Dec3a by Lionelle Hamanaka

The Jazz Culture

Thanksgiving Dinner at Local 802 sponsored by The Jazz Foundation

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Volunteers, bassist Kim Clark, drummer Greg Bandy, pianist Zeke Mullins

Joe Petrucelli and singer Richard Williams chat with 2

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Harold Mabern plays with Bill Saxton

Pianist Richard Wyands chows down The Jazz Culture, V.II:12

In These Pages Happy Thanksgiving Dinner & Jam by Jazz Foundation at Local 802 Photospread 1‐5 Loston Harris Interview 6‐9 Bill's Place & Gene Ghee 11 Photos from Memorial for Carline Ray 11 December listings 13‐14 Poem by Chip White 16

Singer Melba Moore Pianist Roy Meriweather & unknown lady

Volunteers on food line include Cedar Walton's granddaughter and singer Marilyn 4

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Singer Pianist Linda Hudson and Singer Rob, Billy Kay, Robert Anderson, bassist and Bill Saxton, Tenor saxophonist

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INTERVIEW WITH SINGER PIANIST LOSTON HARRIS

Loston Harris & Quintet at Birdland for release of"Swingfully Yours" Photo by: Christian Horan with L. Hamanaka

JC: Where were you born? Loston Harris (LH): Bangkok, Thailand. JC: Are you part Thai? Loston Harris (LH): No, my father was a battalion commander during the Vietnam War. I was there until I was five and then we moved to northern Virginia. At around age 9 I got interested in the drums. I became determined to be a drummer. I had music in school. It was local drum lessons, rick and fusion, R&Bâ&#x20AC;ŚI became interested in becoming a jazz fusion drummer like Dennis Chambers, Omar Hakim, Billy Cobhamâ&#x20AC;Ś JC: Are you an only child? LH: No, I have an older sister. The Jazz Culture, V.II:12

JC: How did you parents feel about your being involved in music? LH: My parents were supportive and encouraging. Our studies in school came first, but as I improved, relatives used to comment and say things like, “He’'s pretty good at this.” I attended Virginia Commonwealth University, VCU—auditioned and got into the Music Department. Ellis Marsalis was the head of the Jazz Department and he was there for four years…I was there for the last two of his tenure. What I didn’t realize was not only was Ellis explaining to me that I knew nothing about jazz, he was the first to explain to me that I had to go back and listen to the lineage. He heard me goofing off on piano. I don’t know what I was doing, but I started playing piano in college when I met Ellis. The seed was planted. He said, “You have a natural touch. That’s what you should be playing.” I’m glad I listened to him. JC: How did you get to learning songs? LH: By listening and transcribing until I was sure that that was what it wsa and playing along with the recording. I was taking jazz arranging and theory and ear training. The basic required curriculum of a jazz major. Sight reading and singing. I stayed a percussion major [timpani, marimba, all percussion things]. JC: When did you do your first gig? LH: In high school. Maybe I was in a little band and someone called us to play at a country club. Society kind of thing. JC: When was your first jazz gig? LH: At VCU as a drummer with Russell Wilson at the Jefferson Hotel, and it was a like a Sunday lobby brunch. JC: Who has influenced you as a pianist? LH: Nat King Cole, he became sensational, Oscar Peterson, Errol Garner, Ahmad Jamal and Red Garland. [As for singers…] Sinatra, Cole…I like different singers for different reasons. Sammy Davis, Tony Bennett, the usual suspects. Johnny Hartman, 8

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Bill Henderson, Bobby Darin. JC: Did you know Bobby Short? LH: We had a friendship at the Gallery, or sometimes across the street at Café Balou, JC: How long have you been playing here? Photo by: Roberto Serrini LH: April 2002. Bobby Short passed in May, 2005. He was a mentor and a friend. JC: I thought it was amazing that you learned piano in such a short time. LH: I picked up quickly. Music chose me. Music gave me back what I put in—for every step I put in on the piano—I said “Wow! This is fun!” My growth was when I was at VCU for two years. After he (Ellis Marsalis) left, I transferred to Howard University,. Billy Taylor was Artist in Residence and taught Master Classes. Geri Allen was there full time. Here I was, from Ellis to Geri Allen. Shortly after that I got a call from Wynton and joined his band (the quintet) and toured with him for two years. Got the attention of Marcus Roberts—he asked me to go on tour with him—we did Rhapsody in Blue—at Tanglewood with Seiji Ozawa. SONY Classical recorded it. I was signed on a major label. JC: What was that? LH: N2K, Larry Rosen, David Grusen (GRP) started it. JC: Have you been abroad? LH: I’ve been to Israel. I loved it. I played at Tel Aviv and Jerusalem with Reginald Veal and Clarence Penn. JC: What other obstacles have you had to overcome? LH: Touring and finding gigs. It might appear romantic. I was The Jazz Culture, V.II:12

