Like John Coltrane, James L. Dean got some of his first experience

Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz.James L. DeanVeteran Bandleader MakingFirst Jazzfest AppearanceBy Tony Mottola Jersey Jazz EditorLike John Coltrane, James L. Dean got some of his first experienceplaying jazz in Hawaii while serving in the U.S. Navy. ThePaterson native and versatile reedman (he plays all the saxesas well as a swinging clarinet) later became a fixtureon the Metro area jazz and show band scene.Along the way he added stints as a sidemanwith the bands of Sy Oliver, Jimmy McGriffand Pepper Adams to his musical résumé.He formed the 16-piece James L. DeanBig Band in 1995 and the outfit has beenperforming to enthusiastic crowds atmonthly swing dances ever since, includingan eight-year run at Tierney’s Tavern inMontclair and at Lyndhurst’s Whiskey Cafésince 2003. The band has also performedwith many notable guest artists includingClaudio Roditi, George Coleman andSol Yaged and backed singers Jerry Vale,Marlene VerPlanck and Julie Budd.Dean is an inveterate music researcherand he’s stocked his book with authenticarrangements by Quincy Jones, Neil Hefti,Mel Powell, Artie Shaw and other greats,along with new charts by BillyVolume 36 • Issue 5May 2008James L. Dean photo by Tony Mottola.Story continued on page 26.JAZZFESTPREVIEWJazzfest facts,hot off the press.See p 8 and ad p 3in this issue:NEW JERSEY JAZZ SOCIETYPres Sez/NJJS Calendar& Bulletin Board. . . . . . . . . . . . . 2The Mail Bag/Jazz Trivia. . . . . . . . . 4Editor’s Pick/Deadlines/NJJS Info. . . 6Music Committee . . . . . . . . . . . . . 8New Members/About NJJS/Membership Info . . . . . . . . . . . 47ARTICLESClassic Stine. . . . . . . . . . . . . . . . . . 9Benny Goodman at Carnegie Hall. . . . 10Crow’s Nest . . . . . . . . . . . . . . . . . 14Big Band in the Sky . . . . . . . . . . . 16MoMA Jazz ScoreExhibit and Film Series . . . . . . . . 18Talking Jazz: Coleman Mellett . . . . 20NY Jazz Festivals . . . . . . . . . . . . . 28Dan’s Den: Birthdays . . . . . . . . . . 30Annie Ross inducted into AJHOF . . 31Jazz U: College Jazz . . . . . . . . . . . 32Noteworthy . . . . . . . . . . . . . . . . . 35REVIEWSCompact Views . . . . . . . . . . . . . . 36Other Views . . . . . . . . . . . . . . . . . 38Deer Head Inn . . . . . . . . . . . . . . . 39McPartland Birthday . . . . . . . . . . 42Book: Milt Hinton . . . . . . . . . . . . 43EVENTS’Round Jersey: Morris, Ocean . . . . 48Institute of Jazz Studies/Jazz from Archives . . . . . . . . . 49Somewhere There’s Music . . . . . 50The Name Dropper . . . . . . . . . . . 51ADVERTISERSTrumpets . . . . . . . . . . . . . . . . . . . . 5Shanghai Jazz. . . . . . . . . . . . . . . . . 7Shelly Productions/Glen Rock Inn. . . . 9Salt Creek Grille. . . . . . . . . . . . . . 11Watchung Arts Center. . . . . . . . . 13Novitá. . . . . . . . . . . . . . . . . . . . . . 15Lana’s. . . . . . . . . . . . . . . . . . . . . . 17Jazz Record Bash. . . . . . . . . . . . . 19Jazzdagen Tours. . . . . . . . . . . . . . 21American Fed. of Jazz Societies . . . . 23RVCC . . . . . . . . . . . . . . . . . . . . . . 25Jazzfest at Sea. . . . . . . . . . . . . . . 29Jazz Cruises LLC . . . . . . . . . . . . . 33Riverboat Swing. . . . . . . . . . . . . . 34Improvisational Promotions . . . . 36Sidney Bechet Society. . . . . . . . . 37Tomaso’s . . . . . . . . . . . . . . . . . . . 39CTS Images . . . . . . . . . . . . . . . . . 40Jazz at Chautauqua. . . . . . . . . . . .41JJ Directory. . . . . . . . . . . . . . . . . 44Shelly Productions/27 Mix . . . . . 45Laura Hull. . . . . . . . . . . . . . . . . . . 52Weichert Realtors . . . . . . . . . . . . 52

New JerseyJazzSocietyNJJS CalendarWednesdayApril 23 2008Jazz Film SeriesChatham see p 8SundayApril 27 2008Bucky PizzarelliGuitar TrioMorristownsee Bulletin Board p 2and p 8SundayMay 18 2008Monthly MemberMeetingsee p 2 & ad p 5SaturdayMay 10 2008Benny Goodman Tourat Carnegie Hallsee Bulletin Board p 2and pp 10 & 49Friday June 6 2008Free Concert (Jazzfest)Drew University/Madisonsee pp 8 & 49Saturday & SundayJune 7 – 8 2008JAZZFESTDrew University/Madisonsee pp 1, 2, 8 & ad p 3Prez SezBy Andrea Tyson President, NJJSIam very happy to report that our requests for avolunteer Project Manager for our AmericanJazz Hall of Fame Web site have paid off. JimJasion has agreed to accept that position and hasstarted working with the NJJS and the Institute ofJazz Studies to get this project underway. We thankJim and look forward to making progress on thisimportant jazz society initiative.■ Also, we have something new for the NJJS. Asyou’ll see in this issue, the 37th Annual JazzRecord Collectors’ Bash will be held at theWoodbridge Hilton June 13-14 — one week afterour Jazzfest. If you have LPs, etc. that you want tosell and/or trade, that’s the place to be. We’vecollaborated with the organizers to be able to offera discount for NJJS members of $5 off a table($70–$80) and $1 off the admission charge. TheNJJS will be there with new volunteer Greg Winterselling LPs from our collection. I suggest you actquickly if you want to rent space. This event hasbeen going on for 37 years but it’s under newguidance from Jim Eigo and Arthur Zimmermanand we hope it’s successful. Please support theirefforts to help keep this very interesting weekendalive.■ As part of our educational outreach efforts wewere privileged to present the Generations of Jazzprogram at the recent Arts Council of Morris AreaShowcase at the Shakespeare Theatre at Drew U.All the performing groups are selected by ACMApersonnel for their excellence in their field,Tell them you saw it in Jersey Jazz!whether it’s jazz or science or dance. Pam Purvis,Generations Music Director, and the other musiciansdid a fine job and we’ve already gotten bookings.We’ll be getting a DVD soon from thatShowcase performance, and we’ll put that video onour website. Why not think of recommending theGenerations program for your local school, libraryor other community organization?■ On May 18 we’re hosting our Monthly Meetingat Trumpets in Montclair (see ad page 5). I am sopleased to tell you that I was able to book a wonderfulall-female salsa band to entertain us.CoCoMaMa (www.cocomamamusic.com) is madeup of eight extraordinary women, five of whomwill be with us on Sunday afternoon from 3–5 PMfor a panel discussion first of how the groupformed and where they hope to go with it, alongwith our usual Q&A period and then, time permitting,we’ll have some music. Trumpets hasagreed to hire the band for their dinner show(with only a $10 music charge). So, plan to staythrough to hear some outrageous music whileenjoying your dinner.■ Jazzfest is right around the corner and we havecreated a line-up sure to please you. Bring yourpicnic baskets, or buy your food on campus, bringthe kids, grandkids (all free under 16) and kickback and relax listening to some wonderful music.This year NJJS is hosting the American Federationof Jazz Societies’ conference, which is being held atour sponsoring hotel, the Morristown Hyatt, oncontinued on page 49NJJS Bulletin BoardSave the Date and Reserve aSpace for this very special custom-guided tourof an exhibition at Carnegie Hall, celebrating the70th Anniversary of Benny Goodman’s 1938 concertthere (see pages 10 and 49). This is a free event forNJJS members and friends. Saturday, May 10 at3 PM. Please call Andi Tyson at 732-356-3626 orsend an E-mail to pres@njjs.org.Save the Date The Bucky Pizzarelli GuitarTrio: Sunday, April 27, 2008 at 3 PM. Spend a Sundayafternoon with one of New Jersey’s jazz titans, guitarvirtuoso Bucky Pizzarelli, along with James Chirilloand Ed Laub. $15 A co-production of NJJSw/Community Theatre in Morristown. See page 8.Monthly Member MeetingsOur series of entertaining meetings continues atTrumpets on 5/18. Members attend free. See PrezSez page 2 and ad page 5. Future programs TBA.Got E-mail? Some special offers for NJJSmembers are late-breaking — so please send youre-mail address to NewJerseyJazz@aol.com.2___________________________________ May 2008

May 2008___________________________________ 3

New JerseyJazzSocietyThe Mail BagNewark students make musicwith Generations of Jazz.I WANT TO THANK“GENERATIONS OF JAZZ”for a wonderful interactiveperformance onWednesday, March 5, 2008.Our Kindergarten throughFourth Grade students hadbeen looking forward tothis concert for the pasttwo months, ever since webegan our studies onAfrican American spirituals,the blues and jazz music.Listening to the studentsgive a verbal critique afterwardsshowed me that theyenjoyed hearing and seeingthis music performed live.And of course, they enjoyedmoving and dancing with themusic.Please convey these words to(Generations of Jazz performers)Pam, Brandon, Elliot, Gordon,Bob, Rick, Stan and Marcelino.They worked hard to entertain andteach, and it was appreciated. Wewould love to have a repeat visit.Sincerely,Veronica HeinleinMusic Teacher, Chorus DirectorRobert Treat AcademyNewark, NJTHE NEW JERSEY JAZZnewsletter is fantastic.Elaine KossPlainsboro, NJONE THOUSAND TAK (Danish forthanks) for the article on themetronome (JJ April). I love it,and have made several copies totake along to my friends in the“Etatsorkestret” when we meet forour weekly rehearsal.Dot HurvigVærløse, DenmarkYOUR NEWSLETTER looks great!Sandy SassoOakhurst, NJREADING ABOUT THE GRANDEDAME OF WORLD JAZZ, “Marianat 90” (JJ March), as a jazz buffwho celebrated his 90 birthday inFebruary, I was most interested inreading Dan Morgenstern’s piece.My memories of Marian go backto 1956, when I was in New Yorkto observe the first air traffic controlradar operations at Idlewilde(now JFK) Airport as an air trafficcontroller in Kansas City. Strollingaround Times Square from myroom at the Astor I heard jazzemanating from a club called theMetropole. I walked in and satdown at the bar. Standing on thecounter was Jimmy McParland,blowing his cornet; Bud Freemantenor sax; and Indian trombonist,Big Chief Walker, along withGeorge Wetling on drums, providingthe rhythm section. After acouple of intermissions, I askedJimmy where I might hear somemore jazz. He told me that his wifewas playing just aroundthe corner at the HickoryHouse, so I headed thereand found another seat at abar to hear MarianMcPartland’s swinging jazztrio, the venue where she,bassist Bill Crow anddrummer Joe Morello heldsway for almost 10 years.Along with a beer or two, Ivisited with the fellow nextto me. He asked what I wasdoing in the morning andsaid that Jack Paar wasopening his new CBSMorning Show and theshow needed an audience.I followed his directionsthe next morning to an old abandonedManhattan theater, andwith five other bodies in theaudience, watched a comedianwhose act was that he couldn’tstop laughing, and listened to EdieAdams and Betty Clooney sing.(Of course, this was before Paar’sNBC Tonight Show.) Afterwards, Itried to shake hands with Jack, buthe begged off, saying he had a badcold. I later learned of his aversionto germs.By the way, the fellow sitting nextto me at the Hickory House wasJose Melis, Paar’s longtime Cubanpianist.Bill SmithPalm DesertJazz TriviaBy O. Howie Ponder IIQuestionsName That Tune | SONG HITS OF THE SWING ERA1. Wingy Manone originallyrecorded this Joe Garland tune in1930 as “Tar Paper Stomp” and itlater emerged as “Hot and Anxious”by other bands. Glenn Millerimmortalized it with his version on anAugust 1, 1939 recording.2. Tommy Dorsey liked this noveltyarrangement of a classic song by theSunset Royals, a black group, and herearranged it for his 1936 band togreat popular acclaim. Some creditBunny Berigan’s trumpet solo for itssuccess, however.3. This Latin-tinged ballad,recorded December 28, 1940,became Duke Ellington’s biggestselling 78-RPM record. (a) What wasthe song, and (b) who was the singer?4. Ray Noble wrote “Cherokee” aspart of a four-part suite dedicated toNative Americans. What were theother titles?5. Neal Hefti wrote a swinginginstrumental for Woody Herman’sFirst Herd called “Helen of Troy,” butit was released as “The Good Earth.”Why the change and what did thetitle signify?answers on page 494___________________________________ May 2008

Trumpets Jazz Club & Restaurant6 Depot SquareMontclair, New Jersey 07042Jazz 6 Nights a Week! and Continental CuisineMay HighlightsKevin Jones (percussion)FRIDAY 5/2Jazz Brunch Jam11:30 AM – 2:30 PM4 PM – 7 PM Sunday afternooncultural series: Mexico-mariachiband; Mexican buffet $25SUNDAY 5/4Mitch SchneiderQuartet (piano)WEDNESDAY 5/7Ted Curson hostsTrumpets’ Jam SessionTHURSDAY 5/8Paul Meyers (guitar)World on a String CD ReleaseFRIDAY 5/9Mark Sherman (vibes)SATURDAY, 5/10Mother’s Day JazzBuffet BrunchSUNDAY 5/1111:30 AM – 1:00 PM($32/$16 children 7-12Enrico Granafei Quartetwith vocalist Kristine Massari4:00 – 8:00 PM DinnerMichael LemmaGuitar SocietyTUESDAY 5/13Michaele(contemporary vocalist)FRIDAY 5/16Vinx (vocalist)SATURDAY 5/173 – 5 PMNew Jersey Jazz Societymeeting & programPanel — CoCoMaMa Latin JazzGroup Free NJJS members;$10 non-membersCoCoMaMa5:00 PM performanceSUNDAY 5/18The Ellington Bandfeaturing Norman Simmons (piano),Edward Ellington (guitar), VirginiaMayhew (sax), Nancy Reed (vocals)WEDNESDAY 5/21Betty Liste Vocal Jamhosted by Carrie JacksonTHURSDAY 5/22Visit www.trumpetsjazz.com for our complete schedule.Tuesdays at Trumpets — no music charge/$5 minimum 6:30 – 10:30 PMBucky Pizzarelli Trio(guitar) Ed Laub (guitar),Jerry Bruno (bass)FRIDAY 5/23Armen Donelian (piano)SATURDAY 5/24Diane Moser’sComposers’ Big BandWEDNESDAY 5/28Lou Quagliato/Pat Cuttitta GroupTHURSDAY 5/29Wildflower(Gilad-percussion)FRIDAY 5/30Mark Elf (guitar)SATURDAY 5/31Tel 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. Doors open 6:30 PM. »« 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 »May 2008___________________________________ 5

New JerseyJazzSocietyThe Editor’s PickBy Tony Mottola Jersey Jazz EditorThe Angels in the Choir“We always say that when the folks at Englewood Hospitaltake their shirts off at night, they have wings…”— Wendy Oxenhorn, Executive DirectorThe Jazz Foundation of AmericaThe recent tragic death of bassist Dennis Irwin at age 56 focused much attention on the lack of adequatehealth insurance coverage for many in the jazz community, including a report on the issue in The NewYork Times. Now a fund has been established in Mr. Irwin’s memory to provide free cancer screenings toveteran jazz and blues musicians who are uninsured. The Dennis Irwin Memorial Fund, established byEnglewood Hospital and Medical Center and the Jazz Foundation of America, will be funded in part by anannual benefit concert at Jazz at Lincoln Center.The Jazz Foundation and the New Jersey Medical Center have worked closely together since 1994, soonafter the Dizzy Gillespie Cancer Institute and Memorial Fund was established at the hospital. More than1000 musicians have received medical treatment without charge through the partnership, including manysurgeries performed by a network of pro bono specialists. In addition to medical care, the JFA provides anumber of support services to musicians in need, including assistance with food, housing, utility paymentsand in-home visits. The foundation averaged 500 emergency cases a year — that is until Hurricane Katrinadevastated New Orleans and they handled more than 2,500 cases in just 16 months.The JFA will hold its annual Great Night in Harlem concert at the Apollo Theater on May 29 and among thehonorees will be Dr. Frank Forte, Director of the Dizzy Gillespie Institute. (Dr. Forte, a jazz guitarist, is also anNJJS member and occasional contributor to Jersey Jazz.) The event is co-hosted by Bill Cosby and DannyGlover and the bill features Frank Foster, Jimmy Heath, Phil Woods, Neenah Freelon, Frank Wess, and CecilBridgewater along with 60 legendary jazz and blues artists.It’s an important cause and last year’s gala raised $1.5 million for theFoundation’s good works. If you have deep pockets a $1,500 ticket will alsoget you into the Gala Dinner beforehand and the VIP After Party. But $50 willget you into the bleachers for a great show (last year’s concert CD wasnominated for a Grammy), and a donation of any amount to this worthycause is sure to be put to good use.For more information, call 212-245-3999 or visit www.jazzfoundation.org.Comments?Jersey Jazz welcomes your comments on any article or editorial. Send e-mail to editor@njjs.org ormail to the Editor (see masthead page 6 for address). Include your name and geographical location.Tune Us In to Your E-mail Address! Some special offers for NJJS members are latebreaking,not possible to include in Jersey Jazz or to do a separate postal mailing. So if you haven’t already —please send your E-mail address to NewJerseyJazz@aol.com. Also keep us informed of changes. We want to besure you get the message when we have something special to offer.Advertising Rates Quarter page: $50; Half page $75; Full page $100. NEW! Biz card size: $25!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 art@njjs.org or 201-306-2769 for technical information and to submit ads.NJJS Deadlines The deadline for submission of material for upcoming issues is as follows:June issue: April 26, 2008 • July/August COMBINED issue: May 26, 2008NOTE: EARLY SUBMISSIONS ARE GREATLY APPRECIATED.JJJerseyJazz The Journalof the New Jersey Jazz SocietyVolume 36 • Issue 5USPS ® 6668Jersey Jazz (ISSN 000-004) is published monthlyeleven times per year with a combined July/Augustissue for members of The New Jersey Jazz Society,PO Box 410, Brookside, NJ 07926.Membership fee is $40/year.Periodical postage paid at Morristown, NJ 07960.Postmaster: send address changes toPO Box 410, Brookside, NJ 07926-0410.All contents ©2008 New Jersey Jazz Society.Tony Mottola Editor27 Upper Mountain Ave.Montclair, NJ 07042973-509-9437E-mail: editor@njjs.orgLinda Lobdell Art Director/Associate Editor352 Highland Ave.Newark, NJ 07104201-306-2769E-mail: art@njjs.orgFradley Garner International EditorE-mail: fradgar@get2net.dkMitchell Seidel Contributing Photo EditorPhoto@njjs.orgJohn Maimone Entertainment Contributor908-753-6722E-mail: jjm426@att.netFred McIntosh Entertainment Contributor201-784-2182E-mail: derfie_07675@yahoo.comNEW JERSEY JAZZ SOCIETYOFFICERS 2008Andrea Tyson President110 Haywood Ave.Piscataway, NJ 08854732-356-3626Mike Katz Vice President908-273-7827Kate Casano Treasurer732-905-9063Caryl Anne McBride Membership Chairperson973-366-8818Al Parmet Recording Secretary908-522-1163Jack Stine President Emeritus908-658-3515Joe Lang Past President973-635-2761DIRECTORSSteve Albin, Carolyn Clemente, Joanne Day,Edy Hittcon, Laura Hull, Claudette Lanneaux,Sheilia Lenga, Bruce Lundvall, Vincent Mazzola,Frank Mulvaney, Stan Myers,Walter Olson, Jack Sinkway, Marcia Steinberg,Elliott Tyson, Jackie Wetcher,Tony Mottola (Ex-officio)ADVISORSJeff Atterton, Amos Kaune, Bob PorterMarketing/Public Relations Consultant: Don Jay SmithWebsite: www.njjs.orgE-mail: NewJerseyJazz@aol.comHotline: 1-800-303-NJJS (1-800-303-6557)To join the NJJS, send a $40 check payable to “NJJS” to:NJJS Membership, PO Box 410, Brookside, NJ 07926-0410.6___________________________________ May 2008

