Vive La France! - New Jersey Jazz Society

New JerseyJazzSocietyThe Mail BagI’VE JUST SEEN MY FIRST EVERISSUE OF JERSEY JAZZ, theJanuary issue, and I’m veryimpressed. It’s very smart andprofessionally done — I didn’t seea single typo, which is rarenowadays. I enjoyed Joe Lang’sbook reviews, Fradley Garner’sarticle about Ed Berger (and theillustrations throughout themagazine are exceptionally wellchosen). I enjoyed the ad forArbors (glad to see Marty Grosz isstill putting out music!)…Come tothink of it, I loved the whole thing.I used to help run a jazz club inthe back room of a pub inEngland, so I know how muchwork is involved in promotingjazz, for very little reward exceptthe good karma. Keep up theexcellent work!Donald ClarkeWest Des Moines, IowaI DON’T KNOW WHEN I’VEENJOYED an issue of Jersey Jazzmore than that of January 2007!Beginning with the wonderfulpicture of “Satchmo” on the frontpage. I particularly liked JackStine’s frank assessment of PeckKelly’s piano playing, theobituaries of Anita O’Day, JazzTrivia (as always) and SteveBarbone’s account of hisexperiences at Israel’s Red Sea JazzFestival. I’ve heard Barbone’s bandmany times and have alwaysenjoyed him — even his singing.Mazel Tov (Congratulations) on avariety and quality of articles inthe expanded Jersey Jazz! Eachissue offers plenty of interestingreading.Rabbi Louis KaplanWallingford, PAI WANTED TO START THENEW YEAR OFF RIGHT bycongratulating the members ofNJJS involved with the newJersey Jazz magazine. I like thenew format and thoroughly enjoyall the contents. It looks cleaner,reads more easily and certainlyrepresents the best of the societyand it members.When my husband was alive weattended NJJS events and enjoyedthem all, but particularly Sundayafternoon jazz at Tierney’s Tavern(Montclair) and the jazz festival atWaterloo Village. I am not able toattend events much any more, butenjoy reading the magazine andordering occasionally from thereviews listed in it.Margaret C. WayMontclair, NJTHANKS FOR THE BEAUTIFULFEBRUARY JERSEY JAZZ. AudreyJackson was so pleased with theTony DeNicola obituary, and Tonywould have been, too. There is justone important correction: Thequotes attributed to me on page14 are from another of Tony’sstudents and friends of manyyears — David Stier.Tony was once part of a pick-uprhythm section backing BuddJohnson for a local gig. Part waythrough the first set, Budd turnedafter his solo and said to Tony:“Say, you are really good.” Tonygave a slight smile and bow andkept doing what he did so well.Finally, I remember Tony oncetalking about a certain excellentbassist who was more interested inshowing how much he could dorather than properly backing theperformer. That was a sin Tonynever committed. He loved whathe did and he did it to perfection— including making otherssound better.Schaen FoxLawrenceville, NJfoxyuno@comcast.netJAZZ U IS A NEEDED ADDITIONto the pages of my favorite jazzjournal. Just two questions: Whatabout Seton Hall University? Inoticed their full-page concertannouncement in February. Doesthe university offer jazz courses?And second, are at least a fewcomplimentary copies of JerseyJazz displayed or handed out inclasses at all New Jersey schoolswhere there are such courses? Thiswould open a channel to futureperformers and fans and helpbuild circulation at the same time.Van BergenGreenwood, NJI HAVE BEEN IN CORRESPONDENCEWITH CYNTHIA SESSO(CTSIMAGES.COM photoarchivist) about the photograph ofBobby Hackett and Jack Teagardenthat appeared in (January) JerseyJazz as “1950” and “At A JumpRecords session.” Ms. Sesso hasnow discovered that the photographsession was actually onOctober 19, 1955. In the set ofphotographs from that date thereare a couple of pictures of a bandincluding Hackett and Teagardenon stage.From this the actual details can beestablished.On the revised date of October 19,1955 there was an overnightsession for Capitol Records atthe Capitol Studio in Los Angeles.It started on the evening of the18th and continued into the earlymorning of the 19th. The on-stagepictures in the set will have beenfrom the Dixieland Jubilee concerton the evening of October 15,1955. It was the success of thisgig and the rapport betweenHackett and Teagarden that ledto the Capitol session and a12-inch LP that was titledCoast Concert.George HulmeOld Basing,Hampshire, EnglandCONGRATULATIONS TO MIRAMANICKAM on her most beautifuland touching tribute to TonyDeNicola. Tony was a neighborof mine for more than 20 yearsand we remained friends for some15 more years after I had moved.If there was ever a marriage madein heaven it was a jazz buff likeme having a musical icon likeTony just over the back fence!I still recall so vividly one day,when WNEW and decent musicstill graced the New York airways,telling Tony that I had heard aterrific jazz pianist named DaveMcKenna on WNEW and asking ifTony had heard of him. “You’rekidding!” exclaimed Tony, flashingthat inimitable grin, “DaveMcKenna was just at my house theother day. If I knew how you likedhim I would have had you over.”Well, some years later I went withTony up to the Cornerstone whereDave McKenna would sometimesplay when in New Jersey. I stillmark that evening as one of thehighlights of my life to be able tosee one of my musical heroesperform while in the company ofTony DeNicola and a number ofother incredible musicians.All the superlatives on Tony’sability and accomplishmentsnotwithstanding, Mira capturedhis true essence so accurately andeloquently. He was simply oneof the kindest and most gracioushuman beings one could evermeet. It was indeed ironic thatin our final contact I would beperforming for him — I washonored and privileged to besinging in the choir that day atTony’s funeral Mass.Arthur MatteiLawrenceville, NJOur Mail Bag art comesfrom Don Johnson, anexpat New Yorker whoattended the Schoolof Visual Arts inManhattan. He is apainter in Copenhagen,where he works part-timefor Radio JAZZ.Comments?Jersey Jazz welcomes your comments on any article or editorial. Send e-mail to tmottola@aol.comor mail to The Editor (see page 6 for address). Include your name and geographical location.4 March 2007 JerseyJazz

New JerseyJazzSocietyThe Editor’s PickBy Tony Mottola Jersey Jazz EditorJazz’s Solid FoundationYoung jazz players can’t wait to get into a jam. They’ll scurry from club to club, carrying their axe,hoping to get a shot to sit in and show what they can do. But as life goes on we learn that getting intoa jam is not always a good thing. Medical crises and financial troubles can be devastating and, since 1989,the Jazz Foundation of America has been coming to the aid of jazz and blues musicians in crisis.Here’s a testimonial from Freddie Hubbard: “When I had congestive heart failure, and couldn’t work, they(the JFA) paid my mortgage for several months and saved my home! Thank God for those people.”And another from Cecil Payne: “I was going blind and couldn’t see to shop or cook, I was living on twocans of SlimFast a day for over a year and a half…The Jazz Foundation saved my life.”As for Hurricane Katrina, if FEMA and the rest of the powers that be had been as responsive toNew Orleans and environs as the JFA has been to the needs of the city’s musical community, thingswould be a lot easier in The Big Easy these days.When I was planning a musical tribute to my late father at Shanghai Jazz, owner David Niu suggestedwe make the event a benefit for the JFA and I’m proud to say we raised $1,600 for the organization’sMusician’s Fund at the January event. I’m sure my dad, a guy who went straight to his checkbookwhenever he heard one of his old pals was having problems, would approve.It’s no wonder the JFA was honored at the International Association of Jazz Educators (IAJE) Conferencethis January in New York City. The IAJE is another group that exists specifically to nurture musicians andmusic, past, present and future.This issue, we profile that conference and focus on just a sampling of its offshoots. We’re fortunate thattwo friends of jazz in New Jersey, Don Jay Smith and Bob Ackerman, took time to share with us their firsthandexperiences there. The story starts on page 1 and continues on 22 and 23.For more information about the Jazz Foundation of America, write toWendy Atlas Oxenhorn, c/o Jazz Foundation of America, 3rd Floor,322 West 48th Street, New York, NY 10036. You can also learn moreabout this great organization on the web at www.jazzfoundation.org.And to find more details about the history and work of the IAJE, to join theorganization, and to learn how you can get involved, visit www.iaje.org.CORRECTION: One More Time: In our correction last month of the spelling of Jake Hanna’sname we misidentified him as a bassist. He is, of course, a drummer and we herewith offer ared-faced apology.Advertising Rates Quarter page: $50; Half page $75; Full page $100. 10% discount on repeat ads.To place an ad, please send a check made payable to NJJSto Kate Casano, 274 Jackson Pines Rd, Jackson, NJ 08527; please indicate size and issue.Contact LLobdeLL@optonline.com or 201-306-2769 for technical information.Comments?NJJS Deadlines The deadline for submission of material for upcoming issues is as follows:April issue: February 26, 2007 • May issue: March 26, 2007NOTE: EARLY SUBMISSIONS ARE GREATLY APPRECIATED.Jersey Jazz welcomes your comments on any article or editorial.Send e-mail to tmottola@aol.com or mail to The Editor (see page 6 for address).Include your name and geographical location.JJJerseyJazz The Journalof the New Jersey Jazz SocietyVolume 35 • Issue 3Jersey Jazz (ISSN 000-004) is publishedeleven times per year for members ofThe New Jersey Jazz Society, PO Box 410,Brookside, NJ 07926. Membership fee is $35/year.Periodical postage paid at Morristown, NJ 07960.Postmaster: send address changes toPO Box 410, Brookside, NJ 07926-0410.All contents ©2007 New Jersey Jazz Society.Tony Mottola Editor27 Upper Mountain Ave.Montclair, NJ 07042973-509-9437E-mail: tmottola@aol.comLinda Lobdell Art Director/Associate Editor352 Highland Ave.Newark, NJ 07104201-306-2769E-mail: LLobdeLL@optonline.netFradley Garner International EditorE-mail: fradgar@get2net.dkJohn Maimone Entertainment Contributor908-753-6722E-mail: jjm426@att.netFred McIntosh Entertainment Contributor201-784-2182E-mail: derfie_07675@yahoo.comNEW JERSEY JAZZ SOCIETYOFFICERS 2007Andrea Tyson President110 Haywood Ave.Piscataway, NJ 08854732-356-3626Mike Katz Vice President973-701-0585Kate Casano Treasurer732-905-9063Caryl Anne McBride Membership Chairperson973-366-8818Al Parmet Recording Secretary908-522-1163Jack Stine President Emeritus908-658-3515Joe Lang Past President973-635-2761DIRECTORSLen Carlson, Carolyn Clemente, Joanne Day,Laura Hull, Mike Katz, Claudette Lanneaux,Sheilia Lenga, Bruce Lundvall, Vincent Mazzola,Fred McIntosh, Frank Mulvaney, Stan Myers,Frank Nissel, Jack Sinkway, Marcia Steinberg,Elliott Tyson, Jackie Wetcher, Paul White,Tony Mottola (Ex-officio)ADVISORSJeff Atterton, Amos Kaune, Bob PorterWebsite: www.njjs.orgE-mail: NewJerseyJazz@aol.comHotline: 1-800-303-NJJS • (1-800-303-6557)To join the NJJS, send a $35 check payable to “NJJS” to:NJJS Membership, PO Box 410, Brookside, NJ 07926-0410.6March 2007 JerseyJazz

New JerseyJazzSocietyNotes from the Music CommitteeBy Joe Lang NJJS Music Committee Chair■ When you receive this issue, the Pee WeeRussell Memorial Stomp will be close athand. The Stomp will be held on SundayMarch 4 at the Birchwood Manor inWhippany. This year’s Stomp will bededicated to the memories of two NJJSfavorites, and long-time colleagues, KennyDavern and Tony DeNicola. We miss them agreat deal, and have fond memories of theirparticipation at past Stomps, as well as otherNJJS events.The prices for advance sales are $25 for NJJSmembers and $30 for non-members. Ticketsat the door for everyone will be $35. Studenttickets priced at $10 will be available at thedoor with a current student ID. Tickets areavailable now — on-line at www.njjs.org,by mail from New Jersey Jazz Society,274 Jackson Pines Road, Jackson, NJ 08527,or by phone at 1-800-303-NJJS (303-6557).You can also fax your credit card order to1-215-483-7045. For all credit card orders,no matter how they are received, there willbe a $3 processing fee per order added tothe charge. If you order by mail, and send acheck as payment, there is no processing fee,as long as you include a self-addressedstamped envelope with your order. To mailtickets, we must receive your order byFebruary 23. Otherwise, your tickets will beheld at the door. Seating will be limited, soplease get your orders inearly to assure yourselvesof a seat for the festivities.8We have four wonderful bands for theStomp, with the schedule as follows:12:00 PM – 12:45 PMPresentation of Scholarships/Performance by Youth Band1:00 PM – 1:45 PMSmith Street Society Jazz Band2:00 PM – 2:45 PMDick Voigt’s Big Apple Jazz Band2:45 PM – 3:15 PMPresentation of Pee Wee Russell Awards3:15 PM – 4:00 PMKevin Dorn’s Traditional Jazz Collective4:15 PM – 5:00 PMVince Giordano’s NighthawksThis is a bounty of exciting players to keepyour toes tapping and your feet dancing.There’s a large dance floor in the room, sobring your friends who love to get out thereand swing.We will be giving out scholarships to fourdeserving students who are enrolled fulltimein jazz programs at universities in NewJersey. These honorees will form the core ofthe Youth Band that will get things off to aswinging start at Noon. The Pee Wee RussellAwards for this year will be going to VinceGiordano, jazz musician, historian andarchivist, and Amos Kaune, former owner ofGulliver’s, one of the legendary jazz clubs inNew Jersey. We are grateful to The PianoGallery of Morristown for supplying theYamaha baby grand piano for the Stomp.There will be food and beverages availablefor purchase in the outer hall. We requestthat attendees do not bring any refreshmentsnot purchased at the event to theStomp. You will be asked to remove anysuch items from the premises. We have anagreement with the Birchwood Manor tomonitor this possibility, so please cooperate.The usual assortment of great CDs will beavailable for purchase. We always have manytitles that are not likely to be found in mostretail outlets.■ As I mentioned last month, the dates ofour Monthly Member Meetings for 2007Vince Giordano and Amos Kaune (inset)will be honored on March 4.will be on the following Sundays: March 18,April 22, May 20, September 23, October 21and November 18 at Trumpets Jazz Club inMontclair. The programs run from 3:00–5:00 PM, with a social hour starting at2:00 PM. Food and beverages are availablefor purchase. Attendance is free to NJJSmembers, and a $10 charge will apply tonon-member guests. This fee will be appliedto our regular membership fee should theguest opt to join NJJS.The March 18 meeting will feature an afternoonwith Bob Porter in a program titled“Radio, Records, Jazz and Blues,” where hewill discuss his involvement in variousaspects of the jazz world, as a record andconcert producer, a writer on jazz, a radiopersonality, and a dealer in rare records. Bobhas served as an advisor to the NJJS formany years, and is an eloquent and committedjazz advocate. He’s sure to present aninteresting afternoon of anecdotes, and isprepared to respond to any questions thatyou might have for him. The program willgo in whatever directions your interests lead.With the broad range of experience that hebrings to the table, that opens up manypossible routes. Make sure to be there forwhat promises to be an interesting andinformative afternoon.■ Please plan on being at the CommunityTheatre in Morristown on Sunday April 15at 3:00 PM for the next NJJS-producedevent, a performance by the Warren VachéQuintet. Joining Warren for this two-hourconcert will be John Allred on trombone,Vinnie Corrao on guitar, Nicki Parrott onbass and Leroy Williams on drums. Thisis truly an all-star lineup that makes for anot to be missed event. Tickets are only$15 and are available from theCommunity Theatre. Call the box officeat 973-539-8008 or check their websiteat www.communitytheatrenj.org.■ We’ve finalized the lineup for sanofiaventisJazzfest 2007 to be held at DrewUniversity on June 9 and 10. On Saturday, wewill have the Winard Harper Sextet and theMidiri Brothers Band in the tent, the EarlMay Quintet and the Hendrik Muerkenscontinued on page 43March 2007 JerseyJazz

