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Volume 40 • Issue 3 March 2012 Journal of the Society Dedicated to the performance, promotion and preservation of jazz.

During a Lindy Hop workshop weekend in November, 2011, Gordon Webster and band recorded a live CD at the Harro East Ballroom in Rochester, New York. Photo by Lynn Redmile. 2012 Pee Wee Russell Memorial Stomp SUNDAY, MARCH 4 Birchwood Manor LAST CALL! Gordon Webster: see ad page 7 Jazz and Dance Man Pianist and bandleader Gordon Webster, moving on to Houston, Ottawa and 2001, and in short order, he’s become who hails from Ottawa, Canada, calls Barcelona. After which, why not travel to one of the most popular, sought-after New Jersey home these days. At least on the other side of the world and musicians by the burgeoning and global those rare days when he actually is at barnstorm Australia for a few weeks? swing dance world. Swing dance scene home. A look at his Web site’s tour dates photographer Lynn Redmile caught up for the next few months finds him flitting Born into a musical family, Gordon took with Gordon at a recent weekend in from performances in Portugal to up the piano at age four. After studying Rochester, New York and shares her Poughkeepsie, to Orlando and Tampa, jazz piano at the University of Toronto he encounter in this month’s issue of with a quick stop in Whippany before became obsessed with the Lindy Hop in Jersey Jazz. Story and more photos begin on page 26. New JerseyJazzSociety

in this issue: NEW JERSEY JAZZ SOCIETY Prez Sez ...... 2 Bulletin Board ...... 2 NJJS Calendar ...... 3 Book Winner ...... 4 Jazz Trivia ...... 4 Prez Sez Editor’s Pick/Deadlines/NJJS Info ...... 6 January Jazz Social: Jim Fryer...... 45 By Frank Mulvaney President, NJJS Crow’s Nest ...... 46 New/Renewed Members ...... 46 Change of Address/Support NJJS/Volunteer/JOIN NJJS ...... 47 y, oh my, is this a busy time of the year about the music as I am. I get out to at least 100 M for the NJ Jazz Society! We’ve been nailing gigs a year and most of them cost me $15 or less. STORIES Gordon Webster ...... cover down all the details for the Pee Wee Russell Many of the college jazz events that I cover don’t in the Sky...... 8 Memorial Stomp (March 4), identifying our even have an admission charge. Most NJ bar and Clemente in DC...... 14 annual scholarship recipients, filling out the club venues don’t have cover charges and I Les Paul Exhibit in Mahwah ...... 14 Noteworthy ...... 16 line-up for Jazzfest (June 16) and arranging usually just buy two beers. Pizzarelli/Leonhart Salute Bunch ...... 17 for guests for our Sunday Socials at Shanghai Jazz Journeys ...... 17 Jazz. I hope you don’t wait until the last minute I’m always running into people who ask me how Talking Jazz: ...... 18 they can find out about where to find live jazz. 2012 NEA Jazz Masters ...... 29 to get your tickets for The Stomp. We are almost guaranteed a sellout. Of course there are always ads and notices in this REVIEWS magazine. We have a terrific events page on our Piano Cubano at NJPAC ...... 31 ■ Ace trombonist/trumpeter Jim Fryer along Other Views ...... 32 website www.njjs.org. There’s a listing in the College Jazz...... 35 with pianist Gordon Webster did a marvelous Star-Ledger Ticket every Friday and you can Goodman Tribute in Bridgewater ...... 37 program for us at our January Jazz Social.I’m sign up for Andy McDonough’s weekly e-mail list Caught in the Act: sure many of you are familiar with Jim from the Makin’ Whoopee/Our Sinatra ...... 38 from at www.njjazzlis.com. 90th birthday...... 39 many times he has performed in bands at our MSM Salutes Kenton ...... 41 events and the Bickford Theatre programs. I am So where are the best places that regularly feature Gregory Porter at Bethany ...... 42 very pleased to tell you that on Sunday, March 18 live jazz in NJ? Here are some of my favorites in Porgy and Bess ...... 44 our guest will be Sherrie Maricle, PhD, who will no particular order: EVENTS do a jazz drumming-type master class. Sherrie, ’Round Jersey: Morris, Ocean ...... 48 • Shanghai Jazz in Madison — frequently no Institute of Jazz Studies/ the leader of the DIVA Big Band, 5 Play and the cover during the week. Cover depends on artist, Jazz from Archives ...... 49 DIVA Trio, is considered to be one of the finest Somewhere There’s Music ...... 50 good food. The Name Dropper ...... 51 drummers in the business. You’ll learn things you didn’t know about the role of the drummer in • Cecil’s Jazz Club in West Orange — No cover ADVERTISERS Jazzguy Ensemble Workshop ...... 4 different types of ensembles, the techniques for Tuesday’s jam, small cover Monday big WBGO ...... 5 employed for different rhythms and what made band, usually $15 at other times. (Sadly, end of Pee Wee Russell Memorial Stomp ...... 7 the famous drummers so great. February is the last opportunity to enjoy the Shanghai Jazz ...... 9 vibe at Cecil’s. See page xx.) William Paterson University ...... 11 ■ My wife Kathy and I get out to a lot of live jazz Jazzfest at Sea ...... 13 Jazzdagen ...... 15 in one form or another. Of course I do some solo • ’s Jazz Club in Montclair — usually a Marlene VerPlanck ...... 17 hanging out because she is not quite as insatiable $15 cover, more or less depending on artist. ...... 19 Hibiscus...... 23 Jim Eigo Jazz Promo ...... 28 John Nobile SummerSwing Orchestra . . 28 Stay tuned to www.njjs.org WBGO PhotoBlog ...... 31 Riverboat Swing ...... 31 LauRio Jazz ...... 32 NJJS Bulletin Board Swingadelic...... 33 Sandy Sasso ...... 33 Jane Stuart ...... 34 Member Discount Claim your member privilege! Get free admission Harlem Jazz Adventures ...... 35 to NJJS socials, discounts to music events, discounts from partners! George Gee Swing Orchestra ...... 36 SOPAC ...... 36 NJJS Members Discounts Hibiscus offers NJJS members a discount of 10% off their check. Goodman Tribute Bridgewater ...... 37 See ad page xx. The Berrie Center at Ramapo College offers NJJS members 5% off event tickets. Full Count Big Band ...... 38 FREE Film Series…Now on THURSDAY nights at 7 PM at Library of the Chathams. See calendar page 3 Arbors Harry Allen Monday Nights. . . . . 39 for details. Best of all? Free, free, free…invite your friends. Shelly Productions ...... 40 The Theatre at RVCC...... 43 FREE Jazz Socials…ongoing. Join us for music and mingling. Free for members, $10 non-members CTS Images ...... 47 (applicable to membership) with just a $10 venue minimum. Watch calendar page 3 for upcoming dates and details. Princeton Record Exchange ...... 52 Beyond the schmooze, there are some serious musical prizes raffled off at our socials!!

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Tell them you saw it in Jersey Jazz!

• The Bickford Theatre in Morristown. times a week, no cover, good food. Octet (a band of all-stars) at the Puffin Cultural Arts Center in Teaneck. It would • The Watchung Arts Center in Watchung. • The Glen Rock Inn — Thursday nights not surprise me if the CD became Grammy- only, dinner expected, good food. • Crossroads in Garwood — nominated. The next gig was for 2012 great Tuesday jam, no cover. • The Universities: William Paterson, Grammy-nominated vocalist Roseanna • Skipper’s Plane Street Pub in Newark — Rutgers, New Jersey City, Rowan, Princeton Vitro at the New Brunswick Hyatt. She is jazz three times a week, good food a and Montclair State — beautiful and going up against Karrin Allyson, nd no cover. comfortable theaters and convenient free and Tierney Sutton. The next day it was parking. Jon DiFiore’s Quintet CD release at Makeda • Hibiscus at Morristown Best Western — in New Brunswick including big-time The two Newark establishments are in the jazz three times a week, dinner expected, players Rich Perry and Joe Magnarelli. Two good food. university district, which is being gentrified of the musicians were past NJJS scholarship and is as safe as downtown Morristown, • The Priory Jazz Club in Newark — recipients. And finally there was the concert or Westfield. The Hyatt Hotel is the Fridays only, no cover, minimum food of fabulous vocalist Denise King at or beverage purchase. best deal — beautiful, spacious and Centenary College with her sextet. comfortable with garage parking. • Makeda Restaurant in New Brunswick — There may be more great jazz to hear in no cover, interesting ethnic cuisine. I’d like to share with you the four recent Jersey than there has been in a long time. fantastic jazz events that I experienced in the More and more venues are popping up. • New Brunswick Hyatt Hotel — span of just eight days that cost me as little My advice to you is to forget about HBO, once a month, no cover, good food. as a grand total of $35. The first event was get out of the house and go. There is • Salt Creek Grille in Princeton — jazz three the CD release for drummer Tim Horner’s nothing more exciting that live music. JJ

Jersey Jazz magazine seeks your help to cover jazz in Jersey as comprehensively as possible. Please help us expand our reach to all corners of the musical Garden State. Consider submitting a story or even a brief paragraph when you visit any venue featuring jazz. If you can include a high-res photo, even better. We’ll happily credit your work when we print it and you’ll have the satisfaction of spreading the jazz message and fulfilling your creative impulses! JJ for updates and details.

Thursday Feb 23 Sunday March 4 Sunday Mar 18 Thursday Mar 22 Thursday April 26 FREE FILM PEE WEE RUSSELL JAZZ SOCIAL FREE FILM FREE FILM — TBA : MEMORIAL STOMP Sherry Maricle Solo Flight: Sunday May 6 The Legendary George Gee, Shanghai Jazz The Genius of CO-PRODUCED First Lady of Song Warren Vaché, 24 Main St, Madison Charlie Christian, CONCERT Library of the Emily Asher, 3–5:30 PM plus : Jazz Chathams Mona’s Hot Four at the Smithsonian & His Nighthawks 214 Main Street Birchwood Manor Library of the Chathams Mayo Performing Chatham 7 PM Whippany 214 Main Street Arts Center noon – 5 PM NJJS Morristown see ad page 7 Calendar Chatham 7 PM

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From the Desk of Jazz Trivia Chickie the Jazz Dog By O. Howie Ponder Chickie the Jazz Dog is NONAGENARIANS pleased to announce Previously Howie has asked about musicians who would have celebrated their Centennial — had the Grim Reaper not claimed them first. This month, on a that the winner of brighter note, we will consider “youngsters” who will “only” be 90 this year. The good news is they are still among us (at press time, at least) and January’s “Win in some cases, actively performing. This Book” 1. This saxophonist came to 5. It is hard to find a big band that prominence with ’s band, this trombonist hasn’t played or contest is 1953-64. Besides his mastery of recorded with, from 1940 on. He tenor and alto saxes, he is spent over 25 years in Broadway pit NJJS considered one of the first modern orchestras. He received the Pee Wee jazz flutists. He was inducted into the Stomp Musician award in 2008 and member American Jazz Hall of Fame in 2001 was inducted into the American Jazz and named an NEA Jazz Master in Hall of Fame in 2009. In his spare Cindy 2007. time he is also an accomplished 2. After a short, unhappy stay with photographer. Gordon of ’s trumpet section, he played with before 6. This musician’s primary Princeton, leading a hot U.S. Navy band in WWII. instrument is the guitar, but he also He led one of the few popular post- played violin and trumpet well NJ, who received a copy of Harlem Jazz war big bands with a combination of enough for WWII military bands and the Miller sound and novelties such later, NBC staff assignments. His Adventures: A European Jazz Baron’s as “The Bunny Hop” and “Hokey recording with of Pokey.” “Moonlight in Vermont” was one of Memoir, 1934 – 1969. the two best jazz records of 1952, 3. An “all purpose” trumpeter, he might have pursued a career as a according to DownBeat magazine. Matching Gifts to NJJS classical musician had his race not 7. This singer was a child radio star been a factor at the time. He played in her native Oklahoma. As a Corporate matching gifts with the top big bands, including teenager, she was picked by Glenn really add up! Please check with Jersey Jazz is an NJCSPJ Count Basie’s, as well as a long Miller to briefly substitute for Marion your employer to see if the company “Excellence in Journalism” tenure on the ABC staff, Broadway Hutton. She also sang with bands Award-Winning Publication offers matches of dues and donations to pit bands and some classical led by Bob Crosby, Wingy Manone, orchestras. Alec Wilder wrote NJJS. We are an eligible 501(c)(3) Charlie Barnet and . Part “Sonata for Trumpet and Piano“ in Iroquois Indian, she was said by Billie institution. Funds sustain our his honor. He received the Musician Holiday to be “the only white woman scholarships and musical programs. Award at the 1996 Pee Wee Russell who could sing the .” However, Memorial Stomp. For more information, contact she is better remembered for her NJJS Treasurer Mike Katz at 4. Originally from Laurel, Mississippi, hits “The Rock and Roll Waltz,” “Side [email protected] or 908-273-7827. this guitarist began his career playing by Side” and “Wheel of Fortune.” country and Dixieland music. After moving to New York, he found fame 8. Calling this clarinetist a Benny playing in the band on Dave Goodman admirer is a major Garroway’s Today TV show. He understatement. He has made his composed music for films and long career playing in groups all television in New York and Los around . He was technical Jazz Ensemble advisor to the movie The Benny Angeles and has recorded with , , Ben Goodman Story and taught Steve Workshop Webster, as well as Allen how to play the clarinet for the Andre Previn and Kiri Te Kanawa. feature role. Free and relaxed. Northwest NJ. Jam for fun, chops and meet jazz cats. Music and recording stuff here. (answers on page 46) contact: Bob 973-209-7716 [email protected] Howie also welcomes suggestions for future questions — or comments from readers. Contact him at [email protected].

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The Editor’s Pick The Journal By Jersey Jazz Editor of the New Jersey Jazz Society Volume 40 • Issue 3 USPS® 00-668 Cecil’s Jazz Club Closes Its Doors Jersey Jazz (ISSN 07405928) is published monthly eleven times per year with a combined July/August issue for members of The New Jersey Jazz Society, 382 Springfield Ave., Suite 217, Summit NJ 07901. Membership fee is $40/year. Periodical postage n February 3 an e-mail paid at West Caldwell, NJ. Postmaster please Ofrom Cecil Brooks III send address changes to 382 Springfield Ave. brought the sudden Suite 217, Summit NJ 07901. All material in Jersey Jazz, except where another announcement that the copyright holder is explicitly acknowledged, is West Orange jazz club the copyright ©New Jersey Jazz Society 2012. All rights reserved. Use of this material is strictly drummer has run for the past prohibited without the written consent of the NJJS. nine years would close its Tony Mottola Editor 27 Upper Mountain Ave., Montclair, NJ 07042 doors on February 26. “It’s e-mail: [email protected] been a great ride, lots of work Linda Lobdell Art Director/Co-Editor and, of course, a lot of fun. 352 Highland Ave., Newark, NJ 07104 201-306-2769 But after nine years of six or e-mail: [email protected] seven days a week, 12 hours a Fradley Garner International Editor day as a club owner, my heart e-mail: [email protected] Dan Morgenstern Contributing Editor tells me it’s time to get back Photo by Tony Mottola e-mail: [email protected] to the music, as a player and Mitchell Seidel Contributing Photo Editor . That’s where I have to go, and that’s what I have to do now.” e-mail: [email protected] John Maimone Entertainment Contributor Cecil’s Jazz Club opened on July 4, 2004 to no small amount of hoopla, with comedian Bill 908-753-6722 | e-mail: [email protected] Cosby in the house that first night. Over time the funky orange-walled room, with its super Fred McIntosh Entertainment Contributor acoustics and friendly vibe (not to mention tasty blackened catfish), became a favored haunt 201-784-2182 | e-mail: [email protected] of the flourishing Essex County jazz community, that also pulled in national acts touring in NEW JERSEY JAZZ SOCIETY the area. OFFICERS 2012 Frank Mulvaney President “We’re not looking at this as a negative,” Brooks told The Star-Ledger. “It’s been almost a 219 Eton Place, Westfield, NJ 07090 decade and so many great things have happened here. Every great musician on the planet 908-233-4824 | e-mail: [email protected] Andrea Tyson Executive Vice President has played here.”Yes indeed, nine years is a good long run, and we’ll just add our “Three 732-356-3626 JJ cheers for Cecil Brooks III” — Hip, Hip, Hooray. It was grand while it lasted. Mike Katz Treasurer 908-273-7827 Caryl Anne McBride Vice President, Membership AMOS KAUNE At press time came the news that the legendary New 973-366-8818 | e-mail: [email protected] Sheila Lenga Vice President, Publicity Jersey jazz club owner Amos Kaune died on February 4. First at the Tap 973-366-88188 | e-mail: [email protected] Room in Clifton, and later at Gulliver’s in West Paterson and the club’s Al Parmet Recording Secretary second incarnation in Lincoln Park, Amos presented many of the music’s 908-522-1163 top players at a time when his clubs were near the only game in town Jack Stine President Emeritus 908-658-3515 for live jazz. He was a longtime member of the NJJS, an advisor to the Laura Hull Immediate Past President Board of Directors, and was named “Non-” at the 973-229-4275 2007 Pee Wee Russell Memorial Stomp. A full obituary will appear in Joe Lang Past President the next issue. 973-635-2761 DIRECTORS Kate Casano, Carolyn Clemente, Jersey Jazz welcomes your comments on any article or editorial. Cynthia Feketie, Sheilia Lenga, Comments? Stan Myers, Larissa Rozenfeld, Stewart Schiffer, Send e-mail to [email protected] or mail to the Editor (see masthead Mitchell Seidel, Jack Sinkway, Frank Sole, this page for address). Include your name and geographical location. Marcia Steinberg, Elliott Tyson, Jackie Wetcher, Linda Lobdell (Ex-officio), Tony Mottola (Ex-officio) ADVISORS Advertising Rates Quarter page: $50; Half page $75; Full page $100. Biz card size $25. 10% discount on repeat Schaen Fox, Amos Kaune, Bruce Lundvall, Bob Porter full-page ads. To place an ad, please send payment at www.PayPal.com using our code: [email protected], or mail a Marketing/Public Relations Consultant: Don Jay Smith check payable to NJJS to New Jersey Jazz Society, 382 Springfield Ave., Suite 217, Summit NJ 07901; please indicate Website: www.njjs.org size and issue. Contact [email protected] or 201-306-2769 for technical information and to submit ads. e-mail: [email protected] Hotline: 1-800-303-NJJS (1-800-303-6557) NJJS Deadlines The deadline for submission of material for upcoming issues is as follows: April: February 26 • May: March 26 To join the NJJS and begin receiving this magazine, go to “JOIN NJJS” (see table of contents) or NOTE: EARLY SUBMISSIONS ARE GREATLY APPRECIATED. visit www.njjs.org for complete information.

6 ______March 2012 Last call!

