Volume 35 • Issue 10 November 2007 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz.

Crowd Pleaser Thousands flock to Princeton for food and jazz By Tony Mottola Editor Jersey Jazz

Princeton JazzFeast 2007 — story on page 26. Free for members! inset: photo Alan Dale. Photos by Tony Mottola. NJJS Annual Meeting SUNDAY, DECEMBER 2 • CONCERT see pp 3, 8, 49

ARTICLES Ellingtonia on the Net ...... 32 Institute of Jazz Studies/ Snuffy’s ...... 23 in this issue: Classic Stine...... 9 Crow’s Nest ...... 49 Jazz from Archives...... 49 CTS Images ...... 24 NEW JERSEY JAZZ SOCIETY Meadowbrook Swings Again. . . . . 9 REVIEWS Somewhere There’s Music . . . . . 50 Lana’s Fine Dining ...... 25 Pres Sez/NJJS Calendar Big Band in the Sky ...... 10 D. Sherman/KT Sullivan ...... 34 The Name Dropper ...... 51 Community Theatre...... 33 NH Library of Traditional Jazz . . . 14 Glen Rock Inn ...... 34 & Bulletin Board...... 2 CDs: Compact Views/ ADVERTISERS Talking Jazz with Anat Cohen . . . 16 Other Views ...... 36 Arbors Records ...... 35 November 18 Member Meeting . . 3 Cornerstone...... 5 The Mail Bag/Jazz Trivia...... 4 Dan’s Den ...... 22 DVDs: Jazz Icons/ Jazzdagen Tours...... 39 Yours for a Song ...... 24 Improvisation ...... 40 Shanghai Jazz...... 7 46 Lounge ...... 43 Editor’s Pick/Deadlines/NJJS info . 6 35th Anniversary Dinner Dance. . . 28 September Member Meeting . . . 46 Whiskey Café...... 11 PA Jazz Society ...... 44 Notes from the Music Committee . . 8 Riverwalk Jazz on WBGO...... 30 EVENTS Cedar Grove Elks/Meadowbrook. . 13 Atlanta Jazz Party ...... 45 In the Mainstream...... 44 Giants of Jazz at the Baird . . . . . 30 ’Round Jersey: Bridgewater, Trumpets ...... 17 Riverwalk Jazz ...... 46 New Members/About NJJS/ Jerry Vezza Benefit ...... 31 Morris, Ocean ...... 48 Salt Creek Grille...... 19 Laura Hull...... 52 Membership Info ...... 47 Glen Rock Inn ...... 31 NJJS Annual Meeting ...... 49 Seton Hall University ...... 21 Weichert Realtors ...... 52 New JerseyJazzSociety

Wish List NJJS Calendar NJJS seeks a volunteer Membership Sunday October 21 2007 Administrator. Need minimal MONTHLY MEMBER MEETING computer skills and the ability to work with a basic address book. Trumpets/Montclair Add new members, renewals to see p 8 & ad p 43 Prez Sez database, send reminders...Please contact [email protected] if you can Sunday October 21 2007 By Andrea Tyson President, NJJS take over this vital function. Lyndhurst dance field trip see p 2 Vince Giantomasi, whose wishes specified that Friday October 26 2007 Thanks for the Whippany dance field trip donations in his memory be made to NJJS. He was see p 2 memories — a past board member and great supporter of jazz in New Jersey, who could be seen many nights at Friday November 9 2007 35 years of them! the Crossroads in Garwood. So, we used their very Whippany dance field trip generous donations toward the costs associated see p 2 he Jazz Society had a rousing good time at our Trecent 35th Anniversary Dinner Dance.The with this event. I think he would have liked that. Sunday November 18 2007 swing dancers were out there struttin’ their stuff ■ Summer seems to be a great time in New Jersey MONTHLY MEMBER MEETING to the tuneful sounds of Reeds, Rhythm & All That for jazz festivals. Keep them in mind for next year: Trumpets/Montclair Brass big band led by our past Vice President, see p 8 & ad p 43 the free Oskar Schindler PAC Jazz Festival and Dr. Lou Iozzi. Past NJJS Directors also in the band: Crafts Fair in West Orange; the Liberty Jazz Sunday November 18 2007 on the keyboard was his wife, Fran DePalma, and Festival, Jersey City (the same weekend!) and the Lyndhurst dance field trip Dan Brady was on trombone. Laura Hull emceed State Theatre Jazz Festival in New Brunswick. see p 2 and chaired the event and also sang with the band The NJJS was provided space to promote our on three tunes: “Almost like Being in Love,”“The Sunday December 2 2007 Society and events at each of these events and we NJJS Annual Meeting Nearness of You” and “Taking a Chance on Love.” thank the organizers for their partnership with us. We had five past presidents (Lou Rizzi, Don Cornerstone/Metuchen ■ Jazz Wednesdays at Lounge 46 in Totowa —I music: Mark Shane/Terry Blaine Robertson, Eddie Metz, Joe Lang and Helen Dorn, who came from far away to be with us. Thanks, recently visited to catch Zan Stewart and a terrific Sunday December 2 2007 Helen!). Our guests of honor, Roseanna Vitro, band with Bob DeVos on guitar, Ed Alstrom on Lyndhurst dance field trip George Kanzler, and Rufus Reid received our organ, and Don Guinta on drums. Food is well see p 2 inaugural Jazz Leadership Awards. Our display of presented and tasty, and the sight lines are perfect. So, there’s one more place to go. Check out their Saturday January 19 2008 memorabilia was entertaining. We even had a slide Bridgewater see ad p 37 & p 44 show of vintage illustrated Jersey Jazz covers from drummer’s website for future performances: the 1970s. www.myspace.com/donguinta. Saturday March 2 2008 ■ PEE WEE STOMP Thanks to the Committee, who planned the event NJPAC: Just in to me — mark on your Birchwood Manor/Whippany and worked hard to bring it to fruition: special calendars November 23–25 for NJPAC’s musical see p 8 thanks to Frank Nissel who supported the event by production “Cookin’ at the Cookery.” The paying for the band and their food — we very production is based on the life of jazz legend Saturday & Sunday much appreciate Frank’s generosity to our Society Alberta Hunter. We’ve partnered with NJPAC to June 6 & 7 2008 for many, many years. Frank’s been a great friend promote this event and we’re hoping to offer JAZZFEST to NJJS. Also contributing to the event were discount tickets to NJJS members (more details to Drew University/Madison donations from the family and friends of the late follow in future e-blasts and/or on our website).

NJJS Bulletin Board Monthly Member Meetings say you’d like a LINK on the NJJS site. Not a member? Lyndhurst; Fridays 10/26, 11/9 in Whippany; Get on Our series of entertaining meetings continues at Just join at our regular $40 member rate and E-mail for details. Contact Linda at 201-306-2769 or connect with your worldwide audience at [email protected]. Trumpets on 10/21 and 11/18. Members attend www.njjs.org. free. See page 8 for details. NJJS December 2 Annual JazzDance Join NJJS members and friends Meeting is our end-of-year thank-you and Musicians: Join NJJS, who’ve tried our dance field trips! NO PARTNER report to members! Free concert. This year at the Get Linked! Musicians…already NJJS NEEDED. ALL AGES WELCOME. NO EXPERIENCE Cornerstone with entertainment by Terry Blaine and members? Contact Steve Albin ([email protected]); NECESSARY. Sundays 10/21, 11/18 and 12/2 in Mark Shane. See details above, on pages 8 and 49.

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Merchandise The Society has an HP Deskjet 9800 inkjet printer to sell/give/donate? Former JJ Editor Paul White used it but now it sits idle. If you have any ideas for it, please let us know.

It can print up to 11"x17" paper size. It is a physically large machine at almost 24" wide and roughly 16" deep. It uses standard ink packages of one black and one tri-color.

Come to our Member Meeting 11/18 and see! November Member Meeting www.njpac.org ■ A benefit concert is planned for Jerry Vezza who is suffering with throat cancer. Please come “Happiness is playing in the Key of E” out and support this event on Monday, November 12. (For full details, see page 31.) ■ And don’t forget NJJS events: please come out to our free Member Meeting on November 18 at Trumpets featuring Tony Mottola, Jersey Jazz editor, presenting a program about his dad. He’ll be showing vintage music clips, and I’m sure he’ll have some funny stories to pepper his presentation. ■ The NJJS Annual Meeting is set for December 2 at the Cornerstone in Metuchen. The afternoon will feature Mark Shane and Terry Blaine sharing the stage for two sets. This is a free concert as a Member Benefit! Holiday gifts will be for sale — CDs, gift memberships and Jack Stine will be signing his book, Stine’s Songs. Former Jersey Jazz editor Paul White has compiled 35 years of Jack’s columns from the journal and produced a lovely bound book that would make a great gift. And if you have suggestions of names for new board members now is the time to let Elliott Tyson know — [email protected]. We’d be happy to make room for a few more good people. Posing at a 1948 MGM Records recording session (l–r): Bob Haggart, vocalist Johnny Desmond, ■ Mark down in big letters our Stomp — Sunday pianist Lou Stein, Bobby Hackett and Tony Mottola. afternoon, March 2, 2008 — great line-up once again and Joe Lang will be talking about it in his n November 18, Jersey Jazz editor Tony Mottola, son and namesake of the late Music Committee columns. Oguitarist, will present a program focusing on his father’s 50-year career in ■ Some of us are heading to Cape May for their music. The legendary NYC studio sideman, who recorded 50 albums as a leader, jazz festival November 9–11 so I’ll be mentioning was also the premier singer’s accompanist of his era, as evidenced by his work with that in a future column. Let me know if you’re Perry Como, Johnny Mathis, Rosie Clooney, Johnny Desmond and Frank Sinatra, going ([email protected]) so you can get details and among many others. attend Elliott’s and my Saturday cocktail party The program at Trumpets Jazz Restaurant in Montclair will feature a rare for NJJS members! We’d love to have you join us. 1940s CBS-TV kinescope, never before seen concert video of Frank Sinatra JJ ■ So much to say, so little space! When I get my performing at Carnegie Hall, Tony Mottola CD raffles and FREE CALAMARI! act together, I’ll be blogging on our website on various topics — thoroughly modern Andi! I don’t have space in this column to get it all in. NJJS.org Webmaster Steve Albin and I are working on that happening in 2008. JJ

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The Mail Bag THANK YOU to everyone extent have they now become the But without the aforementioned I AM WRITING with the hope that for producing this article (“Talking exception? Think for a minute of exposure, how? someone in your organization Jazz — An Interview with Pianist your own family and circle of That panel of local music professors might assist me with a question Helen Sung,” Oct. 2007 Jersey Jazz) friends. Are your high-school aged at the Jazz Society’s monthly pertaining to the Jersey jazz scene for my Jersey Jazz Splash! Best nieces, nephews, grandchildren, meeting a few months ago all in the spring of 1950. wishes for much continued success or the kids of old college friends wished that their jazz-playing I am currently conducting research — and y’all are much appreciated well versed in the history of jazz, students had more of the music in for a book I’m writing on Charlie for helping to make the world a minimally versed, or basically their background. Well, I would Parker, and it is peripherally of "safer place for jazz!" clueless? How many famous jazz echo that sentiment many times great import that I identify a Helen Sung figures can they identify? over for public school students in structure called the Old Celtic New York, NY Last year I took early retirement the U.S. these days. In fact, for an Hall in Jersey City. from the classroom as an English ever-growing percentage of our MY APOLOGIES FOR BEING SO In the spring of 1950 the Old Celtic teacher and returned to my old population under 30 or 35, we have Hall purportedly hosted a concert CURMUDGEONLY amidst such school as a community volunteer reached the day that Miles Davis perennial optimists as the New or engagement featuring Babs to start a music program where predicted long ago, in which jazz Gonzalez and several other jazz Jersey Jazz Society, but this comes none had previously existed. I spent exists as museum music. after 27 years in the high school musicians. However, I have been my own money for a couple of James Pansulla trenches: How is jazz to survive if unable to verify where in Jersey refurbished upright pianos, a Bloomfield, NJ City the (building) was located. so much of the younger generation decent used set of drums, and Any assistance would be greatly has no clue about it? How many some department store keyboards. FABULOUS DESIGN and school districts have gone the way I showed up every week and made production work on our Journal! appreciated. of Mr. Holland’s Opus, and cannot an open offer for private lessons. Charles M. Huck Ron Fritts offer even the most rudimentary I combined two things I had lots of Bedminster, NJ Ron Fritts Historical Research jazz history or jazz appreciation experience with — a 30-year music 3038 Big Woods Road anywhere in their curriculum? If hobby and supportive interaction THANK YOU FOR sending a copy of Ijamsville, MD 21754 no one in their household listens to with teenagers who were exploring October Jersey Jazz. The article on [email protected] or plays our music, where then will new areas of learning. Mitch (Seidel) was great and I 301-606-0874 (Cell) young people get this exposure? appreciated the credits you threw 301-874-3128 (Home & Office) Channel surfing on their car radio? But this was basic chord structure and do-re-mi stuff, and when it my way. It was easy throwing the A new 30-second department store truth at all my students. They called ad for the holidays? came to things jazz related, I got lots of blank stares, even from those me “The Corruptor.” As you have no doubt noticed, who had previous music instruction Morty Geist our popular culture isn’t very in the earlier grades. Bridging that Springfield, NJ jazz literate these days. huge gulf from what we were doing I know that there are still school to any type of more complex districts with jazz orchestras and a improvisation would have to come music curriculum. But to what much later in their development.

Don Johnson

Jazz Trivia By O. Howie Ponder II Questions

1. Who led “The Band of Renown”? 3. In an advertisement for his 1942 5. Chicago’s Sunset Café, famed in Louis concert at Carnegie Hall, this rotund pianist Armstrong’s “Sunset Café Stomp” and the Name the musicians these singers 2. was referred to as “The Girth of the Blues.” Grand Terrace Café, home of Earl Hines’ were married to (at least at one time.) Who was he? orchestra in the late 1930s had one thing a. Lee Wiley in common. What is it? b. Mildred Bailey 4. The Howard Alden/Dan Barrett c. Pearl Bailey Quintet utilized several original d. Keely Smith compositions by a member of the original Count Basie Orchestra. Who was he? answers on page 38

4 ______November 2007 The CORNERSTONE Café and Bistro 25 New Street, Metuchen, NJ The best in live jazz in Central New Jersey.

Jazz Schedule for November 2007 FRIDAYS 7:30 PM – 11:30 PM 11/2: DAVID SCHNITTER QUARTET w/ MARK SOSKIN on piano

11/9: VIRGINIA MAYHEW QUARTET w/ NORMAN SIMMONS

11/16: HENDRIK MEURKENS QUARTET

11/23: MARK SOSKIN QUARTET w/ JED LEVY

11/30: CLIFF KORMAN QUARTET

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The Editor’s Pick JerseyJazz The Journal By Tony Mottola Jersey Jazz Editor of the New Jersey Jazz Society Volume 35 • Issue 10 USPS® 6668 Jersey Jazz (ISSN 000-004) is published monthly eleven times per year with a combined July/August Quarter Notes issue for members of The New Jersey Jazz Society, PO Box 410, Brookside, NJ 07926. Membership fee is $40/year. Periodical postage paid at Morristown, NJ 07960. ANNIVERSARY WALTZ Some great New Jersey jazz institutions Postmaster: send address changes to are celebrating anniversaries this month, including the Diane PO Box 410, Brookside, NJ 07926-0410. Moser’s Composers Big Band (10th), The Baird’s (South Orange) All contents ©2007 New Jersey Jazz Society. Giants of Jazz series (10th) and Madison’s Shanghai Jazz Tony Mottola Editor Restaurant and Bar (11th). Congratulations all around. 27 Upper Mountain Ave. Montclair, NJ 07042 TRAD JAZZ FANS RULE Memo to Trad fans: You win! Jazz radio 973-509-9437 E-mail: [email protected] giant WBGO-FM recently added Jim Cullum’s long-running Public Radio broadcast Riverwalk Jazz to their regular lineup, with Linda Lobdell Art Director/Associate Editor 352 Highland Ave. program director Thurston Briscoe stating: “Our listeners Newark, NJ 07104 expressed an interest in hearing more pre-World War II 201-306-2769 jazz, and that’s what Riverwalk Jazz delivers.” E-mail: [email protected] Fradley Garner International Editor THE MEADOWBROOK SWINGS AGAIN Well, at least for E-mail: [email protected] one night (11/17), as The Silver Starlight Orchestra takes the John Maimone Entertainment Contributor bandstand and swing dancers take to the dance floor for a USO 908-753-6722 benefit show at the legendary Cedar Grove birthplace of Swing Era E-mail: [email protected] national radio dance band broadcasts. Fred McIntosh Entertainment Contributor 201-784-2182 HAPPY BIRTHDAY PHIL Alto saxophone jazz treasure E-mail: [email protected] Phil Woods celebrates number 76 on November 2. JJ NEW JERSEY JAZZ SOCIETY OFFICERS 2007 Andrea Tyson President 110 Haywood Ave. Piscataway, NJ 08854 732-356-3626 Mike Katz Vice President 908-273-7827 Kate Casano Treasurer 732-905-9063 Caryl Anne McBride Membership Chairperson 973-366-8818 Al Parmet Recording Secretary 908-522-1163 Jersey Jazz welcomes your comments on any article or editorial. Jack Stine President Emeritus Comments? Send e-mail to [email protected] or mail to The Editor (see masthead this page for 908-658-3515 address). Include your name and geographical location. Joe Lang Past President 973-635-2761

Tune Us In to Your E-mail Address! Some special offers for NJJS members DIRECTORS Len Carlson, Carolyn Clemente, Joanne Day, are late-breaking, not possible to include in Jersey Jazz or to do a separate postal mailing. We only have Laura Hull, Claudette Lanneaux, e-mail addresses for about a third of our members, and only began collecting addresses regularly in 2005. Sheilia Lenga, Bruce Lundvall, Vincent Mazzola, Frank Mulvaney, Stan Myers, So if you haven’t already — please send your e-mail address to [email protected]. Also keep us informed Frank Nissel, Jack Sinkway, Marcia Steinberg, if your e-mail changes. We want to be sure you get the message when we have something special to say! Elliott Tyson, Jackie Wetcher, Paul White, Tony Mottola (Ex-officio)

Advertising Rates Quarter page: $50; Half page $75; Full page $100. 10% discount on repeat ads. ADVISORS To place an ad, please send a check made payable to NJJS Jeff Atterton, Amos Kaune, Bob Porter to Kate Casano, 274 Jackson Pines Rd, Jackson, NJ 08527; please indicate size and issue. Contact [email protected] or 201-306-2769 for technical information. Website: www.njjs.org E-mail: [email protected] NJJS Deadlines The deadline for submission of material for upcoming issues is as follows: Hotline: 1-800-303-NJJS (1-800-303-6557) December issue: October 26, 2007 • January issue: November 26, 2007 To join the NJJS, send a $40 check payable to “NJJS” to: NOTE: EARLY SUBMISSIONS ARE GREATLY APPRECIATED. NJJS Membership, PO Box 410, Brookside, NJ 07926-0410.

6 ______November 2007 SHANGHAI Restaurant JAZZ and bar 24 Main St. (Rt. 124), Madison, NJ 07940 973.822.2899 • [email protected]

Thank you LIVE JAZZ FIVE NIGHTS Down Beat Magazine for NO COVER (except special events) again in 2007 naming a WEEK & SHANGHAI JAZZ one Highlights, end of October/November 2007: of the TOP 100 JAZZ wed 10/17: ROSEANNA VITRO CLUBS IN THE thu 10/18: VINCE GIORDANO WORLD!!! fri 10/19: MATT KING sat 10/20: JILL McCARRON New Jersey’s sun 10/21: ERIC COMSTOCK “Top Jazz Club” sun 10/28: NANCY NELSON — Star Ledger wed 10/31: DEREK SMITH fri & sat 11/2 & 3: WINARD HARPER ZAGAT 2005/06: thu 11/8: BUCKY PIZZARELLI “If you are looking for fri 11/9: TONY DESARE top-flight live jazz sun 11/11: MARLENE VERPLANCK look no further than wed 11/14: HELEN SUNG this Madison thu 11/15: MORRIS NANTON restaurant-cum-club, sun 11/25: STACEY KENT (by reservation only) where there’s no cover and you’re always Wednesday and Thursday: 7:00 PM – 9:30 PM Friday and Saturday two seatings: 6:30 PM & 8:45 PM treated like a favorite Sunday: 6:00 PM – 9:00 PM customer.” for latest schedules and updates,

“It’s a true night out please visit the new www.shanghaijazz.com on the town.” Please note: We take reservations by telephone only 973.822.2899 and not by e-mail.

