JazzGram Autumn 2022

MR. & MRS. ARMSTRONG

PART THREE OF A THREE PART SERIES

By Kent Richmond & Howard Mandel

During 1923, Louis Armstrong was content playing second cornet behind King Joe Oliver, his mentor, idol and leader of the Creole Jazz Band, which was drawing crowds to Lincoln Gardens. Armstrong thought the work was steady and the money okay. The band recorded for the Gennett, OKeh and Columbia labels, paid $30 per side per musician with a promise of later royalties.

Aside from King Oliver who was happily married, the other band members were single and had eyes -- especially Louis -- for their pianist Lil Hardin. But Lil was completely unimpressed with “Little Louis” until King Oliver confided to her that Louis was a better cornetist than he. Subsequently Lil coached Louis on his mannerisms and musicreading skills. She encouraged him to step up in the bandstand while soloing, She cajoled him about his appearance,

his second-hand suits, his weight and his hair, convincing him to cut his bangs.

Drummer Herman “Baby” Dodds was the first member of King Oliver’s Creol Jazz Band to purchase a car, a 1923 Oldsmobile. He had a penchant for driving fast which got him arrested on several occasions. Dodds would often offer rides to band members, which Lil and Louis would accept, she riding up front with Dodds and Louis in the back, lean-

As our centennial celebration of Louis Armstrong’s arrival in Chicago ramps up this summer, we offer you a three part series on jazz starting pre-Louis through his profound impact on the art. No story on the Louis in Chicago could be complete without discussing the role of Lil Hardin Armstrong. A gifted and talented pianist and writer, she married Louis in Chicago and helped him develop into an international superstar. present suite that honors his roots and relatives

Louis Armstrong's Hot Five with wife Lil Hardin Armstrong. Photo courtesy of Louis Armstrong House Museum

ing over the front seat to chat with her. Baby later claimed in his autobiography The Baby Dodds Story that Louis and Lil would not have married if they had not been riding with him in his car.

Lil was concerned that Oliver was taking advantage of Louis, who was in large part responsible for the CJB’s band’s continued popularity. She urged Louis to stand up for himself.

“Whenever Joe came to the house, you’d think God walked in,” said Lil (quoted in her biography Just for a Thrill: Lil Hardin Armstrong, First Lady of Jaz. “Louis never seemed to relax around him because he was so afraid of doing something that might upset him.

In those days it wasn’t unusual for an employer to hold money for employees, acting like a bank. This was particularly true of white employers handling black employees’ pay. So Joe treating Louis’ compensation in this manner upset Lil.

She broached the issue with Louis: “Where’s your money?“ Louis replied that Joe was keeping it for him.

Lil: “Well, Joe doesn’t keep your money, you keep your own money,”

Louis: “Mr. Joe looks out for me.”

Shortly afterwards Louis approached Joe for his funds. Joe angrily responded that Lil Harden was a spoiled kid and would spend it all.

“Yeah, I know,” Louis said.

Shortly afterwards, clarinetist Johnny Dodds (Baby’s older brother) found out that Oliver had been skimming $20 a week from what the club had been paying for the band. Joe shrugged. The band was also upset that no royalties had been paid for their many recording sessions, although this was not

Oilver’s fault. Black musicians in that era rarely received their royalties.

But it was so unsettling that many of the band’s members quit in early January 1924. Johnny Dodds got a gig at Burt Kelly’s Stables on Rush Street. “Baby’ Dodds, Honore Dutrey and Bill Johnson went with him, and Freddie Keppard joined the group on trumpet.

The band turnover had brought Louis and Lill closer together. They decided to get married. The problem was that they

1924. The wedding was announced in the Chicago Defender:

Miss Lillian Hardin is Bride of Louis Armstrong

Mill Lillian Hardin, daughter of Mrs. Dempsey Miller, 3320 S. Giles Ave., was married to Louis Armstrong of New Orleans . . .The bride was beautifully attired in a Parisian gown of white crepe elaborately beaded in rhinestones and silver beads, and Miss Lucille Saunders, a lifelong chum of the bride who was her bridesmaid, wore orchid chiffon with silver trimming.

Oscar Young’s seven-piece orchestra furnished music for the occasion. Mr. and Mrs. are both members of King Oliver’s Creole Jazz Band, who are recording for Gennett, OKeh and Columbia records.

were both still legally married. Lil was in a problematic marriage with singer Jimmy Johnson. She didn’t live with him, but rather with her mother and step father in the 3300 block of South Giles.

Louis had married prostitute Daisy Parker in New Orleans in 1919, when he was 17 and she three years older, legalizing a physical relationship that Louis came to realize was a mistake. Soon after the marriage, Louis adopted Clarence, the child of his cousin Flora, who had died shortly after giving birth. In infancy, Clarence had suffered a fall, landing on his head, which left him mentally impaired. When Louis got the call from Joe Oliver to come to Chicago, he left Daisy behind, turning Clarence over to his mother Mayann.

Lill arranged for the divorces for Louis as well as herself; they were finalized in December 1923.

The couple was married on February 5,

In attendance were Mr. and Mrs. Joe Oliver, Johnny and Baby Dodds and others of the Creole Jazz Band. Louis had married the women everyone in the band wanted and Lil had married the most desirable Black bachelor in Chicago. The marriage of Louis and Lil produced the first and ultimate power couple of jazz.

For a honeymoon, Louis Armstrong and Lil Hardin Armstrong went on tour with the re-formed Creole Jazz Band, which concluded with a return to Lincoln Gardens. For their newly purchased house at 421 E. 44th Street, Louis gave Lil a Kimball baby grand piano.

