REMEMBERING - New Jersey Jazz Society

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New JerseyJazzSocietyThe Editor’s PickBy Tony Mottola Jersey Jazz EditorMy Les Paul StoryFor years Les had been bugging my father to come to one of his shows at the Iridium.They were old friends, and mutually admiring guitarists since the 1950s. Jazz guitarplayers are like a brotherhood; maybe that’s because they all share a magical gift. So whenLes’s 83rd birthday was coming up my dad phoned me and said, “Why don’t you come pickme up Monday and we’ll drive into the city, have dinner at Patsy’s and go see Les.”At the time, one of my nieces and one of my nephews were living in Manhattan. Anotherniece and nephew came in from Connecticut and they all joined us at the club. Les was verysolicitous of my dad and they sat together at the front table chatting about old times whilean amazing guitar quartet of Al Caiola, Bucky Pizzarelli, Vinnie Bell and, of course, Lou Palloopened the show, cutting each other up with smiling faces and hot solos — until Vinnie blewthe house down.After a while Les got on the stand and single-noted his way through a couple of tunes. Hischops were pretty shot with arthritis by then, but he still played with deep feeling and histrademark distinctive tone. He was always a great melody man, something my father reallyadmired in a player.Now Les was what my dad would call “a salty guy.” So he went into his schtick, kibitzingwith the audience, and at one point he launched into a pretty randy joke about oral sex.Once he got started my father waved his hand and said, “Hey Les, give me a break.I’ve got my grandchildren here!”Not missing a beat, Les looked down at him with a grin andsaid, “Don’t worry Tony. They’ll explain it to you later.” JJLike this issue of Jersey Jazz? Have itdelivered right to your mailbox 11 times a year.Simply join NJJS and get your subscription.See page 55 for details or visit www.njjs.org.Comments? Jersey Jazz welcomes your comments on any article or editorial. Send E-mailto editor@njjs.org or mail to the Editor (see masthead page 6 for address).Include your name and geographical location.Advertising Rates Quarter page: $50; Half page $75; Full page $100. Biz card size $25. 10% discount on repeat adsexcept biz card size. To place an ad, please send payment at www.PayPal.com using our code: payment@njjs.org, ormail a check payable to NJJS to New Jersey Jazz Society, 382 Springfield Ave., Suite 217, Summit NJ 07901; pleaseindicate size and issue. Contact art@njjs.org or 201-306-2769 for technical information and to submit ads.NJJS Deadlines The deadline for submission of material for upcoming issues is as follows:November: September 26 • December: October 26NOTE: EARLY SUBMISSIONS ARE GREATLY APPRECIATED.The Journalof the New Jersey Jazz SocietyVolume 37 • Issue 9USPS ® 6668Jersey Jazz (ISSN 000-004) is published monthlyeleven times per year with a combined July/Augustissue for members of The New Jersey Jazz Society,PO Box 410, Brookside, NJ 07926.Membership fee is $40/year.Periodical postage paid at Morristown, NJ 07960.Postmaster: send address changes toPO Box 410, Brookside, NJ 07926-0410.All contents ©2009 New Jersey Jazz Society.Tony Mottola Editor27 Upper Mountain Ave. , Montclair, NJ 07042973-509-9437E-mail: editor@njjs.orgLinda Lobdell Art Director/Co-Editor352 Highland Ave., Newark, NJ 07104201-306-2769E-mail: art@njjs.orgFradley Garner International EditorE-mail: fradleygarner@gmail.comDan Morgenstern Contributing EditorE-mail: dmorgens@andromeda.rutgers.eduMitchell Seidel Contributing Photo EditorPhoto@njjs.orgJohn Maimone Entertainment Contributor908-753-6722E-mail: jjm426@att.netFred McIntosh Entertainment Contributor201-784-2182E-mail: derfie_07675@yahoo.comNEW JERSEY JAZZ SOCIETYOFFICERS 2009Andrea Tyson President110 Haywood Ave.Piscataway, NJ 08854732-356-3626 | pres@njjs.orgLaura Hull Vice President908-229-4275Mike Katz Treasurer908-273-7827Caryl Anne McBride Membership Chairperson973-366-8818 | membership@njjs.orgAl Parmet Recording Secretary908-522-1163Jack Stine President Emeritus908-658-3515Joe Lang Past President973-635-2761DIRECTORSSteve Albin, Carolyn Clemente, Joanne Day,Laura Hull, Carrie Jackson, Claudette Lanneaux,Sheilia Lenga, Frank Mulvaney, Stan Myers,Mitchell Seidel, Jack Sinkway, Marcia Steinberg,Elliott Tyson, Jackie Wetcher, Tony Mottola (Ex-officio)ADVISORSJeff Atterton, Amos Kaune, Bruce Lundvall, Bob PorterMarketing/Public Relations Consultant: Don Jay SmithWebsite: www.njjs.orgE-mail: info@njjs.orgHotline: 1-800-303-NJJS (1-800-303-6557)To join the NJJS and begin receiving this magazine,go to “JOIN NJJS” (see table of contents) orvisit www.njjs.org for complete information.6__________________________________ October 2009

Restaurantand bar24 Main St. (Rt. 124), Madison, NJ 07940973.822.2899 • info@shanghaijazz.comNO COVER (except special events)Highlights, end of September, October 2009:tue 9/15: JOHN ZWEIGfri/sat9/25 & 26: WINARD HARPERtue/wed JOHN PIZZARELLI & BUCKY PIZZARELLI9/29 & 30: (by reservation only)thur 10/1: WARREN VACHE WITH TED ROSENTHALfri 10/2: ROB PAPAROZZIwed 10/7: HARRY ALLENthur 10/8: MORRIS NANTONwed 10/14: NICKI PARROTTAND ROSSANO SPORTIELLOthur 10/15: ANAT COHENBook your holiday parties at Shanghai Jazz.Call for information.Tuesday: 6:30 PM – 8:30 PM; Wednesday and Thursday: 7:00 PM – 9:30 PMFriday and Saturday two seatings: 6:30 PM & 8:45 PM; Sunday: 6:00 PM – 9:00 PMfor latest schedules and updates,please visit www.shanghaijazz.comPlease note: We take reservations by telephone only 973.822.2899 and not by e-mail.October 2009__________________________________ 7

New JerseyJazzSocietyNotes from the Music CommitteeBy Laura Hull NJJS Music Committee Chair“Words make you think a thought.Music makes you feel a feeling.A song makes you feel a thought.” —E. Y. “Yip” Harburg, LyricistWe’re pleased to tell you thatplanning is underway for our2010 Education ScholarshipFundraiser. We are teaming up withthe Folk Project to present TernSwings— a Swing Concert for Listenersand a Swing Dance forDancers! for the benefit of the NJJSEducational Scholarship Fund. Thisfundraiser will increase the grantmonies we award annually to NewJersey jazz studies students. Theevent features the 18-piece jazzswingband, Reeds, Rhythm & AllThat Brass, led by former NJJS VicePresident Dr. Lou Iozzi. The show isscheduled for Saturday, January 30,A Swing Sensation…dance to the music ofTerry “A” and theBIG BAND SOUNDSunday October 25, 2009 4–7PMAt The Flemington Jewish Community Center5 Sergeantsville Road, Flemington, NJ 08822908 788 7704Tickets: $18 in advance/$20 at the door2010 at First Presbyterian Church,Parish Hall, 14 Hanover Road inEast Hanover. Tickets are $15 inadvance and $20 at the door, andcan be purchased online athttp://dance.folkproject.org or bycalling 908-591-6491.■ If you are unable to attend theTern Swings event, we invite you topurchase tickets anyway, to supportthe scholarship fund. In addition,we welcome your direct donationsand invite you to visit the NJJSwebsite: www.NJJS.org/scholarshipsand simply click on the Donationsbutton. Donations of $1,000 ormore entitle the donor to lifetimemembership in the NJJS!■ Planning is underway forthe Pee Wee RussellMemorial Stomp and we’llbe announcing the musiclineup in the next issue.We’ll be back at theBirchwood Manor onSunday, March 7 — so besure to mark your calendarfor this annual afternoon ofswinging music.■ Our monthly Jazz Social isscheduled for Sunday, October 18from 3–6 PM and will feature anIntimate Portrait with ChampianFulton. Now taking place atShanghai Jazz in Madison, theSocials are an opportunity to meetlike-minded people and listen tosome great programming.Admission is free for members andjust $10 for non-members — goodtoward a new annual membership!There is a $5 minimum food andbeverage charge.■ Our jazz film series will featureThelonious Monk: Straight No Chaseron Thursday, November 19. This isa change of date, so please markyour calendars accordingly. Theseries takes place at Library of theChathams in Chatham and beginsat 7PM. Joe Lang is host of the jazzfilm series and he’ll be on hand foran after-film discussion.Admission is free.JJSee calendar page 3 andstay tuned to www.njjs.orgfor updates and details.and November 22under the auspices ofThe Big Apple Pops,at Lorenzo’s Restaurant,Hilton Garden Inn, Staten Isl.NY. 718 477 2400Got E-mail? Friends got E-mail?News and special offers are often late-breaking —so please make sure we have your E-mail address,and tell your friends! Contact publicity@njjs.org.8__________________________________ October 2009

JerseyArticlesJazzClassic StineBy Jack StineNJJS President Emeritus…mulling over Teachout’s question,one has to wonder if it’s the rightone. Shouldn’t he be asking ifmusic itself can be saved?Terry Teachout’s BrouhahaIimagine a lot of NJJS members read Terry Teachout’s recentarticle in the Wall Street Journal asking if jazz can be saved.The article is replete with statistics showing that the jazz audience isshrinking at an alarming rate. Figures supplied by the latest NEASurvey of public participation in the arts seem to warrant Teachout’squestion. In 1982, for instance, the median age of those attendingjazz events was 29. In 2008, it was 46. College-educated adultsattending live jazz events declined from 19.4% in 1982 to 14.9%.Stats like that inspired Mr. Teachout to fire up his word processorand take his case to the people.He goes on. “What I find no less revealing, though, is that the medianage of the jazz audience is now comparable to the ages of those whowent to live performances of classical music (49 in 2008 vs. 40 in1982), opera (48 in 2008 vs. 43 in 1982), nonmusical plays (47 in2008 vs. 39 in 1982) and ballet (46 in 2008 vs. 37 in 1982).” And soon and on.We’ve all learned, often the hard way, that statistics can be twisted inmany ways to make a point, but Mr Teachout’s contentions wouldreally seem to serve as a wake up call for action. But what action?Shed a few years to reduce the age difference in the audience? Attendmore programs, even if we doubt the stuff being played doesn’tsquare with music we’ve always revered as jazz? Might it not be thatthe cure will have to be made not by us in the audience but by themusicians themselves?Many times during the past years I’ve referred to Dick Wellstood’sclassic statement that there is no jazz; only music exists. It’s a sentimentthat was firmly supported by Dick’s on and offstage compadreKenny Davern, certainly one of the greatest clarinetists any jazz loverwill ever hear. Kenny would drop anything any time to discuss eitherBruckner and Dvorak or Teschemachus and Clayton. It made nodifference to him. It was all music. With this in mind, and mullingover Teachout’s question, one has to wonder if it’s the right one.Shouldn’t he be asking if music itself can be saved? And if so, where’sthe audience to do it?Let’s repair to a scene that took place a couple of years ago on a verycold day in a Metro Station in the District of Columbia. The exactlocation is unimportant — you’ve seen its like any time you took asubway or train any place.A nondescript-looking guy wearing a baseball cap and clad in whatstreet people might call basic black sweatshirt and jeans stood in apassage, sawing away on a fiddle. On the deck before him was abattered can that begged for donations. He played for about an hourand it was estimated that about 2000 commuters passed, either goingto or returning from their trains.After the first four minutes, a lady dropped a dollar in the canwithout breaking her pace. A young man leaned against the wall andlistened for a few minutes. After a bit, he looked at his watch and left,leaving nothing. A toddler pulled his mother to a stop to listen butthe mother dragged the child away. For three quarters of an hour theman played non-stop. Twenty people made donations; six peopleinterrupted their walk to listen briefly. The final take was $32, whichany itinerant musician in similar circumstances might have thoughtpretty good.After an hour, the musician packed up his instrument and walkedoff. Nobody noticed. Nobody applauded. Nobody looked after him.Of course it had all been an experiment. The violinist had not beenwearing his customary concert attire. He was Joshua Bell, one of theera’s greatest violinists, playing part of a program that had sold out aconcert in Boston a few evenings before where the seats averaged ahundred bucks a pop. His instrument that day in the DC Metrostation was one valued at $3.5 million.The above is a true accounting of a test organized by the WashingtonPost to determine how we perceive beauty, do we stop to appreciateit, and do we recognize talent wherever or whenever we experience itin an unexpected context? In conclusion, the Post asked, “If we donot have a moment to stop and listen to one of the best musicians inthe world, playing some of the finest music every written, with oneof the most beautiful instruments ever made…How many otherthings are we missing?”I happened on this little item the same day as the Teachout article.Statistics and narrative don’t always go together, but in this case Isee a complement, and it is this. Can an audience that does notsave itself be expected to save anything at all?JJOctober 2009__________________________________ 9

JerseyArticlesJazzBig Band in the SkyThe New Jersey Jazz Society mourns thepassing of former president Ed Metz, Sr.■ Edwin Irvin Metz, Sr., 74, pianist,bandleader, composer/arranger, June 14,1935, Bath, PA – September 1, 2009,Allentown, PA. By every measure — as anengineer and businessman, as a family man,and as a jazzman — Ed Metz, Sr. lived a lifeof extraordinary accomplishment. As ayoung engineer he was on the cutting edgeof technological innovation as part of theteam that developed the first computer; butas a musician, Ed was strictly a traditionalist,who worked tirelessly to keep Chicagostyleswing and New Orleans jazz alive.The eldest of three boys, Ed grew up inBath, Pennsylvania and attended CentralCatholic High School in Allentown wherehe met Johanna “Joey” Kulowitch, whowould later become his wife of 52 years.He studied physics at St. Joseph’s Universityas a scholarship student and it was there hebegan his musical career, composing theuniversity’s fight song and serving as musicaldirector for student musical theaterpieces. At the time he also began his jazzcareer, honing his piano playing skillstouring with The City Line 5.After graduation, Ed began his career as anengineer at the Philco Corporation, where heworked on the production of the first computer,and married his childhood sweetheart,Joey. Concurrently he became an activepiano sideman on the Philly jazz scene.In 1966 Philco was sold to the Ford MotorCompany and Ed and Joey moved with theirthree young sons to Ann Arbor, Michigan.There he joined a group of entrepreneurs toform a data management company calledCyphernetics and jumped into the Detroitjazz scene, including playing with the NewMcKinney’s Cottonpickers among others.Cyphernetics developed many products thatwere well ahead of their time, and whoseconcepts are contained in many of the mostimportant PC applications, even today. In1976 the company was acquired byAutomatic Data Processing and Ed and hisfamily moved to Montville, NJ where helived for the next 30 years.After Ed left ADP he became involved incorporate mergers and acquisitions, servingon the boards of a half dozen technical firmsand finally retiring in 1998. But he neverretired from music, and often traveled oftento perform at jazz festivals around thecountry working with Dixieland and Swingbands, particularly Swing’n Dixie and,beginning in 1991, with the Bob Crosby BobCats where he served as leader and arrangeruntil the time of his death. A family affair,his sons, drummer Ed, Jr. and bassist Tim,regularly performed in the group.Ed became an active member of the NJJS,joining the Board of Directors in 1993 andserving as a member of the EducationCommittee. He served a term as vice presidentof the Board in 1994 and as presidentin 1995. He also served as vice president ofthe American Federation of Jazz Societies.Ed performed several times at NJJS events,including with Bobby Levine and hisDixieland All-Stars at the BridgewaterManor in 1989 and at “Spring Into Spring”in 1990, at the Society’s Annual meetingwith sons Ed, Jr. and Tim in 1995 and againwith his sons and Alan and Warren Vaché atJazzfest in 2002. Most recently Ed led theBob Crosby Bob Cats at Jazzfest in 2008.In addition to being a fine pianist, Edwas a prolific music writer, composing anastounding 500 original songs and writingmore than 1,000 big band arrangements.Among Ed’s many perfomance highlightswas an appearance at President RonaldReagan’s second Inaugural Ball at theKennedy Center.Donations in Ed’s memory may be made tothe American Diabetes Association,Northern NJ Office, Center Pointe II, Suite103, 1160 Route 22 East, Bridgewater, NJ08807. — Tony Mottola[Thanks to Joanne Day, Joe Lang, DonRobertson and the Metz family for assistancewith this obituary.]■ Chris Connor, 81, vocalist, Nov. 8, 1927,Kansas City, MO – August 29, 2009, TomsRiver, NJ. Legendary jazz vocalist ChrisConnor, who first came to prominence withthe orchestras of ClaudeThornhill and StanKenton and went onto record dozens ofsuccessful albums andsingles, died on Saturdayevening, August 29 at theCommunity MedicalCenter in Toms River, NJfollowing a long boutwith cancer. She was 81. Among her manyhits were “All About Ronnie,” “Trust in Me”and “I Miss You So.” Nearly her entirerecorded legacy has been reissued on CD,including such classic albums as The GeorgeGershwin Almanac of Song, Witchcraft andLullaby of Birdland.Chris Connor was among the most popular’50s vocalists, famous for altering rhythmson ballads, using little vibrato except onspecial occasions, and a husky, lush soundand she continued to record and performsuccessfully throughout the world for thenext 50 years.Born Mary Loutsenhizer in Kansas City, MOon Nov. 8, 1927, Connor studied clarinet foreight years as a child, then began singing inher late teens. She was the vocalist with alarge band at the University of Missouri ledby Bob Brookmeyer modeled after theKenton band. After working with a group inKansas City, Connor moved to New York in1949. She sang with Claude Thornhill,Herbie Fields and Thornhill again in theearly ’50s, performing with Thornhill’s vocalcontinued on page 1210_________________________________ October 2009

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JerseyArticlesJazzBIG BAND IN THE SKYcontinued from page 10group theSnowflakes.An admirer ofKenton singers AnitaO’Day and JuneChristy, Connorrecalled, “I hadmy sights set onsinging withKenton.” While appearing with Jerry Wald’sband, she got her wish, receiving a phonecall to join Kenton in 1952, with whom sherecorded her biggest hit, “All About Ronnie.”Connor went solo in 1953 and signed withBethlehem Records for two years. She thenmoved to Atlantic, and enjoyed worldwidesuccess as one of their biggest album sellers,having two chart singles in the late ’50s.They were the songs “Trust In Me” and thetitle cut from the album “I Miss You So.”Connor switched to Roulette and ABC-Paramount and was highly praised for her1966 appearance at the Austin Jazz Festival.Following a period of semi-retirement,Connor made a comeback in the mid-’70s,cutting albums with Kenton and MaynardFerguson. She continued recording into the’80s, ’90s, and 2000s for such labels asProgressive, Contemporary, High Note andEnja, and touring throughout the world,including Carnegie Hall in New York, theKennedy Center in Washington, D.C. andtop venues in Japan, where she was hugelypopular. Her last appearance was at theIridium jazz club in New York City in 2004in a split engagement with her idol AnitaO’Day. — Alan Eichler■ Lawrence Lucie, 101,guitarist, Dec. 19, 1907,Emporia, VA – Aug. 14, 2009,New York, NY. Prior to hisdeath at a Manhattan nursinghome on August 14, LawrenceLucie was the last livingmusician to have recorded withJelly Roll Morton. His longmusical career began in theearly years of jazz and theguitarist worked with a starstuddedlist of the music’s icons,including Duke Ellington, BillieHoliday, Fletcher Henderson, Benny Carter,Louie Bellson and many others.He was a member of Louis Armstrong’sband for four years in the early 1940s,during which time he served as best man atthe trumpeter’s marriage to fourth wifeLucille. He also performed at the ApolloTheater the first night the venue was openedto black audiences.“The most amazing thing about him is howmany great musicians he worked with,” commentedDan Morgenstern, director of theRutgers University Institute of jazz Studiesat a celebration of Lucie’s 100th birthday.“It’s like a whole living history of jazz.”Lucie studied banjo, guitar and violin in hisboyhood years and performed in a band ledby his father. He moved to New York City atage 19 and embarked on a musical careerthat lasted a remarkable 79 years. He was arhythm player who rarely stepped into thesolo spotlight, but his steady beat kept himin demand for recording sessions andearned him a seat in top bands.Later he performed and recorded with hiswife, singer Nora Lee King, and the couplehad their own Manhattan cable televisionprogram for many years. He taught music atManhattan Community College for 30 yearsand was a member of the New York JazzRepertory Company and the Harlem Jazzand Blues Band. He also performed withPanama Francis and the Savoy Sultans inthe 1980s and ’90s and had a long-standingSunday night solo spot at Arturo’s, aGreenwich Village Italian restaurant wherehe performed until 2005.Asked once about the secret of his long life,Lucie remarked: “I didn’t have but onewoman at a time. I didn’t drink a lot ofwhiskey. I did what my father told me to do.”— Tony Mottola■ Eddie Higgins, 77, pianist, Feb. 21, 1932,Cambridge, MA – Aug. 31, 2009, Ft.Lauderdale, FL. Higgins was an elegantplayer who is best known for a long run ashouse pianist atChicago’s formerLondon House jazzclub from the late1950s to the late1960s. He had movedto Chicago fromMassachusetts tostudy at the NorthwesternUniversitySchool of Music.He was known for sophisticated harmonics,an extensive repertoire and a knack forplaying in almost any style.“When he played at the London House, a lotof times the main act did not want to followhim — or shouldn’t have,” former Chicagopianist Judy Roberts told the ChicagoTribune. (Roberts took over Higgins’s gig atthe London House in 1969.)“He was brilliant and had tons of chopswithout being flamboyant,” Roberts said.“He had gorgeous facility, and he was highclassall the way. He never resorted to anycheap tricks…He was flawless.”At the famed London House, Higginsshared the bill with all the greats, includingOscar Peterson, Dizzy Gillespie, Stan Getz,Erroll Garner and many others. Suitablyimpressed, several invited him torecord, including ColemanHawkins, Lee Morgan and JackTeagarden.In 1970 Higgins moved toFlorida and thereafter split histime between there and CapeCod, where he played the localclubs and enjoyed sailing andtennis. He also performed widelyon the jazz festival circuit inJapan and Europe, and recordedseveral best-selling albums forthe Japanese Venus label.— Tony Mottola JJ12_________________________________ October 2009

