Document

TheJAZZ CULTURE

1The Jazz Culture, VI:48

The Jon Faddis Orchestra Tribute to Dizzy Gillespie at the Rose

Theatre, Jazz at Lincoln Center

2 The Jazz Culture, VI:49

REVIEWThe Jon Faddis Orchestraby L. Hamanaka

Jon Faddis, conductor & 5th trumpet, Todd Coolman, bass,

Ted Rosenthal, piano, Ignacio Berrios, drums, Pedro Martinez,

congas; Trumpets: Lew Soloff, Greg Gisbert, Tanya Darby, Max

Darche; Trombones: John Fedchock, Conrad Herwig, Shannon

Bennett, Douglas Purviance, bass trombone; Saxophones: John

Raganazza, Steve Wilson, Mark Vinci, Salama, Frank Basile.

Guest soloists: Jimmy Heath (saxophones) & Steve Turre

(trombone and conch).

Caught The Jon Faddis Orchestra at Jazz at Lincoln Center

Friday, March 8, presenting the rarely heard, legendary book of the

Dizzy Gillespie Big Band circa 1947-1949. Jon Faddis conducted

boldly and brilliantly; his orchestra’s performance was

exponentially greater due to his leadership as a conductor. Similar

to Coleridge Taylor Perkinson, another conductor who was able to

separate and combine different sections of the ensemble, Mr.

Faddis got the colors and spirit he wanted from the Orchestra and

was well prepared to present this part of the historic contribution

of his mentor and idol, Dizzy Gillespie. “Jumpin’ with Symphony

Sid” (Lester Young/King Pleasure) was the opening number, with

a flurry of trumpet bravura, started with a sharp, virtuosic bop

cadenza. Shannon Bennett, trombone, took the first solo, a short

well punctuated solo with a strong tone. The saxophone section

stood for a short section solo, and the trumpet section was

outstanding; the rhythm section was bouncing, joyous and locked

down. Actually most of the solos in the first half of the program

were short because Mr. Faddis wanted to expose to a significant

audience arrangements that had not seen the light of day since

1949.

Next was “St. Louis Blues” opening with a splendid, historic,

3

Cobi Narita & Paul AshPresent in March, Women's Month:At ZEB’s 223 W. 28 St., 2nd flr. (Bet. 7 & 8) Tickets: 516‐922‐2010

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

Open Singers Jam from 3-6 p. w/Frank Owens $10Friday March 15:

LADYS GOT CHOPS 7-11 p.m., The 11th Annual Women’s HistoryMusic & Arts Festival, “MUSI-ARTI-COPIA” $20/ Mem Nadhr, V; Bertha

Hope, P, Kim Clarke, B, Andrea Brachefield, Ft; Meg Montgomery, T;Nikita White, V, Sheryl Renee, V, Claudia Hayden, Fl; Lisa Santiago,p;

other sponsors: Jazz Fdn, Women in JazzFriday March 22:

7-11 p.m. Willie Mae Perry with the Frank Owens Trio, Paul West,Bass, Greg Buford, drums $15

Saturday, March 2:8 pm. Emiko Mizoguchi & Derek Hood Concert with the Frank OwensTrio, Paul West, Bass, Greg Buford, drums

Friday, March 8:7-11 p.m., Tribute to Delilah Jackson by Jazz & Tap community,FREE; Hosted by Rev. Dale Lind at St. Peter’s Church, 54 St. & Lexington

The Jazz Culture, VI:49

Review 1‐5England Event J. Watson 6‐10

How To Do A JazzConcert C. Narita 11‐16

Jazz Heritage 17‐22Sheila Jordan

Gig Listings‐Letter 25‐[email protected]

http://theJazzCulture.com © 2012ERRATA: Last issue, two sponsors were left out

ofthe Lady Got Chops Festival: the Black Rock,

and Amsterdam �ews newspaper, which helped

Kim Clarke with the publicity for her festival.


fanfare with the rhythm section playing

a Latin beat that changed to swing.

Ralph Lalama, tenor saxophone, played a warm swinging solo,

telling the story ofBlues in St. Louis with fiery licks. Mr. Faddis

played double time on the blues, running up and down freely from

his top (which is very high) to bottom, easily screaming High long

tones descending with some deft syncopated lines.

