Volume 46 • Issue 6 JUNE 2018 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz.

On stage at NJPAC performing Rahsaan Roland Kirk’s “Bright Moments” to close the tribute to Dorthaan Kirk on April 28 are (from left) Steve Turre, Mark Gross, musical director Don Braden, Antoinette Montague and Freddy Cole. Photo by Tony Graves.

Sneaking Into San Diego Bright Moments! Pianist Donald Vega’s long, sometimes “Dorthaan At 80” Celebrating Newark’s “First harrowing journey from war-torn Nicaragua Lady of Jazz” Dorthaan Kirk with a star-filled gala to a spot in Ron Carter’s Quintet. Schaen concert and tribute at the New Jersey Performing Arts Fox’s interview begins on page 14. Center. Story and Tony Graves’s photos on page 24. New JerseyJazzSociety

in this issue: New Jersey Jazz Society Prez Sez ...... 2 Bulletin Board...... 2 NJJS Calendar...... 3 Jazz Trivia ...... 4 Prez Sez Editor’s Pick/Deadlines/NJJS Info. . . . . 6 Change of Address/Support NJJS/ By Cydney Halpin President, NJJS Volunteer/Join NJJS ...... 43 Crow’s Nest ...... 44 t is with great delight that I announce Don commitment to jazz, and for keeping the music New/Renewed Members...... 45 IBraden has joined the NJJS Board of Directors playing. (Information: www.arborsrecords.com) in an advisory capacity. As well as being a jazz stories n The April Social at Shanghai Jazz showcased musician of the highest caliber on saxophone and Dorthaan at 80 ...... cover three generations of musicians, jazz guitar Big Band in the Sky ...... 8 flute, Don is an award-winning recording artist, virtuosi Gene Bertoncini and Roni Ben-Hur and Memories of Bob Dorough...... 12 composer, arranger, and world renowned educa­ bassist Josh Marcum. The trio entertained the Talking Jazz: Donald Vega...... 14 tor and clinician. He has spent over two decades packed house with familiar, yet gorgeously voiced Rhythm & Rhyme ...... 20 running programs at institutions like NJPAC, tunes, and Gene regaled the audience with many Giacomo Gates at Monmouth Library . . . 21 William Paterson University, Montclair State anecdotes and jokes. The trio’s comfortable Dan’s Den...... 22 University, Harvard University, is Music Director rapport made for a sunny afternoon, even if Old Record Collectors Bash...... 23 at the Litchfield Jazz Camp, and the list goes on! Man Winter sang a different tune. Maplewood Gypsy Jazz Camp ...... 26 I have every confidence that Don will bring his Town Hall Django a GoGo...... 28 enthusiasm and professionalism to bear on NJJS Gene and Roni are both very committed to Noteworthy...... 32 passing along their knowledge of jazz to younger Luna Stage Benefit...... 34 as we seek creative ways to expand and present players and shepherding rising talent. To this New Warren Vaché Arbors CD...... 35 the Generations of Jazz program along with the Chick Corea at Detroit Jazzfest . . . . . 35 many other plans and challenges that are ahead. end, Gene and Josh often work together and their Please join me in welcoming Don to the board. genuine affection and professional respect for Reviews one another is heartwarming. I’m blessed to call Caught in the Act...... 36 n There’s a name that comes up over and over these fine musicians my friends and recently Other Views ...... 38 again in the business of jazz and that name is remarked to Josh how awesome it was that their Rachel Domber, co-founder with her late EVENTS musical partnership was helping to extend Gene’s husband Mat of the recording label Arbors NYC Brass Festival...... 41 career (he’s 81). His reply was that Gene was Riverview Jazz Festival...... 41 Records. Ask any of her artists — Bucky helping to influence and enrich his! This is the art ’Round Jersey: Morris, Ocean, Mercer. . 42 Pizzarelli, Nicki Parrott and Adrian Cunningham of jazz at its best. Somewhere There’s Music...... 46 to name a few — about her and they are always The Name Dropper...... 47 quick to respond, “She’s the best.” n It’s with much pride and enthusiasm that I congratulate NJJS’s Vice President of Publicity advertisers Allow me to join in the chorus of accolades and Sanford Josephson on his new co-booking Amani ...... 4 extend to her our deepest gratitude for Arbors partnership with Ricky Riccardi of the Jazz on a Centenary Stage...... 4 Records’ extraordinary­ generosity to NJJS as we Arbors Records ...... 4 Sunday Afternoon series at The Jay & Linda have endeavored to promote and preserve jazz. Shanghai Jazz...... 5 Grunin Arts Center on the campus of Ocean Thank you Rachel for your passion and WBGO ...... 7 County College. There will be six concerts, three Ocean County College ...... 9 William Paterson University...... 11 Metuchen Jazz festival...... 13 Stay tuned to www.njjs.org for updates and details. Morristown Jazz & Blues Festival. . . . . 15 NJJS Bulletin Board Sandy Sasso ...... 16 Ben Cassara ...... 18 Jazzdagen ...... 19 Member Discount Claim your member privilege! Get free admission to NJJS socials, discounts Leonieke Scheuble...... 21 to music events, discounts from partners! Bickford Theatre...... 29 Jazzfest at Sea ...... 31 NJJS Members Discounts Hibiscus Restaurant, Morristown and The Crossroads, Garwood Phyllis Blanford...... 33 offer NJJS members a discount of 10% off their check . The Berrie Center at Ramapo College offers NJJS Swingadelic...... 34 members 5% off event tickets . $5 ticket discount for monthly Salem Roadhouse Cafe jazz nights . CiWeb ...... 36 FREE Jazz Socials…ongoing . Join us for music and mingling . Free for members, $10 non-members 1867 Sanctuary at Ewing...... 40 (applicable to membership) with just a $10 venue minimum . Watch calendar page 3 for upcoming dates Jim Eigo...... 44 Rich Jenkins...... 45 and details . Beyond the schmooze, there are some serious musical prizes raffled off at our socials!! Princeton Record Exchange...... 48

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New JerseyJazzSociety

Musician and educator Don Braden has joined the NJJS as an advisor to the Board of Directors. Photo by Chris Drukker.

n If you haven’t the extra expertise and elbow grease been to the Louis necessary for success. Armstrong House June brings with it the promise of Museum in Corona, summer and the advent of the Queens, New York, outdoor music festival season. Be sure you must put a visit to check the newly designed NJJS on your summer website www.njjs.org often to not booked by Ricky and three booked by calendar! Dave Dilzell, miss any of the summer performance Sandy. Check www.grunincenter.org for one of our newest board members, is one of offerings that await. Pack a picnic the lineup of fan favorites. their many knowledgeable docents and the and hit the road and let jazz be your tours bring the life and legacy of Satchmo n compass! JJ April hosted the Third Annual New York vividly to life. Hot Jazz Camp co-directed by Molly Ryan and Bria Skonberg. As hospitality coordi­ As their website says, “History Lives!” nator, I can say that a fine time was had LAHM offers special programs throughout by all! This year, NYHJC partnered with the year so join their mailing list at Patrick Soluri’s Prohibition Productions www.louisarmstronghouse.org and be and the intensive week of clinics, jams, “in the know.” I simply adore this place private lessons and lectures culminated and I assure you, you’ve never seen a blue Like this issue with the Gotham Jazz Festival held at the kitchen quite like the Armstrong’s.

tony Players Club, a private, 19th century n As NJJS works toward exciting future of Jersey Jazz? social club on Gramercy Park. Students, growth and development, I want to Have it delivered the all-star faculty and alumni performed acknowledge the incredible efforts of our right to your mailbox as part of the 12 hour music festival volunteer board members for working 11 times a year . whose complete multi-venue lineup was through the challenges of growing pains the best of New York’s hot jazz, swing and with continued dedication, professionalism Simply join NJJS to get blues bands. There’s nothing like hot jazz and grace. your subscription . in a cool place. Change requires vision and commitment See page 51 for details Dates have not been set for next year’s camp and I’m especially grateful to Stephen, Pete, or visit www .njjs .org . but check nyhotjazzcamp.com and put next James, Dave, Ted, Peter and Jay who have year’s festivities on your calendar. been willing to stay the course and provide Stay tuned to www.njjs.org for updates and details.

June 24 August 18 September 16 September 23 NJJS JAZZ SOCIAL MORRISTOWN JAZZ & BLUES FESTIVAL PRINCETON JAZZFEAST NJJS JAZZ SOCIAL Bob de Benedette Trio Rhythm in Blue, Bria Skonberg, In its 26th year, JazzFeast is an open air Artist TBA with Gary Mazzaroppi, Labamba & the Hubcaps, festival that swings with the joy of great FREE for NJJS members, bass, Rick Visone, drums The Bernard Allison Group, Davy Knowles music with great food too! Artists TBA $10 public, $10 minimum FREE for NJJS members, FREE | NOON – 10 pm FREE | NOON – 6 pm Shanghai Jazz | Madison $10 public, $10 minimum On The Green in Morristown Palmer Square, Princeton 2 sets, doors open at 3 pm Shanghai Jazz | Madison www .morristownjazzandblues .com www palmersquare. .com www njjs. org. 2 sets, doors open at 3 pm www .njjs .org NJJS Calendar

Funding for the NJJS Jazz Socials program has been made possible in part by Morris Arts through the N.J. State Council on the Arts/Department of State, a partner agency of the National Endowment for the Arts.

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Jazz Trivia By O. Howie Ponder (answers on page 35)

Here Come The Brides

It’s June and wedding bells are ringing. For some jazz greats, walks down the aisle took place more than once or twice, sometimes to equally famous brides or grooms. Can you recall who these hall-of-famers wed? Extra credit: How many other spouses?

1. Artie Shaw 2. Louis Armstrong 3. Harry James 4. Ella Fitzgerald 5. Louis Prima 6. Hugh Masekela

Howie also welcomes suggestions for future questions — or comments from readers. Contact him at [email protected].

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

No Cover (except special events) June Highlights fri 6/1: Brynn Stanley sat 6/2: Karl Latham’s Living Standards sun 6/3: Leoneike Schuble tue 6/5, 12 19 & 27: John Korba wed 6/6: Harry Allen thu 6/7: Kyle Elgarten Quintet fri 6/8: Jerry Vezza Quartet sat 6/9: Eric Olsen sun 6/10: Ben Cassara wed 6/13: Peter & Will Anderson thu 6/14: Thaddeus Expose and Oscar Perez fri 6/15: Jerry Vivino wed 6/20: Nicki Parrott sat 6/23: Max Weinberg’s Jazz Quintet wed 6/27: Ed Laub and Bill O’Connell fri 6/29: Eric Mintel Quartet sat 6/30: Nat Adderly Jr. Trio

Book your special parties at Shanghai Jazz./Call for information. Tuesday: 6:30 pm – 8:30 pm | Wednesday and Thursday: 7:00 pm – 9:30 pm Friday and Saturday two seatings: 6:30 and 8:30 pm | Sunday: 6:00 pm – 9:00 pm for latest schedules and updates,please visit www.shanghaijazz.com Please note: We take reservations by telephone only 973 .822 2899. and not by e-mail .

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The Editor’s Pick The Journal By Tony Mottola of the New Jersey Jazz Society Jersey Jazz Editor Volume 46 • Issue 6 USPS® PE6668 Jersey Jazz (ISSN 07405928) is published monthly eleven times a year, with a combined July/August issue, for members of The New Jersey Jazz Society, 382 Springfield Ave ., Suite 217, Summit NJ 07901 . Membership fee is $45/year . Periodical postage Ricky Riccardi paid at West Caldwell, NJ . Postmaster please send address changes to 382 Springfield Ave . Suite 217, Summit NJ 07901 . Talkin’ All Things Pops in All material in Jersey Jazz, except where another copyright holder is explicitly acknowledged, is copyright ©New Jersey Jazz Society 2018 . Manasquan on June 20 All rights reserved . Use of this material is strictly prohibited without the written consent of the NJJS . icky Riccardi is Archivist for the Louis Armstrong House Tony Mottola Editor Museum in Queens, New York and a self-confessed 38 Beaumont Place. , Newark, NJ 07104 R email: editor@njjs .org “Louis Armstrong Freak .” The New Jersey native earned a Linda Lobdell Art Director/Co-Editor Master’s in Jazz History and Research from Rutgers 352 Highland Ave ., Newark, NJ 07104 201-306-2769 | email: art@njjs .org University and has delivered lectures on Armstrong at the Fradley Garner International Editor Rutgers Institute of Jazz Studies, the Satchmo Summerfest email: fradleygarner@gmail .com in New Orleans, the Monterey Jazz Festival and for an NJJS Mitchell Seidel Contributing Photo Editor email: photo@njjs .org Jazz Social . He is the author of the critically acclaimed What Contributing Editors Ricky Riccardi holds an original tape box of a Wonderful World: The Magic of Louis Armstrong’s Later Dan Morgenstern, Bill Crow, Schaen Fox, Years (Pantheon Books, New York, 2011) . Ella Fitzgerald and Louis Armstrong duets at Jim Gerard, Sandy Ingham, Sanford Josephson, Universal Music Group’s New York studio. Gloria Krolak, Joe Lang Ricky runs the blog, The Wonderful World of Louis Photo by Seth Foster. Contributing Photographers Armstrong, has taught a “Music of Louis Armstrong” Vicki Fox, Tony Graves, Fran Kaufman, Lynn Redmile graduate course at Queens College, a Swing University course on Armstrong at JALC and has co-produced Fred McIntosh Entertainment Contributor Armstrong releases for Mosaic Records and Universal Music Group . His Mosaic release, Columbia and RCA 201-784-2182 | email: derfie_07675@yahoo .com Victor Live Recordings of Louis Armstrong and the All Stars, 1947-1958, is currently out of print but he hopes John Maimone Entertainment Contributor Emeritus to do another set with Mosaic soon . And for Universal he just completed co-producing two separate 4-CD New Jersey Jazz Society Officers 2018 sets, Ella Fitzgerald and Louis Armstrong Cheek To Cheek: The Complete Duets and Pops Is Tops: The Verve Cydney Halpin President 973-229-0543 | email: pres@njjs .org Studio Albums, both just released in April . Jay Dougherty Executive Vice President 973-738-9809 | email: vicepresident@njjs .org On June 20 at the Algonquin Arts Theatre in Manasquan, NJ Ricky will be playing rare audio clips and film Mike Katz Treasurer footage to demonstrate Armstrong’s monumental impact on jazz and popular music . He’ll start in New 908-273-7827 | email: treasurer@njjs .org Orleans, take it through the Hot Fives and Louis’s tremendously popular big band years and will end with Pete Grice Vice President, Membership 973-610-1308 | email: membership@njjs .org his sometimes taken-for-granted later period, which saw his greatest level of success as America’s Sanford Josephson Vice President, Publicity Ambassador of Goodwill . If you’re a “Louis Armstrong Freak” too this is a unique opportunity for a peek 848-227-5608 | email: sanford .josephson@gmail .com at the Professor of Pops’ personal favorite performances of the 20th Century’s greatest entertainer . JJ Carrie Jackson Vice President, Music Programming 973-372-5409 | music@njjs .org Life and Legacy of Louis Armstrong | June 20 at 1 pm, $15 Irene Miller Recording Secretary 973-713-7496 Algonquin Arts Theatre | 60 Abe Voorhees Drive, Manasquan, NJ Jack Stine President Emeritus Tickets: 732-528-9211 | boxoffice@algonquinarts .org 908-658-3515 Mike Katz Immediate Past President 908-273-7827 CORRECTION: In last month’s story on Rhoda Scott’s April 7 performance at Bethany Baptist Church in Directors Newark we misidentified the drummer as Earl Guise . He is Earl Grice . Danny Bacher, Ted Clark, David Dilzell, Cynthia Feketie, Stephen Fuller, Rich Jenkins, Peter Lin, Caryl Anne McBride, Robert McGee, Jersey Jazz welcomes your comments on any article or editorial. Send email to James Pansulla, Al Parmet, Stew Schiffer, Comments? [email protected] or mail to the Editor (see masthead this page for address). Mitchell Seidel, Marcia Steinberg, Elliott Tyson,­ Jackie Wetcher, Linda Lobdell (Ex-officio), Include your name and geographical location. Tony Mottola (Ex-officio) Advisors Advertising Rates Quarter page: $50; Half page $75; Full page $110 . Biz card size $25 . $10 discount on repeat full-page ads . To place an ad, send payment at www PayPal. .com using code: payment@njjs .org, Don Braden, Bob Porter, Al Kuehn Marketing/Public Relations Consultant: Don Jay Smith or mail check payable to NJJS to NJ Jazz Society, c/o Michael A . Katz, 382 Springfield Ave ., Suite 217, Summit, NJ 07901; please indicate size and issue . Contact art@njjs .org or 201-306-2769 for tech information and to submit ads . Website: www.njjs.org NJJS Deadlines Submit press releases and event notices five weeks prior to issue date . Advertising space General email: [email protected] reservations are due five weeks prior to issue date . Final advertising art is due four weeks prior to issue date . To join the NJJS and begin receiving this magazine, go to “JOIN NJJS” (see table of contents) or EARLY SUBMISSIONS ARE GREATLY APPRECIATED . visit www .njjs .org for complete information .

