Spring 2022
Gathering great musicmen together!
Issue #3
spring 2022
Alvin Carter-Bey Producers, Promoters, and DJ’s
In Memoriam These two men MADE my career as a songwriter and vocalist in Philadelphia. Although I was born and raised in New York City, where I met so many jazz giants, BEFORE I met them, Gerald Price taught me EVERYTHING I know about music theory. Bernard Samuel included me in his band rehearsals on a regular so that I had the opportunity to learn songs in a full band setting. I owe them a great deal. Thank you! ~ Joan Cartwright
GERALD PRICE Bernard Samuel is behind Gerald.
Willie Williams Wow, Joan. It’s hard to believe how quickly time had flown by. I remember these two gentlemen and their dedication to jazz and the Philly school of thought. I’m also grateful for Gerald insisting on me finding my own voice at a young age! Learn the language and don’t imitate. That’s the important thing. The younger generation of today is missing this one important thing sometimes. I’m fortunate beyond belief that I had many opportunities to work with Bernard! We used to jam all the time at his place in Logan. He played with all of the local musicians while holding down a full-time job and supporting a family! Something to be admired. And he did that effortlessly! Rest In Peace gents, you are and will be secured in our history. Gail Jhonson Wow, Joan, you know my Philly hero! Gerald Price!
an ARTICLE! T I M B U S ! rg and get .o f s ij SUBSCRIBE .w w w E! JOIN! w BERSHIP! M E ADVERTIS M r u o y e with this magazin
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THE WOMEN BEHIND THE MOTOWNERS 7
SHAREEF CLAYTON by Melton Mustafa, Jr.
You performed at the Melton Mustafa Jazz Festival? What other festivals have you played at? Yes, that festival was a great experience. Even though I was a guest performer, I learned a lot, listening to the other teachers. I played at North Sea Jazz Festival, Montreal Jazz Festival, and Tabarka Jazz Festival in Tunisia. Who inspired you to become a musician and how long have you been performing? My father, Anthony Clayton was my first inspiration. He played the saxophone and we played duets together when I was a kid. The second person was trumpeter Melton Mustafa. I took lessons with him at the African Heritage Cultural Arts Center in Miami. He inspired me to become a professional. He represented excellence on the highest level. Did you learn music in school? Who was your music teachers and what impact did they have on you? Yes, I’ve been in a lot of arts schools all of my life. I attended the New World School of the Arts. The environment was awesome because I was surrounded by people who wanted to be great. I left Miami, after high school, and moved to New York to study at the Manhattan School of Music. I was well-prepared at New World by my teachers Melton Mustafa, Rodester Brandon, Jim Gasior, Brian Neal, Adam Bookspan, and Laurie Frink. Why did you pick your instrument and was it your first choice?
What are some the challenges you face in the music industry? Learning all the new trends. The industry changes, every day, and you must keep up with what is happening now versus how we use to do it. Now, I’m sounding old. Ha ha.
My favorite original composition to perform is “ Going Home “ because it reminds me of growing up Miami with my family.
What are you doing to inspire the next generation of musicians? I am showing them, by example, things I have done. I teach them how to get there and what to avoid, which is important.
Who is your favorite male and your favorite female artist and why? Male Singer: Donny Hathaway; Female Singer: Whitney Houston. I started studying drums with Jack When they sing, I feel every word! Ciano. But I wanted something new, Who are you listening to? so, I picked up the trumpet. Lately, I’ve been checking out What is your favorite song or original classical composers like Modest Mussorgsky from Russia. composition to perform and why? This changes all the time, depending on the mood. I love songs from the What’s your greatest accomplishment? Earth Wind & Fire Song Book. I Being in a position to help others. like them all. My favorite original composition to perform is Going Are you working on any new projects? Home, which is reminiscent of I’m writing music for my new big band. growing up Miami with my family. How do you describe your playing or compositional style? I play a lot of different styles. What matters most to me is playing soulfully. I like to connect with people. When I write, I use my ears. I am never satisfied with something that is technically right but not good, musically. Listening is one of the best tools.
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Where can we buy your music and how can we keep in contact with you? You can buy my music on all digital platforms. You can find me at: http://www.shareefclayton.com facebook.com/shareefclayton instagram.com/shareefclayton
Salutes Jazz Promoter
KEITH VALLES
Son of The Maharaja of Jazz Radio, China Valles, Keith Valles took good notes to continue his father’s legacy of promoting jazz music in South Florida. “Duke Ellington nicknamed Charles China Valles “The Maharaja,” a Sanskrit word denoting greatness and royalty. For 89 years, 50 spent in Miami, China Valles was a tremendous force of good in music,” according to Miami New Times reporter Jacob Katel.
