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Fall
2002
Feature Articles
Concert Previews/Reviews, Artist Interviews, Travel
Stories
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BMF sponsors upcoming concerts
By Tom Ineck
"The 1998 Jazz in June series ended with the spectacular American debut
of Belgian pianist Ivan Paduart."
Thus began my Lincoln Journal-Star review of Paduart's last Nebraska appearance.
When he returns Sept. 12 for a 7:30 p.m. performance at P.O. Pears (one
of several upcoming shows funded by the Berman Music Foundation), it promises
to be a similarly stellar occasion-and a bit of deja' vu.
Yes, Paduart is four years older and has released three more CDs since
his first visit to the States, but his lush, romantic piano style still
contains echoes of his most obvious influences, from Bill Evans and Fred
Hersch to classical impressionists Claude Debussy and Maurice Ravel. And,
he will be accompanied by the same longtime Kansas City rhythm section of
bassist Bob Bowman and drummer Todd Strait, who recently relocated to Portland,
Ore.
Bowman and Strait proved their thorough musicianship by doing justice to
Paduart's often difficult pieces just hours after meeting the composer,
I wrote of the trio's first concert collaboration. The uptempo opener, "Steps
in the Snow," was a good example of the trio's ability to lock into a groove
and expand on the chord changes.
The pianist also is a composer of great range and ability, from beautiful
ballads such as "Precious Moments" and "Billet Doux" to the harmonically
adventurous "Thinking of You," the 1998 performance of which I described
as "reminiscent of McCoy Tyner's two-fisted keyboard style." Paduart embellished
with lyrical flourishes and grand chords without sounding grandiose.
In addition to its Sept. 12 appearance at P.O. Pears in Lincoln, the trio
also has booked engagements Sept. 13 at the Blue Room in Kansas City, Mo.,
Sept. 14 in Ottumwa, Iowa, and Sept. 15 in Topeka, Kan.
The Brussels native began classical piano training at age 10, made his
first attempts at improvisation on trumpet a little later and discovered
jazz at age 17. But it was a master class with Michel Herr (then pianist
with harmonica virtuoso Toots Thielemans) that convinced him to pursue jazz
full-time.
Since 1996, Paduart's focus has been almost exclusively on the trio format,
resulting in the CD "Clair Obscur," his tribute to pianist and composer
Fred Hersch. His 1998 recording "Belgian Suites" features Malach, and the
following recording, True Stories, features saxophonist Charlie Mariano.
Last year, he returned to the trio format for Trio Live and toured Sweden,
Denmark, Norway, Switzerland, France, Italy, Netherlands, Luxembourg, and
Belgium with guest saxophonist Rick Margitza.
Westport Art Ensemble
On Oct. 10, the Westport Art Ensemble of Kansas City appears at P.O. Pears
with its unique and progressive jazz sound. It regular members are bassist
Gerald Spaits, saxophonist Josh Sclar, guitarist Jake Blanton, keyboardist
Roger Wilder and drummer Todd Strait.
As Butch Berman wrote in the last edition of Jazz, after catching the ensemble
at the Blue Room in Kansas City: "Comprising a repertoire that extends from
Ornette to the Byrds (a tremendous rendition of "Eight Miles High") plus
originals, this truly is a band to watch-definitely the best new band in
K.C." 'Nuff said.
Doug Talley Quartet
On Dec. 5, Kansas City's Doug Talley Quartet will take the stage at P.O.
Pears, performing selections from saxophonist Talley's latest release, Kansas
City Suite, an ambitious project that takes the listener on an historic
tour of the Midwest ìCity of Fountains.
The recording primarily pays tribute to the fabulous era of the 1920s and
1930s, when Kansas City was making music history and political boss Tom
Pendergast was peddling influence with a vengeance.
Kansas City Suite begins with a geography lesson called "1600 E. 18th St.,"
where the Blue Room jazz club now occupies the famous corner of 18th and
Vine. "City of Fountains" has a more pastoral mood, like a stroll through
one of Kansas City's many parks on a warm, sunning afternoon. The beautiful
ballad "The Sleeping Child" refers to one of the many sculptures in the Country
Club Plaza, while the frantic-paced "The Buck Stops Here" refers to the famous
pledge by favorite son Harry S. Truman.
The other members of Talley's working quartet are pianist Wayne Hawkins,
bassist Tim Brewer and drummer Keith Kavanaugh.
Look for more details on the Talley concert in the next issue of Jazz.
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Concert Review
Cables concert is 2002 live jazz highlight
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By Tom Ineck
There never was any doubt that the
June 11 performance by the George Cables Trio would be Lincoln's live jazz
highlight of the year, and the year wasn't even half over.
Accompanied by bassist Cameron Brown and drummer Victor Lewis, Cables appearance
for the Jazz in June outdoor concert series was highly anticipated and lived
up to the high expectations. The Berman Music Foundation sponsored the concert.
The trio mixed standards with originals, straight-ahead jazz with Latin
numbers, and ballads with uptempo barnburners for a totally satisfying evening
of music.
Cables gave the Latin tinge to an uptempo "All or Nothing at All," spinning
off endless variations on the familiar theme. Lewis' drum breaks were sheer
artistry in rhythm. "Spookarella," a Cables original, floated along at a
mid-tempo, modified waltz time before lurching into a lumbering gait that
indicated the composer's quirky sense of humor. Brown displayed his original
voice on a powerful bass solo, and Lewis delivered a patented drum barrage.
Next up was Cables' most familiar composition, the bright, affectionate
and loving "Helen's Song," which the composer modestly claimed was "written
out of guilt." Embellishing the guilt theme, he introduced "Helen's Mother's
Song" with a solo piano introduction, followed by complex changed and intricate
harmonies.
Instead of its usual ballad tempo, "Autumn in New York" was given an uptempo
treatment with an Afro-Cuban underpinning. Brown's solo was virtuosic -
simultaneously daring, aggressive and lyrical. The soulful gospel-tinged
ballad "Will You Still Love Me Tomorrow" received a gorgeous, sensitive
reading by Cables and company.
Halfway through a mid-tempo version of "I Thought About You," Cables cleverly
inserted a quote from Monk's "Little Rootie Tootie." His take on "I Should
Care" was a contrapuntal tour de force.
For his solo piano interpretation of Monk's "Round Midnight," Cables displayed
his broad knowledge and grasp of jazz piano history, even including an extended
stride passage. His "Senorita de Aranjuez" was a lovely tribute with a Spanish
flair.
"Doxy," a familiar jazz melody penned by Sonny Rollins, was followed by
the capper, a very fast rendition of Freddie Hubbard's "Intrepid Fox," with
a surging drum solo by Lewis.
With his self-effacing comments, gracious demeanor and astounding keyboard
technique, Cables dazzled the audience of nearly 4,000 who turned out to
fill the sculpture garden at the Sheldon Memorial Art Gallery.
For a pianist of such stature, accompanists of equal ability are hard to
find, but Brown and Lewis more than fit the bill. Together, the trio operates
as a unit and forms one of the great collaborations in jazz today.
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Tomfoolery
Project Object carries on Zappa tradition
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By Tom Ineck
PETALUMA, Calif. - It is no surprise that there is great music happening
in classic, restored movie theaters all over America.
Boulder, Colo., has the Fox Theater and the Boulder Theater. Even in Lincoln,
Neb., the recent reopening of the former Stuart Theater as The Rococo already
has yielded hopeful signs for a music demographic that usually gets short
shrift.
I mean the audiences with more discerning tastes, audiences too small for
the stadium shows and too big for the average club.
I mean those folks with a more adventurous spirit, willing and anxious
to mix their rock with rhythm 'n' blues, folk, classical and even jazz music,
perhaps all in the same evening.
