The JAZZ CULTURE
BARRY HARRIS, A DRE A DRO & RICHARD CLEME TS play at WEILL for ABBY WHITESIDE FOU DATIO BE EFIT
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CALLING ALL PIANISTS: ABBY WHITESIDE BENEFIT by L. Hamanaka
Caught a benefit for the Abby Whiteside Foundation, at the Weill Recital Hall on Wednesday, March 27 at 8 p.m. Few artists get a standing ovation Before the Concert, but Barry Harris did at Weill. Nevertheless he made a shy entrance and opened with a ballad expressing the hope of spring, which he composed but could not remember the original title of; however, he said someone else had called it “Looking Glass.” In this piece he showed the ease of the “no-finger” school of piano playing--Abby Whiteside. Dr. Harris mentioned he had played it at Monk’s funeral and Bill Evan’s funeral—all the piano players. He then played what sounded like a Russian or Slavic folk tune in a minor key, that he adapted to a groovy blues tempo, improvised on, with plenty of seconds using chromatic swirls, and showing the cross cultural blend that is jazz. “I Want To Be Happy” at about 250=quarter note, with bop substitutions, creating a filigree of his own world and drawing the world into it. These fast and slow tunes exhibited the “incredible lightness of being” captured by pianists of the Abby Whiteside school, of which Dr. Harris has been an avid devotee for many years of his career, starting off his lessons with teacher Joseph Prostakoff and more recently with Sophia Rosoff, the brilliant founder of the Abby Whiteside Foundation. Drifting into another standard, he played “Just As Though You Were Here,” a song popular during World War II when all the sweethearts were separated by deployments. Dr. Harris Imbued the song with his own palette of colors through voicings and tone colors, and creating what is called an “authentic” atmosphere in the transitions, leaning with the time values and 2
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Review 1‐5 drawing from the deep well We Always Swing 6‐10 of the heritage of American How To Make A Jazz Vocal Act 11‐16 song, and modulating Gig Listings‐Letter 1 9-20 through several keys during info@thejazzculture.com his cadenza’d ending. Dr. http://theJazzCulture.com © 2012 Harris then played an original “Melancholia” which supported his contention that jazz musicians are the ones improvising now-the European composers stopped improvising—and were thus the continuation of the heritage of the past leading to the creation of modern classical music. This song resembled a tone poem with Chopinesque tinges, and brought out the more pristine and elegant qualities in his piano sound.
Dr. Harris followed this with an original he called “D-F-G-FBb” that he made up the morning of the concert “because he had to do something for the concert.” It was actually a very beautiful piece. With a walking bass (part of the time) he augmented the song through various effects, showing how great the Blues is –creating a majestic and profound effect. The next piece was “Nasciamento” his theme song, named after a bass player who died, which was played by Andre Andron, “his clone” who is about 14, with the Barry Harris Choir joining in from the audience. He then played “Just One of Those Things,” first as a ballad with pastel colors, and then at about 300=quarter note, with perfect time, exactly as if the drummer and bass player were playing alongside him. A medley followed of “Memories of You, with deep dark voicings of the beautiful melody, in a mellow tone, “To Duke with Love,” an original waltz with choral background, an ethereal and The Jazz Culture, VI:50
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Richard Clemens shares a bow with Barry Harris at Weill Recital Hall finale where he accompanied Dr. Harris on "Embraceable You"
lilting piece, and the rarely performed exquisite “Focus” by the Tad Dameron, at about 138=quarter note. He followed with the “Bird of Red and Gold,” (originally played and sung as a solo piece) accompanied by Linda Hudson, and his own solo on “Embraceable You,” which he had turned into a vocalese accompanied by Richard Clemens and his choir.
