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The Jazz Culture NewsletterTRANSCRIPT
TheJAZZ CULTURE
1The Jazz Culture, VI:48
The Jon Faddis Orchestra Tribute to Dizzy Gillespie at the Rose
Theatre, Jazz at Lincoln Center
2 The Jazz Culture, VI:49
REVIEWThe Jon Faddis Orchestraby L. Hamanaka
Jon Faddis, conductor & 5th trumpet, Todd Coolman, bass,
Ted Rosenthal, piano, Ignacio Berrios, drums, Pedro Martinez,
congas; Trumpets: Lew Soloff, Greg Gisbert, Tanya Darby, Max
Darche; Trombones: John Fedchock, Conrad Herwig, Shannon
Bennett, Douglas Purviance, bass trombone; Saxophones: John
Raganazza, Steve Wilson, Mark Vinci, Salama, Frank Basile.
Guest soloists: Jimmy Heath (saxophones) & Steve Turre
(trombone and conch).
Caught The Jon Faddis Orchestra at Jazz at Lincoln Center
Friday, March 8, presenting the rarely heard, legendary book of the
Dizzy Gillespie Big Band circa 1947-1949. Jon Faddis conducted
boldly and brilliantly; his orchestra’s performance was
exponentially greater due to his leadership as a conductor. Similar
to Coleridge Taylor Perkinson, another conductor who was able to
separate and combine different sections of the ensemble, Mr.
Faddis got the colors and spirit he wanted from the Orchestra and
was well prepared to present this part of the historic contribution
of his mentor and idol, Dizzy Gillespie. “Jumpin’ with Symphony
Sid” (Lester Young/King Pleasure) was the opening number, with
a flurry of trumpet bravura, started with a sharp, virtuosic bop
cadenza. Shannon Bennett, trombone, took the first solo, a short
well punctuated solo with a strong tone. The saxophone section
stood for a short section solo, and the trumpet section was
outstanding; the rhythm section was bouncing, joyous and locked
down. Actually most of the solos in the first half of the program
were short because Mr. Faddis wanted to expose to a significant
audience arrangements that had not seen the light of day since
1949.
Next was “St. Louis Blues” opening with a splendid, historic,
3
Cobi Narita & Paul AshPresent in March, Women's Month:At ZEB’s 223 W. 28 St., 2nd flr. (Bet. 7 & 8) Tickets: 516‐922‐2010
Every Sat: Film 1-3 p.m.; Legendary Black Artists w/WalterTaylor
Open Singers Jam from 3-6 p. w/Frank Owens $10Friday March 15:
LADYS GOT CHOPS 7-11 p.m., The 11th Annual Women’s HistoryMusic & Arts Festival, “MUSI-ARTI-COPIA” $20/ Mem Nadhr, V; Bertha
Hope, P, Kim Clarke, B, Andrea Brachefield, Ft; Meg Montgomery, T;Nikita White, V, Sheryl Renee, V, Claudia Hayden, Fl; Lisa Santiago,p;
other sponsors: Jazz Fdn, Women in JazzFriday March 22:
7-11 p.m. Willie Mae Perry with the Frank Owens Trio, Paul West,Bass, Greg Buford, drums $15
Saturday, March 2:8 pm. Emiko Mizoguchi & Derek Hood Concert with the Frank OwensTrio, Paul West, Bass, Greg Buford, drums
Friday, March 8:7-11 p.m., Tribute to Delilah Jackson by Jazz & Tap community,FREE; Hosted by Rev. Dale Lind at St. Peter’s Church, 54 St. & Lexington
The Jazz Culture, VI:49
Review 1‐5England Event J. Watson 6‐10
How To Do A JazzConcert C. Narita 11‐16
Jazz Heritage 17‐22Sheila Jordan
Gig Listings‐Letter 25‐[email protected]
http://theJazzCulture.com © 2012ERRATA: Last issue, two sponsors were left out
ofthe Lady Got Chops Festival: the Black Rock,
and Amsterdam �ews newspaper, which helped
Kim Clarke with the publicity for her festival.
4 The Jazz Culture, VI:49
fanfare with the rhythm section playing
a Latin beat that changed to swing.
Ralph Lalama, tenor saxophone, played a warm swinging solo,
telling the story ofBlues in St. Louis with fiery licks. Mr. Faddis
played double time on the blues, running up and down freely from
his top (which is very high) to bottom, easily screaming High long
tones descending with some deft syncopated lines.