JerseyArticlesJazzClassic StineBy Jack StineNJJS President EmeritusAn Italian anthropologist named LuigiCapasso recently headed a team ofresearchers who succeeded in reconstructinga fingerprint of Leonardo da Vinci’s leftindex finger. While you’re letting this newssink in, let me add that the print has beenpreserved for several centuries within some52 papers known to have been handled bythe great Italian master. Where the discoverywill lead is kind of hard to say right now, butone thing has emerged as a certainty: had itnot been for the pioneering work of an earlyforensic scientist named Edmond Locard it’sprobable that no one would ever havethought of looking into Leonardo’s papersfor something like a fingerprint that couldhumanize the man whom many consider thegreatest genius of all time. It’s kind of nice toknow that, though none of us could paintthe Mona Lisa or design some futuristiccontraption or other, we could all leave afingerprint or two around if anyone cared tolook for it around, say, 2500.Locard summed up his most famouspostulate in something called the LocardExchange Principle. Simply put, it states thatevery contact leaves a trace of some kind.Well of course it does, but most traces arebound to be pretty fragile unless they’represerved in some durable medium, like asmudge of paint or a disfiguring scar. Youmay have heard of the dispute now going onin Costa Mesa, California over theauthenticity of a painting that may or maynot have been done by Jackson Pollock. It’sowned by Teri Horton, a retired truckdriver, who bought it in a thrift shop. To aninexperienced eye it certainly looks like oneof Pollock’s drip paintings, somethinganybody might feel he could create using ahalf dozen or so half empty cans of paintleft over in the garage. But wait. A fairly wellknown forensic art expert, Peter Paul Biro,has stated conclusively that a fingerprintfound on the back of the painting matchesprints left by Pollock in his East Hampton,Dactyloscopers, have you heard the latest?NY, studio. If the case can be made that thepainting is truly a Pollock, the value willeasily go from a couple of dollars to acouple of million. Watch this space. Kind ofmakes Locard’s Exchange Principle look likea pretty good investment, no?Locard’s Exchange Principle interests me.The idea that every contact leaves a trace insome way makes me think of the endlesspossibilities of discovery that occur in themillions of miles of grooves still lyingaround on old 78 rpm records. Don’t laugh.We all know that companies in the earlydays of recording kept pretty scant dataregarding personnel and dates of recording.It’s the kind of thing that makes true jazznuts listen over and over to some old disc,wondering if the horn is Bix or Secrest orGold or some unknown player whose namenobody can remember but who on one dayblew a hell of a good solo out in a studio inRichmond, Indiana.One of the first recordings I ever listened tovery carefully was by Hal Kemp’s Orchestraplaying an easily forgettable song called“Washin’ the Blues from my Soul.”Forgettable as a whole, yes, but not thetrumpet solo in the first chorus. I simplycould not get over the way it overshadowedthe rest of the recording and I played it overand over and over. As a 10 or 11-year-oldkid, I was hardly the savvy listener I becameonce the early teens years were over. I forgotthe Kemp record, but that remarkabletrumpet sound stuck in my memory. Then,around the end of 1936, after five years orso, I heard that trumpet again in BennyGoodman’s “King Porter Stomp.” Sureenough, it was Bunny Berigan, now sittingin a brass section worthy of his talent, andfrom that point it was easy to confirm thatthe unmistakable Berigan had indeed comeup in 1930 with the Hal Kemp Orchestra.There are other examples of contacts leavingtraces and I’m sure our readers all have theirown to talk about. All of us know of thetremendous splash the Count Basie Bandmade when it came east from Kansas City.One great Decca recording after anotherappeared from the band that had equalbalance between the rhythm, brass, and reedsections. On tenor sax, Basie had two giantsin Herschel Evans and Lester Young. InFebruary of 1939 I was in a record storelistening to some new releases and the ownerput on a new record by Basie of “Lady BeGood.” It was good but different somehow,and when the tenor solo started you couldsee the reason. My ear told me it was ChuBerry sitting in for the one recording session,but this was incomprehensible in view ofwhat Herschel Evans meant to the Basiesection. I could convince nobody in the storethat it was really Berry taking the solo but afew days later word sped through the jazzworld that Herschel Evans had died a weekor two before of a cardiac condition andBasie, with a recording contract to fill,contacted Berry to sit in.In 1930, a country yodeler named JimmieRodgers made a single side for Victor of anoxious number called “Blue Yodel No 9.”Even if you dig yodeling you could giveRodgers no more than a three for this dog,yet it happens to be a great jazz record forthe simple reason that Louis Armstrong ison hand to play a very hot chorus. I’ve neverheard it explained what Pops was doing inthe studio that day or why he ever agreed tosit in with the hillbilly Rodgers, but there itis. It’s one of the great fingerprints in jazz.One of the many great fingerprints in jazz,I might add.Last month I made a passing reference tothe Time-Life series of great jazz, and inparticular the altogether remarkablecollection of the few recordings the greatclarinetist Frank Teschemacher made duringhis all too brief career. He made only 34continued on page 42March 2007 JerseyJazz 9

JerseyArticlesJazzAcrew of prodigiously talentedmusicians took the stage atShanghai Jazz on Sunday,January 21 to pay tribute to lateguitarist and composer-arrangerTony Mottola.Guitarists Bucky Pizzarelli, GeneBertoncini, Howard Alden andEd Laub joined pianists DerekSmith, and Rio Clemente, andbassists Jerry Bruno and SteveFreeman for a memorableevening of music and reminiscence.The evening’s offeringsranged from solos to duets totrios and quartets, with as manyas three guitars at once —digging into a rich array ofgorgeous numbers from the standardsrepertoire. A generous helping of fieryjazz was thrown in for good measure,adding new flavors to the musical feast.There were poignant moments, lots oflaughs, and many reasons to smile. Andon top of all that, $1,600 was raised tobenefit The Jazz Foundation ofAmerica’s Musician’s Fund.Shortly after opening the evening witha swinging duet on “It Could Happento You” with Howard Alden, GeneBertoncini brought tears to more than afew eyes with his rendition of “Mitzi,” abeautiful ballad Mottola wrote andrecorded for his wife of over sixty years.But Bertoncini also warmed the heartsof listeners by sharing his affectionaterecollections of Mottola, as a man whowas both a talented musician and agood friend and mentor to so manyyounger musicians. As he reflected on“Mitzi’s” essential Tony Mottola elements— so influential to the guitaristswho knew and admired him — thetune’s “beautiful voicings and beautifulsense of melody,” Bertoncini recalled italso “brought back so many memoriesof when I was young and in thestudios…I remember whenever hewalked into the studio, we always feltlike things were gonna be OK, becauseTony was there and he was definitelygonna make things work.”Bertoncini’s opening set with HowardAlden, Bucky Pizzarelli, and pianist DerekSmiling Guitars: Gene Bertoncini, Howard Alden and Bucky Pizzarelli.Remembering TonySmiles, Stories and Musicat Shanghai Jazz“Tony Mottola Tribute”By Maria Capello Special to Jersey JazzPhotographs by Stephen Clark“…when I was youngand in the studios…I remember wheneverhe walked into the studio,we always felt like thingswere gonna be OK,because Tony was thereand he was definitelygonna make things work.”— Gene BertonciniSmith included tunes Mottola loved to playand hear, including “Cute,” and “Body andSoul” — the latter a tune Mottola collectedmany renditions of in his later years,bugging dozens of guitar player pals aroundthe country; “Don’t forget to send me a tapeof your ‘Body and Soul,’” he’dend his many calls. After muchsuch harassment his friend GeneBertoncini went him one betterand recorded a beautiful soloalbum with the song as thetitle track.No doubt Mottola wouldhave heartily endorsedBertoncini’s observation, afterextending a greeting to thefamily members of the lateDon Arnone, also a belovedstudio musician, and dear friendof Mottola’s: “What a privilegeto come through this musicbusiness, to know Tony Mottolaand Don Arnone. I think we’re solucky to play the guitar!”Musicians who truly enjoy what they doand enjoy playing with each other makeany performance more than the sum ofits parts. As the evening continued andthe audience enjoyed the warm, convivialatmosphere and excellent Mandarinfood at Shanghai Jazz (as Tony Mottola,Jr. observed, “this was my father’sfavorite place to come and hear music,and you can see why”) Derek Smith,who played on The Tonight Show withMottola for many years, offered anothervery evocative recollection: “It wasalways nice to sit beside him at TheTonight Show two or three times a week.Late in the show he would always besalivating about what Mitzi was goingto make him for dinner that night!”Mottola knew how to embrace joy inall its forms — through music, throughlaughs with family and friends — andthrough food!After a break came the spectacular duetof Howard Alden and Jerry Bruno,including “I’m Old Fashioned,” and anAlden signature number (as performedin the Woody Allen film Sweet andLowdown), “I’m Forever BlowingBubbles.”Another memorable moment followed, withBucky Pizzarelli picking up Tony Mottola’s1936 vintage Gibson L5 (brought to theevent by its owner, Alan Haddad of NewYork City) and playing a medley of thecontinued on page 1210 March 2007 JerseyJazz

THE MUSIC IS ALWAYS HOT IN RAHWAYVisit our website to see who’son the calendar this week.www.88bistrojazz.comMarch 2007 JerseyJazz 11

JerseyArticlesJazzTONY MOTTOLA TRIBUTEcontinued from page 10Jerome Kern standard “Yesterdays” andPaul McCartney’s classic “Yesterday” intribute to Mottola’s masterful arrangementof the two famous melodies. The guitaristloved to arrange medleys of two or moretunes, often in clever juxtapositions, and“Yesterdays/Yesterday” was a signature piecethat he recorded for Command Recordsand performed on The Tonight Show.“Man, that’s some box,” Pizzarelli said ofthe guitar when he finished the number.Rio Clemente and Steve Freeman lit thingson fire with some high-energy jazz, and justwhen you might think the evening wouldslow down, Pizzarelli and Alden torethrough “Three Little Words,” complete withthose trademark Pizzarelli crescendos thatwow listeners…but leave them just a littlebit worried that someday his guitar maysuddenly burst into flames. And as dessert,we were treated to Derek Smith’s wonderfulEllington medley that included memorabletakes on “Mood Indigo,” and “LotusBlossom.”Guitarist Ed Laub, Howard Alden, andbassist Steve Freeman finished off theevening with guitar, bass, and vocals.Mottola’s wife Mitzi and Bucky’s wife Ruth,both fine singers who’ve been known toperform duets, were urged to come to thestage for a number. With her characteristicwit and spunk, Mitzi shot back: “We’re alittle professional for this group!” We allsettled in then to enjoy “The More ISee You” and “I Thought about You” asEd Laub brought the evening’s music toan elegant close.All the while there were smiles all around,a fitting tribute to a man who made us alllaugh and smile so many times — a manwho was talented, generous, and a masterat making the most of the moment. TonyMottola could command the stage for a soloat Carnegie Hall and then turn around tomake hilarious, spontaneous theater fromwhatever was at hand; even something asmundane and silly as feeding a plate ofleftover spaghetti to his grandkids’ dog(in character as “Maître d’” of course).top: Bucky playingTony’s vintage1936 Gibsonguitar.right: The greatJerry Bruno.right:Steve Freeman onthe bass.below: Derek Smithrecalled workingwith Tony on theTonight Show.Ed Laub closed thetribute with guitarand vocals. He saidTony Mottola wasthe reason hebecame a guitarist.Rio Clementeat the keys.You may have guessed by now, and will seein the editor’s note below, that Tony Mottolawas not only a musician and man that I verymuch admired, but also a much-belovedgrandfather. For all the family membersassembled, this tribute at the Shanghai wasan evening tinged with sadness — and yetwe laughed, and ate, and were so glad to betogether around a table, which withoutargument constituted Tony Mottola’sfavorite place to be when he didn’t have aguitar in his hands. Not just for the food —but the jokes, and the stories, and the smilesthat were shared.Very early in our courtship, my husbandlooked at a wall I had meticulously plasteredwith family photos (we were midwaythrough college, and young enough thattaping snapshots to the wall still passed forlegitimate interior decorating). He looked atthe family faces grinning obligingly into thecamera and made a few admiring commentsabout the wide, crack-your-face-open smilewe all summon instinctively whenever acamera swings our way. “It’s the Mottolasmile,” I said, not giving it much thought.“It’s a camera-happy family — we’ve allbeen trained since birth.”Like many of the casual observations wemake about our families, I have come to seethe deeper meaning in this as I’ve gottenolder. It is not just that we have the Mottolasmile — a family resemblance in the jawline that means many of us do in fact have asimilar-looking grin. It’s a Tony Mottolasmile — the smile you have when you arenot only blessed and happy in the moment,but you are having fun. All those elementswere present at Shanghai Jazz on Sundaynight. We may not all play the guitar,but at least on that particular night, wewere all very lucky to be in that room, andlucky to have known — and learned somuch from — such a very special man. JJEditor’s Note: Maria Capello andStephen Clark are two of Tony Mottola’sseven grandchildren.WHEN YOU’RESMILIN’: Tony,giving the grin, athis 70th birthdayparty at Patsy’sRestaurant in NYC(posing withPatsy’s mandolin).Photo by Tony Mottola, Jr.12March 2007 JerseyJazz

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JerseyArticlesJazzEVERY MONTH I HOPE FEWERjazzfolk will head for the heavens,and most months there seem to bemore. (Right, old scouts Jerry andJoe?) Sure, I know the bandleadersand sidemen are getting on. We’reall getting on. Last month in thisspace you saw that Jay McShann,the Kansas City master pianist andbandleader, had checked out,probably at 90 — Hootie’s birth datewas debatable. Also, that DonButterfield, the Clifton, NJ tubavirtuoso, took off at 83. (The Timescalled him a tubist; The Star-Ledgerheadlined a “premiere tubaist.”)Drummer Tony DeNicola’s caringheart stopped at 79. Like the 35-year-old Mozart, some jazzmegastars leave far too young: BixBeiderbecke at 28; Clifford Brown,25; Lee Morgan, 33; Charlie Parker,34. Then there are those — one jazzwriter names Billie Holiday, ChetBaker, Bill Evans — who “lead livesthat are like slow-motion deaths,lives that give their music a sweet,decadent perfume and make theflaws in their art seem like…scattered traces of disintegration.”A couple of years ago my son,Nicholas, said his then 12-year-olddaughter, Amanda, might live to be120. Wishful thinking? Watchscience, dear reader. In the post-Amanda generations, death will beever more rare among those whocan afford to live until humansmorph with our computers, theninto more durable non-organicforms. (Eventually into energyfields.) Old obituarians like me willbe long gone. Thirty years from nowyou can tell them I was skør —Danish for crazy. Meanwhile, putanother CD in the slot. “You playedit for her, now play it for me.”Big Band in the Sky■ Michael Brecker, 57, tenorand soprano saxophonist,Philadelphia, PA, Mar. 29,1949 – New York, NY, Jan. 13,2007. Michael Leonard Brecker,a major force on the modernjazz and crossover music scene,who won 11 Grammy Awardsand whose voice on tenorsaxophone was emulated byyounger players across theworld, died of leukemiastemming from MDS bonecancer. He was 57 and lived inHastings-on-Hudson, north of New York City.Over the last year doctors had searched in vainfor a suitable bone marrow match, according toBrecker’s website michaelbrecker.com. Brecker’splaying was said to adapt that of his idol, JohnColtrane, into a broader popular style that set astandard for the modern jazz tenor from the1980s into the present century. “He was a fineplayer who, like many of his generation, wasinfluenced by Coltrane but Michael madesomething personal of it,” Ira Gitler, aprominent jazz historian, told Jersey Jazz.“Healso blended in some of the flavor of thecontemporary r&b tenor players. I particularlyenjoyed his work with the [saxophone] trio ofhimself, Joe Lovano and Dave Liebman. Theyall brought something to the table, inspiringone another, but I felt that he was the truestandout.” Recently, Jazziz magazine reportedlyreferred to Brecker as “the most influentialtenor stylist of the last 25 years.” Though in thefinal stages of his illness, Brecker recorded hislast session two weeks before his death andexpressed his pleasure with the untitled album.The Michael Brecker Quindectet’s Wide Angles(Verve), his last release, hit many top jazz listsand garnered two Grammys in 2004. Duringhis three-decade career, “the tenor titan,” assome called him, also worked with JamesTaylor, John Lennon, Yoko Ono, Joni Mitchell,Paul Simon and other non-jazz figures. Hemoved to New York in 1969 and formed theBy Fradley Garner Jersey Jazz International EditorMichael Brecker.jazz-rock band, Dreams, thenjoined his brother Randy forjazz “basic training” in theHorace Silver Quartet in 1973.The Brecker Brothers was asuccessful jazz-rock fusiongroup in 1975–1981, when thetwo opened and managed thenow defunct club, SeventhAvenue South, in Manhattan.The tenorist’s own career waskick-started in 1987 when hisdebut release was voted “JazzAlbum of the Year” in bothDown Beat and Jazziz.■ Alice Coltrane, 69, pianist, harpist,bandleader, Detroit, MI, Aug. 27, 1937 –West Hills, CA, Jan. 12, 2007. “You wouldn’texpect a jazz musician who had albums underher name with titles like Reflections on Creationand Space (A Five Year View) (1973), AstralMeditations (1999), Ptah the El Daoud (1970)or the upcoming Sacred Language of Ascensionto be a bundle of laughs, and you would beright not to.” The British jazz writer Steve Voceclarified in an obituary for The Independent:“Humour was an element notably absent fromthe music of the jazz pianist Alice Coltrane andher husband, the tenor saxophone giant JohnColtrane.” In frail condition, Coltrane died at69 in hospital of respiratory failure. AliceMcLeod Coltrane came from a musical familyin Detroit, where she studied classical musicfrom age seven. She was exposed to jazz by herbass-playing brother, Ernie Farrow, who wenton to work with Stan Getz and others. InDetroit, McLeod played with local names suchas Kenny Burrell and Lucky Thompson. Shetraveled to Paris in 1959 to study with thebebop figurehead, Bud Powell. A recognizedprofessional by the early 1960s, she met JohnColtrane in 1965. He replaced the pianistMcCoy Tyner with McLeod in his classicquartet. “John not only taught me to explore,but to play thoroughly and completely,” Voce14March 2007 JerseyJazz

