The JAZZ CULTURE
The DENA DEROSE TRIO: Steve Williams, Drums, Ben Wolfe, Bass, Dena DeRose, Piano at the Kitano
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REVIEW
Dena DeRose Trio
Caught the Dena DeRose Trio at the Kitano (66 Park Avenue on 38th Street) on September 14, 2012 with Steve Williams, drums and Ben Wolfe bass. The Dena DeRose Trio started with “Nice ‘n’ Easy” (Alan Bergman, Marilyn Keith, Lew Spence) a Sinatra hit, as a singer sliding up to notes and purring like a cat, Ms. DeRose’s soft intimate style blended nicely with Mr. Williams’ pianissimo rolling drums (even though he was using sticks), and Ben Wolfe’s well placed 8th notes at about 72=quarter note, while her chording filled in Call and Response fashion, and at times imposing a Stop Time Effect. “I’m So Glad There Is You,” (Jimmy Dorsey) was done at about 144=quarter note, kind of medium swing, fitting in the lyric easily. Taking a solo chorus with relaxed well articulated phrases, with some octave strumming in the right hand, and a triplet here and there, then breaking into bright chording. The bass solo stayed close to the melody ending phrases with quarter notes, accented. At the end Mr. Wolfe emphasized rhythmic pattern between sections with Ms. DeRose. The Drum solo focused mostly on the tom toms and a bass drum sound. After a break Ms. DeRose sang a cappella, “I’m so glad, so very, very, very glad there is You.” Next was a Rhumba double timing “East of the Sun,” (Brooks Bowman) at about 184=quarter note, intensely romantic, with Ms. DeRose’s solo full of 8th note runs, and some appropriate Latin chord patterns, eventually trading 4’s with the drummer, who knows how to play with quiet intensity and added spark. Ms. DeRose uses some chromatic notes inserted in between melody notes as passing tones to interesting effect, coloring the sound a little blue. The bass solo commented on the melody with quiet 2
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Review 1‐5 comping from the piano and England Event J. Watson 5‐7 brushes on the drums; the Jazz Heritage Remembering drummer Mr. Williams swings, Wilbur Ware 9‐13 knows how to be really solid Part I: Jazz Improvisation without dominating or playing Workshop very loud. The bass and drums H. Danko at Rochester14‐17 laid down a perfect Jazz Around Town Photos accompaniment, to Ms. Narita Concert, Stars Go Out 18 DeRose’s delight. She Let's Link 19‐20 sometimes phrases like Carmen info@newyorkjazzproject.com McCrae, though her tone quality info@thejazzculture.com is very different. She relies on JazzCulture © 2012 emotional indirection, drawing in as opposed to reaching out to the audience. She phrases on piano in a circular feeling, with good articulation and at times using substitution harmonies.
Ms. DeRose announced her new cd on Maxx Jazz, “Travelin’ Light” (James Mundy & Johnny Mercer) and performed the title song. Her pearly voice, a little porous and light blue, was well suited to her interpretation. Her intonation is very good and her dynamic level stays between soft and mezzo forte. The Trio then played “Alice in Wonderland,” (Danny Elfman) in 6/8, taking melody to the left hand, which she did several times in other songs, with nice articulation of 8th notes, on the third chorus, did some 16th note runs, skipping fifths, then a fiery insertion of blue note phrases, followed by arpeggiation (a la Debussy) a segue to the bass solo, where Mr. Wolfe left a lot of space, seeming to make a philosophical statement of using the silence, and then the melody was restated in the bass of the piano, after which she skipped two octaves up, segueing to a an up tempo 6/8, punctuating the drum solo on the 4th beat. From her recently released cd, “Travelin’ Light,” Ms. DeRose sang cool vocals and played a nice tapestry on the piano, with The Jazz Culture, VI:22
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sympathetic accompaniment from Mr. Williams and Mr. Wolfe. Ms. DeRose then shared that she had just gotten a permanent job! In Gratz, Austria, and bought a house on a hill. Reveling in the scenery of her house, she played an original “Here Where You Belong.” The Trio then took off on “Lover” by Richard Rodgers and Lorenz Hart, in ¾ time about 138=quarter note in a Call and Response fashion, using substitutions in the turnarounds, swinging in a lilting style in scalar lines that ascended and ended on an accented downbeat. They then broke into a swing, using some blue notes and playing around the melody, hopping from register to register, then double-timing while singing the reprise, feeling the slow under the fast. Ms. DeRose shaded the diatonic line with blue notes, then vamped into chords played double-time, ending on a double 8th note phrase, and playing solo piano without accompaniment to end the song. Ms. DeRose talks to a fan at the Kitano
Ms. DeRose then commented on her admiration for Sammy Davis Jr., and sang one of his favorites, “Two Different Worlds,” (Al Frisch, Sid Wayne)as a rubato ballad, playing the melody with some tasty augmented note phrases and using a spoken style when appropriate. 4
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The Dena DeRose Trio ended the set with a down home blues strong on the downbeat. Ms. DeRose has her own style, a combination of vocals that are usually understated with an assured and spirited piano style that ranges from a down home blues to straight ahead jazz with a lyric touch. See Dena DeRose on google.com.
