The Jazz Culture
Steve Turee & History of Bones Sextet at Dizzy's
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STEVE TURRE'S BONES OF ART SEXTET By L. Hamanaka
Caught the Steve Turre’s Bones ofArt Sextet at Dizzy’s Club at Jazz at Lincoln Center on Friday August 2, 2013. Personnel were: Steve Turre, Robin Eubanks, and Frank Lacy, Tombones; Piano, Xavier Davis; Willie Jones III, drums, and Kenny Davis, bass. Leaping off with “Slide’s Ride,” an original by Mr. Turre dedicated to his mentor, trombone master Slide Hampton. “Slide’s Ride” is an upbeat, incisive melody (about 168=quarter note) that includes a four note repeated lick capturing the personality of Mr. Hampton, one of the international heroes of the trombone world. Mr. Turre’s solo was a series of musical ideas stated rhythmically, often starting on the highest note and going down in a dynamic melodic way. Mr. Eubanks sound was less percussive but fuller, using triplets to begin phrases, with quarter notes full of the beat and some descending riffs to a deep lower register sound, combining different rhythmic values, painting a portrait of a great leader in the trombone world, and ending on a long low tone. Then after a brief segue Mr. Lacey with a brassier style contrasting high and low notes, bobbing and weaving like a street fighter, issuing clarion declarative notes and playing with speech rhythms, doing circular breathing he executed ultra long tones that the audience seemed to love for dramatic effect. The theme of the song was very much like Slide Hampton’s positive effervescent hard working personality and the crowd enjoyed it. “Blue and Brown” was an original by Mr. Turre acknowledging the oeuvre of Ellington and his first trombone, a ballad (about 60=quarter note), a sensual, pastel, nostalgic song with melodic curves reminiscent of a waltz, using Ellingtonia timbres. With expert use of the mute, Mr. Turre evoked the important swing era of jazz and the romance of an earlier era. There was a short bass solo that evoked pastel blue and mauve colors, and according to the arrangement, Mr. Turre played a mute solo line to end the tune. 2
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In These Pages “Settegast Strut” was an original Live Music Report 1‐5 by Frank Lacey, named after the Vocalists: How To Start street in Houston, Texas, that he Licks 6‐9 comes from. At 116=quarter note, a Thank YouLearning Uncle Edward cd blues, the theme evoked a man 10‐12 strutting down a street in long strides. Bebach cd 13‐14 Either the man is dangerous or the ads 15‐16 street is, it was not exactly clear, but August Listings 17‐18 Mr. Lacey’s theme is full of bravura. A skillful arrangement that made the small horn section seem very grand –that was the case here. Mr. Lacey’s solo sounded brassy, reminiscent of the deep spirit of the third line of a funeral march, like big feet tramping down a muddy Main Street, playing with a dark almost funky tone, and seeming to relish long tones. The pianist Mr. Davis’s solo combined whole tone and blues ideas in an open, mournful and celebratory at the same time. Then Mr. Turre did a percussive solo using dramatic effects that ended in softer, more scalar lines. The theme was richly expressed with a tag and fade by the rhythm section, which gave very reliable support throughout the set.
An up tempo “Caravan” was next, with Andromeda Turre sitting in on vocals, Mr. Turre’s beautiful daughter, who also surprised everyone with her scatting, in which she sounded like a trombone (the only singer in the last 20 years besides Nancy Banks whose scatting sounded like a trombone). “Sunlight” followed, that element found in the radiance in the heart ofAfrican and Hispanic cultures. This song by Steve Davis opened with a scalar section, and then another section with contrasting long tones (perhaps resembling the rays of the sun?), soft and fast at about 184=quarter note. The solos were notable in revealing the very different styles of the three trombonists. Mr. Turre seemed to draw from a more percussive concept, with excellent articulation using the tenor register fully. On Mr. Lacey’s The Jazz Culture, V.II:4 3
solo he played interesting melodic and rhythmic counterpoint over the Latin underpinnings of the rhythm section. Robin Eubanks played a solo with provocative chromatic ideas, a flow of music deftly executed like a trombone concerto. While the other trombonists were soloing, Mr. Turre became part of the rhythm section, enthusiastically switching from castenets to woodblocks(?) and finally as if he could not resist them, jumping on a series of conch shells, which he played with latin rhythms, accenting on offbeats, pushing the rhythm ahead on this driving tune—the conch shells are straight from Mother Nature—and finally playing two at a time, showing off his horn player’s lungs with a beautiful tone. The pianist Mr. Davis played a good solo, that flowed inside the tune, and later comped with latin rhythms. Mr. Jones, the drummer, took a solo on this tune also, playing with musicality, control, and expressing happiness on his drum set, which “Sunlight” deserved. The theme was repeated with several comments by Mr. Turre on his beloved conch shells, to the delight of the audience.
