File Photo

Tribute to Russ Long at Jardine’s Russ Long visits Berman museum. ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

a most wonderful night in KC ○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○ September 2006 KANSAS CITY, Mo.—Being With this kinda background, I Vol. 11, Number 2 sent to Wentworth Military Academy knew the Aug. 6 tribute for for my high school Nahorny Ruthann by Photo everybody’s and junior college beloved icon— days in the mid- pianist, singer In this issue of Jazz.... 1960s, only 40 and songwriter miles from Kan- extraordinaire sas City, I was Russ Long— Prez Sez...... 2 privy to some arranged by my Jim Monroe Memorial Concert...... 6 wonderful musi- dear friend, Tomfoolery: Jim Monroe legacy...... 8 cal acts at a wide BMF consult- Jazz in June Review...... 9 variety of venues. ant, and one of I was diggin’ Butch Berman outside Jardine’s the best bassists Giacomo Gates/Joe Cartwright Review...10 the likes of a very young Stevie Won- anywhere, Gerald Spaits, was going Luke Polipnick & Volcano Insurance...11 der, the Rolling Stones with Mick Tay- to be a gasser, and how! The magical “When Broadway meets Swing Street”....13 lor, my first acid trip with Jimi Hendrix, evening of love and fabulous jazz sur- Stevie Ray Vaughan before anybody rounding this ever-so-talented, lovely Jean Reldy: Jazz Patriot...... 14 knew about him, Tracy Nelson, Elvis man may have been one of the most Curtis Salgado Benefit...... 16 Costello, Al Green, etc. You get the wonderful nights I ever spent in NJO and “Caliente” Review...... 17 picture. Regardless of where I lived, KCMO. Special kudos goes out to the Sam Myers Memorial...... 18 my musical ventures to KC contin- entire staff of Jardine’s jazz club for ued through my rock years to my cur- working with Gerald to make this Jazz on Disc Reviews...... 19 rent involvement with jazz. The list is blessed event a reality. Discorama Reviews...... 21 too long to mention, as I tried to catch Feeling a little like Perry Mason Letters to the Editor...... 23 everyone I could while living here in with his trusted secretary and assis- Nebraska—Joe Henderson, Herbie tant Della Street at his side, I took and Wayne, Shirley Horn, Charlie Ruthann Nahorny to accompany and Haden, J.J. Johnson plus current stars assist me on this soulful sojourn. My like Karrin Allyson and Bobby Watson, to name a few. Russ Long continued on page 4

Page 2 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Prez Sez

Life’s joys and sorrows add to “Soul Stew” ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○

Keeping cool, my late summer Hoover Rich by Photo readers? Well…. I’m not as hot under the collar as I thought I might be, consid- ering the jazz scene as envisioned by moi. Lincoln, Nebraska isn’t NYC, or even close to KC as a Mecca for our beloved music. The former heavy- weight line-up of jazz monsters from coast to coast at the annual Jazz in June series fell to a more localized array of talent to fulfill a need to make a few more bucks, and the “Hey…it’s free, so how GREAT does it have to BMF gathers for dinner before Giacomo Gates concert with (from left) Ruthann be?” kind of attitude from the recent Nahorny, Ray DeMarchi, Gerald Spaits, Joe Cartwright, Grace Sankey Berman, powers to be. Butch Berman, Giacomo Gates, Mary Jane Gruba and Tom Ineck. I had high hopes for the now defunct Melting Spot, which proved my “I should know better” expecta- and listened to in NYC when I was you can fill a cool night spot with jazz tions. Maybe the past few lovely visiting, passed away suddenly a few fans, bring in a great act like Giacomo years with my wife, Grace, has had weeks apart last month. I’m referring Gates, backed by the Joe Cartwright some positive effect on my occasion- to the genius that was John Hicks and Trio, for a wonderful night of superb ally passionate, but emotional behav- Hilton Ruiz. Thanks to my dear friend, entertainment—with hopes of more ior. I seem to take things a little more percussionist Norman Hedman, who to follow—and then close the doors a in stride and try to not burn every introduced me to both of these fine week or so later, due in part to a few bridge I can’t cross. gentlemen within the past decade of local acts overpricing themselves and So between doing our web/jazz my involvement in jazz. He attended drawing little, as the door price had to newsletter, my enjoyable work as D.J. both funerals and shares my sadness equal what we charged for Gates. on my “Tuesday Morning Soul Stew” in dealing with the shock of their de- I also had high hopes that the radio show on KZUM, 89.3 FM in mises. Krem le Bistro, whom we did a little Lincoln, and rocking out with my band I caught John several times over piece on in the last issue, would try to The Cronin Brothers, I’m livin’ a life. the years, and cherish a ton of his re- find some time to work with us on the If I knew during my younger days try- corded stuff…all inspiring, solid bril- dinner piano concerts or duos we had ing to “find myself” that I’d end up liant pieces of work covering a lot of discussed. I know that starting a new with a lifetime career of turning my jazz styles. From his “Live at eatery is a major nightmare, and I’ll hobby into my job, mostly on my terms Maybeck” concert to his stunning always try to be patient when it comes to boot…Wow! I have too much to ensemble work with Bobby Watson, to jazz venues-to-be, but I’m begin- be thankful for to be pissed about stuff Victor Lewis and Curtis Lundy, as well ning to have my doubts. Some of the I’ll probably never be able to change. as his classic tributes to Erroll Garner local pianists advertised as “jazz pi- You can’t blame a guy for having and Mary Lou Williams, his work was ano” are fine music teachers who deep principles concerning jazz. On- dazzling. His contribution on Norman’s don’t improvise, which in my opinion ward. “Flight of the Spirit” CD showcased isn’t jazz. Hey, they’re doing a fine Two incredible piano virtuosi his artistry as well. The most memo- job with good food and regular music, whom I was extremely fortunate to rable performance was at the legend- so I’m only stating the reality, with all have met and hung with on occasion, ary Bradley’s several years ago, when

September 2006 Page 3 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

he did a double-piano concert with instrument luthier, left to start his own Larry Willis. private business, called CGSMUSIC, I only got to meet ‘n’ greet and at 1244 High St. in Lincoln. Bob’s hear Hilton once, in a duo at a spot work is world-renowned, as is his called Zino’s. His Latin tinged bebop splendid website, showcasing the tore up the place, and he made a hefty musical tablatures of his arrange- entry into my never-ending jazz LP/ ments for guitar. His store will be an CD collection soon after witnessing all-purpose, service-oriented music his magic. We can be thankful that establishment featuring his repair ca- their vast catalogues of music will live pabilities as well as the selling of a Jazz is published online at: forever beyond the too-soon depar- wide array of interesting guitars, www.bermanmusicfoundation.org The office of The Berman Mu- tures of these special cats. The Berman Mu- basses, violins, some keyboards, and sic Foundation is at 719 P St., I also lost a new friend on May world instruments, as well as musical Studio G, Lincoln, NE 68508. 14, on a much more personal level. literature. Tom Ineck will do a fea- Steve Alvis, the general manager at ture article on Bob’s venture in the Editor and Designer: KZUM, while on a golf-and-fishing near future. We wish him the best. If Tom Ineck trip with his buddies, died instantly you loved the way my guitars have Contributing writerswriters: after a freak fall from a golf cart in sounded in all of my bands the past Butch Berman, Phil Chesnut, Florida. I’d only been back on the air 25 years, Bob’s the reason why. He’s Dan Demuth and Tom Ineck for a few months, but the depth of the best in the biz!! Photographers: Butch

character and personality of this kind, Berman Butch by Photo Berman, Phil Chesnut, Dan jovial middle-aged man was apparent Demuth, Rich Hoover, Tom from the get-go. We bonded with a Ineck and Ruthann Nahorny mutual love of the soul-tinged ‘50s and ‘60s soul music I play on my show. For inclusion of any jazz or He was a devoted husband to his blues related events, letters to wife, Tammy, a master chef and avid the editor or suggested articles, mail them to the sports enthusiast with a great rep office, phone (402) 476-3112, from his many years putting a sports Peanut fax (402) 475-3136 or e-mail agenda together at Nebraska Pubic [email protected]. Television before taking over the helm In closing, I also want to wel- at KZUM. To be added to our mailing come a new addition to my household list, call (402) 476-3112, fax

Photo by Butch Berman Butch by Photo with the arrival of a 3-year old En- (402) 475-3136 or e-mail glish shepherd named Peanut that [email protected]. came from a farm in Gordon, Neb., where I was told an evil farmer The Butch Berman Charitable Music named Leo Woodhouse brutalized Foundation is a non-profit, tax this adorable dog, and caused the exempt, 501(c)(3) private foun- death of his brother. Shame on him dation recognized by the Inter- and “Yea!” for Peanut. He joins my nal Revenue Service and the other fairly new adopted No. 1 dog Nebraska Department of Rev- Muggles enue. It was established in the Kaliber and even gets along great spring of 1995 to protect and Our own Jazz newsletter editor with the real boss—no, not Grace, but promote unique forms of jazz and webmaster Tom Ineck, chairman my cat Muggles. music. of the board at the radio station, has This one big, happy and jazzy temporally assumed Steve’s position family wishes you all a swinging au- Trustee: Butch Berman until his huge shoes can be filled. May tumn. Consultants: Grace Sankey all of these magnificent men’s souls Berman, Russ Dantzler, Dan rest in peace…never to be forgotten. Demuth, Norman Hedman, On a cheerier note, my old friend Gerald Spaits, Leslie Spaits and Bob Popek, after many years at Wade Wright Dietze Music House as their string

