CHICAGO JAZZ MAGAZINE | SPRING 2018

Chicago Jazz Magazine

Page 2

March-April-May 2018

View From The Inside

BY RANDY FREEDMAN

Spider Saloff is a Pod Person Spider Saloff is an internationally acclaimed jazz vocalist based in Chicago.

In late 2017, Saloff began a music, talk and comedy podcast titled Spider Saloff’s Spider’s Web. A podcast is similar to a radio program, with the key difference being that listeners can tune into their favorite shows at their own convenience and listen to podcasts directly on their personal computer or media player.

The term “podcast” is a combination of the brand name “iPod” (a media player developed by Apple) and “broadcast,” the traditional means of receiving information and leisure content on the radio or television. When the two words were merged, the terms podcast, podcaster and the art of podcasting was born.

Prior to the introduction of her podcast, Saloff was perhaps best known for her contributions as cohost of National Public Radio’s Words and Music. She also participated (along with fellow vocalists Frieda Lee and Dee Alexander) in the national touring Ella Fitzgerald tribute, “The Three Ellas,” and is known for her live musical tributes to Tin Pan Alley icon George Gershwin.

The All Music Guide’s Alex Henderson wrote, “As a vocalist, Saloff has a clean, uncomplicated, straightforward approach. On ballads, Saloff can be a vulnerable, tender and an introspective torch singer; on up-tempo material, the Windy City resident can be fun and playfully swinging.

“Because Saloff has devoted entire concerts to the Gershwin songbook and obviously has an extensive knowledge of the classic Broadway theater music of the ‘20s, ‘30s and ‘40s, some have described her as a cabaret artist. But even though Saloff has attracted her share of attention in cabaret circles and has performed at some cabaret-friendly venues, she prefers to be categorized as a jazz vocalist—and, to be sure, her approach is more jazz than cabaret.

“Saloff scats and improvises—two of the main things that jazz vocalists are known for doing. The people who have influenced her the most are definitely jazz-oriented, including Anita O’Day, Ella Fitzgerald, Billie Holiday and Julie London. When Saloff scats, one can tell that she has paid very close attention to Fitzgerald’s scatting (which isn’t to say that she is actually emulating

Fitzgerald, or anyone else). Saloff has cited the innovative Betty Carter as one of her favorite singers, but unlike Carter, Saloff isn’t part of jazz avant-garde and doesn’t go out of her way to be abstract or cerebral. Saloff’s work is much more accessible by mainstream standards.

“Saloff isn’t a native of the Windy City.

She’s originally from the Philadelphia/ southern New Jersey area and lived in New York City before making Chicago her adopted home in 1994.”

On her podcast, Saloff usually sings brief excerpts from the well-known and often-recorded jazz standards that she is best known for. This both avoids her the difficulty of fitting them into a relatively brief podcast, as well as having her podcast fully respect the copyright fees that the composers would then be entitled to. On one podcast though, in early 2018, Saloff sang some complete songs that she had written herself. Two of them I was very familiar with, having heard Saloff sing them both in person and on CD. Saloff introduced them on the podcast.

“The first one I want to play for you is a title cut from a CD I did called Like Glass that I co-produced with guitarist Steve Ramsdell,” said Spider. “This song is interesting. At least it’s interesting. It’s about losing someone in your life, about someone just drifting away from you. I remember I started writing this song in O’Hare Airport, coming to me all at one time. This is what happens. I usually start with the lyric and then suddenly the music starts appearing. I remember humming the melody into my cell phone in little segments and by the time I landed in San Francisco the song is finished. So this is that song that is the title of my CD, Like Glass.”

The podcast format offers the artist and audience a chance to bond and achieve understanding beyond a typical concert format. Here Saloff can explain in whatever detail she likes, both her creative process, as well as demonstrate the fruits of her labor, with the next best thing to a live performance. Saloff takes full advantage of the opportunity to explain to her listeners the thought process that goes through each element of developing a new song as well as its meaning to the songwriter and its intended meaning for her listeners.

“This next one is also from the recording Like Glass, and it’s funny that

Spider Saloff. it could be taken in a lot of different ways, but it’s basically about seduction,” continued Saloff. “It’s a warning about someone who may be out there seducing you and you don’t even realize it.” [Song starts] You better watch yourself with that one.

He’s got a way you won’t suspect.

You had better watch yourself with that one.

You won’t know what you should protect.

At first it seems like he’s the sad one, and someone left him lost and blue.

But you will find out he’s the bad one, and soon there’s nothing left of you.

Saloff has a reputation as being one of our foremost interpreters of the music of George Gershwin. She is also a personal friend of the Gershwin family. She shared some insights on her podcast. “I’ve always been fascinated by the story of George Gershwin. He came from such a poor family on the Lower East Side of New York City. They had four kids, the oldest being his brother Ira, who is very quiet and shy and very smart. George was the second in line and he was sort of a wild kid who was out getting into trouble. He was big and athletic and very outspoken. Even though they were poor, the family thought it was very important to have music lessons.

One day they were bringing a piano up to the third floor where they were taking it through a window on pulleys, and Ira Gershwin was in the corner shivering in his boots because he did not want to take piano lessons. Legend has it that George came upstairs and sat at the piano and played an entire piece. They said, ‘Sorry Ira. George is the one who’s going to get the piano lessons.’ Ira just wiped his brow and said ‘Whew!’”

Saloff then explained to her podcast audience, “One of the reasons that I became so prominent in my career is because of something very serendipitous.

It happened in the early ‘90s while I was still living in New York and my musical partner Ricky Ritzell and I were still performing in clubs. Through a lot of complicated circumstances we were able to meet and love Leopold Godowsky III,

who is the nephew of George Gershwin.

He is a wonderful man, incredibly generous. He loved what we were doing musically. Consequently, he asked me to sing at his mother’s 85th birthday party in New York. Yes, his mother being Frankie Gershwin, George Gershwin’s baby sister.

Frankie Gershwin was an incredibly wonderful, candid, lovely woman, who had been a singer in the ‘20s.”

Saloff later confirmed this with Frankie when she got to know her. “I asked her if she had a debut in Paris and this was our conversation.”

“Oh yes I did,” Frankie Gershwin replied.

“Somebody really famous produced that. I cannot remember who it was,” Saloff commented.

“Noel Coward—no—it was that other one, Cole Porter,” said Gershwin.

“Well, I heard that George played for you on opening night,” added Saloff.

“He did,” said Frankie, “but then he left. I guess he had better things to do.”

“When I opened the Gershwin (centennial celebration) concert,” explained Saloff, “Frankie not only attended, but she introduced me on stage and came up and sang in a red lace dress.

She was incredible, and I was thrilled to know her. And she did hail her brother George, the genius.”

Podcasting has become a surprisingly popular new mode of communication.

Personally, I listen to many different podcasts each week, hosted by diverse and interesting personalities on a variety of subjects and find them stimulating.

These include, but are not limited to: Chael Sonnen on mixed martial arts, Adrian Wojnarowski on pro basketball, Rachael Maddow on politics, Steve Austin on professional wrestling and, yes, Spider Saloff on jazz. I urge you to give these or many other great podcasts a listening session very soon.

■CJM Chicago freelance writer Randy Freedman is a jazz connoisseur, photographer, food critic, humorist and devoted music fan. He is a regular contributor to Chicago Jazz Magazine.

Prohibition Jazz Orchestra of Chicago March 18, 2018 2 - 5 pm

Dr. Lonnie Smith Saturday, March 10 7pm Paul Bedal: Sounds & Screens Sunday, March 11 6:30pm

Michael Lerich Jazz Ensemble Sunday, March 18 6:30pm

Luciano Antonio Quartet Wed, Mar 21, April 18 & May 16 7pm

Judy Night Quintet Mar 23 7:30pm; April 15 6:30pm; May 20 6:30pm

Fred Simon/Chris Siebold Quartet Sunday, March 25 7pm

Bill Porter Orchestra

See 210live.com for our full schedule

210 Green Bay Rd, Highwood, IL 847-433-0304

Wed, April 4; Sun, May 6; Wed, June 6 7pm

Liquid Soul Thurs, April 12 7pm & Fri, May 25 8pm

“Little Charlie” Baty Organ Trio Sunday, June 10 6:30pm

Judy Roberts Wed, June 20 6:30pm

presents…

New Orleans Mudcats

AT THE GLENDORA HOUSE

April 15, 2018 2 - 5 pm

2557 W 116th St Chicago, IL 60655 $18.00 in advance $20.00 at the door Students with ID - free admission FREE PARKING/ Hardwood Dance Floor

May Concert May 13, 2018 2 - 5 pm (Band TBA)

For ticket information or to become a member visit

www.illianajazz.com or call Herta: 708 672-3561 write to P.O. Box 1459, Oak Park, IL 60304 Illiana Club of Traditional Jazz is a 501C3 Non-profit organization with no paid employees.

March-April-May 2018

Chicago Jazz Magazine

Page 3

The Joy of Learning at Straight Ahead Jazz Camp PABST SCHLITZ ON TAP

Est. 1907

LIVE JAZZ 7 NIGHTS plus the

UPTOWN POETRY SLAM with MARC SMITH Sundays 7PM-10PM followed by the

SUNDAY NIGHT SOUL JAZZ PARTY 11PM-2AM with

Sun, 3/25 & 4/22 2-4PM

THE PATERSON TRIO

CHICAGO JAZZ COMPOSERS COLLECTIVE

MONDAYS 9PM-1AM

PATRICIA BARBER QUARTET

Nadine Smith, Neil Tesser and Barry Harris.

BY THADDEUS TUKES Last summer I attended the 2017 Straight Ahead Jazz Camp on a whim and it turned out to be one of the best decisions I made all year!

Each summer, the Jazz Institute of Chicago hosts a week of master classes, workshops and lectures called the Straight Ahead Jazz Camp.

World-renowned musicians convene in Columbia College’s The daily jam sessions at the Straight Ahead Jazz Camp gives music building to discuss their attendees a chance to try out the concepts they have learned professional experiences, pe- that day. ruse jazz history and share bits phrase, “Get out of here!” of wisdom to jazz musicians of Another notable workshop was “Where varying ages and skill.

Attendees included jazz veterans, Are They Now?” which examined the abhistorians, enthusiasts and young mu- sence of institutional resources to prosicians, all of whom were looking to ex- mote women in the jazz industry. Led by pand their jazz resources. Some (such as saxophonist and Chicago State Universimyself) were eagerly taking notes, while ty Professor Roxanne Stevenson, the preothers were in total awe of the profound sentation included data showing that less jazz knowledge from the presenters. Each than 26% of women graduate from collepresenting musician is an artist-in-resi- giate music programs. She also explored dence, usually giving multiple workshops the national absence of women collegiate band directors. throughout their given day.

“Someone said to me, ‘Women have This past camp was of particular interest to me because it featured inter- no business teaching music,’” said Ms. nationally acclaimed pianist Barry Har- Stevenson. The presentation ended by ris. Mr. Harris, who has performed with discussing the absence of historical narMiles Davis, Cannonball Adderley, and ratives centering professional women many others, was as insightful about jazz instrumentalists. Attendees received a comprehensive list of women jazz band history as he was jazz theory.

“You aren’t jazz musicians, you’re clas- leaders of varying instruments, with sical musicians,” said Mr. Harris during links to videos and biographies.

The remaining days saw lectures from an interview with Joe Segal, owner of the Jazz Showcase. An American classi- Rufus Reid, Monika Herzog, Dave Dougcal musician, Mr. Harris described what las and Chicago’s own Ari Brown.

One of the biggest attractions to the he calls the “sacred” correlation between Straight Ahead Jazz Camp is the daily numbers and tones. He uses arithmetic to guide his harmonic approach, stating his morning master classes with Chicago legends. The faculty included Victor Garcia, disdain of formal titles given to scales.

“Jazz is logic. Music is logic. It’s unlim- Bobbi Wilsyn and the late Willie Pickens, who helped launch the Straight Ahead ited because it’s like math.”

Mr. Harris says he believes many of Jazz Camp. Gaining access to their years the greatest jazz composers had an un- of experience and professionalism is inderstanding of the relationship between valuable, and reminds us that many of math and music, which helped them to the greatest jazz artists are in/from Chicago. create timeless melodies.

The daily jam sessions are also a “They wrote songs you could sing,” unique feature at the Straight Ahead said Mr. Harris.

