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The Jazz Culture Feature


The Jazz Culture, V.III:7


Hide Tanaka & Chris Anderson, John Spruill and Clifford Barbaro at JCT jam, Lonnie Hillyer, Vernel Fournier; Photos offollowing courtesy ofBrian McMillen: Branford and Wynton Marsalis appeared with Walter Davis, Jr., Clifford Jordan, Frank Foster, Jaki Byard, Charles McPherson, Tommy Flanagan, Philly Jo Jones & Dameronia


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In These Pages Memories of the Jazz Cultural Theatre 1‐2, 7‐18 Obit Paul Ash 2 Roma Jazz Workshop 4 February listings 5‐6

Mark McGowan, Larry Ham, David Glasser, John Mosca, Gene Ghee and Howard Rees below, Evans Thompson, right might have hung out at the Jazz Cultural Theatre

Paul Ash, Philanthropist, a true friend of the jazz community of New York Paul Ash, whose father Sam Ash was a violinist, worked in the family store business from the age of 9 to his death at 84. At 9 he helped his father deliver merchandise and unpack things. He worked up through the ranks, selling merchandise at the Long Island store, where until his death, he would open the day’s mail and personally deliver it to every one there. After starting a store in Brooklyn and then a group of stores on 48th Street, Paul Ash and his brother Jerome and sister Marcia built the business to a national chain of family owned stores, of which Paul Ash was President. Paul Ash's wife of many years is Cobi Narita, producer and initiator of a number of non profit jazz organizations and events, with whom he worked on many projects. Paul Ash was a noted philanthropist who donated to educational groups, and was known as a genial and intelligent man with a sense of humor.

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Felt music club & school – via degli Ausoni 84 – Rome, Italy

Barry Harris is one of the world’s most respected jazz piano players and teachers, considered by many to be the foremost interpreter of the music of Bud Powell, Tadd Dameron and Thelonious Monk. For more than half a century, Harris has played with the giants of jazz including Dizzy Gillespie, Miles Davis, Dexter Gordon, Cannonball Adderley and Coleman Hawkins, travelling the world over as an ambassador of jazz ( Schedule:

Piano and Guitars 11:00 – 13:00 Singers 14:30 – 16:30 Horns & General workshop 16:30 – 18:30 On Friday 21 classes last one hour and an half 160 €qQCostCc‐Cc15015015011 for the week/40€ for

Fees: daily seminar Accomodation: b & b or private apts, from 15 € per night BARRY HARRIS TRIO FELT CLUB – CONCERT FRIDAY 21 MARCH 9:30 PM Luca Pisani,b;Oreste Soldano, d Admission: 15 € MONDAY TO THURSDAY JAM SESSION EVERY NIGHT

Info: ass. cult. roma jazz workshop anna pantuso +39-339 3383139 luciano fabris +39-328 6748724

Special Notice: Send comments on how to expand the jazz economy to: Congressman John Conyers' About National Act of 2014 for the Preservation, Education and Promulgation of Jazz 4

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Lionelle Hamanaka's single, "Lost Puppy Blues" is available on CD BABY for kids, with Richard Wyands, Ron McClure and Leroy Williams. see:

The Jazz Culture Newsletter Wishes the Jazz World Community a Happy, Healthy Prosperous 2014! Jazz Tours in NYC are available; also music teachers in various countries for students & jazz lovers. email: Ads are available in The Jazz Culture Newsletter. The Jazz Culture Newsletter has been read in 67 countries. Brian McMillen is a contributing Photographer. Connie MacNamee and Arnold J. Smith are contributing writers." Countries: US, UK, Albania, Argentina, Armenia, Australia, Austria, Belgium, Bangladesh, Belize, Brazil, Burma, Bulgaria, Canada, China, Chile, Colombia, Czech Republic, Denmark, Ecuador, Egypt, Estonia, Finland, France, Germany, Greece, Holland, Hong Kong, Hungary, India, Indonesia, Iraq, Ireland, Israel, Italy, Japan, Kazakhstan, Kenya, Latvia, Lithuania, Luxembourg, Malaysia, Mexico, Moldova, Netherlands, New Zealand, Norway, Pakistan, Peru, Philippines, Poland, Portugal, Romania, Russian Federation, Serbia, Seychelles, Singapore, South Africa, South Korea, Spain, Sweden, Switzerland, Thailand, Turkey, Ukraine, Uzbekistan, Venezuela, Vietnam

