January 2009.Pmd

Home , Chuck Berghofer, Dick Hyman, Eric Gales, Frank Capp

Photo by Tom by Photo Ineck

Academy of Rock gets BMF gift

Student at Academy of Rock plays ○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○ BMF-donated bass. The conga and tambourine also were donated. “If someone had given Charlie a Center, with citywide outreach. ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ guitar instead of a gun, he might Donated instruments include a have been a great musician Fender electric bass, an upright bass, instead of a killer.” a Yamaha electric piano, an Epiphone acoustic guitar, a conga drum, mara- January 2009 — Butch Berman, on the 50th cas and a tambourine. Among the Vol. 14, Number 1 anniversary of Charlie equipment donated are various amps, Starkweather’s murderous speakers, foot pedals, music stands, rampage, which began microphones and guitar cords. It all on Dec. 1, 1957 came from Butch’s basement music In this issue of Jazz.... room, where visiting musicians often LINCOLN, Neb.—Butch would jam after a BMF-sponsored Berman understood the importance of performance elsewhere in town. Experience Hendrix...... 4 music as a stabilizing force The $1,000 BMF Bill Watrous/NJO review...... 6 in his own life. As his grant paid for additional words quoted above indi- acoustic guitars and small Bob Dylan review...... 7 cate, he also saw music’s guitar amps for the “Sutton’s Pianorama”...... 8 potential for good in the academy’s practice George Whitesell & All Stars...... 10 lives of others, especially rooms. David Lindley/Bruce Katz at Zoo...... 11 troubled youth. “Now we can serve Butch would be more kids per class, and Cronin Brother (Don Holmquist)...... 12 pleased to know that his there are never any kids NJO continues concert season...... 13 Berman Music Founda- who have to sit around at Norman Hedman memorial...... 14 tion has donated $1,000 Jason Schmit practice,” said Jason and many of his own in- Schmit, director of the Jazz on Disc reviews...... 15 struments and musical equipment to academy. “They’re always working From the Photo Archives...... 20 Lincoln‘s Academy of Rock program. on something, and that’s directly be- ○○○○○○○○○ About 140 students from kindergar- cause of the donation. We don’t get ten through high school currently are donations like this very often. It’s been enrolled in the program, which is head- quartered at the Northeast Family Rock Academy continued on page 2

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Rock Academy continued from page 1 Tom by Photos Ineck

huge for us.” Gifts of a single guitar or a set of drums are not uncommon, but the size and diversity of the Berman collection is unprecedented, Schmit said. The Northeast Family Center oper- ates on a budget of $655,835 for the current fiscal year, of which the Acad- emy of Rock receives $144,600. Schmit began the Academy of Rock several years ago, while working with after-school programs for middle-school students at the YMCA. The kids would gather in a room and “hang out,” he said, but there were no activities to inspire them. “We felt like it wasn’t really tar- Academy of Rock practices at Campus Life North with Yamaha electric piano, acoustic bass, conga and tambourine donated by the Berman Music Foundation. geting the kids who needed it most. We started to set up very specific, special-interest clubs that the kids could be a part of, where the kids would do everything from cooking and creating their own little ‘café’ to film- making and comic book writing and flag football and fashion design.” When some of the students indi- cated an interest in rock music, Schmit approached Doug Fenton at Dietze Music House, who helped launch the Program coordinator Bob Okamoto Students use donated bass guitar, rock academy. The rest was up to uses his own Gibson guitar to conga and tambourine. Schmit, program coordinator Bob demonstrate vintage Ampeg amp and Okamoto, other staff and, of course, guitar pedals donated by BMF. the kids. gigs at Ribfest, the Nebraska State “They’re looking for something citywide, meeting at Mickle, Irving Fair and popular Lincoln music clubs. to do,” Schmit explained. “They want and Dawes middle schools, Brownell Understandably, most of the to start bands. They want to play rock Elementary School, Willard Commu- young rock wannabes want to play ‘n’ roll. Let’s give them a positive nity Center, and Campus Life North punk, metal or classic rock, but they place to do it, with good mentorship (The Edge). After-school sessions run are also introduced to the blues, coun- and get them playing music.” from 3-5 p.m. and evening sessions try, pop and hip-hop styles. Weeklong Beginning with just eight kids, the from 5-7 p.m. The young musicians summer camps are even more diver- Academy of Rock grew to 45 by the also meet for Saturday practice ses- sified. end of the first year. Schmit left Lin- sions. The more advanced musicians coln for Portland, Ore., where he set “Each month there is a different write and perform their own songs. up similar after-school clubs, but he genre of music that we study,” Schmit “We work with them, going liked the idea of a program solely de- said. “The staff selects one song that through the trials and tribulations of voted to music. The Northeast Fam- they have to play. If they can get being in a band, and try to get them to ily Center gave him the opportunity through it, the kids get to pick a song the point where they can have a great to return to Lincoln as director of the that they want to do. Then they get to musical product but they’re also Academy of Rock. perform them live around town.” smart in business and promoting them- The academy now has programs These public performances include selves,” Schmit said. “We get them

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That’s a concept that Butch Berman would understand perfectly. For more information on the Academy of Rock program, go to www.academyofrock.org. The following is a list of upcom- ing Academy of Rock performances:

Friday, Jan. 9–Duggan’s, 440 Jazz is published online at: At a recent performance at S. 11TH St., original bands concert, www.bermanmusicfoundation.org Meadowlark Coffee House, Evan 5:45-9 p.m., admission $5 The office of The Berman Mu- Potter plays an Epiphone guitar Thursday, Jan. 15–Hot Topic, sic Foundation is at 719 P St.,, Suite C-1, Lincoln, NE 68508. identical to the one donated by the 26 Gateway Mall, acoustic show for BMF. Butch’s conga is in background. two original bands TBA, 6-8 p.m., Editor and Designer: admission free Tom Ineck to the point where they’re ready to Saturday, Jan 24–Campus go out and do their own thing.” Among Life North, 6400 Cornhusker High- Contributing writerswriters: Tom the many original bands that have Ineck, Dan DeMuth, Tanner way, Invisible Children Snow Ball Gruba and Don Holmquist emerged from the Academy of Rock Formal, original bands TBA, 8-11 are Silent Havok, The Story Killers, p.m., admission TBA Photographers: Tom Ineck, Learning to Fall and Dodging Bullets. Saturday, Jan. 31–Box Awe- Dan DeMuth, Mike Wilson and Successful “graduates” of the acad- some, 815 O St., opening for others (File Photos) emy include the bands Valley of the Harptallica, JediRadio, Dodging Bul- For inclusion of any jazz or Impaled and Exit 48. lets, Silent Havok, 6–9 p.m., admis- blues related events, letters to A special projects class produces sion TBA the editor or suggested newsletters and T-shirts for the shows Friday, Feb. 13– articles, mail them to the and learns how to run the sound sys- Knickerbockers, 901 O St., origi- office, phone (402) 476-3112, tem and lighting that is essential for fax (402) 475-3136 or e-mail nal bands concert, 5:45-9 p.m., admis- [email protected]. the total rock experience. sion $5 Many of the students are on Friday, Feb. 27–Campus Life To be added to our mailing need-based scholarships, but enroll- North, 6400 Cornhusker Highway, list, call (402) 476-3112, fax ment is open to all. Those who are core program concert, 7-10 p.m., ad- (402) 475-3136 or e-mail [email protected]. eligible for free or reduced-price mission $3 lunches through Lincoln Public Friday, March 13–Box Awe- The Butch Berman Schools automatically qualify for a some, 815 O St., original bands con- Charitable Music reduced rate at the academy. cert, 5:45-9 p.m., admission $5 Foundation is a non-profit, tax “Most of our kids are disadvan- Friday, March 27–Campus exempt, 501(c)(3) private foun- taged in the fact that they feel kind of dation recognized by the Inter- Life North, 6400 Cornhusker High- nal Revenue Service and the like they’re outcasts in their own way, core program concert, 7-10 p.m., Nebraska Department of Rev- schools,” Schmit said. “It’s not based admission $3 enue. It was established in the on money.” Friday, April 17–Sidewinders, spring of 1995 to protect and On hearing Butch’s comment 17th & O streets, original bands con- promote unique forms of jazz music. about Charlie Starkweather, Schmit cert, 5:45-9 p.m., admission $5 agreed. Friday, April 24–Campus Life Trustee: Tony Rager “Exactly,” he said. “I’ve heard North, 6400 Cornhusker Highway, people say, ‘If that kid hadn’t gotten core program concert, 7-10 p.m., ad- Consultants: Grace Sankey- involved, I don’t know what would mission $3 Berman, Russ Dantzler, Kay have happened.’ They’re able to fo- Davis, Dan Demuth, Tom Saturday, May 30–Campus Ineck, Gerald Spaits, Leslie cus. We have some kids that have Life North, 6400 Cornhusker High- Spaits and Wade Wright written some pretty creepy things, but way, core and original final concert, they’re writing about it, getting it out 6-10 p.m., admission $3 of their systems.”