A jazz musician since the age of 15, Jazz camp. After spending the day learnMr. Harris says his introverted personal- ing from an artist-in-residence, attendees ity influenced his devotion to the piano. get the opportunity to participate in an While he cites saxophonist Charlie Park- open jam session with the artists. You er as the first musician to attract him to can not only incorporate new information jazz, he credits vibist Milt Jackson as the you’ve gained from lectures, but you can also analyze how the artists apply those musician who inspired him to play jazz.

“Charlie Parker is the keeper of the skills in real time. Some artists, such as classical bebop slang,” said Mr. Harris. Ari Brown, actually shared short melodic “But Milt Jackson maybe made me the excerpts with those who were interested.

Ending each day with a jam session remusician I am today.”

A professor and international lectur- ally sets the Straight Ahead Jazz Camp er, Mr. Harris says he believes it is the apart as a hands-on experience with naresponsibility of the older generation to tional jazz masters.

If the 2018 Straight Ahead Jazz Camp help children develop an appreciation of music. When asked if he would ever stop is anything like this past one, I will defi■CJM teaching, he responded with his classic nitely be in attendance.

TUESDAYS 9PM-1AM

THE FAT BABIES WEDNESDAYS 9PM-1AM

ALFONSO PONTICELLI & SWING GITAN 2AM-3AM

Frank Catalano Sextet Late Night Industry Set THURSDAYS 5:30PM-8PM 9PM-1AM

Andy Brown Solo Jazz Guitar Cocktail Hour Show

ALAN GRESIK’S SWING SHIFT ORCHESTRA

Fridays

5PM-8PM

The “Flipside” Show with Chris Foreman on the Hammond B-3 Organ

Saturdays

3PM-5PM

Paper Machete, Chicago’s Weekly “Live Magazine”

FRIDAYS & SATURDAYS (*Matinees) Mar. 2 & 3 9 10

Donny McCaslin Group Guy King Sextet Chi-Town Jazz Festival

9PM-1AM Fri; 8PM-Midnight Sat 9PM-1AM Fri 8PM-Midnight Sat

16 & 17

Grazyna Auguscik Group

9PM-1AM Fri; 8PM-Midnight Sat

23 & 24

Mike Jones Trio

9PM-1AM Fri; 8PM-Midnight Sat

30 & 31

Stephane Wrembel

9PM-1AM Fri; 8PM-Midnight Sat

Orrin Evans Trio

9PM-1AM Fri; 8PM-Midnight Sat

April 6 & 7 13 & 14

George Freeman & Mike Allemana Group 9PM-1AM Fri; 8PM-Midnight Sat featuring Bernard “Pretty” Purdie

20 & 21

Sheila Jordan

9PM-1AM Fri; 8PM-Midnight Sat

27 & 28

Pat Mallinger Quartet

9PM-1AM Fri; 8PM-Midnight Sat

featuring Bill Carrothers

1AM-4AM Green Mill Quartet Jazz Jam Session Saturdays Midnight-5AM After Hours Jazz Party with Sabertooth Fridays

OPEN NOON-4AM SUN-FRI, NOON-5AM SAT FREE PARKING AT LAWRENCE & MAGNOLIA 6PM-6AM ONLY COVERS: SUN - $6 (7PM-10PM), $4 (11PM-2AM); MON-THUR - $6-$7’ FRI - FREE COCKTAIL HOUR SHOW, $10-$15 ‘TIL 1AM, NO COVER 1AM-4AM; SAT - $10-$15 ‘TIL MIDNIGHT, $5 MIDNIGHT-2AM, NO COVER 2AM-5AM

www.greenmilljazz.com AMERICAN EXPRESS ACCEPTED

“All roads lead to Uptown”

Chicago Jazz Magazine

Page 4

March-April-May 2018

Hard Bop Heroes of Piano

BY MICK ARCHER

Les McCann Death, preferably early, dramatic and tragic is a great career move for musicians. Charlie Parker, Clifford Brown, Hank Williams, Scott LaFaro, Buddy Holly, Jimi Hendrix, Tim Hardin, Elvis Presley, John Lennon, Kurt Cobain... The list of artists whose posthumous reputations went from fame to legend is endless. And sometimes the death is also a bookmark ending to a period in music and culture.

Such was the almost onstage murder of trumpet great and bandleader Lee Morgan.

I first heard about this infamous episode when I was working as house pianist at Sage’s State Street in the mid ‘80s. The maître d’, an elegant and sophisticated black gentleman named Armand, was a jazz fan with an encyclopedic knowledge of its history. He claimed to be present on February 19, 1972, at Slugs’ in New York City’s East Village when Lee Morgan’s common-law wife gunned him down

Vol. 17 No. 2

Publisher/Editor

Michael Jeffers

Contributors Randy Freedman Kelly Sill Thaddeus Tukes

Mick Archer Hrayr Attarian Frank Caruso Jeff Cebulski Photography

Christine Jeffers Bill Klewitz

Special Consultants

Dan Ferris Christine Jeffers Dena Gervasi

Photo/Art Editor Layout/Design Distribution

Jesse Saenz Karin Pecoraro Ann Littleson

Distributed by Gabriel Saragosa Enterprise

between sets. The tragedy not only ended an illustrious jazz career, but also a musical/social movement known as hard bop.

Lee Morgan recorded an inspiring album, The Side Winder. This 1964 record, with Joe Henderson (tenor saxophone), Barry Harris (piano), Bob Cranshaw (bass) and Billy Higgins (drums) is Blue Note’s best selling record ever, and helped put hard bop on the cultural map of America. It was even used in a Chrysler commercial! But all I know about trumpet is that it was way too hard for me to play back in high school, so I switched to piano. Hence, this column will focus on whom I call the hard bop heroes of the piano, something I know a little about.

Hard bop still exists, and its innovations have been absorbed by practically all players of jazz. But as a distinct stylistic and cultural trend, it was pretty much over by the time I was in college in the early ‘70s, supplanted by funk and fusion. At that time there was an underground radio station located on the dial where WXRT (93.1 FM) is now. It was ostensibly a rock station, but back in those days DJs created “free form” radio programs consisting of rock, plus spoken word, blues, folk classical and lots of jazz.

This station was my first exposure to artists like Pharoah Sanders, Roland Kirk and Charles Lloyd. There was one record they played almost every day for years, and it was like nothing I had yet heard. It

(starting March 23)

1331 N. Milwaukee

JAZZ FRIDAYS !

9-MIDNIGHT

$10 cover

MICK ARCHER TRIO

Jeff Sandler/drums Brian Sandstrom/bass

featuring weekly special guests

Les McCann. was called Swiss Movement by singing pianist Les McCann, in collaboration with saxophonist Eddie Harris. There was one cut in particular that got heavy rotation, “Compared To What”—a bluesy protest song commenting on the politics of the day. It was a live recording from the 1969 Montreux Jazz Festival. It started with a snippet from “Aquarius” in F, then modulated by half steps up to C, and then returned to F for the main title. To this day, I still get chills when I hear this raucous, angry and beautiful performance.

So why is this recording so powerful?

A couple of things: a recognizable melody, urgent and memorable lyrics, a danceable beat, and a bluesy, down-home feeling. I later found out that these are the defining characteristics of the subgenre of jazz called hard bop.

In his excellent book, Hard Bop: Jazz and Black Music 1955-1965, author David Rosenthal quotes pianist/composer and band leader Tadd Dameron: “I’m trying to stress melody with flowing chords that make the melody interesting. I’m trying to build a bridge between popular music and the so-called modern music. I think there is too wide a gap.”

The modern music Dameron refers to was bebop—once the summit of jazz’s achievement, and it’s rejection of the mass dancing and listening audience. As big bands vanished after World War II, dancers and people who liked singable melodies were denied access to those simple pleasures by the break-neck tempos, bizarre chord progressions and stunning virtuosity that so defined the bebop explosion of the ‘40s.

In a 1961 interview in Downbeat, Art Blakey, leader of perhaps the greatest

Cover photo by Christine Jeffers

www.ChicagoJazz.com Chicago Jazz Magazine is published four times annually by Chicago Jazz Publishing and Entertainment Inc. Subscriptions are available for $9.95 per year (U.S. only).

To subscribe online with credit card go to www.chicagojazz.com or send check or money order to ChicagoJazz.com, 1965 W. Pershing Rd, Chicago IL 60609 For advertising information call Mike Jeffers (773) 927-0396, or e-mail to ads@chicagojazz.com For editorial inquiries e-mail to info@chicagojazz.com Unless otherwise noted, all articles, formatting techniques, photographs, artwork and ad designs printed herein are the sole property of Chicago Jazz Magazine and may not be duplicated or reprinted without express written permission.

We do not necessarily endorse the views expressed in the articles and advertisements, nor are we responsible for the products and services advertised.

We welcome your ideas, articles and feedback. © 2018 by Chicago Jazz Magazine.

All rights reserved. Although some parts of this publication may be reproduced and reprinted, we require that permission be obtained in writing.

hyde park jazz society Presents Sunday JAZZ

Founded by James W. Wagner

Jazz Bites and Beverages available

ROOM 43 1043 E. 43RD STREET

Cash Admission: $10 Students w/university ID and children accompanied by an adult: $5 FREE on-street parking available.

EVERY SUNDAY – 7:30 & 9:30 pm

MARCH 2018 4 CURTIS ROBINSON, guitar 11 VICTOR GOINES, clarinet/saxes

APRIL 2018

MAY 2018

1 BILL MC FARLAND & THE CHICAGO HORNS 8 6PM UCHICAGO JAZZ X-TET & 7:30PM JULIUS TUCKER, piano

18 RAJIV HALIM, sax

15 HINDA HOFFMAN & SOUL MESSAGE BAND

25 SARAH MARIE YOUNG SINGS SARAH VAUGHN

22 NOTEWORTHY BIG BAND 29 HPJS 5TH SUNDAY JAM WITH JOAN COLLASO, vocals

(Schedule subject to change)

CHECK WEBSITE to get current information on performances:

www.hydeparkjazzsociety.org

May 6 PETER LERNER, guitar Additional shows May 13, 20, & 27 with performers to be announced soon

HPJS & LOGAN CENTER PRESENT 3RD TUESDAYS at Café Logan 7:30 & 9:00 915 E. 60th Street, 1st floor (beer, wine, snacks) Parking: FREE Admission: FREE Mar 20: GEORGE FLUDAS, drums Apr 17: STEVE COLEMAN, sax May 21: RYAN COHAN, piano

Sponsored by Chicago Jazz Magazine • ChicagoJazz.com

hard bop ensemble, The Jazz Messengers said, “When we’re on the stand, and we see that there are people in the audience who aren’t nodding there heads to our music, we know we’re doing something wrong. Because when we do get our message across, those heads and feet do move.”

I loved this music way before I had ever heard the term “hard bop.” Some people forget that jazz is a hybrid form of black folk music in the same way country music is derived from Celtic music, and rock ‘n’ roll is derived from both. My love of folk/roots music led me to hard bop for many reasons, not the least of which is that you can dance to it. Jazz in the 1950s—particularly the Cool Jazz movement—moved from a form of mass entertainment to a refined product only accessible to jazz musicians and cognoscenti who understood what they were doing. This produced some fantastic art, but reduced the size of the jazz audience to the point where it was no longer a central part of popular culture. Urban blues, R&B, motown and rock moved in to fill the vacuum, and jazz musicians moved from the bars to concert stages where there was no dancing or drinking. Now it rests in the halls of academia, where it rests today alongside another once popular form of mass entertainment: classical music.

I admire and enjoy Cool Jazz as exemplified by greats such as Bill Evans, Dave Brubeck and The Modern Jazz Quartet, and going in the other extreme, avant-garde jazz as played by Ornette Coleman, Cecil Taylor, and later McCoy Tyner. But I found my jazz happy place in the funky, catchy, blues-tinged music produced by pianist Les McCann.

Not a “chops” player by any estimate, Les McCann—born in Lexington, Ky., in 1935—was known more for his singing than his playing. After winning a talent contest in the navy, McCann appeared on the Ed Sullivan Show and began a long career in what was called “Soul Jazz.”

Following in the footsteps of Ray Charles and foreshadowing Stevie Wonder, McCann used electric keyboards and funky non-jazz rhythm sections to create a pop sound that was eagerly accepted by audiences, far beyond the confines of jazz. As a producer for Atlantic in the early ‘70s, he discovered Roberta Flack. In 1971, on the strength of Swiss Movement, he and Eddie Harris flew to Ghana for a historic 14hour concert before more than 100,000, which included Wilson Pickett, the Staple Singers, Santana and Ike and Tina Turner.

He’s still around, though retired back in his hometown of Lexington after a stroke deprived him of much use of his hands. He continues to sing and make public appearances. Please go to YouTube right now and listen to “Compared To What,” and you will become a fan.

