By Dee Dee McNeil
When I first met Kamau Kenyatta, I recognized almost immediately that he was a deep thinker. Tall, thin and willowy, he ambled over to the piano and started showing me some tune he’d been thinking about that he believed had amazing potential for someone to sing. His long, slender fingers moved nimbly across the keys. He plays beautifully.
“Do you remember this Bill Withers’ composition?” he asks me. “It was on his second album and it’s really interesting and deep,” he elaborates.
Kamau has a way of pulling the best out of music and employing the slightest and most incredible inuendoes and ambiguities to color his arrangements. He loves to reinvent a song and he knows how to inspire an artist. That’s what makes him a prolific producer.
Our paths originally crossed some years ago when Kamau Kenyatta was playing more piano than horn. He’s proficient in both. But today, some thirty-years later, I am taking a peek into his history. Pen poised; I ask him when he first felt a musical calling.
“Well, you know I was very fortunate to grow up with people that really loved music and I would say, in the African American community of the nineteen-fifties, it was almost like a badge of honor to know music. So, my mother, Ruth, my father (John A. Jones) and my Uncle Richard Harris, (who used to babysit me) although none of them were musicians, they took great pride in listening to the music. At that time, I was two or three-years-old and my uncle Richard had an extraordinary vinyl collection with Ahmad Jamal and Miles (Davis), Art Farmer, the Modern Jazz Quartet, just all the people you listened to back then. At only two or three years old, my uncle may have thought that I was sitting there enjoying the music because he was enjoying the music. But hey, I remember I genuinely liked that music! My uncle was so meticulous about his vinyl collection, that if he scratched a record, he gave it to me, because he wouldn’t play anything with a scratch on it. So, I actually had my own Ahmad Jamal album and Miles Davis album when I was three and four years old. I knew who they were and I would put them on the turn-table and listen to jazz.
“My mother and father were listening to people like Sarah Vaughan, Billy Eckstine, Frank Sinatra and Nat King Cole. They talked about Billy Eckstine with a great sense of pride and affection. In my house, I heard them talk about Mr. B. and Sarah, all with first names. Consequently, as a child, I thought they were family members or family friends I hadn’t met yet. They spoke of Sarah, Mister B and Hazel Scott with such pride and familiarity.
“As I got older, my mom started taking me to ‘live’ concerts. She was very, very much into music and still is. She’s ninety-one. Mom exposed me to ‘live’ music. She took me to hear the Northwestern High School Band. That was her Alma Mater and that concert made me think, oh man. I want to play an instrument too. So, that’s what got me into music and jazz.
“I started on the clarinet. I wanted to play the bass clarinet, but they told me I was too small for the bass clarinet. Now, in my Detroit neighborhood, I was already wearing glasses and now I’m carrying a clarinet.”
(We laughed together as I pictured a little boy, looking a wee bit like a nerd, walking down the Motor City avenue carrying his clarinet.)
“So, I was kind-of a marked man. That’s when I asked my parents to please get me something cooler than the clarinet. Get me a saxophone. My grandfather, John Jones, was an electrician. He worked overtime doing side jobs and one job was at a pawn shop. That’s where he got me my first tenor sax. That’s when I started playing saxophone. I was eleven-years-old,” Kamau remembered fondly.
I asked Kamau who were some of his early influences and he recalled his first mentor being a public-school music teacher named Allison Oglesby. Then he skipped to his days at the historic trade high school that has turned out so many amazing musicians, Cass Technical High School, and he listed a few more people who taught and inspired him.
“I got involved with Metro Arts through Cass Technical High School. There, I got to meet guys who would come to the program, like Harold McKinney, Teddy Harris and Kenny Cox. Those were the three I probably was the closest to of all the Detroit musicians. Then there was Pistol Allen, (a drummer at Motown) trumpet legend, Marcus Belgrave and even Lottie the Body.”
(we laugh together again, because we’re both from Detroit and we share and respect the legendary legacy of Lottie “the Body” Graves, a shake dancer and Burlesque queen. She is also a big supporter of Jazz and the arts in the Detroit community. Believe me, she was quite beautiful and stacked-up-from-the-ground back in those days. People of all cultures and colors came to see Lottie dance in Vaudeville shows country-wide. She settled in Detroit in the 1960s and became the act to see at the popular Ziggy Johnson hosted, Paradise Club on the East Side of Detroit and at the popular Twenty-Grand nightclub on the West Side of the City. She also performed regularly at The Brass Rail Grill. Her show was famous for Lottie’s high-class costumes and her exceptional dancing abilities. She even hosted her own club called ‘The Pink Poodle.’)
Kamau Kenyatta continued to reflect on his early life in the music business.
“Being around all of that culture influenced me. You know, characters like Lottie the Body would shout out to you from the audience. We’re talking about late sixties, early seventies, when I was a young musician. I was playing in the black community, when some of those people in the audience (like Lottie) would direct our performances. They’d shout out things like, ‘take your time, baby’ – – ‘You playin’ too much.’ Those ordinary people in the audience, sometimes out of love or pride in our jazz heritage, inadvertently guided a young musician’s performance. They knew the music and they inspired us!”
Detroit, Michigan was a great place to soak up a rich, jazz heritage. Folks like the Jones brothers, (Hank Jones, Elvin Jones, and Thad Jones) represented a family success story in the business of music. Kenny Burrell grew from Detroit roots, as did Tommy Flannagan, Barry Harris, Ron Carter and Yusef Lateef. Donald Byrd grew up and out of Detroit to sparkle the world with his trumpet genius. It wouldn’t take long for Kamau Kenyatta to cross paths with some of these music icons.
“In the 1980s I started doing some touring. I went on the road with Donald Byrd and the Blackbyrds. When I auditioned for that gig, I played ‘Cristo Redentor.’ I replaced Allen Barnes on saxophone for that tour. After that experience, I joined Mary Wilson and the Supremes. Teddy Harris (pianist, big band leader and Detroit educator) got me my first job with her. He was their Musical Director.”
This was only the beginning of Kamau’s world-wide touring. Travelling to over twenty countries, he has worked with Carl Anderson (from Jesus Christ Superstar and Anderson’s memorable recording with the great Nancy Wilson). Kamau also worked with legendary composer/performer/activist Oscar Brown Jr., and has played with jazz greats like Yusef Lateef and Earl Klugh. He leant his talents touring with the R&B, gold record girl’s group, SWV; with Silk, Charles Wright and the 103rd Street Rhythm Band and even New Kids on the Block. His experiences were varied and he mastered several genres and various styles of music along the way. These diverse experiences would all further mold this man into the prolific producer he has become.
Kamau Kenyatta pictured (upper left), Vincent Bowens, Ayesha Lateef, Yusef Lateef (center-front) and Ralph Jones; after playing a gig at St. Matthews & St. Joseph’s Episcopal Church in Detroit, Michigan.
“I moved to Florida for a few years and then I came from Florida to the West Coast. I was going to move to Los Angeles, but I wound up in San Diego and things worked out for me to stay here. I got a job teaching in 1999 at the University of California, San Diego (UCSD). That kept me grounded here,” Kamau explained how he transitioned from on-the-road gigs to a life in the thriving, upscale community of San Diego, California. This was the place where he met Gregory Porter.
“At that time, I was a substitute teacher at UCSD for George Lewis, the great trombonist/composer and educator, and Gregory Porter was in that class.”
NOTE: George Lewis, a native of Chicago, currently is Professor of American Music at Columbia University in New York City and is also Vice-Chair of the Department of Music.
“Gregory was a football player at San Diego State and he had been injured. It was a serious injury; a career-ending injury. So, he was looking for other outlets for his talents and a new career path. He came to UCSD to audit this jazz class. As soon as I heard him sing, I was excited about his talent. I said come to my house. Come and let’s spend time together. He was born in 1971 and he didn’t live through a lot of the stuff that we’ve lived through. I spoke to Gregory about the rich history of Detroit and Motown. It wasn’t that he was unaware of some of the older music, but we sat together for hours and listened to people like Leon Thomas and Jon Lucien. We talked about visual arts and books and authors and African American painters, Romare Bearden and Jacob Lawrence. Whatever people think of his singing, people should know that this guy is just a brilliant intellect. I didn’t teach him how to sing. He already knew how to do that.
“I actually took him to Detroit and showed him some of our history. We went to Temple #1 on Linwood Avenue that Mother Tynetta X attended; Sacred Heart Seminary, where during the 1967 rebellion they painted the statue of Christ black. I wanted to share those kinds of scenarios and that kind of history with him. And I think it had an influence on him. My mentoring of him goes beyond music. It has a social and political component. He wrote that hit record, “1960 What?” after our visit to Detroit. He took everything I shared with him and made it better.”
As a mentor, it swells your heart with pride to see your fledgling, talented protégés take wing and fly. As a producer, Kamau Kenyatta worked to bring out the very best of Porter’s talents and in 2014 the reward was when Porter won a Grammy for his Blue Note Record release, “Liquid Spirit” and more recently, they both took home a Grammy for the stellar recording, “Take Me To the Alley.”
In San Diego, Kamau Kenyatta found joy in teaching and inspiring young minds to grow and flourish. He served as musical director for ‘Blues Schoolhouse,’ an educational program for middle-school children at the International House of Blues in San Diego. In the spring of 2007, Kamau embarked on a solo album project that featured him as pianist/composer and artist. He produced his “Destiny” album. In 2009, Kamau joined the Music Department at California State Summer School for the Arts (CSSSA) and served as Department Co-Chair from 2010 to 2011. But more and more, Kamau Kenyatta found himself in demand for arranging and producing in a succession of unexpected projects.
“Hubert Laws had hired me to do some arranging for him. I met him through Greg Phillinganes at Quincy’s house one night. Even to this day, when I work with Hubert, I remember listening to him when I was eleven or twelve years old; listening to his albums in Detroit. I mean, I’m a fan of Hubert Laws, as much as I’ve been a collaborator. He’s such a brilliant musician. They call him ‘Silk’ because he’s so smooth. He is turning 81 this year and he’s still fantastic. He’s probably better now than he ever was. Some time ago, I had done this one project with him called, ‘Hubert Laws Remembers the Unforgettable Nat King Cole,’ where I arranged songs recorded by Nat King Cole for him to play.
“Hubert liked the work that I did and called me back to help him when he got the call to do some music for this Fox network documentary that detailed the history of African-American film. He called me to assist him on that project released in 1998. It’s a complete honor to work with him at any time,” Kamau Kenyatta beamed.
Continuing with his success in film scoring and soundtrack arranging, Kamau Kenyatta was approached by film maker Carol Parrott Blue, a Houston, Texas professor and author, who was producing a film about growing up black in Texas in the 1940s. This DVD-Rom, combination book and website, won the 2004 Sundance Online Film Festival Jury Award.
“It was an interactive DVD about African Americans in Houston, written by Carol Parrot Blue. I wrote music and I supervised the period music that we chose for that film. It was another incredible and great experience. Unfortunately, we lost Carol Blue a few years ago.”
“I’ve scored a few film projects at UCSD. There’s a professor at UCSD called Zeinabu Irene Davis. She’s part of the L.A. Rebellion, a group often referred to as Los Angeles School of Black Filmmakers. That is a group of filmmakers who all went to UCLA in the late 60s up to the late 1980s. Zeinabu asked me to score a film, “Spirits of Rebellion” in 2015. More recently, in 2016, I did music for this documentary on Gregory Porter called, “Don’t Forget Your Music”, Kamau told me.
The fascinating thing about Kamau Kenyatta’s talents is his ability to interact with a variety of artists and genres. You hear him exhibit those skills in both his arranging and producing. In 2010, he produced the album, “Water” on artist Gregory Porter. This album made the world sit-up and take notice of Mr. Porter and his undeniable talent as a singer/songwriter. The “Be Good” album came next in 2012 and became a big hit both nationally and internationally. In 2013, Kenyatta served as associate producer/arranger on Porter’s Blue Note Records disc “Liquid Spirit” and they won a Grammy in the “Best Jazz Vocal Album” category.
In 2015, Kamau co-produced this journalists’ album, “Storyteller.” It was mainly my original music and pop/jazz.
In 2016 he produced Ed Motta’s “Perpetual Gateways” vocal album and Steph Johnson’s “Music is Art” CD, that featured Ms. Johnson singing her own compositions. It was a pop/R&B/contemporary release.
In 2017, he produced, arranged and played soprano saxophone on the Robert McCarther’s album titled, “Stranger in Town,” that was a straight-ahead jazz album. The same year, Kamau won a Grammy for his co-production and arrangements on “Take Me to The Alley” with Gregory Porter.
In 2018, Kamau Kenyatta produced an album called “Uncovered Soul” by Kathy Kosins. On this project, Kathy and Kamau reinvented familiar R&B songs using more contemporary arrangements. The following year, he produced projects on both Daneen Wilburn and Alicia Olatuja. Alicia’s album was titled, “Intuition: Songs From the Minds of Women.” Both of these singers are strong, soulful vocalists and the material on Wilburn was funk-based and commercial.
“Alicia Olatuja is a singer from St. Louis originally, but she’s based in New York City. Billy Childs did an amazing arrangement on a Brenda Russell tune for us. We did all women composers on Alicia’s project,” Kamau explained.
Then, in the fall of 2019, Kamau found time to produce a solo project titled, “The Elegant Sadness.”
“This album is made up of extended versions of my original music from the “Don’t Forget Your Music” documentary that I scored for the BBC-released film on Gregory Porter,” Kenyatta explained.
“The Elegant Sadness” features: Kamau Kenyatta, piano/composer/arranger/producer; Hubert Laws, flute; Curtis Tylor, trumpet; Brian Clancy, tenor saxophone; Mackenzie Leighton, bass; Richard Sellers, drums; David Castaneda, percussion; Nolan Shaheed, engineer.
Opening with a song titled, “Smoke” pianist Kamau Kenyatta presents a pensive, moderate tempo ballad featuring Curtis Taylor on trumpet and Brian Clancy on tenor saxophone. Kenyatta’s piano style is thoughtful and tender; expressive and lovely. He sets the groove when his piano chords open the composition. Kamau establishes the bass line with his left hand, then allows space, inviting the horns to arrive at the party. The next composition is titled, “Watching and Waiting.” Drummer, Richard Sellers, pushes the horns ahead like a powerful tractor. Originally, all seven songs were produced, composed and arranged by Kamau Kenyatta to accompany a documentary on Gregory Porter entitled, “Don’t Forget Your Music.” These are extended and embellished versions of that music.
Kenyatta’s music is lyrical and melodic. His carefully penned compositions make you want to hum along with them. There is a certain amount of familiarity to his music, even though I realized I had never heard these tunes before, I still felt a kinship to them. That’s a genuine compliment to the composer. I listened and felt connected.
