Document

TheJAZZ CULTURE

The Jazz Culture, VI:36 1

Freddy Cole, Singer-Pianist, at St. Peter'sChurch & Birdland (below)

2 The Jazz Culture, VI:36

REVIEWFREDDY COLE QUARTET

by L. Hamanaka

Caught the Freddy Cole Quartet at Birdland December 22,

with Freddy Cole, singer-pianist, Elias Bailey, bass, Randy

Napolean, guitar and Curtis Boyd, drums, striking a positive note

for the holidays. Mr. Cole started out alone, rubato, on “This is All

I Ask,” (Gordon Jenkins) at about 68=quarter note, in his unique

and unmistakable baritone, speech-singing, with just the right

balance between real tone, speech and chording at a walking pace;

the song segued to stop time.

Next was “I See Your Face Before Me,” (Dietz/Schwartz) at

about 140=quarter note using the middle lower register of the

piano with elegant voicings, amply supported by the rhythm

section. Randy Napolean was rhythmically secure on his guitar

solo, using scalar lines followed by some bluesy opinions, leading

to a prancing piano solo, with fine articulation and phrasing from

Mr. Cole. Then the rhythm section played a chordal interlude on

top of the beat with the drummer playing a 16 bar solo, when Mr.

Cole re-entered taking the song out, giving a call and response

chordal obbligato under his vocals.

“What Does It Take to Make You Take Me,” followed, a

swinging version about 160=quarter note, a little known standard.

The guitar did a tasty solo while the drummer hit the downbeat for

eight bars, the members of the rhythm section glancing knowingly

at each other as their phrasing meshed.

“Funny How I Stopped Loving You,” a Nat King Cole

standard, played as a ballad, playing with just enough to balance

the vocal, a full baritone voice drenched with experience in life

and love, very appealing to the New York audience, with the piano

3The Jazz Culture, VI:36

CobiJazz's jam sessionsEvery Friday Night at Zeb's 6-9 p.m.

framing the voice and a guitar solo

for half a chorus.

“Brandy,” a comic song about

a guy who “soaked my brain in

brandy…when Brandy moved out,

brandy moved in…” about the

hangover of a love affair. The

guitar, which had a lovely middle

register tone, started to the melody

and then developed some melodic

invention into a well constructed

solo. The bassist, who plays in a

baritone range of the bass, played a

solo with comic relief, romping through the changes. Mr. Cole

sang the song lightly with great phrasing, showing an interesting

balance between independence, with rhythmically comping that

amplified the tune.

Review 1‐5The Why of Good Nutrition

by P. Moreo 6‐8How To Be A Jazz Trumpeter

Part II by Mark McGowan 9‐122012 Review Photos 13‐16

England Event by J. Watson 17‐19Photos from 2012 20

Is Jazz a Relic? Comments 21Let's Link 24

[email protected]://theJazzCulture.com © 2012

Cont. on p. 4


The guitarist Mr. Napoleon then played a pretty ballad

interlude.

The band then launched a Holiday medley, starting in ¾ “It’s

the Time of the Year When each Heart Sheds a Tear,” nicely

ended on a suspension. Then the bassist played the theme of “Oh

Tannebaum” doing arco very well, and phrasing in a lilting

manner, followed by the piano playing the melody, a short guitar

solo and ending with the bass playing arco again. This led to a

swinging “Jingles” at about 1 38=quarter note. The quartet has a

warm sound squarely in the middle register, which balances nicely

with Mr. Cole’s sound. Mr. Cole then took a solo tripping merrily

through in swing time and sang the theme of “Jingles” again.

They then did the wonderful Jerome Kern tune, “They Didn’t

Believe Me,” as a ballad (at about 96=quarter note) for which Mr.

Cole stood up in a duet with the bassist, and with perfect phrasing

provided a dramatic contrast to the steady walking bass, gentle

chords from the guitar and feather light brushes from the drums.

Mr. Cole is from the school of singers that sings the melody as the

composer wrote it. For an ending, the bass walked nimbly up the

scale and ended on the tonic.