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Fans experience Hendrix vicariously in tribute ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

OMAHA, Neb.—Experience Courtesy Photos Hendrix is not just a clever name for the family-owned corporation that controls the rights to the transcen- dent music and iconic image of legendary guitarist Jimi Hendrix. It is a traveling tribute to the evolution of the blues and the immense role that Hendrix played in furthering that evolution. The 2008 Experience Hendrix tour stopped at the venerable The Jimi Hendrix Experience in 1967 Orpheum Theater in Omaha for an Oct. 29 performance featuring such well-known Hendrixian guitar slingers as Kenny Wayne Shepherd, Jonny Lang, and Eric Johnson, along The left-handed Eric Gales with more obscure players Eric Gales and Mato Nanji. Blues legends Buddy Guy and Hubert Sumlin re- tween the blues and blues rock styles minded listeners that Hendrix also that formed the foundation of had his influences—up to a point. Hendrix’s sound. His crackling snare Headlining the event were the technique and effortless fills never two surviving members of The Jimi got in the way, but were always es- Hendrix Experience, bassist Billy sential ingredients, tastefully ex- Cox—best known for his important “Are You Experienced?” was the ecuted. contribution to the live Band of 1967 debut recording by The Jimi It was Gales who unexpectedly Gypsys recording of New Year’s Eve Hendrix Experience set the mood for the night, opening 1969—and drummer Mitch Mitchell, with an aptly outrageous rendition of who was just 19 when he joined a testament to his significance as “Purple Haze,” accompanied by Cox Hendrix and bassist Noel Redding to Hendrix’s timekeeper of choice. In and Layton. A left-handed guitarist, become perhaps the most influential just four years, the Experience turned Gales also proved an excellent singer band in rock history. the rock music world on its ear, and in the soulful tradition of Hendrix. Mitchell was a shadow of his its influence continues to this day. Guitarist Mato Nanji of the group In- former self during the Omaha show, Mitchell was little more than a fig- digenous joined the trio for “Foxey playing lackluster licks and occasion- urehead during the Omaha appear- Lady,” then Cox belted out “Stone ally mumbling incoherently into the ance, but his legacy was apparent Free.” Nanji sang and played lead microphone. Sadly, it may have been throughout the performance. on the bluesy “Hear My Train a an omen of things to come. Mitchell, The lion’s share of the percus- Comin’.” 61, died Nov. 12 in Portland, Ore., sion duties was ably handled by Chris Eric Johnson was undoubtedly shortly after completing the 19-city “Whipper” Layton, Stevie Ray the technical master of the evening, tour. Vaughan’s drummer of choice from tearing it up on “Love or Confusion.” In retrospect, the Experience 1978 until Vaughan’s death in 1990. With Cox on bass and Mitchell added Hendrix tour was also a fitting trib- Layton proved an excellent substi- on drums, he did a jazzy take on “Up ute to Mitchell, whose top billing was tute for Mitchell, moving easily be- From the Skies.” Johnson and Gales

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traded solos on an astound- rock pyrotechnics of the ing version of “May This other string virtuosi, but Be Love.” Johnson also they delivered soulful ver- performed memorable ver- sions of “Can You See Me,” sions of “Bold as Love” “Little Wing,” with Mitchell and—the best of all—“Are and Cox added, and “Them You Experienced?” Three Changes,” which was dedi- drummers kept the ominous cated to the late Buddy march time going as Miles, the tune’s composer Johnson convincingly mim- and Omaha’s native son. icked the backward-looped Mato Nanji joined the guitar sounds that made the group for a solo on the last original 1967 recording so tune. ground-breaking. Oddly, the show ended Despite his technical with the evening’s weakest proficiency, Johnson set. Rather than begin Guitarist Kenny Wayne Shepherd and singer Noah Hunt tended to push the tempo, chronologically with the combine in a dramatic performance. contrary to the laid-back, blues and track the evolu-

hesitation beat of the blues or the re- Courtesy Photos tion to Hendrix’s jazzy, audacious relaxed pulse of soul that influenced thinking of the blues, the program’s Hendrix. Johnson’s thin, high-pitched order was reversed. voice is also a far cry from the It came to a close with 76-year- Hendrix model of sexy cool. old Hubert Sumlin hobbling on stage Johnny Lang, now 27, released to perform “You Should Have Quit his first recording while still in his mid- Me,” followed by Buddy Guy and teens, but there’s little in his playing “The Best Damn Fool You Ever to set him apart from dozens of other Saw.” Guy’s a fine guitar player, but Hendrix-influenced pickers, and his he also possesses a huge ego, mak- voice is even more limited that Guitarists (from left) Brad Whitford, ing it difficult for him to share the Johnson’s. He did a credible job on Buddy Guy and Ric Hall trade Hendrix stage with others. That was appar- “Fire,” with help from Aerosmith’s licks with bassist Billy Cox. ent on “Red House,” where he was Brad Whitford, a fine guitarist who joined by Brad Whitford, Billy Cox usually plays second fiddle to Joe Perry. Lang and Whitford also de- and Mitch Mitchell, and on “Hey livered “The Wind Cries Mary,” with Joe,” with Hidalgo and Rosas. Mitchell joining Layton on drums, and Among the under-recognized “Spanish Castle Magic,” with Layton standout players were guitarist Ric only. By the way, Scott Nelson did a Hall, keyboardist Marty Sammon, great job on bass whenever Cox and drummer Tim Austin. wasn’t on stage. Everyone played with obvious Kenny Wayne Shepherd played respect, even adoration, for the mu- the role of rock “guitar god,” strik- sic and legacy of Jimi Hendrix. But ing flamboyant stage poses for dra- even after three hours of familiar matic effect on “Come On,” “I Don’t riffs delivered with mind-boggling Live Today,” “Voodoo Chile” and technique, the listener was left with “Voodoo Child (Slight Return).” Out- a feeling of inadequacy. None of standing singer Noah Hunt added a these skilled performers could match professional sheen to the Shepherd the musical audacity, the revolution- set, despite an occasional lapse into ary guitar style, the lyrical experi- hyper-blues pretentiousness. mentation, the soulful intensity or the Guitarists David Hidalgo and cosmic humor of the original. That’s Eric Johnson coaxes feedback from a Cesar Rosas of Los Lobos fame what makes Hendrix so great, and Marshal speaker. seemed out of place amid the blues- so greatly missed.