A composition called “Leaving San Diego” features the great Hubert Laws on flute. Hubert adds quality and beauty to this project. As an iconic jazz musician who’s held in high esteem by the jazz community, Hubert Laws flies into my listening space like a smooth, gliding bird. Kenyatta’s solo establishes his melody on piano and improvises on a theme. There is nothing splashy or exciting here, but rather a laid-back production, meandering along at a moderate pace and offering the best of Kenyatta’s composer skills and the mastery of these talented musicians.
Currently, a Teaching Professor at UCSD in the Music Department, in 2020 Kamau Kenyatta is looking forward to several prime projects. He just completed an album with the dynamic vocalist, Paulette McWilliams titled “A Woman’s Story” and is preparing to work on a new project with Allan Harris, who has a warm, velvet smooth voice reminiscent of Nat King Cole. He is mentoring a young singer Kamau refers to as ‘brilliant’ named Laurin Talese, who has recorded previously with Robert Glasper and Kenyatta is also planning to record Hugo Suarez, who will be playing boleros on solo piano.
I have no doubt, Kamau Kenyatta’s bound to wave his magic producer’s wand over these artists with the same individualized concern, creativity and objectivity that he brings to each and every project. That’s what makes him the ultimate and successful producer/arranger he has become.
By Dee Dee McNeil / Jazz journalist
Voices of our City Choir is made up of people who have experienced homelessness in the San Diego, California area. Co-founded by activist, guitarist and singer, Steph Johnson, an emotional rendition of their original song won them the “Golden Buzzer” Award on the popular “America’s Got Talent” television show. They performed a song that the choir wrote titled, “Listen to the Sounds of the Sidewalk”. I have to say that their emotional delivery brought this journalist to tears as I sat in front of my computer. I can’t imagine how moved the people in that ‘live’ audience must have been.
See below: SAN DIEGO CHOIR ON “AMERICA’S GOT TALENT” WINS A GOLD BUZZER AWARD
I had the pleasure of speaking with Steph Johnson recently and this is what she shared with me about how this amazing choir was formed.
“We’re really particular about the way we refer to our unsheltered choir members, because we want to make sure they’re recognized as individuals. Consequently, we refer to them as our Unsheltered Neighbors or people experiencing homelessness.
“About four years ago I got involved with my Unsheltered Neighbors that literally lived across the street from me, right in downtown San Diego. The city had allowed the removal of about 10,000 SRO’s (those affordable housing units) basically to sell the property and make way for condo’s and the gentrification we’ve seen up and down the West Coast. 10,000 people were without a home. They only created housing for about 1500 people, so thousands were facing homelessness overnight. I could see there was no real solution. There was a lack of communication between the county and the city of San Diego. There was a lack of understanding between my sheltered neighbors and my unsheltered neighbors. Did you know, people are being put in jail for being homeless? Once you’ve experienced that level of poverty and the criminalization of that situation, where once you start getting tickets for being poor, and you have no money to get out of that situation, it is quite literally impossible to move out of homelessness. So, I just felt a calling. I have a way of connecting with people and I love people. I wanted to lift up my brothers and sisters that were being so hated upon for basically being in their socio-economic situation,” Steph Johnson explained the situation she witnessed in her community.
To reiterate, she loves music and people. That became the common denominator Steph Johnson used to change people’s lives, one note at a time. As a vocalist, a guitar player and a recording artist, Steph Johnson was comfortable performing and communicating emotionally from stages to her admiring audiences. She used that same gift to communicate with her unsheltered neighbors. Steph Johnson took her love of people to the streets, using Music as a common language. She entered people’s tents, exploring community’s underneath bridges, talking to her unsheltered neighbors and interacting with them.
“Of course, at first they wanted to know who I was and what I wanted?” Steph shared with me.
“They’d say well, who are you with? I told them my name was Steph and I played music. Many were like, oh I play music too, or I sing. I remember I met this woman on the street and when I told her I was into music and I sang, she said well Google my name. I sang in this choir in Chicago. I said OK. I’ll look you up. Well, I looked her up and sure enough, she had been singing in this choir in Chicago. Wow! Here I was doing outreach and meeting these creative types of people. Sometimes I was by myself. Sometimes I took a friend. I’m an advocate and an activist at heart. Music and art created a connection between me and their community.
“Around that same time, I met a gentleman that invited me to sit in his tent. He was telling me about his plight. He smiled at me and said, it doesn’t matter what we say or feel. We have no voice. Right then, I realized how they felt; voiceless! I think it was that very next day when I met this reverend; Rev. Chris Nasis. After a conversation we had, he offered us his church to use, “The Living Water Church of the Nazarene.” They’re located in San Diego’s East Village. He said, yeah, you can come in and do anything you want to do using our church. So, I blurted out, well I want to start a choir. And it was so funny, because I didn’t know that I wanted to start a choir until that very moment. It just spilled out of me. It was like a message from the divine. I remember thinking, ok, so you’re going to start a choir?
“At this point, I reached out to a friend, Nina Deering, to ask her if she wanted to help me start a choir for people who were experiencing homelessness? She said yes. She’s no longer with us, but she was definitely a part of our beginning. We quickly grew from one or two people, to sixty people, and then it was a hundred people. Now we have 250 people in The Voices of our City Choir.”
I can still hear the awe in Steph Johnson’s voice as she shared her incredible success story with me. Her selfless work establishing that choir gave hope to many who were hopeless. It created a vehicle for people to vent their pent-up emotions into an artistic, musical expression. At last, their voices could be heard.
“In 2019, we did a concert with the San Diego Symphony and it was epic. It was just beautiful. We partnered with the Master Chorale on stage at the Symphony by the Bay and we sang ‘Amazing Grace.’ It was really, really touching. Martha Gilmer, the CEO of the symphony, told me, (after we did three shows that weekend) that we should collaborate in a big way. We could do something really cool, together. That’s the response this choir inspires in people.”
“We’re a non-profit but we’re also a social entrepreneurship and we employ people. We generate money from our concerts and with that money, I was able to hire a management team that has helped over sixty people get off the street,” Steph told me.
In 2020, State Assemblyman, Todd Rex Gloria, of district 78 in San Diego, named Steph Johnson as a Woman of the Year. I asked her about that recent award.
“The plan was to go to the State Capital to be honored, and then the pandemic hit. So, we couldn’t go to the California State Capital. There was going to be a ceremony. They were going to fly me up there and have a luncheon with all these other women recognized from across the State for basically making their community better,” she explained.
Even though the State Capital trip was cancelled, she was awarded Woman of the Year, without the fanfare. I found Steph Johnson to be a humble woman. She shared with me how honored she was to be in the company of other nurturing women; women who are working to make this world a better place.
Continuously, her choir has brought attention to the plight of our unsheltered neighbors. So much so, that PBS recently created a documentary about the Voices of our City Choir, coordinating with film maker, Susan Polis Schutz and titled, “The homeless Chorus Speaks,”. The documentary can be viewed on www.youtube.com.
It’s been a rewarding journey for Steph and her unsheltered neighbors, since forming the choir in 2016. At first, she was simply trying to find a solution to a troubling problem in her community. Four years later, she has accomplished far more than she ever dreamed possible.
“We started the choir as a grassroots organization in 2016. By the beginning of 2017, we had started a shelter. A friend of mine opened up her home and took in fourteen choir members. It was kind of an open floor plan. Actually, more like an open warehouse where she would host live-music concerts. So, we got cots and dividers and we started helping these fourteen choir members settle in. Then we started making the film and all the while, we were trying to advocate at City Council with our elected officials. We tried to help those choir members who were being ticketed. We were advocating to get our unsheltered neighbors medical and legal support and also, to try to get them housing. In the beginning, I was their case manager and initially, I was standing in lines with them. We went through the motions together. That started with a few of us. Now, it’s grown into a small team. But thanks to the America’s Got Talent exposure, we’re getting donations. People know about us. That helps with grants, housing and we have a lot of goals ahead. That’s really exciting!”
Meantime, Southern California activist, Steph Johnson, has been in the studio working on her own jazz album. I had the pleasure of reviewing it. Like everything else this energetic little lady does, her recording project reflects high quality and clearly displays the artistic side of this advocate for change. See my review below:
STEPH JOHNSON – “SO IN LOVE”
Steph Johnson, vocals; Josh Nelson, piano; Anthony Wilson, guitar; Rob Thorsen, bass; Chris Lawrence, trumpet; Richard Sellers, drummer.
Guitarist and choir director, Steph Johnson, surprised me when she sang “Lazy Afternoon”. Her voice floated into my listening room, warm and lovely, plush with emotion and she has her own unique tone. When she told me she had an album out, I thought it would be an instrumental recording, featuring her guitar talents. Surprise! The lady can sing. The trumpet of Chris Lawrence compliments her vocals and he offers a warm and inspired solo on this lovely “Lazy Afternoon” song. They’ve arranged it in a very smooth-jazz way that works, putting just a little funk into the mix to keep the old standard young and vibrant. Ms. Johnson is definitely a jazz singer, with her unique tone and adlib qualities on the fade of the song clearly showing her improvisation skill. I receive mustard-yellow, paper bags full of CDs who claim to be vocal jazz artists, like a badge of honor, but who are cabaret singers or pop vocalists or just pretty girls with sing-in-the-shower kind of voices. Steph Johnson happily breaks that mold. She’s the real deal.
This vocalist has chosen some of my favorite songs for her repertoire. Opening with the verse, she sings a song I used to love to hear Little Jimmy Scott sing; “I Wish I Knew.” He recorded it as a ballad, but Steph has another arrangement that’s fresh and she swings the tune. The sign of a true jazz singer is someone who can ‘swing’ and Steph Johnson swings effortlessly. For a while, she and the bass player, Rob Thorsen, perform as a duo. The arrangement is very effective. There is a tasty guitar solo by Anthony Wilson on the fade of the song.
Speaking of guitar, Wilson uses his expert guitar licks to open “Here’s to Life.” With just voice and guitar at the top of the tune, Steph showcases those poignant lyrics that are so wonderfully written. Then enters the band and the blues. “So, here’s to life,” she sings. “And all the joy it brings. Here’s to life, to dreamers and their dreams.” Steph sells the song with Rob Thorsen’s bass walking richly beneath her meaningful lyrics. I believe Steph Johnson when she sings with that little husky undertone to her vocals that’s so compelling and natural. She has a full, rich range, with sweetness in her head register and fullness in her alto voice. You can really enjoy her range on “I Fall in Love too Easily” accompanied by Josh Nelson’s sensitive piano. The “So In Love” tune blossoms as a Latin arrangement. Sometimes I hear shades of Diana Krall in Steph Johnson’s vocals and at another point I hear phrasing that reminds me of Dianne Reeves. That being said, Ms. Johnson maintains her own style and grace. She tackles Betty Carter’s original tune, “Jazz Ain’t Nothin’ But Soul”and puts her own spin on it. I wish she hadn’t ventured so far from the original melody in places, and this reviewer wasn’t crazy about the arrangement, but Steph shows strength in her freedom and individuality. Steph Johnson has released 4 albums. Her most recent recording (until this one) titled, “Music is Art,” was released in 2016 and produced by two-time Grammy Award winning producer, Kamau Kenyatta. That recording celebrates a unique blend of her jazz stylings with obvious, soulful, R&B roots. She also composed much of the music. With her recent release of “So In Love,” Steph continues her spiral upward towards bright, musical horizons. This may be her best recording to date.
DON LITTLETON CELEBRATES “ELEPHANTS NDA PARK” DURING BLACK MUSIC MONTH
By Dee Dee McNeil
Don Littleton is a Los Angeles based drummer and composer with deep roots in Watts and Compton. I had an opportunity to chat with Don Littleton (during Black Music Month) about his life and music. He was born in Fort Knox, Kentucky, but he’s lived in the Los Angeles community for forty-plus years. His father was a military man, so the family moved around. They wound up in Mesa and Phoenix, Arizona and then to Watts in 1959and later to Compton, California in the early sixties. His dad was originally from Shreveport, Louisiana and he played a mean harmonica.
“My dad freaked me out one day. We were sitting on the front porch and he had this harmonica he suddenly pulled out. I never knew my dad could play harmonica like that. He actually blew my mind, because I had never seen him play that instrument. He’s from Shreveport, Louisiana and that’s what they did down there. I guess he learned it as a little kid,” Don Littleton recalled.
Although no one in Don’s family was seeking a musical career, there was always a piano in all the family homes. Everybody played a little piano; especially his aunts and his grandmother. They were all music lovers. It was his mother who got Don interested in percussion. She went to Mexico one day and brought him back a little set of bongos from Tijuana.
“Those bongos were a little cheap, but I’d wet them down and put them over the stove to heat the skins and tune them. My big brother Carl Jr. was so proud of me. He and the family encouraged me to play. I used to entertain the family. There I was, in my pajama’s, playing my little bongo’s, In the family living room, underneath our chandelier. That was my first stage,” Don remembered fondly.
“I would play along to records. That’s kind of how I learned how to play. Then, in June one year while I was in high school, I got my first trap drum set. The first song I learned to play was ‘Song for My Father.’ After high school, I moved back to Arizona and Charles Lewis was my first mentor. I got more into the trap drums in Arizona. I might have been eighteen or nineteen years old. I played in his R&B and Top 40 band. I played a little jazz. I could always swing. We played tunes by Santana, Sly and the Family Stone, that kind of repertoire. It was from about 1970 to 1973.
“My dad said I needed to take advantage of my opportunity to attend college on his GI bill. So, I enrolled in school. I went to Baton Rouge, Louisiana and attended Southern University, majoring in music. One of my mentors down there was Alvin Batiste. I was a member of a hot band in Louisiana. We opened for a number of popular, name artists. First, we were called ‘Hot Ice’ and later, me and some of the guys from that band started a new band called ‘Convertible World.’ One time, I was recruited by the great Cannonball Adderley to play in his quartet and we did a gig with the Louisiana Symphony. Three years later, I came back to Los Angeles, maybe around 1978.”
Don’s career blossomed and grew like wild, California sage. Once back in California, He began to record extensively on some pretty powerful recordings. His first release was “The Littleton Brothers.”
“I co-led the first record that was recorded here in L.A. with Bobby Watson, the alto player, who played with Blakey. That was the first record and that was the Littleton Brother’s record with my younger brother; (Jeff Littleton – bassist). It was the Littleton Brothers featuring Bobby Watson. It was actually Bobby’s gig and we recorded it ‘live’ at MOCA downtown. We released it in 2009.”
NOTE: MOCA stands for the Museum of Contemporary Art, an art space in downtown Los Angeles that often hosts ‘live’ jazz concerts.
Before the Littleton Brothers release, Don Littleton found himself in a diversity of musical settings. In 1992 he recorded an iconic album with Karl Denson titled, “Blackened Red Snapper.” Karl Denson, a California native, is known for his Acid Funk and straight-ahead jazz saxophone, flute and vocals. When Denson released his “Blackened Red Snapper” album he was 36-years-old and, like Don Littleton, his career was growing. Denson was once a member of the Lenny Kravitz band and currently leads his own groups including, the Karl Denson Tiny Universe band (KDTU) and his own trio. You can clearly hear what a force Don Littleton is as he propels this Denson music, both powerfully and straight ahead.
