Nov5a by Lionelle Hamanaka

The Jazz Culture Feature

KENNY BARRON'S PLATINUM QUINTET at DIZZY'S below, FRANK WESS at BIRDLAND in January

The Jazz Culture, V.II:10

Kenny Barron's Platinum Band by L. Hamanaka

Caught the Kenny Barron “Platinum” Quintet at Dizzy’s Coca Cola celebrating his 70th birthday on Thursday October 10, 2013 with Kiyoshi Kitagawa, bass, Lee Pearson, drums, Marcus Strickland, tenor and soprano saxophone, and Miles Okazaki, guitar. The first song Kenny Barron played was “Bebop” by Dizzy Gillespie at about 168=quarter note. Mr. Barron swung with refined lyricism and deep bebop lines, intricate and unique use of seconds, that most conversational interval, mixing many rhythmic values including 16th note triplets and a masterful use of the pause, with some blues references. A breathtaking solo which after three choruses went into a block chording technique and then breaking into scalar lines, matching the Dizzy’s intensity and with some five note licks that expanded in length. Mr. Strickland started with a melodic solo with some octave leaps and whole note phrases built on altered scales, isolated punctuation, not playing too notey; then doubling into 16th note runs accenting the + of 2 and 4 and playing the upper notes of the chord. He did some three note phrases accenting the upbeats. The bass and drums played tightly together with pianist, who was very relaxed. The guitarist Mr. Okazaki, started with “triplet 3 & 4” rhythm and built his solo around expanding that one lick—doing some minor and diminished licks, half note triplets, sometimes playing patterns and then counter rhythms, before breaking into a lick that hit the beat. Mr. Kitagawa, the bass player, has a round sound, rather ethereal, focused in the lower middle register and a swinging beat and walks well. He reflected the notes of another solo and played some wide intervals related to the melody. Kenny Barron seemed steeped and intimate with the bebop style and played with his usual dancing feel. “Smart Set” by Roy Brooks, a Detroit drummer was next in 2

The Jazz Culture, V.II:10

5/4, a kind of hip street melody. Kenny Barron did a hard bop solo with some Latin figures and used some blues, playing three against four in ascending chords while the rhythm section maintained a strong intense foundation. Marcus Strickland played a bluesy solo and then doubled the time. Mr. Pearson has a grey/purple tone on drums and has a good feel and an instinct for accents and phrasing; he also played with his hands on the drums. Next Mr. Barron shared with the audience a ballad he wrote for a movie called “In the Dark.” The melody starts with a two note motif, a delicate sensitive and visual melody that evokes a setting, going from one 2 note to the next 2 note motif that led to a release. Mr. Strickland played a carefully built solo that resembled the circular movement of people revealing themselves in the dark. The guitarist arpeggiated the changes then found a more personal notes, the sound of his upper register complemented the melody. The bass provided pretty countermelodies while the pianist played chords sounding like semi-transparent glass, with a luminous quality. The pianist likewise had unfolding lines that sometimes expanded in filigree—in his upper register, giving a distinct poetic light that sound like a jazz impressionist with lyric beauty. “Well You Needn’t” was fast, 300=quarter note, treated with striated chords played against a Latin left hand (clave). Mr. Okazaki played simple rhythmic patterns fast, then went to 8th note scalar lines using the whole tone scale. The bass and drums enjoyed the burning tempo. Mr. Strickland used the soprano saxophone and got a more fluid sound, accented certain notes and surrounded these notes with 8th notes, then started rapid lines where he maintained his logic running. Later he started varying rhythmic values achieving a playful air. Kenny Barron used four note licks, and while playing with ease, created a beautiful tapestry and swinging like mad. Starting on the four note licks, that he threw in during the course of the playing, full of attitude, playing like a man possessed, ending phrases on an accented note, in running the whole section of the song from the upper register The Jazz Culture, V.II:10

down the piano, then swerving and reversing the direction of his lines and quoting “Epistrophe.” The impression Mr. Barron gives is that of an artist who never leaves “the zone.” An NEA Jazz Master and 9 time Grammy nominee, Mr. Barron has been a long time staple of the jazz scene, relied upon by many wonderful musicians to make a telling contribution whatever the situation. He is an artist who keeps growing and reaching up for higher fruit, in restless and blooming spirits in his revelations on the piano, who has produced a stream of published original songs and has a long recording history with innumerable great musicians. He continues touring internationally. His big brother was tenor saxophonist Bill Barron, another spirited leader from Philadelphia. Mr. Kenny Barron co-led Sphere and The Classical Jazz Quartet, among other groups. Kenny Barron teaches at Juilliard, after having worked at Rutgers for 25 years and also helps younger artists whose talents he believes in. See Kennybarron.com

