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BILLY KAY at SMALL'S The Jazz Culture, VI:33



by L. Hamanaka

Caught the Billy Kaye Quintet at Small’s Saturday November 24, 2012, with Marco Panascia, bass, Jack Glottman, piano, James Zeller, trombone, Mike Samoia, tenor sax. Mr. Kaye was introduced enthusiastically by Mitch as “a living legend.” Perhaps because Mr. Kaye has worked with Lou Donaldson, Illinois Jacquet, George Benson and Thelonius Monk, among others. Among the songs the quintet played were “Eronel,” a Monk tune at about 132=quarter note. Mr. Kaye took Ben Riley’s place for two years, from 1967-69 and worked for Thelonius Monk, so he is familiar with Monk’s repertoire. Mr. Kaye’s work belies his almost 60 years in the jazz world. Fresh and strong, giving a sharp clear rhythmic outline of the song, he held the group together and propelled it in a masculine style, outlining the melody in his solo. Mr. Glottman played a somewhat percussive style, striking accent notes, striking one as someone who has listened to a lot of Monk, starting with rhythmic figures of 2+, then +2+3+, with optimistic colors. Zeller played a childlike simple melodies that somehow fit, then expanded to scalar riffs. Marco’s deep baritone heartbeat gave a stable foundation and blended tonally with Kaye’s sound as a drummer. Marco Panascia showed some light fingering and timely accents on of beats with some anticipation to kick the beat ahead. “I Close My Eyes” on a 2 feel, which gave nice movement to a stand usually done as a ballad. Zeeller played well, close to the melody, and using a couple of 16 note triplets. Mike Samoia used pivot notes to maintain the identity of the song and then expanded to high notes. Billy Kaye maintained equal balance, a light crisp sound, keeping the sound bright and positive. The pianist did a chordal solo emphasizing half notes, breaking into quarters then 8th notes, using the rhythms characteristic of the song. The bass solo was swinging, mostly 8th notes, around the harmonic form. They then traded 4’s, Kaye lighting some fire beneath the band while maintaining the rhythmic individuality of the song. 2

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Review 1‐5 Mr. Kaye announced a ballad The Why of Good Nutrition as a tribute to Shimree a lady P. Moreo 6‐8 pianist who played very well, and How To Be A JazzbyTrumpet Player had gone on to other sites. Titled Part II by Mark McGowan 9‐12 “Hymn for Her,” at about Harper Concert 13‐15 68=quarter note, it was an elegy to EnglandBilly Event by J. Watson 17‐19 a musical soul, given spare Photos 20 treatment by rhythm section, Is Jazz a Relic? Comments 21 nicely arranged. Mr. Glottman Let's Link 24 played an effective introduction with crystalline chords up the © 2012 keyboard. Mr. Zeller is an excellent musician but sometimes relies too heavily on the downbeat. The song had a churchlike sound, tredding hard on the downbeat. They ended the set with “Que Pasa” by Horace Silver, a Latin beat, to Mr. Kaye’s very pretty sound on the toms and snare, building strongly to a break. A catchy tune Cont. p. 4

Produced by CobiJazz

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it had a chantlike melody, and a nicely rounded sound. Jack Glottman used blues rolls and Latin figures in his solo. Mr. Kaye has a distinctive tone, with a beautiful dark sound on toms and snares, contrasted with the bright golden tinge of the cymbals. The pretty arrangements, and the foundation Mr. Kaye gave were a clear outline of the song and impetus to the band. Cont. from p. 3

Mitch introduces Billy Kaye as "a living legend," Right, the crowd at Smalls

Jack Glottman, pianist, Marco Panascia, bass, James Zeller, trombone


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Amanda Sedgewick, alto sax, and Tove Langhoff, alto sax, Michiko on piano, and Masami Isikawa, guitar, at the jam at Small's, and Murray Wall with bass on his way home The Jazz Culture, VI:33



NUTRITION & INDIVIDUAL SOLUTIONS Pub. ote: for the many Jazzers who Focus on Health To Bring Their Best to the Scene

Peter V. Moreo, Jr., C.N., R.Ph.