February Listings

Clarence Banks‐ Swing 46 most Thursdays with Felix and the Cats, 346 W. 46 St. Ray Blue‐ Feb 11 Black History Month Award for Contributions to Education and Performance, Peekskill City Hall Kim Clark‐ Women in Jazz Festival starts March 1 in Peekskill at Beanrunner Cafe Richard Clements‐ Pianist, 11th Street Bar most Mondays, 8 Kenney Gates, pianist. Philadelphia, Tues., Sun. some Sats.‐ High Note Cafe on Tasker & 13th, 5‐9 p.m. Bertha Hope ‐ Minton's on 206 W. 118 Street George Gee Orchestra at Swing 46, every Tues, most Fridays 9:30 Lafayette Harris: February 15, 8:30pmb Sankofa Aban Bed and Breakfast Inn. The Brownstone Jazz (917) 704‐9237 call for reservations, 107 Macon Street, Brooklyn

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Feb 6‐8 Downstairs Cabaret Theatre 20 Windsor Street, Rochester, Feb 14 Historic Hotel Utica 102 Lafayette St. Utica 7‐10pm Feb 21 Harvard Club 35 W 44th St 6‐10pm February 27‐ Mar 2 Jazz Standard 116 E.27th Loston Harris: Bemelmans Bar at The Carlyle; Tues ‐ Thur 9:30pm ‐ 12:30am, Fri‐Sat 9:30pm‐1:00am Bemelmans Bar Residency 12th year at The Carlyle, 35 East 76th St., New York, NY 10021 (76th St. & Madison Ave.) 212‐744‐1600 Mike Longo: February 4 Mike Longo Trio Tuesday‐ Gillespie Auditorium in the NYC Baha'i Center at 53 East 11th Street 8:00 and 9:30. "A Salute to Jazz Pianists". Joe Magnarelli: February 6‐9 Jazz at Lincoln Center, Dizzy's with Terry Gibbs Superband February 9‐Small's Late Night John Mosca & Michael Weiss, Vanguard Orchestra every Monday at the Village Vanguard 8 p.m. David Pearl‐ Monday at the Thalia, 95 St. bet. B'way & West End 8 p.m. Bill Saxton; Every Friday and Saturday Bill’s Place 133 Street Rick Stone‐ Feb 20, Garage 18Cafe Lore Brookln, Hamilton's 28th brooklyn Valery Ponomarev‐ February 5 Zinc Bar 82 West 3rd Street Murray Wall, bassist, 11th Street Bar most Mondays, 8 p.m. Leroy Williams, drums: Minton's Sun & Tues 2‐6 W. 118 St. ENGLAND: John Watson Trio at the Palm Court, Langham Hotel, London, 1c Portland, Regent St. 207‐636‐1000 Fri‐Sat ITALY: Dado Moroni: "5 for John" tour February 1: il Torrione, Ferraro February 2: Blue Note, Milano February 3: La Claque, Genova February 4: Il Cavato Spirito Jazz, Calcinaia di Pisa February 5: Jazz Club Torino, Torino


In the February Issue of Jazz Culture Newsletter, Kiane Zawadi's first name was misspelled. It is KIANE, not KIANI. Please note.


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THE JAZZ CULTURAL THEATER by Larry Ridley, with additions by Barry Harris, & Jim Harrison.

Dr. Larry Ridley, left and Jim Harrison, right with Mrs. Jill Williams at Wilbur Ware's Memorial

Larry Ridley, Barry Harris, Jim Harrison and Frank Fuentes were partners in creating the Jazz Cultural Theater beginning August 14, 1982, to August 14, 1987. Together, they maintained this unique institution, the Jazz Cultural Theater (JCT). It was located at 368 Eighth Avenue in New York City. It was a storefront located between 28th and 29th Streets in Manhattan. Primarily a performance venue, featuring "name" jazz artists and jam sessions. Additionally, it was known for Barry's music classes for vocalists and instrumentalists each taught in separate sessions. Several artists recorded at the club, including Barry's own album For the Moment. Some of the many musicians and notable jazz figures that appeared at the Jazz Cultural Theater were JCT partners pianist Barry Harris and bassist Larry Ridley; guitarist Ted Dunbar; pianist Jack Wilson; Walter Davis pianist with Wynton and Branford Marsalis; Philly Joe Jones, Frank Foster, tenor saxophone, trumpeter Bill Hardman; Lonnie Hillyer, trumpeter with Charlie Rouse, Tenor sax, trombonist Benny Powell, tenor saxophonist Junior Cook; trumpeter Tommy Turrentine; alto The Jazz Culture, V.III:7


