File Photo

New-Trad Octet mixes brass bands and jazz

Singer Angela Hagenbach will front a ○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○ KC sextet June 15 in Lincoln. ○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—More than 30 Photo Courtesy April 2010 years have passed since jazz saxophon- Vol. 15, Number 2 ist Jeff Newell left Nebraska for more fruitful career opportunities—first in Chicago, then in New York City—but he has never forgotten the places and In this issue people who so influenced his formative Five concerts in Jazz in June...... 3 years in the Cornhusker State. Clawfoot House brings arts to hood.....4 He soon will return to Lincoln for Jeff Newell brings his New-Trad Octet the first time in four years, leading his to Lincoln for June 22 performance. King Sunny Ade set to rock Lincoln...... 6 New-Trad Octet for a June 22 perfor- Tomfoolery: Heading to festivals...... 7 mance at this year’s Jazz in June se- classic Jazz Orchestra, and even toured Mary Pipher pays tribute to Jarvis...... 8 ries. In addition to Newell’s alto sax, Europe with the big band. In addition to ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ the octet also features trumpet, bass the 2006 concert, he returned as guest Jane Jarvis leaves legacy of music...... 9 trumpet, tuba, keyboards, bass and soloist in 1991 and 1994. Essay on “Invisible Man”...... 10 drums, a modern brass band lineup that The New-Trad Octet has never 2nd Berman Ping Pong tourney...... 11 should be perfect for the outdoor venue, made the trip to Nebraska, though Matt Wilson Quartet review...... 12 a grassy sculpture garden just west of Newell formed the group some 16 years Sheldon Museum of Art on the Univer- ago as a vehicle for his arranging skills. NET’s “Jazz Cabaret”...... 14 sity of Nebraska-Lincoln’s city campus. Initially, it blended the traditional “sec- BMF adds “Jazz Icons” DVDs...... 15 Newell last performed here in ond line” New Orleans brass band with Charlie Hunter Trio review...... 16 January 2006, when he appeared as a a modern rhythm section and a fresh “In the Mood” review...... 17 guest artist with the Nebraska Jazz approach to harmony and improvisa- Orchestra, along with fellow NJO alum- tion. Gradually, Newell’s interest in early Bela Fleck and the Africa Project...... 18 nus and saxophonist Frank Basile. On brass bands began to influence the Amy Denio celebrates Women’s Week....19 the following night, they performed at octet’s repertoire, a shift best exempli- Brewsky’s site for jazz exploration...... 20 the now-defunct P.O. Pears, fronting a fied on the band’s 2007 CD “Brown- quintet that also consisted of guitarist stone,” which occasionally marries NJO/Paul Haar review...... 20 Peter Bouffard, bassist Rusty White and Sousa marches with the exotic rhythms Jazz on Disc reviews...... 21 drummer Joey Gulizia. of the Caribbean. Jazz Essentials, Part 3...... 25 Newell joined the NJO in the late From the Photo Archives...... 28 1970s, when it was known as the Neo- New-Trad Octet continued on page 2

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I’m trying to fig- the fruit of his research into America’s ure out the connection between the musical evolution with students in the early brass band movement—which, of Brooklyn school system, through resi- course, was a huge movement across dencies funded by Chamber Music the country—and the evolution of jazz.” The New-Trad Octet combines the America and the Doris Duke Founda- Making that connection is an am- musical styles of the classic brass tion. With an additional grant from a lo- bitious undertaking, especially consid- bands with the improvisation of cal organization, he is visiting four dif- ering that brass bands have a history of modern jazz. ferent schools. more than two centuries and jazz is “I’m going in once a week for six more than 100 years old. Both styles brass bands began in relatively recent weeks. I’m bringing small groups of began in small, unassuming ways, of- years. Born in Bennington, Neb., a musicians, doing a ragtime trio thing and ten played by uneducated musicians, an Douglas County town now largely ab- then I do some blues, and then I bring esthetic that Newell strives to retain. sorbed in the Omaha metropolitan re- in the New-Trad Quartet and we play “A lot of people in these small gion, he received a music degree from brass band music. It all culminates with towns and little out-of-the-way places the University of Nebraska-Lincoln and a concert by the full octet.” couldn’t read music and they were just pursued graduate studies for a year So that he’s able to offer flexible learning it by ear, which is sort of what before heading to Chicago in 1978 to booking arrangements for the large en- I tried to incorporate with what I did continue his education in classic jazz semble, Newell maintains contacts in with the Sousa marches. I could very fashion, playing at clubs and festivals. Chicago as well as New York. The easily have gone to the music library “When I was in school back in octet that will appear in Lincoln June and copied all the stuff out, but instead Nebraska, I just wanted to be a really 22 also features young Chicago fire- I got a hold of some CDs of the original cool, hip urban sophisticate, since I brand Victor Garcia on trumpet, Ryan Victrola recordings of Sousa’s band, came from this small town,” he recalled, Shultz on bass trumpet, Mike Hogg on which were done in the late 1890s. laughing. “But, I was always interested tuba, Steve Million on keyboards, Neal Then, I transcribed from that.” in history and the Civil War and 19th Alger on guitar, Tim Fox on bass and But that wasn’t all. As he began century life and the westward expan- Rick Vitek on drums. to fit the music into the new harmonic sion.” That interest was rekindled in The Lincoln audience can expect and rhythmic contexts he envisioned, 1994, when he made the leap to New to hear Sousa compositions performed Newell intentionally altered the tunes, York to study privately with saxophon- in a manner not usually associated with much as the first musicians must have ists Bunky Green, Joe Daley and, with the military march genre. The concert altered them to conform to their spe- a fellowship from the National Endow- also will include some Crescent City cific ethnic backgrounds. ment for the Arts, David Liebman. He sounds and Newell’s take on 19th cen- “We all fit it into our own cultural took up residence in a classic Brooklyn tury hymns, another historical interest. context,” he said. “It’s like a game of brownstone, which inspired the CD title. No family members remain in telephone. We all hear something dif- “Our apartment is one floor of a Nebraska, but Newell still feels a kin- ferent, and then we pull it together. I’m building that was built in 1877, with all ship to his home state, perhaps most really interested in how those bands this beautiful craftsmanship. When I importantly for the early musical bonds evolved within that tradition and how first moved to Brooklyn, I jokingly say, he forged here. Many of those friends that came across in early jazz.” I felt like I’d moved into the ruins of a will be on hand for his return visit. Newell’s interest in the history of once-great society. When it was being

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Five concerts in 2010 Jazz in June ○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—For the sec- Their debut, self-titled recording was ond consecutive year, the popular Jazz released in February. in June concert series will feature five Singer Angela Hagenbach of The BMF Newsletter is Tuesday evening performances. Con- Kansas City will front a sextet June published online at: sidering the hit-an-miss nature of live 15. A longtime favorite in Lincoln, she www.bermanmusicfoundation.org jazz in Lincoln during the rest of the has appeared here many times over The offices and museum of The Berman Music Foundation year, that is a very good thing for fans. the last 15 years, most recently as a are in the Skylight Gallery, The As in recent years, the Berman guest artist with the Nebraska Jazz Burkholder Project, 719 P St., Music Foundation will play a major Orchestra at the 2007 Jazz in June. Lincoln, NE 68508. role in sponsoring the series, now in The BMF has followed her career its 19th year. Each 7 p.m. concert rou- with enthusiasm, covering perfor- Editor and Designer: Tom Ineck tinely draws thousands to the sculp- mances in Lincoln and in her home- ture garden outside Sheldon Museum town, as well as reviewing her record- Contributing writerswriters: Tom of Art at the University of Nebraska- ings. Backing her sultry vocals will be Ineck, Brad Krieger, Mary Lincoln. Four of the five artists in the saxophonist Matt Otto, guitarist Pipher, Grace Sankey-Berman, 2010 lineup have performed in Lin- Danny Embrey, pianist Roger Wilder, and Jesse Starita coln and have ties to the BMF. bassist Steve Rigazzi and drummer Photographers: Tom Ineck, Trumpeter Darryl White re- Doug Auwarter. Grace Sankey-Berman, Jesse turns to the stage June 1 with a group Jeff Newell’s New-Trad Oc- Starita and others (Courtesy resembling the one he fronted two tet will bring their unique blend of jazz Photos and File Photos) years ago. Featured again are pianist innovation and brass band tradition to For inclusion of any music- Jeff Jenkins of Denver, bassist Craig the Jazz in June stage June 22. The related events, letters to the Akin of New York and drummer saxophonist last performed here in editor or suggested articles, Brandon Draper of Kansas City, Mo. January 2006 with the Nebraska Jazz mail them to the office, call (402) The new addition is veteran saxophon- Orchestra and the following night with 261-5480 or e-mail ist Dick Oatts, who over the last 30 a small group at P.O. Pears. The oc- [email protected]. years has performed and recorded tet also will feature Victor Garcia on To be added to our mailing list, with such greats as Lou Rawls, the trumpet, Ryan Shultz on bass trum- call (402) 261-5480 or e-mail Thad Jones-Mel Lewis Orchestra, the pet, Mike Hogg on tuba, Steve Mil- [email protected]. Vanguard Jazz Orchestra, Joe lion on keyboards, Neal Alger on gui- Henderson, Red Rodney, Joe Lovano, tar, Tim Fox on bass and Rick Vitek The Butch Berman Charitable Music Eddie Gomez, and Jack McDuff. He Charitable Music on drums. Foundation is a non-profit, tax also has seven recordings under his After five years, jazz and jazz exempt, 501(c)(3) private own name on the Steeplechase label. fusion guitar great Jerry Hahn re- foundation recognized by the In conjunction with a celebration turns to Lincoln June 29 with a quar- Internal Revenue Service and of Cuban culture at Sheldon, the San tet also featuring Kansas City stal- the Nebraska Department of Revenue. It was established in Diego-based combo Otro Mundo warts Joe Cartwright on piano, Tyrone the spring of 1995 to protect will perform June 8. Blending the Clarke on bass and Mike Warren on and promote unique forms of sounds of Brazil, Spain, the United drums. Born in Alma, Neb., the American music. States, Cuba, Africa, and the Middle fretmaster grew up in Wichita, Kan., East, Otro Mundo is a five-piece out- before moving away for a few de- Trustee: Tony Rager fit consisting of founders Dusty cades. He returned to the Wichita area Consultants: Grace Sankey- Brough on guitar, Kevin Freeby on in 2004 and now lives in Lenexa, Kan. Berman, Russ Dantzler, Kay bass, and Steve Haney on percussion. The BMF and Dietze Music House Davis, Dan DeMuth, Tom Ineck, Flutist and vocalist Rebecca brought Hahn to Lincoln in February Gerald Spaits, Leslie Spaits and Kleinmann and drummer Julien 2005 for guitar workshops and a trio Wade Wright Cantelm recently joined the band. performance at P.O. Pears.