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JerseyArticlesJazzKenny Davern,Man and MusicianBy Edward N. MeyerAmagnificent musical voice was stilledwhen Kenny Davern died on December12, 2006. He once told me that he tried toachieve a tone so distinctive that everyonewould recognize it in just four bars. In thathe succeeded. For, whether he was soaringin the upper range of the clarinet, orpurring in its lower registers, the sound ofKenny Davern was unmistakable.He was a complex man. In public, he couldbe charming, witty, acerbic and irascible —often at the same time. Sinclair Traill oncesaid that Kenny had “the sardonic mien of ahigh ranking Tsarist officer.” As a storyteller,Davern was without equal. He was all ofthose things in private. But he was also kind,generous, and caring. If Kenny Davern wasyour friend, you needed no others.Kenny read voraciously: his list of authorsranged from historian William L. Shirer tofiction-writer Carl Hiaasen. In the field ofmusic he listened to, and could discuss,authoritatively the life and works ofWilhelm Feuchtwangler, conductor of theBerlin Philharmonic, or, if this was not yourfield of interest, the recordings of pianistJoseph Lehvinne or those of Fanny Brice.I first met Kenny in the summer of 1990when I began to hang out at the Cornerstone.I had heard him and liked him and made aspecial effort to see him whenever I could. Iknew nothing of audience etiquette, and sowas unaware of the magnitude of the sin thatI was committing when, without askinganyone, I placed my little tape recorder onthe stage before the first set, turned it on, andreturned to my table. Kenny did not see methen. But, he did when the set was over and Iwent up to change tapes.My first inkling that there was a problemcame when a stentorian voice called out:“Hey.” I turned around and there was Kennywith his moustache bristling and, it seemedto me, sparks shooting out of his eyes.Worse, he was about to say something and,even worse, he had a live microphone in hishand!!! I immediately knew what I had done.“Wait,” I said as I scrambled back towardhim with my hand extended, “You can havethe tape.” I didn’t think that he heard mebecause the flames didn’t seem to besubsiding. So, I said it again. “Kenny, youcan have the tape.” A lifetime passed beforehe put the mike down and growled, “Youshould have asked.” I apologized and, afterexplaining in painstaking detail the gravityof my misdeed, and extracting my promisenever to duplicate the tape or let anyonehave it, he let me continue taping him.It wasn’t that he wanted to force people tobuy his LPs and CDs. It was that he didn’twant anyone to preserve a performance thatmight not have been as good as he wouldhave liked. It was a needless worry. I heardKenny perform hundreds of times over theyears, sometimes to apathetic audiences orwith less than excellent musicians, and, asJohn Bunch once said to me, “I never heardKenny give less than his very best.”We didn’t really become friends until Istarted working on the biography of DickWellstood and asked Kenny to sit down foran interview. At first, he refused, concernedabout the stranger who wanted to ask himpersonal questions about his best friend.But, once he became convinced that I reallywould write the book, he became thechampion of the project. He would findpeople that he thought I should interview,convince them that they should be interviewed(even if they didn’t want to be), andthen call me. The calls went something likethis: “Herman Braun runs the Neue Café inVienna. He loved Wellstood and you shouldtalk to him. It’s midnight there, but he’llwait for your call. Call him NOW! Thenumber is…” There were several of thesecalls, only the names differed. And, moreoften than not, I dropped what I was doingand made the call.For several years I had been looking for alady who had been involved with Wellstood.I knew that she lived on the Jersey Shore.But she seemed to have disappeared. I hadenlisted Davern’s aid, but he didn’t havemuch luck either. Then, one evening thetelephone rang. “I got her,” he exulted. “Itwas the Dentist!!!” (Actually, there weresome descriptive words before Dentist thatI’ll leave out: you know what they were.) ItKenny Davern, North Sea Jazz Festival, 1989.© Ray Avery, CTSIMAGESturned out that Kenny remembered that thelady had once used his dentist. I knew thatKenny had numerous tools of persuasion athis command. How he got the man to revealwhat might be considered confidentialinformation was something I preferred notto dwell on.By the time that I crossed paths with Kennyhe had been a professional musician foralmost forty years. He was born inHuntington, New York, on January 7, 1935.He spent his early years in a series of fosterhomes until, at about age six, he went to livewith his maternal grandmother inWoodhaven, Queens. He learned to playclarinet on an old C Albert systeminstrument but eventually switched to theBoehm system.As is now well known, it was Artie Shaw’sConcerto for Clarinet that first interestedKenny in the instrument. But, it was uponhearing Pee Wee Russell’s solo on the MuggySpanier recording of “Memphis Blues” thatDavern realized that he too could find hisown personal means of expression on theclarinet.He began to hang out with a group ofyoungsters and to listen to the music of BixBeiderbecke and Frank Teschemacher. Oneof his friends was Bobby Grauso, son ofdrummer Joe Grauso, who was themplaying at Lou Terazzi’s Hickory Log inManhattan. The two of them used to hangout there and, occasionally, Kenny would beallowed to sit in with musicians such as18 March 2007 JerseyJazz

Affordable prices in a casually elegant atmosphere!The Warren Vaché Triois here every Thursdayfrom 7 – 11 PM.Live jazz on Fridays,too, 7 – 11 PM.Lana’s Lounge has the besthappy hour in Union County!Tuesdays through Fridays4:30 – 6:30 pm.■ Extra large peel your own shrimp■ Buffalo wings or buffalo shrimp curlswith bleu cheese dipping sauce■ Little neck clams steamedin white wine— all just $6.50 for 12!■ Imported bottled beer■ Our newest draft beer selectionis Blue Moon Belgium White Ale■ Specialty martinis and moreEnjoy Lana’s Winter menu:■ 14 dinner menu items $25 and underOpen to serve you:Lunch served Tuesdaythrough Friday 11 AM – 2 PMDinner served Tuesdaythrough Thursday 5 PM – 10 PMFriday & Saturday 5 PM – 11 PMPrivate Parties Availablefor up to 100 people.Lana’sFine Diningat the Hyatt Hills1300 Raritan RoadClark, New Jersey 07066www.lanasfinedining.com732.669.9024March 2007 JerseyJazz 21

JerseyArticlesJazzIAJE continued from page 1QUARTETTE DU HOT CLUB DE MONTCLAIRFrench vocalist Anne Ducros held forth at Trumpets JazzClub in Montclair in between performances at the IAJEand Greenwich Village’s Blue Note. Ducros sang andscatted her way through the standards book, including asensuous “Come Rain or Come Shine” and a rollicking“On A Clear Day You Can See Forever” that closed the setto loud and long applause. The material may be standardbut the chanteuse’s delivery is anything but, as Ducrosvocalizes to the edge of the envelope, at times “playing”her voice like a tenor sax. At Trumpets she wasaccompanied by a swinging trio with Olivier Hutman onpiano, Essiett Okon Essiett on bass, and Bruce Cox ondrums. — TMPhoto by Cheri Rogowsky.Legrand also performed on Saturday evening,accompanying the Orchestra of the NationalSuperior Conservatory of Music and Dance in aprogram of his award-winning original music.The French flair of the conference spilled over toNew Jersey, where Pas-de-Calais native and jazzdiva Anne Ducros turned in a sizzling Saturdaynight performance at Trumpets Jazz Club inMontclair.The conference was also highlighted bythe presentation of a number of jazz awardsincluding the seven 2007 NEA Jazz Mastersand the Milton Hinton Award for Excellencein Jazz Photography as previously reported inJersey Jazz.The Jazz Foundation of America (JFA) washonored for its response to Hurricane Katrina,including relief and housing to hundreds ofdisplaced musicians and their families. JFA wasthe first organization to focus on putting peopleback to work, employing hundreds of displacedmusicians in eight states through their Jazz inthe Schools program and distributed over$250,000 in new instruments to the musiciancommunity. IAJE estimates that its memberscollectively provided over $10 million dollars insupport to victims of Katrina throughout theGulf Region.The IAJE annual conference will be heldin Toronto next year and will return toNew Orleans in January 2011.JJDon Jay Smith,Winard Harper andDr. Billy Taylor enjoy ajoke during the IAJEconference. More than7,000 attendees from35 countries participatedin the four-dayconference.Conference photos byGreg Hampton.The Dizzy Gillespie All-Star Big Band provided some great music at theNEA Jazz Masters Awards Concert on Friday night in the Hilton Grand Ballroom.22March 2007 JerseyJazz

JerseyArticlesJazzDiary of a Jazz ConferenceMany thanks to Don Jay Smith and Bob Ackerman for providing their first-hand insights on the doings at the IAJE. They are excerpted here.Don Jay SmithBob AckermanThursday, January 11Thursday, January 11I picked up drummer Winard Harper at his home in Jersey City on The Convention site is bristling with activity at 9:30 AM.My wife Pamour way to the 34th annual IAJE. We were to be part of the Billy and I make last-minute calls to coordinate five others involved with myTaylor Productions exhibit at what is the largest jazz hang in North Panel Discussion on Saxophone Mouthpiece Technology. This is theAmerica. My car was packed with exhibit materials, drums and second year I’ve had a panel like this. I’ve arranged for guitarist Jeffmiscellaneous stuff.Mironov to accompany us when we demonstrate what differentmouthpiece models do. (Jeff was a student of mine in the ’60s when IIt was almost noon when we pulled up to the Hilton and unloaded taught in Highland Park. I also had a quartet with Harry Leahey onour gear. I was anxious to get going because there was so much to do guitar at that time. As Harry got busier with gigs I started slipping thenand so much music to hear. Unfortunately, I couldn’t stay late on 15-year-old Jeff into the guitar chair. After all, this was a concert groupThursday, and we took forever to get from the lobby to the exhibit and there was plenty of NJ State Council of the Arts funding then. Ourarea. There were so many people to say hello to — James Moody, drummer was Terry Silverlight, only 13! By the end of the ’60s I leftBilly Hart, Ed Thigpen, Thurston Briscoe, Don Braden, Antonio teaching for full-time playing and Jeff went to college. Since then, I’dHart — between the two of us there must have been 30 stops. Afterheard many recordings of Jeff’s; he’s become a top studio guitaristsetting up our exhibit, Winard went to rehearsal and I hit one of thefreelancing for 30+ years. He’s on things like the Brecker Brothersamong others. He emailed me this fall and I cooked up this reunion forhotel lounges where I joined pianist Peggy Stern and Jazz After Hoursthe convention. He still looks like he did in 1963!)host Jim Wilkie to talk about the challenges of jazz presenting.My panel is well-attended. Like last year, at least 300 people are lookingfor help and information on this subject.Friday, January 12Saxophone playing is work-intensive — something the computer age isI didn’t have to get to the exhibit until 2:00 PM, which gave me somediscouraging. Teachers say it’s hard to get students to spend the three totime to hear the Temple Jazz Orchestra with Bill Watrous in the five hours a day it takes to master a discipline like playing music.ballroom. They had a rapt audience. Man, can these kids blow!Teachers ask why it is that they can seem to have everything in place —Then it was off to the exhibit area where my main objective was to the right gear, good information on how to use it — and still get noget work for the Winard Harper Sextet. Having our booth right next result or a bad result. We have only one major manufacturer on ourto Dr. Taylor’s meant a steady stream of jazz greats stopping by. panel, Van Doren (the others said it would open a can of worms toWycliffe Gordon, Slide Hampton, Nancy Wilson, Joe Lovano, John discuss these things and they’re right). I give my perspective on theLee, Horacee Arnold, David Dempsey…it was a distraction, but a issue: much of the current gear available is seriously flawed. Last year Ilot of fun. Brenda Bradley, a very talented agent from Northordered over 100 new rubber tenor sax mouthpieces from a particularmanufacturer. I asked for specific sizes and was going to do additionalCarolina, and Brian Terry, a very knowledgeable jazzman from thecustom finishing to them. I’ve done this for years to raise the level ofWest Coast, shared the booth responsibilities with me.playing for students. In this order, over 30% of the mouthpieces wereAround four, I took a break and ran over to say hello to the WBGO not what they were marked. Several had to be scrapped — too poorlycontingent, who were broadcasting from the convention. Michael manufactured to waste more money on (and the distributor wasn’tBourne was on the air and I got to say hello to Roberta Gambarini interested in taking them back). Teachers who can measure their piecesas she went on for her interview. Roberta, as Jazzfest attendees (I teach people to do this) back me up. We are busy right to the end,remember, wowed us all last June in Madison, and has a growingand finish with a 15-minute performance of our products on “BagsGroove” and “Autumn Leaves.” There are still many more questions; I’dreputation as a wonderful singer.like to see at least 90 minutes allowed for a subject as broad as this one.Around six, WBGO personality Monifa Brown and I walked over Exhibits open at 6 PM. This first night is a good chance to see manyto catch the workshop on On-line Community Building, led by friends like Jacques Selmer from the Selmer Company in Paris. He asksMichael Ricci. We learned a lot about the power of MySpace and why I don’t play the Selmer any more. I assure him it isn’t his company’sMOG for jazz musicians.quality but the fact that I don’t want to sound like everyone else. Heagrees that since the outsourcing of the American saxophone industry inThere are so many workshops, clinics and performances going on atthe ’50s and ’60s there has been only one saxophone that the rest of theall times of the day and night that it is impossible to see everything.world (Japan, Taiwan, China) has copied: the Selmer. I further explainI’ve already missed programs on Jazz Radio in Crisis, Jazz Festivals,that after the early ’80s when Pam and I played in Europe more than wePodcasts, and Internet Resources. I have also missed performances did here, I returned to the NY area and ran into Kenny Davern byby Dave Samuels, Marcus Strickland, Randy Brecker, Dave Liebman chance at The Cornerstone. Kenny loved the American products of theand many college groups. If you want technical help, there seem to ’20s – ’60s. He often played a Conn 16, Pan American or Director resinbe clinics on every facet of jazz playing.or rubber clarinet, as well as wooden ones. He also used a MartinSmith continued on page 26 Ackerman continued on page 26March 2007 JerseyJazz 23

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in our first Sunday jazz eventfrom 6:00 PM to 9:00 PM ~March 2007 JerseyJazz 25