Barry Harris, a famous teacher of many jazz musicians, pointed out his teacher in the audience, Sophia Rosoff, who along with Joseph Prostakoff and Robert Helps were the main teachers of the Abby Whiteside school of piano playing. In music as in cooking, the proof is in the pudding. As it does often, music brings the harmony and cross fertilization of many cultures, and that evening was an example of the harmony of jazz and classical worlds. Tfhe future may see more pianists exploring the concepts of the Abby Whiteside School. For Pianists and Piano Lovers: The Abby Whiteside school believes not in playing with the fingers, but using a “fulcrum” 4
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concept: a coordination of free energy transmitted through the joints, the wrist, the lower arm from the upper arm, the shoulder, and the torso, supported by the buttocks (the largest muscle in the body) and the feet. The Abby Whiteside School believes in finding the inherent emotional rhythm in a piece of music, outlining the music by not playing each individual note, and performing all music under the auspices of the soul. Composers associated with Abby Whiteside include Leonard Bernstein, Vivian Fine and Morton Gould. Recent devotees of this school have included Dr. Barry Harris, Fred Hersch, Hank Jones and John Kamitsuka, a classical protĂŠgĂŠ of Sophia Rosoff. The Abby Whiteside Foundation sponsors a series of concerts every spring. Mr. Kamitsuka, and Reicho Uchida will play in upcoming concerts. Call Weill Recital Hall for more information or contact the Abby Whiteside Foundation via their website.
Another view ofconcert at Weill; Dr. Harris' class in YC, another at the Jazz Workshop in Rome Job Opening: Advertising Director; 50% commission basis; info@thejazzculture.com
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MISSOURI CONCERT SERIES
Kenny Barron, Jimmy Greene, ts Kiyoshi Kitagawa,bass, Jonathan Blake, drums "A Chunk ofMonk" Missouri Theatre
“We Always Swing”
® Jazz Series in Columbia, Missouri by Jon Poses to Jazz Culture
Pub note: "We Always Swing" is one of the most successful regional sponsors of jazz programming in the country and it is humbly hoped that jazz enthusiasts, musicians and producers, will learn from their experiences.
JC: How long have you been doing the series? And where is it located? Jon Poses: The “We Always Swing”® Jazz Series is in its 18th season. I founded it on July 1, 1995 as an extension of my touring/artist representative business, National Pastimes Productions. The business’ name reflects an aesthetic that “Jazz” as well as “Baseball” – referred to as our national pastime – is also 6
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a national pastime – meaning the United States has TWO national pastimes (plural) – jazz and baseball. I founded National Pastimes Productions as a touring and artist representative concern in 1985. As luck would have it, on July 1, 1985, two close friends of mine bought a country and western “flavored” bar/restaurant and opened it as “Murry’s,” deciding to have a jazz (and baseball) motif/atmosphere. As National Pastimes Productions grew, and because of my friends’ interest in having live jazz at Murry’s, I “engineered” performances in Columbia, Missouri, as part of the tours I organized. Columbia, now with a population that exceeds 100,000 people, is a university town located in the center of the Missouri, sitting equidistant from St. Louis and Kansas City, 120 miles from each. From 1985-1995 I concentrated on organizing/managing 10then 20- and finally 30-city tours. On most occasions I was able to have one of the tour performances take place in Columbia – mostly at Murry’s. However, in the case of bigger, more popular acts I rented larger venues – from 400 seats to 1,700 seats. Murry’s initially held 100 people; now it holds about 130 people. Among my clients/tours (1985-present) are: • Guitarist Peter Leitch with Bobby Watson, James Williams, Ray Drummond, Marvin “Smitty” Smith • Pianist James Williams (several occasions including the Contemporary Piano Ensemble with Williams, Harold Mabern, Mulgrew Miller, Donald Brown, Geoffrey Keezer, Christian McBride, Tony Reedus) • Saxophonist Bobby Watson/Bobby Watson & Horizon with Victor Lewis, Terell Stafford, Edward Simon, Essiet Essiet • Bassist Ray Drummond/Ray Drummond’s All-Star Excursion Band with Drummond, Craig Handy, Danilo Perez, David Sanchez, Billy Hart, Mor Thiam • Pianist Joanne Brackeen/Joanne Brackeen Quartet with Greg Osby, Cecil McBee, Tony Reedus The Jazz Culture, VI:50
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Anat Cohen, Bruce Barth, Piano, Vincente Archer, bass, Royston, drums, The Blue ote (a different Blue ote)
