The JAZZ CULTURE
A Tale of Two Cities: John Farnsworth Quintet at Smoke on upper west side of Manhattan as below, Village clubs try to pick up after Hurricane Sandy
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REVIEW The John Farnsworth Quintet
Caught John Farnsworth Quintet at Smoke, Monday November 12, 2012 with John Farnsworth, tenor saxophone, Andrew Beals on alto saxophone, Tarik Yamani, piano, Dwayne Burno, bass, Joe Farnsworth, drums. The second set of the Monday night late show is a jam session. Mr. John Farnsworth, a gracious host, explained that during his 13 year tenure at Smoke, he has helped thousands of musicians during the famous bebop/hard bop jam. “I have to be organized. Last week there were 50 people who came to the jam.” Jam sessions have a great tradition—of battles, places to work out and develop a musician or singer’s ability to improvise and interpret a music that requires spontaneity, command of technique and has acquired a new treasury of jazz compositions not in the American Golden Songbook. In addition to leading his own combo, Mr. John Farnsworth teaches at a music school in Bernardsville, New Jersey and privately. The quintet led off with “Third Time Around,” a song by Hank Mobley, at about 210=quarter note. An optimistic song, the head sounded more percussive than lyrical, and John Farnsworth played with an assertive, full tone mainly in the lower middle register, with good technique and articulation, with repeated motifs in different keys, a few trills and a feeling of modern architecture, but with no sense of alienation. He has his own sound and is tasty in note choices, he does not play extra notes. Mr. John Farnsworth knows how to construct a solo, though he does not play many triplets. His brother, Joe Farnsworth, gave good support, and has begun to sound more lyrical as a drummer, at times reminiscent of Billy Higgins. Andrew Beals on alto, like Bird, has enough rhythmic command and assurance to pause between phrases, and keeps his body still while playing, for his very urban sound to make its full impact. Tarik Yamani, a thoughtful pianist, played 2
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with angular lines at first all 8th notes, then started adding rhythmic variety, and with a pounding insistence, then broke into a chordal melody. He is good at inventing these chordal melodies, not just playing voicings but making a melody on top that ascends to the level of a motif. The saxophones then played the theme in harmony, seeming to echo the frenzy of modern life and ending on a long tone.
Reviews 1‐4 The Why of Good Nutrition by P. Moreo 5‐8 How To Be A Jazz Trumpet Player by Mark McGowan9‐12 Intro To British Jazz 12‐15 Jazz Heritage Louis Hayes 15‐21 Other Village Clubs After Sandy Photojournal 22‐23 Let's Link 24 info@thejazzculture.com JazzCulture © 2012
“Junior” followed, at about 116=quarter note, a loving tribute to the great tenor saxophonist Junior Cook, a friend of John Farnsworth.
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Band members Joe Farnsworth, Dwayne Burno and John Farnsworth share a light moment as drummer Joe Farnsworth settles in substitute for drummer's chair, which was broken
Jazz is the most individual and spontaneous invention in western music, and John Farnsworth created a lovely sound portrait of his friend Junior Cook who died an untimely death. Beals created a contrast by using fewer notes, began with a long tone, then some melodic riffs, quoting a bop tune in the middle and then finished with a nostalgic motif. Tarik Yamani played a block chord solo with some sweeping runs, alternating chromatic with whole tone figures. Yamani sometimes gets carried away by patterns he finds but did resolve and cut the time in half. Burno played a lyric and sentimental solo, relaxed, at home, and sometimes strumming. Mr. Joe Farnsworth displayed a virtue rare, he kept the same tempo. The theme, centered around accented upbeat figures, was a cool relaxed swinging, as was Mr. Cook. Mr. John Farnsworth then announced they would play a favorite of his manager, Mo Rome, who was in the house –Ray Charles’ “Unchain my Heart.” He started rubato, the band played waves of sound, and then switched to a swing beat. Beals played a 4
