The Jazz Culture Feature
GEORGE BRAITH QUARTET at FAT CAT The Jazz Culture, V.III:23
1
In these pages George Braith Quartet 1‐4 June Listings 5‐6 John Watson Ad Kuni Mikami Ad Swing Makes You Happy cd 9‐10 Obituary Little Jimmy Scott 11‐12
GEORGE BRAITH QUARTET by L. Hamanaka
Caught the George Braith Quartet at the Fat Cat with Boogaloo Smith on drums, Ben Mentmers, bass, and Lou Rainoe piano. Mr. Braith played alto, soprano, tenor and his Braithophone, a wind instrument that connects two horns. Technically it is an extension of Rahsaan Roland Kirk’s playing; Mr. Braith modified two horns 2
The Jazz Culture, V.III:23
and invented a new instrument. Came in in the middle of a ‘Sunflower’ type piece where Mr. Braith played with vibrato, swinging and chugging along like a train on a track. They next played “Little Boy Blue,” a Braith original, in 6/8 about 175=quarter note. There was strong drum support to the bittersweet and sympathetic song about a boy’s momentary lapse into the blues. Mr. Braith played with lyrical clarity using modes and free runs with solid rhythm section support and a pleasing modern texture on soprano saxophone. Pianist was using whole tone ideas appealing and adventurous, with runs that skipped larger intervals. The bassist soloed on rhythmic ideas, sometimes repeating, with a centered sound in the middle register, managing to find melodic ideas; the drummer had explosive ideas, sounding more like a man’s blues than a boy’s. Mr. Braith led the group back to the theme, closing out on a repeated motif over a vamp. "Daydreams” followed, another Braith original. He writes distinctive songs with his own flavor, alternately lyric, merry and swinging, with light pastel colors alternating with turbulent colors. This song had the bassist using arco, with Braith creating a cloudy atmosphere, conducting a rubato chorus and settling into about 68=quarter note tempo. His playing suggested a scene of daydreaming, unleashing the imagination with a sincere and calm reflection on tenor sax. Mr. Braith seemed to be tracing the path of his own meanderings in a sweet lyric tone, alternating seconds with bigger interval leaps and throwing in an occasional gliss up and down, playing the changes. The pianist opened with long scalar runs up, chording for a while and then picking out interludes to play whole tone and modal ruminations on. This happened with nice counterpoint by the bassist, who repeated the same bass note then broke the pattern with an upward scalar motif. George Braith re-entered with a stronger deeper tone on tenor, creating melodic ideas ending in a suspension, then taking the tune out in a cloudlike suspension, posing the question, what is more important than our ability to daydream and imagine the future? The Jazz Culture, V.III:23
3
“Elijah” was next, another Braith original at about 150=quarter note, played with alternating meters, with an accent on the last upbeat. It is a provocative piece that became more and more like a rock or funk tune with about two changes. The feeling was it was a statement of the prophet. The Bible’s Elijah raised the dead and brought fire down from the sky. He was a pretty bold character. This song seemed to reflect Mr. Braith’s religious roots—his mother was a preacher. Mr. Braith later added some bop interest to his lines, with the demeanor of an assured prophet, ending on a series of long tones and a cascade on the drums. The next was a song based on rhythm changes, about 300=quarter note. Mr. Braith played the braithophone on this, which gave an almost eerie sound of two lines in dissonant but interesting harmony. It was a merry song; his solo on this created Call and Response phrases that answered each other. The pianist Mr. Rainoe, played nice bop lines on this fast song, as if he were skiing through steep hills. Mr. Boogalo Smith outlined the melody of the piece on the drums. “Like Someone in Love,” at about 175=quarter note, was next on which Mr. Braith played a solo close to the melody on his braithophone. It was a snappy version, upbeat, and the bass player played arco well. The group played with a variety of styles, and the songs by Mr. Braith were composed in a singular style.
4
The Jazz Culture, V.III:23
The Jazz Culture Newsletter 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 77 countries. Brian McMillen is a contributing Photographer. Connie MacNamee and Arnold J. Smith are contributing writers." Countries: US, UK, Albania, Argentina, Armenia, Australia, Austria, Barbados, Belarus, Belgium, Bangladesh, Belize, Brazil, Burma, Bulgaria, Canada, China, Chile, Colombia, Croatia, Czech Republic, Denmark, Ecuador, Egypt, Estonia, Finland, France, Germany, Gibraltar, Greece, Holland, Hong Kong, Hungary, India, Indonesia, Iran, Iraq, Ireland, Israel, Italy, Japan, Kazakhstan, Kenya, Latvia, Lebanon, Lithuania, Luxembourg, Malaysia, Mauritius, Mexico, Moldova, Netherlands, New Zealand, Norway, Pakistan, Peru, Philippines, Poland, Portugal, Puerto Rico, Romania, Russian Federation, Saudi Arabia, Serbia, Seychelles, Singapore, South Africa, South Korea, Spain, Sweden, Switzerland, Thailand, Turkey, Ukraine, Uzbekistan, Venezuela, Vietnam
June Listings Robert Anderson‐ Saturdays, Univ of the Streets 10:30 Clarence Banks‐ Swing 46 w/ Felix and the Cats, 346 W. 46 St. Ray Blue: Richard Clements‐ Pianist, 11th Street Bar most Mondays, 8 Kenney Gates, pianist. Philadelphia, Tues., Sun. some Sats.‐ High Note Cafe on Tasker & 13th, 5‐9 p.m.
