The JAZZ CULTURE
Freddy Cole, Singer-Pianist, at St. Peter's Church & Birdland (below)
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REVIEW
FREDDY COLE QUARTET by L. Hamanaka Caught the Freddy Cole Quartet at Birdland December 22, with Freddy Cole, singer-pianist, Elias Bailey, bass, Randy Napolean, guitar and Curtis Boyd, drums, striking a positive note for the holidays. Mr. Cole started out alone, rubato, on “This is All I Ask,” (Gordon Jenkins) at about 68=quarter note, in his unique and unmistakable baritone, speech-singing, with just the right balance between real tone, speech and chording at a walking pace; the song segued to stop time. Next was “I See Your Face Before Me,” (Dietz/Schwartz) at about 140=quarter note using the middle lower register of the piano with elegant voicings, amply supported by the rhythm section. Randy Napolean was rhythmically secure on his guitar solo, using scalar lines followed by some bluesy opinions, leading to a prancing piano solo, with fine articulation and phrasing from Mr. Cole. Then the rhythm section played a chordal interlude on top of the beat with the drummer playing a 16 bar solo, when Mr. Cole re-entered taking the song out, giving a call and response chordal obbligato under his vocals. “What Does It Take to Make You Take Me,” followed, a swinging version about 160=quarter note, a little known standard. The guitar did a tasty solo while the drummer hit the downbeat for eight bars, the members of the rhythm section glancing knowingly at each other as their phrasing meshed. “Funny How I Stopped Loving You,” a Nat King Cole standard, played as a ballad, playing with just enough to balance the vocal, a full baritone voice drenched with experience in life and love, very appealing to the New York audience, with the piano 2
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framing the voice and a guitar solo for half a chorus.
Review 1‐5 The Why of Good Nutrition by P. Moreo 6‐8 How To Be A Jazz Trumpeter Part II by Mark McGowan 9‐12 2012 Review Photos 13‐16 England Event by J. Watson 17‐19 Photos from 2012 20 Is Jazz a Relic? Comments 21 Let's Link 24 info@thejazzculture.com http://theJazzCulture.com © 2012
“Brandy,” a comic song about a guy who “soaked my brain in brandy…when Brandy moved out, brandy moved in…” about the hangover of a love affair. The guitar, which had a lovely middle register tone, started to the melody and then developed some melodic invention into a well constructed solo. The bassist, who plays in a baritone range of the bass, played a solo with comic relief, romping through the changes. Mr. Cole sang the song lightly with great phrasing, showing an interesting balance between independence, with rhythmically comping that amplified the tune. Cont. on p. 4 CobiJazz's jam sessions Every Friday Night at Zeb's 6-9 p.m.
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The guitarist Mr. Napoleon then played a pretty ballad interlude. The band then launched a Holiday medley, starting in ¾ “It’s the Time of the Year When each Heart Sheds a Tear,” nicely ended on a suspension. Then the bassist played the theme of “Oh Tannebaum” doing arco very well, and phrasing in a lilting manner, followed by the piano playing the melody, a short guitar solo and ending with the bass playing arco again. This led to a swinging “Jingles” at about 138=quarter note. The quartet has a warm sound squarely in the middle register, which balances nicely with Mr. Cole’s sound. Mr. Cole then took a solo tripping merrily through in swing time and sang the theme of “Jingles” again. They then did the wonderful Jerome Kern tune, “They Didn’t Believe Me,” as a ballad (at about 96=quarter note) for which Mr. Cole stood up in a duet with the bassist, and with perfect phrasing provided a dramatic contrast to the steady walking bass, gentle chords from the guitar and feather light brushes from the drums. Mr. Cole is from the school of singers that sings the melody as the composer wrote it. For an ending, the bass walked nimbly up the scale and ended on the tonic. Mr. Coles then had another duet with Mr. Bailey on a chorus of “Can’t You Tell We Were Meant To Be Together?” Then the rest of the group joined in about 132=quarter note; the guitar, a musician who can play in the pocket, so that virtually everything sounds right, while Mr. Coles played straight quarter notes on the piano. When Mr. Coles re-entered with the theme, the rhythm section led by Mr. Boyd buoyantly trips along; they then repeated the last phrase three times, ending the tune. A 16 bar blues was next, “Nothing is Wrong with Nothin’” at about 96=quarter note, in a very assured, earthy style, Mr. Boyd using sticks, and Mr. Napoleon and Mr. Bailey running through the changes confidently, going into stop time for eight bars, 4
