunities in Philadelphia—jazz ed JALC’s Summer Jazz Academy, most exciting thing that ever hap- big band classes twice a week at education programs at the Philadel- a two-week program designed and pened to me.” A second-line parade Juilliard. In addition, they have tried phia Clef Club of Jazz and Perform- instructed by Marsalis, JALC Or- is a celebration of life in the form of to remain active during the pandem- ing Arts, the Kimmel Center, and chestra members, and guest artists. a roving musical block party. The ic, playing virtual and outdoor Temple University.” In December Growing up in Brooklyn, Hadd- one honoring Batiste drew hun- concerts whenever they can. When 2018, he served as Musical Direc- ad began playing trumpet when he dreds to New Orleans’ Rampart they graduate from Julliard, their tor and pianist for Wynton Marsa- was in the fifth grade. A year later, Street and Elysian Fields Avenue. plans are pretty straightforward. lis’ annual holiday fundraiser and he spent a month in New Orleans Haddad performed regularly for Asked if they plan to pursue profes- performance at Brooks Brothers. at the Louis Satchmo Armstrong three or four years in the Jazz Stan- sional careers as jazz musicians, He was also commissioned to write Jazz Camp. While there he attend- dard’s Youth Orchestra, an experi- the answer from both, without hesi- and arrange music for the Jazz at ed the second-line parade honoring ence he greatly valued. The Youth tation, was: “No doubt about it.”

NJJS.ORG JERSEY JAZZ JANUARY • 2021 32 JAZZ AT WILLIAM PATERSON

An Eclectic Set by Veronica Swift Selections Ranged From Broadway Hits to Jazz Classics BILL WESTMORELAND BY PHOTO

BY SCHAEN FOX

tarting in September, William Paterson’s Fall Jazz Room series headlined jazz luminaries Billy S Hart, Ed Neumeister, Gary Smulyan, Steve Nelson, and a tribute to Clark Terry. All well-established veterans with impressive resumes. Veronica Swift, the November series closer, while much younger than the others, was, thanks to parents, the late pianist Hod O’Brien and vocalist Stephanie Nakasian, was born into jazz and began performing professionally at age nine. Scoring second place in the 2015 Thelonious Monk Jazz Competition marked her for wider public notice. She has performed

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engagement, she was backed by New Jersey’s own Emmet Cohen (piano), Yasushi Nakamura (bass) and Kyle Pool (drums.) They have a synergy and musical connection that adds extra polish to their frequent performances together, some of which may be seen on Cohen’s weekly Monday nights Live from Emmet’s Place gigs available on both You Tube and Facebook. The pandemic’s influence loomed as a real physical intrusion when the November 22nd program began. In

PHOTO COURTESY OF WILLIAM PATERSON UNIVERSITY OF WILLIAM PATERSON COURTESY PHOTO his introductory remarks, Dr. David Demsey, WPU Coordinator of Jazz Studies, said Swift and the trio would around the world, and in our area and well as Anita O’Day, Billie Holiday, “SWIFT MADE perform “for a capacity crowd of has often appeared at such New York and June Christy; and the clear, three on the video crew,” reiterating City venues as Birdland and Dizzy’s smooth way she enunciates each IT ALL INTO that, only now in its 43rd season, Club. Her growing popularity earned word makes them all a pleasure on has the public been excluded from her the entire cover of the November the ears. Her familiarity with the jazz being physically present at the Jazz 2020 issue of DownBeat Magazine. and American popular songbooks A SEAMLESS Room performances. Then the four Swift’s rich vocal style is flavored means that her listeners need not were alone, and spread out on the with elements from her mother, as fear hearing repetitive sets. For this HIGH-ENERGY SET Shea Auditorium great stage. To cap

NJJS.ORG ” JERSEY JAZZ JANUARY • 2021 34 JAZZ AT WILLIAM PATERSON

the look of isolation, clear plastic performed a few Roaring Twenties the vocal group , The Royal Bopsters, shields walled Swift off from her dance steps within her plastic and Assistant Professor of Music friends. Hardly a propitious setting shields. Two additional treats were at William Paterson) to join her for if one was looking for some time her Billie Holiday medley and a duet the scat-singing encore, which was to forget the grim reality lurking with Nakamura on Oscar Pettiford’s an exciting addition to the day. outside. The artists, however, well “Tricotism.” While Nakamura played Some artists have a tough time in know that part of what they do is his bass, she played an air bass, but an empty hall with no audience, but to provide us with time away from made it sound very convincing. Swift got it, really talked to the vid- our troubles; and they set to work. I asked Dr. Demsey to write some eo audience, brought them into the For her debut at the Jazz Room, thoughts about the rehearsal and world of her songs, and made it all Swift’s selections ranged wide, with the set. He replied, “We taped the into a seamless, high-energy set.” some from musical theater—“Getting show ‘Johnny Carson style,’ doing She added that it was really spe- to Know You” from The King and I the taping three hours before the cial to be in a theater again, even with and “As Long as He Needs Me,” from actual air time. Despite the relatively no audience there because “that is Oliver; jazz classics—David Frishberg early call time, the band all showed where I feel at home.” She thoroughly and Bobby Dorough’s “I’m Hip,” and up ready to go, and Veronica’s energy enjoyed the experience, especially Jon Hendricks’ “Gimme That Wine,”; and vibrance were present as soon the unplanned singing and scatting and popular standards—“Prisoner of as the first sound check down beat with McGuinness. She also agreed Love,” written by Russ Colombo and hit. The band conferred on the set when Emmet called the university Clarence Gaskill and “After You’ve list, rehearsed a few beginnings and “hallowed jazz ground — Mulgrew Gone.” The latter warhorse, written endings to be sure that some of the Miller, Harold Mabern, Clark Terry, by Steve Lukather and Turner Layton, newer arrangements would work, Thad Jones, James Williams, and so Emmet Cohen dates from 1914, so Swift invited and Veronica hand-wrote the set list many more have deep roots there. demonstrated his Cohen to demonstrate his mastery mastery of the for everyone. During that time, she It was a great honor to grace their of the stride piano style while she stride piano style. invited Pete McGuinness (member of stage with Veronica and the trio!”

