The JAZZ CULTURE
Harold Mabern, George Coleman, & the Juilliard Jazz Orchestra, below, Charles McPherson足Tom Harrell Quintet at Dizzy's
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REVIEW Harold Mabern-George Coleman
by L. Hamanaka
Caught Harold Mabern and George Coleman with the Juilliard Jazz Orchestra’s program on Memphis Jazz on October 16, 2012, 8 p.m. After a reading of “Second Thoughts” by Mulgrew Miller, arranged by Bill Mobley, another Memphis cat, during which the legato lines of the melody were clear and the pensive aspect of the song was realized, the ensemble performed “Waltzing Westward” with the two stars. Harold Mabern is a larger-than-life personality, in real life, and in performance, and also in his compositions. He creates a Mabern world--in this case, historical pictorial music that depicts the expansion of America, perhaps a simile for a voyage to the west, leaving the east coast pretensions and self-consciousness far behind. This is a carefree, breezing, “happy” song and in that spirit, piquantly and with bright chording that bounced ahead, Mr. Mabern played a melodic solo, bounding across the keyboard as if he owned it. His Memphis cohort, George Coleman, cutting a regal figure onstage, did double-time flurries, winging through the changes like a bird in spring. He played repeated triplets that stretched into arcing melodies, relevant to a journey westward that perhaps expresses the openness of Memphis, with pretty motifs. Mr. Coleman has captured the articulation of Charlie Parker. Other players may be impressed by the tenor saxophone’s weighty tone, but Mr. Coleman lays all at the service of a lighter-than-air flexibility that requires the best technical mastery and subtle inflection characteristic of the master who inspired him the most, Bird. To quote Tootie Heath, who in turn quoted African masters, “He who stands on the shoulders of his ancestors stands tall.” Mr. Coleman also has an exceptional melodic gift, which was spontaneous and came from his ear, not from practiced licks. Mr. Mabern was burning as the younger musicians watched with awe and delight on all the program selections. 2
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An original of Mr. Mobley's "49th Street" (over the changes of "Lover") delighted the audience with its bebop melody and the solos from the Orchestra and guest stars.
Reviews 1‐7 Virgil Jones Memorial Photos 8‐11 Jazz Heritage 12‐13, 17‐23 Elmo Hope by B. Hope How To Direct a Jazz Improv by H. Danko 14‐16 Jazz Around Town 23 Let's Link 24 Proofread by C. MacNamee info@newyorkjazzproject.com info@thejazzculture.com JazzCulture © 2012
On a secondary note, the conductor came in for a last moment cutoff. If you view the videos of Thad Jones or Tubby Hayes conducting, you see the difference a conductor makes in the degree of swing. The drummer was talented, but he could have been more assertive, or the mike on him should have been dialed higher on the mix, because the drums were not audible enough. The music was thoroughly enjoyed by an audience of about 1,000 in Peter Jay Sharp Hall, a theatre of Juilliard. It was a free concert. Memphis artists: Harold Mabern, born in Memphis, moved to Chicago and worked with Walter Perkins, then later wiwth Lionel Hampton, Jimmy Forrest, Miles Davis, JJ Johnson, Donald Byrd, Lee Morgan, Hank Mobley, Sonny Rollins, Freddie Hubbard, Wes Montgomery, Joe Williams and Sarah Vaughan. He also worked with Stanley Cowell’s Piano Choir, taught at William Paterson, where he recorded with his student Eric Alexander. See Harold Mabern on Google.com. George Coleman, also born in Memphis, is self taught, worked with Miles Davis and Herbie Hancock in the 60’s. He moved to Chicago and New York and worked with Gene Ammons, Max Roach, Curtis Fuller, Kenny Burrell, Slide Hampton, Ron Carter, Horace Silver and Ahmad Jamal and many others. See George Coleman.com. Bill Mobley is another Memphisite who recorded as leader and is a well known arranger. See Bill Mobley on Google. The Jazz Culture, VI:27
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REVIEW
Charles McPherson-Tom Harrell Quintet, Jeb Patton, piano, Dean Johnson, bass, Willie Jones, drums.