Concert: May 31 , Sat. 8 p.m.
Bertha Hope ‐ Minton's on 206 W. 118 Street, every weekend George Gee Orchestra at Swing 46, every Tues, most Fridays 9:30 Loston Harris: 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 Kim Clarke: Mike Longo: Tuesdays Gillespie Auditorium in the NYC Baha'i Center at 53 East 11th Street 8:00 and 9:30 Joe Magnarelli Quintet, Jazz Vespers Series, Pete Malinverni,
The Jazz Culture, V.III:23
5
artistic director,The Pound Ridge Community Church, 3 Pound Ridge Road, Pound Ridge, NY, Sunday, June 8 at 4pm, Admission by free‐will offering
John Mosca & Michael Weiss, Vanguard Orchestra every Monday at the Village Vanguard 8 p.m. David Pearl‐ Mondays at the Thalia, 95 St. bet. B'way & West End 8 p.m.; David Pearl Trio, Sophie's 318 West 53rd Street, Valery Pomoronov‐ Zinc Bar on June 3, 9:30 p.m. Bill Saxton: Every Friday and Saturday Bill’s Place 133 Street Murray Wall, bassist, 11th Street Bar most Mondays, 8 p.m. Leroy Williams, drums: Minton's Sun & Tues 2‐6 W. 118 St. ENGLAND: John Watson Trio at the Palm Court, Langham Hotel, London, 1c Portland, Regent St. 207‐636‐1000 Fri‐Sat HAPPY BIRTHDAY JUNE BABIES: Monty Alexander, Clarence Banks, Clifford Barbaro, Chick Corea,John Hart, Patience Higgins, Ryan Keberle, Brianna Thomas, Fred Thomas,
THE JOHN WATSON TRIO Haven Jazz Dinner Night 26th June 2014, Whetstone. 7.30pm £55 per person (including 3 course dinner & wine). call: 020 845 7419 and for more information visit www.havenbistro.co.uk. In partnership with Laurent Perrier, the Palm Court presents The Summer Social Tea inspired by the Chelsea Flower Show, Ascot and Wimbledon with a chance to win some wonderful prizes. To make a booking call: 020 7965 0195 or for more information visit: www.palm-court.co.uk/#/summer-social-tea. Website: www.johnpianoman.co.uk; Facebook: facebook.com/JohnPianomanWatson ; YouTube: www.youtube.com/johnpianoman ; Twitter: http://twitter.com /johnpianoman ; Flickr: http://www.flickr.com/photos/johnpianoman. Linkedin: http://www.linkedin.com/in/johnpianoman
6
The Jazz Culture, V.III:23
KUNI MIKAMI, Pianist is also an acclaimed, talented Videographer Special Introductory Sale: Five Minute Edited (with music) Video Resume for Performers $300 Contact Kuni @: 123mime@gmail.com
Artist must provide: • Good quality HD video on computer file • Good recorded audio sound • A photo of yourself • Text you want to see on the video
Swing Makes You Happy (cd)- The George Gee Orchestra
By L. Hamanaka You’d have to be a rock for this cd not to put you in a good mood, and you’d have to be unconscious not to want to dance to it. Mr. Gee puts together and conducts a refreshing, intense and swinging night on the town for the swing audience. 1. Coming Home: (by D. Gibson) The tempo is 126= quarter note, theme starts with a blues idea, in stop time, happy and swinging; nicely voiced, with a lyrical solo by Andy Pazant using a lot of triplets, some of the lower notes a bit distorted. A growling solo by trumpet player Freddie Hendrix, who then doubletimes; the rhythm section is strong. Mr.Gibson's solo accenting the upbeats, with interesting ideas. A good dance tune ending on a piercing high note 7 The Jazz Culture, V.III:23
from a trumpet. 2. Bedrock: (by D. Gibson) Swinging at about 140=quarter note, the saxophones are prettily voiced; saxophone solo by Pazant, with good articulation, using 16th note triplets; Steve Einerson, piano solo: culls some good phrases; Mr. Lustig on Baritone Sax: gives growly sound with good articulation and sometimes doubles in 16th note phrases. Mr. Dyson maintains a steady tempo. Sections do Call and Response sections in a happy mood, and then repeat the theme. 3. Lindyhopper’s Delight-(GF. Barefield/Teddy MaCrae) 160= quarter note. Two note motif opens the song, and the rhythm section responds, in a danceable song that sparks with naivete and charm of swing era jazz. The trumpet’s lyric solo reaches for the moon, the song has an insistent, foot stomping rhythm. 4. Sweet Pumpkin- (R Bright) 150=quarter note-Hilary Gardner gives a good performance with good diction and intonation, with a well mixed timbre, in a rarely heard standard. Solos by Gibson are endearing and sweet; Mr. Hashim’s solo is replete with triplets with witty phrases and some falls. 5. No Moon at all-116=quarter note.