Lil’s mother Dempsey, with whom she’d been living, moved in. Professing concerned for her son’s well-being, Mayann came to Chicago with Clarence in tow, also staying at the Armstrongs’ 44th Street residence.

Back from their tour of probably two or three months, Louis and Lil agreed the traveling troupe wasn’t as talented as its previous incarnation. Unhappy that Joe

continued from page 1, Louis Armstrong

Louis Armstrong's Hot Five with wife Lil Hardin Armstrong on piano. Photo courtesy of Louis Armstrong House Museum

wasn’t giving Louis proper recognition on the bandstand, Lil pressured Louis to quit the band.

Lil: I don’t want to be married to a second trumpet player. I want you to be first.

Louis, I can’t play first. Joe’s playing first.

Lil: That’s why you have to quit.

Louis: I can’t quit Mr. Joe. Mr. Joe sent for me and I can’t quit him.

Lil: Well, it’s Mr. Joe or me! -- Just for a Thrill

With that ultimatum, Louis quit the band. To Joe’s surprise, Lil showed up to work the next day.

King Oliver asked her why Louis had quit the band. Her response was “you’ll have to ask Louis.” She intended to keep working with the Creole Jazz Band for the steady income, while Louis looked for work. She felt that the best thing for Louis was to get away from Mr. Joe.

Keep in mind that the CJB was the apex of jazz bands of that era, which included such rivals as the New Orleans Rhythm Kings, the Austin High gang, and Jelly Roll Morton. Lil assessed Louis’ talent and ability as on par with the other original KOCJB members but saw something in Louis that, with the possible exception of King Oliver, no one else had foreseen. Her diamond-in-the-rough became a more polished gem.

Although Armstrong had been a popular draw with King Oliver, he found it difficult to land a new job. He approached bandleader Sammy Stewart but was rejected, no because of his style or ability (though Louis didn’t know this at the time), but because his complexion was “too dark.” (Just for a Thrill)

Eventually, Louis joined Ollie Powers’ house band at the Dreamland Café at 3520 S. State Street on the Stroll, accompanying silent movies and playing during intermissions. Lil noticed Louis noticed Louis’s music expressing more passion and confidence.

In September of 1924, composer-arranger Fletcher Henderson asked Louis to join his Black Swan Troubadours, the premier dance band in New York City, in residence at Roseland Ballroom. Henderson had heard Louis in New Orleans in 1922 and offered him a job then, in his but Louis had turned the opportunity down because he wasn’t comfortable leaving New Orleans with people he didn’t know well.

Henderson was originally from Atlanta. He’d come north intending to study at Columbia University and earn a chemistry degree. He’d also studied classical music and the ways of polite white society. As sessions pianist for Black Swan Records, he’d waxed several sessions with singer Ethel Waters, enormously popular with Black and white audiences alike.

Henderson’s Troubadors was tops in New York City, but nowhere near the skill level of bands in Chicago. It was refined, educated, and boasted great readers of sheet music, but was awkward rhythmically and seldom swung. Initially looking down on Louis as a country bumpkin, these professionals -- band including already acclaimed Coleman Hawkins, Buster Bailey and Don Redman -changed their minds when they heard Louis blow his horn. He was years ahead of everyone else. Hired as third trumpet, he nonetheless took most of the solos.

Louis broke the rules of ensemble playing. Instead of following the melody he’d play a counter melody. His tone, technique and timing were impeccable. Don Redman observed that Armstrong’s solos told stories. His interpretations on trumpet altered the sound and style of not only Fletcher Henderson’s orchestra, but the entire New York scene. Best examples of Armstrong dominating the Fletcher Henderson Orchestra is on recordings from 1924 and 1925 include “How Come You Do Me Like You Do”, “Albany Bound,” “Sugar Foot Stomp,” ”What-Cha-Call-Em-Blues” and “TNT.”

While in New York, Armstrong also recorded apart from Henderson, for instance with the Red Onion Jazz Babies featuring singer Alberta Hunter under the name of Josephine Beatty and New Orleans clarinetist Sidney Bechet. This was Armstrong’s very first meeting with Bechet, and also Bechet’s very first recording. Hear their “Cake Walking Babies From Home” with tenor saxophonist Buster Bailey, who Louis knew from Chicago, Lil Hardin Armstrong on piano and pianist-producer Clarence Williams, whose complicated career deserves an article of its own.

Armstrong’s sides from this time with blues singer Bessie Smith for Columbia Records are classics, The brassman provided fills to enhance the singer’s vocals, never stepping on them. Their combined genius and creativity throughout the session makes it hard to believe they’d just met in the studio. Sides such as” St.

Louis Blues,” “Reckless Blues,” “Cold In Hand Blues,” “Sobbin’ Hearted Blues” and “You’ve Been a Good Ole Wagon” inspired the later interplay between Billie Holiday and Lester Young, and remains a model for all such obbligato interactions.

Although Lil Hardin Armstrong was well known and respected for her musical abilities in Chicago, she was unknown in New York, where women didn’t play with men. Finding little work, she rotated back to Chicago and the Dreamland Cafe’ while Louis stayed with Henderson. By mid 1925, Louis had attained much acclaim playing with the best bands and on many recordings, though he hadn’t yet led a band or a session himself.

Lil wanted Louis back home. She was unhappy that he seemed content to be third trumpet for the Henderson band. She had already seen Louis idolize King Oliver and to be fine with being in the band as second coronet, not getting the credit he deserved for his dynamic performances. She expected much more from him.

