IN THIS ISSUE

THE MAGAZINE OF THE FEBRUARY 2021 NEW JERSEY JAZZ SOCIETY JerseyJazz VOLUME 49 ISSUE 02

MA RAINEY’S BLACK BOTTOM DEFINING the BLUES

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 01 IN THIS ISSUE

ARTICLES/REVIEWS COLUMNS

09 Jazz at William Paterson 03 All That’s Jazz

13 News from WBGO: 05 Editor’s Choice New CEO Steve Williams 35 From the Crow’s Nest 15 Ma Rainey’s Black Bottom 52 Not Without You! 20 Talking Jazz: Kurt Elling

26 Pizzarelli Painting: Highest Bidder

28 Book Review: Life in E Flat

30 Phil Woods’ Legacy

ON THE COVER _ Viola Davis as Ma Rainey with, from left, 37 Other Views Chadwick Boseman, Colman Domingo, Michael Potts, and Glynn Turman. (All Ma Rainey photos courtesy of Netflix). 43 Big Band in the Sky

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 02 ALL THAT’S JAZZ

BY CYDNEY HALPIN

f you’re reading this message, wishes to enjoy it—members and dvertisers are the sustaining e can’t do what we do with- you’ve you’ve embraced our new non-members alike. Please tell your life force for Jersey Jazz, out YOU! Members are the I reality, Jersey Jazz as a digital friends and family about this lim- A as membership fees alone are W heart and soul of this or- publication. We remain committed ited offer so they too can enjoy this insufficient to finance a publication ganization and we’d like to thank to the same editorial excellence amazing resource. After February, of this caliber and also allow NJJS everyone who renewed their mem- that has been the driving force full content of the magazine will be to present outstanding musical bership this past year. We’re grate- of this magazine, and steadfast available to NJJS members only. programming. ful for your continued patronage. to our mission to continue to We’d like to thank all of our If you joined NJJS this past year, preserve and promote jazz. advertisers in this issue: Jazz Fest we’re delighted to welcome you into With moving Jersey Jazz online, ongratulations to WBGO and at Sea, William Paterson University, this jazz community. Please see page we’re able to offer a full color, month- everyone associated with the Ocean County College, Bell & Shivas, 52 for our latest list of new and re- ly format which will better serve our C documentary The WBGO Sto- Attorneys at Law, Mark Clemente, newed members. If you have any members, musicians and advertisers. ry ... Bright Moments from Newark James Pansulla and our newest questions about your membership, This online format will allow to the World. It’s been chosen as an partner, Entertainment Cruise please contact [email protected]. this award-winning publication official selection of the New Jersey Productions/The Jazz Cruise. to be “Google-able”—with select Film Festival’s virtual Spring 2021 When patronizing any of these contents available to a worldwide season. Bravo to Chris Daniel—Pro- advertisers, please let them know n our ongoing effort to continue audience—and allow NJJS to be- ducer/Director, Dorthaan Kirk— you saw their ad in Jersey Jazz. to provide music programming, come part of the ever-expanding Co-Producer/Executive Consultant, If you or someone you know I we hope you’ve been enjoying digital world. What goes on in Jersey Bill May—Archival Photographs would like to advertise with NJJS, our virtual Socials on our Facebook won’t just stay in Jersey anymore! and Don Braden—Soundtrack, for please contact Jane Fuller at page: New Jersey Jazz Society. Please note, the February issue bringing this incredible story, of a [email protected] or consult January’s Social featuring gui- of Jersey Jazz is available with un- community of people committed to our website njjs.org/Magazine/ tarists Frank Vignola and Vinny restricted access to everyone who America’s art form of jazz, to film. Advertise for more information. Raniolo—in a tribute to New Jersey

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 03 ALL THAT’S JAZZ

guitar greats—was an incredible hour provide more much-needed schol- ing and Legacy Gifts are all ways to Log on to www.smile.amazon. of music and memories and was our arship money to worthy college re- partner and celebrate with NJJS com and select New Jersey Jazz So- largest “attended” virtual event to cipients; and present performances in the promotion and preservation ciety (Summit, NJ) as your benefi- date. If you missed this hotter-than- that provide musicians with livable of jazz. If you’d like more informa- ciary, then shop as you normally do. hot concert, you can enjoy the re- wages. Credit card donations can eas- tion about any of these programs, Please tell your friends and family broadcast of it on our Facebook page. ily be made online at www.njjs.org/ please contact me at [email protected]. members about this amazing oppor- Until we can enjoy in person con- Donate or by mail to: NJJS, P.O. Box Thank you to all of you who tunity for NJJS. Thank you in ad- certs again, virtual live-streaming 223, Garwood, New Jersey, 07027. gave so generously to NJJS in 2020. vance for helping to support NJJS. events are a wonderful way to bring Please make check payable to NJJS. We cannot accomplish our goals our jazz community together, to You can maximize the impact of without you! engage with the artists, and to stay your gift if you work for an employer connected other viewers. Please that has a matching gift program. Please check our website www.njjs.org/ check with your Human Resources f the pandemic has you shopping events for future virtual events. Department for more information. online and using Amazon, please I“Turn your Amazon purchases into a force for good.” NJJS is astly, if you’re not already on ur “NOW, More than ever!” an- s we continue to expand our part of the AmazonSmile Gives the NJJS eBlast list you should nual appeal campaign kicked programming, look to grow program where 0.5% of the price L be. Be assured, we do NOT O off in December and we need A our membership, attract more of your eligible smile.amazon.com sell or share our lists we anyone! YOU to join with us in this collabo- corporate sponsorship, and hon- purchases will go directly to NJJS!! This is a vital communication rative effort. If you haven’t already or jazz and support its musicians, It’s the same Amazon you know tool for information and events contributed to this campaign, please we’re grateful for your stewardship. but a separate website. Same prod- concerning all things NJJS, as well consider a generous tax-deductible Memberships, Gift Memberships, ucts, same service—but to gener- as for information on our event donation, to help us more creatively Memorials and Tributes, Corporate ate donations you must ALWAYS partners and jazz colleagues. Sign introduce people of all ages to jazz; Matching Programs, Planned Giv- SHOP AT smile.amazon.com. up today on our website homepage.

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 04 EDITOR’S CHOICE

BY SANFORD JOSEPHSON

freezing martial arts facility in the Bow- dent at the Fiorello H. LaGuardia High Jazz Standard Youth Orchestra ery. There was a blizzard, and they all School of Music & Art and Performing Will Survive at New Venue still came to the rehearsal. I thought, Arts near Lincoln Center. Adeylotte ‘We have to do something to cement heads a group called the Bowery Jazz this.’ I called James Polsky (Jazz Stan- Messengers, and on Saturday, October hen word spread that the Jazz people who didn’t want this program dard Co-Founder/Owner) and asked 10, 2020, World Homeless Day, the BJM Standard jazz club was clos- to go away. Ryan Maloney (NJMH if there was any chance we could start performed outside The Bowery Mis- W ing, there was concern that Director of Education and Program- a series at the Jazz Standard. He said, sion. The audience, said O’Rourke, con- the Jazz Standard Youth Orchestra ming) said, ‘Look, we’ll do this which- ‘We’re all on the same page here. Mark sisted of “people who were strung out program, directed by bassist David ever way you want to do it.’ So, when (Mark Maynard, Co-Founder and but still needed something positive.” O’Rourke and tenor saxophonist An- the Covid lockdown is over, we have a Director of Operations) wants to do Born and raised in Dublin, O’Ro- toine Roney, would perish as well. place to go. Just being able to go back something for kids.’ We started doing urke leads and writes for his own Trumpeter James Haddad, now a Juil- to the kids and tell them we have a four weeks in 2002; now, we go through 20-piece band, The O’Rourkestra, liard student, performed regularly for very significant offer was fantastic.” the school year.” Musicians must audi- which ordinarily would be perform- a few years in the JSYO, and he told The JSYO provided young jazz tion to be accepted into the program. ing at the Zinc Bar in New York. me it was an experience he greatly musicians the opportunity to perform During the pandemic, the program Through the years he has played with valued (Jersey Jazz, January 2021). regularly on Sunday afternoons at has been continued online. “I get guitarists Les Paul and Bucky Pizza- Fortunately, according to O’Ro- the New York club, often with guest the kids to work on transcriptions,” relli and pianists Tommy Flanagan urke, the program has been rescued. artists from the New York jazz scene. O’Rourke said. “I believe that’s the real and Cedar Walton, among others. Once the pandemic is over, live re- The program started in 2002. “It was education.” During the summer, O’Rourke per- hearsals and performances will re- just a case of three people being in the There are lots of rising stars among formed some outdoor gigs at the Capital sume at the National Jazz History same head space at the right time,” the JSYO participants, but O’Rourke Grill in Paramus, NJ. “At the very first Museum in Harlem. “When the news O’Rourke recalled. O’Rourke knew the singled out one current student he’s one we did,” he said, “people had tears in about the Jazz Standard broke,” he program could be a success because, particularly proud of—a 17-year-old their eyes. They came up with masks and said, “we received several offers from at the time, “We were rehearsing in a drummer, Bato Adeylotte, who is a stu- said, ‘It’s so great to hear live music.”

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 05 ABOUT NJJS

ounded in 1972, The New Jersey Jazz Society MEMBER BENEFITS JOIN NJJS has diligently maintained its mission to promote 10 FREE Concerts Annually Family/Individual $45 and preserve America’s great art form—jazz. To at our “Sunday Socials” (Family includes to 2 Adults and 2 children under 18 years of age) accomplish our mission, we produce a monthly Monthly Award Winning Jersey Family/Individual 3-Year $115 Jazz Magazine - Featuring Articles, Fmagazine, Jersey Jazz; sponsor live jazz events; and Musician Member $45 / 3-Year $90 Interviews, Reviews, Events and More. provide scholarships to New Jersey college students (one time only, renewal at standard Discounts at NJJS Sponsored basic membership level.) studying jazz. Through our outreach program Concerts & Events. Youth $15 - For people under Generations of Jazz, we provide interactive programs Discounts at Participating 21 years of age. Date of Birth Required. Venues & Restaurants Give-A-Gift $25 - Members in focused on the history of jazz. The Society is run by a good standing may purchase Support for Our Scholarship and unlimited gift memberships. board of directors who meet monthly to conduct Society Generations of Jazz Programs Applies to New Memberships only. business. NJJS membership is comprised of jazz devotees Fan $75 - $99 MUSICIAN MEMBERS from all parts of the state, the country and the world. Jazzer $100 - $249 Sideman $250 - $499 FREE Listing on NJJS.org “Musicians Bandleader $500+ List” with Individual Website Link Corporate Membership $1000 FREE Gig Advertising in our Monthly eBlast Members at Jazzer level and above and Corporate Membership receive special benefits. Please THE RECORD BIN contact [email protected] for details. The New Jersey Jazz Society is qualified as a tax A collection of CDs & LPs available exempt cultural organization under section 501(c)(3) of the Internal Revenue Code, Federal at reduced prices at most NJJS ID 23-7229339. Your contribution is tax- Visit www.njjs.org or email [email protected] concerts and events and through deductible to the full extent allowed by law. For for more information on our programs and services mail order www.njjs.org/Store more Information or to join, visit www.njjs.org

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 06 Editorial Staff New Jersey Jazz Society, Officers 2020

EDITOR PRESIDENT Sanford Josephson, [email protected] Cydney Halpin, [email protected]

Magazine of the New Jersey Jazz Society ART DIRECTOR EXECUTIVE VP Michael Bessire, [email protected] Jane Fuller, [email protected] VOLUME 49 • ISSUE 02 INTERNATIONAL EDITOR TREASURER Fradley Garner Dave Dilzell, [email protected] [email protected] NJJS org VP, MEMBERSHIP CONTRIBUTING PHOTO EDITOR [email protected] Mitchell Seidel, [email protected] VP, PUBLICITY CONTRIBUTING EDITORS Sanford Josephson, [email protected] Bill Crow, Schaen Fox, VP, MUSIC PROGRAMMING Joe Lang, Dan Morgenstern Mitchell Seidel, [email protected] CONTRIBUTING PHOTOGRAPHERS RECORDING SECRETARY Christopher Drukker, Cathy LaFerer, Irene Miller Mike Oria, Gordon Tunison, Anna Webber. CO-FOUNDER WEBMASTER Jack Stine Christine Vaindirlis Jersey Jazz (ISSN 07405928) IMMEDIATE PAST PRESIDENT is published bi-monthly for members Mike Katz of The New Jersey Jazz Society Advertising P.O. Box 223, Garwood, NJ 07027 DIRECTORS DIRECTOR OF ADVERTISING 908-380-2847 • [email protected] Cynthia Feketie, Stephen Fuller, Jane Fuller, [email protected] Membership fee is $45/year. Carrie Jackson, Mike Katz, Caryl Anne McBride, Periodical postage paid at West Caldwell, NJ ADVERTISING RATES Robert McGee, James Pansulla, Stew Schiffer, Postmaster please send address changes Full Page: $135, Half Page: $90, Elliott Tyson, Jackie Wetcher to P.O. Box 223, Garwood, NJ 07027 $60, $30 1/3 Page: 1/4 Page: ADVISORS All material in Jersey Jazz, except where another For reservations, technical information and Don Braden, Al Kuehn, Bob Porter copyright holder is explicitly acknowledged, deadlines contact [email protected] or visit is copyright ©New Jersey Jazz Society 2020. All njjs.org/Magazine/Advertise. Make payment at rights reserved. Use of this material is strictly PayPal.com: [email protected], or via check made prohibited without the written consent of the NJJS. payable to NJJS, P.O. Box 223, Garwood, NJ 07027.

