Singer Kendra Shank Pays Tribute to Spirited Music of Abbey Lincoln

Home , David Piltch, Half the Perfect World, Harry Gibson, Martin Pizzarelli, Tim Garland

Photo by John Abbott John by Photo

Kendra Shank will bring the music of Abbey Lincoln to Lincoln June 5. Singer Kendra Shank pays tribute ○○○○○○○○○○○○○○○○○○○○○

to spirited music of Abbey Lincoln ○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○ April 2007 Vol. 12, Number 2 With her new release, “A Spirit Photo File Free: Abbey Lincoln Songbook,” singer Kendra Shank has taken on a daunting task—interpreting the music of one of the most idiosyn-

cratic jazz singer-songwriters in his- ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ tory. In this issue of Jazz.... She and her longtime ensemble will bring the music of Lincoln to Prez Sez...... 2 Lincoln, Neb., June 5 in the open- Abbey Lincoln John Pizzarelli review...... 6 ing concert of this year’s Jazz in Giacomo Gates/NJO review...... 7 June series. this record were created there, on In a recent interview, Shank the gigs at that club. We would just Chick Corea/Gary Burton review...... 8 talked about the recording and the try stuff and see what worked well Maria Schneider Orchestra review.....9 years it took to bring to fruition. and what didn’t work well,” she Mac McCune/NJO review...... 10 Unlike many jazz musicians liv- said, pretty much describing the cre- Tomfoolery: Generous jazz calendar...... 11 ing in New York City, Shank has a ative process inherent in jazz mu- regular gig where she and the band sic. Harry “The Hipster” Gibson...... 12 can work up new material and hone To Shank’s knowledge, no one Jazz on Disc reviews...... 14 their music to a fine edge. One Fri- else has ever attempted a full-length Discorama reviews...... 18 day a month, they appear at the 55 tribute to Lincoln’s very personal Letters to the Editor...... 19 Bar, Shank’s home away from music, although some of her tunes home for five years. Much of the have been covered by other sing- music on “A Spirit Free” evolved in ers, including Sheila Jordan, performances at the intimate Cassandra Wilson, Mark Murphy Greenwich Village night club. “A lot of the arrangements for Kendra Shank continued on page 4

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Prez Sez

Berman foundation celebrates swingin’ spring ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○

Dear Readers, Photo File

Well the buds are a buddin’ and the birdies are chirping and I guess this must be spring. I had a fun, active winter…but I know it was brutal for many around the country. You just can’t mess with Mother N. Jazz goes and flows with the seasons. Cool when needed, and hot in usually (hopefully) the right places. Jazz always works for me, and I love working for jazz. Speaking of jazz….one of the bright new talents out there, sax-man Doc Severinsen led the Tonight Show Orchestra for many years. Andrew Vogt, wrote me recently from L.A. He’s a former Lincolnite who showmanship that a lot of bands seem Brothers turned the usually groovy FAC honed his chops on cruise ships, set sail to forget these days. at Lincoln, Nebraska’s famed Zoo Bar to Colorado to gig his butt off the past Playing ability is foremost, but see- into a really cool party for me, and a few years, and just cut his first CD, ing Doc lead these young lions through whole bunch of my Pisces pals. Mega “Action Plan,” this year (You can read those great old songs, with those “To- kudos as always goes out to my old my review in the January 2007 edition night Show” Tommy Newsom arrange- friend, Joyce Latrom, and all of the of Jazz). ments was a gas. The major star in Cronettes for making for a fab birth- He found himself sitting near an- Doc’s house on this tour is L.A. jazz day to remember, and my lovely wife, other great player who’s been around saxophone legend Ernie Watts. For me, Grace, for everything else. awhile, and is still moving he stole the whole show. I love all his Another night to remember was upwards…Greg Abate. I’ve hired Greg stuff with Charlie Haden and others, a benefit for one of Lincoln’s counter- a lot throughout the foundation years, and it was a thrill to see him still plays culture leaders, who has suddenly taken and he gave a couple of private lessons so magnificently that evening. What a ill, and is making his battle with the to Andrew in the early days that made monster! dreaded C, an adventure that only a difference in his development. Maybe I turned 58 on the 10th of March, these cats should get together and cut sharing a birthday with the likes of the Photo Courtesy one another in the old tradition of sax late, great Bix Beiderbecke, and all-star players trying to blow each other off pitcher Steve Howe, both lovers of life the stage and just tearing up the joint. and its occasional excesses. When I was I caught Doc Severinsen recently growing up during the 60s, most of my at our Lied Center for Performing Arts, musical heroes didn’t make it past 27. with his extremely talented and enter- Luckily, I turned 40 at the Hazelton taining big band. I was hoping he’d have Clinic, which probably made it possible Ed Shaughnessy on drums or trumpeter for me to be telling you this tale now. Snooky Young, but no dice. Doc still For the rest of the story…watch for The Cronins, with Cronettes in looked and sounded great. He still pro- the book. attendance, play at Terrence Moore cesses that “old-school” charm and Anyway, my rockin’ Cronin benefit.

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Jazz is published online at: www.bermanmusicfoundation.org The office of The Berman Mu- The crowd enjoys the Cronins at the benefit for Terrence Moore. sic Foundation is at 719 P St., Lincoln, NE 68508. Terrence “Terry” Moore of Dirt Cheap him. Quite a guy! Records could handle with such cour- I’m excited to announce that “the Editor and Designer: age and curiosity. Visit Gates” is returning. Good buddy, great Tom Ineck www.dirtcheapreunion.com to learn of singer, entertainer and educator Contributing writerswriters: this cutting-edge record store from the Giacomo Gates is first returning with Butch Berman, Dan Demuth early ’70s and how it helped define Kansas City’s Joe Cartwright Trio (Joe and Tom Ineck Lincoln’s always hip underbelly that on piano, Gerald Spaits on bass and Ray Photographers: Dan later created our first Photo Courtesy DeMarchi on drums) community organic food which will perform at Demuth and Tom Ineck market, Open Harvest, the Brownville Concert For inclusion of any jazz or and its swell, diverse ra- Hall in Brownville, blues related events, letters to dio station, KZUM 89.3 Neb., April 6-8, and then the editor or suggested FM, to name a few. here at the Embassy articles, mail them to the The Cronins, The Suites Ballroom on office, phone (402) 476-3112, fax (402) 475-3136 or e-mail Stringtown Castanets Tuesday April 10 with [email protected]. and Charlie Burton and the Nebraska Jazz Or- the quartet version of his chestra. He’s one of the To be added to our mailing Lynch Mob brought a hippest and most tal- list, call (402) 476-3112, fax whole lot of folks from ented cats I’ve ever (402) 475-3136 or e-mail Giacomo Gates [email protected]. the old days together for come into contact with a beautiful, heartfelt evening that in my 12 years of jazz biz. The Butch Berman rocked, and help raise money to put a Be there or be square, and I’m Charitable Music small dent in his mounting medical bills. not kiddin’. You can catch us both chat- Foundation is a non-profit, tax Many fences were mended that night, ting about the gig, his career, and other exempt, 501(c)(3) private foundation recognized by the Inter- as the reality of life, our mortality and bright moments on my KZUM radio nal Revenue Service and the uncertainty of anything beyond now show, “Reboppin’ Revisited.” We’ll be Nebraska Department of Rev- crept through the hundreds of old friends on 1-3 p.m. Tuesday April 10 on 89.3 enue. It was established in the that packed the Loft at The Mill. FM, Channel 10 on local cable TV and spring of 1995 to protect and If you want to donate to this wor- via streaming at www.kzum.org. Should promote unique forms of jazz music. thy cause, the necessary info is also be a gasser. linked to the website mentioned earlier. Speaking of gas…I’m runnin’ out, Trustee: Butch Berman Terry and I go back to the 8th grade, so gotta go. Back at cha by Jazz In and his B-Day is just one day past mine, June. Consultants: Grace Sankey both in 1949. We had our ups and downs Later, Berman, Russ Dantzler, Dan Demuth, Norman Hedman, (mostly ups) over the years and always Gerald Spaits, Leslie Spaits and seemed to be supporting each other’s Wade Wright stuff once Dirt Cheap started. We both ended up working for KZUM, and were really reuniting when his illness befell Prez Sez continued on page 4

