Julya by Lionelle Hamanaka

The JAZZ CULTURE

Michael Weiss Quartet at Fat Cat with Wayne Escoffery, Ugonna Okegwo, and Joe Strasser

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The Michael Weiss Quartet by L. Hamanaka

Caught the Michael Weiss Quartet at Fat Cat on Friday, June 28, 2013, with Wayne Escoffery, tenor saxophone, Ugonne Okegwo, bass, and Joe Strasser, drums. This writer came in toward the end of the set and the first song heard was "Naima," with about 68=quarter note. Mr. Weiss played the theme with a splendid, sonorous tone and soloed melodically, Mr. Okegwo played his bass pulsating intensely like a heartbeat, and Mr. Strasser provided tasteful support. After the piano solo, Mr. Escoffery enters with a stream of 8th notes; then starts bellowing with tenor runs. He has a good full tone, and played mostly mezzo forte.Mr. Okegwo had a lot to say about modern womanhood in his solo, as if questing after and leaving evidence of their footprints. The saxophone carried the melody out, to the enjoyment of an enthusiastic crowd. The group next played â&#x20AC;&#x153;Locomotionâ&#x20AC;? an exuberantly beautiful song by John Coltrane, an AABA form that has the blues as the A section, and an 8 bar B section, played at about 300=quarter note. A fast drum intro set the pace, and the music exploded, like a torrent from a storm that had to find an outlet. The theme repeated a three note motif. The pianist captured the spirit of the song creating pretty variations in his solo. Mr. Weiss plays phrases that arc horizontally and creates his own evocative interpretation of Coltrane in lieu of the vertical ski slope mode. This despite a breakneck tempo. A long sax solo played with energy, mostly 8th notes, later breaking into shorter riffs. 2

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HAPPY BIRTHDAY DWAYNE CLEMONS!

“El Camino” was next, a notable tune that Mr. Weiss composed and arranged that shows a gift for architecture, from his cd “Soul Journey.” A modern jazz composer who writes melodies you can hum after a few listens, what some musicians call “a catchy tune,” El Camino” captures part of Michael Weiss's distinctive voice as a composer. A positive song, flooded with the delight of discovery, a spare and powerful melody, and rhythmically accented sections that brought surprise and individuality. Within that format, the pianist played with abandon and joyfully, as if on a jazzy adventure exploring new territory with sprints of melodic arcs, fervently supported by Strasser and Ugonna Okegwo. Mr. Escoffery found a lot to say, joining the positive spirit of the band, using a lot of triplets, then doubling to 16th note, short runs, with some bleating, climbing to high long tones to end his solo. With clipped tones, the color similar to Pettiford, Okegwo played interesting lines that formed an intricate interplay with the drummer, Joe Strasser, using the rhythms of the song, at about 132=quarter note. Mr. Strasser and Mr. Weiss maintained eye contact during the rhythmic patterns that shaped the theme of “El Camino.” El Camino means the road in Spanish, and the title of the cd is “Soul Journey,” and this song expresses the delight of being on that road. “Power Station” followed, at about 106=quarter note, with a The Jazz Culture, VII:3

Different views ofthe Michael Weiss Quartet at the Fat Cat, from the sound engineer's cove. Engineers have improved the sound a lot, and the bright Japanese paper lanterns add a little atmosphere to the music lovers section.

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bluesy rubato intro by Mr. Weiss, with perfect phrasing for the blues, a series of two note licks, and a six note shout; followed by a break for a bass solo, a sonorous comment captured within 8th note lines, breaking into syncopated releases that gathered in intensity using the deeply felt accents of the theme. The sax played angular lines, painting alienation, and the “hum-drumness” of modern life; the drummer maintaining a full bodied texture and balancing the group well. The sax went into bleating calls and bellows, mostly in 8th notes, and sometimes using Coltrane flavored running lines. Michael Weiss then went back to succinct phrases, mostly the blues scale combined with post bop and progressive ideas, executed with fine technique, using his own full array of tonal colors, then breaking into melodies and playing off the drummer, using two and three note licks to answer the drummer, who was holding melodic and rhythmic accents together well. Luckily, Mr. Weiss has grasped the concepts and styles of different eras and evolved his own sound, not as if he is “doing something modal here,” and “some bebop line there,” etc. On “Orient Express” opened in cut time, and the rhythm later went to about 252=quarter note. The song started with a shotgun by the drummer. The Orient Express train routes varied, sometimes connecting continents and were known for luxury and intrigue. Mr. Weiss had a brilliant attack, along with the rhythms sustained by the bass and drums, and played nimbly and spiritedly, doing some pretty chording on high energy accented beats. Mr. Strasser has his own palette of colors as a drummer, kind of silver and metallic toned, with a modern feel, precise and aggressively urban. Mr. Strasser did nice combinations with the sticks; he has good dynamic range and can go from featherlight to forte, hushing softly to let the band back in. A pretty modern melody that sounds based on the call and response concept, with carefully orchestrated phrasing keeping alive the dramatic interest of the song. Altogether, a group that served the composer’s vision. A composer who is interested in the myths, motors, archetypes, The Jazz Culture, VII:3

