File Photo File

Claudio Roditi Trumpeter Roditi returns

for another BMF concert ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ ○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○ Winter 2004 Early in its history, the he began mixing with his na- Berman Music Foundation took tive music, during the 1960s bossa Vol. 9, Number 1 an interest in trumpeter Claudio nova boom. Roditi, bringing him to Lincoln for a He moved to the United States performance with saxophonist Greg in 1970 to study at the Berklee Col- Abate in February 1996. The con- lege of Music in Boston, where he cert at the now-defunct 7th Street picked up an occasional gig until Loft also featured pianist Phil moving to New York in 1976. In this issue of Jazz...... DeGreg, bassist Bob Bowman and Among other leaders who drummer Todd Strait, all of whom called on him were saxophonists Prez Sez...... 2 have maintained close ties with the and Joe Henderson, BMF. flutist , percussionist Rob Scheps/Zach Brock Review...... 5 Roditi returns to Lincoln and pianist McCoy Tomfoolery (T.S. Monk)...... 7 March 16 as guest soloist with the Tyner, but it was his relationship Interview...... 9 with Cuban saxophonist Paquito Nebraska Jazz Orchestra at the Friends of Jazz (Ted Eschliman)...... 12 Cornhusker Hotel ballroom, a per- D’Rivera beginning in the early formance again sponsored by the 1980s that best showcased his fi- Jazz on Disc...... 14 BMF. Roditi may not receive the ery Latin-tinged style. A versatile Discorama...... 16 worldwide recognition he so richly player on both trumpet and Sam Furnace Memorial...... 17 deserves, but he has friends and flugelhorn, he has recorded in nu- supporters in the Heartland. merous jazz settings and was a valu- Jim Jacobi CD Release Party...... 18 Referred to as the Kenny able member of ’s Dorham of the 1990s, Roditi has an United Nation Orchestra. exciting edge in his neo hardbop ap- As a leader, Roditi has re- proach. Born in Rio De Janeiro, corded for various labels, including Brazil, in 1946, he began playing Green Street (1984’s “Red on piano as a child, but turned to the Red”), Uptown (“Claudio”), Mile- trumpet at the age of 12. Listening stone (“Gemini Man” and “Slow to records by , Louis Fire”), Candid (“Two of Swords” Armstrong, Red Nichols and others, and the live “Milestones”), Reser- Claudio Roditi continued on page 3

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Looking ahead to a happy new jazz year ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○

Happy New Year, my friends. Photo File just a rising star, Ms. Shank is recog- Well, let’s see… Saddam was sunk, nized around the world as a stylist to Britney oopsed again, the good ole contend with. Her many kudos during Cornhuskers found another coach the past decade are richly deserved. (sorry, Bo) and, for me, the best of it We’re very fortunate to be able to see was celebrating two years with my and hear this most amazing chanteuse fabulous wife and soulmate Grace. and her East Coast-based band (fea- Glory Hallelujah! You’d think with all turing one of my favorite pianists and this that all was groovy—but I must get composers, Frank Kimbrough) the sec- one beef (mad-cow, perhaps) off my ond Tuesday in June. hairy chest. Batting third—and I’m very ex- Our local newspaper coverage of cited to hear her live for the first time— the “best of 2003” hardly mentioned our is trumpeter Ingrid Jensen. I’ve only lis- beloved jazz. By now I’m used to the tened to her Miles-inspired work on BMF not always being recognized as a CDs, but if you trust my taste, this show major mover and shaker of the arts Butch Berman is a must. A Hammond B-3 organist also around these parts, but to omit most of is expected to be in her entourage. the great artists who graced our stages the excellent leadership of the most The aforementioned Mr. last year was a real travesty. I guess astute Doug Campbell and other able Eschliman scored huge with a bullet last when one reviewer includes only the colleagues, such as Tom Range, a true season, bringing in the most talented “red-hat” acts that the national media jazz fan; Dietze Music House’s Ted Don Stiernberg, a vastly underrated jazz proclaims as hip, the other scribe for- Eschliman; and musician Darryl White, mandolinist, and his Chicago based ever revels in his second childhood, and to single out a few along with moi, met band. Well this year he’s back, this time their editor simply bides her time wait- several times the fall to organize an- ing for retirement—we the public never other superb lineup for 2004’s upcom- Photo File get the true scope of what is presented ing major festival. Dig this… here at various venues. No wonder so Leading off this year, now a young many of these marvelous shows go man of 16—the Russian phenom Eldar unattended. Djangirov returns to Lincoln to wow the At least we can be thankful that many fans he blew away three years. our University of Nebraska-Lincoln rag, BMF consultant bassist Gerald Spaits The Daily Nebraskan, did an admirable and another one of KC’s most resilient job of covering our incredible Jazz in mainstays, drummer Tommy Ruskin, June series of concerts. Still, unforget- will back him again. Eldar’s new CD, table players like Norman Hedman, “handprints,” is a killer (see review in Greg Abate, Billy Hart, Harvie S, Bobby the next edition of Jazz). And he prom- Watson, Karrin Allyson and Kansas ises to bring enuff CDs to sell and au- City’s wonderful array of talented tograph this year. His show will be cats—the members of The Westport sponsored entirely by the BMF. Art Ensemble and Interstring to name Jazz’s distaff side will be repre- Kendra Shank a few—were almost totally ignored. sented tour de force with another re- Ah yes…I feel better now. So, turnee and a newcomer, to boot. The as a member of a band featuring John let’s move forward with the real sto- BMF brought vocalist Kendra Shank Carlini, an amazing bluegrass and jazz ries. to the Zoo Bar for one of our first pre- Speaking of Jazz in June, under sentations back in ’95. Now more than Continued on page 4

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Claudio Roditi continued from page 1 ano player called . He plays fantastic. Another one of the voir (“Free Wheelin’: The Music of few that knows both the Brazilian ,” “Samba Manhattan and Afro-Cuban tradition. Style” and “Double Standards”), Pappas: You do travel a lot. Mons (with the Metropole Orches- Claudio: Yes! You cannot sur- tra) and RTE (“Jazz Turns Samba” vive if you stay put. I go to Europe and “Claudio, Rio and Friends”). quite a bit. I have different groups Jazz is published online at: www.bermanmusicfoundation.org His solo work “Symphonic that I play with, sometimes in Hol- The office of The Berman Bossa Nova” with Ettore Stratta land but mostly in Germany. I wish Music Foundation is at 719 and the Royal Philharmonic, earned I did not have to travel so far and P St., Studio G, Lincoln, NE Roditi a Grammy nomination in had more opportunities in the USA. 68508. 1995. Pappas: Historically the most Roditi plans to continue to Editor and Designer: famous combination of Brazilian Tom Ineck blend the two musical forms he with jazz is bossa nova. But are loves. As he told StanWoolley in there other combinations worth Contributing writerswriters: Jazz Journal International, “I am a mentioning? I notice that there is Butch Berman and Tom Gemini. I was born in one country something “harder” about the ap- Ineck and live in another but I love them proach to Brazilian jazz of musi- Photographers: Butch both, and both kinds of music, too”. cians like Dom Um Romao, Airto Berman, Rich Hoover and The following excerpts are Moreira, Hermeto Pascoal and you. Tom Ineck from an interview by Gregory F. Roditi: Let me explain to you Pappas April 7, 2001, in San Anto- what happen in Brazil in the late ‘50s For inclusion of any jazz or nio, Texas: blues related events, letters and early ‘60s. When I moved to to the editor or suggested Pappas: If you had to choose Rio in 1964 (from a town in the in- articles, either mail them to a few bars or a cut representative terior) it was the height of the bossa the office, phone (402) 476- of your music which would it be? nova period. A record label from 3112, fax (402) 475-3136 or e- Roditi: A tune that I wrote Brazil called Musidisc issued in Bra- mail [email protected]. called “Gemini Man” represents zil the entire Pacific Jazz catalog, best the way I feel about samba with artists like Chet Baker, Bud Our website address is: mixed with jazz. It is from an al- Shank and Gerry Mulligan. Their www.bermanmusicfoundation.org bum I also did by that name. LPs were available and cost much Pappas: What musicians less than the imported records. That If you want to be added to would you like to play with (alive or our mailing list, call (402) is why cool jazz had such a direct 476-3112, fax (402) 475-3136, dead) and have not had a chance? influence in that period, at least on or e-mail Roditi: I guess I have been bossa nova. Bossa was music that [email protected]. very fortunate to play with most of belonged primarily to singers, gui- them: Raul De Souza (living now in tar players, piano players and com- The Butch Berman France), , Edsel Charitable Music Founda- posers. But at that time something tion is a non-profit, tax ex- Machado (I was in his band before else happened that I saw first hand empt, 501(c)(3) private foun- coming to the U.S.), Dom Um but you never hear about in the US. dation recognized by the In- Romao, McCoy Tyner (who even The guys that were playing saxo- ternal Revenue Service and recorded some of my tunes) and phone, trumpet, drums and trom- the Nebraska Department of . I really wanted to Revenue. It was established in bone were mostly playing what we the spring of 1995 to protect play with Art Blakey and I talked called samba jazz. In other words, and promote unique forms of with him once. He asked me for my what you are calling a harder ap- jazz music. phone number but nothing came proach was played there in the ‘60s. about. There were musicians that grew up Trustee: Butch Berman Pappas: Are there any par- Consultants: Dan Demuth, near the Favelas, like Edison Norman Hedman, Steve ticular young musicians that you Machado, that also loved Elvin Jones Irwin, Gerald Spaits and think deserve wider recognition? and Art Blakey. They had to play Wade Wright Roditi: There is a Brazilian pi- hard!

