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The Heath Brothers by Tanya Suarez

The Heath Brothers by Tanya Suarez

Volume 8, No. 9 March 2012

The Heath Brothers By Tanya Suarez

As mentioned in last month’s Notes, on March 10th the Cape Fear Jazz Society, with major support from the UNCW Upperman African American Cultural Center, will present The Heath Brothers in concert at Thalian Hall. The brothers, Jimmy, Albert “Tootie” and Percy, now deceased, have been internationally renowned musicians, composers, producers, arrangers and educators both individually and collectively since the late 1940’s. They were born into a family where music was significant. Their father, a mechanic born in Wilmington, NC in 1898, was a “weekend” clarinetist, and their mother was a singer. They introduced their sons to the recordings of the and jazz music of the day such as Duke Ellington, Jimmy Lunceford, Louis Armstrong, and Mahalia Jackson. From this background was born three jazz giants. Percy, who died in 2005, was a bassist who played with ’s band after moving to New York in the 1940’s. A quartet often played in interludes to give the trumpet players a break. It consisted of John Lewis (piano), (vibes), (bass) and Kenny Clark (drums). In 1952 Percy stepped in for Ray Brown and the , one of the premier jazz groups of the 1950’s through the early 1990’s, came into existence. He also performed with his brothers and had a distinguished career as a soloist, sideman and band leader. Jimmy, a tenor saxophonist, followed his older brother’s interests in the jazz of the 50’s and also played with Dizzy Gillespie. During the 1960’s he frequently worked with Milt Jackson and . In the 1970s he formed the Heath Brothers group with his brothers. In the 1980s, he joined the faculty of Queen’s College in New York and led the development of the College’s jazz program. He has performed as a leader and/or sideman on over 250 recordings. He is a National Endowment for the Arts Jazz Master and author of the book, I Walked with Giants, an autobiography. The critically acclaimed book is an extremely candid account of a very humbled, talented professional who did indeed walk with, become close friends with, and perform and record with such giants as Dizzy Gillespie, , , as well as his brothers. Jimmy and Percy lived in Wilmington, NC during their high school years in the early 1940s. Jimmy said in an interview, several years ago, that he thoroughly enjoyed going Williston High School, and throughout the years, he has kept in touch with most of his high school mates, including the ones who were a part of his first jazz group, The Jazz Barons. One of his schoolmates was saxophonist Andy McGhee, (‘45), a former member of The Lionel Hampton Big Band and a retired professor at Berklee College in Boston. Albert “Tootie” Heath, the youngest of the Heath brothers, is a drummer. He first recorded in 1957 with John Coltrane and has recorded extensively throughout his career. From 1958 to 1974 he worked with many of the best and most influential jazz musicians such as , Art Farmer, , , , , , and . He joined the Heath Brothers and remained with the group until 1978, then left to freelance, then returned again and is now performing around the world with Jimmy. Tootie is a regular instructor at the Stanford Jazz Workshop and is the producer and leader of The Whole Drum Truth, a jazz drum ensemble. He is also an actor and has appeared in several feature films and onTV shows. We are very fortunate to have musicians of their caliber performing in the Cape Fear Region. It will be a very special musical moment that you will not want to miss. Music Review: Karrin Allyson ‘Round Midnight Primus Robinson

