Photos by Tom by Photos Ineck

The new BMF offices are on the second floor of The Burkholder Project at 719 P St., in downtown Lincoln. ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

New BMF offices open to raves ○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○ July 2009 Vol. 14, Number 3 LINCOLN, Neb.—More than 1,000 people visited The Burkholder Project in just two hours during the April 3 Friday Gallery Walk, a record atten- In this issue dance for the monthly event and a land- mark occasion for the Berman Music BMF artist receptions...... 4 Foundation. For the first time in its 14 “New Harmonies” tour...... 5 years, the BMF museum and offices were combined under one roof, and ev- Kendra Shank interview...... 6 eryone came out to see it and celebrate The Bad Plus review...... 7 the legacy of Butch Berman. BMF neon sign illuminates an office window for all to see. Ray Gehring interview...... 8 Building owner and artist Anne Burkholder said the attendance ex- lery studio apartment, making conver- Ray Gehring review...... 9 ceeded all expectations. The previous sation—and even movement—a chal- The Bad Plus interview...... 10 record for a gallery walk was about 600 lenge. Healdsburg Jazz Festival...... 12 people. She attributed the huge in- Despite the claustrophobic condi- John Riley Trio review...... 14 crease, in large part, to the BMF’s tions, a celebrative mood prevailed both Project Omaha review...... 15 grand opening. Indeed, it seemed at inside the museum-office space and ○○○○○○○○○○○○○○○○○○○○○○○ times that all 1,000 visitors had simulta- outside the room, where saxophonist Bill Kendra Shank Quartet review...... 17 neously converged in the Skylight Gal- Wimmer and keyboardist John Carlini ZARO review...... 18 provided live jazz in the narrow hallway Tomfoolery: California trip...... 19 of the Skylight Gallery. As music re- verberated throughout the building, art Legends of Jazz review...... 20 patrons became aware that something Jazz on Disc reviews...... 21 exciting was happening. Many who Feedback: Letters to the Editor...... 25 were previously unfamiliar with the Berman foundation made their way to From the Photo Archives...... 26 the upper level for a look. If brave enough or inquisitive

BMF opening continued on page 2

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BMF opening continued from page 1

enough to wade into the assembled snarl, they were greeted by BMF represen- tatives happy to explain the history of the foundation and its long and support- ive presence on the Lincoln music scene and beyond. Earlier in the day, trustee Tony Rager gathered the BMF consultants for a pre-opening lunch and meeting at Lazlo’s restaurant and brewpub, directly across the street from The Burkholder. They had come from as far away as San Francisco (Wade Wright) and New York City (Russ Dantzler), as well as BMF consultants (back row, from left) Dan Demuth, Kay Davis, Wade Fayetteville, Ark. (Kay Davis), Pueblo, Wright, Tony Rager, Grace Sankey-Berman, Gerald Spaits and Tom Ineck Colo. (Dan DeMuth), Kansas City, Mo. and (front row) Russ Dantzler and Leslie Spaits gather at new offices. (Gerald and Leslie Spaits), and Lincoln (Grace Sankey-Berman and Tom Ineck). All had been close, trusted friends of founder Butch Berman, so it was with mixed feelings of joy and sor- row that we shared a meal and con- versation that often involved fond remi- niscences of Butch. After lunch, we toured the new BMF facilities, most of the consultants seeing the space for the first time. Ev- Artwork by Leora Platte was unveiled eryone agreed that the museum’s relo- at the grand opening Susan and John Horn cation from Butch’s house to the lively downtown area was a move sure to waves, swelling to a critical mass about appreciated the genuine show of sup- heighten visibility and further the 8:30 p.m. and dwindling to a few friends port and friendship that the spectacular foundation’s mission to educate, enter- and jazz enthusiasts after the doors had grand-opening attendance represented, tain and celebrate through music. officially closed at 9 p.m. but he would have beamed at the pros- That sentiment was confirmed “Butch would have loved this!” pect that the foundation he created when doors opened to the public at 7 was a frequent refrain among those who might reach a new audience who would p.m. and visitors began to arrive in knew him best. Not only would he have learn to love music almost as much as he did.

Friends of the BMF (left) gather in the main room. Hors d’ouevres (above) were in ample supply.

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Jazz is published online at: www.bermanmusicfoundation.org Joyce Latrom and Wade Wright The offices and museum of The Don and Jill Holmquist Berman Music Foundation are in the Skylight Gallery, The Burkholder Project, 719 P Street, Lincoln, NE 68508.

Editor and Designer: Tom Ineck

Contributing writerswriters: Dan Demuth, Tom Ineck and Grace Sankey-Berman

Photographers: Dan Demuth, Richard Hay, Tom Gerald and Leslie Spaits Peter and Jane Reinkordt (right) Ineck, and others (Courtesy Photos and File Photos)

For inclusion of any jazz or blues related events, letters to Photos were the editor or suggested taken by articles, mail them to the office, phone (402) 261-5480 various friends or e-mail of the [email protected].

Berman Music To be added to our mailing Foundation list, call (402) 261-5480 or e-mail [email protected]. Chris Lohry, Russ Dantzler and his dad The Butch Berman Charitable Music Foundation is a non-profit, tax exempt, 501(c)(3) private foundation recognized by the Internal Revenue Service and the Nebraska Department of Revenue. It was established in the spring of 1995 to protect and promote unique forms of American music.

Trustee: Tony Rager

Consultants: Grace Sankey- Berman, Russ Dantzler, Kay Davis, Dan Demuth, Tom Ineck, Gerald Spaits, Leslie Spaits and Wade Wright Kim Jassung, Rose Spencer, Grace Sankey-Berman and Joseph Akpan

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Artist receptions continue a grand tradition ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

By Grace Sankey-Berman ○○○○○○○○○○○○○○○○ Photo by Devrah Lehner Devrah by Photo Because of his appreciation for Tom by Photo Ineck music, and the love and respect he had for musicians, Butch always entertained artists at his house after concerts spon- sored by the Berman Music Foun- dation. He wanted to give them a place to relax after playing and talk about the music with people of like minds. So we continued that tradition with post-concert receptions for some of the Grace Sankey-Berman and Victor 2009 Jazz in June artists at the new Lewis (left) and the Kendra Shank BMF offices at The Burkholder Project joyed listening to Dezoto talk about the Quartet (above) in the Haymarket District. Local art- various people he has played with over ists, friends of jazz and fans also were the years, including an African musician the years and how much she continues invited. Among those who attended from Senegal. to evolve as an artist. Drummer Tony were Ed Love, music director of the When Kendra Shank and her band Moreno was fun. He could not get over Nebraska Jazz Orchestra, and arrived at the reception, they were tired how vast the music collection his lovely wife, Loretta, coor- is and kept saying, “This is dinator of Jazz in June Martha nuts!” as he looked through Florence, Lincoln jazz the records. keyboardist John Carlini, We were also delighted Sheldon Museum of Art col- to host Bill Wimmer and lections curator Sharon Project Omaha after their ar- Kennedy, Sheldon events co- guably best concert of the sea- ordinator Laurie Sipple, Star son. Guitarist Dave Stryker City Blog publisher Dennis and his extended family and Kornbluh and his father, David, friends were in attendance. and friends and fans like So also were the great drum- Ruthann Nahorny and Mary mer Victor Lewis and his man- Berry. ager Joanne Klein. I was It was nice to watch the Project Omaha and friends (from left) Grace Sankey- thrilled for the chance to talk musicians go through the mu- Berman, Tony Gulizia, Luigi Waites, Mark Luebbe, Bill to Victor Lewis. We remi- sic collection looking for their Wimmer, Victor Lewis, Dave Stryker and Joey Gulizia. nisced about the times we favorite artists or just some spent with Butch in his base- obscure artists they had not heard in a and hungry. She said singing was “an ment. He was particularly glad that the long time. Bassist Roger Barnhart of athletic event” and was so happy to have foundation continues to keep the music ZARO was fascinated with album cov- some vegetables. Kendra had previ- alive. ers. He talked about how artistic some ously played twice for Jazz in June and Victor’s friend from Omaha the of the albums were—or were not. Lin- was thrilled to be back for the third time. great musician Luigi Waites also at- coln native Andrew Vogt was pleasantly She said the experience felt like mak- tended. Watching the interaction be- surprise to hear his CD “Action Plan” ing love to 7,000 people. Her record “Af- tween the two artists was priceless. playing in the music room. Drummer terglow” was playing on the stereo. She They seemed to enjoy each other’s com- and percussionist Oscar Dezoto said he smiled when she heard it and said she pany. Percussionist Joey Gulizia said remembered every song on the album, had not heard it in a long time. She talked even though he did not play on it. I en- about how her music had changed over Receptions continued on page 5

July 2009 Page 5 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Friends of the BMF

“New Harmonies” tour celebrates roots music ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

The Berman Music Founda- bition and provide it at no cost to the tion recently awarded a $2,000 grant small museums. If a museum were to to the Nebraska Humanities Council for bring in a small traveling exhibit on its “New Harmonies: Celebrating Ameri- own it would cost the museum thou- can Roots Music,” a touring exhibition sands of dollars.” sponsored by the Smithsonian Institu- Yager said such sponsorships also tion. allow the NHC to provide a stipend to Through its Museum on Main each museum to help them to promote Street program, the Smithsonian makes the exhibition, arrange special program- specially designed traveling exhibitions ming related to the topic of the exhibi- available only through state humanities tion, and create a complimentary ex- councils. By year’s end, “New Harmo- hibit of local interest. Among the goals nies” will have visited six communities of Museum on Main Street are to help in Nebraska, completing the state tour small museums build their visitor base with a stay Oct. 18 through Dec. 31 at and membership, and help them in- Loves Jazz & Arts Center in Omaha. crease their capacity to develop exhib- It will be at the Trails and Rails Mu- its, marketing and programming. seum in Kearney July 30-Aug. 29 and In conjunction with the exhibition’s at the Cherry County Historical Soci- gospel. stop in Kearney, an Aug. 15 lecture and ety Museum in Valentine Sept. 3-Oct. With its financial support, the BMF recital program will explore the evolu- 11. Earlier this year, it had extended runs recognizes the connection between the tion of country music—one of the mu- in Alliance, Cambridge and Columbus. roots music theme of “New Harmo- sical forms explored in the “New Har- “New Harmonies” examines the nies” and its own mission “to protect monies” exhibit—from its beginnings in growth of American music, which is as and promote unique forms of Ameri- 1920s American folk music through rich and eclectic as the country itself. can music.” early Jimmie Rodgers, Bob Wills’ west- American music reveals distinct cultural “With the support of the Berman ern swing, and Sons of the Pioneers identities and records the histories of Music Foundation and other sponsors, through classics by Hank Williams and peoples from Africa, Europe, Asia and the Nebraska Humanities Council is Ernest Tubbs to the classic country era the Americas. “New Harmonies” ex- able to bring these exhibitions to small, of the 1950s and 1960s. plores how our country’s ongoing cul- often under-served, museums across The exhibition of “New Harmo- tural process has made America the the state,” said NHC Program Officer nies” in Valentine will coincide with Old birthplace of great music—from jazz Mary Yager. “Sponsorship allows the West Days, Oct. 1-4, where cowboy and blues to country western, folk and NHC to pay the rental fee of the exhi- poets, musicians, and storytellers will

entertain and attendees can explore the ○○○○○○○○ Receptions continued from page 4 ○○○○○○○○○○○○○○○○ exhibit which includes a panel celebrat- ing the singing cowboys Gene Autry, there was so much music he would like The Berman Music foundation is proud Roy Rogers and Tex Ritter. to come back to have a better look. We to be a long-time supporter of this fam- Loves Jazz & Arts Center will like to hear that because the collection ily-friendly event, and we are happy to screen their recently produced docu- is a great resource and we encourage show our appreciation to the musicians mentary “All That Omaha Jazz,” host musicians and educators to take advan- who entertain us every year. Thanks to a jazz and blues band, a gospel singer tage of it. all the local artists, friends and fans of or group, a Native American dance Jazz in June is an 18-year tradition jazz who attended the receptions. We troop, and a contemporary music-spo- that brings thousands of Lincoln resi- appreciate your support. ken word-hip-hop group. dents together every Tuesday in June.