Kenny Barron in other incarnations; below with Sphere

The Jazz Culture, V.II:10

Frank Wess, 1 922-201 3

JAZZIN HERITAGE MEMORIAM Frank Wess, Tenor, (Alto Saxophone and Flautist, composer and arranger) died in New York at the age of 91 on October 30 of kidney failure, said his partner, Sara Tsutsumi. He played for 70 years, e.g. in 2013 he performed at Birdland. Mr. Wess was born The Jazz Culture, V.II:10

in Missouri, moved to Oklahoma ten years later, studied classical music but stopped at a jam session outside Paul Dunbar High School in Washington D.C. and thereafter played jazz. His classmate was Billy Taylor, and he was a member of the US Army Band during World War II. After the war, he got a degree in flute from the Modern School of Music. “You had to learn jazz in the streets,” he is quoted as saying. “If you played it in the conservatory, they’d throw you out.” He played at U Street clubs, including Club Bali, Republic Gardens, Crystal Caverns and Club Bengasi. During his 7 decade career, Mr. Wess played in Billy Eckstine’s band, and also with Sarah Vaughan, Dizzy Gillespie and Charlie Parker, Miles Davis, Dexter Gordon, Fats Navarro and Art Blakey. Mr. Wess helped make the flute a jazz instrument after Count Basie asked him to solo on it in his band. Mr. Wess moved to New York in 1964, and sometimes partnered with Frank Foster in a setting that used their contrasting styles on saxophone that they called “The Two Franks.” For six years he won Downbeat’s poll on flute. He also played with Toshiko Akiyoshi’s band, and with Clark Terry. In New York he worked with Sir Roland Hanna in the New York Jazz Quartet. Other musicians he played with were: Rufus Reid, Jane Jarvis, Dick Hyman, Harry Edison, Paul West, Buck Clayton, Mel Torme, Benny Carter, John Pizzarelli, Ernestine Anderson, Howard Alden, Frank Vignola, and Hank Jones. Mr. Wess appeared on TV and made records as a leader and a sideman, including those with Zoot Sims, Gene Ammons, Yusef Lateef, Woody Shaw, Houston Person and played on The Jazz Composer’s Orchestra in 1968. Mr. Wess’s contributions were recognized when he was named an NEA Jazz Master. An album called “Magic 101” that he made in 2011, was released earlier this year that features pianist Kenny Barron. Mr. Wess had a beautiful melodic sense and swung till the 6

The Jazz Culture, V.II:10

end. Musician Comments: Cecil Bridgewater: “Frank is one of the last breed of saxophonists

from his generation! He had the opportunity to interact with the originators of this music-Coleman Hawkins, Lester Young, etc. He was a triple threat (tenor and alto, flute) composer, arranger and educator. “One Monday night, he came into the Village Vanguard and sight-read the lead alto book of the Thad Jones/Mel Lewis Orchestra as if he had written it! His nickname was "Magic" and that night I got a chance to see why he had that name! “He played a capella at Frank Foster's memorial service, "Gone Too Soon" by Duke Ellington. All the musicians had their mouths agape in awe of hearing the entire history of the saxophone! "

“A beautiful human being with extraordinary talent as a musician, playing saxophones, the flute, composing and arranging. Jimmy Heath:

Gene Ghee: "Even though we didn't interact that much, he meant

a lot to me. Even before I met him, I "knew" him through his recordings with Count Basie and the recordings my Father had of him. They were 10" records. " Michael Weiss: "Working with Frank over the past 12 years was

a truly inspiring experience and a privilege. Frank was the consummate pro who led by example. He was one of jazz's most cherished treasures and his legacy will live on. " www.michaelweiss.info

“Frank was [one] the last of the giants that I know of and I’m just happy I had the opportunity to play with him. The Basie Orchestra did a gig last year at the 92nd Street YMCA. We all had a chance to listen to him play in a small group. As the Clarence Banks:

The Jazz Culture, V. II:10

old story goes, most of the band members went to school that day. He played in a quartet, an all star group, and everybody just stopped what he was doing and listened to his set. Just a master of his craft. We did a recording and Frank was guest artist on one track in 2008, a project that Dennis Wilson did, he [Frank] was losing his eyesight, but he did that chart years ago in a Quincy Jones recording. We .learned it and he was out of the studio in 25 minutes. I’ve heard him play some of the older Basie recordings, but he played second alto in the Basie orchestra, with flute and tenor as a double. Frank was definitely part of that tree, the linkage, and I feel honored to say I played with him and got a chance to hear him. That in itself is a beautiful thing. Frank was a pioneer-his artistry, good composer, good arranger, Grandfather of the jazz flute.” Barry Harris: “We will truly miss you, a whole bunch of us.” Bill Saxton : “I first met Frank in 1968 I was just beginning my

quest to becoming serious about being a musician. Frank was playing with Clark Terry's band at the Club Barron in Harlem every Monday. Clark saw a lot of young guys coming around with our instruments. He started a youth band. He had the regular members mentor us and that's when I really got to know Frank. I studied Flute and clarinet with him. We have stayed in touch ever since. He's always been encouraging. Two weeks ago after lots of calling his home. Sarah called me and we made a time for me to come by to visit him. He was really weak but he wanted to know, how was I doing and how was Bill’s Place? That was typical Frank, always concerned about the others. I will miss his sound and his superb musicianship unmatched by anyone. He wasn't nicknamed Magic for nothing." David Demsey

Coordinator of Jazz Studies Professor of Music Curator, Living Jazz Archives 8

The Jazz Culture, V. II:10

William Paterson University: "We have lost one of the truly great saxophonists, great musicians, great improvisers, and great people in Frank Wess. He was a very influential role model for me as a saxophonist and flutist, he was a "pied piper" for our students whenever we were lucky enough to have him as our guest at William Paterson University, where he performed many times. He was a true gentleman who was the same beautiful person whether he was talking with a fellow jazz legend or a freshman student. And, let's not forget that Frank was one of the most hilarious people on the music scene. His oneliners are legendary - and he had one of the funniest answering machine messages in New York, that started with, "Hey, I was JUST thinking of you!" He will be missed on many levels, and will always be remembered where beautiful, swinging music is happening. "

Charles McPherson at the Jazz Standard with Kiyoshi Kitagawa, behind

The Jazz Culture, V. II:11

Charles McPherson at the Jazz Standard by L.Hamanaka

Caught Charles McPherson Quintet at the Jazz Standard on October 18, 2013. Mr. McPherson on alto saxophone, Jeb Patton, piano, Jonathan Blake, drums, Kiyoshi Kitagawa, bass, and Brian Lynch, trumpet. The quintet played “Tropic OfCapricorn” an original by Mr. McPherson. Mr. McPherson loves philosophy and the song is named after a book by Henry Miller; after he read Miller’s book he was driven to read philosophy. Over a latin beat, with the bass playing an ostinato figure, the warm theme brought to mind warm winds and tropical islands in the south of the world, with the pealing horns in arranged figures expressing their spirit. Mr. McPherson played many circular style figures centered in the lower middle register. The song seemed a rhapsodic affirmation of sexual love. Mr. Lynch’s solo had some whole tone ascending licks, played with toreador bravado stance of a battling trumpeter sometimes playing searing high notes with a searching, dissatisfied tone. The piano support was funky, vibrant and authoritative of a life where happiness is the normal mode of being. Next the group played “Scrapple from the Apple, ” a Bird tune that theme song of New York based primarily on rhythm changes. A bop tune at about 184=quarter note, the song featured a thunderous drum solo by Mr. Blake playing the whole drum set, with some rolling figures, and Mr. Lynch and Mr. McPherson trading 8’s, 4’s with the drummer. Another song in which Mr. McPherson featured a group member was “In A Sentimental Mood,” by Duke Ellington. Kiyoshi Kitagawa got a chance to do a subtle and elegant solo suitable to Ellington, in a slightly porous tone, his sound 10

The Jazz Culture, V. II:11

reminiscent of Oscar Pettiford, showing influence of the use of space in Japanese music. Jeb Patton was featured on a ragtime song (Title Unknown) by

Zez Confrey, a virtuoso piece that spread out over the entire 8 octaves of the piano, at a wicked fast tempo. Mr. Patton has a great gift for expressing unmitigated joy. He has a masterful left hand found in piano music of that era, and the counterpoint of the piece fully exploits the possibilities of that style.