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 April/May 2008:sun 4/27: MARLENE VER PLANCKwed 4/30: JANE STUARTthu 5/1: VINCE GIORDANOfri 5/2: TONY DESAREsun 5/4: GENE BERTONCINIwed 5/7: HARRY ALLENthu 5/8: MORRIS NANTONfri & sat 5/9 & 10: BILLY DRUMMONDsun 5/11: MOTHER’S DAY BRUNCHw/ CYNTHIA HOLIDAYMOTHER’S DAY DINNERw/ NANCY NELSONwed 5/14: NICKI PARROTT & ROSSANO SPORTIELLOfri & sat 5/16 & 17: WINARD HARPERwed 5/21: ARMEN DONELIANfri & sat 5/23 & 24: SUSAN PEREIRA AND SABOR BRASILsun 5/25: ERIC COMSTOCKNEW! Beginning April 1, Tuesday: 6:30 PM – 8:30 PMWednesday 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.NEWS FLASH!!!TUESDAYNIGHT MUSICBEGINNINGAPRIL 1:MUSIC FROM6:30 – 8:30 PM.May 2008___________________________________ 7

New JerseyJazzSocietyNotes from the Music CommitteeWe have an active period coming upwith the last film in our Spring JazzFilm Series, the Guitar Concert at theCommunity Theatre and the sanofi-aventisJazzfest 2008 on the horizon.■ Our film series continues on WednesdayApril 23 with Anita O’Day: The Life of aJazz Singer, an in-depth examination of thelife of the great jazz vocalist. This new documentarywill not be released to theatresuntil Memorial Day weekend, so attendeeswill get a sneak preview of a film that hasreceived rave advance notices. A discussionperiod follows. You won’t want to miss thisexciting conclusion to our spring series.It will be presented at the Library of theChathams, 214 Main Street in ChathamBoro, starting at 7 PM. There is no admissioncharge. Open to the general public. Plans areunderway to resume the series in the fall.JAZZFESTPREVIEWsupport from theuniversity. There will bebarbecue-oriented food for sale provided bythe new food service at Drew. Jazzfest is ajazz picnic, a wonderful time to bring familyand friends together for a fun day filled withgreat music. You are welcome to bring apicnic basket, chairs and blankets, and enjoythe grass and tree area surrounding the Tentas the music floats through the air. There isno better way to introduce your childrenand grandchildren to the joys of jazz.This month we take a look at the performerswho will appear in the Concert Hall duringJazzfest. This is a state of the art facility,considered one of the most acousticallyperfect venues available at any university inthe nation. We are extremely fortunate tohave access to this venue for the presentationof such exceptional jazz talent.By Joe Lang NJJS Music Committee ChairTony is a whiz at the piano, and a vocalistwho has been compared to Frank Sinatraand many of the other greats. One listen tohis artistry, however, and it is evident that heis carving his own stylistic niche. He has awarm baritone voice, and a superb sense ofphrasing that carries over into his pianostylings. Bassist Mike Lee, who’s been playingwith Tony since their college days, is theco-creator of many of the wonderful originaltunes they perform. His winning smile,and swinging style make him an audiencefavorite. Tony’s long-time drummer BrianCzak has recently relocated to Las Vegas; areplacement has not been determined as ofpress time.The Joe Temperley Quintet is guaranteed toprovide sublime sounds. With a lineup ofTemperley on baritone and soprano saxes,Dan Nimmer on piano, James Chirillo onguitar, Greg Cohen on bass and Leroy■ Plan to be at The Community Theatre in The performers on Saturday June 9 will beWilliams on drums, you know that theMorristown on Sunday afternoon, April 27 Cynthia Sayer & Sparks Fly and the Tonymusic will be first rate. Joe has a list of credentialsa mile long, including a stay on theat 3 PM. This is our fourth year of cosponsoringa Sunday afternoon jazz concert have the Joe Temperley Quintet and theDeSare Trio. On Sunday June 10 we willDuke Ellington Orchestra, and his currentwith the theatre. This year’s features the Earl May Tribute Band.seat on the Jazz at Lincoln Center Orchestra.exciting guitar trio of Bucky Pizzarelli, Cynthia Sayer & Sparks Fly is sure to get He is a master of both the baritone andJames Chirillo and Ed Laub. This will be an your feet tapping and your lips smiling. soprano saxes, and produces as beautiful aafternoon of explosive string fireworks. The Cynthia, the most exciting and creativeprice for tickets is only $15; they can be banjo player in jazz, will bring with hercontinued on page 46purchased through The Community trumpeter Randy Sandke, trombonist JimTheatre at the box office at 100 South Street Fryer, violinist Sara Caswell, bassist Jenniferin Morristown, or online at www.mayoarts.org. Vincent and drummer Joe Ascione. In■ With the sanofi-aventis Jazzfest 2008 onaddition to her strumming and picking,Cynthia usually adds a few tasty vocals tothe horizon, it’s time for details about thethe mix. Randy has been a NJJS favorite forbands that will play at this two-day jazzmany years, and is one of the most accomplishedand eclectic trumpeters in jazz. Jim’sextravaganza. The dates are June 7 and 8,and the location is Drew University intrombone has been a part of many swingMadison. We have 12 groups plus two highand trad groups, and he also has extensiveschool bands participating.credits as a leader. Sara is one of severalWe are also planning for a free concert in young violinists who have made wonderfulthe Tent on Friday evening June 6, featuring contributions to the jazz scene. Jennifer is a NJJS presentsthe three winners of the New Jersey chapter rock solid timekeeper, swings with the bestof the International Association for Jazz of them, and is a soloist who keeps things FREE JazzFilm SERIESEducation Big Band competition. This interesting. Joe, who has been having someWednesday, April 23 at 7PMcompetition will be held on April 25-26. severe health problems, is still a nonpareil(For details about this competition, please percussionist. This group should indeedANITA O’DAY:check out the “NJ College” page on the NJJS make sparks fly.The Life of a Jazz Singerwebsite — www.njjs.org.)Over the last few years, the Tony DeSareFollowed by discussion.We have an exciting lineup again this year, Trio has moved to the top of the classLibrary of the Chathamsand, as we discovered in 2007, Drew is a among those who are keeping alive the214 Main Street, Chatham NJwonderful place to hold Jazzfest, with a Great American Songbook, and creatingbeautiful setting, terrific venues, and strong new pieces destined to become standards. FOR MORE INFO: www.njjs.org8___________________________________ May 2008

JerseyArticlesJazzClassic StineBy Jack StineNJJS President EmeritusIdon’t hold very much with psychics, don’tworry much about spilled salt, cellars orblack cats, but the soothsayer who warnedCaesar to beware of the Ides of March had itright a few weeks ago in Manhattan when abuilding crane collapsed, crushing a fourstory building on East 50th Street. Beinginvolved in such a disaster is a hell of a wayto break into print and not highlyrecommended, but if and when it doeshappen, the stronger minded will prevail.That’s just the way it works out.Such a person is Jane Jarvis, one of the JazzSociety’s favorite players, who lived nextdoor to the fated building and was one ofthose who were quickly evacuated after theaccident on March 15. Collateral damagewas a distinct possibility and Jane told theTimes reporter, “They got us out of thebuildings so fast, all I had was my pajamasand a fur coat.”Four days later, after crashing at a hotel inthe Chelsea section, they told Jane herbuilding was deemed to be safe and shecould return. She and Ann Ruckert, a studiomusician and long time friend, hopped acab to return home. Ms Rucker said, “Oncethere, she (Jane) was hassled by workers,because Jane was in slippers and pajamas,which was all she had.”That moment of confrontation betweenpajama-clad Jane Jarvis and theconstruction workers outside her buildingshould have been filmed for AARP. Jane is92 years old, and my money would havebeen on her. Only in New York…As I mentioned before, Jane Jarvis has longhad a special following among NJJSmembers. She’s played for us dozens oftimes — at Waterloo Village, the WatchungView Inn, Raritan Valley College, almostanywhere we might set up shop for anafternoon or evening of jazz. How manytimes has she had to endure that old gagabout “Who Played For Both The Mets andthe Knicks?” (Answer, of course: Jane Jarviswho was house organist at both MadisonSquare Garden and Shea Stadium.) As atrivia question, it had become prettythreadbare after decades of telling andretelling, but like Jane herself, it was alwaysgood to hear again. I wouldn’t want her tohear that I said she was comfortable as aworn shoe, but that pretty well sums it up.She was always warmly greeted by her NJJSfans, especially thosewho showed upwhen she played asolo evening at theRaritan ValleyCollege. I recall oneevening when sheshocked the crowdby saying she hadjust turned 80,letting everyone inon the secret oncondition that they’dnot go around tellingeverybody. She thentore into a programthat would credit a30-year old.Once, Jane told me,she had finished agig and as usual wassurrounded by fanswho had questions,wanted programssigned, or simply wanted to be close to her awhile longer. I’m sure there is a kind of highthat performers feel after a particularly goodsession, and that must have been what shewas feeling this evening when a fan asked,“Who does all your arrangements?” It was asif someone had asked Van Gogh who did allhis designs, and the question floored Jane.Best, she thought, to fight fire with fire,absurdity with absurdity, so she answered:“Jack Stine.”To this day I haven’t quite figured this out,but I do hope she had a better answer thanthat for the construction workers outsideher apartment when they asked, “Hey,lady. What’s with the pajamas?”JJShelly ProductionspresentsLive Jazz Thursday Nightsat The Glen Rock InnMAY 1 - Bob DeVos (guitar) & Dave Stryker (guitar)MAY 8 - Muzzy Trio (sax, guitar & keyboards)MAY 15 - Joshua Breakstone (guitar) & Earl Sauls (bass)MAY 22 - Bucky Pizzarelli (guitar) & Jerry Bruno (bass)Call for ReservationsMAY 29 - Bob Leive (horns) & Lou Pallo (guitar)JUNE 5 - Bucky Pizzarelli (guitar) & Jerry Bruno (bass)Call for ReservationsJUNE 12 - TBAJUNE 19 - Muzzy Trio (sax, guitar & keyboards)JUNE 26 - Lyle Atkinson (bass) & Joshua Breakstone (guitar)222 Rock Road, Glen Rock, NJ201-445-2362Entertainment Starts 7:00 PMCall for ReservationsHost — Victor QuinnShelly Productions, Inc.P.O. Box 61, Elmwood Park, NJ • 201-796-9582May 2008___________________________________ 9

JerseyArticlesJazzBenny and the HallCarnegie Hall’s Rose Museum presents a specialexhibit to commemorate the 70th Anniversary ofBenny Goodman’s historic 1938 Carnegie Hall debut.By Tony Mottola Jersey Jazz EditorFour photos, left to right:Lionel Hampton (vibes),Benny Goodman and GeneKrupa in 1938. Not visible isTeddy Wilson on piano.Lawrence Marx Collection,Carnegie Hall Archives.All 1938 concert photos weretaken by Lawrence Marx, whowas the brother-in-law ofGoodman's former vocalist,Helen Ward (in turn whosehusband, Albert Marx, had theconcert recorded as a presentfor his wife.)Above: Handbill for theJanuary 16, 1938 concert.Carnegie Hall Archives.It’s been said that a performance by “Kingof Swing” Benny Goodman at CarnegieHall was originally suggested as a publicitystunt by Wynn Nathanson, Goodman’spublicist. If that’s so then Nathanson shouldbe in the PR hall of fame, as Goodman’sJanuary 9, 1938 Carnegie Hall debut becamethe stuff of legend almost immediately afterthe last notes of the climatic “Sing, Sing,Sing” faded away.The performance, with Goodman’s outfitjoined at the hallowed Hall by members ofthe Duke Ellington and Count Basie bands(including the Count himself), was the firstpresentation of swing music on a concertstage, and marks a important milestone injazz history. The event brought swing intothe mainstream, and a recording of theperformance, originally released onColumbia Records in 1950, has never beenout of print and remains one of the bestselling jazz recordings of all time.To commemorate the historic event’s 70thanniversary, the Rose Museum is presentingan exhibit which salutes Goodman withhighlights from his 44-year association withCarnegie Hall. The exhibit, which openedon April 16, will run through June 30. Theshow includes flyers, original programs,photographs and concert footage as well asGoodman’s Buffet clarinet, an instrumenthe used until the time of his death in 1986.And it’s there that the New Jersey JazzSociety comes into the story, as theinstrument on display was donated toCarnegie Hall by Goodman’s daughters,continued on page 1210__________________________________ May 2008

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JerseyArticlesJazzGOODMAN AT THE HALLcontinued from page 10Rachel Edelson and Benjie Lasseu, at the1988 50th anniversary performance ofGoodman’s 1938 program at Carnegie Hallpresented by none other than the NJJS. Theshow was the brainchild of Society cofounderJack Stine who organized theconcert that featured Bob Wilber on clarinetheading an all-star band including JohnBunch, Doc Cheatham, Al Grey, Al Casey,Ken Peplowski and many other top players.(Wilber had previously assembled a bandthat performed a celebrated tribute toGoodman at the 1984 NJJS Jazzfest atWaterloo Village to mark Benny’s 75thbirthday.)The NJJS 50th Benny Goodman/CarnegieHall anniversary show sold out just like theoriginal (fattening the NJJS coffers forseveral years) and was highlighted by thepresentation of the Buffet clarinet byGoodman’s daughters to Isaac Stern at theshow’s intermission, just after Bill Hylandplayed it for the last time with a hauntingrendition of “Memories of You.”Above, left to right: (detail) from the 1938 concert— Benny Goodman, Babe Rusin, Cootie Williams,George Koenig, Vernon Brown, Johnny Hodges,and Arthur Rollini. Lawrence Marx Collection,Carnegie Hall Archives.Left: 1950 mailer for issue of 1938 concertrecording; used in conjunction with the originalrelease by Columbia Records of the live recordingfrom the 1938 concert (it was first released in 1950).Carnegie Hall Archives.“The clarinet was the catalyst for thecreation of the Rose Museum, and to thisday remains one of the most prized andimportant objects in our collection,” saidRob Hudson, Carnegie Hall’s AssociateArchivist. Carnegie Hall considers theclarinet to be the “symbolic cornerstone” ofthe Rose Museum.Goodman’s dozens of Carnegie Hallperformances between 1938 and 1982showcased his talents as one of the mostgifted clarinetists of all time. In manyappearances Goodman reached beyond hisdefinitive work in jazz to also perform themany classical works he commissioned fromsome of the most important composers ofthe day, including Bartok, Copland, Poulencand Hindemith.continued on page 1412__________________________________ May 2008

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JerseyArticlesJazzGOODMAN AT THE HALLcontinued from page 12But it was jazz that Benny brought toCarnegie Hall, first and foremost.These days jazz music has its ownconcert hall and fancy nightclub atLincoln Center, and a regular placeon the program of most every PACaround the country, but Benny gotthere first, and he opened the doorfor everyone who’s followed.Items on display from Goodman’s1938 debut performance includethe only known intact ticket, aconcert program, sheet music andphotographs. Film footage takenduring the concert is shown on twoscreens in the museum. The NJJS hasarranged for a private, guided tourof the Rose Museum for Societymembers by its director, GinoFrancesconi, on Saturday May 10.For more information, see Prez Sezon page 49.The Rose Museum, located on the secondfloor of Carnegie Hall, has free admissionand is open to the public seven days a weekfrom 11:00 AM until 4:30 PM. Opened in1991, it chronicles Carnegie Hall’s historyand exhibits its archival treasures to thepublic. The permanent exhibit contains achronology of events from 1891 to thepresent, a history of the building, and itemsrelating to the many notable figures whohave walked through the Hall’s doors. JJLeft: 1950 Goodman letter inadvertisement for issue of 1938recording. Sent to radio stationsalong with a script to advertise thenewly-released 1938 concertrecording. The announcer wouldread a “question” from the script,and then play a special recordingwith Benny’s (recorded) “answer.”Carnegie Hall Archives.Below: Program from the NJJS50th Anniversary Benny GoodmanCarnegie Hall Concert in 1988.From the Crow’s NestBy Bill CrowBack in 1974 Turk Mauro and Zoot Sims were riding an Amtrak train to Washington D.C. wherethey both had gigs at different clubs. Mitch Miller walked up the aisle and stopped to say helloto Zoot. The train was crowded, and Turk got up and gave Miller the seat beside Zoot. When thetrain reached Philadelphia, Miller, looking a bit perplexed, left the train, and Turk rejoined Zoot.“What were you talking about?” he asked. Zoot said, “I told him I was sorry to hear about his troubles with the I.R.S. andthe jail time he served, and he said he didn’t know what I was talking about.” Turk told him he didn’t know Mitch Millerhad a problem with the I.R.S. Zoot said, “Mitch Miller! I thought that was Skitch Henderson!”Bill Crow is a freelance musician and writer. His articles and reviews have appeared in Down Beat, The Jazz Review, and Gene Lee’s Jazzletter. Hisbooks include Jazz Anecdotes, From Birdland to Broadway and Jazz Anecdotes: Second Time Around. The preceding story is excerpted, withpermission, from Bill’s column, The Band Room in Allegro, the monthly newsletter of A.F. of M. Local 802.14__________________________________ May 2008

Friday NightsLive Jazz featuringNew Jersey’s top performers5/2 Don Bradenwww.donbraden.com5/9 Frank Noviellowww.franknoviello.com5/16 Call for schedule5/23 Call for schedule5/30 Call for scheduleSaturday NightsLive Cabaret Show featuringPianist John Bianculliwww.johnbiancullimusic.comwith featured vocalists:5/3 Call for schedule5/10 Call for schedule5/17 Call for schedule5/24 Call for schedule5/31 Call for scheduleAlso performing, every Wednesday and ThursdayNovitaBistro & LoungeOur kitchen is openMonday through Thursday, 12 NOON– 3PM and 5 – 10 PM;Friday and Saturday, 12 NOON – 3 PM and 5–11PM.Hours of operation for the lounge areMonday through Thursday, 12 NOON – 1 AMand Friday and Saturdays, 12 NOON – 2 AM.We are closed for private parties on Sundays.Jim Nuzzo with friends www.jimnuzzo.comCheck our Web site for menus and updates.25 New Street, Metuchen NJ 08840 • (732) 549 5306 • www.novitanj.comMay 2008___________________________________ 15

