JAZZ CULTURE The ew York Jazz Project
In These Pages‐Review 1‐2 England Event J. Watson 2‐3 Singers: ABC's 4‐5 Jazz Heritage Chris Anderson Comments by B. Harris 6‐7 Let's Link 8 http://newyorkjazzproject.com
REVIEW
Bill Mobley Orchestra at Smoke
Bill Mobley
Caught Bill Mobley’s Big Band at Smoke, Monday May 21, 2012. "'Smoke's 16 Piece Jazz Orchestra" performs 2 sets on Mondays. Call club for rates (see Club Guide page). The Mobley Band is a modern jazz orchestra that swings; the rhythm section is John Davis, piano, Phil Palombi, bass, and Scott Neumann, drums. Mr. Mobley has found his own voice, a strong, open, searching sound, fulfilling originals by important contemporary musicians. On “Sudan Blue,” by Bill Pierce, the audience heard Dan Walsh on tenor, a pleasing sinewy tenor saxophone solo over a bluesy medium swing, the arrangement raised the song to orchestral fullness. Followed by “49th St,” a Mobley bop original about the Sunset Park neighborhood in Brooklyn, featuring a loose swinging bass solo by Phil Palombi, trumpet solo by Mat Jobrall, who began with riffs sounding like Miles, then opening into a cascade of interesting scalar licks, and a baritone solo by Andrew Gutauskas, who had a pretty vibrato. The song expressed the hassles and Jazz Culture by YJP Vol I:5
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surprises of living in a NY neighborhood, with nice articulation by the horn sections in a call and response format. Scott Neumann provided sensitive accompaniment. Next was “Second Thoughts,” by Mulgrew Miller, a pretty groovy swing tune using a variety of rhythmic ideas, stating the theme on chordal long tones that exposed layers of complex harmonies, stacking levels of call and response between horn sections, a questing tune, searching through the angst of modern life while maintaining a positive drive. John Davis soloed first with toccata effect, breaking into a melodic solo, lapsing into block chords and a passage using modernistic sheets of sound. Vito Chiavuzzo played alto, with good tone in the lower register. Towards the end the pianist used bluesy sounds leading to a pensive, sensitive ending. The fourth song was Tom Harrell’s “Sail Away” that revealed the lyric gifts of the group, which Mr. Mobley soloed on well, using large intervals juxtaposed against small scalar licks, with a sweet sound on flugelhorn. The effect depicted the movement of waves of water, and the feeling of wind against the boat. They then played “Alex the Great” by Harold Mabern, a piece scored in the baritone register, that seemed to depict the unstoppable force of history. The sax player, Nathan Hook, played mostly lower register, punctuated articulation, alternating a modal sound with bluesy licks, complementary of the composer.
ENGLAND EVENT
John Watson in London Photo: Max Garr
by JOH WATSO
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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
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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, May 22, 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, jazzloving 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. 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 Jazz Culture by YJP Vol I:5
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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! *** Ed.: John Watson, a melodic, sensitive English jazz pianist, one of the most gifted on the English music scene, has a steady gig at The Langham, a premiere Continued on p.8 London hotel with an exquisite
Singers: ABC's
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 p.4
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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 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.
DAW HAMPTO keeps in shape at Swing 46 Singer waiting at Thalia Jazz Culture by YJP Vol I:5
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JAZZ HERITAGE
Chris Anderson,
Jazz Pianist
Short Bio: Chris Anderson died in February 2008 when he was 81, due to complications of a stroke. A unique Chris Anderson at rehearsal master pianist, he was from Chicago, had a congenital brittle bone disease which led to many fractures and orthopedic surgeries over the years. He was legally blind by the age of 20. One leg was shorter than the other and he wore special orthopedic shoes to balance his height. He walked with crutches and was often confined to his apartment. He came to NY with Dinah Washington in 1960. In Chicago he worked in a rhythm section in the Pershing Ballroom when Charlie Parker was a guest star, and also worked with Von Freeman. As a youngster, Chris would go to jam sessions in the middle of the coldest Chicago night to learn to play. Musicians often have hardships, but Chris Anderson faced the same hardships blind with one leg shorter than the other. He was a down to earth, humble, honest person and he made a lot of jokes. Anyone who listened to Chris would have to realize that he was the only one who played that way. Coleridge Taylor Perkinson, a highly educated conductor and composer, was listening to him once at a Barry Harris rehearsal and asked, “What is he doing?” because Chris’ harmonies were so advanced. A modernist who was different than Monk, he had very complex and rich voicings. Al Sutton was his best friend, a doctor who produced some records of his; also Chris was produced by Clifford p.6