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 07 WHERE STARS SHINE, NIGHT & DAY.

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Concert Series Will Again Be Streamed Online Artists Include Vocalist Marion Cowings, Drummer Johnathan Blake, and a Bill Charlap/Houston Person Duo

BY SCHAEN FOX

or the third consecutive sea- SUNDAY, FEBRUARY 14 son, William Paterson Univer- Special Valentine’s Concert F sity’s Jazz Room series will be with vocalist Marion Cowings. streamed online. The goal, though, remains the same, according to Dr. Vocalist Marion Cowings is, ac- David Demsey, Coordinator of Jazz cording to Demsey, “One of the un- Studies: “A varied list of artists in der-recognized song giants. He’s terms of generation, instrumenta- done so much major stuff on the tion, style that will attract different New York scene and nationally for audiences.” All concerts will con- decades.” The late pianist Mulgrew Houston Person tinue to be presented on Sundays Miller, who was Director of Jazz at 4 p.m. Here’s the spring lineup: Studies at WPU from 2005-2013,

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 09 JAZZ AT WILLIAM PATERSON

was, Demsey said, “very close to SUNDAY, MARCH 21 his own big band and small groups a six-horn setup on the concert with Marion and wanted to bring him John Fedchock New York Sextet for decades.” Fedchock’s sextet will Ron.” Mendoza described it as: “Tito here, but we could never work out feature Walt Weiskopf on tenor sax- Puente style, not a full big band.” a date. So, here we are, six years Fedchock, Demsey pointed out, “was ophone, Scott Wendholt on trumpet, later. Marion Cowings is certain- a major voice in the Woody Herman Allen Farnham on piano, David Finck SUNDAY, MAY 2 ly a master who deserves to be Orchestra in the ‘80s, as a soloist; and on bass, and Eric Halvorson on drums. The Steve LaSpina Quartet more widely recognized.” The mu- he wrote a lot of their great arrange- sicians who will accompany Cow- ments. Since then, he has become a SUNDAY, APRIL 25 Steve La Spina is a member of the Wil- ings were not known at press time. fixture on the New York scene, leading Guest bassist Ron Naspo with liam Paterson faculty, and, according the WP Latin Jazz Ensemble, to Demsey, “has played with everybody.” SUNDAY, MARCH 7 directed by Chico Mendoza That list includes Stan Getz, Marian Johnathan Blake’s Pentad McPartland, and Jim Hall, among many For many years, Naspo was part of others. “He can play super modern, Drummer/composer Blake is a Wil- the Bucky Pizzarelli Trio, along with traditional, Broadway shows, anything,” liam Paterson alum – “He graduated pianist Tony Monte, that performed Demsey added. “He is a musician’s mu- in the mid ‘90s,” said Demsey, “but Johnathan at the Pierre Hotel’s Café Pierre. sician.” La Spina will be joined by saxo- has gone on to be a major artist who Blake “Naspo,” Demsey said, “is kind of a phonist Joel Fraham, pianist Luis Per- has played with everyone from Ken- New Jersey and New York mainstay domo, and drummer Eric McPherson. ny Barron and Dave Holland to Mi- bassist and has been very involved chael Brecker, and rapper Q-Tip.” on the Latin scene as well, so he was SUNDAY, MAY 9 Blake’s band will include: Immanu- one of the first choices of our con- Houston Person and Bill Charlap el Wilkins on alto saxophone, Joel ductor and longtime faculty member Ross on vibes, David Virelles on pi- Chico Mendoza. Since we cannot Pianist Charlap (who is Director of ano, and Dezron Douglas on bass. safely field a big band, we are doing Jazz Studies at WPU) and tenor sax-

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 10 JAZZ AT WILLIAM PATERSON

ophonist Houston have been play- forward. Each event will be available ing duos together for a number of on demand for 30 days beyond the years. “I can’t quite remember how concert date, and once you have the we started to play together,” Charlap ticket, you can see it as much as you said. “We have known each other for want. A reminder to our audience to years and years now and have played be on time if you are viewing a Sun- together in many different contexts. day show! If you show up at 4:10 to “Playing with him is a magnificent purchase a ticket for a 4:00 p.m. con- experience,” Charlap continued, “be- John Fedchock cert, you are locked out. However, cause the warmth of his humanity the next afternoon it comes back up and musicianship and the depth of again and you can see it on demand.” his experience and true virtuosity As always, a Sittin’ In session is are palpable all the time. We have a line process, Demsey said, “The it, “we would not exist.” The extra scheduled for an hour before each con- very good simpatico which we have actual recordings have been going video costs are temporarily being cert, and anyone may submit questions always had because we both love to pretty well. We have a good camera covered by an NEA CARES grant. for the artists. These are always avail- swing, and we both feel the time in crew who are alums of our music “We prerecord these concerts,” able on the university’s YouTube site. the same place. I love making music department. They have video exper- Demsey continued, “because it is Demsey noted one additional change, with him. I love everything he rep- tise and are really good musicians. a lot easier to put together a vid- “We are advertising international- resents, and what he is about.” Person, That’s a rare combination. They eo presentation if you have at least ly in DownBeat magazine. Normally Demsey added, “is an under-recog- understand the dynamics of a con- a couple hours to edit things a bit. advertising is only in the New York nized tenor giant who should be right cert, and what an audience member And it gives us a chance to put the metro area, but now people are watch- there with Stanley Turrentine, Hank wants to look at.” Paying for this, as tune titles in underneath and list ing the concerts from Japan and Eu- Crawford, Gene Ammons, and the always, comes in large part, from the names of the band members.” rope.” Ticket prices are ‘pay what you other great jazz and blues players.” “our ongoing support from the New As for the ticketing process, “We want’—$25, $20, $15, $10—and must

Regarding the still-evolving on- Jersey State Arts Council.” Without are trying to make it more straight be purchased at www.wpunj.edu. DRUKKER CHRISTOPHER BY PHOTO

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 11 Our Commitment to Value for Clients

Regardless of the legal issue – from minor traffic violations to serious criminal charges or litigation – our attorneys first view the totality of the problem through the eyes of our clients. Then we put the best resources of our firm in play to meet their unique needs and secure the best possible results. NEWS FROM WBGO

joined WBGO as a Programming Steve Williams Proves Consultant and then, after a national You Can Go Home Again search by WBGO’s Board and other Former Director of Programming Returns as President/CEO and Envisions Technology community partners, Williams was selected as the station’s new Pres- Upgrades and Strengthening of Collaborations and Partnerships ident/CEO, succeeding Interim BY SANFORD JOSEPHSON President/CEO Bob Ottenhoff, the station’s founding general manag- er, who had come out of retirement. he expression, “You Can’t Go Williams returned as Program- Home Again”, gained popularity ming Consultant at a critical time T after Thomas Wolfe’s novel with — the outbreak of Covid-19. “One of that title was published in 1940. But the first things I had to do,” he re- Wolfe’s book doesn’t apply to Steve called,” was to devise a plan of action Williams. For Williams is, indeed, with our Chief Technology Officer coming home again. After serving as and Radio Engineer, Chris Tobin, to Director of Programming at WBGO automate our daily broadcasts and 88.3FM (Newark Public Radio) digitize our music library.” This was from January 2015-April 2018, he done so the station’s on-air per- departed for Seattle to accept a po- sonalities could broadcast and play sition as Director of Audio Produc- music from home. (Tobin, tragical- tion at KUOW 94.9FM, the National ly, died from a heart attack on De- Public Radio news station there. cember 19, 2020, at the age of 59).

In March 2020, Williams re- “We had to acquire technolo- GORDON TUNISON BY PHOTO

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 13 NEWS FROM WBGO

gy for a digital playout and really long as you allow for that complete ramp up the process of preparing “COLLABORATIONS, NETWORKS, dialog to guide you and not make for use,” Williams continued. “Nor- any assumptions, you will be able to mally, this type of transition takes maximize your potential as an arts three to six months. We were able AND PARTNERSHIPS HAVE TO BE and culture and media organization.” to do it in 10 days. We had to ac- A native of Cincinnati, Williams quire the equipment and train ev- A BULWARK OF BGO’S ACTIVITY. is a graduate of American Univer- eryone. We didn’t have a choice. It ” sity and was Managing Producer of was either that or pull off the air.” its radio station, WAMU 88.5FM, 1 As he spoke with Jersey Jazz a destination for many high tech ly with the New Jersey Jazz Society. I for 5 /2 years. He has also worked in during his first week as CEO in Jan- companies. I see WBGO,” he added, don’t think any institutional organiza- commercial radio at Jefferson-Pi- uary, Williams outlined several key “as the hub of arts and culture and tion can survive without partnerships.” lot-owned stations in Denver, Clear goals. “Part of my vision for New- jazz—sort of a ‘Jazz Central Station’.” WBGO’s audience is diverse—not Channel Communications stations in ark Public Radio,” he said, “has to Williams is also committed to only within the Tri-State Area, but Philadelphia and San Francisco, and do with upgrading our physical and broadening collaborations and part- also throughout the world, via the at KGO 810AM in San Francisco. technical plant to be in sync with nerships and to deepening the station’s Internet. Jazz fans, Williams pointed what’s happening. We need to rede- engagement with its audience. “Col- out, make up “a completely diverse A documentary, The WBGO Sto- sign our physical plant or consider laborations, networks, and partner- constituency. They’re young, old, ry ... Bright Moments from Newark to the possibility of moving into and ships have to be a bulwark of BGO’s male, female, city, suburbanites, high- the World, directed by Chris Daniels developing a new location in New- activity,” he said. “That includes con- ly-educated, rich, poor, and everyone of Daniel Productions, was selected ark.” The city of Newark, he added, tinuing our relationship with NJPAC in between. You have this broad land- for screening at the NJ Film Festival has been rejuvenated as “a hub for and enhancing our relationship with scape demographically. You have to (January 30); Thomas Edison Black arts and culture. And, it’s becoming Rutgers-Newark. And, you can rest ask the audience what they want, and Maria Film Festival (February 5); and the center of a revival in high tech, assured we’ll be working more close- research the market extensively. As Garden State Film Festival, March 24).

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 14 MA RAINEY’S BLACK BOTTOM

Understanding the Real Meaning of ‘The Blues’ “THERE’S A BASIC BY SANFORD JOSEPHSON TENSION THAT White folk don’t understand the blues. WHITE PEOPLE They hear it come out, but they don’t know how it got there.” DON’T EXPERIENCE ... —VIOLA DAVIS, AS MA RAINEY, IN Ma Rainey’s Black Bottom THE BLUES IS OUR What is the definition of the blues? WAY OF RELEASING Grammy Award-winning vocalist Catherine Russell believes Viola Da- THAT TENSION. vis, portraying Ma Rainey in the Net- — Catherine Russell flix movie adaptation of August Wil- ” son’s Pulitzer Prize-winning play, Ma Rainey’s Black Bottom, really nailed it. “That quote where she says: ‘The blues make you feel you’re not alone. You can release all of your feelings into it.’