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Juju Cornelius (RIP), Eric Trouillot, Yamin Mustafa, Doc Allison, Ken Burkhart, Yvette Norwood-Tiger, Stephen Tiger
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Joan & Her Jazz Men
These two men appeared at the beginning and middle of my life and career. Saxophonist Budd Johnson from Dallas, Texas, was my first musical mentor. His wife, Bernice Johnson was my dance teacher. From the age of four to eight, my parents dropped me off at the Johnson’s home, where I waited for Mrs. Johnson to pick me up for dancing school in Jamaica, New York. In the interim, Budd Johnson took me down to his basement studio, where he played his saxophone. The stairwell leading to the basement was plastered with photos of legendary jazz musicians. It was like being in a museum at their house. It was not until I was 27, when I realized that I learned to scat from listening to Budd Johnson practice his saxophone. Ultimately, I was the only women to speak at his funeral at St. Peter’s Episcopal Church in New York City, in 1984, where I related this story and the folks in attendance understood my stake in the music. The other gentleman is Quincy Jones, who granted me a 45-minute interview at the Montreux Jazz Festival in Switzerland in 1993, for my Master’s thesis, The Cultural Politics of Commercial Jazz. I met
Quincy at Abyssinia Baptist Church, Artie Simmons and the Jazz in July 1984, at Count Basie’s funeral Samaritans played on the streets in Harlem. of New York City in the 1980s. After completing my BA in Music and Communication at LaSalle University, I moved from Philadelphia back to New York City. I was living with Artie and he asked me to sing with his band at Columbus Circle, in front of the Plaza Hotel, and near the New York City Library. I did this for a few months but the lure to sing to the top of the skyscrapers was taxing on my vocal cords. So, I stopped singing outside and booked my band at places like Freddy’s, St. Nick’s Pub, and the Blue Note, where Artie joined me with Cecil McBee (b) Ironically, I worked with Quincy’s and Kuni Makami (p). Kim Clarke first wife, Jeri Jones, at the Keypunch was the first women on bass that Academy off of Columbus Circle I sang with. She was on my demo in Manhattan, in 1982. So, at the tape with Artie on drums and Bross church, I approached Quincy and Townsend on piano. My song Makin’ told him that I knew Jeri and his Love To You is on the WIJSF MUSIC eldest daughter, who said I looked COLLECTION VOL. 3 like his niece, Patti Austen. Then, in 2013, I had the opportunity to present him with my book, A History of African American Jazz and Blues that includes his interview. We were in Montreux, again, and he was celebrating his 80th birthday. This was quite an honor for me.
Unknown (flugelhorn), Artie Simmons, Cindy Blackman, George Braith, and Kim Clarke
Jeri Caldwell Jones, first wife of Quincy Jones, mother of Jolie Jones Quincy and Jeri
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Leroy Downs
By LaQuetta Shamblee Every Sunday night, this Los Angeles Jazz Cat takes to the airwaves in Santa Monica, California, on KCRW 89.9, for a live broadcast of his radio show Just Jazz. This broadcast professional created an impressive portfolio of jazz radio and television shows with the goal of producing a masterpiece. Leroy Downs started his radio career at 1580AM KDAY, one of the top R&B stations in the region. He was heard KUTE 102FM, playing contemporary music. Although he enjoyed the music, he “got tired of listening to the same songs in rotation over and over, so I started searching for new music.”
This led him to KKGO 105FM, a jazz station where he became intrigued with songs he had not heard before. He accumulated a jazz library from Aaron Brothers, a record store across the street from Fairfax High School. They sold 99 cents used albums with a notch in the cover from radio stations. So, Downs built his collection, slowly. “For only $20 bucks, I would come out with 20 albums.” Besides being an avid listener, had was immersed in learning history of this music he had grown to love. Downs listened to
Chuck Niles on KLON 88.1FM. His interest in being a jazz radio host was peaked, listening to some type of Rat Pack, Martini show. That show made him think that he could get a gig on the radio. He recorded cassette tapes to present to the station but all of their slots were filled. Undaunted by this barrier, he was intent on finding his place in that environment. He volunteered until the night he substituted for Sam Fields on his five-hour show. The listeners liked him and the station management offered him a show one night a week, which expanded to five nights a week. “The radio station’s music library gave me access to a treasure trove,” Janisse revealed. They provided a little box that held two rows of CDs that DJs could pull in preparation for each show. For five nights a week, Downs selected from the extensive collection that filled two rooms from floor to ceiling. He associated music labels with artists and jazz genres. “This helped me to establish a relationship with the music,” he said. His dedication paid off in other ways, positioning him to MC jazz events like the Monterey Jazz Festival for 20 years, and the Monk Institute of Jazz at USC’s Winter Jazz Festival in NY. His job is blending jazz sounds of yesterday and today, for people to enjoy the entirely of the jazz experience. “I’m 100% the opposite of being stuck on nostalgia,” he declared.
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A seeker of the music, Leroy does not settle on what he already knows. He grows with the music, while expanding his playlist of new music by established artists and those new to the scene. As an industry professional, he knows that radio stations exist to make money and the focus is on popular tunes. But this broadcast professional is clear about what he brings to the party. He said, “I am not a safety guy, I like to take it way past the edge. The music is like a wave that needs to ebb and flow.”
Visit www.TheJazzCat.net to sample Leroy Downs gallery of talent, archives, and productions. Download JazzCat to ebb and flow with this jazz broadcasting professional.
ALVIN CARTER-BEY
The Impresario of American Classical Music
Alvin Carter-Bey is a radio disc jockey with 55 years on the air. He is a music consultant for the Chicago Jazz Spotlite (WDCB) Wednesday at 9:00 p.m. He is the musical host and consultant for the Chicago Museum of Contemporary Art. Alvin is the Holder of the New City Black Achiever Award and the U.S. Presidential Points of Life Award from President George Bush. Al continues to serve by sharing his musical knowledge with communities in Chicago. He facilitated the street-naming of Dinah Washington Way.
Alvin was instrumental in getting this street renamed for Dinah Washington.
His interviews with notable jazz musicians are featured in this issue of Musicman Magazine and his book It Was Jug That I Dug, a short biography of saxophonist Gene Ammons (1925-1974). Dan Bindert is the station manager at WDCB. 630-942-3706 (office) 708-790-8729 (cell)
WOJO