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Kendra Shank “comes home” to Jazz in June ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—In a 2009 Jazz File Photo ognize that the 11-track “Mosaic” does in June concert series that features sev- have an overarching theme—the many eral artists with direct ties to Nebraska, aspects of love. even New Yorker Kendra Shank re- “So Far Away,” Carole King’s fers to her appearance as “coming story of lovers separated by space and home.” time, opens the CD. “Life’s Mosaic” Shank’s June 16 concert was her updates the Cedar Walton instrumental quartet’s third at the outdoor venue, with lyrics by John and Paula Hackett having previously performed in 2004 that turn it into a plea for global com- and 2007. The singer first appeared on munity, another form of love. Irving a Lincoln stage way back in 1995, when Berlin’s “Blues Skies” is re-imagined the Berman Music Foundation brought with Shank’s original improvisation “Re- her to the Zoo Bar as part of an all-star flections in Blue,” and Charlie Chaplin’s lineup that included Claude “Fiddler” forlorn “Smile” is ingeniously combined Williams, pianist Jaki Byard, bassist Earl with “Laughing at Life.” Kimbrough’s May and drummer Jackie Williams. own “For Duke” is endowed with a This time, the Kendra Shank Kendra Shank beautiful lyric of love by his wife, com- Quartet arrived in the midst of a busy poser, vocalist and poet Maryanne De touring schedule behind her new CD point. Jazz is an improvisational art form, Prophetis. “Mosaic,” released April 14. That alone so let that happen. That’s what makes Long a devotee of the 13th cen- raised the excitement level in eager this music exciting. You’ve got four tury mystic poet Rumi, Shank included anticipation, not least of all because people, each of which has their own two tunes inspired by him. On one, she Shank, over the last decade, has devel- life experience and their own personal- combined the verse of “Water from Your oped a fruitful relationship with the same ity and their own technical ability and Spring” with the Victor Young standard core group of musicians, pianist Frank their own harmonic sense and rhyth- “Beautiful Love” and indicated to the Kimbrough, bassist Dean Johnson and mic sense. So each person has some- band that the mood should be that of a drummer Tony Moreno. thing really valuable to contribute.” Zen garden. Several years ago, she “Over time, we’ve gotten to know After so many years together, “a suggested that composer Kirk Nurock each other so well that it’s like it’s tele- huge level of trust” is implicit in every read some Rumi, after which he pre- pathic,” Shank said in a phone conver- performance. “I know these are musi- sented Shank with “I’ll Meet You sation from her home. “I don’t have to cians who listen, who play sensitively, There,” using texts adapted from the say anything. I don’t give much direc- and who are going to make esthetic poet that espouse both spiritual and ro- tion. We’re collaboratively creating choices in the moment that serve the mantic love. In appreciation, Nurock these arrangements. Usually it starts music well and that make sense.” dedicated the song to Shank, and it with a seed idea of mine.” That cre- The mutual trust transferred well closes the CD. ative germ, she said, is just “a stepping- to the recording studio, where Shanks Shank credits the band’s long- off point” to group communication and also added longtime collaborators Billy standing monthly booking at the 55 Bar personal expression. Her bandmates Drewes on saxophones and clarinet and in New York for the workshop esthetic appreciate that. Ben Monder on guitar. Unlike their pre- that allows and encourages musicians “Part of their joy in being a part of vious outing, “A Spirit Free: Abbey Lin- to work up new material over a long this band is that they’re really free. I coln Songbook,” the new release had period of time. The creative evolution bring these musicians into the group no obvious theme. Instead, it was a re- of “Reflections in Blue/Blue Skies” is a because I love their playing and I like turn to Shank’s earlier records, a var- case in point. their creative ideas, so I just let them ied, well-paced collection of tunes that “I had just done ‘How Deep is the express themselves. That’s the whole appealed to her. Only later did she rec- Ocean’ and usually another song will

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pop right into my head, and then I’ll call “Reflections” deals with love lost and Shank was thoroughly primed for the tune,” she explained. “Well, nothing regained, setting the emotional stage for its Lincoln appearance, having already came to mind. I’m just sitting there with “Blues Skies.” performed the new repertoire in more a black head. I’m completely blank.” Other songs included on “Mosaic” than a dozen cities since early April, in- Rather than panic, she leaped into the are Johnny Mandel’s “The Shining cluding Seattle, Portland, Ore., San void with a spontaneous, a cappella vo- Sea,” a song of loving and longing with Francisco, Los Angeles, San Diego, cal improvisation that finally resolved lyrics by Peggy Lee, Cole Porter’s im- Cincinnati, Richmond, Ken., Cleveland, in an oblique reference to the Irving mortal “All of You” and Bill Evans’ Cambridge, Mass., and at the Jazz Stan- Berlin classic, which was not even in “Time Remembered,” with lyrics by dard in New York City. her repertoire. The improvised lyric of Paul Lewis.

Concert Review

The Bad Plus plus singer alternately thrill and bewilder ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

OMAHA, Neb.—After more was a full-bore rocker with a dramatic Eater.” The bassist also penned “Pre- than six years of recording and tour- drum solo, and Iverson’s “Bill hensile,” an unusual tune with a ing to worldwide critical acclaim and Hickman at Home” continues The stately, Bach-like counterpoint. occasional bewilderment, The Bad Bad Plus penchant for themes based After a break, Lewis entered as Plus remain endlessly imaginative and on sports figures, in this case a stunt she does on the recording, with Kurt frequently thrilling in a dare-to-be-dif- driver. Anderson contributed a soul- Cobain’s spooky anthem “Lithium.” ferent approach that freely crosses ful bass solo. Her ragged voice conveys the per- the usual stylistic boundaries. fect world-weariness for such The result is a listening experi- Photo Courtesy a song, but she is equally ef- ence that forces a reevaluation fective on classics of progres- of all musical pigeon holes. sive rock (“Long Distance So it was when the Twin Runaround” by Yes), lounge Cities-based trio brought its music (the dark ballad “Blue road show to the 1200 Club in Velvet”), and Irish rock (“New the Holland Center for Per- Year’s Day” by U2, on which forming Arts on April 24. The her intense wail nearly matched current tour is in support of the Bono’s). band’s recent release, “For All “How Deep is Your I Care,” the first to feature a The Bad Plus with Wendy Lewis Love?” from the Bee Gees singer. Wendy Lewis joined songbook, is one of those long- The Bad Plus for the second half of Metric playfulness is always ap- forgotten songs that is redefined in the the concert, a typically untypical set parent in The Bad Plus approach. hands, minds and voice of The Bad of cover tunes. “Metal” was delivered in 6/8 time. Plus and Lewis. Anderson’s solo bass Pianist Ethan Iverson, bassist Ornette Coleman’s “Song X” paid intro warned of something different Reid Anderson and drummer David homage to the composer’s so-called and a voice-bass discord later con- King warmed to the audience of some “harmolodic” concept. “Semi-Simple firmed The Bad Plus refusal to con- 400 fans with a mix of old and new, Variations,” another classical piece form. including some especially provocative from the new CD, was a rhythmically Heart’s “Barracuda” was one of original compositions. Stavinsky’s challenging take on Milton Babbitt. the most aggressive interpretations of “Variation d’Apollon,” one of the few From the 2003 breakthrough de- the evening, and Neil Young’s “Heart instrumentals on the new release, set but “These are the Vistas” came of Gold” was an unexpected encore, convention on its ear by combining the King’s “1972 Bronze Medalist,” about with Lewis and Anderson singing har- classical with King’s thundering drum Jacque, somewhat of a celebrity in the mony vocals. interludes. Iverson’s “Who’s He?” south of France, and Anderson’s “Big

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Gehring returns home to share “Radio Trails ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—Guitarist Ray Photo Courtesy head-on. From conception to realiza- Gehring has proved that you CAN go tion, the recording was almost 10 years home again. He travel with his band in the making, says Gehring. from his home in Brooklyn, N.Y., for “What I wanted to do was take gigs May 20 in Minneapolis, May 21 at the songs of the ‘70s that had the big- the Saddle Creek Bar in Omaha and gest influence on me, and then I May 22 at the Zoo Bar in Lincoln, the stretched beyond that to take some of city where he spent his formative years the singer-songwriters that came out of as a music fan and a fledgling musi- those bands, and then let’s take the cian. originals that we want—that are influ- Gehring’s return as a musician to enced by that sound—and put them on his home town was a long time com- the record. And, let’s write lyrics to one, ing. A varied life as player, teacher and and make it a unique, sincere homage tour manager took him to Minneapolis, to that period.” Paris and back to the Twin Cities be- Ray Gehring With that in mind, much thought fore he finally wound up on the East went into choosing and sequencing each Coast in 2000. But he fondly remem- now, and the love for it increases and of the 10 tunes on the CD, from bers the last time he performed in Lin- increases.” Supertramp’s “Take the Long Way coln, a jazz-rock fusion gig nearly 20 “This was a huge concept record, Home” to The Carpenters’ “Yesterday years ago at Duffy’s Tavern, just around but the whole thing came together be- Once More,” the concluding track. the corner from the Zoo Bar, a nation- cause I really need to purge the ‘70s “It IS yesterday once more. Noth- ally known blues club that he recog- out of my system. I’m a product of the ing has changed. Nothing has changed nizes as a Lincoln institution. ‘70s—I was born in ’68—and I listened politically. Economically, it seems we “I had a little fusion band when I to the radio constantly in the ‘70s. You are repeating the same behavior. We’ve left Lincoln, playing with a couple guys, turned on the radio. That’s how you come a long way, but so much has been just a bassist and a drummer,” he said found your music.” coming back.” in a phone interview from his Brooklyn “Lincoln was a town where mu- Among the other notable songs of home. “We were just breaking into the sic was everywhere. It informed ev- the ‘70s are “Big Brother” by Stevie scene of jazz, playing whatever we erything you did, everything you went Wonder, “Motions Pictures” by Neil could. Since I kind of came out of the to, everything you wore. Everything you Young and “She,” a soulful country bal- punk-rock scene, Duffy’s was more my talked about seemed to be center lad by Gram Parsons and Chris crowd of people.” around music. No wonder I became a Etheridge, which has also been covered In 1989, Gehring’s influences were musician.” by David Clayton-Thomas, Emmylou guitarists John McLaughlin, Mike Stern Even in his songwriting, Gehring Harris and Norah Jones. and John Scofield. A second-year soci- began to hear evidence of his immer- As a nod to the Brazilian Tropicalia ology major at the University of Ne- sion in 1970s pop-culture radio and TV. movement of the late ‘60s and early braska-Lincoln, he dreaded the research “After a while, you say to your- ‘70s, Gehring also chose C. Coqueijo work, preferring to hang out with musi- self, ‘Why does everything end up Costa’s “E Preciso Perdoar” and cians, usually in challenging open-stage sounding like a ‘70s TV theme? Why Vinicius Cantuaria’s “Amor Brasiliero.” settings. is everything sounding like “Cosby” or But the concept album is anchored most “At the time, I was taking guitar something that may have been on “Flip obviously by the original tunes, espe- lessons from Steve Lawler at Dietze. Wilson”? What’s going on here? I need cially Gehring’s haunting “Radial Tales” Once you start playing jazz on the gui- to work through this.’” and the anecdotal “That was the Story.” tar—or any instrument, for that mat- With “Radio Trails,” Gehring’s To do justice to these tunes, ter—it’s addictive. It’s been 20 years addresses his obsession with the ‘70s Gehring assembled Commonwealth, a

