Jazzfest facts, hot off the press. - New Jersey Jazz Society

JerseyJazzJournal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz.Volume 35 • Issue 04April 2007Stompin’ atthe BirchwoodBy Tony Mottola Jersey Jazz EditorThe 2007 NJJS Scholarship Sextetposing at the Pee Wee Russell MemorialStomp. (See “Profiles” on page 30.)Photo by Tony Mottola.For the 38th consecutiveyear, hundreds of jazzfans got together to payhomage to the great clarinetistPee Wee Russell with a stompdownof some good oldfashionedjazz. The 2007 PeeWee Russell Memorial Stomp,held March 4 at the BirchwoodManor in Whippany, featuredfive hours of nearly nonstopmusic provided by four veteranjazz bands, and included astandout opening set by six2007 New Jersey Jazz Societycollege scholarship recipients.This year’s event was dedicatedto the memory of drummerTony DiNicola and clarinetistKenny Davern, both of whompassed away last year, and largephotos of the musicians bookendedthe stage. DiNicola andDavern were good friends ofthe NJJS and both played manyof the organization’s eventsover the years. The annualNJJS jazz awards were alsopresented at the event, with thecontinued on page 28JAZZFESTPREVIEWin this issue:NEW JERSEY JAZZ SOCIETYPres Sez/NJJS Calendar & Bulletin Board . . . 2 – 3New Board Member F. Mulvaney . . . . . . . 3The Mail Bag. . . . . . . . . . . . . . . . . . . . . . . . 4Editor’s Pick/Deadlines/NJJS info. . . . . . . . 6Notes from the Music Committee . . . . . . 8Jazz Trivia . . . . . . . . . . . . . . . . . . . . . . . . . 48In the Mainstream . . . . . . . . . . . . . . . . . . 50New Members . . . . . . . . . . . . . . . . . . . . . 51About NJJS/Membership Info . . . . . . . . . 51ARTICLESSwing! at NJ State Museum Trenton . . . . . 8Jazzfest facts,hot off the press.See page 12 and ad page 43Classic Stine . . . . . . . . . . . . . . . . . . . . . . . . 9Crow’s Nest . . . . . . . . . . . . . . . . . . . . . . . . 9Dan’s Den . . . . . . . . . . . . . . . . . . . . . . . . . 10Jazzfest Preview: Black Box Theatre . . . . . 12Vaché at Community April 15 . . . . . . . . . 14Cape May Jazz April 20-22. . . . . . . . . . . . 14Big Band in the Sky . . . . . . . . . . . . . . . . . 16Peabody: Dance of Mystery. . . . . . . . . . . 20Willie The Lion Smith . . . . . . . . . . . . . . . . 22Jazz U: College Jazz Scene . . . . . . . . . . . 26NJJS Scholarship Winners . . . . . . . . . . . . 30Smithsonian Jazz Appreciation Month. . . . 32REVIEWSNYC Round-Up . . . . . . . . . . . . . . . . . . . . . 34St. Peter’s Jazz at Midday. . . . . . . . . . . . . 36CDs: Compact Views. . . . . . . . . . . . . . . . . 38CDs: Other Views . . . . . . . . . . . . . . . . . . . 42Feb. Member Meeting: Friedwald . . . . . . 44Annie Ross/Tierney Sutton . . . . . . . . . . . 46EVENTS’Round Jersey: Bridgewater, Morris,Ocean County . . . . . . . . . . . . . . . . . . . . . 52Somewhere There’s Music . . . . . . . . . . . 54The Name Dropper . . . . . . . . . . . . . . . . . 55ADVERTISERSCornerstone . . . . . . . . . . . . . . . . . . . . . . . . 5Shanghai Jazz . . . . . . . . . . . . . . . . . . . . . . . 7Lana’s Fine Dining . . . . . . . . . . . . . . . . . . 13Salt Creek Grille . . . . . . . . . . . . . . . . . . . . 15Cape May Jazz Festival . . . . . . . . . . . . . . 19Stein Brothers . . . . . . . . . . . . . . . . . . . . . 21Trenton2Nite. . . . . . . . . . . . . . . . . . . . . . . 25Terence Ripmaster . . . . . . . . . . . . . . . . . . 31eighty eights. . . . . . . . . . . . . . . . . . . . . . . 33Jazzdagen Tours . . . . . . . . . . . . . . . . . . . . 37Trumpets . . . . . . . . . . . . . . . . . . . . . . . . . 39North Maple Inn . . . . . . . . . . . . . . . . . . . . 41PA Jazz Society. . . . . . . . . . . . . . . . . . . . . 42Jazz at Chautauqua . . . . . . . . . . . . . . . . . 45CTS Images. . . . . . . . . . . . . . . . . . . . . . . . 50Arbors Records . . . . . . . . . . . . . . . . . . . . 49Laura Hull . . . . . . . . . . . . . . . . . . . . . . . . . 56Weichert Realtors. . . . . . . . . . . . . . . . . . . 56

New JerseyJazzSocietyNJJS CalendarTuesday April 10 2007NJJS co-sponsored Mason Grossconcert, Rutgers/New Brunswickfeaturing Frank Sinatra, Jr.see pp 2, 8 & ad p 35Sunday April 15 2007NJJS co-sponsored concertCommunity Theatre/Morristownfeaturing Warren Vaché et alsee pp 2, 8 & ad p 13Sunday April 22 2007MONTHLY MEMBER MEETINGTrumpets/Montclair see pp 2 & 8Saturday May 5 2007Bridgewater see ad p 42 & p 52Sunday May 20 2007MONTHLY MEMBER MEETINGTrumpets/Montclair see pp 2 & 8Saturday June 2 2007Bridgewater see ad p 42 & p 52Saturday/SundayJune 9/10 2007JazzfestWinard Harper Sextet, MidiriBrothers Band, Earl May Quintet,Hendrik Muerkens Samba JazzQuintet, Sarah Partridge Group,Bob Dorough Trio, Ken PeplowskiQuintet, Dick Meldonian BigBand, Five Play, Nilson Matta’sBrazilian Voyage Band with HarryAllen, Jay Leonhart Trio, NancyNelson Group.Drew Univ./Madison see pp 8 & 12Saturday June 30 2007Bridgewater see ad p 42 & p 52Saturday July 21 2007Bridgewater see ad p 42 & p 52Saturday August 11 2007Bridgewater see ad p 42 & p 52Saturday September 8 2007Bridgewater see ad p 42 & p 52Saturday September 15 2007JazzFeastPrinceton (details TBA)Sunday September 23 2007MONTHLY MEMBER MEETINGTrumpets/Montclair see pp 2 & 8Sunday September 30 2007NJJS 35th AnniversaryDinner DanceThe Pines Manor, Edisonsee Prez Sez p 2Sunday October 21 2007MONTHLY MEMBER MEETINGTrumpets/Montclair see pp 2 & 8Prez SezBy Andrea Tyson President, NJJSThirty-five years may not be so old for you orme, but for our Society it’s pretty darn good.So, over the years, like in your garage, we’veamassed a bit of “stuff.” And, we have a self-storagefacility into which I ventured recently along withboard member Claudette Lanneaux. Since our35th anniversary dinner/dance has been scheduledfor Sunday afternoon, September 30th, 2007 atThe Pines Manor in Edison, I wanted to see whatwas in there to make sure to bring some archivalmaterials to the party. I was not disappointed. I’llkeep some surprises to myself (and the Board ifthey can keep a secret) but rest assured it’ll be afun time — for our founding members andeverybody since. More than that, we’ve booked agreat dance band, Reeds, Rhythm and All ThatBrass, led by our previous Vice President, LouIozzi, on one of their five saxophones. They alsohave Dan Brady, another former board memberon trombone. So plan to be out on the dance floor.All this and dinner, too! More details will beavailable as the months go by, but flip those pagesof your calendar and write it in for sure.■ April is the Smithsonian Institution’s JazzAppreciation Month (JAM) (see page 32). Thisyear’s poster features Louis Armstrong. You canget a free poster (and previous ones) from theSmithsonian website www.smithsonianjazz.org/jam/jam_start.asp. See Joe Lang’s column fordetails of the program for our April MemberMeeting in support of JAM.■ NJJS is going further during JAM, evidenced byits co-sponsorship of the April 10 Frank Sinatra, Jr.NJJS Bulletin Board2007 MonthlyMember MeetingsJoe Lang and the Music Committeebring us our series of entertaining andinformative Monthly Member Meetings(see NJJS Calendar for upcomingdates). These meetings are a greatbenefit of NJJS membership. For nocharge, members are treated to programspresented just for us. Reasonablypriced food and drink enhancethe event. Enjoy hobnobbing withother members and friends during thesocial hour. Plus, because nonmembersmay enjoy the program, too,you can invite friends and therebyintroduce them to NJJS for just $10.That $10 goes a long way when it’sconcert at Rutgers in New Brunswick, andthe April 15 Warren Vaché concert at theCommunity Theatre in Morristown that we’realso co-producing (see ads pages 11 and 35).■ One recent special event was the MonmouthLibrary performance by Daryl Sherman who lefther Waldorf gig to come on down Route 9 Southto Manalapan with James Chirillo on guitar andBoots Maleson on bass. It seemed as if Daryl wasjust speaking with a few people in a lounge, yet theroom was large and packed. Jack Livingston, aformer NJJS board member, has been running freeSunday afternoon jazz concerts there for manyyears, bringing in excellent musicians. Check theirevent schedule at www.monmouthcountylib.org.Daryl is wonderful whether in a lounge or a largespace — she’s just so personable, and she can singand swing standards with the best of ’em. At thelibrary she offered “Getting to Know You,”“You’d Be So Nice to Come Home To” and more.Through the concert the different trio memberstook the lead. Boots led “Embraceable You” andJames led Irving Berlin’s “Cheek to Cheek.”■ I went to Shades of Hoboken to see CarrieJackson. The venue was worth the trip. It’s in anold window shade factory that’s been so beautifullyrestored, it’s a sight to see. Great artwork onthe walls, a cozy space for musicians and diners,and even from the bar the band is completelyvisible. Service and food presentation were verygood, so the evening was enjoyable from start tofinish. Carrie and Gil and the band were completelyentertaining. www.shadesofhoboken.com.also used as a first installment on anew membership.Join us Sunday April 22 when a panelof NJJS Board Members convene toshare music and lore, and conduct alively discussion with audiencemembers. See Music CommitteeNotes on page 8 for more details.2April 2007 JerseyJazz

New JerseyJazzSociety■ Once again the Cornerstone in Metuchen provided astellar evening featuring Hendrik Meurkens in a quartet(check Cornerstone’s ad on page 5). Hendrik is scheduledto play at our Jazzfest this year. You can check out the fulllineup and other details for the event in the Jazzfest ad onpage 43 and elsewhere in this issue. Drew University —here we come!■ As a special note — I want to thank Rio Clemente forhis many years of dedication to our Generations of Jazzeducational outreach program. Rio has resigned from hisposition as Musical Director and has moved on to otherendeavors. We wish him well.■ For those who attended the Big Band panel at the NJJSMember Meeting in September where big band musiciansreminisced about days gone by, and for all of our readers,I am sad to note that Buddy Schutz passed away inFebruary. Jazz has lost another friend.■ Volunteers: HELP! — Like Uncle Sam, we’re alwayslooking for a few good people. We rely on an incredibleamount of volunteer effort to accomplish all that weundertake. New member Steve Albin has just signed on tospruce up our website. Thanks, Steve! Other needs havecome into focus:• The Membership Committee seeks someone to managethe membership database.• NJJS seeks a person with insurance expertise to help usassess our coverages.• Education Committee seeks help creating/editing a videoof a performance.If you’re interested in hearing more about any of these,let’s talk. Contact NJJS President Andrea Tyson at732-356-3626 or pres@njjs.org. JJMeet the NJJS BoardFrank MulvaneyBorn and raised in Jersey City, FrankMulvaney earned a BA degree from SetonHall University and an MBA from NYU. Heworked at AXA Financial New York City for36 years before retiring as Vice President, SalesForce Information Resources.Frank keeps busy with many community activities, includingserving as VP and Director, Westfield Jaycees; Chairman andDirector, Westfield Municipal Alliance (a substance abuseprevention educational program); Chairman of the WestfieldBicentennial Celebration; and he is a founding VP and Directorof the Westfield Optimists Club.He’s also an avid tennis player, cyclist, gardener, handyman, readerand beachcomber.“I was interested in big band jazz and Sinatra from high school,especially Basie and Ellington,” Frank says. “In college I became abig fan of Dave Brubeck, Herbie Mann and Ella Fitzgerald. Lateron I got into the Manhattan Transfer. When my wife and I becameempty nesters we got out a lot more and then discovered the collegejazz scene in New Jersey. My love of big band sound is somethingof an addiction that I have to keep in check.“Through my son Frank, we discovered the Tuesday night jam atCrossroads in Garwood.“That’s when my interest really took off as I discovered so many finelocal musicians and began to attend their gigs in the various venuesaround North Jersey,” he says. “After I attended my second Jazzfesttwo years ago I decided to become a member of the Jazz Societybecause I believe in the goals and objectives of the organization,never thinking that I would become particularly active.”An e-mail correspondence Frank initiated with NJJS PresidentAndrea Tyson led to an invitation to join the society’s boardand become the college jazz scene correspondent for Jersey Jazz.His column, Jazz U, began appearing in February.JJNJJS Co-SponsorsApril 10 and April 15ConcertsFrank Sinatra, Jr. comes to theNicholas Music Center, 85 GeorgeStreet (at Route 18), on the DouglassCollege campus of Rutgers Universityin New Brunswick at 8:00 PM onTuesday, April 10. Mr. Sinatra willconduct and sing with both theRutgers Jazz Ensemble and theRutgers Symphony Orchestra. Ticketsare $40, $25 and $15. To purchasetickets, call 732-932-7511.Long-time friend of NJJS WarrenVaché brings his Quintet toMorristown for a 3 PM concert thatincludes an all-star lineup. TheCommunity Theatre is located at100 South Street. Tickets are $15 andare available from the CommunityTheatre box office at 973-539-8008 orcommunitytheatrenj.org. Come outfor both of these events and tell themyou saw it in Jersey Jazz.JazzDanceTo stay in touch about dances anddance lesson opportunities gearedtoward NJJS members and friends,contact Linda at 201-306-2769 orLLobdeLL@optonline.net. Learn swing,lindy, foxtrot, peabody, more.April 2007 JerseyJazz 4

New JerseyJazzSocietyThe Mail BagI LIVE IN PARIS AND JERSEYJAZZ SOMETIMES REPRINTS mystuff for Bloomberg News. I’venoticed your new look, and themagazine in general looks andreads better than ever. I have longthought that Fradley Garner’s “BigBand in the Sky” column is one ofthe most original things in there.If I can be permitted a minorityopinion, however, I get fairlydepressed by reading the magazine’scontinuing accent on theold. There is so much good musicnow. Have you heard, for just onecurrent example that comes moreor less arbitrarily to mind, DonByron playing the music of Jr.Walker? Just what we need in thesetimes of woe, an update of theMotown happy R&B groove.An example of an article youshould do. Barry Harris. Doesn’tthe pianist-educator live inBaroness Nica de Koenigswarter'sold house on the Hudson River? Amaster if there ever was one. Butmaybe he’s too modern. Whichimplies that Bud Powell is also too“modern.” As Gil Evans once saidto me: “Insecurity is the fountainof youth.”In any case, best of luck.Mike Zwerinmikezwerin.com[Mike Zwerin, a trombonist andwriter whose jazz column ran fordecades in the InternationalHerald Tribune, is now acolumnist for Bloomberg News.Among his books is Swing Underthe Nazis: Jazz as a Metaphor forFreedom. — Editor]THE PEE WEE STOMP LASTSUNDAY was one of the best ever.Thanks ever so much for all thattraditional jazz. It was just whatmy ears needed.Gene MilgramMetuchen, NJI WOULD LIKE TO THANK THENJJS again for providing mewith this opportunity to play andmake music with such wonderfulmusicians. I had a great time andfeel truly blessed by your honor.Thank you once again.Mark PryzbyblowskiGreen Brook, NJ[Mark was awarded the NJJS2007 Jack Stine Scholarship andperformed with his five fellowscholarship recipients at the recentPee Wee Russell Memorial Stomp.— Editor]HERE IS A SUGGESTION in thesame vein as Frank Mulvaney’s“Jazz Goes to School” column.Another fine academic location forjazz is the Peddie School inHightstown, NJ. Back in 1999,Robert Rund revived the school'smoribund program of occasionalconcerts by first class talents. Someartists who have performed atPeddie in the last few years are:Joey DeFrancesco, Taylor Eigsti,Russell Malone, John Patitucci,Romero Lubambo, Luciana Souza,Ted Nash, Wycliffe Gordon, HelenSung, Fred Hersch and Kurt Elling.You are more likely, however, tosee soon-to-be major stars ratherthan those with long establishedreputations. Mr. Rund joked thathe has to get them while he canstill afford them.The concerts are held in a refurbishedhall that accommodates 525patrons. There is a standard talkwith the artist prior to the concertand afterwards they almost alwaysdo a meet and greet at a reception.Occasionally, an area restaurantwill use this time to offer freesamples from their menus. So youmay find anything from cheeseand crackers to Thai or Indianappetizers as you chat with themusicians.Among those scheduled for nextseason are Hiromi & David“Fathead” Newman.More information is atwww.peddie.org/capps.Or just send an email tocapps@peddie.org for a brochure.ALSO, WE JOURNEYED TOSOPAC, the South OrangePerforming Arts Center. This newfacility has an intimate 415-seatperformance hall that holds onlysome 200 people downstairs with abalcony completing the seating.Benny Green (piano) and RussellMalone (guitar) performed withno rhythm section, inventing asthey went, supporting andchallenging each other. It waswonderful. We listened andwatched a musical conversationheld for our benefit.The selections in the first setvaried but were mostly familiarnumbers. The second set hadfewer standards, but was just ascompelling. The evening ran pastthe promised limit, but theyevidently saw no reason to stopenjoying themselves. When theyfinished the crowed quickly gave awell-deserved standing ovation.For the entire program, BennyGreen had done the talking.Russell Malone was content tocommunicate through his guitar. Itwas only at the very end that hetook the mic to express hisadmiration for his friend’s artistryand exclaim: “What a goodsounding room.”We exited into a night that did notseem as cold as it had been a fewhours earlier.Schaen FoxLawrencevilleAFTER FIVE MONTHS OF MALE-DOMINATED COVERS, it was arelief to see that Jersey Jazz wasnot discriminating against thefairer sex, including “chick singers”or even mature French femalesingers like Anne Ducros (March2007). Your coverage of the 34thAnnual International Associationof Jazz Educators conference wastruly engaging, with the addedinsights of those first-handdiaries by Don J. Smith andBob Ackerman.No Jersey jazz writer tops JackStine — long may he keep theyarn mill churning. But the mostwonderful piece in March, to theseeyes, was “Remembering Tony” bythe great guitarist Tony Mottola’sgranddaughter, Maria Capello.Any reader who missed this heartwarmingpiece should get out thejournal and turn to page 10 —then try to put it down beforefinishing page 12. This is the kindof approach and reportage (goodphotos, too) you won’t see inDown Beat, Jazziz, or any otherfat, glossy, national trade magazine.The joy of those great players— especially Bucky’s and Gene’s —shines right through. What anevening that must have been.Was it recorded? More pieces likethat, please!Edith Van BergenGreenwood, NJI READ IN THE JIM CULLEN ONFEBRUARY 3 NEWSLETTER,March 1, about pianist DickHyman reaching 80 years old. Iwas interested in reading aboutHyman’s appearance in Hot Housein 1952, with Charlie Parker andDizzy Gillespie, having beensomewhat acquainted with thesetwo jazz legends. Iheard Parker whenhe played withcontinued on page 44Don JohnsonComments?Jersey Jazz welcomes your comments on any article or editorial. Send e-mail to tmottola@aol.comor mail to The Editor (see page 6 for address). Include your name and geographical location.4 April 2007 JerseyJazz

TheCORNERSTONECafé and Bistro25 New Street, Metuchen, NJThe best in live jazz in Central New Jersey.Jazz Schedule for April 2007WEDNESDAYS7:30 – 11:30 PM4/4: VIRGINIA MAYHEW TRIOW/NORMAN SIMMONSFRIDAYS7:30 – 11:30 PM4/11: SARAH JANE CION TRIOW/GERRY NIEWOOD4/18: SARAH PARTRIDGE TRIO4/25: MISHA PIATIGORSKYTRIO4/13: TOMOKO OHNO QUARTETW/BILL CROW4/20: HENDRIK MEURKENSQUARTET4/27: DAVID SCHNITTERQUARTET• No cover • No minimum • Jazz Performances 7:30 – 11:30pmFor last minute changes, please visit our Web site: www.cornerstonecafenj.com(732) 549-5306April 2007 JerseyJazz 5