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Big Band in the Sky By Sanford Josephson n Bob Dorough, 94, love with music when pianist/vocalist/ he played clarinet in his composer, December high school band in 12, 1923, Cherry Hill, Plainview, Texas. AK – April 23, 2018, “There was something Mount Bethel, PA. about the ensemble,” he “Not to unduly shame said, “a lot of kids the American education playing different horns, system,” began a 2016 and it all fit like a glove People magazine article, when it was good. I said “but chances are Bob to my parents, ‘I’m Dorough has had more going to be a of an impact on gram­ musician’.” mar fluency than any After serving in the other individual in the Army and receiving a 20th century.” music degree from In the early 1970s, North Texas State Dorough was struggling Teachers College (now to make a living as a the University of North jazz pianist and singer Texas) in 1949, when he was contacted Dorough moved to New Singer Bob Dorough, right, rehearses for a 1980 Kool-New York Jazz Festival concert called “The by David McCall, Year of the Bird” with saxophonist Lee Konitz, pianist John Lewis and bassist Gene Taylor at York City to see if he president of the Carroll’s Studio in Manhattan. June 26, 1980. Photo by Mitchell Seidel. could make it as a jazz McCaffrey & McCall musician. In an advertising agency. McCall was concerned that his children couldn’t interview with Dorough published in the April 2018 issue of Jersey learn their multiplication tables but knew all the words to songs by Jazz, Schaen Fox asked what it was like to try to fit into the New the Rolling Stones. An his associates suggested he reach out to York jazz community in those days. Dorough responded that, Dorough, whose initial assignment was to compose a song about the “there were hundreds of young players from all over the country number 3. In a 1997 interview with the Los Angeles Times, Dorough who had been attracted to New York City and the bebop scene… recalled that, We’d get together; I mean the younger, unknown people, and jam, “I just kept searching for an idea that would be far beyond the trying to play the repertoire we knew the masters were playing. We multiplication table and got the idea that three is the magical would congregate at the union hall, hoping to get a job, but mostly number…I just got to thinking: Every triangle has three sides, the to socialize. I met a lot of people that way.” Trinity, man and woman had a little baby, and it all fell together.” In the early ’50s, Dorough was the music director for boxer-turned The initial demo recording was Three Is a Magic Number with a tap dancer Sugar Ray Robinson. In 1955, Robinson’s musical revue vocal performed by trumpeter/vocalist Jack Sheldon. That led to closed in Paris, but the Mars Club there offered Dorough a job Dorough being named music director for Schoolhouse Rock!, singing and playing the piano, and he remained in Paris for six a three-minute vignette aired by ABC Television as part of its more months. Saturday morning cartoons. Dorough wrote 11 songs about When he returned to New York in1956, he recorded his first album, multiplication tables, skipping 1 and 10 but including “My Hero Devil May Care, on the Bethlehem label, then moved to the West Zero.” After mathematics came songs about history, civics, and Coast. While playing in a Hollywood piano bar, he met Miles Davis, parts of speech. The most famous speech song was “Conjunction and Davis asked him to write a Christmas song. The result was Junction.” The series continued through 1985 and then was revived “Blue Xmas (To Whom It May Concern)”. in the ’90s. Dorough returned to New York in 1960. He and his family moved Because of his connections in the music business, Dorough was able to Delaware Water Gap, PA, in 1966 and, through the years, he to recruit well-known musicians to get involved with some of the performed regularly at the local jazz club, the Deer Head Inn. Jazz songs. Vocalist Blossom Dearie sang “Figure Eight” and “Unpack Times’ Christopher Loudon reviewed his performance on December Your Adjectives,” and pianist/vocalist/composer David Frishberg 12, 2015, which happened to be Dorough’s 92nd birthday. wrote “I’m Just a Bill” about the legislative process. “Dorough’s rank among the sharpest songwriters of his (or any) Last year, Dorough told The Arkansas Democrat-Gazette he fell in generation,” Loudon wrote, “is beyond question, as is his prowess as continued on page 10

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June 2018 ______9 JerseyStoriesJazz big band in the sky House as well as Chicago cabarets such as Toulouse and Yvette’s. Her last public performance was in April 2017, an Orchestra Hall continued from page 8 tribute to Peterson that also included Chick Corea, Michel Legrand a pianist. As a singer, he is utterly unique, a peerless blend of grit and Ramsey Lewis. and charm…And Dorough is superb at shaping set lists, as Chicago-based vocalist Paul Marinaro, in a Facebook post, recalled evidenced here with a marvelous intermingling of Richard Rodgers, Morris’ story of meeting and performing with Billie Holiday. “It was Bacharach and David, Ray Noble, Jack Teagarden, and originals the mid-1950s,” he said, “and Audrey was singing and playing at a familiar (“Devil May Care”), new (the beautifully contemplative Chicago nightclub, and Billie came in, squeezed in on the piano “Summer Solstice”), witty (“Wily Wily Woman”), and sly (“It’s bench and asked Audrey to play for her. Audrey knew most of Bound to End in Tears,” co-written with the equally crafty Fran Billie’s songs and nervously complied. I’m pretty sure she told me Landesman).” they did ‘Fine and Mellow’ and ‘God Bless the Child’.” Chicago Facebook posts about Dorough proliferated after his death. vocalist-songwriter Laury Shelley, also in a Facebook post, described Drummer/bandleader Sherrie Maricle, a fellow Delaware Water Gap Morris as “an unforgettable multi-talented singer, pianist, and resident, referred to him as “a genuine Musical Treasure and personality.” Amazing Human, who was loved and revered by EVERYONE.” She is survived by her brothers, John and Bill Morris; and a son, Vocalist Roseanna Vitro wrote: “We lost a master musician, poet of Stuart Genovese. the highest order, emphatic lyric interpreter.”­ And, from jazz historian Chip Deffaa: “What a marvelously talented man he was, n Nathan Davis, 81, tenor/soprano saxophonist, flutist, clarinetist, and what a warm upbeat human being. He was so comfortable with February 15, 1937, Kansas City, KN – April 9, 2018, Palm Beach, himself and such a completely free spirit, it felt liberating just to be FL. Early in his career, Davis played with jazz legends such as around him. I’d go to hear him in little clubs, just savoring these drummers Kenny Clarke and Art Blakey, trumpeters Donald Byrd quirky, offbeat original tunes of his.” and Woody Shaw, and multi-instrumentalist Eric Dolphy. But, in the city of Pittsburgh, where Davis is a legend, he is revered for his Dorough is survived by his wife, Sally Shanley Dorough; a brother, work as a jazz educator. In 1969, he created a jazz studies program Gregory; a daughter, Aralee Dorough; and a grandson. at the University of Pittsburgh; at the time it was only the third such n Audrey Morris, 89, pianist-vocalist, November 12, 1928, Chicago program in the United States. — April 1, 2018, Chicago. In the 1950s, Morris alternated with After receiving his BA in music education at the University of Oscar Peterson at Chicago’s London House. The thought of playing Kansas, Davis served in the U.S. Army, spending two and a half opposite Peterson, Morris told the Chicago Tribune in 1991, “was years in Berlin, West Germany, as a member of the Army band. horrifying. But it turns out he was a very gentle man and quite When he was discharged in 1962, he moved to Paris and joined a encouraging to me, so we got to be good friends. Often, he’d stay band led by Clarke, staying with him for seven years. He also played over at the house with Stu (her husband, a reed player) and me, and with Dolphy’s band in 1964 and toured Europe with Art Blakey and we’d cover tons of repertoire.” the Jazz Messengers. He recorded his first album as a leader, Happy In a 1990 interview, Peterson told the Tribune that Morris “was a Girl, on the German SABA label in 1965. big influence on me. Tune-wise, she’s a walking encyclopedia …I After returning to the United States in 1969, he founded the jazz used to spend many evenings with her and her husband Stu, playing program at the University of Pittsburgh where he remained until his old records and rehashing tunes. She’d say to me, ‘You know, O.P., retirement in 2013. He recorded several albums while working as an I think you’ve got the bridge to that tune wrong,’ and, sure enough, educator, and, in the late ’80s, played with the Paris Reunion Band she’d be right.”Peterson and George Shearing, who also played at that also included Shaw, pianist Kenny Drew, and tenor saxo­ the London House, admired Morris, according to the Tribune’s phonists Johnny Griffin and Joe Henderson. In the ’90s, he led a Howard Reich (April 1, 2018), because of “the extraordinary band called Roots, which featured alto saxophonist Arthur Blythe subtlety of her vocals, sophistication­ of her pianism, and worldly and multi-reedists Chico Freeman and Sam Rivers. wise manner of her delivery…” Jazz Times’ Michael J. West, writing the day after Davis’ death, Morris studied classical piano at Chicago’s American Conservatory described his playing as “a haunting legato sound on tenor, with of Music. But she was drawn to the city’s jazz and cabaret scene. deceptively careful dynamics that could range from blasting sheets “When I got into this business (in the 1940s),” she said in the of sound to a soft balladeering voice.” Tribune interview, “there were performers like me in any direction In 2013, Davis received the BNY Mellon Jazz Living Legacy Award, you turned your head. I started out in an era when there were two presented by the Mid Atlantic Arts Foundation to honor jazz or three great new tunes coming out every week, when Randolph masters from the Mid Atlantic region who have achieved distinction Street, Rush Street, and other great boulevards overflowed with in jazz performance­ and education. music. What a time.” He is survived by his wife of 55 years, Ursula Broschke-Davis; a In the late 1960s, Morris retired from the music business to raise her daughter, Joyce Davis; and a son, Pierre Marc Davis. JJ family but re-emerged in the early 1980s, playing at the Palmer

Sanford Josephson is the author of Jazz Notes: Interviews Across the Generations and Jeru’s Journey: The Life and Music of Gerry Mulligan. He’s written about jazz musicians in a variety of publications.

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MEMORIES OF BOB DOROUGH His voice and By Joe Lang musicianship were

n April 23 the world lost a gentleman brunch. It was a familiar to millions the vibrant Oand a genius, the pianist/singer/song­ popular destination Poconos area writer and special person Bob Dorough at for those who wanted of children who jazz scene. He the age of 94. a hip way to spend were unaware of appeared part of a weekend. regularly at the I had been aware of Bob for many years The crowd was always Deer Head Inn, before I met him at a New Jersey Jazz Society his name, but who an eclectic mix. Several supported the JazzFest at Fairleigh Dickinson University. fans who had grown learned about math, well-regarded I believe that it was in 1999, and Bob was the up with Schoolhouse jazz programs pianist on a band called Hoagy’s Children led Rock, and regarded grammar and civics at East by cornetist Dick Sudhalter. Bob also shared Dorough as a musical Stroudsburg the vocals with the wonderful Barbara Lea. from the songs that hero, were usually on University, and I was the Chair of the Music Committee of hand. Many sang was an active NJJS and had engaged the band to help he wrote. Whenever along when he participant in celebrate the Hoagy Carmichael Centennial. performed one of the he appeared, he the Delaware We hit it off immediately,­ Bob making me songs from the Water Gap feel that we had been friends for years. would have to include television show. Celebration of Over the next almost 20 years, I got to see the Arts Among those who songs like “Three Is Bob often, sometimes as a performer, and (COTA), frequently attended other times as a fellow patron at the sponsors of a these gigs were the a Magic Number” or legendary Deer Head Inn in Delaware Water popular annual Langs, often including Gap, Pennsylvania or at some other venue “Conjunction Junction’ music and arts our sons, Wes and where he turned up to support and enjoy festival, an Keith, and on most on his program. another performer. event where occasions joined by Bob was usually a part of the entertainment. He appeared again at least once at JazzFest, several friends. It was like a large family my memory is not perfect. [June, 2007 at reunion each week with a feel-good party On Sunday, April 27, there was a gathering Drew University — Editor] I do remember atmosphere. For those who would like to of Bob’s friends and family at Ridgecrest at sitting with him and his beloved wife Sally at relive those days or, if you never made the The Stroudsmoor Inn in Stroudsburg, PA. the Deer Head listening to Stephanie scene and would like a taste of what it was There was a generous flow of hors d’oeuvres Nakasian and Hod O’Brien. When the check like, I suggest that you obtain a copy of and liquid refreshment. A jazz trio led by came, he grabbed it and said it was a thank Sunday at the Iridium (Arbors – 19305), Bob’s long-time friend and sometimes you for making him a part of our festival. still available at their website. bandmate, drummer Bill Goodwin, provided I was not expecting this, and was touched by There were also evenings when Bob was the the music. Eventually, Goodwin requested his gesture. featured artist at Shanghai Jazz in Madison. that anyone who had some words to say As the tributes poured in when he passed, If you did not know Bob personally before about Bob take the mic and share them with I came to realize how much of an impact he attending one of these gigs, there was a good those present. The effusive flow of affection had on the lives of so many people. Perhaps chance that at some point during the evening for Bob was evident in everyone’s comments. his biggest influence was through the work you would meet him, and, as I did when I There were stories about his generosity, that he did creating many of the songs for first met him, feel that he was a friend of humility, good nature, sense of humor, Schoolhouse Rock. His voice and musicianship more than just the moment. friendship, talent and a raft of other positive were familiar to millions of children who attributes with which he was blessed. On a more personal level, he was revered by were unaware of his name, but who learned many jazz musicians who had enjoyed What was most evident was that there was a about math, grammar and civics from the encouragement and advice from him as they spirit of joy surrounding the gathering, the songs that he wrote. Whenever he appeared, embarked on a career in jazz. His home base joy of having known Bob, and knowing that he would have to include songs like “Three Is for the last 50 plus years of his life was in despite the loss of his physical presence that a Magic Number” or “Conjunction Junction’ Mount Bethel, a quaint little town in the the positive vibes that surrounded him in life on his program. Pocono Mountains of Pennsylvania. It was would continue to be present for those who

In the early 2000s Bob started a residency at there that this aspect of his influence was were still around to remember the blessing of having had him as a part of their lives. JJ the Iridium in New York City for Sunday most noted. Bob was a steady presence on

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Talking Jazz A Jersey Jazz Interview with Donald Vega By Schaen Fox hen I first heard the very Wtalented Donald Vega, I quickly decided I wanted to inter­­view him, and he was agree­ able. That, however, was the only quick part of the process. As befits a young father and an artist of his stature he’s very busy both at home and on the road. We began in July, 2017 and finished just before Christmas. He has, how­ ever, a compelling story of both his journey to this country and his artistic evolution, replete with el­ements of war, danger, personal struggle and encounters with some legendary jazz artists. Photo by Beti Niemeyer

JJ: Is there anything special you wish to were stupid questions . Years later Coltrane and Mr . just happened that he was available to do all of my talk about? Golson talked about it . Coltrane asked, “Did you recordings, because he is so busy . What an ever try the things that Mr . Parker was using?” Mr . incredible musician, one of my favorites . DV: My wife is out of town, so I’m having fun Golson said, “I tried all of that, but I didn’t sound I can understand why you entitled your with the kids . [Laughs] My little girl is three and my like him ”. [Laughs] JJ: boy is five . They keep me busy . It is definitely excit­ second CD Spiritual Nature and your third ing when I come home at 2:30 in the morning, but He is such a gentleman, he surprised me when he With Respect to Monty, but why did you call they get up at 6:00, and want to play . [Laughs] I try gave me his autobiography, Whisper Not, and wrote your first Tomorrows? to spend as much time with them as I can . something for me in it . The way he wrote it, you were transported to a different time . The way he DV: Yeah…at that time, I had a lot going on . I just finished a week’s run at the Blue Note with talks is great . Coming from Los Angeles to New York, had a big Ron Carter’s quintet that featured Benny Golson impact: a lot of people, I was not used to the cold and Wallace Roney . It was so great working with JJ: You have three recordings, Tomorrows, weather, and I was going to school and teaching at them . I was able to hang out with Mr . Golson . He Spiritual Nature, and With Respect to Monty. the pre-college level of the Manhattan School of does have amazing and hilarious story after story I see that Lewis Nash is the only person to Music . That was normal, but what really got bad after story . He said that he and Coltrane went to accompany you on all three recordings. was I lost a brother . He was 21 years old, and at see Charlie Parker . They played for him, and Mr . the wrong place at the wrong time and was killed DV: [Laughs] My man . He was a hero, but now is Parker said, “Oh man I’m looking forward to hearing in Los Angeles . a close friend . At that time, I was working with Al great things from you . Keep practicing .” Mr . Golson McKibben, and he sat in to play with Al . I had the I was experiencing one negative thing after asked him things like, “What kind of reed and nerve to say . “I hope one day I get a chance to another, and I just wanted to give up . Sometimes I mouthpiece do you use?” He was a youngster . He record with you .” He was like, “Alright, I’ll do it ”. It didn’t even want to get up from my bed, the pain didn’t ask anything else . Later he realized they continued on page 16 Schaen Fox is a longtime jazz fan. Now retired, he devotes much of his time to the music and shares his encounters with musicians in this column. 14J���������������������������������� June 2018

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TALKING JAZZ/donald vega JJ: Do you have any other musicians in your family? continued from page 14 DV: I have six brothers and six sisters . Two brothers on my mother’s side play instruments, but they have not dedicated themselves to music the way I was so much . You think that it is going to stay, but intellectually you think, have . One lives in Los Angeles and one married a Swedish girl and now lives in “It will pass . It has happened to people, and they moved on .” I was in school, Sweden, with his wife and daughter . and my teachers were like, “Why don’t you take a break?” I did not want a break . I had to stay occupied . Thank God for music, because I was able to JJ: What attracted you to jazz? I assume it isn’t played much in express myself . Nicaragua. I wrote a lot of very dark music . I wrote the song “Tomorrows” in a minor key, DV: Not much, but I heard a recording by Mongo Santamaria with Chick but I put a positive thing on it . It was my first time writing lyrics as well . Those Corea on the piano . I was hearing Latin music, but what the piano player was lyrics basically say, “no matter what, there are tomorrows; don’t give up there doing was amazing . That attracted me . will be another chance in life . Try to not be confused within you . You can still get up and reach the sky . I will live to fight another day, and not give up ”. I was JJ: Did you ever tell Chick that story. using the music to help me go through it and transforming it into a positive DV: No . I met him in California, but I don’t remember being brave enough to thing . My mother was very instrumental in teaching me how to have a positive actually talk to him . At that time my English wasn’t good . outlook . That is why I entitled it not “Tomorrow,” but “Tomorrows ”. When I was going to Julliard, I was able to get the therapy to deal with the death of my JJ: I read that you immigrated to the United States due to the war brother . in Nicaragua. How did you travel, and did you come alone? JJ: How did you hook up with Resonance Records, the label for DV: I was 14 years old . If you were 15 years old or older you were obligated your two other CD’s? to get trained and fight . Guys from the government would stop a bus, come on and say, “All the men and boys 15 and older all get out ”. They would take DV: The president of Resonance Records, George Klabin would come to New them . Their families would never see them again . I remember in my neighbor­ York to find new talent . He came to hear Lewis Nash at the Kitano, and Lewis hood there would be a lot of funerals . Some mothers couldn’t even grieve had asked me to play with him . George heard me there . He said, “I want you to properly because they couldn’t bring the body . They would bring the shoes or be part of my record label .” I had a good time making those CDs . helmet . It was a terrible thing .

