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Singer Sheryl Renee sang "Lester Leaps In" solo, scatted at Lady Got Chops Concert; below, women gather before performing.

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The 11th Annual Lady Got Chops Festival concert on March 15 at Zeb's, made possible by Cobi arita. Above, flautist Claudia Hayden, performed an original, "Angola," on the college jazz circuit; after Ms. Hayden set up her own tour, she played her original songs for audiences up to 5,000. Below, Mem ahadr, a fusion singer, performed an original; next to her is flautist Andrea Brachfeld; Bertha Hope who played an original called "Book's Bok."


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Live Event 1‐5 England Event J. Watson 6‐10 How To Do A Jazz Concert C. Narita 11‐16 Jazz Heritage 17‐22 Sheila Jordan Gig Listings‐Letter 25‐28 © 2012 ERRATA: Last issue, two sponsors were left out ofthe Lady Got Chops Festival: the Black Rock, and Amsterdam ews newspaper, which helped Kim Clarke with the publicity for her festival.

Cobi Narita & Paul Ash Present in March, Women's Month:

At ZEB’s 223 W. 28 St., 2nd flr. (Bet. 7 & 8) Tickets: 516‐922‐2010

Every Sat: Film 1-3 p.m.; Legendary Black Artists w/Walter Taylor

Open Singers Jam from 3-6 p. w/Frank Owens $10

Friday March 15: LADYS GOT CHOPS 7-11 p.m., The 11th Annual Women’s History Music & Arts Festival, “MUSI-ARTI-COPIA” $20/ Mem Nadhr, V; Bertha Hope, P, Kim Clarke, B, Andrea Brachefield, Ft; Meg Montgomery, T;

Nikita White, V, Sheryl Renee, V, Claudia Hayden, Fl; Lisa Santiago,p

other sponsors: Jazz Fdn, Women in Jazz


Friday March 22:

7-11 p.m. Willie Mae Perry with the Frank Owens Trio, Paul West,

Bass, Greg Buford, drums $15

Saturday, March 2:

8 pm. Emiko Mizoguchi & Derek Hood Concert with the Frank Owens Trio, Paul West, Bass, Greg Buford, drums

Friday, March 8:

7-11 p.m., Tribute to Delilah Jackson by Jazz & Tap community,

FREE; Hosted by Rev. Dale Lind at St. Peter’s Church, 54 St. & Lexington

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Bertha Hope reads poem above, flautist Claudia Hayden, right, Trumpet player Meg Montgomery, Singer, ikita White, Mem ahadr next to flautist Andrea Brachfeld, who said she would soon devote all her time to music.


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Women congregate before performance. Left to Right, Claudia Hayden, flautist, Sheryl Renee, singer, singer ikita White, flautist Andrea Brachfeld and bassist/producer Kim Clarke. Flautist Andrea Brachfeld, below, played "Invitation" accompanied by Bertha Hope and Kim Clarke.

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The Darius Brubeck Quartet At The Forge Friday 1st March 2013 Review by John Watson Line-up: Darius Brubeck - piano Matt Ridley - bass Wesley Gibbens – drums Dave O'Higgins – sax John Watson Photo by: Max Garr

Just a couple of miles north of London’s West End is the vibrant, slightly bohemian area of Camden and among its bars, clubs, restaurants and boutiques is The Forge Music & Arts Venue. Opened in 2009 by musicians Adam and Charlotte Caird, it is an intimate concert venue with great natural acoustics and they put on a varied programme of music ranging from classical to jazz and world music. It was a full house for this performance by The Darius Brubeck Quartet, but we managed to find seats right by the stage. The musicians came on stage to an enthusiastic reception all dressed in suits and ties. A smiling Darius approached the microphone and spoke with warmth and ease to the audience and then sat down at the Steinway ‘B’ grand piano. As we were close to the stage, I was able to hear him whisper to the band, “think dynamics” before launching into ‘Blue Rondo á la Turk’ (a Dave Brubeck classic requiring no introduction). Matt Ridley on double bass and Wesley Gibbens on drums gave perfect support (and dynamics) throughout and obviously knew the piece very well having been Darius’ rhythm section for the past six to seven years. Dave O’Higgins gave a great tenor sax solo really stretching out 6