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Kendra Shank continued from page 1 Abbott John by Photo

and Freddy Cole. Shank herself included Lincoln songs on her last two releases, in 1998 and 2000. Her latest homage to Lincoln, however, took the musical challenge to a new level. “I can’t say enough about Ab- bey. She has been my idol; she’s been my friend and mentor. I just think the world of her, and she’s such a powerful musician and such a powerful individual,” Shank said. “She has her own voice and her own sound that is so strong. The challenging part was to find my own place in these songs because they Kendra Shank from the cover of “A Spirit Free: Abbey Lincoln Songbook.

are so associated with her, and I had File Photo File been listening to her versions of “Natas (Playmate),” which appears them for so long that they’re etched on the record. Others were chosen in my aural memory. At the same for their personal impact on Shank time, it was also the most natural and their relevance in a post-9/11 thing to find my own voice because world, especially “The World is Fall- that’s what you do as an artist. You ing Down.” kind of have no choice. I couldn’t “She wrote it long before 9/11, sound like Abbey Lincoln if I tried. but when 9/11 happened I was I have my own voice.” here,” Shank recalled. “It was a As with any recording that horrible experience for all of us and Shank is contemplating, the early affected me deeply. I live not far process was the same. She put from the site, and my neighborhood away the Abbey Lincoln records, was covered in ash and I was wear- got the lead sheets for the music, ing a mask to protect myself from sat down with her guitar, learned the the horrible air. On that day, the re- melodies and “let them speak to me Abbey Lincoln is an innovator in frain from that song popped into my words and music. in a personal way and see what they head. It was so poignant that when mean to me in my life, related to shift in lyrics and mood with con- I decided to do this record I remem- my life experience and how I feel trasting changes in meter, ending bered that experience and how the about the world. with a swinging samba. “What the song had affected me.” “Abbey’s songs are so full of song had to say to me naturally ex- “A Circle of Love,” with its universal truths that anyone can re- pressed itself in musical arrange- universal message of peace, has late to if you’re a human being on ments.” similar resonance for Shank, who the planet, living here in the human Co-producer Andrew Rowan is not timid about her own anti-war experience. That’s what her songs helped Shank narrow the song list position. While first playing it talk about, so you can find your own for “A Spirit Free.” But first, he sent through, the Bush war still in its place there about what you’ve lived her a list of every song that Lincoln early days, she burst into tears and through. The songs kind of dictated had ever written. knew she must include it on the new to me what the arrangement would “He brought some songs to my CD. Even though she had recorded be.” attention that I wasn’t even aware “Throw It Away” for a previous She realized, for example, that of, and gave me some recordings release, she decided it was time to “Wholly Earth” is composed in two that I didn’t yet have in my collec- do it again, as the arrangement had “movements,” so she stressed that tion,” Shank said. One of those was evolved significantly and now be-

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gan with an improvised incantation, Martin Gene by Photo a “calling in of the spirits.” “Being Me” closes the CD with a statement of individuality that is typical of Lincoln’s honesty. “It sort of sums up, for me, what the album is all about, and what Abbey’s songwriting is about and what living is about, and being an artist,” Shank said. “In delving into these songs and finding my own voice in them, it took me through a whole process of who am I… as an individual, as a human being, as a singer.” Of course, doing justice to Lincoln’s music also required a The Kendra Shank Quintet at the Jazz Standard club in New York City. group of compatible musicians, and Shank has them—longtime bandstand and play.” with the singer, Shank wound up in bandmates pianist Frank As in Shank’s previous Jazz in the studio performing on Lincoln’s Kimbrough, bassist Dean Johnson June appearance in 2004, she will swinging gospel version of the tra- and drummer Tony Moreno. For the again be accompanied by ditional folk tune “Blackberry Blos- recording, she also added Billy Kimbrough, Johnson and Moreno. soms,” for which Lincoln wrote a Drewes on reeds, Ben Monder on Shank’s professional relation- new lyric. guitar and Gary Versace on accor- ship with Abbey Lincoln began in “It was a beautiful example of dion. The core quartet has been to- 2000, when Lincoln asked her to what she had been trying to tell me, gether for eight years, a rare luxury play guitar on her recording, “Over not to limit my music to genre clas- in the jazz world. the Years.” A former folk and blue- sification,” Shank said. “I think “I’m so grateful to have an on- grass musician, Shank largely set that’s why I was drawn to her mu- going relationship with these guys, aside the instrument when she made sic. These songs just resonate with and to have played with them for the switch to jazz. me, in such a personal way, as if I so long. We have this chemistry and “She was encouraging me to could have written them myself. this connection and this intuitive in- play my guitar more,” Shank said This is roots music to me. And terplay. We don’t even need to re- of Lincoln. “She kind of chastised Abbey’s songs have such a direct hearse. We can just get up on the me.” After an informal rehearsal narrative voice in them. Folk songs are storytelling songs. Her songs tell Photo by John Abbott John by Photo a story, with a lot of imagery, and relate very much to our daily lives.” In response to Shank’s tribute CD, Lincoln offered support from the start and praised the result with a personal endorsement that is printed on the cover: “This album is a generous, wonderful gift. Thank you, Kendra.” Likewise, everyone who loves the music of Abbey Lincoln will offer their praise and thanks for a monumental task well achieved. “A Spirit Free: Abbey Lin- coln Songbook,” is reviewed on Kendra Shank, like Abbey Lincoln, is a free spirit page 14 of this newsletter.

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Pizzarelli’s charm and showmanship shine ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—Popular jazz Photo File guitarist and singer John Pizzarelli celebrated his 47th birthday with nearly 700 listeners April 6 at the Lied Center for Performing Arts. A New Jersey native a long way from his current home in New York City, Pizzarelli brought along his wife—cabaret singer Jessica Molaskey—and their daughter, in addition to bandmates Larry Fuller on “Dear Mr. Sinatra” is the latest piano, Tony Tedesco on drums and release by John Pizzarelli. brother Martin Pizzarelli on bass. They were accompanied by “It’s a Good Day,” and “Cloudburst.” some old, reliable friends—classic The most unusual choice was Paul songs from the Great American John Pizzarelli Simon’s “Hearts and Bones,” a re- Songbook by Jerome Kern, George polished gem from the early 1980s. Gershwin, Cole Porter and others. You with his swinging guitar rather than The most hilarious performance can’t go wrong with tunes like “Lady, trying to match the master’s smoky of the evening was a rendition of Be Good,” “I’ve Got You Under My baritone. The arrangements, too, vary Pizzarelli’s own youthful tribute to his Skin,” “Pick Yourself Up,” “You greatly from the Sinatra originals. home state, “I Like Jersey Best,” in Make Me Feel So Young” and “How “Under My Skin” and “Witchcraft” which he imagined various cover ver- About You?” all expertly rendered in were reduced to gentle ballads, with sions by doing impressions of Paul the first half of the show. Pizzarelli nearly whispering the lyric Simon, Bob Dylan, the Beach Boys Leaning heavily on his most re- on the latter. On the other hand, the (complete with surf guitar), Billie cent release, 2006’s “Dear Mr. guitarist sailed through “How About Holiday/Madeleine Peyroux, The Po- Sinatra,” Pizzarelli introduced many You?” at breakneck speed, while lice, Neil Young, James Taylor, Jimmy of the performances with humorous Sinatra voiced it at a casual swing Darin, Johnny Cash, Lou Rawls and, stories, like the one about songsmith tempo. yes, Lou Reed. Cy Coleman performing “Witchcraft” He related his only meeting with For the inevitable encore, the for Ol’ Blue Eyes for the first time. the Chairman of the Board with self- band launched into a bravura rendi- Then there was the one about a late- deprecating humor. It was 1993, dur- tion of Gershwin’s “I Got Rhythm.” night session between composer Dave ing a stop in Berlin on an 18-show tour After sitting out much of the evening, Mann and lyricist Bob Hilliard that opening for Sinatra. Hoping it would the rest of the band got to solo at produced “In the Wee Small Hours be the start of a great friendship, length, and they did it in style, espe- of the Morning.” Giving it his own Pizzarelli confidently shook the hand cially pianist Fuller. wistful twist, Pizzarelli played his gui- of the great man, who only looked him Already a seasoned veteran of tar solo on “Wee Small Hours” using up and down and said, “Eat some- the jazz circuit worldwide, Pizzarelli only harmonic overtones, a tricky thing! You look bad!” is a storyteller nonpareil. His dead- maneuver with great effect. Molaskey, a wonderful singer pan wit is perfect for small clubs, but Pizzarelli’s interpretations of with all the clarity and pizzas of the is somewhat strained in the larger these trademark Sinatra songs was cabaret style, joined the band in the confines of a concert hall. Nonethe- anything but slavish mimicry. Possess- second half for a set that included less, his innate showmanship and ing a thin voice of limited range, he “We’re in the Money,” “I Don’t Know charm won over the Lied Center au- pitches it high enough to blend nicely Enough About You,” “Make Believe,” dience.

