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The Jazz Culture Feature

Toshiko Akiyoshi above, courtesy of Brian McMillen, at the piano, below at Dizzy's in March

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The Toshiko Akiyoshi with fan at Dizzy's in March.

TOSHIKO AKIYOSHI

by L. Hamanaka

Toshiko Akiyoshi was featured at Dizzy’s at Jazz at Lincoln Center on Tuesday, March 25. She played, among other originals, “The Long Yellow Road,” that Ms. Akiyoshi composed long ago, thrilling her loyal following. “I composed ‘Long Yellow Road’ in 1964, when I was influenced by Sonny Rollins. I pretended I was writing it for Sonny Rollins.”

Ms. Akiyoshi has created a musical bridge between the roots of jazz in the US and Japanese musical elements, and melded a cultural intermarriage through her original compositions, and influenced the growth of jazz as a world music. Jazz has perhaps been the best cultural ambassador of this country, beloved everywhere, with musicians spawned through listening to artists like Ms. Akiyoshi who is very famous in Japan and Europe. Ms. Akiyoshi received 14 Grammy nominations and won the Downbeat poll for Best Composer and Best Arranger. She is lucky 2

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to have at her side the wonderful musician Lew Tabackin whose expressive gifts and hard won virtuosity, can fulfill her demanding written work.

In These Pages Toshiko Akiyoshi/Lew Tabackin Dizzy's 1‐4 April listings 5‐6 Chip White Double Dedication Barry Harris Rome Event Remembering Paul Ash 17‐18

“I came in ’56,” Ms. Akiyoshi explained, when asked whether or not she had met Bud Powell, an artist whose compositions she plays. “Bud Powell moved to France in 1958. He used to come to listen to me, as somebody who was really under his influence. He had a difficult life. He was committed to a mental hospital by mistake [among other things]…when I came to this country I used to play very much like Bud Powell. Dizzy used to say, ‘She’s like Bud Powell.’ But then I wanted to find something of my own. I always felt the jazz world was very kind to me—I wanted to do something to repay, and make jazz history richer. Obviously [at that time] Japanese culture wasn’t in it.”

“Sumie” was another original played by Ms. Akiyoshi, Lew Tabackin, Paul Gill and Aaron Himmel at JALC, sumie being a type of Japanese painting with an unbroken line. The piece sounded like a mix of Japanese philosophy, art and jazz expressed in music. Mr. Tabackin’s playing showed a study of the Japanese shakuhachi, or classical flute, with its phrasing and technique. His playing and the composer’s original style integrating western and eastern voicings, Japanese classical punctuation mixed with jazz phrasing were a beautiful result of Ms. Akiyoshi’s search for a ‘contribution.’

Ms. Akiyoshi was born in Manchuria, China. “It wasn’t like Shanghai [an international port city in China where there was a lot of jazz]. “Boats from America would come on the river and play jazz,” she recalled.

After her family moved to Beppu, Japan as a result of political The Jazz Culture, V.III:12

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upheavals at the time, a local record dealer played Teddy Wilson’s recording of “Sweet Lorraine,” and after hearing it, Ms. Akiyoshi, who had studied piano since age 7, started pursuing jazz. She was discovered by Oscar Peterson in 1952 while playing in a club on the Ginza. Mr. Peterson asked Norman Granz to record her, and on her own, Ms. Akiyoshi wrote a letter to Lawrence Berk, who started Berkeley College of Music, asking for his help. He gave her a full scholarship and a ticket to the USA. At Berkeley she studied with Herb Pomeroy, Madame Challof and Richard Bobbit, under whom she learned the Joseph Schillinger’s System of Musical Composition. Now one third of all students at Berkeley are foreign students, a trend her success catalyzed.

“I don’t know if I have been an example to young women musicians about women’s liberation,” Ms. Akiyoshi said. “I never thought about being important. One should do [something] and get better at it. I know I am a pioneer just because I was a woman. In the beginning there is always resistance—I’m not American and long ago in California, someone in the audience [said something offensive.] People say what they want to say, but I feel natural playing jazz, it’s not an intellectual thing.

Her short lived marriage in 1959 to saxophonist Charlie Mariano produced a daughter, Monday Michiru, who is a singer.