■CJM

Chicago Jazz Magazine

March-April-May 2018

in his own words...

Chicagoan David Bloom had a calling. Born into a family of educators and with a passion for music, aesthetics and self-expression, it seems he was destined to become a jazz teacher. Unlike most music teachers who focus on a particular instrument, Bloom’s approach is primarily at the macro level––helping students and professionals alike to develop or fine-tune their jazz concepts. He is a master at cutting though to what matters, and of communicating difficult concepts to his students in easy-to-grasp ways.

Since founding the Bloom School of Jazz in 1975, David Bloom has strived to push his students to break through musical and psychological barriers and achieve the highest level of performance on their instruments. Bloom always strives to impart on his pupils not only what constitutes a good solo, but also what makes a good musician: “It’s not about ego, it’s about serving the music.” Over the years, thousands of students have benefited from his unlimited enthusiasm for teaching jazz, including notable musicians such as Zach Brock, Steve Rodby, Rob Mazurek, Chad Taylor, Larry Gray, Regina Brown, Ryan Cohan, and Cliff Colnot.

In 2017 he was named Jazz Educator of the Year by the Jazz Institute of Chicago for his excellence in the field, and his school continues to grow. As the Bloom School of Jazz heads into its 43rd year we spoke with Bloom about his teaching concepts and techniques, along with the current state of jazz performance and presentation, as well as its future.

Chicago Jazz Magazine: How does one go about “teaching” jazz?

David Bloom: It’s about elevating a student’s aesthetics—what they think is good and why. Thousands of times musicians have walked in the school with one set of musical values, if any, and walked out with a very clear sense of the values of the masters and how to practice those values without direct imitation of their licks. I have learned the only way to truly improve is to raise your musical values, sensibilities and aesthetics. You can learn new licks by master players without elevating your grammar and syntax. In the end, you have to be a master of what you love. The only way to stand out in a tsunami of imitators is to not be one. Jazz has always been a highly individual art and the people who promoted it in the fifties and sixties were as passionate about the recording, distribution and promotion as the artists were about the art. If you take a look at the four main jazz labels, these were not big corporations. For Blue Note Records, there were four main principles there.

Alfred Lion was the owner, Francis Wolff his photographer––with those incredible pictures!––the cover art designer was Reed Miles, who designed those beautiful covers, and the magnificent engineer was Rudy van Gelder—each one great in their category. That combination was just so smokin’–– there was no testing, no does he look right?, all that crap. If Alfred Lion dug you, that was it. In that period of time, you had deeply impassioned people.

There are small labels now, and it’s a very curious time because if someone wants to play jazz, where do they go? They might ask: What do I do? Do I go after Bird? Am I neoclassicist? Do I go after Trane? Do I do some Saturday Night Jazz Ramsey Lewis stuff? Who are the models? It becomes a conundrum. I like to improvise, but what context do I play in? Where am I going to play? If you want to play jazz, you really have to love it. It’s like any of the arts; you won’t do it well if you have a casual interest in it. To me, a musician is a person capable of making top-level music. Instrumentalists are people who can play their instrument, while weak musicians are merely instrument owners.

When it comes to soloing, most people just don’t know when to get off the bus. They don’t know when to stop. I heard a funny phrase and it really applies to music, too. It’s “a closed mouth gathers no foot.”

I really think some of these musicians should just shut up sometimes. It’s like the story with Miles and Trane: Trane said to Miles, “Man, how do you play so

Page 5

David Bloom

little?” And then Miles said, “I take the mouthpiece out of my mouth sometimes.” [laughs] Chicago Jazz Magazine: Talk about how you got started in music.

Bloom: I grew up in Hyde Park. I started music by studying clarinet with Jerry Stowell, first chair of the Chicago Symphony. He was a tough cookie, and I wasn’t ready for him.

Chicago Jazz Magazine: How old were you?

Bloom: I was eight. A year later, my father was on sabbatical at the Center for the Advanced Study of Behavioral Science at Stanford in Palo Alto, California. Basically, it was a year for him to just think and write. So he took his family out there and I learned guitar with a local teacher named Mrs. Schniederman, who started me off playing folk songs. I learned songs by Peter, Paul, and Mary, Pete Seeger, and the Clancy Brothers. I enjoyed it and taught my brother. We used to sing and play folk songs. This was in ’59, and when we got back to Chicago we still played folk for a while. I didn’t return to clarinet.

Chicago Jazz Magazine: You gave it up at that point?

Bloom: Yes. I was 15 years old and I joined a little rock band at my high school. The first rhythm and blues song I ever sang was “First I Look at the Purse” by the Contours, a Motown group.

Chicago Jazz Magazine: Did your parents inspire you to listen to jazz?

Bloom: No. When we got back from California, I heard some jazz coming out of a window across the street, and I was just blown away. It was Herbie Mann, Live at the Village Gate. Somehow I met the people who lived there, a guy named Alonzo Reed. We got to be friends. His brother Jerry Reed was an incredible jazz fan. I went up to their third floor walk-up and we listened to the rest of the record. It just really went right to my soul. I bought a couple records, and my dad bought me Portrait of Wes Montgomery on Riverside, which is still one of the greatest records of all time. So I was listening to jazz, but I had no idea how to go about playing it.

Chicago Jazz Magazine: You were still doing folk music?

Bloom: I was still playing folk, but I started listening to jazz when I was about 11 or 12. A dramatic turning point for me, however, was when I went to hear the blues festival at Mandel Hall, an auditorium in Hyde Park. I heard Bobby Bland, Otis Rush and Buddy Guy. Bland’s guitar player Wayne Bennett was just fantastic.

When Buddy played I knew that I wanted to play blues. The next day, I got his phone number.

Chicago Jazz Magazine: What year was this?

Bloom: This was in ’66.

Chicago Jazz Magazine: So he was just starting to break on the national scene.

Bloom: Yes. He was still unknown, in terms of where he is now. I mean, not even close. He was a local blues player, playing blues gigs for like $75 with Junior Wells.

The person who made him was Eric Clapton, when he said that Buddy Guy was the best guitar player in the world… the rest is history.

Chicago Jazz Magazine: That’s a pretty good testimonial.

Bloom: Yes, it couldn’t have been better! [laughs] I called up Buddy and told him that I’d love to study with him, but he said he didn’t teach. I told him, “I’m sure I can learn a lot from you. Can we try it out?” He said, “Okay.” I asked, “Well, what will you charge me?” And he said, “five bucks.” I said, “For how long?” And he said, “For as long as it takes.” I would go over on Sundays for about three hours, and there’s truth to the notion of Southern hospitality. I felt it wasn’t simply okay that I was there, but important and necessary.

Chicago Jazz Magazine: So you were hanging out with Buddy at his home, talking music.

Bloom: Playing. I’d be playing guitar, backing him up. He’d be playing such incredible stuff, I would just stop, and my jaw would be hanging, and he would look

David Bloom. Photo by Christine Jeffers at me and crack up. It was a really sweet moment. He was entertained by me.

Chicago Jazz Magazine: Did you stay in touch with him? Your school is not that far away from his club.

Bloom: I didn’t talk to him for many years, and then I went over to his club a few years ago. He was sitting at the bar, and I approached him and said, “Do you teach guitar?” And he said, “No I don’t.”

He didn’t recognize me, so I added, “Well, you did 45 years ago.” Then he remembered me, and we talked. He said, “Dave, things are different than they were when we were hanging out.” I said, “How so?”

And he replied, “Back when we met, it was all about music. Now it’s all about money.” That was telling.

Chicago Jazz Magazine: Well, it’s true. That’s where it’s at right now.

Bloom: When I was about 15, I started listening to WVON, the “Voice of the Negro,” and listened to rhythm and blues.

They had announced a show was coming to the Regal Theater, so I went with a few of my friends. I was absolutely overwhelmed by the music, the vibe. I mean, the first show I went to I think was the Miracles, the Temptations, the Contours, and Otis Redding—for three dollars.

Chicago Jazz Magazine: That was one show?

Bloom: One show, three dollars. And if you wanted to, you could stay for all three shows. They did it three times a day. The performers would get there at noon. The worst movie you’ve ever seen in the world would start at 1 p.m., and then you’d hear the band tuning up at the end of the movie. It was really exciting. After that first show, I went there every Tuesday for about two years.

Chicago Jazz Magazine: Was it a packed theater?

Bloom: Not all the time, but they were doing 20 shows a week.

Chicago Jazz Magazine: Imagine trying to talk some of today’s musicians into playing three times a day.

Bloom: That was called the Chitlin’ Circuit, including the Apollo Theater in

New York, the Fox in Detroit, and the Howard in D.C. I was mesmerized by the guitar players, who accompanied the vocalists, because they knew exactly what to play and when to play it. They didn’t play one note extra. I wanted to learn how to play that way. At her work, my mother got the name of a highly respected musician named Reggie Boyd. I called him and set up a lesson. When I got to his house, his wife let me in, and sat me in the room next to the room where he was teaching. I could hear him, and his playing was unbelievable. Today, I put his playing right underneath Wes Montgomery, and the only reason is that his tone wasn’t like Wes’s. Reggie was playing “I Remember April,” and I heard the student playing chords. Then Reggie started really getting down and I didn’t hear the other guitar anymore. The student was probably like me, in awe and unable to play. Reggie played about two choruses, the most blistering stuff you’ve ever heard. Finally, the lesson was over.

The student left and Reggie came out—a super friendly guy. I asked him, “Can you teach me how the guys at the Regal Theater play?” He said, “Oh, you’re talking about twiddling.” He taught me that style, but he was a hardcore jazzer.

He was also the contractor for Chess Records, a consummate musician. All kinds of musicians would come to him, because he could transcribe Sonny Rollins’ solos off the records and give them to a horn player, so all day long people were coming in. And he could write arrangements. He was the guy who actually started the boogaloo bassline. He’s the guy playing bass on the Vibrations’ tune “The Watusi.” I studied intensely with him. Reggie convinced me I could play jazz; he helped me crack the code. Then, I went to Berklee in 1969 for a couple of years.

Chicago Jazz Magazine: Is that because you wanted to try to pursue music as a career?

Bloom: Well, I went to Grand Valley State College in Michigan, and midway through I got a blues gig in Texas, play-

Page 6

Chicago Jazz Magazine

The Bloom School Banner hangs across Rush Street in front of the original school in 1985. ing with Chicago Slim. So I quit school and went down there and we had two black musicians in the band. One guy was Jerome Arnold who played with the Paul Butterfield Band and another guy.

As soon as the owner saw that there were two black people in the band, he paid us for two weeks and we left.

Chicago Jazz Magazine: That was it?

Bloom: That was it. That was in Wichita Falls, Texas.

Chicago Jazz Magazine: This was

Bloom and Billy Brimfield playing with Bloom’s band at the Rush Street Jazz Showcase 1980.

the late sixties?

Bloom: This was in ’68. In the next year, I got tired of urban blues. It was three chords all night, and I just got tired of it. I was trying to stretch out and I really didn’t know what else to do. So I went to Berklee for a couple years. I did practice many hours a day, but foolishly skipped a lot of classes. If I were to study there now, I would be a committed student. I was fairly rebellious back then.

Chicago Jazz Magazine: You just treated the music classes like lessons?

Bloom: Yeah, I did that. Yet I was learning stuff on my own, with the background of being mentored by Buddy Guy and Reggie Boyd, plus my own curiosity.

A couple of the Berklee teachers gave me some much-needed encouragement. My combo teacher was bassist Major Holley who was on Kenny Burrell’s album Midnight Blue. He would say, “You can really do something.” I mean, looking me dead in the eye. It’s almost like someone handing power over to you.

Chicago Jazz Magazine: You know that’s the thing with going to college.

Even if you’re an advanced player, it’s important to get that little nod from someone you respect. It confirms that you’re on the right track.

Bloom: Positively. I’ve had many world-class students and I’ve taught them a lot of musical techniques, but one critical component in their learning was that I believed in them. They believed in me, and held me in high regard, so that what I said meant something.

Chicago Jazz Magazine: That’s the most important thing—mutual respect.

March-April-May 2018

Bloom: It’s like trusting your guru. I left Berklee after a couple years and came back to Chicago. Lots of kids around the area were interested in lessons because they didn’t go to Berklee and they wanted to see if I could give them some “secret” tips. So I started teaching.

Chicago Jazz Magazine: You’re young at this point.

Bloom: Yeah, I was 22. I started teaching and I worked my way up to about 30 students. I was charging five dollars a lesson.

Bloom in an apartment in Boston while attending Berklee, circa Chicago Jazz Maga- 1970. zine: Taking after Buddy Guy’s pay scale.

