Document

JAZZ CULTUREIn These Pages‐Review 1‐2

Wade Barnes Memorial 3‐6England Event‐J. Watson 7‐8

How To Make a CD that MayOutlive You J. Magnarelli 9‐10

"The Unforgettable Hamptons"An Emmy Winning Film about

the Hampton FamilyJazz Heritage 10‐15

Let's Link [email protected]

[email protected]

Art Baron QuintetJune 22, 2012

Caught the Art Baron Quintet at Whole Foods, on June 22, 5-7

p.m., part of the Summer Series at that locale. Art Baron,

Trombone, Fred Staton, Tenor Sax, Bill Wurtzel, Guitar, Chip

Jackson, bass, Jackie Williams, drums. The group focused on

standards like “Summertime” and the blues. The concert series is

funded by the Jazz Foundation, that has aided countless musicians

who were sick or suffered the plight ofmusicians who had no

pensions. The musician leaders who have recuperated are eligible

for slots in their concert series under a special Foundation grant.

On entering, we heard Jackie Williams performing a fiery solo,

playing with great spirit and finesse, better than he played 30 years

ago with Doc Cheatham at Sweet Basil. Mr. Baron has a big

blarey sound that filled the space, which is quite large, and

Jazz Culture at �YJP, VI:10

Art Baron, Trombone, Greg Staton,

Sax, Bill Wurtzel, Guitar, Chip

Jackson, Bass, & Jackie Williams,

Drums at Whole Foods on 97th

Street, on Friday June 22, 2012

Photo: RichardWilliams

The New York Jazz Project

1

acoustically amorphous. The group had a good crowd that filled

the sit down space.

“In a Mellow Tone” Mr. Staton soloed pleasantly in the swing

style with a pretty tone in the darker part of his register over Mr.

Williams crisp impeccable drumming, overcoming the sound

deficits of the corner in which the group was crammed. Mr.

Wurtzel played some notes above the chord and descended into

some bluesy comments. The bass strummed a few chords in the

lower register on the rhythmic ideas of the song, choosing a few

syncopated licks and repeating them. The group then followed Mr.

Baron trading 8s, then 4s, with Messrs. Jackson and Williams

holding a rock steady beat. Mr. Baron theatrically used his

trombone to conduct the ending.

“St. Thomas” –Jackie Williams gave a real island feel to this

Sonny Rollins calypso. Unfortunately Mr. Staton could not be

heard due to poor sound on the mike. Mr. Baron soloed on the

upbeat, with good punctuation capturing the spirit of the song. Mr.

Wurtzel played a lot of 6 against 4 rhythmic groups on unison

notes, and restated the theme. Mr. Williams played the melody on

the drums and then used some rhythmic inversions before the band

broke out into the theme again.

“In a Sentimental Mood” Mr. Baron using a plunger mute,

played the melody in the Ellington style, conveying the

sentimentality, sensuous and ethereal qualities of the song. Mr.

Staton used his lovely tone to restate the melody. Mr. Wurtzel

restated the melody also and broke off to comment on it, climbing

up the scale and descending in a bluesy line. The group then

double timed till halfway through the song and at the second half

restated the beautiful melody, ending in a short cadenza by Mr.

Baron.

Whole Foods has jazz concerts (that the public loves) at several

venue in the NY area, and could buy a moveable shell to place

behind the band to improve the acoustics. Whole Foods could buy

one shell and move it around in one of their trucks. Pitch, tone

quality, and dynamics are affected by the acoustics of the space.


WADE BARNES MEMORIAL AT ST. PETER'S CHURCHOn Monday, June 18, a

memorial took place at St.

Peter's Lutheran Church in

NYC for Wade Barnes,

drummer, composer, arranger

and educator. Mr. Barnes had

four groups: The Brooklyn

Repertory Ensemble (BRE),

Word on the Street; Unit

Structures ; and the Bottom

Line Ensemble (that played at

the Fat Cat and the Moldy

Fig). Eugene Ghee was the

MC, producer, and also played. Naima Barnes, Mr. Barnes'

daughter, welcomed everyone.

The first combo was Word on the Street -

Bill Saxton (the only original member of the

group) on tenor saxophone, Bertha Hope, piano,

Saadi Zain, bass, and Dwayn "Cook" Broadnax

on drums. "Wade liked Monk," Mr. Saxton said,

before playing "Evidence" a percussive medium

swing. Mr. Saxton played "Evidence" as an

elegy with spirit, like a furious driver in the

neighborhood streets.