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good call and response solo and showed familiarity with the medium of Rhythm and Blues. John Farnsworth played a mixed jazz and rhythm and blues solo. Tarik played some Latin figures and then trilled octaves in the right hand while the horns vamped behind him. Dwayne Burno played off the Latin beat, accenting the upbeat and making simple melodic statements that the audience loved. The next song was “Mozin,” at 240= quarter note, which is John Farnsworth’s nickname. The song was aptly titled by his wife, so John Farnsworth got to play himself, a reasonable fellow, who, tossed and turned by the vicissitudes of life, has carved out melodies on his tenor saxophone to resolve his journey forward, overcoming all obstacles. Mr. Joe Farnsworth got to unplug the stops on this brisk tune, and asserted his power riding the toms and cymbals in a musical way, with his own sound on drums, never failing to swing, and if he keeps on this road is well on his way to becoming a great drummer and bearing the mantle of what aside from improvisation defines jazz, its rhythm. The Farnsworths joined the families who, with two members involved, like Kenny and John Barron, Melba Moore and Carmen Bradford, Jerald and Louis Hayes, get to crow a little about musical genes. NUTRITION & DIET FOODS-Yes, No, and Sometimes
SAMPLE FOODS BASED ON BLOOD TYPE DIET-TYPE O+ This is one option for readers seeking to perform at their peak condition through diet. NO: Potatoes, cabbage, or cauliflower, eggplant NO: Grains no wheat, no dairy YES: Meat (beef, lamb, mutton, venison, buffalo), fish (cod, herring, mackerel), chicken, sour cream instead of milk; ground almonds with oat milk rice milk, frozen blueberries or raspberries VEGGIES: Dark green leafy, plus broccoli, sweet potatoes, red pepper, pumpkin, turnip, garlic, artichoke Cont. p.11 The Jazz Culture, VI:30
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YOU ARE WHAT YOU EAT
NUTRITION & INDIVIDUAL SOLUTIONS
Peter V. Moreo, Jr., C.N., R.Ph.
Peter V. Moreo is a sought after certified nutritionist and pharmacist with over 25 years experience.
Diet is different for each person. Some people should be vegetarians, some not. There is a blood type book out, “Eat Right for Your Type,” which I have found out to be about 70% viable based on my experience. To find out what blood type you are, look up your blood type. You can get a blood test, or donate blood and they will let you know. If your doctor has a record of your blood type he or she can let you know. However, this blood test is not done by your doctor automatically. You have to ask your doctor for a blood type test. For example, blood type O is not congenial to vegetarianism. Any blood Type O that I met, whether positive or negative, who became a vegetarian, eventually got sick. Blood Type O should eat green vegetables and red meat. Cow, buffalo; or fish. Any blood type can eat fish. Small saltwater fish like salmon or sardines would be good. JC: What about the other 30%? Mr. Moreo: It depends on the person. O- O’s: The first thing you should avoid are things like fried foods. 6
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Fried foods clog up arteries and cause an increased incidence of cancer, and premature aging. Fried food creates free radicals, the things that damage tissue of the body. No one should eat French fries, fried chicken, potato chips, or any vegetable that is fried. Any time you heat food in oil except for coconut oil, you convert the food to bad saturated fat. No soda. MI IMUM PROTEI PER DAY: To know the number of protein grams you need every day, look at your weight. For a person 100 pounds, divide it by 2.2 and you get the kilograms. A kilogram is weight in grams. 2.2 pounds is one kilogram. That’s the amount of protein grams you need. A man of 160 pounds needs 72.7 grams of protein per day. If you’re a woman you would multiply the kilograms you get after the above division by .8, 20% less than a man. A woman of 160 pounds, would subtract 7.27 from 72.7 grams and need 65 grams of protein per day. ORGA IC FOOD: JC: Do you recommend organic food? Mr. Moreo: Absolutely. Because there’s no pesticides or hormones in them. Food that is not organic can increase chances for cancers and suppress your immune system. Fruits that don’t have a skin will absorb pesticides quicker, like strawberries are the worst. Meat should be organic also. Milk is the same as meat. I don’t recommend drinking milk. It clogs up the cleansing mechanism of the body. Soy milk is not recommended. Recommended: rice milk, coconut milk or almond milk. GOOD FATS TO EAT: Fats: Coconut oil, fish oil (oil they take out of fish), flaxseed oil. The Jazz Culture, VI:30
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GOOD GRAI S TO EAT: Grains: Brown rice, no wheat. Wheat is no good because most people are sensitive to gluten. You can tell if you are sensitive to it, if you’re not allergic, it clogs up the body, it is like a glue. Rice bread is okay. It is better to avoid even sprouted wheat bread. In some people it causes constipation, (in others) some diarrhea; it is a problematic grain, and puts on belly fat. Part II will be in the next issue.