Bloom: [Laughs] Back then I was splitting an apartment with a bass player. The rent was $62.50 each, for a two bedroom. We’d go to Far East Kitchen and get egg rolls for lunch. I wasn’t feeling any pain. Sometimes I long for those days. Now I own two properties and I have a school. There’s just so much going on. Sometimes I long for––what do they call it?––traveling light. I got my flute, my guitar, some clothes, that’s Joe Bianco playing a Bloom School Recital at the Jazz Bulls in 1988. it. ing. Now, if your story is about getting up Chicago Jazz Magazine: And you’ve got one goal on your from the couch and going to Zanzibar and back during your solo, now I’m really inmind: to get better at playing.

Bloom: Yes. That poses a very inter- terested. The distance—how far someone esting question that I’ve asked many, can travel in their solos—is what I’m inmany people. The question is: when do terested in teaching. That, and how much people stop developing? It’s a very serious expression can come out. I listen to a lot question. For many, it’s when commerce of gospel and all kinds of other music. I starts. A lot of people are practicing, like any music that’s highly expressive practicing and then as soon as they’re and none that isn’t.

Chicago Jazz Magazine: So one making that first $350 jobbing date, it’s over. They’re good enough to get paid, so of your skills is the ability to re-engage they stop developing. That’s a sad notion. musicians that have been on autopilot.

I’ve asked lots of people the question and By working with you they can shift their many said they were overwhelmed by life thinking, if they’re open to doing that.

Bloom: Yes. There is no one that I’ve and had lost the initial mystery and majesty of music. I have taught hundreds of heard in Chicago that wouldn’t benefit professionals and reignited their love and greatly in at least one of the following enthusiasm for music. I take people from areas: improvisation, composition, arall levels and I enjoy taking pros who ranging, set formatting, CD production have either never learned or forgotten big and effectively leading a band. There are musical sensibilities and values, such as some very good instrumentalists in Chidynamics and phrasing. I have reawak- cago whom I’ve heard, yet there are very ened or started a whole new value struc- few––if any––who in my lexicon play a ture for these musicians, so that now they world-class solo or present a world-class think about telling stories. Many musi- set; one where you just say, “This is up cians think they’re telling a story just be- there with the best solos on the best recause they’re playing. That’s very differ- cords, or in the best sets by the masters.”

Chicago Jazz Magazine: Do you ent than telling stories that the audience can hear. If your story is about you get- think there’s a different mindset in Chiting up from the couch and going to the cago? That the bar isn’t as high as in New front porch, it’s not that damn interest- York, so musicians don’t feel like they have to push themselves?

Bloom: That’s a very good question.

In New York, everything is intense. New York is now thought of as the center of jazz. There’s overarching competition in New York. Musicians from all around the world go there to try to get into the scene. There’s an incredible legacy in those clubs. When you walk into the Village Vanguard and you leaf through your memory of the records recorded there, you realize you’re in a club that’s not just a jazz club; it’s where it happened. The live sessions were recorded right where you’re sitting. I think that the bar there, in certain ways, is much higher. There are excellent players here in Chicago, yet I almost never hear a set that’s put together for a world stage. I don’t think people think that way. I think they’re just calling tunes and improvising. They are not vigilant about the structure and the storytelling of the set. When I used to go hear Kenny Barron in the nineties at Fat Tuesdays with Victor Lewis, Essiet Essiet, as well as Steve Nelson—a vibes player who plays like he’s from another world—every single thing that you heard should have been played—everything you heard. I used to sit by drummer Victor Lewis, and every stroke he would make was a profound musical gesture. This is so rare in the world. This is what I try to teach my students: to make everything you play sound important and expensive, not cheap and frivolous. So many people just turn a faucet on when they play jazz solos, or any solo. They don’t claim owner-

March-April-May 2018

Chicago Jazz Magazine

Page 7

Bloom and the legendary Johnny Giffin in 1997.

David Bloom with his band (left to right): Bloom, Billy Brimfield, Malawi and John Watson. ship for every note. They just spew it. It’s like they’re fertilizing their lawn. With the solos that I’ve heard—I mean, I’ve heard the best people in the world play their best. I’ve heard Freddie Hubbard at his best. My standards don’t come from hearing some jazz band at a bar mitzvah playing jazz standards where no one really gives a shit; they’re just kinda playing. They know they’re going to get paid in two-and-a-half more hours and that’s good enough. There is a minimal emotional investment. When the great musicians play, it’s more like a religion than an art.

It is a complete statement of their being, not just another activity. I was looking at basketball player Stephan Curry speaking online and he said, “You don’t do things a few times; you do it thousands of times”—especially if you want to change the way you do things. That’s a lost value: that you are going to just play until you get it right. That’s something you learn from Coltrane and Eric Dolphy. These guys did music—it wasn’t just two hours a day. They played all day. They went out and they came back and played again. I’m saying that value—I don’t see it happening. It’s getting less and less. It’s not even that it’s not taught in the schools. I don’t think that the parents have a concept of that to pass it down anymore.

Chicago Jazz Magazine: This has probably been said for time immemorial, but among young people today––whether in music, the business world or life–– there does not seem to be a strong work ethic.

Bloom: Right. One of the students I’ve had was Lee Metcalf, a great guitar player from New York. We developed a 35-hour per week practice routine that I designed for him. It’s not that people want to do this. It’s a need. They need to do it. The only context where virtuosity exists is in deep commitment. The individuals who are the best in the world are worth studying closely to figure out what it takes to be the best. Whether it is Coltrane, Phineas Newborn Jr., Adolph Herseth or any of the greats in any category—these guys are devout. That word is not part of the lexicon these days, except in a religious context.

Chicago Jazz Magazine: How much musical devotion do you hear with current jazz musicians?

Bloom: I hear a high level of technical proficiency with most celebrated young jazz players. But most of what I hear doesn’t elicit an emotional feeling in me.

I mostly hear a celebration of technique without a story being told. It seems to me that vulnerability, which is the ultimate human-to-human language, is being avoided.

Chicago Jazz Magazine: Describe how vulnerability plays into great music-making.

Bloom: Vulnerability is the most valuable and reality-oriented currency between humans. When we express our deepest feelings, there is always the risk we will be rejected. Many musicians don’t want to present themselves emotionally, so they create a carnival act of technique, a faux statement of invincibility and invulnerability. This turns a potentially deep experience into a dog and pony show. Humans are fragile. Truly bona fide humans embrace their vulnerability as a

gift, rather than a liability. You can’t have it both ways. It’s the ante to be a true artist. When musicians don’t feel vulnerable, they’re not giving it up, or they have a low capacity to feel. Often, they are presenting tried and proven licks––usually conceived by jazz masters––that don’t qualify as real jazz. Real jazz must be in the moment. If you are truly in the moment all you have is the potential of that moment to imagine and to express. Everyone, no matter how badass they think they are, is fragile. Just take a super-arrogant badass and watch how badass they are with the pain of stage 4 pancreatic cancer. Suddenly they will profoundly understand their humanity. Great and successful musicians have learned to be vulnerable, but also to know when and how to protect themselves off the bandstand. When you are on the bandstand there should be absolutely no protection; you should be giving everything you have in you.

Chicago Jazz Magazine: What was it like in the sixties?

Bloom: In the fifties and sixties, there were around 50 jazz clubs in Chicago, but it was an underground thing. I used to go to the hungry i jazz club before I was of age, and I’d stand outside and listen. Odell Brown and his group called the Organizers would be playing right on the other side of this little window. I’d knock on it and write “Taste of Honey” on a piece of paper, and he’d play it for me. That group has soul on steroids. His drummer Robert Shy went on to be in my group for a while.

If you listen to those Blue Note records that came out in the fifties and the sixties, there is a set of values those players

have. It’s about storytelling. There’re so many solos I can name right now—entire records, like Speak No Evil—the entire record is about storytelling. On one of the most burning records, Free For All by Art Blakey, even with all the chops and all that, you still hear paragraphs, sentences and syntax. That’s something that I miss a lot. I challenge Chicago musicians to get their presentation together so that they’re making incredibly dramatic sets of music, not just stuff thrown together and justified by improvisation.

Chicago Jazz Magazine: Is this something you help musicians with?

Bloom: Yes. That’s something I’m really good at—helping people get together dramatic solos, sets or CDs. My musical partner, master arranger and producer Cliff Colnot and I recently released the

An early Jazz Vocal class at the Bloom School of Jazz. album Contender. I made sure every tune had a different mood, groove, tempo and vibe. I defy anyone—people who like it and people who dislike it—to deny that there is a huge range of expression on it. That’s what I value. I don’t value just playing three swing tunes in a row in B flat. That’s lazy. Many of those problems are such quick fixes. It’s just about pride in presentation.

Chicago Jazz Magazine: So you’ve taken your vast array of music experiences, know-how and perspectives and turned them into a school. What made you decide to do that?

Bloom: When I came back from Berklee, I started teaching a bunch of kids. I had 30 students a week. I made a good living and I also started my own band in ’72 with fantastic players.

Chicago Jazz Magazine: Because all those guys were around town?

Bloom: Yeah, these were major players and I was young. The reason they played in my band, quite frankly, is I had all the best players, and I had a gig. story continued on page 15

Earl Crossley and Bloom performing at a club (circa 1979).

He’s available now! Call Steve’s cell at 630-865-6849.

?de_]ckÑo Rejp]ca ]j` ?qopki Ola_e]heopo t Great vibe t Friendly, knowledgeable staff t Stock always changing t Always buying t 4IPXDBTF PG SBSF IJTUPSJD drum sets and snare drums Iroquois We've Center Moved!

2000E. Bloomingdale Rd (Unit 110) 1163 Ogden Avenue, #709 Naperville, IL 60563 Heights, Ph: 630-778-8060 Glendale IL Hours: 11–6 Friday; 10–5 Saturday Additional hours by appointment

www.maxwelldrums.com

Page 8

Chicago Jazz Magazine

Bright Moments

Bill Boris Mikomi Records Bill Boris – Guitar Dan Chase – Hammond B3 and Fender Rhodes Tyrone Blair – Drums The mingling of guitar and organ began in jazz with Wes Montgomery, Grant Green, Kenny Burrell and early George Benson, recorded with organists like Jack McDuff, Jimmy Smith and Melvin Rhyne.

The guitar-organ tradition in jazz has carried on as Pat Martino paired with Pat Bianchi (after a period with Joey DeFrancesco), the late Abercrombie with Dan Wall, Peter Bernstein with Larry Goldings, and Jonathan Krisberg with Dr. Lonnie Smith (as evidenced during last year’s jazz festival).

After being introduced to the instrument pairing during the progressive rock heyday (think the Allman Brothers and The Doors), most baby boomer jazz interest was fueled by the rise of Steely Dan and The Jazz Crusaders as ‘70s FM playlist stars. People were introduced to guitarists like Larry Carlton, Steve Khan, Dean Parks and Al DiMeola, who appealed to rock sensibilities while not really crossing over. More progressive types heard the guitar-organ synthesis via the ‘70s fusion extension, including John McLaughlin’s seminal works with Larry Young and Jan Hammer, and John Abercrombie’s joining Jan Hammer for the Timeless album.

The album Bright Moments, led by Chicago music educator Bill Boris—an Associate Professor and Coordinator of Guitar Studies at Columbia College—is a collection of songs that, on the surface, seem retro-pointed to the boomers, with compositions by Stevie Wonder, the Young Rascals, and Dave Brubeck. However, and most importantly, these tunes are mixed with five Boris originals that point back to the halcyon early fusion days, featuring the juxtaposition of Boris’ guitar and the sterling Hammond B3/Fender Rhodes playing of another Chicagoan, Dan Chase.

The album, deftly recorded and mixed by Rick Barnes, seems prosaic at first, but it’s not only extremely pleasant to listen to but also richly rewarding as the pieces go deeper.

The Boris-composed title cut opens the album with a display of the guitarist’s range. What begins as a rock fusion theme morphs into postmodern bebop, as Chase and local drummer Tyrone Blair propel the music beyond bop clichés and

into the 21st Century. The jaunty, R&B-infused “I Can’t Help It” and Boris’ “The Fallen Angels” point back toward Crusadersland, allowing Boris to pick his way over, around, and through the Hammond B3 haze and dancing drums. Another song that, on the surface, seems similarly generic is “Cozumel.” After a drum entrance that simulates Caribbean percussion, the dancy rhythm, tightly provided

by Blair, is transcended by Boris’ string musing, which saves the tune. The trio’s synergy is clearly in evidence here, as the groove carries each member into a comfort zone.