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Photo by Rich Hoover Rich by Photo Hoover Rich by Photo Continued from page 2

guitarist. Don’t miss this act for our fourth week. We have five Tuesdays next June, and rounding out this incredible season will be Lincoln’s own jazzy , the Nebraska Jazz Orchestra (NJO), under the leadership of Ed Love and Dean Haist. Now onward to some new jazzy Butch Berman happenings to entice you interested readers. sounds in these parts are dwindling. The last show we did at P.O.Pears Check us out, and tell your friends if was a bit bittersweet. Kansas City’s you like what you hear so the DelRay incredible Interstring put on their usual won’t just be another memory of what dynamite show, but sadly to an almost could have been. empty house as we had the World Se- Another great night of music (this Richard Sullivan ries to compete with. time we’re talkin’ bout rock ‘n’roll) also This time around, on Jan. 22, the fell victim to poor attendance at the Zoo search, as well as lending and record- BMF along with Dean Haist’s Arts In- Bar. Veteran “punk rocker” Jim Jacobi ing some of my stuff on a paper about corporated debuted a new act based in had his CD release party to celebrate modal jazz for Lincoln guitarist and edu- Portland, Ore., the swinging sounds of his brand new endeavor, “Get Out.” All cator Peter Bouffard. I feel that as a my new pal, saxophonist Rob Scheps the top-notch players on the disc showed reference source for music, the BMF and his quintet, featuring violinist Zach up to cameo their recording perfor- is in a class by itself, and we are glad to Brock (see the review elsewhere in this mances. Besides Jim’s usual rhythm assist. issue). Rob was doing a residency at section, consisting of drummer Dave Also, my dear friend New York the Kimmel Harding Nelson Center in Robel and bassist Craig Kingery, I percussionist Norman Hedman’s new Nebraska City, organized by Kathy played piano, along with Dr. Dave recording, “Because I Can” is nearing Puzey and Julie Fisher, when he rang Fowler, fiddle; Steve “Fuzzy” Blazek, completion. Norman’s a terrific com- me up for a dinner meeting, and we had lap steel; and Charlie Burton and Carole poser, and the previews I’ve received a ball. Hence, our P.O. Pears concert. Zacek, vocals. Also in attendance were lately are simply sensational. He’s em- After the T.S. Monk show at the Rick Petty, congas; Phil Shoemaker, gui- ploying several new vocalists to en- Rococo was pulled due to lack of ad- tar; and Brad Krieger, trumpet. hance his already infectious musical vance ticket sales, let’s hope this isn’t All turned out to back up Jacobi creations. Stay tuned, and get ready for becoming a trend. The Rococo people and put on a great night of manic music the return of master trumpeter Claudio never did much pre-advertising, nor did delivered in Jim’s inimitable style. Not Roditi, who will appear with the NJO they contact us to help promote, so a mention of the show appeared in the in late March (see the story on page 1). maybe that snafu was just a fluke. By entertainment section of Lincoln’s daily That’s all, folks, until next time. I leave the time you read this, hopefully the tide paper, even after I called ahead to re- you all with high hopes for a safe, will have turned in favor of more jazz in port such. You can still catch a glimpse healthy and happy jazzy New Year. Lincoln. of what went on by viewing BMF Guitarist and vocalist Richard photog Rich Hoover’s swell pictorial in Sullivan and myself, AKA The Lounge this issue of Jazz. Ciao, Hounds, are still doing most Thursday In closing, we were proud to lend nights at the DelRay Lounge at 817 R a hand in our contribution to jazz edu- St. Turnout for their weekly shows has cation by lending some of our past also been slim, which is a shame, as the works and selections from my vast venue is a beauiful, smokeless and record and CD collections to two sepa- acoustically perfect set-up sans much rate projects. A Mr. Paul Smith re- of an audience. Come on folks, your quested our past files from the artist chances and choices to hear cool jazz John Falter to help complete his re-

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Scheps-Brock Quintet sets house on fire ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

It is unfortunate that the Rob Tom by Photo Ineck Scheps/Zach Brock Quintet is not There is nothing conventional a household name because they play about Scheps’ approach to like a house on fire! jazz, and that makes his The quintet made its Lincoln music very exciting. debut Jan. 22 at P.O. Pears, which has been the scene of many a fiery jazz performance in the last couple as the Gil Evans Orchestra, trum- of years, thanks to the underwrit- peters , Arturo ing support of the Berman Music Sandoval, Eddie Henderson and Foundation and the weekly jazz Terumasa Hino, trombonist Roswell programming managed by Arts In- Rudd, singers Mel Torme, Dianne corporated. Reeves and Nancy King, There is nothing conventional bandleaders Buddy Rich and Mel about Scheps’ approach to jazz, and Lewis, organist Jack McDuff and that makes his music very exciting. avant jazz legends Sam Rivers, The oldest member of the quintet Muhal Richard Abrams, Henry by nearly a decade, he shepherds Threadgill and Julius Hemphill. his younger sidemen through the Co-leader Brock, 29, draws on complex changes while allowing Rob Scheps a broad tradition of jazz violin, from them ample freedom to improvise. Johnny Frigo to Stephane Grappelli What results is a captivating per- frequent P.O. Pears, notebooks in and even fusion pioneers Jean-Luc formance capable of riveting the at- hand. Ponty and Jerry Goodman. Born in tention of even the most jaded jazz An Oregon native, Scheps has Lexington, Ky., he pursued his mu- fan and holding spellbound the doz- lived and worked in Boston and sical training in Chicago. For the ens of the University of Nebraska- , as well as perform- band’s Lincoln appearance, he Lincoln jazz history students who ing worldwide with artists as diverse brought along a couple of talented

Photo by Tom by Photo Ineck young Windy City musicians, pianist Jordan Baskin, 24, and bassist Matt Ulery, 22. Rounding out the quintet was drummer Morgan Childs, also 22, whom Scheps recruited in Vancouver, B.C. Brock’s piece “Mr. Shah” kicked off the proceedings with an irresistibly clever funk riff, over which Scheps superimposed an ex- tended tenor sax solo, with the rhythm section comping like veter- ans. The composer also took a solo on his five-stringed instrument, a physical display of pyrotechnics that was, at the same time, disciplined

