The JAZZ CULTURE
Barry Harris at 2012 Roma Jazz Workshop Association
The Jazz Culture, VI:24
1
Left: Andrea Papini, Right: Vince Benedetti, Richard Clements, below, Right, Fausto Ferraiuolo Concertize at the Rome Jazz Association
2
The Jazz Culture, VI:24
REPORT on ROME CONCERT of Barry Harris
By Connie McNamee
Barry Harris’ appearance at the Felt Club in Rome was the big concert at the culmination of the fall workshop, September 21, 2012. The Roma Jazz Association sponsors a series of workshops, jam sessions and concerts in the Fall and Spring of each year.
Repor & Reviews 1‐6, 1 5-1 7 Adriano Mazzoletti on Italian Jazz 7‐15 How To Direct a Jazz Improv by H. Danko 18‐20 Jazz Heritage 21‐25 Wilburr Ware by G. Ware Rome Photojournal 26‐27 Let's Link 28 info@newyorkjazzproject.com info@thejazzculture.com JazzCulture © 2012
The evening began with the solo guitar of David Friedman, an American based in England who runs the London workshop earlier in the summer. The melody he stated, a Barry Harris original called "Road to Gary," was taken up by the student vocalists (from their various seats) and served as the entrance anthem for the trio: Luca Pisani on bass, Oreste Soldano on drums, and, of course, Barry Harris on piano. They started right off with a good-natured version of "Like Someone In Love." Dr. Harris has a particularly inspired way of dealing with the descending chords in the body of the song which resembles "falling happily down the stairs." "I Want To Be Happy" followed, picking up the tempo, then a trio of beauties that brought to mind an afternoon ballet class with Chopin playing, except IT started with a Harris original waltz, "To Duke, With Love," written on the occasion of Ellington's death, in a medley with "Prelude to a Kiss" from Ellington himself. Barry Harris was then moved to play "Lotus Blossom," by Duke's collaborator, Billy Strayhorn--a tune well loved and often played The Jazz Culture, VI:24
3
by Frans Elsen, one of Barry Harris's closest musical "brothers," who passed away last year. Just as the mood was becoming almost too deep and personal, Barry broke it up by narrating a romantic tale that he was clearly making up on the spot, in order to form some cohesion between the song titles. It was totally goofus, and was translated into Italian by stalwart friend and pianist Andrea Papini, who had been the translator for the classes. The first song illustrating the romantic story line was "My Heart Stood Still," then "Barbados," a tropical line on blues changes that was played at a magical tempo. As the story progressed, the happy couple had so many children that the husband volunteered to carry the next fetuses in his own body. He gave birth to octuplets, "delivered by Caesarean section, of course." The next song was "I'll Keep Loving You," a valentine festooned with ornamental curlicues, then "There Will Never Be Another You," with quotations from "Cocktails For Two," and, surprisingly, "Mairsy Doats," to end the first set. After a convivial intermission, Barry Harris opened with the lyrical "She," dedicated to all the ladies in the audience. He followed with "Sweet And Lovely," confounding the bass player with the unusual Thelonious Monk changes. Back to the story line for "All God's Children Got Rhythm" and a similar sounding song called, "I Left My Heart at the Stage Door Canteen," then came the Matt Dennis classic, "Everything Happens to Me," backed up by a "Sweet Georgia Brown" that referenced "Poinciana." A very self-possessed young woman sang "A Time for Love." It was Elisa Tronti, a vocal student who started coming to the workshops four years ago, when she was ten. The end game approached and Barry Harris sang his original vocalese, words and music, on "Embraceable You," which he calls "Embarryharrisable You." At this point, some student 4 The Jazz Culture, VI:24
musicians were called up to the stage, including myself, Connie McNamee. Singing the song with him is an honor usually bestowed upon Sonia Cavalleri, who was a no-show for the first time in fifteen years. There were three pianists: Vince Benedetti, a dear old friend and teacher who lives in Switzerland; New Yorker Richard Clemmons, and young Nobuo Watanabe from Tokyo. There were two guitarists: Israeli Ofer Landesberg and London's David Friedman again. Dominic----from Naples was on drums, and a first-time local student, Giuseppe Romagnoli, played bass. Everyone rose to the occasion wonderfully. They all stayed onstage to play "Wee Dot," a fast blues composed by J.J. Johnson that was sung by the student vocalists, again from their seats. Then came "Tea For Two." Finally it was time to hit the theme, "Nascimento," a Barry Harris original, as all the people clapped in time, some sang, many even danced. Tearful smiles and hugs as another workshop came to an end. REVIEWS of Three Italian Pianists in Rome: Andrea Papini, Fausto Ferraiuolo, & Vince Benedetti