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repeating the last phrase with gusto and ending on a diminuendo. One of the charming things about this group is the use of dynamics, the use of soft passages, diminuendo, and the really steady and unified rhythmic licks, occurring at endings, interludes, and sections. “Where Can I Go Without You,” (Lee/Young) at about 96=quarter note, a ballad tempo, was next. Mr. Cole must have a box of rarely played beautiful standards, which he shares with the audience as if he were opening a chest of well cherished secrets. Mr. Cole, with his memorable voice, knows how to sing as if he were your best friend. Then the group played “I Love Paris,” by Cole Porter in a Latin style at about 126=quarter note, in a kind of dramatic, sweepingly romantic style. Mr. Cole played a kind of rambling, solo close to the melody with sexy voicings that had just enough seconds and clusters to sound modern and intriguing. He then used leading tones to slow the tempo and sing an original verse. “…Each little bench is amazingly French/now that I’m here with you…” in his deep tones, with the bass covering the bottom register, and the bass and piano chording in synch in rhythmic patterns, reversing the usual tempo order, (slow for the verse and taking it faster for the chorus), then going back to a Latin beat, to very charming effect. The group lifted up and lightened the mood of the audience in a romantic glow, Mr. Cole being the very soul of a perennial, ending with the entire group playing the same rhythmic pattern. Mr. Cole then mentioned that he would do a song from his latest cd “Talk To Me.” That song was “I was Telling Her About You,” (Dixon, Gamble, Bell) a song with ironic humor—the man is telling his love that he was just “talking to” the woman she caught him with… about her. The crowd at this point was very attentive, in the palm of his hand. The bass did a scalar solo, pretty and witty with fine articulation, and played Cont.p.13 The Jazz Culture, VI:36
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YOU ARE WHAT YOU EAT
NUTRITION & INDIVIDUAL SOLUTIONS Pub. ote: for the many Jazzers who Focus on Health To Bring Their Best to the Scene
Peter V. Moreo, Jr., C.N., R.Ph.
Peter V. Moreo is a sought after certified nutritionist and pharmacist with over 25 years experience.
Diet is different for each person. Some people should be vegetarians, some not. There is a blood type book out, “Eat Right for Your Type,� which I have found out to be about 70% viable based on my experience. To find out what blood type you are, look up your blood type. You can get a blood test, or donate blood and they will let you know. If your doctor has a record of your blood type he or she can let you know. However, this blood test is not done by your doctor automatically. You have to ask your doctor for a blood type test. For example, blood type O is not congenial to vegetarianism. Any blood Type O that I met, whether positive or negative, who became a vegetarian, eventually got sick. Blood Type O should eat green vegetables and red meat. Cow, buffalo; or fish. Any blood type can eat fish. Small saltwater fish like salmon or sardines would be good. JC: What about the other 30%? Mr. Moreo: It depends on the person. O- O’s: 6
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The first thing you should avoid are things like fried foods. Fried foods clog up arteries and cause an increased incidence of cancer, and premature aging. Fried food creates free radicals, the things that damage tissue of the body. No one should eat French fries, fried chicken, potato chips, or any vegetable that is fried. Any time you heat food in oil except for coconut oil, you convert the food to bad saturated fat. No soda. MI IMUM PROTEI PER DAY: To know the number of protein grams you need every day, look at your weight. For a person 100 pounds, divide it by 2.2 and you get the kilograms. A kilogram is weight in grams. 2.2 pounds is one kilogram. That’s the amount of protein grams you need. A man of 160 pounds needs 72.7 grams of protein per day. If you’re a woman you would multiply the kilograms you get after the above division by .8, 20% less than a man. A woman of 160 pounds, would subtract 7.27 from 72.7 grams and need 65 grams of protein per day. ORGA IC FOOD: JC: Do you recommend organic food? Mr. Moreo: Absolutely. Because there’s no pesticides or hormones in them. Food that is not organic can increase chances for cancers and suppress your immune system. Fruits that don’t have a skin will absorb pesticides quicker, like strawberries are the worst. Meat should be organic also. Milk is the same as meat. I don’t recommend drinking milk. It clogs up the cleansing mechanism of the body. Soy milk is not recommended. Recommended: rice milk, coconut milk or almond milk. GOOD FATS TO EAT: The Jazz Culture, VI:36