vistas, framework and spiritual paths that underlie our existence, Mr. Weiss has, for example, written songs with titles like, “Mandala,” the symbol in Hinduism and Buddhism for the “Universe;” “Atlantis” is a mythical island that is an allegory for lost advanced civilizations, “Power Station” is perhaps the center or engine that runs things, “Soul Journey” is the inner path that all of us travel on. According to Mr. Weiss, he takes his inspiration of "blending classical and jazz influences from Wayne Shorter, who so completely demonstrates how to go far beyond the standard song form and revel in the smallest details." Various other jazz composers have evolved different composing sounds and were influenced by both commercial and artistic considerations: Ellington wrote melodies that were set to words because for one thing, in his day, singers were employed in big band settings. Some composer-arrangers like Ron McClure love writing for quintets. Bud Powell and Elmo Hope's composition styles were influenced by Bach, and Barry Harris, by Chopin. As a jazz composer Mr. Weiss speaks with an original voice and he has created lasting frames for his pieces. Some of his songs sound like they could be orchestrated for orchestras, either classical or jazz. Arguably, any music that reaches a universal standard of excellence and endures is classical. We look forward to hearing more of Michael Weiss’s music. ***

Joe Strasser on drums, left. Mr. Weiss at St. Peter's earlier in the year, on the right.

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PHILADELPHIA SCENE & INTERVIEW WITH KENNEY GATES Pub. Note: Kenney Gates, one of Philadelphia’s leading jazz musicians, and a burning artist whose work resonates with truth, was born in Brooklyn. He moved to Philadelphia in Kenney Gates, pianist 1989. His mother was a dancer, a jazz dancer, doing dances like the “Bop” and “Lindy Hop” and she and her set would throw house parties and play songs by Charlie Parker and Ella Fitzgerald. His father was called the Sandman, and he danced to the jazz dance called the Sand. “They would get a little wooden box filled with sand. They would soft shoe like the brushes on drums, and they would “sand” to bebop,” Mr. Gates related. “During that era on my block, you could walk down the street and hear [a record of] Coleman Hawkins playing “Body and Soul.” When I grew up I used to peep through the windows. As a matter of fact, they had Thelonious Monk playing at a club called The Chartreuse Garden and Max Roach was playing at a place called Club 73. They used to throw dances. My father was the President of a social club called the Imperial Esquires and they used to throw some of the best dances and they would hire people like Max Roach, because that was the music of the day. My mother would go up to Harlem and enter a dance contest with the Chick Webb Band. My first real encounter with jazz was about 12. I had started taking classical piano lessons at 9, and my mother’s youngest The Jazz Culture, VII:3

brother was in the Army and when he was on leave he’d show me the jazz progressions. My Uncle Melvin had all the records and when he was in the army he taught himself to play piano. Coming from a classical background, I was very excited to hear these new chords and I continued to pursue it from there. "I met Barry Harris at a Kenny Dorham benefit. Kenny Dorham was still alive and he was on dialysis and this benefit in Brooklyn was to raise money for his medical expenses. I remember Betty Carter was there, and I had heard about Barry and listened to his records and I was hoping to meet him, he was so cool…he was the epitome of a jazz piano player to me. I went up and spoke to him and told him how much I idolized him, and he invited me to come to the Charles Colin studios where he practiced at, and that was the beginning of our relationship. I was 25 and Barry was 40. He has been a mentor, a father figure, a friend. He actually helped me through serious crises in my life and has always been there for me. He became a part of my family, met my parents. I would pick him up and he would eat Thanksgiving dinner with us. I consider him actually my father, because when my father passed on he assumed that role of helping, teaching and supporting me. He taught me about bebop and shared life skills with me that helped me through my life. When my father died, who pulls up in front of the church, Barry and the Baroness. Barry stood up the whole funeral with his hand on my shoulder, and played something beautiful.” Kenney Gates & Barry Harris reminisce about Mr. Gates' mother's cooking at a recent gig in Brooklyn 8

