TRANSFORMING TRADITION - JerseyJazz APRIL 2021 THE MAGAZINE OF THE NEW JERSEY JAZZ SOCIETY
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THE MAGAZINE OF THE
NEW JERSEY JAZZ SOCIETY JerseyJazz APRIL 2021
VOLUME 49 ISSUE 04
EMMET COHEN’S
Future Stride
TRANSFORMING TRADITION
IN THIS ISSUE
ARTICLES/REVIEWS COLUMNS
08 Saturdays with 03 All That’s Jazz
Ramsey Lewis
05 Editor’s Choice
13 Emmet Cohen’s
Future Stride 36 From the Crow’s Nest
17 Jazz History: Scott LaFaro
22 Talking Jazz: John Lee
29 Rising Star: Jocelyn Gould
33 Remembering CORRECTION
The bassist who played with Renee Rosnes
Carol Fredette at the Paris Philharmonie and the Luxembourg
Philharmonie in 2016 was Linda May Han Oh.
Her name was misstated on page 14 of the
ON THE COVER _ Emmet Cohen. ALL PHOTOS OF COHEN BY TAILI SONG ROTH 38 Other Views March 2021 issue of Jersey Jazz.
NJJS.ORG JERSEY JAZZ APRIL • 2021 02
ALL THAT’S JAZZ
BY CY DNE Y HA LPIN
A P
pril is Jazz Appreciation it’s potential, summed up and sanc- please contact me at pres@njjs.org. lease join me on Saturday, April
Month (JAM). Originally in- tified and accessible to anybody who 17 at 7 p.m. as we present our
M
tended as a catalyst to encour- learns to listen” — WYNTON MARSALIS osaic™ Box Sets for Sale. Virtual Social featuring Chris-
age people of all ages to actively NJJS has received two in- tian Fabian, Lance Bryant and Ja-
J
participate in jazz, JAM heralds and ersey Jazz magazine is a wonder- credibly generous dona- son Marsalis in a “conversation and
celebrates the extraordinary heri- ful benefit of NJJS membership tions of used Mosaic™ Limited clips” presentation highlighting the
tage and history of jazz. I encour- and starting in May, it will be Edition Box Sets, one from Robin legacy of Lionel Hampton and the
age you to celebrate and do some- password protected with full access Sinkway, the niece of the late, de- New Lionel Hampton Big Band.
thing “jazz-centric” this month by available to NJJS members only. voted NJJS member Jack Sink- For more information please
attending a virtual or live concert Each month, you’ll receive a way, and the other from Jean see page 5 or visit our website www.
event or lecture, reading a book new password when you receive Field. We thank both families for njjs.org/News. This informative
devoted to a jazz great; purchasing the eBlast containing the link to their kindness and stewardship. and swingin’ streaming event can be
a CD or LP, Googling an artist or the current month’s issue. You’ll be Prized by collectors for their viewed on our website homepage and
song you’re interested in finding prompted to input the password af- superior audio quality, most of these on our New Jersey Jazz Society Face-
out more about … the possibilities ter you click on the “View Digital CD sets are in mint to very good book page. I hope to “see” you there.
and opportunities are endless. Issue” tab. Once you’ve accessed the condition and would make a great This program has been proudly
However you chose to celebrate, magazine, you’ll be able to down- addition to your music collection, supported by a grant from Investors
actively take part in the preser- load it to your computer or other with proceeds helping NJJS Foundation.
vation and promotion of jazz and personal device for ease of access continue to promote and present
C
share your interest and enthusiasm throughout the month. If you pre- jazz. For more information on the elebrate JAM and help fund our
of America’s great art form with fer not to download the issue, keep titles for sale and prices, please programming! Along with our
someone else—perhaps introduc- the monthly password handy so you visit our website www.njjs.org/ newly acquired treasure trove
ing them to jazz for the first time. can continue to access the issue Donate/Merchandise or contact via of Mosaic™ merchandise, we also
“Jazz music is America’s past and online. If you have any questions, email JazzEducation@njjs.org. have a very extensive collection of
NJJS.ORG JERSEY JAZZ APRIL • 2021 03
ALL THAT’S JAZZ
used CDs, LPs and books for sale. Social, please contact me at and more, with today’s finest jazz of the AmazonSmile Gives program
Thanks to the ongoing and hercu- pres@njjs.org. musicians and educators of early jazz. where 0.5% of the price of you eligi-
lean efforts of board members James Weekend, one day, single session ble purchases goes directly to NJJS!