How was Lil Hardin Armstrong going to convince her husband Louis to return to Chicago? What was here for him that he couldn’t get in New York City at the height of the Roaring ‘20s? Only Lil herself.

The primary sources for this article:

Louis Armstrong in His Own Words, Edited by Thomas Brothers This source was cited by most books

Just for a Thrill, Lil Hardin Armstrong, First Lady of Jazz, James L. Dickerson

The Baby Dodds Story, Larry Gara

Louis Armstrong, An Extravagant Life, Laurence Bergreen

Bessie Smith, The Complete Recordings Volume 2, Liner notes by Chris Albertson (Columbia Legacy)

Primary web sites: syncopatedtimes .com riverwalkjazz.stanford.edu

RAMSEY LEWIS 1935-2022

By Ayana Contreras

By the time you read this, Ramsey Lewis will have (rightly) been eulogized in myriad ways. He will have been labeled Hitmaker, certainly, Radio Host, naturally. But I would like to humbly submit the label of Quintessential Chicagoan: an irreplaceable part of the community who by remaining in his birthplace, helped launch the careers of generations of fellow musicians.

The Chicago born pianist formed the Ramsey Lewis Trio, which consisted bassist Eldee Young and drummer Isaac “Redd” Holt from about 1956 until 1966, and accounted for a string of hits for the Chess subsidiaries Argo and Cadet (including a tail-shaking rendition of “Wade In The Water”). When Young and respectively Holt left the group to form their own combo, Ramsey added Cleveland Eaton on Bass and Maurice White (then a Chess session drummer who moonlighted playing jingle gigs) on drums.

In White’s memoir, he described Lewis’s style in the 1960s thusly: “…a collection of swanky cuff links, linen shirts and mohair suits. His tapered pants were immaculately pressed with perfect creases. He had several different tuxedos, including white dinner jackets. To me he was a fashion icon.” Beyond leaving an impression on the young drummer’s style, Lewis (who White called “Rams”) also encouraged White to step out from behind the drum kit and into the spotlight to play White’s then-newly-acquired kalimba as a part of their act. White further noted, “Ramsey didn’t only help me with my shyness; he also made a cultural statement by showcasing the kalimba.”

It was this trio that began together on 1966’s Wade in the Water, and ultimately worked with genius arranger Charles Stepney on an inventive run of albums, beginning with the celestial Maiden Voyage. That luscious album, which sports early background vocals by Minnie Rip-

erton on a hip cover of Aretha Franklin’s “Since You’ve Been Gone”, was released in April of 1968, and stood in stark relief to the turmoil that brewed in the wake of Dr. Martin Luther King, Jr. In 1969 White extended his collaboration with Stepney beyond his own albums to contribute to Minnie Riperton’s cult classic 1970 debut, Come To My Garden (in fact, two Garden compositions were first recorded for Lewis’s Maiden Voyage). The sole in-studio photo included in the original gatefold edition of the album included a black and white shot of Lewis standing in the foreground beside a seated Stepney and Riperton, all engaged in making magic.

Cleveland Eaton went on to play with Lewis through 1974, before his own illustrious solo career, while Maurice White went off to lead Earth, Wind and Fire. He also co-produced Ramsey Lewis’ hit 1974 album Sun Goddess (among other albums with his former bandmate).

PROMOTING AND NURTURING JAZZ IN CHICAGO

Ramsey Lewis, courtesy of Ravinia Festival

Ramsey Lewis was the rare jazz artist who had sold a million copies of a side (the Top 5 single “The In Crowd”). And yet, he continued to work to help cultivate fresh talent.

His short-lived record label, Ramsel, released a now-sought-after single by Wade Flemons (another soon-to-be member of Earth, Wind & Fire), as well as a release written and produced by Oscar Brown, Jr. that featured the Opportunity Please Knock Chorus: a collective of South Side youth affiliated with the notorious Blackstone Rangers street gang.

Of that unusual collaboration, Oscar Brown Jr. told Ebony magazine in August of 1967 that “These kids are angry because they’re being shot through the same grease their parents were shot through, and they understand that it’s impossible for a bootless man to pull himself up by his bootstraps. But they’re not too disillusioned to work hard-if they

ever had and illusions at all. It is up to us to give them a better picture of reality.”

Lewis also believed in the potential of youth. Besides serving as artistic director of Jazz at Ravinia for 25 years, in 1995 he helped organize Ravinia's Jazz Mentor Program. He also served on the board of trustees for the Chicago High School for the Arts and the Merit School of Music. In 2005, he founded the Ramsey Lewis Foundation, which focused on making musical instrument education accessible to youth. Trumpeter Marquis Hill, who led this summer’s tribute to Lewis at Ravinia, told Ravinia.org that “His influence on jazz and music in general is already etched in the history books. Especially with piano players, but also with all musicians. Ramsey helped move jazz and music forward”.

Naturally, many of Ramsey Lewis’s obits will mention his breakthrough hits, such

as his Trio’s rendition of Dobie Gray’s composition “The In Crowd”, which purportedly fell into their setlist at the Bohemian Caverns based on the recommendation of a Washington, D.C. waitress who, according to Lewis’s telling at The Midwest Clinic Jazz Interview in 2009, played it for the trio on the café’s jukebox. Lewis shared that for albums, as well as live sets of that era, he made sure to include “what we called a fun song, something easy” for the crowd.

That little detail at the end says everything about the proletariat streak of Ramsey Lewis’s personality. Though for many years he billed his trio as the Gentleman of Jazz, it was also important for him to make music that was accessible to the masses and spoke to the value he placed in all us.

