document
DESCRIPTION
TheJazzCulture newsletterTRANSCRIPT
JAZZ CULTUREIn These Pages‐Review 1‐2
Wade Barnes Memorial 3‐6England Event‐J. Watson 7‐8
How To Make a CD that MayOutlive You J. Magnarelli 9‐10
"The Unforgettable Hamptons"An Emmy Winning Film about
the Hampton FamilyJazz Heritage 10‐15
Let's Link [email protected]
Art Baron QuintetJune 22, 2012
Caught the Art Baron Quintet at Whole Foods, on June 22, 5-7
p.m., part of the Summer Series at that locale. Art Baron,
Trombone, Fred Staton, Tenor Sax, Bill Wurtzel, Guitar, Chip
Jackson, bass, Jackie Williams, drums. The group focused on
standards like “Summertime” and the blues. The concert series is
funded by the Jazz Foundation, that has aided countless musicians
who were sick or suffered the plight ofmusicians who had no
pensions. The musician leaders who have recuperated are eligible
for slots in their concert series under a special Foundation grant.
On entering, we heard Jackie Williams performing a fiery solo,
playing with great spirit and finesse, better than he played 30 years
ago with Doc Cheatham at Sweet Basil. Mr. Baron has a big
blarey sound that filled the space, which is quite large, and
Jazz Culture at �YJP, VI:10
Art Baron, Trombone, Greg Staton,
Sax, Bill Wurtzel, Guitar, Chip
Jackson, Bass, & Jackie Williams,
Drums at Whole Foods on 97th
Street, on Friday June 22, 2012
Photo: RichardWilliams
The New York Jazz Project
1
acoustically amorphous. The group had a good crowd that filled
the sit down space.
“In a Mellow Tone” Mr. Staton soloed pleasantly in the swing
style with a pretty tone in the darker part of his register over Mr.
Williams crisp impeccable drumming, overcoming the sound
deficits of the corner in which the group was crammed. Mr.
Wurtzel played some notes above the chord and descended into
some bluesy comments. The bass strummed a few chords in the
lower register on the rhythmic ideas of the song, choosing a few
syncopated licks and repeating them. The group then followed Mr.
Baron trading 8s, then 4s, with Messrs. Jackson and Williams
holding a rock steady beat. Mr. Baron theatrically used his
trombone to conduct the ending.
“St. Thomas” –Jackie Williams gave a real island feel to this
Sonny Rollins calypso. Unfortunately Mr. Staton could not be
heard due to poor sound on the mike. Mr. Baron soloed on the
upbeat, with good punctuation capturing the spirit of the song. Mr.
Wurtzel played a lot of 6 against 4 rhythmic groups on unison
notes, and restated the theme. Mr. Williams played the melody on
the drums and then used some rhythmic inversions before the band
broke out into the theme again.
“In a Sentimental Mood” Mr. Baron using a plunger mute,
played the melody in the Ellington style, conveying the
sentimentality, sensuous and ethereal qualities of the song. Mr.
Staton used his lovely tone to restate the melody. Mr. Wurtzel
restated the melody also and broke off to comment on it, climbing
up the scale and descending in a bluesy line. The group then
double timed till halfway through the song and at the second half
restated the beautiful melody, ending in a short cadenza by Mr.
Baron.
Whole Foods has jazz concerts (that the public loves) at several
venue in the NY area, and could buy a moveable shell to place
behind the band to improve the acoustics. Whole Foods could buy
one shell and move it around in one of their trucks. Pitch, tone
quality, and dynamics are affected by the acoustics of the space.
Jazz Culture at �YJP, VI:102
WADE BARNES MEMORIAL AT ST. PETER'S CHURCHOn Monday, June 18, a
memorial took place at St.
Peter's Lutheran Church in
NYC for Wade Barnes,
drummer, composer, arranger
and educator. Mr. Barnes had
four groups: The Brooklyn
Repertory Ensemble (BRE),
Word on the Street; Unit
Structures ; and the Bottom
Line Ensemble (that played at
the Fat Cat and the Moldy
Fig). Eugene Ghee was the
MC, producer, and also played. Naima Barnes, Mr. Barnes'
daughter, welcomed everyone.
The first combo was Word on the Street -
Bill Saxton (the only original member of the
group) on tenor saxophone, Bertha Hope, piano,
Saadi Zain, bass, and Dwayn "Cook" Broadnax
on drums. "Wade liked Monk," Mr. Saxton said,
before playing "Evidence" a percussive medium
swing. Mr. Saxton played "Evidence" as an
elegy with spirit, like a furious driver in the
neighborhood streets.