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during a gig in Palm Springs at a over 50 years, during which time Peggy Lee: club called The Doll House, she she attained the kind of stature that A Century of Song found that the most effective way was on the same level as vocalists by Tish Oney to quiet down noisy audiences was such as Frank Sinatra, Ella Fitz- to sing more softly rather than try- gerald, Tony Bennett, Bing Crosby, ing to drown them out with volume. Billie Holiday and Sarah Vaughan. ROWMAN & LITTLEFIELD, This understated approach to vo- During her lengthy career, she LANHAM/BOULDER/NEW YORK/LONDON calizing became her hallmark. exhibited impressive versatility as 250 PAGES, 2020 At The Doll House Lee was dis- a jazz-influenced pop vocalist, eas-

BY JOE LANG covered by Benny Goodman, and ily adapting to a variety of musical that was the break that eventually genres, the Great American Song- made her a star. During her first few book, pop, blues, bossa nova, Latin, ish Oney is a perfect choice to lores Egstrom on May 26, 1920, in years with Goodman, several of the contemporary and special material. write a book about Peggy Lee Jamestown, ND. She lost her mother songs on which she was featured Often, she made her mark recording that concentrates on the mu- when she was four years of age and made the charts, but it was her 1942 songs for which she had provided sical side of her story. Oney is had a difficult youth with an abu- recording of the Kansas Joe McCoy the lyrics, songs like “I Don’t Know Ta vocalist, educator, musicologist, sive stepmother and an alcoholic tune “Why Don’t You Do Right,” in- Enough About You,” “It’s a Good composer, and arranger who has a father. Her escape from the agonies spired by Lee’s affinity for a previous Day” and “Where Can I Go Without deep admiration for Lee’s artistry. In of life at home was singing, which recording of the song by Lil Green, You.” She had a knack for providing 2008, she recorded an album, Dear led to her signing on at the age of that thrust her into the spotlight. lyrics for movie songs like “John- Peg (Rhombus Records), a collec- 17 with a local band in Minneapo- In March 1943, she left the ny Guitar,” the songs for Lady and tion of songs with lyrics by Lee. In lis and then with the Will Osborne Goodman band, married guitar- the Tramp, “I’m Gonna Go Fishin’” this book, Oney delves deeply into Band, which had national exposure. ist Dave Barbour, soon signed with for Anatomy of a Murder and “The Lee as both singer and songwriter. Within a few years, she head- the fledgling Capitol Records and Shining Sea” for The Russians Are Peggy Lee was born Norma De- ed to Southern California where, began a solo career that lasted for Coming, The Russians Are Coming.

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Lee recorded more than 50 al- bums and countless singles. Oney explores most of these recordings in some detail. While it does con- Tish Oney has a recent album, The Best Part sume extra time while reading the (Blu Jazz – 3482) backed by the John Chiodini book, most of the selections dis- AUTHOR’S ALBUM Trio, Chiodini on guitar, Chuck Berghofer on bass cussed are available on YouTube, and Ray Brinker on drums, that includes three enabling the reader to listen to any selections not previously recorded—“Most of that sound particularly interesting All – I Love You,” “I’ve Got a Brand New Baby” as they are referenced in the text. and “I’ve Been Too Lonely Too Long,” with lyrics Oney has also included interview by Peggy Lee and music by Chiodini. The other material with family, friends and songs are “Dust Off Your Dreams,” “Grab a Little colleagues of Lee that add insights Bit of Golden Sunshine,” “Sweet Angel,” One and many interesting anecdotes to More Spring” and “Conundrum,” the last of her story. which Oney co-wrote with George Gabor. It is This is a book that will appeal a enjoyable program of contemporary songs to those who are fans not only of that have the feeling and style of classic pop. Peggy Lee, but anyone interested Oney has a pleasing voice and superb sense of in the area of American popular phrasing. Chiodini, who worked with Peggy Lee music. It is well written and re- during the later stages of her career, is a sensitive searched, and provides a compre- accompanist. All in all, this is a highly appealing hensive view of the unique and addition to Oney’s catalog. www.blujazz.com continuingly appealing artistry of one of America’s most significant musical personalities. rowman.com