by Doodlebug The Bear went over the mountain to see what she could see at the Rome Jazz Association, and caught Andrea Papini, Pianist featured at the Felt Club on September 17. The concert was produced by President Anna Pantuso, assisted by Anna Pantuso, Luciano Fabris in Rome. President ofRoma Jazz Association Mr. Papini played with Oreste Soldano, drums, and an unknown handsome bassist sporting a goatee. Mr Papini was notable for his fluency in bebop and for staying close to his heart. Mr. Papini kept the flame alive with The Jazz Culture, VI:24
5
vivacity and an original sound (close to the sound of a Mason Hamlin, but on a Petrossian). Among the songs Mr. Papini played were “Barbados,” a Bird blues played as a calypso, (155=quarter note). He swung, and was full of surprising ideas Andrea Papini & icoletta starting with a three note motif Mazzollett on alto and scalar lines. Mr. Papini played “I Should Care” sensitively, with knowledge of the lyrics, and knows how to play a melody as if he were singing it, and accented the important notes, at 72=quarter note. Mr. Papini chose “On A Misty Night,” by Tad Dameron, a rarely played tune, and displayed exquisite taste and good articulation on long lines, starting with a four note motif that he then expanded. On “Broadway,” Nicoletti Manzini sat in on alto, quoting from Bird fluently with a lovely tone. Then Mr. Papini played “Dig” (on Sweet Georgia Brown) and revealed his talent at building interesting and complex lines. The bassist played light skipping lines in his solo with good articulation. The Drummer Mr. Soldano had a crisp swinging sound on drums. Following this, an interesting bass solo played close to the melody. Fausto Ferraiuolo, Pianist, was featured on Tuesday night September 18, with Oreste Soldano on drums and Luca Pisani on bass. This writer stepped in on them playing “This is the End of a Beautiful Friendship,” where the pianist showed his lyric gift by voicing with crystal transparency the colors of spring and fall a a medium swing (138= quarter note). Luca Pisani, an excellent bassist with his own sound, started his solo on a four note motif and exchanged 8’s with the drummer, Mr. Soldano, who was always supportive and enthusiastic. Pianist played fanciful variations before restating theme and ascending on triplets to the finale. Next was “Everything I Love” with beautiful flower like chord under the melody played as a ballad. Cont. p. 1 5
6
The Jazz Culture, VI:24
EDUCATION FEATURE:
Adriano Mazzolletti on Italian Jazz & The Encyclopedia ofJazz
105 ofAndriano Mazzolletti's collaborators on the Four Volume Encyclopedia ofJazz
September 19, 2012
Pub. Note: Adriano Mazzoletti has been one of the key people in the history of jazz in the past century who produced, expanded the audience of jazz and helped jazz artists get heard. Adriano Mazzoletti was the head of the European Broadcasting Union (the union of all public radio stations in Europe) for the Jazz Section for 25 years (from about 1960 to 1990). He oversaw the spread of jazz and its cross pollination in many countries. When he was 19 he organized a concert with Louis Armstrong's All Stars. He produced thousands of concerts, more than 100 records, including those of his company Riviera Jazz Records. He wrote the definitive (according to Leonard Feather) Encyclopedia of Jazz, and brought to light the history of Italian jazz in three books soon to become four. Thus Adriano Mazzoletti made a great, enduring contribution to the world jazz community and culture. Andriano Mazzoletti in his own words: “My father is from Genoa, my mother is from Sicily. I was born in Genoa, with a brother who studied in the States in his youth. I studied clarinet and piano, but I played the drums. At that time in Italy they did not have music in 7 The Jazz Culture, VI:24
the schools. When I was 7 or 8 years old, I heard on the radio a music that I liked very much, but I didn't know what it was. I found out later it was jazz. I discovered this music. I liked it very much; many Adriano Mazzolletti, a major figure in the world bands, the Tommy jazz community, holds a record he produced of American jazz artists Dorsey Band, the Duke Ellington Orchestra, Benny Goodman and many Italian bands. At the time, Italian radio had house bands with a little bit of commercial sponsorship. RAI-- would pay the band. They played very, very good jazz with arrangements from American records and [also] written by Italians. “My father played piano and my grandfather played the flute, they played written music. Every Sunday