Peter V. Moreo is a sought after certified nutritionist and pharmacist with over 25 years experience.

Diet is different for each person. Some people should be vegetarians, some not. There is a blood type book out, “Eat Right for Your Type,� which I have found out to be about 70% viable based on my experience. To find out what blood type you are, look up your blood type. You can get a blood test, or donate blood and they will let you know. If your doctor has a record of your blood type he or she can let you know. However, this blood test is not done by your doctor automatically. You have to ask your doctor for a blood type test. For example, blood type O is not congenial to vegetarianism. Any blood Type O that I met, whether positive or negative, who became a vegetarian, eventually got sick. Blood Type O should eat green vegetables and red meat. Cow, buffalo; or fish. Any blood type can eat fish. Small saltwater fish like salmon or sardines would be good. JC: What about the other 30%? Mr. Moreo: It depends on the person. O-O’s: 6

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The first thing you should avoid are things like fried foods. Fried foods clog up arteries and cause an increased incidence of cancer, and premature aging. Fried food creates free radicals, the things that damage tissue of the body. No one should eat French fries, fried chicken, potato chips, or any vegetable that is fried. Any time you heat food in oil except for coconut oil, you convert the food to bad saturated fat. No soda. MIIMUM PROTEI PER DAY: To know the number of protein grams you need every day, look at your weight. For a person 100 pounds, divide it by 2.2 and you get the kilograms. A kilogram is weight in grams. 2.2 pounds is one kilogram. That’s the amount of protein grams you need. A man of 160 pounds needs 72.7 grams of protein per day. If you’re a woman you would multiply the kilograms you get after the above division by .8, 20% less than a man. A woman of 160 pounds, would subtract 7.27 from 72.7 grams and need 65 grams of protein per day. ORGAIC FOOD: JC: Do you recommend organic food? Mr. Moreo: Absolutely. Because there’s no pesticides or hormones in them. Food that is not organic can increase chances for cancers and suppress your immune system. Fruits that don’t have a skin will absorb pesticides quicker, like strawberries are the worst. Meat should be organic also. Milk is the same as meat. I don’t recommend drinking milk. It clogs up the cleansing mechanism of the body. Soy milk is not recommended. Recommended: rice milk, coconut milk or almond milk. GOOD FATS TO EAT: The Jazz Culture, VI:33


Fats: Coconut oil, fish oil (oil they take out of fish), flaxseed oil. GOOD GRAIS TO EAT: Grains: Brown rice, no wheat. Wheat is no good because most people are sensitive to gluten. You can tell if you are sensitive to it, if you’re not allergic, it clogs up the body, it is like a glue. Rice bread is okay. It is better to avoid even sprouted wheat bread. In some people it causes constipation, (in others) some diarrhea; it is a problematic grain, and puts on belly fat. Part II will be in the next issue.


"ow there's a brilliant cat."-- Barry Harris

by Mark McGowan

I get a lot of satisfaction from practicing the trumpet and practicing jazz. There is something to be said for Mark McGowan on the way to a finally accomplishing a task concert that has literally taken years. Confidence and ease in performance is the result of many hours of practice and dealing with failed attempts. It is easy to get discouraged, but when the skill that you have worked on for years to acquire appears and you own it, it is its own reward. When inexperienced improvisers are confronted with a faster than medium tempo, it can be very discouraging. I remember when I first made the breakthrough of being able to improvise on up 8