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over the blues section and moving away from the basic chord sequence with short melodic figures reminiscent of Ornette Coleman. Darius gave a considered piano solo moving into polytonal territory in true Brubeck fashion and Matt played a very melodic bass solo. Darius again played homage to his father with a number entitled ‘The Duke’ (from the pre-‘Time Out’ period). Dave O’Higgins moved to soprano sax for this tune with a solid walking bass acc ompaniment from Matt with Wesley using brushes. Darius chose to use a block chord style at the beginning of his piano solo then changed the colour with intricate lines in the high register. Matt showed off his technique with dancing triplet figures but was never too busy making good use of musical space. We were then treated to a recent original by Darius entitled ‘Crete’ (inspired by his first visit to Greece). The piece started with an unaccompanied introduction by Matt where he really created the atmosphere of the piece using the full range of the bass; playing intricate phrases in the high register juxtaposed with rich low notes and harmonics. The rest of the band entered moving into a 9/8 section (with rhythmic similarities to ‘Blue Rondo á la Turk’) evolving into a medium-paced jazz waltz. The main theme was predominantly in a minor key moving to the major during the bridge and Dave (on soprano sax) gave an interesting and thoughtful solo, as did Darius, before returning to the main tune in 3/4 and then back into the 9/8 version ending with an atmospheric broken triad figure on the piano. All in all, this was a challenging arrangement and Darius explained that the quartet likes to constantly try out new material to keep their performances fresh. In contrast, the next number was the jazz standard ‘(I Don’t Stand A) Ghost Of A Chance’. Darius started the tune unaccompanied using some rich cluster chords and then the rhythm section entered at a medium swing pace (Dave joining in on tenor sax for the bridge). All played nice solos with some The Jazz Culture, VI:48


intricate yet unobtrusive drum accompaniment from Wesley which really added to the ebbs and flows of the performance and the first set ended with another Darius original called ‘The Parrot’ (a lively Mexican-inspired piece). If Wesley had been contained so far during the first half, he certainly got a chance to shine in this one with a great solo in the coda section over a riff played by the rest of the band demonstrating some tremendous and colourful snare drum work which brought the house down. The second set began with a song by the South African musician Duke Makasi entitled ‘Baby I Don’t Know’. Darius has a longstanding connection with South Africa both as a performer and educator and Wesley (who is from South Africa) laid down an authentic straight 8’s contemporary beat complimented by a solid bass line from Matt. Dave got a very enthusiastic reaction for his solo in which he showed a more soulful side to his playing (reminiscent of when I saw him playing with the Kyle Eastwood band at Ronnie Scott’s a few years ago). Darius used a Shearinglike locked hand style in his solo and some very rhythmic phrasing. The next tune was, in Darius’ words, a “world premiere” which the quartet had literally just run through during the sound check entitled ‘Fifteen’. After a few bars it became apparent that the piece was in fact in 15/8 time (or possibly alternating bars of 4/4 and 7/8). Matt and Wesley maintained (with apparent ease) an intense rhythmic accompaniment allowing both Dave and Darius to stretch out over the modal tune which was a real hit with the audience. It is interesting how sometimes the least rehearsed number can really connect with an audience partly due to the freshness and spontaneity of the moment. It was back to the Dave Brubeck repertory for the next number, a minor blues entitled ‘Audrey’ (after Audrey Hepburn). A plaintive solo from Dave O’Higgins was followed by a piano solo from Darius which included an extended crotchet triplet section 8

