The Jazz Culture Feature
Richard Clements, Murray Wall, Taro Okamoto, Charles Davis and Dwayne Clemons Quintet at the 11th Street Bar
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Richard Clements, Murray Wall, Taro Okamoto, Dwayne Clemons and Charles Davis by L. Hamanaka
Caught the Richard Clements (p), Murray Wall (b), Taro Okamoto (d), Charles Davis (ts) & Dwayne Clemons (t) Quintet at the 11th Street Bar or a pre-New Year’s Eve Celebration. Looks like the neighborhood bar, replete with the charm of the East Village, (and on the same block as Veniero’s), has hit the jackpot with the right combination of this authentic jazz group, its consequent in- crowd, along with tourists and neighborhood hanger-outers. It has gotten so successful that they have installed their own neon-red ATM machine, that glows against the far wall of the music room. (see photo) In a good spirit to meet the end of 2013 and the beginning of the New Year –2014—the first song they played was Sonny Rollins’ “Audubon” based on Honeysuckle Rose at about 168=quarter note, which they delivered with verve and lyricism. The horns took the melody, and Dwayne Clemons did a scalar solo leading to trumpet declamations to and from high notes, with some 2
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16th note triplets introducing In These Pages phrases and some inserted into the New Years High from middle of phrases, with good NY Quintet 1 -5 articulation. Charles Davis played Obituaries: Yuself Lateef with some substitutions and Dwayne Burno commented prettily on Jim Hall by Rick Stone arpeggiated figures on which the Jazz in Rome Ad songs are based. Murray Wall, December Birthday whose constant playing has given an edge to his lines and sound, played everything with a triplet feel. Mr. Clements’ ability to feature high notes like little gems in the middle of phrases and also insert 16th note triplets like the lace applied to dresses that accentuates curves, dressed up his solo. They then traded 8’s. Throughout the piece the group maintained a forward feel. “My Shining Hour” was next at about 200=quarter note. Charles Davis played the theme of mostly long tones with a relaxed feel. Duane performed short motifs of one measure which he later elongated to 3 measure phrases, all spirited and gay in the mood of New Year festivities. Charles Davis played close to the melody adding some whole tone extensions and long tones with vibrato and inserted the turnaround (the harmonic patch that sometimes leads from one chorus to the next) from Half Nelson. Mr. Clements started with a two note motif that then went to scalar reflections, grooving on a steady pulse provided by Mr. Okamoto and Mr. Wall. They traded 8’s with the explosive drumming of Mr. Okamoto. “Ghost of a Chance,” a walking ballad at about 76=quarter note, was next. Mr. Davis has a sweet full, and poetic sound in his upper register played the melody. Dwayne Clemons did not double the tempo on his solo but maintained an atmosphere full of romantic yearning. Mr. Clements played his solo with a marcato touch, very lovely in this instance, that became more legato in phrases that were often hooked by 16th note triplets and some half The Jazz Culture, V.II:12
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note triplet phrases. Charles Davis started his first phrase deep in the lower register running to the top note in the sky, then going to 16th notes and some whole note arpeggiations and inverted these, showing how of runs express dramatic sweeps of ATM Machine at 11 th Street Bar feeling, all the while supported by Mr. Okamoto using brushes. Mr. Davis ended in a cadenza that finished in a long tone. They followed this up with “Salute to the Band Box� by the modern musician hero Gigi Gryce briskly at about 184=quarter note. It was charmingly voiced for horns. Dwayne Clemons played clipped well attacked and resolved lines; he broke one long phrase
Barry Harris drops by with Philip; also there were John Marshall, drummers Jimmy Wormworth and Ai, and several pianists and sax players
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into two or three mini-phrases that shot up to a high note. Charles Davis wove an intricate filigree made up of seconds, lines that climbed the scales to the very top, sometimes preceding his lines with a Pianist Raf D'Lugoff triplet figure. Richard Clements played prettily on his solo, extending the lines of the song. Mr. Okamoto played a solo that seemed almost military in derivation. The “Band Box” was a short lived club on 53 Street where Lionel Hampton’s band played before it took off on a European tour. Gigi Gryce was in the band at the time. Then Barry Harris came in, and the band played “Home” (Drew Pearson, Greg Holden) in a groovy tempo about 132=quarter note. The theme was warmly played by Charles Davis. Mr. Dwayne Clemons played extensions off the melody and quoted “Four” by Miles