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Home , Allen Eager, Al and Zoot, Al Cohn, Al Levitt, Al Porcino, Art Mardigan

The NOTE Memorial Collection at East Stroudsburg University of Pennsylvania • Spring / Summer 2014

MED FLORY • ZOOT FEST • ’S EXPANSIONS • JOE TEMPERLEY In This Issue... The NOTE The Note contains some content that may be considered offensive. Authors’ past recollections reflect attitudes of the times and remain uncensored. Vol. 24 - No. 1 - Issue 61 2 A New Beginning Spring / Summer 2014 by Matt Vashlishan 4 Phil In The Gap by The NOTE is published two times per year 7 An Interview with by the Al Cohn Memorial Jazz Collection, by Bob Bush East Stroudsburg University of Pennsylvania, as part of its educational outreach program. 14 Remembering by Gordon Jack Editor: 16 and Me: An Odyssey of Friendship Matt Vashlishan, D.M.A. by Design/Layout: 20 Zoot Fest 2013 Photo Collage Charles de Bourbon at BGAstudios.com by Garth Woods ESU Office of University Relations 22 Near Dawn: Dave Liebman’s Expansions Quintet ______by Dave Liebman, Matt Vashlishan, and Pathorn Srikaranonda Al Cohn Memorial Jazz Collection 25 An Interview with Saxophonist Joe Temperley Kemp Library by Jay Rattman East Stroudsburg University 32 Straight Talk: Understanding the Common Qualities 200 Prospect St. that Artists Possess East Stroudsburg, PA 18301-2999 By David Liebman [email protected] 34 Readers, please take NOTE (570) 422-3828 Contributors & Acknowledgments www.esu.edu/alcohncollection East Stroudsburg University President Marcia G. Welsh, Ph.D. From the Collection . . . Dean of the Library and University Collections: Edward Owusu-Ansah, Ph.D.

The mission of the Al Cohn Memorial Jazz Collec- Cover Photo (front): at the tion is to stimulate, enrich, and support research, 2013 Zoot Fest, by Garth Woods teaching, learning, and appreciation of all forms of jazz. The ACMJC is a distinctive archive built upon a unique and symbiotic relationship between the Pocono Mountains jazz community and East Stroudsburg University. With the support of a world-wide network of jazz advocates, the ACMJC seeks to promote the local Centerfold Photo: From left: Adam and global history of jazz by making its resources available and useful to students, researchers, Niewood, Evan Gregor, Lew Tabakin, educators, musicians, historians, journalists and jazz , and Jay Rattman, enthusiasts of all kinds, and to preserve its holdings by Garth Woods for future generations. © 2014 Al Cohn Memorial Jazz Collection / East Stroudsburg University ______Notice of non-discrimination: East Stroudsburg University of Pennsylvania does not discrimi- nate on the basis of race, color, national origin, religion, sex, disability, age, sexual orientation, Cover Photo (back): , gender identity or veteran’s status in its programs by Herb Snitzer, donated. and activities in accordance with applicable fed- eral and state laws and regulations. The following person has been designated to handle inquiries regarding this policy: Director of Diversity/Ombud- sperson, 200 Prospect Street, 115 Reibman Build- ing, East Stroudsburg, PA 18301, 570-422-3656. 2 The NOTE • Spring / Summer 2014 A Note from the Collection Coordinator

A New Beginning

educate people about the amazing materials, playing concerts, etc.). I re- resource available here at the Univer- member meeting Dave Liebman when

Fran Kaufman sity. As I mentioned, I knew about I was about 15 years old, and the By Dr. Matt Vashlishan the Collection for years and visited it fact that young people get that kind at least once a year when I returned of influence at such a crucial age in to the area to teach at COTA Camp their development is something that would like to say my first hello to The NOTE Jazz, so I had a “surface” under- doesn’t happen in almost any other the loyal subscribers of ; standing of what was available. I town in the country. The product of I followers of the Al Cohn Memorial now find myself digging deeper to this musical “perfect storm” is some- Collection and the various activities understand the scope of the Collec- thing that should be documented and associated with it and East Strouds- tion and am amazed at the amount of shared with the world. burg University. As some of you may audio recordings, books, oral history, Many students had experiences know, long time Collection Coordina- photographs, handwritten as well as tor Bob Bush left his position at the like I did: Bobby Avey, Jay Ratt- digitally engraved manuscript, and man, Evan Gregor, Dave Lantz, most University this past year. After meet- countless other features that make up ing with the East Stroudsburg Uni- recently Patrick McGee, and the list this collection. Furthermore, it goes goes on. Many, if not all, of these versity administration, I gladly took far beyond a simple “jazz archive” or on the task of keeping the Collection younger people have gone on to create a dedication to , although a career for themselves in music, and going as well as communicating with it does serve those purposes well. all of you through this publication. they are playing at a VERY high level. The Collection represents some of It is not by coincidence that they grew They say big shoes are hard to fill, the best music in history as well as up under such giving tutelage from and Bob’s are enormous! Since I grew a representation of the rich musical so many masters of the art, who were up in the Poconos of Pennsylvania culture created in the Pocono Moun- always there to encourage them and and play the , it was easy tains. give them the tools necessary to do to find out about Bob and the Col- Part of my mission through ESU whatever they wanted with the music. lection at ESU. Over the years I have and The NOTE is to ensure that the It is because of the people repre- had a lot of contact with Bob through younger generation of the Poconos sented by the Collection and the mere various Library Alive, Scholastic becomes represented just as well as fact the Collection exists that creates Swing, Celebration of the Arts, and the veterans in an effort to keep the these opportunities in this area. Zoot Fest concerts that I have been a music moving forward and to keep part of. His work and reputation are Even in the short time I have things fresh. Many young people grew first rate, and he put his entire life been involved with the Collection, I up in this area and were incredibly into the Collection. I am happy to be have met wonderful people and am fortunate to be in regular contact following such a great example and working on many interesting projects. with amazing musicians like Phil plan to do my best to keep the Col- I am excited for what is to come and I Woods, Dave Liebman, , lection alive as well as introduce my feel that music at ESU as well as the , and many others, all own perspective whenever possible. Collection both have a bright future, who are involved with the Collection so watch your mailbox and inbox for One of my main goals of course in some way (either by writing for information. Until then, please enjoy is to keep the flame going and to The NOTE , donating their time and/or this issue of The NOTE! Spring / Summer 2014 • The NOTE U3 Phil In the Gap

So Where are the Pork Chops? David Coulter By Phil Woods

o here we are - jazz folks under played with. He did it all with aplomb What a winter of discontent! I the editorship of our new custo- grace, and humor – he was a funny haven’t been out since Christmas. It S dian of the Al Cohn Memorial cat. Here is his phone voicemail mes- was so cold I could only breathe out, Jazz Collection, Dr. Matt Vashlishan. sage: but I did have a moment’s respite I have known Matt since he was a when the Quintet, Jill and I did a gig young lion and he studied with me “Hey! How are you? You’re not in Santiago, Chile for the Interna- for a while. He is a great sax man, going to believe this but I was just tional Jazz Festival where it was 90 musician and a good guy who has thinking of you. You must be cyclic. It’s degrees. I was tempted to transfer my a doctorate from the University of so nice to have sensitive friends. If you Union card and take up residence, but Miami. I think Al Cohn would be have anything to make my turn I already belong to Locals #577 and pleased with ESU’s new president’s green tell me about it. I want all the #802. sordid details. However if your call re- choice of Matt to take up the burden The International Jazz Festival of former custodian Bob Bush who lates to my doing a benefit for one of the so-called non-profit organizations of of Santiago has been around for a raised the jazz bar very high during few years. The early years were more his tenure. I am confident that Matt my performance with one of the trendy necrophilia ensembles I suggest you call ‘smooth’ jazz than the real thing. will continue to maintain Bob’s laud- People were disappointed until new able high standards. my manager at: 1-800-182 oh I ate one or at 281 I heard you ate one too. blood took charge. Roberto Bara- * * * The jazz world lost a giant and And to ensure a prompt response please hona and an old friend, Pepe Hosias- a dear friend. died on leave your phone number and a short son, took the reins and brought the October 30, 2013, at the ripe old age message, your sexual preference, your Festival up to very high standards. of 91. He was born January 4, 1922, credit card number and your mother’s I first met Pepe in 1956 when the in Kansas City, and in 1953, he joined maiden name. Thanks for the call, plane carrying the ’s band playing flute and --ahh ahh -- wait for the beep (Beep!) stopped to refuel in San- tenor sax. He left Basie’s band in Now you talk!” tiago on our way to Buenos Aires. 1964, and was named an NEA Jazz Pepe always knows when jazz is in Master in 2007. the air or on the ground – how he They don’t make ‘em like Frank knew we were refueling in his town I met Frank in 1956 on the Bird- Wess any more. I will miss him very is amazing. Refueling is not usually land All Star’s tour and we became much. I loved him very much and life on the Arrivals/Departures board. good friends over the years. When I is a little darker with his absence. But Our friendship was further enhanced was diagnosed with emphysema in he’s in good hands I am sure. when the Quintet did a USIA (US the 70s Frank called and gave me a Word has also just reached us Information Agency) Tour in South recipe of wheat grass and assorted that Iola Brubeck, soul mate of Dave, America and Santiago was one of our herbal cures. He named me Wheezy has died at the age of 90. A great lady stops. Pepe and the local and I always called him Sneezy. We has joined her husband. Both will be were most kind and solicitous. I did did a lot of gigs together and he was missed. not know his partner, Mr. Roberto the most perfect musician I ever * * * Barahona, but he told me that he 4 The NOTE • Spring / Summer 2014 Donated by Phil Woods. Phil Woods with . came to my house in New Hope, Pa., the captain was in the doorway. I further research detected a flaw. The in the 60s. My memory is not clear on told him to consider a Boeing Triple lift was on the second floor and only the details but he and Pepe know the 7 next time. He laughed. Nobody is serviced the upper levels. It did not jazz scene and working for them (and laughing today! start at the beginning, the first floor, being warm) was a delight. One of The Malyasian Flight 370 has and therefore only aided the work- the performers was , made the flying public extremely ers on upper levels, not the workers a beautiful, young tenor saxophonist nervous. I sure am! But CNN is on 24 on the first level, let old jazz who won the 2013 hours with the same story that has no folks who might need the toilets. Yes, Jazz Competition. We hung out at a answer as of this writing and it has the facilities are on the second floor! party at Roberto’s home and had a been more than 10 days. There are What a perfect testimony to the intel- great hang. She is the first woman other stories that should be addressed ligence (or lack of) of club to win this prestigious prize and the but CNN has a pit-bull grip on this owners. first Chilean. In fact the she was the mono event. A couple of months later first non-American winner - a coup * * * Back in 2002 I did a world tour called me and wanted me as a guest for Santiago. And she can play! Not for his gig there to celebrate his 83rd just a pretty face like me. with celebrating his 76th birthday. Sadly he died before our last birthday. And then he died. The club We flew down on LAN on their gig at the Blue Note in New York. The again called to say they would not new plane, a Boeing 787. I was look- club called me and said because of his need me because they were going to ing forward to this state-of-the art demise they would not need me for honor him with a and aircraft (I am an aviation buff). My the week that Ray contracted me for. cancelled all the cats that Jim had first flight with Dizzy in ’56 was on Instead, they were just going to have already hired. Déjà vu all over again! a Lockheed Constellation, the first a jam session and asked if I could play So I have decided no more jazz clubs plane to have reverse pitch (useful on Thursday night only for $200. I in New York until they inaugurate the for short runway use). The flight to told them Ray would not appreciate pension plan that Local 802 has been Chile was 10 hours and although this treatment of his alto man and to championing for years. If I die I want First Class had flatbed design, the stick Thursday night “where the sun to have a tribute and then cancel food was so-so and the portions don’t shine.” For years I boycotted everyone the day before the gig! extremely small, like all flights these this club. But being a forgiving soul I I have decided I cannot in good days. The return was at 11 p.m., and reneged and did a gig there last year conscience work in NY jazz clubs we left three hours later. Guess what for two nights with my quintet - (two until they initiate the paltry sum the problem was? The software, of nights before , who had three Local 802 is asking them to put into course! The computer couldn’t flush nights! Never trust a jazz club that a pension plan for jazz musicians. If the toilets. People in orange vests hires Kenny G). we had one when I started I would be scurried to and fro and eventually When I got to the gig I noticed getting more than the $322 a month re-booted it. My bladder is not new I now get. The Union helped the and they had to transport me to the they now had an elevator. I would be spared the long flight of stairs to the clubs get a tax repealed and the clubs men’s room several times, which was agreed to contributing to the pension miles away up many ramps. When dressing room! Stairs are the enemy to victims of emphysema. However, fund. Then they reneged! Nice guys they brought me back to the plane huh? Please consider this when you Spring / Summer 2014 • The NOTE 5 get closer to the head of the line. shirt and tie ensemble, a glaze on his professional debut on the with skates and a hat right out of the God- Dutch Campbell. Ben played some * * * father. He was sharp and cool! My stride piano that always knocked me I am currently reading Terry man! I got his address and showed out. He was a piano player before Teachout’s book, “The Life of Duke up at the appointed noon hour. Ben he was a tenor man and Ole Dude Ellington.” Terry is the drama critic was still in his pajamas but greeted Albert showed him for the Wall Street Journal and is oc- me heartily. We had, some coffee how to finger the sax when they met casionally a bit snarly but his histori- (this was to be my most substantial in Texas before Vaseline! He did all of cal detail is on the money. I broke out meal that day), chatted, and listened the territory bands and came to New all my Ellington CDs including the to Duke. Who else? When you were York City with the great Benny Moten Mosaic set from 1932-40. Listening with Ben you listened to Duke! He band. He worked with Benny Carter once again to the 1940-42 edition of said he was going to order those pork and in 1933-34. the band with , Ben chops, real thick ones! Did I want He later went with Willie Bryant, Webster and was any beer to go with them succulent then . He is best known blissful. Always was, always will be. beauties that Ben was going to shake for his long intermittent association This period led to the musical revolu- up right in front of my eyes? I said with from 1939-43. tion of Bird, Monk and Dizzy’s and sure, a couple of beers would go darn In the 40s, Ben was the unofficial puts their contribution in perspec- good with those porcine delights we sheriff on . One night tive – so logical. Jimmy Blanton’s bass were soon to enjoy, of this I had no in 1946 I saw him personally eject virtuosity is especially important; it doubt! Well, the man delivered the three drunken sailors from the Three freed up the rhythm sections for all pork chops along with a case of good, Deuces who had made the mistake of time. Sadly, he died of tuberculosis Dutch Amstel beer and we were off. messing with the cute club photogra- two years later. Billy Strayhorn’s writ- I shall not bore you with all of the pher. Ben threw them into the path ing influenced all arranger/composers grisly details of this marathon day. of an oncoming cab. That is where from to Jim McNeely. Ben So the story goes. Around midnight the nickname “The Brute” was put Webster (Jimmy Blanton called him Ben collapsed on the rug in the living on him. He was also known by the ‘Frog’ and the cats called him ‘The room, still in his robe - totally messed sobriquet “Frog,” but I never heard Brute’) was a revolution unto himself up! And so was I! I bent over to kiss anyone but Harry Sweets Edison call but with the band it was awesome – a him goodnight and as I got up after him that. Ben was in in word I hate but it fits. giving him a harmless peck on his the 60s but lack of work led him to I knew Ben well. When in wizened old cheek, he came to and Europe where he worked more regu- Amsterdam I would make it a point cold-cocked me with a vicious right to larly in clubs and concerts around the to call and have dinner the jaw, calling me a fairy! (The fash- continent. If you want to know more or at least a visit. He came to see ionable f-word of the era). I assumed about this great artist I would recom- me doing a single in the Paradiso. that the pork chops were out of the mend the video called The Brute and Before the gig I scouted up a place question and took my leave. the Beautiful. This is John Jeremy’s to smoke some cannabis. There I A year later I was working at the very compelling portrait of one of the was fresh from the States, paranoia Montmartre in . Ben had legends of jazz. intact, sneaking around the bowels of left Holland and taken up residence Ben could be very good or very the building to do a bowl. Imagine in . He came to opening bad, but all of his wrongdoing was my surprise when I hit the stage and night sober as a judge. I asked him nothing compared to the incredible looked out at the spaced crowd. They if he had his horn. He said he just way he could play a ballad; how he were getting high on every imaginable wanted to listen and was the model finds that one meaningful note on a substance. There were stands set up of decorum. Same thing the next fast tempo that you never heard be- in the lobby where one could pur- night! I asked him if he had his horn, fore! When I want to hear a song and chase every kind of high! This was he said he would just listen. A couple be touched, I listen to Ben Webster. off‑limits to the authorities and was of nights later, here comes Ben and He’ll do it every time! Ben died fol- Holland’s way of isolating the action he is tore up! I could hear him as he lowing a two-week hospitalization in and keeping a loose control over such crashed through the ringside tables Amsterdam on September 20, 1973. activity. Very civilized, the Dutch. with his horn. NOW he brings his He was a gentle giant and I shall al- Each morning the government radio horn! He put it together somehow, ways love and treasure his friendship station quotes soft drug prices and climbed on the bandstand with con- and his music. warns the kids about any bad stuff siderable difficulty and proceeded to that might be in town. fall ass-over-tea-kettle right into the “Works of art are of an infinite lone- We always had dinner together drums! He never did sit in. But we liness and nothing can reach them so little during those Euro years – 1968-1973 did have a lovely dinner the following as criticism.” – either in Holland or Copenhagen. night. -Tom Courtenay to Maggie Smith He was sober and dressed to the Ben was born in Kansas City, in the film “Quartet”. nines in a graceful gray Worsted dou- Mo., February 27, 1909, and studied ble-breasted suit with a thoughtful and the piano. He made his U 6 The NOTE • Spring / Summer 2014 From The ACMJC Oral History Project