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Fats: Coconut oil, fish oil (oil they take out of fish), flaxseed oil. GOOD GRAI S TO EAT: Grains: Brown rice, no wheat. Wheat is no good because most people are sensitive to gluten. You can tell if you are sensitive to it, if you’re not allergic, it clogs up the body, it is like a glue. Rice bread is okay. It is better to avoid even sprouted wheat bread. In some people it causes constipation, (in others) some diarrhea; it is a problematic grain, and puts on belly fat. Part II will be in the next issue.
HOW TO EXPERT ADVICE HOW TO BE A JAZZ TRUMPET PLAYER PART II
" ow there's a brilliant cat."-- Barry Harris
by Mark McGowan
I get a lot of satisfaction from practicing the trumpet and practicing jazz. There is something to be said for Mark McGowan on the way to a finally accomplishing a task concert that has literally taken years. Confidence and ease in performance is the result of many hours of practice and dealing with failed attempts. It is easy to get discouraged, but when the skill that you have worked on for years to acquire appears and you own it, it is its own reward. When inexperienced improvisers are confronted with a faster than medium tempo, it can be very discouraging. I remember when I first made the breakthrough of being able to improvise on up 8
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tempo tunes. This took years to accomplish, and sometimes when practicing it seemed as if I was not making progress. But extensive, determined practicing of scales and listening to masters play eventually brought it to pass and up tempo is no longer an issue for me. The upper register on the trumpet was another such accomplishment. Many trumpet players give up practicing high notes because of the difficulty of mastering this phase of trumpet playing, and I actually gave up the thought that I would ever be able to achieve this skill, but one day I could do it. The accumulated experience of many years of persistent determined practicing and gigs has finally resulted in a fairly consistent high register. Many failures preceded the success. It turns out that the key to both improvising up tempo and playing trumpet in the upper register is relaxation. One must relax the mind and the body (throat, fingers, etc.) while remaining alert and flexible enough to deal with the obstacles in front of you. But the only way to develop the ability to relax at a breakneck tempo or when confronted with a lot of ledger lines is intelligent, consistent practice and a determination and belief that one can eventually succeed. Failure is part of the process. No critic can discourage a musician that knows how to play. Of course, we always need to work on our weaknesses, every musician has them, but in a sense once a skill has been mastered one is invulnerable to petty, negative or harmful criticism to a large extent. All trumpet players will be subject to negative criticism and it is important to know how to deal with it and to examine the motives of persons offering their opinion of your playing. It is good to ask for objective criticism of your playing from both professionals and amateurs. When a player receives criticism, try to rise above the purely emotional initial reaction most people have. Examine the advice and see if there is something of value The Jazz Culture, VI:36
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that has escaped your notice or that you may have previously deemphasized in your practice, but now needs more focused work. It is impossible to work on everything at the same time, which is why it is so valuable to have a log and try to evaluate your practice and playing from time to time. Successful practicing involves short term goals, preparing for gigs in the near future, and long range goals of acquiring skills that require a greater investment of time to learn. You should try to record your practices and gigs occasionally and listen to what you are doing critically, as if you were an audience member listening to someone else. Being a musician is more a craft and study in correctness than an art, that is, one masters their materials and instrument first and the art comes later. Beyond just being satisfying, accomplishing skills in music that at first seemed impossible is both powerful and liberating. One can gain the confidence to tackle other profound learning in areas other than music. Very complicated things can be learned by breaking them down into digestible parts. Absorb a little knowledge everyday. Don’t miss a day of practice. Professor Harris said, “Don’t miss a day of practicing. The day you miss, might have been the day you would have made the breakthrough.” (Breakthrough from non-knowledge to knowledge, from nonability to ability). The key to learning anything is exposure and repetition. Barry Harris once said to me when I was a very young man,“If you can master bebop, you can master anything”. Over the last 30 years, I have evolved from hearing that casually offered statement with skepticism to embracing it as a profound truth, in fact, it was the greatest concept, musical or non-musical, that he has ever taught me. It changed me completely when I accepted it enough to apply it. I read something like it again in Musashi’s Book of Five Rings years later: “If you know one thing, you know ten thousand things.” 10