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Bill Watrous brings challenges to NJO ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—The Ne- Tom by Photo Ineck braska Jazz Orchestra opened its 2008-2009 season with a zinger Nov. 7 at The Cornhusker, putting legendary trombonist Bill Watrous squarely in the spotlight in a program of tunes that continually challenged the big band throughout the evening. Justifiably billed as an “L.A. Leg- end,” Watrous claimed his fame more than 30 years ago with a pair of classic jazz recordings on Columbia, 1974’s “Manhattan Wildlife Refuge” and 1975’s “The Tiger of San Pedro.” As a West Coast studio musician and guest artist on dozens of record- Trombonist Bill Watrous performs a set of challenging tunes with the Nebraska ings, he has maintained his standing Jazz Orchestra Nov. 7 at The Cornhusker hotel in Lincoln. among the greats on his instrument, a standing he confirmed with his latest tem. He then surprised the audience turned with Duke Ellington’s “Blues NJO appearance. His association with of 300 by displaying a versatile voice for New Orleans,” arranged by NJO the NJO actually goes back 30 years, on a Kubis arrangement of “When alumnus Dave Sharp. to a 1978 concert with the band, then You’re Smiling.” After singing the Tom Kubis’ “Space Available” known as the Neoclassic Jazz Orches- refrain, he dove into a horn solo of was a snappy, up-tempo swinger, but tra. leaping octaves and intricately articu- Haar stayed on top of it with a scintil- The band kicked things off with lated lines. lating tenor solo. Watrous again the provocatively titled “I’ve Got the An easy-swinging Kubis ar- showed his prowess with a brilliantly #@4++$?% Blues,” by Rex rangement of “Who Can I Turn To?” articulated solo. Cadwallader, a longtime contributor to had the sax section playing a beauti- Guitarist Peter Bouffard deliv- the NJO songbook. ful group solo before turning it over ered an imaginative solo on the Basie- Watrous joined them for a clever to Haar and Darren Pettit for indi- style bluesy swinger “It’ll Count If it up-tempo reworking of “After You’ve vidual tenor sax solos and a series of Goes,” also by Goodwin. The entire Gone” called “Before You Left,” four-bar trades. Watrous settled into brass section got a workout on this composed by Tom Kubis, an obvious the familiar changes with lilting trom- one. “Exactly Like This,” a Tom Kubis favorite of the trombonist’s. The sax bone phrases and a lush tone. take on “Exactly Like You,” featured section got its first of many workouts, Humorously giving fair warning Brad Obbink on a Harmon-muted with Ed Love on soprano and Paul to musicians and audience alike, trumpet solo and Love on a fluid flute Haar taking a brawny solo on tenor. Watrous introduced the tricky Gordon statement. Watrous displayed his gorgeous Goodwin tune “I Got the ZZZ’s” by But the crowning glory of the honey tone and faultless facility dur- saying “Gordon’s charts are the great evening was the driving, funky ing his solo statement. sobriety tests of all time.” The devil- “Mama Llama Samba,” with snaking Perfectly at ease in the role of ishly difficult changes again had the modulations and infectious rhythms master of ceremonies, Watrous told saxes playing in unison, followed by a boiling underneath as soloists Pettit, the story of his minor league baseball pairing-off of Haar on tenor and Love Bouffard and Watrous negotiated in- career being cut short by a draft no- on soprano. tricate solos. tice from the Selective Service Sys- After the break, the band re-

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Dylan returns home for historic concert ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Tanner Gruba ○○○○○○○○○○○○○○○○○○○○○○○

MINNEAPOLIS—On the eve Courtesy Photo of a historic presidential election, the be-all and end-all, Bob Dylan, returned to his native Minnesota to put on noth- ing short of an epic show. Dylan and his band played at the University of Minnesota’s Northrop Auditorium to a near-packed house of roughly 4,000 long-time fans, students, and everyone in between. The Nov. 4 show consisted of a diverse collection of his songs, from albums old and new. The majority were drastically altered from their original sound, with altered styles, time signatures, and tempos. As many Bob Dylan would have expected, the concert had a politically centered theme. lines. Stu Kimball provided solid cial circumstances of the evening. Dylan kicked off the show with rhythm guitar, and Denny Freeman “I was born in 1941, the year his now-common, steel guitar-driven played the lead guitar parts. George they bombed Pearl Harbor,” he said. opener “Cat’s in the Well,” something Recile held down the tempo with pre- “I’ve been living in a world of dark- of a lesser-known song from his 1990 cision on drums, and Donnie Heron ness ever since, but it looks like things album “Under the Red Sky.” He displayed multiple talents in violin, are going to change now.” The song moved into a not instantly-recogniz- viola, banjo, and steel guitar. “Blowin’ in the Wind” then filled the able “The Times They Are a- As the 17-song set list continued auditorium, a perfectly appropriate end Changin’.” The crowd’s roar reached into the night, Bob played more songs to an incredible show. a peak during each refrain of the Dylan from his new album, “Modern As the audience proceeded out classic. Times.” He also included the touch- of the auditorium into the entrance He brought the crowd back to ing “Shooting Star” from “Oh Mercy,” hall, a titanic TV was projecting the various earlier albums with songs like in which halfway through, he strapped results of the presidential election. “Tangled Up in Blue,” “Stuck Inside on an electric guitar for the only time The hall erupted into a euphoric cav- of Mobile with the Memphis Blues during the show. For the rest, Dylan alcade. There were people crying, Again,” and “Highway 61 Revisited.” stuck to keyboard, which was quite couples embracing, and a wave of “Masters of War” was played as a prominent in the mix. He even soloed incessant noise. A massive congrega- brooding, dark ballad, a contrast with a couple times on the organ-voiced tion soon followed outside the hall in the original acoustic recording. “It’s keys. the middle of the campus square to Alright, Ma (I’m Only Bleeding)” on Dylan played the somber “Ain’t conclude the concert aftermath. the other hand, was turned completely Talkin’” before leaving the stage. Dylan played a fantastic and upside down, recognizable only by its While the crowd was cheering for an charged set that evening, making it a masterful lyrics. encore, many people were eagerly concert like no other. The fact that Dylan played primarily keyboard checking their phones for election he had returned to his old college on for the entire evening, a consistent data. Bob finally returned to the stage such an important occasion made the practice of his in recent shows. His for the inevitable “Like a Rolling show memorable beyond mortal band was tight, with Tony Garnier Stone.” Before his final song, he had dream. providing sonorous and driving bass a few words to say regarding the spe-

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“Sutton’s Pianorama” lives up to its billing ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Dan DeMuth ○○○○○○○○

DENVER—The weekend of Wilson Mike by Photo Oct. 18-19 in Denver provided beautiful weather and music as Sunnie Sutton hosted the 9th annual Rocky Mountain Jazz Party at the downtown Denver Marriott Center. This series actually dates to 1989 at the Jerome Hotel in Aspen, with Sunnie and her now deceased hus- band Ralph taking over the baton in 2000. This year’s party, dubbed “Sutton’s Pianorama,” lived up to its billing with Dick Hyman and Derek Smith, sharing the stage with two pianists perhaps not so well known in the states as in Europe, Rossano Sportiello and Louis Mazetier. Chuck Berghofer, Jay Leonhart, Dick Hyman at the piano Frank Capp, Jake Hanna, Bucky Pizzarelli, John Allred, Ken Peplowski, mances ranged from ballads to boogie, Houston Person, Warren Vache—all with such tunes as “Exactly Like names that individually and certainly You,” “Can’t We Be Friends,” “Just collectively wouldn’t ordinarily be You, Just Me,” “After You’ve Gone,” considered supporting players occa- “St. Louis Blues,” “Drop Me Off In sionally filled that role as the pianists Harlem,” and “Diga Diga Doo” as a put on a memorable performance. sampling. For me, the high points in- With seating limited to 250, these par- volved the four pianists playing simul- ties lend an intimacy to the musician’s taneously on two facing concert grand relationship with the approving audi- pianos (I’ll do the math, that’s eight ence, much as a club setting allows. hands or forty fingers) while rotating Alternating from solo performances one at a time to the next bench with- through duets, trios and on up to the out missing a beat. I must add they full-blown monte, we jazz aficionados Rossano Sporteillo and Louis Mazetier were able to do this on everything were treated to one of those events from a Gershwin ballad to a raucous permanently encoded in our grey 50 years ago he still speaks with that 10-minute improvised version of matter. beautiful British accent. Sportiello and something they called “Eight-Hand Hyman is a master of virtually Mazetier, generally recognized as be- Boogie Woogie.” all keyboard styles and able to play ing the best in their craft in perhaps I asked Dick Hyman his opinion imperturbably while doing so. He sim- all of Europe, are now spreading the of these two young lions and he reply makes everything look too easy. word here in the U.S. Simply as a sponded saying they were more than Smith counters with a display of great matter of comparison, their techniques ready to take over and assume any enthusiasm which doesn’t detract fall somewhere between Hyman and mantle he and Smith might eventually from his equally great versatility. And, Smith. leave behind. The respect these four even after coming to the states over The multitude of piano perfor- pianists had for each other would have

