Eldar Djangirov Returns for Jazz in June Concert

Home , At the Five Spot, Claudio Roditi, Eldar Djangirov

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Eldar Djangirov at play Eldar Djangirov returns ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

for Jazz in June concert Spring 2004 ○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○ Vol. 9, Number 2

Eldar Djangirov has been a fa- still just 17 years old and a junior in miliar name and a familiar sound here high school, he travels extensively at the Berman Music Foundation when he is able. After a series of since the BMF covered the inaugural phone-mail exchanges, I tracked him In this issue of Jazz.... Topeka Jazz Festival back in 1998, down in Washington, D.C., area, Prez Sez...... 2 when an 11-year-old Djangirov per- where he was rehearsing for a performed to an audience awestruck by formance with high school and col- Jazz in June Preview...... 5 this combination of prodigious talent lege students as part of Billy Taylor Topeka Jazz Festival...... 6 and tender age. “Jazz and the New Generation” pro- Berman Jazz Series...... 7 Since then, we have watched gram. From there he was headed to him grow into a young man and an three performances at the Gilmore Claudio Roditi/NJO Review...... 9 even more amazing pianist, perform- Piano Festival in Michigan. Newport Jazz Fest Review...... 11 ing and recording his own composi- When he takes the stage in Lin- Boulevard Big Band Review...... 12 tions and continuing to exhibit a tech- coln, he will be accompanied by bassist Luqman Hamza and Black Film...... 13 nique and a confidence well beyond Gerald Spaits and drummer Tommy his years. Although he and his family Ruskin, a slight variation on the trio Butch and Grace in NYC...... 14 moved from the Kansas City, Mo., that for so long featured Todd Strait Friends of Jazz (Jazz Record Center)....18 area to San Diego, Calif., a year ago, on drums, both in concert and on I Said, She Said...... 19 he still is a featured artist at the an- Djangirov’s recordings—2001’s Bobby Watson wins recognition...... 20 nual Topeka fest. He also has devel- “Eldar” and 2003’s “Handprints.” oped a devoted following here in Lin- Almost a year since that last re- Neon Violin Quartet (plus one)...... 21 coln, where he has appeared with his cording, Djangirov said he continues Giacomo Gates and The Five Spot...... 22 trio at Jazz in June and as featured to add to his repertoire. The Jazz in Claude “Fiddler” Williams Memorial...... 23 soloist with the Nebraska Jazz Or- June set list likely will include two new chestra. He last performed here in originals, “Point of View” and “Rain- Discorama...... 23 January 2003 with the NJO. drops.” Jazz standards we can expect Jazz on Disc...... 25 He returns to the Capital City for to hear include “Body and Soul,” a June 1 concert in the Jazz in June “Maiden Voyage,” “Sweet Georgia series at the Sheldon Memorial Art Brown” and “Caravan.” Gallery Sculpture Garden. Though Eldar Djangirov cont. on page 3

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Age 55 and still swinging full speed ahead ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○

Dear Jazz lovers everywhere, Hoover Rich by Photo

Hey dere…thanks for clicking in. Lots and lots of news this issue, so get ready. Had a great 55th birthday BMF bash and grand conclave. Wade Wright from Jack’s Record Cellar in San Francisco flew in, as well as New York percussionist and recording artist Norman Hedman. The Demuths from Colorado, and Steve Irwin and Jo Boehr from Kansas City couldn’t make it, but Gerald and Leslie Spaits, my bass playing KC consultant and his wife, drove up from Missouri. Add my Wade Wright, Leslie Spaits, Tom Ineck, Kay Davis, Tony Rager, Norman Hedman darling wife Grace, Jazz newslet- and Gerald Spaits (back row), Butch and Grace Sankey Berman, Melissa and ter editor Tom Ineck, photographer Mark Epp (front row) at Butch’s birthday luncheon. Rich Hoover, legal representative Tony Rager and secretary Kay ‘50s. We hope to collaborate on University of Nebraska-Lincoln Davis from Cline Williams law firm helping to put together the campus. (Check out my related re- and newcomers to the mix, Mark soundtrack, utilizing some of the view in this issue.) and Melissa Epp, and you’ve got rare 45s in my collection from that After many productive meet- yourself a party. Loyal, trusted and era. The one and only Herbie ings with this year’s Jazz in June dear friends, all of them. Hancock will be handling the major committee, led to perfection by We had a swell luncheon meet- musical production, so this could be Doug Campbell, the lineup for 2004 ing at the Green Gateau discussing a gas. We’ll keep you posted as should be another blockbuster. We all of our stuff. The Epps were there more details become finalized. kick off the proceedings with the as my renewed friendship with Later that evening we were BMF-sponsored return of Russian- Mark has turned into two couples joined by my other girl Friday (be- born piano phenom Eldar Djangirov who enjoy each other’s company sides Grace and Kay) Ruthann on June 1. We also helped procure and stimulate each other very cre- Nahorny and a slew of about 50- the incredible singing talents of New atively. Mark and I were in rival plus other old cronies from my Yorker Kendra Shank and her band bands during the mid- to late ‘60s. cherished past. We wined and for June 8. Next are East Coast The Modds and Music certainly had dined at the ever-so-cool Marz Bar trumpeter Ingrid Jensen and her their moments. Now Mark and in downtown Lincoln. Had a ball group performing June 15. Chica- Melissa are running an operation and that ain’t all…but now, back to goan acoustic bluegrass/jazz guitar- called Here We Go Kids (HWGK the news at hand. ist John Carlini and his combo, fea- Productions) which puts out infor- Got to hang out a little with my turing a returnee from last year, mative musical illustrated books and new musician buddies, pianist Roger mandolinist Don Stiernberg, appear tapes for education. They are now Wilder from KC and the ever-so- June 22, and Lincoln’s own swing- embarking on “Sticks n’ Stones,” a saxy Rob Scheps from Portland, ing big band the Nebraska Jazz Or- movie they created with a screen- Ore., who were in Lincoln gigging chestra (NJO) round out another play by Joseph Kwong, about com- with the Boulevard Big Band from ing of age in Nebraska during the KC at Kimball Recital Hall on our Continued on page 4

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Eldar Djangirov cont. from page 1 that trait and getting it to grow.” As far as having developed a “I’ve been learning more tunes, “voice” that is unmistakably his, making more music, trying to make Djangirov is more philosophical. progress,” he said. “Handprints,” he “It’s always for the people to de- said, is a collection of some of his fa- cide whether they hear the voice and vorite tunes by his favorite musicians, the musical statement that one is try- many of them pianists. The 11 tracks ing to make,” he said. He acknowl- Jazz is published online at: www.bermanmusicfoundation.org edges that Oscar Peterson remains feature compositions by Thelonious The office of The Berman Monk, Herbie Hancock, Billy Taylor, his favorite pianist, but “whomever Music Foundation is at 719 Bill Evans and Chick Corea. (“Hand- I’m listening to, whether it’s Chick P St., Studio G, Lincoln, NE prints” is reviewed elsewhere in this Corea, Brad Mehldau, Benny Green, 68508. newsletter.) Herbie Hancock, McCoy Tyner, Art Editor and Designer: “We just tried to have fun and Tatum, Oscar Peterson, Fats Waller, Tom Ineck create music,” Djangirov said of that Bill Charlap, Joey Calderazzo, I’m finding some- Contributing writerswriters: File Photo File Contributing writers thing that really Butch Berman, Grace Sankey appeals about Berman, Giacomo Gates, Tom Ineck and Bill Wimmer all of them. They’re all just Photographers: Butch amazing in Berman, Grace Sankey what they do, Berman, Rich Hoover and and I admire Tom Ineck what they do. I For inclusion of any jazz or try to be influ- blues related events, letters enced, in a to the editor or suggested good way, by articles, either mail them to all of those.” the office, phone (402) 476- 3112, fax (402) 475-3136 or e- Many of Eldar Djangirov with the NJO in January 2003 mail these jazz lumi- [email protected]. recording. “It’s a reflection of many naries—includ- things. It’s a reflection of piano playing Billy Taylor, Marian McPartland, If you want to be added to ers that I like, and the way I was play- Dave Brubeck, Benny Carter and our mailing list, call (402) 476-3112, fax (402) 475-3136, ing at that point in time, what I was Benny Green—have heaped praise or e-mail listening to and working on.” upon the young Djangirov, recognition [email protected]. Djangirov doesn’t worry much by his peers that he considers very about the conventional wisdom that flattering. But he doesn’t let it go to The Butch Berman says a soloist who achieves fame too his head. Rather, he said, he seeks Charitable Music Founda- tion is a non-profit, tax ex- early in life may fail to develop a sound their advice. empt, 501(c)(3) private foun- of his own, instead merely mimicking The best news for Djangirov dation recognized by the In- the sound of others. fans is that he already has recorded a ternal Revenue Service and “When players or musicians get third CD, to be released as early as the Nebraska Department of together, you never find two musicians August. He was reluctant to discuss Revenue. It was established in the spring of 1995 to protect that sound alike,” he said. “It’s kind details of the as-yet-untitled release, and promote unique forms of of like saying, ‘Have you ever met other than the fact that it will be on jazz music. two people that are exactly alike?’ I the Sony label and will feature bass- don’t think that’s possible. There might ist John Patitucci and drummer Todd Trustee: Butch Berman be similar players. There are definitely Strait. I promised not to reveal the Consultants: Grace Sankey Berman, Russ Dantzler, Dan players in music that are influenced, name of a very special guest saxo- Demuth, Norman Hedman, but the personalities are different, and phonist (but his initials are MB). Sorry, Gerald Spaits, Leslie Spaits the personality comes along from the Eldar, I couldn’t resist. and Wade Wright very beginning. It’s just trying to find

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Photo by Rich Hoover Rich by Photo legacy for our grand, national trea- www.kjcmd.com. sure, jazz, which Jim brought to frui- tion over the course of seven years. With grace in mind, There’ll be some changes made, but the tradition of the “jazz party” will live on in Topeka at this wonderful festival. While I’m thanking people, I must mention my gratitude to the Cline-Williams computer whiz Matt Butch and Claudio Roditi Campbell, who’s been giving me