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Clawfoot House brings lively arts to the hood ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—Ember Photos Courtesy Schrag is living, lively and music-loving proof that one inspired person with a passion can make a difference. In Schrag’s case, that passion is for making music and sharing the mu- sic of others with the Lincoln commu- nity. For seven years, she had been guiding her own music career and— like many other local artists—struggling to find venues, booking gigs, traveling and recording. A North Platte native and UNL graduate who majored in English and music, Schrag considered a move to the Pacific Northwest to immerse herself in Portland’s music scene, but Chiara String Quartet performs at Clawfoot House. she decided to stay in Lincoln to await the arrival of daughter Lillian. pression, a philosophy summed up in the Her inspiration was to create a Clawfoot mission statement: “We strive venue out of her own home, a rental to provide hospitality and fair pay for duplex in Lincoln’s Everett neighbor- talented artists—locals and those on hood that she christened Clawfoot tour—who perform at Clawfoot House, House. She began working with Bryan as we believe these individuals deserve Day, an improviser, inventor and “sound support for the risks they take to make sculptor” who also runs Public Eyesore their art and bring it to us.” Records. Day had extensive experi- It is a mission not unlike that of ence in the music business worldwide. the Berman Music Foundation, es- That led to a series of house concerts tablished 15 years ago: “The founda- featuring experimental music, which Ember Schrag performs her own music. tion realizes the difficulties involved in eventually morphed into other genres. maintaining a career as an artist and With Day’s connections and ex- recent phone interview conducted will assist those individuals who yearn perience gained by promoting her own while Lillian napped. “But Clawfoot to create according to their own hearts shows over the years, Schrag turned House is so much fun, and Lincoln re- and not simply to become a commer- 1042 F St. into a house concert stage ally had a need for this, or it wouldn’t cial success.” for other musicians. She opened the have come out of nowhere and sud- That common goal recently re- doors to the public in January 2009, denly become this big thing.” sulted in a $2,200 BMF grant to Schrag promising and delivering a homey space Clawfoot House quickly estab- for a series of presentations by Seattle- with low admissions and high-quality lished a reputation for adventurous book- based singer, songwriter and multi-in- acts. In its first year, Schrag booked ing, ranging from avant-garde improvi- strumentalist Amy Denio, in collabora- some 45 acts there, a notable accom- sation, indie-folk and traditional old- tion with the UNL Women’s Center. plishment considering that she still per- timey artists to a classical quartet, po- Denio’s Lincoln stay included a lun- forms, works full-time at the Univer- etry readings, theater, workshops, lec- cheon presentation on “Music and So- sity of Nebraska-Lincoln and is raising tures, puppet shows, jugglers and visual cial Change” at the UNL Student Union, an infant daughter. artists. Nothing is out of the question, an evening performance at Clawfoot “I’m really busy,” she said in a as long as it gives voice to artistic ex- House and a special edition of the

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monthly Clawfoot Salon, featuring mail message every day from musicians Denio in a lecture and performance. seeking a gig in Lincoln. Grace Sankey Berman attended “People want to play here,” she Denio’s appearance at the salon and said. “This town can definitely support offers her account elsewhere in this more house venues like this.” Last Au- newsletter. gust alone, Schrag booked eight shows, The salon, another Schrag inspi- often providing lodging and meals for ration, is a gathering of female musi- musicians. cians and artists who share knowledge, “There was one morning where I exchange views, receive feedback on was making breakfast for a dozen men. new work and jam. A lecture series I used two dozen eggs and four or five offers aspects of the history of women pots of coffee, and I was having such a in the arts and skills useful to artists. good time! I know what it’s like to be “It seems there aren’t as many on the road. We know that people ap- opportunities for female musicians to preciate a salad and some orange juice learn from other women about techni- because it’s hard to get good food on cal stuff and other things. I just thought the road.” that would be really cool to create a Once Clawfoot House has 501c3 situation where they can learn from “I really like doing it. I really like status, it will be able to accept tax-de- each other and also play music, all to- curating the series. I like picking stuff ductible donations to offset some of gether. The jam, with women, is very out and bringing good music together those expenses and even expand the different, very organic. It’s very com- to share it with other people. And the series of house concerts. Schrag and munal.” performers appreciate it. That’s a big Day already are studying the possibility Schrag added an occasional Front part of the reason why things have gone of bringing in experimental, avant-garde Porch Potluck Grill that brings together so well. Performers really want to have music artists from New York, Mexico musicians, friends and neighbors for a that kind of experience. Increasingly, City, China, Chicago and Philadelphia. common purpose. Recently, she has even big-name performers want to do Clawfoot House audiences, she been shepherding Clawfoot House house shows because you connect with said, tend to be a little younger than the through the arduous process of incor- people better.” average LAFTA crowd, alluding to the porating as a non-profit organization. Lincoln’s location, midway be- Lincoln Association for Traditional Arts, Perhaps most important in directing an tween Denver and Chicago, makes it a the city’s longtime folk-music series of intimate, low-budget, live music venue logical stop for artists on the road, a fact concerts. While some regulars are in with little hope of ever turning a profit, that Schrag and others have capitalized their 50s, most are in their 20s. Schrag loves her work. on. In fact, she now gets at least one e- “We have a little of the LAFTA atmosphere, but not the same kind of music. For the trouble that we’re tak- ing to open up our home, we want to do something that’s really unique.” Schrag has an understanding with her landlord that allows the live music venue’s ad- venturous spirit to flourish. “Since we have this community aspect, our landlord has decided that we’re actually doing the city a favor, we’re cleaning up the neighborhood and creating more positive vibes in the Everett neighborhood. He said he thinks the city owes us a thank-you, and he’s very supportive of what we’re trying to do.” For more on Clawfoot House, visit Clawfoot House features summer front porch potluck grills and performances. www.clawfoothouse.com.

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King Sunny Adé and His African Beats set to rock the Bourbon ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—King Sunny Photos Courtesy Adé and His African Beats should be thoroughly warmed up and well settled into their 2010 North American tour by the time they arrive at the Bourbon The- atre for an April 18 performance, a ben- efit for KZUM Radio. The tour begins exactly one week earlier, with an April 11 concert in Montreal. Additional shows in Toronto, Ann Arbor, Milwaukee, Chicago, and Minneapolis will prepare the 16-piece band for its Lincoln appearance at the King Sunny Adé and His Aftican Beats Bourbon, 1415 O St., where the 6 p.m. will perform April 18 in Lincoln. concert promises to be the music event of the year. Doors open at 5 p.m. The Berman Music Founda- (1984). He was the first African to be tion is a principal sponsor of the con- nominated twice for a Grammy Award, cert. Local Cuban and salsa band Son first for “Synchro System” and most Del Llano will open. recently for “Odu,” a 1998 collection The undisputed king of “juju mu- of traditional Yoruba songs. In July 2009 sic,” Adé has been honored with titles he was inducted into the Afropop Hall like “Chairman of the Board” and “Min- King Sunny Adé on stage of Fame. ister of Enjoyment” in his home coun- After their Lincoln performance, try of Nigeria, and his crossover popu- and dancing. I moved the instruments the African Beats will continue with larity has earned him billing as “the Af- backwards to allow them enjoy their scheduled stops in St. Louis., Houston rican Bob Marley.” Juju music is a money and gave my boys a microphone and New Orleans, where they will per- dance-inspiring hybrid of western pop each to dance and sing. At that time form April 25 at the popular New Or- and traditional African music with roots too, they were playing only one guitar. I leans Jazz and Heritage Festival. Lin- in the guitar tradition of Nigeria. A hyp- increased to two, three, four, five and coln is one of the smallest cities on the notic blend of electric guitars, pedal-steel the present six. I dropped the use of six-week tour, which includes Seattle, guitar, synthesizers and multi-layered the accordion and introduced keyboards, San Francisco, Los Angeles, San Di- percussion, it found wide favor in the the manual jazz drum and now the elec- ego, Washington, D.C., Boston, New 1970s when Adé combined Yoruba tronic jazz drum. I introduced the use York City, Philadelphia, and Atlanta. drumming with elements of West Afri- of pedal steel otherwise known as Ha- The April 18 Lincoln concert is can highlife music, calypso, and jazz. waiian guitar, increased the percussion made possible by Star City Blog with Adé also brought many other innova- aspect of the music, added more talk- additional support from Southeast Com- tions to the traditional sound and pre- ing drums, introduced computer into juju munity College, Dietze Music, U.S. sentation. music and de-emphasized the use of Bank, The Holiday Inn Downtown, and “When I met juju music musicians high tone in the vocals.” the Parthenon Greek Taverna and Grill. were still sitting down, with instruments Adé and His African Beats cre- Net proceeds go to KZUM. arranged in front,” Adé says in his offi- ated a worldwide sensation in the early Tickets are $25 for general ad- cial biography. “I found it hard because 1980s with three recordings on Mango mission, $50 for reserved seats. To I knew people were not getting full value Records—“Juju Music” (1982), “Syn- purchase tickets, visit Star City Blog for their money. So I started standing chro System” (1983), and “Aura” at www.starcityblog.com.

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Soon heading south and west for festivals ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

As live music goes, 2010 is look- but that’s part of the fun, not to mention ing like an embarrassment of riches. And the great ethnic food, and the arts and I’m not as easily embarrassed as I used crafts on display and for sale at the fes- to be. If plans pan out, I will attend the tival, which is located at the 145-acre second weekend of the New Orleans county fairgrounds. Jazz and Heritage Festival, April 29- Festival hours are from 11 a.m. May 2, and also cover the second week until 7 p.m., so much of the morning of the Healdsburg Jazz Festival, June and evening hours are free to explore 7-13 in Northern California, where I had the French Quarter, dine at one of the such a memorable visit last year. The many fine restaurants, go on a riverboat 16-piece band of King Sunny Adé and cruise or take in some more live music his African Beats will perform April 18 at one of the city’s clubs, which are right here in Lincoln, Nebraska, and in open to the wee hours. June, five Tuesday night concerts will While at the 12th Annual continue the grand tradition of Jazz in Healdsburg Jazz Festival in early June, June, the 19th year for the free series. Brian Blade and the Fellowship Band, I hope to enjoy the music of pianist After that, who cares? Dee Dee Bridgewater celebrating the George Cables, bassist Charlie Haden The Crescent City Jazz Fest, now music of Billie Holiday, Allen Toussaint, with Ravi Coltrane and Geri Allen, bass- in its 41st year, celebrates a range of Elvis Costello, the Wayne Shorter Quar- ist and singer Esperanza Spaulding, and musical styles far beyond jazz and those tet, the Dirty Dozen Brass Band, the pianist Jason Moran and the Band- other ethnic sounds native to New Or- subdudes, Ivan Neville’s wagon, featuring guitarist Bill Frisell. leans—Cajun and zydeco music. The Dumpstaphunk, and Astral Project. Making the experience even more sig- city also has a unique take on the blues, The problem with planning your nificant is that I will share it with old rock ‘n’ roll, r&b, soul and gospel mu- day at Jazz Fest is that it requires ma- friends, some of whom live near sic, and all are represented on stage. neuvering among 11 different stages Healdsburg and others who will travel But even though its emphasis remains simultaneously. Conflicts are inevitable, from San Diego.

on the area’s considerable musical heri- The brainchild of founder and in- Courtesy Photo Courtesy tage, Jazz Fest has grown in scope to defatigable director Jessica Felix, the include hugely popular artists of many Healdsburg event is a more mainstream traditions. jazz affair, true to its mission to present For example, this year’s festival high-quality music that still challenges features Simon and Garfunkel, B.B. and intrigues the listener. Billed as “the King, The Allman Brothers, Pearl Jam, best jazz festival north of San Fran- King Sunny Ade and His African Beats, cisco,” it brings world-class jazz to a Gipsy Kings, Widespread Panic, the non-urban environment where it is pre- Four Freshmen, the Levon Helm Band, sented in a variety of imaginative ven- Anita Baker, Keely Smith, The Black ues, from wine-tasting rooms and open- Crowes, Irma Thomas, Lionel Richie, air greens to cafes, hotel lobbies and George Clinton and Parliament/ historic theaters. The year’s festival runs Funkadelic, Jose Feliciano, Richie Ha- June 4-13. vens and Shawn Colvin. Expect a full report from New Among the artists I hope to hear Orleans and Healdsburg—as well as in my four-day visit are Van Morrison, reviews of local performances by King Aretha Franklin, Jeff Beck, comedian Esperanza Spaulding is scheduled to Sunny Ade and the Jazz in June con- Steve Martin doing his bluegrass thing, perform at Healdsburg jazz fest. certs—in our July online news!