doing college dates in a minivan. I’ve been doing this for a lot longer… JC: How have you developed your own style? LH: If you are referring to phrasing, I have been able to use a style that works for me. My piano style…I have a percussive approach. I’m not thinking. It helps to center the other guys, helps to lock in. The singing came later. [I asked myself] How can I work it all together? I called Freddy Cole, I heard he was in Atlanta. Freddy was cool. Freddy was the one who said, “Take one of the songs you’re already playing, like “Sometimes I’m Happy.” Learn the words and develop it.” I took his advice. I don’t know how I got the nerve to do it in public. I was pretty well known as a pianist. It was a bit of a shock. Some people didn’t like it and some people do. I was able to let go and find my voice. I came p at a time when a there was a resurgence of singer pianists—Roy Hargrove, the Young Lions—Wynton Marsalis ushered us in. Columbia, Warner Brothers were signing jazz artists to their labels. Jazz had a resurgence thanks to Wynton and his emphasis on education. JC: Do you think about carving out a niche? LH: Right now, my goal is to find great songs that I can interpret in my own way, the Great American Songbook. It’s all music to me, but I have the topion to grow, because I always feel like there’s [another way I could] grow, and I’m blessed and grateful for the opportunity I’ve been given. Especially the Carlyle, where I can play for five nights. JC: Did you study voice at all? LH: Eventually I realized sitting at home ---things you need to know-breath control. If I have something I have coming up to prepare for—I have teachers I can call. JC: What about your new cd? LH: “Swingfully Yours” – I always loved Sinatra—his concept albums. “Songs for Swinging Lovers” there were no ballads on it, 10

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it was something you could tap your toes to the whole way through. The songs came about when I would perform here, I’d get a gauge of what songs people would tap their foot to. And also, if you’ve heard me for the first time—you’d get an idea that I do the Great American Songbook…This hotel is international. My residencies have worked, [to give me an international following] sometimes they say “he doesn’t tour.” People love jazz music. The Carlyle is the last hotel that understands the value of live music. It’s a blessing to me. When I was at VCU, switching [to piano] wasn’t something I envisioned. As I focused on perfecting my craft, studying, listening to a lot of recordings. I have had lean moments, where you doubt: “Am I doing the right thing?” You have to stay with it.

BILL'S PLACE RENAMES 133 STREET as "SWING STREET"

Mrs. Bill Saxton shows plaque renaming 133rd Street in Harlem as "Swing Street." Bill's Place, a club full ofofartifacts from the Harlem Renaissance, is located on 133rd Street. Student Anne Byrd looks on. Mr. Eugene Ghee, tenor saxophonist, provided the music with his combo for the celebration. Bill Saxton, The Jazz Culture, V. II:12

Drawings ofCarline Ray, Bassist, as a young woman, Photo courtesy ofRaul Robinson

HAPPY BIRTHDAY!! DECEMBER BABIES, including Barry Harris, December 1 5! watch for party announcement

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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 60 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, Brazil, Burma, Bulgaria, Canada, China, Chile, Colombia, Czech Republic, Denmark, Ecuador, Egypt, Estonia, Finland, France, Germany, Greece, Holland, Hong Kong, Hungary, India, 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, Vietnam 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, Tenor saxophonist‐ 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. George Gee Orchestra at Swing 46, (346 W. 46 Street bet. 8th/9th Ave.) Tuesdays; sm. Sat. 9:30‐free dance lesson beforehand. Barry Harris ‐ every Tuesday, 3, 10, 17. Birthday Party December 15, place TBA

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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

John Mosca & Michael Weiss, the Vanguard Orchestra at the Village Vanguard, every Monday, 2, 9, `6, 22, 29 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 (btw Thompson & Sullivan) Rick Stone‐ December 14th, Saturday The Bar Next Door at La Lanterna presents the Rick Stone Trio featuring bassist Harvie S and drummer Joe Strasser.129 MacDougal St., between W3rd & W4th. Sets at 7:30, 9:30 & 11:30pm. $12 Cover. Call (212) 529‐5945 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. ENGLAND: John Watson Trio at the Palm Court, Langham Hotel, London, 1c Portland, Regent St. 207‐636‐1000 Fri‐Sat

Clarence Banks, Rick Stone, John Watson (England)

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LEEE JOHN & HIS JAZZ QUARTET featuring JOHN WATSON Pizza Express Jazz Club Soho ‐ Tuesday 10th December 2013! John will be performing piano/keyboard/vocal with Leee John & His Jazz Quartet as they return to Pizza Express Jazz Club Soho, London. Following a successful Imagination UK John Watson, Photo: Max Carr Tour in October, this is an opportunity to see Leee and John in the intimate setting of this famous Dean Street venue performing songs from Leee's jazz album Feel My Soulplus some special arrangements of some Imagination favourites. Show time 8.30pm (doors open 7.00pm) - £25 To make a booking and for more information go to: www.pizzaexpresslive.co.uk/jaz zList.aspx?showId= 23db4ca1-3ba6-4743-b80e9c45653467b2&showDateId =6901

Pizza Express Jazz Club Soho

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Trane Poem by Chip White

It's the " Equinox " man with the tenor sound that that pulls your coat to other worlds found like " India ", " Bahia " and " Africa with Brass " the " Crescent " " Impressions " will forever last was it a freak ? I mean such spiritual technique the fact is he practiced, practiced, practiced with the Steps of a Giant his soprano sings bringing a Love that's Supreme playing all " My Favorite Things " and while " Naima " arrives sometime " After the Rain " everyday, I say Thank you, thank you, thank you Mr. John Coltrane

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