Ms. Patricia Deans from the
Brownsville Heritage House,
lauded Mr. Barnes’ passion for
music and work with children.
Todd Weeks ofLocal 802
recounted several Barnes'
anecdotes. Joe Petrucelli,
(Associate Director of the Jazz
Foundation) spoke, calling Mr.
Barnes a "presiding spirit at the jam session on Mondays, a person
Wade Barnes in Performance
Bill Saxton
Ms. Patricia Deans, Brownsville
Heritage House
Jazz Culture at �YJP, VI:10 3
of 'Pragmatic Optimism.'" Then
Andrea Duplesis, Chairman of
the Board ofMr. Barnes' non-
profit, read tributes, testament to
Mr. Barne’s initiative, business
talent, and devotion to his goals,
and the mission statement of his
501©3.
A film was shown ofNew
Orleans children at a seminar, dancing while musicians Tulivu
Cumberbatch, Bertha Hope,
Gene Ghee, Julian Pressley,
Bill Ware, Yoshiki Miura,
Saadi Zain, Mark Taylor and
Wade Barnes played. The
seminar showed how
"perpetuating the last chapter
ofAfrican history, … after
they left Africa took their
aesthetic all over the world."
Part of this African diaspora came through dance, e.g. the
Charleston.
Unit Structures was next, playing “Johnny Come Lately” and
“Peace.” Bertha Hope was on piano, Saadi Zain on bass, Jaime
Affoumado on drums, Bill
Ware on vibraphone, Tulivu
Cumberbatch on vocals, Julian
Pressley on alto saxophone,
Marshall Seally (on french
horn), and Gene Ghee on tenor
saxophone. "Johnny Come
Lately" by Billy Strayhorn, is a
pungent and harmonically
thrilling medium up swing.
Marshall Seally had a sweet tone on French horn. Mr. Ghee’s solo
depicted someone driven by pursuit of an elusive ideal. Ms.
Unit Structures, see Musicians listed
below
Tuliva Cumberbatch, Vocalist
Bertha Hope
Jazz Culture at �YJP, VI:104
Cumberbatch sang "Peace" by Horace
Silver beautifully, with fine intonation,
spirituality and tone quality, with a lovely
solo by Mr. Ghee, and a pensive solo by
bassist Saadi Zain.
Pianist Terence Conley received a
standing ovation as he made his re-debut
on a blues. Mr. Conley played with Saadi
Zain on bass and Dave Gibson on drums.
Gabriel Romance , a close friend, said
a few words about Wade and sang a
beautiful version of "We'll Be Together
Again".
The Bottom Line Ensemble was next with Bertha Hope on
piano, Bill Ware on vibraphone, Saadi Zain on bass, Jaime
Affoumado on drums, Richard Rivers on congas, Ralph
Hamperian on tuba, Dick Griffin on trombone, Kiane Zawadi on
euphonium, Julian Pressley on baritone saxophone and Gene Ghee
on tenor saxophone. (Kiane Zawadi was on the original recording
ofCrisis on Freddie Hubbard's "Ready for Freddie" album.) They
performed "Lost" by Wayne Shorter, and "Crisis" by Freddie
Hubbard, a song emanating danger.
The Brooklyn Repertory Ensemble played Tom Olin’s
arrangement of ""Mr. Knight" written for Brooklyn pianist Joe
Knight by John Coltrane. The song featured Tom Olin on soprano
saxophone and Marshall Seally on French horn. This song
sounded like a forward moving army, ending in a vamp
Mr. & Mrs. Terence
Conley
The Brooklyn Repertory Ensemble, see list ofMusicians below
Jazz Culture at �YJP, VI:10 5
Lionelle Hamanaka, Publisher/see
lionellehamanaka. com
Sign up for a Free Subscription to The Jazz Culture
online at http://TheJazzCulture. com or
http://�ewYorkJazzProject. com
646-312-7773/PO Box 2003 700 Columbus Avenue,
�YC 10025
and whispering horns and
percussion. The musicians were:
Bertha Hope on piano, Bill Ware
on vibraphone, Saadi Zain on bass,
Dave Gibson and Mike Campeni
on drums, Richard Rivers on
congas, Tom Olin on soprano
saxophone, Don Payne on clarinet,
Yousuke Sato on alto saxophone,
Will Orzo and Marshall Seally on
French horns, Ralph Hamperian on
tuba, Jack Jeffers on bass
trombone, Dick Griffin on
trombone, Kiane Zawadi on
euphonium, Ryo Sasaki on
trumpet, Gene Ghee on tenor
saxophone and Tulivu
Cumberbatch on vocals, singing
"Mockingbird," arranged by Wade Barnes. The original bass
player of the Brooklyn 4 + One and the BRE was Leonard Gaskin,
who played on the original recording of “Mockingbird.” Julian
Pressley played a haunting solo on Mockingbird,” and Dick
Griffin soloed well. Ms. Hope played a beautiful lyric solo.