JJ: Does your family have deep My mother came to the United States roots in Masaya, Nicaragua or before things got worse . Nicaragua was were you born there due to the poor and things were getting worse . war? There were lines to get milk and bread; sandy sasso people fighting for stuff like that . My DV: My parents have deep roots mother was a teacher and saw what there . They were both born and raised June Is Bustin’ Out! was going on . She didn’t want to be a in Masaya, and Masaya is really JUNE 27 part of that . She left, and called for me . interesting . It is known for the music Sandy’s Swingin’ Big Band I came with my godmother . We took a and handcrafts . Rariton Bay Waterfront Park plane from Nicaragua to Mexico . A lot JJ: I see that both your We’re honored to be opeing the of things went wrong, for example the season at this beautiful venue, plane caught fire . It wasn’t that bad, grandfather and uncle were outstanding view! musicians. 201 John T. O’Leary Bulevard but they had to go back . We finally got South Amboy, 6:30 – 8:30 out and arrived in Mexico . DV: My mother was a musician too, Rain location in high school just prior to park but not full time . She played five The coyote, a person who would guide instruments, but she also had a Looking Ahead you across the border, got another Spanish literature degree . My JULY 8 person to guide us to cross near San grandfather started me . I started by Sandy’s Swingin’ Big Band Diego . It was at night, and there were a ear . I used to go to a conservatory in Spring Lake Park Gazebo bunch of people . We just ran and ran South Plainfield, 6:00 – 7:30 Nicaragua in the capital; I don’t think it and ran . If you were caught, you were sent back, obviously, but they couldn’t is there anymore . My uncle also Please check my mentored me in music . My grandfather website for catch us all . I was just 14 . I didn’t know additional gigs, what was going on . I just remember I played just about all the instruments, they often but his main thing was playing piano come in after had to run . Some made it, some didn’t . and violin . He was also a composer . print deadline. We made it to Los Angeles and that is My uncle did everything too, but his Thank you for where I met my mother . your support! main thing was piano and violin . JJ: How long had you been JJ: Do you also play violin? separated from each other? Visit www.sandysasso.com for more info DV: No, I tried . [Laughs] DV: Three or four years . My mother

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did not tell me that she was leaving because they translator telling me, back to Los Angeles didn’t want me to tell anybody that she was there, “You won, and you are The coyote, a person where I know a lot otherwise I would have not gotten a visa to go . getting a piano and of people .” Then the That was hard . $5,000 .” who would guide you gig came with Ron Carter, and I’ve been I also read that you were so poor, but so You then across the border, got JJ: JJ: here ever since . I dedicated to music that you practiced on a studied at the another person to guide didn’t plan on cardboard piano. Where did you get a Manhattan School staying, but I’m glad cardboard piano? of Music. Was that us to cross near San I stayed . your first time in DV: In Nicaragua I went to a conservatory and New York? Diego. It was at night, JJ: How and they had pianos and I had my training there . My when did your uncle and my grandfather owned pianos, but DV: Yes . and there were a bunch long associa­tion coming to Los Angeles, my mother was an with Ron Carter immigrant, she didn’t have anything . Because of JJ: Did you have of people. We just ran begin? the training, I would play on the walls, moving my friends in New fingers imagining I was playing . I would always be York to help you and ran and ran. If you DV: My main gig moving my fingers . I would draw keys on a carton, settle in? with him is the trio, and practice on it . That is where that comes from . DV:: I did . I had two were caught, you were but he has me playing with his big In fact, in Crenshaw High School, one teacher, Iris friends, but the main sent back, obviously, but band and with his Stevenson, saw me doing that, and she thought, thing was the weather . nonet of four cellos, “I’ve got to see if he plays music .” At that time, I In California the they couldn’t catch us bass, and he plays still didn’t know English . She put me on the piano, weather stays really the piccolo bass, heard me play, and got me into the Spotlight nice . Here you’ve got all. I was just 14. I didn’t plus rhythm section . Awards competition . I won that competition to have gear because And he has the because of her . She is still teaching . I’ve got to call snow can get serious . know what was going quintet now that I her . I haven’t talked to her in maybe two years . [Laughs] In October I was already cold . on. I just remember I had did this week . It has JJ: You then went to the Colburn School of been busy, but I am Performing Arts. They accept only a tiny JJ: When did you to run. Some made it, not complaining . number of applicants. Did you get in the decide that New some didn’t. [Laughs] first time you applied? York would be your home? In the Manhattan DV: Yes . I got a lot of help . I auditioned, and they School of Music, I studied with Kenny Barron . I embraced me and gave me a scholarship . The DV: I always knew I wanted to come to New think it was “perfect time, perfect place;” Mulgrew director, Joe Thayer, was so supportive that when I York, because all of my mentors told me, “You Miller was in Ron’s trio, but he wanted to focus on went to the finals at the Spotlight Awards the last have to be in New York if you want to experience his career as a leader . He had been with Ron for a round was to play with the philharmonic at the the music .” I had just gotten married, and I thought long time . So Ron was looking for a pianist, and Mr . Dorothy Chandler Pavilion . I didn’t have a tuxedo . the best thing would be going back to school . I only Barron recommended me . It really helped that one He rented one for me . I was so grateful . My had a bachelor’s degree, and the Manhattan School of Ron’s students took me to New Orleans, and we classical teacher there nurtured me, and got me of Music was offering a Master’s, so I said, “That did a record . His student asked Ron for some into Bach and Chopin competitions, and really will be great because I will meet the musicians .” feedback about the recording, and Ron asked, trained me . I studied with Garry Dial, Kenny Barron, and Phil “Who’s the piano player?” My friend told him, and Markowitz . It was an excellent program, because Mr . Carter said, “Okay have him meet me at the A new law came in during the ‘90s that said all the you do a lot of writing and playing . Blue Note . I’m going to be playing there .” I met him Cubans and Nicaraguans were going to be at the Blue Note, and he said, “Okay, I’ll be in At that time I was writing more than playing, I was deported . I didn’t have my citizenship, but I had touch .” political asylum . I turned myself in, and a lawyer writing every day . I wasn’t playing enough . I dis­ helped me pro bono get my citizenship . He did it by cussed­ this with Mr . Barron . He said, “They are He is one of my heroes and I was so excited to a special visa for exceptional people . I got the going to start a new program at Juilliard . If you get hear that he was interested in me . Mr . Ron Carter support from the Los Angeles Jazz Society, Quincy in you will be able to play even more . I’m going to is always on the road, and at that time I did not Jones, John Clayton and so many people . be teaching there .” I thought, “If you are going to have that many gigs in a week . Then he called me be teaching, and there is a lot of playing, I’m going and asked, “When are you going to be in town? I JJ: Where Henry Mancini and Leonard to apply .” As soon as I graduated from Manhattan would like to hear you play live .” That week I Feather also part of that? School of Music, I was accepted to the program at happened to have four gigs, and they were not just Juilliard, and I did another two years . When I was DV: Yes . They were the judges . In fact when I gigs . I was in a tribute band for Roy Haines with done, I realized that New York has so many musi­ won, David Abel from Fine Pianos in Los Angeles Lewis Nash, Christian McBride, Gregory Porter and cians . I thought, “I don’t know how I’m going to do gave me a piano . It was unbelievable . And all this myself . On that same gig I played with a trio of this .” My wife was pregnant . I thought, “I might go time I didn’t know what was going on . I had a mine with David Grossman and Clarence Penn . He continued on page 18

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TALKING JAZZ/donald vega continued from page 17 came to hear me, and then he called and asked me to join his trio . It was a dream come true . I’ve been working with him going on six years, and it has been great . JJ: I notice that sometimes you call him Mister Carter. DV: Yeah, out of respect . I haven’t called him Ron, but sometimes I call him Pops . [Laughs] He is a beautiful human being, and very caring . He is kind of like a father on the road; he makes sure Russell and I have our seat belts on to be safe . JJ: Somehow I don’t think Russell Malone needs looking after. [Laughs] DV: Right . [Laughs] I look back to before working with Ron . I was very blessed to have worked with musical royalty in Los Angeles . I worked with Al McKibben and Billy Higgins . They were two of my teachers and mentors . Also Buddy Collette, they all prepared me to play with Ron . JJ: I read that you are on the board of BackCountry Jazz, a non- profit organization.­ Would you tell us about that? DV:: Bennie Wallace started it . I got to know him when we were on a tour, and we’ve been playing since then . In fact, he used to hire only New York musicians, but I would fly in from L .A . He is a great player . BackCountry Jazz provides jazz education and instruments to youngsters from lower income communities . They are based in Connecticut, but recently he performed in Haiti, and realized that a lot of the kids didn’t have instruments . BackCountry Jazz donated instruments to the community there . Also he created a summer jazz music camp for Bridgeport Public Schools children, and an after school program . They offer instruments, scholarships, workshops, master classes and great concerts with artists and educators who perform and teach on the highest level of excellence . Through concerts and educational programs, BackCountry Jazz wants to celebrate, preserve and expand the rich traditions of America’s art form, which is jazz .

You know in schools, the first thing they get rid of is music, not sports . Historically, everybody had a piano in their home, now forget it . Now kids are not exposed to this music . We want them to listen and learn about it . JJ: Do you have any career souvenirs that people visiting you can see? DV: I have a wall where I keep little souvenirs . I played the Blue Note with my trio, and I have a poster of that . I did a tour in Japan with Lewis Nash and Ron Carter, and I have a poster from that . And I have a poster and photo of a tour with Ron in South America . I have a program from that gig I told you about when Ron Carter came in . It brings smiles to my face because it reminds me of how everything went down, and here we are six years later . JJ: This has been a real pleasure hearing your story. Thank you and goodbye. DV: I enjoyed talking to you . Bye . JJ

Next month on July 13 the Donald Vega Trio will be at the Sidedoor in CT (thesidedoorjazz.com). His man gigs as a sideman can be found at his website (www.donaldvega.com).

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Rhythm & Rhyme Poetry editor Gloria Krolak explores the world of jazz in verse.This month a young girl’s early poem finds inspiration from Langston Hughes, Emily Dickensen…and jazz. naomi long madget Poet Frances Shani Parker, in her poem titled “Naomi,” calls her Growing up in East Orange, New plea for my heart’s sake peer “…this awesome oxymoron Jersey, from 1925 to 1937, poet Naomi Long Madgett of petiteness and greatness.” Naomi Long Madgett describes I know you think of me when you are lonely unchecked racism and its scars *www.starbystar.net upon herself, her family and the And only dubious clouds command your sky. black community. Her life I know that in the silent hush of evening the poem changed for the better when her When shadows fall it is for me you sigh. In her summary of the poem father, pastor of Calvary Baptist included in The Jazz Poetry Church, accepted a pastorship in I never doubt that, where the rushes thicken Anthology, Volume 2, poet Naomi St. Louis, Missouri where she went In some lost, God-forsaken wilderness, Long Madgett tells readers that, to an all-black high school. A quaint remembrance makes your pulses quicken “Black music has been a vital part Opportunity opened up for her And it is my remembrance that you bless. of my experience, especially there. In the almost two hours of spirituals, blues and the more video interview*, A Talk With But in the city’s turbulent obsession, melodic and lyrical forms of jazz.” Naomi, her life and family of five, Blind in the glaring lights, deaf in the scream two older brothers and their Of jazz refrains and dancers gaily swaying, So vital that she imagines in her mother, a teacher, is well Will you forget me and the white moon’s gleam? poem “Genesis,” the eighth day of documented. She spent four life- the creation story. In it music is changing years at Sumner High When you come back to lights and wine and music, born from the voices of the wind, School where she found commit­ I beg you not to need me any less, the rustle of leaves, birds’ singing ted and encouraging teachers, she lilts, the rhythms of the tides, published her first book of poems For if you love me in your silent sorrow, Then love me also in your happiness. thunder, rain, and the murmur of in 1941 right after her high school a brook. God as narrator ends with graduation, then earned a From Phantom Nightingale: Juvenilia (©1981). Reprinted in Remembrances of Spring: “music will forever be the purest bachelor’s degree from Virginia Early Collected Poems (1993), by permission of the author. vehicle carrying the very message State University, worked towards a of the soul.” master’s degree at New York University until that was interrupted by a short-lived marriage that First published in 1941, “Plea for My Heart’s Sake” is a love poem produc­ ed­ her only child, a daughter Jill, and then a move to Detroit written when Madgett was perhaps 17 years old and possibly as where she still lives and has been the revered Poet Laureate since young as 15. Like many of the church hymns beloved by the poet, 2001. each stanza is a quatrain with a rhyme scheme as steady as the love she implies. After marrying William Harold Madgett, she completed her Master of Arts at Wayne State University and earned a PhD at Eastern Then there is the contrast between quiet country and distracting Michigan University where she was an associate professor in city, although it is the writer who is the urban dweller — Madgett is English. She retired as full professor in 1984. In the meantime, in a city girl after all — not the one who waits quietly in the homestead 1972, she established Lotus Press, recognized for publishing books while the love object sows wild seeds. She “knows,” she doesn’t of high literary quality. In between those early years and the present doubt his feelings for her, but pleads to be included in his happy she has always written. Starting at the age of 17 when her adored times and calling herself a “quaint remembrance.” father helped get Songs to a Phantom Nightingale published, she has written nine other collections of poetry, a textbook on creative While possibly reflective of a more innocent time, she seems to writing, edited several anthologies and in 2006 her own compare herself to more modern women of their age, perhaps the autobiography, Pilgrim Journey (Lotus Press). ones with whom he dances to screaming “jazz refrains.” Madgett expresses maturity, modesty and patience not expected in one so In 2005 a life-size sculpture of Dr. Madgett, created by Artis Lane, young. was installed in the permanent collection of the Charles H. Wright Museum of African American History in Detroit. She has received Some of her early poems Madgett recalls were influenced not only many honors over her nearly eight decades of writing poetry, four by Langston Hughes but also Emily Dickinson, as “Plea” may be, honorary degrees and several lifetime achievement awards. at a time she was learning her craft while seeking her own voice. JJ

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Giacomo Gates at the Monmouth County Library By Schaen Fox or years, one joy of summer was the free concerts various New In all, he lovingly delivered 14 songs, some classics, (“Sunny Side of FJersey municipalities sponsored over the season. Jazz had a the Street,” “PS I Love You”), some jazz standards (“Along Came healthy representation on those calendars. Sadly, those two Betty,” “Take Five”) and ones you remember, but haven’t heard in sentences are in the past tense. One place, however, where free, high far too long (“Hungry Man” and “On a Misty Night”). Each quality jazz gigs still thrive is at the Monmouth County Library. composer and lyricist were acknowledged, and the background of County Librarian Jack Livingstone began that program in 1973, and some songs were explained. Tad Dameron’s “On a Misty Night” though he is long retired, monthly from September to May, he evolved from Harry Warren and Al Dubin’s “September in the returns to introduce the artists and kibitz with friends and audience Rain.” Charlie Parker wrote the words and lyrics to his first members. Nor is he the only one a patron can easily approach. Gigs composition “What Price Love” which was based on Earl Hines are held on a low stage in a very spacious auditorium. That makes it “Rosetta” and transformed again into “Yardbird Suite” with new super easy for anyone to approach the musicians, and lots do. lyrics by Eddie Jefferson. Gates did them all. The early afternoon of Sunday, April, 22 was finally the beautiful Happily, Giacomo again told the story of his frustrated efforts to weather we had dreamed of all winter long. But we eschewed the record his homage to Paul Desmond’s solo on “Take Five.” It is too outdoors, because Giacomo Gates was again at the library with his long to try to put to a page, and it would lack the delicious inflec­ trio of John di Martino (piano), Ed Howard (bass) and Vince tions in Giacomo’s telling. It is enough to write that I have heard it Cherico (drums). The weather was too nice anyway. before, and hope to hear it often in the future. He cannot record it, but he can sing it live, and it is a joy to hear. Giacomo has the aura of a seasoned construction worker, which he The two-hour long gig ended far too quickly. Then we had to be was for years in the back country of Alaska and elsewhere. His voice content with enjoying the beautiful weather and the Giacomo CDs is a baritone of authority and warmth. A few may equal him as a we had purchased. scat singer, but I know of none who surpass him. His humor and stories are entertaining­ and add to his programs like aromatic spices On Sunday May 20 at 2 pm, the library will host Art Baron and to a bubbling stew. He clearly wants his audience to have as good a Friends in the final concert of the season. It is located at 125 time as he has himself. Symmes Drive, Manalapan, NJ. JJ

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Dan’s Den | The Queen of the Pee Wee Stomp, the amazingly youthful Dick Hyman…and a new piano at Shanghai! By Dan Morgenstern

ots to write about Dick at the West 54th the vibes — not an Lthis time. Let’s Street rehearsal studio at easy instrument to start with Daryl 8 pm. The next day I left schlepp. But so it Sherman, Queen of my apartment (on the goes, my friends! the Pee Wee Stomp, East Side) at 4:15 for the The rest of the who recently returned from what has 5 pm rehearsal at concert featured become her annual tour of Britain and the Tribeca (the downtown Wycliffe Gordon and Netherlands. She came back from that venue for the concert).” Jay Leonhart, a successful sojourn to England, Scotland and The rest of the band was seasoned duo, in Wales, adding a new city, Manchester, to Ken Peplowski, their delightful vocal- her previous stops. The tour always ends in doubling on tenor verbal and Delft, a charming Dutch city (judged from (which he plays oh so instrumental the photos Daryl sent me — isn’t it amazing well), Jay Leonhart on exchanges, and what one can do with cellphones these days) bass, and Chuck Redd (a Wycliffe in his with canals and all. welcome visitor to these primary instrumental parts ) on vibes and As usual, she was well received and is role, on the primary drums becoming an expert on British trains. There trombone, but also is a dramatic finish to this story: Needless to say Daryl on trumpet, and — She had a New York gig the day after her acquitted herself sparingly — slide return, which required rehearsing. She was splendidly, rendering The ageless Dick Hyman (91, truth be told) trumpet, with some the “surprise guest” at, you guessed it, Jack Shakespeare as he rehearses with Ken Peplowski, right, before vocals added. Kleinsinger’s Highlights in Jazz concert, this deserves, to Hyman’s Jack Kleinsinger’s Highlights in Jazz Concert Wycliffe is one of a on May 10 at the Borough of Manhattan one billed as “Dick Hyman and Friends,” appealing music. The Community College. Photo by Mitchell Seidel. kind, and never fails and the eminent pianist, etc., an old friend two songs heard on this to please his audience of Daryl’s (you could say everyone’s­ old occasion are not all; the entire work was re­­ Seeing Hyman and Kleinsinger together friend, at an amazingly youthful 91), had corded by the composer and Maxine reminded me — before Jack mentioned it something special Sullivan decades ago. — that Dick was on the bill of Jack’s very in store for her. But it surely was first effort as a producer, a concert at the Yes, she had been enough for Daryl on Theater DeLys in the Greenwich Village, warned in this occasion! scene of many a theatrical milestone. Before advance that Dick The instrumentalists leaving on her European excursion Daryl wanted her to do also did a nice set, appeared at Shanghai Jazz, surely known to two of his songs bookending a Hyman most if not all of my readers, in her set to texts by original the title of longstanding trio setting. Daryl, James Shakespeare, thus which has escaped Chirillo and Boots Maleson are as together no ordinary lyrics me; it was a well- as they come, totally attuned to each other, and no mixed representation and a pleasure to experience. This outing arrangements to of various aspects of was especially enjoyable due to the look at. I’ll let the composer’s many improvements made by the club’s new Daryl take over: ways of piano owner: A much superior sound system, and (she doesnt’t mastery, and an a much better piano (a handsome Baldwin). know I’m doing Daryl poses with the Girl with a Pearl Earring in front original treatment of Needless to say this adds greatly to the this but can’t of the Vermeer Center in Delft, Holland. Photo by “Take the A Train” enjoyment of the music on both sides of the render better than Marja Agema. with Ken’s tenor to bandstand. I’ll just mention a very few in her own words: the fore and different highlights (the whole offering was a (After three weeks in Europe) “I returned tempos, as in Duke’s own long version. highlight, one might say): “At Sundown,” home around 6 pm, showered, fixed my Alas, Chuck, who of course played great from Daryl’s fine new CD, recorded in New hair, looked through the songs and met drums, only got about two note clusters on Orleans, and a swinging “I Remember