“Stay On It,” followed, lines beginning with triplets, at 1 75=

quarter note at a brisk call and response between saxophones and

trumpet sections. The balance between the horns and the rhythm

section was good. Frank Basile played a short baritone solo. Jon

Faddis played with fire and a pretty tone, but seemed to have to cut

short his own solo to conduct the band. Pianist Ted Rosenthal

started by climbing instead of descending the chromatic scale, and

followed with exciting and short motifs.

Tad Dameron’s “Our Delight,” was next in a brilliant

shimmering arrangements with the signature Dameron sound, at

1 75=quarter note. Max Darche played a very nice solo, showing

good technique and presence. Dameron’s arrangement pales most

modern arrangements in direct soulfulness and warmth. Mr.

Faddis’s sound in the upper tessitura is very bright with good

phrasing and self assurance.

During a period when Dizzy Gillespie was not working, he

studied and composed, and one result was “Woody ‘n’ You, or

“Algo Bueno” (Something Good), a song of flagrant romanticism.

Mr. Faddis played the melody, starting with 16th note triplets and

in his “Faddis-sphere” mode, peppered the theme with obligato,

mentioning that “A lot of old three minute arrangements . . . have

not been heard since 1949.” The orchestra conveyed the thrill of

Diz’s band at its height. Later songs featured Jimmy Heath, who

worked in Dizzy Gillespie’s Big Band in 1949.

The Orchestra then featured Lew Soloff, in the classic, “I

Remember Clifford,” by Benny Golson. The orchestra played

cont. from p. 3

The Jazz Culture, VI:49 5

with a strong vibrato and great tenderness; the whole band seemed

to express their love for Clifford Brown. The band felt the

subdivisions of the beat beautifully and created a pulsing

framework for the soloist. Mr. Soloff had a fine tone with just

enough vibrato, very clear, and especially unique in his lower

register, which was like a dark mezzo color with beautiful tone

quality, now dipping into his lower register during a double time

section and crescendoing to a dramatic flare, and then easing to a

full toned cadenza, masterfully played, then dying away.

“Emanon” (or No Name spelled backwards) followed at about

144=quarter note, a groovy swing. Conrad Herwig soloed on

trombone, sort of dancing with loose hips as he played - able to

play accents effectively between the beats using his instrument

with its special qualities; Greg Gisbert soloed on trumpet, starting

with a couple of shouts, playing call and response with the band,

diminuendo into a duet with the drums,triplets then scalar

lines,1 6th note runs, breaking into some blues licks. Jon

Raganazzi, tenor saxophone subbing for Walt Weiskopf, played

some interesting ideas but did not seem to pause, with good

circular breathing technique, then later added accents. The final

chorus had bright, joyful architecture. The rhythm section was

vibrant and swung hard and looked very relaxed.

“Things to Come” about 300=quarter note, was the last song

of the set, showing the virtuosic speed of bebop, one of the things

that made Bird and Diz and other beboppers famous. Steve Wilson

took a solo where his attack was good, and his tone was his own, a

unique burnished sound. Mr. Faddis soloed mostly of the time an

octave above everyone else, and his sound was very pretty, like

liquid gold, at pitches that only dogs could transcribe. Mr. Faddis’s

love of the big band format showed. He also told a lot of funny

jokes and cast a friendly glow. The band shimmered with

excitement, dynamic variety and power. America’s cultural

heritage deserves to be heard, and that evening’s music was a good

example of how it enriches all audiences.

ENGLAND EVENTThe Darius Brubeck Quartet At The Forge

Friday 1st March 2013

Review by John Watson

Line-up:

Darius Brubeck - piano

Matt Ridley - bass

Wesley Gibbens – drums

Dave O'Higgins – sax

Just a couple ofmiles

north ofLondon’s West End is

the vibrant, slightly bohemian area ofCamden and among its bars,

clubs, restaurants and boutiques is The Forge Music & Arts

Venue. Opened in 2009 by musicians Adam and Charlotte Caird, it

is an intimate concert venue with great natural acoustics and they

put on a varied programme ofmusic ranging from classical to jazz

and world music. It was a full house for this performance by The

Darius Brubeck Quartet, but we managed to find seats right by the

stage.

