Capital Jazz Society
"We Always Swing" jazz series
The Evolution of Jazz Albums
Ahmad Alaadeen Memorial
Tomfoolery: The 2011 Jazz Cruise
Music news, interviews, memorials, commentary
BMF reconfirms its
partnership with Arts Inc.
By Tom Ineck
Neb.—The last time we caught up with Arts Incorporated, the non-profit
arts management and promotion organization was in a hectic period of
It had just
moved its offices into 2,000 square feet of newly remodeled space at 315
S. Ninth St. in the historic Peanut Butter Factory. One of its primary
agencies, the Capitol Jazz Society, had just shifted its twice-weekly
performances to a new venue—the lower level of Brewsky’s Food & Spirits
at 201 N. Eight St.—after the sudden closing of P.O. Pears., where the
jazz series had been housed for many years.
U.S. economy was still thrumming along nicely, oblivious to the
monumental greed and mismanagement that were about to cause a near
meltdown of the nation’s financial system.
two years later, Arts Inc. is firmly ensconced in its downtown Lincoln
digs, and Brewsky’s Jazz Underground remains home for the Monday Night
Big Band and Wednesday’s Lincoln Jazz Series, featuring a variety of
small combos. After a couple of years in which the Nebraska Jazz
Orchestra and other Arts Inc. agencies reeled from the effects of the
Great Recession, the NJO and its other jazz performance and education
programming are on relatively firm financial footing.
finding and retaining corporate support for jazz remains a challenge,
the Berman Music Foundation recently awarded a $1,500 grant to Arts Inc.,
specifically to support NJO and Capitol Jazz Society programs. A
longtime friend and supporter of jazz in Lincoln, the BMF has sponsored
many NJO guest artists over the years, including performances by
saxophonists Bobby Watson and Greg Abate, trumpeter Claudio Roditi and
singer Giacomo Gates. With that in mind, we thought it was time to
revisit Dean Haist, Arts Inc. president, NJO business manager, Capitol
Jazz Society executive director, versatile jazz and classical trumpeter
and general jack-of-all-trades.
cost-cutting measures, aggressive fund-raising and a well-attended Oct.
15 concert at the Lied Center for Performing Arts, the NJO is not out of
the woods, Haist said. In its 35th season, the orchestra had
to reduce the current series from the usual five concerts to just four.
continues to be an issue. We cut one of our concerts and we cut
everything that we could to survive and still maintain the basic
services,” Haist said. “We put a lot of our staff time into looking for
money and grant-writing. We haven’t been all that successful in
generating increased revenue, but we have maintained things in the last
year or so, instead of letting it continue to slide. That first year or
so of the recession was really rough.”
non-profits took a hit when corporate funding dried up in an attempt to
tighten the belt and survive the economic downturn, but it has been
especially difficult for the arts, which are often seen as a luxury
rather than a necessity. Banks and other financial institutions, once
heavily engaged in supporting the arts, simply stopped giving. Other
businesses reduced funding or quit buying ads for NJO concert programs.
The NJO has
survived, largely because it began featuring more local musicians rather
than bringing in big-name guest soloists. When negotiating artist fees
for world-class players, Haist has become penny-pincher-in-chief.
really twisted arms pretty hard with our guest artists the last couple
of years, in terms of what their fee is,” he said. “I’ve basically
begged and said, ‘Look, here’s where we are.’ For some of them it’s not
so much the money. They need to cover their expenses. If it’s something
that’s going to be fun, some of them have been very kind to us.”
words, if the artist’s stay in town is a pleasant one, the smaller fee
is more acceptable. Trumpeter Wayne Bergeron recently returned to
Lincoln to appear with the NJO at cost, graciously willing to take a cut
after he was unable to perform last year due to a lip injury. Bergeron
and the NJO drew 600 people Oct. 15 at the Lied Center, a venue that is
working with Haist to increase audiences for both organizations.
say enough nice things about the Lied Center,” Haist said. Bill Stephan,
the new Lied executive director, has been aggressive in partnering with
Lincoln’s other performing arts organizations to their mutual benefit.
unusual collaborative publicity piece, a recent brochure touting “Jazz
in Lincoln” was mailed to thousands of area music fans. Co-sponsored by
the Lied Center, the NJO, the Capitol Jazz Society, the University of
Nebraska-Lincoln School of Music, Nebraska Wesleyan University and the
Berman Music Foundation, it details seven major jazz performances, plus
schedules for the Capitol Jazz Society, UNL jazz ensembles and faculty
Wesleyan jazz ensemble and the Wesleyan summer jazz camp.