Pianist Jordan Baskin, violinist Zach Brock and bassist Matt Ulery at P.O. Pears Continued on page 6

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in its clean lines and melodic ideas. “First Morning at the Tower” was composed by bassist Ulery, in- spired by a visit to Italy. It was con- structed on a complex melody line that worked well as a basis for so- los statements by Scheps on tenor, Baskin on keys and Brock on vio- lin. “Olivia’s Arrival” had the famil- iar sound of a standard, but was in fact a little-known tune by baritone saxophonist Gary Smulyan. Scheps and Brock displayed a fine sensi- tivity in their harmonized lines, the Pianist Jordan Baskin, bassist Matt Ulery and drummer Morgan Childs two instruments blending surpris- ingly well. Meeting.” It was a tightrope-walk- “Common Ground,” a track For his composition “New ing showcase for Scheps on tenor from Brock’s CD “The Coffee Homes,” Scheps switched to flute, and Brock on violin, first locked in Achievers,” was another twin- an instrument closer to the violin’s unison and then in successive so- voiced piece featuring Scheps on range. Beginning at mid-tempo, the los. Baskin joined the fray as all tenor and Brock on violin. Finally, tune accelerated as Scheps and three took solos behind Childs’ skill- Scheps pulled out all the stops for Brock joined in a unison line, lead- ful drum breaks. “The Cougar,” first working out on ing to a flute solo with Baskin first During the break between sets, the tenor sax, then combining the comping on keys then segueing into Scheps told me they like to keep the flute mouthpiece and the sax body a full-blown solo. Brock also took audience guessing, sometimes alter- to take a soaring solo on the another masterful, confident solo. nating between the music of Cole “saxaflute.” Scheps again introduced an ob- Porter and Nirvana. Neither of It was the kind of over-the-top scure tune with much merit. It was those extremes was heard that antic that few musicians could pull Joel Weskopf’s blazing “Tuesday evening, but the quintet did launch off convincingly. Judging from the Night Prayer Meeting,” a subtle into the second set with Ornette response, the Scheps-Brock quin- reference to the Charles Mingus Coleman’s “Happy House,” a tune tet convinced everyone in the audi-

swinger “Wednesday Night Prayer not heard every day. It allowed ence. Tom by Photo Ineck Schep to play “outside” on tenor sax Photo by Tom by Photo Ineck and for Brock to show his pizzicato skill, plucking the violin like a rock guitar. Baskin contributed the lovely “Searching for Solace,” which had a waltz-like lilt. Scheps, on flute, again joined harmonies with Brock. Scheps introduced the ballad “Crestfallen,” saying that he wrote it in Nebraska City, where the band had played the previous night. Brock took the lead, and turned in a gor- geous reading of the tune. “Little Jewel,” also by Scheps, featured a soulful piano introduction and an- Zach Brock other great tenor solo by the com- Jordan Baskin poser.

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T.S. Monk champions jazz as popular music ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

There is no more articulate and Photo File your vocabulary. You have to revisit passionate advocate of jazz as the music that’s preceded you in popular music than T.S. Monk, the order to maximize your vocabulary, distinguished drummer and son of so you can then go into the future Thelonious Monk. As chairman of and have something new to say.” the Thelonious Monk Institute of On the importance of work- Jazz, he also is the keeper of the ing in the consistent context of flame, a responsibility that he takes a band: “That’s key, in terms of very seriously. finding your creative center. A jazz When Monk and his band were musician’s only true home is in a scheduled to appear in Lincoln a band, and if you look at the great couple of months ago, I arranged a musicians throughout the history of live radio interview to take place T.S. Monk jazz, every single one came from a during “NightTown,” my weekly great band. You can trace them jazz program on KZUM Community Because it’s a standard, it gener- back, whether it’s Bird and Miles Radio. Despite slow ticket sales ally means that it has some funda- back to the Jimmie Lunceford band that forced the concert’s cancella- mental, bedrock elements that you or you’re tracing Coltrane back to tion, Monk wanted to go ahead with really can’t do without. As long as the or the Monk band the phone interview. Familiar with they’re incorporated, you still have or you’re tracing Monk back to the his eloquence from an interview we the same tune.” band. We de- had done for publication in the Lin- On the timeless accessibil- velop a vocabulary, and that vocabu- coln Journal Star more than a de- ity of good music: “That doesn’t lary is developed in order for us to cade ago, I jumped at the chance change from genre to genre or era converse. If one is to truly converse to chat with him again. to era. Those elements that make a properly, you have to talk to each Several recent developments hit tune, so to speak, are the same other on a continuous basis. You in Monk’s career, including the new for everyone. It boils down to a can’t have brief, intermittent con- CD “Higher Ground” and the haunting melody that you will al- versations. As you have those con- launch of Thelonious Records (and ways remember, a great groove, versations, you develop ideas. It’s the website www.monkzone.com) and generally, some harmonics that the same as it is for the man on the for his own recordings and those of make you think and give you some street. It’s the same as it is in all his father, provided plenty of sub- texture.” the other quarters of society. So, if ject matter for our 45-minute, on- On the importance of know- you listen to what is played by Miles air conversation. Monk, as always, ing jazz history and developing with Red Garland, and proved an easy interview. a jazz vocabulary: “Jazz is a con- Paul Chambers, those records were On his fresh approach to tinuum, but in order for it to con- the result of many, many conversa- Ray Bryant’s “Cubano Chant” tinue, one must constantly revisit tions over many, many nights. The (from “Higher Ground”)and what’s gone before you, so that you only way you can do that is by keep- other standards that he has re- know that you’re in some sort of ing a band together. The great en- corded: “The great thing about the new territory, or at least in a new trepreneurs in the recording indus- standard compositions is that they region. Often, at least to my ear, a try years ago, people like Alfred really provide a framework that’s lot of the younger jazz musicians Lion, understood this clearly. That’s intergenerational, that’s chronologi- don’t learn tunes the way we used why you saw those bands stick to- cally neutral in many, many ways, to have to learn tunes. You had to gether. You saw Monk and (Charlie) so it allows you to revisit a compo- know 300 tunes, and what that does sition and really bend it and twist it. for the jazz musician is to increase Continued on page 8