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fort zone, Gordon is knowledgeable personal exchanges and interactions Jazz Dialogues about their artistry and recordings. that he has had with a diverse cast by Jon Gordon Gordon covers more than 50 of musicians. Particularly diverting individuals, either anecdotally or is a brief chapter in which he de- CYMBAL PRESS, TORRANCE, 273 PAGES, 2020 through the interviews; and they in- scribes a day subbing for Charlap as clude performers from a wide variety an instructor at William Paterson BY JOE LANG of jazz styles. Most are players with University where he had extended whom Gordon has performed. They visits with pianist Harold Mabern azz Dialogues is a series of in- to ask to draw out his subjects on the include his earliest jazz acquain- on the trip from New York City by terviews by saxophonist Jon topics that he deems pertinent, and tance, pianist Bill Charlap, whom he bus to WPU, and the trip back in a Gordon with an eclectic cast often interjects his own perspectives, met at the age of 13 when both were car with guitarist Gene Bertonci- of his peers, with many ap- creating many fascinating exchanges. students at the High School for Per- ni. The way in which Gordon re- Jpropriate anecdotal interludes One thing that makes the con- forming Arts in New York City, and lated his interactions with these dispersed among the interviews. versations between Gordon and his several musicians whom Gordon two jazz giants made you wish that Gordon is a jazz musician of note subjects particularly special is the fa- considers among his most signifi- you had been a fly on the wall. who adds a dimension to his inter- miliarity that Gordon has with such a cant mentors such as drummer Ed- Jazz Dialogues is a treasure trove views that a non-musician interview- wide variety of jazz genres, and par- die Locke, and saxophonists Charles of delights. The overriding element er would lack. His pieces are more ticularly his knowledge of the record- McPherson and Phil Woods. One ex- that comes through on each page is like conversations between friends ings of his subjects. Whether speak- change that deserves special atten- the intelligence that Gordon pos- and/or colleagues than formal inter- ing with trumpeter Jon Erik-Kellso, tion is his interview with trumpeter sesses and his ability to express views. Since Gordon and his subjects primarily a player in the trad/swing Don Sickler, a man who has had vast himself in ways that are consistently share their mutual understanding tradition, or Scott Robinson, an experience as a performer, music engaging and informative, making of jazz, the discussions flow with an eclectic player for both the range publisher, arranger and producer. this one of those books that is hard to ease and naturalness that is infec- of instruments he plays and the di- When it comes to what Gordon put down until there is nothing un- tious. Gordon knows what questions versity of the styles within his com- refers to as story chapters, he relates read left to enjoy. cymbalpress.com

NJJS.ORG JERSEY JAZZ JANUARY • 2021 38 DAN’S DEN

BY DAN MORGENSTERN

hattan’s Riverside Park, on the 84th be ballerina, and, best of all, little kids Street level, where there is a discrete “THE MUSIC WAS who truly responded to the sounds— Holocaust Memorial (a plaque in a may they grow up to become Louis stone) previously unknown to me. INSPIRED, NOT ONLY fans! Also on deck was Daryl Sherman, The outdoor acoustics were fine, who biked over from the East Side. and it was actually nice to hear un- BY THE FRESH AIR AND I was not in the mood to take amplified live music for a change. notes, but the solid work from the The complete roster involved was SUNSHINE, BUT ALSO classy edition I caught (Boga, Fryer, Joe Boga and Danny Tobias, trum- THE DANCERS ... Anderson, Arntzen, Raderman, Os- pets; Jim Fryer, Dion Tucker, Josh twald) included an outstanding An- Holcomb, trombones; Will Anderson, ” derson alto solo on “Diga Diga Doo,” a Ricky Alexander, Dan Block, Profes- good old good one not in the LAEB’s sor Adrian Cunningham, reeds; Arnt usual repertory, and one of the best ver resourceful, our very dear Arntzen, Josh Dunn, Allanie Faletta, offerings I’ve ever heard from Fryer friend David Ostwald, master of Cynthia Sayer, banjo, and Kevin Dorn on “Basin Street Blues.” David, Arnt E the tuba and leader-founder of and Alex Raderman, drums—the last and Alex provided a solid founda- the Louis Armstrong Eternity Band, two get a special citation for schlep- tion, and both sets I caught climaxed discovered a way to present live mu- ping their drum sets into the park. with a drum solo that seemed to sic in these viral times. As long as The version I caught a couple of benefit from the outdoor acoustics. the weather permitted (and by the times consisted of Boga, Fryer, Ander- This dose of live music was a time you’re reading this it will have son, Arntzen and Raderman—and of real shot in the arm, quite possibly grown too cold), David presented course the leader himself. The music as effective as the forthcoming varied versions of his band outdoors, was inspired, not only by the fresh air (as I write) vaccine and certainly at noontime Fridays through Sun- and sunshine, but also the dancers, more pleasant to take! Good music days, for a couple of hours in Man- who included a few couples, a would- From left, Anderson, Boga, Arntzen Trumps the everyday dust!

NJJS.ORG JERSEY JAZZ JANUARY • 2021 39 The Mark Clemente Chord Melodies™ for Guitar

Playable, performance-ready arrangements for solo jazz guitar. Each song is written in notation, tablature, and with chord diagrams. Choose from nearly 50 standards, which are included in two songbooks and available individually.