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 15 MA RAINEY’S BLACK BOTTOM

“We live differently—Black and white people,” Russell continued. “In the scene where Ma sends two guys out to get a Coke, it takes a long time for them to find a place [to buy it] where they’re not going to die. This is something that white people are not going to experience. People don’t understand that you could leave your house and not come back, and From left, Potts, nothing would be done about it.” Turman, Domingo, Another anxiety-inducing scene Boseman. depicted a minor auto accident in- volving Rainey’s car. “Ma owned a fancy car, and [after the accident] Rainey’s Black Bottom is Rainey, and bandleader Luis Russell, when a trio ditional instruments such as guitar, they didn’t believe the car was hers,” most of the action takes place with she had formed joined his band. bass, and horns. It was okay if you Russell pointed out. “She gets out of her and her fictional band in a Chica- “My mother told me how horri- played violin and piano, but you had the car, and there is a whole crowd go recording studio in the 1920s. In ble it was to tour down south,” Rus- to look cute and be able to play.” of white people around. My nerves the 1940s, Russell’s mother, guitarist/ sell recalled. “The Midwest was no When Russell was a teenager, were on edge. There’s a basic tension bassist/singer Carline Ray, was part of great thing either. Being Black and a she was more familiar with Bessie that white people don’t experience—‘I the Sweethearts of Rhythm, an all-fe- woman, you had two strikes against Smith—known as ‘Empress of the have to watch what I say.’ The blues male, integrated music group. She you. Women weren’t treated as seri- Blues’—than with Ma Rainey. “I also is our way of releasing that tension.” also played with trumpeter Erskine ous musicians,” she added, “partic- heard Alberta Hunter at The Cook- The only real-life character in Ma Hawkins’ band and met her husband, ularly women who played non-tra- ery, and I’ve done some Ethel Wa-

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 16 MA RAINEY’S BLACK BOTTOM

“ALL THOSE WOMEN LIVED THE WAY THEY WANTED TO LIVE.” ters tribute shows. Ma Rainey was Potts; and trumpeter, Levee, played the last I got into. Ma, though, was by the late Chadwick Boseman—his the ‘Mother of the Blues’ and was a last movie appearance in what was huge influence on Bessie Smith, just an Oscar-worthy performance. as Joe [King] Oliver influenced Lou- Russell saw Ma Rainey on is Armstrong—except that Bessie Broadway and appreciated that the and Louis became the bigger stars. movie “stuck to the script, just told “All of those women lived the way the story of the characters, kept to they wanted to live and didn’t go by how people lived their lives, no ex- any rules regarding how they should cess drama. All the moments were be around men or how men should real and true about how the musi- treat them. They were great entertain- cians were getting through life.” ers, and they were great storytellers.” Saxophonist Branford Marsa- The four male musicians in the lis wrote the soundtrack, and Rus- movie were trombonist, Cutler, played sell feels he, “did a really nice job by Colman Domingo; pianist, Tole- of weaving the music into the story. do, played by Glynn Turman; bass- It all worked together. The music ist, Slow Drag, played by Michael is part of their lives, not a separate

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 17 MA RAINEY’S BLACK BOTTOM

ed to take over,” Findley said. “He wanted to do his own music, get away thing. It’s a story with music, not a and asked me if I’d be interested in from the old blues from the South— musical. I also liked his incidental coaching Chadwick,” Findley said. “I more up kind of blues playing.” music, the music behind the dialog.” spent two weeks with him. He has half Levee’s desire to be more modern In an interview with the Pitts- a dozen pieces where he’s playing. If than his older bandmates is a clash burgh Post-Gazette, Marsalis—who the camera’s on his fingers, the valves that seems to surface throughout Chuck Findley also wrote the soundtrack for Spike have to be right; the fingering has to be jazz history. Even today, Russell said, Lee’s Mo’ Better Blues starring Denzel right. He couldn’t read music, but he “There definitely seem to be some Washington and Wesley Snipes—said, could sing, and he studied like a real strict lines between types of jazz and “The blues is the basis of jazz. Some pro. He studied every one of the clips. old trumpets that they played with in what musicians want to play, and modern jazz musicians would disagree. I just wrote down the fingering. He Chicago in the ‘20s. I took one of them the era and style of jazz they choose That doesn’t matter to me. When I would sing it and push it out—sing- for him to hold. He did a wonderful job.” to play. I’m pretty much in the tradi- listen to great jazz artists, they have ing through the horn and fingering As an 18-year-old, Findley, now 73, tional field. Traditional players that I an understanding and relationship it. He was just beautiful. I couldn’t played trumpet in Buddy Rich’s big work with are more well-versed in the with the blues.” Marsalis was on the have taught a musician who knew band. Through the years he has per- modern styles, and can play both. The set as often as possible to ensure the notes as well as I taught Chadwick. formed and recorded with a wide vari- modern jazz player is less inclined to actors portraying musicians looked “The whole time period,” Find- ety of artists, ranging from Joni Mitch- go back. Sometimes modern jazz play- as if they were really playing. “I’m so ley continued, “I never knew he was ell and B.B. King to Miles Davis and ers feel older music is corny, but there used to seeing movies where it doesn’t sick (Boseman died in August 2020 George Benson. He was also a mem- are exceptions. Some people embrace look like they’re playing ... It was just a at the age of 43 from colon cancer). ber of the GRP All-Stars Big Band. all of it. Scott Robinson is one who matter of getting the actors on board.” Not once did he ever show any pain or There is a conflict in the movie does. When I make a recording, I’m Boseman was committed to look- discomfort. We got very close during between Levee and the other band so rhythm-based that I notice the ing as authentic as possible, so Mar- those two weeks. It was more brother members because he wants to mod- difference—especially in the rhythm salis reached out to a colleague from to brother than teacher and pupil. He ernize the music by adding his own section—between guys that are his Tonight Show days, session trum- wanted to know everything, particu- songs and arrangements. “He was swing-based and people who are most

peter Chuck Findley. “Branford called larly how to hold the horn. I had two the hot shot who came in and want- interested in just stretching out.” LAFERER CATHY BY PHOTO

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 18

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TALKING JAZZ A Jersey Jazz Interview with Kurt Elling BY SCHAEN FOX

Kurt Elling’s album, Secrets Are the Best Stories (Editions Records Ltd.), featuring Danilo Perez, was nominated for a Grammy Award in the Best Jazz Vocal category. (The Grammys will be held on March 14 in Los Angeles). We talk to him about that, plus his work as an artist and historian and his planned move back to Chicago from New York.

JJ How badly were you the lyrics. We’re both hopeful people, affected by the pandemic? but the world even before Covid-19 KE I was set to do all kinds of was disturbing. We saw the head- dates in Europe and here in the lines, the division in the country. The States with Danilo Perez. way the administration was treating citizens, non-citizens, the rest of the JJ Tell us about Secrets world, common sense, science, civil- Are the Best Stories? ity, true patriotism is discouraging KE It’s a collaborative effort with at best. It was deeply disturbing and Danilo Perez. He wrote many of the corrosive to the body politic. So, we

compositions, and I wrote many of had that at the forefront of our minds. ANNA WEBBER BY PHOTO

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 20 TALKING JAZZ

I specifically wanted to engage here. And certainly, a very, very fra- Danilo in a conversation about im- ternal aspect exists to balance that migrants, people on the short end of out. Once you prove that you can play, the stick, so several of the composi- and your sincerity and your dedica- tions reflect that concern in a direct tion, you’re surely going to find some or indirect way. Also, I notice how people who are going to hit with you. history echoes. It doesn’t repeat, but Now, Chicago is filled with really, it definitely modulates and comes really great players. It’s a great train- around again with the same or similar Danilo Perez, left, ing ground for younger people before challenges. And ghosts of mistakes and Kurt Elling. they come to New York, and it’s been past, how we pass them down, or re- a great working town for cats with ceive them without even knowing it, professional credentials. And at least and how they come back to haunt us. JJ You spent years gigging ter Gordon played where Max Roach until everything shut down, it was a And hopefulness as well, but hope- in Chicago and now in New played; people want to sing from the really great place to raise a family. I fulness that is born of hard experi- York. Have you noticed any same stage that Mark Murphy sang hope it can stay that way. Chicago has ence, and a kind of watchfulness. cultural differences between from that Joe Williams or Jon Hen- a very diverse music and arts scene, the musicians in each city? dricks sang from; people wanting to with cats of many ages, and plenty of JJ Were you surprised that it KE New York has been a churning play the big rooms with any one of the places to play. I’m excited about plug- was nominated for a Grammy? cauldron of youth and people hungry Marsalis brothers; people hoping to ging in again and finding out who the KE I am always gratified and hum- to make it; people hungry to learn; get noticed and picked up by maybe hot young players are and where the bled to be nominated. Since the people coming from all over the world a Chick Corea or any number of in- scene is now. You can afford to live recording was released just as the and measuring themselves against the credible burning players. So, there’s in Chicago a lot more coherently on a shutdown occurred, I am somewhat ghosts of greatness; people wanting to a certain high-end competitiveness jazz income. I guess you might say, it

surprised that anybody even heard it. play from the same stage where Dex- that is a natural part of the scene has its own history of innovation and ANNA WEBBER BY PHOTO

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 21 TALKING JAZZ

holding the line when it comes to a with him. He was a great favorite JJ Is there any foreign location, JJ In 2005 you purchased a certain swinging brawny sound that of my friend Bruce Lundvall, who overseas location that you’re condominium from then Senator I respect and love very much — your was the head of Blue Note for a long particularly fond of? Barack Obama. Did you have any Von Freemans, your Fred Andersons, time. Bruce would always share great KE There are many. I love being a personal interaction with him? your Johnny Griffins. Cats who blow. stories with me. Somebody gave me touring musician. I love being in KE Yeah, I met Barack Obama when I In fact, after almost 13 years here this really beautiful picture of Nan- France, and I’ve always been wel- did a small number of benefits when in New York, my family and I moved cy Wilson. She was always very kind comed there. I love the UK. The UK he was running for state senator. back to Chicago last July. My daughter to me, and obviously such a gracious has a very strong, swinging scene and He was living in the neighborhood is going into the Chicago Academy for performer. And I got a picture of also has a very, very strong electron- where my wife and I were living. the Arts as a freshman this year, and my friend Tommy Smith, who is an ic jazz scene; at least in London. It’s Willie Pickens, the great Chicago I want to be there for her and support inspiring saxophone player based a thrill to be there. It’s a thrill to be in piano player also lived in Hyde Park her. And, it’s definitely a difference in Scotland. He’s a real hero of the the Netherlands. They’re beautifully and was already doing benefits. He in the amount of money I’m ready to people. He started a couple of youth educated and it’s such a civilized place. knew the Obamas already and invit- spend on rent and purchasing power. orchestras and a big band. There They get all my jokes and think I’m ed me to come along. He said, “Yeah, wouldn’t even really be a jazz scene much funnier than I am. It’s fabulous. I man, this guy, Barack, he’s going JJ I noticed all the photographs in Scotland without him. He’s pret- love it up in Scandinavia. I’m happy to to be somebody. He’s really smart you have up on your wall. Would ty remarkable human success story. be in Spain any time. In Italy they just and he’s got this and that.” So, I did you care to tell us about them? I’ve got a picture of my bassist, Rob want to cry and be emotional about the a couple of benefits. And Barack KE Well, I’ve got Dexter Gordon back Amster, who died very early. It’s a music, which is very stirring and in- would want to sit down and be like, here because I love his talent. He picture of us together at the Green spiring — in Poland too, but in a much “So, John Coltrane, he’s got such an was an incredibly great singer on the Mill in the heat of summer. I’m wip- darker and different way. I love going intense sound. What’s your take on saxophone. If there’s one cat I wish ing his brow while he’s continuing over to Japan. The gracious attitude his story?” I’d say, “Oh, okay. Let’s I could have met and had time with, to play. I’ve got a picture of Bran- and, again, the civility, the very, very talk about ‘Trane.” We purchased I wish I could have made the scene ford and me that I’m real proud of. sophisticated culture is very beautiful. the Obama apartment right at the

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 22 TALKING JAZZ

imperfect science. I’m trying to do “I’M TRYING TO DO MORE THAN more than just write lyrics and sing in tune. I’m trying to be part of the solution, so I at least want to point JUST WRITE LYRICS AND SING IN TUNE. people to some things that I think ” “Okay those people seem like they’re making a good difference.” If anything time when he had been elected to JJ Would you go into detail The second time was Interna- I’m doing as a singer or someone you the US Senate. His book sales were about being invited to perform tional Jazz Day. I was invited by the listen to pushes you to also act, then taking off, and he needed a Senate at the White House? Thelonious Monk Institute, the ones here’s a couple of places I would sug- level house. My wife was pregnant KE Well, the first time it happened who put on the International Jazz gest. Sometimes in concert I’ll say, at the time and we needed laundry was in his very first year in office. It Day celebrations. You can see it on- “Please pick up a CD tonight. All the in unit. [Laughs] I said, “I’m going was for the first state dinner that he line. It was a cavalcade. I did a duet CD money is going to this cause or to grab that. This guy really is go- was throwing for then Prime Minis- with Dee Dee Bridgewater. There that cause.” I just want to pitch in. I ing places. If it was good enough for ter Singh of India. I think that hap- were a bunch of New Orleans play- don’t want to be the guy that is always, him and his family, it’s definitely pened because Michelle Obama’s ers on that. And, I got to sing back- “Hey buy the recording. Support me.” going to be good enough for me and office was looking for Chicago-re- up for Buddy Guy and his band! That doesn’t seem like it is enough. mine.” So, I guess we both upgraded. lated and Chicago people who could Let’s see … And then, you know, a bring a certain thing and mix it up JJ Your website has a section JJ Many musicians avoid making handful of times while he was presi- with American citizens of Indian ex- called “Take Action,” Why political remarks that might dent — most notably at International traction, or Indian relations. I was do you have it there? upset some in their audience. Jazz Day, the last year of his presiden- happy to do it. I got to sing with the KE I continue to search for the right Not you. Have you always been cy. That was a real thrill. I got to stand National Symphony Orchestra. I think way to make a difference and to focus willing to brave the storm? right next to Al Jarreau for the finale. it was Marvin Hamlisch conducting. my energies and to give back. It’s an KE I’m not nearly as brave as I wish