â&#x20AC;&#x153;A Tear and a Smileâ&#x20AC;? another original by McPherson, followed. This song is one of the rare songs that express the irony of many moments in a love relationship, e.g., which might arise in saying goodbye, when we cry because we love people, and the complexity of moments when we have more than one feeling for another person. The trumpet introduced theme, with a pretty rubato theme then played with a deeper sonority on alto with a fuller tone in waltz tempo, with a beautiful melodicism after the first chorus, continuing to 16th note runs, with the lightness and finesse reminiscent of Bird. The trumpet played sparser lines with The Jazz Culture, V. II:11

Trumpeter Brian Lynch takes a break

harmony of trumpet and saxophone.

some motifs that repeated upward through the changes, sometimes ending on a high note, or resolving in scalar falls. Jeb Patton played with a majestic feel, going through various whole tone patterns, the song ending in a subdued

Another original that captures the spirit of a growing child was “Marionette,” depicting a very lively and playful child like a jumping jack with gymnastic enthusiasm in repeated patterns at a very fast tempo, about 320=quarter note. Full of the rapture of young childhood, Mr. McPherson used modern jazz ideas sprinkling in daring leaps reminiscent of Dizzy Gillespie. He also used some funkier tripping out with circular figures and sudden leaps up , tumbling figures down, and some sculpting, and a screaming line on the offbeat, like the whirling play of a toddler in a playground. Mr. Patton played strong left hand accents and continued in the right hand with Monk-like clusters into a prancing, dancing rhythm and whole tone figures that climbed, leading to a Latin infused percussive chording and triplet figures that broke into right hand patterns, answered in Call and Response fashion by his left hand. The drummer played interesting accents on the offbeat and built off one pattern accenting the offbeat using bass drum and snares, sticks in polyrhythms similar to a war beat, and cascading to a finale. The horns restated the theme in harmony, and the band seemed to fly to an ending. “Embraceable You, ” by George Gershwin was played as a

ballad in his pearly lower register sound with lyric splendor, with 12

The Jazz Culture, V. II:11

Kiyoshi Kitagawa & Jeb Patton compare notes at bar; Jonathan Blake takes a pause

cascading runs and assured phrasing, with slight brassiness and soprano flights in an intimate magnetic tone, a magnificent exposition on love. Mr. Lynch sometimes played patterns and repeated them throughout the changes, taking liberty with ritards and playing a cadenza at the end of his solo. “Anthropology” by Charlie Parker at over 300=quarter note

was next, played with verve, sculpting lines easily with flare, making comments throughout the registers, with sure anticipation of the beat. Mr. Lynch easily floated through the changes, ending on a high note. Mr. Patton maintained his ‘Mozartian’ sound – ebullient fluent and taking some joy in playful licks that rode the wave ofAnthropology, staying close to the theme and running all following changes to end on a final chord. The drummer with great gusto and a macho sound, sprinted and rolled through the song. The group traded 8’s and went out as they came in-zooming. Sitting down the aisle was a jazz fan named “Stephen” who had rented a pied a terre in Manhattan (he lives in Boston) so that he could attend cultural events like this one. He said he liked McPherson because he “sounds like himself.” Stephen said he knew in New York everyone seems like they are rushing to an important event, but that he likes jazz with a bop, hard bop or post-bop feel and that that someone (his artist of choice) “has to The Jazz Culture, V. II:11

have a unique sound.” “Nightfall,” a delightful and charming original with colors of

the dusk, and night, played with poetic voices like two dancers swaying in the breeze and listening to the ocean. A short theme repeats several times; the trumpet found melodies outside his usual oeuvre. Night seems to agree with Charles McPherson, who after some perambulating on the beauteous side of night, then explores its bluesy side, philosophically accepting of all, good and bad. Jeb Patton added intensity as if uncovering deep currents in the water; there followed an arranged section with horns stating the seductive theme, revealing by night what cannot be found during the day. “Lover” by Cole Porter at about 250=quarter note, in ¾ time, melody stated with insouciance, Mr. McPherson’s solo repeating the downward motif with vibrancy and connecting the changes seamlessly as if they were not sequential in nature, discovering a melody that dominates the changes. Exhilaration expressed at an uplifting tempo, with rhythmic variations, expressing passion freely. The trumpet played scalar phrases wittily, using semi legato feel over the rapidly paced accents of the drummer. Mr. Patton started with a five note motif at the frenzied pace, using wide intervals and stomping on some beats with the drummer. Jonathan Blake played with gusto and maintained an even tempo. Blues at 200=quarter note was the last tune. Mr. McPherson is a well known master of the blues, has a fluid concept of time, sometimes doubling, sometimes slowing down or speeding up phrases and still keeping his place; he started with a three note motif expanding into longer phrases throughout his registers, in an exciting, thrilling exposition of the blues, keeping focus on the message. Mr. Patton used circular phrases finding small intervallic phrases that he went on to enlarge and then went up the register and balancing it out with well spaced chords. There was a spirited exchange of 4’s leading to a drum solo, with some free New Orleans’ style cacophony with both horns improvising at the same

The Jazz Culture, V. II:11

time. Mr. McPherson has composed a body of singular songs in his own style and built on the foundation he acquired from prior masters. If a listener were searching for “the next new thing,” he or she might stop and listen to this artist among others who have created new dimensions of jazz.