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JerseyArticlesJazzDan’s Den | Benny Goodman & BeyondStory by Dan MorgensternAnat Cohen.Photo by Osnat Rom.More summer highlights: BennyGoodman’s centennial was celebratedby the usual suspects, some of whom dovery well with BG tributes on a regular basis,but I’d lay odds that the musically mostinteresting salute to the master was AnatCohen’s Benny Goodman & Beyond weekat the Village Vanguard in early July. Withsuperb support from Benny Green, piano; Peter Washington, bass,and Lewis Nash, drums, Anat revitalized well-chosen items from thevast BG repertory, including some surprises, with refreshing energy,enthusiasm and imagination. Nash not only swung in the mosttasteful manner imaginable, but also offered a couple of knocked-outscat vocals. There’ll be a live recording forthcoming on the Anziclabel. Look for it!How about 14 grand pianos lined up in front of Central Park’s Bandshell,itself inhabited by an all-star big band directed by yet anotherpianist, Norman Simmons, for an evening salute to Bobby Short,presented by the Duke Ellington Center for the Arts, exactly 14 yearsafter Short unveiled the Ellington statue at 110th Street and FifthAvenue. The weather gods smiled upon the July 1 occasion, and anaudience of all ages enjoyed a musical menu consisting of Ducalwarhorses as well as lesser-known gems, all 18 from Short’s repertory.Among the standouts: Daryl Sherman’s “Reflections in D” and FrankOwens’ “Take Love Easy” and “Sophisticated Lady.” Adam Bernbaum,Courtney Bryan, Chris Cherney, James Crease, Aaron Diehl, Eldad(not to be confused with Eldar), Tommy James, Ian McDonald,Leonard Oxley, Marcus Perfisani and Peter Zack rounded out the cast.The pianos—a mixed bag, quality-wise; early arrivals got the best—were provided by Beethoven Pianos. The island of Grenada, Short’sfavorite home away from home, was a co-sponsor, and Duke’scharming granddaughter, Mercedes Ellington, emceed. (This may bethe only coverage of the extraordinary event.)Trek to New OrleansMade my annual trek to New Orleans for the Satchmo Summerfest,the ninth, and attendance-wise, one of the best. The city has sprucedup Armstrong Park, the site of a morning birthday celebration withmusic provided by Japan’s Louis Armstrong, the amazing YoshioToyama, and his band, which for the past few years has includedJimmy Smith, the American drummer now residing in Japan.Toyama and his banjo-playing wife lived in NOLA 1968–73, andtheir Wonderful World Foundation has donated more than 700instruments to the city’s youth. WWF was the topic of one of the July30–August 2 festival’s dozen seminars, which also featured GeorgeAvakian, Michael Cogswell, Robert O’Meally(who gave the keynote), Ricky Riccardi(who showed marvelous Louis videos),David Ostwald, and yours truly. As always,trumpeter Leroy Jones was a standout, and asalways, it was a special treat to hear and seeLionel Ferbos, now 98 years young, who stillbeats off perfect tempos, plays solid leadtrumpet, and sings like a man half his age.And speaking of trumpeters, I caught my old friend Jack Fein, activein New York years ago, on his first gig after a quadruple bypass—hestill has one of the biggest sounds in captivity. A special treat was anexhibit celebrating the centennial of the Zulu Social Aid and PleasureClub, and the 60th anniversary of Louis’s crowning as King of theZulus. New York and New Jersey’s own Daryl Sherman did twonights at a nice boite in the Garden District, Le Chat Noir, backedby an excellent bassist, Jesse Boyd, doing songs from her most recentCDs, N’Orleans (Jazzology), recorded locally last year, and her fineJohnny Mercer Centennial Tribute (Arbors), packing them in.Contrabass SarrusaphoneFinally, back home, a far too rare opportunity to catch multiinstrumentalistScott Robinson at the helm of his own group—this at Kitano, a nice place to listen, especially if you like sushi andinteresting cocktails. With Mike Le Donne on piano, Martin Windon bass and Dennis Mackrel on drums, the amazing Scott presenteda program of music by Thad Jones, as featured on his latest CD,Forever Lasting (Arbors), which I love. On one number, he plays thecontrabass sarrusaphone, which, like most ordinary mortals, I hadnever seen—it looks like a tuba after the Atkins diet, but being asarrusaphone, has a reed mouthpiece. Live, it doesn’t vibrate quite asmuch as on record, but the thing is that Scott, as he does on all hisinstruments, makes music on it—as he did on the theramin, in duetwith his wife’s alto flute.Scott played an E-flat soprano flute on the super-fast “Fingers,” whichalso spotted his magisterial bass saxophone and his marvelous tenor,which he featured on just a single chorus, in slow ballad tempo, ofThad’s beautiful “To You.” Scott also played trumpet, flugelhornand echo cornet. His cohorts, all but Dennis new to the music, did agreat job, Mike consistently first-rate in solo. Frank Wess and JerryDodgion were in the enthusiastic audience. If I had a club, I’d installScott Robinson as permanent resident. He is, to coin a phrase,something else.JJDan Morgenstern, a columnist for Jersey Jazz, is director of the Institute ofJazz Studies at Rutger’s University, Newark, and author of Jazz People(Pantheon Books).14_________________________________ October 2009

Corea, Clarke & White TrioChick Corea, Stanley Clarke & Lenny WhiteOriginal Members of Jazz Supergroup Return to ForeverTuesday September 29 @ 8:00 PMDon’t miss this powerfuljourney of three mastersthrough an acoustic,electric, funky androck fusion of jazzlike no other.They explore the rangeof their electro-acousticalchemy — from straightaheadswinging jazz tohard-hitting fusion.Tickets $99, $86, $69, $49, $29About Bergen Performing Arts Center: Known as The JohnHarms Center for 27 years, this cultural hub in Englewoodhas been reborn as Bergen Performing Arts Center orbergenPAC. This 1367-seat theater is a landmark, and in itssixth season as bergenPAC it remains one of the finestacoustic halls in the United States. As a non-profitcorporation, bergenPAC has thrived thanks to the aid andgenerosity of sponsors, donors and patrons.bergenPAC30 North Van Brunt StreetEnglewood, NJ 07631Tickets can be purchasedat the Box Office201-227-1030 or online atwww.bergenPAC.orgOctober 2009__________________________________ 15

JerseyArticlesJazzMore about LESBy Schaen FoxIwas so fortunate to havespent hours interviewingLes (for Talking Jazz,JJ,June 2008). His memorywas amazingly sharp aswas his wit. In spite of allthe accolades for his greatachievements, he waswonderfully cooperative,patient, and easy to talk to.He made you feel that youwere with a friendlyneighbor, rather than amusical colossus. The following aresome of my memories and those ofhis fellow musicians.I heard Pat Martino say that when he firstcame to New York and was struggling to getstarted, Les Paul took him in until he establishedhimself. Later he got Les to come tohear him play and during Pat’s break, theyhurried to see Wes Montgomery performnearby. They stood at the bar and Wes cameover to them. The young guitarist tried tointroduce his benefactor to Wes but Wessaid, “I know who this is. I have two guitarheroes, Charlie Christian and Les Paul.” Patsaid he soon had to hurry back to his owngig and left Les there. He then said, “After Ireturned, I joined with Les Paul, WesMontgomery, Grant Green, and GeorgeBenson for breakfast at Wells Diner.”In November 2006, Les was scheduled toperform at Kean University. The show wasdelayed by about 15 minutes while emergencypersonnel helped someone in theaudience. Les then came out with his regularmusicians from the Iridium. His guitar wasgiving him some trouble, and as he workedon it, he leaned to the microphone andquipped, “I should have brought a Fender.”They then did the standard first act; and asthe others walked off for the break, Lesstayed and answered questions from theaudience until his bandmates returned forthe second half. After the show, Les said thatif we would give him a few minutes, hewould come out to the lobby for autographsWayne Wright, Les Paul and Gary Mazzaroppi at Fat Tuesday’s,New York City, April 15, 1985. Photo by Mitchell Seidel.and photographs. When we got there, theline of fans snaked back and forth completelyfilling the space. People held programs,CDs, LPs, guitars and scraps of paper. Heautographed them all and chatted with eachfan. I’m sure he didn’t get out of there untillong after midnight.In April 2007, Freddie Hubbard played atthe Iridium. The night I was there, hisperformance was uneven, at best. Theaudience, however, gave him the applause hedeserved for the music we remembered.Later, backstage, he talked with some fans.He told us that when he was unable to play,he would just sit home with the TV or videogames and wish he could get back to NewYork. He said he was surprised to learn thatLes Paul had managed to get him bookedinto the Iridium because he hadn’t been“That was one of thebiggest lessons thatI learned from him;play the melody. Allhe had to do is playthe melody and theplace would gocrazy, all the time.”– Paul Nowinskiplaying at all, and had no group.Freddie said he had to hustle to getready and that was a key event inhis reemergence.The last time I spoke to Les, he toldme one final story. When his sonswere quite young, they told himthey had found his old BoogerBrothers transmitter and damagedit. Considering that this was thepiece of equipment that had almostkilled Les, he wanted to impress theboys with how serious this was.After the fatherly warning to stayaway from his electronic equipment,“we took the broadcasttransmitter out in the backyard andI took a shotgun and shot it. Thenwe dug a hole and buried it.”Les truly loved entertaining people. Whenwe talked about his medical history and hisreduced ability to play, he spoke about hisneed to perform. He had decided that if hismedical problems left him totally unable toplay the guitar, he would develop a comedyact and carry on. He was an amazing personand we will never see his like again. He wastruly, “The one and only…”Jack Wilkins: Les Paul was one of the trueinnovators of the jazz guitar. He was atraditionalist and also an electronic wizard.I was fortunate to play with him a few timesand found him gracious along with hislegendary sense of humor. Les Paul was aninstitution that will most likely never beequaled again. He will be missed.John Pizzarelli: The one thing that stillamazes me about Les Paul isn’t the multitracking,the electronics or the solid bodyguitar. It is the guitar playing itself. Les gota sound that was uniquely his own.Whether he was overdubbing it ten timesor just playing the melody, it was alwayshim. Also, he was such a vibrant andraucous person. I think the guitar kept himthat way.Marlene VerPlanck: I worked for Les inhis studio during the jingle days but I haveno real stories except he was a fun guy, veryprofessional. The only thing I can say is Iran into him at The Iridium after about 25years and he said, “Marlene, where haveyou been?” Great to the end...Lew Soloff: I had very little personal contactwith Les, silly me always had an openinvite from his piano player to sit in, butcontinued on page 1816_________________________________ October 2009

Help NJJS increase the size of scholarships granted annually to jazz students.Outright gifts to the NJJS scholarship fund are gratefully accepted.Donations of $1,000 or more entitle the donor to lifetime NJJS membership.Donations may be made by check payable to NJJS and mailed to the New Jersey Jazz Society c/o Mike Katz, Treasurer,382 Springfield Avenue, Suite 217, Summit, NJ 07901. Online donations may be made at http://njjs.org/p/collegeScene.html.October 2009__________________________________ 17

JerseyArticlesJazzMORE ABOUT LEScontinued from page 16only did it once when I worked oppositehim with Jerry Vivino and thoroughlyenjoyed the experience. However when Iwas a kid I would play Les Paul and MaryFord records on the juke box over and over,notably “Via Con Dios.” It was thrillingwhen I finally met him.Vic Juris: I met Les Paul when I was 17years old. I had just gotten my driver’slicense and I drove up to his studio for myvery first recording session. It was with agroup of singers. His studio, in those days,was open to the public. I met him at thatsession and had a lifelong friendship withhim. He treated me great and was veryencouraging. He really liked what I did. Heloved to play. He used to come to some ofmy gigs and sit in and play and hang out. Iended up spending a lot of time with himat his house. He was just a very interestingperson to be around. I think inventing waswhat he enjoyed the most. He loved musicand he loved the guitar and to be aroundpeople, but he was a naturally curiousperson. He could have lain back on hislaurels and taken it easy but he kept tryingto find new pickups for the guitar andthings of that nature.He was a friend of mine, I really loved Les.Paul Nowinski played bass for Les at one ofhis last gigs at Fat Tuesdays and the firstfour years at the original Iridium —The first time I heard of Les Paul, I didn’tknow it was a person, I thought it was justa guitar. I was familiar with him, but I onlymet Les when he was 80. I [went to FatTuesdays] and saw his show and it was,“That guy is cool.” I spent almost five yearswith him and we remained friends. He wasmy adopted grandfather and the beginningof my old-timer musical experience. I rememberthat first night I played with him,he basically made that whole show aboutme. “Yeah, you know, he doesn’t know anyof the songs, but he’s not bad, is he?” Youhad to have a sense of humor to stick withLes because if you didn’t, he didn’t want tobe around you. Those years for me werelike college…Show Business College. Ididn’t like going to school, but I was reallytrying to learn that stuff and he had a lot tooffer. He was a complete original, seriouslyfrom the old school. I loved him, I reallydid.He had a catalogue of jokes that he wouldjust hit every week. It was like fishing. He’dthrow them out there and get a laugh andthen he’d just stick on it and elaborate untilhe had everybody rolling. He would get theaudience and just kill them. It was funny,after years of being off and going back andhearing all the same jokes and I was: “Les,I’ve got to tell you, when I was playing withyou I didn’t think those jokes were thatfunny”; but he actually got me to crack up,just the way he told it. He would always riffon his material. Part of his show was teasingthe band and Tony Bennett was thereonce and Les gave me a little bit extra-hardtime that night. I got off stage and I sawTony and he said, “Les Paul — ShowBusiness 101.”He’d let anybody get up on stage. That wasthe big part of the show. If somebody wasreally bad, he’d go, “Want to do anotherone?” If they knew nothing, he would makethem play by themselves. And if they weregood he’d keep them up there all night.There were times that Les wasn’t aware ofwho even was there. One night Carole Kayecame in. She played bass on all the BeachBoys records. She’s a tremendous L.A. sessionbass player. She and Joe Pass werereally tight. She proceeded to get on stageand she was like Joe Pass on guitar. He said,“OK, you start it up” and because Les didn’tknow who she was, she had no mercy andshe just wiped the floor with him.[Usually] people would come in and playso much all over the place. Then Les wouldplay the melody with one finger and justbring the house down. They would play amillion notes, and nobody felt anything,but when Les just played the melody thatwas so deep that it would affect people. Hewas upset that he couldn’t do the fast stuffand felt limited by his arthritis and everything,but it didn’t matter. He would figureout a different way to do it. That was one ofthe biggest lessons that I learned from him;play the melody. All he had to do is play themelody and the place would go crazy, allthe time.He was so tenacious, just sticking to whathe wanted to do. He had a tremendousmental focus on the matter at hand, whateverit was. It was like a tunnel vision and Ithink that is why he got so much done.He was one of the first tricksters to get thatelectric sound. Charlie Christian was anelectric guitar player, but [his] guitar stillsounded acoustic. When Les got his soundit was like from another world. All thethings with the echoes and reverbs, he wasthe first to get into that so the rockerslatched on to that. He was a show businessentertainer on that guitar and he would dothose tricks and Jeff Beck copped it andJimmy Page copped it and then all the otherguys. He’s had generations of influence.Everybody is taking it hard, we’ve seen himget sick and come back so many times thatit just seemed like, OK, he’s just resting. Hehad a lot of wiry strength. His mind wasjust completely there, but when you’re thatold…everybody was sure he was going tomake it to at least 100. We all wanted himto but all we have is his memory, hisformula. We can all learn from that.Bucky Pizzarelli: Les Paul got a sound onone note that nobody else could get a —great, great sound. Les’s mind was alwaysone step ahead of everybody else. I rememberwhen I played with him at the St. Regis;I told him that Ed McMahon was comingin, because I was doing the Tonight Show.He got a table [set up] right next to us witha glass and a bottle of Budweiser beer becauseEd used to do the ads for Budweiser.It was brilliant because when Ed saw it hebroke up.Lou Pallo was the ever-present guitar playeron Les’s bandstand—I met him like 45 years ago and the firstthing he said was here’s my phone number,give me a call. I spent a lot of time withhim. We did a lot of jamming together. Hefollowed me all around in New Jersey becausehe was retired at that time. No matterwhere I played, he’d show up. He’d bringhis guitar, plug into my amp and just playwith me. What a thrill [and] honor just tohave him there, because when I was a kid, Iidolized Les Paul. Then he said let’s getsomething going, we’ll do some concertsand maybe we’ll get a gig in New York,which we did. But we did a couple in NewJersey in what he called a box. When you goto a restaurant they always have a partyroom. It’s just a room, there isn’t any bar,the ambiance is not the same and he didn’tlike that. He wanted a nice nightclub wherethere is a stage and a bar. He liked to beclose to people. He always said, “Lou, don’tget big. Don’t go to the big time, becausewhen you play for 10,000, 20,000 peopleyou’re not close to them and it is so nice tobe near them.” He liked that nice nightclubintimacy. So we booked Fat Tuesdays andwe were there for 12 years and then theIridium for about 13 years or whatever itwas.He had arthritis very bad. When he was sittingin with me all the time, he had problemswith his fingers. He had to learn toplay all over again [because] he was onlyusing two or three fingers. He’d come incontinued on page 2018_________________________________ October 2009

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JerseyArticlesJazzMORE ABOUT LEScontinued from page 18and say, “Oh, my hands are hurting” and put them in hot water. Hetried everything, but the arthritis was really so bad, but he stillplayed and played good. When he played, especially “Over theRainbow,” you wanted to cry, that was so great. No one could play itlike him. There is no one that will get that Les Paul sound. He playedthe melody which is very important. When Les played, you went outhumming the melody and he always said when people walk outhumming the melody, you’ve got it made and he did.It was packed Monday night [at Les’s Iridium tribute]. Steve Millerwas there. He sang “Nature Boy” and “God Bless the Child.” Lesloved those songs. Steve was Les’s godchild and his mom and dadstood up for Les Paul and Mary Ford. They were their best man andmaid of honor. So he came Monday night and we did “How Highthe Moon” and every time I’d think “Here’s where he comes in,” tearscame to my eyes. I kept saying, “God bless you Les.” He was a great,great, great musician and a great friend. I learned a lot from him,and I think, every musician that worked with him has learned.........something from him and they will in the future too.JJSchaen Fox is a longtime jazz fan. Now retired, he devotes much of histime to the music, and shares his encounters with musicians in hiscolumns.The Jazz Room Series atWilliam Paterson UniversityAnnounces Fall 2009 Line-upMulgrew Miller, Pianist,with Gary Bartz, SaxophonistSunday, October 4, 2009, 4 PMSittin’ In — Meet-the-Artist Session 3 PMBen Allison,BassistSunday, October 11,2009, 4 PMSittin’ In — Meet-the-Artist Session 3 PMCarl Allen,Drummer,and RodneyWhitaker, BassistSunday, October 18, 2009, 4 PMSittin’ In — Meet-the-Artist Session 3 PMBen AllisonPaul Meyers: World on a String Quintetwith Donny McCaslin, Helio Alves,Leo Traversa and Vanderlei PereiraSunday, October 25, 2009, 4 PMSittin’ In — Meet-the-Artist Session 3 PMCarrie JacksonSunday, November 1, 2009, 4 PMSittin’ In — Meet-the-Artist Session 3 PMFrank Wess, Saxophonist and FlutistSunday, November 8, 2009, 4 PMSittin’ In — Meet-the-Artist Session 3 PMAll concerts are preceded by a 3 PMMeet-the-Artist Session in room Shea 101.All concerts begin at 4 PM in theShea Center for Performing ArtsWilliam Paterson University300 Pompton Road, Wayne, New Jersey973.720.2371wpunj.eduAdmission: $15 standard; $12 senior citizensand members of the William Paterson community,$8 students20_________________________________ October 2009

“Through His Life”A Memorial Concert Celebrating the Music ofJ. Billy VerPlanckPianoTex ArnoldLenore RaphaelDaryl ShermanRonnie WhyteDrumsRich DeRosaSherrie MaricleViolinAaron WeinsteinTrombonesEddie BertBob FerrelEric StorkmanBassSteve LaSpinaBoots MalesonVocalsMarlene VerPlanckMonday, November 9, 2009 @ 7pmShea Center for the Performing ArtsWilliam Paterson University300 Pompton Road • Wayne, NJ$20 ticket includes show and free double CDThe celebration/reception continues immediately after the performance at The VerPlanck’sTickets available at the Shea Center Box Office, 973-720-2371For more information, visit www.marleneverplanck.com and click on “Billy’s Page”All proceeds will benefit the J. Billy VerPlanckJazz Scholarship Fund at William Paterson UniversityOctober 2009__________________________________ 21