Ms. Patricia Deans from the

Brownsville Heritage House,

lauded Mr. Barnes’ passion for

music and work with children.

Todd Weeks ofLocal 802

recounted several Barnes'

anecdotes. Joe Petrucelli,

(Associate Director of the Jazz

Foundation) spoke, calling Mr.

Barnes a "presiding spirit at the jam session on Mondays, a person

Wade Barnes in Performance

Bill Saxton

Ms. Patricia Deans, Brownsville

Heritage House

Jazz Culture at �YJP, VI:10 3

of 'Pragmatic Optimism.'" Then

Andrea Duplesis, Chairman of

the Board ofMr. Barnes' non-

profit, read tributes, testament to

Mr. Barne’s initiative, business

talent, and devotion to his goals,

and the mission statement of his

501©3.

A film was shown ofNew

Orleans children at a seminar, dancing while musicians Tulivu

Cumberbatch, Bertha Hope,

Gene Ghee, Julian Pressley,

Bill Ware, Yoshiki Miura,

Saadi Zain, Mark Taylor and

Wade Barnes played. The

seminar showed how

"perpetuating the last chapter

ofAfrican history, … after

they left Africa took their

aesthetic all over the world."

Part of this African diaspora came through dance, e.g. the

Charleston.

Unit Structures was next, playing “Johnny Come Lately” and

“Peace.” Bertha Hope was on piano, Saadi Zain on bass, Jaime

Affoumado on drums, Bill

Ware on vibraphone, Tulivu

Cumberbatch on vocals, Julian

Pressley on alto saxophone,

Marshall Seally (on french

horn), and Gene Ghee on tenor

saxophone. "Johnny Come

Lately" by Billy Strayhorn, is a

pungent and harmonically

thrilling medium up swing.

Marshall Seally had a sweet tone on French horn. Mr. Ghee’s solo

depicted someone driven by pursuit of an elusive ideal. Ms.

Unit Structures, see Musicians listed

below

Tuliva Cumberbatch, Vocalist

Bertha Hope


Cumberbatch sang "Peace" by Horace

Silver beautifully, with fine intonation,

spirituality and tone quality, with a lovely

solo by Mr. Ghee, and a pensive solo by

bassist Saadi Zain.

Pianist Terence Conley received a

standing ovation as he made his re-debut

on a blues. Mr. Conley played with Saadi

Zain on bass and Dave Gibson on drums.

Gabriel Romance , a close friend, said

a few words about Wade and sang a

beautiful version of "We'll Be Together

Again".

The Bottom Line Ensemble was next with Bertha Hope on

piano, Bill Ware on vibraphone, Saadi Zain on bass, Jaime

Affoumado on drums, Richard Rivers on congas, Ralph

Hamperian on tuba, Dick Griffin on trombone, Kiane Zawadi on

euphonium, Julian Pressley on baritone saxophone and Gene Ghee

on tenor saxophone. (Kiane Zawadi was on the original recording

ofCrisis on Freddie Hubbard's "Ready for Freddie" album.) They

performed "Lost" by Wayne Shorter, and "Crisis" by Freddie

Hubbard, a song emanating danger.

The Brooklyn Repertory Ensemble played Tom Olin’s

arrangement of ""Mr. Knight" written for Brooklyn pianist Joe

Knight by John Coltrane. The song featured Tom Olin on soprano

saxophone and Marshall Seally on French horn. This song

sounded like a forward moving army, ending in a vamp

Mr. & Mrs. Terence

Conley

The Brooklyn Repertory Ensemble, see list ofMusicians below


Lionelle Hamanaka, Publisher/see

lionellehamanaka. com

Sign up for a Free Subscription to The Jazz Culture

online at http://TheJazzCulture. com or

http://�ewYorkJazzProject. com

646-312-7773/PO Box 2003 700 Columbus Avenue,

�YC 10025

and whispering horns and

percussion. The musicians were:

Bertha Hope on piano, Bill Ware

on vibraphone, Saadi Zain on bass,

Dave Gibson and Mike Campeni

on drums, Richard Rivers on

congas, Tom Olin on soprano

saxophone, Don Payne on clarinet,

Yousuke Sato on alto saxophone,

Will Orzo and Marshall Seally on

French horns, Ralph Hamperian on

tuba, Jack Jeffers on bass

trombone, Dick Griffin on

trombone, Kiane Zawadi on

euphonium, Ryo Sasaki on

trumpet, Gene Ghee on tenor

saxophone and Tulivu

Cumberbatch on vocals, singing

"Mockingbird," arranged by Wade Barnes. The original bass

player of the Brooklyn 4 + One and the BRE was Leonard Gaskin,

who played on the original recording of “Mockingbird.” Julian

Pressley played a haunting solo on Mockingbird,” and Dick

Griffin soloed well. Ms. Hope played a beautiful lyric solo.

