http://newyorkjazzproject.com by Lionelle Hamanaka

The JAZZ CULTURE

THE WARE AFFAIR. Photo: Wilbur Ware and Bob Stoltenberg in 1977, below, Larry Ridley, MC Bill Crowe

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Bassist Ray Drummond, left & Mrs. Gloria Ware, right. Below.Juini Booth and Rufus Reid, three of the bassists who performed in the "Remembering Wilbur Ware" concert on Saturday, September 8, 2012 at Merkin Hall.

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The Ware Affair

Review 1‐5/8-9 England Event J. Watson 5‐7

Jazz Heritage Caught The Wilbur Ware Remembering Wilbur Ware Institute’s “Remembering Wilbur G. Ware & Others 9-1 3 Ware” concert celebrating his Part I: Jazz Improvisation legacy on September 8, 2012 at Workshop Merkin Hall. Musicians included: Larry Ridley, Carvin, Doug Harris, H. Danko at Rochester1 4-1 6 Ware Concert Photos 21 Richard Wyands; Jimmy Owens, Let's Link 1 9-20 Russell Malone, Rufus Reid; Louis info@newyorkjazzproject.com Hayes and Juini Booth; Jim Crow info@thejazzculture.com as MC; Benito Gonzalez; and JazzCulture © 2012 Barry Harris, Leroy Williams, Ray Drummond and Kiani Zawadi. With a wealth of talent onstage, representing two generations, the jazz diehards in the audience were thrilled. Bill Crowe, MC of the show who is both bassist and writer, lived near Café Bohemia in 1959 and went downstairs to hear Stan Getz. He recalls Wilbur Ware “swung us into bad health.”

Larry Ridley, who hails from the Midwest, first went with Freddie Hubbard and heard Wilbur in Chicago. “Wilbur was in the house trio at the Flame, playing with Johnnie Griffin.” Mr. Ridley “celebrated one of the greatest bass players in the history of jazz.” His group, with Greg Bufford, Richard Wyands and tenor saxophonist Doug Harris, played “Sunny Moon for Two,” at about 143=quarter note. Mr. Wyands played a brilliant call and response based solo starting with a short three or four note lick. Doug Harris played a relaxed solo fluently spotted with glisses on the blues scale. Larry Ridley made some witty short motifs on bass before trading 4’s, when the saxophone executed more scalar licks leading to a drum solo. The audience was delighted when Bassists Bill Crowe and Juini Booth played a rarely heard bass duet on “31st and State” (medium swing) a Ware original about Chicago, with great verve The Jazz Culture, VI:21

and charm on the earthy tune. Booth engaged in some homespun twanging that led to nice counterpoint as they ended playing the theme in unison. The Jimmy Owens Quartet with Russell Malone, guitar, Rufus Reid, bass, and Michael Carvin on drums played with the joy of seasoned professionals. The first song was “Lullaby of the Leaves,” one recorded by Wilbur Ware, where they established a medium groove with Mr. Reid playing the melody and Mr. Owens playing counterpoint long tones with a nice fat tone, creating counter melodies and provocative rhythms, sometimes spilling out on falls in a trumpet elegy. The guitarist Mr. Malone reminisced in a homey down to earth style with some scalar fills, a cadenza and strong lead into Mr. Rufus Reid, starting with a triplet run up the scale, to a dusky twang that seemed to pluck around the melody, in a series of intentional musings. The drummer Mr. Carvin traded 8’s with the ensemble, leading back to the theme. “Round Midnight” followed which Mr. Owens played on flugelhorn, delivering the A section with poignancy and a pretty tone, and Russell Malone played the Second A section of the melody on the bridge with full resonance and vibrato on pivot tones, while the flugelhorn played nice counterpoint lines. Rufus Reid played the bridge with dusky resonance, in his upper register. Mr. Owens seemed to speak using his horn with fiery accents from Mr. Carvin on the drums, creating sharp punctuation as Mr. Owens used long tones flaring with vibrato. He used a low Eb instead of a high note for dramatic resolution. On “Listen to Monk,” Mr. Owens played the melody in harmony with the guitarist Mr. Malone. The guitar sounded sprightly and cheerful with runs in the middle register in the bridge accenting the upbeats of 2 and 4. Mr. Carvin created fiery licks to get the most out of the players, and the trumpet used mostly well placed accents on articulate short motifs. Mr. Carvin carved rhythms out of space, going down to a delicate pianissimo with sticks on the metal rim of his drums, up to fortissimo maintaining a round crisp tone. Guitar led the rhythm section to end on three beat chords, with the drums flashing into a crescendo. 4