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Notes from the Music Committee

By Joe Lang NJJS Music Committee Chair NJJS ■ As I write this, I am resting PeeWee ■ Plans are well under way for up for the 35th Anniversary the 2008 version of the Pee Wee Monthly Dinner/Dance that will take STOMP Russell Memorial Stomp which place this coming Sunday. PREVIEW will take place on Sunday March Member Hopefully, I will have seen 2. Once again we will hold this Meetings many of you there. popular event at the Birchwood Manor in Whippany. Four bands ■ Our next event is the Members Meeting have been engaged — The Smith Street Trumpets Jazz Club that will take place at Trumpets Jazz Club in Society Jazz Band, The Jon-Erik Kellso Montclair Montclair on Sunday October 21, with a Quintet, vocalist Barbara Rosene and Her Sundays: program presented by bassist Bill Crow, Quintet and George Gee and The Jump “Jazz Anecdotes — A Humorous View of Jivin’ Wailers. October 21 the World of Jazz.” Bill is the compiler of the To familiarize you with the participating Bill Crow amusing stories that appear in Jersey Jazz groups, I’ll provide details about one group each month. In addition to being a terrific per month beginning with this column. November 18 jazz bassist, he works part time for the Local The Smith Street Society Jazz Band, Tony Mottola 802 of the American Federation of Musi- organized by Bruce McNichols in 1962, has cians, and writes a monthly column for their appeared at more Pee Wee Russell Memorial See Music Committee magazine. This column is the source for the Stomps than any other band. Their combi- notes this page for details. items by Bill that are a popular feature of nation of great musicianship and showman- Jersey Jazz. His program will center on the ship has always made them popular with the attendees. Leader Bruce McNichols provides free for NJJS members many humorous anecdotes from the jazz sounds on the banjo and the soprano sax, as world that he has accumulated over the $10 charge for non-members of NJJS; well as crooning a tune or two, and keeping years. Bill will have available for sale copies this charge may be applied to annual the humor flowing between numbers. His NJJS membership of his book Jazz Anecdotes. As always, there lovely wife Lynne also adds some vocalizing. will be a social hour from 2 – 3 PM with Trombonist Herb Gardner, and Chicken Joe 2:00 – 3:00 PM Social Hour food and beverages available, and the pro- Hanchrow on tuba have been regular mem- gram will last from 3 – 5 PM. Admission to bers of the band since 1964. Other current 3:00 – 5:00 PM Program members is free and non-members are members of the SSSJB are Conal Fowkes on food and drink available all welcome for a charge of $10, applicable to a piano and Robbie Scott on drums. For this afternoon/evening new membership should any guests opt to past stomp, Dan Levinson filled the reed followed by 6:00 PM show become members. chair, and Bruce will surely engage a first ($10 music charge/$5 minimum) rate player, perhaps Dan, for the 2008 On November 18, our Jersey Jazz editor Stomp. We’re pleased that this popular Tony Mottola will present a program about group will be participating again in 2008. Trumpets Jazz Club his late father, Tony Mottola, a giant among The prices for advance sales are $25 for NJJS & Restaurant jazz guitarists. Tony will have some rare members and $30 for non-members. Tickets 6 Depot Square video footage to include in his program. We at the door will be $35 for everyone. Tickets are really excited that Tony has agreed to are available now — on-line at www.njjs.org, Montclair, NJ 07042 present this intimate portrait of a great by mail from New Jersey Jazz Society, 274 973-744-2600 musician. Jackson Pines Road, Jackson, NJ 08527, or by www.trumpetsjazz.com ■ Our Annual Meeting will be taking place phone at 800-303-NJJS (303-6557). For mail orders, please include a $3 processing fee from 2 – 5 PM at the Cornerstone Restaurant unless you pay with a check and send a in Metuchen on Sunday, December 2. Music SASE. You can also fax your credit card order will be provided by vocalist Terry Blaine and to 215-483-7045. To mail tickets, we must For more info: pianist Mark Shane. This is a free event, and receive your order by February 23. Other- we hope that many of you will make the wise, your tickets will be held at the door. NJJS 1-800-303-NJJS scene to participate in the election of new Seating will be limited, so please get your www.njjs.org directors, and to enjoy the companionship orders in early to assure yourselves of a of other NJJS members. seat for the festivities. JJ

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Classic Stine Kenny and Bob had always By Jack Stine NJJS President Emeritus been among the favorites of

at Domber, nation might well NJJS performers; together, they Mwell known to appeal to our NJJS members for members. It proved to were a double whammy. the remarkable jazz be an easy sell. I can’t Connie Kay, and Marty Grosz all appeared CDs he’s issued under his Arbors label, has recall how many times we used the Soprano at one time or another as members in good sent me advance copies of the double album Summit in our various concert programs, he plans to release next spring as a tribute to but it was often enough for us to feel a kind standing of Soprano Summit, and there is Kenny Davern and the Soprano Summit, of squatters’ rights in their existence. Kenny also a CD Bob and Kenny made with British that odd little jazz hybrid that started as a and Bob had always been among the musicians on a tour of England. By 1979, whim between Kenny and Bob Wilber at favorites of NJJS performers; together, they the Summit’s brief history was over and one of Dick Gibson’s jazz parties in Colorado were a double whammy. One might have Kenny and Bob went on to greater back in the 1970s. I think Domber’s effort in thought that the Soprano Summit would accomplishments on their own. preserving the Summit’s brief moment in last forever, that it would continue under its The new Arbors album is also going to con- jazz history for today’s fans with this issue own momentum for years and years, but tain some splendid piano solos by Dick is greatly to be commended. And with par- both Bob and Kenny were realistic enough donable (I hope) pride, I think much of the to see that there was a limit to how long a Hyman, played at a Summit concert, and gratitude for seeing this project to fruition style based on a coiled structure of sounds there are also some sides by the Blue Three, a must go to the New Jersey Jazz Society, for from two soprano saxophones could hold wonderful little group consisting of Kenny, each take on this 2-disc set has been culled an audience. There were no copiers of the Dick Wellstood, and Bobby Rosengarden. from the archives of NJJS. Without the work Summit sound forthcoming; before it died Mat Domber has asked Dan Morgenstern done by Tom Williams and Jack McSeveny of its own success, Bob and Kenny went to do a liner note on making the various in taping our early concerts this set by Mat their own individual ways, leaving behind a selections from the NJJS library. He has also Domber’s Arbors label would be nothing remarkable trove of lovely music, as this asked Marty Grosz for some thoughts from but a fantasy, a quest for a nonexistent prize new set from Arbors will bear out. the viewpoint of a musician playing with the like Dashiell Hammett’s Falcon. One thing we at NJJS learned early on in Summit, and I have agreed to write a few I’ve written before about the part NJJS dealing with the Summit was that, after lines about the part NJJS played in providing played in creating an audience in the East Kenny and Bob, the personnel of the an audience at the Summit’s beginning. for the Summit, about how Red Squires, group was never fixed. Dick Hyman, Pretty much what I’ve laid out here. Don’t let who attended the Gibson party, brought Bucky Pizzarelli, Tommy Benford, Bobby it deter you from latching on to this double back an idea that the Davern/Wilber combi- Rosengarden, George Duvivier, Milt Hinton, CD when it comes out in the spring. JJ

Legendary Meadowbrook Swings Again e’re lucky to have a guy like Mike Grabas. He’s More about the Meadowbrook: Wgot a heart of gold and a love for the golden age “Many people think of Frank Dailey's Meadowbrook when they of swing. On Saturday, November 17, Grabas and the hear the name Cedar Grove. According to the New York Times, Cedar Grove Elks invite the public to one of the most the first nationwide radio broadcast of dance music originated from the Meadowbrook. Frank Sinatra, Doris Day, Tommy Dorsey, celebrated dance halls of that era, The Meadowbrook, Glenn Miller, Harry James, Sammy Kaye, Artie Shaw, and Woody in Cedar Grove. He’ll host the Silver Starlight Herman were some of the big names who appeared there. The Orchestra, a USO troupe performance, and Abbott club also was responsible for the first national telecast of dance and Costello impersonators, along with food and music.” — from cgcentennial.typepad.com. drink and that fabulous dance floor, with a show to Listen to a podcast of a radio show featuring the Glenn Miller support the USO of New York in holiday tours Orchestra with Ray Eberle vocalist, broadcast live from the entertaining troops and hospitalized vets. Meadowbrook in 1939. http://radiomemories.libsyn.com/index.php?post_id=133275# Now owned by a church and no longer open to the Read more about Frank Dailey and the Meadowbrook in public (it closed its doors in the ’80s after operating The Big Band Almanac by Leo Walker. variously as a dinner theater and disco/rock concert/ Read more about Mike Grabas at www.myhero.com. dance hall), the Meadowbrook has been the site of Former NJJS President Terence Ripmaster produced a film called Jazz In several previous Grabas fundraisers for veterans and Paterson, which includes a segment about the Meadowbrook. You can vets’ organizations. It’s a rare opportunity! See the ad view it at the William Paterson University library. Or, to purchase a copy, on page 13 for ticket ordering information. send $25 to T. Ripmaster, 4445 Deer Ridge Place, Sarasota, FL 34233.

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Big Band in the Sky

By Fradley Garner Jersey Jazz International Editor

■ Specs Powell, 85, percussionist, pianist, ■ Joe Zawinul, vibraphonist, New York, NY, June 5, 1922 – 75, pianist- San Marcos (San Diego), CA, Sept. 15, keyboardist, 2007. Gordon “Specs” Powell, who beat a organist, distinguished path from a drum stool, accordionist, started by doubling on piano in his own composer, Swing era combo, and later became one of bandleader, the first black musicians hired by a national Vienna, Austria, July 7, 1932 – radio network. CBS took the drummer on Joe Zawinul, Monterey Jazz Festival 1969 ©Ray Avery/CTSIMAGES.COM Sept. 11, 2007. in 1943 for the Ed Sullivan Show, where he “Who knows backed Billie Holiday and other stars, con- what happens next. When you get to be 75, Shorter, left in December 1970 to form tinuing in later broadcasts with the Mildred you have lived most of your life. You got to Weather Report, a synthesizer-driven combo Bailey (CBS) Orchestra. He died September be realistic. Whatever happens, what the with lights and loudness that toured at 15, at 85, of complications from heart and good Lord has in mind, I’m here, man.” So home and abroad for 15 years and made kidney disease. Born June 5, 1922 in New ended the cover story in the May Down Beat. many recordings, including Mysterious York, Gordon Powell was hired at 17 by On September 11, Joe Zawinul was gone, Traveler, Black Market, Sweetnighter.And the pianist and bandleader Edgar Hayes, victim of a highly aggressive skin cancer. with “Birdland” (not George Shearing’s in 1939. He made his first recordings with The keyboardist and co-leader of the “Lullaby of Birdland”), on Weather Report’s the violinist Eddie South in 1939 –1940, rockbound fusion band Weather Report, a 1977 album, Heavy Weather, Zawinul had replaced O’Neil Spencer in the John Kirby resident of Malibu, California, had been again fathered a hit that was recorded by Sextet in 1941–1942, and worked with hospitalized in his native Vienna since Maynard Ferguson, Buddy Rich and other Benny Carter. Benny Goodman recorded a August. Born July 7, 1932, Josef Erich jazz bands. When Zawinul and Shorter V-Disc trio with Powell and Teddy Wilson Zawinul was classically trained on piano parted ways in 1985, the keyboardist struck in 1944, and Red Norvo hired him in and an established jazz performer in out on his own with a battery of synthe- 1944–1945. With CBS for nearly 30 years, Austria. He immigrated to America on a sizers before forming his own group, finally from 1943, Powell “made sure he worked Berklee scholarship in 1959 and was hired dubbed Zawinul Syndicate. The band was harder than anyone else,” his son, Ted Smith, by Maynard Ferguson, Slide Hampton heavily ethnic African; the leader invented told the Associated Press. “He was always and Dinah Washington before making an the korg-PePe, an electronic instrument prepared, he went to all of his sessions — international name in many appearances with a bassoon-like mouthpiece and buttons he called them dates — in suits, impeccably and recordings with Cannonball Adderley like an accordion. A favorite on the festival dressed.” During his radio days, Powell from 1961 to 1970. He composed “Mercy, circuit, the group was cheered at the Mercy, Mercy,” the band’s biggest hit, which remained a fixture in the 52nd Street clubs, Copenhagen Jazz Festival and on the Old won a Grammy award for best instrumental where he modulated smoothly to the new Stage of Denmark’s venerable Royal Theatre. performance. Miles Davis, getting into the bebop. He was in the driver’s seat for a A leading daily headlined its Zawinul heavily amplified groove, heard Zawinul’s obituary: Han swingede Fanden et øre af famous 1945 Red Norvo swing and bop solo on electric piano and hired him. In (He swung an ear off the Devil). recording session featuring Dizzy Gillespie, 1969, Davis recorded the LP album In a Charlie Parker and Flip Phillips. The Silent Way, title song by the keyboardist, ■ Dave Blocker, 67, vocalist, conga discographer Tom Lord lists 141 career which followed him for the rest of his drummer, entertainer, producer, graphic recording sessions with many great names career. Zawinul also composed and played artist, Newark, NJ, 1940 (?) – Sept. 1, 2007. of the period. He retired from music in late on the next Davis album, Bitches Brew. Like Dave Blocker, a lifelong Newark resident, 1972, moved to the Virgin Islands and later bebop before it, fusion was scorned by hard- began singing “doo-wop” as a member of to the San Diego area. “It was never a bad core traditional jazz fans, but it appealed to The Challengers, a vocal group at Arts High day for him,” Ted Smith said, “and if it was, the younger rock-minded. The keyboardist School, Newark. As a student, he won first he wasn’t going to let it show.” and Davis’s tenor saxophonist, Wayne prize in a singing contest: a weeklong continued on page 12

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BIG BAND IN THE SKY young tenor saxophonist Jesper Thilo and 1973 to tend to the press of organizing jazz bassist Hugo Rasmussen, the band backed activities in his homeland. He was the continued from page 10 and often recorded with a stream of visiting artistic leader and booker for Copenhagen’s engagement with the Rhoda Scott Trio at American names on the alphabetic order of famed Club Montmartre in 1971–1974 and Newark’s famous Key Club. He later Cat Anderson, Don Byas, Benny Carter, Bill later in 1976–1977. He formed the Danish substituted at the club for the ailing singer, Coleman, Buck Clayton, Vic Dickenson, Jazz Center in 1971, directed the Jazzmobile, Dee Dee Bridgewater. After high school, Harry Edison, Roy Eldridge, Coleman which held outdoor concerts until 1991 and Blocker was the vocalist with the Brady Hawkins, through Ben Webster and Mary served on the National Music Council for 11 Hodge and Bill and Duke Anderson Lou Williams. In 1962, Sonet released an EP years. He received the honorary awards of orchestras. He performed as the the Danish Music Association and the opening act for the comedians Redd Ben Webster Foundation. “Arnvid Foxx, George Kirby and Jackie Mason, Meyer was an extraordinary man and worked on cruise lines and in totally dedicated to the music he loved resorts in the Catskills, the Poconos and and did so much for, on so many Atlantic City. Blocker was tutored by his levels,” Dan Morgenstern, director of late manager, Jimmy Holmes, a member the Rutgers Institute of Jazz Studies of the original Ink Spots. He was a and a close friend, commented to Jersey longtime vocalist with the NJJS “Gen- Jazz [See Dan’s Den, page 22 —Ed.]. erations of Jazz” educational program. OTHER PASSINGS: The discographer Tom Lord lists Dave Blocker as the conga drummer and ■ Mike Osborne, 65, a leading British bongos player in a 1970 studio record- saxophonist with “ripping articulation ing session in New York. The band, and searing sound,” died September 19 including Robert Banks on piano, Ed in Hereford, England. The critic Swanston on organ, James T. Tyler on Steve Voce wrote in JazzWestCoast@ saxophone, Earl Williams on drums, yahoogroups.com that Osborne among others, backed the singer “epitomized the British jazz musicians Marion Williams on “Heavenly Father,” who finally emerged in the Sixties to “Am I a Soldier” and four other stand toe-to-toe with their American religious songs. These were released on counterparts.” the Cotillion label (SD053). Blocker ■ also painted works dealing with Aldemaro Romero, 79, a Venezuelan Afrocentric themes. pianist, died September 15 in Caracas. Romero, a classical and jazz virtuoso, ■ Arnvid Meyer, 80, trumpeter, played a fusion of bossa nova and bandleader, teacher, producer, Arnvid Meyer, 1962. Venezuelan joropo, and recorded with Copenhagen, Denmark, June 20, 1927 Courtesy of Jazzkontakten, Denmark. the guitarist Charlie Byrd. He founded – Naestved, Denmark, Aug. 29, 2007. the Caracas Youth Choir and Arnvid Meyer, a galleon figure in Philharmonic Orchestra. recording with the visiting trombonist J.C. Danish jazz for more than a half century, ■ died August 29 from complications of Higginbotham, and in 1965 Polydor/Black Geberoso Jiminez, 90, died September 15 Parkinson’s disease. He was 80. Meyer was Lion offered two LPs featuring the tenor in Miami, Florida. The Cuban trombonist the prime mover behind the Jazzpar Prize, giant Ben Webster. Down Beat magazine worked with Chico O’Farrill’s band. He the world’s most lucrative jazz award from awarded The Jeep is Jumping five stars. One gained a wide reputation playing with the its inception in 1989 until 2004, when the of the four tracks, “Blue Light,” was later singer Beny More, and is heard on a soon- released on CD in several countries, includ- to-be-released album featuring the singer sole tobacco sponsor was forced to with- JJ draw. Meyer, a trumpeter and bandleader, ing Canada (Excelsior EXL 10232). Webster Gloria Estefan. made his debut as a sideman at the close of is “nobly supported by a band that might Thanks to Jerry Gordon, Joe Lang, Mitchell World War II playing traditional jazz and from its sound have been drawn from a Seidel and the Jersey Jazz editors for obit tips, formed his own sextet in 1959. The band latter-day Ellington orchestra,” commented and to Dan Morgenstern for occasional fact- thrived on mainstream American fare, the October 1994 Jazz Journal International. checking and editing help. Also, to Dr. Wolfram broadcasting, recording and making the (Ben Webster eventually settled in Copen- Knauer’s Jazzinstitut Darmstadt Jazz News, club and concert rounds for 14 years. One hagen and was buried in Assistens cemetery and Leonard Feather and Ira Gitler’s The of the top swing ensembles in the North, near Hans Christian Andersen and Søren Biographical Encyclopedia of Jazz (new ed. with shifting personnel that included the Kierkegaard.) Meyer stopped performing in 2007). fG

12 ______November 2007 Tickets on sale now!