Then they played a Barnes original, "Little Big Sis,” and an

imaginative Barnes arrangement of "Blowing in the Wind," the

horn lines waving like wind, adding an ethereal aura to the song.

Ms. Cumberbatch sang in a lyric plaintive fashion. At the end of

the ceremony, Wade Barnes’ daughter Naima thanked all who

participated in the tribute.

Eugene Ghee, MC, Producer,

Tenor Saxophonist


ENGLAND EVENTGIG REVIEW

by John Watson

Band: Dave Lewis' 1 Up.

Venue: Pizza Express Jazz Club

Soho, London, UK. Sunday,

17th June 2012

Dave Lewis is an

experienced and versatile sax

player on the London scene. One

night he can be found performing

with a big band playing Dizzie

Gillespie transcriptions, and the

next with a rock or blues band. However, last weekend I caught

him performing with his own band Dave Lewis’ 1 Up at Pizza

Express Jazz Club Soho (just a street away from Ronnie Scott’s).

Before we go any further; some ofmy American friends laugh

when I mention “pizza” and “jazz” in the same sentence. However,

Pizza Express has been putting on live jazz since the 1960’s and

continues to host gigs in several venues in London and across the

UK. The Soho venue is in the basement of the main restaurant and

holds about 100 people.

Back to Dave Lewis’ 1 Up: the band opened their set with a

Crusaders’ piece entitled "Stomp and Buck" (rather suitable as

Dave cites the Crusaders as one of the main inspirations for the

band). The band was then joined by vocalist Polly Gibbons in the

first of several originals by Dave Lewis and Fi Carrioll entitled

"Turn It Around." Polly’s husky voice perfectly suited the line-up

whether on funky numbers or more sensitive ballads. Sean

Hargreaves was an unobtrusive but very supportive accompanist

on both grand piano and electric (Wurlitzer). Sean studied briefly

with the late, great Oscar Peterson. Mike Outram (electric guitar)

played some amazing solos and bassist Neville Malcolm got the


John Watson, Pianist, Arranger,

Musical Director, Singer

Photo: Max Garr

chance to shine in "East Coast Strut" ( another funky Lewis

original). American drummer Rod Youngs certainly kept the

energy going and was perfectly complimented by percussionist

Pete Eckford. I was seated near Pete and couldn’t help noticing

how he never over-played and yet got it just right for every

number (like a first take in the studio).

As for the leader of the band; Dave moved effortlessly from

funk to ballad to blues. Talking ofwhich, his solo in "Dr.

Feelgood" really brought the house down. I asked Dave what were

his personal influences and he listed Joe Henderson, Hank Mobley,

Stanley Turrentine and Junior Walker as saxophonists he admired.

If you would like more information on Dave Lewis' 1 Up go to:

http://www.davelewis1up.com/ and for more information on live

music at Pizza Express go to: http://www.pizzaexpresslive.com/

Line-Up: Dave Lewis (tenor sax); Polly Gibbons (vocals); Sean

Hargreaves (piano/el. pno.); Mike Outram (electric guitar); Neville

Malcolm (el. bass); Rod Youngs (drums);Pete Eckford

(percussion)

Set List: "Stomp and Buck" (Crusaders); "Turn It Round" (by

Dave Lewis & Fi Carroll - title track from previous album); "The

Further You Fall" (by Dave Lewis & Fi Carroll); "Take A LIttle

Time" (by Dave Lewis & Fi Carroll - original)" Dr. Feelgood"

(Aretha Franklin); "Hurt Inside" (original);"Deep Underground" (

by Dave Lewis and Fi Carroll); "The Thrill Has Gone" (B.B. King)

"It's A Real Motha For You" (Johnny 'Guitar' Watson); "East

Coast Strut" (original - great bass solo from Neville Macolm);

"Love Gives"; "Ain't It True"; "Rock Steady" – Aretha Franklin.