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been obvious to anyone and has among his many who could hear, sight not credits touring and record- being a requirement. ing with Sinatra. There were the usual Drummers Frankie mixed pairings in virtually Capp and Jake Hanna are every possible configura- ageless. Neither is prone to tion throughout, and while bombastic solos, content in some of these artists seem the rhythm backup role or to have been on the scene occasionally driving the as- forever their talent has not semblage when required. In waned. Bucky ripped off a lighter moment, when some amazing guitar runs asked to solo, Capp did a both as a soloist and pro- very short interlude with viding rhythm. And he still tom toms in no particular has that great smile. While meter and said “that’s what cornetist Warren Vache Louis Mazetier takes a turn at the keyboard during “Sutton’s I think about drum solos.” doesn’t dote on making Pianorama.” Artie Shaw would have happy faces, the occa- loved it. sional impish grin sneaks out, belying imitable Jay. He had just penned and The final set of the last night the fact he enjoys playing the cur- performed a new composition about started with a tongue-in-cheek per- mudgeon role. With a career that now the failure of Dutch tulips in the se- formance by the four pianists, with spans about 35 years, listening to him curities markets, a takeoff on our fi- everyone else on stage except, unac- play in the high altitude of Denver and nancial fiascos. You’d have to hear it countably, Bucky. It was allegedly “O requiring the assistance of a cane to understand and then walk away Sole Mio,” which quickly segued into because of hip issues that force him shaking your head. some stride and boogie woogie and to play sitting down, he still has the Ken Peplowski continues to be then was transmuted into a no-holds- beautiful, clear forceful tones. He told the clarinetist with the mostest on the barred version of “The Saints.” This me he is able to do this simply be- jazz circuits and also blows a pretty again had the four pianists doing their cause one doesn’t play his horn with sax, as well as displaying the “let’s rotation, Berghofer and Leonhart his face; it’s all in controlling the have a good time up here” mindset. sharing the bass and Capp and Hanna breathing. Tenor man Houston Person per- sharing drums. And yes, here was the Jay Leonhart—great bassist, fer- formed mainly with rhythm backing, cool Houston Person blowing on one tile mind. Over the years a virtual which is obvious given his style, ex- of the oldest tunes in the book in a who’s who of more than 80 artists has cept for the finale, which we’ll get to front line that also featured Peplowski appeared at these parties without any shortly. He told me that despite the on clarinet along with Allred and vocalists, unless one includes the in- breathy tones he is so well noted for, Vache. he was influenced as a youth by some As Butch Berman used to say, of the honkers such as Big Jay “Life is a gas. You just have to inhale McNeely, Joe Houston and Earl once in awhile.” Bostic. Trombonist John Allred plays comfortably in any style and left a few wet eyes with a solo rendition of Dorsey’s “I’m Getting Sentimental Over You,” dedicated to the attend- ing family of the recently deceased Tom Dorsey (Tommy’s son), a longtime Denver resident and faithful at- tendee at these jazz parties. This was my first exposure and good fortune Bassist Jay Leonhart, drummer Al to hear bassist Chuck Berghofer, who Capp and bassist Chuck Berghofer Dick Hyman and Derek Smith started with bandleader Skinnay Ennis

Page 10 Berman Music Foundation Jazz

Whitesell and the All Stars make the joint jump ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Dan DeMuth ○○○○○○○○

BOULDER, Colo.—Oct. 25 DeMuth Dan by Photos found us in Boulder, catching up with the hottest jump blues band this side of the North Pole. Yes, jump blues, as epitomized by such artists as Louis Jordan, Big Joe Turner, Johnny Otis, Joe Liggins, Roy Brown and Omaha’s own Wynonie Harris. George Whitesell’s All Stars is a Colorado Springs-based group that has been playing selected gigs up and George Whitesell and the All Stars with vocalist Jill Watkins at Classics down the Front Range for about two years. Members are comprised of Brown, Etta James, Camille Howard musicians who often front their own or LaVern Baker in the “mean ma- groups, both blues and jazz, a true mas” mode, or enticing the afore- all-star group with George providing mentioned peach fuzz in the manner the guitar licks, male vocals and oc- of Sylvia Robinson of the Mickey and casionally blowing some alto sax. Sylvia duo on the classic “Love Is This type of music requires a Strange” (Reviewer’s note: George, sax section supremo, and they don’t you need to get this in your reper- disappoint. Brad Eastin, whose re- toire!), Jill brings talent along with per- sume’ includes such diverse names sonality. as Frankie Laine, Cab Calloway, Space doesn’t allow me to list Rosie Clooney and the USAF the roster of songs they put into the Falconaires arranges for the band and too-short two hours on stage, but I holds court on tenor, much as he does want to list just a few. George in several local jazz groups. handled the vocals on Berry’s “You Relative newcomer Marty George Whitesell Never Can Tell,” Little Richard’s Sarlette, another graduate of the “Baby,” Joe Turner’s “Oke She USAF bands, also blows a mean panache–a noble trait. The same can Moke She Pop,” and Cleanhead tenor and has added some, shall we be said of bassist Santi Guarnera and Vinson’s “Kidney Stew.” say, “choreography” to the reed sec- keyboardist Tim Zahn–drivin’ the bus Jill ably took care of Etta’s “At tion circa the Louis Jordan era, and makin’ no fuss. Last” and “Tell Mama,” and her ren- which adds to the authenticity and Ah, but they haven’t forgotten ditions of “I need A Young Man” general good feeling this band ex- the great female artists during this and “Dr. Feelgood” had all of the udes. late ‘40s and early ’50s era. Talented ladies feeling good about whatever Providing a contrast to the ten- Jill Watkins, who has fronted her own it is the good doctor does. ors, while proving a baritone can also group, as well as performing with oth- Intersperse all of this with some honk, is Chris Wojtecki. His folio also ers, handles this end with all of the great instrumentals by a band really includes working with such luminar- embodiment and embellishment one digging what they’re doing, and it’s ies as Lesley Gore and Sam The would expect with this group. a great revue. A short clip of the Sham and the Pharaohs and playing Jill has a voice that can nail the band is at http://www.myspace.com/ with many excellent local groups. shingles to the roof or coax the fuzz georgewhitesel. Drummer Dave Deason gives off a peach. Whether providing a 3D performance without too much countenance to the likes of Ruth

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Lindley and Katz continue grand Zoo tradition ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—I am fre- Tom by Photo Ineck quently reminded how precious a home- grown, hometown live-music club can be, especially one with an eclectic book- ing policy and a loyal clientele. Such is the Zoo Bar, Lincoln’s most intimate and—for the adventurous music fan— most consistently satisfying venue since it opened its doors in 1973. Two recent visits perfectly illus- trate the reasons for the Zoo’s excellent reputation and my continued pa- tronage. Multi-instrumentalist and sto- ryteller par excellence David Lindley returned for a Sept. 21 solo performance, and on Oct. 24 jazz and blues The Bruce Katz Band swings the blues at the Zoo Bar. organist and piano player Bruce Katz brought his band back to the Zoo for a “Tasin,” on which he demonstrated The Bruce Katz Band, on the other spectacular show. improvised scales on the oud. In de- hand, was all business. Katz earned his Lindley, perhaps best known for scribing the challenges of the fretless stripes playing with Ronnie Earl and the his many years playing guitar and re- instrument, he said, “You gotta play it Broadcasters, as well as early stints cording with Warren Zevon and Jack- like an ant.” with Barrence Whitfield and the Sav- son Browne, has hammered out a solo Reprising his popular novelty ages, Bo Diddley, Chuck Berry, and career over many arduous years of one- “Backstage Food,” Lindley added a Jimmy Witherspoon. At 56, he has half