JerseyArticlesJazzIAJE SMITH continued from page 23 IAJE ACKERMAN continued from page 23Following dinner withMonifa, Jaleel Shaw who isRoy Haynes’s trumpet player,and Winard, I walk back tothe Hilton where the NEAJazz Master Awards Concertwas being held. The greatsbeing honored includeToshiko Akiyoshi, CurtisFuller, Ramsey Lewis, DanMorgenstern, Jimmy Scott,Frank Wess and Phil Woods.The Dizzy Gillespie All-StarBig Band, which playedJazzfest a few years ago,played a rousing set that hadthe audience on their feet.Saturday, January 13The exhibit area opens at 10, so I’m back in early to get ready forthe crowds. Of course, this is a jazz convention, so the only peoplein the exhibit area at 10 in the morning are the exhibitors. In fact it’snoon before people start wandering in, giving me a chance to checkout the scope of the exhibits: three huge floors and music everywhere.The exhibits range from record companies to individualartists and instrument manufacturers — it’s like a Toys “R” Us forthe jazz community.Back at the exhibit, I’m visited by Glenn Sabin, JazzTimes publisher,who is delighted that his magazine will again be a major Jazzfestsponsor. Robin Bell-Stevens, JazzMobile’s Executive Director hearsour conversation and starts asking me about Jazzfest. She becomesso enthusiastic that she asks if JazzMobile can be one of oursponsors and help to underwrite our free concert. Is there any otheranswer besides yes? JazzMobile and the New Jersey Jazz Society…perfect together!The day flies by and before I know it, Brian and I are sayinggoodbye to Dr. Taylor and breaking down the exhibit.Unfortunately, I have to head back to New Jersey which means Imust miss the closing events. Next year IAJE will be up in Torontoand I don’t know if I will get to attend. But the 34th IAJE in NYCwas for me a most memorable event.JJNJJS member Don Jay Smith is a Marketing/PR Consultant.James Moody andAntonio Hart werejust two of the longlist of greatmusiciansattending andplaying at IAJE.As always, the great Nancy Wilson had thehuge crowd of students, jazz educators andmusicians enthralled with her stylings.In the audience were many great vocalistspaying homage to Ms. Wilson.Curved Soprano Sax and a Conn Tenor and Baritone. Kenny was sellingall the gear he had except for the sopranos and clarinets. He was now aspecialist in clarinet and he emphasized the Conns (saxes and clarinets)so much that I went and got some to play. I played them for 10 years andgravitated to the Martins (the one horn no one in jazz had used). FinallyI had what I felt was a unique place to come from. After all, the physicalinstrument is your medium and governs everything you do. JacquesSelmer acknowledges that many sax players today do sound similar.Between the ’20s and the ’50s we had many good, varied Americansaxophones to choose from: Buescher, Conn, King and Martin. They allmelted away. Thanks to Kenny Davern, I still convert people to mostlyMartins and Conns.Friday, January 12Things start at 10 and will go until 5 without a break at the exhibits.This schedule is a real stretch for me (I recently had heart surgery) butam managing. Selmer sends over a guy named Daniel to interview meon John Coltrane (who played Selmer). I was around him a lot in the’50s and early ’60s. He often came with Eric Dolphy to his lessons,which were right after mine with Joe Allard, one of the most famousteachers of jazz saxophonists. Stan Getz, Lee Konitz, Warne Marsh,John Purcell, Eddie Daniels, to name a few, studied with Joe. Ironically,Joe played bass clarinet in the NBC Symphony under Toscanini andreally didn’t play jazz but he could teach the Yoga part of playing areed instrument like no one else. I got to see rehearsals with Toscaninimany times. My music degree is in classical flute and piano and I’ma composer of classical style music. I explained to Daniel that I wroteout many of Coltrane’s solos (also Miles Davis’s and CannonballAdderley’s). This was an ear training exercise for me. I was interested inwhat the music looked like on paper notationally, but I never practicedthe transcriptions as I thought they would influence me when I went toimprovise. I’ve always been concerned to not be overly influenced byothers and so I cross-train my skills with classical music and saveimprovising for the moment. One of my major classical works is a19-minute piece entitled “Interplay,” a piece for 16 players where Iuse the influence of the Coltrane notation.Suddenly sax players from my workshop start showing up and thingsreally get busy. I convert a young college student needing a good hornto one of my Martin Handcraft altos. She’d heard me play at theworkshop and liked the sound. Mouthpieces are selling and I’mhaving a ball exchanging ideas with many people.Saturday, January 13Things get even busier. This is the last convention in the NY area forthree years and many area people are coming in. It should be noted thata new magazine, Jazz Improv, will fill in the gap by holding a conventionnext October 25–27. The editor, Eric Nemeyer, wants to do an interviewwith me. This is the way we musicians get our word out there. Anotherchance meeting produces something good for me.There is so much to see and do at IAJE that no one can cover it. I stayedin my little world by the exhibits. Things came my way and I didn’tdiffuse myself. Not everyone was a student, teacher or pro. I spent a lotof time with a couple of sax-playing doctors and they were a ball. JJBob Ackerman is a vintage instrument expert, master jazz musician andChase Music and Cadence recording artist. He is a featured columnist inthe Saxophone Journal. He and his vocalist/pianist wife, Pam Purvis, bothNJJS members, perform regularly in New Jersey and beyond.26 March 2007 JerseyJazz

,StudenNewJerseyJazzSocietyPRESENTSTHE 38TH ANNUALPeeWeeRussellMemorialSTOMPSUNDAY, MARCH 4, 2007From noon to 5 PM at THE BIRCHWOOD MANOR111 North Jefferson Road, Whippany, NJ 07981 (Off Route 10)973-887-1414 info@birchwoodmanor.comKEVIN DORN’S TRADITIONAL JAZZ COLLECTIVETHE SMITH STREET SOCIETY JAZZ BA NDVINCE GIORDANO’S NIGHTHAWKSDICK VOIGT’S BIG APPLE JAZZ BANDCDs will be for sale.A cash bar and food buffet will be set up next to the ballroom.Bring your dancing shoes!TICKETS: Advance sale: Members $25, Non-Members $30At the Door: $35 for everybodyexcept Students with current i.d. $10 (in advance or at the door)For tickets, please send your check payable to “NJJS” together with a stamped,self-addressed envelope to: Kate Casano, 274 Jackson Pines Rd., Jackson, NJ 08527For directions and more information,please see our Website: www.njjs.orgor call our Hotline: 1-800-303-NJJSNJJS thanks The Piano Gallery of Morristown for their sponsorship of this eventby supplying the Yamaha baby grand piano used at the Stomp.The New Jersey Jazz Society is a qualified organization of the New Jersey Cultural Trust.March 2007 JerseyJazz 27

JerseyArticlesJazzJAZZ UJazz Goes to SchoolThe College Jazz SceneBy Frank MulvaneyJanuary is a quiet month on college campuses as far as jazz events are concerned, with final exams andthe start-up of the spring semester taking precedence. The first concerts are in mid-February and thingsreally heat up in March. A performance calendar for those months appears below.Last month I wrote about three of the four schools that offer degrees in jazz studies. The fourth school,whose name you may not immediately recognize, is New Jersey City University. This was strictly ateacher’s college back in the 1960s and prior to 1998 was known as Jersey City State College. The wellregardedjazz studies program is the smallest of the four and is directed by Professor Edward Joffe. Studentshave benefited from master classes and concerts performed and ensembles with such famous musicians asCharles McPherson, Buddy De Franco, Barry Harris, Clark Terry, Benny Golson, John Faddis, JohnHendricks and Paquito D’Rivera. On Sunday, March 25 there will be a Jazz Faculty recital at 3:00 PM in theIngalls Recital Hall and the next day you can experience the solo piano of the renowned Bill Charlap at7:30 PM in the same venue. The former event is free-of-charge and the latter will be a minimal charge.Here are the rest of the college jazz concert opportunities for February and March:William PatersonUniversityFeb. 25:Wycliffe Gordon Quartet(one of the finesttrombonistsyou will ever hear)Mar. 4:Gil Lopez and the WPULatin Jazz EnsembleMar. 18:Vocalist Jackie CainAll WPU concerts areSundays at 4:00 PM, atthe Shea Center and arepreceded by an informaltalk with the artist at3:00 PM. Student combosopen for featuredperformers. Admissionis $15 ($8 seniors).RutgersUniversityFeb. 20:Jazz Ensemble and pianistEdward Simon andEnsemble Venezuela,Nicholas Music Centerin New Brunswick at8:00 PM, free admission.Mar. 1:Jazz Ensemble II,Nicholas Music Centerin New Brunswick at8:00 PM, free admission.PrincetonUniversityMar. 3:Jazz Ensemble andSwingtet, Music ofEllington and BlantonWebster, 8:00 PM,Richardson Auditorium,$15 admission.RowanUniversityFeb. 27:Small Jazz Ensembles,8:00 PM, Boyd RecitalHall, free admission.Mar. 21:George Genna, solopiano, 8:00 PM,Boyd Recital Hall,free admission.If you attend any of these concerts in their beautiful modern venues, I’m sure you’ll want to come backagain and again. Additional information may be obtained from the school websites easily found withany Internet search engine. If you have any questions or comments you may call me at 908-233-4824or e-mail: fmulvaney@comcast.net.The Collegeof New JerseyMar. 23:University Jazz Band,8:00 PM, Kendall Hall,nominal admission.JJNote: The four recipients of the NJJS Jazz Studies Scholarship grantswill perform at the Pee Wee Russell Memorial Stomp on March 4.28 March 2007 JerseyJazz

JerseyArticlesJazzShall We Stomp?By Linda Lobdell Associate Editor, Jersey JazzWatching the demo are Eric Petajan; Lucie Lobdellholding Indigo, son of Chad and Midori; NJJSmember Marie Sathanathan, NJJS RecordingSecretary Al Parmet, Amy Axelrod, Mike Kostak,Araxie Babikian and NJJS member Greg Sathanathan.First we watch, andthen we try. Kathy Fox,NJJS member GilbertJenckes, Liana Romanoand Xander Kastangive it a whirl.Observing isJoan Prusinsky.Our tiniest classmate sleptthrough much of the lesson.Joe “Peabody” Boppleads expertly.1, 2, 3, 4, 5, 6, 7, 8…Robin Brecher and Eric Petajanwalk Peabody-style.left: Nelli Savkina andJeff Shuster ham it up.right:New NJJS Board memberJackie Wetcher and NJJSVice President Mike Katzmake it look easy.We saw these clips from 1932: Taxi!, the first movieshowing James Cagney dancing. He enters a dancecontest with Loretta Young as his partner.George Raft competes with him for the first-place cup.Things turn a little tricky when George Raft wins.LEARN TO DANCE WITH NJJS. Now that we’re prepped for Pee Wee, we’ll turn ourattention to the ongoing swing dancing scene in different regions of the state. We’ll tapinto these venues by periodically organizing FIELD TRIPS — we’ll meet up at an eatery,then carpool to a dance, where there will be a free beginner lesson we can jump right into.You’ll have an opportunity to meet, dine with, get to know, other NJJS membersand friends, and you’ll have built-in company at the dance and lesson.Details to come. If you would like to be in the loop, e-mail LLobdeLL@optonline.net orcall 201-306-2769. We’ll add you to a contact list so you won’t miss out on the fun!We took a deep breath, put one foot in front of theother and — voilà! we were dancing — when NJJSheld its first dance workshop on January 20 in Union. It’srare to find teachers who carry on the “trad jazz” dancestyles, so we’re especially lucky that Manhattanites ChadFasca and Midori Asakura are only a short bus ride away.They are the finest, most stylish, most personable andgenerous instructors and dancers any student could desire.They taught two hours of Peabody and two of Charleston(with a break for lunch in between). Thirty-two studentssigned on, most for the whole day. Some were folks who doswing dancing, but who had little or no exposure toPeabody and Charleston. Some attendees had no previousdance experience at all. Eight students were NJJS members.Everyone was made to feel welcome, and we all learnedplenty in an upbeat, unpressured atmosphere.Chad gave us historic insights about vintage film clipshe brought, showing actual dance footage from as early asthe 20s. Some were hilarious and all were educational.Two lucky leaders won tickets to the Pee Wee Stomp:congratulations to Doug Janecek and Dhruv Bhargava.As this issue goes to press, we arebusily receiving registrations for aFebruary 17 repeat of this workshop— an opportunity forJanuary 17 graduates to reviewand reinforce what they learnedwhile providing basics fornewcomers. We should be all setfor Pee Wee. Chad and Midorimay put in an appearance onMarch 4 as well, and you’ll seefor yourselves what all thefuss is about.JJThe lovely and talentedMidori and Chad.No experience is necessary. You do not need aregular dance partner to do social dancing. Leaderslearn to lead, followers learn to follow, we rotate partnersduring every lesson, and we all dance with everybody.It’s a wonderful arrangement. What are you waiting for????March 2007 JerseyJazz 29

JerseyReviewsJazzDVD ReviewBy Joe Lang NJJS Music Committee ChairBrotherly Jazz — The Heath BrothersAll of a sudden, there have been severalwonderful jazz documentaries comingout. In recent months, I’ve covered filmsabout vocalist Jackie Paris, and the famousCalifornia jazz club, The Lighthouse. Nowalong comes an excellent 70-minute filmabout an amazingly talented trio of siblingsfrom Philadelphia, the Heath Brothers —bassist Percy Heath, composer, arranger,educator and saxophonist Jimmy Heath, anddrummer Albert “Tootie” Heath. Their storyis marvelously captured on Brotherly Jazz(DanSun Productions – 102).This film sprung from a July 2004 concertby the Heath Brothers Band given byproducer Danny Scher at Coventry Grove, a300-seat amphitheater at Scher’s home inKensington, California. It was a benefit forBerkeley’s Jazzschool, and was being filmedby Jesse Block. Both men quickly realizedthe potential to develop a documentaryabout this remarkable jazz family, using theconcert as a centerpiece of the film.The Heath Brothers were born and raised inPhiladelphia, Pennsylvania in a home thatwas full of music.Percy, who studied violin while in school,joined the Air Force during World War II,and became a fighter pilot with the famousTuskegee Airmen. Upon his discharge fromactive duty, Percy took part of his separationpay to invest in a bass, determined tobecome a jazz bassist. With help andguidance from Ray Brown, he started on aroad that led him to a place as one of themost in-demand and recorded bass playersin jazz. He was to become the bassist in themuch acclaimed and innovative ModernJazz Quartet.Jimmy was too young to become involvedin the military during WWII, so he becameabsorbed with music. As a teenager hewas playing in a band with the likes ofBenny Golson and John Coltrane whenhe experienced a musical epiphany. Hehad the opportunity to goto a concert in Philadelphiafeaturing the group led byCharlie Parker and DizzyGillespie. He was completelytaken with their music,and there was no otherchoice for him but tobecome a bebop musician. Through Percy,he became acquainted with Dizzy Gillespie,eventually becoming a member of Gillespie’sbig band. Like so many young musicians ofhis day, he fell into the trap of heroinaddiction, eventually spending four andone-half years in prison on a narcoticsconviction. This took him off the sceneduring the latter half of the 1950s, just at thepoint when he was establishing himself as acritically acclaimed jazzman. Whileincarcerated, he organized a big band, onethat included many talented players whohad suffered a fate similar to his. Upon hisrelease, he slowly regained his musicalfooting, even spending a brief period as thereplacement for Coltrane in the band ofMiles Davis, a stint that was cut short by anunsympathetic judge in Philadelphia whoruled that Jimmy was not permitted totravel more than 90 miles from his home inPhiladelphia while still on probation. With aman as talented and determined as Jimmywas, it is not surprising that he regained thekind of success that he was on the brink ofprior to his conviction. He became highlyregarded as a player, composer, arranger andleader. Another aspect of his talent thatdeveloped was as a jazz educator, being formany years the backbone of the jazzeducation department at Queens College inNew York.Albert was the junior of the musical Heaths,being about nine years younger than Jimmy.He describes vividly how he became adrummer. Mentioning that drummers referto drum sets as “traps,” he understood whythe first time that he sat behind a set ofdrums, and was trapped into the life that hecame to love, playing jazz.Play jazz he did with a widevariety of the top players injazz, including John Coltrane,Kenny Dorham, J.J. Johnson,the Jaztet, Dexter Gordon,Ben Webster and HerbieHancock. He traveled far andwide, spending much time in Europe, andeventually settling in California.In the mid-1970s, the MJQ disbanded andPercy, Jimmy and Albert formed the HeathBrothers Band, recording four albums forColumbia before the MJQ reunited, and thebrothers went their separate ways. Theyreunited in the mid-1990s to form a groupthat stayed active until Percy’s healthprecluded him from carrying on. He died inApril of 2005. Both Jimmy and “Tootie”remain active players, still appearingtogether frequently.This film tells their story through vintagefootage, and the voices of the three brothersand others from the world of jazz. The storyis effectively interspersed with footage of the2004 concert, with enough time devoted tothe performance to permit the viewer toexperience how wonderfully enjoyable thistrio of talented brothers, abetted by pianistJeb Patton, was to experience live. Thenarrative, which provides an informativeopening section about the importance ofPhiladelphia in the story of jazz, effectivelyties together the various components of thefilm. The interview clips are consistentlybrief, to the point, and are placed at pointswhere they move the story along naturallyand engagingly.Jazz has had many interesting storiesdevelop during its century or so ofprominence. The history of the HeathBrothers is one that has been an integralpart of the story of modern jazz, and it iswell related in Brotherly Jazz.(www.brotherlyjazz.com)JJ30 March 2007 JerseyJazz