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 23 TALKING JAZZ

I was. I wish I did more than just ment. What a fascinating conscious- and foundational figure in his home JJ What keeps you going? talk about things, march a little and ness and the nth degree of hip jazz country. And … who wouldn’t want KE I suspect that when one is maybe point the way. I’m a terrible musicians represent. I would have to hang out with Wayne? Wayne is a young one has a natural optimism narcissist, I’m afraid. But I do ac- loved to have gone to a concert and bodhisattva. Did you know that? It and resilience that either barrels knowledge the fact that sometimes sat next to Prez and listened to clas- was great hanging out with Bran- through, laughs at or otherwise people come out to my shows to get sical music, or to any number of ford. That is one of the proudest overcomes barriers and obstacles. away from the headlines. Either singers. Duke Ellington, obviously times of my career, going out with Along the way one gets inured way, I feel the situation — for a while was a genius of being human. I feel that band, and to be confounded by to—or makes friends with—many now — has warranted all people of you can get to know Duke, if you some of the things he would say. of the chronic challenges to one’s good will speaking out in all the ways try. I feel he really was the same ex- calling. After a longer while, they that they can. If you can’t condemn traordinary gracious sophisticate JJ You appear on Afro Blue, become de rigueur. I don’t imagine that stuff which is blatantly incor- offstage as he was on stage. Know- Harold Mabern’s last recording. a realistic scenario at this point rect and corrosive, at least speak ing him would have been a thrill in What was it like working with him? in my career where I will have up for the most defenseless among a completely different way. It would KE Mabern, man he was so gener- a “hit record” (whatever that us. At least we have to speak up for have ennobled me. I would have ous and child-like in his conver- would be at this point) that would what we believe in — for what’s re- loved to have dinner with Basie sation. He was enthusiastic about serve up the kind of financial ally right and not for what the ugly and hung out with him that way. music and musicians. He was just and lifestyle rewards I had is getting away with right now. Among living people, I men- as enthusiastic about people he had imagined as a younger person. tioned my friend Tommy Smith played with as he was meeting new I am, instead, grateful for the JJ Of all your jazz heroes, before. He’s an extraordinary intel- players. He was interested in every- identity I have come to embody, which are the most interesting lect and very dedicated artist. He’s thing, always asking questions. He the friendships I have made, the to you as people, not artists? overcome an incredible series of was always ready with a joke, just a memories I have collected, and KE The people I’ve got up here on circumstances to become extreme- sweetheart of a guy and so generous the family to which I am able to the wall. Put music aside for a mo- ly powerful artist and a gracious and concerned in a sweet kind of way. return when the road is through.

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 24 The Mark Clemente Chord Melodies™ for Guitar

Playable, performance-ready arrangements for solo jazz guitar. Each song is written in notation, tablature, and with chord diagrams. Choose from nearly 50 standards, which are included in two songbooks and available individually. Praise from players at all levels ...

“Lots of guitarists who do weddings would benefit from your arrangements. I’ve learned Fly Me To The Moon, and I’ll be playing it at my next gig. Keep arranging, Mark. We need you.” - MW, theweddingmusician.com

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“I’m so happy with your arrangements! As a beginner, they are accessible even to me and are excellent studies of chord movement. MarkClementeGuitar.com Can’t thank you enough for these excellent arrangements!” 201.444.9830 -DL, Kentucky At Players Concert, from left: Howard Alden, PIZZARELLI PAINTING Bucky Pizzarelli, Howard Paul, David Miner

apa Valley vintner David Min- er first met Bucky Pizzarelli in N 2000 when his future father-in- law, Reed Mackenzie, brought Bucky and Howard Alden to Napa Valley as a wedding gift. “They stayed at my house and played a concert at my winery. My brother and I sat in with them. It’s also the first time I played a Benedetto Guitar. I ended up invest- ing in the company.” Miner thinks he may still have some vinyl recordings of some of his father-in-law’s jazz house parties, which, he believes, most likely ended in the early 1990s. “Bucky and Howard Alden were regulars,” he said, “along with Milt Hinton, Dick Hyman, Ralph Sutton, and quite a few others. Reed is a won- Benedetto Guitar Chairman derful man and a huge jazz fan.”To- day, Miner is Chairman of Benedetto is High Bidder in NJJS Auction Guitars as well as President of his David Miner Hosts Annual Players Concert at His Napa Valley Winery own winery, Miner Family Vineyard

BY SANFORD JOSEPHSON in Oakville, CA. In 2005, his winery MIKE ORIA BY PHOTO

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 26 PIZZARELLI PAINTING

released a 2002 Miner Benedetto Sig- nature Cabernet Sauvignon and hosts “PIZZARELLI WOULD an annual Benedetto Players Concert at the winery. Benedetto, based in Sa- vannah, GA, is a sponsor of the Savan- STAY AT MINER’S HOME nah Jazz Fest, held every September. When the Pizzarelli family donat- DURING THE BENEDETTO ed a painting by Bucky—who passed away in April 2020 at the age of 94— PLAYERS CONCERTS. to the New Jersey Jazz Society to be sold as a fundraiser, it was only nat- ” ural that Miner would be interested. cluded a photograph of Bucky and every night before he went to bed.” seven-day free event. In 2020, be- So interested that he was, in fact, the his wife, Ruth (who passed away a For the Players Concerts, Miner cause of Covid-19, it was an online highest bidder for the painting of the week after Bucky) watching a Frank Family Vineyards transforms its load- streamed event, held from Septem- Pizzarelli property on the bank of the Sinatra video at home with the paint- ing dock into an amphitheater for an ber 23-27. It included a Movie Night Saddle River in Bergen County, NJ. ing displayed in the background. evening of wine, hors d’oeuvres, and with a streaming of Clint Eastwood’s The 20 x 24-inch oil-on-canvas Pizzarelli would stay at Miner’s jazz. Benedetto CEO Howard Paul al- documentary, Dave Brubeck: In His painting features striking autumn home during the Benedetto Players ways joins Miner on guitar; and other Own Sweet Way; a Blues Night with colors against a pallet of blue sky, Concerts, and Miner recalled that, players through the years have includ- vocalist Willie Jackson and guitar- green and brown trees with the Piz- “he would be up in his boxer shorts ed Alden, Frank Vignola, and Jimmy ist Eric Culberson; and a Spicy Jazz zarelli home in the background. It early in the morning ready to play. Bruno. The concert was canceled in Saturday with saxophonist Jazmin came with its original frame and He’d just say, ‘Make some coffee first’. 2020 due to the pandemic, but Min- Ghent, accordionist Buckwheat was prominently signed: PIZZA- I still have Ovaltine in the house be- er is hopeful of reviving it in August. Zydeco, Jr., pianist Emmet Cohen, RELLI. The auction prize also in- cause Bucky would drink Ovaltine The Savannah Fest is usually a and trombonist Wycliffe Gordon.

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 27 BOOK REVIEW Life in E Flat: drummer Joe Morello. His playing March 1956, he was asked to be part The Autobiography experiences expanded and included of a State Department tour of the Mid some lessons from pianist Lennie East by a big band led by Dizzy Gilles- of Phil Woods Tristano one summer when Woods pie. It was an opportunity to be in by Phil Woods with Ted Panken spent some time in New York City an all-star band, playing charts from with his pianist friend Hal Serra. Gillespie’s legendary bebop big band CYMBAL PRESS, TORRANCE After he completed high school, from the 1940s as well as new ones by 252 PAGES, 2020 the lure of the jazz scene in New York musicians such as Quincy Jones, Er-

BY JOE LANG City brought the 18-year-old Woods nie Wilkins, Melba Liston, as well as to the Big Apple where he became Gillespie. Later in the year, the Gilles- azz autobiographies vary greatly in from reading what he had to say. a student at Juilliard and spent as pie crew made a second State Depart- quality of writing and in accuracy. Woods was born into an much time as possible sitting in at ment trip, this time to South America. J Many of the jazz musicians who Irish-Catholic family in Springfield, jam sessions and grabbing whatev- Soon afterward, Woods met and have written autobiographies have MA, on November 2, 1941. While his er gigs he could find. He met many married Chan Parker, Bird’s wid- done a fine job, but some are unfo- immediate family was not a musical of the jazz headliners of the day, in- ow, a marriage that would last until cused, full of imagined rather than one, there was always a lot of music cluding the revered Charlie “Bird” 1972. Woods moved to New Hope, real stories and leave the reader unful- played around the house on the radio. Parker who remained an influence PA, where Chan lived and remained filled. Phil Woods is a fine writer who At the age of 12, he inherited a on Woods throughout his career. busy in live performances and as a has given us an unvarnished, often saxophone from his Uncle Norman, Woods led an interesting but recording artist. A highlight for him profane, but insightful, picture of his and, at his mother’s urging, started somewhat haphazard life during the was playing on the 1959 Thelonious life. This master musician, who died to take lessons on the instrument. early and mid-1950s, having fathered Monk Orchestra that performed a September 29, 2015, in East Strouds- He took to it with enthusiasm and by two daughters, getting high on pot memorable concert at Town Hall in burg, PA, had an intellectual depth the age of 16 had formed a jazz band and booze and experiencing a va- New York City. That was soon fol- that adds to the satisfaction garnered with classmates, one of whom was riety of performance situations. In lowed by a stint on the Quincy Jones

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 28 BOOK REVIEW

big band that toured Europe in 1959. and drummer Bill Goodwin. When Woods had another occasion Leahey left in 1978, they remained to participate in a State Depart- together as the Phil Woods Quar- ment tour in 1962, this time to Rus- tet. In 1983, Woods went back to the sia with Benny Goodman. For this Quintet format with the addition of chapter, Woods has quoted exten- trumpeter Tom Harrell, followed by sively from the incisive piece that trombonist Hal Crook and, finally, bassist Bill Crow wrote soon after- trumpeter Brian Lynch. Melillo re- Phil Woods is ward for the Gene Lees Jazzletter. mained in the piano chair until 1980 recognized as one of the premier alto By late 1967, with the jazz scene and was succeeded by Hal Galper, saxophonists in jazz. slowing down stateside, Woods de- Jim McNeely and Bill Charlap. Gilm- cided to move his family to Europe, ore and Goodwin remained through ending up in Paris as home base. all of the iterations of the group. recognized as one of the premier alto Benny Carter. He stayed busy almost He soon established his European Woods married Jill Goodwin, saxophonists in jazz. While his roots until his death from emphysema. Rhythm Machine, a group that was Bill’s sister in 1985, and they lived were in bebop, he was also at home in Life in E Flat is engrossing from avant-garde oriented and enjoyed in the Poconos until Phil’s passing. a variety of musical settings. In addi- first words until last. As you read great success for several years. During his years in the Poconos, he tion to the musical highlights men- along, you feel like Woods is sitting By 1972, the European scene was was a major participant in the vi- tioned above, his work with fellow next to you relating his stories. Yes, drying up for Woods, so he returned brant jazz scene that developed in alto player Gene Quill was truly mem- there is a brashness and crudeness to to the United States where he ini- the area, the centers of which were orable. They were the first call alto his writing that some might find a bit tially tried his hand at fusion, but by the Deer Head Inn in Delaware Water players on the New York scene during much, but his life story is so compel- 1973 started the Phil Woods Quintet Gap and the Jazz Studies program much of the 1950s and were often ling that his occasional profanities with pianist Mike Melillo, guitarist at East Stroudsburg University. called Phil and Quill. He also had a become just a natural part of who he Harry Leahey, bassist Steve Gilmore, During his career, Woods was special musical relationship with was, a musical giant who did it his way.