LEARNING

LESSONS AT “RAMSEY UNIVERSITY”

BASSIST CHUCK WEBB DISCUSSES HIS DECADE PLAYING WITH THE PIANO LEGEND

By Corey Hall

Quietly…intensely…consistently…

Bassist Chuck Webb emphasized the above when recalling all he learned from Ramsey Lewis during a 10year tenure with his band. Webb recently reminisced about the internationally respected pianist, educator, and composer who died on September 12 at age 87. Lewis’ six-decade career encompassed everything from acoustic jazz standards such as “The ‘In’ Crowd,” deep explorations into funk, fusion, and classical.

Webb observed firsthand how Lewis pursued an honest connection – not just prodigious chops, pretentious chord changes, or speed just because – to reach his audience.

“He would stress the importance of playing quietly… to whisper, but with authority,” said Webb, also an accomplished educator, bandleader, and recording artist. “From listening to him, I learned how to play quietly for long periods of time and not let it get boring.

“We were all in ‘Ramsey University,’” Webb continued, referring to his colleagues, drummer Kwame Steve Cobb, guitarist Henry Johnson, and second keyboardist Michael Logan. “We were all learning the same lessons while listening to him.”

Chuck Webb

While Webb began playing with Lewis in 1990, he had known him since the ‘70s. Webb and Lewis’ son, Kevyn, (who preceded him in death,) played in Quiet Fire, a band the two formed while in elementary school. This band –which also included Miguel de la Cerna – practiced at Lewis’ home. There, Webb saw how Kevyn would play on free equipment his father had received but did not want.

As the Ramsey Lewis band’s newest member, Webb would be called “Young Blood” by the leader. And when preparing to play his first gigs, he learned that “Ramsey didn’t have anything written down. It was like, ‘Here are some tapes from last month and last year.’ There were about 40 songs I had to learn.”

During one performance early into his entry, Lewis asked Webb if he had learned “Close Your Eyes and Remember.”

Nope!

Still, Lewis began playing said song.

“He just looked at me, smiled, and said, ‘On-the-job training, young man. On-the-job training,’” Webb recalled. “I just had to fake it until I made it.”

Lewis, Webb added, exhibited genuine artistry with whatever style he chose, something very few artists then or now have achieved. “There was a period when Ramsey was wearing leather clothes, big, wild glasses, platform shoes, playing straight-UP funk…and he was killin’ it! Then he would put on a suit, sit down at a Steinway piano, and play classical music. He had it all going on!”

Transitioning from acoustic jazz to funk and pop led many critics to question Lewis’ integrity. Webb called such reactions ridiculous, stating that his expansive, eclectic musical muscles actually introduced more listeners to straight-ahead jazz.

“People might have gotten into Ramsey by way of ‘Sun Goddess’ or “The ‘In’ Crowd,’ and he would play those songs,” Webb explained. “But then he would play ‘Willow Weep for Me’ or ‘Stella by Starlight.’ He would also play gospel music and have a spiritual medley in the middle of the show, so people were always getting exposed to a broad spectrum of Black music.”

A CONVERSATION WITH TRUMPETER ADAM O’FARRILL

Interviewed by Wanjiku Kairu

In getting ready for this year’s Chicago Jazz Festival, we had the opportunity to interview several of its players. The interviews were originally shown on Chicago Jazz Festival’s Facebook and In-stagram pages and highlighted some of what people could expect from the artist’s performances. But each interview also delved into the artist work and life. We hope you enjoy this one with the talented and young Adam O’Farrill!

“There’s little disagreement that Adam O’Farrill is among the leading trumpeters in jazzand perhaps the music’s next major improviser”

— The New York Times

O'Farrill comes from a rich musical background, with his grandfather being the Afro-Cuban-Irish composer and arranger Chico O'Farrill, his father being the cultural boundary-pushing composer and pianist Arturo O'Farrill, his mother Alison Deane being a classical pianist and educator, and his brother Zack O'Farrill being a drummer, composer, and educator. Adam is of Mexican, Cu-ban, and Irish heritage on his dad's side, and Eastern

European Jewish and African-American on his mom's side. This, combined with growing up in a place of immense cultural diversity, has shaped his tendency to break stylistic borders within not only his original music, but also in terms of who he works with a sideman. O'Farrill was subject of an article in Jazztimes entitled, “Adam O'Farrill Does Not Play Latin Jazz”, where he spoke about the unfair treatment and pigeonholing of Latinx musicians.

Adam O’Farrill interviewed by Wanjiku Kairu.

Wanjiku Kairu: Hey, I'm Wanjiku Kairu with the Jazz Festival and the Jazz Institute of Chicago. And today we're talking with Adam O'Farrill of Stranger Days. Adam is playing at 3:00 PM at the Von Freeman pavil-ion. Adam, how are you doing today?

Adam O'Farrill: I'm doing good. I had some travel over the weekend, so I'm just recovering from that, but I'm good.

Wanjiku Kairu: Where did you go?

Adam O'Farrill: Pennsylvania. It's not that exciting.

Wanjiku Kairu: So exotic.

Adam O'Farrill: Yeah. Corn fields and farms and everywhere and everything, but it was nice. It was a gig with my family. It was fun.

Wanjiku Kairu: Nice. Nice. Well, tell us about the work that you're going to be performing today.