JerseyArticlesJazzNoteworthyFradley Garner International Editor Jersey JazzWITH THE JAZZ PUBLIC SHRINKING, anew group of activists formed a “#jazzlives”campaign on Twitter to buck the trend.Surveys by the National Endowment for theArts picture jazz being viewed by ever moreAmericans as a high-culture art form, likeclassical music. Fewer are hearing it live thanat any time since the late 1940s. Sparked bythe New York-based author and criticHoward Mandel, the campaign aims to usethe Internet networking platform, Twitter, toshow that “recent reports of jazz’s demiseare”—Mandel quotes Mark Twain on hisown death—“greatly exaggerated.” Mandel’sgroup of jazz writers and broadcasters,bloggers and presenters mounted the driveto get Americans out to jazz concerts in theweeks starting Labor Day weekend. Whenyou attend a jazz event, name it and whoplayed on the Twitter site, and/or in blogsand websites. Include the “hashtag”#jazzlives in your Tweet (short message).That will let the tweets be ferreted outand counted. For the “widget” or morecampaign information, write totweetjazzlives@gmail.com.88 YEARS, 88 KEYS, 88 VIDEOS is thetally for Dr. Billy Taylor, renowned masterof the 88 ivories, composer, broadcaster andteacher whose 88th birthday was celebratedthis summer by posting 88 videos on hisWeb site (www.billytaylorjazz.com) andby his trio concert at William PatersonUniversity in Wayne,New Jersey. Billy wasartist-in-residence. Heworked with studentsin the jazz program,critiquing ensemblesand conducting amaster class. All 88videos, selected byarchivist and producerBret Primack,documentthe careerJOIN ‘#JAZZLIVES’ AND SHOW ‘EM … ALL 88S FOR BILLY TAYLOR …BUCKINGHAM PALACE VOTED JAZZ VENUE … L.A. PHILHARMONIC HIRESHANCOCK … NGASSA’S AFRICA WITH STRINGS … WHAT IS JAZZ? TUNE TO BILLY!of the horn-rimmedOlympian whose first gigwas with Ben Webster atThree Deuces, in 1944.Watch Primack’s 30-minute, 2006 documentary,Billy Taylor,American Hero.”Billy Taylor: 88 years, ivories, videos.Photo courtesy JazzPromoServices.comBUCKINGHAMPALACE a significantjazz site? Jolly right, andafter hosting occasionalcommand performancesby jazz bands and starsfor 90 years, and evenhousing some recentknighthoods, why not?The palace is one of adozen more obviousvenues like Ronnie Scott’sclub in Soho and the London Hippodrome,entered in an online election run by theBrecon (England) Jazz Festival. The years1919–1932 were specified for the palace.Nick LaRocca’s Original Dixieland JazzBand played there in 1919 for King GeorgeV and French Marshall Philippe Pétain.Swingers who later performed for KingGeorge included Sidney Bechet and LouisArmstrong, who reputedly dedicated onenumber to His Majesty with the words,“This one’s for you, Rex.”HERBIE HANCOCK has been namedcreative chair for jazzby the Los AngelesPhilharmonic. Thepianist and composertakes over the twoyearposition in 2010from ChristianMcBride, reports TheWashington Post.HisFrom Africa to Germany,Terrence Ngassa has horn, will travel.Photo by Franziska-Pilz.duties include “overseeingthe programmingfor the Walt DisneyConcert Hall and theHollywood Bowl, helpingto hire musicians andmentoring young artists.”Hancock wants topresent projects unitingdifferent cultures andartistic genres.‘AFRICA WITH STRINGS’is the latest projectof Cameroon-born,Cologne, Germanyconservatory-trainedTerrence Ngassa.Theyoung trumpeter’s septetwas joined to a stringquartet for his originalcompositions. “Thepremiere is September 10in Cologne,” Ngassa tells me in an e-mail,“and we’re taking it on tour in 2010.” In2007, he recorded a double album,Ngassalogy, Vol. 1 (Bess Records, Cologne)and Vol. 2 (Konnex Records, Berlin). Ingrade school back in Yaoundé, Terrencerecalled playing Glenn Miller’s“In the Mood.” “It was thrilling, becausesome classmates would swing and danceon their desks.” www.ngassa.com,www.myspace.com/terrencengassa.WEB HIT-OF-THE-MONTH:WHAT IS JAZZ? TUNE TO BILLY!Billy Taylor’s videos have garnered nearlya million and a half views on YouTube.Check out What is Jazz? where histrio demonstrates the music’s vitalcomponents, including rhythm,improvisation and chord progressions.There is also a Cue Sheet for Students.www.billytaylorjazz.comThanks to NJJS member Joán McGinnisof Mission Viejo, CA for Web researchassistance.JJ22_________________________________ October 2009

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JerseyArticlesJazzTalking JazzA Jersey Jazz Interview with John PizzarelliBy Schaen FoxMany of us in the New Jersey Jazz Societyremember John Pizzarelli as the young sonwho played with Bucky Pizzarelli at some of ourearliest Waterloo Jazzfests. Others possiblyremember him as the guitarist who might havegiven us a new state song, but almost gave us anofficial state jingle. Now a few decades on, he isan international star who frequently shares thestage and radio waves with his lovely andtalented wife, Broadway’s Jessica Molaskey. Aftertrying to fit an interview into his very crowdedschedule, we finally made phone time on April27. Not only did the interview feel more like myown private stage performance, but it ended in amost unusual manner.JJ: I love your stage banter. You are such a polished raconteurthat I feel like simply saying “Go” and letting you say what youwill rather than asking questions.JP: OK, perfect, not a problem. [Chuckles]JJ: Yeah, but that would be too easy. There are an impressivenumber of interviews with you on the web. About how manydo you do in a year?JP: I guess whatever city you are going to, you end up doing some sortof interview. So I guess between 25 and 50 a year.JJ: You tell great stories. Have you considered that in thefuture you will not only be a topic of research, but also a source forhistorians?JP: Yeah, I guess so. Sometimes I can’t believe the places I’ve been and thepeople I’ve played with, especially in my early 20s and even in my teens. I waslucky enough to hang out with people like Zoot Sims, Joe Pass and SlamStewart and play with Ray Brown, Marshall Royal, Buddy Tate, Bob Haggard, MiltHinton, Ralph Sutton and Paul Smith; a pretty good list of guys. It’s prettyamazing. [Laughs] To have been in those situations at such an early age waspretty mind blowing as I look back at it. Luckily I didn’t know anything then thatI know now or else I would have been more scared than I was. I’ve taken someof that whenever I do clinics and little experiences that I’ve had on the roadand sort of pass them on and tell stories. They are fun to tell and they arepretty amazing.I like entertaining people andit’s part of the whole package.John Pizzarelli. Photo by Andrew Southam.JJ: And you do tell them so very well.JP: Well, I try. I think it is part of the whole thing. I’ve been playing professionallyfor 30 years and with my own group for 19; so something’s got to happen. Itry to pass those stories on, because it’s part of the entertainment of the show.I like entertaining people and it’s part of the whole package.JJ: I’m one of those who have been watching you since your dadfirst brought you out to play. So I look on your ascent in popularityas succession in the royal line.JP: I’m glad, but it hasn’t been without its bumps in the road. It’s still veryinteresting because of just the process of it all: Being my father’s son; singingon a record in 1983; making three records in the ’80s; making my first sort ofnational record in 1990; then going to RCA the next year; and really touring anincredible amount in those first eight years. It was just wild. I was under theHarry Connick, Jr. radar in the early ’90s so I wasn’t under the scrutiny that a lotof 20-year-olds who come up today are. I was 30 when I finally got to a majorlabel and I had all that music to lean back on. I had played with Zoot Sims, SlamStewart, a lot with my father, I had 10 years of experience and that really wascontinued on page 2624_________________________________ October 2009

Jazz at the Berrie Centerat Ramapo College presentsFall SeasonA NIGHT OF SALSA!Larry Harlow andthe Latin Legends BandSaturday, October 10 | 8 PM | Sharp TheaterHe brought Salsa to the U.S. and was the moving force behindthe Latin Grammys. Now this living legend of Afro-Cuban jazzbrings his 12-piece big band to the Berrie Center.Tickets: $23/20/18GERSHWIN, ELLINGTON AND PORTER –SWINGIN’ THE GREAT AMERICAN SONGBOOKThe Rachel Price QuartetSaturday, October 24 | 8 PM | Sharp TheaterThe youngest competitor to wow the audience atthe Thelonious Monk International Jazz Competition,Rachel Price pays tribute to the great jazz composers.Tickets: $23/20/18THE WINTER SHOWGeorge WinstonSunday, December 6 | 8 PM | Sharp TheaterGeorge Winston is a consummate, contemporary performer, with a melodiccontemplative “new age” piano style that conjures up seasonal images depictedin his bestselling albums. The Winter Show evokes the pastoral holiday spirit.Tickets: $35/32/30GeorgeWinston.Photo byJoe DelTufo.Larry Harlow.Photo by Tom Ehrlich.Rachel PriceIT’S CHRISTMAS TIME!The John Pizzarelli QuartetSaturday, December 19 | 8 PM | Sharp TheaterOne of New Jersey’s favorite guitarist/vocalists, John Pizzarellicelebrates the holidays with American songbook greats.Tickets: $30/27/24JohnPizzarelliSeniors and Ramapo Affiliates, WBGO Radio andNJ Jazz Society members receive 5% discount offregular ticket prices. All children’s tickets $15.Box Office: 201-684-7844 or www.ramapo.edu/berriecenterOctober 2009_________________________________ 25

JerseyArticlesJazzJOHN PIZZARELLIcontinued from page 24the key to grounding me. And, I was always lucky tobe able to make the records I wanted to make.JJ: Speaking of records, would you tell usabout your adventures with “I Like JerseyBest.”JP: Ben Maggio, a school teacher from Plainfield,NJ was a big fan of ours, and he used to say weshould make this the state song. So, we alwaysthrew our shoulders up and said OK. We alwaysthought it was a fun song and whatever happened,happened. He worked it all out and some guy sponsoreda bill to make it the official state jingle. Iremember driving down Route 1 with my fathergoing to Trenton and I kept asking, “Do you knowwhere you are going?” And he was like; [Slippinginto Bucky’s voice] “I’ll find it. It is around heresomewhere.” [Chuckles] It was hilarious. Then wegot there and the guy introduces my father as“Rocky Pizzarelli.” So I laughed so hard, [but] hadto sing the damn song. It was just pretty crazy. Itpassed in the House, but it died on the Senate floor.That song at that time was really hot and a lot offun; WNEW was playing it a lot in New York City andit’s been fun every time I sing it.JJ: I like the way you have evolved it overthe years.JP: We try to keep it topical and entertainingbecause you find yourself in [countries] where youleast expect to play it and since it is now on threeor four records in different versions, somebody willsay, “Do Bob Dylan, do BobDylan!” so they want theBob Dylan version of “I LikeJersey Best.” They don’treally know what the songis about, but they love tohear that version; so it ispretty crazy. [Chuckles] Youknow it works as a prettyfun piece of material that ifI need it, I’ve got it. I don’tlean on it every night, butwhen you’re in New Jerseyyou have to do it.JJ: OK, let’s get seriousfor a moment. Yougrew up in northernNew Jersey, but nowyou are part of the RedSox Nation, how didthat happen?JP: I was a Yankees fan. I first saw baseball in ’67and I remember seeing Jim Lonborg winning for theRed Sox. I remember Carl Yastrzemski. The nextyear I wanted my mother to get me a Red Soxuniform for my birthday, but she got me and mybrother Yankees uniforms, so I became a Yankeesfan. I rooted for them through the ’70s and it wasabout the early ’80s when Mr. Steinbrenner wascomplaining [about] the Yankees and Billy Martingot hired for the fifteenth time, it became such azoo, it was crazy. All my friends were Red Sox fans,so I said I’m content to root for the Red Sox. NewYorkers who root for the Red Sox have some sort ofsimilar story. I’m not one of those screaming bloodymurder against the Yankees, I just happen to lovethe Red Sox.JJ: Aren’t you concerned that somedrunken Yankees fan will yell that you areno longer worthy to sing “I Like Jersey Best?”JP: [Laughs] No, I don’t mix politics and music. AsMartin reminds me every time I make the mistake,“No sports from the bandstand.”JJ: Now Bucky and Martin, your brother,rarely talk on stage while your banter isalmost as entertaining as your guitar work.So, where does your stage persona comefrom?JP: Well, he was listening to guitar players and Iwas watching entertainers, probably with as muchgusto as he was watching guitar players. I comeliterally out of watching Johnny Carson as much as Icould. I listened to Bill Cosby and George Carlinrecords. I liked David Frey, Rich Little and FredTravellino. I loved Ed Sullivanand things like that. So forme it was all timing andentertainment. How a jokelands is as serious abusiness as playing “I GotRhythm.” I actually point tothree New Jersey concerts,Springsteen in ’84 and BillyJoel in ’83 and ’84 or ’85; allthree had something thatyou could apply toany kind of entertaininganywhere. I’ve always keptthose three as templates forwhat I was going to dowhen I had the chance tobe behind a microphone.© michael a. black / black sun studioWe always used to jokewith my father, “Can’t yousay, ‘That was HoneysuckleRose’?” [Slipping into Bucky’s voice] “That was… Ithink that was…uh… uh…’Honeysuckle Rose.’”[Laughs] “Is it that hard?” So I used to take the mikefrom him and say, “Now we are going to do a songby Fats Waller. It’s called ‘Honeysuckle Rose.’” Wejust laugh about it still. He’s gotten better about it, Ithink from watching us. [Laughs]JJ: Well there is that retrospective CD…JP: …Where he speaks, Flashes. Yeah, it’s brilliant.I even asked, “Did you write all that out?” becauseit’s fantastic. I guess they edited the hell out of it,because it is really great. I love it. My son listens toit [and] I think it is a gift to everybody. He even said,“I’m going to talk between [songs]. Do you think theDJs will get mad at me?” I said, “No. If I had arecord of George Van Eps talking between songslike that, I wound think that was the greatest thingever to hear your hero speaking on your recordtelling why he did what he did, or just telling astory. I think that’s all a part of jazz history.” Justthink about his grandchildren listening to that,much less guitar players — but just to have that inour family, it’s a brilliant thing.JJ: Since you mentioned them, do youthink we might have another generation upon stage?JP: I think my son is interested in other things,although he likes to play the drums and he can playthe guitar. But he never picked it up the way Ipicked it up. My daughter, though, plays really goodpiano and loves music. They both love music andboth are brilliant, dare I say, kids. Really, they are,and my daughter has picked up the whole thing.She likes the Marx Brothers and the Beatles, so shealready won her way to her father’s heart…and shelikes the Red Sox. My son’s the same way. Theyhave passion for the things they listen to. Mydaughter listens to rock and roll, but she also lovesshow music and knows when she’s heard a goodshow. She saw Sunday in the Park with George andshe was wiped out — and this is a 10-year-old atthe time.JJ: I read that you were a trumpet player inschool.JP: I was. When I was in fourth grade I remembertelling my father, “I think I’m going to play trumpetbecause I like Doc Severinson.” So I played trumpetall the way through grammar and high school. Thenwhen I went to college and I was going to have amusic education degree. I got a little bit of ascholarship to go to the University of Tampa, so Iplayed trumpet there. I mean I seriously concentratedon it for a couple of years, meanwhile playingthe guitar. I came back home in January, 1980 andcontinued on page 2826_________________________________ October 2009

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JerseyArticlesJazzJOHN PIZZARELLIcontinued from page 26went to William Paterson and played trumpet theretoo. Then I left school and just played guitar withmy dad, because trumpet is hard. [Chuckles] At thatpoint I was, like, “I don’t need to be practicing thisthing every day.” Before you do anything you’ve gotto wake up and practice an hour of long tones and Iwas, like, “Nah, I’m not going to do that.” But I lovethe instrument.JJ: What was your favorite piece?JP: The piece I loved in particular wasHindemith’s “Sonata for Trumpet and Piano.” Iused to play it. I still have it on my iPod. I sawWynton Marsalis in Lincoln Center and keptsaying, “Are you going to re-record that piece?”and he played it for me; so I always say, “Playthe Hindemith for me.” And he plays the hellout of itJJ: I wish I could walk up to Wyntonand say, “Play the Hindemith for me.”JP: Well, I realized over the years [that] DaveMcKenna isn’t going to tell you about G7 or C7,but Dave McKenna will definitely tell you whyDustin Pedroia should bat second or first for theRed Sox. He’d talk to me for 20 minutes aboutthat, but he did not want to hear, “That onesong you played was really great.” He’d just go,“Yeah!” I realized that somebody is going to go upto Wynton and say, “That one record was great;”but I said, “How about that Hindemith thing, isn’tthat a pain in the ass, that last movement?”Because I know that last movement is a pain.[Chuckles] It’s called “All Men Must Die.” It’s all halfnotes and by the time you get to it, you can’t play itbecause you’ve already played three other movementsthat just kill you. All of a sudden it’s just[hums some music] and then there is blood comingout of your ears, out of your chops [and] out of yourhorn. And he’s like, “How do you know that?” So itwas an interesting way to have a nice conversationwith him.JJ: Do you still play the trumpet at home?JP: No, my father gave it away [chuckles] to awaiter at Feinstein’s. [In Bucky’s voice] “Hey, the kidwants to play trumpet. I’m going to give him yourtrumpet.” I haven’t played…Well, Warren Vaché willhand me his cornet once in a while and I’ll play“Trumpeter’s Lullaby” and that’s about as far as Igo. [Laughs] What I want to do is play the “Bugler’sHoliday” and play the fourth part with a symphony.They would go [scats some notes] and I’d be thereally rotten trumpet player on the bottom; likesome Pete Barbutti sketch. [Chuckles]JJ: There is a name I haven’t heard in awhile. How about jazz trumpet players?JP: Oh, Clifford Brown was my favorite. And ClarkTerry had made a “Music Minus One” record thatwe had [and] I used to play along. So Clark andmaybe Sweets, I guess, were my top three. I likedDoc Severinson a lot and Snooky Young — I got tomeet him a bunch of times — and Warren. I loveWarren Vaché. I’ve known him since he was myage. [Chuckles]John, center, flanked by father Bucky and brother Martinat Newport Beach Jazz Party, February 2005.JJ: Did Doc visit at the house?JP: We got to see Doc before the gigs a few times,but I don’t remember him coming to the house.Zoot came to the house all the time. So we sawZoot Sims a lot.JJ: Of all the giants who came by the house,who was the most fun for you kids?JP: Oh, Zoot Sims. He was a lot of fun because hejust liked to hang around and we weren’t a botherto him. We had fun with him. [Joe] Venuti was greatbecause he told a lot of stories. I used to have acassette with the stories and I can’t find it anymore;but I remember most of [them]. Les Paulcame over at the same time and we got to watchthem all play. So that was REALLY crazy. At thattime I was 16 or 17 years old.I always found Les to be extremely engaging,because he’d talk to you all day about the guitar.We did a gig at Rutgers in the ’80s that was on TV.Between the sound check and the gig we had likefour hours and we sat backstage and [we were] justtalking about all the records he had made. He stillremembers those things like they were yesterday,so it was really amazing to have that conversationwith him. I’ve [done an] homage to Les on almostevery record I’ve made. He was fun to be aroundbecause he knows so much about the guitar.Joe Pass was great. He is another guy who justloved the guitar so much. He was so interesting tomeet and hear him play, “OK, that’s somethingcompletely different than I’ve heard in my life.” Hewas just jumping around on the guitar and it waslike, “Whoa…OK!” [Chuckles] My father was laughingthe whole time. It was just very interesting.Slam Stewart was a gas. We had a little bass in thehouse and he’d want to play after dinner. Wehad Ray Brown over when we moved acrossthe street [from him] in 1980. My father broughthim over for Sunday brunch and it was reallyinteresting to hear this guy talking about OscarPeterson. [Chuckles]JJ: Your father told me about havingthese people to your house, but still,hearing you rattle off these names leavesmy jaw near the floor and I don’t knowwhat to say.JP: The thing that was interesting to me was Ididn’t know the entire story of those guys. Iknew who they were, but I didn’t know enoughto blow my mind, so I was lucky. I tried to haveone conversation with Slam Stewart about NatCole and it really went nowhere because Slamwas like, “Well he was good, but when hestarted singing he was better.” That was the story.Zoot we just liked hanging around with. I playedping pong with him and he played my sister’sclarinet a couple of times. It was just great becausehe was loose. I did not know all about Joe Venutiwhen I was 16 or 17. I know I loved the way heplayed, but I had no idea about Eddie Lang and allthat other stuff. I never really spoke to him, otherthan just listening and going, “Gee, that’sunbelievable.” I got to play with Grappelli and thatwas crazy. [It was recorded on one of the Telarcrecords from the Blue Note.] They said, “We wantyou to be a guest.” and I sat in on two songs andthen drove Grappelli back to his hotel. I rememberhim saying, “It’s so energetic… it’s just got so muchenergy.” We just sort of laughed because we knowhow those guys want to hear the music, becauseI’ve heard my father say it all my life. My father’sbeen so respectful of those guys; he knew what todo for them. So when we got on the bandstand wewere ready to follow the leader and he was goingto get what he wanted to hear.JJ: I remember how focused your dad wason studying Grappelli as they played.JP: Yeah, that was an unusual gig for him becausehe had to learn a lot of arrangements. It wasn’t justcontinued on page 3228_________________________________ October 2009