Mr. Coles then had another duet with Mr. Bailey on a chorus

of “Can’t You Tell We Were Meant To Be Together?” Then the

rest of the group joined in about 1 32=quarter note; the guitar, a

musician who can play in the pocket, so that virtually everything

sounds right, while Mr. Coles played straight quarter notes on the

piano. When Mr. Coles re-entered with the theme, the rhythm

section led by Mr. Boyd buoyantly trips along; they then repeated

the last phrase three times, ending the tune.

A 16 bar blues was next, “Nothing is Wrong with Nothin’” at

about 96=quarter note, in a very assured, earthy style, Mr. Boyd

using sticks, and Mr. Napoleon and Mr. Bailey running through

the changes confidently, going into stop time for eight bars,


repeating the last phrase with gusto and ending on a diminuendo.

One of the charming things about this group is the use of

dynamics, the use of soft passages, diminuendo, and the really

steady and unified rhythmic licks, occurring at endings, interludes,

and sections.

“Where Can I Go Without You,” (Lee/Young) at about

96=quarter note, a ballad tempo, was next. Mr. Cole must have a

box of rarely played beautiful standards, which he shares with the

audience as if he were opening a chest ofwell cherished secrets.

Mr. Cole, with his memorable voice, knows how to sing as if he

were your best friend.

Then the group played “I Love Paris,” by Cole Porter in a

Latin style at about 126=quarter note, in a kind of dramatic,

sweepingly romantic style. Mr. Cole played a kind of rambling,

solo close to the melody with sexy voicings that had just enough

seconds and clusters to sound modern and intriguing. He then used

leading tones to slow the tempo and sing an original verse.

“…Each little bench is amazingly French/now that I’m here with

you…” in his deep tones, with the bass covering the bottom

register, and the bass and piano chording in synch in rhythmic

patterns, reversing the usual tempo order, (slow for the verse and

taking it faster for the chorus), then going back to a Latin beat, to

very charming effect. The group lifted up and lightened the mood

of the audience in a romantic glow, Mr. Cole being the very soul

of a perennial, ending with the entire group playing the same

rhythmic pattern.

Mr. Cole then mentioned that he would do a song from his

latest cd “Talk To Me.” That song was “I was Telling Her About

You,” (Dixon, Gamble, Bell) a song with ironic humor—the man

is telling his love that he was just “talking to” the woman she

caught him with… about her. The crowd at this point was very

attentive, in the palm of his hand. The bass did a scalar solo, pretty

and witty with fine articulation, and played Cont.p.13

6

NUTRITION & INDIVIDUAL SOLUTIONSPub. ote: for the many Jazzers who Focus on Health To Bring

Their Best to the Scene

Peter V. Moreo, Jr., C.N. , R.Ph.Peter V. Moreo is a sought after certified nutritionist and

pharmacist with over 25 years experience.Diet is different for each person. Some people should be

vegetarians, some not.

There is a blood type book out, “Eat Right for Your Type,”

which I have found out to be about 70% viable based on my

experience. To find out what blood type you are, look up your

blood type. You can get a blood test, or donate blood and they will

let you know. If your doctor has a record of your blood type he or

she can let you know. However, this blood test is not done by

your doctor automatically. You have to ask your doctor for a blood

type test.

For example, blood type O is not congenial to vegetarianism.

Any blood Type O that I met, whether positive or negative, who

became a vegetarian, eventually got sick. Blood Type O should eat

green vegetables and red meat. Cow, buffalo; or fish. Any blood

type can eat fish. Small saltwater fish like salmon or sardines

would be good.

JC: What about the other 30%?

Mr. Moreo: It depends on the person.

O-O’s:

YOU ARE WHAT YOU EAT

The Jazz Culture, VI:36

7

The first thing you should avoid are things like fried foods.

Fried foods clog up arteries and cause an increased incidence of

cancer, and premature aging. Fried food creates free radicals, the

things that damage tissue of the body. No one should eat French

fries, fried chicken, potato chips, or any vegetable that is fried.

Any time you heat food in oil except for coconut oil, you convert

the food to bad saturated fat. No soda.