It is the kind of joint effort that bodes well for the future of
Lincoln’s jazz scene.
“This is a
result of Bill’s efforts to reach out a little more in the community,
collaborative events at the Lied with other organizations,” Haist said.
“It’s not that those weren’t there in the past, but it’s a very
different situation. We’re hoping that it will be good for their
organization and ours.”
will support the NJO’s educational programs, which ranges from the
annual Young Jazz Artist Competition and Young Lions all-Star Band to
“Jazz Goes to School” and the Nebraska Jazz Camp, held every summer at
Wesleyan. The young artist competition awards cash prizes to a winner
and runner-up after an audition. The winner also performs a solo with
the NJO in concert. The Young Lions is a big band comprised of young
musicians selected by audition who rehearse and perform with the NJO and
a guest artist.
“Jazz Goes to School,” members of the NJO visit elementary and
schools in small combos to perform for students, giving them a better understanding of jazz history and the role that each instrument plays in
the music. The annual Nebraska Jazz Camp is a week-long intensive
program for young jazz musicians—middle school to college—allowing them
to work individually with professional jazz musicians and participate in
big bands, combos and jam sessions. Classes include jazz improvisation
and theory, standard jazz literature and electronic music.
good news for us. It’s one of the few organizations where we have some
hope of increased support as opposed to losing support,” Haist said of
the BMF’s enhanced sponsorship. “We lost three or four significant
sponsors in a year-and-a-half period that aren’t coming back. We’ve
pulled back on some of educational outreach, in terms of presenting
things in schools where there wasn’t financial support for it. We’ve
really just focused on trying to stay alive, trying to generate
Capital Jazz Society furthers education
LINCOLN, Neb.—Two recent Wednesday night
performances at Brewsky’s Jazz Underground caught our attention as the
intimate lower-level venue
to host some lively Lincoln Jazz Series small combo sessions.
On Sept. 15, guitarist Peter Bouffard
fronted a quartet also featuring saxophonist Paul Haar, bassist Jeffry
Eckels and drummer Steve Helfand. On Oct. 20, keyboardist extraordinaire
John Carlini led his quartet, with Tommy van den Berg on
trombone, Sean Murphy on bass and John Scofield on drums.
outfit tended to embrace the more scholarly and classic post-bop
conventions, not unexpected considering the impressive education
credentials of the players. All but
Helfand are professors of their instruments at the University of
Nebraska-Lincoln School of Music. Eckels, the most recent addition, took
over the UNL bass chair after longtime instructor Rusty White retired.
Helfand is a private instructor in the Omaha area and plays with the
U.S. Air Force Heartland of America band.
The quartet dug into some well-worn jazz
standards with energy and expertise, including “Alone Together,” “All
Blues,” “I Remember You,” “Bye Bye Blackbird,” and the Charlie Parker
burner “Confirmation.” “Solid,” a slow, swinging blues shuffle, featured
Haar on tenor sax taking the melody and pinching off some high notes in
a solo passage.
Eckels proved a capable composer and arranger
on “Upper Fargo,” a technical workout with Bouffard demonstrating Pat
Metheny-style tone and progressions with forward-leaning intensity. “The
Newness of You,” another Eckles
original, was an obvious variation on “The Nearness of You,” a soulful
swinger with echoes of Mancini’s “Pink Panther” theme. Haar laid down a
swaggering tenor solo reminiscent of Pete Christlieb. “April Mist” was a
breezy Latin number that provided a nice platform for Helfand’s
imaginative percussion work.
Carlini’s approach was more improvisational,
with unusual key changes and harmonic variations, even on otherwise
conventional standards, like “You Don’t Know What Love Is,” which the
quartet treated as a bossa nova. Carlini’s quirky creativity gave a
funky shuffle beat to Fats Waller’s venerable “Jitterbug Waltz” and
re-located Kurt Weill’s “September Song” to a New Orleans street parade.
percussion skills were on display throughout the evening, especially
during an extended solo on the Miles Davis classic “Nardis,” lively drum
breaks on a mid-tempo rendition of Cole Porter’s “I Love You,” some
slinky Latin syncopation on “Softly, As in a Morning Sunrise,” and a
little outside exploration on a typically twisted Carlini arrangement of
“It Ain’t Necessarily So.” Van den Berg and Murphy, the juniors by a
couple of decades, held their own despite the musical challenges that
Carlini repeatedly introduced. The versatile keyboardist never settles
for the merely conventional and revels in the unexpected, always with a
mischievous glint in his eyes.
