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TheJAZZ CULTURE

The Jazz Culture, VI:32 1

Piano Summit at 11th Street Bar: Barry Harris, Rossano Sportiello,

James Austin, Michael Weiss

Below: Michael Weiss, piano, Stewart, drums, Murray Wall, bass

2 The Jazz Culture, VI:32

REVIEWMichael Weiss-Murray Wall-Phil Stewart TrioDiscovered a hip jazz hangout at the 1 1 th Street Bar Monday

night, a new live jazz venue aboard, on a safe block in the East

Village, where Michael Weiss, piano, Murray Wall, bass, and Phil

Stewart, drums were playing. As the reviewer walked into the

room, the combo was bigger than anticipated, and included

Charles Davis on tenor sax and Dwayne Clemons on trumpet. The

group played “Ladybird” at about 175= quarter note. Lighting a

fire in the black room, they played a majestic ending to the Tad

Dameron tune.

A bar has a certain bohemian charm, with brick walls and

wooden floors and large mellow chandeliers. This was followed by

Frank Loesser’s “Slow Boat to China,” at about 140=quarter note,

a bright and happy song, Dwayne Clemons played lead, and Mr.

Davis took the first chorus ; then Mr. Clemons, whose solo had a

sailor-like feel to it, where the lilt of the ocean was not far off.

Michael Weiss’s solo was happy and carefree, replete with triplets

and some 16th note runs, changing the shape of the song to a more

circular feel. The group had a joyous sound and Murray Wall was

wailing on bass; then they traded 8’s for a few choruses, playing

unexpected accents in their riffs.

On “Fat’s Flats” a gem rarely heard, by Fats Navarro, the group

played about 200=quarter note, was remarkable for that and

Michael Weiss’s intricate and brilliant solo.

“Embraceable You,” by George and Ira Gershwin, the melody

was played by Mr. Davis’ warm and beautiful tenor. Dwayne

played an intimate solo full of regret and tenderness. Charles Davis

played with dashing strokes of a leading tenor saxophonist,

outlining with wide intervals and space a picture of his

embraceable one. Murray played with a woody tone in the middle

and lower middle register, a sincere ode to his love.

3The Jazz Culture, VI:32

Then the group’s theme song

“Bohemia After Dark” with its

minor sound in G, a bluesy head at

about 148=quarter note, rounded

the set off. The whole presentation

was brimming with swing and

good will, and many curious

listeners crowded in.

The original “Milestones” by

John Lewis was next, with Michael

Weiss comping on the upbeats

forming a musical embrace around the soloists. It was a spirited

version of the old standard, played well, and uplifting the

audience.

Review 1‐4The Why of Good Nutrition

by P. Moreo 5‐8How To Be A Jazz Trumpet Player

Pt I by Mark McGowan9‐12Live in Beverly Hills, 11,15,20

Intro To British Jazz 12‐15Jazz Heritage Louis Hayes 15‐21

Photos of 11th St. Bar Scene21‐22Let's Link 24

[email protected] © 2012

Cont. on p. 4


Then co-leader Richard Clemons jumped in, fresh from another

site, playing “After You’ve Gone,” at about 220=quarter note, a

burning offering. The alto player Amanda Sedgewick, took up the

challenge with a big fat tone and an assertive tone. Dwayne gave a

soulful version of the chestnut, digging into those dark nights of

remorse. Charles came bellowing up with a series of intricate

scalar lines. Richard used chromaticism ascending and descending

and his trademark light triplet touch to dance over the changes.

A debate that night over the melody line of “Sippin’ at

Bells”concerning a half step between Mr. Davis and Dr. Harris led

to the combo playing that tune at about 168=quarter note, Mr.

Davis starting phrases on a triplet, then some bleating half notes,

with a full melodic tone, resolsving phrases and playing a pretty

version. Clemons reached for high notes at the top of his phrases

with did some elegant th note triplets, with nice articulation ending

his phrases. Amanda started on a quarter note,explored the

changes, ending with developing phrases note quite fast enough

for bopy phrasing but gtting there, she played well on double time

phrases. Richard played a pensive slolo with a few accented high

notes and triplets, ending pghrases with accented quarter notes

with some blue notes thrown in.

Guest pianists were invited to sit in, first on “Bean and the

Boy’s---Rossano Sportiello played with a full and pretty

distinctive tone quality, fluently making all the changes, it seemed

he thought of the from well ahead of the changes. Mr. Sportiello

has his own sound and plays with self assured brilliance; some

16th note runs, with brilliant attack. Stefano Toglioni played bass

clarinet with a full pretty tone.