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Big Band in the Sky By Sanford Josephson

■ John Levy, 99, bassist, personal manager, April 11, 1912, New Orleans – January 20, 2012, Altadena, CA. Guitarist only met John Levy a few times, while playing with one of Levy’s clients, the late vocalist Joe Williams. Recalls Alden, “I didn’t really get to know him that well, but I do remember being thrilled that it was the same John Levy who played bass on many of ’s records.” It was Levy’s ability as a bassist that made him such a great talent manager, in the opinion of tenor saxophonist Jimmy Heath. “He was a very talented musician,” Heath told Jersey Jazz, “so when he became a manager, he had that insight from being a performer, and it affected the way he treated his artists. He took care of them. He managed so many people I liked, such as Joe Williams, Nancy Wilson and . John Levy addresses the audience during a panel discussion at the JazzTimes Magazine Convention They were enamored of him.” in , October 1988. At right is record producer Orrin Keepnews. Photo by Mitchell Seidel. While a member of the Quintet in the late 1940s, Levy began to take over some of the group’s business One of the musicians Levy managed, pianist His wife and business partner Devra Hall responsibilities. In 1951, he decided to form Norman Simmons, told Jersey Jazz that Levy Levy had been planning a 100th birthday his own talent management company, John “had quietly been in support of my musical party in April. In preparation for that event, Levy Enterprises, and Shearing became his career since I first gained a little recognition several testimonials were posted on his first client. Over the years, he managed in Chicago. I am among the many whose website, www.lushlife.com. Among them 85 different artists including vocalist name did not become prominent on his were tributes from the pianists, Herbie , pianist and roster. Nevertheless, until his last days, he Hancock and . Thanking Levy trumpeter . Writing in the maintained confidence in my talents, and for his “lifelong support and appreciation Los Angeles Times, January 24, 2012, Don we maintained a harmonious contact.” of culture, especially jazz,” Hancock added Heckman pointed out that Levy “took his Simmons expressed a special thank you that he also knew him as a bass player “on place in the business area of jazz when to Shearing, who he says, “aided John in several landmark recordings before you got segregation still existed. Jazz musicians, the surmounting the color barrier. Before John, a desk job.” Pointing out that those managed majority of them African-American, were so-called managers sat behind their desks by Levy were “all cornerstones in the confronted by demeaning travel and lodging and did bookings but did no managing of development of great artistry and owe conditions and often deprived of such artists’ affairs.” much to your managerial talent and love for potential income sources as their publishing Levy’s family had moved from New Orleans the music,” Hancock added that “George rights. As their representative, Levy was to Chicago when he was five years old. He Shearing was my very first influence. It was determined to do everything he could to became a bassist in his teens, mentored by his music, which often included you, that further the professional goals and improve , and eventually landed a job first attracted my attention in jazz. My first the lives of his clients.” In a 2006 interview with a trio led by the violinist Stuff Smith. pieces that I tried to copy were from his in Newsday, Levy said, “The racial problems He moved to New York with Smith’s trio, recordings of ‘I’ll Remember April,’‘Lullaby of the times, for many musicians, came which became a fixture at the Onyx Club of Birdland,’‘East of the Sun’ and many out in their frustrations but not in their on 52nd Street. In 2006, he was named a others. That was my starting point at the age appearance professionally. They had to National Endowment for the Arts Jazz of 14 in 1954 in Chicago while at Hyde Park perform at the top of their game…My Master. He was inducted into the High School. I was able to tell this story main objective was to do as much as I International Jazz Hall of Fame in 1997 to George many years ago, and he was could to promote those artists, to enhance and also received a Lifetime Achievement pleasantly surprised…John, you and I their careers as much as I could.” Award from the Los Angeles Jazz Society. are connected in many ways.” continued on page 10

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BIG BAND IN THE SKY palpable in all of James’s ballad singing, including her version of continued from page 8 ‘At Last.’ It’s in the way Etta phrases, hesitating behind or Jamal described Levy as “one of jumping ahead of the beat, how she the foremost ‘supportive bassists,’ wrings lyrics for layers of meaning which is hard to come by these and employs all the qualities of her days. You and Stuff and the entire voice despite a fairly limited octave camaraderie that graced 52nd range for nuance.” James was born Street were truly inspiring. Those to a 14-year-old mother, Dorothy were history making days that Hawkins, and raised by foster we cannot forget! Additionally, parents. According to David Ritz, we made a lot of history together who collaborated with James on after George persuaded you to her 1995 autobiography, Rage to manage him and, following that Survive (De Capo Press), her great diva Dakota [Staton], I mother “didn’t want her to sing joined the office.” raunchy rhythm and blues but wanted her to sing jazz like Ella In addition to his wife, Levy is Fitzgerald and Billie Holiday and survived by his son Michael Levy Sarah Vaughan.” and daughter Pamela McRae of Youngstown, Ohio; daughters As a teenager, James was discovered Samara Levy of San Diego and by rhythm and blues musician and Jole Levy of ; Etta James, Monterey Jazz Festival 1975. promoter Johnny Otis (see separate 14 grandchildren and several Photo ©Ray Avery/CTSIMAGES obituary on Otis), who arranged great-grandchildren. for her to record “Roll With Me Henry,” which featured James’s own lyrics to “Work With Me ■ Etta James, 73, vocalist, January 25, 1938, Los Angeles – Annie,” a record by Hank Ballard and the Midnighters. According to January 20, 2012, Riverside, CA. In the late 1950s, pianist Ramsey The Times’s Keepnews, “When some disc jockeys complained that Lewis and Etta James were both on the Chess-Checker-Cadet record the title (‘Roll With Me Henry’) was too suggestive, it was changed labels. Writing on his Facebook page, Lewis says he never got to to ‘The Wallflower,’ although the record itself was not.”“The know James personally, but, “we did meet from time to time at the Wallflower” became Number 2 on the rhythm and blues charts in studio/offices. She was a natural singer with a big beautiful voice. 1954, although another version, “Dance With Me Henry” became a It was impossible to be within earshot of her singing and not be Number 1 pop hit for Georgia Gibbs in 1955. deeply moved. She will be sorely missed.” In 1960, James was signed by the Chess label, remaining with that Although known mostly as a rhythm and blues singer, rather than company for more than 10 years. In the mid ’70s she struggled a jazz singer, James’s biggest hit, “At Last,” was written in 1941 and with a drug habit, eventually opting for rehab in order to cure her initially recorded by the . And one of her cocaine addiction. Her career after that consisted of touring and four Grammy Awards was for a 1995 , Mystery Lady: Songs recording for a variety of labels. She was once again in the public of Billie Holiday. Peter Keepnews, writing in eye in 2008 and 2009 when Beyonce Knowles portrayed her in the (January 21, 2012) acknowledged that James “was not easy to movie, Cadillac Records, recorded “At Last” and performed it at pigeonhole. She is most often referred to as a rhythm and blues President ’s inaugural ball. James reportedly said singer, and that is how she made her name in the 1950s with records she wished she had been invited to sing it instead. like ‘Good Rockin’ Daddy.’ She is in both the Rock and Roll Hall of Fame and the Blues Hall of Fame.” In a statement on her website, Beyonce called James, “one of the greatest vocalists of our time…Playing Etta James taught me so Randy Lewis, writing in the Los Angeles Times (also on January 21) much about myself, and singing her music inspired me to be a called her “the quintessential R&B diva,” but also pointed out that stronger artist.” Bonnie Raitt, in the Los Angeles Times, said, “I don’t she “was equally at home singing unadulterated blues, searing R&B know that there’s ever been a singer that knocked me out as much as and sophisticated jazz, the latter receiving special attention in her Etta. The mark she made was setting the bar so high for the depths recordings over the last decade. Her dusky voice, which could stretch someone can sing from.”And Aretha Franklin posted this statement from a sultry whisper to an aching roar, influenced generations of on her Facebook page: “Etta James was one of the great soul singers singers who came after, from Tina Turner to Bonnie Raitt to of our generation. An American original!” Christina Aguilera.” In recent years, she had been in declining health, suffering from Howard Mandel, in ArtsJournal.com, expressed the opinion that dementia and kidney failure. Her death was caused by complications “Etta James wanted to be Billie Holiday. Holiday’s influence is from leukemia. She is survived by her husband of 42 years, Artis continued on page 12

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BIG BAND IN THE SKY Bandleader Johnny Otis performs with his traveling revue, “The Johnny Otis Show,” continued from page 10 at the Kool Jazz Festival, Saratoga Springs, NY in 1985. Photo by Mitchell Seidel. Mills; two sons, Donto and Sametto James; and four grandchildren. Jacquet. His most popular recording, as a bandleader and vocalist, was “Willie ■ Johnny Otis, 90, vocalist, and the Hand Jive,” a Top 10 hit in 1958. songwriter, drummer, bandleader, Otis had several other R&B hits in the disc jockey, December 28, 1921, ’50s and also worked as a disc jockey on Vallejo, CA – January 17, 2012, Los Los Angeles radio for more than 50 years Angeles. It’s ironic that Otis died only beginning in the 1950s. He also had his three days before the death of perhaps own LA television show from his greatest discovery, the singer Etta 1954–1961. James (see separate obituary on James). While he continued to make music Although often called the “Godfather” through the end of his life, he became of rhythm and blues, Otis, according to active in politics and the civil rights Ihsan Taylor, writing in The New York movement in the ’60s. In the mid-’70s, Times (January 19, 2012) “combined the he was ordained as a minister and high musical standards of big band jazz started a nondenominational church with the raw urgency of gospel music in Los Angeles. In the early ’90s, he and the blues.” Howard Mandel, became an organic farmer. writing about both Otis and James in ArtsJournal.com on January 20, pointed He is survived by his wife Phyllis; his out that Otis “had six years of big band son John Jr., a guitarist known as jazz experience before he convened his Shuggie; his son Nick, a drummer; own 16-piece ensemble in 1945. The two daughters, Janice and Laura distance between mainstream jazz (if Johnson; nine grandchildren; not that new thing, ‘’) and pop music for dancing was quite eight great-grandchildren; and a great-great granddaughter. close then. , , , Billy ■ Jimmy Castor, 71, singer, saxophonist, percussionist, Eckstine, Bob Wills, Ella Fitzgerald, Big Joe Turner and Louis Jordan bandleader, January 23, 1940, New York City – January 16, 2012, were among the genuinely popular stars of jazz. Otis could hang Henderson, NV. Castor’s 1966 hit, “Hey Leroy, Your Mama’s Callin’ with them; he drummed with on ‘Flyin’ Home’ as You,” helped broaden the appeal of the Latin soul sound that grew the climax of a 1950 broadcast…” The first hit recorded by the band out of the combination of Latin jazz and rhythm and blues he formed in 1945 was “Harlem Nocturne,” still a favorite of many developed in Harlem on the heels of recordings by Latin jazz musicians today. bandleaders Joe and Ray Barretto. But Castor’s biggest hit Otis, who was white, was raised in Berkeley, CA, where his father was “Troglodyte (Cave Man),” which reached Number 6 on the operated a grocery store in a largely black neighborhood. “When I Billboard pop charts in 1972. got near teen age,” he told the San Diego Union-Tribune in 1991, “I In the 1980s, he became one of the first musicians to sue over was so happy with my friends and the African-American culture sampling, where a fragment of music from one recording was that I couldn’t imagine not being part of it.” In 1994, he told the featured on a later recording by someone else. In 1986, he took legal San Jose Mercury News, “Genetically, I’m pure Greek. Psychologically, action against the Beastie Boys for the use of his “The Return of environmentally, culturally, by choice, I’m a member of the black Leroy (Part One)” in their song, “Hold It! Hit It!” According to his community.”According to The Times’s Taylor, Otis “played a key role son, Jimmy Castor, Jr., the case was settled out of court, and Castor in creating a new sound for a new audience of young urban blacks,” received a percentage of the 7 million copies sold. It is believed he a sound that in the early ’50s “would form the foundation of rock ’n eventually derived more income from the sampling of his music roll.” In addition to James, he helped launch the careers of such than from the sales of his own records. His song, “It’s Just Begun,” singers as Jackie Wilson, Esther Phillips and Big Mama Thornton. was sampled in the movie, Flashdance, and other songs were As a musician, Otis played vibraphone and piano in addition to sampled on recordings by and Mos Def. drums and can be heard on several R&B records as well as on jazz Survivors include his wife, Sandi Almedia; four children; records by such musicians as saxophonists and Illinois and eight grandchildren.JJ .

Sanford Josephson is the author of Jazz Notes: Interviews Across the Generations (Praeger/ABC-Clio). He has written extensively about jazz musicians in a variety of publications ranging from the New York Daily News to American Way magazine and is currently director of marketing and public relations for the Matheny Medical and Educational Center in Peapack, NJ.

12 ______March 2012 Danny Coots – drums Jeff Phillips – piano

Amateur jam Don’t miss your Sessions chance to jam with ProJam Sessions other guests!

More than forty hours of opportunity for amateur musicians to get up on stage and jam both with our pros and in your own “JazzFest Jammer” sessions, in addition to our regular schedule. If you would appreciate instruction and critique during the sessions – feel free to ask! For those who have always wanted to play your instrument but felt you weren’t up to snuff, this is a great opportunity to brush up as well as perform. Don’t be shy! Bring your ax and join in our amateur jam sessions. Sign up ahead of time to guarantee your spot on stage or just show up. Where else can you find this much music and mischief at the same time?

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Mr. Clemente Goes to Washington Pianist/Coast Guard Auxiliarist Rio Clemente’s Road to the White House By Vera Reed, US Coast GuardAuxiliary

ew Jersey pianist Rio Clemente’s fellow musician, Amy Otey, saw the video Luthy passed out Rio’s Patriotic Songs CD to Njourney to the White House began and called her contact at the White House, visitors. When military personnel walked 10 years ago. A personal friend, New Jersey Julie Raish. Amy then called Rio to tell him into the room he played their branch songs. Congressman Rodney Frelinghuysen, “if you call this number, there is a chance A Naval officer saluted him as he played and admired Rio’s talents and patriotism and you can play at the White House.” Clemente Rio saluted back without skipping a note! forwarded his personal renditions of laughed, “Even though we know each other He ended his performance with “America patriotic songs to then President George W. 20 years, she never knew of my dream to the Beautiful” and “God Bless America.” Bush. For Rio the thought of playing at the play at the White House.” Two days later, “It was such an honor to represent the White House was “a personal dream for Rio was confirmed and making plans to Coast Guard Auxiliary, something I will me.” Both of Rio’s parents were immigrants, fulfill his longtime dream. never forget. My Flotilla believed in and he felt it to be a great honor that the me and never gave up and I never On Thursday, December 21, son of immigrants would be able to play gave up. Dreams do come true.” Rio and Ali Luthy set out for at the White House. Shortly thereafter, the With a tear in his eye, Rio couldn’t Washington DC. It took them five 9/11 attacks occurred and the dream help thinking about his mom and hours in a rainstorm but nothing seemed out of reach. dad, who have passed away and would keep him from his patriotic JJ In November, Rio had the opportunity to goal. Rio recounted, “It was exciting how proud they would have been. represent the Coast Guard Auxiliary, Flotilla from the moment we left.” Rio, dressed 10-10 Hackensack, NJ and perform at a in his Coast Guard Auxiliary uniform, The U.S. Coast Guard Auxiliary is a Veterans Day celebration at The Inn at played in the East Wing of the White uniformed volunteer component of the Bowman’s Hill in New Hope, PA. “Any House for visitors who had been Coast Guard created by an opportunity I have to perform for the vets, waiting years to see it decorated for Act of Congress in 1939. The Auxiliary, I’m there,” Rio said. This performance was the Christmas season at an invitation- America’s Volunteer Guardians, supports recorded by a friend, Ali Luthy, and it was only event. He played a selection of the Coast Guard in nearly all of the posted on YouTube. A close friend and Christmas and patriotic songs. Ms. service’s missions.

Mahwah Museum Presents Les Paul Exhibit

he Mahwah Museum Society has Visitors will learn essential facts of For additional details about the exhibit Tassembled an ongoing exhibit, Les Paul Les Paul’s life and career. They as well as the schedule of other in Mahwah: A Tribute, a nearly 1,000 will see displays of his inven- activities and details about square foot presentation paying tribute tions and innovations, one of an upcoming raffle, to the legendary musician, inventor, a kind precious guitars made log onto www.mahwah recording artist and performer. The exhibit especially for Les Paul, a museum.org. tells the Les Paul story as it has not been reconstruction of the studio in which he worked, a look at Many people have already told before and features rare and unique how he and Mary performed visited the Mahwah artifacts relocated from his home in the their weekly radio show Museum Society’s website Deerhaven section of town, including a from their home, and to share stories about reconstructed recording studio and a many hands-on video Les Paul. The Museum variety of unusual and valuable guitars. and audio displays. invites you to tell your The museum is open Wednesday, Saturday Visitors will also have Les Paul story. Visit and Sunday, 1:00 – 5:00 PM. The Mahwah access to a performance www.mahwah Museum is located at 201 Franklin space where, at certain museum.org, and Turnpike, Mahwah, NJ. Admission to the times, they can play one click on SHARE exhibit is $5 per person. of Les’s guitars. LES PAUL STORIES. JJ

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Noteworthy Fradley Garner International Editor Jersey Jazz EDDIE DANIELS, ‘MY SUCCESSOR’ — BENNY GOODMAN … SOUND JUDGMENT: RUDY VAN GELDER GETS A ‘SPECIAL’ GRAMMY … CHARLIE MINGUS LIVES ON IN NOGALES AND WASHINGTON … MARIAN MCPARTLAND MOVES ASIDE (NOT OUT) FOR JON WEBER … AND NOW, ON PIANO ROLL, THE REAL SCOTT JOPLIN

WHEN BENNY GOODMAN commissioned a clarinet concerto became a prolific composer, angry bandleader, driving bassist and from back in 1947, he referred to fellow-clarinetist passionate civil rights advocate. After Mingus died, at 56, in Mexico, Eddie Daniels as “my successor.”And after his widow, Sue Mingus, sold his possessions Daniels performed Leonard Bernstein’s to the Library of Congress. The institution “Prelude Fugue and Riffs,” the composer describes it as “the most important wrote to a mutual New York friend about acquisition of a manuscript collection Daniels’ album Breakthough: “Dear Ron, relating to jazz in the Library’s history.” Your friend Eddie Daniels combines There are hundreds of original music elegance and virtuosity in a way that makes manuscripts, arranger’s scores and me remember Artur Rubinstein. He is a instrumental parts, tape recordings, thoroughly well-bred demon. Lenny.” On his photographs, literary manuscripts and other first visit to England in many years, Daniels memorabilia. Hopefully, the memorial will performed the Copland in February, with be in place before the fourth Charles the London Symphony Orchestra. “We’re Mingus Hometown Jazz Festival, April talking about a performance of authority, 20–22, on both sides of the U.S.-Mexico legitimacy… And — yes, still, at the age of border (Nogales, Arizona, and Nogales, seventy — serious chops,” wrote Senora). The U.S. premiere of Kevin LondonJazz Weekly News in a pre-concert Ellington Mingus’s video tribute to his phone interview with Daniels. An early, still grandfather is set for Saturday, April 21. popular album is a 1973 duo session with E-mail: [email protected] Eddie switching among flute, clarinet and ON , NPR radio’s longest- bass clarinet, and guitarist Bucky Pizzarelli. running (since 1978) cultural program, A Flower For All Seasons, on the Choice label, Eddie Daniels performed Copland’s Clarinet Concerto in London. Photo courtesy of Sebastian Marian McPartland rapped and played with was later reissued on CD as Blue Bossa. Scotney, LondonJazz Weekly News. other jazz musicians, most of them pianists. “ABOUT DAMN TIME!” commented a Last November, the 92-year-old hostess blogger on LondonJazz Weekly News, on the stepped back (not away) from the bench. “Special Merits” Grammy award to 87-year-old sound engineer This year, Piano Jazz Rising Stars, the successor show, is broadcast on Rudy Van Gelder. “He’s only been the best set [of] ears since the ETV, South Carolina Public Radio. Saturdays at 10 PM, Jon Weber, ’50s.” Hailed by many as the greatest recording engineer in jazz an accomplished pianist and composer, sits down with guests on the history, Van Gelder placed musicians, microphones and manned order of pianist Taylor Eigsti, who cited the English rock band controls for almost every recording session on the Blue Note label Coldplay before playing a jazz version of a Coldplay song; guitarist from 1953 to 1967 — embracing many seminal jazz classics. The Julian Lage; alto saxophonist and singer Grace Kelly, and this session tally is in the thousands, and he still freelances at his studios year’s Thelonious Monk Competition winner, pianist Kris Bowers. in Englewood Cliffs, New Jersey. “The signature of a Van Gelder “I’ve learned something valuable from every guest I’ve had,” says recording lies in the rich, natural tone of each instrument and the Weber. “It’s a treat. I get a concert every week.” JJ clearly defined separation between them, ensuring that every sonic detail is audible,” wrote the Hollywood music critic, Steve Huey. “What’s more, Van Gelder had an uncanny knack for capturing WEB HIT-OF-THE-MONTH sonic textures that supported whatever mood the musicians and producers were aiming at.” The sound legend is in Olympian HOW MANY JAZZ PIONEERS left no recordings behind? company: New Orleans composer and bandleader Dave Buddy Bolden and Scott Joplin come to mind. “But wait a minute,” Bartholomew, 91, also received a special Grammy, while the late writes Ken McCarthy, founder of the online JazzOnTheTube, Steve Jobs, 56, was awarded one posthumously, all at a ceremony the “Scott Joplin made piano rolls.” So the jazz site offers, straight “from night before the main event on February 12, in Los Angeles. the hands of the master,” the good old “Maple Leaf Rag.”You’ll find it at: http://www.jazzonthetube.com/page/913.html HOW DO YOU DESIGN a monument to the bigger-than-life ? The City of Nogales, Arizona plans to erect a Thanks to NJJS member Joán McGinnis memorial on the corner of its cemetery to the native son who of Mission Viejo, CA for Web research assistance.