MIIMUM PROTEI PER DAY:

To know the number of protein grams you need every day,

look at your weight. For a person 100 pounds, divide it by 2.2 and

you get the kilograms. A kilogram is weight in grams. 2.2 pounds

is one kilogram. That’s the amount of protein grams you need. A

man of 160 pounds needs 72.7 grams of protein per day.

If you’re a woman you would multiply the kilograms you get

after the above division by .8, 20% less than a man. A woman of

160 pounds, would subtract 7.27 from 72.7 grams and need 65

grams of protein per day.

ORGAIC FOOD:

JC: Do you recommend organic food?

Mr. Moreo: Absolutely. Because there’s no pesticides or

hormones in them. Food that is not organic can increase chances

for cancers and suppress your immune system.

Fruits that don’t have a skin will absorb pesticides quicker, like

strawberries are the worst. Meat should be organic also. Milk is the

same as meat. I don’t recommend drinking milk. It clogs up the

cleansing mechanism of the body. Soy milk is not recommended.

Recommended: rice milk, coconut milk or almond milk.

GOOD FATS TO EAT:


8

HOW TO EXPERT ADVICE

Fats: Coconut oil, fish oil (oil they take out of fish), flaxseed oil.

GOOD GRAIS TO EAT:

Grains: Brown rice, no wheat. Wheat is no good because most

people are sensitive to gluten. You can tell if you are sensitive to

it, if you’re not allergic, it clogs up the body, it is like a glue. Rice

bread is okay. It is better to avoid even sprouted wheat bread. In

some people it causes constipation, (in others) some diarrhea; it is

a problematic grain, and puts on belly fat. Part II will be in the

next issue.


HOW TO BE A JAZZTRUMPET PLAYER PART II"ow there's a brilliant

cat."-- Barry Harris

by Mark McGowan

I get a lot of satisfaction

from practicing the trumpet

and practicing jazz. There is

something to be said for

finally accomplishing a task

that has literally taken years.

Confidence and ease in performance is the result ofmany hours of

practice and dealing with failed attempts. It is easy to get

discouraged, but when the skill that you have worked on for years

to acquire appears and you own it, it is its own reward.

When inexperienced improvisers are confronted with a faster

than medium tempo, it can be very discouraging. I remember when

I first made the breakthrough of being able to improvise on up

Mark McGowan on the way to a

concert


tempo tunes. This took years to accomplish, and sometimes when

practicing it seemed as if I was not making progress. But

extensive, determined practicing of scales and listening to masters

play eventually brought it to pass and up tempo is no longer an

issue for me.

The upper register on the trumpet was another such

accomplishment. Many trumpet players give up practicing high

notes because of the difficulty ofmastering this phase of trumpet

playing, and I actually gave up the thought that I would ever be

able to achieve this skill, but one day I could do it. The

accumulated experience ofmany years of persistent determined

practicing and gigs has finally resulted in a fairly consistent high

register. Many failures preceded the success.

It turns out that the key to both improvising up tempo and playing

trumpet in the upper register is relaxation. One must relax the

mind and the body (throat, fingers, etc.) while remaining alert and

flexible enough to deal with the obstacles in front of you. But the

only way to develop the ability to relax at a breakneck tempo or

when confronted with a lot of ledger lines is intelligent, consistent

practice and a determination and belief that one can eventually

succeed. Failure is part of the process.

No critic can discourage a musician that knows how to play.

Of course, we always need to work on our weaknesses, every

musician has them, but in a sense once a skill has been mastered

one is invulnerable to petty, negative or harmful criticism to a

large extent. All trumpet players will be subject to negative

criticism and it is important to know how to deal with it and to

examine the motives of persons offering their opinion of your

playing.

It is good to ask for objective criticism of your playing from

both professionals and amateurs. When a player receives criticism,

try to rise above the purely emotional initial reaction most people

have. Examine the advice and see if there is something of value

1 0 The Jazz Culture, VI:36

that has escaped your notice or that you may have previously de-

emphasized in your practice, but now needs more focused work. It

is impossible to work on everything at the same time, which is

why it is so valuable to have a log and try to evaluate your practice

and playing from time to time.

