JUNE 5, 2012 [ISSUE 1 OF 4] DAILYNEBRASKAN.COM

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DAILY NEBRASKAN

daily nebraskan Jazz in June Tuesday, June 5, 20122 daily nebraskanFounded in 1901, the Daily Nebraskan is the University of Nebraska–Lincoln’s only independent daily newspaper written, edited and produced entirely by UNL students.

editor-in-chief. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402.472.1766Kevin MosereditoriAL. . . . . . . 402.472.1763MAnAGinG editorKatie NelsondePUtY editorsKatie FennellyRhiannon Root desiGn chiefBea HuffWeBKevin MoserKatie FennellyGenerAL MAnAGerDan Shattil

AdvertisinG. . . . 402.472.2589Penny Billheimer managerMatt Jung student manager

PUBLicAtions BoArd. . . . . . . . . . . . . . . . . . . . . . . . 402.677.0100David Bresel chairman

ProfessionAL Adviser. . . . . . . . . . . . . . . . . . . . . . 402. 473.7248Don Walton

GenerAL inforMAtionThe Daily Nebraskan is published weekly on Mondays during the summer and Monday through Friday during the nine-month academic year, except during finals week. The Daily Nebraskan is published by the UNL Publications Board, 20 Nebraska Union, 1400 R St., Lincoln, NE 68588-0448. The board holds public meetings monthly. Subscriptions are $95 for one year.

joB APPLicAtionsThe Daily Nebraskan accepts job applications year-round for paid positions. To apply, visit the Daily Nebraskan offices, located in the basement of the south side of the Nebraska Union.

check oUtDailyNebraskan.com for access to special features only available online. ©2012 Daily Nebraskan.

jAZZ in jUneThe Jazz in June series is produced by the Daily Nebraskan. Contact the Daily Nebraskan staff at dailynebraskan@gmail.com with any questions or comments.

your tuesdays

table of contents

At the Daily Nebraskan, we understand the importance of arts and music. That’s why each year we look forward to working with the Sheldon Museum of Art to bring you our special Jazz in June issues.

Each week during Jazz in

June, look for volunteers handing out these issues as a supplement to the great concert you are about to experience.

You can expect to find a profile of the artist playing each week and other

Jazz up detail-rich content pertaining to music and the arts. We will also have regular jazz reviews and coverage of films coming to the Mary Riepma Ross Media Arts Center on campus.

In addition, our Jazz in June issue will feature cover art by our internationally exhibiting, award-winning artist Bea Huff.

These issues truly have something for each and every arts and music enthusiast.

In this issue, we have an in-depth profile of this week’s Jazz in June performer Lao Tizer, founder of the group Tizer. Learn about his uncommon and early rise in the music industry as well as some of the lessons he learned along the way.

In addition we give you a little taste of The Jazzocracy, an event held after Jazz in June at the Zoo Bar in downtown Lincoln. The Jazzocracy may have evolved over the years, but the event founder said he plans to continue bringing high-quality jazz music to the Lincoln community.

You can even check out a graphic on the upcoming theater events in the Lincoln area.

So read up, jazz fans. This issue is made specifically for your sensibilities.

We are looking forward to providing you with insight into the growing music and art communities in Nebraska.

But most of all, we hope you enjoy the show.

-Daily Nebraskan Editorial Staff

Welcome to a new season of Jazz in June.

kevin Moser | dAiLY neBrAskAn

Page 4film review: sound of my voicemusic review: Jazz soul sevenPage 5artist profile: tizer

Page 6lincoln summer theater previewPage 7unofficial rules of Jazz in Juneguide: local music venue

Page 8JazzocracyPage 10photos: a walk in the garden

CovER aRT By BEa hUFFFoR iNFoRMaTioN oN PURChaSiNg ThE oRigiNaL iNk DRawiNg, CoNTaCT BEa aT DaiLyNEBRaSkaN @gMaiL.CoM

3daily nebraskan Jazz in JuneTuesday, June 5, 2012

jazzinjune.com

Great Jazz.Great Outdoors.

S h e l d o n A r t A S S o c i A t i o n ’ Slook around. Kids are playing. Couples are dancing. Families are spending time together. This is what the Sheldon Art Association is about—bringing people together to enjoy the arts. You can be part of our 125 year tradition, and help keep great arts and great events like Jazz in June at the heart of life in Nebraska.

The Sheldon Art Association supports field trips to the museum and sculpture garden for all Lincoln Public Schools 4th, 5th, and 6th graders. SAA also helps Sheldon host artist lectures, community art contests, exhibitions, First Friday receptions, gallery talks, musical performances, and more.