October 2009_________________________________ 29

JerseyArticlesJazzLES PAUL continued from page 1“They didn’t pay toand look at tThey came downLes Paul holds one of his Les Pauls in his Mahwah, N.J. home. July 1990. Photo by Mitchell Seidel.Les Paul, 1915 – 2009Born in Waukesha, Wisconsin on June 9, 1915, Les Paul was an acclaimed guitarist and entertainerwhose innovations in the art of sound engineering revolutionized the way music is recorded. Theindomitable Mr. Paul, who enjoyed an extraordinary 79-year career in music, had continued toentertain and play his guitar weekly for large and enthusiastic audiences at New York’s Iridium JazzClub until earlier this year. He died from complications of severe pneumonia at White Plains Hospital inWhite Plain, New York, surrounded by family and loved ones on August 13.Les Paul is the only individual to share membership into the Grammy Hall of Fame, the Rock and RollHall of Fame, the National Inventors Hall of Fame, and the National Broadcasters Hall of Fame. —TMup,” said Paul, whose performing careerspanned the worlds of pop, jazz and countryand produced hit recordings with his thenwife,Mary Ford. The pair divorced in 1964.He was equally renowned in the electronicworld for either modifying existingequipment to suit his musical needs orinventing something new outright. In fact,the summer day we talked 19 years ago hewas in the midst of renovating his homestudio for a new series of recordings whilealso getting ready to ship the original eighttrackrecorder he invented off to theSmithsonian Institution.Open heart surgery 15 years after his“retirement” had led Paul to reassess his lifeyet again, he explained. The doctor’sprescription was “hard work” and Paul saidhe figured out what he really wanted to domost. Keep in mind that Paul’s career hadalready spanned the early days of radio andtelevision, as well such landmark performancesas Jazz at the Philharmonic.“I did an analysis and I came up with ananswer. And the answer is I want to play in aclub. I want to go back and play the guitar,”he said.“I went to every nightclub that I could findin New York. And when I found a nightclubthat I liked, I went to the manager,” herecalled. “I said, ‘I’ve got the idea of playingone night a week, on Monday night.’” Hesays, ‘we’re not open on Mondays.’ But hesays, ‘Maybe you’ll be interested in comingin for a week or something.’ I said: ‘No, no.I’m interested in Monday nights. One nighta week. He says: ‘sorry, we’re not interested.’And I said, ‘But I’m willing to work here fornothing.’ He says: ‘We’re open on Mondaynights.’ And the following week we open.”The agreement to work gratis was shortlived,since Paul was packing the place everyweek. Les Paul on Monday night became the30_________________________________ October 2009

JerseyArticlesJazzcome down theree wallpaper.to be entertained.”place to go for amateur guitar fanatics andworking pros alike. It wasn’t unusual to seejazz legend George Benson or rock iconJimmy Page sitting at the great man’s feet.When Fat Tuesday’s on Third Avenue finallyclosed, Paul simply shifted his base ofoperations uptown to Iridium near LincolnCenter, and eventually to the club’s currenthome on Broadway in Midtown.Over the years, you could always expecta Les Paul evening to be lightly eclectic,thanks to Paul’s long experience as anentertainer. Whether joking with the band,schmoozing with the audience or justplaying the guitar, any night listening toLes Paul was always entertaining.“Sometimes it’s jazz. Sometimes it’s country.Sometimes I talk,” he said, describing thefolksy pace of a typical set that he said wasreactive to the mood of the audience. Theaverage customer, he explained, “either likesit or he dislikes it. That’s why they’ve got aknob on the radio.” People listening in aclub, though, “don’t have a knob on theradio, and so I have chosen to have a knob.And I adjust to them. They don’t adjust tome. They didn’t pay to come down thereand look at the wallpaper. They came downto be entertained.”If Paul’s attitude towards entertaining anaudience was old school, so was hisapproach to making a record: “It takes methree hours to do an album. One afternoon— the album is done. As fast as you canpress ‘record,’ we can make it. I want to do itwhere there’s no fooling around.” While notthat simple, Paul did manage to win aGrammy in 2006 for Les Paul and Friends:American Made, World Played.Modern 128-track recordings thatsometimes take more than a year tocomplete are the direct descendents of LesLes Paul with the original eight track recording machine in his Mahwah, N.J. home. He was preparing tosend it off to the Smithsonian Institution in Washington, D.C. July 1990. Photo by Mitchell Seidel.Paul and Mary Ford’s home-made 12-track overdubbed hits from nearly 60 years ago.Even as he saw his basic recording principals ever expanding to take over the musicbusiness, Paul was cautious.“Beware that a tape machine is a storage (device),” he said. “It’s not to create. Whatyou’re creating is done in your head, before you go over and turn that machine on. A lotof people turn the machine on, figuring it’s going to turn their head on.“The electronic recording world is so complicated today, so involved. And I’mprobably one of the instigators,” he said with a smile.JJOctober 2009_________________________________ 31

JerseyArticlesJazzJOHN PIZZARELLIcontinued from page 28playing stuff. It was a lot of work. He said, “YeahI missed one arrangement and Grappelli wantedto bug me about it, ‘I think you missed it.’ I justturned and said, ‘Big deal. Forget about it.’”JJ: I hope you are preserving thesestories.JP: We’re trying. I’m doing the best I can witha lot of them. I keep telling kids who play tenor,and they all mention John Coltrane first, if yougo back to Lester Young and Zoot Sims, you’renot doing yourself any harm. Even guitar playersare starting with Jim Hall now and are missingthe whole history of the guitar. They are notgoing back as far as Charlie Christian, GeorgeVan Eps, George Barnes or Oscar Moore. Sothose are the people I talk about when I do aclinic at a college. It’s sort of like learning theprimary colors before you go to the pastels.JJ: Oscar Moore, now there is animportant name that is seldommentioned.JP: I have one record he made with a guynamed Carl Perkins who I think was a pianoplayer. In the Nat King Cole book I read [that] whenOscar Moore died his son found all his DownBeatawards and everything he had won in the garage.So I don’t think he had too happy an ending.Certainly that [King Cole Trio] was one of the greatthings on the planet. They worked hand-in-glove,those guys.JJ: I know Zoot lived about 20 minutesaway, but did you have any other famousneighbors?JP: Pat Summerall lived down the road from us.We went to school with his kids. We would run intohim at gigs over the years; a lovely man. RichardNixon lived on the other side of Saddle River andwe played for Pat Nixon’s birthday once. We metBebe Rebozo, Tricia and Ed Cox and JulieEisenhower there. It was pretty crazy, but fun.JJ: What do you think of YouTube?JP: I think it is great for the most part. Sometimesthere are performances that are, “Oh what are yougoing to do?” But, that is one way that people canJessica Molaskey and John Pizzarelli.get to see you. It’s a whole different world: YouTubeand getting music digitally over the internet is ablessing and a curse. It is killing the record stores,but on the other hand somebody will read thisarticle and see “Oscar Moore” and say “Who isthat?” [They will] type it in and find Oscar Mooremusic in a minute and hear the Nat Cole Trio rightaway. You used to have to go to the record storeand if that store didn’t care for jazz you weren’tgoing to find it.JJ: I’m hoping that somehow there is a newway for musicians to make a decent livingfrom it.JP: I don’t know. I mean, recording is just one partof it. They still haven’t figured out how to replacelive music, and I don’t think they ever will. I thinkthat’s the key. As long as you can go out and be aviable entertainment commodity, whether it isclassical, jazz, rock or whatever, there is no way toreplicate that. You can’t put [up] two speakers andpress a play button and have people be entertainedfor 90 minutes. That’s what I’m here to do. I hope Ican provide you with that joy whenever you cometo see us play. That you will smile and say,”Wellthat was a heck of a show and made me feelbetter for 90 minutes.” Really, that’s what wedo. We are entertainers at heart, and the betterwe do it, the more people want to go see it.JJ: Since you mentioned making ussmile, I enjoyed hearing you on NPR’scomedy news show Wait, Wait, Don’t TellMe. How did that happen?JP: My publicist said, “Do you want to do it?”[Chuckles] I said, “Yeah.” I really didn’t know theshow that well. I had listened to it a little bit. Iflew to Chicago and did the show and it wasreally fun. That’s how a lot of things happen.They say, “So-and-so wants you. Do you want todo the show?” And you find yourself there.I’ve been pretty lucky. I like the crazy places I goto because I wouldn’t go there unless I had to.I’m not, “Let’s go to Japan!” I would never dothat. I’d sit upstate in a little cabin and swim inthe lake. I’m a very non-adventurous person. I’drather go to a ball game. I have a good managernow and a Brazil tour [next month.] Right beforethe tour I [will be] in Denver and I said, “Well, ifthey want, I’ll fly through from Denver to Rio.And he said, “No, you are not going to do that.”It took 19 years to get somebody to actually dothat for me.When you are Bucky Pizzarelli’s son you do anythingyou are supposed to do. Like, if somebodysays, “Oh yeah, you are supposed to do this gigwithout pants.” Bucky would say, “Yeah, that’s noproblem, I could do that.” And you go and you aresaying, “I don’t have any pants on.” It’s the bestanalogy I can think of. Every once in a while I’d go,“You know, Dad, we’re going to wear pants for thisgig. I think it’s only right.” “Oh you know the guysaid…” “I don’t care what the guy said. We aregoing to wear pants.” My father basically will doanything and God bless him, he is 83. He could besitting up somewhere, instead he is playing theguitar better than anybody in the world and wetend to forget that. We also want to protect himand just say, “You don’t have to do that,” but, no bigdeal to him; so we bang heads on that front. Mywife reminds me, “He’s 83 years old, he’s playingthe guitar, and he’s getting on planes and going allover the world. There is nothing you can do aboutit.” HE CAN’T BE STOPPED!Rosemary Clooney could hardly breathe and she sang better thananybody. She was the real McCoy, the best. She was as good as it got.continued on page 3432_________________________________ October 2009

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JerseyArticlesJazzJOHN PIZZARELLIcontinued from page 32JJ: Hopefully.JP: That’s right.JJ: Both you and Bucky backed RosemaryClooney in her later years. I’ve heard you saythat you learned a lot from her, but justwhat was it she taught you?JP: She came to see us before one show and saidto Jess, my wife, “Just keep telling the truth.” Shemeant musically. All you’ve got to do is tell thetruth, because everybody knows the difference.They can see through you right away. So that’s allyou need to know about Rosemary Clooney. I usedto see her sing “Wee Small Hours” the nights Iworked with her and she would always sing“…that’s the time you miss him most…,” thenshe’d say, “most,” “…of all.” Every night she saidthat second “most” and you knew there was somuch coming out of that one word. You felt like youwere with someone who knew what they weretalking about. I hope that someday I’m that honestin my delivery. I know she was as good as anybodyand I don’t care if she spoke the words, I don’t careif she spit them up; whatever she did, she didbetter than anybody. Rosemary Clooney couldhardly breathe and she sang better than anybody.She was the real McCoy, the best. She was as goodas it got.JJ: I remember hearing her talk about heraddiction problem of years before and thensaying how she still missed the pills soterribly; that said so much about addiction.JP: Yeah, she didn’t deny her past; that wasrefreshing. She knew where she’d come from andput it all into her music.JJ: Do you have any memories of 9/11 youwould be willing to share?JP: The thing I remember is that at the end of ourblock of 90th Street was a bar called The VictoryCafé. It was owned by a former firefighter who losttwo of his nephews from our local fire department.Martin and I drove to St. Louis thefollowing Thursday; I don’t think theplanes were going yet. Somewherealong the way, I remember calling Jessup and saying, “We’ve got to dosomething for Ronnie at the Victory andfor our 85th Street fire department.”She said, “Yeah, let’s see what we canfigure out.” She was home and had justcome from the Victory and thought agood way to help out our friends would be togather them at the bar and try to raise money forour fire department. She did a lot of the leg workwith people from the Victory.I was supposed to do a gig at the Rainbow Roomwith George Shearing and some guy was paying mea decent amount of money and I said, “Well, just soyou know, I’m going to take the money and we’regoing to rent a PA and we’re going to have this sortof block party for our fire department.” Ninetieth isbetween 3rd and Lexington and they were stillgoing to have traffic running. So I said to Ronnie,“You know, a fire truck could break down right at90th and Lexington and nobody could get down thestreet.” He said, “That’s not a bad idea,” but thenaround five o’clock the cops came and said, “Weare closing the street, don’t worry about it.”My trio, Ray Kennedy on piano, Martin Pizzarelli onBass and Bucky on guitar pitched in and played. Sowe put the band on the corner and everybody gottogether. They had people all up and down thestreet, drinking and having, like, an Irish wake. TheVictory provided some food and all the beer, butyou had to pay [to get in.] We had an auction. I [had]called the husband of the lady who ran the Regency[because he] is the head security guy for theYankees. He said, “I got an autographed ball andyou can auction that off and Roger Clemens isgoing to come.” So Roger Clemens showed up, andit was like Babe Ruth showing up. He was fantastic.He stayed for a couple of hours. [When we auctionedthat ball], I won it and gave it to my son.[Then Roger] auctioned off the jacket he wore thenight the Yankees came back. It was as beautiful anevening as you could have and Ronnie took $85,000in a brown paper bag to our fire department. So outof that horrific scene was this coming together ofall these beautiful people; that was really amazing.I remember thinking after it all happened, like, onSeptember 13th, “I’ve got to make a record withGeorge Shearing. Is there really going to be anymusic? Is there really a reason to keep singingthese songs?” When we went into the studio onOctober 12th, I realized why we were doing it. Wewere singing “September in the Rain,” “Lost April”and “The Lady’s in Love with You” with one of theverses: “If you’ve been traveling byplane and she says please take thetrain;” and here’s George Shearing stillcontinuing to play. It was ratherreaffirming. And that December playing“Have Yourself a Merry Little Christmas”with James Taylor on the Today Show,when they were talking about how thisChristmas was going to be differentfrom everything. There was so muchemotion in all those following months artisticallythat was really amazing.JJ: Indeed it was. Since you’ve mentioned“artistically,” what art do you have at home?JP: We have jazz photographs actually. I have twoof Zoot Sims, one by Bill Claxton and one by AlWhite. I have just two Bill Claxtons. We met BobGomel, who took pictures for LIFE magazine, andmy wife got me three Peggy Lees that he took andthey are amazing. I have two William Gottliebphotographs; one that Dave and Martha fromShanghai Jazz gave me of Django Reinhardt andthen a friend gave me one of Joe Mooney. So I’vegot a lot of good photographs around the place andthere’s a little Bucky Pizzarelli art here and thereJJ: Is there a film or book that you feelshows the real life of a jazz musician?JP: I think that Broadway show Sideman waspretty interesting. Round Midnight was sort of sad.There is always the musician who is your friend andthen is no longer around because they can’t handlethe drinking or whatever. Oh, I love The BennyGoodman Story. That is one of my favorite moviesbecause it’s so crazy. There is always somebodywho says, “Hey Benny, don’t be that way!” I find[that] to be wildly entertaining. But no, I don’t thinkthere is any movie where you go, “Oh, that’s whatthe jazz life is really like.” [Phone rings to “TakeFive.”] Oh, that’s Don Sebesky.JJ: Do you want to take that and I’ll callback?JP: No, he just called me on my cell phone. I’vegot to call him back. I called him an hour agobecause I need a chart for a pops gig in Houstonnext year. I’m doing a Gershwin show and I said Ineed “Fascinating Rhythm” and he said, “Oh, OK. Ican do that.” Knowing Don he’s probably got itwritten already. So that is great. [Laughs]JJ: I’ve taken enough of your time, though.I enjoyed talking to you and please tell yourwife that we enjoyed her performance whenwe saw Sunday in the Park with George.JP: Thanks so much. I appreciate it.JJJohn’s web page,www.johnpizzarelli.com is wellworth a visit. There is a link tolisten to the popularPizzarelli/Molaskey Radio Deluxeshow as well as numerousYouTube videos.Schaen Fox is a longtime jazz fan. Now retired, he devotes much of his time to the music, and shares his encounters with musicians in this column.34_________________________________ October 2009

ARBORS RECORDSPIZZArelli Party withThe Arbors All StarsA rollicking jazz journey with theworld famous Pizzarelli family!Bucky, John and Martin Pizzarellijoin with Jessica Molaskey andRebecca Kilgore on vocalsARCD 19391Duke Heitger andBernd Lhotzky:Doin’ the Voom VoomA swinging hot CD recorded inMunich with Ohio-born trumpeterDuke Heitger and Bavarian pianistBernd Lhotzky doing DukeEllington’s “Voom Voom”ARCD 19382WHERE CLASSICJAZZ LIVES ONMarty Grosz and Hot Winds,The Classic SessionsMarty Grosz brings all his acousticguitar prowess to bear to produce thishot, swinging session with VinceGiordano and Scott Robinson.ARCD 19379John Allred, Jeff Barnhart,Danny Coots:The ABC’s of JazzTop stride pianist Jeff Barnhart andversatile, fluent trombonist JohnAllred join with drummer DannyCoots and bassist Dave Stone in awide ranging jazz repertoire.ARCD 19371The Harry Allen-Joe CohnQuartet Plays Music fromSouth PacificA buoyant, swinging romp that cutsa rare path between the opposingdemands of jazz and theater withvocals by Rebecca Kilgore andEddie Erickson.ARCD 19380Antii Sarpila Quartet:We’d Like New York...In June!International jazz all star AnttiSarpila leads a festive jazz sessionwith pianist Rossano Sportiello,bassist Nicki Parrottand Ed Metz Jr. on drums.ARCD 19375Shelly Berg:The Nearness of YouExtraordinary pianist Shelly Berg’sfirst solo recording since beingnamed Dean of the Frost School ofMusic at the University of Miami.ARCD 19378Johnny Varro featuringKen Peplowski:Two Legends of JazzPiano jazz virtuoso Johnny Varroperforms 15 tunes with jazz all starKen Peplowski on clarinet makingthe music pop with excitement,adventure and surprise.ARCD 19363We are happy to announce Arbors RecordsSecond Annual Invitational Jazz Partyat the Sheraton Sand Key, Clearwater Beach, Floridaon January 15-17, 2010 featuring 27 international jazz stars.See our website for further details.Price for CD is $17 postpaid. VISA,MasterCard, Discover accepted.Free catalog: Arbors Records2189 Cleveland Street, Suite 225,Clearwater, FL 33765Phone: (800) 299-1930 Fax: (727) 466-0432E-mail: mrd@gate.netInternet: www.arborsrecords.comOctober 2009__________________________________ 35

JerseyArticlesJazzCape May Jazz Presents “A Tribute tothe Count” and 18 Weekend Jazz EventsWith the Sedona, Arizona Jazz on theRocks festival cancelled for this year,jazz at Newport rescued from the brink ofoblivion by impresario George Wein, andfestivals around the country cutting backon schedules and rosters, the seemingrecession-proof Cape May Jazz Festival justmotors on, presenting the full complementof 14 acts plus jams and workshops atmultiple venues in the picturesque southernJersey shore town on the weekend ofNovember 6–8.Headlining the 32nd Cape May event onFriday evening is “A Tribute to the Count”by the Count Basie Orchestra under thedirection of trombonist Bill Hughes in theTheatre at Lower Regional High School. Thenight continues with alto saxophonist RichieCole at Carney’s Other Room and vocalistBarbara King, who returns by populardemand with her dusky Sarah Vaughan-likevoice, at the Victorian Gardens at theSkippersPLANE STREET PUBNewark’s Best Kept Live Music Secret!Serving great food. NO cover. $10 minimum.Mondays Live Jazz Jam (8PM–Midnight) hosted byNewark’s own Eugene “Goldie” Goldston (Vocalist)Greg Bufford (Drums); Radam Schwartz (Keyboard)Tuesdays TBAVisit our website or call for informationWednesdays TBAVisit our website or call for informationThursdaysFridaysSaturdaysSundaysFeatured Live Jazz Artist (8PM–Midnight))Check calendar/call 973.733.9300Karaoke Night (8PM–Midnight))hosted by the talented Denise HamiltonAvailable for Special EventsLive Jazz Matinee Sessions 4:00–8:00PMwith Radam Schwartz (Organ)304 University Ave., Newark, NJ 07102973.733.9300 skippersplanestreetpub.comMarquis deLafayette Hotel. Continuingin Carney’s Main Room is theHammond B3 master Radam Schwartzwith his Quintet. Friday night isrounded out with Gary Allegretto,the versatile blues harmonicist, withhis blend of electric and acousticblues in Cabanas.Ravi Coltrane leads off Saturday nightat the Theatre featuring Geri Allen onpiano, along with Massimo Biolcati,bass, and E. J. Strickland, drums. Thenight continues with Houston Personperforming at the Jazz Dinner atAleatheas with open seating at 11 PM.Detroit-based singer Denise Thimesgraces Victorian Gardens and guitaristTeddy Royal performs with Kyle Kohleron organ and Ralph Bowen on sax inthe Boiler Room at Congress Hall.Royal calls New Orleans home, wherehe wrote and recorded with the StapleSingers, AllenToussaint, PattiLaBelle and theNeville Brothers, andwas Fats Domino’sguitarist for 30 years.Edgardo Cintronand Inca return toCarney’s Main Roomwith a “Tribute toDetroit singer Denise Thimes, who wowed SRO crowds atthe NJJS 2008 sanofi-aventis Jazzfest, returns to NewJersey for two sets at the Cape May Jazz Festival on Nov. 7.Carlos Santana” and the Armstong-influencedtrumpeter Dominic Farinacciperforms in Carney’s Other Room.Memphis Gold continues the blues traditionat Cabanas evoking the vintage sounds ofsouthern soul and blues.The festival also includes Jam SessionsSaturday and Sunday in Carney’s, BluesJams in Cabanas with Alan Weber and Frenzon Saturday, and Frank Bey and theSwing City Blues Band on Sunday. JJCAPE MAY JAZZThe schedule, musicians’ information and sounds bytes can befound on the Web at www.capemayjazz.org. For more information,or to be put on the mailing list, please call 609-884-7277.An All-Event Weekend Pass to attend 18 events beginning 8 PM Fridaythrough 4 PM Sunday is $150 general admission. Individual Friday orSaturday night All-Event Wristbands are $55. Saturday Afternoon JamWristbands are $35, Sunday Jams $25. Reserved seating is available atthe Theatre at Lower Regional High School for an additional $25 perperson. Complimentary festival transportation running every 10minutes is available between venues all weekend.The 32nd Cape May Jazz Festival is presented by New Jersey Department of State, Division ofTravel and Tourism (VisitNJ.Com) and the Bank of America, and is sponsored by BarefootWines, the Delaware River and Bay Authority, WRTI Temple Public Radio, WBGO Jazz 88,WMGM TV40, WCFA 101.5, WTTH the Touch, Cape May Star and Wave, Jazz Times,Verizon Wireless, with generous support from the New Jersey State Council on theArts/Department of State, a partner agency of the National Endowment for the Arts, the NewJersey Cultural Trust, local businesses and donors.36_________________________________ October 2009