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JC: How do you rate jazz as a music? MM: Art Blakey always commented in his performances that "Jazz is the highest art form on the planet". Of course, not everything with the label of jazz is good, but when excellent and inspired musicians knowledgeable of the tradition play well arranged music, I agree with Mr. Blakey’s assessment. The trumpet is a very difficult instrument to master. Again, a good teacher would be helpful to save time. The most important rule to remember about trumpet playing is: do not hurt yourself in the process of learning how to play the instrument. Do most of your practicing at a mezzo piano- to mezzo forte-volume. Control of your air flow, developing a strong embouchure, and continually improving a smooth decisive tonguing attack are the most important elements. Again, if you hear a trumpeter complaining about his chops, he is practicing and playing too loud. Don’t do it. Treat the trumpet and your chops gently. De-emphasize high notes until you develop some strength and control. If you develop scar tissue on the vibrating part of your lips, you are risking permanent injury. If that happens, you may never properly learn and enjoy playing this difficult but ultimately satisfying instrument. Practicing soft long tones is a basic tool of development. As you gradually gain control, add crescendos and decrescendos to your long-tone practice. When you are more advanced, you can add long setting (practicing a series of long tones without disturbing the mouthpiece setting) and very slow interval drills to develop control and endurance. Practice long tones with breath attacks ("Hoo") and tongue attacks ("Tu"). Again, moderation and balanced practicing is extremely important. A good general rule is to rest as much as you play during a practice session. Practicing lip slurs, trills, and glissandos is also very important to gaining strength and control of the trumpet. Approximately one-fourth to one-third of a good practice session should be devoted to these The Jazz Culture, VI:36
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types of chop-building endeavors. There are some essential method books to help the player develop their chops. Arban’s Grand Conservatory is the most used (and arguably the best) of these books. You can practice out of Arban for your entire career and always improve. A similarly excellent book is Clarke’s technical studies. Most professionals swear by Clarke’s and its emphasis on soft playing and repetition of basic elements: chromatic scales, major and minor scales and arpeggios. The final third or half of a practice session should involve the above-mentioned transcribing of solos and practicing of scales. It is important to plan and budget your practice time carefully. Keep a practice log or journal. Guard your precious practice time jealously from distractions as much as you are able. Life is short. It is also extremely important to sight-read some music every day. The great John Stubblefield once told me that, in New York, making a living as a musician is largely determined by your ability to read and interpret different styles of music at sight and without hesitation. Finally, however, you must spend some time every day learning tunes and improvising on them. If what we want to learn is to be a jazz musician, then the ultimate objective is to find our own unique style of improvising, which will fit in with the collective music making of like-minded individuals. Get out there and find some like-minded people and organize some jam sessions. Get some business cards with your name, instrument and phone number on them. Go to already-organized jam sessions, meet and network with many people. Exchange phone numbers. Talk about music. Compare notes. Take every opportunity to play in big bands and exchange phone numbers with other trumpet players. Talk trumpet with them. Don’t compete as much as learn and appreciate your colleagues. Be generous. You will discover that no one can master everything about jazz or the trumpet. 12
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Trumpeters are all specialists to some degree. The road is long, but to paraphrase a famous Chinese philosopher, "The journey of ten thousand miles starts with a single step." Persevere.