On ‘Round Midnight the most beautiful thing about Karrin Allyson’s voice is Karrin Allyson’s beautiful voice. She doesn’t venture off into stylistic contortions; she simply infuses each song with controlled, dynamic emotion that reveals the true content of each melody. She is part of a movement to return to organics. That movement reached its crowning glory in the ascension of Adele at the 2012 Grammy ceremonies. In this time when so much vocalizing is defined by two extremes, the recognition of a pure vocalist like Karrin Allyson is a relief to us admirers of the “first instrument.” In today’s music world we are bombarded with the thin, masked voices of studio production. A techno-producer will run a voice through every available machine to give us a mass market mask of singing, or we get the over-reaching “stylists” who believe a presentation of acrobatic contortions will define individuality at the expense of a good songs essence. To this the real voices say “NO.” A stand is being maintained by the likes of Allyson, Diana Krall, Cassandra Wilson, Dee Dee Bridgewater, and Diane Reeves among the few. They declare a song to be a conduit of emotion. The true tradition of song interpretation survives from the the genetic line of Ella, Carmen, Sarah to Diane Schurr et al. The songs on ‘Round Midnight list out as standards (including the title track, “Sophisticated Lady,” “I’m Always Chasing Rainbows,” and my favorite “Send In The Clowns”), but there is no standard delivery here. The infusion of emotion comes from a historical care of each song, and Karrin’s voice is a complicated combination of simplicity along with an affecting state of consciousness in which joy, sorrow, care and longing are displayed, making this definitive jazz. I can’t help but think of another artist who had these same qualities but passed on too soon. Eva Cassidy, of Washington D.C., displayed similar qualities, but her potential was captured on only two albums in the 90’s. Luckily the void of great voices is filled by the likes of artists like Karrin Allyson. And my reading of this Allyson collection is not the defining limits of her breadth. As an artist she has explored her other musical capabilities on a long and strong discography. Karrin Allyson will be gracing us with her voice on April 20, 2012 at UNCW’s Kenan Auditorium for the CFJS/UNCW Scholarship Concert. Call (910) 962-3500 for more information.

Jazz @ the CAM: The Wahl Project

March is an awesome month for jazz in Wilmington, so start it out right on the very first day of the month with The Wahl Project at the Cameron Art Museum. Colby Wahl, drummer and UNCW graduate, relocated to Wilmington, DE, in early 2011. There he continues performing and recording regularly throughout the area. His special guest will be local favorite, saxophonist Benny Hill with his distinct and exciting sound. Joining thewill be Ryan Woodall, one of our area’s finest bassists. The concert will be held from 6:30 until 8:00 p.m. Tickets are available at the door or through the CAM’s website at www.cameronartmuseum.com. Individual tickets are $10 for general admission, $7 for CFJS and CAM members and $5 for students.

Chick Corea at UNCW Jazzfest

World renowned Grammy winning pianist Chick Corea will perform at the UNCW Jazzfest on March 29-30 with Joe Chambers, UNCW Distinguished Professor of Jazz. Chick is reunited with Mr. Chambers who is shining a ubiquitous light in the Wilmington area of late after concentrating on his teaching duties for so long at UNCW. Mr. Chambers is also opening for the Heath Brothers at Thalian Hall on March 10. Mr. Chambers is recognized as a world class drummer who has performed with the worlds greatest jazz musicians during his career. After Mr. Corea does a master class on March 30 he will take the stage at The Warwick Center with Mr. Chambers and Steve Bailey on bass. So, Cape Fear Jazz Society members, we are fortunate to expand our knowledge of local greatness by seeing Mr. Chambers in two unique and versatile settings. Enjoy the bounty. Musical Reviews: BROTHERLY JAZZ - THE HEATH BROTHERS (a DVD) and ENDURANCE JIMMY AND (a CD) Primus Robinson

I was elated when the History Channel expanded with the H2 channel because better comprehension almost demands multi-dimensional perspectives. Facts are a greater basis for imagination than fiction. All my science fiction writing heroes are grounded in empirical disciplines. Asimov had a PHD in biochemistry. So if I need to be fully prepared for the Heath Brothers Event at the Thalian on March 10, then why not gain a stereoscopic vision of their depth. Enter the DVD Brotherly Jazz -- a vivid, visual portrait of all three brothers, Jimmy, Albert and Percy, captured in one of their last collective appearances. Couple that with the latest studio collaboration of Jimmy and Tootie on Endurance and I now know how jazz royalty lives together and what results from their rule. Endurance is another classic jazz album of 2009 vintage with the strength of Jeb Patton on piano and David Wong on bass. Jimmy and Tootie are displaying their standard excellence, but I was constantly narrowing my ear to Patton’s great piano licks, a youngster furthering history. The strength of Jimmy’s writing dominates from the beginning to the final song; a tour de force entitled “The Rio Dawn.” The standard “Autumn in New York” and Jeb Patton’s “Dusk in the City” are strong augmentations to the masters writing. From the 1962 Triple Threat, which I reviewed last month, to this work, the continuity of the Heath brothers as bearers is evident. History is based on a flow, not a judgement of isolated occurrences. So when I view how royalty lives on Brotherly Jazz and see the thanks expressed by grateful subjects like Sonny Rollins, Herbie Hancock, and Jack DeJohnette, I realize it’s possible to have a benevolent monarchy. Even ambassadors from outlying provinces like Taj Mahal and Peter Jennings pay homage to the Heath brothers. So, on March 10th at the Thalian Hall we get to sit for a bestowal by the remaining brothers: and Albert “Tootie” Heath. They will continue to make history. I’m glad to get a new channel. HELP KEEP THE JAZZ SOCIETY STRONG Tanya Suarez