85 George Street in New BrunswickMarch 2007 JerseyJazz 31

JerseyReviewsJazzDVD ReviewBy Joe Lang NJJS Music Committee ChairJazz Icons — Part TwoAcouple of months ago, I reviewed fiveof the nine releases in the new JazzIcons series from Reelin’ In The YearsProductions. This month I cover threemore, those by Chet Baker, Ella Fitzgeraldand Thelonious Monk.■ Chet Baker: Live in ’64 and ’79 (Jazz Icons –DVWW-JICHB) gives us a picture of Baker attwo distinct stages of his career. Most jazzfans are familiar with Baker’s story, and theaddictions that plagued him during most ofhis adult life. The 1964 session is taken froma Belgian television show. He is accompaniedby Jacques Pelzer on alto sax and flute,Rene Urtreger on piano, Luigi Trussardi onbass and Franco Manzecchi on drums. Atthis point in his career, he had fallen underthe spell of the sound of the flugelhorn, theinstrument on which he is featured here.Baker is in fine musical form on the fiveselections, “Bye Bye Blackbird,” “Isn’t ItRomantic,” “Airegin,” “Time After Time” and“So What.” His vocal on “Time After Time”captures the essence of the Baker singingstyle, understated, cool, somewhat detached,and yet genuinely affecting. The members ofhis group provide strong support, withManzecchi showing that there were,contrary to the generally accepted opinionof the day, drummers in Europe who hadfine jazz chops. By 1979, Baker’s physicalappearance had really started to show thesigns of deterioration that marked his finalyears. Back on trumpet, and supported byWolfgang Lackerschmid on vibes, MichelGrallier on piano and Jean Louis Rassinfosseon bass, the 1979 set is taken from aNorwegian television program. As on theearlier set, Baker’s playing belies thestruggles that plagued his personal life. Theprogram opens with a short, but interestinginterview with Baker. The musical portionof the show has four tunes, “Blue Trane,”“Softly, As in a Morning Sunrise,” “Five YearsAgo,” and an extended and exciting take on“Love for Sale.” Baker was an extensivelyrecorded player, with many illicit recordingsdocumenting him at the best and worst oftimes. Fortunately, these two sessions showthe side of Baker that attracted so manyloyal advocates for his music.■ Seeing ELLA FITZGERALD in peak form, asshe is on Ella Fitzgerald: Live in ’57 & ’63(Jazz Icons – DVWW-JIEF) is one of the realthrills that helps to define what makes jazzso attractive to its enthusiasts. Thecombination of musicianship and warmththat marked Ella at her best is apparent onboth of the sessions that make up this DVD.The first half of the program was filmed inBelgium on June 6, 1957 with backing fromDon Abney on piano, Ray Brown on bass, JoJones on drums and Herb Ellis on guitar.For those who dismissed Ella’s ability toimpart deep meaning to a lyric, dig herreadings of “Angel Eyes,” “Love for Sale” and“Tenderly” from this concert. She does justfine, thank you. Of course, there never wereany quibbles about her ability to swing, andthere is ample evidence of that here on“Lullaby of Birdland,” “April in Paris,” “JustOne of Those Things” and “Roll ’Em Pete.”Her playful side is on full display on “I Can’tGive You Anything but Love,” where shegives a nod to the vocal styles of LouisArmstrong and Rose “Chi-Chi” Murphy.The rousing finale finds Oscar Petersontaking over the piano seat, and Roy Eldridgeadding his trumpet for a romp through “ItDon’t Mean a Thing (If It Ain’t Got ThatSwing).” From the time that she explodesonto the stage to sing “No Moon at All” at atelevised concert from April 3, 1963 inStockholm to the last notes of “Mack theKnife,” Fitzgerald is in total command.Backed by pianist Tommy Flanagan, bassistJim Hughart, drummer Gus Johnson andguitarist Les Spann, she also offers up stellarperformances of “Just One of ThoseThings,” “Runnin’ Wild,” “Georgia on MyMind,” “Desafinado” and “Hallelujah, I LoveHer So.” Ella may have left us, but footagelike this will always serve to remind viewersof the wonderful musical webs that shecould spin over and over again.■ As appealing and amazing as therecordings of THELONIOUS MONK generallyare, it is not really possible to get a grasp onthe whole Thelonious Monk experienceuntil you have seen him in person. For thosenot lucky enough to have seen him while hewas still around, it is everyone’s goodfortune that there are several filmedperformances of Monk commerciallyavailable. Thelonious Monk: Live in ’66 (JazzIcons – DVWW-JITM) gives us two performancesfilmed two days apart in April of1966. The first session is from Norway, andthe second from Finland, both with Monk’sregular quartet of the period with Monk onpiano, Charlie Rouse on tenor sax, LarryGales on bass and Ben Riley on drums. Bothprograms open with “Lulu’s Back in Town,”a tune that was a particular favorite ofMonk’s. The Norwegian set also includes“Blue Monk “ and “’Round Midnight,” whilethe balance of the set from Finland consistsof “Don’t Blame Me” and “Epistrophy.”Now, back to my opening statement. Monkhad an unusual approach to playing thepiano. He played with flat, splayed fingers,frequently playing cross-handed. Watchinghim, many of his strikings of notes seemedalmost impulsive, but the results ultimatelymade musical sense. He would oftenabruptly cease comping behind a sideman’ssolo, and stand by the piano gently swayingwith the music that he was feeling, and veryintently absorbed in the music of themoment. Just as abruptly, he would returnto his keyboard, and renew his contributionsto the proceedings. Seeing himperform adds greatly to the pleasure oflistening to his audio recordings, for oncehaving seen him, you can never remove themental image of how he went about hiswork. There are few musicians who trulydeserve the tag of genius. Monk wascertainly among this select group.■ The remaining title in this series is ArtBlakey: Live in ’58 (Jazz Icons – DVWW-JIAB).While I have not yet seen this DVD, this isthe Blakey band that included Blakey ondrums, Benny Golson on tenor sax, LeeMorgan on trumpet, Jymie Merritt on bassand Bobby Timmons on piano, one of thebest of the Jazz Messengers combinations. Itis a 55-minute concert from Belgium that isthe only filmed documentation of thisgroup, a rare treat that I plan onexperiencing in the near future.Each selection has an informative bookletincluded, with liner notes and some incredibleimages. Check out the Jazz Icons website atwww.jazzicons.com for additional detailsabout the series, and to order the DVDs. JJ32March 2007 JerseyJazz

March 2007 JerseyJazz 33

JerseyReviewsJazzCompactViewsBy Joe LangNJJS MusicCommittee ChairWe’ve added a few new items to our NJJS CDinventory, so let’s get to telling you about them.■ For many years, Jim Lowe was a presence on theNew York City metro area radio scene. His last radiogig was as the host for a syndicated show thateventually emanated from Jazz au Bar in Manhattan.At this point in the show’s history, the house bandbecame the DICK VOIGT QUARTET with Voigt onpiano, Joe Licari on clarinet, Marty Grosz on guitarand vocals, and Skip Muller on bass. These catswere given opportunities to play a few tunes ontheir own, in addition to providing support forLowe’s musical guests. Jazz Coast to Coast (DickVoigt) is a compilation of some highlightperformances by the quartet on The Jim LoweShow. The word that best describes this album isdelightful. All of these gentlemen have swing in theirsouls. Licari is one of the unsung heroes on jazzclarinet, capable of expressing a range of emotionsthrough varying his tone to make sense within thecontext of each tune, both musically and lyrically.Grosz and Muller are always right there to supply arhythmic footing that is inescapable, and essential togood jazz. In addition, Grosz’s vocal efforts on five ofthe selections, “From Monday On,” “EverybodyLoves My Baby,” “Love Is Just Around the Corner,”“Keepin’ out of Mischief Now” and “SomedaySweetheart,” are full of the charm and sense of funthat we’ve come to expect from him. Voigt plays amean piano that holds the group together. This isthe kind of music that has universal appeal and isspirited, accessible and smile provoking.■ Put vocalist BARBARA LEA in a studio with atalented group of musicians who have the music ofNew Orleans deeply within their musical leanings,and you get a disc like Do You Know What ItMeans to Miss New Orleans? (Audiophile –333), one full of fine musicianship, and songs sungby Lea with a respect for lyrics that is equaled byfew other vocalists. Lea’s cohorts for this set, onethat was recorded in a single day, are Bob Havenson trombone, Charlie Fardella on trumpet, TomFischer on clarinet, Steve Pistorious on piano, TomSaunders on bass and Hal Smith on drums. Thereare 11 vocal tracks: “Dr. Jazz,” “Ghost of a Chance,”“Moon-Faced, Starry-Eyed,” “My Dreams Are GettingBetter All the Time,” “My Ideal,” “Jazz Me Blues,”“You Took Advantage of Me,” “I Couldn’t Sleep aWink Last Night,” “No Moon At All” and “Do YouKnow What It Means to Miss New Orleans;” and twoinstrumentals, “Shimmy Sha Wabble” and “I NeverKnew.” The musicians on this session are well suitedto providing Lea with the instrumental settings forher vocal efforts. As I wrote in a review of anotherLea album a few months ago, “there are somesingers who seem ageless, able to maintain a highdegree of quality in their recorded output, no matterhow many years go by. Such a singer is Barbara Leawho recorded her first album over 50 years ago.”From the evidence here, she could still be layingdown wonderful tracks for another 50 years.■ RONNY WHYTE has been playing piano andsinging great tunes at many of the chicest rooms inNew York City and other cities, here and abroad,since the 1960s. For most people, the focus of theirattention has been on his vocalizing, and with goodreason, as he puts a song over with the best ofthem. Listening to Whyte, it quickly becomesapparent to the discerning listener that, in additionto his fine self-accompaniment, he has developedinto a terrific jazz pianist. This is particularlynoticeable when he intersperses an instrumentalinterlude in the midst of a vocal set. By Myself(Audiophile–332) is Whyte’s first solo pianoalbum; his previous instrumental only outing,Something Wonderful, was in a trio setting. The14-track program is comprised of three intriguingWhyte originals, a lovely tune by MarianMcPartland, “Time & Time Again,” and a selectionof standards like “All The Things You Are,” “Stella ByStarlight, “The Surrey with the Fringe on Top” and“By Myself.” Whyte infuses each number with agentle swing, and favors subtle improvisations overthe pyrotechnic excesses that often plague solopiano outings. This is an album to be savored forWhyte’s intelligent and sensitive jazz pianism.■ Remembering Mabel Mercer, Volume Three(Audiophile – 335) is the last of a remarkableseries of albums by vocalist JOYCE BREACH inwhich she pays tribute to a singer who was idolizedby other singers like Billie Holiday and Frank Sinatrafor her unparalleled talent for lyric interpretation.Mercer never had a particularly strong vocalinstrument. By the end of her performing career, ittook some effort for the uninitiated to get past hervocal shortcomings to fully appreciate the geniusthat she possessed, namely her ability to investeach lyric that she sang with a depth ofunderstanding and empathy that few others evercame close to matching. She also selected materialwith great taste, often saving little known gemsfrom obscurity, and providing them with exposurethat often led to their becoming staples in therepertoire of other singers. In this album, Breachonce again brings her impressive insight andsensitivity to a program of tunes that were part ofMercer’s world. She is greatly aided in her effortsby the tasteful and creative arrangements of KeithIngham who also serves as the leader/pianist forBreach’s backing band. The other players are JeffTillman on guitar, John Beal on bass, Russell Georgeon violin, Laurie Goldstein on bassoon, with RobinBushman adding her violin on three tracks. Theprogram includes songs associated with Mercer atmany stages of her career, with an emphasis onsongs from her latter period like “Days Gone By,”“Time Heals Everything” and “Bein’ Green.” It is apleasure to hear Breach apply her rich andappealing voice to these fine songs in a programthat would bring a smile to the face of Mercer forboth the content and the execution.The above CDs and many other selections are available fromthe NJJS. Please send $16 for each single disk, $26 for eachdouble disk and add $2 for your first selection and $1 foreach additional CD to cover shipping costs. Make checkspayable to “NJJS” and mail with your order to: Fred McIntosh,293 Orangeberg Road, Old Tappan, NJ 07675. To pay by VISAor MasterCard please provide your card number andexpiration date and your name as it appears on the card.Please include a phone number where you can be reachedin case we need to contact you concerning your order.We now have available a listing of all CDs in the NJJS musicinventory. We can either mail a hard copy inventory to you,or e-mail it to you as an attachment in Excel format. Toobtain a copy please contact Andi Tyson, 110 HaywoodAvenue, Piscataway, NJ 08854, or e-mail Andi atATyson1999@aol.com.JJReviewBy Mainstream MacNJJS Entertainment ContributorOctobop/Very EarlyMystic Lane 030576Octobop is an eight-piece band fromCalifornia that has taken on themission of preserving the music of the midsizedwest coast jazz groups. Very Early isthe fourth CD from the group and theyconfirm that picking good tunes from greatcomposers goes a long way toward achievingmusical success.How about “Keester Parade” from JohnnyMandel, or “Pink Panther” from HenryMancini, or Gerry Mulligan’s absolutelybeautiful “A Ballad,” or the title song byBill Evans, along with “Powder Puff “ fromShorty Rogers, “Mosaic” by Bob Mintzer,Mel Torme’s “Born to Be Blue” and“Goodbye Porkpie Hat” from CharlieMingus. Then throw in some Marty Paicharrangements and you have it!The modern sounds are provided byBrian Brockhouse, bass; Jack Conway,guitar; Bill Hazzard, vibes; Roy Kaufmann,drums; Matt Kesner, tenor, alto, soprano sax;Geoff Roach, baritone sax and alto flute;Jon Schermer, trombone and Randy Smith,trumpet and flugelhorn.Very Early is available through NJJS.34March 2007 JerseyJazz

Trumpets Jazz Club & Restaurant6 Depot SquareMontclair, New Jersey 07042Jazz 6 Nights a Week! and Continental Cuisine.Trumpets' celebrates Women in Jazz during the month of MarchKate Baker (vocalist)Ellington Band featuringSATURDAY 3/3Norman Simmons (piano), Edward Ellington(guitar), Virginia Mayhew (sax), Nancy Reed (vocals)WEDNESDAY 3/21Jane Stewart4 PM–7 PM (vocalist)Pete Levin Organ TrioJoe Beck (guitar) & Harvey Sorgen (drums)8 PM – 11 PMSUNDAY 3/4Jeree Wade (vocalist)FRIDAY 3/ 9Roseanna Vitro (vocalist)SATURDAY 3/10Trumpets’ First Annual Women’sLuncheon & Seminar12 PM: Inspirational and motivational speakers onnutrition, organic make-up, investment strategies forwomen, writing a memoir; poetry, music. $25.7:30 PM Enrico GranafeiSUNDAY 3/11Houston Person Quartet (sax)FRIDAY 3/16 AND SATURDAY 3/17Enrico Granafei handsfree chromaticharmonica, guitar & vocalsSUNDAY 3/18String of Pearls (female vocal group)FRIDAY 3/23Josh Thompson Band (guitar)SATURDAY 3/24Opera Divas and Jazz Cats2 PM: A fundraiser for the Altamura-CarusoInternational Vocal Competition. Seewww.trumpetsjazz.com for information.Carol Hamersma Trio7:30 PM (guitar)SUNDAY 3/25Pam Purvis, Bob Ackerman& Rick Crane (voice/guitar/piano/bass)TUESDAY 3/27Betty Liste Quartetfeaturing Ted Curson on trumpetCD release of Pensive MomentsFRIDAY 3/30Baron Raymonde QuintetSATURDAY 3/31Tuesdays at Trumpets — no music charge/$5 minimum 6:30 – 10:30 PMThese are partial listings.Visit www.trumpetsjazz.com for our complete schedule.Tel (973) 744-2600 • Fax (973) 744-7735 • www.trumpetsjazz.com« Trumpets is closed on Monday evenings except for special events. »« Sunday & Weekday sets 7:30-11:30 PM « Friday & Saturday sets 8:30 PM, 10:30 PM & MIDNIGHT unless otherwise noted. »« Italian/Continental cuisine, full service restaurant and bar open to 1:00 AM Friday & Saturday; to 12 MIDNIGHT weekdays. »« Kitchen open to 12 MIDNIGHT Friday & Saturday; to 11:00 PM weekdays »March 2007 JerseyJazz 35