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the venue. The initial commitment was for online at http://www.izaak.unh.edu/nhltj/ The Story of the eight concerts spanning two academic years — series.php) He is also an accomplished jazz New Hampshire yet from that modest beginning, the 29th pianist who has played with a wide range of season of what’s become known as the artists ranging from Clark Terry and Bob Library of Traditional Jazz Series began in September Wilber to Xavier Cugat and Teresa Traditional Jazz 2007 with concert #183. Brewer…and Liberace(!). The Traditional Jazz Series Recently, Verrette commented on the evolution The Granite State and its Evolution of the series, “Dot had strong, vigorously expressed opinions about jazz, politics and reaches out to The scope and depth of the Traditional Jazz the Red Sox, but she also had a deep sense of The Big Easy Series has been astonishing and, consistent fairness and openness toward those whose with the exploratory spirit of an academic artistic judgments she felt were based on By Steve Cooper environment, at times has moderately stretched insightful respect for the foundations of jazz. Curator of the New Hampshire beyond the usual parameters of “traditional Thus her favorite concert from the series was Library of Traditional Jazz jazz.” The series has featured outstanding the Red Norvo Trio with Tal Farlow. The series individual “trad jazz” musicians such as Doc continues to be a learning experience for all of n 1978, the late Dorothy Prescott estab- Cheatham, Vic Dickenson, Bud Freeman, Bob lished the New Hampshire Library of us, and we regret that she has not been a part I Wilber, Butch Thompson, Ruby Braff, Ralph of the ongoing dialectic.” Traditional Jazz (NHLTJ) at her home in Sutton, Milt Hinton, Dick Wellstood and Art Auburn, NH. A jazz aficionado since the 1930s, Hodes — and groups such as the New Black Library Holdings over the years she maintained active member- Eagles Jazz Band, the Galvanized Jazz Band, the Having developed a strong feeling of trust with ships in both the Hot Club of Boston and the Yankee Rhythm Kings, Ray Smith’s Paramount Boston Jazz Society. She became friends with UNH, Prescott signed a memorandum of Jazz Band of Boston and Vince Giordano’s New agreement with the University in 1984 which many jazz enthusiasts in the region, and her Orleans Nighthawks. library became a place where musicians and upon her death would donate the library’s friends could listen to and talk about Along more expansive lines, the series has assets to the University along with a generous traditional jazz. included Clark Terry, Dave McKenna, Hank endowment to continue the Traditional Jazz Jones, Barry Harris, Tommy Flanagan, Benny Series and to maintain the recordings, books, Prescott’s concept for the library also included Carter, Buddy De Franco, Harry Allen, Geoff the idea of establishing, with a board of advi- etc. Under the stewardship of Bill Ross, head Keezer, Bill Mays, Frank Wess, Benny Golson, of Special Collections at the UNH Dimond sors, a venue for showcasing jazz musicians Carl Fontana, Scott Hamilton and Lee Konitz. away from the pressures of the club scene. Library, the jazz library has expanded its From this vision, discussions with the Univer- For the first few years of the series, Prescott holdings such that it now contains over 25,000 sity of New Hampshire Music Department collaborated with UNH music professors Dave records as well as a large collection of jazz ensued, resulting in a series of on-campus jazz Seiler and Paul Verrette in selecting musicians, books and ephemera related to the Boston concerts beginning in 1979. Prescott provided generating publicity and doing all the myriad jazz scene of the 1940s and 1950s. funding for the musicians and UNH provided things necessary to put concerts together. Since Recordings range from the popular to the rare Prescott’s death in 1988, Seiler and Verrette on all types of media including acetates, 78s, have been the key movers in organizing the 45s, LPs, cassette tapes, reel-to-reel tapes, series each year. videotapes and digital media. One of the most Seiler is a woodwinds instructor in the music interesting collections features 1940s-era department and runs the jazz program at UNH amateur recordings from Boston clubs. (which includes an award-winning student big Musicians such as Marion McPartland, Pee band and jazz combos, as well as an annual jazz Wee Russell, Vic Dickenson, Edmond Hall, festival and brief residencies by Clark Terry Ruby Braff and Bob Wilber are caught live on each semester). He also finds time to lead the radio programs hosted by a young Nat Hentoff. Seacoast Big Band. Seiler’s remarkable Other notable materials include test pressings connections as a performer and educator to of Bessie Smith signed by George Avakian, and musicians past and present gives his ensembles Vogue picture records. Also, the Traditional access to big band charts from the likes of Jazz Series concerts have been professionally Terry, John Clayton, Hal Crook, Frank recorded for the library’s archives. Mantooth, John Fedchock, Bob Florence, etc. The Dorothy Prescott collection assembles her Paul Verrette, a professor emeritus from the papers and memorabilia including interesting UNH Music Department, has been the public playbills such as a Duke Ellington concert from face of the series, introducing each concert as 1947 that featured Django Reinhardt. Her well as writing wonderful program notes that husband Sam also carried a sheet of paper are a blend of jazz commentary and cultural from club to club collecting autographs history. (Notes from the concerts are viewable including Louis Armstrong, Jack Teagarden, Bob Wilber and Craig Skeffington from Concert #168, 1/24/2005. Photo: Aaron Cooper.

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Pee Wee Russell, Mezz Mezzrow, Baby Dodds, There was a 95-years-young Spiegel Willcox (an Max Kaminsky, Sidney Bechet, ‘Wild Bill’ original member of Jean Goldkette’s band in Davison and Roy Eldridge — talk about a Who’s which he played with Bix Beiderbecke) singing Who of the era, all on one sheet of paper. “Basin Street Blues”…and Bob Wilber playing The recordings along with an extensive collec- “Petit Fleur” as a tribute to his music teacher tion of jazz periodicals and over 1000 books, Sidney Bechet…and Doc Cheatham offering up mostly from the library of the late Richard Hale “Do You Know What It Mean To Miss New of Carlisle, MA, provide fertile ground for both Orleans” with a heartfelt vocal by Red Richards jazz scholars and UNH music students to learn …and Peanuts Hucko’s moving rendition of “A more about America’s unique musical gift to the Closer Walk With Thee,” a piece that seemed like world. For more information about the New a good closer for the CD. And one can’t forget Hampshire Library of Traditional Jazz, go to Dave McKenna’s tossing off a masterful version of http://www.izaak.unh.edu/nhltj. “Struttin’ With Some Barbecue” as an encore to one of his several appearances at the University. The Katrina Relief CD: The process of sifting through all this wonderful “Do You Know What It Means music proved to be a joyous and emotional To Miss New Orleans?” experience for everyone involved; however, the Bill Ross has long had an affinity for the culture hard and often tedious work of actually produc- and music of New Orleans — and then came ing the CD remained. Permissions were neces- Katrina. He recalls, “After Katrina, I remember sary from the musicians (or their families) and the music publishers, and so, many letters and watching in horror, 24/7, as the city I love phone calls ensued. Musicians and publishers flooded and was left to fend for itself. I felt proved to be most supportive of the project and helpless in the face of such devastation and in all cases but one waived any financial interest. personal tragedy, but then it occurred to me what we could do to help out.” Getting the music to transfer successfully from the original source tapes to digital media was In preparation for a late-July 2005 trip to the difficult and time consuming. The concerts were Society of American Archivists Annual masterfully recorded, but the majority were done Conference in New Orleans in which he was on a four-track machine so that one set of L-R chairing a session, Ross and jazz library curator tracks were picked up in the forward direction Steve Cooper put together a music-based slide and another set of L-R tracks from the same show using photographs and New Orleans- concert were recorded in the reverse direction. related music from the library. Through that Three tape machines were available to work with experience and its proximity in time to the but each machine had its own idiosyncrasies. Katrina disaster, Ross realized that the library’s Finally though, audiologists Jonathan Paul and unique recordings from the Traditional Jazz Ryan Parker were able to coax the music onto Series should be used to develop a CD as a a master CD in the proper order for musical tribute to New Orleans. Proceeds from manufacturing. its sale would benefit both the decimated The library has met its goal of raising more libraries and musicians dislocated by the disaster. than $15,000 for charity, and because the library Right after Labor Day in 2005, Bill Ross, Steve generously underwrote the production costs, Cooper and Paul Verrette began work on the every penny realized from sales went to charity. CD. The first step was a detailed review of the About sixty copies remain from the initial run recorded archives, focusing on music either of nearly 1,000 — and you can claim one about New Orleans, written by New Orleans while they last by visiting http://www. composers or performed by New Orleans library.unh.edu/news/newOrleans/. JJ top to bottom: musicians. Thankfully, the library had play lists (Note: In 2006, Andrea Tyson, President of the NJJS, Doc Cheatham, Concert #99, 10/28/1991. Photo: George Emmons. for many of the concerts, but for others there made an unsolicited and generous offer to help the was no choice but to listen to each in detail to NHLTJ sell some of the “Do You Know What It UNH Library of Traditional Jazz Founder determine the songs to be included. Cooper did Means To Miss New Orleans” CDs. We sent her 50 Dorothy Prescott. Photo: Concord Times. this for several evenings running, and recalls, “An copies and, without hesitation, she committed that Clark Terry, Marshall Royal, Milt Hinton and NJJS would sell them all. That goal is close to being amazing kaleidoscope of great music emerged, Harry “Sweets” Edison, Concert #100, realized and for that we are very grateful and 10/17/1994. Photo: George Emmons. and it hit me that none of it had been heard appreciative. Thank you! It is also worth noting since the original public concerts.” He and that late Dick Neeld, a significant contributor to Gray Sargent, Marshall Wood and Clark Terry, Verrette reviewed the candidate selections and the NJJS for many years, served for a time on the Concert #108, 11/13/1995. Photo: Jim Howe. assembled a play list. NHLTJ Board of Advisers.) Howard Alden and Harry Allen, Concert #111, 4/8/1996. Jim Howe is in the background. Photo: George Emmons.

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Talking Jazz A Jersey Jazz Interview with Anat Cohen By Schaen Fox

nat Cohen is not yet ten years out of JJ: How did your Acollege and she is gathering an ever- friends react to your increasing number of glowing reviews, musical interest in this firsts and substantial awards. She is an music? In the states, extremely talented and busy musician with a a kid might fear wondrous inability to rest in one stylistic some ostracism for pigeonhole, a fact that may entitle her to Duke liking something Ellington’s highest complement — as being outside her peer’s “beyond category.” Born and raised in Israel, norm. and in a musical atmosphere suffused with AC: Well I never felt it was outside the norm. I it? And I started to believe that the clarinet is jazz, she began to study the clarinet at age 12. really do owe it to my brothers that I am into music probably not hip enough and was left with this When she won acceptance to the elite Thelma because we were always making music in the feeling for a while after finishing school. Yellin High School for the Arts she was among house and that is what we did. All our friends knew JJ: Do you recall when you saw your first the first to major in jazz, but she soon dropped that we play music. her clarinet in order to focus on the tenor sax. American jazz stars playing in Israel? And After graduation, she fulfilled her military JJ: You majored in jazz at the Thelma Yellin was that influential? obligation in the Israeli Air Force band, and High School for the Arts. Would you tell us AC: I was probably already in high school when then won acceptance to Berklee College of how that happened and what the I went to the jazz festival in Eilat in the south of Music. curriculum was like? Israel — the “Red Sea Jazz Festival.” I remember seeing Joe Henderson and the Mingus Dynasty. She arrived at the great Boston institution AC: It is a high school for the arts where they had I really didn’t know of Joe Henderson and after already a seasoned tenor player experienced a classical music major for years and years. Then a teacher there, Ofer Bryer, started a jazz course and that I got some recordings and started to check it with everything in jazz from Louis to Coltrane, out. The State of the Tenor is a live trio recording but open to new ideas and influences. That realized there were enough students attracted to jazz to establish a major. So they established a jazz from the Village Vanguard. It totally turned my soon resulted in a renewed interest in the head around. clarinet and a fascination with world music — major same year that I entered the school. I was a classical clarinetist till that first day in Thelma Yellin especially the Choro. After graduation, she JJ: Did the school have a large music library high school. I had met Bryer before, he heard me moved to New York and began to work in for you to study? play and he said why don’t you become a jazz diverse musical idioms. She soon attracted both major and I said I’ll think about it, but of course, I AC: Not really. The access to music was not easy. attention and praise from important critics didn’t really think about it. Then on the first day of You have to remember that they had just started such as Nat Hentoff and Dan Morgenstern. high school, I saw him and he said again: “So, why this major so they didn’t have much at all. And there was one jazz records store in Tel-Aviv, but Recently, along with glowing reviews from don’t you become a jazz major?” And I said OK and there were other cats that were really passionate All About Jazz, The New York Times, The I just switched on the very first day of school about this music, people would nourish each other. Washington Post, Down Beat and others, because it just felt like the right thing to do. I am very happy I did that. People taped cassettes for us of different artists. I she has garnered impressive awards such as remember we had a cassette of the Gerry Mulligan Down Beat’s “Rising Star Clarinetist” and I already played some saxophone and the teachers Quartet with Art Farmer that my brothers Yuval, “Clarinetist of the Year” and “Up and encouraged to focus on the saxophone rather than Avishai and I listened to a lot, a lot. We really, really Coming Musicians of the Year” from the Jazz the clarinet. We had improvisation classes, loved it. Journalists Association. Currently, she has two arranging classes, ear training classes — a lot of the JJ: new releases on her own Anzic Records label. curriculum was from the Berklee College of Music Considering how precarious the life of a because some of the teachers were Berklee musician can be, how did your parents react JJ: I read that your father’s record collection graduates and were teaching with the same to the news that you and your brothers was important in sparking your interest in method. So it was pretty natural for me to go to wanted to be professional musicians? jazz. Did you have any other family or Berklee later on. I was already familiar with AC: You know, it’s funny because I don’t think neighborhood inspiration? Berklee’s system. there was a moment that we just announced it. It AC: No. As kids we basically grew up listening to all happened quite naturally. My Parents, Bilha and JJ: Why were you discouraged from playing the radio in Israel. Certain afternoon hours we David, supported us all along the way. I can’t think clarinet? heard the American songbook and watching how of two more wonderful supportive people to my parents were immediately so attracted to this AC: Basically, the teachers made a face, like the dedicate their lives to their three kids’ needs. music made me like it because they liked it. It just clarinet is not modern enough or interesting Driving us around and coming to all the concerts kind of passed to me. enough almost asking why would you want to play and gigs (including youth orchestra concerts). They

continued on page 18

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ANAT COHEN continued from page 16 was already there and they helped us find an gigs in Boston on a weekly basis. It took me about apartment. They were always inviting us over, eight months until I decided that I can’t really move never, ever said anything like music is not a extremely nice people. to New York and never be around…and nobody is going to call me if I am never here. So at a certain profession. They never ever seemed to be worried JJ: Did your years in the Israeli Air Force about how are you going to make a living. There point I made the decision to stop going to Boston Orchestra have any influence in your was never a question. Everything was about what and stay here and endure the consequences, the development as a jazz musician? we did and they were very proud to have the three financial burden. It took a few months until I started of us in it. They were probably happy and relieved AC: I wouldn’t say as a jazz player but definitely to get phone calls. For months I was walking to have the three of us together in it so we can as a musician. It was a different experience playing around town, with a saxophone on my back, take care of each other and that really how it in the air force big band. We played a lot of other meeting musicians and sitting in on gigs. I was has been. music, which I think was important to my career. spending every spare moment in clubs, mainly Men have to do reserve army in Israel and a lot of Smalls, hanging out with the musicians, so I was JJ: How did your classical teacher react pop singers and famous singer-songwriters serve seeing and being seen. when you switched from classical to jazz? the reserve army by performing. So sometimes I got JJ: So you met Sherrie Maricle before you AC: I recently reconnected with this teacher. Her to play with famous singers in Israel and get the left Boston? name is Eva Wasserman, she is an American who experience of playing other music that is not jazz immigrated to Israel. When I met her, I already liked which was good preparation for life as a musician AC: Yeah. I met Sherrie in ’98. After graduating jazz. I was already playing in a Dixieland band. and kind of helped me open up to other styles. Berklee I spent a year of freelancing in Boston and I remember she was pretty shocked about how at that time I started to play with the Diva Jazz much basic clarinet stuff I didn’t know and never JJ: Did you experience any culture shock Orchestra. really worked on. Before I met Eva I had very short when you moved to the United States? JJ: How did you get into that orchestra? lessons, maybe half an hour a week and I never AC: I didn’t really have any culture shock. It took focused on sound. She really is passionate for me a while to get used to the English. As far as AC: Sherrie heard me play as part of the “Sisters sound and for the clarinet. I studied with her for the general American culture, you know, being a in Jazz” first year’s group. The Sisters In Jazz a short period but she managed to transfer her musician itself is some kind of culture I think. program encourages and promotes the participa- passion for the sound of the clarinet and to fix There is a lot of American culture in Israel as you tion of young women in jazz, both educationally some fundamental habits that I had. She knew are always watching American films and TV series and professionally. In January of ‘98, I played at I liked jazz and there was no question if I should and hearing English. There is a lot of love for the the IAJE (International Association of Jazz or shouldn’t play it. I think she was very supportive American culture in Israel, so it was not a surprise Education) in New York with the Sisters in Jazz of me going after my passion. It is funny, because for me. quintet and Sherrie heard me. A few months later I haven’t seen her since then and a few months ago I got the call to come play with the band. when I was in Israel, I decided to give her a call. My JJ: You are very interested in World Music, friend Roy, who also used to be her student a while especially Choro. Do you see a growing JJ: I have seen Diva several times and it back and I, we came to visit her and it was really popularity for Choro in the United States? always bothers me when you are introduced lovely, lovely to see her. She is amazing. She has as an all-female, or worst still, an all-girl AC: Hopefully yes, but I think it will be long students that go all over the world, classical group, stressing your sex over your process. I have met a few different people who students who are very successful. I gave her my musicianship. How do you feel about that? new CD Poetica and she loved it. She got very came across Choro and it was a life changing excited. Eva influenced me in the short period we experience for them as it was for me. The vast AC: It doesn’t bother me. Diva is an all-female big were together you know, and I wanted to say thank majority of the people in the United States do not band and that’s really what it is. Now, when the you. And it was really nice to get together again know what Choro is. I’m sure many people know band started the point was to show that women and now we stay in touch. the song “Tico, Tico” which is originally a Choro, but can play and they needed to find enough women they don’t know the name of the style, or what it that can play. It got to the point today were there JJ: I read that your high school sent their means. It is going to take a little while until people are enough women around that are as good as any classical students on tour. Did they also do realize how great Choro is. I can tell you that in the other musician and that are as professional in all that with the jazz students? few years that the Choro Ensemble had a weekly aspects of the business. In the last 13 years the AC: Yep! We visited Berklee and played concerts gig in the East Village, every person that heard it fell level of the band has grown so much that if a sub is along the East Coast, like Florida, New York, and in love with it. Many musicians were coming on a needed and there isn’t any woman available, Diva Boston. If I remember correctly it was mainly in regular basis to check it out and loved it. I think will call a man to sub — it’s about the music first. I Jewish communities so that was my first introduc- there is something for everyone in Choro. understand that an all-woman band is still out of the norm but when you watch Diva one might think tion to the United States. Of course I really didn’t JJ: How long were you in the city before for a second about the fact that they are all capture the culture because I was a kid and you felt that you were part of the New York surrounded by my Israeli friends and we were just women, but after a few minutes, you’d forget. It’s music scene? hanging out and speaking Hebrew and not trying to about the music. And like Stanley Kay, the manager understand what was happening around us. But it is AC: It took a while. I moved to New York from of Diva always told me: music has no age, no funny, because on this tour both my brothers Yuval Boston where I was a working musician. When I gender and no color — music is music. and Avishai were in the youth orchestra and my moved I was playing with the Diva Jazz Orchestra brother Yuval met some people in Boston that later which was never really playing in New York, so I JJ: By my count, you are currently playing on became very good friends of his — the Burmans. was part of a New York-based group that was in six different groups. Is that preference or When I moved to Boston to study at Berklee, Yuval playing outside of New York and kept going to play otherwise? continued on page 20

