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Al Cohn Memorial Jazz Collection at East Stroudsburg University of Pennsylvania • Spring / Summer 2016

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Al Cohn Memorial Jazz Collection at East Stroudsburg University of Pennsylvania • Spring / Summer 2016 The NOTE Al Cohn Memorial Jazz Collection at East Stroudsburg University of Pennsylvania • Spring / Summer 2016 REMEMBERING PHIL WOODS • NOVEMBER 2, 1931 ~ SEPTEMBER 29, 2015 In This Issue... The NOTE The NOTE contains some content that may be considered offensive. Authors’ past recollections reflect attitudes of the times and remain uncensored. Vol. 26 - No. 2 - Issue 66 Spring / Summer 2016 3 A Note from the Collection Coordinator Dr. Matt Vashlishan The NOTE 5 From the Bridge - Phil’s Legacy is published twice a year by the Su Terry Al Cohn Memorial Jazz Collection, East Stroudsburg University of Pennsylvania, 7 Phil Woods in Concert as part of its educational outreach program. Manchester Craftsmen’s Guild 11 Jon Gordon Remembers Phil Editor: Matt Vashlishan, D.M.A. 12 The Evolution of the Phil Woods Quintet Bill Goodwin Design/Layout: 14 Phil Woods Talks to Steve Voce Charles de Bourbon at BGAstudios.com ESU Office of University Relations 20 Au Revoir George Robert & Phil Woods ________________________________ Mary and Pat Dorian 24 Interview with Steve Gilmore Al Cohn Memorial Jazz Collection Dr. Matt Vashlishan Kemp Library 28 Brian Lynch Remembers Phil East Stroudsburg University 200 Prospect St. 30 Personal Tributes to Phil East Stroudsburg, PA 18301-2999 34 Readers, Please Take Note / Contributors [email protected] 570-422-3828 www.esu.edu/alcohncollection East Stroudsburg University President From the Collection . Marcia G. Welsh, Ph.D. The mission of the Al Cohn Memorial Jazz Collection is to stimulate, enrich, and support research, teaching, learning, and appreciation of all forms of jazz. The ACMJC is a distinctive archive built upon a Cover Photo (front): A young Phil Woods. unique and symbiotic relationship between the Pocono Mountains jazz community and East Stroudsburg Photo by Burt Goldblatt University. With the support of a world-wide network of jazz advocates, the ACMJC seeks to promote the local and global history of jazz by making its resources available and useful to students, researchers, educators, musicians, historians, journalists and jazz enthusiasts of all kinds, and to preserve its holdings for future generations. © 2016 Al Cohn Memorial Jazz Collection / Center Spread: Phil Woods and East Stroudsburg University friends; Benny Carter, Phil Woods, ________________________________ Zoot Sims. East Stroudsburg University of Pennsylvania is committed to Photo courtesy Jim Eigo equal opportunity for its students, employees and applicants. The university is committed to providing equal educational and employment rights to all persons without regard to race, color, sex, religion, national origin, age, disability, sexual orientation, gender identity or veteran’s status. Each member of the university community has a right to study and work in an environment free from any form of racial, ethnic, and sexual discrimination including sexual harassment, sexual violence and sexual assault. (Further information, including contact information, can be found on the university’s website at: http://www4.esu.edu/titleix/.) In accordance with federal and state laws, the university will not Cover Photo (back): From the ACMJC photo tolerate discrimination. archive: Phil performing at the honorary This policy is placed in this document in accordance with state doctorate ceremony at ESU in 1994. and federal laws including Titles VI and VII of the Civil Rights Act of 1964, Title IX of the Educational Amendments of 1972, Sec- tions 503 and 504 of the Rehabilitation Act of 1973, the Ameri- cans with Disabilities Act of 1990, and the Civil Rights Act of 1991 as well as all applicable federal and state executive orders. 2 The NOTE • Spring / Summer 2016 A Note from the Collection Coordinator By Dr. Matt Vashlishan t is with pleasure and sadness to present you all with the Phil Woods Issue of The NOTE. This is a Ivery special issue for the Pocono area musicians. When putting this issue together, one of the hardest tasks was to keep it at the appropriate length. I’m sure you can imagine how many people knew Phil, and how many more were influenced by his music and personality. I tried to keep the contributors to a minimum – mostly people that worked closest with Phil or lived around him, and I’m sorry I could not have had more people talk about him. It seems every person Photo by Jenna Brown has a unique and funny story to Phil, Matt, and Tony Marino performing at the Deer Head Inn