Interview with Med Flory Part 1 of 2 Charles Perry Hebard

By Bob Bush et me say that for the record today is Editor’s Note: Thursday, August the 12th, 2010. I’m n March of 2014, the world lost a great musician. Med Flory was L Bob Bush. I’m at the Al Cohn Memo- incredibly versatile and could play, write, and act. He was promi- rial Jazz Collection in Kemp Library at ESU I nent in both New York and Los Angeles and founded one of the (East Stroudsburg University), and I’ve got most popular saxophone groups to date: . This group was Med Flory on the telephone from his home in known for playing harmonized transcriptions of solos North Hollywood, . So, hello Med. with a standard jazz (or sometimes with Med’s big [Med Flory] Hey Bob, uhh, is it the band), which was something that had not been done previously. It is 12th? I’ve gotta go; I’ve got a doctor’s ap- hard enough for one saxophone to play any of Bird’s solos let alone pointment I need to— five! [BB] [Laughs] When I learned of Med’s passing, I immediately scoured the Col- [MF] I’m just kidding. Fire away, my lection to see if there was any relevant material that I could use to cel- boy. ebrate his 87 years. I quickly stumbled upon this interview that was conducted by Bob Bush a few years earlier. Throwing caution (and [BB] Well, if you could just spare us a little bit a rapidly approaching deadline) to the wind I set about editing the of time, I’m gonna try to— raw transcription for use in this issue. One of the perks of using the [MF] All you want, all you want. Collection in my perspective is that all of the audio recordings from the Oral History Project are intact, many of which must be used to [BB] Well, you’ve had such a diversified career properly edit words, phrases, etc. that might be unclear from the ini- there’s a lot to talk about. tial transcription pass. When I began listening to the recording of this [MF] Yeah, I’m good at anything you interview, it was immediately clear why Med had such an interesting can’t make any money at. and multifaceted career. His voice, personality, and overall demeanor [BB] [Laughs] Well being that you broke in were so entertaining and captivating they drew me in, making the during era, and played with several of work (that can normally be tedious at best) extremely enjoyable. the most well-known band leaders, then started your The following is the first of a lengthy, two-part interview that is own band and founded Jazz Wave, Supersax, the divided based on where Med was living. I hope his spirit comes alive LA Voices, then went from the east coast to the west through his printed words as it did on the tape.Enjoy! coast and are not only a musician, but you also got Spring / Summer 2014 • The NOTE 7 involved with screenplays, film, and TV you have a lot tell us, so [BB] I would really like to know more about when you were a let’s get started. I’d like to just go all the way back to the begin- kid and your relationship with music and music teachers; that sort ning if we can. Let me ask you an icebreaker question: Where were of thing. you born and when? [MF] Well that was the whole thing; my dad was [MF] I was born in Logan’s Fort, Indiana, August a school teacher. He caught the flu in France and it 27, 1926, so I’ll be 84 in a couple of weeks. My mom turned into TB and he was in a sanatorium for a year was a great musician; better than I’ll ever be. When when he was first married, but then all he could do was she was in high school, she was playing for silent mov- teach school. He was so weak when he got out. But ies you know? he was a hybridizer; he hybridized daylilies and won international prizes for it. He loved to dig in the dirt, [BB] Yep. like my son Rex; he likes to dig in the dirt. He’ll be 54 [MF] She memorized the classics, all the stuff that pretty soon so it takes a lot of weaning him away from she had to play, but then she improvised. She was al- that stuff[laughs] . ways improvising; she played the organ for the church and someone would come up and say, “That was beau- [BB] [laughs] tiful, Florence, what was that?” She would say “I don’t [MF] So there was music there and mom thought know, I was just messing voice lessons were for people who around.” [laughs] shouldn’t go near anything or have She was a contra alto anything to do with music but, you with a pure voice; she know. studied with Madame [BB] Well did you play in the typical Schumann-Heink, who school bands? was the big one back in those days. She had [MF] Well, when I was 9 I got a beautiful sound, per- a and I studied with Bill fect control, and per- Morocco, who became the big band fect placement and no master in the high school and con- vibrato; she never sang trolled all of the music. When I was with any. She was like in the seventh grade after studying John Wayne and would for maybe a year and a half, he got say, “Uh, vibrato’s a me in the high school band, with sign of weakness,” that all their uniforms and all that. So kind of an attitude. She all the way through junior high and had it down; she was high school I was in band all the six feet tall, 180 pounds way, and in the ninth grade I made at her peak and I’ve first chair in the high school band never saw another chick and all that. get on top. You know, [BB] Well what was your favorite she always had every- instrument then? thing under control. A great mom; great mom. [MF] I played clarinet. And my dad; he was in World War I, he carried a [BB] Mm-hmm message to General Pershing in Chaumont, France. He was, you know, a 90 day wonder, and he went over [MF] Yeah, he was a clarinet teacher; he went to with a black company because that was the only way Northwood. He was the greatest guy in the world, a to get over there. So on the way back, they said, “We real mentor for me. He taught me all kinds of stuff you were listening to them playing and it was just the need to go through life. strangest,” you know I said, “That was jazz, daddy!” [BB] Were you in Logan’s Port, Indiana all through your [laughs] childhood? [BB] Wow. [MF] Mm-hmm. Yeah. [MF] The beginning of jazz, you know, so anyway I was born; my older sister Eleanor was almost 6 years [BB] What was the name of your high school? older than I. [MF] Logan Port High School. [laughs] [BB] How many kids in your family? [BB] That’s easy enough to remember. [MF] That’s it; me and my sister. [MF] Yeah. So in ‘44, I graduated and enlisted in the Army Air Corps in November of ‘43. [BB] Ok. [MF] And, we had a dog, a German Shepard; he [BB] How old were you at that point? weighed over 100 pounds, a big one—his name was Sil- [MF] I was 17 when I enlisted, 18 in January of ‘45 ver and he was the smartest dog you ever saw in your when I went in; I was in for two years. I was in the first life. He could do 20 minutes, you know, be doing com- troupe carrier command in the Army Air Corps and mon tricks and throwing shit up in the air and catching that was like taking gliders full of soldiers and letting it, you know, that was the family. it go; it flies down and hits a tree, then everybody gets 8 The NOTE • Spring / Summer 2014 killed and that’s the kind of…[laughs] But I was in sup- played in that style. ply so I didn’t have to worry about— [BB] Now you eventually went to the University of Indiana, [BB] Where were you stationed? didn’t you? [MF] Well, at that point, I was in Stout Field, In- [MF] No. dianapolis and it was only 70 miles from my home so I was grooving, you know. And then we got our orders [BB] No? and we got our shots in August of ‘45, all ready to go [MF] I went to Indiana University. That guy, what’s over and the bomb went off and so they didn’t need to that guy’s name, Coseth? Uh, Cosell? Howard Cosell? bring any troops in. They were trying to get everybody [BB] Yeah. out of it, so they dissolved the first troop carrier com- mand men. So I went to North Carolina, Greensboro, [MF] He never got it right. He always said the Uni- and everybody was getting out on points in the band versity of Indiana and it’s Indiana University, it always so I got in and I became a band leader for the next year has been. that I was in. [BB] Ah. [BB] Tell me more, what was that like? [MF] So I guess don’t ever say that again… [MF] It was great because we had a pretty good [BB] [laughs] I apologize… band, you know. I got my high school best buddy Mike Millhouse in there on baritone and he managed to [MF] You got me? [laughs] carry through; he really wasn’t ready for it, but none [BB] [laughs] Got it. What was that like? of us were, and that’s where I started writing. I’d write a chart and say, “Come, let’s go!” So we’d go over and [MF] Going to college? play the thing. So that’s where I learned how to write; [BB] Yeah. in the Army. And I got out in December of ‘46 in Sac- ramento. Oh I LOVE that town. I don’t care, we used [MF] Oh, it was great. I got out of the Army and to get high on the state house lawn because there was went back [to college] in January because I was on the this club called the Zanzibar and that’s where we used Bill of Rights so I got out in 1950 on the bill all the to score for some grass, you know and it was pretty way so I had that coming in, and I started a band and good. And that was my first introduction to grass you we booked all our gigs in the first semester before we know… even had the band because we went down there and just did it, you know. Me, Warren, and Dick: it was [BB] Were you now at this point starting to think of yourself like a partnership and I was the leader and I had the as a musician? book. It worked out great. Warren played on [MF] Yeah, you know, in high school, Bill Morocco the band and Dick played . It was the band had this little band and we played two nights a week, on campus, for all the time I was there. So then Tom Friday and Saturday; either the Elks or the Eagles, or Patton, a fraternity brother of mine, he got me on the Veterans of Foreign Wars or the country club or Thornhill’s band because when Dick Hafer left to go something and I got my chick on the band; Mary Louis with Woody, I think, he got me on the band. So instead Stephie as the singer, that way nobody can be bird dog- of going to graduation, on that day I went to play on gin’ my old lady while I’m working. I wasn’t so dumb! ’s band. We played West Point and [Laughs] then we were gone out there in the wilderness for two years. But we worked out of New York, so I considered [BB] What kind of music were you playing with that band? that the home plate. [MF] Oh I don’t know; nothing serious. But when [BB] So this is how you got from Indiana to New York at I was a kid and just started playing in the high school this point? You were going there to be part of Claude Thornhill’s band back in the 7th or 8th grade, I played with this orchestra. Bill Morocco; he had a rube band, you know… a guy on snare drum, a guy on bass drum, a guy on trum- [MF] Yeah. bone, trumpet, tenor, and I was playing clarinet. So [BB] Did they make you audition for that? we played all those old prohibition tunes like “My Gal, Sal,” all those tunes; “These Days” and “Lime- [MF] No, it’s cut or pack: You cut the book or you house Blues,” and in their original keys. I was forced pack and split and you don’t get any transportation or into playing what went absolutely against my instinct anything like that. because all I wanted to do was play in the key of C [BB] Oh, okay. and on the horn (B flat concert). But that got me some early experience. It was like playing only it [MF] So that was the deal. I made it on the band was 4/4, style. That’s what Chicago was; it was and I was playing tenor, and Sonny Salad was playing kind of like Dixieland only it was in 4/4 time, it wasn’t lead and in a couple of months he split. So we were a two beat. playing a thing, I played clarinet on it, we were jam- ming and they said, “You wanna play lead?” And I [BB] Oh, uh-huh. said, “Yeah!” I didn’t know they wanted a real clarinet [MF] And Bill’s brother Clarence, they both went player to play that. to Northwestern so they were very hip compared to [BB] [laughs] what was going on, you know. He played tenor and he [MF] They had Fazola and Danny Polo and all Spring / Summer 2014 • The NOTE 9 great clarinet players and they had that old style of [MF] Art Mooney, yeah. That’s when I got my card, playing down, you know. So I made it and I did pretty and Art was a pain in the ass, I gotta say. Anyway, good. that’s an integral part of the story. I got in front of the Dixie Hotel in January of ‘52. Real cold in the middle [BB] Did you immediately love being in this band? Being on of the night, got on the bus, and Art said, “Watch your the road, and being a professional musician? head,” (because he’s my height; he’s a tall guy… I could [MF] Yeah, are you kidding? It’s like being on a whip him though, but that’s another story…) So I get road, well not like, what happened since I don’t even on the bus and I’m walking back and I see this redhead recognize it as, you know, noise. in at the back of the bus, with a top light on her, you called it “amplified noise” you know, rock. What a wise know, and it was Joanie… Her sister Gloria was with man he was. Anyway, yeah, so I’m playing lead and her and she looked over at Gloria and said, “There’s the singing… I was a snowflake, we were the Snowflakes man I’m going to marry.” [laughs]. [BB] Wow. [BB] What do you mean “the Snowflakes”? [MF] Now what kind of chance did I have? This was the best lookin’ woman in and she [MF] Well we were three guys and three chicks, a wanted me. So what chance did I have? vocal group. [BB] [laughs] [BB] Oh! [MF] And I just loved every minute of it, you know, we were married for 48 years. Parkinson’s got her. [MF] We did the Tennessee Waltz together, we did Last 10 years she just, you know. Anybody who knows it real funny... anybody that has Parkinson’s knows that it’s just the worst. So we were together a long time… [BB] Why did singing start for you? Is that something you did as a kid too? Back in high school and all? [BB] How long did Art Mooney’s band stay together? [MF] Well you know, you do all that stuff when [MF] I don’t know, I got out of it as quick as pos- you can play, which I guess I could, so you get involved sible! with everything. Like with the chorus and all that [BB] [laughs] Where did you go next? jive… you know. But in college, I was singing, “Watch the Birdie, Take a Candid Camera Shot,” fooling around [MF] Oh I stayed in New York. Claude went out for strike a pose and hold it, the whole band holds a pose, a few weeks and I went out with him, and you know, it was big time! [laughs] As a matter of fact I was on the band too. Gene Quill is one of the great- did it on Thornhill’s band too, and did it on Cavalcade est be-boppers of them all. I mean, Phil and Quill, you of Bands. I was on that with the band back on the old know? Blue Network, Mutual. I guess that was the name... So [BB] No argument from me on that one. we did that and we did Kate Smith and Perry Como. I was doing all kinds of stuff on the band, playing lead [MF] Yeah right! I thought Phil was lucky to get and then I was a snowflake laughs[ ] and I was singing by as easy as he did, because Gene Quill was a real killer, boy, and just the silliest… He was really short funny tunes and a couple of nice tunes, too. Gil Evans and he was Irish of course, and he was always getting was on the band too; he wrote me a chart. So it was in fights! We’d be on the road and our lead trumpet fun. player, a pretty good-sized cat, would hear him and say, We were rehearsing at Nola’s one time and Gil “HEY MAAAN!” We were in there eating, then we go brings in a chart, and I don’t know what key it was in… in the bar and there