CD DEBUT

Loston Harris on the cover of"Swingfully Yours"

Loston Harris’s “Swingfully Yours” 1. “Kiss and Run,” (Jack DeDru, Rene Donincin, William Engwick) lively, rarely heard standard at about 168=quarter note, charming retro melody. There is a duo counterpoint between sax and piano, with upbeat theme, cascading line leading to a cutoff and piano with excellent phrasing and articulation, accenting the upbeat, climbing the scale in joyful anticipation, and then breaking The Jazz Culture, V. II:11

out into some blues phrases, a few whole note licks, nice spiraling triplets, and overall a commitment to rhythm that moves ahead. The saxophone takes over with a playful attitude, tone centered in the middle register, nice articulation and anticipation of the beat. The bass player with a full sound centered in lower middle register, twanging and plucking with a swinging feel; and drum solo sounding short and propulsive; whereupon the theme is restated in call and response fashion between sax and piano in first section, then by piano in the bridge the piano takes over, and with conviction, the song ends on a jubilant note. 2. “Nice Work IfYou can Get It” (George Gershwin, Ira Gershwin) at about 140=quarter with vocal, with Mr. Harris’s attractive and unique baritone tenor, good diction, with a stride feel on first chorus. Trading 8’s between the saxophone, taken over by a swinging piano, and then back to the sax for 8, restating the melody and lyrics, everything chic and rhythmically all in the pocket. 3. “I‘m Old Fashioned” (Jerome Kern, Johnny Mercer) about 240=quarter note. Usually done as a ballad, his tone slightly spoken, but centered so that it sounds like an instrument, with the drummer giving good swing feel, the bass playing right along, a piano soloist who does not feel compelled to overstate his case, but does it succinctly and effectively, with a good sense of balance and swing. Loston Harris makes it work proving a good song can be appealing in many styles. Beautiful ending. 4. “Hey You with the Crazy Eyes” at about 175=quarter note, sax intro in a lovely low tone, sophisticated lyrics to a standard about falling in love at first sight, by Sammy Cahn and Jimmy Van Heusen. Mr Harris knows how to give an effective zing! In his performance. Another up tempo charmer 5. “How About You” in a groovy pocket about 138=quarter note, (Ralph Freed, Burton Lane) with phrasing and enunciation 16

The Jazz Culture, V. II:11

that is reminiscent of the wonderful Fred Astaire, light and playful, varying his phrasing knowingly, insinuating closeness and seductive with attitude, a combination jazz and cabaret, supper boite, personalizing his solos to suit the tempo, groove and arrangement, sometimes uses a motif that moves through the changes, not afraid to be magnetizing, charming and graceful. Nice insouciance in his phrasing on “How about you,” to end the song. Effective background of rhythm and tenor over repeated phrase to fade out. 6. “I’ve Got the World On A String.” (Harold Arlen, Ted Koehler), delivers song with great phrasing, on a song with difficult intervals, does two choruses, which he varies inventively. Nice tenor solo, just out enough. As a singer, Mr. Harris knows how to use word stress to make the whole lyric line pop out at you. Mr. Harris is an important mantle bearer of the Golden American Songbook. 7. “9:26 Special” Piano states theme at about 145=quarter note, or medium swing; plaintive tenor sound on his solo, with some patterns, in circular lines, then some descending phrases and doubling on 16th note lines; sounds like a blues. Mr. Harris leads off quoting “Blues in the Night,” with some expansive ideas that open up the night, if you were traveling on a train, capturing some of the rhythm of wheels whirling through the journey. (Earl Warren, arr. Loston Harris) 8. “The Lamp Is Low,” (Mitchell Parrish, Maurice Ravel, Joseph DeRose, Peter De Rose, Bert Shefter) with a haunting melody and beautiful lyric, intriguingly arranged, the pianist flies out of the gate with a fluid scalar solo capturing the evanescence of time that can never be regained, burning at about 200=quarter note. The tenor solo fluid and heartfelt with a good tone; and the rhythm section plays perfectly. In the restatement of the theme time is cut in half; intensity is magnetic and throbbing. The Jazz Culture, V. II:11