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JerseyArticlesJazzJazz Goes to School | The College Jazz SceneBy Frank MulvaneyWilliam Paterson UniversityOctober 4: Pianist Mulgrew Miller andFriends duo with alto saxophonist GaryBartzOctober 11: Bassist/composer Ben AllisonOctober 18: Carl Allen/Rodney WhitakerQuintetOctober 25: World on a String —Brazilian Jazz with Paul MyersNovember 1: Vocalist Carrie Jackson andher quartetNovember 8: Saxophonist/flutist Frank Wessand the William Paterson Jazz OrchestraAmazingly talented student groups performbefore each professional guest.All performances are on Sunday at 4 PM in thebeautiful Shea Theatre on the Wayne Campus.Admissions are $15, $12 (seniors) and $8(students). Free artist interviews at 3 PM.Ample free parking.Rutgers University —New BrunswickOctober 13: RU Jazz Ensemble: A MusicalTribute to Prof. William Felder; A JazzTrumpet Celebration, featuring TerellStafford and other distinguished RU jazztrumpet alumni.December 1: RU Jazz Ensemble featuringTom “Bones” Malone, trombone star of TheLetterman Show, Saturday Night Live andoriginal Blues BrothersFebruary 23: RU Jazz Ensemble: A Tributeto Cannonball Adderly, featuring altosaxophonist Mike Smith, alumnus of theAdderly, Maynard Ferguson and Buddy Richbands and Sinatra concert orchestraApril 23: RU Jazz Ensemble: Duke’s Praises,Here are the college jazz performance schedules for the upcoming academic year. As you will see, some top professionals,including Jazz Society board member Carrie Jackson and modern jazz legends will be performing with the students. For thefirst time we are publishing the Montclair State schedule, which just started its Jazz Studies program last year. The schedulefor Rowan University was not available at press time. Check the Events tab www.njjs.org for all updates and additions thatwill be made for the Spring semester.2009/2010 College Jazz Performance Schedulea celebration of the music of DukeEllington, featuring Walter White, leadtrumpet for the Lincoln Center Jazzorchestra and alumnus of the MaynardFerguson and Charles Mingus bands.All performances are Tuesday’s at 8:00 in themagnificent Nicholas Music Center on theDouglas campus. Admissions are free andthere is ample free parking.New Jersey City UniversityOctober 12, Monday: Alto saxophonistCharles McPherson and trumpeter TomHarrell 7:30, Sozio Rehearsal Hall. Freeadmission but seating is limited.October 19, Monday: NJCU Jazz Ensembleand saxophonist/flutist James Moody7:30 PM, Margaret Williams Theatre.Admission is $15/ $10 seniors and students.Come early to find parking.November 1, Sunday: Jazz Day featuringtrumpeter Jon Faddis 12 to 6 PM, SozioRehearsal Hall and Ingalls Recital Hall.Free admission.December 1, Monday: Jazz Bash: studentsmall groups perform, 7 PM, Ingalls RecitalHall and Sozio Rehearsal Hall.Free admission .April 5, Monday: Spring Jazz EnsemblesConcert with guest vocalists KevinMahogany and Roseanna Vitro, 7:30,Margaret Williams Theatre. Admission is$15/$10 seniors and students.Montclair State UniversityDecember 6, Sunday: MSU Jazz Band 3 PMDecember 9, Wednesday: MSU Jazz Band IIand Vocal Jazz Ensemble 7:30 PMMarch 27, Saturday: An Afternoon ofBrazilian Jazz with pianist/composer Dr.Your comments and questions are always welcome. E-mail me at fmulvaney@comcast.net.Jeffrey Kunkel and faculty guest artists: BillMooring (bass), Sergio Gomes (drums) andother guests, 3 PM.April 25, Sunday: Trombonist/composerAlan Ferber and the MSU Jazz Band, 3 PM.April 28, Wednesday: MSU Jazz Band IIand Vocal Jazz Ensemble, 7:30 PM.All performances are in the Leshowitz RecitalHall. Admission is $15.Princeton UniversityOctober 17, Saturday: Concert JazzEnsemble — The Voice of the JazzComposer: Duke Ellington and His Music,Richardson Auditorium, 8:00 PM.November 15, Sunday: PU Jazz FacultyRecital — Composing in the Moment,Richardson Auditorium, 8:00 .November 18, Wednesday: University JazzComposers Collective — Exceptionallytalented students perform their compositionsin small ensembles, TaplinAuditorium, 3:00 PM.December 5, Saturday: Concert JazzEnsemble — The Voice of the JazzComposer: Latin/Brazilian Inspired Musicof Michael Philip Mossman, RichardsonAuditorium, 8:00 PM.December 11/12, Fri./Sat.: Concert JazzEnsemble and University Orchestra —Ellington/Strayhorn Adaptation ofTchaikovsky’s Nutcracker, RichardsonAuditorium, 8:00 PM.February 24, Wednesday: NJ High SchoolCombo Festival and PU Small ensembleTaplin Auditorium, 5:00 PM.JAZZ U38_________________________________ October 2009

OCTOBER 23,2009: BICKFORD THEATRE AT M0RRIS MUSEUMThe Bishop of JazzR I OCLEMENTEwithFIVE PIECE ENSEMBLE7PM Doors open, please join us for a glass of champagne8PM -9PM Jazz Performance by Rio Clemente and Friends9PM -10PM Meet the Artists Dessert ReceptionTwo Choices For Seating, Ticket Requests To Be Received No Later Than Friday, October 161) $50 /$55 at doorGeneral Admission: Openseating. Complimentary"welcome" champagneand access to all museumexhibits before the concert.Meet Library Trustees andFriends Board Members.2) $75 Preferred Admission(limited): Seating in firstfew rows. Includes all ofthe General Admissionadvantages plus a privateMeet the Artists DessertReception with musiciansfollowing the show.All tickets will be held atthe door. Include paymentwith ticket requests, cashor check accepted. Checksmade out to Friends of theMadison Public Library.Mail requests to: MadisonPublic Library, 39 Keep St.,Madison, NJ 07940 Attn:Rio Tickets. Please includename, address, phone, email.A portion of your ticket is taxdeductible. RAFFLE theevening of the performance,win a Kindle, etc. Raffle ticketsare $10 each at the event.6 NORMANDY HEIGHTS RD, MORRISTOWN, NEW JERSEY 07960Thanks to our generous sponsors: Gar Wood Burwell, Morris Museum, Rio Clemente and Friends, Ruth Leung, Whole Foods Market in MadisonThe evening is a fundraiser forOctober 2009__________________________________ 39

JerseyArticlesJazzARRIBA! ARRIBA!Latin Jazz is MUY CALIENTENJPAC presents 3rd Annual ¡Encuentro!Latin Jazz Festival, October 30 – November 1Hot on the heels of the reissue of Chico O’Farrill’s classic 1961 Mazel Tov, MisAmigos, and a live performance of the entire album by Chico’s son Arturo thissummer at Lincoln Center, NJPAC presents three nights of imaginativeprogramming of “Spanish Tinge” at the end of the month.Here’s a brief look at the shows:Baila Mi GenteLatin Dance PartyFRIDAY, OCTOBER 30 AT 7:30 | VICTORIA THEATERTICKETS: $28Step out of your seat and onto the dance floor! Mix, mingle and dance the nightaway at this special event that kicks off a weekend of sizzling Latin jazz at NJPAC.The evening will feature live music courtesy of Cubanoson, a traditional Cubandance orchestra created by pianist Leonel “Papo” Ortega. This high-energy eveningwill also welcome the sounds of DJ Jose Rodriguez. Cash bar and refreshmentswill be available.Paquito D’RiveraSATURDAY, OCTOBER 31 AT 7:30 | VICTORIA THEATERTICKETS: $39Experience the artistry and energy of Latin jazz with one of the music’s masterpractitioners. NJ-based clarinetist, saxophonist and composer Paquito D’Rivera isthe recipient the National Medal for the Arts and the first artist in history to winLatin Grammy Awards in both the Classical and Latin Jazz categories. “One of thewoodwind giants of our time — his sounds are truly sublime!” says Jazz Times.This season, he debuts his latest project, entitled Paquito’s Cuban Band, the NextGeneration.Spanish Harlem Orchestra & Tito Puente, Jr. OrchestraSUNDAY, NOVEMBER 1 AT 5:00 | PRUDENTIAL HALLTICKETS: $18-$60This exclusive double-bill brings together two of today’s standardbearers of Afro-Cuban music. The all-star Spanish HarlemOrchestra, comprised of veterans of New York’s most legendarysalsa outfits, is led by world-renowned pianist-arranger OscarHernández. Their 2008 CD, United We Swing, just earned them asecond Grammy for “Best Salsa Album.” Every time he steps onstage, Tito Puente Jr. proudly walks in his father’s footsteps.That legendary Puente fire is sure to heat-up NJPAC whenPuente, Jr. and his orchestra make their NJPAC debut with aprogram drawn from In My Father’s Shoes, their recent CDof pure, classic Puente.JJ¡Encuentro! Latin Jazz Festival is an NJPAC Alternate Routesevent sponsored by American Express.Paquito D’Rivera. Photo by R. Andrew LepleyTell themyou saw itin JerseyJazz!40_________________________________ October 2009

JerseyReviewsJazzHurricane Bill Fails to Dampen13th Annual Riverboat SwingBy Don Robertson Former Jersey Jazz EditorThe forecast for Sunday, August 23, was notencouraging, with the backlash fromHurricane Bill threatening the Jersey shorewith high tides and rough water. Nevertheless,the day opened promisingly and things gotbetter as the ’noon sailing approached. Theenthusiastic crowd of 100 might have been justas happy to sit dockside and listen to themusic, but they would have missed seeing allthose million-dollar waterfront properties—more of them showing “For Sale” signs thanlast year.This was the 13th annual cruise that NJJSersChick and Audrey Krug had organized. Thisyear as an added benefit, Chick extended thecruise by an hour to 4:00 PM, for which wewere all grateful. Music like this doesn’t hit thewaterways all that often. If you didn’t know,Chick and Ed Polcer were high school classmates,which explains why Ed’s always incharge of the music. As if an explanation wasneeded!Ed brought pretty much the same band of allstarsas last year — Ed on cornet and his wife,singer Judy Kurtz, Joe Midiri on clarinet andalto sax, Paul Midiri on vibes and trombone,Mark Shane, piano, Joe Ascione on drums and,returning after a few years absence, Frank Tateon bass. This was the second year for theMidiris and they fit into this group as thoughthey’d always been there. Their multi-instrumentalabilities add greatly to the band’svariety. Most of the band got to sing at somepoint, too.As the River Queen cast off from the Brielledock promptly at noon, the sun was breakingthrough and the band was playing “C’estMagnifique,” a harbinger of things to come.Last year, with Benny Goodman’s centennialcoming up, they devotedsome tunes to BG’s honor.This year we have ArtieShaw’s centennial comingup in 2010 and theydedicated the next tune,“Star Dust,” to Shaw’smemorable recording. JoeMidiri reprised Shaw’sfamous clarinet solo almostnote-for-note and Ed andPaul Midiri sounded a lotlike Billy Butterfield andJack Jenney on their turns.Judy Kurtz was up nextwith “I Can’t Believe ThatYou’re in Love With Me.”Next was a feature for theMidiris appropriately titled“Together.” The band cameback with a rousing “BealeStreet Blues” and then a dreamsequence; Judy doing “Dream aLittle Dream of Me” and theband closed the set with arousing “If Dreams Come True.”They did, they did.Did I mention the open bar andfood buffet? They were busy bythis time, and the band took awhile to get the second setstarted. They opened with “TheOne I Love Belongs toSomebody Else” followed by Judy’s singing “IDon’t Know Why…” If you looked closely onthis one, the vibes soloist was Ed Polcer, whoexplained that he was proficient onvibe/marimba before he took up the trumpet.The band swung into an up-tempo “Goody,Goody,” again featuring Ed on vibes. “My GalSal” was followed by what Ed described as “theorchestra,” composed of Mark Shane and JoeAscione. “Lonesome Me” was their offering, anobscure Fats Waller composition, completewith Mark’s relaxed vocalizing. The band cameback with “Roses of Picardy,” and then theMidiris were featured in another tuneassociated with Artie Shaw, “Moonglow.”Keeping with the relaxed atmosphere, Judybrought out the lead sheet for “But Not ForPhotos by Charles Krug& Don RobertsonMe” for the band to runthrough. Joe Midiri playedhis alto sax on this one andit’s clear Johnny Hodges isone of his idols. And whynot? The almost-set closerwas “Blues My NaughtySweetie Gives to Me” withEd handling the vocal —and the tricky stop-timepatter chorus. And henailed it. They could havequit there, but gave us onecool-down, “It Had To BeYou.”The third and final setstarted off with “Once In aWhile,” followed by Judy’srendition of “Our Love isHere to Stay.” The Midiriswere featured on a burningrendition of “Shine,” withstrong assistance from JoeAscione. I am sure somebodysang “What a WonderfulWorld,” but my notes got a bitwobbly by this time. (Youunderstand.) Judy Kurtz sang“But Beautiful” and then theband took things out with“Please Don’t Talk About MeWhen I’m Gone” with JoeMidiri doing a gravelly imitationof Satchmo on the vocal. There wasplenty to talk about, and savor, as the crowddisembarked for the drive home—in the rain.It may be a sign of the times, but it seems tome that there was less boat traffic —particularlythe large, fast and noisy ones — and thatmade things more pleasant for everybody. AndI like to think we made things more pleasantfor those boaters who throttled back enoughto listen to the music wafting from The RiverQueen. Even some people on the verandas ofthose shore-side mansions probably envied us,but I can’t be sure about that.If this has whetted your appetite for next year,circle August 22 on your 2010 calendar andwatch for the announcements.JJLeft, Ed Polcer. Photos above, top to bottom: The setting at the beautiful Jersey shore; the players fill the lushRiver Queen with delightful music; Joe Ascione in the drivers seat.October 2009_________________________________ 41

JerseyReviewsJazzNot-the-NewportJazz FestivalStory and photos by Mitchell SeidelIn August, George Wein held a jazz festivalin Newport Rhode Island. If this were likeany other year in Wein’s life, that would notbe all that unusual. But this year wasdifferent.The mere fact that a jazz festival was held atNewport at all was something of a miracle.In 2007, Wein, the longtime producer of theevent with his Festival Productions, had soldhis company to a new one that becameknown as Festival Network. They continuedproducing Newport, with Wein as a majorparticipant. But when the new company raninto money problems last year, it looked asif Newport — and Wein’s legacy — was indanger.Tenor saxophonist James Carter performs with hisorgan trio at George Wein's CareFusion JazzFestival 55 in Newport, RI. August 2009.Festival Network’s plans for the venerableWein-founded jazz and folk festivals in theseaside resort town for this year werescrapped and it looked very much therewasn’t going to be any music in Fort AdamsState Park in August.Who would save this legacy? Wein himself.To use an appropriate phrase, Wein got theband back together and took matters intohis own hands, taking over the FestivalNetwork scheduled dates to produce thefolk and jazz festivals himself, without thebenefit of major name sponsors or thecompany he used to own. While the folkfestival went on without outside support, aCalifornia-based medical technologycompany stepped in with barely a month togo and became a name sponsor for GeorgeWein’s CareFusion Jazz Festival 55. Theslightly clumsy name was prompted by theamalgam of a new sponsor, the 55th anniversaryof Wein’s original effort in 1954 andFestival Network’s still owning the rights tothe name “Newport Jazz Festival.” Toproduce the event, Wein assembled any ofthe old hands he used in the days at FestivalProductions. And despite the late notice forbookings, he was still able to attract nametalents who all seemed to be participatingwith a “let’s do this one for George” spirit.“It’s my life, my legacy…” Wein toldJazzTimes magazine. “I couldn’t let it die.”The 11th-hour nature of the festivalmanaged to keep attendance down on bothSaturday and Sunday, but sunny skies andwarm temperatures the first day boosted a4,000 advance sale with an additional 2,000walk-ups. Grey skies Sunday kept the crowdto 4,500 with few last-minuteattendees. Still, if it was your first timeat Newport, you probably wouldn'thave noticed anythingwas amiss,except for the unexpectedbenefit ofhotel rooms stillavailable as thefestival approached.Another benefit oflighter crowds wasthat the festival justseemed less congested.WalkingFestival producer George Wein reminisces about theorigins of the Newport Jazz Festival while moderator andbassist Christian McBride listens during this year’sfestival at Newport.among the three stages that bordered thebrick and embankment fort became more ofa stroll and less of a gridlock-navigatingrace. While in the past you might be forcedto make artistic decisions as to which ofthree nearly concurrent but slightlystaggered acts to catch due to timeconstraints, this year it was it was easier tomanage a larger sampling. And when thewaterside performance space sported thename of Branford Marsalis’s Marsalis Musiclabel, it seemed more like an identifier andless like another billboard for a sponsor’sproduct.Few other festivals draw upon the allure ofthe venue as a major part of the presentationas does Newport. Ever since the 1959film “Jazz on a Summer’s Day,” fans conjureup scenes of watercraft and heads bobbingin unison to the music in the open air.Tony Bennett acknowledges Dave Brubeck, left,after the two performed together.Saxophonist Joshua Redman meets with some young fans backstage.42_________________________________ October 2009

JerseyReviewsJazzCompactViewsBy Joe LangNJJS Board MemberSackville and Arbors have both contributed newselections to the NJJS inventory this month.■ ROSSANO SPORTIELLO has an ever-expandingdiscography, and that is good news for fans of jazzpiano. This young Italian pianist, who has relocatedto New York City, has quickly become a favorite ofboth those who play with him, and those who haveheard his artistry. It Amazes Me (Sackville –3072) is a recently recorded solo album that givesthe listener a taste of his impeccable technique andhis tasteful eclecticism. If you dig ballads, you willbe pleased with his sensitive renditions of “DarnThat Dream,” “I’ve Told Every Little Star,” “What IsThere to Say” and “It Amazes Me.” Do you dig goodtunes that have been hiding from the public inrecent times? Then you will be pleased with hisreviving of “Dearest, You’re Nearest to My Heart.”Having studied with the legendary pianist and jazzeducator Barry Harris, it is natural that he wouldinclude a few Harris originals, and “Rouge” and “JustOpen Your Heart do nicely on this occasion.Sportiello gives a taste of his classical roots withScarlatti’s “Sonata No. L-33.” Jazz musicians are bytheir very nature composers, as their improvisationsare instant compositions. When they consciouslycreate a melody that is designed to stand on itsown, the good ones create pieces that will be oftenheard played by others. Sportiello has contributedtwo such pieces in this collection, “Prologue,” donein medley with the standard “Never Let Me Go,”and “Song for Lala.” If you have seen Sportiello inperson, you know that he is at home playing stridepiano, and he lets that aspect of his playing comethrough in the closing tunes, starting with thesecond part of a medley comprised of “It’s the Talkof the Town” and “Chinatown, My Chinatown,” andcontinuing with “When I Grow Too Old to Dream”and “Sleep.” This is an exciting session from one ofthe bright new lights on the jazz scene.■ For another aspect of ROSSANO SPORTIELLO’Stalent, dig him in a duo setting with NICKIPARROTT on Do It Again (Arbors – 19387). Theyassay nine of the 16 tracks as instrumentals, but onthe others, Sportiello assumes the role of accompanistfor Parrott’s vocals,even adding his uniquevocal style to a duet on“Two Sleepy People.”Parrott’s singing is becominga more significant partof her performances, andshe is developing into a finejazz vocalist. On this disc,she gives wonderfulreadings of “I Love the WayYou’re Breaking My Heart,”“Come Rain or ComeShine,” “Do It Again,”“You’re the One I Think IWaited For,” an originalsong that has words andmusic by Parrott, “SugarSweet” and “Moonglow.”The duo instrumentalscover a lot of bases. Theyinclude Tommy Flanagan’s“Sea Changes,” “Idaho,”Ellington’s “FleuretteAfracaine,” “Liza (All the Clouds Roll Away),”“Climb Ev’ry Mountain,” “Sentimental Journey,” and“A Sleepin’ Bee.” Sportiello takes solo honors on“Of Foreign Lands and People” from RobertSchumann’s Scenes from Childhood, and “WonderWhy.” Both Parrott and Sportiello are a real pleasureto catch in person, as they both have personalitiesand smiles that ooze charisma. Their music has thesame quality.■ Without reading a word on the booklet forDiggin’ Up Bones (Arbors – 19394) I knew thatI was in for a surprise when I saw the cover photoof BUCKY PIZZARELLI done up in a cowboy hat,kerchief and sheriff’s badge with a broad grin on hisface. The band is billed as “Buck” Pizzarelli and theWest Texas Tumbleweeds. The other members ofthe band are John “Rusty Pickins” Pizzarelli onguitar, Tommy “Dusty Spurs” White on pedal steelguitar, Martin “Marty Moose” Pizzarelli on bass,Aaron “Hoss” Weinstein on violin and mandolin,Danny “Two Drum Sticks and a Side of Grits” Cootson drums, and Rebecca “Becky-Lou” Kilgore, Andy“The Velvet Sage” Levas and “Cowboy” Joe West onvocals, with “Rusty Pickins” Pizzarelli and Jessica“Jesse Janes” Molaskey providing occasionalbackup vocals. The album is designated as ArborsCountry Series, Volume 1. Space does not permitme to fit each of theseplayers into the schemeof things via biographicalreferences. Suffice to saythat they have pulled offone of the surprisingalbums of the year, a funfilledtrip down the pathof Western Swing, thathybrid of jazz, swing andcountry sounds that wasoriginally popularized mostfamously by Bob Wills. Itis a style that has beenperpetuated by manysince, influencing manyof the country stars likeWillie Nelson and MerleHaggard, both of whomhave often expressed theiraffinity for jazz. The disc isloaded with terrific tracks.Particularly notable is JohnPizzarelli’s “Ain’tOklahoma Pretty,” his sole vocal feature, kind of asouthwestern version of “I Like Jersey Best.” Kilgoreactually has had a fair amount of experienceworking with Western Swing bands, and she soundsright at home in these surroundings. The closestthing to a straight ahead jazz track is the twoguitarists Pizzarelli and Weinstein’s collaboration on“Stage Freight” by Carl Kress. If you have neveropened up your ears to this genre of music, it isabout time that you did, and Diggin’ Up Bones is agood place to start.■ The DIVA Jazz Orchestra has spawned manyplayers who have gone on to significant careers asjazz stars. It also gave birth to Five Play, a smallgroup with a fluctuating cast of players drawn fromthe big band. Now the rhythm section that hasbeen a bedrock for the big band for many years,drummer and leader Sherrie Maricle, pianistTomoko Ohno and bassist Noriko Ueada have putout their first session as THE DIVA JAZZ TRIO,Never Never Land (Arbors – 19393). Thesethree talented players are simply a pleasure tohear. Ohno is a fluid and swinging improviser. Uedanever lets the pulse falter, and has the kind of solochops that belie the jokes about bass solos. Mariclehas established herself as one of the most versatileand accomplished drummers on the scene, equallycontinued on page 4644_________________________________ October 2009