Then they played a Barnes original, "Little Big Sis,” and an
imaginative Barnes arrangement of "Blowing in the Wind," the
horn lines waving like wind, adding an ethereal aura to the song.
Ms. Cumberbatch sang in a lyric plaintive fashion. At the end of
the ceremony, Wade Barnes’ daughter Naima thanked all who
participated in the tribute.
Eugene Ghee, MC, Producer,
Tenor Saxophonist
Jazz Culture at �YJP, VI:106
ENGLAND EVENTGIG REVIEW
by John Watson
Band: Dave Lewis' 1 Up.
Venue: Pizza Express Jazz Club
Soho, London, UK. Sunday,
17th June 2012
Dave Lewis is an
experienced and versatile sax
player on the London scene. One
night he can be found performing
with a big band playing Dizzie
Gillespie transcriptions, and the
next with a rock or blues band. However, last weekend I caught
him performing with his own band Dave Lewis’ 1 Up at Pizza
Express Jazz Club Soho (just a street away from Ronnie Scott’s).
Before we go any further; some ofmy American friends laugh
when I mention “pizza” and “jazz” in the same sentence. However,
Pizza Express has been putting on live jazz since the 1960’s and
continues to host gigs in several venues in London and across the
UK. The Soho venue is in the basement of the main restaurant and
holds about 100 people.
Back to Dave Lewis’ 1 Up: the band opened their set with a
Crusaders’ piece entitled "Stomp and Buck" (rather suitable as
Dave cites the Crusaders as one of the main inspirations for the
band). The band was then joined by vocalist Polly Gibbons in the
first of several originals by Dave Lewis and Fi Carrioll entitled
"Turn It Around." Polly’s husky voice perfectly suited the line-up
whether on funky numbers or more sensitive ballads. Sean
Hargreaves was an unobtrusive but very supportive accompanist
on both grand piano and electric (Wurlitzer). Sean studied briefly
with the late, great Oscar Peterson. Mike Outram (electric guitar)
played some amazing solos and bassist Neville Malcolm got the
Jazz Culture at �YJP, VI:10 7
John Watson, Pianist, Arranger,
Musical Director, Singer
Photo: Max Garr
chance to shine in "East Coast Strut" ( another funky Lewis
original). American drummer Rod Youngs certainly kept the
energy going and was perfectly complimented by percussionist
Pete Eckford. I was seated near Pete and couldn’t help noticing
how he never over-played and yet got it just right for every
number (like a first take in the studio).
As for the leader of the band; Dave moved effortlessly from
funk to ballad to blues. Talking ofwhich, his solo in "Dr.
Feelgood" really brought the house down. I asked Dave what were
his personal influences and he listed Joe Henderson, Hank Mobley,
Stanley Turrentine and Junior Walker as saxophonists he admired.
If you would like more information on Dave Lewis' 1 Up go to:
http://www.davelewis1up.com/ and for more information on live
music at Pizza Express go to: http://www.pizzaexpresslive.com/
Line-Up: Dave Lewis (tenor sax); Polly Gibbons (vocals); Sean
Hargreaves (piano/el. pno.); Mike Outram (electric guitar); Neville
Malcolm (el. bass); Rod Youngs (drums);Pete Eckford
(percussion)
Set List: "Stomp and Buck" (Crusaders); "Turn It Round" (by
Dave Lewis & Fi Carroll - title track from previous album); "The
Further You Fall" (by Dave Lewis & Fi Carroll); "Take A LIttle
Time" (by Dave Lewis & Fi Carroll - original)" Dr. Feelgood"
(Aretha Franklin); "Hurt Inside" (original);"Deep Underground" (
by Dave Lewis and Fi Carroll); "The Thrill Has Gone" (B.B. King)
"It's A Real Motha For You" (Johnny 'Guitar' Watson); "East
Coast Strut" (original - great bass solo from Neville Macolm);
"Love Gives"; "Ain't It True"; "Rock Steady" – Aretha Franklin.