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 29 PHIL WOODS’ LEGACY

Alto Saxophonists Pay Tribute to Their Hero During one of my visits to the club, Phil recognized me because of my We asked several alto saxophonists to reminisce about frequent visits when he was playing Phil Woods – what he meant to them and the world of jazz. there. I was surprised Phil spoke to me and asked me what I was working on. He gave me encouraging words. He was one of my first musical heroes. VINCENT HERRING One day almost by accident I Vincent Herring I moved to New York some years started playing saxophone in caught “I Love You Just the Way You with Phil Woods later and did everything I could to I 1975 or 1976. Even though it was Are” on the radio, and I heard the study with Phil Woods. Lessons were during the rise of what was to be- most beautiful saxophone sound at his home near the Delaware Wa- come ‘smooth jazz’, I fell in love I could imagine. For days I tuned ter Gap in Pennsylvania. Some of with the artistry of Phil Woods! into the soft rock station hoping to local jazz club, the Keystone Korner my current students ask me what I I grew up in a household where hear the song again. It didn’t take in San Francisco. My mom enjoyed learned from Phil Woods. After all jazz was played every day. My mother long; it was very popular and in going to the Keystone as much as she of my lessons, hearing Phil Woods loved Freddie Hubbard, Horace Silver, heavy rotation. I found out it was could. One week it was Phil Woods live hundreds of times and playing Les McCann, Mile Davis, Chet Baker, Billy Joel, and, after a short time, I playing. I can remember to this day several concerts with him, I learned Cannonball Adderley, John Coltrane, found out the saxophone player was the first time I heard him play live. He that Phil Woods is one of the Great and far too many others to list. Our Phil Woods. I looked for his records produced the most beautiful sound Jazz Masters and his musician- home was always a jazz party, but and found Live at The Showboat while smoking a cigarette, holding ship has rarely been matched. Phil soul and R&B were also heard. Once I (RCA Victor: 1977; reissued in 2014 it between his middle and index fin- showed me where the bar to great- started playing saxophone my inter- by Sony Music Japan). This was gers! The next day I practiced with a ness is located. I might not ever reach est grew, and I wanted and needed to my introduction to Phil Woods. cigarette and did everything I could it, but I know where it is, thanks hear more saxophones on recordings. I found out Phil played often at my to produce a sound like Phil Woods. to the greatness of Phil Woods.

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ALEX LAURENZI the time playing 3rds and 7ths on the hen I was 14 years old, I attended piano, learning simple voicings first W the William Paterson Summer over “Autumn Leaves” and then “Con Jazz camp, where Jim McNeely was Alma”. He believed that if I could real- my combo instructor. At the end of ly understand that, that would be the the workshop, Jim wanted to connect proper foundation for everything else. me to his old boss, Phil Woods. I met Second lesson, a few months lat- Phil five months later when I saw his er: I didn’t practice enough, and my quintet play at Birdland. Jon Gordon Phil Woods with piano chops were still rough. He was 14-year-old Alex was joining him as a special guest, and a bit disappointed that I hadn’t real- Laurenzi (now 22). even though Mr. Woods was playing ly gotten it together enough. It was with his oxygen tank right by his side, then that I got a pretty important he was still the commanding officer on work-over-talent conversation, where that bandstand. Playing Charlie Park- he said I was talented and that was er’s music, it was a beautiful passing so lesson together, maybe two hours. play longer than me with his emphy- great, but I had to combine it with a of the torch, of sorts. Jon was great, My first lesson was great. His sema, then I better start learning serious work ethic, because the mu- too. Phil didn’t seem much inhibited studio space on the upstairs of his how to put some air through the horn. sic required the most of us. It was life by his emphysema. I went back stage beautiful, modern, light-filled home I’m still working on that, I guess, all itself. I had to take it from being some afterwards and introduced myself. was the perfect size for both of us. these years later. He knew I had some hobby or something that I was good at The first of our three sessions More records and CDs than you can bebop vocabulary at that point and and really develop a relationship with together must’ve been only a few imagine, a giant Mac computer for trusted that I would be fine on the it, respect it and love it like I would months later in 2013. I would drive composing, an upright piano, and a horn, but he said he wanted me to anyone or anything greater than my- out to the Delaware Water Gap on a lounge chair. He owned me on some become the most complete musician self. I think that Phil embodied the Saturday, and we would do an hour or long tones, claiming that if he could I could become. So we spent most of culture and spirit of this music in

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many ways, believing in learning and good snapshot of what he was about. loving it the right way, playing with While the first two lessons real- the realest people, and bringing a ly felt like lessons from the master, high level of excellence and passion the third lesson felt more like two every time you pick up the horn, no friends just hanging out, playing matter the musical situation. You music together. He seemed to just could see that this music really was be enjoying himself, and I was obvi- life for him, and it deserved nothing ously having a great time just flip- less than the dedication of his own. ping through the tunes. It felt like Third lesson, a few months lat- a proper conclusion to our time to- er: Phil had asked me to write a duet gether: I was left with a bunch of big for us. I took a stab at it, and I wasn’t ideas to work on, things that would thrilled with what I came up with. sustain me for a long time. But we He encouraged me to keep working ended our time together with a re- with it. I got my piano stuff in a bet- minder of what we are here to do: ter place, so Phil was happy that his connect with others through the serious talk worked on me. I think good vibrations of this music. It was it was during that lesson where he the last time I would see him be- showed me a bunch of Benny Carter fore he passed in 2015. The funny tunes. They had done a double alto thing was that while I loved his play- quintet record in the ‘80s or ‘90s, so ing, I wasn’t a real big “Phil” head this music was from that record date. when I knew him. People thought I I hadn’t really spent any time with sounded like him but it was because Benny Carter’s music, so it was a I was trying to go after the bounce,

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feel. Phil could play you the sweet- est lullaby or wake you right up with PHIL“ COULD PLAY YOU slap tonguing and growls. He had total command over the instrument THE SWEETEST LULLABY OR WAKE YOU RIGHT UP without ever sounding forceful, re- gurgitative, or self-centered. I was so fortunate to spend some time with WITH SLAP TONGUING AND GROWLS. Phil and share the stage with him as ” a high-schooler and early-college student. Those memories will last expressiveness, and bluesiness of of spiritual and musical connection lie Parker, but they took the lessons forever. I miss hearing him play live, Cannonball with the vocabulary of to Phil Woods and all he stood for. and developed their own style. I’m one but so grateful for the recordings that Bird and Stitt. It was in early college of them; John Coltrane is one of them. I have so that I can continue to em- (2016-2017) where I really started CHARLES MCPHERSON Phil Woods was like the guy who defi- brace his approach for years to come. to dig into Phil more – Live at the e did a pretty big tour all over nitely understood the language and Showboat, his stuff with the Quincy W Europe together. Phil was seven had really good technique and devel- JULIUS TOLENTINO Jones Big Band, some later stuff with or eight years older than me. He got oped his own way of doing things.” hil Woods played a huge part of the Bill Charlap trio, etc. I am glad to to see Bird more than once. I saw Bird P me being a jazz musician and a have known him before I knew him when I was 14 or 15. Phil Woods and ALEXA TARANTINO fan of the music. Before I got hip to like that through the horn. I came Jackie McLean pretty much represent always knew I wanted to be a pro- Jackie McLean and became one of to him as much less of a diehard fan, the post-Charlie Parker era. They’re I fessional saxophonist, but it wasn’t his students, Phil was one of the first but have become one over the years the children of Charlie Parker. They until I heard Phil’s sound that I real- saxophone players I tried to emu- as I have spent more time with his represent the sax players and musi- ly knew what I wanted to sound like late when I was in high school. My music. I will always feel some sort cians very much influenced by Char- and how I wanted to make others dad took me to see him several times

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at Fat Tuesday’s and at festivals. understand what he was getting at MARK FRIEDMAN invited me back the next night to One of my first jazz teachers was in high school, but it stayed with me hen I graduated college from play again with him. I made sure a protege of Phil Woods, Nelson Hill, and guided my artistry moving for- W Jersey City State College (now the repairman had my horn fixed who’s a wonderful saxophonist and ward. I always be a fan, and I love all New Jersey City University) in 1979, so I could be comfortable. What a still resides in the Water Gap area. of the different eras of Phil’s playing. I needed direction in what to prac- thrill to sit in with Phil at the Van- (Nelson Hill is part of the Eric Mintel tice. I contacted my long-time idol, guard a second night, this time along Quartet that performed at the NJJS DAVID BINNEY Phil Woods, and he took me on as his with Eric Kloss. Phil was kind, en- December Virtual Social). What made went to Phil for a lesson when I first student. Talk about being honored!!! couraging and such a cool guy! me gravitate to Mr. Woods’ playing I moved to New York City in 1981 He was super cool with me and was his sound. So big, round, warm, when I was 19. I walked in, and he taught me tons! In December of STEVE WILSON and expressive. He had a bounce and offered me a huge joint. I said, ‘no’, I 1980—December 20 to be exact—I long with having one of the swing that you could feel in one note. wanted to concentrate on the lesson. dropped off my sax to the repair- A most definitive and best alto I was able to attend a masterclass We played a bit, and he wrote down man and picked up a loaner from my sounds EVER, Phil was the quint- of his at the Manhattan School of four or five things on one sheet of friend Matt and headed to the Vil- essential total musician, indeed Music, and I still practice and teach music paper and said, ‘Learn these lage Vanguard to catch Phil Woods. a craftsman. He was a fantastic some of the warmups he showed us. and you’ll never have to see me again.’ I was sitting right in front of him. composer and arranger for ensem- But the major thing I took away I learned them and never saw him He noticed I had a sax (my friend’s bles of any configuration and in- from him at that time was that mu- again. They were the best things I loaner) and said something to the strumentation. Had Phil chosen he sic was more than learning solos could have learned in a lesson. I still effect—“You have a sax and you’re could have had a very successful and being able to play. It was about use them every time I play. It was kind not coming up here to play with me?” career alone in that realm. I hope being an artist in every sense of the of amazing actually. That day changed I squirmed because you have that all of his skills and artistry word. Experiencing life and culture my life in a way. I’ve told the story to be used to a horn to play it com- beyond the horn will be appreciat- and letting that come out through hundreds of times at clinics, master- fortably. So, I jumped up and played ed. Phil was one the grand masters your music. I wasn’t really ready to classes, etc., and people always love it. a couple of tunes with him. Phil and one of our music royalty.

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 34 FROM THE CROW’S NEST

BY BILL CROW

rin O’Brien gave me this sto- tober, at the second floor orches- rin gave me another story, about ry: “There was an opening in tra club room of Carnegie Hall. her early years as a bassist: O the New York Philharmonic “I did play. Fred told me that I O “I was 17 years old, and it bass section in 1956, and my teach- played very well, and that the com- was my first summer at the Music er, Fred Zimmerman, encouraged mittee thought I was very good. Academy of the West in Santa Bar- me to practice even more, and Bob Gladstone won the job, and bara. My bass was borrowed from my to apply for it. He also encour- since he was a Zimmerman stu- high school, and I was so happy to aged his former students, like Bob dent too, we were very happy. be in a place where everyone want- Gladstone, Julius Levine, and Al- “Bob was in the New York Phil- ed to play music 24 hours a day. vin Brehm, to take the audition. harmonic for 10 years and then “After a rehearsal, a trombone “I was working as an usher in went to Detroit where he served player in the orchestra came up to Carnegie Hall while I was study- as principal bass for 34 years. Bob me and asked, ‘Do you want to play ing at Juilliard, and I had noticed recommended me for the New York a job on Saturday night? It’s a wed- that there were no women mu- City Ballet Orchestra where he ding in Lompoc, a couple of hours sicians in the NY Phil except for and Julius Levine had played for away, and we’ll give you a lift in our the second harp, occasionally. years, and by December of that year car. It’s a five-piece band, and our “But Fred told me, ‘If you play I was accepted into the NYC Ballet, regular bass player can’t make it.’ well enough, they will have to take where I played for 10 years, until I “I was thrilled to be asked by you.’ His confidence in me gave me auditioned again for the NY Phil- these experienced older players, and Bill Crow is a freelance musician the courage to apply, so I wrote a harmonic and Bernstein hired me. agreed on the spot. They picked me and writer. His books include Jazz letter answering the advertisement “There is a wonderful camara- up around 5 p.m. on Saturday, and Anecdotes, Jazz Anecdotes: Second Time Around, and From Birdland to in the International Musician, and derie amongst most bassists, I have the four of us plus my bass squashed Broadway. This column is reprinted got an answer back to ‘Mr. O’Brien,’ found. We try to help each oth- into their little Austin and made it to with permission from Allegro, the telling me my audition was 9:45 er out, partly because we KNOW a barn in Lompoc (‘the seed capital monthly magazine of AFM Local 802. a.m. on a Saturday morning in Oc- how difficult it is to play well!” of the world’ according to its p.r.).

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“We entered a cigarette-smoke- sponse was, ‘Honey, we don’t want the “I was playing a week-long engage- ble directly to my left of the stage filled arena with a small stage at one NOTES: We just want the RHYTHM!’ ment at Fat Tuesdays in NYC with that was set up for about eight peo- end, where there were three-foot-high “We played for four hours. I Zoot Sims, Jimmy Rowles, and Mi- ple with a bottle of champagne in cardboard music stands set up with got large blisters on my first two chael Moore. On a break, we were the middle. In came Frank with music for approximately 75 mambos. pizzicato fingers, and earned all hanging out talking, when a man his entourage, and they sat down There was also an upright piano. Seat- $16, which I sent to my mother in approached Zoot. He said that Frank and enjoyed the set. Zoot took the ed at it was a plump blonde woman, Los Angeles. I was proud to have Sinatra was shooting a movie down microphone and said, ‘I’d like to who looked at me, puzzled, as I took played my first professional job.” on the lower East Side, and Frank acknowledge a great musician, out my bow and asked her politely would like for Zoot to drop over and Mr. Frank Sinatra.’ I was told lat- for an A. She stared at my bow, and say hi. Zoot paused for a moment er that night that Zoot having in- asked, ‘What the HELL is THAT?! I ene Perla posted this story on and then said, ‘Naaaa ... tell him to troduced him as a great musician said it was a bow, and could I please Facebook. He got it from sax- come over here.’ We all about lost it. instead of as a great singer was have an A so I could tune. Her re- G ophonist John Clay, who said: “The next night there was a ta- greatly appreciated by Frank.”

ne June day Herb Gardner overheard two kids discuss- O ing their graduation ceremo- “WE PLAYED FOR FOUR HOURS. I GOT LARGE BLISTERS ny. “... and when the graduating class walks in, the band plays this real slow ON MY FIRST TWO PIZZICATO FINGERS, AND EARNED $16, march called ‘Papa Smurf’s Dance’.” Herb said Sir Edward Elgar had no WHICH I SENT TO MY MOTHER IN LOS ANGELES.” idea he’d be so immortalized.