were all these truck drivers sur- D or some damn key, and I’m on clarinet, back and rounding Quill, you know, he’s just asking for them to forth over the hump all the time, impossible finger- beat the shit out of him, and I went in and said, “Hey ings and it’s supposed to swing! And Bird came in with man, don’t worry about him, he had a bad accident; Gil and he’s sitting back there and we’re up there for he’s been acting weird ever since.” And they go, “We about an hour and finally we got this thing down; I don’t give a shit! We’re gonna knock the shit out of look back and he had this big grin on his face. So I met him!” And so I said, “Well no you’re not ‘cause you’ll him there. One night, Joanie and I were walking down have to go through me and George to do it!” And they Broadway and we went past Birdland. A guy walks go, “Alright, get him out of here.” up and goes, “Hey man, you have a few bucks?” And I said, “Yeah, sure.” So I gave him five bucks and he [BB] [laughs] said, “Thanks, man…” and he disappeared and Joanie [MF] We do a thing, this is a time we’re in Defi- said, “What did you do that for? We only had ten ance, Ohio, and there’s a guy, a millionaire there, and bucks!” And I said, “That was Charlie Parker!” And every year he’d have a party for the town; free booze, she said, “Oh.” [laughs] She was so hip. and a line of chicks from Chicago and a headliner. It was Jerry Colonna this time and they had these little [BB] That’s a true story, huh? Wow… mustaches that everybody in the band wore, with [MF] It’s all true, I don’t lie. the little hook on your nose, and we’re up there do- [BB] Wow. Well this was around 1950 when you got on ing stuff, Jerry Colonna is running around, and Brew Moore (juiced already), he walked up to him and said, Thornhill’s band. What band were you on next? Was it Art “We need ya!” [laughs] Mooney’s band? 10 The NOTE • Spring / Summer 2014 Brew was a terrible juice head. You know all junk- no back seat, big trunk, straight-six, just the greatest ies that quit junk, they become terrible juice heads, for little car you could ever... We drove across Texas; 90 a while anyway. But anyway we’re in the car and Gene degrees in the middle of the summer, the thing didn’t Quill is driving and his girlfriend was up in front with even heat up! It was a great car. him and it’s and me and Brew in the back. We’re going So we get to Salt Lake City, we had a great night fast (Gene liked to drive 80, 90 mph and he didn’t care, the night before, Saturday night, completely out. We you know) and all of the sudden Brew, just out of his were in the same room. We got up and he came in and bloody mind, he takes his scarf and puts it over Quill’s stuck a pipe in my mouth and gets me loaded and said, head while he’s driving and is trying to strangle him! “You gotta see this!” And we went across the street [laughs] to this auto place, and they had this little yellow MG, [BB] Oh my. with cream leather. Just a real pretty little car and he talked me into buying it, trading in. So we took it out [MF] And we’re going like the wind, Quill’s try- on the road and naturally an MG is built for England ing to get his cap on his head, he finally knocks him where you’re always never more than 50 miles from back off. Then it was Sunday, and we went in this joint water, you know, and it didn’t really work out too called the Knotty Pine, a nice place where you go to good. We could only drive it so fast and something eat Sunday dinner with the family and we go in there went wrong. Then you take it to a mechanic and he and sit down trying to look cool. And Brew, he’s sliding would look at you like you were his chair around backwards from the stars. and bumping into other people, stuff like that, and [BB] [laughs] cussing his ass off! And [MF] You never saw an MG me and Quill just look at outside of LA. It was rough in each other and grab him that regard, but we had a lot of and drag him to the door fun in that thing. We were driv- and of course he fell on ing down in Kansas. We were the floor and the door was going like crazy down this road just right, he banged his with the top down and every- head against the door a few thing and we look over and times and he just looked there’s this wolf in a field run- up right at me and smiled. ning along beside us! And that [laughs] was a wolf, it wasn’t no coyote! [BB] [laughs] It’s pretty easy to tell the dif- ference and it was not a police [MF] So we get him dog. It was a damn wolf! So we in the car, and we go back make a left hand turn and he and finish eating and we almost jumps in the car with go back out after apologiz- us! Just misses! ing to the whole town. We come out and he’s gone! So [BB] [laughs] we go looking for him and [MF] So we played the Dave Figg, Dave was with Palladium which was great, I us too, and he had on one fell in love with that joint. So of those blue jackets with a we’re going up the coast, we mutton-type collar and so get just below Crescent City in California, up along the did Brew… and we walk in this joint looking for him old ocean road, right beside the coast all the way, and and the bartender takes one look and he’s over the bar Kelly’s driving and obviously fell asleep and we side with a club, you know, and when he got closer he said, swiped a log truck coming the other way! You know “Oh, you’re not him!” And I said, “Heh! We knew he’d how big those things are? been here!” [BB] Yeah, I see quite a few of them in upstate New York. [BB] [laughs] [MF] [laughs] [MF] And what had happened, the cops grabbed him and said, “We’ll let him go if you make sure to [BB] You don’t want to mess with them. send him into his hometown and never let him get [MF] And we banged into this thing, going back back here again,” and so Brew was gone, we never saw and forth and we’re spinning around like crazy and we him again! [laughs] hit a rock with our back end and it took out a wheel. [BB] [laughs] So we just put the other wheel on and drove away, man. We could’ve been killed! He was an Irish man [MF] Boy was he something. Anyway, there were a all the way, just crazy. And he could drink; he drank few characters that came along from time to time. Red pretty good and anything else that happened to be Kelly, my man came on the band January of ‘51, and around. He was an omnivore person. both summers were great because we were out west in all the cowboy country. We were in the same car to- [BB] [laughs] Well I’m waiting to hear when you ran into Al gether: I had a ‘49 Dodge Wayfarer; front seat only and Cohn, was that when you got on Woody’s band? Back in the early Spring / Summer 2014 • The NOTE 11 ‘50s? 1953 or something like that? west coast he would stay with Lou and we would hang [MF] Well yeah right around ‘53. We worked the out together. Yeah, I don’t know if you’d called it a Rustic Cabin with uh, it might have been Art Mooney “deep friendship,” but like anybody else in New York I too; I forget who it was. certainly didn’t put down the time. He’s such a funny… you know that joke he said, when he’s in Sweden: They [BB] You didn’t play with Jerry Wald’s band, did you? say “How do you like our Elephant Beer?” He says, “I [MF] Yeah, I played with him once, with Al’s book. drink to forget!” You know he wrote all the charts for that band, that’s [BB] [laughs] Everybody loves that one. why it was almost a . Except for Jerry Wald… it’s a Wald-aphone! It looks like a clarinet… it fingers [MF] Those were the four words, anything else like a clarinet… but it don’t sound like a clarinet. It’s a was extra. “I drink to forget.” Some might say, “yeah, I Wald-aphone! do, but--” That wasn’t in it. [BB] [laughs] [BB] Right. [MF] He was terrible. He tried to burn my own [MF] Sometimes they don’t tell it right. I hate that. lady for some bread. She sang with the band, and fi- [BB] Since you were there, I’m interested to learn something nally got it, but… more about Al’s composing and arranging side of his career. Did [BB] So tell me about Woody’s band. you ever observe him at work doing that? He did so many arrange- ments for back in those days. [MF] I got on in ‘63 I guess, the first time. Al was on the band, I knew him from before. Ab- [MF] Yeah he did solutely the craziest cat you for me, too, for my first would ever want to meet. Great thing with on the Emarcy lead player. I never met any- [label]; He did “The Fuzz” body quite like him. He had it and. . . all. In ‘53 we did two things; [BB] “Wonderful You”? one of them was with Al, I forget was it was called, but an- [MF] “Wonderful other one was with Dick. Dick You” and out here he did Collins or something? “No Thanks,” I recorded it out here and he was [BB] Well there’s a record you here for that. Yeah man, played on with . Its called “The Fuzz.” I went over “Horn of Plenty,” that I know. this club, he was work- [MF] Yeah, I think Al was on ing there and he handed that, wasn’t he? me the chart and he said, “This is either the great- [BB] Yes. est chart in the world or [MF] Yeah, that was the first the worst.” one, with Al, but what was his [BB] [laughs] called? [MF] Pretty good. [BB] Which one? It’s a pretty good chart. [MF] Al’s first album with would kill Columbia for Jack Lewis. to get it, but ’t let him have it. [BB] It might be “Mr. Music” but I’m not quite sure if it was the first one. [BB] Well we appreciate you giving us a copy to put into the Al Cohn Collection. It’s very difficult for us because we want to get [MF] Well was on it and me, and then all of Al’s charts back here. I think we played the Rustic Cabin. That was for a couple of weeks and so we hung out a lot together and [MF] Yeah. then in New York, at Charlie’s Tavern and all those [BB] But they’re sprayed all over the place, you know? places around. Joanie and I used to go down to see the Pennsylvania… whatever they were calling it that week [MF] I know. and Elliot Lawrence’s band was in there and it was a [BB] But thank you for helping us with that. great band, with on drums and Al Cohn. . . was on that band yeah, it was a great band. [MF] I’m still looking for “No Thanks.” I’ll come The whole book was written by , Al up with it one of these days. Cohn, and Tiny Kahn. You couldn’t go wrong. I lis- [BB] When did you first meet Johnny Williams, the pianist? tened to him a lot in that band. I knew him, we were in [MF] We were living in 252 West 71st Street and the same neighborhood, Times Square. John lived downstairs from us and he didn’t have a [BB] Did you strike up a good friendship with him at that piano so he was always up in our pad because we had time? a little piano up there. He was always bangin’ on it. So when we recorded that thing for Emarcy, he was a [MF] Well yeah. When he came out here to the 12 The NOTE • Spring / Summer 2014 piano player. John is such a pure cat, a wonderful guy. [BB] Did you play any gigs at the ? [BB] He’s still a big Med Flory fan, I can tell you that. [MF] No. [MF] Is he? [BB] Do you remember that bar? [BB] Yes he is and he’s been corresponding with me. You [MF] I don’t think it was there then. know he’s down in ? [BB] Okay. [MF] Yeah. [MF] I left Christmas night of ‘55. It might have [BB] You told me you went down there a few times to play in been there, but the main place was Birdland. There Sarasota? were some other places, but could have been down uh, was that down in the Village? [MF] Yeah I wrote some things for strings, they had a string section. It sounded good too, I couldn’t [BB] Yeah, that was Spring and Hudson Street. believe it. I guess it’s not that hard to write for strings [MF] Yeah, it might have been. unless you get hung up trying to write like them. Just write what sounds good and it usually sounds pretty [BB] Well Al & Zoot played there quite frequently but I don’t good. know if it was this early in the 50s. [BB] Well Johnny’s been a long time great supporter of the [MF] It wasn’t because I never heard them play Al Cohn Collection, so he has been pestering me for many months together. That happened later, I guess. to get this interview off the ground so I’m glad to be able to do it [BB] You mentioned that you know specifically that it was today. Christmas night that you left for the West Coast? [MF] What, with me? [MF] Yeah. [BB] Yeah. [BB] Tell me about that. [MF] [laughs] Yeah that’s right, he did mention that [MF] Well I had gone to Indiana earlier and picked once or twice. up a car, a dark convertible and drove it back to New [BB] Good. York. Johnny Williams was there when we left that night. He was great. I’ve got to give him a call because [MF] Well I think it’s great what you guys are do- I didn’t check out his political woes yet. [laughs] ing because Al [Cohn] is the all-time unsung hero of jazz. Anyway, we left that night with the car packed all up and headed back to Indiana. Some guy named Rudy [BB] What makes you say that? I just have to follow up with gave Joanie a parakeet named Rudy. So we’re driving that kind of a question. What makes you admire Al Cohn so across the country in January in a convertible and he’s much? sitting on the steering wheel looking at me. All the way [MF] Well my two favorite tenor players are Al across the country. He’s looking at me with this bane- Cohn and . Those are the two I dig the ful stare, like “What are you doing, man? What are we most. Al had that fine, Jewish soul that shined from doing here?” everything he did. When he starts wailing boy, where We stopped in Vegas for a few days because Joanie you gonna go? You have to go with him. Nobody plays got a gig singing in the Tropicana hotel. She was on a like Al. revolving stage, and she was getting morning sickness. [BB] Well Al had a very complex career, not only as a So she would sing and then go off stage and barf and performer but a composer, arranger, conductor, all of that stuff. then come back. Where did you go next after the band? [BB] [laughs] [MF] Well, I was living in New York, working up at [MF] I came back out here to play the Palladium. Roseland, working with a clarinet player. Aaron Sachs Then we got together and got a joint up on Beachwood and I played in the band together. We had a lot of fun Canyon. Terrible place but we were there for a while. working there. You could go down the back stairs and We’re doing quite the bit of work, and then that fall we you’re in Charlie’s Tavern. Charlie’s was a great place. got that TV show. So that straightened us out. Charlie was a terrific cat. Just another New Yorker. Just mean as cat dirt, but underneath it all was the soul [BB] What was the reason that you moved from the east coast of the saint. I was at the bar at one night and I had a to the west coast in the ? check from home but I couldn’t get the thing cashed in [MF] Well it was Sputnik I think or something like and I was moaning and groaning about it. He came up that was going on. I remember thinking if anything did to me and said, “here.” He handed me a 100 bucks and happen, all we had were the bridges and the tunnels to said, “now shut up!” [laughs] get out of there and all of the little people would just knock me out of the way. I figured, “Now’s a good time [BB] [laughs] to move out.” I always wanted to go to the coast any- [MF] I paid him back in a few days but that’s the way. I never thought about living in New York. I always way he was. I would walk in there with Joanie, and wanted to go to Hollywood and get in the movies. I that was a sight to behold. There were all those guys figured, “Hey, if Alfalfa can do it, how hard can it be? checking her out, although very subtly. She was gor- geous. Joanie, she was something else. To be continued . . . next issue. U Spring / Summer 2014 • The NOTE 13 Remembering Brew Moore by Gordon Jack