(D. Mann/R. Evans) solo: Hilary Gardner, Einerson. Adding syllables, on important words, Ms. Gardner sings like an instrument and anticipates the beat on key words; the band’s phrases are well placed and hot; the piano solo by Einerson flows well, and Ms. Gardner then takes the song out repeating the melody, repeating “No moon, no moon, no moon At All.” 6. I Knows (D. Gibson) A piano intro at about160=quarter note, light drum background, a more boppish sound to the melody; with horns coming in strong and taking over the melody. Good articulation by the horn sections, in call and response with the pianist, the horns then gliding over with long tones, and then short percussive bursts and shakes. Nice piano solo by Einerson, then the horn sections re-enter, playing a series of long tones that swell, and engaging in another tete a tete with Mr. Einersonm, ending in a splash. 7. I’d Rather Drink Muddy Water- (E. Miler) about 120=quarter note-a blues featuring Einerson. Well voiced and well played horn intro; Mr. Dokes takes over with vocals, singing the lyric persuasively. Andy Pazant wails a blues solo on this arrangement where long tones seem to cross bar lines. Mr. Dokes re-enter with complaints of a lover dissed, in a friendly baritone/tenor with a believable, speaking quality. 8. Baby Won’t You Please Come Home-(C. Warfield/C. Williams) A blues 8 The Jazz Culture, V.III:23
sung by John Dokes, in a warmer tone, pleading his case in a convincing performance. About 106=quarter note. “Hurry, hurry…” the solo is by D. Gibson, using scalar ideas of the blues, with good articulation, with full horn section support, good rhythm section support. 9. Midnight in a Madhouse- 175=quarter note, (L. Clinton) The horn sections take sections of the melody in call and response, in a theme built on falls. Gravish does a convincing solo, with a brassy tone, Gibson answers in a lower register with a cloudy tone; and Gravish responds to that, after which horns taking, playing as a section, one playing downbeat, the other responding with a notier phrase, and ending in a bright finale. 10. The Road to Roscoe’s-Di Gibson original with melody played by horns in call and response, dividing up the melody into sections. Pazant does a lunging solo emphasizing eighth notes, while Einerson pounds away underneath, Mr. Gravish repeats phrases using seconds, occasional high notes, and then doubling the time, down the scale in energetic phrases. Mr. Lustig has some good things to say, with double time phrases, but is a little buried by the higher horns; the band sounds willing to chug along the road until they make it to Roscoe’s. 11. If I were a Bell- (F. Loesser)- A vocal feature for Gardner and Dokes, who divide the melody into phrases, and sound good together. Ms. Gardner puts a little vibrato on her top, which makes it warmer than in the other songs. Mr. Dokes has an approachable personality on cd. 12. It was a very good Year- (E. Drake)- A feature for Mr. Hashim, who plays this song beautifully, and it does not sound loud or raucous, with just enough horn support that the band does not drown him. He floats and uses a lot of seconds in his ideas this time, and does charming curls through the voicings of chords, falling to a low note, bellowing up from the bottom, with grace and musicality. Einerson does a piano solo with some whole tones in his voicings. The horn section is tight—they are a constantly working band. Mr. Hashim restates the melody with resonance and dynamic swells. 13. That’s no joke-H. Gardner- (J. Bailey) 160=quarter note) A rarely heard standard. Lustig does a solo related to the melody, using a few triplets that he sticks in the 8th note lines; and Gibson’s solo with a lot of thirds, and good accents, some scalar work, and some ideas close to the melody. Ms. Gardner re-enters, with "Baby, I’ll take New York and that’s no joke.” 9 The Jazz Culture, V.III:23
