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The Jazz Culture Feature


The Jazz Culture, V.III:3


Andrea Wolper, vocalist, and Tommy Morimoto, tenor sax, who blinks at the flash; below, the bandleader Art Lillard


In These Pages The Art Lillard Big Band at St. Peter's 1‐6 Happy Birthday 7‐8

Roma Jazz Workshop ad 1 0 January listings 10‐11 Ron McClure‐McDonald's 12‐14

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Flautist and tenor saxophone player Carol Sudhalter looks through music in the book as James Barowski, a bass trombonist, looks at audience. Below, Mary Conkilin Foster and the band perform Rodgers and Hart's "Lady Is A Tramp."

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Art Lillard’s Heavenly Big Band by L. Hamanaka Art Lillard drums, Janice Friedman piano, Ralph Hamperian bass, Andy Friedberg guitar, Jan Leder & Carol Sudhalter flutes, Chris Bacas soprano sax, Gerald M. Thomas alto sax, Tommy Morimoto tenor sax, Mark McGowan & Barry Bryson trumpets, Alex Jeun trombone, James Borowski bass trombone, Mary Foster Conklin& Andrea Wolper vocals. Saint Peter’s Church, Midtown Jazz at Midday, Wednesday, January 15 Caught Art Lillard’s Big Band at St. Peter’s Church. Musicians included: Art Lillard, (d), Ralph Hamperian, (b), Janie Friedman, (p), Art Friedberg, (g), Vocals: Mary Conklin Foster, Andrea Wolper, Flutes: Jan Leder, Carol Sudhalter, Saxophones: Tommy Morimoto (t), Gerald Thomas, (a) Clarinet, Chris Bacas (s), Trumpets: Jon Mark McGowan, Barry Bryson; Trombones, Alex Jeun (t), James Barowski (b), playing “Girl From Ipanema” at 4

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about 132=quarter note, nicely voiced, with the trumpets playing accented and almost staccato markings; a trumpet solo by Mark McGowan, a stream of melodic ideas with rhythmic variation and some dramatic intervals, eventually 16th note lines with a fat golden tone. Ms. Wolper sang the theme in Portuguese in a sonorous tone over flutes, saxes and muted trombones. Following was a transcription of a famous piano piece by James Johnson, “Carolina Shout,” charmingly arranged at about 126=quarter note. The thumping bass by Ralph Hamperian added color to the rhythmic feel of the era (Early Jazz) before swing where the First and Third beats of every measure are accented. There were some long tones by Trumpets and Trombones, and flutes and clarinets engaged in a Call and Response repartee, exchanging sections of the melody. This led to a honking cacophony as brass and reeds dominated in parts assigned by the arranger, Mr. Lillard. Next was an original “Bluesd,” a waltz in A minor, at about 116=quarter note, and introduced by vocalist Mary Conklin Foster as a “rap” tune, a singer with a clear sound and very good diction. The lyric was sometimes spoken, with the band responding. Jan Leder and Carol Sudhalter had an interesting duo part, during which each soloed, and demonstrated different styles, Ms. Leder with light intervallic jumps that were appropriate to the song, and Ms. Sudhalter with scalar lines and tasty note choices. This was followed by trumpet and trombone lines that underscored the theme. Lyrics included: “Man, you bluesd me,” “You used me, how could you?” “Whatever happened to our innocent romance?” A “Blues in G” followed, by Art Lillard with lyrics by Jan Leder at about 138=quarter note. This was sung by Andrea Wolper, a springy and happy blues that featured Barry Bryson soloing free on trumpet and Chris Bacas. Lyrics included: “My heart is mending every day, the blues are fading away.” The Jazz Culture, V. III:3


A standard, “The Lady is a Tramp” by Rodgers and Hart, was sung by Mary Conklin Foster at about 140=quarter note. On this arrangement, Mr. Lillard again used the device of dividing the melody and letting different sections play it. “Eleanor’s Place” an original by Mr. Lillard dedicated to First Lady Eleanor Roosevelt, whom he noted helped found the United Nations, was done as a cha-cha. On this the soloists were Andy Freedberg on guitar, Tommy Morimoto, tenor saxophone and Mark McGowan, trumpet. Mr. Morimoto plays with emotion, has a good full tone, and played with bluesy references and scalar motifs leading to a timely resolution, of pealing mostly 16th note lines. The Melody of this piece was fanciful, seeming to depict a lady of strong values, determined but with a light touch and varying states of mind; bridging sounds that were somewhat contrary, the melody was based on simple motifs that asks a question and answers it in the following phrase; and the bridge is marked by arc-like phrases. Mr. McGowan, with an excellent technique (he studied with William Fielder), built on the melody using 16th note triplets that gave it an elegance and created curved tapestries of sound, his lines sometimes leading to a high note, with a brilliant tone. The full instrumental section ends in Latin accents, the piano led into some tighter voiced and repeated nine note phrases. “Fly Me to the Moon,” at about 140=quarter note was the last song, a swinging song where the bass played solo and the singer Andrea Wolper began, and horn accents answered her phrases. There was a bass trombone solo by James Barowski that stayed close to the melody, with curlicue remarks before well placed triplets in the middle of his lines. The song ended crisply. The audience clearly enjoyed the band. Mr. Lillard has a distinctive style of composing and arranging. For one thing, he uses flutes and clarinet, (the top a lot). He writes long interwoven lines with an interesting color palette and shows 6