There's something in it for you, too. As a member of SAA, you'll receive invitations to exhibition openings, artist lectures, and special events; a tour of the museum; a complimentary copy of and recognition in artland magazine; and discounts at the Sheldon Museum Store.

Be part of the tradition that makes Sheldon great. Join the Sheldon Art Association. Complete the form below and return it to one of our staff members at the membership table tonight, and you'll receive a free Jazz in June poster.

i want to JOINMeMberShip levelS

q Student $15 q Supporting Member $80 q Basic Member $50 q Contributor $150

_____________________________________________________Name

_____________________________________________________Address

_____________________________________________________City State Zip

_____________________________________________________Phone (Home) Phone (Work)

_____________________________________________________E-mail(s)

pAyMent

q Check made payable to Sheldon Art Association

q Visa q MasterCard q Discover

_____________________________________________________Card Number

_____________________________________________________Signature

_____________________________________________________Name on Card

Return this form to the membership table tonight, or mail it to: Sheldon Museum of Art, 12th and R Streets, University of Nebraska–Lincoln, Lincoln, NE 68588-0300

UpcoMing eventSThursday, June 7, 6:30 p.m.A Legacy of Giving: The Anna & Frank Hall Collection opening reception.

Sunday, June 10, 2–4 p.m.Gira de Bicicletas 2012 bike ride from El Centro de las Américas (2032 U Street) to Sheldon for a museum tour.

Tuesday, June 12Jazz in June featuring the Darryl White Group with guest artist Bobby Watson.

Saturday, June 16, 11 a.m.–5 p.m.Family art activities at the Clyde Malone Community Center celebration of Juneteenth in Trago Park at 22nd and U Streets.

For more information or to join our weekly event e-mail list, visit www.sheldonartmuseum.org.

Shop Sheldon20% off of all posters in the Sheldon Museum Store through Sunday, June 10th. Get your commemorative Jazz in June poster while enjoying a bit of air conditioning! We're open until 8 p.m. tonight.

The Sheldon Art Association, with the help of dedicated volunteers and sponsors, is pleased to present the 21st season of Jazz in June.

The SAA and Sheldon Museum of Art are proud to continue this free concert series. Free admission, however, does not mean these events are free of costs. Every contribution helps ensure this summer standard continues for years to come.

Thank you for enjoying, and supporting, Jazz in June.

Sheldon Art Association Jazz in June Committee

DAILY NEBRASKAN JAZZ IN JUNE TUESDAY, JUNE 5, 20124

season tickets now on sale!Single tickets go on sale August 14th | LIEDCENTER.ORG | 402.472.4747

shatner’sworld

SATuRDAy | January 26

chris bottiThuRSDAy | February 21

chicagoOctober 19–21

terrance simien & the zydeco experience

fRIDAy | February 1

green day’samerican idiot

March 29–30

Tribute album reworks jazz legend’s standards

Psychological depth drives thought-provoking sci-fi

Kekeli DawesDaily Nebraskan

Some voices stand the test of time, transcend genres and generations. The late Curtis Mayfi eld has one of those voices.

If you aren’t familiar with his work from ‘70s and ‘80s, you may know him through Kanye West’s “Touch The Sky”, a song built on May-fi eld’s classic “Move On Up.” On the tribute album “Impres-sions Of Curtis Mayfi eld,” the Jazz Soul Seven give 12 of Mayfi eld’s most poignant songs new jazz arrangements. The result is a excellent hour of beautiful melody and tasty grooves.

Bob Hurst, on bass, pulls the familiar bobbing grooves from some of Mayfi eld’s top tracks with ease. The trade-mark bassline of “Superfl y” is in more than good hands on this album. He also lays out a complex line on “We’re a Winner,” so tight the rest of the ensemble fi ts snuggly in

place, and goes along for the ride. It’s a laid-back, pleasant gem.

The solid rhythm section of Hurst and Terri Lyne Car-rington preserve the distinct feel and sound of the tough

New York streets in the ‘70s, but without breaking out into a full funk. The drums aren’t heavy and dark, but brighter and precise. Note the opening

COURTESY PHOTO

JAZZ SOUL SEVEN | PAGE 9

Tom HelbergDaily Nebraskan

“Sound of My Voice,” directed by Zal Batmanglij, provides thrills and thought-provoking drama with little more than a smart script and game actors.

Peter (Christopher Denham), a substitute teacher and part time journalist, recruits his girlfriend Lorna (Nicole Vicius) to help make a documentary exposing a cult. Maggie (Brit Marling) leads the basement-bound cult and readies her followers for an uncertain future. She’s perfectly qualifi ed because she is from the future. 2054, to be exact.