MUSICIA S WHO WROTE FOR THE JAZZ CULTURE EWSLETTER
The Jazz Culture Newsletter Thanks Contributing Writers for the past 6 months:
Clarence Banks, Cecil Bridgewater, Harold Danko, Luciano Fabris, Barry Harris, Bertha Hope, Joe Magnarelli, Adriano Mazzoletti, Mark McGowan, Kuni Mikami, Dado Moroni, Paul Pace, Rick Stone, Gloria Ware, John Watson Contributing Photographers: Brian McMillen, Richard Williams Contributing Proofreaders: Connie MacNamee, Maggie Malone Cont. from p.5 a min-cadenza-like ending. After that they
did, “Little Girl� at about 200=quarter note, fast; and Mr. Cole showed that he knew how to make an audience listen attentively to a lyric, which he put over in a gentle, swinging fashion. It is obvious that in Mr. Bailey and Mr. Napoleon, Mr. Cole has two musicians who swing and love to solo; the guitar changes the sound of his group away from the usual piano trio sound and is a nice contrast to his dark baritone. Mr. Cole traded 8’s with Mr. Boyd, who let loose in a controlled way, two seasoned pros who know exactly the effect they will have on the audience, and enjoy doing it. The song ended in a crescendo. “Come A little Closer, Stay a Little Longer� is a seduction song at about 96=quarter note, a funny song where he peered in a leering way into the audience as he says, “take your shoes off,� in a bluesy style with a back beat from the drummer, insinuating lines from the guitar and some 12/8 comping by the piano. Then he switched back to 4/4 with some comic repartee, lines like “my church is the Bedside Baptist Church,� and he has a friend who goes to “St. Mattress Cathedral.� The group ended on “Just One Look at You & I Knew It’s Going to Be a Lovely Day,� at about 160=quarter note, to a shuffle beat, while the rhythm section double timed. The crowd shouted “more, more!� and Mr. Coles said, “Thank you very much but I don’t know any more songs.� The Jazz Culture, VI:36
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He then sang a song by his friend, a Brazilian composer, “To Say Goodbye,� a beautiful lyric tune, to a bossa nova beat. After a lovely lyric solo by the guitarist, he closed the song in the style of an art song vocalist singing classic jazz. How fitting so close to Christmas to hear a perennial American artist who plays standards in a jazz style, and treats them as beautifully as world class art songs are rendered. 2012 ARTISTS FEATURED or REVIEWED In The Jazz Culture Newsletter
Upper Left, Ray Gallon, Andrea Papini, obuo Watanabe, Rick Stone Trio, Vince Benedetti, Dawn Hampton & Julie Cohen, filmmaker ofEmmy winning "The Unforgettable Hamptons"
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Some of the Artists who were reviewed in 201 2
Dena DaRose, Juini Booth, Richard Clements, Harlem Jazz & Blues,Al Foster-George Mraz band, Rossano Sportiello, Harry Allen, Bill Crowe, Louis Hayes, Larry Ridley, Jimmy Owens
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Renato DAiello, John Watson Trio, Steve Taylor Big Band, Danny Mixon Houston Person, Richard Wyands, Lisle Atkinson, Harold Mabern, George Coleman, Charles McPherson, Tom Harrell, Johnny O' eal
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ENGLAND EVENT
LO DO JAZZ FESTIVAL REVIEW by John Watson Band: Janek Gwizdala Band Venue: Pizza Express Jazz Club Soho Date: Monday 12th ovember 2012
November is an important month in the UK jazz calendar as that is John Watson when the London Jazz Photo: Max Garr Festival occurs. There are countless jazz gigs from concert halls to pubs and, of course, in London’s jazz clubs. Being spoilt for choice, I decided to head for Pizza Express Jazz Club Soho as Louie Palmer (the regular drummer with my jazz trio) was performing with virtuoso bass player Janek Gwizdala. The evening started with support band Partikel featuring Duncan Eagles on tenor sax, Max Luthert on acoustic bass and Eric Ford on drums. I was particularly impressed by their interesting use