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Rouse together for years and years. destine ways. Jazz musicians pio- Monk Institute. I got doubly of- You saw Miles and Coltrane. You neered the concept of the home pro- fended by the people who said you saw Wayne Shorter and Joe duction, the self-contained produc- can’t really market jazz because it’s Zawinul in Weather Report. You tion vehicle—I wrote the music, I really not for the mainstream. I think saw Miles and Herbie Hancock and played the music, I recorded the that’s absolutely ridiculous.” Tony Williams and Wayne Shorter music. Thelonious Records is about On his concept of “cross- and Ron Carter. Those are all cre- two things. It’s about the Monk fam- talking” and blending jazz ative cauldrons. It does make a ily, the branding of the Monk fam- styles: “The umbrella of jazz is re- strong case for the continuum of a ily, that is myself and my father and ally quite vast, as far as I’m con- creative process when musicians our music. It’s also about new ideas. cerned. Even though every jazz can play together regularly. When I can tell you realistically that I’m musician that I know is extraordi- you look at the (current) landscape two years away from the first new narily versatile, I don’t see a lot of of jazz, there aren’t many bands ideas, in terms of signing an artist versatility being reflected in the that stick together. That’s had a because getting up and running is bands. Bands tend to stay in one negative effect on the overall cre- the critical thing.” little niche. Perhaps because I’m a ative movement in the music.” On the importance of mar- drummer, and I don’t have a me- On the emergence of keting and promoting jazz: “I’m lodic instrument to rest on, I like to Wynton Marsalis in the early very old-school, and very P.T. give you a lot of different looks. 1980s and the “jazz star:” “The Barnum-oriented and I say, ‘Listen, Although we change genres or jazz recording industry got a little I’ve got this six-piece band and it’s change idiomatically, we don’t enamored with the concept of what baaaaaaaad. It will blow you out. change the instruments. That’s what they might have misconstrued as We will kick your you-know-what.’ allows us to cross-talk, so we can ‘instant stardom.’ As a consequence That’s how I feel about my band, please all of the people all of the of that, we saw the jazz labels go and that’s how I feel about jazz in time.” on a quest for about 15 years to see general. Jazz is the one area in On his father, who died in who could find the youngest, most music that has enormous room for 1984, and his mother, Nellie, unknown ‘next,’ and it didn’t quite growth, and we have to take advan- who died in 2002: “Without Nellie, work out that way because that’s a tage of that. We have to learn how we would have had no Thelonious blueprint that we’ve taken from pop to sell our products. We have a Monk. Nellie and Monk met when music and overlaid it on jazz. It product that has a shelf life that, we he was 17 and she was 12 years doesn’t work for jazz because it now know, can be as long as 50 or old, and they started dating when restricts the concept of artist devel- 60 years. We know that we have a she was 17 and he was 22. She opment, and artist development is marketplace that is international in understood his artistry from day one, the most critical factor in the de- scope. The concept of how you ac- and she became all things that one velopment of a jazz recording art- tually sell this music is a little bit of human being can be to another—a ist. In today’s recording environ- a mystery, even though it seems to lover, a friend, a confidant, a brother, ment, my father, Charles Mingus, sell year in and year out, at a slow a sister. Although I miss her incred- Eric Dolphy and maybe even John pace. I don’t believe that slow pace ibly, because not only was she my Coltrane in his latter years would is a function of the art form. I think mom but I was born on her birth- not have gotten a recording deal. that slow pace is a function of the day, I know that she and Thelonious They were too different. They were industry, and so I’m looking to are together now. That’s the Romeo doing exactly what they were sup- change it. If a few other people get and Juliet of jazz. That’s one of the posed to do, and right now the in- involved, we get that shift in the in- great hookups that you ever had.” dustry has gotten an attitude of dustry the way country music had On “Monk in Paris: Live at sameness. The bedrock of the mu- its shift in the ‘80s, the way r&b the Olympia,” a CD and bonus sic is individuality.” had its shift in the ‘90s. I have been DVD recently released on On Thelonious Records and offended over the years. First, I was Thelonious Records: “Thelonious its mission: “It’s originally my offended by people who said that was really a live artist. When you father’s dream, in that he recorded you couldn’t teach jazz in an insti- speak to people who had the oppor- himself at home and other people tution. We’ve been very success- recorded him in all kinds of clan- ful, and in our 18th year, with the Continued on page 13

Winter 2004 Page 9 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Colorado Correspondent

Guitarist Johnny Smith talks of illustrious career ○○○○○○○○○○○○○○ By Dan Demuth○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

COLORADO SPRINGS, first love, jazz. Reis Nark by Photo Colo. — Master guitarist Johnny Returning to Smith was kind enough to grant me Vermont after an interview at his home on Jan. 25. the war, his job He has lived in Colorado Springs as a staff mu- since leaving New York in the late sician at a local 1950s, a move dictated by the loss NBC affiliate of his wife, his determination to offered the Johnny Smith, raise their four-year-old daughter in chance of get- circa 1976 a better environment, and a grow- ting a demo ing distaste for the requirements to tape auditioned at NBC headquar- remain a headliner in the music ters in New York. The door had scene. A difficult decision for some- been opened. one of his stature at that time? In “Sitting in” with Eugene Johnny Smith’s 1952 recording an interview in the Colorado Springs Ormandy and the Sym- “Moonlight in Vermont,” was Downbeat’s “Jazz Record of the Year.” Independent he was quoted as say- phony Orchestra and Dimitri ing, “The greatest view I ever had Mitropoulis and the New York Phil- of New York City was when I harmonic. Studio work with the I also was doing a thing with the emerged from the Lincoln Tunnel NBC Symphony Orchestra under New York Philharmonic under on the side and Arturo Toscanini, who he describes Mitropoulis. I finished Birdland at 4 watched the Manhattan skyline re- as a tyrannical genius, and for net- a.m. and at 9 o’clock that morning cede in my rearview mirror.” work shows including Sullivan, I was sitting in the middle of the Perhaps most people remem- Godfrey, Garroway and Fireside Philharmonic Orchestra. At the time ber him from the “Moonlight in Ver- Theater. Nightly gigs on I left New York I was doing studio, mont” recording of 1952 on Roost with virtually every musician of television, recording, night clubs. I which garnered Downbeat’s “Jazz note. was working around the clock. Record of the Year” award and led For the interview I had some DD: The reason for leaving all to a meteoric rise to fame, but this prepared questions, but also had of this—perhaps a combination of was not an overnight happening. A brought along some of his record- the grueling schedules and a per- little background is in order at this ings for points of discussion, the liner sonal situation? point. notes providing somewhat of a ret- JS: It was a tragic situation. His first “professional” gigs rospective look at his career. My wife died. Our daughter was were as a teen in a self descriptive Dan Demuth: Artie Shaw’s four years old. No way could I take band, Uncle Lem and His Mountain career somewhat paralleled yours care of her, working around the Boys. Into the Army as WWII es- in that he was working ‘round the clock. I would have to hire nurse- calated, he aspired to be a pilot in clock, studio work in the daytime, maids. I had family here in Colo- the Air Corps but failed on a vision gigs every night and then he even- rado Springs, so I figured that was test. He was assigned to a band unit tually walked away from it all. How the best excuse I would ever have whose patriotism-inspired chart re- did you survive these types of to get the hell out of New York. quirements did not include a guitar- schedules, was it youth, the DD: Why Colorado Springs? ist but rather a need for a trumpeter. adrenalin, both? JS: I had been out here once. With no prior experience but a ton Johnny Smith: (Chuckling) I I had two brothers who were out of due diligence, he mastered the don’t know. One of my favorite here, and they had moved our par- trumpet and later was assigned to things I have mentioned, I was play- a unit that allowed him to play his ing an engagement in Birdland, and Continued on page 10