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Jordan. He had a trio with Bill Lee and Art Taylor in 1960. He did a cd with Charlie Haden, one But the Lonely Heart. One of his students was Herbie Hancock. In NY he played at Bradley’s, Le Poeme, and in various clubs and gave tour de force featured soloist performances at the Barry Harris Concerts, which won a NYC Award for Best Concert of the Year. Barry Harris Comments:
Chris played with Bird, you know, at the Pershing Ballroom. I became embedded with Bird. I was so taken by Bird and Bud, I felt they were the start of what one was supposed to learn, so you had to take it from them and learn how to do it with them. Now I do a lot of things that have nothing to do with Bird or Bud. I have a few things that deal with Bud and Bird, and things that don’t. Chris was so talented. One could learn a lot from watching Chris, though watching Chris was almost impossible, he groped, I mean groped. You looked and you would not know what he played because he had moved on by then. He found things [to play] another way. Chris was classical –jazz is classical. Chris learned from listening to the radio, and he listened to the radio, so he has these movements. I remember sitting [listening to Chris once] with Harold Mabern asking, what did he do just then? We’re the extension of classical music; his thing came from listening to classics and jazz…PART I BENEFIT FOR WESTPARK CHURCH SUN. MAY 20, 2012 by the New York Jazz Project
"Seven Stages ofWoman" starring Emily McCloskey, DeeDee McCloskey & Joan Wile, written by Joan Wile-3 generations ofvocal talent
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Let's Link
See BarryHarris.com
Clarence Banks, Count Basie Trombonist, Private Lessons Clinics, Call: 917‐428‐6746
Singer is Sonya Perkins not Lesli as said in prior issue
Congratulations, Jazz Culture! Kuni Mikami, Jazz Pianist, CD Baby: Hamp's Boogie
John Watson continued from p.4
See LafayetteHarris.com CDs, Clinics, Lessons
restaurant where for a drink or soda, you can hear the John Watson Trio every weekend. Surpassing ew York, London’s hotel industry supports jazz events and groups. John Watson also serves as musical director for various singers, and has a rising star of his own. 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 p.8
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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; youtube.com/johnpianoman; twitter.com/johnpianoman;facebook.com/johnwatson/78494720527
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 *** Hi, The newletter looks great! Very easy to read and its nice the way you can shuffle through the pages, both forward and back. It really feels like you are flipping through the pages of an actual magazine. Tim *** 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. Jazz Culture Email: info@newyorkjazzproject.com 646-312-7773 Jazz Culture by YJP Vol I:5
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Dado Moroni *** Thank you. We are happy to share with our 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 like the newsletter and will post it… Best wishes with the newsletter. Harold Danko, Director Eastman School of Music Jazz Dept. *** What I have read is nicely written, I am sure people will enjoy this. Jimmy Owens *** Congratulations on the newsletter. It looks great and I’m glad it’s off to a good start. David Pearl
QUOTATION:
"The connection between one generation of jazz musicians and the next is stronger than a steel chain." Saxophonist Junior Cook We Remember Dr. Frank Foster
Lionellehamanaka.com Pub; Pix: Richard Williams
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Photo: Brian McMillen
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MUSICIA CORRESPO DE TS Luciano Fabris,
from Rome is a gifted pianist, composer, producer who plays in Italian clubs. He has recorded, organized 11 annual music events including master classes in piano and improvisation with Barry Harris, jam sessions, concerts in the Felt Club in Rome. He studied jazz with guitarist Agostino DiGiorgio and now studies with Barry Harris. Rick Stone, a leading guitarist
Photo: Chris Drukker
who teaches at Jazzmobile and Hofstra. His latest cd Fractals was selected as one of the top cd's of 2011. A virtuouso guitarist, his original voice is a synthesis of bebop, hard bop, progressive, latin jazz and post progressive styles and his compositions clearly project an urban modern feeling. He played with many masters and is a respected teacher and leader of his own trio, with bassist Marco Panascia and drummer Tom Pollard.See RickStone.com.
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Maggie Malone is a freelance
singer in NYC. She has contributed her copywriting expertise to Jazz Culture.
JAZZ SCENE
Future issues of JAZZ CULTURE will feature articles by Joe Magnarelli, trumpeter, about how to make a beautiful cd project, Part II of Chris Anderson article by Barry Harris, an article on world jazz by Dado Moroni, a series on jam sessions by Lafayette Harris, pianist, and one by Clarence Banks on secrets of trombone playing.
Dancers who swing to George Gee's band have happy feet Dawn Hampton's birthday party on June 8 features George Gee's Swing Orchestra Please sign up to be on Jazz Culture's email list on the website, just click on http://newyorkjazzproject.com p.12
Lafayette Harris in the Harlem Jazz Festival, May 2012
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