March 2006 Ear Always Open to the Present Moment

Photo by Rich Hoover Rich by Photo

Giacomo Gates, consummate artist, appears April 7 with Cartwright Trio Singer Giacomo Gates will perform April 7 in Lincoln.

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The consummate jazz artist is a collection of all that has passed be- Giacomo Gates will perform in fore—in personal experiences and in Lincoln April 7 at the Melting the history of the art. He also has an Spot, 227 N. Ninth St. Joining March 2006 ear always open to the present moment. him will be the Joe Cartwright Vol. 11, Number 1 Singer Giacomo Gates is such an Trio of Kansas City, Mo., with artist. He draws on a blue-collar New pianist Joe Cartwright, bassist England upbringing, a natural inclination Gerald Spaits and drummer to song and a deep respect for the el- ders of the jazz vocal art form. When Ray DeMarchi. The perfor- he launches his expressive baritone mance is presented by the In this issue of Jazz.... voice in the interpretation of a jazz stan- Berman Music Foundation. dard, what comes out is pure Giacomo Prez Sez...... 2 Gates. year that Gates turned his lifelong pas- BMF Annual Meeting...... 6 Rather like the smell of grease- sion for music into a profession. Be- Marilyn Maye & Carmen Lundy in KC...... 7 paint for the Broadway child actor, fore that he had toiled, like his father Gates grew up with the smell of grease before him, at a wide variety of blue- NJO/Newell and Basile Review...... 9 and paint in his nostrils. His father was collar jobs, including a 14-year stint in Stefon Harris & Blackout Review...... 10 an auto body-and-fender repairman Alaska. But the move to music wasn’t “Sherman, The Boy Wonder,” R.I.P...... 11 who operated his own shop in small- as sudden or unpredictable as it sounds. town Connecticut. “That transition was like a return, Tomfoolery: Non-jazz artists...... 12 “My parents were married about actually, because as a kid I grew up Jazz on Disc...... 13 eight or nine years before I was born,” around my father, who played classical Discorama...... 17 Gates recalled in a recent phone inter- music around the house—records— view from his home in the Bridgeport, and he also played the violin. And he Conn., area. “When I was going to be played pretty well. Here’s a guy doin’ born, they built an apartment on the body and fender work but he played back of the garage. So, I grew up classical violin, and he played one of smellin’ thinner.” th Born in 1950, it wasn’t until his 40 Gates continued on page 4

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Spotlight’s on Lincoln music and radio scene ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○

Dear Faithful Readers, Hoover Rich by Photo

Here’s comin’ at ya on the 21st day of February, my least favorite month. It all started decades ago when, soon after purchasing these ultra-cool blue suede boots for my honey for Valentine’s Day…she dumps me. (I probably deserved it, in those days.) Even now, married to a most tolerant and lovely woman, my darling Grace, this month still bugs me. Having to put my ol’ 20-year-old doggie, Sherman, to sleep over the weekend didn’t help much, either. You canine fanciers, like me, will hopefully dig my obit in this issue. Yeah, there’s been some good shit Butch Berman (keys), Norman Hedman (conga) and Craig Kingery (bass) jam at happening too…and even on our home Berman Music Foundation headquarters. front. Get ready for the local scoop. I came into contact with two dif- stole the show at the Topeka Jazz Fes- received warmly. We plan to meet soon ferent establishments within the past tival last Memorial Day weekend, and to discuss plans for doing some jazzy few weeks that hold great potential for have several nationally released record- stuff together this summer…which more, and better, live jazz in Lincoln. I ing behind them. A SHOW NOT TO could coincide in positive ways with got a call from a gentleman named Cal BE MISSED!!! More info will be Jazz In June. Keep your fingers crossed Simmons, who now runs The Melting available and updated on our website, for us all here, as this could turn into, Spot, at 227 N. Ninth St. in downtown so you all can show up and help sup- let’s say…something cool (homage to Lincoln, just around the corner from our port big-time jazz here again in Ne- June Christy). As always, we’ll keep historic Haymarket District. Before I braska. you posted. had a chance to return his call, Grace Another beautiful room that runs In reference to Jazz In and I ran into our old friend, Lincoln jazz is also one of Lincoln’s best new June…aside from helping book ombudsman Oscar Harriott, who is a eateries. The Le Krem Bistro on the Alaadeen and his wonderful band here friend and “consulting partner” in mak- second floor of The Creamery Build- last year, I had nothing at all to do with ing this new African-American venture ing at 701 P St., right next door to the the musical choices or any of the poli- a success. After groovin’ on the seren- Burkholder Project, which, among other tics and workings of that event, or this dipitous nature of it all, Oscar got Cal local artists, houses our Berman Music year’s proceedings. I and the BMF on the cell phone, we met, talked biz, Foundation office. Anyway, I was eat- wholeheartedly urge you to always sup- and have two shows booked at this ing dinner there one night, loving the port live jazz ANYWHERE. lovely, two-level nightspot. ambience and diggin’ the cuisine, and I I’m thrilled to be back on the ra- Local saxophonist Bill Wimmer thought to myself, “This reminds me of dio again at our community station, brought his hot quartet to this club Zino’s (now defunct) in New York City. KZUM 89.3 FM. I do a show called March 10, my 57th birthday. On April 7, Wonder if they could use some big-city the “Tuesday Morning Soul Stew” that a star-studded show features East Coast jazz to augment their already nice local airs from 10 a.m. to noon every, yup, singing sensation Giacomo Gates, music format?” you guessed it…Tuesday. I figure “soul” backed by the incredible Joe Cartwright I then spoke to owners Kris and music has these three major require- Trio from Kansas City, Mo. These cats Emily Raasch about my ideas, and were ments—stories that convey truth, con-

March 2006 Page 3

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Photo by Rich Hoover Rich by Photo viction and emotion that allow me to present a wide variety of musical genres. Check me out! I got a surprise call while I was on the air today from Norman Hedman in New York who was listening on his computer via streaming. Just go to www.kzum.org and press the “Play” button on the right. Since I just mentioned Norman, this is a perfect lead-in to mention his Bill Lohrberg (guitar) and Norman Jazz is published online at: visit here recently. The BMF just cel- Hedman (conga) jam. www.bermanmusicfoundation.org th The office of The Berman Mu- ebrated its 11 year in show-biz, so we sic Foundation is at 719 P St., had a great dinner and meeting at the together. We’ve developed a great, Studio G, Lincoln, NE 68508. Dish restaurant. Tom Ineck reports on small but fervent cult fan base of folks the business side of our meeting in this led by perhaps my best oldest friend, or Editor and Designer: newsletter. Besides Norman, Dan is it oldest best friend (oops, she Tom Ineck Demuth of Colorado Springs, Colo., also wouldn’t like that, but you get the pic- Contributing writerswriters: attended. He and Norman are consult- ture) Joyce Latrom. She’s been a loyal Butch Berman and Tom Ineck ants for our foundation. follower of every band I’ve ever played Norman also was interviewed by in, and herself ran the sound and lights Photographers: Butch Lincoln musician and deejay Bill and tour biz for one of Lincoln’s favor- Berman, Grace Sankey Berman, Rich Hoover Wimmer on his KZUM show, “Jazz ite bands from the old days…Cricket. Journey,” which airs every Tuesday She’s a big ballet supporter as well, For inclusion of any jazz or from 1-3 p.m. Norman’s still active with working behind the scene of our annual blues related events, letters to his longtime band, Tropique, and gigs “Nutcracker” Xmas concert at the Lied the editor or suggested regularly with a wide variety of cats up Center for Performing Arts, and usu- articles, mail them to the office, phone (402) 476-3112, and down the Eastern coastline, and is ally chairing the now-consolidated high fax (402) 475-3136 or e-mail working on a new solo project to be school reunion extravaganzas ever five [email protected]. announced. Norman Hedman and years. Tropique are in the process of planning Anyway, the Cronins have found To be added to our mailing their upcoming summer tour of Europe. a new home to do our stuff in on a regu- list, call (402) 476-3112, fax (402) 475-3136 or e-mail Also on board for this excursion is saxo- lar basis at a lovely new nightspot on [email protected]. phonist Chico Freeman and vibraphon- the corner of 12th and O streets in down- ist Roy Ayers. town Lincoln called Christo’s Pub, op- The Butch Berman In closing, let me shamelessly erated by a very nice fellow named Charitable Music mention my slammin’, rockin’ r&b band Randy Christo, who really knows how Foundation is a non-profit, tax exempt, 501(c)(3) private foun- The Cronin Brothers, who recently cel- to run a tip-top establishment with great dation recognized by the Inter- ebrated our 2nd anniversary of giggin’ drink selections, real decent bar food nal Revenue Service and the and a very pleasant wait staff. They’re Nebraska Department of Rev- Photo by Rich Hoover Rich by Photo booking live music pretty much all of enue. It was established in the the time, and we will try to perform there spring of 1995 to protect and promote unique forms of jazz the first Saturday of the month starting music. in April. Check our Updates page for all kinds of groovy musical adventures. Trustee: Butch Berman

Swing into spring. Consultants: Grace Sankey Berman, Russ Dantzler, Dan Demuth, Norman Hedman, Gerald Spaits, Leslie Spaits and Wade Wright

Dan Demuth, Bill Wimmer and Norman Hedman gather at KZUM Radio studio.