Editor’s Note: This article was first published in Jazz Journal International in May 2013 and is reprinted with permission.

n the eighth of April in 1949, five of the best young Prez-influenced tenors assembled in a O New York studio to record original material by Al Cohn and . , Al Cohn, and were already well known but the fifth man, Brew Moore, was destined to remain under the jazz radar throughout a fairly brief career. As if acknowledging his low profile, he is the only one to have one of the titles recorded that day dedicated to him: “Four and One Moore” by Mulligan. Milton Aubrey Moore Jr. was born in Indianola, Mississippi, on March 26, 1924. After briefly attend- ing Ole Miss (the University of Mississippi), he start- ed playing in Memphis and burlesque clubs like the Puppy House and the Kitten Club. He was making $23 a week, which was good money for the time, playing behind exotic dancer acts, such as, Kalema and Her Pythons. He once said that he was 21 years old before he saw a naked woman from the front. By 1948 he made his way to New York where he had to wait six months for his Local 802 union card which would allow him to work in the city. He was one of the regulars, though, along with Mulligan, Sims, , and who played in private sessions at Don Jose’s studio, a fourth floor walk-up on West 49th Street. The studio was characterized by a red door which became the title of a well known Sims-Mulligan original (“The Red Door”) and, much later, to which added a very hip lyric (“Zoot Walks In”). He did manage to get the occasional booking in strip clubs with the young Mike Zwerin, who described him as one of the ‘White Presidents.’ In 1949 Brew worked briefly with Claude Thornhill, who he said, “… was some kind of freak genius. He could take the worst, out-of-tune piano and make it sound in-tune.” The band loved his playing but apparently found him hard to handle because of his heavy drinking which nevertheless did not affect his playing. Ironically, , who had his own personal demons, was warned by his mother (the celebrated Madam Margaret) to keep away from Brew because of his extreme behavior. She thought he was a bad influence! By now he was playing regularly at the Royal

Roost and in a group which Property of the ACMJC Photo Archive, donated by . included Mulligan, Wallington, and Brew Moore —1951 Central Park, Gerry Mulligan rehearsal. 14 The NOTE • Spring / Summer 2014 or . They worked as far afield as of chewing gum stuck to the floor. Another of Brew’s Tootie’s Mayfair in Kansas City, where favorite haunts in was Arthur’s Tavern sat in, and they recorded no less than 14 titles in 1949. where Parker often held forth. Once, when the great man Occasionally trumpeter Jerry Lloyd (aka Hurwitz) was didn’t have his alto, he borrowed Brew’s tenor. Arthur’s added. Moore had played with Charlie Parker and was Tavern opened in 1937 and is still going strong – no cover highly regarded by his colleagues but his recordings never charge, minimum one drink per set. seemed to do him justice as a soloist. He composed two Some time in 1955 folk singer Billy Faier drove fine originals for the group – “Mud Bug” and “Igloo” – but through Washington Square shouting “Anybody for the by the late 50s he had dropped out of music and was driv- Coast?” Brew’s gig book was anything but full so he joined ing a cab in New York to make ends meet. Some enter- Billy who also had Ramblin’ Jack Elliott and Woody Guth- prising label should reissue all the material Moore re- rie in the car. Brew left them in Los Angeles and took the corded with Kai Winding because titles like “Sid’s Bounce,” bus to which was to become the center for “Night On Bop Mountain” and “Lestorian Mode” feature some the new beat culture. of his finest work. The years spent in California were busy and produc- In the late 40s, Moore began a long romance with tive ones. Brew worked regularly at the and Arlyne Brown ( Lew Brown’s daughter) which the Jazz Cellar where Lawrence Ferlinghetti and Kenneth continued until 1953 when she became Mrs. Gerry Mulli- Rexroth gave poetry readings. It was probably at one of gan. Arlyne once described Moore to me as, “A soft, sweet, these clubs that heard him because he men- southern boy with an enormous talent looking like a combina- tions listening to Brew in his book Desolation Angels. He tion of Leslie Howard and James Dean.” had a popular two-tenor group with Harold Wylie at The Moore often performed with ’s Afro-Cuban Tropics and he recorded with for Fantasy. He orchestra at Birdland and the Apollo and he can be heard also appeared at the 1958 with on their recording of “Cubop City.” Harry Belafonte once trumpeter Dickie Mills and he sat in for a set there with sat in with the band at Birdland and Brew has a solo on Gerry Mulligan. the singer’s debut recording, “Lean On Me,” with How- He always said, “I go where the work is,” and in 1961 ard McGhee’s orchestra. Soon after yet another Birdland he emigrated to Europe. He did six months at The Blue engagement, this time with , J.J. Johnson and Note in with and appeared at the Charlie Parker, he returned home to New Orleans where Berlin Jazz Festival with , who told me, “He he apparently lived in a “dive” with and writer was a wonderful, natural player, like Zoot. It was strictly talent William S. Burroughs. While he was working there he and intuition with both of them. I was very fond of Brew.” He drove up to Baton Rouge for a two-week engagement at worked extensively in Sweden and Denmark throughout the Flamingo with . The pianist told me the sixties but often returned to the States doing casuals that he had heard Brew in many situations, “… but even in Manhattan. He played at the Half Note with on the dumbest gig with people that could barely play he always and, on one occasion there, Anita O’Day and sounded terrific. He was a very bright, sensitive character who were also on the bill. He was featured at Newport in a could also write poetry. He was something of a hero to all the jam session in 1969 which was the year he played Danny’s southern guys because he was the first one of us to work and Restaurant and The Scene with Dave Frishberg. John Ca- record in New York.” risi sat in at Danny’s and ’s Down Beat Moore continued working in the South but early in review said, “Brew is incapable of playing a dishonest note. His 1953 he was booked to appear with Charlie Parker in music is just pure and loving and a joy to hear.” was Montreal for a TV performance on CBFT’s “Jazz Work- similarly impressed at The Scene: “Moore’s brand of emo- shop.” Returning to New York he recorded with Chuck tional, romantic, hard-swinging music captivated the waitresses Wayne and then re-joined Kai Winding at Birdland. The and bartenders as well as the regulars. Brew was beautiful.” were by , and Winding’s group The story of how Brew Moore died in Copenhagen in included , , Walter Bishop Jr., Percy 1973 has become an established part of jazz folk lore but Heath and . In an enthusiastic Metronome not all the details are well known. He gave a party to cel- review George T. Simon said, “The soloists are all good, ebrate an inheritance and during the festivities fell down notably Kai and Brew Moore, who blows some mighty exciting, some stairs and broke his neck. Mose Allison filled in the moving, well-toned horn. Urso keeps up with him some of the gaps for me a few years ago: “Brew had been staying at Car- time (the two engage in cutting sessions now and then) but he men Massey’s house in Biloxi when he heard he had inherited has neither Brew’s ideas nor his drive.” all this money. He had been scuffling on the fringes of the jazz Brew worked fairly steadily at the Open Door in world all his life and never made much at all. He left for Europe Greenwich Village, usually with or Tony Frus- and discovered he had lost a good luck charm he had been carry- cella along with Bill Triglia and . There were ing around for years. He wrote to Carmen asking him to check always a number of drummers available, like Nick Stabu- if he had left it at the house. The next thing Carmen hears is las, or , and Freddy Gruber kept his that Brew had died and a few days later they found Brew’s lucky kit there when he was not working. Charlie Parker was charm. That story sounds like something out of Truman Capote.” often the featured attraction and, on one occasion, he and Brew “goosed” each other as they slowly ambled around As Herb Geller once said, “It could only happen to a jazz the dance floor. They finished up serenading a large piece musician.”

U Spring / Summer 2014 • The NOTE 15 Brookmeyer and Me: An Odyssey of Friendship

By Michael Stephans An updated excerpt from: Experiencing Jazz: A Listener’s Companion at first enter the door of appreciation by Michael Stephans ©2013 Scarecrow Press on any one of these levels. Other arts first heard valve trombonist Bob have a more shall I say “dramatic” at- Brookmeyer when I was in my PREFACE by David Liebman mosphere when they are presented… mid-teens. My family and I were ballet, theater, poetry, painting and inI Jacksonville, Florida visiting some hat is it that makes jazz so special? Surely there is a sculpture, etc. One can physically see relatives, and while out walking W lot of music that has com- the artistic creation. around town one day, I happened monalities with jazz: solo excursions But music is much more elusive, into a record shop and bought an co-existing with group participa- especially when it appears to move album by baritone saxophonist Gerry tion; spontaneous improvisation; fast as improvised music often does as Mulligan and . a “groove” of some sort; virtuosic a result of several improvisers offering To make a long story much shorter, I expertise on an instrument; passion their experience, knowledge, heart brought the record back to my cous- and sophistication all mixed together and soul in the moment, creating in’s house, took it out of its glossy, and more. So WHY JAZZ? a special synergy. The way Michael black sleeve, and plopped it onto the Simply because it represents presents the material in this book phonograph. The first cut I heard was THE music of our time coalescing in offers a perfectly balanced approach one of those finger-snapping things American cities created by people to entering the world of jazz as a lis- that sort of chugged along like a big from all cultures mixed together, tener at first on the “mind” level, but old Hudson Hornet, lumbering from most notably in its birthplace, early with the understanding that one will side to side, rooty-tooting down the 20th century New Orleans. Jazz, be- sooner or later hear the music from street. The piano and tenor solos ing a of sorts reflected the the heart. were good, but sort of unmemorable; life of the people of this epoch, the I have known Mike for the past however, after the tenor solo, there joy, sorrow, aspirations and celebra- six years since he moved to the area was a funky, raspy, downright greasy tions. Certainly of Northeast Pennsylvania where I trombone solo that changed how are well represented, yet as I write live, a fertile area for jazz musicians I would hear and play music over in 2012 it is fact that jazz increas- by the way. Michael is first and fore- the next 50 years. It wasn’t a slide ingly includes people from all over most a great jazz drummer with an trombone solo, even though initially, the world. Musically speaking, the encyclopedic knowledge of the music. I knew it was some sort of trombone. technical aspects of jazz are heard far We have shared some great moments This was a different breed of animal afield from its home environment, in recording and performing together. – one that wheezed, bleated, belched, pop music and contemporary classi- Besides other musical abilities (trom- farted, yowled, and groaned. This cal settings and of course more and bone and singing for example), Mike was down and dirty and somehow I more in “world” music. Jazz is the is a published poet and excellent prose knew in my underdeveloped teenaged lingua franca of the past 100 years writer as you will see. What makes brain that this was the real deal. This and as an educator, I can attest to him the perfect person for a book was my first exposure to the genius the abundance of jazz learning going of this sort is that he truly wants to of Bob Brookmeyer. communicate with people about this on worldwide on the university level. Now, even an uneducated green- Jazz, despite the impression that it special music that we hold so dearly. gilled teenager like me back then may be of importance to only a few People who dedicate themselves to could figure out that Brookmeyer listeners, is here to stay in one form jazz are well aware of the necessity of didn’t play slide trombone. He played or another. honesty and sincerity when entering the valve trombone, which has always Art can communicate on any or this universe. been considered the illegitimate step- all three levels that Michael refers to Experiencing Jazz: A Listener’s child of the more conventional slide in this book as ears, mind and heart. Companion is a “perfect storm” of instrument. One may be attracted to a work of art sorts…..written by a master musician, because the technique is so dazzling, poet and writer describing the special But it wasn’t only the valve horn or the mood that the piece conjures world of jazz past, present and future that caught my attention. It was up strikes a responsive note. Sooner in a lively, non-academic tone that for the way that Bob Brookmeyer was or later it is the spirit and passion of anyone who has an inkling of interest playing it that completely turned the artist that truly affects the receiv- in jazz will further their appreciation me around. By using certain valve er of the art. For jazz, the listener may of the music. techniques, Brookmeyer could bend and twist notes. He could actually 16 The NOTE • Spring / Summer 2014 sing the same note he was playing into the horn and make the note being played sound wet and raspy, like a bull elephant with a cold. Sometimes he would not play a note at all, but just move the valves and breathe through the horn, sending a column of air loudly out of its bell. All of these techniques made the valve trombone sound incredibly like a living, breathing thing – a gruff, yet fundamentally primordial voice that dug down deep I could not even begin to identify. It sang and resonated. It mesmerized. It incandesced brilliantly like a dizzying mix of silver, gold, and copper stars blan- keting the ‘glades at midnight, and like a full, hot Florida sun at midday. Even though I was a young and somewhat overzeal- ous jazz drummer, I wanted to be as soulful and hip as Brookmeyer. Whoever said that imitation is the sincerest form of flattery would’ve been amused at just how much I embodied that statement. I cut my hair in an ivy-league style like Brookmeyer’s. I dressed in that early sixties New York hip couture like he did. I even tried to affect his