New JerseyJazzSocietyThe Editor’s PickBy Tony Mottola Jersey Jazz EditorApril: The Coolest Month?April, thanks to the Smithsonian Institution, is no longer just the beginning of spring, majorleague baseball and the time to pay your taxes. Nowadays, April is Jazz AppreciationMonth, and what better way to shake off the winter doldrums. The NJJS does its partthis April by co-sponsoring concerts by Frank Sinatra, Jr. at Rutgers and Warren Vaché atthe Community Theatre in Morristown. There are like events around the country and a fullprogram of performances sponsored by the Smithsonian in the nation’s capital.Also this month we welcome the esteemed jazz journalist Dan Morgenstern as an occasionalcolumnist for Jersey Jazz, a feather in our pork pie hat for sure. For this issue Mr. Morgensternwrites about teaching jazz, an endeavor that seems to be thriving in New Jersey as evidenced bythe performance of six NJJS scholarship awardees at last month’s Pee Wee Stomp and in theplethora of college jazz events occurring as reported in recent issues by Frank Mulvaney.Another expected highlight for the NJJS this month is the relaunching of the society’s websitewww.njjs.org, which may even be up by the time you read this. The redesigned site is thanks tothe work of new member and Webmaster Steve Albin. It features expanded content andinteractivity, including photo galleries, Jersey Jazz excerpts, and a searchable NJJS Record Binoffering secure on-line purchasing of hard to find and popular jazz CDs. Keep an eye out for ane-blasts announcing new features as they’re added to the site.JJCONDOLENCES: Floyd Levin was a longtime contributor to and supporter ofJersey Jazz, but as new editors, we only knew Floyd for a short time through ahalf dozen e-mails beginning last September. Floyd contributed pieces to ourfirst three editions. Two were news stories — short, informative and to the pointwithout a wasted word. No need to change so much as a comma, an editor’sdream. But for the December issue Floyd stretched out with a wonderfulreminiscence of the recently deceased Claude Luter. He took the trouble tostuff an envelope full of vintage photos and advertising bills that helped us puttogether a lively layout for a great piece. I e-mailed Floyd to ask if he wanted thephotos returned and he wrote back: “Yes, always return my photos.” I liked the sound of that “always,”and was looking forward to printing more of Mr. Levin’s interesting stories and timely news. I’m sorrythere will be no more, and extend condolences on behalf of Jersey Jazz to the Levin family.CORRECTION: Not a single error [was found] last month. ☺Advertising Rates Quarter page: $50; Half page $75; Full page $100. 10% discount on repeat ads.To place an ad, please send a check made payable to NJJSto Kate Casano, 274 Jackson Pines Rd, Jackson, NJ 08527; please indicate size and issue.Contact LLobdeLL@optonline.com or 201-306-2769 for technical information.NJJS Deadlines The deadline for submission of material for upcoming issues is as follows:May issue: March 26, 2007 • June issue: April 26, 2007NOTE: EARLY SUBMISSIONS ARE GREATLY APPRECIATED.JerseyJazz The Journalof the New Jersey Jazz SocietyVolume 35 • Issue 4Jersey Jazz (ISSN 000-004) is publishedeleven times per year for members ofThe New Jersey Jazz Society, PO Box 410,Brookside, NJ 07926. Membership fee is $35/year.Periodical postage paid at Morristown, NJ 07960.Postmaster: send address changes toPO Box 410, Brookside, NJ 07926-0410.All contents ©2007 New Jersey Jazz Society.Tony Mottola Editor27 Upper Mountain Ave.Montclair, NJ 07042973-509-9437E-mail: tmottola@aol.comLinda Lobdell Art Director/Associate Editor352 Highland Ave.Newark, NJ 07104201-306-2769E-mail: LLobdeLL@optonline.netFradley Garner International EditorE-mail: fradgar@get2net.dkJohn Maimone Entertainment Contributor908-753-6722E-mail: jjm426@att.netFred McIntosh Entertainment Contributor201-784-2182E-mail: derfie_07675@yahoo.comNEW JERSEY JAZZ SOCIETYOFFICERS 2007Andrea Tyson President110 Haywood Ave.Piscataway, NJ 08854732-356-3626Mike Katz Vice President973-701-0585Kate Casano Treasurer732-905-9063Caryl Anne McBride Membership Chairperson973-366-8818Al Parmet Recording Secretary908-522-1163Jack Stine President Emeritus908-658-3515Joe Lang Past President973-635-2761DIRECTORSLen Carlson, Carolyn Clemente, Joanne Day,Laura Hull, Mike Katz, Claudette Lanneaux,Sheilia Lenga, Bruce Lundvall, Vincent Mazzola,Fred McIntosh, Frank Mulvaney, Stan Myers,Frank Nissel, Jack Sinkway, Marcia Steinberg,Elliott Tyson, Jackie Wetcher, Paul White,Tony Mottola (Ex-officio)ADVISORSJeff Atterton, Amos Kaune, Bob PorterWebsite: www.njjs.orgE-mail: NewJerseyJazz@aol.comHotline: 1-800-303-NJJS • (1-800-303-6557)Comments?Jersey Jazz welcomes your comments on any article or editorial.Send e-mail to tmottola@aol.com or mail to The Editor (see mastheadthis page for address). Include your name and geographical location.To join the NJJS, send a $40 check payable to “NJJS” to:NJJS Membership, PO Box 410, Brookside, NJ 07926-0410.6April 2007 JerseyJazz

SHANGHAIJAZZRestaurantand bar24 Main St. (Rt. 124), Madison, NJ 07940973.822.2899 • info@shanghaijazz.comT h a n k y o uD o w n B e a t M a g a z i n e f o ra g a i n i n 2 0 0 7 n a m i n gS H A N G H A I J A Z Z o n eo f t h e T O P 1 0 0 J A Z ZC L U B S I N T H EW O R L D ! ! !N e w J e r s e y ’ s“ To p J a z z C l u b ”— S t a r L e d g e rZ A G A T 2 0 0 5 / 0 6 :“ I f y o u a r e l o o k i n g f o rt o p - f l i g h t l i v e j a z zl o o k n o f u r t h e r t h a nt h i s M a d i s o nr e s t a u r a n t - c u m - c l u b ,w h e r e t h e r e ’ s n o c o v e ra n d y o u ’ r e a l w a y st r e a t e d l i k e a f a v o r i t ec u s t o m e r . ”” I t ’ s a t r u e n i g h t o u to n t h e t o w n . ”LIVE JAZZ FIVE NIGHTSa WEEK & NO COVER (except special events)Highlights, end of March, & April 2007:wed 3/21:fri 3/23:sat 3/24:sun 3/25:fri 3/30:wed 4/4:thur 4/5:fri 4/6:thur 4/12:thur 4/19:fri 4/20:sun 4/29:VINCE GIORDANOJERRY VEZZACHRISTIAN SANDSDARYL SHERMANRALPH DOUGLASKEN PEPLOWSKIBUCKY PIZZARELLITONY DESARE (to be confirmed)STEPHANIE NAKASIANMORRIS NANTONARMEN DONELIANCYRUS CHESTNUT (to be confirmed)Wednesday and Thursday: 7:00 PM – 9:30 PMFriday and Saturday two seatings: 6:30 PM & 8:45 PMSunday: 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.April 2007 JerseyJazz 7

New JerseyJazzSocietyNotes from the Music CommitteeBy Joe Lang NJJS Music Committee Chair■ Well, another Pee Wee Russell MemorialStomp has happened, and I’m sure it was aball for all who attended. I am assuming abit here, as I am writing this column inadvance of the actual event, but all signspoint to a great afternoon.■ We had a wonderful Member Meeting atTrumpets on February 12. Will Friedwaldgave us a fascinating look at Frank Sinatrawith both his commentary, and a videocompilation of Sinatra performances. Theinteraction between Will and those in attendancewas ongoing and interesting. OurMarch 18 meeting with Bob Porter will havetaken place by the time you read this, but Ihope that you make plans to attend theApril 22 meeting. Since April is Jazz AppreciationMonth, we decided to use this meetingto explore the various ways that ourmembers have come to appreciate jazz. Weshall have a panel of four or five NJJS Boardmembers who will facilitate an interactiveprogram between the panel and the otherattendees. Each of the panel members willdiscuss how they became attracted to themusic that we love, and will bring somerecorded examples of selections that wereparticularly meaningful to them in theirdevelopment as jazz enthusiasts. Membersof the audience will be invited to offer questionsand comments. The format of theprogram will be rather loosely structured toallow for participation by as many people aspossible. Given the wide variety of ages,backgrounds and tastes among our members,we expect some lively discussions totake place. So far, each of these MemberMeetings has been interesting and wellreceived by those who have attended. This isa relatively new activity for NJJS, and westrongly believe that it is a benefit of membershipthat should be enjoyed by all of ourmembers. The meetings at Trumpets JazzClub in Montclair are free to members withguests being welcomed for a fee of $10,applicable to a membership should the guestopt to join NJJS. There is a social hour from2:00–3:00 PM, and the program takes placebetween 3:00 PM and 5:00 PM.■ Our other April activities include ourco-sponsorship of the Frank Sinatra Jr.concert at Rutgers–NewBrunswick on April 10, andour April 15 Warren Vachéconcert at the CommunityTheatre in Morristown.Following are the words I wroteabout these events last month.Please plan on being at the CommunityTheatre in Morristown on Sunday afternoonApril 15 at 3 PM for the next NJJS-producedevent, a performance by the Warren VachéQuintet. Joining Warren for this two-hourconcert will be John Allred on trombone,Vinnie Corrao on guitar, Nicki Parrott onbass and Leroy Williams on drums. This istruly an all-star lineup that makes for a notto be missed event. Tickets are only $15 andare available from the Community Theatre.Call the box office at 973-539-8008 or checktheir website at www.communitytheatrenj.org.NJJS is serving as a co-sponsor for a concertfeaturing Frank Sinatra, Jr. to be held at theNicholas Music Center, 85 George Street (atRoute 18), on the Douglass College campusof Rutgers University in New Brunswick at8:00 PM on Tuesday, April 10. Mr. Sinatrawill conduct and sing with both the RutgersJazz Ensemble and the Rutgers SymphonyOrchestra. This is not-to-be missed eveningof classic and swingin’ Sinatra, includingSinatra’s “Tone Poems of Color,” arrangedby Henry Mancini, and performed by theRutgers Symphony Orchestra. Tickets are$40, $25 and $15. To purchase tickets, call732-932-7511.■ The sanofi-aventis Jazzfest 2007 is fastapproaching. It will be held at DrewUniversity in Madison on June 9 and 10.Please check out the Jazzfest ad on page 43for info about who is playing whereand when, and about ticket prices andpurchasing options. In this issue and forthe next two issues, I’ll provide moredetailed background about the groupsparticipating at Jazzfest (see page 12).April isJazzAppreciationMonth!■ There are a couple of upcoming concertsI believe will be of interest to many of you.On Sunday March 25, John Pizzarelli isperforming a big band tribute to FrankSinatra at the South Orange PerformingArts Center (SOPAC). Shows are at 3:00 PMand 7:00 PM. For furtherinformation call 973-313-2787or go to www.sopacnow.org onthe web. Bill Charlap will host aprogram called “The Birth of Cool” in theAllen Room at Jazz at Lincoln Center onFriday March 30 and Saturday March 31.He’ll be joined by a host of jazz artists,including Warren Vaché, Frank Wess,Peter Washington, Kenny Washington,Gene Bertoncini and many more, to paytribute to “a history of cool from LesterYoung through Miles Davis.” Shows are at7:30 PM and 9:30 PM each day. For furtherinformation call 212-721-6500 or go towww.jalc.org on the web.I hope to see many of you at thevarious happenings mentioned above.Swing!An Exhibitionat the New JerseyState MuseumGalleries at225 West State Street, TrentonOn View Through May 5, 2007his highly-acclaimed exhibition, organized by theTNew York Public Library for the Performing Arts,brings this ever-popular music to life with artifactsfrom the Library’s matchless collections. It coversthe development of Swing from Black danceorchestras in the 1920s with the influence of Afro-Caribbean orquesta and vocal music into the bigband sound, which continued in popularity duringWorld War II. Networked radio, the music publishingand recording industries and film brought Swingand its performers to the forefront.Through photographs, memorabilia, posters, andmusic, Swing! introduces today’s audiences to thegreats, as well as lesser-known innovators, sidemenand arrangers.The exhibition is open to the public Monday–Friday,9 – 4:45 pm, Saturday 9 – 4; closed on Sundays andstate holidays. Valid ID is required to enter theGalleries. Admission is free (donations accepted).For general information call 609-292-6464 or visitwww.state.nj.us/state/museum/exhibitions/changing.html#swingTell them you saw it in Jersey Jazz!JJJJ8April 2007 JerseyJazz

JerseyArticlesJazzClassic Stine | Remembering WhitneyBy Jack Stine NJJS President EmeritusThe best lines of remembrance forWhitney Balliett, the irreplaceable writerfor The New Yorker whose pieces on jazzgraced that magazine for the past fourdecades, were written by Nat Hentoff forThe Wall Street Journal the day after Balliett’sdeath on February 1. In that piece, Hentoffgot right to the point: “Jazz has never beendefined with more instant clarity than inWhitney Balliett’s four-word overture: ‘Thesound of surprise.’ In his writings on themusic for The New Yorker for more than 40years, he was able — more than any otherjazz chronicler I’ve read anywhere — to putthe music into words so that you came closeto feeling its sounds, rhythms, and insistentlyindivisible voices.”Had it not been for the thoughtfulness ofNJJS member Jim Gilmartin in sendingHentoff’s piece to me from his winter retreatin Florida, I might well have missed it, sothis month’s offering to Jersey Jazz can besplit into three more or less equal parts ofexpressions of thanks: one to Gil, one to Nat,and one that can hardly be put into words,to Whitney.Over the years of its existence, the editorsof The New Yorker managed to assemble astable of writers who by any measure oftalent and technique devised by man has tobe judged unique. Weekly, they publishedarticles by such splendid wordsmiths asWoolcott Gibbs, E. B. White, Joseph Mitchell,Edmund Wilson, A. J. Liebling, and DorothyParker (to name only a few) and into thatgroup Whitney Balliett easily fit. When hedied on February 1 at 80, he had spent halfof his life contributing more than 400articles to the magazine, many of which havebeen made permanent in separate volumes. Ihave never read a single piece by him thatdid not convey the spark of genius that lit upin words what the jazzman had in mind atthe moment of creation. It was simply theway he himself wrote and thought. He toldus things we already knew about jazz butcouldn’t quite express on our own, just as agood jazzman could tell lesser musiciansthings they knew about a certain song butcouldn’t manage to play. I’m thinking ofsomething like the example ColemanHawkins set in his recording of “Body andSoul.” Or Bunny Berigan in “I Can’t GetStarted.” These are the kinds of musicalhappenings that Whitney Balliett could putinto words.He covered everything offered as jazz in theBig Apple during those years at The NewYorker and since this was so it was inevitablethat he often had to write of music he reallywasn’t terribly enthusiastic about. Early onit was plain he favored traditional jazz, thekind of stuff that most members of NJJScare for. Once, in a letter to me, he admittedthat two of his favorite jazzmen wereSidneys: Bechet and Catlett. He went on towrite that he could play “…a blues in C (onthe piano) and a fair Sid Catlett drums.” Thiswas something like the revelation of what apostman or a bus driver might do on his dayoff. They might take a walk or a drive;Balliett sat down at the keys of his piano,but at the typewriter he was all business.Preferences never intruded into the pieceshe prepared for The New Yorker’s readers;objectivity was always the informing thing.Many of us noticed that Balliett had notappeared in the pages of The New Yorkerrecently and a lot of us wondered why. Itwasn’t that he had switched trains, moved toanother magazine or paper or just stoppedwriting, which was inconceivable. We finallygot our answer in Nat Hentoff’s obit in TheWall Street Journal. It wasn’t that Whitneyhad changed, it was The New Yorker itselfhad. The magazine had undergone a series ofperplexing changes in management and inthat tumult, Whitney simply slipped throughthe cracks. The New Yorker ceased being thedependable voice of jazz it had been so longwhen he was on the staff. Hentoff quotedTerry Teachout’s comment on all this: “He(Whitney Balliett) was treated cruelly andshabbily by William Shawn’s successors, whohad no understanding of the significance ofhis work.” Apparently what we have here is acorollary of the old saw about not fixingsomething that isn’t broken, but I can’t quitecome up with it right now.And so, Whitney Balliett’s final piece hasbeen written. He was a good one and therewon’t be another with quite his gift todignify and put into words the goings on inthe world of jazz. There’s a saying I’ve heardold jazzmen repeat: He was a good man, buthe’s been here and gone.Even Whitney Balliett could not havesaid it better.FromtheCrow’sNestBy Bill CrowPhil Schaap, the well known jazz educatorand commentator who holds forthregularly on radio station WKCR-FM,celebrated a birthday at the CajunRestaurant one night when Herb Gardnerwas there leading Stan Rubin’s band. Phil isknown for his lengthy, detailed discussionsof the recorded jazz music that he plays onhis radio show. When Herb had the bandplay “Happy Birthday” for Phil, heannounced, to Phil’s delight, “Those of youwho are familiar with Mr. Schaap’s workwill realize that I really should have talkedabout ‘Happy Birthday’ for half an hourbefore I actually played it.”JJBill Crow is a freelance musician and writer. Hisarticles and reviews have appeared in DownBeat, The Jazz Review, and Gene Lee’s Jazzletter.His books include Jazz Anecdotes and JazzAnecdotes: Second Time Around. The precedingstory is excerpted, with permission, from Bill’scolumn, The Band Room in Allegro, the monthlynewsletter of A.F. of M. Local 802.JJApril 2007 JerseyJazz 9

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JerseyArticlesJazzJazzfest in the Black Box TheatreBy Joe Lang NJJS Music Committee ChairJAZZFESTPREVIEWAmong the many reasons we opted to move to Drew University for the sanofi-aventis Jazzfest2007 was the superior indoor venues available on the Drew campus. Both indoor venueswe’ll be using, the Black Box Rehearsal Theatre and the Concert Hall, are in the Dorothy YoungCenter for the Arts, and are acoustically superior to those we used at our prior location.For this issue plus the next two issues of Jersey Jazz, I’ll present information about the groups that will beplaying at Jazzfest, concentrating on one of the three venues each month. For this month, let’s take a lookat the groups appearing in the Black Box.clockwise from far left:Sarah Partridge,Jay Leonhart Trio,Bob DoroughOn Saturday June 9, this stage will be home tothe NANCY NELSON TRIO and the BOBDOROUGH TRIO. SARAH PARTRIDGE AND HER TRIOalong with the JAY LEONHART TRIO will share theroom on Sunday June 10.■ Vocalist Nancy Nelson is a long-time favoriteof NJJS members, having first appeared at theinitial Pee Wee Russell Memorial Stomp in 1970when she was still a teenager. Contemporarieswith whom she worked included the Vachébrothers, Warren and Allan, Randy Reinhart andBobby Gordon. Early in her career, Nancy touredwith jazz legends like Bobby Hackett and TeddyWilson. Primarily working in New Jersey, Nancyhas performed in jazz, theater and classicalsettings. She also keeps busy as a piano teacher inBernardsville, where she resides with her husbandand daughter. Accompanying Nancy will bepianist Keith Ingham and bassist Boots Maleson.Keith has a long string of credits as a pianist,musical director and arranger. He is equally adeptas an accompanist and as a wonderfully creativejazz player. Among the vocalists who have enjoyedKeith’s empathetic support, in addition to Nancy,are Maxine Sullivan, Susannah McCorkle andJoyce Breach. He garnered Grammy nominationsfor his recorded work with Maxine Sullivan.Boots Maleson is one of the steadiest, swingingestand most creative bassists on the scene. He’sworked as a member of the Ron Carter Nonet,plays regularly with vocalists Daryl Sherman andRonny Whyte, among others, and has performedin the bands for several Broadway shows. Thisgroup is guaranteed to perform great songs withimmaculate taste, and a consistently freshapproach to their material.■ If one were to define the word hip, a damn finedefinition would be Bob Dorough. Now 83 yearsold, although you would never guess that to behis age upon meeting him, Bob has been a fixtureon the New York City area jazz scene since hearrived here from Arkansas in the late 1940s. Histalents are diverse. He is an excellent bebop-basedjazz pianist, a quirky, but effective vocalist, aterrific songwriter, and a man of great wit andwarmth. Despite his extensive jazz credentials, heis probably best known as the creator of the songsfor “Schoolhouse Rock,” many written with hislong time friend and collaborator Dave Frishberg.Their most famous song not written for the abovetelevision series is the aptly “I’m Hip,” a tongue incheek discourse on the ever too frequent pseudohipsterswho are infamous as hangers-on in jazzcircles. The other members of the Bob DoroughTrio are guitarist Steve Berger and bassist PatO’Leary, both long-standing members of thegroup, and each is a well-respected and busysideman. Any performance by the Bob DoroughTrio is guaranteed to showcase outstandingmusicianship, and a sense of whimsy that is partof the innate nature of these fine performers.■ Vocalist Sarah Partridge is making her secondappearance at Jazzfest. Sarah’s initial spot in thepublic spotlight arose from her appearance as anactress in the film “Risky Business” with TomCruise. Her path took a detour, however, whenshe got up and sang “Summertime” in a Karaokespot in Los Angeles, acting on a dare from herfriends. Her singing wowed a music booker inattendance, and she suddenly found herself takingon singing gigs. Soon the acting took a back seat,and singing became her primary performancevehicle. With the release of her third album, YouAre There: Songs for My Father (see “Other Views,”JJ, February 2007 for review), Sarah is firmlyensconced among the front rank of jazz vocalperformers. With a warm voice, a great feel forrhythm, and a charismatic presence, she wins newfans with each performance. At Jazzfest, Sarah willhave a sensational rhythm section with AllenFarnham on piano, Tim Horner on drums andBill Moring on bass. Allen is a first rate accompanist,having worked with vocalists like Mel Tormé,Mark Murphy and Susannah McCorkle. He is alsoan accomplished jazz pianist, and is married toanother jazz piano star, Tomoko Ohno. Tim andBill are among the busiest rhythm sidemen on theNew York City scene. Both are noted for theirgreat time, and ability to adapt to many jazzstyles. The appearance of Sarah Partridge and HerTrio at Jazzfest is a prelude to their two-weekengagement that starts on June 12 at the OakRoom of the Algonquin Hotel in New York City.■ If I started to list all of the credits of the catswho are the Jay Leonhart Trio, I might fill up halfof this issue of Jersey Jazz. The leader, bassist JayLeonhart, is among the foremost performers onhis instrument in the world of jazz, and hasworked with a diverse roster of jazz stars likeGerry Mulligan, Phil Woods, Houston Person andMel Tormé. He has performed at Jazzfest manytimes in the past as both a leader and as a sideman.His performances with the trio New YorkSwing, where he is paired with pianist John Bunchand guitarist Bucky Pizzarelli, are among the mostenthusiastically received sets ever at Jazzfest. Inaddition to his proficiency on the bass, he is awitty and original songwriter who performs hissongs in a singular manner. His one-man show“The Bass Lesson,” incorporates many of his songsinto a humorous and totally engaging performancepiece. For this gig, he will be in the companyof pianist Ted Rosenthal and guitarist JoeCohn. Ted was the winner of the secondThelonious Monk International Piano Competitionin 1988. Since then, he has been in greatdemand, performing with the likes of Art Farmer,Benny Golson, James Moody and Gerry Mulligan,with whom he was the pianist in Mulligan’s lastworking quartet. He has also appeared at prioreditions of Jazzfest, and is a frequent performer atShanghai Jazz in Madison, often as part of a duowith trumpeter Warren Vaché. Joe Cohn, son ofthe legendary tenor saxophonist Al Cohn, isanother familiar face at Jazzfest, having played atmost of the last several editions, often in thecompany of Harry Allen. His duo performancewith fellow guitar master James Chirillo at Jazzfest2005 is still being talked about by those luckyenough to hear their joint artistry. Joe is a regularmember of the Harry Allen-Joe Cohn Quartet.This is a trio of great jazz artists who play with amusical empathy that is exceptional andcontinuously exciting.Next month a rundown on the groupsperforming in the Concert Hall.JJ12 April 2007 JerseyJazz