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group of compatible musicians and Bublath, Gaarder and Twin Cities hearts of those he supported and be- friends, including Bill Carrothers, the drummer Joey Van Phillips accompa- yond.” German-born Matthias Bublath and nied the guitarist on their summer tour The only time Gehring had a Aussie Sean Wayland on keyboards; to the Heartland. chance to hang out with Butch was in Dan Gaarder on vocals; Ronen Itzik and In the last in a series of momen- April 1998, when the guitarist was tour Georg Mel on drums and percussion; tous coincidences, Gehring learned of manager for an innovative jazz trio and Michael O’Brien playing bass on the death of Butch Berman in January called A Band in all Hope, consisting of three tracks. Wayland also co-wrote 2008 from an online article that docu- pianist Bill Carrothers, drummer Bill and contributes a fine vocal to “That mented Butch’s life as a radio deejay, Steward and saxophonist Anton was the Story.” musician, music collector and all-around Denner. The BMF sponsored a perfor- “I really hand-selected these music advocate. That was enough to mance by the group at Westbrook Re- guys,” Gehring said. “Carrothers I convince Gehring to dedicate “Radio cital Hall in Lincoln, and friends of the wanted there to make the artistic calls Trails” to Butch. BMF, Gehring and the band gathered on the music. I didn’t want to do that. “My deepest appreciation goes out for dinner and conversation. I’m in there to play.” Mixing unique, to the Berman Music Foundation for Gehring’s return to Nebraska to swinging interpretations of pop stan- their contribution and support of this al- share “Radio Trails” with his live audi- dards with a sincere love for the music bum,” he writes in the liner notes. “May ences not only brings the CD project and a healthy dose of humor, the end the joy and spirit of music for which full circle but re-establishes his early ties result is what Gehring describes as “big- Butch Berman worked so tirelessly to to Lincoln and to the BMF, a long way fun jazz.” perform and promote continue in the home but a serendipitous trail, indeed. Concert Review

Guitarist Ray Gehring makes his Zoo Bar debut ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—Ray Gehring Tom by Photos Ineck erable blues club, the band finished the returned to his hometown May 22 to opening set with a blues shuffle. make his Zoo Bar debut, exactly 20 On Neil Diamond’s “Shiloh,” years after the guitarist last performed Gehring’s guitar reached near-feedback in the city, leading a jazz fusion trio at level as Gaarder read from a lyric sheet, Duffy’s. somewhat dampening the song’s effect. Lots of friends, family and a few The second set’s highlight was a guest Zoo Bar regulars made him feel wel- appearance by guitarist Luke Polipnick, come as he roared through two sets whose band Volcano Insurance also drawing heavily from his new release, includes drummer Joey Van Phillips. Matthia Bublath, Dan Gaarder and a tribute to the pop music of the 1970s Among the tunes that Gehring and Ray Gehring at the Zoo Bar called “Radio Trails.” The CD is dedi- Polipnick mutually explored was the cated to Butch Berman and the Berman that fully utilized the fat, resonant tone Willie Nelson standard “Funny How Music Foundation. of his hollow-bodied axe. Gaarder took Time Slips Away.” Gehring was ably accompanied by the stage for a rocking version of Neil keyboardist Matthias Bublath and drum- Young’s “Motion Pictures,” and Gram mer Joey Van Phillips, with vocals fea- Parsons’ “She,” which had Bublath dis- turing Dan Gaarder. The band also made playing his versatility and imagination appearances May 20 in Minneapolis and on keys. May 21 at the Saddle Creek Bar in Originals included Gehring’s bluesy Omaha. “Stay Awhile” and the collaborative “Take the Long Way Home,” “That Was the Story.” Bublath added Supertramp’s 1979 super-hit, received percussive, staccato jabs on the latter, a rocking instrumental reading with which Gaarder sang with his under- Gehring delivering a biting guitar attack stated, reedy quality. Aptly for the ven- Luke Polipnick and Ray Gehring

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Artist Interview

Bad Plus defies category and challenges listeners ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

When a jazz group has the good Photo Courtesy end result is never disrespectful. fortune—and tenacity—to stay together “We have a basic respect for all for nearly a decade, it develops a per- that music,” Anderson said. “It starts sonal and musical rapport that is well- and ends there. We do these things out nigh telepathic. So it is with The Bad of respect because we feel like there’s Plus, an acoustic piano trio that defies something to be said, with any of this both categorization and the critics. music. That sets the whole process on On their latest venture, “For All I that course. That’s why it works to- Care,” pianist Ethan Iverson, bassist gether. We don’t do things that we Reid Anderson and drummer Dave aren’t connected to in some way.” King have taken another bold leap for- Two brief liner notes on the band’s ward by adding vocalist Wendy Lewis first CD illustrate the guiding principles. on a recording that eschews original Their take on Kurt Cobain’s “Smells material for a mix of classic pop songs Like Teen Spirit” is described as “lov- by artists ranging from Nirvana and the ingly deconstructed,” whereas the cover Bee Gees to Pink Floyd and Roger of Deborah Harry’s “Heart of Glass” Miller. Tastefully sprinkled among these is called “ruthlessly deconstructed.” tracks, as though they are “palate Anderson explains: cleansers,” are the band’s unique instru- “You’ve got to have some ruth- mental interpretations of modern clas- The Bad Plus with Wendy Lewis lessness. You can’t treat all these things sical melodies by Igor Stravinsky, like precious pearls. We’re all just here Gyorgy Legeti and Milton Babbitt. could all be ourselves.” to try to bash out some form of per- On its five previous CDs, the Twin The three of them first came to- sonal expression. That can take a lot of Cities trio has occasionally dabbled in gether as The Bad Plus almost 20 years different forms, but you can’t exclude audacious covers—Black Sabbath, ago, but subsequently went their sepa- ruthlessness.” Blondie, David Bowie and Burt rate ways before reforming in 2001. Whether inspired by love or ruth- Bacharach, among others—but never Their major-label debut, “These Are the lessness, the music exudes good humor to this extent. Since the CD’s release Vistas,” was released in 2003, and they and a wildly adventurous spirit. in November, the band and Lewis have have never looked back. “We definitely believe in enjoying spent a lot of time on the road, a tour Anderson cites their common Mid- what we’re doing, and I hope that comes that brings them to Omaha for an April western roots as a significant factor in across in our performances and record- 24 performance at the 1200 Club in the their musical compatibility. He and King ings,” Anderson said. “At the same time, Holland Center for Performing Arts. hail from Minneapolis, while Iverson is we take music very seriously. The fun In a recent phone conversation from Menominee, Wis. part is all the possibilities. Certainly, during the band’s week-long hiatus at “I think we share a certain tribal music should have the capacity to put a home, Anderson attempted to answer language with each other and a certain smile on your face.” the persistently nagging question, “How sense of the surreal, but also a love of Anderson said their famous eclec- would you describe what you guys do, song, a love of clarity in music and we ticism was not a product of financial and how the heck do you do it?” try to just bring it all together and allow need, as in some cases where a young “The best description that some- that personal voice to come through.” musician capable of playing in different body came up with was avant-garde From its inception, a large part of styles is more likely to make a decent populism,” he said. “It’s just the result that personal voice has been composed living from his craft. of the three of us coming together in a of irreverence and a tongue-in-cheek “That’s never really been the is- situation that we created so that we approach to familiar melodies. But the sue. It’s more that we’re just genuinely