I
Pansulla, Dave Dilzell, Jay Dougherty f you’re craving live music in a and student passes are available. For It’s the same Amazon you
and Pete Grice, you can find the avail- beautiful and safe setting, the more information or to sign up/reg- know but a separate website.
able inventory lists on our website Morris Museum kicks off their ister visit www.nyhotjazzcamp.com. Same products, same service
www.njjs,org/Donate/Merchandise. outdoor “Concerts on the Back - but to generate financial dona-
T
Deck” series Thursday, April 15 at he circumstances of the past tions to NJJS, you must ALWAYS
I
’m delighted to announce that 7:00 p.m. with a pre-season show year have necessitated chang- SHOP AT smile.amazon,com.
for the fifth consecutive year, the with Amani featuring Stephen es to every aspect of the way
New Jersey Jazz Society has been Fuller, Clarence Conover, Kenny NJJS carries out its mission to pro-
awarded a grant from Morris Arts Robinson, Larry Greenberg and mote, present and preserve jazz.
to help in part fund our Jazz Socials. Marty Eigen. Bring your dancing I’d like to thank Christine Vaindirl-
We’re proud to be one of 28 arts or- shoes! For more information and is who’s provided guidance and techni-
ganizations helped by this funding, tickets www.morrismuseum.org. cal expertise as we’ve tackled present-
made possible through the Local Arts ing online programming and expanded
T
Program of the New Jersey State he Second NY Hot Jazz Camp our website to include homepage Log on to www.smile.amazon.
Council on the Arts/Department of Virtual Weekend Workshop will streaming and video enhanced News com and select New Jersey Jazz
State, a partner agency of the Na- take place April 16-18, 2021. stories. She’s been a “game chang- Society as your beneficiary, then
tional Endowment for the Arts. Founded and co-directed by Molly er” for NJJS and we’re very grateful. shop as your normally do. Please
The board of directors and I Ryan and Bria Skonberg, this jam- tell your friends and family
I
wish to thank Morris Arts for their packed weekend workshop will con- f you’ve used Amazon this past members about this amazing
continued support of NJJS. sist of interactive workshops, master year for in-home shopping, I’d like opportunity for NJJS and thank
If you’d like to sponsor an NJJS classes, presentations, song studies to remind you that NJJS is part you in advance for your support.
NJJS.ORG JERSEY JAZZ APRIL • 2021 04
EDITOR’S CHOICE
BY SA NFO RD JOS EPHSON
The Energy and Excitement ories of You.” At the Social, Fabian,
Bryant, and Marsalis will be showing
gomery, guitarist Wes Montgomery’s
older brother, played in Hampton’s
of Lionel Hampton video highlights from Hampton per- band in the early 1950s, and Hampton
formances as well as footage of the convinced him to shift to the electric
current Lionel Hampton Big Band. bass, which had recently been intro-
No other single performer special guest, vibraphonist Jason By 1934, Hampton was leading duced by instrument manufactur-
in American jazz has so Marsalis, will be celebrating Hamp- his own band at LA’s Sebastian’s er Leo Fender. In a September 1977
consistently and joyously incited ton’s life and music at the New Jer- Cotton Club. He was noticed by Guitar Player Magazine interview,
and inspired his fellow musicians sey Jazz Society’s Virtual Social on Goodman, who invited him to join Montgomery recalled what happened.
and listening audiences.” That’s how Saturday, April 17 from 7-8 p.m. his trio, with pianist Teddy Wilson “Hamp handed me the Fender,” he
George T. Simon described Lionel Fabian and Bryant played with and drummer Gene Krupa. The said, “and told me he wanted the elec-
Hampton in his book, The Big Bands Hampton and will be telling some per- importance of that collaboration, tric instrument sound in the band ...