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tempo tunes. This took years to accomplish, and sometimes when practicing it seemed as if I was not making progress. But extensive, determined practicing of scales and listening to masters play eventually brought it to pass and up tempo is no longer an issue for me. The upper register on the trumpet was another such accomplishment. Many trumpet players give up practicing high notes because of the difficulty of mastering this phase of trumpet playing, and I actually gave up the thought that I would ever be able to achieve this skill, but one day I could do it. The accumulated experience of many years of persistent determined practicing and gigs has finally resulted in a fairly consistent high register. Many failures preceded the success. It turns out that the key to both improvising up tempo and playing trumpet in the upper register is relaxation. One must relax the mind and the body (throat, fingers, etc.) while remaining alert and flexible enough to deal with the obstacles in front of you. But the only way to develop the ability to relax at a breakneck tempo or when confronted with a lot of ledger lines is intelligent, consistent practice and a determination and belief that one can eventually succeed. Failure is part of the process. No critic can discourage a musician that knows how to play. Of course, we always need to work on our weaknesses, every musician has them, but in a sense once a skill has been mastered one is invulnerable to petty, negative or harmful criticism to a large extent. All trumpet players will be subject to negative criticism and it is important to know how to deal with it and to examine the motives of persons offering their opinion of your playing. It is good to ask for objective criticism of your playing from both professionals and amateurs. When a player receives criticism, try to rise above the purely emotional initial reaction most people have. Examine the advice and see if there is something of value The Jazz Culture, VI:33


that has escaped your notice or that you may have previously deemphasized in your practice, but now needs more focused work. It is impossible to work on everything at the same time, which is why it is so valuable to have a log and try to evaluate your practice and playing from time to time. Successful practicing involves short term goals, preparing for gigs in the near future, and long range goals of acquiring skills that require a greater investment of time to learn. You should try to record your practices and gigs occasionally and listen to what you are doing critically, as if you were an audience member listening to someone else. Being a musician is more a craft and study in correctness than an art, that is, one masters their materials and instrument first and the art comes later. Beyond just being satisfying, accomplishing skills in music that at first seemed impossible is both powerful and liberating. One can gain the confidence to tackle other profound learning in areas other than music. Very complicated things can be learned by breaking them down into digestible parts. Absorb a little knowledge everyday. Don’t miss a day of practice. Professor Harris said, “Don’t miss a day of practicing. The day you miss, might have been the day you would have made the breakthrough.” (Breakthrough from non-knowledge to knowledge, from nonability to ability). The key to learning anything is exposure and repetition. Barry Harris once said to me when I was a very young man,“If you can master bebop, you can master anything”. Over the last 30 years, I have evolved from hearing that casually offered statement with skepticism to embracing it as a profound truth, in fact, it was the greatest concept, musical or non-musical, that he has ever taught me. It changed me completely when I accepted it enough to apply it. I read something like it again in Musashi’s Book of Five Rings years later: “If you know one thing, you know ten thousand things.” 10

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JC: How do you rate jazz as a music? MM: Art Blakey always commented in his performances that "Jazz is the highest art form on the planet". Of course, not everything with the label of jazz is good, but when excellent and inspired musicians knowledgeable of the tradition play well arranged music, I agree with Mr. Blakey’s assessment. The trumpet is a very difficult instrument to master. Again, a good teacher would be helpful to save time. The most important rule to remember about trumpet playing is: do not hurt yourself in the process of learning how to play the instrument. Do most of your practicing at a mezzo piano- to mezzo forte-volume. Control of your air flow, developing a strong embouchure, and continually improving a smooth decisive tonguing attack are the most important elements. Again, if you hear a trumpeter complaining about his chops, he is practicing and playing too loud. Don’t do it. Treat the trumpet and your chops gently. De-emphasize high notes until you develop some strength and control. If you develop scar tissue on the vibrating part of your lips, you are risking permanent injury. If that happens, you may never properly learn and enjoy playing this difficult but ultimately satisfying instrument. Practicing soft long tones is a basic tool of development. As you gradually gain control, add crescendos and decrescendos to your long-tone practice. When you are more advanced, you can add long setting (practicing a series of long tones without disturbing the mouthpiece setting) and very slow interval drills to develop control and endurance. Practice long tones with breath attacks ("Hoo") and tongue attacks ("Tu"). Again, moderation and balanced practicing is extremely important. A good general rule is to rest as much as you play during a practice session. Practicing lip slurs, trills, and glissandos is also very important to gaining strength and control of the trumpet. Approximately one-fourth to one-third of a good practice session should be devoted to these The Jazz Culture, VI:33