“We rehearsed man. We rehearsed a lot. Karl Denson had a hot band. John Patitucci played on that record. Munyungo Jackson played percussion. My brother, Jeff Littleton, played bass on most of the album, and Ron Stout played trumpet. Deron Johnson, who wound up playing with Stanley Clark, was also on the scene,” Don Littleton recalled the session.
In 1993, Littleton switched gears and recorded with a Rap group, The Fellowship Innercity Griots. The solid trap drums of Don Littleton hold this music tightly in place and support their hip hop, rap vocals.
More opportunities followed. In 1994 he was part of a ‘live’ recording featuring Solomon Burke and the Souls Alive Orchestra. They were performing at the House of Blues in Louisiana.
“Yeah, that was a live-performance-record at the House of Blues in New Orleans,” Don told me. “That was a four-night gig and we did the Jazz Heritage Festival. That’s one of the biggest in the nation. Unfortunately, that festival won’t happen this year. He had a big band. I think I had to audition for the gig. I actually played percussion and trap drums.”
1998 he recorded on the Derf Reklaw album, “From the Nile.”
“Derf Reklaw’s record, ‘From the Nile’ was mostly World Music. He had some Reggae on there. A lot of odd meter stuff. Derf likes to write stuff in eleven and nine, not your typical 4/4 meter,” Don explained.
in 2001, he recorded with a member of the Freestyle Fellowship group. The album was titled, “Mikah 9.”
“Oh, Mikah 9 (pronounced My-kah) he was one of the members of that hip hop group Freestyle Fellowship. There were 4 or 5 of them. The band was actually the Underground Railroad band headed by Darryl Moore. Darryl is a very fine Los Angeles based engineer.
“Back in the day, I listened to Jimmy Cobb, Arthur Taylor, Billy Cobham and Max Roach. When I was working with Randy Crawford, we played Fat Tuesday’s club in New York. This tall guy dressed in a long black coat walks in. It was Max Roach. I looked up and there was one of my heroes. He came down to see Hank Crawford and Phyllis Hyman. They all lived in the same building nearby. He sat down right next to my drums. James Polk was there that night. We were playing a shuffle and Max Roach started patting his foot. That’s when I knew I had him. Later in life, I ran into Max Roach and I asked him if he remembered me from when I was playing with Hank Crawford in New York. He said yeah. You were swinging hard!
“Roy Haynes is another one I love. When Tony Williams passed away, Roy Haynes was right there to step into his place.
“Aside from jazz, I grew up listening to Motown, Brazilian jazz and island music. I like Cuban and Puerto Rican music a lot and I love Mongo Santa Maria. A lot of people come up to me and say I sound like Mongo. You can hear it on my current Tunapuna song on my recent album release. Tunapuna is a small little town in Trinidad. I hummed that line in my head for a long time before it finally became a song. It has a Calypso feel. On this latest project, I allowed the guys to bring their own music to the table. Some are my compositions and some belong to my band members. We created something as one unit.”
Before I finished the interview, I asked Don Littleton to elaborate on the CD title. That’s when I discovered he’s an animal activist.
“I put on the back of the record that we support elephant conservation and that elephants should not be killed or destroyed for their ivory tusks. I just don’t like the idea of them killing elephants. It’s all about elephant conservation. ‘Elephants Nda Park’ with the park being their home, and not necessarily being in a zoo, but being free; in the Serengeti. The whole Serengeti should be their park.”
If you are searching for some fresh, innovative, hard-swinging jazz and World-flavored music, this newly released album by Don Littleton is bound to please.
DON LITTLETON – “ELEPHANTS NDA PARK” – A CD REVIEW
SWMG (Southwest Music Group)
Don Littleton, trap drums/percussion/composer; Pablo Calogero, tenor & soprano saxophones/flute/ bass clarinet/composer; John B. Williams & Michael Alvidrez, bass; Hideaki Tokunaga, guitar/tres/sarod; Jane Getz, electric piano; Andrew Acosta, udo drum/percussion; Gabriel “Slam” Nobles, steel drums/vibes/electronic MalletKAT.
A tune called “Modal Citizen” opens with a flurry of sticks and drum licks that sets the straight-ahead groove and tempo. The word ‘Modal’ is a musical term based on modes other than the major and minor mode most commonly used in music. Since this is a project celebrating rhythm and drums, that makes perfect sense. When Pablo Calogero enters on his tenor saxophone, accompanied by John B. Williams on bass, they add a melody to Littleton’s inspired drum licks. This tune is propelled by the drummer and features just the trio of bass, horn and trap drums. It’s quite exciting and spontaneous, showcasing the talents of each participating musician in a spotlight of multi-colors. I’ve witnessed Littleton during his on-stage appearances and he is always full of spark and fire. You clearly hear this on their original composition.
The opening tune on this CD is titled, “A Call for All Elephantz” and was penned by Pablo Calogero. It engages the listener with an amazing and compelling use of instruments like the ‘sarod’ (played by Hideaki Tokunaga), with a sort of sitar sound and with Pablo manning his soprano saxophone, reminding me of Coltrane’s improvisational free style. Littleton is pushing the ensemble powerfully on drums. The percussive additions take us into a jungle of sounds and emotions. Gabriel Nobles adds his steel drum/marimba sounds on an electronic malletKAT. We are now in the realm of World Music. In other places, you will enjoy the tasty addition of the ‘tres’ instrument during some of Littleton’s percussive production. The tres instrument is a Spanish Cuban instrument, a three-course chordophone. It resembles a guitar in appearance and usually has six strings and is often played in Afro-Cuban music.
Pablo Calogero picks up his bass clarinet and I hear shades of Bennie Maupin and touches of Yusef Lateef on the Jimmy McHugh’s composition, “Let’s Get Lost.” For this arrangement, bassist John B. Williams joins Littleton and Calogero. Don Littleton and Pablo collaborate on some of the tunes as songwriters. For example, “Sleeping Elephants,” where they reduce the energy and tempo to a lullaby pace. The melody is catchy and pulls the listener’s attention into the whirlpool of percussive drums, bass and tenor saxophone. The Thelonious Monk composition, “Bye-Ya,” is arranged in a similar way, without piano or guitar, but only showcasing the saxophone, the bass and Littleton’s busy and perfectly timed drums. This is a mystical album of mastery and creative expression. It’s full of unexpected surprises. The song, “Tunapuna,” reminds me of South African music and a dish I used to fix for my small children with Tuna fish and noodles. It’s a happy-go-lucky Caribbean crusted composition by Littleton, where he sings the melody using “La La La” as his lyric. I can picture scores of children dancing and frolicking to this joyful tune.
Here is an intoxicating project, released during the Coronavirus Pandemic, and currently available on CD Baby. It’s absolutely wonderful music; fresh, rhythmic, melodic and features the uninhibited drum mastery of Don Littleton. His project is embellished by the brilliance of Pablo Calogero on woodwinds and two stellar bass players; John B. Williams and Michael Alvidrez. When they do add piano to an arrangement, the music is amplified by the tasty licks of Jane Getz. Both ‘Slam’ Noble and Andrew Acosta bring exciting rhythm with their percussive coloration. This artistic work by Don Littleton is way overdue and deserves to be heard on every radio station worldwide. It’s one of the best things I’ve listened to all Spring.
By Dee Dee McNeil/Jazz Journalist
While walking down a Tel Aviv street, a dark-haired child passed a music store. The slender, inquisitive, six-year-old boy heard a man demonstrating an electric organ. That boy was Tamir Hendelman. Captured in that unexpected moment, the child found himself intrigued by the music he heard. To his ears, it sounded like a full orchestra. Young Tamir ran home and begged his mother to please buy him an organ. Thus, began his love affair with music, and later the piano and jazz. The rest is history.
Tamir’s family is not particularly musical except for his grandmother. Two stories below their apartment, his grandmother was always singing. Tamir explained:
“My parents didn’t have a passion for music the way I did. But my grandmother did. She always sang around the house: standards, popular melodies, opera and traditional Israeli songs. Every Friday night, she hosted Shabbat. Sometimes the TV would feature an American film musical. That’s where I first heard some of those Great American Song Book standards. She was a world traveler, bringing home little souvenirs. One snowy night, on tour in Alaska, I stumbled on a Russian shop with a nest doll display. Looking through the window, I recalled grandma’s nest dolls and suddenly I heard a melody, which became “Babushka,” a song I recorded on my Destinations CD.”
Tamir’s organ lessons as a child led to a deep love of classical and jazz music. A Count Basie cassette was an early gift from a teacher. He then heard Chick Corea in concert and watched Bobby McFerrin weave his charms on an audience, performing acapella in Tel Aviv. He also enjoyed a group called the Swingle Singers. They vocally performed music by Bach, Mozart and even music by The Beatles.
Hendelman quickly became enchanted with the rich expression of Jazz and classical music and with writing and arranging music that blended these sounds. Here is Tamir’s rendition of the prelude from Ravel’s Tombeau de Couperin.
At the tender age of twelve, Tamir’s family moved to the United States to explore new horizons. He found himself smack dab in the middle of Los Angeles’ creative energy. His first U.S. teacher, Vilma Maramba, used the Yamaha method, encouraging improvisation. Playing an original piece, he participated in Yamaha’s National Electone Keyboard Competition. As fate would have it, one of the judges was pianist, arranger, composer and conductor, Joe Harnell. To his esteemed credit, Harnell has conducted for Peggy Lee and Ella Fitzgerald. Tamir took third place in the competition but impressed Joe Harnell enough that the iconic pianist/conductor approached young Hendelman after the contest. His encouraging words and belief in Tamir’s talent led to their lifelong friendship. As his mentor, Harnell suggested Tamir attend Tanglewood Institute, in Western Massachusetts, to study classical composition. Tamir later discovered the beauty of the acoustic piano and studied further with Clare Fischer and Billy Childs, both harmonic innovators.
Next Tamir received his Bachelor of Music Composition degree from Eastman School of Music in Rochester, New York. He then became the youngest musical director for Lovewell Institute of the Creative Arts. Moving back to LA, he attended jam sessions at Billy Higgins’ World Stage, while composing and soaking up the music of Keith Jarrett, Oscar Peterson, Bill Evans, Chick Corea, Herbie Hancock, and Miles Davis.
Life in California was his oyster and there were many pearls to be found. As his career blossomed, Tamir began to get session calls and gigs accompanying singers. It’s one thing to be an incredible pianist, but it’s quite another thing to also be an incredible and sensitive accompanist. Tamir Hendelman could do both. While performing as part of vocalist, Sandra Booker’s band, the iconic drummer, Jeff Hamilton, heard Tamir play. A few months later, Tamir received an invitation to become the new pianist in the Jeff Hamilton Trio and of course, accepted enthusiastically. Soon after, he also joined the Clayton-Hamilton Jazz orchestra and has been touring internationally with both groups ever since.
At twenty-nine, Tamir met bassist Sherry Luchette and he was smitten. They soon married and that began a new chapter of his life. They are now the proud parents of two lovely, little girls. His career exploded in great ways. He found himself recording and touring with legendary artists like Barbra Streisand, Natalie Cole, Bill Holman’s Big Band, Roberta Gambarini and was a guest soloist with the Henry Mancini Institute Orchestra. On recordings conducted and arranged by John Clayton, he performed alongside John Pizzarelli, Diana Krall and Paul McCartney. He also became a bandleader of his own trio. In 2009, Hendelman recorded his debut album, “Playground” with Jeff Hamilton and John Clayton. You can’t get much better than that. 2010’s “Destinations” trio CD (on Resonance Records) followed, featuring Lewis Nash and Marco Panascia. Tours with his trio have taken him across the US, as well as Europe and Japan.
Tamir Hendelman stayed busy recording with giants like, Teddy Edwards, Houston Person, Nick Brignola, Phil Upchurch, Rickey Woodard, vocalists Jackie Ryan and Barbara Morrison, Jeff Clayton and the Clayton-Hamilton orchestra. He performed Rhapsody in Blue with the Winston-Salem Symphony and participated on a tribute to Jobim with members of the Pittsburgh Symphony. Then along came the deadly Corona Virus. Musicians around the world found themselves at home, adjusting to a new and different pace and a challenging new way of life.
Now, since many of us are self-quarantined and stuck at home, Tamir decided to offer his friends and fans a weekly solo piano live-stream. It happens every Saturday evening at 6 p.m. (Pacific Coast time) on the Internet. Each week, he tributes various jazz giants and the Great American Songbook composers. https://gem.godaddy.com/p/a3deb01/
“Like many in LA, I’ve loved the tradition of house concerts, such as the long-time Jazz at the A-Frame series. The intimate setting and dedicated fans make these so special. When the A-Frame closed, I was invited to lead a series of solo and duo concerts at a home in Sherman Oaks as part of a series called the PQ Sessions. I featured guests like Rickey Woodard, Larry Koonse, Danny Janklow and Graham Dechter. We often dedicated our sets to a certain composer or musician. It seemed natural for me to take that approach with this new solo piano series from home,” Tamir explained his recent Zoom project.
“Each Saturday, I explore the music of a certain composer or musician, from Harold Arlen (5/23) to Miles Davis (5/30), Kenny Barron and Joao Gilberto (6/6), Chick Corea (6/13) and Cole Porter (6/20). This allows me to discover and share some hidden gems by these artists. My On-line workshops, feature the Great American Songbook and were also inspired by Barry Harris, who used to hold similar workshops for pianists and vocalists.”
Since 2005, Tamir Hendelman has been teaching piano, improvisation and harmony at UCLA’s Herb Alpert School of Music, where instruction has temporarily moved online this quarter. He’s one of the brilliant professors at this newly renamed Global Jazz Studies program. Recently, the program was enhanced with the addition of Terence Blanchard and Arturo O’Farrill.
“As musicians and educators, I feel we’re here to bring people together and to lift them up. Especially now, when our students are immersed in technology, I encourage them to use those tools to musically connect with each other. They learn how to record together in ‘real’ time, accompany and musically support each other, and stay inspired together as a community. A few weeks ago, vocalist Tierney Sutton and I recorded a Hoagy Carmichael song, ‘I Get Along Without You. This was my first experience recording alone…together. I was glad to share this with our students and get them comfortable with the process. They paired up and recorded with each other in ‘real’ time. To me, that’s where the magic happens.”
The duo with Tamir Hendelman and Tierney Sutton came out beautifully. You can enjoy it below.
Not only is Tamir Hendelman an outstanding pianist, an educator and composer, he is an arranger of note. Many seek his creative arranging talents when they decide to record. He shared a funny story with me about an arrangement inspiration he once had.