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Sue Giles November Entertainment 1 Thursday 9 Friday 16 Friday 23 Friday L: 11:30 AM-2:30 PM John Bianculli L: 11:30 AM-2:30 PM John Bianculli L: 11:30 AM-2:30 PM John Bianculli L: 11:30 AM-2:30 PM John Bianculli D: 7:00-10:00 PM Janice Friedman D: 7:00-11:00 PM Bruce Clough D: 7:00-11:00 PM John Bianculli featuring D: 7:00-11:00 PM Grammy-nominated 2 Friday Jackie Jones 3D Latin Jazz 24 Saturday L: 11:30 AM-2:30 PM John Bianculli 10 Saturday D: 7:00-11:00 PM Jerry Topinka D: 7:00-11:00 PM Karen Rodriguez 17 Saturday featuring Jamian Berkal D: 7:00-11:00 PM Meg Hanson Group Latin Jazz D: 7:00-11:00 PM Carol Lynn featuring Billy Hill 25 Sunday 3 Saturday D: 5:00-9:00 PM Donna Antonow Trio 11 Sunday 18 Sunday D: 7:00-11:00 PM Roz Corral Band D: 5:00-9:00 PM Jerry Topinka and Coleman D: 5:00-9:00 PM Tom Adams 26 Monday 4 Sunday Mellett jazz guitar duo L: 11:30 AM-2:30 PM Dusty Micale 19 Monday D: 5:00-9:00 PM Emile Chessari D: 7:00-10:00 PM Donna Antonow 12 Monday L: 11:30 AM-2:30 PM Dusty Micale 5 Monday L: 11:30 AM-2:30 PM Dusty Micale D: 7:00-10:00 PM Donna Antonow 27 Tuesday L: 11:30 AM-2:30 PM Dusty Micale D: 7:00-10:00 PM Donna Antonow L: 11:30 AM-2:30 PM John Bianculli D: 7:00-10:00 PM Donna Antonow 20 Tuesday D: 7:00-10:00 PM Tom Adams 13 Tuesday 6 Tuesday L: 11:30 AM-2:30 PM John Bianculli 28 Wednesday L: 11:30 AM-2:30 PM John Bianculli L: 11:30 AM-2:30 PM John Bianculli D: 7:00-10:00 PM Tom Adams L: 11:30 AM-2:30 PM John Bianculli D: 7:00-10:00 PM Tom Adams D: 7:00-10:00 PM Tom Adams D: 7:00-10:00 PM Sue Giles 21 Wednesday 14 Wednesday 7 Wednesday L: 11:30 AM-2:30 PM John Bianculli 29 Thursday L: 11:30 AM-2:30 PM John Bianculli L: 11:30 AM-2:30 PM John Bianculli L: 11:30 AM-2:30 PM John Bianculli D: 7:00-10:00 PM Lynn Randall D: 7:00-10:00 PM David Aron D: 7:00-10:00 PM Sue Giles D: 7:00-10:00 PM Karen Rodriguez 8 Thursday 15 Thursday 22 Thursday (Thanksgiving Day) 30 Friday L: 11:30 AM-2:30 PM John Bianculli L: 11:30 AM-2:30 PM John Bianculli L: 11:30 AM-2:30 PM John Bianculli L: 11:30 AM-2:30 PM John Bianculli D: 7:00-10:00 PM Rob Paparozzi D: 7:00-10:00 PM Rick Stone D: 7:00-10:00 PM Pam Purvis D: 7:00-11:00 PM William Hart Strecker

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ANAT COHEN continued from page 18 back to place me right between him and Buddy JJ: In a given month, how much time do DeFranco. It took me a time to realize what it you spend traveling? meant, but that was a serious acknowledgement AC: It’s preference. I feel very fortunate not to on his behalf. AC: It depends, between a week and two weeks have to play music that I don’t want to play. I have probably. Some months I just go for a couple of been very fortunate to be able to do that for a JJ: And Kenny was not a man to give false nights out of town. I never stay in one place more while now. I am genuinely interested in a lot of praise. than a month. I get the bug to move. different kinds of music. All these bands that I am part of, whether it is the Louis Armstrong Centen- AC: Yeah. That was my first conversation with him JJ: What do you like to do for relaxation nial Band or the Diva Jazz Orchestra or Duduka Da and every year I met him at the festival and he was that does not involve music? Fonseca’s quintet or the Choro Ensemble, everyone very supportive and very nice to me. I miss him. AC: I like to read, I like to be outside. I like to walk has some different element of music that I think JJ: Also, congratulations on being the first around in the park and see people. Sometimes I like gives me a learning experience and help me grow. Israeli and first female horn player to to take my soprano and sit in a corner and play for JJ: I know this is like asking which meal headline at the Village Vanguard for an fun and feel the surroundings. I love being with is your favorite: breakfast, lunch or dinner, entire week. How did it feel to be setting friends. I like nature, so I try to be outdoors. records in that most hallowed club? but what types of music do you most JJ: Who are your current musical heroes? enjoy playing? AC: Thank you. It was an incredible experience. AC: Wow! I like to go out and I listen to young I like melodies. So whatever style has melodies, I am very honored. I got to play a week there with AC: players and some close friends here in the city and my quartet from Tuesday to Sunday and on that I would be attracted to it. I don’t know which one is it inspires me. There is a bunch of fantastic Monday before that, I got to play with the Anzic my favorite, I like to play Choro partly because the musicians around here, of different instruments. Orchestra the music from Noir, subbing for the melody is very important but also because it has all You know, that is the beauty of New York City; famous Vanguard Orchestra which was on tour for the elements of what I have been studying all my everyday I can go out and hear somebody that the whole month of July. It was such an incredible life: the technical part, you can be very virtuosi you blows my mind. That is why I am here. honor to stand on that stage. You know, there is no can constantly improvise, you have to understand escaping the history of that club. The musicians the harmony and you interact, so it is kind of like JJ: Is there any other place like the who were standing on that stage playing are with jazz, you create something. I like music that puts New York area where you can go to so you during each set. How inspiring. It was an you on the spot and makes you be aware and listen many jazz clubs? incredible experience and the room has an amazing to each other and create something new. sound. The audience there, they come to hear jazz. AC: I don’t think so. If there is one than I am not JJ: Congratulations on winning the Everybody is listening, there is no distraction, no familiar with it. If there is, then I would definitely go “Clarinetist of the Year” award from the one is serving food it is just a place that is all about buy a plane ticket and go visit. music and what music can make you feel. The set Jazz Journalists Association. I read that JJ: Finally, I was curious about the meaning length is 75 minutes and the extra few minutes you mentioned Kenny Davern in your of your name and I found several meanings. acceptance speech. He was very popular makes a difference — you can really let the music with many NJJS members, so would you open up. It was really beautiful. I loved it. AC: All right, all right, go ahead, I’m curious. tell us why you mentioned him? JJ: Which leads me to my next question: JJ: Oh, well, “goddess of war.” Thank you. You know, Kenny was one of the It drives me crazy when an audience is not AC: AC: OK! nominees for the same category and he passed listening. How does it make you feel when away just a few months earlier. What a fantastic you are the artist producing the music? JJ: Another is “goddess of fertility.” clarinetist! I think it was in 2000, when I met him AC: It drives me crazy. It depends on what kind AC: Umm hum. while playing the March of Jazz. It is a jazz festival of noise it is. There are some noises that I mind of Arbors Records in Florida. It was Flip Phillips’s less, if everyone is kind of whispering I don’t mind JJ: Another is “singer.” Did your parents birthday and at the end of that weekend all the that. If you hear one piercing voice it can really have one of these in mind when they chose musicians were playing “Happy Birthday” for Flip drive me crazy though. For the most part, it does the name? and we were all on stage and everybody was play- bother me when people talk as musicians play. ing a solo for a couple of choruses. So I was stand- AC: I’m not sure they did. It is a common name in ing there with the tenor saxophone among Flip JJ: I am even uncomfortable applauding my generation and it is in the Bible. It is similar to Phillips, Tommy Newsome and Jerry Jerome — after a solo; I feel I am disturbing the next my great grandmother’s name. I read somewhere sadly all of them have passed away already. Each soloist. that it was the goddess of love and fertility. So, love musician was taking a solo and getting off the stage and fertility, I have no problem with that. (Chuckles) and it was a great honor to stand with them. Kenny AC: Yeah, my favorite part is when people are so JJ: Well, that is it. Thank you so much for was there with Buddy DeFranco. While I was stand- into the music that they forget that they are sup- ing near the stage listening to the cats blowing, posed to clap because it is a tradition. For me it is your generosity in doing this interview. Stanley Kay, said: “Where is your clarinet?” I said it the most beautiful moment when somebody is AC: THANK YOU! It was a pleasure talking finishing a solo and people are so into the music is upstairs, because I didn’t even consider playing it. to you. JJ He said, “Go get it” so I did and I went back on that they are trying to see where the music is going stage and took another couple of choruses on the next and they simply forget that there was a Schaen Fox is a longtime jazz fan. Now retired, clarinet. As I finished playing Kenny and Buddy moment when they were officially suppose to clap. he devotes much of his time to the music, DeFranco were standing behind me and Kenny took Many times clapping feels just forced. I know what and shares his encounters with musicians in a few steps forward, grabbed me and dragged me you mean. this column.

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Writer-editor-archivist Dan Morgenstern is Director of the Institute of Jazz Studies at Rutgers University, Newark.

Dan’s Den | One-Man Jazz Movement

By Dan Morgenstern

rnvid Meyer is not a name most of our archive. Arnvid’s was an imposing collection Contact, a non-profit also founded by A readers will know, but this truly great covering almost all of Danish jazz, in Arnvid, who remained active in many ways. Dane, who left us on August 29, aged 80, various audio formats, in print, on film and With his flowing full beard and piercing after a 20-year battle with Parkinson’s [Obit, videotape, and of course documentation of eyes, Arnvid was an imposing presence, but page 12 —Ed.], did more for jazz than seems visiting firemen, as well as a great deal of he was the kindest and gentlest of men — possible for one person in a single lifetime. international material, splendidly organized, unless confronted with ignorance. This he almost all by the founder-director himself. I knew of Arnvid only as the trumpeter- encountered in the form of official bureau- leader of a terrific small Danish band that Another Brainstorm: cracy, which forced the Danish Jazz Center backed Ben Webster on a 1965 LP when I Jazzpar Prize to move to the music conservatory in heard from him. In his role as founder of Odense, a nice if unpronounceable city on the Danish Jazz Center, he wrote that he and My visit, along with friend and colleague the island of Fyn or Funen. There it is in the his friend and associate, Erik Wiedemann, Gary Giddins, was prompted by yet another good hands of the jazz writer and scholar author of a fine history of jazz in Denmark Arnvid Meyer brainstorm, the Jazzpar Prize. Frank Büchmann-Møller. But since the bulk and noted Ellington scholar, were coming to We were there for the exploratory first meet- of the collection was Arnvid’s personal New York and wanted to visit the Institute ing of the international prize committee and property, he willed it to the Royal Danish of Jazz Studies in Newark. Among other unveiling of the bronze statuette, and to Library in Copenhagen. things, Arnvid was hoping to find some meet representatives of the discreet sponsor, duplicate issues of Down Beat to fill gaps in the Scandinavian Tobacco Company. Worked Until the End the Center’s collection (he did), but the Affectionately known as “The Nobel Prize Arnvid was still at work until the end on three of us found a hundred things to look of Jazz,” Jazzpar was awarded annually to an projects such as a definitive Danish jazz at and talk about, and friendships as well as active musician deserving of further recog- discography and music to go with it, and a archival relations were forged. nition. It included a bronze replica of the book and CDs of highlights from his band- There were further visits, and I gradually sculpture and $30,000 in cash, plus several leader years. These included many stellar became aware of some of all the things concerts. At the last of these, in Tivoli visitors on the order of NJJS favorites Benny Arnvid was involved in. He’d put down his Gardens, as for most years, the statuette and Carter, Buck Clayton, Vic Dickenson, Roy trumpet in 1973, having worked with a host check were presented by the Danish prime Eldridge, Edmond Hall, Coleman Hawkins, of American guest artists, most of whom he minister. Also included was a recording date, Charlie Shavers, among others. This work, brought to Denmark, and having furthered live or studio, for a marketplace CD. The in collaboration with his son, Cim, he lived the careers of many leading Danish musi- world’s biggest jazz prize lasted for 15 years, to see completed, and it is expected to be cians. He needed more time to serve as ending only because sponsorship of cultural published very soon. That is something to artistic director of the world-famous events by tobacco, as here at home, was look forward to, but it can’t replace this Montmartre jazz club in Copenhagen and to banned. Even so, Jazzpar survived longer singular man, who leaves behind so many run the Center he founded in 1971, as well as than any jazz award except the quite good works for jazz. for dozens of other matters of an admini- different NEA Jazz Masters. There’s something else in Arnvid’s strative or educational nature. Arnvid was legacy that I cherish — a children’s truly a one-man mass jazz movement. Among the predominantly American winners were Tommy Flanagan, Lee book created by a close friend, the In 1988, I saw for myself what a job he had Konitz, Jim Hall, Geri Allen, Roy gifted illustrator Klaus Albrectsen. done at the Jazz Center, housed in a thatch- Haynes, Muhal Richard Abrams and Skovtrolden Arnvid (Arnvid the Forest roofed Danish farm building converted into Andrew Hill. When Arnvid’s health Troll) stars Arnvid Meyer as a trumpet- a residence for his wife and two children faltered, he turned his leadership playing and benevolent being, which and huge dog — you guessed it, a Great role over to his son, Cim Meyer, indeed he was. It captures some of his Dane, friendly as could be and specializing editor of the world-class, Danish- essence — a very Danish brand of in knocking over (preferably filled) drinking language bimonthly magazine, Jazz humanism that imbued his glasses with his swinging tail — plus a jazz Special, as well as head of Jazz love affair with jazz. JJ

The Jazzpar bronze statuette.

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Yours For A Song things, if you fail to use it, you can lose it. And, there’s always more to learn. By Laura Hull Finally, there are the professional singers — who drop in at an open NJJS Music Committee Member mic to work a new tune, market a new show, and meet other musi- cians, songwriters and singers with whom to network, or maybe they want to play with a particular musician who’s in the house. The professional singer will always show respect and support of his/her Open Mic fellow singers, because we have an appreciation for what it takes to ver wonder why many singers attend open mics? What’s the be a singer. E attraction? They place their name on a list, pay the same cover There are few places today where a singer can work out, and open charge the audience member pays, and wait to be called to the mics offer a real value. For the un-singer, perhaps it’s a place to bandstand. At most venues, the singer gets to sing two songs — contrast and compare, providing a musical place in which to belong. often with experienced musicians capable of transposing the music For the amateur singer, it clearly is a place to work on polishing they brought along into their key. There are two such open mics their craft. And for the professional singer, it serves as a place to that I frequent: Trumpets Jazz Vocal Jam in Montclair and the work out. Regardless of a singer’s experience level, the open-mic Crossroads Jazz Jam in Garfield. The Trumpets Vocal Jam, hosted by serves as a place where a singer can spend a few minutes embraced Betty Liste and her trio, is offered the last Thursday of each month by the spotlight, for however long the song lasts, followed by the (check their calendar for dates). For a small cover charge you can be applause they can feel right down to their toes. entertained for the evening by vocalists of all experience levels. The JJ Crossroads Jazz Jam is offered every Tuesday and hosted by my NJJS So the next time you hear a vocalist, don’t forget to applaud! colleague, WGBO’s Stan Meyers. Both these open mics attract a Laura Hull is a vocalist and music consultant serving diverse audience, and they appreciate talent when they hear it. Like the tri-state area. Visit her on the web: www.LauraHull.com. any audience, they seek that little spark, that little something to thrill them, to bring them joy. That’s what good music does. I’ve participated in many open mics over the years and even hosted a singer’s showcase at the now-closed Eighty Eights in Rahway. I’ve | heard singers with no talent, and others who have knocked my socks CTSIMAGES The Face of Jazz LICENSING • RESEARCH • APPRAISALS off. That’s the chance you take when attending an open mic. I appreciate them all, largely because I know what it feels like to want to sing. The most common statement I hear from people is “I always wanted to sing,” or “I wish I was able to sing.” I get it — it is thrilling and audience members enjoy the variety and skill level of the singers at an open mic. It’s like a talent show. Audiences are smart and they know talent when they see it. There are different kinds of singers who attend open mics and I’ll do my best to describe them here. The un-singer (my term) is one that has little ability, no pitch or sense of rhythm and should just stay away from singing altogether. I don’t fault the un-singer from wanting so badly to sing. I admit, it’s a driving force to want to be a storyteller, to be heard, to emote, to say it all with a song — but the un-singer should stick to the shower. Sure, over time, some improve. But let’s be frank — if you don’t have the goods, no one buys. Then there’s the amateur singer. This is one who has an innate ability and a deep rooted desire to be a singer. Some can deliver a song with no particular emphasis on the lyric, timing, and phrasing, and with training and coaching, could do well to develop a reper- toire, find an audience and sing! I find these singers a real treat, as Avery/CTSIMAGES.COM © Ray they have so much potential. And once in a while, you’ll be Photo Archives include vintage Jazz, Pop, Blues, R&B, Rock, Country/Western, surprised by a singer who has it all but is infrequently singing for Radio Personalities, Big Bands, Vocalists, Hollywood and more. one reason or another. Some amateur singers work hard at finding • PHOTOGRAPH RESEARCH • LICENSING FOR COMMERCIAL USE open mics and singing, but many don’t believe they need training, • FINE ART LIMITED EDITION PRINTS • GALLERY EXHIBITIONS coaching, or rehearsing. I’ve got news for them. The most experi- • RECORD & PHOTOGRAPH APPRAISALS enced singers still require tune ups and maintenance and repairs, WWW.CTSIMAGES.COM e-mail: [email protected] just like a car. Consistent polishing of the craft is required. Like most

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JAZZFEAST 2007continued from page 1 Princeton’s popular Wiedenmuller on bass. Werner played in turns quiet and complex JazzFeast — an harmonically rich passages that contrasted with hard bop runs and afternoon filled with showman-like crescendos in a set hot jazz and tasty food that mixed songbook evergreens like “Stella by Starlight” and “With a — did not disappoint Song in My heart” with jazz tunes in its 16th iteration like Wayne Shorter’s “Pinocchio.” on September 15, as fair skies and Following Werner, GREG PICCOLO warm weather brought out a record AND HIS TRIO HEAVY JUICE, crowd. Of course there were the usual showstoppers at last year’s JazzFeast, suspects — silver haired Swing Era performed their infectious blend of jazz, seniors and latter day beboppers with blues, R&B and rock. their berets and goatees — but there were plenty of 20- and 30-somethings “I’m surprised to be invited back,” as well, many with babes bouncing on Piccolo quipped with faux modesty as mom’s knee and tykes atop their dad’s the set kicked off. Piccolo, playing sax, The Alan Dale New Legacy Band: Jay Miles, shoulders, as their older siblings danced guitar and bass and singing in a bass player with Beth McDonald, vocalist; around at stage front in time to the delightfully eclectic program, was ably Jay Gibble, trombone; Lou Rainone, piano. steady jazz beat. abetted by Shinichi Otsu on electric keyboards and Steve Barbuto on drums. The feast part of JazzFeast was provid- As it did in ’06, Piccolo’s soulful tenor ed by 16 area restaurants who manned playing on “Over the Rainbow” brought the food stalls that filled the air around the crowd to its feet. And, again like last Palmer Square Green with a tantalizing year, Heavy Juice CDs quickly sold out at blend of aromas. The cuisine was as the NJJS music table. Piccolo’s manager diverse as the crowd, offering every- might want to think about renting a thing from Thai to Vegetarian to Italian U-Haul if Greg is back in ’08. to good old-fashioned hot dogs, burgers and beer.

The musical presentation, programmed as always by NJJS’s Jack Stine, got Kenny Werner Trio with underway at noon sharp, as ALAN Johannes Wiedenmuller on bass DALE slapped the sticks on his drum kit and Ari Hoenig on drums. and his New Legacy Band launched into a spirited run through “Puttin’ on the Ritz.” This is the Dale group’s 16th appearance at JazzFeast, and for good reason — the crowd loves this band. They delivered a swinging 13-song set, interspersing hot jazz and blues with smooth vocals offered by the demure songstress Beth McDonald.

Dale is an aficionado of Louis Prima and Sam Butera and, to the ears of former Jersey Jazz editor Don Robertson, just one hell of a drummer.

“For my money,” Robertson says, “he’s the closest thing we have these days to Buddy Rich. Alan’s got it all. He plays with great energy, gets around the drum set as though there was nothing to it and has that “paper-tearing” snare roll that many find so difficult.”

Things took a thoughtful turn as the cerebral and swinging pianist KENNY WERNER took the stage with his trio, Ari Hoenig on drums and Johannes Greg Piccolo with Shinichi Otsu on electric keyboards and drummer Steve Barbuto.

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Princeton University Jazztet is directed by Anthony Branker (far right), featuring Irwin Hall on alto and soprano sax; pianist Julia Brav; tenor saxophonist Ben Wasserman; bassist Dean Reynolds and drummer Chuck Staab.