“Stay On It,” followed, lines beginning with triplets, at 1 75=
quarter note at a brisk call and response between saxophones and
trumpet sections. The balance between the horns and the rhythm
section was good. Frank Basile played a short baritone solo. Jon
Faddis played with fire and a pretty tone, but seemed to have to cut
short his own solo to conduct the band. Pianist Ted Rosenthal
started by climbing instead of descending the chromatic scale, and
followed with exciting and short motifs.
Tad Dameron’s “Our Delight,” was next in a brilliant
shimmering arrangements with the signature Dameron sound, at
1 75=quarter note. Max Darche played a very nice solo, showing
good technique and presence. Dameron’s arrangement pales most
modern arrangements in direct soulfulness and warmth. Mr.
Faddis’s sound in the upper tessitura is very bright with good
phrasing and self assurance.
During a period when Dizzy Gillespie was not working, he
studied and composed, and one result was “Woody ‘n’ You, or
“Algo Bueno” (Something Good), a song of flagrant romanticism.
Mr. Faddis played the melody, starting with 16th note triplets and
in his “Faddis-sphere” mode, peppered the theme with obligato,
mentioning that “A lot of old three minute arrangements . . . have
not been heard since 1949.” The orchestra conveyed the thrill of
Diz’s band at its height. Later songs featured Jimmy Heath, who
worked in Dizzy Gillespie’s Big Band in 1949.
The Orchestra then featured Lew Soloff, in the classic, “I
Remember Clifford,” by Benny Golson. The orchestra played
cont. from p. 3
The Jazz Culture, VI:49 5
with a strong vibrato and great tenderness; the whole band seemed
to express their love for Clifford Brown. The band felt the
subdivisions of the beat beautifully and created a pulsing
framework for the soloist. Mr. Soloff had a fine tone with just
enough vibrato, very clear, and especially unique in his lower
register, which was like a dark mezzo color with beautiful tone
quality, now dipping into his lower register during a double time
section and crescendoing to a dramatic flare, and then easing to a
full toned cadenza, masterfully played, then dying away.
“Emanon” (or No Name spelled backwards) followed at about
144=quarter note, a groovy swing. Conrad Herwig soloed on
trombone, sort of dancing with loose hips as he played - able to
play accents effectively between the beats using his instrument
with its special qualities; Greg Gisbert soloed on trumpet, starting
with a couple of shouts, playing call and response with the band,
diminuendo into a duet with the drums,triplets then scalar
lines,1 6th note runs, breaking into some blues licks. Jon
Raganazzi, tenor saxophone subbing for Walt Weiskopf, played
some interesting ideas but did not seem to pause, with good
circular breathing technique, then later added accents. The final
chorus had bright, joyful architecture. The rhythm section was
vibrant and swung hard and looked very relaxed.
“Things to Come” about 300=quarter note, was the last song
of the set, showing the virtuosic speed of bebop, one of the things
that made Bird and Diz and other beboppers famous. Steve Wilson
took a solo where his attack was good, and his tone was his own, a
unique burnished sound. Mr. Faddis soloed mostly of the time an
octave above everyone else, and his sound was very pretty, like
liquid gold, at pitches that only dogs could transcribe. Mr. Faddis’s
love of the big band format showed. He also told a lot of funny
jokes and cast a friendly glow. The band shimmered with
excitement, dynamic variety and power. America’s cultural
heritage deserves to be heard, and that evening’s music was a good
example of how it enriches all audiences.
ENGLAND EVENTThe Darius Brubeck Quartet At The Forge
Friday 1st March 2013
Review by John Watson
Line-up:
Darius Brubeck - piano
Matt Ridley - bass
Wesley Gibbens – drums
Dave O'Higgins – sax
Just a couple ofmiles
north ofLondon’s West End is
the vibrant, slightly bohemian area ofCamden and among its bars,
clubs, restaurants and boutiques is The Forge Music & Arts
Venue. Opened in 2009 by musicians Adam and Charlotte Caird, it
is an intimate concert venue with great natural acoustics and they
put on a varied programme ofmusic ranging from classical to jazz
and world music. It was a full house for this performance by The
Darius Brubeck Quartet, but we managed to find seats right by the
stage.