afternoon, my grandparents played at home classical music for their friends. When I was 11 or 12 I studied classical piano although I was not interested in classical music--I was into jazz. I would ask my teacher, what chord is this, but he knew nothing. Afterwards I studied clarinet--I played a little, but after I played only drums, but never professionally. “Later, beginning in the '50's, in night clubs and bars, all the bands played jazz, because jazz was the only music for dancing. The bands played solos and improvised, sometimes played a tango or waltz, but all the time played jazz, in America and Europe. “But in 1965 (rock and roll format of)--two guitars, drums and bass--finito jazz! No trumpet, saxophones, (no horns)--finito! 8 The Jazz Culture, VI:24
JC: What percentage of people now like jazz? Adriano Mazzoletti: “In Italy, the word "jazz" is well known but often used improperly: it is used to publicize concerts which in effect are not concerts of jazz or to publicize the most different items: cars, perfumes, after shave...even a bath tub! People say 'I love jazz' and many go to festivals. But a small percentage of them buy records, magazines, books. They go to the festivals just to meet people or they go when there are the big names and the concert becomes an event not to be missed. But nowdays the well known musicians left are few (Ornette Colemam, Keith Jarrett, Sonny Rollins, Chick Corea, Wynton Marsalis, Herbie Hancock, Brad Mehldau a.s.o.) so the big festivals like Umbria Jazz, in order to create an event by all means, are able to invite Elton John or other rock stars. This is the problem today. “Nevertheless, there are many youngsters who are willing to study jazz and to play an instrument. There are four schools in Rome, among them the Saint Louis College (where I teach) or the Felt Club. JC: When did you start producing jazz? Adriano Mazzoletti: “I began working in radio when I was 20 and stopped when I was 65. Musicians at the Felt Club in Rome Music and show biz-mainly taking Barry Harris' class in improv jazz. Now I live in Rome; when I stayed in Perugia I organized in the fifties the first jazz concert with Louis Armstrong at Teatro Morlacchi. I organized the Hot Club of Perugia, and after we presented Chet Baker and some other French and Italian musicians. In the same time I had an idea: to organize a jazz festival around the whole region of Umbria. The administration of the city was very much interested; it was very important for tourism. Perugia is the capitol of the The Jazz Culture, VI:24
9
Umbria region. When I left Perugia to go to Rome, after two or three years, Carlo Pagnotta, the producer who made of Umbria Jazz a great festival, took it over. JC: Who publishes your books? Adriano Mazzoletti: “EDT of Turin, which is known for classical music and jazz. They have published also the books of Gunther Schuller. JC: Can you tell me more about the Encyclopedia you have Mr. Mazzolletti holds two of directed and the EBU Union? his books on Italian jazz Adriano Mazzoletti: “With the Encyclopedia of Jazz, (1991-92), there were attached 100 recordings. For 25 years, I was the President of the Jazz and Light Music Section of the European Broadcasting Union, union of all public radios and also Canada. Every year 2 or 3 events took place, the most important jazz artists of each country were featured at concerts by their national radio organization. Every radio (from each country) sent a soloist, the most important, to a concert. They were asked to compose, to write music, and every year the composers wrote for big bands-five, trumpets, five trombones, a really big band. Part 2, each soloist was featured in a small combo. The EBU also sponsored jazz festivals and every country sent groups. I sent many musicians, for example, Gian Luigi Trovesi, a very important musician, I sent him to play in France, Finland, Austria, and people began to know him and to invite him at jazz concerts and festival in all Europe. In my third book about Italian jazz, the last chapter is devoted to the EBU. It's the first time that a book about that important period for jazz is being written. For Italian radio I organized live concerts for 15 years. On that period I invited many European, Italian and American musicians like 10 The Jazz Culture, VI:24
Dexter Gordon, Lionel Hampton, Ornette Coleman and many, many others. Also I had a radio jazz show for 2- years, from 9-12 p.m., where all the musicians played live. JC: How did find the time to do all this? Adriano Mazzolletti: “For me, work is not a problem. I like to work, very much. Now, e.g., I am teaching at the College of Saint Louis in Rome, a social history of jazz, I am writing new books and I'm making a radio program.