Davis. Charles Davis played with some bent notes, expression the passion and intimacy that only home brings out in you, with a warm vibrato and light dancing feel. Richard Clements had a good feel for the song, leading off many of his riffs with triplets and following the general direction of the melodic line. While the bass and drums maintained a pretty, dancing feel behind the horns, the drummer used brushes. Murray Wall twanged some bent notes with depth and emotion in his phrases. Lastly they played “Bohemia in the Dark,” by Oscar Pettiford, at about 148=quarter note, a minor song expressing impatience for the new life to come, one phrase pealing off a high note. Charles Davis glissed from one note to another achieving the smearing effect of expressionism, intense artistic desire in a singing groove. Murray Wall played a sparse, soulful and dramatic solo. The audience broke into applause; a bunch mixing tourists, neighborhood, jazz crowd and musicians making a delightful segue from 2013 to 2014, jazz style. The Jazz Culture, V. II:12
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BARRY HARRIS JAZZ WORKSHOP FIVE DAYS MASTERCLASS FOR ALL MUSICIANS AND SINGERS From Monday 17 to Friday 21 March 2014 Felt music club & school – via degli Ausoni 84 – Rome, Italy
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, Cannonball Adderley and Coleman Hawkins, travelling the world over as an ambassador of jazz (www.barryharris.com) Schedule:
Piano and Guitars 11:00 – 13:00 Singers 14:30 – 16:30 Horns & General workshop 16:30 – 18:30 On Friday 21 classes last one hour and an half 160 €qQCostCc‐Cc15015015011 for the week/40€
Fees: for daily seminar Accomodation: b & b or private apts, from 15 € per night BARRY HARRIS TRIO FELT CLUB – CONCERT FRIDAY 21 MARCH 9:30 PM Luca Pisani,b;Oreste Soldano, d Admission: 15 €
MONDAY TO THURSDAY JAM SESSION EVERY NIGHT Info: ass. cult. roma jazz workshop anna pantuso +39-339 3383139 annapantuso@hotmail.com luciano fabris +39-328 6748724 lucianofabris@hotmail.com
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OBITUARY YUSEF LATEEF, multi-instrumentalist, composer, educator,
publisher, record company owner and writer-- passed away on December 23, 2013 at the age of 93. Clearly a musical genius, he invented and was a proponent of world music, mixing genres, instruments and elements from different cultures and was a role model for several generations. One of the leading musicians to emerge from the Detroit branch of the jazz tree. Yusef Lateef-A Grammy winning multi-instrumentalist
(tenor saxophone, flute, Oboe, bassoon, koto, shanai, shofar, and others. He was born in October, 1920 in Chattanooga, Tennessee, and at 5 years of age moved to Detroit, then moved to New York. Dr. Lateef went to U Mass, Manhattan School of Music and Wayne State University. He is known for integrating Eastern music with jazz. He started touring after graduating high school. In 1949, he worked with Dizzy Gillespie. Along with trumpeter Don Cherry, he started the concept ofWorld Music, using Chinese and other instruments. He worked with Cannonball Adderley from 1962-64. Dr. Lateef formed YAL Music (his own label) in 1992, owns FANA music, a publishing company, and has written novellas, an autobiography. He composed the African American Epic Suite, played by symphony orchestras. He taught at U Mass and Amherst, following a period in Nigeria, and initiated concept ofAutophysiopsychic music, a theory of fusing technique, theory and life experience. Yusef Lateef recorded on Impulse, Verve, Atlantic, CTI, Prestige, Savoy and Riverside. Over a 6 decade career, Yusef Lateef composed for symphony and chamber orchestras, stage bands, small ensembles (e.g., 123 duets for treble clef instruments), singers, choirs and solo pianists. His long works have been performed by the WDR (Cologne), NDR (Hamburg), Atlanta, Augusta and Detroit Symphony Orchestras, the Symphony The Jazz Culture, V. II:12
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of the New World, Eternal Wind, the GO Organic Orchestra, and the New Century Players from California Insitute of the Arts. In 1987 he won a Grammy Award for his recording of “Yusef Lateef’s Little Symphony.” Yusef Lateef combined a spiritual approach and an innocent, reverential and holistic sound with knowledge of world music, jazz and deep musicality. Comment: Ira Jackson: “Yusef Lateef was a very, very good person. I can’t remember anything bad about him. I remember hearing him with Barry Harris at the Bluebird, with Tommy Flanagan at Klein’s Showbar, Frank Gant used to work with him all the time. Imagine working a gig for three, four or five years, six nights a week. Detroit had a place called the ‘World Stage’ that had concerts every Tuesday nights. They (the professionals) used to let the young guys play after they got through – to play with a professional rhythm section, and Yusef was there for years.