(Macmillan Publishing: 1967). sonal stories about those days. Marsa- according to The New York Times’ At first, I freaked out because I was in
Hampton, who passed away in lis will talk about Hampton’s influence Peter Watrous (September 1, 2002) love with my upright bass, but I made
2002 at the age of 94, received a Gram- on him as a vibraphonist and what “cannot be overstated, on both musical up my mind to do it and did it well.”
my Lifetime Achievement Award last motivated him to try to fill the master’s and social grounds. Not only did Mr. The Virtual Social on Lionel
month. (Jersey Jazz, March, 2021). shoes in the current edition of the band. Hampton and Mr. Goodman make Hampton will be streamed on the New
He was nominated for the award In 1927, Hampton was the drum- exceptional music, but they, along with Jersey Jazz Society website, www.njjs.
by the co-leaders of the current Li- mer for Les Hite’s Orchestra in Los the pianist Teddy Wilson, presented org as well as on the NJJS Facebook
onel Hampton Big Band, created in Angeles. By 1930 Hite’s band was being a public, integrated face for jazz.” page and YouTube channel. There is
2015 with the blessings of The Lio- led by Louis Armstrong, who persuad- Another of Hampton’s accom- no admission charge, but donations
nel Hampton Estate. Three of those ed Hampton to try the vibraphone. His plishments was his support of the are welcome and encouraged. This
co-leaders: bassist Christian Fabi- first recorded solo on the vibes was the electric bass as an important jazz program has been proudly supported
an, saxophonist Lance Bryant, and Eubie Blake/Andy Razaf tune, “Mem- instrument. Bassist Monk Mont- by a grant from Investors Foundation.
NJJS.ORG JERSEY JAZZ APRIL • 2021 05
ABOUT NJJS
F
ounded in 1972, The New Jersey Jazz Society MEMBER BENEFITS JOIN NJJS
has diligently maintained its mission to promote 10 FREE Concerts Annually Family/Individual $45
and preserve America’s great art form—jazz. To at our “Sunday Socials” (Family includes to 2 Adults and
2 children under 18 years of age)
accomplish our mission, we produce a monthly Monthly Award Winning Jersey
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Jazz Magazine - Featuring Articles,
magazine, Jersey Jazz; sponsor live jazz events; and Interviews, Reviews, Events and More.
Musician Member $45 / 3-Year $90
(one time only, renewal at standard
provide scholarships to New Jersey college students Discounts at NJJS Sponsored basic membership level.)
studying jazz. Through our outreach program Concerts & Events. Youth $15 - For people under
21 years of age. Date of Birth Required.
Generations of Jazz, we provide interactive programs Discounts at Participating
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focused on the history of jazz. The Society is run by a good standing may purchase
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from all parts of the state, the country and the world. Sideman $250 - $499
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our Monthly eBlast
Members at Jazzer level and above and Corporate
Membership receive special benefits. Please
THE RECORD BIN contact Membership@njjs.org for details. The
New Jersey Jazz Society is qualified as a tax
A collection of CDs & LPs available exempt cultural organization under section
501(c)(3) of the Internal Revenue Code, Federal
at reduced prices at most NJJS
ID 23-7229339. Your contribution is tax-
Visit www.njjs.org or email info@njjs.org concerts and events and through deductible to the full extent allowed by law. For
for more information on our programs and services mail order www.njjs.org/Store more Information or to join, visit www.njjs.org
NJJS.ORG JERSEY JAZZ APRIL • 2021 06
Editorial Staff New Jersey Jazz Society, Officers 2021
EDITOR PRESIDENT
Sanford Josephson, editor@njjs.org Cydney Halpin, pres@njjs.org
ART DIRECTOR EXECUTIVE VP
Magazine of the New Jersey Jazz Society
Michael Bessire, art@njjs.org Jane Fuller, vicepresident@njjs.org
VO LU M E 49 • I SSUE 04
INTERNATIONAL EDITOR TREASURER
Fradley Garner Dave Dilzell, treasurer@njjs.org
fradleygarner@gmail.com
NJJS org CONTRIBUTING PHOTO EDITOR
VP, MEMBERSHIP
membership@njjs.org
Mitchell Seidel, photo@njjs.org
VP, PUBLICITY
CONTRIBUTING EDITORS Sanford Josephson, sanford.josephson@gmail.com
Bill Crow, Schaen Fox, Joe Lang,
VP, MUSIC PROGRAMMING
Dan Morgenstern, Jay Sweet
Mitchell Seidel, music@njjs.org
CONTRIBUTING PHOTOGRAPHERS
RECORDING SECRETARY