9. “You Can’t Love ‘Em All” (Sammy Cahn, Jimmy Van Heusen) at about 148=quarter note, a medium groove, sophisticated for the in crowd and for the lovers who love covering all the bases. Tenor solo with blues inflection, nice sliding phrasing and endings to phrases. Tongue in cheek lyric skillfully rendered by the talented singer. Mr. Harris keeps his word; it is swinging at groovy and heart stopping tempos, tasty solos that really express the song’s individual melodies and rhythms, and the singing is a treat if you like romantic baritone-tenors, the Golden American Songbook and jazz. He can phrase using speech rhythms like Frank Sinatra, or create rhythmic licks and shapes like Betty Carter. An artist who carries the flame of the great American song with verve and style: expressed with a love for life that makes Mr. Harris an appealing following act to Bobby Short, Shirley Horne, and Freddie Cole—a world class young singer-pianist.

Some ofour idols: Richard Wyands, Lisle Atkinson, Jimmy & Albert ("Tootie") Heath, the Heath Brothers, Barry Harris/Sheila Jordan, Dawn Hampton

The Jazz Culture, V. II:11

The Jazz Culture Newsletter "Private 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 58 countries in the past year. Brian McMillen is a contributing Photographer, and Connie MacNamee and Arnold J. Smith are sometimes contributing writers." --Lionelle Hamanaka, Publisher Countries: US, UK, Albania, Argentina, Australia, Austria, Belgium, Brazil, Burma, Bulgaria, Canada, China, Chile, Colombia, Czech Republic, Denmark, Ecuador, Egypt, Estonia, Finland, France, Germany, Greece, Holland, Hong Kong, Hungary, India, Iraq, Ireland, Israel, Italy, Japan, Kazakhstan, Latvia, Lithuania, Luxembourg, Malaysia, Mexico, Moldova, Netherlands, New Zealand, Philippines, Poland, Portugal, Romania, Russian Federation, Serbia, Seychelles, Singapore, South Africa, South Korea, Spain, Sweden, Switzerland, Turkey, Ukraine, Uzbekistan, Venezuela,

Lionelle

Connie McNamee

Brian McMillen

Lionelle Hamanaka's single, "Lost Puppy Blues" is available on CD BABY for kids, with Richard Wyands, Ron McClure and Leroy Williams. see: lostpuppyblues.com

The Jazz Culture, V. II:11

November Listings Ray Blue, Tenor saxophonist- November 9‐Induction into Jazz Blues Hall of Fame, Peekskill, NYl Kenney Gates, pianist. Philadelphia, every Tuesday, Sunday and some Saturdays at the High Note Cafe on Tasker & 13th, 5‐9 p.m. George Gee Orchestra at Swing 46, (346 W. 46 Street bet. 8th/9th Ave.) Tuesdays; sm. Sat. 9:30‐free dance lesson beforehand. Loston Harris November 12, Birdland, otherwise Tues‐Sat. 9:30 p.m. Bemelman's Bar Mad. Ave & 76 St Lafayette Harris- Nov 15 w Houston Person at Jazz 966,966

Fulton St. in Brooklyn $20 donation Bertha Hope: Memorial to Carline Ray Nov. 18 Kim Clarke‐Germany Tour 11 -1 6,

Memorial to Carline Ray

Nov. 1 8, Club A on Nov. 29 & 30. Mike Longo‐ Every Tuesday at the Baha's Center, 53 East 11 th Street Jim Malloy, Swing 46, 9:30 p.m. Every Thursday Ron McClure: Solo piano at McDonald's at 160 Broadway in

Manhattan from 12-4 PM on Tuesdays & Saturdays. Kuni Mikami: Japan Tour

John Mosca & Michael Weiss: Vanguard Orchestra Every Monday night at the Village Vanguard Valery Ponomarev: Big Band at Zinc, Nov. 6, 9:30 p.m. Bill Saxton: Bill's Place every Friday, 148 West 133 Street, 9 p.m. Ranked #25 among 305 attractions in NYC

November 1 7: Bill's Place Tribute to Billie Holiday and ReNaming 1 33 Street as Swing Street-3 p.m.-free admission Evans Thompson: Sugar Bar Nov. 30 call club for times ENGLAND: John Watson Trio at the Palm Court, Langham Hotel, London, 1c Portland, Regent St. 207‐636‐1000 Fri-Sat

The Jazz Culture, V. II:11