“I often hear musical ideas while walking in nature. While working on an arrangement for vocalist, Joanne Tatham, she wanted me to create a new take on McCoy Tyner and Sammy Cahn’s ballad, ‘You Taught My Heart to Sing.’ While on my little walk, suddenly a garbage truck began backing up and beeping all the while. ‘Beep – beep – beep! Sure enough, that found its way into a bass figure repeating the same note, that came in and out of the song arrangement. I guess you never know where inspiration will strike,” he chuckled remembering.
If you want to hear more of Tamir Hendelman’s style and brilliance, I encourage you to visit his website www.tamirhendelman.com to discover and attend his latest Saturday streaming concerts and to learn more about his recordings. When live concerts resume and travel opens up, catch him in person or just dial him up on Youtube.com. From my perspective, not only is he an accomplished musician and educator, he’s also just a really down-to-earth and likeable person.
I’m signing on to Facebook Live https://www.facebook.com/cathysegalgarcia every day except Thursday this week, Noon to about 2:00, to give a class on whatever you want to know about: music, singing, voice technique, making CDs, life philosophies… And I’m inviting guests to do it with me.
Scheduled Guests (some subject to change!) 5/27 Two of the original NY scene jazz vocalists Sheila Jordan and Jay Clayton…5/29 Trumpet man Tony Guerrero… 5/30 guitarist Jeff Richman … 5/31 Jazz vocalist Kenny Washington …6/1 Bassist Gary Meek …6/2 Steamers founder Terrence Love …6/3 Studio pianist Mike Lang …6/5 vocalist FLA based Kate Reid …6/6 R&B composer, guitarist, singer Jodi Siegel PLUS pianist, composer Karen Hammack …6/7 From Cypress, vocalist and community builder Alexia Vassiliou …6/8 drummer Joe La Barbera … 6/9 violinist, mandolinist, and composer Ted Falcon (lived in Brazil) …6/10 guitarist and raconteur Bruce Forman …6/12 Shelly Berg – pianist, composer, arranger, orchestrator, and producer. He is the Dean and Professor of Music at the Frost School of Music at the University of Miami… 6/13 As he states, “Jewish Buddhist author & jazz drummer, Michael Stephans (NY based) …6/14 Sally Stevens (whew!) studio singer, author, photographer, composer, choral director, community builder! … 6/15 Tom Meek of LAJAZZ.com
Come join in, ask questions, make comments! See you there!
Bobby Saxon has a mission. He wants to play piano for the Booker ‘Boom-Boom’ Taylor Orchestra (read big band), the house band at the famous Club Alabam on Central Avenue in the heart of Los Angeles during World War II. But there’s a problem: he’s young and he’s white. So if he gets the gig he’d be the only white player in the otherwise all-black band. That’s not the only thing standing in his way. In order to get the gig he must first solve a murder that one of the band members has been accused of. And if that’s not enough there’s another big thing standing in his way…but you’ll have to read the book to find that one out.
Los Angeles—The Homefront, World War II
Bobby Saxon stood across Central Avenue from the Club Alabam, watching the crowds spilling into the street, lingering on the sidewalk. A near-lone white face in a sea of black. Dragging on his cigarette, trying to steady his nerves, he watched the people in their swanky duds entering and exiting the club, working up his nerve to go inside. Sure, he’d been in the Alabam before, but this time was different. He wasn’t there just to see the bands blow and the canaries sing.
Everyone played the Alabam, or wanted to, including Bobby. Young, inexperienced—white—he knew he could knock ’em dead, if only Booker Taylor, one of the band leaders, would give him a chance.
Central Avenue was something to see. The heart of colored Los Angeles in the forties during the war. And at the heart of Central was the Club Alabam, and the Dunbar Hotel next door. Neon marquees lit up the night sky, beckoning passersby to enter their realms of music and mystery and see the likes of Duke Ellington, Cab Calloway, Bill “Bojangles” Robinson, and every other colored act you could imagine.
Cars, with their bright white headlights and trailing hot red taillights, crawled like lifeblood up and down the avenue. Cigarette smoke wafted in and out of the clubs, wrapping around streetlights, forming halos in the L.A. fog, creating an ethereal world—another world. And it was another world from most of L.A. and the L.A. Bobby grew up in. A world that Bobby would have sacrificed almost anything to be part of.
He darted into traffic, dodging oncoming Buicks and Fords and Pontiacs. He brushed past people dressed to the nines, ladies in furs and heels, gentlemen in tuxes and fashionable suits. Even zoot suits. They strolled and strutted up and down the street like peacocks showing their finest feathers, ducking in and out of the clubs and restaurants. They smoked cigarettes from beautifully crafted holders. He strolled to the front door, made his way inside. Smoke wafted up and through the palm tree decor as Ruby, the hostess, recognized Bobby and gave him a ringside seat. She knew he was hep, even though he didn’t drink. The two-dollar tip didn’t hurt his getting that good seat either. He ordered Bubble Up and grooved on the Booker “Boom-Boom” Taylor Orchestra—only in this case orchestra meant one hot jazz big band.
Bobby’s foot tapped out the beat as he eyed the dance floor. Black couples. White couples. Coloreds and whites dancing together. One of the few places in L.A. you could do that and not walk away with your head in your hands. Whites from all over Los Angeles—even movie stars—came to hear the bands, cut a rug, and maybe get a little crazy. And though there might be some coloreds or whites who would look on disapprovingly, mostly no one cared.
Bobby watched set after set, tap-tap-tapping and smoking butt after butt of Viceroys. “Thank you, thank you, ladies and gentlemen,” Booker’s voice boomed from the stage mic. “We’ll be back after a short break. Have a drink and enjoy!”
The jam-packed dance floor emptied as the jitterbugs scattered back to their tables or the bar. Bobby stood, ready to make his move. He scooted through the narrow lanes between the closely placed tables, through the crowd, dodging drunken dancers. He wanted to catch Booker wherever he might land between sets, maybe on stage, maybe in the hall leading to the dressing rooms. Before he could, Booker snapped his head in Bobby’s direction, crooked his finger at him.
“Me?” Bobby mimed.
Bobby climbed onto the stage as the rest of the band departed. Just being on the Alabam’s stage with Booker was enough to make his heart pound out prestissimo time, even if he wasn’t playing with the band. At over six feet, Booker towered over Bobby. Up close Bobby could see the fine line of Booker’s moustache, the longish, slicked-back, processed hair. He envied Booker’s threads—the draped, broad-shouldered double-breasted suit, the pleated pants and fine, lilac silk scarf. But the most striking thing about him, besides his baritone voice, were those piercing eyes. Bobby felt those eyes burning a hole in his skin.
“You’re up here every night, kid. Every night all alone. What’s up?”
“I dig the music.”
“You dig the music. Jungle bunny music?”
Jungle bunny rolled so easily off Booker’s tongue. Bobby had heard it before and was surprised to hear Booker use such a negative word, even if he had said it sarcastically. “I didn’t come down here to jive you.”
Booker stared at Bobby through several puffs of his cigarette in a sleek, ebony holder. Bobby wanted to squirm or scram; held himself in check. Finally, Booker said, “Let’s go to my office.”
Bobby actually believed Booker had an office at the back of the club. Booker’s office was the alley behind it, lit by a few bare bulbs swathed in fog, shadowy and creepy. Like something out of a Universal horror movie—Dracula, Frankenstein—that Bobby might have seen when he was a kid, not all that long ago. Several band members hung out there, talking, smoking, drinking. Bobby heard a grunt. Turned to see a couple screwing in a semi-dark doorway a few feet up.
He didn’t know what he’d gotten himself into. What if Booker pulled a knife on him? He swallowed it down, though his father’s warning about coming to this part of town with these people nagged at him. He was scared, but he couldn’t show it. He was a man now.
Booker fished in his coat pocket, pulled something out. A hand-rolled cigarette, lit up. Offered a hit to Bobby. Bobby didn’t go for it.
“Yeah, kid, reefer. The evil weed. You barely look old enough to drink. Are you old enough for this?” Booker said, inhaling. “You even old enough to be in here?”
“I’m old enough to pound the eighty-eights in a hot jazz band,” Bobby said with all the bravado and self-confidence he could muster. He felt shaky fingers fumble a Viceroy from the pack. He’d been smoking since he was twelve—his hands had never shook before. “You don’t look old enough to stand up to piss.”
“I’m old enough.”
“Hardly even looks like you run a razor over that pearly, baby-smooth skin.” Booker slammed down a long drag, held it. Let the smoke out slowly. “What’re you comin’ down here for anyway? Why don’t you try to get a gig with a white band?”
“I’m here. You wanna let me sit in?”
“Fresh cracker kid. Lemme see your hands.”
Booker grabbed Bobby’s hands. Ran his long dark fingers over them. Bobby hoped Booker wouldn’t feel them shaking.
“Give me a shot, you’ll see how soft.”
“You know, Herb Jeffries is going to do a couple tunes next set—heard of him?”
“The Bronze Buckaroo. I love cowboy movies.”
“You come down to Central to see colored cowboy movies?”
“By myself.” Against his father’s wishes, like so many other things he did.
“You got more balls than I thought, kid. All right, Herb’s gonna sing ‘Flamingo,’ know it?”
“He’s also gonna sing ‘The Yellow Rose of Texas.’ If you can tell me what that song’s really about, you can sit in.”
Bobby shuffled his feet. He knew the answer, at least he thought he did. He wasn’t sure if he should say it, if it was a trick question. “I know it’s not about a flower.”
“C’mon, kid, we don’t got all day.”
“The yellow rose in the song is a light-skinned colored woman, a high yellow woman. Do I pass?”
“All right, kid, we got no eighty-eight man tonight. You can sit in. If the audience throws shit—well you know.” Booker took a last drag on his jive stick, pinched it out between his finger and thumb and put it back in his pocket. He headed inside, followed by Bobby and the band.
Bobby’s eyes adjusted to the dusky Alabam light and stinging smoke. He started to push the piano into a position where it would be part of the band. No one offered to help. Booker nodded at a couple of horn players. They leisurely walked to the piano, pushed and heaved until it was in place. Bobby thanked them, limbered his fingers. Booker looked over to him, shot him a wink of encouragement. Before he could get fully situated on the bench, the band launched into “Take the A Train.” The dance floor filled. The rhythm insinuated itself deep inside him. Every inch of him pulsed with it. He joined in with the band. Butterflies jumped in his stomach as he tried to play Duke Ellington’s part half as good as the Duke. But his fingers stopped shaking. He hit the keys with joy and passion. Nobody left the floor. Nobody threw anything. Nobody paid much attention to the single white face among all the black faces in the band, the one person, besides Booker, not in the band uniform of white jacket, dark slacks, bow tie. Everyone applauded at the end of the number.
“And now ladies and gentlemen, as our usual vocalist, the sweet Loretta Martin, isn’t with us tonight, we have a special guest. Mr. Herb Jeffries, the Bronze Buckaroo. The Sepia Singing Cowboy. The song stylist who, with Duke Ellington, made ‘Flamingo’ his own.”
Jeffries sauntered on stage. A handsome man, over six feet tall, who truly did look bronzed. The crowd went wild.
“Thank you,” Jeffries said in his rich, deep voice. Booker’s hand swung on the downbeat and the band launched into “Flamingo.” Bobby played along. He knew the song well. People crowded the stage to watch the singer. Others slow-danced, close and tight. The band was smooth. Jeffries spectacular with his beautiful baritone. And Bobby knew he was doing more than a serviceable job winging it. Booker glanced his way, gave him a quick grin. Bobby shot him a hasty salute. The crowd swelled and rose like a tidal wave, in a wild frenzy for the music. When the song ended, a hush fell over the room as Jeffries launched into “The Yellow Rose of Texas.”
The song over, Jeffries took his bows and left the stage. Booker looked at Bobby. Bobby knew what that meant—his turn in the spotlight. Staring into a follow spot like a deer in headlights, he didn’t know what to do. Then he whipped into Count Basie’s “Jumpin’ at the Woodside,” banging away on the ivories. The crowd surged. Danced. Jitterbugs bopped to the music. Booker smiled, impressed. He looked to the band. They nodded while continuing to play—this kid could really blow.
Bobby dove deep into the music, swam with it. It was part of him, one with him. His thoughts were hardly conscious as he grooved to the beat. Fell in with the rhythm. This was the only place he wanted to be. Nothing else existed at this moment.
The number over, Booker motioned to Bobby to take a bow. Sheened with sweat, he stood and looked out at the crowd. The applause deafened him but made him happier than he’d ever been. The applause died and the band went back to its set. Bobby knew all the songs and played along just fine. When the set was over, drained and wiped out, Bobby went to the bar and ordered a Bubble Up.
“On the house,” the bartender said. “Good set.”
“Lawrence.” He put his hand out and Bobby shook it. The man squeezed hard. He wasn’t much taller than Bobby but he had the handshake of a hard man. The slicing scar over his left eye confirmed it.
Booker came up behind Bobby. “Welcome aboard.”
Bobby tried to maintain his composure, his cool. He hoped it was working.
“You look spooked, man,” Booker said, “and that ain’t a word one should be using in this joint.”
“Just taken aback.”
“They like you, man.”
“I got the gig?” Bobby was giddy. He only half-expected to get the spot, no matter how good he might be. Booker had never had a white player before. Bands weren’t integrated, except for Lionel Hampton with Benny Goodman. This was almost a first.
“Yours, at least on a trial basis. We’ll see how it works out for both of us. But when I said welcome aboard, I meant it. Tonight’s our last night at the Alabam for a few weeks.”
Excerpted from THE BLUES DON’T CARE Copyright © 2020 by Paul D. Marks Reprinted with permission. All rights reserved.
SACRAMENTO’S HENRY ROBINETT RELEASES “JAZZ STANDARDS – VOL. 1 – THEN” on his NEFERTITI RECORD LABEL
By Dee Dee McNeil/Jazz Journalist
How many times have you looked back on your life, while going through boxes or cleaning garages and closets, only to discover some real gems that had been hidden away for years? Guitarist, Henry Robinett, must have been doing just that when he stumbled upon some old tracks he recorded nineteen years ago with Joe Gilman (piano), Chris Symer (bass), and Michael Stephans, (drums).
“Honestly, I don’t know why I left it on the shelf for so long. I grew up listening to bebop and the great bebop players had enormous influence on me. When I wrote and performed my own music, though, I naturally incorporated the wide range of music styles I had played with other bands. I think the jazz standards album was just too different from my other work, which made me hesitant to release it. But after listening to it again, after so many years, I like it. I think it stands up well and shows another side to my playing,” Robinett explained in his liner notes.
I am happy he discovered this beautifully played treasure of standard jazz songs. His group is smokin’ hot and why wouldn’t it be with drummer Michael Stephans manning the trap drums? As always, Stephans adds fire and spark to this project. Joe Gilman is lyrical and freely improvises on “I Hear A Rhapsody.”