Affordable prices in a casually elegant atmosphere!The Warren Vaché Triois here every Thursdayfrom 7 – 11 PM.Live jazz on Fridays,too, 7 – 11 PM.Lana’s Lounge has the besthappy hour in Union County!Tuesdays through Fridays4:30 – 6:30 pm.■ Extra large peel your own shrimp■ Buffalo wings or buffalo shrimp curlswith bleu cheese dipping sauce■ Little neck clams steamedin white wine— all just $6.50 for 12!■ Imported bottled beer■ Our newest draft beer selectionis Blue Moon Belgium White Ale■ Specialty martinis and moreEnjoy Lana’s Winter menu:■ 14 dinner menu items $25 and underOpen to serve you:Lunch served Tuesdaythrough Friday 11 AM – 2 PMDinner served Tuesdaythrough Thursday 5 PM – 10 PMFriday & Saturday 5 PM – 11 PMPrivate Parties Availablefor up to 100 people.Lana’sFineDiningat the Hyatt Hills1300 Raritan RoadClark, New Jersey 07066www.lanasfinedining.com732.669.9024April 2007 JerseyJazz 13

a beautiful tone…a chance-taking styleJerseyArticlesJazzNJJS Presents Warren VachéIn Community Theatre ConcertThe New Jersey Jazz Society willcosponsor a performance by WarrenVaché with Morristown’s CommunityTheatre at 3:00 PM on April 15. Vaché hasbeen astounding audiences worldwide fordecades with superb cornet, trumpet andflugelhorn playing and performs an afternoonof jazz at The Community Theatreas part of the Garden State Spotlightseries. All seats are $15.The Warren Vaché Group is comprised ofVaché, trumpet/cornet; John Allred,trombone; Vinnie Corrao, guitar; TardoHammer, piano; Nicki Parrott, bass andLeroy Williams, drums.Coupling a beautiful tone with a chancetakingstyle, Warren utilizes the completerange of the jazz vocabulary. His influencesinclude Louis Armstrong, RubyBraff, “Pee Wee” Erwin (with whom hestudied for many years), Roy Eldridge,Bobby Hackett, Clifford Brown, BlueMitchell, and Billy Butterfield. From thisgroup of extraordinary musicians andothers Mr. Vaché has coalesced his owninimitable style. Pianist and composer JimMcNeely said: “Every chorus he plays islike a lesson in the history of the trumpet.”Vaché has performed and recorded withsuch luminaries as Benny Goodman,Rosemary Clooney, Benny Carter, HankJones, Gerry Mulligan, Woody Herman,Ruby Braff and Bobby Short, to name buta few. He can also be found in thecompany of such leading contemporariesas Phil Woods, Jon Faddis, Terrell Stafford,Howard Alden, Jessie Davis, Alvin Queen,Brian Lemon, Tony Coe, Alan Barnes,Richard Wyands, Bill Charlap, HarryAllen, John Allred and the Lincoln CenterJazz Orchestra — a virtual Who’s Who injazz, spanning every style in the history ofthe music.Warren Vaché has performed at everymajor jazz venue and festivals around theglobe from club dates at Condon’s and theBlue Note to the Newport Jazz Festival, theNorth Sea Jazz Festival and Perugia inItaly, including concerts at Carnegie Hall,Lincoln Center, The Vienna Opera, andthe Royal Festival Hall in London.Tickets for all events can be purchasedonline at (www.communitytheatrenj.org),at The Community Theatre box office,located at 100 South Street in Morristown,NJ or by calling 973-539-8008. Box officehours are Monday through Saturday from10 AM to 6 PM. JJThe 27th Cape May Jazz Festival has announcedits spring festival lineup, performing in tributeto the legendary jazz guitarist, Wes Montgomery,April 20 – 22, 2007.Cape May Jazz Festival April 20–22, 2007Montgomery’s musical ingenuity and innovativejazz guitar playing, combined with his soft, swingingsound, set the artistic pace and mood for jazzthroughout the 1960s. Pat Martino opens up thefestival at Cape May Convention Hall on Friday April 20,honoring one of the most influential jazz guitarists of all time.Further “Tributes to Wes” by guitarists Teddy Royal, Bob Devosand Brian Betz plus jazz vocalist Everett Greene, continuethroughout the weekend.Guitarist Bob Devos’ musical tribute to Montgomery, along withBootsie Barnes, is set for Saturday April 21 at the Montreal Inn’sCafé Promenade. Teddy Royal and Jesse Andrus with Across theGlobe will perform at Congress Hall’s intimate Boiler Room onFriday April 20. Terrence Blanchard opens the Saturday April 21lineup at Convention Hall. Omar Sosa, appearing at the GrandHotel Ballroom on Friday April 20, is one of the most versatileworld-jazz artists on the scene today: composer, arranger, producer,pianist, percussionist, and bandleader.“Tribute to Wes Montgomery”Legendary Philadelphia bassist Charles Fambrough,performing with his All-Stars, will appear Saturdaynight, April 21 at the Grand Hotel. The All-Starsinclude pianist George Colligan, Clifford Adams ontrombone, drummer Mike Clark, Craig Handy onsax, and trumpeter Maurice Brown. CharlesFambrough and company will present the music ofMcCoy Tyner, John Coltrane, Miles Davis, Art Blakey,and our tribute honoree, Wes Montgomery.Women in Jazz have always held an important stage at Cape May JazzFestivals. Sharon Clark performs at the Marquis de Lafayette’sVictorian Garden on Saturday night April 21. Also Saturday night atCarney’s Other Room, Joanna Pascale with the Aaron Graves Trio willset herself apart from other vocalists with her sophisticated repertoireand skilled musicianship. Sherry Wilson Butler performs with herquartet on Friday April 20 at Montreal Inn’s Café Promenade.Eric Frazier performs at Carney’s Main Room on Friday April 20.Frazier and his band play a rousing mix of energetic musicincluding Jazz, Salsa, R&B, Calypso and Blues.Information including schedules, pictures, biographies, andmusic clips can be found on www.CapeMayJazz.org or bycalling 609-884-7200. Complimentary festival transportationis available between venues Friday through Saturday night.JJ14April 2007 JerseyJazz

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JerseyArticlesJazzBig Band in the SkyBy Fradley GarnerJersey Jazz International Editor■ Buddy Schutz, 92, drummer,photographer, teacher, Union City, NJ,Nov. 23, 1914 — Newton, NJ, Feb. 24,2007. Adolph (Buddy) Schutz, perhaps thelast of the Swing era big name banddrummers and aveteran of some149 documentedrecordings, enjoyed acareer that spannedover 70 years, drivingthe orchestras ofGlenn Miller, BennyGoodman, JimmyDorsey and Vincent Lopez and spotlightedwith the Dorsey band in “Lost in theHarem” and other movies. Schutz, a TomsRiver resident, died in a hospice after astroke. “Need a refresher on Buddy?” askedthe drummer Don Robertson, in his featurein Not So Modern Drummer magazine.“Think of the Benny Goodman and MarthaTilton recording of ‘And the Angels Sing’with that tricky Fralich-time Ziggy Elmanchorus after the vocal. A lot of peoplethought that was Gene Krupa. Or jump afew years to the Jimmy Dorsey Orchestraand all those great Helen O’Connell/BobEberle vocal specials. What do they have incommon? Buddy Schutz in the driver’s seat.”Robertson also wrote a biographical articleon Buddy on the occasion of his 90thbirthday that was published in theDecember 2004 issue of Jersey Jazz (Pg. 20 –21) and in several other publications.■ Leroy Jenkins, 74, violinist, reeds player,composer, educator, Chicago, IL, Mar. 11,1932 – New York, NY, Feb. 24, 2007. LeroyL. Jenkins, at about age 7, was playing violinrecitals at one of Chicago’s biggest Baptistchurches, accompanied by Ruth Jones, ayoung pianist better known in years tofollow as the blues queen DinahWashington. Leroy grew up to become apoll-winner on that instrument, a musiceducator in the South, and composer ofworks including an opera performed at theMetropolitan in New York and music forThe Mother of Three Sons, staged by a dancecompany at New York City Opera in 1991.He was 74 when he died in Brooklyn of lungcancer complications. Jenkins played thealto saxophone in high school and won abassoon scholarship to Florida A&MUniversity, although he returned there to thesaxophone and clarinet and took up theviolin again. Back in Chicago, he joined amusicians’ cooperative, expanding on thestructures of Ornette Coleman and CecilTaylor in his compositions. He formed anassociation with three other avant-gardemusicians. In 1969, he and Anthony Braxtonand Leo Smith moved to Paris where theyforged a Continental reputation. Back inNew York in 1970, Jenkins moved in withOrnette Coleman, and formed a trio calledthe Revolutionary Ensemble that stayedtogether for six years. Writing for classicalensembles, he also led a kind of jazz-funkgroup, Sting. He recorded his own work foran Italian label, Black Saint. His interestsshifted back to academic music and heworked often with Muhal Richard Abramsand other old classical colleagues. He alsoAl Viola. © Ray Avery, CTSIMAGES.COMwrote pieces that were performed by theBrooklyn Philharmonic, the Kronos StringQuartet and other chamber groups.■ Al Viola, 87, guitarist and mandolinplayer, Brooklyn, NY, June 16, 1919 –Studio City, CA, Feb. 21, 2007. FrankSinatra, after doing a free-form, vocal-andguitarduet of Cole Porter’s “Night and Day”with Al Viola, pronounced him “one of theworld’s great guitarists.” Viola’s employer fornearly a quarter century added: “I think heplays beautifully. As a matter of fact, if youweren’t looking at him, you’d swear he wasan octopus.” The 87-year-old mastermusician succumbed to cancer at home andclose to his wife, Glenna, and their two sons,Dan and Jeff. “Al worked until three weeksbefore his death,” Glenna Viola told JerseyJazz. He played “only gigs that he wanted todo,” she said. Born into a musical family inBrooklyn, Albert Viola was started on boththe mandolin and guitar by his brother, andtaught himself from early life on. He playedwith a violinist friend at local Chinese restaurants.“My mother thought I was robbingthe bank because I was bringing home $22 aweek during the Depression,” he was quotedby the Associated Press. During World WarII he played inan Army bandin Sacramento.There he teamedup with thepianist PageCavanaugh andbassist LloydPratt. The PageCavanaugh Trioplayed at leadingLos Angelesnightclubs, touringin 1947–1949and recordinghits like “Walkin’My Baby Back16April 2007 JerseyJazz

JerseyArticlesJazzHome” and backing the singer Mel Tormeon Victor releases. Viola alone backed JulieLondon on the Liberty LP, Lonely Girl andbacked June Christy and other singers andinstrumentalists such as Terry Gibbs andLaurindo Almeida. The trio were guests onmany TV shows. They could be seen in themovies A Song Is Born and Romance on theHigh Seas and heard in the backgroundmusic for other movies. Viola worked brieflyin the big bands of Ray Anthony and HarryJames in the mid-’50s, but small groupswere his bag. Frank Sinatra’s respect wasreturned. “I had to turn down a lot of workto go on a world tour with him for 10weeks,” Viola said in 1994, “but I liked whathe was puttin’ down.” What he liked bestwas Sinatra’s unpredictability. “Although hewasn’t known as a jazz singer, he ad-libbedlike one and wouldn’t sing a song the sameway twice.” Glenna Viola, “his biggest fan,”went with her husband to every gig. “Hehad a routine of doing the Four PointsSheraton on the first Tuesday of everymonth with a trio. The last Friday of everymonth he worked a supper club here in thevalley with his quartet. That was his last gig,on Friday, January 26. On Monday the painstarted, and each day he grew weaker. Allwe could do was to keep him as comfortableas possible.”■ Eldee Young, 71, bassist, cellist, singer,Chicago, IL, Jan. 7, 1936 – Thailand, Feb.12, 2007. “Though he stood just 5 feet1 inch,” wrote the Chicago Tribune, “jazzbassist Eldee Young sounded as big as alloutdoors.” His lavish bass lines in theRamsey Lewis Trio helped blow the mostfamous Chicago threesome in modern jazzhistory out of the Windy City and aroundthe world. Young died at 71, apparently of aheart attack, while on tour in the Far East.Ramsey Lewis called him “the anchor” of histrio, playing an instrument “almost twice astall as him” in so animated a way that“people absolutely lovedhim.” The little showmanwith the fat sound wouldwalk away from his bassto play cello and sometimessing, in the mannerof early 20th-century jazzmusicians, and audiencesate it up. But Young wasalso what the Chicago bandleader MarshallVente called a “consummate musician” whohit the right notes with the right touch. Hisdecade with the trio in 1956–1966 madehim famous, but when the trio broke up hebounced back to co-lead groups withRamsey’s drummer, Redd Holt. The 1980soften found him performing in Singapore,Vietnam, India, Malaysia and other Asianlands. Young can be heard on CDs withLewis (Argo, Cadet, Chess), John Young(Delmark), Eden Atwood (Concord).■ Peggy Gilbert, 102, saxophonist andbandleader, women musicians’ advocate,Sioux City, IA, Jan. 7, 1905 – Burbank,CA, Feb. 12, 2007. In the early 1920s, whenMargaret Knechtges (Peggy Gilbert) was inhigh school in Sioux City, it was all rightfor girls to play the piano, violin or harp ingroups, but not a wind instrument — andcertainly not the saxophone. Bitten by thejazz bug, Knechtges took up the tenor sax.After graduation in 1923, she founded TheMelody Girls, first in a series of all-femalehot jazz and swing bands that she continuedto lead, with some gaps, into her 90s.Gilbert, whose last residence was in StudioCity, died of hip surgery complications at aBurbank hospital. She was 102 and clear ofmind, with an astounding memory fornames, dates and places. Knechtges adoptedher mother’s maiden name when she turnedprofessional. She arranged the music andhandled bookings for her bands, which wereseen in several movies in the 1930s. In 1937,Peggy Gilbert and Her Orchestra openedThe Second HollywoodSwing Concert at thePalomar ballroom, on anotherwise all-male bill thatincluded Benny Goodman,Stuff Smith, Louis Prima,Ben Pollack and Les Hite.The prejudice againstwomen musicians peakedafter an article, “Why Women Musicians AreInferior,” appeared in a 1938 issue of DownBeat. She wrote a retort that the magazineheadlined, “How Can You Blow a Horn in aBrassiere?” That “sort of set her as thenational advocate for women jazz musicians,”her friend and biographer JeanniePool was quoted in the Los Angeles Times.A documentary video, Peggy Gilbert andHer All-Girl Band, is available from Dr. Poolat jaygaylemusic@yahoo.com, or telephone912-224-0144. Gilbert was buried at ForestLawn in Hollywood Hills.■ Whitney Balliett, 80, jazz writer andauthor, Manhattan, NY, April 17, 1926 –Feb. 1, 2007. In a profile of Pee Wee Russell,“Even His Feet Look Sad,” Whitney Balliettword-painted “A tall, close packed, slightlybent man” with “a wry, wandering face,dominated by a generous nose…A heavytrellis of wrinkles held his features in place.”Balliett, for nearly a half-century The NewYorker jazz columnist who set out, oftentongue-in-cheek, to share the sensualqualities of a performance rather thancritique it, died of cancer at his Manhattanhome. He was 80. Balliett was “the greatestprose stylist to ever apply his writing skillsto jazz,” said Dan Morgenstern, director ofthe Institute of Jazz Studies at Rutgers-Newark. Like the writers James Thurber andS.J. Perelman, “he was part of that banquetof literature from which the magazine wasmade,” Steve Voce wrote in The Independentof London. Balliett’s name was on morethan 550 articles and many more unsignedcontinued on page 18April 2007 JerseyJazz 17

JerseyArticlesJazzBIG BAND IN THE SKY continued from page 15pieces in the magazine from 1957 to 2001.In 1957, Balliett and his fellow scribe, NatHentoff, fathered The Sound of Jazz series onCBS TV, credited with turning many viewerson to the music. Columbia produced analbum of the show’s artists and later a video.He also reviewed books and covered Off-Broadway theater. Fifteen Balliett bookswere published, including his masterwork,Journal of Jazz (2000). The AmericanAcademy of Arts and Letters awarded himtheir literature prize in 1996.■ Floyd Levin, 84, jazz historian, writer,jazz advocate, Minneapolis, MN, Sept. 24,1922 – Studio City, CA, Jan. 29, 2007.“The music called jazz is blessed to have somany devoted friends and fans, none morefaithful than Lucille and Floyd Levin,” wroteBenny Carter in the foreword to Levin’sbook, Classic Jazz — A Personal View of theMusic and the Musicians (2000). The bookwas much praised, and his interactions withits figureheads helped fuel his passion forthe music. Floyd Levin, a familiar figure fordecades on the Los Angeles jazz scene andfriend of many musicians, died suddenly,following a heart attack January 29 at hishome in Studio City, CA. He was 84. Asuccessful businessman, he was a primemover in the fundraising and delivery of abronze memorial statue of Louis Armstrongin Armstrong Park, New Orleans. He was aprolific writer who contributed profusely tojazz society newsletters and to Down Beat,The American Rag and Jazz JournalInternational. “Some club publications at thetime I edited Jersey Jazz were little morethan Floyd’s articles with a cover sheet stuckon,” said Don Robertson, the former editor.“I limited myself to little more than twoFloyd pieces per issue.” He credited Levinfor helping bring the journal into thecomputer age. Robertson spoke of Levin’s“great zest for life” and said he was the “onlyjazz person I knew that drove a Porsche 928— except maybe Miles Davis!” Levin wasalso responsible for placing a marker on thegrave of the iconic pianist and composerJelly Roll Morton, in Los Angeles. “Floydwas ‘Emperor of Jazz’ for one of theSacramento Jazz Jubilees a few years back,and we’ll miss him on the reviewing standfor the 2007 Jubilee in May (he hasn’tmissed one in years),” Bill Gunter, of thejazzboard@hotmail.com chat list said in anemail to friends. Levin also initiated theannual Milt Hinton Jazz PhotographyAward, presented by the West Coast Branchof the Jazz Photographers Association. Heleaves Lucille, his wife of 65 years (they weremarried at 19), children, grandchildren, andone great-grandchild. Readers were encouragedto write Lucille Levin at 1136 DonaLisa, Studio City, CA 91604.■ Esmond Edwards, 79, photographer,pianist, recording executive, Nassau,Bahamas, Oct. 29, 1927 – Santa Barbara,CA, Jan. 20, 2007. Esmond HerbertEdwards, whose photographs were shown atManhattan’s Lincoln Center Jazz Archivesand in American and foreign galleries, was apianist and record producer who combinedcreative talent with executive skills. He diedat 79 after a long struggle with cancer.Edwards was one of the first AfricanAmericans to rise to a high position in therecording industry. In the mid-1950s, theyoung man tagged along to a Prestigerecording session and took some photos ofthe musicians. He showed these to BobWeinstock, the label owner, who launchedhim on a new career. Esmond was sooncovering most of the Prestige sessions, andthe designers often used his pictures in theircover layouts. Eventually the young man, amusician himself, was put in charge of thesessions, working with the renowned studioengineer, Rudy Van Gelder. Edwards wascredited with influencing the sound andstyle of flagship players who went on to wingold and platinum records: ColemanHawkins, Miles Davis, John Coltrane, KeithJarrett, Art Blakey, Kenny Burrell, EttaJames, Ramsey Lewis, among others. In fiveyears he rose from clerk at Prestige in 1957to producer and vice president. He headedoperations for the Chess label in 1962 inChicago and the Verve label for MGM inNew York in 1967, returning to Chess as vicepresident of artists and repertory in 1970.Edwards, who was raised in Harlem, workedin the Jersey City Medical Center radiologydepartment while shooting pictures on theNew York jazz and dance scene in his earlycareer. His photographs were published inbooks and periodicals, including Photographyand The New York Times Magazine. CynthiaSesso, whose CTSIMAGES agency representedhis work in America, called Edwards“a quiet gentleman of talent and integrity.”■ Dave Black, 78, drummer, Philadelphia,PA, Jan. 23, 1928 – Alameda, CA, Dec. 4,2006. David John Black started as housedrummer at Philadelphia’s Blue Note,backing such galleon figures as CharlieParker, Zoot Sims and Georgie Auld. Hetoured and recorded with Duke Ellington inthe mid-1950s. Duke’s co-composer, BillyStrayhorn, was inspired to write the percussionshowcase “Gonna Tan Your Hide” forBlack. He was 78 and died at home ofpancreatic cancer. Although he worked withtraditional jazz groups in his later career,Dave Black handled the swing, bebop androck forms with equal mastery. He beat outEd Shaughnessy and Philly Joe Jones in theEllington competition to replace LouisBellson, who filled the band’s driver’s seatfrom March 1951 to January 1953. Blackalso stayed with Ellington for two years,until polio stopped him. He recovered tojoin trumpeter Bob Scobey’s Dixielandrevival band and later freelance with groupsin the San Francisco Bay region. Black canbe heard on The 1954 Los Angeles Concert,Ellington ’55, and other Ellington albums.PRESSTIME PASSINGS:■ Bobby Rosengarden, 82, a wittydrummer who once worked with BennyGoodman and Duke Ellington but was bestknown for his bandleader banter with thehost on “The Dick Cavett Show,” diedFebruary 27 in Sarasota, FL. He was also animble manipulator of spoons, saw, washboardand finger cymbals. Fuller coveragewill hopefully pep up this space in May.■ Percy Leach, 80, the co-owner ofWaterloo Village, a restored northern NewJersey period village and site of many NJJSsummer Jazzfests, where the late drummerBobby Rosengarden (above) played manytimes, died February 26 in Hackettstown.Percival Leach lived in Stanhope, close toWaterloo.JJ18 April 2007 JerseyJazz