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Gates continued from page 1 trucks and tractor-trailers to bulldozers Hoover Rich by Photo and loaders. In 1975, he took his accu- those ‘crying gypsy’ violins. He didn’t mulated skills north to Alaska, where play for a living, but he played very oil pipeline construction had created an good.” economic boom unrivaled since the Gold So early on, Gates was exposed Rush days. to classical music, as well as the swing He landed in Fairbanks, but was music of Basie, Ellington and Cab unable to score a decent job. “It was Calloway. His formal instruction in the tail-end of the boom,” he recalled. music began at age 8 on the guitar. So he hung sheetrock, clerked in a li- “I took lessons for about seven quor store and even worked as a years. I could play OK, but I couldn’t bouncer at an illegal gambling joint. play what I heard in my head. But I “It was great. I was 25 years old could sing what I heard in my head.” and I was having a hell of a time. I liked While still in his teens, he sang for the vibe. It was like the last frontier.” a few wedding gigs with a group of older Eventually, his construction trade guys, introducing him to the tunes of skills proved a valuable asset for Gates. Harold Arlen, Cole Porter, George He would be flown with a crew to a Gershwin, Rodgers and Hart and other remote, isolated location, where barges composers of the great American carrying construction materials would Encouraged by educator and jazz songbook. But, after all, Gates was a be unloaded. writer Grover Sales, Gates began to test child of the ‘60s, so he also was hip to “You’d build a place to live, then the waters, singing locally and region- the soul music of James Brown, The you’d build a place to eat, then you’d ally. Sales, who died in 2004, was so Four Tops and The Isley Brothers and start to build a road.” He would work influential in his support that Gates dedi- enjoyed the rock music of The Rolling wherever he was needed, including the cated his most recent release, “Cen- Stones. Jazz, however, was never far North Slope, the Aleutian Islands and terpiece,” to his memory. away. the Brooks Range. Sometimes, the clos- “I was just trying to get heard. I “I would play Dexter Gordon for est settlement was an Eskimo village made my own little cassette because my friends and they would say, ‘Who’s 80 miles away. you had to have a demo to give people.” that? What’s that?’ I’d play Thelonious It wasn’t until the mid-1980s that DMP Records liked Gates well Monk and they’d look at me like, he was introduced to the Fairbanks enough to release his first recording, ‘Whaaa?’ But I was fortunate that I Summer Arts Festival. There he at- 1995’s “Blues Skies,” which was pro- was aware of that music.” For a real tended a two-week vocal workshop duced by Helen Keane, best known for education, the young Gates tuned in jazz conducted by cabaret singer Chris her long tenure with pianist Bill Evans. radio stations based in New York City. Calloway, daughter of the legendary The CD featured the reed virtuoso Among his favorite singers were the bandleader Cab Calloway. Seduced by Jerome Richardson and the impressive trio of Lambert, Hendricks and Ross the possibility of a music career—and rhythm section of pianist Harold Danko, and Joe Williams. But his own leap into tired of life in the Alaskan wilderness— bassist Rufus Reid and drummer Akira a jazz vocal career came much later. he returned to his home state, closer to Tana and accurately reflected the “I went to college for about a year, the urban environment where his art singer’s penchant for the hip, relaxed and took civil engineering. Mathemat- could flourish. vocal style of Jon Hendricks and Eddie ics is not my strong point, so here I am “It was certainly culture shock, Jefferson, which few other singers are in an engineering school, right? I was coming back here. It was crowded emulating. Gates even contributed lyr- putting myself through school, working when I left, and it was more crowded ics to Monk’s “Five Spot Blues,” re- part-time. I was working really hard to when I got back. I still miss those open titled “Five Cooper Square.” Also dis- just about pass, and paying for it my- spaces and the solitude and the beauty playing his talent for vocalese and mim- self, and I said maybe this is not for of it (Alaska). But I went back up there icking the sound of instruments, it was me.” to teach in ’99, and it’s turning into an impressive debut. Always interested in the construc- America. It’s not crowded yet, but “That helped me get a little more tion of things, he worked as a laborer, there’s McDonald’s and Burger King recognition, and I started to travel a little paving roads, installing catch basins, lay- and Subway and 7-Eleven and Cinema bit, do some festivals.” A second re- ing pipe. He drove everything from 1, 2, 3, 4, 5.” cording, “Fly Rite,” followed in 1998 on

March 2006 Page 5 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Hendricks and Ross and Eddie Jefferson, Joe Williams, Joe Carroll, and Babs Gonzales, a great scat singer. I also think I’m influenced by the horn players who ‘sang,’ like Lester Young and Ben Webster and Stan Getz. Lou Donaldson is right out of Charlie Parker and Sonny Stitt. They’re very lyrical

Photos by Rich Hoover Rich by Photos players. When I listen to somebody like Lou or Dexter (Gordon), I can hear the words. Moody, Miles is very lyrical, Chet Baker. I don’t sing like Chet Baker, but I hope I’m influenced by him.” His ability to write vocalese— note-perfect and rhythmically faithful lyrics to difficult instrumental pieces often written many years before—is no Singer Giacomo Gates (above) will mystery to Gates. He simply combines perform April 7 in Lincoln, Neb. He his vocal tendencies with his instrumen- will be accompanied by (clockwise tal background. With near-missionary from left) pianist Joe Cartwright, zeal, he explained the process. drummer Ray DeMarchi and bassist “When I heard Lambert, Gerald Spaits. Hendricks and Ross, when I heard Eddie Jefferson, to me they were sing- Sharp Nine Records. Again he was in ers who were in the band. They weren’t very good company, backed by pianist in front of the band. They were in the David Hazeltine, bassist Peter Wash- band. That’s what made it happen for ington and drummer Ben Riley, with me. And, you could tell the musicians guest soloist Jim Rotondi on trumpet and were having a good time. The singer flugelhorn. The repertoire drew heavily Gates downplays his relatively rapid rise was having a good time. When you lis- on standards and featured a Gates lyric to success since his decision to go pro- tened to that music, you couldn’t help to Lee Morgan’s “Speedball.” fessional in 1990. but have a good time. The Origin label released “Cen- “I’m still trying to make something “They weren’t just singing rhyth- terpiece” in 2004. Harold Danko is back happen after 15 years, 16 years,” he mically flat-footed melodies. They were on piano, along with bassist Ray says. “It doesn’t feel that quickly, but singing the triplets and the dotted quar- Drummond, drummer Greg Bandy, gui- then again, when you’re in it, you can’t ters, and there was a rhythmic pulse to tarist Vic Juris and saxophonist Vincent tell.” their singing, and the story was always Herring. Its song list is a similar mix of Gates is quick to recognize his in- a little more involved than just the lyric familiar standards—”Summertime,” fluences and his respect for those who to the chorus. I’m a fan of this music, “All of Me,” “Route 66”—and more have gone before him. He recites a long so that’s how I ended up doing it.” obscure gems, including “I Told You I litany of the great vocalists and instru- What drew him most to the sound Love You, Now Get Out,” “Scotch and mental “vocalizers.” of the jazz masters was the sound of Soda,” and King Pleasure’s “Swan “I’m certainly a Frank Sinatra fan, an individual, a unique personality find- Song,” a lyrical take on Gene Ammons’ a great singer. I’m certainly a Dean ing expression in song, whether as an “Hittin’ the Jug.” Gates contributed new Martin fan. Who’s more relaxed and instrumentalist or a vocalist. Whether a lyrics for “Milestones.” takes himself less seriously than Dean listener understands music theory is ir- Gates also is featured prominently Martin? That’s why he’s fun, because relevant. on organist Eddie Landsberg’s 2002 he’s just havin’ a good time. I like “The people who don’t know the release “Remembering Eddie Sammy Davis Jr., great pipes. I like theory of it still know what they like and Jefferson,” even penning the opening Betty Carter and I like Carmen McRae, know what they hear. I never play an track, “Mr. Jefferson.” and I like Mose Allison and Nat Cole. Modest and cautious by nature, I’m certainly influenced by Lambert, Gates continued on page 6