Page 4 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Russ Long continued from page 1 Berman Butch by Photo

dear wife, Grace, had not yet returned to the states after nearly six weeks visiting her African homeland, family and friends she hadn’t seen in many years. She knew Ruth and I had our act together, and insisted we go when Tom Ineck had to pull out due to other commitments. Russ Long takes a turn at the piano at Jardine’s. The joint, as they say, was rockin’, swinging ‘n’ swaying, and packed to the gills. It was standing In all, the horn arrangements stresses, which was a trip in itself, room only for the multitude of fellow came off so well that Russ even men- seeing everyone from so many eras players, fans and friends assembled tioned re-recording some of his tunes having such a good time, together all there that evening. The program nam- with this lineup and new charts. at the same time. Each artist had her ing all of the tunes and astute cats that Drummers Ray DeMarchi and own little thing goin’, remembering all gelled perfectly can be found on the Tommy Ruskin split sets with Gerald the gigs with Russ, often resembling back cover of this newsletter. Gerald remaining on bass, and Paul Smith on a roast, as the laughter and tears rounded up an interesting collection piano played his ass off as always. flowed like the wine that night…in

of musicians to showcase 17 of Russ’ Everyone Photo File abundance. jazzy creations, including a four-piece stood when By the horn section led by master of ceremo- Russ got up to time you read nies and former KC trumpeter Gary do a few tunes this, my founda- Sivis, with his “musical son” trumpeter and reminisce tion will have Stan Kessler, new Westport Art En- about his 50- wined, dined semble sax player Dave Chael, trom- plus years in and met with bone veteran Arch Martin and the show-biz. Gerald and the amazing reedman Charles Perkins, Even though rest of the Ne- who I had never heard live before. I Russ carries braska consult- was blown away by his astounding oxygen with ants to discuss chops. him when he our involvement

leaves his in seeing that all Photo by Butch Berman Butch by Photo home, he of Russ’ com- played and positions are sang with Gerald Spaits and Russ Long visited the copyrighted, BMF museum in 2001. strength and published and gusto, bringing his throng of teary- professionally charted to stand the test eyed followers to their feet several of time. times. And if this wasn’t enough of a Even though the years and some treat, 50 years’ worth of Kansas health problems have taken some of City’s greatest divas were present to the starch out of Russ Long, he’s still open their mouths and hearts and sing the hippest of hip and the coolest of to the man who has provided such cool. The Berman Music Foundation beautiful melodies and stories for them will be eternally grateful to Gerald to sing, as well as accompany them, Spaits for getting us involved with probably from coast to coast, cover- helping to produce Russ’ dynamite ing over a half century—Karrin “Never Let Me Go” CD and, now, Allyson, Julie Turner, Carol Comer and this tribute…a night to remember al- Marilyn Maye. ways. Ruth Nahorny is Butch Berman’s Ruth and I were sitting within “Della Street” on trip to KC. earshot of these legendary song-

September 2006 Page 5 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Photo Gallery Snapshots of Russ Long tribute at Jardine’s

Stan Kessler Songstresses (from left) Karrin Allyson, Julie Turner, Marilyn Maye and Carol Comer

Photos by Butch Berman

Julie Turner and Tommy Ruskin

Russ Long signs autographs during a break Karrin Allyson in conversation in the action at Jardine’s in Kansas City. Leslie Spaits

Ginny Coleman

Russ Long with his many fans Marilyn Maye and Karrin Allyson

Page 6 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

Monroe memorial concert draws audience of 600 ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

TOPEKA, Kan.—The purpose Tom by Photo Ineck Cole Porter’s “I Love You,” starting of the Jim Monroe Memorial Concert in ballad tempo then moving uptempo. was two-fold—to pay homage to the Rowles proved a fine vocalist on “’S late, world-class jazz promoter and to Wonderful.” raise funds for a scholarship that Rowles and Wilson later teamed would help ensure the continuation of up again with pianist Joe Cartwright, Monroe’s legacy. bassist Gerald Spaits and drummer In both respects, the free July 23 Tom Morgan—a very compatible event at White Concert Hall on the quintet—for a very satisfying set that Washburn University campus was a Gerald Spaits and Bob Kindred included “Time After Time” and Ray success. Some three dozen musicians Noble’s sadly obscure ballad “Why from all over the country showed up among seemingly disparate players. Stars Come Out at Night,” with to pay their respects and to play in As Monroe himself might have ar- Rowles caressing the vocal and the rotational-set format that Monroe gued, it is that sense of surprise that Cartwright interjecting a typically out- perfected during his seven years as is at the heart of all jazz improvisa- standing solo. music director of the Topeka Jazz Fes- tion. Bassist Tom by Photo Ineck tival (TJF). From 1 p.m. to after 8 Even before the concert, dona- Jim DeJulio had p.m. on this celebrative Sunday, play- tions to the Jim Monroe Scholarship the luxury of ers and singers moved on and off the Fund had exceeded $31,000, and an traveling from stage in various combinations, often additional $5,500 was collected at the L.A. with his performing together for the first time. door, according to Marcene Grimes, own trio, which As always in such cases, results executive director of Topeka Jazz also featured were mixed, sometime producing Workshop Inc. The fund was ex- pianist Ted awkward moments of musical and pected to net about $26,000 after ex- Howe and personal incompatibility, but occasion- penses, she said. drummer Joe ally yielding surprising camaraderie An estimated audience of 600 LaBarbera. Af- turned out for the memorial concert. ter expertly es- Photo by Tom by Photo Ineck An exact count was difficult since, like saying “How Jim DeJulio the players, they rotated in and out of High the Moon,” they turned to an off- the auditorium throughout the day. kilter rumba version of Juan Tizol’s What follows is a recap of some of “Caravan,” an inspired rhythmic the most memorable musical mo- workout for the inventive LaBarbera. ments. On “Do Nothin’ Till You Hear from Gary Foster was the perfect Me,” the piano and bass stated the choice as the day’s artistic director. melody in tandem. The woodwind player, based in Los Trombonist Dan Barrett tipped Angeles, was a longtime friend of his hat to the Mills Brothers on “If I Monroe’s and a TJF regular. Foster Didn’t Care.” The great young tenor and saxophonist Bob Kindred paired saxophonist Harry Allen joined Barrett up for a wonderful rendition of “Beau- on Ellington’s “All Too Soon.” tiful Friendship.” Boston-based trom- Barrett’s take on “Besame Mucho” bonist Phil Wilson sat in on a couple began as a rumba before shifting to a of numbers before adding West swing tempo and back. Coaster Stacy Rowles to the mix on Singer Julie Turner, with husband Artistic Director Gary Foster flugelhorn. They matched nicely on Tommy Ruskin on drums, Paul Smith

September 2006 Page 7

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Photo by Tom by Photo Ineck drummer Joe LaBarbera. “Alone To- Gates—were scheduled to perform gether” was followed by a wonderful consecutively. Programmed earlier in arrangement of “Out of Nowhere,” the day and in sets separated by in- with an outstanding solo by Kessler strumentalists, they both would have and Strayer sounding a lot like his main had a greater impact, especially Gates, influence, Gerry Mulligan. who is one of the most underrated Gary Foster on alto and Bob Kin- vocalists on the scene. dred on tenor returned for a soul- Instead, Gates had to follow a searching marriage of “I Thought lackluster performance by Basse as about You” and “Body and Soul.” But time was running short. Backed by it was tenor saxophone great Harry the compatible rhythm section of pia- Allen who earned the day’s most en- nist Joe Cartwright, bassist Gerald thusiastic ovation, as he illustrated his Spaits and drummer Tommy Ruskin, technique and soulfulness on “Just Gates instantly connected with the au- One of Those Things,” “I Get a Kick dience on “Lady Be Good” and the Out of You,” and an incredibly fast- ballad “P.S. I Love You,” proving him- paced “The Man I Love,” which chal- self a master storyteller of the heart. lenged the rhythm section (pianist Gates and Cartwright share an affin- Harry Allen and Dan Barrett Roger Wilder, bassist Branstetter and ity for the music of Thelonious Monk, drummer LaBarbera) to hold its own. apparent on the Monk tune “Well You

on piano and Jennifer Leitham on LaBarbera Tom by Photo Ineck Needn’t.” In a gracious gesture, bass, were impressive on Rodgers was most suc- Gates invited Basse back to the stage and Hart’s “Where or When,” and a cessful, tearing for a duet on “Centerpiece.” fast rendition of “You Do Something loose with a Overall, the concert lacked the to Me,” with admirable solos by dynamic and “star power” of classic TJF programs, Leitham, Smith and Ruskin, whose driving percus- where (in 2001, for example) it was brushwork was especially notable at sion solo. not unusual to encounter Ray Brown, this tempo. Allen’s Monty Alexander, Scott Hamilton, In typical grandiose style, trum- set would have Eldar Djangirov, Karrin Allyson, Ken peter Tiger Okoshi began with a bra- been the logi- Peplowski, Jay Leonhart, Gerry vura and dramatic solo reading of cal high point at Wiggins, John Clayton and Jeff “Ave Maria,” piercing the upper which to end Tiger Okoshi Hamilton all in the same day. reaches of the auditorium without a the day’s pro- As homage to Jim Monroe, how- microphone. He also exhibited his ceedings and send everyone home ever, it was fitting to have so many bright and brilliant, diamond-cut pre- smiling. In a programming faux pas Kansas City-area musicians partici- cision phrasing on “Some Day My that Monroe never would have made, pate with such enthusiasm and genu- Prince Will Come.” Dueting with two male vocalists with similar ine love for the man and the music. bassist DeJulio on “Days of Wine and styles—David Basse and Giacomo Roses,” Okoshi resorted to every trick

in the book—including leaps, trills, Tom by Photo Ineck valving and tonguing techniques. As if that was not enough, he set a blaz- ing tempo on “Yesterdays,” trading licks with drummer Ruskin as he reached for the stratosphere. Baritone saxophonist Kerry Strayer fronted a fine six-piece en- semble whose front line also featured trumpeter Stan Kessler and trombon- ist Paul McKee, with pianist Paul Smith, bassist Bob Branstetter and Giacomo Gates, Joe Cartwright, David Basse,Gerald Spaits and Tommy Ruskin

