Document

TheJAZZ CULTUREIn These Pages‐Review 1‐2Memorial for Lori Davis 3Barry Harris Interview 3 ‐6

England Event‐J. Watson 7‐8How To Make a CD that May

Outlive You J. Magnarelli 9‐10"The Unforgettable Hamptons"An Emmy Winning Film about

the Hampton FamilyJazz Heritage 10‐15

Let's Link [email protected]

The Jazz Culture, VI:12 1

REVIEW'Tada' Unno TrioCaught 'Tada' Unno's Trio at Arturo’s Saturday July 6,

featuring Tadataka (“Tada”) Unno, Piano, Frank Levantino,

drums, and David Wong, bass, that led offwith “I Remember

You,” at a moderate swing. The combo had a friendly, open, warm

sound, with no shades of blue, befitting the atmosphere at

Arturo’s. Tada based his lyric concept with good articulation close

to the theme, extending and developing the melody, and David

Wong gave full toned support, on 2 choruses of improv, quoting

the melody, performing some octave leaps in the lower middle

register, resolving and using some triplets and upper notes of the

chords. Mr. Wong has a distinctive tone quality, sort of slightly

porous reminiscent ofOscar Pettiford, but the center of the tone is

a little wider. Mr. Levantino maintained a steady swing beat

throughout. Mr. Unno then led off trading 4’s, and restated the

'Tada' (Tadataka) Unno, piano,

DavidWong, bass, Frank Levantino,

drums at Arturo's

The Jazz Culture, VI:122

melody, with some nice punctuation by drums.

“My Romance” was next, quarter note=160, a perky tempo,

played very bright and happily with confidence. “Tada” romped

through 2 choruses, mostly in the two octaves between middle C

and high C with some bluesy comments at the end of his solo. The

bassist Mr. Wong started with simple unison notes, playing 6

against 4, The group had a good camaraderie, and played with

vivacity, and the pianist provided an outline to the listener by

marking sections before they began by a chord segue, anticipating

the downbeat.

“Love You Madly,” by Ellington followed, at a groove

tempo—and it was groovy. Pianist first used a rhythmic lick within

the song. Mr. Unno rolled some notes and did a few quarter note

triplets and 8th notes with a triplet feel, swinging in a relaxed way,

then breaking into scalar runs and hitting quarter notes on the head

in the swing style, using some bluesy chords. Mr. Wong first

navigated the tempo which is tricky for his generation, on a simple

three note motif from the song, then inverting it. The pianist then

restated the melody in a swing band version with a Basie ending,

and the drummer Mr. Levantino, gave solid support throughout.

“Darn that Dream,” the pretty and complex song, started with

the piano playing the melody rubato, stating the melody in chords,

and on the second half, bass and drums joined in, in a romantic but

not too florid style. In his solo, Mr. Unno did some arpeggios and

chordal sprays to open up the tune, then showed his ability to

improvise interesting lines but not for the entire chorus, reverting

to the blues scale and some chords . At some

point, the trio went into double time, and then

ritardando for a scalar run and extended chord

backed by cymbals.

Jimmy Latagano, with his clarion tenor,

sat in with a musically rendered and brightly

sung “On A Clear Day You Can See Forever”

just before the end of the set, and Mr.

Levantino invited the crowd back for Mr.

Latagano’s regular gig on Thursdays, when


JAZZ HERITAGEBarry Harris' Early DaysJC: When did you first hear jazz?

On the radio?

Barry Harris: There was jazz in the

schools. I had a music teacher in

elementary school. I took up

clarinet in intermediate school,

about 1 3. We had the big band in

the intermediate school that played

like, the “9:20 Special.” I played in

that band. I liked to dance.

Nobody taught me to dance. All of us danced.

Just about everybody had a piano at home. Wasn’t no

television. I learned a piece of church music, was the first piece I

played. My mother, Mrs. Harris, played for the church. I lived in

back of the church and I went to church every Sunday. [Where we

lived] was part of the building where the church was, a Baptist.

Barry Harris in "ew York

he is the featured singer. Arturo’s was originally run by Arturo, a

painter (whose lovely and colorful oil paintings are hung on the

walls of the restaurant) who loved jazz, who passed away a few

years ago, it is maintained by his family, a restaurant well known

for its warm atmosphere, has music seven nights weekly and

features a rotation of groups. No Music Charge.

Memorial for LORI DAVIS, Beloved Wife ofCharles Davis St. Peter's Monday July 9, 2012

Lori Davis, left, wife ofCharles Davis (Coverage 7/16)


I lived in [the city of] Detroit. I knew Tommy, we took

classical piano from the same teacher, a Mrs. Dilliard. He went to

Northern HS and I went to Northeastern HS. We were in a recital

together. A preacher taught us all piano, Neptune Holloway. Earl

McKinney, [somewhere there’s a picture of] little kids at a recital

place and we all took from him. I played the “Revolutionary

Etude.” At the age of four I played the piano and I knew what I

wanted to do.