mannerisms. It was quite ridiculous, really; it was idol- Photographer unkown, contributed by Michael Stephans. worship at its most chronic. When no one was home, I Bob Brookmeyer would crank up the volume on the stereo in my room and play air trombone to Brookmeyer’s solos, bending forward he began the long and arduous journey back to music and and arching backward, swaying from side to side, like an life, and his rebirth as both man and artist. old Hassidic rabbi singing and praying on the Sabbath. I was pretty far into it after school one day, when my father In the late 70’s, Bob moved back to New York City (who came home early that afternoon) opened the door and rejoined the vigorous Manhattan jazz scene. Even so, and leaned in to ask me to turn the music down. Catch- he returned frequently to the west coast and we played ing me in a particularly dramatic pose, as I pointed my air some successful and inspiring club gigs and concerts. In trombone toward the ceiling at the zenith of the solo, my the mid-80’s, he called from New York and in his dryly father looked at me with bewilderment before closing the laconic way, said: “I think it’s time we made a record togeth- door, leaving me to feel like someone who just got caught er.” And so, a dream came true for me. We recorded Oslo with his hands deep in the cookie jar. What does one say for in September 1986. Every minute in at a time like that? In my house the exchange probably the studio with Brookmeyer, pianist , and would’ve gone something like this: bassist Eric Von Essen was like magic, and Bob’s disci- “Oops…Excuse me Dad, I was pretending to be Bob Brook- plined and focused approach to recording was inspiring and challenging. Bob and I went into the studio again in meyer.” 2000, and along with my then-future-wife, Kathleen, co- “Who? Bob who?” produced a beautiful recording called Stay Out of the Sun “Brookmeyer. The famous jazz valve-trombonist. You know, for Challenge Records, further documenting our lifelong the guy who plays with Mulligan and Getz and…” friendship. Kathleen became very much a part of the fold “A jazz musician? A jazz musician? This is your hero? around that time and several years later, Bob and his What happened to Mickey Mantle, Sandy Koufax, President lovely wife, Jan were the best man and woman at our wed- Kennedy? A ball player, I understand. A president, I under- ding in a small chapel in the Vermont countryside. stand. Even Jimmy Hoffa, I understand. But a jazz musician? Is Brookmeyer regained his stature as a well-respected this Brookmeyer Jewish, at least?” jazz soloist, evolved into a brilliant composer, and became Given the circumstances in my house, had this been a a beloved teacher – both here in America and in Europe. real scenario, I probably would’ve lied and said “yes.” And And our relationship continued to flourish, even though somehow, at least for a little while, that would’ve made it we didn’t play together nearly as much as we used to. But alright. But, my father merely closed the door behind him, when we had the opportunity to make music together, it leaving me to the demons of self-doubt who pointed at me was always as though we never stopped. It was never less and shouted, “Weird! Weird! Weird!” before I chased them than with Bob and me, and our musical away with a swat of my invisible horn. moments were often filled with joy and humor and even a touch of sadness. Until his passing several years ago, I I finally met Brookmeyer in the mid-70’s, about a continued to dot Bob’s i’s and cross his t’s, and he contin- month after I moved to Los Angeles from the east coast. ued to turn around and smile at me when we moved along We became immediate friends and musical associates, through the music on the same wavelength: the teenaged jamming, rehearsing, and playing local jazz joints. Those kid from Miami and the suave, world-class hipster from were rough years for Bob, since he was battling alcohol New York-cum-Kansas City. The stuff dreams are made addiction – a battle which he eventually won. After a time of... U Spring / Summer 2014 • The NOTE 17 ZOOT FEST 2013

Adam Niewood, Evan Gregor, , Joe Lovano, and Jay Rattman: “Another Four Others” perform “Four Brothers” charts by Al Cohn at Zoot Fest. Photo by Garth Woods ZOOT FEST 2013 ZOOT FEST 2013

“COTA Festival Orchestra” with Phil Woods conducting. Joe Locke

Jam Session

Joe Cohn

From left: Bucky Pizzareli, Ed Laub, Walt Bibinger. From left: , Bill Goodwin, , Billl Crow. 20 The NOTE • Spring / Summer 2014 From left: Phil Woods, Joe Lovano. President Marcia G. Welsh, Ph.D., and Rick Chamberlain present Bob Bush with an award for more than 10 years of tireless support of jazz performance and education.

From left: Jim Daniels, Phil Woods, Joe Lovano, and Marion Evans share a humorous moment about their past jazz adventures.

In the ESU Innovation Center

Save the Date!

Spring / Summer 2014 • The NOTE 21 Expansions: The Dave Liebman Group

Matt Vashlishan: This trip was and probably will be one of the most memorable and enjoyable experiences I will have playing music. There were so many combinations happening; the exotic environment, the won- derful people, the unique music, and the opportunity to hear our own music grow as a result of the trip overall. Our trip consisted of two days of master classes for Thai students in high school and col- lege, a recording session, and our main performance for diplomats from about 70 different countries in celebration of 180 years of rela- tions between the and Thailand. Bud Nealy Dave Liebman’s Expanion Quintet: Alex Ritz, Dave Liebman, Matt Vashlishan, Bobby Avey, We met many wonderful mu- Tony Marino sicians during our week, several of which played on the Near Dawn recording session: Near Dawn: Thailand “This trip was and probably will Somnuek Saeng, Tour November 2013 be one of the most memorable and Chumchon Introduction by Dave Liebman: Suebwongs, enjoyable experiences I will have Pruettiron Nan- As some of the readers may be playing music.” thawowat, and aware, I began a new group in the last last but certainly year after 23 plus years with , not least Pathorn Sri- Tony Marino, and Marko Marcinko studio in the hood, the final result is the CD, “Near Dawn.” karanonda. The music consists of free (prior personnel being Phil Markow- improvisation blending our western itz and ). By chance I Improvised music is a universal instruments with Thai folk instru- was invited to take part with the new fact, the differences being the sound ments, one Thai folk tune, and one of group last fall as part of the 180th an- of a particular instrument(s) along His Majesty’s compositions. niversary of relations between Thai- with the improvisational material it- land and the U.S. (News to me!!). self whether it be pentatonics, strange Pathorn Srikaranonda or “Dr. From previous trips to “exotic” locales scales, odd rhythms, whatever. The Pat” as we called him, educated us (specifically India and Mauritania) I bottom line is that musical communi- throughout the week on various Thai try to make it a habit to search out the cation goes beyond the here and now. customs and traditional Thai music. opportunity to find the true musi- This might sound cliché but it’s true. What stood out to all of us in partic- cians of the country I am visiting and ular is how interested the King is in This recording and interaction jazz. Pathorn has been involved with interact with them, hopefully for a between the Thai musicians and recording at the least. After express- the King’s music for many years and “Expansions” (with Matt Vashlishan, has a very good understanding of his ing my wishes to the consulate person Bobby Avey, Tony Marino and Alex (thanks Kelly) and to Dr. Pat whose history playing saxophone and clari- Ritz) will resonate for years. I still net, as well as his composing. From article you will read accompany- remember doing a similar project in ing this column, we were suddenly the to present day, Thailand India, in 1975, with “Lookout Farm” has remained interested in jazz and surrounded by what I presume were and that still remains one folk musicians from Thailand. (As an this was very apparent when work- of the highlights of my musical life. ing with the students over the course aside, jazz is a “folk” music of sorts, The bottom line beyond the music meaning from the people.) In any of our week there. On one occasion is that Thailand is a beautiful coun- during one of Dave’s lectures about case, I took advantage of the situa- try with the most hospitable people tion and requested that we somehow transcription, we played a Miles around. Davis solo for them. Almost instantly record together. Visiting a home type * * * 22 The NOTE • Spring / Summer 2014 the entire room started singing along When Bhumi- with his solo! Jazz is everywhere, bol was 2 years old, the and many different kinds of people royal family moved back manage to find something in it that to Bangkok. After Prince resonates with them so much that Mahidol’s untimely death, they decide to devote at least a por- Princess Sangwal took tion of their lives to trying to play it her young children to be themselves. educated in Lausanne, During the evenings we visited Switzerland. Prince Anada several clubs in Bangkok where a was unexpectedly elected jazz band was performing, and we King when their uncle heard about several others as well. King Prajadhipok abdi- It is interesting to discover how far cated the throne without America’s true art form can travel issue. The royal family, from home. however, remained in Switzerland throughout. * * * Pathorn Srikaranonda: While living in Swit- zerland during the years His Majesty King Bhumibol between the World Wars, Adulyadej of Thailand was born the two royal princes Prince Bhumibol Aduldej in Cam- were encouraged to take music in Europe at that time was the bridge, Massachusetts on December up wind instruments for medical rea- craze from the New World – jazz. The 5, 1827. His father, Prince Mahidol, sons. King Ananda took up the clari- royal children, as any ordinary youth was a medical student at Harvard net while Prince Bhumibol took up at that time, quickly embraced this and his mother, Princess Sangwal, a the . The saxophone new sound. During the years that led nursing student at Simmons College. would become his love affair through- to World War II, jazz in Europe was Previously, the King’s royal parents out his life. During this period, the at its full swing. Prominent figures were living abroad while studying Princess Mother paid tuitions for her in jazz such as Sidney Bechet, Benny as the King’s elder siblings, Princess children’s music lessons. After three Carter, and the Galyani and the future King Ananda, years of basic training on the instru- likes, traveled to Europe and enjoyed were born in London and Heidelberg ments and theory, their celebrity status even more than respectively. the royal children started to play the in their own hometowns. music they preferred. The “hottest” Donated by Pathorn Srikaranonda. The King playing clarinet with the late Laykram Band (Manrat is already at piano) c.1956

Spring / Summer 2014 • The NOTE 23 In late 1945, the “Manrat” to him. royal family briefly By that time, many moved back to Thai- members of the Lay land in preparation Kram Band had left for King Ananda’s due to illness or coronation. While in old age. Eventually Bangkok, Prince Bhu- only two, the King mibol met his rela- and Manrat, were tive Prince Chakra- left in the band so band Pensiri. Prince Manrat asked the Chakraband was an King for a royal amateur song writer permission to take

who also embraced Photo provided by Pathorn Srikaranonda. in more musicians the new sound of to become the core jazz. After a brief con- Reception of gifts from the US Embassy of Thailand at the conclusion of the Expansions of the new band: The concert. FROM LEFT; Bobby Avey, Dave Liebman, Permanent Secretary of the Ministry versation about the of Foreign Affairs Mr. Sihasak Phuangketkeow, Ambassador Kristie Kenny, Pathorn Au Sau Friday Jazz blues, the impressed Srikaranonda, Matt Vashlishan, Alex Ritz, Tony Marino. Band. The reason Prince Chakraband behind this name was encouraged Prince Bhumibol to Viennese Waltz and wrote more than that Au Sau (or A.S.) are the initials take up jazz composition. A couple a dozen in that style, some of which of the King’s old residence, the Amb- of months passed by before Prince became a part of his “programmatic” hara Stan Villa where a radio station Bhumibol would pen his first royal ballet music the Kinari Suite, which of the same name was also located. tune, the soulful Candlelight Blues. was written in 1959. For this suite, The band, being the “official” band A month later, three more tunes were the College of Music and Perform- of the radio station, would broadcast written – “Love at Sundown,” “Fall- ing Arts in Vienna (now the Univer- live music every Friday night (there ing Rain” and “Near Dawn” – all sity of Music and Performing Arts) is even a royal composition called became the mainstay in Thai music presented the King with an honorary “Friday Night Rag”) and rehearse literature. Enjoying the early success, degree when he made an official visit on Sunday nights. So when the King Prince Bhumibol wanted to pursue to Vienna in 1964. The King also moved to the Chitralada Palace, he his music career and study music in a penned four marches for the military also moved the radio station with European conservatory. branches and five anthems for univer- him but did not change the name so sities and other establishments. There A good start it may seem, how- the name Au Sau Friday Jazz Band are also five compositions where the ever with King Ananda’s tragic death remains in present day. These musi- King wrote the lyrics (in English) from a gun accident on June 9, 1946, cians were not the only ones who himself, all of which are love songs Prince Bhumibol became King in his have the privilege to play music with dedicated to his wife, the Queen. The brother’s place and his dream of a the King. Some foreign musicians last two songs, written in 1994 and music career came to a halt. When were also granted audiences. Among 1995, are musical settings to poems he returned to Switzerland, the new the list includes big names in jazz written by his second daughter, Prin- King switched his studies to law and such as , Benny Good- cess Sirindhorn during her youth. In political science in order to prepare to man, , Stan Getz, 2004, the University of North Texas be king. No more professional career Benny Carter, presented the King with an Honorary in music, however the King still and the most recent, the Preserva- Doctor of Music in composition for continued to play and compose music tion Hall Jazz Band, who awarded the his contributions in the field of jazz throughout his life and still does up King with an honorary membership. composition. to the present day. In 1998, the Yale School of Music also presented the King with the cultural * * * citation and the Sanford Medal for * * * Jazz musician Royal Compositions his unique role in musical life of his Since his earliest time back in country, particularly the influence Of all 49 compositions written Bangkok for good in 1950, the through his music that takes between 1946 and 1995, nearly half formed an amateur band composed of roots in the Thai society since 1946. are in a jazz style. More than a dozen mostly royal relatives playing differ- are written in his favorite style, New At present, the King no longer ent kinds of music, which included Orleans/Dixieland. The best-known composes music. At the age of 86 he some traditional Thai instruments. pieces are the blues such as “HM still enjoys the company of his Au Sau The King would play clarinet and Blues” and “Candlelight Blues,” and Friday friends, who drive down every in the band. He named the show tune type such as “Love at weekend to Klai Kangwon Palace, the it “Lay Kram” – meaning “antique” Sundown” and “Can’t You Ever See.” King’s current residence in the South. due to the age of most musicians in There is even a Broadway hit called They spend time together playing the band. In 1954, the King granted a “Blue Night” which caused a sensa- jazz as they have been doing for more royal audience to a young Portuguese- tion in New York City in 1950. Apart than half a century. Thai pianist, whom the previous from this, he was also fond of the year the King granted a Thai name U 24 The NOTE • Spring / Summer 2014 From The ACMJC Oral History Project