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Lincoln writer pays tribute to friend Jarvis ○○○○○○○○○○○○○○○ By Mary Pipher○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

In 1997 Jane Jarvis came to Lin- Photos Courtesy coln with Benny Waters. I first heard her play with a trio at the Zoo Bar. Jane was bedecked in satin and pearls and she played piano with great skill and heart. In their first set, the group brought down the house. At the break, Jane shook hands, signed CDs and connected easily with her fans. But, after a short while, she hunted down Benny’s manager and said, “Let’s get going.” He said, “You get a half hour break.” Jane said firmly, “I don’t want a long break. I came to play.” While Jane was in town, I inter- Mary Pipher viewed her for my book, “Another Country: Navigating the Emotional kept up with them. Later she played Terrain of Our Elders.” She had lived organ for baseball games in Shea Sta- Jane Jarvis a remarkable life in her 81 years. She dium. She was a vice president and was the only child of loving parents. production manager for Muzak and you a happy song. That’s what I like The family lived a cultured life of art traveled all over the world to record to play and you need to cheer up.” galleries, classical music and music. Her greatest musical honor I last saw Jane when I was Shakespeare. However, when Jane was to be included in the illustrious working in the city. I visited her at her was 13 years old, her parents were group of old players called The apartment on East 50th Street. On my killed in a train accident. After that, Statesmen of Jazz. way up, I passed a flower vendor and she was alone in the world. She found After our first meeting, Jane and I debated whether to buy her red her peace and happiness in music. I remained friends until her death. roses or white. Finally, I decided to Jane told me, “Music was a natu- When I gave a reading from “Another buy a dozen of each. When Jane’s ral part of me, like my nose. My core Country” in New York, my publisher assistant opened the door for me, I identity was as a musician. My musi- rented a grand piano and Jane played was hidden behind all the roses. I told cality was a gift and all I had to do at the event. Once a month, Jane Jane the white roses were for purity was push it along.” All of Jane’s life, called me from her small apartment. and the red for passion. She laughed when she needed sanctuary, music We would talk for a few minutes about and said she had more of one virtue offered her a safe and cherished how happy she was and what a good than the other. place. She said, “I feel bad for people life she had lived. During these calls Jane lay on her small bed in a who have no art in their lives. I don’t she laughed a lot and said that she lovely silk dressing gown. Her luxuri- know how they cope.” was at age when “externals don’t ant silver hair was brushed down over When she was in high school matter. The joy is all inside my head.” her shoulders. She had a window that Jane played piano for a radio station. After our talks, she would ask looked out on the street. Well-worn It was there that she heard jazz musi- me, “What do you want to hear to- biographies of jazz greats filled her cians for the first time. After she lis- day?” I usually asked for a sad song, bookcases. We talked about her hap- tened to them rehearse, she asked if such as “Autumn Leaves” or “Return piness and her acceptance of old age she could join them in a song. They to Sorrento.” She’d improvise a long and death as part of “the great song were bemused, but agreed. She said, version of whatever I wanted. Then cycle.” Then she asked her assistant “Let’s play what you last played.” She she’d say, “Now, I am going to play to help her to the piano. She treated

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me to an hour-long concert of pas- an afterlife. Life on this earth was other jazz musicians would be in the sionate, effervescent music. Her fin- miracle enough for her. crowd, dancing or sitting at little tables gers had forgotten nothing. Still, it comforts me to imagine with their gin gimlets and black Rus- Jane believed in God. “Other- her in heaven. Jane’s heaven would sians. The crowd would be sophisti- wise,” she asked, “how do you un- look like a nightclub in Midtown Man- cated enough to applaud in the right derstand a life like mine?” She told hattan. She and her favorite musicians places, to ooh and aah at the really me, “I embrace all religions. The would be on a cramped stage, play- hot riffs and to hush and listen when prayers of Muslims are good prayers, ing to a packed house. Jane would be something magic was happening. By and so are those of the Presbyteri- wearing high heels, a showy velvet the end of the night, Jane’s music ans. I can drop into any place of wor- dress, and pearls. Her long blond hair would soar across the galaxies and ship anywhere in the world and feel would stream behind her as she nobody would want to take a break. at home.” But, Jane did not anticipate played. Poets, bankers, publishers, and

Memorial

BMF friend Jane Jarvis leaves a legacy of music ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Jane Jarvis, a longtime friend of File Photo was best known as a ballpark organ- the Berman Music Foundation, died ist, first with the Braves at County Jan. 25 at the Lillian Booth Actors’ Stadium in Milwaukee, then at Shea Home in Englewood, N.J. She was Stadium from 1964 to 1979, mixing 94. jazz tunes like “Scrapple from the The Berman foundation first Apple” with more conventional fare brought Jarvis to the attention of jazz like “Take Me Out to the Ballgame.” fans in Lincoln, Neb., in 1997, when She also worked for Muzak, eventu- she appeared on March 9 at the Zoo ally becoming vice president of pro- Bar, sharing the billing with saxo- gramming and recording and hiring phonist Benny Waters, who was 95 jazz musicians like Lionel Hampton at the time. Jane was a relatively Butch Berman and Jane Jarvis in 1997 and Clark Terry to record sessions young and sprightly 81. Indeed, she that produced some swinging “eleva- boasted of being a month younger phonograph. I didn’t have a phono- tor music.” than my mom when they were intro- graph when I was a child. In fact, After leaving Muzak and the duced during intermission. when I was young, not every family New York Mets in the late 1970s, she During their stay, Jarvis also had a radio. But I did, for reasons began finding gigs as a jazz pianist, conducted master classes with stu- I’m not able to explain, pick up im- eventually becoming a regular at dents at the University of Nebraska- mediately on everything I heard that Zinno, a West Village nightclub and Lincoln and at Park Middle School was jazz, and studied it without know- restaurant, where she worked with in Lincoln. In October 1999, she re- ing I was studying it, and cataloged Milt Hinton and other jazz bassists. turned to the city with trombonist it in my mind without being aware She recorded her first album as a Benny Powell and bassist Earl May that I was putting it in my musical leader the year she turned 70. for a benefit performance at the computer. I took advantage of ev- Jarvis had lived at the Lillian Cornhusker Hotel, funded in part by erything I heard, and it influenced my Booth Actors’ Home since she was the BMF. playing.” forced out of her East Side apart- In a 1997 interview, she told me Born Jane Nossett Jarvis on ment in 2008 after an adjacent build- enthusiastically about her lifelong Oct. 31, 1915, Jane formed a jazz ing was destroyed in a crane col- love of jazz. band in her native Indiana as a teen- lapse. Butch Berman had continued “I’m not sure when I heard the ager, and continued to work as a jazz to stay in touch with Jane through first jazz recording. It could have pianist from her mid-60s into her 90s. the years, right up until his own death been at an uncle’s home. He had a But for more than two decades she in January 2008.

Page 10 Berman Music Foundation Jazz

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Hearing the music, seeing the truth ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

The following essay was written for Photo Courtesy a class in African-American litera- ture that I’m taking at the Univer- sity of Nebraska-Lincoln. I wrote it after reading Ralph Ellison’s mas- terful and highly acclaimed novel “Invisible Man,” published in 1952. It was one of four short pa- pers required by course instructor Megan Peabody. Since it deals with the use of music as a symbol throughout the book, I thought it appropriate for BMF readers. I also liked the idea of recycling the es- say for a broader audience. I have altered the scholarly formatting and page citations for a more jour- Did I Do to Be So Black and Blue,” Louis Armstrong nalistic approach. writing, “Perhaps I like Louis Armstrong because he’s made poetry and lonely.” Less refined are the “Invisible Man” deals largely in out of being invisible. I think it must primitive spirituals sung in the chapel symbolic imagery, the perceptions of be because he’s unaware that he is by a country quartet: “We were em- others, self-observance and self-iden- invisible. And my own grasp of invis- barrassed by the earthy harmonies tity, but one way in which Ralph ibility aids me to understand his mu- they sang, but since the visitors were Ellison examines these visual con- sic.” Like Armstrong’s syncopated awed we dared not laugh at the crude, cepts is through music, its multi-fac- rhythm, being invisible, he notes, high, plaintively animal sounds Jim eted influence throughout our lives and “gives one a slightly different sense Trueblood made as he led the quar- its impact on our emotions, our spiri- of time, you’re never quite on the tet.” In psychic agony after he rapes tual growth, the way we define our- beat.” He equates the visual with the his daughter, Trueblood spontaneously selves, and our social and political aural when he writes, “…You hear raises his voice in song, beginning with consciousness. In the course of the this music simply because music is a spiritual. “I don’t know what it was, novel, he cues important scenes with heard and seldom seen, except by some kinda church song, I guess. All references to the melody, harmony, musicians. Could this compulsion to I know is I ends up singin’ the blues. I lyrics and rhythms of song, from such put invisibility down in black and white sings me blues that night ain’t never diverse sources as jazz recordings, a be thus an urge to make music of in- been sang before, and while I’m Christmas carol heard from a college visibility?” Even in the quandary of singin’ them blues I makes up my chapel, a spontaneous expression of his invisibility, he defines the dilemma mind that I ain’t nobody but myself the blues and a funeral march in in terms of the racial colors of black and ain’t nothin’ I can do but let what- Harlem. and white. ever is gonna happen, happen.” In the Attempting to describe his A choir of trombones perform- act of singing this primal music, he protagonist’s feelings of invisibility as ing “A Mighty Fortress Is Our God” acknowledges the baseness of his he “hibernates” in his underground inside a college chapel inspires sad- nature and its ultimate consequences. refuge from the real world, Ellison ness in the passing listener. You can Ellison likens the delivery of a invokes the power of jazz as trum- almost see the waves of music when college debater to a brass ensemble, peter Louis Armstrong sings and plays Ellison writes, “The sound floats over as he voices his argument in resonat- Fats Waller’s bluesy lament “What all, clear like the night, liquid, serene, ing tones, writing “…listen to me, the

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bungling bugler of words, imitating the the theory of Brotherhood had given Of course Louis was kidding, he trumpet and the trombone’s timbre, me no name.” wouldn’t have thrown old Bad Air out, playing thematic variations like a bari- Ellison’s protagonist eventually because it would have broken up the tone horn.” During a choir perfor- resigns himself to the diversity and music and the dance, when it was the mance, a girl rises to sing a cappella, absurdity of life, as in the contradic- good music that came from the bell “standing high against the organ pipes, tions inherent in the blues and its of old Bad Air’s horn that counted.” herself become before our eyes a myriad variations or in Louis In other words, music tempered by pipe of contained, controlled and sub- Armstrong’s evocations of palpable the fires of hell may be the most heav- limated anguish, a thin plain face trans- good and evil when he sings, “Open enly sound of all. formed by music.” The loyal follow- the window and let the foul air out… ers of a fallen black leader mourn his passing, “bugles weeping like a fam-

ily of tender women lamenting their Photo Courtesy loved one. And the people came to sing the old songs and to express their unspeakable sorrow.” Failing to find words to describe their misery, music becomes the medium through which they articulate the fullness of their hearts. The quest to find himself and his place in the world takes the protago- nist to Harlem, where a funeral pro- cession for a black leader is emblem- atic of the profound power of music in the lives of black Americans, and of all people. A lone, elderly male voice and a euphonium render an im- promptu version of “There’s Many a Thousand Gone,” like “two black pi- Brad Krieger, Dylan Nelson, Bob Doris, Daniel Nelson and Miles Kildare geons rising above a skull-white barn to tumble and rise through still, blue Friends celebrate 2nd annual air.” Others take up the song, follow- ing the old man, “…as though the song had been there all the time and he Berman Ping Pong tournament

knew it and aroused it; and I knew ○○○○○○○○○○○○○○○○○○○○○○○○ By Brad Krieger ○○○○ that I had known it too and had failed to release it out of a vague, nameless The Second Annual Butch on Saturday or Sunday for a full- shame or fear. …I looked at the cof- Berman Memorial Ping Pong out assault on the Ping Pong table. fin and the marchers, listening to them, tournament was hosted by Daniel Butch was always the gracious and yet realizing that I was listening Nelson, a long-time friend of the host, providing fine wine—and to something within myself.” The old Berman Music Foundation. food, if it happened to be a foot- man’s song and its message seem to Present at the gathering ball Saturday. We kept a running emanate from the listeners, as they were Daniel Nelson, Dylan total on who won, and would have respond to something beyond religion Nelson, Elizabeth Nelson, Ruth a final tally at the end of the year or politics. “It was not the words, for Ann Nahorny, Brad Krieger, to see who wound up on top. they were all the same old slave-borne Catherine Patterson, Bob Doris, In the end, wins and losses words; it was as though he’d changed and Miles Kildare. were not important, but added to the emotion beneath the words while For the past 30-plus years, the excitement of the competition. yet the old longing, resigned, transcen- we would gather at Butch’s house dent emotion still sounded above, now deepened by that something for which