types of chop-building endeavors. There are some essential method books to help the player develop their chops. Arban’s Grand Conservatory is the most used (and arguably the best) of these books. You can practice out of Arban for your entire career and always improve. A similarly excellent book is Clarke’s technical studies. Most professionals swear by Clarke’s and its emphasis on soft playing and repetition of basic elements: chromatic scales, major and minor scales and arpeggios. The final third or half of a practice session should involve the above-mentioned transcribing of solos and practicing of scales. It is important to plan and budget your practice time carefully. Keep a practice log or journal. Guard your precious practice time jealously from distractions as much as you are able. Life is short. It is also extremely important to sight-read some music every day. The great John Stubblefield once told me that, in New York, making a living as a musician is largely determined by your ability to read and interpret different styles of music at sight and without hesitation. Finally, however, you must spend some time every day learning tunes and improvising on them. If what we want to learn is to be a jazz musician, then the ultimate objective is to find our own unique style of improvising, which will fit in with the collective music making of like-minded individuals. Get out there and find some like-minded people and organize some jam sessions. Get some business cards with your name, instrument and phone number on them. Go to already-organized jam sessions, meet and network with many people. Exchange phone numbers. Talk about music. Compare notes. Take every opportunity to play in big bands and exchange phone numbers with other trumpet players. Talk trumpet with them. Don’t compete as much as learn and appreciate your colleagues. Be generous. You will discover that no one can master everything about jazz or the trumpet. 12

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Trumpeters are all specialists to some degree. The road is long, but to paraphrase a famous Chinese philosopher, "The journey of ten thousand miles starts with a single step." Persevere.


The Jazz Culture Newsletter Thanks Contributing Writers for the past 6 months: Clarence Banks, Cecil Bridgewater, Harold Danko,

Luciano Fabris, Barry Harris, Bertha Hope, Joe Magnarelli, Adriano Mazzoletti, Mark McGowan, Kuni Mikami, Dado Moroni, Paul Pace, Rick Stone, Gloria Ware, John Watson Contributing Photographers: Brian McMillen, Richard Williams Contributing Proofreaders: Connie MacNamee, Maggie Malone


L to R: Fred Hendrix, Michael Dease, Francesca Tanksley, Clarence Seay, eil Clarke, Cecil Bridgewater, Billy Harper, 60 singers at St. Peter's December 1

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by Lionelle Hamanaka

Billy Harper’s dream came true on Saturday December 1, 2012 at St. Peter’s Church, where his 60 voice choral ensemble and instrumental group, trumpet (Fred Hendrix), trombone (Michael Dease), saxophone (Billy Harper), piano (Francesca Tankeley), bass (Clarence Seay), drums (Aaron Scott), congas (Neil Clarke) in a concert of his original music. Conducted by Cecil Bridgewater, it was a happy event, vocalists singing mostly without lyrics, and a smaller group of the singers scatting. In Part I, Billy Harper’s compositions were “Insight,” an uptempo (175= quarter note) where several singers took turns scatting, showing scat is alive and well in New York City; “The Call of the Wild and Peaceful Heart” a moody ballad where the singers sang wordless melody with backup from rhythm section. Then the tempo doubled,with a Latin beat, while Billy Harper clapped a clave and the singing was done in vocal expressionist style; “Priestess” at 120=quarter note, another Latin rhythmic base, with a very 60’s free flavor, where the singers who were instrumentalists fared better scatting than those who weren’t; and the song went up to 200=quarter note at the end. These songs were originally set for horn players but in this concert parts were sung by vocalists. “Croquet Ballet” was last in ¾ and 6/8, a playful tune unfortunately there was some problem with the microphone placement and singers could not be heard well above the rhythm section. Part II the singers were conducted by Cecil Bridgewater, who did a good job of keeping 60 vocalists in time with proper exits and entrances. The songs were “The Light Within” with a trumpet solo from Fred Hendrix, a very good trumpet player, and Michael Dease, trombone, both good soloists. The singers were better miked now and the soprano section clearly heard, as sopranos will be heard easier than any other part. “Speak to Me of Love, Speak to me of Truth” the theme song of the concert followed, a sort of 14