Such was the case at the quaint and beautiful Mystic Theater in this northern
California town of 52,000 when Project Object came to play the evening of
June 23. I was half a continent from home, and the prospect of hearing a
Frank Zappa cover band was intriguing. So, I headed north from San Francisco
as two dear friends headed south from their home in Occidental to meet me
at the Mystic.
My expectations rose to unrealistic heights as I imagined a group of accomplished
musicians who could do justice to the complex, hilarious, sleazy, profound,
political, exasperating, dark, puzzling, challenging, lyrical music of the
master. Zappa (1940-1993) was somewhat of a human conundrum, and it was
difficult to imagine anyone capable of capturing his many moods and contradictions.
I hoped for the best and feared the worst. What we got was the best imaginable.
No mere cover band, Project Object captured the man, the myth and the music
without taking itself too seriously. There was never any doubt that the
seven band members were having a blast playing and singing this confounded
music, and the mood was contagious. The time signature changes alone would
have stymied most musicians, but their execution was flawless.
I didn't take written notes that night, but I did purchase the band's CD
"Absolutely Live" as a near-document of the performance. Recorded live at
Wetlands Preserve in New York City on Aug. 5, 2000, it includes nearly all
the same players and many of the same tunes we heard.
First, let's talk guitars. Zappa's fuzzy, wah wah-drenched, rock-style
noodling was idiosyncratic in the extreme. Project Object's three crack
guitarists - Andre Cholmondeley, Robbie "Seahag" Mangano and Ike Willis
- managed to echo his quirky approach without copping his licks. When you
get the CD, check out Cholmondeley on "More Trouble Every Day," Willis on
"Filthy Habits" and Mangano on "The Evil Prince."
Jordan Shapiro added Zappa-like touches on Fender Rhodes piano and synthesizers,
while electric bassist Rick Bartow held down the constantly shifting foundation
and inserted occasional sly solo statements. Drummer Wes Paich did the impossible
- keeping the devilishly difficult time changes while adding his own polyrhythmic
flourishes.
In Project Object, singing is a group activity with everyone joining in
along the way. But it was guitarist Ike Willis and the great Napoleon Murphy
Brock - doubling on saxophone - who carried most of the considerable vocal
burden. Zappa's lyrics are dense, cascading in outrageous riffs and keeping
pace with changing tempos. Willis and Brock were downright playful as they
met the vocal challenge, whether singing about raising dental floss in "Montana,"
the crazy world of Washington politics or that old "Cosmik Debris."
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Concert Review
Paris and San Francisco meet in Lincoln |
By Butch Berman
It seemed like Paris in Lincoln via San Francisco June 18 at the third
in a series of acts that the Berman Music Foundation brought in for the
Jazz in June series this season.
We booked the sensational Hot Club of San Francisco at the Zoo Bar back
in October 1995, when we had a few collaborations with Lincoln's famed blues
bar. Paul Mehling, originator of these talented cats, made an indelible
impression on a lot of folks, including me, back then, so it was a thrill
for me to have the Jazz in June committee's approval for this group.
After more than a decade in the biz, Paul's concept of putting together
a revolving band of players who dig Django Reinhardt, Stephane Grappelli and
the premier Hot Club of France of the '40s has succeeded wildly with every
configuration that I've caught between here and California. All the performances
and CDs are A+ #1.
This year's participants were Paul Mehling, leader, guitar and vocals;
Robert Thompson, violin; Ari Munkres and David Ricketts, rhythm guitars;
and Louis Matthee, bass.
Paul, as always, was on top of his game with his off-center quips directed
toward the bemused throng of folks, beautiful articulated vocalizing and
of course, his outstanding chops on the guitar. The entire group smokes behind
him, with all members doing their best to recreate the mammoth rhythm sound
behind Django and with violinist Thompson hanging in all the way with Paul.
Stephane Grappelli would have been proud. You never miss drums as the rhythm
section churns behind the two soloists, swinging like crazy.
They performed nearly 20 tunes within two sets that gorgeous night, including
their takes on "The Man I Love," "Djangology," Gerry Mulligan's "Limelight,"
Chick Corea's "Armando's Rhumba," and several originals. Their new CD, "Claire
de Lune," is a gas, so check it out.
It was truly another night to remember. To Django Reinhardt and Stephane
Grappelli, rest in peace.
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Concert Review
Teen Djangirov improves with
"age" |
By Tom Ineck
Eldar Djangirov, the 15-year-old jazz piano marvel from Kyrgyzstan, is
aging with a combination of youthful grace and prodigious talent.
His appearance May 10 in Lincoln as guest soloist with the Nebraska Jazz
Orchestra was sponsored in part by the Berman Music Foundation and marked
the sixth Djangirov performance I've witnessed in the last five years (number
seven was at the Topeka Jazz Festival, also reviewed in this issue of Jazz).
He continues to impress this listener with his growing knowledge of jazz
history and his astounding keyboard technique.
Before the young prodigy took the stage, the NJO blew the cobwebs out of
the horns with a shot of "Double Barrel Blues," a Bob Florence tune with
an odd blues pattern modulating between two keys. "Tiptoe," composed by Thad
Jones, is another in the endless list of tunes based on the changes of Gershwin's
"I Got Rhythm." Bob Krueger delivered a flawless solo on muted trumpet,
and the trombone section and bassist Andy Hall expertly negotiated the difficult
changes of a unison solo.
Mark Benson's nostalgic ballad "Sauk Valley Memories" featured the composer
on soprano sax, pianist Tom Harvill and a lush brass arrangement that utilized
four flutes. "Courage" is the second part of a three-part suite by longtime
NJO contributor Rex Cadwallader. Krueger took off on some nice flights of
fancy in the groove-heavy tune revolving around a trumpet-bass dialogue.
The first set ended with "There's the Rub," a funky number with ample solo
spots for Ed Love on alto sax, Darren Pettit on tenor sax and Hall on a
rapid-fire electric bass excursion.
As if to sneak up on his listeners, Djangirov began with an understated
solo ballad rendition of the classic "All the Things You Are." Lush arpeggios
segued to a very rhythmic section, which accelerated to bop tempo before
returning to ballad time with classical flourishes.
Hall on bass and Greg Ahl on drums joined Djangirov for another familiar
ballad, "Body and Soul." It was with "Lester Leaps In," however, that the
pianist finally took off on a blazing keyboard showpiece, with echoes of
Errol Garner, Oscar Peterson and, especially, the godlike Art Tatum -- pretty
heady company for a teenager from the former Soviet Union.
In the final set, Djangirov showed his familiarity with big-band blues
on Neil Hefti's "The Kid From Red Bank," dedicated to Hefti's employer at
the time, Count Basie. For a change of pace, the NJO launched into "Upa
Neguinho," a breezy mid-tempo Brazilian tune by Edu Lobo. Djangirov contributed
some amazing flourishes perfect for the lighthearted beat.
Another Thad Jones favorite, "A Child Is Born," received a lush treatment,
building from solo piano, with Hall adding bass and Ahl adding brushes before
the full band entered with a breathy, five-flute arrangement. "Swingin'
For the Fences," based on "Sweet Georgia Brown," offered solo opportunities
for trombonist Bryan Scott, tenor saxophonist Rich Burrows, guitarist Peter
Bouffard and Djangirov, who took it out swinging furiously for his audience
of 500 adoring fans.
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Concert Review
Dave Pietro band delivers Wonderful
concert
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By Bill Wimmer
Saxophonist Dave Pietro brought his group to Lincoln for the Jazz in June
series June 25.
Pietro, a very talented musician, composer and arranger, came with an excellent
group featuring David Berkman on piano; Pete McCann, guitar; John Hebert,
bass; and Nasheet Waits on drums. Most of the music was from Pietro's latest
recording, Standard Wonder: The Music of Stevie Wonder, and the music benefited
from McCann and Berkman's presence from the recording and their comfort
with Pietro's often tricky arrangements.
