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Good Evening ladies and gentlemen and welcome to Jazz At The DeLys.

My name is Jack Kleinsinger, and it's my privilege to be serving as

Producer and Master of Ceremonies for this monthly series of concerts ·

that we call "The Return of the Jam Session".

Just before we began, we received word from Buckyy Pizzarelli

that he"s trapped uptown taping the final ~ hour of the Jack Paar TV

show, but Bucky wants all his fans to know that he will be here for

the second half of the concert, and he's going to swing twice as hard.

But right now, I'd like to get things underway by introducing

the men who are going to provide the musical excitement and emotion

thatt typified the legendary Jam Sessions that are such an important •

pa~t of the history of Jazz.

On the guitar-- a talented young musician who first reached

stardom as a child performer on the "Children's Hour" program . .

Since that time he has appeared with Benny Goodman, Buddy Rich,

Gerry Mulligan, The Metrop6litan Opera orchestra, accompanied Tony

Bennett, appeared regularly on the Merv Griffin and Johny Carson Tv.

shows.---Mr. Gene Bertoncini

011r next artist hails from Sydney Australia, and gave up a

flourishing medical practice to enter music full time. •

Those who have

heard hLm play are very happy abeut that decision. In addition to his . p

Jazz skills, he has performed as principal bassist in the Westchester

Philharn~nic and the North Eastern Pennslyyania Philharmenic ••.

A big hand please for my Colorado roonunate-- DR.LYN CHRISTIE.

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fo~mer is a young,upand coming musician. 'd lik you

to giv him a nice round of applause for encouragement, because I fe 1 •

if he taye in the music business a little longer, he may just make it .

Our d1: r-- another Colorado roouunate-- BOB ROSENGARDEN.

On Truntpet One of the nicest people in Jazz, a veteran of th Lion 1

Hampton and Count Basie orchestras, who in recent years has appear d with

his own group regularly in clubs, concerts, schools, chu,rch s, festivals,

and on radio and Tv both here and abroad. He took part in th f rst Jazz

lecture concert presented in the New York City Public Schools, and is Pr s.

of Jazz Interactions, a non-profit organization working for the furth ranc

of Jazz musically and educationally.

Mr. Joe Newnaan

Qn tenor Saxaphone - a great soloist, composer, and arranger who is the

recipient of tony awards forthe Ann Bancroft TV Special, and last years

Gershwin Special w. Jack Lea~non and Ethel Me,rrnan-- a veteran of th f m d

Woody Herman 4 Brothers Sax Section -- arranger for arti ts such as

Andy Will ~~, Ray Charles, Sarah Vahghn and many others, am composer of ,

y Jazz standards-- the multi talented-- AL COHN

FINALLY~- What can you say about someone who is truly a legend in their own

time. He's played everywhere and With everyone. one of the most popular

Jazz musicians in the today. The man without whom no Jam session could

cemplete-- the fabulous -- MR. ZOOT SIMS

NY Times--Wed. Feb 7, 1973 I

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Sextet Opens Stron,ly ~or ! Projected de Lya Shows

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By JOHN !. ~ON A projected series of month·

Jy jazz concerta at the Theater de Lys got oft to a promising Jt~rt Monday night before a frtendly, attentive audience I

~: that mort than filled the .unan ' ""' theater. ·

: oped. in p easant but mundane ~ fash1on as a sextet of familiar

musicians • about • town AI .. Cohn and Zoot Sims, Jaxo-~on~s; 'Jo.e Newman, trumpet (hmptng with a cane as a re­sult of spirited basketball playing); Gene Bertoncini gui­

. tar; Lyn Christie, bass: and - Bobby Rosengarden drums -: pl~yed the customary set of a

patr .ot ensemble numbers, bal­i lad solos all around i.nd an en·

semble finale. · ~t~ . Despite the hlgb caliber of ~ the hom men, the most inter­f e~tJng playing came from Mr • Jlertoncini, who stroked out ; rh~hm chords on his cuitarwith ~ an obvious sense of joy and : created a particularly beauti-

fuJly shaded solo on ''What , Are You Doin.& the Rest ot. My ~ Life?'• . .. · · .

· The second llaJf. ~wever produced a kaleidoscopic sens~ ' ot excitement as one impres-

.. sive perlotrnan~ followed an­other. It began in low-keyed fashion with a pair of uuac-· companied guitar solos by Bucky PizzareUi and an ex­quisitely balanced guitar duet by Mr. Pizzarelli and Mr. Ber­toncini. It buiJt with a clarinet solo by the legendary but rare­ly seen reed virtuoso, Phil . Bodner, who spends virtually · all his'time in recording studios. 1 and an unusually thoughtful ·

by Mr; Ne.wman · ot "Ode to Billie Joe_" a · tune that II a particular favorite of his. , ~

It wound up with a tre­menifously vital, · driviDJ at· tack by the full ensemble on .. Alter You'Ve Gone" Jn which Mr. Sims iet such a dazzlinJ pace with a boillq, bubblina solo on one that eve11 who followed him to bt ·rillnJ to hia cha Some ot the mo.t

r1Sln1 cime fiom , BodDer, Whole solo •••

·With 01 Jatdl

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>t cJ.tzz. ns all genuine art, ha!ll h~td to conKtantly se~k n~w cod ~

~ of ex pre. t\i on over the year~ in 0 orde•r to maintain the h igh clc­~ g.- e o! respect it has attainPd. !tl Failur~ on the part uf th., · til •xpon nts <Jf fazz to continue UJ ~ cn;ate fres h, n w idea• and fornH~

... ult i w~lely leads to the p<.,int ~ wla~re the mu~ie ha11 little < nu!aning. ' ~ Su(·h w~s the c~i:e :\londa y en ni~ht dudn~ I·.Jazz At the Thel\­~ t cr de Lys" in Gre'enwich Village . . 0 With the exreption of ba:(~i8t ~ Dl'. Lyn Christie, an A u~traHan ~ phy&iciHn, the performin" jf'zz.

nu~n ff"JI short of their reputrttion . ..

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and potential. .

Clifhn and Gimmid~• Instead, the seasoned players

used every clirhe and gimmick they could think of to deceive the receptiYe audience into believing that it w~s actually hearing swinging and lively sounds.

The ja~zmen were: Zoot Sims and A) Cohn, tenor saxophones; .

· Bucky PizzareHi and Gttne Ber- 1

toncini guitars; Joe Newman, ' trumpet; Bobby Rosengarden, drums, and Phil Bodner, clarinet.

:F,or the young listeners in the audience hearing the groups ren­ditions of "Li'l Darlin'," "Walk­in'," "Rest of Your Life" and ''Ode to Billie Joe," the two-hour performance seemed re,varding. If only they had known.

However, for those with any real listening experience, the con­cert was pure 1930 vaudevil1e,

f particularly when Ro~engarden blew a poJice1nan's ·whistle during his drun1 solo."

Superb Technique Christie, a genius with superb

technique and Jots of new ideas ' offered a remarkable version of

"Night in Tunisia." , He shov.Ted great' skill and dex­terity, wit~ a deep feeling for the blues, as he bowed his way through the complexities of Dizzy GiJJcspie 's bebop tune.

Unfortunately, jazz has ' suf­fered numerous setbacks in the last 10 years. And after listening · to that J!roup of tired musicians, there is no wonder. .

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