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surrel aballad after the sax stated the melody with vocal background, the voices repeated the theme, then the horns, and nice piano playing by Francesca Tankley. “Thy Will Be Done� a kind of ponderous slow song built on a series Paul Ash, Cobi arita, Emiko greet of three note motifs, the sax audience members took the melody again, then the rhythm section entered, a sort of heralding the Creator and His Word Song built on whole notes, with horns playing background, and drums playing incessantly. After which the singers repeated several syllables backing a trumpet solo, a modal piece. Michael Dease played a nice solo. “Quest� followed, after much heraldry by horns, mostly long tones, with bass drum dominating an interlude, the sax played a song based on two note phrases with vocal long tones providing a sheet of sound effect that was pretty. The chorus was full of talented singers. On this modal piece, Mr. Harper and the other horn players subdivided the long tones inventively. They then double timed with a searching quality. The trumpet solo was nice, with a full dark tone, playing ascending long tones that resolved in the middle register, with call and response phrases dominating his ideas, and angular architecture. The trombone then played lots of 8th notes, alternating with a four note phrases sometimes ending in a triplet. The chorus again acted like a sheet of sounds backdrop for horns. The pianist, Yago Pasa, had a full tone quality and shaped phrases well. The ending with a drum tag as in intro. “The Awakening� had a four bar melodic phrase that repeated echoed by in the bass register of the piano. Then there was a counter phrase on bridge, in this gospel flavored song. There was a piano and tenor sax duet. Then the rhythm section entered. Voices and horns layered the arrangement at the end in long tones. Then the sections played one phrase together, broke for several beats, repeated this several times, and ended on a The Jazz Culture, VI:33


Billy Harper's audience Saturday night

high note. The last song was ”Cry of Hunger,” a repeated six note motif. The singers sang “There’ll be enough some day,” over and over in a rhythmic pattern alternating with silence played by rhythm section, followed by the entire ensemble barrage. Then they went into double time, and there was a call and response tenor solo, a double time piano solo, leading to a finale on a soprano note, a break, and long tone where everyone soled and drums had a field day producing a barrage of sound, with high notes from horns leading to a break using voices as a carpet of sound against which everyone played, and the words “There’ll be enough some day,” were repeated. There were many great musicians in the house, including Randy Weston and Howard Johnson. The concert lasted from 8:00-11:30, and the church was full, the audience enthusiastic. The event was produced by Cobi Jazz using Kickstarter, which appeals for a set amount online (in this case $25,000) and if matched by donors, then the set amount is contributed. Kickstarter is not just for musicians, but for start ups and films, etc. 16

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LODO JAZZ FESTIVAL REVIEW by John Watson Band: Janek Gwizdala Band Venue: Pizza Express Jazz Club Soho Date: Monday 12th ovember 2012

November is an important month in the UK jazz calendar as that is when the London Jazz Festival occurs. There are countless jazz gigs from concert halls to pubs and, of course, in London’s jazz clubs. Being spoilt for choice, I decided to head for Pizza Express Jazz Club Soho as Louie Palmer (the regular drummer with my jazz trio) was performing with virtuoso bass player Janek Gwizdala. John Watson Photo: Max Garr