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across the 4/4 accompaniment and some rich voicings, not forgetting an excellent bass solo from Matt. Cole Porter’s ‘Everything I Love’ followed and Darius was quick to acknowledge the chord changes were by Dave O’Higgins. Dave has been working on a project with bass player Geoff Gascoyne writing new tunes to famous chord sequences (in true bebop tradition) so it was interesting to see the process in reverse. There were excellent solos by all showing their mastery of the bebop style yet with the sensibility of 21st century jazz musicians. The next number, requested by a member of the audience, was ‘For Lydia’ (which Darius composed for his granddaughter); a lovely tune with a bossa nova style accompaniment and a chord sequence which simply cries out to be improvised over. Incidentally, a notated version of the tune has been published in the ABRSM 2013-14 Grade V piano exam syllabus (much to the pleasure of students I’m sure). It was time for the last number of the set and it could only be one title: - ‘Take Five’! Dave gave a great tenor sax solo playing around with semitone shifts over the modal riff and Darius began his solo using a sharpened 9th chord (major 3rd instead of minor 3rd) which gave a surprising change to the colour and mood. In true Brubeck fashion he developed the solo in a more rhapsodic, classical fashion (reminiscent of Ravel’s ‘Bolero’) over the anchor of Matt’s relentless bass line. As with the last number of the first set, there was an opportunity for Wesley to shine on drums with a masterful solo showing great dynamics and rhythmic invention. After rapturous applause the quartet returned to the stage to give a swinging version of Mercer Ellington’s ‘Things Ain’t What They Used to Be’. The Darius Brubeck Quartet’s eclectic (and ever-growing) repertoire stretches both the musicians and listeners and yet somehow remains totally accessible. Darius’ easy-going manner The Jazz Culture, VI:48


and warmth draws in the audience and he shows great musical generosity on stage to his musicians enjoying the chemistry of his quartet as an entity (not a backing band). For example, during Matt Ridley’s bass solos, Darius’ comping was very quiet and sparse and sometimes he would drop out completely. Darius has firmly established his own voice in the jazz world drawing on many influences and composing original pieces and, at the same time, keeping the Brubeck legacy alive. On a final note, I must mention that The Forge is a fantastic discovery and I can’t think of a more perfect venue to have seen a concert by the Darius Brubeck Quartet. * * *


Above, Cobi arita welcomes guests at her birthday party; below, Paul Ash recounts the moment he met Cobi at a Collective Black Artists concert years ago, and felt the sting ofCupid's arrow. "You've got to meet her," a friend exclaimed. He did, and offered her a lift to her home in Manhattan, even though he lived in Long Island. The rest is history for one ofY's famous jazz couples.


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Cobi's friends and artists gathered at Zeb's; one ofher singers woos crowd; adopted 'children' spoke out The Jazz Culture, VI:48



Pub. Note: Cobi Narita’s genius for organization and people skills have benefited the jazz community for almost two generations: her compassion, hard work, attention to detail, persistence and ‘can do’ attitude, humility and love of people could serve as a role model for the entire service industries upon which the American economy is now primarily based. Along with her soul-mate, Paul Ash, she has served unstintingly for the Cobi arita at one ofher concerts proliferation of jazz music in New York, the jazz capital of the world. Here she gives advice and tips on how You can plan, create, and see a concert through, large or small, that you can use for your next project. First of all, I think that you have to figure out where you want it, when you want it and why you want it; you find a place, it’s too expensive, then find another until you find the right place. By then, you’ve already organized your program. To organize a program, think of a theme and invite everyone to work around the theme, then make sure there is no duplication in what will be presented. Decide what you want on the program, get your program together: the people you want, the order you want to present it in. On the free concert for September 11 -- we called ours “Never Again”-- that was our theme. Over 100 people signed up. We 12

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didn’t want two similar singers following each other, so we separated them with dancers and soloists. The soloists all played with the rhythm section: Frank Owens, Paul West and Greg Bufford. The concert was at Zeb’s (Saul Rubin’s place, and now my new space; at 223 W 28 Street, NYC); nearly 100 people packed the place. It was a Celebration, like “America is Strong,” so they all did strong songs. Zeb’s has a wonderful ambience. It reminds me of Cobi’s Place. JC: You had to learn about acoustics. CN: I took lessons from Richard Applegate, the best sound engineer in New York. He since moved to Texas. He gave me four lessons, so I can get a pretty nice balance: how to work the fazers—the bass, the mid and the treble, but we usually a professional sound engineer. If you want one, you can also hire a professional videographer and photographer. JC: I remember Rick Applegate. CN: 1978. Damrosch Park was one of my first “Women in Jazz” festivals. They didn’t charge me rent. I only paid for the outside equipment, about $3000. About PR: In the old days we made our flyers using press-type. It’s so quick and easy nowadays. A mailing list is all you need. You send out immediately. Before that I was emailing it out to my own list, 50 names in a

