Berman Music Foundation Newsletter

Photo by T by Photo om Ineck om

DelRay Ballroom could Richard Sullivan in DelRay

be Lincoln music stop ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ ○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○ Fall 2003 In Lincoln’s venue-starved en- sound engineer, deejay and resident Vol. 8, Number 3 vironment, it is especially exciting music expert. to witness the emergence of the In a recent interview, Sullivan classy DelRay Ballroom as a pos- and Galloway spoke enthusiastically sible site for local, regional and even about the DelRay’s potential as a national music acts. live music venue. In this issue of Jazz.... Located at 817 R St. in the his- Best known to Lincolnites as a Prez Sez...... 2 toric Haymarket District of down- longtime musician and songwriter, town Lincoln, the DelRay has of- Sullivan speaks with authority and Chicago Trip...... 7 fered occasional live music for more personal knowledge of the business Kansas City Trip...... 10 than two years, but only recently of making (and selling) music to the Marillac Jazz Benefit...... 12 was the former storefront coffee public. From the mid-1970s to the Latin Dance Review...... 15 house transformed into a swank jazz mid-‘90s, he was active in local Liz Jeans & Rite of Danse...... 16 bands that included the South Street lounge with full bar service and ap- Interstring Review...... 17 propriately hip décor, including ab- Shakers, Pinky Black and the stract paintings by Lincoln artist Excessives, The Gears and Blonde Lincoln Center Orchestra Review...18 Bob Hall. Waltz. Kevin Mahogany/NJO Review...19 The dreams and aspirations of Raised on Elvis, Little Richard, Valerie Capers Review...... 20 the DelRay owners and managers go Chuck Berry, The Beatles and The Tropique Review...... 22 well beyond even these improve- Rolling Stones, he describes himself Greg Abate Quartet Review.....23 ments. as “an old rock ‘n’ roller,” but he’s Further back in the huge former also dabbled in the blues and coun- Darryl White Sextet Review.....24 warehouse are a dance studio and a try music. Don Stiernberg Quartet Review.....25 full-sized ballroom. A pastry and Sullivan’s still writing songs Jazz on Disc...... 26 catering service add to the eclectic for some future recording, but lately Discorama...... 28 mix. The team of business associ- he spends much of his time and en- Jimmy Knepper Memorial...... 30 ergy at the DelRay Ballroom and ates includes Shelley Brackhan, Don Lanphere Memorial...... 31 owner and instructor of the Dance dance studio, where he is sound en- Directive studio; Michael Galloway, gineer, deejay and music archivist Letters to the Editor...... 31 the operator and manager of the front area; and Richard Sullivan, DelRay continued on page 6

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Happy man celebrates marriage, gains family ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○

My dear readers, Hoover Rich by Photo

Of all the “Prez Sez” letters I’ve written to you within the last eight-plus years, this is the first comin’ at ya from a truly happy man. As stated in our last publication, yes, I did get married on May 30 to the most beautiful, wonderful woman I’ve ever known. I’m speaking, of course, of my lovely, newly wed bride, Grace Gandu. After being single for more than 20 years, we tied the knot at Grace’s house with as many of our loved ones, family and friends as we could muster on that hot, blustery afternoon. Besides Butch Berman and Grace Sankey Berman the abundance of love between us, the real main event of the whole affair was My dear friend and head legal con- time best pal Wade Wright did himself reuniting Grace many members of her sultant from the Cline Williams law proud as my best man. family from Nigeria. Considering the firm, Dan Stogsdill (a lay minister to Lincoln’s finest jazz duo, John difficulty of such a task (we’re talkin’ boot) married us in a very jazzy cer- Carlini on piano and saxophonist Bill eight brothers and sisters, assorted emony, with even a jazzier reception to Wimmer provided the non-recorded nieces, nephews and cousins) with the follow. Jimmy Akpan, who introduced music, and a beautiful recorded piece world in such a mess these troubled me to Grace, and my legal right-hand sung by Grace’s youngest sister, times, we had our doubts. Still, her sis- man and great confidant Tony Rager Kaniyang, was brought from Africa. ters Ruth and Lois, Lois’ young son, (also from Cline Williams) were After the ceremony, everyone attending Shayet, and brother, Simon, got visas groomsmen, and two BMF consultants munched hungrily at the great spread to make their long journey to the United were on hand—New York City Latin laid out at Grace’s by our dear mutual States. Happy happy joy joy big time, percussionist Norman Hedman stood up friend, Monica Schwarz. Now onward and HEY…I gained an incredible fam- for me, and San Francisco record store to the beautiful Hazel Abel Park, where ily, too. maven (Jack’s Record Cellar) and old our wedding fotogs Roger and Nikki

Photo by Rich Hoover Rich by Photo Bauman snapped away, creating a mag- nificent collage of photos, ranging from the bride and groom getting ready to the ceremony itself and the reception. Nikki did a grand job all day just helping to direct traffic. The reception itself was a work of art, a totally jazzy affair at the lovely Fireman’s Hall with a handpicked band of dear friends, all from KC except Norman Hedman. Dig this…Ahmad Alaadeen, Gerald Spaits, Russ Long, Stan Kessler, Joe Cartwright, Ray Simon Sankey and Butch Berman DeMarchi and Norman. Swinging,

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Photo by Rich Hoover Rich by Photo out Nebraska’s former First Lady and current scribe Ruth Thone’s heart- rending story on us in the Neighbor- hood Extra section of the Lincoln Journal Star dated Aug. 24. Truly poignant. We got married on a Friday, and we started up with this year’s Jazz in Jazz is published online at: www.bermanmusicfoundation.org June series the following Tuesday. No The office of The Berman Mu- rest for the wicked, but remember jazz sic Foundation is at 719 P St., will always follow love. Even though Studio G, Lincoln, NE 68508. Tom Ineck has covered the whole festival in this edition of Jazz, please let Editor and Designer: Tom Ineck me ruminate on the proceedings for awhile. Contributing writerswriters: Butch The BMF has been getting more Berman, Tom Ineck and Bill involved with Jazz in June since we Wimmer Ruth and Lois Sankey showcased the wunderkind Russian with Grace and Shayet Photographers: Butch piano marvel Eldar Djangirov and his Berman, Grace Sankey man, swinging! My good buddy, and trio (bassist Gerald Spaits and drum- Berman, Cory Biggerstaff, numero uno wine guy, Kevin Meier, mer Todd Strait) three summers ago. Gayle Ebel, Rich Hoover and turned us on to the best caterer we’ve We’ve been involved with the present- Tom Ineck ever experienced. Many thanks to Kim ing and booking of the various jazz Morock and her husband, whose busi- For inclusion of any jazz or acts and other musical matters ever blues related events, letters to ness Tastefully Yours simply rocked. since. the editor or suggested Everyone’s girl Friday, Kay Davis This year my longtime friend and articles, either mail them to from Cline Williams coordinated it all, groomsman Norman Hedman brought the office, phone (402) 476- making our wedding a splendid, heart- his fabulous Latin group Tropique to 3112, fax (402) 475-3136 or e- warming experience for Grace and me, mail Lincoln to kick off the season. Norman [email protected]. her family and the 350 guests who gave the throng of jazz fanatics a pre- showed up from all over the world and view of his upcoming CD “Because I Our website address is: coast to coast. Can” that the BMF is helping to pro- www.bermanmusicfoundation.org We feel very fortunate to have duce. One of the Hedman tunes, “An- such great friends. Help us relive some If you want to be added to gel of the Night,” was inspired by the our mailing list, call (402) 476- of these memories with our photo gal- romance that Grace and I ignited 3112, fax (402) 475-3136, or lery included in this issue. Also check e-mail

Continued on page 4 [email protected]. Photo by Rich Hoover Rich by Photo The Butch Berman Charitable Music Founda- tion is a non-profit, tax exempt, 501(c)(3) private foundation recognized by the Internal Rev- enue Service and the Nebraska Department of Revenue. It was established in the spring of 1995 to protect and promote unique forms of jazz music.

Trustee: Butch Berman Consultants: Dan Demuth, Norman Hedman, Steve Irwin, Gerald Spaits and Wade Emissary for Ephraim Sambo family of Nigeria, Wade Wright, Butch Berman, Wright Dan Demuth, Tony Rager, Patti Demuth, Norman Hedman and Jimmy Akpan.

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Continued from page 3 Ebel Gayle by Photo

nearly two years ago while Norman was in town. Sung on the CD by James “D-Train” Williams, who was unable to appear, Sting’s backup vocalist Ada Dyer tore the place up with her rendition. Grace’s sister Ruth Sankey, who operates an African dance studio for children called Space 2000 in Nige- ria, performed a traditional native dance behind Tropique’s infectious rhythms. In all, it was a grand night to behold. The second week’s performance was the return of saxophone wizard Greg Abate and his multi-talented Grace and Butch with Jim Russell of Holdrege, Grace’s surragate father quartet. Greg’s a swell guy, and killer player. His band, consisting of my iams), the totally unique and one-of- reedmen Gerald Dunn and one of my former Jamey Aebersold piano teacher a-kind cat, bass powerhouse Harvie personal faves, Bobby Watson. They and pal Phil DeGreg on keyboards S and legendary percussion master knocked me out with their exquisite (admirably filling in for James Will- Billy Hart, wowed the crowd. My en- sets for our third concert. joyment of the whole affair was, un- Last, but definitely not least, lo- Photo by Gayle Ebel Gayle by Photo fortunately, slightly marred by the cal musician and part owner of Dietze crass behavior of Mr. Hart, who bul- Music House, Ted Eschliman, intro- lied, put down and treated all those duced a new act to me. I’m speaking who tried to assist him like crap. I of jazz mandolin virtuoso, Chicagoan publicly apologize to drum wrangler Don Stiernberg and his terrific Tom Brogan for Mr. Hart’s cruelty “jazzgrass” foursome. They are su- towards him. I still respect his knowl- per pickers and great guys who en- edge and extraordinary chops and will deared themselves to all present. Ted, always treasure Hart’s recorded work. by the way, was added to the Jazz in The university’s fab trumpeter June mix this year as a helpful liaison and educator Darryl White booked his between me, the musicians and the Monica Schwarz and own band from Denver with KC Jazz in June staff.

Ruth Ann Nahorny Photo by Gayle Ebel Gayle by Photo Head honcho, Martha Florence passed her torch to the new Mr. Big, Doug Campbell. He seems like a nice chap, and we all wish him well. The momentum behind this festival the past few years is mounting, and the plans for 2004 are underway even as we speak. The BMF is proud to an- nounce that we will be sponsoring Eldar Djangirov again to spearhead next year’s really big show. Eldar is 16 now, and his incredible musician- ship keeps rising and rising. He’ll bring plenty copies of his new CD, “Handprints,” to sell and autograph for his multitude of fans. Again, many Grace, Butch, Tom Taylor and Blade Wiederspan thanks to Martha for her hard work