saxophonist Charles McPherson; pianist Mickey Tucker; guitarist Peter Leitch; tenor saxophonist Clifford Jordan; Mark Elf (guitar); alto saxophonist Lou Donaldson; drummer Leroy Williams; drummer Craig Haynes; drummer Vernel Fournier; bassist Hal Dotson; bassist Jamil Nassar; pianist Chris Anderson; Freddie Redd, Earl Coleman sang there; tap dancers Tina Pratt, David Gilmore, Brenda Buffalino, Lon Chaney, Jimmy Slyde, were there, the tap dancers creating a resurgence of tap dance in NY. The renowned jazz patroness Nica - the Baroness Pannonica de Koenigswarter who would park her silver Bentley sedan in front of the club. There were 90 people at the first class. Before Jazz at Lincoln Center, groups from Lincoln Center came to the Jazz Cultural Theatre, attended concerts and ate there. Ms. Alina Bloomgarden, Director ofVisitor Services at Lincoln Center, worked as a volunteer at JCT. She convinced the President of Lincoln Center to do a jazz summer series at LC that was very successful. The Jazz Cultural Theater (JCT) enjoyed a vibrant five-year run, and while its storefront existence ended in 1987 when its lease ran out and the rent was increased, Barry Harris simply moved his jazz instrumental and vocal instructional classes to other venues in New York City, Japan and Europe, supported by a devoted and ever growing international base of students, many of whom are now professionals, among them: Israeli-born, now New York Citybased jazz guitarist, Roni Ben Hur; Armenian bebop piano player Vahagn Hayrapetyan; Italian-born brothers Luigi Grasso (alto sax) and Pasquale Grasso (guitar). Stanley Crouch,

in an interview on NPR in 2006, said the following about the influence of the Jazz Cultural Theatre:“In 1987, Alina Bloomgarden, director ofVisitor's Services at Lincoln Center, [Wynton] Marsalis, and I met because Bloomgarden wanted to start a series of summer concerts at Lincoln Center. Bloomgarden had done volunteer work at Barry Harris's Jazz 8

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Cultural Theater and was inspired by what she saw. This enthusiasm pushed her to meet with Nathan Leventhal, the president of Lincoln Center. At Bloomgarden's urging, Leventhal agreed to set aside the budget necessary to produce the summer series of jazz concerts. “Those concerts were so successful that they eventually grew into the department known as Jazz at Lincoln Center. That did not come out of nowhere. The suave Gordon Davis, a lawyer who had been a city commissioner and was then on the board of Lincoln Center, had the bright idea that the jazz series could — and should — become something much bigger than an annual summer event. From there, things began to build to the unprecedented point that the jazz program became a fully equal constituent with the other components of Lincoln Center—the New York Philharmonic, the Metropolitan Opera, New York City Ballet, and the Film Society of Lincoln Center. “ Phil C. Bowler­

On my recollections of the Jazz Cultural Theater are: it was a place where musicians and vocalists, both veterans and journeyers, could gather and perform for an audience of fellow musicians and vocalists, as well as interested fans of the music. It was also a school where students could learn from one of the master's of this music - Barry Harris. He spoke to, and presented challenging questions, to the novice right on up to the professional musician. I remember it being one of the greatest learning environments in NYC. It was a comfortable environment for folks to gather together. It was a regular stop for me when I was in town. I was saddened at its closure. I felt it a great cultural loss to the cultural life in NYC. Now, there is another institution similar in its mission, headed up by a world renowned musician who performed there with his group. The Jazz Culture, V.III:7