But it’s always Henry Robinett’s sensitive guitar playing that keeps this music exciting and creative. Robinett has a way of unfolding each song, like the chapters of an intriguing book. He inspires the listener to go forward and hear the next one and the one after that. His tone is pure and he’s a master improviser, using long, eclectic lines in his guitar phrasing. On “Yellow Days (La Mentira),” Joe Gilman exhibits his style of playing, using inspired melodies with both hands on the piano keys, moving in unison at a brisk pace. Then, Chris Symer steps forward, soaking up the spotlight and letting his double bass eloquently do the talking.
A native of California, Henry Robinett was a Cal State University/Sacramento student before joining a popular Northern California group called, The Runners. They played a mixed bag of music, from R&B to Rock, Brazilian and Latin influenced tunes and jazz. Then, in 1978, Robinett turned his music world upside-down when he briefly lived in a New York City apartment with none other than Charlie Mingus. His father was first cousins with Mingus and had a large collection of Mingus music. Young Henry had come up listening to this legendary bassist as a teen. While living with Mingus, the young musician rubbed shoulders with jazz royalty like Sonny Rollins, jazz historians Nat Hentoff and Leonard Feather, Clifford Jordon, Chico Freeman and many others. He happened to be in New York when Mingus was penning music for the iconic Joni Mitchell. Henry Robinett remembers talking to Joni about music and life in general. She also showed Robinett some of her guitar tunings. He admits to carrying those notes in his guitar case for many years.
From New York, he returned to the Bay Area in California rejuvenated and quickly landed gigs at the legendary Keystone Korner. He enjoyed playing with top Bay area artists like pianist, Jessica Williams, performing on her 1981 album “Orgonomic Music” along with Eddie Henderson. His music sensibilities were growing.
With new horizons calling, he spent a year in Munich, Germany doing studio work for the Munich Sound Machine and other artists, while playing with various local bands. His love of music encouraged exploration into various musical styles, including the popular disco style of music that Mitch Klein’s Munich Sound machine successfully recorded.
Ultimately, Henry Robinett decided to create his own group. He was signed to Artful Balance Records and his group produced three albums for that label. Always eager to expand his knowledge and have more control over his own music, Henry decided to master studio engineering. Back in California, he built a small studio and many of his subsequent album projects were recorded there. He set up his own Nefertiti record company and was soon producing not only his own records, but recording other artists too. He found himself on a more contemporary jazz path.
The Henry Robinett Group was named the Best Jazz Band by the Sacramento News and Review for three straight years. In 2015, he was recording a more contemporary sound.
For this current album, recorded in 2000, Robinett and his exciting bandmates offer us their interpretation of several jazz songs that we love like “Days of Wine and Roses”, “Just the Way You Look Tonight,” “Ill Wind” and “Invitation” among six others. This production is bebop influenced jazz that never grows old.
“I called the talented drummer, Michael Stephans. He suggested I use Seattle based musician, Chris Symer on bass. I then called my good friend, Joe Gilman, and reserved the date at The Hanger Recording studio, where I had been working as an engineer and producer,” Henry recalled on his album jacket.
“What I remember was that the session was fun. It is always a challenge being the recording engineer and player. Both are full time jobs. Maybe that’s the reason it sat on the shelf so long. I couldn’t get away from the memory of being ‘split-brained’ at that moment,” he admitted.
“So, I decided to release two albums from the original session. I was so motivated by this recording that we met again in November of 2019 for another fun and productive session. So, this is “Volume 1 – Then” and “Volume 2 – Then Again” is coming soon. It’s been my real pleasure playing this music with these remarkable musicians. I hope you enjoy it,” Henry Robinett graciously spoke.
The release date for this well-produced album is May 1, 2020. I look forward to hearing the follow-up album, after finding such pure pleasure and enjoyment in Henry Robinett’s straight-ahead and bebop infused jazz production.
JAZZ TRUMPETER, WALLACE RONEY, VICTIM OF THE CORONA VIRUS
By Dee Dee McNeil
As the horrific COVID-19 corona virus, a strain of SARS, slashes its way across the world, it continues to leave a toll of death and destruction. Sadly, this terrible disease has claimed the life of one of our jazz icons, master trumpeter, Wallace Roney.
Wallace was born in Philadelphia, Pennsylvania on May 25, 1960. By the age of four, it was clear that young Roney had perfect pitch. At age seven, he won a scholarship to attend the Settlement School of Music. Everyone expected great things from the young musician. By the time he turned twelve-years-old, he became the youngest member of the Philadelphia brass ensemble that was made up of members of the Philadelphia orchestra. It was about this time that pre-teen, Wallace Roney, met the legendary, Clark Terry. Clark became one of several important mentors in young Wallace’s ascendance to the top of the jazz charts. In 2007, Billy Taylor, recorded a short documentary on the great Wallace Roney that talked about the day Clark Terry asked Wallace to play a scale and instead he played a solo by Lee Morgan that he had memorized. That both shocked and impressed Clark Terry.
When he enrolled in a Washington, D.C. public School called The Duke Ellington School of the Arts, he had already made his first recording at the young age of fifteen, recording with Nation and Haki Mabuti. At that high school, he met his second great mentor, Langston Fitzgerald, a trumpeter with the Baltimore Symphony. Then, at age sixteen, he was encouraged by his high school teacher to play with Cedar Walton’s Quartet that consisted of Billy Higgins, Sam Jones and Philly Joe Jones. Also, around this time, he met Dizzy Gillespie. Dizzy was the mentor that taught him to play more intricates styles of improvisation. He also met and became very close to Woody Shaw, who was another trumpet player, close friend and mentor.
Wallace Roney chased his musical dreams to Howard University. But a gig call to become a member of Art Blakey’s Big band pulled him away from college days. Later, he would attend Berklee School of Music. After making his mark as an up and coming trumpeter on the Washington, DC club scene, he met one of his idols. It happened in 1983, while participating in a tribute to Miles Davis. To his amazement, Miles walked up to him after his performance. Roney told Time Magazine:
“He (Miles Davis) asked me what kind of trumpet I had and I told him none. So, he gave me one of his.”
Soon, he and Miles were good friends. Miles Davis scooped the fledgling musician under his expansive wings. Historically, Wallace Roney was the only trumpeter that Miles Davis ever mentored.
As Roney’s star rose, in 1986 he replaced Terrance Blanchard in Art Blakey’s Jazz Messengers group.
In 1987, Roney released an album on the Muse label titled, “Verses,” followed by “Intuition” in 1988 and in 1989 Muse released “The Standard Bearer.”
Wallace Roney was prolific and energetic. He was turning out albums once a year on the Muse label. In 1990, they released “Obsession” and 1991, “Seth Air.” Also, in 1991, the busy trumpet player became part of a tour to celebrate the legacy of Miles Davis, who died September 28, 1991. He was asked to join Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams and to record with them on their “A Tribute to Miles” album. That album won a Grammy Award.
The Muse label released an album titled, “Munchin’” in 1993, followed by “Crunchin’. Then Wallace Roney changed labels. He was picked up by Warner Brothers.
In 1995, Wallace Roney married piano giant, Geri Allen. Together, the talented couple brought forth great music, along with two daughters and a son. Wallace continued grinding out recordings as a leader and recording as a sideman. As a bandleader, he recorded for Concord Records, Highnote Records and Chesky Records. By the time he turned forty years old, in 2000, Wallace Roney had recorded on over 250 albums. He leaves his brilliant talent behind, captured on video and in the recording studios, to be enjoyed for infinitude.
Wallace Roney died March 31, 2020, at St. Joseph’s University Medical Center, in Patterson, New Jersey at the age of fifty-nine years old. His death was the result of this current pandemic, caused by complications from the COVID-19 virus strain. We send love and condolences
By Dee Dee McNeil/Jazz Journalist
Edythe Bronston is the founder and president of The California Jazz Foundation. Their nonprofit organization’s mission is to aid and assist California jazz musicians when they find themselves in financial or medical crisis. The California Jazz Foundation was created in 2006 when Edythe Bronston realized a respected jazz musician in Northern California was in crisis. She called her friend and business associate, Dominic LoBuglio and said she wanted to start a nonprofit that would support jazz musicians in need. With Dominic’s CPA background and her legal expertise as a successful Los Angeles attorney, they created this awesome organization. Both music lovers reached out to friends who had the same love and passion for jazz music. Their associates had to be caring, compassionate and empathetic human beings. At the first meeting of their consortium, they sat around Edythe’s dining room table and agreed that something had to be done for jazz musicians, many without health insurance and some sporadically unemployed. Consequently, those musicians often found themselves in dire financial straits. For these players of America’s highly respected and indigenous artform, there was rarely unemployment benefits or health insurance available. As long as they were healthy and had gigs lined up, they went to work and made people happy with their music. But when the unexpected happened or when musicians began to age or faced health challenges, where could they turn?
Edythe and Dominic proceeded to incorporate and apply for nonprofit status and that first evening, the small, concerned group passed the hat around Edythe’s dining room table to help their first jazz musician in need. It would be almost a year later, in 2007, when they finally attained the 501 (c) (3) status they needed to be a tax-exempt organization. To date, they have assisted and supported over three-hundred musicians and have 630 members.
Dee Dee: I asked Edythe when she fell in love with jazz?
Edythe Bronston: “I was fifteen years old and my best friend was this guy who was sixteen years old. He said to me one summer night, he had just gotten his driver’s license and he said to me, I’m going to take you tomorrow night to hear jazz. I said what’s jazz? He said you’ll know it when you hear it. So, he took me to this roadhouse to hear Ray Anthony and his Orchestra.”
“Because he had just gotten his driver’s license, we went really early while it was still light out. We got there and I don’t know whether you remember Ray Anthony, the band conductor, but he was very handsome and was known as ‘the poor man’s Cary Grant.’ We walked into this roadhouse and it was a great big place, like a banquet hall, with a huge dance floor. That early, there was nobody there but us. Ray Anthony was at one end of the room with his band when we walked in. There I was in my fifteen-year-old glory, with my crinoline skirt on and he winked at me. Oh, he was very handsome. By the end of the night, I was smitten and I thought I loved jazz. I didn’t know that wasn’t really jazz. (laughter) So, I became a jazz fan at fifteen. It was quite a revelation for me when I discovered Stan Kenton and, of course, my all-time favorite is Charlie Parker.”
Dee Dee: Like myself, Edythe Bronston believes that jazz is freedom music. She knows this courageous and doughty music was born out of slave songs, church hymnals, the blues, European classical music and a longing for freedom of expression. This music effloresced through the bell of Louie Armstrong’s trumpet and the creativity of Charlie Parker’s inventive saxophone. Improvisation was born. Both the music and the musicians who play it are an important and undeniable part of our American culture.
On April 25, 2020, at 5:30pm in downtown Los Angeles, the Annual Gala presented by Edythe Bronston and her California Jazz Foundation called, “Give the Band A Hand” will honor iconic composer/arranger Johnny Mandel and pianist, bandleader, journalist and educator, Billy Mitchell. This is the group’s annual fundraiser to support their ongoing program throughout the year.
Bronston: “What I’ve learned, when you talk to a jazz musician, there’s no hidden agenda. What you see is what you get. And that’s the beautiful part of it. As long as they have a job, a gig, and as long as they have their health, they’re good. They don’t internalize that something could happen to them. They don’t think about getting older or what if they have an accident or they get sick. They don’t have any cushion. It’s just such a tragedy. Terry Gibbs is a good friend of mine and he told me that when he started out with his first band, he was paying musicians more than any other bandleader was at that time. Shockingly, the amount that he was paying is the same amount that they are being paid today. It’s tragic!” Atty. Bronston’s voice is full of compassion.
Dee Dee: But where is the corporate support for the California Jazz Foundation? Why aren’t companies like Gretsch, who has literally cornered the endorsement market of the jazz scene, and who boasts a popular line of jazz drum kits, or Ludwig drums, Yamaha, or DW drums, contributing to this important nonprofit effort? Why aren’t Piedmont piano company, or Steinway, or Shadd Pianos, named for Warren Shadd, the first African-American piano producer contributing? Jazz musicians play all the popular instrument brands and many advertise for these companies and their products. How about VISA and MASTERCARD and airline companies that fly these musicians around the world to perform? The California Jazz Foundation needs and is looking for corporate sponsors.
Bronston: “Well, I think that’s why Billy Mitchell has been so successful …because he’s dealing with children and corporations care about kids. We haven’t seen the same kind of support for the master musicians who are playing the music and continuing the legacy of jazz. We always say, the L.A. Jazz Society takes care of the kids (through their program ‘Jazz in the Schools’) and we take care of the sick and the older musicians. We’re two groups who are very friendly and refer back and forth. They seem to have an easier time getting grants than we do, probably because people care more about children. We’ve been able to survive, but with more corporate grants, we would be able to help more musicians. We’ve helped over 300 musicians and 77% of our grants, from the very beginning, have gone to alleviate homelessness by paying rent, mortgage payments and taxes, in addition to assisting with health challenges,” Edythe Bronston sighs.
Dee Dee: Speaking of pianist, Billy Mitchell, not only will he be receiving an award from the California Jazz Foundation, but he will also be given an award from the Jazz Journalist Association at the April 25th Gala event. Mitchell has been based in Los Angeles since 1970 and has backed up artists like Gloria Lynn, Esther Phillips, Billy Paul, Randy Crawford, Linda Hopkins, Barbara Morrison, Cheryl Barnes and many more. He is a member of the Los Angeles Jazz Orchestra Unlimited headed by jazz legend, Kenny Burrell. Mitchell has appeared in the Clint Eastwood motion picture, “Bird.” As a journalist and clinician, he’s written and published books and his articles in Gig Magazine chronicle his life and love of the music he performs and teaches. As founder of SAPPA, the Scholarship Audition Performance Preparatory Academy, and founder, director of the Watts-Willowbrook Conservatory & Youth Symphony, he transforms lives every day, reaching into the underserved communities of Southern California to inspire young musicians.
The other recipient of the California Jazz Foundation’s “Terry Award” is Johnny Alfred Mandel. As a composer, arranger and conductor, his songs for film soundtracks have become iconic, including the Grammy and Academy Award winning, “The Shadow of Your Smile” and the beautiful, “A Time for Love.” A former trombonist and trumpet player in big bands, he has worked with Count Basie, Frank Sinatra, Peggy Lee, Diane Schuur, Tony Bennett, Barbra Streisand, Shirley Horn, Ann Hampton Callaway and countless more. He penned the popular Television theme song for the M.A.S.H show. In 2018, Johnny Mandel received the Grammy Trustee Award from The Recording Academy for “individuals who, during their careers in music, have made significant contributions, other than performance, to the field of recording”. He’s also the recipient of the NEA Jazz Masters Award.
The California Jazz Foundation is proud to honor these two legendary and locally based Southern California musicians.