Mr. Mazzolletti shows one Volume ofthe Encyclopedia of Jazz
JC: What was the situation of jazz in the past? Adriano Mazzolletti: “When I speak of Italian jazz, I explain the reason why Italian jazz for 20 or 30 years, was not as popular as jazz in France, because for twenty years we had fascism. [According to] the ideology of fascism, Italy had to be the center of the culture in every aspect: music, literature, architecture, a,s,o. As Jazz was not Italian but American, it was not accepted. Fascism did not like jazz or other musics from other countries. In Germany the situation was the same. They did not like Jews, because the master race was German. Anyway it is important to say that fascism did not forbid jazz. At a certain moment, when in 1935 Mussolini made war in Africa, the Fascism forbade songs in English or to play music of English authors. In 1938 it was forbidden to play any work, music or theatre piece written by Jews because of the horrible racial laws. In 1941 when Italy declared war to the United States, it was forbidden to play compositions written by Americans. But in none of these State decisions was the word Jazz mentioned. In fact from 1942-43 Italian jazz musicians recorded and played jazz. They played, for example, “Stompin at 11 The Jazz Culture, VI:24
the Savoy,” and the title was translated into Italian and they changed the name of the composer. 'Honeysuckle Rose' became 'Pepe sulle Rose' and the author was not Fats Waller but an Italian. So Italian composers got royalties for this political stupidity. JC: When did jazz in Italy start? Adriano Mazzolletti: “After the end of the First World War, syncopated music arrived in all Europe and also in Italy. Immediately small groups and musicians interested in this music started to appear, all over in Rome, Genoa and Milan. The first musicians were the banjo player Vittorio Spina and Michele Ortuso, the violin player Cesare Galli and Agostino Valdambrini, the drummer Arturo Agazzi called Mirador and pianist Amedeo Escobar who was a close friend with Giacomo Puccini. “Do you know Puccini? JC: Yes. Adriano Mazzolletti: “Every night he went to hear the jazz band of Escobar who composed 'Nervous Day'. JC: How many songs did he write? Adriano Mazzolletti: “A lot. JC: Why were you so interested in Italian jazz? Adriano Mazzoletti: “I realized that Italian music was good as good as the jazz played in other countries. None of the Italian magazines had a story about this. I made research, and then I began to write a book. But nobody knew then -- the records Mr. Mazzolletti spent years on researching were old. [So] I decided organize a little record company, “Riviera Jazz Records,” to jazz in the US, Italy, and other countries publish old Italian records of these The Jazz Culture, VI:24 12
The famous Trio Vocale Lescani and other stars of Italian jazz available on Riviera Jazz
musicians. We made 18 records of Italian jazz from 1920-1950. During the war all masters of the 78 rpm were destroyed. I found commercial records but the sound was no good. Each time, I went to Paris and found good engineers. “[For example] Gorni Kramer born 1911, was famous, not as an accordionist, but as a band director, composer of pop songs Few fans remembered him as an accordionist from the 1930's. After doing some research, I found vintage old 78 rpm. Fantastic! I heard these records and thought, it is incredible ... in 1935 nobody played accordion in that style. Kramer was the only accordion player who did solo artistic work. “When I began to write the book on Italian jazz, I was always interested in American jazz but also in European jazz . Stéphane Grappelli was a very close friend of mine. In 1957 he came to Rome to play piano in a hotel. Django died in 1953 and when he died, Stéphane did not want to play with a rhythm section. He liked to play piano and played at the hotel lounges. One day a French friend called me to meet Stéphane Grappelli at his home. Armando Trovajoli, a very good pianist loved Stéphane and Django. I asked him, "Do you want to play a radio concert?" Trovajoli wrote the arrangements in two days. Stéphane played the violin--all the people were very enthusiastic. From that time, according to the words of Stéphane, he returned to play mostly the violin. Perhaps not everybody knows that Stéphane was of Italian 13 The Jazz Culture, VI:24
origin. Adriano Mazzolletti: “When Dizzy died, I was in San Antonio, invited by the IAJE to give a conference of Italian jazz. Joe Venuti, Joe Albany, one of the first bop players, Eddie Lang, Nick La Rocca, about the contribution of Italian-Americans to jazz. I wrote two books of biographies of American musicians who came to Italy, including Frank Guarente and Arthur Briggs two trumpet players, the first American jazz musician to come to Europe. Pub. Note: [Mr. Mazzoletti] then picked up a book of drawings, original drawings from France bound in a special volume given to him by André Clergeat. Drawings of people like Django Reinhardt and other important French and American musicians. The author is Charles Delaunay, the most important organizer of jazz in France for 40 years, he was… “the son of Robert Delaunay, an important painter around 1890,” Mr. Mazzolletti said. Mr. Mazzoletti then shared photographs of himself at 19 when he produced a concert with Louis Armstrong, one with Miles, Stéphane Grappelli and him at the Pompei Festival where he produced concerts from 1980-1992, and one photo of him with Dizzy. He invested a lot of his personal fortune in producing records and concerts. Two of the Riviera Jazz Company's cds covering Jazz in Italy from 1930-40