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JerseyArticlesJazzPeabody: A Jazz Dance WhodunitBy Chad FascaEverybody loves a good mystery. Andwhile clever crimes and heinousmurders grab the headlines and topbestseller lists, ballroom dancing is notwithout its own form of whodunit.Foremost among the ballroom case files, inthis writer’s humble opinion, is the mysteryof the Peabody.In a nutshell, the dance existed, still exists,but unlike the Castlewalk — a probableprecursor whose creators, Vernon and IreneCastle, are well-known, well-referencedfigures in dance history — Mr., Mrs., Dr.,Capt., Messr. Peabody might as well notexist, if not for a legend.The LegendAccording to this legend, Peabody was aNew York police captain named William,Frank or John. A popular, colorful characterin Jazz Age dance circles, he supposedlycreated this eponymous dance in the lateteens (as early as 1915) or early twenties. Asthe story goes, Capt. Peabody was a portlyman who accommodated his bulbous waistby shifting his partner to his side. It’s alovely legend. There’s only one problemwith it. In several years of researching thePeabody, admittedly in my spare time, I’vecome across no artifacts describing this manbeyond this legend.Searches of dance manuals from the teensand twenties — those available at theLibrary of Congress’s vast AmericanMemory Collections and those that I’veacquired — have produced exactly onemanual that mentions the Peabody: a smallbook published in 1925 by Moore’sAcrobatic & Dancing School (Smyrna, NewYork). The book, which is a museum pieceof graphic design, devotes a page to thedance, not the man. It’s my earliestreference. I have a few ads from danceschools in the later 1920s and 1930s sellinglessons in the Peabody, as well as some1930s dance manuals that teach the dance.None speak of the Captain.The ObsessionMy wife Midori and I first becameinterested in the Peabody in the late 1990s,after seeing a videotape of our dancementors Sandra Cameron and Paul Greckiperforming the dance. It innocently beganas casual curiosity to learn a few steps in anovel though almost forgotten dance butquickly grew into a dangerous obsession(OK, maybe not dangerous, but I’ve got awhodunit theme to maintain here). We’vesince studied with a number of wonderfulOldest Reference: Buck & Wing & Social Dances &Ground Acrobatics & Tap Charleston & All theWorld Loves a Dancer by James Moore, 1926(or Ahead of His Time: Apparently Mooreanticipated Google and Amazon by 80 yearswith his extensive cover-all-the-bases title.)Peabody dancers from the 1930s and 1940s,John & Rose Lucchese, Peter DiFalco,Frankie Manning, Vinnie Zambardi, andothers. None of them knew Capt. Peabody,but they knew and loved the dance andcould confirm its popularity.A Story EmergesThrough their stories and our own digging,I have begun to piece together some of thePeabody’s past, tracking down disparateresources and anecdotes. Here are somehighlights from what I learned. Harlem’sworld famous Savoy Ballroom had a popularPeabody race around its block-long dancefloor. It’s possible the Savoy got its nickname“The Track” from this very race. The Savoycontest was one of many held at famed hallslike Roseland and Club Fordham throughoutthe region. In New Jersey, the Casa Del ReyNightclub, said to have been in Newark,supposedly hosted a big Peabody contest onApril 21, 1934, but I haven’t been able toconfirm this (any help is appreciated).In 1931, the Peabody made, as far as I cantell, its feature film debut in a James Cagneypicture called Taxi! In the film, Cagney andLoretta Young compete against George Raftand his partner in a Peabody contest. Aplacard outside the contest labels it a“Foxtrot contest,” but the dancing is purePeabody as they dance to a swift renditionof “Darktown Strutter’s Ball.”Perhaps the best testaments to the Peabody’spopularity come from two pictures made inthe 1970s. In Queen of the Stardust Ballroom(1975), the story culminates in a Peabodycontest. Two years later, well-knownfilmmakers Merchant and Ivory directedRoseland*(1977), a feature film broken upinto three vignettes, one of which is titled“The Peabody.” Though there’s not much inthe way of Peabody dancing in this vignette,it does point to the popularity of the dance.Why else would these pictures incorporate adance into their subject, if it didn’t strike achord with the featured generation?What the GoodCaptain WantedIn his authoritative Encyclopedia of SocialDance (1975), Albert Butler describes thePeabody as a “dancer’s dance.” Havingdanced regularly with live, hot ’20s and ’30sjazz (care of Michael Arenella’s Dreamland* The connection between Roseland and the Peabody runs deep.The famed dance hall lent its name to a Peabody step…the Roseland Hop.continued on page 4820April 2007 JerseyJazz

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JerseyArticlesJazz“My Technique Terrifies Me!”Says Willie “The Lion” SmithEditor’s Note: Willie “The Lion” Smith, the leastrecorded of the three giants of stride piano (plusJames P. Johnson and Fats Waller), was raisedin Newark, NJ. “One day I was exploring inthe cellar of our house on Academy Street andfound an old beat-up organ stuck away in thecorner.” The Lion tells in Music on My Mind(1964) that his mother had once played theinstrument, now missing half its keys, and hehad to stand on a box to reach them. Willieplayed by ear what his mother had played inchurch — and she, noticing this, beganteaching the six-year-old the melodies sheknew. By the time he entered Baxter School,“an all-colored, un-graded school,” Williecould play several tunes with both hands.When the gang fights got out of hand hisfamily had Willie transferred to Morton StreetSchool, where they started him in sixth grade.Part Jewish on his father’s side, he learned tospeak Hebrew and often wore a skullcap.Willie won an upright piano in a local musicstore contest and practiced it in his homeparlor every afternoon, often skipping work.Smith went on to Barringer High School andcast himself into sports, especially track — hewas the only colored runner on the team —and boxing, “to impress the ladies.” In 1914 hedebuted professionally in Newark and threeyears later joined the army, earning his Lionnickname in an artillery unit in Europe. By1920 he was leading his own band at Leroy’sin Harlem. We’ll let a young visitor fromDenmark pick up the story from there. BaronTimme Rosenkrantz met Willie The Lion atthe popular Harlem club, Pod’s and Jerry’s. Achapter in Rosenkrantz’s unpublished memoir,Adventures in Jazzland, tells how their longfriendship started. Bente Arendrup, the Baron’sniece, kindly granted Jersey Jazz first right topreprint this chapter as adapted into Englishby our international editor, Fradley Garner.When you first meet“The Lion,” he sticksout a jumbo calling card.It’s a whole bilingualnovel, printed on oneside in English and onthe other side in Hebrew.He handed me his card that morning, andit was a small token compared to the birthname printed on its face: William HenryJoseph Berthol Bonaparte BertholoffSmith. 1 I might mention that he has ayounger brother, Ralph, who neverdistinguished himself. 2During a break at Pod’s and Jerry’s (alsocalled the Log Cabin), John Hammondintroduced us in February 1934, on myfirst visit to New York. Willie The Lionwas attacking a small, upright piano in thecorner, a derby cocked on his head, a longcigar poking out of his mouth, a handsomewatch chain spanning his waistcoat. Hestared up at the ceiling as if searching for afly up there, meanwhile talking and singingand “tickling” the keys so smoothly, hisfingers looked like extensions of thedirty ivories.Willie is a master of Harlem stride piano.The grandmaster, James P. Johnson, hasdescribed this style as “full, round, big,widespread chords and tenths — a heavybass moving against the right hand.” WillieSmith commanded a rhythmic sense, animbleness and melodic mastery that said“forget it” to anything I had ever heard.Some said he earned the Lion nickname byplaying so fiercely. He said he earned it inWorld War I for bravery with an artillerybrigade on the front lines in Europe. TheLion had a leonine thirst, too, and he wasquick to challenge anybody who, as he putit, “thinks they can play piano.”By Timme RosenkrantzThis is the great thing about The Lion: agladiator at heart. Anybody who had areputation as a piano player had to prove itright there and then by sitting down to thepiano and displaying his artistic wares. Andwhen a cat thought that he was somethingspecial, he usually fell into that trap (or, asyou might say, into the jaws of The Lion)and he always came out with his reputationall skinned up, covered with the lacerationsof humiliation, because before he gotthrough too many stanzas The Lion wasstanding over him, cigar blazing. Like if thecat was weak with the left hand, The Lionwould say, “What’s the matter, are you acripple?” Or, “When did you break your leftarm?” Or, “Get up. I will show you how it issupposed to go.”— Duke Ellington, in his Forewordto “The Lion’s” autobiographyWillie and I struck up a friendship on thespot. That first night he told me he went towar in 1917 and was promoted to sergeant,which was unusual for a Negro, even oneserving in a colored unit. He came homewearing a chest full of medals, and as hemodestly reports, “It was a tough war, andI was proud and happy that I won it.”Before the war, he was already making aname around Harlem as a ragtime pianist.Back home again, Willie said, he met JellyRoll Morton, James P. Johnson, Eubie Blake,and other great ragtime pianists of the era.Willie helped convert ragtime into thejazzier Harlem stride. For several years heplayed with some of these pianists at thepopular rent parties and small clubs inHarlem. He toured with the great MamieSmith, and backed other blues singers. Hewas a showman all the way. “When WillieSmith walked into a place,” said James P.,“his every move was a picture.”Willie was a musical marvel, and youngpianists like Duke Ellington and Fats Wallerworshiped him and tried to play like him.Of the youthful Fats, Willie said, “Yeah, a22April 2007 JerseyJazz

JerseyArticlesJazzWILLIE “THE LION” SMITH continued from page 23Willie “The Lion” Smithcan’t play hot with a cold cigar.After Prohibition was repealed in 1933 (thethirteen-year ban barely dented the drinkinghabits of New Yorkers, though the booze didimprove afterward), The Lion startedworking downtown at the jazz clubs onFifty-second Street. Wider fame first camein 1935, when Decca began issuing a seriesof records with small combos, Willie theLion and His Cubs.Just the same, Willie preferred to workalone, and he cut solo discs from 1939until well into the 1960s. Those on theCommodore label really show him at hisbest. He recorded eight original numbers atthe 1939 Commodore session, and you canhear the influence of classical music inthem. These will always live as masterworksof stride piano, securing Willie’s place withJohnson and Waller — excuse me, theirplace with him!The Lion roared into the 1940s, whenTommy Dorsey and Artie Shaw addedarrangements of his original songs to theirbooks. Now Willie could pick and choosewhere he worked in and out of New York.At the Pied Piper in 1944, he played withMax Kaminsky’s band, and he and James P.joined in stride battles there and in Toronto.He toured Europe and North Africa at theturn of 1949–1950, and returned to appearregularly at New York’s Central Plaza, beforetouring Europe again. He played in themovie, Jazz Dance in 1954, and in theDupont Show of the Month, “Chicago andAll That Jazz” in 1961, while continuing towork the jazz festival circuit.During World War II, I had a little house inGreenwich Village. In the house was a piano,and at the piano as often as we could makeit was Willie The Lion Smith. An authenticVillage scene: the floor crowded with youngpoets, painters and musicians; the kitchenfilled with Danish hams and delicacies; thebar stacked with French brandy, and the airfilled with wonderful music.Willie would give us illustrated lectures,showing us the evolution of jazz from thefirst ragtime as Scott Joplin played it, to thelatest bebop as Bud Powell might play it.That is, he tried to show us the differences instyles, but somehow they all sounded likeWillie The Lion Smith — which was goodenough for me. When I mentioned this tohim, though, he merely shrugged and said,“Well, of course! You don’t expect me tosound like all those punks, do you?”Whereupon he relit his cigar and sent a bluecloud billowing out into the smoky room.A few years ago, I met Willie one evening onBroadway. His “office” was there, outsideThe Turf restaurant. He was standing by thesidewalk contemplating the stars. He hadalways been interested in astrology and isconvinced that the stars determine his life.If it’s a question of a new job, the stars haveto decide — which isn’t always satisfactorywhen things go wrong, until one stops torealize there are such things as unlucky stars.Willie is patient, however. “Everything takestime,” he likes to say, “and since everybody’slife is controlled by a star, and this world islousy with people, you must be patient.”Willie Smith seems to have plenty of time. 3He sits at home speculating and working onhis memoirs, which may be titled, The Worldof Willie The Lion Smith 4 — a great, big,beautiful world.JJ1. Berthol was Timme’s addition. In Marc Fields’ documentary film, “Willie the Lion: A Musical Biography about Willie the Lion Smith,” Smith says,“Name: William Henry Joseph Bonaparte Bertholoff Smith. Quite a name. Takes in French and Jewish.”2. Willie had two older brothers, George and Jerome Bertholoff. Four of John Smith’s sons, including Ralph, were apparently alive in the mid-1960s.“The rest of the Smiths, eleven boys and one girl in all, died between the ages of three and seven,” Willie says in his memoirs (footnote 4).3. The Lion died April 18, 1973 in New York City.4. Willie Smith’s book, written with George Hoefer, with a foreword by Duke Ellington, is titled Music on My Mind: The Memoirs of an American Pianist(New York: Doubleday, 1964), republished as a 318-page paperback (New York: DaCapo, April 1978). The Editor’s Note (p. xiv in the paperback) includesthe quote from Timme Rosenkrantz: “It was a tough war,” said Willie, “and I’m proud and happy that I won it.”24April 2007 JerseyJazz

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JAZZ UJazz Goes to SchoolThe College Jazz SceneBy Frank MulvaneyJerseyArticlesJazzIn the span of 11 days my wife Kathy and I took inthree marvelous college jazz concerts as part of mynew duties as College Scene columnist. We wouldhave gone to them anyway. The only difference beingthat I had to take some notes.Rowan UniversityOn Friday, February 9, we made the 80-mile trek toRowan University for what turned out be a simplywonderful concert.The concert — dedicated to the late, great MaynardFerguson — featured three big student groups with twotop professionals playing with two of them. The WilsonHall Vintage Jazz Orchestra opened the show with fivetunes that were popular in the 1920s but have sinceslipped into obscurity. The 11-piece ensemble, whichincluded a piccolo and a violin, had that unmistakablydistinctive ’20s era sound. The lively, joyful music of thisgroup set the tone for the evening.Rowan’s much-heralded Lab Band took the stage next.This 16-piece ensemble includes a French horn,bassoon, tuba and vibes. This group was a big hit at lastyear’s IAJE conference with its wonderful unique sound.The band played a delicious smorgasbord of nine tunesincluding two excellent student compositions and anoriginal of Director Denis DiBlasio’s. “Chameleon”(Hancock), “Serenity,” “Birdland,” “Doxy,” “If You NeverCome to Me” (Jobim) and “Milestones”(Davis)completed the set.The guest professionals, trombonist Jim McFalls andtrumpeter Andrea Tofanelli, delivered fabulous solos onfour of the tunes. McFalls, a top freelance musician andeducator, has a beautiful mellow tone reminiscent ofTommy Dorsey. He’s played and recorded with a phonebook of well-known musicians. Tofanelli is known tobe the first-call trumpeter in Italy and is one of thoserare players who can make beautiful music at theextreme upper range of the instrument near the edgeof inaudibility. I’d be remiss if I failed to mention that2007 NJJS scholarship winner, Mark Przybylowski, didmuch masterful bass work on a bunch of tunes for bothof these first two groups.Like every great meal, dessert was saved for last, as the20-piece Rowan Jazz Band came on. The band has agreat big, clean, brass sound, and we were treated toseveral charts used by the Maynard Ferguson Band.including “Don’t Get Sassy” (Thad Jones),”GreenDolphin Street,” ”It Could Happen to You,” “People” and“MacArthur Park.” Tofanelli’s magnificent, searing soloson these last two brought visions of Maynard andsweaty eyeballs. The eight trumpets on “MacArthurPark” brought the house down, and the audience to itsfeet in appreciation for a glorious evening of jazz.William Paterson UniversityOn Sunday, February 18, we journeyed to WilliamPaterson in Wayne. The Cole Porter student ensembleopened the program with five of the composer’simmortal classics, including “Night and Day,” “So inLove” and “I Concentrate on You.” The quintet was ledby vocalist Katelyn Kenney who did a wonderful jobwith some tunes that even professional singers findchallenging.I must admit that I was not familiar with HoraceeArnold, the featured artist, and his quartet, but WOW,is he a fabulous drummer. The other members of thequartet are all top professionals with Buster Williamson bass, Marcus Strickland on tenor and the ubiquitousVic Juris on guitar. The set included four originals byArnold and the Mingus classic “Goodbye Pork Pie Hat.”The quartet was as cohesive an ensemble as could be,playing some extraordinarily complex rhythmiccompositions. The high level of virtuosity would beobvious to even a novice jazz fan.Note that the senior discount at WPU now beginsat age 60.Rutgers University—New BrunswickNext was a trip to The Nicholas Music Center atRutgers Campus to hear a free concert of the RUJazz Ensemble with guest artist Edward Simon onFebruary 20. This was another almost too good tobelieve concerts. I would need to invent some newlaudatory adjectives to do justice to this one.26April 2007 JerseyJazz

JerseyArticlesJazzThe first three numbers were astounding studentcompositions arranged for the 19-piece ensemble ofmostly graduate students, including three Jazz Societyscholarship recipients. Each tune was fairly long andrhythmically complex, providing technical challengesfor the most competent of players. “Sonority” byVincent Veneman is a big-sounding lyrical compositionthat’s a pleasure for the ear and featured a wonderfulbaritone sax solo by Gareth Bane (an NJJS scholar). Iwas especially impressed by a couple of beautifulinterludes of just flutes and flugelhorns. “On a BusyStreet” by Courtney Bryant is best described as avantgarde.This is an exceptionally complex work andarrangement that reminded me of some of AaronCopland’s early works. The lack of any discerniblemelody helped make for considerable challenges forthe players. Drummer Rudy Royston (an NJJS scholar)met the challenges head on and delivered someincredible fill and solo work. The virtuosity of the entireensemble was clearly demonstrated by the ability to playsuch a difficult piece so incredibly clean. The thirdstudent composition, “No More” by Dino Nugent, wastruly magnificent and some might label it a masterpiece.At least 10 minutes long, the piece has the feel of amusical journey with several changes in tempo andmode and effective use of forte crescendo. Essential tothe piece are two long beautiful solos for soprano saxand trombone. This is a work that begs to be heardmultiple times.The rest of the first half of the program was comprisedof two compositions by Edward Simon (with Mr. Simonsitting in on piano, and a remarkable player he is).Both tunes are fairly long, brassy and sophisticated withpulsating rhythm and an unmistakable Latin tinge.The second half of the program brought on Mr. Simon’sseptet to perform his “Venezuelan Suite,” a 40-minutemasterwork in four movements. The work incorporateselements of Venezuelan folk music, traditional Latin jazzand classical. Each of the exceptional musicians in thegroup had ample opportunity to demonstrate virtuosity,drawing continuous rounds of audience applause. I feltguilty about experiencing such an excellent concert atno cost. I would not have given a second thoughtabout shelling out NJPAC-level prices for such greatmusical art.JJCollege jazz music calendar for the remainder of the spring session:WILLIAM PATERSONUNIVERSITYApr. 27:Pianist Mulgrew Millerand WPU Jazz Orchestra4:00 PM, Shea Center$15 ($12 ).RUTGERS UNIVERSITY— NEW BRUNSWICKApr. 10:Frank Sinatra Jr. and JazzEnsemble, 8:00 PM,Nicholas Music Center,$40/$25/$15.Apr. 12:Jazz Ensemble II, 8:00 PM,Nicholas Music Center,FREE.Apr. 17:Chamber Jazz Ensembles1–6, 8:00 PM, SchareRecital Hall, FREE.Apr. 19:Chamber Jazz Ensembles7-11, 8:00 PM, SchareRecital Hall, FREE.PRINCETONUNIVERSITYMay 12:Princeton University JazzEnsemble & Afro-LatinEnsemble, special guestConrad Herwig, 8:00 PM,Richardson Auditorium,$15.ROWANUNIVERSITYApr. 10:Small Jazz Ensembles,8:00 PM, Boyd RecitalHall, FREE.Apr. 12:Lab Band and Big Band,8:00 PM, PfleegerConcert Hall, $15.NEW JERSEY CITYUNIVERSITYApr. 30:Jazz Ensembles & specialGuest Eddie Daniels,7:30 PM, MargaretWilliams Theatre, $12.May 3:Jazz Bash, 7:30 PM,Ingalls Recital Hall, $12.May 7:High School Jazz Festival,4:00 PM, MargaretWilliams Theatre, FREE.Check with the school for last minute changes. If you have any questions orcomments you may call me at 908-233-4824 or e-mail: fmulvaney@comcast.net.April 2007 JerseyJazz 27