night stands at small Peterson Reynold by Photo new chapter to the con- a dozen recordings under his own name clubs just like the Zoo. tinuing saga about the and a touring band that always tears it Already on the road for often-unappetizing up. six weeks before his meals served to travel- Katz was cooking that night at the Lincoln appearance, ing musicians who are Zoo, switching easily from funky jazz the 64-year-old road at the mercy of their organ to boogie-woogie piano to bluesy veteran seemed a little employers. While accompaniment for an equally versa- weary, but neither his strumming a slide gui- tile guitarist. Among the many favor- musicianship nor his tar on his lap, he told of ites performed were blistering renditions sense of humor “driving 600 miles for a of “Hep-ology,” “Norton’s Boogie,” seemed to suffer. 45-minute show,” then Mississippi Moan,” “Jackalope Bar-B- Utilizing at least related a story from Q,” “Elmore’s Glue,” and the classic seven acoustic, David Lindley at the Zoo bassist Leland Sklar cover version of “Compared to What.” stringed instruments about a cooking trip to It’s a testament to the Zoo Bar’s over the course of the evening, Lindley China, where he was offered a burlap staying power that both of these shows performed Zevon’s “Seminole Bingo,” bag full of human feet, “gray with yel- were very well attended. Here’s hop- Bruce Springsteen’s “Brothers Under low toenails.” ing that the Zoo continues to stake its the Bridge” and Steve Earle’s “Cop- “Disgusting!” you may say, but the reputation on musical diversity and the perhead Road,” in addition to the tradi- way Lindley tells a story, it was also relatively small, but very hip fan base tional gospel tune “What is the Soul of delightful fun, like a roomful of kids hav- that has nurtured it for so many years. a Man?” and the Eastern exotica ing a “gross out” contest.

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A brother in music pays tribute to Butch Berman ○○○○ By Don Holmquist ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Editor’s Note: Don Holmquist was File Photo the drummer in Butch Berman’s final band, The Cronin Brothers. Formed in 2004, the Cronins were also the longest-running band that Butch was ever in, a considerable accomplishment in a professional music career that spanned 44 years and more than 20 bands. Don lives in Lincoln, Neb.

LINCOLN, Neb.—It has been almost a year now since I lost a brother to the hereafter. I did not lose him in life because Butch lived it to the full- est and his love, creativity and enthusiasm live on. The Cronin Brothers (from left) were bassist Craig Kingery, guitarist and Butch Berman and I were broth- keyboardist Butch Berman, drummer Don Holmquist and guitarist Bill Lohrberg. ers in music and in a band. Butch always referred to his band mates as spectives and, in fact, almost thrived many siblings toss around the football. brothers. We could talk for hours about on conflict. There were times when I But in the end, we knew it was just a music, spirituality, psychology, recov- wondered if we would ever be able to game. We agreed that our conflict was ery, health, sojourns, love, life and loss. mend the fence after he would reel off just a function of two alpha males jock- We were not always in agreement, but one of his infamous acerbic “insight”- eying for a position that wasn’t there. that was perfectly fine with Butch. He oriented e-mails, but we always did. This publication’s esteemed edi- appeared to welcome conflicting per- We tossed around barbs much like tor gave me some perspective on my conflicts with Butch. He tells a story File Photo about a time Butch was hanging with an old friend. He looked over at the guy and said something like, “You know, I think that you are one of the only people that I have never been mad at... and that bothers me.” Butch had such a zeal for his own ideas that very few people ever had the gumption (or alpha audacity) to contradict what sometimes seemed to be distorted thinking. He had an incredible ability to think in another di- mension. And he didn’t understand why people seemed to follow and agree with his thinking, but then dis- The Cronins rock the house in live performance, with Butch Berman doubling on agreed behind his back. He would ask guitar and keyboards, Don Holmquist on drums, Craig Kingery on bass and Bill me, “Why wouldn’t people tell me that Lohrberg on guitar. they don’t agree with me?” I would

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reply, “Butch, you’re a difficult person periods of his life and he did an excep- with his music and support of music. to have an argument with.” He told tional job in his attempts. His band man- I feel very blessed to have been me on more than one occasion that it tra reflected this perspective. He would initiated into Butch’s music fraternity. was the confrontational honesty that say, “The Cronin Brothers, it’s a state In his world, anyone who had anything he admired in our relationship. That of mind.” to do with music was part of the fra- honesty strengthened our bond. And I In those last weeks, he didn’t wa- ternity, and he realized that you don’t learned that despite our different ver from that. I found out about Butch’s have to like everyone in your frater- views, there was magic imbedded in last health battle over the phone. He nity, but you are brothers nonetheless. his thinking. rang me up and said, “Hey, guess what The Cronin Brothers was Butch’s Butch had an insatiable thirst for I did over the weekend?” I asked, last band. We played our last gig about everything decadent and wonderful. In “What’d you do this weekend?”, to a month before his last breath. With all this too, we were brothers. In fact, which he replied, “I had brain surgery.” of the ups and downs we had through- each of our unbridled searches for al- I thought to myself, “Oh man, Butch, out the years, I’m grateful that the very tered states led to the name of our you have had a multitude of creative last words I said to him were, “I love band. In 1993, in need of some help, I ways of looking at things in the past, you, buddy.” He was just as I love to called him about a “therapeutic health but this is a new one!” He literally had remember him, sitting at the piano with spa” that he had been to. I wondered undergone a cranial exploration with a his guitar around his neck. As I de- whether he thought that it was worth biopsy. “Wow,” I wondered, “What’d parted our sacred practice room that it and asked about his experience. He they see in there?” I told him that I night, I didn’t know that would be the replied, naturally thinking I was won- had always wanted to look inside his last verbal communication I would have dering about the amenities, “Oh man, head to see from whence his funky with him. they have great food—and did you ideas emanated. Although those were my last know that Eric Clapton was just His magical, positive state of mind words, they were not the last of our there?!” Well, of course, that was all I carried him through his illness, along communication. Butch still speaks to needed to hear. I lived in the same with the support of his wonderful wife us often. I often find people saying, place Butch (and Eric Clapton) had, and friends. I vividly remember him “Butch would...”, as if he were in the the Cronin unit. saying, “I’ll beat this thing, I’ll show room reminding us. Just the other day, That shared experience gave us those bastards!” He had an uncanny my mother and I were driving past the a bond and a band name. When our knack for surrounding himself with turnoff to his house and, in near per- band formed, it became the Cronin people that made him feel good, which fect unison, we uttered “Hi, Butch.” Brothers. In the Cronin spirit, Butch I always admired. And he made oth- Thanks for the memories, brother, past, strove to be “au natural” during many ers feel good, too—thousands, even, present, and future. NJO continues 2008-2009 concert season

LINCOLN, Neb.—The Ne- with Mike Tomaro, multi-talented “Plays Well with Others,” braska Jazz Orchestra continues its woodwind performer, composer, ar- Tuesday, May 19, 7:30 p.m., 2008-2009 concert season, featuring ranger, and director of jazz studies at Cornhusker Marriott, 333 S. 13th St. nationally-known guest instrumental- Duquesne University. Tomaro will This concert will feature one of ists, popular big-band favorites and perform with the NJO and the 2009 L.A.’s most highly sought and award- new arrangements. Young Lions All-Star Band. winning trumpet players, Wayne General admission tickets for in- “It’s Not Rocket Science,” Bergeron, and the winner of the 2009 dividual concerts may be purchased Tuesday, March 24, 7:30 p.m., NJO Young Jazz Artist Competition. in advance or at the door for each Cornhusker Marriott, 333 S. 13th St. The NJO season also includes a concert. Ticket prices are $20 for With a degree in aerospace engineer- popular annual event, a Valentines adults $20 and $10 for students. Con- ing, Dana Hall now leads a number Day dinner and dance on Saturday, cert times and locations follow. of his own groups and performs with Feb. 14, at 6 p.m. at the Cornhusker “Learning From the Master,” the Chicago Jazz Ensemble. Included Marriott. The concert features Big Thursday, Jan. 22, 7:30 p.m., in this concert will be a local jazz en- Band classics and is not included with Cornhusker Marriott, 333 S. 13th St. semble as part of the “Jazz 101” pro- season membership. Young talent will be featured along gram.