JerseyArticlesJazzBig Band in the SkyBy Tony Mottola Jersey Jazz Editor■ John L.Wallace, 85,former NJJSpresident,1923, NewYork, NY –Feb. 27, 2008,Hawthorne,NJ. A formerexecutive withPrevent BlindnessAmerica,Jack Wallacewas also a World War II U.S. Army veteran.He was a member of the RidgewoodHobbyists, an avid golfer, and a longtimemember of the New Jersey Jazz Society. Hewas elected Vice President of the NJJS in1989, elected President in 1990 and reelectedin 1991. In 1993 Jack served as theNJJS’s representative to the American Federationof Jazz Societies. Among the highlightsof his tenure as president was a soldoutshow by Rosemary Clooney and theConcord All-Stars at the State Theatre inNew Brunswick. He was also instrumentalin securing a second-class postal permit forJersey Jazz. In 1990, while Jack was Societypresident, the NJJS celebrated the Centennialof Jazz at Waterloo Village and originatedInternational Jazz Day. The event wasendorsed by the United Nations and is theprecursor of the Smithsonian Institution’spresent day Jazz Appreciation Month.Donations in Mr. Wallace’s memory can bemade to Prevent Blindness America, 211West Wacker Drive, Suite 1700, Chicago, IL60606.■ Dennis Irwin, 56, bassist Nov. 28, 1951,Birmingham, AL – March 10, 2008, NewYork, NY. Dennis Irwin attended NorthTexas State University from 1969 to 1974 tostudy classical clarinet but, along the way,with the encouragement of two fellowstudents, he soon took up the bass andconcentrated on playing jazz. He progressedquickly and was working with pianist RedGarland in Dallas in 1973. In 1974 Irwinmoved to New York and soon after played inArt Blakey’s Jazz Messengers for three years.Most recently he hadplayed in bands led byJohn Scofield, JohnnyGriffin and Joe Lovano.He had also performedmost every Mondaywith the Vanguard JazzOrchestra since theearly 1980s. Dennis wasknown for his quick wit,at times entertainingaudiences with a bit ofpoetry or standupcomedy.A much in-demand player, Irwin’s discographyruns to more than 500 albums,including sessions with Chet Baker, StanGetz, Art Farmer, Art Blakey, Matt Wilson,and Toshiko Akiyoshi and many othernoted artists.His death from cancer came on the sameday as a benefit concert in his honor atJazz at Lincoln Center where Mose Allison,Tony Bennett, Ron Carter, Bill Charlap,Jack DeJohnette, Bill Frisell, Jim Hall, JonHendricks, Joe Lovano, Wynton Marsalis,Paul Motian, John Scofield and othersperformed.Irwin’s illness drew attention to the difficultiesworking musicians have maintaininghealth insurance coverage, with The NewYork Times printing a story earlier this yearabout the problems Irwin and other musicianshave in retaining adequate coverage.His case energized the jazz community andhas led to a commitmentby the EnglewoodHospital and MedicalCenter in Englewood, NJand the Jazz Foundationof America to create theDennis Irwin MemorialFund to make free cancerscreenings available tojazz and blues musicianswho are uninsured. Also,Adrian Ellis, executivedirector of Jazz atLincoln Center, hasannounced that thefar left: Jack Wallace.left: Dennis Irwin.below: Eugene Puerling doesan Einstein impersonation.organization willproduce an annualconcert to benefit jazzmusicians in need.■ Eugene ThomasPuerling, 78, vocalistand vocal arranger,March 31, 1929,Milwaukee, WI –March 26, 2008, SanAnselmo, CA. The Hi-Lo’s were a seminalvocal quartet whose tight and sophisticated,jazz-tinged harmonies left their stamp onmodern jazz vocal ensembles as well aspopular music and rock, and Gene Puerlingwas the group’s arranger and guru. The Hi-Lo’s, founded in 1953, were championedalong the way by Bing Crosby, Steve Allenand Frank Sinatra and their 1956 albumSuddenly It’s the Hi-Lo’s briefly joinedBillboard’s Top 20, but their enduring impactwas more through influence on other artiststhan record sales. The Hi-Lo’s successes werememorable, but modest. Their innovativesound, as channeled through the BeachBoys, The Mamas and the Papas, ManhattanTransfer and others, was lasting and hasreached millions.The Hi-Lo’s disbanded in 1964 and Puerlingformed Singers Unlimited in 1967. TheChicago-based a cappella vocal grouprecorded 14 albums, with Puerling arrangementsthat used overdubbing techniques totransform four voices into rich vocal array— without limit.Puerling won aGrammy in 1981 forhis arrangement of “ANightingale Sang inBerkeley Square” forthe Manhattan Transfer.Bing Crosby was reportedto have said of theHi-Lo’s, “These guysare so good theycan whisper inharmony.”JJ16__________________________________ May 2008

Lana’sRestaurantand Loungeat the Hyatt Hills1300 Raritan RoadClark, New Jersey 07066www.lanasfinedining.com732.669.9024Never a cover chargenor minimum;Lana’s boasts anaward-winning chef;consistently receives theZagat Review of Excellence;was voted one of the top50 restaurants in New Jerseyby NJ Monthly Magazine.Jazz at Lana’sJazz every Friday 7:30-11:30May 2:Swing into Spring at Lana’s!Enjoy the tranquil greeneryof the Hyatt Hills Golf Complexon our beautiful, covered,heated patio now open foryour dining pleasure.Every Thursday, 7-11The Warren VachéQuartetNilson MattaBrazilian Voyage TrioSpecial Latin Menu and Sangria available!Exciting full schedule TBA. For schedule informationand to be included on our private mailing list,please contact brookevigoda@yahoo.com with“Lana’s” in the subject line.May 2008___________________________________ 17

JerseyArticlesJazzhe introduction of contemporary jazz“Tto film scoring in the mid-twentiethcentury brought fresh forms of sophisticationand innovation to world cinema.” These wordsare used to introduce Jazz Score, a film seriesand exhibition that will be taking place at theMuseum of Modern Art (MOMA) from April17 through September 15.With his score for A Streetcar Named Desire in1951, composer Alex North blazed a new trailfor film composers by introducing elementsof jazz into the soundtrack for this film in asingular way. Prior to this score, there weremany films that contained elements of jazz intheir score or program of songs, but not in theall-pervasive way that North undertook to dowith Streetcar. The one exception to thisgenerality was in the world of cartoons, wherejazz was sometimes used extensively in themusical scores. During the heyday of theSwing Era, it was common to find popularbands of the day appearing in films, oftenbeing used as a drawing card for the film.There were also movies like New Orleans andYoung Man with a Horn that had jazz as acentral part of the film’s story. With Streetcar,however, North used jazz to set the mood fora screenplay totally devoid of any specificreferences to jazz.This opened up a world of opportunities forjazz influenced composers like North, ElmerBernstein, Leith Stevens, and Henry Mancini,as well as jazz musicians and composers suchas Benny Carter, Duke Ellington, QuincyJones, John Lewis, Johnny Mandel and LaloSchifrin to provide scores for films. In addition,many premier jazz musicians wereafforded ample opportunities to obtain wellpayingstudio work that gave them the kindof financial security that was not availableby simply playing jazz gigs and makingrecordings.Jazz was particularly attractive to some of theemerging independent directors in the UnitedStates who were breaking new cinematicground, and found the various styles ofmodern jazz well suited to augment the adventurouspaths that they chose to follow. Thisalso applied to the European and JapaneseNew Wave filmmakers who used jazz toprovide the musical settings for many of theirfilms. Musicians like Chet Baker, Miles Davis,and Johnny Dankworth found themselvescomposing music for European films.Joshua Siegel, an Assistant Curator of theMOMA Department of Film was intriguedby “the organic relationship between jazzSusan Hayward in I Want to Live! 1958. USA.Directed by Robert Wise.MoMA Jazz ScoreExhibit andFilm SeriesBy Joe LangNJJS Music Committee Chairmusicians and independent and New Wavefilmmakers.” The adventurous nature of theparticipants in both of these areas of artisticcreativity made the interrelationship betweenthese fields almost an inevitable occurrence.Siegel conceived of combining a film seriesthat illustrated this relationship with anexhibition that would include movie posters,record album covers, film clips, and animationart related to the films comprising the series.With the assistance of a colleague in theDepartment of Film, Assistant CuratorRonald Magliozzi, Siegel’s vision is about tobecome a reality that can be shared with thegeneral public.The film series will commence on April 17with a screening of Mickey One, a 1965 filmdirected by Arthur Penn, with a score arrangedand conducted by Eddie Sauter, featuring thetenor sax of Stan Getz. Other films to followduring April will include Paris Blues andAnatomy of a Murder, both of which havescores by Duke Ellington, Odds AgainstTomorrow, with a score by John Lewis, I Wantto Live, with music by Johnny Mandel, AStreetcar Named Desire, The Man with theGolden Arm, an Elmer Bernstein score, andThe Servant, scored by Johnny Dankworth.A classic cartoon, “The Three Little Bops,”with music by Shorty Rogers will accompanyshowings of The Man with the Golden Arm.Two Japanese films, Onna ga kaidan wo agarutoki (A Woman Ascends the Stairs) and Kuruttakajitsu (Crazed Fruit), along with Louis Malle’sAscenseur pour l’échafaud (Elevator to theGallows), with music by Miles Davis will alsobe among the films to be screened in April.The exhibition will be open for the duration ofJazz Score.As a part of Jazz Score, there will also be twojazz concerts. On Monday May 19, Polishtrumpeter and composer Tomasz Stanko andhis quartet plus tenor saxophonist Billy Harperwill present a program of music composed byKrzystof Komeda, a leading figure of EasternEurope’s 1950s underground jazz scene, whocomposed scores for 40 films. As a prelude tothis concert, there will be screenings of RomanPolanski’s Knife in the Water, and JerzySkolimowski’s Le Départ. The magnificent jazzpianist and composer Martial Solal will give aconcert of his music on Saturday June 14. TheAlgerian-born Solal emigrated to Paris in 1950and quickly established himself as a premierjazz pianist, eventually writing scores for filmsby directors like Jean-Pierre Melville, MarcelCarné, Jean Cocteau, Orson Welles and Jean-Luc Godard. Two of his most admired scoreswere for Godard’s Breathless and Jean Becker’sEchappement libre, both of which will beincluded in the film series.In September, there will be a panel discussionat MOMA related to Jazz Score. Details arestill being finalized for this event.This promises to be a landmark happening forenthusiasts of both jazz and film. Siegel hascarefully chosen the films to illustrate thebreadth of ways that jazz has been used toenhance the moods and action of film. Thevariety of films that will be part of the overallseries is impressive, spans the second half of20th-century filmmaking, and encompasseslive action as well as animated cinema. As isevident from the titles mentioned above, therewill be films that are familiar, and others thatwill be new to many viewers. Most importantly,it will reinforce the awareness that manyjazz lovers have of the place of jazz in film,and also open up the eyes of the uninitiatedto this complementary relationship betweenjazz and film.For further information about the filmsalready scheduled, updates about futurescreenings, and ticket information, pleasevisit the MOMA website at www.moma.orgor call (212) 708-9480. The Museum ofModern Art is at 11 West 53rd Street,New York, NY 10019.JJ18__________________________________ May 2008

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JerseyArticlesJazzTalking JazzA Jersey Jazz Interview with Coleman MellettBy Schaen FoxWhile he travels the world,guitarist Coleman Mellett is athome in New Jersey. And our state hasbeen the location for several of his lifeshapingevents. His studies at WilliamPaterson University were critical to hiscareer. And he met his wife, JeanieBryson, while playing at the Cape MayJazz Festival. Most often seen backingChuck Mangione or Jeanie, lately he isalso spending more time front andcenter stage.After talking about doing this for sometime, we finally did some phoneinterviews in mid and late January.JJ: Where are you from originally?CM: I’m from Potomac, Maryland. Wemoved there when I was 10. Beforethen, we moved around, but basically Igrew up there.JJ: Are there any other musiciansin the family?CM: I’m the only musician in myimmediate family, but I do have a cousinthat plays guitar and is doing some gigsin New York. I just found out about ayear ago when we went to visit relativesin Ireland that they’re all musicians.There is even a Coleman Mellett [there]who plays accordion. They play traditionalmusic. They are so good that partof my family was subsidized by thegovernment to move from the westcoast to just north of Dublin. At the timethey were trying to spread more traditionalculture around the country. Otherthan that, I was pretty much a moldbreaker in my family.JJ: When did you start to play?CM: When I was seven. My parentshad wanted me to play piano, so it wastheir idea for me to play an instrument. Iwas dead set on the guitar and I had tomake a deal with them. If I was going toplay guitar, I had to promise not to quitfor at least a year. So, I still haven’t quit[chuckles].JJ: How did your friendsreact to it?CM: I don’t even remember myfriends noticing until I got to be a teenagerand then it got to be awkward. Atthat time, I was really into it and no oneelse was playing an instrument.JJ: I’m surprised. I would haveguessed that being a rock guitaristat that time would have broughtyou some high status.CM: That’s a good point. There was amoment where I did a gig at a schooldance playing three tunes and therewas a shift in the tide. All of a sudden Idid have a little bit of fame, but thenagain it did not become a real socialthing because no one else played anyinstruments. My school was so smallthat it didn’t really matter. It was aCatholic school and my first guitarteacher was a nun. That school dancegig was just a silly little thing, but afterthat I knew I was going to be a professionalmusician. There was no otherchoice for me.JJ: How did your folks react tothat?CM: They thought it was a phase untilfairly recently [chuckles]. They werealways supportive; [but] since we didn’tknow any other musicians I don’t thinkthey had any reference or that youcould be a professional musician andlead a fairly normal life.JJ: You were in the Blues AlleyYouth Orchestra too. Would youtell us about that?CM: That was a really cool thing. Iwas with them for three years afterfreshman year in high school. But therewere a couple times they disbandedand changed. I don’t even know if it isstill going.Going back to parental support, my dadfound out about that when I was in ninthgrade so we went and I was expecting tobe as good if not better than the guitarplayer. It turned out he was a high schoolsenior and he was burning. I was blownaway. I realized I had a lot of work to do.Seeing that group was really the turningPhoto: David Gruol20__________________________________ May 2008continued on page 22

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JerseyArticlesJazzCOLEMAN MELLETTcontinued from page 20point for me in getting serious about playing jazz.We did a little research and called the leader of theband, a great saxophone player named Leigh Pilzerwho is in the DIVA band. She recommended severalguitar teachers. [There are still great guitar playersdown there because you’ve got the military bandsand they have great players.] I ended up with PaulWingo, a local guitar guru. He straightened me outabout music theory and really got me heading in theright direction.JJ: And then you went off to college?CM: I decided to do a jazz major in college and myfirst year I went to Duquesne. The minute I got thereI realized there weren’t that many other jazzplayers, but what was really good about going therewas a couple of things. First of all, Joe Negri taughtguitar there. He was the handyman on the Mr.Rogers show, but he was a great bebop player. Hereally comes out of the Charlie Christian school andit was great to be exposed to that kind of player andteacher. I was cruising through and had tons of timeto practice, so I practiced like a madman the wholetime I was there. There weren’t many bass players,drummers or horn players to play with, so I decidedto transfer to William Paterson and that of course isa brilliant program with a great reputation.JJ: Was that your first real experience inNew Jersey?CM: It’s funny, but I’ve got to paint a bit of apicture of William Paterson, because other than themusic school that school is mainly commuters. Soone of the things that happens is the jazz department[students] are the only people on the campuson weekends. We were all experiencing New Jerseyfor the first time [laughs] and I found the area challengingto drive around. I had never seen cloverleafsor jughandles and the toll thing was a little surprising.I remember it being really frightening. I probablyshouldn’t say this to the Jersey Jazz journal, but Iswore I would never move to New Jersey after Igraduated. I have to say that William Paterson is in avery congested area and I don’t find the whole stateto be that intimidating. I moved back here because Iwanted to be with Jeanie, and I love living in NewJersey at this point.JJ: Would you tell us about your teachers?CM: Rufus Reid is pretty awe-inspiring. He was thekind of guy who walked into aroom and all eyes and earswould be on him. He wouldhave a lot to say about a performanceor how to work as arhythm section. Kenny Burrellwas there for a year and Ispent the entire time followinghim around just picking hisbrain like crazy. That waspretty brilliant. I got to studyprivately with Harold Mabernfor a semester. He is such agreat player and NormanSimmons is a master in the artof accompaniment and allsorts of subtleties within therhythm section. His way ofteaching was not typical. Hewould talk about conceptualthings sometimes and daysafter he told you what youwere to work on you wouldrealize what he meant. He wasdefinitely an awe-inspiringteacher. I am still learning from things he taught me.He ended up hiring me to play with Joe Williamsafter I graduated and that was another greatlearning experience.JJ: Would you tell us about that?CM: Sure. That was a great gig. I had alreadyplayed with Joe in a big band and small group settingsbefore at William Paterson. Norman called andthe gig was in Reno. So I went over to Norman’s andwe rehearsed. He said, “He’ll probably call ‘HowDeep Is The Ocean?’ I want you to know he likes tostart that with just guitar and you just play thechords real slow.” Later I fly to the gig and my planegot sidetracked and I ended up missing the soundcheck. So I was feeling pretty nervous. The gig isgoing great and Joe sounds amazing and he said,“Okay, now we are going to play “How Deep Is TheOcean?’ Are you ready, Coleman?” And I said, “Ohyeah. Ready to do it, ready to do it.” And I’m expectinghim to count [a slow] ballad and he wanted itfast. I almost missed the first beat I was so surprised.That was a good lesson; you have to beready for anything. That was a thrilling gig. I wish Icould have worked with him more, but unfortunatelyhe passed away about a month later. It was aserious honor to work with Joe.JJ: How about your lessons withKenny Burrell?CM: He was leading one of the combos that I wasin and he made us each play solo for him and whilewe were playing he would take notes and then giveus a list of pros and cons. My friends Paul Wells,Adam Scone and I had a littleorgan trio and we actually askedhim to do that pro and con thingfor our trio on his own time. Andhe did. He is a really, really greatabove: Coleman with his “boss” Chuck Mangione.below: Coleman Mellett jams with his Irish relatives — the accordionplayer is also named Coleman Mellett.gentleman and would answer any question I had.He actually took me to lunch one day.JJ: Did you keep any of those lists?CM: I have two of them in with my diploma. Heactually wrote me a recommendation for theManhattan School of Music and that is pretty greatto have. I felt shy about opening it. I didn’t feel itwas for my eyes; it was for the people at the school,so I’ve never looked at it.JJ: Did he give you any memorable advice?CM: Yeah, he said if you want to get anywhere injazz, develop your own sound. That is pretty muchindisputably good advice.JJ: Anyone else have advice that has stuckwith you?CM: Norman said as an accompanist you are notplaying to get your music out to the crowd. You areplaying to support the person standing at the edgeof the stage. I take that with me on every gig. Thathelps me no matter what situation I’m playing in.Even if I’m playing with Chuck Mangione wherethings are a bit louder than a small combo gig. I’mstill basically playing for Chuck and it’s thesoundman’s job to carry my sound into the room.JJ: You have been with Chuck for a longtime. How did you land that gig?CM: I was on a low budget Manhattan cableaccess network show they played every day forweeks. Chuck saw that and his wife looked mynumber up in the white pages and asked me toaudition. By the way, that TV gig only paid like 50bucks so I was grumbling about the bread the wholetime. If I hadn’t played that gig and had my numberin the white pages I would not be with Chuck.JJ: How much time do you spend with him?continued on page 2422__________________________________ May 2008

