September 2024

FESTIVAL FEAST

ON THE COVER _ Clockwise from top left: Mark Whitfield; Brianna Thomas (Photo by Matt Baker); Alvester Garnett; Buster Williams

ALL THAT’S JAZZ

BY CYDNEY HALPIN

Sadly, the summer has come to a close with the unfortunate death of larger-than-life guitarist Russell Malone. I’d like to offer my personal and heartfelt condolences to his family, friends, and students. Russell’s untimely death is a huge loss to all who knew him, to those who were lucky enough to work with him, and to the industry.

The Big Band in the Sky is full of cats gone too soon…keep ‘em dancin’ to your music Russell. Please see pages 06, 18-21 for more information on Russell’s life and career.

SAVE THE DATES! The Jersey Jazz LIVE! concerts begin again on Sunday, October 6th with the presentation of the documentary “Jimmy Van Heusen… Swingin’ with Frank & Bing.” Creator, Documentarist Jim Burns, and

record/radio producer, author, historian, and archivist Chuck Granata will join us for conversation, anecdotes, and share rarely, if ever, seen photographs not included in the film.

Live Jimmy Van Heusen music will also be performed by vocalist Anais Reno, accompanied by Jon Weber on piano and Lance Conrad on guitar. Please see page 09 for more details. Mark your calendars and plan on spending the afternoon Swingin’!

The November 3rd LIVE! will showcase the NJJS 2024 Scholarship winners Lasse Corson and Isaac Yi (Performance) and Joseph Foglia and Gabriel Chalick (Composition) alongside industry professionals, under the musical direction of NJJS Advisor saxophonist and educator Don Braden. Come support these amazing musicians and get to know the future of jazz.

Our 2024 programming will conclude on December 8th with our Annual Meeting featuring the Summer Camargo Trio. Summer was highlighted as a Rising Star in the May 2021 issue of Jersey Jazz and was our first livestream performer when Covid forced NJJS to pivot to online programming. We’re delighted to welcome her back for a special live performance.

If you’ve attended these events, you know they’re great value and that the talent of our featured performers and the showcased Rising Stars is incredible. If you haven’t yet attended a LIVE! event, come be a part of the musical celebration, and bring a friend!

Admission is $10 members/ $15 non-members. Doors open at 2:30 p.m., concerts begin at 3:00 p.m. Refreshments are available for

purchase. Madison Community Arts Center, 10 Kings Road, Madison, NJ. Free street parking is available.

More complete details regarding each event will be in subsequent issues of Jersey Jazz and on our website njjs.org . We look forward to seeing you this fall at Jersey Jazz LIVE! performances.

Perhaps you’d like to sponsor or co-sponsor a Jersey Jazz LIVE! event? Funding for the Jersey Jazz LIVE! events has been made possible, in part, by funds from Morris Arts though the New Jersey State Council on the Arts/ Department of State, a partner agency of the National Endowment for the Arts. This program is also proudly supported by a grant from The Summit Foundation.

While we’re very grateful for this

support, this funding doesn’t cover the full costs of our programming. If you or someone you know would like to help sponsor or co-sponsor one of these programs, please contact me at pres@njjs.org or at (973) 229-0543 for more information.

September is jazz festival month in New Jersey, and this issue of Jersey Jazz is chock full of information on all the amazing talent that will be on outdoor stages this season.

NJJS will have a booth at the Montclair Festival Saturday, September 14, selling vinyl records and CDs - generously donated by patrons, whose proceeds benefit NJJS programming. Stop by and say hello and maybe you’ll find the perfect gift for someone, or the perfect treat for yourself! Please see page 22 for more details.

We’ll also be part of the Middlesex Festival supporting Metuchen programming on 9/28. No NJJS merchandise will be sold at this event. Please see page 40 for more details.

The New Jersey Jazz Society would like to thank the Morris Museum and former Curatorial Director of Live Arts - Brett Messenger; Laurel Smith - Manager, Bickford Theater; Lewis Perlmutter - Technical Director, Bickford Theater; Jimmy Warren - Assistant Technical Director; and all the other staff and volunteers who made “Jazz on the Back Deck” 2024 another smash season! We’re grateful for their hard work and commitment to providing jazz programming in a fun environment - for the fifth summer in a row!

Don’t miss the last show of the season: Blanc Après Labor Day with

“

THE PAST YEAR HAS BROUGHT NEW SUCCESSES TO NJJS . ”

Mike Davis and the New Wonders, Saturday, September 14, 7:30p.m.

We look forward to the upcoming indoor season and thank all involved in advance for supporting and showcasing jazz! For more information and tickets visit morrismuseum.org/performances & film.

The past year has brought new successes to NJJS - our Rising Stars initiative has continued to grow, showcasing exceptional youth talent ages 12 - 22, and the exponential development of our Juried Schol-

arship Competition. But, there is always more to be accomplished. To this end, we’re looking to add members to our Board of Directors. If you feel you have the skills, time, and energy to devote to NJJS in this capacity, please contact me at pres@njjs.org. I look forward to hearing from you.

In what seems like the “blink of an eye,” summer has come and gone, kids of all ages are going back to school, and the start of fall is upon us…and the holidays will be here before we know it!

SUNDAY, OCTOBER 6 • DOORS OPEN 2:30 PM

FEATURING:

THE DOCUMENTARY JIMMY VAN HEUSEN

SWINGIN'with FRANK & BING

$ 10 MEMBERS | $ 15 NON-MEMBERS

$ 5 STUDENTS (WITH VALID I.D.)

Madison Community Arts Center

10 KINGS ROAD, MADISON, NJ

EDITOR’S CHOICE

BY SANFORD JOSEPHSON

Celebrating Jazz and Remembering Russell Malone

September has become Festival

Month in New Jersey. There are now seven jazz festivals in the state, stretching from Friday, September 13, to Sunday September 29. All seven are previewed in this issue.

One of the highlights this year was supposed to occur on Saturday evening, September 28, when the brilliant guitarist Russell Malone was scheduled to lead a quartet at the Metuchen segment of the Middlesex County Jazz Festival. On August 6, I had a delightful phone interview with Malone, who told me he was leaving for Japan for a two-week tour with bassist Ron Carter. “I can truly say I’ve

been to the mountaintop as far as bass players,” he told me, “because I spent a lot of time with Ray Brown, too.”

On August 23, during the Japan tour, the 60-year-old Malone died from a heart attack, which occurred following a performance with Carter and pianist Donald Vega at the Blue Note Tokyo. My interview with Russell will still appear in this magazine, but, sadly, it will now be part of his obituary (page 18). When I describe our conversation as “delightful”, that is not hyperbole. Malone was not just a talented musician, performer, and composer. He was someone who got great joy from his

music and who was passionate about sharing it with his audiences. “I like my audience to be engaged in what we’re doing,” he emphasized to me.

Carter and Vega completed the Japan tour “in respect and honor of the memory of Mr. Malone.”

Lynne Mueller, Jazz Events Planner for the Metuchen Arts Council, said guitarist Mark Whitfield will play with Malone’s rhythm section—pianist Rick Germanson, bassist Vincent DuPont, and drummer Neal Smith on September 28.

Last year, the weather in September was somewhat uncooperative.

Three days of music were wiped out by rain—Kean Jazz & Roots, the Saturday performances at Morristown Jazz & Blues, and the West Orange Fest (including the rain date). Many of the artists who couldn’t perform last year will return this year—Third

World and Stefon Harris at Kean, the Hot Sardines in Morristown, and Nat Adderley, Jr. in West Orange, among others. The following pages include updates on those groups/artists and interviews with drummer Alvester Garnett (Central Jersey Jazz Festival), vocalist/bandleader Brianna Thomas and Rising Star trombonist Dan Harkins (Montclair Jazz Festival), and legendary bassist Buster Williams (Middlesex County Jazz Festival).

There will also be lots of performances by young, emerging artists. Harkins will be part of a concert by the Montclair State University Jazz Band, and there will be opportunities at the various festivals to hear the Carteret High School Jazz Band; the Metuchen High School Jazz Ensemble; the New Brunswick Jazz Project Brass, and the Woodbridge High School Jazz Choir.

ABOUT NJJS

Founded in 1972, The New Jersey Jazz Society has diligently maintained its mission to promote and preserve America’s great art form—jazz. To accomplish our mission, we produce a monthly magazine, Jersey Jazz ; sponsor live jazz events; and provide scholarships to New Jersey college students studying jazz. Through our outreach program Generations of Jazz, we provide interactive programs focused on the history of jazz. The Society is run by a board of directors who meet monthly to conduct Society business. NJJS membership is comprised of jazz devotees from all parts of the state, the country and the world.

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Members at Bandleader level and above and Corporate Memberships receive special benefits. Please contact Membership@njjs.org for details. The New Jersey Jazz Society is qualified as a tax exempt cultural organization under section 501(c)(3) of the Internal Revenue Code, Federal ID 23-7229339. Your contribution is tax-deductible to the full extent allowed by law. For more Information or to join, visit www.njjs.org

Magazine of the New Jersey Jazz Society

VOLUME 52 • ISSUE 08

org

Jersey Jazz (ISSN 07405928)

is published monthly for members of The New Jersey Jazz Society

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All material in Jersey Jazz, except where another copyright holder is explicitly acknowledged, is copyright ©New Jersey Jazz Society 2024. All rights reserved. Use of this material is strictly prohibited without the written consent of the NJJS.

Editorial Staff

EDITOR

Sanford Josephson, editor@njjs.org

ART DIRECTOR

Michael Bessire, art@njjs.org

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Mitchell Seidel, photo@njjs.org

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Bill Crow, Joe Lang, Alex Levin, Dan Morgenstern, Ricky Riccardi, Jay Sweet

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New Jersey Jazz Society, Officers 2024

PRESIDENT

Cydney Halpin, pres@njjs.org

EXECUTIVE VP vicepresident@njjs.org

TREASURER

Mike Katz, treasurer@njjs.org

VP, MEMBERSHIP membership@njjs.org

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Sanford Josephson, sanford.josephson@gmail.com

VP, MUSIC PROGRAMMING

Mitchell Seidel, music@njjs.org

RECORDING SECRETARY Irene Miller

CO-FOUNDER Jack Stine

IMMEDIATE PAST PRESIDENT

Mike Katz

DIRECTORS

Jay Dougherty, Cynthia Feketie, Pete Grice, Carrie Jackson, Caryl Anne McBride, Robert McGee, James Pansulla, Stew Schiffer, Elliott Tyson, Jackie Wetcher

ADVISORS

Don Braden, Mariel Bildsten, Ted Chubb, Al Kuehn, Jason Olaine

Celebrating Jimmy Van Heusen: Jim Burns’ Documentary, Plus Live Music

Pianist Jon Weber, Guitarist Lance Conrad, and Vocalist

Anais Reno Will Bring the Tunes to Life

Darn That Dream”, “Polka Dots and Moonbeams”, “Call Me Irresponsible”—Those are just three of the many popular songs composed by Jimmy Van Heusen. Lyrics for the first two were written by Johnny Burke and the third by Sammy Cahn.

Van Heusen won four Oscars and one Emmy Award and wrote more songs (85) recorded by Frank Sinatra than any other composer. He also wrote the songs for six out of the seven Bing Crosby/Bob Hope “Road” movies.

In 2014, Jim Burns, President and Executive Producer of Burns Media Productions, created a documentary, Jimmy Van Heusen Swingin’ with Frank & Bing. Reviewing it for the New York Daily News, David Hinckley wrote, “When they talk about the great golden-age songwriters like Cole Porter, Irving Berlin, and the Gershwins, they sometimes leave out Jimmy Van Heusen. This delightful hour proves that’s a mistake.”