As Peter and Lorna get deep-er into secret handshakes and group bonding activities, Peter begins to lose sight of their goal. A particularly reveling night with Maggie gets Peter to open up and Lorna suspects he may be buying into the cult’s mis-sion. Their investigative docu-mentary is put on hold while Peter must reassess his priori-ties. Is Maggie really from the future? Does it matter?

Marling, who also starred in and co-wrote last summer’s “Another Earth,” arrived in a

big way with two fi lms at the Sundance Film Festival last year. Marling, Batmanglij and “Earth” director Mike Ca-hill met at Georgetown and moved to Los Angeles together. “Earth” and “Voice” were writ-ten simultaneously and bare the stamp of Marling as much as their respective directors. Each script contains exciting sci-fi ideas that are used to set up psychological drama.

Marling underplays the char-ismatic leader with equal pa-nache and cognizance, never veering into a menace as might be expected. While Marling again stars in a fi lm she co-wrote, it seems more out of necessity than narcissism. The script teases ideas more than it actually con-tains them but what is on the page is nonetheless thought-pro-voking. “Voice” looks like it was shot on a shoestring budget. The fi lmmakers fashion the fi lm out of little more than a good script, a few actors and simple location shooting.

Like “Another Earth,” “Voice” leaves plenty of room for inter-pretation. Though the sharp fi lm-making and shot choices sug-gest what is true and what isn’t, ultimately it doesn’t matter. For

example, Peter and Lorna’s back stories are provided via mysteri-ous digital video and narration. The narrator has a woman’s voice, too ambiguous to tell if it’s Maggie or not. Whether or not this is knowledge from the future or simply surveillance is up for debate. The real mystery is is whether Maggie comes from the future or not.

At a brisk 85 minutes, “Voice” knows just how long it can tantalize with its mysteries and not overstay its welcome. Well-timed blackouts punctu-ate important beats and give the pacing a page-turning quality.

Boasting a solid script and to the point fi lmmaking, “Voice” is another solid genre fi lm with psychological depth from Mar-ling and company.

DAILYNEBRASKAN.COM/A-E

SOUND OF MY VOICEDirector: Zal BatmanglijStarring: Christopher Denham, Nicole Vicius, Brit Marling

GRADE A-IMPRESSIONSOF CURTISMAYFIELDJazz Soul Seven

GRADE A

5daily nebraskan Jazz in JuneTuesday, June 5, 2012

Jack SampsonDaily Nebraskan

“Success is not a destination; it’s a journey.”

A few years ago, Lao Tizer was sitting in a bar with a few friends when he saw that quote posted on the wall. The words resonated with lead keyboard-ist, composer and creator of the world/fusion jazz band, Tizer.

“It’s a great thing to keep in mind,” Tizer said. “I think as artists we’re always thinking about where we want to be. Now I realize everything’s just apart of the process.”

As an artist in his early 30s, Tizer could be considered young by jazz standards. But for a man his age, it seems as though he has already lived a lifetime.

Tizer was born and raised in Boulder, Colo., where he became fascinated with his

sister’s piano at the age of 5. He immediately began tinker-ing with the instrument and, after pleading with his parents, they set up his first formal les-sons when he was 9 years old. From there, Tizer began com-posing with the influence from his parent’s who realized their son’s knack for songwriting.

“They always encouraged me to write my own, though,” he said. “Because that’s where my best talent laid.”

By junior high, the Boulder native was composing music for a school play and began playing live at the age of 14.

His first manager recog-nized him in the fall of 1996 while he was playing in Den-ver. It didn’t take long for Tizer to kick-start his career. In early 2007 he uprooted his talents to Los Angeles where he quickly began playing at Universal Studios.

“I was fortunate to get some pretty cool gigs early on,”

Tizer said. “I used to play up at Universal Studios a lot, which was a very high profile gig, es-pecially for an 18-year-old kid. That was a blessing.”

Tizer admits his early suc-cess alleviated the culture shock that so many aspiring artists encounter upon their ar-rival in the City of Angels.