But the group’s treatment of the Rascals’ hit, “How Can I Be Sure” sells this collection. Boris’ playing evokes comparison to the underrated Khan (especially in the last 20 years), as his chromatic development lifts the tune past its melody and into jazz as smoothly as breathing. Chase picks up on Boris’ lead to create a solo that builds upon the improvisation and delivers the guitarist back to the theme and an improvised coda that carries the song further, reminding us that this is art, after all.

The Steely Dan connection occurs on “You’re the One,” which features Chase on both keyboards. Using the organ to provide Danly-darker bass lines, Chase provides Fagan-ish Fender Rhodes phrases, embellishing an instrumental that sounds like it needs lyrics (are you avail-

March-April-May 2018

able Mr. Fagan?). One step further, the guitarist’s “Number 3” is soul jazz rock, the kind you can dance to as Boris dips into his bag of popular fusion licks.

The group’s treatment of the classics—“My Funny Valentine,” “Stablemates,” and “In Your Own Sweet Way”— seem like tributes to beloved songs. Boris provides ample evidence of his talent on each, but the difference is Chase. His pleasurable comping on “Valentine” lifts his guitar mate to sublime picking, providing a lower-registered solo response that creates an appreciated blues tension. “Stablemates” is the “we can do jazz” piece. Boris exhibits a Jim Hall-like touch and bop deftness, while Chase and Blair effectively churn. “Own Sweet Way” is Boris doing his professional best to move past the melody and into sweet improvisatory territory, where Chase delivers one of his best and most thoughtful contributions.

This guitar-organ pairing works a yin-yang of styles recognizable by those whose musical memories go back 40 years or so, but synergistic enough to draw new attention to an old art form. Bright Moments IS easy listening, but for all the right reasons. And you really should hear “How Can I Be Sure.” Boris, Chase, and Blair have created a nice excuse to look back and still enjoy the present.

—Jeff Cebulski

Vagabond Soul

Nick Biello Truth Revolution Records Nick Biello – Soprano, alto saxophones and synthesizers Phil Markowitz – Piano John Benitez – Bass Clarence Penn – Drums Vincent Lionti – Viola Paul Jones – Tenor saxophone Andrew Renfroe – Guitar New York based saxophonist Nick Biello balances vibrant spontaneity with intricate and engaging compositions on his exciting release Vagabond Soul. On six originals, a standard and two brief interludes, Biello showcases his instrumental virtuosity and his masterful leadership skills. The music goes from earthy and soulful to hypnotically effervescent.

The title track for instance has a loose swing and a funky groove. Guitarist Andrew Renfroe lets loose blistering and bluesy tones, while Biello and tenor saxophonist Paul Jones duet with muscular swagger and lithe elegance. The band embellishes the tune with clever twists demonstrating the synergy among its members. Drummer Clarence Penn ushers in the conclusion with a rumbling and energetic solo.

In contrast, on the breezy “Spiraling” Biello’s lines soar effortlessly over the rhythmic flourishes in captivating and mellifluous refrains. Renfroe improvises with intelligence and refreshing originality. Pianist Phil Markowitz matches Renfroe’s inventiveness with fluid and resonant chords that coalesce into a charming soliloquy.

The folkish “Piccolo,” on the other hand, has an expansive ambience with languid bittersweet refrains that Biello’s soprano and violist Vincent Lionti’s strings weave together. Bassist John Benitez takes center stage with lyrical and eloquent phrases that meander among Markowitz’s sparkling keys and Penn’s splashing cymbals. Biello stretches out with romanticism and passion in a short, yet exquisite extemporization that dovetails seamlessly into the main melody.

Biello even experiments with electronics as he creates a cinematic and otherworldly atmosphere on the brief “Antonio.” Eerie synthesizer effects construct an ethereal sonic backdrop against which angular thumping bass and mournful horns echo.

Vagabond Soul is a bold and engaging album. The performances are rooted in the mainstream, yet they flirt with more adventurous sub-genres. Above all, it is stylistically unique and thematically cohesive and has enough variety to grip and thrill from first note to the last. Biello has definitely recorded a memorable debut.

—Hrayr Attarian

Structures

Joel Baer Self Released Joel Baer – Drums Natalie Lande – Saxophones Kenny Thompson – Guitar Conor Roe – Bass Chicago based drummer Joel Baer has assembled a dynamic group for his debut release, the captivating Structures. The vibrant music consistently engages as it shifts from darkly intriguing to languid and expansive, all the while maintaining a restlessly inventive edge and a definite melodic sense. Each of the seven pieces has its own singular flavor, yet all fit cohesively within the album’s overall concept.

The exotic and mystical “Persephone’s Dream” opens with saxophonist Natalie

Lande and guitarist Kenny Thompson’s resonant and melancholic duet. The shimmering lines meander among Baer’s percolating rumble and bassist Conor Roe’s thumping reverberations. Lande solos with agility and lyricism, while Thompson plays chords that are intelligently angular and passionately emotive. After Baer’s visceral and thundering beats, col-

Chicago Jazz Magazine

March-April-May 2018

lective poetic refrains conclude the tune.

Lande showcases her virtuosity with a fast-paced and lithe improvisation on The Seatbelts’ effervescent “N.Y. Rush.”

Thompson lets loose crisp and muscular phrase as Baer’s thrilling polyrhythms usher in a delightfully chaotic ensemble performance that is evocative of a rush hour melee.

In contrast, starting with Thompson’s wistful strums, the bonus CD track, Soundgarden’s “Black Hole Sun” is languid and lyrical. Roe makes his instrument sashay as he joins Thompson and Baer for warm rhythmic refrains. Over these undulating vamps, Lande blows her tender and breathy tenor with just a hint of vibrato.

Elsewhere, King Crimson’s introspective “Matte Kudesai” opens with Baer’s expectant percussion and rustling cymbals and Roe’s simmering earthy tones.

Lande contributes sparse and contemplative notes to haunting effect, while Thompson’s guitar echoes against the resounding backdrop. Each of the quartet members overlap their individual spontaneous expressions and create an ethereal and moving ambience.

Baer and his collaborators, all young, up-and-coming artists on the Chicago scene, have recorded an impressive first work that crackles with creative energy.

Hopefully more will come from this talented and exciting foursome.

—Hrayr Attarian

Divergent Flow

Dan Phillips Lizard Breath Records

Dan Phillips – Guitar Krzysztof Pabian – Bass Tim Daisy – Drums On the thought provoking and explorative Divergent Flow, guitarist Dan Phillips leads his trio on seven contemplative and adventurous pieces that crackle with spontaneity. A professor of music in Bangkok, Phillips returns occasionally to Chicago and the current album was recorded during one of these sojourns.

Joining him are two past collaborators: bassist Krzysztof Pabian and drummer Tim Daisy.

A few of the tunes are collectively improvised and demonstrate the musicians’ seamless camaraderie. The sublime “Latitude” has an Eastern flavor with its Zen-like utilization of silent pauses and hypnotic, chant-like refrains. Phillips uses sparse tones to punctuate Pabian’s mournful serene bowing and angular reverberations. Daisy makes his instruments chime and echo as the strings exchange pensive chords. The abstract and somber soundscape that results from the three-way ad-lib performance brims with spirituality and introspection.

Another example is the expectant and intriguing “Extricated From.” Daisy’s percussion tolls and Pabian’s bass groans as Phillips contributes resonant and wistful strums. The delightfully atonal exchanges grow dramatic and mystical. Both the group and individual performances are intelligent and subtly emotive as they evoke melancholy tinged modernistic poetry.

Phillips originals, although have more structure, are equally captivating with their complexity and their refreshing impromptu expressiveness. The title track, for instance, starts off with a crisp and energetic head, which then unravels to a meandering, simmering melody that thrills with its unfettered flow and strong lyrical sense. Here, too, the group showcases the brilliant synergy within it.

Elsewhere the fiery “Dip” opens Pabian’s furious and crisp con arco. Daisy’s thunderous burst leads to a dissonant guitar solo. Daisy showcases his prowess on his kit in thrilling polyrhythms.

Each man takes his turn in brief and heady monologues until these individual streams of consciousness overlap in a riotous and uniquely moving style concluding on a passionate note.

With each release Phillips’ sound continues to mature and expand. What remains unchanged is his imaginative creativity and his restless inventiveness.

These and his shared musical vision with his sidemen—accomplished artists in their own rights—are what make this recording an absorbing musical treat.

—Hrayr Attarian

It Only Takes Time

Andrew Distel JeruJazz Records Andrew Distel – Vocals and trumpet Peter Martin – Piano Carlos Henriquez – Bass George Fludas – Drums Dave Onderdonk – Guitar Jim Gailloreto – Woodwinds And several others, including strings With the exception of a few female jazz vocalists, including Cecile McLorin Salvant and Jazzmein Horn, it’s difficult to find anyone who will aggressively venture into Mark Murphy/Betty Carter territory. Probably for good (read: economic) reasons, the most popular vocalists who operate in the jazz/pop arena lean more toward pop. In the male vocalist area,

critical listeners recognize the talent of Kurt Elling and Gregory Porter while still longing for a return to the mostly unfettered approach we loved on The Messenger and Close Your Eyes (Elling) and Water (Porter). Elling, at least, will veer off script from time to time in concert, but his most recent recordings—strongly the-

Want to play like a pro, know what pros know?

STUDY WITH A PRO! Not a student or student of a student.

Frank J. Rumoro JAZZ GUITAR/MUSIC THEORY & HARMONY ACADEMY Jazz guitar lessons in downtown Chicago with a professional teacher of 30 years Jazz, Fusion, Rock & Blues (all levels: serious beginner to pro) The program is tailored to each individual student to train and create the total musician.

Call today (312) 939-3722 or (847) 272-0909

Studies to Improve Skills in: Technique Reading Chords & inversions Rhythm/comping Chord melody Single note soloing Practical music theory Fingerboard harmony Chart-writing and reading Musicianship

www.rumorojazzguitar.com

matic—appeal to those who don’t want their singer to lose convention too easily. As for Porter, as evidenced by his new album, a tribute to Nat ‘King’ Cole, the same tendency resides.

The new album by Cincinnati-raised, Chicago-nurtured Andrew Distel, It Only Takes Time, is representative in this way.

Postmodern pop singers who dabble in jazz want their audiences to know they haven’t forgotten how to be an authentic American singer. Over a decade ago, Distel released his first album to some acclaim, based more on his expressive alto rather than his trumpet playing. But a comparison of that to the new release evinces growth in several ways, from Distel’s maturing timbre to an effectively enhanced production. This new album is, as well, a demonstration of the breadth of Distel’s vocal talent, but with more nuance and direction.

However, it is also telling that Distel had his album release concert party in New York City, not Chicago. Part of the reason, probably, was the need to include musicians who worked on the album, including NYC-based pianist Peter Martin and bassist Carlos Henriquez. But one cannot shake the notion of a parallel to Elling, a Chicago artist who moved East.

Like on Kurt’s latest albums, Chicagoans do contribute: Dave Onderdonk plays stellar guitar, Jim Gailloreto supplies woodwinds, Brian Schwab plays trumpet, Raphael Crawford adds trombone, George Fludas expertly drums, Geraldo DeOliviera lends percussion, and Howard Levy sits in for a harmonica solo.

And Distel suggests he has been listening to Elling all along. The album opener “Speak Low” is delivered in a slightly understated style, with Distel venturing in and out of the melody and phrasing, just like Elling does. The angular vocal is balanced by Bob Bowker and Brian Schwab’s minimalistic, halting production that faintly suggests Anita Baker’s recordings. Some tasty picking

Page 9

by Onderdonk enhances the intimacy.

Things remain restrained on “Alfie.”

Distel handles the recognizable melody with relaxed grace, as the producers apply strings over Martin’s accompaniment.

But it is on the third song, “One Morningstar Away,” where the Elling sensibilities began to heighten. Once again, Distel starts in quiet mode, but the vocal build up off of Martin’s initial theme brought me back to Elling-Hobgood, especially when Distel trails off to let Martin play an extended refrain. Distel tends to hold his notes in same places Elling does, modulating his voice down and up, building drama as the music advances.

Distel likes to sing in Spanish (his first album included three such tunes), so “Amor,” the requisite romantic ballad, comes next, sung softly with lovely Onderdonk Spanish guitar and a touch of strings. Then the album switches gear.

Fludas bangs the opening of a pop rhumba, “Wait for Me.” Distel scats the opening of a bop-ish “Who Cares.”