Successful practicing involves short term goals, preparing for

gigs in the near future, and long range goals of acquiring skills that

require a greater investment of time to learn. You should try to

record your practices and gigs occasionally and listen to what you

are doing critically, as if you were an audience member listening

to someone else. Being a musician is more a craft and study in

correctness than an art, that is, one masters their materials and

instrument first and the art comes later.

Beyond just being satisfying, accomplishing skills in music that

at first seemed impossible is both powerful and liberating. One can

gain the confidence to tackle other profound learning in areas other

than music. Very complicated things can be learned by breaking

them down into digestible parts. Absorb a little knowledge

everyday. Don’t miss a day of practice. Professor Harris said,

“Don’t miss a day of practicing. The day you miss, might have

been the day you would have made the breakthrough.”

(Breakthrough from non-knowledge to knowledge, from non-

ability to ability). The key to learning anything is exposure and

repetition.

Barry Harris once said to me when I was a very young man,“If

you can master bebop, you can master anything”. Over the last 30

years, I have evolved from hearing that casually offered statement

with skepticism to embracing it as a profound truth, in fact, it was

the greatest concept, musical or non-musical, that he has ever

taught me. It changed me completely when I accepted it enough to

apply it. I read something like it again in Musashi’s Book of Five

Rings years later: “If you know one thing, you know ten thousand

things.”


JC: How do you rate jazz as a music?

MM: Art Blakey always commented in his performances that

"Jazz is the highest art form on the planet". Of course, not

everything with the label of jazz is good, but when excellent and

inspired musicians knowledgeable of the tradition play well

arranged music, I agree with Mr. Blakey’s assessment.

The trumpet is a very difficult instrument to master. Again, a

good teacher would be helpful to save time. The most important

rule to remember about trumpet playing is: do not hurt yourself in

the process of learning how to play the instrument. Do most of

your practicing at a mezzo piano- to mezzo forte-volume. Control

of your air flow, developing a strong embouchure, and continually

improving a smooth decisive tonguing attack are the most

important elements. Again, if you hear a trumpeter complaining

about his chops, he is practicing and playing too loud. Don’t do it.

Treat the trumpet and your chops gently. De-emphasize high notes

until you develop some strength and control. If you develop scar

tissue on the vibrating part of your lips, you are risking permanent

injury. If that happens, you may never properly learn and enjoy

playing this difficult but ultimately satisfying instrument.

Practicing soft long tones is a basic tool of development. As

you gradually gain control, add crescendos and decrescendos to

your long-tone practice. When you are more advanced, you can

add long setting (practicing a series of long tones without

disturbing the mouthpiece setting) and very slow interval drills to

develop control and endurance. Practice long tones with breath

attacks ("Hoo") and tongue attacks ("Tu"). Again, moderation and

balanced practicing is extremely important. A good general rule is

to rest as much as you play during a practice session. Practicing

lip slurs, trills, and glissandos is also very important to gaining

strength and control of the trumpet. Approximately one-fourth to

one-third of a good practice session should be devoted to these


types of chop-building endeavors.

There are some essential method books to help the player

develop their chops. Arban’s Grand Conservatory is the most used

(and arguably the best) of these books. You can practice out of

Arban for your entire career and always improve. A similarly

excellent book is Clarke’s technical studies. Most professionals

swear by Clarke’s and its emphasis on soft playing and repetition

of basic elements: chromatic scales, major and minor scales and

arpeggios. The final third or half of a practice session should

involve the above-mentioned transcribing of solos and practicing

of scales. It is important to plan and budget your practice time

carefully. Keep a practice log or journal. Guard your precious

practice time jealously from distractions as much as you are able.

Life is short.

It is also extremely important to sight-read some music every

day. The great John Stubblefield once told me that, in New York,

making a living as a musician is largely determined by your ability

to read and interpret different styles ofmusic at sight and without

hesitation.