HOW TO EXPERT ADVICE
" ow there's a brilliant cat." --Barry Harris
by Mark McGowan
The topic of this article is the development of a Jazz Trumpet player. Let’s break Mark McGowan on the way to a this down. concert Development means learning and practicing in an efficient way to improve. Improvement involves progressing from a less skilled basis to a solid foundation so that your performances are effective. This improvement must involve learning jazz and learning the trumpet. Learning jazz means first listening to jazz and loving it so much that one wants to imitate and create in a particular style of music. Within jazz there are many different characteristic styles. New Orleans, Dixieland, Swing, Bebop, Modal, Free, Fusion are just a few labels that identify specific currents of jazz music. So one who wants to play jazz must listen to music in the tradition and eventually decide on a style of jazz to begin to learn. There are 8
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so many great jazz musicians and everyone can create a list of essential players to listen to. But an aspiring jazz player must at least listen to such players as Louis Armstrong, Lester Young, and Charlie Parker. Once an aspiring trumpet player has decided on a specific style of jazz to play, then comes the process of imitating a trumpet player in the style that you wish to learn. In other words, you must transcribe some solos note for note to try to understand how to play in that style. This is important to understand how to improve your time, note choices, and your taste in music overall. It is also essential to find a sound that you like, identify with, and can work toward emulating. Find some trumpet players you really like and try to listen to their records as intently and deeply as possible. Then sing the solos with the records until you are singing all the phrases and feeling all the spaces between the phrases. Then proceed to copy your favorite solos note for note on your instrument. Don’t get stuck on any one recording - try to learn a lot of solos over a long period of time. At the same time, a jazz trumpet player must learn the elements of music theory and apply them to the instrument. Learning the piano can speed up your development because it is easier to understand harmony by seeing and hearing notes being played simultaneously. An ambitious student might learn some figured bass (and solfege too). Learning all intervals is essential, as is knowing major, minor, augmented and diminished arpeggios. Combining minor sixth chords with diminished chords [C minor sixth chord or arpeggio with the B diminished chord for example] is an interesting exercise in voice leading (the same should be done with major sixth chords [C major with the B diminished]). Learning all of the chords associated with every degree of the major scale is also required. Which brings me to scales. An aspiring improvisor must practice on a continual basis, in every conceivable manner, the The Jazz Culture, VI:30
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major scale. There are books to help a person get ideas for practicing scales, but it is important to try to logically figure out as many ways to practice scales as possible. In seconds, thirds, fourths, fifths, sixths, sevenths, etc. Three note segments, four note segments, five note segments, six note segments, seven note segments, two octaves, etc. I will easily spend twenty to thirty minutes a day on one scale in one key (I could spend a lot longer). I will also review one different scale pattern every day and take it through every key to maintain fluency. Practice the scales from the bottom of your instrument to the top. Practice using different articulations, but it is most important to develop a smooth legato. Once you are comfortable in all twelve major keys, then you must try to become equally fluent in the melodic minor and harmonic minor scales. There are many other scales to be mastered, such as the whole tone scale and the chromatic scale, but once you have learned the major and minor scales, you must continually go back and review them (especially the dominant seventh scale within the major). If you are lucky enough to study with Barry Harris you can learn a whole system of inserting passing tones into dominant, major and minor scales. These notes will help your improvised lines flow by making the more important notes of the scale land on the strong beats of a measure. A player will start practicing them in a descending manner, because the idea is to help resolve your musical ideas smoothly. The dominant seventh passing tone is found between the tonic (root) and seventh degree. The major and melodic minor passing tone is found between the fifth and sixth degree. These are commonly called bebop scales, but the way the system is taught by Professor Harris is extremely thorough, intricate and vast, far beyond the scope of this short article. The dominant seventh scale is extremely important. Professor Harris says they are called dominant for a reason. A great deal of form and motion in music is determined by how dominants resolve to their major or minor tonic destinations. Tunes should be 10