The musicians came on stage to an enthusiastic reception all
dressed in suits and ties. A smiling Darius approached the
microphone and spoke with warmth and ease to the audience and
then sat down at the Steinway ‘B’ grand piano. As we were close
to the stage, I was able to hear him whisper to the band, “think
dynamics” before launching into ‘Blue Rondo á la Turk’ (a Dave
Brubeck classic requiring no introduction). Matt Ridley on double
bass and Wesley Gibbens on drums gave perfect support (and
dynamics) throughout and obviously knew the piece very well
having been Darius’ rhythm section for the past six to seven years.
Dave O’Higgins gave a great tenor sax solo really stretching out
John Watson
Photo by: Max Garr
The Jazz Culture, VI:496
over the blues section and moving away from the basic chord
sequence with short melodic figures reminiscent ofOrnette
Coleman. Darius gave a considered piano solo moving into
polytonal territory in true Brubeck fashion and Matt played a very
melodic bass solo.
Darius again played homage to his father with a number
entitled ‘The Duke’ (from the pre-‘Time Out’ period). Dave
O’Higgins moved to soprano sax for this tune with a solid walking
bass acc ompaniment from Matt with Wesley using brushes.
Darius chose to use a block chord style at the beginning of his
piano solo then changed the colour with intricate lines in the high
register. Matt showed off his technique with dancing triplet figures
but was never too busy making good use ofmusical space.
We were then treated to a recent original by Darius entitled
‘Crete’ (inspired by his first visit to Greece). The piece started
with an unaccompanied introduction by Matt where he really
created the atmosphere of the piece using the full range of the
bass; playing intricate phrases in the high register juxtaposed with
rich low notes and harmonics. The rest of the band entered moving
into a 9/8 section (with rhythmic similarities to ‘Blue Rondo á la
Turk’) evolving into a medium-paced jazz waltz. The main theme
was predominantly in a minor key moving to the major during the
bridge and Dave (on soprano sax) gave an interesting and
thoughtful solo, as did Darius, before returning to the main tune in
3/4 and then back into the 9/8 version ending with an atmospheric
broken triad figure on the piano. All in all, this was a challenging
arrangement and Darius explained that the quartet likes to
constantly try out new material to keep their performances fresh.
In contrast, the next number was the jazz standard ‘(I Don’t
Stand A) Ghost OfA Chance’ . Darius started the tune
unaccompanied using some rich cluster chords and then the
rhythm section entered at a medium swing pace (Dave joining in
on tenor sax for the bridge). All played nice solos with some
The Jazz Culture, VI:49 7
intricate yet unobtrusive drum accompaniment from Wesley which
really added to the ebbs and flows of the performance and the first
set ended with another Darius original called ‘The Parrot’ (a lively
Mexican-inspired piece). IfWesley had been contained so far
during the first half, he certainly got a chance to shine in this one
with a great solo in the coda section over a riff played by the rest
of the band demonstrating some tremendous and colourful snare
drum work which brought the house down.
The second set began with a song by the South African
musician Duke Makasi entitled ‘Baby I Don’t Know’. Darius has a
longstanding connection with South Africa both as a performer
and educator and Wesley (who is from South Africa) laid down an
authentic straight 8’s contemporary beat complimented by a solid
bass line from Matt. Dave got a very enthusiastic reaction for his
solo in which he showed a more soulful side to his playing
(reminiscent ofwhen I saw him playing with the Kyle Eastwood
band at Ronnie Scott’s a few years ago). Darius used a Shearing-
like locked hand style in his solo and some very rhythmic
phrasing.
The next tune was, in Darius’ words, a “world premiere” which
the quartet had literally just run through during the sound check
entitled ‘Fifteen’ . After a few bars it became apparent that the
piece was in fact in 15/8 time (or possibly alternating bars of 4/4
and 7/8). Matt and Wesley maintained (with apparent ease) an
intense rhythmic accompaniment allowing both Dave and Darius
to stretch out over the modal tune which was a real hit with the
audience. It is interesting how sometimes the least rehearsed
number can really connect with an audience partly due to the
freshness and spontaneity of the moment.
It was back to the Dave Brubeck repertory for the next number,
a minor blues entitled ‘Audrey’ (after Audrey Hepburn). A
plaintive solo from Dave O’Higgins was followed by a piano solo
from Darius which included an extended crotchet triplet section
The Jazz Culture, VI:498
across the 4/4 accompaniment and some rich voicings, not
forgetting an excellent bass solo from Matt.
Cole Porter’s ‘Everything I Love’ followed and Darius was
quick to acknowledge the chord changes were by Dave O’Higgins.