Page 8 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Tomfoolery

Monroe succeeded despite abrasive style ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Jim Monroe’s single-minded, authoritarian style as director of the Topeka Jazz Festival from 1998 to 2004 occasionally irked musicians accustomed to more artistic freedom. After recruiting them from all over the country, Monroe would then dictate who would perform with whom and even what tunes they would play. It was a degree of micro-man- agement that often worked against the spontaneity that makes jazz so unpre- dictable. It also anchored the festival Ted Howe, Jim DeJulio, Harry Allen, Tom Morgan and Dan Barrett in the staid style of the swing era, pre- cluding attendance by a younger au- dience and, ultimately, dooming the festival to oblivion. On the other hand, it is testimony to Monroe’s dedication and determination that the TJF sur- Gary Foster and Bob Kindred vived against all odds for seven years under his Photos by leadership and Tom Ineck that the Topeka Julie Turner and Jennifer Leitham Monroe at 2004 Jazz Workshop Topeka Jazz Fest Concert Series and pressed the flesh of prospective that he helped to donors in order to guarantee that the the Berman foundation sponsored the found in 1969-70 continues to this day. Memorial Day weekend event was Topeka Jazz Festival Academy in It is likely that nothing could have sufficiently funded, though it never 2002 and 2004. The workshop has saved the festival, although Butch made money. The Berman Music been supporting young musicians Berman bravely carried on as artistic Foundation was a sponsor of the To- since 1966, awarding a total of 212 director for its eighth and final year. peka Jazz Festival from 1998 to 2002 scholarships. No one can dispute Monroe’s and again in 2004. Monroe was vacationing in love and enthusiasm for jazz. He be- Monroe was president of the southern Africa with his wife when came hooked on the music while Topeka Jazz Workshop Concert Se- he suffered a fatal heart attack and growing up in Kansas City, Kan., and ries from 1977 until his death last year. died Nov. 7 at age 76. Net proceeds as a retired insurance agent he at- He led the marketing effort to in- of some $26,000 from the July 23 tended jazz festivals around the na- crease membership and oversaw the memorial concert will bolster the Jim tion, befriending musicians and fellow establishment and growth of several Monroe Memorial Scholarship Fund jazz fans and luring them to Topeka youth jazz scholarship funds to en- and ensure that his legacy as jazz im- for the annual festival. He tirelessly courage more young musicians to presario and promoter will not be for- worked the phones, wined and dined study and play jazz. Along these lines, gotten.

September 2006 Page 9 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

Christiansen and Trolsen best of Jazz in June ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—Overall, the Tom by Photo Ineck very impressive bass work. Gottlieb 15-year-old Jazz in June weekly con- showed his sensitive and skillful brush cert series has seen better days musi- work on a ballad rendition of “Darn That cally. The audiences and goodwill do- Dream.” The drummer reminds the lis- nations for the free performances, how- tener of the great Shelly Manne, the ever, continue to grow. ultimate in skill and sensitivity. I attended only the final two of this Christiansen arranged “All Blues” year’s four Tuesday evening concerts, in a jazz shuffle beat that again illus- and by all reports they were the most Rick Trolsen and Gringo do Choro trated Gottlieb’s talents. The drummer musically satisfying of the lot. improvised over a riffing pattern that Rick Trolsen and Gringo Do Trombone and mandolin merged led into an astounding guitar solo. An- Choro, a quintet from New Orleans, on Jobim’s masterpiece “No More other original arrangement transformed fused European melodies and Latin Blues (Saudade)” Other highlights in- “Softly as in a Morning Sunrise,” in a rhythms in that infectious Brazilian song cluded Jobim’s “No More Fighting” and minor key with a loping beat. With form known as choro when they per- the classic “Brazil.” Gottlieb again using brushes, Danielssen formed June 20. Trolsen’s intricate Even more of a pleasant surprise took a bluesy solo that segued into a trombone lead lines blended nicely with was the relatively unknown Corey guitar statement that had echoes of John

Brazilian-born pianist Eduardo Tozzatto, Christiansen Courtesy Photo Scofield’s pinched mandolinist John Eubanks, bassist Pe- Quartet, who tone and slithering ter Harris and drummer Wayne appeared June lines. Maureau. The marriage of trombone 27. Based in the Christiansen’s and mandolin was especially interest- St. Louis area, excellent ing. Christiansen is “Roads” was fol- “Tico Tico” evoked memories of adjunct guitar lowed by Denzil Carmen Miranda in its exotic exuber- instructor at the Best’s “Wee,” a ance. Jobim’s “O Pato (The Duck)” also University of swinging tune provided a firm footing for the evening’s South Florida based on the ubiq- Latin motif. Trolsen took the melody on and has Corey Christiansen uitous “I Got his composition “Medicine Lodge” be- authored more than 40 Mel Bay instruc- Rhythm” changes. The guitarist soared fore turning it over to a playful inter- tion books. Jazz in June committee on this one, alternating chords and change between piano and drums. member Ted Eschliman had recom- single-note passages in an outstanding mended the young guitarist after see- display of virtuosity, which in turn in- Photo by Tom by Photo Ineck ing him perform last year at a Mel Bay spired a powerful drum solo in which workshop. Gottlieb gave a lesson in creating a one- Adding to Christiansen’s own con- handed roll on the snare. siderable fretwork abilities were the Jazz in June will no doubt continue combined talents of his cohorts—Swed- to thrive. The free event drew a record ish pianist Per Danielssen, bassist Ben audience of 7,000 at its second Tues- Wheeler and drummer par excellence day concert this year. Just as impor- Danny Gottlieb, formerly of the Pat tant, however, is to maintain a high stan- Metheny Group. It made for a volatile dard of musical quality. Let’s hope that Members of Gringo Do Choro are trombonist Rick Trolsen, mandolinist quartet of pros. the series organizers take that lesson to John Eubanks, pianist Eduardo “Alone Together” got a swinging heart. Tozzatto, drummer Wayne Maureau, treatment, with Gottlieb sizzling on the and bassist Peter Harris. cymbals and Wheeler providing some

Page 10 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

Planets aligned for Gates and Cartwright Trio ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—Singer Even the standards of Tin Pan lyrics by Oscar Brown Jr., provided a Giacomo Gates is a human barometer, Alley find their way into Gates’ varied very hip and swinging vehicle for Gates able to instantly “read” a room and re- repertoire, as beautifully exemplified by and his smooth baritone voice. Monk spond accordingly. He also possesses his take on Cole Porter’s “You’d Be returned with “Ask Me Now,” trans- that rare personality trait that can bend So Nice to Come Home To.” On Oliver formed by the Jon Hendricks lyric into an audience to his “How I Wish.” One of Photo by Rich Hoover will, the gift of emo- the most satisfying per- tional interaction. formances of the No listener need evening was on “Five feel “out of the Cooper Square,” the loop.” All are made Gates lyric to Monk’s welcome to Gates’ “Five Spot Blues.” very personal musi- Cartwright and Gates cal experience. proved their shared More than affinity for Monk’s anything, that is music with Cartwright what made his per- infusing Monk quotes formance of April 7 throughout. It is obvi- at the Melting Spot Giacomo Gates and bassist Gerald Spaits at the Melting Spot ously a tune with very in downtown Lin- personal resonance for coln such a memorable event. That, and Nelson’s “Stolen Moments,” Gates de- singer and pianist alike. the fact that he was accompanied by livered a full-throated scat interlude Not even a technical glitch could Kansas City’s finest rhythm section, containing yodeling effects reminiscent darken the room’s spirits. Gates good- fronted by pianist Joe Cartwright and of the great Leon Thomas. naturedly addressed the problem with also featuring bassist Gerald Spaits and Cartwright’s bluesy piano solo ex- the old saw, “When the speakers hum, drummer Ray DeMarchi. The planets panded on Gates’ primal emotive power. it’s because they don’t know the lyr- were aligned that evening, and those More than any other singer who ics.” lucky enough to be in the intimate com- came before him, Gates is indebted to With consummate style and pany of such artists were blessed. Eddie Jefferson, both for his lyrical aplomb, Gates the storyteller introduced Their appearance was made pos- wordplay and his phenomenal vocalise. “Since I Fell For You,” establishing the sible by the Berman Music Founda- Gates paid homage on “Lester Leaps mood and drawing the audience into the tion. In/I Got the Blues,” while establishing narrative circle. The Miles Davis-Os- The Cartwright trio kicked things his own unique approach to the changes car Brown Jr. standard “All Blues” was, off with a stunning rendition of that bit on “I Got Rhythm.” Spaits injected a indeed, very bluesy. For his rendition of of Latin exotica called “Poinciana,” suitably rhythmic bass solo. “I Cover the Waterfront,” Gates turned most memorably associated with pia- Charlie Parker’s classic 1947 solo to Eddie Jefferson’s lyrics inspired by nist Ahmad Jamal. Gates then chan- on “Lady Be Good” was the inspira- the James Moody improvisation on the neled Eddie “Cleanhead” Vinson’s in- tion for Gates’ vocal gymnastics on the ballad standard, renamed “I Just Got structive lyric to the sprightly Miles tune. Next, he whistle-mimicked a flute Back in Town.” Davis melody “Four.” Thelonious on Gershwin’s “Summertime,” even Monk returned again to the pro- Monk’s “Let’s Cool One,” with origi- trading licks with Spaits. Cartwright gram in the form of “Too Many Things,” nal lyrics by Gates, showed the singer’s took a brilliant solo before turning it over a Gates lyrical transformation of “Think penchant for Monk’s music and his to Spaits for a bowed bass statement of One.” Feeling comfortable with the ability to negotiate the composer’s dif- to end the first set. ficult changes. Duke Pearson’s “Jeanine,” with Continued on page 11