Paul Ash, Cobi arita and Emiko at Billy Harper concert

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group, 5 groups at a time, and you wait 3 hours and send out the next batch. Now I use Constant Contact—so quick and easy— and advertise in publications. When I was doing my own Cobi arita, Paul Ash & Family when Cobi newsletter or fliers I received award was mailing out 3000 from Japanese American Association to 4000 every month. That’s postage plus envelopes, printing and folding. I usually made color flyers. Paul, my husband, put the stamps and labels on. And 8-10 friends would come and stuff and seal the envelopes. Then we had to take them to the post office. It took so long. Nowdays I love using Constant Contact. And don’t forget, your artists should be emailing the concert flyer to their mailing lists. They should list their event on social media sites, like Facebook, and they should drop their flyers at all the music locations they can think of. For two years I put out Cobi’s Music News, a 32 page magazine monthly. Some of the articles were donated by friends, and I wrote the editorials and about who we had at Cobi’s Place. I’d put pictures and articles about what was coming up. Sokie Lee, a wonderful graphic artist, would put the whole thing together for me. JC: Do you think you’ve developed a lot of artists through your org? CN: Yes, since 1976 I gave them opportunities to perform. But they really worked hard on their own, and some of them are quite famous today. 14

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JC: Do you think jazz is getting mass media. CN: I think the media is doing better. There are so many outlets, Jazz Times, Hot House, NYC Jazz Records, and magazines. However, major newspapers gave up many of the jazz columns they had. John Wilson wrote for the NY Times. What a wonderful man. He supported and wrote about everything I did! A most important thing is what you send out to your press. Try to make personal contacts at every major newspaper—they give you their direct email—then usually they have to take your release to their editor. So you have to send it in plenty of time, say 6 weeks or more. Scan pictures, whatever size they ask for, give them your contact email. I do a lot of things with lesser names, and when I do, the press doesn’t pick it up. So I suggest that all my artists ask a good friend with a name to be a special guest, so that when you organize your own concert you can use their name in the press and on your printed program. Your Press Release: Put your email address or telephone for the press to call you back above the line “FOR IMMEDIATE RELEASE.” Start with a one liner that gets their attention. The first paragraph should be Who, What, Where, When, What Time, Cost of Admission, and Reservation number. Then continue in the second paragraph with a brief description of the artists who are on the concert, i.e., George Coleman, tenor titan. Day of the Concert: Tune the piano two hours ahead. Have a sound check. Put up signs. Saint Peter’s Church is one of my favorite site. Have your Reservations list in alphabetical order, last name first. Limit comps. You can have a Guest Book people can sign The Jazz Culture, VI:48


and leave messages—for example, on birthdays. At the end of the performance, have everybody’s checks ready in envelopes. Tickets: Today people use ticket agency, like Brown Paper tickets. I grew up liking to organize things. I’ve done this all my life. I might try to do too much sometimes, but I loved doing it.

Some ofCobi's concerts


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to L. Hamanaka

Photo by: Ed Cohen

Heritage and Women’s Month.

Pub. Note: Sheila Jordan, arguably the Queen of jazz singing in the world, with an international following, a unique sound, style, and feeling, a great interpreter of standards, one of the few singers who can use the chromatic scale with artistic taste, bridging several genres in jazz, was at home and gave this interview for Jazz