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Bucky Pizzarelli/ Jazz Journeys New Brunswick Jazz Project Cape Bank to Lead “A New York Women in Jazz Jazz @ the Point Festival Once again, in March, in recognition of The Somers Point Jazz Society has Swing Session for Women’s History Month, the New announced the line-up for Cape Bank Jazz Brunswick Jazz Project will present their @ the Point 2012, an annual 4-day jazz ” Women in Jazz series. “Dedicating an entire festival with 10 great groups performing month to showcasing performances with March 8–11 at various venues in Somers East Stroudsburg University | Mar. 25, 3:00 pm female leaders is a good way for us to do Point, New Jersey. A pre-event price of $60 concert to pay tribute to the life and what we can to honor women’s per person is good for the entire four-day Amusic of the late jazz pianist John contributions to jazz,” said Jim Lenihan, one festival. Bunch will take place on Sunday afternoon of the founders of NBJP. This month NBJP Acts include Venissa Santi Quintet, The March 25, 2012 at East Stroudsburg will present, among others, saxophonist Trio, Jimmy Cobb & Cobb s University of as the third Sharel Cassity, trombonist Emily Asher, Mob, Tim Horner Quintet, and Grant presentation in the 2011-12 ESU Jazz organist Akiko Tsuruga, bassist Linda Oh, Stewart Quartet with special guest Hilary Synergy Series. vocalist Tyrha Lindsey and drummer Sylvia Gardner Cuenca leading quartets. Bassist Jay Leonhart was once quoted For tickets and more information call describing John Bunch as “one of the The 10-performance series opens on March 609-927-6677 or visit the Somers Point greatest jazz pianists the instrument has ever 1 at Makeda with trumpet player Tanya Jazz Society online at www.spjazz.org. known.” Guitarist Bucky Pizzarelli said that Darby and her quartet. In performances on For more information on the John was “Benny Goodman’s favorite piano March 21 at the Hyatt Regency and March City of Somers Point, NJ, the oldest player.” These three masters of their 22 at Makeda Ethiopian Restaurant, NBJP settlement in Atlantic County, visit instruments formed the group known as will give a nod to the all female bands, like www.somerspointgov.org or call “New York Swing” and entertained jazz fans The International Sweethearts of Rhythm, 609-927-9088.. JJ around the globe for decades with their formed by women elegance and musicianship. when men wouldn’t This celebration, dubbed “A New York allow them to play. Swing Session for John Bunch,” will present Taking the stage Leonhart and Pizzarelli in performance with those nights will be special guests, saxophonist Harry Allen and an ensemble led by pianist Bill Mays. The event will also bassist and arranger officially welcome the John Bunch special Mimi Jones. The collection to ESU as part of the Al Cohn band will include Memorial Jazz Collection in Kemp Library. tenor saxophonist and vocalist, Camille The concert will be presented in the Cecilia Thurman, pianist S. Cohen Recital Hall in the Fine and Shamie Royston, Performing Arts Center, Normal and drummer Shirazette Marguerite Streets, on the ESU campus. The suggested donation for general admission to Tinnin and vocalist the concert is $10; all students with a Vanessa Perea, current ID will be admitted free. Doors will musicians NBJP has open at 2:45 p.m. worked with throughout the year. The 2011-12 ESU Jazz Synergy Series is presented by the ESU Regional Jazz Please visit NBJP.org Coalition and the Al Cohn Memorial Jazz for complete Collection at ESU’s Kemp Library. schedule. For more information, call (570) 422-3828 For more or visit www.jazzatesu.com. To check on information other upcoming arts events at the contact Mike at University, call the ESU Cultural Events 732.640.0001 or Hotline at (570) 422-3483. JJ Email: [email protected]

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Talking Jazz A Jersey Jazz Interview with Dick Hyman By Schaen Fox ongtime fans of NJJS’s Lsummer Jazzfests surely have fond memories of the many performances by Dick Hyman. He has had such a long and distinguished career in so many areas of the music business that it is hard to imagine an introduction is warranted beyond saying that I was thrilled to have several phone conversations with him last year.

JJ: Please tell us about your project Dick Hyman’s Century of Jazz Piano. DH: Well the Century of Jazz Piano began in the ‘90s as a CD-ROM product for the computer. I recorded on a Yamaha Disklavier piano — that Dick Hyman, Clearwater Beach, Florida. January 2011. Photo by Mitchell Seidel. is to say, a latter-day player piano. These days, it’s called a reproducing piano. The total tunes recorded came to 120 or so pieces, and there was, in addition, a video section we called “Hands on Lessons” on such subjects as Some of the DVD has been posted on YouTube by other people. I’ve let them , , stride, George Shearing, bebop, playing in a rhythm stay there because I consider it good advertising. The new DVD, though, is quite section and all sorts of things. The product reached only a small audience, and a bit better in sound and picture to what you get on YouTube. then the technology began to change, and you couldn’t even play the Century JJ: I read that you were born in NYC and that you moved to of Jazz Piano on newer computers. Mount Vernon when you were about 13. When did you move Around that time, Mat Domber of Arbors Records expressed interest, so we back to the city? changed the whole format. The result was a boxed set of six discs. Five of DH: When I began to go to college at Columbia, I went back and forth. Then, them are conventional audio CDs and the sixth, the lessons, is a DVD. That’s when Julia and I got married in 1948 right after my graduation, we moved to what the Century is now, along with a booklet that explains everything. The New York immediately. I was 21. We’ve been married 63 years. new boxed set actually contains slightly more product than the CD-ROM did because I’ve added some items to it. This version is superior, also, in that you JJ: Then New York was your home until you moved to Florida? actually hear a real piano, not an electronic keyboard, which is the way we had DH: Well, the New York area, the city, then Carle Place, Long Island. Altogether, to go in the original version. What we did was spend a weekend getting the we actually lived longer in New Jersey. We had houses in Tenafly and then in original program to activate a Yamaha Disklavier so that it performed the entire Montclair for many years. When a lot of my colleagues were moving to 120-odd songs. We just let it play all the tunes and recorded it for CD as it , we considered doing that, but ultimately rejected the idea. was doing so. And also, as I said, I played and re-recorded some additional things live, adding Mark Neuenschwander, a fine bassist, to some of them. continued on page 20

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DICK HYMAN continued from page 18 and found the Russian guy. We didn’t want to have Three of us walked to a . We sidled up to each other silently. JJ: I remember that you had a strong I was carrying some LPs under my overcoat and, the park and found as quickly as possible, I transferred them to the association with our early Jazzfests. Russian. He slipped them under his overcoat and Would you tell us about those and about the Russian guy. We immediately walked away. Just like the spy movies! your career in New Jersey? didn’t want to have One time our bus was ready to leave, but we DH: I played many concerts for the New Jersey waited and waited some more and then learned Jazz Society. One I remember was with Soprano a crowd scene. We that the authorities had discovered that there was Summit and it has been issued on Arbors Records. a towel missing from one of the musician’s rooms. Lots of appearances in Waterloo Village — solo, sidled up to each In the Soviet Union that was considered stealing with bands and then I regularly put together what state property. They made a remarkably big deal we called Pianorama — a gang of piano players other silently. I was out of that. along with a couple of soloists on horn. These piano carrying some LPs concerts involved , Art Hodes, Dick JJ: How many years did he have to serve? Wellstood, , Jane Jarvis, Derek under my overcoat DH: Fortunately, it didn’t get that far. Smith, Judy Carmichael, Jay McShann, Dave remembered that he had grabbed a towel to wrap McKenna, and lots of others. Ellis and, as quickly as his trumpet in, and he gave it back. Marsalis was a guest one year. That was in the days when Derek and I were getting together as a team. possible, I transferred JJ: Since we are on things political and We still continue. It is the most lasting piano duo cultural, how often have you played in the I’ve been a part of. Derek and I have two concerts them to the Russian. White House? scheduled for next winter. He slipped them DH: The first time was for a celebration of George The noted conductor Gerard Schwartz, I guess Wein’s 25 years (was that all?) of producing jazz before he was quite as noted, conducted The under his overcoat concerts. Jimmy Carter was President. Among Waterloo Festival Orchestra one year in a program and immediately some other duties, I accompanied Catherine Handy, that included my “Ragtime Fantasy,” along with W. C. Handy’s daughter, who sang “St. Louis Blues.” “An American in Paris,” and “Petrouchka.” It was walked away. Just Her performance had been a high point of a a good performance — still my preferred demo concert George put me in charge of which was a of the piece, though it was recorded on a little like the spy movies! re-creation of a 1928 Carnegie Hall performance cassette player. that Handy had produced.

I was also busy with the New York Jazz Repertory Getting it all together for that concert required a lot Company, an idea of George Wein’s in which we of research, since we started with only a copy of bass, guitar, piano — played and directed) — and presented new versions of recorded jazz classics the original printed program. Eventually, I arranged vocals by . which we were able to stretch out and add new most of it as I imagined it had been done back in solos. Some of these we also performed in JJ: Did you have any problems due to the the ‘20s, and we played the concert in Carnegie Hall Waterloo. We had a good reception to a Carnegie Cold War? in 1981 and once again at the Kennedy Center in Hall concert of the music of . I had Washington. It began with Bobby Short singing some DH: No, on the contrary, it was very pleasant, no pretty politically incorrect oldtime minstrel songs copied Louis’s small band recordings, but arranged Cold War stuff, and I gave many vodka toasts to (but he knew how to present them with tongue in the trumpet parts for three players in harmony. That “music, which brings us together,” although I cheek), and it included my soloing later on in a worked very well. Then, for another concert, we couldn’t swig more then a taste of the stuff. We performance of James P. Johnson’s “Yamakraw,” a expanded it to a big band with five trumpeters. That were there on July 4th and the American Embassy rhapsody for piano and orchestra reminiscent of got the attention of the U.S. State Department, and hosted a nice celebration in Moscow — even, I was Gershwin’s earlier “Rhapsody in Blue.” Back in 1928, they sponsored a tour of the Soviet Union in 1975. told, inviting some dissidents whom the Russians had been the pianist. weren’t fond of. Of course, there were some JJ: How was the tour in the Soviet Union? Another White House occasion was during the time adjustments we made, like any tourists. DH: It was most interesting. We are talking about of President Clinton. He played the tenor sax, too, 1975, when there was a sort of warming up of the We had been encouraged by the State Department though I didn’t get to accompany him. And then Cold War. Our two countries were getting together to bring small gifts for the Russian musicians, who there were three times we did a television show in space exploration, and I guess everyone thought lacked elementary things like mouthpieces and called In Performance at the White House. I was the that jazz would promote even better relations. We reeds. We met with some of the Russians early on musical director, conducting the Marine Band in spent three weeks touring from Moscow all the and agreed to meet them in a park within walking shows that included John Denver, Patty LuPone way over to Novosibirsk (New Siberia), which is distance of our hotel. Nobody was sure that what and . I began to feel at home, north of India, and down to Alma Atta, the capital of we were about to do would be considered legal by more or less, at the White House, particularly since Kazakhstan. We traveled by plane and bus with a the authorities, so we planned our meeting like an President Bush (Sr.) and Barbara Bush were so band of four saxes, five , two , espionage contact. Three of us walked to the park cordial. They invited the cast upstairs where they

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lived, showed us around, said, “This is your home, too. This is a home for all Americans.” Touching, really. JJ: That is very nice. Did you get any photographs? DH: Yeah, and then there were photographs of all of us after the show with the president and Barbara Bush. JJ: Do you have any other career souvenirs you would like to tell us about? DH: Well, let’s look around my studio, and I’ll tell you about some of the things on the wall. Here is my induction into the New Jersey Jazz Society and the Institute of Jazz Studies of Rutgers Hall of Fame. That’s from 1995. There are several diplomas from other colleges which gave me honorary degrees — University of South Florida, Hamilton, Five Towns, Wilkes. Kind of impressive when you see them together. I’m impressed! Here is something from when the Edinburgh International Jazz and Blues Festival bestowed on me the honorary presidency of the festival, “in recognition of his outstanding Dick Hyman and . Photo by Nancy Miller Elliot. contribution to jazz in Scotland.” I had played there a number of times including one occasion where I had a second meeting with President and Mrs. the Cookery in New York and a lot of recording, It was an evolutionary thing. I’d been playing Carter, who came to both a rehearsal and a DH: some of it jazz, more of it not, and a lot of arranging gigs since I was in college, really. In the early ‘50s performance with the singer Tracy Chapman in the for singers and commercials. Once or twice I went I got onto the staff orchestra of WMCA, a small, great historical church of Edinburgh. Here’s a poster to Los Angeles for specific things, but always came from the Russian tour in 1975. I’ve learned how to independent radio station, and a year or two after back to New York. read “jazz” and “Armstrong” in Cyrillic characters. joined the orchestra at WNBC and stayed there for Here’s the Birdland announcement of the opening JJ: By any chance did you play with five years. I can’t really separate breaking into the night of the club in December 15, 1949. I was Leonard Garment and Alan Greenspan? jazz scene and breaking into the studio scene. My playing with Max Kaminsky’s Dixielanders. The bill whole career has been about both those things. DH: I did jam with Leonard Garment; I didn’t also included Lester Young — I worked with him The studio playing soon expanded from being a exactly work with him. This was before his tenure too — Stan Getz, Charlie Parker, Harry Belafonte, piano player to being an organist, arranger and a as a lawyer for Richard Nixon. He recommended and Lennie Tristano. What a lineup! music director as well. I met jazz people like me, back in the ‘50s, to play at a place called , Don Lamond and at JJ: I noticed reading about you that there Music Inn (in Massachusetts, I think). He and his NBC, and there was a fair amount of jazz that we is very little mention early in your career wife were friends of ours and we stayed in touch. played on radio and television. Lots of us just did about spending time on the road. JJ: Is it true that Alan Greenspan used to what came along first. I didn’t need much sleep in those days! DH: No, that was a decision I made early on. I do income tax forms for band members had gone on the road with Victor Lombardo — we while on tour? Looking backward, when I graduated from played at the Edgewater Beach in Chicago for three DH: [Chuckles] I’ve heard that a little differently. Columbia in 1948 and married Julia soon after, weeks, but soon after I realized that the business Garment, Greenspan and Al Cohn all played in Henry I played solo piano for several months in a place was in New York. I began to get a lot of work, and Jerome’s band at Child’s Restaurant. Garment writes in Harlem called Wells Music Bar. There was an I was a studio musician as much as a jazz player that one night Al Cohn played a succession of organist there too, Charlie Stewart, and he and I in those years. I did make an exception to go on a choruses on “All the Things You Are” or some other played duets now and then. The man who got me European tour with Benny Goodman later in 1950, workout tune, in all the keys, which convinced the job was named Dan Burley, who was either the but basically I stayed in New York from then on. Garment that he’d better be a lawyer full time. At publisher or the editor of the Amsterdam News I was a pianist, of course, but an organist as well, any rate, I think that was the band where Alan (I don’t remember), a nice guy who also played an arranger and increasingly a music director of Greenspan helped the guys prepare their tax forms. piano on the side. various radio and television shows. I began to compose and arrange for films — a lot for Woody JJ: I love that story. Did you have Around that time I began to play with Allen. And along with this was the jazz work for any trouble breaking into the jazz scene at Café Society Downtown. We were in and out George Wein, for Jersey Jazz, Sunday night solos at in the city? of there for many engagements and played for continued on page 22

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DICK HYMAN JJ: That is an amazing list of The honky-tonk piano continued from page 21 talent. Do you recall any conversations you had with business was a specialty dancing, listening and for the floor shows. Some of ? the acts were the comedian Jack Gilford; the singer, DH: I never talked to him at length. I of its own. Enoch [Light] Muriel Gaines who did slightly suggestive calypso was just so in awe whenever he played, songs (“The Doughnut with the Hole in the Middle”); that I had nothing to say. But he did say released my on the folk singer Josh White. That is the place where something about me once. On the Voice several different labels he Charlie Parker dropped in and somebody started a of America, being interviewed by Willis reel-to-reel tape recorder going. A bootleg of that Conover, he was pressed by Willis to ran, each of them with a record is still in circulation. The most important star describe some of the younger people to play there was Art Tatum. Of course, he required around whom he had become aware of. different pseudonym. I was no accompaniment from us. They just rolled out the He remarked, “Well have you heard this piano that I’d been playing with Tony’s group so the kid Dick Hyman?” I’ve never had a Puddinhead Smith on one, audience could see him better, and he played. greater compliment. That’s all. Every single night we were amazed. Rip Chord on another JJ: OK, let’s turn that around. Around the same time I began to do occasional Would you name some of the and Willy “The Rock” Knox work with a band leader named Alvy West, who younger people you are aware of? billed his group as The Little Band. He wanted to on a third, all the same make the Little Band sound a bit larger, so he DH: , certainly, is a major encouraged me to play Hammond organ as part pianist. Ted Rosenthal, for sure. Aaron performances. And I did of it. The trumpeter was Johnny Parker and the Weinstein, the violinist, and Anat Cohen, drummer was Bob Rosengarden, the bass player the reed player. this for other companies was George Shaw. Two saxophonists in addition to JJ: What would a typical day be too, as Slugger Ryan and Alvy were Jack Greenberg and Sol Tepper. We did like for you at NBC? radio shows backing Eddie Fisher, Don Cherry, and other singers. DH: OK: I would get up at 4:30 out in Good Time Charlie. Carle Place and be in the NBC studio in A while later, I had a nightly TV show with only Radio City (Rockefeller Center) in time Crazy times! piano and the same bass player, George Shaw. That to go on the air at 7:05 with Eddie show, Date on Broadway, was the one that Charlie Safranski’s band. When that was over — Parker and appeared on with us, it must have been 8:00 — Safranski, Don Lamond In addition to all that, I was beginning to get called when they received the award from Esquire and I would rush up to the NBC television studio on for freelance recording sessions and other non-NBC Magazine. We had augmented the band for that Columbus Ave. and 68th Street and become Milton radio and television shows. It got to be a very occasion with the drummer, Charlie Smith, and DeLugg’s band on a show called Breakfast with action-packed week. This kind of schedule went on there happened to be a different bassist, Sandy Music, which starred Morey Amsterdam. There for many years and I loved it. I resigned from NBC Block, that night, when we played “Hot House.” would be a rehearsal for the next day’s show after just to freelance, moving from recording studio to The time at NBC was challenging. They used me all that and then I might be scheduled to play organ studio. On a good day you might go from 10 AM to over the schedule, but the original program that got for a game show with Monty Hall. The organ began 1 PM, then another date at 2:00 and a third at 7:00. me aboard was an early morning radio show with to be more important in my schedule. It was not yet A lot of us did that. Bucky Pizzarelli is one of the Eddie Safranski as the leader. The band included Jimmy Smith time, but old-time radio organ — few colleagues who is still as active as I am. His Will Bradley, Mundell Lowe, Don Lamond and three opening rousing theme song, accents during the list career had a lot in common with mine in those reed players: Hymie Schertzer, Artie Baker and of sponsors, lead-ins for the contestants, and either days. Lots of laughs, a lot of being on the line. Al Klink. Dale McMickle was the trumpeter. a triumphant fanfare for a winner or a “too-bad” effect for a loser. That’s how you played an organ There were several groups of players I was happy During that time at NBC, I was given my own show game show, and I did much the same later on for to be a member of. One was the to conduct. It starred Norman Brokenshire, but the “Beat the Clock.” people. Enoch made a lot of recordings and those singer was Bill Hayes. Many, many years later — were the days of the beginning of stereo. He both of us in our 80s now — Bill and I teamed up There might be more rehearsing scheduled for one recorded us in various combinations, under his show or another during the day, and for a several here in Sarasota to do a two-week run at a local name and ours. The crew was liable to be Bob dinner theater. Great fun. We were the oldest of months I played on a soap opera called Front Page Rosengarden, , Doc Severinson, Tony friends, based on that relationship which was more Farrell which broadcast at 5:00 or so. Then there Mottola, The Singers, etc. We also did than 50 years in the past. By the way, another were special calls for a weekly show like Sid other dates for , the great reed man, service at NBC, way back, was a season of the Caesar. It was a five-day work week, a weekly and for just about anyone who called first. Sid Caesar Show, Bernie Green conducting, which salary — a great education and considerable was funny, demanding and I learned a lot. responsibility in just getting from one studio to Another group played for Muzak and I got to be a Remember, it was all live back then. another in time, not to mention the playing. Muzak arranger and conductor as well. Al Caiola continued on page 24

