The JAZZ CULTURE
10th Anniversary of Jazz for Kids at the Jazz Standard, with David O'Rourke, Director (in suit), below Johnny O' eal at Smoke; Paul Siviki, bass & Sam Miller, drums.
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REVIEW JAZZ FOR KIDS
Caught “Jazz for Kids” 2-3 on Sunday, October21, at the Jazz Standard, 116 East 27th Street between Lexington and Park Avenue. The 10th Anniversary of Jazz for Kids at The Jazz Standard celebrated kids playing jazz got a spirited start on Sunday, October21, 2012. An eight year old prodigy on the drums wowed the crowd with his swinging beat and solo. A free program for kids from New York, New Jersey or Connecticut who digs jazz, the afternoon saw kids playing for kids (and their parents) as toddlers, kindergartners and even a crawling baby listened awestruck. “This is a great program,” said Matt Martinez, an alto sax player who started at 13 and is now 16. “I play with people every week.” Erol Danon, a pianist and graduate who now attends the University of Pennsylvania, said, “Every Sunday I showcased what I could do, networking, making jazz friends to go to shows and clubs with, going to the master class with great artists. I love music very much. Most of the kids do want to be pros and this is a very good tool.” That Sunday, the jazz kids played songs like Wayne Shorter’s “Fee Fi Fo Fum,” “Round Midnight” and “I Mean You,” by Thelonius Monk, “Tenor Madness,” by Sonny Rollins, and “Billie’s Bounce” by Charlie Parker. In a one hour set, six different combos (from quartet to nonet) played. The rhythm sections were all good and the kids played in tune, some solos were very good, the players covering the changes on difficult tunes. James Polsky, who was the General Manager ten years ago, collaborated with Mark Maynard-Parisi, now a partner at the jazz 2
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club. Its first incarnation took place 14 years ago, but as a full blown program, it celebrates its 10th anniversary in 2012. At the “Jazz for Kids” ensemble, kids play for kids. Toddlers and kindergarten kids watched awe-struck on the first Sunday of their season, and a baby crawled down the ramp into the main room (under the watchful eye of its parents). On an annual basis, Reviews 1‐6 30-35 kids from New York Intro To British Jazz 7‐8 City, Connecticut, and New How To Be A Jazz Trumpet Jersey take part, for no fee, Player because the sponsors did not by Mark McGowan9‐14 want money to be an obstacle. Jazz Heritage Louis Hayes 15‐21 Meanwhile, kids in the audience watch wide-eyed as other kids, some of whom are close in age and size, blow, pluck, and jam away.
Village Clubs After Hurricane Sandy Photojournal 22‐23 Let's Link 24 info@thejazzculture.com JazzCulture © 2012
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Jazz for Kids Director D avid O’Rourke has a populist philosophy that seems to wear well with the Jazz Kids, as most of them are teenagers. “If you trust them to make the right decisions and guide them, they run the show and ensemble. I don’t conduct them unless there’s a brand new arrangement. When my first son was born, 6 years ago, I got a DVD together [of the performers], they [the Jazz Kids] put a show together. “There’s also a part time person who helps with other part of our program, said Mr. O’Rourke. “There’s another part of our program where we have schoolchildren come in for a field trip. They get to hear live jazz, a professional band that’s hired. Because it’s happening during the week. We can’t get the schools from their kids to play…We meet every Sunday in the school year. They’re off for Christmas, holidays and Easter. The band – if they’re going away on vacation—they don’t usually tell you till they come back. “I’ve decided I will take out any kid. We’re going to hand out percussion instruments to the toddlers, to let them feel what music feels like when you’re right in the middle of where it’s being created. It sounds different there than anywhere else.” JC: What repertoire do you do? David O’Rourke: “Repertoire? [they just chose a] Wayne Shorter [“Fee-Fi-Fo-Fum”]. I’m starting this year as a request from musicians and parents [doing standards]. I do feel an obligation that they learn to play Count Basie, Duke Ellington, so I’ll take 50% of it, and they’ll take 50%. It’s a common complaint that the young kids, young musicians when they start looking for work-don’t know many tunes. I’ve survived by knowing a lot of songs. I came up in a generation where we didn’t have I Phone apps that have the changes of tunes on them. We had to commit them from memory. JC: How has this affected children academically? 4
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David O’Rourke: “I know there’s lots of studies that have shown what music can do. We are now actually for the first time ever, some of the parents who’ve helped me out, we’re getting the kids to sign a contract that they will keep their grades up in school. Some of them were scheduling rehearsals. And I feel it’s a responsibility of mine to make sure they take care of being fully well rounded people. That they’re respectful to parents, guardians. If they’re educated they’ll know how to read a contract. JC: What % of kids want to be musicians? David O’Rouke: “Between 80-90% who come through the program have already decided they want to make a life as a musician. " Successful graduates of “Jazz for Kids” include Danny Rivera, a Baritone saxophonist and arranger, who got his Masters at Manhattan School of Music, who has his own big band, has an arrangementt on Bobby Sanabria’s latest album; Davis Whitfield (pianist), Mark Whitfield’s son (guitarist) who played with Jazz for Kids from the time he was 11; he does gigs and he’s at Berkelee college on a Presidential scholarship. That Sunday David O’Rourke announced a Challenge grant related to the Grammies, where $5,000 was offered if the Jazz for Kids program could match the amount. Fund-raising lies ahead, and anyone who wants to contribute or is interested in joining can contact the Jazz for Kids Program at www.discoverjazz.org. Invite a Friend to Subscribe to The Jazz Culture Newsletter by signing on online at http://thejazzculture.com. Please send your comments, advice, criticisms and ideas to info@thejazzculture.com. Become a sponsor of The Jazz Culture Newsletter by sending an email to: info@thejazzculture.com.