Spring 2004 Page 5 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Preview

2004 Jazz in June offers five Tuesday concerts ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○

The popular Jazz in June con- Berman Butch by Photo cert series in the Sculpture Garden of the Sheldon Memorial Art Gal- lery in downtown Lincoln returns with five Tuesday evening performances. The free concerts begin at 7 p.m. and generally last until 9 p.m. As noted in the accompanying story, young pianist Eldar Djangirov returns to the Jazz in June stage June 1, fronting a trio that also features bassist Gerald Spaits and drummer Tommy Ruskin. Originally from Kyrgyzstan in the former Soviet Union, Djangirov was discovered by New York jazz enthusiast Charles McWhorter, who brought him to the United States to attend summer camp at the presti- The Jazz in June committee is Doug Campbell, Katherine Starace, Rob Simon, Tom Range, Sean Morrison, Orville Jones, Rachel Principato, Jessica Kennedy, gious Interlochen Center for the Marcia Laging-Cummings, Lori Seibel, Linda Crump (back row), Ted Eschliman, Arts in Michigan. He later moved Alexia Morrison, Rand Wiiese (front row). Member Butch Berman took the photo. to Kansas City, Mo., and then to his current home in San Diego. graduated from the Berklee College Berklee College of Music. Singer Kendra Shank is of Music, composed and orches- She has an impressive discog- joined June 8 by a top-flight rhythm trated music for the 1978 film “King raphy, including three CDs of her section including pianist Frank of the Gypsies,” and appeared own on the Enja label and record- Kimbrough, bassist Dean Johnson onscreen performing with jazz vio- ings with Big Band leader Maria and drummer Tony Moreno. linist Stephane Grappelli. Schneider, saxophonist Virginia Shank’s crystal-pure tone, power- He became a member of the Mayhew, vocalists Chris Connor ful musicianship and elastic phras- David Grisman Quintet and has re- and Roseanna Vitro, and the all-fe- ing have won her rave critical no- corded with Grisman, guitarist Tony male band Diva. Her current band tices and fans worldwide. Rice and the Nashville Mandolin features Hammond B-3 organist Born in California to a play- Ensemble. The John Carlini Quar- Gary Versace. wright father and actress mother, tet, with Stiernberg, bassist Brian The Nebraska Jazz Orches- she began as her music career a Glassman and drummer Steve tra rounds out the five-date season folk and pop singer-guitarist in Se- Holloway, issued its debut album, June 29 with a concert certain to attle. Her jazz recording debut was “The Game’s Afoot!” in 2003. include a variety of traditional big in 1994 with “Afterglow,” which Trumpeter Ingrid Jensen band compositions by such jazz was followed by “Wish” in 1998 and brings her band, Project O, to Lin- masters as Duke Ellington and “Reflections” in 2000. coln June 22. Selected by Down Count Basie, as well as more mod- Bluegrass and jazz acoustic Beat magazine as one of the 25 ern additions to the jazz repertoire. guitarist John Carlini performs most important improvising musi- The NJO has performed for its June 15 with a band that includes cians of the future and rated in the many local fans since its formation jazz mandolinist Don Stiernberg, top three in a number of their crit- in 1975 and has seven recordings. who played to an enthusiastic crowd ics’ polls for talent deserving wider at last year’s Jazz in June. Carlini recognition, Jensen attended the

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BMF returns to Topeka Jazz Festival ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

After a one-year hiatus from Photo File Bowman and Gerald Spaits and drum- covering the Topeka Jazz Festival, the mers Todd Strait and Tommy Ruskin. Berman Music Foundation returns Once again TJF Artistic Direc- with high expectations for the 7th an- tor Jim Monroe booked all the artists nual Memorial Day weekend event, and scheduled all the elaborately “cho- May 29-31, with a special outdoor reographed” sets, with three or four concert kicking off the festivities from sets in each of the four sessions on 4:30 p.m. to 8:30 p.m. May 28. Saturday and Sunday and three ses- Singer Karrin Allyson, a beloved sions on Monday. Musicians rotate on TJF regular for many years, returns and off the stage throughout the day, this year to headline the free Friday playing in formats ranging from solo evening “yard party.” Before she Guitarist Rod Fleeman, bassist Bob piano to sextet (including a set with takes the stage for the 7:30 p.m. fi- Bowman and drummer Tommy Ruskin six basses!) and all-too-often confined nale, however, some of the other TJF at the 2002 Topeka Jazz Festival. to familiar Swing Era melodies. It is a favorites will mix it up. complicated schematic that makes the Singers Lee Gibson and consisting of pianist Shelly Berg and Topeka festival unique, though its ri- Giacomo Gates will lead the bill, ac- drummer Joe Ascione. The 17-year- gidity occasionally stifles creativity. companied by pianist Shelly Berg, old piano whiz Eldar Djangirov will be It remains to be seen just how bassist Jay Leonhart and drummer accompanied by bassist Gerald Spaits, the Topeka Jazz Festival, its music and Joe Ascione. The trio of pianist Bill with either Todd Strait or Tommy its aging audiences will evolve after Mays, bassist Jennifer Leitham and Ruskin filling the percussion chair. this year’s festival, Monroe’s last hur- drummer Jackie Williams follows, and The 2004 festival again features rah as artistic director. a sextet featuring reed master Ken a number of tried-and-true favorites, In 2005, Butch Berman takes the Peplowski, trombonist Wycliffe Gor- but one can’t complain about the cali- reins and refashions the festival in his don, guitarist Rod Fleeman, Berg, ber of such instrumentalists as trom- image, tapping his considerable intu- Leonhart, and Ascione precedes bonist Wycliffe Gordon, tenor saxo- ition and the long list of jazz artists Allyson. phonist and clarinetist Ken Peplowski, with whom he has worked since form- We anticipate hearing some new trumpeter Warren Vache, multi-reed ing the Berman Music Foundation in tunes in the extensive Allyson reper- player Gary Foster, pianists Bill Mays, 1995. (For Butch’s perspective, see toire. Her upcoming Concord release Shelly Berg, Tom Ranier and Eldar his Prez Sez column in this issue of is called “Wild for You” and features Djangirov, bassists John Clayton, Jen- Jazz.) tunes first recorded by Joni Mitchell, nifer Leitham and Jay Leonhart, and Melissa Manchester, Carly Simon, drummers Joe LaBarbera, Joe Ticket information for Bonnie Raitt, Carole King, Roberta Ascione and Jackie Williams. the 2004 Topeka Jazz Festival Flack, James Taylor, Elton John and New to this frequent festivalgoer Cat Stevens. are saxophonist Brent Jensen, trom- Admission for a single set is $25, while A trio of piano trios headlines this bonist John Allred, pianist Jon Mayer, a reserved-seat pass for all three days year’s festival proper, which runs from bassist Jim DeJulio and singers (11 sets) is $225. Single-set tickets are 10:45 a.m. Saturday to 7 p.m. Mon- Giacomo Gates and Lee Gibson, but available through Ticketmaster, but day in the beautiful art deco-style we’re looking forward to making their three-day passes and VIP festival Georgia Neese Gray Performance acquaintance. packages are available only through Hall. Pianist Paul Smith fronts a band Of course, Kansas City’s finest the Topeka Performing Arts Center with bassist Jim DeJulio and drum- will also be in good supply, including at (785) 234-ARTS. mer Todd Strait, while bassist Jenni- guitarist Rod Fleeman, pianists Joe fer Leitham is the leader of a trio also Cartwright, Paul Smith, bassists Bob

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Berman Jazz Series begins in September in Topeka ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○

The first Berman Jazz Series will Elkhart, Ind.; Lincoln, Neb.; and, of George Cables will perform a include five concert beginning in Sep- course, the band’s home base, Kansas solo piano concert March 13, 2005. tember and continuing until next March City, Mo. The rest of the band consists Equally skilled as a leader, a sideman at the Topeka Performing Arts Center of pianist Wayne Hawkins, bassist Tim or in solo performance, Cables helped in Topeka, Kan. The premiere series is Brewer and drummer Keith to define modern mainstream jazz pi- primarily a showcase for prominent Kavanaugh. The Doug Talley Quartet ano of the 1980s and ’90s. He gained Kansas City-based musicians. has three CDs, “Town Topic,” “Night recognition during his stints with Art The Dan Thomas Quintet kicks and Day” and the latest release, “Kan- Blakey’s Jazz Messengers, Sonny off the series with a Sept. 12 perfor- sas City Suite.” Rollins, Joe Henderson and Freddie mance. The group’s extensive reper- The Russ Long Trio is sched- Hubbard. He was with Dexter Gordon toire consists of tunes from the early uled for Nov. 14. Pianist Russ Long is during the tenor’s successful return to swing era to bebop and beyond. Tho- a favorite in the Kansas City area, per- the United States in the late 1970s, and mas’ new CD is “City Scope.” A performing for many years in the city’s jazz became known as Art Pepper’s favor- former and educator, Dan hails from venues. His recording “Never Let Me ite pianist. With more than 20 record- Canada, and has been in the United Go” was released in late 2001. Also ings as a leader, Cables most recent States for nearly a decade. He was a featured in the Russ Long Trio are bass- releases are 2002’s “Shared Secrets” regular on the West Coast jazz scene. ist Gerald Spaits and drummer Ray and 2003’s “Looking for the Light.” Thomas currently is professor of jazz DeMarchi. Tickets for the entire series are studies in the music department at the Luqman Hamza and Lucky $75 through June 30. To order by phone, University of Missouri—Kansas City. Wesley will appear Feb. 13, 2005. Pia- call (785) 234-ARTS. To order by fax, The Doug Talley Quartet per- nist-singer Luqman Hamza is a much- dial (785) 234-2307. To order by mail, forms Oct. 10. Talley is a familiar face loved presence in Kansas City. Recent write Topeka Performing Arts Center, throughout the Midwest as a jazz per- recordings include “With This Voice” 214 SE Eighth Ave., Topeka, KS 66606. former and educator. Formed in 1995, and “When a Smile Overtakes a For fax or mail orders, use the or- the Doug Talley Quartet has performed Frown.” Bassist and singer Lucky der form on the next page. throughout the region, including Okla- Wesley also has been well-known to homa City, Okla.; Dallas, Texas; KC jazz fans for many years. Memorial KC area composer-arranger Frank Mantooth dies Frank Mantooth, 56, a composer, He was commissioned to write yielded 11 Grammy nominations. pianist, arranger and 11-time Grammy music for Doc Severinsen, The Kan- Singer Marilyn Maye was work- Award nominee, died Jan. 30 at his sas City Symphony and the Madison ing with him on his last project, a com- home in Garden City, Kan. He report- Symphony Orchestra. He taught at sev- bination of female vocalists and instru- edly died of natural causes. eral universities, high schools and sum- mental music he was arranging before Mantooth was born April 11, 1947, mer jazz camps. He published five vol- his death. in Tulsa, Okla. By age 14, he was play- umes of “The Best Chord Changes for Vocalist Kevin Mahogany and ing in public. In 1969 he earned a the World’s Greatest Standards” for the bassist Bob Bowman were among the bachelor’s degree in music from North Hal Leonard Corp., in addition to more last of Mantooth’s friends to perform Texas State University and contributed than 165 works for combo and jazz with him Jan. 17 in Great Bend. Both arrangements as a member of the Air ensembles since 1978. also had performed with him in Garden Force Academy Falconaires from 1969 He was included in the 2001 edi- City in recent years. to 1973. He received a piano degree in tion of Grove’s Dictionary of Jazz. As Vienna, Austria, in 1977. a leader, he made five albums that

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presents the 2004-05 BERMANBERMAN JAZZJAZZ SESERIERIESS