Next up was a JazzFeast first as THE PRINCETON “Yes definitely,” Brav said without hesitation UNIVERSITY JAZZTET ventured across Nassau when asked if the senior student hoped to work Street to become the first student group ever professionally after graduation, noting that several featured at the festival. The quintet delivered an classmates were already getting paying gigs in all-original repertoire with considerable polish and Hoboken and New York City clubs. they certainly held their own with the veteran acts The festival’s closing act was the JON BURR that bookended their set. BAND, making their first JazzFeast appearance. The Former Jersey Jazz Editor Paul White presents The Jazztet is directed by Anthony Branker of the amiable-looking bassist took the opportunity to his compilation of 35 years of Jack Stine’s Princeton University Music Department and premier music from his upcoming record release. consists of alto and soprano saxophonist Irwin Hall, Jersey Jazz columns. A labor of love for both of “I’ve been working on this all year and thought tenor saxophonist Ben Wasserman, pianist Julia these fine gentlemen of jazz. today was a real chance to give it some air,” Brav, bassist Dean Reynolds and drummer Chuck Burr said. “You’re all really nice guinea pigs.” Staab. The group has been around the block a couple of times, having played a concert tour in The group offered a program of mainly original Estonia in 2006 and appeared at the University of music featured on the yet-to-be-named CD North Texas Jazz Festival as members of the scheduled for release next year. If the audience University Afro-Groove Ensemble. members were guinea pigs, then the experiment was a success, as Burr’s new music was warmly embraced by the listeners. Burr worked with the late Stan Getz and some of the best of his music puts one in mind of the airy Getz-Astrud Gilberto collaborations of the 1960s, especially when the sweetly talented vocalist Yaala Ballin took the microphone. One last round of rousing applause for Steve Powers, the man behind the engineer’s dials responsible for the on-stage sound mix and the superior results that emanated from the large Bassist Jon Burr leads, with Tony black speakers framing the JazzFeast stage. The Jefferson, vocalist; Jon Davis on music came through clean, bright and well- piano; John Hart, guitar; saxman balanced — no mean feat at an outdoor venue Mario Cruz; and Yaala Ballin, with five different acts. vocalist (below). All in all, for those who love jazz — and food — September 15 was just one of those days that it’s just great to be alive…and listening, and eating. JJ

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NJJS 35th Anniversary Bash We dined, we danced, we honored Basking in the sounds of Dr. Lou Iozzi (right) and his Reeds, Rhythm & All That Brass big band, it was impossible NOT to have a great time! We’ll let the photos speak for themselves. Photos by Tony Mottola.

A lot of great-looking dancers kept the floor warm all afternoon. The service at the Pines Manor was friendly and efficient, and the food memorable — especially the desserts. And all sorts of fun stuff was on hand for viewing and reminiscing. A toast to NJJS Board member Frank Nissel, who generously underwrote this event.

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Dinner35thAnniversary Dance Sunday, September 30, 2007

Our hard-working Dinner Dance chair Laura Hull (left, with microphone) put the whole thing together with great style and treated us to her vocal stylings as well. Honorees, from left: Rufus Reid, Roseanna Vitro and George Kanzler.

As usual, we can’t keep up with our President, Andi Tyson (below). Somehow Elliott manages to!

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Acclaimed Riverwalk Jazz Broadcast Joins WBGO-FM Jazz Radio Lineup iverwalk Jazz, public radio’s long-run- series so distinctive is not only the quality R ning, weekly jazz series is now heard of the music but also the documentary Tuesday evenings at 6:30 PM on Newark’s programs that become valuable additions Jazz 88, WBGO 88.3FM. to jazz history.” Riverwalk Jazz, a favorite with jazz lovers for The series is produced by Margaret Pick, almost two decades, tells the story of jazz PVPMedia, Inc. and cornetist Jim Cullum, from its early beginnings. Each week, owner of The Landing Jazz Club in San listeners on more than 150 public radio Antonio. As a teenager, he locked onto the sounds of Louis Armstrong and Bix stations, XM Satellite and across the Web Beiderbecke. Today, Cullum’s acoustic, tune in to hear The Jim Cullum Jazz Band, seven-piece, traditional ensemble specializes described by The New York Times as “a band in acoustic jazz from “between the wars” — with polish and style.” Joining the band are pre-WWII, small, hot ensembles. Though Grammy Award-winning host David Holt early jazz is at the basis of their sound, the and guest musicians, including piano legend band transcends the genre, bringing its sound of The Jim Cullum Jazz Band and an Dick Hyman, international jazz festival original compositions, high energy and almost lost chapter of jazz history to their favorite Topsy Chapman and New Orleans virtuosity to the form. listeners,” says Margaret Pick, Executive trumpet ace Duke Heitger. Broadway’s WBGO Program Director Thurston Briscoe Producer of Riverwalk Jazz. She adds, Vernel Bagneris lends his singing and noted, “Our listeners have expressed an “WBGO leads the industry in jazz program- comedic talents and portrays jazz greats like interest in hearing more pre-World War II ming, and it’s an honor to be part of it.” Jelly Roll Morton. Past luminaries who have jazz, and that’s what Riverwalk Jazz delivers. graced the broadcasts include Sweets Edison, The Jim Cullum Jazz Band is heard live at The show offers exciting, live acoustic jazz by The Landing in San Antonio and weekly on Doc Cheatham and Benny Carter. The Jim Cullum Jazz Band and top audio public radio’s Riverwalk Jazz in more than In addition to live music performances, production. We’re delighted to welcome 200 cities. The program is distributed by Riverwalk to WBGO.” Riverwalk Jazz features historic interviews PRI and sponsored by Mission Pharmacal, with the likes of Lil Hardin Armstrong and “Everyone on the Riverwalk Jazz team is makers of Citracal Calcium. For more John Hammond. Nat Hentoff, in JazzTimes delighted that the show will be included in information visit www.riverwalkjazz.org magazine, writes, “What makes this radio the WBGO lineup and will bring the classic on the Web. JJ

Orange Middle School. “Giants of Jazz,” Davis, David Glasser, Roberta Gambarini, Earl Giants of Jazz virtually a one-night festival, has, over the past May, John Lee, Leroy Williams, Willie Jones III, at The Baird nine years, established South Orange as a Vincent Ector and Duke Lee. It should be a major New Jersey venue for world-class jazz, swinging evening. 10th Annual Event and they have the plaudits from The New York “Giants of Jazz” is co-produced by South Times and The Star-Ledger to prove it. Honors Barry Harris Orange resident John Lee, a highly respected he Baird Center in South Orange, operated A highlight of each year’s event is the presenta- bassist, composer, educator and producer. Mr. Tby the village’s Department of Recreation tion of the South Orange Jazz Masters Award Lee has played with many of the top names in and Cultural Affairs, offers what may be New to an artist whose creativity has had a major jazz and works with the Dizzy Gillespie Alumni JJ Jersey’s best municipally sponsored jazz impact on jazz performance. Past recipients All-Stars. calendar. For one, there is the annual “Jazz at include Jimmy Heath, James Moody, Clark the Baird” series presenting five monthly Terry, Frank Wess, Benny Powell, Dr. Billy November 3, 2007, 7:30 PM at the South Orange performances from January to May in an Taylor, Frank Foster and Marian McPartland. Middle School, 70 North Ridgewood Road, South intimate coffeehouse setting in the Center’s Orange. Tickets can be purchased online at This year’s Jazz Master Award Honoree is Barry http://southorange.recware.com or at various local 100-year-old Tudoresque building in Meadow- Harris, internationally renowned jazz pianist, land Park. This year’s lineup featured trumpet venues. Ticket prices are $35/advance; $40 at door; composer and educator. Barry headlines an $30 for students with ID and seniors. For Preferred great Claudio Roditi and the hard-swinging amazing Who’s-Who, all-star lineup — take trombonist Steve Davis, among others. Concert Seating and passes to the sound check, your pick — namely: Dr. Billy Taylor, Hank inquire about the Friends of the Arts package, level 3. And on November 3, The Baird Jones, Benny Powell, Frank Wess, For more information about the concert, go to Center will present the 10th annual Jimmy Owens, Claudio Roditi, www.thebaird.org or (973) 378-7754. “Giants of Jazz” at the South Antonio Hart, Don Braden, Charles

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A Concert for Jerry Vezza

n the spring of 2007, pianist their schedules permit including IJerry Vezza was diagnosed with John Pizzarelli, Warren Vache and throat cancer. Since then he has Winard Harper. And more have been undergone an arduous regimen invited as of this writing. of radiation and chemotherapy The concert will take place at the culminating with surgery in Presbyterian Church at 240 Southern September. It has not been easy Boulevard in Chatham with a pre- for Jerry and his young family. concert reception for top donors For months, Jerry has been unable starting at 6:30 PM and the music to work as he battles this terrible kicking off at 7:30 PM.There will be disease. Like most people in the a coffee and dessert reception music industry, he does not have following the concert to say thank paid medical leave, disability you to everyone. insurance or a staff to pick up the For more details and to order tickets slack while he is out of work. for the benefit, log onto www. Friends and fellow musicians have madisonartsnj.org. Tickets are priced rallied to support Jerry during this at $150 and $100 (including a difficult ordeal and are holding a sumptuous pre-concert reception benefit concert on Monday, generously provided by local caterers November 12, 2007. Some of the and priority seating at the concert), artists lined up to perform include and $50. Those who cannot attend Bill Charlap, Nancy Nelson, Frank can also make a donation for Jerry Noviello, Virginia Mayhew, Gary on-line. For answers to questions, Mazzaroppi, Donna Antonow, please call 908-522-3066. Tickets are Martin Wind, Rio Clemente, not available by phone, but will be Grover Kemble, Ken Sebesky and Benefit Concert sold at the door for cash or Glenn Davis. Several musicians checks only. JJ have said they will participate if Monday, November 12, 2007

In the Clubs THE GLEN ROCK INN Photo by Tony Mottola

FUN ON THE FRETS: Local hero Gene Bertoncini, right, was clearly digging his visit with Israeli guitarist Roni Ben-Hur at a recent performance by the duo at the Glen Rock Inn. The comfortable Bergen County bistro presents jazz every Thursday in an intimate and quiet room where audience and musicians mingle between sets. There’s no cover and the Inn offers a full bar and an appealing and affordable dinner menu. JJ

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“It’s a huge project that will take the rest of my life.” — Arne Neegaard

Norwegian Plans to Post All Ellingtonia on the Net

By Fradley Garner Jersey Jazz International Editor

OSLO, NORWAY: Do you have any informa- Duke Ellington and tion about Duke Ellington? Any concert His Sidemen, 5th programs, posters, clippings, memorabilia, Edition; Luciano photos, private recordings? An ambitious Massaglio and Norwegian jazz researcher is burning to Giovanni Volonte, get hold of such items — as scanned The New Desor: Duke images or sound files. No need to part Ellington Story on with the originals. Records,a two- volume discography of more than 1600 Arne Neegaard has set himself a formid- pages; Kurt Vail: Duke’s Diary,a two- able goal: Posting the details of every volume collage of newspaper articles, recording Ellington ever made, every gig posters and photographs accompanying a and tour and jam session he ever took part narrative diary text, and Klaus Stratemann, in — there were many thousands of these Duke Ellington, Day by Day and Film by — on the Net for everyone’s benefit. “It’s a Film (786 pp.). huge project, a labor of love that will take me the rest of my life and be handed on to Neegaard is a contributor to the Duke others,” Neegaard told Jersey Jazz. “But it’s Ellington Music Society’s DEMS Bulletin. worth it, who could deny that?” He has been credited for his findings in several recent books and articles. Readers Neegaard, a retired businessman, also are invited to contact him at neegaar@ disclosed that he has bought the license online.no (the “d” at the end of his from NRK TV, the Norwegian worldwide name is omitted). JJ radio and television network, to release the last Duke Ellington Orchestra concert, held in Oslo in 1971, on DVD. “I am awaiting the final go from the copyright owner, CMG Worldwide,” he said. The video recording would be offered for general sale with proceeds, after costs are met, to support the online project. “So far it has entailed a $7,000 investment,” he said. “I need to sell 200 copies to break even. But hell! I’ll make it back somehow.” Neegaard said he would try to have the DVD, which would include some Ellington radio interviews, ready for the 20th top left: Signed shellac label from 1950 International Duke Ellington Conference courtesy of Earl Okin. in London, May 22–26, 2008. All other items courtesy of Arne Neegaard. The jazz historian will build his Web site on his and other researchers’ work, partic- ularly the information available in four “very expensive” publications: W. E. Timner, Ellingtonia: The Recorded Music of Ellington

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Daryl and KT Celebrate Autumn

By Robert L. Daniels

elebrating and lyrics. One need only listen to her spin cross the river, classy lassie KT Sullivan Cthe eve of on Cole Porter’s “Get Out of Town,” taken at Acelebrated the new season with Autumn the equinox at a crawling tempo that accents its bittersweet in New York. Shanghai Jazz in plea. Sherman then shifts gear to a gentle In the Oak Room of the Algonquin Hotel, Madison, darling jump tempo, sending the songs rakish cabaret’s golden gal recalled a career that diva Daryl Lothario to retirement on a farm. found her being directed by the legendary Sherman From her new Arbors Jazz CD is the title George Abbott in Broadway, co-starring opened her set tune “Guess Who’s in Town?” The song is an with Sting in Threepenny Opera and as with “‘Tis old rouser by James C. Johnson and Andy “A Little Girl from Little Rock” in a revival Autumn,” Harry Razaf and introduced by Ethel Waters in of Gentlemen Prefer Blondes. Nemo’s lyrical 1928. Sherman puts out the welcome mat bow to the In her 10th season at the historic room, with a bright and breezy air. season. Framed in a medium bounce tempo, the lady with the silvery voice revealed the lady “called on the north wind to come Leonhart soloed with the tale of an a the wonders of the season with “Another on out,” assisted by the bold plucking of musing flight to LA seated next to Autumn” from the Alan Jay Lerner- bassist Jay Leonhart. composer-conductor Leonard Bernstein, Frederick Loewe oater Paint Your Wagon, and his wife Donna Leonhart stepped up Vernon Duke’s “Autumn in New York,” Sherman, who is celebrating her 14th season to offer a flavorful take on “I’ve Got the spelling “the thrill of first-nighting,” and in Peacock Alley at Manhattan’s posh World on a String.” the Kurt Weill-Maxwell Anderson poignant Waldorf, is a knowing gal who approaches tale of an older man’s love for a younger her repertoire with poise, elegant interpreta- Sherman’s new project is a tribute to woman, “September Song.” tion and a reverent appreciation of music Crescent City in the wake of the flood. The homage boasts some Sullivan skirted some of more obvious forgotten treasures. cabaret staples, instead revealing the subtle “Belle of New beauties of “Will You?” from Grey Gardens, Orleans” served as “Dividing Day” from The Light in the Piazza a bow to Ramona, and Noel Coward’s timeless and once the “Princess of controversial lament, “World Weary.” Lovely Jazz” who followed and lyrical, Sullivan brings a regal stateliness Mildred Bailey as to the cabaret stage that knows few rivals. Live Jazz Thursday Nights canary for the Paul JJ November 1 December 6 Whiteman band. Mr. Daniels is a jazz, cabaret and theatre reviewer Vic Cenicola & Vic Cenicola & Bailey herself is for Variety, Daily Variety Gotham and New York Jerry Bruno Charlie DesCarfino remembered with Theater News. November 8 December 13 “I Don’t Want to Gene Bertoncini & Gene Bertoncini & Miss Mississippi.” Jack Wilkins Roni Ben-Hur Sherman’s feathery November 15 December 20 feel for the classic Bucky Pizzarelli & Howard Alden & songbook, led her Jerry Bruno Jack Wilkins through such November 22 December 27 tuneful old friends No Music TBA as “Body and Soul,” November 29 “Speak Low” and Lou Pallo & Bob Leive “Witchcraft.” What’s not to like? Host — Victor Quinn In Association With Shelly Productions, Inc. P.O. Box 61, Elmwood Park, NJ • 201-796-9582

222 Rock Road, Glen Rock, NJ Entertainment Starts @ 7:00 PM 201-445-2362 Call for Reservations

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Scott Robinson joining her on reeds; Frank Greene, Compact Views Tanya Darby and Avishai Cohen taking the trumpet/ By Joe Lang NJJS Music Committee Chair flugelhorn duties; Debra Weisz and Yonatan Voltzok handling the trombones; Guilherme Montiero on ne of the pleasures of past NJJS events has guitar; Barak Mori on bass; Ali Jackson Jr., Antonio Obeen the participation of trumpeter JON-ERIK Sanchez and Duduka Da Fonseca sharing the drum KELLSO. In fact, he will be leading a quintet at the duties; Da Fonseca and Zé Mauricio providing the 2008 Pee Wee Russell Memorial Stomp. What percussion sounds; and a cello trio of Erik makes Jon’s playing particularly appealing is the Friedlander, Robert Burkhart and Greg Heffernan. eclectic influences that he has absorbed to develop The program is a mix of Brazilian music with pop one of the most individual styles on the scene. One and jazz tunes like “No Moon At All,” Johnny influence he is quick to cite is Ruby Braff, a true Griffin’s “Do It,” “Cry Me a River,” “You Never Told individualist among jazzmen. Remembering Ruby Me That You Care” from the Sun Ra book, and “Cry.” (Gen-Erik – 002) is a tribute to his friend. This disc An interesting and successful pairing is made of contains material from a 1993 radio concert done Gordon. In addition to his playing talent, Marsala Luiz Bonfa’s “Samba de Orfue” and Louis and Lil at the time of Braff’s passing in 2003. The session was also an accomplished songwriter, with over 90 Armstrong’s “Struttin’ with Some Barbecue.” The also included Scott Robinson on reeds, Mike Peters published tunes carrying his name in the composer featured players on this spectacular track are the on acoustic guitar, Mark Shane on piano, Frank Tate credits. On Bobby Gordon Plays Joe Marsala: “Three Cohens,” siblings Anat and Yuval on soprano on bass and Joe Ascione on drums, each of whom Lower Register (Arbors – 19352), Gordon has sax, with brother Avishai on trumpet. Special credit had played with Braff on occasion. The 11-song assembled an outstanding crew to assist him in also goes to arranger/conductor Oded Lev-Ari, who program of songs favored by Braff is comprised of recording 17 tunes from the Marsala catalog. His has been musically associated with Anat Cohen eight standards, “Between the Devil and the Deep most successful tunes were probably “Don’t Cry since their high school days in Tel Aviv. This is an Blue Sea,” “Love Me or Leave Me,” “Isn’t This a Joe” and “And So to Sleep Again,” with hit records album of changing moods, all of them sure to Lovely Day,” “It’s Been So Long,” “Foolin’ Myself,” from Frank Sinatra and Patti Page respectively. The capture your attention and admiration. “Skylark,” “Shoe Shine Boy” and “Willow Weep for players on these sessions are Gordon on clarinet, (www.amzicrecords.com) Me,” plus three Braff originals, “Ruby’s Got Rhythm,” Randy Reinhart on trumpet, Russell George on ■ “Ellie” and “Struttin’.” The music is just plain violin, Keith Ingham, who also wrote the arrange- For many years reedman EDDIE DANIELS was wonderful, with each player obviously feeling the ments for the album, on piano and celeste, James a ubiquitous presence on the New York City jazz spirit of their recently departed compatriot. They Chirillo on guitar, Vince Giordano on bass and Arnie scene most notably as a member of the Thad were Remembering Ruby, and listening to their Kinsella or Steve Little on drums. All of these cats Jones/Mel Lewis Jazz Orchestra. He also played in playing is sure to bring back recollections of the play beautifully, with Gordon’s luscious lower Broadway pit bands, and spent time on the Bobby very special Mr. Braff. register recalling the famed sound of Marsala. This Rosengarden Band that performed on the Dick Cavett TV show. Fifteen years ago, he moved his ■ Of course, a new release featuring the actual is one of those albums that you put into your CD home base to Santa Fe. In October 2006, Daniels RUBY BRAFF is always a welcome addition to any player, and let it play several times over. played a gig at the Iridium Jazz Club in Manhattan, jazz lover’s library. C’est Magnifique! (Arbors – We now have available a listing of all CDs in the NJJS and highlights of that engagement are found on 19270) finds Braff joined with a group of partners music inventory. We can either mail a hard copy Live at the Iridium (IPO – 1012), a two-disc set. designated as the Flying Pizzarellis, namely guitarist inventory to you, or e-mail it to you as an attachment He appeared in a quintet with Joe Locke on vibes, Bucky, guitarist/vocalist John, and bassist Martin, in Excel format. To obtain a copy please contact Tom Ranier on piano, Dave Finck on bass and Joe along with pianist Ray Kennedy and drummer Jim Andi Tyson, 110 Haywood Avenue, Piscataway, NJ LaBarbera on drums. Daniels plays tenor sax and Gwinn. Recorded in June 2002, this was Braff’s last 08854, or e-mail Andi at [email protected]. JJ clarinet, and is equally at home and inventive on studio recording for Arbors Records. As always, he both instruments. The 12-tune program is eclectic, selected a few good songs, like “Was I to Blame for with originals from Daniels and Ranier, a few pop Falling in Love with You,” “You’re a Lucky Guy,” and jazz standards, and originals by Mike Patterson, “When a Woman Loves a Man,” and the title tune, Other Views Gordon Goodwin and Roger Kellaway. The contribu- that are not heard too often these days, in addition By Joe Lang NJJS Music Committee Chair tion from Kellaway is the three-part “Déja Vu MJQ,” to seven other more frequently heard standards. a tribute to the group that served as an inspiration For a change of pace, John Pizzarelli lends his vocal t is time once again to hit on some albums that for the instrumentation chosen by Daniels for this talents to “They Can’t Take That Away From Me,” are not part of NJJS inventory, but are ones that I I engagement. From the opening strains of “Falling in and “As Time Goes By.” This is a typical Braff outing, recommend as fine stuff. Love with Love,” I fell in love with this collection. always swinging and as tasty as it gets. ■ It is not that often that I listen to an album, and The musicianship and imagination that emanates ■ For many years, clarinetist BOBBY GORDON when it is over just think to myself “Wow!” Well that from all of the players never allows your attention was a popular presence on the New Jersey jazz was my reaction when I heard Noir (Anzic – 1201) to waver, and the cohesion that they display is scene, often playing for NJJS events. As a young by ANAT COHEN & THE ANZIC ORCHESTRA. impressive from a group that is not a regular man, he came under the tutelage of Joe Marsala, a Those who caught Cohen as a member of Five Play working band. Like the album from Anat Cohen superb master of the jazz clarinet. Marsala, who at last June’s Jazzfest are probably still talking mentioned in the previous paragraph, this is a was noted particularly for his low register playing, about her wonderful playing. On this disc she is “wow” disc. (www.iporecordings.com) proved to be an important role model for the young fronting a big band with Ted Nash, Billy Drewes and continued on page 38