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BY JOE LANG

he New Orleans-based Saber- ing vocals from trumpeter Dan Ruch aggregation a lot of wonderful music to mons music while beautifully execut- tooth Swing is a swinging sextet and fine playing from Alex Canales play. It is pleasing to hear and it sounds ing the charts by Sean, the result being that has released an all too brief on reeds, Chris Butcher on trombone, like the band had just as much fun Nimmons with a contemporary shad- six-tune album titled Songs Romain Beauxis on guitar, Spike Per- making it all come to life. lenpierro.com ing. Phil Nimmons was a giant on the Tof Future Past (Slammin Media). kins on bass and Robert Montgomery Canadian jazz scene, fully deserving of The album includes three standards, on drums, this hot group serves up Those who have been hardcore jazz renewed attention. This is a nice way to “Frankie & Johnny,” “Blue Skies” spirited swing dance sounds that are fans for as long as I have been are start! nimmonstribute.bandcamp.com and “How Deep Is the Ocean;” W.C. fun to hear. sabertoothswing.org probably familiar with the name of Handy’s “Atlanta Blues;” “Chocolate Phil Nimmons, the Canadian clarinet- As a solo guitarist, Andy Brown is as Jesus” by the iconoclastic Tom Waits; The Len Pierro Jazz Orchestra is a hard ist, bandleader, composer, arranger tasty as it gets, both musically and in his and a tune by the jam band Phish, swinging big band from Philadelphia and educator. Nimmons, who is still song selection. On Alone Time (String “Lawn Boy.” With appropriate sound- as can be heard on The Third Quarter with us at the age of 96, led a small Damper Records – 2138), Brown ad- (Walking Path Records – 2020). Pierro big band, Nimmons ’N Nine, and a dresses standards, “Look for the Silver has gathered a top flight crew of Phil- full-sized big band, Nimmons ’N Nine Lining,” “The Gypsy,” “Little White adelphia area musicians to play his Plus Six that garnered critical ac- Lies,” “Lollipops and Roses,” “The Best charts on eight original tunes plus “If claim and a steady following. To the Thing for You” and “Ill Never Stop Lov- I Should Lose You,” “Jitterbug Waltz” Nth ((Self-produced) is an eight-song ing You;” some nods towards Brazilian and Kenny Barron’s “Voyage.” Their tribute to Nimmons by The Nimmons sounds, “Berimbau,” “Samba Un Pouco playing is tight and exciting. There Tribute, an octet led by pianist Sean Azul,” “Daquilo Que eu Sei” and “Samba are outstanding solo interludes by Nimmons, Phil’s grandson. The pro- Da Minha Terra;” pop material, “Love tenor saxophonists Larry McKenna gram has seven Phil Nimmons orig- Theme from ‘The Bladerunner,’” “If” and Chris Farr, alto saxophonist Matt inals plus “Rista’s Visit,” written by and “Lollipops and Roses;” and a few Vashlishan, trumpeter Tony DeSantis, Sean for his grandfather, Rista being jazz tunes, “Soft Winds,” “Laverne Walk” and flugelhornist George Rabbai. Pier- Phil’s middle name. The band nicely and “Belleville.” No matter the genre, ro is a fine arranger who has given his captures the spirit of the Phil Nim- Brown exhibits great musicianship and

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an unerring sense of improvisation. versions), “Impromptu,” “Nuages” and rary tilt. It is exciting to see the growth You do not have to be a guitar enthusiast “Swing de Paris,” plus “Dream of You,” in this young man whom I have known to fall for this album, just a fan of good “St. James Infirmary,” “La Valse des Ni- since he was an aspiring jazz guitarist music. String Damper Records – 2138 glos,” “Laguna Laita” and “What Is This while still at Morristown High School. Thing Called Love.” These tracks were Hats off to Alex!alexwintzmusic.com The influence of Django Reinhardt on recorded in a studio, but with no head- jazz guitar music has been unique and phones or multi-tracking. The players Dave Young has been a force on the substantial. When mentioning those on were encouraged to just let the music Canadian jazz scene for about 60 years. the scene today who have been influ- flow as in a concert, and the results Originally from Winnipeg, he has been enced by Reinhardt’s style, Stephane are a joyful feast of improvisatory mu- a presence in Toronto for decades as Wrembel stands out as one of the best. sic sure to lift your spirits. As is often an in-demand jazz bassist and also has He has not only absorbed the music of the case in these times, this is a digital extensive classical credits. His latest Reinhardt, but has added his own mu- only release. stephanewrembel.com release as a leader is Ides of March sical perspectives to create music that enne Charles, while also establishing (Modica Music) on which he fronts never sounds dated, rather refresh- Morristown’s own Alex Wintz has a career as a leader and educator. Live a group with himself on bass, Kevin ingly new. To get a taste of Wrembel’s emerged as a strong presence on the to Tape (Outside I Music – 2035) finds Turcotte on trumpet, Reg Schwager approach to what is often referred to New York City jazz scene. He was Wintz leading his trio with Jimmy on guitar, and Terry Clarke on drums. as gypsy jazz, give a listen to The Djan- making appearances at Shanghai MacBride on bass and Dave Baron on They provide a nice straight-ahead go Experiment VI (Self-produced). Jazz in Madison while still a student drums on four Wintz originals, Herbie program of nine songs—four by Her- Wrembel and his band, guitarist Thor at Berklee College of Music. Upon Hancock’s “Textures,” Annie Clark’s bie Hancock, “Dolphin Dance,” “Speak Jensen, bassist Ari Folman-Cohen, graduation from Berklee, he moved “What Me Worry” and the standard, Like a Child,” “One Finger Snap” and drummer Nick Anderson, saxophonist/ to New York and seamlessly became “I’m All Smiles.” Wintz has absorbed a “Riot;” two originals by Young, “Ides clarinetist Nick Driscoll and special an active player. Among those with wide range of influences and is com- of March” and “Forty Five Degrees;” guest, violinist Daisy Castro, address whom he has performed are Peter and fortable in many styles, but his em- plus Lee Morgan’s “Speedball,” Niels four Reinhardt songs, “Naguine” (two Will Anderson, Jeremy Pelt, and Eti- phasis here has mostly a contempo- Lan Doky’s “The Target,” and a trio

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version of Gershwin’s ‘My Man’s Gone Now,” with Clarke sitting out. “NOUAUX HAS CORRALLED AN ALL-STAR The music is unerringly interesting, often incorporating a hard bop feel. INTERNATIONAL CAST OF JAZZ PIANISTS. Turcotte’s trumpet lies easily on the ears, Schwager shines throughout, ” while Young and Clarke, as always, lay I Here For” and “Fine and Dandy,” lets you know that he has absorbed via Italy, Rossano Sportiello. Each down a strong rhythmic foundation while “Moonlight in Vermont,” “Rus- plenty of Django Reinhardt. Put player joins Nouaux for two duos, and sparkle when the spotlight falls sian Lullaby,” “A Hundred Years from them together and these guys are while Nouaux solos on the Coleman on either of them. Wonderful music Today” and “When Lights are Low” having a ball. echoesofswing.com Hawkins tune, “Mop Mop” that he for trying times! modicamusic.com feature Washingmachine on the vo- dedicates to the memory of Big Sid cals. Hopkins, American-born but a French jazz drummer Guillaume Nou- Catlett. There are many tunes that Live! Vol.1 (Echoes of Swing Produc- long-time resident of Germany, is also aux has played with a host of great you would expect in a collection like tions – 4512) is a spirited program an accomplished alto saxophonist, jazzers over several decades as well as this such as “Harlem Strut” (Lhotzky), taken from July 2019 concerts in Ger- but sticks to the piano for this con- serving as the leader of some very hip “Drop Me Off in Harlem” (Matzetier), many by pianist Chris Hopkins and cert. Washingmachine is a swinging sessions. For Guillaume Nouaux & The “Runnin’ Wild” (Sportiello), “Jitter- the Jazz Kangaroos, the Kangaroos violinist in the Grappelli tradition, Stride Piano Kings (Self-produced), bug Waltz” (Kanters) and “Handful being violinist/vocalist Walter Wash- and he vocalizes with the kind of jazz Nouaux has corralled an all-star in- of Keys” (Filastro). Then there are ingmachine, bassist Mark Elton and sensibility that so many musicians ternational cast of jazz pianists who standards that are played with varying guitarist David Blenkhorn, all from who play this music possess. Elton are adept at playing in the stride tradi- approaches, including “I Wish I Were Australia, although Blenkhorn cur- provides strong rhythmic support tion. They are, from Germany, Bernd Twins” (Filastro), “Willow Weep for rently resides in Paris. There are six and shines particularly on the Os- Lhotzky and Chris Hopkins; France, Me” (Hopkins), “Overnight” (Mazeti- strictly instrumental tracks, “Can’t car Pettiford jazz classic, “Blues in Louis Matzetier and Alain Barrabes; er), “Tea for Two” (Kanters), “When We Be Friends,” “Blue Lou,” “Swing the Closet.” Blenkhorn is an eclectic The Netherlands, Harry Kanters; Italy, I Grow Too Old to Dream” (Hopkins), 46,” “Blues in the Closet,” “What Am player, a straight-ahead swinger who Luca Filastro; and the United States “The Lady Is a Tramp” Barrabes) and

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“Over the Rainbow” (Lhotzky). Sporti- creative genius. The album became context, “After You’ve Gone,” “Get Out in on piano, Dave Hofstra on bass, and ello adds an original, “Why Did You available in early November, just a of Town” and “Solitude;” a couple of Peter Grant on drums. For her pro- Tell Me ‘I Love You’” while Barrabes few weeks after he celebrated his 65th pop tunes, “Wichita Lineman” and “All gram, she selected eight tunes record- opted to combine two tunes popular birthday. While most of the album I Want;” avant-garde trumpeter Kenny ed by Kirk and created two contra- in bebop circles, “Cherokee” and “Salt is contemplative, Hersch completes Wheeler’s “Consolation -A Folk Song”, facts, on Kirk tunes “Blue Lady” based Peanuts,” and take them to the Land this musical journey with an uplifting and a couple of Hersch originals, “Sara- on “Lady’s Blues” and “Momentus of Stride. Nouaux, a wonderfully cre- stride take on “When I’m Sixty Four,” bande” and “West Virginia Rose,” a Brighticus” from “Bright Moments.” ative percussionist, has chosen wisely the age that he was when he recorded tribute to his mother and grandmother She plays flute on “Serenade to a Cuck- and well in selecting partners. Each the track. This is a nice complement to that he pairs with the traditional mel- oo,” “Funk Underneath” and “Mo- player has his own style, but they all the slow take on “Wouldn’t It Be Lover- ody, “The Water Is Wide.” Hersch mentus Brighticus,” and adds vocals come from the same tradition result- ly” that opens the program. In between has provided some perfect music for to “Alfie” and Sly’s “Everyday People,” ing in an album with a unity that keeps we get a few tunes often heard in a jazz those moments when you need to a song that she pairs with Kirk’s “Vol- the transition from song to song feel sit down, relax and contemplate the unteered Slavery.” Daly and her band seamless. guillaumenouaux.com joys in your life. fredhersch.com do not channel Kirk, rather play the music in their own way with the spirit Being house bound by the pandemic While studying at Berklee College of of Kirk lingering in the background. It has not suppressed the creative juic- Music, baritone saxophonist Claire is effective and results in an interest- es of pianist Fred Hersch. He took to Daly became aware of the music of ing musical journey. ridesymbol.com Facebook to post a new performance Rahsaan Roland Kirk. She was tak- video every afternoon for about two en by the spirit he transmitted in his While she has been based in New York months. In August, he undertook a playing. Rah! Rah! (Ride Symbol – 34) City since the 1980s, Jersey City-born recording project that has resulted in is her way of saying thank you to the vocalist Marty Elkins still thinks of Songs From Home (Palmetto – 2197), inspiration that Kirk’s music provided herself in spirit as a Jersey girl. On her 11 tunes filling almost an hour and to her. The Claire Daly Band includes latest recording, ‘Tis Autumn (Jazz- played with his usual elegance and Daly on bari, flute and vocals, Eli Yam- heads – 1247), she is found in a duo