tell, which proves what an amazing person he was, with or without the I knew about Phil all through to play with Phil. They put out a saxophone! high school at Pocono Mountain. record that I bought immediately Along with Phil’s passing, we lost Luckily for me the music program (yes, you actually bought music back another great saxophonist: George was great and we were exposed to then!) called “The Summit,” featuring Robert. George battled Leukemia for good music. I picked up every Phil Phil and George along with Kenny years, sometimes getting better and record I could find at the local music Barron, Ray Drummond, and Bill sometimes getting worse. I actually store. At that point he was a complete Goodwin. The tunes were written by spoke to him about contributing to mystery… I knew he lived in the area both Phil and George (plus Perdido this issue during one of the better but nobody ever saw him! I just heard where they play the Clark Terry line times, but he passed away before he stories and listened to the records on clarinet!), and I immediately could follow up with me. Luckily Pat that made him seem like he was gravitated toward George’s sound and Dorian got to him as well, and there super-human. writing style. It was obvious to me is much more about George and from When I attended the COTA even at that age how much respect George in Pat and Mary Dorian’s festival I began to see him live, and awe George had for Phil, yet he column later in this issue. Thank and I’m sure I heard him at the was able to maintain his own voice on you to them for putting that article Deerhead Inn as well. When he the instrument. If it were possible to together! wasn’t performing during the COTA wear out a CD like you could an LP, I Phil had so much to do with The Festival, he would usually sit perched would have done it with this album. NOTE, the ACMJC, and jazz in the at the top of the steps next to the Fortunately for me lasers are way less Poconos; his influence and legacy stage. This was a perfect vantage abrasive than needles. will live on in this area forever point where he could check out the So upon hearing Phil and George (along with many other areas of hillside, see the music, and position live, I began to struggle with my the world). He wrote more than 60 himself to talk to all the musicians. own alto playing. I never realized columns of “Phil In The Gap” for Occasionally he would move to the what an effect living in the Delaware The NOTE, as well as contributing to other side for a better look at the Water Gap would have on me as a many other articles. He co-founded drums! When I joined the COTA Cats saxophone player. Most kids growing COTA (the Celebration of the Arts (back then directed by Pat Dorian) up in other parts of the country or annual jazz festival as well as COTA I started to meet musicians in the the world only heard these musicians Camp Jazz), and led the COTA COTA Festival Orchestra, JARO, and on recordings. I heard them right in Festival Orchestra. He was a great most of all I got to see Phil up close front of me! That sound they had on friend, musician, composer, arranger, working with our band. I took his alto was amazing. So clear, powerful, bandleader, critic, comedian, pianist, every word like it came straight from crisp and sparkling, and it was and the list goes on. I would like to the Bible, even though most of the something I wanted! I started trying take advantage of my “Coordinator’s time he just scared the hell out of us! every mouthpiece in the Woodwind & Column” and tell a few stories about I learned about George Robert Brasswind catalogue. I drove my band why Phil was so special to me. when he came to the COTA Festival directors nuts with my pitch and Spring / Summer 2016 • The NOTE 3 tin can brightness, trying to achieve valuable thing he could have done for what I heard in Phil, Nelson Hill, Pat me. Turner, George Young, etc. So one To explain his generosity my September at the COTA Festival I final story has to do with my ongoing approached Phil, who was sitting in issue with saxophone neurosis. After his chair perched at the top of the selling my main horn that I used for steps, and I asked him THE question: 12 years, I had been testing various “Excuse me, Phil, I was wondering… horns and hadn’t been happy with I really want that sound… what kind any of them. I was talking about it of mouthpiece do you use?” And my with him one day. He told me to come first lesson began with his response: over; he had a bunch of different “It’s a Meyer 5 medium. But man, horns. When I arrived he was you just have to PRACTICE!” And he upstairs with at least six alto cases on walked away. No need for follow-up the floor.
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