Interview with Saxophonist Joe Temperley Jonno Rattman By Jay Rattman [JR] And who was your teacher? [JT] He was just a local guy, you know? He was January 6, 2010 also a coal miner and he played in little local dance [Jay Rattman] Let’s see, it’s January 6, 2010, and I’m here bands, which I gravitated to after a couple of years. I with Joe Temperley at the Manhattan School of Music, and I want started playing in these little dance bands around the to thank you very much for speaking today. area. Around there, you know they had these little places called miners institutes where everybody used [Joe Temperley] Oh it’s my pleasure to be here, you to congregate, and they had meetings, and socials, and know I was looking forward to this. weddings and galas—all kinds of things. They had one [JR] Good. So let’s start at the very beginning. Where and in practically every town in the area. So that’s what I when were you born? was doing. [JT] 1929 in a place called Cowdenbeath, Scotland, There used to be a musical paper called “The which was a coal mining area. It’s no longer a coal Melody Maker” in London and they had a dance band mining area because you know, people don’t use coal competition, which was nation-wide, and they divided anymore. Back then it was a very vibrant coal mining the country into different sections. So we went in for area. There wasn’t much in the way of music going on, this dance band competition in our area and of course unfortunately. we didn’t win. We weren’t really good enough to even come anywhere close to that, but a few weeks later, [JR] Was anyone in your family musical? the band that won was from Glasgow. Now Glasgow is a big city as far as I was concerned. So the band that [JT] No, nobody. won, the bandleader sent a letter to the bandleader [JR] So how did you start playing? that I was associated with and asked if I would be willing to come through and rehearse with their band [JT] My brother bought me a saxophone; an alto and go to the finals in Manchester. Now that was a for my 14th birthday. big deal! That was a really auspicious occasion for all [JR] Did he play at the time? the finalist bands that met in Manchester. So I used [JT] He played the trumpet, but not very well. I to go to Glasgow every Sunday to rehearse with this had a few lessons, but unfortunately after about six band. I guess I did it probably for three or four months. months I could play better than the teacher. So that Finally, I went to Manchester with this band and we was about the extent of my musical education at that played a couple of tunes. Of course, we time. didn’t come anywhere either. The band that won prob- Spring / Summer 2014 • The NOTE 25 ably came from London or that area, because they were left to go out on his own and I took his much more proficient. But anyway, through done doing place, so I was playing tenor that time. So that’s how that, I got a job in a in Glasgow, called the I came to be with ’s band. I stayed there Piccadilly Club, which was on Sauchiehall Street. So, probably two or three years and then I started free- I was sort of more or less on my way, [laughs], so to lancing around London and stuff and finally ended speak. I maybe worked there for 18 months or 2 years, up playing with . There was a or something like that. I met this really fine trumpet bandleader called Humphrey Lyttelton. He had a sort player who’d worked in London. He worked in London of jazz band; we played . , for a long time and he had come back to Scotland, you sort of Basie, sort of stuff, Ellington – a lot of Elling- know he wanted to sort of settle down and he came ton stuff – and we used to do tours with Buck Clayton back to Scotland. He took me sort of under his wing; and and and people like his name was Jimmy Morgan and he was a beautiful that. I stayed there until I came to the states. I stayed trumpet player. He took me under his wing and taught with Humphrey probably for about 8-9 years, and then me a lot of stuff. I started studying with a saxophone I came to New York. player in Glasgow called Bobby Thompson who had a I had previously been to New York in 1959 to do big reputation at that time. So that was really the ex- a tour; a big tour with this British band. On this tour tent of Glasgow. I used to make 10 pounds a week but I was the Thelonious Monk quartet, used to make 15 pounds a week playing Snooker… with a brass section, and Warne Marsh [JR] Playing what? with Lenny Tristano, the Cannonball Adderley sextet, and Anita O’Day. It was all one, big package. That was [JT] Playing Snooker. a good introduction to what was happening in New [JR] What’s that? York. Then we were there in New York for this tour for [JT] Snooker, it’s like a form of pool only you play best part of the month and spent some time in there. I with 15 red balls and a series of colored balls. Like a was going down to the Five Spot to hear yellow ball and a green and brown and blue and pink and – they were working at the Five Spot and black. And I was pretty good at that. I used to at that time. So that was my introduction to New York. make more money doing that than I did playing the I went back to England but then I thought “I’ll come saxophone in this nightclub. back to New York at a later time.” So I went back to England in 1959 and came back to New York in 1965. But anyway, the next thing that happened was there was a band from Scotland and the band leader’s [JR] Before that, how much jazz from America had you name was Tommy Sampson and he had this big band. heard? Big bands used to come up to Glasgow to play at a [JT] Well, there was a union ban that banned place called “Green’s Playhouse,” and I did an audition American musicians from coming in to the country. there with Tommy Sampson and through doing the au- But that was all changed when and the dition, I got a job with Tommy Sampson and went back Rolling Stones became world famous and they were to London with him. So then I was in London. This coming to America. That opened the floodgates for must have been probably around the mid 50s or some- people to come to England. So we got the best of it: where around there. Then I started looking at London, they got the Beatles and , but we got by then I was based in London, and there were many Duke Ellington, Count Basie, Al and Zoot, Coleman more opportunities in London to associate with dif- Hawkins, Ben Webster and people like that. So that ferent people. Up to then I had tried to play somewhat opened up the jazz world, so to speak, at that time. “jazz” but mostly I was playing dance music, and mak- ing a living, things like that. [JR] When you were first starting, who were your favorite musicians to listen to or who were your early influences? I played with Tommy Sampson for a while and then after that I went with this clarinet player; his name [JT] The first record I ever heard was Cab Callo- was Harry Parry and he had a radio rhythm club sextet way’s band and on one side was , and and he was pretty famous. He had clarinet, trumpet, on the other side was Chu Berry playing “Willow Weep and saxophone, and a rhythm section, and a singer. So For Me.” I can’t remember the name of the Hilton Jef- I started doing that and did that for a couple of years ferson [sings]. The big record over there was “Sing, and then I went with this famous dance band, Joe Loss, Sing, Sing,” you know, by Benny Goodman. We had a who was probably the most famous dance band leader sort of jazz club, and we used to meet and play “Sing, in the country at that time. But at that time, we used Sing, Sing” [laughs]. And that brought me all the way to play “In the Mood” three or four times a night and to New York. [laughs] “Woodchopper’s Ball” and things like that. He [JR] And when exactly did you move to New York? was a real businessman. I mean, he wasn’t interested in musicians or musicality or anything like that. It was [JT] I came to New York on the 16th of December business to him. If we played in a dance hall that held in 1965. I remember walking down the street with 2,000 people and only 1,600 people showed up, well Gene Quill and he said, “Why did you come here? then he considered that lost money. You know, that There’s nothing down here.” And you know, there was the kind of mentality. were musicians all over the place. Every hotel had a band and there were like four or five television shows From there I was making progress, and I went to a in New York. I mean a whole lot of things going on, band called Jack Parnell, and Jack Parnell had a really compared to today. Now you’re quite entitled to say hot band then. The place I took was Ronnie Scott’s. nowadays “There’s nothing happening in New York,” 26 The NOTE • Spring / Summer 2014 but then to me there was a whole lot of stuff happen- like, “My god. What am I doing here?!” ing in New York. But, I had to wait six months to be [JR] Yeah. [laughs] And when you first got to New York, did in a Union so I went to work in a department store: in Korvette’s on 5th Avenue. I worked there for maybe you ever get any sort of weird vibe “because you were from Scot- the best part of six months, and then and land” or “because you didn’t fit the mold,” whatever that was? got me on Woody’s band, and that’s how I [JT] No, no, I never got anything like that. I got started. In was Joe Romano, Sal weirder vibes when I went back to Scotland. They used Nistico, and myself. So that was a real to call me Joe the Yank. eye-opener, especially to hear . What a great [JR] Really? player! [JT] Yeah, but you know I never experienced any- I stayed with Woody’s band a couple of years, but one like that. it was very grueling. There used to be some awful bus journeys. It was a hard life, you know: 10-hour bus ride [JR] That’s good. and you’d get to the job 20 minutes before you had to [JT] It was a little tricky with Woody at one time. hit, then change your clothes in the toilet downstairs Around the time that Dr. Martin Luther King was as- and play all night. And then, maybe sleep that night sassinated and there was a lot of bitterness and it was and then the next night you would hit and run; but a terrible – it was really a sad time. We you play the gig. You sleep all night and just lost – and then a little while later travel all day to the gig, Robert Kennedy was assassinated. and play the gig – this is The intriguing thing about Sal was the second night – play that he was completely obsessed with the gig and then travel who shot President Kennedy. He all night to save a night’s spent his whole life trying to figure rent. Those were the days. it out. But that was a bad time. Riots That happened all the in Newark, and a bad feeling. But time. After I had enough happily, we’ve sort of come through of that touring and stuff, all that. I just couldn’t do it any- more. I came back to New [JR] At one point you mentioned that York and by that time I you studied with Joe Allard? was semi-established and [JT] Yeah. I started working around New York and started [JR] And when was that? subbing a lot for Pepper [JT] That was around that [Adams]. I used to sub for time, in the late 60s. Pepper quite a lot. Then Pep- per’s mother got very sick [JR] And what was that like? and he went back to De- [JT] That was a real great troit. So I played with Thad experience. I studied also with and Mel for three and a half Harold Benett [flautist with the Metropolitan Opera years. All the time Pepper was back in , I was Orchestra], but I was never able to make any connec- his permanent sub. This was in the late 60s, early 70s. tion with the flute; it didn’t appeal to me at all. You So that was a real eye-opener and a wonderful experi- know, I sounded like a police whistle and I couldn’t ence. And you know, to me, that’s one of the greatest really associate myself with the flute. bands of all time. [JR] Sure. [JR] Absolutely. [JT] But Joe Allard, I learned a lot of things from [JT] I would like to play with that band now! I Joe, especially about the mechanics of playing; the wasn’t ready for it then, but I would like to play with mechanics on how to make reeds work and how to deal them band now. with mouthpieces and all that kind of thing. I’ve played [JR] Yeah. the same mouthpiece forever. I’ve played a mouthpiece on my – I’ve played it for 40 years, the [JT] Of course, it’s a whole different band now. But same mouthpiece. I’m always terrified I’m going to bite that was a wonderful band; there were some great play- through it. I tried all kinds of other mouthpieces but I ers in that band. can’t get the timbre of this particular one. I got it from [JR] Who in particular really stood out to you? a guy called Bob Pierson who was on Woody’s band. He loaned it to me and when I got it, I played it for a [JT] Well the saxophone section was Jerome Rich- little while and I said to him, “you know, I’m gonna ardson, Jerry Dodgion, , and Eddie Daniels, keep this.” He didn’t have a bass clarinet. So I said, so that was really something. Eddie Daniels used to “any time you need a bass clarinet, you can borrow amaze me because we used to play a thing called “Fin- mine, but I’m borrowing your mouthpiece,” and I’ve gers” which was at breakneck speed. And one night, had it since then. Bob died about four or five years ago Eddie would play it on the piccolo and the next night in Las Vegas, so I guess I could keep it now. he played it on the flute and the next night he played it on the tenor and then he played on the clarinet. I’m Anyway, after Thad and Mel, by that time I was Spring / Summer 2014 • The NOTE 27 busy working in New York; I’m doing all kinds of dif- with Duke Ellington in 1974? ferent things. I played in a lot of jazz clubs, and I’ve [JT] Well in 1974, first of all, Ellington died in played a lot of big bands. At that time, everybody had April. And then Harry [Carney] died in November. a big band. had a band, had Harry was a good friend, I knew him well. a band, had a band, had a band. There were all these people – it was all the same [JR] How did you first meet him? people who worked with all these different bandlead- [JT] I met him in England. When the band came ers, you know? to England, they did about 26 concerts and we prob- [JR] Right. ably saw 22 or 23 of them. We just got in the car and drove around all over the country. Wherever they went, [JT] Everybody was working in New York. I re- we followed them. I got to know Harry pretty well and member we were working at the Half Note with Joe when Harry died, John Gensel was the pastor at the Henderson and we played for the door. And I think Lutheran church on 54th Street. He was the “shepard we played Friday, Saturday, and Sunday for $8 each or of the night flock,” that’s what Ellington used to call something like that. him. He asked me if I wanted to play at Harry’s fu- [JR] Huh. neral, so I played “,” and then that’s how I came to be in the band. Mercer [Ellington] was [JT] But nobody cared, because everybody was sitting there and he offered me the job and I started working all the time. working with the Ellington [JR] Right. band. But it wasn’t the same; [JT] That was a great experi- it wasn’t the same Ellington ence. band, but it was still a pretty good band. It just didn’t [JR] What were the more lucrative sound like Duke Ellington. gigs back then? [JR] And what year was this [JT] Oh, well, doing things like that Ellington came to England telethons and those kind of gigs. when you saw him? [JR] Uh-huh. [JT] 1958. We spent a [JT] Those gigs paid well—I lot of time with the band remember one time I made a record there, too. with John Lennon and it was like [JR] Was that the same trip 1968 or something and we recorded where he met the Queen? the whole day and we made $1700 and that was a lot of money then. [JT] Yeah. That was in Leeds. There was a big [JR] Yeah. festival at Leeds, and I [JT] And the record was terrible. was there with Humphrey You know, we had no music; we Lyttelton and the Ellington were just making it up, and double band was there. We went tracking: like we’d play and then out to eat one night and I was sitting there play again on the same track. I couldn’t understand any amazed by the way some of the guys ate there. Quentin of it, you know, but the fact was the money was nice. Jackson ordered five pork chops with five eggs on top [laughs]. [JR] [laughs] It allowed you to play $8 gigs with Joe Hen- derson. [JR] Woah! [JT] That’s right, yeah, and at that time I was [JT] [Laughs] And , he ate a whole working at the Rainbow Room. I worked there a lot, steak dinner and then he had a fish dinner and then he especially with Joe Williams. That was nice, with had something else. But I guess, you know, probably Norman Simmons, Lisle Atkinson, and . traveling all day and you don’t get a chance to eat. I used to look forward to that. We used to do a lot of [JR] Sure. things. The great thing about Joe was he never told you what he was going to sing. But New York was vibrant [JT] They make up for it after the gig [laughs]. then. You could go and hear Al and Zoot; go one night [JR] Right. and Phil would be sitting in with them and another night would be sitting in with them. [JT] I was there off and on for a couple of years. I You could go hear and sit all night, buy worked off and on with the band but I didn’t stay be- a bottle of beer, two bottles of beer, and sit all night cause I didn’t want to be touring all that much. I went and listen to the music. Not like now, you gotta pay a to Japan with them a couple times, and I went to Eu- deposit to get in the door. rope a couple times. And then they got the Broadway show, “.” I did that for two years. [JR] Heh. Previous to that I played “Brigadoon” for probably 10 [JT] Yeah. or 11 months. That was a beautiful job because that had a woodwind sextet and it was really great going to [JR] So how did it come about that you toured and recorded work and playing in that context every night. 28 The NOTE • Spring / Summer 2014 [JR] What instruments were in your book? lot of respect for him. [JT] I played bass saxophone, bass clarinet, and a [JR] What have been some of the highlights of your experi- little flute and clarinet, but mostly bass clarinet and ences working with that band? doubling with the bassoon. The bassoonist was a man called Sandy Sharoff who was a wonderful player and [JT] Oh well you know, different aspects of tour- a great friend of mine. When he did “West Side Story,” ing. Like going to China, and going to Korea, going to Bernstein made a special solo for him. He was a great Australia, Brazil, and Russia, all over Europe. There’s player. Al Regni was there too, and Al was a really talk of us going to Cuba. great player too. There were a couple of people from [JR] Really? the American Symphony; there was the clarinet player, [JT] They’ve been talking like that for a while so and the and English horn player. It really was a I don’t know, but I would like to see it happen one of thrill to play in that context every night. these days. But we’ve been everywhere. Wynton also [JR] One of my favorites songs is from that show, “Heather writes a lot of orchestral things so we get a chance to on the Hill.” play with symphony orchestras. [JT] “Heather on the Hill,” yeah. My hometown [JR] Right. in Scotland, I call that “Brigadoon” because ever since [JT] We played with the Chicago Symphony, Bos- I was a kid, it’s never changed. It’s always looked the ton Symphony, ; we recorded same to this very day… with the LA Philharmonic; we played with the Con- So we did “Sophisticated Ladies” for almost two certgebouw Orchestra; we played with Berlin Philhar- years. The band played on stage, and that was a lot of monic. In fact, we’re going to Berlin to play with the fun. Philharmonic next June, to spend 10 days with them. So Wynton wrote a piece called “All Rise,” which [JR] What years were those? consisted of the band plus the symphony orchestra plus [JT] That was 1980. the Morgan State Choir. It was a huge undertaking, so I [JR] Okay. would imagine he’s in the process of writing something like that for Berlin. [JT] was in the show and and Judith Jamison. It was great. There was a [JR] How do all these orchestras compare? wonderful singer whose name was Patricia Baskerville. [JT] Well I would say at that level of orchestra, She was a wonderful singer. That was enjoyable too, they’re all pretty good orchestras; they’re wonderful but I got tired of the routine of working on Broadway. orchestras. I’ve met some great players in those or- You know, once you go there and sit down and start chestras; became friendly with a lot of different people. playing it’s OK but just the thought of it. [Laughs] One time in Chicago, I heard a trumpet player with Dragging yourself in there every night. the most beautiful sound. I said to somebody, “Who’s [JR] Huh. that?” and he said, “Oh that’s so-and-so and he’s 90 years old.” [Editor’s note: most likely this was Adolph [JT] And after that came Wynton [Marsalis]. “Bud” Herseth.] That’s when I met Wynton, around that time. [ JR] Wow. [JR] And how did you meet him? [JT] And he was one of the principal trumpet play- [JT] About two or three years later, after “Sophis- ers for the Chicago Symphony at that time. ticated Lady,” I started playing with Wynton. When the Lincoln Center Band was first put together, it was more [JR] Right. or less to play Ellington music. So there were a lot of [JT] He had the most wonderful sound. And here Ellington people there, you know. The first saxophone I am, this present day. I found a wonderful career in section was Frank Wess, , Joe Hender- America, much more than I ever dreamed of when I son, , and me. That was the first saxo- left to come here. phone section. After Joe Henderson left, Todd Williams came in. He worked for a while with us, Todd. He’s a [JR] Could you tell me about the Fife Youth Jazz Orchestra great player, too. And then gradually, Wynton sort of and what that is? brought his septet: Victor Goines, Eric Reed, Herlin [JT] Well that came about when I met this school- Riley… Veal? teacher named Richard Michaels and he was talking about this Fife Youth Orchestra. I used to spend a lot [JR] Reginald Veal. of time going back to Scotland at the time. [JT] Reginald Veal. Yeah, and Wess Anderson. Gradually those people came into the band. We started [JR] What time was that? playing with the band in ’87 or something like that, [JT] That was around the late 1970s and 1980s. and in 1990 we became a constituency and we started And we finally got together and we started off with 11 from there. We started touring and working all the kids. We had a seminar, a summer school with 11 kids, time and I’ve been there ever since. and we built it up in the span of oh, five, six, seven years, something like that. It became 70 kids. That’s [JR] So I guess you like it. like three full-scale orchestras; big bands. There were [JT] I do, yeah. I love working for Wynton, I love little kids, 8, 10, 11 years old, and then there were Wynton dearly because he’s a wonderful man. I have a Spring / Summer 2014 • The NOTE 29 intermediate kids between 11 and 15, and then the [JT] I don’t have any hard or fast method. The senior kids. It is still thriving and still doing well. But thing that I like to teach is to teach people how to be unfortunately I don’t have the time to get there, too themselves and how to get a sound and how to ap- much. Every time I say I’m going to go there something proach music and their musicianship in their own way, comes up and I can’t go. Maybe this year. I think this and try and deal with that, rather than make them… year we’ll have some time off in the summer. I mean, I like to play exercise books and play duets Last year we [Lincoln Center Jazz Orchestra] went and things like that with them, too, but I really try to to 7 different countries in July. You know, it’s not fun encourage people to figure out how to make a living anymore. Trying to deal with airports and crowds… in the music business, because not everybody can be a Getting instruments on planes and getting luggage on jazz star. That’s not possible. planes. And people have computers nowadays. People [JR] Right. travel with computers, and they have all kinds of key - [JT] Not everybody. I mean there are a few special boards and that all stuff. Touring is a lot different now people that can do that and God bless them and good than it was. luck to them, but not everybody can do that. So the [JR] How many weeks a year is the band out on the road? thing is to try to encourage people to make a living as [JT] I would say last year we were probably out a musician. Not to go into some obscure club and line about 14 to 16 weeks, something like that. Three dif- up to play 85 choruses of blues. First of all, encour- ferent tours. A tour usually lasts about three to four age them to play all the saxophones. Then encourage weeks. Like in March, we’re going to do a tour and it’s them to play the clarinet, which is very important. about three and a half weeks. And in June we’re away And a lot of people don’t want to do that, you know? A the whole of June. We have 10 days in Berlin and then lot of people say, “Well I’m an alto player.” No, you’re a week in London at the Barbican. That takes us up a saxophone player. You should be able to play any to the 21st of June, and the rest of June is going to be saxophone. And also, you have to play the clarinet and spent doing some one-nighters in the rest of the UK the flute if you want to have a family and a house and a until the 30th. Then we come back to the States. Then car. So that’s my approach to teaching. I think we’re off for all of July and August as far as I [JR] And from your perspective of these schools, do you think know, which I’m looking forward to. there’s anything missing from jazz education? Or what would you [JR] Yeah, I’ll bet. change about the overall approach that you see? [JT] Maybe I’ll get a chance to go to Scotland. [JT] The only thing I see – the only fault I find is the obsession with John Coltrane. I mean I love John [JR] How often do you make it back there? Coltrane. I’ve always loved John Coltrane, but there’s [JT] Well I was there in August; I went to the Ed- a whole lot of other saxophone players who are never inburgh Jazz Festival and spent about a week in Edin- mentioned as far as I can see in these schools. Like no- burgh, which is a beautiful town. body talks about the way that Zoot can play a melody and sing a song, you know, or Al Cohn’s approach to [JR] Yeah. playing and Stan Getz and Phil Woods, and differ- [JT] My hometown was probably about 20 miles ent people like that are never brought up at all. I try from Edinburgh, over the other side of the Firth of to encourage my students to listen to people like Bud Forth. So hopefully… You know, I like to go back there. Freeman, and when I tell people that had It’s the only time I ever get a chance to play golf. It’s a big influence on , they don’t believe it, too hard to play golf around New York. but he did. Bud Freeman and, who was the other one, that C melody saxophone player? [JR] I’ll bet. [JR] Frankie Trumbauer? [JT] I gave it up. You know, getting up at 5 o’clock in the morning and driving for an hour and a half and [JT] Frankie Trumbauer. They had a big influence then waiting for maybe an hour or an hour and 15 min- on Lester Young. utes. And then it takes between five and six hours to [JR] Yeah. play because it’s so small. It’s not fun. In Scotland, you play golf for three and a half hours and it’s over. You [JT] And what a wonderful saxophone player walk up to the course, head straight out. Three and a was. half hours, walking. [JR] Yeah. [JR] Yeah. [JT] And a wonderful clarinet player, you know? I [JT] I guess right out where you live you can play get my students to make transcriptions of things like golf. [Pocono Mountains, Pennsylvania] that. Don Bias to me is another important saxophone player. too. You know there are a [JR] Yeah I think so. whole lot of people. But the emphasis is all the time [JT] Yeah. on John Coltrane; it’s not Coltrane’s fault, of course. I like Al Cohn’s description of “.” “Do you [JR] Well having taught for nearly 18 years at Manhattan play “Giant Steps?” He said, “Yes, but I play my own School of Music and the past number of years at Julliard since changes.” their program started, how do you approach teaching? Or what has teaching been in your career? [JR] [laughs] That’s great.