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Gates struggles with NJO sound problems ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—To success- Tom by Photo Ineck fully front a fully amplified big band, a singer needs not only a powerful voice—and a lot of courage—but a good mike, a sensitive sound engineer and a monitor level that allows him to clearly hear himself in the mix. Giacomo Gates has long exhibited artistic integrity, courage and a brawny bass-baritone instrument that soars under the right conditions. But he was needlessly plagued and distracted by poor sound reproduction throughout his April 10 appearance with the Nebraska Jazz Orchestra at the Embassy Suites Giacomo Gates fronts the Nebraska Jazz Orchestra in downtown Lincoln. Of the dozen or so times this writer has heard him per- program, perhaps it would have clicked formance by the Metropolitan Area form—including many different small- better with more rehearsal. Youth Jazz Orchestra, an audition-only group settings at the 2004 and 2005 On “No, Not Much,” it became ensemble comprised of Omaha-area Topeka Jazz Festivals, at the Jim Mon- apparent that Gates could not hear him- high school students and directed by roe memorial concert last July in To- self well enough to stay on pitch when Darren Pettit. They played with verve peka, and with the Joe Cartwright Trio backed by three saxes, two trumpets, a and surprising confidence in a set of here in Lincoln last April—this was the trombone and the rhythm section. His great stylistic variety. most disappointing. intonation drifted even more with the Beginning with “The Chicken,” a In the opener, Gates rose above return of the full band on Horace Silver’s funky number by Pee Wee Ellis, they the technical challenges to belt out a “Senor Blues” and Thelonious Monk’s moved to “Count Bubba’s Revenge,” satisfying “Jeannine,” the classic Duke “Ask Me Now (How I Wish),” with which had saxophones, trombones and Pearson tune with lyrics by Oscar lyrics by Jon Hendricks. trumpets performing separate soli sec- Brown Jr. Darren Pettit added a nice Harry “Sweets” Edison’s “Cen- tions before rejoining for a punchy give- tenor sax solo. With a band reduced to terpiece,” with another Hendricks lyric, and-take. Pat Metheny’s dreamy trombones and rhythm section only, came off better, perhaps because it is a “Minuano” was beautifully executed in Gates then tackled Gershwin’s “Oh, basic blues pattern that was easier to an arrangement by Bob Curnow. The Lady Be Good,” complete with the maneuver vocally. It also featured im- grand finale was the swaggering take tricky Eddie Jefferson vocalise based pressive solos by Scott Vicroy on bari- on the Charles Mingus composition on Charlie Parker’s alto sax solo of 1947 tone sax, Bob Krueger on plunger- “Gunslinging Bird,” from the Mingus and titled “Disappointed.” muted trumpet and Pettit on trumpet. Big Band arrangement by Steve Slagle. For Miles Davis’ “Four,” Gates At various times, Gates struggled These youngsters gave it just the right was accompanied only by the rhythm with a mike that was too sibilant, too mix of brash attitude, brassy power and players and tenor saxophonist Paul hot or too muddy, a particular problem musical ability. Haar, who also served as NJO music for a vocal stylist who “uses” the mike As with most young jazz bands, director in Ed Love’s absence. He navi- so inventively. Like the professional that the Metro Orchestra was more impres- gated the Eddie “Cleanhead” Vinson he is, he valiantly fought the technical sive in its ensemble passages and a little lyric with ease, but got only tepid sup- glitches, but not always successfully. dicey in the solos, a natural weakness port from the rhythm section. The only The high point of the evening was that is overcome with the experience tune on the song list that wasn’t on the an unexpected one—a four-tune per- of age.

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Corea and Burton perform stunning duo concert ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—Pianist Photo File Chick Corea and vibraphonist Gary Burton lived up to their status as jazz elder statesmen in a stunning duo performance Feb. 14 at the Lied Center for Performing Arts. They first established their separate careers as musical iconoclasts in the vanguard of jazz-rock fusion in the late 1960s and early 1970s, but after more than 40 years in the business, they remain at the top of their game. Corea and Burton began their frequent duo collaborations some 35 years ago, a festival jam that led to the milestone recording “Crystal Si- lence.” Since then, they have released two more recordings and are planning Pianist Chick Corea (left) and vibraphonist Gary Burton have been performing another. as a duo, on and off, for some 35 years. The first half of the Valentine’s Day concert drew heavily from their sheer poetry, with melodic lines that last collaboration, the 1997 Grammy- flowed seamlessly from one musician winner “Native Sense.” Aptly, they to the other. began with “Love Castle,” filled with For their current tour, Corea shimmering arpeggios and a trade- penned a new number, “Alegria,” an- mark cohesiveness that is the natural other flamenco tune with typically product of virtuosic kindred spirits. complex changes. The duo performed The title track of “Native Sense” it flawlessly, with mathematical pre- pitted Corea’s funky keyboard rubato cision and artful ease. against Burton’s flashy, four-mallet An encore included a nice ren- counterpoint. “Duende” perfectly re- dition of “My Funny Valentine” espe- flected the Spanish term for “spirit,” cially for the occasion, Thelonious Corea and Burton collaborations a transcendent artistic statement in the Monk’s off-beat blues “Four In One,” include releases from 1979 and 1997. flamenco tradition. Proving equally from the “Native Sense” sessions, and adept at more conventional jazz forms, a spirited workout on Corea’s classic friendship and a certain unquantifiable the two blazed through “Bud Powell,” “Armando’s Rhumba.” magic. Corea’s tribute to the great bebop pia- It is no wonder that Corea and Dressed casually and chatting nist. Burton work so well together. They easily with the audience, the two good- The second half began with both have a penchant for Latin music naturedly shared the announcing Steve Swallow’s lovely “Falling forms, including flamenco, tango and chores, with Corea cracking wise like Grace,” from the afore-mentioned rhumba. Their respective instruments a stand-up comic. mid-‘70s masterpiece “Crystal Si- have a similar tonal range and are Only 600 people attended, per- lence.” Next came Corea’s “Tango equally percussive in nature. But their haps because of the frigid weather ’92,” then a return to “Crystal Si- high degree of compatibility also can and a conflicting Nebraska Jazz Or- lence” for the title track, a work of be attributed to mutual respect, long chestra concert.