For a small organization (approximately 200 members), the Cape Fear Jazz Society does many things to promote its mission of presenting, promoting, and preserving jazz in the Cape Fear region. Here is a list of what we do per year (and others are often added):

• 12 issues of our newsletter, Jazz Notes sent to all members • 12 monthly concerts held at the Cameron Art Museum or the Bellamy Mansion • A scholarship concert with UNCW to raise money for students studying jazz • Special concerts such as Jazz Nite and concerts in counties neighboring New Hanover • Design and sale of CFJS merchandise • Development and maintenance of a website with Facebook and Twitter • Marketing and publicizing CFJS events • Developing and maintaining the organization’s membership • Raising funds for the organization’s operation through ticket sales, securing sponsors and writing successful grants • Hosting membership gatherings in December (Holiday Party) and June (Annual Meeting) • Managing all of these activities in an effective, efficient, responsible manner

We have been fortunate to have many people who have volunteered to help with these activities and especially fortunate to have “saints” who have contributed to multiple activities to keep us going and to maintain the quality of programs that the Society has established over its 15 years of existence. We want to continue our strong programs and be able to entertain new ideas and activities, but we need your help to do so. It is critical right now as we have had three Board members resign or reduce their involvement in Society activities due to illness.

So consider giving more time and effort to the Society. We have immediate needs for chairs of our membership, volunteer, merchandise and grant writing committees. We can always use help in marketing, publicity, fundraising and writing articles for our newsletter. Contact me at [email protected] or (910) 792-9531) or any of the CFJS Board members. The activities of the Jazz Society and its future depend on it, and besides, the work is often great fun and done with great people. RIP Whitney Houston 8/9/63 – 2/11/12

In the fall of 1983 I got an urgent call from my friend and music industry mentor Gerry Griffith, VP of A&R at Arista records. He was raving and gushing about a young singer he saw by accident at a showcase for another artist. It seems he got to the showcase early while the opening act was performing. He says he witnessed what he described as the most incredible vocal performance by a talent young or old that he had ever heard. She was the daughter of a well known singer, who also happened to be a model with Venus-like looks. He went on to say, however, he felt she was too young to be signed to the label and was going to keep his eyes on her and stay in touch with her people. After a heavy bidding war with other record labels, Gerry finally got Whitney Houston to sign a recording contract with Arista Records, and…here’s how it all happened. I’m on an intense conference call with all the department “heavies” of Arista Records: promotion, publicity, distribution, sales and marketing. The master plan and marching orders are being unveiled: the launch, the build up, the roll out, campaigns of all the departments are laid out with expectations and results… major TV appearances, feature stories, photo shoots, interviews, cover stories, promotion tours, listening parties, videos, radio airplay, billboard chart upward mobility, and live showcases in NY& LA. The showcases were intimate, invitation-only showcases that the president held in both New York and Los Angeles, inviting select producers and songwriters on each coast to see and hear Whitney sing so that they might write songs for her debut album. Several journalists were also invited. I’d never heard the 20 year-old Whitney Houston sing. The president proceeded to introduce his new find to the room, using all the bold adjectives in describing Whitney’s talent. He basically told us he was about to roll out the Second Coming of Barbra Streisand, the best singer he’d ever heard in his life. Then, amidst polite applause, out came this skinny young lady resembling a shy child looking to be seen as an adult. She began to sing and blow us away with her poise, presence and power with that voice. After all this build up, the message was clear. If the launch of the new company franchise was not only successful, but didn’t skyrocket her to super-stardom, heads would roll and jobs will be lost…you would get fired. Everyone throughout the company was nervous. Introducing and breaking in a new artist to the over-hyped music industry is no easy task, especially when record companies introduce and release hundreds of new artists every year. But I was confident. I couldn’t wait. I had been given the heads up, I had a plan, and I had a story to tell. I rushed to all my key radio stations throughout my region: California, Arizona, Colorado, Seattle, Las Vegas, and Texas. The first couple of weeks included a little airplay and a conference call. A few more weeks later, a little more airplay. Another conference call, long and real intense. The stations are telling me they’re not “feeling” the record. What!!! I started to panic. I immediately pulled out my bag of creative promotional tricks that worked especially well in situations like this. Finally I got a call from my LA and San Francisco stations. The phones were lighting up, jumping off the hook with requests every time the single “You Give Good Love” was played. All of a sudden radio stations around the country started reporting the same thing. The video gets debuted on BET & MTV, and feature and cover stories are breaking out all over the country. Word is spreading rapidly throughout the music industry…we have a hit record, a smash! Within weeks radio airplay has increased, the video play kicks in heavy. Suddenly all you saw and heard everywhere was Whitney Houston. It reached a level where it was becoming almost embarrassing, but I loved it. The people and the public had spoken. A Star Was Born. We did it and I’m proud to say I was a part of making music history.