September 12, 2004 The Dan Thomas Quintet

October 10, 2004 The Doug Talley Quartet

November 14, 2004 The Russ Long Trio

February 13, 2005 Luqman Hamza & Lucky Wesley Piano and bass duo

March 13, 2005 George Cables Solo piano

ORDER YOUR 2004-05 SERIES SUBSCRIPTION NOW EARLY BIRD PRICE OF $75 includes tax UNTIL JUNE 30, 2004

ORDER BY PHONE: ORDER BY MAIL: ORDER BY FAX: 785-234-ARTS TOPEKA PERFORMING ARTS CENTER 785-234-2307 214 SE 8TH AVENUE TOPEKA, KS 66606

Name ______Address______City ______State ______Zip ______Phone ______E-mail ______

Credit Card (circle one): AMEX MC Visa Discover #______Expires ______

Signature ______Preferred Table (see other side) ______

Spring 2004 Page 9 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

Trumpeter Claudio Roditi plays with fireworks ○○○○○○○○○○○○○○ By Bill Wimmer○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

The Nebraska Jazz Orchestra Hoover Rich by Photo and blending of other instruments. presented Brazilian trumpeter Although the piano, the usual vic- Claudio Roditi March 16 at the tim of any soundman, was really Cornhusker Hotel. undermiked, what really suffered Having arrived fashionably was Peter Bouffard’s guitar, which late, I missed most of the first song, could have helped provide more in- which I was assured later was not tensity and authenticity to the one of the highlights of the evening. sambas and bossa novas featured Now warmed up, the band played all night long. The band played “A an arrangement of Ellington’s “Pre- Felicidade” next, a beautiful Jobim lude to a Kiss.” The opening ballad line with a chart penned by Dave section featured trumpet in the Sharp. Things went well, but dur- melody, before switching to a waltz, ing the solos, the band began to drag with Bob Krueger taking a turn on a little. Sensing this, Roditi picked flugelhorn and Tom Hartig taking a Claudio Roditi up a shaker and helped Gulizia and quick one on alto. drummer Greg Ahl get the band Guest artist Roditi was brought ensemble, dueled and propelled back into the groove. A big band out to play “Samba de Orfeu,” fea- Roditi to close out the tune. dragging on a samba can get old turing Claudio with NJO Music Di- The NJO really sounded good, really quick. Sharp kept the best of rector Ed Love. The trumpeter be- but they were really hurt sonically this tune until the end, with his scor- gan his solo jaunt by immediately by poor balance of the instruments. ing and harmonies surprising and belting out beautiful melodies with The bass, while very solid and well crafted. that fat, rich tone, and Dave Sharp sounding great, was just too loud all Next up was “Groovin’ High,” followed with a nice statement on night long. Predictably, whenever the Dizzy Gillespie take on “Whis- soprano. Percussionist Joey Gulizia, one rhythm section member is so pering.” Sharp on alto and Roditi who shined all night long through the loud it interferes with the balance were featured, with Roditi soulful

and hitting all the right notes. Dave Photo by Rich Hoover Rich by Photo and Claudio then traded four-bar phrases that were woven nicely into the arrangement. Another Dizzy tune, a medium bossa named “Tanga,” featured Ed Love with Roditi. Claudio is so tasteful and warm. He is capable of great fireworks, but seemingly in- capable of overplaying or exploit- ing them. This one also gave Joey Gulizia and Greg Ahl to demonstrate how much heat they can generate as they were given a workout at the end of the song. On a Don Menza arrangement Claudio Rodit (left) is joined by drummer Greg Ahl, bassist Andy Hall and of a plagiarized Miles Davis blues saxophonist Ed Love. Continued on page 10

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○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Photo by Rich Hoover Rich by Photo Continued from page 9

called “Gravy,” Scott Vicroy was given a rare chance to solo on bari sax, and he made the most of it. Bassist Andy Hall followed, pulling out all the stops-and all the double stops in his fine exploration of this blues. Peter Bouffard’s chart on “Danny Boy” started as a ballad, with Sharp taking the lead on soprano. Nice solos by Sharp, who played well all night in solo spots, Peter on guitar and a nice sax soli section were also highlighted on this one. Roditi returned for a nice working of “Secret Love,” with a Trumpeter Bob Krueger (left) with trumpeter Claudio Roditi catchy opening vamp. Roditi played

a beautiful solo, followed by promptu “Bag’s Groove,” with Hoover Rich by Photo Bouffard, who really was hard to Claudio coaxing some of the more hear in the mix. Claudio finished a reticent (I didn’t say timid) mem- nice out section with another tasty bers up to the mike to solo. cadenza. On “Desifinado,” another This was a great show that Bouffard arrangement, Roditi took probably deserved a larger crowd. the mike and sang the melody, his Roditi is a really fine musician and enthusiasm and authenticity more a beautiful man, who seems to ex- than making up for any shortcom- ude the same warmth off stage as ings on intonation. when he plays. It is also a tribute to After writing that exact line the NJO and the Berman Music during the song, imagine my delight Doug Campbell and Butch Berman Foundation for bringing a guy like chat during intermission. at Claudio’s assertion immediately Claudio Roditi to Lincoln. following the applause at the end of

the song: “My God, even when Hoover Rich by Photo someone sings out of tune in Portu- guese it sounds good.” Honesty is so refreshing. Before the closer, “A Night in Tunisia,” Roditi paid a nice compli- ment to the NJO, noting the kind- ness, respect and professionalism that he and his wife, who books him, experienced dealing with the band. “Tunisia” was led off by Bob Krueger on trumpet, followed by Scott Vicroy’s great tone and boot- ing lines on bari. This guy’s too good a soloist to be buried in the section all night long! Roditi finished up the solos as only he could, with a ca- Seated at the BMF table are (from left) Ruthann Nahorny, Kathryn Sinclair, denza leading to the big send-off. Monica Schwarz, Grace and Butch Berman, Kay Davis and Mary Jo Hall. The band did and encore im-

Spring 2004 Page 11 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

Newport Jazz Festival celebrates its 50th year ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

TOPEKA, Kan.—Impresario Cedar Walton tune, assuring that ev- George Wein’s 1954 Newport Jazz eryone was warmed up, players and Festival was the first all-jazz festival audience alike. Walton then fronted a ever presented. Its inaugural perfor- piano trio in a gorgeous rendition of mances featured Ella Fitzgerald, “Over the Rainbow,” cleverly inter- Dizzy Gillespie, Billie Holiday, Errol polating “When You Wish upon a Star.” Garner and Gerry Mulligan. Carter and Alden made it a quin- Since then, headlining artists tet, with Carter on baritone sax mus- have included Louis Armstrong, Duke cling his way through “Moten Swing” Ellington, Miles Davis, Nina Simone, as a tribute to the classic Kansas City Charles Mingus, Frank Sinatra, jazz tradition represented by the tune’s Mahalia Jackson, Dave Brubeck, composer, bandleader Bennie Moten. Herbie Hancock, Diana Krall, Trumpeter Brecker took the spotlight Cassandra Wilson, Pat Metheny and on Benny Golson’s “Stablemates,” Roy Hargrove. Known since 1984 as while Walton, Washington and Nash the JVC Jazz Festival Newport, R.I., bonded in rhythmic synchronicity. the event still is regarded by many as Moody finally appeared for his the most important event of the jazz first feature, a duo version of “Body it was Nash who truly excelled on the year. and Soul,” coupling the 78-year-old tune’s familiar, exotic rhythms. When you can’t go to the New- veteran’s tenor sax with Washington’s In mutual admiration, the fea- port Jazz Festival in Rhode Island, it’s impeccable bass lines. Accompanied tured players frequently called for nice to know that some of its best only by bass and drums, guitarist applause for their bandmates. Moody players may come to a venue near Alden attacked Barney Kessel’s “64 was especially generous with praise you—especially during the festival’s Bars on Wilshire” with a furious for Nash, telling the audience that the 50th anniversary year. drive, never dropping a note. The drummer’s skill was largely due to his Such was the case Feb. 27 in whole band returned for the obliga- vegetarianism. Topeka, Kan., where seven of today’s tory “C Jam Blues,” featuring Moody Something would have been mightiest jazz players met to celebrate and Carter taking idiosyncratic tenor missing if Moody had not vocalized, the landmark occasion with a 2½-hour solos and trading fours. and he met our expectations with a concert at the Topeka Performing Dizzy Gillespie’s “Groovin’ typically outrageous rendition of Arts Center. Headlining the group High,” a warhorse for the classic “Moody’s Mood for Love,” complete was legendary saxophonist James bebop quintet, was a perfect vehicle with a “rap” finale. Moody, but his compatriots were also for Moody, Brecker, Walton, Wash- Walton’s memorable composition among the jazz elite—saxophonist ington and Nash. The drummer was “Firm Roots” served as the concert James Carter, trumpeter Randy especially noteworthy for his closer for the full ensemble, allowing Brecker, guitarist Howard Alden, pia- virtuosic—but tasteful—playing everyone a final statement but fea- nist Cedar Walton, bassist Peter throughout the evening. Again the turing Moody on tenor and Carter on Washington and drummer Lewis stage was turned over to a Walton- baritone. Called back for an encore, Nash. led trio, this time for his up-tempo they sent us home with Gillespie’s Musicians entered and exited the composition “Midnight Waltz.” “Birk’s Works.” spotlight as the size of the ensemble Duke Ellington’s songbook About 500 people attended the shifted to feature certain players and yielded a pair of winners. Carter, on concert in the 2,500-seat Georgia exploit the array of talents, personali- soprano sax, and Alden first took a Neese Gray Performance hall, which ties and group dynamics. turn on the maestro’s “Don’t You has earned many fans over the last All seven appeared on stage as Know I Care?” The whole band seven years as the comfortable venue the concert began with a fast-paced wailed on Juan Tizol’s “Caravan,” but of the annual Topeka Jazz Festival.