Robin Eubanks leaving stage after set while Steve Turre talks to an audience member at Dizzy's 4
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Trombonists in the Trombone World
“HOW- TO� Vocalists: How to Start Learning Licks By L. Hamanaka
If you are reading this article and you are a singer, you probably know a few jazz tunes and standards by now. A jazz singer has to develop their ear a little more than the average singer, because the average singer is copying what they hear, without necessarily knowing what it is, or reading it off a leadsheet. A jazz singer recreates things and uses their ear to imagine it. So we are going to ask you to stretch your musical muscles and pick up a little more weight if you want the good stuff, which is scatting or at least adding to your styling bank. We are going to ask you to build up the tools in your memory bank to do this without hesitation, with The Jazz Culture, V. II:4
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confidence and joy. When you learn songs, you should pay attention to beginning phrases, like the “Star Spangled Banner.” That begins with a major triad going down, and goes up the major arpeggio, which you can think of as the skeleton of the major scale. When you sing a melody, you should know what degree of the scale (of the key you are in) you are on, especially the pivot notes of phrases, for example, the beginning, ending notes or other important parts of the melody. For example, “Star Eyes” starts on the second degree of the major scale and goes to the root or tonic of that scale. Therefore, any song whether it starts in major, minor or dominant, if you want to start on the second degree of that scale, you can think of “Star Eyes” and you can sing the second degree. This may sound too mechanical, but there will come a time when you want to know that. A. Learn the major scale B. Learn intervals C. Listen to certain songs and memorize licks from those songs. D. Work on simple rhythms Equipment: 1. To do this, please buy a music notebook with staves on it. It costs about $5. Then date every entry, so it becomes cumulative and you can test yourself. 2. Please get access to either a keyboard, guitar, melodica (about $35 with tax), or even a guitar tuner ($20). Do you know any solfeggio? If so, good, because it will be so much easier for you. Recommended solfeggio book: Eslava, put out by Schirmer’s ($11). There are also online free ear training and theory programs that have exercises and tests, just for fun. 3. A Cd player or computer. Most computers have drives you can put music in and programs like Windows Media Player to play it. Time: Please carve out half an hour at least 3 times a week where you can work on this; it is best to do it every day, but sometimes that is not possible. Music is a language and it depends on repetition. Calm and lack of distraction is good for atmosphere and to focus. Remember Rome wasn’t built in a day. Be patient 6
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with yourself and be prepared to have fun. A. Learn the major scale. If you know the major scale already skip the next two paragraphs. If you are not a music student or you have not played an instrument, you might not know that the major scale is built on interval patterns: whole step, whole step, half step, whole step, whole step, whole step, half step. If you have access to a keyboard, just look to the left of two black notes. The note that is to the left of the two black notes on the keyboard is C. Go up the white notes on the keyboard. The next white note is D. That is a whole step. Now build your way up on the piano, guitar, or whatever fixed pitch instrument you have from C to D, D to E, E to F, F to G, G to A, A to B, B to C. That is the C major scale (C-D-E-F-G-A-B-C). The major scale pattern can start on any note. The solfeggio syllables for the scale are: dore-mi-fa-sol-la-si (or ti)-do. Now go down the major scale. Try to sing this until you memorize it. B. Learn Intervals: Intervals are identified by their number relationship. If you look at a piano keyboard, every ascending note – black or white-is a half step