JerseyReviewsJazzOther ViewsBy Joe Lang NJJS Music Committee ChairAs usual, I have some non-NJJS inventory itemsto familiarize you with this month.■ Elsewhere in this issue I review a new videodocumentary about the HEATH BROTHERS, Percy,Jimmy and Albert. There’s much acclaim in the filmabout Jimmy’s enormous composing and arrangingtalents, especially for big bands. Evidence of thesetalents abounds on Turn Up the Heath (PlanetArts – 100560). The recording took place duringtwo sessions, one in January 2004, and one in April2006, with some difference in personnel, but aconstant rhythm section of Jeb Patton on piano,Peter Washington on bass and Lewis Nash ondrums. In addition, trumpeter Frank Greene,trombonist John Mosca and reedman Mark Grossrepeat as section leaders on both sessions. Thereare eight Heath originals among the ten selections,the exceptions being “I’m Glad There Is You” and“No End,” a piece by trumpeter Kenny Dorham thatwas never recorded by its creator. Heath’s verypersonal liner notes give brief, yet insightfulinformation about the specific tracks. Suffice to saythat this album contains exciting and diversecontributions from the fertile musical mind that isJimmy Heath, and is executed with fire and superiormusicianship by an all-star aggregation of players.Turn on your CD player, and Turn Up the Heath.(www.PlanetArts.org)■ We lost too many players from the jazz world lastyear. One of them, pianist JOHN HICKS, will beparticularly missed, especially by those fans whoenjoy jazz piano matching immaculate taste andimprovisational magic. Hicks final recording, SweetLove of Mine (HighNote – 7142), is a fitting finaldocumentation of his talent. It affords the listeneran opportunity to hear him in a solo mode on “OnePeaceful Moment,” “The Things We Did LastSummer” and “Sunset Blues,” a Hicks original thatcloses the album with a reflective take on theblues. It eerily sounds like a last look back from aman about to go on his final journey. On the othertracks, we get to hear how wonderfully he fit into agroup setting, supportive when appropriate, andassertive when assuming the solo spotlight. Hisfellow players on this last session are Javon Jacksonon tenor sax, Elise Woods on flute, Curtis Lundy onbass, Victor Jones on drums and Ray Mantilla onpercussion. The man John Hicks may be gone, buthis music survives for all to dig whenever the moodstrikes them. (www.jazzdepot.com)■ The New York City jazz club Smoke is situated onthe Upper West Side, rather removed from the restof the jazz action in town. It has developed,however, a faithful clientele, and a cadre ofmusicians who frequently appear there. One of thesteadiest, and most popular players is MIKELEDONNE who is much respected on both pianoand organ. It is as an organist that he sparkles onhis new disc, On Fire (Savant – 2080), recordedin May 2006 at Smoke. His quartet, with EricAlexander on tenor sax, Peter Bernstein on guitarand Joe Farnsworth on drums, has been playingtogether for several years, and this comes throughin the empathetic interaction among the musiciansthat pervades the entire recorded set. These guysknow each other’s tendencies, and obviously enjoymaking music together. Six of the seven tracks arein the area of 10 minutes plus, giving each of themopportunities to stretch out and explore the tunesfrom several angles. Unlike many organ combos,they do not rely onfinding a groove for agiven selection, andmilking it. This givestheir music a constantfreshness. It’s nice tohear an organ comboalbum that pays respectto the tradition, yetfinds a fresh approach to using this combination ofinstruments. Too many who have attempted to findnew directions for jazz organ combos have optedto take the road to smooth jazz, a destination thatI choose to avoid. (www.jazzdepot.com)■ Far more in the tradition is organistPAPA JOHN DEFRANCESCO, father of organstar JOEY DEFRANCESCO. On Desert Heat(Savant – 2075), he is joined by his son, playingelectronic keyboards, with Tony Banda on bass andRamon Banda on percussion. The program hasthree originals by DeFrancesco the senior, includingthe title track, a couple of funk-oriented selections,“Cold Duck Time” and “Tune 88,” and threestandards, “What Now My Love,” “The House of theRising Sun” and “I’ll Close My Eyes.” On that lasttune, the younger DeFrancesco creates a simulatedstring background with his keyboards that adds aunique setting for this track. On the other tracks,the leader gets a groove set, and the others lendappropriate support. This is an album that will keepyou tapping your toes and nodding your head, nomatter how hard you try to keep still.(www.jazzdepot.com)■ In the September 2006 issue, I reviewed TheShadow of Your Smile by vocalist PINKY WINTERSand pianist LOU LEVY, taken from a previouslyunreleased 1983 concert in Washington, D.C. Wenow have Speak Low (Cellar Door Records –XQAM-1010), the second half of that concert. Aswas in evidence on the earlier release, Winters is asuperior vocalist, warm of voice, and a lady whoknows how to put across a lyric as the writer wouldhave ideally imagined it being sung. Levy, supportedby bassist Bill Takas, is a perfect accompanist, andhis two instrumental tracks, “Dolphin” and “ThePiccolino,” show why he was considered among theupper echelon of jazz pianists. The selections are aneclectic mix of ballads and tunes with brightertempos, and Winters executes them all withaplomb. They are “Speak Low,” “If I Were a Bell,” “IAm in Love,” “You Say You Care/Dance Only WithMe,” “Never Let Me Go,” “The Trolley Song,” “Oh!Lady Be Good,” “Ding Dong, The Witch Is Dead,” “I’mOld Fashioned” and “No More Blues.” As with theprior album, this disc has only been released inJapan, but it, along with several other Pinky Wintersreleases, is available from various web sources,including www.dustygroove.com.■ As he did on his impressive first album,Want You, reviewed in the September 2005 issue,vocalist/pianist TONY DESARE’S new album,Last First Kiss (Telarc – 83651), mixes a feworiginal tunes with several standards, and, on thisdisc, includes a couple of more contemporarysongs, to round out a 13-song program that isconsistently satisfying. This is a young singer whohas grown from a highly Sinatra-influenced vocalistto one who has developed a style that stands on itsown. Present on most tracks are the members ofhis regular trio, bassist Mike Lee and drummer JimCzach. Among the other contributors on varioustracks are guitarist Bucky Pizzarelli, tenorsaxophonists Harry Allen and Bob Malach,trumpeter Glenn Drewes, trombonist Keith O’Quinnand pianist Tedd Firth. One particular highlight is“How Deep Is the Ocean,” sung by DeSare with thesole backing of Firth’s piano. DeSare and Firth, whohave been friends since grammar school, have aspecial empathy that’s readily evident on thisselection. DeSare’s originals, as was the case on hisearlier disc, show a songwriter of considerablepromise, in the tradition, but with a contemporaryedge. Among the other standards on the programare “Gee Baby Ain’t I Good to You,” “You’d Be SoNice To Come Home To,” “Oh! Look at Me Now,”“They Can’t Take That Away from Me” and “ThereWill Never Be Another You.” A special find is a hipSammy Cahn/Jimmy Van Heusen song, “Come onStrong,” that escaped Sinatra, but was recorded bySammy Davis, Jr. and Lena Horne. Of all the newermale vocalists performing classic pop, DeSare hasquickly emerged as the cream of the crop.(www.telarc.com)These albums are not available through NJJS.Youshould be able to obtain most of them at any majorrecord store. They are also available on-line fromthe websites shown after each review, or from avariety of other on-line sources.JJ36March 2007 JerseyJazz

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JerseyReviewsJazzWith a front line of James Moody ontenor sax, Charles McPherson onalto sax, and Roy Hargrove on trumpetand flugelhorn, backed up by a rhythmsection of Renee Rosnes on piano, ToddCoolman on bass and Adam Nussbaumon drums, and vocal contributions fromRoberta Gambarini, two sets of bopclassics were performed in the FrederickP. Rose Hall of Jazz at Lincoln Centerduring a program appropriately titledBebop Lives!When you think of bebop, the first namesthat pop into your head are Charlie Parkerand Dizzy Gillespie, so it was not unexpectedthat the spirit of these progenitors of thismusic was present throughout the evening.The program opened with Parker’s“Anthropology,” one of the staples of thebop repertory. Moody, Hargrove.McPherson and Rosnes all had a chance todisplay their solo chops on thispiece, and they all set a highstandard for themselves, onethat they maintainedthroughout the evening.McPherson followed with ascintillating “Embraceable You.”The full team reunited forGillespie’s “Woody ’n You,”before Hargrove provided oneof the evening’s highlights witha gorgeous performance of“Speak Low” on flugelhorn.Roberta Gambarini joined theproceedings at this point, andoffered up her take on therecording of “On the SunnySide of the Street” by Gillespiewith Sonny Rollins and SonnyStitt. This has become acenterpiece of most Gambariniperformances, and is always acrowd pleaser. She then showedoff her more contemplative sidewith a lovely version of “LoverMan.” The first set closed with arousing take on “A Night inTunisia.”Another Gillespie classic,“Groovin’ High,” kicked off thesecond half of the evening, withthe horns, Rosnes and CoolmanCaught in the ActBy Joe Lang NJJS Music Committee ChairBebop Lives!James Moody, Charles McPherson, Roy Hargrove,Roberta Gambarini, Renee Rosnes,Todd Coolman & Adam NussbaumFrederick P. Rose Hall, Jazz at Lincoln Center,New York City, January 26, 2007each contributing fine solo efforts.Following a swinging romp through TaddDameron’s “Good Bait,” Moody came frontand center to sing “Moody’s Mood forLove,” the lyric that Eddie Jefferson hadpenned to Moody’s memorable recording of“I’m in the Mood for Love.” This piece isperfectly suited to show off Moody’s vocalstyle, one infused with the impish sense ofCTSIMAGES |The Face of JazzLICENSING • RESEARCH • APPRAISALSPhoto Archives include vintage Jazz, Pop, Blues, R&B, Rock, Country/Western,Radio Personalities, Big Bands, Vocalists, Hollywood and more.• PHOTOGRAPH RESEARCH • LICENSING FOR COMMERCIAL USE• FINE ART LIMITED EDITION PRINTS • GALLERY EXHIBITIONS• RECORD & PHOTOGRAPH APPRAISALSWWW.CTSIMAGES.COMhumor that he displayed throughout theevening. Gambarini returned to sing thebeautiful Tadd Dameron ballad, “If YouCould See Me Now,” giving a superlativereading of the Carl Sigman lyric. Thefestivities were brought to a climax withMoody and Gambarini sharing the vocalchores on another Gillespie tune, “Oop-Pop-A-Da, while the band churned up astorm in support.This was an evening that brought backmany memories, yet proved that thisgenre of jazz still has a lot of life,especially when performed by creativemusicians like those present on thisoccasion. Moody and McPherson have beencarrying on the bebop tradition withdistinction for all of their extensive careers.Gambarini is a relative newcomer who is atrue bopper at heart. The others have beenmore eclectic in their jazz involvement, butshow a real flair for this music.© Ray Avery/CTSIMAGES.COMe-mail: Cynthia@ctsimages.comThis program was repeatedon January 27.One of the many benefits ofJazz at Lincoln Center is thatthose who decide upon theprogramming are committed tokeeping alive many styles ofjazz that do not receive thekind of attention and supportthat they deserve from manyother parts of the jazzcommunity, especially in muchof the jazz education field,while providing opportunitiesfor younger players, with abroad range of stylesopportunities to present theirtalents. The three venues, theFrederick P. Rose Hall, theAllen Room and Dizzy’s ClubCoca-Cola, provide distinctlydifferent settings forpresentation and enjoyment ofjazz in its many incarnations.Keep abreast of what ishappening at JALC by checkingout their website atwww.jazzatlincolncenter.org.Get out and support live jazz,at JALC or wherever else theopportunity presents itself. JJ38March 2007 JerseyJazz

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New JerseyJazzSocietySING, SING, SING! Wailing on the Goodman classic at the January 20th Three Benny Opera in Bridgewater are (l-r): John Sheridan, piano;Brian Nalepka, bass; Joe Midiri, clarinet; Kevin Dorn, drums; Dan Levinson, clarinet; Dan Block, clarinet; Paul Midiri, vibes. Photo by Paul White.I REMEMBER KENNY DAVERN (Meyer) continued from page 18walked off the stage and retreated to the bar.After a few moments, Wellstood called out:“Will the drummer please return to thestage?” The response came back: “F - - -you!” Dick then announced: “Ladies andGentlemen, Dick Wellstood and His FamousOrchestra Featuring Kenny Davern will nowperform.” As Wellstood wrote, “The BlueThree disintegrated under the weight of itsthree personalities” in 1984.In 1990, he and Wilber and the original fourmembers of Soprano Summit reunitedunder the name of Summit Reunion — therevised name signifying that Davern was nolonger playing the saxophone. They madeseveral CDs and were a consistent draw atjazz parties and concerts.In 1994, Davern and Mat Domber formed apersonal and professional relationship thatlasted until Kenny’s death. Davern became afixture at Domber’s annual March of Jazzparties and recorded prolifically for Mat’sArbors label. There were other recordingsfor other labels with other artists, his lastbeing a trio release for Sackville.He was inducted, in June 1997, into theAmerican Jazz Hall of Fame, which isadministered jointly by the New Jersey JazzSociety and Rutgers University. Three yearslater Hamilton College, located in Ithaca,New York, conferred the degree of Doctor ofMusic upon him.There was no compromise in the musicalsoul of Kenny Davern. He had a clear visionof the music that he wanted to play and henever deviated from the path that he chose.The result was a legacy of often exciting,sometime saddening, but always beautifulmusic. Now, the journey has ended. Hishorn is still and there will be no newcreations from this inventive soul. We werelucky to know and hear him. For KennyDavern was sui generis.JJJazz Trivia By O. Howie Ponder IIanswers on page 42Questions1. 52nd Street between 5th and 6th Avenues was known as “Swing Street” in jazz’s heyday.By what other name do we know 28th Street between Broadway and 6th Avenue?2. You probably don’t remember Ralph Brewster, Bill Conway, Hal Dickenson and Chuck Goldstein individually, but you surely knew them as a group. What was it?3. This jazz singer of the 1930s was known as “Snake Eyes” to the jealous wives of sidemen and leaders she sang with during her career.4. Jelly Roll Morton referred to this rhythm, when incorporated into jazz, the “Spanish tinge.” What was it?5. Can you make a rough estimate of the royalties Count Basie collected from his band’s 1937 recordings of “One O’clock Jump,” “Swingin’ the Blues” and“Jumpin’ at the Woodside”?40 March 2007 JerseyJazz