“Yusef was playing at Slug’s and I asked him about his sound, he always had a great sound. He recommended two books to me, “The Psychology of Sound,” and a Sufi book… [He was playing at the Vanguard] and he bought a Mark VI in Paris. I said, ‘That’s a great horn, but I liked the King Super 20 you used to play at the Bluebird.’ His face fell. He said he had sold that horn and tried to buy it back from the guy and couldn’t. He was very nice, very protective of women, very respectful. Once Charlie Mingus threw a fork at Nica, and he got Charles Mingus so he couldn’t move… I went to a book signing of his Autobiography-they had a party somewhere-just a few years ago--Yusef went up the stairs so good.” Sonny Rollins: “He was an enormous spirit who everybody
involved in our art loved. He was a dear man who was not only a great friend to me but also a role model.” (from the Detroit Free Press in an email from Mr. Rollins) 8
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Introduction to The Detroit Jazz Tree: History – 1917-1922, Detroit had society bands that were training grounds for jazz musicians, that dated back to the Civil War, the most prominent were those led by Shook, Finney and Stone. Leroy Smith, a second generation musician whose father was a trumpet player for Finney, had a 16 piece band at the Pier Ballroom and moved to New York to work at Connie’s Inn. Paul Specht, another bandleader, worked at the Addison Hotel and had a band that recorded another the name “The Georgians.” From 1919 to 1920, the Kentucky Jazz Band led by pianist Hank Duncan, starring trombonist Jim Harrison played at the Hotel Ellwood. 19231929 Big Band Jazz – Jean Goldkette Victor Recording
Orchestra and McKinney’s Cotton Pickers were important big bands in jazz history. Saxophonist and arranger Don Redman came to Detroit to lead McKinney’s Cotton Pickers in 1927, after 3 years with the Fletcher Henderson band in New York. McKinney’s Cotton Pickers became the leading Midwest touring territory band and a national trendsetter. Jean Goldkette, also a major booker, brought McKinney’s Cotton Pickers to the Greystone and Arcadia Ballrooms, thus integrating them. Goldkette had the stars Frankie Trumbauer, Joe Venuti and Russ Morgan and later brought Bix Biederbecke to the Graystone. Three other active bands were the Chocolate Dandies, Billy Miner’s Melodians, and Earl Walton’s band. The big ballrooms gave stable and good paying jobs to musicians, most of whom played for segregated audiences. Cabarets, blind pigs, “Black and Tan” clubs. vaudeville, and restaurants also provided jobs for musicians. Goldkette broadcast on radio from the Blue Room (WCX (28) from the elite Detroit Athletic Club Hotel). The famous Casa Loma Orchestra came from Detroit in 1929 to New York under the leadership of Glen Gray. Paradise Valley in the 1930’s: This period saw the transition from big bands to smaller combos in cabarets in Paradise Valley on the East Side near St. Antoine and Adams. The Graystone The Jazz Culture, V. II:12
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Ballroom regularly used African American groups during this period. On Monday nights there were battles of the big bands at the Graystone, involving national stars like Duke Ellington and Fletcher Henderson as well as groups like Stutz Anderson Shufflers. Well known venues included The Plantation on Adams, that featured Earl Walton, Cecil Lee, Stutz Anderson, and the Chocolate Bar, featuring George Dawson, Russell Green. The Melody Club, featuring Cassell Cox, the MDL Club featured Jimmy Strong, and pianist Clarence Johnson. Bill Johnson’s band was at The Cozy Corner. The Black and Tan cabarets were mostly owned by African Americans. Club Harlem where Milt Buckner played, was one of the few owned by a Caucasian, Morris Wasserman, who later owned the Flame. Taxi-dance halls were also venues where musicians found work. The El Dorado, located on a major street, had integrated audiences in the 1930’s, sometimes led by saxophonist Johnny Trafton. Russ Morgan was a DJ on WXYZ in Detroit in the 1930’s. Also in the 1930’s a musicians’ subculture at jam sessions developed in Paradise Valley that formed the basis for bebop. Bebop Bebop started at the Bluebird when they asked pianist