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JerseyArticlesJazzCOLEMAN MELLETTcontinued from page 22CM: I would say between 40 and 50 dates a year.JJ: What was your longest trip for a singleengagement?CM: We did one in South Africa. Now Jeanie and Ihad just married and Chuck bought Jeanie a ticket.Jeanie and I made a vacation out of it. So, we didn’t goto South Africa for one night, but everyone else did.JJ: I know you play Korea regularly. Wouldyou tell us if jazz is becoming part of theculture there?CM: The last few times we went, we had time tohang out. I know a couple of jazz clubs there. One iscalled The Blue Moon and the other is All That Jazz.It’s the kind of club you’ll find in Japan where theyhave a massive record collection. It is such a coolthing. I wish there were some places in New York, orbetter yet, in New Jersey like it. This most recent tripthere was actually a band and they were reallyhappening. There was a guy from Toronto visitingand he was a smoking tenor player, but the all-Korean rhythm section sounded good too. Theywere into classic bebop. I don’t know if there areclubs like this in other cities around Korea, but Seoulhas a few pockets of jazz — definitely.JJ: What are the audiences like?CM: It’s all ages. Chuck had a tune on a TV showthere and they really appreciate the music. At theSeoul Performing Arts Center it is across the board.There they are hanging on each note and it’s totallyquiet until we are done playing. Then they explodein thunderous applause. It is a pretty awesomeexperience.We were in Korea during 9/11 unfortunately. The dayafter we had a free public gig in downtown Seoul.People came out in droves and brought Americanflags and were holding them up as we were playing.It was quite something to get that support fromeveryone. We could not leave because the flightswere not taking off, obviously, and they were themost gracious hosts. They took us to an evening oftraditional Korean music one night and that wasunbelievable. Then flying home was insane becausethe lines just to go through the check points werenuts. But, we did actually make gigs as scheduledsurprisingly.JJ: I wanted to ask about the joys andsorrows of being a traveling musician.CM: My biggest challenge is traveling with myinstruments. I’ve spent hours, days, weeks researchingthe cases I need and things like that. When Itravel with Chuck I have to bring a classical and anelectric guitar. I’ve found a small body guitardesigned with the purpose of sounding like a bighollow body jazz box. That fits in a gig bag that fitsright in the overhead [compartment]. A seriouslygreat luthier named Otto D’Ambrosio designed thatfor the Eastman Guitar Company.The classical guitar I actually check and sure, someonecould open that up and walk away with it, so itis not an irreplaceable guitar. As long as I have thecarry-on guitar, I could do the whole gig with Chuck.Actually, it happened last year that we were playingin San Antonio but for some reason my guitar wentto Houston. It wasn’t the perfect show, but life wenton and everything was cool. So I carry on the one Iabsolutely need. They would have to pry it from mydead hands if they tried to take it from me [laughs].Other than that, the road is easier than it has everbeen. We have cell phones, laptops and the Internetand we can stay in touch with everybody.JJ: Yeah, but does any of that help gettingthe laundry back on time?CM: You know I’m lucky with Chuck. We don’t goout for long amounts of time. If we do, I’ve beenknown to stay in very fancy hotels and have mydrawers drying on the windowsill. I don’t want tosully the reputation of any fine establishments, butthat is how it works.JJ: Do you have any rules about practicing?CM: I try to practice as much as possible. Unfortunatelyit is nothing consistent like it used to be, but Itry to get in at least a couple hours a day. I have acouple of books that I work on sight-reading andtechnical exercises. I keep those on my stand and ifI can’t practice, I focus on those for brief sessions.JJ: Do you have any new projects you wouldlike to tell us about?CM: Yeah. I have finally made my first record as aleader, Natural High. Of course I’m the only personon most of it, so I was just leading myself [laughs]. Irecorded in my home studio and then had a moreexperienced person mix and master it. It features acouple of original tunes and a medley of tunes Iplayed with Chuck.JJ: Why did you decide to record?CM: I felt I was missing the chance to connect furtherwith people who come to see me play. Peoplewere asking do you have your own recordings andmy answer was always “No.” And I felt thatmusically I had something to say at this point.JJ: Do you have any favorite places to play?CM: Shanghai jazz has been a great home basefor both me and Jeanie. We usually have playedthere on Sundays and have attracted a reallyattentive “listening crowd.” Coming up I’ll be thereon April 29th, May 6th, May 20th and two Tuesdaysin June. David Niu has decided to add music to hisTuesday nights for the first time and I’m very excitedto help him get that started. I will most likely beplaying solo guitar, however, there is talk of having afew guests do some duos with me, so keep an eyeon the calendar for any updates"As far as overseas, one my favorite countries hasbeen Spain — the food, people, and music arewonderful and of course the lineage of the guitar isquite strong there.JJ: After you have retired and you’re lookingback, what will make you say you were asuccess?CM: Musically? Success is hard to define, howeverI have to be happy with something and know that Igave it my best. If I’m working as a sideman — that Idid the job as well as I could. If I’m a leader I have toknow that I was true to myself musically andconveyed the musical concepts that I wanted toconvey. I have to be happy with what I did.JJ: What are your interests outside of music?CM: I do yoga and I love my dog. That’s the majorinterest [laugh]. Working with Jeanie and travelingwith Chuck can get so busy that I like my down timeat home. If we do go anywhere we try to visit family.JJ: Well, thank you for spending this timewith us.CM: Thank you, it was really nice.You can find Coleman on the web at:www.myspace.com/colemanmellettColeman’s CD can be found at:www.cdbaby.com/cd/colemanmellettSchaen Fox is a longtime jazz fan.Now retired,he devotes much of his time tothe music, and shares his encounters withmusicians in this column.JJPhoto: David Gruol24__________________________________ May 2008

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Eric ComstockJAZZFESTPREVIEWcontinued from page 1VerPlanck, Tony Finnoand Dean himself. Thebandleader has recordedseveral CDs for CextonRecords, including 2004’sSwinging at the Whiskey Caféand Clari-Trane, a collectionof Coltrane compositionsperformed on clarinet.To spice things up for hisJazzfest appearance,Dean is featuringStan Kenton alumnusMike Vax on trumpetas a special guest artist.Other acts making their firstJazzfest appearances on June7-8 at Drew Universityinclude Carrie Jackson andher Jazzin All-Stars,Swingadelic and the JazzLobster Big Band. Roundingout the schedule for two daysof non-stop jazz are Ed Metzand the Bob Crosby Bobcats,the Tony DeSare Trio, NickiParrott with RossanoSportiello and BuckyPizzarelli, The Jerry VezzaTrio with vocalist FrankNoviello, singer EricComstock, the Joe TemperleyQuintet and Cynthia Sayer &Sparks Fly. and the Earl MayTribute Band.The jazz weekend gets anearly start again this yearwith a free performance bythe best high school jazzbands in the state as selectedby the New Jersey IAJE in itsspring competition.Jazzfest is family friendly(it’s free for kids 16 and“Comstock is one ofNew York’s most giftedand charming entertainers,a performer who sports anencyclopedic, yet neversnobbish, knowledge of thesingers and songwriters ofthe American Songbook.”— Michael P. Gladstone,All About Jazz“Bassist Nicki Parrottfrom Australia, asbeautiful to hearas she is tosee, is fearlessin taking onnew challenges,expertly playinga wide spectrumof styles fromjazz to classicalto tangos toklezmer…”The Mississippi RagNicki ParrottSome of the members of Swingadelic.“Sayer is considered to be amonga small group at the top of the jazzbanjo world.” — Chicago Tribune“…only a handful ofmusicians have convertedvirtuosity to genuine voice…Joe Temperley has given[the baritone sax]a soul.” — Hep JazzJoe Temperley26__________________________________ May 2008

Carrie JacksonJerry VezzaBucky PizzarelliCynthia Sayer“DeSare…this singer/songwriter/pianist’sapproach is refreshingly instinctual…withoutsmothering or overthinking the material.”— Gardner,USA Today“The new and revitalized Bob Crosby Orchestra nowreclaims this (most danceable, most swinging) jazzheritage. …the band gathered up not only themusical arrangements of its predecessor bands,but also their spirit and vitality.”—Jack Lebo, Big Band ReportEd Metzand theBob CrosbyBob Cats.younger) and people are welcome to bring a basket and picnic on DrewUniversity’s beautiful grounds as they enjoy great jazz on a summerafternoon. Southern barbecue, sandwiches and salads and beverages willbe available on site from Drew’s new food vendor.The NJJS is also hosting a New Orleans Cajun Jazz Buffet at theMorristown Hyatt on Saturday evening, June 7.For schedules and ticket information please see the Jazzfest ad onpage 3 of this issue.JJTony DeSareMay 2008__________________________________ 27

JerseyArticlesJazzNew York (Jazz Festival) State of MindBy Mitchell SeidelEver since George Wein revived the NewNewport Jazz Festival in New York City in the1970s, June has generally been seen as the startof the festival season in the Empire State. WhileWein’s New York City fest continues as JVC,there are others to consider during the month.Someone planning a late spring vacation in northwestNew York would do well to consider dovetailingit with the fledgling Rochester InternationalJazz Festival, now in its seventh season. Coveringnine days and encompassing two weekends, theRochester festival bears a striking a resemblance toMontreal’s international jazz festival, which occursabout three weeks later. The resemblance is purelyintentional, as Rochester, with multiple paid andfree venues, is closely modeled on its neighbor tothe northeast.While no one will ever confuse the two cities, thefestivals share a common bond of eclecticism andquality. By using many different stages at one time,Rochester can cater to a wide audience and not disappointanyone. For example, on one given eveninglast year, one could take in the Hanna Richardson/Phil Flanigan Quartet at a free outdoor stage whileat the same time a few blocks away the RochesterMetro Jazz Orchestra was performing at the wineand cheese tent. A few blocks in the other direction,the New Orleans trombone-based group Boneramawas performing in a club.This year’s offerings will include Frank Sinatra Jr.and his orchestra conducted by Terry Woodsondoing “Sinatra Sings Sinatra;” a Rochester versionof Jazz at the Philharmonic with trombonist SlideHampton, saxophonist Houston Person, trumpeterNicholas Payton, saxophonist Vincent Herring,drummer Kenny Washington and others;saxophonist Lou Donaldson’s quartet anddrummer Ben Riley’s Monk Legacy Septet. Alsoplanned are “Gillespieana,” a tribute to DizzyGillespie with an orchestra conducted by Jeff Tyzikand guests, vocalist Jeanie Bryson, trumpeter ByronStripling and saxophonist Gerry Niewood.The main paid concert halls are based at the statelyEastman School of Music and look like they werehand-carved out of wood by European craftsmen.Other venues include street stages, local clubs andeven a church. A local hotel’s bar/restaurant servedas the home for a nightly jam session that hadmusicians and fans staying late after the regular gigsfor music until last call. Even Wynton Marsalis, intown with the Jazz at Lincoln Center Orchestra,stopped by to jam with the locals. It’s an intimatesetting that simply may not be possible in a fewyears, when Rochester rightfully takes its placeamong the country’s great jazz festivals.The Rochester International Jazz Festival runsJune 13–21. For more information, go towww.rochesterjazz.com.For about threedecades, thanks toGeorge Wein, the end ofJune in Saratoga Springshas meant major jazz.The earliest festivals werecalled Newport Jazz atSaratoga and certainlylived up to the title withsuch headliners as SarahVaughan, Ella Fitzgerald,Count Basie and BuddyRich. In later years the renamed Freihofer’s JazzFestival continues the tradition at the SaratogaPerforming Arts Center (SPAC).The music at Saratoga is presented on two stages,one in the massive amphitheater and the other in acozy gazebo across the grounds. Having establisheditself over many years, Saratoga tends to attract alot of repeat attendees. Odds are good that peopleyou meet there probably were there the year before.And odds are even better that if you decide toreturn, you’ll meet some old friends.The atmosphere is something between a frat partyand a family reunion. The young people and theirbackpacks give a college feel, while the oldsters,with their picnic spreads and lawn chairs, make it afamily event. In fact, people who have attended theevent later celebrated weddings there as well.The Saturday and Sunday festival crams jazz, bluesand R&B into two 10-hour days. If nothing you likeis on right now,wait a set andsomething surelywill be. If shoppingis your thing,there is a craftstent that featureseverything fromhats to salsas.For time notspent at thefestival, the townof SaratogaSprings offers a widevariety of restaurantsand local music clubs.Local attractionsinclude the harnesstrack, a world-classautomobile museum,a golf course just apitch away from themusic and the SpaCity’s well-knownmineral baths.The tentative lineup for this year’s festival includesthe Brubeck Brothers, singers Dee Dee Bridgewaterand Dianne Reeves, trumpeter Terrence Blanchard,the children’s jazz program Hayes Greenfield &Jazz-a-ma-Tazz and the long-awaited reunion tourof Return to Forever featuring pianist Chick Corea,bassist Stanley Clarke, guitarist Al DiMeola anddrummer Lenny White.The Freihofer’s Jazz Festival is June 28-29.For more information go to www.spac.org.Mitchell Seidel is Jersey Jazz’s contributingphoto editor, and an assistant photo editorand photgraphy writer for The Star-Ledger.photos, top to bottom: James Moody performs atKilbourn Hall at the Eastman School of Music;Maceo Parker performs at one of the outdoor stages;Wynton Marsalis performs at a jam session at theState Street Bar & Grill of the Crowne Plaza Hotel.All at or duringthe sixth RochesterInternationalJazz Festival inJune 2007.Photos byMitchell Seidel.JJ28__________________________________ May 2008

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JerseyArticlesJazzDan’s DenOn the Birthday BeatBy Dan MorgensternThe week of March 17, kicking off withSaint Paddy’s Day and peaking onMarian McPartland’s 90th birthday on the20th, was one big jazz birthday blast. I hadplanned to do a double dip on the 19th, buthad to forgo my dear friend GeorgeAvakian’s 89th at Birdland, celebrated fourdays late (same day as Bob Wilber’s 80th),but with one of George’s favorite groups,David Ostwald’s Gully Low Jazz Band, a.k.a.The Louis Armstrong Memorial Band, ondeck.George gets around on the jazz scene betterthan your correspondent! The music startedat 5:30, as it does every Wednesday—a greatbargain at ten bucks, no minimum, and theonly regularly scheduled traditional jazz in aManhattan club these days, highly recommended.Idea was to congratulate Georgeand then make my way uptown to SymphonySpace, where many of the Ostwald regularswere gathered for a Sidney Bechet MemorialSociety double-header, under the leadershipof multitalented Anat Cohen.That was the plan. But as it turned out, Icould get away from the Institute barely intime to catch the first downbeat at 6:15.With a lineup of Jon-Erik Kellso, trumpet;Vince Gardner, trombone and vocals; Anaton clarinet, soprano and tenor; KeithIngham, piano; Howard Alden, guitar; JonBurr, bass, and Marion Felder, drums, thisadded up to one of the best mainstreambands in recent memory. (I hate categorizingmusic, and detest the term Dixieland,so what these musicians played can best bedescribed with the term used for Avakian’searly album productions: Hot Jazz.)Ol’ Sidney would have been pleased withtheir version of his rarely heard “SouthernSunset,” and blazing rendition of “There’llBe Some Changes Made” (Anat outstandingon soprano) that closed the first concert.Gardner proved himself a fetching vocalistand expert plunger manipulator; Kellso washis steady-lead-and-fine-solos self, Alden issimply a marvel, and it was good to hearand see Keith, whose feature, “Yesterdays,”was more than ably supported by Burr—whose choice of notes is as good as his timeand sound—and Felder, the baby of theband at a mere 23, but so adept at how thedrums should function in a variety of stylesand moods—here he was fine on brushes,and elsewhere he even trotted out somepress rolls—clearly a young man to beheard from. As for Miss Cohen, aside fromher topnotch musical contributions, sheknows how to put together, present andpace a good program, and earn herleader’s spurs.Time for SchmoozingWe now deployed back to midtown, gettingto Dizzy’s Club Coca Cola, at Jazz at LincolnCenter, in what proved more than plenty oftime to catch Marian McPartland’s second90th Birthday set. Waiting on line, we wereperfectly positioned to watch the first setcustomers emerge, and they all lookedhappy; those we knew, including our ownJoe Lang, confirmed that a good time washad. Some others lingered on so long thatthe house was not cleared until more than ahalf hour past the scheduled 9:30 start, butthat allowed for schmoozing time. Once theshow got under way, the birthday girl in theenchanting gold lamé dress presided fromthe keyboard, and it was what Lord Buckleywould have called a gasser.The lovely leader did not seem the least bitfrail at the piano, providing sterling supportfor such sit-in guests as Regina Carter (aholdover from set one), Karrin Allyson(ditto), trumpeter Jeremy Pelt (good but abit too loud), and, as a most welcomesurprise, Wynton Marsalis, whose playingon a spirited “All The Things You Are” wasnot one bit too loud and marvelouslyinventive, proving to this listener, at least,that he may be at his best when not incharge of a programmed occasion, but justbeing the great jazz trumpeter he is.Moreover, Wynton interacted with the guestof honor in a more relaxed and intimateway than did the others.Two fellow pianists did their solo tributes,both splendid: Bill Charlap and KennyBarron. Marian had several trio features,outstandingly “I’ll Remember April,” withthose special voicings in evidence. She alsocame up with some great one-liners inresponse to the many well-meant wordssuch occasions engender. “I guess I shouldsay thank you to the Arthritis Foundation”took the cake—which, piano-shaped, waspart of the first show, so I got no sample.Marian’s production team from NationalPublic Radio presented her with a generoussizedhand doll named—you guessed?—Marian McPuppet. We hung around tocongratulate this truly amazing, agelessnonagenarian.Caught Off GuardThe next day’s celebrant, six years younger,was Stanley Kay. And he was totally caughtoff guard by the party cooked up by hisdevoted DIVA team. The DIVA JazzOrchestra, as you should know, is the greatbig band led by Sherri Maricle who, likeStanley, is a drummer. Stanley put his ownsticks and brushes in the toolbox when hemade the decision to become Buddy Rich’sace man. There are some, myself amongthem, who think that the man who startedout as Traps, the Drum Wonder, at agethree, and in some ways never grew up,would not have accomplished all he did ifStanley hadn’t been in his corner, throughthick and thin. Some years ago, Stanley Kaytook charge of the destiny of DIVA, and theresults speak for themselves. DIVA is not agreat all-female band, it is a great band,period. A band that can hold its own withanything out there.30__________________________________ May 2008

JerseyArticlesJazzThe party took place at Nola Studios, trumpeter-bandmanager Jami Dauber havingdone the planning and overseen the catering,which was superb. Studio owner JimZack was his usual benign presence, and theguests, including bassist Bob Cranshaw andhis charming wife; my longtime friend,singer Janet Lawson; author-discographerJames Doran; ex-DIVA Nicky Parrott, thefine bassist and vocalist, and her sister, still-DIVA baritone saxist Lisa (two gifts fromDown Under), and the birthday boy’s sister,a vivacious lady whose story I hope to get(and then share) in the near future, all had agrand time. The birthday cake, fromGreenberg’s, was delicious, as befittedStanley’s sweet tooth.The following day’s birthday bash was aneven more private affair, and I will confinemyself to reporting that it was swell. (Yes,swell—a descriptive worth reviving.) It ishard to believe that my dear friend, theauthor and critic Gary Giddins, rounded 60on March 21. We first met when I was editingDown Beat and Gary, fresh out of college,sent in a writing sample so good that Iinstantly grabbed him as a regular contributor.And the rest, as they say, is history.One tends to forget that one’s friends growolder, too, but Gary has never lost hisyouthful passion for the music, and hisother great love, filmmaking. The partycast was stellar, and the birthday cake, Imust confess, even tastier than Stanley’s.What a birthday week. Many happyreturns to all!JJDan Morgenstern, a columnist for Jersey Jazz, isdirector of the Institute of Jazz Studies at RutgersUniversity, Newark, and author of Jazz People(Pantheon Books).Hall of FameAward Presentedto Annie RossBy Frank NisselSecretary, American Jazz Hall of FameAnnie Ross, the fabulous survivor of thefamed Lambert, Hendricks and Rossvocal trio, was inducted into the AmericanJazz Hall of Fame this year by almostunanimous vote of the 11 electors.The singer still appears regularly every Tuesdaynight at The Metropolitan Room, a cozylittle nightclub in Manhattan where she isaccompanied by an all-star quartet of WarrenVaché, cornet, Tardo Hammer, piano, NealMiner, bass and Tony Jefferson, drums.And so, on Tuesday March 18, NJJSPresident Andrea Tyson and I paid asurprise visit on Annie there to present herthe well-deserved trophy in front of a fullhouse of eager and admiring guests, somewho came from as far away as Sweden toattend this performance without evenknowing about the special occasion.Annie’s charming singing was introducedby double talking 92-year-old comedianProfessor Irvin Corey who frequently doesan opening act for her. She sang a halfdozen well-known standards by JohnnyMercer, Harold Arlen and other classictunesmiths, sometimes prompted bymusical director Tardo. All were performedflawlessly in her inimitable lucid vibratostyle and resulted in long applause by theappreciative audience.Annie Ross is all smiles as Frank Nissel presents her award.The Metropolitan Room (34 West 22ndStreet, 212-206-0440) is an intimate streetlevel cabaret which features a great variety ofsingers every night of the week. While theydo not serve meals, I can highly recommendArezzo, a nearby excellent Italian restaurantat 46 West 22nd Street (212-206-0555)for dinner before the show.JJEstablished in 1983, the AmericanJazz Hall of Fame is a joint ventureof The Rutgers Institute of JazzStudies and the New Jersey JazzSociety. Eleven electors, comprisedof representatives from bothorganizations as well as the jazzpress, annually elect new living anddeceased members. There are nowmore than 250 honorees.May 2008___________________________________ 31