Opening with Wonder's "Another Star," the group fell into a "Nardis'-style
vamp that set up a swinging and refreshing take on the tune. Pietro displayed
complete authority on the horn with a fat tone, interesting lines and rythmic
intensity. He will be one to watch in the next couple of years.
Berkman took off with a two-fisted keyboard foray and there was a nice
exchange with drummer Waits at the end of the tune. "Smile, Please" was
next, highlighted by McCann's interplay on the melody with Pietro and a
very tasteful guitar solo for McCann, who was an excellent foil for Pietro
all night long.
The group then launched into Wonder's "Go Home," replacing the original
throbbing funk with a relaxed shuffle feel. The melody again featured McCann
playing with Pietro, this time exploring the harmonies of the song and finding
new textures in it. "The Seen between Two Unseens," a Pietro original, followed,
featuring a hot groove from Waits and a very solid bass solo from Hebert.
"The Secret Life of Plants" opened with an intense, chordal rythmic solo
by Berkman, fueled by drummer Waits. Pietro followed with one of his best
solos of the evening-a probing, searching ride with a lot of turbulence.
The song ended with an incredible fade-out vamp with great group interplay
that prompted Petro's comment, "Miles Davis used to say that sometimes the
best music is in the vamp." The band finished with "Happier than the Morning
Sun," another Wonder song given a very interesting treatment, and a nice
ending to a wonderful show, in spite of the less-than-ideal conditions of
Jazz In June.
Without trying to sound like I have a complaint with the crowd in every
review I do, I must say that a group like this that plays such intricate arrangements
with such skill as these guys deserves a lot better than the very casual
listeners at these concerts.
Jazz In June has become more of a social event than a music event, where
it seems more important to speak above the rest of the crowd than it does
to pay attention to the music on stage. A group like Pietro's or George
Cables', playing really demanding music at these shows, needs to be heard
by more than the 100 people directly in front of the stage, but at these
shows it's hard to hear what's going on in the back with all of the crowd
noise. There were even boomboxes spotted in the back this year!
That being said, there is so little major-league jazz at the Lied Center
or anywhere else in Lincoln this year that any exposure to a group like
Dave Pietro's is a special treat. I want to thank the Jazz in June committee
for a strong series this year and a note of thanks to University of Nebraska-Lincoln
trumpet instructor Darryl White for bringing in Dave Pietro's band, a very
fine group featuring some of the best young players on the scene today.
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Concert Review
Topeka Jazz Fest was a piano-lover's dream
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By Tom Ineck
The 2002 Topeka Jazz Festival was a piano-lover's dream come true, with
half a dozen world-class keyboard players on the bill. Much of the remainder
of the 5th annual event, however, felt like deja vu -- many of the same predictable
tunes and many of the same artists from years past.
That doesn't necessarily mean the May 25-27 festival was a disappointment.
But, with few exceptions, this year's edition didn't generate the level
of excitement to which festival veterans had become accustomed.
Among the exceptions was the Bill Charlap Trio, which generated enough
electricity in the crowd to power all of Topeka for the next year. Charlap
clearly established himself as a pianist apart from all others, in a league
of his own, despite the festival's overall strength in that area. Joined
by his longtime bandmates -- bassist Peter Washington and drummer Kenny
Washington -- Charlap turned the standards on their heads, executing them
with precision and improvisational skill while remaining true to their mood
and melody.
Other festival debuts worthy of note were those of trumpeter Terell Stafford,
trombonist Wycliffe Gordon and bassist Jennifer Leitham. What follows are
some of the highlights of the 2002 Topeka Jazz Festival, which was partially
funded by the Berman Music Foundation.
It all began with an impressive set fronted by returning artist Ken Peplowski
on tenor sax and clarinet, joined by trumpeter Mike Bennett, trombonist
Dan Barrett, pianist Joe Cartwright, bassist Gerald Spaits and drummer Todd
Strait. In his Topeka debut, Bennett demonstrated an expressive and brassy
style and a rapid-fire fingering technique on "Moten Swing" and an uptempo
version of "My Buddy." He switched to flugelhorn for "In My Solitude."
Leitham was making one of her first appearances since she switched from
John to Jennifer, but the flamboyantly dressed bassist soon dispelled any
possible tension in the audience with her astounding technique and ingratiating
good humor. Accompanied by pianist Russ Long and drummer Joe Ascione, she
played a highly articulated lead on "I Thought About You," followed by a wonderful
version of "Manha da Carnaval (A Day in the Life of a Fool)," from "Black
Orpheus." Her bass solo was profound and virtuosic.
Thanking festival organizers, Leitham said she was "flattered to be asked
to come even after my life changes." On posters for the festival that were
printed last year, she was billed as John Leitham, a name familiar to fans
of Mel Torme, with whom the bassist played and recorded extensively over
the last decade of the singer's towering career.
But the nicest touch of all was Leitham's introduction to the next tune,
a solo bass medley of "Out of This World" and the Joni Mitchell song "All
I Want." Declaring herself a big Mitchell fan, she said, "I could do "Both
Sides Now", but that would be a little too obvious." Her performance combined
a free, lyrical improvisation with dark harmonies, powerful chords and percussive
hand slapping.
After establishing her own abundant talents, Leitham allowed more space
for her accompanists on "What Is This Thing Called Love" and "Isn't It Romantic?"
on which she expertly stated the melody on bowed bass.
In her second visit to the Topeka fest, singer Rebecca Parris again proved
herself an extraordinary vocal stylist and consummate show woman. She soared
on "Autumn Leaves," delivered the ballad "Crazy He Calls Me" with dramatic
flair and riffed hilariously on "When Sunny Gets Blue." Scolding the song's
protagonist for her negative attitude, she inserted her own pointed commentary:
"I'm bored with her blues. Change your name or get a life. Revoltingly blue.
Boringly blue." She introduced "Don't Go to Strangers" as "a co-dependent's
theme song, "and exhibited an impressive vocal range on "Do Nothing 'Til
You Hear From Me."
This listener never tires of drummer Jeff Hamilton's festival spots. This
time, he led a trio with pianist Tamir Hendelman and bassist Christoph Luty,
but there never was any doubt who powers this threesome. Hamilton put them
through the paces on ìI Love Being Here With You," "Lullaby of the
Leaves" and "Too Close For Comfort." His brushes sizzled like rattlesnakes
on Luty's arrangement of "C Jam Blues," and on "Felicidad" he ranged from
hand drumming to wire brushes to sticks to knuckle raps and back to hands
for a polyrhythmic effect.
Festival veterans John Clayton on bass and brother Jeff Clayton on sax
led their quintet through a stunning set dedicated to Duke Ellington, including
"Don't Get Around Much Anymore," "Love You Madly," "Caravan," "Take the
'A' Train" and "Perdido." The rest of this stellar group consists of trumpeter
Terell Stafford, pianist Bill Cunliffe and drummer Jeff Hamilton, assuring
that the unit runs with the precision of a well-oiled machine.
Trombonists Dan Barrett and Wycliffe Gordon squared off fronting a sextet
that included Ken Peplowski, Joe Cartwright, bassist Jay Leonhart and Todd
Strait. It soon became clear that Gordon's prodigious tone, triple-tonguing
technique and skill with a plunger overshadowed even Barrett's considerable
talents on "And the Angels Swing," "Mood Indigo" and "Cottontail."
Our first opportunity to hear the Charlap trio came at 11 p.m. the first
night, when they opened with John Carisi's "Israel." Cole Porter's "All
Through the Night" was an uptempo showcase for Charlap's powerful arpeggios,
filigreed, lyrical lines and astonishing facility. On "Roundabout," he phrased
the piano melody and dynamics like a first-class vocalist.