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Photo by Rich Hoover Rich by Photo buffs: “Good Vibes” by veteran vibra- phone pro Terry Gibbs with Cary Ginell (Studies in Jazz, No. 44). You can order this through your favorite bookseller or Scarecrow Press Inc. toll free at 1-800-462-6420. You’ll laugh out loud, cry and swoon through every chapter and not be able to put this book down. A little bit of late-breaking news has occurred since I started this let- ter. I got a sweet call from one beau- Doug Campbell, Ted Eschliman, Martha Florence, Tony Rager, tiful dame the other day. Jane Jarvis, Butch Berman and Grace Sankey Berman one of the great, world-class musicians (her specialty is piano…of and efforts. I hope she’ll stick around ous catalog of players like Mr. course), has moved back to the Big as special consultant for years to McNeil, the pianist/vibe duo of Frank Apple from her home in Cocoa Beach, come. Kimbrough and Joe Locke, and saxo- Fla., for permanent residency. She Well, with Jazz in June behind phonist Mike Lee to name a few. (See sounded great, sez hello to everyone us, Grace and I readied ourselves for Tom’s piece on OmniTone). she knows here and is keeping very our traveling Midwestern jazzy hon- Next, KC keyboard expert from busy. A former organist for the Mets, eymoon with stops in Chicago, Kan- the Westport Art Ensemble, Roger she recently was asked back to play sas City and Council Bluffs, Iowa, in Wilder, turned me on to his lifelong at Shea Stadium. I love that woman. that order. With the massive heat wave friend, Rob Scheps. Rod now lives his Another female I’m very fond of plaguing our usual hot spots, we Portland, Ore., also has much history (and also a grand pianist and educa- shelved our original plan to visit the with our fave drummer in Portland, tor) is New Yorker (the Bronx) Dr. famed Canyon Ranch in Tucson, Todd Strait, and is a mean reed artist Valerie Capers and her crackerjack Ariz., and “stay cool” closer to home. in his own right. Rod was artist-in- quintet. On Sept. 21, they performed Other memorable moments to residence with the Lied Center in Ne- their third concert in the last few years mentions included co -producing and braska City, rang me up, and we had at Heckman Hall on the Doane Col- playing piano on Lincoln’s own fabled a gas, too. Besides putting finishing lege campus in Crete, Nebraska, about punk-rocker Jim Jacobi’s upcoming touches on his upcoming CD, Rob 20 miles from Lincoln. (Read Bill CD release; fun, exciting gigs at the appeared at the Blue Room in KC Wimmer’s account of this swinging Zoo Bar with my old bandmate Sept. 17. He will perform here with evening.) They were so good the first Charlie Burton and his Dorothy Lynch BMF sponsorship at P.O. Pears on time I saw ‘em, and they keep getting Mob; and starting a house band duo Jan. 22. Don’t miss it. better each and every time. The BMF with former band mate from the Road- While on the subject of Pears, I has pledged its efforts to support an side Attraction days, Richard hope you caught KC’s out-of-sight su- artistic endeavor with this talented Sullivan, at the new DelRay Ballroom. pergroup Interstring there Oct. 16. It lady at the start of 2005. I can’t wait!! More news on all of this in our next consists of guitar dudes Danny Last, but certainly not least is the edition of Jazz, in January, as every- Embrey and Rod Fleeman (these guys return of Lincoln’s own saxophone thing evolves. To find out more about are always ON FIRE!) and long-time star, Andrew Vogt, who now lives in Richard and his partner, dance instruc- killer rhythm section featuring bass- Denver and has just put out his first tor Shelley Brackhan, see Tom’s story. ist Bob Bowman and drummer Todd CD (read Tom’s review). There’s lots I‘ve acquired a couple of new Strait. This is the BMF’s first P.O. of cool stuff to look forward to, and jazz cat buddies within the past few Pears event to kick off another sea- best wishes to all. months. Thanks to New York trum- son working with Dean Haist’s fine Have a great holiday season, God peter and pal John McNeil (see Tom’s musical enterprise, Arts Incorporated, bless you all, and…later, CD review) I had a ball with Frank and Pears’ excellent staff. Tafuri, whose new jazz label, Like a solo that goes on too long, OmniTone, is based in his hometown I’m nearly outta here. Oh yeah, rec- of Brooklyn, N.Y. He has a marvel- ommended reading for you true jazz

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DelRay continued from page 1 T by Photo for the dance instruction.

Galloway, who recently moved Ineck om back to the Midwest from Seattle after 22 years in the Pacific North- west, once worked at Lincoln’s famed Zoo Bar and managed McGuffey’s, a local pub known for its serious jazz policy, with weekly jams and occasional appearances by Jay McShann and other big-name artists. During a five-year period during the 1980s, Galloway operated a 1,400-seat rock club in Portland, Ore., featuring everyone from Iggy Pop to Miles Davis. “It was kind of the advent of The DelRay Ballrom, 817 R St., promises great things for live music scene. MTV and the one-hit wonders, so we had a lot of those come through,” and hired Lincoln jazz pianist John big-name artists. he recalled. He also operated a Carlini to play several nights a Midwest Sound designed the couple of clubs in Seattle’s Pioneer week. six-speaker DelRay sound system, Square district. “Eventually, we’ve talked with individual volume controls to Galloway was attracted by the about possibly bringing in some na- fit any occasion. The lighting also DelRay’s location, in Lincoln’s most tionals, and it won’t be just jazz, but is totally adjustable by rheostats. celebrated retail and pedestrian dis- jazz is probably one of the ways Initial plans are to have Carlini trict and next door to the new we’re leaning,” he said. The ball- play solo from 6-8 p.m. most week- Haymarket parking garage. room capacity is around 325 seated days, with occasional local groups He has installed a baby grand and 700 standing, making it large performing later in the evening, piano in the DelRay’s front lounge enough for a successful run at some probably 9-11 p.m.

“It’s great to have Richard here Photo by T by Photo to know all the musicians,” Gallo- way said. “That learning curve can

take you quite a while when you go om Ineck om into a new town. I’m counting heavily on Richard to help me find those gems that you have here in Lincoln.” BMF president and longtime Lincoln rock guitarist and keyboard player Butch Berman is among the musicians who Sullivan has tapped to perform in upcoming weeks and months, as the DelRay builds its cli- entele and shapes a music policy that can lead to success. It’s a success that all Lincoln music fans should anticipate and Lincoln favorite John Carlini plays the new DelRay Ballroom piano in the support with their patronage. lounge several nights a week. Owners hope to expand the evening schedule with local and regional music artists.

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Chicago inspires Windy City musings ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○○ Photo by Grace Sankey Berman Sankey Grace by Photo CHICAGO, Ill.-I hadn’t flown the not-so-friendly skies in more than eight years, and after 9/11 I thought to myself, “No way!” I guess I didn’t know Grace Gandu then. After marrying my gorgeous bride May 30, I figured I might have to eat those words. With the South- west undergoing the worst heat wave of the summer, we changed our minds about Canyon Ranch and decided to make that a winter excursion. I didn’t want to disappoint Grace and ruin our honeymoon plans by not flying somewhere else, so we opted on Chicago as a perfect choice for lovers (like us), jazz fans (like us), food and wine con- noisseurs (like us) and baseball fans Butch Berman in Chicago (well, me). So, I dusted off the rust from my wings and…up, up and housed his famed Jazz Showcase expertise in getting the most out of away! there. Well that establishment is now what’s happening in the Windy City. Usually the ride to and from air- used as permanent dwelling condos, He copped us eighth row center tick- ports is the scariest part of flying, and so due to location we opted for the ets at a decent price for “The Lion our cab experiences in Chicago were Chicago Hilton right next door. When King,” booked the historic Chicago’s no exception. The neatest thing about built in 1927, it was either the world’s First Lady Architectural boat tour all of the drivers, hotel bellhops and or the United States’ (I forget which) down the Chicago River, and got us maids this trip is that most of them largest hotel. We’re so used to the likes reservations at one of Chicago’s best were from Nigeria (Grace’s home of KC’s Historic Suites, or the Em- five-star restaurants, Speggaia’s, in a bassy Suites anywhere else, that the country), Ethiopia or neighboring ar- Continued on page 8 eas, so Grace could talk about their Hilton’s rather small room could have

native homelands and in some cases been confining to us. However, since Berman Butch by Photo speak in her tribal tongue (Hausa). it was our honeymoon…you get the In the old days I used to love to picture. stay at the Blackstone Hotel on South Cozy’s cool, too, and we had a

Michigan Drive because Joe Segal beautiful lakeside view. The Hilton is Photo by Cor by Photo ran like a city unto itself with all of our needs handled perfectly and pro- fessionally including speedy and tasty room service, complete post office

y Biggerstaff y service, great gym, pool and massages available and the best concierge I’ve ever dealt with. Donald Crossley is “De Man” of the hour, making me want to consider staying there again Butch and Grace toast Chicago. just to utilize his fab connections and Cory Biggerstaff

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Photo by Butch Berman Butch by Photo This story is taking on epic pro- portions, so I’d best get back to the jazzy stuff, and you can’t get any jazzier than dropping in at my favorite Chicago haunt, Joe Segal’s Jazz Showcase. Now relocated on Grand Avenue between Deerborn and Clark, the Showcase has been a Chicago landmark for many years. Similar to New York’s Village Vanguard, the room carries mucho jazz history, has excellent acoustics and has housed every main-event bebopper in the biz that you’d ever want to hear and see. Joe just won Downbeat magazine’s lifetime achievement Musicians Mike Kocour, Kelly Sill and Joel Spencer award, and deservingly so. He can be

a bit of a crusty character at times, Continued from page 7 Berman Butch by Photo but his heart is in the right place. This flash. (Thanks to my dear friends man truly lives and breaths jazz, and Daniel and Elizabeth Nelson for tell- his club almost serves as a shrine for ing us about this spectacular eatery.) his beloved hero, Charlie Parker. If He also provided us with city maps you’ve spent nearly 50 years in the and tips to make our trip even more bar business, you might get a little enjoyable. What a guy! grouchy at times, but I really dig this Other top-flight places to dine are hip old cat. Let me tell you all about Trader Vic’s at the Palmer House the two super-groovy shows we at- Hotel, the Cape Cod Room at the tended on our vacation. beautiful Drake Hotel, and Pete Roy Haynes and Terence Blanchard at First of all, way before our trip, Miller’s steak house (with great live Joe Segal’s Showcase in Chicago I got on Joe’s web-site to check out jazz and an incredible wine list con- the calendar. I smiled to myself when sisting of many of the finest Califor- I discovered that we’d be most fortu- nia cabernet sauvignons of 1997). art organization and their stellar show. nate to catch the immortal talents of Pete’s joint is located in Evanston, Ill., If you can’t catch them here, they have drummer Roy Haynes and bebop near DePaul University, where our a road show touring the country right clarinetist Buddy DeFranco with their host for the evening, former Lincolnite now, as well as semi-permanent respected bands back to back. Wow! and bassist Cory Biggerstaff now re- “homes” in New York City, Boston So Grace and I popped in, said sides, gigs and attends classes. He in- and Las Vegas. Don’t miss this rather hi to Joe at the door and proceeded troduced me to the excellent piano trio unusual super-group! inside. It seems the air-conditioning playing that night. Pianist Mike Another point of interest to rec- Kocour, bass player Kelly Sill and ommend is going to Wrigley Field. I’m Berman Butch by Photo drummer Joel Spencer are a terrific a die-hard Giants fan, but seeing the group and super nice cats to hang and Cubbies at this real grass ballpark is chat with. Maybe I’ll try to bring them totally worth it. By the way, San Fran- in to P.O. Pears sometime down the cisco kicked their butts when we were line. there. We also dug the amazing Blue Chicago has many world-class Man Group, performing at the Briar museums. We took in the breathtak- Street Theatre on North Halsted Street ing Art Institute of Chicago, marveled near where the old Chess Records stu- at the “Eternal Egypt” at the Field dio stood. I can’t say enough about Museum and loved every minute of this over-the-top, rockin’ performance attending the Shedd Aquarium. Joe Segal at the Showcase