JC: I saw a photo of you online, sitting next to Barry Harris as teenagers or young adults—you’re both so serious. Sheila Jordan: The photo was taken in New York City in the early 50’s at a jazz club on 52nd street. I had moved here and a lot of times when the Detroit musicians whom I was close to came into town, I would put them up at my loft... The guy next to Barry in the photo is Doug Watkins, a great bass player, who died quite young in an automobile accident. JC: Given your varied roots, the Pennsylvania coal mines, the urban industrialization of Detroit, and the native American heritage, do you think they all influenced your style? SJ: Absolutely, no doubt about it. I’ve been singing since I was three. Not jazz, but you know the songs of the day, which were The Jazz Culture, VI:48


great songs…Like Cole Porter, George Gershwin, they were on the “Hit Parade” and I would hear these songs when I was a little kid. We didn’t always have electricity, because if the bill wasn’t paid the lights were cut off. I didn’t know what I wanted to do till I heard Charlie Parker. [Before then] I was a big Fred Astaire freak. I loved his singing and dancing; he made movies with Ginger Rogers. I used to walk two miles to see a Fred Astaire movie. He sang a lot of wonderful songs. Between the radio, “Hit Parade”, and going to Freddie movies -- that was my learning. JC: You moved to Detroit when you were 14. SJ: I lived a poverty stricken life with my grandparents in a coal mining town in Pennsylvania. I moved to Detroit when I was 14 and that’s where I heard jazz for the first time. It was very difficult for a young white girl to go out and hear jazz music. There was a lot of discrimination at the time. The cops were against interracial mixing. I took chances. I didn’t care, the music was more important to me than anything. I heard Bird’s “Now’s the Time” playing on a jukebox across the street from my high school, and after hearing Bird I decided to dedicate my life to the music. I never gave up. When I was 18, I moved into a young women’s residence. I worked in an office and finished high school. I’ve been on my own since my late teens, but it wasn’t easy because of the racial discrimination in Detroit. They were very much against whites mixing with Afro- Americans. The police were always stopping me when I was with my Afro-American friends. They would ask me my age, where I was going, where I lived, all that bs. As upsetting as it was, they were not going to tell me who I could hang out with. So I’m here today doing the music. I won out. 18

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JC: I remember the song you wrote when your house burned down. Sheila Jordan Photo by: Brian McMillen

SJ: [That was]“Sheila’s Blues.” I talk about how I feel, then I tell my story and about hearing Bird and you know the whole thing. Sometimes in the beginning I just improvise. So probably at that time I sang about my house burning down…the first couple of choruses I improvise, instead of talking about it.

I’m very fortunate to have been given this music and keep it alive. I don’t want to be thought of as a diva, I’m not a star. I’ve won some beautiful awards, the latest being the NEA Jazz Masters Award (2012). These are beautiful gifts and I don’t take them lightly. I’m just out here doing the music, it’s my dedication. I’m 84, that’s 70 years of keeping jazz music alive and I’ll do it till I die. JC: I noticed that you do “Confirmation” slower than Bird but you use Skeeter Spight’s lyrics so you are singing love lyrics. SJ: “Confirmation?” These lyrics were written years ago by Skeeter Spight and Leroy Mitchell, two guys that I used to sing with in Detroit. They wrote the version of “Confirmation” that I recorded and sing. JC: How do you plan a solo? SJ: It’s all feeling. I don’t plan solos. I’m not saying I don’t repeat phrases, but if I do I’m not aware of it. The phrases I sing come from what I am hearing and feeling. When I find a tune I like, I learn the original melody, the lyrics, and the chord changes. One of the joys of improvising is your feeling and what’s The Jazz Culture, VI:48


going on around you. I listen intently to what the rhythm section is playing. If you keep the original melody in your head, you’ll never get lost. That’s why you should learn the original melody, don’t force improvisation. Let it happen. That’s my opinion. You can listen to other singers for inspiration, but don’t sing the song the way they do. Do your own thing. JC: You recorded “You Are My Sunshine.” SJ: I recorded “You are my Sunshine” in 1962. It was an arrangement George Russell recorded for the out of work coal miners from the mining town I grew up in. This is covered in my book, “Jazz Child,” which is coming out (hopefully) in the fall of 2013. JC: Do you think because popular music is like always aiming promoting the middle, because the middle can always be replaced, but if someone is a great artist, they are hard to replace? And they’re always thinking numbers, how many will sell. SJ: The blues started with poor Afro-American people that came from Africa, they were slaves because of their skin color. How did they get through this agony of life? By singing the blues as they picked cotton for their masters. They sang out of a need to express themselves because life was a bitch. That’s the only way they could deal with it. Why some Americans cannot hear this music is beyond me. Jazz musicians are seldom hired on talk shows, to play and talk about their music. Talk show hosts don’t give them a chance. Even at the Grammys. They never have any part of that program dedicated to jazz music. Usually they just show it on the credits at the end of the show. One time Miles Davis and Bobby McFerrin got Grammys. That sure was a surprise. They used to have jazz at the Grammys but now they only have rock, pop, rap, and country performers. Jazz is the stepchild of American music. 20