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audience cheap. Audiences know what they’re listening to.” Gates has two recording projects in the works. One is a Gershwin tribute with a piano trio led by former Nebras- kan Rex Cadwallader, now living in Connecticut. For many years a contributor of compositions to the Nebraska Jazz Orchestra’s repertoire, Cadwallader returned in 2005 to perform with the NJO. Gates expects his next CD as a leader to see the light of day by the end of the year. As planned, Berman Music Foundation gathers for annual meeting at Dish. it will feature a piano trio, plus three of four horns. Annual Meeting Like many jazz artists as his level of ability, Gates also is in demand as an educator, dividing his time between BMF turns focus to local scene in 2006 Wesleyan University in Middletown, By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Conn., the Hartford Conservatory of Music and New Haven’s Neighborhood When the Berman Music Foun- working with local jazz artists and local Music School. While on the road, he dation gathered to conduct its annual venues, including two recent additions also conducts workshops and clinics. meeting Jan. 31 at the Dish restaurant to the Lincoln scene—La Krem Bistro Students and school administrators ap- in downtown Lincoln, it was with a cau- and The Melting Spot. preciate the fact that he’s a working tiously optimistic outlook for the com- Aside from those plans, Rager instructor, but Gates says he also ben- ing year. emphasized, there are no large finan- efits from teaching. Despite its business meeting cial commitments in the offing for the “Every time I work with some- agenda, the occasion also brought to- coming year, a year of retrenchment in one, I get something out of what they’re gether many old-time friends and asso- the hopes of brighter days ahead, as doing, and I’m realizing something else ciates to celebrate the BMF’s many the BMF builds its asset base. myself.” accomplishments in its 11-year history. The foundation already has done

Musician and foundation consultant much in its first 11 years. What follows Photo Courtesy of Giacomo Gates Giacomo of Courtesy Photo Norman Hedman had recently arrived is a partial list of jazz artists the BMF from his home in New York City, and has presented in Lincoln since its in- consultant Dan Demuth had driven ception in March 1995: singer Karrin from his home in Colorado Springs, Colo. Allyson, Claude “Fiddler” Williams, the Also on hand were BMF president Quintet of the Hot Club of San Fran- Butch Berman and his wife and advi- cisco, saxophonist Greg Abate, trum- sor, Grace Sankey Berman; assistant peter Claudio Roditi, singer Kevin Ma- Ruthann Nahorny; photographer Rich hogany, the Kenny Barron Trio, saxo- Hoover; attorney Tony Rager; and phonist Joe Lovano, bassist Christian yours truly—a writer, editor and website McBride, saxophonist Benny Waters, manager for the foundation. pianist Jane Jarvis, singer-flutist Without dampening the Andrienne Wilson, Norman Hedman’s celebrative mood, Rager said the BMF Tropique, the Mingus Big Band, Bobby would continue to produce the Watson and Horizon, pianist Eldar foundation’s online newsletter (cur- Djangirov, pianist Monty Alexander, the Giacomo Gates rently publishing three or four times a George Cables Trio, singer Sheila Jor- year), but would turn its attention and dan, bassist Cameron Brown, and gui- financial focus more exclusively toward tarist Jerry Hahn.

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Divine divas double the delight in recent KC visit ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○○

KANSAS CITY, Mo.—I don’t Berman Sankey Grace by Photo the musicians were in tuxes and her know how I first discovered Carmen pinpoint lighting spotlights her beau- Lundy, but knew I dug her and had a tifully. They even lock the front door few of her CDs. While I was in New after each sold-out crowd arrives to York City, Fred Cohen, proprietor of insure total attention upon the artists my favorite East Coast record store, on stage. Even the wait crew serv- The Jazz Record Center, when asked ing the yummy menu items and drinks if Grace and I should catch George never get in the way or disrupt the Coleman at Smoke or Carmen performances. You get the Lundy at the now-defunct La Jazz picture…a great scene to appreci- au Bar, proclaimed, “Carmen ate one of the all-time pros in show- Lundy’s in town? She doesn’t play biz, and what a talent she is. Now in here enough. You must not miss her,” her late 70s, Marilyn is still a very classy, stunning woman dressed to or words to that effect. We went. Marilyn Maye and Butch Berman We were floored, totally mesmer- embrace at Jardine’s in Kansas City. the nines and ready to make you for- ized. Now I own ALL of her stuff, get any troubles you may have and hope to catch her stunning show clubs, Jardine’s and The Blue Room, brought with you to her concerts. again. were Ms. Maye and Ms. Lundy. I Marilyn did two separate shows On the other hand, I grew up in was truly in jazz heaven, and quiv- nightly, one comprising her jazz roots the early days of Steve Allen, Jack ered in anticipation approaching that with well chosen standards and bal- Paar and Johnny Carson, so Marilyn magical weekend awaiting us. Let lads, and the other a very special trib- Maye was no secret to me. How- me tell you…all expectations were ute to the late, great Ray Charles, ever, being a youngster, regardless met in spades and then some. It was which is the set we chose to attend. of how precocious I was, I really perhaps my all-time most memorable After a rousing “Let the Good Times couldn’t appreciate her greatness weekend in KC, and we’re talking Roll,” with a clever change of the until I was ready to embrace jazz and decades here. original lyrics redone by herself to the fine art of really knowing how to First of all, I’ve always enjoyed pay further homage to Mr. C., she sing and entertain an audience, Jardine’s at 4536 Main St. Because tackled his songbook with loving en- whether it’s “old school,” “new Grace and I always stay at the Em- thusiasm, done in the style she’s fa- school” or no school at all. Early re- bassy Suites in KC’s busy Westport mous for. Every selection from, of cordings with her fabulous pianist area, Jardine’s is a mere 10-minute course, “Georgia on My Mind” to husband, the late Sammy Tucker, are walk to its front door. We’re semi- more obscure tunes like “Busted” simply splendid, timeless music by regulars there, and were greeted held the audience in rapt attention. true professionals. Now back to her warmly by Armida Orozco, their Her back-up musicians, led by early roots in KC, I had yet to catch singer-manager, and later met Pat the always-fabulous pianist, singer her magic, knowing this was also 40- Hanrahan, who bought an interest in and arranger from NYC, Billy Stritch some years later. the club in November 2004. (on loan from Liza Minnelli), were Moving ahead to the present…I When Ms. Maye does her in- perfectly on the mark. KC’s own flipped when I checked out the sum- credible shows there, she turns the best of the best were as always…the mer jazz calendar in a fine jazz rag place into a mini KC version of the best—Gerald Spaits on bass (always from KC called JAM (Jazz Ambas- best NYC cabaret night clubs. A a gentleman with superb chops and sadors Magazine) and saw that per- black curtain shrouds the stage, mak- intonation), Rod Fleeman on guitar forming back-to-back in my current ing the perfect backdrop for an inti- two most frequented KC jazz night mate evening of entertainment. All Divas continued on page 8

