The Jazz Culture Feature
The Vanguard Jazz Orchestra Photos courtesy of Brian McMillen
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VANGUARD JAZZ ORCHESTRA by L. Hamanaka
Caught the Vanguard Jazz Orchestra on Monday, June 2, 2014 at the Village Vanguard. Personnel: Trombones: John Mosca, Tim Newman, Luis Bonilla, Jason Jackson. Saxophones: Ralph Lalama (clarinet), Billy Drewes (clarinet), Dick Oatts (flute), Rich Perry, Gary Smulyan Trumpets: Tanya Darby, Matt Jodrall, Nick Marchione, Joe Magnarelli; French Horn: David Peal Rhythm Section: Jim McNeely, piano, David Wong, bass, John Riley, drums. The first song the Vanguard Jazz Orchestra did was an ensemble feature, “The Big Time,” a song that captures the irony of ‘success’ by Bob Brookmeyer, which he composed and 2
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arranged 35 years ago. In 2/2, a percussive song starting with long tones, followed by a piano trill with bass ostinato, descending melodic line and dissonant voices. The next section had a circuslike melody, lively and exciting with jazz accents in the horn section. This was followed by a march rhythm with a marionette figures and quality, ending in a long tone. This piece showed one of the Vanguard Jazz Orchestra’s best features, their historic long standing relationship and unity and brilliant ensemble feel. “Quiet Lady” a song by one of the founders, the wonderful Thad Jones, was a waltz about 128=quarter tone, featuring Gary Smulyan baritone saxophone and trumpeter Matt Jodrall. A short ensemble figure was followed by McNeely with rhythmic inserts, played with sweet and solemn grace and a jazz feel. Pianist fit in runs smoothly with fine articulation and descending chords leading to a trill. The locked chords were played close to the melody and he then inserted the blues scale. Mr. Smulyan played circular phrases in sweet and caressing tone replete with triplets, and then moved into 16th note scalar licks, with great legato feeling and the rhythm section holding the swing engine strong and ending with some phrases with high notes and anticipating the beat on his licks. Mr. Jodrall in an intimate centered tone, inserting a few triplets, playing mostly in his upper register with a scalar lines ending in peaks of high notes that drifted into falls. The ensemble ending was in a joyous mood with a uplifting beat, with a nicely textured insert by pianist. “XYZ Blues” was next, also by Bob Brookmeyer, (a distinctive composer, arranger, trombonist who died recently in In these pages 2011, and worked with Gerry Vanguard Jazz Orchestra Mulligan’s Quartet from 1954 to 1‐4; 7‐9 57). A new take on a classic form, June listings, 5‐6 a somber beginning with a drum John Watson Ad flurry and bass intro, a classical Kuni Mikami Ad intro with clarinets and flute, Editorial on Jazz Singing 10 with a challenging and gay The Jazz Culture, V.III:21
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polyrhythmic figure on the piano that is then taken up by horns, in jazz syncopation. The next section the tempo raises to about 300=quarter note, and becomes a dynamic piece with piano interlude sounding symphonic in conception. Billy Drewes stood up and started dancing in place for this one, in a free solo based on scalar lines with counter rhythmic figures, and the band dropped out and he was suddenly alone, and then joined by Rich Perry, saxophonist, for a duo. This was taken up by the band at the fast 300 tempo, with dynamic horn section backgrounds, which just as suddenly disappeared into a monklike segue by McNeely, who was then joined by the band. Mr. Magnarelli played a duo with the bass, who was forte, while he played whisper-like through a mute, his swinging ideas supported by a barely there drum beat. He threw in a few blue notes while the other horns played dissonant harmonies, which led to a band fracas with polyrhythmic textures which slowed to a crawl, when Mr. Mosca stood up, with a lovely tone, minor melodizations, and using scalar lines, played very well, pensive and moodily whose colors matched the other soloists to weave interesting balances, contrasts and inter-relationships, though spontaneous of course. After this there was a drum segue back to the fast tempo, and the band re-entered full force, in a swaying line dominated by the drummer, powerfully stating the theme as the drums and bass traded bars. The piece ended in the original dirge-like tempo, with a conducted ending.