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JC: You are a teacher, a pianist, an arranger and a band leader. How would you describe how much time you give to each? KG: Right now, I’m at a point in my life, where I have played many different venues through the years and built a reputation and following. I have two agents that I work with, along with a number of venues that call me back. I’ve been fortunate enough to sing and play some. I always seem to be able to get gigs where I can stay for a while instead of bouncing all over the place. An opportunity to play 2-3 nights a week, steady, is very good for me. I’ve enjoyed my stint in Philadelphia, it’s a great music town. A lot of great musicians have come from Philadelphia. When a musician from out of town comes to Philadelphia, his or her name goes on the radar. “Oh there’s a new pianist in town, have you heard him yet?” You automatically become part of an extended family…like on a scale of 1-100, there might be only 100 people in this intricate circle of jazz musicians that frequently work around Philadelphia. We all know one another, have been to each other’s houses. We know each other’s families. I find it’s much more close knit with these Philadelphia musicians. I really enjoy and fit in well with these guys and it’s been a blast. I’ve been here now about 24 years, and my work is here in the surrounding area. JC: What do you think your style of piano playing is? KG: I’m a cross between bebop mixed with church, I have a strong gospel root. I love ballads, I’ve got a good feeling for swing. They nicknamed in Philadelphia, “Swingin’ Gates.” JC: Where you the places you played in NY? KG: I played with Junior Cook and Bill Hardman; I was subbing for Walter Bishop Jr. I learned a lot. I also played with Harold Cumberbatch, Lucky Thompson, Harold Vick, Al Doctor, Hal Dodson, Leroy Williams, Jon Hendricks, Cliff Barbaro, Juinie Booth, Art Blakey, Jr., Lonnie Hillyer and Bill Saxton. I had a friendship with Wynton Kelly. I would go to his house. In the Village, I played at the Surf Maid, at the Village Gate. Art Blakey The Jazz Culture, VII:3

Jr. was one of my best friends, and we were at the Gate one night and [the Jazz Messengers were there]. They had Dave Schnitter on tenor. Anyway, the piano player, Walter Davis, was late, so Art invited me up, and I played the first two tunes with the Messengers—[one of them was] “It Could Happen to You.” In Brooklyn I played at the Blue Coronet. In Harlem I played at La Famille, the Lickety Split, at Wells, at the Showplace. I went over to Walter Davis’s house. Walter had a little free thing about him, he was a little more flashy than Barry. I was playing at the Surf Maid one night, on this long 9 foot concert grand. It was a piano bar. Later I found out it [that piano] was the piano from the theatre where Lincoln got shot. I was playing with Wayne Dockery, and David Gilmore came in. Dave said, “Look if I get one of those cans that film comes in.” And he got a pair of brushes, and [then] he made that gig for over a year…It was a fantastic sound and we really had a ball. I also played that gig with Cameron Brown. A lot of people came through from time to time. Those were my Village days.” Some of the great places in Philadelphia that I’ve played are: Bob and Barbara’s, the Top Shelf, 40th Street, Nateley’s Dance Club, Chris’ Jazz House, Chris’ Café, the Clef Club of course. The Clef Club of Performing Arts, one of our first jazz cultural and performing arts theatre. I was doing the instrumental [for the ceremony] when they did the ribbon cutting, and I was one of the first teachers to be employed there. It’s a beautiful facility, a state of the art cultural center. They have rooms upstairs for practices and lessons, and downstairs they have a theatre. Bill Cosby has been very instrumental in donating pianos. When musicians pass away, they can have memorials there. It’s a great asset to the music community in Philadelphia. Even now they have a great youth program where they teach jazz on the weekends. A lot of the great jazz [new young musicians have come from there]. For example, Jaleel Shaw, the alto saxophonist, and Justin Faulkner, one of the most fantastic young drummers to come along in ten 10

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years—he’s only 21 years old and he’s a phenomenal drummer that came up through the Clef Club program; and Christian McBride, bassist. Note: The Philadelphia Jazz Tree and its branches has a place to shine: The Clef Club of Jazz and Performing Arts, that was formed by James Adams in 1966 and Local 274, a black musicians local. Thanks to the collective efforts of 400 black musicians, the Clef Club has provided a center that nurtures jazz and fine musicianship. JC: What influenced you coming to Philadelphia to work that was different than New York? KG: It wasn’t till I got to Philadelphia that I got to incorporate vocals. All the people sing, they all had a great love for the lyric. Also, they knew tons of tunes. I learned so many tunes in Philadelphia that I didn’t know when I got here. You know, they really have a great knowledge of standards. There’s thousands of tunes. JC: How did you memorize them all? KG: It was sort of a challenge, when you go to a gig or jam session, when you didn’t know a tune, you would make it your business to go home and learn it for the next time. Also I played at a restaurant called the Prime Rib, me and the great bassist Jyme Merritt played there five nights a week for five years, a duo. And we had to learn tunes because when you’re on a gig that long, that constantly, you are forced to learn new repertoire because you would get so bored playing the same tunes over and over again. All I did was go home and during the daytime I would memorize new tunes. Working with Jyme Merritt was so inspiring, it was one of the best duos I ever played. Here was a bassist-there was never a tune he did not know. All you had to do was start playing. You began to realize, who is accompanying who? I found myself accompanying him, he would weave lines that were so beautiful and gave me the opportunity to grow. I was [also] blessed to have The Jazz Culture, VII:3