The evening started with support band Partikel featuring Duncan Eagles on tenor sax, Max Luthert on acoustic bass and Eric Ford on drums. I was particularly impressed by their interesting use of odd time signatures and great range of dynamics. Duncan Eagles’ smooth tone blended well with the sparse drumming of Eric Ford and Max Luthert, on bass, experimented with a delay effect and harmonics during some of his solos which created a great atmospheric soundscape. The lack of a piano or guitar only seemed to add to the intimacy of their music. Their arrangement of "Body and Soul" strayed far from what one might have expected, starting in 7/4, then into a funky 4/4 breakbeat style where Duncan played staccato lines in total contrast to some of the The Jazz Culture, VI:33


earlier tunes. Eric moved swiftly between sticks and brushes to add to the many changes of mood and intensity. Partikel are a tight band who effortlessly move from full on jamming to quiet, mesmerizing sections with sudden changes of time signature. Their obvious commitment to the music, sensitivity and musical empathy was certainly rewarded by an appreciative and packed house. After a short interval it was time for the main act of the evening; the Janek Gwizdala Band featuring Janek on electric bass, Jason Rebello on piano, Louie Palmer on drums and Duncan Eagles (once more) on sax. They opened their set with "Ersko Man." Janek explained later that he thought of the title when he was recording with drummer Peter Erskine. After a bass introduction, Louie Palmer set up a great atmosphere on cymbals and then, after the tune had reached an epic climax, he changed to brushes as Jason Rebello started his solo then back to sticks as Jason’s solo developed. Duncan Eagles performed a sensitive solo followed by Janek starting delicately in the high register of the bass then building up his solo using the full range of the instrument with melodic phrases and more virtuoistic lines. The second tune was entitled "Cashasha" and started with a staccato bass line with touches of Hi-Life but it soon turned more rocky. Jason played a funky solo gradually using richer harmonies to add to the intensity. Janek played a rhythmic solo, even managing low chordal stabs (a bit like the left hand style of a modern jazz pianist). The head returned then the band went into a coda section with a breakdown riff allowing Louie to really solo to the delight of the audience. A ballad followed entitled "There was a Time" starting with Janek playing the melody and bass line together and sometimes even adding chords too. The tune then moved into a jazz waltz chord sequence which Janek set up on a loop machine allowing him to solo and scat over the top. Duncan then joined in followed 18

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by the rest of the band. At some point, Janek appeared to discreetly drop the loop out as the band developed the tune. When they returned to the head, Duncan and Louie dropped out leaving Jason and Janek to end the tune. The next tune was "Espana" starting with the whole band clapping a rhythm. Janek then added a bass riff and Louie joined in on drums. Duncan and Jason then played a minor melody with a Spanish/Cuban flavour. During his solo, Jason used some nice contrupuntal imitation between the hands. The feel then changed as Duncan played a staccato solo over a bass pedal note. Throughout, Louie played bass 8th notes on the bass drum giving a touch of reggae to the mix and yet keeping it firmly in fusion mode for Janek's solo. After all this intensity the tune ended with a diminuendo and slight ritardando. The "Goshman" was next, starting with a 16th beat shuffle feel and a bluesy melody which was a great vehicle for Jason's solo over two chords which soon built into a McCoy Tyner kind of modal development getting further away from the original basic harmony. It was back to cool and quiet for Janek's solo with the use of a slight delay effect and some off mike scatting. He again used the loop station to set up a bass line riff. The head returned without drums and the tune ended with a fade-out. Next tune was called "Erdnase" starting with a quirky melody over galloping bass line. The band moved into a more solid feel for Jason's solo and the sophisticated chord sequence, over an energetic uptempo beat, was a great vehicle allowing all to shine in their solos. A unison rendition of the melody allowed Louie to really open out with a great solo in the coda. "Bethany" (which Janek wrote for his wife) followed. The tune consisted of a simple four chord loop and an almost country style melody. However, the simplicity allowed Janek to then open out intricately during his solo. The whole band entered over the loop The Jazz Culture, VI:33