Page 10 Berman Music Foundation Jazz

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Continued from page 9 uptempo flashy type of thing. And JS: Well, prior to that I did ar- what happened was “Moonlight in ranging for and ents out here from New York City. Vermont” was really kind of a fluke. other people. Knowing this, the I came out to see my father for the The jazz disc jockeys started using record labels would always try to last time, who had terminal cancer. it as a background while they talked, get the artist to come up with some It was within a month or so back in and that’s how that caught on. originals so they wouldn’t have to New York that my wife died. DD: The group with you on pay copyright fees. As a matter of DD: Over the years you had that recording—, Eddie fact, “Jaguar” was a song I wrote recorded and toured with the likes Safranski, Don Lamond and that we performed with the small of Kenton, Goodman and Basie. Sanford Gold. I admit I am not all group within the big orchestra I The Basie tour makes me ask, that familiar with Gold. Not being a mentioned earlier. where was ? Was he musician, I have always been inter- DD: (Producing the Roost 10" away at that time? ested in how a group comes to- LP, “In A Sentimental Mood,” with JS: No, No. I tell people that gether for a recording. a shaded green cover, obviously a Freddie Green was with Count JS: Back in the ‘40s, for the photo of Johnnie, guitar in lap, hands Basie longer than . radio shows, I formed a little trio. I over his face as in a funk). Would Freddie Green was strictly a rhythm had heard about Sanford, and I was you say this photo is of a pensive, guitar player, I was a soloist. He able to get NBC to hire him as a perhaps moody guitarist? I think he was there on the tour. He was one piano player for my trio. This went looks familiar! of my very favorite people. on for several years, and the con- JS: Gosh, I don’t even remem- DD: I had mentioned Artie tractor who was hiring the musi- ber this. Maybe I was hiding my Shaw earlier. Did you ever record cians, Dr. Roy Shields, formed this face in shame! with Shaw? big orchestra for a weekly radio DD: I doubt that. My question JS: No, I never did. I was too show. He asked me to form a small is regarding the amount of input you busy. He had formed a group called group within the orchestra, and to had as an artist as to what went on the Gramercy Five. I never worked write weekly arrangements to per- the cover of the LPs, as they of- with them, as I was too busy doing form during the show. I met Stan fered so much more physical space studios and everything else. If I re- Getz at a party. He knew I was with than modern CDs. member correctly, he used Tal NBC and expressed a desire to get JS: Virtually none. I did on one Farlow. But, I knew Artie. We used off the road and get some studio of the string albums. I had a pho- to hang out after hours. work. I was able to get NBC to hire tographer take a picture of some of DD: Was he as irascible as ev- him and I formed this quintet. Don the score I was doing . eryone said? He has always Lamond, and DD: This LP has “Walk Don’t seemed to have a penchant for say- Sanford Gold were all on staff. Run” on it. It must have been quite ing what was on his mind. Sanford had a friend, Teddy Reig, a thrill when some years later the JS: Well I only knew him on a who owned Roost Records and Ventures had a huge hit with it. personal basis. It’s when you work gave him an air check tape. Teddy JS: Well, Chet Atkins had re- with somebody that the truth comes said, “Heck, we’ll do a couple of corded it. The Ventures covered his out, but I never worked with Artie. tunes,” and that’s how that original recording, which then became the DD: I have brought along thing happened. big hit. I really had very little to do some of my collection of your re- DD: Amazing! (Producing with it. I didn’t even name the song. cordings to help me with the notes. Roost 10" LP “Johnny Smith Quin- I just called it “Opus,” and the (Producing the Royal Roost 78 tet”) I believe this is your first LP? record company owner came up “Moonlight in Vermont”) Am I cor- JS: That’s correct. As a result with “Walk Don’t Run”. rect, is this your first recording? of the success of “Moonlight in Ver- DD: (Producing the Roost LP JS: Yes, this is the original one. mont,” we recorded other things “Easy Listening”). OK, on this “Tabu” is on the other side. which they put together for this LP. cover there is a photo of a guitarist DD: The story goes that you DD: Two of these, “Tabu” and and a very attractive young lady felt “Tabu” might be the side that “Jaguar,” are credited to you. Were reclining in front of a fireplace, but had a chance to succeed? these some of your first efforts I don’t think that gentleman is you. JS: Yes, it was kind of an which you wanted on this LP? JS: No, no, sorry it isn’t!

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DD: (Producing the Roost LP most of the arranging on all of those There have been quite a few things “Designed for You,” which features sessions, but if you don’t have a put out regarding a discography, but four guitars superimposed over song copyrighted to you, there is not a biography. each other to form a clover effect). nothing to collect. DD: Have you kept copies of The Guild brand is very prominent DD: Your peers have all been all your recordings? on the guitars. Is this just happen- very complimentary of your play- JS: My wife kind of keeps the stance? ing through the years. Did you have recordings in tow. I think with all of JS: I had designed a guitar for any guitarists that you particularly the reissues I probably do. I really Guild. I think they just borrowed one enjoyed? don’t keep track of it. of them and used it for the cover JS: Oh gosh yes. Starting be- DD: Have you ever looked design. fore WWII, I practically worshiped back and thought to yourself, if you DD: (Producing the Forum LP Django Reinhardt, Charlie Chris- hadn’t quit the business, what might “Jeri Southern meets Johnny tian, and of course Les Paul. I was have been? Smith”). Perhaps of interest to Ne- so heavily involved in studio work JS: No. I tell everybody—which braska newsletter readers as Jeri is that afterwards I would go around is really true—I have got to be one of from Royal, Neb. Have you done listening to such fine players like the most fortunate people in the world other recordings with Jeri? How Chuck Wayne, Jimmy Raney. I because everything that I ever does a session such as this come keenly appreciated all of these good dreamed of doing, really wanted to do, about? players. well all those dreams came true. For- JS: No, this was the only one. DD: Several years back you tunately, making huge amounts of I had worked on the same bill be- and Chet Atkins played together at money wasn’t one of them. Now I’m fore with Jeri at Birdland on quite a a Dick Gibson Jazz Party, at the at peace with everything. I’ve often few occasions. When this LP was Paramount in Denver. Attendees felt sorry for the people who were on done, she was not at her peak— have told me it was great, that you the way out saying, “Gee, I wish I bless her heart, her voice was kind two appeared as if you had played would have done this or that.” I’m not of gone—and they asked me if I together forever. one of them. would do the arrangements, which JS: We were very dear friends, After the interview, Johnny in- is kind of a hidden thought, because all through the years. I went down vited me into his “room” for a liba- they knew I would do them, and to Nashville on a couple of occa- tion. We continued discussing things wouldn’t charge them. And if you sions to record things for Chet. (not taped). He has a modest amount notice, it’s never mentioned, “Ar- (One with) Don Gibson. I did some of memorabilia on the walls, fully re- rangements by Johnny Smith.” arranging for other people. We taining what really counts, the memo- DD: (Producing a copy of were very close friends. ries in his mind. Photos of Rosie Decca recording “Jazz Studio”). DD: I have several Atkins and Clooney and her sons flying in here There is a guitarist listed on here Gibson LPs. Anything in particular to get mountain flying lessons from as Sir John Gasser, someone I think I could seek out that you arranged? Johnny (his failed Air Corps ambition you know very well. Can you tell JS: One thing in particular I did later realized by being a long time pri- me the story behind this recording? with Don Gibson, called “Gibson, vate pilot and teacher). He spoke of JS: Stan Getz had gone back Guitars & Girls.” I don’t think I his great love of fishing—he and on the road, and to satisfy record- even have it. friends go twice a year deep sea fish- ing requests we were to add Paul DD: I will check mine to see ing off of Mexico. He toured several Quinichette. Paul didn’t want if I have it. (I did, and have given times with Bing Crosby, relating how Decca (a competing label) to use Johnny a tape). Is there any defini- on the last tour’s end he bid Bing my name, so I was listed as Sir tive book or discography on your goodbye in England on a Monday, and Jonathan Gasser, a terrible thing! life and recordings? Bing died on the golf course in Spain DD: Mosaic recently issued an JS: No, I have had several four days later. eight-CD set limited edition contain- people want to do this, but I tell All interviews must end some- ing 178 of your Roost sessions. Are them they’re wasting their time. where, but I did not feel as if I had you able to share in the royalties on I’ve never been busted for pot or been part of an interview. It was more this? arrested or anything, so my biogra- of a conversation with an old friend I JS: Unfortunately no. I did phy would be very dull reading. had never met before.