JerseyArticlesJazzJAZZ UJazz Goes to School | The College Jazz SceneBy Frank MulvaneyRutgers UniversityMARCH 3 — If you told one of your jazzfriends that you were going out to a concert ofDon Sebesky music, they would probably say,“Who’s he?” Mr. Sebesky was a renownedtrombonist with many big name bands and isstill active as a composer/arranger, having wonthree Grammys in 1998/1999. The music wewould hear this evening from the RU undergraduateensemble was written primarily forthe Maynard Ferguson and Buddy Rich bands.I would say it was straight-ahead big bandjazz; nothing too cerebral. One of the greatbenefits of college concerts, for open-mindedjazz fans, is the education that comes alongwith the listening pleasure.The opening number, entitled “Mean Machine”was a big-sound, up-tempo chart featuring afine solo by altoist Leo Wolf. “Sunday Sermon,”a hot, hard swing, was next up. Here we heardseveral excellent solos from trombonist EricDrylewicz; guitarist Daniel Bascom; altoistYuki Yosida; and on flute, RupnathChattopadhyay, who was a triple threat tonightplaying trombone and French horn as well. Wethen heard “Sweetie Pie,” a swinging balladwith marvelous mellow harmonies. The firstset concluded with a real burner entitled“Humbug” on which baritone John DiSantoand pianist Michael Bond made essentialcontributions.“Smilestones,” A Miles Davis tribute piece, ledoff the second half. This tune has a strongfunk beat and featured fun point/counterpointsolos by altoist David Greenberg and tenoristPeter Laurance. Jim Bell with muted trumpetand Chris Bleeke with open-throat trumpetadded interest to this enjoyable tune. Sebesky’sarrangement of Mussorgsky’s famous work“Pictures at an Exhibition” was the centerpieceof the concert and really proved how well theensemble could handle such a challengingarrangement. On this one, we heard some finetrumpet work from Tiffany Peng and valuablecontributions from guitarist Chris Schwartz,plus an outstanding drum solo by MattTeitelman. “Blue Moan” was a nice bluesychange of pace that featured an excellent soloby Peter Laurance on tenor. Concluding thislively concert was a tune called: “Fan It, Janet,”which was recorded in 1981 by the MaynardFerguson Band and so exemplifies that organization.Maynard would have been proud of theway the RU ensemble played this one, withmost of the band members getting a chance toshine in the spotlight.Ensemble Director David Miller did a greatjob putting the program together and supplyingwitty commentary throughout, as hecredited the many fine soloists.So folks, we heard some great, professionallevel, live big band jazz in a beautiful venuewith free admission and free parking.Princeton UniversityMARCH 2 — Like all Princeton student concertsthis one had a strong, well-developed theme:“A Woman’s Voice: The Music of WomenComposers in Jazz.” The first half of the programhad The Composers Collective, a septet,performing the works of two brilliant youngwomen. We heard a trio of compositions fromPrinceton senior, Julia Brav. Julia has receivedinternational recognition via selection for theIAJE Sisters in Jazz and for Down Beat’s BestCollege Soloist award. Julia’s compositions arevery advanced technically, sophisticated and achallenge for all but the most adept pianists.“Cat Dance” is a somewhat long meanderingpolyrhythmic piece that demonstrated Julia’sobvious virtuosity and the depth of her musicalgifts. “Falling Feather” is a marvelous balladof rich, complex harmonies on which tenoristBen Wasserman delivered a beautiful, intensesolo. “Heliocentric” is an impressive compositionon many levels that probably overwhelmsthe sensory capabilities of the typical listener.It’s the type of art that demands multiplesamplings to be appreciated. Julia is an exceptionalcomposer/musician that I have had thepleasure of watching mature as an artist forthe last five years. I expect to hear about hergreat success in the coming years.It’s difficult to control my enthusiasm forKadri Voorand. This 21-year old young lady isthe most natural young jazz singer that I haveever seen. She sings like an alto saxophone.Her four octave voice is like an extra horn inthe band. Only in her third year at the EstonianAcademy of Music, she plays piano and violinand scats like no one you’ve ever heard before.This afternoon we were treated to three of hervery impressive compositions, sung in bothEnglish and Estonian, which to my ear has thesame kind of natural melodic character asPortugese. I should add that Ms. Voorandspeaks English better than most native-bornAmericans. Her first offering was a fascinatingtune called “Echo the Feeling,” which featureda wonderful long intro by Julia at the piano.All you needed to hear was 16 bars of the vocaland you knew, for sure, that you were seeing avery special talent. This was a real jazz tunethat had nothing in common with the 3-minute A A B A structure of most jazz standards,the kind that musicians really like tosink their teeth into. Kadri puts her entirebeing into the performance that is obviousfrom her body language, the way she handlestempo changes and her dramatic intonationand interpretation of the lyrics. “Who Am I”was a lovely,very lyrical ballad that showedKadri’s range and the instrumental quality ofher voice, as she traded fours in scat modewith altoist Robbie Spackey. The final tune ofthe set was an up-tempo number that allowedguitarist Anand Krishnamurphy, bassistAllison Wood and drummer Will Kain to showtheir considerable talents as soloists. I’m notashamed to admit that my eyes welled upduring Kadri’s performance. Beautiful musicalart does that to me sometimes. If Kadri doesnot become a huge international star one day,I do not know anything about talent.continued on page 3432__________________________________ May 2008

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JerseyArticlesJazzCOLLEGE JAZZcontinued from page 32The college concert schedule and the IAJE High SchoolJazz Band Festival are now on the Jazz Society’s website.I would be happy to respond to your questionsand comments — fmulvaney@comcast.net.For the second half, we had the 18-memberPrinceton Jazz for six tunes by six womencomposers,only one of which I was familiarwith. First up we had “Ms. B.C.” (PamelaBaskin Watson), a cheerful brassy chart featuringMs. Brav on piano. This was followed by“Tone Poem”(Melba Liston), an interestingballad that was dominated by the trumpetsection which made some stratosphericremarks. Well known pianist Eliane Elias gaveus “The Time is Now,” which is unmistakablyBrazilian in character and on which pianistDaniel Berry and bassist Allison Wood deliveredexcellent solos. For this and the next twonumbers, Ms. Voorand returned to the stage tothe delight of the audience. Kadri then sharedwith us her fourth composition of the evening,“In the Middle of Stars,” with some wonderfulEnglish lyrics, of course. Kadri then proceededto pluck our heart strings with a swingingversion of “Willow Weep for Me” as tenoristBen Wasserman (IAJE All-Star) chimed inwith an outstanding solo. The big band reallycooked with Maria Schneider’s underappreciatedcomposition “Dance You Monster to MySoft Song.” The big band really cooked on thisone, which featured a terrific solo from freshmantrumpeter Will Livengood. DirectorAnthony Branker never fails to program theseconcerts with big finish endings that leave jazzfans craving more.I would remind readers that there are adozen good restaurants just a short walk fromRichardson Auditorium. Mark yourcalendars for April 12, when theJuilliard Jazz Orchestra will appearwith the university ensemble. Makea day of it in historic Princetonvillage. The University has the finestart museum in New Jersey andadmission is free.William PatersonUniversityMARCH 9 — The final installmentof the Spring Jazz Room Seriesfeatured the University JazzOrchestra with guest tenor soloistRich Perry. Critics have described Mr. Perry’splaying as “eloquent, inventive, thoughtfullylyrical and impassioned, yet cerebral.” But firstwe had, as usual, a small group opening act.This afternoon we had the most unusualgroup that I’ve ever seen at WPU. Except fordrums, it was all electronic instruments,including saxophone. The members of thequintet hailed from five different states: PA,IN, AZ, MI and VA. Matt Vashlishan, theelectronic saxophonist, was the leader andcomposer of the first three of the four tunesplayed by the group. “Dark Squared” wasappropriately titled and, though clearlysophisticated, was at times rather abstract. Thesecond piece was untitled and here I enjoyedthe pleasant keyboard work of Justin Kauflinand the integrated improvisations of each ofthe players. “Sailing” was a nice change of paceballad that showcased Mr. Vashlishan’s impressivelyricism and sense of time. Wrapping upthis segment was a fine composition byguitarist Matt Panaysides, “Freedom’s Illusion,”an up-tempo tune with a hypnotic beat. Forthis one the rhythm players, Arthur Vint ondrums and Sam Trapchak on bass, had tonavigate several tempo and mood changesmaking for interesting listening. These talentedand daring young musicians deserve a lot ofcredit for venturing off into unchartedterritory.After a short break, the University JazzOrchestra and Rich Perry took the stage forwhat would be an absolutely delightfulRiverboat Swing 2008Reserve the DateAugust 24, 12 noon908-852-2926 for infosegment. The opening number was a ThadJones classic, “The Interloper.” Like so much ofThad’s book this arrangement has wonderfulharmonies with the sectional voices providingdistinctive colors. Mr. Perry’s contributions onthis one immediately made obvious his exceptionaltone on the tenor saxophone. Next weheard “Consequences” with a fine arrangementby student Mike Wilkins. I would say this is amedium swing tune with a rich harmonicopening by all the horns; it featured a searingtrumpet interlude in the closing statements.Mr. Perry carried the load on “Dry Leaves,” amarvelous samba from Brazilian composer,Sergio Gomez, but he got a lot of help frombari sax man Jeremy Shaskus. One of myfavorites, “Easy Living” (Holiday/Baker) was atypical Thad arrangement with emphaticpunctuation by the trumpets and big shoutsfrom all the horns. It was on this number thatit occurred to me that Mr. Perry sounded a lotlike the great Stan Getz. Jim Mc Neely’s composition“Absolution” was a significantdeparture, which you might call “hell raising”stuff. Always complex, Mr. McNeely doesn’thesitate to enter the realm of dissonance andchallenge the listener. Numerous short improvstatements kept me tuned in. Moving along,we heard “How Deep is the Ocean” with animpressive arrangement by Swiss student JanoLobhadt. The rhythm section was particularlystrong throughout this selection. In the homestretch, we heard a Maria Schneider composition,“Rich’s Piece,” which has achant-like/ prayerful quality andon which we had outstandingsolos on both flute and sopranosax by Dave Pollack. Like a greatdessert at the end of a gourmetmeal, we enjoyed a greatarrangement of “Giant Steps”(Coltrane) by WPU alum JamelRoberts. This classic modernjazz tune presented a greatopportunity for tenorist AlexChilowicz and guitarist MattButtermann to demonstratetheir virtuosity.JJ34__________________________________ May 2008

JerseyArticlesJazzNoteworthyNewsspots and nuggets from all corners of the jazz world, gathered and edited by Frad Garner and the JJ staff.Readers are welcome to e-mail items of interest that will still be timely a month and a half later, to: editor@njjs.org.HERBIE HANCOCK, winner of the 2008Album of the Year Grammy for River: TheJoni Letters, took the stage with collaboratorand inspiration Joni Mitchell when he tapeda show for Nissan Live Sets that debutedApril 1 on Yahoo! Music. Mitchell sang threeof her songs, “River,” “Tea Leaf Prophecy”and “Hana.” Hancock, backed by guitaristLionel Loueke, bassist Marcus Miller,drummer Vinnie Colaiuta, saxophonistBob Sheppard, vocalist Sonya Kitchell andDJ C-Minus, also played such classics as“Chameleon,” “Watermelon Man,” “MaidenVoyage” and “Rockit.” The performance,including video streams of 10 songs and anaudience Q&A, was posted on April 1.Hancock begins an international tour inMay with stops in Brazil, Europe and manydates in the U.S. and Canada, including thePlayboy Jazz Festival in Los Angeles. Moreinfo: music.yahoo.comAPROPOS SINGERS: “In a genre that celebratesits past, it seems odd that people arealways looking for the next big thing when itcomes to female vocalists,” an interviewerfor The Pitch Kansas City winged to vocalistRachel Price. The fast-rising singer agreed.“I think that’s an aspect of the music businessand not necessarily jazz music itself,”she said in a cell-phone interview at a busstop. “It’s how people are looking to sellthings. There are tons and tons of amazingvocalists out there right now,” she continued,“and a lot of them do a variety ofthings and not all of them fit into a specificmold. The whole idea of ‘the next big thing’means something that’s going to fit into aspecific category and in the end isn’t reallygoing to mean that much to the musicitself.” The 22-year-old soprano, who has themulti-Grammy winner Nancy Wilson singingher praises, recently finished her studiesat the New England Conservatory. “Whyformally study jazz?” Price was asked. “Didyou ever think that you should just be outgigging?” No, she said. “Luckily I was alwaysdoing both…I would learn something inensemble or in class, and it was greatbecause I could immediately put it to thetest in my performances. Going to schoolwas the best thing I ever did, and playing onthe road is and will always be the bestexperience I’ll ever get.” www.jazz-clubsworldwide.com/docs/news.htmCEPHASBOWLES,generalmanager ofjazz radiostationWBGO, wasamong eightpersonshonored byThe NewarkArts Councilfor promotingand supporting the arts in the city ofNewark. The Arts Council held their majorfundraising event, The Art & City Gala,April 9 at the New Jersey Performing ArtsCenter. For more about the Council, visitwww.newarkarts.orgSUMMER SHEDDIN’, Down Beat magazine’sannual Jazz Camp Guide, is now posted online.The guide covers summer musicworkshops in the U.S. East, Midwest, South,West and international locales. For example,“Jazz in July,” at the University of Massachusetts,Amherst, MA, July 7-18, stressesimprovisation within small combos and bigband settings. The vocal program exploresjazz phrasing and rhythms, preparing leadsheets and improvisation. There is room forabout 70 students, aged 15 and up. Andwhat a faculty: Dr. Billy Taylor, Geri Allen,John Blake, Steve Johns, Chip Jackson,Esperanza Spalding, Jeff Holmes, Fred Tillis,Dana Leong. Tuition is $600 per week.Check out jazzinjuly.com. And otherprograms at www.downbeat.com/campguide.asp.“DREW GRESS is one of the busiest bassistsin New York, leading two groups of his ownand working with Ravi Coltrane, FredHersch, Dave Douglas, Don Byron, TimBerne and others,” writes Larry Appelbaumin the April JazzTimes. “As a composer, hestudied with Hank Levy and spent timeghostwriting for the Hanna-Barbera cartoonstudios. He was artist-in-residence at theUniversity of Colorado-Boulder and the St.Petersburg Conservatory in Russia, and he’sreceived grants from the National Endowmentfor the Arts and Meet the Composer.Asked about the crowded market of newreleases, Gress says, “I don’t think it’s worthdoing another [recording] project unlessyou have something else to say. That’s whymine are so few and far between.’ His fourthand latest CD as leader is The IrrationalNumbers (Premonition).”OH PSHAW? OH NO! Turn the clock back 67years and see how top sidemen responded toa call from Artie Shaw to join what the clarinetistsaid “should be the greatest dancecombo ever assembled.” Wrote Down Beaton September 1, 1941: “Musicians neverbefore heeded a leader’s call as these menheeded Shaw’s.” Datelined New York, thestory read: “When Artie sent out a call to hisold sidekicks, asking them to return and becogs in his latest orchestral venture, not asingle man brushed off his invitation. LesRobinson quit Willy Bradley. George Auldrefused to accept big money offers fromothers, and went without work six weeksuntil Shaw’s rehearsals got under way. LeeCastaldo quit Bradley, too. And, EddieMcKinney toted his big bull-fiddle right offTony Pastor’s bandstand and into Artie’sroom. ‘Lips’ Page abandoned hopes to gethis own jazz band clicking and made a beelineto Shaw’s initial rehearsal. Mike Bryanfluffed Bob Chester to strum a guitar, eventaking lessons to brush up on the electricbox which Shaw frequently likes to feature.Trombonist Ray Conniff junked his ownband in preference to holding down a chairin the Shaw unit.” That was another era.Names set in bold by JJ. Full story from thearchives: www.downbeat.com/default.asp?sect=stories&subsect=story_detail&sid=33JJMay 2008__________________________________ 35

JerseyReviewsJazzCompact ViewsBy Joe Lang NJJS Music Committee ChairThis column was not included last month as we didnot have any new titles to report about that hadbeen added to NJJS inventory. We will make up forthat a bit this month as a few tasty gems arrived inthe mail.■ Blue Reverie (Sackville – 2068) is just what the doctor ordered for thosewho love big band jazz. It is the third album by the sadly under-recorded JIMGALLOWAY WEE BIG BAND, a band that Galloway has been fronting for 30years. Throughout that time they have been keeping alive great charts from thebest big bands, with a library of over 400 selections, many of them transcribedor reorchestrated by guitarist Martin Loomis, an original band member. Fromthe evidence here, the folks up in the Toronto area should thank their luckystars that Galloway and his cohorts remain committed to presenting thiswonderful music. The band, 17 pieces strong, swings like mad, with soloistswho, thankfully, state what they have to say without going on and on and on asso many soloists are wont to do these days. There are 15 selections from thebooks of bands like the Count Basie, Duke Ellington, Benny Goodman and HarryJames orchestras, plus some original tunes and arrangements that have beencreated for the Galloway aggregation. A few of the many highlights are“Isfahan,” with some lovely alto sax work by Gordon Evans, “Blue Reverie,” anoriginal by Galloway on which he waxes poetic on his soprano sax, and aliltingly swinging take on “Send in the Clowns,” featuring the trumpet ofBrigham Phillips. When they close with a classic from the Basie book, “It’s SandMan,” you sit there hoping that this crew will be recorded again and again.■ When you see the name JUNIOR MANCE on an album, you are assured thatthe music will be happy, swinging and irresistible. Groovin’ with Junior(Sackville – 3070) is no exception. Joining up with his steady Canadian triomates, bassist Don Thompson and drummer Archie Alleyne, Mance spreads theseven selections over a program that lasts for over an hour, and never allowsyour interest to waver. “Falling in Love with Love” is an appropriate opener, butcould have been called “Falling in Love with Mance.” He sets the bar high withthis selection, and keeps clearing it on the other six tracks. As is to be expectedfrom Junior Mance, there is a lot of blues flavoring to his playing. He takes theThelonious Monk tune “Ask Me Now” for an 11-plus-minute ride that is justplain stunning. It is full of emotion, contemplative, yet exhibiting bursts of joy.The balance of the program, Mance’s “Blues for the Bistro,” “For Dancers Only,“Bags Groove,” “Stormy Weather” and the closer, Miles Davis’s “The Theme,”which he gives a slightly Basieish feeling, is consistently satisfying. Thisrecording was done in a studio, but with an audience, giving it the feeling of aclub performance. The folks who were there sound, from their applause, likethey were having a ball, and the musicians seemed to be riding on the crest orsimilar emotions.■ It was a thrill to see a CD arrive that was recorded under the leadership ofdrummer JOE ASCIONE. Given his health problems over the past few years, itis always satisfying to hear him play with his usual taste and enthusiasm. He isjoined on Movin’ Up (Arbors – 19359) by Allan Vaché on clarinet, JohnCocuzzi on piano and vibes, and Frank Tate on bass. This is a group of cats whoare on the same page, no matter what approach they take to a song. In his linernotes, Ascione emphasizes that the 11-track program was carefully selected inadvance of the session, including the ordering of the songs, each of which hasa special significance to Ascione. They open with an Ascione original, “Movin’Up,” a buoyant piece that gets things off on an up note. Ascione’s arrangementof “Zip-A-Dee-Doo-Dah” blended with a hint of “I’ve Got Rhythm” to create “Zip-A-Dee-Doo-Dah’s Got Rhythm” affords all of the players an opportunity to throwcaution to the wind and just plain romp, with Ascione’s brushes leading theway. Cocuzzi’s poignant vocal on “It Was a Very Good Year” contrasts with theplayful musical interlude that precedes the final vocal chorus. To close theyexplore the novelty tune “Abba Dabba Honeymoon” with a nod to the NewOrleans second line style, taking things out, as they started, on an up note.■ If you dig the sounds of New Orleans, then you will definitely dig CreoleNocturne (Arbors – 19366) a totally disarming outing by two musicians whomake the Crescent City their home, pianist TOM MCDERMOTT and cornetistCONNIE JONES. The 15-song program that this duo presents is a delight fromstart to finish. These are two gentlemen who are totally simpatico and equallycreative. McDermott’s arrangement of a Chopin nocturne to create the titletrack grabbed me so strongly that I listened to it three times in a row before Iproceeded to the next track. I didn’t do this repeat bit for every track, but Ioften felt like doing so. Instead, I just kept it in my car for a few days, andplayed nothing else. Give a careful listen to Jones on “Satchmo Speaks.” Hisplaying is inspired. One amazing aspect of this album is the variety of musicalstyles that these gentlemen cover, mixing standard New Orleans fare withMcDermott’s nod to French Vals-Mustette on his original, “Ambivalence,” anexploration of a chamber piece, “Danza,” by the 19th Century Americancomposer Louis Moreau Gottschalk, and McDermott’s “anti-commercialChristmas Song,” “I Don’t Want Nuthin’ for Christmas,” with a vocal by Jones.The variety is impressive, as is the engaging artistry of the two participants.■ There are certain things that are simply facts of life. One of those is that theHARRY ALLEN-JOE COHN QUARTET produces consistently great music.Stompin’ the Blues (Arbors – 19353) is further proof of that truism. For thisouting, tenor saxophonist Allen, guitarist Cohn, bassist Joel Forbes anddrummer Chuck Riggs are joined by trombonist John Allred, and, for threetracks, tenor sax player Scott Hamilton. The addition of Allred, a masterfultrombonist, to their regular lineup adds many interesting colorations to thegroup’s sound. Any time that Allen and Hamilton are together is tenor saxcontinued on page 38ImprovisationalPromotionsMy experience andcontacts can work for you!Radio PromotionMarketing & MailingJazz Club & Tour SupportPlease call or write: A.J. Juliantel: (941) 255-9881 | fax: (941) 255-1350Email: ajjazz@embarqmail.com12654 S.W. Doug DriveLake SuzyArcadia, FL 34269-3756www.woodyherman.comOver 35 years jazz promotion & marketing.36__________________________________ May 2008