Page 14 Berman Music Foundation Jazz

By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Memorial

BMF friend, consultant Hedman dies at 63 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○

Master conguero, composer and File Photo bandleader Norman Hedman, a longtime friend and consultant of the Berman Music Foundation, died Sept. 29 in New York City after a struggle of many months with acute myeloid leukemia and pneumonia. He was 63. BMF founder the late Butch Berman was a tireless advocate for Hedman and his band, Tropique. The foundation was the executive producer of several CDs by Hedman’s rhythmically-charged tropical jazz group, including “One Step Closer” in 1999, “Taken By Surprise” in 2000 and “Garden of Forbidden Fruit” in 2006. The BMF also helped to fund flutist- singer Andrienne Wilson’s “She’s Norman Hedman, 1945-2008 Dangerous,” a 1998 release on which Hedman played a prominent role as would land him gigs with The Spin- of 36 years, Michelline, his mother co-producer and percussionist. ners, Daryl Hall, The Main Ingredi- Ruby, son Norjon, and daughter Over the years, the BMF brought ent, New Kids on the Block, Chico Misha; brother Tony; sister Barbara Norman Hedman’s Tropique to Lin- Freeman and Alicia Keys, among Codrington and two grandchildren, coln, Neb., for several performances, many others. Norjon Hedman and Taija Law. including Jazz in June appearances in Before pursuing a career in mu- A funeral Mass was celebrated 1997 and 2003, and a concert in March sic, Hedman graduated from Brook- Oct. 3 at Holy Cross Church in Man- 2001 opening for Jerry Gonzalez and lyn College with a business major in hattan, followed by burial at Calverton the Fort Apache Band at the Lied Cen- marketing. But after leaving the Army Cemetery in Long Island. In lieu of ter for Performing Arts. he worked as a studio musician for flowers, tax deductible donations may The foundation also brought the several decades, primarily in pop mu- be sent to Memorial Sloan-Kettering band to the Kansas City International sic, before forming Tropique in 1995. Cancer Center, P.O. Box 27106, New Jazz Festival in June 1999 and the To- He performed on five number one York, NY 10087. Please include your peka Jazz Festival in 2005, when hits and three movie soundtracks. He full name and address, and specify Butch Berman was the event’s mu- was preparing to accompany Keys on that the gift is in memory of Norman sic director. her 2008 world tour when he was di- Hedman in support of leukemia re- Born July 17, 1945, in Jamaica, agnosed with cancer. search. Ask them to notify the the West Indies, Hedman began play- In April, representatives of the Hedman family at 484 W. 43rd St., ing the congas as a young teenager Berman Music Foundation traveled to Apt 3-S, New York, NY 10036. growing up in Brooklyn, after he re- New York to attend a benefit for Checks should be payable to Memo- trieved a drum from a neighborhood Hedman at the Jazz Standard. rial Sloan-Kettering Cancer Center. garbage can. Blending the irresistible Hedman was too ill to attend the event, beats of the Caribbean with the which raised more than $7,500 to- Editor’s Note: Thanks to Dawn American sounds of jazz, funk, soul, ward his medical expenses. DeBlaze for providing some of the and rhythm ‘n’ blues, his diversity later Hedman is survived by his wife information for this story.

January 2009 Page 15 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Jazz on Disc

Moody, Jones collaboration “Our Delight,” indeed ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

an extended solo. Jones takes his cue and ups the ante with deft turns of phrase. Taken at breakneck tempo, Sonny Stitt’s “Eternal Triangle” is the most challenging tune here, pressing Moody through the changes and keeping Jones on his toes. They meet the challenge with surprising gusto and JAMES MOODY/HANK JONES quick reflexes, and Nussbaum’s four- DAVE HOLLAND SEXTET Our Delight bar breaks stoke the fire. Moody and Pass It On IPO Recordings Jones pair off for a lovely, romantic Dare2 Records reading of “Body and Soul.” It is, indeed, “Our Delight” to lis- “Good Bait,” written by After a decade in which bass- ten to this historic recording pairing Dameron and a familiar favorite of ist Dave Holland’s format of choice the still-vibrant jazz masters James Gillespie’s, swings breezily, thanks to was a quintet also consisting of Moody and Hank Jones. Nussbaum’s constant support. Moody saxophone, trombone, vibraphone, At the time of the date in June switches to flute on his sly and witty and drums, he has changed the for- 2006, Moody was 81 and Jones was composition “Darben the Red Foxx.” mula to a six-piece band that adds 87, but they play with the vitality and Back on tenor, he evokes a sul- trumpet and piano to the mix, while imagination of young lions. With a try, breathy noir ambiance on a nine- dropping the vibes. generous program largely comprised minute version of Dameron’s “Soul It may seem like a subtle shift of tunes by Dizzy Gillespie and Tadd Trane.” The tempo accelerates one in emphasis, but the results are Dameron, IPO Recordings has again more time for Gillespie’s “Woody ‘N’ magical on “Pass It On.” The three- produced a well-polished gem of last- You,” a showcase for Jones and for horn front line creates fuller harmo- ing value. Nussbaum’s effortless percussion. nies and the piano is a more har- The quartet is completed with “Old Folks” is another duo, this monically rich and rhythmically bassist Todd Coolman and drummer time with Moody stating the classic muscular instrument than the vibes. Adam Nussbaum, excellent choices melody on flute and Jones sensitively Once again, Holland has found a for a swinging, tasteful session that providing the accompaniment. way to keep the music fresh and stays mainly in the mid-tempo range. As an added bonus, Jimmy exciting. On the title track, by Dameron, Heath’s “Moody’s Groove” is sung As always, Holland leads a Moody leaps in with his trademark by Italian native Roberta Gambarini, sonically democratic outfit, allow- tenor sound as Jones comps and fills who draws convincingly from the vo- ing his bandmates plenty of room with grace and assurance. Jones’ own cal tradition of Ella Fitzgerald, Sarah for improvisation and group inter- solo echoes Moody’s mood. “Birk’s Vaughan and Carmen McRae, right play, even though he wrote all but Works” gets a laid-back, bluesy treat- down to the graceful scatting. one of the nine tunes. With a lineup ment and features a bass solo on An instant classic, “Our Delight” that includes Antonio Hart on alto which Coolman pays his respects to is nearly 80 minutes of delightful mu- sax, Robin Eubanks on trombone, Ray Brown. sical repartee between two legends Alex Sipiagin on trumpet, Mulgrew Jones delves deeply into the of jazz history. It comes in an attrac- Miller on piano and Eric Harland on changes on “Con Alma.” Moody’s tive gatefold package with color por- drums, Holland can rest assured that tenor caresses the melody on traits of Moody and Jones and infor- they will deliver. Dameron’s “Lady Bird,” then ex- mative notes by bassist Coolman. plores all the harmonic possibilities in Jazz on Disc continued on page 16