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DICK HYMAN continued from page 22 booked us on a lot of sessions where we backed rock singers like Frankie Avalon and Fabian. In all of this, I was able, for a long time, to be considered both a sideman and a conductor. It was occasion- ally comical and worked like this: I would work for you in the morning, you would work for me in the afternoon and both of us would show up on someone else’s date in the evening. There was an immense amount of recording going on in New York. For one thing, the record companies had to redo their old catalogues in the new stereo process as well as keep up the competition among each other with new stuff. JJ: I read that it was Enoch Light who came up with the name Knuckles O’Toole. DH: That’s right. Actually I was the second Knuckles. Billy Rowland did several albums before me, but in total I did more. The honky-tonk piano business was a specialty of its own. Enoch released my albums on several different labels he ran, each of them with a different pseudonym. I was Puddinhead Smith on one, Rip Chord on another and Willy “The Rock” Knox on a third, all the same performances. And I did this for other The good ! A million dollars worth of jazz talent for less than a buck — with a young Dick Hyman backing up “Hot Lips” Page and Max Kaminsky to anchor the companies too, as Slugger Ryan and Good Time trad end of a “Dixie to Bop” jazzfest at Birdland in 1949. Ad circular courtesy of Dick Hyman. Charlie. Crazy times! JJ: I read that you were unhappy about the negative things that have been written apartment several times. I remember that he had DH: No, I wasn’t. The lessons were not in a class. about Benny Goodman. Would you like to received a recording of himself from the 1920s, and They were 12 individual lessons, although the say something to balance that? we both briefly jammed along with it. competition had been public and was broadcast DH: First of all, Benny’s importance in jazz history JJ: I’ve heard that did not on WOV. The lessons themselves were private situations which took place in Teddy’s apartment has steadily increased and I think this has become care for Benny, which surprised me. clear even to those people who don’t like him. He or studio. DH: I’ve heard that too, and it seems to me that should be seen now in the context of the total JJ: I read that he instilled a love of practice I once heard Teddy express some sort of distain. history as the remarkable musical giant he was. It’s and precision in you. How did he do that? true that he didn’t always have friendly relations I really don’t know anything about that. Certainly with some of his sidemen, and that he comes from they belonged together musically. If there ever was DH: I’ve told this before, but it goes like this: One a period that preceded bop, but those things don’t a pair of players who understood each other’s lesson I told him I thought that some days I might detract from his musicianship, his sense of swing, musical goals, it was those two. seem to be playing pretty well, but the next day I’d and his having been one of the great soloists and play poorly. What might be done about that? He JJ: Just considering how important Benny certainly one of the great band leaders. I got along simply said, “That’s why you practice, so that you was for integration, long before Jackie with him very well although it wasn’t a close raise the level of your playing generally. The result personal relationship. I started playing with him Robinson, I’m surprised Teddy would is that when you think you are playing less well, back in 1950 on a European tour and continued express disdain, whereas Lionel Hampton it’s really not so bad, and when you are at your best every now and then to do things with him. Perhaps did not. it is even better than you think!” The idea was to keep practicing, to raise your level. I lasted because I didn’t work for him that frequent- DH: Yes. Well, it seems to me that Lionel was ly. In fact I saw him only every year or two years or much more of an extrovert, got along with people JJ: Your move to Florida interests me. I’ve so. Maybe that is what made our association better. Teddy was an introvert. Maybe their different read that you took your 78 RPM collection. possible. At any rate, I was very flattered when I personalities had something to do with it. That must have been difficult. was asked to be his musical coordinator, arranger and pianist for what proved to be his last television JJ: When you won the prize to have lessons DH: I do have a whole wall of old 78s. I’ve never show, Benny, Let’s Dance! on public television in with Teddy, you were in a class with other had the time to transfer them to CD, and they work 1982. Preparing for that show I was at his students… perfectly well with a turntable that also plays my

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considerable collection of LPs. I certainly wouldn’t want to go through all that JJ: OK. You’re known for your interest in Bixology. Has anyone ever copying to get them into an iPod. About the move, our housing situation up told you of compositions he made but never wrote down? north was complicated. We had a place on Long Island, and we lived in Hoboken at the time. The business was changing, and my role was changing in DH: Yes. There are some pieces that have surfaced. I played one on a it. I no longer needed to be in New York every day. Julia and I realized we could recording I did for called Re-Discovered Louis & Bix. It is called spread out and have lots of other benefits from living in Florida, and I could still “Cloudy.” You’ll have to ask Randy about how he located it. I can tell you about come to New York from time to time as needed, as well as concertizing another, though: Joe Venuti played on my Jelly Roll Morton recording for everywhere else. Columbia in the ‘70s. While we were taking a break, he sat at the piano and played a piece of about a minute and a half. He said, “Bix used to like to play JJ: I also read that you got Arthur Godfrey to like jazz. Is that true? this.” The tape was rolling so the engineer captured the performance. Joe said the title was, “Shake it DH: I think it would and Break it.” Later be more accurate to on, after Joe passed say that he was away, I copied down already interested in what he played, and jazz but hadn’t heard published it as having much of it. You know, been composed by back then jazz was both Bix and Venuti. the new thing, the Of course, there is an music of hip young old Dixieland tune people, and I think with the same title, Arthur was aware of so I have never been that. We should sure whether Venuti remember that Time was stringing me magazine had along (an appropriate Thelonious Monk, title) 100% or maybe , and only 75%. Joe was — I think — Louis well-known as a Armstrong on practical joker. It is successive covers. hard for me to tell if Jazz does not have the his “Shake it and same recognition now. Dick Hyman was one of the jazz luminaries who helped created the “Portrait of Art Tatum” at Town Hall Break It” was really After I became during the 1981 Kool-New York Jazz Festival. Preparing for the show are, from left: Jaki Byard, John Lewis, partly Bix or mostly Godfrey’s musical Hyman, Billy Taylor, Adam Makowicz, and . Photo by Mitchell Seidel. Bix or not at all. It was director he got to like in E-major, an unusual having his ukulele playing and singing accompanied the way we would do it. key that Bix would never have played in, but it’s a sort of violin key, which is So we used to include him in our and it worked pretty well. one clue that Bix did not write the piece. But, of course, Venuti might have just , the guitarist, had to tell him what the chords were fairly often, transposed it for his own convenience. Later on I learned that Venuti had used but it worked musically. I was with Godfrey for three years. the same melody, more or less, in another song which was credited to him. So I guess I was had. JJ: I know you enjoy playing Chopin’s music. Is there one composer of the American songbook whose work you also enjoy? JJ: So score one more for Joe. Do you have a favorite DH: Oh sure, but I wouldn’t narrow it down to just one. They would include Joe Venuti story? Gershwin, Harold Arlen, Cole Porter, …I could give you about DH: Other than that one? Well, I was riding in a taxi with him around the time 20 names! of the Jelly Roll recording, and said, “Is it true that you gave Wingy Manone one cufflink for Christmas?” He immediately responded, “Yeah, and I gave him the JJ: Is there any novel, movie or play that you would recommend to other one the next year.” give us non-musicians a good picture of a musician’s life? JJ: That is a fine story to end with. Thank you for generously DH: No, sorry to say, not that I know of. Maybe the closest would be Woody Allen’s , but the musician in that was really pretty crazy, sharing your time with us. and I like to think that most of us are not. Howard Alden did a terrific job DH: OK, Schaen. Thank you. Give my very best to Tony. I was so close to playing for Sean Penn, who did remind me of some guys I’ve known. I his father that when I first saw Tony, Jr., I was struck by the resemblance. JJ organized the score for the film, and I think in quantity there is more jazz in it Dick Hyman will be at the Kitano Hotel in New York with on than in anything else I’ve done, maybe because there was minimum actual April 20 and 21. He will also be at Stockton State College in Stockton, NJ on arranging necessary. April 23 and at Malloy College on Long Island on April 27.

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

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he roar of the crowd was quite Tdeafening. The question had been simple: “Are you having a good time?” But it was Gordon Webster doing the asking — and the crowd wanted more. Gordon Webster: Gordon Webster, pianist and bandleader, is one of the most sought- and Chris Potter, to name a few. For the past National Arts Center Orchestra in Ottawa after musicians in the Lindy Hop arena. couple of years, he has also been a member Canada for the past 35 years. My brother is He has played at hundreds of dance events of Grammy-nominated Darcy James Argue’s an esteemed arranger and composer of all over the world, providing irresistible Secret Society. Gordon’s playing has been contemporary jazz music. My mother is a danceability through his tremendous showcased in New Jersey at the Bickford classical pianist, and also teaches young musicianship and passion, and first-hand Theater, and he is featured regularly at many prodigies. When I was around four years knowledge of social dancing. Inspired by of New York City’s top jazz venues including old, I begged my parents for piano lessons, such luminaries as Fats Waller, Count Basie, Blue Note, The Iridium, Dizzy’s Club Coca- and my mother saw I had a great interest and Gene Harris, Gordon Cola, Jazz Standard and BAM. in it. continues to pay homage to their musical During the breaks between the recording LR: How did you end up playing for dancers? creations with crisp, clean dexterity. His sessions, I asked Gordon about his GW: I started to learn to dance Lindy Hop irrepressible joy and excitement is tangible relationship with music. while he plays — clearly felt and echoed by in 2001, while living in Toronto. I just loved that dance, and the community — and they his band, and by the dancers who strive to LR: What influenced you to start playing at danced to the old jazz. I started playing at a reproduce in movement on the dance floor such a young age? what they hear. swing dance camp called Swing Out New GW: I grew up surrounded by highly skilled Hampshire (SONH), but I was there not During the weekend of November 18 and musicians, and used to go to sleep listening just for the gig, but as a dancer. I even fell in 19 2011, Gordon Webster “and friends” to chamber music and piano concertos! My love with a dancer (Katie is now my wife)! recorded a CD (his fourth) during two live father plays viola, and has played with the We had these late night dances — there performances at the beautiful Harro East Ballroom in Rochester, New York. The event was a Lindy Hop workshop weekend, hosted by Groove Juice Swing, taught by international star instructors Steven Mitchell and Virginie Jensen, and Gordon’s band provided the music for the evening dances. Joining Gordon were Cassidy Holden (guitar), Rob Adkins (bass), Jeremy Noller (drums), Aurora Nealand (reeds and vocals), Matt Musselman (), Jesse Selengut (trumpet and vocals), Gordon Au (trumpet), Dan Levinson (reeds) and Naomi Uyama (vocals). But Gordon doesn’t only play for dancers. He is an eclectic musician, holding a Bachelor of Music from the University of Toronto, and a Masters of Jazz Studies from the Manhattan School of Music — he sees value in many styles of music. In addition to collaborating with some of Canada’s finest jazz instrumentalists and singers while playing at top Toronto clubs, Gordon has also studied privately with Kenny Barron and Garry Dial, among others, and has performed with a number of well-known jazz musicians as diverse as Wycliffe Gordon, Tim Hagans, Dan Levinson, Donny McCaslin, Bria Skonberg, Grant Green Jr.,

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continued from page 1 Story and photos Jazz and Dance Man by Lynn Redmile

Rob Adkins (bass), Dan Levinson (), Jesse Selengut (trumpet), Matt Musselman (trombone) and Aurora Nealand (saxophone)

were local noise regulations at the camp, so when we played, the volume was low. I would play “Night Train,” at 2 AM, and everyone had to listen and be very quiet and intent. You could hear the dancers’ feet shuffling on the wooden floors to the music…and the connection between the dancers and musicians was tangible. Many of these dancers were young people who wouldn’t listen to jazz otherwise, and yet everyone was completely connected to that music Gordon Webster with vocalist Naomi Uyama — when we hit those breaks, everyone moved in unison. This was something I’d never experienced when I played in jazz clubs or concert halls — there, audiences were attentive, liked what I had to play, but I didn’t get the energy back from the listening audience in natural — with NYC as my base, I began to get booked around the quite the same way as I did from dancers. A magical thing happens Northeast at dance events with a quartet I had formed with a during an interaction with an audience when you play for dancers brilliant and soulful singer, Brianna Thomas. I wanted to record an — and I was hooked. I see myself as eclectic…I love the idea of album accessible to listening/radio audience as well as a dance being a pianist who can swing. When I first moved to New York, it audience — this music appeals to a much wider audience. At the was a deliberate attempt to be a contemporary jazz artist like Chris time I was trying to be like Oscar Peterson or , so we Potter, Brad Mehldau, Kenny Barron, etc. But after 2006, my recorded an eclectic mix of music, some blues and some faster relationship with a new vibrant young traditional jazz community numbers, and I liked the way the blues pieces turned out. in the city reconnected me to the music I had encountered in the LR: Why did you choose to record this album live in Rochester? dance community. GW: Groove Juice Swing is an organization I have worked with over LR: Tell me about your first album, Blues till Dawn. the past five years, we have a great symbiotic relationship, and I GW: As I said, I didn’t initially intend to make a career out of decided to do a live recording because of the special energy that playing for dancers. But the music chose me, and it just felt so exists at that event. Live recording is special — and very different continued on page 28

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GORDON WEBSTER continued from page 27 from doing a studio album where there’s no interactive nature. Groove Juice Swing was willing to go the extra mile to help make this project a reality. While all the tunes are danceable, they are ideal for a listening audience too. LR: And what’s next? GW: I really enjoy playing in a variety of musical genres and settings, both on tour and in the city. I want to continue to play for jazz audiences, both dancers and a sit-down audience. There’s definitely an audience for traditional jazz — four years ago, I joined forces with Dennis Lichtman who founded Mona’s Hot Four (a traditional jazz jam session in the East Village, New York City) and put a piano in there, and really wanted to pursue traditional jazz music of the teens, twenties, thirties, etc. I want to

keep that audience growing — the older trad jazz works have given me a better foundation for the contemporary pieces. JJ Gordon’s CD will be available from his website, www.Gordon WebsterSwings.com, on iTunes and at live shows.

Lynn Redmile is a jazz enthusiast, photographer, swing dancer and writer. She takes every opportunity to enjoy live performances, and preserve and share those moments of joy created by the musicians. www.LynnRedmile.com

Cassidy Holden (guitar), Rob Adkins (bass), Gordon Au (trumpet), Jeremy Noller (drums), Jesse Selengut (trumpet), Matt Musselman (trombone) and Aurora Nealand (clarinet)

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2012 NEA Jazz Masters

By Sandy Ingham Photos by Mitchell Seidel

rowing up in the 1920s, Von Freeman Grecalls being surrounded by music. His father, George, was a Chicago cop who played ragtime piano. His mother was a guitarist. Von was enthralled listening to duets by his dad and a young trumpeter named Louis Armstrong, who lodged with the Freemans after coming up from New Orleans. Satchmo and the avant-garde Von. Quite a musical stretch. The jazz tenor giant Freeman, who will turn 90 in October, was one of five National Endowment for the Arts Jazz Masters inducted in a ceremony January 10 at Jazz at Lincoln Center in New York. His story epitomized a recurring theme of this 30th annual celebration — how jazz has evolved Sheila Jordan is flanked by fellow NEA Jazz Masters Class of 2012 members as it passes down generation to generation, Jack DeJohnette, left, and Jimmy Owens at the ceremony in New York. from old masters to young protégés who go on to master the music and take it down Owens, the fifth new Master, is a native New Haden, kept home on doctor’s orders, was adventurous new paths. Yorker influenced by the galaxy of jazz stars described on the film by his wife, Ruth Other inductees had similar if not quite drawn into the city’s orbit. He made special Cameron. In his playing “I hear love, as iconic inspirations. mention of Billy Taylor, Lionel Hampton, sadness, yearning, deep feeling. I hear Bop singer Sheila Jordan told of hearing a Gerald Wilson and , Jazz poetry,” she said. Presenter Stanley Crouch Charlie Parker record on a jukebox as a Masters all, and of Charles Mingus. pointed to Haden’s commitment to causes as founder in 1969 of the Liberation Music teenager. “That changed my life,” she told The five honorees were saluted in brief Orchestra, which has made bold statements the J@LC crowd, which included many of filmed documentaries, their music serving denouncing racism and war. the still-living 73 previously honored as soundtracks as friends, family and Masters. colleagues extolled them. Live introductions Owens dwelled mostly on his role improv- Jack DeJohnette, the pianist-cum- with more glowing words followed, then the ing jazz players’ lives as a leader in the percussionist, also grew up in Chicago inductees — or their children — took the musicians union and the Jazz Foundation under the influence of the free-wheeling mic to say thanks and express in words what of America. He scolded New York’s jazz club AACM, and realized he’d been well- it is they have spent lifetimes expressing in owners for reneging on promises to schooled upon arriving in New York. He their music. contribute to musicians’ pension funds. sat in with Freddie Hubbard up at Minton’s, DeJohnette: “Music is my love, my joy, my Jordan, resplendent in red and black cape, who subjected him to a grueling test that passion.”And music, he said, “can make a was the most colorful of the inductees, he passed with flying drumsticks. difference in building a better world,” one breaking into a tribal chant after presenter Bassist , too, grew up in a in which “peaceful coexistence” prevails. Jon Hendricks mentioned their shared Cherokee ancestry, ad-libbing a lyrical musical household, experienced jazz in his Freeman, represented by sons Chico and shout-out to Ornette Coleman during her early teens and found his calling after Mark, was lauded by presenter Benny performance, and leading the audience in a moving to Los Angeles at 20 and meeting Golson as someone who “poured himself brief Charlie Parker sing-along. Ornette Coleman. That changed his life. out like a gift offering” every time he picked Trumpeter, educator and outspoken up his horn. On first hearing, “he scared me “The spirit of this music sets me free,” said advocate for jazz musicians’ rights Jimmy to death,” Golson said. the ebullient singer. continued on page 30

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The NEA Jazz Masters pose for their annual group portrait before the concert honoring the NEA JAZZ MASTERS continued from page 29 new members to their ranks at Jazz at Lincoln Center in January 2012.

Hendricks’ rhyming intro Flutist Hubert Laws, left, shakes hands with spoke for all present: bassist as the two NEA Jazz Masters performed before their peers. “We welcome Sheila and all her charms, With warm hearts and open arms.” The night wasn’t all talk. The J@LC Orchestra was on stage throughout, and leader welcomed numerous guest soloists and called on them to create new collabora- tions, to improvise in the moment, to exemplify the ■ Kenny Barron and Bobby Hutcherson in a greatness of jazz. Among the successes: piano-and-vibes embrace on Dave Brubeck’s ■ Altoists and Grace Kelly “In Your Own Sweet Way.” battled in front of the band’s frenetically ■ The Frank Wess mid-tempo blues “Magic,” paced Dizzy Gillespie tune, “Things to written for the Basie band, set toes to tappin’ Come,” at the evening’s outset. and heads a-bobbin’,especially when Wess ■ Masters Ron Carter and Hubert Laws in and Golson traded brawny tenor solos. duets on compositions, with Laws’s ■ Benny Carter’s wistful “Again and Again” flute flitting like a butterfly over the craggy rang down the curtain as a video montage landscape laid down by Carter on bass. of joyous scenes from previous Jazz Masters ■ Pianist Toshiki Akiyoshi, soprano saxist celebrations filled the big screen. Dave Liebman and percussionist Candido As one speaker intoned of the five honorees Camero — Masters all — joining the band — and the 123 who preceded them — on the irresistible Horace Silver hit “They have made indelible marks on Benny Golson listens as fellow saxophonist and “Señor Blues.” the endless canvas of life.” JJ NEA Jazz Master Frank Wess solos.

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Piano Cubano at NJPAC By Sandy Ingham ast time I saw Chucho Carlos Rojas dazzling dexterity while L Valdes, I described him as Chucho Valdes Castro kept singing in an African dialect. an unstoppable force of nature, several rhythms Toward the end, Valdes played a powerhouse of the piano percolating a familiar melody by without peer. That was several during a long Rimsky-Korsakov — was it years ago. Now here he was at and amazing from “Scheherazade?” — as NJPAC in Newark on January solo break on the basis for a blues that built 22, launching a U.S. tour, and the Zawinul could it be that at age 70, he had tribute. And gradually and reached an mellowed just a tad? Or was it the pianist’s intense crescendo. that he’s leading a septet this sister, Mayra The concert capped a weekend time, rather than a trio, Caridad Valdes, of Cuban delights in the metro lessening the load on his sang passion- area, with the Lincoln Center remarkable two hands? ately on two Jazz Orchestra playing two which were drawn mostly from compositions, scatting Cuban- It could also have been his nights of the music of Cachao, his Latin jazz Grammy-winning style while trading fours opening, an Ellington medley the late, great bassist, at Rose album from 2011 titled with the trumpet and with beginning as a solo on one of Hall, and Arturo O’Farrill “Chucho’s Steps.” saxophonist Carlos Hernandez. Duke’s (or maybe Billy celebrating 10 years of his Afro-Cuban big band for Strayhorn’s) gentlest ballads “Zawinul’s Mambo,” one of the A highlight was the feature for two nights up at before segueing into “Satin few tunes Valdes announced, 80-year-old Dreiser Durruthy Symphony Space. JJ Doll,” with the two horns, bass was an homage to Joe Zawinul, Bambole, who played the the fusion and electronica and three percussionists kicking bongo-like and melodic bata Sandy Ingham is pioneer. Melodies in the piece in, taking us straight to drums, five of them, with Jersey Jazz’s roving reporter. through “Sentimental Mood,” seemed inspired by some of the “Caravan” and “C Jam Blues,” funky writing Zawinul did early with a few bars of Neil Hefti’s on for the Cannonball Adderley “Li’l Darlin’’’ woven in to band, before Valdes let loose, confuse Dukeophiles. sweeping his arms up and down the keyboard, sending out tidal Valdes has long since established waves of dense chords and rich himself as a great Afro-Cuban Cuban rhythms. pianist who has incorporated jazz — indeed, all kinds of Valdes shared the spotlight music — from the rest of the with the excellent sidemen of world into his playing. The the Afro-Cuban Messengers. blues, bebop, fusion all blend Trumpeter Reinaldo Alvarez with the rhythms of danzon and was featured on a lilting habanera in his selections, habanera. Drummer Juan

Riverboat Swing 2012 Tenor saxophonist Lew Tabackin goes over the drill at a sound check for “Tenor Madness,” produced by pianist Ted Rosenthal at the Da Capo Theater in NYC on Reserve the Date: August 19, NOON – 4PM February 5, 2009. Listening intently are bassist Martin Wind and drummer Tim Horner. 908-852-2926 for info or reservations Fran Kaufman photographs the world of jazz —on stage and behind the scenes.