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KC’s Boulevard Big Band makes big noise ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○

I, as you know, dig jazz a bunch. Berman Butch by Photo peter Mike McGraw, had a very spe- For no specific reason, I’ve always cial guest—and a very new, but dear, been a small-group aficionado—es- friend of mine. Sax-o-wizard Rod pecially trios, quartets and quintets. Scheps of Portland, Ore., as usual, Straight ahead and bebop have always really tore up the joint with his mas- been my specialties. I’ve never terful chops and showmanship. He heavily gravitated towards the big even wowed the throng just using his band, although I’ve been fortunate mouthpiece for soloing, and his super- enough to have caught the Mingus lative reading skills were most evident. Band at Fez in New York City, as well The band had a unique and var- as sponsoring them at the Lied Cen- ied repertoire utilizing such astute ar- ter for Performing Arts in Lincoln and rangers as the recently departed catching the now non-existent Toshiko Frank Mantooth and current jazz stal- Akiyoshi-Lew Tabackin Big Band at warts saxophonist Rick Margitza and New York’s famed (new) Birdland. trombonist John Fedchock, to name a I’ve always admired the great ar- few. They even tackled Monk’s lovely rangements and bombastic sound but “Ruby My Dear” and ended the still preferred the intimacy of smaller evening with a rave up rendition of combos. Roger Wilder (left) and Rob Scheps the Flintstones theme. However, I was in for a rare treat were in Lincoln for the Boulevard Big There were many top players in as Kansas City’s famed Boulevard Band concert. the band, with such standouts as pia- Big Band (BBB) played a March con- crammed with children of all ages, nist Roger Wilder, trombonist Steve cert at the University of Nebraska- most from Lincoln and Omaha. These Decker and the amazing Paul Lincoln’s Kimball Hall to celebrate kids must have really dug the music McKee. Jay Solenberger and Al the Nebraska State Band Masters as they were quiet, polite and very Pearson are KC trumpet aces that go 2004 convention. attentive. back a ways—especially Al, who On the chilly night the hall was This year the BBB, led by trum- played in the old Pendergast era of cats. I also enjoyed guitarist Rod Memorial Whitsitt, who has George Shearing history, and drummer Tom Morgan. Guitarist Barney Kessel dead at age 80 If you are a Topeka Jazz Festi- val attendee, you should know that Barney Kessel, a high-profile writing and directing music for mov- I’ve invited Paul McKee, Roger jazz guitarist who performed with ies and backing performers from the Wilder and Rob Scheps to do their Billie Holiday, Charlie Parker, Art Beach Boys to Fred Astaire. thing at the 2005 happening, of which Tatum and other jazz greats, died He formed the group Great I am proud to say I am artistic direc- of brain cancer May 6. He was 80. Guitars in 1972 with Herb Ellis and tor. Kessel’s early style was Charlie Byrd. The BBB have a few CDs out, heavily influenced by the electric Kessel served as a Music Am- and I highly recommend them. Check guitarist Charlie Christian, but he bassador during the Carter admin- out the KC local section of my fave branched out in his early 20s, work- istration, becoming only the third Missouri record store—The Music ing with the big bands of Artie Shaw, person to be named to that office, Exchange, near Westport. These guys Charlie Barnet and Benny after Louis Armstrong and Dizzy obviously impressed some young ears Goodman. Gillespie. that night in Lincoln and enlightened In the 1950s, Kessel developed His performing career ended a few old ones like myself. a reputation as a studio musician, with a stroke in 1992.

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Oscar Micheaux film gets live accompaniment ○○○○○○○○○○○○○○

By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Photo by Rich Hoover Rich by Photo Oscar Micheaux is widely rec- terpiece “Body and Soul,” starring ognized as a pioneer film-maker and Paul Robeson, the 1920 film “Within author, despite the fact that he was a Our Gates,” and the award-winning black man working in a white-domi- documentary on Micheaux and race nated entertainment medium in its in- movies called “Midnight Ramble.” fancy. The films were presented with Beginning his career in 1918 on introductory comments by Pearl a financial shoestring, Micheaux man- Bowser, a renowned scholar of aged to produce some 40 films, includ- Micheaux studies, and Thulani Davis, ing 25 silent movies and 15 “talkies,” scholar and writer of works for the making him the only black film-maker theater, journalism, fiction and poetry. to make the transition to sound. Liv- For the Feb. 6 special screening ing in South Dakota, he worked of the silent film “Within Our Gates,” throughout the Plains states in the Ladely arranged for Kansas City jazz early decades of the 20th century and pianist Luqman Hamza to provide a continued to make films until the late Pearl Bowser live, improvised “soundtrack,” much 1940s. the hazards of underclass black ur- as local musicians did in the movie Emphasizing racism’s injury to ban life. houses of the silent era. Hamza’s key- the community and to the society at- The new Mary Riepma Ross board contribution was invaluable, large, Micheaux’s films also illustrate Media Arts Center in Lincoln, under adding dramatic impact to an already the power of black pride, personal dig- the direction of longtime Lincoln art dramatic story line. nity and independence to free blacks film impresario Danny Lee Ladely, In “Within Our Gates,” Evelyn from the yoke of racism. Like recently gave Micheaux the respect Preer, the first black film star, plays Malcolm X, he also preached against he deserves, screening the 1925 mas- Sylvia Landry, the illegitimate daugh-

Photo by Rich Hoover Rich by Photo ter of a white plantation owner in Mississippi. Following the tragic death of her adopted parents at the hands of a lynch mob, Sylvia devotes her life to the education and uplift of her cen- terpiece for Micheaux’s controversial drama on race in America. Hamza tastefully accompanied the film on the Ross theater piano, weaving well-known melodies throughout the narrative and flaw- lessly segueing from one scene to the next. Among the tunes he used to illustrate the story line were “Taking a Chance on Love,” Gershwin’s “Sum- mertime,” “Blues in the Night,” the Depression-era “Pennies From Heaven,” Ellington’s “In a Sentimen- tal Mood,” Billie Holiday’s “God Bless the Child,” and Gershwin’s classic “I Luqman Hamza of Kansas City stands next to the Ross Theater piano. Got Rhythm.”

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Recent NYC trip was a non-stop jazzathon ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○

NEW YORK CITY—I hadn’t Berman Grace by Photo her head in disbelief. What a great visited America’s greatest city, start for our excursion, huh? Oh New York City of course, since I yeah, don’t wanna forget, call ‘em took my BMF gang eastward to at (402) 475-LINK (5465) and leave catch Norman Hedman and the driving to them. Tropique’s CD release party at the Norman graciously picked us famed Blue Note for “Taken by up at the Newark airport. I’ll never Surprise” and to help me celebrate book a flight to a major metropolis my 50th birthday. on a Friday night at rush hour again, I was using Amtrak in those Butch and Norman Hedman in NYC if I can help it. Minor oversight, I days, never flying. Then after 9-11 guess, but I felt sorry for Norman. I wondered if my neurotic self service, so I thought, why not? This is the kinda stuff that probably would ever see NYC again. Well, Larger cities utilize these, so it’s keeps me rooted in the Midwest for thanks to the ever-so-healing at- neat we now do. Owned and oper- most of my life. Anyway, I’ve al- tributes from my loving and support- ated by Chris Stokes and Shawn ways dug the mid-town or “Hell’s ive wife, Grace, I made it. Mrsny, and with Bruce Baker han- Kitchen” neighborhood as my turf We flew to Chicago for our dling dispatch, they make a good when in town. That way you can honeymoon last year, so this was my team. Our driver, Ed Shaw, was a just catch the airport shuttle bus second flight in about eight or nine sheer delight. Fun, polite and help- outta NJ into Port Authority, NYC, years. No sweat! I’ve made a com- ful, as well as a decent driver, made and be less than half a mile walk or plete 360 and now truly love flying for a very pleasant trip. Ed, a bar- cab ride to the hotel I usually fre- and sorta traveling. Grace getting bershop singer on the side, even quent, called the Belvedere on 48th me to try to dig the process more, sang a duet with me on “You Are Street between 8th and 9th avenues. and complain less, sure has helped. My Sunshine,” as Grace just shook From there you’re within a half- Once I get to my destination (and especially NYC) I seem to trans- Berman Butch by Photo form into a true native and run non- stop like a madman trying to take in everything we can until we have to return home. Usually for bout a week or so, I ruminate on how we should move and live there until “most” of the realities set in. Lincoln’s a great place to live, NYC is a great place to visit, but maybe… Even getting to Eppley Airfield in Omaha for our non-stop to New- ark/NYC was a gas. I had read about a new van shuttle called Omalink that provides rides to and from Lincoln to Omaha from different convenient pick-up and drop-off locations. My photographer Rich Grace Sankey Berman and Russ Dantzler in NYC Hoover used them and loved their

Spring 2004 Page 15

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Photo by Grace Sankey Berman Sankey Grace by Photo hour walk from just about anything you might want to do in Manhattan in all directions. As far as the Belvedere goes, it’s a pretty comfortable, European- style older hotel that was once a residency apartment, with an interesting history I’m sure. Bring your smudgestick unless you encourage earth-bound spirits as roommates in the “Big Apple.” The biggest draw- back is the super-slow, tiny eleva- tors that are always too full for you to get on within its 20-some floors. Clean rooms with all you’d need while in NY, very pleasant staff and a great concierge. Right across from the Musicians Union, it’s a PERFECT location place to stay for a fair price. I’d probably avoid their Butch plays Norman Hedman’s piano. “cafe” which is really an overpriced buffet with many other bet- gale-like winds and snow threaten- Subscribing to the ever-so- ter choices within minutes. The old ing. Luckily, as Nebraskans we snappy guide to NY/NJ jazz haps, Metro on 48th Street and 8th Avenue, handled the cold OK and brought Hot House magazine arrived the day which had better bagels and onion appropriate duds, but shelved the before we left. I even got to meet to boot, is now the Pigalle, and still boat for an Uptown Bus Tour. Again their VP/General Manager Gwen worth starting your morning coffee becuz of the rotten climate, we had Calvier-Dittmann at Zuni the follow- with. to sit inside the bus instead of the ing Monday. Anyway, Hot House This was Grace’s first trip to top deck…and couldn’t see much. had this full-page ad for a show at NYC, so we couldn’t have been in The fumes were getting to me too, Jazz at Lincoln Center called “Bra- better hands to help show her the but the tour guide was very infor- zilian Nights” – Toots Thielemans ropes than Norman and my old mative. His major prob was he was and Friends, friends consisting of friend from Lincoln, now a New dyslexic so whenever he said to Kenny Werner, Oscar Castro- Yorker all the way, Russ Dantzler, check something out on the right, Neves and Airto. who still operates his Hot Jazz Man- we all had to laugh, and look left. Ohmygawd! I’ve loved the agement but on a more limited ba- After the tour, Grace and I found a gorgeous harmonica of Mr. sis. We all had our first 9th Avenue lovely joint called the Brazil Grille Thielemans since I first learned his late dinner at the Westside Cottage on about 46th Street and 8th Avenue, famed standard, “Bluesette” as a Two to plot out our short trip’s ac- and had maybe our favorite meal of piano recital piece as a youngster. tivities. FYI, food is great and not the week. Later discovering his early guitar terribly overpriced everywhere in For our first jazz experience, work as Jean Thielemans with the city but 9th Avenue from 36th we met up again with Russ and an- George Shearing’s first recorded Street to 57th Street is a famed no- other dear friend of his and mine, groups. A lovely sage-like gentle- torious “Restaurant Row” that has Ms. Mikala Freitas. A sweet and man with be-bop chops, and a an annual “Food Fair.” talented singer-dancer who also golden tone to die for…he sur- Russ suggested a boat trip for does excellent massage work. passed my expectations, regardless us the next morning, so Grace could Sadly, she had just lost her beau to of his 80-plus years of existence. get a better picture of how the is- the horrible war in Iraq, and was Werner, a piano genius and inspira- land is laid out. Unfortunately, we feeling very blue. These blues were tional author, has worked and re- had unseasonably cold, Nebraska- soon to be chased away for at least corded with Toots a lot the past few like weather with the temperature as long as the marvelous perfor- years. His brilliant playing on the hovering around 30 degrees, rain, mance that awaited us. piano, augmented by an additional

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knowing of our destination, they Berman Butch by Photo wanted to get us tickets for any Broadway play of our choice. Af- ter a couple of snafus, we settled on a matinee at the Vivian Beau- mont Theater, also at the Lincoln Center, featuring Broadway, cabaret and opera star and diva Barbara Cook. She put on basically a one- woman show backed only by her long time pianist/arranger Wally Harper and bassist Richard Sarpola. Her tribute to most of the fabulous Broadway songwriters through her personal stories, and songs was one of the best musical experiences I’ve ever attended. I got to meet and hear her years ago and never for- got her most lovely voice. Truly one of the world’s finest. Now in her mid-70, at least, she still looked as Eastside Sound engineer Lou Holtzman sets the levels for a recording session as beautiful and classy as ever…and Norman Hedman watches.