On Sunday, October 6, at the New Jersey Jazz Society’s Jersey Jazz LIVE! event at the Madison (NJ) Community Arts Center, Burns will screen his documentary. Then, Burns and author/historian Chuck Granata will discuss the unique musical partnership between Van Heusen and Sinatra. That will be followed by a live performance of Van Heusen’s music by pianist Jon Weber, guitarist Lance Conrad, and vocalist Anais Reno. Weber has recorded and toured all over the world, winning numerous accolades for performance and composition. Among jazz artists who have performed with him or recorded his music are the late trumpeter Roy Hargrove, vibraphonist Gary Burton, and tenor saxophonist Eric Alexander.

Conrad started out as a classical guitarist but shifted to jazz when he heard guitarist Bruce Forman’s Coast to Coast band. At the University of Southern California’s

Jimmy Van Heusen

JERSEY JAZZ LIVE!

Thornton School of Music, Conrad studied with Forman and drummer Aaron Serfaty and played in bands under the direction of composer/ arranger/conductor Vince Mendoza and saxophonist Bob Mintzer. Reno was featured as a Rising Star in the March 2022 issue of Jersey Jazz. In a review of her first album, Lovesome Thing: Anais Reno Sings Ellington & Strayhorn (Harbinger: March 2021), JJ’s Joe Lang wrote, “It is rare to find a young vocalist who exhibits the maturity in her interpretation of songs that Anais Reno provides ... This is not only an impressive debut recording, but deserves to be on any list of best vocal albums of the year.”

In advance of the October 6th program, we asked Reno to share her thoughts about Van Heusen’s music.

“One of my personal favorites,” she said, “is called ‘Oh, You Crazy Moon’, written in 1939. It was played by Tommy Dorsey in the year it was written, recorded

again by some of my favorite singers such as Sarah Vaughan and Frank Sinatra, and, now in 2024, I find myself singing it for an audience that seems to love its clever, yet heartbreaking writing almost as much as I do.

“Sarah Vaughan,” she continued, “sang it as a truly despondent ballad, allowing the listener to soak in the heartbreak the narrator is experiencing in real time. On the other hand, Frank Sinatra lightly swung it, intelligently playing into

the humorous sense of remove the narrator would like to feel from this heartbreak, yet cannot seem to. It is music like this that brought 12-yearold me (she’s now 20) to curiosity about jazz and continues to challenge my interpretive habits today.”

The Madison Community Arts Center is located at 10 Kings Road in Madison, NJ. The Jersey Jazz LIVE! concerts begin at 3 p.m. Admission will be $10 for NJJS members and $15 for non-members. Student admission is $5

with valid ID. There will be light refreshments for purchase. To order tickets in advance, log onto artsintrinsic.ticketleap. com/jjs-jimmy-van-heusen-10-06-24

: Funding for Jersey Jazz Live! has been made possible, in part, by funds from Morris Arts through the New Jersey State Council on the Arts/Department of State, a partner agency of The National Endowment for the Arts. This program is also proudly supported by a grant from The Summit Foundation

Anais Reno

Jon Weber

Lance Conrad

Midiri Brothers Concert Will Focus on The Great American Songbook

BY RICKY RICCARDI

Jazz music has now regularly been showcased at Ocean County College for more than 20 years. In that time, dozens of artists have graced the stage of OCC’s Jay and Linda Grunin Center for the Arts in Toms River, NJ, but few have been as popular as the Midiri Brothers, Joe and Paul. After years of being regularly featured, the group has not been back since Covid, but that will change on September 15.

For those who don’t know the brothers, Joe and Paul Midiri are twins who are devoted to the sounds of swing. Joe Midiri is a master of reeds, named “one of the great swing clarinetists of the past 30 years” by jazz critic Scott Yanow. Brother Paul mainly sticks to hot vibraphone playing, but it’s not a surprise to see him

take over the drum chair or even double on trombone for a number or two.

The Midiris make the sounds of the Swing Era come alive and have been featured in the past in tribute concerts to Benny Goodman, Artie Shaw, and other greats of the Big Band era. For their September 15th concert, they will focus on The Great American Songbook, presenting a program of some of the best-loved standards of all-time.

In 1974 the Midiris met pianist

Joe Holt at Triton Regional High School in Runnemeade, NJ. Realizing they all shared an interest in swing, they formed the Couple of Joe’s Trio.

“We played Benny Goodman’s music in the rock age,” Paul Midiri recalled. Fifty years later, Holt will be in the piano seat for the Grunin Center show; it’s no surprise that when the Midiris and Holt recorded an album together in the mid-2000s, they named it The Other Brother in honor of their long-standing relationship with Holt.

In addition to Holt, the Midiri Brothers Sextet will be rounded out by three familiar faces who have

played the Grunin Center many times in the past, all of whom are mainstays on the Philadelphia jazz scene. On guitar will be Pat Mercuri, who regularly plays with orchestras in Philadelphia and New York, in addition to his work in jazz. Rounding out the rhythm section will be two musicians who effortlessly swing out with joy and good humor, bassist Jack Hegyi and drummer Jim Lawlor.

: The New Jersey Jazz Society is a proud supporter of the Jazz on a Sunday Afternoon series, which is made possible through funding from the Wintrode Family Foundation and the Ocean County College Foundation.

The Midiri Brothers concert begins at 3 p.m. on Sunday, September 15. The Jay and Linda Grunin Center for the Arts is located on College Drive on the campus of Ocean County College. For information and tickets, log onto grunincenter.org or call (732) 255-0500.

Paul, left, and Joe Midiri

Bud Powell: ‘Father of Bebop Piano’

His Playing Created the Sound That So Many Pianists Emulate and Incorporate into Their Styles

BY ALEX LEVIN

Born September 27, 1924, in Harlem, Earl Rudolph “Bud” Powell will be remembered forever as ‘the father of bebop piano’, at least as many of us pianists understand the term. Listening back to his debut recording as a featured soloist with Cootie Williams from 1944, “Floogie Boo,” it’s remarkable how much of his concept and his style is already in place. Important to remember that he is, at the time of the recording, only 20 years old. Lay that recording on the record player, and you can hear all of the vibrant rhythms and deep swing that is so characteristic of all of his music. I love hearing him comping behind the soloists. He sounds like a boxer taking swings and jabs under the solo lines, adding texture and tension while accentuating the dance rhythms of the music. When it’s time for his solo, he immediately throws in an unexpected series of chromatic chords, first descending and then, just a few bars

later, ascending. When a soloist plays that way, it’s symbolic not only of the sophistication of the harmonic concepts of the musician, but also the willingness of the pianist to take risks and to tell a story that is unique to him.

So many musicians who play jazz music encounter Bud Powell as a part of Charlie Parker’s band. The Debut Records album, Jazz at Massey Hall, recorded in May 1953, with Bud Powell, Charlie Parker, Dizzy Gillespie, Charles Mingus, and Max Roach, is canon. Zooming into Powell’s playing on the record, you can hear so much of the rhythmic thrust of the heads and solos coming out of his comping. Every measure has some form of invention to it, whether it’s a syncopation in the comping, a series of chord substitutions that move up and down behind the soloists, or the tremendous fluidity of his solos.

I love hearing how Powell makes the case for the piano as a third horn

player, right behind Parker and Gillespie’s solos, at least in terms of the inventiveness and rhythmic intensity of each phrase. During his solo on “Hot House,” for example, he has a lovely left-hand approach that is both buoyant and simple enough to allow the right hand to dazzle. One of the things that makes Jazz at Massey Hall so special is how beautifully the band plays together and how the piano solos carry equal weight with the other instruments. There are centuries’ worth of musical knowledge and information to be unpacked from the record.

As much as Powell’s work in Charlie Parker’s band means—and it means the world—as a pianist, I have spent just as much time with Powell’s recordings under his name. The Amaziing Bud Powell recorded in 1949 and 1951 on Blue Note and released in 1952, is a superb example of Powell’s genius in the fullest of flower. Here, his incredible compositions,

“Bouncin’ with Bud,” “Wail,” and “Dance of the Infidels,” prove to be superb platforms for his improvisations. I am partial to the latter, which is a modified blues that segues in and out of typical harmonies to create an air of mystery. I also love his fills on the head of “52nd Street Theme,” a “rhythm changes” tune (based on

the changes of “I’ve Got Rhythm”). Powell’s note choices sound so contemporary and presage the playing of McCoy Tyner and other pianists who delve into whole-note scales, pentatonic scales, and modal playing. Then there is Powell’s solo on “52nd Street Theme”, a blistering, fluid, masterclass on piano soloing. The whole solo

is less than 60 seconds long, but every moment counts in creating the swinging, inimitable effect of his soloing.

In 1950 and 1951, Powell recorded a solo record that would ultimately be released in 1956 by Mercury/Clef as The Genius of Bud Powell. Remarkable to hear how Powell’s pianistic concept translates to solo piano. He is, as all great pianists are, his own metronomic device: the time is superb and steady throughout each track, and the tunes are full of joy and electrical energy. So many of these solo tracks, like “Hallucinations” and “Oblivion,” are considered mainstays of solo piano repertoire, and with good reason: They are superb compositions penned by Powell. And then there are the standards — “Just One of Those Things,” by Cole Porter gets the greatest bop treatment on The Genius of Bud Powell. The ideas on this solo recording seem to stretch back and forward in jazz his-

tory. Here is the fluidity of Art Tatum somehow married to the trills and thrills of Brad Mehldau, Kenny Barron, and Benny Green. I also love the way Powell moves into a rubato, classically informed cadenza at the end of the performance. That’s just one track, of course. The whole record stands as one of the great, towering achievements of solo jazz piano.

These solo piano tracks are also

to be found on the box set The Complete Bud Powell on Verve. Talk about a treasure trove of music! As I wrote this article, I was listening to Powell’s trio playing “Bebop .” The tempo is incredibly fast, a classic Powell tempo, really. It’s so exhilarating to hear him articulating such beautiful, fluid phrases at this pace. Powell makes it sound like it’s easy to do!

Beyond the dazzling technique of Powell’s playing, the sheer impossibility of the tempi, and the incorporation of bebop, there is something very profoundly soulful—heartachingly so—to Powell’s music. I hear it in his rubato introductions and his playing on ballads. On the aforementioned Verve box set, for example, you’ll find tender and haunting versions of a number of ballads. One great example is his recording of “I Didn’t Know What Time it Was,” a gorgeous song by the composer Richard Collmer. Here, Powell’s music is largely

chordal and exuberantly rhapsodic. The piano sounds orchestral under his fingers, and, compared to those better-known recordings where he is playing with and around Charlie Parker and Dizzy Gillespie, Dexter Gordon, and others, he sounds more relaxed and expansive. That’s what a ballad will do to you, I guess. As is the case when you are checking out a musician whose music spans decades, Powell’s recordings sound different as you move from the records he made in the ‘40s and ‘50s to the recordings he made in the 1960s. Some of his recordings from that decade are documented on the compilation record, Bud Powell in Paris (Reprise: 1964) . These are some swinging tracks! “Dear Old Stockholm,” for example, is one of the most beautiful renderings of the tune I remember hearing. One thing that comes across on these tunes in minor keys is the beautiful dark-

The Genius of Bud Powell is one of the great towering achievements of solo jazz piano.

ness that Powell can elicit from the piano through his chord voicings and his touch. I appreciate hearing him play mid-tempo tunes like this one, too. You can hear how he puts together his lines with a Bach-like deliberateness. His left hand voicings really shine in this context, too, as the recording technology allows you to

hear the shading and nuances of the instrument with greater specificity. There’s a wonderful quirkiness on display in his reading of “Satin Doll” by Duke Ellington, Billy Strayhorn, and Johnny Mercer. I understand that Ellington financed some of Bud Powell’s recordings in France. I wonder what Ellington thought of

Powell’s version of the tune. I bet he loved it. Frankly, the tune sounds magnificent on this recording. In some ways, the simplicity of the changes makes it easier to hear the construction of Powell’s bop lines. As a pianist myself, I love hearing the runs at a slightly more approachable tempo. Those of you looking for more fast-tempo Bud Powell, would like his recording of “Reets and I,” which moves along at quite a clip. There is a more relaxed but deeply swinging vibe to Powell’s recordings in the ‘60s. I guess, at the root of all of this writing, is the question or challenge that pianists face that has to do with emulation. Listening to Bud Powell records, I want to stop every few seconds, sit down at the piano, and start transcribing. His lines are immediately attractive, magical, concise, and inventive in a way that can only be characterized as completely original. Powell’s playing is foundational to all

modern jazz pianists who study or who have considered bebop. For me, he created a template of an approach to standards and to playing in a trio, as well as a harmonic and linear language that I continue to pursue to this day, as I approach 50. I will never sound like Bud Powell (lord knows!), but his playing created the sound that so many pianists emulate and incorporate into their styles. I feel so lucky to have had the opportunity to hear these Powell records throughout my life. He left us with a gift for all time and forever, and I hope we all will celebrate his 100th birthday by listening to his recordings, playing his tunes on our instruments, and helping to spread the word about this most wonderful of wonderful pianists.