JerseyArticlesJazzSmith Street Society Jazz BandDick Voigt’s BigApple Jazz BandPEE WEE 2007 continued from page 1non-musician 2007 award going tolegendary New Jersey club owner AmosKaune, and jazz radio host Phil Schaappresenting the musician’s award tobandleader Vince Giordano.The Stomp was prompt, getting started atthe strike of noon as the six student playersbounded on stage raring to go. Once introductionsand formalities were dispensedwith, the six young men took to theirinstruments and performed flawless, deftand swinging music in a four-song set thatincluded two modern jazz classics —“Woody’n You” and “Giant Steps” and twostandards — “If I Should Lose You” and“Caravan.” Amazingly, the six had notperformed together before they took thestage at the Birchwood, yet they played asif they work together all the time, and leftan encouraging impression about thefuture of jazz.While it’s great to know the future looksbright, the Stomp has always been anopportunity to relish music from jazz’sgolden ages, and for the next four hoursthe four-hundred-plus crowd in theBirchwood’s Grand Ballroom reveled in amusical celebration that ranged from JazzAge classics of the 1920s to swing and bigband numbers from the 1930s and ’40s.First up was The Smith Street Society JazzBand led by Bruce McNichols on sopranosax, tuba, banjo and tenor guitar. Highlightsincluded “Crazy ’Bout My Baby,” featuringHerb Gardner and “I’ll See You In MyDreams” performed by tubist Chicken JoeHanchrow.And as the music got danceable, the dancersgot dancing and the ballroom’s largehardwood dance floor was full for most ofthe afternoon. The dancers, some in vintageclothing, were as authentic and adroit asthe musicians with the old styles as theyexecuted many of the dances of the dayincluding the Charleston, the Peabody, theBalboa and Swing.Pianist Dick Voigt’s Big Apple Jazz Bandfollowed, and turned in a rollicking setDancers responded to the music in a blur of greatstyle and astonishing speed…including Dancing Bill,who never sat one out…and NJJS President Andrea Tyson.Looks like her lessons paid off.28 April 2007 JerseyJazz

JerseyArticlesJazzKevin Dorn’s TraditionalJazz CollectivePhoto byCheri RogowskyVince Giordano’sNighthawksPhotos by Tony Mottola, except as noted.including a raucous “St. Louis Blues” and asmooth vocal rendition of “Wrap YourTrouble in Dreams” by bassist MikeWeatherly. Joe Licari performed a lovely andplaintive clarinet solo of “Memories of You”in honor of the late Kenny Davern.The Kevin Dorn Traditional Jazz Collectiveis a hard-swinging quintet made up of someof New York’s best young musicians. Thehot jazz they play may originate in the ’20sand ’30s but Dorn’s group makes the musicsound every bit contemporary. They rockedthrough a 45-minute set that included“Everybody Loves My Baby,” “Hindustan,”“Roseland” and a gritty and bluesy vocal on“Lonesome Road” by trombonist J. WalterHawkes.Vince Giordano’s Nighthawks were last upand delivered the afternoon’s musical coupde grâce. Led by the NJJS’s 2007 “Musicianof the Year,” the 11-man outfit swung theirway through 11 numbers that began with“Dinah” and ended with “Cotton ClubStomp #2.”Along the way they provided more of theday’s many high points, including anextraordinary dance demonstration byChad Fasca and Midori Asakura, two ofManhattan’s most accomplished danceinstructors. Chad and Midori danced aclassic Peabody to the Nighthawk’squicksilver fast “Bugle Call Rag,” circlingand crisscrossing the dance floor atbreakneck speed while effortlessly executingthe trickiest maneuvers, all to the delight ofthe ballroom crowd who looked on inspellbound attention.A short while later the group performed anexact note rendition of Coleman Hawkin’siconic “Body and Soul,” complete with therecording’s trademark piano introductionplayed by Peter Yarin and a meticulous andsoulful performance of Hawkin’s famedtenor solo by Mark Lopeman.Soon after, the 38th Pee Wee RussellMemorial Stomp came to a close, no doubtto be remembered as one of the outstandingeditions of this long running annualcelebration of jazz.JJHonoree Amos Kaune is congratulatedby NJJS Music Committee ChairJoe Lang. Photo by Cheri Rogowsky.And Phil Schaap presentedVince Giordano’s award.Photo byCheri RogowskyApril 2007 JerseyJazz 29

JerseyArticlesJazzNew Jersey Jazz Society2007 Scholarship Recipient ProfilesAs in previous years, scholarship grants were awarded at the Pee Wee Russell Memorial Stompto four deserving students pursuing degrees in Jazz Studies at each of the four New JerseyUniversities offering such degree programs, as well as two grants to Rutgers jazz studies studentsthrough an endowment established with the Rutgers Foundation in memory of Pee Wee Russell.The six students performed as a sextet to open the Stomp. Here are brief profiles of the studentsand photos of them performing at the Birchwood Manor on March 4.Rudy Royston, Drummer, Rutgers University (Bill Walters Scholarship)Rudy hails from Denver, Colorado and is working toward a master’s degree in 2008. He hasstudied music since the age of six and began writing music at 16, with about 30 tunes in hisbook of work. Among his favorite composers are Duke Ellington, John Williams and Mozart.His musical inspirations are God, his wife and his children.Robert Edwards, Trombonist, New Jersey City University(Don Robertson Scholarship)Robert is a junior undergraduate who grew up in West Palm Beach, Florida and now livesin Hoboken. He has been studying music since the age of six, when he began piano lessons.He started writing music at the age of 10 and started improvising on the trombone at 15.His favorite musicians are Roy Hargrove and Brad Meldau and his favorite composers areBach and Wayne Shorter.Mark Przybylowski, Bassist, Rowan University (Jack Stine Scholarship)Mark is a senior student and a native of Green Brook, New Jersey. His first instrument was thetrombone, which he started on in the third grade. He then moved on to guitar and finally settledon the bass. He got the jazz bug in his junior year in high school and his list of favorite musiciansincludes Bill Evans and Ron Carter. “I create my best music when I surrender to it,” Mark says.Dave Pollack, Alto Saxophonist, William Paterson University(Warren Vaché, Sr. Scholarship)Dave is 19 years old and was born and raised in Hamilton, New Jersey. He plays four otherinstruments including piano and trumpet. He began improvising at 13 and writing music at 16.Not surprising that his favorite musicians are John Coltrane and Charlie Parker. Dave hastoured Greece with the Philadelphia Jazz Orchestra and played at the Kennedy Center inWashington, DC.Gareth Bane, Baritone Saxophonist, Rutgers UniversityGareth is a Canadian, from Calgary Alberta, who will complete his masters program this May.He plays all the reeds and flute as well. His favorite musicians are “too numerous to mention.”Interestingly, his current favorite tune is a classmate’s composition. Gareth is a serious mountainbiker and practices Ashtanga Yoga. His latest composition has been recorded for a new CD release.Jianyi Huang, Pianist, Rutgers UniversityJianyi is from Shanghai, China. He began studying piano at the age of seven and went on tostudy at the Shanghai Conservatory of Music. He will be awarded the Masters Degree in May.Jianyi’s favorite composers are Beethoven, Bach and Pat Metheny. His favorite jazz style isPost Bop. He’s been writing music for six years and his biggest musical thrill was playing atthe Montreal Festival.The staff of the Rutgers Foundation and the jazz studies program directors and their staffsat the four universities are the exclusive judges in selecting the scholarships recipients.JJPhotos by Tony Mottola.30 April 2007 JerseyJazz

Now available,a new book byTerence M. Ripmaster,former NJJSPresident andauthor ofBucky Pizzarelli:A Life In Music.Call 1-877-288-4737 to order,or visit www.iUniverse.comApril 2007 JerseyJazz 31

JerseyArticlesJazzWhat is JazzAppreciation Month?The concept is simple: designate one monthfor an annual public spotlight on jazz. JazzAppreciation Month (or JAM) is intended todraw public attention to the glories of jazz asboth an historical and a living treasure. Theidea is to encourage musicians, concert halls,schools, colleges, museums, libraries, and publicbroadcasters to offer special programs on jazzevery April.What are the purposes ofJazz Appreciation Month?To draw greater public attention to the extraordinaryheritage and history of jazz and its importance as anAmerican cultural heritage. In addition, JAM isintended to stimulate the current jazz scene andencourage people of all ages to participate in jazz —to study the music, attend concerts, listen to jazz onradio and recordings, read books about jazz, andsupport institutional jazz programs.Who designated JAM?The Smithsonian Institution’s National Museum ofAmerican History led this initiative and has enlisted adistinguished roster of federal agencies anddepartments, non-governmental organizations,foundations, and broadcasting networks. For moreinformation, visit www.smithsonianjazz.org.Why is the Smithsonianinitiating Jazz AppreciationMonth?The Smithsonian operates the world’s mostcomprehensive set of jazz programs — it collects jazzartifacts, documents, recordings, and oral histories;curates exhibitions and traveling exhibitions; operatesits own big band, the Smithsonian Jazz MasterworksOrchestra; publishes books and recordings on jazz;offers fellowships for research in its collections; andoffers concerts, educational workshops, masterclasses, lectures, seminars, and symposia. LaunchingJAM is consistent with the Smithsonian’s 30-yearrecord of leadership in jazz.April isJazzAppreciationMonth!This information is excerpted,and this poster is available free,from www.smithsonianjazz.org.Has the United StatesCongress supportedthis initiative?Yes, the U.S. Congress passed legislation whichwas signed by the President in August 2003,Public Law 108-72, declaring “(1) the SmithsonianInstitution’s National Museum ofAmerican History should be commended forestablishing a Jazz Appreciation Month; and (2)musicians, schools, colleges, libraries, concert halls,museums, radio and television stations, and otherorganizations should develop programs to explore,perpetuate, and honor jazz as a national and worldtreasure.”What is the Smithsoniandoing to celebrate JazzAppreciation Month?The noted producer-musician Quincy Jones helped theSmithsonian’s National Museum of American Historyannounce the Jazz Appreciation Month initiative, at apress conference in July 2001. Branford Marsalishelped kick off the first JAM, in April 2002. TheSmithsonian Jazz Masterworks Orchestra, themuseum’s acclaimed 18-member big band, performeda weekend of concerts. There were lectures,educational offerings, and an exhibition. Also, in honorof Jazz Appreciation Month, the museum will continueto collaborate with other national institutions in arange of educational and outreach activities as it hasin the past. To assist teachers, librarians, and others incelebrating JAM, the Museum has published a seriesof posters and the brochure How to Celebrate JazzAppreciation Month.Why was April chosen?April was chosen for two reasons. First, Aprilmaximizes JAM’s educational potential because it isthe end of the school year when schools can not onlyparticipate, but student jazz ensembles can culminateyear-long preparations and play at their best.Secondly, April is also the birth month of a number ofleading figures in jazz: Duke Ellington, Ella Fitzgerald,Bessie Smith, Johnny Dodds, Billie Holiday, CharlesMingus, Lionel Hampton, Gerry Mulligan, ShortyRogers, Tito Puente, and Herbie Hancock. JJYOU CAN HELP SUPPORT SMITHSONIAN JAZZ | Your contribution will go towards preserving and perpetuating jazz as an American national treasure— through collections, exhibitions, performances, recordings, publications, oral histories, and educational programs. Your contribution is fully taxdeductibleto the maximum extent of the law.Make your check payable to “Smithsonian Institution” and mail it to: Friends of Jazz, National Museum of American History, Room 4100, SmithsonianInstitution, Washington, DC 20560-0616. | Thank you for your support!32 April 2007 JerseyJazz

THE MUSIC IS ALWAYS HOT IN RAHWAYVisit our website to see who’son the calendar this week.www.88bistrojazz.comApril 2007 JerseyJazz 33

JerseyReviewsJazzNew York City Round-upBy Robert L. Danielsleft to right:Robert Daniels mugswith Wynton Marsalis.Ben Vereen at Feinstein’sat the Regency.Marlene Verplanck stopsfor a moment withHilary Kole.Cowboy in ManhattanWillie Nelson is a man of very few words.The cowboy hat defined the gentleman fromTexas, who somehow fit comfortably againstthe scenic view of Central Park South andColumbus Circle. Nelson took the stagealongside jazz trumpet star and artisticdirector of Jazz at Lincoln Center, WyntonMarsalis, for a mixed hour of down homeblues and gently phrased pop balladry.Nelson’s subtle guitar lines blended tightlywith Marsalis and a keenly well-flavoredquartet that included Walter Blandings onreeds and Dan Nimmer on piano.On familiar old tunes like “Sweet GeorgiaBrown” and “Basin Street Blues” Marsalisaccented Nelson’s subtle vocals with muteand plunger growls, while Blandings addedadventurous tenor flights.“Ain’t Nobody’s Business” found Marsalistrading witty barbs with Nelson’s dryresponses, and for Merle Travis’s “That’sAll,” Nimmer added a piano excursion thattruly demonstrated how a jazz point of viewcan redefine an old country classic.There is something truly satisfying in thesubtlety of Nelson’s vocal interpretation of“Stardust.” His dry straightforward take onthe Hoagy Carmichael classic revealed theinner purity and grace of Mitchell Parish’slyrics. Marsalis added a clean open solo thatpunctuated the dear old tune with a crispand bracing statement.Another Carmichael classic, “Georgia on MyMind,” turned out to be pointedlypicturesque and reflective, and for fun theold Woody Herman question arose —“Caldonia, Caldonia. What makes your bighead so hard?”Nelson brought a sweeping open rangeclarity to four sold-out concerts and he cansaddle up in Gotham anytime. As I waitedfor my driver, I noticed a row of cementblocks outside the building. Do you supposethey were hitchin’ posts?Mr. Bojangles on Park AvenueCrosstown Ben Vereen made his New Yorknightclub debut at Feinstein’s at theRegency. The Broadway veteran reprised hisTony winning turn in “Pippin” conjuring“Magic to Do” by Stephen Schwartz, a bit ofstage prestidigitation that has become histrademark. The dancer in Vereen seemed tocry out for space, but on the tiny stage all hecould manage was a few swivels and turns,and those he managed to execute withelegance.Vereen has plenty of pluck and dash thatsurfaced in tribute medleys to Frank Sinatraand Sammy Davis, Jr. For Davis, Vereen tooka path that led from “Candy Man” and “I’veGot a Lot of Livin’ to Do” to “What Kind ofFool Am I?” They were all delivered withbold Broadway flair, the best turn being“Mr. Bojangles,” a number that not onlydefines the memory of Bill Robinson, butwith a tip of a bowler hat and a jaunty pose,recalls all the great dancin’ men who havepassed our way.The entertainer works very hard andperhaps a little too hard at times, but in theend, when he sings “If I Ruled the World,” itbecomes clear that he is a true survivorwhose dancin’ feet have carried him througha long winding road of trial and triumph.Torchy Jazz Baby at BirdlandAmong the jazz babies, darling divas anddreamy chanteuses there are few quite solovely as Hilary Kole who graced theBirdland stage, bringing considerablewarmth to four chilly winter nights. With aseductive slate of torch songs from the pensof Cole Porter, Irving Berlin, Harold Arlenand Richard Rodgers, in addition to thedelightfully droll and impish lyrics ofLorenz Hart, Kole defined the art ofromance with all its sublime passion, joyand heartbreak.Accompanying herself at the piano, Kolesang “Haunted Heart,” a rapturous 1948torcher from a revue called “Inside U.S.A.”Set to music by Arthur Schwartz, the ladyrevealed the dark beauty of Howard Dietz’shaunting lyric. The joyous confessional ofPorter’s “So in Love” made a listener’s heartbeat a little faster.One of the saddest waltzes ever penned is“What’ll I Do?” written by Berlin followinga heavy serving of champagne in 1924. Thesongwriter had experienced the bittersweetpang of loss and loneliness, and Koledefined the jazz age lamentation with apointedly profound haunting turn.And, with a buoyant Tedd Firth at thepiano, the lady also proved she can swing,taking Arlen’s “I’ve Got the World on aString” for a spirited globe trotting spin. JJMr. Daniels is a jazz, cabaret and theatrereviewer for Variety, Daily Variety Gothamand New York Theater News.34 April 2007 JerseyJazz

85 George Street in New BrunswickApril 2007 JerseyJazz 35

JerseyReviewsJazzMidday Jazz Under Saint Peter’sBy Fradley Garner Jersey Jazz International EditorMANHATTAN: Next time you’re in New Yorkaround noontime on a Wednesday, and inthe mood for an hour of live and quiet jazz,head for the Living Room at LexingtonAvenue and 54th Street. The venue is underSaint Peter’s Church, a modern culturalreligiouscenter that cares for the needs ofthe city’s jazz community.“Midtown Jazz at Midday” they call it,though the performance runs from 1:00 to2:00 PM. Because this is non-profit, the entréis a modest $5.00 and duos or singlesdominate. Jersey giant Bucky Pizzarelli washere earlier this year with the teenage jazzviolinist, Aaron Weinstein. Bucky hasdelighted the underground fans many times.So has his fellow-guitarist Howard Alden,here with the Rahway-based cornetistWarren Vaché for an hour in February.The pianists John Bunch, Bill Charlapof Summit, and Junior Mance did thesub-church gig, too. The six-foot Steinwaywas donated by the late Billy Strayhorn,Duke Ellington’s “alter-ego.” Last monththe admired singer Sheila Jordan was atthe keyboard, backed by Cameron Brownon bass.You can bring your lunch with you andenjoy it at one of the tables. At 12:00 noon,seniors can buy lunch for $1.40. The concertvenue is fairly small and roped-off, with nostage. On the long wall toyour left, as you face themusic, paintings are onshow. To your right,beyond the ropecordoning off the spacenow filling up withseniors on foldingchairs, a trickle ofvisitors of all ages andhues from upstairspass by on their wayto the rest rooms.In front of us oneearlier Wednesday,Tomas Janzon, a45-year-old Swedishguitarist based inLos Angeles, and bassistKen Filiano, 53, from overthe bridge in Brooklyn, are setting up. Justthe two players and their amplifiers. Thereare not many empty chairs facing them. Alady stops by and says, very softly, “Hello,you’re new here, aren’t you?” Mrs. Joan UttalAnderson says I had bypassed her table,where the $5.00 music charge is collected.I dig for my wallet and she hands me amonthly events sheet.Jersey City Producer“You’re from Denmark?” her face lights up.“I have Danish ancestors!” Mrs. Anderson’shusband, Edmund Anderson, started thisnoontime program back in 1982. After hepassed on in June 2002, Mrs. Anderson tookover and now acts as production consultant.Ronny Whyte, a pianist-composer andsinger from Jersey City, is the producer andhost. He books the performers(www.ronnywhyte.com).Warming up with some blues, you don’thave to ask who Tomas Janzon’s idols are.Django Reinhardt and Wes Montgomeryradiate again on the second number, “All theThings You Are,” with those cycle-of-fifthschord changes and sudden doubling oftempo and a “Salt Peanuts”-close-quoteending. Janzon now offers his own work,“Six on Five.” It starts in irregular 5/4time (five beats to the bar) and switchesto 6/4 on the bridge. You can hear it atcdbaby.com/cd/janzon and at iTunes.com.The piece swings but the rhythm istricky. Bassist Filiano is kept busyand lays it down gooooood.Now and then I glance right, at thepassersby on their way to and fromthe rest rooms. Not one of themseems to hear the music! It was thesame a few years ago when I washere for an hour’s worth of thegreat clarinetist, Ken Peplowski,and the mighty pianist, KennyBaron. The audience isabsorbed and the passersbydon’t take notice. Hard toTomas Janzon.April 4Dena De RosePianist/Singer11 Renee RosnesPiano (uncertain)18 Judi Marie CanterinoSinger25 Tony DeSareSinger/Pianistwww.saintpeters.org/jazzbelieve. Nor does it speak for the pullingpower of quiet jazz.“Have You Met Miss Jones?” is a kind ofintuitive weaving session between guitarand bass, and “Body and Soul” has Filianodelicately reinforcing the lanky, mustachedSwede’s probing guitar inventions. Yes,Johnny Green’s 1930s standard still offersroom for exploration. “Who, Me?” windsout and back briskly.At 2:00, after eight or nine offerings, afinal warm hand from the floor sparksbows but no encore. Janzon holds up hislatest CD, Coast to Coast (Changes Music,2006) and several listeners line up to buyan autographed album. All 10 numbers, fortrio or quartet, were composed by Janzon.Back home in Denmark I’ve played themmany mornings while shaving, hearingmore each time. Sorry there are no linernotes — but visit www.tomasjanzon.comto learn more about this guitarist andcheck his upcoming bookings on bothcoasts and three continents.JJ36 April 2007 JerseyJazz