up. Here are other intervals within one octave, from the beginning to the end of one major scale, or the chromatic scale. If you memorize them you can use them as your “music bank” when you see an interval on a leadsheet or are trying to think of a lick or motif. You can play a game with a friend and test eachother. a. The first half note is called a Minor 2nd-you can find a minor second going up in “What’s New.” You can find a minor 2nd going down in “Stella by Starlight.” b. A major second or whole step up is found in “The Last Time I Saw Paris.” A major second or whole step down is “Three Blind Mice.” c. A minor 3rd up is “Alone Together.” A minor 3rd down is “The Star Bangled Banner” d. A major 3rd up is The Jazz Culture, V. II:3
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e. A perfect 4th up is “Here Comes the Bride.” f. A perfect 4th down is “Born Free.” g. A Flat or diminished 5th up is “Maria.” h. A Flat or diminished 5th down is in “Mad About the Boy.” i. A perfect 5th up is “Favorite Things.” j. A perfect 5th down is “Just the Way You Look Tonight.” k. A minor 6th up is “A Day in the Life of a Fool.” l. A minor 6th down is “Please Don’t Talk About Me when I’m Gone.” m. A major 6th up is “A Train.” n. A major 6th down is “Mean to Me.” o. A minor 7th up is “Somewhere.” p. A minor 7th down is “Watermelon Man.” q. A major 7th up is “Bali Hai” 1st to 3rd pitch. r. A major 7th down is “I Love You.” s. An octave is “Somewhere Over the Rainbow.” t. An octave down is “Willow Weep for Me.” u. Unison (the same pitch) is “Night and Day.” C. Learn licks in certain songs. Learn all the blues melodies you can, and all the standards that suit your voice, or the standards that everyone else knows. Once you memorize the major scale and the intervals within the scale, by examining the song on a leadsheet you can see that most songs are built on these components. Two note phrases: You can learn all the intervals above and use them as two note phrases, depending on the chord below. For example, “Satin Doll,” opens with repetition of a major 2nd down, followed by a major 2nd up. You can also sing the same note twice (unison). Three note phrases: You can use all the intervals above, go back to the original note, and use it as a three note phrase, depending on the chord or harmony below. You can also repeat the first note and then sound the second note, or sing the first note and sing the second note twice. “My Romance” starts with a three note phrase from 3-5 on the major scale. The second phrase in “My Romance” is a three note phrase, 1-3 on the major scale. see p. 14 8
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“Thank You Uncle Edward,”
by L. Hamanaka “Perdido” at about 168=quarter note, a short instrumental intro and then Nancy Reed, a good singer with an alto voice, with drums alone, then the full band, a charming and swinging arrangement. The drummer Paul Wells is very good. Mark McGowan has an intricate and takes “Perdido” out there in bebop skies; then the tenor saxophone Virginia Mayhew, plays a melodic solo with a full and satisfying tone. Wycliffe Gordon plays a short licks in call and response mode, using triplets to move the beat ahead. Nancy Reed scats, with the full and rhythmic comping of Norman Simmons and Edward Ellington. The drummer has a short snappy solo, and gives a little “Perdido” magic. Then Ms. Reed takes the song out. “Pretty Woman” is next, bluesy with an arpeggiated bass by piano and horns in harmonic lines playing the melody. Soloists: with a pretty tone and perfect time playing a lot in his lower register, Mr. Ellington does a sexy short solo, then Norman Simmons's lyric ideas in a charming and pleasing style like a man bewitched, Joe Temperley playing bluesy on his bass clarinet and later on baritone sax, and Tom DiCarlo making a melodic contribution. “Caravan,” sung invitingly and warmly by Nancy Reed to a Latin beat by an excellent rhythm section, mute work by Wycliffe Gordon, in a sensual Ellingtonia mode, and Mr. Simmons with pianistic adventures through exotic lands, scalar lines with some chordal arpeggiations, harmonic minor rolls, with Ms. Reed taking out the melody with very good articulation and a jazzy feel. “Mainstem” with a hip repeated lick in the A section, and counter melody, then broken by bass solo deftly played by Mr. DiCarlo, and horn section in tandem, at about 175=quarter note. Mr. Wycliffe makes his points on a solo using contrasting registers The Jazz Culture, V. II:4