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OTHER VIEWS continued from page 36 What Stays (Verve – B0008906), and I have already listened to it at least a dozen times. It is the kind of album that reveals new riches with each listen. ■ Swingchronicity (Jazzed Media – 1029) is an outstanding example of There are several songs in the program that will be familiar to most listeners, how exciting a college jazz band can be. In this case, it is the DEPAUL including “Angel Eyes,” “My Foolish Heart,” “Once Upon a Summertime” and UNIVERSITY JAZZ ENSEMBLE featuring guest artist PHIL WOODS. The alto “Too Late Now.” There is a very un-Johnny-Cash-like take on an early Cash sax stylings of Woods are featured on seven of the 10 selections. We have vehicle, “So Doggone Lonesome.” He even digs into the catalog of the popular come to expect that Woods and his alto sax will supply consistently creative group, Coldplay, for “What If.” A recurring presence is “Stolen Moments,” a tune and surprising improvisations whenever he puts his horn to his lips. The most by Oliver Nelson with lyrics by Murphy that was first recorded by Murphy on his impressive thing about this collection, however, is the quality of the playing 1978 album of the same name. German trumpeter Till Brönner, who plays on of the DePaul students, in both the ensemble work and the solo performances most of the tracks, produced the album. Nan Schwartz arranged the transcen- by those players called into the spotlight. Program director Bob Lark, who dent string accompaniments that are on seven tracks, and conducted the contributes a lovely flugelhorn interlude on “Never Let me Go,” has obviously Deutsches Symphonie Orchester Berlin for this recording. There are guest been sending his students down the right musical road. They are well prepared, appearances by several other musicians, including alto sax master Lee Konitz and have learned how to take fruitful advantage of their natural talents. Most of on “My Foolish Heart.” Murphy has a supple voice that he uses to great effect, the challenging charts are written by current or former students, the exceptions suddenly veering from his normal baritone to higher registers creating surprises being Rob McConnell’s take on Quincy Jones’s “The Quintessence,” and two that work. Mark Murphy’s artistry does demand some effort on the part of the originals penned by Jim McNeely, “Rosenwind” and “Skittish.” This is an listener if he or she desires to understand and appreciate Murphy’s approach to impressive outing from a band that is the kind of breeding ground needed to conceptualizing and singing the material that he performs. I am always anxious keep jazz alive and vibrant. (www.JazzedMedia.com) to make this effort, as the rewards are satisfying indeed. (www.ververecords.com) ■ The GERALD WILSON ORCHESTRA has a new album titled Monterey ■ DIANA KRAL, through her broad-based popularity, has done more than any Moods (Mack Avenue – 1039), inspired by the 50th Anniversary of the other of the younger performers to keep alive classic pop standards. Initially famed Monterey Jazz Festival. Wilson was commissioned by the Festival to she was a jazz pianist, much influenced by Fats Waller and Nat Cole. Eventually, write original music to celebrate this milestone edition of the event. He decided she added singing to her repertoire, mostly using the trio format favored by that he would compose a series of pieces that reflected the many moods of Cole, piano, guitar and bass. Her breakthrough album was All for You (Impulse – jazz, and that “romance would be the underlying theme.” Wilson composed 9884016), her tribute to the Cole style and songs. She has subsequently eight original themes, “Allegro,” “Jazz Swing Waltz,” “Ballad,” “Latin Swing,” released seven albums, including a collection of Christmas songs. On The Very “Blues,” “Bass Solo,” “Hard Swing” and “The Mini Waltz.” To insure that the Best of Diana Krall (Verve – B0009412) Krall has gathered 15 selections romantic angle was overt in at least one instance, he also included Cole from these releases, including All for You, but excluding any from the seasonal Porter’s “I Concentrate on You.” Wilson’s charts are typically magnificent, with disc. As has been the marketing approach on these kinds of collections in tight ensemble passages that leave room for some superb solos from a variety recent years, there are some tracks that had not made it onto any of her of players, and what players they are. The trumpet section has Jon Faddis, Terell Stafford, Jimmy Owens, Sean Jones and Frank Greene; on trombones are released albums. “You Go to My head” and “Only the Lonely” were previously Dennis Wilson, Luis Bonilla, Jay Ashby and Doug Purviance; the reeds are unreleased from The Look of Love (Verve – 549846) sessions, and “The Heart comprised of Steve Wilson, Antonio Hart, Ron Blake, Kamasi Washington and of Saturday Night,” appeared only on a various artists compilation. For my taste, Ronnie Cuber; while the rhythm section includes Anthony Wilson on guitar, I feel that this album relies too heavily on material from When I Look in Your Renee Rosnes on piano, Peter Washington and Todd Coolman on bass, and Eyes (Verve – 065374) and The Look of Love, mostly ballad albums with lots Lewis Nash on drums. Guest appearances are made by Hubert Laws on flute. of strings, although the former does benefit from some fine arrangements by Gerald Wilson just celebrated his 89th birthday, and he is still producing music Johnny Mandel. As an introduction to Krall’s work, this is a good starting point, that is forward looking and brilliant. It will not take much to get me into the but I would recommend that listeners seek out those titles that allow her mood to listen to Monterey Moods many more times. (www.mackavenue.com) piano work more prominence, particularly All for You and Live in Paris (Verve – 440065). (www.ververecords.com) ■ I find it interesting that some performers connect with certain listeners in a manner that seems almost mystical. I have that reaction to most of the work of Remember that these albums are not available through NJJS.You should be vocalist MARK MURPHY. There is something about his sound, phrasing and able to obtain most of them at any major record store. They are also available totally unique conception of singing that lingers in my consciousness long after on-line from the websites that I have shown after each review, or from a there are no more notes to actually hear. His most recent release is Love Is variety of other on-line sources. JJ

JAZZ TRIVIA ANSWERS questions on page 4 Cape May Traditional Jazz Society 1. Les Brown 5. They were both in the same building at 315 East 35 St. MEMBERS WANTED in Chicago. Originally an auto garage, it was remodeled in 2. (a) Jess Stacy 1921 to become the Sunset Café and then remodeled Send name & address for newsletter, (b) Red Norvo again in 1937 to become the Grand Terrace. gig information, etc. (c) Louis Bellson (d) Louis Prima [email protected] 3. Fats Waller 609-827-7909 4. Buck Clayton

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tions of her vocal instrument. a real feel for the way that cre- DVD Reviews Even though the first two seg- ative juices are constantly flow- ments on this DVD were ing in the best of jazz players. Jazz Icons — Part Two recorded only a month apart, a They can take the same musical By Joe Lang NJJS Music Committee Chair six-song set from Sweden on vehicle time after time, and find July 9, 1958, and a five-song set new approaches and shadings nce again, Reelin’ in the Years from Holland on June 7, 1958, each time out. This is what OProductions has hit the jackpot with Vaughan seems almost like two makes jazz so appealing to its the latest releases in their Jazz Icons series of different performers, confident fans, and sometimes confusing DVDs. The new series, the second to hit the and assertive on the earlier date, to those with less imagination market, highlights performances by Duke and a bit more reserved and or patience. It is this constant Ellington, Sarah Vaughan, Dave Brubeck, demure on the later date. This is change that keeps the musicians Wes Montgomery, Dexter Gordon, John most noticeable when compar- and the music vibrant, and Coltrane and Charles Mingus. The material ing her respective performances allows a perormer to retain the contained on these discs is culled from of “Sometimes I’m Happy.” creative prowess that sets each of performances broadcast on television in Both of these sessions find her them apart. When this takes various European countries. The quality of accompanied by Ronnell Bright place within a group like the the video and sound is generally excellent. on piano, Richard Davis on bass DBQ, individual egos must ■ Duke Ellington: Live in ’58 (Jazz Icons – and Art Morgan on drums. The necessarily subjugate themselves 2.119001) is a rollicking 80-minute concert set from Sweden on January 10, to the interests of the entity, yet in Amsterdam, Holland by the DUKE 1964 is simply magnificent. still assert themselves to the ELLINGTON ORCHESTRA at its peak. From Vaughan opens with a confident extent that constant creativity is Ellington’s welcoming “we love you madly” take on “I Feel Pretty,” and not lost. This DVD affords the that leads into a medley of early Ellingtonia, closes with a romping “Bill viewer an opportunity to enjoy “Black and Tan Fantasy/Creole Love Call/ Bailey, Won’t You Please Come the wonderful sounds created by The Mooch” through the Paul Gonsalves Home.” Other peaks include a Brubeck and his mates, and feature “Diminuendo in Blue and Crescendo spirited “I Got Rhythm,” a love- observe the interaction, facial in Blue,” the playing is inspired and exciting. ly performance of a song that expressions, body language and This iteration of the band featured Johnny she almost owns, “Misty,” and a concentration, among the Hodges, Russell Procope, Paul Gonsalves, beautiful rendition of “Maria.” musicians, a dimension sorely Jimmy Hamilton and Harry Carney on Support on this date came from lacking when listening to only reeds; Quentin “Butter” Jackson, John Kirk Stuart on piano, Buster the audio. It allows the viewer to Sanders and Britt Woodman on trombones; Williams on bass and George understand why this particular William “Cat” Anderson, Harold “Shorty” Hughes on drums. This disc group enjoyed such a long Baker, Ray Nance and Clark Terry on contains a little over an hour tenure and ongoing success. of music from one of the true trumpets; Ellington on piano; Jimmy Woode ■ In contrast to the Brubeck DVD men- on bass; Sam Woodyard on drums and giants of jazz singing. tioned above, Wes Montgomery: Live in ’65 Ozzie Bailey on vocals. Highlights there are ■ There have not been many groups in jazz (Jazz Icons – 2.779003) finds guitarist WES many, too many to mention all of them that stayed together as a unit as long as the MONTGOMERY with three different rhythm here. I must point out Clark Terry on version of the DAVE BRUBECK QUARTET com- sections in three separate countries during “Harlem Air Shaft,” Harry Carney on prised of Brubeck on piano, Paul Desmond April and May of 1965. The April 2 date in “Sophisticated Lady,” and Johnny Hodges on on alto sax, Eugene Wright on bass and Joe Holland is highlighted by rehearsal footage “All of Me” and “Things Ain’t What They Morello on drums. This partnership began in relating to the song “End of a Love Affair,” Used to Be.”A particular kick for me was 1958, when Wright came on board, and during which Montgomery is communicat- seeing Ozzie Bailey, a fine singer who has lasted until 1967. During that period, these ing to his Dutch trio, pianist Pim Jacobs, generally slipped under the radar when gentlemen produced music that was built on bassist Ruud Jacobs and drummer Han reference is made to Ellington band singers. mutual respect and creative genius. Dave Bennick, the musical approach that he is Duke Ellington: Live in ’58 is indeed lively Brubeck: Live in ’64 & ’66 (Jazz Icons – aiming at in very specific terms. The final and completely satisfying. 2.119005) provides ample evidence of their take of the song is spirited and flows natu- ■ As with the Ellington set mentioned unique and empathetic musicianship. This rally, even though Montgomery is playing above, Sarah Vaughan Live in ’58 & ’64 (Jazz set is comprised of two broadcasts, one from with a rhythm section that he has just met Icons – 2.119004) finds SARAH VAUGHAN in Belgium recorded on October 10, 1964, and on the gig. Two days later in Belgium, peak form. For my taste, I found Vaughan’s the second on November 6, 1966 in Montgomery is joined by Harold Mabern early and middle periods more consistently Germany. Each session contains a five-song on piano, Arthur Harper on bass and Jimmy satisfying than her later years when she program, with two songs, “Koto Song” and Lovelace on drums. This is the group that often seemed to sacrifice taste and mean- “Take Five,” common to both. By comparing accompanied him on most of the dates for ingful creativity for pyrotechnic demonstra- the performances of these tunes, you can get the European tour that he was making. They

40 ______November 2007 JerseyReviewsJazz

play five tunes. The final broadcast was done the most influential of all jazz over three years, and they were on May 7 in England. Montgomery was musicians, from a time when he functioning as an organic unit. early in a month-long run at Ronnie Scott’s was still a member of the Miles The selections for this date are club in London, and is here in the company Davis Quintet to the point at “Vigil,”“Naima” and “My of Stan Tracey on piano, Rick Laird on bass which he had reached a creative Favorite Things.” I must admit and Jackie Dougan on drums for a five-tune peak with his classic quartet of at this point that I found the program. Montgomery seemed most com- McCoy Tyner on piano, Jimmy post-Davis Coltrane to be fortable on the set from Belgium with the Garrison on bass and Elvin mostly a difficult listen. Where musicians most familiar to him, but his Jones on drums. It was during others found beauty, spiritu- playing is always confident and inventive, this period that he expressed his ality and creative genius, I just what one would expect from this extra- deepest beliefs, musical, philo- found unappealing sounds, an ordinary artist. It is particularly interesting sophical and spiritual, through incomprehensible outpouring to observe up close Montgomery’s playing performances that were marked of notes and little that I found technique. The insightful liner notes by Pat by an intensity that has rarely enjoyable. If you are in the Metheny are an added bonus for those who been matched in jazz. The earli- former camp, this is a docu- acquire this DVD. est session dates from March mentation of Coltrane that you 28,1960 during a European tour will treasure. For me, it is not ■ I only got to see tenor saxophonist DEXTER titled “Norman Granz’s JATP something that I am likely to GORDON once, at a 1978 Carnegie Hall Presents Jazz Winners of 1960,” return to any time soon. concert. He had returned from a lengthy stay that featured the Miles Davis in Europe just a few years earlier, and his ■ I have a similar quandary in Quintet, the Stan Getz Quartet return was much heralded. It was a thrill, reporting on the performances and the Oscar Peterson Trio. and having the opportunity to see more live by CHARLES MINGUS on Charles For this session, Davis was action from Gordon, this time on Dexter Mingus: Live in ’64 (Jazz Icons – absent while Coltrane was Gordon Live in ’63 & ’64 (Jazz Icons – 2.119006). These performances joined by the other quintet 2.119002) is a terrific reminder of what a from Belgium (April 19), members, pianist Wynton Kelly, powerful and charismatic presence he was. Norway (April 12) and Sweden bassist Paul Chambers and The three dates on this DVD, one from (April 13) were recorded within drummer Jimmy Cobb for takes Holland on July 29, 1964, one on September a week of each other during a on “Green Dolphin Street,” 20, 1963 in Switzerland, and one that took European tour by the Charles “Walkin’” and “The Theme.” place in Belgium on January 8, 1964, provide Mingus Sextet, a group that was Coltrane then launches into a us with first rate Dexter Gordon playing. On suddenly reduced to a quintet medley of “Autumn Leaves,” the 1963 date he is accompanied by Kenny when trumpeter Johnny Coles “What’s New” and “Moonlight Drew on piano, Gilbert “Bebe” Rovere on collapsed on stage during their in Vermont,” with Stan Getz bass and Art Taylor on drums. The set performance of April 17 due to taking over the tenor chores contains a dynamic “Second Balcony Jump” a perforated gastric ulcer. The on the latter tune. The finale and a lovely “You’ve Changed,” demon- remaining players, Mingus on of the set is a spectacular strating that Gordon was equally at home bass, Eric Dolphy and Clifford version of Thelonious Monk’s with the tempo up or lushly balladic. Both of Jordan on reeds, Jackie Byard “Hackensack,” with Getz staying the 1964 sessions found him in the company on piano and Dannie in the mix, and Peterson taking of a rhythm section that frequently joined Richmond on drums, finished over the piano chair. By the him on gigs in various European locations, the tour. The group played next year, Coltrane was out on pianist George Gruntz, bassist Guy Pedersen mostly the same program at his own as the leader of a and drummer Daniel Humair. In Holland he each concert, but, as you would quintet comprised of Coltrane, did three tunes, “A Night in Tunisia,”“What’s expect from Mingus, or any reedman Eric Dolphy, bassist New” and “Blues Walk,” while in Belgium the truly creative jazz musician, the Reggie Workman, Tyner and selections were “Lady Bird” and “Body and performances of the individual Jones. The December 4, 1961 Soul.” The cumulative effect of watching this pieces varied noticeably from program from Germany con- footage is to reinforce exactly why Gordon date to date. Over the course of sists of three tunes, “My Favorite Things,” has received extensive recognition as one of these three sessions, we get three complete, a Coltrane staple, “Ev’ry Time We Say the jazz masters of the tenor sax, and and one rehearsal take of “So Long Eric,” Goodbye” and “Impressions.”At this point, continues to garner admiration from new and two complete plus one rehearsal Coltrane had added the soprano sax promi- devotees despite his having joined the versions of “Meditations on Integration,” a nently to his repertoire, and his playing was Heavenly Jam Session in 1990. multi-sectioned extensive piece that shifts becoming ever more intense. By the time the moods several times. Mingus was among the ■ John Coltrane Live in ’60, ’61 & ’65 (Jazz set from Belgium was recorded on August 1, most quirky and mercurial performers ever Icons – 2.119007) gives a vivid picture of 1965, Coltrane’s quartet with Tyner, to perform jazz. Like Coltrane, Mingus has JOHN COLTRANE’S development as of one of Garrison and Jones had been together for found great favor amongst many jazz musi- continued on page 42