of odd time signatures and great range of dynamics. Duncan Eagles’ smooth tone blended well with the sparse drumming of Eric Ford and Max Luthert, on bass, experimented with a delay effect and harmonics during some of his solos which created a great atmospheric soundscape. The lack of a piano or guitar only seemed to add to the intimacy of their music. Their arrangement of "Body and Soul" strayed far from what one might have expected, starting in 7/4, then into a funky 4/4 breakbeat style where Duncan played staccato lines in total contrast to some of the earlier tunes. Eric moved swiftly between sticks and brushes to add to the many changes of mood and intensity. Partikel are a tight The Jazz Culture, VI:36
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band who effortlessly move from full on jamming to quiet, mesmerizing sections with sudden changes of time signature. Their obvious commitment to the music, sensitivity and musical empathy was certainly rewarded by an appreciative and packed house. After a short interval it was time for the main act of the evening; the Janek Gwizdala Band featuring Janek on electric bass, Jason Rebello on piano, Louie Palmer on drums and Duncan Eagles (once more) on sax. They opened their set with "Ersko Man." Janek explained later that he thought of the title when he was recording with drummer Peter Erskine. After a bass introduction, Louie Palmer set up a great atmosphere on cymbals and then, after the tune had reached an epic climax, he changed to brushes as Jason Rebello started his solo then back to sticks as Jason’s solo developed. Duncan Eagles performed a sensitive solo followed by Janek starting delicately in the high register of the bass then building up his solo using the full range of the instrument with melodic phrases and more virtuoistic lines. The second tune was entitled "Cashasha" and started with a staccato bass line with touches of Hi-Life but it soon turned more rocky. Jason played a funky solo gradually using richer harmonies to add to the intensity. Janek played a rhythmic solo, even managing low chordal stabs (a bit like the left hand style of a modern jazz pianist). The head returned then the band went into a coda section with a breakdown riff allowing Louie to really solo to the delight of the audience. A ballad followed entitled "There was a Time" starting with Janek playing the melody and bass line together and sometimes even adding chords too. The tune then moved into a jazz waltz chord sequence which Janek set up on a loop machine allowing him to solo and scat over the top. Duncan then joined in followed by the rest of the band. At some point, Janek appeared to discreetly drop the loop out as the band developed the tune. When they 18
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returned to the head, Duncan and Louie dropped out leaving Jason and Janek to end the tune. The next tune was "Espana" starting with the whole band clapping a rhythm. Janek then added a bass riff and Louie joined in on drums. Duncan and Jason then played a minor melody with a Spanish/Cuban flavour. During his solo, Jason used some nice contrupuntal imitation between the hands. The feel then changed as Duncan played a staccato solo over a bass pedal note. Throughout, Louie played bass 8th notes on the bass drum giving a touch of reggae to the mix and yet keeping it firmly in fusion mode for Janek's solo. After all this intensity the tune ended with a diminuendo and slight ritardando. The "Goshman" was next, starting with a 16th beat shuffle feel and a bluesy melody which was a great vehicle for Jason's solo over two chords which soon built into a McCoy Tyner kind of modal development getting further away from the original basic harmony. It was back to cool and quiet for Janek's solo with the use of a slight delay effect and some off mike scatting. He again used the loop station to set up a bass line riff. The head returned without drums and