That institution is, Jazz At Lincoln Center.” Kim Clarke­ “I was house bassist at the jam

session there 82-86. I played with giants of jazz like Art Blakey. Every Saturday night he was in town he was there after hours from 3am 8am. I got discovered for the Joe Henderson band there, studied there and had my first bandleader experiences in jazz there.” Pianist Alan Lucas and his wife at that time “made up a copy

of the menu and things like that. It wasn’t fancy, we just printed it off the computer, covered it with cellophane and we put it on the table. After workshops on Saturday [JCT] would convert to an evening of jazz where Barry and other musicians would perform and transition into jazz venue for listening. Jim Harrison.--It was a wonderful experience for me, because it was an opportunity to do something different. Book a lot of artists we liked. Being Barry’s right hand man; when he went out of town, I had it covered. Joe Magnarelli­ “One of my first New York experiences was

hanging out at the Jazz Cultural Theatre, I only went there a handful of times before it closed. Of course Barry Harris' class was the reason I went at first, but then I returned on weekends to be part of the Real NY jazz scene. Seeing Art Blakeys band hanging there after hours, or Tommy Turrentine playing 'Half Nelson', 'C' Sharp hanging and playing. these nights made a huge impression on me. Also I heard Junior Cook there for the first time, wow!!, is all I can say about that. 10

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Rick Stone: Reminiscences

(I wish I could find photos of JCT. I think that Sue Terry has a few so you might contact her. I don't know what Barry might have. One of the guys who worked the front door was a photographer named Johnny Griffin, but I think he passed on years ago. And of course you probably know that Richard Wilkerson recorded almost every gig that happened there on a little cassette deck right behind the bandstand. I tried for years to get a copy of the tape from the night I jammed there with Lionelle Hampton, Barry, Kim Clarke and Craig Haynes, but he wasn't that organized. I think somebody told me that Barry still has all those tapes in boxes at the house, but who knows what shape they're in by now (cassettes have a shelf-life of about 15-20 years and those would all be almost 30 years old by now). Maybe Jim Harrison has something? I haven't seen him in awhile, but I think he handled a lot of Barry's business dealings back then. There was also a guy named Frank Fuentes who hung out there (I think he was Barry's accountant). Wow! So many memories about Jazz Cultural Theatre. I started going to Barry's classes around May 1982 when they were still held at Mark Morganelli's Jazz Forum on Broadway (near Bond Street). Back in those days, bassist Walter Blanding and his wife Audrey (a pianist), and their son Walter Jr. (the saxophonist) were all in the class. I'd only been going to a few classes when they moved into the new Jazz Cultural Theatre on 8th Avenue. Around that time, I was doing a lot of music calligraphy and started doing parts copying for Barry's Symphony Space concerts. I think it was mainly The Jazz Culture, V.III:7


Randy Noel, John Robinson, Patience Higgins and myself doing most of the copying for those concerts and I also remember pulling some all-nighters at John's place in Brooklyn. It would sometimes be pretty seat-of-the-pants and I remember one time when Coleridge Taylor was rehearsing a chart with the band and Barry was still making revisions. Meanwhile a bunch of us were at a big table in the front copying the parts, literally running up and handing guys their parts while the ink was still wet! It was a kind of trial by fire, and we learned to work fast and accurate. Somehow through that, I wound up doing charts for Earl Coleman, and he connected me with Don Schlitten (Xanadu Records) who was really helpful and generous with advice when I started my own label. And I still remember the sound of Earl singing "Flamingo" at JCT. In those days I lived on West 54th and 9th Ave. in Manhattan and it was easy to get to JCT, so I probably hung out there several nights a week. I met so many musicians there. I still remember the night Barry said "I want to introduce you to one of the great drummers in jazz; Vernel Fournier" and I was surprised to realize that he was the guy I always saw around my neighborhood. We lived around the corner from each other and later on we wound up playing together quite a bit. I also met trumpeter Haji Ahkba there and we used to play the streets together back then. It was also there that I met Nancy Banks and we did a lot of little gigs at Captain Mike's on Chambers Street and some other downtown places. Kuni Mikami, Kim Clarke and Craig Haynes played for many of the jam sessions and Kim and Craig played with my group for awhile. So many great musicians played at those sessions; Albert Daily, Junior Cook, George Braith, Rodney Kendrick, Vincent Herring, John Mosca and Dave Glasser to name just a few. Another night I was there when Tommy Flanagan and Barry 12