14
The Jazz Culture, VI:24
JC: Could you name the Italian jazz artists you consider the best? Andriano Mazzolletti: “Dado Moroni is one of the best in European jazz. Some others are: Rossano Sportiello, piano, Giorgio Cusciito, piano, Fabiano Pellini, baritone. These people play in the mainstream style . Other musicians like the new idiom. A month ago the Jazz Festival at Marseille invited me to do a conference, and Paolo Fresu was there. He began his career in Sardinia and for his 50th birthday, organized 50 concerts in 50 days in Sardinia. Besides Paolo Fresu, trumpet, the excellent Italian jazz musicians are, in my opinion, Flavio Boltro, trumpet; Rosario Guiliani and Francesco Bearzatti, Maurizio Giammarco sax; Gianluigi Trovesi bass clarinet, Stefano Bollani, Enrico Pieranunzi and Danilo Rea, piano, Rosario Bonaccorso and Enzo Pietropaoli, bass, Antonello Salis and Gianni Coscia, accordion. Anyway there many other very good musicians, all the Italian jazz is of high level, they play everywhere in the world. JC Note: Adriano Mazzoletti is now writing his third book on Italian jazz, from 1968 to today. To inquire about Mr. Mazzolletti's Riviera Jazz Records or his books, please email: info@thejazzculture.com
Bassist, the first soloist played dynamically with wide intervals using the idea 1+2, 1+2, accenting upbeats in the lower middle register. Pianist used some whole tone extensions accenting the + of 2 with dramatic chords, and interspersing chords in a scalar pattern and ending in Spanish sounding triplets leading to an upward crescendo. “Prelude to a Kiss” followed with an evocative weaving of melodic inversions hiding chromatic harmony in a pastoral arrangement of sound Ellington would have liked, with sensitive counterpoint by bassist. “I Remember You,” the Vernon Duke song was next at 144=quarter note, with scalar ideas accenting higher notes of the chord; a 6 note motif modulated through keys and the trio traded 8s with drummer. “Pannonica” by Monk was beautifully realized by using simple counterpoint with Cont. from p.6
The Jazz Culture, VI:24
15
chord clusters at turning points. Drums played brushes. Piano did some rolls, crunches and glisses in a poetic rendition. The bass did pretty counterpoint on out chorus. The bass solo showed originality and quoted from Robin's Nest. Mr. Ferraiuolo showed off his original, “Quiet Now,” played as a ballad a pretty well voiced song in a simple arrangement with ascension on whole tone scale chords with sensitive counterpoint by Mr. Pisani on bass. Vince Benedetti played “Sophisticated Lady” (Duke Ellington) with Luca Pisani and Oreste Soldano, drums, a portrait in chromatics with prettily voiced chords like baubles strung on a necklace of music. He played “Mohawk,” a blues by Bird, at about 138=quarter note. Floating and swinging through some 16 note lines, playing the bebop language easily, with grace and intimate knowledge. The bass solo switched registers using triplets, making statements with good articulation. The trio then traded 4s. Before playing “Lolita,” he paid homage to Barry Harris by playing his tune at about 143=quarter note. Mr. Benedetti made the song exciting depicting an adventurous romantic attraction creating a tapestry amplified through a simple melody. Bassist Pisani sounded classically informed as he easily morphs within a song to contrasting tempos and moods. The pianist then traded 4s and sprinted up the keyboard expressing surprise and delight of a man confronted by a Lolita. On “Dexterity” by Bird, (rarely played) at about 168=quarter note. Mr. Benedetti delighted Bird lovers by showing advanced bird vocabulary grasp and inserted rolls, blues licks and triplets, and quoted John Lewis's “Afternoon in Paris,” sometimes using a double fisted technique and satisfying the enthusiastic crowd of bop lovers. At the Felt club in Rome, Italy, The Jazz Workshop Association (President Anna Pantuso and assisted by Luciano Fabris) produced concerts, workshops and jam sessions and showed jazz is a world music, for musicians from many countries gathered to pursue their mastery over the art form. A number of famous and emerging talents came from France, Spain, England, 16 The Jazz Culture, VI:24