Page 8 Berman Music Foundation Jazz

Divas continued from page 7 out to our other fave jazz venue, The and envelope you in a swirl of won- Blue Room, located in Kansas City’s derment each time you’re fortunate (always a trip to hear and 18th & Vine Historic District. It enough to hear her live. Choosing not watch…this may have been the wild- would take pretty big shoes to fill for to cover any standards anymore, est gig I’ve ever heard him on, and any performer to “follow” Ms. Maye, she’s now creating them, writing he’s always ON) and former KC but Carmen Lundy in not just “any” stark, thoughtful important stories homeboy, now transplanted to—I performer. We were in for another through song that literally take you think—Ohio, sax-man Hal Melia. I’d tremendous night of magic. Lucky, to other places in your mind. Akin at

never caught his playing be- times to hearing the departed Photo by Butch Berman Butch by Photo fore, and he was terrific on Betty Carter and Shirley sax, flute and back-up vo- Horn, you sometimes forget cals. Marilyn’s long-time to breathe as their hypnotic drummer, Jim Eklof of Des zones of perfection over- Moines, was on hand to pro- whelm you. Carmen, singing pel this stellar band to lofty you her life, is no heights behind the main star exception…a true renais- of the evening, Marilyn sance woman with an im- Maye. mense strength and divine After a well-deserved spirituality. standing ovation, a long line Her musical journey formed at the rear of the has carried her through 30 club for all of the folks in Carmen Lundy and Grace Sankey Berman meet in KC. years of growth, hard work attendance to meet and and enchantment. This cur- greet her. Gerald led me and Grace lucky us. rent tour, called “Carmen Lundy: to the head of the line to do our thing, The Blue Room, run by another Jazz and the New Songbook,” cov- and she was such a lady, and a total fine KC cat, saxophonist Gerald ers the best of her efforts and is now doll to boot, autographing a very old Dunn, also took good care of us. A available on CD and DVD. Her sets LP she was on before her career perfect table for two right in front of from her Los Angeles show, “Live took off, called “Cool Sounds from their always well-tuned piano, and at the Madrid,” was recorded Feb. Kansas City” on the Modern Jazz just underneath the microphone soon 18, 2005, at the Madrid Theatre with Workshop label. I had found it at the to be used to perfection by the main a host of now-defunct event, vocalist extraordinaire today’s best Music Ex- Carmen Lundy. jazz cats in the change record I knew we were in for a good biz who have store in KC. night when Carmen strolled on stage, been down After the looking lovely as always, so poised these same gig, I picked up and confidant, and asked the not-yet- roads with her her newest filled-to-capacity audience who for all those Carmen Lundy’s CD CD, called Marilyn Maye’s CD owned CDs or records by her. One years. Her “Live at the “Maye Sings “Maye Sings Ray” dude said he had two. She ap- brother, bassist Madrid” Ray,” recorded proached me with the same question Curtis Lundy, at Ron Ubel’s Soundtrek Studios, and to which I replied…”Uh…all of Bobby Watson, Victor Lewis, Marvin I highly recommend it to all Maye them?” Looking warmly into my “Smitty” Smith, Mayra Casales, and Ray fans. You can hear the same eyes, she clasped my hand, smiled Steve Turre, Billy Childs and Rober killer band, along with help from Todd that smile of hers, turned to her band Glasper, to name a few, were on hand, Strait, Danny Embrey, Everette and proceeded to blow everybody’s as well as bass player Kenny Davis, DeVan, Matt Hopper and Kevin mind within moments of hearing her who was with her that memorable Frazee. To contact Ms. Maye for spellbinding golden voice. night in KC. additional recordings, etc., you may Also a professional painter of A new pianist, Jesse McBride, call her at (816) 591-1114. merit, she projects each song she who Carmen recently discovered, Still reeling from the feeling of writes and sings like separate por- the night before, Grace and I headed traits, which change shape, evolve Divas continued on page 9

March 2006 Page 9 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Divas continued from page 8 Concert Review was making his debut that evening in KC. An exciting young talent, Newell and Basile help create who’s moving from Houston to the “Big Apple” after losing his home in communal ambience with NJO New Orleans, thanks to Hurricane Katrina, will be a cat to watch. Lo- cal drummer Michael Warren, I By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ thought, did a great job in handling her sophisticated catalogue of mate- LINCOLN, Neb.—The perfor- driving baritone solo, and Gulizia laid rial, most of which is on the afore- mance of Jan. 18 at P.O. Pears in down a percussion tour de force. His mentioned new releases. Obviously, downtown Lincoln exuded the frater- alto sax lines leaping and spiraling, in not having her own band with her nal mood of a high school reunion or Newell quoted “Sweet Georgia that night, the evening had a couple a homecoming of old companions. Brown” as he explored the horn’s of minor flaws, but you would’ve had The occasion was the return to lower range. to be a player to notice. She led the Nebraska of saxophonists Jeff Newell Newell stated the familiar band through some tricky waters and and Frank Basile, each of which has melody on “Body and Soul,” with kept afloat, sounding just as tight and gone his separate way in seeking jazz Basile answering on the bridge, a re- solid as when I first saw her in NYC. opportunities beyond their home state. prise of the melody and a baritone So soulful, totally real, and passion- In their younger days, each had per- solo. Newell and Bouffard took solos ate, with a sly, sexy demeanor that formed with the Nebraska Jazz Or- before Newell returned to the melody captures you every second she’s on chestra, a venerable jazz ensemble and a soaring cadenza. “Whispering,” stage, yet never denies you the truth with a 30-year history and a consid- also known in bop circles as “Groovin’ she generates. erable roster of illustrious alumni. High,” finished the first set with an We finally got to meet her after Newell and Basile had appeared alto-baritone workout. the amazing second set that con- the previous night as guest artists with “Autumn Leaves” featured a vinced any first-time Carmen Lundy the Nebraska Jazz Orchestra. But this Newell alto solo that cleverly quoted patron how unforgettable she is. It more informal small-group encounter “Softly as In a Morning Sunrise.” The was no surprise to us that she came at P.O. Pears allowed them to stretch dual horns stated the funky melody on so sweet, friendly and willing to out and blow. Along for the righteous of Charles Mingus’ “Nostalgia in take the time to “hang” with her ador- ride were guitarist Pete Bouffard, Times Square,” setting up solos for ing fans. We hope to catch her act bassist Rusty White and drummer Newell, Basile, Bouffard and White, for a third time in May, when she Joey Gulizia, all longtime jazz players whose playing was especially soulful. takes the tour to one of the best jazz in the Lincoln and Omaha areas. Liz Love joined the band on alto venues in the United States, Yoshi’s Newell’s edgy alto excursions sax for a couple of tunes, including in Oakland, Calif. We hope to do a contrasted nicely with Basile’s “St. Thomas,” the Sonny Rollins ca- long interview with Carmen for the brawny baritone. Both are generous lypso, with Bouffard creating the summer edition of Jazz. Even after players who exhibited an instant ca- sound of steel drums on the guitar 30 years, Carmen Lundy still isn’t a maraderie with each other and the rest synth. With a three-sax front line, the household name, but I feel she is on of the band. band played Monk’s “Straight, No the verge of becoming one of the all- The quintet took “It Could Hap- Chaser,” with bassist John Kotchian time masters of her craft. Anybody pen to You” at a medium tempo and of Omaha capably sitting in for White. that has experienced her heartwarm- made it swing. Joe Henderson’s Both musicians and audience ing and thrilling artistic charms will samba “Recorda Me” received the members enjoyed a communal com- testify to that. appropriately percussive treatment, fort level that is rarely achieved in the KC is always a first class mu- with White slapping the bass strings concert hall. As always, the ambience sical adventure destination, but it will with gusto. The band applied a New proved that a small club still is the best be awhile before we’ll be able to “get Orleans-style, second-line rhythm to venue for jazz expression and inter- off” like the weekend we were blown Juan Tizol’s “Caravan.” Playing his action. away by Marilyn Maye and Carmen guitar synthesizer, Bouffard created Lundy. Praise the Lord. a lush keyboard sound, Basile took a