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“Mark, I enjoyed your arrangement of My Romance very much. I teach guitar and am always searching for chord melody pieces that are a bit challenging but ‘do-able’ by intermediate players. Keep up the great work!” -GB, Massachusetts

“I’m so happy with your arrangements! As a beginner, they are accessible even to me and are excellent studies of chord movement. MarkClementeGuitar.com Can’t thank you enough for these excellent arrangements!” 201.444.9830 -DL, Kentucky OTHER VIEWS

BY JOE LANG

here is something about music Theme”). Whether you are a dancer one of the band’s reed players, Jed line articles have detailed how this of the Swing Era that has an or a listener, you will find yourself Levy. The band is wonderfully to- event happened and how the music ongoing appeal. Many bands taken in by Prumo and his cohorts. gether and loaded with superb so- has just become available, stories throughout the country use brooksprumoorchestra.com loists. The effervescent charts are worth reading. Suffice to say that a Tmusic of this period as source mate- reflective of the spirit and talent of then teenager named Danny Scher rial or for inspiration. They are often Eight years ago, jazz guitarist Pe- Leitch who has overcome adversity was responsible for making this un- supported by those who enjoy swing ter Leitch was diagnosed with stage in a special way. peterleitch.com likely concert occur. The group led dancing. One such band is the Brooks four lung cancer. Miraculously, he by Monk included Charlie Rouse on Prumo Orchestra from Texas. They survived the treatments prescribed There has been much publicity about tenor sax, Larry Gales on bass, and have just released their second album, by his oncologist. While the treat- the release of Palo Alto (Impulse - Ben Riley on drums. There are six This Year’s Kisses (self-produced). ments left him unable to perform B0898F5144), a 1968 concert record- selections, Monk’s “Ruby, My Dear,” This nine-piece band, led by guitarist any longer due to the loss of use of ing by Thelonius Monk. Several on- “Well You Needn’t,” “Blue Monk” and Prumo, has one trombone, two reeds, his left arm, the force of music was “Epistrophy;” the standard, “Don’t two cornets plus piano, guitar, bass still present in him, and he turned Blame Me;” and a brief solo by Monk and drums. Vocalist Alice Spencer to writing arrangements as an out- on “I Love You Sweetheart of All My adds her tasty vocals on four tracks, let. Finally, he formed a 13-piece Dreams.” This recording provides a “Somebody Loves Me,” “This Year’s rehearsal band that has evolved into fine example of just how special and Kisses,” “Armful of Sweetness”, and The Peter Leitch New Life Orches- magnificent this quartet was. Monk ”I’m Through with Love.” The band tra. Their first release is the appro- truly was one of the giants of jazz, digs into songs associated with Count priately titled New Life (Jazz House causing many to overlook just how Basie (“Peek-A-Boo” and “Broad- – 7006/7007). The program includes brilliant his cohorts were. This is way), Lester Young (“Jo Jo” and “Blue 14 Leitch originals plus “‘Round the same group that appeared with Lester”), Johnny Hodges (“Jeep’s Midnight,” “Spring Is Here” and Monk four years earlier on one of the Blues”), Rex Stewart (“Tain’t Like “The Minister’s Son,” a tribute to the great live jazz recordings of all time, That”) and Henry “Red” Allen (“The late pianist John Hicks penned by Live at the It Club. Their years of

NJJS.ORG JERSEY JAZZ JANUARY • 2021 41 OTHER VIEWS

playing together gave them the kind Ballet,” “Great Lover” and “Lone- continued to serve as an inspiration new material from Evans is always of musical empathy that enables ly Town;” a cut song from Peter Pan, for jazz musicians to this day. This welcome, and this set is particular- them to stand out among jazz groups. “Dream with Me;” “Symphonic Suite” was particularly evident in his live ly outstanding. As usual, the folks While the sound on the recording from On the Waterfront; “Morning recordings. Live at Ronnie Scott’s at Resonance have done a quality is not exceptional, it is surprisingly Sun” from Trouble in Tahiti; “Post- (Resonance – 2046) was recorded job of presenting this material. The good, and having this music finally lude” from A Quiet Place; “Waltz” on a four-track tape machine that 44-page accompanying booklet in- available commercially is a blessing from Divertimento for Orchestra; Jack DeJohnette had positioned be- cludes an introductory essay by an for those who love superior jazz. “Meditation #1” from Mass and tween the bass and the piano during individual who has been responsi- legacyrecordings.com Chichester Psalms 1. Five arrang- a four-week Evans engagement at ble for bringing out much important ers—Jay Ashby, Darryl Brenzel, Scott the London club in 1968, with Eddie unreleased material over the last The music of Leonard Bernstein cov- Silbert, Mike Tomaro and Steve Wil- Gomez on bass and DeJohnette on decade, Zev Feldman. There is also ers a variety of genres. Many of the liams—were engaged to provide the drums. There are 20 tracks, spread a discussion between DeJohnette songs from his Broadway scores have charts for the 20-piece orchestra. over two CDs, of the magical kind and Chick Corea, an interview by become popular with jazz musicians. The music is wonderfully conceived of music that one came to expect of Feldman with Gomez and other sup- For Bernstein Reimagined (Man- and executed. There is excitement, Evans. The program includes many plemental material. Live at Ronnie chester Craftsmen’s Guild – 1049), depth and surprises to be found of the tunes that Evans favored Scott’s will be a welcome addition to the Smithsonian Jazz Masterworks throughout the program. Bernstein during his career, songs like “You’re any jazz enthusiast’s collection, es- Orchestra, under the leadership of would have been overjoyed at this Gonna Hear From Me” and “Emily.” pecially the many who hold Evans in Charlie Young, opted to address piec- impressive collection. mcgjazz.com Listen to the two versions of each high esteem. resonancerecords.org es from Bernstein’s musical theater, in this collection and you will hear film, opera, classical and religious Bill Evans was, and remains, among how fresh and singular each is. Other This period of trying times brought catalogs that had not previously been the most acclaimed and influential Evans favorites include “Yesterdays,” on by the Covid-19 situation has approached from a jazz perspective. pianists in the history of jazz. He “Turn Out the Stars” and his own forced musicians to find ways to The selections include three pieces developed trios that had an organic “Waltz for Debby,” all of which are cope with the difficulties that the from On the Town, “Times Square quality that was unique, and it has among the selections here. Having resulting inactivity has brought