Japan, Italy, Switzerland, the US, to focus from Monday, September 17 to Friday September 21, on improvisatory, singing, and piano workshops led by Jazz Master Dr. Barry Harris. There was also a concert obuo Watanabe & Claudio featuring Richard Clements Ottavino from New York that Doodlebug could not attend for business reasons. Mr. Clements is one of the few pianists of his generation that has carved his own immediately recognizable sound. At night, there were concerts followed by jam sessions where new, young, and mature artists with a lot of experience dived in. The following are a few examples: Nobuo Watanabe, a pianist with a lyric gift obviously married to his instrument, played with Pierluigi, a sensitive and responsive drummer and Claudio Ottaviano on bass, Roger Crosland on Tenor sax from the UK on “What is This Thing Called Love?” Then Richard Clements from the US stepped in on “Taking a Chance on Love” and “Just in Time”, with his singular sound and warmth, e.g. on “Just in Time” using the song's orientation to the interval of a second to his advantage by widening the intervals, arpeggiating chords and playing his musical identity. Luciano Fabris, pianist, played well in his accompaniment of the singer Hiromi on “Body & Soul.” Hiromi was emotionally forthright with a pretty sound. Mr. Fabris then expanded his horizons on the blues “Billie's Bounce,” playing a passionate and intricate rendering using the chromatic passing tones and bebop sound in well articulated phrases.The musicians were exhausted, enchanted and fulfilled after their week of a busman's holiday in Rome, making new friends and enjoying the scenery and the hospitality of Italian people. To checkout the Roma Jazz Association, please contact: Annapantuso@hotmail.com The Jazz Culture, VI:24 17
HOW TO-EXPERT ADVICE Improvising Composer/Composing Improviser-Part II
By HAROLD DANKO
“You don’t learn to improvise, you improvise to learn.” HD “Jazz music is characterized by improvisation and further defined by repertoire.” HD The premise of my “Improvising Composer/ Composing Improviser” Harold Danko workshops and classes is a Photo: Julia Radschiner product of almost five decades of performing, teaching, and composing. I feel strongly that improvisation is a natural tendency if it is not impeded by one’s education, and I have always been an improviser, in music as well as life. Years ago I made the statement “You don’t learn to improvise; you improvise to learn.” in a magazine interview, and this idea continues to motivate my personal and public educational efforts. My current teaching methods bring this to the forefront by using my own works to facilitate the integration of improvising and composing into performance practice. My book, The Illustrated Keyboard Series, maps out basic patterns of scale usage, and many of my own compositions are used as examples of how this process unfolds. Reprints of my published articles from Keyboard Magazine help to clarify and expand the concepts 18 The Jazz Culture, VI:24
presented. In my teaching I have compiled many checklists to structure and facilitate individual learning, and “Strategies for Improvisation” is a short list of important skills and content that I developed specifically for this course in order to encourage discussion as well as individual exploration. In 2011 during a semester-long pilot course at the Eastman School of Music in Rochester, NY, with the original title “The Composer as Improviser/Improviser as Composer” I came to see in no uncertain terms that for me improvising leads to composing and the resulting compositions then provide even further exploratory opportunities for improvisation. Thus my course title was simplified to “The Improviser as Composer” and can take on several formats, based on the level of participants and time allotted. In a college level course of one semester’s length (14 weekly meetings) we explore historic aspects of improvisation in western classical, ethnic/world, popular, and jazz styles and analyze works from all genres as to content, performance practices, and possible interrelationships. Depending on the background of students, performance demonstrations and even ad-hoc ensembles can become a part of the course structure. Examples from masters in all styles, my own works, and most importantly the works of students in the class, make the processes relevant to all. Research papers and performance/analysis of original music are also assigned. Students will explore the relationship of improvisation and composition in a variety of musical styles. Topics will include jazz improvisation and theory as it relates to its history, and an examination of the works and methodology employed by the instructor, Harold Danko, in research, study, practice routines, improvising, composing, rehearsals, live performance, and studio recording. Student projects will include composition and performances/presentations of at least two short pieces and a midThe Jazz Culture, VI:24
19
term paper to be revised during the remainder of the semester and due at the final class. Attendance, preparation and active classroom contribution are expected throughout the course. I Discussion of the role of improvisation/composition throughout history in various music genres as it relates to members of the class and the instructor; variation principle; recreation vs. formal disciplines; performance practices, with examples from western classical, jazz, popular, and world musics; group and solo improvisation; Concepts/Process/Results. Traditions and Innovations. II “Strategies for Improvising” – discussion. Strategies for Improvising for the Composing Improviser/Improvising Composer By Harold Danko. General principles. See Harold Danko on ggogle.com