• Saxophonist David Murray/David Murray OctetPianist Kenny Barron/Kenny Barron Trio with Ray Drummond, Ben Riley • The Leaders – with Lester Bowie, Arthur Blythe, Chico Freeman, Kirk Lightsey, Cecil McBee, Famadou Don Moye • Matt Wilson/Matt Wilson’s Arts & Crafts with Wilson, Larry Goldings, Terell Stafford and Dennis Irwin/Martin Wind • Conrad Herwig/Conrad Herwig’s Latin Side All-Star Band with Craig Handy, Mike Rodriguez, Bill O’Connell, Ruben Rodriguez, Robby Ameen, Pedro Martinez After a decade of touring I decided to emphasize presenting. I launched the “We Always Swingâ€?ÂŽ Jazz Series on July 1, 1995. I continued to work with a coterie of players as their manager/representative however since then my main emphasis has been on presenting a concert subscription and education series. The “We Always Swingâ€?ÂŽ Jazz Series was founded as a community-based, all-jazz organization. The Jazz Series, administered by "We Always Swing," ÂŽ Inc., became a 501(c)(3) not-for-profit corporation in March 1999; in 2009, while remaining wholly independent, the Jazz Series became an affiliated with the University of Missouri's College of Arts & Science. Support for 8
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the Jazz Series arrives via ticket revenue, via federal, state and local grant and contract programs and from a variety of national, regional and local sources such as area corporations and businesses. Additional funds are generated through the generous tax-deductible contributions from individuals. JC: Who is playing in it this year, and who has in the past? Jon Poses: Since launching the Jazz Series we have presented more than 200 concerts and events. The series was created as a “modern” jazz series – essentially one that stressed post-World War Two repertoire. While some artists pre-date World War Two (Dave Brubeck, Von Freeman, Candido among others who have performed as part of the Jazz Series) chronologically they all play in a modern, post-modern mode right up until, in the case of Brubeck and Freeman, died. The first year of the series, 1995-1996, offered six concerts – “Big Band Bird” with Slide Hampton celebrating Parker’s 75th birthday (what would have been), Ray Brown Trio, Brackeen Quartet, Contemporary Piano Ensemble, Poncho Sanchez and Kevin Mahogany with Eric Reed Trio. The second season, our budget/fiscal year is July 1-June 30, we upped the schedule to 7 concerts and started an educational component. The season has now been extended to more than 20 events annually, including between 10-12 concerts, a summer series and a plethora of educational and in-school activities. As to who has played here… well, a great many have. We have presented something like 35 National Endowment for the Arts Jazz Masters including Sonny Rollins, Jimmy Heath, Frank Wess, Sheila Jordan, Phil Woods, McCoy Tyner, Von Freeman, Toshiko Akiyoshi, Ellis, Branford, Wynton, Jason Marsalis – on different occasions, etc. We have presented World Saxophone Quartet and Sun Ra; The Jazz Culture, VI:50
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Stefon Harris & Blackout, at Murry's
David Murray’s Octet. We have presented octogenarians and 20 somethings – Grace Kelly and Champian Fulton are two examples this season (2012/2013) . We’ve presented large ensembles: Maria Schneider Orchestra, Mingus Big Band, Vanguard Jazz Orchestra, etc. We present artists in a solo, duo and trio settings along with quartet and quintet configurations. As for this season – please visit our website – wealwaysswing.org. Each artist/group that performs has their own “page” on the site; at the top of the Home Page people can click to on any of the thumbnails and they will be taken to that artist’s/group’s page. This season we started with Billy Childs Quartet and we’ll end with Gerald Clayton’s Trio; in between we presented Kenny Barron as part of “A Chunk of Monk,” a NEA Jazz Masters Live! project that we conceived of centered on Thelonious Monk along with Terell Stafford Quintet, Jane Bunnett with Hilario Duran and Candido, Marcus Roberts Trio, The Bad Plus, Joe Locke-Geoffrey Keezer Group and Monterey Jazz Festival On Tour: 55th Anniversary Celebration. 10
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JC: I notice it’s non-profit. Why did you choose that route? Jon Poses: There is, sadly, at least I haven’t figured it out, yet, no way to run a major jazz project in this day and age without either a serious endowment in place that one can draw from or as a nonprofit organization, which allows presenters to seek outside funding from agencies, corporations in the form of sponsorships and individual tax-deductible contributions. Our current budget fluctuates between $260,000 and $295,000 – depending on which artists we present in a given season and how many tickets they can generate. However, even if we sold every possible ticket – and our tickets run from $15 (for students in some instances) to $37 for the public (best seats available in other instances) – we would only generate approximately 40% of the budget on the 12 concerts we present in any given Fiscal Year. JC: Who is on your board? Jon Poses: Right now we have 11 board members serving threeyear terms that can be renewed for up to three periods. They are mostly long-time supporters, season ticket holders, educators and University representatives along with physicians, social workers, etc. They are community members. JC: Do you have a newsletter? Jon Poses: We don’t have a print newsletter per se, but we do have a Facebook page and a Twitter account. More than that, we produce substantial concert programs that are handed out at the shows and for the last three years have been posted on our website in their entirety with links for all the advertisers, etc. The programs resemble the classic “Playbill” formats – 5.5” x 8.5”; glossy, color, etc. Each issue – about five per season – covers two to three concerts – so we move ads around, change content, etc. They are more like magazines than your basis arts group concert program. Also, about five years ago we launched our “E-Note,” a weekly electronic newsletter that tells people what’s upcoming; we also mix in a “Video Clip of the Week” selected randomly – sometime with a tie-in to a specific upcoming concert, other times they The Jazz Culture, VI:50