THE SIDNEY BECHET SOCIETY®is proud to announce the 2008 schedule of Three Exciting Jam Sessions.All performances start at either 6:15 or 9:00 p.m.Concerts are located at theThalia Theatre of Symphony Space, 2537 Broadway at 95th Street, New York.Wednesday June 11th. DAN LEVINSON: Dan Levinson presents a tribute to Bob Wilberand Kenny Davern, featuring the music of Soprano Summit. Guests include Bob Wilber,Dick Hyman, Nik Payton, Vince Giordano, Kevin Dorn and Matt MunisteriMonday, September 15th. EVAN CHRISTOPHER: After sold out Bechet Societyperformances in 2006 & 2007, Evan returns in 2008 for Evan Christopher and Friends:In Sidney’s Footsteps. (Band in formation)Monday, October 20th. VINCE GIORDANO: Vince Giordano Jazz Ensemble starringOlivier Franc and Jean Baptiste Franc, with Jon-Erik Kellso, Mark Lopeman, Jim Fryer,Ken Salvo and Rob Garcia. Hear Olivier play on Sidney’s very own soprano saxophone.SPECIALOFFERAttentionNew JerseyJazz Societymembers:Purchase ticketsin advance, andpay the sameprice asmembers of theSidney BechetSociety(just $25!).ORDERS FOR CONCERT TICKETSThere are now 2 shows each night!! Please choose either 6:15 or 9:00pmI WANT TO ATTEND THE WEDNESDAY JUNE 11TH, 2008 CONCERT BY DAN LEVINSON6:15 pm or 9:00 pm (SBS and NJJS Members) @$25 per ticket { } $_______6:15 pm or 9:00 pm (General public) @$35 per ticket { } $_______I WANT TO ATTEND THE MONDAY SEPTEMBER 15TH, 2008 CONCERT BY EVAN CHRISTOPHER6:15 pm or 9:00 pm (SBS and NJJS Members) @$25 per ticket { } $_______6:15 pm or 9:00 pm (General public) @$35 per ticket { } $_______I WANT TO ATTEND THE MONDAY OCTOBER 20TH, 2008 CONCERT BY VINCE GIORDANO6:15 pm or 9:00 pm (SBS and NJJS Members) @$25 per ticket { } $_______6:15 pm or 9:00 pm (General public) @$35 per ticket { } $_______{ } SBS 2007 Membership $25 regular, $15 senior $_______{ } Donation (tax deductible) $_______TOTAL$_______Please enclose your check or money order made out to SBS in the appropriate amount and include a self addressed stamped envelope.Send to:The Sidney Bechet Society, 20 Joy Drive, New Hyde Park, NY 11040-1109May 2008___________________________________ 37

JerseyReviewsJazzCOMPACT VIEWScontinued from page 36heaven. There are 10 selections, four of themcatchy originals by Allen. Allen creates lines thatmake for “good blowin’ tunes.” Things get off to asprightly start with all named above rompingthrough “You’re Driving Me Crazy.” The other twotracks that include Hamilton are “My Old Flame,” aballad interlude with Allred sitting out, and aversion of “(I Would Do) Anything for You,” that isthe essence of what small group swing is all about.A spring ballad medley finds Allred front and centeron “It Might As Well Be Spring,” while Allen takesthe ball on “Spring Is Here.” Things come to afrenetic conclusion with Allen’s “So There,” a songthat sounds like it has a Broadway tune lurkingwithin it. If the music on this disc does not lift yourspirits, I suggest that you get professional help!CDs from the NJJS inventory are $16 each for singlediscs, and $26 for two-disc sets. Shipping is $2 forthe first CD, and $1 for each additional CD. Ordersshould be sent to Jon Sinkway, 43 Windham Place,Glen Rock, NJ 07452. There is a terrific selection ofCDs in the NJJS inventory. The list of titles can beviewed on the “NJJS Store” page of our website(www.njjs.org). There is also an order form that canbe downloaded from the site.Other ViewsBy Joe Lang NJJS Music Committee ChairThey keep putting out new CDs and DVDs, and wecannot stock them all at NJJS, but I want to let youknow about some things that I believe are worthchecking out.■ BUD SHANK has had a long and impressivecareer in jazz. He started out as a tenor sax player,but eventually established himself on alto sax, andthen on flute, before setting the flute down toconcentrate on his alto playing. Early in his careerhe played with Charlie Barnet and Stan Kenton.Eventually he settled in Los Angeles where hebecame a member of the legendary Lighthouse AllStars, made numerous jazz recordings, and becamea fixture on the Los Angeles studio scene. Hecomposed the scores for several films, and was afeatured soloist on many soundtracks. Since leavingthe studio scene in the 1970s, he has kept steadilybusy as a jazz musician. At the age of 80, he is stilla formidable player. His story is documented inAgainst the Tide (Jazzed Media – 9003), a filmthat combines performance footage, personalrecollections by Shank, and commentary by othersto present an in depth portrait of the man and hismusic. Shank is articulate, opinionated and frankabout his musical philosophy, the events of his life,and many of the players that were his peers.Listening to him I was struck by his openness andhis sincerity. He is the kind of individual you wouldwelcome an opportunity to spend some time withjust conversing. I did, in fact, have an opportunity tospeak with him and Bill Mays a few years ago atShanghai Jazz in Madison, and he was exactly as heappears in the film, bright and friendly. You will befascinated to learn of his part in bringing thesounds of Brazil to our shores several years beforethe Bossa Nova craze of the early 1960s. You willlearn why he stopped playing the flute, and what hefeels about the appropriateness of that instrumentin a jazz context. Shank’s stories and insights keepthe film flowing nicely. Interspersed throughoutAgainst the Tide is footage of a recent recordingsession with Shank on alto sax, Mike Wofford onpiano, Bob Magnusson on bass and Joe LaBarberaon drums performing five tunes. These selectionsare included in their entirety on the CD that is partof this package. There are four other tracks on theCD. One is a live performance of “The Gift,” a piecewritten specifically for Shank by Bill Holman, andperformed with the Bill Holman Band in 2005.Another track finds Shank guesting with the DukeEllington Orchestra in 1965, and being featured on aselection titled “The Big Heist.” The other two tracksare 1956 performances with the Lighthouse AllStars of “Lover Man” and “The Nearness of You.”Bud Shank has been a significant part of the worldof jazz for about 60 years, and this is a fittingtribute to his artistry. It is a must see for those whodig this great music. (www.JazzedMedia.com)■ Recently, MARIAN MCPARTLAND celebratedher 90th birthday. (On page 42 in this issue there isan article about the birthday party for her at Dizzy’sClub Coca-Cola in New York City.) Twilight World(Concord – 30528) is a newly released collectionof 11 tunes recorded in September 2007 with herregular trio mates, Gary Mazzaroppi on bass andGlenn Davis on drums. While she may have hadsome physical difficulties in recent years, hercreative juices are still flowing freely. On this album,she explores three originals, “Twilight World,” “Inthe Days of Our Love,” and “Stranger in a Dream;”two tunes by Ornette Coleman, “Turn Around” and“Lonely Woman;” “Close Enough for Love” byJohnny Mandel and Paul Williams; “How Deep Is theOcean” by Irving Berlin; “Alfie” by Burt Bacharachand Hal David; “Blue in Green” by Bill Evans;“Afternoon in Paris” by John Lewis; and “BlackberryWinter” by Alec Wilder and Loonis McGlohon. Thatis covering a lot of musical territory, and McPartlanddoes so with her usual inventiveness, full of unexpectedtwists and turns, but always elegant andtasteful. It is surprising when anyone, no matterwhat their field, continues to create on a high levelat the age that McPartland has attained, but shehas been full of surprises all of her professional life,and shows no signs of giving in to the age thing.(www.concordmusicgroup.com)axophonist Virginia Mayhew has been involvedSin many groups over the years, often as a leader.She also has her own label, Renma Recordings. Thislabel has two new releases, quite different in themusic played, but she serves musical overseer onboth discs.■ The DUKE ELLINGTON LEGACY is a groupconceived of by Ellington’s grandson EdwardEllington II, who serves as the group’s guitarist. Heapproached Virginia Mayhew with the idea of agroup with the mission of keeping the musicallegacy of his grandfather alive. It has been a fewyears since the genesis of the resulting group. Theyhave been playing gigs, expanding the book, gettingtighter and tighter, and now have released their firstrecording, Thank You Uncle Edward (Renma–6400). The lineup has become settled with Mayhewserving as the leader and musical director, inaddition to holding down the tenor sax chair,Ellington on guitar, Mark McGowan on trumpet,Norman Simmons on piano, Tom DiCarlo on bass,Paul Wells on drums and Nancy Reed on vocals. Forthis recording, the trombone of Wycliffe Gordon hasbeen added, with contributions by Joe Temperleyon baritone sax and bass clarinet, and Sheila Earleyon percussion. The program is a mix of tunes fromthe world of Ellingtonia, some familiar like“Perdido,” “Caravan,” “Day Dream,” “Cottontail,” “Ina Sentimental Mood” and “Come Sunday,” alongwith a few more esoteric selections such as “PrettyWoman,” “Mainstem,” “Isfahan” and “Moon Mist.”Most of the arrangements that have given the DukeEllington Legacy its distinctive sound have beenpenned by the imaginative Norman Simmons.Mayhew has composed an original that could easilyhave been part of the original Ellington book, “ToeTickler,” and this exciting new creation is addedright in the middle of the program, with Mayhew,Gordon, McGowan and Wells all getting anopportunity to cut loose. Reed’s vocals on“Perdido,” “Caravan,” “Day Dream” “Cottontail” and“Come Sunday” are extremely appealing. Sheswings when needed, caresses the beauty of “DayDream,” nails the tongue twisting lyrics that JonHendricks created for “Cottontail,” and invests“Come Sunday” the kind of spirituality it requires tobe most effective. Temperley, who will be leadinghis own group at Jazzfest on June 8, has severalmemorable solo moments, most notably with hisbass clarinet on “Come Sunday.” The arrangementsby Mayhew add distinctive touches that make theDuke Ellington Legacy sound distinctive withoutlosing the spirit of the original Ellington takes onthese tunes. It is music to sink your ears into withenthusiasm. (www.renmarecordings.com)■ A Simple Thank You (Renma – 6401) by theVIRGINIA MAYHEW SEPTET takes Virginia fromthe world of swing to sounds that are more contemporary.Her arrangements are played wonderfullyby Mayhew on tenor and soprano saxophones,continued on page 4038__________________________________ May 2008

JerseyReviewsJazzEvery few months, the Guitar Trio getstogether to the delight of devoted fansand the three gentlemen themselves at thevenerable Deer Head Inn just across theriver in tiny Delaware Water Gap, Pa.Bucky Pizzarelli is the leader, plucking outthe melody to introduce most tunes, thensettling into a rhythmic role he seems torelish, judging by the impish grins he flashesat moments of musical serendipity. But theother soloist, Walt Bibinger, and Ed Laub,obbligato player and occasional singer, areno slouches.I caught the trio on Easter Eve and like mostof the 70 or so on hand stayed through theentire two-set, three-plus-hour concert.Bibinger opened things up unaccompaniedwhile the others were still enjoying dinner.The clink of glasses and clatter of silverwareceased immediately so listeners could catchevery note. The highlight was a gorgeous“Django’s Castle,” a tune new to my earsthat I'll be searching out on CD.Pizzarelli and Laub soon joined in. “DoNothing Till You Hear From Me” was thefirst of several Ellington classics in the trio’srepertoire, and there were generous helpingsof Jobim and Great American Songbookfavorites.Bucky traded his plugged-in instrumentfor an acoustic on an unaccompanied“Concierto de Aranjuez,” the compositionmade into a jazz classic on Miles Davis’s“Sketches of Spain.”The grand finale, “Jitterbug Waltz,” was theGuitar in the GapThe Deer Head InnBy Sandy Inghamnight’s high spot. When Bucky suddenlyceased the fierce strumming he’d specializedin all night, all three players floated througha couple of choruses without any chunkchunkbeat anchoring them. It was likewatching acrobats on the high wire with nonet. Then on cue, they were back to earth,winding up as Pizzarelli flayed his stringsmercilessly on the climactic chord.The Deer Head offers jazz and bluesWednesdays through Sundays, withpainless cover charges some nights. Onthis occasion, it was one of the best $15I’ve ever spent.Sandy Ingham is Jersey Jazz’s roving reporter.JJJazzat Tomaso’sUpstazzTomaso’s163 Old River RoadEdgewater, NJ201-941-3000LIVE JAZZ Tuesday through Saturday starting at 8PMWith FINE DINING AND FULL BARJAZZ JAM on Wednesdays — Don’t miss it!Website in progress — Please call for music scheduleLaura Hull Jazz Trio 5/10 and 5/24May 2008___________________________________ 39

JerseyReviewsJazzOTHER VIEWScontinued from page 38Lisa Parrott on alto and baritone saxophones, ScottHarrell on trumpet and flugelhorn, Noah Bless ontrombone, Kenny Wessel on guitar, Harvie S on bassand Victor Jones on drums. Trumpeter Ingrid Jensenand percussionist Mayra Casales appear as specialguests on several tracks. I was intrigued by the titleof “One for the Parking Fairy,” and, when I heard it,by the piece itself. Evidently, Mayhew has calledupon the parking fairy often when looking for aparking spot in Manhattan, a common ploy that Ihave employed, usually with great success, manytimes. I love her sense of humor, and that attributeis evident in her approach to arranging. Setting theMonk tune “Rhythm-A-Ning” with a calypso flavoring,and adding some New Orleans funk, is a masterstroke,giving a new, interesting take to a great tune.Six of the nine selections are originals by Mayhew,with the Monk tune mentioned above, MikeMayhall’s “Just a Blues,” which serves as a spiritedopener, and the title track, a Harvie S composition,filling out the program. Mayhew’s arrangementshave great depth, creating musical colorations thatmake the group sound much larger than it is.Virginia Mayhew is a large talent, and this album isfurther proof of that. (www.renmarecordings.com)■ For those of you who are only familiar withJIMMY BRUNO the burner, Maplewood Avenue(Affiliated Artists – 3415), the latest album fromthis fine guitarist, will be a revelation. This is a trioalbum, with Bruno being joined by Tony Miceli onvibes and Jeff Pedraz on bass. They play eightoriginals, one by Bruno, three by Miceli and four byPedraz, with the other track being a Miceli arrangementof a Bach sonata. This is an intimate album,recorded at Bruno’s home, and engineered by him.The sound is warm and wonderful. The compositionsare ear catching, and the interplay by the triois wonderfully natural and tight. These are threecats from Philadelphia, and they start out with fourtunes named after roads familiar to those from thearea. This is, however, an album where titles do notmean much. It is the music and creativity of theartists that matter, and this is the kind of recordingthat makes you wish that you had been there whileit was being captured for posterity. It would havebeen interesting to observe the concentration thateach must have exhibited as they created a unifiedwhole from their distinct talents. The final result isextremely satisfying. If you like your music subtleand engaging, Maplewood Avenue is right for you.(www.jimmybruno.com)■ For several years, I have enjoyed hearing recordingsby vocalist SUSIE ARIOI with guitarist/vocalistJORDAN OFFICER. Their latest release, Live at LeFestival International de Jazz de Montréal(Justin Time – 227), is a two-disc set, one a CDand the other a DVD. These Canadian jazzers performsongs from the world of standards, with somemore contemporary material added. This packagecaptures them in live performance with their regularbandmates guitarist Michael Jerome Browne andbassist Shane MacKenzie, and special guests RémiLeClerc on drums and Martin LaCasse and FrancisMondoux, who serve as background vocalists. Theirstyle is pretty straight forward with a bit of aWestern Swing flavoring, an occasional skiffle beat,and a touch of blues added here and there. Ariolihas a pleasant, unaffected approach to her vocals,well suited to the material. Officer’s guitar nicelycomplements Arioli’s singing style. When takinginstrumental breaks, and on the instrumental numbers,his jazz chops shine through. The songs varyfrom older tunes like “Pennies from Heaven,” “IfDreams Come True” and “He’s Funny That Way,” toblues songs by Memphis Slim and Willie Dixon, to afew Roger Miller ditties, a nod to Jimmy Webb, anda couple of Officer instrumental originals. The DVDcontains all of the songs that are on the CD plus anadditional five selections from the concert. Thereare also interviews with Arioli, and Officer. Officer’ssegment is particularly interesting as he articulatesin some detail his evolution as a guitarist. The SusieArioli Band featuring Jordan Officer is a winningcombination. (www.justin-time.com)■ Dreams & Shadows(Jazzed Media – 1031)is the second album byvocalist JUDY WEXLER,but is the first that I haveheard. From the evidencehere, she is one finesinger, and hassurrounded herself with afine cast of musicians.Pianists Jeff Colella andAlan Pasqua, reedmanBob Sheppard, trumpeterGilbert Castellanos,bassist Darek Oles anddrummers Steve Hass andJoe LaBarbera contributein various combinations,while Tollak Ollestad onharmonica and StefanieFife on cello each appearon one track. Wexler has adistinctive voice full ofshadings, and simplyknows how to dig into asong and find its essence.Speaking of songs, Wexlerhas chosen an interestingand eclectic program. Shehas mostly stayed awayfrom the catalog ofstandards favored bymost jazz and jazzinfluencedpop singers. Even when she goes in thatdirection, the songs that she opts to include,“Comes Love,” “In Love in Vain” and “If I Only Had aBrain,” are not anywhere near the overdone category.Her take on “One Less Bell to Answer,” makesthis song take on a depth that was untapped by thehit version from the Fifth Dimension. It would behard to find anyone other than Blossom Dearieherself who would include two songs by Dearie andJack Segal in an album. Well, Wexler sings “Bye, ByeCountry Boy” and “Summer Is Gone” in a way thatwill surely please Miss Blossom. To confirm her jazzchops, Wexler vocalizes two jazz tunes, “Pent UpHouse” by Sonny Rollins, with a lyric by JackPrather, and “Blue Daniel” by Frank Rosolino,retitled “Life’s a Lesson” by lyricist Ben Sidrin. Thisis an impressive collection by a singer who is sureto attract lots of attention with quality efforts likethis. (www.JazzedMedia.com)Remember that these albums are not availablethrough NJJS.You should be able to obtain mostof them at any major record store. They are alsoavailable on-line from the websites that I haveshown after each review, or from a variety ofother on-line sources.JJC 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.COM e-mail: Cynthia@ctsimages.com© Ray Avery/CTSIMAGES.COM40__________________________________ May 2008