Jay Anderson, bass, JeffHirschfield, drums, Harold Danko, piano on Unriched
20
The Jazz Culture, VI:24
JAZZ HERITAGE
Gloria Ware’s on “Remembering Wilbur Ware”
Pub. Note: Wilbur Ware, bassist born September 8, 1923, in Chicago and died September 9, 1979 in Philadelphia. He died at the age of 56 of emphysema and according to Gloria Ware, Mr. Ware had previously suffered from tuberculosis and COPD. Wilbur Ware was famous for his dynamic, innovative style of bass playing, with rhythmic variety, sticking to the bottom register of his instrument, playing daring intervals in a breakthrough style. He taught himself banjo and bass, and was Mrs. Gloria Ware a veteran of World War II. Mr. Ware worked with Thelonious Monk from 1957-58. Mr. Ware played with Sonny Rollins on “Live at the Village Vanguard.” In Chicago he played with Johnnie Griffin, Stuff Smith and Junior Mance, among others. He worked with John Coltrane, Ernie Henry, Kenny Drew, Zoot Sims, Kenny Dorham and Matthew Gee and many others. In 1969 he worked with Elvin Jones and Archie Shepp. “Chicago Sound” was his sole recording as a leader. To learn more about donors and contributors, including Sonny Rollins, please visit the WilburWareInstitute.org website. Gloria Ware: “Since this concert was produced without sponsors or grants, we will attempt to cover production costs. Our primary aims were to present a world-class event and to gain public attention for our reorganized nonprofit, and I think we were successful. We want our mission and goals to become well known to those who love this music, and we want to invite membership: As you well know, the musicians we support are the primary The Jazz Culture, VI:24
21
Wilbur Ware and friend Bob Stoltenberg sources of America’s gift to the world of music. Even though most innovators have passed on, many Jazz Masters remain. Theirs is a unique understanding of past practices and vision for future generations. We are dedicated to their full employment and encourage their sharing with and mentoring youth, especially the underserved and marginal, who will be eager to learn and grow as they are informed and touched by this musical genius. “Wilbur Ware brought a unique musical gift, an enormous personality, and a legacy that supports his charismatic character. He encouraged every musician to (a) study the basics and history or the music, (2) develop a unique voice, (c) learn to “paint a picture” and “tell a musical story” that utilizes technique but is not limited to nor enslaved by it. “As stated above, the younger generations must be exposed to the music. Once exposed, they will be interested because the creativity and genius inherent in the music will touch and challenge them at the deepest artistic level. They may study the 22 The Jazz Culture, VI:24
history and learn about various traditions and periods of development in music schools and colleges, but the musicians themselves will have to clarify and interpret the basics for the youth, explaining the contexts, societal challenges, and cultural realities. Therein lies the challenge, to show them how this music is our National Treasure, America’s gift to the world of music, thus travel is vital to their education. They must see how the world loves and appreciates the musicians and respects Sandra Jordan, graphic and honors their talent. artist “I am delighted and encouraged by those who generously supported our effort, primarily the musicians themselves…: Our donors included Sonny Rollins, Wilbur Ware’s sisters (Barbara Yarbrough and Doris White), George Aprile, Dr. Albert Sutton, Dr. Robert Baker, Attorney Peter Collins, Patricia Vingo, Ed Williams, and bassist Richard Davis, among others. Drummer Alvin Fielder helped defray some of the CD costs (we will have an official CD Release Event in the near future). Our Officers, Board Members, and Volunteers were vital to making this performance event successful. despite dire weather predictions of tornado activity in our area. Our Secretary Sandra Jordan deserves special mention for her outstanding graphics (for the concert and the CD) and her unbridled enthusiasm. Those who helped with publicity and radio interviews must also be mentioned, including Jim Harrison, Dorthaan Kirk (Thurston Briscoe, Gary Walker) at WBGO, Cobi Narita, Arnie Perez (with Sharif AbdusSalaam at WKCR), Dee Ramey WHCR, Ann Ruckert, and so many others. “I cannot thank the musicians enough, for most were extremely cooperative. Our original programming was for the concert to include two groups: Louis Hayes and Juini Booth. When our funds were rescinded, we began to invite other musicians to participate, The Jazz Culture, VI:24 23
and most agreed to perform gratis, for we could only offer honoraria, and we will be forever grateful. We are presently planning for 2013 and beyond, so the work continues. “We have met many wonderful people who are willing to assist in the future, and that makes this extremely rewarding.”