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with excellent articulation and big skips, melodically gifted; Ms. Mayhew jumps in with some swinging lines, and good countrapuntal ideas. Mr. McGowan phrasing with taste, takes trumpet ideas and a bebop orientation with a well constructed solo ending and a nice high note, contrasting rhythms, using some triplets to round out the chorus. Mr. Simmons answers with some whole tone ideas, and beautiful articulation, using call and response ideas throughout, and triplets to balance phrases, chording out to horns in harmony, trading 8’s with the talented drummer and finally taking out the tune. “Day Dream” by Billy Strayhorne is next, Nancy Reed featured on this bewitching ballad well suited to her lovely alto tone, done at walking tempo, with beautiful horn backgrounds at about 72=quarter note. A beautiful solo by Mr. Simmons, an under covered pianist by the press, not given his full due. “Toe Tickler” at about 200=quarter note, a good song by Ms. Mayhew with an exciting melody and good delivery on the tenor sax solo followed by dynamic solo by Wycliffe Gordon centering on high note percussively delivered, with some street toughness; Mr. McGowan navigates some passages using unidentifiable substitutes, with interesting contrasting ideas. The drummer does a short solo, then Mr. McGowan starts trading 8’s with Mr. Wells, then going down to trading 4’s, 2’s, and back up till the band restates the theme. “Isfahan” a ballad at walking tempo, with well voiced horn parts, Norman Simmons alternating the melody with them, then horns fall to background. Phrasing excellent and tasty. Trumpet solo with a rich sound falling between Kenny Dorham and Clifford, smooth delivery with no technical problems, a plaintive and moving spirit full of the love of music, well constructed. Mr. Simmons soloing with majesty appropriate to composer’s spirit, over horn background giving voice to contrasts rarely heard-an excellent arrangement, ending on horn long tones. 1 0
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“Cottontail” a chestnut sung with excellent phrasing by Ms. Reed; and whimsical horn lines, with Mr. Gordon and Ms. Mayhew at about 175=quarter note. A funny song about a cute little rabbit, suiting Mr. Gordon’s personality, he brings his joy to this, followed after a couple of choruses by Ms. Mayhew’s romp. “Moon Mist” opened by tasteful guitar solo in lovely tone by guitarist, to Joe Temperley bringing baritone grace and nostalgia with his stirring sound, the horns playing in tandem stretched over till a break. Mr. Temperley tells a romantic story reminiscing about warmer times, when people loved each other a little more and found fulfillment in that…in confident and expansive delivery. Trumpeter in his middle register finds a unique tone, and sensitively delivers the song, reminiscing about a romantic night stylistically appropriate to the genre. After an instrumental interlude, Mr. Temperley restates the theme with authority in harmony. “In a Sentimental Mood” (as a cha-cha)—nice idea. Trumpet plays theme well in lovely tone, tenor saxophone gives a good solo with rhythmic interest, reacting to rhythm section. Mr. Simmons in a bluesy mood; provocative and knowing the story behind the lyric and full pianistic value leading to engaging chording; and Mr. Gordon, using the trombone’s sliding capacity to show the grace and charm of a more sentimental era. Then the horns come back to take the song out. “Come Sunday” to an impassioned delivery by Ms. Reed, over a steady chug-chug of Mr. Ellington, a spiritual reconciliation with short solo by Mr. Temperley. See: dukeellingtonlegacy.com. Produced by: Gaye Ellington on Renma Recordings. A tribute worthy of the great Duke Ellington with excellent arrangements.