: Alex Levin is Head of the English Department at Philadelphia’s Germantown Friends School and is a working jazz pianist.

Russell Malone: ‘I Like People to Dance to My Music and Have a Good Time’

His

Advice to Young Jazz Artists:

“Learn the History of the Music. Be Aware of the Tradition, But Don’t Be a Slave to the Tradition”

BY SANFORD JOSEPHSON

Guitarist Russell Malone was scheduled to lead a quartet at the Middlesex County Jazz Festival on Saturday evening, September 28, in Metuchen, NJ. On August 23, the 60-year-old Malone died of a heart attack while on tour with bassist Ron Carter in Japan. Carter issued this statement on Facebook: “I am currently on a tour that began as The Golden Striker Trio, consisting of Russell Malone, Donald Vega, and Yours Truly. On the 23rd of August Mr. Malone suffered a heart attack upon completion of our performance at Blue Note Tokyo. Donald Vega and I are complet-

ing this tour as a duo … in respect and honor of the memory of Mr. Malone.”

A couple of weeks earlier, I interviewed Malone to preview his Metuchen concert. “I never know what I’m going to play,” he confessed, “but, most of the time, whatever we play, people leave having had a good time.” (At presstime, we learned that guitarist Mark Whitfield will play in Metuchen with Malone’s rhythm section: pianist Rick Germanson, bassist Vincent DuPont, and drummer Neal Smith on September 28).

In 2017, when Malone released an album on the HighNote label called

Russell Malone, at the Jazz Kitchen in Indianapolis in November 2023

BIG BAND IN THE SKY

Time For The Dancers, John Murph of DownBeat wrote that, “It’s nearly impossible not to move while listening to Russell Malone’s enticing new album. The 53-year-old guitarist and composer packs plenty of boogie into his retooling of the Sir Roland Hanna-penned title track, provoking you to bob your head; the gutbucket ‘Leave It To Lonnie’ invites you to get on the good foot; and the sensual reading of Peggy Lee’s ‘There’ll Be Another Spring’ seduces you to sway slowly.”

In an interview about that album, Malone told Murph, “I like people to dance to my music and have a good time.” He expanded on that with me. “Years ago,” he said, “dancing is what people used to do to the music before going out to hear jazz became this intellectual endeavor. I think sometimes the music can get just a little too pretentious, playing in this private discussion that the audience isn’t in on. I like my audience

to be engaged in what we’re doing.”

Another track on the Time For The Dancers album was a Malone original called “A Ballad For Hank Crawford”, dedicated to the late alto saxophonist. Malone grew up in Albany, GA, and remembered that, “You didn’t hear a whole lot of jazz in Albany, but there were certain artists you heard on the radio, and Hank Crawford was one of those artists. I always liked his sound and his feel. David Sanborn always talked about Hank Crawford.”

Malone recalled an album he and Crawford made with B.B. King in 1999—Let The Good Times Roll (MCA). It was a tribute to Louis Jordan. “I played guitar, John Heard was on bass, Marcus Belgrave was on trumpet, David ‘Fathead’ Newman played tenor sax, and Earl Palmer was the drummer. Hank was such a soulful guy.” Reviewing the album for AllAboutJazz, Ed Kopp wrote: “The musicians play with a kind of re-

strained tastefulness that reinforces King’s stylish, citified approach to Jordan’s music. Credit Crawford for some imaginative horn arrangements.”

Although his interest in the guitar began when he was five years old, Malone decided to concentrate on jazz at age 13 after he saw George Benson play with Benny Goodman on the PBS TV program, Soundstage. “That’s what got me into jazz,” he said, “but before that I’d already seen B.B. King and

Isaiah Sharkey, Mark Whitfield and Russell Malone. Sharkey was one of the young guitarists mentioned by Malone in this article.

Chet Atkins and Merle Travis, and Glen Campbell. I’m not a purist. I love jazz music, but I don’t turn my nose up or turn a deaf ear to other forms of music because people playing those other types of genres are just as serious about what they’re playing as a bonified, dyed-in-the-wool jazz player.”

His favorite American Songbook composers were Jerome Kern, Cole Porter, and Jimmy Van Heusen. Among jazz musician/composers,

BIG BAND IN THE SKY

“I like McCoy Tyner, Herbie Hancock, Duke Pearson, Thad Jones; and I think Roy Hargrove wrote some beautiful catchy melodies. When he died, he sure left a void.”

One young musician he was particularly impressed with was pianist Sean Mason. “He’s a young man you may want to keep your eyes on. He writes well. I caught his show at Smoke a couple of years ago, and I left there feeling good. Sean’s got something to say.” (Mason was the Jersey Jazz Rising Star in October 2021. See review of his new album with Catherine Russell on page 50).

The list of Malone’s guitar heroes was long: Wes Montgomery, Jim Hall, Kenny Burrell, George Benson, Barney Kessel, Tal Farlow, Joe Pass, Lenny Breau, Johnny Smith. “I never got to meet Wes, but I’m friends with his son, Robert,” he said. “Jim and I were very good friends. I still have some handwritten letters I got from Jim Hall over

the years. Those are very precious.”

Malone was very high on a number of young guitarists on the scene today, mentioning Dan Wilson, Cecil Alexander, Isaiah Sharkey, Leo Larratt, Eoin O’Mara, Lolivone de la Rosa, and Camille Mesa.

In 2019, Malone performed at the Newport Jazz Festival with Carter. Jersey Jazz’s Sandy Ingham attended that performance and wrote, “The music was superb. The 82-year-old bass legend had a pair of aces—guitarist Russell Malone and pianist Donald Vega, and their mellow vibe and insistent swing harked back to the heyday of Oscar Peterson’s great small groups for most of the last century’s second half.”

Malone told me he was leaving for Japan for the two-week tour with Carter. “I’ve been playing with the old man for almost 30 years,” he said. “It’s been wonderful. I can truly say I’ve been to the mountaintop as far as bass players because I spent a lot of time with

DownBeat, reviewing Time For The Dancers, wrote, “It’s nearly impossible not to move while listening to Russell Malone’s enticing new album.”

Ray Brown, too. I played on his last recording.” (Ray Brown, Monty Alexander, Russell Malone, Concord: 2002).

He had some advice and encouragement for young jazz players just beginning their careers. “Be true to yourself,” he said. “Learn the history of the music. Be aware of the tradi-

tion, but don’t be a slave to the tradition. What keeps the music fresh is you coming to your own conclusions as to how things can be approached. Listen to the elders and be aware of their contributions, but you don’t necessarily have to make the same musical choices they made. You have to come to your own conclusions as to how things should be done. Don’t be afraid to embrace your voice, your socalled imperfections, your ethnicity. Embrace all those things. That’s going to set you apart from everybody else.”

Young keyboardist Leonieke Scheuble, a student at William Paterson University where Malone taught, posted a tribute on Facebook. “He was not only an incredible musician,” she said, “but such a giving man who radiated with wisdom and love for the music. I had the opportunity of playing a weekend with Mr. Malone in February and learned so much from him. His energy was so

BIG BAND IN THE SKY

contagious, and we had such a great time. His phone calls, mentorship, and stories meant so much to me.”

Guitarist de la Rosa, also on Facebook, talked about Malone’s sense of humor. “He was always making everyone laugh with jokes and stories. Hilarious… it made life a little lighter and brighter. He was always out

hearing music and uplifting everyone. Such a supportive and joyful soul. We lost a guitar hero … no words.”

Guitarist David O’Rourke, writing an homage to Malone for London Jazz News, recalled seeing a video of him for the first time when Malone was playing with Harry Connick’s band. “The song,” he said, “was ‘It’s All Right With Me’ at a brisk tempo. Russell’s solo was fast, melodic, grooving, and exciting in a way that only the masters could produce ... I am 64 at the time of this writing, and, sadly, we become accustomed to losing people we know, but the suddenness of this loss and the feeling of emptiness is deeper than so many of us have experienced for a long time.”

Malone is survived by his companion, Mariko Hotta; his children, Darius and Marla; his mother, C. Veronice Malone; his brothers, Tony Barnes, Ricardo Jones and Stanley Jones; and his sisters, Tametrice Jones and Felicia Campbell.

Sunday September 15 • 3:00pm

Ron Carter and Russell Malone, posted by Carter on Facebook

Brianna Thomas Band Brings a Mix of Jazz, Blues, and Soul

“I Can Assure You, When You Listen to Us, You’re Going to Have Fun”

BY SANFORD JOSEPHSON

The Montclair Jazz Festival sounds like a block party to me,” said vocalist Brianna Thomas. “So, we’re prepared to come to the block party with fun. It’ll be a time to enjoy yourselves.”

The Brianna Thomas Band will be performing at 5 p.m. on the Uptown Stage. It’s a band that was formed in 2016 and recorded a very successful Breathline Records album in 2020 called Everybody Knows. That album contained standards such as Victor Young and Ned Washington’s “My Foolish Heart” and

Harry Warren and Mack Gordon’s “The More I See You” along with two Thomas originals, “How Much Forgiveness” and “I Belong to You”, and her own funky version of Nina Simone’s “Mississippi Goddam”.

WGBO-FM’s Keanna Faircloth called Everybody Knows “a carefully curated presentation of reimagined songs paired with original compositions.” Jazziz’s Matt Micucci wrote, “If you like a little soul with your jazz—maybe with a little side of funk—then I’ve certainly got the vocalist for you: Brianna Thomas.”

MONTCLAIR JAZZ FESTIVAL

Last year, Thomas was one of three vocalists featured in a Jazz at Lincoln Center-sponsored 47-city tour called “Songs We Love”. I interviewed her in connection with that tour (Jersey Jazz, March 2023), and she told me the album was called Everybody Knows because, “There was so much happening at that time. There were all these cop killings, a lot of rioting going on. It was really an album meant to be calling out the truths that we know. Mississippi Goddam had to go on there because of the times we were living in.”