The musicians came on stage to an enthusiastic reception all

dressed in suits and ties. A smiling Darius approached the

microphone and spoke with warmth and ease to the audience and

then sat down at the Steinway ‘B’ grand piano. As we were close

to the stage, I was able to hear him whisper to the band, “think

dynamics” before launching into ‘Blue Rondo á la Turk’ (a Dave

Brubeck classic requiring no introduction). Matt Ridley on double

bass and Wesley Gibbens on drums gave perfect support (and

dynamics) throughout and obviously knew the piece very well

having been Darius’ rhythm section for the past six to seven years.

Dave O’Higgins gave a great tenor sax solo really stretching out

John Watson

Photo by: Max Garr


over the blues section and moving away from the basic chord

sequence with short melodic figures reminiscent ofOrnette

Coleman. Darius gave a considered piano solo moving into

polytonal territory in true Brubeck fashion and Matt played a very

melodic bass solo.

Darius again played homage to his father with a number

entitled ‘The Duke’ (from the pre-‘Time Out’ period). Dave

O’Higgins moved to soprano sax for this tune with a solid walking

bass acc ompaniment from Matt with Wesley using brushes.

Darius chose to use a block chord style at the beginning of his

piano solo then changed the colour with intricate lines in the high

register. Matt showed off his technique with dancing triplet figures

but was never too busy making good use ofmusical space.

We were then treated to a recent original by Darius entitled

‘Crete’ (inspired by his first visit to Greece). The piece started

with an unaccompanied introduction by Matt where he really

created the atmosphere of the piece using the full range of the

bass; playing intricate phrases in the high register juxtaposed with

rich low notes and harmonics. The rest of the band entered moving

into a 9/8 section (with rhythmic similarities to ‘Blue Rondo á la

Turk’) evolving into a medium-paced jazz waltz. The main theme

was predominantly in a minor key moving to the major during the

bridge and Dave (on soprano sax) gave an interesting and

thoughtful solo, as did Darius, before returning to the main tune in

3/4 and then back into the 9/8 version ending with an atmospheric

broken triad figure on the piano. All in all, this was a challenging

arrangement and Darius explained that the quartet likes to

constantly try out new material to keep their performances fresh.

In contrast, the next number was the jazz standard ‘(I Don’t

Stand A) Ghost OfA Chance’ . Darius started the tune

unaccompanied using some rich cluster chords and then the

rhythm section entered at a medium swing pace (Dave joining in

on tenor sax for the bridge). All played nice solos with some


intricate yet unobtrusive drum accompaniment from Wesley which

really added to the ebbs and flows of the performance and the first

set ended with another Darius original called ‘The Parrot’ (a lively

Mexican-inspired piece). IfWesley had been contained so far

during the first half, he certainly got a chance to shine in this one

with a great solo in the coda section over a riff played by the rest

of the band demonstrating some tremendous and colourful snare

drum work which brought the house down.

The second set began with a song by the South African

musician Duke Makasi entitled ‘Baby I Don’t Know’. Darius has a

longstanding connection with South Africa both as a performer

and educator and Wesley (who is from South Africa) laid down an

authentic straight 8’s contemporary beat complimented by a solid

bass line from Matt. Dave got a very enthusiastic reaction for his

solo in which he showed a more soulful side to his playing

(reminiscent ofwhen I saw him playing with the Kyle Eastwood

band at Ronnie Scott’s a few years ago). Darius used a Shearing-

like locked hand style in his solo and some very rhythmic

phrasing.

The next tune was, in Darius’ words, a “world premiere” which

the quartet had literally just run through during the sound check

entitled ‘Fifteen’ . After a few bars it became apparent that the

piece was in fact in 15/8 time (or possibly alternating bars of 4/4

and 7/8). Matt and Wesley maintained (with apparent ease) an

intense rhythmic accompaniment allowing both Dave and Darius

to stretch out over the modal tune which was a real hit with the

audience. It is interesting how sometimes the least rehearsed

number can really connect with an audience partly due to the

freshness and spontaneity of the moment.

It was back to the Dave Brubeck repertory for the next number,

a minor blues entitled ‘Audrey’ (after Audrey Hepburn). A

plaintive solo from Dave O’Higgins was followed by a piano solo

from Darius which included an extended crotchet triplet section


across the 4/4 accompaniment and some rich voicings, not

forgetting an excellent bass solo from Matt.

