JAZZ CULTURE
The New York Jazz Project
In These Pages‐Review England Event‐J. Watson 2‐3 Singers: ABCs' 4‐5 Jazz Heritage Chris Anderson, B. Harris 6‐7 Let's Link 8 info@newyorkjazzproject.com http://newyorkjazzproject.com
REVIEW
Jimmy Cobb with John Webber at Smoke
Jimmy Cobb Sextet
Caught the Jimmy Cobb Sextet at Smoke, Sunday June 3, and with him were Mike LeDonne, piano, John Webber, bass, Vincent Herring, alto saxophone, Jeremy Pelt, trumpet, Eric Alexander, tenor saxophone, the leadoff group in a month long Miles Davis tribute. Starting with an up tempo, swinging “Four,” the horn soloists all created melodic and relevant versions of the well known standard by Miles with Mr. Cobb maintaining an astute mezzo forte. The band seemed overjoyed, a bit in awe with the opportunity to recall the magic of “the old days,” with the rhythm section under Mr. Cobb’s masterful leadership, the only living member of the original "Kind of Blue. " “Francing” was next, a blues by Miles Davis, played at a groovy tempo, Mr. Cobb signifying with his clearly recognizable sound and making the band swing with crisp assurance. Mr. Herring played a very passionate and melodic solo coloring with the blues scale extensively. Eric Alexander has a singular sound, primarily in his middle register, projecting the loneliness and Jazz Culture by !YJP Vol I:7
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alienation of modern life and sort of a sculpting effect as he carved out lines with good articulation, and just as it appeared he would avoid 16th notes, he doubled up with long lines. Mr. LeDonne took a small, two triplets phrase with call and response effect, and built a tasty solo reminiscent of Herbie Hancock, with some pretty triplet combinations, crescendoing into a 16th note passage and then some percussive chording. Webber has a nice meaty sound on bass, and did a syncopated tasteful solo. “Oleo” was played at about 350=quarter note, or a drummer’s dream tempo. Mr. Cobb’s So What band has worked around the world, probably building an audience for this event; Vincent Herring was the only one of the original band there for some reason, and was adept with the repertoire and the leader of course. On “Oleo” Mr. Herring with his distinctive tone, very bright, intense, pretty all at the same time, was assured enough to hear the slow under the fast tempo, and picked notes with rhythmic punctuation and built melodies on them. Mr. LeDonne started with double hand unison, which was fun. On this song we were able to hear Mr. Cobb let loose and develop ideas, with a flurry of dynamics ranging from piano to double forte, from fluttering stick work to a wide scope of rhythms, rising like a pyramid into a fiery well structured solo. “Someday My Prince Will Come” was nice for dynamic variety; it was soft. Jeremy Pelt played the melody, with his own sound. His mute was on and he played a pretty and charming solo. Herring was rapturous and melodic; Alexander, cool and modernistic. LeDonne sometimes played single notes per measure, developing into a long 16th note passage into a chordal segue, with the bass playing lyric descending lines, the tune ending the song on a pedal tone that faded into a soft flutter on drums. “Well You Needn’t” was very bright, Alexander comfortable with hard bop/post progressive Monkish attitude, whole tone patterns with some leaps into the upper register, and small motives rhythmic in the chromatic section with crisp attack. Mr. Herring created motifs that extended into cascading melodic lines and the chromatic section was not evident; Pelt likewise solved the p.2
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difficulty of the chromatic section seamlessly. Mr. LeDonne had a crisp solo with good attack appropriate to the Monk style. Thanks to drum master Mr. Cobb's leadership, the tribute was a smash hit.