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Le Jazz Au Bar, Fred raved so re- was on Norman Hedman’s first al- some of our grant money to help her garding Ms. Lundy and how infre- bum, “Flight of the Spirit,” as well get her first CD out and tour some. quent and outta sight her perfor- as being the original drummer in She was that good, as was her band. mances were, we decided to check Chick Corea’s Return to Forever. Consisting of Dion Parson on drums; her out. She may have been the His longtime friend, drummer Max saxophonist Ron Blake; Carlton main event, musically, of our whole Roach, helped to bring Arnold to Holmes on keyboards, bassist Nicki weekend. New York from Kentucky to play Parrott and Tom Dempsey on gui- Joined again by Russ, the room behind Miriam Makeba at the start tar, the band just smoked. We wish was grand, yet intimate. Great of his career. He played some of her the utmost success with her sound and sightlines, cheerful wait- his new-recorded works for us, and promising career. ress and delicious cuisine made this we talked of him and Norman play- We wrapped up our non-stop another night to remember. Carmen ing together for me in Topeka or at jazzathon meeting Russ for dinner and her band, led by her brother and an upcoming Jazz in June sometime at Zuni and catching a great band bassist Curtis, were about as good soon down the line. A very cool and that plays there every Monday night as it gets. Pouring her heart and soul brilliant chap, that Mr. Arnold is. for no cover. The Joe Cohn-Harry into every song, she had the rapt Norman then gave Grace a Allen Quartet is one of the best attention of everyone in the room walking tour, as well as her first sub- groups I’ve heard in years. Guitar- as she stayed in the zone from start way ride through the lower Eastside, ist Joe Cohn is saxophonist Al to finish. Deserved standing ova- Little Italy and Chinatown, stopping Cohn’s son and today’s answer to tions followed suit. I’m now in to eat at my fave Jewish Deli, Barney Kessel. Saxophonist Harry search of every recorded album and Katz’s Delicatessen and then to visit Allen is probably best know for his CD she’s ever put out. Better call my ole buddy Lou Holtzman. many recordings with singer-guitar- Fred. Lou, in my opinion probably the ist John Pizzarelli. The quartet also Our last day in New York was best recording engineer in the biz, consists of Joel Forbes on bass and reserved mostly to hang with had recently relocated his Eastside Chuck Riggs on drums. Russ sent Norman. He and I had a ball mess- Sound. We dropped by to say me their new release for Xmas, ing with his recording equipment howdy and catch a session that he “The Harry Allen Quartet,” and it and touring the amazing artist’s com- was wrapping up. Lo and behold, totally cooks. Check him out at plex he’s lived in for many years. the adorable young woman who was www.harryallenjazz.com for more Got to hang with his upstairs neigh- making her first record, Ms. on this young tenor master. We had bor, drummer, writer and painter Teraesa Vinson, really knocked me to leave before Frank Wess joined extraordinaire Horacee Arnold. He out, so much so that we plan to use them to jam to take the “A Train”

Photo by Butch Berman Butch by Photo to Harlem, as it was getting late and we were flying home the next morning. We couldn’t have ended our trip in a better place than Lucy’s Lounge to get blown away by the big Harlem Renaissance Orchestra doing a huge chunk of Basie and Ellington arrangements while Lucy’s patrons danced the night away doing the Lindy Hop as if they were still back at the Savoy during the 30’s. What a night, what a trip, what a TREMENDOUS city New York City is. It felt all right getting back to Lincoln…but I can’t wait to return to that wondrous Carlton Holmes, Teraesa Vinson, Dion Parson, Vicki Parrott, Tom Dempsey and island…Manhattan. Ron Blake take a break from recording at Eastside Sound in NYC.

Page 18 Berman Music Foundation Jazz

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Jazz Record Center is a collector’s paradise ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○

NEW YORK CITY—I have Berman Sankey Grace by Photo been a rabid vinyl junkie since child- hood. Working with Charlie Burton during the ‘70s and soaking up some of his musical knowledge helped me turn up a notch my hunger to get out there and hunt. The thrills, excitement and competitive nature of this vast hobby enabled me to acquire a wonderful assortment of 45s, LPs, now CDs, videos, now DVDs and a whole shitload of musical memorabilia. I’ve had to move a couple of times to make room for my fabled possessions, and since I started the Berman Music Foundation I have legally made my house a museum/shrine for it all. My main desire now is just to be Freh Cohen and Butch at the Jazz Record Center in New York City able to live long enough to hear, view friend Wade Wright, who owns and in one place that I’ve ever shopped and/or read all the stuff that I’ve com- operates San Francisco’s oldest in. piled—over 30,000 pieces of music in record store, Jack’s Record Cellar, my The genius behind this almost- the past 45-plus years, or as I call it, all-time favorite haunt is Fred Cohen’s perfect environment to pursue sounds “truly owning” each item to where Legendary Jazz Record Center at 236 falls on the astute shoulders of Mr. I’ve absorbed it and etched its very West 26th St. Room 804 in New York Fred Cohen. His impeccable taste and details into my nearly overstuffed City. dignity towards this national treasure memory bank. I can’t even remember who called jazz is not to be equaled. You One time before I met Charlie I turned me on to this incredible spot to will never hear anything on his fine had sold my collection to David Hibler, feed my hunger neatly tucked away sound system that doesn’t catch your a University of Nebraska-Lincoln En- on the 8th floor of this near-Chelsea ear and remind you why you love this glish professor. I had assisted him in establishment. You have to be buzzed magical music so much. Fred’s warm his class on the history of rock ‘n’ roll. in the building through an intercom, persona shines through as he fields After Charlie Burton and Rock then take the elevator up to a safe, your inquiries with his brilliant aware- Therapy got popular, Dave must have clean, roomy space crammed to the ness of the massive inventory, with sensed the importance of my involve- hilt with the best variety of jazz music no pressure to buy anything. ment with music and just gave them

Photo by Grace Berman Grace by Photo Originally from Boston, Fred, all back to me, with a few rarities of now in his late 50s, started this busi- his own thrown in for good measure. ness on April 1, 1983. He has only That’s another story unto itself, and employed six assistants during his ten- I’ve never stopped searching since ure and tells me he still keeps in touch that time. with five of them. Now that’s a good Of course, my adventure has boss. Most of his clientele comes from spanned record shops, Goodwill word-of-mouth. Most of the records stores and garage sales from coast to come to him—people move, get mar- coast. Outside of my longtime per- ried, pass away, etc., and often need sonal involvement with my good Butch in paradise to part with collections that have been

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stored in attics, basements and ga- what you purchased and often ships are a true collector and are in New rages of people’s homes. Fred says a without charging postage. You can York City (or online), make the Jazz large portion of his inventory comes shop via his website at Record Center your one-stop shop- from Ohio, Pennsylvania, Connecti- www.jazzrecordcenter.com ping. You won’t be sorry and, like me, cut, and of course, New York City and If you want to look at everything will return for more time and time its boroughs. in his stock, including a great library again. Thank you, Fred, for your kind- The condition of these discs is of books and videos, you may need a ness, patience and perseverance. I pristine as any I’ve ever encountered. second day to stop back. There is that know you might want to retire some- Prices can be steep at times, but the much there—all killer, no filler. I AL- day—and I hope your only son digs rarities of his finds are worth every WAYS find something. This time, it the sounds, too, so your fabulous Jazz penny to us fellow collectors, and I was a Vi Redd LP I have been after Record Center will never have to shut consider his pricing fair. I’ve never for years, as well as Terry Gibbs do- its doors. Call Fred at (212) 675-4480 hassled him about discounts, but he is ing jazz versions of Jewish music. and tell him the Bebopman sent you. keenly aware of who you are and You get the scoop here—if you I know you will thank me for this.

I Said, She Said

Two views on the etiquette of jazz listening ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch and Grace Sankey Berman ○○○○○○○○

I SAID SHE SAID

I’m a gabber, always on the Anyway, I’ve always admired As a jazz fan I am concerned phone and probably not the world’s artists, Karrin Allyson comes to with the declining popularity of this best listener within a group, a touch mind, who don’t take any crap off great art form. I have a lot of respect of bipolarism and ADD added to the their occasionally rude patrons and, for all the great talent out there and mix can’t help either, but, listening as Barney Fife would have said, their ability to entertain and transport to music. Well, now, that’s an en- “Nip it in the bud!” and get back to an audience to magical places with tirely different story. the main event-music! Whether a their music. It is a shame that most of I must have been born to be a gig or concert, the artist at his or these artists don’t enjoy the degree record/CD collector and/or music her performances should be re- of success that they should have. critic. I feel I have the ability to hear spected and revered like you’d re- However, some jazz shows can every instrument, each layer of serve for professors in their class- run the risk of being too stuffy and sound, space within space-you get rooms. stiff, possibly alienating an audience the picture-Mr. Total Absorption I knew I was on the mark that might otherwise be interested. here. when some of New York’s best true Maybe they think there is a need to Natch, my near-anal fixation jazz rooms posted signs to remind educate fans about the music and de- with hearing/listening to music, folks to refrain from talking in or- mand absolute attention. As much as mainly jazz, has always been a sore der to truly appreciate what’s be- I enjoy the music, I don’t go to shows spot for me. Being a professional ing presented. I will forever stand to be tutored. That should be saved musician for over 40 years, I’ve on this premise, but my wife, Grace, for the classroom. When the music is competed with audiences for my who by no means is rowdy or dis- good and the artist is engaging, my time and space on stage a lot. Some- respectful to any of the acts that she attention is absolute. times, I thing, what the heck! On takes in with me. She still has an- When artists put more energy my worst nights, people tell me I other take on this subject and feels into playing great music, the audience sound great and on my rare but oc- I take this matter too seriously. will be entertained and you won’t have casionally totally in-the-zone perfor- Read on and you can be the to compete with noise or demand at- mances I’ve been dumbfounded as judge. We would appreciate your e- tention, your work will do that for you. everyone appears to be sitting on mail responses and opinions on this The only reason the average fan goes their hands, but dat’s show biz I matter. to a show is for the entertainment guess. value.