The trio proved itself a real band on "The Lady is a Tramp," stopping on
a dime and restarting with flawless ease at a hot tempo. Charlap delivered
an incredible impressionistic and explorative solo on "Where or When," and
the fast-shifting keys and notes seemed to fall naturally - and magically
- beneath his fingers on "My Shining Hour." The Charlap nightcap left the
audience stunned, but supremely satisfied.
Charlap and pianist Ted Rosenthal paired up Sunday morning for a set that
included Monk's "Let's Cool One" and Parker's "Au Privave," with help from
Charlap's rhythm section. It was obvious that the two pianists have played
piano duos before, and they are especially compatible in this challenging
format.
Trumpeter Terrell Stafford stole the show in a set led by drummer Joe Ascione
and also featuring trumpeter Mike Bennett, pianist Joe Cartwright, guitarist
Bucky Pizzarelli and bassist Jay Leonhart. Cartwright was nicely showcased
on a Latin-tinged "Body and Soul," but it was Stafford's bravura style on
"Sweet Georgia Brown" and powerful, growling solo on "In A Mellotone" that
set him apart from Bennett's stiffer, more academic approach.
In a Sunday evening set, Parris and a rhythm section of K.C. stalwarts
put some nice spins on the familiar standards "If You Could See Me Now,"
"Day In, Day Out" and "Angel Eyes," which was taken at a very fast tempo
after the singer explained that the mood is different today than when the
ballad of lost love was written in 1940. "In 2002, I'm pissed off," she
bellowed.
Parris has near-perfect intonation, as she proved on "You Don't Know What
Love Is," done with a samba beat. For the ballad "What Can I Say?" she invited
pianist Bill Charlap to join her in a duet that perfectly married their
sense of confidence, their care in enunciating every note and word and their
flair for dramatic effect. Scatting from the get-go, Parris finished with
a full-tilt take on "Billie's Bounce."
The Clayton Brothers Quintet returned with a set leaning heavily on original
tunes, including the funky John Clayton composition "Choose Me," and Jeff
Clayton's uptempo "Runway" and his lovely ballad "Entre Vous." They also
did justice to a couple of standards, "I've Never Been in Love Before" and
Johnny Mandel's ballad "Emily." Pianist Bill Cunliffe's playing was especially
tasteful on the slower tunes.
Pianist Eldar Djangirov's appearance on the final day of the festival has
become a much-anticipated tradition, since he first performed a short solo
set at age 11 in 1998. At 15, joined by bassist Gerald Spaits and drummer
Todd Strait, he continues to amaze with his fluency in a variety of styles
and tempos.
A very slow version of "You Don't Know What Love Is" was followed by a
wildly uptempo "Lester Leaps In." Mulgrew Miller's "Song For Darnell" seemed
an unusual choice for a set that was otherwise filled with jazz evergreens,
but it was a beautiful take on the mid-tempo waltz. The trio finished with
"You and the Night and the Music" and Dizzy Gillespie's "Con Alma" featuring
Strait moving from sticks to brushes, adding all the right rhythmic colors
to the musical canvas.
Strait's move from Kansas City to the Northwest was announced during the
festival, a loss that will certainly be felt throughout the K.C. area and
in booking next year's Topeka fest. Strait's power and versatility have
been incalculable assets in the event's five-year history.
One of the chief disappointments of the 2002 festival was the dated, sappy
Monday afternoon performance by vocalist Lynn Roberts. In a flashy, show-biz
style that has more in common with vaudeville and Vegas than with jazz,
she belted out "Til the Sun Comes Out," "Let's Get Away From It All," "East
of the Sun (West of the Moon)," "Sunny Side of the Street" and the Mickey
Mouse tune "Music Is My Best Friend."
Roberts may be a symptom of a festival in artistic decline. Event organizers
bemoan the absence of local residents, yet they ignore booking options that
might entice them. There is plenty of fertile ground for growth without
pandering to an aging audience or surrendering to artless pop trends.
After the Roberts fiasco, the Jeff Hamilton Trio restored our faith with
a strong dose of straight-ahead jazz. Milt Jackson's bluesy "Yano" was followed
by Hamilton's arrangement of the medley "Isn't It Romantic" / "Serenade
for Strings," on which the drummer phrased the melody with brushes. His
dancing hands, effortless timekeeping and strategically placed kicks to
the bass drum created a rhythmic minefield on "I Didn't Know What Time It
Was."
Luty recreated the droning sound of a Scottish bagpipe while Hamilton's
fingers rapped out a tattoo on the snare drum to lend authenticity to "Hamilton
House," a Scottish folk tune. The trio took a fast-paced, convoluted path
through Monkís difficult "Rhythm-n-ning." Tamir Hendelman hammered
out single-not piano runs and deftly shifted directions, then Hamilton abruptly
changed tempos during a furious solo on brushes.
In a moving tribute to the tragic events of Sept. 11, 2001, the trio played
an original, unnamed ballad that quoted the melody to "we are poor little
sheep who have lost our way."
The Clayton Brothers Quintet again highlighted its own compositions and
arrangements, in contrast to the festival's unwritten policy that artists
play familiar tunes. It's too bad that John Clayton felt it necessary to explain
the importance of continuing the jazz tradition with new music for a new
millennium. Music that is as good as the Claytons' music justifies itself.
Jeff Clayton contributed "Back in the Swing of Things" and a wonderful
arrangement of Horace Silver's "Song For My Father," while John Clayton
penned the impressionistic ballad "Next Time" and the uptempo trumpet feature
"Blow Your Horn."
In a novelty set that often sounded like a swarm of killer bees, seven
bass players gathered on stage. The specially selected music ranged from
Gerald Spaits' arrangement of "Don't Get Around Much Anymore" to the Andy
Simpkins tribute "Walkin'" to Bob Bowman's "Basses in the Belfry" to John
Clayton's moving arrangement of a Chopin prelude.
For the final appearance by the Bill Charlap Trio, most of the other pianists
were in attendance, aware that it was a set not to be missed. Charlap began
with George Wallington's "Godchild," then segued into "In the Still of the
Night," showing incredible dexterity at the super-fast tempo.
His rendition of "Blues Skies" displayed an advanced concept that was -
at the same time - accessible, lyrical and imaginative. "Blue Room" was taken
at a caressingly slow tempo. On the other hand, "Slow Boat to China" was
anything but slow. In Charlap's hands, it was a hydrofoil skimming across
the water and taking listeners on an exhilarating ride.
Pianist Bill Cunliffe followed Charlap in a final solo piano set, not an
enviable position to be in. Cunliffe handled it with humor and class, playing
"If I Only Had a Brain," Jobim's "How Insensitive" and a movement from a
piano concerto he wrote for his mother, which contained echoes of Copland
and folk melodies like "Shenandoah." He then combined "Satin Doll," "Eleanor
Rigby" and "The 1812 Overture" for a hilarious fusion of vastly different
styles.
While sponsorships for the fifth annual festival were up, the number of
people in the audience did not grow as much as organizers had hoped. Also,
next year's lineup is weak by comparison, with only a few new notables such
as pianist Joanne Brackeen, vibraphonist Peter Appleyard, baritone saxophonist
Claire Daly and singers Tierney Sutton and Banu Gibson.
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BMF funds first Topeka
Jazz Fest Academy
|
By Tom Ineck
TOPEKA, Kan. - Young musicians from four area high schools participated
in the first TJF All-Star Academy, sponsored by the Berman Music Foundation.
Directed by renowned drummer and clinician Joe Ascione, the academy was
conducted May 24, the day before the start of the 2002 Topeka Jazz Festival.