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New JerseyJazzSocietyIn The MainstreamBy Mainstream MacNJJS Entertainment ContributorIn the old days, at live radio and televisionshows, they used to hold up signs thatexclaimed: “APPLAUSE!”Today, they don’t need to hold them up atthe concerts and clubs that I attend. Theapplause is automatic and it occurs allthroughout the performances. It breaks outat the conclusion of every solo. I’ve heard itat the end of simple, everyday melodystatements. I have heard applause whenplayers trade fours with the drummer. Idon’t know when it started, but it couldhave been a result of the popularity of Jazzat the Philharmonic.Speaking of that, it is considered badmanners to applaud during a symphonyperformance.Why is our music different? Well — theessence of jazz performance is improvisation.If a player comes up with somethingnew and original, that’s something thatshould be recognized by us listeners. But, isevery solo deserving of acclaim? Are they allequally good? Are we actually congratulatingourselves by the applauding? (“I knowthe solo is over because the tenor man tookthe horn out of his mouth.”) The late ArtieShaw lectured the International Associationof Jazz Record Collectors on this very pointa few years ago. He was against the applause.I listened to a big band concert in whichthe solo applause routinely obscured theintricacies of the Bill Holman arrangements.Nowadays, I ration my applause and give itonly to those players that really strike me asoriginal.P.S. Next month I hope to be positive. JJWhat’s New?Members new and renewedWe welcome these friends of jazz who recently joined NJJS or renewed their memberships.We apologize for any errors and omissions.Mr. & Mrs. John Agostini, Nutley, NJMr. William B. Dunham, New York, NYMr. & Mrs. Tyrone N. Green, Sr., North Brunswick, NJMs. Jadzia Abramski Hahn, Basking Ridge, NJMrs. Irene Leeman, Monroe Township, NJMrs. Mitzi Mottola, Denville, NJMr. & Mrs. John O’Leary, Hackettstown, NJCLASSIC STINE continued from page 9certified records, only 26 of which werereleased before he died at age 26. Theremaining 12 have been issued for the firsttime on various obscure labels, but the veryunique Teschemacher style plus the extremescarcity of his recordings have created acraving for any other records that couldpossibly contain his playing. A number havesurfaced, but there are no jazz equivalents ofLuigi Capasso, Edmond Locard, or PeterPaul Biro around to settle the matter ofauthenticity with time proven forensicprocedures.The Time-Life people had put the entireTeschemacher issue in the hands of MartyGrosz who immediately corralled a bunchof musicians, some of whom knew andplayed with Tesch, and students of jazz tolisten and offer their opinions on therecords in question. It is a formidable list:Bud Freeman, Bobby Gordon,Jimmy McPartland, Jess Stacy, Artie Shaw,Frank Chace, Kenny Davern, Dick Sudhalter,Dan Morgenstern, Frank Gillis, Brian Rust,John R. T. Davies, John Steiner,Michael Brooks, Vladimir Simosko,Bert Whyatt, Paul Burgess, Warren Plath,Mr. Thomas Piccirillo, Warren, NJMr. Paul A. Prusinski, Monroe Township, NJMr. Norman G. Sade, Brookside, NJMr. Greg Savad, East Brunswick, NJMr. John Tobia, Somerville, NJMs. Margie Walsh, Flemington, NJA. T. Tolley, Frank Powers, Hal Smith,Howard Waters, and Jim Gordon.The presence of Frank Teschemacher on therecords the group listened to were rated asyes, probable, maybe, or doubtful and thosewho approached the committee’s findingswith hope that some new records had at lastsurfaced that contained some of the greatclarinetist’s playing were bound to bedisappointed. There was no unanimityexpressed on any one record. In addition tothis uncertainty, Marty Grosz solicited theservices of Dr. Henry M. Truby, adistinguished spectographist, who had amachine that could create patterns on paperthat were derived from sound. Over weeks,he tried to compare patterns derived fromTesch’s solos with those taken from soloistson the discs the committee listened to, butnothing conclusive was obtained.Still the search goes on and who knows? Ifda Vinci’s fingerprint could surface aftercenturies in hiding, isn’t it possible that arecord or even a test pressing mightsomehow come to light?Watch this space.JJJAZZ TRIVIA ANSWERSquestions on page 401. Tin Pan Alley. It was the center of music publishersin the 1920s.2. The Modernaires vocal group that sang withGlenn Miller’s Orchestra in 1941 and 1942.3. Lee Wiley.4. The Tango.5. Basie never collected one cent of royalties fromthese and 21 other recordings made under terms ofan exploitative contract with the record company.42 March 2007 JerseyJazz

New JerseyJazzSocietyMeet the NJJS BoardJackie WetcherJackie Wetcher was elected to serve a threeyearterm as a member of the NJJS Board ofDirectors at the society’s annual meeting lastDecember. She now serves as AdvertisingBilling Manager for Jersey Jazz magazine.“My first real exposure to jazz had been through the New Jersey JazzSociety,” Jackie says. “I’ve been a member for the past four years andfrequently volunteer at many of the wonderful and enjoyable eventsthat the society sponsors.”“I’d like to continue to do whatever I can to promote this organizationand was very happy to accept a position on the board.”Jackie is a Director and Actuary at Prudential Financial, where she’sworked for the past 22 years. She was born and raised in the Bronxand graduated from The Bronx High School of Science and TheState University of NY at Stony Brook.Jackie is a 20-year resident of Madison and has two children. Herdaughter Jessica is a clinical psychologist at the Weill-Cornell NewYork Presbyterian Hospital in New York City and son Adam is asophomore at the University of Delaware.“I have my long-time significant other, Mike Katz, who is also aboard member, to thank for introducing me to New Jersey JazzSociety,” Jackie notes.JJMUSIC COMMITTEE NOTES continued from page 8Samba Jazz Quintet in the Concert Hall, and the Sarah PartridgeGroup and the Bob Dorough Trio in the Black Box Theatre.On Sunday, the Ken Peplowski Quintet and the Dick Meldonian BigBand will perform in the tent, the Concert Hall will host Five Playand Nilson Matta’s Brazilian Voyage Band featuring Harry Allen,while the Black Box Theatre will be home to the Jay Leonhart Trioand the Nancy Nelson Group.We believe that we’ve planned an eclectic and exciting lineup for thisyear’s Jazzfest. Each year, we try to bring a mixture of performerswho have been well accepted by past attendees, and a sampling ofgroups making their initial appearances at the event.Ticket prices and ordering information for Jazzfest will beannounced in the next issue of Jersey Jazz.■ Finally, NJJS is serving as a co-sponsor for a concert featuringFrank Sinatra, Jr. to be held at the Nicholas Music Center,85 George Street (at Route 18), on the Douglass College campusof Rutgers University in New Brunswick at 8:00 PM on Tuesday,April 10. Mr. Sinatra will conduct and sing with both the RutgersJazz Ensemble and the Rutgers Symphony Orchestra. This is notto-bemissed evening of classic and swingin’ Sinatra, includingSinatra’s “Tone Poems of Color,” arranged by Henry Mancini, andperformed by the Rutgers Symphony Orchestra. Tickets are $40,$25 and $15. To purchase tickets, call 732-932-7511. JJAbout NJJSThe New Jersey Jazz Society is dedicated to the performance, promotion andpreservation of jazz. Founded in 1972, the Society is run by a board ofdirectors who meet monthly to conduct the business of staging our musicfestivals, awarding scholarships to deserving New Jersey college jazz studiesstudents, conducting the Generations of Jazz programs in local schoolsystems, and inducting pioneers and legends of jazz into the American JazzHall of Fame, among other things. The membership is comprised of jazzdevotees from all parts of the state, the country and the world. The New JerseyJazz Society is a qualified organization of the New Jersey Cultural Trust.Visit www.njjs.org, e-mail info@njjs.org, or call the HOTLINE 1-800-303-NJJSfor more information on any of our PROGRAMS AND SERVICES:■ Generations of Jazz (our Jazz in the Schools Program)■ Jazzfest (two-day summer jazz festival)■ Pee Wee Russell Memorial Stomp■ e-mail updates’Round Jersey (Regional Jazz Concert Series): ■ Bridgewater■ Ocean County College ■ Bickford Theatre/Morris■ Student scholarships ■ American Jazz Hall of FameMember BenefitsWhat do you get for your $35 dues? *■ Jersey Jazz Journal — a monthly journal considered one of the best jazzsociety publications in the country, packed with feature articles, photos, jazzcalendars, upcoming events and news about the NJ Jazz Society.■ NEW! FREE Monthly Member Meetings — See www.njjs.org andJersey Jazz for updates.■ Musical Events — NJJS sponsors and co-produces a number of jazz eventseach year, ranging from intimate concerts to large dance parties and picnics.Members receive discounts on ticket prices for the Pee Wee RussellMemorial Stomp and Jazzfest. Plus there’s a free concert at the AnnualMeeting and occasionally other free concerts.■ The Record Bin — a collection of CDs, not generally found in music stores,available at reduced prices at most NJJS concerts and events and throughmail order. Contact pres@njjs.org for a catalog.*March is the last month to sign up at $35price. Fee will increase to $40 on April 1.Join NJJSMEMBERSHIP LEVELS Member benefits are subject to update.■ Family $35 *■ Student $20■ Give-a-Gift $55: Jersey Jazz magazine, free concert at NJJS Annual Meetingin December, and event ticket discounts (where possible) for 2 adults, pluschildren under 18 years of age. Singles may purchase two tickets atmember prices. Student membership requires school ID. The Give-a-Giftmembership costs the regular $35 for you, plus $20 for a gift membership.■ Friend of NJJS ($150/family)Receive vouchers for 2 CDs of your choice from the NJJS Record Bin.■ Silver Patron ($250/family)Receive an additional year membership plus vouchers for 2 CDsof your choice from the NJJS Record Bin.■ Gold Patron ($500/family)Receive 2 additional years membership plus vouchers for 4 CDsof your choice from the NJJS Record Bin.■ Platinum Patron ($1000/family)Receive 4 additional years membership plus vouchers for 8 CDsof your choice from the NJJS Record Bin.To receive a membership application,for more information or to join:Contact Membership Chair Caryl Anne McBrideat 973-366-8818 or membership@njjs.orgOR visit www.njjs.orgOR simply send a check payable to “NJJS” to:NJJS Membership, PO Box 410, Brookside, NJ 07926-0410.March 2007 JerseyJazz 43

’RoundJerseyBridgewater JazzSomerset County Vocationaland Technical High SchoolBridgewater, NJ 08807Tickets/Information: 908-725-6640Bix Beiderbecke is a favoriteamong classic jazz fans.Despite a recording career thatlasted less than seven years, hehad an enormous influence onother musicians, and throughthem on the way jazz was playedthen and to this day. Even LouisArmstrong held him in highesteem, saying that he’d neverplay “Singin’ the Blues” —because that was Bix’s tune!Michael Arenella leading theDreamland OrchestraMost Bix tributes are patternedafter the Wolverines in terms ofsize and instrumentation. But Bixwas also influenced by the largerhot dance bands, spending key portions of his career touring with JeanGoldkette’s orchestra, as did Frankie Trumbauer, Joe Venuti, both Dorseybrothers and many others. Their bouncy, energetic style was largely ensemblematerial, played today by only five bands in North America due to the intricate,tricky arrangements involved. Three are found on the West Coast, with only theNighthawks and the Dreamland Orchestra commonly heard in the East.Michael Arenella brought his Dreamland Orchestra to the Wyeth JazzShowcase last summer to a tumultuous reception. That’s because he personallylabors over the authentic arrangements, transcribed from period recordings andsurviving sheet music. Equal attention is given to using proper periodinstrumentation (fully 11 pieces, with violin, vintage drums and a basssaxophone prominent), and to recruiting musicians who, while not yethousehold names perhaps, are as devoted to this unique branch of jazz as heis. Several, mentioned in the nearby ad, will be familiar to NJJS members, but ahigh level of musicianship is found throughout.JerseyEventsJazzJazz in Bridgewater has presented Bix tributes each March, as close to thelegendary cornetist’s birthday as possible. For this BIGGEST BIX BASH theywaited an extra week in order to get Dreamland and present their largest Bixgroup ever. Fans will be rewarded by hearing the full orchestra sound forfamiliar and less celebrated tunes, not versions scaled down to suit five orseven pieces.Tickets for the March 17 concert are best ordered in advance by calling theUnited Way, principal sponsor of the series, with credit card in hand. TheseSaturday concerts begin at 8 PM and run two full sets. Those unfamiliar withthe fine acoustic hall should ask that printed driving directions be sent withthe tickets.This concert closes the 13th Season of Jazz in Bridgewater, all run in closecooperation with the New Jersey Jazz Society. Construction has beencompleted adjacent to the hall, so there is plenty of parking available again,plus additional rest rooms and other improvements.Morris JazzThe Bickford Theater at the Morris MuseumMorristown, NJ 07960Tickets/Information: 973-971-3706While other venues celebrate Bix Beiderbecke’s birthday, the Wyeth JazzShowcase will commemorate the centennial of Jimmy McPartland, thegreat cornetist who succeeded Bix when he left the Wolverines. Jimmy latermade recordings (for Okeh) that introduced and to a degree defined theexciting, energetic style that came to be called Chicago Jazz. Bixian scholarDick Sudhalter writes that “McPartland’s playing was much admired byBeiderbecke and, particularly in his early years, his work owed something to thelatter’s ringing lyricism and balanced phrasing.” Jimmy later married youngMarian, whose piano style is admired nationally to this day.Cornetist Dan Tobias will lead the centennial tribute. You’ve seen him withgroups involving the Midiris and Tony DeNicola, but may not realize he’s alsoworked with Kenny Davern, John Bunch, James Chirillo, both Warren and AllanVaché, and Ed Metz, Sr. and Jr. He also appears regularly at Pennsylvania JazzSociety concerts.BRIDGEWATER PREVIEW Some details are still being worked out, but we’re ableto give you an advance peek at the 14th Season of Jazz in Bridgewater, which raises neededfunds for the United Way and is co-sponsored by the New Jersey Jazz Society. No viabledates were available in April, so the season starts in May, with two concerts in June to catchup. All are Saturday evenings starting at 8 PM. Current prices ($15 advance/$20 door)continue, with the entire series (6 concerts) sold for just $75 — a great musical bargain.MAY 5 Banu Gibson and her New Orleans Hot Jazz (7 pieces).JUNE 2 Living legend guitarist Bucky Pizzarelli and friends.JUNE 30 REMEMBERING RED (Squires), with Ken Peplowski,Derek Smith, James Chirillo, Chuck Redd…JULY 21 The Midiri Brothers Sextet pays tribute to Artie Shaw.AUGUST 11 Pianists Jeff Barnhart and Mark Shane honor Dick Wellstood,20 years after his passing.SEPTEMBER 8 The hot 7-piece Galvanized Jazz Band visits from New England.Dan Tobias will lead his own group in March,with Joe Midiri playing reeds.44 March 2007 JerseyJazz