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Photo by Butch Berman Butch by Photo pass for a man in his 50s. He was, reservations at the club and dinner for and still is, one of the all-time great two, excluding alcohol. What a deal! rhythm machines in the business. So, that’s what we did for the The big surprise of the night was DeFranco show when we returned a the addition of genius trumpeter couple of nights later. We were joined Terence Blanchard. It seems film guru at the Showcase that night by my new and my current favorite living direc- friend, jazz mandolinist Don tor Spike Lee was showing clips from Stiernberg, and his wife for another his wonderful flicks the next night at grand evening of jazz, and Buddy the beautiful Symphony Hall (yup, we didn’t let us down. went to that tremendous concert, too) I’ve been a huge Buddy with a 20-piece orchestra led by DeFranco fan since I found my first Blanchard, along with the extraordi- LP by him (an early ‘50s MGM). At nary vocalists Mavis Staples, Gerald first, listening to his stellar bebop LaVert and newcomer Belai. phrasing, I thought to myself it’s like Anyway, Terence was in town, hearing Charlie Parker, but on the ole hanging at the club, and set in to play “licorice stick” instead of the sax. a few pieces with the band the second Nevertheless, Buddy, now at 80, was Buddy DeFranco at the Showcase. set. The frontline work between him one of the nicest and charming men and Marcus was truly superb. By the I’ve ever met for the first time. He too unit that evening was on the blink, but way, the relocated Showcase is stun- had a top notch band that night. even when Roy kidded the audience ning with perfect sightlines, decent A true Chicago legend, piano about the heat, he and his band sim- lighting and a great sound system. If I stylist Larry Novack was in top form ply smoked. Backed most admirably remember correctly, the cover charge manning the keys behind Buddy. I re- by piano player Martin Bejarama, (the is only $20 or $25 a person nightly member seeing him play at Mr. Kelly’s only name from his group I’m not sure with a no-minimum-drink clause. when I was only 10, and like most of about as we forgot to cop a poster on Joe also has a decent dinner plan these older gentlemen, his chops only the way out) bassist John Sullivan, and with a fairly new Italian restaurant seem to get better with age. the remarkable saxophonist Marcus chain based, I think, in Chicago called Veteran players John Kohout on Strickland. They played their asses off Maggiano’s. We loved the food and bass and Robert Shy on drums per- behind the one-and-only percussion service and it’s just across the street formed flawlessly, and Buddy is just king, Mr. Haynes, who at age 79 could from Joe’s. For $70 a couple, you get brilliant. I also got to meet his lovely

Photo by Butch Berman Butch by Photo wife, Joyce, who said they’d love to play in Lincoln sometime in the near future. That possibility got my wheels turning. Also need to mention that if you want to buy a coffee table-sized history of jazz, crammed with a vast array of rare photos, run, don’t walk to your book store of choice, and order “A Life in the Golden Age of Jazz: A Biography of Buddy DeFranco” by Fabrice Zammarchi and Sylvie Mas from Parkside Publications Inc. You can reach them at (206) 839-1191. This book is a work of art, and should be in every true jazz fan’s collection. That wraps up our whirlwind jazzy honeymoon in one of my most endearing places to visit, Chicago. Don Stiernberg and his wife, Eileen, at Joe Segal’s Showcase

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Reflections of a continuing honeymoon ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○

KANSAS CITY, Mo.-Still reel- Hoover Rich by Photo ing with the feeling of our wonderful time in the “windy city,” Grace and I were eagerly looking forward to our post-honeyswoon excursion to our true “home away from home,” Kan- sas City, Mo. True to form, this trip was no exception. As a matter of fact, it might have made it to our top three faves. It certainly wasn’t because of the weather (in the 100s every day) or the fact that my lovely bride and I love to be together wherever we are. No, this time it was all about love, good friends, great food, and of course, excellent music. This time, however it wasn’t only jazz that propelled us Ahmad Alaadeen and Fanny Dunfee southward on I-29 but some godly gospel, and soulful r&b. Well, here suite with living room and kitchen with Leslie, were on a much-needed vaca- goes. everything you need for comfort (TVs, tion in France. As always, Joe’s drum- Since the sad decline of our old phones, iron), free hot breakfasts, mer Ray DeMarchi kicked butt. favorite haunt—The Savoy Hotel workout room with sauna and whirl- Note to all that it took us two (hey, the Grille next door is still tops, pool and a outdoor pool with off-street trips to figure out to ask for dinner in especially if you get KC’s coolest old- parking. All this is $149 a night, with the lounge so we could get a good seat time male waiter, Bob, but that’s an- discounts available. Tell Rico the for the players. After sitting behind a other story—our new abode, thanks Bebopman sent you, and he’ll take pillar across from a couple of cigar- to Karrin Allyson’s recommendation, care of business! Call (816) 842-6544 smoking yuppies for the first set, we’ll is the Historic Suites at Sixth and or go to www.historicsuites.com. get it right the next time. Bobby Central. It’s only one block off the Enuff of this travelogue and onward sounded gorgeous with the boys Highway 169 (formally Broadway) to music. knocking my socks off on every tune exit, and within walking distance of The total triple threat weekend especially with his rendition of the Phoenix Bar and Grill, the Majes- started with dinner at the Fairmont Strayhorn’s “Chelsea Bridge.” Bobby tic Steakhouse and the Folly Theater, with Joe Cartwright for dessert. Joe, looked healthy and happy and seemed as well as a 10-minute drive to either a good friend and marvelous pianist to be more at-home back in his old Crown Center, Westport, the Plaza or has been the main cat at the Fairmont’s stomping grounds than the Big Apple the famed 18th and Vine section. Oak Room for quite awhile. This these days with his teaching at UMKC Thanks to their new guy on the go, month he was showcasing different and steady gigging. I’ve literally Rico, they have now added van ser- players each week on Thursday night caught his stuff from coast to coast vice to all guests for just whatever you free of charge. This date was a must for over eight years and have never can tip. No searching for how to get for Grace and me as Joe hosted the heard an off night. there or parking. One of their drivers, one and only alto saxophonist Bobby We also sat with my old friend Nelson Thomas, used to play sax with Watson along with Bob Bowman sub- from the Rich Hill days at Larry’s Sun Ra, so it’s jazz, jazz, jazz 24/7. bing on bass, as my BMF consultant Showcase, bassist and vocalist Brian You get a beautiful two-bedroom and pal Gerald Spaits and his wife, Hicks, who was going to play with my

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dear friend, Ahmad Alaadeen at The did not disappoint us. His vocal prow- other fab meal at one of our first Blue Room on Saturday. To top it off, ess totally intact, he smoked, and his choice KC eateries called Zin on 1900 I officially met KC Star jazz scribe back-up band, singers and dancers Main. My old pal bassist Bob Joe Clopus for the first time. What an were simply killer. Bowman’s darling wife, Sondra, evening, and we’re just getting started. He walked the front isle, stop- waited on us with expertise. Next, it We kicked back most of the day ping to greet each member of the was the Uptown, and finally the Blue Friday, looking forward to a home- blessed first row with a handshake or Room. Lloyd kept us enchanted with cooked meal of fried chicken prepared a hug, and presented my lady Grace many stories of his family and KC by none other than Alaadeen, veteran with a beautiful red rose which she’ll history in general. Between Rico, KC saxophonist and one of the dear- cherish for life, I’m sure. The open- Nelson and Lloyd wheeling us around, est, hep-cat gentleman I’ve ever met. ing act, Forgive, an incredible 17- the rides were just as entertaining as He and his out-of-sight manager, piece vocal choir with their own mu- our destinations. Fanny Dunfee, welcomed us into their sicians behind them, sang like angels, Arriving at the Blue Room was warm and inviting home in Overland but Al stole the show. like old home week, as we sat with Park, Kan., for a perfect experience The 3,000-plus crowd gave the Alaadeen’s manager, Fanny, his of great food, chatter, music and the hall an almost revival atmosphere as charming son (also named Ahmad pure joy of two diverse couples who the Reverend did more than 10 songs, Alaadeen) and our old comrades Steve love each other and their spouses and including most of his major hits, some Irwin and his better half, Jo Boehr, have a ball together. The night ended gospel and a little blues. After a rous- from the famed KC International Jazz much too soon, as our anticipation for ing “Love and Happiness,” we all ex- Festival. We were greeted so warmly, our last segment of this continuing pected an encore, but it seemed that and then things really got hot when saga awaited us. Al Green had left the building. Nev- Alaadeen took the stage with his stel- I’ve adored the stirring soul ertheless, little ole Jewish me got a lar band consisting of Jason Goudeau stylings of Al Green since the early good taste of Jesus that night, and it on trombone, Brian Hicks at the bass, ‘70s, but never was able to see him felt good. Still, there were more Donovan Baily pounding the skins like live. When I discovered he was going groovy moments ahead waiting for us a jazzy Buddy Miles, and newcomer to be playing the Uptown in downtown at the Blue Room on 18th and Vine. (to us) Chris Clark, who just wowed KC, I acted fast, checking the ‘Net The hotel doesn’t run its van on us with his amazing piano virtuosity. daily for when tickets went on sale and weekends, but Rico had us covered. Still the main event belonged to being on top of it. My homework and A genuinely suave older black dude Alaadeen, as he led his group with persistence paid off big time as I named Lloyd, former cop for 15 years style and grace and displayed his bril- snared front-row center seats for this and now operating a taxi service be- liant chops to the throng of followers very special event. Mr. Green, all sides being a Pentecostal minister, with every selection. He debuted his decked out in a three-piece white suit, took the best care of us. We ate an- new “African Suite,” that jazz-

Photo by Grace Sankey Berman Sankey Grace by Photo drenched night inspired by Grace and my relationship, and dedicated it to her. Hopefully, this splendid piece of work will be recorded soon for the world to hear and appreciate. His heartfelt rendition of “What A Won- derful World” seemed so appropriate during these troubled times, and moved everyone in the room to a better space. He ended the evening calling up a new young piano player named Harold O’Neal to sit in. His Tyneresque performance fit the groove perfectly. My dear friend and BMF fotog, Rich Hoover, was filming the entire show for a possible future docu- mentary. More on that later. Butch and Ahmad Alaadeen are ready to cook during a visit in Kansas City.

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Marillac benefit is KC jazz milestone ○○○○○○○○○○○○○○○

By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Photo by Rich Hoover Rich by Photo KANSAS CITY, Mo.—Sep- tember 28 marked a rare occasional, a milestone in the long and storied history of Kansas City jazz. Nearly 30 of KC’s finest musicians gathered to perform a daylong benefit at The Piano Room, a small club at 8410 Wornall Road in the city’s Waldo district. The players donated their talents for the cause, to help raise a needed $21,000 to replace obsolete textbooks for Marillac Center’s therapeutic day school. “Books, Ballads and Bebop” was expertly

organized by Steve Irwin, Marillac’s Brian Ruskin and Steve Irwin, Marillac community relations director community relations director and Hoover Rich by Photo the former co-director of the late, reaching a crescendo of formidable lamented Kansas City International jazz expertise by the early evening Jazz Festival. and continuing until the final jam Also playing important roles at had played out at 10 p.m. the benefit were Irwin’s jazz fest co- For this avid fan of Kansas directors, the witty emcee John City jazz, Ruskin was the first of Jessup and the effervescent Jo several surprises throughout the Boehr, Irwin’s wife. day. I suspect that many listeners had similar feelings of good fortune, Festivities began modestly at 2 Rusty Tucker p.m. with vocalist Julie Turner and as an embarrassment of riches re- Turner’s son, Brian Ruskin, on gui- vealed the talents of musicians not Mike White, another pleasant sur- tar. As the day progressed, musi- often heard together. prise, added his soulful tenor saxo- cians wandered in to take the stage, Ruskin is an outstanding gui- phone to a fast blues shuffle. Turner

tarist, in both jazz and blues styles, capped the performance with “I Photo by Rich Hoover Rich by Photo and a sensitive accompanist to his Love Being Here with You.” mom on such tunes as “Out of No- Even before he took the stage where,” “Alone Together” and the to perform, traditional jazz pianist- samba “How Insensitive,” which singer Bram Wijnands was enthusi- was an excellent vehicle for astically documenting the historic Turner’s throaty vibrato. event on his video camera. Pianist Russ Long joined the His duo set with Scamps drum- duo for “All the Things You Are,” mer Rusty Tucker was a joy, pitting and drummer Tommy Ruskin the young Dutch marvel with one of (Brian’s dad and Julie’s husband) the elder statesmen of Kansas City later added the shaded rhythmic jazz. It was a hoot to hear Wijnands pulse to “One Note Samba.” Long deliver a Dutch-inflected “She’s my regaled the crowd with his hilarious ding dong baby and she knows how Bram Wijnands at the piano take on “My Old Kentucky Home.” to ring my bell,” then join Tucker