He began working with his first songwriter, Norman Saleet, shortly after moving to Los Angeles, Saleet was pri-marily a pop songwriter and who wrote hits for large-scale bands such as Air Supply. Saleet’s success with writing hit pop songs wasn’t the best fit for Tizer, who was dab-bling with classical material as a keyboardist. Eventually Saleet referred him to a pro-ducer who exposed the young artist to the Emmy winner and renowned jazz guitarist, Chieli Minucci. Shortly after, Tizer

Musician’s early success drives ambitions

TIZER | page 9 courtesy photo

daily nebraskan Jazz in June Tuesday, June 5, 20126

Summer Theatre in LincolnNebraska Repertory Theatre

Every weekend in July, August 1-5

Lincoln Community Playhouse

Flatwater Shakespeare Company

“Jeeves Intervenes”“Heros”“God of Carnage”

Destinations series:“R.I.P.” July 24, 7:30 p.m.Cost: $7 “One-Man Hamlet” July 31, 7:30 p.m.

Cost: Regular: $60 /$25 season pass, ticket; Students: $35 / $12 season pass*Each show plays once every weekend, making it possible for audiences to see all three shows in a single weekend.

Where: Howell and Studio Theatres

“9 to 5”

July 27-29, Aug. 2-5

Cost: Adult: $15, Student: $10

Where: Lincoln Community Playhouse, 2500 S. 56th St.

“We’re always looking for new musicals and new plays. What was really attractive about this show was it had three female leads. I think it’s going to be the kind of show women bring their husbands and boyfriends to and then come back with their girlfriends.” — Morrie Enders, executive director for the Lincoln Community Playhouse

“Twelfth Night”

June 13-24, 7 p.m. Where: Lincoln Community Foundation Gardens, between 14th Street and Centennial Mall.Popcorn from the Cornpopper will be available for purchase.

June 28-July 6

Located at different Lincoln parks. Visit flatwatershakespeare.org for detailsIce cream from Ivanna Cone will be available for free

Cost: Free; Free will donation is encouraged

Haymarket Theatre “Mulan Jr.”

“Treasure Island”“The Hobbit”“Twelfth Night”

“Mulan Jr.” July 12, 7 p.m.; July 13, 14, 2 p.m., 7 p.m.“Treasure Island,” June 21, 7 p.m., June 22, 23, 2 p.m., 7 p.m.“The Hobbit,” Aug. 2, 7 p.m., Aug. 3-4, 2 p.m., 7 p.m.“Twelfth Night,” July 19, 20, 7 p.m., July 21, 2 p.m., 7 p.m.

Cost: $10, $8 students

“Kids tend to bring out a lot of truth in characters; there’s a certain sincerity that’s in children’s theater. We didn’t want the same rinky-dink shows; we wanted something we could get excited about. We went with adventure, legend and myth.” — Jordan Deffenbaugh, artistic director of the Haymarket Theatre

“Nebraska Rep is the professional wing of the Johnny Carson School of Theatre and Film. It is the only one in the state of Nebraska. They (audience members) can see the newest work that’s available out there.” — Paul Steger, executive director of the Nebraska Repertory Theatre

“We’re touring (Lincoln) this year and next year. We’re trying to use these couple of years to get people interested in Shakespeare that may not have been exposed to it before. It’s a terrific play, too. I don’t know that it’s best to do it outdoors, it’s just a lot of fun outdoors. And it’s summer and why not?” — Bob Hall, executive director of the Flatwater Shakespeare Company

7daily nebraskan Jazz in JuneTuesday, June 5, 2012

Neil OriansDaily Nebraskan

One of the great things about the city of Lincoln is the strength of the music scene, and with the strength of our scene comes some absolutely fantastic music venues. The norm among bars and venues is to allow all-ages shows as long as they end before 9 p.m. Almost every other show is either 18+ or 19+, which should have all minors out there celebrating. In this writer’s humble yet completely factual and accurate opinion, here are the five best music venues in Lincoln.

Duffy’s TaverN

Duffy’s Tavern is one of the two venues in the state of Ne-braska that has hosted Nirvana.

Beyond that random factoid, Duffy’s is a wonderful place to go for shows. The sound is mixed well and balanced due to high quality sound equip-ment and the brick arches in the main bar allow you to play pool while still being able watch the show. Besides, it just looks pretty. The stage is mounted high, making any act seem a bit larger than life. And don’t just go for the mu-sic — on nights when bands aren’t performing, you can or-der gyros through the window located on stage.

ZOO Bar

If you’re looking for jazz, blues or rockabilly, take a walk down 14th Street and hit up the Zoo Bar. One glance at the poster-plastered walls shows just how legendary this venue is. The bar itself is skinny and

long, yet the cramped environ-ment creates an intimate set-ting for jazz and blues shows. It’s a perfect place to hang out, catch a few drinks and relax to the wonderfully rich his-tory of blues. If you’re lucky, you’ll catch the Academy of Rock’s Upstairs Blues Band, a talented group of high school musicians.