September 2006 Page 11 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

small, but enthusiastic audience in the Photo by Rich Hoover intimate confines of the Melting Spot, Gates launched into a hilarious version of the soliloquy from “Julius Caesar,” liberally laced with hipster jargon. It’s hard to imagine a more com- patible unit than Gates, Cartwright, Spaits and DeMarchi. It is fitting that since this performance the singer and pianist have managed to collaborate on several club dates in the Kansas City area. We hope they will continue to work Giacomo Gates conducts pianist Joe Cartwright, bassist Gerald together whenever possible. Spaits and drummer Ray DeMarchi.

Artist Interview

Guitarist reunites with Twin Cities “home boys” ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Transplanted from Minneapolis to people telling me, ‘Oh, you should check practice. I was working in a restaurant Lincoln a couple of years ago, guitarist this out.’” Among his serendipitous dis- and practicing all day. It was kind of Luke Polipnick reunited with a couple coveries were Charles Mingus and the the young Minneapolis vanguard,” he of “home boys” June 3 at the Zoo Bar, entire Miles Davis oeuvre, but jazz still recalled. “They inspired me to take it when the trio—under the name Luke was a “foreign language” to the musi- really seriously. It was the first time I Polipnick and Volcano Insurance— cian in Polipnick. really had someone to hang out with. showcased some of the guitarist’s many “I always had a fair amount of They encouraged me to listen to ev- jazz compositions. facility, but trying to figure out what was erything.” It was, as Polipnick says, a The concert was presented with going on with the harmony and how they “real-world music education, rather than the support of the Berman Music would develop the melodies” took time, a conservatory education.” Foundation. he said. “It was a really organic pro- Among that Minneapolis vanguard I caught up with Polipnick while cess. I didn’t start trying to do it until I that helped to shape the young guitarist’s he and his wife were traversing rural was ready. It’s been a really slow pro- direction were bassist Chris Bates and Iowa by car recently. From behind the cess to get where I am now, and I’m drummer Joey Van Phillips, who joined wheel, he chatted by cell phone about still really working on it.” Polipnick at the Zoo as Volcano Insur- his musical ongoing journey. At the ten- Polipnick moved to the Twin Cit- ance. Bates, a decade older than der age of 25, it already has evolved ies area while still in high school to at- Polipnick and a first-call player in the through numerous styles as he seeks a tend St. Cloud University, majoring in Twin Cities, first performed in Lincoln medium of musical expression. trumpet. He later transferred to with The Motion Poets in an October A student of classical piano as a Hennepin Technical College in subur- 1997 concert at Westbrook Recital Hall, child in Minnesota, he first was drawn ban Minneapolis to study audio record- sponsored by the Berman Music to the guitar by the sounds of late ‘60s ing. But at age 19 he was ready to pur- Foundation. He returned last year with icons Jimi Hendrix and Cream-era Eric sue his growing jazz impulses. He al- trumpeter Kelly Rossum for a BMF- Clapton. His ears were first opened to ready had done some transcription, but sponsored performance Nov. 10 at P.O. jazz in a big way when he got a copy of had not devoted himself entirely to the Pears. Polipnick and Phillips are near- John Coltrane’s “Blue Train” at age 15. effort until then. He soon dropped out contemporaries who have been friends “That was a big revelation for me. of school, and made some important since their teens. From that point on, I started doing my connections with like-minded musicians. Minneapolis remains a music hot- own research. I got into a lot of the “I got in with a crowd of musi- bed that welcomes all styles of jazz, greats of the ‘50s and ‘60s, kind of by cians when I was about 20. That’s trial-and-error. I didn’t have a lot of when I dropped out of college to just Polipnick continued on page 12

Page 12 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

Volcano Insurance explores new musical terrain ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—Jazz improvis- some was stoked and ready to burn plex changes, stop time and a fuzz-tone ers, and iconoclasts in general, are at when they took the stage around 10 fade for effect. Bates took off on a their best when in the company of fel- p.m., and most of the audience of blues shuffle, detouring on a solo acous- low free thinkers. Even more liberating friends and curious jazz fans was re- tic bass excursion. Local sax phenom- is the opportunity to reunite with home- ceptive to experimentation. What fol- enon Chris Steinke took the stage for town friends who are equally open to lows are some random reflections on several tunes, including the standard mutual, musical exploration. the evening. “Alone Together,” performed in an un- Such a rare opportunity was pre- “I-80 West” was inspired by conventional manner with Bates on sented by the Berman Music Foun- Polipnick’s many hours traveling that electric bass and Phillips showing his dation June 3 at the Zoo Bar in Lin- long stretch of Interstate highway. It extraordinary skill in driving the trio coln, where guitarist Luke Polipnick was aptly explorative and apprehensive, while exhibiting frequent flashes of fronted the provocatively named trio sort of like the uncertain feeling of pass- rhythmic brilliance. Volcano Insurance. All three developed ing a loaded semi-trailer truck at 80 The blues later emerged in its most their jazz chops in Minneapolis, a musi- miles per hour in a roaring blizzard. elemental form when Polipnick dug into cal hotbed that they still consider their On “Miles Mode” the guitarist a fast and bluesy tune reminiscent of home base. Bassist Chris Bates has expertly utilized the volume pedal, cre- John Scofield. Lest the audience fail to been on the leading edge of that city’s ating intensity and a sonic bite while recognize the blues progression as it new music movement since his tenure running through arpeggios. Switching to flew by, the trio slowed down for a clas- a decade ago with The Motion Poets, electric bass, Bates kept a funky, in- sic late-night blues improvisation. who performed in Lincoln in 1997. fectious dub rhythm going on his com- Polipnick and his wife remain resi- Drummer Joey Van Phillips and position “3x3=8,” which also had dents of Lincoln, but the guitarist will Polipnick, now in their mid-20s, have Polipnick dipping into dissonant chords undoubtedly continue to explore new been friends since their teens. and arrhythmic passages ala Bill Frisell. and interesting musical terrain.

It was apparent that the three- “Legs on a Stick” employed com- ○○○○○○○○○○○○○ Polipnick continued from page 11 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

from the most accessible mainstream it, that were working in all aspects, from sider himself a prolific writer, but 90 sounds to the free-jazz fringes. the traditional to the avant-garde.” percent of the tunes in the Volcano In- “There’s always been a strong When Polipnick landed in Lincoln, surance repertoire are originals and, of patronage of the arts there,” Polipnick word got around quickly that a talented those, 90 percent were penned by him. said. “I don’t know if it’s because the young guitarist was in town. He met Asked to describe the trio’s music, he winters are really harsh or what. some of the city’s longtime jazz play- called it “really eclectic. It’s modern There’s always been a scene. It’s a ers, including guitarist Peter Bouffard jazz, for lack of a better handle on it, really hot spot right now because of and pianist John Carlini, with whom he but we have some stuff that’s fairly bands like The Bad Plus,” referring to landed a few duo gigs. He joined the rocking.” The band draws on dub, funk, the popular trio blending jazz with pop, local funk outfit Electric Soul Method, blues, Latin and other influences, for a hip-hop and rock influences for cross- appearing frequently in the area and mix that’s sure to keep listeners inter- over success. playing on the band’s debut CD. He has ested. It was the Twin Cities-inspired since left the ESM, but still explores Among his favorite jazz guitarists freedom of expression that impressed musical ideas with some of the former Polipnick named modernists Bill Frisell, Polipnick. bandmates. Wolfgang Muthspiel and Ben Monder, “That was the real fire for me, Playing opportunities in Lincoln as well as the legendary Jim Hall. getting to see these guys on a nightly or are rare, but Polipnick likes the city and weekly basis, who were really pushing makes the most of it. He does not con-

September 2006 Page 13 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

“When Broadway meets Swing Street” in the Rockies ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