ENGLAND EVENT
by John Watson
John Watson Photo: Max Garr
A jazz musician's life in London is probably quite similar to New York in that it is full of contrasts. One night you are playing for peanuts in a jazz club or bar (hopefully to an appreciative and demonstrative audience) and the next night you are in the lap of luxury. The Dorchester
The latter applies to my night at The Dorchester performing with a quartet featuring Alex Garnett on sax, Steve Rose on bass, Helder Pack on drums and yours truly on a grand piano (hired in for the occasion). We were booked by a rich, jazz-loving client to perform for about 100 guests in the Gold & Silver Rooms. We performed mostly straight ahead jazz numbers such as 'Killer Joe' with some Latin numbers such as "Song For My Father" to showcase Mozambique (via Portugal) drummer Helder Pack's style. It was great to work with Alex Garnett again. We recently bumped into each other at Ronnie Scott's Jazz Club (when I was performing there with Mica Paris) as Alex is a regular member of the house band; "The Ronnie Scott's All Stars". Alex became well known as a member of "Ray Gelato's Giants" (a Louis Prima style swing band) but left to pursue his own projects including his dĂŠbut album "Serpent" recorded in famous Brooklyn studio "Systems Two". Completing the line-up on bass was Steve Rose who has played with the likes Jazz Culture by !YJP Vol I:7
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of Benny Golson and Joe Lovano. This was not my regular line-up but playing with such a great collection of musicians always draws something new out of you. Mica Paris at Ronnie Scott’s, March 29-31, 2012
Ronnie Scott’s is the most well known club in London. Located on Frith Street, right in the heart of Soho,it plays host to the best of British and US blues, jazz and soul artists. The original club was opened by British modern jazz sax player Ronnie Scott, and fellow tenor player Peter King in 1959 inspired by Ronnie’s trips to 52nd Street in New York. At the end of March, I had the privilege of performing at Ronnie Scott’s as musical director (piano/keyboard/vocal) for British soul artist Mica Paris. We did five sell-out shows over three nights (one show on Thursday and two shows on Friday and Saturday). Like most jazz clubs, the layout is intimate, with some tables right in front of the musicians. Tables further away are on raised sections (to the right and left) for better viewing whilst other customers sit or stand by the bar at the back of the club. The audience was extremely receptive but I did feel sorry for the support band on Friday and Saturday (which featured Carl Orr on electric guitar) who did a set from 7:15 and 8 pm, and then had to wait until after our second show before starting their second set at 12:45! If you are planning a trip to London, Ronnie Scott’s is well worth the visit! *** John Watson is a gifted English jazz pianist who has a steady gig at The Langham, a premiere London hotel with an exquisite restaurant where for a drink or soda, you can hear the John Watson Trio every weekend. Surpassing New York, London’s hotel industry supports jazz events and groups. John Watson also serves as musical director for various singers, and has a growing discography and popularity. A graduate of the Guildhall School of Music and Drama, John Watson has performed in many different situations, from hotels to jazz clubs, from festivals to parties. These include: Four Seasons Hotel London, The Dorchester Ronnie Scott’s Jazz Club, Pizza Express Club Soho, Hammersmith Apollo, JVC Jazz Festival Paris, Grand Hotel du Cap p.4
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Ferat Music Festival and St. Regis Hotel New York. John 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;
Singers' ABCs'
by Lionelle Hamanaka