Jessica Cowles, Robert Kessler,
Irene Miller
Taili Song Roth
CO -FOUNDER
WEBMASTER
Jack Stine
Christine Vaindirlis
Jersey Jazz (ISSN 07405928) IMMEDIATE PAST PRESIDENT
is published monthly for members
Mike Katz
of The New Jersey Jazz Society Advertising
DIRECTORS
P.O. Box 223, Garwood, NJ 07027 DIRECTOR OF ADVERTISING
908-380-2847 • info@njjs.org Jay Dougherty, Cynthia Feketie, Pete Grice,
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All material in Jersey Jazz, except where another For reservations, technical information and Don Braden, Al Kuehn, Bob Porter
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NJJS.ORG JERSEY JAZZ APRIL • 2021 07
SATURDAYS WITH RAMSEY LEWIS
April Online Concert Will
Reprise Songs from The In Crowd
His Saturday Salon Concert Series Covers
a Broad Spectrum of Musical Styles
BY SANFORD JOS E P HSON
A
bout five years ago, pianist Lewis will turn 86 on May 27. De-
Ramsey Lewis and his wife, spite his “official” retirement, he has
Janet, were at Chicago’s O’Hare continued to play the piano every day
International Airport, preparing to at home, and in April 2020, shortly
fly out for a concert tour. “My wife after live performances were ended
asked an attendant what gate the by the pandemic, he began stream-
flight was leaving from, and when ing one-hour concerts, called Sat-
she saw how far it was, she asked, urday Salon, at 1 p.m. Central Time,
‘Can you get a wheelchair for my on the last Saturday of the month.
husband?’ That’s when I started Each month has a different theme.
thinking it was time to retire.” On April 24, he will be playing
NJJS.ORG JERSEY JAZZ APRIL • 2021 08
SATURDAYS WITH RAMSEY LEWIS
songs from his chart-topping 1965 just a fun song, not the meat cut.” azine described “the lines of fans
Argo album, The In Crowd. The ti- The song was enthusiastically re- snaking around the block,” adding
tle tune, written by Billy Page, was ceived at the Bohemian Caverns, but that, “Pianist Ramsey Lewis, 30, is
a Top 40 hit for vocalist Dobie Gray. it was later during a nightclub date in not only In, he is the hottest jazz art-
Lewis’ version sold more than one Detroit, that Lewis realized the enor- ist going. And, amazingly enough, he
million copies as a single, and the mity of its popularity. “Phil Church is going strongest in the rock-‘n-roll
album, which reached Number 1 on of Argo Records told me, ‘I think you market ... The younger generation, it
Billboard’s Rhythm & Blues chart guys have a hit. You know that song, seems, has adopted Lewis as the pur-
and Number 2 on its Top 200 Al- The In Crowd? We’re going to put a veyor of a new and wondrous sound.”
bums chart, won a Grammy Award single out.” In January 1966, after Lewis’ Saturday Salon series
for Best Instrumental Jazz Perfor- The Ramsey Lewis Trio appeared at covers a broad spectrum of musical
mance by an Individual or Group. Chicago’s London House, Time Mag- styles. On February 27, he presented
Lewis, bassist Eldee Young, and “West Side Story and Other Stories of
drummer Redd Holt were sitting in a Love.” Those “Other Stories” included
“
coffee shop in Washington, DC, trying affectionate medleys of a wide range
I HAVE A LIST OF
to come up with one more song for of American Songbook favorites in-
the album they were going to record cluding Victor Young’s “My Foolish
live at Washington’s Bohemian Cav- Heart”, Harry Warren’s “The More I
erns. “The waitress came over,” he re-
called, “and said, ‘There’s a nice song THREE OR FOUR HUNDRED See You”, Hoagy Carmichael’s “The
Nearness of You”, and Cole Porter’s
by Dobie Gray that everyone likes. We
have it on our jukebox.’ So, she went
over and played this song. And, we
SONGS I DEARLY LOVE.” “So In Love”. Asked about his favorite
composers, Lewis responded, “I go by
songs rather than composers—songs
said, ‘Yea, that’s perfect.’ To us, it was that I love. I have a list of three or four
NJJS.ORG JERSEY JAZZ APRIL • 2021 09
SATURDAYS WITH RAMSEY LEWIS
hundred songs I dearly love, and I Number 1 on the magazine’s Black
pick songs depending on the theme.” and Jazz charts. His collaborator on
The idea for Saturday Salon was the album was Maurice White, who
born one day while Lewis was play- had founded Earth, Wind & Fire five
ing the piano. “I was trying to re- years earlier. White, Lewis recalled,
member a Russ Freeman song that “was a very quiet gentleman, almost
was on a Chet Baker album,” he said. bashful, sitting behind those drums.