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○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Photo by Rich Hoover Rich by Photo Photo by Rich Hoover Rich by Photo also dedicated a sensitive version of “Sentimental Journey” to club owner Dean Weiss, who generously contributed the day’s profits to Marillac. Pianist Paul Smith fronted a marvelous quartet also featuring guitarist Danny Embrey, bassist Bob Bowman and drummer John Doubleday. Tunes included an uptempo “Yesterdays,” “O Pato Ray DeMarchi (The Duck),” and a reprise of “All crescendo and the soulful climax for the Things You Are.” which Cartwright has become Embrey was loath to leave known. early, but he was due to board a Kansas City legend Pete Eye flight the next morning to join singer replaced Cartwright at the piano for Karrin Allyson for a European tour a stunning rendition of Paul that included stops in Rome and Desmond’s “Take Five.” Eye’s af- Paris. finity for Dave Brubeck was imme- Mike White The momentum continued to diately evident in his classical con- build with the arrival of pianist Joe structions and syncopated phrases. for some raunchy, blues tinged scat Cartwright, bassist Gerald Spaits Backed by Cartwright, Spaits singing. and drummer Ray DeMarchi, a very and DeMarchi, Ahmad Alaadeen de- Tucker turned in a pair of compatible trio of veterans. Never livered one of the highlights of the warm vocals on “All of You” and satisfied with conventional interpre- day was a set that included a spir- “What a Wonderful World,” but it tations, Cartwright and company ited romp through Juan Tizol’s was Wijnands’ Fats Waller-inspired chose a samba by trumpeter Claudio “Caravan,” featuring Alaadeen on playing and singing on Waller’s Roditi and the underappreciated soprano sax. “Honeysuckle Rose” that was most standard “Whisper Not,” before Trumpeter Stan Kessler, alto impressive. His rollicking, wide- putting a definitive blues tinge to the saxophonist Kim Park and drummer open keyboard attack had feet tap- timeless ballad “September Song,” Doug Auwarter joined the fray with ping and fingers snapping. The duo building to the astonishing piano Cartwright and Spaits on a special request from Irwin, the lively Photo by Rich Hoover Rich by Photo “Lester Leaps In.” The classic bop changes received a round of exem- plary solos by Kessler, Park and Cartwright, each one building in intensity and innovation and ending with Park mimicking Lester Young’s famous sideways stance and Kessler valving the trumpet upside down! Joe Zawinul’s funky anthem, “Mercy, Mercy Me,” was taken at a slow and soulful tempo, punctu- ated by moving solos by Park and Kessler. Park closed the set with “Centerpiece,” taking the vocal chores and delivering a bluesy alto solo, segueing into stop time and an exhilarating double-time finale. Paul Smith, Bob Bowman, Danny Embrey and John Doubleday Continued on page 14

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Continued from page 13 Hoover Rich by Photo In the wake of this electrifying performance, Jessup took the micro- phone to remind us again that this was “a singular day in Kansas City jazz.” No one could argue with that assessment. As the evening began to wind down, pianist and singer Mike Ning took the stage with bassist Tim Brewer and drummer Mike Shanks for yet another version of “All the Things You Are,” followed by “Ev- erything Happens to Me.” Sherry Jones capably vocalized on the uptempo “Ornithology/How High the Moon,” on which Ning’s solo cleverly referred to “Surrey with Joe Cartwright and Ahmad Alaadeen

Photo by Rich Hoover Rich by Photo The Fringe on Top.” “Centerpiece,” which also featured Young aspiring drummer Timo- Park on alto sax. thy Ning made it a family affair The distinguished and gentle when he joined dad Mike and mom presence of pianist and singer Sherry for a rhythmic run through Luqman Hamza brought the pro- the Herbie Hancock favorite “Wa- ceedings to a close. The local leg- termelon Man.” end caressed the keys as he gave new It was a hipster’s holiday when life to the lyrics of “Falling Love David Basse joined vocals with pia- with Love,” “My One and Only nist Greg Richter and bassist Brian Love” and, best of all, “I Will Un- Hicks for Bobby Timmons’ derstand.” It was a display of grace “Moanin’” and another rendition of and class that could serve as a les-

Gerald Spaits Photo by Rich Hoover Rich by Photo son to all jazz musicians. The day’s events stand as a remarkable example of artistic cama- raderie and might serve as a model for Marillac’s vision statement: “To see at-risk children and families become contributing members in their communities by modeling a caring, nurturing and learning environment and by providing innovative, profes- sional treatment and support.” “Books, Ballads and Bebop” certainly created a caring, nurturing and learning environment for the hundreds of jazz fans who turned out to support a very worthy cause. To learn more about Marillac Center and how you can help the cause, call Steve Irwin at (816) 508- Stan Kessler valves his instrument upside down as Kim Park blows a bebop line 3311 or write to Marillac at 2826 on “Lester Leaps In.” Main St., Kansas City, Mo. 64108.

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“Sierra Latina” is Latin dance at its best ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

KANSAS CITY, Mo.-Latin Jeans Liz of Courtesy Photo jive version of “Fever.” dance, by its nature, is a colorful, sen- “Neo Tango” was a bravura dis- sual and exhilarating expression of play of modern dance by the emotions. At its best, it is poetry in Wylliams/Henry Danse Theatre Com- motion and a panoramic parade of pany. Inspired by the music of Argen- life’s joys and sorrows. tine tango composer Astor Piazzolla Latin dance was at its best Sept. and choreographed by Dee Anna Hiett 27 at the Kansas City Music Hall for and Dwight Rhoden, it was a breath- “Sierra Latina: A Latin Evening of takingly acrobatic performance. Dance.” The performance was pre- The Latin Rhythm Dance Com- sented by Rite of Danse, a local non- pany, with choreography by Denisse profit arts organization whose goal is Elise and Josue Hernandez, danced to create and present dance produc- “Where’s the Salsa?” a dazzling ex- tions that utilize multiple art forms and Dancers in a “Sierra Latina” program hibition of style and technique. Light- honor cultural differences. ing designer Jim Primm created the Artistic Director Liz Jeans of panied dancers, some in stark black- appropriate dramatic and atmospheric Rite of Danse organized the event, and-white costumes and others in settings for each performance, and bringing together various groups to bright dresses. Castanets and double- stage manager Beth Byrd overcame perform dance and music from time flamenco clapping added to the the daunting logistical challenges of Mexico, Brazil, Argentina, Spain and excitement. segueing from one dance group to the United States. Cultural differences Jeans and her partner, Michelle another. were most obvious as the medley of Powers, choreographed and danced The evening’s irresistible capper costumed dancers, in turn, took the the interpretative “Nuestra was a public dance across town at the stage to the music of salsa, samba, Contribucion Con Carina,” with a beautifully restored, Spanish-style flamenco, folkloric dance, tango, passionate and impressionistic flair. Madrid Theatre, where we amateur Latin jazz dance and modern dance. With legs that seem to go on forever, hoofers were allowed to share the floor Fiesta Mexicana took the lead Jeans seems to project her body in with the professionals, to the spirited with “Nayarit,” a traditional folkloric several directions simultaneously, re- music of jazz trumpeter Stan Kessler presentation with choreography by the acting instantly and dramatically to and the Sons of Brasil. group’s director, Rose Marie Mendez. unseen rhythmic impulses. “Sierra Latina: A Latin Evening The flair of colorful skirts and the The American influence on Latin of Dance” was billed as a tribute to flash of machetes in a sort of “sword dance was most apparent in the “Latin Jose Gonzalez, founder of the annual dance” combined to create a stunning Ballroom Suite,” performed by a pass- Hispanic Fiesta at the Barney Allis opener. ing array of male-and-female partners, Plaza, started in 1985, and creator of “Hoy Es Adios,” by the Signa- from Louis Barr and Rebecca “Sierra Latina.” Gonzalez recently ture Dance Company with choreog- Rodriguez doing “Paso Doble” to died, but his huge influence on Kan- raphy by Loren Whittaker, was a typi- Frank Gillitzer and Mallee Morris il- sas City dance and the city’s Hispanic cally sensual display with lacy scarves lustrating the “Cha Cha” to Rafael culture remains obvious. serving as enticing props. Labrado and Anya Berdichevskaya “Sierra Latina” also is a tribute “Sevillanas to Bulerias” was a with “Rhumba.” to Jeans’ dedication and organizing multimedia flamenco tour de force by Barr returned with Laura Cantu skills. She gathered together some of Ole Music and Dance of Spain, cho- for “Tango,” followed by Labrado and the best Latin dance ensembles avail- reographed by Tamara McIntosh, ar- Berdichevskaya with “Samba,” able, and the sheer volume and degree tistic director of Ole. The colorful mu- Gillitzer and Morris with “Rhumba” of talent was remarkable, even for a sic of guitarist Raul Gomez accom- and, finally, three couples dancing a city of Kansas City’s size. Bravo!

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Liz Jeans is mover and shaker in KC dance ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

KANSAS CITY, MO.-Liz Jeans Liz of Courtesy Photo Iraq war. She moved to Paris, where Jeans is a mover and a shaker—on she danced at the historic Moulin the dance floor, in her community Rouge. Based in Paris, she danced and around the world. with Soho productions in Tokyo and Her Kansas City-based, non- at the Friedreichstadt Palast in East profit Rite of Danse organization— Berlin before the fall of the Wall. through the magic of dance—at- In 1988, Jeans returned to Kan- tempts to break down the barriers sas City and taught dance in the that separate people of different eth- KCMO Visual and Performing Arts nic groups, while celebrating their School for seven years. She remains diverse cultural heritage. Produc- a freelance choreographer, teacher tions have combined fashion and and performer as the founder and dance at an exhibit of photographs artistic director of Rite of Danse. by Herb Rits, blended social danc- Jeans’ colleagues in Rite of ing and staged choreography to the Danse are out-of-town consultant Latin jazz sounds of Sons of Brasil Michelle Powers and Loren and performed poetry and dance for Whittaker. a “Victory over Violence” festival. Powers and Jeans have a long Rite of Danse also is the um- history of working together. They brella organization for Signature Michelle Powers and Liz Jeans met as colleagues, directing separate Dance Company, a youth jazz dance community dance programs, and company for dancers ages 12 to 21. movies. I like Latin literature. I like later formed and directed Powers & Very early in life, Jeans was in- Latin music, and I like Latin dance.” Jeans Dance Ensemble. Their ad- spired by Latin culture, and it left a Latin dance, she found, helps ventures took the Eugene, Ore.,- lasting impression on her dance to express emotions that are usually based company to Los Angeles and styles, her choreography and her kept hidden in the more reserved tra- Baghdad. Years later, they ran a whole philosophy of life. ditions of northern Europe. It also spa in Cabo San Lucas, “I was always drawn to that, honors life’s mysteries without try- Mexico, under Powers’ direction. and no one else in my family was. It ing to reduce everything to a scien- Powers recently moved back to was probably from the time I was tific equation. Oregon after living in California for 12 or 13. It was just part of me,” “We have every emotion, and the last 10 years. Despite the dis- she said in a recent phone interview. we have things we can’t explain,” tance, Powers and Jeans still con- “I enjoy being outside of my culture. she said. “We have things that aren’t sult and support each other on I have no Latin blood. I’m as Cau- concrete, and you’ve got to learn projects such as “Sierra Latina.” casian as it gets. I’m a white girl how to integrate all of that.” Loren Whittaker is director of who appreciates other cultures a lot. Raised in St. Louis and Kan- Signature Dance Company, spon- I feel our limitations and our fear sas City, Jeans has a master’s de- sored by Rite of Danse. Her chore- of expressing passion, that I find gree in dance from the University ography and support was a major much more a part of Latin culture.” of Oregon. In Eugene, she developed part of “Sierra Latina.” Now an Her Latin love affair extends a community center for the perform- adjunct professor of jazz dance in well beyond the confines of the ing arts program and co-directed the UMKC dance department, she dance floor. Powers & Jeans Dance Ensemble. has been a lead dancer in Las Ve- “I appreciate the passion and After a debut in Los Angeles, gas, Nev., and assisted with chore- rhythms that you hear in Latin mu- she began an international dance ography and direction of two TV sic and all Latin art. I like Latin sojourn in Baghdad, during the Iran/ programs in Rome.