BARRYHARRISJAZZWORKSHOP
I�ROMASept. 17-21, 2012
Info:A��APA�TUSO
@HOTMAIL.COMTel. : +39 3393383139
QUOTATION:"Practice a Million Hours."
-Junior Cook, Saxophonist
"You can't take offwithout a
launching pad."
-Lonnie Hillyer, Trumpeter
Jazz Culture at �YJP, VI:108
by JoeMagnarelli
My Old Flame:
Songs: My Old
Flame, I’ ll Be
Seeing You,
Highbridge,
eracism, The
Duke, Blues for
‘Skee” (Dennis
Irwin), When
Your Lover Has Gone, Bilbao, McChesney Park.
With Quintet & 16 Strings. Quintet Personnel: Joe Magnarelli,
T, Jimmy Wormsworth, D, Rick Germanson, P, David Wong, B,
Dick Oatts, S, Peter Bernstein, G, Vince Cherico, D, Wilson
“Chemo” Corneil & Daniel Sadownick, Percussion. Arranger:
Marty Sheller. Released in 2010.
My Old Flame, a recording with strings, was about a two year
process. Being a fan ofClifford Brown with Strings, and of course
Charlie Parker with strings, I had imagined myself in that context
for many years. But, actually thinking about making it happen
started in 2008, I have a good friend who plays violin, Efrat
Shapira, she started turning me on to the Emerson String Quartet,
and Bartok string quartets, and she was encouraging me to do
something with strings.
My Old Flame was a project that took about two years to
complete.
I was studying ( and still am) out of orchestration books at the
time, 2008, and was putting some 'pads' down on paper to a couple
ofmy favorite ballads. I realized then that my own writing would
not be ready for many years. That's when I called Marty Sheller,
my friend, and someone I had worked for in the recording studio.
A great orchestrator and composer, and very well known in the
How To Make a CD that May Outlive You
Joe Magnarelli
Jazz Culture at �YJP, VI:10 9
Latin jazz genre.
I also thought a cd of just ballads was not what I wanted, [and]
Marty agreed, so we included 2 ofmy originals, and, Marty did a
great thing with Dave Brubeck's " the Duke," making it a Cha-Cha.
Overall I think there is a good variety ofmoods on the cd.
I contacted violinist Genice Grice, the wife ofmy good friend
Tony Reedus. She helped organize the string players, since I knew
only a couple, and we did the date all in two days with one day of
rehearsal.
Marty's writing is so beautiful, he created beautiful settings for
all the tunes. We had the easy part, just play and have fun.
The months preceding the recording, I spent a lot of time
practicing, and memorizing the string parts. Not only did I feel
more connected at the date, but I learned so much about
orchestration.
It was a learning experience, producing, contracting, playing
and composing. See JoeMagnarelli. com
“The UnforgettableHampton Family”
Director of Emmy Award WinningFilm Talks About Hampton
FamilyPart I: Note: The African
American territory bands from the
1920’s-60’s disseminated jazz
throughout the Midwest. There
were Caucasian territory bands but
not primarily in that section of the
country. There were a few
integrated bands like The
Sweethearts ofRhythm. In the
1920’s, territory bands travelled by
station wagon with another vehicleDawn Hampton & Julie Cohen,
holding an Emmy Award
JAZZ HERITAGE
Jazz Culture at �YJP, VI:101 0
behind. There were 900 dance
bands in 1924, providing jobs
for 7,200 musicians. The
Hampton Family Band has
produced 80 years of
musicians, spanning blues,
swing, bebop. The father,
Deacon Hampton, was a self
taught musician. The mother
Laura played piano. “The
Unforgettable Hampton
Family” breaks away from
many commercial films in the
past, in which scripts portrayed African Americans only in
subservient roles and not depicting their contributions to history.