NJJS.ORG JERSEY JAZZ JANUARY • 2021 42 OTHER VIEWS

down on their shoulders. Tenor sax- as the title track of a recent album of his tune “Very Early” on which Shoe- ophonist supreme Harry Allen had to his, a successful first effort at self-re- make also adds his vibes. Trumpeter cut short a March 2020 tour in Paris cording. Throughout the collection, Kye Palmer, trombonist Andy Mar- with guitarist Dave Blenkhorn, who both musicians exhibit common tin and tenor saxophonist Ted Nash hails from Australia, but currently traits—natural swing, excellent taste, participate on the Silver selections, resides in Paris. During subsequent and superb musicianship. Their fans “Room 608” “Bonita” and “Nutville.” communications between the two, it surely desire to see them perform When Scott addresses Shearing, was discovered they had mutual in- live once more, but Under a Blan- Shoemake and guitarist Frank Po- terest in taking on recording projects ket of Blue will do nicely as a sub- tenza join in to play “I’ll Remember at home. The natural result from this stitute until live performances are April,” Mambo Inn” and Shearing’s is now available on Under a Blanket with us again. [email protected] most performed composition, “Lulla- of Blue ( Records – 010), a 10-track by of Birdland.” When she gets to the gem of sensitive interplay across the Madison Lea Scott is an exception- music of Bud Powell, “Bouncing with expanse of the Atlantic Ocean. Duo al young lady with an inspirational make’s tutelage she nurtured her Bud,” “Audrey” and “Parisian Thor- playing is demanding under the best back story. She was born three-and- innate musical talent to understand oughfare,” she has Shoemake and of circumstances. Given the condi- a-half months premature, has been and play the music called jazz. Inspi- tenor saxophonist Tim Armacost tions under which they were work- sightless since birth and has devel- rational Legacy Jazz (self-produced) along for the ride. Many young play- ing, the results are amazing. They oped into a first-class jazz pianist as gives evidence of her growth as a jazz ers might be intimidated being sur- address mostly standards such as the well as a vocalist who also devotes player. For this album, Scott pays rounded by an all-star cast of veteran appropriately selected “We’ll Be To- much of her performances to singing tribute to the music of four legendary musicians like those present here, gether Again,” the title song, “Under religious music. About six years ago, jazz pianists, Bill Evans, Horace Sil- but there is no hint of anything but a Blanket of Blue,” Street of Dreams” her voice teacher introduced her to ver, George Shearing and Bud Powell. sheer talent in her playing. It is a joy and another fitting choice, “Solitude.” vibraphonist/jazz educator Charlie On all tracks, she is joined by bassist to become familiar with Madison’s The one original is Allen’s “The Shoemake and a whole new world of Luther Hughes and drummer Paul story, but this music is outstanding Bloody Happy Song” that also served music opened up to her. Under Shoe- Kreibich. Her nod towards Evans is in its own right. madisonlea.com

NJJS.ORG JERSEY JAZZ JANUARY • 2021 43 OTHER VIEWS

Trio in Motion (Savant – 2188) by men. When he plays a tune, famil- that is swinging, uplifting, and a Royal Bopsters. The group, Holli the Alan Broadbent Trio is aptly iar as it may be, it is like hearing it pleasure to hear. Whether address- Ross, Amy London, Pete McGuin- titled. These are three musicians, for the first time. He is fortunate ing standards such as “A Sunday ness and Dylan Pramuk, just re- Broadbent on piano, Harvie S on to have Harvie S on bass and Bil- Kind of Love,” “The Surrey with the leased their new album, Party of bass, and Billy Mintz on drums, who ly Mintz on drums for they listen Fringe on Top,” “The Best Thing for Four (Motema – 0372), Holli’s last recall the Bill Evans trios in that with big ears and a perfect sense of You,” “What Is This Thing Called recording, and it is a fabulous fare- they play truly as a unit rather than just the right way to complement Love” and “I’ve Told Every Little well. The group was inspired by as three individual musicians. The Broadbent and each other. If piano Star,” or digging into the five original five jazz vocal legends, Mark Mur- eclectic program of songs, “Wonder trios are high on your list of pre- Levin songs included here, the mu- phy, Jon Hendricks, Annie Ross, Why,” “One Morning in May” and ferred groupings, Trio in Motion sic flows smoothly and enticingly. If Bob Dorough and Sheila Jordan, all “I Love You” are standards; Lennie deserves a place of honor in your you have some friends who say that of whom appeared on their initial Tristano’s “Lennie’s Pennies,” Louis music collection, jazzdepot.com jazz does not speak to them, A Sun- release, The Royal Bopsters Proj- Armstrong’s “Struttin’ with Some day Kind of Love is just the kind of ect. In the interim we lost Murphy Barbecue,” Paul Desmond’s “Late It has been 10 years since I last re- collection that could open their ears and Hendricks. Ross had become Lament,” Tadd Dameron’s “Lady viewed an album by pianist Alex to the kind of listening pleasures inactive and passed this past July. Bird,” John Coltranes’s “Like Sonny,” Levin. A lot of music has come my that abound in this music. alexlevin- Dorough did record one of his tunes, and a pair by Charlie Parker, “Relax- way since then so when, A Sunday jazz.com (See ‘Alex Levin: English “Baby, You Should Know It,” for the in’ at Camarillo” and “The Hymn,” Kind of Love (self-produced), the Teacher and Jazz Pianist’, page 27) new album, but subsequently left cover a broad spectrum of jazz new album by his trio arrived re- us. Only Jordan is still alive and tunes; while a couple of Broadbent cently, I was reminded of just what Back in May 2020, we lost a vibrant did contribute one track, “Lucky to originals, “I Hear You” and “Moon- an enjoyable pianist he is to hear. presence on the New Jersey/New Be Me,” to Party of Four. As far as stones,” are also included. There Levin and his mates, bassist Phil York City jazz scene, vocalist Holli the music is concerned, The Roy- are few pianists around today who Rowan and drummer Ben Cliness, Ross. In recent years, she devoted al Bopsters have produced a win- can match the sheer brilliance of add no frills, just come at you with much of her time to the vocalese ner that is sure to make a lot of Top Broadbent’s improvisational acu- straight-ahead mainstream jazz group that she helped to found, The 10 lists this year. motema.com