By Dan Demuth ○○○○○○○○○○○○○ Photo by Dan Demuth Dan by Photo COLORADO SPRINGS, Broadway productions, a gospel series Colo.—Ed Polcer and his all-stars at the Brooklyn Academy of Music, and swung into Colorado Springs on March performances for Nelson Mandela and 25, leaving an SRO crowd in a swing- the late Pope’s anniversary celebration. ing mood. Judging by the audience re- Cocuzzi opened the second set, action during and after the concert, cor- sitting solo at the keyboard, vocalizing netist Polcer, vocalist Judy Kurtz and a and playing a great version of “Em- hot quintet fulfilled all expectations. All braceable You.” Showcasing his blues of these musicians are at ease estab- John Cocuzzi, Mike Weatherley, Tom background, he then asked for—and lishing rapport with the audience. Fischer, Ed Polcer and Tom Artin received—a few “amens” and jumped Perhaps mimicking too closely the into a great rendition of “Caldonia,” touring days of yore, the “band van” tude,” “I’m Beginning To See the Light” with the rest of the band gradually suffered a breakdown in the wee hours and “Strike Up the Band.” segueing to a driving finish. of the morning en route to the Springs Some brief bios are in order. “I Guess I’ll have to Change My from Jackson Hole, Wyo. The venue, Trombonist Tom Artin worked with the Plans” and “Write Myself a Letter” a large private room in Giuseppe’s Old Smithsonian Jazz Repertory Ensemble, followed. Judy Kurtz continued the oc- Depot restaurant (a beautifully restored Louis Armstrong Alumni All-Stars, the casionally interspersed vocals with turn-of-the-last-century railroad station) World’s Greatest Jazz Band, Wild Bill “Lucky So and So” and a rollicking ver- provided a club atmosphere not totally Davison, Mel Torme’s big band, and sion of “Them There Eyes.” Her back- removed from what one could have Bob Wilber’s Benny Goodman revival ground includes many performances at found on “The Street” in New York City big band, plus years as the house sliphorn centers, summer stock productions, the when the likes of Eddie Condon and at Eddie Condon’s in New York. John Lance Hayward Singers, New Hori- Benny Goodman were holding court. Cocuzzi on piano and vibes (who can zons Vocal Jazz Ensemble and Stan A friendly and efficient wait-staff, good also hit the skins) worked with Jim Rubin’s Swing Orchestra. Her delivery food and bar service surrounding the Cullum’s Jazz Band (“Live from the reflects this training with a light jazz entire event added to the ambiance. Riverwalk Landing”), performances in touch and just a smidgeon of cabaret Selections ran the gamut of Broad- the D.C. area, and was the piano driv- style blending nicely. way standards, swung in a jazz mode ing the Big Joe and the Dynaflows jump Ed Polcer has a lengthy and all- but still retaining their original flavor. The blues group. encompassing portfolio, of which two first set included “Softly As in a Morn- Drummer Kevin Dorn, who is also experiences of note are outstanding. He ing Sunrise,” “I Love Paris,” “Getting an alumnus of Cullum’s band, has been was manager and co-producer of Eddie to Know You,” “Just One of Those featured with Vince Giordano’s Night- Condon’s club in New York for 10 years Things,” “I’ve Grown Accustomed To hawks, The Flying Neutrinos, Leon and performed with the Benny Her Face,” “My Gal Sal,” “In My Soli- Redbone, The Manhattan Rhythm Goodman Sextet. Kings and TV exposure on “After The set continued with “Careless Photo by Dan Demuth Dan by Photo Breakfast” and “Good Day New York.” Love,” then two requests “Chicago” Tom Fischer, doubling on clarinet and and “Cabaret,” followed by a stunning sax, teaches jazz clarinet at the Uni- jazz version of “America the Beauti- versity of New Orleans. Well known ful,” the writer of which was inspired at festivals and clubs in the Big Easy, by Pikes Peak, which dominates the his resume’ includes recording dates skyline of Colorado Springs. “After with Al Hirt and Banu Gibson. You’ve Gone” closed out the set with Bassist Mike Weatherly has the requisite encore of “When You’re Tom Fischer, Mike Weatherley, honed his chops on gospel, swing, Cajun Smiling,” very apropos, as it reflected Judy Kurtz and Kevin Dorn and jazz. Mike has been featured in off- the mood of the crowd.

Page 14 Berman Music Foundation Jazz

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

Jean Reldy: Reminiscences of a jazz patriot ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Dan Demuth ○○○○○○○○○○○○○

Author’s note: Jean Reldy, as of this Demuth Dan by Photo writing, is a friend, historian of both jazz and WWII, jazz writer, jazz booster, and a jazz record and memo- rabilia collector, all at 87 years young. He has had numerous articles and photos published in jazz publi- cations. In the last few years I have had the pleasure of many great con- versations with Jean as they relate to the above topics. At my sugges- tion he agreed to let me put some of them in writing to share with others.

COLORADO SPRINGS, Colo.—With bullets and shells explod- Jean Reldy sits in his office in Colorado Springs surrounded by jazz memorabilia. ing all around, a young man seeks a safe haven during the Japanese battle BBC. His first record was a copy of formances by local musicians. Jean re- against the Americans’ push to retake Louis Armstrong’s “Take It Easy” b/w calls attending a jazz program spon- Manila. While running to safety, he is “Jubilee Stomp” (on the English sored by the Red Cross (a black revue hit in three places with grenade frag- Parlophone label), where his affinity for named “Drum Boogie”). He recognized ments but survives, only to see hundreds jazz and Louis in particular had its start. Bill Coleman and met up with him af- of other men, women and children ruth- This record remains in Jean’s exten- terward at a party that lasted until those lessly shot and killed by the retreating, sive collection. His serious study of jazz fabled wee hours. angered Japanese soldiers. was encouraged upon acquiring a copy Manila was eventually liberated It is January 1945. Just three short of Hugues Panassie’s “Le jazz hot” and and around 1950 Jean immigrated to the years earlier, Jean Reldy, a young their paths were to later cross. states, living in California, then Texas Frenchman living with his father in the He was also able to attend sev- and finally settling in Colorado Springs. Philippines, was enjoying what had to eral jam sessions, some organized by Once in the states, he quickly took ad- have been one of the most sublime the Hot Club de France and featuring vantage of the music available at live lifestyles anywhere in the world. Linen such musicians as Django Reinhardt, performances, while continuing to en- suits, broad-brimmed hats, two-hour Frank “Big Boy” Goody, Bill Coleman, hance his burgeoning record and book lunch siestas with evenings alive with Benny Carter and Coleman Hawkins, collection. clubs, bars and shows. Lazy days en- musicians who were currently touring In L.A., he met up again with hanced by balmy breezes, a now long- or living in Europe. Benny Carter, and as a guest at his forgotten lifestyle that could be enjoyed But around 1936, Jean began his home he was surprised to find out that by everyone—not reserved for just the Philippine odyssey. A brief interruption Carter was also an excellent pianist. rich and famous. In 1941, with the Japa- in 1939 found him in the French Army Guitarist T-Bone Walker was another nese takeover, Jean becomes an unwill- in Saigon prior to returning to Manila, of the first musicians he recalls meet- ing guest of the Japanese for the dura- during which time he had his first jazz ing, followed shortly by some personal tion of the occupation. article published—of which he still has meetings with Duke Ellington, a man His earliest recollections go back a copy. he describes as an absolutely extraor- to 1924, living in his native France, and Curiously, during the occupation, dinary and beautiful person. listening to English dance bands such the Japanese allowed the showing of In 1954 he attended a concert in as Jack Hylton and Ambrose via the American movies, as well as jazz per- Texas and met Armstrong for the first

September 2006 Page 15

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Photo by Dan Demuth Dan by Photo time. He relates that the band included Gus Johnson, Kenny Davern, Joe Trummy Young, Billy Kyle and Barney Newman, Zoot Sims, Teddy Wilson, Bigard. 1957 found Jean living in Hous- Peanuts Hucko and Trummy Young. A ton. Also there at the time was Light- subsequent interview with Young was ning Hopkins, to whom Jean gave a published. Gibson also presented a se- guitar as a gift. Arnett Cobb was an- ries of programs at the Paramount The- other acquaintance who frequently had atre in Denver during the winter Jean as a house guest. months, which Jean would attend. He “Freedom” still had a price at this has dozens of cassette tapes recorded time for some less-fortunate citizens. at these sessions—perhaps surrepti- One of Jean’s earliest recollections has tiously. him and a visiting friend from France During all of this time, Jean kept attending a Lavern Baker performance up a correspondence with Hugues in Houston. The audience was racially Panassie and in 1974 while in Marseille mixed, but with segregated seating— he was invited to be a house guest of unbeknownst to the new citizen and his Panassie and his wife, Madeline guest. With the program ready to begin Gautier. This was just three months and some seats closer to the perform- before Panassie’s death. Later, the Hot ers in the “colored” section still empty, Club of France was to celebrate its 50th Jean and his friend attempted to move Reldy’s poster of the Monterey Jazz anniversary, and Jean suggested to the to them, only to be told by a burly Festival signed by many famous artists Montauban (France) civic leaders that bouncer that “… they weren’t allowed a street be named after Panassie and a to sit with the niggers.” But, such a dis- Blues are also a part of Jean’s life plaque placed on the home where play of intolerance didn’t dim his en- as evidenced by his meeting such lumi- Hugues and Madeline had lived for so thusiasm for this country. naries as Cleanhead Vinson, Gatemouth long. They embraced the idea and in- He again met up with Ellington, Brown (who became a good friend), vited Jean as the keynote speaker at becoming friends with Russell Procope, John Lee Hooker, Muddy Waters, Big the dedication. and recalls going to a night club with Mama Thornton and Koko Taylor. His “This music (jazz) has occupied Ray Nance and Cat Anderson, who tastes defy his age—Roomful of Blues in my life a tremendous place (and) both got up and played trumpet is another favorite. permitted me to meet with jazz aficio- “….beautifully for a couple of hours.” In 1978, Jean moved to Colorado nados in the Far East, in Indo-China, in Another acquaintance was jazz writer Springs, promptly joining the Broadmoor the Philippines, in California, Texas and and critic Stanley Dance, whom Jean Jazz Club and the Pikes Peak Jazz and of course here in Colorado,” says Jean. interviewed in Brownsville, Texas, for Swing Society. He has lent his record- As would be hoped and expected, publication in the Hot Club Bulletin ings and knowledge of Ellington’s mu- Jean has a vast collection of photo- newsletter. At another of Duke’s ap- sic to local radio stations for programs graphs taken during these events, of pearances, Jean met up with Johnny commemorating Duke’s birth date. which he is justifiably proud. He has Hodges and Russell Procope, chauf- During this period, he again caught up written for jazz reviews in Spain and in feuring them to the concert. Buster with former Basie sidemen Sweets France (the Hot Club newsletter), as Bailey and Tyree Glenn were also re- Edison, Lockjaw Davis, Jimmy Forrest well as newsletters in Houston, New cipients of Jean’s “taxi” service when and Al Grey, resulting in another pub- Orleans, Denver and Colorado Springs. all three attended a private party. lished interview for the Hot Club Jazz As to the word “patriot”—Jean is As Jean reminisces, names of Bulletin. as serious, conscientious, unabashed other jazz celebs with whom he social- During one of the Dick Gibson jazz and ebullient a patriot of the U.S. as ized are casually mentioned—Clark parties at the Broadmoor Resort Hotel, one will ever meet. He will long remem- Terry, Jo Jones, orchestra leader Milton Jean and his charming wife, Georgette, ber the Japanese occupation and the Larkin, Ray Bryant (at Arnett Cobb’s hosted at their home, Jackie Williams, subsequent liberation by American home), Milt Hinton, Billy Taylor, George Duvivier, Doc Cheatham, Scott forces, which ultimately provided him Ellington introducing Jean to Freddie Hamilton, Al Grey and Johnny (Otis) the opportunity to participate in this Jenkins. Trumpeter Willie Cook, who Johnson. Others he met at these par- wonderful amalgamation of talent we was working in a music store, was an- ties included Jay McShann, Vic call jazz. other acquaintance. Dickenson, Ruby Braff, Ralph Sutton,