“It came back, and I played the whole But, he gave us a lot of energy. The
thing through. My wife heard me way he had the cymbals set up, the
playing that song, ‘The Wind’. She audience could hardly see him when
recorded it on her phone, and, little he played solo. One day, he brought in
did I know, she sent it to my manager. a thumb piano, a Kalimba. I said, ‘You
They talked to me and asked, ‘Would got to get up from the drums and play
you be open to doing a show once the Kalimba so people can see it.’ He
a month? You can do it from your did, and, wow, the reaction he got!”
living room on your piano.’” (The Lewis and the late vocalist Nancy
album was the 1954 Columbia Re- Wilson made three albums togeth-
cords release, Chet Baker & Strings). er—The Two of Us (Columbia: 1984),
In 1974, Lewis moved from the Meant to Be (Narada Jazz: 2001), and
PHOTO BY ROBE RT KESSL ER
acoustic rock ‘n roll of The In Crowd Simple Pleasures (Blue Note: 2006).
to an electrified R&B-flavored Colum- “Nancy Wilson,” he said, “was a nat-
bia album called Sun Goddess. It was ural performer. John Levy, my man- Ramsey Lewis and
Nancy Wilson
a crossover hit, reaching Number 20 ager, also managed Nancy. He saw
on the Billboard Pop Album chart and something in her that told him she
NJJS.ORG JERSEY JAZZ APRIL • 2021 10SATURDAYS WITH RAMSEY LEWIS
would be a big star, and John got the
idea we should do something togeth-
er; and it went so well. She had big
“
I COULD WRITE A BOOK
ears. I would take certain liberties
as a jazz artist, but whenever I’d take ABOUT BILLY AND OUR RELATIONSHIP.
I’LL NEVER FORGET BILLY TAYLOR.”
a liberty, she would ad lib, reflecting
the fact that she knew what I was do-
ing. I was very sad the day she passed.”
After pianist Billy Taylor’s death
in December 2010, Taylor’s wife asked
Lewis to speak at a special memorial the road. We put together a nice show feel of the best jazz improvisation.” Charlie Parker. Other pairings com-
service for him a month later in New of about 10 to 15 dates a year. I could In 2006, Lewis hosted his own bined Tony Bennett with Chick Corea
York. “Taylor,” said Lewis, “was a spe- write a book about Billy and our rela- television show, Legends of Jazz, pro- and Ray Barretto and Benny Golson
cial guy and a special musician. I was tionship. I’ll never forget Billy Taylor.” duced by Chicago public TV station, with Chris Potter and Marcus Strick-
a guest on one of his TV shows. He had The two NEA Jazz Masters WTTW, and aired on PBS stations land. “It worked,” Lewis said. “It was
two pianos, and he would invite you to made one album together, We Meet across the country. Lewis inter- great getting a conversation going
be the second piano. We had such fun Again (Columbia: 1989). Reviewing viewed guest artists who also per- between people who knew of each
that we thought we should do some- it in January 1990, the Chicago Tri- formed, and he would strive to “not other but didn’t know each other.”
thing else together. We did a concert bune’s Howard Reich wrote, “Lewis get musicians from the same side of Tickets for the Ramsey Lewis
in a park in the Midwest. The concert and Taylor work together elegant- the street.” One typical episode had Saturday Salon series are $20 per
was free, so there were thousands of ly, producing a sound that`s big and alto saxophonists David Sanborn show and can be purchased online at
people to see these two pianos. The brassy without being percussive. And and Phil Woods together—the saxo- StageIt.com/RamseyLewis. A por-
reception was great, so that told us though the playing is polished and re- phone star of the contemporary fu- tion of the proceeds are donated to
maybe we should take this show on fined, it never loses the loose, breezy sion scene with the veteran protégé of the Jazz Foundation of America.