with an interesting cross rhytmn pattern from Jason. Then the rest of the band dropped out, leaving Jason, at first, maintaining the intensity of the 16th note feel loop but then changing to a thoughtful, colla voce treatment and extemporizing away from the original harmony. The band then came back in (a tempo) with the head and the tune ended with another amazing drum solo from Louie in the coda. The band’s encore was a tune entitled "Stern Look" (a reference, I assume, to Mike Stern who Janek has also played with). After a rocky head, Jason dropped out while Duncan and Janek traded 4' s with a gradual crescendo intensified by Louie. Suddenly they were really opening out and trading in 32nd note phrases! Jason followed with a rhythmic solo moving into a more rhapsodic style. All in all, a great finish to a night of top class musicianship, virtuoso playing and great dynamics. For more information about Janek visit: Pub. Note: John Watson is an English pianist, composer, arranger, singer and bandleader who has a steady gig at the Langham Hotel and works around England, but has toured in the States. John Watson is a “triple threat”­­ singer, pianist and keyboardist, accompanist and long time music director of Leee John and legendary 80’s group Imagination. Through popular demand, he has recorded and released several albums. Most recently the JW3 Live at the Langham, (available for download) features his jazz trio and was recorded at the Palm Court,­The Langham, London, where John is currently resident pianist and musical director.;

NEW YORK JAZZ SCENE-Who Are These Characters?


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Comments on Benjamin Schwarz's Opine of Atlantic Magazine that "Jazz Is a Relic.." I personally think that his statement is far from true. In my opinion, the music, (jazz,etc.) is always evolving but it only evolves if you study and pay attention to all the great music that has come before, and it will eventually morph into a new NATURAL music that retains the organic component of originality. The musical universe honors the pure heart, if you are sincere. It matters not, what color you are. It only sees your spiritual input. As far as songwriting goes, there are plenty of excellent song writers with original material. The problem is,they are being purposely ignored,especially if you are a self sustaining musician who works for his or her self. Sincerely, Evans Thompson I do believe he has a point about where jazz was, and is today as it pertains to pop culture. But to say jazz music is a relic and has dried up, means you are not paying attention to some of the great artists, and great things that are happening, in NYC, and in some other areas in europe. Jazz music, is ALIVE, and evolving. Pay attention ! Will it ever reach the masses again? We'll see. Joe Magnarelli Yes , it was thought that european music was to become as a relic but instead it became coined as classical ..With this in mind the word Jazz is like any other style of American music , if you do it well , one becomes unlimitedbut frozen In their expression. This is where all the music evolutionist ( Coltrane ) come in. They care not to be supportive of an out worn system that only reduces the right to survive as an individual ... Juini Bass ( bass violinist ) 22

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Barry Harris Japan Tour Begins December 1; Look Out for Barry Harris' Birthday News!

Connie Macamee

(December 15)

Dr. Frank Foster Photo:Brian McMillen

Cecil Bridgewater

warming up for a concert

Dawn Hampton, L, Kuni Mikami. pianist: "Hamp's Boogie" on Cd Baby

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Clarence Banks, Count Basie Trombonist, Contact for Private Lessons, Clinics, Seminars or Tenor Saxophonist, Arranger and Conductor Eugene Ghee gigs 917-428-6746



Billy Kaye!

Lionelle Hamanaka, Publisher


Subscribe Free to the Jazz Culture Newsletter: The Jazz Culture Newsletter has been seen in 33 countries around the world and across the United States. Copyright© 2012, The Jazz Culture, Ltd. PO Box 20023 Park West Finance Sta, NY 10025, Tel: 646‐312‐7773. The mission of the Jazz Culture Newsletter is to draw the world jazz community together and help create a Jazz Renaissance. Take an ad out in the newsletter‐rates modest.

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