Four of the five musicians accompanying Thomas in Montclair—pianist Conun Pappas, guitarist Marvin Sewell, bassist Ryan Berg, and percussionist Fernando Saci—are on Everybody Knows. The other member is drummer Curtis Nowosad. Pappas, who is from New Orleans was a classmate of Thomas’ at The New

School’s School of Jazz and Contemporary Art, and they connected musically when “the New School sent us to Berne, Switzerland, to perform at the Berne Jazz Festival,” Thomas recalled. “I come from a background of music that is wide open. In an African-American household, you listen to all kinds of stuff—gospel,

funk, jazz, blues, and R&B. I appreciated Conun’s openness to different sounds.” In addition to playing with Thomas, Pappas co-leads The Bridge Trio with drummer Joe Dyson and bassist Max Moran and plays regularly with violinist Majid Khaliq. Thomas first saw Sewell play with drummer/educator Hans Schuman. Originally from Chicago, Sewell studied composition at Roosevelt University and got his early jazz training playing with such Chicago-based veterans as pianist Ramsey Lewis and tenor saxophonist Von Freeman. Berg, from Minneapolis, also plays with saxophonist Stacy Dillard’s band, cPhour, pianist Connie Han’s trio, and vocalist Lindsey Webster’s band. Percussionist Saci is from Brazil. “The first time I saw him,” Thomas said, “he was playing on an upside down casserole dish.” Nowosad, a native of Winnipeg, Canada, has played

with such legends as pianist Kenny Barron and bassist Ron Carter and is part of a trio with guitarist Andrew Renfroe and bassist Luke Sellick.

Thomas is planning another album with this group, “possibly before the end of this year. Everybody in the band composes. We all come from the blues; we all come from jazz; and we all come from soulful sounds. We do a lot of different things. We’re jazz influenced, but we won’t be categorized into one narrow definition. I can assure you, though, when you listen to us, you’re going to have fun.” The Montclair performance will be a mix of original compositions and some favorites from the past. “I don’t want to give away too much,” Thomas said, “but we do have an arrangement of ‘All of Me’ that is becoming our favorite. It is well recorded, and people know that song, but they never heard it like we do it.”

Rising Star Trombonist Dan Harkins Will Play with the Montclair State University Jazz Band

“Dan is an Old Soul in a Young Person. He has a Quiet Confidence and a Respect for the History of the Trombone”

Trombonist Urbie Green, who died in 2018 at the age of 92, was part of Woody Herman’s Thundering Herd in the 1950s and won DownBeat’s International Critics’ Award for “New Star” in 1954. While revered among his colleagues, Green is not exactly a household name among the jazz listening public. But 22-year-old trombonist Dan Harkins lists him as one of his three jazz heroes—along with the giants, J.J. Johnson and Curtis Fuller.

“I really like Urbie Green a lot,” Harkins said. “I think he’s under-

rated. His sound on the trombone is a very unique and interesting one. You hear a lot of people who like to emulate J.J. and Curtis, but you don’t have people who try to imitate Urbie. I just think his sound is really, really gorgeous. He played a really mean ballad and had incredible control of the instrument, too.”

Harkins added, however, that J.J. Johnson “really did it best. He just had a great understanding of jazz and was able to use the trombone as a really effective instrument. Even now, for some modern

Dan Harkins playing with the Montclair State University Jazz Band. Saxophonists are: Alex De Lazzari, left, and Ryan Huston.

MONTCLAIR JAZZ FESTIVAL

and contemporary trombone players, it’s still hard to do what he did.”

Growing up in Mount Olive, NJ, Harkins started playing trombone at a very early age but wasn’t necessarily drawn to jazz. However, when he was in seventh grade at Mount Olive Middle School, his band director, Darrell Hendricks, told him the school was trying to start a jazz program. “Would you be interested in doing that?” Hendricks asked Harkins.

The answer was, “yes,”, and Harkins recalled that, “I just really began to enjoy playing jazz. Darrell was my first private lesson trombone teacher. He influenced me a lot.” Said Hendricks, “Dan really became passionate about playing, and he started learning about the history of the music.”

At 12:15 p.m. on September 14, Harkins will be playing trombone with the Montclair State University Jazz Band at the Montclair Jazz

Festival on the Uptown Stage. The band will be directed by Oscar Perez, MSU Coordinator of the Jazz Studies Program, and will feature two special guests, vibraphonist Steve Nelson and guitarist Dave Stryker.

According to Perez: “Dan is an old soul in a young person. He has a quiet confidence and a respect for the history of the trombone.” While in high school, in addition to the music program in the Mount Olive School District, Harkins was part of the New Jersey Youth Symphony Jazz Orchestra, then directed by alto saxophonist Julius Tolentino, Director of the Jazz Program at Livingston’s Newark Academy. “I really looked up to Julius Tolentino,” he said. “I thought he was a great educator.” Tolentino remembered that, “It was a pleasure working with Dan during his formative years. He had some doubts about his abilities when he was younger, like we all

did. I wanted to make sure he knew how talented he was back then, and, if he put the work in, he would excel. I’m so happy to see him continue to grow as a person and a musician.”

At Montclair State, Harkins has studied with trombonist Mike Boschen, who has “been impressed by how emotionally connected to the music he is and how expressive he is as a musician. Throughout our time together, he has shown his dedication by putting in the consistent hard work that is necessary to become a top-lev-

el trombonist. Dan continues making progress as an artist and in his ability to express his music clearly.” Hendricks said Harkins has been a catalyst at Mount Olive, paving the way for other student jazz musicians. One of them, trumpeter Alvaro Caravaca, was selected to play in the Carnegie Hall NYO Jazz Orchestra last year and is now a Jazz Studies major at the Eastman School of Music in Rochester, NY. At the New Jersey Jazz Society Jersey Jazz LIVE! concert in August 2022

Harkins playing with Street Hassle.

at the Madison (NJ) Community Arts Center, Caravaca led a Rising Stars opening act, which included alto saxophonist Ginger Meyer from Mendham, bassist Sam Konin from Lawrenceville, and drummer Mecadon McCune from Newark. In March 2023, the JJL Rising Stars opening act was led by another Mount Olive High School student musician, tenor saxophonist/clarinetist Gabe Serna, who won a Gold rating in the Highly Competitive Division of the Sparta High School Jazz Festival. The members of Serna’s quintet were all from Mount Olive High School: trombonist Alex Maricahl, guitarist Ange Ahart, drummer Nate Miller, and bassist Sydney Goureia. Harkins, who will be graduating next year from Montclair State, said, “I definitely want jazz to be part of my future. I’d love to be playing jazz consistently, but I don’t neces-

sarily want that to be my entire future. I like playing classical music, and I also really like playing some brass band stuff. Sometimes, you hear pop/rock stuff with horn sections. I like playing that. Anything that gives me an opportunity to play trombone I pretty much enjoy.”

Currently, Harkins is part of a New Jersey pop/rock band called Street Hassle. Founded as a fourpiece band in 1984, Street Hassle evolved into 10-piece band with heavy emphasis on horns in 1992. The repertoire is a combination of swing with classic rock, country, and soul and covers classics from bands such as Chicago and Sly & the Family Stone. In September, the band is performing at the Fireman’s Carnival in Boonton, The River Grille in Chatham, the Feast of St. Rose of Lima in East Hanover, and the Fall Festival Street Fair in Parsippany. —SJ

Montclair Jazz Festival

SATURDAY, 9/14

DOWNTOWN STAGE ( Bloomfield Ave. and Lackawanna Plaza)

12:15-1 P.M. » Jazz House Legacy Band

1:15-2 P.M. » Trombonist Steve Turre’s Sextet

2:30-3:45 P.M. » Saxophonist Kenny Garrett’s Sounds from the Ancestors

4:15-5:45 P.M. » Bassist Christian McBride and Inside Straight

6:15-7:30 P.M. » Vocalist Lisa Fischer and Grand Baton

8-10 P.M. » 15th Anniversary Block Party: DJ Brother Mister + Prince Hakim

Stage Host: Comedian/Actor Alonzo Bodden

UPTOWN STAGE (Bloomfield Ave.. and Fullerton St.)

12:15-1 P.M . » Montclair State University Jazz Band (guests: vibraphonist Steve Nelson, guitarist Dave Stryker)

1:45-2:45 P.M. » Harpist Edmar Castaneda’s Quartet

3:15-4:30 P.M. » Drummer Jerome Jennings and ill Philosophy

5-6:15 P.M. » Vocalist Brianna Thomas and her Band

6:30-7:45 P.M. » Jazz House Collective featuring vocalist Melissa Walker

Stage Host: Vocalist Andromeda Turre

The Hot Sardines, U.S. Navy Band

The Commodores, and Louis Prima, Jr., Hope for Sunny Skies

In 2023, for the first time in its history, the Morristown Jazz & Blues Festival was scheduled for two days—beginning at 4 p.m. on Friday, September 22, and continuing, as usual, on Saturday, September 23. The Friday music went off as planned, but Saturday was rained out.

This year, the Festival is back to Saturday only, on September 14, and three of the rained out 2023 bands are back: The Hot Sardines, at noon; the U.S. Navy Band The Com-

modores, at 2 p.m., and Louis Prima, Jr. & The Witnesses at 6 p.m.

Prior to The Hot Sardines canceled performance last September, the group’s latest Eleven Records album, C’est La Vie, had just been released. Later that month, the band had a multi-night engagement at New York’s Birdland jazz club. Reviewing one of those performances, The New York Sun’s Will Friedwald pointed out that the group was devoting “more of their energies to French songs. Ms.

The Hot Sardines’ Evan Palazzo and Elizabeth Bougerol.

MORRISTOWN JAZZ & BLUES FESTIVAL

Bougerol (vocalist Elizabeth Bougerol) is more of a first-rate chanteuse than ever on chansons like ‘J’Attendrai’, immortalized by Django Reinhardt in 1938 ... The new album and the Tuesday night late show alternated between jazz standards like ‘Caravan’ and ‘Dinah’, French songs, and flat-out surprises. Among the latter

are such Disneyana as ‘A Spoonful of Sugar’, restructured as a New Orleans street parade march, a la Louis Prima, and ‘The Bear Necessities’, rendered en Francais.” Co-leader, pianist Evan Palazzo, Friedwald added, “displays his keyboard chops in a thoughtful, low-key solo called ‘Swing of the Hip’.”

In a phone interview prior to last

Morristown Jazz & Blues Schedule

MORRISTOWN GREEN • SATURDAY, 9/14

NOON-1:30 P.M. » The Hot Sardines

2-3:30 P.M. » Navy Band The Commodores

4-5:30 P.M. » LaBamba’s Rock ‘n R&B Band

6-7:30 P.M. » Louis Prima Jr. & The Witnesses

8-9:30 P.M. » Joanne Shaw Taylor

year’s canceled show, NJArts’ Jay Lustig asked Bougerol how performing at an outdoor event like Morristown differed from a nightclub set. “We definitely enjoy bringing the bigger arrangements to something like Morristown,” she said. “One of the things that I think for us is really rewarding about festival settings is we’ll see sometimes three generations of the same family coming to a show.”

The Hot Sardines was founded in 2011 by Bougerol and Palazzo over a shared love of Fats Waller. They met through a jam session they found on Craig’s List and discovered they had a mutual love for songs of the 1920s, ‘30s and ‘40s. The band appeared at the New Jersey Jazz Society’s Pee Wee Russell Stomp in 2013, and, in a preview of their performance, Palazzo told Jersey Jazz, “This music isn’t a historical artifact. It’s a living, breathing, always evolving thing.”

US Navy Band The Commodores

As for the name, The Hot Sardines, Bougerol told Lustig she and Palazzo were at an open mic event, and, “We just needed a name, and I saw a tin of sardines and hot sauce at my local Key Food. We had been listening to a lot of music by Louis Armstrong and his Hot Five and Hot Seven and Django Reinhardt and the Hot Club of France. So, we put ‘hot’ in the name, and we thought, you know, ‘Hot Sardines, that’ll be fun.’”