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interested in all these different things. She’s been incredible to work with.” So how did Stravinsky, Babbitt and Our gateway into music, in general, was Was there any apprehension Ligeti find their way to the recording just listening to rock radio and playing among the three long-time bandmates studio? in rock bands. We’ve all played jazz in about the prospect of working with a “It was just something that we every imaginable stylistic situation. I vocalist for the first time? happened upon as we were conceiving have a degree in classical music per- “Yeah, a little bit, at first, just be- the record. Ethan was practicing these formance. Ethan has played in tango cause none of us had worked with classical music excerpts for something bands. We’ve written music for dance. Wendy in this kind of a context. She that he was doing. One day Dave We’ve kind of done it all, and I think didn’t know what to expect. None of started playing along and we all kind of that’s part of the sound of the band. You us really knew what to expect or how looked at each other and said, ‘Hey, why have all of this authentic experience in it would work. We just started from don’t we do this in The Bad Plus?’ From all these different things, so when zero, getting together in a room and there, it just made sense to us to put there’s a rock beat in The Bad Plus it’s working out these arrangements. It’s that music on the record.” a real rock beat.” not a process that completely falls into For listeners who may not be com- One of the best examples of that place, even when it’s just the three of fortable with instrumental jazz, the lyri- “real rock beat” is the band’s incred- us, so we were definitely taking a cal content may bring new followers to ible nine-minute recording of chance with it.” The Bad Plus, but that was never by Anderson’s intense, stop-time master- From the start, Lewis was an in- overt design. piece “Physical Cities,” from the 2007 tegral part of the recording, from choos- “I think all of our music has cross- release, “Prog.” King’s drum bombast ing the tunes to working up the arrange- over potential, but what do I know?” rivals Led Zeppelin’s magisterial tub- ments. Anderson joked. “That’s not the inten- thumper John Bonham. Anderson de- “We definitely wanted her to feel tion with which it was made. If it gets scribes the tune’s evolution. like a part of the process and to sing us a few more fans, that’s great. It’s a “It actually started at a sound songs that she felt good about singing, noble challenge to try to present your check. Dave and I just started impro- even though we did force her to do a music and get as many people to enjoy vising this thing. We thought it was cool couple that she wasn’t at first that en- it as possible. It’s very open. We’re not and thought it kind of sounded—like you amored with, but now she admits that sitting there in our exclusive clubs say- said—like John Bonham. Also, in that she likes doing them.” One of those, ing, ‘You’re not going to get this.’ You tune I was thinking about some things the 1950s doo-wop classic “Blue Vel- know what I mean? We’re making that certain metal bands do, these in- vet,” didn’t make the cut to CD. music that we want to reach out to tense, heavy rhythmic figures that are As usual, the songs underwent a people.” not immediately discernible. You don’t thorough process of deconstruction and While reaching out to new listen- know exactly what’s going on and kind reconstruction, but Anderson said the ers, the new record also has drawn of get lost in the mantra of it.” evolution of each track was unique, some criticism. King is responsible for recruiting from Nirvana’s depressing grunge “It has been a very polarizing Lewis for the latest project. rocker “Lithium” to the alt country record,” Anderson admitted. “We’ve “Dave and Wendy played together drone of Wilco’s “Radio Cure” to the gotten some really extreme reactions about 10 years ago, with her bands, and romantic light pop of the Bee Gees’ on both ends, but we’re kind of used to they had a really good creative relation- “How Deep Is Your Love?” to the slick that, at this point.” ship,” Anderson explained. “I had heard rock bombast of Heart’s “Barracuda” The best testimonial to the phe- a little bit of that music, and I always to Miller’s traditional country weeper nomenal appeal of The Bad Plus is in thought about her voice since I heard a “Lock, Stock and Teardrops.” their wide-ranging audience. couple demo CDs. We were thinking a “Each one of these tunes is its own “Our audience is quite eclectic,” lot about who to get for this recording, world. In doing this kind of music, there Anderson said. “We have as many hard- what kind of qualities that person should is no real road map for how you ap- core traditional jazz fans as we do young have. Wendy came up and it just proach it. We kind of just take every indie rock fans. One of the great things seemed like the right move to make. one as it comes and try to agree on that we see is parents and their kids Ethan had to just trust us. We didn’t what’s the essence of the song and try coming to the show and everybody en- even get together with her to try it out. to make it our own. We were still joying it. That’s important and it makes We just gave her a call and said, ‘Hey, tweaking arrangements when we were us feel good. It’s not music that’s tar- do you want to make this record?’ and in the studio, so we spent a little time geting a certain generation or a certain took a chance, and it worked out great. working out some details.” clique of people.”

Page 12 Berman Music Foundation Jazz

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Healdsburg festival features Jobim tribute ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

HEALDSBURG, Calif.—A com- Tom by Photos Ineck munity of just 15,000 souls in the heart of Northern California’s wine coun- try—65 miles north of San Francisco— may seem an unlikely place for a world- class jazz festival, but this quaint, 19th century Sonoma County city has estab- lished that well-deserved reputation over the last decade. Thanks in large part to the vision and work of artistic director Jessica Felix, the 11th Annual Healdsburg Jazz Festival built on that reputation with a two-week event featuring an eclectic lineup of artists from near and far. From It was a beautiful day for a tribute to Jobim at the Healdsburg Jazz Festival. May 29 through June 7, those who at- tended heard some of the best live jazz Ozer’s musical inclinations headed anywhere by such heavyweights as south after hearing Andrade perform James Moody, Randy Weston, John at a club in Rio de Janeiro. It was fit- Handy, Esperanza Spaulding, Julian ting that the two shared the stage for a Lage, Denny Zeitlin, Marlena Shaw and set of tunes that included “One-Note Eddie Marshall. They congregated in Samba,” on which Andrade teamed up cafes and art galleries, theaters and with Thompson on electric bass, with vineyards. On one very special day, Fettig on flute. Milton Nascimento’s hundreds gathered at a recreation park “Vera Cruz” also received a lovely in downtown Healdsburg for a six-hour reading by Andrade and Ozer, with showcase of Brazilian jazz. Fettig on alto sax. Next, Ozer intro- May 31 brought the perfect duced “Bronx to Brazil,” her loving trib- weather for “Stars of Brazil: A Tribute ute to Andrade and the South Ameri- to Antonio Carlos Jobim,” featuring can sound. guitarist-composer Toninho Horta, the Most stunning were Andrade’s great Trio da Paz and legendary singer own interpretations of two familiar Bra- Leny Andrade with the Stephanie Ozer zilian jazz anthems, “Rio de Janeiro” and Ensemble. A second stage offered more Jobim’s classic “Dindi,” which she in- Toninho Horta Brazilian jazz by Samba De Raiz, a troduced as “the most beautiful love great demand on recordings by artists popular Bay Area group. song in the samba style.” With such a looking for the authentic rhythms and Sonoma County jazz pianist Ozer passionate performance as hers, who technique of samba. Together, they are led a group also comprised of saxophon- could disagree? a force with which to be reckoned. ist-flutist Mary Fettig, bassist Scott Th- Formed more than 23 years ago From their 2002 CD of the same ompson (Fettig’s son) and drummer and now based in New York City, the name, they performed “Café,” a re- Celso Alberti. They performed a won- virtuosic trio of guitarist Romero laxed, swinging tune by Egberto derful version of Luiz Eca’s “Dolphin,’ Lubambo, bassist Nilson Matta and Gismonti. A master of the nylon-stringed a tune Ozer first recorded for her 2004 drummer Duduka Da Fonseca may be acoustic guitar, Lubambo extracted ev- release devoted to Brazilian jazz. the best practitioners of Brazilian jazz ery ounce of emotion from his instru- Though raised in the Bronx, on the planet. Individually, they are in ment. Matta’s “Baden” is a tribute to

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the late, great Brazilian guitarist and composer Baden Powell. The composer’s authoritative bass line and thunderous solo set the pace for Lubambo’s stinging guitar work and Da Fonseca’s brilliant brushwork. Jobim’s “Look to the Sky” was followed by Da Fonseca’s composition “Dona Maria,” an uptempo tribute to his grandmother, who must have been a very hip woman. Their good friend Andrade enthu- siastically joined the trio for two famil- iar Jobim songs, “Felicidade” and “So Danco Samba,” with the singer deliv- ering some spirited scatting. As an en- core, Trio da Paz finished their set with Billy Hart (left) and Airto Moreira make formidable percussion duo. another nod to Jobim, the ballad “Corcovado (Quiet Nights).” improvisational art, even to the extent Coltrane-inspired solo, including a stun- Toninho Horta’s “Pica Pau” has of demonstrating the throat-singing ning interlude involving circular breath- long been a favorite of mine, since I technique of Tuva. Airto also joined ing. He capped the tune with an elec- heard it as the lead-off track of 1992’s Horta’s band on the trap set, giving Hart trifying soprano cadenza. “Once I Loved,” which also features a breather. Turning to a charging Coltrane Gary Peacock on bass and Billy Higgins Hart was back for Jobim’s composition, Lawrence and Handy on drums. The guitarist owes something “Zingaro” with Airto on assorted per- went head-to-head on tenors and dis- of his style to fusion icon Pat Metheny, cussion, Silva on piano and Debriano played their contrasting styles, but Horta utilizes more chords and fewer on bass. Horta reeled out some high- Lawrence wailing with powerful, cas- single-note runs, developing a lush, energy guitar chords for an original he cading lines and Handy employing emotional sound all his own. introduced as “Check This Out,” which more melodic finesse. On “Afro Blue,” That was even more evident in his proved a showcase for Hart’s idiosyn- again it was Lawrence on soprano and Healdsburg set, which began with the cratic drum style. Handy on tenor for a soulful rendition title track of that 1992 CD. Santi Two nights later, the scene was of the familiar melody. Debriano and Billy Hart capably handled the Palette Art Café for a performance Drummer Billy Hart was called the bass and drum chores while adding by the Billy Higgins Legacy Band, a from the audience to sit in on a 15- their own distinctive flavor to the mix. stirring tribute to the late drummer, who minute version of “Bye Bye Black- Debriano contributed a nice Arco bass was an essential ingredient in the bird.” Lawrence and Handy, both on solo. Jobim’s “Meditation” was hum- ground-breaking Ornette Coleman tenor saxes, each took a solo before ming along smoothly until a pickup mal- quartet that rocked the jazz world in the trading fours with Hart. The drummer function sidelined the acoustic guitar. late 1950s. Higgins died in 2001, at age stretched out in an inspired solo before Horta continued on electric guitar on 64, but his spirit was unmistakable in turning it over to the saxes for a climax his composition “From Ton to Tom,” a the daring, free-wheeling interplay, in- of dazzling, interweaving lines. tribute to Jobim recorded by Horta in tensified by the razor-sharp saxophones With Cohen back at the drum kit, 1998 for a CD of the same name. of Azar Lawrence and special unan- the two tenors dug into Monk’s “Well Pianist Marcos Silva joined the nounced guest, Craig Handy. You Needn’t,” which also featured a group for Horta’s “Bons Amigos (Good The rest of the band consisted of fine piano solo by Gamble. After a short Friends),” an appropriate tune consid- pianist Kito Gamble, bassist Henry “The set by a group of young musicians, in- ering that Silva was the composer’s Skipper” Franklin and drummer Myron cluding drummer Lorca Hart (Billy’s keyboardist for 20 years. The innova- Cohen. All were friends of Higgins. son), the groups finished with “My Fa- tive percussionist Airto Moreira then With Lawrence on soprano sax vorite Things.” took the stage, accompanying the group and Handy on tenor, the band turned Surprisingly, drummer Myron before taking over for an inspired solo “Softly, as in a Morning Sunrise,” into a Cohen met the daunting challenge of involving tambourine and free vocalise tour de force with Lawrence eventu- doing justice to the master Billy Higgins, in an astounding tour de force of the ally switching to tenor for an extended despite a tendency to overplay.