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analyzed in this manner. Break a tune down into its constituent keys and dominant 7th regions. In the key of C, G dominant seventh is the basic scale. The D minor seventh chord built on the fifth degree of a G dominant seventh chord is just one flavor. Professor Harris believes way too much emphasis is given in modern jazz education to the II-V progression. The V is what is essential. The tritone substitution happens on the V. The whole tone scale happens on the V. The diminished chord is built from the third degree of the V. A half diminished chord is just another flavor of V. E.g. A half diminished is realized with the F dominant seventh. The idea is tension and release - Dominant to Tonic. V to I. Resolution. Motion. utrition Continued from p. 5
SAMPLE BREAKFAST: Pineapple juice, scrambled egg (occasionally) with veggies, Bread: spelt or rye bread, 100% pumpernickel, buckwheat, barley, Rice, millet. Avoid wheat, corn oats and bran. NO: bacon, ham, goose, barracuda, OK: adzuki, pinto, black eyed peas, tofu Avoid: navy, lentils, kidney and tamarind Avoid strawberries, rhubarb, oranges and melon Dark red or purple fruit such as plums. DINNER OR LUNCH: Grilled fish, chicken, nuts, tofu or beans on list, with raw vegetables if possible. DINNER OR LUNCH: Raw salad daily with at least lettuce and tomato; sometimes carrot, beet, avocado, fennel, celery asparagus, chicory, onions, parsnips, leeks, kelp, liver, kale, spinach, broccoli, Yes: dark green leafy veggies. Cold pressed virgin olive oil or flaxseed. FAT: Olive or flaxseed oil; no corn, peanut, cottonseed, safflower oil. DAIRY: No milk, yogurt, few eggs. Some butter, feta cheese mozzarella, soy milk. The Jazz Culture, VI:30
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MUSICIA S WHO WROTE FOR THE JAZZ CULTURE EWSLETTER
The Jazz Culture Newsletter Thanks Contributing Writers for the past 6 months: Clarence Banks, Cecil Bridgewater, Harold Danko,
Luciano Fabris, Barry Harris, Bertha Hope, Joe Magnarelli, Adriano Mazzoletti, Mark McGowan, Kuni Mikami, Dado Moroni, Paul Pace, Rick Stone, Gloria Ware, John Watson Contributing Photographers: Brian McMillen, Richard Williams Contributing Proofreaders: Connie MacNamee, Maggie Malone
A Short Intro to British Jazz
by Doodlebug
Jazz reached England through recordings and bands right after WWI, when there were jazz influenced dance bands. During the 1903’s-40’s, most John Watson Trio at the Palm Court, Langham British musicians made a living in dance bands. Louis Armstrong, Duke Ellington and Coleman Hawkins played during residencies in Glasgow and England. Benny Carter also helped make jazz popular in England. The after hours scene was hot for musicians in the 1930’s, where musicians jammed for drinks. There have been many brilliant and unique jazz musicians from the UK, throughout its jazz history. The best musicians anywhere prove the adage (of Professor Ortalani, talking about theatre), "Art belongs to everyone," and the greatness of jazz as an irresistible music. Similar to music tastes in the US, some people preferred trad. 12
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or early or New Orleans jazz, played in England by musicians like Humphrey Lyttelton, Ken Colyer and George Webb. Art Pepper was another US musician who came to the UK and played with British jazz bands when his MOS in the army was as an MP during WWII. In the late 1940’s with the rise of bebop, UK musicians like saxophonists Johnny Dankworth (who was also famous for his Ellington interpretations) and Ronnie Scott, played bebop at their Club 11 in London, and later in the early 1960’s the much admired saxophonist Tubby Hayes toured in the States. Some British musicians like George Shearing and Victor Feldman moved to the US to work more. There was a British musician union’s ban on American musicians working in the UK, that was relaxed in the late 50’s. Ronnie Scott founded his jazz club in London in 1959 and set up a policy of exchange with American musicians. In the 1960’s prior to and after the Beatles, as musicians like Dizzy Reece influenced younger musicians, in a European movement toward ‘free jazz,’ fusion with rock players, and the influence of South African musicians in England, British jazz formed an identity of its own with different branches. Joe Harriott, a Jamaican sax player, developed ‘free form’ jazz in the UK. There is the ‘free’ jazz branch, the rock/rhythm and blues fusion branch, the bop branch, the Coltrane/Rollins branch. A number of musicians immigrating from South Africa also influenced British jazz. There is a solid jazz community in England and important musicians who have developed their own voices, though originally their playing evolved from US jazz. Organizations like the Jazz Centre Society started by Stan Tracey and Ian Carr in 1969, and Jazz Services Ltd., in other cities helped secure a foundation for jazz. A number of jazz clubs and restaurants and hotels with a jazz policy flourish. Jazz FM is the main radio station, and magazines like JazzWise, Jazz Journal and Jazz UK keep the jazz community informed. There are also some charity programs in the schools like Yamaha’s program to give instruments to poor neighborhood The Jazz Culture, VI:30