Phil Hill to hire a houseband specializing in “that new music from new York,” bebop in 1948. The Bluebird had a blue exterior, and a semi circular bandstand within. It also had windows with blinds, where many aspiring musicians would come and listen as they were too young to get in. Pianist Hill hired Abe Woodly, vibes player, Art Mardigian, drummer, backing up tenor saxophonist Wardell Grey. A Tommy Flanagan Quartet worked there with Frank Foster. In the early 50’s Billy Mitchell worked there with Elvin Jones and Thad Jones. Among the national stars who played there were Charlie Parker, Sonny Rollins and Miles Davis. For years Barry Harris led the houseband there. Other famous artists included Sonny Stitt, Kenny Burrell, Yusef Lateef, Frank Gant, Charles McPherson and Donald Byrd. The Bluebird, a national breeding ground for a generation of jazz virtuosos, was owned for decades by Clarence Eddins; it has turned back into a 10
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neighborhood bar, albeit with the pianol tuned and waiting. Jazz and AfricanAmerican History:
Beginning after World War I, African Americans migrated from the south to Detroit. By the end of the 1910, blacks comprised over 15% of the Detroit population. Part of what was known as the “Great Migration” of the 20th century, one million African Americans migrated to northern citiies, from the south where they did not receive equal treatment or equal opportunities. Although during Reconstruction, there were African American Senators (2),Congressmen (23) and over 100 elected officials, there were many illicit ways southern racists used to oppress black people, such as rigged elections, voter examinations, poll taxes and property owner requirements, violence and poor educational facilities. By World War I, there was a cessation of immigration from other countries and a need for unskilled workers in the north. Northern manufacturers offered travel fare free to interested African Americans in the south. In Detroit, the African American population increased from 40,000 in 1920 to 120,000 in 1930. The migration of southern African American workers to Detroit eventually reached the rate of 3,500 a month, or over 100 people a day. Although still struggling against unequal conditions in terms of rent and poor living conditions, and the reaction of working class whites some of whom considered African Americans a threat to their jobs, most African Americans did not go back to the south. “By the, mid-1920s Detroit was the fastest growing metropolitan area and the fourth largest city in the United States" [30]. In 1925 the city was home to three thousand major manufacturing plants, thirty-seven automobile manufacturing plants, and two hundred and fifty automobile accessory manufacturing plants [31]. Factories employed over three hundred thousand people” (“Detroit and the Great Migration” by Elizabeth Anne Martin, University of Michigan Press). The Jazz Culture, V. II:12
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Long time Detroit African American residents who lived there before 1918 had left a heritage of intelligence, responsibility in the community, and prosperous success in various walks of life. Therefore, there was an attitude of hope among the people who had migrated from the south. The combination of this hope, of the struggle for freedom and equality of the united migrant population determined to “make it,” Detroit’s own history of musical tradition since the Civil War, and the practice among Detroit’s older jazz musicians of training younger musicians for free, flowered in jazz, which afforded musical, intelligent, hard working and sensitive artists and exploded in a circle of jazz artists replete with genius and virtuosity, one of the greatest centers in the country. Although the majority of the Detroit jazz tree musicians were African American, there were a number of outstanding musicians who grew up, worked and lived there who were Caucasian including Pepper Adams, Sheila Jordan, Rudy Tucich. The African American musicians had the added motivation of striving for a freer, better and more fulfilled life, with the ability through art of expressing their own humanity, intelligence and that of their people. There is no doubt that the blues come from slavery and that without the blues, jazz, America's greatest cultural gift to the world, would not exist.