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April,” a tune long favored by musicians who know their changes, of Fred’s hands on the keyboard,­ and unimpeded listening. on which the threesome got into a series of exchanges—eights, Someone recently suggested that he might be the best on his fours and even twos—at a very bright tempo, swinging all the way. instrument today, and while I don’t approve of this kind of rating (and neither do its recipients) it is not far fetched. n Speaking of togetherness, a sterling example is the duo of Fred Hersch and Anat Cohen. I’d caught them once before at the Jazz As for Anat, you know what she can do with a clarinet, certainly Standard and was carried away by the astonishingly natural one of the most demanding of instruments, and how alive the communication­ between these two, who make music that brings to music she makes on it is. mind an intimate conversation between friends who really listen It’s been a very long time since I’ve been so absorbed in listening to and respond to each other. Both are masters of their instruments; live music, and so uplifted. Don’t miss these two the next time they there is no barrier between thought and execution. The notes blend come to town! P.S.: They’ve got a CD: Anat Cohen/Fred Hersch Live and reflect, sometimes reminding of sunlight at play on moving in Healdsburg (it’s in California) on the Anzic label. Aside from the water. pieces mentioned, there are Fred’s “Child’s Song,” a lovely one, and And sunlight is somehow right, for this is music of a wonderfully “Lee’s Dream,” (guess what Lee), and Anat’s “The Purple Piece.” positive nature. It makes you move (though there is total rhythmic And Fred’s just published his autobiography, Good Things Happen freedom; this music makes you respond with your body and your Slowly: A Life In and Out of Jazz (Crown), as honest as his music. head, not your feet, though it swings in its own very personal way. n News Flash: Barbara Rosene, last in town with her trusted pianist There are originals by Fred, one, so far, by Anat, and a well-chosen Conal Fowkes and bassist (and old friend not seen in a long time) few by other hands: “Mood Indigo” and “Isfahan” from the Murray Wall at St. Pete’s Midday Jazz, and as always good to hear, Ellington-Strayhorn book; Jimmy Rowles’ wonderful “The especially on “Skylark”, doubles as a painter — if you haven’t seen Peacocks,” and an absolutely lovely interpretation of Fats Waller’s her truly fetching work, there’s a collection, New York Jazz Scenes “Jitterbug Waltz,” a late composition by that musical waterfall that that you can find out about via www.Barbararosene.com —and has hints at what more he might have given us if granted a longer life. been selected as Artist in Residence at the French Chateau He must be smiling up there at what these two magicians do with Orquevaux, where she’ll be by the time you read this, lucky lady! what has become a standard. And magicians of music is what these FIN, as the French films end… JJ two are. I was fortunate to be seated right up front, with a full view

After you’ve had your fill of treasure- collector Mark Cantor makes his first Record Collectors hunting, a select group of collectors will be appearance at the Bash with rarities from Returning to Edison showing vintage films from their archives his collection of more than 12,000 films and both Friday and Saturday. Admission is free clips. with your Bash ticket or $5 if you just want June 22-23 The peek into the vaults continues Saturday to attend the film programs. By Mitchell Seidel evening, when at 8 pm Ron Hutchinson, At 8 pm Friday, music researcher and film co-founder of the Vitaphone Project, will t least one weekend of the year there is historian David Weiner presents two hours show the recently restored 1930 Paul Aa place where you can find all the avid of rare film and television clips featuring Whiteman technicolor feature, King of Jazz. (or rabid) jazz record collectors in New jazz and pop artists from the 1920s to the That film includes performances by Jersey. The 44th edition of the annual Jazz present. Among the featured performers are Whiteman, Joe Venuti, Eddie Lang, Frank Record Collectors’ Bash is Friday, June 22 soloists Louis Armstrong, Edmond Hall, Trumbauer, Bing Crosby and The Rhythm and Saturday, June 23. With dealers from Coleman Hawkins, Dave Tough and Benny Boys. Also to be shown will be short along the northeast, it is the place to find Carter, as well as the bands of Eddie features including early cartoons and hard-to-get vinyl, shellac, CDs and possibly Condon, Vince Giordano, Count Basie and newsreels (Intact Vitaphone works are even a wax cylinder. The event will be held Gene Krupa. Also, vocalists Elizabeth especially rare because the soundtracks were at the Hilton Garden Inn-Edison, 50 Welch, Ella Fitzgerald, Bing Crosby, Evelyn recorded on fragile discs separate from the Raritan Center Parkway, Edison. Dall, Bobby Darin, Buck & Bubbles and the films and were often lost or damaged). Nicholas Brothers. Plus vintage musical Admission for both days is $20, $10 after 5 Come see what jazz collectors do when their cartoons and newsreel clips. pm Friday (inc. full-day Sat.). Doors open at parents, spouses, significant others or 8 am Friday and Saturday and the event On Saturday afternoon from 2 to 3:30 pm supervising authorities let them out of the runs into the evening. There is a special and 4:30 to 6 pm New Jersey Jazz Society basement or attic on a summer weekend. early bird admission of $40 after 7:30 pm 2018 honoree Will Friedwald will present For more information, contact Bash Thursday for when buyers are setting up if his “Clip Joint” program of rare jazz vocal producer Art Zimmerman at (516) 343- you want to beat the crowd to the rarities. videos selections and Los Angeles film 7440 or [email protected]. JJ

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Bright Moments! Newark’s First Lady of Jazz Dorthaan Kirk Feted at NJPAC Photos by Tony Graves riving down Central Avenue into She gave us instant Ddowntown Newark to the New credibility in the Jersey Performing Arts Center on jazz world.” She Saturday evening April 28 the sudden went on to have a sun shower ended as abruptly as it long career at the began and the colorful arc of a rainbow station as Director appeared in the sky ahead — a sign of Community that seemed to augur well for the Relations and evening of jazz music ahead. Special Events, The performance on tap that night, producing and Dorthaan Kirk shown below her large portrait displayed above the billed as Bright Moments: Celebrating promoting concerts and events and sage of the Victoria Theater speaks to the crowd. Dorthaan at 80, was a gala musical notably coordinating the Children’s tribute to Dorthaan Kirk, a long Jazz Series. (Later in the evening she esteemed central figure of the jazz scene announced that she would retire from in Newark and beyond. The Victoria WBGO after nearly 40 years.) Theater quickly filled with “D.K.’s” When John Schreiber became NJPAC’s many friends on hand to join in the second President and CEO in 2011 he salute, including Mayor Ras Baraka, consulted with Dorthaan about his current and former staff members from plans to present jazz at the arts center, jazz radio WBGO, NJPAC executives including the James Moody Jazz and sister Kirk’s fellow parishioners Festival, and dubbed her “Newark’s from Bethany Baptist Church. First Lady of Jazz.” The moniker was Dorthaan was born and raised in Texas picked up and featured in several news (the trace of a longhorn drawl can still articles but when it appeared in The be heard) and lived in California before New York Times she told Schreiber, moving east with her second husband, “Now I believe it.” In addition to her the extraordinary multi-instrumentalist work on the Moody festival she curated Rahsaan Roland Kirk. The musician a long running Sunday jazz brunch was blind and much of Dorthaan’s series at NJPAC’s NICO Kitchen + Bar education in jazz history came from called “Dorthaan’s Place.” reading the backs of album covers to Dorthaan was also one of the driving her husband when they shopped for forces behind the creation of the records. She traveled with Kirk on the Saturday evening Jazz Vespers at road performing­ from 1970 to 1977, Newark’s Bethany Baptist Church, when he died at age 41, and she now a series that’s grown over eighteen years manages his music rights and publish­ into an important part of the city’s jazz ing company. schedule and many members of the church, including­ its former pastor, Shortly after Kirk’s death Dorthaan met were in the audience for the show. WBGO founder Bob Ottenhoff who Brandee Younger’s beautiful harp (Current pastor Rev. Adkins-Jones was hired her for the fledging jazz radio playing added a touch of elegance to the called away by an emergency.) station — a shrewd move given the evenings’s musical performacne. many contacts gained over the years The music was as special as the helping with her husband’s career. occasion, filled with performances by Ottenhoff told the crowd, “One of the longtime friends of Dorthaan’s who best things we did was hire Dorthaan. jumped at CEO Schreiber’s invitation

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to join in the tribute. The lineup was strictly A-list, including Freddy Cole, Stefon Harris, Steve Turre, Cassandra Wilson, Brandee Younger, Antoinette Montague and Mimi Jones. All masterfully managed by musical director Don Braden. These all-star mix and match presentations can feel haphazard and slapped together but this show was seamlessly smooth and seemed impeccably prepared. Some highlights: n Newark native Antoinette Montague’s trademark up through the audience stage entrance (“Do What You Wanna”) followed by a rollicking audience call and response “Let the Good Times Roll,” replete with Ms. Montague’s smashing kazoo solo. n Stefon Harris’ quartet performance of Duke Ellington’s “Come Sunday,” after a rubato opening the melody rendered simply at a Saxophonist Don Braden, the evening’s musical director, gave a slow tempo, embellished by cascading runs, then dropping out of noteworthy performance of John Coltrane’s “Resolution” with a quartet that included (l-r) Oscar Perez, Mimi Jones and Jeremy Warren. tempo for a tour de force close as the vibist sings along with his playing. n Brandee Younger and Don Braden playing airy tune that ended in a rolling vamp, Braden repeating his riff from almost offstage. n Trombonist Steve Turre, a longtime member of Rahsaan Roland Kirk’s band, performing on multiple sea shells, one appearing to be nearly two feet in length. n A visibly frail Freddy Cole nevertheless delivers a masterful three-song performance. The opening “Sometimes I’m Happy” featuring a note perfect Basie-like piano accompaniment followed by a breezy “Its Crazy But I’m in Love.” The to close he stood next to the piano to croon a moving “You and Me Against the World,” accompanied by his fine guitar-led rhythm section. n For his turn in the spotlight musical director Braden gave an eloquent performance of John Coltrane’s “Resolution,” high­ lighted by Oscar Perez’s powerful piano playing. Freddy Cole played an homage to the unique piano style of n Cassandra Wilson, who opened with “Skylark,” was joined by the immortal Count Basie. Stefon Harris for Abby Lincoln’s “Throw It Away” and then by Braden for “Sweet Georgia Brown,” played as pure swing. Two Rahsaan Roland Kirk compositions were performed. “Dorthaan’s Walk,” with its infectious bopping melody and strolling bass line closed the concert’s first half. (The blind Kirk identified people around him by the sound of their gait, Turre explained.) And after Ms. Kirk gave gratitude-filled remarks to all present, including many personal friends who had travelled from near and far (as far away as Germany), the mischievous voice of Rahsaan Roland Kirk began to speak over the theater’s sound system. It was his playful stream of consciousness­ spoken word opening of the live performance of “Bright Moments.” All of the musicians were on stage to enter on cue and perform the song as Kirk’s monologue ended, with Wilson, Montague and Cole joining in on the tune’s catchy two-word title lyric. The perfor­ mance was filled with joy m, and provided a suitable close to a Mayor Ras Baraka memorable evening. was on hand to present “Newark’s Bright moments indeed. That rainbow hadn’t lied. JJ First Lady of Jazz” with a Proclamation — Tony Mottola on behalf of the city.

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Guitarists Gogo to Maplewood for “Gypsy” Jazz

Story and photos by Mitchell Seidel musical event in Maplewood last month was Areminiscent of a story saxophonist Phil Woods used to tell about fellow reed giant Al Cohn from back when the two were active in New York studios. Woods ran into Cohn and asked him about what he’d been up to, and he replied “I had a date with 23 mandolins.” “I didn’t know there were that many mandolins in (Musicians Union Local) 802,” Woods said. “Well there are,” Cohn replied. “But you can’t get a haircut in Jersey City today.” There was a good deal of cutting going on the first week in May, it just wasn’t in the hair salons. Professional and wannabe plectists, the latter attracted by the former, descended upon the small Essex County township for four days of workshops, concerts and jams organized by French native Stephane Wremble who lives in Maplewood. The event was called Django a Gogo, a combination adult music camp and concert series that spent several days in Students at the Django a Go Go jazz camp in Maplewood listen as their teachers engage in Maplewood starting Tuesday, May 1 before decamping to a late afternoon jam session following classes at the Woodland on May 4. The Town Hall in Manhattan on Saturday night and finally Brooklyn on Sunday, May 6. (See Schaen Fox’s account of the Town Hall show on page 22.) All manner of students attended workshops during the day, followed by some casual post-class jamming and then concerts also attended by the general public at night. The focus, of course, was “Gypsy Jazz,” the style of the legendary Romani guitarist Django Reinhardt, whose work with French violinist Stephane Grappelli and the Quintet of the Hot Club of France in the 1930s and 1940s was some of the most influential string jazz played in the 20th century. Just as the Romani people can be found throughout the European and Asian continents, the performers at Django a Gogo were like a small United Nations, hailing from everywhere from Finland to Holland to Canada to the United States. However heavily accented their English might be, they all spoke the common languages of jazz and swing. This marked the second year that Django a Gogo was held in Maplewood. Django a Go Go organizer Stephane Wremble joins with mandolin player Sam Bush, left, during one of the performances at the Woodland in Maplewood. Although nothing has been confirmed yet, Wremble said he hopes it can return in 2019. Check djangoagogo.com for details as they develop. JJ

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Attention! Musician Members YOUR NJJS Benefits

s a working musician member of the New AJersey Jazz Society, we want to be sure you‘re aware of the special benefits available to you . We’re also very interested in attracting Violinist Daisy Castro, left, and guitarist Sara L’Abriola perform at a Django a new NJJS Member Musicians, and your Go Go Festival performance at the Woodland in Maplewood on May 3. assistance in achieving that goal is greatly appreciated . Please help us spread the word! Here are some of the Member Musician special benefits you should know about . 4 Announce your gigs in our monthly E-mail blasts FREE (limitations apply) 4 Advertise your gigs on our website Special Member Musician Rates

Olli Soikkeli, foregound left, and Paulus Schafer, foreground right, exchange 4 Promote your gigs and CDs appreciative looks as they rehearse with Nuclear Gypsy Swing at Django a Go Go in Jersey Jazz magazine in Maplewood. Also performing are bassist Julian Smith and guitarist Josh Kaye. Space Permitting 4 List your name and contact info on our website’s Musician’s Page FREE (includes link to your website) Why not attend one of our free monthly Jazz Socials at Shanghai Jazz in Madison, NJ where you can meet and network with fellow musicians and other jazz fans.

To learn more or inquire about joining the NJJS as a Member Musician please e-mail Pete Grice at While the Maplewood audience was downstairs in the auditorium enjoying the [email protected] evening’s performance, upstairs musicians were rehearsing for the Django a Go Go’s finale scheduled for May 5 at Town Hall in Manhattan.

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Gypsy Jazz Players and Fans Pack Town Hall for Django a GoGo

By Schaen Fox he Town Hall is Several Ta New York accomplished City treasure that musicians have told exists because some me of their suffragists­ wanted a reluctance to space for people to perform solo in learn about the public because that important issues of leaves them “no the day. Since place to hide.” If opening in 1921, it Mr. Wrembel ever has also served as a felt that, his years of concert venue for accomplishments Duke Ellington, and accolades must Lady Day, Monk, have soothed his Sarah Vaughn, Bird nerves. His opening & Diz, Segovia and remarks were many more. On conver­sational. He May 5, Stephane spoke of Django’s Wrembel’s “Django wide musical a GoGo” added interests, noting the another grand influences of musical cel­ebra­tion Chopin, Ravel, to that list, and The Django a GoGo players: (left to right: Thor Jensen, Simba Baumgartner, Ari Folman-Cohen, Stochelo Debussy and Bach helped those lucky Rosenberg, Nick Anderson (drums), Stephane Wrembel and Daisy Castro. Photo by Irene Ypenburg. in Django’s music. to be in the packed He then played “Improvisation #1” and “Improvisation#2,” noting house briefly forget the important issues of the day. that he sees the latter as a musical version of an Impressionist A few days before the concert, Mr. Wrembel had talked with Gary painting of an enchanted forest. It was an impressive show of Walker on radio station WBGO to stimulate interest in this great confidence, playing two of the master’s famous solo numbers in a gathering, and finally the stage was set for its dozen musicians. They hall packed with guitar aficionados. were a healthy mix of national and international musical legends The newest talent was Simba Baumgartner, Django Reinhart’s great (Sam Bush and Stochelo Rosenberg) as well as younger and older grandson. On WBGO Stephane said of Simba, “He is only 20. There talents (Sara L’Abriola and Pierre “Kamlo” Barre). Some, like is a tradition with the gypsies that you don’t really perform until Paulus Schafer came from Europe for the gig, others, like Stephane you are really ready. He has been training and training and training Wrembel and Olli Soikkeli, are Europeans currently living here. all day long in his trailer for the past few years, and is an incredible (The Paris born Mr. Wrembel now makes New Jersey his home.) player. He hasn’t recorded yet. He hasn’t really toured yet. This is This audience had a different vibe from most, probably because this going to be a world primer, and a lot of people are going to be night’s concert would be the culmination of Stephane’s weeklong blown away by how incredible he is. He is really amazing.” guitar camp held in Maplewood, New Jersey. That camp included Of course, Simba was one of the first two guest artists called from intensive study with a number of tonight’s performers plus two the wings. His nervousness showed when he sat in the wrong chair, concerts in Maplewood by some of its instructors. A good percent­ and then quickly bounced to the right one. age of the crowd probably had connections to that camp, because many talked easily to their neighbors. (When one man was intro­ The musicians began “All of Me,” and Simba realized he hadn’t duced to a young boy he said, “So you are also named Django?” and tuned his guitar, missing his first chance to solo. When he did, shook his hand as the lad, and his parents, beamed.) Our audience however, he lived up to Stephane’s prediction, and it was only after neighbors said they were the parents of Sara L’Abriola, one of the crowd’s vigorous applause that he first smiled. tonight’s performers. They offered that Town Hall, rather than last The second guest was the young violinist Daisy Castro, making her year’s location, Carnegie Hall, was the perfect size for this show and first official debut in the festival line up. On WBGO Stephane said that Stephane Wrembel was a truly great improvising guitarist. of her, “She really needs to be heard. She is an amazing player, And soon after that, the crowd cheered as Stephane emerged alone world-class. It is so hard to have a really good jazz violin, and she is to begin his 11th Django A Go-Go concert. one of the best.” She remained on stage for much of the concert, continued on page 30