Finally, however, you must spend some time every day learning

tunes and improvising on them. Ifwhat we want to learn is to be a

jazz musician, then the ultimate objective is to find our own

unique style of improvising, which will fit in with the collective

music making of like-minded individuals. Get out there and find

some like-minded people and organize some jam sessions. Get

some business cards with your name, instrument and phone

number on them. Go to already-organized jam sessions, meet and

network with many people. Exchange phone numbers. Talk about

music. Compare notes. Take every opportunity to play in big

bands and exchange phone numbers with other trumpet players.

Talk trumpet with them. Don’t compete as much as learn and

appreciate your colleagues. Be generous. You will discover that

no one can master everything about jazz or the trumpet.

1 3

MUSICIAS WHO WROTE FOR THE JAZZCULTURE EWSLETTER

The Jazz Culture Newsletter Thanks Contributing Writers for the past 6 months:Clarence Banks, Cecil Bridgewater, Harold Danko, Luciano Fabris, Barry Harris,

Bertha Hope, Joe Magnarel l i , Adriano Mazzoletti , Mark McGowan, Kuni Mikami,

Dado Moroni, Paul Pace, Rick Stone, Gloria Ware, John Watson

Contributing Photographers: Brian McMil len, Richard Wil l iamsContributing Proofreaders: Connie MacNamee, Maggie Malone


Trumpeters are all specialists to some degree. The road is long,

but to paraphrase a famous Chinese philosopher, "The journey of

ten thousand miles starts with a single step." Persevere.

a min-cadenza-like ending. After that they

did, “Little Girl” at about 200=quarter note,

fast; and Mr. Cole showed that he knew how to make an audience

listen attentively to a lyric, which he put over in a gentle, swinging

fashion. It is obvious that in Mr. Bailey and Mr. Napoleon, Mr.

Cole has two musicians who swing and love to solo; the guitar

changes the sound of his group away from the usual piano trio

sound and is a nice contrast to his dark baritone. Mr. Cole traded

8’s with Mr. Boyd, who let loose in a controlled way, two

seasoned pros who know exactly the effect they will have on the

audience, and enjoy doing it. The song ended in a crescendo.

“Come A little Closer, Stay a Little Longer” is a seduction

song at about 96=quarter note, a funny song where he peered in a

leering way into the audience as he says, “take your shoes off,” in

a bluesy style with a back beat from the drummer, insinuating lines

from the guitar and some 12/8 comping by the piano. Then he

switched back to 4/4 with some comic repartee, lines like “my

church is the Bedside Baptist Church,” and he has a friend who

goes to “St. Mattress Cathedral.” The group ended on “Just One

Look at You & I Knew It’s Going to Be a Lovely Day,” at about

160=quarter note, to a shuffle beat, while the rhythm section

double timed. The crowd shouted “more, more! ” and Mr. Coles

said, “Thank you very much but I don’t know any more songs.”

Cont. from p.5


2012 ARTISTS FEATURED or REVIEWEDIn The Jazz Culture Newsletter

He then sang a song by his friend, a Brazilian composer, “To Say

Goodbye,” a beautiful lyric tune, to a bossa nova beat. After a

lovely lyric solo by the guitarist, he closed the song in the style of

an art song vocalist singing classic jazz. How fitting so close to

Christmas to hear a perennial American artist who plays standards

in a jazz style, and treats them as beautifully as world class art

songs are rendered.

Upper Left, Ray

Gallon, Andrea

Papini, obuo

Watanabe, Rick

Stone Trio, Vince

Benedetti, Dawn

Hampton & Julie

Cohen, filmmaker

ofEmmy winning

"The Unforgettable

Hamptons"