Dave has been working on a project with bass player Geoff
Gascoyne writing new tunes to famous chord sequences (in true
bebop tradition) so it was interesting to see the process in reverse.
There were excellent solos by all showing their mastery of the
bebop style yet with the sensibility of 21 st century jazz musicians.
The next number, requested by a member of the audience, was
‘For Lydia’ (which Darius composed for his granddaughter); a
lovely tune with a bossa nova style accompaniment and a chord
sequence which simply cries out to be improvised over.
Incidentally, a notated version of the tune has been published in
the ABRSM 2013-14 Grade V piano exam syllabus (much to the
pleasure of students I’m sure).
It was time for the last number of the set and it could only be
one title: - ‘Take Five’ ! Dave gave a great tenor sax solo playing
around with semitone shifts over the modal riff and Darius began
his solo using a sharpened 9th chord (major 3rd instead ofminor
3rd) which gave a surprising change to the colour and mood. In
true Brubeck fashion he developed the solo in a more rhapsodic,
classical fashion (reminiscent ofRavel’s ‘Bolero’) over the anchor
ofMatt’s relentless bass line. As with the last number of the first
set, there was an opportunity for Wesley to shine on drums with a
masterful solo showing great dynamics and rhythmic invention.
After rapturous applause the quartet returned to the stage to give a
swinging version ofMercer Ellington’s ‘Things Ain’t What They
Used to Be’ .
The Darius Brubeck Quartet’s eclectic (and ever-growing)
repertoire stretches both the musicians and listeners and yet
somehow remains totally accessible. Darius’ easy-going manner
The Jazz Culture, VI:49 9
HAPPY BIRTHDAYCOBI NARITA!!
Above, Cobi �arita welcomes guests at her birthday party;
below, Paul Ash recounts the moment he met Cobi at a Collective
Black Artists concert years ago, and felt the sting ofCupid's
arrow. "You've got to meet her," a friend exclaimed. He did, and
offered her a lift to her home in Manhattan, even though he
lived in Long Island. The rest is history for one of�Y's famous
jazz couples.
and warmth draws in the audience and he shows great musical
generosity on stage to his musicians enjoying the chemistry of his
quartet as an entity (not a backing band). For example, during Matt
Ridley’s bass solos, Darius’ comping was very quiet and sparse
and sometimes he would drop out completely. Darius has firmly
established his own voice in the jazz world drawing on many
influences and composing original pieces and, at the same time,
keeping the Brubeck legacy alive. On a final note, I must mention
that The Forge is a fantastic discovery and I can’t think of a more
perfect venue to have seen a concert by the Darius Brubeck
Quartet. * * *
1 0 The Jazz Culture, VI:49
11The Jazz Culture, VI:49
Cobi's friends and artists
gathered at Zeb's; one ofher
singers woos crowd; adopted
'children' spoke out
1 2
HOW TO-DO A JAZZ CONCERT
The Jazz Culture, VI:49
by Cobi �arita
Pub. Note: Cobi Narita’s genius for
organization and people skills have
benefited the jazz community for almost
two generations: her compassion, hard
work, attention to detail, persistence and
‘can do’ attitude, humility and love of
people could serve as a role model for the
entire service industries upon which the
American economy is now primarily
based. Along with her soul-mate, Paul
Ash, she has served unstintingly for the
proliferation of jazz music in New York,
the jazz capital of the world. Here she
gives advice and tips on how You can plan, create, and see a
concert through, large or small, that you can use for your next
project.
First of all, I think that you have to figure out where you want
it, when you want it and why you want it; you find a place, it’s too
expensive, then find another until you find the right place. By then,
you’ve already organized your program.
To organize a program, think of a theme and invite everyone to
work around the theme, then make sure there is no duplication in
what will be presented. Decide what you want on the program, get
your program together: the people you want, the order you want to
present it in.
On the free concert for September 1 1 -- we called ours “Never
Again”-- that was our theme. Over 100 people signed up. We
Cobi �arita at one ofher
concerts
1 3The Jazz Culture, VI:49
didn’t want two similar singers following each other, so we
separated them with dancers and soloists. The soloists all played
with the rhythm section: Frank Owens, Paul West and Greg
Bufford. The concert was at Zeb’s (Saul Rubin’s place, and now
my new space; at 223 W 28 Street, NYC); nearly 100 people
packed the place. It was a Celebration, like “America is Strong,”
so they all did strong songs.
Zeb’s has a wonderful ambience. It reminds me ofCobi’s
Place.