All performances sponsored by the Capitol
Jazz Society, both Monday Night big bands and Wednesday night combos, are 7:30 p.m. to 10 p.m. General admission is $5, and
student admission is just $4.
Jazz weather report for Lincoln and Omaha
attempt to provide our readers—especially those who are also patrons of
live music—with news they can use, this is the first edition of an
ongoing series called Jazz Forecast, in which we will list upcoming
performances in Lincoln, Omaha and beyond.
to concerts by the Nebraska Jazz Orchestra and at the Lied Center for
Performing Arts, we will include performances at the Holland Center and
other venues in Omaha, plus the Lincoln Jazz Society schedule and some
of the University of Nebraska-Lincoln recitals, especially those
featuring special guest soloists. Let us know if there is other
information you would like us to feature on this occasional jazz
Cornhusker Marriott, 333 S. 13th St., Lincoln, 7:30 p.m.
& All That Jazz,” featuring Melissa Lewis, vocalist
New York,” featuring Scott Robinson, woodwinds, and the 2011 Young Lions
Bass: The Music of Jaco Pastorius,” arranged by Peter Graves and
featuring bassist Andy Hall and the 2011 Young Jazz Artist Winner
Center for Performing Arts
12th St., Lincoln, 7:30 p.m.
Bells of Christmas," featuring the Boston Brass and Brass All-Stars Big
Band performing Stan Kenton jazz carols
Marsalis, saxophone, and Terence Blanchard, trumpet
Sinatra,” featuring vocalist Steve Lippia
Hall (at the Holland Center)
Douglas St., Omaha
Nov. 19, 8 p.m.
with Love—a Celebration of Lady Day,” with vocalist Dee Dee Bridgewater
Feb. 5, 8 p.m.
Lincoln Center Orchestra with Wynton Marsalis
April 14, 7:30 p.m.
Harris and Blackout
1200 (at the Holland Center)
Douglas St., Omaha, 8 p.m.
Group, jazz guitar
Allyson with the UNO Jazz Ensemble
Capitol Jazz Society
Brewsky’s Jazz Underground
201 N. Eighth St., Lincoln, 7:30 p.m.
Monday, Nov. 15
Monday Night Big Band
Dean Haist, director
Wednesday, Nov. 17
Marc LaChance Combo
Lincoln Jazz Series
Monday, Nov. 29
Nebraska Wesleyan University Jazz Ensemble
Wednesday, Dec. 8
Lincoln Jazz Series
Sheldon Museum of Art or Westbrook Music
University of Nebraska-Lincoln City Campus
Tuesday, Dec. 7, 7:30 p.m., Sheldon Museum of
"Thad, Mel and the VJO,” featuring Jazz
Ensembles I and II, with guest soloist Scott Wendholt, Vanguard Jazz
Tuesday, Feb. 8, 7:30 p.m., Sheldon Museum of
UNL Jazz Faculty
Thursday, March 31, 7:30 p.m., Kimball Hall
Jazz Ensembles I and II with Ray Anderson,
featured guest trombonist
Friday-Sunday, April 1-3
5th Annual Honor Jazz Weekend with
Ray Anderson, featured artist
Friday, April 29, 7:30 p.m., Kimball Hall
“Tree Lines: The Music of Christine Jensen,”
Jazz Ensembles I and II with Christine Jensen, guest composer, and
Ingrid Jensen, guest trumpet soloist
"We Always Swing" jazz series celebrates
Berman Music Foundation in Lincoln, Neb., the “We Always Swing” Jazz
Series of Columbia, Mo., is celebrating 16 years of promoting and
presenting jazz music in the heartland. Both organizations also share a
common purpose in jazz preservation and education.
in 1995 by jazz journalist Jon Poses, the not-for-profit corporation has
maintained an annual series of concerts featuring world-class jazz
musicians at various venues in the Columbia area, which is about 5½
hours drive from Lincoln.
season began Oct. 10 with two performances by the Tierney Sutton Band at
Murry’s jazz club. It continues Nov. 17 with the Alfredo Rodriguez Trio
at The Columns Ballroom at the University Club in the Reynolds Alumni
Center at the University of Missouri.