BARRYHARRISJAZZWORKSHOP

I�ROMASept. 17-21, 2012

Info:A��APA�TUSO

@HOTMAIL.COMTel. : +39 3393383139

QUOTATION:"Practice a Million Hours."

-Junior Cook, Saxophonist

"You can't take offwithout a

launching pad."

-Lonnie Hillyer, Trumpeter


by JoeMagnarelli

My Old Flame:

Songs: My Old

Flame, I’ ll Be

Seeing You,

Highbridge,

eracism, The

Duke, Blues for

‘Skee” (Dennis

Irwin), When

Your Lover Has Gone, Bilbao, McChesney Park.

With Quintet & 16 Strings. Quintet Personnel: Joe Magnarelli,

T, Jimmy Wormsworth, D, Rick Germanson, P, David Wong, B,

Dick Oatts, S, Peter Bernstein, G, Vince Cherico, D, Wilson

“Chemo” Corneil & Daniel Sadownick, Percussion. Arranger:

Marty Sheller. Released in 2010.

My Old Flame, a recording with strings, was about a two year

process. Being a fan ofClifford Brown with Strings, and of course

Charlie Parker with strings, I had imagined myself in that context

for many years. But, actually thinking about making it happen

started in 2008, I have a good friend who plays violin, Efrat

Shapira, she started turning me on to the Emerson String Quartet,

and Bartok string quartets, and she was encouraging me to do

something with strings.

My Old Flame was a project that took about two years to

complete.

I was studying ( and still am) out of orchestration books at the

time, 2008, and was putting some 'pads' down on paper to a couple

ofmy favorite ballads. I realized then that my own writing would

not be ready for many years. That's when I called Marty Sheller,

my friend, and someone I had worked for in the recording studio.

A great orchestrator and composer, and very well known in the

How To Make a CD that May Outlive You

Joe Magnarelli


Latin jazz genre.

I also thought a cd of just ballads was not what I wanted, [and]

Marty agreed, so we included 2 ofmy originals, and, Marty did a

great thing with Dave Brubeck's " the Duke," making it a Cha-Cha.

Overall I think there is a good variety ofmoods on the cd.

I contacted violinist Genice Grice, the wife ofmy good friend

Tony Reedus. She helped organize the string players, since I knew

only a couple, and we did the date all in two days with one day of

rehearsal.

Marty's writing is so beautiful, he created beautiful settings for

all the tunes. We had the easy part, just play and have fun.

The months preceding the recording, I spent a lot of time

practicing, and memorizing the string parts. Not only did I feel

more connected at the date, but I learned so much about

orchestration.

It was a learning experience, producing, contracting, playing

and composing. See JoeMagnarelli. com

“The UnforgettableHampton Family”

Director of Emmy Award WinningFilm Talks About Hampton

FamilyPart I: Note: The African

American territory bands from the

1920’s-60’s disseminated jazz

throughout the Midwest. There

were Caucasian territory bands but

not primarily in that section of the

country. There were a few

integrated bands like The

Sweethearts ofRhythm. In the

1920’s, territory bands travelled by

station wagon with another vehicleDawn Hampton & Julie Cohen,

holding an Emmy Award

JAZZ HERITAGE


behind. There were 900 dance

bands in 1924, providing jobs

for 7,200 musicians. The

Hampton Family Band has

produced 80 years of

musicians, spanning blues,

swing, bebop. The father,

Deacon Hampton, was a self

taught musician. The mother

Laura played piano. “The

Unforgettable Hampton

Family” breaks away from

many commercial films in the

past, in which scripts portrayed African Americans only in

subservient roles and not depicting their contributions to history.