Cole Porter’s ‘Everything I Love’ followed and Darius was

quick to acknowledge the chord changes were by Dave O’Higgins.

Dave has been working on a project with bass player Geoff

Gascoyne writing new tunes to famous chord sequences (in true

bebop tradition) so it was interesting to see the process in reverse.

There were excellent solos by all showing their mastery of the

bebop style yet with the sensibility of 21 st century jazz musicians.

The next number, requested by a member of the audience, was

‘For Lydia’ (which Darius composed for his granddaughter); a

lovely tune with a bossa nova style accompaniment and a chord

sequence which simply cries out to be improvised over.

Incidentally, a notated version of the tune has been published in

the ABRSM 2013-14 Grade V piano exam syllabus (much to the

pleasure of students I’m sure).

It was time for the last number of the set and it could only be

one title: - ‘Take Five’ ! Dave gave a great tenor sax solo playing

around with semitone shifts over the modal riff and Darius began

his solo using a sharpened 9th chord (major 3rd instead ofminor

3rd) which gave a surprising change to the colour and mood. In

true Brubeck fashion he developed the solo in a more rhapsodic,

classical fashion (reminiscent ofRavel’s ‘Bolero’) over the anchor

ofMatt’s relentless bass line. As with the last number of the first

set, there was an opportunity for Wesley to shine on drums with a

masterful solo showing great dynamics and rhythmic invention.

After rapturous applause the quartet returned to the stage to give a

swinging version ofMercer Ellington’s ‘Things Ain’t What They

Used to Be’ .

The Darius Brubeck Quartet’s eclectic (and ever-growing)

repertoire stretches both the musicians and listeners and yet

somehow remains totally accessible. Darius’ easy-going manner


HAPPY BIRTHDAYCOBI NARITA!!

Above, Cobi �arita welcomes guests at her birthday party;

below, Paul Ash recounts the moment he met Cobi at a Collective

Black Artists concert years ago, and felt the sting ofCupid's

arrow. "You've got to meet her," a friend exclaimed. He did, and

offered her a lift to her home in Manhattan, even though he

lived in Long Island. The rest is history for one of�Y's famous

jazz couples.

and warmth draws in the audience and he shows great musical

generosity on stage to his musicians enjoying the chemistry of his

quartet as an entity (not a backing band). For example, during Matt

Ridley’s bass solos, Darius’ comping was very quiet and sparse

and sometimes he would drop out completely. Darius has firmly

established his own voice in the jazz world drawing on many

influences and composing original pieces and, at the same time,

keeping the Brubeck legacy alive. On a final note, I must mention

that The Forge is a fantastic discovery and I can’t think of a more

perfect venue to have seen a concert by the Darius Brubeck

Quartet. * * *

1 0 The Jazz Culture, VI:49


Cobi's friends and artists

gathered at Zeb's; one ofher

singers woos crowd; adopted

'children' spoke out

1 2

HOW TO-DO A JAZZ CONCERT


by Cobi �arita

Pub. Note: Cobi Narita’s genius for

organization and people skills have

benefited the jazz community for almost

two generations: her compassion, hard

work, attention to detail, persistence and

‘can do’ attitude, humility and love of

people could serve as a role model for the

entire service industries upon which the

American economy is now primarily

based. Along with her soul-mate, Paul

Ash, she has served unstintingly for the

proliferation of jazz music in New York,

the jazz capital of the world. Here she

gives advice and tips on how You can plan, create, and see a

concert through, large or small, that you can use for your next

project.

First of all, I think that you have to figure out where you want

it, when you want it and why you want it; you find a place, it’s too

expensive, then find another until you find the right place. By then,

you’ve already organized your program.

To organize a program, think of a theme and invite everyone to

work around the theme, then make sure there is no duplication in

what will be presented. Decide what you want on the program, get

your program together: the people you want, the order you want to

present it in.

On the free concert for September 1 1 -- we called ours “Never

Again”-- that was our theme. Over 100 people signed up. We

Cobi �arita at one ofher

concerts

1 3The Jazz Culture, VI:49

didn’t want two similar singers following each other, so we

separated them with dancers and soloists. The soloists all played

with the rhythm section: Frank Owens, Paul West and Greg

Bufford. The concert was at Zeb’s (Saul Rubin’s place, and now

my new space; at 223 W 28 Street, NYC); nearly 100 people

packed the place. It was a Celebration, like “America is Strong,”

so they all did strong songs.