James Austin, who hales from Chicago, took on “You Stepped

Out of a Dream” ccomposed by Nacio Brown, at about

145=quarter note. With a full tone based more in the baritone

Cont. from p. 3


register, a slightly rough Chicago take on the lyric song; with

pensive and intricate lines. Stefano played with him, swinging

with a big fat tone.

Philip Bingham chose Johnny Green’s “Body & Soul,”

presented an amazing variety of sounds, including some influenced

by Art Tatum; playing scalar lines, the sweeping chords up the

keyboard, and quarter note phrases followed by rhapsodic feel; he

threw in some stride and boldly theatrical chording. On that song,

Mr. Davis was very relaxed, quoting “Prisoner ofLove.” Then Dr.

Harris played “Reets & I” with Mr. Clemons at about 184=quarter

note. Clemons was inspired, and encouraged. Stefano played a

deft full tone solo, effortlessly phrasing all intervals.

Michael Weiss came back to close the evening with “Just One

of those Things” at about 240=quarter note, a well constructed and

witty solo with the self assurance of a prodigy. Dwayne Clemon’s

solo was crisply articulated with many trumpet licks. Michael had

beautiful clear phrasing with perfect accents. As a bonus, Mr.

Weiss threw in “Goodbye” by Gordon Jenkins, Benny Goodman’s

theme song, as Dr. Harris sang along from his table.

It appears the East Village, a neighborhood with multitudes of

hip people, has a badly needed additional jazz venue.

Murray Wall, bass, Charles Davis, Ttenor sax, and Dwayne Clemons, trumpet

6

NUTRITION & INDIVIDUAL SOLUTIONSPeter V. Moreo, Jr., C.N. , R.Ph.

Peter V. Moreo is a sought after certified nutritionist andpharmacist 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:

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

YOU ARE WHAT YOU EAT

The Jazz Culture, VI:32

7

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.

MI�IMUM 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.

ORGA�IC 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:

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


8

HOW TO EXPERT ADVICE

GOOD GRAI�S 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.

"�ow there's a brilliant

cat." --Barry Harris

by Mark McGowanThe topic of this article

is the development of a Jazz

Trumpet player. Let’s break

this down.

Development means learning and practicing in an efficient way

to improve. Improvement involves progressing from a less skilled

basis to a solid foundation so that your performances are effective.

This improvement must involve learning jazz and learning the

trumpet.

Learning jazz means first listening to jazz and loving it so

much that one wants to imitate and create in a particular style of

music. Within jazz there are many different characteristic styles.

New Orleans, Dixieland, Swing, Bebop, Modal, Free, Fusion are

just a few labels that identify specific currents of jazz music. So

one who wants to play jazz must listen to music in the tradition

and eventually decide on a style of jazz to begin to learn. There are

Mark McGowan on the way to a

concert


9

so many great jazz musicians and everyone can create a list of

essential players to listen to. But an aspiring jazz player must at

least listen to such players as Louis Armstrong, Lester Young, and

Charlie Parker.

Once an aspiring trumpet player has decided on a specific style

of jazz to play, then comes the process of imitating a trumpet

player in the style that you wish to learn. In other words, you must

transcribe some solos note for note to try to understand how to

play in that style. This is important to understand how to improve

your time, note choices, and your taste in music overall. It is also

essential to find a sound that you like, identify with, and can work

toward emulating. Find some trumpet players you really like and

try to listen to their records as intently and deeply as possible.

Then sing the solos with the records until you are singing all the

phrases and feeling all the spaces between the phrases. Then

proceed to copy your favorite solos note for note on your

instrument. Don’t get stuck on any one recording - try to learn a lot

of solos over a long period of time.

At the same time, a jazz trumpet player must learn the

elements ofmusic theory and apply them to the instrument.

Learning the piano can speed up your development because it is

easier to understand harmony by seeing and hearing notes being

played simultaneously. An ambitious student might learn some

figured bass (and solfege too). Learning all intervals is essential, as

is knowing major, minor, augmented and diminished arpeggios.

Combining minor sixth chords with diminished chords [C minor

sixth chord or arpeggio with the B diminished chord for example]

is an interesting exercise in voice leading (the same should be done

with major sixth chords [C major with the B diminished]).

Learning all of the chords associated with every degree of the

major scale is also required.