See what’s happening—with a new photo every day— on the WBGO Photoblog.

Check out where Fran’s hanging, www.riverboatswing.com and see what she sees, at www.wbgo.org/photoblog

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right, and the addition of the interview material almost two hours worth, of what it was like to see Other rounds out a wonderful tribute to . “The Genius” at a time when his popularity was on Views (Contact [email protected] or send $25 to the rise, and his exceptional talent was undeniable. Jay Brodersen, 6859 N Road, Escanaba, Michigan By Joe Lang Judging from the reactions of the French audience, 49829) he struck just as sympathetic a chord with Past NJJS President ■ Reelin’ in the Years Productions, the folks who European audiences as he did here. have brought us the fabulous Jazz Icons series, (www.eaglerockent.com) his month we has recently made available Ray Charles at CDs have a lot of the Antibes Jazz Festival (Eagle Rock T ■ The RED BANK JAZZ ORCHESTRA has been good music to cover, including that found on Entertainment – 303859), a compilation of live spreading kicking good sounds since it was first a couple of terrific DVDs. footage from the four evenings that Charles and formed by Joe Muccioli in 2006. Their concerts are his band performed at the festival. At this point DVDs always well-anticipated events. It is a great thing in his career, Charles had become an artist who that there are enthusiasts like Muccioli dedicated to ■ Rhythm Is My Business: An Evening with had grown beyond his Rhythm and Blues origins keeping the sounds of big band jazz alive. He has Marty Grosz is a superb portrait of a unique to become a mainstream sensation. musician, painted through concert footage and gathered an outstanding group of musicians with For this, his first trip to Europe, he brought along words of other players and associates. The film reedmen Andy Farber, Bruce Williams and Dan a mid-sized group that included two of the most was produced by Jay Brodersen. Block, trumpeter Bob Milikan, trombonist Wayne famous of his alumni, David “Fathead” Newman Goodman, pianist Steve Ashe, guitarist James Grosz is a man who has specialized in an aspect and Hank Crawford, and the Raeletts, his four- Chirillo, bassist Bill Mooring and drummer Steve of jazz guitar, the rhythm playing that was popular woman backup vocal group. The disc contains Johns among the players who would be familiar to in the 1920 and 1930s, that has few current two full performances from July 18 and 22, and many NJJS members. Strike Up the Band (Hip practitioners. A performance by Grosz is always also includes the surviving material from the City Jazz – HCJ101) is a 13-track gem that shows infused with his infectious personality, one that concerts on July 19 and 21. this aggregation to be one swinging bunch of cats. reflects a combination of ready wit, insightful Charles typically started off his sets with a couple Muccioli’s charts show the band off to perfection. intelligence and an impish charm. of instrumentals, like “The Story,” “Doodlin’” and As an added bonus, there are three guest vocalists, For the concert that serves as the centerpiece “Hornful Soul,” before giving the audience a taste Tony DeSare on “I Believe in You,” Champian Fulton for the film, Grosz is joined by Scott Robinson on of his singular vocal style. Once he let the vocals on “After You’ve Gone,” and Joe Piscopo on “Come cornet and reeds, Dan Block on reeds and Vince kick in, he mixed the crossover hits like “Georgia on Fly With Me.” With tunes like “Strike Up the Band,” Giordano on a trio of bass instruments. They play My Mind,” “Ruby,” and “I Would Do Anything for You,” “I’m Building Up to “Hallelujah, I Love Her an Awful Letdown,” “Emaline,” “I’m Crazy ‘Bout My So,” with R&B songs Baby,” “Just a Gigolo,” “It’s a Sin to Tell a Lie,” including “Let the Good “You Brought a New Kind of Love to Me,” “Wabash Times Roll,” “Sticks and Blues,” “If We Never Meet Again/Jubilee” and “Just Stones” and “I Believe Friends.” These are four cats who know and love to My Soul.” He the old tunes, really dig playing them, and doing so changed his program together. Thanks to the imaginative camera angles from set to set, repeat- and editing, we get many close-up glimpses of the ing a few tunes, but musicians as they create, and often as they are always closing with the admiring the playing of their cohorts. They were song that first brought having a blast, and that is fun to observe in detail. him to super star status, “What’d I Say.” One of the hallmarks of any Grosz performance is his on mic and off the cuff remarks that show To see Charles at this off his unrelenting sense of humor, a trait also stage in his career is reflected in his music. Only Grosz could get away to see a confident with the lengthy introduction that he provides for performer who is full “Just a Gigolo,” one that I have seen him give on of enthusiasm, and a few occasions. He knows exactly how to keep the kind of energy the audience engaged with his concise dissertation that came through in on a fading Hussar in Vienna who is dependent on everything he sang and his looks and charm for survival. played. It is a real treat The interview segments with his fellow musicians, to have this material, and several other admirers, demonstrate the originally recorded for universal admiration that they have for Grosz’s television programming musicianship and his dedication to the music that in Europe, finally he loves. available for mass This is a fascinating and winning portrait of one distribution. It gives a special jazzman. The music is terrific in its own palatable sampling,

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“The Mooche,” “Moanin’,” “The Kid From Red Bank” and “One O’Clock Jump,” Talk About You,” “Them There Eyes,” “If You Could See Me Now,” “In a Mellow great musicians, and superb charts, what’s not to love? (www.hipcityjazz.com) Tone,” “Some Other Time,” “Caravan,” “Embraceable You” and “I Hear a Rhapsody.” The players are Gene Cipriano on tenor sax, clarinet and bass oboe, ■ It is amazing that after over 50 years of being a first-call musician, mostly and George Mesterhazy on piano, with occasional contributions from bassist on the Los Angeles scene, multi-reedman GENE CIPRIANO has never released . Her opening take on “Hello Ma Baby” is done with a torchy flair an album as a leader until First Time Out (Vino Rosso Records – 1011). that is in contrast to the faster tempo usually associated with the song. Actually, I am just catching up with this 2006 release, and enjoyed it so much “I Want to Talk About You,” written and originally sung by Billy Eckstine became that I had to hip you to it. Cipriano plays tenor sax, clarinet and English horn a favorite tune for . Connor gives it a thoughtful and spot-on during this 20-track journey of delightful music. He has a rhythm section of reading. Yes, but can she swing? Bend an ear toward “Them There Eyes,” on piano, Trey Henry on bass and Ralph Humphrey on drums for and any doubts disappear. Each track is wonderfully conceived, with Cipriano most of the tracks, one exception being a gorgeous Cipriani tenor sax reading and Mesterhazy providing many magic moments. Listen to Conner and Cipriano of “Stars Fell on Alabama” with Henry and guitarist Greg Poreé. He is joined by give a fascinating ride to “Caravan,” with Cipriano on bass oboe and Conner guest artists like saxophonists Gary Foster, Dan Higgins and ; supplying the rhythm with a shaker. Close your eyes and you can see the trombonist Dick Nash and trumpeter Warren Luening on various selections. His desert. Welcome to the world of recording Cat Conner! (www.catconner.com) teaming with Christlieb for a two tenor front line on “The Preacher” and “Lover Come Back to Me” are pure delights. Ranier forsakes his chair at the piano to ■ was a legendary singer/pianist who impressed peers and join Cipriano for a two-clarinet take on “Moonglow.” There are three tracks, fans alike with her impeccable musicianship and infectious phrasing. She “Don’t Take Your Love From Me,” “Out of Nowhere” and “Nature Boy,” where was one of those performers who gravitated naturally to songs, many of a full string section is added. The only full big band track is a gas of a “Four them relatively obscure, which were lyrically and musically sophisticated. Brothers.” Cipriano is primarily heard on tenor sax, but there are several AMY CERVINI is a vocalist who has been inspired by the Dearie mystique. clarinet tracks, and he gives us a taste of the English horn on “Nature Boy.” On digging me digging you (Anzic Records – 0034), Cervini turns her Those on the scene in L.A. are well aware of the exceptional talent of attention to a baker’s dozen of songs that were among the many recorded Gene Cipriano. Hopefully First Time Out will make more jazz fans sit up by Dearie during her career. Backing her for this visit to the musical world of and take notice of this terrific player. (www.genecipriano.com) Dearie are Pianist Bruce Barth, bassist Matt Aronoff and drummer Matt Wilson. Other contributors include Jesse Lewis on guitar, Anat Cohen on clarinet, ■ Live at the Jazz Corner (Arbors – 19437) is one of those albums that Jeremy Udden on alto sax, Avishai Cohen on trumpet, Josh Sinton on baritone makes an hour seem like five minutes. Put pianist ROSSANO SPORTIELLO, sax, Jennifer Warren on bass trombone, and James Shipp on percussion. There bassist/vocalist NICKI PARROTT and drummer EDDIE METZ together in a club, and let them have at tunes like “Beats Up,” “Gal in Calico,” “Honeysuckle continued on page 34 Rose,” “Li’l Darlin’,” “Blue and Sentimental,” “Spanish Eyes” and “St. Louis Blues,” and the results are pure joy. Allow Parrott to add some tasty vocalizing on “Besame Mucho” and “Fever,” and it provides a dash of sultry allure. Finally, turn Sportiello loose on one of his Chopin extravaganzas where the classics meet jazz to the delight of everyone, and you have a program that is irresistible. I believe that I played this disc at least a half-dozen times within days of receiving it, finding new delights with each listen. You should do the same. (www.arborsrecords.com)

■ CAT CONNER wears a number of hats in her professional life, but the one that she digs the most is as a jazz vocalist giving her special spin on the tunes that have been a part of her for many years. Finally, with Cat Tales (Cat Conner) she has taken the long overdue step of getting some first rate cats to back her for a nine-song excursion that includes “Hello Ma Baby,” “I Want to

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OTHER VIEWS continued from page 33 of jazz and pop standards, and he found a new Dixieland jazz, with the occasional addition of some avenue for his musical expression. Songs for a New Orleans beats. The Oak Ridge Boys — Duane Lifetime – Live (José Garcia Music) is his first Allen, Joe Bonsall, William Lee Golden and Richard are several songs that you can hear Dearie singing recording in this vein, and he hits the ball out of the Sterban; and the Dukes of Dixieland — Kevin Clark, at the mere mention of their names, songs like “I park. His robust vocalizing has hints of Buddy Greco Ben Smith, Scott Obenschain, Ryan Burrage, Alan Like You, You’re Nice,” “Rhode Island Is Famous for and Frank D’Rone, two fine stylists. Like D’Rone, he Broome and JJ Juliano, are having some down home You,” “My Attorney Bernie,” “Once Upon a plays along on guitar, and is joined for the album by fun as they give their attention to four of the 12 Summertime” and “I’m Shadowing You.” Cervini Carlos Rodgarman on piano, Mike Paganini on bass selections on this eclectic collection of jazz, country makes no attempt to imitate the unique Dearie and Pablo Correa on drums. The set was recorded and gospel songs. The Oak Ridge Boys are present sound, and has a different sense of phrasing. She at the New York Club in Palm Desert. Garcia has a on “Little Talk With Jesus,” “Bobby Sue,” “Uncloudy surely does know how to sing, and nicely interpret strong, pleasant baritone voice, and nice feel for Day” and “Elvira.” Vocal chores on the other tracks a lyric. If there is any room for improvement, phrasing. When he opens with “I Get a Kick Out of are handled by Oberschein (“That’s What I Like Cervini’s readings of the more humorous lyrics like You,” you will get a kick out of him. After eight About the South”), Lathan Moore (“Are You From “Rhode Island” and “My Attorney Bernie,” do not more fine selections, he gets to the closer, “This Dixie,” “Closer Walk With Thee” and “Can’t Fight the subtly mine them for all of their irony and Could Be the Start of Something Big,” and I have a Moonlight”), Wesley Probst (“Fatback Louisiana” and sophisticated wit. That is a minor quibble, as this is feeling that this could be a prophetic title for an “Nails in My Coffin”), Bobby John Henry (“Back in a highly listenable and enjoyable collection of exciting new addition to the world of jazz/pop New Orleans”) and Callaway McCord (“Jambalaya/ terrific songs well sung. (www.anzicrecords.com) singers. (www.josegarciamusic.com) I’m Walkin’/Toot Toot”). To add some country flavor to the Dixie sounds of the Dukes, David Spires is ■ At the beginning of his musical career, Mexican ■ It is nice to come upon an album that is pure fun along on steel guitar. This oleo of musical styles born JOSÉ GARCIA was a guitarist who focused to hear. Such is the case with When Country makes for some interesting and spirited music. Give on Spanish and Flamenco style playing. About a Meets Dixie (Leisure – 1088) by the DUKES OF this one a listen, y’all heah! (www.leisurejazz.com) dozen years ago, he was a member of a Spanish DIXIELAND and the OAK RIDGE BOYS. Many guitar duo that decided to add a vocalist to the mix. country musicians are drawn to jazz. The obvious Remember that these albums are not available When finding the right person became difficult, examples are the practitioners of Western Swing, through NJJS.You should be able to obtain most Garcia took it upon himself to develop as a singer. but this album, while it occasionally has the feeling of them at any major record store. They are also He applied his newly developed talent to the Latin of some music of that genre, has a unique sound available on-line from the websites that I have repertoire that was his natural musical home. A that reflects a seamless merging of the idioms shown after each review, or from a variety few years ago, Garcia branched out into the world familiar to the two groups, country music and of other on-line sources. JJ

“JANE STUART IS AS COMPLETE JANE STUART A JAZZ SINGER AS THEY COME!” DAN BILAWSKY, ALL ABOUT JAZZ

Wed. March 21 The Kitano 66 Park Ave NYC res. 212-885-7119 Tues. March 27 Cedar Grove Free Public Library 6:30 pm — a tribute to THE GREAT LADIES OF JAZZ 1 Municipal Pl. Cedar Grove, NJ 07009 res. 973-239-1447

janestuartmusic.com

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Jazz Goes to School | The College Jazz Scene By Frank Mulvaney NJJS President JAZZ U E-mail: [email protected]

New Jersey City University, Tenorist Dustyn Richardson had an Devin Di Mauro. Composer Juan Tizol, Dec. 5: Latin Jazz Pianist impressive solo while trumpeter Justin who was a trombonist for Ellington, Arturo O‘Farrill and NJCU Hernandez did the heavy lifting. There were wrote this unique tune in 1936 and it was great ensemble shout choruses while bassist Ensembles first recorded by Barney Bigard and his Jack Breslin and drummer Paolo Cantarella Jazzopaters in 1936. It’s basically a Latin If a jazz big band program director asked provided a solid rhythm foundation. tune with a fascinating Middle Eastern my advice about an opener, I would say, flavor as you may know. This absolutely “Go with a swinger.” That’s what We had two more big band numbers before fantastic had the ensemble in Jazz Studies Director Ed Joffe did and it was the intermission. The big hit full-throttle Latin swing with a sensational not the first time. Like so much of Thad’s “Nice ‘N’ Easy” was a special feature for euphonium solo by Alan Quinn. Justin brilliant work, “Dedication” is chock full of Anders Bostrom on flute and he delivered Hernadez’s stratospheric trumpeting interesting ideas to delight the listener and big time. The scrumptious Billie Byers complemented a torrid brass trio, which help the band sound great although the arrangement of the Spence/Bergmans song included Kris Cardella (tenor) and Danny university ensemble really didn’t need any is sprinkled with exquisite hits. Wrapping up Hall (trombone). The temperature rose and help. At the start we had a bowed bass the first half was a fascinating chart by the Arturo was flying with a big, tumultuous (Anthony Perez) and gorgeous flugel solo very inventive Jim McNeely of the Kern and Latin jazz piece by his legendary father by Marcel Bellinger (2012 NJJS scholarship Hammerstein great “The Song is You.” It recipient) over bolero rhythm. Then we got opens with a marvelous drum solo by Chico, called “Piantis.” This was followed by a change to up-tempo and had two out- Andrei Koribanics continued on page 36 standing solos from Danny Hall (trombone) followed by about and Kris Cardella (tenor sax). The tune con- 24 bars of just cludes in ballad mode with more wonderful drums and horns. playing by Marcel. Ellington’s “Black and The horn parts were Tan Fantasy” followed and I could not have intriguing and it guessed that this interesting blues dates almost seemed like from 1927. It featured a trio of two two tunes were trumpets and trombone ya-ya plungering, a overlaid. Guest hot alto solo by Jon DiSanto, Marcel again trombonist Louis and impressive stride piano work by Jason Bonilla’s appearance Teborek. Next we had “You Can Have It” was an unexpected from the fabulous Frank Foster. Kristen pleasure as he Dziuba delivered the lyrics exquisitely and provided an amazing then went on to dazzle us with her scatting solo in part with just prowess. Guitarist German Gonzalez drum support — chipped in with hot licks as the band very cool. was doing some hard swinging. For the second The Herbie Hancock Sextet came out of the half, the 17-piece band to play their namesake’s “Driftin’.” ensemble plus Latin These young cats were in the grove all the percussion additions way — a real treat. Pianist Teborek was the returned to the stage main man ably supported by Kris, Marcel along with featured and German. I just listened to the original guest, Grammy- recording from 1962 with winning pianist and Freddie Hubbard and I’m sure they Arturo O’Farrill. would have approved. Another group of Arturo played a musicians then came out of the band to marvelous intro to form the Blues and the Abstract Truth the ever-popular Septet to render ’s very “Caravan” which familiar “Hoe Down.” This lighthearted led into a dynamite piece requires considerable musicianship. bari sax solo by

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COLLEGE JAZZ continued from page 35

“Rumba Urbana” which had the excellent trombone section really pumping out the sound. Dustyn Di Maurao (bari sax) had a splendid solo on this one, as did Justin on flugelhorn. The ensemble was solidly in the groove with the Latin standard “Almendra” (by Abelardo Valdez, Chico’s arrangement). This catchy tune, with its contagious rhythm, was augmented by a terrific bass solo from Anthony Perez. The amazing Louis Bonilla soloed at the outset of his own composition “Still Closer” written for his daughter and recorded with Arturo a few years back. The gorgeous lush arrangement was a delight played superbly by the ensemble. “Tanuango” was an incredible arrangement by the brilliant Mike Mossman. The sax harmony was magnificent within the roar. The interesting, pulsating brass provided the background for outstanding solos by Marcel Bellinger (trumpet) and Jon Di Santos (alto). The final tune listed in the program was a clever story-telling composition called “40 Acres and a Burro.” In the early going we had humorous crying by the trumpets, stuttering trombones, rising and falling flutes and saxes and vocal chattering background. A quick transition to a heavy Latin rhythm and the entire ensemble at full throttle followed to the end but not before Kris Cardella (tenor) inserted an awesome improvisation. A well-deserved standing ovation preceded a brief encore, a clever Latin treatment of “Shiny Stockings.” I have no doubt that this night the audience heard the best big jazz for hundreds of miles around. JJ

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Goodman Tribute Swings Through the Snow

Photos by Lynn Redmile

espite coinciding with the winter’s Dfirst snowstorm on January 21, the long-running annual Bridgewater concert to mark the (Jan. 19) anniversary of Benny Goodman’s famed 1938 Carnegie Hall appearance was a sellout, just like the original landmark show. Nor did the weather deter drummer Brooks Tegler from driving up from Washington DC with his restored drum set to add a dash of authenticity to the music. The show, presented at the elegant Theatre of the Somerset County Vo-Tech Schools, featured the 14-piece James Langton All-Star New York Big Band fronted by clarinetist Dan Levinson. “Benny, to my ears, believed that what mattered more than technique was swing, Aaron Johnson, and he demonstrated that principle in Dan Levinson, every note he played,” Levinson said. Peter Reardon Anderson, “There’s something about Goodman’s Will Reardon Anderson sound that always stops me in my tracks.”