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Bobby Watson with Peter Washington on bass, and Terrell Stafford, trumpet
showcase great on-the-bandstand scenes. We have approximately 2,200 subscribers. JC: How many members do you have? Jon Poses: We’re not really a membership organization. We have a snail mail list of 4,200 households; we have an email list of 2,300 people. We just started – only a few months ago – a student and public membership opportunity. It stemmed as an outgrowth of our newly created “Lending Library,” which consists of 7,000 CDs/LPs. – mostly my personal collection. With basic memberships (students = $25/yr.; public $50 per yr.) people can check out two CDs a week; they receive certain discounts; students get a free T-shirt and there are some other perks. The membership levels serve two purposes: try and get younger people involved; try to help ease/create cash-flow. JC: What do you think of the future of jazz? Jon Poses: The short answer is it’s in fine shape. Overall we, as the jazz culture, need to sharpen our marketing and promotional 12
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tools. We need to figure out how to get and then stay younger – but not at the expense of “watering down” the music. That’s different from simply commercializing the music as a way to draw more people in and make more money by “simplifying stuff” I don’t buy that argument. It’s never worked – and what’s worse is that it leaves with shoddy, simplistic and mundane music that requires us to periodically dig ourselves out of some kind of watered-down muck. The key to the future of jazz remains the same: genuine exposure to the art form through traditional means: easy to access sights and sounds – whether it be the radio or via Pandora; be it on television or youtube. It’s about exposure – in and out of the classroom so people hear it. The Grammys® are a perfect example; how much jazz is heard/showcased on the Grammys®, a premier showcase for American music. Virtually none. Why are we surprised that few people have heard of some of our greatest artists? It really makes perfect sense that’s the case. It’s the proverbial tree falling in the forest and no one’s around to hear it drop. Until that changes, until jazz gets into people’s ears in more than a background setting, then it’s going to remain an enigma and intimidating to most people rather than offering folks the true joyful noise that it is. JC: Are you a musician? Jon Poses: As a child I studied classical piano – and I never practiced. As an adolescent I was a rock-‘n’-roll guitarist wannabe – and I didn’t practice. I studied music history/theory in college so I understand a lot of the concepts but the only thing I play is the telephone. JC: How did you come to be devoted to the art form? Jon Poses: This is a very long story. Briefly, I’ve always loved music – as long as I can remember. My folks always liked listening to music – mostly the Big Band dudes: Artie Shaw, Benny Goodman and I’ll throw in Duke Ellington; they also had a very good “folk” record collection and we listened to and actually saw people such as Josh White, Pete Seeger and Burl Ives, etc. I The Jazz Culture, VI:50
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grew up in New York City; by the time I hit in high school I was in the right place at the right time – and so I lived at places such as the Fillmore East. I caught the tail end of the Greenwich Village folk scene. In 1973 I dropped out of college and went to the Bay Area. I was already a Dead Head and CD cover for "Home: Live in Columbia, living in that Missouri" with Bruce Barth and Steve Wilson epicenter made House Concert fundraiser such groups as Jefferson Airplane/Starship, Van Morrison, Country Joe, Commander Cody, Boz Scaggs, et. al. readily available when they weren’t on tour. They all lived there having moved from San Francisco up north to Marin County. I spent a year in the Bay Area and then returned to school in Boston – also a great market for music. In 1976, after graduating college, I went to Europe for the first time. During my seven months there I made conscious effort to get to the Montreux Jazz Festival. That year I saw Stan Getz, Herbie Hancock, Miles Davis, Sun Ra, Cecil Taylor, etc. Jazz was the logical extension for me; I had heard literally every note that Jerry Garcia could play and it was time to move on and quench a new thirst. So I did. Fortunately, I’ve never run out of jazz streams and tributaries to drink from; on occasion I’m lucky enough to discover a new jazz river – at least for me and even a jazz ocean 14