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idiosyncratic and personal choices in his architecture. He has world class soloists in the group. His group needs to work more so the real impact of his writing could be exponential. It is hard even in a trio to get the same interpretation of the beat. Many big bands endure years as a rehearsal band and might rehearse weekly for over ten years before performing in public, while some never perform. Mr. Lillard’s band has a lyric, positive sound that captures the lilting quality of certain classical pieces and ought to be heard more.

Trumpeters Mark McGowan and Barry Feiss, with Alex Jeun packing up after St. Peter's concert

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Happy Birthday January Babies!! Trumpeters Mark McGowan, Joe Magnarelli, Valery Ponomarev Vocalists Marion Cowings, Dorian Devins, Lionelle Hamanaka, Karen Maynard, Richard Williams

Happy Birthday JIMMY COBB!!

Jimmy Cobb was born in January 1929 in Washington. He is primarily self taught, and started working with Earl Bostic in 1950; he then worked with Dinah Washington for three years and then with 8

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Dizzy Gillespie, Stan Getz and Cannonball Adderley. He took over from Philly Joe Jones in Miles Davis band, and then worked with Paul Chambers and Wynton Kelly in a trio. Mr. Cobb received the NEA Jazz Masters Award in 2003, and he has worked with most of them over the years, including Miles Davis, Sarah Vaughan, Dizzy Gillespie, Cannonball Adderley, Pepper Adams, Donald Byrd, John Coltrane, Jon Hendricks, Curtis Fuller, Kenny Dorham, Wes Montgomery, Wynton Kelly, Billie Holiday, Red Garland and many others. He began developing his discography in the 90's and after 2000, such as Jazz in the Key of Blue, and is an active leader with international tours and also teaches.

HAPPY BIRTHDAY BUCKY PIZZARELLI!! John "Bucky" Pizzarelli -guitar, born 1926, father of John Pizzarelli (g) and Martin Pizzarelli (b), is a vibrant iconic figure in the world of swing music and the jazz guitar. His uncles Pete and Bobby Domenick were professional musicians. Mr. Pizzarelli plays with the intensity born of great love, and is an example of the decades long performing career that every jazz musician wants. He began his professional career with Vaughn Monroe in 1944. After World War II, this veteran worked with Benny Goodman, up until Mr. Goodman's death in 1986. Mr. Pizzarelli joined the Skitch Henderson Orchestra, worked on Johnny Carson's Tonight Show band. A self taught master of the seven string guitar, and a musician's musician, he worked with George Barnes, Stephan Grappeli, Zoot Sims, Bud Freeman. He has recorded on the Arbor, Chesky, Sindrome, Savoy, and Victoria labels. He emanates swing through his fingertips, and has a chordal style of soloing, and radiates love of mankind. He radiates charisma when he plays, and it seems to be as big a thrill for him today as it was when he started almost seventy years ago. The Jazz Culture, V. III:3



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

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


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countries. Brian McMillen is a contributing Photographer. Connie MacNamee and Arnold J. Smith are contributing writers." Countries: US, UK, Albania, Argentina, 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

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

January Listings Clarence Banks, Trombone‐ Swing 46 most Thursdays with Felix and the Cats, 346 W. 46 St. Ray Blue‐ Jan 13‐Local 802 jam; 14‐Garage; 20‐ Jazz foundation‐Jazz in Schools; 20‐Cotton Club Orchestra

Kim Clarke, Jan. 6 International Women in Jazz, St. Peter's, 54th & Lexington 8 p.m. 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 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 Jim Malloy with Felix & the Cats at Swing 46 every Thursday in January‐check with club

Mark McGowan Jan 15 at St. Peter's Church, 1 p.m. John Mosca & Michael Weiss, Vanguard Orchestra every Monday at the Village Vanguard 8 p.m.