Bronston: “Our programs create excitement,” Edythe Bronston says with pride and conviction. “So many of our jazz musicians and our stars are dying. It’s always a wonderful evening and it has buzz. We have people who come every year. You never know who will attend and the music is always amazing. We invite everyone to purchase tickets or to support our mission by becoming members. Everywhere I go, I meet new friends who wish to join our cause, because of their abiding love of the music and the musicians who give so much of themselves. We celebrated our fourteenth year on January 30th of 2020. Please help us by making a tax-deductible donation. With your support and generosity, we will always be here to assist our jazz musicians.”
You can visit the California Jazz Foundation (CJF) Online at: www.californiajazzfoundation.org
By Dee Dee McNeil / Jazz Journalist
The Segerstrom Art Center is a state of the arts complex in Costa Mesa, California, a very affluent area of Los Angeles County. It offers several parking structures and theaters of various sizes and a wealth of talent for the community to enjoy. The room where Kandace Springs is performing Is set up like a nightclub venue. The round tables are draped in white table cloths with a small, flickering lamps in the center that made the space feel cozy and intimate. All the tables on the main floor housed four chairs. A balcony, with tables for two, sat above the main floor on both sides of the room. It’s a comfortable cabaret set-up with a capacity to hold 320 people. Tonight, it was full.
A female drummer saunters on stage, sits behind her trap drums and began to solo with gusto. Another female enters, picks up the double bass and joins in. They set up a funky, smooth jazz, soulful groove. Then Kandace Springs prowls across the stage like a lioness. Dressed in black pants, she sits down at the electric piano, soaking up the center spotlight. The show has begun. This pianist/vocalist has a head of hair like a lion’s mane and it bobs and moves with her tenacious delivery on the piano keys. Her voice is husky and rooted in gospel. It’s somewhat reflective of Stevie Wonder when she makes certain vocal ‘runs.’ I’ve seen this artist on YouTube performing with Kenny G, Daryl Hall (of Hall & Oats) and a big band. During the opening number, her bassist sings harmony with Kandace.
Because I’ve been in the music business for such a long time, I can tell this is a new band. Still, their voices blend beautifully. The longer they perform together, the tighter this ensemble will become. Kandace Springs moves from the electric piano to the grand piano to perform the second tune, “Gentle Rain.” Afterwards, she announces that she has a new CD coming out in March on the Blue Note label. Tonight, we are getting a live preview of this new recording. She tells us, her friend, Christian McBride, is playing bass on her Blue Note production. However, “tonight Caylen Bryant (on bass) will accompany me on “Devil May Care,” she says giving a nod to her bassist. Kandace swings this arrangement, propelled by the talented Taylor Moore on drums and amply supported by her multi-talented bassist. In between each song, Ms. Springs interacts with her audience, offering a warm exchange of information. She shares that she and Norah Jones are Blue Note sisters and they perform a duet on her new album celebrating Ella Fitzgerald. “Norah Jones plays the Steinway grand piano and I play the electric piano on the tune, Angel Eyes,” she tells us. The trio digs into this tune, featuring Caylen duetting vocally with Kandice, and on the fade of this song, all three female musicians sing a haunting, harmony part. It’s extremely effective, with a wee bit of gospel flavor to it.
Then came a piano solo where Kandace Springs shows us, she definitely has ‘chops’ and is a classically trained pianist. Her love of piano started at age ten when her dad brought home a piano. Kandace comes from a musical family. Her father was a popular, working soul singer in a country-western town. His name is Scat Springs and he had his own Nashville band. His vocals were so strong that he sang backup for several well-known musicians like Brian McKnight, Chaka Khan, Aretha Franklin, Michael McDonald and Donna Summer. A daddy’s girl, she tagged along to his sessions. It was her father that introduced her to legendary singers like ‘Ella’, Eva Cassidy and Nina Simone. Her dad helped her record a demo at age fifteen and it got a lot of buzz.
For her next song, Kandace celebrated Carmen McCrae, performing solo, just her piano and voice singing a soulful rendition of “In My Solitude.”
Then she ripped into a classical-sounding composition to show she was a studied musician. I heard shades of Rachmaninoff, Shubert and Bach. This interlude faded seamlessly into Jobim’s tune, “How Insensitive.” Kandace liberally shares her spotlight with the two talented ladies in her band. She features them next. Taylor Moore on drums is an amazing technician on her instrument. She really fired-up the crowd.
Caylen Bryant lays down her double bass and straps on her electric instrument. The trio does a unique arrangement of Sade’s tune, “Love is Stronger than Pride” with the drummer and bassist singing back-up vocals that enhance Kandace Springs’ smokey delivery of this popular song. Next, Kandace tells us she credits Norah Jones for inspiring her to learn and perform the first standard she ever played and sang before an audience. Then she performs, “Nearness of You.” This was followed by a funky, but still very jazzy rendition of “People Make the World Go Round.” She stunned the audience when she sang and played Billie Holiday’s tear-jerking song, “Strange Fruit.” It was a very moving performance. The trio rebounded from this emotional ballad to a song the group ‘War’ made so popular; “The World Is A Ghetto.” Judging from these two songs, Kandace Springs seems to have a little bit of an activist edge to her music. The drummer tears into her solo on this arrangement and the audience goes crazy.
The jazz community has had an open space available for a female pianist and jazz vocalist. We have been waiting for someone to soulfully fill the hole that legends like Nina Simone, Roberta Flack and Shirley Horn left in our musical fabric. That’s why I was happy to hear Kandace tribute Roberta Flack, going back to the grand piano to play and sing a beautiful rendition of “The First Time Ever I Saw Your Face.” She closed out their concert with a fiery arrangement of Nina Simone’s, “I Put A Spell on You.”
The room rose in a unified standing ovation to show the three talented ladies how much they were appreciated. I look forward to hearing the new album by Kandace Springs titled, “The Woman Who Raised Me.” Like two of her idols, Norah Jones and also Diana Krall, she continues to break new ground, playing piano and singing. Her choice of blending musical genres, with a youthful jazz infusion, while celebrating the spirit of her jazz elders like Carmen McCrae, Nina and Sarah Vaughan, (who all played piano beautifully) makes Kandace Springs a fresh, blossoming talent in my New Artist series.
Peter Erskine has played the drums since the age of four and is known for his versatility and love of working in different musical contexts. Fifty albums have been released under his own name, or as co-leader, and he appears on 700 albums and film scores. Peter recorded five albums with the band Weather Report and won his first Grammy Award with their album ’8.30’. His second was for the album Some Skunk Funk, with The Brecker Brothers. Peter has 8 other Grammy nominations under his belt plus an Honorary Doctorate from the Berklee School of Music. Joining Peter on stage will be Alan Pasqua on piano and Darek Oles on bass.
Jazz Wednesdays Winter presents some of the hottest straight-ahead jazz musicians in the region. Held at the distinctive [seven-degrees] event facility, 891 Laguna Canyon Rd. Concerts are 6-8 pm, doors open at 5pm when a full bar and dinner, on a pre sale basis, will be available. Tickets are $30 in advance, $50 with dinner, $40 at the door and can be purchased at lagunabechlive.org. For more information call 949 715 9713
By Dee Dee McNeil / Jazz Journalist
The evening’s moderator steps onstage. He tells us that three years ago the Soraya , a magnificent Center for the Performing Arts, started a jazz club on its premise. Located in “the Valley” of Los Angeles, at 18111 Nordhoff Street in Northridge, California, on the campus of California State University Northridge (CSUN), this huge theatrical facility simulated a smaller area inside the building that features an evening of intimate jazz. It’s my first time visiting this architecturally beautiful, all glass, building. This is the ninth year of the award-winning Younes and Soraya Nazarian Center. The 1,700-seat theatre was designed by HGA Architects and Engineers. It was recently cited by the Los Angeles Times as “a growing hub for live music, dance, drama and other cultural events.” Tonight, the small room they’ve created seats about 250 people. Several patrons swarm around the wine-tasting table and there’s a full bar available just outside the jazz room. There is table seating upfront and theater seating in the rear.
The evening’s featured artist is Luciana Souza. She is a Brazilian vocalist with Sao Paulo roots. She took the stage with two other musicians who she introduced. Ms. Souza told us she met Scott Colley (bassist) in New York and fell in love with his playing. “He is an architect of our music,” she gushed. Next, she introduced Chico Pinheiro, a guitarist also from Sao Paulo, Brazil. Luciana and Chico met at Berklee College of music and Souza told us he is a great storyteller on his instrument and a very popular instrumentalist in Brazil. She went on to say that poetry deepens our humanness. “It’s always fertile ground,” Luciana asserted. That’s why she adopted some of the poetry of Leonard Cohn and set his prose to music. She spoke the words of Cohn over the silence in the packed auditorium. Then, her two-man band began to play. First Scott Colley’s bass set the tempo. Ms. Souza, standing before a snare drum and a single cymbal began gently stroking the cymbal with her brushes. She tilted her head back and began to sing. Enter Chico Pinheiro on guitar. Our concert has begun.
The second tune was more energetic with tempo changes from hot, Latin rhythms reduced fluidly to a sultry ballad. Souza plays her percussion instruments effortlessly, tossing the Portuguese language into the mix on the fade of this song. Her vocal notes fall like shiny pebbles onto a rushing musical stream. At the conclusion of this song, the applause is generous, as she tunes her tambourine in preparation for their third song. Scott opens with a deep, bass solo introduction, setting the mood and tempo. It’s a happy tune that makes me want to dance. I wish Ms. Souza had told us the titles of the songs they played. She mentioned a few along the way, but not many.
“Being from Brazil means a wealth of music we get to drink,” she spoke to the attentive audience. Speaking of drinks, we sat there sipping our wine, enjoying the music with beverages sponsored by WINC, an online wine distributor. Luciana Souza told us one composer she loves is Milton Nascimento. She explained, he was born in a hilly state inside Brazil, lush with mountains and she tells us his music is open and elevated like his countryside. On this tune, she features the poetry of Charles Simic, a Serbian/American poet and former co-poetry editor of the Paris Review.
Continuing, Scott pulls out his bow and the bass trembles in a beautiful way. There are no words on this tune. Souza scats her way atop the music, making warm sounds like tropical bird calls and mountain winds. She is consistently singing and playing percussion, which is impressive. However, I do wish her percussion had been more dynamic, instead of just the whisper of rhythm. It was teasingly pleasing. A few bursts of percussion to vibrantly support these amazing musicians would have escalated her production and elevated her percussive playing. Her voice, however, is a lovely instrument and one of the songs she sang was very much a ‘saudade’ ballad that hauntingly floats across Chico’s beautiful guitar background. It’s almost a blues. On this song, the improvisation between guitar and bass is palpable and excites everyone at my table. Luciana Souza sings long, legato lines, holding the final notes of her phrasing tenderly, as though they are her babies. She swings on the end of this tune and scats. On this song, I finally hear some energy in her percussive playing.
Luciana Souza adds a small taste of activism to her program on her second set. She tells us, “we are living in strange times. I couldn’t vote in Brazil for a while when the military took over. So, I have seen some things,” she shared and then sang:
“These are the roads we travel. I don’t know how to get back to you. … These are the wars we fight. These are the tears we shed. … I don’t know how to get back to you.” Scott Colley, during his bass solo, is brilliant and her voice is like a soft blanket that gently covers his booming bass sound. His instrument bleeds through, accenting the lyrical content.
“These are the duties of the heart. These are the books we read. These are the roads less travelled. I don’t know how to get back to you,” she sings, floating on a second-soprano cloud across a misty, emotional stage.
I long for a program insert, in the main Performing Arts Booklet, that listed tune titles. I enjoyed her patter between songs, describing her beloved Brazil and sharing spoken word or stories about the poets, but I wish she had told us the titles of her repertoire as she celebrated “The Book of Longing” (her latest CD release) that tributes poets like Leonard Cohen, Emily Dickinson, Edna St. Vincent Millay and Christina Rossetti with original music.
By Scott Yanow
There is no real explanation as to how Buddy Rich became the most remarkable of all drummers. He was self-taught starting when he was only 18 months old, and by the time he was three (when he was billed as “Traps – The Drum Wonder”), he was helping to support his family in vaudeville. He could play faster, louder and with more technique than any other drummer of the past or present. Just look at any film of Buddy Rich taking a drum solo on You Tube and try not to be amazed.
While there have been several fine books out on Rich including Mel Torme’s 1991 Traps: The Drum Wonder, the recent work by Pelle Berglund titled One Of A Kind is quite definitive. Conducting interviews with 25 of Rich’s associates, friends and family members and adding the highlights to the most interesting and illuminating stories and quotes from books, newspapers, magazines and early interviews with the drummer, Berglund has put together a continually fascinating and informative biography.
While the outlines of Buddy Rich’s life are well known, this book fills in the gaps. One learns quite a bit about Rich’s early years, his period in vaudeville, his struggle as he outgrew being a child his performer, and his discovery of jazz. There are full chapters on his periods with Joe Marsala’s Chicagoans, Bunny Berigan, Artie Shaw and Tommy Dorsey. One learns of his difficult time in the Marines, his big bands of the bebop era, his association with Norman Granz and Jazz At The Philharmonic, Rich’s relationship with Harry James, and finally his unlikely emergence as the leader of his own successful big bands in the 1960s and ‘70s. Along the way Berglund discusses Rich’s love/hate relationship with Frank Sinatra, the three-month period after he broke his arm in the 1940s that he spent playing one-handed with his band (still taking solos that scared other drummers), his friendship and rivalry with Gene Krupa, and his personality and infamous temper. The latter are dealt with in an even-handed way. The author correctly recognizes that Rich gave 120% of himself on stage and expected the same of his musicians. They did not have to be perfect but they had to work hard at all times, and when they fell short because they were lax or did not care, he tended to blow up. Rich could also be quite kind at times, but he was certainly never dull.
In addition to the colorful biography, an extensive bibliography, and 16 pages of photos, the book has reviews of 21 film appearances that Rich made during 1930-60. One Of A Kind, published by Hudson Music and distributed by Hal Leonard, is available from www.hudsonmusic.com and is a must for all jazz collections. It comes as close as any work to covering the life and career of the World’s Greatest Drummer.
By Dee Dee McNeil/jazz journalist
Eileen Strempel, dean of the UCLA Herb Alpert School of Music said, “Wadada Leo Smith’s life and work exemplifies the fertile intersection of theory and creativity that we encourage our students to explore. We are delighted to honor him at UCLA for his brilliance, his genuine care for others and the scholarly significance of his work.”