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JerseyReviewsJazzCompactViewsBy Joe LangNJJS MusicCommittee Chairhere are some new additions to the NJJSTinventory this month that should be quiteappealing to many of you.■ With the recent passings of KENNY DAVERNand TONY DENICOLA, any previously unreleasedmaterial by them is that much more welcome, asthere is now only a finite amount of music possibleto come out. Dialogues (Arbors – 19317) findsboth of these wonderful musicians in the companyof Ken Peplowski on tenor sax and clarinet, HowardAlden and James Chirillo on guitars and banjos, andNicki Parrott on bass. The ten-song program is full ofhighlights from all of the players, and seems a lotshorter than its hour-plus length. Good things seemnever to last long enough. The songs are “If DreamsCome True,” “The Diner,” “I Can’t Believe That You’reIn Love with Me,” “Comes Love,” “Should I,”“Sometimes I’m Happy,” “High Society,” “CrazyRhythm,” “Nobody Else But Me” and “MuskratSamba,” a samba take on you-know-what. Ken andKenny are wonderfully compatible, with theircontrasting sounds easily identifiable, and equallyappealing. Alden and Chirillo also complement eachother perfectly. This is especially evident on “NobodyElse But Me” where Kenny and Ken sit out. NickiParrott and Tony DeNicola lay down as strong andsteady a rhythmic foundation as anyone could want.It is our good fortune that these players got togetherfor this most enjoyable session.■ PHIL BODNER participated on hundreds ofrecording sessions on many different reedinstruments, but was rarely recorded as a leader.The Clarinet Virtuosity of Phil Bodner: OnceMore with Feeling (Arbors – 19347) findsBodner on his primary instrument in a variety ofsettings. It is terrific that his considerable jazz chopsare given a place in the spotlight, a place where heshould have been more often. These recordingswere taken from private tapes made by Bodner atvarious appearances during the 1960s and 1970s.The players accompanying Bodner include pianistsHank Jones and Dick Hyman, who also plays organon four tracks; guitarists Gene Bertoncini, JamieColpitts, Al Caiola and Vinny Bell; bassists DaveYoung, Milt Hinton and Robert Kreiner; drummersButch Miles, Charlie Goguen, Bobby Rosengarden,Ron Traxler and Jimmy Young; and bass clarinetistRon Odich. Over 19 selections, his star continues toshine brightly as a bastion of good taste andversatility in the mainstream tradition of jazz. This isjust plain good listening music.■ BUCKY AND JOHN PIZZARELLI have beenmaking fine music together for a long time. ManyNJJS members will remember seeing the Pizzarellisplaying for early Jazzfests at Waterloo Village. A lotof time has passed since those days when John wasknown as Bucky’s kid. Since then John has growninto a star performer in his own right. The twoPizzarellis continue to perform together as often aspossible, usually with Bucky augmenting John’s trioor quartet. Occasionally, however, they get down tobasics and perform as a guitar duo, like they do onGenerations (Arbors – 19345). It is not surprisingthat they exhibit a natural empathy, one that investseach of the 15 selections with a very special feeling.Both are superb technicians and consistentlycreative jazz players. While it’s the speed selectionsthat seem to elicit the most enthusiastic responsewhen they appear in front of an audience, it is onthe slower selections where the depth of theircompatibility is most evident. For enthusiasts of jazzguitar, this album will be a most welcome additionto your CD libraries.■ It seems that whenever I put on an album bycornetist ED POLCER, a smile quickly crosses myface, and my spirits are lifted. He plays happy music.Lionel, Red and Bunny (BlewZ Manor – 108)contains 16 tracks with a variety of musicians,including pianists Mark Shane, Ken Ascher andNorman Simmons; vibist John Cocuzzi; reedmen DanLevinson, Allan Vaché, Kenny Hing and KenPeplowski; bassists Mike Weatherly, Vince Giordano,Reggie Johnson, Frank Tate and Joel Forbes; anddrummers Kevin Dorn, Ali Jackson, Joe Ascione andDanny D’Imperio. An added pleasure is thevocalizing of Judy Kurtz. The tunes include the likesof “King Porter Stomp,” “Softly, As in a MorningSunrise,” “Bernie’s Tune,” “Don’t Take Your Love fromMe,” “Blue Skies” and “Almost Like Being in Love.”There is not a dull moment on this album, and all ofthe players know how to swing. This is one to puton, sit back, relax and enjoy!■ Pianist LARRY HAM is one of the best-keptsecrets on the New York jazz scene. He playsaround constantly, but his name recognition is justnot what it should be. Hopefully, this will start tochange with the release of his first album as aleader Carousel (West Village Music). Mixing fivefamiliar tunes, “Softly, As in a Morning Sunrise,”“What a Difference a Day Made,” “All God’s ChillunGot Rhythm,“ “Easy Living” and “My FunnyValentine,” with seven originals, Ham has created aprogram that is well-paced and consistentlyinteresting. When a jazz player improvises, he iscreating new tunes on the spot to fill out the basicselection. It is natural that such a musician is oftenable to create appealing new pieces that can beused as a basis for further improvisationalexploration. The original material that Ham includeshere should find favor with others seeking newsongs to add to their musical quivers. Aiding Ham onthis tuneful journey are Lee Hudson on bass andTom Melito on drums. Ham has hit a home run onhis initial at bat, and he should be adding more runsfor a long time.■ There are many musicians who reside in NewJersey, play primarily in the metro New York area,and do not develop the kind of recognition that theirtalents truly deserve. Although both bassist RICKCRANE and pianist BOB HIMMELBERGER havedone some traveling, they find most of their gigs arepretty close to home. Having been students togetherin the jazz program at William Paterson University inthe late 1970s, Crane and Himmelberger developed afriendship and musical compatibility that hasendured through the years. For his first album as aleader, Crane opted to perform in tandem withHimmelberger, and the result is Duality (Craniac –0001). It doesn’t take much listening to recognizethat these cats are on the same page. Throughoutthe twelve selections, “No Blues,” “Joshua,” “Preludeto a Kiss,” “In Your Own Sweet Way,” “Up JumpedSpring,” “I Wish I Knew,” “Alone Together,”“Footprints,” “Just Squeeze Me,” “You Don’t KnowWhat Love Is” and “Oleo,” the interplay betweenthem is natural and always interesting. The duoformat does not leave much margin for error, andthese gentlemen stay well within bounds at all times.■ Finally, I want to reprint a review that appeared inthe February 2000 issue of Jersey Jazz. It is aboutan album by Marlene VerPlanck that was originallyissued on DRG, went out of print, and has just beenre-released on Audiophile.New Jersey’s own MARLENE VERPLANCK has anew album, and it just might be the best one yet,which is saying a lot. Not only does MyImpetuous Heart (Audiophile–334) have theimpeccable vocal presence of VerPlanck, but sheis accompanied by Hank Jones on piano, GaryMazzaroppi on bass and Joe Cocuzzo on drums,with special guest appearances by MarianMcPartland, George Shearing and Bucky Pizzarelli.What more could you ask for? How about 18songs including the wonderful new title tune withlyrics by Leon Nock and music by hubby BillyVerPlanck that opens the album. A few tracks latershe sings “Call Me Irresponsible,” but she is neverthat, treating each song like a close friend whodeserves the best. It is hard to pick out highlightswhen the lode is so rich, but I must admitpartiality to “All in Fun,” helped in no smallmeasure by Shearing’s pianistic support, “HowLittle We Know,” and “We’ll Be Together Again,”special songs sung by a special singer at the topof her game.The above CDs and many other selections are available fromthe NJJS. Please send $16 for each single disk, $26 for eachdouble disk and add $2 for your first selection and $1 foreach additional CD to cover shipping costs. Make checkspayable to “NJJS” and mail with your order to: Fred McIntosh,293 Orangeberg Road, Old Tappan, NJ 07675. To pay by VISAor MasterCard please provide your card number andexpiration date and your name as it appears on the card.Please include a phone number where you can be reachedin case we need to contact you concerning your order.We now have available a listing of all CDs in the NJJS musicinventory. We can either mail a hard copy inventory to you,or e-mail it to you as an attachment in Excel format. Toobtain a copy please contact Andi Tyson, 110 HaywoodAvenue, Piscataway, NJ 08854, or e-mail Andi atATyson1999@aol.com.JJ38April 2007 JerseyJazz

Trumpets Jazz Club & Restaurant6 Depot SquareMontclair, New Jersey 07042Jazz 6 Nights a Week! and Continental Cuisine.Ed Joffe directsNJ City Univ BandSUNDAY 4/1Kelvin Quince (piano)TUESDAY 4/3Susan Van ZoerenQuartetWEDNESDAY 4/4Peter Furlan/Bergen Comm. CollegeTHURSDAY 4/5Buster WilliamsQuartetFRIDAY 4/6 &SATURDAY 4/7Enrico Granafei(hands-free chromaticharmonica/guitar)TUESDAY 4/10Dick MeldonianBig BandWEDNESDAY 4/11Ted Cursonhosts Jam SessionTHURSDAY 4/12April Calendar of EventsRick Crane & BobHimmelbergerFRIDAY 4/13T.K. BlueSATURDAY 4/14Gil “Bebop” BensonSUNDAY 4/15Michael Lemma/Bergen AcademiesMONDAY 4/16Sarah Jane Cion/Audrey Betsy WellerTUESDAY 4/17The Ellington BandWEDNESDAY 4/18Enrico’s Birthday JamTHURSDAY 4/19Nikki ArmstrongFRIDAY 4/20Rio ClementeSATURDAY 4/212 PM NJJS MemberMeeting6 PM The Stein BrothersSUNDAY 4/22Prof. Sam Ayala &Passaic County Comm.College Music DeptTUESDAY 4/24Diane Moser’sComposers’Big BandWEDNESDAY 4/25Betty Liste hostsSingers’ JamTHURSDAY 4/26Joe Morello TrioFRIDAY 4/27Melvin Davis(organ)SATURDAY 4/28Blue WaveFundraiser4–7 PMSUNDAY 4/29Tuesdays at Trumpets — no music charge/$5 minimum 6:30 – 10:30 PMThese are partial listings.Visit www.trumpetsjazz.com for our complete schedule.Tel 973-744-2600 • Fax 973-744-7735 • www.trumpetsjazz.com« Trumpets is closed on Monday evenings except for special events. »« Sunday & Weekday sets 7:30-11:30 PM « Friday & Saturday sets 8:30 PM, 10:30 PM & MIDNIGHT unless otherwise noted. »« Italian/Continental cuisine, full service restaurant and bar open to 1:00 AM Friday & Saturday; to 12 MIDNIGHT weekdays. »« Kitchen open to 12 MIDNIGHT Friday & Saturday; to 11:00 PM weekdays »April 2007 JerseyJazz 39

JerseyReviewsJazzOther ViewsBy Joe Lang NJJS Music Committee Chairs usual, I have some non-NJJS inventory itemsAto discuss. I hope you find some appealingsuggestions here.■ One of the joys of having recorded music is thatit’s usually there for a long, long time. In the situationswhere something is recorded but not released,at least the potential is there to share it as long asthe source material is saved in some reproducibleform. In 1982, Roger Rhodes, inspired by seeingthem in a club, got pianist BEN ARANOV andbassist JAY LEONHART into a studio to record analbum. Twenty-four years passed before this recordinghas gone public. Alone Together (WolfRoseRecords – 6001) is worth the wait. Putting twocats as talented as these in front of some microphonesis a decision of great wisdom. Aranov is apianist of enormous elegance and creativity.Leonhart has long been among those at the top rankof bassists, a gentleman with a faultless sense oftime and a capacity to make his instrument sing.The empathy between Aranov and Leonhart isevident throughout the 13 tracks. Both of them alsoknow how to pen a tune, with Aranov contributing“Bye” and “One for the Rhode,” and Leonhart payingtribute to two of the masters of his instrument with“Pettiford Brown.” Thankfully, Rhodes left these menAlone Together in a studio all those years ago, andhas opted to share the musical riches that resultedwith all of us. (www.RogerRhodesMusic.com)■ The three tenors and one baritone sax “FourBrothers” sound that Jimmy Giuffre immortalizedin his composition of that name for the WoodyHerman band is one of the most distinctive andappealing sounds in the history of jazz. On4 Brothers 7 (Jazzed Media – 1019), FRANKTIBERI, leader of the Woody Herman Orchestrasince the death of Herman, has gathered threeother ex-Herman reedmen and an ex-Hermanrhythm section to produce an album of 11 songsthat is a wow from start to finish. The players areTiberi on tenor and soprano saxes, Larry McKennaand John Nugent on tenor saxes, Mike Brignola onbaritone sax, David Berkman on piano, Lynn Seatonon bass and Matt Wilson on drums. They open with“Four Brothers;” add some other Herman orientedmaterial, “The Goof and I,” “Woody’s Whistle,”“Woody’n You” and “Woody’s Lament;” throw in acouple of Tiberi originals, “Buzzogle Boggled” and“The Garz and I;” play one standard “Just You, JustMe;” add a touch of Coltrane with “Central ParkWest;” and close with Hank Mobley’s “TenorConclave,” a piece written for a recording thatbrought together Mobley, Coltrane, Zoot Sims andAl Cohn. All of the participants succeed in recapturingthe distinctive sound that was so special in theHerman band, but they have their own personality.This is not an album of nostalgia, but a new albumthat stands on its own feet. (www.JazzedMedia.com)■ The Sidney Bechet Society has always presentedtop-flight concerts. In a Tribute to Storyville byWYCLIFFE GORDON AND THE SBS ALL-STARBAND is a fine example of this. Taken from anApril 21, 2006 concert held at the Flushing Town Hall,trombonist Gordon and his cohorts, Evan Christopheron clarinet, Jon-Erik Kellso on trumpet, Eric Reed onpiano, Vince Giordano on bass and Winard Harper ondrums, are in fine form as they assay 11 classicsfrom the catalog of traditional jazz tunes. The songsare “Pretty Baby,” “Basin Street Blues,” “Let Me CallYou Sweetheart,” “Sweet Substitute,” “Jungle Blues,”“Going Back to Storyville,” “Buddy Bolden’s Blues,”“St. Louis Blues,” “Struttin’ with Some Barbeque,”“Winin’ Boy Blues” and “Tiger Rag.” Gordon andChristopher add an occasional vocal, while tapdancers Lance Liles and Calvin Booker join in on“Struttin’ with Some Barbeque.” This is a concert ofjoyous music played by six master musicians. Get itand grin! (www.sidneybechet.org)■ Put Oscar Peterson, Ray Brown and MiltJackson together, and you expect jazz that willlight you right up. Well, they were together at theBlue Note in New York City in November 1998,billed as The Very Tall Band, and What’s Up?(Telarc – 83663) is the second release featuringperformances from their three-night stand, theprevious one being The Very Tall Band (Telarc –83443). The seven selections, “Squatty Roo,” “SaltPeanuts,” “Ad Lib Blues,” “If I Should Lose You,”“Limehouse Blues,” “Soft Winds 6” and “The More ISee You,” take up just under an hour, and you willfind it an hour well spent. Peterson and Jacksonshare most of the spotlight, while Brown anddrummer Karriem Riggins, lay down a rock solidfoundation. Jackson is buoyant, Peterson is fluid,and Brown is a bassist with few true peers. Theymake wonderful music together, thekind that is almost impossible toresist. (www.telarc.com)■ DAN ST. MARSEILLE has beenbest known for his tenor sax work onthe Los Angeles area jazz and studioscene. On his new album, Swingingwith the Saint (Resurgent Music– 136), he sticks to the instrumenton which he received his earliesttraining, the clarinet. With the backingof Chris Dawson on piano, ChrisColangelo on bass and Thomas Whiteon drums, St. Marseille proves to be a superb playeron this instrument. He covers many stylistic basesfrom swing, “There Will Never be Another You,” tobossa nova, “So Danco Samba,” to trad “Just aCloser Walk with Thee,” to Ron Stout’s “Because It’sThere,” a tune with a distinct Lennie Tristanoinfluence. I know that I will be Swinging with theSaint quite often. (www.danstmarseille.com)Wesla Whitfield■ Vocalist/singer JUSTIN HAYFORD set a highstandard for himself with his first two albums, andyet he has reached a new peak with It AllBelongs to You (LML Music –215), a collectionof unsung Cole Porter songs. Hayford has foundtwelve Porter gems and given them a bright newlife. Of the dozen selections, only three are likely tohave any familiarity to most listeners, “DreamDancing,” “At Long Last Love” and “Easy to Love,”but the lyrics on the latter two are not the ones youusually hear. Hayford’s pleasant baritone is perfectfor the Porter oeuvre, and he has an innate swingfeeling to his work. His self-accompaniment on thepiano is smooth and well conceived. The bass ofJim Cox and drums of Phil Gratteau wonderfullycomplement Hayford’s artistry. Porter had a knackfor creating titles that make you want to hear hissongs. Knowing of his clever way with words, youare anxious to hear songs with titles like “WhyDon’t We Try Staying Home” and “It Must Be Fun toBe You,” and Porter rarely disappoints. The titletrack has an added bonus with a lovely performanceon oboe by Jennet Ingle. This is an albumthat is both sophisticated and accessible. There arefew songs written today that capture the king ofmagic that Porter possessed, and there are fewalbums being released that are as appealing as It AllBelongs to You. (www.LMLmusic.com)■ If you’ve ever heard her sing, you will recognizethe voice of WESLA WHITFIELD within a fewnotes. Once you do, you will certainly want to hearmore of those notes. Livin’ on Love (HighNote –7152) is her latest album, and like those that camealong before, it is a compilation of excellent songsthat receive loving care from Whitfield and hermusicians. She is a singer who knows how to get tothe heart of a lyric every time out.Her spouse, Mike Greensill is expertat setting the tunes and gatheringthe right musicians to execute hisimaginative charts. For this disc, theplayers are Greensill on piano, GaryFoster on reeds, John Witala on bassand Vince Lateano on drums. Oneight tracks a French horn quartet ispresent. The program is anoutstanding blend of standards andless frequently heard songs, andincludes “Love Is Here to Stay,” “PureImagination,” “For All We Know,” “The Gentleman Isa Dope,” “Do I Hear a Waltz” and ”Whistling Awaythe Dark.” Whitfield is truly a treasure of a singer,and you will strike it rich musically by obtainingLivin’ on Love. (www.jazzdepot.com)■ How About Me (HighNote – 7151) is anengaging outing from veteran jazz singer ERNIEANDREWS. The 11-song program by Andrews findscontinued on page 4240April 2007 JerseyJazz

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JerseyReviewsJazzOTHER VIEWS continued from page 40him as effective as ever in putting asong across. He’s aided in his effortsby pianist/ arranger Phil Wright,guitarist Terry Evans, bassist RichardSimon and drummer Frank Wilson.Also present is the magnificent tenorsax of Houston Person, who alsoproduced the album. Much of thealbum is a tribute to three singerswho were friends and peers, BillyEckstine, Al Hibbler and Earl Coleman.Andrews is from the same school asthese three singers famous for theirdeep baritone voices, but he has alighter sound, and tends to play a bitmore with melodies. Whenever I haveheard Andrews, there’s always a lot ofblues present in what he sings. Heinfuses the great ballad “This IsAlways” with that kind of feeling, andhe does this song as movingly as youwould want to hear it. Among theother 10 tracks are “She’s Got theBlues for Sale,” “It Shouldn’t Happento a Dream,” “I’ve Got to Pass YourHouse to Get to My House,” “River’sInvitation” and “Vacation From theBlues.” This is a strong outing from aterrific vocalist who deserves morerecognition than he has garnered overthe 50-plus years that he has beenperforming. (www.jazzdepot.com)■ Like Ernie Andrews, vocalistED REED grew up in the Los Angelesarea. Unlike Andrews, however, his lifewas plagued by the horrors of heroinaddiction, a curse that plagued himfor about 40 years, a time duringwhich he drifted in and out ofincarceration at hotels like SanQuentin and Alcatraz. Finally, in 1986,and in his late 50s, Reed was able tokick his dreadful habit. All through hislife, he did keep involved in music asmuch as he could, singing in jazzgroups in prison, and hitting the openmics when on the outside. Nowresiding in the San Francisco area,Reed was able to carve out a careerin “program planning anddevelopment, training, and creating asuccessful lecture series on ‘The Artand Practice of Living Well.’” At theage of 78, encouraged by those whoheard him perform, he has releasedhis first vocal album, Ed Reed SingsLove Stories (Ed Reed – 001), andit is a spectacular debut recording.This is a man who really knows howto sing. Reed has a nice timbre to hisbaritone, at times reminiscent of JonHendricks and Eddie Jefferson, butsmoother sounding. He has finesupport from Peck Almond on moreinstruments than I have room to mention,Gary Fisher on piano, John Witalaon bass and Eddie Marshall on drums.The 11-song program is replete withfine songs well sung. My particularfavorites are “Ghost of a Chance,” “AFlower Is a Lovesome Thing” and “Ifthe Moon Turns Green,” but, given theconsistently high quality of theperformances, on another day I mightpick others. Let us hear more from Mr.Ed Reed! (www.edreedsings.com)■ MONDAY OFF, a truly hip vocalquartet comprised of Amy Cervini,Raymond Sage, Hilary Gardner andRichard Roland, have been active inNew York City since 2000. MondayOff (Orange Grove Jazz) is the firstnon-Christmas disc from the group.They have a fresh sound that callsupon influences from earlier groupslike the Four Freshmen, the Hi-Lo’sand Manhattan Transfer. Each of thesingers, all of whom have a backgroundin musical theater as well asjazz, has a strong voice. Theirharmonies lie easily on the ear. Theyare particularly fond of the sound ofthe Basie band, having included “Li’lDarlin’,” “Cute” and “Whirly Bird” in theprogram. Many groups come alongwith similar influences, but seem tofade as quickly as they arrive. MondayOff has had staying power, oftengigging around the Big Apple, and thisalbum gives ample recorded evidenceof why this is so. They swing, theyknow how to write effective arrangements,and their execution is flawless.Their name derives from their theaterexperience where on Monday nightsmost theaters are dark, and it is atime when performers have a night to enjoy other opportunities. If theykeep producing sounds like thoseon their new album, they shouldhave fewer and fewer nights off.(www.mondayoff.org)These albums are not availablethrough NJJS.You should be able toobtain most of them at any majorrecord store. They are also availableon-line from the websites shownafter each review, or from a varietyof other on-line sources. JJP.O. Box 995 • Easton, PA 18044-0995PresentsGALVANIZEDJAZZ BANDTraditional & Dixieland Jazz MusicSunday, April 15, 20072:00 PM to 5:00 PMEaston Moose Lodge, Easton PAPJS MEMBERS $18OTHERS $ 20 STUDENTS $5Food and~Drink AvailableFor tickets send SASE to:PENNSYLVANIA JAZZ SOCIETYPO BOX 995 EASTON, PA 18044Info: 610-740-9698May 6: Midiri Brothers Sextet2:00 PM – 6:00 PM42April 2007 JerseyJazz