Page 16 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

Benefit for Curtis Salgado a huge success ○○○○○○○○○○○○ By Phil Chesnut ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

PORTLAND, Ore.—On June 13 bassman and promoter John Lee and I Photos by were the guests of Curtis Salgado at Phil Chesnut a very special benefit concert at the Theater of the Clouds in Portland’s Rose Garden. The event was a blues of Little Charlie & the fundraiser to assist Curtis with the mas- Nightcats. Fronted by guitarist Char- sive medical bills incurred while battling ley Baty and vocalist and harp man Rick the recently diagnosed liver cancer. Estrin, the band continued the essence With the support of so many of things to come. A loud MTV rock friends, fans and artists, the Concert for Curtis Salgado and Steve Miller band named Everclear played next, Curtis was a huge success. Proceeds which gave me a chance to mingle in not only came from tickets, but from a showed their love and support to a per- the halls, catching up with old Portland silent auction with some high-dollar son who has done so much for both the friends and checking out the many auc- prizes that did very well. With the clout music and the people. tion items. of this great blues city, and the help of Opening the show was the Curtis John Belushi’s widow, Judith, took so many, the benefit was truly worthy Salgado Band, with a five-piece horn the stage next with some heartfelt sto- of this great bluesman. There have been section and four-piece choir, the band ries of two friends who came together many other locally-based benefits for showed off their huge sound. Curtis and and how they forever influenced the Curtis recently, including ones from his crew certainly set the high-spirited, blues. Following these tales of the Seattle, Eugene, Ore., Fremont, Calif., soulful mood for the night. Following REAL Blues Brothers, came—for and Omaha, showing how far this mas- this great soul set came the familiar me—the highlight of the night, Taj ter soul man’s influence has spread. Mahal and the Phantom Blues I got to meet with Curtis for a short Band. Flying in from Europe to per- time before the show. He was in great form at this benefit, Taj and band put spirits and was a bit taken aback by the on a superb performance to the delight huge support shown on this special of the multitude. night. Later, Curtis put on his usual Next to perform was Curtis’ old masterful performance, demonstrating bandmate, Robert Cray. Cray dem- why he is truly one of the world’s great- onstrated his own blues-based pop est soul singers. As a true showman, music that has made him popular with Curtis also demonstrated great courage more than just blues fans. Following and strength, considering his situation. In response, both fans and artists Taj Mahal Salgado continued on page 17

Little Charlie Baty and Rick Estrin All-star jam led by Curtis Salgado

September 2006 Page 17 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Cray came Northwest rock icon Steve Tuesday, no mance of his I’ve ever seen, he always Miller and his band. After performing one seemed to took the time to make the point about a few Steve Miller gems, Curtis came care. love and respect towards each other. out to finish this long set. This Miller- Although After my experience at this special Salgado set was truly magical and worth Curtis still has event, his healing words and insight the price of admission by itself. a tough row to carry more weight than ever. If that wasn’t enough, Cray came hoe, he can back out, along with various other band rest assured Phil Chesnut, a former Lincoln resi- members, to create one killer all-star that he is a Robert Cray dent now living in Seattle, is an oc- jam that lasted way later than the man who is greatly loved and appreci- casional contributor to the BMF planned time. Although it was only a ated by thousands. At every perfor- newsletter.

Concert Review

NJO gathered friends for Latin music fiesta ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

The Nebraska Jazz Orchestra late 1990s, returning to his hometown through the subtly shifting rhythmic pat- gathered some of its longtime friends for this special appearance. He was terns of the bossa nova and samba. for a Latin music fiesta May 25 at the featured to good effect on Mark Haar’s emotive tenor sax lead Embassy Suites in Lincoln. Benson’s “The Sapphire Necklace,” voice on Billy Strayhorn’s melancholy Entitled “Caliente,” the celebrative and Freddie Hubbard’s “Little Sun- “Chelsea Bridge” contrasted dramati- concert had the big band decked out in flower,” which was further flavored with cally with the band’s brassy counter- tropical shirts for a loose and exotic flutes and clarinets in a Dave Sharp point. Jobim’s “Triste” brought to the blend of island rhythms and bravura arrangement. A year in Brazil and sev- stage trombonist Loy Hetrick, who brass, as the featured guests took the eral years studying with jazz masters played with the NJO in its infancy stage in well-rehearsed rotation. James Williams, Harold Mabern, Don nearly 30 years ago, as Hempel pro- “One Mint Julep” got things off to Braden and others have given Hempel vided the solid Brazilian pulse. a refreshing start, with Dave Sharp on additional depth, confidence and a feel Juan Tizol’s “Caravan” is a sure- alto sax and Bob Krueger on trumpet for Latin rhythms. fire crowd pleaser. This version began providing just the right dollop of spice. In presenting the annual John with a percussion intro from guests Krueger’s trumpeter son, Paul, Tavlin Award to longtime jazz educator Doug Hinrichs, Joey Gulizia and Chris this year’s winner of the NJO Young Dennis Schneider, Tavlin gave a very Varga, in addition to solid regular Greg Jazz Artist competition, was featured personal testimonial to the Lincoln trum- Ahl on traps. Great solo statements by on three tunes. A mid-tempo rendition pet legend, recalling his own younger Hetrick and Bob Krueger were fol- of “Just Friends” proved the younger days as a student trumpeter under lowed by a final percussion barrage. Krueger a mature player with a good Schneider’s tutelage and the teacher’s That set up the grand finale, in sense of articulation, intonation and the lasting influence on the city’s jazz scene. which 23 musicians crowded the stage value of space. For Gerry Mulligan’s The first half ended with the lively for a rousing rendition of Tito Puente’s bop classic “Line for Lyons,” Krueger Brazilian bossa “O Pato.” Hempel on “Machito Forever.” An alto saxophone and tenor saxophonist Paul Haar piano and Ed Love on soprano sax cre- conversation between Dave Sharp and teamed up with the NJO rhythm sec- ated the appropriate whimsical tone. Mark Benson, in which they cleverly tion. The smooth blues shuffle “How Christ Varga took the spotlight on seemed to finish each other’s thoughts, Sweet It Is,” from the pen of Basie fa- vibes for a lovely rendition of Horace set the mood for good-natured jousting vorite Sammy Nestico, displayed Silver’s “Song for My Father.” Varga among 16 horn players, four percussion- Krueger’s skill as he alternated between and the band returned to Brazil for ists, bassist, guitarist and pianist, mak- a muted and open horn. NJO saxes Jobim’s standard “Corcovado (Quiet ing for a thrilling conclusion to the 2½ joined in with an impressive section soli. Nights of Quiet Stars).” His background hour concert, attended by nearly 350 Pianist Broc Hempel lived up to as a multi-percussionist provides Varga people. the promise he showed as a teen in the with the skills to easily maneuver