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Jazz on CD continued from page 15 semble passages that seem to mimic performance standard at a very high the dangerous rapids implied by the level. The Ivan Lins tune “Sails Eubanks’ aptly titled opener, title. The stately “Processional” (Velas Icadas)” is given a funky, “The Sum of All Parts,” immediately showcases Sipiagin’s deft trumpet syncopated backbeat that draws establishes the value of the sextet work, and the title track closes the inspired solos by Keezer and by “building” the group from its vari- proceedings with a funky urgency Sheppard on alto sax. Then ous “parts,” beginning with trom- and a reiteration of Holland’s high Donatelli and Sheppard lock melody bone and percussion, then gradually standard of group interplay, as lines in tandem. adding alto sax, trumpet, bass and bandmates alternately weave har- Perhaps the highlight of the en- piano in funky syncopation. Even- monies and take solos. tire recording is Donatelli’s exquis- tually, the band comes together to ite rendering of Chick Corea’s state the melody en masse, followed “Crystal Silence,” with lyrics by by a brilliant bass solo and more Neville Potter. This time, Sheppard group dynamics. It’s an ingenious soars on soprano sax, flute and alto technique for introducing the new flute, and Donatelli goes on a word- band and the new sound. less vocal excursion in perfect har- “Fast Track” has the horns mony. On the samba “I Love it bursting out of the gate uptempo, but When You Dance That Way,” she the tune also is a showcase for chimes in unison with Saunders’ Miller’s wonderful keyboard work. flugelhorn as though truly dancing. Holland introduces “Lazy Snake” DENISE DONATELLI Sprague on nylon-string guitar and with a slithering bass solo, before What Lies Within Smith on brushes create the ideal turning the melody over to the horns. Savant Records rhythm. A longtime Holland employee, Donatelli proves just as ca- Eubanks takes the first solo, fol- pable with the phrasing and breath- lowed by Sipiagin and Hart. The With her sophomore release, ing demands of a ballad on the stan- tempo accelerates again for Denise Donatelli beyond a doubt es- dard “We’ll Be Together Again,” “Double Vision,” a rhythmically tablishes herself as one of the which also features a wonderful complex piece that features another brightest vocal stars on the horizon. bass solo by Price. Again her phras- inspired Eubanks solo and some in- “What Lies Within” is a recording ing stands out in the long, snaking credible drum pyrotechnics. of astounding depth, with exciting lines of the modal “Like an Old Miller begins “Equality” with a arrangements by pianist-producer Song,” where her voice deftly sensitive piano statement, later Geoffrey Keezer and imaginative weaves with the difficult piano and joined by Hart on the melody, with performances by all involved. tenor sax improvisations. Clifford tasteful accompaniment by Holland Donatelli’s voice is exhilarat- Brown’s “Daahoud” gets a new and Harland. The other horns enter ing as it takes flight in the compat- lease on life with “Beloved,” an near the end, but only as accompa- ible company of Keezer, reed mas- imaginative reworking that has niment to Hart’s soulful, extended ter Bob Sheppard, guitarist Peter Donatelli exhibiting some very so- improvisation. “Modern Times” is a Sprague, bassist Hamilton Price and phisticated lyrical gymnastics. bouncy, mid-tempo tune that beau- omnipresent drummer Marvin Keezer’s own “Four Walls” is tifully harmonizes the horns over a “Smitty” Smith. Other noteworthy the setting for another sensitive pulsing rhythm. Eubanks and Miller contributions come from trumpeter Donatelli performance, which is en- get brief solos, but the ensemble is Carl Saunders and percussionist hanced by the cello work of the star here. Alex Acuna. Giovanni Clayton, Sprague’s nylon- At nearly 14 minutes, “Rivers The listener leaps to attention string guitar and the organ voicings Run” begins with Hart blowing like with the comparatively brief opener, of Carlos Del Rosario. Saunders Coltrane over an intense modal riff. an exuberant three-minute reading contributes some very cool muted A true melodic theme doesn’t of “My Shining Hour.” Donatelli de- trumpet on a bluesy rendition of emerge until after Holland solos, livers the lyric and a scat interlude Joni Mitchell’s “Be Cool.” The about halfway through the tune. with confidence and aplomb, as whole band delivers on the magical Eubanks, Harland, and Sipiagin take Keezer on piano, Sheppard on tenor song “Make This City Ours To- solos between accelerating en- and Sprague on guitar set the solo night.” J.J. Johnson’s classic “La-

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ment,” here entitled “This Lament,” Ogerman himself wrote six of den) My Heart Sings,” by Harold closes the recording with a mourn- the eight pieces, some of which are Rome. Her voice seems to ride the ful, yet hopeful piano-voice duet. based on themes by the likes of chord changes as they slowly rise, In a market flooded by aspir- Sibelius, De Falla, Rachmaninoff like a hopeful love. Again, Perez ing—and largely mediocre—vocal- and Massenet. Not to be totally enters late in the tune, but with ists, Donatelli easily rises to the top. compromised by the classics, Perez magical effect. With two excellent releases (her de- is joined by bassist Christian but, “In the Company of Friends, McBride, drummer Lewis Nash and was released in 2005), she is well percussionist Luis Quintero. on her way to the recognition she Quintero’s bongos introduce so richly deserves. the beautiful title track, based on a melody by Hugo Distler. Perez soon puts his unmistakable stamp on the performance with alternating block chords and single-note runs. McBride sets up “Rays and Shad- ows” with a repeated bass line, later RALPH LALAMA shifting to a walking rhythm for Energy Fields Perez to play against. “The Purple Might Quinn Productions Condor” allows the jazz group to flourish with Nash and Quintero DANILO PEREZ mixing up the Latin rhythms, A long-laboring, under-appre- Across the Crystal Sea McBride ruminating with agile, ciated great of the tenor saxophone, EmArcy Records funky bass excursions and Perez Ralph Lalama may finally get his racing up and down the keys with due as a leader with “Energy breath-taking skill. Fields.” Some critics reject any attempt Perez carefully spells out the At 57, Lalama has an exten- to marry the jazz esthetic with the melody of the romantic ballad “If I sive resume going back to the early classical tradition, ignoring the fact Forget You,” based on a 1980s—usually in the big band con- that many jazz artists have created Rachmaninoff theme and taken at text of drummer Mel Lewis, the some of their most memorable work a very slow tempo. The strings and Carnegie Hall Jazz Band and the with orchestral accompaniment, in- woodwinds slowly enter, but Perez Vanguard Jazz Orchestra—but he cluding Charlie Parker, Stan Getz, remains the center of attention in has only a handful of recordings George Shearing, Bill Evans and this gorgeously realized piece. It is under his own name, and this is his Oscar Peterson. Properly arranged the strings that soar on “The Saga first U.S. release. and conducted, the lush backdrop of Rita Joe,” as they build the mood It’s a dandy. Lalama’s tight can actually enhance the artist’s for nearly three minutes before quartet also features guitarist John contributions. Perez takes over the theme and fur- Hart, bassist Rick Petrone and So it is with Danilo Perez’s ther expands on it in harmonic drummer Joe Corsello, allowing the “Across the Crystal Sea,” a collec- variations. Ogerman’s gorgeous tenor plenty of space and plenty of tion of tunes bearing the trademark “Another Autumn” closes the set strong support in a program largely romantic treatment of arranger and with Perez front and center in a comprised of familiar standards conductor Claus Ogerman, best masterful, emotive display, with done in unfamiliar ways. known for similar projects with An- McBride contributing some lovely For example, take “Old Folks,” tonio Carlos Jobim, Wes Montgom- counterpoint. a funky Hart arrangement that is ery, Diana Krall and the above-men- Cassandra Wilson lends her miles from the predictably sentimen- tioned Getz, Evans and Peterson. haunting, wispy voice to two tracks. tal approach usually taken. Like- Granted, Ogerman’s arrangements “Lazy Afternoon” is a wonderful wise, Lalama’s arrangement of are neither ground-breaking nor showcase for her soulful, throaty “Like Someone in Love,” which complex, but they are legendary in vocal, even though Perez and com- takes its cue from the searching, ad- creating an evocative mood over pany don’t have much to offer here. which the soloist can soar. She also performs “(All of a Sud- Jazz on Disc continued on page 18