Page 12 Berman Music Foundation Jazz

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Matt Wilson Quartet brings skill and wit to jazz ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—Who says Tom by Photos Ineck that jazz can’t be fun? Who says it has to be dry, academic, loftily cere- bral and utterly humorless? Well, who- ever says it, the Matt Wilson Quartet is out to prove them wrong. With eight recordings under his own name—all on Palmetto Records—and dozens of guest ap- pearances with other jazz artists (with Lee Konitz, Dewey Redman, Jane Ira Bloom, Larry Goldings, Charlie Haden and many others) Wilson, 45, has earned the respect of adventur- ous listeners and fellow musicians alike for his technical skills, his fear- less forays into the wonderful world of free-bop, his improvisational in- Matt Wilson Quartet at Westrbrook Music Building stincts and his incessant sense of

whimsy. Photo Courtesy bands. A different version also ap- Wilson and his sidemen— pears on the quartet’s most recent reedman Jeff Lederer, cornetist Kirk release, 2009’s “That’s Gonna Leave Knuffke, and young bassist Paul a Mark.” It’s jaunty, loping tempo and Sikivie—brought all of those perfor- simple chord changes make it a ver- mance elements into their work and satile vehicle for rhythmic and har- play the evening of March 26 at monic improvisation. Westbrook Music Building on the Lederer switched to clarinet for University of Nebraska-Lincoln cam- “Rear Control,” a tune written by pus, where the quartet also conducted saxophonist Andrew D’Angelo, a workshops with area high school stu- former member of the quartet who is dents during the Honor Jazz Week- recovering from cancer. It began with end, funded in part by the Berman an ominously funky backbeat, and Music Foundation. Predictably, the then accelerated to a harrowing swing small concert audience consisted tempo that took the listener on a wild largely of those students, their teach- ride, with occasional rumbling flour- ers and UNL music school faculty. A ishes from Wilson on toms. As the publicity snafu that misidentified the music veered sharply into the avant- concert time—by two days!—sadly garde, Lederer reached the outer lim- prevented a wider segment of the Matt Wilson at play its of his instrument. Throughout the general public from attending or even 90-minute performance, Wilson ex- knowing about this brilliant perfor- ing tenor sax. The opening medley also pressed his rhythmic impulses with mance. included “Some Assembly Required” assorted rim shots, cymbal crashes, “Gathering Call” was also a and “Arts and Crafts,” the title track hand slaps on the snare drum, and all wakeup call for the uninitiated, with of Wilson’s 2001 release and the sorts of percussive devices, including Lederer leading the charge on wail- name of one of the drummer’s other the clever use of a Chinese gong

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placed on the head of a tom-tom and don, and generally taking the cave- scraping a drumstick across the snare man approach to rock rhythm. drum to simulate the turntable tech- Lederer joined in the spree by kick- nique of a demented hip-hop deejay. ing over the music stands as he honked Wilson took up the brushes for and squealed on the tenor sax, insert- the odd, but lovely “Lucky,” a cham- ing a quote from Black Sabbath. In ber-like tune composed by Lederer classic rock style, the rest of the band and his young daughter, who “gave then left the stage to Wilson for an him the notes and he put them in the extended solo shtick, which involved right order,” according to Wilson. tossing his sticks in the air with each “Chirp” was the title given a brand- Matt Wilson Quartet leads the chant, cymbal crash and catching them new composition “work-shopped” that “Choose!” inspired by Carl Sandburg. (sometimes), finally pretending to be afternoon. It featured Lederer on so- impaled by one in the eye and pulling prano sax. One of the highlights of From this lofty rhetorical peak, it out. The finale act in this farce was the show was a rendition of “Choose,” the band then descended to tongue- the “birth of a rock star,” in which based on a poem by Carl Sandburg, in-cheek banality with a simple but Wilson removed his glasses and from a grant-funded project that Wil- catchy tune by Beyonce, America’s stretched his drumsticks along either son did a few years ago. Described current pop diva. The quartet some- side of his face in a simulated entry by the composer as “socialist march how carried if off with a degree of from the birth canal, a routine so out- free-bop,” it did, indeed, march along panache as Knuffke played the rageous it had the audience nearly with righteous moral fervor, eventu- melody with sensitivity on the cornet, rolling in the aisles. ally provoking Wilson into a recitation Lederer accompanied on tenor sax After leaving the hall, the quar- of the poem’s central question—“The and the rest of the band and audience tet returned to a standing ovation for single, clenched fist lifted and ready, members punctuated with ultra-hip a wonderful rendition of “Mopti,” a or the open, asking hand held out and finger-snapping. Latin tune by trumpeter Don Cherry waiting?”—and answering, with fist Any doubts about the fun factor from a 1980 recording of the group raised as the rest of the band and au- in Wilson’s band-leading style fell by Old and New Dreams, a quartet of dience members joined in the chant, the wayside from the start of the nine- four Ornette Coleman alumni, also “Choose!” In the grand tradition of minute “Schoolboy Thug,” a hilarious including saxophonist Dewey political oratory, the drummer left his send-up of heavy metal pretense, Redman, bassist Charlie Haden and drum kit and strode to the front of the with Wilson donning a black wig, spin- drummer Ed Blackwell. It began with band, stilling shouting the one-word ning his drumsticks, hammering the Wilson on mbira, or thumb piano, an demand. drums and cymbals with wild aban- instrument that he had purchased while in Lincoln, and ended with the band, still playing, slowly exiting the room to applause, then reentering from the opposite door to finish the tune. The BMF awarded a $7,000 grant for the second annual UNL Honor Jazz Weekend, which gathered high school musicians from Nebraska and surrounding states for a compre- hensive playing and learning experi- ence, including master classes with UNL faculty and guests. Among other things, the grant covered expenses for five Berman Music Foundation Jazz Fellows—high school educators who participated in the entire weekend of activities. Drummer Matt Wilson dons wig for rock-star turn on “Schoolboy Thug.”

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NET’s Studio One becomes “Jazz Cabaret” ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—A modest plan to tape a 30-minute performance by the UNL Faculty Jazz Ensemble for later broadcast on NET Television ex- panded into a more ambitious and edu- cational “Jazz Cabaret,” at a perfor- mance March 21 at NET’s Studio One. The fruitful Sunday afternoon col- laboration between NET and the UNL School of Music yielded an hour-long performance and a subsequent ques- tion-and-answer session with musicians that will be posted on the NET website. The broadened scope of the project was made possible by a $10,000 grant from the Berman Music Foundation. Studio One was decked out with NET Television collaborated with UNL School of Music with funding from BMF. small, round café tables, colored mood lighting and large potted plants to give it the right cabaret ambience. Several Degree,” a composition by New York- suitably soulful number with Haar ex- dozen invited “patrons” provided the based trombonist and Big Band leader celling on tenor, Richards soloing enthusiasm and give-and-take response John Fedchock. The tune was difficult warmly on trombone, Bouffard turning essential to a live jazz performance. Six and contained some minor fluffs as the in a Wes Montgomery-style guitar solo, studio cameras—including one on a players got their bearings, which can and Rusty White maintaining the groove movable boom above the audience— be problematic when considering the with a stunning walking bass line and a would capture every movement, and a constant distraction of lights and cam- thumping solo. The sextet also deliv- high-definition mobile recording studio eras. They quickly resolved the prob- ered a mournful rendition of J.J. would ensure high-quality sound. lems and launched into a gorgeous ren- Johnson’s ballad standard “Lament,” as Of course, the most important dition of Gershwin’s “A Foggy Day,” arranged by Richards, who stated the contribution to this project came from with Holloman added on alto sax. familiar melody with call-and-response the Faculty Jazz Ensemble, an eight- Bouffard had imaginatively arranged counterpoint by Haar on tenor and piece group featuring several veterans the old chestnut in a manner that made Bouffard on guitar. of the Lincoln jazz community, includ- it brand new and allowed for nice con- The band returned to its octet for- ing trumpeter Darryl White, bassist tributions by Darryl White on flugelhorn mation for Nat Adderley’s celebrative Rusty White, pianist Tom Larson and and Tom Larson on piano. “Fun,” with Holloman back on alto sax, guitarist Peter Bouffard, and more re- The ensemble was reduced to a admirably taking the part that Cannon- cent additions to the UNL faculty, such six-piece group and White remained on ball Adderley played on the live 1966 as saxophonist Paul Haar and trombon- flugelhorn for “Ancient Memories,” the recording “Mercy, Mercy, Mercy.” ist Eric Richards. Added to the mix were title track from his 1999 debut record- Adding to the fun were Darryl White drummer Steve Helfand and saxophon- ing. Written by Fred Hamilton, it was a on trumpet and Bouffard comping sol- ist Brandon Holloman, an outstanding showcase for Holloman’s stirring alto idly on guitar. A couple of the musicians graduate teaching assistant at UNL. sax work, plus solos by White and had a chance to showcase their own Once the cabaret atmosphere was Larson. With a slightly different lineup, composition, beginning with Tom established, the septet (minus Holloman) Paul Haar introduced Hank Mobley’s Larson on his beautiful “Luke.” The took the stage for the opener, “The Third 1957 classic “Funk in Deep Freeze,” a composer stated the theme on electronic

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keys before turning to the piano, assisted Helfand on drums. cal music. They talked about how they by Haar on soprano sax, White on Bringing the taping to a close was chose their respective instruments and flugelhorn, and Richards on muted trom- “Sweet Georgia Brown,” with the full shared advice for today’s young music bone. The rhythm section accompanied eight-piece ensemble gathering on stage students. with aplomb, and Bouffard delivered a for the familiar, foot-stomping, feel- After considerable post-produc- lovely solo. The guitarist’s “Petite Pas good finale. After a short break, the tion work, “Jazz Cabaret” will have its (Little Steps),” is the composer’s an- musicians returned to take questions premiere screening at 7 p.m. May 25 swer to Coltrane’s notoriously difficult from the audience. Emphasizing the at the Sheldon Museum of Art audito- “Giant Steps.” Recorded a few years educational aspects of music and per- rium and will be broadcast on the state- ago as a duet by Bouffard and Rusty formance, they related their own expe- wide public television network some- White, here it was performed by a quar- riences as young students who were time in June. tet adding Haar on tenor sax and first introduced to jazz, rock and classi-

New Acquisitions

“Jazz Icons” an important addition to BMF library ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