KNicKerBOcKers

There’s no more comfortable place in Lincoln for a circle pit than Knickerbockers. While the venue may offer a wide range of acts, it’s always the punk shows that keep me coming back. Other venues may have better sound or a more comfortable environ-ment, but something about the wood floors and antiquated promo photos of bands that hang on the walls creates

an energy unlike any other venue in Lincoln. Hang out on Thursday nights for tacos for 25 cents (A bit of a warn-ing, though: they’re worth 25 cents.)

PershiNg ceNTer

The Pershing Center plays host to the occasional big show that doesn’t make it to Omaha. While most of these are on the country-western side, you’ll find an occasional, somewhat random hip-hop or hard rock tour that decides to give the Star City a shot. Per-shing is fairly standard for a larger venue, but it’s separate seating allows you to take a break while waiting for a band to finish their set before your totally favorite band plays (as was my experience in high school waiting out My Chemi-cal Romance’s set). Pershing

also acts as a general event center and plays host to the No Coast Derby Girls (Lincoln’s roller derby team) and the an-nual Zombie Walk as well as other shows that require large spaces.

BOurBON TheaTre

The Bourbon is a great place for

acts that are too big to fit Knick-erbockers or Duffy’s but require the intimacy an ex-theatre pro-vides. The marquee outside is updated daily. Your favorite pop-punk sweethearts like Taking Back Sunday and Say Anything tend to play this venue. How-ever, something that makes the Bourbon better than other ven-ues is front room house shows. Located in the front of the build-ing, bands play right next to the entrance where the box office was once located. This creates a house show feel within the confines of a legitimate venue, which is something all music fans should experience.

dailynebraskan.com

Contra Dance!When: July 7th and 1st Saturday of each month, from 7:00-10:00pm.Where: Auld Rec Center in Antelope Park, 1650 Memorial Drive.

**Dress in casual attire** -No partner or experience necessary. - Lessons 7:00-7:30 - Students $5Contact: Henry Ferguson @ 970-692-4208

sarah MccallisterDaily Nebraskan

■ Originally rUn jUne 2011

Over the years, Jazz in June has become a staple of Lincoln summers. As such, there are certain practices and etiquette that have become the norm for event’s attendees.

And, lucky for you, I’m kind of an expert on the issue. As a Lincolnite in her early 20s, I’ve been attending Jazz in June since nearly its inception. From tagging along with my parents when I only stood waist-height to introducing my out-of-town college friends to the event, I’ve gotten to know the ins and outs of the summer series.

First of all, Jazz in June is prime for picnicking. Because of this, you’ll need to bring blankets or lawn chairs on which to sit, as well as either food or money to buy dinner there.

While the music itself doesn’t start until 7 p.m., regu-lars will tell you that you have to get there early for premier seating — the grass space in the shade and the seats closest to the performers are typically the first to go.

There is also an unspoken rule (or maybe it’s spoken, I’m not really sure) that the closer to the stage you sit, the less you are allowed to talk. Those who sit right up front are there to listen to some fine jazz music, not to hear you gossip about

the week’s happenings. And believe me, they aren’t afraid to shush you. Some friends and I received angry glares and a scolding from an older woman one time for talking among ourselves, even though we were far enough away from the music to safely be in the chit-chat zone. Oh well, haters gonna hate.

Now, if you’re not a pack-it-yourself picnic person, there are several food vendors avail-able at the event. Granted, I’m a cash-strapped college student and typically opt for the cheap-est choice, but the Market, lo-cated at 12th and R streets, is certainly worth a try. Among the string of food vendors Jazz in June attendees can choose from are barbecue sandwiches

from Famous Dave’s, Greek cuisine from the Parthenon and roasted nuts at the aptly named Just Nuts. If nothing else, wrap up your meal with an ice cream cone from the University of Nebraska-Lincoln’s own Dairy Store (shout out to my former employer).

After the food is eaten and conversation has reached a lull, take a walk around — there’s no way you’re going to see all Jazz in June has to offer from your four-square-feet patch of grass. You can browse the jewelry and clothing vendors in the Market or venture into Sheldon Museum of Art to see the newest exhibit. Personally, I just like to wander among the crowd to see who is there. It’s not uncommon to run into

five or six people you haven’t seen in ages. After all, anybody who’s anybody is at Jazz in June.