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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 76 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, 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‐ Every Saturday, University of the Streets 10:30 Clarence Banks‐ Swing 46 most Thursdays with 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
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Center at 53 East 11th Street 8:00 and 9:30 Joe Magnarelli Quintet, Jazz Vespers Series, Pete Malinverni, 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
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; LEEE JOHN & IMAGINATION LIVE IN JUNE, John Watson, plays piano, vocals, trumpet with Leee John & Imagination in France with shows in Paris, Le Havre and Lyon and returning to the UK for the Let's Rock Bristol Festival. For more information visit John's Gig Guide at:www.johnpianoman.co.uk/gig.htm#june14 In partnership with LaurentPerrier, 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.palmcourt.co.uk/#/summer-social-tea. Website: www.johnpianoman.co.uk;
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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
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
cont. from p. 4 “Up in the Skies” is a Jimi Hendrix tune, arranged by Jim McNeely for a prior record of the Vanguard Orchestra, at about 138=quarter note, to a pleasant melody with an upbeat jazz-pop sound to a swing beat, full voiced by the arranger and syncopated with a warm feel. This set the stage perfectly for a bluesy and declarative solo by Jason Jackson, trombonist, to deliver a well structured solo with good lines and strong accents a baritone-tone on trombone. Mr. Jackson is a clear, expressive voice in the band. Mr. Lalama, an excellent tenor saxophonist, then used wide The Jazz Culture, V.III:21
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intervals, delivered in a plaintive, dramatic style, with a modern sound, using some whole tone ideas. The next section seemed to expressed an urban tone, reaching for the skies, leading to a counterpoint section between Jason Jackson and Ralph Lalama, with the trumpet section providing background riffs. “Skylark” followed, as a feature for alto saxophonist Dick Oatts. Mr. Oatts, after a short intro by Mr. McNeely, who played Bob Brookmeyer’s arrangement of Hoagy Carmichael’s standard; using some blue note substitutions in the melody line, after which the orchestra played a huge sounding forte in blue and sky-like colors. Using some blue notes in the melody, Mr. Oatts with a clear, lyric, and beautiful phrasing, inserting blue note background figures, dancing around the theme, in a call and response mode with the band, a soloist who expressed poignance through Birdlike phrasing, with different note choices, over stop time from the drums and rhythm section, and then joined by the whole orchestra. Oatts struck just the right tone for a skylark. Then Mr. McNeely re-entered softly. Jerome Richardson’s “The Groove Merchant” followed, with a solo by Luis Bonilla, at about 160=quarter note. Jim McNeely led in the band on piano, with a big, rumbly and swinging piano. The saxophone section stood up and stated the theme, answered by phrases from the whole band in a rollicking tune that called to mind the history of big band swing music. In the piano solo there were blue shades of feeling. Mr. Bonilla, with sensitive phrasing, accents and flare to his style, started with scalar phrases, stretching out long tones with a classic trombone manner, assertively playing triplets and swing phrases going into 16th note phrases that started with triplets, and using blue notes effectively. There was a David Wong solo played with a fat tone, getting close to a funky sound at the end. Then the band re-entered with full voiced rhythmic punch, ending in a long high note. 8
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Baritone Saxophone player Gary Smulyan solos on "Quiet Lady" an original by Thad Jones at the Village Vanguard recently. Behind him, band leader John Mosca plays trombone. To his right, Rich Perry on Tenor Saxophone. The Jazz Culture, V.III:21
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Editorial What Is A Good Jazz Singer? by L. Hamanaka
A jazz singer should be able to sing like a horn. That means they ought to listen to the history of great horn players as well as singers, and know some of those solos by heart. A jazz singer should know something about rhythm and be able to subdivide the beat, and choose what part of the beat they want to enter, exit or accent. A jazz singer should be able to sing the blues and make up blues verses. A jazz singer should consider themselves a musician, a rhythm instrument, learn a chordal instrument or at least a tuning instrument and study exactly the contributions of great jazz singers, including tone effects borrowed from instruments and what constituted their ‘style’ and what kind of style they themselves want. A jazz singer should know the chords and the scales that go with the chords and be able to apply them, and should be able to scat well. To scat means to have a good ear, but also to know the major, 3 minor, augmented or whole tone, blues scale, two diminished scales, intervals, arpeggios, chords, the changes to standards, blues and inversions of the former in your ear. It is only once you know these things that you can think of performing substitutions. These things have nothing to do with interpretation. Things like interpretation, intonation and tone quality apply to every genre. A jazz singer is different from someone who can sing standards well, as many Broadway singers or lounge singers or saloon singers do. A jazz singer is different from a gospel singer, who can do mordants, turns, slides up and down, and apply the blues and major scale. A jazz singer is different from a choral singer, a lieder singer, a singer of spirituals, a rock and roll singer, an opera singer, or a folk singer. And a jazz singer should know what those differences are. This has nothing to do with being a snob and wanting to look down on people. It has to do with fact and history and heritage. A singer can be as smart as anybody else, and why not apply intelligence, memory, awareness of and respect for tradition to a great art form? Please send comments to: info@thejazzculture.com.
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