Page 12 Berman Music Foundation Jazz

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Eschliman champions jazz mandolin ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Ted Eschliman frequently and Ted Courtesy Photo Eschliman It is unfortunate, says casually refers to himself as a Eschliman, the small, four-stringed “hack.” In the broadest sense, the instrument has gotten itself a bad word is short for “hackney” and rap, as it is usually associated with usually refers to someone who does “toothless codgers sitting on the something in a banal, routine or back porch in bib overalls.” The ste- commercial manner. reotypical mandolin players are ei- Eschliman is just being modest. ther hillbillies or schmaltzy Italian A talented multi-instrumentalist, troubadours, limiting the singer, composer and arranger with instrument’s appeal for a larger au- a degree in music education from dience. the University of Nebraska-Lincoln, Unlike the structural freedom he is part owner and marketing di- of jazz, tunes traditionally associated rector of Dietze Music House, with the fiddle and mandolin are con- where he’s been employed for more Ted Eschliman stricted to a diatonic scale that is than 23 years. very limiting for more adventurous Most recently his far-ranging the University of Nebraska back in players. But to Eschliman’s edu- interest in music has made him a the teens, almost a hundred years cated ears, the mandolin seems devotee of the jazz mandolin, as a ago.” ideal for jazz. player and collector of mandolins, With the advent of the banjo, “The acoustics of the instru- as well as a dogged promoter of the the electric guitar, and swing bands, ment lends itself so well to the genre instruments and the people who play the mandolin literally began to re- that I’m amazed it hasn’t been them. He was largely responsible cede into the background of popu- tapped into sooner by more people.” for bringing the Don Stiernberg lar music because its more delicate, By nature, jazz broadens the palette Quartet to Lincoln for last high-register sound could not be from which the mandolin artist can summer’s Jazz in June concert se- heard. There were few innovators work. ries, and in 2003 he started his own outside the Smoky Mountains, “Jazz gets you into not only a website to preach the gospel of jazz where mandolins still were figured richer harmonic vocabulary; it also mandolin: www.jazzmando.com. He prominently in bluegrass bands, es- pulls in multiple keys. If you listen now sits on the Jazz in June board pecially those of Bill Monroe and to a good, jazzy Broadway show of directors and was instrumental the Stanley Brothers. tune, you’re going to have eight or in adding guitarist John Carlini (with He says he was so enchanted nine different tonal centers there, guest artist Stiernberg) to the 2004 by “the perfect symmetry and jazz so harmonically it’s a lot more en- lineup. potential” of his first mandolin in gaging. To some bluegrass players, “I picked up the mandolin 1998 that he became “very passion- it’s frightening.” Eschliman is quick about 5½ years ago,” Eschliman ate about bringing this genre to the to point out exceptions to this rule, recalls. “It was an intriguing instru- front. People are familiar with jazz virtuosos who have blended their ment and different from guitar. What guitar, with Joe Pass and Pat bluegrass roots with jazz dabbling, surprised me was how little was Metheny and George Benson. I’m most notably Jethro Burns and known about what this instrument a little bit of a hack guitar player, David Grisman. could do. As I got into it, I discov- but I’ve discovered in picking up the Eschliman and his wife have a ered that there is a really rich tradi- mandolin that there’s a whole world five-year-old daughter, and he has tion. My 96-year-old grandmother out there that has yet to be devel- nothing but praise for his wife’s pa- talked about the mandolin clubs at oped.” tience and understanding.

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“She’s gotten used to the fact mandolinist whose quartet per- professional players that are just mon- that she never knows what I’m go- formed in Lincoln last June. ster virtuosos and technicians, but they ing to be doing and what I’m going “Coincidently, I had gone to a couldn’t tell you anything about what to get deeply into and passionate mandolin festival in Lawrence, Kan- they’re doing. They couldn’t explain about. Lately, it’s been this whole sas, 2½ years ago, and he was doing it.” jazz mandolin thing. It’s been my a clinic there. I got to meet him there, Eschliman’s own collection of ticket to the world.” and we got to be pretty good friends. mandolins includes an Ovation for Eschliman launched the Our dream is that our kids will think plugged-in acoustic playing; a blue, website as a way to journal the of the mandolin as just as much a jazz custom-made Rigel; a traditional things he was learning about his instrument as a trombone or a sax. Gibson for bluegrass playing; an new instrument. He began tran- That’s a pretty tall dream.” Epiphone that used to belong to blue- scribing exercises from the key- Part of that dream may be real- grass legend Jethro Burns; and a min- board to the mandolin fret board to ized soon. The popular Mel Bay Pub- iature gypsy-style Djangolin. share with others online, first in lishing company has asked Eschliman The market for mandolins and music notation, then in tablature. to write a book on jazz mandolin. He acoustic string music in general has Through his website, already has written a couple of in- grown, perhaps due to the phenom- Eschliman corresponds with man- structional articles for enal success of the recent film “Oh dolin students, musicians and fellow mandolinsessions.com, another way Brother, Where art Thou?” Eschliman “hacks” from around the globe, in- of expanding interest in the instru- thinks it also may be a reaction to the cluding Belgium, Australia, New ment. deluge of electric guitars and guitar Zealand and France. Jazz mando- “That’s just such virgin territory players in pop music. lin, it seems, is growing in popular- right now that a hack like me can To help counter the emphasis on ity and awareness, especially in come up with stuff like that. It’s funny guitars and other more traditional jazz Europe, he said. that I could be an expert when there instruments, Eschliman currently is Searching the Web a couple of are people who are more qualified. touting jazz mandolinists Michael years ago, he came up with Don The thing I’ve known in being involved Lampert and Will Patton; and simi- Stiernberg, the Chicago-based jazz in the arts is that there are plenty of larly flavored French gypsy jazz.

Tomfoolery (radio interview with T.S. Monk) Continued from page 8

tunity to see Thelonious perform live level that Thelonious projected. In great player. The great piano player most of them say, ‘I went back and many ways, you could misconstrue Barry Harris once said to me that saw him every night for two weeks,’ Thelonious as sort of a laid-back guy. there were two players he knew because he was the real thing. But the reality is that this is the guy that he never heard ‘practice.’ They Thelonious could play you 20 dif- who influenced John Coltrane and only played. They ‘practiced’ play- ferent solos on the same tune over Miles Davis and Dizzy Gillespie and ing. That was Thelonious and his 20 nights. On these recordings that a whole generation of the greatest main protégé, . When I I have now that we’re going to be who ever lived. And, it was because think back, I say, ‘You know what, releasing over the next several he was very exciting. In these re- I never heard my father play a scale. years, the band is thumpin’. The cordings that we have with I never heard him do any of those band is really swingin’. A lot of lis- Thelonious Records, that’s what’s exercises that you always hear pi- teners are most familiar with the going to come out—how much fun ano players doing, two-hand scales CBS recordings that he did because Thelonious was live. And, when you and all that kind of stuff. What he those are the clearest, those are the see Thelonious (on the DVD), then would do was sit down at the piano best recordings, and those probably a lot of the things he played make at 10 o’clock in the morning and not have the highest visibility, even more even more sense.” stop until 8 o’clock, before he went so than the Blue Note and Prestige On Thelonious Monk’s pi- to the club at night to play his gig. recordings. But even on those re- ano-playing style and philosophy He would be absolutely perform- cordings, you don’t get the energy of “practice”: “Thelonious was a ing.”

Page 14 Berman Music Foundation Jazz

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Roy Haynes delivers with all-star session ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