Page 18 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Memorial

Late bluesman Sam Myers was multi-talented ○○○○○○○○○○○○ By Phil Chesnut ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Author’s Note: Sam Chesnut Phil by Illustration Sam’s smooth shuffles Myers died July 17 at that one hears on virtu- his home in Dallas, ally all of Elmore James’ after recent throat classic recordings. After cancer surgery. Elmore’s death in ’63, Myers was diag- Sam became a true itin- nosed with cancer in erant blues musician and February 2005 and fan favorite on the Chi- had been unable to cago and chitlin’ circuits, perform since De- until 1986. That’s when cember 2004. Sam met Anson. Fronting Anson Playing the same Funderburgh’s band venue in Jackson, Miss., since 1986, Sam was Anson asked Sam to join well known for his his band. Thankfully for brilliant harmonica the whole blues world, playing and unmistakable vocals. with his own wisdom, including his Sam said yes. This was the beginning I was very proud to call Sam Myers encyclopedic knowledge of the inter- of one of the most prolific partner- my friend. I enjoyed many enlight- state highway system. ships in blues history. Since then, Sam ening conversations with this ar- Sam’s harmonica is a brilliant and Anson have toured the world ticulate, scholarly man, whether at combination of Chicago and dripping many times over, spending 300 days a blues venue or when I’d call him Mississippi mud, which complements a year on the road. I figure they’ve at his home in Dallas. The blues the impeccable phrasing of his vocals. done close to 6,000 performances to- world will miss Sam Myers for what At 69, Sam is not only sharp as a tack; gether! And they just keep gettin’ bet- he gave. I will miss him because he he’s also one of the truly nice guys in ter, as Sam, Anson & the Rockets was my friend. What follows is an the business. proved last year, winning a Handy article that I wrote on Sam last year. Born in Laurel, Miss., in 1936, Award (their 10th) for best traditional Sam showed his musical talents early, recording for their CD “Which Way Texas guitar slinger Anson earning him a scholarship to the Is Texas?” on the Bullseye label. Funderburgh and his band, the Rock- American Music Conservatory in The Rockets, with a super solid ets, are always a huge crowd pleaser Chicago. This move was the genesis rhythm section, and the hot B3 and during blues festival season. With of his life in the blues. Sam was soon piano of John Street, along with Anson’s superb guitar, along with the showing his multiple musical talents Funderburgh’s true blue guitar, set the tight ensemble playing of the Rock- on the south side with the likes of perfect groove for this legendary ets, this band by itself would be a treat Muddy Waters, Howlin’ Wolf, Hound bluesman, Sam Myers. After a three for any blues fan. But the band has a Dog Taylor and Robert Jr. Lockwood. week tour of Europe, ending in June, ringer. That ringer is Sam Myers. It was, however, with the legendary this Texas-, Chicago-, Delta-influ- Sam Myers is a truly unique per- Elmore James that Myers first cre- enced band will begin another Ameri- sonality in the blues community. Un- ated blues history. These days, Sam can blues festival tour, to the delight like many of his contemporaries, is the frontman, with his finely honed of the many blues fans lucky enough Myers is very articulate and scholarly harp style and unmistakable vocals, to see them. Sam Myers, along with and is known as the “Deacon of the but back then, he was an equally adept Anson and his Rockets are a testa- Delta.” His mid-set sermons are an drummer. From 1952 to 1963, through ment to how a band can be success- experience in themselves. He’s al- the golden era of Elmore James’ ca- ful and still true to the blues. ways been very free with a story or reer, Myers was his drummer. That’s

September 2006 Page 19 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Jazz on Disc

One-name wonder has lost nothing in technique ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

geous ballad that allows the pianist to explore the lush changes for nearly 10 minutes. “Daily Living” bounds lightly over expansive chords, with arpeggios accelerating wildly, then segueing into a drum solo be- fore returning for an exhilarating cli- max. “Sincerely” is another heart- wrenching ballad distinguished by its stately, classical voicing and sustained ELDAR waves of sound. JESSICA WILLIAMS Live at the Blue Note Eldar demonstrates his affinity Billy’s Theme Sony Classical Records for percussive, soul-jazz riffs with his Origin Records lengthy variations on Bobby We at the Berman Music Foun- Timmons’ bluesy “Dat Dere.” He Jessica Williams, the dation can say we knew Eldar when begins “Besame Mucho” at an ap- underappreciated piano master of he had a last name. Since he hit the propriately dreamy tempo, gradually the San Francisco Bay area, has big time, the young, hyper-virtuosic stepping outside the familiar melody taken a unique approach in her solo pianist has dropped the second half for some extended harmonic impro- tribute to fellow piano giant Dr. Billy of his moniker—Djangirov—pre- visations as the trio ratchets the in- Taylor. Rather than simply playing sumably for easier audience identifi- tensity, Strait switching from brushes variations on Taylor’s compositions, cation, at the behest of big-label ex- to sticks and Eldar synchronizing she has fashioned a very personal ecutives. two-fisted block chords. It is an ob- homage with eight Taylor-inspired “Live at the Blue Note” is ject lesson in dynamics. originals. Eldar’s second release on the Sony “Chronicle” is the most extraor- The stately chords, the gentle Classical imprint. He may have lost dinary example here of Eldar’s com- stride in the bass register and the gos- a last name, but he has lost nothing posing and playing abilities. Full of pel feel of “Finally Free” opens the in technique or jaw-dropping speed. complicated stop-time passages and proceedings with the dignity appro- Recorded here at age 18, he remains taken at a precarious tempo, it hark- priate for Taylor’s own graceful élan. as astoundingly precocious as he did ens back to some of the more mind- Williams effortlessly varies tempo at his Topeka Jazz Festival debut in boggling feats of the young Keith and mood, telling a story rather than 1998, at age 11. Emerson, blurring the lines between simply going through the motions. Backed by longtime sideman classical technique, jazz exploration “Billy’s Theme No. 1” is built Todd Strait on drums and bassist and rock audacity. Strait also con- on a series of chords and modula- Marco Panascia, Eldar roars out of tributes some stunning drum work. tions reminiscent of Ellington’s or- the gate like a young thoroughbred The live setting is given a more chestral motives. Stretching beyond on the opener, “What Is This Thing informal ambience by the inter- nine minutes, it allows Williams to Called Love.” His sense of time and spersed guest appearances of two range widely in variations before re- touch never falters as he drives the trumpeters, Chris Botti on the roman- turning to the main theme. “The Soul tempo with amazing keyboard pyro- tic ballad “You Don’t Know What Doctor” is a bluesy rumination pit- technics. Love Is” and Roy Hargrove on ting a comping left-hand pattern In recent years, Eldar has also Monk’s “Straight, No Chaser.” But, against searching right-hand flurries. proven himself an accomplished let’s face it, the reason we’re here Even more elemental is “Blues for composer, and there are four such is Eldar, last name or no last name. originals here. “Someday” is a gor- Jazz on Disc continued on page 20

Page 20 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Jazz on Disc continued from page 19 DeFrancesco, who contributes his usual jaw-dropping variations before BT,” a mid-tempo shuffle in which returning it to Hutcherson for the con- the left hand remains anchored in the clusion. lower regions of the keyboard while Everyone gets a workout on the the right hand roams freely. Williams mid-tempo “Somewhere in the Night,” sensitively explores the minor-key which is Coleman’s first appearance waltz motif on “Taylor’s Triumph,” on the CD. In his solo, he proves he with lovely descending lines and oc- still has a powerful presence at age casional dissonant touches that are JOEY DeFRANCESCO 71. DeFrancesco follows, in his full as refreshing as a summer rainfall. Organic Vibes Jimmy Smith-style mastery of the More than 20 minutes of this Concord Records keyboard. “Down the Hatch” is generous CD is taken up by “Spon- bluesy DeFrancesco burner that illus- taneous Composition and Improvisa- trates the rhythmic rapport that the tion No. 1” and “Spontaneous Com- “Organic Vibes” gallops out of organist has with Landham after 16 position and Improvisation No. 2.” the gate like a Roman chariot race, years working together. These tunes are so well conceived, with musicians charging ahead while The standard “Speak Low” is so carefully constructed and so bril- firmly in harness and working to- taken at a frightening clip and serves liantly developed that it is hard to gether. Joey DeFrancesco’s “The as a showpiece for Coleman, who believe they sprang full-blown in the Tackle” is the riotous, swinging deftly maneuvers through the rapid moment. The closer is “Billy’s opener, an indicator of more good changes. The drummer contributed Theme No. 2,” a return of the ear- things to come. the romantic ballad “JeNeane’s lier melody and an ideal showcase Always energized, organist Dream.” DeFrancesco holds back as for Williams’ deft arpeggios and ring- DeFrancesco has rarely had an un- Hutcherson and guitarist Langley in- ing tones at both ends of the key- satisfactory recording, but this is one troduce the waltz-like tune in tandem. board. of his best in years. Chalk it up to the “My Foolish Heart” finds organ- To give it the concert hall fidel- inspired collaboration with legendary ist and vibraphonist pairing up in an ity that both Taylor and she favor, vibraphonist Bobby Hutcherson, who exquisite reading of this evergreen. Williams placed the microphones far- is much too rarely recorded in recent DeFrancesco is especially sensitive to ther from the piano, allowing the years. The light, ringing tone of the Hutcherson’s long sustained passages keyboard’s full transient overtones vibes seems like the perfect sound- and echoing tone. and deep bass tones to be heard. mate for the brawnier Hammond B- As Williams says in the liner 3. And these two leaders on their re- notes, she intentionally chose a “less spective instruments seem ideally is more” approach over the “flying compatible. fingers” style of so many contempo- Add to the mix Ron Blake on rary keyboard virtuosi. The di- tenor and soprano saxes and flute, chotomy is immediately apparent guitarist Jake Langley and longtime when you compare this relaxed, DeFrancesco sideman drummer evocative outing with the more fre- Byron Landham, and you have a for- netic display by the young Eldar midable ensemble of musical giants. Djangirov on his latest recording, re- The capper is George Coleman, who viewed above. Perhaps the realiza- lends his classic tenor sound to two ROGER DAVIDSON tion that less is more is a lesson tracks. Pensando en ti learned only with age and maturity. Hutcherson’s familiar melody Soundbrush Records I was first made aware of Wil- “Little B’s Poem” is a nice vehicle liams when she played a trio date at for the front line of vibes, flute and A classical pianist with an eclec- Yoshi’s back in the early 1980s. De- organ as they leap through the changes tic interest in world music and Latin spite her relative obscurity outside the with obvious glee. The 65-year-old dance, Roger Davidson brings off this Bay area, Williams has nearly 30 vibraphonist carefully delineates the collection of boleros and rumbas with CDs still in print. You are advised to beautiful changes of “I Thought about aplomb and sufficient authenticity to check them out. You,” then hands it off to silence all doubters.