Which brings me to scales. An aspiring improvisor must

practice on a continual basis, in every conceivable manner, the


1 0

major scale. There are books to help a person get ideas for

practicing scales, but it is important to try to logically figure out as

many ways to practice scales as possible. In seconds, thirds,

fourths, fifths, sixths, sevenths, etc. Three note segments, four note

segments, five note segments, six note segments, seven note

segments, two octaves, etc. I will easily spend twenty to thirty

minutes a day on one scale in one key (I could spend a lot longer).

I will also review one different scale pattern every day and take it

through every key to maintain fluency. Practice the scales from the

bottom of your instrument to the top. Practice using different

articulations, but it is most important to develop a smooth legato.

Once you are comfortable in all twelve major keys, then you must

try to become equally fluent in the melodic minor and harmonic

minor scales. There are many other scales to be mastered, such as

the whole tone scale and the chromatic scale, but once you have

learned the major and minor scales, you must continually go back

and review them (especially the dominant seventh scale within the

major).

If you are lucky enough to study with Barry Harris you can

learn a whole system of inserting passing tones into dominant,

major and minor scales. These notes will help your improvised

lines flow by making the more important notes of the scale land on

the strong beats of a measure. A player will start practicing them in

a descending manner, because the idea is to help resolve your

musical ideas smoothly. The dominant seventh passing tone is

found between the tonic (root) and seventh degree. The major and

melodic minor passing tone is found between the fifth and sixth

degree. These are commonly called bebop scales, but the way the

system is taught by Professor Harris is extremely thorough,

intricate and vast, far beyond the scope of this short article.

The dominant seventh scale is extremely important. Professor

Harris says they are called dominant for a reason. A great deal of

form and motion in music is determined by how dominants resolve

to their major or minor tonic destinations. Tunes should be


11

analyzed in this manner. Break a tune down into its constituent

keys and dominant 7th regions. In the key ofC, G dominant

seventh is the basic scale. The D minor seventh chord built on the

fifth degree of a G dominant seventh chord is just one flavor.

Professor Harris believes way too much emphasis is given in

modern jazz education to the II-V progression. The V is what is

essential. The tritone substitution happens on the V. The whole

tone scale happens on the V. The diminished chord is built from

the third degree of the V. A half diminished chord is just another

flavor ofV. E.g. A half diminished is realized with the F dominant

seventh. The idea is tension and release - Dominant to Tonic. V to

I. Resolution. Motion.Notes on "Live in Beverly Hills"CD Review

by L. Hamanaka

Live in Beverly Hills, 201 1 , Resonance. Personnel: DadoMoroni, piano, Marco Panascia, bass, Peter Erskine, drums.

Originally heard the beautiful track “Body and Soul” featuring

Marco Panascia that was not used on this cd. This cd has 8 tracks.

Three are by Dado Moroni, “Ghanian Village,” Nose Off” and

“Jamal.” His songs are honest and very definite. “Ghanian

Village,” with two basic sections, the first 1 6 bars of 6/4 and then

an 8 bar section in 4/4, describes a village’s life, creating the future

of the world after a turbulent past. And in a way, that is true; all of

our destinies and meanings have to do with who is our village and

how do we relate to them. The melody is pretty and simple, Dado

Moroni ‘s solo celebratory with blue notes scattered; and seems

like an evolution from the song forms of the 70’s jazz tunes. One

feels swept away by the sound picture here painting a world we all

want to be part of. He succeeds in writing a song without a tinge

of pop culture, with a strong left hand presence; the drum solo is a

tasty sparse contrast focusing on the toms.cont. p. 15


1 2

A Short Intro to British Jazzby Doodlebug

Jazz reached

England through

recordings and bands

right after WWI,

when there were jazz

influenced dance

bands. During the

1903’s-40’s, most

British musicians

made a living in

dance bands. Louis Armstrong, Duke Ellington and Coleman

Hawkins played during residencies in Glasgow and England.

Benny Carter also helped make jazz popular in England. The after

hours scene was hot for musicians in the 1930’s, where musicians

jammed for drinks. There have been many brilliant and unique

jazz musicians from the UK, throughout its jazz history. The best

musicians anywhere prove the adage (of Professor Ortalani,

talking about theatre), "Art belongs to everyone," and the greatness

of jazz as an irresistible music.

Similar to music tastes in the US, some people preferred trad.