Calderazzo Trio—also featuring bassist Orlando le Fleming and drummer
Donald Edwards—will give two performances Dec. 5 at Murry’s, an intimate
club and restaurant at 3107 Green Meadows Way. Calderazzo was
in the Branford Marsalis Quartet for more than a decade, in addition to
recording some 10 CDs as leader. The BMF plans to cover the 3:30 p.m.
Sunday matinee and report on the concert in the January newsletter and
concerts in the series include a Feb. 1 appearance by bassist Stanley
Clark and pianist Hiromi at The Blue Note, a Feb. 13 performance by the
Ellis Marsalis Quartet in the Windsor Ballroom at the Holiday Inn
Select, two shows Feb. 20 by trumpeter Ray Vega’s Latin Jazz Quintet at
Murry’s, the Anat Cohen Quartet March 12 at The Blue Note, the Lynn
Arriale Quartet featuring trumpet great Randy Brecker and the MU Concert
Jazz Band April 7 at The Blue Note, two performances by the Danilo Perez
Trio April 17 at Murry’s, and two shows by husband-and-wife piano duo
Bill Charlap and Renee Rosnes, May 1 at Murry’s.
Due to poor
health, 89-year-old piano legend Dave Brubeck had to cancel an Oct. 16
quartet performance at the Missouri Theatre Center for the Arts.
2009-2010 season, artists included guitarist Pat Martino, bassist
Christian McBride, singer Kurt Elling, Bobby Watson and Horizon,
vibraphonist Stefon Harris, saxophonist Branford Marsalis, the Clayton
Brothers Quintet and trombonist Conrad Herwig.
Always Swing” also has produced a couple of CDs, including “Home: Live
in Columbia, Missouri,” documenting a June 2009 house concert by pianist
Bruce Barth and saxophonist Steve Wilson, and “Soulful Serendipity” with
saxophonist Bobby Watson and the late pianist James Williams.
Swing” receives support for its jazz series operations from ticket
revenue, the Missouri Arts Council, and the City of Columbia through the
Office of Cultural Affairs’ Commission for the Arts. Additional funding
is secured from the National Endowment for the Arts and gifts from a
variety of national, regional and local corporations and businesses, as
well as through the generous tax-deductible contributions from
The Evolution of Jazz Albums
By Dan DeMuth
The term "album" has been continuously
used up to and through the latest recording technology to describe a
collection or compilation of musical renderings. Endless discussions
have revolved around various types of music as to who or what was the
"first," serving no purpose other than to stir the passions of true
aficionados who are into this type of thing. Which leads to the
question: "What was the first jazz album?"
In a recent article in the National
Endowment of the Arts Award Journal, and in
Max Kaminsky’s autobiography “My Life
In Jazz,” reference is made to a
These sources credit
the "Chicago Jazz" 78 rpm set
produced by the
fabled Milt Gabler, recorded by a variety of musicians from August 1939 through January 1940 and released on Decca
album #121. Gabler, the proprietor of the Commodore Record Shop on 42nd
Street in New York City, later became famous by producing artists for
recordings on his own Commodore label that are still sought after by
collectors. At the time this album was put together he was working as
the A&R man for Decca. Despite the title, only four of the 12 sessions
were recorded in Chicago, with the rest in New York. Three groups were
used, their nominal leaders being Eddie Condon, Jimmy McPartland and
George Wettling. The album includes:
Eddie Condon and his guitar:
“Nobody's Sweetheart/Friars Point
“Someday Sweetheart/There'll Be Some
These recordings feature Joe Sullivan on
piano, Bud Freeman on tenor sax, Pee Wee Russell on clarinet, Max
Kaminsky on trumpet, Brad Gowans on valve trombone, Clyde Newcomb on
bass and Dave Tough on drums.
“Jazz Me Blues/China Boy”
“Sugar/The World Is Waiting For The
This group is comprised of Floyd Bean on
piano, Boyce Brown on alto sax, Bud Jacobson on clarinet, McPartland
handling the trumpet with brother Dick on guitar, Jim Lannigan on bass
and Hank Issacs on drums.
Drummer George Wettling's group:
“(I Wish I Could Shimmy Like My) Sister
Kate/Bugle Call Rag”
“The Darktown Strutters Ball/I Found a
This group features Jess Stacy on piano,
Joe Marsala on tenor sax, Danny Polo on clarinet, Charlie Teagarden on
trumpet, Floyd O'Brien on trombone, Jack Bland on guitar and bassist
inside cover features a nice photo montage of the various artists and
includes a 12-page booklet with brief bios of each artist and reviewer
notes and historical ruminations by critic George Avakian, who at the
time was a writer for Tempo magazine and a member of the advisory board
of the Hot Record Society. A brief quote from his notes may help to
explain the thrust of the album as well as the era involved.
purpose of this album is to set down on wax once more a type of music
played in the twenties by a small group of young white musicians in
Chicago,” Avakian writes. “What they played has come to be known as
Chicago style and is recognized as the greatest advance of white
musicians in the essentially colored
art of hot jazz."