Fast forward… I caught up with my old friend Gerry Griffith and while we talked about the tragic news we reminisced about those hectic days, and he offered the following: “When I first experienced Whitney the 16 year vocalist, she was a somewhat shy, slim 16 year old, but had a personal confidence that most young entertainers don’t express on stage. So my first take on her was positive, but not convinced that she was ready for a recording contract. Close to a year and a half after I saw her perform at the Bottom Line in New York. I heard from a friend that she was signing to Elektra Records, the label who placed her as lead vocalist on a song titled “Memories.” I immediately called Whitney’s manager to ask if they had signed a contract with Elektra, and he said no but I could see her perform on the weekend at a club owned by the Brecker Brothers in Lower New York City. Whitney’s mother Cissy Houston was the featured opening act as before. After Cissy’s initial vocal performance, Whitney stepped to the front of the stage signaled the band and began to sing. Pure soul and melodic phrases rose from this fragile frame almost knocking me out of my chair, it was time for another drink! I knew we had to sign her. I went to my boss and asked for a budget to showcase Whitney for him. We rehearsed for 4 days and…then it was showtime. Whitney was amazing that evening, but the boss was surprisingly lukewarm to her. But after a few weeks, that changed and we finally convinced him to sign her to a two album deal, because the other labels would have signed her immediately if we hesitated. Whitney Houston will always stand out as the number one role model for all young and older artists to come; her fearless, powerful, magical vocal delivery will be a model for all in the future. She will be the artist to emulate, not copy…especially if they view her magical 1991 Super Bowl performance of The National Anthem. She will be remembered as the most imitated popular female pop artist in history, right up there with Michael Jackson.” released on Valentine’s Day 1985, Whitney Houston’s album entered the Billboard 200 chart at #166 the week of March 30. A year later, in April 1986, the album began its first seven-week run at #1, and then spent three weeks at #2 before reclaiming the top slot for a second seven-week stand. Whitney Houston (the album) became a fixture on The Billboard 200 for 162 weeks, including a record-breaking 46 weeks in the Top 10 and 14 non-consecutive weeks at #1. The strength, beauty and power of the record’s music — including four chart-topping singles (“You Give Good Love,” “Saving All My Love for You,” “How Will I Know,” “Greatest Love of All”) have made Whitney Houston one of the best-loved and most enduring albums in pop music history. The top-selling debut album ever released by a solo artist, Whitney Houston has sold more than 25 million copies worldwide while earning RIAA-certified 13x Platinum status in the US (in recognition of domestic sales of more than 13 million pieces). Whitney Houston topped countless critic’s polls and year-end lists including Rolling Stone, who named it 1986’s “Album of the Year.” Billboard ranked Whitney Houston as the #1 album of the year and Whitney Houston 1986’s #1 popular artist. With Whitney Houston earning the artist a Best Album Grammy nomination in 1986, Whitney took home her first Grammy that year in the Best Pop Vocal Female Category for “Saving All My Love For You.” Her performance on the Grammies won her an Emmy for “Outstanding Individual Performance in a Variety of Music Program.” Whitney, who currently holds the record for most American Music Awards held by a solo artist (21), picked up her first seven AMAs, and an MTV Video Award, that same year.