Musician Remarks
Jimmy Cobb- "Wilbur Ware...a talented Bass player..he could play drums too! and friend." Barry Harris- “He was the only bassist I knew who could lead a pianist around to places unknown.” Ray Drummond- “I never heard Wilbur Ware play live,” But the things that I heard when I was coming up—“Sonny Rollins’ ‘Live at the Village Vanguard’…his incredible artistry; innovation that nobody has ever gotten to, [someone like] Bird or Prez or Diz… was very inspiring.” Rufus Reid -“He was a bass player that left us too soon.” Juini Booth-“In the winter of 1966 I was to meet Wilbur Ware at a place called Slugs on the Lower Eastside. I had just arrived to New York... I told him how much I liked his style of playing the Bass. So I followed him around the rest of the night listening to his stories about his life .. I felt a sincere fondness for Wilbur. He seemed to be a little burned out like most of the legendary Bebop players that were hanging or living on the lower eastside of Manhattan during this time. Nevertheless those guys were the reason that brought me to New York. For many great Bebop musicians sometimes money was not in the scheme of things. Wilber and I continued walking through the night with him telling wonderful stories of Monk and Bird he was a major encounter in my life … it was a special time when you'd had access to your heroes on a daily basis. When I hear Wilbur's bass playing on records suddenly I become a happier person. The Jazz Culture, VI:24 24
”Larry Ridley- “I think to acknowledge the fact that he was a natural born genius. He had his own concept and style that he introduced to the evolution of jazz. I knew him … I met him in the mid 50’s in Chicago when he was playing with [people like] Johnnie Griffin, Vaughan Freeman at the Flame. We were very close. We were hanging out, talking, playing at eachother’s gigs. I loved him because he had a very personal approach, the way he constructed solos, not trying to play like Pettiford or Blanton. Plus our birthdays...Mine is September 5, his was September 8th.” Ron Carter- "...I had never known Wilbur Ware to own his own bass.He seemed to always borrow what bass was nearby, and I was fascinated and amazed that he always sounded like Wilbur Ware." Jimmy Owens- “Wilbur was one of a handful of natural Jazz artists. He’d have lots of book knowledge about performing only the abilities that comes from Listening, repeating and learning how to do things direct from your heart and brain. He was a musician that worked the best-- with Monk. His natural feel always made the people he was performing with swing and project the highest sense of emotion. On this day, he would be 89. We all salute Wilbur Ware for his great contributions to JAZZ Music.” Subscribe Free to the Jazz Culture ewsletter on the website:
Lionelle Hamanaka, Publisher
http://thejazzculture.com. The Jazz Culture Newsletter has been seen in 33 countries around the world and across the United States. Copyright© 2012, The Jazz Culture, Ltd. PO Box 2003 700 Columbus Avenue, New York, NY 10025, Tel: 646312-7773.
The mission of the Jazz Culture Newsletter is to draw the world jazz community together. If you have any comments, criticisms or suggestions please email us at: http://info@thejazzculture.com The Jazz Culture, VI:24
25
JAZZ ROMA ASSOCIATION Photojournal
Happy Memories at the Felt Club in Rome 9/12
Concert crowd at the Felt Club
Young Serbian pianist asks Dr. Harris question
Pierluigi, drummer, left, and Hiromi with Luciano Fabris singing "Body & Soul" at jam session
Ellen, singer from Holland, directs obuo Watanabe and Fabio Marcoz ofFrance, bassist, and above, Dr. Harris holds court; at left, workshop attendees chow down
26
The Jazz Culture, VI:24
Richard Clements, left, right-Alexanderplatz, Rome's oldest jazz club, a band there, the decor, below, artists waiting to go on at the Felt, lunchtime
The Jazz Culture, VI:24
27
Let's Link/Musician Friends of Jazz Culture
Joe Magnarelli in concert We remember Dr. Frank Foster Listen to his Nippon Lament Photo: Brian McMillen
Clarence Banks, Count Basie Trombonist, Clinics, Private Lessons, Seminars, call: 917428-6746 See RickStone. com
28
KuniMikami.com@CD Baby�"Hamp's Boogie"
Singer Connie Mc amee QUOTATION:
"Practice a Million Hours." -Junior Cook, Saxophonist "You can't take offwithout a launching pad." -Lonnie Hillyer, Trumpeter The Jazz Culture, VI:24