JerseyEventsJazzThat wealth of experience allows him to attract fine sidemen for this tribute.He’s selected Mark Shane for piano, Joe Midiri for reeds and Jim Lawlor fordrums, with possible later additions before the March 12 date. Should be a funevening of hot jazz.The following Monday, March 19 will see a return visit by British stridesensation Neville Dickie, who is coming earlier than usual this year becausemore American festivals are inviting him to play. The word on his piano artistryis getting around, so he will be returning twice more for festivals in CT and CA,but this is his only scheduled visit to NJ. Dick Hyman has called his playing“marvelous,” noting that Neville is “one of the few piano players extant whocould do the material justice.”“He has a left hand which, for sheer speed and total accuracy, will take yourbreath away,” writes an Australian reviewer, and he’s not alone in hisadmiration. If you were to assemble a mere handful of the best stride playerson the planet today, he would have to be included in that group. Fortunately, helikes the Kawai at the Bickford, and so tries to stop by for an annual visit.That piano will get quite a workout this spring. Jeff Barnhart takes the stageon April 9, treating us to a Scott Joplin tribute to recognize that 90 years havepassed since the great ragtime composer’s death. Italian piano force RossanoSportiello follows the following Monday, April 16, giving NJ fans a rareopportunity to see and hear this Arbors recording artist.Molly Ryan will lead a tribute to recently deceased vocalist Anita O’Day onMonday, April 30, and she’ll have Jon-Erik Kellso, Dan Levinson, Mark Shane,Brian Nalepka and KevinDorn playing behind her. Thevenerable Red Onion JazzBand is preparing a programfor May 21, followed by a visitfrom ragtime and boogieplayer Bob Milne on June 4.And the Summit Stompersare working on a Turk Murphytribute for June 25. All theseconcerts run as one 90 minuteset, starting at 8 PM. Tickets areonly $13 in advance, but $15 ifyou wait for the show date.Stride pianistNeville Dickie willappear in Morristownduring his only scheduledstop in New Jersey.Dreamland Orchestra.Photo courtesyof the Orchestra.Jazz For ShoreThe Fine Arts Center at Ocean County CollegeToms River, NJ 08754Tickets/Information: 732-255-0500Legendary cornetist Bix Beiderbecke was in the first handful of honoreesinducted into the American Jazz Hall of Fame. That reflects his importance tothe early development of jazz. At the time of his early death he was known andworshipped more by his fellow musicians than by jazz fans of the time. Butover time that changed. Kirk Douglas’s portrayal of the fictional Rick Martin inthe 1950 film Young Man with a Horn brought the Beiderbecke legend to theattention of the multitudes, and today there are annual weekend festivals thatdraw thousands of avid fans to hear his music.Tributes abound. At the Fine Arts center this year’s BIG BIX BLAST will takeplace on Wednesday evening, March 21, and involve the 11-piece DreamlandOrchestra. They play the hot dance music of the 1920s, typifying the largetouring bands of the pre-swing era. It is difficult material to play, requiring fleetfingers and careful coordination. Trombonist and leader Michael Arenella is astickler for authenticity, and recruits his players from the ranks of NYCmusicians with similar devotion to this music. Note the period drum set andother touches that capture the feel of the jazz era. The band roster will besimilar to that of the Jazz in Bridgewater concert (see their ad), with DanLevinson joining the compact reed section for this special concert.Bix’s music remains especially popular on the West Coast and in his Midwesthome, where many bands pattern themselves after his smaller groups. Few areskilled enough to tackle the tricky arrangements that Dreamland deftly plays soeffortlessly. To hear similar bands, you’d have to travel to California or Europe.With tickets priced at $13 (advance, $15 at the door) for a single extended 90minute set, this is the best value available for this unique sound. The musicstarts at 8 PM, with easy parking and comfortable seating.MidWeek Jazz continues on Wednesday evening, April 18 as Bucky Pizzarellireturns to the series. The popular guitarist will be flanked by two otherimpressive string players. “The Segovia of Jazz Guitar,” Gene Bertoncini, willmake his first appearance here that night. This concert will also introduceguitarist Ed Laub, a talented player who has studied extensively with bothBucky and Gene.Then on May 16, the popular Midiri Brothers Sextet will bring their Artie Shawtribute to Ocean County College for the first time. Joe Midiri will of course playthe clarinet, but brother Paul Midiri will have some surprises foryou! Backed by their exceptional sidemen, the program sold outthe hall when first presented in Morristown, and may well do thesame here. Save that date.Tickets may be purchased in advance with only a phone call.There is no extra charge for using credit cards. Call early, sinceyou get to select your reserved seat in this series…although theacoustics and sightlines are such that there really are no badseats in the hall.JJPhotos by Bruce Gast except as noted.’RoundJersey’Round Jersey concerts are produced by Bruce M. Gastin conjunction with the New Jersey Jazz Society.March 2007 JerseyJazz 45

Somewhere There’s MusicJerseyEventsJazzYou can find jazz all over the statein venues large and small.Here are just some of them.Asbury ParkJOYFUL NOISE CAFE1400 Asbury Ave.“JAZZ Alive Asbury Park”second Friday each month 8 PM$8BernardsvilleBERNARD’S INN27 Mine Brook Road908-766-0002www.bernardsinn.comMonday – Saturday 6:30 PMPiano BarPORT CITY JAVA55 Mine Brook Roadwww.fridaynightjazzjam.com4th Friday 7:00 PMBloomfieldWESTMINSTER ARTS CENTER/BLOOMFIELD COLLEGE467 Franklin St.973-748-9000 x343BrooklawnBROOKLAWN AMERICAN LEGION HALLBrowning Road & Railroad Ave. 08030856-234-5147Tri-State Jazz Society usual venuewww.tristatejazz.orgSome Sundays 2:00 pmClarkLANA’S FINE DINING1300 Raritan Rd.732-669-9024www.lanasfinedining.comWarren Vaché Trio Thursdays 7–11 PMLive jazz (rotating artists) Fridays 7–11 PMCherry HillTRINITY PRESBYTERIAN CHURCHRt. 70856-234-5147Tri-State Jazz Society occasional venuewww.tristatejazz.orgSome Sundays 2:00 PMCliftonST. PETERS EPISCOPAL CHURCH380 Clifton Ave.973-546-3406Saturdays 7:30 PMClosterHARVEST BISTRO & BAR252 Schraalenburgh Road201-750-9966www.harvestbistro.comEvery Tuesday: Ron Affif/Lyle Atkinson/Ronnie ZitoDealAXELROD PACJewish Community Center732-531-9100 x 142www.arthurtopilow.comEdgewaterLA DOLCE VITA270 Old River Rd.201-840-9000EnglewoodBERGEN PAC30 N. Van Brunt St.201-227-1030www.bergenpac.orgGarwoodCROSSROADS78 North Ave.908-232-5666www.xxroads.comJam Session Tuesday 8:30 PMGlen RockGLEN ROCK INN222 Rock Road201-445-2362www.glenrockinn.comThursday 7:00 PMHackensackSOLARI’S61 River St.201-487-19691st Tuesday 8:00 PMMickey Gravine Big BandNo coverSTONY HILL INN231 Polifly Rd.201-342-4085www.stonyhillinn.comFriday and Saturday eveningsHawthorneALEXUS STEAKHOUSE TAVERN80 Wagaraw Road, 07506973-427-92007 –10 PMNo coverAlexusSteakhouse.comBucky Pizzarelli & Frank Vignolaon rotating schedule Tuesdays &every other ThursdayHighland ParkPJ’S COFFEE315 Raritan Avenue732-828-2323Sunday 1:00 PM Open JamHillsboroughDAY’S INN118 Route 206 South908-685-9000Thursday 7:00 PM Open JamHobokenMAXWELL’S1039 Washington St.201-798-0406Every other Monday 9:00 PMSwingadelicSHADES720 Monroe St.shadesofhoboken.com888-374-2337HopewellHOPEWELL VALLEY BISTRO & INN15 East Broad St.609-466-9889www.hopewellvalleybistro.comFriday/Saturday 7:00 PMMinimum $15LawrencevilleFEDORA CAFÉ2633 Lawrenceville Road609-895-0844Some Wednesdays 6:00 PMNo cover/BYOBLittle FallsBARCA VELHA RESTAURANT/BAR440 Main St., 07424973-890-5056www.barcavelha.comFridays 7:30 PM Bossa BrazilNo coverLyndhurstWHISKEY CAFÉ1050 Wall St. West, 07071201-939-4889www.whiskeycafe.comOne Sunday/month James Dean Orchestrasswing dance + lessonMadisonSHANGHAI JAZZ24 Main St.973-822-2899www.shanghaijazz.comWednesday/Thursday 7:00 PMFriday/Saturday 6:30 PMSunday 6:00 PMNo coverMahwahBERRIE CENTER/RAMAPO COLLEGE505 Ramapo Valley Road201-684-7844www.ramapo.edu/berriecenterMaplewoodBURGDORF CULTURAL CENTER10 Durand St.973-378-2133www.artsmaplewood.orgMetuchenCORNERSTONENew & Pearl Streets732-549-5306Wednesdays & Fridays 7:30 PMNo cover. No minimum.MontclairCHURCH STREET CAFÉ12 Church St.FIRST CONGREGATIONAL CHURCH40 South Fullerton Ave.973-744-6560PALAZZO RESTAURANT11 South Fullerton Ave.973-746-6778Friday/Saturday 7:00 PMJoe Licari/Larry WeissRICHIE CECERE’S2 Erie Street973-746-7811SESAME RESTAURANT & JAZZ CLUB398 Bloomfield Avenue973-746-2553sesamerestaurant.comJazz Evening once every month, usually2nd or 3rd WednesdayTRUMPETS6 Depot Square973-744-2600www.trumpetsjazz.comTuesday/Thursday/Sunday 7:30 PMFriday/Saturday 8:30 PMMorris PlainsAMBROSIA RESTAURANT & BAR650 Speedwell Ave.973-898-1111www.ambrosianj.comRio Clemente Wednesday 7:00 PMMorristownTHE BICKFORD THEATREAT THE MORRIS MUSEUM5 Normandy Heights Road973-971-3706www.morrismuseum.orgSome Mondays 8:00 PMTHE COMMUNITY THEATRE100 South St.973-539-8008COPELAND RESTAURANT/WESTINGOVERNOR MORRIS HOTEL2 Whippany Road973-539-7300www.copelandrestaurant.comSunday Seafood Jazz Brunch 11:30 AMTHE SIDEBAR AT THE FAMISHED FROG18 Washington St.973-540-9601www.famishedfrog.com/thesidebarST. PETER’S EPISCOPAL CHURCH70 Maple Avenue973-455-0708SUSHI LOUNGE12 Schuyler Place973-539-1135MountainsideARIRANG1230 Route 22W908-518-9733Wednesday 7:30 PMNewarkNEWARK MUSEUM49 Washington St.973-596-6550www.newarkmuseum.orgSummer Thursday afternoonsNJPAC1 Center St.888-466-5722www.njpac.orgTHE PRIORY233 West Market St.973-242-8012Friday 7:00 PMNo coverSAVOY GRILL60 Park Place973-286-1700www.thesavoygrillnewark.comNew BrunswickDELTA’S19 Dennis St.732-249-1551STATE THEATRE15 Livingston Ave.732-246-7469www.statetheatrenj.orgNewtonBULA134 Spring St.973-579-7338www.bularestaurant.comFridays 8:00 PMNorth ArlingtonUVA602 Ridge RoadFriday 7:00 PMAdam BrennerListings are alphabetical by town. All entries are subject to change; please call each venue to confirm schedule of music.46March 2007 JerseyJazz

JerseyEventsJazzTell them you saw it in Jersey Jazz!North BranchNEW ORLEANS FAMILYRESTAURANT1285 State Highway 28908-725-00117:00 PMNutleyHERB’S PLACE AT THE PARK PUB785 Bloomfield Avenue973-235-06968:30–11:30 PMOaklandHANSIL’S BAR AND GRILL7 Ramapo Valley Rd.201-337-5649RUGA’S4 Barbara Lane201-337-0813Tuesday thru Saturday 7:00 PMPine BrookMILAN13 Hook Mountain Road973-808-3321www.milanrestaurant.comFridays 6:30 PM Stein BrothersPlainfieldCAFÉ VIVACE1370 South Avenue908-753-4500www.cafevivace.comSaturdays 7:30 PMPrincetonMCCARTER THEATRE91 University Place609-258-2787MEDITERRA29 Hulfish St.609-252-9680www.terramomo.comSALT CREEK GRILLE1 Rockingham Row, Forrestal Village609-419-4200www.saltcreekgrille.comRahwayARTS GUILD OF RAHWAY1670 Irving St.732-381-7511www.rahwayartsguild.org8:00 PMEIGHTY EIGHTS1467 Main Street732-499-7100eightyeightsmusicvenue.comwww.88bistrojazz.comThursdays – Sundays 6:30 PMRaritanMUGS PUB AND RESTAURANT73 West Somerset Street908-725-6691Fridays 7:00 PMRed BankCOUNT BASIE THEATRE99 Monmouth St.732-842-9000”JAZZ IN THE PARK”Riverside Park732-530-2782RidgewoodWINBERIE’S AMERICAN BISTRO30 Oak Street201-444-3700www.selectrestaurants.comThursdays Piano Jazz/PopFridays/Saturdays Jazz/Pop duosRumsonSALT CREEK GRILLE4 Bingham Avenue732-933-9272www.saltcreekgrille.comSayrevilleSHOT IN THE DARKSPORTS BAR & GRILL404 Washington Road732-254-9710Thursday 7:30 PMJohn BianculliSeabrightTHE QUAY280 Ocean Ave732-741-7755Tuesday nights Jazz Lobsters big bandShort HillsJOHNNY’S ON THE GREEN440 Parsonage Hill Road973-467-8882www.johnnysonthegreen.comSomervilleVERVE RESTAURANT18 East Main St.908-707-8605www.vervestyle.comOccasional Thursdays 6:00 PMFridays/Saturdays 8:30 PMSouth BrunswickJAZZ CAFÉSouth Brunswick (Dayton) Municipal Complex540 Ridge Road732-329-4000 ext. 7635www.arts@sbtnj.netfirst Friday every month$5 admission includes light refreshmentsSouth OrangeDANCING GOAT CAFÉ21 South Orange St973-275-9000www.thedancinggoat.com8:00 PMSOUTH ORANGE PERFORMINGARTS CENTEROne SOPAC Way973-235-1114SummitSUMMIT UNITARIAN CHURCH4 Waldron Ave.SundayTeaneckLOUNGE ZEN254 DeGraw Ave.201-692-8585www.lounge-zen.comNo coverPUFFIN CULTURAL FORUM20 East Oakdene Ave.201-836-8923Tom’s RiverOCEAN COUNTY COLLEGEFINE ARTS CENTERCollege Drive732-255-0550www.ocean.edu/campus/fine_arts_centerSome WednesdaysTrentonJOE’S MILL HILL SALOONMarket & Broad Streets609-394-7222OccasionallyUnionVAN GOGH’S EAR CAFÉ1017 Stuyvesant Ave.908-810-1844www.vangoghsearcafe.comSundays 8:00 PM$3 coverWatchungWATCHUNG ARTS CENTER18 Stirling Road908-753-0190www.watchungarts.orgWayneWILLIAM PATERSON UNIVERSITY300 Pompton Road973-720-2371www.wpunj.eduSunday 4:00 PMWest CaldwellCOLORS RESTAURANT& LOUNGE1090 Bloomfield Ave.973-244-4443West OrangeCECIL’S364 Valley Road973-736-4800FRANKLIN TAVERN97-99 Franklin Ave.973-325-9899No coverWestfieldNORTHSIDE TRATTORIA16 Prospect St.908-232-7320www.northsidetrattoria.comSunday, Tuesday, Thursdays eveningsACQUAVIVA115 Elm St.908-301-0700www.acquaviva-dellefonti.comFridays 7:00 PMWoodbridgeJJ BITTING BREWING CO.33 Main Street732-634-2929www.njbrewpubs.comFridays 9:30 PMWood RidgeMARTINI GRILL187 Hackensack St.201-209-3000Wednesday through SaturdayWe are in the process of updating entries; there will be changes in upcoming issues.Please contact tmottola@aol.com if you know of other venues that ought to be here.We want to include any locale that offers jazz on a regular, ongoing basis. Also pleaseadvise us of any errors you’re aware of in these listings.The Name DropperHoward Alden is at The Cornerstone March 21 with Dan Block on reeds andbassist Joe Fitzgerald.Professor David Dempsey, of William Paterson University, has written the intro,preface, annotated index, biography, selected compositions and discography forthe new edition of Alec Wilder’s autobiography, Letters I Never Mailed: Clues to aLife. The book was published in 1975 but has been out of print for some time.Dave, a member of NJJS, is coordinator of jazz studies at WPU and an activesaxophonist.Speaking of Wilder, Jackie Cain will feature several of his selections during herappearance at the long-running Jazz Room series at WPU on March 18.Jazz vocalist and NJJS board member Laura Hull will be at Sushi Lounge inMorristown March 4.Laura will join “The Bishop of Jazz,” Rio Clemente, to present Winter Sweet, asophisticated evening of songs that evoke the spirit of winter and romance.These two acclaimed Morris County performers share the stage for one nightonly at The Stockton Inn on Friday, February 23 at 8:00 PM. Winter Sweet willinclude the music of Berlin, Wilder, Lerner and Lowe, to mention a few. There arelikely to be some surprises in store too!Shades of Hoboken features Bucky Pizzarelli and Jerry Bruno on March 23.Reservations recommended.March 2007 JerseyJazz 47

JerseyJazzPO Box 410Brookside, NJ 07926-0410Send all address changesto the address aboveTime Value MaterialDeliver PromptlyPERIODICALSPostage PAID atMorristown, NJ07960StocktonTHE STOCKTON INN1 Main Street609-397-1250Tuesday 6:30 PM Jeffrey GordonFounding MemberBuilding an InternationalJazz Community