Charles McPherson, Tom Harrell, Jeb Patton, Dean Johnson & Willie Jones at Dizzy's by Doodlebug
Caught the Charles McPherson-Tom Harrell Quintet at Dizzy’s Thursday October 18. The opening song was “I’ll Remember April,” by Gene de Paul, at about 175=quarter note. On flugelhorn, Harrell executed some falls from a higher note, then three-note motifs, then five-note motifs close to the melody before launching into a scalar treatment, with a beautiful tone, then a run of 16th notes. Charles McPherson’s liquid style seems to draw from a deep well, having focused on the lyricism of the song, playing shooting lines that end on the upbeat. He had a very relaxed delivery, taking his time in outlining his story, always returning to pivot notes in the melody. Pianist Jeb Patton, starting with a two-note motif from the melody note down, added a line of triplets in a blissful filigree, putting the vitality of youth in his 4
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rendition. He did two choruses of scalar lines, breaking it up with chords on the rhythmic motifs of the song. The bassist, Dean Johnson, leaped a fifth up then a fourth, the group traded 8’s and vamped to diminuendo. Mr. McPherson followed with two songs written for his youngest daughter, a ballerina. The first, “Nightfall,” seems to incorporate the rhythms of the ocean. One could feel the encroachment of shadows in the lyrical melody. The arrangement had Harrell playing counterpoint, then two voices coming closer together, as if, living close to the ocean, the composer had absorbed the undulation of waves and the phases of the moon. This was underscored by pedal point from the bass, and the rhythm section played a rhythm that resembled an undulating wave. The tranquility and plaintive quality of the song suited Tom Harrell’s personality on the horn, like an acceptance of nature’s code, that there is a time for everything. At the end of his solo, he inserted some blues-scale licks with blue/purple coloration in his tone. Patton had a solo leading from higher tones in a downward lyric response, using alternating 6ths and 3rds. The second song was post-bop funk, mixed with swing on the bridge, that ended with a counterpoint of mainly fourths between trumpet and saxophone, incorporating frenetic rhythms and attitude. Then Tom Harrell was featured on a ballad, “Darn That Dream,” perfectly accompanied by Jeb Patton’s chandelier-like sounds with refracted mellow light. Mr. Harrell played delightedly on the interesting harmony of the song. They then did “Lover” by Rodgers and Hart, at about 300=quarter note. McPherson conducted the A section as a waltz, and they swung the bridge. Everyone’s blood pressure mounted as the quintet brought excitement to the room. The drummer, Willie Jones, gave a resounding attack on his drums, though he was never The Jazz Culture, VI:27
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loud and dropped no bombs. The crowd shouted their enthusiasm. “Turetress” a Harrell original, an angular melody like modern art, was unexpected in its alienation from the ordinary. Of course, ordinary is one thing that Mr. Harrell is not. McPherson seemed to find the blues at the heart of the song playing it in his fluid style, accenting on offbeats. “The Journey” was revelatory, seeming to depict life as an endless quest (at 200=quarter note). The melody was postprogressive and post-bop and was distant enough from the raw deal of experience to provide some philosophy to handle “The Journey.” Playing fewer notes than Trane or Rollins, McPherson seems to invent musical sentences--to have evolved a new language that is melodic with no self-conscious prettiness. Rather than conscious use of rhythmic groups, he follows his ear. Harrell attacked the song as if he were skiing down a ski slope in a snow storm. The pianist leapt into the song like an adventure. Jeb Patton has a good sense of humor, and a joie de vivre, because he obviously adores playing. In “Psalm of the Sphinx” McPherson seems to anticipate the inevitable intermarriage of world cultures cross-pollinating. McPherson chats with friend guitarist Les In an intricate trumpet/saxophone counterpoint in a minor key, the song has a middle-eastern flavor. Tom Harrell seemed to delight in a passage of runs on the minor scale, while the pianist played dissonant seconds combined with wide voicings, playing on 1 and 3. The drums subdivided to 16th notes and the bass was fairly free to 6