The elite six member faculty was comprised of festival artists Ken Peplowski
on clarinet and tenor sax, Dan Barrett on trombone and horns, Rod Fleeman
on guitar, Ted Rosenthal on piano, Jay Leonhart on bass and Ascione on drums.
Trumpeter Mike Bennett also sat in on some of the master classes.
Students from Topeka High School, Hayden High School, Seaman High School
and Washburn Rural High School attended the daylong academy and performed
at a free evening concert also featuring the faculty players. Students were
grouped with faculty members according to the instruments they play and
were put through the paces in an intensive series of workshops.
TJF All-Star Academy Participating students included
Brandon Holloman, alto sax;
Matt Leonard, tenor sax;
Justin Gomez and James Henry, trumpets;
Mike Ruckert and Alan Schmidt, trombones;
Brandon Cummins, guitar;
Matt Williams, piano;
Timothy Patterson and Kyle Peterson, bass;
and Matt Leifer, drums.
At the evening concert, attended by about 375 people, the young musicians
performed "Cherokee," "Kansas City," "Misty," "Song for My Father" and "Take
the 'A' Train."
With its financial support of the academy, the BMF acknowledged the organizers'
stated goal "to cultivate the preservation of jazz and to enrich its cultural
value in our community by reaching out to the next generation of jazz players
and listeners through youth education programs."
The 2002 TJF All-Star Academy was a good start to a worthwhile cause.
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Concert Review
Sons of Brasil bring exotic sounds from K.C.
|
By
Tom Ineck
Lincoln's 2002 Jazz in June series, sponsored in part by the Berman Music
Foundation, began June 4 with a high-spirited performance by the six-piece
Sons of Brasil, who brought the exotic rhythms of Brazil via Kansas City,
Mo., the group's hometown.
Trumpeter and leader Stan Kessler also is the band's most technically proficient
and imaginative instrumentalist. Beginning on flugelhorn, he dominated the
breezy opener, "Amazonas," from the Sons' CD of the same name. "Aquarela
do Brasil (Watercolors of Brazil)," by Ary Barroso, is a melody familiar
to fans of Brazilian music and was expertly handled by Kessler on trumpet.
Again switching to flugelhorn, Kessler caressed the samba "Home Alone,"
which also featured a nice guitar solo by Jake Blanton, sitting in for regular
band member Danny Embrey. Kessler's wonderful technique was perhaps best
displayed on Caetano Veloso's "Partido Alto," a rhythmically challenging
piece on which he flawlessly negotiated a bravura trumpet solo with rapid
fingering and excursions into the hornís upper range.
Hermeto Pascoal's "Cha de Panela" had a punchy, driving beat shared by
percussionists Gary Helm and Doug Auwarter and punctuated with solos by
Kessler on trumpet, Roger Wilder on piano and Blanton on guitar. "It Is,"
a samba with a political message about human rights, was beautifully stated
by Kessler on flugelhorn and Wilder on piano, who recently joined the Sons
of Brasil as a permanent member replacing keyboardist Wayne Hawkins.
Kessler's own "Demons" was written about the area known as Bahia. After
Kessler stated the melody on trumpet, Wilder elaborated with some exotic synthesizer
effects on the electronic keys. The trumpet solo that followed was hard-charging
and strongly imbued with the blues.
The flugelhorn, guitar and piano all got solo statements on "Know It All."
Kessler again shone on trumpet throughout "Casa Forte," an uptempo bossa
nova composed by Edu Lobo and named for a Brazilian beach resort. Kessler
swings with confidence at any speed.
The Sons revived the evergreen Jorge Ben composition "Mas Que Nada," best
known for the '60s hit by Sergio Mendes and, more recently, the retro Austin
Powers movie. This version was true to the original while avoiding the ever-present
parody. Likewise with Jobim's overdone "The Girl From Ipanema." Kessler's
imaginative arrangement created stark, contrasting harmonies between the
guitar and flugelhorn in a unique approach.
Kessler added brassy, virtuosic flourishes to the catchy "Done Deal" before
the band finished with the trumpeter's composition "Mountain Vista," an
upbeat samba with a wonderful percussion section and, again, notable trumpet
melody.
Jazz in June's 11th season opening concert drew a large and diverse audience,
estimated at more than 2,000 in the large green spaces near Sheldon Memorial
Art Gallery on the University of Nebraska-Lincoln city campus.
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Friends of Jazz
K.C. woman combines jazz and
photography
|
By Tom Ineck
Bev
Rehkop envisions the drama and excitement of a live jazz performance
as moments magically frozen in time. Combining her love of jazz and photography,
she has realized her vision, becoming one of Kansas City's most familiar
and well-respected jazz photographers.
"I've always loved jazz, even when I was in high school, and I'm not
a young person. I was back in the days when Dave Brubeck was beginning.
Everybody else was listening to Elvis, and I was listening to Dave Brubeck."
Rehkop has what you
might call a "photographic mind."
"When I look
at something, I see it stopping the action," she said in a phone interview
from her home in Prairie Village, Kan. "With blues and jazz, I always thought
it would be so much fun to stop the action and capture the emotion of the
moment. I didn't know exactly how to do it, but I've been interested in photography
for about the last 20 years."
She hadn't done much action photography, however, until a film processor
told her about the high-speed, black-and-white film that would allow her
to freeze on-stage action, even under the low-light conditions prevalent in
jazz clubs.
In 1993, a jazz vespers service at a local church provided Rehkop her first
opportunity to shoot musicians in performance. The photos turned out so well
that she peddled them to The Phoenix Bar and Grill downtown. Her photographs
also hang in Jardine's and The Phoenix at Ameristar Casino, where more than
40 of her framed photos are displayed.
With her camera
and equipment in tow, Rehkop began frequenting K.C. clubs on weekends, even
though most of her suburban friends and family thought that was a bit odd.
Her stops included venues past and present, such as The Tuba, The Drum Room,
Jardine's, The Blue Room and The Phoenix.
"I just started
photographing jazz musicians as they were performing," she said. She gradually
got acquainted with the performers, and they began to accept her almost
as one of the band. Her respect for the artists helped her enter that inner
circle. If a musician does not know her, she asks permission to shoot the
performance, and she uses a flash only when necessary.
Rehkop has a
fulltime job, so photography still is a part-time pursuit and a labor of
love.
"I've never wanted
to make money at it," she said. "When you're photographing action, you have
to photograph a lot to get one good picture, especially in a lighting environment.
I shoot a lot, and if I get three or four good shots out of a roll, that's
really good."
Her photos grace the liner notes of CDs by such jazz
artists as Karrin Allyson, Mike Metheny, Gary Sivils, Gerald Spaits, Pete
Eye and Interstring, and some also use her images in their promotional materials.
Many of her photos also have appeared in the K.C. Jazz Ambassadors JAM magazine.
Rehkop especially enjoys shooting the K.C. musicians that most intrigue
her as a listener, including trumpeter Metheny, pianists Paul Smith, bassist
Bob Bowman, drummer Todd Strait, the group Interstring and Gerald Spaits'
progressive Westport Art Ensemble.
Incidentally, for you camera buffs, Rehkop uses a 20-year-old manual Nikon
with a 35-105 zoom lens. She has a few tips on shooting live performances
without being intrusive.
"I sit on the floor a lot. I try to get below the line of vision or off
to the side. Or, I will only shoot for a moment, and then get out of the
way. Sometimes, I will wait until the last set, when a lot of people are
gone, or I'll go on an off-night."
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Friends
of Jazz
Nigerian Umbrella offers shelter in the storm
|
By Butch Berman
Friends of Jazz is
an occasional column paying tribute to non-jazz organizations that in some
way benefit the Berman Music Foundation or me.
Since I plan to marry
a gorgeous Nigerian woman, Grace Gandu, I am proud to mention the nonprofit
organization the Nigerian Umbrella.
