http://newyorkjazzproject.com by Lionelle Hamanaka

JAZZ CULTURE

The New York Jazz Project

In These Pages‐Review 1‐2 England Event‐J. Watson 3‐4 How To Make a CD that May Outlive You J. Magnarelli 5‐6 "The Unforgettable Hamptons" 7-

An Emmy Winning Film about the Hampton Family Jazz Heritage Let's Link 11 info@newyorkjazzproject.com http://newyorkjazzproject.com

The Rick Stone Trio at oon Concert on 47th Street Plaza

REVIEW

The Rick Stone Trio

Caught The Rick Stone Trio at 47th Street Plaza, between 2-3 Avenues, at a Public Concert in Plaza on June 14, Noon. Rick Stone, guitar, Marco Panascia, bass, Tom Pollard, drums. Luckily this trio, together about three years, has a unit sound. On a sunny June day, they presented jazz standards by piano masters and Mr. Stone’s originals. The Rick Stone Trio changed the noonday crowd's workday mood, starting with “Windows,” by Chick Corea. Mr. Stone and Mr. Panascia soloed well on the lovely waltz with a searching quality. “Nascimento” by Barry Harris followed, a ‘catchy tune’ (as Leroy Williams calls it) at about 145=quarter note, with a built in arrangement, the song has an optimistic quality. Mr. Stone playing one chorus on changes and then throwing in some whole stone exploration. Mr. Pollard played crisply on drums, Mr. Panascia fell to scalar musings with a marcato touch. Mr. Pollard and Mr. Jazz Culture at YJP, VI:9

Panascia have a fine technique, with color palettes that balance each other out, Mr. Pollard’s being higher pitched, and Mr. Panascia a dark baritone sound on bass. Bill Evans’ “Turn Out the Stars” was next, a bit up from a walking ballad, with Mr. Stone’s fine articulation in short motifs on the solo expanding to longer lines that flowed lyrically, tenderly and relevant to the original melody, at about 112=quarter note. Mr. Panascia had a different take, sounding like a solitary walker on city streets in fall. The melody has a curious affirmative quality. By choosing for the most part, songs without words, this trio draws its emotional interpretation mainly from the rhythmic character and melody of the songs. Monk’s “Play Twice” was next, the theme stated by the bass, with Mr. Stone following, the rhythmic angularity at home with Monk’s playfulness at about 132, full of whole tone triplet ideas taking off from the theme that expanded to short runs. Actually Mr. Panascia has a color on bass that really suits this song. Mr. Pollard did some soloing, the snare conversing with cymbals with bass ornamentation, short rolls that led to popped accents, melodic drumming. The entire group has a fine technique, lyric beauty, melodic inventiveness and a positive sound that bridges the gap between mainstream jazz and modernism in terms of harmonic leaps to modes or scales fitting the architecture of the city and art work in the Museum of Modern Art. They then played Rick Stone’s originals, tucking in a Berlin tune “The Best Thing for You” at about 200. Mr. Stone hummed as he played a sunny solo without arrogance (no showoff he) over this brisk tempo, keeping in touch with his inner life. The originals had a wide range, from “Blues Enough,” a medium blues with a march-like quality where he displayed knowledge of the blues tradition, his humorous “Key Lime Pie,” (“Since it’s lunchtime,” he joked with the audience), played over a Latin beat, with nice breaks, and Mr. Panascia finding short, zestful comments on bass. On “Nacho Mama’s Blues,” a blues in a medium groove, bridging modern and traditional harmonies, Mr. Stone started with short 2

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quarter note licks that he then subdivided rhythmically and opened to longer scalar lines, Pollard playing interesting and sensitive intertwinings on drums, Mr. Panascia showing great deftness. A mysterious quality was reflected in three songs, “The Phrygerator” on the Phrygian mode, the Phrygian mode Rick Stone, Photo: C. Drukker starting on the third step of the major scale, through which he introduced folks to a normal view of the world turned slightly askew (is it the world or is it you), swinging on his solo, one of the few who can wrest familiarity out of a modal cast. Mr. Panascia played fluently, sometimes using wide intervals, a futuristic tune. On “Rainforest” a lush song with a rainbow of surprising colors, the trio played in 4 stepping on quarter notes together like explorers over a bridge to the untouched zones of nature that still exist in this world. This unique song evoked a strangeness far from concrete, glass and steel, with melodic solos singing the praises of a green, purple, orange world of tropical splendor. The trio seemed to speak with one voice. “Fractals” the title of an acclaimed recent cd, (see fractals on Wikipedia) was played at medium swing with intervallic patterns that are metaphors for patterns (sometimes visual and beautiful) in math and nature. If that sounds abstract, it is, like a Jackson Pollock painting, expanded in Mr. Stone’s cityscape style, a solo starting in short motifs that double in size and open to scalar pensive ideas, with Mr. Panascia cavorting on bass, and Mr. Pollard throwing in drum rolls and accents. Mr. Stone’s work forms a nice bridge between the modal concept and the earlier boppish sound. One audience member, a business man working nearby, said “I love it.” Jazz Culture at YJP, VI:9