NJJS.ORG JERSEY JAZZ APRIL • 2021 11Featuring
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that may be in place during our sailing! performance venue is non-smoking for all guests.FUTURE STRIDE
Pianist Emmet Cohen
‘Fills in the Gaps’ Between
Traditional and Modern Jazz
New Release Follows Months of Weekly Online Concerts
BY SC HA EN FOX
A
fter nearly 10 months of AllAboutJazz’s Mike Jurkovic called
streaming weekly concerts the album, “a wildly entertaining
online, the Emmet Cohen Trio modern affair and history lesson all
released a new Mack Avenue album, rolled into one madcap, immediate
Future Stride, to glowing reviews. whole.” And, The Guardian said the
“Close your eyes while listening album, “stands out among a small av-
to ‘Symphonic Raps’, the first song alanche of new piano albums because
on Future Stride, and you may find it has the rare and elusive quality of
yourself transported back to swing- charm. All 10 pieces are perfectly seri-
ing 1920s Harlem nightclubs where ous, but not solemn; there are little ec-
stride piano players were all the rage,” centricities and the occasional wink.”
wrote JazzTimes’ Veronica John- Last March, the pandemic forced
son. But, Cohen, she added, “pumps Cohen, drummer Kyle Poole, and
new life into the stride tradition.” bassist Russell Hall to halt their ca-
NJJS.ORG JERSEY JAZZ FEBRUARY • 2021 13FUTURE STRIDE
reers. Then two factors changed keeping it free, we were able to reach
“
things: First, Cecile McLorin Salvant those people, affect them positively
and Sullivan Fortner held an online and to keep expanding our audience.
concert. “They did one in the very
first week of quarantine,” Cohen re- WE WERE TRYING TO CAPTURE We came up with a member-support-
ed tiered subscription model. If peo-
called. “I said, ‘We’ve got to do some-
thing for people, and bring us together THE SENSE OF COMMUNITY ple were able to, they could support
us that way. It allowed us to buy pro-
IN A JAZZ CLUB.”
in that way.’ Salvant and Fortner are fessional sound equipment, software
people I really look up to in the jazz and video gear, lighting and blinds.
community.” Second, a canceled gig’s We’ve improving on the production
producer still offered to pay if Co- every week. A friend had four cam-
hen’s trio would stream the concert. eras and a live switcher which was
That garnered close to 50,000 views. ten with other people, to live music used to toggle cameras in real time.
Their own online concert series that is free, improvisatory and joy- “There were many rewarding
soon followed on YouTube and Face- ous. It really became a cool thing for aspects to come out of this. One was
book. Like so many other musicians, a lot of people who suddenly didn’t the community we built. People were
their motives were both practical have a chance to hear musicians so forthcoming about how much
and empathic. Cohen explained, making music together in this time. our concerts and our sense of com-
“People need something to fill the “I really wanted to keep the munity helped them. I have a stack
void of being unable to go out and to stream free. There were so many of thank you notes from people all
have an experience with other hu- people who were going through around the world who say, ‘This is
man beings. We were trying to cap- tough times and needed the music. It the one thing we’ve looked forward
ture the sense of community in a jazz might have been difficult for some- to for many, many months. We are
club, that feeling of being able to lis- one to even pay $5 per ticket. By missing the joy of live music, and you
NJJS.ORG JERSEY JAZZ APRIL • 2021 14FUTURE STRIDE
have brought it to us against all odds. the music, they would bring me right was in a position to create something new recording’s January debut.
It helps keep us sane.’ The positive back in the greatest possible way. nice for them. It is a testament to the Future Stride followed Cohen’s
effect it had on people’s lives was a “Once we were established, it be- music and Russell and Kyle that they Master’s Legacy recordings, a series
great joy. And to create something came a platform where I could show would want to come and play with us. done with Ron Carter, Jimmy Cobb,
that could help Russell and Kyle to some lesser-known musicians to the “Each week is like a recording ses- George Coleman, Benny Golson, and
keep us all afloat was another re- world and invite other musicians, sion. We don’t go in with too much of Tootie Heath (See Talking Jazz: Em-
warding thing. I definitely could not like Catherine Russell, Ken Peplowski, a plan, but have a brief rehearsal and met Cohen in Jersey Jazz, November/
have done this without them. When Alan Harris, and Lezlie Harrison, sound check and try to find common December 2019). “I wanted to take
we were having technical difficulties and create some work opportunity ground and just create a meaningful the things I’ve learned from the Mas-
in the beginning, I’d be trying to work for them. They watched me grow up moment. That has been the biggest ter’s Legacy series and bring them
on the computer and play at the same in New York and welcomed me with lesson: we come together, and bring to the masters of our generation.”
