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
Houston Person Quartet at Lenox Lounge
Houston Person
May 26, 2012. Caught Houston Person at the Lenox Lounge, playing swing and bop with Lafayette Harris, piano, Matthew Parrish, bass, & Chip White, drums. The Lenox Lounge, with its historic vibe and art nouveau décor, was an apt setting for the Houston Person Quartet Saturday night. The quartet started with “Namely You,” a lilting standard. Mr. Person knows how to build a solo to a crescendo, sometimes honking for emphasis with scalar fills that warmed up the audience with his authoritative tenor. Lafayette Harris wove an intricate filigree, inserting many triplets into his solo, ending with a chordal segue. The second song was “Black Velvet," recorded by Ella Fitzgerald as "Baby Don’t You Go Away Mad,” an impish tune where Mr. Person, who obviously knew the lyrics, engaged in an imaginative musical dialogue with his lover. Chip White gave a solid foundation for the band, feeling every note and playing as if it might be the last time, which you almost never see anymore, Jazz Culture by "YJP Vol I:6
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with a crisp, bright sound. Lafayette’s solo inserted some classical effects, and Mathew Parrish has good time, pitch and played a good solo, with 16th note triplets, which bassists rarely use. “Fools Rush In” was played as a ballad, which Person played tenderly, hopefully, as if courting a lover. Chip White used brushes. Lafayette Harris paraphrased the melody using trills effectively, playing the upper register and milking the notes. Mr. Person knows how to build a set and tells his stories well. Next the group played a bright samba, “Only Trust Your Heart,” Mr. Person, masterful on tenor yet with a personal sound, wailing at times in passionate long tones. Mr. Parrish played a good solo with fine articulation, accenting the upbeat. Lafayette Harris was able to find the slow rhythm under the fast, and play a relaxed, seductive solo using the blues scale and arpeggiated Latin figures with lots of tremolos, octaves and ending in cascading chords. The group then did “Lester Leaps In” where Mr. Person led off at a burning tempo which set the audience’s pulse racing. Chip White was in drummer’s heaven playing a solo with fiery conviction which garnered smiles from the audience. Then Mr. Person cooled things down a bit with a 2 feel on “Isn’t It Romantic,” using tasty notes in a variation that had the audience moving in their seats. Mr. Harris delivered a solo relevant to the melody, using upper notes of the chords with small glisses, and fine articulation. The dynamic balance was sometimes off as I could not hear the piano well. The group rounded off the set with “Since I fell for You” in 12/8 where Mr. Person seemed cradled in the arms of his rhythm section, and a Shuffle Blues medium up, where the rhythm was rock steady and almost all the soloists were wailing on the blues scale. The audience appeared to be feeling “This is what I came to New York for. ”
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L: The Rum House crowd R: Swing 46 dancersGeorge Gee fans Jazz Culture by "YJP Vol I:6
ENGLAND EVENT 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. John Watson, pianist
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, 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. Photo: Max Garr
Mica Paris at Ronnie Scott’s, March 29-31, 2012
Ronnie Scott’s is the most well known club in London. Jazz Culture by "YJP Vol I:6
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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! *** Ed.: John Watson, a sensitive, melodic English jazz pianist, one of the most gifted on the English music scene, 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 albums. Most recently the p.4
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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.john pianoman.co.uk Myspace.com/johnawatson; youtube.com/johnpianoman; twitter.com/johnpianoman;facebook.com/john-watson/78494720527
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 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 Dawn Hampton dances at if possible, as in salad. Vegetable Swing 46 Jazz Culture by "YJP Vol I:6
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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 Singer at Thalia waits to sing 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.
Please sign up for the email list ofJAZZ CULTURE at http://newyorkjazzproject.com or call 646-312-7773 or email your letters to: info@newyorkjazzproject.com
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Lionelle Hamanaka, Publisher See lionellehamanaka.com Jazz Culture by "YJP Vol I:6
JAZZ HERITAGE
CHRIS ANDERSON, Pianist Comments by Barry
Harris
PART II: I think he [Chris] could play a tune 2-3 times in a row and it Chris Anderson at rehearsal 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 write an accompaniment for him. He was entirely different, [the way] he gave me changes, [an] entirely different way to use the harmonyhis 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 Jazz Culture by "YJP Vol I:6
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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. We Remember Dr. Frank Foster
QUOTATION:
"The connection between one generation ofjazz musicians and the next is stronger than a steel chain." Junior Cook
Dr. Frank Foster Photo: Brian McMillen
Sonya Perkins, not Lesli
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 p.8
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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. Dado Moroni ***
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 will keep my students in the loop. Thanks! Michael Dana
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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 *** Congratulations on the newsletter. It looks great and I’m glad it’s off to a good start. David Pearl
David Pearl & Rodney Harrison
MUSICIAN CORRESPONDENTS Luciano Fabris, pianist,
International Workshop in Rome p.10
composer, producer is from Rome, Italy and sponsors the International Workshops at the Felt Club in Rome featuring Dr. Barry Harris, workshops on piano, improvisation, having jam sessions and a special concert starring Dr. Harris with an Italian rhythm section at the end. He has played in Roman clubs, recorded and organized 11 events where over 600 people have attended from 19 countries. He first studied jazz
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improvisation with Agostino Giorgio and now studies with Barry Harris. Rick Stone, a leading guitarist 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 Photo: Chris Drukker RickStone.com.
Let's Link
See Barry Harris.com Maggie Malone, Singer has donated her copywriting skills
Congratulations Jazz Culture! Kuni Mikami, jazz pianist CD Baby: "Hamp's Boogie" p.11 Jazz Culture by "YJP Vol I:6
Future issues of JAZZ CULTURE will feature articles by Joe Magnarelli, trumpeter, about how to make a beautiful cd project, 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.
BE"EFIT FOR WESTPARK CHURCH by
newyorkjazzproject.com Sunday May 20, 2012
Emily & DeeDee McCloskey, Joan Wile starred in "7 Ages of Woman" by Joan Wile
JAZZ SCE"E
Joel Fass, guitarist at Fat Cat
Dawn Hampton's Birthday Party Dawn8 Hampton's will June will feature Birthday George Gee's Lafayette Harris at Ginny's Harlem Jazz be June 8 featuring George Swing Orchestra Festival see Lafayette Harris.com Gee's Swing Orchestra p.12 Jazz Culture by "YJP Vol I:6