Now, for the most impor-tant advice: how to keep your fellow attendees from hating you. Dogs and small children wandering about are common, but a word of advice for both: Keep them contained. Leashes work quite well in both cases (I’m only kind of kidding). Yes, Jazz in June is a great op-portunity for the whole family to get out for some fresh air and to stretch their legs, but not everyone loves your small pets and children as much as you (sorry). Just make sure your little munchkins (furry, as well as human) are within eyesight and not swiping cupcakes from

a nearby family’s blanket.Also, please don’t bring

your own musical instrument. As much as you may want to whip out your acoustic guitar and set a hat out for money, people didn’t come to hear you play — they came to hear the better, louder music. This may sound obvious, but it’s been done. And these budding musi-cians have been asked to move elsewhere.

Whether you’re a seasoned Jazz in Juner or this is your maiden experience, come and enjoy the warm Nebraska weather and cool jazz music in what’s become a Lincoln tradi-tion. And please try not to piss anyone off in the process.

dailynebraskan.com

Festival holds unspoken rules

Lincoln’s music venues provide eclectic mix

DAILY NEBRASKAN JAZZ IN JUNE TUESDAY, JUNE 5, 20128

Store Hours:10-6 Weekdays12-5 Saturday2-5 Sunday

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“If The Shoe Fits, Repair It”

Bring in your sandals for:

- Heels- Elastic- Velcro Swing By And See Us At 18th & “O”

LINCOLNS LARGEST SELECTION OF CRAFT BEER

Joe WadeDaily Nebraskan

Imagine a free musi-cal event where the two guidlines are to play jazz and to play once a week. Next add an ever-changing composition of professional musicians and frequent new ar-rangements of tunes to keep it fresh and enter-taining.

Mix it all together and you have The Jazzoc-racy.

For more than fi ve years The Jazzocracy has been performing weekly at the Zoo Bar, normally performing on Tuesday evenings from

6 p.m. until 9 p.m. How-ever, due to the Jazz in June music event, the group has decided to change their perfor-mance time to 9:30 p.m. until 1 a.m. in an at-tempt to entice jazz mu-sic fans into a full eve-ning of fun.

“The original con-ception was called the Nimble Fingered Gen-tlemen,” said founding member Brian Morrow. “Josh Hoyer organized it with the idea of hav-ing some leftover music on Wednesday nights after an early show but Josh moved away for a while and I stepped in and kept things going.”

Over the years the group has changed the lineup of The Jazzocra-cy several times. This is mostly due to schedule confl icts, which led the remaining members to adopt a new name and a new way of doing things.

“Usually we have about a fi ve-piece band,” said longtime member Tommy van den Berg. “Brian and myself are the main members of the band which has been together for about six years. Because of the lineup changes it even-tually became The Jaz-zocracy.”

The many musicians that perform with the group on Tuesday nights share the love for the timeless music they cre-ate and the challenges that accompany every performance.

“Jazz is something I’ve always listened to and been passionate about since early high school,” said van den Berg. “It is basically that passion from everybody in the band that keeps the band together; with this band I don’t really

get bored playing every week because we usually have different musicians sitting in with us and we’re playing different material which makes it challenging and fun.”

Although the band enjoys a regular weekly gig, one of the early ob-

stacles they were faced with was the lack of replenish-ment of worn out audience mem-bers due to the late

evening time slot. Local music supporter Pete Watters, who is also owner and operator of the Zoo Bar, presented a solution.

“Pete Watters sug-gested that we move our time slot to the early show on Tuesday nights,” said Morrow. “One of the problems we ran into with the late show is that we would

Band changes musicians, setlist weeklyThe Jazzocracy pushes Tuesday performances back to accomodate Jazz in June

JAZZOCRACY | PAGE 11

KEVIN MOSER | DAILY NEBRASKAN

9DAILY NEBRASKAN JAZZ IN JUNETUESDAY, JUNE 5, 2012

and Minucci began collaborat-ing on compositions.

“We just kind of hit it off,” he said. “He just kind of knew where I was coming from mu-sically.”

At the time, Tizer was still on his classical, new age kick but Minucci opened him up to the idea of using drum pro-gramming with his music. The new sound became an inspi-ration for Tizer to form his own band, which was an idea he hadn’t considered before. Minucci’s experience in the music industry allowed him to serve as a mentor to Tizer and the two became close friends.

“He helped show me the ropes of the business over the years so I feel very fortunate to have made that connection early on,” Tizer said. “For any-one who’s aspiring to have a career in this realm, I think it’s really meaningful and helpful to have someone with experi-ence and success to help guide you along.”