Fall 2003 Page 17 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

Interstring defines jazz group dynamic ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

As jazz combos come and go, few Rehkop Beverly by Photos are allowed the longevity to form a co- hesive group dynamic. One of the rare exceptions is the Kansas City-based quartet Interstring, whose compatibil- ity and chemistry is increasingly evident as they approach nearly a decade together. That group dynamic was in full play during an Oct. 16 performance at P.O. Pears in downtown Lincoln, funded Interstring (clockwise from by the Berman Music Foundation. It upper left) are Bob was their sixth and final gig in a brief Bowman, Todd Strait, series of Midwestern appearances, oc- Danny Embrey and Rod casioned by the return visit of essential Fleeman. drummer Todd Strait from his home in Oregon. The other essentials in this fear- Embrey soloed with increasing inten- ments of funk, blues and country twang, some foursome are guitarists Danny sity. Strait’s hand-drumming interlude anchored by Strait’s brush-stroked Embrey and Rod Fleeman and bassist gave the piece the appropriate Latin backbeat, it conjured an appropriately Bob Bowman. Over the past decade, tinge. laid-back ambiance. they have created and maintained a to- Even “One Finger Snap,” the The popular Jean “Toots” tally unique sound, whether playing as dauntingly up-tempo Herbie Hancock Thielemans samba “Bluesette” was a quartet or in support of singer Karrin composition, seemed to flow with ease highlighted by an adventuresome Allyson, who appeared frequently with in Interstring’s polished rendition. The Fleeman solo. Bowman announced the them during her formative years in KC. guitars made the opening statement in debut performance of a tune called It didn’t take long for the band to unison, and Strait followed with another “Notes and Chords,” featuring solos by start cooking at its recent Lincoln show. astounding drum solo and continued to Embrey, Fleeman and the bassist. “Wil- Taking the first solo in the opener “You push the beat during alternate solos by low Weep for Me” was given an un- Stepped Out of a Dream,” Embrey left Embrey and Fleeman. conventional, funky treatment that in- the starting gate running with a dazzling Jimmy Rowles’ lovely ballad “The cluded some imaginative Fleeman varia- display of fretwork. Bowman followed Peacocks” seemed to gradually emanate tions and a brilliant guitar exchange. with an authoritative and imaginative from the musicians with impressionis- Bowman’s pen also yielded the solo before handing it off to the fleet- tic flourishes as they constructed the night’s final piece. Named for the fam- fingered Fleeman. Strait employed the tune from Fleeman’s initial statement of ily pet, the tune’s Spanish title is trans- full range of his extensive percussion the haunting melody. Embrey entered lated “Dog of the Devil.” The opening vocabulary, including a brief press roll. with a solo combining single-string runs bass solo was ominous, setting up intri- Embrey’s composition “Samba and unusual chords. Finally, Bowman cate, weaving guitar lines and a mar- 88” is always a joy to hear, but seemed and Strait—on brushes—completed the velous Latin rumble of a drum solo. especially inspired and inspiring on this group rapport. Bowman’s subsequent Despite the small audience turn- evening. It had the open, breezy reso- bass solo was especially impressive. out, Interstring performed at the high- nance of a Pat Metheny tune, with Ending the set was the bassist’s est level of art, never failing to deliver Strait’s polyrhythmic mastery of the own good-time tune, “The Hebgen on its many years of promise and hard drums establishing an irresistible groove Happy Hour,” inspired by a lakefront work. over which Fleeman, Bowman and bar in the wilds of Montana. With ele-

Page 18 Berman Music Foundation Jazz

Marsalis proves drawing power and talent ○○○○○○○○○○○○○○○

By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ File Photo File In the jazz world, only a handful for a piece constructed around a lilt- of artists have the drawing power to ing phrase repeated in a circular mo- fill the 2,200-seat Lied Center for Per- tion and featuring brilliant solo state- forming Arts with an enthusiastic and ments by Marsalis, Victor Goines on multigenerational audience. tenor sax, Walter Blanding Jr. on tenor Wynton Marsalis, fronting the sax and Lewis on piano. Lincoln Center Jazz Orchestra, did The full orchestra played a piece just that on the evening of Oct. 14, from “Victoria Suite,” commissioned and the 15-piece ensemble did not dis- by a festival in the Basque region of appoint. Spain. Trombonists Ron Westray, In its 10-year tradition of keep- Andre Hayward and Vincent Gardner ing alive some of the important works each took solos, but it was Riley’s of jazz history, as well as performing constant rhythmic underpinning that and recording its own compositions, Wynton Marsalis most impressed. the Lincoln Center band began with George Gershwin’s “Rhapsody the Charles Mingus bopper called chestra by Chuck Israels. Marsalis in Blue,” as arranged by Billy “Dizzy Moods.” It has a typically in- made a bravura opening trumpet state- Strayhorn for the Duke Ellington Or- tricate, polyrhythmic construction, ment with the rhythm section only. chestra, was perhaps the evening’s with shifting tempos reinforced by the Suddenly, the rest of the band highlight. As just six minutes, it was masterful drumming of Herlin Riley. launched into a rousing New Orleans less than half the length of Gershwin’s Turning to John Coltrane, the street-parade version of “Happy original, but it packed a wallop from orchestra played the “Resolution” sec- Birthday.” the opening passage by Joe Temperley tion of the suite “A Love Supreme.” Their leader’s 42nd birthday is on baritone sax to Kisor’s plunger- After a beautifully organic bass state- Oct. 18, but this was the final stop on muted melody line. Near the end, ment by Carlos Henriquez, Wess the current tour, so they paid their re- Goines on clarinet played the famous Anderson delivered an alto sax solo spects a few days early. Marsalis slurred run that usually opens the that aspired to profound musical ex- good-naturedly responded by soloing Gershwiin classic. pression in the same way that in grand style. “Big 12” was an original com- Coltrane’s version aspired to spiritual For the second half, eight mem- position with elements of both the expression. Pianist Eric Lewis fol- bers of the ensemble took the stage blues and flamenco structure. lowed with a powerful solo reminis- cent of McCoy Tyner, with left-handed On the town block chords and blazing right-hand runs. Jazz clubs around the U.S. They returned to the Mingus Sambuca Jazz Cafe Murry’s songbook for “Los Mariachis (Street 1320 15th St. 3107 Green Meadows Way Musicians),” a showcase for trumpet- Denver, Colorado Columbia, Missouri ers Seneca Black and Ryan Kisor, who delivered an astounding solo. Kisor, The Green Mill Jazz Club Dakota Bar & Grill at 30, has come a long way since his 3030 West Diversity Parkway 1021 East Bandana Blvd. teenage years as guest soloist with the Chicago, Illinois St. Paul, Minnesota Nebraska Jazz Orchestra. Ending the first half of the two- Jardine’s Caravan of Dreams 4536 Main St. 312 Houston hour program was Thelonious Monk’s Kansas City, Missouri Fort Worth, Texas “Four In One,” arranged for the or-

Fall 2003 Page 19 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

Mahogany fronts Nebraska Jazz Orchestra ○○○○○○○○○○○○○○

By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Photo by Rich Hoover Rich by Photo “Standards, Scat and Soul” was the second half off to a rousing start, the theme of the program, and the and guitarist Peter Bouffard’s imagi- Nebraska Jazz Orchestra with special native arrangement of “Danny Boy” guest vocalist Kevin Mahogany, pro- received another fine reading by the vided plenty of each Oct. 1 at the Lied orchestra. Center for Performing Arts. Mahogany paid homage to Joe A Kansas City, Mo., native with Williams with “In the Evening,” a a sonorous, full-bodied tone in the tra- bluesy swinger highlighted by the dition of Joe Williams and Billy singer’s swooping upward flight from Eckstine, Mahogany wraps his deep- the bottom to the top range without a throated voice around a lyric with fault. “Fools Rush In,” a nod to Billy warmth and blues-drenched emotion. Eckstine, got a Latin treatment. He was in his element, working Once again fronting the rhythm his way through a set of charts he section, Mahogany deftly motored Kevin Mahogany at recent recording brought along for the occasion. session in Kansas City through an uptempo version of “Route Performing for an audience of 66,” followed by the ballad “When I 350, the NJO showed its quick-study A Train.” On the former, he displayed Fall in Love,” and the Miles Davis skills with capable accompaniment his vocal pyrotechnics over a several- burner “Four.” and on-the-spot solos. octave range, and the latter featured After the full orchestra returned Before Mahogany took the stage, more amazing scat-singing and some to the stage, Mahogany’s lyrics were the band shifted into high gear for percussive trades between the singer put to the music of Paul Hoffman for Toshiko Akiyoshi’s fast blues shuffle and drummer Greg Ahl. the lovely, Latin-tinged “Three Little “Tuning Up,” a favorite warm-up The orchestra closed the first half Words.” piece that puts the brass through the of the program with “Lester Jumps Finally, Mahogany and company paces. Out,” a swinging variation on Lester barreled through Charlie Parker’s At a similar up-tempo, Ma- Young’s classic “Lester Leaps In.” “Yardbird Suite,” with Ed Love tak- hogany began his set with “There Will Dizzy Gillespie’s “Tanga” got ing Bird’s role on alto saxophone. Never Be Another You,” launching into a heated scat interlude after the Photo File first verse. In the same spirit, Darren Pettit contributed a fiery tenor sax solo. Best known for its association with Frank Sinatra, the ballad “One for My Baby” received a sensitive reading by Mahogany in a Frank Mantooth arrangement that also featured muted trumpet statements by Brad Obbink and a baritone sax solo by Scott Vicroy. With just the rhythm section, Mahogany turned his attention to the Ellington songbook, with a mid-tempo rendition of “Don’t Get Around Much Anymore” and a rollicking “Take the The Nebraska Jazz Orchestra

Page 20 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review Capers and companions keep tradition alive

By Bill Wimmer ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

CRETE, Neb.-Valerie Capers Hoover Rich by Photo performed with her jazz quartet Sept. 21 at Doane College’s Heckman Au- ditorium. Capers, who’s played at Doane before, was capping off a short residency and workshops with stu- dents with a concert for a very enthusiastic crowd. Her quartet included Alan Giv- ens on tenor sax; John Robinson, bass; Earl Williams, drums; and Mark Marino, guitar. This veteran group, sans Marino, has been together for years and it showed from the first note. While Capers is a really fine pianist, she spends much time promoting and featuring her excellent companions. ValerieCapers and quartet perform at Heckman Auditorium at Doane College. Opening with “Take the ‘A’ Train,” Givens led off, quoting “Ex- a whole new life with Caper’s great next, with drummer Williams taking actly Like You” and displaying a great version. Moving from a Bill Evans the spotlight. He started on high hat sound and wealth of ideas. Guitarist feel on the theme, she took it into an and then snare, using space and dy- Marino followed with a Wes Mont- up-tempo modal section interlude af- namics to great effect, without losing gomery-inspired, octave-building ter the bridge that was really refresh- the feel of the tune. Building up to a flight of his own. The leader showed ing. great climax, he worked the solo and her command of the jazz piano lexi- Paying tribute to Ellington most the student-heavy crowd into a frenzy. con by incorporating bop, boogie of the evening, “Caravan” was up Next up was seldom heard

woogie and much in between, all an- Hoover Rich by Photo chored by her tasteful chords from a very solid left hand. The bassist and drummer Williams each made their own statements as the song was brought to a rousing end. Horace Silver’s “Sister Sadie” was taken at a slower, funkier tempo than the original. Givens soloed first, followed by bluesy Marino, Capers and Robinson. The song ended with an interesting arrangement that showcased Givens at the finale. The trio of Capers, Robinson and Williams then played “Everything Must Change.” Although I was a little hesitant at the announcement of this really overworked number, it took on Earl “Boom Boom” Williams