Will Reardon Anderson

And swing they did. From the opening “Let’s Dance” to the penultimate “Sing, Sing, Sing,” before closing with Goodman’s signature, Gordon Jenkin’s plaintive “Goodbye.” The Clarinet a la King show, which was preceded by a dinner prepared by the Vo-Tech’s culinary arts program, was organized by Jim Bourke for the SC Vo-Tech Foundation and co-sponsored by the NJJS. Proceeds benefit the Somerset County Vo-Tech Schools. JJ

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This well-paced program was full of familiar tunes. Donaldson and Kahn Caught in had a partnership that began in 1922. They produced lots of hit tunes like the Act “My Buddy,”“Yes Sir, That’s My Baby,” By Joe Lang “Carolina in the Morning,”“Makin’ Past NJJS President Whoopee,”“Love Me or Leave Me” and “My Baby Just Cares for Me,” all of which were included in the program, and that barely scratched the surface LYRICS AND LYRICISTS of their joint efforts. MAKIN WHOOPEE: Kahn also worked with many other Walter Donaldson, songwriters, including Isham Jones with Gus Kahn and the Jazz Age whom he wrote “It Had to Be You,” Theresa L Kaufmann Concert Hall | 92nd Street Y “Swingin’ Down the Lane,”“The One I NYC | January 7–9, 2012 Love (Belongs to Somebody Else)” and There could not have been a better choice “I’ll See You in My Dreams,” the last of as the band for a program of music by which served as the title of the bio-pic composer/lyricist Walter Donaldson and about Kahn that starred Danny Kaye lyricist Gus Kahn than that of Vince and Doris Day.” Giordano and the Nighthawks. These Although Donaldson worked primarily Graae is among the most delightful cats play classic pop and jazz of the 1920s as a composer with other lyricists, he performers of lighter material, as he had a and 1930s, the period when Donaldson occasionally wrote both words and music chance to prove on tunes like “How ‘Ya and Kahn were most active, with style, quite nicely, as was evident this evening with Gonna Keep ’em Down on the Farm,”“Yes enthusiasm and remarkable musicianship. “Borneo,”“At Sundown,”“Little White Lies,” To support the Nighthawks in their romp Sir, That’s My Baby” and “Because My Baby “You’re Driving Me Crazy (What Did I through 29 tasty tunes, artistic director and Don’t Mean Maybe Now.” McGillen brought Do?),”“Sam, the Old Accordion Man” and host Robert Kimball assembled a stellar a Broadway leading man perspective to his “Because My Baby Don’t Mean Maybe quartet of vocalists, Christine Andreas, Jason approach on “My Buddy,”“Liza,”“My Blue Now” being the selections performed that Graae, Howard McGillen and Laura Osnes, Heaven,”“You Stepped Out of a Dream” as well as the husband and wife team of were solely by Donaldson. and “Flying Down to Rio.” Osnes sweetly soprano Joan Morris and pianist William There were lots of other goodies sprinkled performed “Swingin’ Down the Lane” and Balcom, who is also a fine composer. among the program with other Kahn lyrics “Dream a Little Dream of Me,” and also had including “Ain’t We Got Fun,”“Pretty Baby,” charming turns with Graae on “Pretty Baby” “Liza (All the Clouds’ll Roll By),”“Toot, and “You’re Driving Me Crazy.” Toot Tootsie (Goodbye),”“I’m Through Balcom and Morris have been performing with Love,”“Dream a Little Dream of Me,” programs of Great American Songbook “San Francisco,”“You Stepped Out of a material together since 1973, and fit in Dream,”“All God’s Chillun Got Rhythm” perfectly with the temper of the evening. and “Flying Down to Rio.”“How ‘Ya Gonna They were given “At Sundown,”“Little White Keep ’em Down on the Farm,”“My Blue Lies” and “Sam the Old Accordion Man” Heaven” and “T’aint No Sin (To Dance as their selections, and led the audience Around in Your Bones)” were the other sing-along on “Makin’ Whoopee.” Donaldson compositions that were Special notice must be given to Vince performed during the show. Giordano and the Nighthawks. They Music With Kimball providing the continuity with conjure up a variety of adjectives such as for any his informative and insightful commentary, delightful, spirited, swinging, jazzy, fun, and the concert moved along with great pace on and on. They know and understand the occasion, and spirit. The four singers each had a vintage musical styles that they favor, and big or distinctive personality, with Andraes having Giordano’s enthusiastic leadership infuses small. several of the fine ballads, like “It Had to Be his aggregation with the right feeling for You,”“I’m Through with Love” and “Love each piece that they play. Giordano is also a Me or Leave Me,” that she executed with hip vocalist as he showed on “Borneo” and 908-347-0648 feeling and a retro torch singer intensity. “T’aint No Sin.” The style of this era was to www.fullcountbigband.com continued on page 40

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Happy Birthday

Frank Wess blows out the candles on his 90th birthday at Dizzy’s Club Coca-Cola in New York City on January 2, 2012.

Photo by Fran Kaufman.

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CAUGHT IN THE ACT continued from page 38 Shelly Productions presents provide very little space for a scene today. She invests her solo in the arrangements. On interpretation of each song this occasion, those brief with a depth of feeling that Live Jazz Thursday Nights opportunities were savored by makes each of her selections both the talented cats in the sound like it was written for her, (and a at The Glen Rock Inn Saturday!) band, and by the appreciative a trait that was a trademark of audience. Sinatra’s approach to singing. MARCH 1 It is always a thrill to leave a Gines has always had a wonder- Jerry Bruno & Bucky Pizzarelli concert feeling that you had ful band singer’s sound, but his just experienced a special voice has become richer, and his MARCH 8 happening. Such was the case self-assurance has grown over Bob Leive & Patty Graham when we left the 92nd Street Y the years to the point where he following the Sunday evening no longer seems even slightly in MARCH 15 performance. I would be Sinatra’s shadow. Rather, he is Howard Alden & Jack Wilkins shocked if most of those Chris Gines singing songs that who attended any of the five Sinatra happened to also sing. NOTE: SATURDAY! MARCH 17 performances of this engaging It is an evolution that has been St. Patrick’s Day featuring program did not have a fun to observe. Jerry Fallon & Henry Newberger similar reaction. Comstock is as good a saloon singer in the tradition of MARCH 22 OUR SINATRA: Hugh Shannon, Bobby Short, Vic Danzi, Lou Pallo & Muzzy Eric Comstock, Ronny Whyte and Steve Ross as Hilary Kole and anyone around today. He has a MARCH 29 Christopher Gines wonderful jazz feeling in his Jerry Bruno, Bucky Pizzarelli & Al Caiola Feinstein’s at Loews Regency | NYC singing and playing that makes January 17–21, 2012 each song he sings sound as fresh and new as it ever has. he latest reunion of the Bucky Pizzarelli, Toriginal performers of Speaking of songs, these three Jerry Bruno the heralded tribute to Ol’ marvelous performers provide Blue Eyes, Our Sinatra, all or parts of over 50 songs Eric Comstock, Hilary Kole during their hour-plus show. and Christopher Gines, proved Some are done in complete to be as delightful as ever. versions, while two medleys, With Comstock handling one of songs from Sinatra films, the piano chores, and Boots and an extended closing medley, Maleson on bass, the trio of consisting of about 30 songs, vocalists assayed an eclectic flow from one Sinatra classic to collection of songs sung by another seamlessly, and often Sinatra with the kind of with a wry humorous twist. dedication to the music and a This show remains a gem of well of talents that the conception and execution, and Chairman of the Board would it is wonderful that the trio of have appreciated. It is a timeless Comstock, Kole and Gines concoction of Sinatra-related continue to revisit it, adding 222 Rock Road, Glen Rock, NJ Entertainment Starts 7:00 PM tunes that improves with age, subtle new shadings here and Call for Reservations Host — Victor Quinn as do each of these three there to what has become a 201-445-2362 talented vocalists. grand evening of song. Kole, as stunningly attractive May their Sinatra remain as ever, has become one of the Our Sinatra for many years Shelly Productions, Inc. premier female singers on the to come. JJ P.O. Box 61, Elmwood Park, NJ • 201-796-9582

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MSM Jazz Philharmonic Salutes ’s ‘Innovations’ John C. Borden Auditorium | Manhattan School of Music | NYC | January 27, 2012

By Robert J. Robbins Former USA Secretary, Big Bands International

or the first time in over six decades, alto saxist Lee Konitz as the featured Fthe music of Stan Kenton’s iconic, soloist, and the latter was recorded in a live 40-man-plus Innovations In Modern concert at Carnegie Hall the previous year Music Orchestra received New York City with solo trombonist Harry Betts). performances, this time by the nearly Franklyn Marks’s “Evening In Pakistan” 60-piece Manhattan School Music Jazz combined Eastern-flavored rhythms, lush Philharmonic (like the Kenton Innovations strings, and surging brass behind solo ensemble, a hybrid of a symphonic trombone (originally played by Milt orchestra and a large jazz band) under Bernhart, who is perhaps best remembered Justin DiCioccio, MSM’s Associate Dean as the soloist on the Nelson Riddle chart of and Director of Jazz Studies. The program Cole Porter’s “I’ve Got You Under My bore a dedication to the recently-deceased Skin” by Frank Sinatra. Kenton’s own pioneer jazz educator and MSM alumnus/ “,” a showcase for the wide- faculty member Clem DeRosa, who was a ranging percussion skills of the person co-founder (with major support from who shared its name, divided the efforts Kenton) of the International Association among MSM drummer Jake Goldbas and for Jazz Education (IAJE, since superseded percussionists Justin Doute, Takao Heisho, by the Jazz Education Network, or JEN), Stan Kenton, publicity photo early 1950s, and Wai Chi Tang. MSM Jazz about whom DiCioccio acknowledged, “I CTSIMAGES. Philharmonic founder would not be standing on this stage tonight was responsible for “Samana,” a sparkling were it not for Clem DeRosa, who was my disciple of the French-born composer synthesis of Latin-American rhythms, mentor and teacher.” Darius Milhaud, was a leading composer), boppish brass and reeds, and and the latter, based on a famous motif Stravinskyesque strings. From the opening piano cadenza (featuring from Richard Wagner’s Tristan und Isolde, direct quotes from Maurice Ravel’s Piano The evening’s piece de resistance was even inspired Bernstein in one of the Concerto in G Major) by Angelo DiLoreto unquestionably City of Glass, by the most- Meditations from his 1971 Mass. “Conflict” through the final denouement of Robert underrated Robert Graettinger, a composer and Rugolo’s arrangement of “Lonesome who died prematurely at age 33 in 1957. Graettinger’s tone poem City of Glass Road” both presented the voice of mezzo- This was actually the second version of City (probably receiving its New York premiere soprano Andrea Wood in the role originally of Glass, whose original was scored for in its four-movement entirety), the MSM created by vocalist June Christy. The Kenton’s conventionally-instrumentated Jazz Philharmonic performed this remaining Rugolo opuses hailed not from Progressive Jazz Orchestra in 1948 but never exceedingly difficult and complex fusion Innovations but the 1958 Capitol album recorded until 1993, when of 20th Century symphonic music with Lush Interlude, and these were reinterpre- jazz-inspired rhythms and harmonies tations of the Kenton classics “Interlude” conducted the Netherlands-based Ebony with unbelievable authority. DiCioccio and “Opus In Pastels” (composed by Kenton Band on recordings of both versions. The conducted the ensemble with true passion himself in 1941) for five trombones, strings, 1951 Innovations score, which Kenton cut for the music, and his podium technique solo flute, guitar, and rhythm. Rugolo’s on a 10-inch LP, was heard here and united was quite reminiscent of Leonard Bernstein, “Machito,” which was introduced by the the influences of Béla Bartók, Igor who was deeply influenced by the 1947 Kenton band, appeared in a full- Stravinsky, Alban Berg, and Innovations repertoire (most notably orchestral adaptation by ex-Kenton and with interjections of jazz rhythms. in West Side Story). Maynard Ferguson saxophonist/arranger On Friday evening, March 2, the MSM Jazz Kenton’s eminence grise , who Willie Maiden for a joint concert by the Ensemble (a “regular” big band minus passed away last autumn at the age of 95, Kenton ensemble and Arthur Fiedler’s strings, French horns, and double-reed was represented by no less than six compo- Boston Pops Orchestra in 1972. woodwinds) will perform again in the same sitions and/or arrangements. Two originals “Improvisation” and “Ennui” were venue, highlighting the 1955 Kenton LP for the 1950 Innovations Orchestra, ex-Kenton trombonist/composer/arranger Contemporary Concepts featuring the “Conflict” and “Mirage,” anticipated much Bill Russo’s contributions to the program arrangements of and Gerry film and television music from the ’50s (the former was recorded in 1952 in the Mulligan, and once again DiCioccio through the ’70s (of which Rugolo, a standard big band instrumentation, with will be at the helm. JJ

March 2012 ______41 JerseyReviewsJazz

Spirit Renewed | Gregory Porter at Bethany

By Linda Lobdell Photos by Tony Graves

he homily was to be Ttitled “New Beginnings” on January 7 at Newark’s Bethany Baptist Church, but the Reverend Dr. William Howard declared no homily was needed with Reverend Gregory Porter in the house for this first-Saturday Jazz Vespers. Opening with the song “Water” from his same- titled CD, Porter explained that the song is a prayer of renewal. As it happens, three of the four bandmates this day are “preachers’ children,” so they’re especially able to transport us to the realm of uplift, with sweeping arrangements of “On a Clear Day,”“Nature Boy” and “Amazing Grace,” and of original tunes “Precious Energy” and “Lion’s Song.” Porter’s voice, first experienced by us at the Newark Museum last summer, is bracing and powerful, and Chip Crawford’s piano work soars. Among the assembled was Martin Farawell, Poetry Director of the Dodge Poetry Festival, which will be held in Newark for the second time this year. He read aloud a personal poem, “Good Morning.” Rev. Howard says every day, each morning, is an opportunity for a fresh start. “Don’t let your rear view mirror be larger than the windshield,” Bethany’s Barbara Roberts reminds us, and it’s a good way to carry the renewal message home. JJ

standing: Gregory Porter; Aaron James, bass; Emanuel Harrold, drums; seated: Chip Crawford, piano.

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Porgy and Bess Back on the Boards

By Robert L. Daniels

he fabulous invalid is alive and well. The The brilliance of our greatest living been gloriously preserved and sung with TBroadway musical is not only kicking up composer, Stephen Sondheim, is always sublime care by a first-rate cast. The pro- its heels, but the Great American Songbook close at hand. A stunning revival of Follies duction has met with considerable contro- is dominating the boards. Leading the way has departed for a six-week run in Los versy, including a rather savage appraisal by at the Stephen Sondheim Theater is Cole Angeles, but have no fear, Sondheim is near. composer Stephen Sondheim in The New Porter’s musical fun fest, Anything Goes. The York Times. 1934 tuner boasts, perhaps, While several of his points Porter’s most bountiful score. were well taken, it prompted Consider “I Get a Kick Out of some out-of-town adjust- You,”“It’s Delovely,”“You’re ments and by the time it the Top,” Easy to Love,” reached the Big Apple, the “Blow, Gabriel, Blow,” and the results were acceptable. The title song. One doesn’t exit most obvious alteration finds the theater humming a song, the crippled Porgy (Norm but rather, singing the whole Lewis) hobbling about with damn score! At the helm is a cane, rather than being night club hostess, Reno tugged on a donkey cart. Sweeney, played by the The real reward is that the dazzling Sutton Foster. The most treasured elements of lady is not only a Broadway the Gershwins’ score remain belter in the tradition of Ethel firmly in place. The real Merman, who created the glory is Bess, magnificently role, but Foster goes one step further and dances up a realized by Audra McDonald. storm. For comedy relief, the The lady is a force of nature and her voice soars with a veteran song and dance elf, Audra McDonald and Norm Lewis. Photo by Michael J. Lutch. Joel Grey, plays a wanted beauty and dignity that crook on the run. Musicals reaches out to the very don’t get much better than this. depths of one’s soul. Mr. Lewis is a low-key Next up is a concert version of Merrily We Porgy, but his singing is boldly flavorful Roll Along at City Center, and in late July, A few blocks away at the Al Hirschfeld and he plays the role with a quiet dignity. Theater in Central Park will celebrate its Theatre there is a musical which garnered David Alan Grier is a snappy Sportin’ Life 50th anniversary with Into the Woods, in a the coveted Pulitzer Prize. It’s How To who struts with cunning assurance and production which premiered at London’s Succeed in Business Without Really Trying joie de vivre. Phillip Boykin is Crown Regent Park Open Air Theater. and the score is a witty songfest by Frank and a bulky bully well deserving of the Loesser. The recently departed Daniel The Jule Styne-Leo Robin musical boos and hisses which greet his Radcliffe has been replaced by Nick Jonas as Gentlemen Prefer Blondes will star Megan curtain call. the enterprising window washer who works Hilly, and diamonds will once again glitter his way up to the front office. and glow for a brief revival in March at City My only problem was a rather bland set design. Catfish Row has lost its charm For a brief few months there was On a Center. and why do the gals go for a picnic on Clear Day You Can See Forever, with Harry But the season’s real prize is The Gershwins’ Kittawah Island in high heel shoes? Never- Connick in a revised version of the show. Porgy and Bess, gloriously ensconced at the to-mind, what remains are those songs: The lyrics were written by Alan Jay Lerner Richard Rodgers Theatre. and the music by Burton Lane, and the “Summertime” (beautifully framed by score benefited from the addition of a few The iconic 1935 folk opera has been Nikki Renee Daniels), “It Ain’t Necessarily songs from the 1951 MGM film musical trimmed from its four-hour length to a So,”“Bess, You Is My Woman Now,”“I Got Royal Wedding, “Too Late Now,”“Ev’ry Night palatable two and a half hours, and the Plenty of Nothing,”“I Loves You, Porgy,” at Seven” and “You’re All the World to Me” richly tailored musical gems by George and and “There’s a Boat That's Leavin’ Soon gave the show a nice thrust of Astaire class. Ira Gershwin and DuBose Heyward have for New York.” What’s not to like? JJ

Robert Daniels is a jazz, cabaret and theatre reviewer for Variety, Daily Variety Gotham and New York Theater News.

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January Jim Fryer’s Horns O’Plenty Jazz Social Story and Photos by Tony Mottola with Linda Lobdell Co-Editors Jersey Jazz im Fryer is best known to NJJS audiences holding up, as he stays with the instrument Jas a fine trad-style trombonist through for Isham Jones’s “Spain” and, still in his several appearances at Jazzfest and the Satchmo mode, offers his first vocal of the Pee Wee Stomp, both with his own combo day on “The Gypsy” (with its rarely heard and as a member of Vince Giordano’s verse). Nighthawks. But for this afternoon’s Reaching for “another ship from the appearance at Shanghai Jazz his musical fleet” he picks up his baritone horn. The versatility is on full display, as he selects instrument, also known as a euphonium, horns from a veritable brass menagerie has “a fourth valve here in the front,” Jim and — ably abetted by the up-and-coming explains. “Not sure what it does, but I like pianist Gordon Webster — performs two the way it looks.” entertaining and eclectic sets that range from traditional and swing jazz to Tin Pan The gangly-looking tangle of brass has a Alley chestnuts and novelty tunes. sweet voice that Jim uses to good effect by playing a soulful version of South African- After opening with a melodious “St. Louis born pianist Abdullah Ibrahim’s anti- Blues” on his usual trombone, Jim explains apartheid, Spiritual-sounding “Water that he’d been inspired to also take up the From An Ancient Well.”After which he trumpet at age 20 after seeing the Jim closes the first set by singing “Quality Cullum Jazz Band’s Randy Reinhart play Shoe,” a tongue-in-check novelty tune both trombone and trumpet on a TV by rock guitarist Mark Knopfler about a broadcast. He also notes he’s owned every faded industrial city. “Imagine it’s 1955,” Tijuana Brass LP,“especially he explains. the one with the woman covered in frosting on the cover.” (Whipped Cream & Other For the second set, more potpourri. Harry Delights) Warren’s “Wasting My Love On You,” Tim Laughlin’s “Suburban Street Parade” (“a “I will try and play a tune on trumpet new obscure tune”), and DeSilva, Brown before my lips fail me,” he declares and plays and Henderson’s “Together,” lilting and a tasty Louis-like turn on Jelly Roll Morton’s sentimental here with the melody on “Wild Man Blues.” Evidently his lips are euphonium before a vocal chorus. Playing just one instrument — Shanghai’s Kawai Baby Grand — Gordon Webster is nonetheless as versatile as his multi- and Gordon then takes the tune to stride. instrumentalist partner, moving “Latin!” calls out Jim reaching for the easily from trad to stride to swing euphonium. Then, after a swing chorus by and even British music hall styles. Webster, Jim lifts his trombone. “Stop time,” For his solo spot he turns he declares, making for some intramural modernist with a richly played rhythmic high jinks between the players. performance of Bill Evan’s A perfect close to an afternoon of great haunting “Turn Out The Stars.” music — from a player who is also equal The duo pulls out all the stops parts engaging showman, able singer and for the show’s rousing closer — good-natured jokester, and who seems to “When You’re Smiling.” Jim begins take great pleasure in entertaining his with a rubato chorus on trumpet audience. JJ

Got E-mail? Friends Got E-mail? Get on Board for Raffles, Freebies, Discounts! Some special offers for NJJS members are late-breaking — so please send your e-mail address to [email protected]. Some of our partners make discounts and free tickets available to us, and often we are only able to pass those deals on via our e-mail list.