Director Julie Cohen, an experienced prize-winning

documentarian, shared the story of the making of “The

Unforgettable Hampton Family:”

Julie Cohen, Director [JC]: “I did not know her [Dawn] well

when I started the project. I had earlier done a documentary about

Frankie Manning and in the course of doing that I saw great

footage of the two of them dancing together, and then I saw Dawn

as one of a number of people who danced at Frankie’s memorial

service. And [Dawn] made a grand entrance as only she knows

how to do and seemed like such a remarkable person…

“[Then] I went to a workshop she made on bhangra [dance] and

Dawn was so entertaining on that I knew she would make a

wonderful interview. I had not known until that point about her

wonderful siblings and the family band they had together as

children, and in fact, [that] a number of them had gone on to great

musical careers separately. On You Tube, I was able to find

footage of her sisters in Indianapolis, Aletra and Virtue, (who had

passed away by the time I started the project) on piano and bass

duets. They were extraordinary performers and it was quite

unexpected to see women in their 90’s play the bass with such

verve and style…I was not aware that her brother was Slide

Fans live it up at Dawn Hampton's

birthday party, dancing to the

strains ofGeorge Gee's Swing

Orchestra


Hampton the prominent

trombonist. That and her own

family story seemed like a strong

basis for a film. I was also

producing for a New York

audience, and Dawn had spent had

own her history performing in

Greenwich Village, and that

opened the door to an interesting

world that I hadn’t known about --

the Gay music scene in 60s and

70s, ofwhich she was a major part.

So we spent some time trying to

find a fan of hers from that era,

that we could interview alongside her. There were three big sit

down interviews, one with her and (her brother) Maceo, (one with)

George Gee, and one with a fan of hers from Greenwich Village

scene, Freeman Gunter. Dawn is the sort of person who has a skill

for interacting with others, so she was good to interview.

“I guess it was sort ofDawn in some ways (who) suggested the

theme in a couple of interviews; in terms of crediting, really, all of

the success, both in terms of public recognition, but also in terms

of personal satisfaction, tying [that] back to her extraordinary

father, (Clark Deacon Hampton) and his attitudes towards his own

life and family. Despite coming from extremely difficult

circumstances, having almost no money and being African

American at a time when that would raise huge barriers to

education, professionally, [in] almost every area of life, even

without any formal education, [Deacon Hampton] had an agenda

that he put forth himself for his wife and kids. ‘ I have a plan of

how my kids are gonna make it in this world, through becoming

performing artists.’ [Deacon Hampton] he did not take the time to

let the kids grow up, he just—‘One way we would lift the family

out of poverty would be through performing, that is one way

whites are able to accept blacks, that would be a way that I can

provide for my family and they can provide for themselves.’

Dawn Hampton dances at Swing

46 recently


“The father [Deacon Hampton] had

extraordinary talent, but the kids did

not necessarily have it. Slide said he

was not innately talented, [it was that]

he worked hard [at things] that seemed

to come easier to his other siblings’

pure musical talent.

“Dawn has extreme musical talent;

now she does her whistling and

teaching dance, but she was a great

singer, saxophone player, [doubled on]

other instruments, the kids had more

than one, [so they could spell each

other] . Her real talent is as a

performer, which is evident from the

fact that although certain parts have dropped out of her

performing, due to thyroid problems in the 60’s, as she grew older,

singing was not an option, but it was easy for Dawn to shift to

teaching and dancing. Her stage presence was her skill,

captivating the audience onstage. And that goes back to her father

who was teaching her and Maceo (closest in age) how to do

vaudeville performing.

“[He taught them that] In front of an audience you have to give

them a full entertainment experience, and she has a great talent for

public speaking. [for example,] Since the film came out she and I

have done some Q&A’s. She is really good at that, she really

understands how to talk about things that would be of interest to an

audience. She stands up and gestures with her hands until people

really do give her a standing ovation; [or] the way she dresses.”

Dawn Hampton

“Dawn has a complete understanding of performance

magnetism and entertainment. [It is] Not just an act. I have done a

number of documentaries about performing artists, and it isn’t

uncommon [for a person] to be a great performer onstage, but

when the show is over or the camera turns off, the person is not

one who loves interacting with people.

Jazz Culture at �YJP, VI:10 1 3

“But Dawn has the same personality onstage that she has under

the camera. She is very interested in other people, which isn’t true

ofmany people who have star qualities. Every time I see her, she

asks about my husband and about Alex Lowther who was the

editor and field producer on this project. I was impressed with her

on all kinds of levels. She has a huge following, and a lot of that is

that people love her. She is very loveable and she has an attitude

towards life where she is not going to let things get her down.

Seven to eight months ago(?)she was having a problem with

sciatica. She said from the start, ”I’m going to get better.” And

she feels a lot better now.

JazzCulture: Did you travel a lot to make this film?