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June 2018 ______29 JerseyStoriesJazz django a gogo at town hall continued from page 28 fulfilling the role Stéphane Grappelli you serious?” he asked. Now the 19 played in popularizing the music also year old is a professional musician called Jazz Manouche. making her first appearance at this With one possible exception, these festival and performing regularly in artists all wish to both preserve, and New York. Fittingly, the second set expand, the spirit of the music began with “Bistro Fada,” and Sara Django and the other Romani soon appeared to demonstrate her musical champions, pioneered. seriousness by playing Django’s Stochelo Rosenberg demonstrated “Douce Ambiance.” that with his beautiful composition After another number, Stephane “For Sephora.” Then that possible called for Olli Soikkeli and Paulus exception, mandolin virtuoso Sam Schafer. The two were probably Bush, appeared. Winner of called so late, because they had numerous bluegrass awards and performed one of those Maplewood sideman for many of that music’s concerts the previous night. They giants, his résumé seemed to make often perform together when Olli is him a questionable addition. But his in Europe, but rarely here, so hearing two selections (“Caravan” and the two friends do “Limehouse “Summertime”) showed his art was Blues” was another of the night’s such that he could be true to his special treats. calling, and be at home with the They then joined the rest for others making grand music. Photo by Vicki Fox “Nuages” and the evening’s final “She really needs to be heard. She is There were still several empty chairs “Dark Eyes.” Before playing that, on stage when Stephane called the however, Mr. Wrembel brought out an amazing player, world-class,” says final number of the first set. He yet another young guitarist, Lior Stephane Wremble of violinist Daisy Castro. noted that Django had named it after Krief. He said Mr. Krief is an accom­ On stage for most of the concert deftly a famous Parisian club where he plished son of Jazz Manouche legend reprising style of the legendary Stéphane often performed. The club lasted Serge Krief, his own teacher/mentor. long enough that, Stephane said, he Grappelli. The leader said that they had to end had also performed there before with “Dark Eyes” as they had run so moving to America. He noted that far overtime he feared the hall would the storied night spot had closed close down on them, if they con­ forever not long after his appearance tinued. They made their final memo­ as did New York’s own famed CBGB rable, joyously romping through that after he played there. “Hopefully classic as the clock ticked closer to Town Hall won’t close next month,” the two hour mark. It made me he quipped before leading the band think of the storied long musical into what is probably the master’s nights in French Gypsy camps. most famous bop composition, the joyous, up-tempo “Flèche D’Or.” On WBGO Stephane had said, “I’m a Then the enthusiastic crowd rose in a musician, not a professional standing ovation as the musicians left promoter, but the thing that I know the limelight. is to put together a team of world class players and have them play During the intermission Sara together. I bring the best of the best. L’Abriola’s father said that in 2011 It is going to be an incredible show.” he had taken her to see Woody Photo by Vicki Fox Allen’s film Midnight in Paris. She He had not exaggerated. Nor had In 2011 Sara L’Abriola, then 11 years old, was so impressed with Stephane’s Gary Walker when he predicted this “Bistro Fada,” the film’s theme, that May 5th would become “Cinco de contacted Wremble to ask for lessons after she contacted him for lessons. “Are Django.” JJ hearing him perform “Bistro Fada” on the soundtrack of the film Midnight in Paris.

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Noteworthy­ Fradley Garner International Editor Jersey Jazz

Kurt Elling Tops Bill at July Copenhagen Jazz Festival Nearly a quarter million jazz fans expected in the world’s oldest kingdom

THE COPENHAGEN JAZZ FESTIVAL A major event on Friday, July 13 at Jazz by the celebrates its 40th anniversary starting the first Sea, an outdoor platform in Christianshavn: weekend in July. Scandinavia’s premiere­ Mulatu Astatke, father of so-called Ethno-Jazz, jazzfest always kicks off on the first Friday in debuts his new band and vibraphone in July, which this year falls on July 5. Copenhagen. Born in Ethiopia and educated in London, New York and Boston, Astatke Forty isn’t so old compared, say, with the combined jazz and Latin music with that of more venerable Newport Jazz Festival in his native land. He has recorded his own Rhode Island, which celebrates its 64th year compositions and arrangements. Astatke this August 3-5. peformed as a special guest with Duke The far longer 10-day Copenhagen event Ellington on a tour of Ethiopia in 1973. His reportedly draws 230,000 fans — a figure that western audience expanded when the 2005 Jim raises some eyebrows. The organizers take Ethno-Jazz’s Mulatu Astatke Jarmusch film Broken Flowers featured seven pride in its settings here in the world’s oldest of Astatke’s songs. kingdom. These embrace Tivoli Gardens and Milady Hanne and I plan to be there when city parks, clubs and cafes, concert halls, open- Christina von Bülow, Denmark’s leading lady air night venues, even open boats in Nyhavn tenor saxophonist, performs with pianist and the canal network. Søren Kristiansen, Sunday, July 8, 2:00 PM, at World names are few this year, topped by the Plejebolig Center Fælledgården in American singer, composer (his own “My Copenhagen. Free entre! Foolish Heart”), lyricist and performer Kurt We also plan to catch as many appearances as Elling. Other notables are the Jamaican pianist we can of the transplanted American bassist Monty Alexander, who played with Frank and singer Kristin Korb. This lady defies the Sinatra, the Danish singer Cæcilie Nordby, song “You Cannot Sing and Play the Bass.” and Danish pianist Zier Romme Larsen with (Jersey Jazz, March, p. 38.) Kristin will his countrywoman bassist Ida Hvid. perform in duo or trio settings on Sunday, Copenhagen’s legendary status as a European July 6, with guitarist Jacob Fischer at jazz capital traces back to the 1950s and 1960s, Sofiekælderen/Sofie’s Jazz Club; Tuesday, July when an influx of American jazz icons put 10, same duo at Drop Inn cafe; Saturday, July down roots in the city. Musicians on the order 14, same duo at Bartof Station café; Sunday, of tenor saxophonists­ Ben Webster, Stan Getz July 15, Kristin Korb Trio with pianist Calle and Dexter Gordon, baritone saxo­­pho­­­nist Brickman and drummer Snorre Kirk, Sahib Shihab, violinist Stuff Smith, drummer Restaurant Maven. You’ll find information­ on Ed Thigpen, trumpeter and bandleader Thad August appearances­ in Denmark, with Italian Jones and pianist Kenny Drew. They drew Kurt Elling musicians at Bass2018 in Lucca, Italy, and at inspiration from Denmark’s jazz scene. All two California venues (www.kristinkorb.com). played at the era’s leading jazz club, Jazzhus Montmartre. Those The complete Copenhagen Jazz Festival 2018 program, as well as were the days when some of Denmark’s best musicians scored their ticket prices, await you at www.jazz.dk. Some 70,000 copies of the international breakthrough: violinist Svend Asmussen, bassist Niels- printed catalog will be published five weeks before the event. These Henning Ørsted Pedersen, drummer Alex Riel, trumpeter Palle will be available at libraries and music venues. Order catalogs at Mikkelborg. Most of them have passed on. Ben Webster lies jazz.dk/shop. JJ interred not far from Hans Christian Andersen in Copenhagen’s Assistens Kirkegaard.

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Christian McBride Leads Benefit for Luna Stage on June 1 ix-time GRAMMY-winning bassist Christian A growing acting conservatory for youth and SMcBride will headline a concert to benefit community-based performance events round Luna Stage Theater on Friday, June 1 at the out the programming of this vibrant local Montclair Women’s Club. The program will institution. include cocktails,­ dessert, a silent auction and One of the most recorded musicians of his dancing after the concert with proceeds generation, McBride has appeared on more supporting Luna’s theater productions, classes than 300 recordings. He primarily plays double in local schools and community programming. bass, but is equally adept on electric bass guitar. McBride is known for dynamic performances Jazz artists McBride has collaborated and that fuse musically inventive artistry and recorded with include Niels-Henning Ørsted energetic fun. He bemoans the “unwritten Pedersen, Freddie Hubbard, McCoy Tyner, contention that somehow swinging and Brad Mehldau, Herbie Hancock, Pat Metheny imagination are mutually exclusive.” Instead, and many other jazz luminaries. he says, “When you pull the people in, you can McBride is “brilliant and he’s fearless,” says go anywhere as long as they feel like they’re a NJPAC president and CEO John Schrieber. part of the ride.” “Christian is just so tickled by life, and by the On June 1 that ride will celebrate and support possibilities of discovery and invention.” Luna Stage. Luna is nationally recognized for Tickets are $135 and $190 for the VIP Package, producing dynamic world premieres and which includes special seating, a gift and the contemporary plays in an intimate space that opportunity to meet the musicians. JJ allows audiences to feel they are part of the action. n Montclair Women’s, 82 Union St., Montclair | June 1, 7 pm Luna’s work often engages contemporary social issues, and is Tickets: www.LunaStage.org or (973) 395-5551‑ frequently accompanied by talkbacks and other educational events.

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New Vaché CD on Tap from Arbors Guitarist Jacob Fisher flew in from Europe recently to record with Warren Vaché at the Samurai Hotel Studio in New York for an upcoming album on Arbors Records. The yet unnamed CD will include duos for the two, along with trio and quartet numbers with bassist Neal Miner and drummer JJ Steve Williams. Alone Together: Jacob Fisher and Warren Vaché recording at Samurai Hotel Studio in New York on April 25. Photo by Mitchell Seidel.

Chick Corea Named Artist in Residence for 39th Detroit Jazz Festival hick Corea, a DownBeat Hall of Famer and NEA Jazz CMaster, as well as the fourth-most nominated artist in Grammy Awards history with 63 nods — and 22 wins, in addition to a number of Latin Grammys, has been named Artist in Residence for the 39th Detroit Jazz Festival (Aug. 31 - Sep. 3). He was in the Motor City recently for a jazz luncheon at The Detroit Atheletic Club, were he was joined by Terry Lynn Carrington and Esparanza Spaulding and ended the day with an intimate solo piano concert at The Dirty Dog jazz club, owned by Carhartt heir and prominent jazz fest booster Gretchen Valade.. Corea will lead several performances­ at the 39th annual Labor Day weekend festival in downtown Detroit,playing in a variety of settings with the Akoustic Band, the Elektric Band and in a sextet alongside the Detroit Jazz Festival Symphony Orchestra. The event brings 350,000 people to downtown Detroit over the Labor Day Weekend. And they keep saying people are Chick Corea poses with Chris Collins, Artistic Director and CEO of the Detroit Jazz JJ fleeing Detroit. Not the jazz fans! Festival at the Detroit Athletic Club on April 11. Photo by Tony Graves.

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ELIEANE ELIAS J .P . Stevens High School in Edison where eleven bands from ten high schools gathered to perform in concert Birdland, NYC | April 10-14 and partake in the clinics presented by the SKLO Pianist/vocalist Eliane Elias has been bringing her Caught in players . adventurous musicianship to audiences here and abroad since arriving in the United States from Brazil Act The highlight of the day was a concert by the SKLO in1981 . While her program at Birdland was billed as a the performed before an enthusiastic audience of students, By Joe Lang CD release of her latest album, Music from Man of La parents and jazz fans . Kenton made it clear in his will Mancha, her program during the first set on April 10 Past NJJS President that he did not want a ghost band carrying his name . was a sampling of songs from this album, as well as Therefore, the SKLO devotes a good portion of its other recent releases . programs to original pieces, mostly by members of the orchestra, that are influenced by the enormous catalog of music left behind by For these shows, bassist Marc Johnson, drummer Tiago Michelin and Kenton . Yes, they do play some Kenton favorites, but most of them have been percussionist Manolo Badrena formed her support . They helped her to provide rearranged for the current performances . an energetic performance that highlighted her considerable chops, vivid improvisatory talent and winning vocalizing . In recognition of the intense patriotism of Stan Kenton, the band opens it She opened with one of the La Mancha tunes, an instrumental take on “To performances with Dale Devoe’s arrangement of “America the Beautiful .” Each His Dulcinea .” Later on she addressed another selection from this score, Among the Kenton favorites that the band addressed for this concert were “A Little Gossip .” Her infusion of Brazilian rhythms to this Broadway score was “Artistry in Rhythm,” arrangement by Kim Richmond, and “Intermission Riff,” infectous . Most of her selections were familiar tunes that were given a unique also a Richmond chart . Among the originals were Scott Whitfield’s “Tales from freshness by her approaches to them . She sang “Brazil” in both Portuguese and the Bus,” “Psyche” by Joel Kaye, and a playful piece by Jennifer Leitham, “The English, to great effect . Her take on “Light My Fire” was interesting, starting off Trash Man Cometh,” presented after a witty introduction by Leitham . at a slow tempo, but ultimately taking it to quicker territory .

“Embraceable You” opened with a long piano intro before the band joined in, Whitfield and Ginger Berglund provided vocal interludes during each set . In the leading to her longing vocal . “Desifinado,” the sole tune by Antonio Carlos first half, they paired up for “Cheek to Cheek” and a medley of “How High the Jobim on the set, included a lovely arco bass interlude by Johnson . She also Moon” and “Ornithology,” Charlie Parker’s tune based on the changes to gave a nod to João Donato with a lively reading of “Sambou Sambou .” “Moon .” In the second set, Berglund sang “Midnight Sun,” using the arrangement created for June Christy by Pete Rugolo . The energy that Elias and her band created made the set pass by feeling far shorter than the time actually consumed . That is what happens when an artist Other highlights included a chart on Ravel’s “Bolero” by Gary Anderson, Kim creates the kind of good time feeling that Eliane Elias engenders in her music . Richmond’s unique take on “Tenderly” and Kaye’s arrangement of “I’m Getting Sentimental Over You .” STAN KENTON LEGACY ORCHESTRA Leader: Mike Vax; saxophones: Kim Richmond, Phil During the break, there was an announcement of the Hilger, Rick Condit, Gary Anderson, Joel Kaye; high school players who were selected by a panel of trombones: Scott Whitfield, Dale Devoe, Dave Keim, judges to be the most outstanding soloists during the Kenny Shroyer, Rich Bullock; trumpets: Mike Vax, wingadelic earlier concerts, and they were brought onto the stage Dennis Noday, John Harner, Jonathan Dane, Greg S early in the second half to join the band for a jam McLean; piano: Charlie Ferguson; bass: Jennifer session take on “C Jam Blues .” It was a thrill for these Leitham; drums: C.E. Askew; vocals: Scott Whitfield, youngsters to have the opportunity to jam with the Ginger Berglund Swing 46, NYC pros, and equally thrilling for the audience to see how J.P. Stevens High School, Edison, NJ | April 20 Every mon, 8:30 effortlessly they held their own with the SKLO players . JUNE, 4, 11, 18, 25 During his lifetime, Stan Kenton devoted much of his The band ended each set with a Kenton classic . The energy to jazz education . This commitment filtered SAT, 9:30; JUNE 23, 30 first half closed with “The Peanut Vendor,” a chart that down to Mike Vax, who held down the lead trumpet has evolved over the 70 plus years since it was first chair on the Kenton band during the early 1970s . Since COMMUNITY CENTER recorded by Kenton . About halfway through the 1991, he has fronted various incarnations of Kenton number, the horns leave the stage, disperse Alumni bands . In recent years, the band has, with the AVALON, NJ throughout the auditorium, and engage in musical approval of the Kenton estate, been performing as the SAT, 7:30; JUNE 16 chaos . To bring the concert to a conclusion, the band Stan Kenton Legacy Orchestra . played its usual closer, Bill Holman’s chart on “Malaguena .” Each year, Vax has assembled a band, including as RUTGERS GARDENS many Kenton alumni as practicable, and taken to the NEW BRUNSWICK, NJ By the evening’s end, it was evident that the spirit of road for a tour of one to two weeks during which they THU, 7:00; JUNE 21 Stan Kenton was alive and well . Mike Vax has done a offer clinics for various high schools on their route, and splendid job of carrying on Kenton’s legacy . May this play a concert in the evening at the site of the clinic . continue on and on and on! This year, it was an East Coast tour that terminated at www.facebook.com/swingadelic

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JAZZ AT LINCOLN CENTER Trombonist Chris Crenshaw turned vocalist for Two of the pieces, “Come Sunday” from the first ORCHESTRA: Black, Brown & “Goin’ to Chicago Blues” and “Every Day I Have the movement and “The Blues” from the second Blues,” giving a nod to Jimmy Rushing on the first, movement have had lives outside of the complete Beige & The Best of Basie and Joe Williams on the second . Other individual work . highlights were tenor saxophonist Julian Lee’s lush Frederick P. Rose Hall, NYC | April 26-28 “Come Sunday” featured Johnny Hodges when reading of “Blue and Sentimental,” and his tenor When you think of the great big bands, the names originally performed . Sherman Irby played the sax pairing with Victor Goines on “Tickle Toe ”. Dan Duke Ellington and Count Basie are among the Hodges role here, and magnificently so, with an Nimmer handled the Basie piano parts with names that first come to mind . The Ellington oeuvre additional contribution from Eli Bishop on violin . aplomb . Marsalis played some hot bebop trumpet has been an integral part of the programming for When Ellington recorded part of the suite on his on “Blee Blop Blues ”. the Jazz at Lincoln Center Orchestra since its 1958 recording, Black Brown and Beige, Hodges inception, and the music of the Basie band has The entire band, driven by the drums of Marion was not on the band, so Ellington had Mahalia frequently been visited by this exceptional Felder gave a representative simulation of the big Jackson perform the piece with lyrics added . It has aggregation . For their most recent program, the band that swung harder than any, that of Count become the most recorded and performed piece JALCO divided their attention between music Basie . from Black, Brown and Beige . associated with these bands . Black, Brown and Beige is a three-movement suite Singers like Helen Merrill and Libby Holman have The first half of the program was focused on the composed by Duke Ellington that musically recorded “The Blues .” On this concert, Brianna Basie book . As the JALCO leader Wynton Marsalis reflected the experiences of black Americans from Thomas, who was emotional and powerful, mentioned in his comments, the Basie band had the days of slavery to the onset of World War II . It is performed the vocal . She possesses of one of the two major periods . The bands that performed under an impressive composition that was not received finest voices on the scene today . with the critical enthusiasm that it deserved when Basie’s name prior to his disbanding the big band Crenshaw called attention to the part of the third it was debuted at Carnegie Hall on January 23, for a smaller band for a couple of years in late 1949 movement called “Sugar Hill Penthouse,” a 1943 . There were a few complete performances of were known as the Old Testament bands . Those composition that he considers one of Ellington’s the work by the Ellington band, and the only bands that were active after he reformed his big finest creations . It is an impressive piece indeed . band in 1952 became known as the New recorded complete performance­ by the band is Testament bands . from the original Carnegie Hall concert . As on the Basie portion of the program, the band performed Black Brown and Beige with impressive The material, as performed by the JALCO was On Saturday evening, the JALCO gave a taste of cohesiveness and power . This was a rare somewhat edited for this occasion, but included both periods during their nine-song Basie program . opportunity to hear this music performed live, and enough of the original score to give a fair The first three numbers were from the early period, the performance certainly met, and likely exceeded, representation of the power of the piece, and the “Jumpin’ at the Woodside,” “Goin’ to Chicago the expectations of those fortunate enough to be creative genius of Ellington that brought it to Blues” and “Topsy .” They then turned to one of the resent . classic New Testament numbers, the Wild Bill Davis fruition . While Count Basie and Duke Ellington are no longer arrangement of “April in Paris,” before returning to Chris Crenshaw conducted the orchestra for this with us, their music lives on, and the JALCO is the earlier book for “Blue and Sentimental” and performance . He prefaced each of the three certainly doing their part to keep this music alive in “Tickle Toe .” The Basie set concluded with more movements with commentary explaining the from the latter band, “Every Day I Have the Blues,” ways that emphasize the magical musical worlds significance of each movement and its parts . JJ “Shiny Stockings” and “Bee Blop Blues .” that they created .