Tizer’s career began to take

off after his fi rst collabora-tions with Minucci. In 2001, Tizer released “Golden Soul,” his fi rst studio record with a full band. The record’s fi rst single, “Her Poetry,” garnered attention, reaching the Bill-board Contemporary Jazz Al-bum chart. Unfortunately, due to his manager’s personal and business issues, promotion was cut short after about six weeks. Tizer said the lack of promotion might have hurt the album from breaking through on a much larger scale. Re-gardless, he considers the song to be the springboard for his career and is quick to acknowledge it opened many doors for him.

After “Golden Soul” spurred a larger fan base for Tizer, he moved on to his next project, “Diversify.” Tizer’s friend and guitarist David Kollman produced the 2006 album. It features Minucci, as well as Tizer’s current violinist, Karen Briggs. Tizer admits the record was targeted at commercial

success, but it didn’t do as well as he had hoped, despite its continued appearance on the Billboard Contemporary Jazz Album chart. In hindsight, Tizer said he is a little disen-chanted with the project.

His most recent studio re-cord, “Passages” was released in 2009. Tizer decided to take on the project after being ap-proached by an Australian fan who wanted to hear a more solo piano-oriented record. Af-ter “Diversify,” Tizer’s most recent album has brought him back to his roots.

“I reconnected with the fact that my personal path to success is to stay true to my unique voice and what makes me successful,” Tizer said. “Some people in music achieve success because they have a knack for achieving success on a commercial level but other people’s gift is to do something that is more eclectic and offbeat. Ever since I made that transition back, my career has defi nitely blossomed.”

The most recent develop-ments with Tizer (the band) in-volve a new studio album with recordings including all new members of the group. The al-bum has yet to be named, but it is set for a late-July release. With how much the group has evolved, Tizer said he is very excited for its release and ex-pects this album to bring a new and vibrant sound to his discography.

Today’s performance marks Lao Tizer’s second Jazz in June performance, but this time he’s playing alongside four mem-bers of his new group. Jeff Kollman, who is from Ohio, will play guitar and is the only familiar Tizer musician play-ing the show. Rufus Philpot, a member from London, will

play bass and Raul Pineda, hailing from Cuba, will play drums. Martha Florence has chaired the Jazz in June com-mittee for 10 years.

“We’re expecting an even better show than they brought last time,” said Florence. “His music has evolved a lot so I’m excited to see what he brings to the table this year.”

The melting pot of musi-cians will bring an edgier sound than previous Tizer per-formances with more world and rock music infl uences. He expects his set to be a high-energy performance with fan interaction.

Having played in Jazz in June before, Tizer’s looking forward to making his way back to Lincoln.

“That show in 2008 was great,” Tizer said. “I have such fond memories from that show. I know it’ll be a great audience. It’s a long running series that’s well-attended and well-supported. It’ll be fun to be back in Lincoln.”

Tizer’s journey as a musi-cian has included a 2002 nomi-nation for Best New Jazz Art-ist and a 2011 nomination for Jazz Group of the Year at the Oasis Jazz awards. He’s toured internationally including stops in Dubai, South Africa, Indo-nesia and Barbados.

“I’m really grateful to have the opportunity to do what I do,” Tizer said. “It’s a gift, de-spite the ups and downs.”

JACKSAMPSON@DAILYNEBRASKAN.COM

TIZERFROM PAGE 5

cut, “Freddie’s Dead.” Rather than lay a rough and driving pulse, Carrington opts to make periodic percussive bursts of energy, almost a release from the building tension of the song.

On piano, Russ Ferrante tonally grounds several tracks with his bold and simple chord placement. Throughout the al-bum, underneath the lines of melody from trumpet, saxo-phone and grooving rhythm section, Ferrante holds the en-semble steady while showcas-ing Mayfi eld’s favorite chords.

“I’m So Proud” is one of the sweetest cuts of the album — a luscious 6/8 rendition of the classic love song. If the famil-iar melody isn’t sweet enough, guitarist Phil Upchurch drizzles a tasty, muted bossa cadence throughout. He relishes the groove himself with a delight-ful solo in the heart of the tune. Many of Mayfi eld’s songs are built around the guitar, so it is only fi tting that Upchurch, a

man who recorded alongside Mayfi eld, plays on the album.

Mayfi eld’s lyricism added to the emotional depth of his well crafted melodies, but Watts’ long, reaching lines convey ideas just as Mayfi elds words do. Wallace Roney on trumpet is the bitter contrast to Watts’ thick and sultry — often play-ing muted, higher-pitched, and quicker.

The Jazz Soul Seven makes sure not to abandon the groovy roots of Mayfi eld’s music. “Move On Up” is complete with a funky bongo-infused drum break and fl ourishing fi nish. Don’t expect the blaring horn lines and blinding licks you fi nd on the original. This ensemble doesn’t blow the hinges off this song. Rather than rocket the listener into the sky, the sep-tet beckons the listener to gaze thoughtfully instead. Still, the rendition is uplifting.