After their divorce she met and married Lew Tabackin in 1967.

They have been able to work together on many projects, including “Kogun” their first recording, and a very long gig at Birdland that ended in 2003 of the Toshiko Akiyoshi Jazz Orchestra featuring Lew Tabackin. Both artists tour individually as well as doing many dates together. They lived in California for about ten years and returned to New York in 1982. Both are good role models for younger musicians looking forward to a decades long career in jazz. Ms. Akiyoshi has been recorded by Columbia, Norgran, Nippon Crown, Victor BMG, Inner City and other labels on at least 50 records.

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Cont. p.7

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The Jazz Culture Newsletter Wishes the Jazz World Community a Happy, Healthy Prosperous 2014! Jazz Tours in NYC are available; also music teachers in various countries for students & jazz lovers. email: info@thejazzculture.com. Ads are available in The Jazz Culture Newsletter. The Jazz Culture Newsletter has been read in 72 countries. Brian McMillen is a contributing Photographer. Connie MacNamee and Arnold J. Smith are contributing writers."

Countries: US, UK, Albania, Argentina, Armenia, Australia, Austria, Belgium, Bangladesh, Belize, Brazil, Burma, Bulgaria, Canada, China, Chile, Colombia, Czech Republic, Denmark, Ecuador, Egypt, Estonia, Finland, France, Germany, Greece, Holland, Hong Kong, Hungary, India, Indonesia, Iran, Iraq, Ireland, Israel, Italy, Japan, Kazakhstan, Kenya, Latvia, Lebanon, Lithuania, Luxembourg, Malaysia, Mexico, Moldova, Netherlands, New Zealand, Norway, Pakistan, Peru, Philippines, Poland, Portugal, Romania, Russian Federation, Saudi Arabia, Serbia, Seychelles, Singapore, South Africa, South Korea, Spain, Sweden, Switzerland, Thailand, Turkey, Ukraine, Uzbekistan, Venezuela, Vietnam

BILLIE HOLIDAY TRIBUTE

April 6, 2-6 p.m.Sunday at BEA's, 403 West 43 Street (9th Avenue) Jazz Singers of New York Present with Kuni Mikami, Chris Heaney, Chuck

April Listings

Clarence Banks‐ Swing 46 most Thursdays with Felix and the Cats, 346 W. 46 St. Ray Blue, Jules, Garage Richard Clements‐ Pianist, 11th Street Bar most Mondays, 8 Kenney Gates, pianist. Philadelphia, Tues., Sun. some Sats.‐ High Note Cafe on Tasker & 13th, 5‐9 p.m.

Bertha Hope ‐ Minton's on 206 W. 118 Street, every weekend George Gee Orchestra at Swing 46, every Tues, most Fridays 9:30 Loston Harris: Bemelmans Bar at The Carlyle; Tues ‐ Thur 9:30pm ‐ 12:30am, Fri‐Sat 9:30pm‐1:00am Bemelmans Bar Residency 12th year at The Carlyle, 35 East 76th St., New York, NY 10021 (76th St. & Madison Ave.) 212‐744‐1600 Mike Longo: Tuesdays Gillespie Auditorium in the NYC Baha'i

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Center at 53 East 11th Street 8:00 and 9:30 John Mosca & Michael Weiss, Vanguard Orchestra every Monday at the Village Vanguard 8 p.m.

David Pearl‐ Mondays at the Thalia, 95 St. bet. B'way & West End 8 p.m.

Valery Pomoronov- Zinc Bar on April 2, 9:30 p.m.

Bill Saxton; Every Friday and Saturday Bill’s Place 133 Street Murray Wall, bassist, 11th Street Bar most Mondays, 8 p.m.