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Ella Fitzgerald can lay claim to one “Clap Hands, Here Comes Char- Helping her along are bassist Hide tracks are “Yardbird Suite,” “Qua- of the most popular jazz vocal al- lie,” “Good Morning Heartache” and Tanaka and drummer Fukushi Tain- simodo,” “All God’s Chillun Got bums ever, Mack the Knife: Ella in “Wee Baby Blues.” Of course, she aka, with tenor saxophonist Scott Rhythm” and “Bluebird.” The uniting Berlin, recorded at a concert at the revisits two of the songs that will al- Hamilton adding his mellifluous theme for Birdsong is that these are Deutschlandhalle on 1960. Two ways be associated with her, “Mack tones on nine of the tracks and Ste- songs associated with Charlie Park- years later she returned to Berlin, the Knife” and “Mr. Paganini,” but phen Fulton, her dad, joining in on er, many of them from the sessions this time at the Sportpalast. For as you would expect, she does not flugelhorn for four selections. Ful- that Bird did with strings, music that this visit, she still had Paul Smith replicate the way that she did them ton vocalizes on seven tracks, “Just Fulton’s mother listened to while on piano and Wilfred Middlebrooks on prior live recordings. This con- Friends,” “This Is Always,” “Star carrying her baby to be. Three of on bass, but Stan Levey had re- cert finds Fitzgerald in tip-top form, Eyes,” “Dearly Beloved,” “Out of No- the instrumental tracks are Parker placed Gus Johnson in the drum playing off the superb support from where,” “If I Should Lose You” and compositions. Hamilton is a wel- chair, and there was no Jim Hall on her trio. Listen to this collection “My Old Flame.” The instrumental come addition to the proceedings. guitar. After decades of being bur- and you will know exactly why Ella He does not get stateside too often ied in the tape collection of Nor- Fitzgerald has acquired legendary these days, but his association with man Granz, The Lost Berlin Tapes status. ververecords.com (See ‘Re- Fulton goes back to 2017 when they (Verve - B0032590) finally makes gina Carter and John Schreiber Pay toured together in Spain. Stephen the material from this concert com- Tribute to Ella Fitzgerald, page 11). Fulton comes with a bebop sensi- mercially available. Was it worth the tivity, perfect for this session. The wait? As they used to say on the pop- Listening to Birdsong (self-pro- rhythm section holds things togeth- ular 1960s TV show Laugh-In “You duced), it is evident that wheth- er nicely timewise. champion.net bet your sweet bippy!” There are 17 er you consider Champian Fulton tracks of Ella magic contained on a fine jazz singer or a jazz pianist the program. Among the selections supreme, you will be correct. In are “Cheek to Cheek,” “Cry Me a fact, she is both, as she shows time For additional OTHER VIEWS, River,” “Jersey Bounce,” “Angel Eyes,” and again on this 11-tune program. log onto www.njjs.org after January 1.