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The Louis Hayes, Billy Harper and Juini Booth followed. Billy Harper played a new original by Juini Booth with bravura of the 60’s; he brought back the excitement of bygone eras which was popular with the crowd, with the flare that only a great rhythm section can provide. The pianist Benito Gonzalez played with bright and festive style on top of the beat with lots of spirited chording and splashes of color with some rhythmic counterpoint of burning intensity. Booth played dramatic solo boldly executing wide intervals while LouisContinued Hayes really on the drums. on p.cooked "Remembering Wilbur Ware" Concert

ENGLAND EVENT

GIG REVIEW by JOHN WATSON

Band: Barry Harris Trio Venue: Pizza Express Jazz Club Soho, London, UK Date: Thursday 16th August 2012 Thursday night at the famous Pizza Express Jazz John Watson, Pianist Club Soho and the room is pretty full. Over the sound system I hear the distinctive French accent of Luc Saint-Martin, house sound engineer, politely asking everyone not to talk during the performance before introducing the man I have come to see: - Barry Harris. There is a warm reception as Barry approaches the stage and takes his position at the grand piano. The room falls silent as he gently goes into his opening number, a George Shearing song entitled She. I can’t help but notice how the spotlights seem to catch Barry’s white hair and the odd glint from his glasses. It is if they are saying, “Listen up now. The Jazz Culture, VI:21

Here is one of the old masters”. After the first chorus, bassist Dave Green and drummer Steve Brown smoothly glide in and I know it is going to be a tasteful evening of first class musicianship. Dave and Steve have played with Barry many times on his trips to the UK and the empathy is apparent. This is the first of Barry’s four nights at Pizza Express and yet, with no charts and no rehearsal, you would think that the trio had been playing together all week. After the first number, Barry takes to the microphone and immediately engages with the audience which justs adds to the warmth already in the room. He begins to tell (or make up) a story about a couple which leads him into the next song. After each song, he resumes the story and the audience realizes this is how Barry will take us on a musical journey. Bebop numbers such as Charlie Parker’s Barbados and Tea For Two (in the style of Bud Powell) are juxtaposed with beautiful ballads such as Johnny Mandel’s A Time For Love and A Nightingale Sang In Berkeley Square. Swinging standards are not neglected with Harry Warren and Mack Gordon’s There Will Never Be Another You and Vincent Youmans and Irving Caesar’s I Want To Be Happy to name a couple. One of the things that I enjoyed most about Barry’s playing was the feeling that he really loves what he is doing and is still searching for possibilities. In fast numbers, he would often sing his solo lines (off the mike) and you could often see him thinking through phrases to find a different turn here and there rather than just rattling off licks. It was the same in the ballads where he relished in finding just the right altered chord or progression. Dave and Steve supported him sensitively; keeping the accompaniment cool but really swinging out when required and their last names, Green and Brown, gave Barry the opportunity to acknowledge them by playing around with the words of Joe Raposo’s “Sesame Street” song (It’s Not That Easy) Bein’ Green. This was the last song of the evening and the audience hung on his every word with a relaxed feeling of intimacy in the room. Oh, and by the end of 6

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the evening, the couple in Barry’s inventive story had fifteen children! If you would like more information on Barry Harris go to: http://www.barryharris.com/ and for more information on live music at Pizza Express go to: http://www.pizzaexpresslive.com.

John Watson is a veteran jazz pianist, arranger, musical director ofthe English music scene, who can be heard at The Langham in London on weekends with his Trio. A graduate ofthe Guildhall School ofMusic and Drama, John Watson has performed in many different situations, from hotels to jazz clubs, from festivals to parties. These include: Four Seasons Hotel London, The Dorchester Ronnie Scott’s Jazz Club, Pizza Express Club Soho, Hammersmith Apollo, JVC Jazz Festival Paris, Grand Hotel du Cap Ferat Music Festival and St. Regis Hotel ew York. John is a “triple threat”-- singer, pianist and keyboardist, accompanist and long time music director ofLeee John and legendary 80’s group Imagination. Through popular demand, he has recorded and released several albums. Most recently the JW3 Live at the Langham, (also in download)features his jazz trio and was recorded at the Palm Court, -The Langham, London, where John is currently resident pianist and musical director. www. johnpianoman. co. uk Myspace. com/johnawatson;youtube. com/johnpianoman;twitter. com/john pianoman;facebook. com/john-watson/78494720527