Page 14 Berman Music Foundation Jazz

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John Riley Trio no ordinary jazz organ trio ○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—Fans of the and freely responded. “Mel’s Minor” is a classic blues traditional rhythm & blues-oriented Billy Strayhorn’s “Isfahan” was shuffle by Oatts, dedicated to a former Hammond organ trio found little com- given the proper exotic ballad treatment, employer, the late drummer Mel Lewis. mon ground with the style of the John but Versace again expanded on that It was medium-tempo cool with Riley Trio during the final 2009 Jazz in theme with the use of dense chords and Versace taking the only solo of the June concert. What the crowd of some tonal experiments. At times, the lush evening that somewhat resembled the 8,000 did find is a new frontier of “or- keyboard and Leslie amplification soul-jazz organ of the past. Versace dis- ganizing” and of jazz interplay. seemed near to feedback mode, add- played his formidable technique while Since Jimmy Smith revolutionized ing to the edginess. Oatts’ composition cruising easily through the changes on the instrument more than 50 years ago, “On Dominant” was an uptempo burner his tune “Soon Enough” as Oatts added few Hammond B-3 artists have ven- with complex changes. Again, the brilliant statements on alto sax. The trio

tured beyond the blues-laden jazz deconstructed Bob Haggart’s Photo by Tom by Photo Ineck formula that he created. Only standard “What’s New?” and, in- Larry Young in the 1960s and Sam deed, created something new and Yahel, Larry Goldings and a few beautiful with Oatts stating the others in more recent years have melody, Versace riffing, and Riley attempted to break the mold. Add insinuating a subtle, funky back Gary Versace to that illustrious list. beat. He began playing with his More than leader John Riley hands, shifted to sticks for a on drums or veteran multi-instru- shuffle beat and back to hands. mentalist Dick Oatts on saxo- Clare Fischer’s bossa nova phones and flute, it was Versace “Pensativa,” most famous for its who seemed to lift the music to a appearance on Art Blakey’s 1964 higher realm at the June 30 per- Dick Oatts, alto sax; John Riley, drums; release, “Free for All,” was taken formance. He persistently urged and Gary Versace, organ at a subdued tempo, with Oatts the others to venture beyond pre- on flute. But, lest the audience get dictable phrasing, predictable harmonies three-way interplay was synchronous too comfortable, Versace turned up the and predictable rhythmic patterns. It and magical. During a brief drum break, heat with another breath-taking solo. comes as no surprise that Versace has Riley masterfully subdivided the beats. Unmistakably intense was the finale, become the favorite sideman of such Oatts switched to soprano sax for “King Henry,” penned by Oatts for his iconoclasts as guitarist John Scofield and a moody, soulful tune by Versace called son. Riley kept the run-away tempo John Abercrombie, saxophonists Lee “Now as Then.” The mutual aware- under control with ease as Oatts deliv- Konitz and Seamus Blake, and big-band ness among the players was apparent, ered a great alto sax lead melody and leader Maria Schneider. and it helped to create a powerful emo- variations. As though to alert listeners that tional effect. Displaying a more Because the John Riley Trio was they were in for something different, celebrative mood, the trio finished the somewhat of an unknown quality, even the trio began with a high-octane, mod- set with “Gumbo,” Oatts’ tribute to New to those of us who were familiar with ern version of “What Is This Thing Orleans. The alto sax mixed with the players’ individual work, the final Called Love?” with Oatts wailing on Riley’s Crescent City street-marching concert of the Jazz in June season was the alto sax and Versace taking off on beat for a genuine rave-up, but again it perhaps the most surprising as well. his initial organ flight, full of percussive was Versace who defied convention Here’s something to look forward phrasing and a vocal-like tonal quality. with unusual phrasing and tone. The to. As in 2009, there are five Tuesdays The tune also introduced the trio’s sub- tune had the angularity of a Monk idea, in June 2010, promising another wind- limely conversational interplay, as the and a saxophone-organ exchange fall of great jazz for Lincoln fans. three sensitively listened to each other heightened the sense of celebration.

July 2009 Page 15 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

Project Omaha amply rewards jazz devotees ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—The highly Tom by Photos Ineck anticipated reunion of Project Omaha, a year after the initial two-night stand that resulted in the sextet’s live record- ing, more than met everyone’s expec- tations. With temperatures hovering around 100 degrees by early evening on June 23, the Jazz in June audience was reduced from the usual crowd of 7,000 or 8,000 to about half that num- ber, but those who braved the elements were abundantly rewarded with the most exciting and virtuosic jazz display this city has witnessed in a long time. Project Omaha performs at 2009 Jazz in June concert. Despite the miles that separate them— guitarist Dave Stryker and drummer tious rhythmic drive and a stop-time Victor Lewis traveled from New York motif that set up the solos, including City, keyboardist Tony Gulizia from Vail, some smoking fretwork that seemed to Colo., percussionist Joey Gulizia and carry all of Stryker’s sense of loss and bassist Mark Luebbe from Omaha and celebration of life that inspired the tune. saxophonist Bill Wimmer from Lin- A longtime friend and mentor of coln—the six musicians repeatedly Reedus, Victor Lewis also played with locked into irresistible grooves that had verve and inspiration. listeners shouting their approval. Dave Stryker, Mark Luebbe, Victor “Gypsy Blue” kicked off the sec- Like the CD, the opener was Dex- Lewis and Bill Wimmer ond half of the concert with more Latin ter Gordon’s Latin swinger “Soy Califa,” lilt, as Wimmer’s alto sax joined with a great vehicle for Wimmer’s bold tenor statement. Wimmer followed with a Stryker’s guitar at a steady medium sax excursions. The sax, guitar and keys soulful alto sax interlude. Tony Will- tempo. Again, a Stryker solo gradually announced the theme in unison, setting iams’ rarely recorded or covered com- increased in intensity, doubling the up a series of solos and allowing Lewis position “Geo Rose” was a brooding, tempo for effect and leading to a set of and Joey Gulizia plenty of space for 10-minute masterpiece. The melody rousing four-bar breaks with Lewis. breezy, polyrhythmic interplay. was stated in unison by Stryker and Stryker’s “Carnaval,” the CD’s sole Stryker’s inventive solo revealed his Wimmer on soprano sax. Styker’s solo original tune, kept the mood light and debt to Wes Montgomery as he deftly explored all the possible variations, as celebrative. With Joey Gulizia on steel added texture with octave runs. Joey Gulizia added a haunting counter- drums and Lewis ranging freely over The bluesy “Cherry Red” was a point on steel drum. the trap set, it captured all the carefree showcase for Tony Gulizia’s organ play- One of the highlight’s of the joy of a Caribbean street parade, with ing and versatile vocal style, digging evening was Stryker’s new composi- Wimmer soaring high above on soprano deep into the Kansas City jazz tradition tion “One for Reedus,” written in sax. in homage to Big Joe Turner and Jay memory of drummer Tony Reedus, Venturing again from the confines “Hootie” McShann. As he applied the who spent several years in Stryker’s of the CD, Tony Gulizia returned to an proper “grease,” Gulizia called out band and died in November at age 49. Stryker to take a solo, a blazing blues It has a funky undercurrent, an infec- Project Omaha continued on page 16

Page 16 Berman Music Foundation Jazz

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Project Omaha continued from page 15 Tom by Photos Ineck

old favorite of his, “Just the Two of Us,” the classic Bill Withers song that pro- vides a wonderful setting for Gulizia’s warm vocals and expert keyboard ac- companiment. Wimmer’s alto sax solo was followed by a Stryker guitar solo that slyly quoted “Eleanor Rigby.” With about a dozen Stryker re- cordings in my collection and having heard him live at least eight times over the last 20 years, it seems to my ears that the 52-year-old guitarist just keeps getting better. He balances a formidable technique with tasteful restraint and knowledge that sometimes less is more. He also knows how to have fun and Project Omaha (from left) Tony Gulizia, Dave Stryker, Victor Lewis, Mark excite an audience by occasionally turn- Luebbe, Joey Gulizia and Bill Wimmerr respond to a standing ovation. ing up the heat. Neither of the Gulizias was on solo statements. Beginning with the fa- hand for the so-called New York Jazz miliar “Soy Califa,” the band moved into Summit three nights earlier, when new territory with Thelonious Monk’s Wimmer, Stryker, Lewis and Luebbe “I Mean You,” which Stryker and delivered a powerful, two-hour perfor- Lewis infused with a New Orleans mance for an exclusive audience of just street beat. Wimmer, on tenor sax, har- 40 devoted jazz fans at the Nebraska monized nicely with Stryker’s fat tone. Club, on the 20th floor of the U.S. Bank Ellington’s “In a Sentimental Mood” building in downtown Lincoln. A ben- began with an imaginative solo-guitar efit for KZUM Community Radio, it was intro, leading to the melody played by Bill Wimmer, Victor Lewis and Dave a delightful contrast to the heat, Wimmer on alto sax, followed by solos Stryker at New York Jazz Summit crowded conditions and distractions of from Wimmer, Luebbe, and Stryker, the outdoor Jazz in June venue. with Lewis tastefully switching to mal- picked up the tempo and set up a series It also allowed the quartet to try lets. of solos that tested the improvisational some new tunes and delve deeper into Stryker’s “One for Reedus” skills on a tune that was still new to most of the band. They carried if off beauti- fully, with fire and feeling. The rumba rhythm of “Gypsy Blue” joined alto sax and guitar in a unison melody line, and the rambunctious “Carnaval” was an- other great opportunity for Lewis’ stun- ning percussion work. In this intimate setting, the full force of his world-class technique was apparent, despite a drum kit that was less than world-class. Lewis’ own “It’s Been a Long Time,” with Wimmer on tenor sax, summed up the evening with a sense of the rarity of such high-quality jazz performances in Lincoln. Here’s hop- ing that the wait for another such per- Project Omaha performs for a crowd at Jazz in June. formance is not as long.

July 2009 Page 17 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Concert Review

Shank Quartet digs deep into varied repertoire ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

LINCOLN, Neb.—The Kendra intro before moving into uptempo solos A special treat was Shank’s venture into Shank Quartet’s third appearance at the on piano and bass and an energetic the Thelonious Monk songbook with her Jazz in June concert series was osten- drum solo that furthered the sense of interpretation of “Blue Monk,” known sibly a showcase for her recent release, inherent joy that the title prescribes. in this version as “Monkery’s the “Mosaic,” but the June 16 performance “Reflections in Blue” featured another Blues,” with lyrics by Abbey Lincoln. also provided an opportunity for the bold Shank vocal improvisation, which Shank returned to the new release with longtime musical collaborators to dig segued neatly to Irving Berlin’s famil- “I’m Movin’ On,” a relatively unknown deep into their extensive repertoire. iar “Blue Skies.” As on the CD, one of composition by Kirk Nurock with lyr- With temperatures in ics by Judy Niemack that cau- the upper 80s at show time, Tom by Photo Ineck tion against living in the past. Shank was dressed in a Moreno’s brushwork subtly black, loose-fitting dress, but added to the urgency. she and the rest of the band “Beautiful Love” received still generated considerable another opening improvisation heat as they worked their from Shank, based on the words way through two sets of of mystic poet Rumi and entitled highly inspired, give-and-take “Water from Your Spring.” With interplay. Whether interpret- Kimbrough again plucking the ing jazz standards or introduc- strings, Johnson bowing the bass ing more obscure tunes, and Moreno using soft mallets, Shank and her comrades— Frank Kimbrough, Dean Johnson and Kendra Shank the familiar melody of the Vic- pianist Frank Kimbrough, tor Young standard began to bassist Dean Johnson and drummer the highlights of the concert was emerge amid Shank’s lilting, cascading Tony Moreno—eschew conventional Shank’s reading of Carole King’s pop vocals and skillful octave leaps. changes, preferring to delve into long classic “So Far Away,” a sentiment that Kimbrough’s ballad “For Duke” improvisational interludes that challenge the singer obviously takes to heart. Uti- received a splendid interpretation by the listener and heighten the sense of lizing her bell-like tone, she proceeded Shank, who introduced the tune as a surprise. to wring great emotion from the story composition by her favorite piano player, For example, Shank’s take on Cole of long-distance love. In his imagina- with lyrics by Kimbrough’s wife, poet Porter’s chestnut “All of You” was to tive solo, Kimbrough also found new Maryanne De Prophetis. Finally, the faithfully render the familiar melody ways to enhance an old tune. quartet pulled out all the stops for a spir- only briefly before creating free varia- An extended improvisation on the ited version of “Life’s Mosaic,” com- tions on the theme. Her bandmates were traditional “Black is the Color of My bining the Cedar Walton melody with right there with her, exploring alternate True Love’s Hair” brought the first set lyrics by John and Paula Hackett. Ev- chords as fellow-travelers on another to a stunning climax, despite a brief eryone had a chance to solo on the jazz adventure. From their 2007 release, sound-system malfunction that left the uptempo bopper. a tribute to the songs of Abbey Lincoln voice and piano unamplified. As sound The audience of several thousand, called “A Spirit Free,” the quartet re- returned, Kimbrough ranged over the many of whom were familiar with visited “Throw It Away,” with Moreno keyboard with rolling fists and discor- Shank from previous Jazz in June per- playing the drums with his hands and dant notes that provoked Shank to re- formances in 2004 and 2007, showed Kimbrough plucking the piano strings spond with percussive vocalizing. their appreciation with ample applause as Shank introduced the tune with her The leaping, calypso-style mood throughout the evening. About 50 of improvised “Incantation.” of Abbey Lincoln’s “Wholly Earth” got them also lined up to buy CDs and have “Laughing at Life,” from the new the second half off to a joyful start, re- them autographed by the always-gra- CD, began with a very loose melodic inforced by Kimbrough’s dancing solo. cious Kendra Shank Quartet.