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Stefon Harris & Blackout among today’s best ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—The best of the new youth movement in jazz was on display Feb. 23 during a performance by Stefon Harris and Blackout at the Lied Center for Per- forming Arts in Lincoln. Several hundred people were in attendance. Still in his early 30s, Harris already has fronted five recordings on the renowned Blue Note label, touring relentlessly behind each. In the process, he has assembled a solid band of like-minded individuals who are willing and able to go wherever “Evolution” is the latest release by their fearless leader takes them. Stefon Harris & Blackout. The current lineup of Blackout includes Harris on vibes and marimba; Stefon Harris juggles mallots. mallets. Finally Harris joined the Casey Benjamin on alto sax; Marc fray on vibes before turning it over Cary on keyboards; and the phe- excursion by Cary and an alto solo to Benjamin, who used (but never nomenal drummer Terreon Gully. by Benjamin, all culminating in a overused) an array of electronic Substituting for bassist Darryl Hall flashy finale. echo effects. at the Lincoln show was a very ca- Harris introduced Sting’s Monk’s “I Mean You” was an pable player from Kansas City. haunting waltz “Until” by saying he excellent vehicle for Harris’ virtu- Inevitably, most of the first heard it while the credits for osity. Cary also proved a superb evening’s repertoire was drawn the film “Kate and Leopold” were composer, contributing “The After- from Harris’ latest recording “Evo- rolling. Not impressed with the thought.” The beautiful ballad “The lution,” perhaps his best yet. But, “girl” movie, he was captivated by Lost Ones” got a finely tempered as the leader explained, much was the tune, and it showed in his ar- treatment, with Cary opening on left to chance and the whims of the rangement. Harris played the theme electronic keys, and Benjamin so- highly skilled jazz improviser. The alone—again working dexterously loing on alto sax (with effects), then opener seemed to rise out of noth- between the vibes and the warmer, switching to an electronic keyboard ingness, with Harris alternating be- woody-sounding marimba. Cary while doubling his solo with soar- tween vibes and marimba for sonic then picked up the theme on piano, ing, wordless vocals. effect. The free-form exploration with subsequent solo statements by The band finished on a high finally evolved into the mournful Benjamin and the bass player be- note with “King Tut’s Strut,” a com- melody of the gospel classic fore returning for another round by plex construction on which Harris “(Sometime I Feel Like a) Mother- Harris on vibes. delivered a driving solo on marimba. less Child.” To illustrate the band’s willing- Despite the high level of musical dif- From the new CD came ness to tackle any tune—no matter ficulty, the band managed to infuse “Blackout,” an uptempo, ever-shift- how mundane—Harris and com- everything it played with soulfulness ing tour de force that pitted the pany played variations on “Happy and crowd-pleasing passion, as well polyrhythmic Gully against the fly- Birthday.” Cary began with cascad- as astounding technique. ing mallets of Harris before ing chords, then the bass set a puls- segueing into an electronic keyboard ing riff, and Gully entered using

March 2006 Page 11 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Memorial

“Sherman, the Boy Wonder,” R.I.P. ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○○

It’s been so long, it’s hard to Berman Butch by Photo That translates to 140 years in human remember…but I think I first met terms. Pretty fucking amazing, if you Sherman, an English Springer span- ask me (excuse my “French”). My iel, unclaimed lost dog, at the Lincoln most marvelous veterinarian, Dr. Stan Humane Society around 1992 Cassel, who’s been taking care of my I was a suffering co-dependant animals for nearly 30 years, said in a relationship turning lousy, trying Sherman was the healthiest and old- to find a pet for the woman’s ungrate- est dog he’d ever dealt with. His blood ful pre-adolescent daughter. The little work, done just weeks before he girl spotted Sherman first, and ended passed, was perfect for a dog of any up taking him home. He was three age. Unfortunately, besides his hear- and a half years old, and probably was ing and seeing abilities becoming a bit lost on a hunt, perhaps being gun-shy compromised, the muscles in his rear or, like me, detesting hunters and hunt- legs were going fast. A Springer with ing for the sheer sport of it. How “Sherman, the Boy Wonder” no spring left is a sad situation. He would they like their heads mounted just couldn’t jump in the car anymore, up on a wall? (I’m getting off the track me worry?” attitude is what kept him or hop on the couch and bed to keep here.) aloft for so long. Sherman’s way, me company or, lately, just get up off He was a cute guy, but seemed Sherman’s couch, Sherman’s house, the floor. Stairs were really becom- scared of everything. Whenever he Sherman’s master…you get the pic- ing problematic, and he’d often fall, got upset, he’d roll over and pee on ture. God bless him. usually breaking my heart, thankfully, himself. Needless to say, Sherman’s When I acquired Toby (see his rather than his weakening bones. tenure with this mother-daughter obit in the December 2004 news- When I heard him crying, stuck team was pretty much doomed from letter) from yet another girlfriend du in the dog-door passageway trying to the start. Since he and my main side- jour who didn’t last long, and literally get back in the house in sub-zero dog, Ben, got along, I kinda kidnapped flew the coop, the feared pack of Ben, weather, I knew it was time. If I hadn’t Sherman from their back yard not long Sherman and Toby was born, much been home when that happened, it after I get wise myself and split the to the chagrin of many undeserving could have been a horrible end to a scene…and the rest, as they say, is puppies and their owners at our be- great dog deserving a much more dig- history. loved dog run here in Lincoln. nified journey to doggie heaven. Shermy was a handful in the Sherman would pick out the intended Speaking of which…I feel that my old early days. He’d follow his nose, or victim for the day, bark, and Ben and buddy may be heading back to this be off after a rabbit or squirrel, and Toby would run in and cause havoc planet on two legs for a change. But lose his way from where he started. like a scene out of a WWE wrestling for a short time I hope that Benny, Neighbors would always bring him event. I once had to give Sherman a Toby and now sweet Sherman are over saying he appeared confused, but kick to the ribs to defuse a situation having a good old time somewhere out happy, hanging out in their yards, even that could have turned catastrophic. I there. In closing, let me quote my long if it was a block or so away. I think felt guilty about that for years, but in time ping-pong pal, artist and musi- he might have been a horse in his prior the pre- “Dog Whisperer” days, I had cian Brad Krieger, who said of life, as he could run like the wind, so to get as down and dirty as the “boys.” Sherman’s departure, “All the dogs up swift and graceful…but usually end Moving ahead to now, I figured there must be thinking to up in a pickle somehow. We had our Sherman to be approaching 20 years themselves...’Oh no…there’s a moments, but certainly endured many of age. That’s an incredible number THIRD one.’” wonderful years. Like the Alfred E. for most dogs, and especially for large R.I.P., big guy. Newman of dogs, Sherman’s “What, guys like him (a 70-pounder, at least).

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Non-jazz artists shed light on the creative process ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○