JC: You had to learn about acoustics.
CN: I took lessons from Richard Applegate, the best sound
engineer in New York. He since moved to Texas. He gave me
four lessons, so I can get a pretty nice balance: how to work the
fazers—the bass, the mid and the treble, but we usually a
professional sound engineer. If you want one, you can also hire a
professional videographer and photographer.
JC: I remember Rick Applegate.
CN: 1978. Damrosch Park was one ofmy first “Women in Jazz”
festivals. They didn’t charge me rent. I only paid for the outside
equipment, about $3000.
About PR: In the old
days we made our flyers
using press-type. It’s so
quick and easy
nowadays. A mailing
list is all you need. You
send out immediately.
Before that I was
emailing it out to my
own list, 50 names in a
Paul Ash, Cobi �arita and Emiko at Billy
Harper concert
1 4 The Jazz Culture, VI:49
group, 5 groups at a
time, and you wait 3
hours and send out
the next batch. Now
I use Constant
Contact—so quick
and easy— and
advertise in
publications. When I
was doing my own
newsletter or fliers I
was mailing out 3000
to 4000 every month.
That’s postage plus
envelopes, printing and folding. I usually made color flyers. Paul,
my husband, put the stamps and labels on. And 8-10 friends
would come and stuff and seal the envelopes. Then we had to take
them to the post office. It took so long. Nowdays I love using
Constant Contact. And don’t forget, your artists should be
emailing the concert flyer to their mailing lists. They should list
their event on social media sites, like Facebook, and they should
drop their flyers at all the music locations they can think of.
For two years I put out Cobi’s Music News, a 32 page
magazine monthly. Some of the articles were donated by friends,
and I wrote the editorials and about who we had at Cobi’s Place.
I’d put pictures and articles about what was coming up. Sokie
Lee, a wonderful graphic artist, would put the whole thing together
for me.
JC: Do you think you’ve developed a lot of artists through your
org?
CN: Yes, since 1976 I gave them opportunities to perform. But
they really worked hard on their own, and some of them are quite
famous today.
Cobi �arita, Paul Ash & Family when Cobi
received award
from Japanese American Association
1 5The Jazz Culture, VI:49
JC: Do you think jazz is getting mass media.
CN: I think the media is doing better. There are so many outlets,
Jazz Times, Hot House, NYC Jazz Records, and magazines.
However, major newspapers gave up many of the jazz columns
they had. John Wilson wrote for the NY Times. What a wonderful
man. He supported and wrote about everything I did!
A most important thing is what you send out to your press. Try
to make personal contacts at every major newspaper—they give
you their direct email—then usually they have to take your release
to their editor. So you have to send it in plenty of time, say 6
weeks or more. Scan pictures, whatever size they ask for, give
them your contact email. I do a lot of things with lesser names, and
when I do, the press doesn’t pick it up. So I suggest that all my
artists ask a good friend with a name to be a special guest, so that
when you organize your own concert you can use their name in the
press and on your printed program.
Your Press Release: Put your email address or telephone for the
press to call you back above the line “FOR IMMEDIATE
RELEASE.”
Start with a one liner that gets their attention. The first
paragraph should be Who, What, Where, When, What Time, Cost
ofAdmission, and Reservation number. Then continue in the
second paragraph with a brief description of the artists who are on
the concert, i.e. , George Coleman, tenor titan.
Day of the Concert: Tune the piano two hours ahead. Have a sound
check. Put up signs. Saint Peter’s Church is one ofmy favorite
site.
Have your Reservations list in alphabetical order, last name
first. Limit comps. You can have a Guest Book people can sign
1 6 The Jazz Culture, VI:49
and leave messages—for example, on birthdays.
At the end of the performance, have everybody’s checks ready
in envelopes.
Tickets: Today people use ticket agency, like Brown Paper tickets.
I grew up liking to organize things. I’ve done this all my life.
I might try to do too much sometimes, but I loved doing it.
Some ofCobi's concerts
1 7
JAZZ HERITAGE
The Jazz Culture, VI:49
SHEILA JORDANto L. Hamanaka
Pub. Note: Sheila Jordan,
arguably the Queen of jazz
singing in the world, with an
international following, a
unique sound, style, and feeling,
a great interpreter of standards,
one of the few singers who can
use the chromatic scale with
artistic taste, bridging several
genres in jazz, was at home and
gave this interview for Jazz
Heritage and Women’s Month.