Page 18 Berman Music Foundation Jazz

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ZARO brings funky good time to Jazz in June ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○

LINCOLN, Neb.—A fair- Tom by Photo Ineck weather capacity crowd of several thousand were in for a raucous and funky good time when the Fort Collins, Colo., quartet ZARO took the outdoor stage for the second of five 2009 Jazz in June concerts. The June 9 performance was exu- berant and high-volume, in both senses of the word, as the well-rehearsed band reeled off nearly 20 tunes in two 60- minute sets at a decibel level that took some getting used to, especially for those of us sitting up front. Once the ears had adjusted, however, it was pure ZARO (from left) is Zac Rothenbuehler, guitar; Andrew Vogt, sax; Oscar Dezoto, drums; and Roger Barnhart, bass. listening pleasure. For front man and Lincoln native Andrew Vogt, a versatile reed virtuoso, another exemplary solo by Vogt on funk fusion rhythm, this time with Vogt it seemed a pure pleasure to be playing tenor and a series of imaginative drum on soprano. for a hometown crowd, and he took breaks by Dezoto, who sounded great ZARO once again had the audi- every opportunity to show his appre- despite a hand injury he sustained just ence playing “What’s that ‘70s TV ciation, giving a shout-out to fellow before show time. Theme Song?” with a dead-on version alumni of Lincoln East High School and Switching to clarinet, Vogt dedi- of “The Rockford Files.” Pat Pyrtle Elementary School and ending cated a bossa reading of the jazz stan- Metheny’s tender ballad “Change of the concert with a “God bless Ne- dard “Pure Imagination” to the late Heart” was the setting for a lilting gui- braska.” Butch Berman, who had taken the tar feature, with Vogt on soprano sax. Spurred on by Vogt, the rest of the young saxophonist under his wing, in- The energy level rose again for Vogt’s foursome (guitarist Zac Rothenbuehler, troducing him to a wide range of music “The Derailer,” with the composer on bassist Roger Barnhart, drummer Os- and encouraging his own musical ex- tenor. Stevie Wonder’s “Sir Duke” con- car Dezoto) responded with equal en- plorations. On a lighter note, the band tains some difficult-to-negotiate rhythm thusiasm. They floated on top of the leaped into the familiar “Sanford and changes, but ZARO pulled it off with rhythmic drive created by Vogt’s David Son” TV theme with glee, as the listen- exhilarating, unison alto sax/guitar/bass Sanbornish alto sax on the Pat Martino ing audience responded with instant statements and a great guitar solo. composition “Mac Tough.” Vogt’s own recognition. Rather than belabor the From out of nowhere came “Red “Action Plan” was followed by a funky, obvious, Vogt hilariously followed the Car,” a bluesy Art Pepper workout from witty take on “Fables of Faubus,” the performance by shouting, in a perfect the mid-1970s. Warming to the soulful Charles Mingus attack on Arkansas Red Foxx impersonation, “Lamont, ya changes, Rothenbuehler took an uncon- segregationist Gov. Orval Faubus. With big dummy!” ventional solo, followed by Vogt’s alto Vogt on tenor sax, the tune began in “Tipitina’s,” by fusion guitarist Mike sax homage to the composer, with an mid-tempo, accelerated and returned Stern, contained a little bit of New Or- edgy tone and a series of dazzling stac- before opening up to solos by Vogt and leans funk and fire and a sly quote from cato bursts of imaginative improvisa- Rothenbuehler. the “Mission: Impossible” theme by Vogt tion. As an appropriate encore, ZARO The guitarist was prominently fea- on tenor sax. Bob Marley’s “Them reached even further back for a funky tured on Stevie Ray Vaughan’s fast Belly Full (But We Hungry)” was re- rendition of Lou Donaldson’s “The Mid- blues shuffle “Stang’s Swang,” with cast from a straight reggae beat to a night Creeper.”

July 2009 Page 19 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Tomfoolery

California trip again combines life’s pleasures ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ By Tom Ineck ○○○○○

OCCIDENTAL, Calif.—I hope Tom by Photos Ineck you’re as fortunate as I am to have close friends in a place that you love to visit. If so, you know the satisfaction of combining two of life’s pleasures, travel and companionship. So it is every couple of years, when I fly—or occasionally drive— from Nebraska to Northern California. In late May, I touched down at the San Wade Wright and Terri Hinte (left) have lunch outside Cafe Divine in San Francisco International Airport in time Francisco. Joe Phillips, Jobee Farrer to pick up my rental car and have a and Nikki Farrer (above) enjoy the leisurely lunch in the city with friends music at the Palette Art Cafe during a before heading further north. Wade performance of the Healdsburg Jazz Wright, a Berman Music Foundation Festival. advisor and manager of Jack’s Record Cellar in the city, also helps his brother ite return destination. In my case, those at Café Divine, where “heavenly cui- people are Joe Phillips, Nikki Farrer, their sine” is the byword. Butch Berman include a few days in Occidental, a son, Jobee, and their many friends. Joe recommended the place in a column he wonderful Sonoma County village of and I have known each other since the wrote several years ago, and I wanted about 1,500 people 60 miles north of late 1960s, when we both attended Pius to check it out in person. the city. I still had a couple of hours to X High School in Lincoln. Joe, Nikki The stars were properly aligned make my rendezvous with a friend and I later lived together as part of a on this occasion, with Wade celebrat- there, so I drove—somewhat reck- communal group that settled for a while ing a birthday on the day of my arrival. lessly—up the winding road to the 2,500- in Bisbee, Ariz. Later, I returned to We met before noon and grabbed a foot peak of Mount Tamalpais and along Nebraska and they moved to Califor- sunny table outside the café. We were the scenic coastal highway, an exhila- nia, eventually migrating up the coast later joined by Terri Hinte, a Bay area rating ride after my long, cramped flight to the country of wine, rivers and red- legend among jazz writers and jazz and sedentary urban experience. wood forests. musicians for her longtime work as Founded in 1876, Occidental first We have never lost touch, though writer, editor and publicist with Fantasy earned its reputation as a railroad and we go months without speaking to each Inc. and currently fronting her own jazz timber-cutting center, with six sawmills other and years between my visits. It is publicity agency and managing the ca- operating in the area by 1877. Some of the essence of friendship that when we reer of saxophonist Sonny Rollins. As the original 19th century buildings still do gather, the old familiar thoughts and a jazz writer, I had corresponded with stand, including the Union Hotel, built feelings, the easy camaraderie, come Terri by mail and e-mail for some 25 in 1879. Today it houses one of the best rushing back, almost as though we had years, but we had never met until now. Italian restaurants in the region, and its never parted ways. Perhaps the 1,500 The three of us had a delightful saloon is a favorite watering hole for miles that separate us actually make us meal, complete with decadent desserts, area residents. Just across the street is closer. and conversation that ranged over many Negri’s, which combines Italian cuisine It certainly helps that we are all mutual interests. More than three hours with a lively bar and occasional live inquisitive, broad-minded fans of mu- later, I rose to head out of town, with music. sic, from rock to jazz to world music. great thanks and happy birthday wishes But, like any city that leaves a last- That love of music has long been our to Wade. ing impression on the visitor, it is the My West Coast odysseys always people who make Occidental a favor- Tomfoolery continued on page 20

Page 20 Berman Music Foundation Jazz

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Tomfoolery continued from page 19 The Healdsburg gathering was coast at Bodega Bay, where Alfred especially memorable, as Jobee, now Hitchcock filmed much of “The Birds.” common ground, so it’s a joy when we 34, and his girlfriend, Jen, joined us for It was a glorious spring day, so we hiked can share live performances. an afternoon of Brazilian jazz in a small the hillsides above the bay, which were Over the years, my trips to North- city ballpark. The weather was ideal profuse with aromatic wildflowers. It ern California have often coincided with and the music was joyous and inspired. was the perfect end to another memo- concerts and festivals, including the Two nights later, Joe, Nikki, Jobee and rable stay. Russian River Jazz Festival in 1987, the I took in another jazz concert at the As we reach our late 50s and early Cotati Jazz Festival in 1993, the San Palette Art Café, where we shared 60s and many of our contemporaries Francisco Jazz Festival in 1996, a con- plates of appetizers and consumed a take their leave of this life, our visits cert by the Frank Zappa tribute band few local brews. take on a new urgency. From now on, Project Object at the Mystic Theater On my final full day in the area, an annual trip to this neck of the woods in Petaluma in 2002, and this year’s Joe and I took a road trip to another is not out of the question. In fact, it Healdsburg Jazz Festival. favorite place, the rugged, beautiful seems downright mandatory.