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that’s filled with music. I love democracy and conversation – and there is no form of expression that exemplifies such qualities along with sharing, listening, learning, taking risk, enjoying the satisfaction of doing so than jazz – so, in my case, it was easy to devote myself to the art form. ***
HOW TO-DO A JAZZ VOCAL ACT by L. Hamanaka
A singer who wants to do an Act has to ask him/herself certain questions first. 1. Is it a special occasion? Christmas, a birthday, a Tribute to Singer Jo Marchese a Famous Artist or Composer? 2. Does it fall into the general category, ie., a singer wants to do his or her Act. 3. How long is the time slot? Half an hour, forty-five minutes, an hour, two shows, three sets? 4. Will it be a family intergenerational gathering with minors present? Where do you want to perform your Act? The reason one asks these questions is obviously, it will help you choose appropriate songs. Next ask yourself, what kind of singer are you and what is your repertoire? If you have a year or two to plan, you can learn new material. You may find yourself doing research to find rare songs or special material that is funny, etc. During the process, you may find certain songs highlight your special talents. There are many kinds of songs: blues, ballads, The Jazz Culture, VI:50
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medium swing, bebop, cool jazz, progressive, are just a few examples. Whatever your forte is, you might try to choose a theme to center your choices around. Most songs are love songs, so to say you want to have “love” as your theme is too general. You might pick Jim Malloy “Hollywood” or Film songs, “Cole Porter Songs,” “Jazz Composers from the Second Half of the Twentieth Century,” or some other theme that focuses your choices. After choosing a theme, we have to consider tempos. There has to be a variety: Latin, ballad, patter songs, blues, all provide different rhythmic patterns and tempos to stimulate and interest the listener. Few audiences will sit through an evening of all ballads. You might look at a dvd of an evening with Tony Bennett or another leading singer to see how he paces his program. The very fact that you want to do an Act means you are committed to being a professional, and you are thinking about the audience and the effect you are making on them. Then there is what you will say to the audience to introduce each song, segue between songs, and end your show. This material should be written down until it becomes memorized. Along with that, there is the whole question of interpreting each song in terms of how your life relates to it, or the subtext, phrasing, tone quality, dynamics. At some point, after you have chosen a group of songs and tried them out, gotten feedback from fellow artists and the songs seem to fit together, you can set up a practicing schedule for run throughs every day. If you can play piano or guitar, you can 16
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accompany yourself. Otherwise you may have to pay an accompanist to lay down the songs in order for you on a tape, with intros and endings. Then tape your rehearsals of these songs on a different machine. Listen to the playback and see what has improved and how you can make the songs better. Also, time yourself. Every professional situation has a time frame. Perhaps Club A offers a vocalist a one hour time slot from beginning to end. So you would aim for that. Perhaps you Anthony Maxwell would wind up throwing out a weak song or a song that is not essential to the story line of your theme. You should try to go through at least half the songs you will perform each day. Listen to your tape, then sings them again with modifications and listen again. Check your tempos with a metronome before you start and after you finish so you can see if you have slowed down or sped up the tempo. Over time polish and augment your interpretation of the lyric. Remember, before you expect your audience to be moved by a song, you must be moved yourself. Do a run through before a friend, or sing some of the songs at an open mike. Try to give yourself at least two or three months to work on a group of songs. A year would be more realistic. Also, write legible charts in your key that indicate the form you want a musician to follow. If you are singing with more than one person, have a copy of the chart for each musician in the same order. Learn the song as the composer wrote it before you try to make any changes, and try to make any changes at least equal to or as interesting as the composer’s choices. Many singers do not make any change in notes; they may change the phrasing, but it is important to learn the chords or harmony of a song so that you will not sing a melody note that does not fit in with the harmony. The Jazz Culture, VI:50
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This process is a joyous experience. Each vocalist has their own personality and can bring new things to the same material. Take the time to invite as many people as possible to your performance. Every artist needs to build their own following. Keep track of everyone who you know that likes music or likes you well enough to come out and hear you. When you finish your Act and have presented it to the public, it should help you build your following and you should be a better musician.