April 2007 Page 9 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

Maria Schneider Orchestra lives up to reputation ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—In just 14 Korchin David by Photo composer’s sense of humor. years, the Maria Schneider Orches- Monder poured on the heavy tra has established itself as one of guitar fuzz and feedback to open the great jazz ensembles of modern “Bomb Shelter Beast,” followed by times, rivaling the ground-breaking Robinson with an aptly apocalyptic bands of Gil Evans and Oliver baritone solo. The loping, funky sec- Nelson. ond section featured Steve Wilson Schneider lived up to her con- on soprano sax and trumpeter Ingrid siderable reputation in a perfor- Jensen with Miles Davis-style reg- mance Feb. 3 at the Lied Center for ister leaps and pregnant pauses. Performing Arts. Kimbrough opened the final move- Like Evans, the 46-year-old ment, a sailing theme called “Com- composer and arranger draws from Maria Schneider ing About,” with some dreamy pi- diverse influences, including classi- ano arpeggios, setting the stage for cal, folk, Latin and other world mu- baritone sax solo added to the weird an astounding tenor sax solo by sic, and she carries it all off with a mix as the tune lumbered to a close. Donny McCaslin. For an encore, highly distinguished group of play- A Brazilian choro followed, the orchestra offered the beautiful ers. The 17-piece outfit is truly an largely voiced by Rich Perry on “Love Theme from Spartacus,” a orchestra, capable of myriad tonal tenor saxophone and Frank showcase for Rich Perry on tenor colors and outstanding solos. Kimbrough on piano. Percussionist sax. “Journey Home” began the Clarence Penn set the tone by drum- The Schneider orchestra is a evening with a flamenco flair and a ming with his hands. The perfor- refreshing alternative to the swing breezy, open melody reminiscent of mance was almost classical in the tradition, with few references to the Pat Metheny. Guitarist Ben Monder precision of the ensemble, the lush blues or to conventional big-band ar- burned with Hendixian heat through harmonies, the rich colors and the rangement. “Turk’s Café,” a tune that shifting dynamics. Schneider conducted the en- Schneider said was inspired by a Schneider’s arrangement of semble with a dancer’s grace and sleazy diner where she once “My Ideal” illustrated her sentimen- exhibited a Midwestern charm and worked in her home state of Min- tal side with a beautiful showcase warmth, with a healthy dose of fun.

nesota. Scott Robinson’s off-kilter for Greg Gisbert, alternating be- Photo by Takehiko by Photo Tokiwa

Photo by David Korchin David by Photo tween flugelhorn and trumpet. The first-half closer also featured the reeds in a unison passage on flutes and clarinet. Schneider introduced the second-half opener as a “fantasy fox trot,” the third movement of a suite from her “Concert in the Park” recording. After introducing each of her musical colleagues, Schneider described the concert finale, “Scenes from Childhood.” Consist- ing of three movements drawn from her own experiences growing up in Maria Schneider conducts. Minnesota, it also exhibited the Schneider has healthy dose of fun.

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Mac McCune leads parade of guest soloists ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—The Ne- Photo File piano and Stan Harper on tenor sax. braska Jazz Orchestra stage had a One of the highlights of the evening virtual revolving door on the evening was Bobby Timmons’ bluesy waltz of Jan. 11, as nearly 40 musicians of “This Here.” Randy Snyder tran- all ages moved onto and off of the scribed and arranged Cannonball platform at the Embassy Suites ball- Adderley’s original alto saxophone room in downtown Lincoln. solo for the entire sax section to play The occasion was the NJO’s in unison, and they handled the diffi- annual “Learning from the Master” cult changes admirably. Harvill tagged concert, in which a well-established on a suitably bluesy piano solo. soloist shares the stage with members McCune and Gollner took the of a select Young Lions All-Star Band. stage for a set of Crescent City swing, This year, the popular Lincoln trum- “The Horn” is one of several recent starting with the entire big band on peter Mac McCune was the special recordings by trumpeter Mac McCune. Roy Eldridge’s classic “Rockin’ guest. Chair,” which was capped by a won- But the fun didn’t stop there. The Castro on “Gdansk,” and trombonist derful trumpet-clarinet cadenza. Most NJO also had a chance to trade licks Karl Lyden on “It’s About Time,” on of the NJO members then departed with McCune, and a special Dixieland which McCune demonstrated the pro- to make way for the smaller combo, segment featured guests Gary Gollner fessional skill developed over many which launched into “(Back Home on clarinet, Todd Thatcher on trom- years. Again in) Indiana.” Trombonist bone and Jim Williamson on piano, in The NJO portion of the show Thatcher sat in for Dan Strom, who addition to the NJO rhythm section. kicked off with “The Crescent City was unable to travel from his home in As always, the Young Lions Stomp,” a bluesy second-line march Independence, Mo., due to a recent showed their greatest strength during featuring Bob Krueger on trumpet, Ed back injury. ensemble passages while sounding a Love on alto sax and Peter Bouffard McCune delivered a fiery solo, little less sure of themselves on solos. on guitar. self-assured and devoid of the fluffed Some of the more promising players As arranged by Eric Richards, notes that usually accompany such were trumpeter Tommy Krueger and the standard “You Made Me Love risk-taking. Williamson followed with tenor saxophonist Andrew Janak on You” was transformed into a slow a solo before the front-line horns re- Thelonious Monk’s “Well You Basie-style swing number with no- turned with that classic New Orleans Needn’t,” alto saxophonist Andrew table contributions by Tom Harvill on polyphony. “Just a Closer Walk with Thee” Musician Jokes showcased the bluesy gospel tinge with McCune and Williamson com- Buddy Rich still gets no respect bining on a cadenza that even quoted A letter, addressed “To the finally winds up at the home of Buddy Gershwin’s “Rhapsody in Blue.” world’s greatest drummer”, arrives at Rich. He takes one look at it, and says, “Bourbon Street Parade” featured a the home of Louie Bellson. He takes “well, this is obviously for me,” rips it Gene Krupa-style barrage by drum- one look at it, and says, “well, this is open, and reads “Dear Ringo....” mer Greg Ahl and a brief but inspired obviously not for me,” and forwards bass solo by Andy Hall. “When the it to Gene Krupa. Krupa takes one Them changes Saints Go Marching In” was high- look at it, and says, “well, this is obvi- How many jazz pianists does it lighted by a fine Cully Joyce tenor sax ously not for me,” and he forwards it take to change a lightbulb? solo. as well. The letter makes the rounds Screw the changes, we’ll fake it. The capacity audience gave the of famous drummers’ homes, until it NJO a raucous standing ovation.

April 2007 Page 11 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Tomfoolery

Jazz calendar an embarrassment of riches ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

The recent spate of jazz concerts in the area is an embarrassment of riches for avid fans who seldom see more than a handful of worthwhile jazz concerts in a entire year. The Lied Center for Perform- ing Arts has been exceptionally generous with its jazz offerings, thanks to executive director Charles Bethea, who booked singer-guitarist John Pizzarelli, trumpeter Doc Severinsen and His Big Band, pianist Chick Corea with vibraphonist Gary Burton, and the Maria Schneider Orchestra in the last three months alone. It has been one

of the strongest jazz seasons in the Photos File Lied’s 17 years, and we hope it’s a trend for the future. Upcoming concerts include The Nebraska Jazz Orchestra appearances by (clockwise, from upper also built a strong concert series for left) The Hot Club of San Francisco, its 2006-2007 season, with guest ap- Terell Stafford, Kendra Shank and pearances by singer Karrin Stan Kessler and the Sons of Brasil. Allyson, singer Giacomo Gates and trumpeter Terell Stafford, in sights on four fine offerings at this addition to local area favorites trum- year’s Jazz in June, the weekly se- peter Mac McCune and baritone ries of free Tuesday evening out- saxophonist Kerry Strayer. door performances in the Sheldon We’re especially looking for- Sculpture Garden on the downtown ward to the May 25 performance campus of the University of Ne- the quintet appeared with singer by Stafford, perhaps best known for braska-Lincoln. Barbara Dane at the Zoo Bar in his five years touring and recording On June 5, Kendra Shank Lincoln. They also played at Jazz with Bobby Watson’s quintet Hori- brings her veteran quartet to the in June in 2002 and as part of the zon, which featured drummer Vic- venue, where the audience is likely 2005 Topeka Jazz Festival. tor Lewis of Omaha. Stafford also to hear tunes from “A Spirit Free,” June 19 will see the return of has played with Herbie Mann, her new tribute to the music of Ab- trumpeter Stan Kessler and the Shirley Scott, and Kenny Barron, bey Lincoln. The Berman Music Sons of Brasil, which also were among many others. He has five Foundation brought the same band featured in the 2002 Jazz in June recordings as a leader, including, to Jazz in June in 2004. season. Finally, the Nebraska Jazz “Taking Chances: Live at the Da- The Hot Club of San Fran- Orchestra will return for its annual kota,” which was recorded in 2005 cisco will present its exemplary date, this time with Kansas City at the famed Minneapolis club and gypsy swing music June 12. The vocalist Angela Hagenbach. was released this March. ensemble has a relationship with the All in all, things have been very, Jazz fans also can set their BMF that goes back to 1995, when very good for local jazz fans.