Jazz trivia Answers questions on page 4

1. The clarinetist’s theme song was “Nightmare,” and he described himself as 4. Ella’s marriage to bassist Ray Brown (1947-53) was her second. A first union “a very difficult man.” His eight wives would no doubt concur. Among them was annulled after a year when the husband turned out to be a drug dealer. were Hollywood superstars Lana Turner (1939-40) and Ava Gardner (1945- There are reports she married again in 1957 but the young Norwegian was 46). soon convicted of theft from a previous fiancée. 2. His second marriage was to Lil Hardin, his pianist colleague in King Oliver’s 5. After three failed marriages, Prima in 1953 wed Keely Smith, singer in his band, in 1924, and she helped propel his career as a bandleader. But they band since 1948. She filed for divorce in 1961. He and the former Gia separated in 1931 and divorced in 1938. Armstrong’s fourth marriage to the Maione, his fifth wife, had a son, bandleader Louis Jr. former Lucille Wilson lasted from 1942 until his death in 1971. 6. He married the great singer and activist Miriam Makeba in 1964, but the 3. James’ second marriage, to actress and WWII pinup star Betty Grable, was union lasted just two years. One of three subsequent marriages was to Chris the longest-lasting (1943-65). Calloway, daughter of bandleader Cab Calloway.

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Other Views By Joe Lang Past NJJS President precision and warmth, nicely captured by the sound supervisor, Jim Baldree, hey keep coming, so I keep listening and writing who also holds down the bass trombone seat in the band . They provide about them — CDs that is . T instrumental versions of “Swing, Swing, Swing,” “All the Things You Are,” “Gold n Ain’t It Grand? (self-produced) is a two-disc set Coffee” and “Giant Steps ”. Livin’ the Canary Life is fun from start to finish, and by THE GLENN CRYTZER ORCHESTRA, and it those inclined toward cutting a rug will find this music perfect for that purpose . certainly lives up to its title . Crytzer, who also plays (www .cdbaby .com) guitar and banjo, is among the leaders who are n There have been a handful of jazz pianists who have stood above their peers adapting the style of music from earlier eras, the 1920s through the 1940s, for for their awesome combinations of chops and creativity . Certainly OSCAR current audiences, and finding success, particularly with swing dance enthu­ PETERSON is among that select few . Peterson’s recorded output was exten­ siasts . For this outing, his 15-piece band plays a mix of vintage material like sive . Toward the earlier part of his association with Norman Granz, Peterson “Black Beauty,” “When I Get Low, I Get High,” “A String of Pearls,” “Jive at released a series of ten albums between 1952 and 1954 that were each Five,” “Rhythm Is Our Business,” “Jubilee Stomp,” “The Mooche” and devoted to playing the music of a different popular composer . The songwriters “Massachusetts,” with 13 original Crytzer tunes that fit seamlessly into the were Cole Porter, Irving Berlin, George Gershwin, Duke Ellington, Jerome Kern, program . His arrangements are superb . The band is tight, swinging and excit­ Richard Rodgers, Vincent Youmans, Harry Warren, Harold Arlen and Jimmy ing . The recordings are new, but have the feeling and some of the sound of the McHugh . This music had been complied on a five-disc set titled Oscar better-recorded records of the earlier eras represented . Hannah Gill, Dandy Peterson Plays (Verve – 5380361) . These are all trio recordings with Peterson Wellington and Crytzer, each of whom would have found a welcome home with on piano, Ray Brown on bass and either Barney Kessel or Herb Ellis on guitar . the period aggregations, nicely handle the vocal chores . If you dig the sounds This format, one made popular by Nat “King” Cole, another special player and of these earlier eras, you will find constant delight in visiting the music by an influence on Peterson, was well suited to givinging Peterson the kind of Crytzer and his crew found on this set . (GlennCrytzer .com) freedom that allowed his genius to flourish . For this series, Peterson always n When Sergei Prokofiev composed Peter and the Wolf (self-produced), he kept the melody of each tune in the forefront, but added his unique vision to never could have imagined the super-hip treatment that was to be given to this each of them . Of course, with material like that created by these great iconic piece over 80 years later by THE NEW ENGLAND JAZZ ENSEMBLE composers, he had a fertile playground on which to work his magic . This is and vocalist GIACOMO GATES . With Gates reciting his own version of the must have material for those who love the Great American Songbook, story, this jazzy interpretation of the classic Prokofiev piece is a joy to hear . especially the special ways that jazz musicians enhance it . (www .amazon com). Gates is one of the few true hipsters left on the scene, and this is reflected in n When they were both located in the New York City area pianist LENORE his reworking of the libretto . It retains the appeal of the original, but is probably RAPHAEL and guitarist DOUG MacDONALD played occasional gigs together . better geared to keeping the attention of today’s youth . The band does a That changed when both relocated . About two years ago they reestablished marvelous job of representing the animals, playing the arrangement by pianist contact in Los Angeles where MacDonald resides, and renewed their musical Walter Gwardyak . To augment the music on the album, trumpeter/conductor relationship . Recognizing that they had a natural affinity, with Raphael strongly Jeff Holmes has also created a piece, based on lines from the Prokofiev score, influenced by Oscar Peterson, and MacDonald by Peterson’s one time musical titled “Serge’s Birds,” and an original composition, “Wolves .” Saxophonist John partner Herb Ellis, they found it a natural next step to record an album Mastroianni has done similar work, basing “Power Serge” on Prokofiev’s music, together . The satisfying results can be found on Reunion (Swingin’ Fox) . and creating an original composition titled “Waltzing with Wolves .” This is a Hilliard Greene on bass and Dwayne “Cook” Broadnax on drums join them for a dynamic package that will delight listeners of all ages . It would not be surpris­ tasty ten-tune program . The songs include “Perdido,” “You Stepped Out of a ing to hear that jazz ensembles all over the country will be inspired to recreate Dream,” “Moonlight in Vermont,” “Alone Together,” “Tenderly,” “Emily” and this music, and, if they are wise, will import Gates to their cities to lend his “Tangerine,” plus Raphael’s hard swinging “Are You Ever Gonna Agree with unique presence to their presentations . (www .neje .org) Me,” and two MacDonald tributes to their inspirations, “Blues for Herbie and n THE ANGEL CITY BIG BAND, under the direction of founder/baritone Oscar,” and “Ballad for H .E . and O .P ”. Raphael and MacDonald both play with saxophonist Tim Miller, featuring vocalist BONNIE BOWDEN is a straight- rollicking good spirit, and are well supported by Greene and Broadnax . This is ahead, swinging Los Angeles area big band . Their delightful new album, Livin’ highly accessible and enjoyable straight ahead jazz that conveys the joy that the Canary Life (self- produced) has a dozen selections with Bowden’s vocals these musicians took in their musical meeting . (www swinginfox. .com) on eight of them . The arrangements are by the likes of Mark Taylor, Patrick n At the request of composer Mitch Leigh, pianist ELIANE ELIAS undertook Williams, John Clayton and Sammy Nestico . The star of the album is vocalist the project of adapting songs from Leigh’s score for his most well known show . Bonnie Bowden . She has a lovely soprano voice that envelops each lyric with The results can be found on Music from Man of La Mancha (Concord Jazz – the kind of richness that sets the good singers apart from the pack . Dig her 000099), recorded in 1995, but held unreleased until this year due to rendering of the hip title tune, a previously unrecorded gem with words by contractual complications . On four of the tracks Elias had the company of Arthur Hamilton and music by Patrick Williams, who wrote the chart, as he did bassist Marc Johnson and drummer Satoshi Takeishi, while bassist Eddie for Bowden’s fine take on Hamilton’s classic “Cry Me a River .” She also brings Gomez and drummer Jack DeJohnette appear on the other five selections . her special feeling to “Till You Come Back to Me,” “I’m Gonna Live Till I Die,” Percussionist Manolo Badrena is present on all tracks except “It’s All The “You Are So Beautiful,” “Do Nothin’ Till You Hear From Me,” “How Deep Is the Same .” Elias has approached the score with a variety of Latin and Brazilian Ocean” and “From This Moment On .” The band executes the charts with

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musical settings . The driving force throughout is the drums, all musicians has chosen an eclectic mix of creative pianism that Elias has in abundant supply . based in the Knoxville, tunes that includes an She can be strongly assertive or touchingly tender Tennessee area . Terry adaptation of Beethoven’s “Für depending on the nature of the song . She captures Vosbein, a professor in Elise,” “I Never Knew,” “I Didn’t the swagger of “Man of La Mancha (I Don Quixote),” the Music Department at Know About You,” “Achtung” by and takes a somewhat whimsical approach to the Washington & Lee Illinois Jacquet, and Monk’s anthemic “The Impossible Dream,” gradually University, has provided “Little Rootie Tootie,” plus two building the intensity toward a conclusion that is the catchy arrangements­ . originals­ by Colianni, “Blues for surprisingly understated . Whether or not you are Not having been an avid Naomi” and “Sunset in Santa familiar with the source material, Elias has created television watcher, many Fe,” and one by John David a musical adventure that draws you along with its of the themes that are Simon, “See Saw .” Simon and variety and imagination . (concordrecords .com) familiar to most viewers Stewart carries on a jazz tradi­ from shows such as tion, a two tenor front line, and n FRED HERSCH has been among the most Monk, The Muppet Show, they do so with exciting results . acclaimed jazz pianists of the last several decades . The Mary Tyler Moore Colianni’s charts open lots of His combination of dexterity, imagination and Show, Frasier, Maude, blowing room for all the players, originality places him on a special plateau . His Jeopardy, Night Court, and he takes his solo moments latest trio release Live in Europe (Palmetto The Jeffersons, Chico and to demonstrate why his pianism -2192) was recorded at the end of his European the Man, Mannix, Sanford is so widely admired­ . Fun musc tour in late 2017 . On their next to last concert, they and Son, and The is a good description of what performed at the Flagey Studio 4 in Brussels . Rockford Files, are new you will find on I Never Knew . Hersch felt that this concert was one of the best of to my ears . This is not a (www .pxrec .com) the tour . As he said, “The band was in terrific detriment to enjoying the playing form, the acoustics were perfect and the n It is interesting how enduring clever writing of Vosbein, piano was outstanding .” Fortunately, the the Gypsy jazz, that came to and the musicianship of performance was recorded, and is now commer­ international attention through the players . While having cially available . The ten-song program by Hersch, the music of Django Reinhardt, the “Theme” theme to bassist John Hébert and drummer Eric McPherson Stéphane Grappelli and the give the album a concept­ reflects the cohesion that evolves from almost a Quintette du Hot Club de is a good one, this is decade of playing together . Each player contributes France, has been . Groups music that can be equally to the excitement that they generate . The inspired by this music are found enjoyed on its own merit, program comprises six very different Hersch throughout the world, particu­ unrelated to its origins . It compositions plus two each by Thelonious Monk, larly in Europe and the United should find some prime “We See” and “Blue Monk,” and Wayne Shorter, States . Since 2000 there has time in your listening “Miyako” and ‘Black Nile .” The mood shifts from been an annual Django rotation . (maxfrankmusic . selection to selection keep the listener alert, as the Reinhardt NY Jazz Festival at com) music takes surprising and interesting turns . This is Birdland in New York City . THE maybe best described as intellectual jazz . This is n Pianist JOHN DJANGO FESTIVAL not meant as an off-putting term, but one that COLIANNI has a nicely ALLSTARS, with a lineup of describes music that is best absorbed and apprec­ swinging and original Samson Schmitt on lead guitar, iated when the listener concentrates attentively to sound going on I Never Pierre Blanchard on violin, the sounds coming from the players . Hersch always Knew (Patuxent – Ludovic Beier on accordion and challenges his listeners, but always in an engaging 309) . He leads a sextet accordina, Philippe “Doudou” manner that draws you in with his exceptional with tenor saxophonists Cuillerier on rhythm guitar and creativity . Live in Europe is a stunning example of John David Simon and vocals and Antonio Licusati on his musical genius . (www .palmetto-records .com) Grant Stewart, guitarist bass, have just released Matt Chertkoff, bassist Attitude Manouche n Prime Time (Max Frank Music – 007) is a Ralph Hamperian and (Resilience Music Alliance) . collection of a dozen television theme songs played drummer Bernard The 11-song program includes by an octet led by trombonist TOM LUNDBERG . Linnette . You do not three originals by Schmitt, two The group comprises Lundberg on trombone, Will often hear selections by by Blanchard, three by Beier, Boyd and Doug Rinaldo on reeds, Bethany Hankins Beethoven and one by Cuillerier, and on violin, Ben Dockery on keyboards, Harold Nagge Thelonious Monk on the “Main Theme from Schindler’s on guitar, David Slack on bass and Keith Brown, same album, but Colianni List ”. Fans of this music will continued on page 40

June 2018 ______39 ­­JerseyReviewsJazz other views continued from page 39 hear exciting examples of the current Gypsy jazz scene . The music has retained “If We Never Meet Again,” the ethos of that produced by Reinhardt and Grappelli . It is mostly up-tempo “Everything But You” and with an occasional turn toward sweet interludes . These players are among the “New Sun in the Sky,” are best on the scene, and are doing a superb job of carrying on this ever- superb tunes that stay well appealing jazz genre . (www .djangofestivalallstars .com) under the radar . Special mention needs to be made of n If you have an opening on your Desert Island Disc List, you will certainly want the closing track, “Rainbow to include Cheek to Cheek: The Complete Duet Recordings (Verve Hill,” a lovely selection by – B0026763), a four-disc set of the pairing of ELLA FITZGERALD & LOUIS Billy VerPlanck that Sherman ARMSTRONG . If your list is complete, you had best decide which one should recorded as a special surprise be replaced by this set . It simply does not get any better than hearing these for the late Marlene two geniuses playing off each other with sincere affection and simpatico VerPlanck, with sole support musicianship . It could serve as an oral textbook for aspiring jazz singers . The from bassist Boots Maleson . set comprises the eight singles that they recorded for Decca, plus the complete On the rest of the album, albums Ella and Louis, with the Oscar Peterson Trio plus Buddy Rich, Ella and Sherman also has support Louis Again, with Peterson’s Trio plus Louis Bellson, and Porgy and Bess, with from Vappie on guitar and banjo, Jesse Boyd on bass and Jon-Erik Kellso on the Russ Garcia Orchestra, on three discs . The fourth disc is a compilation of a trumpet . Kellso is one of the horn players who truly understands how to three live radio and concert performances, and various partial and alternate embellish a vocalist’s efforts without getting in the way . There is a lot of pure takes from the singles, Ella and Louis Again, and Porgy and Bess . Most jazz pleasure to be found on Lost in a Crowded Place . (www jazzology. .com) enthusiasts are familiar with much of this material, but having it all in one place with spectacular remastering, and an informative pair of booklets containing an n Vocalist SHIRLEY CRABBE was unknown to me before her new album insightful essay by Armstrong scholar Ricky Riccardi in the first, complete Bridges (MaiSong Music & Entertainment – 2018) arrived in the mail . recording information, and the liner notes from the original albums in the Once she started singing, her voice was immediately appealing . It has a second, is something that cries out to join your music library . welcoming character that lasted throughout her ten-song program . There are (www .amazon .com) familiar tunes like “Isn’t This a Lovely Day,” “Taking a Chance on Love,” “I Didn’t Know What Time It Was” and “The n The clever cover photo of the new Windmills of Your Mind .” The title song album by vocalist/pianist DARYL by Milton Nascimento is a fine one that SHERMAN, Lost In a Crowded has been recorded by artists like Tony Place (Audiophile – 357) finds Bennett and Astrid Gilberto . Also Sherman in a spectacular red outfit included are Billy Joel’s “And So It seated at a piano with a crowded Goes,” “Thief in the Night “ by Dietz Grand Central Station lobby in the and Schwartz, and two original tunes background . A rare song of the same by Crabbe and pianist Donald Vega name by Barbara Carroll and Irving who appears on seven of the ten Caesar is the source of the title . tracks . Other musicians participating Finding good obscure songs is one of are trumpeter Brandon Lee, pianist Sherman’s many talents . In addition to David Budway, bassist Clovis Nicolas, being a fine singer who knows how to and drummers Ulysses Owens Jr . or extract the essence of each lyric that Alvester Garnett . There is also a string she sings, and a wonderful jazz pianist, quartet adding a nice touch . Crabbe’s Sherman is also adept at creating is a voice that has plenty of power that appealing melodies and literate lyrics . she uses selectively . Her controlled Her opening track, “The Land of Just approach to vocalizing feels natural, as We Two,” is a charmer, and her hip does her innate sense of how to get to lyrics for the Turk Mauro tune the heart of the lyrics . Crabbe’s closing “Turkquoise” is one that should find take on the hymn “Blessed Assurance” homes in the repertoire of other jazz- brings the program to a inspirational oriented vocalists . The program’s two conclusion . Shirley Crabbe is a singer most frequently heard numbers are who deserves wide recognition, and “You Go to My Head,” an effective this album should help her garner just vocal duet with guitarist Don Vappie, that . (www shirleycrabbe. .com) JJ and “Stars Fell on Alabama .” The other songs, “At Sundown,” “Azalea” (a real rarity by Duke Ellington), “The Lorelei,”

