The JAZZ CULTURE
The Jazz Life: THANKSGIVING by THE JAZZ FOUNDATION
Above, Rudy Lawless, drums, Bob Cunningham, bass, Zeke Mullins, piano, Mike Somaio, tenor sax while the line grows
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Party Time--Thanksgiving at Local 802 by The Jazz Foundation
by L. Hamanaka
Caught the jazz community of New York out for Thanksgiving Party at Local 802, sponsored by the Jazz Foundation. Fixings included turkey, stuffing, cornbread, cranberry sauce, sweet potato, macaroni and cheese, dessert (cheesecake or pie) and coffee. They were hosted by the Monday night session combo, including Rudy Lawless on drums, Zeke Mullins on piano, Bob Cunningham on bass and Mike Camiao on tenor saxophone. The group played “Soon” by George Gershwin, as an easy nostalgic swing, and “Night and Day,” at about 132=quarter note, in a mellow mood. For a while it seemed as if the volunteers outnumbered the guests, but by 7:30, the hall filled up with about 100 guests, lining up for a nice perk for the holiday.
L Staffers greet Ray Appleton, Right, Joe Petrucelli and servers
L, Jackie Williams arrives, and R, Michael Howell
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Thanksgiving by Jazz Foundation 1‐4 The Why of Good Nutrition
Above, guarder ofthe pies; below, Patience Higgins likes what he sees; right, Jazz Foundation staffers confer
by P. Moreo 5‐8 How To Be A Jazz Trumpet Player by Mark McGowan9‐12 Live in Beverly Hills, 11,15,20 Intro To British Jazz 12‐15 Jazz Heritage Louis Hayes 15‐21 Thanksgiving Photospread 22‐23
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Let's Link 24 info@thejazzculture.com JazzCulture © 2012
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L, Terrence Connoly walks in while R, Ya-ya talks up Ray Appleton
Marilyn sings "Like Someone in Love" and Right, azarene does his thing on ivories
L, the Connoly family arrives, R, Linda Hudson & Lil Phillps
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 4
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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 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:31
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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:31
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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:31
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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. Notes on "Live in Beverly Hills" CD Review
by L. Hamanaka Live in Beverly Hills, 2011, Resonance. Personnel: Dado Moroni, piano, Marco Panascia, bass, Peter Erskine, drums. Originally heard the beautiful track “Body and Soul” featuring Marco Panascia that was not used on this cd. This cd has 8 tracks. Three are by Dado Moroni, “Ghanian Village,” Nose Off” and “Jamal.” His songs are honest and very definite. “Ghanian Village,” with two basic sections, the first 16 bars of 6/4 and then an 8 bar section in 4/4, describes a village’s life, creating the future of the world after a turbulent past. And in a way, that is true; all of our destinies and meanings have to do with who is our village and how do we relate to them. The melody is pretty and simple, Dado Moroni ‘s solo celebratory with blue notes scattered; and seems like an evolution from the song forms of the 70’s jazz tunes. One feels swept away by the sound picture here painting a world we all want to be part of. He succeeds in writing a song without a tinge of pop culture, with a strong left hand presence; the drum solo is a tasty sparse contrast focusing on the toms. cont. p. 15
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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:31
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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.
Jazz Club Soho Pizza Express at 110 Dean Street, Right, Ronnie Scott's Jazz Club opened in 1959 by Ronnie Scott, a saxophonist who brought USUK jazz musicians together
Ronnie Scott's Acoustic Jazz, L, 606 Club, R, below, Foyle's Jazz & R,
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John Lewis’ “Django” was next the introduction like a classical piece, dramatic and impressionistic somewhat marcato. Then followed a kind of hip friendly tune, a slow bossa nova, with a French flavor as if we were following Django walk down the street at about 120=quarter note. There was some chordal melodicizing with a short drum solo after which it slowed to the original tempo and comes to a poetic close. Cont. from p. 11 cd review
“Where is Love” by Lionel Bart from “Oliver” at about 96 was next with a kind of crystal depiction of loneliness. Marco Panascia did a bass solo with his signature baritone sound and rich articulation, mainly on seconds, then opened up by Moroni with some harmonic extensions that created a widening series of concentric circles to an ending. “I Hear A Rhapsody” by Dick Gasparre, George Fragone and Jack Baker, followed at medium swing, quite extended. About finding one’s true passion, a groovy bop solo, first using surrounding notes, then with scalar runs and two note motifs, then three note triplets, and five note motifs with scalar runs, Mr. Moroni was always in the zone, his own sound, articulation and sometimes running 16 note passages and then reverting back to the melody. The short bass solo was well articulated. “Einbahnstrasse” means one way street in German, it’s by Ron Carter. It’s a kind of hip, fast modern piece about life on a one way street, I guess. Mr. Moroni used the pentatonic, whole tone thoughts and showed his ability to use a diverse harmonic pallette with excellent drumming by Mr. Erskine. “Vitta Na Crozza” is a Sicilian song by Domenica Modugno, with a humble charming melody. This recognition of the underlying simplicity of life where the drummer played brushes, at about 106=quarter note had the appeal of innocence and lack of sophistication. Cont. p. 20 The Jazz Culture, VI:31
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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:31
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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:31
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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. Cont. from p.15, cd review
“Jamal” in homage to Ahmad Jamal, was a multilayered portrait, very modern, personal, with a dazzling left hand interlude, the bass repeating a three note motif which becomes a lilting swinging piece, carefree and positive. Interestingly, the solo has a few notes and switches from right to left hand ideas. Mr.Moroni has a talent for capturing a place or person or situation aptly. He and Marco Panascia have a strong connection on this cd. Peter Erskine is very effective and his sound is a nice contrast to Mr. Moroni’s. Dado Moroni lived in the U.S. for about ten years and now returns to the United States several times a year, and Marco Panascia lives in New York City. See Google for Dado Moroni
and Facebook for Marco Panascia. 20
Dado Moroni in Y
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Thanksgiving Photospread from Local 802 The Jazz Foundation Party
Terrence Connoly listening to combo
Jazz journalist, unknown, waits on line
Flautist takes a turn at mike, L, Right, student and Barry Harris share light moment
L, singer does "Little Sunflower" by Freddie Hubbard; coincidentally, Bob Cunningham onstage was on that record; R, someone loves "Little Sunflower" vibe; trumpet player talks to Zeke Mullins about song
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L, Danny Mixon meets blues singer from Atlanta with high top; and R, the line for food gains popularity
L, teacher and student confer; R, singer swings the band; L, latecomers wait on line; Leroy Williams makes point to Philip; Bertha Hope in fancy beret; Rene McLean
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LET'S LINK Connie Mac amee, Singer, L, See Barry Harris.com both ofwhom missed Sandy completely
Dr. Frank Foster Photo:Brian McMillen
Cecil Bridgewater
Dawn Hampton, L, John Watson, pianist: Photo: Max Garr The Jazz Culture, VI:31
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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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