many other premiere bassists like Arthur Harper. I would also use Lee Smith, who is one of Philadelphia’s finest bassists, and Charles Frambrough, Right now I’m working in a nice little Italian restaurant in South Philadelphia on 13th Street and Tasker, playing three nights a week, Friday and Sundays, sometimes Saturdays from 5-9 p.m. acoustic piano, the High Note Café. I worked with John Ore, bassist, in Brooklyn on many a gig. It was an honor to work with him. He took an hour break and when he came back, we were playing “Round Midnight,” and he jumped on the bass and played the baddest solo…Monk gave John a 15 minute solo on “Well You Needn’t.” JC: You bought his house? KG: This was his father’s house. His mother moved to NY, and when his father passed on, he inherited this house. I found some historical treasures in this house. John Ore’s mother was a classical pianist and his father was a cellist, his aunt was a classical musician as well. I found letters in the 1950’s from John Ore had written to his father when John was playing with Bud Powell. JC: In Philadelphia, could you give a background of jazz scene there? KG: You’ve got Mickey Roker, one of the greatest drummers, who’s played with everybody. Johnny Coles, great trumpet player, more of a big band contemporary sound, but he could bop too. Then you have Bobby Durham, a world renowned drummer, he played with everybody, Oscar Peterson, Ella Fitzgerald. Jyme Merritt, Tony Williams, the alto saxophonist, Charles Earland. There was a time when I was growing up, listening to jazz and on every jazz album, there was at least one player from Philadelphia. The Heath Brothers, Hen Gates, I met him before he passed on—I took Barry to his [Hen Gates’] house one day when Barry was working in Philadelphia. JC: What are the biggest clubs in Philadelphia? 12

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KG: In the last 20 years we’ve lost 10-15 major venues, I guess due to the economy. At one point when I came to Philadelphia, you could make your rounds on a Saturday afternoon, hit 5 clubs in a radius of ten blocks from one another. Now you can count the clubs on one hand. There are a lot of festivals and college dates: I played at Drexel, the University of Pennsylvania, Temple; Ogonzt Festival, the Clifford Brown Festival in Wilmington, DE, right across the water. There was the “Welcome to America” Festival in Philadelphia; and every year that have a Festival in honor of a prominent African American attorney, Cecil B. Moore. JC: Who are the people whom you like working with now? KG: My great saxophonist Pete Chavez, tenor, Joe Brown, Jr., a fine young drummer from Trenton. I have brought Patience Higgins down, and Greg Bandy, the drummer, down to Philadelphia. JC: What do you think is the importance of jazz in this country? KG: I do think that it’s one of the true contributions to the arts that this country has produced. It was truly an American contribution to the arts and I think that the country and the government should put more resources to keep this music alive, making sure that colleges are teaching it, because it’s a great vehicle of self expression and people all over the world embrace it more than we do in this country. I think this is the most critical period for jazz, it’s really suffering. The people that are playing it now are not the people who originated it and it seems like it’s losing its root. JC: Why? KG: A lot ofAfrican American kids and families don’t have the resources to buy instruments and take lessons, and also the time, and mentorship [is not being provided]. Other people have access to the time and money to buy instruments, lessons and studying. It’s also about exposure. You know what you’ve been exposed to. My wife had the BET music awards on last night. What they call music is complete, utter nonsense. Also, the social media with The Jazz Culture, VII:3

videogames and cellphones and texting—all of these things have taken over the minds of our young people. It takes just as much time and energy to text as to do music. The app [they had on BET] on an I-Phone where you could access this instrument on the phone itself, and if you touch it certain ways you can play it, and you can make musical sounds. There’s nothing more rewarding sitting down at an instrument, 2-3 hours a day until you finally become proficient and fall in love and enjoy it. They don’t do that anymore, everything is digital, artificial, computerized--no real hands-on challenge, diligently working at something. I guess they call that progress. I don’t see where it has us better off, where there is interaction between real live people, something that jazz affords us. Music we could sit down with and have a conversation and communicate with the audience. There’s an interaction going on there, it’s not isolated. Everybody can play a part. [Jazz] was a music based on life, the way people lived, the way neighborhood thrived. This is what jazz blossomed out of, the true essence of jazz is life, the way you live, and that’s something that’s being lost, the ability to interpret everyday life around you. That’s what we, that’s what I play about. JC: [The] World wide? KG: I think it brings different people together for one common purpose, to create and interact artistically. The one common thread that a lot of people from around the world can embrace in order to come together. [But when] You’re talking about 4 kids in the house with no father, and you’re talking about going out and buying a Selma-I’m just saying the opportunity is not afforded a lot of minority kids. Dexter Gordon-there’s only one Dexter. These guys had their own individual voice through their instrument. You don’t find that today. Everybody sounds alike. You can’t pick out a horn player or piano player. I don’t know how they got away from that. It’s [partly] technology; everything is not academic. Some things are 14