September 2006 Page 21 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

It certainly helps that Davidson Mendez, has the muted trumpet pass- piano and guitar. Both bassist Finck has surrounded himself with superb ing the melody to the flute, then to and trumpeter Rampton (on muted musicians, including drummer Ignacio Davidson at the piano. The flute and horn) take exhilarating solos on the Berroa and bassist David Finck, in guitar improvise the introduction to uptempo “Rumba Feliz,” with addition to flutist Marco Granados, “Mi Amor.” Rampton delivering an especially daz- guitarist Francisco Navarro, trumpeter Osvaldo Farres’ “Tres Palabras zling statement before Davidson Kenny Rampton and percussionist (Three Words)” was a rare hit for the wraps it up with a nice piano solo. Pernell Suturnino. Together, they cre- bolero genre back in 1946, when the Davidson owes melodic and sty- ate the irresistible rhythmic drive and English version, retitled “Without listic allegiance to Bill Evans, ex- melodic romanticism inherent in these You,” with lyrics by Ray Gilbert, was pressed here in his version of Latin song forms. sung by Andy Russell in the animated Armando Manzanero’s “Esta Tarde Recorded like a jazz album rather film called “Make Mine Music.” Here Vi Llover,” which Evans recorded in than a classical session, the mood is it is accelerated to a rumba tempo, its American version, “Yesterday I relaxed and the arrangements are getting the respectful treatment with Heard the Rain.” uncomplicated, giving the musicians Davidson stating the theme, followed Davidson himself penned nine of plenty of space to express themselves. by an open trumpet passage and a the 14 tunes here, proving his affinity For example, Navarro delivers a stun- stately piano solo. for the rumba and bolero. The similar ning guitar solo on the bolero “Somos Another classic of the genre is song forms provide the perfect ve- Novios,” by the famous bolero com- “Mi Dolor,” a tango written in 1931 hicles for his lyrical keyboard style. poser Armando Manzanero. “La by Carlos Marcucci. Here it is trans- Gloria Eres Tu,” by Jose Antonio formed into an intoxicating bolero for

Discorama

Allyson scores a bullseye with latest release ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Butch Berman ○○○○○○○○○○○○○○○○○○○○○○○

cious little gem, and I mean that in times you have to teach people how a good way, as she deserves all the to listen to jazz, not only for those acclaim she receives. surrounding these rude-niks but for I’ve adored her music, and I their own good, as an appreciation have enjoyed my schoolboy crush of jazz is a proven healing entity on her since we first met in 1995. worthy of their attention. Karrin has You bet she’s cute and sexy, but it’s earned her right to preach for her swingin’ confidence behind her what’s right, most evident on “Foot- immense talent that really turned me prints,” which I stand on record as KARRIN ALLYSON on the most. Watching her growth stating is her BEST ever, setting her Footprints musically, on stage and personally, own bar even higher. Now dig this. Concord Records has been a pleasure to behold. Yep, she’s that good. You can’t go wrong when: Being a true player and BULLSEYE!! That’s exactly bandleader, besides her lovely voice, 1. You bring on board one of, what this NYC songstress scored has gained Karrin much respect in if not THE savviest jazz singers in with her newest release, “Foot- this biz from her peers as well the its history, Nancy King. prints,” on Concord Records. When multitude of fans the world over. they first signed her around a de- Some have criticized her occasional You can’t go wrong when: cade ago, they knew they had some- outspokenness towards her audi- one special in their midst. With this ences regarding not conversing dur- 2. You add the legendary Jon wonderful new CD, it’s apparent ing performances, but I’ve always that Karrin has become their pre- thought she was right on. Some- Discorama continued on page 22

Page 22 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Discorama continued from page 21 playing on “But I Was Cool.” Caviani cleverly crafts each I’d love to see this whole al- selection, knowing how to use space Hendricks to the mix, recreating the bum done live with this same line- and dynamics to perfection. Todd lost art of vocalise in the traditions up. It’s truly a work of art. Once and Bob are stone pros who weave of Lambert, Hendricks and Ross, or you pick up “Footprints,” you will in and out of Laura’s nifty key- France’s Blue Stars featuring Blos- know you stepped in the right place boarding, and set up a mosaic of som Dearie. at the right time. My wife, Grace, sound. They’ve gigged and re- said she thought Karrin looked the corded with the best—and each You can’t go wrong when: happiest she could remember on the other—for decades, and it shows. cover and all the rest of her photo- Their stone-cold accuracy in pro- 3. You use drummer Todd graphs on the CD jacket. If I had viding the perfect accompaniment Strait, who has been with Karrin just created a masterpiece like this for the wide variety of fine compo- from her early KC days, despite his one, I’d be feeling mighty serene sitions written by Caviani is most move to Portland, Ore., and can myself. Bravo again. admirable. Being on the playing side probably out-swing any of the NYC of the biz for years, I can attest to cats that she could have picked the fact that no matter how “great” from. Her solidarity with Todd you might be, if your band sucks, makes for one tight recording unit, you suck. On the other hand, if they as Todd can pick up on all of Ms. cook you feel propelled to excel. In Allyson’s nuances and take it home the case of this aforementioned trio, in spades. It’s a wise choice, in- when they’re all that hot… look out. deed, by either Karrin or her astute “Going There” isn’t a CD that producers Nick Phillips and partner blazes, but of the “cool jazz” vari- Bill McGlaughlin. ety with just a touch of a wistful mel- ancholy that makes me wonder if One of the city’s premier bass- LAURA CAVIANI Laura was going back somewhere, ists, Peter Washington, blends with Going There visiting a musical reflection of days Strait to lay down a dynamite rhythm Caviani Music past. My fave track, showing off her section augmented by pianist Bruce well-honed beboppish licks, is “In Barth, who’s really come into his the Interim,” which should have own in the past few years and just The piano trio is a delicate been the lead-off cut, for my totally cooks. Karrin found lyricist thing, kinda like cooking. Too much money. All other selections are en- Chris Caswell, formerly with Paul of this, not enough of that… For all joyable listening, with a catchy vo- Williams, at Feinstein’s, a Big Apple things created to come out right, cal number entitled “Between the cabaret hot spot, and his clever new sometimes it’s what you leave out Lines,” utilizing a back-up horn sec- lyrics to some of the classic tunes that makes it delicious. That’s ex- tion for a nice change of pace. chosen for this project are just bril- actly what composer, arranger and The band really hits their liant. pianist Laura Caviani has accom- groove in a zone-like fashion on I may have placed the first plished on her new Minneapolis- “The Gilded Cage,” which will by track, “Something Worth Waiting based CD “Going There.” then have you, the listener, in the For (Con Alma),” in a different slot, A stunning photo of Laura palms of its hands on this rather as I tend to like the first cut on all graces the cover, and her jazzy, dreamy, but spirited jazz journey. albums and CDs to jump out at me self-produced tunes are as lovely as Matthew Zimmerman’s recording a little more instead of being a little is she. When I noticed she hired capabilities at Wild Sound Studios, laid back. It’s still a very pretty num- her dear friend and top-notch mu- in Minneapolis, and Ms. Caviani’s ber, and all of the rest not just shine sician in her own right Karrin production skills, are totally brightly, but truly sparkle. Her stuff Allyson’s rhythm section of To- copasetic and in sync. Contact her with Ms. King is picture-perfect peka-born, Kansas City-bred bass- at www.lauracaviani.com to pur- throughout. Frank Wess, as always, ist Bob Bowman and drummer Todd chase your own copy of “Going blows his tenor sax to perfection. Strait, I knew this puppy would fly. There” and you’ll be “where it’s His signature tone captivates the As a matter of fact, it not only flies, at,” too. songs he’s on, as well as his flute it soars.

September 2006 Page 23 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Letters to the Editor Friends and fans offer greetings and salutations

Jazz fan goes “nutty” over Giacomo Gates

Please send me the newsletter. I didn’t know you all existed until I fell nutty over Giacomo Gates and found that he had been in Lincoln just prior to my “going nutty” over him. I am interested in your group. I have long been a jazz and blues fan and collector.

Many thanks, Sherrie (The Land Lady) Gregoy

Crimson Jazz Trio is big hit with BMF reviewer

Butch & Tom,

We just discovered your kind review of the Crimson Jazz Trio’s first CD and wanted to write to thank you for your generosity and support! We’ve added the review to our site with a link to your foundation!

Best wishes, Marjorie & CJ3

PS. CJ3 was in the studio in June to record Volume Two!

Editor’s Note: Tom Ineck’s review of the Crimson Jazz Trio’s debut appeared in the March 2006 issue of the BMF newsletter.

Kudos and best wishes for the future of the BMF

Hello,

Please let me know when future newsletters are published online. Kudos for a tremendous organization! May your work continue uninterrupted.

Greg Waits

Editor’s Note: If you or someone you know wants to get on the Berman Music Foundation e-mail list, just send the e-mail address to [email protected].

Page 24 Berman Music Foundation Jazz

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

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

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 This is the program for the Russ Long tribute at Jardine’s. It 719 P St., Studio G showcased 17 original compositions by Long. Organized by Lincoln, NE 68508 bassist Gerald Spaits, the tribute featured more than a dozen singers and musicians. Thanks for supporting jazz!