Lest too much is read into this comment,
the reader should remember that
at this time the references to the artist's race
were more to delineate rather than denigrate the different styles and
were actually a
to the black musicians. A later Decca
"An Anthology of White Jazz," reinforces that statement.
So, first jazz album? I'm not sure.
Perhaps the BMF resident hot jazz entrepreneur, Russ Dantzler, could
weigh in on this. Regardless, it’s amazing when one thinks of the tens
of thousands that followed "the first."
Ahmad Alaadeen dies Aug. 15 at age 76
By Tom Ineck
We at the Berman Music Foundation
received the news of Ahmad Alaadeen’s
death Aug. 15, at age 76, with great
sadness. We last wrote about
in August 2009, on the publication of
his jazz instruction manual, “The Rest
of the Story,” funded by the BMF. Grace
Sankey-Berman attended the book-signing
event in Kansas City, Mo., which also
celebrated Alaadeen’s 75th
The BMF’s relationship with Alaadeen
goes back to at least December 1998,
when the foundation brought the
saxophonist and educator to Lincoln for
a series of workshops at the University
of Nebraska-Lincoln School of Music. In
August 1999, the BMF flew Alaadeen to
New York City to play soprano sax on the
title track of Norman Hedman’s CD “Taken
by Surprise,” a part he nailed on the
first take! Butch Berman also booked
Alaadeen and his band at the 2005 Topeka
Jazz Festival—for which Butch was
artistic director—and a month later at
the 2005 Jazz in June series in Lincoln.
Along the way, we reviewed two Alaadeen
recordings, 2005’s “New Africa Suite”
and the 2008 collection of jazz ballads,
“And the Beauty of It All,” one of
last pieces written by Butch before his
death on Jan. 31, 2008. Of Alaadeen and
the CD, he wrote, “He’s a beautiful cat,
spiritual and a deep thinker whose
musical talent has great healing
potential as well as being most
entertaining. Alaadeen captures what is
most essential in the treasured art form
we call jazz. I recommend it for lovers
only, as it totally transcends from the
heart into our systems, making us, the
listeners, truly appreciate what ‘the
beauty of it all’ is all about.”
Of “New Africa Suite,” I wrote at the
time of its release, “On both tenor and
soprano saxophones, Alaadeen’s sound
most closely resembles the
African-influenced excursions of John
Coltrane, Pharoah Sanders, Archie Shepp
and other progressive players of the
mid-1960s. Like Coltrane, Alaadeen’s
music contains a deep, warm current of
spirituality and universal brotherhood.”
Kansas City native, Alaadeen studied
flute at the Kansas City Conservatory of
Music, and oboe at St. Mary’s College
and DePaul University. He served in the
military from 1957 to 1959, performing
as the jazz
saxophonist and principle
oboist with the 4th Army Band. After his
discharge, Alaadeen spent time in
Chicago, playing in a program led by
pianist-composer Richard Abrams that was
the beginning of the acclaimed
Association for the Advancement of
Creative Musicians (AACM). Other members
included trumpeter Lester Bowie and
bassist Malachi Favors.
The saxophonist picked up a lot of
experience living and playing in New
York, Chicago, Denver, Houston, San
Antonio and St. Louis. In addition to
McShann, he worked in countless
settings, including stints with Miles
Davis, Billie Holiday, Ella Fitzgerald,
the Count Basie Orchestra, the Glenn
Miller ghost band under the direction of
Tex Beneke, Della Reese, Eddie
“Cleanhead” Vinson, T-Bone Walker,
Claude “Fiddler” Williams and with R&B
stars Rufus Thomas, Carla Thomas, Gladys
Knight, Smokey Robinson, the
Temptations, Four Tops and Sam Cooke.
Alaadeen died after a long battle with
bladder cancer. He is survived by his
wife Victoria “Fanny” Dunfee.
Cruise promises total immersion
By Tom Ineck
While covering almost every performance
of the now-defunct Topeka Jazz
Festival—which ran its course from 1998
to 2005—it became abundantly clear that
total immersion is the best way to enjoy
the live jazz experience.