Barry Harris with former student Leon at recent concert The Jazz Culture, VI:21

The tenor sax played the melody, which was a series of cascading chords descending with some blues inflection. The pianist reveled in hot licks in the upper register. Juini maintained a cool support playing strongly with a good tone. A drum solo from the veteran Mr. Hayes kept up the fervor beating out inversions of the original rhythmic patterns. Continued from P. 5, "The Ware Affair"

Barry Harris in a Quartet setting, with Leroy Williams, Ray Drummond, and Kiani Zawadi on trombone and euphonium was the last group. Starting on a blues by Bird, Mr. Williams maintained cool authority throughout, and Ray Drummond played in perfect position between the drums and piano, an overall balance of sounds. Kiani Zawadi expressed wittily and well, with his own set of comments, well placed, as a couple sprang up from nowhere and started swing dancing right in front of the stage. Barry Harris expressed the relief of bebop provided in the language jazz developed, leading to more intricate expansions on the inexhaustible riches of the blues format. Ray Drummond played a spontaneous deeply felt solo in a dark resonant tone, with mostly scalar licks and effective use of triplets. The group then broke into trading 4’s. Mr. Zawadi is a mature bop soloist who creates intriguing melodic licks with his own charm, reducing ideas to their essence. Then Dr. Harrris played “I’ll Keep Loving You,” rubato, segueing into “In a Sentimental Mood,” where Mr. Zawadi played the melody on the euphonium with nice jazz accents, rolls, glisses, neighboring tones, pulling out the stops on a lifetime of practicing bebop. The pianist and bassist played countermelodies against each other. Then the group tackled “Come Sunday” by Ellington, where Dr. Harris brought out the sweeping magnificence of the theme. Ray Drummond then took over the melody, plucking the sweetness out of the bass. At the end, the pianist built a chord progression of circular ascension, coming back to a rolled finale with a cap, one final bass note played by Mr. Drummond. The last song of this group was “In a Mellow Tone,” with the trombone 8

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stating the theme with an echo from the piano with jazzy inflection. The deep sympathy of this group towards each other was apparent as they maintained constant contact through their eyes. The audience nodded, clapped and finger-snapped their approval.

JAZZ HERITAGE

Gloria Ware 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 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: The Jazz Culture, VI:21

As you well know, the musicians we support are the primary 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.

Louis Hayes, left, Russell Malone, right on Saturday, September 8

Gary Bartz & Bertha Hope

Keisha St. John, singer, on right

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They may study the 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 and honors their talent.

Sandra Jordan greeted audience and did graphics

“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 Abdus-Salaam 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 The Jazz Culture, VI:21

Melba Moore & Ms. Sher

include two groups: Louis Hayes and Cobi $arita, Concert Juini Booth. When our funds were rescinded, we began to invite other musicians to participate, 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.”

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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.” 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 are very close. 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, Continued p. 17 The Jazz Culture, VI:21

HOW TO-EXPERT ADVICE

Harold Danko’s Role as a Mentor at Eastman: part 1 – Jazz Performance By Harold Danko

Jazz Performance Workshops at the Eastman School of Music, Rochester, NY For more than a century, inspired performances by countless jazz groups and soloists have shaped an impressive body of artistic heritage. Fortunately for students, much of this output is recorded and the subject of scholarly research. The challenge in jazz education is to retain the communal dynamic and sharing of information in a working ensemble, and also to somehow measure each individual player’s musical development. Despite the artistic successes of jazz, few if any ensembles have existed where the individual abilities of its members were evenly matched. Harold Danko Photo: Julia Radschiner

Eastman's Jazz Performance Workshop curriculum, is answering this challenge and taking inspiration from bassist/composer Charles Mingus' varied "workshop" ensembles, provide Eastman jazz students with classroom study and performances from a comprehensive and continually expanding core repertoire, exploring traditions in the music as well as its future. 14