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Ira Jackson – Bebach Evolution By L. Hamanaka
Pub. Note: This is the only fusion record you will ever see in this periodical. “Autumn Leaves” (by Joseph Kosma) with cello by Peter H, theme stated by Ira Jackson, who then does a baroque improvisation on the changes. With counterpoint by Ralph Hamperian on tuba, Jon Weiss on keyboards, who does some elaborative statements. Calvin Hill on bass. Then Mr. Jackson takes song out ending on a long tone. “All the Things You Are” (by Jerome Kern) intro by Peter H on cello on the verse section, solo. Calvin Hill on bass, the keyboard stating the intro, tenor saxophone plays melody with nice elaboration and fine spirit. A skillful and lovely tenor saxophone jazz solo, with perfect time, spiritually appropriate to Bach and Jerome Kern. A baroque solo by Mr. Weiss on keyboards. Then Mr. Jackson and horn section take song out. “So In Love” (Cole Porter) a stirring cello intro by Mr. Tommy Mesa, keyboard interlude, tenor sax states romantic theme, while keyboard sprinkles baroque ideas around, and cello plays counterpoint arco. On Bridge, tenor states theme while keyboard chords to a Latin beat; then harpsichord sounding part recommences, which Mr.Jackson also plays. Then tenor saxophone over a Latin keyboard, plays a Bach-like solo, followed by a keyboard solo over the changes, playing a similarly Baroque type of improvisation. Earl May, whom we all miss, is on bass on this tune. “Tomorrow” (Charles Strouse) A cello intro by Mr. Mesa, and tenor statement of theme, kind of vertical with emphasis on 1 2
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downbeat. A repetition of theme by keyboards, in a childlike manner. James Hankin on bass, with arpeggiated piano under the theme, which is repeated several times. “Love Me or Leave Me” (by Walter Donaldson) Verse played by cello, arco, with charm and grace, tenor saxophone plays theme in a with Bach in mind. Euphonium does good solo with nice tone, kind of swinging it with the bass behind him, and keyboards sounding like a harpsichord, which can only sound vertical it seems. Harpsichord does a baroque solo, while Mr. Hankin on bass plays a jazz rhythm. Then groups takes out charming tune, which sort of lilts in a 2 feel. “My Funny Valentine” (Rodgers & Hart) kind of interesting with baroque phrasing for this chestnut, with keyboards behind the tenor, who enjoys the articulated ending of phrases. Then keyboard solo baroque by Mr. Weiss supported well by Mr. Hankins on bass. The keyboards played in this fashion lend a celestial air and lighten the minor part of the tune. “Besame Mucho” ( by Consuelo Vasquez) cello arco intro by Tommy Mesa. Followed by tenor sax, with counterpoint by Mr. Mesa in upper register of cello. Nice effect., and effectively romantic solo by Mr. Jackson, who has good phrasing and articulation. Keyboards kind of staccato, then matched by tenor, who does contrapuntal work with Mr. Weiss and Mr. Jackson adds a nice trill at the end of his solo. Cello solo (baroque style) over changes follows, and then the tenor takes the song out. “Moondance” cello intro to Blue Moon-then changes of Moondance start. Tenor states melody, and then. “BEBACH” baroque theme stated with a lot of triplets by Mr. Jackson, and some cadences with keyboard and bass, ending on a jazzy note, and then swinging the theme. Then the song is played over a baroque rhythm, then trading with the bass, with a jazzy The Jazz Culture, V. II:4