Founded by Edward
Blagogee, Clement Anginah, Joseph Akpan, Hamilton Green and Grace Gandu
to bring together the ever-growing Nigerian population in Lincoln, the group
gives their people a voice and revolving meeting places to share, eat, dance
and drum and celebrate their African-Nigerian heritage and lend support
to each other.
New arrivals later become hosts themselves, helping to establish a tight
network connection between them, our community and their native homeland.
For more
information on the Umbrella, contact the BMF office and leave a message.
Among the special guests
who attended a recently celebration were Nigerian dignitary, civil engineer
and new friend Ephraim Sambo, his wife, Laraba, and daughter, K.C.; my "brother,"
New York consultant and ace percussionist Norman Hedman and a new arrival
to Lincoln from Ghana, Michael Apoku, who played drums with Norman at the
party. Michael has his own group, Ashanti, which works in Lincoln and surrounding
areas, and he recently released a CD, "Soca Viruso."
The celebration
was given at Grace's and my new home. Enjoy the pix from that memorable
occasion.
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Travel Story
Latest Kansas City trip is another
blast
|
By Butch Berman
KANSAS CITY, Mo.--Grace's
and my last trip to K.C. was a blast. Eatin' and hangin' with Steve Irwin
and Jo Boehr at Zin, takin' in Bobby Watson and Horizon at the fab Blue Room,
groovin' on the new sounds of the Westport Art Ensemble and marveling at the
continuing evolution of the 18th and Vine Jazz Museum and the Negro Baseball
Museum in the same confines.
Outside of being disappointed
at the current rundown condition of my old fave, the Savoy Hotel (hey, the
Grille's still cool, especially if the legendary waiter Bob is waitin' on
you), I wondered if our next trip south would be as fun.
Well-yup, another
gasser indeed. The music awaiting us might now have carried the same intensity
of Bobby's amazing performance, but emotionally it couldn't top our second
Missouri adventure.
For starters,
we opted to stay at the Historic Suites, about a block from the Savoy but
a whole different story. For not much more dough, you get a beautiful New
York loft-style apartment with off-street parking and better security, plus
a great free breakfast buffet.
I'd visited the
Majestic at 931 Broadway to hear Russ Long several years ago, but never
truly caught the whole package until this trip. We enjoyed great service,
incredible food with a superb wine selection and great sight lines for the
jazz lover, whether you're dining alone just to hear the music or with a
large group.
One of the best duos
in town, my friend pianist Joe Cartwright and new BMF consultant Gerald
Spaits on bass, were gigging that evening, sounding fab as always with a
new grand piano. In all, it's a hot spot not to be missed. Call for information
and reservations at (816) 471-8484. There is live jazz nightly.
You can also
catch Joe and Gerald with either percussionist Gary Helm or trumpet master
and old pal Stan Kessler at the Fairmont Hotel, among other venues. You get
the story. K.C. has lots of grand options, but the main event is yet to come.
The Scamps are a K.C.
tradition, originating in the '40s with most members still alive and kicking.
It's a true people's band, always out to please their multitude of loyal
fans, yet never sacrificing their musical integrity. No matter what groove
theyíre in-jazz, blues, swing, a little rock -n- roll-it will all
be performed with style and pizzazz. The original Scamps included bassist
and vocalist Oscar "Lucky" Wesley; drummer, trumpeter and vocalist Orestie
"Rusty" Tucker; the late Jimmy "Coots" Dye on keyboards; sax legend Arthur
Jackson; and leader and lead vocalist Earl Robinson. Later Scamps included
pianist Rudy Massingale and guitarist Wyatt Griffin, among others.
They cut an LP
in the '60s entitle Earl Robinson and the Scamps Live at the Sni-Blue Lounge,
Vol. 1. I'm proud to say I own a sealed copy of this historic piece of vinyl.
However, in the mid-'80s the Scamps cut another LP that, for a variety of
reasons, stayed on the shelf. Then last year my friend and new consultant
Steve Irwin decided that, because the original tape was in danger of deteriorating,
he would formulate a plan involving his new position at Marillac, a nonprofit
medical center for mentally challenged children. He would raise funds to
produce this lost record and in turn bring revenue to this important cause.
Thus, the BMF
helped make this a reality. A CD release party was held at the Phoenix, and
a street out front was named Scamps Alley. What a night, what a band and what
a great cause! The emotional charge of seeing these great old guys still blowin',
so proud and happy to be alive and appreciated so much, caused more than
a few to shed a tear or two, but your feet could never stop tapping. Check
out my review of the new CD, Timeless, in this issue and dig our pictorial
of this fab night. When in K.C., and the Scamps are playing, it's a must
to check them out, pay tribute to these fine gentlemen and be enchanted by
their timeless charm.
I couldn't end
this story without mentioning a new project the Berman Music Foundation recently
became involved with, thanks to the urging of my consultants Gerald Spaits
and Steve Irwin, who referred me to Kansas City Star writer Steve Penn.
Penn just formed Coda, an organization to help cover the funeral expenses
of Kansas City musicians who have fallen on hard times. The BMF was moved
by the unfortunate situations that befall so many and agreed to offer an
endowment fund of $1,000 annually for the indefinite future, depending on
the success of this noble effort. If interested, contact Steve Penn at the
K.C. Star. It's a good thing.
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Artist Profile
Young bassist prepares for big step
forward
|
By Tom Ineck
Bassist Cory Biggerstaff
became a member of the Lincoln Symphony while still a junior at Southeast
High School. He plays regularly with the Nebraska Jazz Orchestra and with
small combos at several venues, occasionally leading his own outfits.
He made it through
the undergraduate music education program at the University of Nebraska-Lincoln
in just four years, instead of the usual five. He then taught instrumental
music at Calvert and Maxey elementary schools in Lincoln.
At 23, his impressive
growth and maturity as a musician has not gone unnoticed, either in his
hometown or beyond. He has been a first-call jazz bassist in the Lincoln-Omaha
area for several years, and this fall he will attend DePaul University in
Chicago on a scholarship, pursuing a master's degree in jazz performance
with bassist Kelly Sill.
Biggerstaff points
to a long line of mentors who got him to this point in his young life. Educated
in the Lincoln Public Schools, he began his association with the bass in
the fifth grade.
"It was either going
to be the bass or the bassoon," he recalled in a recent interview. "They
said I didn't have large enough hands for the bassoon, so they put me on
violin because they didn't have a bass there to try. So I had to play violin
for a couple weeks before they could get a bass. I gravitated to the low
(range) instruments."
As luck would have
it, bassist Mike Swartz taught at Holmes Elementary School, where the young
student attended. Biggerstaff soon began taking private lessons with Swartz,
the first of several important influences on his development as a bassist
and all-around musician. He continued with Swartz through high school, getting
important lessons in fundamentals, in musicality and playing in all registers.
The first few
years were spent learning the rudiments and playing in school bands and
orchestras.
"I didn't even play
jazz until I was in the eighth grade. Jazz band was kind of the cool thing
to do, and a lot of my friends were in it. But the parts were all written
out."
Like most young jazz
hopefuls, he would learn about improvisation in heat-of-the-moment jam sessions
that occasionally were staged at local bars. When he was a freshman at Leffler
Junior High, the place was Huey's in downtown Lincoln. The Berman Music
Foundation hosted a weekly jam there, and thatís where Biggerstaff
started hanging out with some of his elders.
"It was Nancy
Marshall who was leading it. She was playing piano, and thatís the
first time that I ever played jazz. She taught me how to read changes. I
would kind of fake my way through it. She dragged me through the songs, then
I got a little more confidence."
Biggerstaff also is quick to credit his parents. His mom is a registered
nurse and his father is co-owner of Biggerstaff Plumbing, Heating and Air
Conditioning Inc. His father was especially helpful, offering encouragement,
support and an occasional bad review to prod him toward excellence in those
early, formative years.