Drummer Alvester Garnett’s Artwork

Ensemble Will Showcase Original Tunes

“I’m Forever Grateful to Lewis Nash. I Got the Gig with Regina Because of His Recommendation”

BY JAY SWEET

Alvester Garnett has been one of jazz’s top-tier drummers for three decades. He became known as a performer for his sense of swing, consistency, passion, and professionalism. While the bulk of his work comes as a sideman, Garnett sometimes has the opportunity to emerge as a leader, and he will take on that role at the Central Jersey Jazz Festival on September 15 in Somerville, NJ.

“I’ll be there with my band, The Artwork Ensemble, with special guest, trombonist Papo Vázquez,” he said. “I’ll have Bruce Williams on alto saxophone, Charlie Sigler on guitar, Brandon McCune on piano,

and Santi Debriano on bass. It’s an incredible lineup. It’s going to be primarily our material. I’ll contribute some of my original compositions and tasking some of the band to offer original tunes. They are all great at leading, so I want to play some of their music. I’ve had this Artworks Ensemble since the early 2000s, focusing on original compositions from my peers.” Garnett added that he’ll also probably incorporate some standards or new surprises with the band members’ origianal compositions.

Originally from Richmond, VA, Garnett started on piano as a little kid and sang in the chorus as an elemen-

Alvester Garnett

CENTRAL JERSEY JAZZ FESTIVAL

tary student. “Even now,” he said, “I gravitate toward instrumentalists with that singing quality. My mom sang in the church choir, and she still does. My dad had great rhythm. Growing up in the church, I realized I was listening to that swing feel long before I knew what swing was about.

“I came to jazz late,” he continued. “I had just started playing the drums in the last year of middle school. I got into marching band simply because a friend invited me to rehearsal. I’m generally an introvert, so I was practicing all the time on my own. I loved playing the drums and practicing, but I needed more formal skills. A buddy of mine and I used to get to-

“

gether and play in my mom’s living room. We’d play Police and Van Halen songs. When my friend invited me to join the marching band, I turned it down. Then my mom got wind of it and said, ‘What do you expect to do with playing the drums, just play in my living room for the rest of your life?’ She had a good point, so I joined.

“I made an all-county jazz band in my junior year, and Ellis Marsalis taught the class. I had two incredible teachers, Carl Jenkins and Isaac Edgerton, at Virginia Commonwealth University. Ellis came up from New Orleans and taught at VCU, a famous jazz place for me because I remember going there to hear the

I PLAYED A GIG WITH CLARK TERRY.

”

big band, which was phenomenal.

“At the end of that first (all-county) rehearsal, Ellis asked, ‘Who here wants to be a professional musician or study music in college?’ I raised my hand, and so did one other kid, John Wynn, a phenomenal reeds player. Ellis recognized that John was well-prepared, whereas I didn’t understand the language. By the end of that first rehearsal, I was in tears, feeling like a fish out of water. Ellis gave me a lot of tough love, which I appreciate now. He was the first to provide me with a list of drummers to

check out, including Max Roach and all the masters. It was an incredible list. I started listening and studying, and, by the second rehearsal, I had grown a lot just from listening. Before that, I was mostly into rock drummers and MTV. Eventually, I got into Virginia Commonwealth University. They had such an excellent program.

In my freshman year, many great musicians came through there, and I had Ellis as my professor again.”

While in college, Garnett learned a great deal and became known locally before moving to New York City.

Regina Carter and Alvester Garnett performing on NPR’s Jazz Night in America.

CENTRAL JERSEY JAZZ FESTIVAL

Central Jersey Jazz Festival Schedule

FRI, 9/13

SOMERVILLE KICKOFF

(Division Street Stage, Division Street)

TIME TBD » Guitarist/Vocalist James Popik and Supernova

SAT, 9/14

FLEMINGTON

(Historic Stangl Road in Artisans District)

6:30-7:50 P.M. » Vocalist Maucha Adnet

8:20-9:40 P.M. » Organist Akiko Tsuruga

SUN, 9/15

SOMERVILLE

(Somerset County Courthouse Green, East Main & Grove St.)

1:20-2:40 P.M. » Trio led by vibraphonist Joe Locke

3-4:10 P.M. » Vocalist Cynthia Scott

4:30-5:40 P.M. » Drummer Alvester Garnett’s ArtWorks Ensemble

Free Admission. Rain or Shine

“It took me five years to get through school, and in my last year, I played a gig with Clark Terry,” he recalled. “My teacher at the time, Scott Taylor, gave me the gig. Normally, he would play with the heavy hitters that came into town, but I’d gotten some experience by then. During that gig with Clark at Benjamin’s, he told me about the Thelonious Monk competition, so I auditioned and tied for third. I remember seeing Betty Carter backstage at the competition. She always had her finger on the pulse of what was happening and was always listening to young musicians. I was the only drummer from the competition invited to New York for Betty’s Jazz Ahead program. At the Monk competition, I met incredible musicians like Cyrus Chestnut, Brian Blade, Greg Hutchinson, Chris Thomas, and Aaron Goldberg. Later that summer, Betty Carter’s manager called me, saying Betty needed a drummer and wanted me to come to New York. That same afternoon, I got a call that Abbey Lincoln needed a drummer, too!

“I drove straight to Brooklyn, got my passport, and went to Betty’s brownstone,” he said. “I knew I’d be playing in Brazil with her one weekend and in Istanbul with Abbey Lincoln the next. After rehearsing with

Akiko Tsuruga

CENTRAL JERSEY JAZZ FESTIVAL

Betty, we went to a jazz festival in Rio and São Paulo, then to Ann Arbor with a band that included Cyrus Chestnut and Chris Thomas. When I returned to New York, I rehearsed with Abbey and then went to Istanbul for a gig. In three weeks, I went from working with Betty Carter and Abbey Lincoln, two of the greatest living divas, back to playing with local jazz musicians for $17.”

Garnett continued to hustle and found himself working on projects with such veterans as Pharoah Sanders, Dee Dee Bridgewater, Teddy Edwards, James Carter, Lou Donaldson, Benny Golson, Al Grey, and Rodney Jones. During these years, he also began working with violin virtuoso Regina Carter, who became his musical partner and, eventually, his wife.

“I got a gig with Regina Carter because of Lewis Nash. I first saw her at this incredible jam session at Dean Street Cafe in the ‘90s. I’m a big fan of

Lewis Nash, who also played at Sweet Basil with Regina. I went to hear Lewis and witnessed one of my life’s most impressive performances. It was music at the highest level—spiritual, meaningful, and full of feeling. Nash came off the bandstand, and I told him how incredible it was. He said, ‘Yeah, this is how it used to be,’ because things were already changing. Lewis had played with many incredible musicians and knew Regina’s importance. He must have seen that I understood, too, because he recommended me for a gig with Regina. I’m forever grateful to Lewis Nash. His final run with her was at the Vanguard, and I went down to hear him play. It was beautiful. I got the gig with Regina because of his recommendation.

“Our relationship developed slowly. When Regina played Paganini’s violin at Lincoln Center, my parents came up. My dad loved Regina. At the little gala afterward, he asked to

“ WORKING ON BROADWAY REQUIRES A UNIQUE DISCIPLINE AND CREATIVITY. ”

take a picture with his ‘daughter.’ We weren’t dating then, but she later told me that his comment made her start thinking about me. After I moved to New Jersey, I often drove her home from the airport, and we started hanging out more. One day after rehearsal, while we were eating, she said, ‘Not for nothing, but I’m starting to dig you.’ We started dating without telling anyone in the band. When we did, some people panicked because couples in bands can create tension, but I think we handled it well.”

Garnett is involved in many proj-

ects and maintains an active schedule as a performer and teacher.. “I was offered Broadway shows, including a new one with Audra McDonald and George C. Wolfe (Gypsy),” he said. “I accepted and will be the rehearsal drummer. I’ve done this before with Shuffle Along, and they requested me again for this production. Working on Broadway requires a unique discipline and creativity, as you must adapt to different styles, from the 1920s to modern R&B, hip-hop, or rock. I love this challenge and strive to support the artists musi-

cally. Even in large rehearsal spac es with dancers and singers, you’re constantly figuring out sounds and helping to build the drum book.”

“When I did Shuffle Along, drum parts were complex, drawing from the language of greats like Baby Dodds and Papa Jo Jones. The key is how they orchestrate their parts, which I aim to bring to my Broadway performances. In addition to Broad way, I’ll be performing with (violinist/ pianist/vocalist) Tracy Bonham on her upcoming tour. I’m on her new record. Balancing these opportunities with my teaching at Montclair State University, NJPAC Jazz for Teens, and Jazz House Kids keeps me busy. Still, I revel in the variety and the chance to work with such talented artists.”

: To hear Jay’s full interview with Alvester Garnett, check out his Podcast: The Jazz Real Book.

for more Sandy info

JERSEY CITY LATIN JAZZ FESTIVAL

Jimmy Bosch and Ariacne Trujillo Duran Among Those Performing on the Jersey City Waterfront

Trombonist Jimmy Bosch studied classical music at Rutgers University before joining percussionist Manny Orquendo’s Conjunto Libre in the 1980s. He has played with pianist/bandleader Eddie Palmieri, vocalist Celia Cruz, and pianist/bandleader Arturo O’Farrill, among many other Latin jazz artists. Pianist/arranger/vocalist Ariacne Trujillo Duran arrived in New York City from Havana, Cuba, in 2002. She performed in and directed the off-Broadway musical, Carmen to Havana and Back; contributed a composition to drummer Terri Lyne Carrington’s book, New Standards:

1010 Lead Sheets by Women Composers (Berklee Press: 2022); and has performed with such artists as multi-reedist Paquito D’Rivera, singer/songwriter Javier Limon, and bassist/vocalist Esperanza Spalding.

Bosch and Duran will be among the featured performers at the Jersey City

Latin Jazz Festival being held Saturday, September 14 on the Jersey City Waterfront. Other artists include: bassist

John Benitez, vocalist/bandleader Chino Pons, and trombonist Doug Beavers.

: Free admission. In the event of rain, performances will be held in the Harborside Atrium, 210 Hudson St.

Jersey City Latin Jazz Festival SATURDAY, 9/14

3 P.M. » Vocalist/bandleader Chino Pons (Exchange Place Alliance Plaza Stage)

4 P.M. » Bassist John Benitez (Diplomatico Courtyard)

5 P.M. » Trombonist Doug Beavers, drummer Robby Ameen, pianist Gabriel Chakarji, bassist Alex Apolo Ayala (Exchange Place Alliance Plaza Stage)

6 P.M. » Pianis/vocalist Ariacne Trujillo Duran (Diplomatico Courtyard)

7 P.M. » Trombonist Jimmy Bosch’s Salsa Masters (Exchange Place Alliance Plaza Stage)

Jimmy Bosch

Ariacne Trujillo Duran

Nat Adderley, Jr., John Lee

Lead an Eclectic Lineup

OSPAC Event Looking to Bounce Back After Last Year’s Double Rainout

Pianist Nat Adderley, Jr., vocalist Ty Stephens, and violinist

Charisa Rouse all saw their performances at last year’s West Orange Jazz Fest rained out, so they’re hoping for better weather this year on Saturday, September 21 or the rain date, Monday, September 30.

Adderley, who will also perform at the Middlesex County Jazz Festival in Carteret, NJ, on Thursday, September 26, has been busy in the studio recording his first album as a leader. “ I just finished the first iteration,I have about 10 songs mixed,” he said, “and it will be the music I’ve been playing at my sets.” That will typically include some hard bop, Motown, and Burt Bacharach/Hal David tunes. The album will feature Dwayne “Cook” Broadnax on drums, Chris Berger on bass, and some guest appearances by horn players.