OBITUARY
Dwayne Burno, a young bassist, born Philadelphia in 1970-Dec. 2013, he played frequently on the New York scene since 1990, has passed away at the age of 43. His mother was a pianist and choral director and taught him music early; he started playing the bass at 16 and he went to Berklee at 18 He played with Betty Carter, Joe Henderson, Freddie Hubbard, Wynton Marsalis, Herbie Hancock, Joe Magnarelli and many others. His death prompted spontaneous messages of grief from his fellow musicians. Friends or colleagues of Mr. Burno who wish to have their remarks published please send email to: info@thejazzculture.com
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Supplement to JIM HALL OBIT
Remembering Jim Hall By Rick Stone
Like most of us coming up in the 70s, Jim Hall was a huge influence on me. As a young guitarist in Cleveland, jazz critic/cartoonist Harvey Pekar first introduced me to Jim's album "Concierto" which I pretty much wore out. Jim's full, round, opening notes on "You'd Be So Nice to Come Home To" became the aural image for how the guitar should sound in jazz, and they still echo in my ears nearly 40 years later . Around that same time, my first music teacher in college Joe Howard had been good friends with Jim going way back to when they had a band together in high school and later both attended the Cleveland Institute of Music. I believe they were eve roommates at one point. When I moved to NYC, Joe would always ask about Jim whenever I was back for a visit and likewise Jim would ask about Joe when I saw him. The first time I heard Jim Hall play live was in 1982. He was playing duo with Ron Carter at the Village West (the same little club on Hudson Street where they had recorded the live album "Alone Together" a few years prior). I'd often heard Jim at the Village Vanguard and the room would always be packed with the best guitarists in New York (it felt like we were all his students). Jim didn't really like to teach though, and on the couple occasions I asked him about lessons, he sort of sidestepped the question. Oddly enough, Jim was one of the few players I never really transcribed, but I spent many hours listening to and analyzing his recordings for things like structure, texture and rhythms. The thoughtfulness of the arrangements on albums like "These Rooms" The Jazz Culture, V. II:12
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really sets the bar for what small group playing can (and should!) be. Instead of the stereotypical "head, solos, trade-fours, head," each tune unfolds like a story in its own unique way, revealing many dimensions of expression in a often minimalist way. Though I didn't know Jim well, we had a few memorable encounters. One was in 1991, when I had the honor to be on the same bill at the Tri-C JazzFest in Cleveland playing with a group that opened for that same duo. Another was at the International Guitar Congress at Towson State University in 2004 where Jim gave a clinic accompanied by Steve Herberman. After the clinic about a dozen of us went out for lunch and Jim picked up the tab (totally unexpected, but in retrospect, not surprising). Afterwards, I wrote to him and offered to buy lunch next time, but I guess we were all pretty busy and that never happened. The last time I saw Jim play was at the Blue Note in 2012, 30 years after the first time and once again in a duo with Ron Carter. I was unable to attend his November 2013 performance at Lincoln Center but it's nice to know that he was able to play pretty much right up to the end (something that all of us should hope for). So while I never got to take an actual lesson with Jim Hall, looking back there were so many "lessons" and I just feel fortunate to have walked on the same planet and crossed paths with him on those few occasions. He's left us with enough recordings and compositions to keep most of us busy for a lifetime. His was a life well lived!
We stand on broad shoulders!!!
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HAPPY NEW YEAR'S EVE, 2013 from The Jazz Culture Newsletter MAY YOU & YOURS PROSPER-be SAFE, FUN and PRODUCTIVE throughout the coming year. Let's make 2014 a great one for JAZZ!!! The Jazz Culture subscribers below are working New Year's Eve. Please go and hear them.
LOSTON HARRIS at BEMELMAN's BAR, the CARLYLE on 76th Street & Madison Avenue
JOE MAGNARELLI & MARION COWINGS at SMALLS on West 10th Street
PAT O'LEARY at Arturo's
KENNEY GATES High Note Cafe Philadelphia
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Happy Holidays!!! from The Jazz Culture Newsletter. Embrace the ones you love!