Zeb’s has a wonderful ambience. It reminds me ofCobi’s

Place.

JC: You had to learn about acoustics.

CN: I took lessons from Richard Applegate, the best sound

engineer in New York. He since moved to Texas. He gave me

four lessons, so I can get a pretty nice balance: how to work the

fazers—the bass, the mid and the treble, but we usually a

professional sound engineer. If you want one, you can also hire a

professional videographer and photographer.

JC: I remember Rick Applegate.

CN: 1978. Damrosch Park was one ofmy first “Women in Jazz”

festivals. They didn’t charge me rent. I only paid for the outside

equipment, about $3000.

About PR: In the old

days we made our flyers

using press-type. It’s so

quick and easy

nowadays. A mailing

list is all you need. You

send out immediately.

Before that I was

emailing it out to my

own list, 50 names in a

Paul Ash, Cobi �arita and Emiko at Billy

Harper concert


group, 5 groups at a

time, and you wait 3

hours and send out

the next batch. Now

I use Constant

Contact—so quick

and easy— and

advertise in

publications. When I

was doing my own

newsletter or fliers I

was mailing out 3000

to 4000 every month.

That’s postage plus

envelopes, printing and folding. I usually made color flyers. Paul,

my husband, put the stamps and labels on. And 8-10 friends

would come and stuff and seal the envelopes. Then we had to take

them to the post office. It took so long. Nowdays I love using

Constant Contact. And don’t forget, your artists should be

emailing the concert flyer to their mailing lists. They should list

their event on social media sites, like Facebook, and they should

drop their flyers at all the music locations they can think of.

For two years I put out Cobi’s Music News, a 32 page

magazine monthly. Some of the articles were donated by friends,

and I wrote the editorials and about who we had at Cobi’s Place.

I’d put pictures and articles about what was coming up. Sokie

Lee, a wonderful graphic artist, would put the whole thing together

for me.

JC: Do you think you’ve developed a lot of artists through your

org?

CN: Yes, since 1976 I gave them opportunities to perform. But

they really worked hard on their own, and some of them are quite

famous today.

Cobi �arita, Paul Ash & Family when Cobi

received award

from Japanese American Association


JC: Do you think jazz is getting mass media.

CN: I think the media is doing better. There are so many outlets,

Jazz Times, Hot House, NYC Jazz Records, and magazines.

However, major newspapers gave up many of the jazz columns

they had. John Wilson wrote for the NY Times. What a wonderful

man. He supported and wrote about everything I did!

A most important thing is what you send out to your press. Try

to make personal contacts at every major newspaper—they give

you their direct email—then usually they have to take your release

to their editor. So you have to send it in plenty of time, say 6

weeks or more. Scan pictures, whatever size they ask for, give

them your contact email. I do a lot of things with lesser names, and

when I do, the press doesn’t pick it up. So I suggest that all my

artists ask a good friend with a name to be a special guest, so that

when you organize your own concert you can use their name in the

press and on your printed program.

Your Press Release: Put your email address or telephone for the

press to call you back above the line “FOR IMMEDIATE

RELEASE.”

Start with a one liner that gets their attention. The first

paragraph should be Who, What, Where, When, What Time, Cost

ofAdmission, and Reservation number. Then continue in the

second paragraph with a brief description of the artists who are on

the concert, i.e. , George Coleman, tenor titan.

Day of the Concert: Tune the piano two hours ahead. Have a sound

check. Put up signs. Saint Peter’s Church is one ofmy favorite

site.

Have your Reservations list in alphabetical order, last name

first. Limit comps. You can have a Guest Book people can sign


and leave messages—for example, on birthdays.

At the end of the performance, have everybody’s checks ready

in envelopes.

Tickets: Today people use ticket agency, like Brown Paper tickets.

I grew up liking to organize things. I’ve done this all my life.

I might try to do too much sometimes, but I loved doing it.

Some ofCobi's concerts

1 7

JAZZ HERITAGE


SHEILA JORDANto L. Hamanaka

Pub. Note: Sheila Jordan,

arguably the Queen of jazz

singing in the world, with an

international following, a

unique sound, style, and feeling,

a great interpreter of standards,

one of the few singers who can

use the chromatic scale with

artistic taste, bridging several

genres in jazz, was at home and

gave this interview for Jazz

Heritage and Women’s Month.