There will probably also be something from the late Luther Vandross.

Adderley was his Music Director for 25 years, and he is interviewed in the new Vandross documentary, Luther: Never Too Much, which premiered at the Sundance Film Festival in January. It was purchased by CNN Films, in partnership with OWN (the Oprah Winfrey Network), and will be airing next year on CNN, OWN, and MAX. The Hollywood Reporter’s Lovia Gyarkye, in a review of Never Too Much, pointed out that, “Interviews with musicians like the singer Valerie Simpson, Chic founder Nile Rodgers, jazz composer Nat Adderley Jr., and songwriter Marcus Miller contribute to a better understanding of the soul singer’s career.”

Stephens is a vocalist who combines jazz with funk and R&B. His band is called Ty Stephens & Soul Jaazz, and NJ Arts’ Jay Lustig wrote that the band is “living up to their name, showcasing frontman Stephens’ big personality and often buoyant vocal style.” Rouse,

WEST ORANGE JAZZ FEST

known as “The Violin Diva”, combines jazz with contemporary soul. A highlight of the festival will be the quartet led by veteran bassist John Lee, who will be joined by trumpeter Freddie Hendrix, pianist Brandon McCune, and drummer Karl Latham. Lee

is producer of the Giants of Jazz series, held every November at the South Orange Performing Arts Center. He spent nine years with Dizzy Gillespie and keeps Gillespie’s music alive, directing several groups including the Dizzy Gillespie All-Stars, the Dizzy

West Orange Jazz Fest Schedule

SATURDAY, 9/21

2:30-3 P.M. » Summer Breeze Chinese Jazz Fusion Ensemble

3-3:45 P.M. » U..L.T.R.A. Jazz Fusion Group

4-4:45 P.M. » Bassist John Lee and Friends

5-5:45 P.M. » Pianist Nat Adderley, Jr.’s Quartet

6-6:45 P.M. » Drummer Rich Barrata’s Latin Jazz Band

7-7:45 P.M. » Vocalist Ty Stephens and Soul Jazz

8-8:45 P.M. » Violinist Charisa Rouse, aka The Violin Diva

OSPAC is located at 4 Boland Drive in West Orange. Admission is $10; Preimium Seating, $20. Rain date is September 30.

Gillespie All-Star Big Band, and the Dizzy Gillespie Afro-Latin Experience. Hendrix is an in demand trumpeter who has worked with such giants as Count Basie, Christian McBride, and Aretha Franklin. McCune studied with pianists Kenny Barron and the late Mulgrew Miller. In October 2013, he paid tribute to Miller in a concert at the Luna Stage in West Orange. Miller would invite McCune to his

house where the two of them would play the piano for hours. “He brought out a pillow and blanket for me when 2 a.m. rolled around,” McCune told Jersey Jazz. “His wife made breakfast when the sun came up. Then back to the piano we went. I will always hear his voice saying, ‘Mr. Brandon.’” McCune was on Hendrix’s 2015 Sunnyside Records album, Jersey Cat. Reviewing it for AllAboutJazz, James

John Lee

Nadal wrote: “Freddie Hendrix has been on a steadfast musical course over the past few years. He has performed as notable sideman on a number of recording sessions, including with fellow Jersey player Rufus Reid, and has been a member of the Count Basie Orchestra. He has appeared on

tour with Alicia Keys, and on high profile concerts with Aretha Franklin and with the Jazz at Lincoln Center Orchestra directed by Wynton Marsalis. Jersey Cat is a vital testament that he has the composing, arranging, and leadership skills combined with incredible technical chops, to succeed as a major artist in the jazz realm.”

Latham was influenced by such jazz fusion drumming stars as Billy Cobham, Steve Gadd, and Peter Erskine. Reviewing his 2016 Audio & Video Labs album, Living Standards (with the late guitarist Vic Juris and bassist Mark Egan), Guitar World’s

Lyle Robinson pointed out that the trio had “one foot in the jazz world and one foot in the rock/pop world. It is because of this that the tunes re-invented still retain their original oomph but with a much more sophisticated harmonic palette offered to the more refined listener.”

Charisa Rouse, ‘The Violin Diva’

Third World, Stefon Harris, and King Solomon Hicks Reprise

Rain-Canceled 2023 Event

Since the 2023 Kean Jazz & Roots Festival was rained out, the Festival producers are bringing back last year’s performers for this year’s event, scheduled for Saturday, September 21. They are: Guitarist King Solomon Hicks, vibraphonist Stefon Harris & Blackout, and Third World.

Last year, when Jersey Jazz’s Jay Sweet interviewed Stephen “Cat” Coore, a founding member of Third World, the guitarist/vocalist credited his mother with lighting the spark that resulted in his music career.” Coore grew up in Jamaica, and his mother was a music teacher who studied at the Royal College of Music.

“She really encouraged me,” he said. “At six years old, I started playing the cello. When I got to around 13, I got interested in popular music like the Beatles, the Rolling Stones, Sly and the Family Stone, Santana, and Jimi Hendrix, along with Jamaican music that I heard on the streets like early Bob Marley and the Skatalite.” He switched from cello to guitar and joined a group called Inner Circle.

Third World’s big break came in 1976 when the band opened for Bob Marley and the Wailers in Europe. That resulted in a contract with Island Records. Third World, Sweet pointed out, “is more than just one of

Stephen ‘Cat’ Coore

the top Reggae bands of all time; it is an institution that stands for producing and performing music that, while holding firm to the cultural and ancestral roots of its members, still pushes forward cutting-edge music worldwide.” The band has been nominated for nine Grammy Awards but has not

yet received a win. “We may win one soon,” Coore said, “but the nine nominations are good enough for me.”

In 2018, Stefon Harris & Blackout released an album on the Motema Music label called Sonic Creed. It celebrated the music of such jazz giants as pianists Bobby Timmons and Horace

Kean Jazz & Roots Schedule

KEAN UNIVERSITY, 1000 MORRIS AVE., UNION, NJ • SATURDAY, 9/21

FESTIVAL BEGINS AT 3:30 P.M. IN THIS ORDER:

» Guitarist King Solomon Hicks

» Vibraphonist Stefon Harris & Blackout

» Third World

DJ Prince Hakim will be entertaining the audience before and in-between sets.

Silver, drummer Art Blakey, and saxophonist Wayne Shorter. AllAboutJazz’s Dan Bilawsky described the album as “Stefon Harris at his honest and unswerving best.” Earlier this year, Blackout produced a digital album follow up, Sonic Creed Volume II Life Signs. The jazz blog, Marlbank, said the recording was “heartfelt and, at times, romantic.” Best tracks: “The languorously measured cover of the Stevie classic (Stevie Wonder’s ‘You and I’) and the wraparound warmth you gain from ‘I Know Love’ (a Harris original).”

Another Blackout album, Legacy

Dances, will be released in 2025. Previewing it for Jersey Jazz, Harris said, “It focuses on the power of recognizing our own cultural heritage, our cultural legacy, playing in a way our ancestors would be proud of ... Even when we play music written by Willie the Lion Smith or Louis Armstrong, we do our own original arrangements that have the sound of the contemporary world and its music that is imbued with our own real-life experiences.”

King Solomon Hicks, at age 13, became the lead guitarist at Harlem’s Cotton Club. Reviewing the 25-yearold Hicks’ 2020 Provogue Records album, Harlem, The Suncoast Blues Society praised Hicks’ talent, adding that “the connections to Solomon’s Harlem roots are delightful if sometimes subtle ... He has earned a seat at the table within the ‘club’ of young blues artists that are bringing this musical genre into the future.”

Stefon Harris

MIDDLESEX COUNTY JAZZ FESTIVAL

Buster Williams: ‘A Good Bass Player Knows How to be the GPS—the Radar’

In New Brunswick, His Quartet Will Play a Repertoire Primarily of Original Compositions

BY JAY SWEET

One of the great living legends of jazz, Buster Williams, is a bassist, composer, and instructor who has appeared on hundreds of records with stars such as Sonny Stitt, Gene Ammons, Herbie Hancock, and Miles Davis, among many others. In addition to his success as a sideman, Williams is also a bandleader. On September 28, as part of the Middlesex County Jazz Festival in New Brunswick, he will perform with his usual quartet: drummer Lenny White, saxophonist Steve Wilson, and pianist Bran-

don McCune, playing a repertoire primarily of original compositions.

In 2019, Williams was also the subject of a documentary, Buster Williams: Bass to Infinity, directed by Adam Kahan and available on Amazon Prime. Reviewing it for AllAboutJazz, Victor L. Schermer wrote: “The film provides as intimate a portrait of the upright acoustic bass as you will ever see or hear it, with closeups of Buster Williams’ fingering along the strings, while all the overtones and undertones contribute to the beautiful sound this instrument can make.”

MIDDLESEX COUNTY JAZZ FESTIVAL

How did Charles Anthony Williams get the nickname, Buster? When asked, he responded, “You know, I don’t truly know how I got my nickname. I’ve had it ever since I can remember. I asked my mother, and she said, ‘Well, we wanted to call you Chuck, but you were too skinny for Chuck.’ My father mentioned he had a friend who was a bartender at one

of the main jazz clubs in Philadelphia, and his name was Buster. But I never got a definitive answer. But that’s been my name as long as I can remember.”

Williams was exposed to jazz at a young age, mainly through his father, a drummer, and the Camden, NJ, community. “My father was a lover of jazz music and a performer—that was his genre,” Williams recalled. “He was a

professional musician and would have jam sessions or rehearsals at the house, and I would sit and listen to these guys play. It was something I decided I wanted to do. It seemed so glamorous, and the music was just so appealing. So, he taught me, and the training was formal because he had his way of doing things. He was very thorough and methodical. You could say he had a very

definitive, strong personality. When he decided to teach me, the blisters started forming, and the pain in my left hand became unbearable. I would briefly entertain the thought of giving up. But that thought would only last for a quick second. My father knew how to use the power of fear. I wouldn’t dare question what my father told me.”

Williams’ teaching style “comes directly from my father. The only difference is that I try not to scare my students the way my father scared me. I try to be a little more gentle. If you talk to those I teach, I’m not sure what words they would use, but I’m very strict. If you want to achieve your goals, you must have a certain level of strictness about your input. The skills will come from just anywhere—what you see and experience will directly result from what you put into it. I don’t know any shortcuts and won’t create any.”

Reflecting on Camden’s connection to jazz, Williams pointed

The Buster Williams Quartet at the 2023 Twin Cities Jazz Festival. From left, Brandon McCune, Steve Wilson, Williams, and Lenny White.

out that, “Camden was connected to Philadelphia, which had a great jazz scene. Camden was sort of a subsidiary of that, but at the same time, it had its own vibrant community of musicians who made a living just playing there. There were many clubs and opportunities to express yourself and get training. My earliest training came from my father, who would send me out on gigs with the guys he played with. He would take me along when he played drums, and I would play bass. The support within the jazz community became apparent very early on. There was nothing selfish about this music—they were all accepting. They loved my father and saw that I had aptitude, so they were more than willing to give me everything they had. That tradition still holds today. It’s the core of the music—a democracy of sorts. You don’t hold back; there are no se-

crets. If you really want to know, this jazz community will teach you, and they’ll do it in an honest fashion.”

Another influential figure in Williams’ life was Professor Roland Wiggins, whom he studied with at Combs College in Philadelphia. Williams described him as, “a true master. He was a genius. He was always finding new ways to approach things and was among the first to start incorporating computer music into his work. He taught me much, including terms and concepts I’d never heard of, like syntax. He would show me things that seemed obvious, but only if you allowed yourself to see their simplicity. I would study with him whenever I was back in town because I was on the road. He essentially took me under his wing. He even brought me along on my first New Year’s gig and paid me $50— I was thrilled. He was my champion.”