Page 20 Berman Music Foundation Jazz

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Educator Bobby Watson gets recognition ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

As both a top-of-the-bill alto saxo- at North Texas State, a dance band demonstrate to students what you’re phonist and a first-rate educator, Bobby major in 1947. The program attracted talking about. The horn is a great equal- Watson is in demand, and his labors in national attention and enrollment soared. izer. They see me do it and they know both fields of jazz are paying off with Hall remained head of the lab band pro- they need to do that. It cuts out a lot of some highly deserved recognition. gram until 1959, and then taught at conversation.” Watson, 50, has been an endowed Michigan State University, College of His standing as an endowed pro- professor and director of jazz studies at the Desert in Palm Desert, Calif., and fessor also allows him to maintain his the University of Missouri-Kansas City Stephen F. Austin State University in national and international presence as Conservatory of Music since 2000. In Nacogdoches, Texas, where he was a performer in his own right. When he’s early April he took his UMKC jazz en- music department chair from 1967 to on the road, trombonist Paul McKee semble all the way to top honors at the 1983. He died in 1993. directs the UMKC band. North Texas Jazz Festival in Addison, Watson took 21 UMKC students “I have a lot of one-on-one stu- Texas. to the festival, ranging in age from 19 dents, so I give them extra work,” For more on his recent achieve- to 28, including two pianists, two drum- Watson said. “Most of my students have ments and current activities, I caught mers, a percussionist and a guitarist. enough stuff for a couple of years,” he up with Watson by phone while he They performed Bob Brookmeyer’s said, laughing, “So if they miss a week, spent a few days in Pittsburgh, Pa., composition “Hello and Goodbye,” and it’s OK. We make it up when I go where he was performing at the a tune called “Mi Nina,” by Marlon back.” Manchester Craftsmen’s Guild in a pro- Simon, a percussionist and brother of When the school year is over at gram called “Jazz Across the Ameri- longtime Watson keyboardist Edward the end of April, Watson heads to cas.” The band for that gig included Simon. One of Watson’s students, Pablo Alaska for a week of “Jazz in America” trumpeter Nicholas Payton, trombonist San Hueza of Chile, played the bata programs in public schools, courtesy of Jay Ashby, bassist Marion Hayden- drums native to his homeland on the the Thelonious Monk Institute. In mid- Banfield (of Straight Ahead fame) and second piece. May he heads to Europe for a tour with drummer Roger Humphries. The band also played a Bob the 29th Street Saxophone Quartet, a Watson related with pride his stu- Brookmeyer arrangement of the Hoagy group with which Watson has been as- dents’ first-place showing at the Texas Carmichael classic “Skylark,” featur- sociated for more than 20 years. jazz fest. ing Rick Rieger on alto sax, and fin- Another of Watson’s long-stand- “There were 10 bands from ished with Watson’s own “Wheel Within ing ensembles, Horizon, also will regroup across the country, from Hawaii and a Wheel.” for a series of concerts this summer. Oklahoma and out East, 10 bands that “We try to swing,” Watson said. The quintet, which was one of the most were invited to the festival,” he noted. “I try to make it sound like a jazz band. exciting and talented jazz combos to “It’s a non-competitive festival, but they Our rhythm section swings. I try to make emerge in the early 1990s, also consists did say that they were going to pick one sure they’re comping and playing the of trumpeter Terell Stafford, pianist Ed band out of the 10 to perform that right stuff.” Simon, bassist Essiet Essiet and drum- evening and open the concert for John Five UMKC soloists also won rec- mer Victor Lewis. Watson’s personal Pizzarelli. And that band would receive ognition in Texas. Two years ago, favorite, the group recently recorded an award named after Dr. Gene Hall.” Watson also led his band to the highest “Horizon Reassembled,” a CD on Pal- As a graduate student at what was rating during a similar event at the Uni- metto Records that is scheduled for then known as North Texas State versity of Notre Dame two years ago. release in June. Teachers College, Hall wrote the the- His ability to play examples of jazz con- Midwesterners can look forward sis, “The Development of a Curricu- cepts on his horn is a great benefit in to the 2005 Topeka Jazz Festival for an lum for the Teaching of Dance Music the classroom, he said. entire Memorial Day weekend of per- at the College Level,” which was the “I use my performing in my teach- formances by Horizon. model for the first jazz degree offered ing, because it’s so good to be able to

Spring 2004 Page 21 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Tomfoolery

Neon Violin Quartet expands to a five-piece band ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Fiddling phenomenon Dave Tom by Photo Ineck Fowler’s latest musical venture is a winner. He’s assembled a Lincoln- based group of talented and like-minded musicians who want nothing more than to spread the swinging, acoustic gospel of “gypsy jazz” legends Django Reinhardt and Stephane Grappelli. With typical, wide-grinning enthusiasm, Fowler first told me of his plan to form a band patterned after Reinhardt and Grappelli’s historic Quin- tet of the Hot Club of France back in early March. He had recently returned from a gypsy jazz festival in Europe and was anxious to carry on the tradition here in America’s heartland. The Neon Violin Quintet is (from left) guitarist Greg Gunter, violinist David It was fortunate for Fowler that Fowler, guitarist Mike Herres, violinist Sam Packard and bassist Dave Boye. other Lincoln musicians, with the high- level of technical ability needed to per- house in downtown Lincoln is any indi- Reinhardt’s idiosyncratic style. form this music, also were looking for cation, the group may soon have to The swinging “Limehouse Blues” an opportunity to play. Young classically change its name to accommodate was one of the evening’s highlights, a trained violinist Sam Packard had the Gunter’s auspicious arrival. The five- tune that never fails to excite when urge to play a jazzier style, so Fowler piece ensemble convincingly locked into played with appropriate gusto. Likewise, took him under his wing. Rhythm gui- the gypsy jazz groove and swung with “Sweet Georgia Brown” yielded superb tarist Mike Herres, like Fowler a vet- energy and conviction, despite the fact solos by Fowler and Gunter and a se- eran of local bluegrass bands, wanted that the chord changes and solo transi- ries of traded statements between a new musical challenge. Bassist Dave tions still need a little work. For a new Fowler and Packard. The ballad “Co- Boye, perhaps best known for his long- effort just getting off the ground, these quette” received a lovely reading with time association with Lincoln rocker guys played with fire and a rare cama- unison fiddles and a luscious guitar solo. Charlie Burton and also with the band raderie. Packard also proved a competent Shithook, signed on to play the upright Most of the tunes were familiar, vocalist with spirited renditions of “All bass. including “These Foolish Things,” of Me” and “Honeysuckle Rose.” Although Fowler’s group is called Gershwin’s “Lady Be Good” and The Mill is a perfect venue for a The Neon Violin Quartet, it also has Ellington’s “It Don’t Mean a Thing (If small acoustic swing combo like The expanded to include the guitar work of it Ain’t Got That Swing),” but they also Neon Violin Quartet (plus one). Its low Lincolnites Tom Martin and, most re- included the Reinhardt originals ceiling and cozy wood-paneled interior cently, a young flash named Greg “Nuages,” “Minor Swing,” and lend just the right blend of ambient sound Gunter. Months ago, Gunter placed an “Djangology.” The fiddles of Fowler and to the mix, making amplified instruments ad in the University of Nebraska- Packard are beautifully matched, often and microphones unnecessary and mak- Lincoln’s newspaper The Daily Nebras- harmonizing on unison passages. The ing the audience of 40 or so people feel kan, looking for fellow gypsy jazz fa- guitar rhythms were suitably “chunky” as though they are lounging in natics. and the solos were spirited, especially someone’s living room. If the Neon Violin Quartet’s April Gunter’s extraordinary slurring runs and 18 performance at The Mill coffee- fleet octaves that seemed to channel

Page 22 Berman Music Foundation Jazz

Giacomo Gates sings the “Five Spot Blues” ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Giacomo Gates ○○○○○○○○○○○○○

Singer Giacomo Gates submit- Monk keeping the club alive, and the is T.S. Monk. Would you like to sit at ted this story to the Berman Music club keeping Monk alive… along with my table for a minute?” Just a few Foundation. stories of players and people who fre- weeks before, I had sent my lyrics to On Sunday afternoon Feb. 8, I did quented the club. the Thelonious Monk Institute and now, a performance at Wesleyan University Turyn is a book of jazz history him- by chance, I’m sitting with his son, T.S. in Connecticut, where I am part of the self, working at the Five Spot in 1957- To cut to the coda, Thelonious Music private lesson faculty. The gig was held 58 and again in 1960 and ’61. Later, he and T.S. Monk gives me permission to at Russell House, a beautiful old man- was a bartender at the Tine Palace and, record my lyrics to Monk’s “Five Spot sion, converted to performance spaces lastly, the head bartender at the very Blues.” I call it “Five Cooper Square,” and philosophy department offices. famous and now unfortunately defunct the address of the club. It gets released There was standing room only, with Bradley’s, from 1980 to ’86. He knew on the DMP label in 1995, the CD titled people overflowing into the next room all the cats, and he plays tenor sax and “Blue Skies.” and sitting on the staircase. The rhythm piano, as well. Charles told me so many Return to Russell House, section was made up of Tony stories; I told him he should write a Wesleyan… a very good gig, the rhythm Lombardozzi, guitar; Jeff Fuller, bass; book. We have become good friends. section sounds great, really happenin’… and Jesse Hameen, drums. “Johnny Griffin and John and exuberant crowd, and I feel good. Halfway through the set, a Coltrane, David Amram, Cecil Tay- After the performance is over, the bearded bearded man in the back of the room lor blew there, too. cat approaches me holding a black T-shirt. raised his hand and said, “Five Spot Let me hip you, it was a time of Printed on the front are white piano keys, Blues!” It’s a Thelonious Monk com- innovation, there was a sextet with with the words “Five Spot” over the top, position, with my lyrics to Monk’s Phil Woods, and the address Five Cooper Square, melody and Charlie Rouse’s solo… a Charlie Mingus played his NYC. I look at him, he says to me, “This historical lyric. It’s the opening tune on goods, and Sphere, no square. shirt is from the Five Spot, and I’d like you my first album, “Blues Skies.” I tell a Everyone raved, Five Cooper to meet my father, Iggy Termini.” short story about the club to set up the Square! Everyone played there, Art Needless to say, I am gassed! We tune, and we do the request. Farmer, Lou Donaldson and even have a short conversation, while I am About 12 years earlier, when I had Lester… pumping Mr. Termini’s hand. I’m knocked begun to write the lyrics, I had met Stuart Joey and Iggy Termini, they re- out to meet him, knocked out that he’s hip Troup, a jazz critic and writer. I asked ally loved the music, they even helped to my lyrics that pay tribute to his club, the him if he had any information on the Monk get his cabaret card back for music, the era, and to him and his brother, Five Spot, as I had done some library him, yeah.” Joe, who passed away a few years ago… research, but was looking for something — from “Five Spot Blues” and, of course, to Thelonious Monk and more personal. He suggested I call One summer night in 1990, I go to Charlie Rouse. Charles Turyn, who used to be a waiter Condon’s on East 17th Street to listen His son, who I am too wigged to at the Five Spot. to the great Lou Donaldson. He is very even think to ask his first name, says to Charles Turyn was open and will- gracious and asks me to sit in with him. me, “When I heard your lyrics to this tune ing to share some great stories. He I call a blues in B flat and sing my new a few years ago, it made me cry.” I thank spoke very well of the two brothers that lyrics to Monk’s “Five Spot Blues,” them both profusely, for coming, and a bit owned the Five Spot, Joey and Iggy partially to try ‘em out, but mostly be- choked up myself, take my treasured T- Termini. Sometimes, there weren’t cause Lou is one of the cats mentioned shirt home. enough chairs in the club, although Turyn in the lyric, and I wanted him to hear it. “Goin’ to a night club, got to be remembers a slow night, the brothers So, I finish the tune, and sit down the right club, good folks and swingin’ paying the band, then borrowing money at one of the tables. A man wearing a music… from the waiters to get cab fare home… black, flat-rimmed hat comes over to Everyone’ll be there, baby, don’t and, of course, paying them back… real me and asks me where I got those lyr- you be square, we’re goin’ to the Five people, golden cats… little tables big ics. I respond, “I wrote them.” He says, Spot… enough for four drinks and an ashtray… “My daddy wrote that tune, my name Baby, can you make the scene?”