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schools. Certain universities and music colleges such as Guildhall have jazz studies. Barry Harris, an important educator and pianist, is an American bebop guru who gives annual seminars at the Pizza Express Dean Street on improvisation. Like jazz people everywhere, the British take their jazz seriously and work hard at expanding and maintaining the music’s influence. Whatever style of jazz will flourish in the UK, its distinctly British flavor with many distinctive artists forming the UK jazz community, firmly rooted both in the jazz culture of the country overlapping and cross fertilizing with the world jazz community. The Jazz Club Soho ofPizza Express has British as well as international groups and sponsors education programs for kids as well as advocating for the jazz community interests.
Ronnie Scott's Jazz Club opened in 1959 by Ronnie Scott, a saxophonist who brought US-UK jazz musicians together
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Renato D'Aiello at Ronnie Scott's Acoustic Jazz Mondays, R, Steve Taylor Big Band at 606
Steve Taylor's Big Band at the 606 in London, Foyle's Bookstore jazz, left, two swing dancers at Langham
JAZZ A RELIC?
October 12, 2012 issue of Atlantic Magazine, one of the leading trend setters in journalism, an article by Benjamin Schwarz, a literary critic,claimed the following: “…there is no reason to believe that jazz can be a living evolving art form, decades after its major source, and the source that linked it to the main currents of popular culture and sentiment—has dried up. Jazz, like the American Songbook, is a relic and as such, as Goia wishes for it, “an expansive and adaptive repertoire.” Ted Goia put out a book of 250 standards recently. Included in it are songs by Monk and Ellington, but not any songs written by other jazz composers since then, except for Antonio Jobim. Comment by Juini Booth: "Yes , it was thought that european music was to become as a relic but instead it became coined as classical ..With this in mind the word Jazz is like any other style of American music, if you do it well, one becomes unlimited but frozen In their expression. This is where all the music evolutionist (Coltrane) come in. They care not to be supportive of an out worn system that only reduces the right to survive as an individual ...More to come The Jazz Culture, VI:30
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JAZZ HERITAGE Louis Hayes, Drummer‐1937 Detroit
Louis Hayes with two young fans recently in ew York City
JC: You are from Detroit leading groups when you were 16? What was Detroit like at the time? Louis Hayes: Actually [I was] about 14 or 15. I was just playing the instrument with my friends. At school dances and on street parties, they’d block off a whole block, and in each other’s homes. When I first got a job at a club, it was a teenage club. One teenage club was the Club Sudan, and another was Tropicano, nestled there in Detroit. That’s how I formed a group: saxophone, bass, piano and drums. A quartet. Every place had a piano. Most kids played piano. Most homes had pianos. Before television and all that stuff. And in the schools, music departments were valid; all schools had music curriculums; they had instruments so the kids chose what instruments and you could take the instruments home. So a lot of kids played instruments in the neighborhoods. I had my father and 16
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mother, they had piano and drums there in the home. I played piano first, but I liked the drums, I had a feeling for playing that instrument, the way they sound and look, I gravitated towards the drums. JC: Your father played drums & piano and your mother the piano. Louis Hayes: Yes, all in the family. I have a brother Jerald and he played saxophone. Music was just something to keep my mind occupied. I liked sports and being a kid, so music just came into my life gradually over a period of time. As I grew up I played different jobs in Detroit and it gradually …coming up, who knows what’s going to happen. I just was doing things and people liked the way I played and the older musicians, much older guys and then the guys I really respected, like Kenny Burrell, Barry Harris and Elvin Jones. So many marvelous musicians in Detroit, they were at least ten years older than I was. I came to NY in 1956 ahead of some and same time as a lot of them. Horace