NJJS.ORG JERSEY JAZZ JANUARY • 2021 45 FROM THE CROW’S NEST

BY BILL CROW

o you remember double-talk? not my fault!” and blaming some- delivery. When he was with Stan It was the clever use of non- one else. Jack French was able to Kenton’s band, Stan was discuss- D sense words to confuse and keep a very straight face, and was ing the music one night after a con- amuse the listener. Professor Irwin a perfect setup guy for Jerry. cert, saying something like: “We’re Corey used it in his act, as did Dan- Double-talk has become less getting stale. We’re just doing the ny Kaye, Sid Caesar, and a number popular lately with comedians, but same old thing. We need to try some- of other comedians. The most ad- it still exists in the world of phar- thing new, something we’ve nev- ept double-talker was a comedian maceuticals. Every new medica- er done before.” Porcino drawled, named Al Kelly. He would say things tion carries a name that sounds “How - about - swing, - Stan?” When like, “I just put the frammis into straight out of double-talk. TV ads a streetwalker approached Al one the freen, and the whole maggagga are full of praises for Fasenra, Bik- day outside Jim and Andy’s Bar and fell into the marfrell.” You would tarvy, Eliquis, Ozempic, Ubrelvy, said her usual line, “You wanna go swear he was telling you something, Mavyret, Rinvoq, Ilumya, Otezla, out?” Al drawled, “I – AM – out!” but couldn’t be sure what it was. Xarelto. Bottles of Finasteride, Glip- Ross Konikoff wrote on Face- My friend, drummer Jerry Fish- izide, Silodosin, Stelara, Neuriva, book: “Al Porcino was doing ‘Prom- er, was a skilled double-talker. When Jardiance, Refendin, Humira line ises, Promises’ (with Alan Rubin) we were working with Jack French, medicine cabinets. I wonder if the and during intermission, a woman who was the accompanist for sever- people who make up these names leaned over the pit, and in a voice al top vocalists, Jerry would drive used to write for comedians. exactly like Al’s, asked, ‘Is – Al – Bill Crow is a freelance musician the stage hands crazy by making down – there?’ Someone ran to get and writer. His books include Jazz complaints in double-talk. His Al in the locker room, saying, ‘Al, Anecdotes, Jazz Anecdotes: Second Time Around, and From Birdland to complaints were completely mean- rumpeter Al Porcino always there’s a woman asking for you, and Broadway. This column is reprinted ingless, but the delivery was so spoke with a slow, measured she talks just like you!’ Al went with permission from Allegro, the impassioned that the stagehands T drawl, which gave his stories back into the pit and looked up, and monthly magazine of AFM Local 802. would always wind up saying, “It’s and pronouncements a special yelled, ‘AUNT MARGARET!’”

NJJS.ORG JERSEY JAZZ JANUARY • 2021 46 FROM THE CROW’S NEST

ed Rodney was at Birdland play- ing with Charlie Parker when WHEN THIS PURE FIRE OF A SOLO WAS OVER, R I first moved to NYC in 1950. “ Several months later I was sub- bing in trumpet player Billy Heyer’s HE LOOKED OVER AT MY ASTONISHED 22-YEAR-OLD FACE AND SAID, dance band in the Catskills, and Red turned up on a Sunday afternoon ‘GUESS I’M FEELING BETTER.’ and did a two-trumpet act with Bil- ” ly that was designed to please the predominantly Jewish clientele. I pet section and we were about to att Munisteri posted on Face- that just by listening to his records?’ couldn’t believe it was the same play a burning arrangement of ‘Don- book: “One of my favorite ‘Yeah,’ I said. ‘That’s really won- guy. I later got to know Red better, na Lee’. Red looked at me and said, M stories about (the late) Peter derful,’ he replied. (Then, with a and played in his quintet a couple ‘Ya know, my hip has really been Ecklund comes from when I was sunny smile,) ‘But please, DON’T of times. He could really play, and bothering me, and ya know, I’ve been playing on a record of period jazz DO THAT. It doesn’t work with he also knew how to entertain. You kind of sick, and well, man, my chops that he had done arrangements for what I’ve written for the horns.’” couldn’t believe half of the stories just aren’t up. I haven’t been practic- and was producing. He was in the he told you, but the other half were ing ...’ Just on and on and on. Mind control room and I was in a booth true, and were just as amazing. you, the tune had already started. and could just see him slightly. He im Collier was in Moscow some Todd Stoll posted this story on And then he turned and hit the solo pressed the talk-back button: ‘You years back on a writing job and Facebook: “In about 1986 or so, Red break and played the most incredi- know, it really is remarkable...your J was hanging out with some Rodney was a guest soloist with our ble, aggressive, high note on fire bop chord voicings really sound exact- Russian jazz guys—musicians, critics, college band. He was hilarious and line I’ve ever heard. When this pure ly like Eddie Lang...’ ‘Oh, thanks,’ I etc. One of them said, “Jeem, you look self-deprecating and generally in fire of a solo was over, he looked over replied. ‘Yes, it’s uncanny’’ he said. like Zoot Seems.” Jim was surprised good spirits. At the first rehearsal he at my astonished 22-year-old face ‘And your fills and your sound and and said, “Really?” The guy then said, was on a stool next to me in the trum- and said, ‘Guess I’m feeling better.’” approach. Did you learn how to do “All Americans look like Zoot Seems.”

NJJS.ORG JERSEY JAZZ JANUARY • 2021 47 BIG BAND IN THE SKY

Candido Camero 7, 2020, in New York, was born in Injected ‘Game-Changing’ Latin Energy into American Jazz Drumming Havana, Cuba, on April 22, 1921. His big break came when he was drumming in Cuba with a dance twosome, Carmen and Rolando, n his third album, Tony Bennett Bennett remembered that album. “I who were invited to perform in devised an unusual idea – am saddened to hear of the passing the United States. Although the O singing in front of several of Candido Camero,” he posted dancers used two percussionists in different percussionists. The album, on Facebook, adding that Camero Cuba, they took only Camero with The Beat of My Heart, was released was “a pioneering percussionist them to the U.S. According to Neil in 1957 by Columbia Records. The and a true innovator. We worked Genzlinger, writing in The New York drummers included Art Blakey, Jo together in 1957 on a concept album Times (November 24, 2020), Camero Jones, Chico Hamilton, and Candido called The Beat of My Heart, and we brought two drums with him – a Camero, among others. Upon hearing remained good friends ever since.” conga and a quinto (a drum with a of Camero’s death at the age of 99, Camero, who died November higher pitch). He recalled the first U.S. performance in an interview for the Smithsonian Jazz Oral History Program. “At showtime,” he said, “I began to play the rhythm with my left “WHEN HE WAS PLAYING WITH hand on the conga and to do what the bongo player was supposed to do with right hand on the quinto, to mark KENTON’S ORCHESTRA, HE ADDED ADORNMENTS the steps when they were dancing. That was the first idea, the low drum THAT MADE HIM A VIRTUAL ONE-MAN BAND.” and the quinto at the same time.” NJJS.ORG JERSEY JAZZ JANUARY • 2021 48 BIG BAND IN THE SKY