Williams’ breakthrough as a tour-

ing and recording musician came with saxophone masters Gene Ammons and Sonny Stitt, an opportunity arranged by his father. Despite the challenges of the tour, including personal struggles and substance abuse of the leaders, Williams managed to stay grounded: “I didn’t face those temptations. I think it was because

of my father’s training and our conversations. He was bluntly honest and would, in no uncertain terms, tell me what to do and what not to do.”

When he was still in in high school, Williams started touring with vocalist Dakota Staton. “That was before Gene Ammons and Sonny Stitt,” he said. “After Dakota Staton, I started working with Betty Carter. I learned from singers like Betty Carter, Sarah Vaughan, Carmen McRae, and Nancy Wilson. They all said the same thing: they listen to the bass player first. They require a good bass player who knows how to be the GPS—the radar. Anybody else in the band can get lost, but the bass player should be such that if you listen to them, you’ll always know where you are. I learned a lot from that kind of responsibility, and that requirement was innately mine by the nature of my role in the band. And the other thing was to do it

The 1975 Muse album, Pinnacle, was Williams’ first as a leader.

MIDDLESEX COUNTY JAZZ FESTIVAL

all in tune. There was no flexibility in that—you’ve got to do it all in tune.”

Williams had a memorable stint with Miles Davis in 1967. “At that time,” he recalled, “I was with Nancy Wilson. Nancy had moved her operation from New York to California in 1965, and I got married that same year. Nancy was my wife’s maid of honor, and as a wedding gift, she paid for our move from New York to Los Angeles. In 1967, I got a call from Herbie Hancock, telling me that Miles wanted me to join his band. Fortunately, Nancy had taken a five-week sabbatical, and Miles had a tour that would last for five weeks, so the timing was perfect. Fortunately, I was in a pretty good financial situation then because Nancy was paying me weekly, whether we worked or not—I was on a retainer. So, when I went out with Miles for those five weeks, I was still being paid by Nancy.

“It was a tough decision when Miles asked me to stay with the band.

Of course, that’s what I wanted to do.

But I had a house in Granada Hills, a yellow Stingray Corvette, and I was making good money. At the beginning of every year, we had an itinerary for the whole year, and everything ran like clockwork. It was just hard to give that up.” The brief time with Davis, Williams said “was magical. I played in that band with Tony Williams, Wayne Shorter, and Herbie Hancock. It stuck with me and shaped my perception of things for the rest of my life.”

In Los Angeles, Williams formed a trio with pianist Hampton Hawes and Donald Bailey. He also joined the Jazz Crusaders and played with touring musicians such as Harry ‘Sweets’ Edison, Eddie ‘Lockjaw’ Davis, and Betty Carter. In the late ‘60s and early 1970s, he performed with Herbie Hancock in various bands and projects that blended jazz and rock. “When I joined Herbie Hancock’s band in 1969,” he said, “Herbie began incorporating the

electric piano. I started playing more electric bass, bringing my electric and acoustic basses and switching between them depending on the tunes. At that time, I had something to say on the electric bass, but as electric bass playing evolved with new techniques, I lost interest. I never really liked the electric bass as much as the acoustic bass because I felt the human element was missing. Herbie Hancock’s band began as the Herbie Hancock Sextet, which eventually became the Mwandishi Band. In

1973, Herbie continued to move forward with Head Hunters. Later, Herbie and I reunited for summer tours with a trio, which included Al Foster on drums and occasionally a tenor or alto player like Greg Osby, Branford Marsalis, or Michael Brecker.”

Williams released his first album as a bandleader, Pinnacle, for Muse in 1975. “I went on to record about five albums for them,” he said. “My previous work with some of the best musicians was a significant way to become a leader. Unlike the current

MIDDLESEX COUNTY JAZZ FESTIVAL

trend, where some want to start as leaders immediately, I believe in the value of serving an apprenticeship. Many younger musicians miss this opportunity, and those who skip it often see their careers falter quickly. I always tell my students that it’s not about finishing first but finishing last.”

In addition to his musical practices, a significant part of Buster Williams’ life is centered around his spirituality, particularly his studies of Nichiren Buddhism and chanting. “The chanting began in 1972,” he said. “My youngest sister was the initiator; she started chanting and introduced my wife to it when we were separated. I also introduced it to Herbie Hancock, Larry Coryell, Harold Land, Richard Davis, and others. Since then, it has been a part of my daily life, like breathing in and out.

It’s the best thing I’ve ever introduced into my life and has been fantastic.”

Even after a career that has lasted

well over 60 years, Williams shows no signs of slowing down and remains fascinated with the possibilities of the bass. “The infinite possibilities of music are ever-present,” he said. “Whenever I pick up my bass, I discover something new. There’s never a moment where I don’t uncover new information. The journey from here to a star may seem finite when you look up and see the star, but the journey itself is endless. Similarly, why should we impose limits on our

exploration? The possibilities are boundless. What’s truly endless is the potential for discovery within us. This realization is incredibly inspiring; it means that I can always push beyond where I am at this moment.”

Guitarist Russell Malone was scheduled to perform Saturday evening, September 28, as part of the Metuchen segment of the Middlesex County Jazz Festival. Sadly, the 60-year-old Malone died of a heart attack on August 23, while on tour in Japan with bassist Ron Carter and pianist Donald Vega. (See Big Band in the Sky, page 18). Guitarist Mark Whitfield will now lead Malone’s quartet with pianist Rick Germanson, bassist Vincent DuPont, and drummer Neal Smith.

Before that quartet takes the stage, trombonist Mariel Bildsten will lead a septet. Bildsten moved from Santa Barbara, CA, to New York to study jazz at the New School’s School

of Jazz and Contemporary Music. She remained in New York after graduating in 2015 and has become an integral part of the New York/New Jersey jazz scene. DownBeat Magazine calls her “irrepressibly spontaneous.”

Currently, Bildsten has a monthly residency at the Django Jazz Club and has performed at such venues as Jazz at Lincoln Center, the Morris Museum’s Bickford Theatre, and the Caramoor Jazz Festival. She is a frequent member of the Mingus Big Band and has played lead trombone for Arturo O’Farrill’s Afro Latin Jazz Ensemble.

In August 2023, Bildsten released a digital album, Steppin’ Out!”, a collection of Bildsten’s arrangements of songs by favorite composers, in addition to a new original, “New Girl”. The ‘favorite’ composers featured were Joe Jackson (“Steppin’ Out), Jimmy Van Heusen (“Polka Dots and Moonbeams”), and Duke Ellington (“Downtown Uproar” and “Don’t You Know I Care?”).

Mark Whitfield

Middlesex County Jazz Festival Schedule

WED, 9/25

EDISON (Papaianni Park at 100 Municipal Blvd in Edison – off of Route 27)

5:45-6 P.M. » JP Stevens High School Dance Troupe

6-6:30 P.M. » Off the Hook

6:30-7:30 P.M. » Vocalist Carrie Jackson’s Quartet

7:30-8:30 P.M. » Organist Akiko Tsuruga’s Quartet

THU, 9/26

CARTERET

(Carteret Performing Arts and Events Center at 46 Washington St.)

6:30-7 P.M. » Carteret High School Jazz Band

7-9 P.M. » Pianist Nat Adderley, Jr.

SAT, 9/28 NEW BRUNSWICK (On Livingston Ave. in front of the New Brunswick Performing Arts Center, located at 11 Livingston Ave.)

1-1:45 P.M. » New Brunswick Jazz Project Brass

2:15-3:30 P.M. » Drummer Winard Harper & Jeli Posse

4-5:30 P.M. » Bassist Buster Williams’ Quartet

SAT, 9/28 METUCHEN (Metuchen Plaza at New and Pearl Streets)

6-6:30 P.M. » Prana Arts

6:30-7 P.M. » Metuchen High School Jazz Ensemble

7-8 P.M. » Trombonist Mariel Bildsten’s Septet

8-9:30 P.M. » Guitarist Mark Whitfield leading Russell Malone’s Quartet

SUN, 9/29 WOODBRIDGE (Parker Press Park located at 400 Rahway Ave.)

3-3:30 P.M. » Woodbridge High School Jazz Choir

3:45-5 P.M. » Trumpeter Brandon Woody’s Upendo

5:15-6:30 P.M. » Guitarist Stephane Wrembel’s Django New Orleans

Winard Harper Mariel Bildsten

BY JOE LANG

The Danny Jonokuchi Big Band is a straight-ahead swing band with a contemporary feeling. A Decade (Bandstand Presents – 002) contains 10 tracks, with four jazz tunes—Kenny Barron’s “Voyage,” Lionel Hampton’s “Red Top,” Wayne Shorter’s “Ping Pong”, and Tadd Dameron’s “Lady Bird;” four standards—“This Can’t Be Love,” “Skylark” (two takes), “On Green Dolphin Street” ,and “Like Someone in Love;.”

and one Jonokuchi original, “South Philly.” Jonokuchi, Jersey Jazz Rising Star in March 2021, adds nice vocals on “This Can’t Be Love” and the second take on “Skylark.” He has enlisted a fine crew of New York City-based players to execute his scintillating charts with elan. The solos are to the point and wonderfully played. If toe tapping or cutting a rug is for you, this album is your album. dannyjonokuchi.com

Thad Jones was among the most creative and influential big band composer/arrangers. In 1965, he and Mel Lewis founded one of the great concert big bands, one that had a long residency at the Village Vanguard. The current Vanguard Jazz Orchestra is a continuation of the Jones/Lewis aggregation. It has now released a two-disc, 12-track album titled Celebration: The Music of Thad Jones (BCM+D Records), the label of the Boyer College of

Music and Dance at Temple University. Jones would have been 100 years of age in 2023, and the VJO recorded this music in February 2024 at the Village Vanguard to mark this milestone.

The band plays a program of nine Jones originals plus Bob Mintzer’s “Antigua, and the standards, “All of Me” and “Easy Livin’,” all of which had arrangements by Jones except for “Antigua,” arranged by Mintzer.

Under the direction of alto saxophonist Dick Oatts, the VJO performs the Jones charts with precision and impressive soloing by various members of this outstanding unit. The recording captures the kind of excitement that was surely felt by those fortunate enough to have been present during the evenings when the recording took place. boyer.temple.edu/bcmd

The leader of the Tom Johnson Jazz Orchestra has an interesting back-

ground. The son of a professional musician, with an interest in music himself, he was advised by his father to seek a profession that offered more security. He continued to be involved with music but studied psychology, earned a doctorate in clinical psychology and became a respected professional and educator in that field. His interest in music continued, and he spent some time creating big band arrangements, eventually furthering his music education. He retired from his teaching duties in 2023 and, within months, formed a band including students from Indiana University and players from the Indianapolis jazz scene to record Time Takes Odd Turns, a collection of original compositions and arrangements that Johnson created over a 40-year period. The result is an interesting and challenging program of modern big band charts that cover much ground. It

OTHER VIEWS

has to be satisfying to Johnson to have accomplished the dream of a lifetime in such a vibrant and successful manner. tomtunesmusic.com

In making the selections for Echoes of Harlem: A Tribute to Duke Ellington by the Planet D Nonet, Vol. 2 (Eastlawn Records – 42), the Planet D Nonet, a superb 10-piece swing/ blues band from Michigan co-led by trumpeter James O’Donnell and percussionist RJ Spangler, have dug deep into the Ellington catalog. There are a few familiar tunes, “Rocks in My Bed,” Caravan” and “Sophisticated Lady;” some that are less often heard, “Echoes of Harlem,” “Blood Count” and “Azalea;” plus some real rarities, “Juniflip,” “Frustration”, and “The Shepherd (Who Watches Over the Night Flock).” These musicians have created unique charts to present the music and have played them

with fervor. This satisfying musical adventure should delight fans of Ellingtonia. eastlawnrecords.com

Augie Haas + 8 Live at the Speakeasy (Playtime Music) is a rollicking live set by trumpeter Haas’ nonet. There are 12 tunes, some Haas originals, two standards, “Candy” with a nice vocal by trombonist Hailey Brinnel and “Fly Me to the Moon” sung by Major Attaway. There is also a take on the 1950s novelty blues, “I Put a Spell on You” made popular by Screamin’ Jay Hawkins. The band includesTod Groves on alto sax, Troy Roberts on tenor sax, Alden Banta on baritone sax, Haas and Andrew Neesley on trumpets, Brinnel on trombone, Rick Germanson on piano, Dick Sarpola on bass, and Gary Kerkezou on drums. This is fun music captured in an intimate New York city setting, The Speakeasy at The

Gin Mill, and the crowd is happy and enthusiastic. augiehaas.com

Primarily known as a trombonist, Michael Dease has been adding saxophones to his instrumental options. For Grove’s Groove (Le Coq Records), a tribute to trumpeter Roy Hargrove—a player whom Dease deeply admired— Dease is featured on baritone sax.