Director Julie Cohen, an experienced prize-winning
documentarian, shared the story of the making of “The
Unforgettable Hampton Family:”
Julie Cohen, Director [JC]: “I did not know her [Dawn] well
when I started the project. I had earlier done a documentary about
Frankie Manning and in the course of doing that I saw great
footage of the two of them dancing together, and then I saw Dawn
as one of a number of people who danced at Frankie’s memorial
service. And [Dawn] made a grand entrance as only she knows
how to do and seemed like such a remarkable person…
“[Then] I went to a workshop she made on bhangra [dance] and
Dawn was so entertaining on that I knew she would make a
wonderful interview. I had not known until that point about her
wonderful siblings and the family band they had together as
children, and in fact, [that] a number of them had gone on to great
musical careers separately. On You Tube, I was able to find
footage of her sisters in Indianapolis, Aletra and Virtue, (who had
passed away by the time I started the project) on piano and bass
duets. They were extraordinary performers and it was quite
unexpected to see women in their 90’s play the bass with such
verve and style…I was not aware that her brother was Slide
Fans live it up at Dawn Hampton's
birthday party, dancing to the
strains ofGeorge Gee's Swing
Orchestra
Jazz Culture at �YJP, VI:10 11
Hampton the prominent
trombonist. That and her own
family story seemed like a strong
basis for a film. I was also
producing for a New York
audience, and Dawn had spent had
own her history performing in
Greenwich Village, and that
opened the door to an interesting
world that I hadn’t known about --
the Gay music scene in 60s and
70s, ofwhich she was a major part.
So we spent some time trying to
find a fan of hers from that era,
that we could interview alongside her. There were three big sit
down interviews, one with her and (her brother) Maceo, (one with)
George Gee, and one with a fan of hers from Greenwich Village
scene, Freeman Gunter. Dawn is the sort of person who has a skill
for interacting with others, so she was good to interview.
“I guess it was sort ofDawn in some ways (who) suggested the
theme in a couple of interviews; in terms of crediting, really, all of
the success, both in terms of public recognition, but also in terms
of personal satisfaction, tying [that] back to her extraordinary
father, (Clark Deacon Hampton) and his attitudes towards his own
life and family. Despite coming from extremely difficult
circumstances, having almost no money and being African
American at a time when that would raise huge barriers to
education, professionally, [in] almost every area of life, even
without any formal education, [Deacon Hampton] had an agenda
that he put forth himself for his wife and kids. ‘ I have a plan of
how my kids are gonna make it in this world, through becoming
performing artists.’ [Deacon Hampton] he did not take the time to
let the kids grow up, he just—‘One way we would lift the family
out of poverty would be through performing, that is one way
whites are able to accept blacks, that would be a way that I can
provide for my family and they can provide for themselves.’
Dawn Hampton dances at Swing
46 recently
Jazz Culture at �YJP, VI:101 2
“The father [Deacon Hampton] had
extraordinary talent, but the kids did
not necessarily have it. Slide said he
was not innately talented, [it was that]
he worked hard [at things] that seemed
to come easier to his other siblings’
pure musical talent.
“Dawn has extreme musical talent;
now she does her whistling and
teaching dance, but she was a great
singer, saxophone player, [doubled on]
other instruments, the kids had more
than one, [so they could spell each
other] . Her real talent is as a
performer, which is evident from the
fact that although certain parts have dropped out of her
performing, due to thyroid problems in the 60’s, as she grew older,
singing was not an option, but it was easy for Dawn to shift to
teaching and dancing. Her stage presence was her skill,
captivating the audience onstage. And that goes back to her father
who was teaching her and Maceo (closest in age) how to do
vaudeville performing.
“[He taught them that] In front of an audience you have to give
them a full entertainment experience, and she has a great talent for
public speaking. [for example,] Since the film came out she and I
have done some Q&A’s. She is really good at that, she really
understands how to talk about things that would be of interest to an
audience. She stands up and gestures with her hands until people
really do give her a standing ovation; [or] the way she dresses.”
Dawn Hampton
“Dawn has a complete understanding of performance
magnetism and entertainment. [It is] Not just an act. I have done a
number of documentaries about performing artists, and it isn’t
uncommon [for a person] to be a great performer onstage, but
when the show is over or the camera turns off, the person is not
one who loves interacting with people.
Jazz Culture at �YJP, VI:10 1 3
“But Dawn has the same personality onstage that she has under
the camera. She is very interested in other people, which isn’t true
ofmany people who have star qualities. Every time I see her, she
asks about my husband and about Alex Lowther who was the
editor and field producer on this project. I was impressed with her
on all kinds of levels. She has a huge following, and a lot of that is
that people love her. She is very loveable and she has an attitude
towards life where she is not going to let things get her down.
Seven to eight months ago(?)she was having a problem with
sciatica. She said from the start, ”I’m going to get better.” And
she feels a lot better now.
JazzCulture: Did you travel a lot to make this film?