E GLA D EVE T

by John Watson

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 John Watson The latter applies to my night Photo: Max Garr 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 début album "Serpent" recorded in famous Brooklyn studio "Systems Two". Completing the line-up on bass was Steve Rose who has played with the likes 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. 4

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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 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 Jazz Culture at YJP, VI:9

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/johnwatson/78494720527 How To Make a CD that May Outlive You

by Joe Magnarelli My Old Flame:

Joe Magnarelli

Songs: My Old Flame, I’ll Be Seeing You, Highbridge, eracism, The Duke, Blues for ‘Skee” (Dennis Irwin), When

Your Lover Has Gone, Bilbao, McChesney Park. With Quintet & 16 Strings. Quintet Personnel: Joe Magnarelli, T, Jimmy Wormsworth, D, Rick Germanson, P, David Wong, B, Dick Oatts, S, Peter Bernstein, G, Vince Cherico, D, Wilson “Chemo” Corneil & Daniel Sadownick, Percussion. Arranger: Marty Sheller. Released in 2010. My Old Flame, a recording with strings, was about a two year process. Being a fan of Clifford Brown with Strings, and of course Charlie Parker with strings, I had imagined myself in that context for many years. But, actually thinking about making it happen started in 2008, I have a good friend who plays violin, Efrat Shapira, she started turning me on to the Emerson String Quartet, and Bartok string quartets, and she was encouraging me to do 6

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something with strings. My Old Flame was a project that took about two years to complete. I was studying ( and still am) out of orchestration books at the time, 2008, and was putting some 'pads' down on paper to a couple of my favorite ballads. I realized then that my own writing would not be ready for many years. That's when I called Marty Sheller, my friend, and someone I had worked for in the recording studio. A great orchestrator and composer, and very well known in the Latin jazz genre. I also thought a cd of just ballads was not what I wanted, [and] Marty agreed, so we included 2 of my originals, and, Marty did a great thing with Dave Brubeck's " the Duke," making it a Cha-Cha. Overall I think there is a good variety of moods on the cd. I contacted violinist Genice Grice, the wife of my good friend Tony Reedus. She helped organize the string players, since I knew only a couple, and we did the date all in two days with one day of rehearsal. Marty's writing is so beautiful, he created beautiful settings for all the tunes. We had the easy part, just play and have fun. The months preceding the recording, I spent a lot of time practicing, and memorizing the string parts. Not only did I feel more connected at the date, but I learned so much about orchestration. It was a learning experience, producing, contracting, playing and composing. See JoeMagnarelli.com

Memorial Tribute to Wade Barnes, drummer

June 18th at St. Peter's on 54 St. & Lex.Ave. Three Live Bands ________________ Person at left, Lionelle Hamanaka, Publisher

see lionellehamanaka.com lionelle@newyorkjazzproject.com

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We Remember Dr. Frank Foster Listen to his "Nippon Lament"

QUOTATION:

Dr. Frank Foster Photo: Brian McMillen

"Practice a Million Hours." ‐Junior Cook, Saxophonist "You can't take off without a launching pad." ‐Lonnie Hillyer, Trumpeter

JAZZ HERITAGE

“The Unforgettable Hampton Family”

Part I: Note: The African American territory bands from the 1920’s-60’s disseminated jazz throughout the Midwest. There were Caucasian territory bands but not primarily in that section of the country. There were a few integrated bands like The Sweethearts of Rhythm. In the 1920’s, territory bands travelled by station wagon with another vehicle behind. There were 900 dance Dawn Hampton holding Emmy bands in 1924, providing jobs for Award with Director Julie Cohen 7,200 musicians. The Hampton Family Band has produced 80 years of musicians, spanning blues, swing, bebop. The father, Deacon Hampton, was a self taught musician. The mother Laura played piano. “The Unforgettable Hampton Family” breaks away from many 8