The most recent addition to the essay by a jazz historian, photographs As jazz critic Nat Hentoff com- Berman Music Foundation library and details on personnel and session mented, “This is like the discovery of may also be its most important acqui- highlights. They are produced with the a bonanza of previously unknown sition ever. It is the first four boxed full support and cooperation of the art- manuscripts of plays by William sets of DVDs in the ongoing “Jazz ists’ families or estates and, in many Shakespeare.” I couldn’t agree more. Icons” series, featuring full-length cases, family members contribute pho- The first four boxed sets: concerts and studio sessions with the tographs and write illuminating fore- Jazz Icons, Vol. 1 (2006): Louis legends of jazz history. words. Takashi Blakey Armstrong, Chet Baker, Count Basie, Now totaling more than writes about father Art, Art Blakey and the Jazz Messengers, 30 individual DVDs, the T.S. Monk writes about Ella Fitzgerald, Dizzy Gillespie, Quincy series is a goldmine of father Thelonious, Paul Jones, Thelonious Monk, and Buddy rare recordings of supe- Baker writes about fa- Rich. rior quality, many of them ther Chet, Cathy Rich Jazz Icons, Vol. 2 (2007): Dave filmed during the artists’ writes about father Brubeck, John Coltrane, Duke peak years—the 1950s, Buddy, and Lisa Simone Ellington, Dexter Gordon, Charles 1960s and 1970s. Kelly writes about Mingus, Wes Montgomery, and Sa- Reelin’ in the Years mother Nina Simone. rah Vaughan, plus a bonus disc of Productions has been Unlike the flawed Brubeck, Coltrane, Gordon and seeking out and licensing approach of Ken Burns’ Vaughan. live recordings from all over the world, “Jazz” series, the beauty of these re- Jazz Icons, Vol. 3 (2008): Can- releasing annual sets since 2006. cordings—and their historical and nonball Adderley, Bill Evans, Lionel Many of the performances had never educational value—is that they es- Hampton, Rahsaan Roland Kirk, Os- been released on DVD and, in some chew critical narration and lecture for car Peterson, Sonny Rollins, and Nina cases, were never even broadcast. simple, straightforward performance. Simone, plus a bonus disc of Kirk, Many were created for TV programs They allow the viewer to draw his or Rollins and Simone. in Scandinavia, Western Europe and her own conclusions by simply listen- Jazz Icons, Vol. 4 (2009): Art England, places where jazz has tradi- ing and watching these great artists Blakey, Art Farmer, Erroll Garner, tionally found more public support than at work. Coleman Hawkins, Woody Herman, the music does in the very country in The boxed sets generally run Anita O’Day and Jimmy Smith, plus which it was born. from about $100 to $150 each. DVDs a bonus disc of Garner, Hawkins and Each DVD is nicely packaged may also be purchased separately for Smith. with a 20-page booklet containing an about $18.

Page 16 Berman Music Foundation Jazz

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Blue Room reverberates with Charlie Hunter Trio ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Jesse Starita ○○○○○○○○

KANSAS CITY, Mo.—Near the Starita Jesse by Photos corner of 13th and Main streets, I rolled down my window. What’s going on to- night?” The determined pedestrians and animated conversations suggested an event of some significance. Over the commotion, a ticket hawker elevated his voice: “Billy Joel and Elton John.” He said this as though I’d asked if the sun would come up tomorrow. Kansas City has just over two million residents and tonight it looked like all of them were taking the Yellow Brick Road for a com- munion with the piano men. But my business was elsewhere, east, along a Curtis Fowlkes, trombone; Charlie Hunter, guitar; Eric Kalb, drums less gilded path towards 18th and Vine. Driving down the Paseo—a lush boulevard with broad, elegant medi- ans—I wondered if Kansas City had enough left to populate a jazz concert. The line snaking out the Blue Room quickly answered that. Jazz in Kansas City reached its zenith in the 1930s and ’40s, when saxophone icons Lester Young, Ben Webster and Charlie Parker transformed The Blue Room Blue Room is packed for Hunter Trio. into a temple for musical worship. In the 1990s, city council members moved pass to himself. How does he do this? to preserve that heritage, rescuing the It’s an amalgam of immeasurable hours area and its history from decades of The Blue Room at the corner of 18th of practice and superior dexterity chan- decay. Perched underneath the neon and Vine streets in Kansas City neled through a custom-built seven- glow and moonlight, I thought about that string that simultaneously churns out history. Seventy years later, I was here types and shaggy-haired jam band bass lines, rhythm and solos. to see a different Charlie. devotees. Striking the evening’s first note, he My two previous trips were Last August, Hunter released his immediately drove the trio in a funky straightforward affairs. Easy-going fe- 20th studio album, cheekily titled direction. Through myriad effects ped- male vocalists. Surplus chairs. A one- “Gentlemen, I Neglected To Inform You als, Hunter’s guitar took on the sound to-one waitress-to-table ratio. The You Will Not Be Getting Paid.” The of a Hammond B3 organ. Drummer Charlie Hunter Trio would have none magnificence of Hunter’s guitar play- Eric Kalb clutched a thick backbeat, of that. A packed house forced staff to ing is not entirely revealed on iTunes or melting his snare and crash cymbal into borrow chairs from the neighboring compact disc. I spent the first few songs a separate instrument. Kalb and Hunter American Jazz Museum. Eventually, I trying to figure out who was playing worked this terrain for a few minutes, nestled into a corner table, surrounded bass. Hunter was—while playing gui- ironing over the groove, removing by the eclectic audience that Hunter tar. He’s the jazz equivalent of a foot- courts—tidy, middle-aged management ball player who throws a touchdown Blue Room continued on page 17

April 2010 Page 17 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

“In the Mood” revue appeals to crowd of 1,900 ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—Sometimes Photo Courtesy “Moonglow,” and Basie’s “Jumpin’ at adventurous patrons of the arts crave the Woodside.” the visceral stimulation of avant-garde A “class of 1940” vignette was jazz, the metaphorical gymnastics of a clever device to introduce “Juke- modern dance or the cerebral drama box Saturday Night,” “Saturday Night of cutting-edge theater productions. is the Loneliest Night of the Week,” Other times we are simply in the mood “Taking a Chance on Love,” “Don’t for the warm blanket of nostalgia and Get Around Much Anymore,” the those comfy pillows of the familiar. rumba “Green Eyes,” “Accentuate Such was the case March 9 the Positive,” and a jitterbug dance when 1,900 people turned out for “In segment with some lively rug-cutters. the Mood,” a 1940s musical revue at With a dramatic change of cos- the Lied Center for Performing Arts. tumes, the singers returned for a set An unabashedly sentimental journey of romantic favorites, including through the Big Band era, the retro- “Moonlight Serenade,” “Laura,” spective combined the 13-piece String “Blue Moon,” and a very effective of Pearls orchestra with a group of rendition of “At Last,” introduced by Popular “In the Mood” revue appeals six singers and dancers to document to “the greatest generation.” a solo trumpet cadenza and sung by a the evolution of the swing decade from lone woman in dramatic spotlight. The the mid-1930s to the end of World War up to the stage to the tune of “St. whole chorus joined in on “I’ll Never II. In classic revue fashion, it deliv- Louis Blues.” A brief tribute to early Smile Again,” “Sentimental Journey,” ered the goods in rapid-fire succes- big bands went from Glenn Miller’s and “Tuxedo Junction,” which also sion, squeezing some four dozen tunes signature “In the Mood” to Ellington’s feature a nice trumpet exchange. into two hours. “C Jam Blues,” Goodman’s “Jersey The first half of the show ended The entire brass section entered Bounce,” Les Brown’s “I’ve Got My with “The House I Live In”—a patri- the hall from the audience, marching Love to Keep Me Warm,” Shaw’s otic song first introduced by Frank

Sinatra—which extols the American ○○○○○○○○○○○○○○ ○○○○○○○○○○○○○○○○○○○○○○○○○○○○ virtues of equality and community, fol- lowed by an announcement of the Blue Room continued from page 16 1939 invasion of Poland. That set the coarseness. The trio’s lanky trombon- uity and my jazz sentimentality, surely stage for a second-half nod to war- ist, Curtis Fowlkes, finally balanced the the latter one more, missed the reas- time songs like “Over There,” “What equation, jabbing and slicing over the surance that emanates from those four Do You Do in the Infantry?” “Boogie beat the way an air horn does over a strings. Woogie Bugle Boy,” and “He’s 1-A the hum of an auditorium. In any case, two hours into the in the Army and A-1 in My Heart,” After a lengthy intermission, the set, Hunter kept churning. As the trio eventually leading to the hopefulness group opened set two with a slower, reached their final number, Hunter of “I’ll Be Seeing You,” “We’ll Meet deliberate tone. Kalb’s drumming traded flashed a mischievous grin. He looked Again” and “When the Lights Go on punch for polish. Fowlkes, utilizing his like a train conductor ready to call ev- Again (All Over the World).” elastic wingspan, extended slurs an ex- eryone on board. In fact, few had de- After moving performances of tra step. And although Hunter’s attempt parted all night. And, on the heels of a “America” and the memorial “Danny at late-night serenade was sincere and 12-minute blues jam, 18th and Vine re- Boy,” active duty and veteran mem- melodious, even his superb talent could verberated with the notes of jazz past bers of the military were asked to not mask what they lacked—a big, rich and present. stand and be recognized, a fitting sa- acoustic bass. The Blue Room’s antiq- lute to “the greatest generation.”

Page 18 Berman Music Foundation Jazz

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Fleck’s Africa Project is “girls’ night out” ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Grace Sankey-Berman ○○○○○○○○○○○○○○○○

OMAHA, Neb.—It has been the Photo Courtesy mimic Ngoliga’s worst winter in many years, and the sounds. It certainly snow and cold did not seem to be let- was not your every- ting up but, undeterred by the weather, day concert, but it my girl friends and I were eager to do was great and unique something fun. On Feb. 20, a concert improvisation. They by Bela Fleck and The Africa Project performed most of at the Holland Performing Arts Center the songs in their na- provided a great opportunity for such a tive language, but the night out. emotions were raw, A night out wouldn’t be complete real, and soulful. It without a good meal and some libation. Bela Fleck and the Africa Project felt like I was on a We agreed to check out The Twisted journey to an exotic Cork, which The Food Network says mediately lightened the mood when he land, without the passport and plane serves the best-tasting burgers in Ne- playfully performed his rendition of “The ride. braska. It has convenient parking and Beverly Hillbillies” theme song. The Next was the Malian band of the it’s just a few minutes from the concert appreciative audience erupted into great Bassekou Kouate and N’goni Ba. hall. None of us had been there before giggles, laughter and applause. N’goni is the Malian banjo master. The so we were eager to see what the hype I have never been to a banjo con- band consisted of four banjo players and was about. It was a small space, but cert before and was not sure what to the bigger the banjo, the bigger the cozy, and a couple tables were already expect. We were in for a real treat sound. His instrument is rectangular and seated. The wine list was decent and when the Tanzanian musicians came on looked like it was carved out of wood. the menu had a variety of other staples, stage—the incredible, blind thumb pi- There was also a calabash player and but we all ordered the hamburger. ano player and singer Anania Ngoliga a beaded gourd player. The big sound Ruthann said it was the best burger she and his very talented accompanist, gui- of the calabash was a cross between a ever had. However, the hamburger was tarist and vocalist John Kitime. Japanese taiko drum and a bass guitar, served with only a taster’s portion of Ngoliga’s pure voice was rhythmic and yet uniquely different. delicious coleslaw and some potato soothing. He sang about the Ngorogo On vocals was Ami Sacko, chips, which was disappointing, and the “cradle,” which has the highest concen- bandleader Kouate’s wife. The chem- bun could have been more wholesome. tration of wildlife in Tanzania, and about istry between them was undeniable Overall, it was a decent meal because Mount Kilimanjaro. His voice, ringing when they sang together. Ami’s vocal the hamburger was delicious. through the hall, almost painted a pic- range was showcased in a traditional The Africa Project was born out ture of how wild and free that part of Malian song that was a tribute to an of a trip Fleck took to Africa to learn the world is. ancient King. Starting out almost qui- about the roots of the banjo, an instru- The next song was “Home is etly, her voice slowly soared with a ment introduced to America by slaves Best.” Even though he sang in his na- sound that had a vibe that beautifully who brought the prototype from their tive language, the emotions clearly con- blended Middle Eastern and African homeland. While in Africa, Fleck col- veyed how much he loved and missed influences. The band was tight, playing laborated with some incredible musi- his homeland. Fleck teased that Ngoliga just enough to compliment and show- cians from Gambia, Mali, Uganda, and was in a bad mood because of the cold case this unique art form. Tanzania, some of whom performed weather. Ngoliga was serious, yet very Some of the music was up-tempo with Fleck at the Holland Center. playful, in his delivery, punctuating his dance tunes that built up to almost-hyp- The concert hall was almost sold songs with chicken-like quakes. John notic crescendo. The African tamas, a out, and at 8 p.m. Bela Fleck walked Kitime, the guitar player, and Fleck on shoulder drum that fits under the arm, onto the stage with his banjo and im- banjo played along with him, trying to was a crowd-pleaser. The crowd may