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ending phrase; the cello then solos. So the idea is sort of reversed in a mirror-like fashion; a baroque type song is done in a jazz style, whereas before on the recording, the jazz tunes were done in a baroque fashion. Classical players have been improvising again since the mid 20th century, and some musicians and singers have done classical music in a jazz style, for example, the “Swingle Singers” from the 1960’s who sang Bach. A provocative statement that will generate a lot of controversy for both Bach and bebop lovers-for here the twain meet. I ra J a cks on
Kiani Zawadi on Euphonium,, Ralph Hamperian tuba, Ira Jackson, Tenor Saxophone, Jon Weiss, keyboards, Earl May on 3 and 7, Calvin Hill on 1 &2, James Hankin on 4,5,6,8 and 9; Peter H cello on 1 & 2, Tommy Mesa cello on 3,4,5,6,7, &8. See: Irajacksonmusic.com
Triads (major) “My Foolish Heart” has major triad notes 3-5;(minor) then “My Foolish Heart” in the 3rd measure (the space between bar lines) has a minor triad. Arpeggios (major) “Airmail Special” opens with an ascending major arpeggio. “Ask Me Now,” opens with a descending major arpeggio. (minor) “Whisper Not” has an ascending minor arpeggio on the words on the second section, “why did we listen” and a descending minor arpeggio following on the words “said it wouldn’t”…. Four note phrases Chords (Major)”I Love You Porgy,” ”I Can’t Get Started” (Minor) “I Love You Porgy,” on the words, “Don’t let him hand…” or “If you can keep” (dominant 7th)”Breezin” There is also a minor chord in “April in Paris,” on the words, “under the trees.” You can learn the above parts of your musical vocabulary through songs and by practicing them in every key on the keyboard or any instrument you can play or pick things out on. Rhythm: On written music, most jazz is in 4/4, that is four from p.8
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1 4
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beats to a measure (the space between bar lines) and four quarter notes to a measure. Start learning to count to 4 at different tempos. Say, count along with a song in a medium tempo from a cd you have. Then pick a faster tempo. Try to identify “1” in your counting. After you can count along with the tempo of even fast songs, try subdividing the beat into 8th notes, saying “1 +, 2+, 3+ 4+” for each measure. This subdivision is basic to all good performers. They can all feel subdivisions of the beat, and usually hear 16th note subdivisions (“1-e- +-a- 2-e-+-a”…). BARRY HARRIS JAZZ WORKSHOP IN ROME Mon 23 to Fri 27 Sept 2013 Felt Music Club & School via degli Ausoni 84, Rome BARRY HARRIS (www.barryharris.com) BARRY HARRIS IS ONE OF THE WORLD’S MOST RESPECTED JAZZ PIANO PLAYERS AND TEACHERS, CONSIDERED BY MANY TO BE THE FOREMOST INTERPRETER OF THE MUSIC OF BUD POWELL, TADD DAMERON AND THELONIOUS MONK. FOR MORE THAN HALF A CENTURY, HARRIS HAS PLAYED WITH THE GIANTS OF JAZZ INCLUDING DIZZY GILLESPIE, MILES DAVIS, DEXTER GORDON, CANNONBAL ADDERLEY AND COLEMAN HAWKINS, TRAVELLING THE WORLD OVER AS AN AMBASSADOR OF JAZZ INFO AND REGISTRATION:ASS. CULT. ROMA JAZZ WORKSHOP annapantuso@hotmail.com +39 339 3383139 lucianofabris@hotmail.com +39 328 6748724
FIVE DAYS MASTERCLASS FOR ALL MUSICIANS/SINGERS Schedule: Piano and guitar 11:00 – 13:00 Singers 14:30 – 16:30 Horns & General Workshop 16:30 – 18:30 On Friday 27 classes last 1 hour and a half. Fees: 160 € for the entire week /40 € for daily seminar Accomodation: b and b and private apartments for rent BARRY HARRIS TRIO CONCERT FRIDAY 27 SEPTEMBER 9:30 pm Felt club/Admission: 15 € Monday to Thursday every night JAM SESSION The Jazz Culture, V. II:4
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Errata: The pianist at Joe Magnarelli’s cd party was Anthony Wonsey, and the name of the cd is
“Live at Small’s.”