November 2007 ______41 JerseyReviewsJazz

DVD REVIEWS Sometime in the early 1990s, Granz sent a Eddie “Lockjaw” Davis on tenor sax, package of 35mm reels from his archives to Oscar Peterson on piano, Niels-Henning continued from page 41 producer Jacques Muyal. Among the mate- Oersted Pedersen on bass and Bobby cians and fans, although I do not really rial received by Muyal was the original Durham on drums. number myself among them. He is, footage and sound recordings of the 1950 While the full film certainly gives the viewer however, a fascinating leader to observe, sessions. There were many technical deci- even for me, despite the fact that the magic sions that had to be made regarding syn- a wonderful perspective on the art of jazz of his creations escapes me. I shall return to chronization and how to make the final improvisation, it is the 1950 footage that viewing this DVD on occasion to try to product reflect both the music and the places this film above the many other DVDs understand and appreciate what Mingus was visual images in a way that would best available with concert performances. There creating, as I truly wish to comprehend reflect the original objectives of the product. is bonus material that shows additional music that is considered important by many In addition, there was some film that did footage from the original sessions, including knowledgeable observers. Only time will tell not have a corresponding soundtrack. Once some for which there is no soundtrack. if it gets through to me. the final product was created, Granz and There is also a gallery of still photographs Muyal decided that it would make sense to taken at the sessions by Paul Nodler, as well ~~~~~ fill out the approximately 15 minutes that as portraits of many of the participants by One thing is for certain. Having seen the comprised the original session with footage David Stone Martin, an artist most noted treasure trove of material that has become of other performances from the Granz for the many classic album covers that he available through both releases in the Jazz archives to create a film that would illustrate did for many of the record albums produced Icons series, I look forward to what might be the art of jazz improvisation. by Norman Granz. coming in future releases. Each disc has an informative booklet containing detailed liner The final product was originally released in A word portrait of Granz, contributed by notes and some incredible images. For those 1996. Now this film, Improvisation (Eagle jazz journalist and critic Nat Hentoff, is who order the current series as a box set, Eye Media – 39060) is released in superior enlightening, as are interviews with Hank there is a bonus DVD, not available for quality with fascinating bonus material, Jones, Harry Edison and Clark Terry about separate purchase, containing additional including the 1944 short, Jammin’ the Blues. the original sessions, and with Jay McShann, performances by Sarah Vaughan, Dave The main focus of the two-DVD set is the Phil Woods, Ira Gitler, James Moody, Slide Brubeck, Dexter Gordon and John title piece. The 1950 sequence is wonderfully Hampton, Slide Hampton and Jimmy Heath Coltrane. For further details and ordering presented, and features rare footage of about Charlie Parker. information, go to http://www.jazzicons.com. Charlie Parker on alto sax performing with Having the excellent print of Jammin’ the ~~~~~ Coleman Hawkins on tenor sax and a Blues, a film that had made it to video on Improvisation rhythm section of Hank Jones on piano, Ray several other occasions, in reproductions of Brown on bass and Buddy Rich on drums varying quality, is truly an important bonus orman Granz presented his initial Jazz on “Ballade,” and with only the rhythm feature. Over the years, this short has Nat the Philharmonic concert at the section on “Celebrity.” The composition of attained almost legendary status, considered Philharmonic Auditorium in Los Angeles in both tunes credited to Parker. The trio next by many to be the best footage of jazz musi- 1944. One of the members of the audience comes to the fore on “Ad Lib,” a theme by cians ever captured on film. The partici- happened to be Gjon Mili, the Albanian- Hank Jones. Next up the trio is joined by pants were Lester Young and Illinois Jacquet born photographer for Life Magazine. Mili tenor saxophonist Lester Young and trom- on tenor sax, Harry Edison on trumpet, was about to test at Warner Brothers in bonist Bill Harris for “Pennies from Barney Kessel on guitar, Marlowe Miller on hopes of becoming a director for motion Heaven,” followed by the finale, Harry piano, Red Callender or John Simmons on pictures. They asked him to produce a 10- Edison’s “Blues for Greasy” with trumpeter bass and Jo Jones or Sid Catlett on drums. minute short on a subject of his choosing, Edison, tenor saxophonist “Flip” Phillips Vocalist/dancer Marie Bryant and dancer and he approached Granz about working and vocalist Ella Fitzgerald augmenting the Archie Savage also participated. The filming together on producing a piece on jazz. The Young, Harris, Jones, Brown and Rich team. is atmospheric and artful, without being result was the acclaimed Jammin’ the Blues, The music is consistently engaging, and the artsy. It captures the drama of inspired a film that received an Academy Award less than perfect synchronization does not nomination as best short film of 1944. musicians creating memorable music really detract from the final product. The instantaneously. In 1950, Granz desired to address jazz on balance of the material on Improvisation film once again, and sought out Mili to includes a 1966 trio performance by Duke The enjoyment of jazz is always enhanced handle the filming. The approach was to Ellington in a garden setting amidst pieces by seeing the artists performing as it adds a prerecord the music track in a studio, and of sculpture by artist Joan Miro, three small significant dimension to the enjoyment and then have the musicians filmed performing group numbers led by Count Basie, two solo understanding of the music. Improvisation the pieces in sync with the prerecorded pieces by guitarist Joe Pass, two vocals from and the other features that are part of this soundtrack. Matching up the filmed footage Ella Fitzgerald and Her Trio, and a final jam package wonderfully illustrate the with the sound proved to be too difficult called “Ali & Frazier” that features Dizzy validity of this phenomenon. and costly, so the project was abandoned. Gillespie and Clark Terry on trumpets, (www.eaglerockent.com). JJ

42 ______November 2007 Wed 11/7 - The Jim Rotondi Quartet Jim Rotondi - trumpet Gordon Webster - piano Steve LaSpina -bass Don Guinta - drums

Wed 11/14 - The Joe Magnarelli Quartet Joe Magnarelli - trumpet Ed Alstrom - piano Mike Richmond - bass Don Guinta - drums

Wed 11/21 - Rob Paparozzi and the Hudson River Rats Rob Paparozzi - harmonica and vocals George Naha - guitar Ed Alstrom - piano Bailey Gee - bass Don Guinta - drums

Wed 11/28 - The Bob DeVos Quartet Bob DeVos - guitar Ed Alstrom - piano Mike Richmond - bass Don Guinta - drums

Wed 12/5 - Ralph Bowen with John Swana Ralph Bowen - tenor sax John Swana - trumpet Ed Alstrom - organ Don Guinta - drums 300 ROUTE 46 EAST • TOTOWA, NJ 07512 973-890-9699 Wed 12/12 - Pat Karwin and Desi Norman Pat Karwin - guitar and vocals DINNER SEATING FROM 6 – 9 PM Desi Norman - vibraphone Call 201-998-4001 for table reservations. Ed Alstrom - organ 21 & over please. Don Guinta - drums Wed 12/19 - The John Ragusa Group Jazz Wednesdays at the 46 Lounge: John Ragusa - flute 2 sets from 8 – 10:30 PM Ed Alstrom - piano Tony Cimorosi - bass no cover, no minimum Don Guinta - drums

For more information: Wed 12/26 - The Vic Juris Trio Vic Juris - guitar www.myspace.com/donguinta Jeff Ganz - bass [email protected] Don Guinta - drums

November 2007 ______43 New JerseyJazzSociety

In The Mainstream

By Mainstream Mac NJJS Entertainment Contributorr

n 1914, Berkeley architect Bernard Maybeck designed a recital hall Iin his home as a location for his daughter’s piano teacher, Alma Kennedy, to use as an instruction site. Maybeck (1862–1957) was known as one of those responsible for “California Style” architecture and went on to design the San Francisco Palace of Fine Arts for the 1915 Panama-Pacific Exposition (which is still in use.) The hall, now owned by Dick Whittington and Marilyn Ross, seats about 50, has leaded windows and is finished with redwood. The sound is warm, the ambience is intimate. Fast forward to 1989 — Joanne Brackeen was rehearsing in the Maybeck Hall for a solo piano concert later that night. She was so taken by the sound of P.O. Box 995 • Easton, PA 18044-0995 the place that she phoned Carl Jefferson, head of nearby Concord Records, and asked him to record the concert. He agreed and within two hours was set up to record. 2007 – Now Our 29th Year! What followed was a phenomenal succession of recordings that is Presents unique in music. Jefferson did a series of 42 solo piano recital recordings of the weekly concerts at Maybeck by different pianists over the next six years. The same Yamaha piano was used. He Tex Wyndham recorded only pianists playing solo. There was no amplification (against the zoning laws.) The sound throughout the series has been described as “Olympian.” & His Red Lion What Carl Jefferson did was locate and record the very best available jazz pianists who were active at the close of the 20th century. Some of them have now left us. Others do not play any more. But the Jazz Band archive that Carl constructed will always be here. And the majority Classic Trad Jazz and of the players “ain’t done yet.” Ragtime Piano Standards On this series I first heard the individualism of Jessica Williams; Kenny Drew Jr. and Ted Rosenthal. Some performers were, like Sunday Fred Hersch, recorded solo for the first time. Here are some highlights: November 11, 2007 • Dave McKenna with a quiet audience 2:00 – 6:00PM • Dick Hyman with a wonderful “Music of 1937” • Roger Kellaway Easton Moose Lodge • Jim McNeely’s version of Monk’s “Bye-Ya” Easton PA And here is a list of the 42 artists: Toshiko Akiyoshi, Monty Alexander, Kenny Barron, Richie Beirach, Joanne Brackeen, Alan Broadbent, Jaki Byard, George Cables, John Campbell, John PJS Members~ $10 Others $15 Students $5 Colianni, Stanley Cowell, Kenny Drew Jr., Alan Farnham, Don Friedman, Hal Galper, Sir Roland Hanna, Barry Harris, Gene Food and Drink Available Harris, Fred Hersch, John Hicks, Dick Hyman, Hank Jones, Roger For tickets send SASE to: Kellaway, Steve Kuhn, Ellis Larkins, Andy LaVerne, Adam Makowicz, PENNSYLVANIA JAZZ SOCIETY Bill Mays, Dave McKenna, Jim McNeely, Marion McPartland, Buddy PO BOX 995 EASTON, PA 18044 Montgomery, Walter Norris, Ted Rosenthal, Ralph Sutton, Cedar Walton, Kenny Werner, Gerry Wiggins, James Williams, Jessica Williams, Mike Wofford and Denny Zeitlin. Info: 610-740-9698 These 42 should be available from Concord Records. February 17 – Ed Wise and his New Orleans Before he died, Jefferson set up the last concert in 1995 Band, Easton Moose Lodge, Easton, PA 2–5PM presenting James Williams. JJ

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September NJJS Member Meeting AT THE SEPTEMBER MEMBER MEETING, Clem DeRosa presented a program on “How Can Jazz Education Preserve and Sustain Jazz.” Clem, who has been involved in jazz education since the 1950s, brought along two of his former students to join him, drummer Ed Balsamo and bassist Ron Smith, both of whom have also been jazz educators. They presented a picture of the evolution of jazz education, and insights into the current status of this field of study. There was a consensus among the panelists and attendees that lack of broad exposure for jazz is a key reason it relatively low popularity. Clem and his co-panelists encouraged everyone to remain positive about the music’s future, and to support jazz in every way possible. They urged us to encourage local schools to include jazz in the music curriculum, including the hiring of teachers with a true love for the music, and the creativity to present the music to their students in a way that engages them to develop an ongoing affection for jazz. In addition to this rewarding forum, the social hour was much enjoyed by attendees, and several lucky winners went home with free tickets to the State Theatre’s John Pizzarelli and Jessica Molaskey concert. JJ

above: Clem DeRosa far left: a question from the audience. left: Members of the panel from left to right — Ron Smith, Ed Balsamo, Clem DeRosa, shown here with NJJS Music Committee Chair Joe Lang and President Andi Tyson, and an unidentified audience member in the foreground. Photos: Paul White

46 ______November 2007 New JerseyJazzSociety

What’s New? About NJJS The New Jersey Jazz Society is dedicated to the performance, promotion and Members new and renewed preservation of jazz. Founded in 1972, the Society is run by a board of directors who meet monthly to conduct the business of staging our music We welcome these friends of jazz who recently joined NJJS or renewed festivals, awarding scholarships to deserving New Jersey college jazz studies their memberships. We apologize for errors and omissions. students, conducting the Generations of Jazz programs in local school systems, and inducting pioneers and legends of jazz into the American Jazz Renewed Mr. Louis Toscano, Hackettstown NJ Hall of Fame, among other things. The membership is comprised of jazz Mr. Anthony Barbuto, Bronxville NY Mrs. Peter Vroom, Green Village NJ devotees from all parts of the state, the country and the world. The New Jersey Jazz Society is a qualified organization of the New Jersey Cultural Trust. Ms. Nancie Beaven, Bloomfield NJ Dr. & Mrs. John Willson, Old Saybrook CT Visit www.njjs.org, e-mail [email protected], or call the HOTLINE 1-800-303-NJJS Mr. & Mrs. C. Roderick Black, for more information on any of our PROGRAMS AND SERVICES: Mr. & Mrs. Robert Yager, Fanwood NJ ■ Toms River NJ Generations of Jazz (our Jazz in the Schools Program) Mr. Tony Caltabiano, Wharton NJ ■ Jazzfest (two-day summer jazz festival) Mr. & Mrs. Joseph Conte, Montville NJ New ■ Pee Wee Russell Memorial Stomp ■ e-mail updates Ms. Victoria Airgood, Princeton NJ Mr. Charles H. Daly, ■ Atlantic Highlands NJ ’Round Jersey (Regional Jazz Concert Series): Bridgewater Mr. Gregory Babula, Bloomfield NJ ■ Ocean County College ■ Bickford Theatre/Morris Mrs. Barbara Giordano, Mr. Gregory Boutsikaris, Jersey City NJ ■ Student scholarships ■ American Jazz Hall of Fame Green Brook NJ Mr. Ted Clark, Allendale NJ Mr. Stephen Gruber, Millington NJ Mr. Joseph Corrao, Nutley NJ Mr. Carl Hexamer II, Lakewood CO Mr. Bob Grannatt, Princeton NJ Member Benefits Ms. Laura Hull, Morris Plains NJ Mrs. Arpena Hallajian, Hackensack NJ What do you get for your $40 dues? Mr. Jack Jeker, Dover NJ Rev. Jarrett Kerbel, Princeton NJ ■ Jersey Jazz Journal — a monthly journal considered one of the best jazz Ms. Sue Johnsen, Glen Rock NJ Dr. Lawrence Koons, Westfield NJ society publications in the country, packed with feature articles, photos, jazz Ms. Janet Kessin–Juilliard School, Mr. David M. Martin, Madison NJ calendars, upcoming events and news about the NJ Jazz Society. New York NY Ms. Dina Melucci, West Orange NJ ■ NEW! FREE Monthly Member Meetings — See www.njjs.org and Mr. & Mrs. David Luber, Madison NJ The Montclair Free Public Library, Jersey Jazz for updates. Mr. Arthur W. Markowitz, Mahwah NJ Montclair NJ ■ Musical Events — NJJS sponsors and co-produces a number of jazz events Ms. Helen McCabe & Paul Nagle, Mr. & Mrs. Guy Notte, West Orange NJ each year, ranging from intimate concerts to large dance parties and picnics. Vero Beach FL Mr. Stanley Parker, Saddle Brook NJ Members receive discounts on ticket prices for the Pee Wee Russell Memorial Stomp and Jazzfest. Plus there’s a free concert at the Annual Ms. Jane McLaughlin, Madison NJ Mr. Peter Sbarbaro, Saddle Brook NJ Meeting in December and occasionally other free concerts. Ticket discounts Ms. Alida L. Meijers, Studio City CA Mr. & Mrs. Robert Schatz, (where possible) apply to 2 adults, plus children under 18 years of age. Mrs. Irene Pollock, Hackettstown NJ Little Ferry NJ Singles may purchase two tickets at member prices. ■ Mr. & Mrs. Pat Pratico,Trenton NJ Shelly Productions, Inc., The Record Bin — a collection of CDs, not generally found in music stores, Elmwood Park NJ available at reduced prices at most NJJS concerts and events and through Ms. Arlene Siebel, Springfield NJ Mr. Brian Tarantino, Pennington NJ mail order. Contact [email protected] for a catalog. Mr. Eric Stanley, Skillman NJ Ms. Georgeann Ventola, Montville NJ Mr. & Mrs. John Tierney, Mr. Sandoval Wood, Princeton NJ Berkeley Heights NJ Join NJJS MEMBERSHIP LEVELS Member benefits are subject to update. ■ Family $40: 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. Searching for just ■ Give-a-Gift $40 + $20: The Give-a-Gift membership costs the regular $40 the right holiday gift? for you, plus $20 for a gift membership. (Includes your 1-year membership and your friend’s first year membership. Not available for renewals of gift Look no more! memberships.) Give the gift of JAZZ! ■ Supporter ($75 – $99/family) ■ Patron ($100 – $249/family) Members at Patron Level and above receive special benefits. These Friends, relatives, colleagues will appreciate an ■ Benefactor ($250 – $499/family) change periodically, so please NJJS membership and all the benefits it brings. ■ Angel $500+/family) } contact Membership for details. 973-366-8818 [email protected] To receive a membership application, www.njjs.org for more information or to join: Contact Membership Chair Caryl Anne McBride at 973-366-8818 or [email protected] OR visit www.njjs.org OR simply send a check payable to “NJJS” to: NJJS Membership, PO Box 410, Brookside, NJ 07926-0410.

November 2007 ______47 JerseyEventsJazz ’Round Jersey

It’s filled with familiar names: John Bucher, Tom Artin, Joe Bridgewater Jazz Licari, Steve Little, Mike Weatherly, Ken Salvo. Somerset County Vocational and 2008 starts out with tons of promise for jazz fans. Stride marvel Technical High School Louis Mazetier will give his first solo concert here on January 4, Bridgewater, NJ 08807 a Friday. A trio of violinist Aaron Weinstein, guitarist Bucky Tickets/Information: 908-725-6640 Pizzarelli and bassist Jerry Bruno follows on Monday, January s this is being written, tickets for the Midiri Brothers’ tributes Nancy 28. The eagerly awaited Great GroundHog Day Jam is set for A honoring the 70th anniversary of Benny Goodman’s historic Nelson February 4, and promises to be another all-star romp where Carnegie Hall concert are selling briskly. The pace, in fact, should anything can happen. Gypsy guitarist Stephane Wrembel will be quicken with the October Jersey Jazz initial event announcement and as broader back on February 25, and the Big Bix Beiderbecke Birthday Bash moves to the publicity reaches the general public. Many people who don’t consider themselves Bickford from Bridgewater on March 10, Bix’s actual birthday. And for those who to be jazz fans still adore the Goodman sound. have been asking, Bria Skönberg and Jim Fryer will return on April 21, fronting their recording band and introducing their new CD. That’s aplenty for now. The ticket alternatives for the two unique concerts on January 19 are covered in a full page ad on page 37 of this issue. NJJS members, particularly those wishing to attend the Big Band evening show, should get their orders in quickly, before the Jazz For Shore desired seats are gone. The Fine Arts Center at Ocean County College Goodman tributes by the Midiris have sold out this hall in the past, as well as their Toms River, NJ 08754 weekend events in the southern part of the state. Their smaller group has been Tickets/Information: 732-255-0500 packing them in at festivals west of the Rockies, where swing-starved fans are just discovering their authentic sound and spirited delivery. outh Jersey jazz fans who are unfamiliar with Derek Smith will have smiles Son their faces when he makes his initial visit to MidWeek Jazz on Wednesday, November 28. The torrid pianist is famous for his keyboard pyrotechnics as he Morris Jazz mines his huge repertoire of jazz and swing tunes. The Bickford Theater at the Morris Museum “Smith brought a combination of virtuosity, melodic invention and rhythmic Morristown, NJ 07960 intensity that left his edge-of-their-seat listeners in utter amazement,” observes Tickets/Information: 973-971-3706 Chuck Berg of The Capital Journal. Other critics use terms like “fiery,” “passionate” ohnny Mercer composed and sang tunes during the jazz era, and is probably and “an evil left hand” to describe Derek Smith’s unique playing style, pointing out Jresponsible for the lyrics, at least, for many songs you know and love. “And the that he seems to be enjoying each performance as much as his audience. Angels Sing,“ “Accentuate the Positive,” “Black Magic,” “Blues in the Night,” “Come He’s played for the famously fussy Benny Goodman, but also with Doc Severinsen Rain or Come Shine,” “Day In, Day Out,” “Days of Wine and Roses,” “Goody on The Tonight Show. The Grammy nominee has made concert appearances with Goody,” “I Never Knew,” “I Wanna Be Around” and “Indian Summer” are just a few such notables as Frank Sinatra, Luciano Pavorotti, Clark Terry, Buddy DeFranco, of many…just from the early part of the alphabet! He’s credited with over 1000 Louis Bellson, Placido Domingo and even Steve Allen, to drop a few names. He songs, many of which topped the charts, so he left us quite a legacy of music. even played at Caroline Kennedy’s wedding. Nancy Nelson has put together a Johnny Mercer program for Monday evening, Derek was a staple at NJJS’s Piano Spectaculars, those Waterloo extravaganzas November 19, the day after his actual birthday. She’s brought the Wyeth Jazz involving the best pianists on the planet. He’s been a frequent guest at Jazz in Showcase several tribute concerts in the past, always well researched and paced Bridgewater when two PIANO GREATS were paired, with their hand motions to be highly entertaining as well as informative. Long a favorite vocalist among projected overhead. MidWeek Jazz does something similar when there is no set NJJS members, she has performed at Jazzfest and various Pee Wee Stomps, plus onstage. frequent appearances at Shanghai Jazz and other area stages. Singer Marlene VerPlanck returns on Wednesday, December 12 to close the year Grammy nominee Keith Ingham will again be at the piano. He’s figured in for Midweek Jazz. Accompanied by pianist Tedd Firth, with whom she has a new numerous concerts here and at the Watchung Arts Center, where he was CD, she will be exploring her repertoire of Irving Berlin tunes, which means there featured in a two-piano duet to test that format there. He’s also accompanied will be a wide range of content. “Marlene VerPlanck owns the American popular vocalists Maxine Sullivan and Susannah McCorkle, but he’s an excellent soloist songbook,” according to The Star-Ledger. Both of these performances run as a as well, as Nancy is likely to allow him to demonstrate during the evening. single 90-minute set, starting at 8 PM. They’re priced at $13 in advance and $15 at Bassist Boots Maleson and drummer Steve Little, both familiar to Bickford the door, with no service charges. audiences, have been added to give the group a fuller sound. The first stages of renovations surrounding the Fine Arts Center have already This and other jazz offerings at the Bickford are priced at only begun, and the comfortable hall used by MidWeek Jazz will be $15 ($13 in advance), and are run as one extended 90-minute Derek Smith unavailable starting in January. Organizers are looking for set, starting at 8 PM. Entry is now through the new atrium alternative sites to use during the construction but, at press reception hall, flanked by enlarged parking areas. time, no arrangements have been made. Sending an e-mail The year closes with two jazz offerings in December. Banjo message to [email protected] will put you on a mailing list sensation Cynthia Sayer will bring her trio (Dan Levinson for all these concerts, assuring that you will be among the playing reeds, Jennifer Vincent on bass) here for the first time first to know when the situation is resolved or other JJ on Monday, December 3. She’s got new recordings, and lots of changes are made. fresh material. They’re followed on December 17 by pianist Dick Voigt’s popular Big Apple Jazz Band, a hit at The Stomp. Photos by Bruce Gast. ’Round Jersey concerts are produced by Bruce M. Gast in conjunction with the New Jersey Jazz Society.