sion of “How Deep is the Ocean,” includes pianist Gerald Wiggins, gui- with Haynes again showing his con- tarist Ron Anthony and drummer summate skill on brushes. Ralph Penland. On three tracks, a Scofield takes up the torch again six-piece string section creates a on the title track, urged on by Holland lush backdrop for Graham’s vocals. and Haynes, whose virtuosic drum She also acquired the liner note- work is submerged just enough to writing skills of the prolific Scott give Scofield the spotlight while re- Yanow. ROY HAYNES maining a powerful element in the mix. Graham has a swinging, lilting Love Letters An up-tempo rendition of “My Shin- voice with a strong vibrato, a great ing Hour” is barely out of the gate combination for tunes like the clever Columbia Records before McBride turns in a stunning opening title track, which also ben- solo, followed by Redman and Barron efits from the tenor sax work of “Love Letters” is among the trading fours and Haynes going into Herman Riley and Richard Simon’s most exciting jazz CDs of the last year. his bottomless bag of tricks for some walking bass line. Her expressive Actually released in late 2002, it fea- pure percussion magic. phrasing works well on “Here’s that tures a sterling group of musicians in The Benny Goodman rave-up Rainy Day/It’s Nice Weather for various combinations fronted by “Stompin’ at the Savoy” gets a sub- Ducks,” “My Heart Tells Me,” -era master Roy Haynes on dued treatment by Scofield with “Close Enough for Love,” “Love for drums. Unlike so many overly hyped Kikoski and Holland comping. The Sale” and “Good Morning Heart- “all-star” recordings that turn out dull final statement is the percussion solo ache/Lover Man.” as dirt, this session virtually leaps with “Shades of Senegal 2,” in which The standard song list is wisely joy and camaraderie. Let there be no Haynes slowly builds the polyrhythmic balanced with lesser-known tunes mistake, Haynes is in charge here, but structure. like Alec Wilder’s “Trouble is a he readily acknowledges the top- It’s good to hear a venerable Man,” the beautiful but obscure drawer musicianship of his younger master of Haynes’ stature back on a Melba Liston composition “Coat of comrades-in-arms. major label, with sidemen and mate- Laughter,” Teri Thornton’s “Los Blazing from the get-go, “The rial worthy of his esteemed company. Angeles,” and Ellington’s “The Best Thing for You” places tenor Brown Skin Gal in the Calico saxophonist Joshua Redman front and Dress.” center. Guitarist John Scofield gets The strings warmly wrap the spotlight on “That Old Feeling,” Graham’s voice in a blanket of with bassist Dave Holland and pia- sound on the romantic ballads nist David Kikoski taking short solos “Something I Dreamed Last Night,” and Haynes comping tastefully on “Love Story” and “Through a Long brushes. and Sleepless Night.” The trio of Haynes, Scofield and Only Graham’s occasional ten- Holland create a brilliant new inter- SANDY GRAHAM dency to waver off key prevents pretation of “Afro Blue.” Pianist …By Request this from being a superb recording. lends haunting harmo- To purchase CDs, write Gra- Jazz Link Enterprises nies to Redman’s lead tenor line on ham & Associates, P.O. Box “Que Pasa,” as Haynes and bassist 241725, Los Angeles, CA 90024, or Christian McBride keep a furious Singer Sandy Graham justifi- visit Jazz Link Enterprises at: tempo. Haynes, Barron and McBride ably gets the star treatment here, www.jazzlinkenterprises.com. skip lightly through a mid-tempo ver- backed by a team of veterans that

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On Wayne Shorter’s ballad “In- 1980s on the MCA/Impulse label. fant Eyes,” Kessler tastefully dem- Suffice it to say that the Lee’s onstrates the deep warmth and tonal Summit, Mo., native has proven him- beauty that the flugelhorn is capable self well beyond the blood relationship of expressing in the right hands. With with brother Pat, the wildly popular jazz the same horn, he goes uptempo for and fusion fretmeister who virtually “I Hear a Rhapsody,” with some in- defined the direction of jazz guitar over ventive counterpoint by DeGreg. The the last 25 years. STAN KESSLER pianist is featured front and center on And now trumpeter Metheny re- the aptly titled shuffle “Blue Man,” turns with “KC Potpourri,” a showcase Open which also gives Bowman a chance not only for his own playing (on cornet, to show his stuff in a well-constructed flugelhorn and electronic wind instru- Fans of Kansas City jazz trum- bass solo. ment) but the world-class musicianship peter Stan Kessler who yearn for a Kessler and company get funky of more than a score of Kansas City straight-ahead recording, apart from on “Sacred Cow,” Strait popping the area players, in small-group and big- his more tropical Sons of Brasil snare drum and Embrey digging it band settings. In its embarrassment of project, are advised to check out his with riffing rhythm guitar lines and a riches and in Metheny’s generosity with new release, “Open.” It is Kessler in slithering solo statement. “Squall his esteemed fellow sidemen, this CD his most adventurous and creative Line” pits Kessler and Strait in feisty amounts to a KC love fest. mood, on a set of standards and origi- head-to-head combat, intricate trum- It kicks off with a killer rendition nals designed to captivate the most pet lines weaving boldly around snare, of “The Flintstones Theme,” featuring jaded listener. tom-toms and cymbals. the swinging Soundtrek Big Band, There is no doubt about his in- The jazz waltz “Berlin Novem- named for the KC studio where this CD tentions, from the unique arrangement ber” is another showcase for the was “waxed.” It serves as a paean to of the evergreen opener “It Could flugelhorn. Kessler hands it off to the classic Basie riffs on which the leg- Happen to You” to the bluesy grit of DeGreg for a spirited piano solo, end of Kansas City jazz was founded. Sonny Clark’s “Cool Struttin’” to the which gives way to Bowman’s bass On muted cornet, Metheny cleverly more conventional reading of “Detour before returning to Kessler’s exquis- punctuates the powerful brass and reed Ahead.” Kessler is flexing his chops ite melody line. It perfectly symbol- onslaught. and proving his versatility with every izes the sustained sense of camara- But it is Metheny’s beautiful phras- lick. derie and musical rapport of “Open.” ing and tone on the flugelhorn, espe- To help make his point, Kessler cially on brother Pat’s ballad “Always has chosen a stellar crew to round out and Forever” that most impresses this his sextet, and all but one of the musi- listener. He brings new warmth to this cians hails from KC. Cincinnati pia- familiar romantic refrain, and the big nist Phil DeGreg is the ringer, a pow- band tastefully paints a shimmering erful addition to an already potent backdrop for Metheny’s solo state- musical brew consisting of guitarist ments. The flugelhorn also figures Danny Embrey, bassist Bob Bowman, prominently on the classic closer, “We’ll drummer Todd Strait and percussion- be Together Again.” ist Gary Helm. The well-chosen play list includes “Open” certainly exhibits an oc- MIKE METHENY KC Potpourri John Lewis’ “Two Degrees East, Three casional Latin tinge, such as the lilt of Degrees West.” 3 Valve Music “Journey,” featuring some nice guitar Wisely, flugelhorn is the instrument work by Embrey and a whole battery of choice here, with six of the nine of percussion by Strait and Helm. As editor of Kansas City’s Jazz tracks featuring the larger, warmer Their version of “Close Your Eyes” Ambassadors Magazine (JAM) for brass instrument. Muted cornet appears has Kessler soaring on trumpeter over the last decade, Mike Metheny already on two tracks, and the EVI is plugged a pulsing hotbed of Afro-Cuban has established himself as a skilled and in only once. This is a blessing to those polyrhythm. But the lion’s share of insightful journalist. Even before that, of us who have always thought of the “Open” remains close to the jazz the trumpeter had several recordings instrument as a poorly synthesized mainstream. under his belt, including a pair in the late equivalent of the real thing.

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Cables release is one of his most personal ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○