Memorial Day weekend dozens of
world-class jazz musicians and hundreds
of fans from around the world shared the
same performance spaces, the same dining
room tables and the same hotel, often
bumping into each other in the lobby, in
the parking lot or strolling on the sidewalks of
downtown Topeka. After a while, you
began to think of this captive
audience—and these captive musicians—as
part of a brotherhood and sisterhood, a
close-knit fraternity that lacked only a
secret handshake to confirm our
I still miss those experiences, but I
hope to recreate an approximation of
them on The Jazz Cruise, embarking Jan.
31 from Fort Lauderdale, Fla., and
returning Feb. 6, a full week on the
Caribbean with more than 50 world-class
aboard, many of whom were regulars in
Topeka during the festival’s golden
The 10th annual cruise has scheduled
stops in Nassau, Bahamas; San Juan,
Puerto Rico; St. Maarten, Netherland
Antilles; and Half Moon Cay, Bahamas,
with stays of 12 to 16 hours in each
port of call, enough time to leave the
Holland America ship on shore excursions
to shop, see the sights, and recover
your land legs. Two days will be spent
at sea. Of course, this means we will
have plenty of time on board, listening
to jazz and visiting with fellow jazz
buffs and musicians.
brings me to the musicians who are
booked for the cruise. Chief among them
are groups fronted by saxophonists James
Moody and Houston Person, trumpeter
Randy Brecker, bassist John Clayton and
saxophonist Jeff Clayton, singers
Freddie Cole, Janis Siegel, Nnenna
Freelon and Jamie Davis, drummers Lewis
Nash, Jeff Hamilton and Tommy Igoe, and
guitarist Bobby Broom, plus the George
Wein Newport Jazz All-Stars.
But that’s not all. Individual artists
who will perform with others on the
roster include reed players Harry Allen,
Ken Peplowski, Wessell Anderson, Jon
Grant Stewart and Gary Smulyan,
trumpeters Brian Lynch, Terell Stafford,
Bob Millikan and Gilbert Castellanos,
trombonists Wycliffe Gordon, John
Fedchock, John Allred and Jennifer
Wharton, guitarist Bucky Pizzarelli,
pianists Shelly Berg and Bill Mays,
singers Jane Monheit, Dena DeRose,
Clairdee and Anita Rosamond, bassists
Jay Leonhart, Tom Kennedy and Kristin
Korb and drummers Butch Miles, Chuck
Redd and Ernie Adams.
The mind boggles. Aside from the immense
musical talent represented by this list
of performers, the mere presence of
George Wein on the ship is noteworthy.
At 85, Wein is the foremost jazz
impresario in the world and the father
of the jazz festival tradition. A
well-regarded pianist, he studied under
the tutelage of Teddy Wilson at
Juilliard. In 1950, he opened the jazz
club Storyville in Boston, which
eventually led to establishing the
Newport Jazz Festival in 1954. In 1960
he launched Festival Productions Inc.
Since then he has produced some 30 jazz
and record producer Todd Barkan also
will be among the guests. From 1972 to
1983, he was the owner and artistic
director of the legendary Keystone
Korner jazz club in San Francisco. Among
the recordings made there is the classic
“Bright Moments” by Rahsaan Roland Kirk.
In all, he has produced more than 800
jazz recordings for labels in the U.S.,
Japan and Europe. Since October 2004, he
has been the programming director for
Dizzy’s Club Coca-Cola at New York
City’s Jazz at Lincoln Center.
Comedy also is on the bill with the
inclusion of hilarious jazz hipster Pete
Barbutti on board. A versatile jazz
musician, he is best
known for his frequent appearances on
the TV talk-show circuit, including more
than a dozen times on “The Tonight Show”
with Johnny Carson, as well as shows
hosted by Jay Leno, David Letterman and Merv Griffin.
We booked a somewhat secluded rear
stateroom on the Navigation Deck, the
eighth deck of the 11-deck m/s Noordam.
Just 254 square feet, the cabin features
a queen-size bed, bathroom with tub and
shower, a sitting area and a private
verandah with floor-to-ceiling windows.
Ergonomic design makes the most of every
square inch of space. Jazz Cruise
officials assured me that no deck was
better than another for access to live
jazz, with venues positioned throughout
the ship. This promises maximum
enjoyment with minimal effort!
At last check there were still 20
staterooms available. For more details,
www.thejazzcruise.com. Expect a full
report with lots of photos in our April
2011 newsletter and website update.
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