April 2010 Page 19

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Amy Denio celebrates Women’s Week at UNL ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Grace Sankey-Berman ○○○○○○○○○○○○○○○○

LINCOLN, Neb.—Seattle-based waltz, all done Sankey-Berman Grace by Photo Europe. Along the way, she met a net- musician, composer and producer Amy with a twist. work of independently thinking people Denio was on hand to perform at a spe- And that is her who along with her life experiences help cial edition of the Clawfoot Salon March musical style. shape her mission of using music as a 10 at the Nebraska Union, during the She does not tool for social change. UNL Women’s Week celebration. The restrict her Denio said she wants musicians annual event celebrates and reflects on music to a par- to be more interactive. She and others the progress of women’s rights. Ember ticular genre, employ very creative and unconven- Schrag of Lincoln’s Clawfoot House, but will let the tional ways to engage people. In Se- in collaboration with the Berman Mu- instrument attle she plays with a band that sits in sic Foundation, brought this accom- bring out dif- the middle of the audience in order to plished musician to town for the event. ferent aspects promote interaction. They play live in Denio, a self-taught accordion of her musi- public buses, or even audition the bus player and guitarist, was flanked by cality. For ex- drivers to sing opera while driving or to young female musicians and one or two ample, she Amy Denio use the horn or brakes as musical in- men who played a variety of instru- said the saxo- struments. She said, “The buses came ments, including congas, guitars and phone brings out her jazzy side and the alive like cartoon characters, it became accordions. She played the accordion accordion brings out the folk side. a musical experience to ride the bus.” while directing the group in a sing-a- Denio spoke about her experience Amy concluded her lecture by long of a variety of songs. The jam ses- as a musician, how she started in the singing a few solos while playing the sion was relaxed and interactive and business by organizing concerts. While accordion. She encouraged women to included folk, tango, Scottish music, and performing, she traveled to Japan, South pursue their dreams and not worry what Denio described as an Algerian America, Hong Kong and throughout about potential setbacks.

Page 20 Berman Music Foundation Jazz

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Brewsky’s is setting for jazz experimentation ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—Of late, the Tom by Photos Ineck Capital Jazz Society has been present- ing some very provocative and inter- esting music Thursday nights at Brewsky’s Jazz Underground, also the venue for a big band gathering every Monday eve. The lower level room at 201 N. Eighth St. in the Haymarket District Bryan McCune Combo (from left) was the setting for the March 31 re- Scofield, Bryan McCune, Luebbe, Wimmer, Wheary and Mac McCune union of trumpeter Bryan McCune Group Sax (from left) Haar, Benson, with old bandmates Tom Larson on Love and Vicroy keys, John Scofield on drums, Dana and Larson’s son, guitarist Will Larson. Wheary on guitar, and Bill Wimmer on The performance—which was “Moanin’,” “Caravan,” “All the Things saxophones, with Mark Luebbe added recorded in both audio and video for- You Are and “What Now My Love,” on bass. Also joining in the fun was mats—alternated straight-ahead stan- with the younger McCune’s edgy fu- Bryan’s dad, trumpeter Mac McCune, dards such as the Bobby Timmons’ sion compositions and arrangements, aided by his adept use of electronics. It Concert Review was especially instructive to hear the Miles Davis and Harry James schools Saxman Haar shines in limelight of trumpeting bridge the McCunes’

By Tom Ineck○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ generational gap. Group Sax brought its formidable LINCOLN, Neb.—With so much ease and inspiration. Guitarist Peter brand of brash brass attack to bear in a talent in its ranks, the Nebraska Jazz Bouffard also contributed a tasteful solo. sparsely attended April 7 performance. Orchestra is featuring some of the A Dirk Fischer arrangement of The saxophone quartet’s founder and band’s stellar soloists this season. Saxo- Cole Porter’s “You’d Be So Nice to baritone saxophonist Scott “The Beast” phonist Paul Haar took honors Feb. 5 Come Home To” followed in a lightly Vicroy has pursued this difficult music at The Cornhusker hotel with a program swinging tempo. Tom Harrell’s lovely for nearly 20 years, much of that time called “Sax and the City.” Director of “Sail Away” was a pleasant surprise with veterans Ed Love and Mark jazz studies at the University of Ne- as arranged by UNL composer-in-resi- Benson. With newcomer Paul Haar, braska-Lincoln, Haar is a regular mem- dence Eric Richards for tenor saxo- director of jazz studies at the Univer- ber of the NJO sax section, but this was phone, flutes, bass clarinet and muted sity of Nebraska-Lincoln, they continue his first night in the limelight. trumpets. True to its title, the tune was to yield exciting results performing the “Perdido,” a favorite from the breezy, wind-driven and warm. music of such legendary sax foursomes Duke Ellington songbook, warmed up By way of dedication, Haar intro- as Itchy Fingers and Bobby Watson’s the band and the audience of 320, which duced his wife before launching into the 29th Street Saxophone Quartet. were relegated to the rather inferior romantic ballad “Hey There.” On alto Yes, it is often challenging music, lower-level Lancaster Room for the sax, Haar’s beautiful melody was aided for both performer and listener, but the concert due to a conflicting event. by Bouffard on guitar. “Friends Again” joy of discovery is latent in every tune, The guest soloist first took the was a modern take by Lanny Morgan whether it’s Gershwin’s “Love is Here stage for a lilting version of the stan- on the old standard “Just Friends.” to Stay,” Monk’s “’Round Midnight,” dard “There Will Never be Another Haar, Ed Love and Andrew Janak or Mingus’ “Jelly Roll.” Benson’s no- You,” arranged by former Haar men- stated the melody on tenors before turn- table contributions included imaginative tor Don Galley. On alto sax, Haar dem- ing it over to Haar, Tom Harvill on pi- arrangements of Queen’s “Bohemian onstrated the self-assurance of a vet- ano and Bob Krueger on flugelhorn. Rhapsody” and George Harrison’s eran, stating the melody and soloing with “Taxman.”

April 2010 Page 21 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Jazz on Disc

For talent, no one keeps up with the Joneses ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

dard “Groove Merchant” fully ex- ploits the blues influence in both pia- nists, capably abetted by bassist Brandi Disterheft and drummer Jim Doxas, who are aboard on the first three tracks only. The last of these is “Ripples,” a delightful Hank Jones romp that features Disterheft and Doxas trading solo breaks. OLIVER JONES/HANK JONES The rhythm section steps down MATT WILSON QUARTET Pleased to Meet You as the pianists go head-to-head on That’s Gonna Leave a Mark Justin Time Records “Makin’ Whoopee.” The Joneses il- Palmetto Records lustrate the rare ability to listen and For poise, sophistication, tech- respond appropriately, never getting As the title so cleverly implies, the nique and taste, no one can keep up in each other’s way as they “con- latest release from the Matt Wilson with the Joneses. That is, Oliver verse.” On the uptempo “I’ll Re- Quartet definitely leaves an impression Jones and Hank Jones, who join their member April,” one delineates the on the listener. Whether you’re new to talents here for a momentous col- theme while the other provides a the Wilson esthetic or a long-time fan, laboration that is as much memorial rubato introduction, then they each “That’s Gonna Leave a Mark” is a tan- homage to Oscar Peterson as it is go on dazzling solo flights before re- talizingly unique experience. For those testimonial to their own, enduring turning to the melody. Another tune in the know, its blend of catchy melo- reputations. that suits the duo well is “Star Eyes,” dies, free-bop improvisations, rhythms “Pleased to Meet You” was in with its intriguing changes and lush that alternately swing and rock with a the planning stages when Peterson chords. backbeat, and an overall sense of died in December 2007. It was re- The elder Jones has two brief whimsy are typically unconventional— corded in June 2008 in Montreal, the solo features, including “Monk’s or is that unconventionally typical? hometown of both Peterson and Mood,” and the closer, “Lonely Over the course of his 14-year Oliver Jones and—aptly—appears Woman,” a moody piece by William relationship with Palmetto Records, the on the Justin Time label, a Montreal- Stegmeier that clocks in at less than wily drummer has consistently main- based company with which Oliver two minutes. tained a quartet format, sometimes with Jones has been associated for more The spotlight turns squarely on saxophone, keyboards and bass, some- than 25 years. The result is a relaxed, Peterson with his “Blues for Big times with trumpet and keys, and some- genial atmosphere that comes across Scotia,” a broad, two-fisted blues times with two saxophones and bass, on the recording, the first featuring composition that allows both of the which is the case here, with Andrew these two keyboard giants. Joneses to show their chops as they D’Angelo and Jeff Lederer on assorted Hank Jones, almost 90 at the trade solos and keep the powerful reeds and Chris Lightcap on bass. His time of this recording, is Oliver’s groove churning. Peterson’s current touring foursome, which per- senior by about 17 years, but their “Cakewalk” is a more light-hearted formed March 26 in Lincoln, changes styles are eminently compatible. That affair, bouncing along and keeping that equation yet again by pairing saxo- is especially apparent on the opener, both pianists on their toes. But it is phone and trumpet. the stately Ellington tune “What Am Oliver Jones’ “I Remember OP” that D’Angelo on alto sax and Lederer I Here For?” where they build the most intimately pays the duo’s re- on tenor sax manage to sound like a melody line at a gentle, strolling gait. spects to their late friend and fellow The soulful Jerome Richardson stan- piano legend. Jazz on Disc continued on page 22