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life, you have to go through experiences. Some of these things [new jazz music] I wouldn’t consider jazz; and great stuff don’t grow old, man. Like Sonny Rollins said, “Jazz is spiritual, and the spirit never dies.” That’s why we’re able to draw so many things from the music we grew up on, it’s from the heart, from life, not from school. JC: I heard your Mayor talk in NY. Do you think he has had a positive role in making Philadelphia jazz friendly? KG: I would like Mayor Nutter, because you know there are a lot of venues that are in the Chamber of Commerce, and tourists look forward to hearing live music. They should make it possible for musicians to keep the night life together, entertain, and keep people spending money in restaurants and supper clubs. The money we get as musicians--Everything has gone up in the cost of living except the musicians’ salary. That in turn makes the music suffer. If you don’t have the time to get your stuff together, the club owners are making money and selling the music as part of their entertainment package, but the musicians are not benefitting. One thing I’d like to see the Mayor do is set up medical fund for artists, where all artists can receive medical treatment when they need it. We have no union, no place where we pay union dues. We need a Foundation for Jazz musicians that work in and around the Philadelphia area, that will allow us to have medical coverage. They should have an upgrade of the agreement between club owners, to at least $150 an evening. We’ve been making $100 for the last 40 years. We’ve been in the trenches and entertained the night life and tourists for years. We made this city an enjoyable place to hang out at night. I’m [glad that I’m] able to stay in the game. JC: What do you think of the future of jazz? KG: Jazz is always going to have a future because it is a spiritual music. I don’t know what it’s going to take to get some justice for this music. We haven’t gotten much help from government; I know in certain countries they support their musicians. Jazz is America’s The Jazz Culture, VII:3

true art form; the federal government needs to reach out, help us and give us some recognition. People like Barry running around to Europe, should be paid by the government to spread that knowledge and pass it on [here]. To hear Kenney Gates, google, “Open the Gates;” his cd is on CD Baby. He also plays on a cd with Connie Murray, the brother of Sonny Murray called “City Lights,” and with Art Jenkins on “Under the Sun.”

THE PHILADELPHIA JAZZ TREE

[partial list] The Philadelphia Jazz Tree [partial list] includes some ofthe following famous Jazz Artists:

Many original interviews with some of these musicians are in Jimmy Heath’s book, “I Walked with Giants.” Please note that birthdates were not always accessible. BASS: Percy Heath , Bassist, (1923-2005) formed the Heath Brothers in 1975 with his brother Jimmy; Modern Jazz Quartet in 1983; worked with Dizzy Gillespie, Miles Davis, Kenny Clarke, Cannonball Adderley, Milt Jackson and others; was a member of the Tuskegee Airmen. David Eubanks, Bassist, died very young but was known as an excellent musician. Charles Biddle, Bassist, born in Philadelphia, moved to Montreal and played there and imported many Americans to work there; was a promoter and laid groundwork for Montreal International Jazz Festival. Worked with Sadik Hakim and guitarist Nelson Symonds. Curtis Wilder, Bassist, bandleader, father of Joe Wilder. Jimmy Garrison, Bass (1934-76), born in Florida but associated with many giants from Philadelphia including John Coltrane, Philly Joe Jones, Benny Golson. Nelson Boyd, (1928-1985) Bassist born in Camden, NJ who was active in local orchestras in Philadelphia around 1945; Miles Davis 16

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named “Half Nelson” after him because of his stature; later played with Charlie Parker, Tadd Dameron, Sarah Vaughan, Dexter Gordon, Charlie Barnet, Dizzy Gillespie and others, he was on “Birth of the Cool” in 1949. Arthur Harper, Bass (1939-2004) grew up in Philadelphia, played at Ortlieb’s and Chris’ Jazz House and with Shirley Scott, Charlie Parker, JJ Johnson, Bud Powell, Mary Lou Williams and Betty Carter. A childhood friend of Mickey Roker. Tom Bryant, Bassist, (1930-1982), brother of Ray Bryant, worked with Elmer Snowden’s band, Jo Jones, Charlie Shavers, Dizzy Gillespie, Roy Eldridge, Benny Golson, Mahalia Jackson, and Coleman Hawkins. Spanky DiBrest, Bassist (1937-1973) played with Lee Morgan, Ray Draper, Art Blakey, John Coltrane, Clifford Jordan, JJ Johnson, Jackie MacLean, Mal Waldron and many others. Suggie Rhodes, Bass, played with Johnny Lynch Quintet at the Elate Club in Philadelphia in 1947, and with Ray Bryant, Johnny Coles and John Coltrane Jyme Merritt, Bassist-worked with Harold Mabern, Billy Higgins, Benny Golson, Bobby Timmons, Kenny Gates, Lee Morgan, Art Blakey, Wayne Shorter and is still active. Reggie Workman, Bassist/educator (1937), born in Philadelphia, worked with John Coltrane and Art Blakey, Gigi Gryce, Roy Haynes, Wayne Shorter, Red Garland, Yusef Lateef, Thelonious Monk, and many others. Christian McBride, bassist (1972) Studied at Clef Club; 3 time Grammy winner, recorded innumerable; worked with Freddie Hubbard, Roy Haynes, Chick Corea, Bobby Watson, James Brown and many others. COMPOSER: Benny Golson, (1929) saxophonist, composer, arranger, went to High School in Philadelphia. Composed a number of standards, such as “I Remember Clifford,” “Along Came Betty,” “Killer Joe.” Worked with Lionel Hampton, Johnny Hodges, Earl Bostic, Art Blakey and the Jazz Messengers, Dizzy Gillespie and many others. Member, International Jazz Hall of The Jazz Culture, VII:3