P.S. Thank you Whitney for making my job easier and for getting me a promotion.

- Vaughn Thomas, Arista Records Alumnus

Cape Fear Jazz Society Members please join the wonderful WHQR as they present a concert performance of Philip Furia’s “THE GREAT AMERICAN SONGBOOK” on March 2nd, 2012, in the Thalian Hall Ballroom at 8:30 pm. This is a concert of songs, stories and images. Stories behind the songs are written and narrated by Philip Furia and illustrated by Laurie Patterson. The evening will feature the works of Irving Berlin, The Gershwins, Cole Porter, Duke Ellington, Johnny Mercer and Rodgers & Hart. Music will be provided by Julie Rehder, Cindy Hospedales, Grenaldo Frazier, Jack Krupicka and others. Call the Thalian box office for more information.

Liz Pina and the FROG Project will be playing at the Southport Community Center on Sunday, March 25, 2012 from 3 to 5 pm. Tickets are $15 General and $10 for CFJS Members. Tickets can be purchased at the Southport Chamber of Commerce (910-457-6964), at the Southport Visitors Center (910-457-7927), or at Jamaica’s Comfort Zone (910-399-2869.) Call 910-754-2593 or 910-842-5432 for more information, or visit our website at www. capefearjazzsociety.org. The Heath Brothers Celebration

Unlike other CFJS Jazz Nites, there will be a variety of activities associated with the Heath Brothers visit to Wilmington.

March 3rd—Film

To acquaint the public with the brothers, their history and music, there will be a showing of the film, Brotherly Jazz: The Heath Brothers on March 3 at 3:00 pm at the Lumina Theater on the UNCW campus. The film contains interviews with Percy, Jimmy and “Tootie” Heath telling the stories of their lives and music as well as interviews with people such as Sonny Rollins, Herbie Hancock and Taj Mahal who knew them well. It also contains excerpt from a 2004 concert, one of the last in which all three of the brothers performed together. The film showing is free and open to the public.

During his stay, Jimmy will participate in a book signing and a master class for area high school and college students. There will also be a ceremony celebrating the brothers with awards given by Wilmington’s May Saffo, the Upperman African-American Cultural Center, the Williston Alumni Association, the city’s African-American Historical Commission, and the Cape Fear Jazz Society. Due to space constraints, these events will not be open to the public.

March 10th—Concert

To make the evening even more special, there will be an opening act featuring renown percussionist and Thomas S. Kenan distinguished Professor of Jazz at UNCW Joe Chambers performing with a UNCW alumni all star group consisting of Benny Hill on sax, Doug Irving on bass, and Brad Merritt on piano. After an intermission, the Heath brothers will perform with Jimmy on tenor sax and “Tootie” on drums. Accompanying them will be Herman Burney from Washington, DC, on bass and Ernest Turner from Durham, NC, on piano.

Tickets are on sale now and the best seats are going fast. You can purchase your tickets at the Thalian Box Office located inside the main entrance to Thalian Hall at 310 Chestnut Street in downtown Wilmington. The box office is open Monday through Saturday from 2 PM until 6 PM or until curtain on performance nights. The telephone numbers for the Center Box Office are 910-632-2285; toll free 800-523-2820. Tickets may also be purchased online at www.thalianhall.com.