“Julie Cohen: Yes I travelled but not too much…Herreng, the
dance camp in Sweden she goes to in the summer. . .Alex spent a
week in Herreng shooting that. I also went to Chicago to film a
number ofmembers of the next generation, nieces and nephews,
grand nephews, who carried on the legacy and become music
performers so I was eager to meet a group of them and most live in
Indianapolis or Chicago. Other than that it was [made]mostly [in]
New York.
“The footage ofDawn’s older sisters, who had already passed
away when I started the project -- fortunately WFYI (in
Indianapolis) had covered them pretty extensively. A few years
earlier on the occasion of their doing an album, WFYI had filmed
them doing the album and had a sit-down interview. WFYI
licensed it to us for a reasonable cost. They gave me the field tapes
to watch and pick out and the sisters [Aletra and Virtue] were
terrific in their own right and shared Dawn’s attitude of
enthusiasm. And like Dawn they put a fair amount of cheekiness
and even dirty jokes [into their act] , something you don’t always
expect from a 90 year old woman. They [the sisters] always put on
matching outfits. Dawn’s clothes are one of a kind things. . . but
her sisters … I think one of them can sew. They have hats with
Treble clefs symbols, they had a great sense of style. The nicest
part ofwatching the film with Dawn is seeing how strongly she
reacts to seeing the footage of her sisters talking and performing.
Jazz Culture at �YJP, VI:101 4
“There were several pictures of the full family playing at an
early age, and one taken when they were teenagers and young
adults and two or three people that played along that were not in
the family. That was when Dawn was a saxophonist. It’s obviously
a real help when a family has saved newspaper clippings and a
number of people in the Hampton family were great at that. Dawn
had scrapbooks and clippings and so did Maceo and a couple of
her nephews. Piles of stuff that was extremely valuable, nice that
they had pictures of their dad.
"Maceo played trumpet, and was one of the most talented
[musicians] . Although as an adult he became a minister, he told
me the story of during the period when they were playing side
show entertainment at circuses, that because of his dad’s
commitment to educating not only the family, but whatever other
children he met on the road, teaching math, history and English.
[He was] teaching young black children to read, [reading] from
Booker T. Washington and Frederick Douglass. Maceo told the
story of a group of locals coming and try to lynch him [Deacon
Hampton] . They were able to thwart that attack because circus
friends, mostly white, decided they wouldn’t stand for this, and
stood guard at night to prevent people coming to attack Deacon
Hampton. The attackers were unsuccessful.
"The family members have such strong stories and were such
great interview subjects, particularly Dawn, [with] a lot of clear
memories and stories to tell. This family is really extraordinary.
Without being famous (with the exception of Slide), people are
unfamiliar with their story. There was so much good material and
recordings, [so] I was very optimistic that it would come together
as a story that was very entertaining, but has a lot more to it as
well.
“Plans for The Unforgettable Hampton Family? [ I would] like
it to be seen as much as possible. In February, 201 1 it aired in
New York and in February 2012, it aired nationally, on PBS
stations[ throughout the] country. [In] most of the country it aired,
through one of PBS’ national distribution services, and so many
stations got to see it. It has shown at some film festivals as well. I
Jazz Culture at �YJP, VI:10 1 5
know Buddy Steves, (Myron Steves, Jr.) the Houston businessman
and dance aficionado who funded the film, has shown it to the
dance fans who gather for a Lindy Festival every year… [in]
national lindy events and [he has also] has spread the word to the
swing community, which is something I also had not been so
aware of until I did the film about the Hamptons and the earlier
one about Frankie.
"I often do documentaries about people in their 80’s and 90’s
because they have a lot to tell. I actually make a lot of
documentaries about a lot of different kinds of people, and
sometimes I don’t maintain the relationship after the fact, [but]
with Dawn I really, really love her on a personal level, not just as
the subject on camera, [but as] the type of person you’d like to
spend time with. Dawn is interesting on all kinds of levels, and
given her life, I am always impressed by how much she is
interested in others. [She is] really a fun, thoughtful person.
[With] Dawn, I always have fun at a big event or visiting her at
home in the village. “ See DawnHampton on Facebook.comLet's Link/Musician Correspondents
See Barry Harris.comKuniMikami.com@CD
Baby‐"Hamp's Boogie"
See LafayetteHarris.com
Clarence Banks, Count Basie
Trombonist, Private Lessons,
Clinics, call 917-428-6746
We rememberDr. Frank Foster:Listen to hisNippon LamentPhoto: Brian
McMillen
Jazz Culture at �YJP, VI:101 6