Music artists not usually associ- ister, cello-toned fiddle. Corea’s “Spain” was a perfect platform ated with jazz can occasionally shed Longtime friends and recording for the trio’s sensitive jazz interplay. significant light on the improvisational colleagues, the duo began the concert They finished off with a lovely version art form that we usually label “jazz.” with a varied 45-minute set that included of George Harrison’s “While My Gui- This certain something is hard to de- the old ballad “Down in the Willow tar Gently Weeps.” fine, but it usually contains elements of Garden,” a Brazilian choro, an Anger It was not your typical concert— risk, adventure and openness to seren- composition based on Bach’s 5th Suite of any genre—but instead stretched the dipity. Oh yes, it also requires a techni- for Cello, and the Marshall-penned tunes boundaries of genre and made pigeon- cal mastery of one’s chosen instrument. “Gator Strut” and “Borealis.” The rap- holes irrelevant. In recent months, I witnessed two port that Marshall and Anger have non-jazz performances in Lincoln, Ne- gained from more than 25 years of play- David Lindley braska, that rose to that level of excite- ing together was evident in their subtle ment, unpredictability and virtuosity. cues and call-and-response interplay. Likewise, Lindley’s performance Bluegrass guitarist Mike Marshall and After intermission, Shimabukuro defied category. Always an iconoclast, fiddler Darol Anger appeared March 1 took the stage alone and launched into he remains youthful despite his 60-plus at the Lied Center for Performing Arts a respectfully tender reading of years. He still wears his hair long (with with young firebrand Jake Shimabukuro, Schubert’s “Ave Maria,” immediately muttonchops) and dons outrageous a 29-year-old Hawaiian whose chosen showcasing his amazing classical tech- polyester tropical shirts for every ap- instrument just happens to be his native nique on the four-stringed instrument pearance. More important, his approach ukulele. Back on Nov. 13, multi-instru- usually associated with the strumming to music remains adventurous, ranging mentalist David Lindley performed a of simple chords, ala Tiny Tim. But the from blues and roots rock to more the solo concert at the venerable Zoo Bar. young Hawaiian’s bag of tricks goes exotic song forms of the Middle East. These shows, by the way, had at way beyond the classics. During an In fitting deference to the catas- least one thing in common with most original tune called “Me and Shirley T.,” trophe visited on New Orleans by Hur- jazz concerts. They were performed on he broke into a rapid-fire quote from ricane Katrina, Lindley began and ended acoustic instruments, giving the pro- Deep Purple’s “Smoke on the Water.” with Crescent City classics. He played ceedings a distinctly organic sound and, “Let’s Dance,” another original lap-steel guitar on the bluesy opener, not coincidentally, an intimate feel for tune, had Shimabukuro showing off his Professor Longhair’s “Her Mind Is artists and audiences alike. faultless hammer-on technique and fla- Gone.” Also among the first set’s more Shimabukuro played to more than 1,000 menco flourishes. He displayed super- interesting offerings were Steve Earle’s people and Lindley to no more than a fast finger picking on “Orange World,” “Copperhead Road,” Bruce couple hundred. inspired by his tours with banjo virtuoso Springsteen’s “Brothers Under the Bela Fleck. A faithful rendition of “Over Bridge,” which was culled from an ob- Shimabukuro, Marshall and Anger the Rainbow” was followed by “3rd scure anthology of the Boss’s music, Stream,” on which he alternated single- and “Seminole Bingo,” by Warren With their veteran chops and ma- note runs and rhythmic chording pat- Zevon, with whom Lindley toured and turity, Marshall and Anger provided a terns with amazing dexterity. recorded for many years. nice balance to Shimabukuro’s impetu- The jazz esthetic finally emerged Switching to the bouzouki, a ous energy and precocious technique. full-blown when the trio joined forces, stringed instrument popular in traditional Marshall, switching from mandolin to beginning with Wayne Shorter’s “Foot- Irish and Greek music, Lindley played guitar to mandocello, helped to keep the prints,” with Marshall on mandocello the soulful “Soul of a Man,” written by sound balanced, too, by offsetting the and Anger on that odd “fiddle-cello.” Blind Willie Johnson. Supposedly in- uke’s characteristically thin, high-reg- The effect was that of a full-bodied spired by the blues boogie style of John ister tone. Similarly, Anger alternated string ensemble. With its complex chord between standard violin and a low-reg- progression and tricky timing, Chick Lindley continued on page 13

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Jazz on Disc

McNeil’s pianoless quartet is a template for creativity ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

to imagine the possibilities of updating Chase. “A Time to Go” is more reflec- the sound with his own tunes and his tive, almost introspective, and “Brother own rhythm section. Finally, in January Frank” has an ominous loping gait, aided 2004, McNeil went into the studio with by Hebert’s reliable walking bass line. baritone saxophonist Allan Chase, bass- Bernie Miller’s “Bernie’s Tune,” ist John Hebert and drummer Matt one of the rare tunes not written by Wilson. The result, “East Coast Cool,” McNeil, gets an off-kilter treatment that contains faint echoes of Mulligan and seems to alternately slow down and Baker’s so-called “West Coast Cool” accelerate as Chase and McNeil trade style, while charting a new and exciting solo statements. Wilson’s spirited drum- JOHN McNEIL musical terrain. ming is especially impressive here. East Coast Cool The very nature of the pianoless “Delusions” is a classic McNeil OmniTone quartet forces the players to create their invention, simultaneously enticing and own harmonic language, since they baffling the listener with its frantic Trumpeter John McNeil’s latest can’t simply rely on the keys to estab- changes. “Wanwood,” on the other OmniTone recording did not arise sud- lish a rich harmonic backdrop for their hand, is taken at a somber tempo that denly from a whim to mimic the leg- solo improvisations. This is where evokes sadness. On “Internal Hurdles,” endary pianoless quartet of Gerry McNeil and company excel—working Wilson directs the trumpet-sax interplay Mulligan and Chet Baker, though the out harmonies with great discipline and like a veteran cop directing traffic in instrumentation is the same. Never in- empathy, or dispensing with them en- downtown Manhattan. terested in merely duplicating someone tirely, venturing forth with call-and-re- Don’t try to dance to “Waltz else’s sound, McNeil used the format sponse phrases, occasionally swerving Helios,” a rhythmically precarious ven- as a template for his typically dangerously into dark side streets and ture. “Schoenberg’s Piano Concerto” uncomprising, contemporary approach. back alleys, but always arriving at their bears little resemblance to the original, It took nearly a decade to bring destination intact. but illustrates McNeil’s ability to adapt the project to fruition. Soon after So it is with “Deadline,” the ca- the concepts of other composers to his Mulligan’s death in 1996, McNeil was reening opener that quickly sets the own unique sound. asked to arrange some of the baritone pace and tone with stop-time precision, East, west, north or south, this is saxophonist’s compositions for a trib- Wilson’s inventive rhythmic punctuation cool.

ute concert. In the process, he began and deft dialogue between McNeil and Continued on page 14 ○○○○○○○○○○○○○○○○○○○○○○ Lindley continued from page 12 ○○○○○○○○○○○○○○○○○○○○○○○○○

Lee Hooker was Lindley’s hilarious by Lindley and Solomon Feldthouse. daughter, Rosanne Lindley, a vegetar- “When a Guy Gets Boobs,” a self-ef- The tune draws from Turkish music, ian. Served disgusting-looking head- facing, unflattering self-portrait of a among other assorted influences. cheese in the dressing room, they man gradually turning into his father. “Catfood Sandwiches” is Lindley’s couldn’t bring themselves to eat, even Casting back to that magical mu- ode to backstage food. A sample lyric: when Paddy Moloney of the Chieftains sical year 1969, Lindley performed two “Sandwiches served backstage, made hungrily dipped into it. movements from “Seven-Ate Sweet,” by a woman who looks like Jimmy For an encore, Lindley turned an instrumental masterpiece which first Page.” A great storyteller, Lindley re- again to the Zevon songbook for “The appeared in an 11-minute version on lated the hilarious tale of a Dublin con- Indifference of Heaven.” A second “The Incredible Kaleidoscope,” the third cert he headlined with Ry Cooder, his encore concluded with the N.O. good- release by the band co-founded in 1966 son Joachim Cooder and Lindley’s time dance tune “Bon Ton Roulle.”