What are the differences between a singer and every other musician? The voice is in the body. That so, it figures a singer must take care of his or her body. You cannot go out and buy a Stradivarius or Steinway. You are stuck with what you’ve got. Of course, the right technique can develop every aspect of the voice including intonation. But even a virtuouso must take very good care of him or herself and not do or take anything that will keep them from performing at the top of their game. So, give your voice a chance. Diet, exercise, and sleep are ABC’s to create a good environment for your voice. Sleep comes first. No one is happy without sleep, and sometimes you can’t help not getting enough sleep. A sick child, a late night, an early morning. But in general, you must insist on getting enough sleep or your mind will get distorted and singing is as mental as it is physical. Exercise is next. You must try to walk up every day or some aerobic workout a few times a week. The minimum for adults is about 100 blocks, so it’s good investment to buy a $11-15 pedometer. Yoga, pilates, strength workouts, stretches or meditation--there are exciting choices, even on dvd's. Diet is what you are. Try to drink 8 glasses of water a day, two before each meal, and eat 4 cups of vegetables, raw if possible, as in salad. Vegetable protein can be eaten with a very small iron Jazz Culture by !YJP Vol I:7
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supplement, so you do not get anemic. Depending on your blood type, you may or may not be a natural grain eater. But if you have 8 glasses of water a day and 4 cups of vegetables, it will be hard to stuff tons of pasta, meat, and dessert in your tummy because you won’t have room, and you will have better health. The second difference between a singer and other musicians is that singers have lyrics. Try to create a nice communication with your inner self. That is the inner self you will call on to interpret lyrics and concentrate on the basics of music. If you read the lyric from beginning to end, who is singing this song? What happened to this person to make them sing this song? And what about the lyric relates to your experience. What is the outcome of the story the lyric provides? It might recall the saddest experience in your life. The story you tell should be clear to you before you perform. You have to make choices and try them out. You can't just go out and sing notes. Carve out the time to focus on the lyric; ask for some private time. Although the ideal is to sing the words as if for the first time, and react spontaneously, you will have to memorize the melody, words and harmony. Along the way you will create your story behind the words and notes. There are a million ways to phrase the rhythm alone, but if your word stress, or long tones cross into the next measure, check the harmony is not changing to a different key so you can stick with the rhythm section. Please add your thoughts on this on the Singers blog on the site.
Thalia Singers’ Jam Review by Singers
The Thalia’s Singers Jam has been going on for just over one year, on 95th Street. Though one of the newer singers’ jams, it has garnered popularity due to its warm host, D’Ambrose Boyd, and David Pearl and Rodney Harrison, at fine musicians, David Pearl, the Thalia Cafe pianist and Rodney Harrison, p.6
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drums. At Thalia’s the singers are varied, some nights mostly jazz, some Broadway or rhythm and blues. The evening starts with instrumentals, moves to an open mike with a featured singer doing several songs, and ends by including everyone who comes to sing. On Monday, June 4, 2012, trumpeter Luis Camacho played a lilting version of “Invitation” and David Pearl and Rodney Harrison played “How About You,” and a vivid “Ma Cherie Amour,” an arrangement by Mr. Harrison. For the first time in NY history, a survey was taken of ten singers who are regulars. They were asked only a few questions: 1. Wait Time: for 8 of 10, this was only 1-2 hours. 2. Quality of Musicians: 6 of 10 voted “excellent,” 4 said “good.” 3. Service: 5 of 10 said “good”, 4 of 10 said “excellent,” 1 (one) had no comment. 4. Ambience: 3 of 10 said “ok”, 1 (one) said “good,” 5 said “excellent,” 1(one) had no comment. 5. Do musicians play too many songs in front of singers: 1(one) of 10 said “yes.” 8 of 10 said “no” and 1(one) had no comment. When asked where improvements could be made, four people mentioned better soundproofing between the Café and the larger theatre next door, as they sometimes had to lower their sound, and four people asked for an acoustic piano, and also more musicians, such as bassist and guitarist.