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JC: Is jazz looked up to in other countries? SJ: Yes, much more than in the U.S. Where do I work? In Europe. I’m going to Italy in another week, then in April, Japan, and then Germany in the fall. JC: So you have fans over there. SJ: Yes, I know the jazz community in the U.S. loves and respects jazz music, but jazz musicians in general, are not always accepted in the U.S. All we want to do is keep the music alive and get it out there. JC: Do you think without exposing jazz to a wider audience it will die? SJ: Jazz will never die. You’ll always have people out there like myself who are trying to keep it alive. Teaching it to the younger generation. JC: Why did you like working with the bass? How is a duo format challenging? I presently have a bass and voice duo with Cameron Brown. We rehearse a lot because we love what we’re doing. I started the bass and voice duo in the early 50’s… If I heard a bass player who was compatible with what I wanted to do I would approach him. A lot of singers are starting to do bass and voice duos. JC: What have you learned from being an educator? I learned how to teach from teaching. I don’t have a college degree. I teach what I know and how I approach jazz music. A lot of teachers are on power trips and they break students’ spirits. I do it with love. Every time they sing I give them feedback on how they can improve. I don’t scream at them but I will let them know The Jazz Culture, VI:48


where they can improve. JC: You have upcoming tours in Italy, Europe, Japan and the U.S. Now that you have become an international star, do you enjoy traveling?

Sheila Jordan in bass duo Photo: Brian McMillen

Not really, but I’m so dedicated to the music, after I get there, I’m fine. I work with different musicians in the U.S. and Europe. Most of my gigs are through musicians. They set up tours for me in Europe and the U.S. JC: Do you plan recording project?

SJ: I hate to record. I don’t mind live recordings. Once I get into the music, I’m okay. Going into recording studios is not my favorite way to record. I know I have to record to keep the music alive. If I’m pressured enough I’ll do it. But I have to really be pressured. I’m supposed to do a duo recording with Steve Kuhn in the near future; I just need more time to rehearse. JC: Do you usually rehearse a lot? SJ: When I did this concert Saturday it was in a little town in upstate New York. It was at the father of the bass player’s (Gregg August’s) house. A wonderful young Italian piano player, Alberto Pibiri, came up to my house and we rehearsed for a couple of hours. My charts are easy to read because they’re clearly written so the musicians don’t have to struggle with the tunes. All the introductions and endings are on the charts and in the middle part we are free to do what we feel and hear. I’m not going to give a musician half a page with a bunch of chord changes on it. Respect what you do and make sure you have good lead sheets so the instrumentalists don’t have to struggle with the songs. 22

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Jazz music has always and continues to save my life. What a

gift! "

Follow Sheila Jordan: Photos to the Right and Below by: Brian McMillen

Sheila Jordan organizing her music on the road Subscribe Free to the Jazz Culture Newsletter: © 2012, The Jazz Culture, Ltd. West Park Finance Sta, POB 20023, 700 Columbus Avenue, NYC 10025, 646‐312‐7773 Advertise

in The Jazz Culture:

Reasonable rates: email

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ROMA JAZZ WORKSHOP Featuring Barry Harris, March 11-15

Contact: 33933831 39 3396748724

Barry Harris Workshops Every Tuesday at 6, Pianists, 8, Vocalists, 10:30, Improvisation at 250 West 65 Street, between Amsterdam and 11th Avenues all welcome. See Barry

To All Mothers, Grandmothers, Sisters, Aunts, Nieces, Daughters and Baby Girls

The Jazz Culture Newsletter Salutes You All throughout

Women's Month- March

Job Opening: Advertising Director; 50% commission basis;


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Gig Listings of The Jazz Culture Subscribers: Please support these artists and bring your friends.