Adam O'Farrill: Yeah, so I'll be playing with my quartet, which is called Stranger Days. And we have been playing for about almost nine years now and we've made three albums. The quartet is coming from that tra-dition of the cordless quartets of people like Ornette Coleman, Albert Isler, Don Cherry, Charles Mingus. And the music that we began to play, my originals reflected a bit of that spirit, but lately we've been moving in broader stylistic directions, playing music that is influenced by chamber music, electronic music, and trance, ambient

music, a lot of influences. And it's still a lot of my original music, but we've covered pieces by people like Ryuichi Sakamoto, Tom York, Gabriel Garzon Mon-tano and then even Thelonious Monk, Irving Berlin, people like that as well. And we made three albums. The last one, we experimented a little bit more with the production and mixing of it heavily influenced, at least for me, heavily influenced by Radiohead and the way they take the sound, the natural sound of their instruments and their band, and really use production in a way to really high-light moments in the music that are already there in the music, but just to look at what you're able to accomplish in the studio and after the fact that you can't accomplish as much in the moment while performing.

Wanjiku Kairu: Nice. So how would you compare performing in the studio to performing on stage?

Adam O'Farrill: Well, I guess it's different from this band. We just recorded our fourth album, which will be released at some point in the future. I can't really say right now.

Wanjiku Kairu: Oh yeah, we'll be waiting.

Adam O'Farrill: Me too. Me too. But we actually recorded, so we had recorded that album right after a week of tour-ing and in the studio we would just record in sets. So we did four or five, maybe six, even full sets of our music. And that was something that we had done before, but the producer who I brought in, Spencer Murphy, he wanted us to do that because it's really hard to capture the energy of a band live in the studio and the best way to do that isn't necessarily to dig in on one tune and do five, six takes in a row just to get to that perfect take. But it's more just to record a set at a time so that when you get to that tune, you're in the midst of that flow and that motion and momentum of playing a set that you get when you're playing a gig.

Wanjiku Kairu: Yeah. There's definitely something to be said about the flow of music in jazz. And so I want to say you are Mexican, Cuban, Irish, Jewish, and African American, and come from a rich musical back-ground. How has your diverse heritage played a hand in your development as an artist?

Adam O'Farrill: Well, I feel very lucky because I really feel like I have the opportunity to pull from a lot

of different places culturally, stylistically, in a funny way, I don't know if I can ... I don't know. It leaves me feeling very untethered because I'm this background I have to play this music or anything like that. It makes me feel very low pressure in a way and just makes-

Wanjiku Kairu:

Like you're not going to be letting any one

worked with. And that's something that I really, because you release an album and you release another one and you get a commission, you do all these things, all these moments happen and these accomplishments and everything, and those are great. And I've been very lucky and very proud of the work I've done, but I think what really ties all that together is just the people. And that's what makes it possible to be recognized is when you have the right friends and collaborators bring-ing you there pretty much and so that's something I really feel the most proud of is knowing the people I know and having a relationship with them that I have.

Wanjiku Kairu: Nice. And you're most proud of your collaborative relationships. I think that's such a great thing to be proud of.

Adam O'Farrill: That's what music is.

Wanjiku Kairu: So is there anyone that you were excited to check out this weekend?

of them down?

Adam O'Farrill: I think if follow one too closely, I'll let the other one down. But also, I don't think that's even that true either. I think because it also, I think maybe in a bit more of a subconscious way allows me to really see the thread between all these different places that I come from. And that is what I like to really hone in on. And yes, there are certain times when I'm like, okay, I want this mantuno in my music or I want certain hand percussion in the music or things like that, but I'm not really looking that in terms of satisfying, representing this part of myself or that part of myself, it's more just because that's what I know and grew up with. I have it at my disposal of just knowing it.

Wanjiku Kairu:

Nice. Well, it all comes together and it sounds really great.

Adam O'Farrill: Thank you.

Wanjiku Kairu:

Yeah, of course. You've accomplished so much in your career. You were listed as one of the best jazz albums by NPR. You've appeared in critically acclaimed records. What has been your greatest achievement so far?

Adam O'Farrill:

Honestly, I don't know if it's the answer that you're looking for, but just meeting the people that I've met and forming the relationships that I've formed with people in my band and all the different band leaders I've

Adam O'Farrill: I really want to catch Bill Frisell. Oddly enough, I've known about him forever, but I've only recent-ly started to really dig into his work and saw him play earlier this year live and I'd seen him years before, but yeah, I think I really want to catch his set. I think he's one of the most interesting musi-cians I know.

Adam O'Farrill: I'm really, really, really honored to be playing at the Chicago Jazz Festival. I don't know. I'm very appreciative that people are going to get to hear this music and this band. And that really means a lot. I have two albums in the works. I don't really know again, when everybody will hear them, hopefully sooner rather than later, but one of them is with this band and will be playing a lot of mu-sic from that album, which I'm excited about. And I also have an album of music that I wrote for Octet, which is very different from this music and has some really great people, a part of that. So I'm also excited to share that.

Wanjiku Kairu: Very nice. Well, we'll be excited to hear it, so we'll definitely wait for it. Be sure to check out Adam O'Farrill of Stranger Days at 3:00 PM on the Von Freeman Pavilion. Thanks so much, Adam.

Adam O’Farrill: Oh, thank you.

JIC EVENTS & SPECIAL OFFERS

Jazz City at Loyola Park

October 7 (6:30PM)

In Person Event | Loyola Park | 1230 W Greenleaf Ave Free and open to the public!