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JAZZ PERFORMANCE WORKSHOP CHECKSHEETS, by level/year were developed by me to provide a cumulative index of: A) improvisation study areas/content, B) necessary performance and improvisation skills, and C) repertoire and performance guidelines for each level of the JPW sequence. The checksheets may or may not be presented and/or studied in the order listed. Instead these inform students, private instructors and advisors of minimum expectations at each particular year/level to gauge musical development and good standing as a jazz major. The program of study is flexible and the list should suggest a multitude of projects for individual study as well as oral or written class presentations. It will be a quick reminder of things to address and re-address throughout one's study of jazz repertoire and improvisation. Each student has personal responsibility to acquire and demonstrating the appropriate improvisational skill level within the assigned Jazz Performance Workshop, regardless of the repertoire. All students are expected to maintain and demonstrate skills from previous levels as well as those on their current level. Deficiencies from lower level checksheets or as determined from the spring jury must be addressed within the first weeks of the following fall semester, with appropriate assignments in order to insure proper tracking, grading and good standing. The undergraduate JPW sequence is an eight-semester twocredit course meeting twice per week for two-hour periods. Generally, the class size is between six and eight students, constituting the instrumentation of a typical small jazz group. The fundamental relationship of improvisation and repertoire is The Jazz Culture, VI:21

addressed from many angles, with aural training, theory/analysis, solo transcriptions and writing skill exercises individually assigned by the instructor. Much of class time is devoted to faculty-coached small ensemble rehearsals, utilizing the core repertoire as well as original and transcribed material, with relevant studies based on specific student needs. Rehearsals and performances are recorded and critiqued by jazz department faculty members to accustom students to the exacting demands of media work. Instructors may occasionally rotate during the school year so that each workshop group receives different viewpoints and input on the course content. Workshop students may also rotate, as opportunities arise for experimenting with and/or altering the instrumentation of ensembles. The weekly Jazz Department Forum provides a venue to showcase and record each of the JPW ensembles. Other performance opportunities exist both on and off campus, and students are encouraged to rehearse and gig on their own in various configurations outside of JPW classes. In addition, guest performer/clinicians are invited to work with JPW ensembles during their residencies.

Harold Danko is a creative and singular pianist who is well recorded and well known among jazz musicians. He lived in $ew York City for many years until he became the head of the Jazz Department at Eastman in Rochester, $Y. See Harold Danko on google. Photo: Jeff Hirschfeld, Jay Anderson, on Unriched.

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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, his would be 89. We all salute Wilbur Ware for his great contributions to JAZZ Music.â&#x20AC;? Continued from P. 13

Producer Jim Harrison, Publisher of Jazz Spotlight $ews, Publicist & Jill Williams, wife ofLeroy Williams Below Jimmy Owens, Trumpeter, smiles while enjoying the company and food at party following the Remembering Wilbur Ware concert, while Bill Crowe, MC/writer/Bassist, still happy after all that jazz, ascends in the elevator ofMerkin Hall

Kiani Zawadi revealed a new style on trombone and euphonium

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Drummer Greg Bufford always has a smile for the ladies

So does tenor saxophonist Billy Harper

Benito Gonzalez, pianist exchanges quips with Saul Rubin, guitarist

Pianist Richard Wyands

Leroy Williams chats up an old acquaintance

Juini Booth reminisces about Wilbur Ware; left, Doug Harris, Tenor saxophonist

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Let's Link/Musician Friends of Jazz Culture

Mrs. Idelle & Mr. Rick Stone at Bella Luna to dig Bucky Pizzarelli

Joe Magnarelli in concert

Clarence Banks, Count Basie Trombonist, contact for clinics, lessons, concerts (917) 428-6748

Cecil Bridgewater warming up

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. CopyrightÂŠ 2012, The Jazz Culture, Ltd. PO Box 2003 700 Columbus Avenue, New York, NY 10025, Tel: 646-312-7773.

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: The Jazz Culture, VI:21

KuniMikami.com@CD Baby‐ "Hamp's Boogie"

BARRY HARRIS JAZZ WORKSHOP I$ ROMA Sept. 17-21, 2012 Info:A$$APA$TUSO @HOTMAIL.COM Tel.: +39 3393383139

See LafayetteHarris.com QUOTATION:

"Practice a Million Hours." -Junior Cook, Saxophonist "You can't take offwithout a launching pad." -Lonnie Hillyer, Trumpeter

Dado Moron recommends We remember Dr. Frank Foster Listen to his Nippon Lament Photo: Brian McMillen

Solodado ( Abeat Records ) solo piano; Live In Beverly Hills ( Resonance ) ‐ trio with Marco Panascia and Peter Erskine

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