Leroy Williams, drums: Minton's Sun & Tues 2‐6 W. 118 St. ENGLAND: John Watson Trio at the Palm Court, Langham Hotel, London, 1c Portland, Regent St. 207‐636‐1000 Fri‐Sat Save the Dates: George Gee‐May 23, Frankie Manning's 100th, Edison Ballroom, NYC John Kamitsuka Annual Recital Weill Recital Hall April 30, 8 p.m. Tickets available at Carnegie Hall Box office $15 for students and seniors

Happy Birthday March- April Babies George Gee, Lew Tabackin, Stafford Hunter, Lil Phillips, Randy Noel, Eric Lemon, Kenyatta Beasley Thank You for Bringing Beauty & Love to the World

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With passion and sensitivity, Ms. Akiyoshi introduced the final composition “Hope” which is an epilogue to a longer pieceon “Hiroshima.” Ms. Akiyoshi is an important composer whose work reveals a rare talent for creating beautiful and memorable melodies and textures. Her music punctuation expresses her own personality of passion, lyric gift, humor and comprehension. Mr. Tabackin’s playing fully expresses the possibilities of her songs, and he is a virtuoso on tenor, with a warm, compelling sound, generosity of spirit and plays flute and piccolo flute with new devices and unique phrasing concepts. from p.4

A winner of the NEA Jazz Master Award in 2007, Ms. Akiyoshi is still tours internationally. “I have been invited by various European bands (in Germany, England, Holland) to work with my compositions. I just came back from Austria.” When asked if the touring was a strain, she replied, “I don’t mind going there-I’m used to the plane. I’m leaving tomorrow for Japan. They have a six-pianist concert tour there… we’re going to Tokyo, of course.” Ms. Akiyoshi has always enjoyed artistic success and support in Japan, and her records are distributed to the large jazz audience there. At the same time, she has an international fan base for her compositions.

When asked if living with and working with her husband, Lew Tabackin, made for a 24/7 relationship, she answered, “We don’t really collaborate. Luckily we live in a place with different floors. He has a studio in the basement, and I work in the living room. We practice all day and then have dinner in the evening.”

Although Ms. Akiyoshi has recorded all of her compositions (at least 100), she does not have a book of her compositions. “I’m such a procrastinator. A publisher in California offered to [publish my compositions], and I really have to do it, but I was not prepared. A couple of years ago, three musicians came from Japan to put my compositions in alphabetical order.”

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Ms. Akiyoshi has worked as a mentor to younger musicians, notably at the Kennedy Center’s Tribute to Mary Lou Williams, where, “Eight different pianists were in a contest. I had to be there for a lesson, things like that.” When asked about the future of jazz, Ms. Akiyoshi answered, “jazz is moving slowly from its own language towards becoming closer to European music.” This, she said, was due to the ‘school education,’ (mainly jazz departments in colleges). “Ten or fifteen years ago, professional musicians like Max Roach were teaching on the college level. But [today] the professors do not really have professional experience playing [jazz], they are academics.”

“Hope,” which the Akioyshi/Tabackin group performed at Dizzy’s, was an Epilogue in “Hiroshima, Rising from the Abyss,” in memoriam to the Hiroshima tragedywhen the Atom bomb killed masses of civilians in World War II. “It’s about 24 minutes long,” she said. It was performed on August 6, (the anniversary date of the bombings) 2001. “I wrote it for tenor--he sounded so beautiful I had to cry.”

Chip White Double Dedication 1. Lester’s Blue-beginning with gentle wave of piano chords, with melodic rising motif, a lyric ode that breaks into about 116=quarter note swing with horn background taking over optimistic melody that is broken into Call and Response phrases. A lovely improvisation by Kenny Barron, with sparkling ideas, reflecting the subtle joy that Lester Young always epitomized, a second horn background with flutes on top, ending in a three note phrase that fades out.

2. Three for Mr. Ellington-about 175=quarter note, a happy rhythm with triplets intertwined in its theme and accents adding spice, and a nice countermelody on the bridge. Saxophone solo preaches the happiness cause that Pops enthroned, followed by equally propulsive solos on trumpet, and piano, speaking a lot in triplet mode. Coming back to trading 8’s with the drummer, Mr. White, 8

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each player adds a pealing sometimes wailing contribution. Mr. White plays excellent drums.

3.Bird in the Yard4. Mellow Works for John Birks Drum intro, building suspense, starting in 6/8, adding a bass line and piano followed by the horns with flute on top, with a “saga-like” or modal sound to the melody; followed by a swing section built on triplets. Solos by saxophone expressive of flight; and following the path laid down

by Bird, utilizing space and rhythmic combinations well. A flute solo with interval leaps sometimes repeating, using quarter notes and flightlike runs; after the modal interlude, some free sections where horns improvise together free, a repeat of part of the theme ends this piece.