Spring 2004 Page 23 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Memorial

Claude “Fiddler” Williams was my kind of guy ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○○

If there is life after death (which I When visiting his manager at the nearly the next decade plus covering their hope and believe there is to be) I want to time, my old pal Russ Dantzler of Hot Jazz debut Statesmen of Jazz concert at the come back as either one of my beloved Management in New York, we helped Sacramento, Calif., Jazz Festival around pets…or the recently departed Claude Claude celebrate his eighty-seventh Birth- 1997 or so. “Fiddler” Williams, who died peacefully day at the now defunct Downstairs at the Claude’s life got a bit bumpy the last yesterday in his “playground” of Kansas Metropolis. Backed by such jazz luminar- 10 years or so. But go figure…if you’ve City, Mo., at the ripe old age of 96. ies as bassist Earl May, Junior Mance on lived that long with good health and for- What a life this cat had. He was born piano and Tootsie Bean on the drums it tune, you’re bound to get kicked in the butt in Oklahoma on Feb. 22, 1908, and played was like a revelation for me. Mostly used a little by the laws of averages. A fall here, guitar during the late 1920s with Andy Kirk to hearing Claude being supported by lo- a car accident there and his lovely wife, and the Twelve Clouds of Joy and, before cal Nebraska musicians…it was a rare Blanche, dealing with her own health re- Freddie Green came along, with Count treat hearing him truly swing out giggin’ covery issues all came to Claude in his Basie’s Band. Claude would later hear Joe with some of the East coast “heavies.” later years. Venuti play his violin and in a short time It was that gig that inspired me to Still here’s a guy who always put too mastered his jazzy, swinging fiddle style. bring that same band to the Zoo so folks much sugar in his coffee, drank, smoked Claude would then travel the globe, could REALLY hear Claude at his best. and gambled a bit, never worked out a recording and playing with virtually every- We got the late Jaki Byard and Jimmy lick, and lived nearly a century doing what one that ever was from Art Tatum to Ms Knepper from the original Mingus gang, he loved the most. Hell, this guy is my hero, Kendra Shank for the next 70-plus years. Earl on bass, the vastly underrated drum- playing, teaching and living the life of a I used to catch him at the old Ne- mer Jackie Williams and new –comer at true “Jazz Cat.” He had such strong genes braska Legionnaire Club in my early twen- the time, vocalist Kendra Shank to knock he never even had a wrinkle on his hand- ties jammin’ with other vets like Jay people’s socks off for an entire weekend. some face. McShann, and later sittin’ in playing the This show helped pave the way for many Yeah, I’d love to come back as blues at Lincoln’s own Zoo Bar. more great BMF shows to follow for Claude Williams. God bless the “Fiddler.” Discorama

Landsberg and Gates pay tribute to Mr. J ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○○

amazing man and jazz singer named Giacomo, and said he wowed them at Giacomo Gates that I want to share with last year’s festival, which I didn’t at- all of you before I continue my original tend. I call and introduced myself to Mr. plan to review this wonderful new CD Gates and told him of my interest in his on the Swedish label, Berghen entitled appearance in 2005. We had a little dis- “Remembering Eddie Jefferson.” cussion over dough and, because I I’m embarking on a new position hadn’t heard of him and wanted my first with the Topeka Jazz Festival as the year with the TJF’s budget to go new artistic director, beginning with me smoothly, I declined his offer until I could EDDIE LANDSBERG booking the entire 2005 season by this check him out. Remembering Eddie Jefferson year’s Memorial Day annual event. In Well, let me tell ya, after getting Berghen Records search of a male vocalist, I asked my on his website and just hearing barely friend, BMF consultant and KC bass one minute of his sound bytes, I was There is an interesting story sur- player Gerald Spaits who he would rec- rounding my first encounter with the ommend. He immediately named Continued on page 24

Page 24 Berman Music Foundation Jazz

Continued from page 23 Gates’ timing, phrasing and gorgeous heard for awhile that appears to work timbre shine track after track. He even well on all genres displayed. I was ea- hooked. This cat’s a monster. I rung lets the band blow their brains out on gerly looking forward to hearing this fine him back up, gave him the money he two separate instrumentals. Truly a CD a third time since my return home. needed, and ensured he’d also handle great, great endeavor. Even though I’ve not caught Par- the festival’s workshop for young people Mr. Giacomo Gates…you have son “live” yet, you can tell by his com- in the vocal division. arrived, man…BIG TIME! I just envy mand of the proceedings and sheer Since then, after many entertain- the kids you get to teach back in Con- power and energy set forth on this CD ing phone calls and e-mails, Giacomo necticut, who get to dig your hipster that he’s a virtual drum machine. Hard- and I have become new pals of sorts, persona daily. driving, intense, yet subtle when called and I can’t wait to meet him and hear for with the ability to soothe the listener his incredible talent in person. (FYI, you as on his lovely creation “Lullaby For can catch him at this year’s Topeka Jazz Belle,” one of the warmest and heart- Festival, as well as the next.) felt instrumentals I’ve heard captured There you go, jazz fans. Another on disc in ages. serendipitous tale of the ever-so-small Saxophonist Ron Blake, who’s jazz world we live in. Now on to this been deservingly making his way up the CD you must add to your collection as ladder as of late, just melts you with his soon as you finish reading this review. lush, languid tone. Giacomo’s promo arrived with this I dug the whole CD, and their ren- newest jewel, “Remembering Eddie DION PARSON featuring dition of one of my fave Monty Jefferson,” neatly intact. the 21st CENTURY BAND Alexander compositions “The River My first experience listening to People Music Rolls On” in its own way nearly equals vocalese (vocally improvising jazz so- Tahmun Records the perfection of the original as the los) was Lambert, Hendricks and Ross, magical beauty of it all takes you out. and then King Pleasure. Eddie Jefferson While in New York City last Percussionist Robert Thomas Jr. leaves pioneered this hip, swinging technique month, my wife Grace, Norman his indelible mark on this track among in the early 1940s. He also penned Hedman and I decided to drop in on others as the whole band cooks behind James Moody’s famed variation on our old friend recording wizard Lou Parson’s leadership. “I’m in the Mood for Love.” Holtzman and check out his “digs” at Keyboardist Carlton Holmes Eddie Landsberg’s tribute to Mr. his newly relocated Eastside Sounds in weaves a soulful web of enchantment J. is a powerhouse from start to finish. Manhattan’s Lower East side. throughout including some funky down- I’m on my third spin, and I hardly ever Lou was conducting a recording home organ playing. Reuben Rogers have the time or usually the desire to session for a new, and very talented skillfully shifts between acoustic and keep something on my player for this young lady named Teraesa Vinson, who electric bass like a champ—tight, punchy long. It’s just that good. by coincidence had three members of with a great fat sound. Ron Jackson on Gates’ own “Mr. Jefferson” kicks drummer Dion Parson’s 21st Century guitar has an unexplainably different ap- off the CD in grand style. Some outta Band as her back-up ensemble. proach to his axe work. It cleverly sight B-3 organ grooves by Landsberg We were greeted warmly by all, draws your attention towards the fluid grab your attention from the get-go. and Dion made sure I had his new re- chops he displays from cut to cut with- The whole band swings like hell with leased CD, “People Music” on Tahmun out ever overplaying. one of my faves, James Spaulding blow- Records, safely tucked away within my Special guests Jeremy Pelt on ing his ass off on alto, and Ben Dixon belongings for future perusal. trumpet and Denise Jannah on voice driving the group HARD on drums. Well, it’s “People Music” all right and additional percussion round out this Still, it’s Giacomo who takes you to the and totally top-flight jazz. You could al- solid deal dealt by Mr. P. Kudos to races tune after tune simply blowing most call it “world music,” as it com- Michael Carvin for his deft production your mind throughout. Not a clunker on bines sights, sounds, swirls, textures and work on this Tahmun Records release board, with Mary Lou Williams’ “The deep grooves from around the globe, of merit. Land of Ooh Blah Dee” and “I Just coast to coast with a touch of a New If this review helps Dion Parson’s Got Back In Town,” with Moody’s solo Orleans shuffle thrown into this mighty “People Music” get into more people’s over “I Cover The Waterfront” and lyr- mix. Truly one of the most diverse ef- homes and more deejays’ playlists, I’ve ics by Jefferson, as my standouts. forts drawn towards any music I’ve done my thing right.