HAPPY BIRTHDAY!! Jimmy Wormworth, Tadataka Unno & Ray Blue
August Listings August: Joe Magnarelli: Italy tour August 1: Jim Malloy, Swing 46, 9:30 p.m. August 2: Ray Blue‐SOB’s August 3: Kenney Gates, pianist. Philadelphia, every Tuesday, Sunday and some Saturdays at the High Note Cafe on Tasker & 13th, 5‐9 p.m. August 4: Ray Blue‐Cross‐Cultural Connections in Peekskill Kenney Gates, pianist. Philadelphia, every Tuesday, Sunday and some Saturdays at the High Note Cafe on Tasker & 13th, 5‐9 1 6
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p.m. August 5: John Mosca & Michael Weiss with the Vanguard Orchestra at Village Vanguard August 6: Kenney Gates, pianist. Philadelphia, every Tuesday, Sunday and some Saturdays at the High Note Cafe on Tasker & 13th, 5‐9 p.m. George Gee Orchestra at Swing 46, (346 W. 46 Street bet. 8th/9th Ave.) Tuesday 9:30‐free dance lesson beforehand. August 8: Ray Blue, Division Street Grill, Peekskill Lafayette Harris, Waterford, CT, Harkness Park, 6 p.m. Jim Malloy, Swing 46, 9:30 p.m. (see address below) August 9: George Gee Orchestra at Swing 46, (46 Street between 8th and 9th Avenues) every Tuesday and some Fridays at 9:30‐ free dance lesson beforehand. Ray Blue The Division Street Grill in Peekskill, N.Y.. August 10: Kenney Gates, pianist. Philadelphia, every Tuesday, Sunday and some Saturdays at the High Note Cafe on Tasker & 13th, 5‐9 p.m. Lafayette Harris, Woodstock, Kleinhart Art Gallery 8 p.m. August 11: Lafayette Harris, Mt. Vernon Community Church, 10 a.m. August 12: John Mosca & Michael Weiss with the Vanguard Orchestra at Village Vanguard August 13: Kenney Gates, pianist. Philadelphia, every Tuesday, Sunday and some Saturdays at the High Note Cafe on Tasker & 13th, 5‐9 p.m. August 15: Jim Malloy, Swing 46, 9:30 p.m. August 16: George Gee Orchestra at Swing 46, (46 Street between 8th and 9th Avenues) every Tuesday and some Fridays at 9:30‐free dance lesson beforehand. August 17: Ray Blue’s Birthday party at Showman’s, 125th Street August 18: Kenney Gates, pianist. Philadelphia, every Tuesday, Sunday and some Saturdays at the High Note Cafe on Tasker & 13th, 5‐9 p.m. August 19: John Mosca & Michael Weiss with the Vanguard Orchestra at Village Vanguard 7: 30
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August 20: Kenney Gates, pianist. Philadelphia, every Tuesday, Sunday and some Saturdays at the High Note Cafe on Tasker & 13th, 5‐9 p.m August 22: Lafayette Harris, Birdland, NYC 6 p.m. Jim Malloy, Swing 46, 9:30 p.m. (See address below) August 23: George Gee Orchestra at Swing 46, (46 Street between 8th and 9th Avenues) every Tuesday and some Fridays at 9:30‐free dance lesson beforehand. August 24: Kenney Gates, pianist. Philadelphia, every Tuesday, Sunday and some Saturdays at the High Note Cafe on Tasker & 13th, 5‐9 p.m. August 25: Kenney Gates, pianist. Philadelphia, every Tuesday, Sunday and some Saturdays at the High Note Cafe on Tasker & 13th, 5‐9 p.m. Lafayette Harris, Smalls, NYC, 7:30 p.m. August 26: John Mosca & Michael Weiss with the Vanguard Orchestra at Village Vanguard August 27: Kenney Gates, pianist. Philadelphia, every Tuesday, Sunday and some Saturdays at the High Note Cafe on Tasker & 13th, 5‐9 p.m August 29: Jim Malloy, Swing 46, 9:30 p.m. (address below) August 30: George Gee Orchestra at Swing 46, (346 St. 8th & 9th Ave)(212) 262‐9554 check‐some Fridays at 9:30‐free dance lesson beforehand. August 31: Michael Weiss Quintet Detroit Jazz Festival Kenney Gates, pianist. Philadelphia, every Tuesday, Sunday and some Saturdays at the High Note Cafe on Tasker & 13th, 5‐9 p.m. The Jazz Culture Newsletter has grown to be read in 44 countries. The mission of The Jazz Culture Newsletter is to draw the jazz world community together. Subscribe free on Home Page. info@thejazzculture.com Lionelle Hamanaka, Publisher 1 8
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