JC: I saw a photo of you online, sitting next to Barry Harris as
teenagers or young adults—you’re both so serious.
Sheila Jordan: The photo was taken in New York City in the early
50’s at a jazz club on 52nd street. I had moved here and a lot of
times when the Detroit musicians whom I was close to came into
town, I would put them up at my loft. . . The guy next to Barry in
the photo is Doug Watkins, a great bass player, who died quite
young in an automobile accident.
JC: Given your varied roots, the Pennsylvania coal mines, the
urban industrialization ofDetroit, and the native American
heritage, do you think they all influenced your style?
SJ: Absolutely, no doubt about it. I’ve been singing since I was
three. Not jazz, but you know the songs of the day, which were
Photo by: Ed Cohen
1 8 The Jazz Culture, VI:49
great songs…Like Cole Porter, George Gershwin, they were on the
“Hit Parade” and I would hear these songs when I was a little kid.
We didn’t always have electricity, because if the bill wasn’t paid
the lights were cut off. I didn’t know what I wanted to do till I
heard Charlie Parker.
[Before then] I was a big Fred Astaire freak. I loved his singing
and dancing; he made movies with Ginger Rogers. I used to walk
two miles to see a Fred Astaire movie. He sang a lot of wonderful
songs. Between the radio, “Hit Parade”, and going to Freddie
movies -- that was my learning.
JC: You moved to Detroit when you were 14.
SJ: I lived a poverty stricken life with my grandparents in a coal
mining town in Pennsylvania. I moved to Detroit when I was 14
and that’s where I heard jazz for the first time. It was very difficult
for a young white girl to go out and hear jazz music. There was a
lot of discrimination at the time. The cops were against interracial
mixing. I took chances. I didn’t care, the music was more
important to me than anything. I heard Bird’s “Now’s the Time”
playing on a jukebox across the street from my high school, and
after hearing Bird I decided to dedicate my life to the music. I
never gave up.
When I was 18, I moved into a young women’s residence. I
worked in an office and finished high school. I’ve been on my own
since my late teens, but it wasn’t easy because of the racial
discrimination in Detroit. They were very much against whites
mixing with Afro- Americans. The police were always stopping
me when I was with my Afro-American friends. They would ask
me my age, where I was going, where I lived, all that bs. As
upsetting as it was, they were not going to tell me who I could
hang out with.
So I’m here today doing the music. I won out.
1 9The Jazz Culture, VI:49
JC: I remember the song you wrote when your
house burned down.
SJ: [That was]“Sheila’s Blues.” I talk about
how I feel, then I tell my story and about
hearing Bird and you know the whole thing.
Sometimes in the beginning I just improvise.
So probably at that time I sang about my house
burning down…the first couple of choruses I
improvise, instead of talking about it.
I’m very fortunate to have been given this music and keep it
alive. I don’t want to be thought of as a diva, I’m not a star. I’ve
won some beautiful awards, the latest being the NEA Jazz Masters
Award (2012). These are beautiful gifts and I don’t take them
lightly. I’m just out here doing the music, it’s my dedication. I’m
84, that’s 70 years of keeping jazz music alive and I’ ll do it till I
die.
JC: I noticed that you do “Confirmation” slower than Bird but you
use Skeeter Spight’s lyrics so you are singing love lyrics.
SJ: “Confirmation?” These lyrics were written years ago by
Skeeter Spight and Leroy Mitchell, two guys that I used to sing
with in Detroit. They wrote the version of “Confirmation” that I
recorded and sing.
JC: How do you plan a solo?
SJ: It’s all feeling. I don’t plan solos. I’m not saying I don’t
repeat phrases, but if I do I’m not aware of it. The phrases I sing
come from what I am hearing and feeling. When I find a tune I
like, I learn the original melody, the lyrics, and the chord changes.
One of the joys of improvising is your feeling and what’s
Sheila JordanPhoto by:
Brian McMillen
20 The Jazz Culture, VI:49
going on around you. I listen intently to what the rhythm section is
playing. If you keep the original melody in your head, you’ll
never get lost. That’s why you should learn the original melody,
don’t force improvisation. Let it happen. That’s my opinion. You
can listen to other singers for inspiration, but don’t sing the song
the way they do. Do your own thing.
JC: You recorded “You Are My Sunshine.”