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fulness remains even when the tempo leadership of founder-guitarist Robert increases on Horace Silver’s “Opus de Fripp (2003’s “The Power to Believe” Funk,” which also features a masterful is the latest studio release) and remains LeDonne solo on the Fender Rhodes a viable contributor to mature, contem- keyboard. porary music. Of whom else can this “Close Enough for Love” is the be said? only other ballad on this recording. It With its recording debut, the Crim- gets the romantic treatment but, as al- son Jazz Trio pays long-overdue tribute ways, the blues feeling is never far to the sophisticated sounds of the band st JOE LOCKE & THE MILT away. Locke’s loping ode to Roker, that introduced “21 Century Schizoid JACKSON TRIBUTE BAND entitled “Big Town,” brings out the best Man” in 1969! It is fitting that the trio Rev-elation in the percussionist’s vast repertoire of opens the recording with its own jazzy Sharp Nine Records licks, from subtle fills to intricate stop- rendition of this classic. and-go phrases. Ray Brown is cred- Pianist Jody Nardone, bassist Tim ited with “Used to Be Jackson,” an Landers and drummer Ian Wallace are The venerable Ronnie Scott’s jazz uptempo bop number that ends the set more than equal to the task, reinventing club in London is the setting for Joe in style. all the tunes here in their own style, Locke’s soulful celebration of the mu- One hardly need mention the solid without sacrificing any of the urgency, sic of the late, great master of the vi- rhythmic support throughout this excit- audacity, astonishing technique and braphone. For some 40 years, Milt ing live performance. It is a given that twisted wit of the originals. Nardone’s Jackson’s bluesy approach was the Cranshaw and Roker are in the upper lushly harmonized chord progressions perfect counterbalance to pianist John echelon, masters of their craft. Other- and straight-ahead bop lines set the stan- Lewis’ classical influences in the Mod- wise, they—and LeDonne—would not dard for Landers’ fluid and thunderous ern Jazz Quartet. “Bags” died in 1999, have been so integral to Jackson’s band fretless bass ruminations and Wallace’s but his music and “good vibes” live on. for the last decade of his performing stately, colorful and pungent percussion. For this outstanding tribute, re- life. Landers’ playing is especially lyri- corded last April, Locke fronts an ex- Stepping into the void left by cal on “Three of a Perfect Pair,” from emplary quartet that includes three Jackson’s passing was a daunting task the 1984 release of the same name. The former Jackson employees—pianist for Locke, but he pulls it off with a com- intensity grows as his booming lead Mike LeDonne, bassist Bob Cranshaw bination of respect, class and his own statement is followed by a pounding pi- and drummer Mickey Roker, who filled inimitable sound. ano excursion, aided and abetted by in for Connie Kay when that Wallace. “Catfood” is a quirky blues drummer’s declining health prevented number from KC’s second release, him from touring with the MJQ in the 1970’s “In the Wake of Poseidon.” The 1990s. Together, Locke and company canine vocalizing of “Hagi the dog” lend credibility, wit and technical profi- adds the appropriate comedic touch. ciency to this heartfelt project. From 1974 comes “Starless,” a Jackson’s soulful tune “The melodic gem that is given a gorgeous Prophet Speaks” is the fitting opener, 10½-minute treatment here. “Ladies of giving everyone a chance to loosen up. the Road” is a swinging little number Cedar Walton’s hip arrangement of the from the 1971 release “Islands.” standard “Young and Foolish” is the Nardone and the others really work out perfect mid-tempo vehicle for Locke’s CRIMSON JAZZ TRIO on this one. The trio slows down again swinging pyrotechnics and LeDonne’s King Crimson Songbook, Vol. 1 for the ballad “I Talk to the Wind,” also breezy keyboard artistry. A Ray Brown Voiceprint Records from “Poseidon” and perhaps the most arrangement gives a Latin tinge to Burt beautiful melody in the entire KC Bacharach’s ballad “The Look of It’s about time someone recog- songbook. Love.” nized the timeless quality of King “Red” is an edgy, off-kilter 1974 The title track, penned by Crimson’s music and its relationship to tune that sends the trio into hyper-drive LeDonne, is a reference to Jackson’s cutting-edge jazz. The seminal progres- in a dazzling technical display. The gospel influences and to another of his sive rock band of the late 1960s contin- closer is “Matte Kudasai,” a lovely nicknames, “The Reverend.” The soul- ues to record and perform under the Adrian Belew composition from KC’s

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1981 release “Discipline.” Its exotic fine piano solo. Montanaro kicks off of Kansas City Jazz, Vol. 1,” he begins beauty is heightened by Landers in a “Dr. Jekyll” with a brawny, confident to share some of those memorable soaring bass solo and by Nardone in a solo, inspiring Abate’s lively entrance moments with those of us who were romantically lush piano solo, reminiscent on alto sax. Miele shines while navigat- unable to attend. of Keith Jarrett’s yearning sound. ing the tricky changes of “In the Woods Recorded between February and Wallace keeps impeccable time and at Night.” July 2004, each of the 10 tracks fea- adds powerful accents on the cymbals. With titles like “Frankenstein,” tures a prominent KC jazz artist, with After listening to “King Crimson “Dr. Jekyll/Mr. Hyde,” “Bride of Fran- Cartwright himself confidently fronting Songbook, Vol. 1,” King Crimson fans— kenstein,” and “Pentagram, The the rhythm section with his impeccable and jazz fans—can only ask, “When Wolfman” some listeners may bemoan keyboard work on all but one. For David can we expect volume two?” the single-minded thematic obsession Basse’s showcase, Lionel Hampton’s with the horror genre and the lack of “Red Top,” the singer brought along his familiar jazz standards. Abate, however, own outfit—pianist Oscar Williams, knows the game well enough to vary bassist Bryan Hicks and drummer Bill tempo, arrangement and tone just Goodwin. enough to make things interesting. He Guitarist Rod Fleeman brings his also is a highly skilled composer with a ebullient style to “East of the Sun,” and quirky sense of humor, penning virtuosic alto saxophonist Bobby “Transylvania 6-5000” (no relation to Watson turns Charlie Parker’s “Little Glenn Miller’s “Pennsylvania 6-5000”) Suede Shoes” every which way but and cleverly ending the session with loose. With his soulful, urbane vocal “Igor’s Revenge,” another vehicle for style, Duck Warner turns Memphis GREG ABATE QUINTET Abate’s fluent flute-playing. Slim’s “Every Day I Have the Blues” Monsters in the Night At more than 65 minutes, “Mon- into a sophisticated blues number. Trum- Koko Jazz Records sters in the Night” is a generous sam- peter Stan Kessler expertly navigates pling of Abate’s post-bop inclinations, Horace Silver’s difficult “Nutville” with Aside from their evocatively with all participants given ample room brassy flair, taste and imagination. creepy titles, the nine tunes contained to move. Rather than anything spooky, Trombonist Paul McKee shows herein under the banner “Monsters in the title must simply refer to these “mon- his warm tone and considerable tech- the Night” have little in common with ster” musicians at work and at play with nique on Bill Evans’ “Time Remem- the music of horror film soundtracks or the music they love. bered.” Singer Sharon Thompson tes- other popular mythology. They are, how- tifies with gospel-tinged soulfulness on ever, representative of Greg Abate’s “Teach Me Tonight,” which also fea- ability as composer, arranger, leader and tures a bluesy solo by Cartwright. Kim player. Park caresses the wistful changes of Whether on alto or tenor sax or “We’ll Be Together Again” with his flu- flute, Abate always rides the hard-bop ent alto saxophone, and trumpeter Mike edge, and fans of his style will be Metheny interprets Jobim’s “One Note pleased that he continues that tradition Samba” on the EVI (electronic valve here with tunes like the driving opener, instrument). “Dracula.” Abate admirably shares the Cartwright’s authoritative pres- front-line with trombonist Artie ence is felt throughout this recording, JOE CARTWRIGHT Montanaro, while pianist Paul Nagel, but he really gets a chance to shine on The Best of Kansas City Jazz, bassist Bill Miele and drummer Vinny John Lewis’ classic “Django,” with Vol. 1 Pagano aide and abet the insistent bassist Gerald Spaits and drummer Ray Joe Cartwright Records rhythm. For contrast, Abate switches DeMarchi. A veteran of late-night KC to flute for the gentle waltz tribute to jam sessions, he can comp and lend the “Bride of Frankenstein.” After years of leading the Best of harmonic and rhythmic support to any The combo is comprised of first- Kansas City Jazz Series in the Oak Bar occasion, but his prodigious playing tal- rate accompanists who also solo with at the Fairmont Kansas City, pianist Joe ents are often understated in his role as taste and expertise. The title track is a Cartwright had compiled some 24 hours swinging shuffle that is elevated by a of live, recorded music. With “The Best Continued on page 16