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Klezmer Brass All-Stars, Hungry March A FESTIVAL IS BORN! Band, Drumadics Beat-n-Brass Band, Sugartone Brass Band, Louis Armstrong SAVE THE DATE! Eternity Band, Gato Loco – “The The 1st Annual New York Brass Festival Enchanted Messa”, Nola On The Hudson June 10, 2 pm-12 am @ The McKittrick Hotel Second Line With Mariel Bildsten Band Co-presented by the New York Hot Jazz Festival and Trans-Global Fanfare All-Star Jam and The McKittrick Hotel. With Matt Moran with more to come! ere is the number one news the Hot The New York Hot Jazz Festival was HJazz NYC people can’t contain their launched in 2013 as a day-long celebration excitement about sharing with you. for New York’s hot jazz, swing, and Jazz Manouche communities, but has “It was our love of the sound of brass that expanded its mission beyond the annual made us fall in love with New Orleans hot marathon to year-round presentations of jazz. So, on Sunday June 10, we’re making and advocacy for traditional (pre-bop) New York music history by teaming up with the McKittrick to jazz through various collaborations and partnerships, which include launch the NEW YORK BRASS FESTIVAL — a music festival and curation and co-presentation of special programs at Central Park dance party celebrating universal language of brass band music in SummerStage, Jazz at Lincoln Center, Symphony Space, and Catskill an blowout 10-hour marathon at the Mckittrick Hotel (Home Of Jazz Factory, as well as curation of an annual dedicated NY Hot Jazz Sleep No More and, as of the past two years, home of the New York Fest Stage at NYC Winter Jazzfest. Hot Jazz Festival.) The NYHJF has spearheaded a number of original projects and At least 10 of the most exhilarating brass ensembles in New York, facilitated in creation of several new bands, such as Gotham Kings, will play for 10 hours on Sunday, June 10 at the McKittrick’s Gotham SophistiCats and the Mahogany Hall Pleasure Society Jazz magical Heath and transporting rooftop garden paradise Gallow Band. The Festival and the production company behind it are Green, turning the festivities dial all the way up to 10! In short, 10 spearheaded by director/founder Michael Katsobashvili, and on 10 for 10. How can you forget? associate producer Jennie Wasserman. Scheduled at press time are: Slavic Soul Party, Frank London’s Mor informatiuon at www.nyhotjazzfest.com. JJ

at Riverview-Fisk Park on June 9 with a free Sweet Kiss Lemonade, Gusti di Sicilia, Eight-Day Jersey all day festival with food trucks, vendors, Choiselle, The Pink Bazaar, 37 Ferns, Moxie City Riverview Jazz record riot and two stages. Performers Sorbet Designs, Vintage by Heidi, Sol include Grammy nominated Doug Beaver’s Infusions Potions & Punches LLC, Kim Festival Begins on Art of the Arrangement Salsa Orchestra, O’Hara Designs, Charley and Hudson, Wallace Roney Group, Lakecia Benjamin, Maggie’s Farm, Leigh’s Art Shop, 8andone, Friday, June 1 Rob Curto’s Forró For All, Winard Harper Uriel Home + Life, Caviar Noir Jewelry, & Tap Sensational, Brian Charette’s Cameo Nouveau and more! he Exchange Place Alliance & RJO Kürrent, Andrea Brachfeld & Insight, and present the 6th annual 2018 Riverview The Riverview Jazz Fesyival s free to the T Spirituals Reimagined feat Walter Parks & Jazz Festival. The eight-day event kicks public. Organizers say the event has been Vivian Sessoms. off June 1 at J. Owen Grundy Pier on the responsible for giving many people their Jersey City waterfront. Performing will Art at the Gazebo sponsored by Young first true taste of the wide world of jazz. As a be the Riverview Jazz Brass led by Andrae Masters Children’s Art class takes place non-profit, RiverviewJazz.Org aims to build Murchison, ZT Amplifiers from 1-5 pm Children will be audience for America’s original art form by

Artist Showcase (featuring Jersey Jazz is an NJCSPJ invited to come up to the introducing this incredible music in a Vic Juris, Dave Stryker, and “Excellence in Journalism” table to draw what they see of creative, fun, and relaxed setting. You can Charlie Apicella), Gato Loco, Award-Winning Publication the Jersey City, Hoboken, support their efforts and help to defray the Johnny Rodriguez Dream NYC skyline. $70,000 festival costs and get special VIP festival packages by contribing to their Team and DJ Prestige. Vendors that will be there IndieGoGo campaign for discounts on include Empanada Monster, There are over 40 tickets. performances throughout Koro Koro Rice Ball, Venti Hudson County during the Italian Specialties, Angry For complete information and full festival JJ week-long festival culminating Archie’s, Booza Organic Ice schedule visit www.riverviewjazz.org. Cream, The Brownie Bar,

June 2018 ______41 JerseyEventsJazz ’Round Jersey the hub of a thriving series of midweek Morris Jazz jazz concerts, mainly due to the number The Bickford of retirement communities in Ocean Theatre at the Morris County . Bruce got the green light from Museum, Morristown Tickets/ Ocean County College and MidWeek Jazz Information: 973-971-3706 was born . Bruce ran the series diligently for a decade, even moving it to nearby It is the month of June, The month of Ocean County Library when the College’s leaves and roses, When pleasant sights theater was undergoing renovations . salute the eyes, And pleasant scents the noses. In 2013, Bruce decided to retire from — N. P. Willis (1807-67) concert producing and I was an honored to be named as his successor to bring And lively, pleasant music fills the ears, traditional jazz and swing to my home­ hearts and souls as the summer beckons Juliana Areias town of Toms River . It’s been a wonderful us to celebrate! What more can be said experience but all good things must come about the fourth annual June reunion on to an end and the final MidWeek Jazz Monday, June 4 at 7:30 pm . contemporary Latin Jazz musical fusion which is show will take place on June 20 . taking the Australian and the International music Neville Dickie, one of the world’s foremost scene by storm . Celebrating 60 years of bossa nova In the “going out with a bang” department, the exponents of stride piano and boogie woogie, will music, she will bring her current Bossa Nova Baby series will end with a roof-rattling performance by be joined by the incomparable Midiri Brothers for Tour to the Bickford Theatre on Friday, June 15 at The Jazz Lobsters Big Band, one of the most an evening of jazz that’ll get your hands clapping 7:30 pm . popular regular attractions in the history of and your feet tapping . Equally respected in Britain MidWeek Jazz . Led by pianist and arranger James and the United States of America, Neville Dickie has Juliana’s show features original songs and exclusive Lafferty, this powerhouse unit is comprised of made a name for himself on both sides of the pond arrangements of bossa and samba hits such as personnel from the tri-state area and is adept at with his Waller style of playing: a rumbling left hand “Mas Que Nada”, “Waters of March” and “The Girl exploring the entire gamut of big band music, from providing counter-melodies to the sparkling from Ipanema .” When she was a teenager, she was Benny Goodman (“Sing, Sing, Sing” is always a improvisations on the right . Today, Dickie continues introduced to the Bossa Nova founders by favorite, featuring clarinetist Audrey Welbery- to entertain crowds all over the UK and his band legendary Brazilian music historian and journalist Lafferty) to Latin Jazz to more modern “The Rhythmakers” is always in demand . Dickie has Ruy Castro who also named her “The Bossa Nova arrangements by the likes of Quincy Jones . The Jazz produced scores of records and can be heard on Baby .” This experience inspired her to become a Lobsters will also be featuring popular Brooklyn- hundreds of jazz recordings, as well as several professional singer and songwriter . born vocalist Tony Corrao, winner of the 2015 recordings with the French pianist, Louis Mazetier . Juliana will be backed by a quintet led by Wesley Hoboken Sinatra Idol contest . The Jazz Lobsters He regularly tours in Switzerland, France, Belgium lima de Amorim (guitar), with Jorge Continentino were the longtime holder of MidWeek Jazz’s and Germany as well as here in the U .S . (sax/flute), Itaiguara Brandão (bass), Oriente attendance record so getting tickets in advance is The Midiri Brothers with Paul Midiri (vibes, drums Lopez (piano), and Samuel Martinelle (drums) . recommended especially since this will be the and trombone) and Joe Midiri (clarinet and sax) are series finale . Tickets: $20 Museum Members, $25 Non-Members a class act all to themselves let alone teaming up (reserved seating). But now the good news: it will not spell the end of with this stride piano sensation . As regular jazz at Ocean County College . Feedback from loyal performers at jazz festivals across the nation, the Summer JazzFEST opens on July 12 with Danny attendees showed that it was actually the Midiri Brothers have entertained audiences with Bacher and His All-Star Band…and the popular food “midweek” part of MidWeek jazz that proved most their creative style and energy . They have been trucks will return to complete the picnic and problematic, as many folks did not like to drive late featured at many west coast jazz festivals including festival atmosphere . Stay tuned for next month’s at a night on a weeknight . So we have listened to Mammoth Lakes Jazz Festival, Monterey Jazz magazine . — Eric Hafen the fans and will be debuting a new series in July, Festival, The Pismo Jubilee By The Sea Jazz Fest, pm and are assigned seating; “Jazz On a Sunday Afternoon.” This series will Redwood Coast Music Fest, and Sun Valley Swing- All shows start at 7:30 for best seats, order early. feature the same 90-minute, single set setup as n-Dixie Jazz Jubilee, as well as from Chicago to MidWeek Jazz, but will now take place at 3 pm on Florida . Last past three season’s concerts were Sunday afternoons . sensational and jam packed . Don’t be left out of Jazz For Shore these terrific jazz all-stars! Because my Louis Armstrong-related duties have Midweek Jazz at the Arts & made me the busiest person in show business, I’ll Tickets: $17 Museum Members, $18 Non-Members, Community Center at Ocean be splitting duties in planning and producing the $20 at the Door (open seating). County College, Toms River Tickets/ Jazz on a Sunday Afternoon series with Sandy Dubbed the ‘Bossa Nova Baby’, Juliana Areias, a Information: 732-255-0500 Josephson, the esteemed jazz historian, author and Perth-based Brazilian singer-songwriter and Fifteen years ago, the great New Jersey jazz lover, concert promoter who now calls Toms River his multiple award finalist, brings a new edge to promoter and producer Bruce Gast identified Toms home . The first two shows are mine, though, and traditional Brazilian rhythms — creating a River, New Jersey as a spot with the potential to be will feature return appearances from two groups

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who were a hit with the MidWeek Jazz audience, David Ostwald’s Louis Armstrong Eternity Band on July 29, and Cynthia Sayer’s Joyride Quartet About NJJS on September 30 . We will have more information on those and other Jazz on Mission Statement: The mission of the New Jersey Jazz Society is to promote and a Sunday Afternoon concerts in upcoming issues, but special thanks to Bruce preserve the great American musical art form known as Jazz through live jazz performances and educational outreach initiatives and scholarships . Gast, Roberta Krantz, Mark Wilson, John and Sue Tomasura and all the To accomplish our Mission, we produce a monthly magazine, JERSEY JAZZ, sponsor wonderful musicians (many who made the trek from New York City) who live jazz events, and provide scholarships to New Jersey college students studying have performed during my five years at the helm of MidWeek Jazz . Looking jazz . Through our outreach program, “Generations of Jazz,” we go into schools to teach students about the history of jazz while engaging them in an entertaining and forward to working with Sandy and making the Sunday afternoon series a ______interactive presentation . success at Ocean County College…more to come! Founded in 1972, the Society is run by a board of directors who meet monthly to conduct the business of staging our music events, awarding scholarships to New — Ricky Riccardi Jersey college jazz students, and conducting Generations of Jazz programs in local school systems, among other things . The membership is comprised of jazz All shows 8–9:30 pm; $22 admission, $18 for seniors and $12 for students. devotees from all parts of the state, the country and the world . The New Jersey Jazz Society is a qualified organization of the New Jersey Cultural Trust . Visit www.njjs.org, e-mail [email protected] for more information on any of our Jazz At The Sanctuary programs and services: 1867 Sanctuary at Ewing e-mail updates Student scholarships Pee Wee Russell Memorial Stomp 101 Scotch Road, Ewing Collaborative Jazz Concerts: Tickets/Information: 609-392-6409 Ocean County College Bickford Theatre/Morris 1867 Sanctuary at Ewing NJJS supports JazzFeast presented by Palmer Square, Downtown Princeton . Jack Furlong Quartet NJJS is a proud supporter of the Morristown Jazz & Blues Festival, the NJCU President’s Jazz Festival in Jersey City, and more . Member Benefits What do you get for your dues? n Jersey Jazz Journal — a monthly journal considered the best jazz society publications in the country, packed with feature articles, photos, jazz calendars, upcoming events and news about the NJ Jazz Society . n FREE Jazz Socials — See www .njjs .org and Jersey Jazz for updates . n Musical Events — NJJS sponsors and co-produces a number of jazz events each year, ranging from intimate concerts to large dance parties and picnics . Members receive discounts on ticket prices for the Pee Wee Russell Memorial Stomp . Plus there’s a free concert at the Annual Meeting in December and occasionally other free concerts . Ticket discounts (where possible) apply to 2 adults, plus children under 18 years of age . Singles may purchase two tickets at member prices . The New Jersey Jazz Society co-sponsors jazz events at 1867 Sanctuary at n The Record Bin — a collection of CDs, not generally found in music stores, Ewing and members receive a $5 discount on admission . This Romanesque available at reduced prices at most NJJS concerts and events and through mail order . Revival church hall has exceptional acoustics, padded seating and is n wheelchair-accessible . Concerts are either one 90-minute set, or two sets FREE listings — Musician members get listed FREE on our website . with intermission . Free light refreshments (including cookies!) are served . Join NJJS June 6: Alex Otey Trio MEMBERSHIP LEVELS Member benefits are subject to update . June 8: Darla Rich Quartet n Family/Individual $45: See above for details . June 9: Doris Spears n Family/Individual 3-YEAR $115 See above for details . June 13: New Jersey Jazz Quartet n Youth $15: For people under 21 years of age . Be sure to give the year of your birth on the application where noted . June 16: Carrie Jackson n Give-a-Gift $25: Members in good standing may purchase one or more gift June 17: Richie Cole Alto Madness Orchestra memberships at any time for only $25 each . Please supply the name and address of giftee . Good for new memberships only . June 18: Lucas Brown Quartet n Fan ($75 – $99/family) June 21: B.D. Lenz Trio n Jazzer ($100 – $249/family) n Sideman ($250 – $499/family) Members at Jazzer Level and above June 23: Jack Furlong Quartet — Bob Kull receive special benefits . These n Bandleader $500+/family) change periodically, so please $20 for general admission and $5 for students with ID. Group tickets (10 or n Corporate Membership ($1000) contact Membership for details . more in advance) are $15 each. Tickets are available online, at the box office 609-392-6409 or by email: [email protected]. To receive a membership application, for more information or to join: Call 973-610-1308 or email [email protected] OR visit www.njjs.org or simply send a check payable to “NJJS” to: New Jersey Jazz Society, ’Round Jersey concerts are produced in conjunction c/o Mike Katz, 382 Springfield Ave . Suite 217, Summit NJ 07901 . with the New Jersey Jazz Society.

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From the Crow’s Nest By Bill Crow

il Evans developed The lady next to Chuck was gaping. concert in Ames Iowa. Quietly (timed with his composing G “Man, I thought you were pretty hip, but I the rhythm section), I clicked a few shots. and arranging chops can’t believe a young white dude knows Back then, I didn’t know one sideman from back in the late 1940s about Wardell Gray! That’s too much!” another. writing for the Claude Fast forward to 2010, when I took a print to Thornhill band. I’ve Just then Annie came on, and announced the Elkhart jazz fest, to give to Dave Bennett, always loved an instrumental­ arrangement that she was going to open with “Twisted,” who has been called “The new Benny he did for Claude of a ballad by John Benson and wanted to dedicate it to Wardell Gray’s Goodman” Brooks called “The Happy Stranger.” I was widow, “sitting over at the bar with those glad to find it on YouTube recently, and I two white boys.” “Thanks, man!,” he said, “Did you print one posted it on Facebook. He made wonderful Chuck said, “She got treated like a queen all for Bucky? That’s Bucky sitting behind use of Claude’s French horns and bass night, and went backstage at intermission Benny!” clarinet, re-harmonizing a simple melody to with Tony Bennett and other stars that were The next day I saw Bucky, who said sure, give it amazing colors. in the house, while I was still just sitting he’d like a print, and wrote his address for I was staying at John Brooks’s Riverside there swallowing my tongue. Glad I knew me to send it. I got a very nice thank you Drive apartment in 1950 when the record my stuff.” note, written in nice feminine company released Claude’s recording, and I n Pete Hyde found a story in penmanship, not Bucky’s shaky went downtown to a record store for him a biography of Bunny printing. (I don’t think my and got the record. John put it on his record Berigan by Michael Zirpolo, printing would be very good player and we began to listen. After four bars and passed it along to me. either, after a hundred million he snatched up the needle and said, “That On the road in 1937, Bunny’s rhythm guitar strokes.) The sonofabitch! I spent a month trying to get road manager, George Stacy, note listed the rest of the sextet, that quality into this tune, and Gil does it sometimes had an unusual including George Duvivier, bass, better in four bars!” Then he played it all the duty to perform with and Peter Appleyard, vibes. way through with a big smile. Bunny’s band, besides all the n When Scott Robinson was on n Spider Robinson, a Canadian writer friend details of seeing that the band the road in Germany last year of mine, has a sax and clarinetist friend was set up and properly with Ryan Keberle’s band, there named Chuck Currie who told him about an presented and paid. Every was a big discussion in the tour encounter he had while visiting the Vine night, after the final high van about music streaming and Street Bar and Grill in Hollywood in the note of his closing theme, the effect that services like early 1990s. Annie Ross was singing there, Bunny would throw his horn Spotify have had on the scene. doing a welcome-back show after an back over his head, high in Finally bassist Jorge Roeder extended stay in England. the air, and Bob Walker, the spoke up: “I think there should band boy, was supposed to be a new streaming service Chuck and a friend got the last two seats at catch it behind the stand. where all the music has to be the bar, next to a very hip elderly African Now and then he would approved in advance by Scott. American lady with a voice deeper and more miss, and Stacy would be It’ll be called Scottify!” gravelly than Louis Armstrong’s. Chuck faced with the problem of chatted with her for a bit, and when she n Jeanie Perkins told about a finding a trumpet for the realized how much he was into music, she friend whose mother had been a next gig. He said, “How in warmed up to him. Then he told his buddy well-known opera singer. Now hell do you find a trumpet in that Annie would probably sing “Twisted.” suffering from Alzheimer’s “Nowheresville” dementia, she is in a very good His friend said, “You mean the Joni Mitchell Pennsylvania on a Sunday special care facility that fre­ song?” Chuck laughed. morning?” quently­ checks up on and “No, man, Joni just covered it. Annie wrote n I recently got this note evaluates the needs of their the words thirty years ago, but it wasn’t her from Dick Burd: patients. They recently gave her melody. It was from a sax solo by Wardell Around 1973, I sneaked my an especially long survey to fill Gray about ten years before that, when Joni camera into a Benny out. The mother said, “So many was about six years old.” Goodman/NY Philharmonic questions! These reporters are just getting too NOSY!” JJ

Bill Crow is a freelance musician and writer. His articles have appeared in DownBeat, The Jazz Review, and Gene Lee’s Jazzletter. His books include Jazz Anecdotes, From Birdland to Broadway and Jazz Anecdotes: Second Time Around. The preceding is reprinted with permission from Allegro, the monthly magazine of AFM Local 802.