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Ellington’s “Circle of Fourths,” which Hoover Rich by Photo featured a whirling Givens on tenor and culminated with a nice cadenza. Givens, who received a standing ovation, is a real entertainer who seems to have a bit of Sammy Davis Jr. to him. Guitarist Marino was given the honors on “Prelude to A Kiss,” and he made the most of it with a finger- picking intro and melody. Switching back to a pick for his solo and going back to a beautiful chordal ending and a pretty ending and cadenza, Marino is a welcome addition to this group. More Ellingtonia commenced with a medley of “C-Jam Blues,” “Cottontail” and “It Don’t Mean a Valerie Capers sings. Thing.” “Cottontail” featured a two- beat stride piano section, taking off tively small voice, the slower tempos Bassist Robinson was featured up-tempo at the bridge. “It Don’t and the lack of her fine piano playing on “Mood Indigo,” and he wasted no Mean a Thing” ended the first set with made this a really slow part of the time displaying his complete mastery great statements from Marino and evening after such an energetic first of the instrument. Bowing, picking, Givens. set. I think three numbers from some- slapping, playing chords and double The second set started with Ca- one of her vocal ability is a bit self- stops to great advantage-not just for pers, seated on a stool out front, sing- indulgent. technical effect. This guy is solid as ing an up-tempo “From This Moment She settled back in the piano a rock. On.” She then sang Strayhorn’s mel- chair for a breakneck ride on “Oh, Finishing with “I Got Rhythm,” ancholy “Lush Life,” followed by What a Beautiful Morning.” This one Givens quoted Blue Mitchell’s “Nature Boy,” two ballads that picked was so fast that Marino, a “Funghi Mama” and it was good up slightly during a rich Given’s solo chopsmeister, still turned the time naturedly picked up by the rest of the on the latter. around playing himself into a corner band. It wasn’t the first time they’d The combination of Caper’s rela- on his second chorus. played it this way, but the group responded to each other so naturally that Photo by Rich Hoover Rich by Photo it could have been. A quote from the “Flintstones” theme brought down the house again, and only my fatigue kept me from sticking around for the encore. Valerie Capers presents a world- class jazz group that achieves its goal of keeping the tradition alive. Not having seen the group before I was very impressed by all members and by the nice crowd at Doane. The addition of Marino has added a lot to an already fine group, and it’s not every day that Butch Berman gets blown away by a jazz guitarist. This was a very enjoyable show and I would recommend seeing this group if you get a chance. Reviewer Bill Wimmer, Grace and Butch at Valerie Capers concert

Page 22 Berman Music Foundation Jazz

Tropique launches 2003 Jazz in June series ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Since the mid-1990s, the Ja- Hoover Rich by Photo maica-born composer, bandleader and percussionist Norman Hedman has been captivating audiences with the warmth and insistent rhythms of his tropical jazz juggernaut, Tropique. This summer, the New York City-based ensemble again ventured out to America’s heartland for a Jazz in June performance sponsored by the Berman Music Foundation. The June 3 show was the first in this year’s series of outdoor concerts at the Sheldon Art Gallery’s sculpture garden on the University of Nebraska-Lincoln’s city campus. It drew an estimated 2,200 people on an unseasonably cool evening. Norman Hedman’s Tropique arrives with BMF consultant Wade Wright (right). Tropique’s sound remains con- sistent, despite the departure of a sion tour de force on congas, and Hoover Rich by Photo couple of its longtime members, a trib- music director Willie Martinez poured ute to Hedman’s vision and leadership. on the heat with an exciting workout From the BMF-funded 2000 re- on timbales. lease “Taken By Surprise” came the “Rudy’s Mambo” was a show- concert opener, the irresistible “Pa’ piece for new vibes sensation Alexei Bailar,” with strong solos by Sam Tsyganov, brother of longtime Furnace on alto sax and Craig Rivers Tropique pianist Misha Tsyganov.

on piccolo. Hedman led the percus- The young vibraphonist contributed Photo by Rich Hoover Rich by Photo

Singer Ada Dyer

a lightning display of melodic improvisation. “It’s Just Not the Same” began with a repeated piano vamp, lead- ing to a combined alto sax and flute lead line and a stunning flute solo by Rivers. With strong support by bassist Ron Monroe, pianist Tsyganov dug deeply into the theme for some exem- plary keyboard variations. From the 1996 CD “Healing Hands,” the ballad “Forever” proved its timeless quality. Again, it utilized Norman Hedman leads the band on congas. a doubled melody line of alto sax and

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flute, providing the basis for solos by Among the new material that tribute by a very talented member of both Tsyganov brothers. Special guest Hedman unveiled was a piece of his the Sankey family. Congas, timbales vocalist Ada Dyer joined the group for inspired by a “food frenzy,” a festive and vibes added to the percussive na- “Closer.” Renowned for her work with gathering of gourmands. Entitled ture of the tune and the dance. pop artist Sting and in the musical “Feeling My Way,” it exemplified the But the tribute to Butch and “The Wiz,” Dyer brings a huge group sound that defines Tropique and Grace had only begun. Dyer returned voice—with soul and gospel influ- sets them apart from the often self- to sing the beautiful “Angel of the ences—to the stage, a nice contrast to indulgent ramblings of other Latin Night,” written by Hedman in honor Tropique’s lighter approach. jazz groups. of the Berman nuptials. Hedman an- Dipping again into his lengthy “Flight of the Spirit,” also from nounced that it will be included on his songbook, Hedman pulled out “One Step Closer,” featured bassist next CD, to be called “Because I “Shades of Magenta” from his 1999 Monroe on the African kalimba, or Can.” BMF-funded CD “One Step Closer.” “thumb piano,” and introducing Ni- Tropique brought things to a After a remarkable piano solo, Riv- gerian dancer Ruth Sankey, sister of close with “Hed-Theme,” the band’s ers sounded especially inspired on a Grace Sankey Berman, Butch infectious theme song from “One Step flute solo and cadenza before turning Berman’s new wife. With the newly- Closer,” with an especially fiery dis- it over to Furnace on alto sax. weds in the audience, it was a lovely play of timbales pyrotechnics. Concert Review

Abate quartet puts the edge on hard bop ○○○○○○○○○○○○○○

By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Photo by Rich Hoover Rich by Photo Saxophonist Greg Abate brings ing double-time alto sax runs by a sharp edge to his hard-bop style, Abate. Ratcheting up the intensity with biting upper-range flights that even higher, the quartet launched into stretch the limits of improvisation. For “Bebop.” Abate set the fierce pace on his complex compositions and intense alto as Hart added sizzling cymbals performances, he requires a group of and crackling rim shots. DeGreg’s like-minded players, capable of listen- propulsive piano solo segued into a ing closely and performing at the up- final series of drum breaks. per reaches of technique. From the book of standards came Such was the trio of musicians a mid-tempo version of “Joy Spring.” who accompanied Abate for a June After a lilting alto sax lead statement, 10 Jazz in June appearance in Lin- DeGreg and Harvie S took energetic coln—versatile pianist Phil DeGreg, solos, as if to illustrate the title’s irre- bassist Harvie S and drummer Billy pressible mood. Abate dedicated the Hart. Several thousand listeners romantic ballad “The Nearness of turned out to hear the fireworks. You” to newlyweds Butch and Grace Hart set the tone with a drum in- Berman. troduction to Abate’s burner “Evolu- Greg Abate Abate shifted into waltz tempo tion,” the title track from his most re- for his composition “Angelic,” a trib- cent CD. Abate’s alto, soaring into the establishing his trademark with un- ute to his daughter, Jessica. In his sen- stratosphere during his solo, was conventional phrasing and percussive sitive piano solo, DeGreg deftly in- brought to earth by DeGreg’s lyrical accents. terpolated a quote from “Softly, As in keyboard work and an inventive bass The tempo slowed for the ever- a Morning Sunrise.” Closing the per- solo. Hart returned with explosive green “I Can’t Get Started,” most formance in fine fashion was the very statements from his drum kit. memorable for DeGreg’s flowing and fast “The Little Men,” dedicated to DeGreg kicked off the next tune, imaginative piano lines. “Kerry’s Abate’s sons, Gregory and Anthony. “K.T. Blues,” with a powerful rubato. Bossa” led off with a bass cadenza Again, the alto sax and the piano took Abate and Hart traded licks, with Hart and ended with a series of exhilarat- the spotlight and the accolades.

Page 24 Berman Music Foundation Jazz

Darryl White Sextet features special guests ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

The June 17 appearance of the Hoover Rich by Photo Darryl White Sextet for a performance at Jazz in June had been long antici- pated for the inclusion of some very special guests. Professor of trumpet at the Uni- versity of Nebraska-Lincoln, White brings a considerable reputation to the table with his distinguished Denver- based group of sidemen. But add Kan- sas City sax masters Bobby Watson and Gerald Dunn, and you know you’re in for a treat. White’s long-time associates included Denver pianist (and Nebraska Darryl White Sextet (from left) is Jeff Jenkins, Bobby Watson, Kenny Walker, native) Jeff Jenkins, bassist Kenny Darryl White, Gerald Dunn and Matt Houston. Walker and drummer Matt Houston.

Those who have been listening to trumpet, Watson on alto, Jenkins on Hoover Rich by Photo White’s CDs and performances over piano (who came up with some inge- the last few years are familiar with nious variations) and Dunn on tenor. their talents, but Watson and Dunn Wayne Shorter’s “United” had White changed that equation. back on flugelhorn, Dunn delivering With a respectful nod to his de- another big-toned solo and the three ceased father, White began with a solo horns combining on a climactic coda. trumpet introduction of “The Tree Has Watson was placed directly in the Fallen,” segueing into “A Cord of performance spotlight for a stunning Three Strands.” Watson demonstrated rendition of “Easy Living,” backed his unerring, powerful phrasing in an only by the rhythm section. After tak- alto sax solo utilizing a circular ing the first solo, Watson was visibly breathing technique to create a long, impressed by Jenkins piano solo, re- intense passage. White’s own solo was turning for an alto cadenza that followed by a very progressive key- reached inspired heights of creativity. board excursion by Jenkins. The sextet returned to earth and John McNeil’s composition some very earthy sounds with Eddie “Abercrombie” featured White on Harris’ funky “Cold Duck Time.” Its flugelhorn in a restful, meditative simple riffing structure and good-time Bobby Watson mood. Sensitive to that mood, Watson feel makes it a perennial crowd- followed with a moving alto solo and pleaser. way trades. Jenkins delivered a searching piano White’s composition “Nanpet From his debut CD “Ancient foray. Gerald Dunn’s brawny tenor (The Called of God)” is a platform Memories” came the title track, which solo contrasted nicely with Watson’s for legato phrasing by the ensemble has the timeless sound of a future stan- lighter, lyrical touch. and another notable piano solo. The dard. As is his wont, White ended with The title track from White’s lat- funk returned with the Mingus clas- a powerful performance of “When the est CD, “In the Fullness of Time,” had sic “Nostalgia in Times Square.” Saints Go Marching In.” the ensemble stating the melody, lead- White, on flugelhorn, joined with ing to solo statements by White on Watson and Dunn for a series of three-

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Don Stiernberg delivers mandolin swing ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Backed by a superb jazz trio for Hoover Rich by Photo his June 24 Jazz in June performance in Lincoln, mandolinist extraordinaire Don Stiernberg proved once and for all that his instrument is not just designed for bluegrass music. Of course, that was never in doubt after hearing his CD “About Time,” reviewed in the last issue of Jazz. But the message came across loud and clear in live performance. Never straying too far from the standard jazz repertoire, the Don Stiernberg Quartet was as comfortable with the changes as any conventional Don Stiernberg Quartet bebop combo fronted by a saxophonist or trumpeter. especially for Chicago Cubs fans. Hoover Rich by Photo “Where or When” got things off Stiernberg deftly traded fours with to a flying start at a fleet tempo, with Cox, proving that rapid, single-note sparkling solos by Stiernberg on man- runs on an instrument ordinarily used dolin and Kirk Morrison on guitar. for percussive chording are no prob- The Windy City-based group even lem for someone who knows his way interpolated a quote from “Chicago” around the mandolin this well. in the coda just to remind the audi- Hoagy Carmichael’s “New Or- ence where they are from. leans,” with vocal by Stiernberg, got “It Might as Well Be Spring,” a reading as languid, lazy and luscious taken at a medium tempo with a Latin as the city for which it is named. The tinge, took Stiernberg and Morrison band returned to the Latin tinge for a through the paces, and they displayed very sprightly version of “Brazil,” marvelous dexterity. Bassist Jim Cox complete with mandolin and guitar and drummer Kevin Connelly main- solos and imaginative drum breaks. tained a bedrock rhythm for the Bra- The standards kept coming with a Don Stiernberg zilian ballad “Estate (Summer).” mid-tempo “Let’s Get Lost” and a not without a sense of humor, listing They drove the band on “Take ballad take on “Polka Dots and Moon- some of his favorite foods while sing- Me Out to the Ballgame,” described beams.” ing “I Don’t Want Love,” as though by Stiernberg as a “blues” number, The unlikely “Theme from gorging one’s appetite could distract

Photo by Rich Hoover Rich by Photo Mannix” actually made a perfect ve- the mind from more romantic endeav- hicle for mandolin and guitar impro- ors. On the other hand, “Beautiful visation. Even the hip-hop beat imagi- Love” was interpreted as pure ro- natively applied to the obscure Django mance. Reinhardt tune “Sweet Atmosphere Nearing the end of the well-re- (Doux Ambiance)” failed to do irrepa- ceived performance, Stiernberg turned rable harm, and the band’s version of to Ellington for “Happy Reunion” and Harold Arlen’s “My Shining Hour” “Perdido” before returning to was flawless. Reinhardt’s songbook for the bopper Kirk Morrison and Jim Cox A serious musician, Stiernberg is “Belleville.”