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Continued from page 15 assuring that the group dynamic is al- before his return to North Carolina, ways at work. where he hooked up with a coterie of accompanist. The alternating tempos Cole Porter’s sophisticated “Get adventurous musicians to create a blend and moods of “Django” perfectly illus- out of Town” begins with a lush back- of jazz, folk and rock influences. trate his technical accomplishment, sen- drop of strings before Talley states the The result is “Trumpet Rock,” a sitivity, and improvisational skills. theme on soprano. Hawkins, Brewer fascinating collection of mostly When the spotlight is on the fea- and Kavanaugh all get a chance to ex- McCune originals melding jazz instru- tured soloists, it’s easy to overlook the press themselves before the tune comes mentation, a folk esthetic and an insis- essential rhythm players who make to a close. Talley switches to tenor sax tent backbeat. After an untraditional them sound so good. Spaits provides the for an interesting take on “Take Five,” version of the traditional folk song bass foundation on five tracks, Bob which is also a showcase for Hawkins. “Wayfaring Stranger,” the band Bowman on two and Tyrone Clark on The lilting Bill Evans ballad “Very Early” launches into a soulful “Revival on North two. DeMarchi’s solid and sensitive gets a gorgeous lush treatment, as does Evergreen,” featuring Mark Daumen support on drums can be heard on nine Coltrane’s “Giant Steps,” with Talley on tuba, Jim Crew on organ and tracks. again on soprano. McCune on cornet, flugabone (a cross “Donna Lean” is, of course, a between flugelhorn and trombone) and variation on Parker’s bop classic accordion. “Donna Lee.” The quartet draws on The title track begins gently with the Richard Rodgers songbook for “I acoustic resonator guitar, trumpet and Didn’t Know What Time It Was,” and Rick Lassiter on upright bass, and then Ellington is well represented by loving launches into a fuzz-toned, electric rock renditions of “In a Sentimental Mood” rumble, McCune doubling on lap steel and a closing romp on “Caravan.” guitar. “Brudog’s Lament” is mournful, The Talley quartet—augmented indeed, as it pits cornet, organ, sliding by trumpeter Al Pearson and alto saxo- steel guitar and Wayne Leechford’s DOUG TALLEY QUARTET phonist Gerald Dunn and backed by baritone sax in a slow, dirge-like anthem. By Request Shannon Finney on flute and piccolo, Cosmic allusions are obvious in Serpentine Records Elena Lence Talley on clarinet, Marvin “Martian Eyes,” with its farting tuba, Gruenbaum, Robin Prinzing and Brad spacey keyboards, and cornet loops. Its With its fourth CD on the Serpen- Athey on violins, Monty Carter on viola offbeat and audacious changes evoke tine label, the Doug Talley Quartet con- and Les Mengel on cello—has taken the music of Frank Zappa. A gentle tinues to expand its repertoire and its another leap forward in its continuing samba rhythm pervades “Ombah,” tonal palette, adding horns and strings exploration of jazz and all its permuta- which comes closest to resembling a in a live recording last year at Valley tions. conventional jazz tune. Nearly 10 min- View United Methodist Church in Over- utes long, it allows Crew to stretch out land Park, Kan. Applied to a set largely in a wonderful piano solo, followed by comprised of familiar standards, the McCune on cornet, and Lassister on lush arrangements are reminiscent of bass. Francis Dyer is the versatile drum- similar projects, including the seminal mer throughout these sessions, which “Charlie Parker with Strings.” come to a soulful conclusion with Utilizing tenor sax, soprano sax “Apostle of Droll.” and bass clarinet, Talley creates subtle By the way, besides being an ex- shifts in mood and color. Like a jazz cellent trumpeter and cornetist, Picasso, he dabbles in mixed media and McCune also plays assorted electron- paints in broad swashes of sound from BRYAN McCUNE ics, guitars, keyboards, accordion, per- the accompanying ensemble of brass, Trumpet Rock cussion and that aforementioned reeds and classical strings. But it is the Microscopic Records flugabone. Much of this recording sim- core quartet of longtime colleagues that ply beggars description, leaving this make it all work so well—Talley on From his hometown of Lincoln, writer at a loss for words to either make reeds, Wayne Hawkins on keys, Tim Neb., trumpeter Bryan McCune’s trav- stylistic comparisons or cite precedents. Brewer on bass, and Keith Kavanaugh els have taken him to Chapel Hill, N.C., Whatever it is, I like it. on drums. All contribute arrangements, Washington, D.C., and Baltimore, Md.,

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Alex Graham’s “The Good Life” is very good, indeed ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○○

It’s another no-frills, straight-ahead Jazz both have Joe Strasser at the drum jazz album played to perfection, and a song helm. This cat’s good, and if you’re selection to match. Alex on alto, flute and going to launch the beat behind the likes clarinet is brilliantly supported by this trio of trombonist David Gibson, you’d bet- of solid senders. A newcomer to me, Rick ter be. Gibson’s new creation, “The Roe at the piano is simply a delight with Path to Delphi,” on Nagel-Heyer his understated comping that still speaks Records is a complete cooker, and be- mightily. That mega-chopster bassist sides his most ample chops, showcases Rodney Whitaker walks you into the next the thought-provoking songwriting ability stratosphere and is so connected to drum- of Mr. Gibson. Like a rocket ship tak- ALEX GRAHAM mer Joe Strasser on this session, you’d ing flight, the title track provides the first The Good Life think they were musical Siamese twins... stage of motion, and by the time this Origin Records tight, man, tight. This triple-threat trio be- wondrous work closes with David’s comes this Hummer of a magic carpet “Prometheus’ Peace,” you’re in orbit. Origin Records has been putting out for Mr. Graham to float and soar above… This swinging crew of “jazz astronauts,” a ton of stuff these days, and mostly good and does he ever! including Randy Brecker on trumpet and stuff…real good, in fact. It’s more than I There are two originals and four flugelhorn, Wayne Escoffery on so- can ever listen to, and if you talented cats covers, including one of the prettiest ver- prano saxophone, Rick Germanson at in Seattle are reading this…I really appre- sions of “I Had the Craziest Dream” that the keys, bassist Dwayne Burno and ciate it. One of my favorite “new” guys is has ever been recorded. This is an above- the previously mentioned drummer, Mr. now with you, and his name is Alex Gra- standard standard, by all means. The av- Strasser, literally tear this puppy up. This ham. erage length of each track is nearly 10 is a true jazz experience, which these Hold on to this dude. He’s truly on minutes, enough time for these timeless days is a pleasure to behold for some his way to making an indelible mark in the cats to really stretch and blow and present of us old be-boppish purists. jazz world as on of the upcoming mon- you with one of best jazz albums of 2006, David, in his liner notes, speaks of sters. Yup, he’s that good. even if it was recorded nearly eight years searching for the truth in his music, and I very favorably reviewed his first ago. It’s way better late than never, and in this case that’s no lie. Recorded in CD, “Grand,” in the November 2005 news- “The Good Life” will be required listening NYC in 2004, this release takes hold of letter and found it to be so, like its for the ages. all your pleasure centers. Yearning, urg- title…grand. That was more of a New ing and caressing your senses while Orleans-styled jazzy r&b band with a cool keeping your feet moving, “The Path singer and, as always, Alex’s inspired sig- to Delphi” is truly a mind journey that nature horn, with such luscious tone and you can also feel within your body. Ev- impeccable phrasing. It’s not often that an eryone played their butts off, yet this artist’s second effort will impress as much musical story encompasses the usage as my introduction to him or her, especially of space, inner and outer, and every- if it’s really a killer debut out of the chute. thing just seems to fit. Try this one on With “The Good Life” and an entirely dif- for yourself, and beat a path to your ferent back-up ensemble, Alex Graham favorite record outlet for “The Path…” has done it again, and in spades. Recorded Repeated listening will be mandatory. back in 1998, this is truly a dynamite piece DAVID GIBSON A major league thank-you goes out of work from beginning to end. I know The Path to Delphi to David Gibson for keeping the jazz that when, right after I listen to a new CD, Nagel-Heyer Records tradition alive with his horn, for his mu- I immediately have to hear it again before sical outpouring, and for just keeping it checking out another musician’s hopeful Interesting…the two main CDs I so real. Truth…it is! entry lying in wait among so many others. picked out to review for this issue of

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Stritch has ’em in stitches How can you help the foundation? Photo by Grace Sankey Berman Sankey Grace by Photo 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 Pianist Billy Stritch, bassist Gerald Spaits and Butch Lincoln, NE 68508 Berman share a joke at Jardine’s in Kansas City, Mo., during a break in the Marilyn Maye performance. For Thanks for supporting jazz! more on Maye’s appearance, go to page 7.