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What’s New? Members new and renewed e welcome all those who recently joined NJJS or renewed Wtheir memberships. We’ll eventually see everyone’s name here as they renew at their particular renewal months. Members with an asterisk took advantage of our three-years-for-$115 membership; new members with a † received a gift membership. Members who joined at a patron level appear in bold type.

Renewed Members George Morgan, Ethel Abrams, Closter, NJ Woodland Park, NJ Robert Ardan, Milford, PA Robert Paredi, Savannah, GA James Blackwood, Gene Perla, Easton, PA Mountainside, NJ Donald Perlman, John Burns, Bridgewater, NJ Succasunna, NJ * Bill Callanan, Las Vegas, NV * Bucky Pizzarelli, Saddle River, NJ Gerry Cappuccio, Passaic, NJ Carl Radespiel, Annapolis, MD * Kate Casano, Phila, PA Cliff Roberts, Bridgewater, NJ Benjamin Cassara, Rutherford, NJ Pat Sciarra, North Brunswick, NJ * Joseph Catto, Morris Plains, NJ Donald Shaw, Denville, NJ Hope Colt, Princeton, NJ Judy and Fred Simon, West Orange, NJ, Carl Davis, Union, NJ Paul Stehn, Cranbury, NJ George Elwood, Utica, NY Howard Stoll, Hamburg, NY Michael Gilroy, East Springfield, PA Robert Stevenson, Mahwah, NJ Stanley Greenberg, Sarasota, FL Sam Testa, Scotch Plains, NJ Henry Hagen, High Bridge, NJ New Members Patrice Jegou Tom Donohoe, Madison, NJ Louis Kaplan, Wallingford, PA * Rosalinda Guiditta, Seymour Klein, Livingston, NJ Scotch Plains, NJ Suzanne LaCroix Robinson, Irving Comrie, Trenton, NJ West Orange, NJ Nancy Lee, Far Hills, NJ * Scott Tubbs, Wyckoff, NJ James Lowe, East Orange, NJ * Anthony Moschetta, Dick Lowenthal, Parsippany, NJ Lake Worth, FL Ernest & Lynda Jackson, Thomas McEvoy, Plainfield, NJ Ridgewood, NY Susie Mackay, Gladstone, NJ Patrick Mercuri, Moorestown, NJ * Herbert Meisel, Springfield, NJ William J Meyer, Includes renewed and new Randolph, NJ * members through April 30, 2018

Moving? Please e-mail your new address to: editor@njjs org;. or mail to: NJ Jazz Society, c/o 382 Springfield Ave ,. Suite 217, Summit, NJ 07901

June 2018 ______45 JerseyEventsJazz You can find jazz all over the state Somewhere There’s Music in venues large and small. Here are just some of them. Listings alphabetical by town. We continually update entries. Please contact [email protected] if you know of other venues that ought to be here. Allamuchy Carteret Edison Hackettstown Lake Hopatcong Montclair RUTHERFURD HALL zion evangelical The Coffee House Mama’s Cafe Baci STONE WATER DLV Lounge 1686 County Road 517 lutheran church hall 931 Amboy Ave . 260 Mountain Ave . 125 State Route 181 300 Bloomfield Ave . 908-852-1894 ext . 335 712 Roosevelt Ave . 732-486-3400 908-852-2820 973-810-3858 973-783-6988 908-541-6955 Saturdays, 9:30 –11:30 pm, Jazz piano/Sunday Brunch, Open jam Tuesdays Somerset Jazz Consortium full bar and tapas menu 11 am -3 pm Allentown Usually 3rd Monday, 7–9 pm Englewood Palazzo Restaurant Hackettstown Center 11 South Fullerton Ave . JAZZ VESPERS AT Bergen PAC 30 N . Van Brunt St . for the Arts Lambertville Fridays/Saturdays, 7 pm ALLENTOWN 181 Main St . PRESBYTERIAN CHURCH Chatham 201-227-1030 908-813-2626 DeAnna’s Restaurant Trumpets 20 High Street CONCERTS ON MAIN – Blue Moon Mexican Café Monthly jazz concerts/events 54 N . Franklin St . 6 Depot Square 609-259-7289 OGDEN PRESBYTERIAN 23 E . Palisade Ave . 609-397-8957 973-744-2600 1st Saturday February-June CHURCH 201-848-4088 Tuesday/Thursday/Sunday, 7:30 pm, 286 Main St . Sundays Haddonfield Friday/Saturday, 8:30 pm 973-635-5567 Linden Asbury Park Haddonfield Methodist Church Robin’s Nest Hotel Tides Ewing 29 Warwick Rd . Rhythm & Blues Morristown 408 7th Ave . Cliffside Park 3103 Tremley Point Rd . Villa Rosa Restaurante Tri-State Jazz Society The Bickford Theatre 732-897-7744 Villa amalfi Linden, NJ 41 Scotch Rd . usual venue at the Morris Museum 793 Palisade Ave . 908-275-3043 Langosta Restaurant 609-882-6841 Some Sundays, 2 pm 6 Normandy Heights Rd . 201-886-8626 973-971-3706 100 Ocean Ave . Piano jazz Fridays & Saturdays 732-455-3275 1867 Sanctuary at Ewing Some Mondays, 7:30 pm Arts and Cultural Haddon Township Madison The Community Theatre tim Mcloone’s Haven Shanghai Jazz Closter 101 Scotch Rd . GIUMARELLO’S RESTAURANT 100 South St . supper club & BAR 24 Main St . MUSICLAB - TEMPLE BETH EL 908-295-7739 973-539-8008 1200 Ocean Ave . 329 Haddon Ave 973-822-2899 221 Schraalenburgh Rd . Regular jazz concerts – check 732-744-1155 856-858-9400 Wednesdays/Thursdays, 7 pm Hibiscus Restaurant 201-768-5112 their website for details Fridays/Saturdays, 6:30 pm Moonstruck At Best Western Morristown Inn Sundays, 6 pm – No cover 270 South St . 517 Lake Ave . Hoboken 732-988-0123 Convent Station Fairfield 866-497-3638 Pilsener Haus & Tuesdays, Fridays, Saturdays, The Cozy Cupboard Mahwah The Saint Calandra’s Biergarten Sunday brunch 4 Old Turnpike Rd . Mediterranean Grille 601 Main St . 1422 Grand St . Berrie Center/ 973-998-6676 118 US Highway 46 732-775-9144 201-683-5465 Ramapo College Rod’s Steak 973-575-6500 & Seafood Grille Live music Thursdays, 8–12 pm, 505 Ramapo Valley Rd . Piano – Fridays & Saturdays One Convent Rd . (Madison Ave .) no cover charge 201-684-7844 Cresskill 973-539-6666 Atlantic City Calandra’s Cucina Griffin’s Restaurant Asbury United 216-234 Route 46 44 East Madison Ave . Manalapan Methodist Church 973-575-7720 Hopatcong 201-541-7575 Newark 1213 Pacific Ave . Pavinci Restaurant Monmouth County Tuesdays & Wednesdays 27 Mix 908-348-1941 453 River Styx Rd . Library 27 Halsey St . Jazz Vespers 3rd Sunday of Florham Park 973-770-4300 125 Symmes Dr . 732-431-7220 973-648-9643 the month, 4 pm Puleo’s BRICK OVEN Big Band, 3rd Tuesday Deal Park Free monthly jazz concerts 162 Columbia Turnpike of the month Bethany Baptist Church AXELROD PERFORMING September – June 973-822-0800 275 Market St . ARTS CENTER Bernardsville Accordianist Eddie Monteiro 973-623-8161 100 Grant Avenue Bernard’s Inn with drummer Buddy Green, Hope Jazz vespers, 1st Sunday 732-531-9106 Manasquan 27 Mine Brook Rd . Wednesdays, 7–10 pm The Inn at Millrace Road 908-766-0002 313 Hope Johnsonburg Rd . ALGONQUIN ARTS THEATRE CLEMENT’S PLACE 173 Main St . Monday – Saturday 6:30 pm Dunellen 908-459-4884 15 Washington St . Piano Bar Gladstone 732-528-9211 888-466-5722 Roxy & Dukes GLADSTONE TAVERN NJPAC & IJS jam sessions Roadhouse Jersey City 745 Bound Brook Rd . 273 Main St . Mendham De’Borah’s Jazz Cafe Boonton 908-234-9055 Brightside Tavern 732-529-4464 Black Horse Tavern 18 Green St . Maxfield’s on Main 141 Bright St . 973-848-0040 713 Main St . 1 West Main St . Maggie Murray’s 201-435-1234 Friday/Saturday, 7:30-11:30 pm, 973-588-3404 973-543-7300 Pub House Hackensack Jazz jam every Monday Sunday, 1-4 pm Music Wednesdays 119 North Washington Ave . Saturdays Solari’s Restaurant Madame Claude BIS through Sundays 732-629-7660 and Lounge ELEVEN CLINTON 390 Fourth St . Jazz nights 1st and 3rd 61 River St . 11 Clinton St . 201-876-8800 Metuchen Wednesdays 201-487-1969 862-234-2269 Gypsy jazz Tuesday & Thursday, novita Cape May Big band swing first Tuesday NJPAC & IJS jam sessions 7:30 pm to late New & Pearl Sts . vfw post 386 of the month Edgewater 732-549-5306 ideal lounge 419 Congress St . Moore’s Lounge No cover 219 Frelinghuysen Ave . 609-884-7961 mitchell’s fish market Stony Hill Inn (Bill & Ruth’s) 231 Polifly Rd . 973-824-9308 Cape May Trad Jazz Society 541 River Rd . 189 Monticello Ave . HAILEY’S HARP & PUB pm 201-342-4085 Some Sundays, 2 201-840-9311 201-332-4309 400 Main St . Institute of Jazz Studies live Dixieland Friday & Saturday evenings Jazz with a skyline view, Fridays open jazz jam, 732-321-0777 – Rutgers University Thursdays 6–10 pm John Cotton Dana Library, 185 Mad Batter open to all musicians, vocalists, dancers and University Ave . 19 Jackson St . orama spoken word artists; 973-353-5595 609-884-5970 595 River Rd . Milford hosted by Winard Harper Frequent free concerts . Wednesdays 7:30–10:30 pm 201-945-2020 ALBA VINEYARD and Rosalind Grant Curtis Lundy Group, 269 Riegelsville Warren Glen Rd . memorial west united Merion Inn 8:30 pm – midnight Thursdays 7:30–10:30 pm 908-995-7800 presbyterian church 106 Decatur St . First Sundays 6–10pm 286 South 7th St . 609-884-8363 Featuring Winard Harper and 973-242-1015 Jazz piano daily 5:30–9:30 pm special guests, $10 cover Jazz vespers monthly

Since music offerings frequently change, we recommend you call venue to confirm there is live music at the time you plan to visit.

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Tell them you saw it in Jersey Jazz!

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

New Jersey Performing North Bergen WITHERSPOON GRILL South Orange St. Paul’s West Orange Arts Center 57 Witherspoon St . Lutheran Church Waterside Restaurant PapilLon 25 Highlawn Pavilion 1 Center St . 609-924-6011 61 Church St . 7800 B River Rd . 25 Valley St . Eagle Rock Reservation 888-466-5722 Tuesday night jazz, 201-837-3189 201-861-7767 973-761-5299 973-731-3463 6:30–9:30 pm Jazz Vespers, 4th Sunday of Taste Venue the month Fridays 47 Edison Pl ., 2nd floor ricalton’s village tavern 973-642-8400 North Branch suzyque’s barbecue Rahway 19 Valley St . & Bar Jazz Mondays 8:00 - 11:00 pm Stoney Brook Grille Union County 973-763-1006 Tom’s River 34 South Valley Rd . 1285 State Highway 28 The Priory Performing Arts Tuesdays Jay & Linda Grunin 973-736-7899 908-725-0011 233 West Market St . Center Center for the Arts South Orange College Dr . 973-242-8012 1601 Irving St . Performing Arts 732-255-0400 Westwood Fridays, 7 pm, No cover Oak Ridge 732-499-0441 Center Some Wednesdays Bibi’z lounge The Grille Room One SOPAC Way 973-235-1114 284 Center Ave . New Brunswick (Bowling Green Golf Course) Randolph 201-722-8600 53 Schoolhouse Rd . Trenton Delta’s The Corner Bistro 973-679-8688 Amici Milano 19 Dennis St . 477 Route 10 South River 202 Bayard St . Woodbridge 732-249-1551 862-251-7274 La Tavola Cucina 609-396-6300 Barron Arts Center Saturdays, 7–11 pm Orange Every 1st and 3rd Thursday 700 Old Bridge Turnpike 582 Rahway Ave . South River, NJ 08882 Candlelight Lounge Due Mari Hat City Kitchen 732-634-0413 732-238-2111 78 Albany St . 459 Valley St . Red Bank 24 Passaic St . 732-296-1600 862-252-9147 open jam session Thursday, 609-695-9612 Count Basie Theatre 7:30-10 pm Saturdays, 7–11 pm Saturdays, 3–7 pm Wood Ridge 99 Monmouth St . No cover, half-price drink New Brunswick Jazz Project Martini Grill presents live jazz Fridays Pennington 732-842-9000 specials Union 187 Hackensack St . 6:30-9:30 pm HOPEWELL VALLEY jazz arts project 201-939-2000 salem roadhouse cafe VINEYARDS Various venues Live jazz Wednesday The Hyatt Regency Stanhope (Townley Presbyterian Church) 46 Yard Rd . throughout the year . Refer to through Saturday New Brunswick Stanhope House 829 Salem Rd . 609-737-4465 www .jazzartsproject .org for 2 Albany St . 45 Main St . 908-686-1028 schedules and details 732-873-1234 973-347-7777 Van Gogh’s Ear Café New Brunswick Jazz Pennsauken Molly Pitcher Inn Blues Project presents live jazz 1017 Stuyvesant Ave . greenwood inn 88 Riverside Ave . For the link to Thursdays, 8 –10:30 pm, 908-810-1844 4457 Marlton Pike 800-221-1372 Sundays 8 pm, $3 cover 856-663-9868 Succasunna INC Bar and Kitchen Siam Garden each venue’s 302 George St . Blues open mic Wednesdays Roxbury Performing 2 Bridge Ave . Arts Center 732-640-0553 732-224-1233 Voorhees website, New Brunswick Jazz Horseshoe Lake Park COFFEE WORKS ROASTERY Project presents live jazz Phillipsburg 72 Eyland Ave . 862-219-1379 & CAFE Wednesdays 8:00-11 pm Marianna’s Somers Point 910 Haddonfield-Berlin Rd . please visit 224 Stockton St . GREGORY’S RESTAURANT 856-701-2064 State Theatre 908-777-3500 & BAR www .NJJS .org, 15 Livingston Ave . Fridays Tappan, NY 900 Shore Rd . 732-246-7469 the ‘76 house Watchung 609-927-6665 110 Main St . and click on garden state ale house Princeton 845-359-5476 Watchung Arts Center 378 George St . (just over the NJ border) 18 Stirling Rd . 732-543-2408 McCarter Theatre Somerville 908-753-0190 “Jazz Support” 91 University Pl . New Brunswick Jazz Project PINOY FILIPINO 609-258-2787 presents live jazz & jam RESTAURANT Teaneck session, Tuesdays, 9:30 pm 18 Division St . Wayne Mediterra The JazzBerry Patch 29 Hulfish St . 908-450-9878 at The Classic William Paterson 609-252-9680 Quiche Cafe University Newfield No cover 330 Queen Anne Rd . 300 Pompton Rd . lake house restaurant South Amboy 201-692-0150 973-720-2371 RICHARDSON AUDITORIUM Also visit 611 Taylor Pl . Blue Moon Friday nights 7-10 pm, $`12 Sundays, 4 pm 856-694-5700 IN ALEXANDER HALL 114 South Broadway 68 Nassau St . 732-525-0014 Puffin Cultural Forum Andy 609-258-9220 Blues jam Thursdays 20 Puffin Way Westfield Newton 201-836-3499 Salt Creek Grille 16 Prospect Wine Bar The Newton Theatre 1 Rockingham Row, & Bistro McDonough’s 234 Spring St . Forrestal Village 16 Prospect St . 973-383-3700 609-419-4200 908-232-7320 Contact venue for schedule njjazzlist.com

The Name Dropper Recommendations may be e-mailed to [email protected]. Frank vignola makes his first New Jersey DAVE STRYKER TRIO – The popular guitarist Clinton Street in downtown Newark . There’s also a appearance since a near fatal 2017 accident at a has Jared Gold on organ and Chris Beck on drums new executive chef, Dawn Tyson, who cooks a special Saturday night edition of the New Jersey for his trio gig at the Hat City Kitchen, 59 Valley interesting looing menu that combines southern- Folk Project’s Minstrel Acoustic Concert Series at Street, Orange at 8 pm on Saturday, June 23 . Full style comfort food with Caribbean spices, prepared in a scratch kitchen with organic farm-to-table ingre­ 7:30 pm on June 16 at the Morristown Unitarian bar, kitchen open till 11 pm, 862-704-6248 . Fellowship . The masterful guitarist, who holds the dients . They also serve up live jazz by local artists venue’s attendance record, will perform with eleven clinton/smothered blues – Friday and Saturday nights, 7:30- 11:30 pm, and guitarist Vinny Raniolo and bassist Gary Mazzaroppi . New management has taken over the space Sunday brunch, 1 - 4 pm . For more information visit $10, all tickets are at the door . Plan to arrive early . formerly occupied by Duke’s Southern Table at 11 elevenclinton com. .

June 2018 ______47 c/o New Jersey Jazz Society Michael A . Katz Time Value Material PERIODICALS 382 Springfield Ave ., Suite 217 Deliver Promptly Permit No . 6668 Summit NJ 07901 Postage PAID at Send all address changes West Caldwell, NJ to the address above and additional mailing offices RETURN SERVICE REQUESTED