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twang, strum and play like an oud, a middle-eastern stringed instrument that uses quarter tones. The pianist contrasted with use of octaves, cascades and runs resolving to chords. This created an exotic tapestry of sound. Next was “Spring Is Here,” another Richard Rodgers tune (he is known for writing brilliant harmonies) at about 185=quarter note, where Mr. McPherson showed he can stop on a dime and make a passing tone feel significant, hear the slow under the fast, and refer back to the melody. Harrell played a very boppish solo and found provocative notes to play above the chords. Mr. Patton similarly had very secure 8th notes, and played scalar ideas that ended on a question mark, like “Was this spring or not?” He then did some double-handed counterpoint. By the time the group took it out, they sounded solid. Then Mr. McPherson did a solo on a ballad, “Embraceable You,” a stunning version that displayed the deep emotion he is known for. The last song was “Blues and Boogie” at about 300=quarter note. McPherson seemed to take off on a trip by himself to a stratosphere only he knows. Mr. Patton found a groove and swung like mad. The bassist played an adventurous solo, Mr. Harrell jumped along for a fast ride, Willie Jones played dramatically and fired up the crowd. After which, the audience was exhausted but definitely moved from one place to another. The rhythm section created strong and interesting support throughout. The two horn players’ rhythmic styles contrast and add to the interest. Harrell’s lines seem more angular with the rhythm of spoken language, McPherson’s more streaming waves of sound. The color of their tones also contrast, with Harrell’s tones being more silver and McPherson’s more golden. Their emotional personalities also contrast; both McPherson and Harrell presented serious, arranged compositions as a legacy to vie for the future of jazz. The Jazz Culture, VI:27
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VIRGIL JONES MEMORIAL PHOTOS
Carol Orito Randazzo Jones led singers onto Sanctuary space at Virgil Jones' memorial
Above, Michael Weiss, Mark McGowan, Ethridge, & Philip Dunham, p
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The horns line up to pay tribute to Virgil Jones; R, Bill Saxton
Carol's niece Regina w/friend
Marion Cowings, Jimmy Cozier, Patience Higgins
Kim Clarke with bass, tap dancer, Kenny Barron with Paul West on bass, Loren Schoenberg
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Gene Ghee, Left, Bertha Hope, Right
Above, Jon Faddis talks to fan, Right, Charles Davis, Roni Ben-Hur, Patience Higgins conference
Above Left, Bill Saxton with two friends, Right, Guests at Repast, Bert Eckoff, Cobi arita R-Barry Harris Choir
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Repast, Cobi with Richard Wyands and daughter Jude,
Left, Carol's childhood friends, Barry Harris, Kenny Barron and Jon Faddis, R, Carol speaks, Chorus members share repast, celebrating the Life ofVirgil Jones, Trumpeter October 22 at St. Peter's
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JAZZ HERITAGE
ELMO HOPE & BERTHA HOPE
by Bertha Hope, Bio. Notes/Interview L. Hamanaka Bio otes: Elmo Hope was born June 27, 1923 in New York. He
was a U.S. Army veteran, who studied at the Carnegie Hall Studios as a teenager. He was childhood friends with Bud Powell, and a contemporary of Monk. In New York Hope worked with Snub Mosely, a local bandleader. Then he worked with the Joe Morris Band, a territory band on the road in the southern states. Johnny Griffin and Philly Joe Jones were apart of that band and so was Matthew Gee in 1948. When Elmo Hope resettled in New York, he recorded for Decca, Atlantic, and Alfred Lion. Elmo Hope went on the road with Chet Baker to LA and decided to move there from 1957-1961. Bio otes: Bertha Hope:
Bertha Hope, pianist
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“My father, C. Clinton Rosemond, was a dramatic baritone who sang German lieder and Italian bel canto art songs. He was my major influence, because I started playing for him in the traditional concert repertoire that ended with what they called at that time ‘Negro Spirituals.’ My father was a contemporary of Roland Hayes, so he was on the same circuit as Hayes and Paul Robeson. He worked for the same agency and The Jazz Culture, VI:27