SJ: I recorded “You are my Sunshine” in 1962. It was an
arrangement George Russell recorded for the out ofwork coal
miners from the mining town I grew up in. This is covered in my
book, “Jazz Child,” which is coming out (hopefully) in the fall of
2013.
JC: Do you think because popular music is like always aiming
promoting the middle, because the middle can always be replaced,
but if someone is a great artist, they are hard to replace? And
they’re always thinking numbers, how many will sell.
SJ: The blues started with poor Afro-American people that came
from Africa, they were slaves because of their skin color. How
did they get through this agony of life? By singing the blues as
they picked cotton for their masters. They sang out of a need to
express themselves because life was a bitch. That’s the only way
they could deal with it. Why some Americans cannot hear this
music is beyond me. Jazz musicians are seldom hired on talk
shows, to play and talk about their music. Talk show hosts don’t
give them a chance. Even at the Grammys. They never have any
part of that program dedicated to jazz music. Usually they just
show it on the credits at the end of the show. One time Miles Davis
and Bobby McFerrin got Grammys. That sure was a surprise. They
used to have jazz at the Grammys but now they only have rock,
pop, rap, and country performers. Jazz is the stepchild ofAmerican
music.
21The Jazz Culture, VI:49
JC: Is jazz looked up to in other countries?
SJ: Yes, much more than in the U.S. Where do I work? In Europe.
I’m going to Italy in another week, then in April, Japan, and then
Germany in the fall.
JC: So you have fans over there.
SJ: Yes, I know the jazz community in the U.S. loves and respects
jazz music, but jazz musicians in general, are not always accepted
in the U.S. All we want to do is keep the music alive and get it out
there.
JC: Do you think without exposing jazz to a wider audience it will
die?
SJ: Jazz will never die. You’ll always have people out there like
myselfwho are trying to keep it alive. Teaching it to the younger
generation.
JC: Why did you like working with the bass? How is a duo format
challenging?
I presently have a bass and voice duo with Cameron Brown.
We rehearse a lot because we love what we’re doing. I started the
bass and voice duo in the early 50’s… If I heard a bass player who
was compatible with what I wanted to do I would approach him. A
lot of singers are starting to do bass and voice duos.
JC: What have you learned from being an educator?
I learned how to teach from teaching. I don’t have a college
degree. I teach what I know and how I approach jazz music. A lot
of teachers are on power trips and they break students’ spirits. I do
it with love. Every time they sing I give them feedback on how
they can improve. I don’t scream at them but I will let them know
22 The Jazz Culture, VI:49
where they can improve.
JC: You have upcoming tours in Italy,
Europe, Japan and the U.S. Now that
you have become an international star,
do you enjoy traveling?
Not really, but I’m so dedicated to
the music, after I get there, I’m fine. I
work with different musicians in the
U.S. and Europe. Most ofmy gigs are
through musicians. They set up tours
for me in Europe and the U.S.
JC: Do you plan recording project?
SJ: I hate to record. I don’t mind live recordings. Once I get into
the music, I’m okay. Going into recording studios is not my
favorite way to record. I know I have to record to keep the music
alive. If I’m pressured enough I’ ll do it. But I have to really be
pressured. I’m supposed to do a duo recording with Steve Kuhn in
the near future; I just need more time to rehearse.
JC: Do you usually rehearse a lot?
SJ: When I did this concert Saturday it was in a little town in
upstate New York. It was at the father of the bass player’s (Gregg
August’s) house. A wonderful young Italian piano player, Alberto
Pibiri, came up to my house and we rehearsed for a couple of
hours. My charts are easy to read because they’re clearly written
so the musicians don’t have to struggle with the tunes. All the
introductions and endings are on the charts and in the middle part
we are free to do what we feel and hear. I’m not going to give a
musician half a page with a bunch of chord changes on it. Respect
what you do and make sure you have good lead sheets so the
instrumentalists don’t have to struggle with the songs.