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Jazz on CD continued from page 17 along with abandon before conclud- ing suddenly with a perfectly logical venturous style and fat tone of resolution. Sonny Rollins, even as it retains its There is an appropriate, childlike conventional ballad tempo. lilt to “Somebody Come and Play.” The highly accelerated “Just in Rossum soars on the open horn, with Time” segues from a brief tenor Nichols providing lovely accompani- intro to a bass interlude and back to ment and a breezy, relaxed solo. “In- tenor, then to an inspired Hart solo terlude” is a hauntingly beautiful, and a powerful flurry of percussion KELLY ROSSUM Nichols-penned ballad that provides by Corsello. Family a perfect vehicle for a more conven- Perhaps Victor Herbert’s “In- 612 Sides tional, vibratoless playing style. dian Summer” and Alec Wilder’s Frank Loesser’s “If I Were a “Blackberry Winter” get the most Trumpeter Kelly Rossum has Bell” gets the full Rossum treatment, conventional readings simply be- firmly established his reputation since eight minutes of fascinating twists and cause they are great melodies that leaving his Lincoln, Neb., home for turns on a familiar theme. The trum- require no embellishment. Nonethe- the Twin Cities, where he has found peter employs the whole range of his less, Lalama delivers imaginative compatible bandmates—pianist Bryan instrument, ringing the changes with tenor statements on the mid-tempo Nichols, bassist Chris Bates and confidence. Nichols cleverly implies “Indian Summer” and the ballad drummer J.T. Bates—and a creative the melody while reaching for unex- reading of “Blackberry Winter.” climate conducive to his sometimes pected variations. As always, the Hart also contributes sensitive, well- quirky musical proclivities. Bates brothers provide a solid rhyth- thought-out solos on both tunes. The Berman Music Founda- mic foundation. Among the lesser-known tunes tion brought Rossum to Lincoln for a Returning to the muted horn, is the opener, a wonderful rendition club gig in November 2005 and re- Rossum evokes Miles Davis on the of Woody Shaw’s “The viewed his 2004 release, “Renova- ballad “After the Snow.” A brief re- Moontrane,” a dynamically charged tion.” prise of the titular “Family” theme composition that puts everyone Rossum draws from the modern rounds out this very satisfying record- through the paces in rapid succes- trumpet traditions of Don Cherry and ing by one of the most original trum- sion. Charlie Parker’s sly “Buzzy” the great Lester Bowie, especially on peters on the scene today. wends its way through bluesy bop the opening title track. Like Bowie, changes at a blistering tempo that he uses the muted horn to evoke the pushes soloists Hart and Lalama to very roots of jazz, while sounding thor- the outer limits and provides some oughly modern. He uses the tech- nice drum breaks for Corsello. nique again on the delightful “Mr. “United” is one of Wayne Shorter’s Blueberry.” most interesting tunes. Its dramatic, On “This is Where My Head Is lilting lines and fast shuffle tempo At,” Rossum begin with a fairly con- encourage equally dramatic solo ventional melody line on the open horn, flights by Hart, Lalama and before turning it over to Nichols for Petrone. an extended foray. Rossum returns THE STRYKER/SLAGLE BAND Lalama’s own “Nonchalant” is with a noticeable increase in intensity, The Scene an irresistible samba that has the aided and abetted by J.T. Bates, who Zoho Music saxophonist front and center, as comes on like Tony Williams backing Corsello contributes some evocative Miles. Guitarist Dave Stryker and saxo- mallet and cymbal work and The standard “Pure Imagination” phonist Steve Slagle continue their run Petrone keeps the pulse with a re- is turned every which way but loose, of inspired collaborations on the Zoho sounding bass tone. with Rossum first stating the theme Music label with “The Scene,” which Here’s hoping that Lalama con- then leading the band through a witty contains the usual demanding original tinues to nurture his solo career here deconstruction that, indeed, displays compositions—four by each of the at home and that domestic labels an abundance of imagination. Nichols’ two leaders—and flawless execution. continue to sit up and take notice. “A Word from Our Sponsors” gallops On their fourth CD as co-lead-

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ers, Stryker and Slagle are joined by Slagle on flute and Stryker on acous- lovely melody, with trumpeter Reggie old friends and bandmates Jay Ander- tic guitar. Slagle’s breathy, percussive Pittman and trombonist Andre son on bass and Victor Lewis on performance is in keeping with Kirk’s Murcheson adding harmonic depth. drums, and tenor saxophonist Joe innovative technique and seeking Smith returns to the subject of Lovano returns as a special guest on spirit. The genesis of “Strikology” is family with his composition “Baby four of the nine tracks. evident in its closer’s title. It’s an Sister,” a surging Latin tune with some Typically, Slagle’s funky opener, uptempo affair that puts the guitarist very nice piano work by Steve Lee “Skee,” has everyone playing at the firmly in the driver’s seat. and a trumpet solo by Pittman. The top of their game. Lovano seems es- We heartily recommend that you bluesy piano of Gregory Royals is a pecially intrigued by the changes, as make “The Scene.” To make it is to marvelous foil for Smith’s saxophone he merrily improvises on them. dig it. on a unique duo arrangement of Stryker’s skittering guitar solo is “Amazing Grace.” punctuated with breathtaking runs and Bobby Watson’s great tune “In imaginative chords. Anderson and Case You Missed It” is wisely cho- Lewis are the epitome of cool rhyth- sen as a vehicle for Smith’s rapid-fire mic intensity. also sax improvisations, with accom- The title track is a Stryker origi- paniment by Lee, bassist Lino C. nal with a swinging theme on which Gomez and drummer Sam Knight. On the guitarist weaves his magic. Slagle “The Joy of the Lord,” Smith and com- delivers a spiraling alto solo, followed pany express the joy inherent in the by an elegant Anderson bass solo. title, with a “Six Four Teo” teams Lovano and MELVIN SMITH But it is the closer, Horace Slagle in unison as Stryker builds the I Surrender All Silver’s classic “Peace,” that stands momentum with interesting rhythm MGS Music out in Smith’s thorough exploration of chords. The tune’s 6/4 time signature the beautiful changes and all the emo- is an excellent vehicle for Lewis’ At 34, saxophonist Melvin Smith tional and spiritual ramifications of the crackling trap work. is deserving of more recognition. The piece. On alto sax, he again pairs off Lewis again excels on the whim- Jacksonville, Fla., native is an excel- with a pianist—this time Hubert sical, but difficult “Two Sense.” Its lent composer and interpreter with a Eaves III—to create a profound mu- stop-and-start nature keeps everyone broad range of stylistic influences and sical dialogue. on his toes. “Kindred Spirits” is an- enough technique on alto, soprano and After a slight pause, it is followed other lovely Stryker composition tenor horns to make “I Surrender All,” by an extended tenor sax workout somewhat in the breezy style of Pat his second release as a leader, a very with references to “Softly, as in A Metheny, with Slagle on alto against enjoyable listening experience. Morning Sunrise” and backed only by the composer’s ringing rhythm guitar. Smith brings a warmth and a bass and drums. Herein, Smith pays Stryker’s solo soars in joyous aban- sense of spirituality to everything he homage to Coltrane, Rollins, Joe don. does, from the gospel roots of the title Henderson and other masters of the Slagle’s sad ballad “Hopewell’s track to the playful funkiness of tenor sax who are among his appar- Last” is an intricate composition bril- “Burgoyne Dr.,” named for the street ent influences. liantly pairing Lovano’s tenor with the on which he grew up, to the heart- Smith explains his very personal composer’s mournful soprano sax. It felt tribute “Mom and Pop,” a lithe musical intentions in the liner notes: is dedicated to Slagle’s late brother, and lilting waltz performed to perfec- “As one grows, a certain level Stuart. After this heart-wrenching trib- tion by Smith on tenor sax. of self-introspection must take place. ute, Stryker’s uplifting “Brighter The uptempo, uplifting “We Shall It is my pleasure to present to you, Days” is made to order, and it deliv- Not Be Moved / Firm Roots (For Dr. the listener, the fruit of my journey.” ers with swinging gusto as Lovano King)” has its obvious inspiration in With “I Surrender All,” he has makes his final appearance on the the ongoing struggle to realize Dr. fulfilled those intentions admirably, session. Martin Luther King’s dream of racial and the artistic fruits are sweet, in- Rahsaan Roland Kirk’s haunt- equality. The civil rights anthem deed. ingly beautiful “Fingers in the Wind” meshes well with “Firm Roots,” a For more details on “I Surren- is a most interesting choice, and it modern standard by pianist Cedar der All” and his first CD, 2007’s “Por- works beautifully as a duet with Walton. “Speak to My Heart” is a trait,” visit www.melvinsmithsax.com.

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Being an extremely generous man, Butch Berman loved Make check payable to Berman Music Foundation at: Berman Music Foundation Christmas, both the giving and the receiving. This photo of 719 P St., Studio C-1 Butch in a Santa hat was taken sometime in 2007. He is Lincoln, NE 68508 missed by all his friends and family during this holiday season. In his absence, we wish you all a very Merry Thanks for supporting jazz! Christmas and a happy and peaceful New Year.