JC: I saw a photo of you online, sitting next to Barry Harris as

teenagers or young adults—you’re both so serious.

Sheila Jordan: The photo was taken in New York City in the early

50’s at a jazz club on 52nd street. I had moved here and a lot of

times when the Detroit musicians whom I was close to came into

town, I would put them up at my loft. . . The guy next to Barry in

the photo is Doug Watkins, a great bass player, who died quite

young in an automobile accident.

JC: Given your varied roots, the Pennsylvania coal mines, the

urban industrialization ofDetroit, and the native American

heritage, do you think they all influenced your style?

SJ: Absolutely, no doubt about it. I’ve been singing since I was

three. Not jazz, but you know the songs of the day, which were

Photo by: Ed Cohen


great songs…Like Cole Porter, George Gershwin, they were on the

“Hit Parade” and I would hear these songs when I was a little kid.

We didn’t always have electricity, because if the bill wasn’t paid

the lights were cut off. I didn’t know what I wanted to do till I

heard Charlie Parker.

[Before then] I was a big Fred Astaire freak. I loved his singing

and dancing; he made movies with Ginger Rogers. I used to walk

two miles to see a Fred Astaire movie. He sang a lot of wonderful

songs. Between the radio, “Hit Parade”, and going to Freddie

movies -- that was my learning.

JC: You moved to Detroit when you were 14.

SJ: I lived a poverty stricken life with my grandparents in a coal

mining town in Pennsylvania. I moved to Detroit when I was 14

and that’s where I heard jazz for the first time. It was very difficult

for a young white girl to go out and hear jazz music. There was a

lot of discrimination at the time. The cops were against interracial

mixing. I took chances. I didn’t care, the music was more

important to me than anything. I heard Bird’s “Now’s the Time”

playing on a jukebox across the street from my high school, and

after hearing Bird I decided to dedicate my life to the music. I

never gave up.

When I was 18, I moved into a young women’s residence. I

worked in an office and finished high school. I’ve been on my own

since my late teens, but it wasn’t easy because of the racial

discrimination in Detroit. They were very much against whites

mixing with Afro- Americans. The police were always stopping

me when I was with my Afro-American friends. They would ask

me my age, where I was going, where I lived, all that bs. As

upsetting as it was, they were not going to tell me who I could

hang out with.

So I’m here today doing the music. I won out.


JC: I remember the song you wrote when your

house burned down.

SJ: [That was]“Sheila’s Blues.” I talk about

how I feel, then I tell my story and about

hearing Bird and you know the whole thing.

Sometimes in the beginning I just improvise.

So probably at that time I sang about my house

burning down…the first couple of choruses I

improvise, instead of talking about it.

I’m very fortunate to have been given this music and keep it

alive. I don’t want to be thought of as a diva, I’m not a star. I’ve

won some beautiful awards, the latest being the NEA Jazz Masters

Award (2012). These are beautiful gifts and I don’t take them

lightly. I’m just out here doing the music, it’s my dedication. I’m

84, that’s 70 years of keeping jazz music alive and I’ ll do it till I

die.

JC: I noticed that you do “Confirmation” slower than Bird but you

use Skeeter Spight’s lyrics so you are singing love lyrics.

SJ: “Confirmation?” These lyrics were written years ago by

Skeeter Spight and Leroy Mitchell, two guys that I used to sing

with in Detroit. They wrote the version of “Confirmation” that I

recorded and sing.

JC: How do you plan a solo?

SJ: It’s all feeling. I don’t plan solos. I’m not saying I don’t

repeat phrases, but if I do I’m not aware of it. The phrases I sing

come from what I am hearing and feeling. When I find a tune I

like, I learn the original melody, the lyrics, and the chord changes.

One of the joys of improvising is your feeling and what’s

Sheila JordanPhoto by:

Brian McMillen


going on around you. I listen intently to what the rhythm section is

playing. If you keep the original melody in your head, you’ll

never get lost. That’s why you should learn the original melody,

don’t force improvisation. Let it happen. That’s my opinion. You

can listen to other singers for inspiration, but don’t sing the song

the way they do. Do your own thing.

JC: You recorded “You Are My Sunshine.”