March 2012 ______45 New JerseyJazzSociety

From the Crow’s Nest What’s New? By Bill Crow Members new and renewed rumpeter Brian Davis, in Australia, follows We welcome these friends of jazz who recently joined NJJS or this column online. He sent me this story: renewed their memberships. We’ll eventually see everyone’s name T here as they renew at their particular renewal months. (Members Brian’s trio was playing a wedding reception with an asterisk have taken advantage of our new three-years-for-$100 back in the late 1970s, when, during the membership, and new members with a † received a gift membership. after-dinner dancing, an argument broke out Members who have joined at a patron level appear in bold.) between the groom and his best man. It turned into a fist fight, and soon the bride, still in her wedding gown, Renewed Members Barbara Marshall, Morris Plains, NJ joined in, slapping at both men. The band continued to play, and Mr. & Mrs. Bob Ackerman, Mr. & Mrs. Frank McCann, the drummer began catching the punches and slaps, with rim shots Irvington, NJ Somerset, NJ and heavy accents with his bass drum. The pianist joined in with Mr. Steve Albin, Montclair, NJ Mr. & Mrs. Donald R. Mildrum, Cave Creek,, AZ excerpts from The 1812 Overture. Mr. Gregory Babula, Bloomfield, NJ Mr. Linc Milliman, Pomona, NY Mr. Rocco Barone, Hawthorne, NJ The fiasco ended with one of the contenders unconscious on the Mr. & Mrs. John J. Moore, Mr. & Mrs. Robert G. Bienkowski, Murray Hill, NJ floor, the other with a bloody nose and a messy tuxedo. The bride Dover, NJ ran screaming from the room, and didn’t return. The father of the Mr. & Mrs. Robert A. Moore, Mr. & Mrs. Laurence D. Bobbin, Point Pleasant Beach, NJ bride came to the bandstand, thanked and paid the musicians, Morristown, NJ Mr. Charles J. Mowry, Piscataway, NJ Dr. & Mrs. Seymour Bushelow, and said, “I just knew something would go wrong tonight.” The Mr. Stanley J. Myers, Newark, NJ drummer answered, “I haven’t had so much fun since Granny Monroe Township, NJ Mr. & Mrs. Peter R. Caldwell, Mr. & Mrs. Art Nicholais, broke the elastic in her knickers.” Pine Beach, NJ * New Providence, NJ ■ Abby Mayer sent me a story she got from Arthur Goldstein. Mr. Gerry Cappuccio, Passaic, NJ Patricia O’Keefe, Sparta, NJ Mr. Charles N. Olsen, Mahwah, NJ When Arthur was playing a Broadway show, one of the trumpet Mr. Robert Chamberlin, Glen Ridge, NJ Mr. & Mrs. Harry Clark, Norwalk, CT Dorothy and Glenn Patterson, players realized just before curtain time that he had left his mute in Pompton Plains, NJ Mr. Alexander James Cox, Redding, CT his locker. He rushed out of the pit through the narrow passageway Mr. & Mrs. Vic Pecore, Westfield, NJ Keith and Dalya Danish, Leonia, NJ to the band room and crashed into an incoming woodwind doubler, Mr. Larry Peterson, Wyckoff, NJ Dr. & Mrs. Frank Dauster, Skillman, NJ sending a clarinet, an oboe, a flute, a saxophone and a bassoon Mr. & Mrs. Robert D. Pierson, flying to the floor. The trumpet player said, “Man, I’m sorry! It was Mrs. William H. Earnest, Warwick, NY Mendham, NJ my fault! Please take everything to Sam Ash and have them repaired. William Faresich, Randolph, NJ Mr. Paul A. Prusinski, I’ll pay for everything!” The doubler replied calmly, “Don’t worry. Mr. Bill Feldman, Colonia, NJ Monroe Township, NJ Mr. Andrew Filippone, Madison, NJ * Ms. C. Claiborne Ray, Brooklyn, NY They’re rented instruments…from Sam Ash!” Mr. Robert Fitterer, Morris Plains, NJ Ms. Karen Rodriguez, Bristol, PA ■ Saxophonist Greg Thymius told me two stories from trumpeter Mr. & Mrs. Wayne Frey, Somerset, NJ Mrs. Charles Root, Madison, NJ John Guess. (They were on tour together with Miss Saigon.) John Mr. & Mrs. Jack Gentempo, Mr. Richard Royce, Chatham, NJ told him that in Florida, where he lives, he and Ken Peplowski were Stockton, NJ Mr. Frederick Salmon, Sparta, NJ called by a contractor to play a show. Every time the guy called with Dr. & Mrs. Donald Greenfield, Jan Scheerer, Morganville, NJ East Orange, NJ new information, he would ask Ken, “So, you really play the bass Ms. Mary Sue Schmaltz, Metuchen, NJ Joe Hanchrow, New City, NY clarinet?” Ken would assure him that he did, but the contractor Mr. George W. Siver, Marlboro, NJ Jim & Judy Hancock, Watchung, NJ Mr. & Mrs. Thomas R. Smart, seemed so worried about it that Ken decided to put him on a little. Ms. Joan Hecht, Fair Lawn, NJ Whitehouse Station, NJ At the first rehearsal, Ken spread a large clarinet fingering chart Ms. Edythe Hittcon, Iselin, NJ Mr. & Mrs. Bud Smith, on the floor beside his music stand, and when he was sure the Mr. Brian Hochstadt, Morristown, NJ Boynton Beach, FL Craig Hoek, Keyport , NJ Mr. & Mrs. Robert V. Smith, contractor was looking at him, he began looking at the music, Murray Hill, NJ Mr. Bill Hoffman, Lancaster, PA then at the chart, and deliberately putting his fingers on the keys, Mr. Andrew J. Sordoni III, Mr. Fred J. Howlett, Brick, NJ * one at a time. The other musicians did their best to keep straight Forty Fort, PA Mr. Dan Kassell-Authentic Mktg., faces as the contractor turned pale. JJ Mr. & Mrs. Anthony Speranza, New York, NY Garwood, NJ Bill Crow is a freelance musician and writer. His articles and reviews have appeared in Dr. & Mrs. Richard L. Klein, Tenafly, NJ Mr. Lindley S. Squires, Down Beat, The Jazz Review, and Gene Lee’s Jazzletter. His books include Jazz Anecdotes, Mr. Luke Klisart, Washington, NJ From Birdland to Broadway and Jazz Anecdotes: Second Time Around. The preceding stories Upper Montclair, NJ * are excerpted, with permission, from Bill’s column, The Band Room in Allegro, the monthly Mr. Albert E. Koska, Jersey City, NJ Mr. Lawrence Stauffer, Glen Ridge, NJ newsletter of A.F. of M. Local 802. Mr. Boris Kwaloff, Montclair, NJ * Mr. & Mrs. Lee W. Swartz, Mr. David Levy, Fort Lee, NJ Gulf Shores, AL * Mr. Vincent E. Lobosco, Fanwood, NJ * Steve and Sharon Taksler, JAZZ TRIVIA ANSWERS Ms. Nita Loebis, Freehold, NJ Columbus, NJ Dr. & Mrs. Wayne Tamarelli, questions on page 4 Mr. Joseph Maffiore, Boca Raton, FL * Nancy Maglione, Morristown, NJ Basking Ridge, NJ Wayne & Barbara Thoen, Teaneck, NJ 1. Frank Wess 5. Mr. & Mrs. Frank Marrapodi, Watchung, NJ Mr. Myles E. Tierney, Whippany, NJ 2. 6. 3. 7. 4. Mundell Lowe 8. Sol Yaged

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Marlene Ver Planck, Clifton, NJ Ms. Vera Minak-Berneno, Grace Voltmann, Levittown, NY Bridgewater, NJ Ms. Patricia Moulton, Cedar Grove, NJ About NJJS Mr. & Mrs. Bernard Waters, Mission Statement: The mission of the New Jersey Jazz Society is to promote and West Orange, NJ Mr. Frank Pakozdi, Hillsborough, NJ preserve the great American musical art form known as Jazz through live jazz Mr. & Mrs. Michael Weiner, Daniel Pine, Short Hills, NJ * performances and educational outreach initiatives and scholarships. New Milford, NJ Roxbury Arts Alliance, Ledgewood, NJ To accomplish our Mission, we produce a monthly magazine, JERSEY JAZZ, sponsor Ms. Jackie Wetcher, Madison, NJ Mr. Bob Seeley, Flemington, NJ live jazz events, and provide scholarships to New Jersey college students studying Mr. & Mrs. LeRoy Williams, Montclair, NJ jazz. Through our outreach program, “Generations of Jazz,” we go into schools to Somerset County Vocational teach students about the history of jazz while engaging them in an entertaining and Dr. & Mrs. John Willson, Essex, CT * Foundation, Somerset, NJ * ______interactive presentation. Mr. & Mrs. George Wilson, Princeton, NJ Sheila and Marc Tarabour, Livingston, NJ * Founded in 1972, the Society is run by a board of directors who meet monthly to Mr. John Yanas, Albany, NY conduct the business of staging our music festivals, awarding scholarships to New William Thornton, Maplewood, NJ Jersey college jazz students, conducting Generations of Jazz programs in local New Members school systems, and inducting pioneers and legends of jazz into the American Jazz Hall of Fame, among other things. The membership is comprised of jazz devotees M Craig Akin, Jersey City, NJ * Founding Member from all parts of the state, the country and the world. Mr. Joseph Arena, Hillsborough, NJ The New Jersey Jazz Society is a qualified organization of the New Jersey Cultural Trust. Phyllis Blanford-Colleran, Newark, NJ Visit www.njjs.org, e-mail [email protected], or call the HOTLINE 1-800-303-NJJS Millicent Braden, Trenton, NJ for more information on any of our PROGRAMS AND SERVICES: ■ Stephen Fuller, Newark, NJ Generations of Jazz (our Jazz in the Schools Program) ■ Mr. Tom Gove, Warren, NJ Jazzfest (summer jazz festival) ■ Pee Wee Russell Memorial Stomp ■ e-mail updates William H. Hoek, Jr., Hillside, NJ ’Round Jersey (Regional Jazz Concert Series): Ms. Helen Jacobson, Randolph, NJ ■ Ocean County College ■ Bickford Theatre/Morris Richard Karmeros, Scotch Plains, NJ ■ Student scholarships ■ American Jazz Hall of Fame Mr. & Mrs. Chuck Lucas, Branchburg, NJ Tom McHugh, Rock Hill, MD Member Benefits Irene P. Miller, Budd Lake, NJ * Building an International Jazz Community What do you get for your dues? ■ Jersey Jazz Journal — a monthly journal considered one of the best jazz society publications in the country, packed with feature articles, photos, jazz calendars, upcoming events and news about the NJ Jazz Society. ■ FREE Jazz Socials — See www.njjs.org and Jersey Jazz for updates. CTSIMAGES |The Face of Jazz ■ FREE Film Series — See www.njjs.org and Jersey Jazz for updates. ■ Musical Events — NJJS sponsors and co-produces a number of jazz events LICENSING • RESEARCH • APPRAISALS each year, ranging from intimate concerts to large dance parties and picnics. Members receive discounts on ticket prices for the Pee Wee Russell Memorial Stomp and Jazzfest. Plus there’s a free concert at the Annual Meeting in December and occasionally other free concerts. Ticket discounts (where possible) apply to 2 adults, plus children under 18 years of age. Singles may purchase two tickets at member prices. ■ The Record Bin — a collection of CDs, not generally found in music stores, available at reduced prices at most NJJS concerts and events and through mail order. Contact [email protected] for a catalog. Join NJJS MEMBERSHIP LEVELS Member benefits are subject to update. ■ Family $40: See above for details. ■ NEW!! Family 3-YEAR $100: See above for details. ■ Youth $20: For people under 25 years of age. Be sure to give the year of your birth on the application where noted. ■ Give-a-Gift $20: NEW! Members in good standing may purchase one or more gift memberships at any time for only $20 each. Please supply the name and address of giftee. Good for new memberships only. ■ Supporter ($75 – $99/family) ■ Patron ($100 – $249/family) Members at Patron Level and above ■ Benefactor ($250 – $499/family) receive special benefits. These change periodically, so please ■ Angel $500+/family) } contact Membership for details. ■ Corporate Membership ($100) © Ray Avery/CTSIMAGES.COM © Ray

Photo Archives include vintage Jazz, Pop, Blues, R&B, Rock, Country/Western, To receive a membership application, Radio Personalities, Big Bands, Vocalists, Hollywood and more. for more information or to join: • PHOTOGRAPH RESEARCH • LICENSING FOR COMMERCIAL USE Contact Caryl Anne McBride Vice President, Membership • FINE ART LIMITED EDITION PRINTS • GALLERY EXHIBITIONS at 973-366-8818 or [email protected] • RECORD & PHOTOGRAPH APPRAISALS OR visit www.njjs.org OR simply send a check payable to “NJJS” to: WWW.CTSIMAGES.COM e-mail: [email protected] NJJS, c/o Mike Katz, 382 Springfield Ave., Suite 217, Summit, NJ 07901.

March 2012 ______47 JerseyEventsJazz ’Round Jersey celebration on Morris Jazz Jon-Erik Kellso Scott Robinson April 30. You’ll get The Bickford Theater to enjoy some at the Morris Museum top New England Morristown, NJ 07960 players who are Tickets/Information: 973-971-3706 not often heard he Big Birthday Bash has here: Skip Tbecome a popular annual theme at the Bickford Hughes, Jazz Showcase, so much so that the challenge is to Russ Whitman, find ways to present this exciting material in a Bob Bequillard, different manner each year. Trumpeter Jon-Erik Art Hovey and Kellso, who is leading the 2012 festivities, asked Bill Sinclair. that the date be pushed back to Wednesday, March They play 21, so he could draft some exceptional players who together regular- are otherwise engaged on Mondays. The Bickford ly, thus their complied, and he was thus able to recruit Scott arrangements are Robinson (bass sax and C-melody sax, possibly intricate and the more), Matt Munisteri (guitar, banjo) and Conal band is really Fowkes (piano and string bass), all of whom tight. double, thus giving his Bixtet a fuller sound. Later dates Kellso charmed the Pennsylvania Jazz Society with frequently heard together. Dan Tobias brings his include a tasty a similar lineup last summer, so there is no doubt cornet to the party, while Ed Wise adds string bass tribute led by Joe Midiri, an all-star they can do justice to the legacy of “the young to Marty’s acoustic guitar, possibly vocalizing when Leaderless Quartet (featuring , man with a horn.” Bix caught the attention of the Marty isn’t. Harry Allen, Rossano Sportiello and Laura Hull), musicians of the 1920s (more so than the public) piano extravaganzas by Neville Dickie (stride) and and his influence changed the way jazz solos were Baby Soda was the hit of last year’s NJJS Stomp, Bob Seeley (boogie-woogie), and the return of the played. Asked why he never recorded “Singin’ the but their first visit to the Bickford will be on mighty Jordan Thomas Orchestra. Blues,” Louis Armstrong replied “That’s Bix’s tune.” April 23, although most of the players have been Such was the regard the major names in jazz had there before with other groups. Come out for some for the cornetist, whose early death limited his compelling classic jazz played by Bria Skonberg Jazz For Shore recording career to less than seven years. (trumpet), Adrian Cunningham (reeds), Emily Arts & Community Center Asher (trombone), Jared Engel (banjo), Peter Ford at Ocean County College Rio Clemente takes the stage a few days later (box bass) and Kevin Dorn (drums). Toms River, NJ 08753 on Monday, March 26. The Bishop of Jazz is Tickets/Information: 732-255-0500 Fred Vigorito is the hot cornetist who has excited enormously popular in and around his native audiences here at several GroundHog Day Jams. jango Reinhardt is unique in the classic jazz era Morristown, yet the fans never tire of his piano He’ll be bringing his entire Galvanized Jazz Band in that he created his own style of jazz, one work. This is because he is so versatile. He can D down from Connecticut to close the JAM that endures to this day with a hefty number of play a thumping stride number, follow it with a piece that reflects his classical background, then work in a gospel theme, something jazzy Fête Manouche from Broadway, then a jazz treatment of a pop favorite, ending the set with a patriotic piece that brings the audience to its feet.

There is no way to predict which direction his concerts will take, especially when he has total control over a solo evening. The only certainty is that it will be unique, and subsequent visits will be entirely different. Rio is one of a kind.

April is Jazz Appreciation Month (JAM!), and the Bickford will contribute three very different presentations to this national celebration. Guitarist and raconteur Marty Grosz leads off on April 16, teamed with two other leaders in a trio that is warming a lot of hearts in , where they are

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practitioners and thousands of avid fans. Gypsy Jazz or, as they say in France, Jazz Manouche, enjoys a large, loyal and youthful following throughout Europe, where they consider this style their contribution to the jazz idiom.

Dan Levinson spent some years in Europe and became attracted to the Gypsy style. Generally groups playing Jazz Manouche are all strings, but even Django departed from that model later in his The Institute of Jazz Studies at Rutgers University– Newark is the largest and most career, replacing the violin with a clarinet, an comprehensive library and archive of jazz and jazz-related materials in the world! — a valuable instrument with similar range. Dan’s clarinet is thus resource for jazz researchers, students, musicians and fans. The archives are open to the public from 9 AM – 5 PM Monday through Friday, but please call and make an appointment. authentic and appropriate for his Fête Manouche Institute of Jazz Studies, Rutgers, The State University of NJ group, which played MidWeek Jazz last year to an John Cotton Dana Library, 185 University Avenue, Newark, NJ 07102 enthusiastic crowd. Web site: newarkwww.rutgers.edu/IJS 973-353-5595 They return on Wednesday evening, March 7 with a similar roster. Tom Landman and Ted Gottsegen calendar: provide the blazingly fast guitar work that free JAZZ RESEARCH ROUNDTABLES roundtables characterizes this style. They are supported by Rob A series of lectures and discussions. Programs are free and open to the public Adkins playing string bass (from Mona’s Hot Four), and take place on Wednesday evenings from 7:00 to 9:00 PM in the Dana Room, with rhythm guitar and vocals by Molly Ryan. The 4th floor, John Cotton Dana Library, Rutgers University, 185 University Ave., Newark, NJ. Refreshments are served. Information: 973-353-5595. Names in italics are the presenters. result is stirring, fast paced music that often Financial support for the Roundtable is provided by the Rosalind & Alfred Berger Foundation. appeals to people without a strong attachment to ■ March 7, 2012: Eunmi Shim: Lennie Tristano other forms of jazz. In fact, it can be addictive to all. ■ April 4, 2012: Radam Schwartz: Organ Jazz Selecting a band for Jazz Appreciation Month (JAM!) is never easy, but the choice of Emily Asher’s CONCERTS/PERFORMANCE free Jazz Dialogues: Intimate Improvisations, Dana Room, Dana Library, Garden Party makes a lot of sense. This was the concerts Rutgers-Newark (free admission) 973-353-5595 unheralded intermission band at JazzFest that drew This series is designed to bring to campus leading jazz soloists in duo and trio settings. some of the largest audiences of the day. In fact, it Each concert will include an interview/Q&A segment. IJS will again partner with local is the only band invited back for 2012, and was schools to give students an opportunity to meet and interact with these noted artists. booked for the Pee Wee Russell Memorial Stomp Funded by a grant from the Rutgers-Newark Cultural Programming Committee. as well. Hard to beat that as a recommendation! SPRING SEMESTER — dates to be announced: Carrie Jackson: Salute to Sarah Vaughan Emily Asher leads from the trombone chair when The New Generation: Organist Radam Schwartz will lead a group of some of the leading Newark- this band debuts here on April 18. She’s joined by based young jazz artists. Group to be drawn from some of the current crop of Newark-based young Bria Skonberg (trumpet) and the aforementioned jazz artists, including James Gibbs (trumpet), Curtis Taylor (trumpet), Radam Schwartz (organ/piano), Jamale Davis (bass). Dan Levinson (clarinet and sax) in the front line, supported by a small but talented rhythm section JAZZ FROM THE ARCHIVES on consisting of Nick Russo (guitar and banjo) and Broadcast hosted by IJS Director, 2007 NEA Jazz Master Dan Morgenstern, WBGO radio Sean Cronin (string bass). Save that date for an every Sunday at 11:00 PM on WBGO Radio (88.3 FM). www.wbgo.org. entertaining evening of hot jazz. ■ March 4 – The Adventures of a Jazz Baron: Dan Morgenstern's guest is Fradley Garner, translator-editor of the just-published memoirs of Timme Rosenkrantz (1911-69), the Booked for later dates are Randy Reinhart’s Danish jazz advocate who presented, photographed and recorded many jazz greats. All-Stars (with Herb Gardner, Brian Nalepka, ■ March 11 – Bix Beiderbecke at 109: Even though the legendary cornetist died in 1931, Bix still Ehud Asherie and Ken Salvo signed on), the lives in the hearts of his most ardent fans as demonstrated by host Vincent Pelote and his guest, popular String of Pearls, a harmonizing vocal trio, Andre Pelote, Vincent’s brother and fellow Bixophile. and guitar icon Bucky Pizzarelli, working with violin ■ March 18 – Portrait of Sheila Jordan: Host Bill Kirchner samples music from the long career virtuoso Aaron Weinstein, who alone is worth of singer/songwriter Sheila Jordan. catching. The Jazz Lobsters Big Band will be back ■ March 25 – For Bass Faces Only: Host Joe Peterson examines the music of bassist Oscar over the summer, as will the Vaché Brothers. The Pettiford, who followed Jimmy Blanton in the Duke Ellington Band and played and recorded with the Duke, , Dizzy Gillespie, and the cream of the jazz crop. Box Office can help you get the proper dates and ■ best seats. April 1 – Good-Bye Ray, Pt. 1: Host Ed Berger pays tribute to modern, two-fisted pianist Ray Bryant, who died on June 2, 2011. In his illustrious career Bryant played and recorded with JJ Jo Jones, Dizzy Gillespie, , and Benny Carter among others. ■ April 8 – Good-Bye Ray, Pt. 2: Host Ed Berger continues his tribute to modern, two-fisted ’Round Jersey concerts are produced pianist Ray Bryant, who died on June 2, 2011. by Bruce M. Gast in conjunction with the New Jersey Jazz Society. Performance photos by Bruce Gast.