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commercial films in the past, in which scripts portrayed African Americans only in subservient roles and not depicting their contributions to history. Director Julie Cohen, an experienced prizewinning documentarian, shared the story of the making of “The Unforgettable Hampton Family:” Julie Cohen, Director [JC]: “I did not know her [Dawn] well when I started the project. I had Dawn Hampton Dances at Swing earlier done a documentary about 46 recently Frankie Manning and in the course of doing that I saw great footage of the two of them dancing together, and then I saw Dawn as one of a number of people who danced at Frankie’s memorial service. And [Dawn] made a grand entrance as only she knows how to do and seemed like such a remarkable person… “[Then] I went to a workshop she made on bhangra [dance] and Dawn was so entertaining on that I knew she would make a wonderful interview. I had not known until that point about her wonderful siblings and the family band they had together as children, and in fact, [that] a number of them had gone on to great musical careers separately. On You Tube, I was able to find footage of her sisters in Indianapolis, Aletra and Virtue, (who had passed away by the time I started the project) on piano and bass duets. They were extraordinary performers and it was quite unexpected to see women in their 90’s play the bass with such verve and style…I was not aware that her brother was Slide Hampton the prominent trombonist. That and her own family story seemed like a strong basis for a film. I was also producing for a New York audience, and Dawn had spent had own her history performing in Greenwich Village, and that opened the door to an interesting world that I hadn’t known about -- the Gay music scene in 60s and 70s, of which she was a major part. So we spent Jazz Culture by YJP, VI:9

some time trying to find a fan of hers from that era, that we could interview alongside her. There were three big sit down interviews, one with her and (her brother) Maceo, (one with) George Gee, and one with a fan of hers from Greenwich Village scene, Freeman Gunter. Dawn is the sort of person who has a skill for interacting with others, so she was good to interview. “I guess it was sort of Dawn in some ways (who) suggested the theme in a Dawn Hampton before couple of interviews; in terms of her birthday party crediting, really, all of the success, both in terms of public recognition, but also in terms of personal satisfaction, tying [that] back to her extraordinary father, (Clark Deacon Hampton) and his attitudes towards his own life and family. Despite coming from extremely difficult circumstances, having almost no money and being African American at a time when that would raise huge barriers to education, professionally, [in] almost every area of life, even without any formal education, [Deacon Hampton] had an agenda that he put forth himself for his wife and kids. ‘I have a plan of how my kids are gonna make it in this world, through becoming performing artists.’ [Deacon Hampton] he did not take the time to let the kids grow up, he just—‘One way we would lift the family out of poverty would be through performing, that is one way whites are able to accept blacks, that would be a way that I can provide for my family and they can provide for themselves.’ “The father [Deacon Hampton] had extraordinary talent, but the kids did not necessarily have it. Slide said he was not innately talented, [it was that] he worked hard [at things] that seemed to come easier to his other siblings’ pure musical talent. “Dawn has extreme musical talent; now she does her whistling and teaching dance, but she was a great singer, saxophone player, [doubled on] other instruments, the kids had more than one, [so 10

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they could spell each other]. Her real talent is as a performer, which is evident from the fact that although certain parts have dropped out of her performing, due to thyroid problems in the 60’s, as she grew older, singing was not an option, but it was easy for Dawn to shift to teaching and dancing. Her stage presence was her skill, captivating the audience onstage. And that goes back to her father who was teaching her and Maceo (closest in age) how to do vaudeville performing. “[He taught them that] In front of an audience you have to give them a full entertainment experience, and she has a great talent for public speaking. [for example,] Since the film came out she and I have done some Q&A’s. She is really good at that, she really understands how to talk about things that would be of interest to an audience. She stands up and gestures with her hands until people really do give her a standing ovation. [Another example would be] the way she dresses.” End of Part I, Part II next week

Let's Link

See BarryHarris.com Congratulations, Jazz Culture! Kuni Mikami, pianist see kunimikami.com CD Baby "Hamp's Boogie"

Jim Malloy, Y Singer

Clarence Banks, Count Basie Trombonist, Private Lessons, Clinics, call 917-428-6746

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Future issues of Jazz Culture will contain reviews by participants of the Friday night singers' jam at University of the Streets, 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. For a free subscription to Jazz Culture newsletter please sign up at: http://newyorkjazzproject.com

Benefit for Westpark Church on May 20, featuring "Seven Stages ofWoman" by Joan Wile

Emily, DeeDee McCloskey and Joan Wile starring at original musical by Joan Wile to benefit Westpark Church

MUSICIAN CORRESPONDENTS

Luciano Fabris, PianistProducer Maggie Malone, freelance singer, Left Jazz Workshop Rome, Right

BARRY HARRIS JAZZ WORKSHOP I ROMA FROM 17 TO 21 SEPTEMBER 2012 I FO:A APA TUSO @HOTMAIL.COM PHO E +39 3393383139

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