48 ______November 2007 JerseyEventsJazz

NJJS Annual Meeting The annual end-of-year member sum-up and thank-you! The Institute of Jazz Studies at Rutgers University–Newark is the ★ 2–5 PM largest and most comprehensive library and archive of jazz and jazz-related December 2 materials in the world! — a valuable resource for jazz researchers, students, at the Cornerstone musicians and fans. The archives are open to the public from 9 AM – 5 PM 25 New Street, Metuchen, NJ Monday through Friday, but please call and make an appointment. Mix and mingle while Mark Shane and Terry Blaine Institute of Jazz Studies, Rutgers, The State University of NJ share the stage for two sets. This free concert is a John Cotton Dana Library, 185 University Avenue, Newark, NJ 07102 Member Benefit! Web site: newarkwww.rutgers.edu/IJS 973-353-5595 Food and drink available for purchase. calendar: We’ll introduce new board members, welcome new JAZZ RESEARCH ROUND TABLE volunteers. Holiday gifts will be for sale — CDs, A series of lectures and discussions. Names in italics are the presenters. memberships, signed copies of Stine’s Songs — a ■ October 17 William Bauer — Armstrong’s Cornet and Vocal Solos compilation of 35 years of Jack’s columns from the on Hotter Than That journal. ■ November 14 Dean Alger — Lonnie Johnson No reservation necessary — just come! ■ December 12 Ed Berger — Benny Carter Centennial Retrospective ■ January 23, 2008 Todd Weeks — Hot Lips Page Centennial Retrospective ■ February 20, 2008 David Tenenholtz — Jazz in Swedish: The Career and Legacy of Jan Johansson From the ■ March 12, 2008 Matthew Leskovic — Jazz and the Counterculture: The Career of Charles Lloyd Crow’s Nest Programs are free and open to the public and take place on Wednesday evenings from 7:00 to 9:00 PM in the Dana Room, 4th floor, John Cotton Dana Library, By Bill Crow Rutgers University, 185 University Ave., Newark, NJ. Refreshments are served. Information: 973-353-5595. met Scott Robinson on a job JAZZ FROM THE ARCHIVES Irecently and was surprised that he Broadcast hosted by IJS Director, 2007 NEA Jazz Master Dan Morgenstern, every had only brought a tenor sax and a cornet to play. I’m used Sunday at 11:00 PM on WBGO Radio (88.3 FM). Information: www.wbgo.org. to seeing him show up with some of this collection of odd ■ November 4 — Trombone Summit: Host April Grier talks about the November instruments like heckelphones, ophicleides, slide saxophones 9th event at Rutgers University, interviews some of the participants and plays examples of some of the finest trombonists in jazz history. and twin-belled cornets. He told me about a huge contra- ■ November 11 — Variety is the Spice of Jazz: Multiple versions of “Rose Room,” bass saxophone he has, about eight feet tall. He said he had “After You’ve Gone,” and maybe others, by artists including Armstrong, Ellington, used it on a midtown gig and was about to take it back Goodman, etc., with Dan Morgenstern. home. He had parked his old VW bus at the curb and was ■ November 18 — Tubbs For His Birthday: To celebrate his own date of birth, host carefully inserting the behemoth sax through the side door John Clement shares with us the music of British saxophonist, flutist, vibraphonist, when a passerby did a double-take and came back to look. pianist, clarinetist, percussionist Edward Brian “Tubby” Hayes. “Wow, he said, “Do you want to sell it?” Scott told him, “No, ■ November 25 — Tribute To Twardzik: Host Bill Kirchner examines the music of pianist Dick Twardzik, a great talent who died too soon. this is my baby. It’s not for sale.” The guy nodded, and then ■ December 2 — Jimmy Rowles Goes to the Movies: Tad Hershorn plays music said, “They sure are great cars.” He hadn’t even noticed the from movie soundtracks on which pianist Rowles performs. giant saxophone…he coveted the Volkswagen! Scott said he ■ December 9 — Frankie Manning: Ambassador of the Lindy Hop: Host John JJ laughed all the way home to New Jersey. Clement and guests, authors Terry Monaghan and Cynthia Millman, discuss their book on Manning and play jazz associated with the lindy hop and with the Savoy Bill Crow is a freelance musician and writer. His articles and Ballroom. reviews have appeared in Down Beat, The Jazz Review, and ■ December 16 — Noticing Nelson: Host Bill Kirchner examines saxophonist Gene Lee’s Jazzletter. His books include Jazz Anecdotes and Jazz Oliver Nelson in a variety of musical settings. Anecdotes: Second Time Around. The preceding story is excerpted, ■ December 23 — Annual IJS Christmas Cheer: Hosts Annie Kuebler and with permission, from Bill’s column, The Band Room in Allegro, the Vincent Pelote choose holiday tunes with a jazz flavor for everyone to savor. monthly newsletter of A.F. of M. Local 802.

November 2007 ______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.

Asbury Park Deal SUSHI LOUNGE Metuchen JOYFUL NOISE CAFE AXELROD PAC Corner of 2nd St & Hudson St. CORNERSTONE 1400 Asbury Ave. Jewish Community Center www.sushilounge.com New & Pearl Streets “JAZZ Alive Asbury Park” 732-531-9100 x 142 201-386-1117 732-549-5306 Sunday jazz 6 PM second Friday each month 8 PM www.arthurtopilow.com Fridays 7:30 PM $8 No cover. Edgewater Hopewell Bayonne LA DOLCE VITA HOPEWELL VALLEY BISTRO & INN Montclair THE BOILER ROOM 270 Old River Rd. 15 East Broad St. CHURCH STREET CAFÉ 280 Avenue E 201-840-9000 609-466-9889 12 Church St. 201-436-6700 www.hopewellvalleybistro.com FIRST CONGREGATIONAL CHURCH www.arts-factory.com Englewood Friday/Saturday 7 PM Minimum $15 40 South Fullerton Ave. Fri/Sat 10 PM; Sun 7 PM BERGEN PAC 973-744-6560 30 N. Van Brunt St. Bernardsville 201-227-1030 Lawrenceville PALAZZO RESTAURANT BERNARD’S INN www.bergenpac.org FEDORA CAFÉ 11 South Fullerton Ave. 27 Mine Brook Road 2633 Lawrenceville Road 973-746-6778 908-766-0002 Garwood 609-895-0844 Friday/Saturday 7:00 PM Some Wednesdays 6:00 PM Joe Licari/Larry Weiss www.bernardsinn.com CROSSROADS No cover/BYOB Monday – Saturday 6:30 PM 78 North Ave. RICHIE CECERE’S Piano Bar 908-232-5666 Little Falls 2 Erie Street www.xxroads.com 973-746-7811 PORT CITY JAVA Jam Session Tuesday 8:30 PM BARCA VELHA RESTAURANT/BAR 55 Mine Brook Road 440 Main St., 07424 SESAME RESTAURANT & JAZZ CLUB www.fridaynightjazzjam.com Glen Rock 973-890-5056 398 Bloomfield Avenue 4th Friday 7 PM www.barcavelha.com GLEN ROCK INN 973-746-2553 Fridays 7:30 PM Bossa Brazil sesamerestaurant.com 222 Rock Road No cover Bloomfield 201-445-2362 Jazz Evening once every month, usually WESTMINSTER ARTS CENTER/ 2nd or 3rd Wednesday www.glenrockinn.com Lyndhurst BLOOMFIELD COLLEGE Thursday 7 PM WHISKEY CAFÉ TRUMPETS 467 Franklin St. 6 Depot Square 973-748-9000 x343 1050 Wall St. West, 07071 Hackensack 201-939-4889 973-744-2600 SOLARI’S www.trumpetsjazz.com Brooklawn www.whiskeycafe.com 61 River St. One Sunday/month James Dean Orchestras Tuesday/Thursday/Sunday 7:30 PM BROOKLAWN AMERICAN LEGION HALL 201-487-1969 swing dance + lesson Friday/Saturday 8:30 PM Browning Road & Railroad Ave. 08030 1st Tuesday 8:00 PM 856-234-5147 Mickey Gravine Big Band Madison Morris Plains Tri-State Jazz Society usual venue No cover AMBROSIA RESTAURANT & BAR www.tristatejazz.org SHANGHAI JAZZ 24 Main St. 650 Speedwell Ave. Some Sundays 2:00 pm STONY HILL INN 973-898-1111 973-822-2899 231 Polifly Rd. www.ambrosianj.com www.shanghaijazz.com Clark 201-342-4085 www.stonyhillinn.com Wednesday/Thursday 7 PM LANA’S FINE DINING Morristown Friday and Saturday evenings Friday/Saturday 6:30 PM 1300 Raritan Rd. Sunday 6 PM THE BICKFORD THEATRE 732-669-9024 No cover AT THE MORRIS MUSEUM www.lanasfinedining.com Hawthorne 5 Normandy Heights Road ALEXUS STEAKHOUSE TAVERN Warren Vaché Trio Thursdays 7–11 PM Mahwah 973-971-3706 80 Wagaraw Road, 07506 www.morrismuseum.org Live jazz (rotating artists) Fridays 7–11 PM BERRIE CENTER/RAMAPO COLLEGE 973-427-9200 Some Mondays 8:00 PM 505 Ramapo Valley Road Cherry Hill 7 –10 PM No cover 201-684-7844 THE COMMUNITY THEATRE TRINITY PRESBYTERIAN CHURCH AlexusSteakhouse.com www.ramapo.edu/berriecenter 100 South St. Rt. 70 Bucky Pizzarelli & Frank Vignola 973-539-8008 856-234-5147 on rotating schedule Tuesdays & Maplewood Tri-State Jazz Society occasional venue every other Thursday BURGDORF CULTURAL CENTER THE SIDEBAR AT THE FAMISHED FROG www.tristatejazz.org 10 Durand St. 18 Washington St. Some Sundays 2 PM Highland Park 973-378-2133 973-540-9601 www.artsmaplewood.org www.famishedfrog.com/thesidebar PJ’S COFFEE Clifton 315 Raritan Avenue ST. PETER’S EPISCOPAL CHURCH ST. PETERS EPISCOPAL CHURCH 732-828-2323 Manville 70 Maple Avenue 380 Clifton Ave. Sunday 1 PM Open Jam RHYTHMS OF THE NIGHT 973-455-0708 973-546-3406 729 S. Main Street Saturdays 7:30 PM Hillsborough 908-707-8757 SUSHI LOUNGE 12 Schuyler Place DAY’S INN rhythmsofthenight.net 973-539-1135 Closter 118 Route 206 South Open jam session Wednesdays 7–10 PM www.sushilounge.com HARVEST BISTRO & BAR 908-685-9000 Sunday jazz 6 PM 252 Schraalenburgh Road Thursday 7 PM Open Jam Matawan 201-750-9966 CAFÉ 34 Mountainside www.harvestbistro.com Hoboken 787 Route 34 ARIRANG Every Tuesday: Ron Affif/ MAXWELL’S Jazz trios Wed and Thur 8 PM 1230 Route 22W Lyle Atkinson/Ronnie Zito 1039 Washington St. 732-583-9700 908-518-9733 201-798-0406 www.bistro34.com Wednesday 7:30 PM Cresskill Every other Monday 9:00 PM GRIFFIN’S RESTAURANT Swingadelic Mendham 44 East Madison Ave. KC’S CHIFFAFA HOUSE Newark 201-541-7575 SHADES 5 Hilltop Road NEWARK MUSEUM Every Tuesday Frank Forte solo guitar 720 Monroe St. 973-543-4726 49 Washington St. www.shadesofhoboken.com www.chiffafa.com 973-596-6550 888-374-2337 Live Jazz — Rio Clemente, others www.newarkmuseum.org Call for schedule Summer Thursday afternoons

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

50 ______November 2007 JerseyEventsJazz

Tell them you saw it in Jersey Jazz!

NJPAC Pine Brook Ridgewood SOUTH ORANGE PERFORMING Wayne ARTS CENTER 1 Center St. MILAN WINBERIE’S AMERICAN BISTRO WILLIAM PATERSON One SOPAC Way 888-466-5722 30 Oak Street UNIVERSITY 13 Hook Mountain Road 973-235-1114 www.njpac.org 973-808-3321 201-444-3700 300 Pompton Road www.milanrestaurant.com www.selectrestaurants.com 973-720-2371 THE PRIORY Thursdays Piano Jazz/Pop Summit www.wpunj.edu 233 West Market St. Fridays 6:30 PM Stein Brothers Fridays/Saturdays Jazz/Pop duos SUMMIT UNITARIAN CHURCH Sunday 4:00 PM 973-242-8012 4 Waldron Ave. Friday 7:00 PM Plainfield Rumson Sunday No cover CAFÉ VIVACE West Caldwell SALT CREEK GRILLE Teaneck T’S TRATTORIA MARTINI BAR 1370 South Avenue 4 Bingham Avenue SAVOY GRILL 908-753-4500 LOUNGE ZEN 1090 Bloomfield Ave. 60 Park Place 732-933-9272 973-882-3110 www.cafevivace.com www.saltcreekgrille.com 254 DeGraw Ave. 973-286-1700 Saturdays 7:30 PM 201-692-8585 Wednesdays/Thursdays/Fridays music www.thesavoy Sayreville www.lounge-zen.com grillnewark.com No cover West Orange Princeton SHOT IN THE DARK SPORTS BAR & GRILL CECIL’S New Brunswick MCCARTER THEATRE PUFFIN CULTURAL FORUM 91 University Place 404 Washington Road 20 East Oakdene Ave. 364 Valley Road DELTA’S 609-258-2787 732-254-9710 201-836-8923 973-736-4800 19 Dennis St. Thursday 7:30 PM 732-249-1551 MEDITERRA John Bianculli Tom’s River FRANKLIN TAVERN 29 Hulfish St. OCEAN COUNTY COLLEGE 97-99 Franklin Ave. STATE THEATRE 609-252-9680 Seabright FINE ARTS CENTER 973-325-9899 15 Livingston Ave. www.terramomo.com THE QUAY College Drive No cover 732-246-7469 280 Ocean Ave 732-255-0550 www.ocean.edu/campus/ www.statetheatrenj.org SALT CREEK GRILLE 732-741-7755 Westfield fine_arts_center 1 Rockingham Row, Tuesday nights Jazz Lobsters Some Wednesdays NORTHSIDE TRATTORIA Newton Forrestal Village big band 16 Prospect St. 609-419-4200 BULA Totowa 908-232-7320 134 Spring St. www.saltcreekgrille.com Sewell www.northsidetrattoria.com 46 LOUNGE 973-579-7338 Sunday, Tuesday, TERRA NOVA 300 Route 46 East www.bularestaurant.com Rahway 590 Delsea Drive Thursdays evenings 973-890-9699 Fridays 8:00 PM ARTS GUILD OF RAHWAY 856-589-8883 Wednesday Jazz 7:30 PM 1670 Irving St. http://terranovarestaurantbar.com ACQUAVIVA 115 Elm St. North Arlington 732-381-7511 Fridays & Saturdays Live Jazz SUSHI LOUNGE 908-301-0700 UVA www.rahwayartsguild.org 235 Route 46 West www.acquaviva- 602 Ridge Road 8:00 PM Short Hills www.sushilounge.com dellefonti.com Friday 7:00 PM JOHNNY’S ON THE GREEN 973-890-0007 Fridays 7:00 PM Adam Brenner Randolph 440 Parsonage Hill Road Sunday Jazz 6 PM 973-467-8882 STONEFIRE GRILLEHOUSE & BAR www.johnnysonthegreen.com Woodbridge North Branch 500 Route 10 West Trenton JJ BITTING BREWING CO. NEW ORLEANS FAMILY www.stonefirerestaurant.com Somerville JOE’S MILL HILL SALOON RESTAURANT 973-537-7070 Market & Broad Streets 33 Main Street VERVE RESTAURANT 1285 State Highway 28 Sunday Jazz 6 PM 609-394-7222 732-634-2929 18 East Main St. 908-725-0011 Occasionally www.njbrewpubs.com 908-707-8605 Fridays 9:30 PM 7:00 PM Raritan www.vervestyle.com Union MUGS PUB AND RESTAURANT Occasional Thursdays 6 PM Wood Ridge Nutley 73 West Somerset Street Fridays/Saturdays 8:30 PM VAN GOGH’S EAR CAFÉ HERB’S PLACE 908-725-6691 1017 Stuyvesant Ave. MARTINI GRILL AT THE PARK PUB Fridays 7 PM South Brunswick 908-810-1844 187 Hackensack St. 785 Bloomfield Avenue JAZZ CAFÉ www.vangoghsearcafe.com 201-209-3000 973-235-0696 Red Bank South Brunswick (Dayton) Sundays 8:00 PM Wednesday through 8:30–11:30 PM Saturday COUNT BASIE THEATRE Municipal Complex $3 cover 99 Monmouth St. 540 Ridge Road 732-329-4000 ext. 7635 Oakland 732-842-9000 Watchung HANSIL’S BAR AND GRILL [email protected] WATCHUNG ARTS CENTER 7 Ramapo Valley Rd. ”JAZZ IN THE PARK” first Friday every month 18 Stirling Road We continually update entries. $5 admission includes light 201-337-5649 Riverside Park 908-753-0190 Please contact [email protected] 732-530-2782 refreshments www.watchungarts.org RUGA’S if you know of other venues that 4 Barbara Lane South Orange ought to be here. We want to 201-337-0813 DANCING GOAT CAFÉ include any locale that offers jazz Tuesday thru Saturday 7:00 PM 21 South Orange St on a regular, ongoing basis. Also 973-275-9000 please advise us of any errors you’re www.thedancinggoat.com 8 PM aware of in these listings.

The Name Dropper Be thankful with PAM PURVIS at the Salt Creek Grille on November 22.

DIANE MOSER’S COMPOSERS BIG BAND, currently celebrating VINCE GIORDANO AND THE NIGHTHAWKS fly into South Orange their 10th anniversary, is at Trumpets October 31. with a November 20 show at Seton Hall University.

Catch two legends for the price of one when BUCKY PIZZARELLI and Guitarist BOB DEVOS brings his quartet to 46 Lounge on November 28. JERRY BRUNO play The Glen Rock Inn on November 15. JAMES L. DEAN’S BIG BAND swings like crazy for dancing and listening on Pianist HELEN SUNG is at Shanghai Jazz November 14. November 18 at the Whiskey Café in Lyndhurst.

November 2007 ______51 Time Value Material PERIODICALS Deliver Promptly Postage PAID at Brookside, NJ c/o New Jersey Jazz Society and additional PO Box 410 mailing offices Brookside, NJ 07926-0410

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