Fame, his songs recorded on innumerable records. DRUMS: Albert Heath, (1935) drummer/educator, founder ofThe Whole Drum Truth; worked with J.J. Johnston, Cedar Walton, Dexter Gordon, Herbie Hancock, with brothers, founded the Heath Brothers. Mickey Roker (1932) is a drummer raised in Philadelphia by his uncle Walter who gave him his first drum kit. His hero was Philly Joe Jones, and while in Philadelphia he worked with Jimmy Oliver, Jimmy Heath, Jimmy Divine, King James and Sam Reed. He then moved to NY and later played drums with the Modern Jazz Quartet. He was a favorite of Dizzy Gillespie. Mr. Roker played with Sonny Rollins, Duke Pearson, Tommy Flanagan, Ella Fitzgerald, Zoot Sims, Horace Silver, Junior Mance, Sarah Vaughan, Milt Jackson, Herbie Hancock, Phil Woods, Oscar Peterson, Ray Brown, Bucky Pizzarelli, Stanley Turrentine, Toshiko Akiyoshi, Hank Jones, Bobby Hutcherson, Joe Locke, and many other jazz greats. Butch Ballard, Drums (1918-2011) played with Louis Armstrong, Duke Ellington and Count Basie. He played with John Coltrane, Clark Terry, Fats Waller, Willie Cook, Bootsy Barnes, Harry “Sweets” Edison and many other great musicians. Philly Joe Jones, (1923-1985) born in Philadelphia, worked with the Miles Davis Quintet and with Bill Evans, created “Dameronia” worked with Clifford Brown, Kenny Burrell, Sonny Clark, Kenny Drew, Art Farmer, Dexter Gordon, Johnny Griffin, Elmo Hope, Ernie Henry, Hank Mobley, Sonny Rollins and many other greats. Charlie Rice, Drums (1920-present); a legendary mainstay of the jazz scene in Philadelphia, led the house band at Philadelphia’s 421, played with Eddie Vinson, Jimmy Heath, Red Garland, Sonny Stitt, Eddie Lockjaw Davis. Charles "Specs" Wright, Drums (1927-63) from Philadelphia, played with John Coltrane, Arnette Cobb, Dinah Washington, Jimmy Heath,trained "Tootie” Heath; had a band called “Specs Wright and His All Stars.” 18

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GUITAR: Kevin (1957) & Robin (trombonist) Eubanks. Kevin (guitarist) worked with Art Blakey, Roy Haynes, Slide Hampton and Sam Rivers, made about 15 albums as a leader, worked on Jay Leno’s TV show, and toured nationally with his own trio. He is also an educator. Pat Martino, guitarist (1944): worked with Charles Earland, Trudy Pitts, Jimmy Smith, 37 albums or cds as a leader, Downbeat, Guitarist of the Year Award, record with Willis Jackson, Jack McDuff and many others. Dennis Sandole was a virtuoso jazz guitarist, composer and educator (1913-2000) who taught John Coltrane, and many other famous jazz artists, introducing them to music of other cultures. ORGAN: Trudy Pitts, (1932-2010) organist, vocalist and pianist, replaced Shirley Scott as organist with Mr. T., worked with John Coltrane and Rhasan Roland Kirk. Shirley Scott, (1934-2002), organist, hard bop worked with Stanley Turrentine and Eddie Lockjaw Davis, Al Grey, Harold Vick; known as “Queen of the Organ,” she made over 30 albums as a leader. Jimmy Smith , (1925-2005) organist, recorded on Blue Note and Verve, made over 50 albums as a leader, worked with Lou Donaldson, Kenny Burrell, Wes Montgomery, George Benson, Lee Morgan, Jackie MacLean and many others. An NEA Jazz Master. PIANO: McCoy Tyner, Pianist (1938) born in Philadelphia, this pianist worked with John Coltrane, Benny Golson, Gary Bartz, Hubert Laws and many others; recorded on Blue Note. Kenney Gates, Pianist, originally from Brooklyn, relocated to Philadelphia in 1989, worked with Junior Cook, Bill Hardman, Jyme Merritt, Lucky Thompson, Harold Cumberbatch. Sumi Tanooka, Pianist/composer who has played with Akira Tana and Rufus Reid and recorded several records as a leader. William “C” Carney, contemporary Pianist-guitarist/singer. James Forman, Piano (Hen Gates) -Played with Jimmy Heath, Howard McGhee, James Moody, John Coltrane, Johnny Hartman, The Jazz Culture, VII:3

Dizzy Gillespie.