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 40 OTHER VIEWS The Grunin Center and Ocean County College Support the Arts

format with bassist Mike Richmond. If you need a pick me up, why not This demanding voice/bass duo for- grab hold of a copy of Glitter & Grits mat would intimidate many musicians, (NTL Records) by vocalist Deborah but these two experienced and highly Silver. For this 13-song album, she talented individuals sound like they is joined by the Western Swing crew are having the musical experience of a Ray Benson and Asleep at the Wheel lifetime. The program is replete with plus a variety of guest musicians and standards that sound like new tunes backup singers. What they have pro- Jazz and New Jersey in the hands of this pair of jazzers. The duced is a collection of fun music selections are “Old Devil Moon,” “In a with elements of jazz, country, and March 22-26, 2021 Mellow Tone,” “’Tis Autumn,” “When classic pop, meshing to create steadi- the Red, Red Robin Comes Bob, Bob, ly infectious sounds. The emphasis Bobbin’ Along,” “Stairway to the Stars,” is on songs from the Great American “Lullaby of the Leaves,” “My Mother’s Songbook, including the likes of “I Eyes,” “Honeysuckle Rose,” “I Ain’t Got Rhythm,” “That Old Black Mag- Several workshops open to the public! Got Nothin’ But the Blues” and “All or ic,” “I’m Gonna Sit Right Down and Nothing At All.” Elkins knows how to Write Myself a Letter,” “After You’ve get the most out of a lyric, often vary- Gone, “Almost Like Being in Love,” oceancountyteenarts.com/workshops ing the melody to pull out the subtle “Get Happy,” “Ac-cent-tchu-ate the shadings that she finds in the lyrics. Positive,” “Embraceable You,” “Don’t

Richmond complements the daring Get Around Much Anymore” and grunincenter.org of Elkins with the kind of musician- “Fly Me to the Moon.” Add in a couple Grunin Center Box Office Hours Mon.-Fri. 10:00am-5:00pm ship and intuition that is reserved of old warhorses, “Ballin’ the Jack” 732-255-0500 for truly special players. “Tis Au- and “Bill Bailey, Won’t You Please College Drive P Toms River, NJ Contact the Box Office two weeks prior toany show tumn ‘tis wonderful! jazzheads.com Come Home” plus “Deep in the Heart to arrange for disability and accessibility services.

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 41 OTHER VIEWS

of Texas,” and you have a rompin,’ cial cohesion that comes through on liams is often called upon to perform ing the title song that he wrote which stompin’ good time program. Sil- each track. Wilson’s vocal qualities Sinatra-themed programs, but his became a big hit for Michael Jackson. ver, who survived a bout with a rare are similar to singers such as Cyrille versatility enables him to float among In addition to Adair’s trio, there are bone disease when she first became Aimee and Stacey Kent, light in tex- jazz-influenced pop, cabaret, and mid- synthesized strings added on most a mother, and a recent 40-day battle ture with a strong jazz influence. She dle-of-the-road pop. His most recent tracks. The program comprises stan- with Covid-19, emits the kind of verve gives “Honeysuckle Rose” a very slow album, On Days Like These (Gary Wil- dards such as “I’ve Never Been in and grit that comes naturally to a born and sexy reading. The challenging liams – 6828) fits most comfortably Love Before,” “Two for the Road,” a fighter.DeborahSilverMusic.com lyrics that Mark Murphy set to Oli- in the last of these categories. It is an duet with Monica Ramey, “The Folks ver Nelson’s “Stolen Moments” are amalgam of pop songs such as “The Who Live on the Hill.” “Too Marvelous Honeysuckle Rose is the debut album well handled by Wilson. “Norwegian First Time I Saw Your Face”, “Time in for Words” and “Teach Me Tonight;” from Toronto-based vocalist Aubrey Wood” entered the jazz world through a Bottle”, and “If”. There are a few that some Brazilian tunes, “So Many Stars,” Wilson. She is supported by Chris the fabulous Bill Holman chart for lean more toward the standards des- “Começar de Novo” and “Somewhere Bruder on piano and Wurlitzer, Tom the Buddy Rich Big Band. The ar- ignation such as “Joanna”, which he in the Hills;” three Davis originals, the Altobelli on bass, and Sean Bruce rangement for Wilson’s emphatic combines with “The Good Life”, “Didn’t title song, “Swept Away” and “Leaving Parker on drums, with Luis Deniz on version is by Bruder, who did all of the We”, “The Days of Wine and Roses”, and It Up You;” plus “Minha Alma” by Adair alto sax and Scott Tapley on guitar charts for the album. Wilson and her “It’s Impossible”. His pleasant baritone and Lori Mechem. Davis is possessed for two tracks apiece. There are 10 band are off to a fine start with this always makes for pleasant listening, of a mellow baritone that he uses in a selections on her program. Wilson recording, with a rosy future on the and this collection will provide aural mostly understated manner. The ar- attended the Applied Music program horizon. aubreywilsonmusic.com comfort food in these days of uneasi- rangements are more pop than jazz, at Mohawk College in Hamilton, On- ness and confusion. garywilliams.co.uk but Adair’s trio definitely adds a jazz tario, where she met her bandmates. Gary Williams has enjoyed a busy ca- element. After a long career in musical They have been together for eight reer as one of the best traditional pop Never Can Say Goodbye (Self-pro- theater and as an actor in film and on years, and the familiarity from play- vocalists in England. He performs duced) is a recent album by vocalist television, Davis has turned his atten- ing together for an extended period of extensively in Great Britain and is a Clifton Davis with The Beegie Adair tion to vocalizing on a recording, with time gives their performance a spe- popular favorite on cruise ships. Wil- Trio. Davis sings a dozen tunes includ- enjoyable results. cliftondavis.com

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Remembering Ed Xiques His easygoing personal style, his sense BY TED PEASE of humor, and his dedication to musi- cal excellence earned him the love and friendship of hundreds and hundreds d Xiques is my oldest and dearest reed instruments, died December of fellow musicians and students. musical friend. Our friendship 4, 2020, in Las Cruces, NM). An early memory about Ed and me: E began in the ninth grade at Several years later after college, The first time I heard Charlie Parker Pelham High School in Pelham, NY, Ed was directly responsible for me was at Birdland in 1955. Not live—it when we discovered our mutual migrating to Boston and beginning my was a recording playing over the house interest in jazz. We listened to subsequent career at Berklee. He gave system as Ed and I walked down the records together at every opportunity. me a place to stay and some instant stairs to a 3 p.m. Sunday matinee per- Then we started playing together—Ed gig contacts. We played together in formance by the Stan Kenton band on alto and me on drums. Ed was Dick Wright’s nine-piece jazz/dance (I wanted to see and hear Mel Lewis. very patient with me—“brushes, man, band that included Gary Burton on So many cross currents to my story. brushes!” When we were juniors piano(!), Mike Gibbs on trombone, Twenty years later, Ed would be play- in high school, we formed a jazz and Jimmy Derba on tenor. Ed played ing in Thad and Mel’s band!) Anyway, sextet with some friends and played baritone sax. He had a huge sound. I’m hearing this searingly beautiful a few gigs at high school dances. We Ed left Boston in 1962 to seek his alto sound—it was “Just Friends,” from also played together in the high fortune in New York along with Rosie, the Bird with Strings album, which, at school dance band. At the time, Ed the love of his life. Then came Thad age 16, I had never heard before. “Who was exclusively an alto player. He and Mel, countless other gigs, tours is THAT?” I asked Ed, the alto player. From left, Ted Pease, already had a mature sound and with Liza Minnelli, and the rest, as “That’s Charlie Parker,” he answered. Ed Xiques, Ed’s wife was soloing nicely, especially on the they say, is history. Along the way, Ed Rosie, in Tarrytown, We took our seats in the “bullpen”, blues. (Xiques, who played all the endeared himself to so many people. NY, June 2019. which was set aside for kids under 18

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at those matinee concerts. The rest Remembering tener and was always interested in Diane’s untimely death. (See Ted of the afternoon is a blur of memory. I Diane Moser how you and your family were do- Pease’s tribute to Ed Xiques). sat right underneath Mel’s drums and BY SCOTT NEUMANN ing, and what you were up to both Having played drums for more marveled at his taste and the way his musically and personally. Even as than 20 years in both Diane’s Com- drums and cymbals sounded with the Diane was very sick the final weeks posers Big Band and small groups, I band. The next day, I went to the re- ith Diane Moser’s passing of her life, she rallied her Com- can say that all of her musical talents cord store in New Rochelle and bought on December 17, 2020, the posers Big Band’s (“CBB”) band and personal attributes came into the Bird With Strings album and spent W New York/New Jersey mates together to share memories play with each and every perfor- the next month and beyond bathing in music world lost a true “super- of beloved longtime saxophon- mance. Though her nickname was his sound. It’s an indelible memory of nova” of creativity and communal ist/band member Ed Xiques, who “D-Mo”, musical comrades often lik- my young jazz life on so many levels. organization as well as a strong had passed away only days before ened her to a scout troop Den Moth- RIP, my old friend. (Xiques is purveyor of musical and spiritual survived by his wife, Rosemary; nourishment for countless musicians, son, Thomas Gregory; grandchil- students, and followers of her music. dren, Jack Basie and Isabella Rose; Diane’s finest attributes went brothers, Pete, Robert, Chris, and well beyond her musical capabilities Brendon; and sister, Helen-Louise) as a pianist, composer, bandleader and educator. Her Midwest/Iowan Ted Pease, winner of two grants in jazz roots developed her down-to-earth composition from the National En- sensibilities and sincere compas- dowment for the Arts, has been a facul- sion as a human being. Diane was Scott Neumann and ty member at Berklee College of Music a great mother and a caring friend, Diane Moser at the since 1964. He is currently Distin- and teacher to so many. She was Lake George Jazz guished Professor of Jazz Composition. selfless as a person and a great lis- Festival in 2009.

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er. During the monthly CBB tenure, es, giving opportunities to so many which lasted for more than 23 years, musicians and students, young and Diane would always be personally old. That same intent landed her greeting arriving musicians and au- many prestigious grants over the dience members. Her musicianship years. To name a few, Chamber Mu- and maternal instincts guided the sic America, Meet The Composer, band and countless guest artists to and the Mid-Atlantic Arts Council. so many nights of unforgettable mu- Her compositional credits are ex- sical heights. Diane was all about tensive, writing for theatre, film and the sheer joy of coming together in many different musical premieres the experience of creating meaning- for many acclaimed ensembles. ful music. Having played in many Some of my most cherished great big bands through the years, memories of Diane come from CBB’s CBB had a very different feel for me monthly run at Trumpets Jazz Club from the others, one with a much in Montclair. To fit the band on stage, more communal and family feel. Diane and the piano were positioned Equally, Diane had a gift for so that she faced directly back to- making events happen and bringing wards bassist Andy Eulau and me, people together. With her artistry as we were located at the very back and dedication to education, she of the band. I can vividly and fond- created an impact for students and ly remember the sights and sounds audiences alike in and around Mont- of all of the expressions and com- clair, NJ. She was a tireless curator ments of joy, re-assurance, humor of events and performance piec- and often disbelief that we shared

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during each and every performance. of the best descriptions of his style Most musicians have a “zone” or was written by The New York Times’ physical posture that they assume John S. Wilson on January 1, 1980. when they enter into their deepest Reviewing a performance at the moments of creating. I will always Knickerbocker Saloon in the Vil- remember Diane’s “zone”. With her lage, Wilson wrote, “Junior Mance is eyes closed and head thrown back usually spoken of as a pianist whose her, her facial expression conveyed playing is steeped in the blues ... His both a deep concentration, and a blues feeling influences everything beautiful balance between intensity he plays. But the structure of his and joy as she played her heart out. sets and of his individual pieces It is that balance of Diane’s in- have such color and dramatic flair tense love and joy for music, her family, that they go a long way toward fill- friends, students and audience that sets Junior Mance New York in 1968 and discovered him ing the musical vacuum left by the her aside as the true “super nova” that An NYC Favorite, He Learned from when he was a regular at Greenwich death of Erroll Garner three years she was. Rest in peace dear Diane and the Legends, and Then Became One Village’s Top of the Gate. By then, he ago ... Mr. Mance can build vast pas- thank you for all you shared with us! BY SANFORD JOSEPHSON was leading his own trio, as well as tel panoramas on a tune such as the playing with others, and his unique bossa nova, ‘Wave’, or work his way In addition to his 20-plus-years asso- he list of musicians that pianist brand of blues-tinged jazz mixed with deliberately through ‘Georgia on My ciation with Diane Moser, Scott Neu- Junior Mance played with sounds bebop and a healthy dose of selections Mind’, shaking the melody from time mann has played with such jazz legends T like a who’s who of jazz – Gene from the American Songbook made to time to make sure it is still there.” as Woody Herman and Brother Jack Ammons, Cannonball Adderley, Dizzy him a favorite all over the city. Born in Chicago, October 10, McDuff. He currently leads the Neu3 Gillespie, Coleman Hawkins, Lester Mance died January 17, 2020, 1928, Mance left Roosevelt College Trio and the Osage County Quartet. Young, Dinah Washington. I moved to in New York at the age of 92. One to join tenor saxophonist Gene Am-