ARBORS RECORDSPresentsThe Second Annual Arbors Records Invitational Jazz PartyFRIDAY, SATURDAY, and SUNDAY, JANUARY 15-17, 2010(and informal music for early arrivals on Thursday evening January 14)AT THE SHERATON SAND KEY RESORT ON CLEARWATER BEACH, FLORIDAFeaturing Six Piano GiantsDick Hyman, Bernd Lhotzky, Louis Mazetier, Rossano Sportiello, Jeff Barnhart, and Chris HopkinsThe Harry Allen-Joe Cohn Quartet (Harry Allen, Joe Cohn, Joel Forbes, Chuck Riggs)BED (Dan Barrett, Joel Forbes, Rebecca Kilgore, Eddie Erickson)Chris Hopkins and Echoes of Swing from Germany (Hopkins, Lhotzky, Colin Dawson, Oliver Mewes)In addition performing there will be Warren Vaché, Duke Heitger, John Allred,Bucky Pizzarelli, Nicki Parrott, Jerry Bruno, Ed Metz Jr., Antti Sarpila and Bob Wilber** Recently added – Dave Bennett and Aaron Weinstein **Also, Norm Kubrin, Ehud Asherie and Tom McDermottwill perform on piano in the Mainstay TavernThere will also be another fine film presentation by Don WolffALL EVENT TICKET PRICE $250(No individual event tickets will be sold)Visit our website www.arborsrecords.comTHE SHERATON SAND KEY RESORT1160 GULF BLVD., CLEARWATER BEACH,FLORIDA 33767Tel: 727-595-1611 Fax: 727-593-6004Toll Free: 800-456-7263A LIMITED NUMBER OF HOTEL ROOMS ARE AVAILABLE AT THESPECIAL GROUP RATE FOR THE SECOND ANNUAL ARBORS RECORDS INVITATIONALAT $199 PER NIGHT, SINGLE OR DOUBLE OCCUPANCY, PLUS TAX.PLEASE MAKE YOUR HOTEL RESERVATIONS DIRECTLY WITH THE HOTELAND MENTION THE ARBORS RECORDS INVITATIONALFor Arbors Invitational ticket reservations contact:ARBORS RECORDS, 2189 Cleveland St., Suite 225, Clearwater, FL 33765Tel: 727-466-0571 Fax: 727-466-0432 Toll Free: 1-800-299-1930Look for us at: www.arborsrecords.comOctober 2009__________________________________ 45

JerseyReviewsJazzCOMPACT VIEWScontinued from page 44effective on skins and cymbals, with sticks orbrushes, and in groups of any size. They cover alot of ground. The first track, “If I Only Had a Brain,”is an up-tempo take that immediately creates thekind of energy that makes you ready for a pleasantmusical excursion. Leave it to DIVA to turn theChopin “Piano Nocturne #6” into an exciting jazzexperience. Ueda’s bass states the melody on “I’veGrown Accustomed to Her Face,” and wonderfullyso, with Ohno taking the piece to interesting places.Their performance of “My Favorite Things” will, formany, rescue it from the noted drone version byJohn Coltrane. By the time they get to “Love forSale,” you are ready for the next step, seeing themin live performance. Hopefully, they will be playinggigs that will provide them with ample opportunitiesto expound musically upon these selections, aswell as others that join the lucky ones already intheir book.■ There are not a lot of people who are stillproductive in their chosen fields at the age of 93.That kind of career longevity seems reserved mostlyfor jazz musicians. Most of them, if their healthpermits, seem to continue to pick up their axes untilthe Grim Reaper is close to make his appearance attheir doors. Violinist SVEND ASMUSSEN has titledhis new release Makin’ Whoopee!…and Music!(Arbors – 19390). The disc does not enlighten uson the whoopee aspect of the title, but if the musical energy that hedemonstrates on the album is an indication of his general well being, thenhe is one happy Danish gentleman. Joined by two Florida jazz players, multiinstrumentalistRichard Drexler on bass, piano and organ, and Tony Martin ondrums, plus Danish guitarist Jacob Fischer, he saunters hiply through aprogram of 16 tunes, including two of his originals “Fiddler in Rio” that bringsScandinavian sensitivity to the land of Brazil, and “Sermon for Stuff,” a tributeto another great jazz violinist “Stuff” Smith. The program is a diverse one thatincludes standards like the title tune that opens the album, “There Will NeverBe Another You,” “You Brought a New Kind of Love to Me,” “The Nearness ofYou,” and “Skylark;” folk tunes like “Trubbel” and “Danny Boy;” and jazz classicslike “Nuages” and “Things Ain’t What They Used to Be.” Particularly moving ishis exploration of “Just a Gigolo” that captures the sadness of this song, evenwithout the presence of the touching lyrics. With the arrival on the scene of anumber of young jazz violinists like Aaron Weinstein, Sara Caswell and JonathanRussell, it is nice that one of those who helped to define this instrument in ajazz setting is still making superb music.CDs from the NJJS inventory are $16 each for single discs, and $26 for two-discsets. Shipping is $2 for the first CD, and $1 for each additional CD. Ordersshould be sent to Jon Sinkway, 43 Windham Place, Glen Rock, NJ 07452. There isa terrific selection of CDs in the NJJS inventory. The list of titles can be viewedon the “NJJS Store” page of our website (www.njjs.org). There is also anorder form that can be downloaded from the site.JJOther ViewsDespite all of the talk about the difficult timesbeing experienced in the recorded musicindustry, new CDs keep coming along, many of whichI shall continue to write about, like those mentionedin the following paragraphs.■ In the 1950s, there were several mid-sizedinstrumental groups that became an integral part ofwhat was then known as the West Coast sound.Among them were the Dave Pell Octet, a group thatcontinues to appear occasionally to this day, theMarty Paich Dek-tette, and Shorty Rogers and HisGiants. There are a few current leaders trying to keepthat sound alive, including Phil Norman, leader of thePHIL NORMAN TENTET. They have now releasedtheir fifth album, a two-disc set titled “Totally” Liveat Catalina Jazz Club (MAMA – 1034). Norman, asuccessful businessman who has returned to hislove for jazz as an avocation, always has first callplayers on his band, and he commissions chartsfrom the cream of the crop of West Coast arrangers.For this gig at the Catalina Jazz Club on January 15,2008, Norman had on the bandstand himself, RustyHiggins and Roger Neumann on reeds, Carl Saundersand Ron Stout on trumpets, Andy Martin ontrombone, Larry Koonse on guitar, Christian Jacob onpiano, Kevin Axt on bass, Dave Tull on drums andBrad Dutz on percussion. The arrangements of the12-selection program were by Med Flory, BobFlorence, Kim Richmond, Roger Neumann and ScottWhitfield. The opening track, Med Flory’s “I’m Dig,”with a terrific solo from Stout, sets the bar high for amemorable evening of music. Kim Richmond is anarranger who often thinks a bit outside of the box, as can be heard on “TheOutlaw and Middle Jazz,” his re-conception and combining of two tunes byHorace Silver and Martial Solal, “Tumbling Tumbleweeds,” adapted from a chartdone for his big band to fit this smaller ensemble, and a stunningly original takeon “Nature Boy” featuring Stout and Jacob. Roger Neumann, who has his ownbig band, wryly named Roger Neumann and His Rather Large Band, is a cat witha great sense of humor on and off stage, and it come through in his writing forNorman’s band. His charts include a beautiful vision of Willie Maiden’s “Hymn toHer,” featuring Martin’s exceptional trombone work, Oliver Nelson’s classic“Stolen Moments,” and an ebullient “Robin’s Nest” that put Neumann front andcenter on baritone sax. Scott Whitfield, who used to be an important presenceon the New York City scene, has taken his trombone playing, composing andarranging talents westward. His contribution to this session was an imaginativereworking of Dizzy Gillespie’s “Night in Tunisia.” Bob Florence, who held downthe piano chair in this band from its inception until his failing health no longerpermitted him to do so, was one of the primary arrangers for the Phil NormanTentet. On this occasion, they assayed his charts for “All Blues,” with someamazing playing by Jacob, “Frothy,” a piece written specifically for this band,and highlighted by the solo work of Koonse and Saunders, the mightily swinging“A Joyful Noise,” and his interpretation of Bill Holman’s “Theme and Variations,”used as the background for the closing comments of radio personality HelenBorgers. This review is somewhat longer than most that I write, but it is hard tohold back when commenting on two discs worth of exciting sounds, and that is46_________________________________ October 2009

JerseyReviewsJazzwhat you will find on this superb collection.(www.mamajazz.com)■ Trumpeter MARK BUSELLI has been the coleaderwith trombonist Bruce Wallarab of the Buselli-Wallarab Jazz Orchestra, a powerful mid-West bigband based in Indiana, since 1994. Their prior albumshave featured arrangements by both of the leadersas well as some other band members. For An OldSoul (Owl – 130), they concentrate on chartsconceived by Buselli. This is a band that adapts toany setting from the gently moody “Chelsea Bridge,”featuring some wonderful baritone sax playing byNed Boyd, to the fiercely swinging Buselli original“135 B. Chiswick.” Put a talented vocalist like KelleenStrutz in front of the band, and they sound greatplaying the settings penned by Buselli. Strutz isfeatured on five of the 11 selections, Jobim’s “If YouNever Come to Me,” sing nicely in Portuguese andEnglish, “Angel Eyes,” “Open Up Your Heart,” anoriginal tune by Buselli with lyrics by JenniferJohnson, “If I Should Leave You,” and “When I Fall inLove.” She has a seductive voice that is wonderfullycomplemented by Buselli’s arrangements. The titletrack is dedicated to Buselli’s late golden retriever,and shows off his sensitive creativity as bothcomposer and arranger. There are plans underfoot tofollow up this impressive album with on featuringthe arrangements of Bruce Wallarab. Having heardhis work on prior releases, it promises to be anequally fine collection of modern big band jazz.(www.owlstudios.com)■ JAMES MOODY has been recording in sevendecades, and shows no diminution in his genius as ajazz player. Dig his playing on Moody 4A (IPO – 1016), where he isaccompanied by the stellar rhythm section of Kenny Barron on piano, ToddCoolman on bass and Lewis Nash on drums. He gives us eight selections thataffirm his continuing mastery of the jazz idiom. Equally at home on tenor or altosax and flute, he sticks with the tenor for this album, one that has classicwritten all over it from the opener, “Secret Love,” where he conjures up severalstyles and moods, to his last track, “Bye Bye Blackbird.” Moody and Barron havebeen playing together off and on since the early 1960s. The natural affinitybetween the two is particularly evident on Barron’s jazz standard “Voyage,” atune that Moody takes to as naturally as the proverbial duck digs a pond, andon their duo treatment of “East of the Sun” that becomes a deep conversationbetween two old friends. It is refreshing to hear the quartet take “Without aSong” with a pace that exceeds expectations, and their bossa influencedreading of “Stella by Starlight.” This is one of those albums that I would ratherlisten to than write about, as the writing takes time away from keeping myattention tuned into the joyous sounds emanating from my CD player.(www.iporecordings.com)■ There is one word that kept recurring in my mind as I listened to When theHeart Dances (naim Jazz – 112) by pianist LAURENCE HOBGOOD, and thatword is sensitive. This 11-song collaboration with bassist Charlie Haden isreplete with quietly persuasive jazz. Hobgood has composed three of the tunes,“When the Heart Dances,” “Leatherwood,” and “Sanctuary,” my particularfavorite, a solo piano piece that picks up steam and passion as it evolves froma hymn-like beginning to a fervid statement ofcommitment before receding into a final Amen.Haden and Hobgood put their creative mindstogether to compose a very engaging number thatthey titled “Chickoree.” Hoagy Carmichael wrote somany wonderful, yet diverse songs that it is not easyto place him in a stylistic box. “New Orleans” iscertainly one of his most unique and engaging tunes,and Hobgood perfectly captures its reflective mood.Vocalist Kurt Elling and Hobgood have been musicalpartners for quite some time, and it feels perfectlynatural to hear Elling’s voice pop up on three of thetracks, “First Song,” a Haden original, “Stairway tothe Stars” and “Daydream.” In keeping with therest of the album, Elling pulls back on his normalintensity to provide some wonderfully understatedand impressive vocalizing. As Hobgood and Hadenruminated on the lovely “Why Did I Choose You,” itoccurred to me that this would have made a goodtitle track for an album that you would be wise tochoose as an addition to your CD library.(www.thenaimlabel.com)■ Those of you lucky enough to have experiencedthe magic of a FRANK SINATRA concert will havememories galore flood into your consciousness asyou dig the sounds coming out of your speakerswhile listening to Live at the Meadowlands(Concord – 31331). If you were extra fortunate, andsaw him on his home turf in New Jersey, theexcitement was that much more than anywhereelse. To paraphrase the old adage, you can take daboy outta Joisey, but you can never take Joisey outtada boy. He was their guy, and the anticipation in thebuilding as they waited for him to appear was electric. Reading the liner notesfor this disc written by Hank Cattaneo, Sinatra’s production manager, you get aclear image of what was evolving as the team prepared for the moment whenthe Boss hit the stage. Sinatra did not suffer fools gladly, and he was a sticklerfor details and schedules. All of that was of little importance to those out front.All they knew was that they were going to see their man, and they would lethim know that he retained a special place in their lives and hearts. I saw himon great nights, good nights, and once when I wanted to cry. The concertdocumented here was one of the great nights. He sings with confidence andverve, and gives the audience a primo example of why he was among the mostimportant, dynamic and transformative figures in the history of the world ofentertainment. Most of the tunes that they wanted to hear were included inhis program. It only took a note or two of the intro to each song for them toknow what was coming. Of course “You Make Me Feel So Young,” “I’ve Got YouUnder My Skin,” “Theme from ‘New York, New York’” and “One for My Baby(and One More for the Road)” brought on the extraordinary cheers, but nomatter what he sang they were with him, and it is palpable as you listen to thedisc. As I listened to this music, I would occasionally close my eyes, and it allcame back. I was out there digging every moment. He turned an enormousspace into his living room, and he was singing just for you and your friends.Nostalgia is a comfort for many, but hearing this material takes you beyondnostalgia to memories of what it is like to be transported for a little while to aplace where time stood still, and all the cares of the world seemed far awayindeed. (www.concordmusicgroup.com)continued on page 57October 2009__________________________________ 47

JerseyReviewsJazze have three stages now, and I“W wish we could have more to give allthese young musicians a chance to be heard,”Newport jazz festival founder (and savior for2009) George Wein told thousands oflisteners at the August 7–9 re-dubbed GeorgeWein’s CareFusion Jazz Fest 55.And indeed there was plenty of youthfultalent at this most venerable of jazz fests,including luminaries like EsperanzaSpalding, Jane Monheit, rapper Mos Def,Hiromi, Miguel Zenon, Brian Blade, JoshuaRedman, Claudia Acuna and James Carter.All are 40 or under, which qualifies them asmere kids to this 70-year-old reviewer.But when it came to booking talent forprime time on the big stage that Sunday, thenod went to a trio of octogenarians: RoyHaynes, 83, Dave Brubeck, 88 and TonyBennett, 83, and their small groups.Neither Brubeck nor Bennett played or sanganything new, but who really cared? Audienceroared at “Take Five” and “I Left My Heart”and dozens of other well-done chestnuts.Brubeck was in particularly fine form. Heopened with an Ellington medley, full of histrademark stutter-step chords and betweenthe-beataccents, building the tension so integralto all good jazz. He teased the crowdplaying “Stormy Weather” as clouds threatenedto burst over historic Fort Adams StatePark and the yacht-filled Narragansett Bay.The rain never came, and the pianist took astroll on the “Sunny Side of the Street.”Alto player Bobby Militello switched to fluteon Brubeck’s ethereal “Elegy,” and injectedsome “Blue Rondo a la Turk” into “TakeFive,” a double rhythmic adventure.Rock-steady backing from Michael Mooreon bass and drummer Randy Jones allowedBrubeck to meander at will on keys withoutever losing his way.Festival closer Bennett brought Brubeckback to sit in on piano as they revisited“That Old Black Magic,” a duet they lastOld Old Favorites Star at NewportBy Sandy Ingham | Photos by Richard SkellyNeither Brubeck nor Bennett played or sang anything new,but who really cared?played together at JFK’s White House in1962.Bennett clearly relishes his continued reignas king of the Great American Songbook,raising his arms like a prizefighter afterconquering a high-note climax, grinning earto ear, sometimes doing a Gene Kelly impersonationas his rather sedate quartet takes aturn in the spotlight. His voice remains awonder of the world.I missed most of the Roy Haynes Fountainof Youth set as I checked out SteveBernstein’s Millennium Territorial Orchestraon a side stage and was captivated. The ninepieceband employs a violinist and guitaristboth equipped with wah-wah pedals, andthe leader plays a slide trumpet at times.The repertoire ranges from 1920s jazz topop to Sun Ra-like chaos to country(guitarist Matt Munisteri sings in a laid-backway that echoes Willie Nelson). All of this isrearranged for maximum novelty, and joy.Case in point: One number begins with afree jazz free-for-all, then morphs into“Le Marseilleise,” then into a super-swingingBeatles hit, “All You Need Is Love.”Bernstein conducts with show-biz flair,summoning imaginative, often zany, solosfrom all hands, and coaching the crowd,shushing us when a tune seems to be endingonly to be calming down for a violin solo.The MTO is based in New York. Alas, noupcoming dates are listed on Bernstein’sWeb site. Many of us would love to hear thisband again.Earlier Sunday, alto saxist RudreshMahanthappa’s Indo-Pak Coalitioncreated jazz out of Indian-based melodies,including a hypnotic Ravi Shankar ballad.Dan Weiss’s hammering and tapping onfinely tuned and retuned tablas was musicto both ear and eye.I caught the end of Joe Lovano’s UsFive set,with the robust saxophonist wailing theWBGO's JoshJackson preparesfor live broadcastfrom Newport.Sandy Ingham isJersey Jazz’sroving reporter.48_________________________________ October 2009Lew TabackinEsperanza SpaldingDave Brubeck

JerseyReviewsJazzGeorge Wein interviewed.blues on two sopranos simultaneously whiletwo drummers pounded away behind him.Lovano later joined Dominican piano greatMichel Camilo for a rousing “Night inTunisia.”I found Saturday’s lineup less compellingand kept roaming from stage to stage,hoping to find music that would plant me ina seat.There were some highlights:■ Pianist Cedar Walton led a group withtenor sax player Lew Tabackin and trombonistCurtis Fuller, a combination that hada brawny appeal. Tabackin’s feature ballad,“Old Folks,” was at once gruff and tender.■ Jane Monheit’s honeyed voice on a bevyof standards, notably “Waters of March” and“Rainbow Connection.”■ Claudia Acuna singing an old Brazilianbolero that later became Americanized as“What a Diff’rence a Day Makes.” BranfordMarsalis soloed on soprano, one of manyoccasions he played with his quartet, or asguest with others recorded on his MarsalisMusic label.■ Christian McBride’s booming bass notesand George Colligan’s impressive pianoaccompaniment on a McBride trio set.■ The North Carolina Central Universitybig band (and small groups) had a blastplaying with Marsalis and his pianist, JoeyCalderazzo — both on the NCCU faculty.■ The festival opener Friday night (August7) at the 19th-century International TennisHall of Fame, with Chaka Khan subbingfor an ailing Etta James, plus the SwingEra-leaning Howard Alden-Anat Cohenquintet. Khan has a surprisingly good feelfor jazz and an ear for good tunes, but herfrequent forays into her upper register werelike fingernails on a blackboard, all shrill,no thrill.Alden, Cohen and Co. sounded just fine,swinging effortlessly on a dozen familiartunes, including clarinetist Cohen’s salute toBenny Goodman on his centennial, playing“Memories of You.”Impresario Wein sat in on “All of Me” andtook his first of many bows over theweekend for having rescued the festival afterthe company he sold it to two years ago raninto financial problems. CareFusion, aCalifornia health care company, is joiningWein as lead sponsor of a number offestivals including next June’s two-weekcelebration in New York.JJPio Costa Foundation PresentsA beautiful setting for your special eventfeaturing a theater stageThe House of Jersey Jazz31 Westville Ave • Caldwell, NJ 07006For more information: 973-575-1706October 2009__________________________________ 49