March 1: Ray Gallon at Small’s March 1: Bertha Hope Quartet, at First Reformed Church in Jamaica, 2-4 p.m.

March 6, 13: Valery Ponomarev, Our Father Who Art Blakey Orchestra at Zinc Bar,8-10,11:30

March 7: Joe Magnarelli Quartet at Makeda in New Brunswick, N.J., 7:30-10:00 March 8: Rick Stone Trio at the Bar Next Door, 129 MacDougal Street, 7:30pm-12:30am

March 8: Ray Blue, The Brownstone, 107 Macon St. Brooklyn, 9 p.m. March 9: Ray Blue, Division Street Grill, Peekskill, 7 p.m.

March 12: Ray Blue, Kennedy Community Center, 34 West 134 St., 7:30 p.m.

March 14: Rick Stone at Moda, 234 W. 27th, 6-9 p.m. March 15: Bertha Hope, Zeb's 228 W. 23 St, NYC 8:00 p.m. March 16: Ray Blue, Division Street Grill, The Jazz Culture, VI:48


Peekskill, 2-4p.m. March 16: Lionelle Hamanaka at Isabella Nursing Home 3-4 p.m. March 16: Rick Stone at the 55 Bar, NYC, 6:009:00pm March 17: Michael Weiss Trio, Clovis Point Winery, Jamesport, NY

March 19: Lionelle Hamanaka at Hibiscus Restaurant in Morristown, NJ, 6-9 p.m. March 19: Ray Blue, Metropolitan Room, 34 W. 22 St., 7:00 p.m. March 21: Rick Stone Trio at the Garage Restaurant, 99 Seventh Ave. South, 7-11 pm

ENGLAND: March 2, 8, 15,16, 22, 23, 29, 30: John Watson Trio, The Palm Court, The Langham, 6:30 p.m. 207-965-0195, 1 Portland Place, London

March 21: John Watson, The Haven, 8 p.m., 208445-7419, 1363/5 N, Whetstone, London March 31: John Watson, The Matcham Room, The Hippodrome Casino, London ITALY: March 11-15: Barry Harris, Rome Jazz Workshop, All Day and Night inclusive

SPAIN: March 8-16: Joe Magnarelli-Barcelona Jamboree 8-9; Lleida,11; Valencia,12; Almeria, 13;Vallena,14-16(Alicante); Rojales, El Campello.


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Artists in March: Joe Magnarelli, John Watson, Rick Stone, Luciano

Fabris, Ray Gallon, Valery Ponomarev, Bertha Hope, Michael Weiss, Barry Harris The Jazz Culture, VI:48


Letters to the Editor Dear Editor,

In support of the singers who participated in "A Love Supreme, A Celebration of the Spiritual Music of John Coltrane", I am so happy with the results of the singers participation and many people enjoyed the performance. I was thinking about such an experience for years but saw no opportunity until this event. "Spitirual", music by John Coltrane and lyric by Carol Randazzo Orito Jones, which referenced the cycle of life, was originally performed for a memorial in October 2012 and was unrehearsed since then. The singers improvisations strongly conveyed the message of the spiritual essence of "Trane's music and Carol's lyric. The singers improvised natural melodic choices serving the purpose "A Love Supreme" and was fitting for the concert's intention. The relationship between the singers and the content was to express their own feelings within the parameters of the form and they were supremely responsive. "Impermanence" and "One by one He reclaims their hearts" were emphasized rhythmically and perfunctorily with natural improvised high repeated wails, random entrances and exits (simulating leaves falling) and breathy sounds which suggested acceptance and release. I am still in marvel of the singers unplanned performances which truly reflected the essence of being "in the moment". Signed, Carol Randazzo Orito Jones BS, MA Music Therapy YU. Pub. ote: We welcome all comments, criticisms and points of

view as part of the spirit of freedom and will publish same if they are relevant to any articles or topics covered in The Jazz Culture Newsletter 28

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