On this nine-tune outing, Dease has

trumpeter Terell Stafford, trombonist Steve Davis, guitarist/vocalist Jocelyn Gould, pianist Bill Cunliffe, bassist Rodney Whitaker, drummer Ulysses Owens Jr., and percussionist Alex Acuna in various combinations accompanying him, with trombonist Eli Howell and organist Jim Alfredson added on Charles McPherson’s “Viper’s Nest.” In addition, there are three standards, “Tea for Two,” “Never Let Me Go”, and “Broadway, with Gould (an April 2021 Jersey Jazz Rising Star) adding fine vocals on the first two of these. There are three Dease originals, one original by Davis and Cyrus Chestnut’s “Minor Funk.”

This is a terrific straight-ahead session with ample opportunities for most members of the band to display their solo chops. Hargrove would have been pleased to hear the ways in which this band of admirers gives a nod to his legacy. lecoqrecords.com

OTHER VIEWS

This is the centennial year of the legendary trombonist JJ Johnson. When trombonist John Fedchock was asked to perform a tribute to Johnson at The Jazz Kitchen in Indianapolis, Johnson’s hometown, he was not doing so with the intent to create a tribute album. With Fedchock’s permission, the sound engineer recorded the music. When Fedchock heard the results, he was happy to have the material released. The results can be heard on Justifiably J.J.: A Centennial Tribute/ Live in Indianapolis (Summit – 828). Joined by pianist Steve Allee, bassist Jeremy Allen ,and drummer Steve Dobbins, three of the best jazz musicians in Indianapolis, the album explores eight tunes, seven composed by Johnson—“Naptown U.S.A.,” “Short Cake,” “Kenya,” “Say When,” “Lament,” “Minor Mist” and “Ten 85,” plus Manny Albam’s “Lullaby of Jazzland. Johnson was the first player to

master the demands of bebop on the trombone, and he served as an inspiration for most jazz trombonists who followed him. Fedchock is among the finest current practitioners on the instrument and demonstrates the kind of fluidity on the horn that few can match. Justifiably J.J. reflects the inspiration of Johnson as both a musician and composer. summitrecords.com

Guitarist Doug MacDonald has released 10 albums since 2021, the latest being Live at the Rancho Mirage Library (DMAC Music – 26), this one with His Coachella Valley Trio—MacDonald on guitar, Larry Holloway on bass, and Tim Pleasant on drums with occasional contributions by Big Black on djembé. The trio addresses six standards, “It’s a Blue World,” “If You Could See Me Now,” “Spanish Eyes,” “Triste,” “Dearly Beloved” and “Fasci-

nating Rhythm,” plus four jazz tunes, Tadd Dameron’s “Lady Bird,” Kenny Burrell’s “Chitlins Con Carne,” Brother Jack McDuff’s “Our Miss Brooks” and Harry “Sweets” Edison’s “A Little Tutu.” MacDonald continues to demonstrate that his flow of ideas is endless, making each of his albums a treasure of unique pleasures. dougmacdonald.net

On December 26, 1982, a once only meeting occurred between a pair of incredible jazz guitarists, the widely acclaimed American, Jim Hall and Louis Stewart, the amazing Irish guitar master whose reputation was not as widespread as Hall’s. The concert is now available on The Dublin Concert (Livia Records – 2402). Duo playing is always a unique challenge, especially for two individuals who have not played together previously. Sean Mac Erlaine’s original reel-to-reel tape was able to salvage eight of the

selections; the others had extraneous noise that could not be suppressed without losing the music. There are five duo tracks, “Stella By Starlight,” “2 degrees East, 3 Degrees West,” “But Beautiful,” “Saint Thomas” and “How Deep Is the Ocean,” while Hall gives solo performances ‘on “All the Things You Are,” “My Funny Valentine” and “In a Sentimental Mood.” Hall is the more reflective of the two, while Stewart was more inclined to demonstrate his dazzling speed and flow of ideas. Two masters perfectly complementing each other is always a treat, and here are two men who immediately developed the empathy necessary for an exceptional duo performance. liviarecords.com

Since they first recorded together in 1997, the members of the Bill Charlap Trio have been recognized as a paragon of jazz piano trios. They have the kind

OTHER VIEWS

of integrated approach to music that was the hallmark of the great Bill Evans trios but have developed their own special empathy, seemingly one mind in three bodies. Charlap has a special relationship with any selection that he approaches, making it sound like it was composed for him. On And Then Again (Blue Note Records) they have been recorded at the Village Vanguard, a venue where the trio has had an annual residency for many years. Seeing them there is always a particular treat, and this recording captures the sense of excitement they create with their takes on eight selections—“And Then Again” by Kenny Barron, “All the Things You Are,” “’Round Midnight,” “In Your Own Sweet Way,” “Darn That Dream,” “Sometimes I’m Happy,” “The Man I Love” and “(I Don’t Stand) A Ghost of a Chance with You.” Shelly Manne was once quoted as saying, “jazz

musicians never play a song the same way once.” When you hear Charlap play a tune that you have heard him play before, it is always a new experience. And Then Again gives you eight wonderful new experiences. store.bluenote.com

Pianist Shelly Berg has created an album, Alegria (ArtistShare – 0230) that includes nine original tunes plus “Follow the Sun” and “Somewhere.” This spirited collection finds him in the company of bassist Carlitos Del Puerto and drummer Dafnis Prieto. Berg, Dean of the Frost School of Music at the University of Miami, has long had a reputation as a premier jazz pianist, originally coming to prominence on the Los Angeles scene. Here he gives prime examples of his magnificent chops, fertile imagination ,and impressive artistry as a composer. He and his bandmates give uplifting life to the selections. Many

albums filled with original material are difficult to access, but Alegria captures your attention from the opening number, and never relents. shellyberg.com

What It Means (Cellar Music – 072624) is the latest album from trumpeter/vocalist Bria Skonberg. Originally, Skonberg came on the scene playing music by Louis Armstrong and his contemporaries, but over time has expanded her musical horizons to include more contemporary material, but she always puts her own unique take on each song. On this album, she went back to her roots, the music of New Orleans and enlisted a band of New Orleans musicians—guitarist Don Vappie, pianist Chris Pattishall, bassist Grayson Brockamp, and drummer Herlin Riley. Here she includes a few nods to her early inspirations, “Do You Know What It Means to Miss New Orleans,” “Cornet Chop Suey” and “Petit Fleur;” a couple

of very different songs by Sonny Bono, “The Beat Goes On” and “Beautiful Boy (Darling Boy),” a Van Morrison gem, “Days Like This” with a nice vocal by Gabrielle Cavassa, “Sweet Pea,” a 2007 song by Amos Lee that sounds like a much older item, a couple of her originals, “In the House” and ”Elbow Bump”. She closes with a medley of Billy Joel’s “Lullabye” and Thad Jones/ Alec Wilder ‘s “A Child Is Born. Her approach to the songs incorporates a New Orleans feeling, an interesting way of addressing this eclectic program; and she does so effectively. There are songs here that would not be high on a jazz enthusiast’s list, but Skonberg does a nice job of opening eyes and ears on What It Means. cellarmusicgroup.com

Multi-instrumentalist/vocalist/songwriter Gunhild Carling is a unique performer. On Jazz Is My Lifestyle (Jazz Art), she fronts a big band and

OTHER VIEWS

The Prague Strings Chamber Orchestra for a program of 11 original tunes for which she wrote words, music and arrangements. Originally from Sweden, she now resides in northern California. Carling plays trumpet, trombone, harp, flute, recorder, ukulele, and theremin, as well as providing all of the vocals. She even did the artwork for the album. Her playing is spot on, her vocalizing terrific, and her songs are well-crafted and catchy —swing-based and readily appealing. This is an album full of good-spirited jazz t reflecting Carling’s impressive artistry (gunhildcarling.net

Catherine Russell spent many years as a backup singer for Steely Dan, David Bowie, Jackson Browne and Rosanne Cash, among others. She got her feet wet as a solo singer working with the Earl May Quintet at Shanghai Jazz, eventually being featured on

a live album by May’s group, recorded at that venue. In 2006, she recorded Cat, her first album as a leader and the raves poured in for that effort. My Ideal (Dot Time Records - 9151) is her 10th album, this time with sole instrumental support from pianist Sean Mason (an October 2021 Jersey Jazz Rising Star). As is her norm, she has a program that is filled with quality songs while avoiding reliance

on the same old, same old selections that form the core of so many albums. Here you will find “A Porter’s Love Song (To a Chambermaid),” “I Don’t Need No Doctor,” “My Ideal,” “You Stayed Away Too Long,” “On the Sentimental Side,” “Ain’t That Love,” “The Best Things Happen When You’re Dancing.” “Ain’t Got Nobody to Grind My Coffee,” “You Can Depend on Me,” South to a Warmer Place” and “Waitin’ for the Train to Come In.” Russell gives each one her incomparable style, jazzy, bluesy and true to the lyrics. She can be saucy or tender. Mason fills his role as accompanist perfectly. My Ideal is an ideal way to spend some time enjoying one of the premier vocalists on the scene today. dottimerecords.com

Male jazz vocalists are somewhat of a rarity today. San Antonio-based Zack Foley is one who fills that gap

with a light tenor reminiscent of Chet Baker. On Silent Boomer X (Jazzheads – 1272), his third album as a leader, he is joined by bassist Frank Wagner and drummer C.J. Everett for 10 standards, including “Let’s Have Another Cup of Coffee,” “Don’t Blame Me,” “I Used to Be Colorblind,” and “Old Folks”. Foley was inspired by saxophone trios like those led by Sonny Rollins without a chord instrument. He uses his voice in the role of the saxophone, going into scat choruses after stating the melody. This is an approach to the music that is unusual for a vocalist, and while he hits an occasional flat note, he generally is successful in achieving his goal. It is refreshing to hear a singer who is willing to take a chance with a different approach. This is Foley’s first standards-based effort, and it proves to be a winning road for him to pursue. jazzheads.com

THANK YOU and welcome to all who have recently joined or renewed their memberships. We can’t do what we do without you!

Your membership is vital to NJJS’s mission to promote and preserve America’s great art form— JAZZ!

NOT WITHOUT YOU!

NEW MEMBERS

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RENEWAL MEMBERS

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