Spring 2004 Page 25 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Jazz on Disc

Djangirov second CD confirms great talent ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

posers and players, especially the genre’s keyboard giants. Thelonious Monk’s “Bemsha Swing” gets an imaginative, virtuosic reading. Djangirov flashes the funk factor on Herbie Hancock’s “Cantaloupe Is- land” before settling down to a more conventional ballad rendition of “Body and Soul.” ELDAR DJANGIROV TRIO Benny Carter’s “When the TIM JENSEN Handprints Lights Are Low” gets a loving and A Mind for the Scenery D&D Music witty treatment, and Billy Taylor’s Origin Records “Capricious” is a joyful, but highly For those of us fortunate disciplined romp. The bluesy Like much of the bountiful fruit enough to have witnessed keyboard “Freddie Freeloader” is a nod to harvested at Origin Records in Port- whiz Eldar Djangirov perform live composer Miles Davis, while Chick land, Ore., Tim Jensen’s “A Mind for more than half a dozen times over Corea’s “Matrix” pays homage to the Scenery” challenges the listener the years, his recordings only con- that pianist’s complexity and genius. from the get-go. firm what we already know. Djangirov’s own “Perplexity” is a Jensen is a composer and reed The nice thing about recorded surging, stately tango-like dance, player of eclectic tastes, versatility, documents is that we can listen to expressing a range of emotions. technique and audacious creativity. He them again and again, each time dis- Djangirov’s astounding key- also is an arranger and a bandleader covering something we missed the board technique is given free rein who knows how to surround himself first time around. While that is true on the CD’s two solo piano perfor- with like-minded musicians capable of of many jazz artists, Djangirov’s mances. The title track, Djangirov’s equal audacity. Take for example the blazing single-note runs, inventive “Handprints,” is clearly inspired by opener, “Sausage,” a squiggly tune phrasing and endless ideas never Wayne Shorter’s classic modal pushed through all sorts of musical fail to surprise and reward the pa- workout “Footprints.” The lyricism permutations by Jensen on tenor, Rob tient, repeat listener. of Bill Evans is evoked on Evans’ Scheps on soprano sax, Paul Mazzio “Handprints” is a case in sad and achingly beautiful compo- on flugelhorn and Jeff Uusitalo on point. Djangirov’s second trio CD sition “We Will Meet Again.” The trombone. begins with a careening solo piano two pieces serve as bookends for The band is enlarged to nine horns intro to Juan Tizol’s “Caravan” that Djangirov’s immense stylistic range. for “Rusty Rayburn and Piggy Lee,” nearly jumps the track before the Djangirov, who recently moved a nightmarish parody of the worst of rhythm section consisting of bass- from the Kansas City area to San Big Band excess. The only jazz stan- ist Gerald Spaits and drummer Todd Diego, Calif., will appear in Lincoln dard here, “Green Dolphin Street,” Strait reins it in with a funky con- with his trio (Spaits and drummer gets a very percussive treatment with trapuntal anchor. Like Oscar Tommy Ruskin) for a performance Jensen soloing on piccolo. Peterson or Art Tatum, the 16-year- June 1 at the Jazz in June concert Bob Dylan’s “My Back Pages,” old Djangirov dazzles, leaving us series in the sculpture garden at the on the other hand, begins with a lush, breathless and wondering, “How Sheldon Art Gallery on the Univer- but dissonant brass chorale and leads does he do that?” sity of Nebraska-Lincoln downtown into a gorgeous statement of the In effect, “Handprints” is a campus. (Read the interview I did melody by pianist Randy Porter. tribute recording to some of the with Eldar in this issue of Jazz.) young disciple’s favorite jazz com- Continued on page 26

Page 26 Berman Music Foundation Jazz

Scheps follows with a soaring tenor ingeniously integrating the virtuosic sons. It is a fitting finale to a very di- sax solo. The brass section also opens alto saxophone of Bobby Watson, he versified, unpredictable and satisfying “Lament for Larry,” which is notable should begin to achieve some belated disk by a much underrated composer- for its eerie, mock-operatic vocaliz- acclaim. guitarist. ing by Brenda Baker. Horns are front A native New Yorker, Kleinhaut and center again for the ballad resides in New England, where he is “Felpham’s Vale,” where tenor, alto adjunct faculty member at the Uni- and soprano saxes combine with versity of Southern Maine. This is his flugelhorn and trombone. fourth CD on Invisible Music since Jensen’s versatility is most evi- 1999. Along with Watson as special dent on “Mambrino Flats,” a slow guest, his trio is rounded out by bass- Latin tune that features the leader on ist Jim Lyden and drummer Les Har- both soprano sax and bass clarinet. ris Jr. He also is a capable player on flute Kleinhaut says he wrote much and on alto and baritone saxes, as well of the music herein with Watson in KELLY ROSSUM QUINTET as tenor sax and piccolo. mind, obviously aware of the Renovation Horns dominate most of the ar- saxophonist’s melodic sensibility and 612 Sides rangements, which is not to say that technical facility. “Ferdinand and pianist Porter, bassists Phil Baker and Isabelle” leaps from the grooves, with On “Renovation,” former Lin- Dave Captein, drummer Gary Hobbs Watson spinning his trademark coln resident Kelly Rossum fronts a and percussionist Reinhardt Melz are nimble-fingered lines. “Long Look Twin Cities-based, crack quintet with buried in the mix. On the contrary, the Back,” on the other hand, is a wistful enduring echoes of electric-era Miles rhythm section is essential to this ex- ballad that draws soulful perfor- Davis. The tricky, contrapuntal rhythm citing, propulsive music. They are es- mances from Watson and Kleinhaut. lines and interweaving solo state- pecially prominent—and effective— Watson and Kleinhaut lock lead ments immediately signal a bold and on the loping “Carson City” and the lines in effortless unison on “Four unconventional approach that, never- up-tempo bopper “Fiasco.” Lane Clover,” which has a cleverly theless, sounds somehow comfortably It is no surprise to find Scheps in shifting structure. “South of Mason” familiar. this company. As we heard when he is a breezy swinger with Harris Trumpeter Rossum knows his brought his adventurous young band switching from brushes to sticks and way around the horn, but like Davis, to Lincoln a few months ago, he is Watson making an inspired melodic he respects the poetic weight of si- always pushing the envelope of group statement. lence, the judicious use of pause and improvisation, just as Jensen does The 10-minute, aptly titled “Start stutter and even the occasional fluffed here. it Up” accelerates quickly, opening up note. It’s what sets them apart from to allow a blazing guitar solo reminis- the merely proficient. cent of the transcendent playing of Keyboardist Chris Lomheim is Mahavishnu John McLaughlin, one of equally capable on acoustic piano and Kleinhaut’s most evident influences. the Rhodes electric keyboard, a nearly Watson seems equally inspired, fol- forgotten instrument that still creates lowing with a whirling dervish of a a sound unlike any other. Similarly, saxophone solo before rejoining bassist Michael O’Brien doubles on Kleinhaut in a beautifully executed acoustic and electric instruments. unison ending. “Erikita” is a gorgeous Tenor saxophonist Chris Thomson Latin-tinged ballad that Kleinhaut in- lends a beefy foundation to the quin- THE MARK KLEINHAUT TRIO troduces on guitar, and then hands over tet with his soulful convolutions. with BOBBY WATSON to Watson, who caresses each turn Drummer J.T. Bates (formerly of the A Balance of Light of phrase with deep sonority in an Motion Poets) holds it all together. Invisible Music extended solo statement. For the best examples of inno- “Summers” is, by turns, bright vation and imagination, check out Mark Kleinhaut is a composer and cheerful, meditative and melan- “Cheap Cigars,” “Lead Soldiers” and and guitarist deserving of more rec- cholic, blustery and ominous, sort of “Life on Mars.” The titles tell the ognition. With “A Balance of Light,” like summer, that most fickle of sea- story. The quintet, however, is most

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engaging on the more introspective attack that has the crowd shouting like original and a tale of lost love with a tunes, such as “Fly Away,” a lovely a revival meeting. It’s back to the ir- very personal slant. rendition of the Jimi Hendrix compo- resistible rumba rhythms for “Blues Skies” gets the full swing sition “Little Wing,” the brief “Blindside,” with a duo lead statement treatment, while “Ev’ry Time We Say “Hennepin Bridge” and the 10-minute by Avidon on soprano sax and Rivkin Goodbye” is exquisitely essayed by “The Two of Us.” on trumpet. Harvie S follows with a voice and acoustic guitar in an ultra- Unusual for a jazz recording, four deft bass solo against Kelly’s percus- slow version of this ballad. It’s no sur- tunes run under 2½ minutes each. sive piano pulse. prise that Holeman names Judy Gar- These inspired nuggets seem to rise Harvie S wrote nine of the 11 land as one of her influences. She out of nowhere only to return there tracks, in addition to Thelonious belts “Get Happy” with full-throated when the burst of inspiration has dis- Monk’s “Monk’s Mood” and Kelly’s gusto, but swings more convincingly sipated, like an irresistible force of “Momentano,” an opening solo piano than Garland ever did. “How Sweet nature. statement to Harvie S’s “Before.” It It Is (To Be Loved by You)” shows is a masterful, evocative performance Holeman’s soul-shouting ability. by the duo. The band returns for Swinging is Holeman’s forte. Her “Facil,” another Latin foot-tapper. straight version of the ballad “What Harvie S gives the familiar Monk tune Are You Doing the Rest of Your a twist with a two-minute solo bass Life?” leaves something to be desired, rendition, leading into “Underneath it but when she attacks Van Morrison’s All,” a complex, 10-minute tour de “Moondance,” she enlivens every line force. and ignites Fleeman’s solo statement. She gives “Mood Indigo” a sultry, bluesy feel and finally soars effort- HARVIE S lessly into the soprano range. It seems Texas Rumba just right for the tune. Zoho Music Holeman is most endearing on three consecutive tunes, beginning Bassist Harvie S leads his band with the old-timey “I Don’t Want to with authority and energy, just what Set the World on Fire,” on which she you need to keep these muscular Latin takes a trombone solo! Her tongue- rhythms moving. “Texas Rumba” is in-cheek style seems only half in jest, a live recording at Sweet Rhythm in KATHLEEN HOLEMAN as it does on “Take Me Out to the New York City, lending the immedi- Don’t You Wonder? Ballgame,” another tune from simpler ate excitement that is essential to the days. Finally, she plays piano and music. Singer Kathleen Holeman makes romps through the old favorite “Ex- The title track and the following in impressive recording debut with actly Like You.” “Good News” set the pace with gusto. “Don’t You Wonder?” Holeman, who Holeman approaches some Harvie S takes of the bow for “From calls St. Joseph, Mo., her home, has songs with cabaret flair, sometime ex- Now On,” but soon switches to a chosen a compatible group of accom- aggerating the lyrics with a vocal lilt, pizzicato flourish with saxophonist panists, including such familiar Kan- a trick card that can get annoying if Scott Robert Avidon, one of a team sas City musicians as pianist Paul overplayed. Holeman usually avoids of very capable but relatively un- Smith, guitarist Rod Fleeman, bassist that trap. She is a superb scat singer known band members, who also fea- Bob Branstetter and drummer Al with a gift for exact intonation, as we ture trumpeter Gregory Rivkin, pia- Wiley. hear on “This Masquerade,” among nist Daniel Kelly, drummer Adam You can’t fault her choice of ma- others. Weber and percussionist Renato terial, a strong list of pop standards With credentials that include Thoms. old and new. Tempos for the 14 tracks work in jazz, country, gospel and salsa “Curved Corners” illustrates the vary enough to keep things interest- bands, Holeman is capable of great band’s affinity for a powerful, bluesy ing from the opening swinger “That’s things. “Don’t You Wonder?” is a style. Avidon tears it up on a blustery All,” on which Holeman’s voice is debut on which to build a long career. tenor sax solo before handing it over overdubbed, allowing her to scat with to Kelly for a fist-pounding keyboard herself. The title track is a Holeman

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