JC: How did you learn to solo?

Barry Harris: I knew when I went to the Westside, some of the

players [like] Willie Metcalf, Clarence Beasley, pianists, could

solo better than me, so when I came back, I got the blind girl Bess

Makras, [who] had a machine that slowed up things and I

borrowed that machine and I learned to solo from that machine.

They [Willie and Clarence] were a little bit older than me. I just

found out I was older than Tommy Flanagan. He always thought

he was older. [I’d go to] Tommy Flanagan’s dances--him and Will

Davis, another pianist--and I would look over their shoulders and

steal as much as I could.

JC: Did you have to pay to get into the dances? Did your mom

give you the entrance fee?

Barry Harris: I worked around a car repair shop. I was the inner

tube repairman. When the inner tube blew out, I changed tires.

And I worked as a soda jerk in a drugstore. I lived right across the

street from it.

JC: Were there juke boxes in the drugstores?

Barry Harris: [Yes but] I had no money to waste on no juke box.

JC: How did you learn songs?

Barry Harris: I never was a good (sight) reader. I can learn a piece

good, but it takes me time. I never heard of that in my life. Write

out your own personal voicings. That don’t mean a thing. Look at

the sheet music. I learned with my ear, sheet music, a lot of


things, watching people. You all think of voice leading. You got

to grow into something before you use your own voicings. They

don’t know how to play “I Got Rhythm.” You voice it a million

ways because there’s a million ways to play “I Got Rhythm.” You

play whatever your hand falls on. Every time I ever played I

played stuff I never played before and it works because I know the

basic right stuff. This is not a prefabricated thing where you do the

same things all the time. Music is free and beautiful. I don’t have

to sit at the piano to write music, I could write it on the bus or

sitting in the park because I know about music.

JC: Did you ever get together with a bass player, say, to memorize

tunes?

Barry Harris: I had a trio. I must have been pretty

young. Grey McKinney was my bass and John

Evans was my guitar player, and my wife and her

sister and some other ladies they had a trio. We

had a lot of things going on. I wrote trio things

for the singers. We just learned how to play

together, learned about music.

I was in the Northeast HS orchestra I played

bass fiddle. We played classical music. We had

little dances in the school, a bunch of us that were jazz musicians.

Betty Carter used to come to the dances outside the school. Most

people loved dances. She sang Sarah Vaughan songs. Sheila was

in a group with two men. They scatted and sang Skeeter [Spight]

lyrics.

JC: Who did you think was an idol when you were a kid?

Barry Harris: We had an alto player named Cokey,(name was

Kenneth something) he was the greatest as far we were concerned.

We were surrounded by good musicians so we learned to play

good, right. We were kids and we just played jazz, that’s all.

JC: Did you play the Graystone Ballroom?

Barry Harris: I played the Graystone Ballroom because it was a

Barry Harris

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ballroom. I sat in with Bird at the Graystone Ballroom. I think it

was a “C blues.”

JC: When did you first hear Bird?

Barry Harris: A long time ago when I was very young. I fell in

love with that music, that was my love, don’t ask me why, don’t

ask me how I knew. Singing those melodies, ahh! (sings Billie’s

Bounce) cause that’s the way we were. Bird’s music was legible.

The first record I slowed up, Bud Powell was on it. Web City. I

remember that, it was Sonny Stitt, Fats Navarro, that was the first

solo I learned, Bud Powell. I met him in New York. Joe Henderson

took lessons, Paul Chambers to learn to play the bass, James

Jamison the bass player from Motown, Charles McPherson,

Lonnie, Yusef, we used to rehearse every week, that’s when I

made up the rules. Frank Foster taught us a lot, me and Pepper and

bunch of us. Johnny Griffith, from Motown, Kirk Lightsey, Hugh

Lawson.

I was always practicing. I did not hang out like other people, I

wasn’t a football, basketball, or baseball player. A lot of people

came to Detroit and stayed so they could study with me.

I cannot say the rules I thought up came from Bird and Diz. I

made them up so Yusef, Kiani and myself--so we could practice

good. After I made up those rules, I could hear things better. I

could hear Bird better. I never had perfect pitch, it’s almost as if I

made up the rules thinking ofBird.

JC: You made up certain scales?

Barry Harris: I made up four scales. The Major 6 to diminished

scale, minor 6 diminished, dominant 7 diminished, and dominant 7

flat 5 diminished scale.

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


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


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


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


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


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


“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.

The Jazz Culture, VI:12 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.



“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

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 RickStone.comKuniMikami.com@CD

Baby‐"Hamp's Boogie"Clarence Banks, Count Basie Trombonist,

Private Lessons, 917-428-6746

We rememberDr. Frank Foster:Listen to hisNippon LamentPhoto: Brian

McMillen


VIBES FOR BOBBYHUTCHERSONat Birdland July 8, starred Jay

Hoggard, Steve "elson, Mark

Sherman, Warren Wolf

Barry Harris Trio VillageVanguard dates:July 17‐22 & 24‐29

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