4. Strays A ballad about 96=quarter note, simple melody built on thirds played by horns with ascending motifs where each line ends in a higher note, like a question. Kenny Barron plays a sensitive tribute to one of the most cherished masters of jazz, Billy Strayhorn, the horns in harmony play melody again, with slight decrescendo to end the song.

5.An uplifting ode to Bird in the Yard, based on Confirmation changes, at about 160=quarter. Nice solo by Mr. Chip White.

6. Bossa for Lee- a singer with a lively, engaging voice, good pitch and appealing personality, this song is done about 145=quarter note, Gail Allen brightens this selection with lyrics that have rhythmic appeal, that is match the words with the accents, and a nice trumpet solo by Randy Brecker. Mr. White has obviously spared no expense to get top players for his original songs.

7. Etta Jones- a blues intro by Kenny Barron, at about 96=quarter note, followed by a section with horns in harmony, and lyric delivered by Gail Allen, who shows good diversity, a trombone solo by Wycliffe Gordon that is kind of dreamy. The lyrics are an ode to Ms. Etta James’ communication gifts as a singer.

8. Mr. PC’s Blues-at about 145=quarter note; Gail Allen again delivers an ode to Paul Chambers, a young bass prodigy from Detroit. Ray Drummond plays a pithy and swinging solo with perfect articulation, backed by the horns. Gail Allen scats a couple The Jazz Culture, V.III:12

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of choruses.

9. One for Monk-about 160=quarter note, with circular motion by horns, a steady swing with drive, a repeating 16th note figure, the melody played by horns in harmony, showing Mr. White’s arranging skills. A pretty solo by Steve Wilson on alto, an assertive one with intriguing ideas by Mr. Wycliffe, swinging solo

by Mr. Barron, on a provocative melody.

10. Ballad for Bu-a pretty ballad for Art Blakey, with the melody excellently played by Mr. Wilson.

11. Minor Blues for Trane-about 200=quarter note, with a fine intro by Kenny Barron; a good bop solo by Randy Brecker; and then Steve Wilson, who has a pretty alto tone with an urban street attitude, followed by Mr. Gordon, placing his lines well and making a few gritty comments, and an electrifying solo by Kenny Barron, with pretty cymbal work and dynamic clean drumming by Mr. White.

12. Ode to Max, a ballad at about 68=quarter note, a bittersweet and pretty melody played by Randy Brecker.

13. Something about Mingus-bass intro by Ray Drummond, impeccably delivered. Slow swing about 120=quarter note; with some drum interludes, brassy solo by Mr. Gordon capturing Mingus’s personality, nice solo by Steve Wilson, with a drum solo performed with panache by Mr. White, and a funky chording by Kenny Barron before restating the forward looking theme.

An entertaining, swinging collection of originals, mostly odes to great artists in jazz history. The tone is positive, like the personality of its composer, Chip White. Good singing and playing, music you can dance to or that will make you happy and proud to be part of jazz. Featuring: Chip White, drums, arranging, composing; Kenny Barron, piano; Ray Drummond, bass, Steve Wilson, alto and flute, Wycliffe Gordon, trombone, Randy Brecker, trumpet, Gail Allen, vocals. Chip White is an experienced performer who attended Berkeley School of Music and Ithaca College and studied wtih Frank Foster, Freddie Buda of the Boston Symphony and others. See Chip White.com 10

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Barry Harris Classes in Rome March 2014

by Connie MacNamee

You may well ask, “Why do people spend $2,000 to be in Rome with Barry when they can see him every week here in New York for $10 and a subway ride?”

Answer: Because it is one of the few truly extraordinary musical experiences in this world. The European musicians catch on to what he’s saying right off and the classes are every day, all day long, then there’s a jam session with a different piano player—all Barry Harris recently at the top-notch—every night, for five days, Village Vanguard ending with a concert by Barry.

The first hour of the first day is hugging and the double kiss in the European style, as we see friends from the last Rome workshop. There is such a feeling of mutual respect here, it is just amazing. The way the world ought to be.