Page 22 Berman Music Foundation Jazz

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Jazz on CD continued from page 21 ing reading, with Mullen storming out of the gate and Harris pushing the whole brass section while setting up the tempo as he builds momentum with an opening romp, “Shooshabuster,” before inspired flurry of notes. Mullen returns engaging in solo excursions, with shouted for an equally outstanding solo. encouragement from Wilson. “Arts and Harris deftly teases all the bluesy Crafts,” the stop-and-start title track of possibilities from the ballad “That’s All,” Wilson’s 2001 release, is given a new again building to a soul-stirring finish. lease on life as the two saxophones Perhaps “Lady Be Good” takes the harmonize then merge with Wilson’s GENE HARRIS QUARTET prize for its raucous and rollicking in- insistent snare-drum pulse for a three- Another Night in London terpretation, placing Harris squarely in way dialogue. This recording is dedi- Resonance Records the pantheon of great jazz keyboard styl- cated to bassist Dennis Irwin, a former ists—such as Peterson and Ray Wilson bandmate who died a couple of With “Another Night in London,” Bryant—who swing with a titanic, two- years ago. Resonance Records continues to pay fisted passion. Mullen again sets the D’Angelo’s “Rear Control” fea- homage to the lasting legacy of piano soulful tone for an exquisitely beautiful tures Lederer soaring on clarinet, as the great Gene Harris, whose career was take on “This Masquerade,” with Har- tempo escalates. The time signature revived in the 1980s and 1990s with ris slowly building intensity in less-is- shifts again, and the composer joins the nearly 20 releases on the Concord la- more style. Mullen’s solo takes off into fray on bass clarinet. “Getting Friendly” bel, extending right up to his death in the stratosphere while maintaining the is a sweetly melodic love song penned early 2000. Always an exciting key- tune’s melodic essence. by Wilson. The quartet has a ball inter- board stylist with roots deep in the blues, “Georgia on My Mind” is just a preting the bebop classic “Two Bass Harris is at his most riveting in concert plain old flag-waver for Harris, incor- Hit” by the MJQ’s John Lewis. with a quartet. Such is the case here, porating all the trademark slash-and- Lederer growls on tenor, Lightcap another set from his 1996 club date at burn soul piano technique for which prowls on bass and Wilson drives the Pizza Express. Resonance released the Harris is known. In the set’s longest tempo and skips lightly over the changes first volume, “Live in London,” in 2008. performance, he takes chorus after in- in a bravura percussion performance. Like that previous CD, “Another spired chorus, never lacking for ideas A heavy backbeat moves Wilson’s Night” showcases six extended perfor- and never lagging in swinging energy. “Area Man,” while saxophones com- mances with a solid band consisting of The question now is: Are there any bine in raucous abandon. Lederer’s Scottish guitarist Jim Mullen (of Brian more “Nights” yet to be discovered and daughter, Maya, choose 12 notes that Auger’s Oblivion Express and Average released? If so, Resonance Records is her dad then fashioned into the beauti- White Band) and two Brits, bassist sure to find them. ful chamber piece for clarinets called Andrew Clyendert and drummer Mar- “Lucky.” As Wilson writes in the liner tin Drew, who worked extensively with notes, it is a song that “resounds of hon- Oscar Peterson. In tracks ranging from esty, hope and optimism.” The brief title eight minutes to more than 13 minutes, track has Wilson roving over the drum they delve intensely into such soul clas- kit like a man possessed as Lederer and sics as “Sweet Georgia Brown” and D’Angelo make their impression with “Georgia on My Mind,” plus a soulful a vengeance. Lightcap contributed the rendition of the ballad “That’s All” and lilting free-bopper “Celibate Oriole” to stunningly original versions of Jobim’s the quartet’s songbook. “Meditation,” Gershwin’s “Lady Be The traditional 19th century hymn Good,” and Leon Russell’s “This Mas- LAURENCE HOBGOOD “Come and Find the Quiet Center” and querade.” When the Heart Dances the 1974 song by War called “Why Mullen ignites “Georgia” with a Naim Records Can’t We Be Friends?” close the re- subtle string-bending introduction, with cording on a note of contemplation and Harris taking up the challenge, first with Released in late 2008, this CD world unity, with “The Swayettes” and easy-swinging poise then increasing pairs idiosyncratic bassist Charlie the entire Wilson family joining in on the pyrotechnics and blues power, as the Haden with Laurence Hobgood, a pia- final tune’s vocal chorus. rhythm section intensifies the groove. nist best known for his work as accom- “Meditation” gets an especially excit- panist and arranger for Chicago song

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stylist Kurt Elling. The piano-bass duo tion “Leatherwood.” The tempo slows Hancock’s “I Have a Dream,” the only is favorite setting for Haden, who has and Elling returns for a resonant and tune not written by Hall or a colleague. recorded similar projects with Hank resourceful reinterpretation of the Barth’s bright, harmonic punctuation on Jones, Kenny Barron, Gonzalo Ellington/Strayhorn classic “Day- Fender Rhodes recall Hancock’s fusion Rubalcaba and Chris Anderson. “When dream.” Hobgood deftly inserts dark projects of the late 1960s and early the Heart Dances” joins that elite com- harmonies as though suggesting an 1970s. Urged along by Hall’s powerful pany as another sterling example of a omen of sadness. drumming, Warfield soars into the strato- jazz “dialogue.” The concluding track is the exquis- sphere on tenor sax, followed by an “Que Sera Sera” makes for an itely beautiful “The Cost of Living,” by equally exciting solo by Stafford. interesting opener, a promise of more pianist-composer Don Grolnick. Re- The quintet at times sounds like good things to come. After all, “what- corded by saxophonist Michael Brecker an updated edition of Art Blakey’s Jazz ever will be, will be” is a very jazz- on his 1987 self-named release (with Messengers, especially on Hall’s re- friendly philosophy. Rather than the Haden on bass), it was also included laxed, swinging “Conversion Song,” bright, waltz tempo usually deployed on on Grolnick’s 1992 masterpiece, where Warfield and Stafford solo with this chestnut, Hobgood and Haden give “Nighttown.” Sadly, those artists have the hard-bop vigor of Wayne Shorter it an introspective treatment. By con- died—the composer at age 48 in 1996 and Lee Morgan. “Orchids” is a lovely trast, the pianist’s title track is a waltz and Brecker at age 57 in 2007. This is jazz waltz featuring Whitaker’s lyrical variation that beautifully showcases the a fitting memorial tribute to both. bass, a lilting soprano sax solo by composer’s keyboard skills. Warfield and a penetrating piano state- Elling joins the duo on three of the ment from Barth. 11 tracks here, including the ubiquitous Hall drives the title track with the “First Song,” without a doubt the most insistence of a slightly mad metronome, frequently recorded Haden composi- reaching a euphoric high with Stafford tion. With a haunting melody and lyrics adding electronic trumpet effects to that recount that time when “love is Barth’s electric keys and some studio new,” it is worthy of repeated record- reverb and sequencing on the drums. ings and a range of interpretations. Again, it harkens back to some of the Hobgood goes solo on two origi- more imaginative space-age ventures nals. “Sanctuary” is a stately, lyrical DANA HALL of late-‘60s jazz. “Black Mountain” has piece, delivered with great emotional Into the Light a modal feel that allows much improvi- impact in a style reminiscent of the best Origin Records sation and rhythmic shifts as Hall keeps Keith Jarrett. Haden and Hobgood col- the steady pace and soloists Stafford, laborated on “Chickoree,” a probable My introduction to drummer Dana Barth and Warfield on soprano sax reference to pianist Chick Corea, es- Hall was his March 2009 appearance circle around it. pecially when considering its leaping, as guest soloist with the Nebraska Jazz “The Path to Love,” named after crab-like keyboard meanderings. Orchestra. The concert’s advance pub- a Deepak Chopra book, has an undeni- Elling returns for a bold reading licity touted his degree in aerospace ably spiritual quality, further elevated by of the ballad “Stairway to the Stars,” engineering, music composition and a lively, upbeat tempo. Hall’s “Jabali” with sustained passages where he music arranging, an impressive resume is his loving tribute to mentor Billy Hart, stretches or repeats words, as though that left me wondering if he was just drummer on those classic Hancock re- slowly climbing those stairs, eventually another academic who dabbled in jazz. cordings of the early 1970s. It is, indeed, rising to a final falsetto note. Next, His performance that night and his a workout for Hall. Whitaker contrib- Hobgood dusts off the old Hoagy debut recording as a leader, “Into the utes the rather solemn, moody “For Carmichael tune “New Orleans” with Light,” leave no room for doubt. Hall Rochelle,” a tune written for his daugh- an imaginative solo introduction before has all the percussion chops, compos- ter. The closer is Warfield’s “Tin Sol- being joined by Haden for the ever-so- ing skills and soulfulness that you could dier,” which begins with a thundering slow theme. ask for, and his heavyweight bandmates drum solo that sets the stage for an “Why Did I Choose You?” is a lend him additional credibility. They are uplifting, rhythmic journey. Trumpet and yearning ballad that gets just the right trumpeter Terell Stafford, saxophonist soprano sax harmonize with the piano emotion-laden treatment from Hobgood Tim Warfield Jr., keyboardist Bruce in tightly-locked synchronicity, all the and Haden. Hobgood takes a master- Barth and drummer Rodney Whitaker. while driven by Hall’s wide-ranging ful solo turn on his sprightly composi- “Into the Light” begins with Herbie rhythmic barrage.

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Washington’s versatile and inspired vo- which way but loose. It is Lalama’s cal excursions resembling Stevie second CD on the Mighty Quinn label. Wonder’s. Locke appreciates the Boasting the same rhythm sec- beauty inherent in the theme from “Cin- tion of its predecessor—guitarist John ema Paradiso,” which has been cov- Hart, bassist Rick Petrone and drum- ered by many jazz artists, including a mer Joe Corsello—”The Audience” vocal rendition by Karrin Allyson. continues the quartet’s bluesy approach “Pure Imagination” proves a good from the swaggering opener, Wayne choice for Washington’s soaring vocal Shorter’s “Marie Antoinette,” with JOE LOCKE and positive, uplifting approach. Locke’s Lalama and Hart doubling the melody. For the Love of You “Bright Side Up” closes the affair on Stevie Wonder’s tale of urban strife, E1 Music an upbeat affirmative note and has the “Livin’ for the City,” gets an apt soul- listener yearning for more of the jazz treatment, and the sly “Love Thy The prolific and prodigiously tal- composer’s original material. Neighbor” features some very hip, but ented vibraphonist Joe Locke contin- Along with Locke, the rest of the subtle work from both Petrone and ues to stretch his wings on “For the band is more than up to the task. Pia- Hart. Love of You,” where he appears chiefly nist Geoffrey Keezer, bassist George In an interesting exercise in con- as accompanist for singer Kenny Wash- Mraz and drummer Clarence Penn cre- trasts, Lalama pairs off with each ington, though he gives himself plenty ate a powerful rhythm section that de- sideman for a short improvised tune. of solo space between lyric verses. livers its own memorable contributions. He and Hart perform “Jonme,” which Locke, who has more than a Keezer turns up the heat on “Old Devil segues neatly into the standard “Por- dozen recordings under his own name Moon,” and Mraz states the theme of trait of Jennie.” The duo of Corsello in the last decade alone, has proven him- “Cinema Paradiso” with a gorgeous and Lalama connect on “Jome” lead- self Milt Jackson’s heir apparent. He bowed bass intro and follows up with a ing into the Latin bounce of “Kiss and possesses a technical proficiency and solo later in the performance. The whole Run.” Predictably, Petrone joins bluesy authority equaled by few and band cuts loose on Locke’s swinging Lalama for “Ricme,” with Lalama lay- surpassed by no one on. That makes instrumental “I Miss New York (When ing out a bare-bones flurry of notes him a perfect foil for Washington’s soul- I Been Gone Too Long),” with Penn’s around which the bassist weaves his inflected pop balladry, from the tender rhythmic flourishes and embellishments lines. sentiment of Henry Mancini’s “Two for especially impressive. Keezer also con- Another rarity, Duke Pearson’s the Road” to the upbeat lilt of “Old Devil tributes stunning solos on “The Shadow “Minor League,” gets a swinging Moon.” of Your Smile” and “Bright Side Up.” workout that shows off Lalama’s huge The title track, though nicely ren- tone and effortless improvisation as he dered by the band, remains a tepid Isley navigates through the changes. Hart Brothers tune, another indication that and Petrone follow with equal aplomb this recording strives—with mixed suc- before the whole outfit goes through a cess—to transcend the boundaries of bracing round of four-bar breaks. jazz. On the other hand, Washington Lalama nods to mentor Sonny does great justice to Locke’s composi- Rollins on a breezy rendition of Johnny tion “Verrazano Moon,” a beautiful Mercer’s “I’m an Old Cowhand,” done homage to late friend and bandmate in classic fashion by Rollins on his 1957 saxophonist Bob Berg, who died in an release, “Way Out West.” In his play- auto accident in 2002 at age 51. ing, Lalama is more relaxed but simi- RALPH LALAMA A harmonically rich arrangement, larly adventurous in his snaking lines The Audience imaginative solo statements and a sen- and sudden surges in tempo. Mighty Quinn Productions sitive vocal lift Neil Young’s melodic After too many years in the shad- “Birds” beyond its folk-rock pedigree ows, the 59-year-old Lalama may fi- to the level of jazz standard. The follow-up to 2008’s excellent nally be stepping into the limelight. Washington’s pure tenor voice seems “Energy Fields,” the latest release by Let’s hope he continues his fruitful col- ideally suited for the tune. The band the largely unheralded tenor saxophon- laboration with the folks at Mighty returns to the Mancini songbook for ist Ralph Lalama is another authorita- Quinn Productions. “The Shadow of Your Smile,” with tive collection of tunes turned every