CLUBS

Andy’s http://www.andysjazzclub.com/ 11 E. Hubbard/312-642-6805

Show times: 5pm & 7pm/ 9:30pm & 11:30pm

Every Sunday: Andy Brown Quartet (6PM & 8:15PM), Late Night Concert Series w/ Eric Schneider Quartet (10:30PM)

Every Monday: The Trumpet Summit (6PM & 8:15PM)

Every Tuesday: Mario Abney Effect (6PM & 8:15PM)

Every Wednesday: Late Night Concert Series w/ Kyle Asche (10:30PM)

Every Thursday (except the 4th): Micah Collier’s Alec Tet (6PM & 8:15PM), Late Night Concert Series w/ Matt Ulery Quartet (10:30PM)

October 1: Christopher McBride: Singer Meets Saxophonist (6PM & 8:15PM), Late Night Concert Series w/ Isaiah Spencer (10:30PM)

October 5 & 19: Eric Schneider (6PM & 8:15PM)

October 7 & 8: Thomas Marriott (6PM & 8:15PM), Late Night Concert Series w/ Joe Policastro (10:30PM)

October 12 & 26: Libby York (6PM & 8:15PM except the 14th), Late Night Concert Series w/ Kyle Asche

October 14 & 15: Geof Bradfield-Chris Madsen Quintet (6PM & 8:15), Late Night Concert Series w/ Markus Rutz (10:30PM)

October 21 & 22: Marques Carroll Quintet (6PM & 8:15PM), Late Night Concert Series w/ Juli Wood (10:30PM)

October 28 & 29: Maddie Vogler Sextet (6PM & 8:15PM), Late Night Concert Series w/ Scott Burns (10:30PM)

Cafe Mustache

http://cafemustache.com/ 2313 N Milwaukee Ave./ 773-687-9063

Live music Tuesdays-Sundays

October 5 (8PM): Arman Sangalang Quartet/Owen H. Frankel

October 10 (8PM): Polipnick, Stein, Irabagon, Courage, Ra/Kyle Madsen Organ

Trio October 17 (8PM): Jason Stein & Isaiah Spencer/Nunn/Emily Beisel Group

October 19 (8PM): Paul Barrilles Trio

Constellation

3111 N. Western/ www.constellation-chicago.com

Show times and cover charges vary. Most shows 18 and over.

October 3 (7PM): World Music Festival: Gili Yalo & Juan Pastor's Chinchano - In Person Event

October 5 (8:30PM): 2x4 - In Person Event

October 13 (8:30PM): Amina Figarova - Virtual & In Person Event -

Livestream Link: https://youtu.be/WFP4EsUphqE

October 14 (8:30PM): Esthesis Quartet - Virtual & In Person Event - Livestream Link: https://youtu.be/hSizq1HByXQ

October 15 (8:30PM): Zerang/Centazzo - Virtual & In Person Event - Livestream Link: https://youtu.be/8UKDG1sAotU

October 19 (8:30PM): Igor Lumpert's Innertextures - Virtual & In Person EventLivestream Link: https://youtu.be/9w-c6CzZ3Ss

Elastic ARTS

elasticarts.org/ 2830 N. Milwaukee/773-772-3616/elasticarts.org October 5 (8:30PM): Improvised Music Series: Baker/Abrams/Nakatani October 6 (8:30PM): Improvised Music Series: WeFreeStrings October 7-9 (7:30PM): Afrofuturist Weekend ft. Ben Lamar Gay + Dark Matter Residents October 13 (8:30PM): Improvised Music Series: Volcano Radar + Andrea Centazzo October 20 (8:30PM): Improvised Music Series: Feldman/Rempis/Daisy October 27 (8:30PM): Shiroishi/Sugimoto/Kohl/Ra October 28 (8PM): Pleiades Series: Macie Stewart / Patrick Shiroishi Duo, Robbie Hunsinger

Experimental Sound Studio ess.org 5925 N Ravenswood/773-998-1069

Fitzgerald’s 6615 Roosevelt, Berwyn/708-788-2118

Wednesday SideBar Sessions Sponsored by WDCB 90.9 Chicago’s Jazz Station, 8pm, $10 suggested Donation October 1 (11PM): Patio Jazz Brunch: Compass Rose 6 October 2 (6PM): Big Band & BBQ: Chicago Grandstand October 5 (8:30PM): The Gwen Jazz Jam (M'Fers Only) October 8 (11PM): Jazz Brunch on the Patio: Groove Witness

October 12 (7PM): Patio Jazz: Chris Greene Quartet

October 19 (7PM): Wednesday Jazz: The Last Word Quintet · Fulton Street Collective/ Jazz Record Art Collective 1821 W. Hubbard/ 773-852-2481. fultonstreetcollective.com/ jazzrecordartcollective.com $10 suggested donation/ $5 with valid student ID. All ages. Cash only. All Livestream Events can be found at: https://www.youtube.com/fultonstreetcollective

October 10 (8PM): The Marko Marcinko Jazz Quartet at Hubbard St. Lofts - Virtual & In Person Event

October 11 (8PM): James Davis Quintet at Hubbard St. LoftsVirtual & In Person Event

October 12 (8PM): Nancy Wilson's Something WonderfulVirtual & In Person Event

October 12 (9PM): Moon Jazz with Shultz/McCullough Organ Quartet - In Person Event

October 18 (8PM): Christian Sanchez Quartet w/Lucas Gillan QuartetVirtual & In Person Event

October 19 (8PM): Andrew Meyer Quintet w/Gomeh Barak QuartetIn Person Event

Green Mill

4802 N. Broadway/773-878-5552

SUNDAYS (8PM): Soul Message

MONDAYS (8PM) Joel Paterson & Friends

TUESDAYS: (8PM) Chicago Cellar Boys

WEDNESDAYS: (8PM) Alfonso Ponticelli

THURSDAYS: Andy Brown (5PM), Alan Gresik’s Swing Orchestra (8PM)