Internationally acclaimed Trumpeter, composer, arranger, Wadada Leo Smith, received the UCLA Medal in a ceremony and concert Friday night, November 8, 2019 at UCLA’s Herb Alpert School of Music. Former recipients include iconic artists like trumpeter, philanthropist and record mogul, Herb Alpert; opera icon, Plácido Domingo; the mother of jazz, Ella Fitzgerald, and producer, arranger extraordinaire, Quincy Jones. The UCLA Medal was also awarded to civil rights activists like James M. Lawson Jr., and congressional leaders like Representative John Lewis; Secretary of State Madeleine Albright and U.N. secretaries Kofi Annan and Ban Ki-Moon. Two presidents have received this award; both Jimmy Carter and Bill Clinton. Obviously, Wadada Leo Smith shines in stellar company.
“Wadada Leo Smith is a category-defying composer whose achievements have profoundly shaped American music,” spoke Chancellor Gene Block who presented the award to the avant-garde jazz giant. “His work exemplifies a diversity of original thought that has enriched the lives of others, and demonstrated UCLA’s highest academic and professional values.”
So, you may wonder, who is this amazing jazz musician and educator? We know he is a prolific recording artist and serious composer. He regularly earns multiple spots on the DownBeat International Critics Poll. In 2017, he topped three categories including ‘Best Jazz Artist,’ ‘trumpeter of the Year’ and ‘Jazz Album of the year.’ Wadada Leo Smith is also the originator of the musical language he calls, Ankhrasmation. Professor Eddie Meadow’s featured a musical class where Wadada Leo Smith recently taught aspects of this musical language in a hands-on workshop at the Schoenberg Music building Additionally, Smith’s music scores are considered works of art and have been exhibited at numerous museums including UCLA’s own Hammer Museum, The Museum of Rhythm, Museum Sztuki in Lodz, Poland; The Renaissance Society at the University of Chicago, the Kalamazoo Institute Art Museum in Michigan and at Kadist in San Francisco, a gallery and educational center.
Smith was born on December 18, 1941 in Leland, Mississippi. As a young teen, he was introduced to the Delta blues and jazz traditions through his stepfather, Alex Wallace, who was a bluesman. In 1963, Wadada Leo Smith received a formal music education from the U.S. Military band program while serving in the army. He later attended the Sherwood School of Music and Wesleyan University. Around 1967, he found himself in Chicago, Illinois where he hooked up with the AACM and Anthony Braxton. Both he and Braxton were composing and seeking to stretch the boundaries of music. They both hoped to record and quickly became close friends. For the last five decades, Smith has been a member of this legendary AACM group. Wadada explained their art sensibilities ‘back-in-the-day’ during an interview with Phil Freeman that was published in the Wire.
“When I came to Chicago, I had already composed a pretty good body of work and already begun to understand music without metrical progression or modulation. I was never, ever working in a harmonic sphere where harmonic progression was important. And you look at Braxton, he’s working just the opposite. He was looking at how you make creative music with those connections. And I was not so much interested in that part of it as a way of making music. I always looked at how you make music without all those things everybody has inherited. The piece (I recorded) with the vocals on it and also ‘The Bell,’ those two have the most space. I would say that space was a very important component; still is. Most people have kind of crowded their musical contribution into narrow spaces, but space is still a very important component of my music and a lot of the AACM people. And by space, we don’t mean just horizontal space. We’re talking about vertical space and lateral space.
Wadada explained that vertical space is the relationship between low and high notes. Horizontal is going from section A to section B, or from one type of movement to another. But he feels the most important thing is not the direction, but what happens inside that direction. He believes in utilizing silence as part of musical expression and encourages playing solo. Music is a spiritual journey and he set up his own record label in the 1970’s so he could have complete creative control. Since then, he has released more than fifty albums as a leader. You can tell, by the titles of his work, this artist is constantly in search of a higher consciousness. With the New Dalta Akhri group, they recorded albums titled, “Reflectativity” and “Song of Humanity.” They also recorded “Spirit Catcher and “Divine Love.”
“That band, quite frankly, was the first band that began to introduce a clear idea about systemic music coming from my point of view. It was primarily involved in understanding how to use systems in making music, and it had a pretty good format. We rehearsed every week, looked at a lot of music. Some of it was performed, some was just rehearsed. One might say that New Dalta Akhri was the first laboratory for what I was looking at for musical languages,” Wadada Leo Smith explained to the Wire interviewer.
Always in search of expanding his knowledge of music, Wadada Leo Smith has worked with many ensembles and experimented with duo albums featuring himself on trumpet with just a drummer. This resulted in the album “America” with Jack DeJohnette and another duo album with Gunter “Baby” Sommer, (a German musician) and another with Adam Rudolph featuring hand-drumming and percussion. His most recent recording, released in 2019, is titled “Rosa Parks: Pure Love, an Oratorio of Seven Songs.” In 2016, he recorded “America’s National Parks” that earned a place on numerous Best of the Year Lists, including the New York Times and NPR music. His 2012 civil rights opus titled, “Ten Freedom Summers” was described as a staggering achievement and compared (by some) to the importance and beauty of John Coltrane’s “A Love Supreme.” In 2017, Wadada Leo Smith’s musical achievement of an album titled, “Solo: Reflections and Meditations on Monk” was written about by Adam Shatz.
Shatz wrote, “For all the minimalism of his sound, Smith has turned out to be a maximalist in his ambitions, evolving into one of our most powerful storytellers, an heir to American chroniclers like Charles Ives and Ornette Coleman.”
Perhaps Wadada Leo Smith clearly explained his “Ankhrasmation” music language during his NewMusicBox interview.
“Basically, my experiment is with instruments and people. … This experiment of using this specific language that I have, sometimes extracted from their history, sometimes using their history as well, tells me something about myself. Most things that artists do finds its course. … Art is here for a specific reason. It wants to engage us to think deeper about ourselves and our connection to our environment.
“…Take Lester Bowie, or Ted Daniels, or Don Cherry, or Miles Davis, everyone of them I guarantee you had four or five ‘C’s, and four or five D’s, or four or five ‘E’s they could play. … they could shade some of their attacks. So, the sound they played was still a C, or a D, but different. That’s because at some point you have to make the sound be different then it was before. … Only the soloists are allowed to have their own, individual sound. Not the ones sitting in the orchestra. They may have their own personality sound, but they can’t be too individualized. The conductor will say that chord is too out-of-tune. … But the soloist can have an individual sound. They can make that F sharp a little bit different. Who’s going to stop them? Nobody.
“… In my Ankhrasmation musical language, there are lots of commands. … There’s rule of thumb for success or failure. … There’s elements that have to be referenced. Like when there’s color involved, the colors have to be referenced. … There are velocity units. There are eight of them. Each velocity unit has a set of four. The left sphere is generally slow. The right sphere is generally fast. … There are six sets of rhythm units. Each set starts with a long and a short, and each set gets shorter as it moves. … I don’t mind the score evaporating, because it will create a new music object that is completely different. That’s ok. It will do it over and over and over. The only requirement is that the artists performing the music maintain a high level of sincerity.
By Scott Yanow
One of the most significant alto-saxophonists of the past 30 years, Kenny Garrett always puts a great deal of passion and intensity into each note he plays. That was certainly true at the Moss Theater before a packed house in a performance sponsored by Ruth Price and the Jazz Bakery. With solid support and fiery moments from pianist Vernell Brown, bassist Corcoran Holt, drummer Samuel Laviso, and the colorful percussionist Rudy Bird, Brown was in top form. He started with a modal original in 6/4, got into a Pharoah Sanders late-1960s groove on the next number (his playful solo over a fairly simple chord structure hinted at Sonny Rollins in the 90s), and improvised with great fury on an uptempo original that was climaxed by five minutes of his unaccompanied playing. Other performances included a rhythmic piece on soprano-sax that ended with Miles Davis’ “Jean-Pierre,” a beautiful rendition on alto of “My Foolish Heart” that included some phrases worthy of Charlie Parker, and a 5/4 groove that had Garrett (on soprano) and Brown taking inventive solos over a one-chord vamp. The audience loved everything that Kenny Garrett played, but he did unnecessarily showboat a bit, signaling on several occasions that he wanted more applause from the audience which took away a bit from the spontaneity. Otherwise, it was a great show.
By Chris Walker
KJZZ 88.1 FM’s Summer Benefit at Disney Hall was headlined by Grammy and Tony-winning singer/actress/UN Goodwill Ambassador/NEA Jazz Master Dee Dee Bridgewater, with on-air personality Bubba Jackson serving as the emcee. The singer was supported by Michael King-keyboards, Tabari Lake-bass and Kush Abadey-drums, and chose to honor departed legends Betty Carter, Abbey Lincoln and Nancy Wilson. In Carter fashion Bridgewater scatted profoundly and spotlighted her young backing group as they each soloed to excite the crowd, in addition to rendering “My Disposition Depends on You.” In typical fashion, the singer pranced around flirticuously, directing her attention to the blushing bassist and talked about a recent disastrous blind date.
Returning to music, the singer delved into “Lover Man Comeback to Me” spaciously and ephemerally similar to Lincoln, along with “Monk Blues.” For Wilson things got a lot more refined, starting with a soulful version of “Teach Me Tonight” with organ soloing. In the same vein was “Save Your Love For Me” with Bridgewater singing more fluidly. Breaking out of the tribute material the singer went into B.B. King classic “The Thrill is Gone” from her latest project R&B inspired Memphis…Yes I’m Ready to garner a standing ovation.
Opening for her were guitarist/vocalists Raul Midon and Lionel Loueke, who performing solely and together. Benin-born Loueke began singing sweetly in his native tongue and playing African rhythms, along with percussion on his acoustic guitar. Shifting to electric he played “Vi Gnin” from his latest CD The Journey that was both atmospheric and gentle. Midon came on stage afterwards, first playing with the African musician for a light jam, highlighted by them playing and scatting away with the audience clapping along.
Blind Midon took over solely and mimicked horns vocally and pleasingly sang “I Love The Afternoon” that included his trumpet scatting. From his latest release If You Really Want produced by Vince Mendoza with the Metropole Orkest’s “God’s Dream ” was performed and astonished the crowd with fiery singing and clean acoustic guitar. Showing his confident aura was title track from his 2017 recording Bad Ass And Blind with rapid-fire rapping and bluesy guitar to totally blow the audience away. Closing out his set Midon honored his earlier stage mate with “Loeke” an African flavored piece, with his friend later joining in to sing and play to receive a standing ovation. For more info go to: kkjz.org.
By Scott Yanow
Pianist, composer and bandleader Abdullah Ibrahim, who is 84, has been a major musician since at least 1959 when he was a member of the Jazz Epistles, the first important jazz group from South Africa (Hugh Masekela was their trumpeter). In 1962 the worsening apartheid situation resulted in him moving to Europe where the following year he was sponsored on a record date by Duke Ellington. Since moving to New York in 1965, he has led many groups that perform his originals which are inspired by folk music and memories of South Africa, Duke Ellington and Thelonious Monk.
Abdullah Ibrahim had not appeared in Los Angeles for quite some time. His performance for the Jazz Bakery at the Moss Theater featured his Ekaya Septet which also included Cleave Guyton Jr on alto, flute and piccolo, tenor-saxophonist Lance Bryant, baritonist Marshall McDonald, trombonist Andrae Murchison, Anoah Jackson on bass and cello, and drummer Will Terrill. Ibrahim mostly played gentle piano, starting off the set with ten minutes of thoughtful reveries. He did not speak to the audience at all and did not always play behind the other soloists but Ibrahim directed the proceedings with a quiet dignity. The music was consistently picturesque, sometimes tightly arranged, included tone colors worthy of Ellington, and contained its share of wit (with Bryant at one point quoting “The Pink Panther”). Guyton was particularly impressive on piccolo, trombonist Murchison displayed a boppish style reminiscent of J.J. Johnson, baritonist McDonald was always inventive, Bryant on tenor had a commanding presence, and Jackson’s occasional periods on cello were impressive. Ibrahim was at his best during a tribute to Thelonious Monk in which he quoted a variety of tunes in his own style.
By Chris Walker
It was a very special evening when harmonica player extraordinaire Grégoire Maret and genius keyboardist Kenny Werner came together for —Requiem for a Heavyweight!—Tribute to TootsThielemans. The concert was at the Moss Theatre as part of the Jazz Bakery’s Movable Feat series. Maret who has worked with David Sanborn, Cassandra Wilson, Me’Shell Ndegéocello, Kurt Elling, Jacky Terrasson and many others often got the called when master harmonica player Thielemans who died in 2016 wasn’t available. Werner, on the other hand over the years worked with the legend many times in a variety of settings. Overall, Maret and Werner were very knowledgeable in regards to Thielemans and perfect musicians for the tribute.
The duo began playing “Days of Wine And Roses” with Maret beautifully soloing and Werner taking a more divergent and abstract, yet tasteful course. “The Dolphin” by lesser-known Brazilian composer Luis Essa followed and was remarkably rendered. “All Blues” was one of Thielemans’ favorites to play and Maret arranged a slightly elongated and relaxed version that was interesting and stimulating. Another of the legend’s picks was Jobims’ “Chega de Saudade (No More Blues)” and “Wave” that were pleasingly more upbeat than the previous selections as the duo elegantly interacted.
Werner between numbers mentioned that Thielemans’ enjoyed playing songs by vocalists, which led to keyboard strings tinged ballad “All The Way” that Frank Sinatra sang. In the same vein was “I Remember April” with the harmonica player and keyboardist
adroitly interweaving. The pianist talked about Thielemans range of genres and noted Jaco Pastorius’ music among them leading to intriguing “Three Views of a Secret.” Additionally, Jacque Brel’s “Je T’Aime” by the duo was romantic and captivating to draw strong response. During the remaining moments of the engagement the harmonica icon’s “Bluesette” was showcased, along with keyboard string aided “What a Wonderful World.”
by Scott Yanow
Stan Kenton was a charismatic figure, a bandleader who gained the love and respect of his sidemen and those who enjoyed his music through his personality, sincerity and sense of purpose. In addition to leading a series of top big bands, contributing arrangements and playing piano, Kenton made major contributions to jazz and American music that are still felt today in at least three areas.
Maturing during the swing era when big bands primarily played for dancing audiences, Kenton had a different goal in mind than swinging like Count Basie. He wanted to have an orchestra that performed adventurous music primarily for audiences who quietly sat down and listened, just like they did at classical concerts. In addition to employing top-notch musicians, he wanted to premiere the works of major young arranger-composers, introducing challenging music that brought aspects of modern classical music into a jazz setting. He achieved that goal, separating jazz from dancing and jazz orchestras from commercial elements.