“Julie Cohen: Yes I travelled but not too much…Herreng, the

dance camp in Sweden she goes to in the summer. . .Alex spent a

week in Herreng shooting that. I also went to Chicago to film a

number ofmembers of the next generation, nieces and nephews,

grand nephews, who carried on the legacy and become music

performers so I was eager to meet a group of them and most live in

Indianapolis or Chicago. Other than that it was [made]mostly [in]

New York.

“The footage ofDawn’s older sisters, who had already passed

away when I started the project -- fortunately WFYI (in

Indianapolis) had covered them pretty extensively. A few years

earlier on the occasion of their doing an album, WFYI had filmed

them doing the album and had a sit-down interview. WFYI

licensed it to us for a reasonable cost. They gave me the field tapes

to watch and pick out and the sisters [Aletra and Virtue] were

terrific in their own right and shared Dawn’s attitude of

enthusiasm. And like Dawn they put a fair amount of cheekiness

and even dirty jokes [into their act] , something you don’t always

expect from a 90 year old woman. They [the sisters] always put on

matching outfits. Dawn’s clothes are one of a kind things. . . but

her sisters … I think one of them can sew. They have hats with

Treble clefs symbols, they had a great sense of style. The nicest

part ofwatching the film with Dawn is seeing how strongly she

reacts to seeing the footage of her sisters talking and performing.


“There were several pictures of the full family playing at an

early age, and one taken when they were teenagers and young

adults and two or three people that played along that were not in

the family. That was when Dawn was a saxophonist. It’s obviously

a real help when a family has saved newspaper clippings and a

number of people in the Hampton family were great at that. Dawn

had scrapbooks and clippings and so did Maceo and a couple of

her nephews. Piles of stuff that was extremely valuable, nice that

they had pictures of their dad.

"Maceo played trumpet, and was one of the most talented

[musicians] . Although as an adult he became a minister, he told

me the story of during the period when they were playing side

show entertainment at circuses, that because of his dad’s

commitment to educating not only the family, but whatever other

children he met on the road, teaching math, history and English.

[He was] teaching young black children to read, [reading] from

Booker T. Washington and Frederick Douglass. Maceo told the

story of a group of locals coming and try to lynch him [Deacon

Hampton] . They were able to thwart that attack because circus

friends, mostly white, decided they wouldn’t stand for this, and

stood guard at night to prevent people coming to attack Deacon

Hampton. The attackers were unsuccessful.

"The family members have such strong stories and were such

great interview subjects, particularly Dawn, [with] a lot of clear

memories and stories to tell. This family is really extraordinary.

Without being famous (with the exception of Slide), people are

unfamiliar with their story. There was so much good material and

recordings, [so] I was very optimistic that it would come together

as a story that was very entertaining, but has a lot more to it as

well.

“Plans for The Unforgettable Hampton Family? [ I would] like

it to be seen as much as possible. In February, 201 1 it aired in

New York and in February 2012, it aired nationally, on PBS

stations[ throughout the] country. [In] most of the country it aired,

through one of PBS’ national distribution services, and so many

stations got to see it. It has shown at some film festivals as well. I

Jazz Culture at �YJP, VI:10 1 5

know Buddy Steves, (Myron Steves, Jr.) the Houston businessman

and dance aficionado who funded the film, has shown it to the

dance fans who gather for a Lindy Festival every year… [in]

national lindy events and [he has also] has spread the word to the

swing community, which is something I also had not been so

aware of until I did the film about the Hamptons and the earlier

one about Frankie.

"I often do documentaries about people in their 80’s and 90’s

because they have a lot to tell. I actually make a lot of

documentaries about a lot of different kinds of people, and

sometimes I don’t maintain the relationship after the fact, [but]

with Dawn I really, really love her on a personal level, not just as

the subject on camera, [but as] the type of person you’d like to

spend time with. Dawn is interesting on all kinds of levels, and

given her life, I am always impressed by how much she is

interested in others. [She is] really a fun, thoughtful person.

[With] Dawn, I always have fun at a big event or visiting her at

home in the village. “ See DawnHampton on Facebook.comLet's Link/Musician Correspondents

See Barry Harris.comKuniMikami.com@CD

Baby‐"Hamp's Boogie"

See LafayetteHarris.com

Clarence Banks, Count Basie

Trombonist, Private Lessons,

Clinics, call 917-428-6746

We rememberDr. Frank Foster:Listen to hisNippon LamentPhoto: Brian

McMillen


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