FRIDAYS: Chris Foreman (5PM)

SATURDAYS: Paper Machete (3PM)

October 1 (8PM): Makaya McCraven

October 7,8 (8:30PM & 11:30PM): Sheila Jordan Trio October 14 (8PM): Rob Clearfield Quartet

October 15 (8PM): Grazyna Auguscik Sextet

October 21, 22 (8PM): Warren Vache & Russ Phillips Quintet October 28, 29 (8PM): Kurt Elling Quintet

Hungry Brain

2319 W Belmont Ave/773-935-2118

October 2 (9PM): Steinmann/Bates/Berhanu & Johnston/Rempis/Roebke/ Daisy October 7 (9PM): Jeff Swanson Trio

October 14 (9PM): The Joel Paterson Trio w/ Beau Sample & Alex Hall October 20 (9PM): JeJaWeDa: Blonk, Bishop, Walter, Smith

October 30 (9PM): Wayfaring & Diamond/Kirchner

Jazz Showcase

806 S. Plymouth Ct./312-360-0234

Two sets at 8pm & 10pm & *Sunday matinee at 4pm. Visit www.jazzshowcase.com for weekday JIC member discounts!

JIC member card required.

October 1 (8PM & 10PM), 2 (8PM): Geof Bradfield Quintet

October 4 (8PM): WDCB Night at The Jazz Showcase - Remembering Ira Sullivan Jim Cooper Quintet

October 5 (8PM & 10PM): Dee Alexander Trio w/ Paul Zauner

October 6-8 (8PM & 10PM), 9 (4PM & 8PM): Devon Sandridge – “Storyteller” CD Release Event October 10 (8PM &10PM): Jeff Hedberg & C11

October 12 (5PM): Jazz Links Jam Session

October 13-15 (8PM & 10PM), 16 (4PM & 8PM): Jalen Baker Quartet

October 17 (8PM & 10PM): Andrea Centazzo

October 18 (8PM & 10PM): Bakerzmillion - CD Release

October 19 (8PM & 10PM): Libby York & Friends

October 20-22 (8PM & 10PM) 23 (4PM & 8PM): A Tribute to Joey DeFrancesco

October 24, 31 (7:30PM): Roosevelt University CCPA

October 25 (8PM): WDCB Fundraising Concert feat. Jonathan Kreisberg Quartet

October 27-29 (8PM & 10PM), 30 (4PM & 8PM): Chico Freeman Quartet

Le Piano

6970 N Glenwood Ave/773-209-7631

TUESDAYS: (7PM) Cabaret “Nitz and Friends North”

WEDNESDAYS: (7PM) Brazilian Latin Jazz -"Rio Bamba" Luiz Ewerling

THURSDAYS: (7PM) Retro Jazz & Blues Night

FRIDAYS: Chad Willets Quartet (7PM) Afterglow Late Show (11PM)

SATURDAYS: Chad Willets Quartet (7PM), "Afterglow Set" with Petra van Nuis/ Dennis Luxion Duo (11PM)

SUNDAYS (7PM): “Dez Desermeaux Pro Series”

Prairie Moon

1635 Chicago Ave, Evanston/(847) 864-8328 October 5 (9PM): Relax Attack Jazz Series: Twin Talk October 12 (9PM): Jimmy Farace Quartet October 19 (9PM): Chad McCullough Organ Quartet October 26 (9PM): Juli Wood Trio

Whistler

2421 N. Milwaukee, Logan Square/773-227-3530 October 5 (9PM): Relax Attack Jazz Series: Twin Talk October 12 (9PM): Relax Attack Jazz Series: Jason Stein Trio October 26 (9PM): Relax Attack Jazz Series: Anthony Bruno Trio

Winter’s Jazz Club 465 N. McClurg Court (on the promenade) Ph: 312.344.1270 www.wintersjazzclub.com info@wintersjazzclub.com SET TIMES

Tuesday - Saturday 7:30 & 9:30PM Sunday 5:30 & 7:30 PM

ALL ENTRANTS REQUIRED TO PROVIDE PROOF OF BEING FULLY VACCINATED October 1 (7:30PM & 9:30PM): Lezlie Harrison Quartet October 2 (5:30 & 7:30PM): Henry Johnson Quartet w/ Special Guest Isaiah Collier October 5 (7:30PM & 9:30PM): Neal Alger's Brazilian Trio October 6 (7:30 & 9:30PM): Typhanie Monique Quartet October 7 (7:30PM & 9:30PM): Tim Fitzgerald Trio w/ special guest Abby Riccards October 8 (7:30PM & 9:30PM): Pharez Whitted Quintet October 9 (5:30PM & 7:30PM): Bosman Twins Quintet October 12 (7:30PM & 9:30PM): Andy Brown QuartetCelebrating the Music of Louis Armstrong October 13 (7:30PM & 9:30PM): Chris Greene Quartet October 14 (7:30PM & 9:30PM): Champian FultonA Birthday Salute to Freddy Cole October 15 (7:30PM & 9:30PM): Leroy Jones Quintet

October 16 (5:30PM & 7:30PM): Chicago Jazz Orchestra w/ vocalist Paul Marinaro - A Tribute to Fredrick Stare, CJO and Winter’s Jazz Club Patron October 19 (7:30PM & 9:30PM): Soul Message Band w/ special guest Hinda Hoffman October 20 (7:30PM & 9:30PM): Jeremy Kahn Trio - Tough Boss Tenor: Salute Sonny Stitt, Gene Ammons, Johnny Griffin and Eddie ‘Lockjaw’ Davis