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performed together and played Bud Powell's solo break and opening chorus on Celia in unison on two grand pianos. That was just totally amazing! I used to love to sit on that couch off to the left of the stage (right behind the big speaker) where you could watch the pianists hands. It was amazing to see how different guys approached it; Barry, Tommy, Kirk Lightsey, Mickey Tucker, Bobby Enriquez, Walter Bishop and so many others. Barry had a lot of energy and the classes were long back then. I'd show up around 5pm and attend the piano class, then by around 7pm he'd start with the vocalists which might go until 9 or 10pm and then he'd teach the instrumental class, often until 1 or 2am (or later). I remember coming home from class one night while I still lived in Queens and the sun was coming up. Barry had just shown me the 6th/Diminished concept and my brain was exploding. I went home and practiced that stuff for the next whole day without sleeping! Barry's regular rhythm section for the classes at that time was Hal Dodson and Jimmy Lovelace and having such a swinging group to practice with was such a great way to learn. I think Ted Dunbar also taught some master classes there, but I didn't connect with him until 1988 (a year after JCT closed). I do remember that they had his books for sale in that glass display case that was on the right when you first walked in the door. There were many great gigs there too. I remember seeing Tiny Grimes there, and Clifford Jordan's quartet with Barry, Walter Booker and Vernel Fournier. And I was there the week Barry recorded that wonder live record "For the Moment" with Rufus Reid on bass and Leroy on drums. I've got that on vinyl and still listen to it often. Then there were the late night jam sessions after the last set on Saturday that ran from about 1 or 2am until 6 or 7 in the morning. Art Blakey donated a set of drums so they named the session the "Art Blakey Breakfast Jam" after him. The Jazz Culture, V.III:7


It was at one of those late night sessions that a couple kids came in with a guitar and a bass; William Ash and Ari Roland. They were about 12 or 13 at the time and had stayed over at Ari's house in the Village, waited for his parents to fall asleep, and then sneaked out to come to the jam session. They could both already play and were hungry for knowledge. After that, William's dad starting bringing him over to my place for some lessons, and he eventually replaced me in the Jimmy Robinson All-Stars after my son was born. I remember C Sharpe's gig there with Frank Hewitt too, and someone from the Village Voice came to interview him that night and they took a picture with that curtain in front of the door to the side of the bandstand. I've still got that article around here somewhere. C Sharpe and I became pretty good friends and we did some gigs together as well and then one night he introduced me to Jimmy Robinson who asked me to play in his band every Sunday at University of the Streets. There was just so much love, music and positive energy there, that although it only lasted 5 years (from 1982-1987) anyone who was part of that scene was deeply affected. It was sad that they couldn't find a way to continue it, because we really need institutions like Jazz Cultural Theatre. I guess Smalls has kind of filled that void, but JCT was really a special place. I could go on and on. I miss it. It was an amazing time to be in New York! Jazz Cultural Theater was the shrine of my early days in NYC and now I think one of the great unsung Historical places of the 80’s in NYC. I was there from 82-87 as ensemble staff for Barry’s class, sometimes 4-5 days a week. Hide Tanaka:

There was Barry Harris, Milt Jackson, Walter Bishop, Walter Davis, Jaki Byard, Chris Anderson, Tommy Turrentine, Charles McPherson, Junior Cook, C Sharpe, Tommy Flanagan, Jimmy 14

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Lovelace, Clifford Barbaro, Vernell Fournier, Leroy Williams, Philly Joe Jones. Art Blakey had a jam session there. Jaco Pastorius played my acoustic bass!! I can’t name everyone who came to that club, there were too many. These people were always casually exchanging musical ideas with pianos. There were always 2-4 grand pianos. Jazz Cultural Theater was shrine of my early days of New York and now I think an unsung great historical place of the 80's in New York. Barry would say: “When I saw Monk he played on Round Midnight like this…” etc. The many great artists I met at JCT gave me so many great things into my life. All my life as a jazz bassist started at the JCT. It was like a miracle. Clarence Banks-I remember it was a nice spacious club,

cozy comfortable, good atmosphere, jazz atmosphere nice and homey. I wish that club was still around. At that time mid 80’s…it was short lived. I was really traveling a lot. Michael Mossman:“Oh,

my goodness... the mention of the Jazz Cultural Center brings back a flood of memories!