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○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Colorado Correspondent

Harry “The Hipster” Gibson: Forgotten progenitor of bop? ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Dan Demuth ○○○○○○○○

Okay. Up front. This is not an es- say on bop, which is best left to profes- sionals. But it is about an individual who was there, on “The Street,” at the birth; one who associated and performed with those stellar lights generally acknowl- edged as the originators. He should at least be mentioned in any discussion on bop. Harry Gibson (real name Raab) is best remembered, if at all, as a sing- ing pianist who combined outrageous “4F Ferdinand, the Frantic Freak,” antics with his self-penned lyrics. This on the Musicraft label often overshadowed the talent flowing from his fingers onto the keyboard. Into the mix, add an outgoing fun-loving, if Photos by Dan Demuth irreverent personality, a love for the weed and perhaps other substances, and a live-for-the-moment attitude, and scribed as a self-parodied tone-poem. the portrait becomes well-brushed. On Sunday, April 12, 1944, after a Standing while playing, blond hair fly- typical late-night soiree, Harry went into ing around, kicking away the stool, oc- “Boogie in Blue,” a documentary the studio with bassist John Simmons casionally noodling the keyboard with about Harry “The Hipster” Gibson and Big Sid Catlett and cut eight sides. a foot—all were part and parcel of his Gibson says that at the session they sets, usually performed during intermis- and an enduring friendship was born. were rather ill but well medicated and sions of the headliners at major jazz While in the strictest sense not a also claims there was a single take hangouts on 52nd Street in New York bop pianist such as Al Haig or Bud for each cut. Musicraft issued this four- City. (His “shtick” may remind some Powell, a close listen to two record 78 rpm album entitled “Boogie of a certain rock ‘n’ roller, some 15 Beiderbecke compositions he performs Woogie in Blue,” adorning each disc years later, named Jerry Lee Lewis.) on a 1944 Eddie Condon Town Hall with a blue label rather than their stan- After studying at Juilliard and a Concert (available on the Jazzology la- dard red color, quite a tribute to any art- stint as a teacher, Harry got his start bel) certainly displays some unique har- ist. In addition to the three above-men- while imitating Fats Waller’s style, both monic structures. Condon introduces in his keyboard work and his vocaliz- him saying, “When I mention Juilliard ing, and playing with an otherwise all- its hard to imagine they would even get black band known as the Chocolate close to something like this.” Bars. He allowed the rumor to be His first recordings in 1944 on the spread that Fats had in fact been his Musicraft label, whose artist list in- mentor. Legend has it the jive ended cluded Dizzy Gillespie, Sarah Vaughan, one night when a large black man whom and Boyd Raeburn, among others, dis- Harry didn’t know approached the key- play such fantasy flights as “Handsome board and asked him about his appren- Harry the Hipster” and “Get Your ticeship. After naming Mr. Waller as Juices at the Deuces.” An opus he his teacher, he found out he was talking penned entitled “4F Ferdinand, the Fran- to the man. Waller opened some doors tic Freak” could perhaps best be de- “Boogie Woogie in Blue,” on Musicraft

April 2007 Page 13 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

a positive, the captive audience of the ence that he and Slim Gaillard had on main act, and as a negative the same younger fans, specifically referencing thing. A unique performance was re- lyrics that would seem amusing, but quired of a little wiry ofay in the pres- tame by today’s standards. Their ence of the mostly black jazz cats top- records were banned in some radio ping the bill. But, pull it off he did for a markets, and other stations reported number of years. calls from listeners wondering if Harry A few of the venues he gigged in- was black or white. Renowned author clude Kelly’s Stable (with Coleman Arnold Shaw once said (when refer- Hawkins), The Hickory House (with ring to Gaillard and Harry’s undeserved Joe Marsala), The Famous Door (with censorship) that neither man really had Count Basie), anything to do with bop. I would hum- The Onyx Club (with Stuff Smith), bly and respectfully disagree. “Rockin’ Rhythm,” on the Sutton label The Spotlight Club (with Pearl Bailey From the mid 1930s through the and Billy Daniels), The Three Deuces late 1940s, boogie woogie pianists could tioned titles, it included “The Hipster’s (with Billie Holiday, and be found everywhere. Blues Opus 6 7/8,” “Barrelhouse with the Art Tatum Trio) His antics had put him at Boogie,” “The Hipster’s Blues Opus 7 along with a myriad of the forefront, but nothing ½,” “Stop That Dancin’ Up There,” and others featuring Charlie lasts forever. As “The “Riot in Boogie.” Three of those were Parker, Dizzy Gillespie, Street” changed and vir- re-released on the el cheapo Sutton la- Sid Catlett, Ben Webster tually died about that bel in the mid ‘50s. In 1945 he could be and Thelonious Monk, the time, also did Harry’s found on some V-discs as well as tran- preponderance being star dim. He continued scriptions for the Armed Forces Radio black musicians. Cer- to perform and record Stations (AFRS). tainly, if a Dorsey, sporadically throughout Four more sides were issued on Goodman, Shaw or “Everybody’s Crazy But the next four decades, Musicraft in 1947, with two possibly someone of that stature Me,” on Progressive but as with many of his becoming his best known sides. “Who wandered in, they were generation, there had to Put the Benzedrine in Mrs. Murphy’s asked to sit in, perhaps as a courtesy, be some obvious bitterness as rock ‘n’ Ovaltine?” can be read as a humorous perhaps peerage respect, but Harry was roll became mainstream. Progress with riposte to the self-righteous scrutiny he there all the time. Unfortunately, he pi- the times or the phone stops ringing. was undergoing. The flip side, “I Stay geonholed himself into a restrictive cap- This, along with the aging of his Brown All Year Round (at The sule of one type of entertainment, once-attentive if not adoring public, Deuces)” he says relates to the com- which—no matter of what type— eased him into semi-obscurity. In 1991, pany he keeps at The Three Deuces. quickly becomes passé. his daughter and granddaughter co-pro- But, it was the lyrics he sang that It’s not a stretch to think Harry duced a 40-minute video of his life on so closely assimilated the wildness of enjoyed the notoriety that went along Rhapsody Films, well worth the search his performing style. If one could con- with his popularity. Press coverage at to find and aptly entitled “Boogie in vert scat gibberish into actual words, that time was predictable. He made the Blue.” In it he relates numerous tales he was the man. Slim Gaillard, Cab cover of Downbeat even as Time such as letting a blind Art Tatum drive Calloway and Louis Jordan had incor- magazine railed against the bad influ- his car, traveling alone with Billie Holi- porated jive phrases and antics into their day in the South, and what perhaps acts, but never to the degree that Gibson would be scary to some, spending a day found to be successful. Calloway was and night with Mae West. There are reported to have said, “This guy talks snippets of his frantic performances and jive even I can’t understand.” And, an interview with him shortly before he while never in the mainstream, he did took his life in March of 1991. It was a paddle in some pretty fast current. “The sad ending, but obviously his choice. Joe Street” was the home of many legend- E. Lewis was quoted as saying, “You ary jazz spots with headliners galore. only live once, but if you do it right, once Harry’s niche was in providing the in- is enough.” I think Harry was hip to termission entertainment which had as “Opera in Vout,” by Slim Gaillard that.