The ensemble doesn’t re-ally blow the hinges off any track on “Impressions.” That

may be a drawback for listen-ers looking for another iteration of Mayfi eld’s legendary music from the ‘70s. But this isn’t an ode to the big sound, it’s an ode to the musicality of Mayfi eld’s music, his trademark melodies, style and form. One doesn’t need to be lavish and extrava-gant to focus on that and the result isn’t too subtle. It’s far from sparse.

As Mayfi eld enjoyed doing many renditions of his songs simply strumming on his gui-tar, the core of the man’s music still shines, even in the simplest of forms.

DAILYNEBRASKAN.COM

JAZZ SOUL SEVENFROM PAGE 4

SOUND OF MY VOICEDirector: Zal BatmanglijStarring: Christopher Denham, Nicole Vicius, Brit Marling

GRADE A-IMPRESSIONSOF CURTISMAYFIELDJazz Soul Seven

GRADE A

daily nebraskan Jazz in June Tuesday, June 5, 201210

Expires 12-31-12

A WALK 1. Fragment X-O – Juan Hamilton, 1991 2. Floating Figure – Gaston Lachaise, 1927 3. Monet’s Table (from the Lilypad Series) – Michael Todd, undated 4. Willy – Tony Smith, 1962 5. Stairway Balusters – Louis Sullivan, 1899 6. SANDY: in Defined Space – Richard McDermott Miller, 1967

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IN THE GARDEN

11daily nebraskan Jazz in JuneTuesday, June 5, 2012

get a flood of people at the start but we wouldn’t get a second rush of people and now, by playing earlier we have people in and out all night.”

Despite the transition, a few core members have set-tled into the current incarna-tion. With Morrow and van den Berg is bassist Randy Snyder. The former Univer-sity of Nebrsaka-Lincoln music professor regularly uses his expertise in mu-sic composition to arrange music that keeps the setlist fresh with material. The list includes both rarities even the most enthusiastic jazz listener may not recog-nize and popular songs like “Lithium” by Nirvana which the average listener might not anticipate.

“Having it every week, it’s sort of like a rehearsal,” said Morrow. “Randy brings in a lot of tunes and gives us the chance to play new stuff.

Since there is no cover, it has become a night for musi-cians so no matter what, it is time for fun and also gives us the freedom to play on the weekends with the other bands we are in.”

It’s safe to say that Lin-coln, traditionally consid-ered a college music town, is more often known for its contemporary styles of mu-sic. As timeless as jazz may be, it is not what is usually expected in the university scene, Morrow said.

“We’ve played around town at places where the au-dience isn’t as accustomed to jazz music,” said Morrow. “It’s a love or hate relation-ship but often it’s a refresh-ing experience. The thing about jazz music is that when people come out to lis-ten to it, even though it can be a tough sell and you may not fill the room, the people that are there come to hear the music.”

The Jazzocracy is not connected with Jazz in June. However, in support of the event, The Jazzocracy hopes to make both events acces-sible to music fans.

“We don’t officially have any sort of relationship with Jazz in June,” said van den Berg. “But we didn’t want to play during Jazz in June, which is at the same time on Tuesday evenings, so we decided to play just af-ter it during June; that way we can promote ourselves a little during Jazz in June and hopefully get people come see us as well.”

For more on The Jazzoc-racy look them up on Face-book and YouTube to view concert videos and find the latest information. Tonight, look for a special perfor-mance from The Jazzocracy featuring Chicago’s hip-hop/soul/jazz band Sidewalk Chalk.

dailynebraskan.com

JAZZOCRACYfrom page 8

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7. Birth of Venus – Reuben Nakian, 1969

8. Serenity – Saul Baizerman, 1932-39

9. Nanticoke – Robert Murray, 1980

10. Untitled Relief – Julius Schmidt, 1961

photos by kevin moser

DAILY NEBRASKAN JAZZ IN JUNE TUESDAY, JUNE 5, 201212

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Look for more coverage in next week’s Daily Nebraskan Jazz in June

■ INCLUDING... ▪A profi le of Darryl

White, the front man for next week’s band, the Darryl White Group

▪An in-depth look at the Jazz in June Market — including a profi le on The Root Beer Guy.

▪A review of the movie “The Best Exotic Marigold Hotel,” showing now at the Ross

▪Photos from this week’s performance

▪A jazz album review ▪And more!