the tune ended with a fade-out. Next tune was called "Erdnase" starting with a quirky melody over galloping bass line. The band moved into a more solid feel for Jason's solo and the sophisticated chord sequence, over an energetic uptempo beat, was a great vehicle allowing all to shine in their solos. A unison rendition of the melody allowed Louie to really open out with a great solo in the coda. "Bethany" (which Janek wrote for his wife) followed. The tune consisted of a simple four chord loop and an almost country style melody. However, the simplicity allowed Janek to then open out intricately during his solo. The whole band entered over the loop with an interesting cross rhytmn pattern from Jason. Then the rest of the band dropped out, leaving Jason, at first, maintaining the The Jazz Culture, VI:36
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intensity of the 16th note feel loop but then changing to a thoughtful, colla voce treatment and extemporizing away from the original harmony. The band then came back in (a tempo) with the head and the tune ended with another amazing drum solo from Louie in the coda.The band’s encore was a tune entitled "Stern Look" (a reference, I assume, to Mike Stern who Janek has also played with). After a rocky head, Jason dropped out while Duncan and Janek traded 4' s with a gradual crescendo intensified by Louie. Suddenly they were really opening out and trading in 32nd note phrases! Jason followed with a rhythmic solo moving into a more rhapsodic style. All in all, a great finish to a night of top class musicianship, virtuoso playing and great dynamics. For more information about Janek visit: http://janekgwizdala.com. Pub. Note: John Watson is an English pianist, composer, arranger, singer and bandleader who has a steady gig at the Langham Hotel and works around England, but has toured in the States. John Watson is a “triple threat” singer, pianist and keyboardist, accompanist and long time music director of Leee John and legendary 80’s group Imagination. Through popular demand, he has recorded and released several albums. Most recently the JW3 Live at the Langham, (available for download) features his jazz trio and was recorded at the Palm Court,The Langham, London, where John is currently resident pianist and musical director. www.johnpianoman.co.uk Myspace.com/johnawatson; youtube.com/johnpianoman; twitter.com/johnpianoman;facebook.com/john watson/78494720527
LOUIS ARMSTRONG MUSEUM GALA
Photo: Dominick Totino. Jimmy Heath, George Wein, Stanley Crouch, Wynton Marsalis, Michael Cogswell, Jerry Chazen
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A JAZZ CHRISTMAS PARTY
Organizers Tracy Mann and Al rejoice as packed crowd appears for their Christmas Party, produced by Cobi Jazz at Zeb's
2012 PHOTO REVIEWS
Jazz for Kids at the Jazz Standard The Jazz Culture, VI:36
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Michael Weiss, Murray Wall, John & Joe Farnsworth, Dwayne Burros, Andrew Beals, Ms. Sedgwick, Dwayne Clemons, Charles Davis
Billy Kaye, Edward Ellington II, below, R, Ron Carter & Great Big Band; Dwayne Clemons at Smalls
Some of the Artists who were Reviewed in 201 2 Jim Malloy
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Albert "Tootie" & Jimmy Heath; Barry Harris, Leroy Williams and Ray Drummond, Patience Higgins below
Dr. Frank Foster Photo:Brian McMillen The Jazz Culture, VI:36
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Bill Mobley Big Band, Joe Magnarelli, George Gee Orchestra, Jimmy Cobb, Kenney Gates, Bill Saxton, Dado Moroni,
Happy Holiday Season & Happy New Year 2013 Subscribe Free to the Jazz Culture Newsletter:
http://thejazzculture.com. tŠ 2012, The Jazz Culture, Ltd. PO Box 20023 Park West Finance Sta, NY 10025, Tel: 646-312-7773.
Job Opening: Advertising Director for The Jazz Culture Newsletter, 50% commission basis; email: info@thejazzculture.com
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