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Jazz on Disc

Kendra Shank pays loving homage to Abbey Lincoln ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

riff without overtly stating the melody. succeeded admirably. No fool, she is a “I Got Thunder (and It Rings)” gutsy and passionate artist worthy of has all the swaggering confidence of more recognition. the original performance on 1990’s “The World is Falling Down.” Shank shifts to a gentle waltz time for “Not to Worry.” Drewes switches to bass clarinet and Versace joins in on accordion for the haunting “Down Here Below.” KENDRA SHANK To Lincoln’s “Throw it Away,” Shank A Spirit Free: Abbey Lincoln adds her own chanted “Incantation.” Songbook Johnson is Shank’s sole accom- Challenge Records panist on “Bird Alone,” and takes a soar- ing solo that seems to mimic a bird on THE ED PALERMO BIG BAND It must first be said that any singer the wing. Appropriately set in a bouncy Take Your Clothes Off When who devotes an entire recording to the samba meter, “Wholly Earth” resounds You Dance idiosyncratic songbook of the great with the joy of living. “Natas (AKA Cuneiform Records Abbey Lincoln is either gutsy or down- Playmate)” gets a playful reading pair- right foolhardy. Lincoln brings so much ing Shank with Versace’s accordion. More than 13 years after the death of herself to her compositions and per- The gorgeous ballad “Being Me” is the of Frank Zappa at age 52, talented and formances that it is difficult to imagine final track, summing up the individual- adventurous musicians—with the req- anyone else doing them justice. ity of Lincoln and, by extension, Shank. uisite sense of humor—continue to mine Then, along came Kendra Shank. Kimbrough is a key player here, the hidden gems in his sizable songbook. With “A Spirit Free,” she establishes guiding the others as they create the Players from the seemingly disparate herself as a bold stylist capable of faith- perfect atmosphere for each tune. But realms of classical music, rock and jazz ful (and inspired) interpretations of 11 the true genius of these tunes is in their have attempted to do justice to the mas- classic Lincoln tunes, nearly all drawn lyrical power, memorable lines like “I ter. It is a tribute to the Zappa genius from Lincoln’s 1990s Verve recordings. pray my soul will find me shining in the that his complex music inspires inter- The performances are combustible, morning light,” from “Down Here Be- pretations of every stylistic stripe. free-flowing affairs fired by the very low,” or “The world is falling down, hold Last year’s “Take Your Clothes compatible crew of pianist Frank my hand,” written a decade before the off When You Dance” is saxophonist Kimbrough, reed virtuoso Billy Drewes, collapse of the World Trade Center. A Ed Palermo’s second collection of bassist Dean Johnson, drummer Tony longtime political activist and astute so- Zappa tunes in the big-band format, and Moreno, guitarist Ben Monder and cial observer, Lincoln yearns for “A it is another grand success, from the Gary Versace on accordion. Circle of Love” and a world that is spirited performances to Palermo’s Shank deftly navigates the diffi- “Wholly Earth.” comical liner notes to the cover cartoon cult chord changes, unusual time sig- Shank’s co-producer on the CD, (by Palermo’s sister-in-law) depicting natures and shifting dynamics inherent as with the two releases before it, is musicians in the buff, with instruments in these pieces. From the evocative, Andrew Rowan, a University of Ne- discreetly positioned. The first Palermo eight-minute opener, “The Music is the braska-Lincoln alumnus who was ac- homage to Zappa, released in 1997, is Magic,” the listener is aware of enter- tive in founding the Lincoln Jazz Soci- sadly no longer in print. ing an exotic musical realm, “a secret ety back in the 1970s. Palermo himself kicks things off world” where “the raging storm” is an With “A Spirit Free,” Shank has on alto sax with the swirling melody of everyday occurrence. Musically, it re- taken on a monumental task in inter- “RDNZL,” which also features solo mains “outside,” floating on a rhythmic preting Lincoln’s songs, and she has statements by trombonist Charles Gor-

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don, pianist Bob Quaranta, organist Ted first. Get it while you can. Then, grab a Peyroux’s eminently compatible Koosian and drummer Ray Marchica. dance partner and take off your clothes! bandmates include guitarist Dean The whole band joins in on the stop- Frank Zappa would want it that way. Parks, bassist David Piltch and drum- time shouts and the affair wraps up with mers Scott Amendola and Jay a trademark Count Basie ending. Bellerose, in addition to tasteful contri- The title track gets a syncopated butions by Till Bronner on trumpet, Gary Latin treatment, perfect for the circu- Foster on alto sax, and Larry Goldings lar melody line. Trombonist Joe Fiedler on celeste and Wurlitzer piano. A string and tenor saxophonist Ben Kono lend quartet is used to good effect on “Once heat with their fiery solos, and Emedin in a While” and the lovely French waltz Rivera adds percussion. “Dwarf “La Javanaise.” Nebula Processional March and Dward About eight of the 12 tunes here Nebula,” is a distinctly Zappaesque tune are ballads, making this great late-night of quizzical, dazzling changes and in- MADELEINE PEYROUX listening, although the themes tend to tense alto sax work by Cliff Lyons. Half the Perfect World be pretty downbeat, if not downright “Pound for a Brown on the Bus” Rounder Records depressing. On “I’m All Right,” Peyroux fuses rock, jazz and classical motives philosophizes: “He got drunk, he fell to create a complex rhythmic journey On first hearing Madeleine down, he threw a few of my things driven by drummer Marchina and aided Peyroux’s 1996 debut “Dreamland,” I around, but I’m all right, I’m all right, and abetted by soloists Palermo on alto heard a voice for the ages—a bit like I’ve been lonely before.” Or, how about sax, Koosian on organ and Bill Straub Billie Holiday in her peculiar phrasing this from “Once in a While”: “Once in on tenor sax. “Sleep Dirt,” from the and limited range. There was little doubt a while I’ll wake up, wondering why 1979 album of the same name, is sort that we would hear more from this na- we gave up, but once in a while, comes of like a twisted ballad, and lends itself tive of Athens, Ga. and it fades away.” well to the jazz treatment here featur- But, as with so many artists in the After listening to “Half the Per- ing Phil Chester on soprano sax. fickle recording business, Peyroux was fect World,” you may want to turn to “The Gumbo Variations,” which denied a chance to repeat her first suc- something a bit sunnier, but in your debuted on the classic 1969 album “Hot cess for eight years, until 2004’s “Care- darker moods Madeleine Peyroux may Rats” as an extended jam nearly 17 less Love.” In comparatively little time, seem like the perfect companion. minutes long, here is reduced to about we now have her third major label re- six minutes of funky bliss, with solos by lease, last year’s “Half the Perfect Dave Riekenberg on tenor sax and the World,” her second on the Rounder la- fabulous Carl Restivo on wah-wah gui- bel. She continues to blaze an eclectic tar, sounding very Zappa-inspired. trail, melding jazz, blues, folk and pop Restivo also sings the haunting first half influences in a style all her own. of “Mom and Dad/Oh No,” while most Her choice of cover material is of the second half is performed as an telling—the title track is by the weird instrumental with very jazzy alto sax by and wonderful wordsmith Leonard Palermo, before Restivo returns to sing Cohen, who also is represented by his the final lyric. Coming in at over nine “Blue Alert.” Peyroux also tapped the MARK SHERMAN minutes, this medley tour de force may sainted songbooks of Johnny Mercer Family First be the brightest gem in the jewel box. (“The Summer Wind”), Tom Waits City Hall Records Palermo’s arrangements take ad- (“(Looking for) The Heart of Saturday vantage of the entire 16-piece band, as Night”) and Charlie Chaplin (the time- “Family First” jumps with joy, the the outfit passes the ball back and forth less “Smile”). “Everybody’s Talkin’,” kind of spontaneous gaiety that comes in typical Zappa fashion. Dead serious the Fred Neil tune of alienation and from musicians of like mind who passages alternate with pure hilarity. desperate hope from the film “Midnight make their music sound effortless. I was able to order “Take Your Cowboy,” gets an aptly wistful reading Vibraphonist Mark Sherman already Clothes Off.” online, but unless Zappa with help from Sam Yahel on piano, and has proven himself a top-notch player and his music get the widespread sup- Peyroux plaintively pairs with k.d. lang and leader, with a handful of CDs port they deserve, this Palermo record- on Joni Mitchell’s classic song of re- ing may soon become as rare as his gret, “River.” Jazz on Disc continued on page 16