notes regarding his noble struggles Berman Butch by Photo with health problems touched me deeply and inspired me to realize that even though our bodies age and be- come more unpredictable, our eter- nal spirits and creative juices still re- main intact, vital and evolving. It’s all ‘bout faith, passion and surrender. GEORGE CABLES Even if George had left the in- Looking for the Light ner pages blank, these eight magnifi- Muse Records cent creations would still spread the George Cables sits at Butch Berman’s message. As far as “covers” go, his piano with Grace Sankey Berman. I got chills the first time I heard spellbinding rendition of the Goffin/ George Cables with . King tune “Will You Still Love Me To- friend of mine whose career I’ve fol- I got fever the first time I heard morrow?” tells all you’ll ever need to lowed since our University of Ne- George Cables with Art Pepper. I got know on the lessons of love, loving, braska-Lincoln days back in the early goose bumps when George played my sometimes losing and simple living. ‘70s, the Monet of jazz drumming, piano for nearly an hour, rearranging Bravo, George. You really tore me up Victor Lewis. and arrangement of “Body and Soul” on this one. “Looking for the Light” is one prior to a Lincoln, Neb., Jazz In June George is backed by the crème of George Cables’ most personal en- concert. de la crème of today’s jazz world, deavors. Dash out and find it soon to I didn’t even know “Looking for saxophonist , bassist Pe- make it one of yours too. God bless the Light” existed until my wife, ter Washington and another dear old you, George. Grace, heard something about a new George Cables release on NPR. I’m thinking to myself, “I know I haven’t Letter to the editor spoken with George for awhile, but how did I miss out on one of the love- With office work very demanding Tootie and Percy Heath, Paquito liest and swinging releases of 2003?” and time consuming, I felt badly about D’Rivera, , Hubert Laws, Nevertheless, “Looking for the not signing up for IAJE (International Billy Taylor, Winard Harper, Dave Light” evoked all the aforementioned Association of Jazz Educators confer- Brubeck, Clark Terry, Jon Hendricks, emotions…and then some! ence). It looked better attended than Mark Murphy, Kevin Mahogany, Kurt I first met George at a recording ever, well capitalized and organized. But Elling, James Williams, Ben Riley and session for a CD I helped put out on I took yesterday off instead of my nor- Ray Drummond. a Seattle, Wash., songstress named mal Tuesday to get jazzed a bit. Afterwards, I walked over to Andrienne Wilson. This project was I started with a JJA (Jazz Jour- Birdland to hear Branford Marsalis, produced by my true “soul brother,” nalists Association) party at a great new Harry Connick Jr., and more, all with- Norman Hedman, about seven or club, which will open in February with out being more than 20 minutes from eight years ago. I’ve been most for- Dee Dee Bridgewater. Then I walked home, all without paying a cover or tunate to have experienced mucho to the NEA (National Education Asso- other entrance charge. It was one of quality hang time with Mr. C. and ciation) Jazz Masters Awards Concert. those evenings that reminds my why I have drunk in his exquisite, magical Aside from a heartwarming accep- live where I do. musical expressions from coast to tance speeches by recipients, in particu- coast. lar Nancy Wilson, in performance dur- Russ Dantzler Reading George’s poignant liner ing the three-plus hours were Jimmy, New York City, N.Y.

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and I probably wouldn’t have gotten My friend Roger Wilder plays his to it so soon if I hadn’t noticed that piano parts as creatively and smartly the liner notes were written by one of as I’ve ever heard him live, and he’s my very favorite musicians… let always on the money. Pianist Bram alone his saxual magic, I’m talkin’ Wijnands is no slouch on the bass ei- ‘bout Bobby Watson, of course. ther, in blending comfortably with I couldn’t help draw parallels in Erikson and in his “bright moments” recognizing a similar projection of flu- solos, as well. Trumpeter and Univer- DAN THOMAS QUINTET idity within their hallowed tones, sity of Missouri-Kansas City educa- CityScope shapes and phrases, but this story is tor Joe Parisi, along with Thomas, about Dan Thomas. Of Canadian ori- demonstrates some great front-line I get a lotta mail, and I’m getting gin, Dan displays ample chops and excursions and blows most admira- older (maybe wiser, too), so it’s not composing skills on both the alto and bly. like I forget… but sometimes I just soprano saxes. His spirit, his obvious “City Scope” is both hot and cool can’t remember. So…that what haps driving leadership and his passion in the right places, and should be re- yesterday when I received “City surge to the forefront throughout this ceived well and played in EVERY Scope,” the debut of Dan Thomas solid effort. city. Check this one out, and spread and his quintet. Either Thomas or drummer Jim the word. Dan Thomas is on the It all came back to me after the Erikson penned all the selections. His move. first spin, and again today when I ballad numbers are as lovely in their For all you may need, contact shared by first steamin’ cup of joe with romantic leanings as the upbeat tunes Dan Thomas on the web at: this mighty fine piece of work. I will reflect their infectious stylings. This www.danthomas.info. now always remember Dan Thomas. CD represents a showcase of some Yea, I get stuff sent to me daily, classic jazz, and superlative playing. Memorial Tropique saxophonist Sam Furnace dies

A longtime member of Norman Hoover Rich by Photo and Chris Jonas (soprano sax). The Hedman’s Tropique and a friend of quartet’s debut recording is “The Way the Berman Music Foundation, Of the Saxophone” (Innova, 2000). saxophonist Sam Furnace died re- Bindman and Ho formed the cently of liver cancer at age 48. group in 1995, associating the project Furnace last appeared in Lincoln with the members’ home base, the with Hedman’s tropical jazz ensemble borough of Brooklyn. for a BMF-sponsored Jazz in June With a fiery and sharp sound, performance last summer. His accom- Furnace, came out of the r&b camp plishments, however, went far beyond of Johnny “Clyde” Copeland’s “Texas his tenure with Hedman. Twister” and the Cuban bandleader Furnace was a multi-reedist, Mongo Santamaria in the ’80s. In the composer and arranger and had per- ’90s he worked extensively with Julius formed with Jaki Byard, Art Blakey, Hemphill; including in the all-sax Julius Sam Furnace at Jazz in June. Abdullah Ibrahim, McCoy Tyner, Hemphill Sextet, which teamed him Randy Weston, Al Hibbler, Tito Composer Orchestra, the Jazz Pas- with Marty Ehrlich, Andrew White, Puente, , Charlie Persip, sengers, and Wayne Gorbea, as well James Carter, Fred Ho, and (in Chico O’Farrill and Bernard Purdie. as Tropique. Hemphill’s absence) Tim Berne. He can be heard on recordings with One of his longtime associations Furnace played alto sax and flute Mongo Santamaria, Milt Hinton, was as alto and baritone saxophonist on five tracks from Tropique’s release Craig Harris, Johnny Copeland, Elliot with the Brooklyn Sax Quartet, which of 2000, “Taken By Surprise.” Sharp, The Julius Hemphill Saxo- also included Fred Ho (baritone and phone Sextet, The New York Jazz alto sax), David Bindman (tenor sax),

Page 18 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ CD Release Party Jim Jacobi celebrates release of “Get Out”

Veteran “punk rocker” Jim Jacobi had his CD release party Dec. 16 at the Zoo Bar in Lincoln to celebrate his brand new endeavor, “Get Out.” All the players on the disc were there to cameo their recorded performances. Jacobi’s rhythm section, drummer Dave Robel and bassist Craig Kingery, was joined by Butch Berman, piano; Dr. Dave Fowler, fiddle; Steve “Fuzzy” Blazek, lap steel; and Charlie Burton and Carole Zacek, vocals. Also in attendance were Rick Petty, congas; Phil Shoemaker, guitar; and Brad Jim Jacobi, guitar; Craig Kingery, bass; Dave Robel, drums; and Butch Berman,

Krieger, trumpet. keyboard. Photo by Butch Berman Butch by Photo

Carole Zacek and Jim Jacobi.

Jim Jacobo, Craig Kingery and Rick Petty, congas.

Phil Shoemaker and Butch Berman.

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All Photos By Rich Hoover (except where noted)

Jim Jacobi, guitar; Brad Krieger, trumpet; Craig Kingery, bass. Photo by Butch Berman Butch by Photo

Jim Jacobi and Dave Robel visit during a break. Dave Fowler takes a break.

Jim Jacobi, guitar; Steve Blazek, lap steel; Dave Fowler, fiddle; Charlie Burton, vocals; Craig Kingery, bass.

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Non Profit Org. U.S. Postage PAID Permit No. 1359 Lincoln, NE

Berman Music Foundation Butch Berman Charitable Music Foundation 719 P St. Studio G Lincoln, NE 68508 Return Service Requested

Sam Furnace (R.I.P.) Photo by Rich Hoover Rich by Photo

How can you help the foundation?

The Berman Music Foundation is a non-profit, tax exempt, 501(c)(3) private foundation, and your tax deductible donation is needed to help offset the costs of this newsletter and its pro- grams. ____$ 10 ____$ 25 ____$ 50 ____$100 ____$250 ____Other Name______Address______City______State______Zip______Phone______Fax ______E-mail______

Make check payable to Berman Music Foundation at: Berman Music Foundation 719 P St., Studio G Lincoln, NE 68508

Sam Furnace plays alto saxophone with Norman Hedman’s Thanks for supporting jazz! Tropique during a Jazz in June performance in Lincoln.