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1 33 Street Rick Stone- Jan 1 6, Garage 1 8Cafe Lore Brookln, Hamilton's 28th brooklyn Bill Saxton; Every Friday and Saturday Bill’s Place

Valery Ponomarev‐ January 1 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

A Short Remembrance of a Long Gig: PART I (by Ron McClure)

I wanted to say a bit more about McDonald's.As tired as I am of my ruminating over the loss of our 11 year gig, I'll sum it up for you. I'm told that the original owner, whoever that was, of the McDonald's at 160 Broadway at Maiden Lane had a love for art and music. He had paintings on the walls, a doorman in a tux greeting customers and someone playing a grand piano in the middle of the main floor 7 days per week. This tradition continued with the exception of a brief interlude following the attacks on the WTC on September 11, 2001 from the early 1980's until January 4, 2014. This McDonald's franchise is just 2 blocks from Wall Street and the WTC, and literally a gold mine for the current owner, Paul Goodman, who's family owns 6 or 7 McDonald's franchises in the New York area. The piano, at some point, was moved to a balcony above the front door on Broadway, and there have been too many pianists to list that have done this gig. Most notably, Kenny Drew Jr., Warren Chiasson and Joe Panama. Three months after 9/11/01 Michiyo Tanaka Fisher went to this location and expressed her desire to play the piano that she noticed in the window to a manager who gave her Paul Goodman's phone number. She called and was hired for Saturdays, sight unseen since Joe Panama wanted to take the day off. Following an accident, Joe Panama passed away, and Michiyo was given the job from Monday thru Saturday. This was too much for her and she asked me to sub for her a couple days per week which I've done until 2014. The other pianists that were working at this restaurant 12

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until 2014 were Andrew Shapiro and Chuck Fertal. The top line on the website for this McDonald's franchise says: "The famous McDonald's with the piano player"! Michiyo was on TV on NY1, in an interview by Cheryl Wills. The New York Times did a story on Andrew Shapiro, who played Sundays, and Nicole Levy wrote and article on me called: "McClure plays McDonald's" for the Yale Daily News Magazine published in September 2011. Michiyo and I were also interviewed for "The next big thing" for a program about "live music in unusual places in NYC". The fact that there was a live solo piano player in the window at McDonald's at 160 Broadway was indeed a novelty and a no secret. Paul Goodman was interviewed as he stood behind Michiyo as she played for NY1 and seemed delighted to be getting this attention, either for himself or the restaurant. People from every corner of the world filled this room every day and they eventually stayed open 24/7 and business has improved by 25% in the last year according to the owner. Bus tour guides always waved and pointed us out to tourists as the double decker buses passed by the window where we sat from noon to 4 PM daily until things began to change. First, they covered all the windows with translucent advertising this past summer. No one could see in or out, and there were no more waves from excited tourists. Then, after 11 years of having my NYU music students and other professionals sit in or sub for us on occasion, we were told that no one not on the payroll could be on stage. There had been talk of renovation for the past year or so and there had been a bunch of suits coming around with guards standing in the doorway while they talked to the owner. It seemed like Goodman had some new partners. Then suddenly he barked "Can't you play something these people know, something I know" at me one Saturday as I played "Out of Nowhere" with Jarno Kukkonen, Finnish guitarist, and director ofThe Sibelius Academy of Music in Helsinki. This was the only comment anyone had made to any of us since 2001, and it wasn't a compliment. I responded by asking "What would that be?" His The Jazz Culture, V. III:3


answer was: "POP!" Oh boy! After th set I told him that I played standards from "The American Song Book" as well as some pop tunes by the Beatles, Stevie Wonder and Billy Joel. I knew from his tone things were changing, and on Christmas Eve day the manager informed me that the restaurant would be closing for six weeks on January 5, 2014 and when they reopen there will be no more piano, and offered a letter of recommendation. Needless to say, we are saddened by this decision, and cannot understand why they've thrown away the one and only thing that distinguished them from every other McDonald's in the world. I posted their website on Facebook and asked people to write to them and let them know how they felt about it. I was accused of being childish and making "Personal Attacks" on the owner and told by text message.They gave the piano to some school and a neighbor of ours who wrote to Paul Goodman got a response asking where he got the info about ending piano music and said he wasn't sure if it was "correct" there will be "suprises" in the future. It sounded like an infomercial and yes, he misspelled SURPRISES! In Goodman's text message to me I was accused of being childish and told: "I would prefer if you never step foot in my location again", and the "POP" word was dropped again. I think he thinks everybody listens to what he listens to or likes, and that's what we should have been playing for the last 30 years. I think it's a terrible decision for a lot of reasons. It's the death of yet another live music venue in NYC. A loss for sure to the musicians who played there as well as taking away the possibility for the younger customers, who may not have ever heard live, quality music. As a music educator and a musician with 50 years in the business, I see it as just another nail in the coffin of real music. I really don't think they get it. It's a real kick in the teeth for live music, and they imply that they're "investigating other forms if entertainment", but my guess is it will be new chairs and tables with Musak as the only entertainment, except for possibly the grand opening after renovation. It's a bummer :-( Ron McClure, Website: 14

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