1 5The Jazz Culture, VI:36

Some of the Artists who were reviewed in 201 2

Dena DaRose, Juini Booth, Richard Clements, Harlem Jazz &

Blues,Al Foster-George Mraz band, Rossano Sportiello, Harry

Allen, Bill Crowe, Louis Hayes, Larry Ridley, Jimmy Owens


Renato DAiello, John Watson Trio, Steve Taylor Big Band, Danny Mixon Houston

Person, RichardWyands, Lisle Atkinson, HaroldMabern, George Coleman, Charles

McPherson, Tom Harrell, Johnny O'eal


LODO JAZZ FESTIVAL REVIEW

by John Watson

Band: Janek Gwizdala

Band

Venue: Pizza Express Jazz

Club Soho

Date: Monday 12th

ovember 2012

November is an

important month in the UK

jazz calendar as that is

when the London Jazz

Festival occurs. There are countless jazz gigs from concert halls to

pubs and, of course, in London’s jazz clubs. Being spoilt for

choice, I decided to head for Pizza Express Jazz Club Soho as

Louie Palmer (the regular drummer with my jazz trio) was

performing with virtuoso bass player Janek Gwizdala.

The evening started with support band Partikel featuring

Duncan Eagles on tenor sax, Max Luthert on acoustic bass and

Eric Ford on drums. I was particularly impressed by their

interesting use of odd time signatures and great range of dynamics.

Duncan Eagles’ smooth tone blended well with the sparse

drumming ofEric Ford and Max Luthert, on bass, experimented

with a delay effect and harmonics during some of his solos which

created a great atmospheric soundscape. The lack of a piano or

guitar only seemed to add to the intimacy of their music. Their

arrangement of "Body and Soul" strayed far from what one might

have expected, starting in 7/4, then into a funky 4/4 breakbeat style

where Duncan played staccato lines in total contrast to some of the

earlier tunes. Eric moved swiftly between sticks and brushes to add

to the many changes ofmood and intensity. Partikel are a tight

ENGLAND EVENT

John Watson

Photo: Max Garr


band who effortlessly move from full on jamming to quiet,

mesmerizing sections with sudden changes of time signature. Their

obvious commitment to the music, sensitivity and musical

empathy was certainly rewarded by an appreciative and packed

house.

After a short interval it was time for the main act of the

evening; the Janek Gwizdala Band featuring Janek on electric

bass, Jason Rebello on piano, Louie Palmer on drums and Duncan

Eagles (once more) on sax. They opened their set with "Ersko

Man." Janek explained later that he thought of the title when he

was recording with drummer Peter Erskine. After a bass

introduction, Louie Palmer set up a great atmosphere on cymbals

and then, after the tune had reached an epic climax, he changed to

brushes as Jason Rebello started his solo then back to sticks as

Jason’s solo developed. Duncan Eagles performed a sensitive solo

followed by Janek starting delicately in the high register of the

bass then building up his solo using the full range of the

instrument with melodic phrases and more virtuoistic lines.

The second tune was entitled "Cashasha" and started with a

staccato bass line with touches ofHi-Life but it soon turned more

rocky. Jason played a funky solo gradually using richer harmonies

to add to the intensity. Janek played a rhythmic solo, even

managing low chordal stabs (a bit like the left hand style of a

modern jazz pianist). The head returned then the band went into a

coda section with a breakdown riff allowing Louie to really solo to

the delight of the audience.

A ballad followed entitled "There was a Time" starting with

Janek playing the melody and bass line together and sometimes

even adding chords too. The tune then moved into a jazz waltz

chord sequence which Janek set up on a loop machine allowing

him to solo and scat over the top. Duncan then joined in followed

by the rest of the band. At some point, Janek appeared to discreetly

drop the loop out as the band developed the tune. When they


returned to the head, Duncan and Louie dropped out leaving Jason

and Janek to end the tune.

The next tune was "Espana" starting with the whole band

clapping a rhythm. Janek then added a bass riff and Louie joined in

on drums. Duncan and Jason then played a minor melody with a

Spanish/Cuban flavour. During his solo, Jason used some nice

contrupuntal imitation between the hands. The feel then changed

as Duncan played a staccato solo over a bass pedal note.

Throughout, Louie played bass 8th notes on the bass drum giving a

touch of reggae to the mix and yet keeping it firmly in fusion mode

for Janek's solo. After all this intensity the tune ended with a

diminuendo and slight ritardando.