Next, a slow down with strings, “Too Soon to Tell”; a spritely rendition of “Smoke Gets in Your Eyes” with a Distel trumpet solo; and two bluesy jazz pieces led by Henriquez’s bass, “Your Last Song” and “into Each Life” that swing hard and beg for a Michael Buble comparison.

Finally, as a coda, Distel and Martin team for a lovely, Broadway-soliloquy-inspired “You Are There.” There’s a touch of cabaret in this singer, and perhaps he should enter that zone more often.

Like the more recognized Elling and Buble, Andrew Distel can sing, alright.

The width of his ability is wide. On It Only Takes Time, Distel proves the years between recordings have been spent nurturing relationships with quality musicians. If you enjoy vocal albums with an assortment of genre that reflects the current vocal scene, this is a good one.

—Jeff Cebulski ■CJM

Chicago Jazz Magazine

Page 10

March-April-May 2018

The 2018 Summer Jazz Camp Guide BIRCH CREEK MUSIC PERFORMANCE CENTER

both sessions are under the guidance of Program Director Jeff Campbell.

PO Box 230 Egg Harbor, WI 54209 920-868-3763 mainoffice@birchcreek.org birchcreek.org

Instructors (Instructors are subject to change) Program Director: Jeff Campbell Band Directors: Gil Wukitch, Jim Stombres, Phil Crews, Steve Sveum, Nic Meyer, José Encarnación Saxophone: David Bixler, Doug Stone, Scott Burns Trumpet: Joey Tartell, Tanya Darby, Derrick Gardner Trombone: Tom Garling, Audrey Morrison, Clarence Hines, Steve Horne Piano: Adaron Jackson, Michael Stryker Guitar: Rick Haydon, Larry Brown Bass: Jeff Campbell Drums: Bob Chmel, Dennis Mackrel

Birch Creek is a residential summer music academy located in the heart of Door County, Wis. Students (ages 13-19) flourish in the natural rural setting of the beautiful 40-acre campus, highlighted by the historic 19th Century Dutton Concert Barn. Birch Creek’s Jazz program offers students a unique learning experience at levels of jazz performance not found in most other jazz programs in America. Our program gives students an effective combination of experiences to help them master the fundamentals of jazz while establishing professional attitudes by playing side-by-side with some of today’s top performers and educators.

The only differences between the Jazz I and Jazz II sessions are the dates and the faculty. The curriculum and performance opportunities are the same, and

Sessions and Dates: Jazz I: July 15-28, 2018 Jazz II: July 29-August 11, 2018 Daily Schedule Morning: Warm up Big Band rehearsal Theory class/combo rehearsal Afternoon:

Master classes/Seminars/Technique classes/Sectionals Lesson/Practice time Free time Evening: Big Band Rehearsal or Performance Jam Session Tuition: $2,100 includes tuition, room and board Room & Board: Residency required

THE CHICAGO ACADEMY FOR THE ARTS 1010 West Chicago Avenue Chicago, IL 60642 312-421-0202 Summer Music Program June 25-30, 2018 Do you know a young musician?

Register for the Chicago Academy for the Arts 2018 Summer Music Program and spend a week with some of the top professional performers and teachers in Chicago! Each morning you will be immersed in theory and ear training, music history, and composition, where you’ll create your own completely original musical score. In the afternoon, you’ll learn classical and jazz repertoire with your fellow musicians in a group setting, and perform what you’ve rehearsed along the way in our jazz combos and classical chamber ensembles. Singers will participate in our Vocal Performance class, which focuses on both classical and jazz singing, including individual private lessons and instruction on how to sing with/lead a jazz band. At the end of our session you will participate in a professional-level performance showcasing what you’ve learned and accomplished.

This is a chance to grow your passion for classical, jazz, and new music!

Website to register: chicagoacademyforthearts.org/summersaturdays/ More about The Chicago Academy for the Arts: Designated a National School of Distinction by the John F. Kennedy Center, The Chicago Academy for the Arts is the nation’s premier performing and visual arts high school. Academy students engage in a unique co-curricular program: rigorous, college-preparatory academic classes and professional-level arts training in the context of an unparalleled school culture. The school day consists of six 45-minute periods followed by a

SUMMER JAZZ CAMPS 2018 Audrey Morrison, director

ART OF THE JAZZ BAND I SESSION I ~ JUNE 18-22 • For grades 7-9 • $250 Monday - Friday | 1:30 - 4 pm | 1490 Chicago Ave, Evanston

SESSION II ~ JULY 9-13 • For grades 7-9 • $250 Monday - Friday | 1:30 - 4 pm | 300 Green Bay Road, Winnetka

ART OF THE JAZZ BAND II JUNE 25-29 • High School - Adult • $290 Monday - Friday | 1:30 - 4:30 pm | 300 Green Bay Road, Winnetka

Sectionals • Coaching • Master Classes • Jazz Listening

musicinst.org/summer-jazz

three-plus hour immersion in one of six arts disciplines: Dance, Media Arts (filmmaking, animation, and creative writing), Music (classical and jazz performance and composition), Musical Theatre, Theatre and Visual Arts. At The Chicago Academy for the Arts, young artists master the skills necessary for academic success, critical thought, and creative expression.

THE JAZZ INSTITUTE OF CHICAGO STRAIGHT AHEAD JAZZ CAMP 1014 S. Michigan Ave Chicago, IL 312.421.0202 July 16-20, 2018 Who says camp is just for kids?

Straight Ahead Jazz Camp brings together educators, musicians and music lovers 18 and up for a fascinating weeklong exploration of the inner workings of jazz. Held at Columbia College Chicago, each day of the camp features a special guest artist along with hands-on workshops, clinics, lectures and jam sessions by noted musicians and experts from Chicago and beyond.

2018 Special Guest Artists (artists are subject to change) Miguel Zenon Nicole Mitchell Terri Lyne Carrington and others 2018 Registration Fees Register now and have the opportunity to learn from these experts and others during lectures, demonstrations, improvisation clinics or jam sessions.

Register by May 31 and save! Visit jazzinchicago.org for more information or to register today.

Non Member Early registration: $225 before June 1 Regular registration: $285 through July 16 Jazz Institute of Chicago Members (with member discount codes sent via email) Early registration: $190 before June 1 “Regular registration: $250 through July 16

MUSIC INSTITUTE OF CHICAGO’S ART OF THE JAZZ BAND I & II Program Director, Audrey Morrison amorrison@musicinst.org 847-905-1500, ext. 576 musicinst.org/ summer-jazz

Chicago Jazz Magazine

March-April-May 2018

THE ART OF THE JAZZ BAND I Music Institute of Chicago Evanston East Campus – Nichols Concert Hall 1490 Chicago Avenue, Evanston, IL For Grades 7-9 Established in 2011, The Art of the Jazz Band Camp at MIC offers students the opportunity to improve their ensemble, improvisational and sight-reading skills through work with professional jazz musicians who are also great educators. Audrey Morrison leads rehearsals and members of the MIC jazz faculty offer sectionals, coaching and masterclasses.

Instructors: Audrey Morrison, trombone: Director of Jazz Studies at MIC, Ravinia Jazz Mentors, Birch Creek Jazz Program, formerly with the Chicago Jazz Ensemble, Barrett Deems Big Band, Clark Terry Summer Big Band, DIVA Big Band. Select members of the Music Institute of Chicago Jazz Faculty.

Dates of camp: Session I: June 19-23, 2018 Registration Deadline: June 11, 2018 THE ART OF THE JAZZ BAND SESSION II Music Institute of Chicago Winnetka Campus 300 Green Bay Road Winnetka, IL Dates: July 9-13, 2018 Registration Deadline: July 2, 2018 At least one year of jazz ensemble experience or private lessons is preferred. Phone interview required prior to registration. Session I will end with an open rehearsal/concert on the final day of camp at Nichols Concert Hall (1490 Chicago Avenue, Evanston). Session II will end with an open rehearsal/concert on the final day of camp at Thoresen Performance Center (300 Green Bay Road, Winnetka).

Sample Daily Schedule: Monday-Friday: 1:30-4:00 p.m.

1:30-2:30 ensemble rehearsal 2:30-3:30 masterclass/ sectionals/ 3:30-4:00 ensemble rehearsal/ listening session Tuition: $250 THE ART OF THE JAZZ BAND II (HIGH SCHOOL AND ADULT) Music Institute of Chicago

Winnetka Campus 300 Green Bay Road Winnetka, IL 60093 Instructors: Audrey Morrison, trombone: Director of Jazz Studies at MIC, Ravinia Jazz Mentors, Birch Creek Jazz Program, formerly with the Chicago Jazz Ensemble, Barrett Deems Big Band, Clark Terry Summer Big Band, DIVA Big Band. Select members of the Music Institute of Chicago Jazz Faculty.

Page 11

Features of the camp include: Daily Master Classes Jazz Improvisation and Theory Morning and Afternoon Rehearsals Listening: Learning from the Masters Jazz Ensemble and Small Group Performance Opportunities Evening Faculty Performances Free time each day: Practice, play games, relax or go to the beach!

Sessions and Dates Jazz Ensemble & Combo

Week I: June 17-22 Week II: June 24-29 Jazz Improvisation & Combo July 1-6 Extreme Strings June 10-15 Tuition: $585—Includes Room & Board Applications accepted until the class is full.

■CJM

Dates of camp: June 25-29 Registration Deadline: June 18, 2018 At least two years jazz ensemble experience or private jazz lessons required. Phone interview required prior to registration. The week will end with a concert on the final day of camp at Nichols Concert Hall (1490 Chicago Ave., Evanston, IL).

Jazz I: July 15 - 28 Jazz II: July 29 - Aug 11

Sample Daily Schedule: Monday-Friday: 1:30-4:30 pm 1:30-2:30 ensemble rehearsal 2:30-3:30 masterclass/ sectionals 3:30-4:30 ensemble rehearsal/ listening session

Study under a faculty of worldclass professional musicians, with ten or more public performances each session.

Tuition: $290

2:1 Student:Faculty ratio for a mentoring, formative environment.

SHELL LAKE ARTS CENTER 802 First St. PO Box 315 Shell Lake, WI Carly Moline at 715-468-2414 shelllakeartscenter.org

Apply Online at birchcreek.org/ academy/apply-now Scholarships Available Contact: registrar@birchcreek.org

The Shell Lake Arts Center is home to the longest running jazz camp in the nation! Experience the Northwoods, where you’ll find a sandy beach, many nature trails, a community of friendly neighbors and a flurry of artistic fun at the Shell Lake Arts Center. We provide a welcoming, positive and safe learning environment to nourish your artistry.

Study with the Pros! You’ll perform jazz ensemble big band and jazz combo music under the guidance of our nationally recognized teaching-artist faculty.

All levels of experience are accepted, from beginner to advanced. Students receive a personal private audition upon Sunday arrival, and are matched with others of the same level. Whether you’re just starting your jazz experience or are an accomplished performer and passionate about continuing your studies, this camp is for you!

Summer 2018

920.868.3763 www.birchcreek.org

Celebrating over 50 years of jazz education!

2018 Jazz Camps at Shell Lake Arts Center Jazz Ensemble & Combo

Week 1: June 17-22

Jazz Improvisation & Combo July 1-6

Week 2: June 24-29

Extreme Strings June 10-15

Get registered at

shelllakeartscenter.org 802 First St., Shell Lake, WI 54871 • 715-468-2414

Chicago Jazz Magazine

Page 12

March-April-May 2018

The Chicago Guide to Musicians Brought to you by Chicago Jazz.com – visit www.ChicagoJazz.com for information on becoming a member.

Vocalists Ty Cooper

Joey LoCascio

Sings! Swings! Sensational!

Vocalist Extraordinaire Performing all Genres from the 30’s – 70’s Jazz, Pop, R&B, Blues, Rock

“Ty Cooper has a beautiful, versatile, lyrical voice that weaves its magic when combined with her personality, awareness and ease that creates the total package for any jazz lover.�

Las Vegas Review Magazine

For Contact, Booking and Performance Info: Call: 312-823-9721 or Visit www.ChicagoJazz.com/JoeyLoCascio www.JoeyLocascio.com Email: Music@JoeyLocascio.com Twitter: @JoeyLocascio Available For Events Worldwide

Ranked #1 in Chicago

(reverbnation.c om/ JoeyLocascio)

JENIFER FRENCH

tycooper613@sbcglobal.net FB Ty Cooper-Jazz Vocalist Extraordinaire www.reverbnation.com/tycooper www.chicagojazz.com/tycooper “ ...o n e o f t h e m o s t a c c o m pl i s h e d a n d pr o m i s i n g j a z z -s w i n g vo c a l i s t s i n t h e c o u n t r y.�

-Howard Reich, Chicago Tribune

Jazz & Blues Vocalist

â€œâ€Śa tender and meaningful storyteller...