The Stan Kenton Orchestra, particularly during 1943-64, was an important step in the early careers of a long list of young jazz artists who later became top jazz artists and studio players, many on the West Coast. An incomplete list of his most significant alumni, some of whom were fairly unknown when he hired them, includes trumpeters Buddy Childers, Conte Candoli, Maynard Ferguson, Shorty Rogers, Ernie Royal, Sam Noto, Stu Williamson, Al Porcino, Jack Sheldon, Rolf Ericson, Steve Huffsteter, Marvin Stamm, Mike Price, Tom Harrell, Mike Vax, Tim Hagans and Clay Jenkins, trombonists Kai Winding, Milt Bernhart, Frank Rosolino, and Carl Fontana, altoists Art Pepper, Bud Shank, Lee Konitz, Lennie Niehaus, Dick Meldonian, Charlie Mariano and Gabe Baltazar, tenors Vido Musso, Bob Cooper, Bill Holman, Richie Kamuca, Zoot Sims, and Bill Perkins, baritonist Pepper Adams, guitarists Laurindo Almeida and Sal Salvador, bassists Howard Rumsey, Ed Safranski and Max Bennett, drummers Shelly Manne, Frankie Capp, Stan Levey, Mel Lewis, John Van Ohlen and Peter Erskine, and singers Anita O’Day, June Christy and Chris Connor, not to mention arrangers Pete Rugolo, Gene Roland, Bob Graettinger, Bill Russo, Bill Holman, Johnny Richards, Hank Levy, Dee Barton, Willie Maiden and Ken Hanna.
The third area in which Kenton had a major impact on music was in jazz education. In the 1950s, very few colleges or high schools had jazz education programs or stage bands. By the 1970s, they were everywhere. Kenton was a very significant force in getting jazz into the schools through clinics and band camps, which is why there are a countless number of college and high school big bands today that sound like they are relatives of Kenton’s orchestra, 40 years after his death.
Stanley Newcomb Kenton was born on December 15, 1911 in Wichita, Kansas. His family moved several times and, by the time he was 13, he lived in Los Angeles where he grew up. Originally self-taught on the piano although he later had some lessons, Kenton first heard jazz through the records of Louis Armstrong and Earl Hines. His piano playing would be strongly influenced by Hines into the 1950s although without Hines’ time-defying breaks.
He began playing in public when he was 16 and, after graduating from high school in 1930, spent the next decade performing in a wide variety of settings. In 1936 he joined the Gus Arnheim Orchestra, making his recording debut on 12 selections cut by the swing band the following year, taking a few short solos. In 1938 he was a member of tenor-saxophonist Vido Musso’s short lived band and he also worked with the NBC House Band. In the meantime, Kenton dreamed of having his own orchestra and he wrote a set of arrangements in his spare time. By the spring of 1940, he was rehearsing with a saxophone section and a rhythm section, playing some of his charts. Eventually three trumpets and two trombones were added, he cut some audition records (first was “Etude For Saxophones” on Nov. 1, 1940) and then spent the summer of 1941 heading the new Stan Kenton Orchestra at the Rendezvous Ballroom in Balboa Beach, California. This was the first of the nine big bands that he led in his career.
Kenton’s orchestra in the summer of 1941was a conventional 14-piece big band with five brass, five reeds and a four-piece rhythm section. While most of the musicians remained obscure the lineup included trumpeter Chico Alvarez, Red Dorris on tenor and vocals, baritonist Bob Gioga (the only musician to be in all of Kenton’s bands during the first decade) and bassist Howard Rumsey who, in organizing bands for the Lighthouse Café starting in 1949, was the first of Kenton’s alumni to make an impact on the West Coast jazz scene. The leader provided most of the arrangements. The music, while generally swinging, had denser chord voicings than the usual charts of the time. Kenton’s love for the sound of Jimmie Lunceford’s orchestra was also felt.
A radio broadcast from July 25, 1941 is the earliest documentation of Kenton’s famous theme “Artistry In Rhythm.” The Kenton Orchestra built up a following in Southern California and was signed by the Decca label, resulting in nine titles (including “Reed Rapture” and “Taboo”) recorded at two sessions. None were hits and a period of struggle followed. The band (which also recorded an extensive series of radio transcriptions) traveled east but few in New York had heard of them, they did not always satisfy the dancers who attended their performances, and there were an increasing number of personnel changes.
The second Stan Kenton Orchestra, which started with only five musicians (counting the leader) from the first one, had a good break and a bad one in 1943. The latter came about when Kenton accepted an offer to accompany Bob Hope in his USO shows and radio broadcasts. It sounded like a good idea at first, but Hope was the star and Kenton’s band only had a chance to play an occasional number. By the end of 1944, Les Brown (who cared more about keeping his orchestra working than blazing new musical paths) had succeeded Kenton.
The good break was a great one, signing with the Capitol label. Kenton would be with Capitol for 25 years, and his recordings gave him a constant national presence. The first Capitol session, on Nov. 19, 1943, included a hit with “Eager Beaver” and the official recording of “Artistry In Rhythm.” Gradually during 1944-46, Stan Kenton became a major success and the sound of his band became solidified. While tenor-saxophonist Stan Getz and singer Anita O’Day (who had a solid seller with 1944’s “And Her Tears Flowed Like Wine”) passed through the band, the most important new member was arranger Pete Rugolo. Building on Kenton’s ideas and original sound, Rugolo arranged most of the band’s book during 1946-47, a period when the ensemble was referred to as the Artistry Orchestra.
Kenton loved screaming trumpets, big-toned tenors, brassy trombones, and complex arrangements; swinging was always secondary to him. With trumpeters Ray Wetzel and Buddy Childers, trombonist Kai Winding (succeeded by Milt Bernhart), tenor Vido Musso (plus the cool-toned Bob Cooper), guitarist Laurindo Almeida, bassist Ed Safranski and drummer Shelly Manne, he got the sound that he wanted. The always-appealing singer June Christy gave him a few hits (such as “Tampico” and “Across The Alley From the Alamo”) that made it possible for his large band to survive during a period when most other jazz orchestras were breaking up. By the fall of 1947, Kenton’s band had grown to 19 pieces with five trumpets, five trombones (counting a bass trombone), five reeds and a four-piece rhythm section not to mention Ms. Christy. The group introduced such pieces as “Southern Scandal,” “Opus In Pastels,” “Intermission Riff,” “Collaboration,” “Interlude,” and “Concerto To End All Concertos,” and reinvented “The Peanut Vendor.” Kenton competed with Woody Herman as the most popular big band in jazz, playing what was called “progressive jazz,” and he was also one of the first (slightly predating Dizzy Gillespie) to use Latin percussion (often Jack Costanzo on bongos) in his band.
The limited-edition seven-CD set The Complete Capitol Studio Stan Kenton 1943-47 (Mosaic) covers all of Kenton’s recordings from that era while the four-CD Retrospective (Capitol) gives one a fine overview of Kenton’s 35 years with Capitol. The recording strike of 1948 kept the band out of the studios for the full year although the two-CD set At The Hollywood Bowl 1948 (Sounds of Yester Year) from June 12 lets one hear this Kenton orchestra at its height and also near its unexpected end. In an exercise of poor timing, an exhausted Stan Kenton broke up his big band in late-1948, about the time that the recording strike was ending.
After a quiet 1949, Stan Kenton put together his third and most ambitious orchestra, called Innovations In Modern Music. It was a crazy idea that worked artistically if not commercially. Fighting the trend against big bands, Kenton and Pete Rugolo organized a 40-piece concert orchestra that not only had five trumpets (including Maynard Ferguson, Shorty Rogers, and Childers), five trombones, two French horns, tuba, five saxophonists (with Bud Shank, Art Pepper and Bob Cooper), Almeida, Manne, and Christy, but 16 strings. The arrangements were sometimes forbidding but innovative, displaying a wide variety of emotions, tone colors and sounds. One can hear this for themselves on the two-CD Capitol set The Innovations Orchestra, the Hep label’s Carnegie Hall Oct. ’51, and other live recordings from small labels. There was an occasional swing number (often by Shorty Rogers) and June Christy’s vocals were cheerful, but much of the music was dense and intense. Of the arrangers, which included Bill Russo and Johnny Richards along with Rugolo, none was more eccentric and radical than Bob Graettinger. His often-atonal works for Kenton (dating from 1947-53) can be heard on City Of Glass (Capitol).
But even with Stan Kenton’s fame, there was no way that this venture was going to pay for itself during its two tours of 1950-51, and he formed his fourth band, a 19-piece unit with ten brass, five reeds and four rhythm. The group in mid-1951 included Ferguson, Rogers, Alvarez, Bernhart, Shank, Pepper and Manne, but it would gradually evolve into the most swinging band of Kenton’s career, his New Concepts Of Artistry In Rhythm Orchestra. By the fall of 1952 his band, which recorded one classic album (New Concepts Of Artistry In Rhythm), was featuring trumpeter Conte Candoli, trombonist Frank Rosolino, altoist Lee Konitz, tenor-saxophonist Richie Kamuca and guitarist Sal Salvador as its main soloists with drummer Stan Levey driving the ensembles.
There was a tug-of-war in the band that was split between the arranging talents of Bill Russo and Bill Holman. Russo’s writing was inspired by classical music and Kenton’s Innovations Orchestra while Holman’s charts (which were championed by most of the musicians) swung like a modern Count Basie. All of the Holman and Russo arrangements Kenton recorded in the studio, including New Concepts, are on the limited-edition four CD Mosaic box The Compete Capitol Recordings of The Holman And Russo Charts.
One can trace this band’s development in a remarkable series of weekly radio broadcasts, Concerts In Miniature, that date from Apr. 5, 1952 to Nov. 3, 1953. With Kenton as a genial and witty host, the orchestra was featured at its best performing both the Russo and Holman arrangements. All of the broadcasts (the later ones have Zoot Sims succeeding Kamuca and Chris Connor as the band’s singer) have been reissued by Sounds of Yester Year (that label’s releases are distributed by www.cityhallrecords.com) on 24 CDs, a must for the true Stan Kenton collector and a perfect memorial to a super band. Other worthy Sounds Of Yester Year live CDs by the 1953 band include Man Of Music, It’s The Talk Of The Town, Live At The Blue Note, no less than three CDs from a Feb. 19, 1953 concert (At The Armory, Eugene, Oregon, Vols. 1-3), and the double-CD Live In Munich 1953. Also from the band’s successful visit to Europe are Concert In Weisbaden (Astral Jazz) and the European Tour – 1953 (Artistry).
But suddenly it all ended. Kenton had been driving the band mercilessly and, after a serious car accident on Nov. 10, 1953 (which luckily had no fatalities), the bandleader pushed his orchestra to fulfill engagements. Many of the star musicians chose instead to leave and the fourth band was no more.
During 1954-60, Kenton’s fifth orchestra swung well while also featuring more adventurous writing that focused on the trademark heavy sound identified with Kenton. Although it lacked the star power of the previous band, it had such key players as trumpeters Sam Noto and Al Porcino (who played lead), trombonist Carl Fontana, altoist-arranger Lennie Niehaus, altoist Charlie Mariano, Bill Perkins on tenor, and drummer Mel Lewis. Kenton’s wife of the time Ann Richards was their singer. Among their Capitol recordings were Contemporary Concepts, Sketches On Standards, Cuban Fire (a classic arranged by Johnny Richards), and some surprising easy-listening albums including Stan Kenton With Voices and Portraits With Strings. Of the live recordings (all from Sounds Of Yester Year), At Ernst Merck Halle and Live In Stockholm document Kenton’s 1956 tour of Europe, Swinging In San Francisco 1956 is a set dominated by standards, and Dance Date 1958 and Live At Humbolt State College show how Kenton’s band sounded in the late 1950s.
Stan Kenton, who was the host of a summer television series Music ’55, helped champion The Four Freshmen, and had reunions with June Christy (including making an album with her, Duet), in 1959 organized the first of a countless number of band clinics which essentially launched the jazz education movement.
By 1961 Kenton was leading his sixth orchestra, a group that included not only five trumpeters (with Marvin Stamm), five trombones (two of whom were on bass trombone), five reeds (including altoist Gabe Baltazar and two baritonists), and a three piece rhythm section, but four mellophonium players. The obscure instrument, which was difficult to keep in tune but had a warm sound that Kenton liked, was part of the band during 1961-63. The best recordings of this orchestra were the superlative West Side Story, Adventures In Time (written by Johnny Richards), and Adventures In Blues (with Gene Roland supplying the arrangements). The band also recorded a real oddity, Stan Kenton/Tex Ritter, that found it accompanying the veteran country singer.
The orchestra broke up by the end of 1963 and Kenton took time off from music. He devised and created a Neophonic Orchestra which could be thought of as an extension of his 1950 Innovations Orchestra but with some important differences. It was a part-time orchestra that just performed 11 special concerts in Los Angeles during 1965-68, debuting potentially major works by composers. There was no attempt to take this ensemble on the road. Eventually audiences lost interest in the dry music but it was a realization of one of Kenton’s dreams.
In September 1964 Stan Kenton recorded what could be considered his last major album, Kenton Plays Wagner, with a specially assembled orchestra. After that, to raise money, he put together what started out as a part-time orchestra (number. 7) for occasional tours and recordings but became more active by 1967. From that point on, the Stan Kenton Orchestra differed from the earlier ones in a significant way. Rather than acting as a stepping stone for many players who were on their way to becoming important contributors to jazz, for most of the musicians in the 1967-79 bands, being part of the Stan Kenton Orchestra was the highpoint of their career. The majority of the sidemen either became educators, local players or eventually dropped out of music altogether. Only a relatively few (trumpeters Mike Price and Mike Vax, altoist Ray Reed, and drummers John Van Ohlen and Peter Erskine) had major careers.
The Capitol contract ended after a few final commercial albums (including ones of the music of Hair and Finian’s Rainbow) were unsatisfying and did not sell. Kenton left Capitol and started his own Creative World label. His company’s Lps included both reissues of many of Kenton’s earlier recordings and the release of his albums of the 1970s. In 1970 Kenton organized his eighth and final band. There were only a handful of recognizable names (other than Vax and Von Ohlen) but the unit had plenty of spirit and the young musicians were pleased to be on the road with Kenton. Hank Levy, Ken Hanna and Willie Maiden supplied many of the arrangements. The enthusiastic band is in good form on a trio of albums from 1970-72: Live At Redlands University, Live At Brigham Young University and Live At Butler University.
Kenton began to struggle with health problems in 1971 but his road band continued on, performing at an endless series of concerts, clinics and colleges. Among his last albums are Stan Kenton Plays Chicago, Fire, Fury & Fun, Kenton ’76, and Journey Into Capricorn.
On May 22, 1977, Stan Kenton suffered a fall that resulted in serious head injuries; he would never recover. His band stayed on the road (under trombonist Dick Shearer’s leadership) for several more months before breaking up. Kenton made one last road tour in early 1978 but he was in such bad physical and mental shape that it was considered pretty sad by those who witnessed the concerts.
Stan Kenton passed away on August 25, 1979 at the age of 67, having been a major force in music for 40 years. His vast musical career is perfectly summed up in the definitive Kenton biography, This Is An Orchestra by Michael Sparke (University Of North Texas Press, 2010). The legacy of Stan Kenton lives on today in the playing of countless modern jazz orchestras, college and high school stage bands, and in the spirit of progressive jazz.