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 Photo: Max Garr 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. 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 The Jazz Culture, VI:22
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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 the evening, the couple in Barry’s inventive story had fifteen children! 6
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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. co m/johnpianoman;facebook. com/john-watson/78494720527
Barry Harris at a recent concert in ew York with student Leon The Jazz Culture, VI:22
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JAZZ HERITAGE
Wilbur Ware, Bassist with his Friend Bob Stoltenberg
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 8
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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 Mrs. Gloria Ware 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 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 The Jazz Culture, VI:22
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creativity and genius inherent in the music will touch and challenge them at the deepest artistic level. 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. “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 include two groups: Louis Hayes and 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 1 0
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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.” Bassist Ray Drummond at Ray Drummond- “I never heard Remembering Wilbur Ware Wilbur Ware play live,” But the Concert 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.”
Juini Booth & Rufus Reid Remembering Wilbur Ware The Jazz Culture, VI:22
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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.” 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 1 2
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Jimmy Owens and Larry Ridley at Remembering Wilbur Ware Concert
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, his would be 89. We all salute Wilbur Ware for his great contributions to JAZZ Music.�
Sandy Jordan & Bill Crow at Remembering Wilbur Ware concert
Retraction: Mrs. Gloria Ware provided the following corrections to last week's articles on Wilbur Ware. Bill Crow's name was incorrectly given as "Jim Crow." For this we offer our profound apologies. Kiane Zawadi's name was incorrectly spelled in the original draft as "Kiani." Secondly Juini Booth's original tune was called " uBlu Bossa." The Jazz Culture, VI:22
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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 1 4
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core repertoire, exploring traditions in the music as well as its future. 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 The Jazz Culture, VI:22
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fundamental relationship of improvisation and repertoire is 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 well known pianist who has a singular modernist style,and this is a course he designed on Jazz Performance. Left, a recent cd "Unriched" with JeffHirschfield, drums, Jay Anderson, bass. Retraction: Last week the Jazz Culture ewsletter mistakenly specified Mr. Danko's position; a master musician and a great guy.
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JAZZ AROUND TOWN
Johnnie Garry Producer at Jazzmobile waiting for sound technicians
Patience Higgins talks to Barry Harris at Jazzmobile concert
Ron Carter bringing on his Great Big Band
Louis Hayes and young fans
Ari Roland, bassist, with wife (above) & Jill (Mrs. Leroy) Williams at concert
George Gee at Swing 46
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Let's Link/Musician Friends of Jazz Culture
Clarence Banks, Count Basie Trombonist Contact: 917-428Clinics, Private Lessons, Seminars & Master Classes
6746
See RickStone.com
Kumiko Yamakado, Singer, Right, Ira, Frank, Jo and Kumiko. Photo: Richard Williams at Cobi arita's Concert
KuniMikami.com@CD Baby� "Hamp's Boogie" 1 8
Cecil Bridgewater warming up before concert at ew School dedicated to Frank Foster
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Mulgrew Miller as listener
Joe Magnarelli in concert
Photo: Richard Williams Kiane Zawadi, left, Jo Marchese, center, Dawn Hampton right, below Russell Malone jokes around at party with Saul Rubin at charity event Lionelle Hamanaka, Publisher at left. Subscribe free to The Jazz Culture Newsletter. The Jazz Culture Newsletter has been seen in 33 countries and throughout the US. Written by and for musicians and avid jazz fans. The inside view of the jazz community, devoted to drawing the world jazz community together. Contact: info@thejazzculture.com Copyright 2012 Š
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QUOTATION:
BARRY HARRIS JAZZ WORKSHOP I ROMA Sept. 17-21, 2012 Info:A APA TUSO
@HOTMAIL.COM Tel.: +39 3393383139
"Practice a Million Hours." -Junior Cook, Saxophonist "You can't take offwithout a launching pad." -Lonnie Hillyer, Trumpeter
Friends of The Jazz Culture ewsletter
We remember Dr. Frank Foster Listen to his Nippon Lament Photo: Brian McMillen
Dado Moroni
recommends "Solodado ( Abeat Records ) - solo piano; Live In Beverly Hills ( Resonance ) trio with Marco Panascia and Peter Erskine; The Cube ( Abeat Records ) - quintet with Tom Harrell; Shapes ( TCB ) - trio with Peter Washington and Enzo Zirilli; La vita è bella ( Abeat Records ) - quartet with Bob Mintzer, Riccardo Fioravanti and Joe LaBarbera
Left, Chuck McPherson in concert 20
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