SJ: I recorded “You are my Sunshine” in 1962. It was an

arrangement George Russell recorded for the out ofwork coal

miners from the mining town I grew up in. This is covered in my

book, “Jazz Child,” which is coming out (hopefully) in the fall of

2013.

JC: Do you think because popular music is like always aiming

promoting the middle, because the middle can always be replaced,

but if someone is a great artist, they are hard to replace? And

they’re always thinking numbers, how many will sell.

SJ: The blues started with poor Afro-American people that came

from Africa, they were slaves because of their skin color. How

did they get through this agony of life? By singing the blues as

they picked cotton for their masters. They sang out of a need to

express themselves because life was a bitch. That’s the only way

they could deal with it. Why some Americans cannot hear this

music is beyond me. Jazz musicians are seldom hired on talk

shows, to play and talk about their music. Talk show hosts don’t

give them a chance. Even at the Grammys. They never have any

part of that program dedicated to jazz music. Usually they just

show it on the credits at the end of the show. One time Miles Davis

and Bobby McFerrin got Grammys. That sure was a surprise. They

used to have jazz at the Grammys but now they only have rock,

pop, rap, and country performers. Jazz is the stepchild ofAmerican

music.


JC: Is jazz looked up to in other countries?

SJ: Yes, much more than in the U.S. Where do I work? In Europe.

I’m going to Italy in another week, then in April, Japan, and then

Germany in the fall.

JC: So you have fans over there.

SJ: Yes, I know the jazz community in the U.S. loves and respects

jazz music, but jazz musicians in general, are not always accepted

in the U.S. All we want to do is keep the music alive and get it out

there.

JC: Do you think without exposing jazz to a wider audience it will

die?

SJ: Jazz will never die. You’ll always have people out there like

myselfwho are trying to keep it alive. Teaching it to the younger

generation.

JC: Why did you like working with the bass? How is a duo format

challenging?

I presently have a bass and voice duo with Cameron Brown.

We rehearse a lot because we love what we’re doing. I started the

bass and voice duo in the early 50’s… If I heard a bass player who

was compatible with what I wanted to do I would approach him. A

lot of singers are starting to do bass and voice duos.

JC: What have you learned from being an educator?

I learned how to teach from teaching. I don’t have a college

degree. I teach what I know and how I approach jazz music. A lot

of teachers are on power trips and they break students’ spirits. I do

it with love. Every time they sing I give them feedback on how

they can improve. I don’t scream at them but I will let them know


where they can improve.

JC: You have upcoming tours in Italy,

Europe, Japan and the U.S. Now that

you have become an international star,

do you enjoy traveling?

Not really, but I’m so dedicated to

the music, after I get there, I’m fine. I

work with different musicians in the

U.S. and Europe. Most ofmy gigs are

through musicians. They set up tours

for me in Europe and the U.S.

JC: Do you plan recording project?

SJ: I hate to record. I don’t mind live recordings. Once I get into

the music, I’m okay. Going into recording studios is not my

favorite way to record. I know I have to record to keep the music

alive. If I’m pressured enough I’ ll do it. But I have to really be

pressured. I’m supposed to do a duo recording with Steve Kuhn in

the near future; I just need more time to rehearse.

JC: Do you usually rehearse a lot?

SJ: When I did this concert Saturday it was in a little town in

upstate New York. It was at the father of the bass player’s (Gregg

August’s) house. A wonderful young Italian piano player, Alberto

Pibiri, came up to my house and we rehearsed for a couple of

hours. My charts are easy to read because they’re clearly written

so the musicians don’t have to struggle with the tunes. All the

introductions and endings are on the charts and in the middle part

we are free to do what we feel and hear. I’m not going to give a

musician half a page with a bunch of chord changes on it. Respect

what you do and make sure you have good lead sheets so the

instrumentalists don’t have to struggle with the songs.