Colorado Correspondent

Legends of Jazz have 250 years of experience ○○○○○○○○○○○○○○○ By Dan DeMuth○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Colorado Springs, which has been Demuth Dan by Photo privy to great jazz performances for several decades, notched another win- ner May 9. Amy and George Whitesell of A Music Company Inc. (their website is at www.amusiccompanyinc.com) ar- ranged this concert on short notice, with some help from local media persons of prominence. The setting was the plush, but affordable Cheyenne Mountain Re- The Legends of Jazz at Cheyenne Mountain Retreat treat, enhanced by an able and appre- I would change the tour name to bass licks on the latter Strayhorn piece. ciative staff. I may be somewhat preju- Legendary Gentlemen of Jazz, as they A soulful version of the aptly titled Miles diced, but when the doorman singled are gentlemen all, respecting an audi- Davis piece “All Blues” was a crowd- me out from others—while checking ence that highly appreciated them. The pleaser, as was Todd Dameron’s lyri- in—with the observation, “Here comes players are Hadley Caliman on tenor, cal ode to John Coltrane “Soul Train,” a man to listen to jazz,” it does start the bassist John Heard, Eddie Marshall which featured the artistry of pianist day off rather nicely. drumming, Julian Priester on trombone Vuckovich. Closing with “Savoy” left The ballroom was filled with jazz and pianist Larry Vuckovich. us all if not stompin’ still chompin’ for aficionados who were treated to some They opened with the Jerome more. straight-ahead jazz from Legends of Kern composition “All the Things You A special bonus for moi’ occurred Jazz, a quintet whose members have Are” and changed pace with the much when my wife and I were invited to been jazzin’ in one form or the other for recorded but seldom heard “Red Top.” join Julian, the promoters and Hadley a combined total of more than 250 years. We were treated to some Ellingtonia and his wife in the lounge after the Anyone reading this can simply Google throughout both sets with the likes of show. As the round(s) of choice was the artists by name, but I will tell you in “Lush Life,” “In a Sentimental Mood,” Knob Creek Manhattans, and the con- advance it’s akin to reading a Who’s “Take the A Train,” “Mood Indigo” versation went into the wee hours of Who of jazz perusing their careers, both (with Eddie Marshall switching to the the morning, no notes were taken but I as leaders and in associations with pre- rarely heard recorder) and “Isfahan,” have greatly added some jazz lore to mier jazz artists. with John Heard contributing some great what’s left of the memory bank.

July 2009 Page 21 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Jazz on Disc

Shank takes another step in musical journey ○○○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

fearlessly improvises on Cedar Walton’s “Time Remembered,” one of Bill “Mosaic,” here titled “Life’s Mosaic,” Evans’ most evocative ballads, gets an with lyrics by John and Paula Hackett. inspired reading by all. Shank caresses Drewes turns in a sinuous solo, followed the lyric by P. Lewis, Kimbrough and by Monder’s own soaring solo excur- Drewes (on clarinet) engage in an in- sion. Moreno also leads the rhythm sec- spired musical dialogue, and Monder’s tion on a sonic adventure. signature guitar tone helps to create a Rather than the conventional ap- dream-like mood. Kirk Nurock com- proach to the standard “Blue Skies,” posed the last two tracks, the mid-tempo KENDRA SHANK QUARTET Shank and company slowly enter the waltz “I’m Movin’ On,” with lyrics by Mosaic melody from an improvised introduc- Judy Niemack, and “I’ll Meet You Challenge Records tion the singer calls “Reflections in There,” with lyrics that Nurock adapted Blue.” Again, the technique allows lis- from Rumi. “Mosaic” is the latest leg in teners to re-imagine the familiar Irving With “Mosaic,” Shank and her Kendra Shank’s spiritual journey Berlin song. Similarly, the old warhorse compatriots have created another ster- through music. Unlike her previous re- “Smile,” with music by Charlie Chaplin, ling example of the jazz artist’s craft at lease, 2007’s “A Spirit Free”—a very is given a new lease on life by marrying its most technically accomplished and focused, ambitious and loving homage it to the more upbeat “Laughing at most emotionally revealing. to Abbey Lincoln—she returns to a Life.” more varied menu of jazz standards, Johnny Mandel’s lovely ballad originals and even a pop tune by Carole “The Shining Sea,” with lyrics by Peggy King. Lee, gets a reverent, but fully engaging As always, the constant here is treatment, with Kimbrough accompa- Shank’s outstanding ensemble, longtime nying with lush chords. In another med- bandmates Frank Kimbrough on piano, ley, the mystic verse of Rumi entitled Dean Johnson on bass and Tony “Water from the Spring” is used to draw Moreno on drums, plus the versatile new meaning from another standard, reed playing of Billy Drewes and the Victor Young’s “Beautiful Love.” Be- guitar shadings of Ben Monder. Shank’s ginning and ending with a rhythmically BENNY MAUPIN QUARTET fidelity to this same lineup has paid off free section, the music seems to ebb Early Reflections in an uncanny compatibility and flaw- and flow as naturally as the spring wa- Cryptogramophone Records less interplay, despite (of because of) ter of the title. its penchant for risk-taking. For Shank’s One of the most beautiful new With “Early Reflections,” reed vir- take on the new release, see the inter- compositions on the CD is the ballad tuoso Bennie Maupin continues a view I conducted with her elsewhere “For Duke,” with music by Kimbrough comeback as leader that began with in this newsletter. and poetic lyrics by the pianist’s wife, 2006’s “Penumbra,” also on the It’s hard to imagine a more com- Maryanne de Prophetis. Shank handles Cryptogramophone label. This time, pelling opener than King’s “So Far the tune with great sensitivity and re- Maupin takes his sublime artistry in a Away,” a touching interpretation of the spect, and it is made even more pro- new, evocative direction. pop classic raised to new heights by the found by an extended piano solo. Shank Indeed, Maupin takes it all the way sensitive playing of all, including an ab- freely expresses all the joy and surren- to Warsaw, Poland, where he as- solutely gorgeous clarinet solo by der inherent in Cole Porter’s “All of sembled a quartet that also features pia- Drewes. Shank’s ability to plumb the You,” and the band responds with equal nist Michal Tokaj, bassist Michal emotional depth of such a timeworn tune delight, especially in Johnson’s whimsi- is only one of her many strengths. She cal bass solo. Jazz on Disc continued on page 22

Page 22 Berman Music Foundation Jazz

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Jazz on CD continued from page 21 reputation for avant-garde abstraction however, are two masterpieces of the re-emerges briefly on the group impro- art of improvisation. Both are excellent Baranski and drummer Lukasz Zyta, visations “Within Reach,” “Inside the jazz takes on a progressive rock mono- with wordless vocalizing of Hania Shadows,” “Black Ice” and “Not Later lith that continues to defy convention. Chowaniec-Rybka gracing two tracks. than Now.” “Prophet’s Motifs” fuses If possible, the second volume is The group toured together for two years the blues with a clever wit, as Maupin even more adventurous and stimulat- before retiring to the studio, and the rap- gets down and funky on bass clarinet. ing than the first. “The Court of the port is evident. “ATMA” and the haunting closer, Crimson King” virtually seethes with A seamlessly organic whole of “Spirits of the Tatras” feature energy, largely generated by Wallace’s nearly 80 minutes duration, the music Chowaniec-Rybka, a popular practitio- astounding percussion work. It is fur- simultaneously evokes the mystery of ner of both opera and the Polish folk ther propelled by Nardone’s surging Poland’s natural beauty and the melan- tradition. Having traveled by midnight keyboard attack and Landers’ slippery choly spirit of its people. With only a train through the Tatra Mountains from bass lines. “Pictures of a City,” from few exceptions, the tempos are largely Krakow en route to Budapest more KC’s second album, “In the Wake of downbeat, but the playing by Maupin than a decade ago, I can testify to the Poseidon,” expands on the original’s on bass clarinet, tenor and soprano authenticity of the spirits evoked here. rhythmic complexity, shifting easily from saxes and alto flute seems to rise out of The very satisfying music of “Early a loping tempo to the skittering bop beat the ether in hopeful aspiration. With Reflections” is emotionally complex, but of a run-away train. backgrounds in classical music as well delivered with directness and a startling The tempo slows briefly for “One as jazz improvisation, the accompany- simplicity that make it vital and alive. Time,” from 1995’s brilliant comeback ing trio of players is unfailingly sympa- record “Thrak.” But, as though unable thetic. to repress their enthusiasm, Nardone, The mood is intimate and intro- Landers and Wallace soon lock into a spective. On the lovely “Escondido,” lilting Latin pulse, then turn it over to Maupin, on bass clarinet, pairs off with Landers for a lyrical solo on the fret- Baranski in a warm and woody dialogue. less five-string bass. KC alumnus Mel “Ours Again” is a brooding duet be- Collins is featured on soprano sax on a tween Maupin’s tenor and Tokaj’s care- blazing rendition of “Frame By Frame,” fully chosen notes. Maupin’s alto flute from 1981’s “Discipline.” Also from is a perfectly mournful foil for the key- “Thrak” comes “Inner Garden,” a bal- board explorations of the pianist’s sole CRIMSON JAZZ TRIO lad on which Nardone sings the Adrian composition, “Tears.” The composer is King Crimson Songbook, Vol. 2 Belew lyrics with great beauty and feel- allowed ample space to state the Inner Knot Records ing. melody, and Baranski contributes a “Heartbeat,” from 1982’s “Beat,” bracing bass solo. Forty years on, the music of King is a nifty jazz waltz that showcases Especially potent is the 10-minute, Crimson shows no signs of age, despite Nardone’s propulsive piano style, which surging modal rendition of “The Jewel an apparent recording hiatus since the rocks and swings simultaneously. It also in the Lotus,” with Maupin on soprano group’s 2003 release, “The Power to features some inspired drum breaks by in his most yearning Coltrane-influ- Believe.” In the interim, however, the Wallace. The session’s centerpiece is enced style. It is a lovely reprise of the Crimson Jazz Trio—pianist Jody “Islands Suite,” which draws its inspi- title track from Maupin’s 1974 record- Nardone, bassist Tim Landers and ration from the 1971 album, “Islands.” ing, recently re-issued on ECM drummer Ian Wallace—has filled the It allows every participant to express Records. The title track bounces along void admirably with its exciting reinter- himself—from “Press Gang,” on Maupin’s supple soprano and the pretations of Crimson classics. Wallace’s introductory solo focusing on steady lope of the rhythm section. “In- “King Crimson Songbook, Vol. 2” floor toms and cymbals, to Nardone’s ner Sky” is an exquisitely realized de- is the long-awaited follow-up to the brief but lovely “Zero Dark Thirty,” to piction of nature’s parading pageantry, group’s 2005 debut, which was re- the group explorative theme of with Maupin painting the landscape on viewed in the March 2006 BMF news- “Formentera Lady,” with Collins on tenor sax. letter. In all likelihood, it will be the last tenor saxophone, which segues neatly Best-known for his work in the late volume, as Wallace died in February into “Sailor’s Tale” and ends with an ‘60s with Miles Davis and in the early 2007 after a brief battle with cancer. exquisite solo by Landers called ‘70s with Herbie Hancock, Maupin’s What remains of this bold experiment, “Plank.”