did the same command performances for kings and queens all over the world. So he was my biggest inspiration. My mother, Corinne Meaux, was a dancer in the Cotton Club before I was born. They met in New York in 1928, after my father had spent 15 years on the road in Europe. He put together the cast for “Showboat.” She was in “Blackbirds” in 1928 and they moved to LA about 1934. I started playing when I was 3 and took private piano lessons from about 8 till about 14. I had a lush (“deep, wonderful, great”) experience in the public school system. From 7th to 12th grade, I was in music lessons, orchestras, and jazz camps. I went to the equivalent of Music and Art High School in LA. They had a great music department and a great art department. [I’d been playing professionally] Since I was about 17. I was just really beginning to meet people and my ear was beginning to be a little more sophisticated. JC: Was there a big jazz community in LA at the time you met Elmo? Bertha Hope: In LA at the time, the Watkins Hotel was one of the clubs on the jazz circuit, the Hillcrest Club, and the Troubador, and there was a club on the beach, the Lighthouse. Cont. p.17 The “IT” club, the Purple Onion, Subscribe Free to the Jazz Culture ewsletter, that has been seen in 33 countries across the world and across the USA, online at http://thejazzculture.com. Help draw the world jazz community
READERS: Please note that in the November issue, The Jazz Culture will start accepting ADS that start at $25. Therefore, if you have an event, cd, venue, program, book that you want to advertise, please send an email to: info@ thejazzculture.com for a rate sheet. The deadline is October 30, 2012. The Jazz Culture, VI:27
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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 14
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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:27
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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 google.com
Jay Anderson, bass, JeffHirschfield, drums, Harold Danko, piano on Unriched
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JAZZ HERITAGE Cont. from p. 13
Elmo Hope/Bertha Hope
...The Oasis, is where I played with Johnny Otis. JC: When did you meet Elmo Hope? Bertha Hope: I met him at a nightclub when he was playing with Sonny Rollins in LA. I had been listening to Bud Powell and I immediately heard some similarities and I wanted to meet him because of that. I was working at the time in LA with Teddy Edwards, tenor saxophonist and alto saxophonist Vy Redd. We got married in LA in 1960. Monica [our daughter] was born in LA. We took a road trip across country and instead of going back to LA, Elmo decided that we should come to New York because he had several record deal offers that they did not want to record in LA. So he decided it would be a good idea to move back to NY. That was the Riverside offer , the 1961 Homecoming on the Riverside label with Frank Foster, Percy Heath, and Philly Jo Jones. The second LP was Hope-Full; I was invited to play three tracks with Elmo, and it has become a collector’s item. JC: Who were his friends? Bertha Hope: He and Johnny Griffin were very close. He and Philly Joe Jones were buddies and the relationship to Bud Powell is one that I wish I knew more about. He and Thelonious and Bud were like brothers in the musical neighborhood. Thelonious, Johnny Griffin, Bud and Elmo spent a lot of time moving around to different people’s homes looking for a piano, looking to have jam sessions, looking to play together. They spent a lot of time in Elmo’s mother’s house. I guess that had to be in the ‘50s. I met Bud in LA about 1952 or ‘53. I met Monk in New York around 1961 or ‘62. When we returned to New York, Elmo introduced me to Monk. The Jazz Culture, VI:27
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JC: Whose idea was it to have you on the album? Bertha Hope: That was Johnny Griffin’s idea. Johnny Griffin proposed the idea to Orin Keepnews. I was petrified. I’m on “Blues Left and Right,” “ Yesterdays,” and “My Heart Stood Still.” It’s two pianos. I think they thought that it was unique that we were a pair and there weren’t that many pairs playing jazz piano. I don’t know what they thought--I just know I was terrified. I would say that it has stood the test of time. I went to a second-hand shop to see if they had the original vinyl LP and he [the owner] wouldn’t put a price on it for me, he said, “This one is priceless.” He was very glad to meet me, but he wouldn’t sell it to me. JC: How did you feel about Elmo Hope at the time? Bertha Hope: I was absolutely--we were married by that time, we had a daughter, I was completely in love with him. JC: What kind of person was Elmo Hope? Bertha Hope: He was gregarious, he loved to have people all around all the time, he had followers, men who would follow him around from place to place; he had a very generous spirit. JC: Was jazz more popular in those days? Bertha Hope: I think it was, and more people were willing to share. That’s how Elmo acquired students, by offering to share his knowledge. He never gave a group class. If I had allowed it, the house would have been full of people all the time. I just couldn’t handle that. We had a small apartment and a baby. He was very interested in people and what they thought. We didn’t have a lot of sessions, but there were a lot of people who wanted to hear his story, and be around him. JC: What was the difference between LA and New York? Bertha Hope: Space, for one thing. If you were going to two nightclubs a night in LA, you better start at 5. A car is an essential in LA. Not in NY. You can walk from one club to 18