John Watson Trio at the Palm Court, Langham

MUSICIA�S WHO WROTE FOR THE JAZZCULTURE �EWSLETTER

The Jazz Culture Newsletter Thanks Contributing Writers for the past 6months: 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 iams

Contributing Proofreaders: Connie MacNamee, Maggie Malone


1 3

or early or New Orleans jazz, played in England by musicians like

Humphrey Lyttelton, Ken Colyer and George Webb. Art Pepper

was another US musician who came to the UK and played with

British jazz bands when his MOS in the army was as an MP during

WWII. In the late 1940’s with the rise of bebop, UK musicians

like saxophonists Johnny Dankworth (who was also famous for his

Ellington interpretations) and Ronnie Scott, played bebop at their

Club 1 1 in London, and later in the early 1960’s the much admired

saxophonist Tubby Hayes toured in the States. Some British

musicians like George Shearing and Victor Feldman moved to the

US to work more. There was a British musician union’s ban on

American musicians working in the UK, that was relaxed in the

late 50’s. Ronnie Scott founded his jazz club in London in 1959

and set up a policy of exchange with American musicians.

In the 1960’s prior to and after the Beatles, as musicians like

Dizzy Reece influenced younger musicians, in a European

movement toward ‘free jazz,’ fusion with rock players, and the

influence of South African musicians in England, British jazz

formed an identity of its own with different branches. Joe Harriott,

a Jamaican sax player, developed ‘free form’ jazz in the UK. There

is the ‘free’ jazz branch, the rock/rhythm and blues fusion branch,

the bop branch, the Coltrane/Rollins branch. A number of

musicians immigrating from South Africa also influenced British

jazz.

There is a solid jazz community in England and important

musicians who have developed their own voices, though originally

their playing evolved from US jazz. Organizations like the Jazz

Centre Society started by Stan Tracey and Ian Carr in 1969, and

Jazz Services Ltd., in other cities helped secure a foundation for

jazz. A number of jazz clubs and restaurants and hotels with a jazz

policy flourish. Jazz FM is the main radio station, and magazines

like JazzWise, Jazz Journal and Jazz UK keep the jazz community

informed. There are also some charity programs in the schools like

Yamaha’s program to give instruments to poor neighborhood


1 4

schools. Certain universities and music colleges such as Guildhall

have jazz studies. Barry Harris, an important educator and pianist,

is an American bebop guru who gives annual seminars at the Pizza

Express Dean Street on improvisation. Like jazz people

everywhere, the British take their jazz seriously and work hard at

expanding and maintaining the music’s influence.

Whatever style of jazz will flourish in the UK, its distinctly

British flavor with many distinctive artists forming the UK jazz

community, firmly rooted both in the jazz culture of the country

overlapping and cross fertilizing with the world jazz community.

Jazz Club Soho Pizza Express at 110 Dean Street, Right, Ronnie Scott's

Jazz Club opened in 1959 by Ronnie Scott, a saxophonist who brought US-

UK jazz musicians together

Ronnie Scott's Acoustic Jazz, L, 606 Club, R, below, Foyle's Jazz & R,


1 5

John Lewis’ “Django” was next

the introduction like a classical

piece, dramatic and impressionistic somewhat marcato. Then

followed a kind of hip friendly tune, a slow bossa nova, with a

French flavor as ifwe were following Django walk down the street

at about 120=quarter note. There was some chordal melodicizing

with a short drum solo after which it slowed to the original tempo

and comes to a poetic close.

“Where is Love” by Lionel Bart from “Oliver” at about 96 was

next with a kind of crystal depiction of loneliness. Marco Panascia

did a bass solo with his signature baritone sound and rich

articulation, mainly on seconds, then opened up by Moroni with

some harmonic extensions that created a widening series of

concentric circles to an ending.

“I Hear A Rhapsody” by Dick Gasparre, George Fragone and

Jack Baker, followed at medium swing, quite extended. About

finding one’s true passion, a groovy bop solo, first using

surrounding notes, then with scalar runs and two note motifs, then

three note triplets, and five note motifs with scalar runs, Mr.

Moroni was always in the zone, his own sound, articulation and

sometimes running 16 note passages and then reverting back to the

melody. The short bass solo was well articulated.

“Einbahnstrasse” means one way street in German, it’s by Ron

Carter. It’s a kind of hip, fast modern piece about life on a one way

street, I guess. Mr. Moroni used the pentatonic, whole tone

thoughts and showed his ability to use a diverse harmonic pallette

with excellent drumming by Mr. Erskine.

“Vitta Na Crozza” is a Sicilian song by Domenica Modugno,

with a humble charming melody. This recognition of the

underlying simplicity of life where the drummer played brushes, at

about 106=quarter note had the appeal of innocence and lack of

sophistication.