Page 16 Berman Music Foundation Jazz

Jazz on Disc continued from page 15 other brilliant Farnham arrangement. applied to “Stars and Stripes Forever,” “Family First” closes with “A New “The Lambs March” and “The Wash- under his name in the past decade, Blue,” Jimmy Heath’s infectious, ington Post,” these pulsing island beats including 2005’s “One Step Closer,” fresh take on the blues. The whole and the modern jazz use of electric gui- featuring sax giant Joe Lovano. A re- band swings mightily on this one. tar, keyboards, bass and drums turns view of that release appeared in the With most of the performances them into something entirely new. Yet, November 2005 BMF newsletter. lasting about five minutes, Sherman by employing many of the brass instru- Minus Lovano, Sherman has eschews superfluous soloing in favor ments of the period—saxophone, trum- gathered the same bandmates for his of tight arrangements alternating brief pet, trombone, tuba—Newell also hark- latest endeavor—trumpeter- solo statements and interesting har- ens back. The result is a joyful celebra- flugelhornist Joe Magnarelli, pianist monic passages for multiple instru- tion of familiar old tunes reborn in the Allen Farnham, bassist Dean Johnson ments. It is a formula that works to modern era. and drummer Tim Horner, with great advantage and truly makes this Newell also penned a six-part, 21- conguero Chembo Corneil added on outfit seem like a musical “family” that minute suite entitled “Hymn Pan Alley,” two tracks. Sherman penned half of plays very well together. which further explores ethnic rhythms the 10 tracks, revealing again his abil- that have been absorbed into the great ity to create play-worthy pieces that American gumbo of jazz—march, bo- never sound alike. lero, mambo, waltz and zydeco. Newell “Explorations,” a tribute to John has tied the rhythmic styles to melodic Coltrane, explores all the harmonic themes from nine different hymns writ- possibilities with a modulating pedal ten by five composers of Brooklyn’s point over a driving rhythm. It’s no Fort Greene neighborhood. It is an au- surprise to learn that “Fantasize” was dacious concept that only Newell could influenced by the spirited, melodic have pulled off, and it works beautifully. music of Pat Metheny. Its rock “Brownstone” ends with two rhythms and folk-infused melody con- JEFF NEWELL’S NEW-TRAD spirituals, the mythic “Amazing Grace” jure the popular fusion sound of the OCTET and Newell’s own “Fill the Temple.” guitarist without mimicking him. The Brownstone Any overview of the vast panorama of lilting title track brims with exuber- Blujazz Productions American music would be remiss with- ance, from the opening statement out the influence of the church. In pairing vibes and flugelhorn to the in- Jeff Newell has always had a Newell’s eight-minute arrangement of ventive solo by Farnham and the solid twisted sense of humor, which is not to “Amazing Grace,” the New-Trad Oc- support of the rhythm section. Horner say that he doesn’t take his music seri- tet again endows a well-known stan- and Corneil, both on congas, provide ously. He just approaches it from a dard with new vitality, quoting from a gentle rhythmic cushion for the bal- slightly skewed perspective. “Down By the Riverside” and featur- lad “With Hope,” which also features At times, “Brownstone” sounds ing a stunning alto sax solo, the leader’s a definitive flugelhorn solo. as if someone slipped a tab of LSD into brightest moment in the spotlight. Paquito D’Rivera’s “Wapango” John Philip Sousa’s lemonade. Truth is, Newell’s success on his latest is a perfect vehicle for the band’s vir- this music is well grounded in Newell’s project was made possible with the help tuosity and compatibility. They fly knowledge of post-Civil War history, de- of an ensemble of wonderful musicians through the rapid, difficult changes mographics, architecture and, of course, of like mind. On the first nine tracks with aplomb, generating considerable music past and present. As he writes in and the final track, they are John Bailey, heat and excitement in this Afro-Cu- the liner notes of this attractively pack- trumpet; J. Walter Hawkes, trombone; ban tour de force. “Lazy Autumn,” a aged CD, “As our nation struggled to Marcus Rojas, tuba; Dave Phelps, gui- Sherman tune arranged by Farnham, pull itself together and continued to ex- tar; Tricia Woods, keyboards; Tom has an appropriately loping, bluesy pand westward, waves of immigrants Hubbard, bass; and Brian Woodruff, mood, and “Symmetrical” reflects its flowed into the cities, bringing new cul- drums. “Amazing Grace” features title in a swirling cycle of changes. tural influences.” Orbert Davis, trumpet; Ryan Shultz, Joe Henderson’s “Punjab” and So, the three Sousa marches that bass trumpet; Dan Anderson, tuba; John the ballad standard “We’ll Be To- open the recording overtly draw from McLean, guitar; Karl Montzka, key- gether Again” get new, revelatory in- these ethnic influences, especially from boards; Tim Fox, bass; and Rick Vitek, terpretations, especially the latter, an- the rhythms of the Caribbean. When drums. The gospel soul of “Fill the

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Temple” is expressed vocally by Karl classic sound of a brass chorale. over the piano chair in Hedman’s band, Dixon and Janis Russel. Highlights include “Speaking in Tropique, in the late ‘90s, and has been Wooden Tongues” and the rhythmic making musical advances ever since. tour de force “Footloose and Fancy Tsiganov’s latest advance is “Al- Free,” which features bravura solos by ways Going West,” a forward-looking Garland on tenor sax, Eubanks on trom- session combining bop and Latin influ- bone, Hey on piano and Bruford on ences with tasteful execution. “An- drums. From the band’s early years thony,” dedicated to legendary drum- come the jaunty opener “Libreville,” the mer Tony Williams, leaps from the start- moody “Up North” and the gorgeous ing gate with fiery bop insistence, while ballad “It Needn’t End in Tears,” writ- “Another Rainy Day” reclines in a ten by former bandmate Iain Ballamy. tempo suitable for that titular rainy day. BILL BRUFORD AND TIM Of more recent vintage are Garland’s “Roller Coaster” rises and falls GARLAND Latin-tinged “Baja del Sol” and with precipitous extremes, guided by the Earthworks Underground Bruford’s 13-minute extravaganza that steady drumming of Gene Jackson. The Orchestra closes the recording, “The Wooden Man gorgeous “Waltz for Olena” features Summerfold Records Sings, and the Stone Woman Dances.” some lovely bass work by Boris Koziov. In its maiden voyage, the Alex Sipiagin’s virtuosic flights on trum- Since its inception in 1987, Bill Earthworks Underground Orchestra pet and flugelhorn are elements essen- Bruford’s Earthworks ensemble has retains the distinctive edge and sound tial to the record’s varying moods, in- consisted of a tight-knit quartet driven of its original British quartet, a tribute to cluding the title track’s relaxed Latin by its famous drummer, a prog-rock Garland’s arrangements and the play- groove, where the flugelhorn soars. alumnus of Yes and King Crimson. But ing skills of the overwhelmingly Ameri- Tsiganov pays homage to the late, for its ninth release, Bruford and saxo- can musicians. great pianist Kenny Kirkland with the phonist Tim Garland expanded the out- A major fan of Earthworks since searching, mid-tempo bopper “Say fit to nine pieces, dubbing it the its first LP release, I highly anticipated Where You’ve Gone,” on which Earthworks Underground Orchestra, this recording and made plans to travel Sipiagin again plays a pivotal role. It is based on Garland’s London-based Dean to NYC for the sessions at the Iridium. the leader, however, who drives the Street Underground Orchestra. Weather prevented me from flying, but piece with his flashy keyboard tech- The big-band debut, recorded live this 70-minute document is the next best nique. “Gone From My Mind” is the at The Iridium Jazz Club in New York thing to being there. Here’s hoping that closing ballad, with Tsiganov and City in December 2004, was released Earthworks continues to develop its Sipiagin stating the melody in tandem. last year. Along with co-leaders Bruford trail-blazing sound for another 20 years. Perhaps most striking is and Garland (who plays tenor and so- Tsiganov’s generosity with his musical prano saxes, flute and bass clarinet), the colleagues. He plays with admirable band also includes Jon Owens and Alex restraint and subtlety, while giving the Sipiagin on trumpets, Rock Ciccarone others plenty of time and space to ex- on trombone, Chris Karlic on baritone press their own interpretations of his sax and flute, Steve Wilson on alto and compositions. Jackson’s drums are es- soprano saxes and flute, Henry Hey on pecially prominent. piano, and Mike Pope on electric and Of the nine tracks, all are written acoustic basses. Trombonist Robin and arranged by Tsiganov, except the Eubanks sits in on two tracks. memorable Russian folk melody “Dark Although the material is largely a MISHA TSIGANOV Eyes.” A three-minute percussion bar- familiar sampling from Earthworks’ rep- Always Moving West rage by Samuel Torres introduces the ertoire, these eight tunes have been Misha Tsiganov Records full band version of “Dark Eyes,” a given new heft with Garland’s arrange- brooding arrangement that finally re- ments for nonet, and the energetic per- In many ways, conguero and leases into a wonderful keyboard ex- formances are exhilarating. With seven bandleader par excellence Norman ploration by Tsiganov, with powerful horns and a rhythm section, the Hedman gave pianist Misha Tsiganov support by Jackson on the drum kit. This Earthworks Underground Orchestra the opportunity to realize a dream of is not his father’s “Ochi Chiornie.” combines jazz fusion punch with the playing jazz in America. Tsiganov took