Clarence Banks with the Basie Orchestra

“I used to go there in the early '80's. It was the club that stayed open after every other club closed. The sun would be up when they finished there, sometimes. “I can remember meeting Tommy Turrentine and "C" Sharpe. I first met Jerry Gonzales there. We played Monk's "Evidence." Art Blakey would show up and sit in... and there usually would be a rush on the bandstand. If anyone played poorly or, disrespectfully, too long Art would get up from the drums mid-chorus and walk The Jazz Culture, V.III:7


off. George Braith and his Braith-o-phone was a regular. So unusual and unique and excellent... “The Jazz Cultural Center was one of the last places in NY where one could get an un-filtered experience of the old jazz scene both musically and, fittingly, culturally. Part of that, certainly was the number of confirmed junkies that hung out there. A young person could get a vision of their future if they went down that path. But more importantly there was an atmosphere there of authenticity. You really didn't go up to play if you didn't know what you were doing (unless a player was so oblivious that they didn't understand that, in which case they would be instructed in a way some of us miss). Even with some of the older musicians, struggling with various things in their lives there was a sense of hard-edged mentorship that permeated that place. Very New York. “I can remember playing with Jaki Byard's Apollo Stompers as a last-minute sub on the lead trumpet book. That was the big band version of the vibe of the Jazz Cultural Center. Outside but with lots of history and deep musical content... and chaotic at the same time. “There is not any place I can think of that is like that nowadays... Much of the mentorship we see is taking place in the jazz schools, Manhattan School, Juilliard, New School, William Patterson and our own Queens College (which was developed by Jimmy Heath and Sir Roland Hanna, very street-worthy!). I am not sure if that is a bad thing; certainly a safer and healthier environment, and more diverse... but culturally, the Jazz Cultural Center gave one an experience which provided a certain social context for the music that is difficult to capture these days. “Sorry to ramble on.. I hope that helped.” Best wishes, Michael Mossman 16

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Lionelle Hamanaka- The space was 2500 square feet with a

small kitchen and backyard. There was no liquor and no drugs allowed; there was a menu. I don't remember the drug people that Michael Mossman said were there. I took a vocal class with Frank Foster for several sessions. I did his lead sheets for the class-the major 9th chords on the major scale, the two diminished scales, several blues scales, and vocalizations. He recommended using the “Ba-ba-ba-ba-bop” syllables. Frank Foster was such a leader: so democratic, clear, fair, unprejudiced, and egalitarian, the way every teacher should be; and a real lover of people. I also remember Vernel Fournier discussing eighth notes, and how accenting certain eighth notes could make a whole line come alive. A really brilliant drummer. He wrote a book on drumming that is hard to find. The artistic atmosphere was intense. It was great to stand in front of the bandstand and listen to Tommy Turrentine's lines in perfect rhythm. It was kind of smoky. I remember fleeing there when Lonnie Hillyer died, because he was a pal and it was so unfair that he died so young. I was crying at the back of class and Barry asked me why and I told him. There was nothing he could say, because he loved Lonnie. When he found out he had lung cancer, he said, “Well he’ll just have to be a piano player.” The last time I went to see Lonnie at his house, he was skin and bones; but he had the heart to wink at me and smile. He told me music was an obsession, a religion. Art Blakey used to have jam sessions there; that was too late for me, but I remember Kuni used to work the jam sessions. I met many singers were there and sat in with Carmen, Nancie Banks and . C Sharpe was really nice, he told me in the kitchen, I want you to always know what degree of the scale you are singing when you sing the melody, and to be able to sing a third or a sixth The Jazz Culture, V.III:7


away from the melody note. Walter Davis said, you must know every change of the song you are doing. I remember William Ash and Ari Roland and Bobbie the trumpet player; I was jealous of Bobbie because of his machine that slowed down records so he could transpose solos. You heard so many dozens of musicians on every instrument, the outstanding ones, you heard it like a prophecy at the beginning. Of course becoming a virtuoso or really learning to improvise is an on going process and there are many ways up the mountain. Barry was a bit gung ho; at two or three in the morning if you were walking out the door, he would ask you, ‘Where are you going?” ***

In addition to the JCT, Dr. Harris produced many concerts at Symphony Space, “Jazz with a cast of a thousand” (according to Gary Giddins) with his Jazz Ensemble. In 1982 there was a special concert at Town Hall dedicated to Monk, who had just passed.

Thelonious Monk by Beret de Koenigswarter

Tribute to JOE WILDER, legendary trumpeter at Jazz at Lincoln Center, February 19 at Dizzy's 18

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