JerseyReviewsJazzSatchmo Summerfest: N’OrleansSalutes its Favorite SonArmstrong’s music was everywhere — I heard“Sleepy Time Down South” and “It’s a Wonderful World”done every which way, and his fun-loving spirit was contagious.Sauntering down Frenchmen Street inNew Orleans late on the night of July 31,I thought: I am indisputably in the rightplace, right time, mingling with more happypeople per square foot than could be foundanywhere else in the world.The occasion was the annual SatchmoSummerfest Club Strut, one of the greatestparties in this great party town. If you thinkmidsummer in the Deep South isn’t yourcup of iced tea, the thousands reveling inthe music from several directions, the foodand drink and camaraderie, might changeyour mind.The ninth annual Louis ArmstrongCentennial birthday party — they started in2001, when on August 4 Louis would haveturned 100 — was a bit bigger and betterthan its predecessors.The Club Strut offered music in 19 differentvenues along raffish Frenchmen Street,which juts off from a corner of the FrenchQuarter. For the price of a wrist band ($25,or $75 for a VIP pass that includes free foodand drink) locals and tourists got royallyentertained from 6 PM until 2 AM or beyond.(I conked out at 1:30.) Thousands of othersjust celebrated in the street for free, serenadedby the marching Treme Brass Bandand by smaller groups playing on threebalconies overlooking the street.Some choice moments:■ Trumpeter-singer Shamarr Allen beltingout “Meet Me on Frenchmen Street,” ananthem to what has emerged as the musicalMecca in this city. It’s no Bourbon Street,and that’s a good thing. Allen’s amusingbanter with sidemen and audience isengaging, but it’s his musicianship — heaccompanied Willie Nelson on a recent tour— that marks him as a rising star.■ Bluesman Chris Thomas Kingrevisited his contributions to theOh Brother, Where Art Thousoundtrack.■ Drummer Herlin Riley crossedinto another zone on his“Caravan” solo while leading aquintet that featured Wessell“Warmdaddy” Anderson. Sittingin, Lucien Barbarin, sans histrombone, leaped into the vocalon “Lil Liza Jane” and veered into“Shake Your Money Maker,” withsome impromptu lyricinnovations.■ Tony Dagradi’s New OrleansSaxophone Quartet wove intricateharmonies on bop and jazzclassics, notably Ellington’s “In aSentimental Mood.”■ Trombonist Delfeayo Marsalisled the Uptown Jazz Orchestra, abig band good enough to bringbrother Branford back to hishometown to play tenor. The 15-piece band swung relentlessly onseveral numbers from the classicCount Basie-Neil Hefti “Atomic”album from the 1950s.■ Youngest brother JasonMarsalis closed out my night at the city’spremier jazz club, Snug Harbor, leading aquartet on some imaginative originals fromhis new Music Update CD. Marsalis, initiallya drummer, has developed into a superbvibraphonist. He welcomed saxmanAnderson to sit in on two standards andclosed with a straightahead blues, titledintriguingly, “Western Vacation Ranch.”The music continuedSaturday and Sunday atthe Satchmo Fest’soutdoor stages at theOld Mint Museum.Armstrong’s music waseverywhere — I heard“Sleepy Time DownSouth” and “It’s aWonderful World” doneevery which way, and hisfun-loving spirit was contagious.Lionel Ferbos performsat Satchmo Club Strut,New Orleans' oldestworking musician.Audience listens to seminarat Satchmo SummerFest.Chris Thomas King■ Seguenon Kone, on an extended visit tothe Crescent City from his Ivory Coasthomeland, has assembled an eight-pieceAfrican and New Orleanian band thatemphasizes the forceful rhythms drivingmusic from both places. He plays a gianttimbale-like contraption, fitted up withhanging gourds and other percussion aids,50_________________________________ October 2009

JerseyReviewsJazz“All of us who playjazz, or any kind ofAmerican music, arestanding on Louis’sshoulders…”Amen.that he wears around his neck whiledancing and spinning around the stage.His compositions have a tranceinducingquality.■ Singer Leah Chase recalled an Armstrongrarity: Louis joined with Leon Thomas inrecording Pharoah Sanderss’ “The CreatorHas a Master Plan.’’ Her version, completewith Thomas-like yodeling, paid homage toboth innovative singers.Trumpeters were in the spotlight all daySunday:■ Lionel Ferbos, at 98 the oldest workingmusician in the city, still has chops and hisvoice, too, and was featured in LarsEdegran’s Ragtime Orchestra.■ James Andrews’s Crescent City All-Starsfocused on the rhythm and blues music thatNew Orleans sent out to the world in the1950s, brassy versions of classics by legendssuch as Earl King, Allen Toussaint, ProfessorLonghair and Andrews’s own grandfather,Jesse Hill, whose “Ooh Poo Pa Doo’’ remainsa sing-along staple here.Brass band plays at start ofSatchmo Club Strut on Frenchman Street.■ Kermit Ruffins, the most Satchmoinspiredtrumpeter-singer of all, closed outthe festivities as usual, then presided over atrumpet summit that propelled one last“The Saints” and “Happy Birthday” into theblue sky.There was more club-hopping. I checkedout trumpeter-bandleader-civic leader IrvinMayfield’s swanky new club at the RoyalSonesta Hotel, where elegant singer JohnayeKendricks mixed standards with someadventurous originals.On another memorable night, John Boutte,a great singer, was backed by a fine trio atd.b.a. Boutte’s high tenor handles jazzstandards, gospel and r&b with equal skill,and his occasional rants about“loudmouths” in the audience and gripesabout a quirky sound system are endearingparts of his act as well.Just up the street,Herlin Riley led aquintet in a late setwith trumpeterMarlon Jordan andthe ubiquitousWarmdaddyAnderson in thefront line. Hisopening whackson a tambourine,creating aninimitable NewOrleans groove, setthe pace for “NightKermit RuffinsBy Sandy InghamPhotos by Richard SkellySandy Ingham is Jersey Jazz’s roving reporter.Shamarr Allenin Tunisia,” and he remained in stellar formall set. Things only got better when brothersBranford and Delfeayo showed up and sat infor more than an hour.Before the closing “St. Louis Blues,” Rileypaid tribute to Armstrong. “All of us whoplay jazz, or any kind of American music,are standing on Louis’s shoulders,’’he said. Amen.JJJim Fryer &The Unusual Suspectsfeaturing Ken Salvo (banjo, guitar, vocals)Fridays: Oct 23, Nov 13, Dec 4hot jazz7–10 PMThe Cajun Queen(formerly the New Orleans Steakhouse) NO COVER CHARGE680 Amboy Ave., Woodbridge, NJ 07095 | 732-634-6060 | www.cajunqueen.comGo to www.jfr yer.com for detailsOctober 2009__________________________________ 51

JerseyReviewsJazzCaught inthe ActBy Joe LangNJJS Board MemberDave Frishberg & Rebecca KilgoreFeinstein’s, New York City | July 28 – August 1, 2009Vocalist/pianist Dave Frishberg and vocalist Rebecca Kilgore have beenworking together occasionally since the early 1990s. They are bothresidents of Portland, Oregon, and have had some regular gigs over the years atlocal venues. There have also been three albums resulting from the teaming ofthese two unique interpreters of the Great American Songbook, the mostrecent being Why Fight the Feeling: Songs by Frank Loesser, released in 2008on Arbors Records. Folks in New York City were given the opportunity to enjoytheir winning artistry for four nights at Feinstein’s at the Regency Hotel.Dave Frishberg is one of the few true hipsters left on the scene. His occasionalduos with another of this rare breed, Bob Dorough, always bring out anenthusiastic crowd. Several years back, they recorded an album titled Who’s onFirst. They wrote the title song to humorously explore the quandary faced whentwo performers of equal stature are paired together, and must decide which ofthem is to perform in the initial slot. Frishberg and Kilgore were faced with asimilar situation, and used this clever ditty to introduce their show.Kilgore then left the stage to Frishberg, and he spent a pleasant interludeexploring a half-dozen of his own musical creations. He opened with threesongs about cities, the wry “Another Song About Paris,” the lament “Do YouMiss New York,” and the cynical “Living Too Long in L.A.” Frishberg wrote thewords and music for the score of a musical presented in Portland about thecharacters that comprised the legendary Algonquin Round Table. Judging by thetwo selections that he offered from this theatre piece, “What’s Your Plan Mrs.Parker” and “Hey Pal (Who Do You Think You Are),” it should be hoped that theproducers of the show find the resources to bring this piece to the Big Applewhere it would have its most natural appeal. He closed his segment with one ofhis typically cynical meditations on contemporary life, “Long Daddy Green.”Frishberg is a superb jazz pianist, and a sensitive accompanist. His voice is thekind that one often finds from a singing jazz player, not attractive in a classicmanner, but his sense of phrasing and understanding of his material allows himto make his limited vocal resources take a back seat to his ability tocommunicate. I often think of him as a contemporary Hoagy Carmichael, bothas a performer, and as a composer/lyricist.It was then time for the return of Kilgore, and she gave the audience a taste ofwhy she is so highly thought of by those who love great songs. She is one ofthe select few singers who digs deep into the Great American Songbook, andalways opts to sing selections that might be a bit off of the beaten path, but arewell worth the detours. She opened with “Evenin’,” a tune most associated withthe great blues singer, Jimmy Rushing. Not being familiar with Portuguese, it ishard to judge how effective it is when an American sings in that language, butmy untrained ears were quite satisfied with her warbling of “Brazil” inPortuguese. Among her other superb selections were “Namely You,” “Martha,”“Not a Care in the World” and “Happy As the Day Is Long.” Kilgore is a pleasureto hear. She has an appealing voice, and an understated style that demandsyour attention. Her reading of lyrics is simply perfect, and her interpretationsalways reflect a jazz influence.The duo once again joined forces for a Johnny Mercer medley. Frishbergdeclared “You Must Have been a Beautiful Baby,” Kilgore gave a witty renditionof “Arthur Murray Taught Me Dancing in a Hurry,” Frishberg urged us to“Accentuate the Positive,” and they teamed up on “Hooray for Hollywood” and“Glow Worm.”To close, Frishberg exposed his sensitive side, singing his lyrics to an AlanBroadbent tune that advises a young child to “Listen Here” to mature words ofadvice about how to face life. It added a nice touch to conclude this fineevening of song and good spirits.JJThePresentsSaturday, November 21st8:00 p.m.United Reformed Church100 West Main Street, Somerville, NJ$15 advance sale $20 at the doorDining on Main Coupons for select Downtown Somervillerestaurants sent with advance sale ticketsFor Tickets: 908/722-4824e-mail: sylanders58@comcast.net52_________________________________ October 2009

New JerseyJazzSocietyP.O. Box 995 • Easton, PA 18044-09952009 – NOW OUR 31ST YEAR!PresentsJazz LobstersBig BandFeaturing the Timeless Musicof all the Great Big BandsSundayOctober 11, 20092:00 PM to 5:00 PMEaston Moose Lodge~Easton, PAMEMBERS $18OTHERS $20 / STUDENTS $5Food and Drink AvailableFor tickets & directions send SASE to:PENNSYLVANIA JAZZ SOCIETY, PO BOX 995 EASTON, PA 18044Info: 610-740-9698More info: www.PaJazzSociety.orgor e-mail: PAJazzsociety@aol.comCOMING UP: November 8, 2009Doug SmithEaston Moose LodgeEaston, PAJAZZ TRIVIA ANSWERS questions on page 51. Johnny Mercer2. Lester YoungFrom the Crow’s NestBy Bill CrowWhile I was chatting on the phone with MartyNapoleon…we got to talking about his latebrother Teddy, who was well known for his colorfulexpressions. Once while eating spareribs, Teddyfinished a rack of them and said to the host, “I’llhave another octave!”■ Between sets on a job, David Finck found himself in a conversationwith a man and wife who claimed to be avid jazz fans. Eventually, the manasked Dave’s un-favorite question, “So, do you do this full time?” Theimplication being that Dave must also have a “real” job. “Yes, I do,” Davetold him. “Wow, that’s great! You know, I put myself through medicalschool playing drums on the weekends.” Dave countered with: “Wow,that’s great! I put myself through conservatory doing brain surgery, butI got tired of the hours and my beeper going off all the time.”■ Herb Gardner passed this one along from Randy Reinhart, whowas playing a children’s concert at which Dave Ostwald held up his tubaand asked, “Who knows what this is?” A little girl raised her hand andsaid, “A trapeze?” John Erik Kellso muttered, “No, you can SWINGon a trapeze!”JJBill Crow is a freelance musician and writer. His articles and reviews haveappeared in Down Beat, The Jazz Review, and Gene Lee’s Jazzletter. His booksinclude Jazz Anecdotes, From Birdland to Broadway and Jazz Anecdotes:Second Time Around. The preceding story is excerpted, with permission, fromBill’s column, The Band Room in Allegro, the monthly newsletter of A.F. of M.Local 802.3. Larry Clinton4. Ray Bauduc5. “Stuff” Smith6. Dicky WellsOctober 2009__________________________________ 53

New JerseyJazzSocietyWhat’s New? Members new and renewedWe welcome these friends of jazz who recently joined NJJS or renewed their memberships. We’ll eventually see everyone’s name here as theyrenew at their particular renewal months. (Members with an asterisk have taken advantage of our new three-years-for-$100 membership,and new members with a † received a gift membership.)Renewed MembersMr. Peter Ballance, Upper Montclair, NJMs. Karen H. Berner, Yardley, PAMr. & Mrs. James E. Bredenkamp,Anderson, SC *Ms. Caren Brodsky, Philadelphia, PA *Mr. & Mrs. John M. Bucher, Mountainside,NJMr. Anthony Campesi, Summit, NJ *Mr. Bob Cantalupo, Monroe Township, NJMr. Patrick Capone, Chatham, NJMr. & Mrs. Thomas Carr, Neptune City, NJMr. & Mrs. Jerome Chamberlain, Wayne, NJMr. & Mrs. Al Connelly, Ringwood, NJMrs. Rae Daley, Morristown, NJMr. Edgardo T. Farinas, Montclair, NJMr. & Mrs. Hank Gasbeck, Camden, DEMr. & Mrs. Robert Gold, Montclair, NJ *Mr. Stephen Gruber, Millington, NJMs. Lorelei Harris, Morristown, NJMr. Theodore Jones, Morristown, NJMr. Louis Katz, Rockaway, NJMr. & Mrs. Walter Keady, Jr., Ramsey, NJMr. John Kolesar, Bordentown, NJMr. Howard Leary, Basking Ridge, NJMr. & Mrs. Howard D. Leigh, Toms River, NJMr. Arthur Smith Levy, Mountainside, NJMr. & Mrs. Steve Lipman, Springfield, NJDr. & Mrs. Robert L. Malatesta, Washington,NJMr. Arthur W. Markowitz, Mahwah, NJMs. Sue Moore, Weehawken, NJMr. Greg Natic-Scotch Plains Music Ctr.,Scotch Plains, NJMr. & Mrs. James Nissel, Blue Bell, PA *Mr. & Mrs. Joe Pareti, Spotswood, NJMr. & Mrs. Henry W. Pfeiffer, Chatham, NJMr. Sidney Rabinowitz, Aberdeen, NJMr. Jerry Ritzer, Livingston, NJMr. Kevin Roberson, Old Bridge, NJMr. John S. Shaw, Wyckoff, NJMrs. Carol Stone, Cape May, NJMr. David Sullivan, Chester, NJMs. Ellen Tyroler, Randolph, NJMr. Richard Waters, Chatham, NJNew MembersArlene Chasek, New Providence, NJFrank Gooch, Sarasota, FLMs. Latronia Green, East Orange, NJSusie Meissner, Lawrenceville, NJDiane Montalbine, Union, NJFlip Peters, South Orange, NJNJJS Board of Directors ElectionWe’re Looking for a Few Good Jazz FansCTSIMAGES |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.COM e-mail: Cynthia@ctsimages.com© Ray Avery/CTSIMAGES.COM1Candidates must be NJJS members in good standing for aminimum of one year.2Those of you interested in running should submit your name,along with a statement presenting your background, the skillsyou would bring to the Board, and any other information you thinkpertinent for the nominations committee and Board of Directors toconsider when deciding whether to vote for you (e.g., your views onvarious issues, your thoughts on where NJJS should be headed,etc.). The maximum length of your statement is 200 words, firm.You may also submit your resume.3Candidates must be prepared to put in a few hours a week andattend at least one evening meeting a month. Board meetingsare typically held the third Tuesday of each month. Each Boardmember participates on one or more committees and volunteers atNJJS events.4More and more of the Board’s business is conductedelectronically; accordingly, candidates must have regularaccess to E-mail and to Microsoft Word.5Submissions can be sent by email to: Elliott Tysonnominations@njjs.org or by calling Elliot at 732-470-6123.6Submissions must be receivedby October 15, 2009.JJ54_________________________________ October 2009

New JerseyJazzSocietyChanging Your Address?Even Temporarily?To ensure uninterrupted delivery of Jersey Jazz while you’re at atemporary or seasonal address, please let us know six weeks inadvance of leaving and again six weeks before your return. And ifyou will be moving permanently, of course please give us thatsame six weeks advance notice. Contact membership@njjs.org.Your Will Can Benefit NJJSMany people include one or more charitable organizations asbeneficiaries of their Wills. If you would like a portion of your estateto be used to carry on the work of NJJS, please consider a bequest tothe Society as part of your estate planning. You can either make abequest available for general use as the Directors of NJJS maydetermine, or you can designate it for a specific purpose, such as foreducational programs. NJJS is a qualified charitable educationalorganization under section 501(c)(3) of the Internal Revenue Code.For more information, including specific bequest language that youcan provide to your attorney, contact Mike Katz, Treasurer, at(908) 273-7827 or at treasurer@njjs.org. JJBe a STAR for NJJS —Volunteer!The New Jersey Jazz Society has been a labor of love for itsfounders, its directors and its volunteers since it began. Everythingthat happens — each name added to the E-mail list; every bitof programming at our annual events and each Member Meeting;the updating of the Website; all the stories and photos you enjoy inthis magazine; any announcement in the newspaper or on the radio;all of these doings and many more are handled by volunteers whoenjoy taking action for the music they love.WE ALWAYS NEED HELP. The chores are easily manageable —and fun! — with more hands on deck. Don’t assume we’ve got itall under control. In fact, there are many ideas on the table that areon hold because we simply haven’t got the manpower to carrythem all out.Call Volunteer Coordinator Elliott Tyson at 732-470-6123or E-mail him at volunteer@njjs.org.Your Jazz Society thanks you!!JJAdvertising =Another Way to Support NJJSWhen you advertise, you help NJJS defray the considerable cost ofprinting and mailing Jersey Jazz. No matter what your business, youcan share the word with hundreds of jazz fans around the state andbeyond. As we expand the publication and our visibility at jazzvenues, more and more people have an opportunity to discover you!You won’t find more reasonable rates: ads start at $25/month for abusiness card size, and go up to a mere $100 for a full page.E-mail art@njjs.org for more information.JJAbout NJJSMission Statement: The mission of the New Jersey Jazz Society is to promote andpreserve the great American musical art form known as Jazz through live jazzperformances and educational outreach initiatives and scholarships.To accomplish our Mission, we produce a monthly magazine, JERSEY JAZZ, sponsorlive jazz events, and provide scholarships to New Jersey college students studyingjazz. Through our outreach program, “Generations of Jazz,” we go into schools toteach students about the history of jazz while engaging them in an entertaining andinteractive presentation._______Founded in 1972, the Society is run by a board of directors who meet monthly toconduct the business of staging our music festivals, awarding scholarships to NewJersey college jazz students, conducting Generations of Jazz programs in localschool systems, and inducting pioneers and legends of jazz into the American JazzHall of Fame, among other things. The membership is comprised of jazz devoteesfrom all parts of the state, the country and the world.The New Jersey Jazz 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 (summer jazz festival)■ Pee Wee Russell Memorial Stomp ■ e-mail updates’Round Jersey (Regional Jazz Concert Series):■ Ocean County College ■ Bickford Theatre/Morris■ Student scholarships ■ American Jazz Hall of FameMember BenefitsWhat do you get for your $40 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.■ FREE Member Meetings — See www.njjs.org and Jersey Jazz for updates.■ FREE Film Series — See www.njjs.org and Jersey 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 in December and occasionally other free concerts. Ticket discounts(where possible) apply to 2 adults, plus children under 18 years of age.Singles may purchase two tickets at member prices.■ 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.Join NJJSMEMBERSHIP LEVELS Member benefits are subject to update.■ Family $40: See above for details.■ NEW!! Family 3-YEAR $100: See above for details.■ Youth $20: For people under 25 years of age. Be sure to give the year ofyour birth on the application where noted.■ Give-a-Gift $40 + $20: The Give-a-Gift membership costs the regular $40for you, plus $20 for a gift membership. (Includes your 1-year membershipand your friend’s first year membership. Not available for renewals of giftmemberships.)■ Supporter ($75 – $99/family)}■ Patron ($100 – $249/family) Members at Patron Level and abovereceive special benefits. These■ Benefactor ($250 – $499/family) change periodically, so please■ Angel $500+/family)contact Membership for details.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, c/o Mike Katz, 382 Springfield Ave., Suite 217, Summit, NJ 07901.October 2009_________________________________________________________________________________ 55