30 The NOTE • Spring / Summer 2014 [JT] The thing about listening to music is, listen- [JR] That’s great. ing to the difference between and Vladimir [JT] Well I’ve played it at people’s funerals; I’ve Horowitz, you know, things like that. played at people’s weddings. It’s a great piece. And I [JR] Yeah. love playing the bass clarinet. [JT] . You know, people forget about [JR] Yeah, the piece seems like it’s written for the bass clari- that. I don’t enjoy going to jazz clubs because to me, net. nowadays, everything is too loud, especially the bass or [JT] Absolutely! the drums. Way too loud! [JR] It’s got that low D-flat in it. [JR] Why do you think that happened? [JT] I first heard it when Ben Webster played it [JT] I guess people tried to play like Elvin. with . [JR] Huh. Interesting. [JR] Hmm. [JT] Maybe that’s what it is, I don’t know. Amplifi- [JT] Well, the first time I’ve heard it was in the ers too, of course. Bass players turn up their amplifier, “Queen’s Suite,” with Ellington as a piano solo. But and now the bass player is louder than the whole band. then, I’ve got this record of Ben Webster, and all of a [JR] [laughs] Are there any people today that you particu- sudden, I heard him playing the “The Queen’s Suite,” larly like or that you think are playing music that you like better? playing “A Single Pedal.” I’m really a big fan of Duke Ellington, I guess; Billy Strayhorn too. I just love that [JT] Uh, yeah! I have to think about that. I don’t music. know. In days gone by, there were so many people to go and listen to, you know? [JR] What’s your favorite recording by the band? [JR] Mm-hmm [JT] My favorite Ellington record is “And His [JT] But you can’t do that anymore. I don’t want Mother Called Him Bill.” to go to a club and hear somebody’s “project.” I don’t [JR] Yeah. All the Billy Strayhorn tunes. want to hear a band trying to play like Cannonball. [JT] Yeah. But the band is so good. And the record [JR] Right. that Dizzy plays a solo on, uh, on U.M.M.G. [Upper Manhattan Medical Group, from the album .] [JT] I don’t want that. Or, the Beatles Project, you know, stuff like that. What I want to hear at the club is [JR] Oh right, right. somebody playing like themselves. [JT] With all of the percussion instruments. That’s [JR] Sure. a great record too, because of Dizzy. That solo he plays is so—not many people can play a really authentic solo [JT] That’s hard to find nowadays. on that tune. [JR] You’ve released some CDs over the past few years haven’t [JR] Yeah. you? [JT] That’s a great piece. But that band was funny, [JT] Yeah. you know, when they came to England. They did two [JR] “Concerto for Joe” and “Double Duke” and… shows a night, and I used to go to the first show, and [JT] The last one I did was Sinatra. I enjoyed the there would be about six people on the bandstand. Sinatra album. There’d be Jimmy Hamilton, , Russel Procope, and maybe Lawrence Brown and Cat Ander- [JR] Oh right. son and the rhythm section. And Harry Carney would [JT] Yeah. beat off, “Take the A-Train,” and they’d play “Take the A-Train” and make it sound exactly the same. [JR] Do you have any projects coming up that you’re working on? [JR] Even with all those people missing. [JT] I’m thinking about recording again in May. I [JT] [laughs] With everybody missing, it still sound- just recorded one track for a Japanese project. I’ve been ed the same, and then people used to drift in. They’d playing this tune called “A Single Pedal of a Rose” on play a couple of tunes and then somebody would come bass clarinet for quite some time now. on, and then another couple of people would come on, and always the tune before intermission, Johnny [JR] Right. In “The Queen’s Suite.” Hodges would walk out. And then Paul [Gonsalves] [JT] Yeah. In fact, the lady heard me play at Lin- wouldn’t appear for the second half. But he would ap- coln Center. She took me and my wife; she flew us first pear, sit down, and go to sleep. class to Paris and put us up for five days and I played I think we should have a little toot on the soprano that one tune at a wedding. now. [JR] Hmm. [JR] I think that sounds good. Well, thank you so much for [JT] With , the piano player in the sharing all of this. band. Just to go over there for that one tune. It was a [JT] Oh, my pleasure. I can’t believe I actually did wonderful experience [laughs]. all that stuff, when I think about it. U Spring / Summer 2014 • The NOTE 31 David Liebman - Straight Talk