Charles "Dolo" Coker, Piano (1927-83) recorded four records for

Xanadu, worked as a sideman for Sonny Stitt, Lou Donaldson, Gene Ammons, Blue Mitchell, Frank Morgan, Art Pepper, born in CT, raised in Philadelphia. Jimmy Golden , Piano, Phil. Acad of Music, active in the 40’s. Johnny Acea, Piano and Trumpet, (1917-63) worked with Grant Green, Joe Newman, Zoot Sims, Dizzy Gillespie, Illinois Jacquet, James Moody, recorded with Lou Donaldson and was a sought after studio musician. Uri Caine, Piano (1956) composer and pianist, crosses over classical and jazz, also plays klezmer, and played with Don Byron and Dave Douglas. Bobby Timmons, Piano (1935-74) worked with Art Blakey’s Jazz Messengers and composed “Moanin’, ”Dat Dere”…played with Cannonball Adderly, Chet Baker, Kenny Dorham, Kenny Burrell, Lee Morgan, recorded 17 albums as a leader, 12 with Art Blakey as a sideman, and many others. Kenny Barron (Pianist, Composer and Educator) (1943) co-led Sphere and the Classical Jazz Quartet; played on innumerable records, and taught at Rutgers and now at Juilliard; an influential mainstream artist; played with Dizzy Gillespie, Stan Getz, Joe Henderson, and many other masters. Ray Bryant, Pianist, (1931-2011), Miles Davis, Sonny Rollins, Roy Eldrige Coleman Hawkins, Stan Getz, Charlie Parker, recorded with Rollins, Carmen McCrae, Betty Carter, signed by John Hammond to Columbia and by Norman Granz to Pablo. Hassan Ibn Ali, Piano, legendary figure shrouded in mystery, he recorded with Max Roach, Jimmy Merritt, formerly William Langford. Leroy Lovett, Pianist-arranger, since the 40’s, continues to play with dance bands, worked, recorded or produced Billie Holiday, Cat Anderson, Johnny Hodges, David Glasser, Al Sears. Arthur Woodson , Piano-recruited Jimmy Heath to his band in 1940’s, and took him to play in Maryland. 20

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SAXOPHONE: The Heath Brothers: Jimmy Heath , (an NEA Jazz Master) his brothers Percy Heath, Albert “Tootie” Heath, were born and raised in Philadelphia (this history is available in Jimmy Heath’s autobiography “I Walked with Giants” ); Jimmy Heath, (1926) Saxophonist, composer, educator and writer of “I Walked with Giants,” an autobiography that contains many pages of original source material of Philadelphia musicians. Formed the Heath Brothers in 1975 with his brothers, taught at Queens College for 10 years, worked with Howard McGhee, Miles Davis, Dizzy Gillespie, Kenny Burrell, Wynton Kelly, Milt Jackson, Curtis Fuller, Cedar Walton, and many other greats; recorded on more than 100 records. An NEA Jazz Master. John Coltrane, Saxophonist/composer (1926-1967) was born in North Carolina but moved to Philadelphia in 1943 and for a period of time, was active there as a freelancer. After playing in the Navy jazz band, he studied with guitarist Dennis Sandole in Philadelphia, he worked with Eddie Vinson, Dizzy Gillespie, Earl Bostic, Johnny Hodges, Miles Davis, Thelonious Monk, Cannonball Adderly, and many others; went on to record about 25 albums as a leader. Stan Getz, Saxophonist/composer (1927-91), worked with Kenny Barron, Bill Evans, J.J.Johnson, Chet Baker, Nat King Cole, Lionel Hampton, Charlie Bird, Dizzy Gillespie, and many others. Grammy for introducing bossa nova to the US. Bill Barron , Saxophonist (tenor and soprano) (1927-89), played with Cecil Taylor, Philly Joe Jones, recorded with Charles Mingus, Ted Curson, Sam Rivers and others and had seven records as a leader. Jimmy Oliver, Tenor Saxophonist and bandleader, was active from the mid to late 40’s to 2005, influenced John Coltrane, played at the Zanzibar against people like Lester Young, Coleman Hawkins, etc. and worked with Philly Joe Jones, Red Garland, Johnny Coles, Steve Davis, Charlie Rice, and recorded with Hank Jones in a tribute to Papa Jo Jones, and Dizzy Gillespie for Prestige; he soloed on “She’s Gone Again.” Grover Washington , Saxophonist (1943-99): after the army, found The Jazz Culture, VII:3