Sheila Jordan in bass duo

Photo: Brian McMillen

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

gift! "

Follow Sheila Jordan:

www.sheilajordanjazz.com

Photos to the Right and

Below

by: Brian McMillen

Sheila Jordan organizing her music on the road

Job Opening: Advertising Director; 50% commission basis;[email protected]

24

at Weill Recital east ofCarnegie HallHall, Wednesday, March27, 8 p.m.Benefit for AbbeyWhitesideFoundation.orgSeniors & Students $20


To AllMothers, Grandmothers,Sisters, Aunts, Nieces,

Daughters and Baby GirlsThe Jazz Culture NewsletterSalutes You All throughoutWomen's Month-March

BARRY HARRIS IN CONCERT


Gig Listings ofThe Jazz Culture Subscribers:

Please support these artists and bring your friends.March 1: Ray Gallon at Small’sMarch 1: Bertha Hope Quartet, at FirstReformed Church in Jamaica, 2-4 p.m.March 6, 13: Valery Ponomarev, Our FatherWho Art Blakey Orchestra at Zinc Bar,8-10,-11:30March 7: Joe Magnarelli Quartet at Makeda inNew Brunswick, N.J., 7:30-10:00March 8: Rick Stone Trio at the Bar Next Door,129 MacDougal Street, 7:30pm-12:30amMarch 8: Ray Blue, The Brownstone, 107 MaconSt. Brooklyn, 9 p.m.March 9: Ray Blue, Division Street Grill,Peekskill, 7 p.m.March 12: Ray Blue, Kennedy Community Center, 34West 134 St., 7:30 p.m.March 14: Rick Stone at Moda, 234 W. 27th, 6-9p.m.March 15: Bertha Hope, Zeb's 228 W. 23 St,NYC 8:00 p.m.March 16: Ray Blue, Division Street Grill,


Peekskill, 2-4p.m.March 16: Lionelle Hamanaka at IsabellaNursing Home 3-4 p.m.March 16: Rick Stone at the 55 Bar, NYC, 6:00-9:00pmMarch 17: Michael Weiss Trio, Clovis PointWinery, Jamesport, NYMarch 19: Lionelle Hamanaka at HibiscusRestaurant in Morristown, NJ, 6-9 p.m.March 19: Ray Blue, Metropolitan Room, 34 W.22 St., 7:00 p.m.March 21: Rick Stone Trio at the GarageRestaurant, 99 Seventh Ave. South, 7-11 pmJoe Magnarelli at Fat Cat Early ShowENGLAND:March 2, 8, 15,16, 22, 23, 29, 30: John WatsonTrio, The Palm Court, The Langham, 6:30 p.m.207-965-0195, 1 Portland Place, LondonMarch 21: John Watson, The Haven, 8 p.m., 208-445-7419, 1363/5 N, Whetstone, LondonMarch 31: John Watson, The Matcham Room,The Hippodrome Casino, LondonITALY:March 11-15: Barry Harris, Rome JazzWorkshop, All Day and Night inclusiveSPAIN: March 8-16: Joe Magnarelli-BarcelonaJamboree 8-9; Lleida,11; Valencia,12; Almeria,13;Vallena,14-16(Alicante); Rojales, El Campello.


Artists in March: Joe Magnarelli, John Watson, Rick Stone, LucianoFabris, Ray Gallon, Valery Ponomarev, Bertha Hope, Michael Weiss,

Barry Harris

Letters to the EditorDear Editor,

In support of the singers who participated in "A Love

Supreme, A Celebration of the Spiritual Music of John Coltrane",

I am so happy with the results of the singers participation and

many people enjoyed the performance. I was thinking about such

an experience for years but saw no opportunity until this event.

"Spitirual", music by John Coltrane and lyric by Carol Randazzo

Orito Jones, which referenced the cycle of life, was originally

performed for a memorial in October 2012 and was unrehearsed

since then. The singers improvisations strongly conveyed the

message of the spiritual essence of "Trane's music and Carol's

lyric. The singers improvised natural melodic choices serving the

purpose "A Love Supreme" and was fitting for the concert's

intention. The relationship between the singers and the content

was to express their own feelings within the parameters of the

form and they were supremely responsive. "Impermanence" and

"One by one He reclaims their hearts" were emphasized

rhythmically and perfunctorily with natural improvised high

repeated wails, random entrances and exits (simulating leaves

falling) and breathy sounds which suggested acceptance and

release. I am still in marvel of the singers unplanned

performances which truly reflected the essence of being "in the

moment".

Signed,

Carol Randazzo Orito Jones BS, MA Music Therapy �YU.

Pub. �ote: We welcome all comments, criticisms and points of

view as part of the spirit of freedom and will publish same if they

are relevant to any articles or topics covered in The Jazz Culture

Newsletter


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