14. You Say You Care-(J. Styne/L. Robin) 145=quarter note) Another Gardner feature, with good phrasing, and a rhythm section that will really appeal to all swing dancers. Good trumpet solo by Freddie Hendrix. On the last chorus she is a bit drowned by the horns in the mix, although she delivers the last phrase of the lyric. 15. Hash Mash-Sounds like a blues, at about 132=quarter note(D. Gibson)-Nice section work stating theme. Einerson, Gibson-nice blues solo with not too many notes and sharp attack on middle register notes, Hashim, nice concentration on lower register, effective use of contrast and biting phrases with good vibrato-just enough. Finishes with some squeals. 16. Nature Boy-(E. Aldes) Dokes-a s a swing, about 106=quarter note. In a charming mode, Mr. Dokes tells a story while the horns race up the scale behind him. Gravish-pretty solo with good attack and structured well, arches some high notes over the section work. Mr. Dokes has a very centered tone, and warm enough to float over the orchestra. 17. Evenin’ (C. Daniels R. Whiting) 138=quarter note.-Mr. Dokes talks about “Evening” here-where since his gal is gone, “Every minute seems like an hour.” Mr. Pazant-starting out with triplets, and using them generously, nice flips of intervals and blue notes, and wailing on blue notes, Mr. Einerson plays well and the song ends on a long tone. 18. A Tribute to Someone (H. Hancock) A walking ballad, Mr. Hendrix plays the melody, a poignant tribute to “Someone” followed by horn section work with swells and sensitive attention to dynamics, Mr. Hendrix can then float unimpeded and rise in his solo. 19. Blue Minor (E. Sampson) (175=quarter note) Kind of mischievous and growly, the theme is exuberant. First solo by Mr. Gibson in a conversational tone; Mr. Hashim is persuasive and charming, with masculine assertiveness, Mr. Einerson does an upper register short solo, Mr. Gravish rakishly responds, and Mr. Pazant forms circles around the melody;the tune comes to a growling end. A challenging and charming swing dance cd, with a joyous tone with great section work, good singing and solos. Personnel: George Gee, Bandleader, David Gibson: Music Director & Trombone; Hilary Gardner, Vocals; John Dokes, Vocals: Ed Pazant: Alto Sax, Michael Hashim: Tenor Sax; Anthony Lustig,mBari Sax: Andy Gravish, Trumpet, Freddie Hendrix: Trumpet, Steve Einerson: piano, Marcus McLaurine: Bass, Willard Dyson, drums. By Rondette Jazz, 2014 See. GeorgeGeeOrchestra.com 10 The Jazz Culture, V.III:23
Little Jimmy Scott Obituary L. Hamanaka
Born July 17, 1925, Cleveland, died Las Vegas, June 12, 2014, Little Jimmy Scott. He was third of ten children orphaned when his mother died in a car accident when he was only 13. Master of the long tone, Little Jimmy Scott mesmerized audiences by stretching the arc of phrases and transporting them to another world, the spiritual world, the world of feeling. Mr. Scott turned his affliction The Jazz Culture, V.III:23
11
with Kallman’s Syndrome, a rare disorder, which gave him a high contralto voice, into an asset. He was a soulful singer who sang straight from the heart and combined the feeling of a rhythm and blues singer and torch singing in the great jazz tradition. Mr. Scott had a rhythm and blues hit on the song “Everybody’s Somebody’s Fool” in 1940, and Lionel Hampton gave him a nickname while singing with his band, “Little Jimmy Scott.” Ray Charles organized a hit record for him in 1963. “Falling In Love is Wonderful.” After a series of misfortunes, “Falling in Love is Wonderful,” being one of them—it was not released for forty year; another album, “The Source” was not released till 2001. Mr. Scott was not given credit for other musical accomplishments—he went back to Cleveland, worked as a hospital orderly, clerk, and elevator operator in a hotel. A few breaks followed, one given by Lou Reed to sing on his album, and another to sing on the TV show, “Twin Oaks.” His 1992 album “All the Way,” with Kenny Barron and Ron Carter and produced by Tommy Lipuma and Seymour Stein, was nominated for a Grammy. Todd Barkan produced four albums for the Milestone label with Mr. Scott. In addition, he recorded on the Savoy and Decca labels. Mr. Scott developed a working band, “Jazz Expressions” but also performed with Charlie Parker, Sarah Vaughan, Fats Navarro, Quincy Jones, Charles Mingus, Bud Powell, Ray Charles and many others. Mr. Scott received the NEA Jazz Masters Award in 2007 and performed at two Presidential Inaugurations. He also received a “Lifetime Achievement Award from the Jazz Foundation” and the Kennedy Center’s “Jazz In Our Time” Living legend award. Mr. Scott died of cardiac arrest in Las Vegas.
12
The Jazz Culture, V.III:23