Silver brought me here, he called and asked me to join his Band. JC: How did you learn how to play drums? In school? How did you practice? Louis Hayes: In Detroit I practiced in the basement on my set of drums. In NY that was more difficult living in an apt so I practiced on drum pads. That was the big difference. So I wouldn’t disturb people around me. JC: Did any professional take you under his wing and help you? Louis Hayes: I did have a practice set, a set up like a set, I know how to get to everything so it’s a matter of being creative and it works out okay. I have so many idols, but they’re really not drummers per se. Charlie Parker. Dizzy Gillespie, Bud, Duke, so many I can’t name them all. Everybody that can play well is an idol of mine. I like music, all kinds and my idols are not only musicians, writers, athletes, people that are… anything can happen to give you a good feeling, gives you an idea, makes you think a certain way. You’re playing while I’m playing. I might think of a The Jazz Culture, VI:30
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person. Creative people are my idols. Some people are not creative. All the different things you go through have an effect on you. JC: Could you tell me what your concept of the beat is? Louis Hayes: It’s a concept, depending on when you’re born and the artist you are involved with, direction you take, your influences. I happened to be born and the people I was listening to -- that’s the direction I chose to go in. I was born in 1937, so I was hearing those bells. Papa Jo was an artist born in his time and I came up functioning and being around my buddies. Our concept was the way it’s been and I was fortunate enough to have a lot of drummers that came along with me and after me and emulate what I do. That I must say is a good feeling. They admire you enough. JC: Do you hear it today from the younger drummers? Louis Hayes: You are the one that keeps everyone together. If the drummer is the pulsation, and the feeling it (the drums) makes it so that the rhythm lays the red carpet out for everyone -- to cruise down the red carpet and be able to express themselves. You have to depend on the drummer to keep everything together or it will come apart and no one will be able to function. What happens is, it’s me as a person -- you can’t get away from that. I was born at a time that this happened for me at this particular time. I am very happy and honored to hear all of these marvelous artists that came before me and are still living and those that are after me. JC: What bands do you work with now? Louis Hayes: I have the Louis Hayes Cannonball Legacy Band, and the Louis Hayes Jazz Communicators. I was just in Detroit. JC: You have worked with Cannonball Adderly, Junior Cook, Rene Mclean, both bebop and hard bop groups. Kenny Burrell, Curtis Fuller, Kenny Drew, John Coltrane, Yuseef Lateef, Horace Silver , Barry Harris, almost a Who’s Who of jazz. One of Barry Harris’ most admired recordings was The Jazz Workshop. 18
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Louis Hayes: I remember that we just played what we felt like playing, no rehearsal. We were the rhythm section with Cannonball’s band at that time. And we recorded with the Cannonball Adderly, the brothers Quintet and we also had the opportunity to record with the rhythm section --Barry, Sam and myself. I don’t remember rehearsing. It was about 1960 and it was a very important trio record. I did not have the information that that was Barry’s most influential. It was in San Francisco. And Barry has been a person I’ve admired for a lot of years and he was on my first recording, Louis Hayes Quintet. JC: Which are the favorite recordings? Louis Hayes: I don’t have one. Too many. JC: When you came with Horace Silver, where did you live in NY? Louis Hayes: Alvin Hotel on 52nd Street. Birdland was right across the street. JC: You must have been in seventh heaven then. Louis Hayes: (Laughter) You’re right. JC: How has the scene changed? Louis Hayes: People have died, music has changed, the whole business has changed, constantly changing. It’s all changed. Yes. Across America and the world there were more clubs. JC: Did you spend most of your life on the road at that time. Louis Hayes: A lot of it. It was very enjoyable meeting people and being introduced in different parts of the world. This art form is existing and if you’re fortunate you can do it on a high level you can create and grow with. You’re doing exactly what you want to do. JC: Were you able to have a family life also? Louis Hayes: I’m not getting it into that, that’s my personal life, The Jazz Culture, VI:30
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but I have had a full life. JC: Do you teach privately? What is some of the advice you give to your students? Louis Hayes: I don’t like to teach. JC: So what you do is give advice to people? Louis Hayes: Yes. JC: For certain rare individuals and talents. Louis Hayes: Yes.