Chlothilde and at Jones at the Rum House; Valery Ponomarev at Zinc
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Gig Listings of The Jazz Culture Subscribers: Please support these artists and bring your friends. April 1-2: Ray Blue,Hamilton College, Utica, NY April 2: Michael Weiss Trio, University of Chicago, Chicago, IL April 3: Valery Ponomarev, "Our Father Who Art Blakey" Zinc's 9-1 April 4: Michael Weiss Trio, Logan Center, Chicago, IL Tribute to Johnny Griffin April 6: Ray Blue, Jazz Ed Workshop, Embark Studio, Peekskill, NY; also, duo at the Division Grill, Peekskill, NY April 6: Michael Weiss Trio, Western Illinois University, Macomb, IL April 6, Jimmy Owens debut of an Original Composition by Mr. Owens, "The Bronx Suite", performed by all star septet The Fordham Univ Campus 441 E. Fordham road 8 p.m., 718 -817-4339 admission FREE Also performing are subscribers Patience Higgins and Danny Mixon; Bronx African American History Project 10th Anniversary April 7: Annual Billie Holiday Tribute at The Rum House, 228 West 47 Street, bet 8-Broadway 2-6 p.m. No Cover or Minimum Singers: Katie Collins, Sarah Rose Grillo, Jim Malloy,Anthony Maxwell, Franke Robinson, Lionelle Hamanaka, Maggie Malone, Karen Maynard, Maki Mototsu, Mary Rocco, Ron Saltus, Richard Williams, Megumi Watada, Kumiko Yamakado, Joe and Phyllis The Jazz Culture, VI:50
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Gimpel, Phil Levy, Jo Marchese, Sonya Perkins, Connie McNamee, Michael Morgan. Trio features Kuni Mikami, Chuck McPherson and Jon Roche April 11: Lionelle Hamanaka, Richard Wyands, Bertha Hope, Ron McClure, Chuck McPherson, Gene Ghee Goddard Riverside Community Center 7-8 p.m. Free 593 Columbus Avenue, all Lakisha Williams for tickets at 212-799-9400 ext.206 April 12: Ray Blue, Davenport, Iowa High School AntiBullying Tour; also, evening at the Lighthouse Restaurant, 7:00 April 16: Ray Blue, Garage, NY 7-11 April 19: Ray Blue St. Peters Jazz Vespers w/Harlem Jazz& Blues Band April 21: Ray Blue, Jazz Vespers Peekskill Presbyterian April 26: Lionelle Hamanaka at Tomi Jazz, 9-1 a.m. 239 E. 53 Street in basement 646-497-1 254 ENGLAND Every Friday & Saturday: John Watson at the Palm Court, Langham 1c Portland Place, London, no cover or minimum 44-
207-965-01 95 GERMANY
April 24-30: Ray Blue Germany tour including: Bandenscher Hof in Berlin,(24-27); Evalgelische Paulus-Kirschengemeinde (28); back to Badenscher Hof (30). JAPAN
April 11: Nobuo Watanabe, The Swing +1 at Una Mas, 8-11 pm Tokyo Y2500 April 13: Nobuo Watanabe with Kai Ichikawa Quintet, 7:30-1:00 Y2000, Tokyo April 13: Nobuo Watanabe, Kin No Subo, Core Place Yoga, Tokyo April 29: Nobuo Watanabe, at Tokyo Club Hongo, with Jazz Quintet, 7:30-11:00 Tokyo Y2000 20
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