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Trio’s “Boneyard” is a bases-loaded homer ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○

weekend away from opening day yes, baseball and jazz. Credit this tal- (sorry, Cubbie fans, but I’ve been a ented threesome with extra base hits SF Giants devotee since the mid throughout. Cheer on your teams of 1980s) and listening to a marvelous choice, and rah, rah, rah for this spe- new CD called “Boneyard,” which cial, all-star team of Jim McNeely, features a great McNeely tune called Kelly Sill and Joel Spencer. “Ernie Banks.” Boneyard is a creek “Boneyard” is, without a doubt, a that runs through Champaign, Ill., bases-loaded homer. Play jazz, play which spawned a jazz scene that has ball. JIM McNEELY-KELLY SILL- thrived since the ‘50s. JOEL SPENCER Jim jumped in during the 1970s, Boneyard and around that time met up with a Origin Records now-legendary rhythm section con- sisting of Kelly Sill on bass and drum- I was an only child born in Peo- mer Joel Spencer. These cats don’t ria, Ill., just a couple of stones’ throw play together on a regular basis, but to Chicago, before we moved to Lin- after 35 years of gigging, their foun- coln when I was one year old. My dation is rock solid, and is truly one dad worked for my mom’s family, of the best jazz trios in the biz when selling jewelry and buying clothes for engaged at a gig or a superb record- ED NEUMEISTER QUARTET their store. He’d go to the market in ing session like this one. Reflection New York semi-annually and fly to My wife, Grace, and I honey- ArtistShareOA2 Records meet my mother and me in Chicago mooned in the Windy City five years for our annual summer vacation. She ago and caught, and met, Kelly and Jazz is created from many en- and I would take the train to rendez- Joel at a jazz steakhouse in Evanston, tities—heartfelt and soulful, emo- vous there. When I was 10 and very a suburb of Chicago, backing another tionally charged, cerebrally intense, much into baseball, they took me to pianist. They were tight and terrific, scholarly, and if you’re so see the White Sox and the Cubs back- as expected. I got to enjoy Jim’s clas- guided…spiritually inspired. to-back one weekend. I was thrilled sic chops when he was performing I’ve never met Ed Neumeister, most by seeing two of the best short- at a jazz festival in Kansas. When Ori- although we share many friends in stops in the big leagues over those gin Records, one of my fave jazz la- the jazz community. Upon the first two days. Comiskey Park held Luis bels out there, sent me this CD, I sit-down listening to his recent ex- Aparacio and Wrigley Field was couldn’t wait to put it on and hear pression of brilliance—“Reflec- home to Ernie Banks. these monsters blow. “Boneyard” is tion”—I was immediately drawn to I also got to go to a great club a four-star, sum-of-the-parts creation its beauty, sadness, charm…yet called Mr. Kelly’s that year. I heard that not only should make Chi-town ever so a thinking man’s jazz of comic Jackie Mason one night and proud of its players, but jazz itself. This much substance. On this release, got my first taste of big-city jazz hear- is really one nice piece of work. recorded in Vienna in 2006, trom- ing Erroll Garner the next. Wow, Kurt Weill’s “Speak Low” kicks bone master Neumeister truly paints baseball and jazz…I was hooked for off the album with a bang. Nine killer aural visions of deep feelings with life. tracks featuring the works of Diz, his gifts and exquisite collaborations Move ahead nearly half a cen- Brubeck and Wayne Shorter all make with his astute band mates, who tury. I’m sitting here reviewing an- it big time, as well as compositions of share like minds and compositions. other wonderful piano player from Jim and Kelly—of course, “Ernie Let me introduce you to this ki- Chicago named Jim McNeely just a Banks” getting me off the most. Ah netic ensemble of fine musicians—

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Fritz Pauer at the piano, Drew place that touches you inside. ply enchanting. I’ve never heard a Gress on the bass and John It has some of the best produc- trombone sing, cry, and wail in the Hollenbeck on drums join trombon- tion work I’ve enjoyed in a long manner that Neumeister has mas- ist Neumeister to take you on an time, especially the gorgeous, rich tered. hour-plus excursion that will capture bass sound Drew Gress lays down. This CD is a work of art that all of your senses. Reflection, in- And, how wonderfully it was re- jazz itself can be very proud of. It’s deed. This is beautiful, heady stuff, corded—the drums, too. definitely in my top 10 list for 2006- crafted in a variety of key changes, Hollenbeck’s amazing, and the con- 7. Reflect on this review, then pick textures and wondrous hues that stant, clever interplay throughout, up “Reflection” through ArtistShare gently transport you to a magical between the horn and piano, is sim- Records today.

Letters to the Editor Friends and readers offer salutations

More praise for Berman sup- BMF friend relates story about some of the rest of us are talking port of Russ Long CD project meeting another BMF friend about you! Be good…

I have become aware of you I am in L.A. this week and K. Q. Allen through Gerald Spaits. Russ Long went to the jazz club Charlie O’s to Lincoln, Nebraska has been my friend since he was in check out the Plas Johnson Quar- high school and we were good tet. Who was sitting next to me but ------friends. Thank you for doing so Greg Abate. It was great to talk much to help him and Joan and jazz. with him and, of course, we talked Saxophonist Andrew Vogt is in about the lesson I got from him at good company JoAnn D’Anna Greer your place almost 10 years ago Kansas City, Mo. now. Crazy. L.A. is great, but the Thanks for sending the hard traffic and smog is insane. I am copy of your recent newsletter. It’s Editor’s Note: For the Berman having some more luck with my CD very cool to be reviewed near Music Foundation’s full coverage of and am selling a bunch in Japan right greats like Sonny Rollins and Eddie the Russ Long CD release party and now. Take care. Daniels. I would love to put the re- a review of the CD, “Time to Go: view on my website in the media The Music of Russ Long,” see the Andrew Vogt section, with your approval, of January 2007 issue of Jazz. Colorado course. I am very saddened to see Mike Brecker pass on at such a ------young age. He has been studied and transcribed like Bird was. Millions Norman Hedman’s agent sends BMF newsletter keeps an old of sax players, including myself, thanks for BMF newsletter friend connected have copied his licks.

Thanks guys–fantastic! I’ve I love getting your newsletter. Andrew Vogt saved a copy and will read during Keeps me just a little connected to Colorado my plane ride on Thursday. We’re you and I miss seeing you. It also trying to nail down an endorsement helps to expand my “cultural views” Editor’s Note: To read a review or two for Norman in L.A. at the from behind my doggy little desk of Andrew Vogt’s CD “Action NAMM show. All the best. here! (We are SUCH social butter- Plan,” see the January 2007 edition flies, you know!) I do truly hope life of Jazz. The next issue of the news- Dawn K. DeBlaze continues to be good to you and that letter will feature an interview with St. Louis, Mo. you are happy, happy, happy. When Vogt and bring readers up to date deblazeandassociates your nose is itching it’s probably on what the former Lincoln resident because Cindy, Maria, Suzanne and is up to these days.

Page 20 Berman Music Foundation Jazz

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How can you help the foundation? Cronins help out at Moore benefit

Courtesy Photo Courtesy The Berman Music Foundation is a non-profit, tax exempt, 501(c)(3) private foundation, and your tax deductible donation is needed to help offset the costs of this newsletter and its pro- grams. ____$ 10 ____$ 25 ____$ 50 ____$100 ____$250 ____Other Name______Address______City______State______Zip______Phone______Fax ______E-mail______The Cronin Brothers band played to an enthusiastic crowd at a benefit for ailing friend and lengendary Lincoln business Make check payable to Berman Music Foundation at: owner Terrence Moore. The Cronins are (from left) Butch Berman Music Foundation Berman, guitar, keyboards and vocals; Don Holmquist, drums 719 P St., Studio G and vocals; Craig Kingery, bass and vocals; and Bill Lohrberg, Lincoln, NE 68508 guitar and vocals. Thanks for supporting jazz!