Page 26 Berman Music Foundation Jazz

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OmniTone takes a chance on jazz artistry ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

With its slogan, “All the tones, all the shapes, all the time…,” the Brooklyn, New York-based OmniTone Records takes well-deserved pride in producing advanced and adventurous music, like that exemplified by trumpeter John McNeil, pianist Frank Kimbrough, saxophonist Steve Slagle, trumpeter Ron Horton and guitarist Joe Morris. Such music has suffered from a dearth of American labels willing to provide a forum for its creativity. Since its inception in 1999, OmniTone has been a beacon for such artistry, despite some financial risk in a tough commercial market. Its first release was Kimbrough’s collaboration with vibraphonist Joe Locke called “Saturn’s Child.” The key to OmniTone’s success is Frank Tafuri, who not only serves as executive producer, but also writes liner notes, conducts interviews with the artists and shoots artists’ photos. One of Tafuri’s innovations is the OmniTone First Edition Club. For dues of just $5 (you get a $5 credit toward your first purchase), you get an e-mail newsletter telling you about upcoming releases and giving you a chance to buy them a month or two before official release. For more on the multitude of artists and recordings in the growing OmniTone catalog, visit the label’s website at www.omnitone.com.

is a vibrant, adventurous and totally gether with impeccable taste and tim- captivating glimpse into McNeil’s cre- ing. The saxophonist also contributed ative mind. three tunes, the disjointed, impression- Infectious Spanish rhythms leap istic “Picasso View,” the lovely “Be- out of nearly every track, especially cause of You,” and “Flor de Viento.” the opener “Mi Tio (My Uncle)” and the gentle tango-influenced “A la Orilla.” African polyrhythm is the in- spiration for “My Taxi,” while “Last JOHN McNEIL Minute” is a bebop puzzler with an This Way Out insistent, walking bass line. The re- OmniTone Records petitive 5/4 meter of “Know Your Limits,” stated explicitly by Valle on John McNeil, a trumpet stylist bass, creates an hypnotic feel. McNeil with an edgy, modern approach to the himself describes the brief “West horn, has met with some resistance Coast Memories” as “Chet (Baker) JASON HOLLAR JAZZ from the arbiters of jazz fashion. It is and Gerry (Mulligan) on acid.” QUARTET fashionable to favor improvisers who “What Comes After,” however, Featuring Eric Gunnison, Mark adhere to certain prescribed ways of may be the best of the bunch, with its Raynes & Andrew Vogt composing a tune, playing a line or spooky, funereal tone. Valle bows the Cadillac Jazz constructing a solo. Meanwhile, jazz bass in harmony with Benitez on sax, originals like McNeil follow their own and then McNeil enters with the som- Technically speaking, bassist Ja- muse. ber, but beautiful melody. Smith taste- son Hollar fronts this session, but saxo- For his debut on OmniTone, fully accompanies the piece on cym- phonist Andrew Vogt makes such an McNeil chose to work with two rela- bals and occasional tom-tom punctua- awesome entrance with his debut re- tively unknown Spanish musicians, tions. A masterpiece. cording that his significance in the tenor saxophonist Gorka Benitez and Benitez, in his explorative, keen- project cannot be overstated. bassist Giulia Valle. In conjunction ing sound, is a perfect foil for Vogt, who spent several years im- with a series of quartet dates arranged McNeil’s odd meters, understated pressing Lincoln jazz fans with his early by drummer Joe Smith, they recorded melodies and skillful use of silence, ability as an improviser, plays alto, tenor in Barcelona in June 2002. The result while Valle and Smith hold it all to- and baritone saxophones and clarinet

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in a tour de force display. He also penned four of the 10 tunes. Hollar composed five tunes and arranged the lovely “How Odd of Love,” with a melody written by his mother, Evelyn Hollar, in 1940. Besides Vogt’s formidable playing, it is the quartet’s soulful rapport that sets this recording above so many others. It is playing with a heart and not PHIL DeGREG THE JOHN CARLINI QUARTET just a serious set of chops. That becomes The Green Gate The Game’s Afoot! apparent from the opener, “Beam J Seven Records FGM Records Rocks,” Hollar’s funky variation on Eddie Harris’ “Cold Duck Time.” Pia- Cincinnati-based pianist Phil It’s no accident that the John nist Eric Gunnison and bassist Hollar DeGreg was a pleasant surprise at this Carlini Quartet has the same poten- create a churchy groove with drummer summer’s Jazz in June series, sitting tial to wow an audience that the Don Mark Raynes keeping the infectious in for James Williams in the Greg Stiernberg Quartet exhibited before rhythm while Vogt wails over it. Abate Quartet. This 1998 recording several thousand people at a Jazz in Hollar’s “Blues for Abner” places further strengthens the conviction that June concert this summer. the bassist in a prominent spotlight, but Phil DeGreg is a major player deserv- This good-time jazz has the same Vogt and Gunnison also contribute well- ing wider recognition. lively bounce, the same level of talent developed solos. “Apmonia” is a some- DeGreg is an associate profes- and same sense of humor as the what melancholy Vogt composition sor of jazz studies at the University Stiernberg foursome. Oh, and it also bursting with energetic and imaginative of Cincinnati College Conservatory of has Don Stiernberg on mandolin. In sax statements. Never too far from the Music, and his prodigious knowledge addition to guitarist-leader Carlini and roots, the quartet turns to Hollar’s “Mo’ of jazz piano history serves him well. mandolinist Stiernberg, there are bass- Money Blues” for a swinging workout. His arrangement of Bud Powell’s ist Brian Glassman and drummer “Daeyada” is a clever Vogt tune daunting “Bouncin’ with Bud” puts a Steve Holloway. Expanding the quar- with a bouncy melody stated by the clever twist on the bebop classic. Even tet in a prominent way—and empha- composer on clarinet. It then settles into Irving Berlin’s “How Deep is the sizing its bluegrass leanings—is spe- a bluesy shuffle groove perfect for Ocean” is transformed into a jazz ve- cial guest Pat Cloud on banjo. Vogt’s endless variations. Gunnison also hicle of even more depth with help Sometimes this recording has the delivers an inspired solo on the changes. from tenor saxophonist Tim Ries, who feel of a progressive collaboration More subtle, but still bluesy, is “A Little plays on five of the 11 tracks. between popular mandolinist David Pick Me Up,” Hollar’s mid-tempo Also lending able and sensitive Grisman and eclectic banjo picker romp. support are bassist Drew Gress, who Bela Fleck. Carlini himself describes Switching to baritone sax, com- works extensively with pianist Fred the opener, “Kook Kitsch,” as “blue- poser Vogt returns with “Viola’s Groovy Hersch; and drummer Steve Davis, grass bebop.” With a title inspired by Fruit Stand,” a whimsical tune set to a like DeGreg an instructor at the Jamey a classic exchange between Sherlock raggedy reggae beat. Hollar’s waltz, Aebersold Summer Jazz Workshops. Holmes and Dr. Watson, “The Game’s “Like We Used To,” is the hands-down At least five tunes can be con- Afoot!” has the feel of a chase scene winner for most beautiful ballad on this sidered familiar standards, including through the streets of London in a set. Vogt and Gunnison play it pretty Charlie Chaplin’s ballad “Smile,” black-and-white movie. straight in their solos, never straying too Randy Weston’s “Hi-Fly,” and Johnny The timeless folk dirge “Poor far from the lilting melody. Mandel’s “Close Enough for Love.” Wayfaring Stranger” is a beautiful But Vogt returns with a vengeance But it is the unfamiliar title track tribute to Carlini’s late brother, Peter, on his quirky tune “Heavy Gravy,” with that appeals most to this listener and who also was a musician. In fact, the solid support from the rhythm section. confirms DeGreg as a serious com- entire recording is lovingly dedicated His audacious performance throughout poser. “The Green Gate” has all the to him and serves as a monument to this recording begs the question, “How elements of a jazz classic—a lovely his memory and the music. soon will Andrew Vogt have a record- melody, challenging changes and a It is likely that the Carlini quar- ing as leader of his own group?” It’s forward motion that propels it and the tet will appear at the 2004 Jazz in June only a matter of time. listener to a very satisfying place. series, so plan to attend.

Page 28 Berman Music Foundation Jazz

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DeGreg and Keller like Mantle and Maris ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○

saxophonist Greg Abate. Phil, a master educator and player, can play any song in any key at any tempo on the spot. Try that one at home, jazz fans. His use of space, richness of tone and lovely romantic lyricism caught my attention and touched my heart, not unlike the late Bill Evans, but with a definitive style Phil DeGreg w/ Paul Keller The Willie Martinez Trio of his own that makes him a first-call Two of a Mind I Remember You sessionman. Success in today’s music biz is I’d neither heard nor met bassist Musicians seem to enjoy wear- no sure thing. Talent, of course, is re- Paul Keller before receiving this CD, ing a variety of hats. I, approach- quired but we all know it seems to take but his credentials in the liner notes ing 55, recently laid down some key- a whole lot of luck, good karma and and his astute technique entwining board work on a punk rock project, decent connections to really “break with Phil’s outstanding keyboarding strum lead semi-regularly in a out” and “make it.” revels in a swirl of magical music that rockin’ country swing unit, and just Anyway, since this is a review delights the ears. These cats at times started doing some “lounge” work of a duo let me remind you of some blaze along with thunderous aplomb, as part of a duo. Ya know, I’m ac- twosomes who did “hit it big.” Let’s making you feel there is a drummer tually having the time of my life. see, Abbott and Costello, Burns and present. On ballads, the delicate in- Now, I bet if you asked Willie Allen, Astaire and Rogers, Mantle and terplay between them will hush the Martinez, another man of many Maris and maybe someday…DeGreg room and make you sigh with delight. mindsets, he’d feed you the same and Keller. Phil’s only composition, “82 answer. Willie, one of the craftiest One thing in common among Hundred Brill,” named for the address timbale players in the Latin jazz duos in comedy, dancing, sports or where this all was recorded live, is a world, also holds down the right- music is a shared passion for their gas, and the dozen other well-chosen hand man/musical director spot for gifts, and the ability to communicate standards come from a wide array of Tropique, Norman Hedman’s amaz- between each other, and their audi- composers who would have all dug ing NYC-based band. ences. The minute you hear the first these gentlemen’s clever and elaborate We first met when the Berman few notes of Miles’ “No Blues,” the renditions of their masterpieces. Music Foundation was covering first track on “Two of a Mind,” you Produced ever so well by Stan Tropique at the Wichita Jazz Festi- get the picture. This deep, wondrous Hertzman and David Hall, this CD val around 1997 or so. After the gig, 2003 release on Strugglebaby Records can be ordered through Hal Bernard most members from all the acts in- is a success story just waiting to be Enterprises Inc. at 2612 Erie Ave., volved in the WJF would converge discovered. Cincinnati, OH 45208, or by phone in the hotel’s lobby. They just hap- I first “discovered” Phil DeGreg at (513) 871-1500. pened to have a nifty baby grand pi- when I was a budding student at Like the Lerner & Loewe tune ano sitting there, so we all took turns Jamey Aebersold’s jazz camp near covered on track four, I, too, have playing and singing old ‘50s doo- Chicago around 1996 or ‘97. Phil, a grown accustomed to this extremely wop tunes. Let me tell you, when respected member of that fine faculty, decent recording, and you will, too. Willie opened his mouth to sing an was one of my instructors. We hit it Add “Two of a Mind” to your jazz angel flew out. off, and he’s performed twice for me collection, and you can thank the “What a lovely voice,” I here within the past few years with Bebopman later. thought, and told him so. It was only