Right, the audience at Jazz for Kids
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REVIEW Johnny O'Neal Trio by L. Hamanaka
Caught Johnny O’Neal at Smoke Saturday November 3, 2012 for his 12:30 a.m. gig with gracious service by Michael, the host; Mr. O'Neal had Sam Miller on drums, and Paul Siviki, bass. Johnny O’Neal also has a Sunday (most) night gig at Small’s at 9:30. Catch him while you can because he is one of the cream of the crop of singer-pianists in the jazz Johnny O' eal, Singer Pianist world, and he belongs on the world circuit. Mr. O’Neal kicked off with “Put on a Happy Face,” very apropos for NY at this time, at about 132=quarter note, using harmonic substitutions on turnarounds and occasionally in the body of the tune, hitting the upbeat and with a bebop influenced solo, very pretty, with lots of triplet figures and even some 16th note triplets that propelled the band forward, raising the specter of a city recovering from the disaster, with some blue notes on the last chorus building in intensity, floating rhythmic licks (1+) with the accent on the upbeat. The bass solo by Mr. Siviki at first picked up the simple two note lick, and expanded it to scalar thoughts. The song ended in a dramatic cascade of chords, with Sam Miller taking as solo on drums. Mr. O’Neal’s voice is a baritone-tenor, but he has raised his tessitura and now his mix tends to let the upper register dominate, and he winds up with a sound that has some falsetto in it, a lot of head voice, in other words he is mixing more from the top down. He resembles Nat King Cole in this respect, but the center of his tone is fatter. Sometimes this tone is spread a little too wide because of the sound technician. 6
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On “Born to be Blue” by Mel Torme, with an appropriately blue intro, doing the first chorus rubato, Mr. O’Neal singing bent notes, a tenor baritone using upper notes of the chord and a scalar fall. Mr. O’Neal can do what Sarah Vaughan did, outline the harmony with his voice. Sometimes he uses neighboring tones, sometimes he goes above the melody note and comes down to it, sometimes he fills in the scale notes between melody notes, to pretty effect. The trio took “Born to be Blue” into a bright waltz (160) tempo, soloing with an emphasis with swinging movement, which set a contract and prevented the crowd from dwelling on the melancholy, ending with a Tatum-like rhapsody slowing to a stride tempo, and picking up the tempo again, and then abruptly going back to a ballad tempo, wearing his emotions on his sleeve. His expressive ability is rare. Mr. O’Neal used a unique solution to transcription of solos. When he was learning from Art Tatum’s recordings, his solution to Mr. Tatum’s virtuosity was to double the speed, learn the solos at that speed, and then go back to the original. Many singer pianists who have done a lot of singles engage in a lot of tempo changes for variety, as their audience and format deem it a way to explore a song’s possibility unfettered by other players. A colorist who paints pictures of sound, Johnny O’Neal gave a long introduction to chill everyone out, “A House is Not a Home,” that led to “Good Life,” with a long altered 7th run, and segued back to “A House Is Not a Home,” a frankly romantic pianist. Almost all of the time, Mr. O’Neal did not show off his virtuosity, but kept it subservient to the momentum of the piece. He then announced he would do “Hold On Tight,” a song by the innovative Betty Carter, and he had written a new introductory lyric in stop time and after singing the song, scatted, first very clearly and on the beat, inserting 16 note runs on the scale, using a loose tongue and trills, leading to a chordal solo on piano, and then inserting a Tatum-like run, ending with the warning, “Hold on tight! Hang on to her!” The bass solo became rhythmic at the end. The Jazz Culture, VI:29
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Declaring “I need a vacation from the Blues, I need a vacation from the Storm,” the trio set out on a slow blues (96= quarter note) in stop time, Mr. O’Neal showing the influence of Dinah Washington, phrasing with a cool attitude. He then stood up and sang without playing piano, with the bass and drums. It was a variety and nice contrast. The blues went on, “I’m tired of all Johnny O' eal at the Vanguard the aggravation, I’m ‘bout to change my situation…” He then doubled the tempo, and soloed on the piano. He plays a swinging piano with alert relaxation. He then did a left hand solo-without using the right hand and then some counterpoint with both hands. Then Mr. O’Neal broke into a stride and took it back to double time, trading choruses with Mr. Miller. He ended with authority, slowing back to the original tempo, sometimes speech singing with very good articulation on the lyrics, combining