May 2008___________________________________ 41

Caught inthe ActBy Joe LangNJJS Music Committee ChairMarian McPartland’s90th BirthdayCelebrationMarian McPartland Trio and FriendsDizzy’s Club Coca-Cola, New York CityMarch 19, 2008When a premier performer reaches theage of 90, there are probably no glorifyingadjectives that have not been appliedto that individual at some point in time. Inthe case of Marian McPartland, that is particularlytrue. She has received countlessaccolades for her exceptional pianism, andalso for her role as host of the long-runningPiano Jazz series on National Public Radio.To celebrate her 90th Birthday, she performedtwo sets at Dizzy’s Club Coca-Colaat the Jazz at Lincoln Center facility, withher regular trio members, bassist GaryMazzaroppi and drummer Glenn Davis.Also on hand to lend their musical andemotional support were a variety of guests.With some assistance, McPartland, who hasendured arthritis in her legs and a recentpelvic break, arrived on stage to tumultuousapplause. Her good-humored nature wasimmediately apparent when she included anod of thanks to the Arthritis Foundation inher welcoming remarks.JerseyReviewsJazzHer musical adventure opened with a spiritedtake on a tune that sheoften played with her latehusband, cornetist JimmyMcPartland, “Royal GardenBlues.” She then opted toassay a selection from hernew studio recordingTwilight World (Concord –30528), a solo version of“Alfie.” McPartland prefacedher next selection by sayingthat “I always like to includea tune by a woman songwriter,”and then proceeded to sparkle on aversion of Bernice Petkere’s “Close YourEyes,” with a contemplative solo piano introleading into a lilting exploration by the trio.McPartland then called vocalist KarrinAllyson to the stage. She performed twotunes composed by McPartland, “TwilightWorld,” with lyrics by Johnny Mercer, and“There’ll Be Other Times, a song datingback to the days when McPartland heldforth at the Hickory House, with a touchingset of words penned by Margaret Jones.Allyson was in a playful mood, telling ahumorous story about her initial meetingwith McPartland. She also was in superbvoice, with immaculate phrasing.The next participant was violinist ReginaCarter. Carter is a true star on her instrument,as she convincingly demonstratedduring her two selections. Her initial offeringwas a spry take on “I Can’t BelieveThat You’re in Love with Me.” Carter andMcPartland were obviously having greatfun with this one. “Come Sunday” provedto be one of the highlights of the set, withCarter playing this Ellington gem withhaunting beauty.During this first set, the only pianist guestwas Jason Moran. McPartland took a seatbeside the piano as Moran performed apercussive and wildly exploratory readingof McPartland’s “Time and Time Again.”A true surprise guest was then announced,the popular singer Norah Jones, who clearlywas right at home in an all out jazz setting.She opened with “Blame It on My Youth,”investing it with a slightly country feelingthat was also reflected in McPartland’saccompaniment and instrumental interlude.Jones then gave a soulful reading of “TheNearness of You,” the onestandard that she includedon her wildly successful firstalbum, Come Away with Me.McPartland requested thatJones perform one moretune, and they settled on theJerome Kern/ Otto Harbachclassic, “Yesterdays.” Jonesprofessed to be unsure thatshe would remember all ofthe words, but rememberthem she did, and herMarian McPartland celebrates her90th birthday bash at Dizzy’s ClubCoca-Cola /Jazz at Lincoln Center.Photos by Carolyn Appel/Jazz at Lincoln Centerensuing performance was the most jazzflavoredof her selections.It was time now to formally celebrateMcPartland’s birthday, and out came a cakewith candles. All present joined in on singing“Happy Birthday,” and McPartland lenta bit of accompaniment to the vocalizing.The cake eventually was shared by all ofthe attendees.The final guest was Jeremy Pelt whoplayed a mellow version of “Moonlight inVermont” on his flugelhorn, conjuring upmemories of Miles Davis.McPartland’s closing number was anotherselection that appears on her new album,Ornette Coleman’s “Turn Around.” Encouragedby the enthusiastic audience to playone more tune, she responded with a repriseof “Close Your Eyes,” but took it to somedifferent places on this visit.Following the performance, the roomglowed with good spirits, and envy for thosewho would catch the second of the twosold-out shows. From all reports, the secondset, that featured guest appearances bypianists Bill Charlap and Kenny Barron,vocalist Jeanie Bryson and trumpeterWynton Marsalis, as well as return visitsby Allyson and Pelt, proved to beequally rewarding.JJ42__________________________________ May 2008

JerseyReviewsJazzBook Review | Playing the Changes:Milt Hinton’s Life in Stories and PhotographsBu Milt Hinton, David G. Berger and Holly MaxsonVanderbilt University Press, Nashville | 364 Pages, Illus., CD included, $75.00By Joe Lang NJJS Music Committee ChairMilt Hinton was primarily known as ajazz bassist, but, as has been shown inthree books, he was also a sensitive andaccomplished photographer and raconteur.The latest of these volumes, Playing theChanges, is a treasure trove for jazz fans.The story of Milt Hinton’s life is one of aman who rose from extremely humblebeginnings to a place at the top of his chosenfield. Along the way, he experienced manytrying times, saw first-hand the scourge ofracism, took advantage of the strong valuesimplanted in him by his family, particularlyhis maternal grandmother, and used hiscourage, intelligence, sensitivity and talentto succeed in the many areas of his life.His story starts in Vicksburg, Mississippi onJune 23, 1910. His father was gone from thefamily by the time Hinton was three monthsold. He lived with his mother and her twosisters, but was primarily raised by his“Mama,” his maternal grandmother, thewoman who kept the family together. Hehad no meaningful contact with his fatheruntil he was playing a gig in Memphis withCab Calloway in 1940, and his father showedup to hear him. Hinton relates many talesfrom his childhood in Mississippi, includingthe harrowing experience of witnessingfirst-hand the lynching of a black man.Eventually, the family migrated to Chicago,following the lead of Hinton’s two uncles,Bob and Matt. It was in Chicago that he firstbecame involved in music. He started onviolin at the age of 13, but switched to basswhile at Wendell Phillips High School, aschool with an outstanding music program.Hinton’s instrument switch was influencedby the onset of talking movies, when heobserved that the demand for violinists suddenlysubsided as the need for live musiciansto play along with silent movies receded.Hinton became involved in all aspects of themusic program at Wendell Phillips, and wasselected to play bass in the Chicago All CityOrchestra. Following graduation, Hintonattended Crane JuniorCollege, and then, for abrief time, NorthwesternUniversity.Quite fascinating are hisstories of his non-musical lifein Chicago. His Uncle Mattwas involved with many shadypeople, and at one point gotMilt a job working for a bootleggerinvolved with AlCapone. The interlude in thebook devoted to this shortphase of Hinton’s life is aterrific read. This is but oneof several stories foundthroughout that are notdirectly related to music, butare welcome additions to thelife story that Hinton relates.Playing music, however, wasHinton’s primary focus in life.He started playing professionallywhile still in highschool, and it did not takehim very long at Northwesternto realize that music was his true calling. Heunderstood that the sooner he devoted himselfcompletely to playing music, the betterchance he had to develop professionally. Heplayed with several bands around Chicago,most notably in that of Erskine Tate. His bigbreak came with the opportunity to join thegroup of the renowned jazz violinist EddieSouth, with whom Hinton toured extensivelyuntil the demand for South and his groupwaned. Hinton stayed around Chicago until,in 1936, he was recommended to fill thevacant bass position in the Cab Callowayband by trombonist Keg Johnson, who hadplayed in a band in Chicago with Hinton.This began an association that lasted untilthe early 1950s when Cab’s star dimmed,and Hinton had to find other sources ofincome. His lengthy stay with Callowayoccupies a significant portion of this book.The portraits that Hinton paints of themany personalities on the band, the bandstories, and the insight that he offers intothe life of a musician on the road are relatedin a style that is articulate, engaging, amusingand informative. There are larger than lifedepictions of players like “Chu” Berry, BenWebster, “Dizzy” Gillespie, and, of course,Cab. The famous “spitball” story is related indetail. There are several incidents demonstratingthe tribulations that the bandendured due to racism.Following, his stay with Calloway, Hintonmade New York City his home base andfound his way into the world of freelancestudio work. Playing for radio and televisionshows, commercial jingle sessions, jazz andpopular recordings, and an occasional livejazz gig dominated Hinton’s professional lifeuntil the late 1960s, when there was a falloffcontinued on page 45May 2008___________________________________ 43

New JerseyJazzSocietyDirectoryArt & PhotographyFind jazz-loving goods and services in this department.(This is our new advertising section. If you’re interested in being included here,please contact ad manager Walter Olson at 973-635-3681.)Health & WellnessThe most powerful natural meansof feeling better, in a delicious juice.Join me for a tasting each week.Want to know more?Call Marcia Steinberg973-228-5343ConsultantsF i n e Tu n i n g Ma s s agebecause your body is your most important instrument201.230.5927Quality Therapeutics at a Relaxing PriceDara E. WintersFinancial ServicesPublic Relations & Marketing44__________________________________ May 2008

New JerseyJazzSocietyMILT HINTON BOOKcontinued from page 43in studio work. During this period, Hintonfinally was able to obtain some real financialsecurity. He worked in a variety of situations,and the resulting stories that comefrom his experiences are fun to read.Once the studio work fell off, Hinton gotback to his real love — playing jazz. Hintonwas a frequent participant at jazz festivals,parties and cruises, often involving travel tooverseas destinations. He details interestingstories relating to his trips to Russia. Heperformed extensively at the popular NewYork City club Michael’s Pub. There werecountless jazz recording sessions, severalunder Hinton’s leadership.What comes through in this book moststrongly is Hinton’s love of life, and thepositive outlook that enabled him tosucceed far beyond anything that he couldhave imagined in his earliest years. He writesglowingly of the strength and beauty of hissecond wife, Mona, who provided him withlove, support and the assets of her greatintelligence and practical nature.His many musical relationships are alsoexplored in depth, particularly his superbword portraits of many of his fellowbassists. Jazz is chock full of unique andinteresting personalities, and Hintoncaptures many of them in this volume.The photographs that are a big part ofPlaying the Changes enhance the tale thatCommercial ServicesHinton tells. Most of the pictures includedare from the extensive library of photographstaken by Milt Hinton, and cataloged byHolly Maxson. Hinton was in a uniqueposition, having many opportunities tocapture intimate behind the scenes andcasual moments that were not available toprofessional photographers. In doing so, hewas able to add significantly to the field ofjazz photography. There are also manyphotos taken from his family archives, aswell as some taken of Hinton by others.David Berger, who enjoyed a 40-yearfriendship and professional partnershipwith Milt Hinton has been instrumentalin putting together all three volumescontaining Hinton’s words and photographs.Holly Maxson, an accomplishedphotographer, has been organizing theHinton photographic collection since 1979.Berger and Maxson co-direct the Milton J.Hinton Photographic Collection. They alsoproduced Keeping Time: The Life, Music andPhotographs of Milt Hinton, an awardwinningdocumentary.While this is alarge-sized book,a style usuallyreferred to as a“coffee table”book, it is not onethat should bepurchased solely forthe photographs.The text and thephotos are carefullyintegrated, and are of equal relevance. Thetext is highly readable and interesting. Thephotographs are equally engaging. Takentogether, they are an important addition tojazz literature. There is also a CD includedthat has oral versions by Hinton of severalhighlights from the book, and a few musicalselections as well.This book is essentially an updating of BassLine: The Stories and Photographs of MiltHinton, published in 1988 by TempleUniversity Press, and includes the superbPreface that Dan Morgenstern wrote forBass Line. Playing the Changes has manynew photographs, and has additional andrevised text that updates Hinton’s story tothe conclusion of his fabulous life onDecember 19, 2000. It will serve as avaluable companion to Bass Line for thosewho already have that book, and as awelcome newcomer to the library of alljazz enthusiasts.For more information, visitwww.milthinton.com.Shelly ProductionspresentsLive Jazz Saturday Nightsat 27 MixMAY 3All Star Jazz Quartetfeaturing Carrie JacksonJJMAY 10All Star Jazz Quartetfeaturing Carrie Jackson27 Halsey Street, Newark, NJ 07102973-648-0643Entertainmentstarts 8:00 PMCall for ReservationsShelly Productions, Inc.P.O. Box 61, Elmwood Park, NJ • 201-796-9582May 2008___________________________________ 45

New JerseyJazzSocietyMUSIC COMMITTEEcontinued from page 8tone on each instrument as you could hopeto hear. He is also a scintillating improviser.Dan is a fellow member of the JLCO. He’sone of those pianists with chops that just donot quit. He and Joe have a special empathyin their playing. James, also a member of theJLCO, has been a frequent participant atJazzfest and many other NJJS events. Hismusicianship is outstanding, and he infuseshis playing with his ready sense of humor.Greg is another NJJS favorite. He is one ofthe most eclectic musicians in jazz, at homeplaying anything from trad to jazz on theouter edges in groups led by OrnetteColeman and John Zorn. He has a wonderfullyfull sound, and is always full of surpriseswhen put into the solo spotlight.Leroy is one of the first call drummers onthe New York scene. He is noted for hissuperior time, and the varied colorings thatare part of his percussion palette. These catswill provide jazz for sophisticated tastes.The loss of Earl May earlier this year was adevastating blow to those who enjoyed hisfriendship, and to lovers of good musiceverywhere. Earl was a great supporter ofNJJS, and performed for us many times. Inhis memory, we asked the pianist in Earl’squartet, Larry Ham, to put together an EarlMay Tribute Band, comprised of musiciansassociated with Earl. In addition to theremaining members of Earl’s quartet, LarryHam, alto saxophonist Dave Glasser anddrummer Eddie Locke, Larry has recruitedvocalist Catherine Russell, tenor saxophonistHouston Person, trombonist Benny Powell,and bassist Bob Cranshaw. Larry is one ofthe best, and most underrated pianists injazz. He is a creative improviser, a terrificcomposer, and an accomplished accompanist.David is an alto saxist supreme. Heswings like crazy, plays ballads with greatsensitivity, and has an imagination thatmakes his solos grab you and not let go.Eddie, one of the few jazz greats still alivewho appeared in the photo celebrated inthe acclaimed documentary A Great Day inHarlem, is a powerhouse drummer and atrue crowd pleaser. He knows exactly howto keep a group in a swinging groove.Catherine, after years of performing manystyles of music, and serving as a backupsinger on tours with pop stars like DavidBowie, Paul Simon and Steely Dan, has, withgreat success, turned her attention to hertrue love — jazz singing. She has releasedtwo critically acclaimed albums, and hasbeen receiving accolades for her live performances.Catherine performed many timeswith Earl, who played a significant role inher development as a jazz singer. She appearson his album Live at Shanghai Jazz. Houstonis simply one of the premier tenor saxophoneplayers in jazz. His big tone, imaginationand charisma make him a favorite withaudiences everywhere. Houston’s longstandingpartnership with the late Etta Joneswas among the most famous and reveredpairings in jazz. We are extremely pleased tohave Houston appear once again at Jazzfest,where his performances have always beenmet with great enthusiasm. Benny first cameto prominence in the bands of LionelHampton and Count Basie. Other big bandcredits include the Thad Jones/Mel LewisOrchestra and those occasionally formed byRandy Weston. He is equally at home in asmall group setting. Benny is also a jazzeducator, and has been active for many yearswith the Jazzmobile project. Bob, who favorsplaying an electric bass, has played with amultitude of jazz greats. His association withSonny Rollins dates back to the early 1960s,and his list of credits is the equal of almostanyone on the scene today. This is truly anAll-Star group that will provide a fittingtribute to a special man.Next month, an in-depth look at thegroups performing in the Tent.JJJazzfest Schedule(tentative)Saturday June 7Tent:Noon - 1:00 PM Ed Metz and the Bob Crosby Bobcats1:20 - 2:20 PM Ed Metz and the Bob Crosby Bobcats2:40 - 3:40 PM James L. Dean Big Band4:00 - 5:00 PM James L. Dean Big Band5:15 - 6:00 PM High School Jazz Band TBAConcert Hall:Noon - 1:00 PM Cynthia Sayer & Sparks Fly1:20 - 2:20 PM Tony DeSare Trio2:40 - 3:40 PM Cynthia Sayer & Sparks Fly4:00 - 5:00 PM Tony DeSare TrioBlack Box Theatre:Noon - 1:00 PM Jerry Vezza Trio with Frank Noviello1:20 - 2:20 PM Nicki Parrott, Rossano Sportiello and Bucky Pizzarelli2:40 - 3:40 PM Nicki Parrott, Rossano Sportiello and Bucky Pizzarelli4:00 - 5:00 PM Jerry Vezza Trio with Frank NovielloSunday June 8:Tent:Noon - 1:00 PM Swingadelic1:20 - 2:20 PM Swingadelic2:40 - 3:40 PM The Jazz Lobsters Big Band4:00 - 5:00 PM The Jazz Lobsters Big Band5:15 - 6:00 PM High School Jazz Band TBAConcert Hall:Noon - 1:00 PM The Joe Temperley Quartet1:20 - 2:20 PM The Earl May Tribute Band2:40 - 3:40 PM The Joe Temperley Quartet4:00 - 5:00 PM The Earl May Tribute BandBlack Box Theatre:Noon - 1:00 PM Carrie Jackson and Her Jazzin’ All-Stars1:20 - 2:20 PM Eric Comstock Trio2:40 - 3:40 PM Eric Comstock Trio4:00 - 5:00 PM Carrie Jackson and Her Jazzin’ All-StarsTicket prices and ordering information arein the full-page ad on page 3.46__________________________________ May 2008

New JerseyJazzSocietyWhat’s New?Members new and renewedWe welcome these friends of jazz who recently joined NJJS orrenewed their memberships. We’ll eventually see everyone’s namehere as they renew at their particular renewal months.Renewed MembersDr. Leonard Barnstone, Morristown NJMr. & Mrs. Paul Bernhardt,Toms River NJDr. & Mrs. Lennart Carlson, Parrish FLMs. Kate Casano, Jackson NJDr. & Mrs. William Chenitz,Livingston NJMr. David Colby, Princeton NJMr. Vincent Datolli, Hackensack NJMr. & Mrs. Albert Derienzo, Summit NJMr. Chris DeVito, Warren NJMr. Alan Eisenberg, Somerset NJMr. Don Fagans, Clinton NJKevin Faughnan & Kris Yang,Somerset NJMs. Theona L. Feibush, Woodbridge NJMr. Herb Gardner, Spring Valley NYMr. & Mrs. Garnet Gibbon,StoneyCreek, Ontario, CANADAMr. & Mrs. James R. Gilmartin,Chatham NJMr. Joseph J. Giordano, Freehold NJMr. & Mrs. Edward F. Gore,Scotch Plains NJMr. & Mrs. Alan Grossman, Ocean NJMr. & Mrs. Robert Hirschfeld,Somerset NJMs. Jacqueline Hoffman, Ramsey NJMr. Joseph A. Horowitz, Springfield NJMrs. Dorothy Hughes, Palm BeachGardens FLMr. & Mrs. David A. Humm,Long Valley NJMr. & Mrs. William R. Huyler,Morris Plains NJMr. Edward Joffe, Riverdale NYMr. & Mrs. Sidney Josephs, Wyckoff NJMr. Earl Josephson, Trenton NJEllen & Tom Judd, Madison NJMr. & Mrs. Dan Kaufman,Monroe Twp. NJMr. Michael Kolber, Union NJMs. Celeste Lambour, Haledon NJMs. Claudette Lanneaux, Edison NJMs. Marcia Levy, Englewood NJMr. & Mrs. Paige L’Hommidieu,Convent Station NJMr. & Mrs. Joseph Lo Bianco,Englewood NJMr. & Mrs. Jeremiah Mahony,Scotch Plains NJMr. Vincent Mazzola, Basking Ridge NJMr. & Mrs. Thomas J. McEvoy,Ridgewood NYMr. James McGonigle, Morristown NJMr. & Mrs. Don McMillan, Yardley PAMr. Bruce McNichols, Mamaroneck NYMr. & Mrs. William J. Meyer,Randolph NJMr. & Mrs. Gene Milgram,Metuchen NJMs. Gerrie Molnar & Family,Lebanon NJRev. Hibbert W. Moss, Westfield NJMr. Tony Mottola, Montclair NJMr. & Mrs. Francis Mullen,Setauket NYMr. & Mrs. Robert J. Paredi,Savannah GADr. Charles Poskanzer, Albany NYMr. William S. Robertson III,Green Pond NJMrs. Suzanne La Croix Robinson,West Orange NJMr. Sal Saiya, Cape Coral FLMs. Sandy Sasso, Oakhurst NJMr. Marvin Schlaffer, Kendall Park NJMr. & Mrs. Nicholas Senker,Hillsborough NJDr. Howard Stoll, Hamburg NYMr. & Mrs. Thomas Swartz, Jr.,Chatham NJMr. Joe Thomas, Oxford NJMs. Ann Todd, Colonia NJTy/Syl Productions,North Brunswick NJMr. & Mrs. Elliott Tyson, Piscataway NJMrs. George F. Way, Montclair NJMr. Irwin Weinberg, Boynton Beach FLMr. Richard B. Willis, Jr., Newtown PANew MembersMr. Mark Bodner, New York NYMs. Kiera Durr, Bloomfield NJMr. Jack Eng, Livingston NJMr. Andrew Filippone, Madison NJMr. Joseph Filippone, Basking Ridge NJMr. & Mrs. Milton Gerver, Montville NJMs. Cindy Gordon, Princeton NJMr. Eric Kahler, Blairstown NJMr. James Keenan, Chatham NJMr. Timothy Kupetz, Ramsey NJMr. Robert Martin, West New York NJMr. Mark Newsome PSEG,Elizabeth NJMr. Michael Rupprecht,Hillsborough NJMr. John C. Sherman, New York NYMr. William Smith, Charlotte NCMs. Marion Verduce, Sparta NJMrs. Barbara Warshaw, Montville NJAbout 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.■ Youth $20: For people under 25 years of age. Be sure to give the year ofyour birth on the application where noted.■ Give-a-Gift $40 + $20: The Give-a-Gift membership costs the regular $40for you, plus $20 for a gift membership. (Includes your 1-year membershipand your friend’s first year membership. Not available for renewals of giftmemberships.)■ Supporter ($75 – $99/family)■ Patron ($100 – $249/family)}■ Benefactor ($250 – $499/family)■ Angel $500+/family)Members at Patron Level and abovereceive special benefits. Thesechange periodically, so pleasecontact Membership for details.To receive a membership application,for more information or to join:Contact Membership Chair Caryl Anne McBrideat 973-366-8818 or membership@njjs.orgOR visit www.njjs.orgOR simply send a check payable to “NJJS” to:NJJS Membership, PO Box 410, Brookside, NJ 07926-0410.May 2008___________________________________ 47