Cont. from p. 11 cd review

Cont. p. 20


1 6

Louis Hayes, Drummer‐1937 Detroit

JC: You are from Detroit leading groups when you were 16?

What was Detroit like at the time?

Louis Hayes: Actually [I was] about 14 or 15. I was just playing

the instrument with my friends. At school dances and on street

parties, they’d block off a whole block, and in each other’s homes.

When I first got a job at a club, it was a teenage club. One teenage

club was the Club Sudan, and another was Tropicano, nestled there

in Detroit. That’s how I formed a group: saxophone, bass, piano

and drums. A quartet. Every place had a piano. Most kids played

piano. Most homes had pianos. Before television and all that stuff.

And in the schools, music departments were valid; all schools had

music curriculums; they had instruments so the kids chose what

instruments and you could take the instruments home. So a lot of

kids played instruments in the neighborhoods. I had my father and

JAZZ HERITAGE

Louis Hayes with two young fans recently in �ew York City


1 7

mother, they had piano and drums there in the home. I played

piano first, but I liked the drums, I had a feeling for playing that

instrument, the way they sound and look, I gravitated towards the

drums.

JC: Your father played drums & piano and your mother the piano.

Louis Hayes: Yes, all in the family. I have a brother Jerald and he

played saxophone. Music was just something to keep my mind

occupied. I liked sports and being a kid, so music just came into

my life gradually over a period of time. As I grew up I played

different jobs in Detroit and it gradually …coming up, who knows

what’s going to happen. I just was doing things and people liked

the way I played and the older musicians, much older guys and

then the guys I really respected, like Kenny Burrell, Barry Harris

and Elvin Jones. So many marvelous musicians in Detroit, they

were at least ten years older than I was. I came to NY in 1956

ahead of some and same time as a lot of them. Horace Silver

brought me here, he called and asked me to join his Band.

JC: How did you learn how to play drums? In school? How did

you practice?

Louis Hayes: In Detroit I practiced in the basement on my set of

drums. In NY that was more difficult living in an apt so I practiced

on drum pads. That was the big difference. So I wouldn’t disturb

people around me.

JC: Did any professional take you under his wing and help you?

Louis Hayes: I did have a practice set, a set up like a set, I know

how to get to everything so it’s a matter of being creative and it

works out okay. I have so many idols, but they’re really not

drummers per se. Charlie Parker. Dizzy Gillespie, Bud, Duke, so

many I can’t name them all. Everybody that can play well is an

idol ofmine. I like music, all kinds and my idols are not only

musicians, writers, athletes, people that are… anything can happen

to give you a good feeling, gives you an idea, makes you think a

certain way. You’re playing while I’m playing. I might think of a


1 8

person. Creative people are my idols. Some people are not

creative. All the different things you go through have an effect on

you.

JC: Could you tell me what your concept of the beat is?

Louis Hayes: It’s a concept, depending on when you’re born and

the artist you are involved with, direction you take, your

influences. I happened to be born and the people I was listening to

-- that’s the direction I chose to go in. I was born in 1937, so I was

hearing those bells. Papa Jo was an artist born in his time and I

came up functioning and being around my buddies. Our concept

was the way it’s been and I was fortunate enough to have a lot of

drummers that came along with me and after me and emulate what

I do. That I must say is a good feeling. They admire you enough.

JC: Do you hear it today from the younger drummers?

Louis Hayes: You are the one that keeps everyone together. If the

drummer is the pulsation, and the feeling it (the drums) makes it so

that the rhythm lays the red carpet out for everyone -- to cruise

down the red carpet and be able to express themselves. You have

to depend on the drummer to keep everything together or it will

come apart and no one will be able to function. What happens is,

it’s me as a person -- you can’t get away from that. I was born at a

time that this happened for me at this particular time. I am very

happy and honored to hear all of these marvelous artists that came

before me and are still living and those that are after me.

JC: What bands do you work with now?

Louis Hayes: I have the Louis Hayes Cannonball Legacy Band,

and the Louis Hayes Jazz Communicators. I was just in Detroit.

JC: You have worked with Cannonball Adderly, Junior Cook,

Rene Mclean, both bebop and hard bop groups. Kenny Burrell,

Curtis Fuller, Kenny Drew, John Coltrane, YuseefLateef, Horace

Silver , Barry Harris, almost a Who’s Who of jazz. One ofBarry

Harris’ most admired recordings was The Jazz Workshop.