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another in this city and find jazz. You can be in the Village and walk from Point A to another, or hop on the train. JC: Were there more jazz fans in NY? Bertha Hope: Yes, probably. Technology has changed the world so much. You can record simultaneously with people all over the world through sending files. But in terms of a fan base, still more fans in New York. JC: You were born into a show biz family. Were you aware you were meeting celebrities? Bertha Hope: I met so many people when I was in his company. All of it was a little daunting. I knew because I was already listening to their records, most were musicians from the East Coast. I never met Dave Brubeck, Shelly Manne, people on Fantasy Red vinyl labels, who were LA musicians. I listened to the LP’s, never met them in person or live.The people who came to play the San Diego, LA, San Francisco, Vancouver circuit, Sonny Rollins, Coltrane, Johnny Griffin, were the people who called Elmo to play when they came to the Coast. JC: Where did you live in New York? Bertha Hope: We lived in the Bronx, on Lyman Place, with Elmo’s mother and father, till we found an apartment on Webster Avenue in the Bronx. Then we moved to 71st Street in Manhattan. JC: Did you learn from him? Bertha Hope: I learned by listening. He wasn’t a teacher who wrote out a lesson in the traditional sense. He would write out a set of chord changes for you and you would learn those in all keys. Then he would write a melody on those changes the next week. I learned by listening to him play. He was very informal in that way. JC: In terms of composers and players of his era, where would you place him? The Jazz Culture, VI:27
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Bertha Hope: If you listen to his compositions, they’re varied
and very sophisticated harmonically. They’re a little crowded, and I think that’s why people don’t want to dissect them too often. His music is not played often and I think it’s because there’s a degree of difficulty to it that some people don’t want to deal with. I’ve been told there are too many changes for his melody and so you have to make choices and people don’t want to. I think he’s a great composer whose music did not get played except by the people whom Elmo chose for his recording dates. He wrote for the date, for the people he was recording with, for example, the things he did with Sonny Rollins. “Carvin’ the Rock” was a composition on a date with Sonny Rollins. He and Sonny Rollins co-wrote that song for that date. I think a lot of the compositions he wrote were in preparation for recording sessions.He was a composer who wrote long piano lines, melodically speaking. He would just tell the horn players, “Find a place to breathe,” I heard him tell Harold Land. “The note is not on my horn.” “Well, find it,” Elmo said. He wrote what he heard. I think as Monk and Bud and Elmo wrote, they did not write with the idea of legacy. They probably would have written a lot more. Elmo left a lot of fragments of compositions. JC: Did it happen suddenly? [on May 1967 Elmo Hope died] Bertha Hope: He went to the hospital [with pneumonia] and was recovering, we thought, after about three weeks. The heart attack happened in the middle of the night. They called me very early in the morning. We had a funeral, but because the family was very involved, I acquiesced to his mother, and father. By the time he died, I was 31 or 32. The band, Elmollenium, is my testament and memorial to him, which I would love to resurrect. JC: Musically, you were able to interpret and record some of Elmo Hope’s compositions. What does that say about you? [given that they were so complex] Bertha Hope: I have no idea. I had a band called “Elmollenium” 20