VILLAGE JAZZ CLUBS POST HURRICANE SANDY
Left, The Blue ote signage, Right, La Lanterna, Bar ext Door
The Blue Note was back in business as of Veteran's Day, 11/11; "We were closed for a week," said a staffer. "'Buika's' flight was cancelled from Spain. We had a lot of sold out shows, but there was no electricity." "The ice cream melted," added another staffer. right, at La Lanterna Bar Next Door, all was well, as the restaurant had its own generator, bartender Sebastian confided, and they were packed all week long, despite the fact that the streets were deserted and blackout conditions prevailed. There was no flooding on MacDougal Street.
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At Zinc, the bartender said, "We were closed for a week." Singer Christine Vaindirdis said, "I got cancelled." Hopefully business will pick up and she'll be back in the line-up.
At the 55 Bar, Kirby, a staffer, said they had played music without power since the Wednesday after the Storm, then with power since Saturday, but business is still slow
"The music will never die," said Vic Juris at the 55 Bar. Right, pianist Danny Mixon at the Garage said, "Music is a healing force. ow is the time when people need to come out and listen to some music." Someone must have heard him, because the Garage had a much bigger crowd this week than last. The Jazz Culture, VI:30
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Mitch holds up candle used to light up Small's and a $20 bill in other hand; David Coss, Music Manager of Garage, smiles as crowd comes back.
Above, Frank Levantino, Ray Gallon and Chris play at Arturo's during untroubled summer months
Lisa at Arturo's: We were closed [during Hurricane Sandy]. Monday we closed and we opened up on Saturday at 6 with a limited menu. Fortunately it was a Sunday and we didn't call in our orders for the week.Thank God it was on Sunday, or we would have lost...My brother put dry ice in the freezer and walk in boxes, and we did the best we could. There was no electricity and no heat.Very shocking. It just started to pick up on Friday.Otherwise, it was very slow. Even the streets were empty." 22 The Jazz Culture, VI:30
LET'S LINK Connie Mac amee, Singer, L, See Barry Harris.com both ofwhom missed Sandy completely
Dr. Frank Foster Photo:Brian McMillen
Dado Moroni
Dawn Hampton, L, John Watson, pianist: Photo: Max Garr The Jazz Culture, VI:30
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Clarence Banks, Count Basie Trombonist, Contact for Private Lessons, Clinics, Seminars or Tenor Saxophonist, Arranger and Conductor Eugene Ghee gigs 917-428-6746
Happy Birthday Marco Panascia, Bertha Hope and Russell Malone!
Subscribe Free to the Jazz Culture ewsletter on the website
Lionelle Hamanaka, Publisher
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http://thejazzculture.com. The Jazz Culture Newsletter has been seen in 33 countries around the world and across the United States. CopyrightŠ 2012, The Jazz Culture, Ltd. PO Box 20023 Park West Finance Sta, NY 10025, Tel: 646-312-7773. The mission of the Jazz Culture Newsletter is to draw the world jazz community together and help create a Jazz Renaissance.
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