This year, there were more of us than usual, by about twenty.

Israel was well represented, and seventeen more countries. The students seem to understand English, or the Italian running translation, or maybe they just catch the musical exercises by ear, or sight, if they’re close to the piano.

When I first walked in to the piano class, the students were all sitting down, two contestants at a time going to each of the two side-by-side pianos to play the phrases Barry was showing them.

Basically harmonized scales. If they did it too easily, he would exhort them to do it faster.

Then Barry got to the piano himself and everyone gathered around, some standing on chairs, recording and videotaping. All us The Jazz Culture, V.III:12

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old-timers sighed with relief to see them up out of their seats and around the piano as usual. To illustrate the use of the phrases he had them learning, he played parts of “IfYou Could See Me Now,” “Lady Bird,” “Strictly Confidential,” and “I’ll Keep Loving You.” Lunch break. Just about everybody went to a local restaurant with Barry, to eat and ask him musical questions, which he is always more than happy to answer. His mind is music 24/7. Some piano players stayed at the class site and played “Little Willie Leaps,” “How High the Moon?,” “Star Eyes,” “Lady Be Good,” and “Polka Dots and Moonbeams.”

The vocal class was after lunch. We did “How Can You Keep the Music Playing?,” “Some Other Spring,” and “How Am I to Know?” Not that different from the New York classes, except for, again, the general skill level of the singers making it possible to go through three songs rather than one.

The improvisation class started up immediately after the vocal class. Barry put them through “Whispering/Groovin’ High”—saying “Every standard will teach you to run through changes.”

Dinner break, then the jam session.

That was Day One. Cut to Day Five: Barry had taught the singers some of his own compositions to perform for his concert, so we were primed and ready with “Like This” and “Choices,” along with an opening wordless number as yet unnamed. He showed up an hour late, which didn’t matter since we were all hugging our goodbyes and giving each other ways to keep in touch over the Internet until September, when it all happens again. Then he arrived, we sang the opening, he gave a nod to the bass and drum and started playing “She.” They were 12

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off and running.

In the course of the evening, Barry played eighteen songs, broken into a long set and a short set. For the most part, the tunes were not unlike the ones in the Village Vanguard shows he had played the week before coming here, with a difference of the aforementioned “Choices,” “Do Nothin’ Till You Hear from Me,” and “The Shadow ofYour Smile,” all of which we had done in vocal class, along with one he often does in Rome, “Anima e Core.” His playing was amazingly transcendent, even though his left hand was bothering him. He often says that playing piano is not about the fingers, but with his ears, he can play piano with essentially one hand, and make the same beauty come out. With his ears and his heart.

Barry is not bothered by his advanced age (84). He says, “I want to outdo Eubie Blake.” He is the youngest adult I know.

A man came to the concert and posted a beautiful review in Italian that has a certain charm when translated by just pressing the button. So even though I could “clean it up,” I’ll post it in the original Italian and the automatic translation.

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Barry Harris Jazz Workshop in Rome

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Roberto Rea's Impressions of the Rome Jazz Workshop Difficilmente capita di assistere ad una serata del genere, una delle piu belle della mia vita.

Non so bene se cio che dico sia scontato o solo frutto della mia sensibilita, ma credo che ieri sera ho assaportato la bellezza nella sua piu intima natura, una musica veramente di classe, fantasiosa e delicata che unisce e insegna a stare bene in eleganza, armonia, simpatica e genialita. Solo la musica riesce ad un unire le persone in quel modo. Nessun altra arte o professione.

Anche se certamente diretta ad un pubblico di musicisti, sono convinto che qualsiasi altra persona semplice e non addetta ai lavori non avrebbe mai potuto non sentirsi invasa da quella gentilezza, da quella genialita e da quella emozione che invadeva I aria circostante attraverso l’enorme abbraccio di energia pura che il saggio conduttore ha saputo diffondere attorno al suo piano.

Grazie musicisti, voi non lo sapete ma siete degli “angeli diffusori di beneserre”. Altro che beneserre economico.

Tutto questo si chiama Semplicemente…Jazz Roberto Rea Now for the translation by Bing, although I know many people who could do a better job, because I like the innocence of it: Hardly happen to attend an evening like that, one of the most beautiful of my life.