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Here are six essentials of the jazz vocal art ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

In the second installment of “Jazz Fitzgerald raised the vocal art to a pin- Essentials,” we recommended five nacle with her unerring pitch, her wide recordings showcasing early archi- range and her sense of irrepressible tects of jazz. Among them, of course, joy in every tune. Throughout a ca- was Louis Armstrong, who was in- reer spanning nearly 60 years, she fluential not only for the bravura trum- introduced new material with a curi- pet playing that set the standard for ous zest, even when it seemed inap- jazz improvisation in a group setting, propriate or beneath her talents. but also for his impact on the jazz vo- Sarah Vaughan possessed pipes cal art. He vocalized with the rhyth- of operatic potential, capable of multi- mic swing and phrasing of an instru- octave leaps with a wonderfully con- ment and introduced the use of scat- trolled vibrato. A transitional jazz singing, often employed when words singer, Vaughan began her career in failed to impart the proper lilt or wit the swing era but adapted well to the to a given piece of music. new sounds and rhythms of bop. BING CROSBY Using Armstrong as a spring- Like Armstrong, Nat King Cole Bing! His Legendary Years, board to the great jazz singers who is equally important as an instrumen- 1931-1957 followed, we turn our attention to six talist and a singer. His influential pi- MCA Records important vocalists of jazz history. ano trio of the late 1930s and 1940s Bing Crosby is best known for was one of the few to eschew a drum- This four-disc set from 1994 is the his huge popularity as a singer of pop mer in favor of a guitarist. Like best package of Crosby’s best years. and novelty tunes, a star of radio and Crosby, he became a singer of pop It documents the arc of his career from TV, and an actor of incredible range, standards and occasional novelty the early jazz years, through the croon- from wacky comedy to heart-rend- songs and was a multi-media star of ing radio and film years of the 1940s ing pathos. But he began as a jazz records, television and movies. and into the modern pop-song televi- singer greatly inspired by Louis I was going to wait until a later sion era. In doing so, it accomplishes Armstrong. A contemporary of edition of “Jazz Essentials” to feature the monumental task of representing all Armstrong, Crosby influenced count- Frank Sinatra. Like Crosby, his popu- styles with which he is most often as- less crooners, including Frank Sinatra. larity is legendary, putting him in a sociated—swing, ballads, novelties, Despite her limited vocal range, class of his own. Crosby was in many cowboy songs, holiday tunes and even Billie Holiday combined an appre- ways the model for Sinatra, so we the travel trifles of Hawaii and Ireland. ciation for the blues, an innate sense include him here. Influenced by the Among the early gems included of swing, unusual phrasing and a gift fluid trombone tone and phrasing of are “I Found a Million Dollar Baby,” for conveying and evoking intense employer Tommy Dorsey, he soared “Dancing in the Dark” and “Stardust.” emotions. Unlike most singers who beyond his early success as a teen- From Crosby’s popular holiday had come before her, she occupied a age idol to become an immortal among songbook are “White Christmas,” “Si- high, middle ground between the song stylists of the 20th century. lent Night,” “O Come All Ye Faithful,” straight blues interpretations of sing- As with other early artists we and “Silver Bells.” But the lion’s share ers like Bessie Smith and the dull, have recommended, we focus chiefly of this 101-song collection is devoted to uninflected delivery of most Tin Pan on multi-disc anthologies. Recordings the standards of the Great American Alley songsters. of the 1930s and 1940s were avail- Songbook as interpreted with that mar- There was no greater swinger able only on 78s, and even later LPs velous, unmatched Crosby baritone. among singers than Ella Fitzgerald. can be uneven and incomplete ex- For listeners who want more of A near-contemporary of Billie Holi- amples of the artist’s work, so we sug- day—born two years later— gest more representative collections. Jazz Essentials continued on page 26

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Jazz Essentials continued from page 25 Wilson, saxophonists Lester Young, Ben Hawkins, Lester Young, Ben Webster, Webster, Chu Berry and Johnny Stan Getz, Illinois Jacquet, Flip Phillips Crosby from a particular period, we Hodges, clarinetists Benny Goodman, and Sonny Stitt, trombonist J.J. Johnson, recommend additional jazz recordings Artie Shaw and Jimmy Hamilton, trum- trumpeters Harry “Sweets” Edison and from the late 1920s and early 1930s peters Harry “Sweets” Edison, Roy Roy Eldridge, guitarists Herb Ellis and and—for that nostalgic sleigh ride down Eldridge, Buck Clayton and Charlie Barney Kessel, and bassist (and former Santa Claus Lane—a whole album of Shavers, guitarists Freddie Green, Dave husband) Ray Brown. Christmas music. Barbour and John Collins, bassists Milt Hinton, John Kirby and Walter Page, and drummers Jo Jones, Kenny Clarke, and Gene Krupa.

SARAH VAUGHAN Young Sassy Proper Records

ELLA FITZGERALD We can recommend 2001’s BILLIE HOLIDAY Something to Live For “Young Sassy,” without reservation, for Lady Day: The Master Takes Verve Records a number of reasons. Whereas early and Singles recordings of Holiday and Fitzgerald Columbia Legacy Records Fitzgerald recorded from the early were often inferior to their later 1930s well into the 1980s—an incred- work—usually due to weak material— When it comes to Billie Holiday’s ible output—and much of it is first-rate. Vaughan’s beginnings were more aus- most fruitful years on Columbia records, But we give the nod to this 1999 two- picious. Her voice was always magi- fans have several formats from which disc collection of 30 songs, ranging from cal, and the tunes here are largely to choose. Those on a limited budget 1935 to 1966. “Something to Live For” drawn from the standards. Also, this can go with the single-disc “God Bless is a companion to the TV documentary four-disc collection contains her entire the Child” from 1996 or 2001’s double- of the same name, which appeared on output between 1944 and 1950, an disc “Lady Day: The Best of Billie the PBS series “American Masters.” amazing 94 songs, at the very reason- Holiday.” For the completist, there is Importantly, it contains eight se- able cost of less than $30. the 10-CD “The Complete Billie Holi- lections from her early years with Few can complain about a set list day on Columbia (1933-1944),” also re- Decca, including the iconic “A-Tisket, that includes “East of the Sun (and leased in 2001. A-Tasket.” Among the other career West of the Moon),” “Lover Man,” We recommend the middle path, highlights are “How High the Moon,” “Mean to Me,” “You Go to My Head,” the wonderful four-disc 2007 entry en- “But Not for Me,” “Ridin’ High,” “An- “It Might as Well Be Spring,” “I’ve Got titled “Lady Day: The Master Takes gel Eyes,” a live and swinging version a Crush on You,” “Body and Soul,” and Singles,” a collection of 80 superb of “Oh, Lady Be Good,” “The Lady is “Time After Time,” “I Cover the Wa- recordings made between 1935 and a Tramp,” “Body and Soul,” the scat terfront,” “Tenderly,” “Love Me or 1942. The sound is great, the selections masterpiece “Airmail Special,” “Mack Leave Me,” “The Nearness of You,” are unimpeachable, and the perfor- the Knife,” “Mr. Paganini,” and one of “Come Rain or Come Shine,” and mances are flawless, reaffirming Holi- her many excellent renditions of “Black Coffee.” day as likely the greatest jazz singer of “’Round Midnight.” Great thanks are due the folks at all time. Like Holiday, Fitzgerald got the Proper Records, a UK label that has Of course, it helps that she is ac- sidemen she so richly deserved. Among released dozens of modestly priced col- companied by some of the great play- those included here are pianist Oscar lections of jazz, blues, country and other ers of the era, including pianist Teddy Peterson, saxophonists Colman great American music in recent years.

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sues as singles, for around $12 each. That way, you also get the bonus tracks that are added to each CD, expanding the length beyond the origi- nal 30 minutes or so. Most of Sinatra’s Capitol recordings are classics, so you can’t go wrong by either purchasing them chronologically or by going for your favorites first. NAT KING COLE Eventually, you should own Best of Nat King Cole: The “Songs for Young Lovers/Swing Instrumental Classics/The Easy” (1954), “In the Wee Small Vocal Classics Hours” (1955), “Songs for Swingin’ Blue Note Records FRANK SINATRA Lovers” (1956), “A Swingin’ Affair” The Capitol Years (1957), “Where Are You?” (1957), Capitol Records “Come Fly With Me” (1958), “Only Since Nat Cole’s later recordings the Lonely” (1958), “Come Dance often suffer from a poor choice of ma- with Me” (1959), “No One Cares” terial and overproduction, it is wise to Few critics disagree that (1959), and “Nice and Easy” (1960). start at the beginning. The three discs Sinatra’s middle period, his Capitol These 10 recordings represent a included in “Best of Nat King Cole: The years from 1953 to 1961, produced seven-year string of brilliance unpar- Instrumental Classics/The Vocal Clas- his finest hours of recorded music in alleled in popular song. sics” present 62 tracks from the trio’s a career than spanned six decades. Once you have satisfied your ap- productive years of 1944 to 1950. The You can’t go wrong with any of the petite for Sinatra’s greatest period, instrumental and vocal excellence pre- individual releases of the Capitol de- supplement your collection with some- sented here may come as a surprise to cade, so why not own them all? Ei- thing from his early years with Co- the unfortunate listener who knows only ther save up your money and pur- lumbia Records and his later years on the Nat King Cole of “Ramblin’ Rose,” chase this 21-CD boxed set or buy the Reprise label. Try to find the four- “Those Lazy, Hazy, Crazy Days of the CDs individually, as I have over disc, 97-track “Best of Columbia Summer” and “Cat Ballou.” the last decade or so. Years 1943-52,” released in 1998, and Among the most notable selec- This 1998 EMI British import go with either 1990’s, four-disc “The tions here are “Sweet Georgia Brown,” gets the nod for its purportedly supe- Reprise Collection” or “The Very “Honeysuckle Rose,” “How High the rior sound over the individual domes- Best of Frank Sinatra,” an excellent Moon,” “Straighten Up and Fly Right,” tic re-masters that were issued in the double-disc, 40-track overview of the “It’s Only a Paper Moon,” “Sweet late 1990s and early 2000s. The box Reprise years released by Warner Lorraine,” “Frim Fram Sauce,” “Route contains each of the original LPs pack- Bros. in 1997. Happy listening! 66,” “Meet Me at No Special Place,” aged as a separate CD, with an addi- “When I Take My Sugar to Tea,” “Too tional disc compiling bonus tracks en- Marvelous for Words,” and “For all We titled “The Rare Sinatra.” Know.” The mammoth 272-track collec- Cole’s satiny voice, impeccable pi- tion is also outrageously expensive, ano playing and warm delivery require upwards of $600. Proponents claim no strings, horns or other production that Sinatra’s voice is brighter, more “values,” which often weakened his alive, here than on the U.S. versions, later recordings. That is what makes but these esoteric arguments are sub- these trio sides so important and so su- jective and fail to justify the cost, un- premely listenable. By the way, we less you happen to be independently must pay our respects to the other play- wealthy. ers that make these recordings so time- For those of us who have to less: Oscar Moore and Irving Ashby al- work for a living—and who have other ternating on guitars, and Joe Comfort music on our wish list—the way to Sinatra’s Capitol recordings and Johnny Miller alternating on bass. go is to acquire the U.S. Capitol reis-

Page 28 Berman Music Foundation Jazz

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

From the Archives Jerry Hahn returns for Jazz in June performance File Photo

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Make check payable to Berman Music Foundation at: Berman Music Foundation Skylight Gallery The Burkholder Project 719 P Street The Berman Music Foundation brought guitarist Jerry Lincoln, NE 68508 Hahn to Lincoln for workshops and a performance at P.O. Pears in February 1995. He returns June 29 for a Jazz in Thanks for supporting jazz! June concert also featurinig pianist Joe Cartwright.