Please Support Jazz Culture Subscriber Lafayette Harris's Kickstarter Dec. Campaign "Bend to the Light". See Kickstarter.com
HAPPY BIRTHDAY!! December Babies Many More with Love Saxophonist Todd Bashore Bassists Cameron Brown, Bill Crow, Bob Cunningham, Joe Fonda, Paul Gill, Chris Haney, Singer Dee Cassella Trumpeter, Flugelhorn player, Composer, Arramger, Educator Jimmy Owens Pianist/ Composer Larry Vukevich
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The Jazz Culture Newsletter
Private 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 63 countries in the past year. Brian McMillen is a contributing Photographer, and Connie MacNamee and Arnold J. Smith are sometimes contributing writers." Countries: US, UK, Albania, Argentina, 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, Iraq, Ireland, Israel, Italy, Japan, Kazakhstan, Latvia, Lithuania, Luxembourg, Malaysia, Mexico, Moldova, Netherlands, New Zealand, Norway, Philippines, Poland, Portugal, Romania, Russian Federation, Serbia, Seychelles, Singapore, South Africa, South Korea, Spain, Sweden, Switzerland, Turkey, Ukraine, Uzbekistan, Venezuela,
Lionelle Hamanaka's single, "Lost Puppy Blues" is available on CD BABY for kids, with Richard Wyands, Ron McClure and Leroy Williams. see: lostpuppyblues.com
December Listings Clarence Banks, Trombone‐ Swing 46 most Thursdays with Felix and the Cats, 346 W. 46 St. Ray Blue, Dec. 15 Peekskill Presb. Church, Dec. 16 Jazz Fdn Jam, Dec. 21 & 31 Showman’s Dec. 29 Bean Runner Café Peekskill Dec. 20 Division Street Grill in Peekskill Richard Clemens‐ Pianist, 11th Street Bar most Mondays, 8 p.m. 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 Kim Clarke Dec. 23 & 30 ‐ Local 802 Jam Session Dec. 28, James brown show @ zinc
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George Gee Orchestra at Swing 46, every Tues, most Fridays 9:30 Barry Harris Birthday Dec. 15 at Grata on 59 St. & First Avenue Lafayette Harris: Dec. 15 Community Church at the Circle 10 a.m. 7 East Lincoln Avenue Mount Vernon, New York 10552 Dec. 17th Little Branch 7av South NYC Tuesday 10:30 2 sets Dec. 20th 8pm Sankofa Aban Brooklyn Brownstone www.sankofaaban.com/ Dec. 22 Community Church at the Circle Church 10 a.m.7 East Lincoln Avenue Mount Vernon, New York 10552 Dec. 24 Christmas eve concert Community Church at the Circle Church Loston Harris: Dec. 3 ‐ Bryant Park Tree Lighting ‐ 5pm Now thru Dec. 31: 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 Jim Malloy with Felix & the Cats at Swing 46 every Thursday in December‐check with club Joe Magnarelli‐New Year’s Eve at Small’s with Joe Magnarellli and Marion Cowings John Mosca & Michael Weiss, Vanguard Orchestra every Monday at the Village Vanguard 8 p.m. Bill Saxton; Every Friday and Saturday 133 Street as Swing Street. 2‐ 6 p.m. Bill’s Place Valery Ponomarev‐ Dec. 4.13 Wednesday, VPJBB a.k.a. Our Father Who Art Blakey will be appearing at the famous Zinc Bar 82 West 3rd Street Rick Stone‐ Dec.12 Rick Stone at Somethin' Jazz Club Dec.19 Rick Stone Trio at The Garage Restaurant Dec.31 Rick Stoneat the Tides Hotel (Asbury Park, NJ). Murray Wall, bassist, 11th Street Bar most Mondays, 8 p.m. Leroy Williams, drums: Minton's on Sunday 2‐6 W. 118 Street ENGLAND: John Watson Trio at the Palm Court, Langham Hotel, London, 1c Portland, Regent St. 207‐636‐1000 Fri‐Sat RUSSIA: Ray Blue Tour in Russia s
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