the right mix of vocal and instrumental jazz inflection, and sometimes plain wailing, showing he has studied the different types of blues singing. Mr. O’Neal went on to play Billy Reston’s “Hope I’m Born Again,” beginning with a quote from “Yesterdays,” using many blue notes interspersed with runs, and then segued to a bossa nova tempo, and then meandered into a rare chestnut, a torch song from the World War II era, when there were many lovelorn sailors and soldiers in bars. The audience was riveted and silent, paying attention to Mr. O’Neal’s authority as a performer. Though he is sometimes remiss in the editing department, he is a welcome relief from musicians and singers who never let themselves go, who only play what they 8
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practice; Mr. O’Neal is a delightful, distinctive musician and vocalist of note.
HOW TO EXPERT ADVICE
HOW TO BE A JAZZ TRUMPET PLAYER
by Mark McGowan
Mark McGowan before a concert
"Now there's a brilliant cat." -Barry Harris on Mark McGowan
The topic of this article is the development of a Jazz Trumpet player. Let’s break this down. 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 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 The Jazz Culture, VI:29
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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 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, 10
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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 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 The Jazz Culture, VI:29
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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. Part II next issue. See Mark McGowan on
A Short Intro to British Jazz
Google.com
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:29
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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
Steve Taylor's Big Band at the 606 in London, Foyle's Bookstore jazz, left, two swing dancers at Langham
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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:29
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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 eeps 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:29
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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.
GREENWICH VILLAGE JAZZ CLUBS PHOTOJOURNAL POST HURRICANE SANDY
"We were closed for about a week," said the guy at the door ofthe Village Vanguard. Left, 2 French musicians looking for jazz. Mitch of Small's holds up a candle in one hand used to light the club during the loss of power, and a $20 in the other hand.
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Musician has sandwich outside Small's after attending jam session. Right, the walls ofSmalls resonate with jazz greats.
"The city was shut down. It was pitch black around here," said Mitch of Small's. "These houses were sitting ducks. There are some very high profile people on this block. There were cops parked outside 24/7. They were breaking into houses, it was unsafe and drove away all the customers. We opened the club with candlelight," Mitch said, holding up a candle that a guy tried to charge him $14 for. "We put together local bands."
A musician emerges from Small's; folks play scrabble & audience awaiting jazz band a Fat Cat; entrance ofthe 55 Club."We had no electricity and couldn't run between Monday-Friday. We reopened yesterday," said Ben ofFat Cat.
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"The music will never die," said Vic Juris at the 55; right, Kirby said, "We had music, Wednesday-Friday. o ice, no power, no lights."
"I believe that from now on people will be more prepared when spoken to about a storm. [It's ]a good lesson. People need music who have been cooped up; to have natural things. Music is spiritual, healing," said Danny Mixon. "We didn't actually open up the Garage till yesterday," said Emily,the bartender, figuring out lost wages."It's been over a week and it's really slow." "It's usually very busy here," added David Cass, the Music Manager.
" We were closed for a week," said Agnes at Arthur's. "[Until] Saturday."
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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
Dado Moroni
Luciano Fabris & Roma Jazz Association, L John Watson, R The Jazz Culture, VI:29
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Clarence Banks, Count Basie Trombonist, Contact for Private Lessons, Clinics, Seminars or gigs 917-428-6746
Eugene Ghee, Tenor Saxophonist
Two pianists, Harold Danko & Bertha Hope
Kim Clarke, bassist. Have bass will travel 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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