That tour created other openings whenever they went head-to-head in Endowment for the Arts. In a posting to the development of mambo for Camero, who stayed in the U.S., the heat of the clubs or in the studios on its website about his death, the and Afro Cuban jazz. We join the playing with the Billy Taylor Trio where jazz was spoken or sung.” NEA said: “He was known by jazz jazz community in mourning his and bands led by Dizzy Gillespie and “When you talk about percus- aficionados by first name alone death while celebrating his life Stan Kenton. By 1952, according to sion,” Grammy-nominated per- – Candido. He was credited with and many contributions to jazz.” Genzlinger, “he was playing three cussionist and bandleader Bobby being the first percussionist to bring Survivors include a daughter, congas at once. When he would Sanabria told Genzlinger, “you’re conga drumming to jazz and was Emerita Camero Dradenes, and a solo with Kenton’s orchestra in the talking about two periods – before also known for his contributions granddaughter. mid-1950s, he added adornments Candido and after Candido. His that made him a virtual one-man contributions were literally game band.” He also recorded with Woody changing.” During a 1999 perfor- Herman, Blakey, Ray Charles, Kenny mance at Birdland, Sanabria brought Andrew White Burrell, Erroll Garner, and Count Camero onstage as a guest perform- Saxophonist and Chronicler Basie. In an article about the 1954 er. In a review of the performance, of Coltrane Solos Prestige album, The Billy Taylor The Times’ Peter Watrous wrote Trio With Candido, the Latin Jazz that the music changed when Cam- ndrew White played saxophone Network’s Raul Da Gama wrote ero began to play. “He uses several in bands led by drummer Elvin that “The energetic chattering of tuned conga drums,” Watrous said, A Jones and pianist McCoy [Camero’s] congas and the bongos “and he began by playing melodies Tyner, but he was best known for his is spurred on by Billy Taylor’s own carefully. His playing makes sense, work transcribing more than 800 percussive pianism. Together they it has cadences, and it starts and of John Coltrane’s solos. “He rarely regale the listener with the legendary finishes logically. And he swings.” played outside D.C.,” posted pianist/ duels between instruments that In 2008, Camero was named composer/educator Lewis Porter on became the order of the day a Jazz Master by the National Facebook about a week after White’s

NJJS.ORG JERSEY JAZZ JANUARY • 2021 49 BIG BAND IN THE SKY “HE NEVER USED A COMPUTER AND an elementary school teacher. Saxophonist James Carter played SOLD HIS TRANSCRIPTIONS AND HIS MANY with White in the original Julius Hemphill Sax Sextet from 1989 un- SELF-PRODUCED ALBUMS BY MAIL ONLY. til Hemphill’s death in 1995. “What ” an incredible musical career, what a life, what a character!” Carter posted on Facebook. “I will miss you, your death, pointing out that, “When himself on being outrageous. I saw for Stevie Wonder and oboe in wit, and wisdom, and love.” Guitar- new [Coltrane] albums came out, him introduce himself at UNC in the American Ballet Theater. ist/educator Jack Zucker studied he’d transcribe those as well, and 1997 as ‘that guy whose pants are Born in Washington, D.C., on with White in D.C. in the 1970s and his final count was, I believe, 840 too short’, and then he proceeded September 6, 1942, White grew up bought many of his Coltrane tran- transcriptions. Few people know that to play a ‘Coltrane medley’ that in Nashville. At the age of eight, scriptions. “I’d still love to find his he also transcribed many of [Eric] jumped around from 20 seconds of he began playing the soprano album, Live at the Foolery, one of Dolphy’s and Charlie Parker’s solos.” ‘My Favorite Things’ to 20 seconds saxophone. He told JazzTimes in my favorites ever,” Zucker wrote on Lewis, author of John Coltrane: of ‘Giant Steps’ and so on ... ” 2001 that he developed an “iron Facebook. “He transcribed every His Life and Music (University White died at the age of 78 embouchure” because of the Coltrane recording ever and offered of Michigan Press: 1998), added on November 11, 2020, in Silver instrument’s difficulty. He started a money back guarantee if you found that White “was a character. He Springs, MD. According to The New Andrew’s Musical Enterprises a single inaccurate note or rhythm.” never used a computer and sold York Times’ Giovanni Russonello Incorporated, a recording label and There are no immediate his transcriptions and his many (November 23, 2020), in addition publishing company, on Coltrane’s survivors. White’s wife, Jocelyne, to self-produced albums by mail only. to White’s jazz outings with Jones birthday in 1971with assistance whom he was married 41 years, died He was very funny and prided and Tyner, he played electric bass from his wife, Jocelyne White, in 2011.

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