French’s vocals are lush!�

For bookings or information, visit Jenifer’s official website: JennyLovesJazz.com

773- 807- 7254 w w w.P a u l M a r i n a r o .c o m

~ Cabaret Scenes Magazine

Paul Marinaro Michele Thomas

vocalist

“(She) has her own vocal sound, which is beautiful by the Grace of God.�

JAZZ • SOUL • CONNECTION

— Yusef Lateef

Michele Thomas Quartet appearing live‌ at

Pete Miller’s - Evanston,

1557 Sherman Ave, Evanston

March 16 & 17 7-11pm at

Pete Miller’s - Naperville,

3032 English Rows Ave, Naperville

March 23 & 24 6-10pm and at

Michele Thomas with Cliff Wallace Quartet Constellation, 3111 N Western Ave, Chicago April 26 8:30-10:30pm

W W W. M I C H E L E T H O M A S M U S I C . C O M

Ava Logan

â€œâ€Śsuch a beautiful, clear sound ‌lovelyâ€?

KERI JOHNSRUD JAZZ VOCALIST

SHEILA JORDAN

JAZZ VOCALIST

â€œâ€ŚA lovely instrument–sweet and clear‌â€?

“

Pure Class!

i�

www.avalogan.com info@avalogan.com 708-349-0877

NNENNA FREELON, SIX-TIME GRAMMY NOMINEE JAZZ VOCALIST

(On Youtube: view shows from trios to big band performances)

“Keri Johnsrud’s crystal clear voice and impeccable intonation allow her to project true sentiment through dense lyrical material on this gem of an album.� – allaboutjazz.com

Visit www.kerijohnsrud.com for details.

Dan Ferris

jazz vocalist 630 408 7722 danferris@chicagojazz.com

(" /0 0 ,-( /0 " ,*0

0 0

! 0 %#%+.$ 0 !# &0 0 0 .' )#&)0 0

Arlene Bardelle

- Vocalist

“Some singers just scratch the surface of the great American songbook, but Arlene digs deep into its core. She’s a swinging ‘singer’s singer’.� —Tommy Muellner

Available for private parties, club dates, etc.

773-552-0343 email: arlenebardelle@comcast.net

Sam Fazio vocalist

“Sam Fazio handles the classics with gentle, respectful care. There’s a purity in his voice that puts a wonderful, new spin on songs that you love.�

Dean Richards, WGN

Visit www.samfaziomusic.com for more information and calendar of performances

sam@samfaziomusic.com 773.769.0653

Chicago Jazz Magazine

March-April-May 2018

Page 13

The Chicago Guide to Musicians Brought to you by Chicago Jazz.com – visit www.ChicagoJazz.com for information on becoming a member.

Instrumentalists DON STILLE Chicago-based performing jazz artist – piano and accordion

accepting bookings for festivals, clinics, jazz clubs and concert venues

See contact info at www.ChicagoJazz.com

SAXOPHONIST

Visit website for updated performance information

RAY BAILEY Music for all Occasions

Richard Armandi MUSICAL SERVICES

Phone/Fax: 708/749-7757 Cell: 312/969-9649

Ray Bailey has performed at many of Chicago’s top hotels and Clubs. He can help to create an exciting atmosphere at your next event.

Email: richard@armandimusic.com

ALL STYLES Upright and Electric Basses, Tuba and Euphonium, Huge Repertoire, Great Groove, Jazz, Classical, Dixieland, Klezmer, Rock, Pop, Broadway.

Available for bookings, clinics, private lessons.

Phone: 773-450-7880 Email: bailey601@sbcglobal.net www.ChicagoJazz.com/RayBailey

Dan McIntyre

Geordie Kelly

(ASCAP) - JAZZ GUITARIST/COMPOSER/ BAND LEADER

Solo Guitar - Duo - Trio

Dan has worked with such notables as Diahann Carroll, Della Reese, Diane Shuur, Vic Damone, Frank Sinatra, Jr. and many others.

Chicago guitarist, Geordie Kelly, has been described as…“a first-class, gifted guitarist and composer.”

(Vic Juris)

Geordie has been privileged to share the stage with artists such as Ed Calle, Bobby Shew, Frank Mantooth, Bob Bowman, Ritchie Cole, Little Anthony and the Imperials, Wynton Marsalis and the Lincoln Center Jazz Orchestra, and others.

For booking information, call 847-882-4819 or email Dmcin1@aol.com

www.geordiekelly.com

Available for private events, clubs and festivals.

martinilunchband.com

ENTERTAINMENT AND MUSIC CONSULTANT lonote@comcast.net

Bass player with such great performers as Randy Brecker, Eddie Higgins, Buddy Rich Big Band, Teddy Wilson, The Tonight Show Band and many more.

Available for clinics, private lessons and entertainment booking.

847-991-4355

Purchase Nick’s New CD

PULLIN’ STRINGS on CD Baby and ChicagoJazz.com

Photo by Bill Klewitz

Nick Schneider

Chicago Jazz Magazine

Page 14

JAZZ CALENDAR Clubs, Lounges, etc.

210 Highwood Visit 210restaurant.com for a complete calendar March 10 Dr Lonnie Smith Trio 18 Michael Lerich Jazz Ensemble 21 Jucian Antonio Quartet 23 Judy Night Quintet 25 Fred Simon/Chris Siebold Quartet Andy’s Jazz Club Visit Andysjazzclub.com for a complete calendar FitzGerald’s, Berwyn Visit fitzgeraldsnightclub.com for a complete calendar March 4 6 pm Chicago Grandstand Big Band 7 8 pm New Standard Quartet 11 6 pm Jazz Community Big Band 14 8 pm Peter Lerner/Joe Rendon Latin Jazz Coalition 18 6 pm Bill O’Connell’s Chicago Skyliners Big Band; Naperville Central High School Jazz Band 21 8 pm Ryan Schultz' Metal on Flesh 25 6 pm British Buddy Alumni Big Band w/ Frieda Lee 28 8 pm Chris White Duo

March-April-May 2018

The Green Mill Visit GreenMillJazz.com for a complete calendar March 9 Guy King Sextet 10 Chi-Town Jazz Fest 16-17 Grazyna Auguscik Group 23-24 Mike Jones 30-31 Stephane Wrembel

22 23 24 25 27 28 29 30-31

Jazz Showcase Visit JazzShowcase.com for a complete calendar March 8-11 Adam Larson Quartet 15-18 Columbia College Jazz Ensemble with Russell Gunn 22-25 Bobby Lewis Quintet

Jazz Series, Concerts, Jazz Festivals

Winters Jazz Club Visit WintersJazzClub.com for a complete calendar March 6 Ryan Cohan Trio 7 Ben Lewis Trio 8 Chi Town Jazz Fest 9 Bobby Lewis Quartet 10 Alyssa Allgood Organ Trio 11 George Fludas Trio 13 Matt Lewis Trio 14 Matt Wifler’s Bourbon St Quartet 16-17 Denise Thimes Quartet 18 Andy Brown Trio 20 Clif Wallace Trio 21 Matt Wfler’s Bourbon St Quartet

Keri Johnsrud & Kevin Bales Stu Katz/ John Campbell Quartet Jeru George Fludas Trio Sarah Marie Young Eric Jacobson Quartet Jeremy Kahn Trio Johnny O’Neal Trio

Logan Center for the Performing Arts Visit chicagopresents.uchicago.edu/series/jazz-logan for Tickets 2017/2018 Jazz at the Logan Center April 6 Ulysses Owens Jr.’s Songs of Freedom May 17 Brian Blade & The Fellowship Band

For a complete list of daily jazz performances visit chicagojazz.com/jazz.calendar

Instrumentalists Continued

MICHAEL MASON Jazz Flutist

UPCOMING PERFORMANCES Friday, March 2 - Sanctuary @ One Spirit Center (Rockford, IL) Mondays, March 5, 12, 19. & 26, April 2, 9, 16, 23, & 30 Andy’s Jazz Club (Chicago, IL) Friday & Saturday, March 9 & 10 - Pete Miller’s (Evanston, IL) Saturday, April 21 - Constellation (Chicago, IL)

Visit www.chrisgreenejazz.com for more information.

Thursday, May 17 - NewStudio (Evanston, IL) Thursday, May 31 - Winters Jazz Club (Chicago, IL)

Tues, March 6 with Spider Saloff Family Piano - 118 S. Genesee, Waukegan, IL

Photo by Bill Klewitz

Sun, March 18 with Terry Sullivan Gorton Center - 400 E. Illinois, Lake Forest, IL March 22 & April 19 Tommy’s Jazz Pals Trio featuring Art Davis

Marie’s Pizza 4127 W. Lawrence, Chicago, IL

Friday, May 18 with Arlene Bardelle Trio

Eddie Merlot’s 185 N Milwaukee Ave, Lincolnshire, IL

check Tom’s website Tom is available for private instruction on theory/ harmony & vocal coaching

Publication Available “The Freedom Principle for Flute” Developing Improvisational Virtuosity Visit his website at

Tom Muellner renowned Chicago pianist

Every Monday (9pm-1am) Tommy’s Jam Session The Serbian Village, 3144 W Irving Park Rd, Chicago, IL

For additional gigs and more information,

Southport Recording artist Michael has performed with James Newton, Arturo Sandoval, Ian Anderson, Edward “Kid” Jordan, Douglas Ewart, Chicago’s legendary Fred Anderson and with artists from the AACM (Association for the Advancement of Creative Musicians).

++++ Downbeat Magazine

“…the innovative impulse that motivates this colorful project is refreshing.”

From Intimate Solo Piano to Large Ensembles Available for corporate events, private parties, concerts and club dates.

Also a top accompanist, arranger & vocal coach.

Professional computerized charts and lead sheets.

To purchase music and for upcoming dates, check

Phone: 773-507-3768

“Tommy swings, grooves, is soulful, and in total command of his instrument, plus I love him, he’s one of my favorites!”

Joey DeFrancesco

www.fireflute.com

shawnmaxwell.com

Email: tommujazz@gmail.com

www.tommujazz.com

STEVE HART

ALL BASSES, ALL ST YLES

(630)422-1201 home (773)307-3766 cell hartsbasswork@ameritech.net e-mail • March 21, 2018:

JAMES SANDERS

w/Doug Lofstrom & New Quartet Indian Boundary Park, Chicago • March 24, 2018: w/Stu Greenspan,

Ben Davis and Lewis Achenbach Ice House Gallery, Evanston • April 13, 2018: w/Doug Lofstrom

& New Quartet Elastic Arts, Chicago

JAZZ VIOLIN

• April 28, 2018: Conjunto

Sabor a Café, Chicago

Learn more at JamesSandersViolin.com

Dave performs a wide range of songbook and jazz standards as well as originals and modern/pop songs done in jazz mode. In addition to The Dave Shelton Trio, he plays solo and with other combo groupings.

Available for private events, clubs and festivals.

martinilunchband.com

Mike Jeffers for updated performances, clinics and videos, visit

michaeljeffers.com

For detailed information on all the venues listed in the Chicagoland Club Guide or to become a member

Visitt www.ChicagoJazz.com For info on bookings and appearances:

DAVE SHELTON

www.DaveSheltonJazz.com 847-650-4643

or call

773-927-0396 “Dedicated to promoting jazz in Chicago”

Chicago Jazz Magazine

March-April-May 2018

John Scofield Clinic at the school on Michigan Ave., in 1997 (now the Nordstrom building).

Page 15

Tim Fitzgerald, Kathy Pirtle and Alvin Rogers performing at a Bloom School of Jazz Recital at the Jazz Bulls.

David Bloom... ...continued from page 7

Chad Taylor at the Jazz Bulls performing during a Bloom School of Jazz Recital.

Jon Weber and Clyde Batton at Bloom’s first school on 1007 Rush St., in Chicago.

The exercises—the things I throw at my students—they’re templates for storytelling.

Chicago Jazz Magazine: You’re giving them the concept, and a way to practice the concept. Once they get that ingrained in their system, then they can start taking that on their own.

Bloom: It’s practicing for individuality. That’s important. It’s how to work on music, so that in the end, you’re you.

You’re not a clone; you’re not chasing somebody because you have self-doubt about who you are. My main goal at the school is to help everyone be themselves through telling their own musical story.