I do not know if what I say is a foregone conclusion or just the result of my feelings, but I think last night I enjoyed the The Jazz Culture, V.III:12

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beauty in its most intimate nature, a truly classy music, imaginative and delicate that unites and teaches how to be comfortable in elegance, harmony, kindness and geniality. Just the music manages to bring people together that way. No other art or profession.

Although admittedly live to an audience of musicians, I am convinced that any other person simple and not involved in the work would never have been able to not feel invaded by the kindness, ingenuity and excitement that was invading the surrounding air through the massive embrace of pure energy that the conductor was able to spread around his plan.

Thanks musicians, you don’t know but you are “Angels wellness speakers.” Other than economic well-being.

All this is simply called…Jazz.

130 students from 18 countries went to the March Rome Jazz Workshop; left, Connie MacNamee, above- Luciano Fabris, below Andrea Papina

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MEMORIAL FOR PAUL ASH, ST. PETER'S CHURCH

Paul Ash & Cobi Narita at a recent concert; Cobi Narita at memorial for Paul Ash; photos courtesy Richard Williams

A memorial for Paul Ash, a philanthropist of jazz, took place Monday March 31 at St. Peter's Church, the jazz church, drawing many friends, musicians and supporters of Cobi Narita, Paul Ash's wife and partner for over 40 years. Mr. Ash was the President of Sam Ash, the largest family owned music store chain in the country. Along with his brother Jerry and sister Marcia he worked for the store since childhood. Sam Ash, Paul Ash's father, was a violinist who had a music store, and his sons Paul and Jerry were talented businessmen who grew the family business to success.

Born in 1929, Paul Ash was inducted into the Army in World War II right after high school; he started a new department for the store, selling classical, popular and jazz records and sheet music, which at times grossed 50% of the profit.

Paul Ash was a loyal and generous patron who partnered with Cobi Narita in ventures including, but not limited to: 10,000 events-concerts, benefits including the one for "Papa" Jo Jones; workshops and panels; Cobi's Music News, a Women's Jazz Festivals, International Women in Jazz, Sunday concerts in Central Park and Bryant Park concerts, the Fight to Saev WRVR Radio, the Universal Jazz Coalition, the Jazz Center of New York, Cobi's Place, a club in midtown Manhattan, Tap Nights, the Queens Tap Extravaganza, many concerts at St. Peter's Church The Jazz Culture, V.III:12

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that helped the church's finances. Harold Mabern recalled that Cobi and Paul helped him obtain a $10,000 grant early in his career, Mickey Davidson, recalled that he contributed to Jeanne Lee's funeral expenses and a concert she performed in. Saul Rubin played "Cobi's Song" an original he composed during the years Cobi and Paul presented jams at his loft. Paul Ash was on the Board of Directors of Brooklyn Academy of Music, a music instrument historian, worked at the store till his last days, delivering mail in person in the morning, answering customers demands, with an amiable personality, a person who served others. The evening included a historic slide show, remarks by the Narita family, Jerry Ash and Laura Abrams, with closing remarks by Cobi Narita. Some of the musicians at the memorial included Jimmy Heath, who played with Lisle Atkinson and Frank Owens, Harold Mabern, Barry Harris, Art Baron, Carol Sudhalter, Jack Jeffers, Warren Smith, Fred Station. Singers included Marion Cowings, Frank Senior, Melba Joyce, and many others, Cobi's children Rob and Jude, tap dancers including Hank Smith, Toes Tiranoff, Makiko Kuri, Rod Ferrone, Michela Marino Lerman, and others. The evening ended with a dancing of "Shim Sham." The affair was catered by dessert donations of many participants in Cobi Narita's jam sessions sponsored by Paul Ash. Paul Ash is survived by his wife, Cobi Narita, her seven children and grandchildren, and Jerry and Marcia Ash and their progeny. St. Peter's Church gifted the venue in reciprocation for Mr. Ash's multiple donations to affairs at the church.

Art Baron, Carol Sudhalter, Jimmy Heath, Lisle Atkinson; Jerry Ash & Rob Narita at memorial for Paul Ash, philanthropist

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