March 2012 ______49 JerseyEventsJazz You can find jazz all over the state Somewhere There’s Music in venues large and small. Here are just some of them. We continually update entries. Please contact [email protected] if you know of other venues that ought to be here.

Allendale Cape May Englewood Hopewell Manville HYATT MORRISTOWN AT HEADQUARTERS PLAZA NINETY SIX WEST CAFÉ VFW POST 386 BERGEN PAC HOPEWELL VALLEY RHYTHMS OF THE NIGHT 3 Speedwell Ave. 96 West Allendale Avenue 419 Congress St. 30 N. Van Brunt St. BISTRO & INN 729 S. Main Street 973-647-1234 201-785-9940 609-884-7961 201-227-1030 15 East Broad St. 908-707-8757 www.morristown.hyatt.com www.ninetysixwest.com usual venue for www.bergenpac.org 609-466-9889 rhythmsofthenight.net Thursday Jazz at the Hyatt Jazz Night Out Wednesdays Cape May Trad Jazz Society www.hopewellvalleybistro.com Open jam session 5:30–8:30 PM 8 PM Some Sundays 2 PM Fairfield Friday/Saturday 7 PM Wednesdays 7–10 PM live Dixieland Minimum $15 BRUSCHETTA RESTAURANT THE SIDEBAR www.capemaytraditional AT THE FAMISHED FROG Asbury Park 292 Passaic Avenue Mendham jazzsociety.com 18 Washington St. CHICO’S HOUSE OF JAZZ 973-227-6164 Lawrenceville KC’S CHIFFAFA HOUSE 973-540-9601 631 Lake Ave. www.bruschettarestaurant.com FEDORA CAFÉ 5 Hilltop Road MAD BATTER www.famishedfrog.com/ 732-455-5448 Live piano bar every night 2633 Lawrenceville Road 973-543-4726 19 Jackson St. thesidebar chicoshouseofjazz.com 609-884-5970 609-895-0844 www.chiffafa.com Jazz 6 nights a week Jazz at the Batter Garwood Some Wednesdays 6:00 PM Live Jazz — Call for schedule ST. PETER’S EPISCOPAL Wednesdays 7:30–10:30PM No cover/BYOB CHURCH TIM McLOONE’S CROSSROADS 70 Maple Avenue 78 North Ave. Metuchen SUPPER CLUB BOILER ROOM, Little Falls 973-455-0708 1200 Ocean Ave. CONGRESS HALL 908-232-5666 NOVITA 732-744-1400 251 Beach Ave www.xxroads.com BARCA VELHA New & Pearl Streets SUSHI LOUNGE RESTAURANT/BAR timmcloonessupperclub.com 888-944-1816 Jam Session Tuesday 8:30 PM 732-549-5306 12 Schuyler Place 440 Main St., 07424 Blues and Latin Jazz Saturdays novitanj.com 973-539-1135 973-890-5056 July 18 – Sept.19 No cover www.sushilounge.com Bayonne Glen Rock www.barcavelha.com 8:30 PM – 12:30 AM Sunday Jazz Nights 7–10 PM THE BOILER ROOM GLEN ROCK INN Fridays 7:30 PM Bossa Brazil 280 Avenue E MERION INN 222 Rock Road No cover Montclair 201-436-6700 106 Decatur St. 201-445-2362 CHURCH STREET CAFÉ Mountainside www.arts-factory.com 609-884-8363 www.glenrockinn.com Linden 12 Church St. ARIRANG Fri/Sat 10 PM; Sun 7 PM Jazz Piano daily 5:30 – 9:30PM Thursday 7 PM 1230 Route 22W ROBIN’S NEST FIRST CONGREGATIONAL 908-518-9733 RHYTHM & BLUES CHURCH Wednesday 7:30 PM Bernardsville Cherry Hill Hackensack 3103 Tremley Point Road 40 South Fullerton Ave. BERNARD’S INN ST. ANDREWS UNITED SOLARI’S Linden, NJ 07036 973-744-6560 27 Mine Brook Road METHODIST CHURCH 61 River St. 908-275-3043 Mount Holly PALAZZO RESTAURANT 908-766-0002 327 Marlton Pike 201-487-1969 www.robinsnestrhythm THE FIREHOUSE CAFE 11 South Fullerton Ave. www.bernardsinn.com Tri-iState Jazz Society venue 1st Tuesday 8:00 PM andblues.com. 20 Washington Street 973-746-6778 Monday – Saturday 6:30 PM www.tristatejazz.org Rick Visone One More Once 609-261-4502 Friday/Saturday 7:00 PM Piano Bar Big Band www.thefirehousecafe.net Lyndhurst Joe Licari/Guest Pianist Clifton No cover WHISKEY CAFÉ Bloomfield ST. PETERS EPISCOPAL STONY HILL INN 1050 Wall St. West, 07071 RICHIE CECERE’S Newark CHURCH 201-939-4889 PIANOS BAR AND GRILL 231 Polifly Rd. 2 Erie Street 27 MIX 380 Clifton Ave. www.whiskeycafe.com 36 Broad Street 201-342-4085 973-746-7811 27 Halsey Street 973-546-3406 One Sunday/month Bloomfield NJ 07003 www.stonyhillinn.com 973-648-9643 Saturdays 7:30 PM swing dance + lesson SESAME RESTAURANT (973) 743-7209 Reservations Friday and Saturday evenings & JAZZ CLUB www.27mix.com www.pianosbarandgrill.com 398 Bloomfield Avenue BETHANY BAPTIST CHURCH Jazz Thursdays, Piano Bar Closter Madison 973-746-2553 Highland Park 275 Market Street Fridays/Saturdays, Cabaret HARVEST BISTRO & BAR SHANGHAI JAZZ sesamerestaurant.com PJ’S COFFEE 973-623-8161 Wednesdays/Fridays 252 Schraalenburgh Road 24 Main St. Monthly Jazz Night, 315 Raritan Avenue www.bethany-newark.org 201-750-9966 732-828-2323 973-822-2899 call for schedule WESTMINSTER www.shanghaijazz.com www.harvestbistro.com Sunday 1–5 PM Somerset Jazz NEWARK MUSEUM ARTS CENTER/ TRUMPETS BLOOMFIELD COLLEGE Every Tuesday: Ron Affif/ Consortium Open Jam Wednesday/Thursday 7 PM 49 Washington St. 6 Depot Square 467 Franklin St. Lyle Atkinson/Ronnie Zito Friday/Saturday 6:30 PM 973-596-6550 973-744-2600 973-748-9000 x343 Sunday 6 PM www.newarkmuseum.org Hillsborough www.trumpetsjazz.com No cover Summer Thursday afternoons Cresskill DAY’S INN Tuesday/Thursday/ GRIFFIN’S RESTAURANT Brooklawn 118 Route 206 South Mahwah Sunday 7:30 pm NJPAC BROOKLAWN AMERICAN 44 East Madison Ave. 908-685-9000 Friday/Saturday 8:30 PM 1 Center St. BERRIE CENTER/ LEGION HALL 201-541-7575 Thursday 7 PM Open Jam RAMAPO COLLEGE 888-466-5722 Browning Road & Every Tuesday www.njpac.org Railroad Ave. 08030 Frank Forte solo guitar 505 Ramapo Valley Road Moorestown 856-234-5147 Hoboken 201-684-7844 SAINT MATTHEW THE PRIORY LUTHERAN CHURCH Tri-State Jazz Society MAXWELL’S www.ramapo.edu/berriecenter 233 West Market St. Deal 318 Chester Avenue usual venue 1039 Washington St. 973-242-8012 AXELROD PAC Tri-iState Jazz Society venue www.tristatejazz.org 201-798-0406 Friday 7:00 PM Jewish Community Center Manalapan www.tristatejazz.org Some Sundays 2:00 PM Every other Monday 9:00 PM No cover 732-531-9100 x 142 MONMOUTH COUNTY Swingadelic LIBRARY www.arthurtopilow.com Morristown SKIPPER’S Buena Vista PILSENER HAUS & 125 Symmes Drive PLANE STREET PUB 732-431-7220 THE BICKFORD THEATRE VILLA FAZZOLARI BIERGARTEN 304 University Ave. Dover TTY Hearing Impaired: AT THE MORRIS MUSEUM 821 Harding Highway 1422 Grand Street 973-733-9300 ATTILIO’S 732-845-0064 5 Normandy Heights Road Atlantic City Jazz Band 201-683-5465 www.skippers 80 East McFarland St. (Rt. 46) www.monmouth 973-971-3706 Third Wednesday of the month www.pilsenerhaus.com/ planestreetpub.com 973-328-1100 countylibrary.org www.morrismuseum.org and some Sundays events.html Some Mondays 8:00 PM www.attiliostavern.com Live music Wed & Thur, 8–12 PM, Free monthly jazz concerts Sept.–June. New Brunswick no cover charge THE COMMUNITY THEATRE Byram Edgewater Sun Brunch Jazz Sessions DELTA’S 100 South St. 19 Dennis St. The Restaurant at Adam Todd LA DOLCE VITA noon – 4 PM with solo Maplewood 973-539-8008 732-249-1551 263 Highway 206 270 Old River Rd. guitarist Greg Graham, BURGDORF www.mayoarts.org www.deltasrestaurant.com/nj www.adamtodd.com 201-840-9000 no cover CULTURAL CENTER Saturdays 7–11 PM 973-347-4004 Parking: 6 hrs for $4 just 10 Durand St. HIBISCUS RESTAURANT across from Pilsener Haus 973-378-2133 At Best Western Morristown Inn at 1501 Adams Street www.artsmaplewood.org 270 South St. | 866-497-3638 www.hibiscuscuisine.com Tues, Fri, Sat, Sun brunch

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

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Tell them you saw it in Jersey Jazz!

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

THE HYATT REGENCY Oakland Red Bank SOPHIE’S BISTRO LOUNGE ZEN Watchung NEW BRUNSWICK HANSIL’S BAR AND GRILL COUNT BASIE THEATRE 700 Hamilton Street 254 DeGraw Ave. WATCHUNG ARTS CENTER 2 Albany Street 732-545-7778 201-692-8585 732-873-1234 7 Ramapo Valley Rd. 99 Monmouth St. 18 Stirling Road 201-337-5649 732-842-9000 NO COVER www.lounge-zen.com 908-753-0190 NO COVER New Brunswick Jazz Project No cover New Brunswick Jazz Project [email protected] RUGA’S ”JAZZ IN THE PARK” presents live Jazz Fridays presents live Jazz PUFFIN CULTURAL FORUM www.watchungarts.org 4 Barbara Lane Riverside Park 8–11 PM Wednesdays, 7:30–10:30 PM Jazz programming; 201-337-0813 http://nbjp.org or 732.640.0001 20 East Oakdene Ave. http://nbjp.org or 732-640-0001 732-530-2782 check for details Tuesday thru Saturday 7:00 PM for dates/times 201-836-8923 for dates/times Ridgewood ULTRABAR KITCHEN Wayne MAKEDA ETHIOPIAN Pine Brook Somerville & COCKTAILS RESTAURANT WINBERIE’S WILLIAM PATERSON MILAN 400 Cedar Lane 338 George St. AMERICAN BISTRO VERVE RESTAURANT UNIVERSITY 13 Hook Mountain Road 201-357-8618 732-545-5115 30 Oak Street 18 East Main St. 300 Pompton Road 973-808-3321 www.makedas.com 201-444-3700 908-707-8605 973-720-2371 www.milanrestaurant.com NO COVER www.selectrestaurants.com www.vervestyle.com Tom’s River www.wpunj.edu Fridays 6:30 PM Stein Brothers New Brunswick Jazz Project Thursdays Piano Jazz/Pop Occasional Thursdays 6 PM OCEAN COUNTY COLLEGE Sunday 4:00 PM presents live Jazz Thursdays, Fridays/Saturdays Jazz/Pop duos Fridays/Saturdays 8:30 PM FINE ARTS CENTER 7:30 – 10:30 PM Plainfield College Drive Weehawken CAFÉ VIVACE 732-255-0550 STATE THEATRE Rumson South Brunswick 1370 South Avenue www.ocean.edu/campus/ SPIRIT OF NEW JERSEY 15 Livingston Ave. SALT CREEK GRILLE JAZZ CAFÉ 908-753-4500 fine_arts_center 1500 Harbor Blvd. 732-246-7469 4 Bingham Avenue South Brunswick (Dayton) Some Wednesdays 866-483-3866 www.statetheatrenj.org www.cafevivace.com 732-933-9272 Municipal Complex Saturdays 7:30 PM www.spiritofnewjersey.com www.saltcreekgrille.com 540 Ridge Road Monthly Jazz Cruise; TUMULTY’S 732-329-4000 ext. 7635 Totowa 361 George St Call for Dates Princeton [email protected] SUSHI LOUNGE 732-545-6205 Sayreville MCCARTER THEATRE first Friday every month 235 Route 46 West New Brunswick Jazz Project SHOT IN THE DARK 91 University Place $5 admission includes light West Orange presents live Jazz & Jam SPORTS BAR & GRILL www.sushilounge.com 609-258-2787 refreshments 973-890-0007 WHOLE FOODS MARKETS Session Tuesdays 8–11 PM 404 Washington Road Baldwin Jazz Piano Series http://nbjp.org for dates/times 732-254-9710 Sunday Jazz 6 pm MEDITERRA Tuesday, 6-8 PM/Free 29 Hulfish St. Thursday 7:30 pm South Orange New Providence 609-252-9680 John Bianculli SOUTH ORANGE Trenton FRANKLIN TAVERN NO COVER PERFORMING ARTS CANDLELIGHT LOUNGE 97-99 Franklin Ave. PONTE VECCHIO CENTER RISTORANTE www.terramomo.com/ 24 Passaic St 973-325-9899 Seabright One SOPAC Way At Best Western Murray Hill Inn restaurant/mediterra www.jazztrenton.com No cover THE QUAY 973-235-1114 535 Central Ave. 609-695-9612 SALT CREEK GRILLE 280 Ocean Ave 908-464-4424 Saturdays 3–7 PM 1 Rockingham Row, 732-741-7755 Westfield Monthly Jazz Nights Thursday nights South River 3rd Saturday of each month Forrestal Village JOE’S MILL HILL SALOON 16 PROSPECT WINE BAR Jazz Lobsters big band LATAVOLA CUCINA & BISTRO 6:30–9:30 PM 609-419-4200 Market & Broad Streets RISTORANTE 16 Prospect St. 07090 www.saltcreekgrille.com 609-394-7222 700 Old Bridge Turnpike 908-232-7320 Sewell Occasionally Newton WITHERSPOON GRILL South River, NJ 08882 www.16prospect.com TERRA NOVA BULA 57 Witherspoon Street 732-238-2111 Jazz on Tue-Wed-Thu | 8 PM 590 Delsea Drive 134 Spring St. 609-924-6011 www.latavolacucinanj.com/ Union 856-589-8883 973-579-7338 www.jmgroupprinceton.com The New World Order SALEM ROADHOUSE CAFE ACQUAVIVA http://terranova www.bularestaurant.com Tuesday night jazz 6:30–9:30 PM Open Jam Session 829 Salem Road 115 Elm St. restaurantbar.com 908-301-0700 Fridays 8:00 PM Every Thursday 7:30-11 PM. www.RoadhouseCafe.org Fridays & Saturdays Live Jazz www.acquaviva- Rahway No cover, half-price drink specials. once per month dellefonti.com North Arlington ARTS GUILD OF RAHWAY proceeds benefit charities Fridays 7:00 pm 1670 Irving St. Short Hills UVA Summit VAN GOGH’S EAR CAFÉ 602 Ridge Road 732-381-7511 JOHNNY’S ON THE GREEN SUMMIT UNITARIAN CHURCH 1017 Stuyvesant Ave. Friday 7:00 PM www.rahwayartsguild.org 440 Parsonage Hill Road Woodbridge 4 Waldron Ave. 908-810-1844 Adam Brenner 8:00 PM 973-467-8882 JJ BITTING BREWING CO. Sunday www.vangoghsearcafe.com www.johnnysonthegreen.com 33 Main Street UNION COUNTY Sundays 8 PM 732-634-2929 North Branch PERFORMING ARTS Teaneck $3 cover NEW ORLEANS FAMILY CENTER Somerset www.njbrewpubs.com Fridays 9:30 PM RESTAURANT 1601 Irving Street SALTWATER’S SEAFOOD THE JAZZBERRY PATCH AT 1285 State Highway 28 www.ucpac.org AND SOUTHERN CUISINE THE CLASSIC QUICHE CAFE Warren 908-725-0011 732.499-0441 RESTAURANT 330 Queen Anne Rd. UPROOT RESTAURANT Wood Ridge 7:00 PM (Call for schedule) Teaneck, NJ 07666 9 Mount Bethel Road 1991 Route 27 MARTINI GRILL 201-692-0150 908-834-8194 (Lincoln Highway ) 187 Hackensack St. MySpace.com/thejazzberrypatch www.uprootrestaurant.com Nutley Raritan 732-821-1001 201-209-3000 Thursdays 7-9 PM Somerset Jazz Open Jazz Jam Jazz trios Thursday, Friday and HERB’S PLACE MUGS PUB AND Wednesday through every Tuesday night. Saturday, 8-11 PM AT THE PARK PUB RESTAURANT Consortium Open Jam No cover Friday nights. Saturday 785 Bloomfield Avenue 73 West Somerset Street Different artist every week. 973-235-0696 908-725-6691 Please check the site. 8:30–11:30 PM Fridays 7 PM

The Name Dropper Recommendations may be sent to [email protected]. At Trumpets Montclair, 2/25 MEL DAVIS NBJP presents 3/1 THE TANYA DARBY At the Brick Oven of Morristown, PAM PURVIS QUARTET; 3/8 THE SYLVIA CUENCA QUARTET; Tuesdays – Thursdays. 90 South Street. At Hoboken’s Pilsener Haus: 3/1 LISA 3/22 THE MIMI JONES QUARTET at Makeda in NOBUMOTO, Be-bop, Blues, and Ballads; 973-984-7700. New Brunswick, and much more. 3/3 ALEX MEIXNER’S BAND “The Hardest At the Glen Rock Inn, BUCKY PIZZARELLI, working man in Polka music.” From old time At Bethany Baptist Church in Newark, JERRY BRUNO, and AL CAIOLA 3/29. polkas and waltzes to more jazz and pop. 3/3 PIANIST SHAMIE ROYSTON TRIO. SANDY SASSO closes the Women in Jazz series at Chico’s 3/31 in Asbury Park. Also visit Andy McDonough’s njjazzlist.com

March 2012 ______51 c/o New Jersey Jazz Society PERIODICALS Michael A. Katz Time Value Material 382 Springfield Ave., Suite 217 Deliver Promptly Postage PAID at Summit NJ 07901 West Caldwell, NJ Send all address changes and additional to the address above mailing offices

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