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JerseyReviewsJazzNJJS FebruaryMember MeetingSpeaking FranklyAuthor and journalist Will Friedwald presented aninformative program on the music and artistry ofFrank Sinatra at an NJJS Member Meeting at TrumpetsJazz Club in Montclair on February 11. Mr. Friedwaldpresented a series of vintage Sinatra performances onvideo from the 1950s and 60s and offered insights andobservations about the many “sides of Sinatra.” Theseveral clips demonstrated the wide variety of Sinatrapersonae, ranging from the swinger (“I’ve Got You UnderMy Skin”) to the family man (“High Hopes”) to themelancholy loser (“Angel Eyes”). The clips were played ona large screen TV perched on a solo stool where Sinatra’simage flickered on a stage bathed in dim amber light. OnePhoto by Tony Mottolaimagines Frank would have appreciated the stagecraft. “Ifyou combined the ultimate actor with the ultimate singer,it would be Frank Sinatra,” Friedwald said. “He was the apogee of the way the Great American Songbook be sung.”The presentation was followed by a lively Q&A session with an audience that appeared also quite well informed aboutthings Sinatra.Will Friedwald is the author of Sinatra! The Song is You: A Singer’s Art among other books and is the jazz and cabaretcritic for The New York Sun.LETTERS continued from page 4Jay McShann’s first combo inKansas City in the mid-1930s.I met Dizzy in 1983 when he wasappearing at Constitution Hall inDC. I found him in his unlitdressing room in the basementbefore the concert — softlyblowing on his bent horn — sanspuffed cheeks. Gillespie said hewas particularly proud to beplaying here, remembering thatthe DAR would not allow MarionAnderson to do so. (EleanorRoosevelt then arranged forMarion to sing at the LincolnMemorial.) Dizzy told me he wasso weak from not eating that hedidn’t know whether he could play— he was speaking so low that Icould hardly hear him. I had anapple in my raincoat pocket andoffered it to him. He thanked me,but said he was fasting at the time,as was required by his Baha’ireligion.I also read with interest Hyman’scomments in his piece, “AcousticThoughts While Hearing BrendelPlay.” Hyman discussed whethermusicians should just take advantageof Carnegie Hall’s magnificentacoustics and to perform withnatural sound, or use some formof audio amplification. Althoughit has no particular bearing, Irecall the liner notes that jazzimpresario Dick Gibson wrote forone of his albums — Jazz in theTroc — Elitch Gardens, Denver,1968. Although he said there wasnothing intrinsically wrong withaugmented music, he noted thatThe Beatles produce sounds onrecords which require so muchelectronic equipment — so manysplices, re-takes, and sound mixing— that they could no longerappear in public and comeremotely near to reproducingthese sounds for a live audience.Gibson insisted that there be notechnical augmentation for thisalbum, and that the “playing ofthese master jazzmen beunimproved…reflecting honestlyhow they sounded in the Troc onthose two nights in July.”Bill SmithPalm Desert, Ca[Beatle fans might dispute Mr.Gibson about those “technical”reasons. The fact that the groupdidn’t perform live during the lastthree years they were together wasmostly due to personal and artisticdifferences among the band mates,as was examined in the 1971documentary film Let It Be madewhen the group was recordingtheir last two albums. The filmclosed with a 17-minute clip oftheir last public performance —an impromptu concert on the roofof the London building where theywere recording. The group wasaugmented that day with the brilliantand irrepressible keyboardistBill Preston. Their performance ascaptured on film amply demonstratesthat, even at the end oftheir run, The Beatles were aswere as good a rock band as everplayed, whether on record or onstage.— Editor]44April 2007 JerseyJazz

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JerseyReviewsJazzOne great thing about living close toNew York City is the wealth of opportunitiesto see a variety of outstanding performers ina multitude of venues. One of my favoritekinds of listening experiences is to see andhear a good singer in an intimate atmosphere.Recently, I caught several such shows, two ofwhich are detailed here.Over a series of Tuesday night appearancesat The Metropolitan Roomduring late January and early February, thefabulous Annie Ross was joined on stage bytrumpeter Warren Vaché, pianist TardoHammer, bassist Neal Miner and drummerJimmy Wormworth to perform material forinclusion in a forthcoming album. Otherthan the absence of Bucky Pizzarelli onguitar, this is the same group that supportedRoss on her last album, Let Me Sing(Consolidated Artists Productions – 995).Ross is at a point in her career where hervoice is far removed from the sparklingsound that we remember from her years as amember of the legendary vocal groupLambert, Hendricks & Ross, and from asubsequent series of solo vocal albums. Shenow has a weathered sound that forsakesbeauty in its tones for a powerful sense ofhaving been there, done that, and beingready to convey the experiences of a lifetimethrough many exquisite lyrics from theGreat American Songbook. She also has acharismatic stage presence that adds to theeffect of her lyric interpretations. Her songselection for the first night of her recordedappearances included some wonderfulballads like “Autumn in New York, “IWonder What Became of Me,” “Sure Thing”and “My Old Flame.” There were alsorhythm selections including “Too Marvelousfor Words,” “Watch What Happens,” “HaveYou Got Any Castles, Baby” and “Taking aChance on Love.” Ross first came to publicnotice through her pioneer work in theschool of jazz vocalizing known as vocalese.This term was used for the practice ofputting lyrics, often sung at breakneckspeed, to famous jazz solos. One classicvocalese selection is the lyric that Rosspenned for the Wardell Gray recording of“Twisted.” On this evening, she performedthat tune as well as the Jon Hendricks lyricfor the Miles Davis recording of “Four.” SheCaught in the ActBy Joe Lang NJJS Music Committee ChairAnnie Ross atThe Metropolitan RoomTierney Suttonat Joe’s Pubalso gave a taste of Let Me Sing with astunning performance of “Lush Life,”making it sound eerily autobiographical. Foranyone coming to Annie Ross for the firsttime now, it might take some effort to getpast her sound to the depth of her artistry,much like it was to those who experiencedMabel Mercer in the latter part of her career.Making the effort, however, is worth it foranyone who likes to hear lyrics performedwith intelligence and winning sincerity.Annie Ross appears each Tuesday eveningwith the quartet named above at TheMetropolitan Room at 7:00 PM. Forreservations, call 212-206-0440.On the Other Side (Telarc – 83650) is amasterpiece of an album by theTierney Sutton Band. This is a collection ofsongs about happiness, but with a twist. Letthe words of Tierney Sutton express whatthis album seeks to accomplish. “Our searchfor happiness is an odd business. This musicis about that search; the longing, the mania,the heartache, and perhaps even the joy offinding something better than the illusionwe were chasing.” During the course of thealbum, Sutton and her band mates, pianistChristian Jacob, bassists Trey Henry andKevin Axt, and drummer Ray Brinker reachdeep inside each lyric and melody to providenew perspectives on the 11 songs that comprisethe program. In fact, there are 13tracks, as “Get Happy” and “Happy Days AreHere Again” are taken fromtwo different views. Theopening track, the first take of“Get Happy” sets a ghostlike,foreboding ambience to theproceedings. With the initialversion of “Happy Days AreHere Again,” we get a morebuoyant view of happiness,but something still seems a“Our searchfor happinessis an oddbusiness.This music isabout thatsearch…”bit awry. A dirge-like “You Are MySunshine” probes the pain of anticipatingthe onset of heartbreak. This is followedwith a rather straight reading of Larry Hart’smasochistic lyric for “Glad to Be Unhappy.”Things start looking up with a moreoptimistic take on “Sometimes I’m Happy,”and turn downright giddy with “HappyTalk.” Heartbreak is back with “HauntedHeart,” sung beautifully by Sutton. A playfulduo with Jack Sheldon on “I Want to BeHappy adds a touch of humor that precedesa questioning “Make Someone Happy.”Sutton infuses “Great Day” with a revivalistoptimism. “Happy Days Are Here Again” isrevisited from a dimmer perspective beforeSutton and crew manically implore us to“Get Happy” this time around, but in analmost nightmarish manner. To conclude,Sutton, backed solely by Jacob’s piano singsthe chin up message of “Smile” withoutmuch sign of true expectation that thingswill get better. This is not an album for thefaint of heart, but it is brilliantly executed.Sutton has a wonderful vocal instrumentthat ably conveys the range of emotions thatare present here. The arrangements thatevolved from a team effort on the part ofthe Tierney Sutton Band artfully enhancethe variety of moods that one finds on Onthe Other Side. On February 13, the TierneySutton Band, with Axt as the sole bassist,performed the selections from this album ina riveting set at Joe’s Pub in Manhattan. Theinsightful and witty between-song commentaryby Sutton gave the listeners a clearunderstanding of exactly how the programevolved. This was an evening that was filledwith great music, performed by a quartet ofmusicians blessed with intelligence andgood taste. For those interested in seeing aperformance by the Tierney Sutton Band,and I strongly suggest you do so, mark thedate of Saturday May 12 onyour calendars, for they willbe appearing at the SouthOrange Performing ArtsCenter for two shows, at3:00 PM and 7:00 PM. Forfurther information call973)-313-2787 or go towww.sopacnow.orgon the web.46 April 2007 JerseyJazzJJ

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New JerseyJazzSocietyPEABODY continued from page 20Orchestra), Midori and I understandButler’s statement more and more. Our firstloves will always be Rhythm Tap and LindyHop, but the Peabody is our mistress. Inmost cases, you have to be a dancer to findthe Peabody. Once you do, the more youdance it, the further you fall in love.What makes the Peabody so exhilarating?The Peabody combines improvisation, footworkand fast music into aninvigorating package. It startswith the hot jazz music, whichis infectious. If the rhythm feelslike a locomotive barrelingdown the track, you have gotyourself the fixings for a gooddance. With the Peabody, youcan take that pace and match itaround the ballroom. We oftendescribe the Peabody as“ballroom on speed” or “havefeet, will travel” because dancersrace around the floor, at turnsgracefully and energetically, tobreakneck jazz tunes (think 70measures per minute). A fewlaps and you become hooked.We certainly did. Next, youhave a ballroom dance thatallows full improvisationalfreedom. This really hits thespot. If you can lead it (whileyou fly around the ballroom),you can do it. Perhaps, that is what makesthe Peabody so priceless. While the danceincludes a host of steps passed down fromgeneration to generation, it remains amystery open to each new enthusiast’sinterpretation. Come to think of it, that maybe exactly what the good Captain wanted.Coda: The Search ContinuesCalling all Peabody dancers and other jazzenthusiasts. We are trying to pull together asmuch information as is available on thePeabody. If you danced the Peabody, know arelative or friend who danced it, or playedfor Peabody dancers, please let us know. Weare looking for information on places whereit was danced; locations and dates ofPeabody contests; literature on the dance;footage (film, television, video) of thedance. We are also interested in preservingthe steps and personal anecdotes of Peabodydancers. You can reach us at 212-807-4210(work) or chad@fasca.net.Any information you can share isextremely valuable. We thank you allfor your support. We’ll share what wefind on our website: www.fasca.net.JJThe need for speed:Midori and Chad dancing the Peabody.It’s as easy as 1-2-3: Moore’s description of the Peabody.Moore’s book cover and page courtesy of Chad Fasca.Chad and his wife Midori perform and teach popularsocial dances of the Jazz Age and Swing Era. Theyshare a passion for preserving and promoting the richheritage of traditional jazz dancing for later generationsto enjoy. Together, they direct the swing program atSandra Cameron Dance Center in New York.Jazz Trivia By O. Howie Ponder IIQuestions1. He died twenty years ago on April 2, 1987, of a malignant brain tumor. While being prepared for what would be his last surgery,a nurse asked him if he had any allergies and he responded “Yeah, country and western music.”2. The notorious Storyville section of New Orleans is credited as the cradle of jazz. How did it acquire its name?3. A musician is quoted as saying: “Liszt conquered the piano, but Chopin seduced it. Oscar Peterson is our Liszt,but [this pianist] is our Chopin.” Who was he referring to?4. Count Basie was an accomplished organist, having been taught by this artist.5. This Jazz Hall of Fame jazz artist graduated from Newark’s Arts High School in 1951.answers on page 5048 April 2007 JerseyJazz

April 2007 JerseyJazz 49

New JerseyJazzSocietyBy Mainstream Mac NJJS Entertainment ContributorIwas lucky enough to receive an assignment from anotherorganization to do some research — the subject to be studied issmall-band Duke Ellington. I am in the middle of it now and I loveit! One thing that has interested me is the phenomenon of thesmall-band-within-the-big-band. Ellington had more than one.Many others, like Krupa, James, Bob Crosby, Shaw and Goodmanhad them.So, I recently went back to my CDs and have been playing someWoody Herman small group recordings. Woody was with this trendway back in 1938. His first “Woodchoppers” group had Joe Bishopon trumpet, Tommy Linehan on piano, Hy White on guitar, WaltYoder on bass and Frank Carlson on drums. Herman also began aquartet called “The Four Chips” about the same time. Cappy Lewisjoined the group in 1941.In 1944 the personnel included Neal Hefti, Bill Harris, Flip Phillips,Marge Hyams, Ralph Burns, Billy Bauer, Chubby Jackson andDavey Tough. Ben Webster, Johnny Blowers and Ray Wetzel werein for short periods.In my estimation, the greatest Woodchopper recordings weremade in May of 1946 and are available on Columbia CK 44222 orProper Box 15 and the Mosaic Columbia Herman box. The musichas some beautiful Sonny Berman, perhaps Bill Harris’s best work,magnificent Jimmy Rowles, Red Norvo and Don Lamond plusarrangements by Burns and Shorty Rogers. Certainly one of thebest small band sessions ever! The tunes are “Steps” (a BarneyBigard tribute), “Igor” (this was the time of “Ebony Concerto”),“Fan It,” “Nero’s Conception,” “Lost Weekend,” “SomedaySweetheart,” “Four Men on a Horse,” “I Surrender Dear,” and aluscious Billy Bauer song entitled “Pam.”Woody was on the scene for decades and some of the people whopassed through his Woodchoppers include: Jackie Mill, Tiny Kahn,Barry Galbraith, Conti Candoli, Dave Barbour, Red Mitchell,Shelly Manne, Will Bradley, Carl Fontana, Arno Marsh, Nat Pierce,Dick Collins, Cy Touff, Richie Kamuca, Eddie Costa, Milt Hintonand more.I wish that there were more Woodchopper records! I will tryto visit the other small-bands-within-the-big-band inlater issues.1.Buddy Rich2. Storyville was named for New Orleans aldermanSidney Story, who in 1896 suggested setting aside a40-block area for legalized prostitution and other pursuits.3. Bill Evans4. Fats Waller5. Wayne ShorterIn The MainstreamJAZZ TRIVIA ANSWERS questions on page 48JJC T S I M AG E S |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.COMe-mail: Cynthia@ctsimages.comNJJS Monthly MemberMeetingsTrumpets Jazz Club | MontclairSundays:April 22, May 20, September 23, October 21See page 8 for details.free for NJJS members$10 charge for non-members of NJJS;this charge may be applied to annual NJJS membership2:00 – 3:00 PM Social Hour3:00 – 5:00 PM Programfood and drink available all afternoon/eveningfollowed by 6:00 PM show | ($10 music charge/$5 minimum)Trumpets Jazz Club & Restaurant6 Depot Square Montclair, NJ 07042973-744-2600 • www.trumpetsjazz.comFor more info: NJJS 1-800-303-NJJS • www.njjs.org© Ray Avery/CTSIMAGES.COM50 April 2007 JerseyJazz

New JerseyJazzSocietyWhat’s New?Members new and renewedWe welcome these friends of jazz who recently joined NJJS orrenewed their memberships. We apologize for errors and omissions.RenewedMr. & Mrs. Harry A. Augenblick,West Orange, NJMr. & Mrs. L.D. Beatty, Whippany, NJMr. John Becker, Whippany, NJMr. Edmund W. Bilhuber, Madison, NJMr. Robert D. Bright, Thompson, PADr. & Mrs. Lennart Carlson,Parrish, FLMr. John B. Clark, Palm Beach, FLMs. Alison Collins, Wharton, NJMr. Robert Daniels, Chatham, NJMr. Frank DePiola, Glen Cove, NYMr. Kevin Dorn, New York, NYMrs. Gerry DuBoice, Kingston, PAMr. Don Fagans, Clinton, NJMr. Linsy Farris, Tenafly, NJMr. & Mrs. Manuel G. Ferri,North Plainfield, NJMr. & Mrs. Tom Forgash, Westfield, NJMr. Robert Gerber, Mendham, NJMr. & Mrs. Gerald A. Giordano,Wall, NJMr. Stan Greenberg, Sloatsburg, NYMr. & Mrs. Don Heffernan, Monroe, NJMr. Joseph A. Horowitz, Springfield, NJMr. Severn P. Ker, Brookpark, OHMr. Charles W. King, Florham Park, NJDr. & Mrs. Richard L. Klein, Tenafly, NJMr. & Mrs. Frank Kling, Chatham, NJMr. Gus Kuhlman,North Brunswick, NJMr. Joe Lang, Chatham, NJMs. Michelle Lelo, Milford, NJMr. & Mrs. Joseph Lo Bianco,Englewood, NJMr. & Mrs. Arthur MacDougall,Middlesex, NJMr. Peter Mackersie, Short Hills, NJMr. Ben Maggio, Bound Brook, NJMr. Vincent Mazzola,Basking Ridge, NJDr. Jack B. McConnell,Hilton Head Island, SCMr. & Mrs. Norbert E. McGuire, Jr.,Milford, NJMr. & Mrs. Don McMillan, Yardley, PAMr. C. DeWitt Peterson,Moorestown, NJMr. & Mrs. Donald Peterson,Highland Park, NJMr. & Mrs. Scott Porter, Madison, NJMr. Dave Post, Hoboken, NJMr. Richard Royce, Chatham, NJMs. Marcia Nutting Samuel,Hackettstown, NJGail & Fred Schaefer, Mendham, NJMr. & Mrs. W.L. Shaffer,North Myrtle Beach, SCMr. & Mrs. Thomas Shutkin,Allendale, NJMr. & Mrs. L. Robert Smith,Rockaway, NJMr. & Mrs. Norman D. Smith,Lakewood, NJMr. Robert F. Smith, Flemington, NJMrs. Bill Steinberg, Roseland, NJMr. Anders R. Sterner, Brooklyn, NYMr. & Mrs. Denis Sullivan,Ho Ho Kus, NJMr. Victor Vinuelas, Towaco, NJMrs. George F. Way, Montclair, NJMr. John B. Wehrlen,Seaside Park, NJMs. Susan D. Whitehouse,Morristown, NJMr. & Mrs. Henry G. Wilke,Pittstown, NJNewMr. Steve Albin, Montclair, NJMr. Gerry Cappuccio, Passaic, NJMr. Vincent Datolli, Hackensack, NJMs. Janice Friedman, New York, NYMr. & Mrs. Jack Gentempo,Stockton, NJMr. Vincent Giantomasi, Boonton, NJMr. Edward Joffe, Riverdale, NYMr. & Mrs. Bruce Mantell,Watchung, NJMr. Paul Mazzeo, West Caldwell, NJMrs. Barbara Nappen, Whippany, NJMs. Amy Petti, Malverne, NYMr. & Mrs. Michael Schwartz,Livingston, NJMs. Lynn Scolarice-Kaplan,Basking Ridge, NJMs. Ann Todd, Colonia, NJMs. Bonnie Welch, Bernardsville, NJMs. Tricia Woods, Maplewood, NJMs. Eileen Yalonis, Strongsville, OHAbout NJJSThe New Jersey Jazz Society is dedicated to the performance, promotion andpreservation of jazz. Founded in 1972, the Society is run by a board ofdirectors who meet monthly to conduct the business of staging our musicfestivals, awarding scholarships to deserving New Jersey college jazz studiesstudents, conducting the Generations of Jazz programs in local schoolsystems, and inducting pioneers and legends of jazz into the American JazzHall of Fame, among other things. The membership is comprised of jazzdevotees from all parts of the state, the country and the world. The New JerseyJazz Society is a qualified organization of the New Jersey Cultural Trust.Visit www.njjs.org, e-mail info@njjs.org, or call the HOTLINE 1-800-303-NJJSfor more information on any of our PROGRAMS AND SERVICES:■ Generations of Jazz (our Jazz in the Schools Program)■ Jazzfest (two-day summer jazz festival)■ Pee Wee Russell Memorial Stomp■ e-mail updates’Round Jersey (Regional Jazz Concert Series): ■ Bridgewater■ Ocean County College ■ Bickford Theatre/Morris■ Student scholarships ■ American Jazz Hall of FameMember BenefitsWhat do you get for your $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.■ NEW! FREE Monthly Member Meetings — See www.njjs.org andJersey Jazz for updates.■ Musical Events — NJJS sponsors and co-produces a number of jazz eventseach year, ranging from intimate concerts to large dance parties and picnics.Members receive discounts on ticket prices for the Pee Wee RussellMemorial Stomp and Jazzfest. Plus there’s a free concert at the AnnualMeeting 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.■ Student $20: Student membership requires school ID.■ Give-a-Gift $60: The Give-a-Gift membership costs the regular $40 for you,plus $20 for a gift membership. (Discounted membership applicable to newmembers only.)■ Friend of NJJS ($150/family)Receive vouchers for 2 CDs of your choice from the NJJS Record Bin.■ Silver Patron ($250/family)Receive an additional year membership plus vouchers for 2 CDsof your choice from the NJJS Record Bin.■ Gold Patron ($500/family)Receive 2 additional years membership plus vouchers for 4 CDsof your choice from the NJJS Record Bin.■ Platinum Patron ($1000/family)Receive 4 additional years membership plus vouchers for 8 CDsof your choice from the NJJS Record Bin.To receive a membership application,for more information or to join:Contact Membership Chair Caryl Anne McBrideat 973-366-8818 or membership@njjs.orgOR visit www.njjs.orgOR simply send a check payable to “NJJS” to:NJJS Membership, PO Box 410, Brookside, NJ 07926-0410.April 2007 JerseyJazz 51