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“Lament,” from the 1974 master- Similarly on the funky “Way Out of here, as he digs deep into the groove piece “Starless and Bible Black,” is a Willy,” he uses a wah-wah pedal, re- with Boller and Green urging him on. fitting finale. The first half of the tune minding the listener of Eddie Harris’ Blake ups the ante with a spiraling solo swings gently with Wallace on brushes soulful excursions of the late 1960s. that seems to take off in several differ- and Landers’ moaning bass capturing Kikoski contributes a bluesy solo, while ent directions simultaneously. Pretty the bittersweet nature of the tune. The Boller and Green maintain the groove heady stuff! second half moves uptempo to a stir- throughout. With nine tracks ranging from ring Latin beat with Wallace firmly in The second movement of Claude eight minutes to more than 17 minutes the driver’s seat, ending on a positive Debussy’s String Quartet in G minor is in length, these two generous CDs are note. If there is a way to keep CJ3 alive the inspiration for a gorgeous ballad an excellent and very satisfying ap- after the passing of its guiding light, we performance. Blake and Kikoski lock proximation of a complete concert per- heartily support the idea. in unison as Boller and Green provide formance by the Seamus Blake Quar- free, but sensitive embellishments. The tet. It is highly recommended for ad- tempo shifts upward for a while before venturous jazz fans. returning to its initial, meditative mood. Blake’s “Fear of Roaming” is a pen- sive modal piece that sets sax and pi- ano against a lively bass line. Boller eventually settles into a bluesy walk. Ellington’s “The Feeling of Jazz” sways gently as Blake weaves brilliant double-time passages throughout. SEAMUS BLAKE Kikoski restates the tune’s bluesy, Live in Italy swinging simplicity, and then builds on Jazz Eyes Records the theme with his own rhythmic and TOWNER GALAHER harmonic ideas. Kikoski’s “Spacing” is Courageous Hearts Seamus Blake is an inventive tenor an aptly named exploration into the Towner Galaher Music saxophonist who has been flying under stratosphere, launched with a freely the radar for several years, despite his improvised piano solo and continuing “Courageous Hearts” picks up move to New York City in 1992. A na- with uptempo energy and witty ex- where drummer Towner Galaher’s tive of Vancouver, B.C., who attended changes by all. debut recording left off. “Panorama” Berklee College in Boston, he first re- “Ladeirinha” is a ballad in waltz was reviewed in the July 2007 edition corded with Victor Lewis on the time by Brazilian composer Djavan. of the BMF newsletter. Again, drummer’s 1992 release, “Know It Blake’s tenor again steps up the inten- Galaher’s star-studded ensemble Today, Know It Tomorrow” and has sity with double-time statements against turns in a set of straight-ahead hard subsequently worked with guitarist John Kikoski’s steady comping, Boller keep- bop that is worth celebrating. Scofield, pianists Kevin Hays and ing a steady bass pulse and Green ex- The instrumentation is similar to Darrell Grant, drummer Billy pressing more artistic freedom. Blake the earlier session, adding only trom- Drummond and the Mingus Big Band. telegraphs key phrases of the familiar bone (the great Fred Wesley) to a With the double-disc “Live in melody of “Darn That Dream” in an lineup that also consists of tenor sax Italy,” Blake, 40, boldly steps out in ex- extended solo sax introduction before (Craig Handy), trumpet (Brian tended live performances with his quar- settling down to a true ballad tempo. Lynch), piano (George Colligan), and tet, also featuring pianist David Kikoski, Never content simply to state the theme bass (Charles Fambrough, the only bassist Danton Boller and drummer or dwell on the changes, he soon takes holdover). On four tracks, the rhyth- Rodney Green. It was recorded in flight in a wonderful solo excursion over mic urgency is bolstered by percus- Palermo, Senigallia and Cesenatico in the always-reliable rhythm section. sionists Gabriel Machado and Ze February 2007. Kikoski and Boller also contribute ex- Mauricio. The excitement level is infectious tended solo statements. Like “Panorama,” the new CD from the first tune, Blake’s “The Jupi- “Dance Me Home” is a bluesy, features strong tunes with intricate ter Line,” on which he tastefully em- typically angular John Scofield tune that horn arrangements that make the ploys electronic gadgetry to create the serves as a fitting finale to this lively effect of a horn soaring into outer space. live set. Kikoski is especially exciting Jazz on Disc continued on page 24

Page 24 Berman Music Foundation Jazz

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Jazz on CD continued from page 23 great vehicle for everyone. The only turne,” with beautiful chord changes, a track that extends beyond seven min- pulsating bass line and sizzling percus- most of the band’s talented front line. utes, it includes well-developed solos sion by Dyson, with help from Sullivan. All but two of the nine tunes are by Wesley, Lynch, and Colligan and Albanese couples a lilting left-hand with Galaher originals, and they are pre- stellar percussion work by Galaher skittering right-hand improvisations on sented in precise performances av- and Machado. Indeed, the band con- “Joyful Noise,” another Latin jazz win- eraging about four minutes each. The tinues to percolate as the track fades, ner which also features a wonderful title track virtually leaps from the disc leaving the listener wanting more. bass solo and impressive rolls by Dyson. with a swinging intensity reminiscent Sullivan returns on alto flute to of Art Blakey and the Jazz Messen- produce a lush, warm tone on the gor- gers, an undeniable influence on geous rendition of Thelonious Monk’s Galaher. On their solos, Lynch and “Ugly Beauty.” Albanese’s solo is brief Handy establish their formidable tech- and understated, so this is a superb nique and brimming soul. showpiece for Sullivan. “Waiting for Likewise, the uptempo Louis” is a bright, snappy tune written “Boogaloobop” features Wesley’s fat as Albanese waited for his son to be tone and soul-jazz inclinations, but it born. The composer notes that he had also is a showcase for Colligan’s key- plenty of time to perfect the tune, as his board improvisations and BOB ALBANESE TRIO with wife was in labor for almost two days! Fambrough’s versatile, shape-shifting IRA SULLIVAN Another gem is the brilliant pair- bass line. “Second Line Samba” de- One Way/Detour ing of Albanese with Sullivan, on so- scribes itself well, combining the Zoho Music prano sax, for the ballad standard “Mid- polyrhythmic influences of both New night Sun.” These masterful musicians Orleans and Rio in a heady, hard-driv- A relative unknown, pianist Bob take their time in a dialogue that alter- ing brew. Albanese impresses mightily as com- nates between unison lines, call-and- Galaher slows the tempo to a poser and player on his Zoho Music response, harmonic invention and even gently lope and switches to mallets as debut, “One Way/Detour.” He moves some well-placed discord. Albanese he concentrates on floor toms and comfortably between a post-bop, main- creates shimmering, cascading lines as cymbals on the beautiful “Winter Sun- stream style and an infectious Latin a lovely counterpoint to Sullivan’s me- rise.” Wesley, Colligan and Handy tinge. His often-complex, percussive lodic improvisations. Two combined make brief but stirring statements pianistics are ably accompanied by takes of “Friendly Fire” end the ses- before the band returns to the head bassist Tom Kennedy and drummer sion with nearly 14 minutes of fast- and the leader finishes with a drum Willard Dyson, and six of the 10 tracks paced group interplay and solo expres- coda. Tadd Dameron’s “Hot House” are further enhanced by the presence sion. Sullivan’s burnished tone on tenor gets a heated workout with unison of the versatile Ira Sullivan on tenor and sax lends plenty of authority. horns setting up a clever rhythmic soprano saxophones, alto flute and per- The Zoho Music label has as- device that cues solos by Lynch, cussion. cended rapidly to the top echelon of jazz Colligan and Handy—all in less than Albanese’s technique is immedi- record companies, with an impressive four minutes. ately established with the quirky opener, roster of jazz artists, particularly in the “April 28th” shuffles along with “Major Minority,” as he explores all the mainstream and Latin jazz genres. the relaxed grace of a jazz waltz, cre- permutations of a melodic minor scale. Founded in 2003 by veteran music pro- ating side passages for Handy, Lynch, Rescued from the dustbin of swing his- ducer Joachim Becker, it is the home and Colligan to weave their magic in tory is “Yesterday’s Gardenias,” once of the excellent Dave Stryker-Steve solos and group interplay. “Londel’s” associated with Glenn Miller. Here it Slagle Band, saxophonist Dave is a gorgeous, soulful ballad that gets a thorough brushing-off with Liebman, percussionist Ray Barretto, showcases Wesley’s gospel shouts Sullivan on tenor sax still swaggering at harmonica virtuoso Hendrik Meurkens, and slides. The title theme is briefly age 76. The title track, “One Way/De- Arturo O’Farrill and his Afro-Latin Jazz reprised on “Courageous Hearts tour,” is a devilishly difficult stop-time Orchestra, guitarist Carlos Barbosa- (Rhythm of Victory)” before the burner that, aptly, seems to be moving Lima and others. To that impressive list whole project comes to a glorious in opposite directions simultaneously. can now be added Bob Albanese and conclusion with the Mongo One of my personal favorite here “One Way/Detour.” Santamaria classic “Afro Blue,” a is the surging samba “Morning Noc-

July 2009 Page 25 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Feedback

Readers offer comments on grand opening, etc.

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Congratulations to one and Thanks for keeping me in- Hi Tom, all. This is very exciting news and formed. Congratulations! All the a terrific resource for the commu- best wishes. This is Jason Hollar (bass nity. I’ll be sure our jazz colleagues player). You may remember me from hear of this. Ted Piltzecker a review you wrote about my CD Vibraphonist which featured the soon-to-be fa- John W. Richmond TedVibes.com mous Andrew Vogt on sax! Professor and Director Congrats on the continuation School of Music ------of the Berman project. I enjoy re- University of Nebraska-Lincoln ceiving the newsletters and can’t I can’t tell you how good it is wait until I get the chance to return ------to have The Berman Foundation to Lincoln to visit the new museum once again underwriting “Highway facility someday. Grace, Blues.” Seeing that brought a smile I was writing to mention your to my face with instant memories of performance review of Mike Nice article on the memorial Butch and I kidding around in the Tomaro, a gem of a guy and a ping pong tournament, It remains studio together. I sure miss him. helluva musician. It’s great to see a a great tradition to be part of... It’s good to see Butch is still fellow Pittsburgher featured in your We had a great time at the alive and well through the people local productions. opening the Berman Music Foun- he entrusted with his foundation. Anyway, keep up the good dation office/museum. work. Hope to see you next time I’m I was thinking that Butch Al Lundy swinging through the great Mid- would be happy to imagine things Host, “Highway Blues” west! working out this way with the KZUM Community Radio Foundation. Lincoln, Neb. Cheers,

Brad Krieger ------Jason Hollar Artist Bassist Lincoln, Neb. Hi Tom, ------Thanks for adding me to the mailing list. Keep up the good work. Excellent issue! Thanks for I just found out about your Saludos. keeping me posted, Tom! new location. Very exciting! The Haymarket is perfect. Congratula- George Hinman Mark Dalton tions! Panama City, Panama Bassist Seattle, Wash. Rusty White Bassist and Professorr of Bass University of Nebraska-Lincoln

Page 26 Berman Music Foundation Jazz

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

Berman Music Foundation

Berman Music Foundation Skylight Gallery The Burkholder Project 719 P Street Lincoln, NE 68508

From the Archives Bill Wimmer fronts trio at How can you help the foundation?

1999 opening reception The Berman Music Foundation is a non-profit, tax-exempt,

File Photo 501(c)(3) private foundation, and your tax-deductible donation will help offset the costs of this newsletter and its programs.

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Make check payable to Berman Music Foundation at: Berman Music Foundation Skylight Gallery Pianist John Carlini, saxophonist Bill Wimmer and bassist The Burkholder Project Jack Lesberg performed together in February 1999 at an 719 P Street opening reception for an exhibition of John Falter Lincoln, NE 68508 drawings of jazz musicians at the Nebraska State Historical Society. Wimmer appeared at the 2009 Jazz in June series Thanks for supporting jazz! with his band Project Omaha.