October 21 (7:30PM & 9:30PM): Bosman Twins Quintet

October 22 (7:30PM & 9:30PM): Karrin Allyson

October 23 (5:30PM & 7:30PM): Bobbi Wilsyn QuintetLadies Who Sing the Blues

October 26 (7:30PM & 9:30PM): Michael Lerich Jazz Ensemble: Saluting Sinatra: The Early Swingin' Years

October 27 (7:30 & 9:30PM): Alyssa Allgood Quartet

October 28 (7:30 & 9:30PM): Petra's Recession Seven October 29 (7:30 & 9:30PM): Johnny O'Neal Trio

October 30 (5:30 & 7:30PM): Chris White QuartetIt's the Great Pumpkin Charlie Brown!

All proceeds from this concert go directly to benefit the Jazz Institute of Chicago's free public programming and its jazz education initiatives throughout Chicago.

This extraordinary concert event features three of the country's top trumpeters and an acclaimed vocalist as they tell the story of Louis Armstrong's incredible journey from a challenging childhood to international superstar.

Orbert Davis | Maurice Brown | Corey Wilkes | Dee Alexander

Please consider joining us at a VIP ticket level.

V.I.P. Ticket includes: Concert Ticket, Post Concert Reception with Food, Refreshments, and Artist Meet & Greet. Exclusive Commemorative Gift, Complementary Membership ($60 value) (For Non-Members)

Bring a a friend and they will receive a fabulous evening and a full year of J.I.C. involvement!

October 20, 2022, 7PM Concert, 8:15 Reception Logan Center for the Arts 915 E. 60th Street, Chicago

RETURN OF THE JAMS!

Get set for the return of Jazz Links Jam Sessions at the Jazz Showcase. The jam sessions return on Wednesday, October 12th 2022 and on the second Wednesday of each month through spring 2023. It will be a great environment to learn and improve your jazz chops, lead by our house band of performer/educators. Young musicians, start picking out your tunes and everyone else get ready to come out and support live jazz and our young players!

2022-23 JAZZ MASTERS RESIDENCY PROGRAM

Jazz Institute of Chicago is accepting applications for the Jazz Masters Residency Program. JIC will pair the accepted applicants up with local professional jazz artists for residencies to take place during the second half of the school year. Schools applying must have an existing music program. The resident artists will guide students and teachers on their journey with jazz during eight sessions at each school.

Last year’s Jazz Masters included sought-after artists featuring: vocalist

This year will see the return of the one-day professional development workshop for all participating teachers with sessions led by the resident artists. Also returning are free concerts at the Logan Center for the Arts: one concert featuring the program’s own jazz master resident artists for all schools participating in this year’s cohort, and other select concerts from the Jazz at the Logan series, which are limited and

available on a first come, first served basis. Free bus transportation to the concerts will be provided by the Logan Center for participating CPS schools.

In 2021-22 most schools were rebuilding their music programs post-pandemic. The Jazz Masters Residency Program proved invaluable to those schools who participated. The Jazz Institute looks forward to building upon that progress and providing exciting new opportunities in the year to come!

Maggie Brown, trumpeter Victor Garcia and drummer Ernie Adams!

The JazzGram is a monthly newsletter published by the Jazz Institute of Chicago for its members. The Jazzgram represents the views of the authors, and unless so designated, does not reflect official policy of the Jazz Institute. We welcome news and articles with differing opinions.

Design: YoojDesign

Correspondents: Diane Chandler-Marshall, Aaron Cohen, Corey Hall, Ayana Contreras, Howard Mandel, Rahsaan Clark Morris, Neil Tesser.

Board of Directors: President: David Helverson

Vice Presidents: Timuel Black In Memoriam, David Bloomberg, Warren Chapman, William Norris, Keyonn Pope, Kent Richmond, DV Williams.

Secretary: Howard Mandel

Treasurer: Brian Myerholtz

Emeritus Director: Joseph B. Glossberg

Executive Director: Heather Ireland Robinson

Board Members: Miguel de la Cerna, Rajiv Halim, Jarrard Harris, Chiquita Jones, Greg Kelley, Bill King, Jason Koransky, Terry Martin, Ted Oppenheimer, Bethany Pickens, Mike Reed, Judith E. Stein, Neil Tesser, Darryl Wilson.

Staff: Scott Anderson, Diane Chandler-Marshall, John FosterBrooks, Maggy Fouche, Darius Hampton, Mashaune Hardy, Raymond A. Thomas.

Founded in 1969, the Jazz Institute of Chicago, a not-for-profit corporation, promotes and nurtures jazz in Chicago by providing jazz education, developing and supporting musicians, building Chicago audiences and fostering a thriving jazz scene.

410 S. Michigan Ave., Suite 500, Chicago IL 60605 | 312-4271676 • Fax: 312-427-1684 • JazzInChicago.org

The Jazz Institute of Chicago is supported in part by The Alphawood Foundation | The Francis Beidler Foundation | The Chicago Community Trust | A CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events | Crown Family Philanthropies | Cultural Treasures | The Philip Darling Foundation | The Gaylord and Dorothy Donnelley Foundation | Dan Epstein Family Foundation | The Illinois Arts Council Agency | Lloyd A. Fry Foundation | The MacArthur Fund for Arts and Culture at Prince | The National Endowment for the Arts | The Oppenheimer Family Foundation | The Polk Bros. Foundation | The Benjamin Rosenthal Foundation | Walder Foundation