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mons’ band. He also played with with a frown and asked me what did late [bassist] Israel Crosby, and a School in New York, remaining Lester Young before being draft- I want to play. I said, ‘How about local drummer, Buddy Smith. The there for 23 years. A statement re- ed into the Army in 1951. He was something out of your book?’ He gig lasted two years; they brought leased by The New School shortly stationed at Fort Knox, KY, and picked a sort-of Count Basie-ish in singles and gave each one four after Mance’s death, said: “Junior would have been shipped to Korea blues, the band came in shouting, weeks.” Among the visiting musi- was a central figure at the school, during the Korean War if not for a and he told me to take the first solo. cians were Coleman Hawkins, Les- helping to make it into the great chance meeting with another sol- I played the chorus, and Cannon- ter Young, Charlie Parker, and Eddie program that it is today. Those who dier, Julian “Cannonball” Adderley. ball told me to take another one and “Lockjaw” Davis. “Lester,” Mance knew Junior during this period of- In a July 2008 interview with then kept encouraging me. I peeked said, “was generous with the solos.” ten times went to hear him perform AllAboutJazz’s Ken Dryden, Mance at the brass section, and their heads In 1954, Mance toured with Di- just down the block at the old Café described what happened. “I had were bobbing to the beat. I played nah Washington, joining Adder- Loup where Junior and his band guard duty one night,” he said, “on until my arms almost dropped off ... ” ley in 1956 and Dizzy Gillespie in had set up shop on Sunday nights. duty two hours, then rest for one. Adderley spoke to his first ser- 1958, forming his own trio in 1961. Junior was known for his brilliant I walked around this service club geant and got Mance transferred In the 1990s, Mance was part of a playing, teaching, and for his friend- where soldiers hung out after duty out of infantry training and into group of pianists called the “100 ship, camaraderies, and storytelling hours. I heard music and thought it clerk-typist school. Mance stayed Gold Fingers” who toured Japan ... We will always remember Ju- was records. There was a big band on at Fort Knox, became Adderley’s once a year. Among the other pia- nior Mance and the important role stage and a big roly-poly guy, Can- roommate, and continued to be nists in that group were Hank Jones, that he played in our community.” nonball, leading it. I was the only the pianist in Adderley’s band. John Lewis, and Harold Mabern. One of his former students, drum- one in uniform and a field helmet. After his discharge from the Recruited by drummer Chico mer Jean-Phillippe O’Neill, in a Face- I ran up to the stage and asked to Army in 1953, Mance became the Hamilton and saxophonist Arnie book post, said: “R.I.P., Junior. I’m glad sit in. The pianist was a clarinetist house pianist at the Bee Hive Jazz Lawrence in 1988, Mance began I was one of your students. You opened who only knew a few basic ‘church’ Club in Chicago. The house trio, teaching in the School of Jazz and my ears and always told me how much chords ... Cannonball looked at me he told Dryden, “included me, the Contemporary Music at The New you loved drummers!” Another drum-

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mer, Alvin Queen, recalled (also on Facebook) that “We used to share great moments on the bandstand with [bassist] Martin Rivera and traveling the world together. You have defi- nitely done your job on this earth.” Saxophonist Andrew Hadro told DownBeat that Mance, “didn’t much care how old you were, where you came from ... If you wanted to play some blues, you were cool. His Eugene Wright, favorite piano was truly the one left, with in front of him. The only thing he Chris Brubeck liked almost as much as playing was hanging out, laughing, and telling Eugene Wright who died the previous December 30, 2020, in Los Angeles, at the age stories from his decades playing Last Surviving Member of (Jersey Jazz, July/August 2013). of 97, was the only African-Amer- jazz everywhere with everyone.” Dave Brubeck’s Classic Quartet One member of Brubeck’s classic ican member of Brubeck’s quartet, Mance is survived by his wife, quartet of the ‘50s and ‘60s was still which also included alto saxophon- Gloria Clayborne Mance, who an- n May 11, 2013, “A Celebration alive—bassist Eugene Wright, who ist Paul Desmond and drummer nounced his death on Facebook and of the Life and Music of Dave played “King for a Day”, a duet with Joe Morello. In the late ‘50s, come said: “I know the world has lost a O Brubeck” was held at New Brubeck’s son, Darius. “King for a Day” college deans, primarily in the jazz legend. He was undoubtedly a York’s Cathedral Church of Saint was written by Dave Brubeck and South, requested that Wright not be very loving, happy, and unforgetta- John the Divine, two hours of music his wife, Iola, for Louis Armstrong. part of the quartet when it visited ble person. I have lost my soulmate.” and conversation to honor Brubeck, Wright, who died on December their campuses, and Brubeck flat-

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ly refused. He also canceled a tour him.” Twenty-three of 25 scheduled ed “Take Five” and “Blue Rondo a ing the world and his place in it ... As to South Africa rather than agree college concerts were canceled la Turk”. His musical hero, accord- souls live on in some other afterworld to bring an all-white band there. In a Facebook post, Brubeck’s ing to Chinen, was the Count Basie state, I’m sure the party he envisioned Nate Chinen, writing on the son, Chris, a bassist/trombonist, bassist, Walter Page. “So,” wrote has already begun.” Chris added: “I WBGO website the day after Wright’s recalled spending “many hours un- Chinen, “it was no small point of have to say I agree—I think that great death, recalled that Wright performed der my father’s piano next to Gene’s pride when Wright landed a gig with heavenly jam session has started.” in The Real Ambassadors, a jazz mu- bass, absorbing his groove. He was Basie in the late 1940s.” In the early No information was available sical created by Dave and Iola, with a HUGE influence in my develop- ‘50s, Wright played with tenor sax- regarding survivors. vocals by Armstrong and Carmen ment of the concept of how to func- ophonist Arnett Cobb, clarinetist McRae, among others. It premiered at tion as a bass player in a jazz group.” Buddy DeFranco, and vibraphon- the Monterey Jazz Festival in 1962. It Wright, Brubeck continued, “was ists Red Norvo and Cal Tjader. Bru- Frank Kimbrough was motivated, Chinen wrote, “by the never looking for individual glo- beck hired him away from Tjader. Revered Pianist with hypocrisy of a U.S. State Department ry, his highest accolade was to be In the 1970s, Wright recorded on Maria Schneider Jazz Orchestra that touted jazz as a beacon of dem- mentioned as a part of the rhythm movie soundtracks and worked in ocratic equality even as Jim Crow section that really swung ... He was television studios. He also headed the ianist Frank Kimbrough was segregation persisted back at home.” the ultimate team player and an un- Jazz Department at the University of most well-known for his Chinen cited the southern college der-appreciated aspect of why the Cincinnati and directed the adviso- P association with the Maria campus tour as an example. In 1958, classic quartet was such an amaz- ry board of the Jazz Division of the Schneider Jazz Orchestra, which “when Brubeck arrived at a college ing and highly regarded jazz group.” International Society of Bassists. he joined in 1993, remaining as the gig in North Carolina,” according to Born on May 29, 1923 in Chica- In Chris Brubeck’s FB post, he said band’s keyboardist until his death at Chinen, “university administrators go, Wright recorded about 30 albums his sister, Cathy, wrote to him after the age of 64 on December 30, 2020, balked at the unexpected presence of with the Brubeck Quartet includ- hearing the news of Wright’s passing. in Long Island City, NY. When Jersey a Black musician in his band. Brubeck ing, of course, Time Out, the iconic “Gene,” she said,” had such an open Jazz’s Schaen Fox interviewed him refused to play the concert without 1959 Columbia album that includ- and generous, humorous way of view- nearly four years ago (April 2017),

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Kimbrough recalled how it all began. Evanescence on the Enja label in 1992, “A friend said, ‘I just recommend- the Los Angeles Times’ Bill Kohlhaase ed you to this lady that’s started a big called it “one of the most promising band.’ She called, but I really wasn’t big band debuts in a long time.”). interested in playing in a big band. Upon hearing of Kimbrough’s She was very nice, and I said, ‘I want death, Schneider told WBGO’s Nate to see the charts and hear the mu- Chinen, “I feel like so much of what sic.’” Schneider dropped off some the band has become is largely stand- charts and a cassette tape of one of ing on the foundation of Frank ... He her albums. “I put the cassette on, and thrived on risk ... He had incredible the first thing I heard wasEvanes - ears, incredible taste, because he cence. It freaked me out because it is was so selfless and had this big mu- gorgeous. I got up the next morning, sical heart. He was always taking it called her, and she asked if I wanted someplace different and someplace to do two months of Monday nights at astoundingly beautiful, every night.” Visiones, a club in Greenwich Village. Born on November 2, 1956, in ru- It paid 20 bucks a night. I said, ‘Okay’. ral Roxboro, NC, Kimbrough studied Those two months ended up being classical piano. Then, when he was a five years. That bonded the band. In teenager, he saw the Bill Evans Trio March (2018), it will be 24 years for on a Public Broadcasting TV special. me ... Maria is the salt of the earth ... I “I remember it like it was yesterday,” never get tired of it because the music he told JazzTimes in 2004. “There is always new ...” (When the Maria it was, the discipline of the classical

Schneider Jazz Orchestra recorded stuff that I’d been working on and DRUKKER CHRISTOPHER BY PHOTO

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the freedom of improvising.” Evans they are, and their familiarity and me scurrying for a cassette so I could Week, the last concert before the pan- and Thelonius Monk were his two intuitive approach to improvised form tape the show. There was just some- demic shut down all performances at main early influences, followed by accounts in large part for the album’s thing amazing about it. I recorded the university. Kimbrough’s message others such as Paul Bley, Andrew success.” Kimbrough’s final record- everything I could for the next three to the BGSU students: It’s important Hill, Shirley Horn, and Keith Jarrett. ing as a leader was Monk’s Dreams hours and started transcribing his “to play with the cat standing next Kimbrough told Fox that he and (Sunnyside: 2018), six discs contain- tunes the next day. Maybe five or six to you and make him sound good.” Horn “became friends very quickly. ing interpretations by Kimbrough’s years later, when I got together with His wife, vocalist/composer I’d go to her gigs, and she’d invite me quartet of 70 Monk compositions. the guys who became the Jazz Com- Maryanne de Prophetis, said the to her recording sessions. One day Kimbrough was an integral mem- posers Collective, I’d bring these cause of death was likely a heart at- she had me meet her at the Stein- ber of Allison’s Jazz Composers Col- tunes to the sessions. That is how the tack. She told Chinen: “I think he way place on 57th Street. We went lective, founded in the ‘90s. As part Herbie Nichols Project got started.” felt like he could give even more of through every room in the place, and of that group, he created the Herbie Kimbrough was also a music ed- himself, musically and humanly, as a we picked out a nine-foot Hamburg Nichols Project, exploring and rais- ucator. He joined the Jazz Studies teacher than he could with his play- Steinway for her to take home.” ing awareness of music by the late faculty of Juilliard in 2008. Pianist ing. That’s a pretty radical thing to Among Kimbrough’s better known pianist/composer Nichols, a talented Ted Rosenthal, a fellow Juilliard fac- say. But he got so much gratification albums were Lullabluebye (Palmetto artist in the ‘50s, who never achieved ulty member, posted on Facebook that from imparting in that way—and yet Records: 2005) with bassist Ben Al- widespread recognition. Nichols, Kimbrough was “a dedicated and in- he was so humbled by his students.” lison and drummer Matt Wilson and who died in 1963, is perhaps best spiring teacher. I often experienced In addition to de Prophe- Play (Palmetto Records: 2006) with known for writing the Billie Holiday first-hand his wisdom, love, respect, tis, survivors are: his mother, Ka- bassist Masa Kamaguchi and the late standard, “Lady Sings the Blues”. and devotion to the students—who tie Lee; and four brothers, Con- drummer, Paul Motian. Reviewing On January 3, 1985, Nichols’ loved and respected him right back. rad, Mark, Edwin, and David. Lullabluebye for JazzTimes, Steve Fut- birthday, Kimbrough was listening to He will be sorely missed by the Juil- terman wrote that Kimbrough, Alli- a celebration of his music on Colum- liard community.” On March 12, 2019, For more articles on members of the son, and Wilson “read each other like bia University radio station WKCR. Kimbrough was the visiting artist at jazz community we have recently lost, the old friends and musical partners “The first notes,” he told Fox, “sent Bowling Green State University’s Jazz look in the News section of njjs.org.

NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 51 RENEWED MEMBERS

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