Ticket prices are $30 for prime seating, $25 for choice seating and $20 for seats in the 2nd balcony. CFJS members and groups of 10 or more get a $3 discount on seats in the prime and choice seating sections. So grab a group of friends, get a discount for all of them and come to Thalian Hall for a very special musical treat. JAZZ ACROSS THE STATE Contributors: Matthew Lilly, Tanya Suarez, and TomtheJazzman Mallison

MARCH Saturday, 12th RIPPINGTONS Thursday, 15th WYNTON MARSALIS High Point Theatre JAZZ AT LINCOLN High Point, NC CENTER ORCHESTRA UNC Chapel Hill, NC Tuesday, 15th MADELEINE PEYROUX Carolina Theatre Saturday, 18th KATE MCGARRY Durham, NC Altamont Theater Asheville, NC JUNE

Friday, 20th CHICK COREA Friday, 22nd PIECES OF A DREAM UNCW Uptown Charlotte Jazz Festival Wilmington, NC Charlotte, NC tickets at www.uptowncharlottejazzfest.com Wednesday, 21st DAVID BENOIT & BRIAN CULBERTSON Saturday, 23rd BONEY JAMES Carolina Theatre Uptown Charlotte Jazz Festival Durham, NC Charlotte, NC tickets at www.uptowncharlottejazzfest.com Thursday, 22nd HERBIE HANCOCK UNC DECEMBER Chapel Hill, NC Saturday, 8th KATE MCGARRY Thursday, 22nd DIANA KRALL Duke University Durham Performing Arts Center Durham, NC Durham, NC

Saturday, 24th JOHN PIZZARELLI & JESSICA MOLASKEY NC State University Raleigh, NC

APRIL

Thursday, 10th JOSHUA REDMAN & BRAD MEHLDAU UNC Chapel Hill, NC

Tuesday, 17th STANLEY JORDAN Charlotte, NC

Thursday, 19th STANLEY JORDAN Charlotte, NC

Friday, 20th KARRIN ALLYSON UNC Wilmington

Sunday, 22nd KIRK WHALUM Charlotte, NC MAY

Wednesday, 9th ESPERANZA SPALDING Carolina Theatre Durham, NC JAZZ IN THE CAPE FEAR REGION

March Cultural Arts building Randall Drive 1st* Jazz @ the CAM http://www.uncw.edu/music/ http://www.uncw.edu/music/ with the Wahl Project 30th UNCW JAZZFEST: 20th* CFJS/UNCW 6:30, Cameron Art Museum Chick Corea in Concert Scholarship Concert (910) 395-5999 7:30 pm / Warwick Center with Karrin Allyson www.cameronartmuseum.com UNCW Campus Kenan Auditorium, UNCW 10th* Heath Brothers http://www.uncw.edu/music/ (910) 962-3500 Homecoming Celebration 22nd** UNCW Senior Recital: Thalian Hall April Jacob Hurley, (910) 632-2285 5th* Jazz @ the CAM Bass with Combo www.thalianhall.com with Benny Hill 7:30 pm 17th Linda Lavin 6:30, Cameron Art Museum Beckwith Recital Hall with Billy Stritch, (910) 395-5999 Cultural Arts Building Bucky Pizzarelli, www.cameronartmuseum.com Randall Drive John Brown, 9th** UNCW Senior Recital: http://www.uncw.edu/music/ & Steve Bakunas David Easton, Guitar 27th UNCW Jazz Combos Kenan auditorium, UNCW 7:30 pm 7:30 pm (910) 962-3500 Beckwith Recital Hall Beckwith Recital Hall 25th* Liz Pina & the FROG Project Cultural Arts building Cultural Arts Building 3-5, Community Center Randall Drive Randall Drive Southport http://www.uncw.edu/music/ http://www.uncw.edu/music/ 25th UNCW JUNIOR RECITAL: 17th UNCW Jazz Tristan Szeremi Jazz Piano Guitar Ensemble May with Combo 7:30 pm / Beckwith Recital Hal 11th John Brown Orchestra 7:30 pm Cultural Arts building 8:00, Thalian Hall Beckwith Recital Hall Randall Drive (910) 632-2885 Cultural Arts building http://www.uncw.edu/music/ http://www.uncw.edu/music/ 18th UNCW Senior Recital: * Indicates events sponsored or co-spon- 29th UNCW JAZZFEST: Taylor Lee, Bass sored by the Cape Fear Jazz Society Big Band and Combo 7:30 pm ** Indicates a UNCW Jazz Studies student 7:30 pm Beckwith Recital Hall who received a CFJS/UNCW Scholarship Beckwith Recital Hall Cultural Arts building

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