himself in Philadelphia in 1967, jazz-funk and soul-jazz, made Mister Magic, a hit record. Billy Root, Saxophonist, (1934) played with Curtis Fuller, Lee Morgan, John Coltrane, Miles Davis, Sonny Stitt, Benny Green, and many others. Danny Turner, Saxophonist (1920-1995) played tenor with Count Basie Orchestra, also with Machito, Tito Puente, and backed many singers such as Frank Sinatra, Joe Williams, Ella Fitzgerald and Sarah Vaughan. Sam Reed, Saxophonist born in Philadelphia, started on the drums and moved to saxophone, urged by Al “Tootie” Heath; played with Ted Curson, Bobby Timmons, Jimmy Garrison, Lee Morgan, Kenny Barron, worked at Pep’s Bar, Spider Kelly’s, Showboat, Club Media, the Woodbine and many others. Clarence "C" Sharpe, Saxophone, grew up in Philadelphia, worked with Jackie MacLean and Ornette Coleman, Lee Morgan, Jimmy Garrison, McCoy Tyner and Philly Joe Jones. Odean Pope, Saxophone (1938), born and raised in Philadelphia, trained with Ray Bryant, worked behind stars like James Brown, Marvin Gaye and Stevie Wonder at the Uptown Theatre. Worked with Jimmy McGriff, Max Roach and created the Saxophone Choir, with 16 records as a leader. Bootsie Barnes, Saxophonist (Tenor) from Philadelphia, played with Bill Cosby, Lee Morgan, Philly Joe Jones, Jimmy Smith, Sonny Stitt, Odeon Pope, Kenny Gates and many others. Recorded four cd’s as a leader. James "Sax" Young, Saxophonist (Tenor), played with Jimmy Heath’s big Band in Philadelphia, Ray Bryant, Johnny Coles and John Coltrane’s small group, and with the Johnny Quintet at the Elate Club in Philadelphia TROMBONE: Robin Eubanks, Trombonist (1955) is an educator and played with Slide Hampton, Sun Ra and Stevie Wonder, now plays with Dave Holland, John Scofield and Chris Potter; #1 trombonist in Downbeat. 22

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TRUMPET: Joe Wilder, Trumpeter (Colwyn, Pennsylvania) attended the Mastbaum School of Music in Philadelphia, worked on a radio show, “Parisian Tailor’s Chocolate Kiddies On the Air,” worked with Lionel Hampton, Benny Goodman, Benny Carter, Billie Holiday, the Cosby Show, Broadway musicals, studio musician, worked at the Lincoln Theatre, an NEA Jazz Master. Lee Morgan, (1938-72) trumpeter, composer, worked with John Coltrane, Art Blakey, Clifford Jordan, Benny Golson, Jackie MacLean, Dizzy Gillespie and many others; made about 30 records on Blue Note. Duane Eubanks is a trumpeter presently playing in NY. Bill Massey, Trumpet-worked and recorded on 82 albums with Matthew Gee, Gene Ammons, Sonny Stitt, and many others. Red Rodney, Trumpet (1927-94) born in Philadelphia, played with Jerry Wald, Jimmy Dorsey, Benny Goodman, Les Brown, evolved to bebop and played with Charlie Parker, Ira Sullivan, Claude Thornehill, Gene Krupa, and many others with 14 records as a leader. Calvin Todd, Trumpet, bandleader; had the most popular dance band in Philadelphia in 1944 and toured the south. Ted Curson, Trumpet (1935-2012), played with Charles Mingus, 19 albums, worked also with Archie Shepp, Sal Nistico, Spirit of Life Ensemble, Cecil Taylor, Nick Bregnola and Pepper Adams. VOICE: Ethel Waters, (1896-1977) vocalist-- working as a maid in Philadelphia, was discovered at a private party on Juniper Street at the age of 17; Nina Simone, (1933-2003) who played in Philadelphia, originally wanted to become a concert pianist. However she became a unique and idolized singer pianist instead, and got her first gigs in Philadelphia. Rachelle Ferrelle, (1964) vocalist, violinist and pianist, born in Berwyn, Pennsylvania, and worked in Philadelphia, R&B pop, soul and contemporary jazz; sang back up for 15 years; and recorded First Instrument in Japan in 1990. The Jazz Culture, VII:3

July Listings Steady gigs: Kenney Gates, pianist. Philadelphia, every Tuesday, Sunday and some Saturdays at the High Note Cafe on Tasker & 13th, 5‐9 p.m. July 1‐7 Ray Blue Sweden July 4‐6 Kim Clarke National Women’s Music Festival Wisconsin July 8, Ray Blue Jules Bistro 8.p.m., 65 St. Mark’s Place/Ray Blue Duo, Division Street Grill, 7:30 Peekskill, NY July 8 Kim Clarke Local 802 July 13 Ray Blue New Rochelle Jazz Festival, Ray Blue Quartet July 13 Kim Clarke Club A Steakhouse 240 East 58 Street 7‐11 p.m. July 19‐20 Joe Magnarelli ‐‐ Smalls, cd release gig “Live at Small’s July 20 Ray Blue Showman’s, 125th Street July 21, Ray Blue Peekskill Presbyterian Church Jazz Vespers July 22, Ray Blue Jules Bistro,65 St. Mark’s Place July 22, Kim Clarke Local 802 jam session 7 p.m. 422 West 48 Street July 23, Ray Blue Garage July 29, Ray Blue Jules Bistro July 29 Joe Magnarelli 92 Street YMCA (tribute to Harold Arlen) July 30, Ray Blue Bahai Center, John Birks Gillespie Auditorium

Jazz Rome Workshop Contact anna pantuso +39-339 33831 39 annapantuso@hotmail.com luciano fabris +39-328 6748724 lucianofabris@hotmail.com Barry Harris: Piano, Improvisation and Vocals September 23‐27, 2013

Job Opening: Advertising Director for The Jazz Culture Newsletter.Commission basis, 50%. Please email resume to: info@thejazzculture.com

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