Understanding the Common Qualities that Artists Possess Part 1 of 2 Matt Vashlishan

ollowing is a transcription of informal quality…straight-forward emphasis of their discussion with a talk that I gave to a class of vibe basically, just plain folks. These you was, is how the word “integrity” F students at East Stroudsburg are the kind of people you can talk enters into the life of these artists. University of Pennsylvania for the to anywhere. This is not to dispar- Integrity is a word that gets bandied conclusion of a course titled “Mas- age any other field or any other kind around a lot and means different ters of Jazz.” For 12 sessions, guest of music, but the idea of the prima things to different people. I think musicians spoke about their lives to donna, the idea of the “great artist” for the most part what you saw are the students. The textbook for the sitting in an ivory tower aloof and people who are so true and connected course was my “Self Portrait of A Jazz away from the real world for the most to what they do that it would be very Artist” (Advance Music). The topic part really doesn’t exist among jazz difficult to imagine them moving for the talk was to describe and un- musicians. It’s just not in their “M.O.” from that place. Their ways of achiev- derstand the common qualities that I think that is something we really ing what they want are going to be, these artists possess which define value. I’m not saying that they’re not for the most part, honest, moral and success in jazz and in life. sometimes quite introspective and ethical. And that is I would say, a very I wrote down a few of what I like their privacy and so forth, but common trait among jazz musicians. would describe as common qualities they’re the kind of people who don’t They are very straight, honest people that you saw in these speakers, in holds airs or come on strong with an in that respect with no game-playing. various intensities, that you will find attitude. To me, that’s a very endear- These are not the kind of people that in the real world no matter what you ing quality in common with all the are going to take the money and run. do, no matter what field you encoun- jazz musicians I’ve met. And by the For the most part there is a real hon- ter. I think there are some general way, this is true all over the world esty about intentions and personal lessons here that you can observe regardless of language. That’s a nice dealings. and then there are some very unique thing to see and something that I feel What is it that makes these things that we only see so with such anyone would prefer to encounter in common traits among people who intensity in the jazz field. the real world but of course that isn’t come from all different experiences? One of the things I really admire always going to be the case. This is I always go back to the fact that the about the musicians, maybe the definitely something in common with music is the source of the truths and main thing is that the musicians and the artists you have seen here. our principles. In other words, what people involved in jazz are in it for Another thing that you might we heard, and you heard everybody the music and possess a certain kind have noticed, again depending on talk about their influences --- who of --- I’m going to say it slang-wise what each of the people spoke spe- inspired them, how they started, --- a certain kind of down-home, cifically about, meaning what the what gave them the idea to even 32 The NOTE • Spring / Summer 2014 play --- what you find in the music there are saxophones in the corner -- the ability to project ahead into the is usually something much higher on the floor, reeds, music paper, future. and much more spiritual, much more pencils strewn all about, and go to Obviously a big thing, and this balanced than your life or the life you some other studio and everything you probably got very clearly from see around you. The music is per- is in boxes and neatly stacked. This all the speakers as they spoke about fect, after that it’s what we bring to would reflect an obvious difference their past and their lives and how the music. When you listen to those in the style. But I think, beyond the they developed is the ability to learn who inspired you, you are turned on style, beyond the way one does it, for from experience. How to take a by the beauty, the logic, all the great somebody to be able to play and be kernel of information and let that intellect and the great technique. involved in this music, you have had be a lesson to do something better That beauty that comes through the to be organized somewhere, some- the next time. Now we do it every music I have always felt showed me a how. Because there’s no way that you minute with the music. If we see a better way to be as a person. In other could amass this kind of information, chord change, or we see a new pat- words, if I had a doubt about how to to be able to spit it out in a spontane- tern, or we see something musically be, I would listen to Coltrane who ous way in such rapidity that we do in that is thrown in front of us that is would straighten me out, especially jazz without being organized in some unusual, the way we handle that is when I was in that period of my life fashion. I mean like a computer. The a preparation for the next time that searching for how to be which was boxes in the brain are divided up into comes up. We may not realize it but my early 20s for the most part. In little segments which work. They’re of course we’re honing our abilities… other words, when questions arose different for everybody but they are we’re disciplining ourselves every about which way I should go, the kind very, very clear. There’s no way that time we see that particular problem. of things that one confronts in life, they would get to this kind of level if One might say: “Well you know what, when I would listen to Coltrane, it they weren’t like that. I saw this chord progression which would make me say: “Well there’s no Another thing that’s in common, was very difficult in this tune that I question about which way I have to that goes along with the organization did on a recording date. I got through follow.” So there’s something about principle, is the ability to project, to it but it was a bitch to play. I’m taking the music that gives a sense of integ- think ahead, to imagine. It’s thinking it home, I’m going to practice it and rity and direction to those who love about a situation, about what will it write 20 extra exercises on it to make and devote themselves to it. This is a be like, what is happening tomorrow, a study out of it.” Well, that’s quite definite common trait. what will the music sound like if I do organized and very, very disciplined. More to the practical world. I read this, where will the music be played, Another person might just be more a book years ago called “The Lives etc. In other words, what we spend spontaneous about it, in the sense of of the Great Composers.” It was by a a lot of our time doing is preparing saying: “Well you know that thing I very famous critic from the New York for the next event, whether it’s a gig, saw yesterday in the music was quite Times, Harold Schoenberg, a classi- or writing for a recording, or travel- challenging and I will remember cal music critic, very respected and ing, or organizing a tour. These are that and lodge it in that part of the so forth. It was biographies of all the very practical things. Or maybe I am brain that I can use for experience.” guys from, you know, Mozart right on preparing to learn something so that That’s very important…to learn from through the modern ones. I remem- possibly in a year or two I’m very experience. We do it with the music, ber my impression of the book was good at it. In other words I’ll learn which is no different from anybody in how different everybody was in the this piece and then I’ll get better any other part of life who learns from way they organized music. Some were through the discipline I’ve learned by experience. completely organized, I forget, it was studying. A musician has to be able But that’s what’s unusual about one of the H’s – Handel or Haydn, to imagine what things are going to one of those guys was so organized; us. What’s different from other be like, to project and not be afraid of people in this respect is that the mu- he had everything together, every- the future, or be scared about how it thing was copied, parts were together, sic made us become this way. That’s will sound…just go out on a limb. In how I feel about it. It wasn’t like we and he would hand it to the King or a way, that’s very tied to the spon- whomever and that would be it. One came on to the planet with these taneous nature of what we do, that things. We came in as anybody else, of the other dudes, Debussy or some- we’re playing on the spot, in the mo- body, was up at 5 in the morning the equipped with whatever our past is ment and we’re not sure how it’s go- and whatever our upbringing was. But night before it was due, copying the ing to work out. But even more than parts. I’m talking all geniuses, all when we got to the music, usually at that, even away from the instrument, a very impressionable age, it told us great, all different paths to the same it is the ability to really look ahead thing. A quality you see among all these things without even spelling it and say “What would happen if I did out. So they’re all things we got from these musicians, a quality you can this? And if I do this, what would glean from all of these speakers is music and then of course those that the results be?” That’s a certain kind are smart enough or that are aware some sense of organization. Now, if of ability. I don’t know if that comes you were to compare the organization will take these things and develop through the music or that comes be- them further. of Speaker A with the organization cause of the music, but I think that is of Speaker B and go to their studio, in common to a lot of jazz musicians To be continued . . . next issue. you’d see one guy’s studio where U Spring / Summer 2014 • The NOTE 33 Readers, please take NOTE

COTA Camp Jazz After Hours Quartet, Walt Bibinger, Bob Dorough, Diva, July 21-27, 2014 Founded in 2007 by Phil Woods, the La Cuchina, the COTA Cats, Co-Op Bop, Dennis Jeter, camp focuses on small group improvisation, inspiration and many more. Come celebrate the festival in its 37th and motivation for musicians ages 13 and up. Students year, the weekend after Labor Day. experience level specific study of harmony, ear training, www.cotajazz.org listening, history and more. The curriculum also includes the world-renowned Deer Head Inn, Red Rock Recording ZOOT Fest 2014 Studio sessions and a family gazebo concert. November 9, 2014 noon-6 p.m. Zoot Fest is a major annu- Faculty: Rick Chamberlain, Dr. Matt Vashlishan, Evan al fundraising event to benefit the Al Cohn Memorial Jazz Gregor, Bobby Avey, Sue Terry, Dr. Sherrie Maricle, Collection and its important outreach initiatives. A por- Spencer Reed, Jay Rattman with Master Classes with Phil tion of ticket proceeds will also benefit COTA Camp Jazz Woods, Dave Liebman, Bob Dorough and more… via a donation to the Delaware Water Gap Celebration of www.campjazz.org the Arts Fund for Young Musicians. This year Zoot Fest will be held in ESU’s new Innovation Center conveniently The 10th Annual Scranton Jazz Festival located off Interstate 80 at the Marshalls Creek exit. August 1-3, 2014 This summer The Scranton Jazz Festival www.jazzatesu.com will celebrate its 10th year at the historic Radisson Lacka- wanna Station Hotel and various downtown Scranton Pennsylvania Jazz Collective: venues. Attracting international, national, and regional Improving the future through arts education. jazz/blues and world beat artists, the SJF has proven to be The Pennsylvania Jazz Collective is a Lehigh Valley Penn- a “don’t miss” summer musical event! sylvania 501 (c) 3 non-profit, non-stock company, orga- www.scrantonjazzfestival.org nized exclusively for educational and charitable purposes, more specifically to foster jazz appreciation through a The Delaware Water Gap Celebration of regular series of educational initiatives, public perfor- the Arts (COTA) Festival mances, and special programs. September 5-7, 2014 Founded in 1978 by NEA Jazz Master “Pa Jazz focuses on the musical communication that is at the core Phil Woods, trombonist Rick Chamberlain and the late Ed of jazz, which is an expression of individuality and the spontane- Joubert primarily to share jazz and it’s relationship to all ous artistic language spoken within the context of a democratic art forms with neighbors, COTA has become a reunion of framework. We are cognizant that jazz performers and students old friends both on the stage and off. The festival features draw upon multiple educational and social disciplines to simul- many local jazz and visual artists that have made the Po- taneously interact in a manner that uniquely ties together many conos their home. This year the festival will feature: The educational disciplines and learning domains.” Absolut Trio, Evan Gregor and Matt Vashlishan Quartet www.pajazzcollective.org with Vic Juris and Jeff Hirschfield, Najwa Parkins and the Contributors & Acknowledgements

For additional information about the contributors to The NOTE, you can visit their websites: Phil Woods: www.philwoods.com Michael Stephans: www.michaelstephans.com Scarecrow Press: https://rowman.com/ISBN/978-0-8108-8290-4 David Liebman: www.daveliebman.com U.S. Embassy of Thailand: http://bangkok.usembassy.gov/ Jay Rattman: www.jayrattman.com Special thanks to: Marcia G. Welsh, Ph.D., Brenda Friday, Ph.D., and Edward Owusu-Ansah, Ph.D. for showing their support for the Al Cohn Memorial Jazz Collection and giving me the opportunity to continue to bring you this publication, Gor- don Jack and Jazz Journal International for the use of their article, Dr. Pathorn Srikaranonda and everyone at the U.S. Embassy for a memorable trip to write about and a wonderful CD package, Phil Woods for his continuous humour and ability to remember and articulate such great stories, Garth Woods and all of the ACMJC contributors for their spectacular photographs, Michael Stephans and Scarecrow Press for their permission to print a great excerpt and photo, Bob Bush and Colette LaMarche for the invaluable help getting me acquainted with the Collection and The NOTE, Charles de Bourbon for the graphic design and patience with my first issue, and the ESU Library Staff for being so welcoming and helpful during my first few months. 34 The NOTE • Spring / Summer 2014 Spring / Summer 2014 • The NOTE 35 Cannonball Adderley Photo by and donated by Herb Snitzer.