1 9

Louis Hayes: I remember that we just played what we felt like

playing, no rehearsal. We were the rhythm section with

Cannonball’s band at that time. And we recorded with the

Cannonball Adderly, the brothers Quintet and we also had the

opportunity to record with the rhythm section --Barry, Sam and

myself. I don’t remember rehearsing. It was about 1960 and it was

a very important trio record. I did not have the information that

that was Barry’s most influential. It was in San Francisco. And

Barry has been a person I’ve admired for a lot of years and he was

on my first recording, Louis Hayes Quintet.

JC: Which are the favorite recordings?

Louis Hayes: I don’t have one. Too many.

JC: When you came with Horace Silver, where did you live in

NY?

Louis Hayes: Alvin Hotel on 52nd Street. Birdland was right

across the street.

JC: You must have been in seventh heaven then.

Louis Hayes: (Laughter) You’re right.

JC: How has the scene changed?

Louis Hayes: People have died, music has changed, the whole

business has changed, constantly changing. It’s all changed. Yes.

Across America and the world there were more clubs.

JC: Did you spend most of your life on the road at that time.

Louis Hayes: A lot of it. It was very enjoyable meeting people and

being introduced in different parts of the world. This art form is

existing and if you’re fortunate you can do it on a high level you

can create and grow with. You’re doing exactly what you want to

do.

JC: Were you able to have a family life also?

Louis Hayes: I’m not getting it into that, that’s my personal life,


20

but I have had a full life.

JC: Do you teach privately? What is some of the advice you give

to your students?

Louis Hayes: I don’t like to teach.

JC: So what you do is give advice to people?

Louis Hayes: Yes.

JC: For certain rare individuals and talents.

Louis Hayes: Yes.

“Jamal” in homage to Ahmad

Jamal, was a multilayered portrait,

very modern, personal, with a dazzling left hand interlude, the bass

repeating a three note motifwhich becomes a lilting swinging

piece, carefree and positive. Interestingly, the solo has a few notes

and switches from right to left hand ideas.

Mr.Moroni has a talent for

capturing a place or person or

situation aptly. He and Marco

Panascia have a strong connection

on this cd. Peter Erskine is very

effective and his sound is a nice

contrast to Mr. Moroni’s.

Dado Moroni lived in the U.S.

for about ten years and now

returns to the United States several

times a year, and Marco Panascia

lives in New York City.

See Google for Dado Moroni

and Facebook for Marco Panascia. Dado Moroni in �Y

Cont. from p.15, cd review



New Jazz Venue in East Village-Hip Happening

Phil Stewart, drums, Murray Wall, bass, Amanda Sedgewick, alto sax,

(sitting in) Charles Davis, tenor sax

Richard Clemens, co-leader

Dwayne Clemons, takes a

trumpet solo

Philip Bingham on "Body & Soul"Phil Stewart takes a break


Amanda, Dwayne and Ai

(drummer) take a breakinside the 11th Street Bar

Comments on Benjamin Schwarz's Opine ofAtlantic Magazine that "Jazz Is a Relic.."

I personally think that his statement is far from true. In my

opinion, the music, (jazz,etc.) is always evolving but it only

evolves if you study and pay attention to all the great music that

has come before, and it will eventually morph into a new

NATURAL music that retains the organic component of

originality. The musical universe honors the pure heart, if you are

sincere. It matters not, what color you are. It only sees your

spiritual input. As far as songwriting goes, there are plenty of

excellent song writers with original material. The problem is,they

are being purposely ignored,especially if you are a self sustaining

musician who works for his or her self.

Sincerely,

Evans Thompson

I do believe he has a point about where jazz was, and is today

as it pertains to pop culture. But to say jazz music is a relic and has

dried up, means you are not paying attention to some of the great

artists, and great things that are happening, in NYC, and in some

other areas in europe. Jazz music, is ALIVE, and evolving. Pay

attention !

Will it ever reach the masses again? We'll see.

Joe Magnarelli

23

LET'S LINK

Dr. Frank Foster

Photo:Brian McMillen

Dawn

Hampton,

L,

John

Watson,

pianist:

Photo: Max

Garr

Cecil Bridgewater


Barry Harris Japan Tour BeginsDecember 1; Look Out for Barry

Harris' Birthday News!(December 15)

Connie

Mac�amee

24

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Trombonist, Contact for Private

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Tenor Saxophonist, Arranger and

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Happy Birthday Billy Kay, MarcoPanascia, Bertha Hope and RussellMalone!


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