’RoundJerseyMorris JazzThe Bickford Theaterat the Morris MuseumMorristown, NJ 07960Tickets/Information: 973-971-3706“String of Pearls shows an authentic andaffectionate spirit, with an extraordinarykaleidoscope of group singing styles,” observesMichael Bourne of WBGO-FM. “They sound good.They look good. Pearls of great price, indeed.” Noextra charge to you when this lively group visitsthe Bickford Jazz Showcase for the first time onMonday evening, October 5, to help the seriescelebrate its tenth birthday.Susan Halloran, Jeanne O’Connor and HolliRoss all have impressive vocal resumes asindividuals, but it is as a trio that they really shine.They capture the sound of the Boswell Sisters, theAndrews Sisters, the McGuire Sisters — even theMills Brothers — without the taint of slavish imitation.They and their expert backup musicians expand fromthat base to include other jazz, cabaret and popmaterial, presented with similar zest. “If you’d like toknow why I play cuts from String of Pearls’ CD at leastthree days a week,” says DJ Gil Ellis, “it’s becausethey’re damned good, and I get favorable audiencefeedback.” Their 90-minute set will fly by quickly.World-class trombonist Dan Barrett will return to NJfor a short visit, touching down in Morristown onMonday evening, October 19 to continue the anniversarycelebration there. Dan first gained nationalattention when, as a youth, he played the difficult“Ory’s Creole Trombone” at jazz pioneer Kid Ory’s funeral, but he is mostfamiliar to Easterners for an intense period of playing and recording in the NYCarea. He has plenty of Concord and Arbors CDs in circulation, having becomemusical director at the latter label. “He is one of the delights here,” wrote notedNew York Times jazz columnist John S. Wilson about one of his early recordings.“He’s a melodist, a colorist who knows how to use a plunger mute with tasteand, in total, a player Duke Ellington would have loved."Dan will be backed by some familiar names at his Bickford visit. Dan Tobias,who assembled the band, will play cornet. Perhaps he’ll duet with Barrett, whoalso plays and records with that instrument. Their all-star rhythm section hasIsraeli pianist Ehud Asherie, Jazzfest bassist Joel Forbes anddrummer Kevin Dorn, a frequent guest here.The intensity of the fall anniversary season continues with theMidiri Barnhart Trio on November 2. Potent pianist JeffBarnhart joins popular twins Joe Midiri (reeds) and PaulMidiri (vibes and drums, at least) as they return to the Bickfordto try to improve upon past triumphs. Their edge this time isAnne Barnhart, who will join them from time to time on flute.They really look forward to these reunions, and have beenworking on comprehensive arrangements for this expandedinstrumentation all year!JerseyEventsJazzJeanne O’Connor, Susan Halloran and Holli RossDan BarrettDan TobiasClarinetist Dan Levinson is also looking forwardto November 16, when he will introduce FêteManouche, his Django-style Gypsy jazz grouphere. Three expert string players back him asthey romp through the challenging Reinhardtrepertoire. Italian pianist Rossano Sportiello(remember him from the 2009 ChickenFat Ball?)closes the year by soloing on December 7. The2010 season is already taking shape, withanother Great GroundHog Day Jam, the Big BixBeiderbecke Birthday Bash and centennialcelebrations for Artie Shaw and DjangoReinhardt. Lots of familiar names involved, plussome new discoveries.Jazz For ShoreNOTE temporary venue change!Mancini Hall, Ocean County LibraryToms River, NJ 08753Tickets/Information: 732-255-0500During the period that trombonist Dan Barrett waslocated in the NYC area, jazz fans in large numbersdiscovered his talent at Eddie Condon’s and severalother Manhattan nightspots. Or perhaps at one of hisfour appearances at Carnegie Hall. Or playing withBenny Goodman, Woody Allen or Buck Clayton. Sincehis return to California, we now only get a taste of himvia recordings with Rebecca Kilgore, John Sheridan,Randy Reinhart and other top names.Live visits are all too rare. MidWeek Jazz learned of one,and booked him for Wednesday, October 14. For 90intense minutes he’ll be on their stage, backed bycornetist Dan Tobias, plus that hot “new” pianist Ehud Asherie and familiarbassist Joel Forbes. Low prices still prevail, so if you miss this moment, you’llhave to spend a bit more to catch Barrett at any one of numerous jazz parties,cruises and festivals in other parts of the United States, Canada, Europe, theUnited Kingdom, Australia, and Japan. Might be awhile before he gets backhere!Drummer Kevin Dorn’s popular group, the Traditional Jazz Collective, takes athird encore with this series on November 18. Their fan club knows them as theTJC, and they have no shortage of talent. Pianist Jesse Gelber and cornetistCharlie Caranicas have been applauded here with other groups. Alto andsoprano sax phenom Michael Hashim, trombonist J. WalterHawkes and bassist Doug Largent are also committed for thisdate.Clarinetist Allan Vaché had a sellout here in August, so fans ofthat talented family can also hear his brother, world-classcornet star Warren Vaché, when he appears with his trio onDecember 16. He’ll be with a local favorite, guitarist VinnieCorrao, who also appeared with Allan. Also featured is stunningbassist Nicki Parrott, a hit last year with Bria and Jim. The 2010season is taking shape, with the Midiri Brothers and guestsopening things on January 20.JJ’Round Jersey concerts are produced by Bruce M. Gast in conjunction with the New Jersey Jazz Society. Performance photos by Bruce Gast.56_________________________________ October 2009

JerseyEventsJazzOTHER VIEWScontinued from page 47■ I Just Want to Get Paid! (Toy Car – 0110) is atruly engaging album of original songs by drummerDAVE TULL who wrote both music and lyrics for the14 selections, and sings them as well. He is joined onthe album by Doug Webb on reeds, Steve Huffsteteron trumpet, Corey Allen on keyboards and Kevin Axton bass. The songs are a mix of whimsy andsensitivity. There are a few sardonic ruminationsabout life as a jazz musician, “I Just Want to GetPaid,” “You’re Talkin’ Too Loud” and “The MinutesPass Like Hours When You Sing,” each of whichexplores some of the pet peeves that are endemic tocats who toil in the jazz trenches. The vagaries ofcontemporary air travel are the subject of theoccasionally laugh out loud funny “The AirplaneSong.” If you know someone with lots of bread whocomplains about things that most people would dighaving a chance to endure, then you will love “EveryOther Day I Have the Blues.” Tull has a sensitive eyefor the subtleties of personal relationships, especiallythose involving romance. These are not your typicallove songs. They are not full of flowery romanticflourishes, rather cut to the heart of human feelings.One that is particularly memorable is “Where Is Allthe Rain,” a ditty that explores the feelings of lovelost using the weather as a metaphor for emotions.The closing track is a moving expression of parentallove, “Got to Get Home So That I Can See MyChildren.” Tull’s songwriting conjures up the work ofDave Frishberg and Jay Leonhart, witty andperceptive. His singing also recalls Frishberg orHoagy Carmichael, jazz players and songwriters whohave a sense of phrasing that makes the less thanclassic sounds of their voices secondary to theirability to convey the essence of the lyrics. There is alot of pleasure to be derived from this album thatbecomes amplified with repeated listening(www.davidtull.com)Remember that these recordings are not availablethrough NJJS.You should be able to obtain most ofthem at any major record store. They are alsoavailable on-line from the Websites that I haveshown after each review, or from avariety of other on-line sources.JJTell themyou saw it inJersey Jazz!The Institute of Jazz Studies at Rutgers University– Newark is the largest and mostcomprehensive library and archive of jazz and jazz-related materials in the world! — a valuableresource for jazz researchers, students, musicians and fans. The archives are open to the publicfrom 9 AM – 5 PM Monday through Friday, but please call and make an appointment.Institute of Jazz Studies, Rutgers, The State University of NJJohn Cotton Dana Library, 185 University Avenue, Newark, NJ 07102Web site: newarkwww.rutgers.edu/IJS 973-353-5595calendar:JAZZ RESEARCH ROUNDTABLESA series of lectures and discussions. Programs are free and open to the publicand take place on Wednesday evenings from 7:00 to 9:00 PM in the Dana Room,4th floor, John Cotton Dana Library, Rutgers University, 185 University Ave., Newark, NJ.Refreshments are served. Information: 973-353-5595. Names in italics are the presenters. Financialsupport for the Roundtable is provided by the Rosalind & Alfred Berger Foundation.■ September 23, 2009: Pianist Marty Napoleon and Trumpeter Randy Sandke — Interview andPerformance■ October 14, 2009: Allen Lowe: When Did the Blues Leave? Looking at Down From Up■ November 11, 2009: Bassist Chris White: A Life in JazzCONCERTS/PERFORMANCEJazz Dialogues: Intimate Improvisations2 – 3:30 PM, Dana Room, Dana Library, Rutgers-Newark (free admission)973-353-5595This series is designed to bring to campus leading jazz soloists in duo and trio settings. Each concertwill include an interview/Q&A segment. IJS will again partner with local schools to give students anopportunity to meet and interact with these noted artists. Funded by a grant from the Rutgers-Newark Cultural Programming Committee.■ October 14, 2009: CHRISTIAN McBRIDE■ November 18, 2009: WARREN VACHÉJAZZ FROM THE ARCHIVESfreeroundtablesfreeconcertsBroadcast hosted by IJS Director, 2007 NEA Jazz Master Dan Morgenstern, every Sunday at 11:00 PM onWBGO Radio (88.3 FM). www.wbgo.org.■ August 30 — Jess Stacy: The Quiet Man of Jazz. Host Annie Kuebler on the great pianist perhapsbest known for his stay with Benny Goodman, but with much more to offer.■ September 6 — Jazz Goes To The Movies, Pt. 1: Tad Hershorn examines the relationship betweenjazz and the cinema focusing on jazz performances on film soundtracks.■ September 13 – Salute to Sal, Pt. 2: Join host Vincent Pelote and guest Don Messina as theycontinue to survey the career of revered pianist and teacher Sal Mosca, who died July 28, 2007.■ September 20 – Happy 80th, Joe Temperley! Dan Morgenstern's birthday salute to the master ofthe baritone sax and bass clarinet (and no slouch on the soprano).■ September 27 – Spotlight on Klemmer: Bill Kirchner focuses on tenor saxophonist JohnKlemmer’s, late 1960s-early ’70s Cadet and Impulse recordings.■ October 4 – Remembering Ahmed Abdul-Malik: Host Ed Berger looks at the fascinating career ofthe man who played bass with Thelonious Monk, Earl Hines and many others, as well as oud on hisown pioneering recordings which presaged "World Music." Includes rare interview clips.■ October 11 – Two Pianos, Four Hands: Bill Kirchner examines the art of the piano duet by playingrecordings by Elmo and Bertha Hope, Kirk Lightsey and Harold Danko, Dick Hyman and Ray Kennedy.October 2009_________________________________ 57

Somewhere There’s MusicJerseyEventsJazzYou can find jazz all over the statein venues large and small.Here are just some of them.We continually update entries. Please contact tmottola@aol.com if you know of other venues that ought to be here.Asbury ParkCHICO’S HOUSE OF JAZZ631 Lake Ave.732-455-5448chicoshouseofjazz.comJazz 6 nights a weekTIM McLOONE’S SUPPER CLUB1200 Ocean Ave.732-744-1400timmcloonessupperclub.comBayonneTHE BOILER ROOM280 Avenue E201-436-6700www.arts-factory.comFri/Sat 10 PM; Sun 7 PMBernardsvilleBERNARD’S INN27 Mine Brook Road908-766-0002www.bernardsinn.comMonday – Saturday 6:30 PMPiano BarBloomfieldPIANOS BAR AND GRILL36 Broad StreetBloomfield NJ 07003(973) 743-7209 Reservationswww.pianosbarandgrill.comJazz Thursdays, Piano Bar Fridays/Saturdays,Cabaret Wednesdays/FridaysWESTMINSTER 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 pmCape MayVFW POST 386419 Congress St.609-884-7961usual venue for Cape May Trad Jazz SocietySome Sundays 2 PM live Dixielandwww.capemaytraditionaljazzsociety.comMAD BATTER19 Jackson St.609-884-5970Jazz at the BatterWednesdays 7:30 – 10:30PMBOILER ROOM, CONGRESS HALL251 Beach Ave888-944-1816Blues and Latin Jazz SaturdaysJuly 18 – Sept.198:30 PM – 12:30 AMMERION INN106 Decatur St.609-884-8363Jazz Piano daily 5:30 – 9:30PMCherry HillTRINITY PRESBYTERIAN CHURCHRt. 70856-234-5147Tri-State Jazz Society occasional venuewww.tristatejazz.orgSome Sundays 2 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 ZitoCresskillGRIFFIN’S RESTAURANT44 East Madison Ave.201-541-7575Every Tuesday Frank Forte solo guitarDealAXELROD 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.orgFairfieldBRUSCHETTA RESTAURANT292 Passaic Avenue973-227-6164www.bruschettarestaurant.comLive piano bar every nightGarwoodCROSSROADS78 North Ave.908-232-5666www.xxroads.comJam Session Tuesday 8:30 PMGlen RockGLEN ROCK INN222 Rock Road201-445-2362www.glenrockinn.comThursday 7 PMHackensackSOLARI’S61 River St.201-487-19691st Tuesday 8:00 PMRick Visone One More Once Big BandNo coverSTONY HILL INN231 Polifly Rd.201-342-4085www.stonyhillinn.comFriday and Saturday eveningsHighland ParkPJ’S COFFEE315 Raritan Avenue732-828-2323Sunday 1 PM Open JamHillsboroughDAY’S INN118 Route 206 South908-685-9000Thursday 7 PM Open JamHobokenMAXWELL’S1039 Washington St.201-798-0406Every other Monday 9:00 PMSwingadelicHopewellHOPEWELL VALLEY BISTRO & INN15 East Broad St.609-466-9889www.hopewellvalleybistro.comFriday/Saturday 7 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 PMFriday/Saturday 6:30 PMSunday 6 PMNo coverMahwahBERRIE CENTER/RAMAPO COLLEGE505 Ramapo Valley Road201-684-7844www.ramapo.edu/berriecenterMaplewoodBURGDORF CULTURAL CENTER10 Durand St.973-378-2133www.artsmaplewood.orgManvilleRHYTHMS OF THE NIGHT729 S. Main Street908-707-8757rhythmsofthenight.netOpen jam session Wednesdays 7–10 PMMendhamKC’S CHIFFAFA HOUSE5 Hilltop Road973-543-4726www.chiffafa.comLive Jazz — Call for scheduleMetuchenNOVITANew & Pearl Streets732-549-5306Fridays 7:30 PMNo coverMontclairCHURCH 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.comMonthly Jazz Night, call for scheduleTRUMPETS6 Depot Square973-744-2600www.trumpetsjazz.comTuesday/Thursday/Sunday 7:30 PMFriday/Saturday 8:30 PMMorristownTHE BICKFORD THEATREAT THE MORRIS MUSEUM5 Normandy Heights Road973-971-3706www.morrismuseum.orgSome Mondays 8:00 PMTHE COMMUNITY THEATRE100 South St.973-539-8008www.mayoarts.orgHIBISCUS RESTAURANTAt Best Western Morristown Inn270 South St.866-497-3638www.hibiscuscuisine.comFriday Jazz Nights call for dates & timesTHE SIDEBAR AT THE FAMISHED FROG18 Washington St.973-540-9601www.famishedfrog.com/thesidebarST. PETER’S EPISCOPAL CHURCH70 Maple Avenue973-455-0708SUSHI LOUNGE12 Schuyler Place973-539-1135www.sushilounge.comSunday jazz 6 PMMountainsideARIRANG1230 Route 22W908-518-9733Wednesday 7:30 PMNewark27 MIX27 Halsey Street973-648-9643www.27mix.comBETHANY BAPTIST CHURCH275 Market Street973-623-8161www.bethany-newark.orgListings are alphabetical by town. All entries are subject to change; please call each venue to confirm schedule of music.58_________________________________ October 2009

JerseyEventsJazzTell them you saw it in Jersey Jazz!We want to include any locale that offers jazz on a regular, ongoing basis. Also please advise us of any errors you’re aware of in these listings.NEWARK 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 coverSKIPPER’S PLANE STREET PUB304 University Ave.973-733-9300www.skippersplanestreetpub.comNew BrunswickDELTA’S19 Dennis St.732-249-1551CHRISTOPHER’S ATTHE HELDRICH HOTEL10 Livingston Ave.732-214-2200Friday Jazz NightsCall for dates and timesMAKEDA ETHIOPIAN RESTAURANT338 George St.732.545.5115www.makedas.comNO COVERSaturdays John Bianculli Jazz Trio7:30-10:30 PMSTATE THEATRE15 Livingston Ave.732-246-7469www.statetheatrenj.orgNew ProvidencePONTE VECCHIO RISTORANTEAt Best Western Murray Hill Inn535 Central Ave.908-464-4424Monthly Jazz Nights with Laura HullCall for dates & timesNewtonBULA134 Spring St.973-579-7338www.bularestaurant.comFridays 8:00 PMNorth ArlingtonUVA602 Ridge RoadFriday 7:00 PMAdam BrennerNorth BranchNEW ORLEANS FAMILYRESTAURANT1285 State Highway 28908-725-00117:00 PMNutleyHERB’S PLACEAT 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.609-252-9680NO COVERwww.terramomo.com/restaurant/mediterraSALT CREEK GRILLE1 Rockingham Row,Forrestal Village609-419-4200www.saltcreekgrille.comWITHERSPOON GRILL57 Witherspoon Street609-924-6011www.jmgroupprinceton.comTuesday night jazz 6:30 – 9:30 PMRahwayARTS GUILD OF RAHWAY1670 Irving St.732-381-7511www.rahwayartsguild.org8:00 PMUNION COUNTYPERFORMING ARTS CENTER1601 Irving Streetwww.ucpac.org732.499-0441(Call for schedule)RaritanMUGS PUB AND RESTAURANT73 West Somerset Street908-725-6691Fridays 7 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 Ave732-741-7755Thursday nights Jazz Lobstersbig bandSewellTERRA NOVA590 Delsea Drive856-589-8883http://terranovarestaurantbar.comFridays & Saturdays Live JazzShort HillsJOHNNY’S ON THE GREEN440 Parsonage Hill Road973-467-8882www.johnnysonthegreen.comSomervilleVERVE RESTAURANT18 East Main St.908-707-8605www.vervestyle.comOccasional Thursdays 6 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 lightrefreshmentsSouth OrangeSOUTH ORANGE PERFORMINGARTS CENTEROne SOPAC Way973-235-1114SummitSUMMIT UNITARIAN CHURCH4 Waldron Ave.SundayTeaneckTHE JAZZBERRY PATCHAT THE CLASSIC QUICHE CAFE330 Queen Anne Rd.Teaneck, NJ 07666201-692-0150MySpace.com/thejazzberrypatchOpen Jazz Jam every Tuesday night.No cover Friday nights.Different artist every week.Please check the site.LOUNGE ZEN254 DeGraw Ave.201-692-8585www.lounge-zen.comNo coverPUFFIN CULTURAL FORUM20 East Oakdene Ave.201-836-8923ULTRABAR KITCHEN & COCKTAILS400 Cedar Lane201-357-8618Lauren Hooker and friendsTuesdays 7–9 PMTom’s RiverOCEAN COUNTY COLLEGEFINE ARTS CENTERCollege Drive732-255-0550www.ocean.edu/campus/fine_arts_centerSome WednesdaysTotowaSUSHI LOUNGE235 Route 46 Westwww.sushilounge.com973-890-0007Sunday Jazz 6 PMTrentonJOE’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 Road908-753-0190wacenter@optonline.netwww.watchungarts.orgThe Great Jazz Seriesonce per month either Fridayor Saturday nightWayneWILLIAM PATERSON UNIVERSITY300 Pompton Road973-720-2371www.wpunj.eduSunday 4:00 PMWest OrangeCECIL’S364 Valley Road973-736-4800cecilsjazzclub.comFRANKLIN TAVERN97-99 Franklin Ave.973-325-9899No coverWestfield16 PROSPECT WINE BARAND BISTRO16 Prospect St.908-232-7320Six nights a weekACQUAVIVA115 Elm St.908-301-0700www.acquavivadellefonti.comFridays 7:00 PMWoodbridgeJJ BITTING BREWING CO.33 Main Street732-634-2929www.njbrewpubs.comFridays 9:30 PMWood RidgeMARTINI GRILL187 Hackensack St.201-209-3000Wednesday throughSaturdayWyckoffTHE BRICK HOUSE INN179 Godwin Ave.201-848-1211WednesdaysThe Name Dropper Recommendations may be sent to editor@njjs.org.Cape May Traditional Jazz Societypresents 9/24 Atlantic City JazzBand and 10/22 Ragtime JazzBand at VFW Post 386, Cape May.At The Priory, Newark, MimiJones Band on 9/25.Swingadelic at Maxwell’s inHoboken 9/28.Rich Reiter TRIO: 10/4,Morristown Green, Morristown, NJ,rain or shine, Free. SWING BAND:10/23, Metuchen High School (732)632-8502. DUO: 10/30, Hibiscus,Morristown.10/8 Hot Jazz From New OrleansTo Israel at Jack Kleinsinger’sHighlights in Jazz, Tribeca PerformingArts Center, NY NY.James L. Dean Big Band Saluteto Sinatra with vocalist Van Martinat Whiskey Café, Lyndhurst 10/11.$15 includes dance lesson, dinnerbuffet, live music and DJ. JamesDean Groove Cats at Mina’s onthe Mountain, West Paterson,10/9 for listening and dancing;973-279-7400.Ed Laub, every Wednesday at theBrick House Inn, Wyckoff. Guitar.vocals and special guests.October 2009_________________________________ 59

c/o New Jersey Jazz SocietyPO Box 410Brookside, NJ 07926-0410Send all address changesto the address aboveRETURN SERVICE REQUESTEDTime Value MaterialDeliver PromptlyPERIODICALSPostage PAID atBrookside, NJand additionalmailing officesFounding MemberBuilding an InternationalJazz CommunityBrazilian vocal legend Leny Andrade backstage, preparing for her performancewith Trio Da Paz at the Litchfield Jazz Festival, 2009. Andrade stops putting on hermakeup to talk with vocalist Pamela Driggs and guitarist Romero Lubambo.Fran Kaufman photographs the world of jazz—on stage and behind the scenes.See what’s happening—with a new photo every day—on the WBGO Photoblog.Check out where Fran’s hanging,and see what she sees, atwww.wbgo.org/photoblog