"He was my worst critic,"
Cory said. "He'd let me know if it was wrong. He was a musician when he
was younger. He was in a pretty famous local band called The Prior Associates.
He and his older brother were the trumpet players in that band. He was the
first one to tell me about the form of the tune and to listen to the bridge."
At Lincoln Southeast
High School, Biggerstaff met band director R.J. Metteer.
"His forte is in jazz,
but he's definitely studied a lot. We had some great players in the band,
and he would force us to do things that we didn't want to, that we weren't
comfortable with. I'm not a comfortable with playing bass guitar, so he
would always make me solo, even in the concerts.
Metteer also gave
the best players some leadership responsibility by splitting the band into
smaller combos. Along the way, Biggerstaff also picked up pointers from
bassist Will Clifton of the Omaha Symphony and Rusty White, longtime bass
instructor at UNL.
"Will Clifton
is by far the most intense musician I've ever studied with," he said. "He
kind of took my playing apart and said exactly what I needed to fix to get
better. Rusty was my first jazz teacher. Before that, it had been just kind
of trial and error. He was the first one to actually make me write out bass
lines and transcribe solos, and we would talk about improvisation and theory."
As he became
more confident, he began getting calls for gigs with area musicians many
years his senior, including pianist Tom Larson, saxophonist Bill Wimmer,
pianist John Carlini and saxophonist Scott Vicroy.
"It's such a
close, small group," he said. "Everyone knows everyone and everyone's really
cool, really good friends."
When he graduated
from UNL last year, Biggerstaff was undecided about his future in music.
"I wanted to go
to grad school, but not right away," he said. "I taught for a year at the
public schools." Playing jazz only at occasional night gigs, he began to
consider a jazz performance degree. After he and a friend caught a concert
by the DePaul Jazz Orchestra at the Jazz Showcase in Chicago, he decided
to audition.
When he heads to DePaul
University, Biggerstaff follows in the footsteps of other former Lincolnites,
including trumpeter Nate Wolcott and drummer Chris Varga.
Four years working
at Homer's record stores in Lincoln gave Biggerstaff plenty of opportunities
to check out music.
His favorite recording
by a bassist is Ray Brown's "Live in Montreal," but he also lists Charles
Mingus, Eddie Gomez, Jaco Pastorius and Victor Wooten among his favorite
players. He also cites the Brad Mehldau Trio for its tight interaction and
its unique "broken swing' style.
At the rate he's
developing, it shouldn't be too long before Biggerstaff has a recording
of his own to talk about.
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My Story: The Beginning
of the Boogie Kings
|
|
In response to the story of the Boogie
Kings as presented here by Ned Theall, the BMF received this version of
the story by another member of the band, Doug Ardoin.
By Doug Ardoin
It was a hot summer afternoon in Eunice, La., in 1955 when I first set
up a guitar, amplifier, bass drum, hi-hat, microphone and harmonica in my
parentís outdoor kitchen ("Mamma Ardoin's Kitchen").
I had been listening to music by Jimmy Reed, Fats Domino, Ray Charles,
Chuck Berry, B. B. King, and others, and had decided I was gonna learn to
play that kind of music and start a band. I practiced every day during that
summer. Thatís the one and only time the Boogie Kings were a one-man
band.
I'm not sure what the neighbors thought about my musicianship, but I know
the dogs in the neighborhood loved it. We sang duets everyday. I finally
moved from the outdoor kitchen into the house. It was a lot cooler in the
house. I think thatís when the neighbors quit calling the cops.
After testing the water with my own singing, I realized that if I was going
to start a band, I needed a singer big time. Friends of mine told me about
this guy, Harris Miller, who played guitar and sang. I met with Harris,
and he and I started learning songs and developing arrangements. Harris
would sing and strum, and I'd do the picking (we were both grinning).
After a few months of this, Bert Miller approached us. He told us he was
a drummer and wanted to play in our band. Harris and I said "WHAT, who is
this kid?" Bert turned out to be one of the best drummers and singers the
Boogie Kings ever had. Now we were off and running--playing youth center
gigs and a nightclub once in a while. It wasn't long after that we added
saxophonist Byron Launey and bassist Skip Stewart.
By the time I was 16 in 1956, I had organized the Boogie Kings and we were
playing gigs in nightclubs on a regular basis. We played weekends during
the school year and every night we could during the summer. By 1960, Norris
Badeaux, Brian Leger and Mike Pollard made up the horn section.
I put myself through college playing music, and got a B.S. degree in physics
from the University of Southwestern Louisiana in the summer of '63. That
summer, the guys in the band wanted to play full time. That wasn't what I
wanted, and since I had my degree and was going to go to work in my field,
I handed over leadership of the band to Harris Miller.
I quit the band, as did Bert Miller. He and I took over a band called the
Swing Kings. We played weekends. It wasn't long after that I quit the Swing
Kings and went to work as a physicist in New Orleans. During my stay in
New Orleans, I played with a band called The Milestones and had a lot of
fun. In 1967 I finally landed a job with NASA in Houston, and have been
with NASA ever since. When I came to Houston, I put my guitar up and figured
that was the end of my musical career.
At some point in time, and I think it was the mid-'60s, Ned Theall
took over leadership of the band, and with some new personnel, he took the
band to another level. My hat's off to Ned Theall, G. G. Shinn, Jerry LaCroix,
Duane Yates, and all those guys that really contributed to the success of
the mid-'60 and '70s Boogie Kings. The band was awesome!
In the early '90s, the Boogie Kings (led by Ned Theall) asked me to play
a few gigs with them. What a great thrill! I played those gigs, as a back-up
to Tommy Richard, their regular guitar player, and couldn't believe how
much fun I was having. Needless to say, I had to learn how to play all over
again. The basics were still there, but the coordination was all but gone.
During the next few years, I played with the band every chance I got. The
guys were so gracious to put up with me while I got my chops back. I know
I made a lot of mistakes, but they never said a word. Thank you Ned Theall,
Jon Smith and the rest of the Boogie Kings at that time. You guys will always
have a special place in my heart.
In 1994, along with other Boogie Kings, I was inducted into the Louisiana
Hall of Fame. Another great thrill!
In 1997, I received a call from Jim Darnell, representing a band in the
Houston/Clear Lake area, wanting me to sub one weekend for their regular guitar
player. I was scared to death. I'd been playing with the Boogie Kings as
a second guitar - no pressure - but this gig meant that I'd really have to
perform. I played the gig and had a blast--surprised myself.
In November of 1999, Bob Thomas and I started a new band that we named
Louisiana Boogie. Bob was born and raised in Lafayette, La., and had played
with the Boogie Kings from time to time. We had the same feel for music,
and wanted to play the same songs. Bob played with Louisiana Boogie until
June of 2001. Sadly, he lost his battle with cancer on Nov. 15, 2001.
On Jan. 20, 2001, I was inducted (along with the Boogie Kings) into the
Music Hall of Fame Division of the Museum of the Gulf Coast. Another great
thrill!
Well, that's it for now. I plan to keep playing as long as my fingers let
me. I will keep my new band, Louisiana Boogie, and will try to sit in with
the Boogie Kings every chance I get.
When I retire from NASA on Jan. 3, 2003, every day will be Saturday. I
intend to get deeper into my music.
Now, if I don't mention my wife in this article, I'm a dead man. Carol
Sue, my wife of 42 years, has stuck by my side through all the ups and downs
of being a musician, rocket scientist and raising five children. I'm into
music again with her approval, and I canít tell you how much that means
to me. We paid our dues, and now it's time to play again.
|
BMF keeping jazz alive
I just wanted to tell you guys that the newsletter gets better and better.