’RoundJerseyBridgewater JazzSomerset County Vocationaland Technical High SchoolBridgewater, NJ 08807Tickets/Information: 908-725-6640Jazz in Bridgewater announces their 14th Season this month (see ad page 47),and it exhibits the creative diversity and balance that’s been a hallmark ofthe series from the beginning. The New Jersey Jazz Society is proud to continueco-sponsorship, and encourages members to sample the series. There’ssomething there for everyone. Perhaps you especially enjoy:All-Star Bands: Red Squires ran the Music Committee withan iron hand during the early years of NJJS. He had a knackfor assembling interesting and truly swinging all-star groups,witnessed best at the Waterloo Village weekends. But thesame character was evident in his monthly presentations atthe Watchung View Inn/Bridgewater Manor. He was also part ofthe triumvirate that ran the Chicken Fat Ball, which continuesto this day with his partners Al Kuehn and Don Greenfield atthe helm. REMEMBERING RED is their homage to their friend, and they’veassembled a crackerjack band of the sort Red would have loved, to honor hismemory, including Ken Peplowski, Derek Smith, James Chirillo, Chuck Reddand more.Organized Bands: All-star groups have the magnetism of top names, butorganized bands, playing together for years, can often tackle more interestingand complex arrangements and master deserving tunes whose structure istoo involved for musicians to work out on stage. The principal players in NewEngland’s Galvanized Jazz Band have been at it for more than three decades,yet they still attack a tune with the enthusiasm of young players who do it forthe love of traditional jazz. “The band also offers a wealth of distinguishedsoloists,” writes David DuPont of Cadence, “notably cornetist Fred Vigoritoand reedman Russ Whitman, who adds variety by doubling clarinet and foursaxophones, including bass saxophone.” These festival favorites are rarelyheard in New Jersey.Vocalists: We have plenty of vocalists locally, but bringing Banu Gibson upfrom New Orleans is always a exceptional treat. “Gibson has her own vocalstyle,” according to The Detroit News, “which imitates no particular singer whilestrongly reflecting a certain bygone era.” More than just bringing her “sassy, fullthroated” voice, she backs herself with some ofthe finest musicians available. For this outing it’sRandy Reinhart, Mark Shane, David Sager, JoeAscione, Marc Phaneuf and Frank Tate. It’sworth coming just for her “sizzling ensemble,”specializing in material from “an era when wittylyrics and catchy melodies were prized,” observesDoug Wyatt in the Savannah Morning News. That’swhy festivals worldwide book her with her bandas their headliners.Swing Era Material: Past seasons featured theMidiri Brothers selling out the hall playing BennyGoodman material. This time they’ll focus onmusic associated with clarinetist and band leaderArtie Shaw, whose popularity was based onplaying more complex, cutting edge arrangementsthat were no less endearing. A good choice,because the Midiri Brothers are considered byJerseyEventsJazzApril isJazzAppreciationMonth!many to be the best organized band doing Swing Era material these days. HearJoe Midiri (clarinet), Paul Midiri (vibes),Dan Tobias (trumpet), Pat Mercuri (guitar), Jim Lawlor (drums), Joe Holt(piano/harpsichord) and Gary Cattley (bass), keeping pace with Shaw’s fastand lively numbers, caressing his ballads and unearthing lesser known, butdeserving titles from the extensive Shaw legacy.Jazz Piano: Dick Wellstood was loved by NJJS members, as much for his impishsense of humor as his scorching stride piano work. He passed away suddenly20 years ago, but his artistry lives on in a new generation of stride players.Jeff Barnhart and Mark Shane are two of the best, and they’re playingtogether for the first time to honor the acknowledged master.Jazz Strings: Living legend guitarist Bucky Pizzarelli joinsphenomenal young violinist Jonathan Russell (remember himsparring with Kenny Davern at Jazzfest last year?) and veteranbassist Jerry Bruno to probe the limits of what can be done withjust strings, in a freewheeling jazz program.All the dates and prices are in the Jazz in Bridgewater ad.Broaden your jazz experience with a season subscription,support the series…and save some money too!Morris JazzThe Bickford Theater at the Morris MuseumMorristown, NJ 07960Tickets/Information: 973-971-3706The Wyeth Jazz Showcase has greeted Jazz Appreciation Month (JAM, ofcourse) withenthusiasm in the Jeff Barnhart burnspast, but this yearup the keys.has booked threecompelling concertsduring April.The Smithsonian,key organizer ofthis annual tributeto jazz, has listedthem with otherRossano Sportiello makes a stop in New Jersey.events across the country on their website, www.smithsonianjazz.org.Preeminent ragtime composer ScottJoplin died 90 years ago, just as emergingjazz recordings were displacing the parlorpiano as the entertainment medium inthe home. Torrid ragtime and stridepianist Jeff Barnhart has prepared anevening of Joplin material for thisanniversary appearance on Monday, April9. He’s certainly qualified, having beenartist-in-residence at the prestigious ScottJoplin International Ragtime Foundation.52 April 2007 JerseyJazz

JerseyEventsJazzNJJS members have enjoyed Jeff’svisits here with the Midiri Brothers,Noel Kaletsky, Ivory and Gold andothers, but this time he’ll be on hisown behind the great Kawai grand.But expect plenty of excitement asthis soloist’s fingers fly about thekeyboard.The Bickford wouldn’t normally havetwo piano solos back to back, butwhen it was learned that RossanoSportiello would be visiting fromItaly and available for a concert onMonday, April 16, they couldn’t resistthe opportunity. Rossano made ahuge hit playing at Watchung withScott Robinson a while back, andfans have been waiting for the Arborsrecording star to have a solo date in the area.This prizewinning pianist is an accomplished stride player,inspired by Jelly Roll Morton, Fats Waller and Ralph Sutton.He’s played the International Stride Summit with DickHyman, but he’s also impressed modernist Barry Harris,who says, “Rossano makes me smile when he plays.” You’llhear a bit of Earl Hines, Teddy Wilson and even Bill Evans in his playing, whichhas taken him to Town Hall and Lincoln Center, plus Ascona, Nairn and othertop festivals, including the March of Jazz in ClearwaterRecently deceased, Anita O’Day was a prominent vocalist of the Swing Era.“O’Day excels at improvisation,” writes Barry Kernfeld in The New GroveDictionary of Jazz. “Whether scat singing or skillfully interpreting a song text,she allows herself all the liberties of instrumental jazz performance inrefashioning a popular song.”Molly Ryan has studied Anita’s style and repertoire, and prepared a tribute forus on Monday, April 30. You’ve seen and heard Molly at several BennyGoodman celebrations here, with the Summa Cum Laude Orchestra and a fewother bands. She’s done acclaimedGoodman and Dorsey tributes elsewhere,and appeared at numerous major jazzfestivals on both coasts. But this will beher show, and she’s drafted a dynamiteband to back her with Jon-Erik Kellso(trumpet), Dan Levinson (reeds), MarkShane (piano), Brian Nalepka (bass) andKevin Dorn (drums). No shortage oftalent there!These concerts are performed as oneextended set, starting at 8 PM, to sustainthe mood and get people home early on aweeknight. Tickets are only $15 at thedoor, dropping to $13 for advance orders(call with a credit card) to keep thequeues short.left: Molly Ryan salutesAnita O’Day.Jazz For ShoreThe Fine Arts Center atOcean County CollegeToms River, NJ 08754Tickets/Information:732-255-0500Guitarist Bucky Pizzarelli holdsthe attendance record forMidWeek Jazz, and the organizerswere eager to have him back duringJazz Appreciation Month. His firstappearance there was with hispiano/bass trio. His return onWednesday, April 18 will feature anall-guitar program, involving twoother top practitioners. The stringtrio will play one 90-minute set, withtickets priced at $13 in advance,$15 at the door. Besides savingsome money, advance purchasegives you a broader selection ofassigned seating.Gene Bertoncini is also on theprogram, and many fans are familiar with “the Segovia of Jazz Guitar” (sodubbed by the Rochester Democrat and Chronicle) from previous appearanceswith Bucky and other groupings. “If I had to pick one word to describe GeneBertoncini’s luminous guitar playing, it would be ‘exquisite’,” writes Dr. JudithSchlesinger for All About Jazz. Gene is a master of both acoustic and electricguitars, and he often brings both to a concert.Ed Laub may be new to some fans, but he’s a talented and enjoyable playerwho took inspiration from Tony Mottola. He has studied guitar with both Buckyand Gene, and will be introduced to a downstate audience with this concert.Joe and Paul Midiri will bring their full septet to MidWeek Jazz on Wednesday,May 16, with the evening devoted to material popularized by Artie Shaw, aleading clarinetist and band-leader of the swing period. The brothers have astrong following in the area, so the room is likely to fill quickly, thus early ticketpurchase is advised. Their Shaw program, a departure from their usualGoodman fare, sold out the hall in Morristown, where it was first presentedlast year.clockwise from above:Bucky Pizzarelli,Gene Bertoncini andEd Laub (photo byStephen Clark) in anall-guitar program.Renovations to the Fine Arts Center at Ocean County College were scheduledto start in June, but it is now possible they will be delayed. Hopefully, we canannounce a full summer program in this space next month.’RoundJersey’Round Jersey concerts are produced by Bruce M. Gastin conjunction with the New Jersey Jazz Society.Photos by Bruce Gast except as noted.JJApril 2007 JerseyJazz 53

Somewhere There’s MusicJerseyEventsJazzYou can find jazz all over the statein venues large and small.Here are just some of them.Asbury ParkJOYFUL NOISE CAFE1400 Asbury Ave.“JAZZ Alive Asbury Park”second Friday each month 8 PM$8BayonneTHE BOILER ROOM280 Avenue E201-436-6700www.artsfactory.comFri/Sat 10 PM; Sun 7 PMBernardsvilleBERNARD’S INN27 Mine Brook Road908-766-0002www.bernardsinn.comMonday – Saturday 6:30 PMPiano BarPORT CITY JAVA55 Mine Brook Roadwww.fridaynightjazzjam.com4th Friday 7 PMBloomfieldWESTMINSTER ARTS CENTER/BLOOMFIELD COLLEGE467 Franklin St.973-748-9000 x343BrooklawnBROOKLAWN AMERICAN LEGION HALLBrowning Road & Railroad Ave. 08030856-234-5147Tri-State Jazz Society usual venuewww.tristatejazz.orgSome Sundays 2:00 pmClarkLANA’S FINE DINING1300 Raritan Rd.732-669-9024www.lanasfinedining.comWarren Vaché Trio Thursdays 7–11 PMLive jazz (rotating artists) Fridays 7–11 PMCherry HillTRINITY PRESBYTERIAN CHURCHRt. 70856-234-5147Tri-State Jazz Society occasional venuewww.tristatejazz.orgSome Sundays 2 PMCliftonST. PETERS EPISCOPAL CHURCH380 Clifton Ave.973-546-3406Saturdays 7:30 PMClosterHARVEST BISTRO & BAR252 Schraalenburgh Road201-750-9966www.harvestbistro.comEvery Tuesday: Ron Affif/Lyle Atkinson/Ronnie ZitoDealAXELROD PACJewish Community Center732-531-9100 x 142www.arthurtopilow.comEdgewaterLA DOLCE VITA270 Old River Rd.201-840-9000EnglewoodBERGEN PAC30 N. Van Brunt St.201-227-1030www.bergenpac.orgGarwoodCROSSROADS78 North Ave.908-232-5666www.xxroads.comJam Session Tuesday 8:30 PMGlen RockGLEN ROCK INN222 Rock Road201-445-2362www.glenrockinn.comThursday 7 PMHackensackSOLARI’S61 River St.201-487-19691st Tuesday 8:00 PMMickey Gravine Big BandNo coverSTONY HILL INN231 Polifly Rd.201-342-4085www.stonyhillinn.comFriday and Saturday eveningsHawthorneALEXUS STEAKHOUSE TAVERN80 Wagaraw Road, 07506973-427-92007 –10 PMNo coverAlexusSteakhouse.comBucky Pizzarelli & Frank Vignolaon rotating schedule Tuesdays &every other ThursdayHighland ParkPJ’S COFFEE315 Raritan Avenue732-828-2323Sunday 1 PM Open JamHillsboroughDAY’S INN118 Route 206 South908-685-9000Thursday 7 PM Open JamHobokenMAXWELL’S1039 Washington St.201-798-0406Every other Monday 9:00 PMSwingadelicSHADES720 Monroe St.shadesofhoboken.com888-374-2337HopewellHOPEWELL VALLEY BISTRO & INN15 East Broad St.609-466-9889www.hopewellvalleybistro.comFriday/Saturday 7 PMMinimum $15LawrencevilleFEDORA CAFÉ2633 Lawrenceville Road609-895-0844Some Wednesdays 6:00 PMNo cover/BYOBLittle FallsBARCA VELHA RESTAURANT/BAR440 Main St., 07424973-890-5056www.barcavelha.comFridays 7:30 PM Bossa BrazilNo coverLyndhurstWHISKEY CAFÉ1050 Wall St. West, 07071201-939-4889www.whiskeycafe.comOne Sunday/month James Dean Orchestrasswing dance + lessonMadisonSHANGHAI JAZZ24 Main St.973-822-2899www.shanghaijazz.comWednesday/Thursday 7:00 PMFriday/Saturday 6:30 PMSunday 6:00 PMNo coverMahwahBERRIE CENTER/RAMAPO COLLEGE505 Ramapo Valley Road201-684-7844www.ramapo.edu/berriecenterMaplewoodBURGDORF CULTURAL CENTER10 Durand St.973-378-2133www.artsmaplewood.orgMatawanCafé 34787 Route 34Jazz trios Wed and Thur 8 PM(732) 583-9700www.bistro34.comMendhamKC’S CHIFFAFA HOUSE5 Hilltop Road(973) 543-4726Live Jazz — Rio Clemente, othersCall for scheduleMetuchenCORNERSTONENew & Pearl Streets732-549-5306Wednesdays & Fridays 7:30 PMNo cover. No minimum.MontclairCHURCH STREET CAFÉ12 Church St.FIRST CONGREGATIONAL CHURCH40 South Fullerton Ave.973-744-6560PALAZZO RESTAURANT11 South Fullerton Ave.973-746-6778Friday/Saturday 7:00 PMJoe Licari/Larry WeissRICHIE CECERE’S2 Erie Street973-746-7811SESAME RESTAURANT & JAZZ CLUB398 Bloomfield Avenue973-746-2553sesamerestaurant.comJazz Evening once every month, usually2nd or 3rd WednesdayTRUMPETS6 Depot Square973-744-2600www.trumpetsjazz.comTuesday/Thursday/Sunday 7:30 PMFriday/Saturday 8:30 PMMorris PlainsAMBROSIA RESTAURANT & BAR650 Speedwell Ave.973-898-1111www.ambrosianj.comRio Clemente Wednesday 7:00 PMMorristownTHE BICKFORD THEATREAT THE MORRIS MUSEUM5 Normandy Heights Road973-971-3706www.morrismuseum.orgSome Mondays 8:00 PMTHE COMMUNITY THEATRE100 South St.973-539-8008COPELAND RESTAURANT/WESTINGOVERNOR MORRIS HOTEL2 Whippany Road973-539-7300www.copelandrestaurant.comSunday Seafood Jazz Brunch 11:30 AMTHE SIDEBAR AT THE FAMISHED FROG18 Washington St.973-540-9601www.famishedfrog.com/thesidebarST. PETER’S EPISCOPAL CHURCH70 Maple Avenue973-455-0708SUSHI LOUNGE12 Schuyler Place973-539-1135MountainsideARIRANG1230 Route 22W908-518-9733Wednesday 7:30 PMNewarkNEWARK MUSEUM49 Washington St.973-596-6550www.newarkmuseum.orgSummer Thursday afternoonsNJPAC1 Center St.888-466-5722www.njpac.orgTHE PRIORY233 West Market St.973-242-8012Friday 7:00 PMNo coverSAVOY GRILL60 Park Place973-286-1700www.thesavoygrillnewark.comListings are alphabetical by town. All entries are subject to change; please call each venue to confirm schedule of music.54 April 2007 JerseyJazz

JerseyEventsJazzTell them you saw it in Jersey Jazz!New BrunswickDELTA’S19 Dennis St.732-249-1551STATE THEATRE15 Livingston Ave.732-246-7469www.statetheatrenj.orgNewtonBULA134 Spring St.973-579-7338www.bularestaurant.comFridays 8:00 PMNorth ArlingtonUVA602 Ridge RoadFriday 7:00 PMAdam BrennerNorth BranchNEW ORLEANS FAMILYRESTAURANT1285 State Highway 28908-725-00117:00 PMNutleyHERB’S PLACE AT THE PARK PUB785 Bloomfield Avenue973-235-06968:30–11:30 PMOaklandHANSIL’S BAR AND GRILL7 Ramapo Valley Rd.201-337-5649RUGA’S4 Barbara Lane201-337-0813Tuesday thru Saturday 7:00 PMPine BrookMILAN13 Hook Mountain Road973-808-3321www.milanrestaurant.comFridays 6:30 PM Stein BrothersPlainfieldCAFÉ VIVACE1370 South Avenue908-753-4500www.cafevivace.comSaturdays 7:30 PMPrincetonMCCARTER THEATRE91 University Place609-258-2787MEDITERRA29 Hulfish St.609-252-9680www.terramomo.comSALT CREEK GRILLE1 Rockingham Row, Forrestal Village609-419-4200www.saltcreekgrille.comRahwayARTS GUILD OF RAHWAY1670 Irving St.732-381-7511www.rahwayartsguild.org8:00 PMEIGHTY EIGHTS1467 Main Street732-499-7100eightyeightsmusicvenue.comwww.88bistrojazz.comThursdays – Sundays 6:30 PMRaritanMUGS PUB AND RESTAURANT73 West Somerset Street908-725-6691Fridays 7 PMRed BankCOUNT BASIE THEATRE99 Monmouth St.732-842-9000”JAZZ IN THE PARK”Riverside Park732-530-2782RidgewoodWINBERIE’S AMERICAN BISTRO30 Oak Street201-444-3700www.selectrestaurants.comThursdays Piano Jazz/PopFridays/Saturdays Jazz/Pop duosRumsonSALT CREEK GRILLE4 Bingham Avenue732-933-9272www.saltcreekgrille.comSayrevilleSHOT IN THE DARKSPORTS BAR & GRILL404 Washington Road732-254-9710Thursday 7:30 PMJohn BianculliSeabrightTHE QUAY280 Ocean Ave732-741-7755Tuesday nights Jazz Lobsters big bandShort HillsJOHNNY’S ON THE GREEN440 Parsonage Hill Road973-467-8882www.johnnysonthegreen.comSomervilleVERVE RESTAURANT18 East Main St.908-707-8605www.vervestyle.comOccasional Thursdays 6 PMFridays/Saturdays 8:30 PMSouth BrunswickJAZZ CAFÉSouth Brunswick (Dayton) Municipal Complex540 Ridge Road732-329-4000 ext. 7635www.arts@sbtnj.netfirst Friday every month$5 admission includes light refreshmentsSouth OrangeDANCING GOAT CAFÉ21 South Orange St973-275-9000www.thedancinggoat.com8 PMSOUTH ORANGE PERFORMINGARTS CENTEROne SOPAC Way973-235-1114SummitSUMMIT UNITARIAN CHURCH4 Waldron Ave.SundayTeaneckLOUNGE ZEN254 DeGraw Ave.201-692-8585www.lounge-zen.comNo coverPUFFIN CULTURAL FORUM20 East Oakdene Ave.201-836-8923Tom’s RiverOCEAN COUNTY COLLEGEFINE ARTS CENTERCollege Drive732-255-0550www.ocean.edu/campus/fine_arts_centerSome WednesdaysTrentonJOE’S MILL HILL SALOONMarket & Broad Streets609-394-7222OccasionallyUnionVAN GOGH’S EAR CAFÉ1017 Stuyvesant Ave.908-810-1844www.vangoghsearcafe.comSundays 8:00 PM$3 coverWatchungWATCHUNG ARTS CENTER18 Stirling Road908-753-0190www.watchungarts.orgWayneWILLIAM PATERSON UNIVERSITY300 Pompton Road973-720-2371www.wpunj.eduSunday 4:00 PMThe Name DropperWest CaldwellCOLORS RESTAURANT& LOUNGE1090 Bloomfield Ave.973-244-4443West OrangeCECIL’S364 Valley Road973-736-4800FRANKLIN TAVERN97-99 Franklin Ave.973-325-9899No coverWestfieldNORTHSIDE TRATTORIA16 Prospect St.908-232-7320www.northsidetrattoria.comSunday, Tuesday, Thursdays eveningsACQUAVIVA115 Elm St.908-301-0700www.acquaviva-dellefonti.comFridays 7:00 PMWoodbridgeJJ BITTING BREWING CO.33 Main Street732-634-2929www.njbrewpubs.comFridays 9:30 PMWood RidgeMARTINI GRILL187 Hackensack St.201-209-3000Wednesday through SaturdayWe continually update entries. Please contacttmottola@aol.com if you know of othervenues that ought to be here. We want toinclude any locale that offers jazz on aregular, ongoing basis. Also please advise us ofany errors you’re aware of in these listings.William Paterson University’s Jazz Room Series concludes on April 27 withpianist, composer and director of jazz studies Mulgrew Miller. Miller will soloand also play some of his compositions with the WPU Jazz Orchestra. Theorchestra is conducted by David Dempsey. Arrangements by Miller’s students.The Salt Creek Grille will feature Marlene VerPlanck on April 14 andSandy Sasso April 22 and 26.Eighty Eights has Laura Hull April 1, 22 and 29. Marlene Ver Planckwill be there on the 28th.Marlene gives a free concert April 20 at the Somerset County Library,North Bridge and Voght Drive in Bridgewater (908-526-4016.)Laura is at Winberie’s at 30 Oak Street in Ridgewood April 7 (201-444-3700).The Stein Brothers are appearing at the Watchung Arts Center April 20, at theCape May Jazz Festival April 21, then at Trumpets April 22. The brothers open atSweet Rhythm in New York April 25.NJJS member guitarist Bob DeVos has a busy month. He shows up at TheKitano Jazz Room, NYC on April 11; Friday the 13th at The Arts Guild of RahwayJazz Series; and finishes up the month at the Cape May Jazz Festival on April 22as a featured guitarist in their Wes Montgomery Tribute.April 2007 JerseyJazz 55

JerseyJazzPO Box 410Brookside, NJ 07926-0410Send all address changesto the address aboveTime Value MaterialDeliver PromptlyPERIODICALSPostage PAID atMorristown, NJ07960Founding MemberBuilding an InternationalJazz Community