Anybody who tries to copy someone else is just going to be a second-rate version of whomever they’re trying to copy. I feel fortunate that I thoroughly enjoy people putting their music in my hands, especially students who are really serious. If it’s tenth on your list of things to do, then you’re never going to get good because you don’t have anything to lose. If you’re married or have a significant other and a day job, if jazz is third, then you can plan on getting pretty good. If there’s seven activities before you get there—I mean, do it if you like, but no one is going to care if you do or not, because you’re not going to do anything that’s good enough to be cared about.

Chicago Jazz Magazine: How many

Photo by Bill Klewitz

And they liked my tunes. I didn’t write super-pretentious tunes showing how many chords I knew. I wrote tunes that were really great vehicles for soloing. I had a great run with my bands from ’72 to ’80. I was teaching a lot and I remember I had lunch with my dad. He was a major educator––I come from a family of teachers–– and I was just wondering what I should do, and he said, “Well, why don’t you open a school?” And I said, “Hey, that’s a good idea.”

Chicago Jazz Magazine: Were there any jazz schools like that around town at that time?

Bloom: No, there weren’t. There still aren’t. [laughs] So I opened my first school on Rush and Oak, right at the beginning of ’75. At the beginning, we offered theory and ear training classes. I was teaching private lessons and I enlisted a teacher named John Marable, a fantastic arranger and composer who taught at my school for 10 years. I had six other teachers: on saxophone, trumpet and so on. In 1979, I started the combos, and they were just a little add-on I had Sundays, and I charged people five dollars just to come to the combo. They went so well that I decided to make combos part of the regular curriculum, not just an add-on. I’ve taught hundreds if not thousands of combos since then.

Chicago Jazz Magazine: So these are combo classes with a rhythm section, horns and other instruments, that offer a way for everyone to get together and actually work on techniques while playing.

Bloom: Exactly, but these are not jam sessions. These are serious group classes where students work on upscale values.

In other words, some teachers might nudge their students to use more dynamics. I don’t hope students use it, I demand it, because it’s part of the exercise. The really good students who have been with me get far beyond the exercise. They have embraced the values. Now, they don’t even think about playing without dynamics. That’s true of any conceptual exercise.

If you don’t get it to a place where it becomes a tool, it’s always an exercise, and nobody wants to hear you play exercises.

Tom Muellner renowned Chicago pianist “TOMMY SWINGS, grooves, is soulful, and

in total command of his instrument, plus I love him, he’s one of my favorites!”

Joey DeFrancesco

Also a top accompanist, arranger & vocal coach

773-507-3768

Email: tommujazz@gmail.com

www.tommujazz.com Every Monday – Tommy’s Jam Session (9pm-1am) The Serbian Village 3144 W Irving Park Rd (@ Kedzie) Chicago, IL 60618 Kelly Sill on bass, Phil Gratteau on drums and Tom on the Steinway grand piano.

Jazz pro instrumentalists & vocalists are invited to sit in after the 1st set.

Food & drink specials. For additional info: www.yelp.com/biz/serbian-village-restaurant-chicago Tuesday, March 6

Sunday March 18, 3pm

with Spider Saloff

with Terry Sullivan

Family Piano

Gorton Center

118 S. Genesee Street Waukegan, IL

400 E Illinois Road Lake Forest, IL

Thur, Mar 22 & April 19 6:30-9:30pm Tommy’s Jazz Pals Trio featuring Art Davis

Marie’s Pizza 4127 W. Lawrence Ave Chicago, IL

Friday, May 18 Arlene Bardelle Trio

Eddie Merlot’s 185 N Milwaukee Ave Lincolnshire, IL

years has the Bloom School been in business?

Bloom: This is my 43rd year.

Chicago Jazz Magazine: And you’re still interested in teaching––you’re not

Chicago’s home for JAZZ & BLUES on the radio!

Also broadcasting live on the Internet at:

www.WDCB.org

burnt out ?

Bloom: My energy wavers, but never my enthusiasm. I teach 30 hours a week.

I have been given an incredible gift, that I love teaching and I’m good at it. I feel great when a student comes to my school and becomes totally enthused and ready to play with a new self-esteem. What’s better than that?

■CJM

Jazz Program Schedule Monday thru Friday Midnight - 5am ’DCB Jazz 6am - 7p ’DCB Jazz

Monday Nights 7pm - 8pm

Tuesday Nights 7pm - 8pm

In Chicago… you can listen to WDCB on your TV! …on cable CAN TV42

WDCB Public Radio 425 Fawell Boulevard Glen Ellyn, IL 60137 Office Phone: (630) 942-4200 Studio Phone: (630) 942-4300 email: info@WDCB.org

Jazz in America with Christian McBride

Chicago Jazz LIVE!

Wednesday Nights 7pm - 8pm

Marian McPartland’s Piano Jazz 8pm - 9pm Night Lights 9pm - 10pm Chicago Jazz Spotlight 10pm - Midnight Mood Indigo

Friday Nights 7pm-10pm

The Real Deal with Orbert Davis 10pm - Midnight Jammin’ Jazz – Jazz for the New Generation

Saturdays Midnight - 6am 7am - 10am 10am - 11am 11am - 1pm 5pm - 7pm

Infinite Groove ’DCB Jazz When Jazz Was King Swing Shift Midwest Ballroom

Sundays 9am - Noon Noon - 2pm 2pm - 4pm 4pm - 6pm 6pm - 7pm 7pm - 8pm 8pm - 10pm 10pm - Midnight

’DCB Jazz Legends of Jazz with Ramsey Lewis Sounds of Brazil Mambo Express New Vintage The Wayne Messmer Radio Show Radio Deluxe with John Pizzarelli Jazz Tropicale

Chicago Jazz Magazine

Page 16

March-April-May 2018

Talking Jazz With Mike Jeffers

Featuring Lauren Deutsch The executive director of the Jazz Institute of Chicago, Lauren Deutsch, will be stepping down at the end of March from the position she has held for 22 years. We sat down with Lauren and talked with her about her early years as a photographer and graphic artist, how she first became involved with the Jazz Institute, her years as the executive director and what she has in store for the future.

Mike Jeffers: Let’s talk about where you grew up and some of your early interests.

Lauren Deutsch: I am originally from Chicago, born and raised on the Southwest side. I was born at Michael Reese Hospital and my parents lived at 93rd and Euclid until I was two years old and we moved to 87th and Cregier. When I was ten we moved to 95th and Colfax.

Finally, when I was 16 we moved to Hyde Park where I stayed until I was 18 and that’s when I decided to move to the Northside.

Jeffers: Did you attend college?

Deutsch: I went to Columbia College for three and a half years and studied photography and graphic design. I became involved with a program called the City of Chicago “Artist and Residence Program.” It was kind of like the WPA. They gave money to different cities and municipalities to do an artist and residence program. It was administered by the newly formed Chicago counsel of Fine Arts, which was created by the former wife of Mayor Bilandic, Heather. It was a great legacy that Heather left because that eventually turned into the Department of Cultural Affairs and now is the Department of Cultural Affairs and Special Events (DCASE). Up until the late ‘70s there was no city arts agency in the city of Chicago.

Deutsch at Sonidos Calientes in 1999.

Jeffers: That’s incredible.

Deutsch: Yes, that’s why I am saying what Heather did was so important, and she really left a very important legacy. So I jumped ship from college because I got hired to be a photographer for the artist and residence program, and through that program I got to photograph artists all over the city. We worked with different agencies in the city, so we had musicians and actors who would work with kids and senior citizen. For me, that was the great education and an incredible way for me to practice my art and get paid for it.

Deutsch in Poland presenting the Made in Chicago Festival, 2016.

Lauren Deutsch. Photo: Farrad Ali Deutsch in 2012 with Wojciech Juszcak, coartistic director of the Made in Chicago Festival in Poznan, Poland.

Unfortunately, it was only an 18-month gig, so after the 18 months were up, I launched myself as a freelance artist. I did freelance photography and graphic design and became part owner of a women and minority owned printing company called Salsedo Press. My main job there was sales, but I did graphic design, photolithography, bindery work and anything else that needed to be done.

Jeffers: You pretty much did everything and anything that had to do with the business.

Deutsch: I did. And in terms of the structure of the company, we were a collective, meaning there was no boss. We would meet weekly and people would rotate responsibilities. It was an interesting work environment because you would have to work as a leader, a decision maker and work with others to build consensus because as a collective we all had to agree. I take the time to mention that because I feel the experience gave me the ability to step into this job as the executive director of the Jazz Institute.

Jeffers: When did you get involved with the Jazz Institute of Chicago?

Deutsch: Actually, during the 10 years I worked at the printing company, I was a board member of the Jazz Institute of Chicago. This was prior to the time that this organization had a staff. So the board did everything. There were a billion committees and I was on all of them; not all at the same time, but I was on all of them.

I started out on the archive committee, I was on the education committee, the Jazz Fair planning committee, the Jazz Festival programming committee and many others. I was also the public relations committee because with my graphic arts background I could make the flyers and write the press releases, etc.

Jeffers: I am sure this all paid really well! [Laughs] Deutsch: No not at all! [Laughs] We were the board of directors and we were all volunteers. I think it is important for people to know that this organization really started out on an all-volunteer basis. For a long time it was all volunteers doing all of the work. Also, building a non-for-profit organization is not a quick thing and it’s not an easy thing. It really requires a lot of passion, commitment and devotion. The time I was coming up on the board we were all very passionate jazz fans; some aficionados, but not many of us knew a thing about building a business. The motivation came from people in 1969 looking around watching rock and roll music take over and jazz clubs starting to close. People like Harriet Choice (jazz), Muhal Richard Abrams (founding members of the AACM), Franz Jackson (traditional jazz saxophonist), Joe Segal (Jazz Showcase and Be-Bop aficionado), Bob Koester (blues and traditional jazz), along with a few others were all young activists of the time. They were very serious about making sure that there would always be a place for jazz to be presented

At the 2014 Gala (left to right): Richard Steele, Muhal Richard Abrams, Dee ALexander, Carol Adams, Deutsch and Bethany Pickens. Photo by Bruce Williams in Chicago.

Jeffers: Is that basically the core principle of the Jazz Institute, and that is to incorporate and keep alive the many different styles that make up jazz music?

Deutsch: Part of what the Jazz Institute saw was that if we brought all those styles together in everything we presented, we could aggregate the audience.

Although sometimes I think we have ag-

Deutsch on the main stage at the 2015 Chicago Jazz Festival. gravated the audiences as well, but it really has been an important philosophical principal for us because you don’t have to like everything, but you should at least know that it’s all connected. I remember one of the first concerts we put together. It included JB Hutto’s Band, Muhal Richard Abrams Experimental Band, Bunky Green and I don’t remember what the fourth one was. Crazy right? Nobody would program that and we are still doing it today and it still drives people crazy! [laughs] But we’re sticking to it.

Jeffers: Isn’t that the mission statement?

Deutsch: Yes. Absolutely! I remember the first articulation of the mission statement was “To preserve and perpetuate jazz in all its forms.” I have been thinking recently that we state it differently now, but really that’s what we do. We have been preserving and perpetuating it through presenting it, commissioning new works, making sure we are educating and bringing up young folks to make sure we educate adults. How else are you going to make sure you perpetuate jazz if you don’t build an audience for it?

Jeffers: Do you think you might have had the best training for the executive director position because of the way you grew with the organization?

Deutsch: I have often said that I had no training for this job; but actually I had the best grassroots training all along by coming up for 14 years on this board where we did all the work. I had no idea that I was actually training to be the executive director. I had no designs on being the executive director either. In the late 1980s there started being more administrative stuff to be done that nobody cared to do on a volunteer basis. I think we got the first grant from the NEA to hire an administrative director. There wasn’t an executive director at the time.

I am the fourth executive director of this 49-year-old organization. I had a child and took some time off to spend with my daughter. At the point when I was getting cabin fever, I called and talked to my predecessor and we talked. I said, “Maybe I’ll take your job when you’re done doing it?” Suddenly, one day he called and said, “I’m giving my two week’s notice. Do you want the job?” I said, “Uh, I don’t know, let me think about it?” I decided to take it on an interim basis so I could see if it was good for me, but also if I was good for the organization. So here I am 21 years later. It’s funny because I really learned everything on the job. I think I have really guided this organization more by gut and instinct rather than strategic thinking.

Although I have learned how to do that too. It’s been quite an education. I sometimes wonder if I have grown the organization or if the organization has grown me? I think it has probably been a little bit of both. I’ve had a really great time and have been privileged to be involved in so many immensely beautiful and musical experiences. The best part has really been being a part of this amazing jazz community in Chicago.

■CJM

Read the rest of the Interview with Lauren Deutsch and listen to the “Talking Jazz with Mike Jeffers” Podcast on ChicagoJazz.com