Sheila Jordan in bass duo
Photo: Brian McMillen
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23The Jazz Culture, VI:49
Jazz music has always and continues to save my life. What a
gift! "
Follow Sheila Jordan:
www.sheilajordanjazz.com
Photos to the Right and
Below
by: Brian McMillen
Sheila Jordan organizing her music on the road
Job Opening: Advertising Director; 50% commission basis;[email protected]
24
at Weill Recital east ofCarnegie HallHall, Wednesday, March27, 8 p.m.Benefit for AbbeyWhitesideFoundation.orgSeniors & Students $20
The Jazz Culture, VI:49
To AllMothers, Grandmothers,Sisters, Aunts, Nieces,
Daughters and Baby GirlsThe Jazz Culture NewsletterSalutes You All throughoutWomen's Month-March
BARRY HARRIS IN CONCERT
25The Jazz Culture, VI:49
Gig Listings ofThe Jazz Culture Subscribers:
Please support these artists and bring your friends.March 1: Ray Gallon at Small’sMarch 1: Bertha Hope Quartet, at FirstReformed Church in Jamaica, 2-4 p.m.March 6, 13: Valery Ponomarev, Our FatherWho Art Blakey Orchestra at Zinc Bar,8-10,-11:30March 7: Joe Magnarelli Quartet at Makeda inNew Brunswick, N.J., 7:30-10:00March 8: Rick Stone Trio at the Bar Next Door,129 MacDougal Street, 7:30pm-12:30amMarch 8: Ray Blue, The Brownstone, 107 MaconSt. Brooklyn, 9 p.m.March 9: Ray Blue, Division Street Grill,Peekskill, 7 p.m.March 12: Ray Blue, Kennedy Community Center, 34West 134 St., 7:30 p.m.March 14: Rick Stone at Moda, 234 W. 27th, 6-9p.m.March 15: Bertha Hope, Zeb's 228 W. 23 St,NYC 8:00 p.m.March 16: Ray Blue, Division Street Grill,
The Jazz Culture, VI:4926
Peekskill, 2-4p.m.March 16: Lionelle Hamanaka at IsabellaNursing Home 3-4 p.m.March 16: Rick Stone at the 55 Bar, NYC, 6:00-9:00pmMarch 17: Michael Weiss Trio, Clovis PointWinery, Jamesport, NYMarch 19: Lionelle Hamanaka at HibiscusRestaurant in Morristown, NJ, 6-9 p.m.March 19: Ray Blue, Metropolitan Room, 34 W.22 St., 7:00 p.m.March 21: Rick Stone Trio at the GarageRestaurant, 99 Seventh Ave. South, 7-11 pmJoe Magnarelli at Fat Cat Early ShowENGLAND:March 2, 8, 15,16, 22, 23, 29, 30: John WatsonTrio, The Palm Court, The Langham, 6:30 p.m.207-965-0195, 1 Portland Place, LondonMarch 21: John Watson, The Haven, 8 p.m., 208-445-7419, 1363/5 N, Whetstone, LondonMarch 31: John Watson, The Matcham Room,The Hippodrome Casino, LondonITALY:March 11-15: Barry Harris, Rome JazzWorkshop, All Day and Night inclusiveSPAIN: March 8-16: Joe Magnarelli-BarcelonaJamboree 8-9; Lleida,11; Valencia,12; Almeria,13;Vallena,14-16(Alicante); Rojales, El Campello.
The Jazz Culture, VI:49 27
Artists in March: Joe Magnarelli, John Watson, Rick Stone, LucianoFabris, Ray Gallon, Valery Ponomarev, Bertha Hope, Michael Weiss,
Barry Harris
Letters to the EditorDear Editor,
In support of the singers who participated in "A Love
Supreme, A Celebration of the Spiritual Music of John Coltrane",
I am so happy with the results of the singers participation and
many people enjoyed the performance. I was thinking about such
an experience for years but saw no opportunity until this event.
"Spitirual", music by John Coltrane and lyric by Carol Randazzo
Orito Jones, which referenced the cycle of life, was originally
performed for a memorial in October 2012 and was unrehearsed
since then. The singers improvisations strongly conveyed the
message of the spiritual essence of "Trane's music and Carol's
lyric. The singers improvised natural melodic choices serving the
purpose "A Love Supreme" and was fitting for the concert's
intention. The relationship between the singers and the content
was to express their own feelings within the parameters of the
form and they were supremely responsive. "Impermanence" and
"One by one He reclaims their hearts" were emphasized
rhythmically and perfunctorily with natural improvised high
repeated wails, random entrances and exits (simulating leaves
falling) and breathy sounds which suggested acceptance and
release. I am still in marvel of the singers unplanned
performances which truly reflected the essence of being "in the
moment".
Signed,
Carol Randazzo Orito Jones BS, MA Music Therapy �YU.
Pub. �ote: We welcome all comments, criticisms and points of
view as part of the spirit of freedom and will publish same if they
are relevant to any articles or topics covered in The Jazz Culture
Newsletter
28 The Jazz Culture, VI:49