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that never got a chance to record but played all of Elmo’s compositions, a sextet. Most of the gigs were at our home base, La Belle Epoque, a lovely Creole restaurant that went under in the year of Katrina. Leroy Williams, Charles Davis, Virgil Jones, me, Walter Booker, Ronnie Ben-Hur. We were all really interested in playing Elmo’s music. We didn’t play any other music except Elmo’s. The band was dedicated to keeping Elmo’s music alive. JC: Do you think there’s an international audience for his compositions and recordings? Bertha Hope: I think there is an underground cult kind of following for him in places all over the world, especially in Europe. JC: Where in Europe? Bertha Hope: Denmark, France, Germany, England. JC: Did he play abroad? Bertha Hope: He didn’t. Dexter Gordon wanted Elmo to come to Copenhagen and relocate there also. He never really shared with me why he didn’t leave. Personally, it would have changed his life forever, and he would have enjoyed a lot of success there, because at that time, he would have been the pianist of choice for any of the groups Dexter was putting together, and for other groups as well. It would have broadened the idea that his music was loved and appreciated in other parts of the world. JC: As a musical couple, did you help each other? Bertha Hope: I know he helped me, he was so much more advanced in the music than I was. I don’t know how much I helped him. He did appreciate my ability to hear so keenly what he was doing. I was working in other directions. Sometimes I’d play a chord and he’d look over my shoulder and say, “What is that?” I did try to help him understand that he was writing lasting music and he should not take ownership so lightly, and those were things he didn’t understand—how valuable his contribution was. The Jazz Culture, VI:27
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He made some bad choices along those lines. He didn’t keep his publishing rights. He was victimized at the time, as were so many others. But many Institutes of Jazz do incorporate some of his compositions in their library, so young students know who he is and play his compositions now. His contribution is being recognized in that way and the music is available to them. Elmo would take great pride in knowing that his music is still being honored by younger musicians. Pub. ote on Bertha Hope: Hear Ms. Hope on: Nothing But Love
(Reservoir), In Search Of, (Reservoir) and Elmo’s Fire, (Minor Music)-Between Two Kings. Bertha Hope is an esteemed member of the NY jazz community. She studied theory and harmony at Los Angeles City College, and privately studied piano with pianist Richie Powell, a member of the Max Roach-Clifford Brown Quintet and brother of Bud Powell. She was Artist in Residence at NJ Council for the Arts, where she played with Dizzy Gillespie, Nat Adderly, Frank Foster and Philly Joe Jones. She received a Barry Award from Dr. Barry Harris. She also received a Lifetime Achievement Award from the Mary Lou Williams Jazz Festival in the Kennedy Center, Washington, D.C, She was in the first women's quartet to play for George Wein's Kool Jazz festival in Carnegie Hall, and she was a member of the first women's ensemble to open for Jimmy Heath for the Jazzmobile Festivals in New York. Bertha Hope appears regularly in the NY area. Listen to Elmo Hope: In 1949, he recorded for Decca, and in 1951 Mr. Hope recorded for Atlantic with Winone Harris.In June 1953, he recorded with Jackie McLean (Lights Out); Introducing the Elmo Hope Trio, (Blue Note 1953); Meditations (Prestige 1953); Hope Meets Foster (Prestige, 1955); Informal Jazz (Prestige 1956); Trio and Quintet (Blue Note 1957); Meditations (OJC 1958); Homecoming (OJC, 1958); Plays His Original Compositions (Fresh Sound, 1961); The Final Sessions (Evidence, 1966) ; Memorial Album (Clifford Brown, 1953); Two Tenors (Prestige, Coltrane 1956); The Fox (Harold Land, 1959); Moving Out (Sonny Rollins, Prestige, 1959); Jazz from Rikers Island 22
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(1963); Two albums for Herb Albertson Festival Records(May/August 1966).
JAZZ AROUND NEW YORK
Kids watch "Jazz for Kids" Toes Tapping at Cobi Jam
Dancers at Swing 46
Roman Ivanoff, at Arturo's on Saturday
See Rick Stone.com Dawn Hampton
Harold Mabern & George Coleman guesting at the Juilliard Jazz Orchestra The Jazz Culture, VI:27
hangs out at Swing 46
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Let's Link/Musician Friends of Jazz Culture
Dado Moroni
See Barry Harris.com
Dr. Frank Foster Photo: Brian McMillen
Jazz for Kids at the Jazz Standard
Kuni Mikami, Pianist
Singer Connie Mac amee QUOTATION:
Clarence Banks, Count Basie Trombonist, Clinics, Private Lessons, Seminars, call: 917428-6746
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"Practice a Million Hours." -Junior Cook, Saxophonist "You can't take offwithout a launching pad." -Lonnie Hillyer, Trumpeter
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