The "Goshman" was next, starting with a 16th beat shuffle feel

and a bluesy melody which was a great vehicle for Jason's solo

over two chords which soon built into a McCoy Tyner kind of

modal development getting further away from the original basic

harmony. It was back to cool and quiet for Janek's solo with the

use of a slight delay effect and some offmike scatting. He again

used the loop station to set up a bass line riff. The head returned

without drums and the tune ended with a fade-out.

Next tune was called "Erdnase" starting with a quirky melody

over galloping bass line. The band moved into a more solid feel for

Jason's solo and the sophisticated chord sequence, over an

energetic uptempo beat, was a great vehicle allowing all to shine in

their solos. A unison rendition of the melody allowed Louie to

really open out with a great solo in the coda.

"Bethany" (which Janek wrote for his wife) followed. The tune

consisted of a simple four chord loop and an almost country style

melody. However, the simplicity allowed Janek to then open out

intricately during his solo. The whole band entered over the loop

with an interesting cross rhytmn pattern from Jason. Then the rest

of the band dropped out, leaving Jason, at first, maintaining the


intensity of the 16th note feel loop but then changing to a

thoughtful, colla voce treatment and extemporizing away from the

original harmony. The band then came back in (a tempo) with the

head and the tune ended with another amazing drum solo from

Louie in the coda.The band’s encore was a tune entitled "Stern

Look" (a reference, I assume, to Mike Stern who Janek has also

played with). After a rocky head, Jason dropped out while Duncan

and Janek traded 4' s with a gradual crescendo intensified by

Louie. Suddenly they were really opening out and trading in 32nd

note phrases! Jason followed with a rhythmic solo moving into a

more rhapsodic style. All in all, a great finish to a night of top

class musicianship, virtuoso playing and great dynamics. For more

information about Janek visit: http://janekgwizdala.com. Pub. Note:John Watson is an English pianist, composer, arranger, singer and bandleaderwho has a steady gig at the Langham Hotel and works around England, but hastoured in the States. John Watson is a “triple threat” singer, pianist andkeyboardist, accompanist and long time music director of Leee John andlegendary 80’s group Imagination. Through popular demand, he has recordedand released several albums. Most recently the JW3 Live at the Langham,(available for download) features his jazz trio and was recorded at the PalmCourt,The Langham, London, where John is currently resident pianist andmusical director. www.johnpianoman.co.uk Myspace.com/johnawatson;youtube.com/johnpianoman; twitter.com/johnpianoman;facebook.com/johnwatson/78494720527

LOUIS ARMSTRONG MUSEUM GALA

Photo: Dominick Totino. Jimmy Heath, George Wein, Stanley Crouch, Wynton

Marsalis, Michael Cogswell , Jerry Chazen


A JAZZ CHRISTMAS PARTYOrganizers Tracy Mann and Al rejoice as

packed crowd appears for their Christmas

Party, produced by Cobi Jazz at Zeb's

2012 PHOTO REVIEWS

Jazz for Kids at the Jazz Standard


Michael Weiss, Murray Wall, John & Joe

Farnsworth, Dwayne Burros, Andrew Beals, Ms.

Sedgwick, Dwayne Clemons, Charles Davis

Billy Kaye, Edward Ellington II,

below, R, Ron Carter & Great Big

Band; Dwayne Clemons at Smalls

Some of the Artists

who were Reviewed in

201 2

Jim Malloy

23

Dr. Frank Foster

Photo:Brian McMillen


Albert "Tootie" & Jimmy Heath; Barry Harris, Leroy Williams and

Ray Drummond, Patience Higgins below

24

Subscribe Free to the Jazz Culture Newsletter:http://thejazzculture.com. t© 2012, The Jazz Culture, Ltd. PO Box20023 Park West Finance Sta, NY 10025, Tel: 646-312-7773.


Bill Mobley Big Band, Joe Magnarelli, George Gee Orchestra, Jimmy

Cobb, Kenney Gates, Bill Saxton, Dado Moroni,

Happy Holiday Season & Happy New Year2013

Job Opening: Advertising Director for The Jazz Culture Newsletter,50% commission basis; email: [email protected]

Document

Documents

Transcript of Document