You're doing a splendid job of keeping jazz alive in the Midwest. And you're
bringing life back into the Jazz in June series.
Nancy Marshall
Lincoln
--------------------------------------------------------------------------------
"Jazz addict" praises BMF for Djangirov, Alexander concerts
It was a pleasure meeting you. The concert was great and Eldar was fabulous.
Thanks for sponsoring. I've taken a part of this morning to read through
the newsletter and materials you handed me as we were all getting ready to
depart. Our interests certainly run along parallel lines. I've been a jazz
addict since my late teens and itís still an active and gratifying
interest today as I approach my 53rd anniversary on the planet (which I note
you've also just reached).
I'd like to be added to your contact list if I may. It would be a pleasure
to get to know you a little bit. I'm not a mover and shaker in the jazz
world, but I've been around it for some time as for many years I made my
living in the music industry - on the manufacturing side of it, however,
rather than the a&r side.
I was somewhat stunned when I first read in the Journal Star that Monty
Alexander was coming to Lincoln to do a show. Of course your name and the
foundation were mentioned and I've been somewhat familiar with BMF as a result
of other stuff you've sponsored, including, of course, some of the Jazz in
June programs. Monty Alexander has been a favorite of mine for more than 20
years. I am constantly amazed at the number of people I know who are knowledgeable
about jazz who've never heard of him, and I cannot understand it.
Nevertheless, it was nice to meet you and I hope our paths cross from time
to time.
Brad Harse
Lincoln
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Pianist for Clayton Brothers Quintet enjoys BMF newsletter
Thank you for this informative and enjoyable newsletter. Keep Jazz Alive!
Bill Cunliffe
Studio City, Calif.
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from The Kansas City Star
K.C. bassist defends contemporary jazz
As a jazz musician, I must respond to Eugene Kane, who suggests that we
exclude from local jazz performances what he calls "contemporary" or "progressive"
jazz.
When he mentioned "dissonance" and "cacophony," I assumed he was referring
to free-jazz artists like Ornette Coleman or modern players like John Zorn.
But, no, Kane is talking about Charlie Parker and Thelonious Monk, artists
who have been accepted in the jazz mainstream for the last 40-plus years.
I had to check the date on my paper-was this 2002 or 1949?
Citing tunes like "Satin Doll" and "Mood Indigo" as classic jazz, is apt;
however, if you know anything about the composer of these tunes, Duke Ellington,
you should know he used dissonance in much of his work and could be categorized
as "contemporary" still today.
Kane's suggestion that we preserve classical jazz the way we've preserved
the classical music of Beethoven is, to say the very least, restrictive.
In addition, Kane would undoubtedly eliminate the works of find modern composers
like Stravinsky and Ives for their dissonance and cacophony.
I would be happy to see more jazz presented in concert halls, but I would
never ask the musicians to play a piece only as it had been written decades
ago. Improvisation is what makes jazz unique.
Mr. Kane only wants music that calms and reassures. I"ve always thought
music, and art in general, should reflect the full spectrum of life, not just
put us to sleep.
Gerald Spaits
Kansas City, Mo.
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Boogie King Ned Theall responds to Demuth letter
I feel compelled to respond to Mr. Dan Demuth's letter to the editor in
the Spring/Summer issue of Jazz.
Mr. Demuth: "I would like to take issue with one
of Mr. Theall's statements: In 1955, the closest thing to live rock music
for Louisiana kids was a few black groups from New Orleans that sounded
like dog shit."
I apologize for prompting your knee-jerk reaction
by that statement. I should have specified Abbeville, La., kids. Add to
that most of the name black groups were playing black venues in the '50s.
My statement was not intended to be racial, but factual.
Mr. Demuth: "Where was he (Theall) in the mid-'50s
when one of the greatest rock originators, Lousiana bad boy Bobby Charles,
was performing?"
I went to Abbeville High School with Bobby Charles
(Guidry) for many years as we both grew up. I was in a band in my youth
with Larry Guidry, Bobbyís first guitar player. The band later evolved
into Bobby Charles and the Clippers and recorded the original song "See
You Later, Alligator." I admire and respect Bobby, and we are great friends.
Mr. Demuth: "Were Frogman Henry, Fats and Smiley
Lewis some of the black dog shits he had to listen to?"
My first influences in rock music were Fats Domino,
Smiley Lewis, Joe Turner, Lloyd Price, Earl King, Huey Smith, Guitar Slim,
Clyde McPhatter.
Mr. Demuth: "If Mr. Theall wants to know about
a real dearth of original rock music, he should ask someone who grew up
in the Midwest."
I don't think talent is geographical. I have jammed
with great players from the East Coast to the West Coast, and I was tutored
by an outstanding black musician from Kansas City named Ralph Divers. I
respect players for their efforts, no matter where they reside.
Mr. Demuth: "Couldn't afford the big stars? You
had one of the best radio outlets in the South, KTHS out of Little Rock.
The best r&r and r&b could be heard, sponsored by Stan's Record
Shop in Shreveport."
We tuned in to Randy's Record Shop on KLAC. I think
it was in Gallatin, Tenn. The Boogie Kings recorded for Stan Lewis, the owner
of Stan's Record Shop, in the '60s and recently sold him some additional
recordings.
Mr. Demuth: "May have been he was inhaling too
much in the '60s and the '50s became a very dim memory."
No need to get offensive, Mr. Demuth. I would be happy
to match my memory against anyone as far back as the '30s.
Mr. Demuth: "Perhaps you should listen to another
Orleans-influenced artist, Jimmy Beasley's recording of "Don't Feel Sorry
for Me."
First, we are not an Orleans-influenced group. Our
influence includes James Brown, Otis Redding, Bobby "Blue" Bland, Sam Cooke,
Wilson Pickett and B.B. King. Sorry you think we are looking for sympathy.
The Boogie Kings have performed more than 12,000 shows and are in our 47th
year of performing. We have blazed a trail that very few groups can match.
The only sympathy I have is for those musicians that have not been blessed
as we have.
Ned Theall
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KVNO makes change in "JazzSource" hosts
Thank you so much for including KVNO's "JazzSource" in your radio listings.
I have one change to pass along to you. The hosts are now Jim Celer and
Terrance Hill. Tom Besse is no longer with the program. Thank you for the
support and for your fine work in the newsletter!
Mike Hagstrom
Program Director/KVNO, Classical 90.7
Omaha |
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Spring 2002
Articles, Opinions, News
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The Fabulous Boogie
Kings
I
thought that the Flips had invented
Blue-Eyed Soul. Well, wrong.
...I discovered the true innovators of
this genre The Fabulous Boogie Kings
Louisiana's R&B legends,So with pride,
I am running a series from the pen of Mr.
Theall on the story of this incredible
musician's band, The Fabulous Boogie Kings.
Read on and dig it, daddy-o! by Butch
Berman
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Duke
Ellington
This
article is by Dylan Nelson, an 11 year old
5th grader at Beattie Elementary. He has
been playing piano since he was four and
loves jazz. This article was written for a
school project on famous people and we
thought you might enjoy it too.
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Scrapple
from the Apple
Last
November, Kansas City's Jam Magazine
editor Mike Metheny asked me to write a
column on "How the Jazz world has changed
since Sept. 11," from a New York prospective.
I agreed, with the provision that I could tie
in a tribute to Etta Jones. © Russ Dantzler 2002
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Mile
High Musings
by Dan
Demuth
Butch
has asked for an inclusion in this issue
of the newsletter of some of the
happenings here in colorful Colorado. Jazz
venues are alive and well, both locally and
as we like to say "up in Denver".
Hey out there in Lincolnland, anyone
listening?
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Monty
Alexander
Alexander's reggae jazz
takes Royal Grove by storm
By Tom Ineck
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