’RoundJerseyMorris JazzThe Bickford Theater at the Morris MuseumMorristown, NJ 07960Tickets/Information: 973-971-3706Longterm NJJS members will rememberDerek Smith from the Piano Spectaculars atWaterloo Village. Those annual events involvedthe top jazz players from around the country andthe globe, and Derek had a regular invitation.More recently, you’ve probably seen him as thepianist of choice for the Chicken Fat Ball, atPrinceton’s JazzFeast or at Bridgewater, either asa soloist or as part of an all-star band.If you caught him still earlier in his career, youmay have heard him with the Modern JazzQuartet shortly after arriving here from his nativeEngland. He also played extensively with BennyGoodman, and was in the Tonight Show bandwhen it was led by Doc Severinsen. Or you maysimply have encountered him on one of a coupledozen recordings that are still in print, mostnotably some recent ones from Arbors. He’ssurrounded by top players, and any one of themwill give you an enjoyable evening.But nothing compares to his live performances,especially as a soloist. You’re lulled at first as helays out the melody with care and precision.Then, in a blink of the eye, his fingers accelerateto gallop across the keys, seeming to involveeveryone of them as he builds speed. He keepsup the torrid pace for several choruses and, justas your eye is learning to follow his motions, it’sover. His repertoire covers the full spectrum ofjazz and swing, so you’ll recognize most of thematerial…except you’ve never heard it quite asDerek plays it.Derek Smith will return to the Wyeth JazzShowcase on Monday evening, May 12, with a full 90 minutes of passionatepiano. Come to enjoy his dry humor and his “evil left hand.”Piano aficionados should return on June 30 to hear Bob Seeley play boogiewoogie on the big Kawai piano, seasoned with a bit of stride and such forvariety. “Seeley is a force of nature,” insists Dick Hyman, a wondrous playerhimself, who has involved Bob (and Derek, for that matter) in his productionsfor the 92nd Street Y in Manhattan.But this Bickford Theatre series is not all piano. On Monday, June 9, DanLevinson will convene an international reed summit here, with Bob Wilber’sprotégé Nik Payton and British alto star Alex Mendham, backed by a stellarrhythm section: Mark Shane, Kevin Dorn and Brian Nalepka. What a way tocomplete Jazzfest weekend! One show only, never to be repeated.The summer schedule here is packed, so you have no reason to stray duringthe warm season. The 7-piece Summit Stompers return on July 7, with aprogram mixing hot jazz classics with West Coast gems that are rarely heardhere. They’re followed on July 21 by the largest group ever to perform for thisseries: the 24 piece Silver Starlite Orchestra, with talented vocalists augmentingthe powerful instrumentals. Both bands have strong followings, as wellthey should.JerseyEventsJazzBucky P. andJerry B. togetheragain on May 7.Australia’s world class Bixian band, the Wolverines, visits on August 4,followed the next day by France’s award-winning Paris Washboard, both enroute to the Orange County Classic Jazz Festival in CA. The Palomar Quartetcloses the season on August 18, with more Benny Goodman fare. All arepopular, so order tickets early.All that charmand talented, too,Derek Smith appearsat Wyeth JazzShowcase on May 12.Jazz For ShoreMancini Hall, Ocean County Library,Toms River, NJ 08753Tickets/Information: 732-255-0500Bucky Pizzarelli has drawn huge crowds atprevious visits to MidWeek Jazz, but sincethe series has moved to temporary quarters(during renovations at Ocean County College’sFine Arts Center), some thought had to be givento sizing the program to the room. For this visiton Wednesday, May 7, Bucky is backed only bybassist Jerry Bruno. Downsizing is appropriatefor the more intimate Mancini Hall at thedowntown Toms River Library. On the otherhand, seating will be more up close andpersonal. The room has lively acoustics, andguitar fans will appreciate Bucky’s moreintensive playing time.Bucky’s career in jazz goes back to the banjoperiod (see the photo on our January cover!),encompassing the entire swing era, right up totoday. His fans span the generations, because hisplaying is still dynamic in spite of his years. Hekeeps a full schedule of international travel forconcerts, festivals and studio sessions. Given thelimited capacity of the room, we urge you to getyour ticket order in early.“Boogie Bob” Seeley returns on Wednesday,June 25, playing for the first time in a piano-inthe-roundarrangement that puts everyonewithin four rows of the instrument. His “industrial strength” concerts featuregenerous doses of boogie woogie, with some stride, blues and possibly a bit ofragtime for change of pace. Bob is revered in Europe, where hot jazz piano ispopular with young people, and the practitioners are treated like rock stars.When Bob last played for this series, the audience wouldn’t let him stop.Tickets are still $13 in advance and $15 at the door and should be ordered fromthe OCC Box Office (by phone, above) and not from the Library. There isgenerous free parking on surrounding streets, plus a garage and deck behindthe building. The site is within a mile of Garden State Parkway exit 81, with fullprinted directions available from the Box Office too.MidWeek Jazz has applied for additional dates during the summer, and inviteddrummer Kevin Dorn to bring his Traditional Jazz Collective back on July 30.Their first visit last year drew thunderous ovations, and they had to play twoencores! Trumpet star Dan Tobias (often heard with the Midiri Brothers as wellas his own combos) is assembling a group to play on August 20. Both thesedates are awaiting approval by the Library; verify when ordering tickets. JJPhotos by Bruce Gast.NOTE temporary venue change!’Round Jersey concerts are producedby Bruce M. Gast in conjunction with the New Jersey Jazz Society.48__________________________________ May 2008

JerseyEventsJazzPREZ SEZ continued from page 2the Thursday and Friday afternoon before Jazzfest. See their ad onpage 23 for more details. They’ll be having special eventsthroughout the conference. On Friday evening our festival will beginwith the NJ IAJE award winning high school jazz band championsfrom their competition held this spring. This is a free concert thatwill give you reason to believe we’ve got a whole new generation ofgreat jazz musicians on the horizon.■ Guided Tour of Benny Goodman Exhibit at Carnegie Hall. TheNJJS has arranged for a guided tour of the Carnegie Hall’s RoseMuseum featuring an exhibit celebrating the 70th Anniversary ofthe legendary 1938 performance by Benny Goodman (see story,page 10). The tour will be conducted by Gino Francesconi, Directorof Archives and the Rose Museum, Carnegie Hall, and is scheduledfor 3 PM on Saturday, May 10. This is a free event for NJJSmembers. If you’d like to join us, please call me at 732-356-3626 orsend me an E-mail at pres@njjs.org. Thanks to member Sid Josephsfor bringing this exciting exhibit to my attention.Please come out to some and/or all of these events. I’ve been busypartnering (so what else is new) trying to promote the NJ JazzSociety in all sorts of ways. Please show them what an active groupof jazz lovers we really are by attending these events. Make sure towear your NJJS shirts (check out our store on the website) or tellthem NJJS sent you!JAZZ TRIVIA ANSWERSquestions on page 41.“In the Mood.”2. “Marie.”3. (a) ”Flamingo;” (b) Herb Jeffries4. Comanche War Dance, Iroquois andSeminoleCape May Traditional Jazz SocietyMEMBERS WANTEDSend name & address for newsletter, gig information, etc.pinewood6@comcast.net609-827-7909JJ5. The original title was copyrighted toanother author. Although Pearl Buckhad written a best selling book titled“The Good Earth” in 1931, it isbelieved that, in this case, the titlereferred to the slang term then usedby musicians for marijuana.The Institute of Jazz Studies at Rutgers University–Newark is the largest and most comprehensive library and archiveof jazz and jazz-related materials in the world! — a valuableresource for jazz researchers, students, musicians and fans.The archives are open to the public from 9 AM – 5 PM Mondaythrough Friday, but please call and make an appointment.Institute of Jazz Studies, Rutgers, The State University of NJJohn Cotton Dana Library, 185 University Avenue,Newark, NJ 07102Web site: newarkwww.rutgers.edu/IJS 973-353-5595calendar:JAZZ RESEARCH ROUND TABLEA series of lectures and discussions. Names in italics are thepresenters.■ April 16, 2008 David Tenenholtz — Jazz in Swedish:The Career and Legacy of Jan Johansson■ May 7, 2008 Marty Grosz: The Short and Happy Life of theBanjo and Acoustic Guitar in JazzPrograms are free and open to the public and take place on Wednesdayevenings from 7:00 to 9:00 PM in the Dana Room, 4th floor, John CottonDana Library, Rutgers University, 185 University Ave., Newark, NJ.Refreshments are served. Information: 973-353-5595.JAZZ FROM THE ARCHIVESBroadcast hosted by IJS Director, 2007 NEA Jazz Master DanMorgenstern, every Sunday at 11:00 PM on WBGO Radio (88.3 FM).Information: www.wbgo.org.■ April 20 — Oscar Peterson Tribute: Host Tad Hershorn covers thecareer of the piano great who died on December 23, 2007.■ April 27 — Variety Is The Spice Of Jazz: Host Dan Morgensterncontinues his explorations of multiple versions of the same tunes; thistime, “Someday Sweetheart” and “Tea for Two.”■ May 4 — The Prestige-ious Tiny Grimes, Part 4A: Host John Clementsamples the albums guitarist Grimes made for the Prestige label.■ May 11 — The Prestige-ious Tiny Grimes, Part 4B: Host John Clementplays more of the recordings guitarist Grimes made for the Prestigelabel.■ May 18 — Playing the Changes: Host Ed Berger interviews authorDavid G. Berger about his collaboration with bassist/photographer MiltHinton.■ May 25 — Springville: Bill Kirchner examines the music oftrumpeter/composer/arranger Johnny Carisi, composer of “Israel” and“Springville” who has arranged for Glenn Miller, Ray McKinley, CharlieBarnet and Claude Thornhill.■ June 1 — Forgotten pioneer: Arranger-composer-guitarist GeneGifford, born May 31, 1908, set the style for the Casa Loma Orchestra, ahuge influence on the Swing Era to come. Dan Morgenstern hosts thiscentennial show.May 2008__________________________________ 49

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.arts-factory.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 ZitoCresskillGRIFFIN’S RESTAURANT44 East Madison Ave.201-541-7575Every Tuesday Frank Forte solo guitarDealAXELROD PACJewish Community Center732-531-9100 x 142www.arthurtopilow.comEdgewaterLA DOLCE VITA270 Old River Rd.201-840-9000EnglewoodBERGEN PAC30 N. Van Brunt St.201-227-1030www.bergenpac.orgTOMASO’S RISTORANTE163 Old River Road, 07020(201) 941-3000GarwoodCROSSROADS78 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 PMSwingadelicSUSHI LOUNGECorner of 2nd St & Hudson St.www.sushilounge.com201-386-1117Sunday jazz 6 PMHopewellHOPEWELL VALLEY BISTRO & INN15 East Broad St.609-466-9889www.hopewellvalleybistro.comFriday/Saturday 7 PMMinimum $15LawrencevilleFEDORA CAFÉ2633 Lawrenceville Road609-895-0844Some Wednesdays 6:00 PMNo cover/BYOBLittle FallsBARCA VELHA RESTAURANT/BAR440 Main St., 07424973-890-5056www.barcavelha.comFridays 7:30 PM Bossa BrazilNo coverLyndhurstWHISKEY CAFÉ1050 Wall St. West, 07071201-939-4889www.whiskeycafe.comOne Sunday/month James Dean Orchestrasswing dance + lessonMadisonSHANGHAI JAZZ24 Main St.973-822-2899www.shanghaijazz.comWednesday/Thursday 7 PMFriday/Saturday 6:30 PMSunday 6 PMNo coverMahwahBERRIE CENTER/RAMAPO COLLEGE505 Ramapo Valley Road201-684-7844www.ramapo.edu/berriecenterMaplewoodBURGDORF CULTURAL CENTER10 Durand St.973-378-2133www.artsmaplewood.orgManvilleRHYTHMS OF THE NIGHT729 S. Main Street908-707-8757rhythmsofthenight.netOpen jam session Wednesdays 7–10 PMMatawanCAFÉ 34787 Route 34Jazz trios Wed and Thur 8 PM732-583-9700www.bistro34.comMendhamKC’S CHIFFAFA HOUSE5 Hilltop Road973-543-4726www.chiffafa.comLive Jazz — Rio Clemente, othersCall for scheduleMetuchenNOVITANew & Pearl Streets732-549-5306Fridays 7:30 PMNo coverMontclairCHURCH STREET CAFÉ12 Church St.FIRST CONGREGATIONAL CHURCH40 South Fullerton Ave.973-744-6560PALAZZO RESTAURANT11 South Fullerton Ave.973-746-6778Friday/Saturday 7:00 PMJoe Licari/Larry WeissRICHIE CECERE’S2 Erie Street973-746-7811SESAME RESTAURANT & JAZZ CLUB398 Bloomfield Avenue973-746-2553sesamerestaurant.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.comMorristownTHE BICKFORD THEATREAT THE MORRIS MUSEUM5 Normandy Heights Road973-971-3706www.morrismuseum.orgSome Mondays 8:00 PMTHE COMMUNITY THEATRE100 South St.973-539-8008www.mayoarts.orgTHE SIDEBAR AT THE FAMISHED FROG18 Washington St.973-540-9601www.famishedfrog.com/thesidebarST. PETER’S EPISCOPAL CHURCH70 Maple Avenue973-455-0708SUSHI LOUNGE12 Schuyler Place973-539-1135www.sushilounge.comSunday jazz 6 PMMountainsideARIRANG1230 Route 22W908-518-9733Wednesday 7:30 PMNewarkBETHANY BAPTIST CHURCH275 Market Street973-623-8161www.bethany-newark.orgListings are alphabetical by town. All entries are subject to change; please call each venue to confirm schedule of music.50__________________________________ May 2008

JerseyEventsJazzTell them you saw it in Jersey Jazz!NEWARK MUSEUM49 Washington St.973-596-6550www.newarkmuseum.orgSummer Thursday afternoonsNJPAC1 Center St.888-466-5722www.njpac.orgTHE PRIORY233 West Market St.973-242-8012Friday 7:00 PMNo coverSAVOY GRILL60 Park Place973-286-1700www.thesavoygrillnewark.comNew BrunswickCHRISTOPHER’SAT THE HELDRICH HOTEL10 Livingston Avenue732-214-2200www.theheldrich.comNo coverEvery Friday 8 – 11 PMDELTA’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 PLACEAT THE PARK PUB785 Bloomfield Avenue973-235-06968:30–11:30 PMOaklandHANSIL’S BAR AND GRILL7 Ramapo Valley Rd.201-337-5649RUGA’S4 Barbara Lane201-337-0813Tuesday thru Saturday 7:00 PMPine BrookMILAN13 Hook Mountain Road973-808-3321www.milanrestaurant.comFridays 6:30 PM Stein BrothersPlainfieldCAFÉ VIVACE1370 South Avenue908-753-4500www.cafevivace.comSaturdays 7:30 PMPrincetonMCCARTER THEATRE91 University Place609-258-2787MEDITERRA29 Hulfish St.609-252-9680www.terramomo.comSALT CREEK GRILLE1 Rockingham Row,Forrestal Village609-419-4200www.saltcreekgrille.comWITHERSPOON GRILL57 Witherspoon Street609-924-6011www.jmgroupprinceton.comTuesday night jazz 6:30 – 9:30 PMRahwayARTS GUILD OF RAHWAY1670 Irving St.732-381-7511www.rahwayartsguild.org8:00 PMRandolphSTONEFIRE GRILLEHOUSE & BAR500 Route 10 Westwww.stonefirerestaurant.com973-537-7070Sunday Jazz 6 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 Lobstersbig bandSewellTERRA NOVA590 Delsea Drive856-589-8883http://terranovarestaurantbar.comFridays & Saturdays Live JazzShort HillsJOHNNY’S ON THE GREEN440 Parsonage Hill Road973-467-8882www.johnnysonthegreen.comSomervilleVERVE RESTAURANT18 East Main St.908-707-8605www.vervestyle.comOccasional Thursdays 6 PMFridays/Saturdays 8:30 PMSouth BrunswickJAZZ CAFÉSouth Brunswick (Dayton)Municipal Complex540 Ridge Road732-329-4000 ext. 7635www.arts@sbtnj.netfirst Friday every month$5 admission includes lightrefreshmentsSouth 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 WednesdaysTotowa46 LOUNGE300 Route 46 East973-890-9699www.46lounge.comWednesday Jazz 7:30 PMSUSHI LOUNGE235 Route 46 Westwww.sushilounge.com973-890-0007Sunday Jazz 6 PMTrentonJOE’S MILL HILL SALOONMarket & Broad Streets609-394-7222OccasionallyUnionVAN GOGH’S EAR CAFÉ1017 Stuyvesant Ave.908-810-1844www.vangoghsearcafe.comSundays 8:00 PM$3 coverWatchungWATCHUNG ARTS CENTER18 Stirling Road908-753-0190wacenter@optonline.netwww.watchungarts.orgJazz Series 2008Two Fridays a month at 8:00 PMWayneWILLIAM PATERSONUNIVERSITY300 Pompton Road973-720-2371www.wpunj.eduSunday 4:00 PMWest CaldwellT’S TRATTORIA MARTINI BAR1090 Bloomfield Ave.973-882-3110Wednesdays/Thursdays/Fridays musicWest OrangeCECIL’S364 Valley Road973-736-4800cecilsjazzclub.comFRANKLIN TAVERN97-99 Franklin Ave.973-325-9899No coverWestfield16 PROSPECT WINE BARAND BISTRO16 Prospect St.908-232-7320Six nights a weekACQUAVIVA115 Elm St.908-301-0700www.acquavivadellefonti.comFridays 7:00 PMWoodbridgeJJ BITTING BREWING CO.33 Main Street732-634-2929www.njbrewpubs.comFridays 9:30 PMWood RidgeMARTINI GRILL187 Hackensack St.201-209-3000Wednesday throughSaturdayWe continually update entries. Please contact tmottola@aol.com if you know of other venues that ought to be here.We want to include any locale that offers jazz on a regular, ongoing basis. Also please advise us of any errors you’re aware of in these listings.THE FRANK WESS QUINTETappears at the Village Vanguard inNYC April 29 and May 4.The Name DropperCatch SWINGADELIC on May 2 atSwinging with Simone’s dance,Montclair Women’s Club, 82 Union St.The Priory in Newark presentsFRANK NOVIELLO on May 2 andTHE STEIN BROTHERS QUINTETon May 16.JAMES L. DEAN big band swingsthe Whiskey Café in Lyndhurst on May18 — $15 includes dinner, dancelesson.May 2008___________________________________ 51

c/o New Jersey Jazz SocietyPO Box 410Brookside, NJ 07926-0410Send all address changesto the address aboveTime Value MaterialDeliver PromptlyPERIODICALSPostage PAID atBrookside, NJand additionalmailing officesFounding MemberBuilding an InternationalJazz Community