Fall 2003 Page 29 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ slightly a secret that he had the vo- Special Assignment next CD, along with Charlie Bur- cal chops to equal his timbale ton, Dave Robel and Brad work… and could swing, bebop or Kreiger, all mutual friends from shuffle with the best of ‘em on traps our past. The Berman Music as well. Foundation is even helping to pro- It only makes sense that nearly duce this upcoming work of art, eight years later, this dreamy, and it will be on our Foundation bouncy, jivey and totally groovy Blues label. Anyway, back to “Sa- new CD, “I Remember You,” comes tan.” out featuring his golden throat and Under Phil Shoemaker’s deft outta-sight drumming. Jim Jacobi & engineering and production work Willie’s got his own thing the Jojakimbi Band in his Shithook Studios, Jim’s cur- goin’, but you can’t help hearing I’m Datin’ Satan! rent exorcism of his brilliant, but shades of Mel Torme, Billy Eckstine During my hey-daze with slightly twisted demeanor is a true and Johnny Hartman channeled Charlie Burton and Rock Therapy, work of art, and the trio kicks to- through his vocalizing. As far as his we were all very aware of our tal butt. Drummer Dave Robel, as drumming ability goes, Mr. competition. Even though our always, makes more of the right Martinez can DRIVE any group to combo was at times labeled as a kind of noise with less of a drum the brink of madness, whether it is member of the “punk generation,” kit than anyone; bassist Craig on Latin claves or straight-ahead we really weren’t. Jim Jacobi’s Kingery is always on the money jazz. Crap Detectors, however, defi- and in his prime; and Jacobi with He’s backed by Tropique’s nitely were! Our bands never ac- his searing axe work just tears me keyboardist, Misha Tsyganov, a tually rivaled each other, and the up. There’s no doubt his nine-year Russian-born musical genius just on main ingredient shared was we stint in Seattle didn’t hurt him a the cutting edge of being recognized both rocked our asses off. bit. With Phil’s keen ear behind eternally for his lush piano prow- Now, nearly 25 years later, I him, I was amazed at what an ac- ess. Bassist Donald “Spider” Nicks still gig occasionally with Charlie complished, gun-slinging guitar rounds out this super trio, locking (with his country swing-tinged player Jim has evolved into. it in the pocket at every turn, thus rock ‘n’ roll group The Dorothy Of course, his pained, tor- providing the perfect rhythm section Lynch Mob) and Mr. Jacobi, too, tured, manic delivery is still in- to showcase Willie’s beautiful voice. still rocks on—and hard. This is tact with megatons of passion, and Also featured is trumpet, most apparent with his newest re- the lyrics—pure fuckin’ Jacobi. flugelhorn and cornet player Steve lease, “I’m Datin’ Satan!” Four- Nuff said. Get it, dig it or hate Gluzband, who shines on my fave teen self-penned, true-life tales of it…”I’m Datin’ Satan” is de track, “Cheek to Cheek,” the love found, love lost, hate found, bomb.

album’s opener, as well as others. hate resolved and delivered with Hoover Rich by Photo Arrangements throughout are Jim’s undeniable stamp of sav- uniquely significant, depending on agery, tongue-in-cheek humor and the varying styles presented within amazing energy for this 52-year- this most enjoyable 39 minutes of old punk rock master who’s vocal soulful and ever-so-swinging jazz. and guitar work simmer and burn Willie’s production work is on the with the best of ‘em. mark as well as the sublime sound I must admit that when I first created by Joseph Salerno at Mimic encountered Jimbo in the old days, Studio in Brooklyn. he scared the hell out of me. Now, You can check out all the ac- both of us are a bit older and Butch Berman, Jim Jacobi and Phil tion at www.williemartinez.com or maybe just a bit mellower, and we Shoemaker relax in the studio during a obtain copies of “I Remember You” have gotten to know and respect recording session for Jacobi’s next by calling (917) 314-3480. each other with a more mature at- release, “Get Out!” The CD will be Spread the word. It’s Willie titude. As a matter of fact, I’m reviewed in the next issue of Jazz. Martinez time! going to play some piano on his

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Trombonist Jimmy Knepper dies at age 75 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○

I first became acquainted with jazz Hoover Rich by Photo Even then, you could see he was trombone legend Jimmy Knepper quite in the early stages of the Parkinson’s by accident. I think you’ll get a kick out disease that later took his life. His slow, of the story. I know Jimmy would have stumbling gate made me wonder if he dug it. could still cut it, but he played his ass In the early days of the BMF in off all weekend. He fell once getting on 1995, with since-departed (not dead, just the Zoo’s high stage, and I caught him split) ex-partner, Susan Berlowitz, who twice as he nearly fell backward just actually started this jazz rag, we brought standing around. Still, however, he and some great players to Lincoln. The Zoo Jaki (who was murdered a few years Bar was an early venue until former later in his NYC home, unsolved to this owner Larry Boehmer and I also parted day) had a ball sharing tales of the old ways. Our first projects to try to indoc- days with me, Susan, and the multitudes trinate ourselves into the art commu- of fans who came over to our house that nity were presenting these mini-jazz weekend to pay homage to these great concerts at anyplace that would have people. I still get a kick out of how us. We also hosted events at the now- Jimmy couldn’t get over the fact that he defunct Huey’s, the 7th Street Loft and and I had both been sent to military Ebenezer’s. schools. Jimmy Knepper at the Zoo Bar in 1995 Susan and I had just returned from The boys and Kendra sounded a trip to NYC where we for the first great, playing three sets over that swing- time caught our old friend Claude “Fid- Well, to make an already long story ing weekend. The videos of their prac- dler” Williams backed by an all-star a bit shorter, just days before the show, tice session at my house, as well as the band for his 85th birthday at the also- Barron pulled out for a better-paying gig, will remain prized possessions in no-more Metropolis. We thought how job. He said we should get used to this my vast collection of jazz artifacts. Lincoln had only heard Claude being kind of situation, but in nearly nine years As soon as everyone went home, I backed by our local cats, and how cool only one other jerk has pulled that song- started a search of as many Knepper it would be to let the folks hear this and-dance on us. Nevertheless, he said albums and CDs that I could find. I amazing musician with a real top-notch he’d found a replacement for us—who wasn’t the least bit surprised to discover group behind him. else but Jimmy Knepper. how everything he recorded was sim- We had recently befriended the So, on my way to the airport I’m ply fantastic. I once proclaimed on my leader of the famed Duke’s Men, trom- thinking to myself, “How cool is this to old KZUM show “Reboppin’” bonist Art Barron, who promised to put have the two remaining living gentle- “Knepper is Jazz, Knepper is Jazz, together a similar bunch of players to men from the Mingus dynasty hanging Knepper is Jazz,” and to this day I still make the trip, and he’d help keep things out at my pad?” Only problem was, I feel he exemplifies the true essence of in order. Taken from the guys we had never had seen a picture of Mr. Knepper, jazz. By the way, he of course used his heard was bass player Earl May (still a whom I was just about to greet. So while old cap for a plunger, and I will cherish dear friend to this day) as well as drum- scanning the people filing off the plane, his memories forever. mer Jackie Williams. We couldn’t ob- looking for an older black dude carry- Jazz scribe Whitney Balliett called tain pianist Junior Mance, but were ing a trombone case, here comes this Jimmy “the first original trombonist in thrilled to get the wonderful Jaki Byard rather disheveled, funky-lookin’ old the modern idiom since J.J. Johnson.” instead. We also had just become ac- white guy wearing a beat up old cap. Amen to that, and may his soul rest in quainted with newcomer, singer Kendra Yup, that’s Jimmy, but looks are usu- peace forever. Shank, who we thought would be the ally deceiving. As soon as we met, I felt I’ll never forget my old pal Jimmer perfect extra to augment this killer an immediate connection with this bril- Knepper. Recommended listening— bunch to back the “Fiddler.” liant, totally lovable man. everything he ever recorded.

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Saxophonist Don Lanphere dies Oct. 10 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○○

I lost a friend today, a friend I Don Lanphere. The next thing I knew, Don was reborn into Christianity. never met face to face, but a true friend Bud picked up his phone, dialed, chat- With his rejuvenation, his musical indeed. Don Lanphere, revered bebop ted for a minute and handed me the genius and opportunities soared. saxophonist, master educator, devoted receiver. Yup, it was Don. That’s how The “old” Don’s past efforts, husband to his beloved Midge, and it all started. making records and gigging with most devout Christian, died Oct. 10. As time went on, Don and I of the great ones—Fats Navarro, Max He was living at the Group talked many times over the phone. It Roach, Woody Herman and Artie Health Eastside Hospital in Redmond, wasn’t long—between his generosity Shaw, to name a few—will stand the Wash., near his home in Kirkland. and my constant record hunting—that test of time. His more recent music, We met on the phone, introduced I acquired most of his beautiful, in- often working with the Origin Records by Seattle jazz record store owner and spired recorded work, which I’ll trea- house band New Stories, is tremen- noted deejay and music historian Bud sure for a lifetime. dous and mostly still in print. Some Young. It was my first trip to Seattle, Don kindly consented to be my of the earlier works on Hep Records on an early BMF biz trip when I wan- guest on my old radio show, “Re- are hard to track down, but worth it. dered into this totally cool old record Boppin’,” on KZUM Community I would have loved to have seen shop in downtown Seattle—Bud’s Radio in Lincoln. It turned out to be Don play in person, and met and hung Jazz Records. I was greeted warmly one of my most rewarding and favor- with this dear, talented man. I feel for- by Bud himself, and we shared our ite interviews. His candid recall of his tunate to have known him as I did. stories about our passion for jazz or life could be made into a movie—so Don is survived by his wife of more great music in general. real, at times tragic, but with a most than 50 years, Midge. Rest in peace, There was some incredible sax happy ending. After years of not only my old friend. You were one of the work coming through his store speak- playing with the likes of Charlie very best in your field and will always ers. I asked who it was, and he said Parker, but living the lifestyle as well, be remembered fondly. Letters to the editor A wedding dance Lincoln and some of us stopped by Doug Carns (Jazz Spring/Summer your house. I enjoy your publication 2002). I have spent some nice Hey Butch, thanks so very much for and, for Santy’s sake, want you and/ evenings listening to “Infant Eyes” including Alaadeen (and me) in your or your associates to know that they and “Blue & Green.” I’m so happy wedding celebration. It was truly buried Santy Runyon today (April to hear that Doug Carns resides in wonderful, and I danced with 8, 2003) in Lafayette — the day of Savannah, being an old Georgia boy Alaadeen for the first time in public his 96th birthday jam, but the party myself. My roommate and I first (16 years). He’s always performing. went on. This site will give you a heard them somewhere around 1972 I like the foundation’s site. We got little info about him (http:// or ‘73. I have been in love with them the card in the mail about it. Peace. www.runyonproducts.com/ ever since. Jean Carns sings on an santy.html). What it doesn’t say is inspirational music group called Jeff Fanny Dunfee what a fine gentleman he was and Majors. I currently reside in Raleigh Overland Park, Kan. loss he will be. but if I’m in Savannah I will definitely try to catch up with Doug Tribute to Santy Runyon Gary Claxton Carns.

Hey Butch, Carns fan appreciates coverage C. Hand Raleigh, N.C. I met you when the Flippers played Thanks for your article on Jean and

Page 32 Berman Music Foundation Jazz

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