JAZZ HERITAGE
Comments by Barry Harris
Chris Anderson at rehearsal
PART II: I think he could play a tune 2-3 times in a row and it would be different. That’s the kind of cat he was. Never did the same thing twice on a song. The way he did things, he gave me changes. I wanted to
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write an accompaniment for him. He was entirely different, [the way] he gave me changes, [an] entirely different way to use the harmony-his was more [correct] than what people play today. They think Stella starts with a 2-5. Stella starts with a diminished major 7th, that’s how it starts. He knew that. He didn’t believe in 2-5 for everything, he gave me changes that had nothing to do with 2-5. It’s really funny. I couldn’t tell you the first time I heard him. How we started with the concerts, what it was, I knew him cause he stayed at Nica’s a couple of times, he stayed here. One time he had gone to California with Billy Higgins, he played a lot and came back and wasn’t doing nothin’, had no gigs. We were friends. He called me one day and said, “I was in California and I come back here and don’t do anything.” I said, “Don’t feel like that. We gotta find things for you to do, I’ll put you on my concerts.” I wanted to make him happy... Whenever I thought of giving a concert I’d call Chris to give me the changes. I’d write the changes, they’d always be right. He was my peer. No way wrong. Show you things you didn’t know before. A blind person listens to music differently, they listen different than us. We look with our eyes. When [Chris] sat down at the piano he couldn’t look at his hands. He had to look up with his mind, of course his hearing was better. It shouldn’t be that way-we should have our hearing as well developed, as properly. [Sometimes] I would come to my house wake up and put a blindfold on and learn so I couldn’t look at the keys. His senses were more developed than ours. The greatest thing I learned from Chris. This is hard to explain. I used to take a chord and roll it upwards. But Chris rolled downwards. I learned how to roll downwards, “Oh yeah, that’s the way Chris would do it. That’s the way he played chords. Lionelle Hamanaka, publisher See Lionellehamanaka.com Ifyou would like to sign up for Jazz Culture newsletter, please send an email to info@newyorkjazzproject.com
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We Remember Dr. Frank Foster
QUOTATION:
"The connection between one generation of jazz musicians and the next is stronger than a steel chain."-Junior Cook Dr. Frank Foster Photo: Brian McMillen
Letters to Jazz Culture
Thanks, it was great reading about a great friend and mentor Frank Foster. He was one of the greatest! thanks for the newsletter heads up. God Bless, Ronald Carter -Professor Ronald Carter NIU Board of Trustees Professorship Director of Jazz Studies School of Music Northern Illinois University *** I clicked on the link and saw the work...it's very nice and it gives an insight on what's happening beside the usual venues and gives voice to other important musicians often ignored by the other media. Dado Moroni *** Thank you. We are happy to share with our Jazz Culture by !YJP Vol I:7
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students. We are also happy to include event listings on our facebook page when possible. https://www.facebook.com/#!/pages/Setnor-School-ofMusic/165581576854656. Michelle Taylor, Syracuse University * * * I will keep my students in the loop. Thanks! Michael Dana Jazz Studies and Music Industry Fresno City College * * * I like the newsletter and will post it‌ Best wishes with the newsletter. Harold Danko, Director Eastman School of Music Jazz Dept. *** What I have seen is nicely written. I am sure people will enjoy this. Jimmy Owens
MUSICIAN CORRESPONDENTS BARRY HARRIS JAZZ WORKSHOP I! ROMA FROM 17 TO 21 SEPTEMBER 2012 I!FO:A!!APA!TUSO @HOTMAIL.COM PHO!E +39 3393383139
Luciano Fabris Maggie Malone, !Y Singer p.10
Workshop in Rome at Felt Club Jazz Culture by !YJP Vol I:7
Let's Link
See BarryHarris.com
Congratulations, Jazz Culture! Kuni Mikami, pianist. See, CD Baby "Hamp's Boogie" See Lafayette Harris.com private lessions, cds,
See RickStone.com for cds, calendar
Clarence Banks, Count Basie Trombonist, Private Lessons Clinics, Call: 917-428-6746
L: Singer Jim Malloy at Rum House R: Dancers @ Swing 46 Jazz Culture by !YJP Vol I:7
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Future issues of Jazz Culture will contain articles by Joe Magnarelli on how to make a beautiful cd, an article by Dado Moroni on world jazz, an article by Clarence Banks on trombone playing, an article by Kuni Mikami on jazz in Japan, and articles by Ron Carter on jazz education and an article by Howard Rees on jazz in Canada.
Benefit for Westpark Church by !Y Jazz Project May 20, 2012 "7 Ages ofWoman" by Joan Wile Starring Emily McCloskey DeeDee McCloskey & Joan Wile
JAZZ SCENE
Above left-!Y's Sheila Jordan waves hello from the Healdsburg Jazz Festival in CA
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Dawn Hampton's birthday party June 8 will feature George Gee's Swing Orchestra JAZZ-support it
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