time, and they would have my back. open arms. It has been a joy to de- some joy out of our instruments for In 2019, Cohen, Hall and Poole did
They would keep me going when I velop friendships with people I’ve all to benefit from.” Undoubtably, a week-long educational residency
was stressed out, or if I got lost in looked up to for all these years. Now I the weekly attention helped their with saxophonist Melissa Aldana and
trumpeter Marquis Hill. “We played
“
some of my compositions, and it
came together in an interesting way.
I LOVE TO TAKE TUNES THAT I felt that if I ever wanted to record
with horns, I wanted this.” And that
came true. Aldana and Hill are fea-
WERE DONE BY BIGGER GROUPS tured in two tracks on Future Stride
in Cohen originals, “Reflections at
AND PAIR THEM DOWN TO TRIO.” Dusk” and “You Already Know”.
Part of Future Stride is designed
NJJS.ORG JERSEY JAZZ APRIL • 2021 15FUTURE STRIDE
to showcase “all the hard work, play- style and our time, with our band.”
ing, touring, time and energy we My favorite is the hauntingly
have put in as a trio. Also, to show pensive “Reflections at Dusk.” “This
the versatility and the holistic range piece,” Cohen explained, is supposed
of music that we try to incorporate to be about finding that time at dusk
into our styles. There is so much that when there is very little going on and
we love and want to put it all into our you can hear your inner thoughts.”
music. That is where that tune “Fu- The most surprising selection is Co-
ture Stride,” (written by Cohen and hen’s “Toast to Lo.” It memorializ-
Poole) and that concept, come from: es another musician tragically lost
taking two things that are seem- (drummer Lawrence Leathers, who
ingly polar opposite and playing off was murdered in the Bronx in 2019),
the paradox to fill in the gaps of the but unlike other jazz tribute classics,
possibilities that lie between them.” incredible intro. Kyle always hears done by solo piano and build them up Cohen said, “I wasn’t thinking of the
“Symphonic Raps”, written by this hip-hop kind of vibe in it. We for trio. The trio has certain orches- loss of him. I wanted to capture the
Bert Stevens and Irwin Abrahams said, ‘Let’s see if we can do some- tration possibilities where you can feeling of what it felt to play with him
and recorded in 1928 by Louis Arm- thing with this in the trio.’ Playing make things into something that is and be in his aura. When I played
strong, is another example of that. it month after month in different ornate, specific and free. There are so organ with him, I felt like I was fly-
“We listen to a lot of music when we settings, we let it evolve. It’s a great many possibilities of what to do.” Co- ing. He was always so kind. He taught
are on the road,” said Cohen, “and vehicle, and ties our world togeth- hen selected four standards favored me so much about music and life.”
Louis Armstrong is one of our favor- er with the stride of the future. by many past piano masters, because, At presstime, Future Stride
ites. This is one of our favorite Louis “I love to take tunes that were “They are in the lineage and a way for was Number 3 on the Jazz Week
Armstrong tracks. It’s such a unique done by bigger groups and pair them me to connect with that history and charts after spending seven con-
song built on ‘Tiger Rag,’ but with an down to trio, or take songs that were my heroes, but to play them in our secutive weeks at Number 1.
NJJS.ORG JERSEY JAZZ APRIL • 2021 16JAZZ HISTORY
Bassist Scott LaFaro:
Unmatched Talent for
Improvisation and Exploration
Killed in a Car Crash at Age 25, He Would Have
Celebrated His 85th Birthday This Month
BY JAY SW E E T
R
occo Scott LaFaro, one of the right-hand two-finger technique that
most innovative and forward allowed him to play melodic phrases
jazz bassists of his generation, with a dexterity that had never been
would have been 85 years old this year achieved before on the bass. In his
on April 3. Even after 60 years since short career, LaFaro worked with
his tragic passing, few bassists have legendary figures such as Chet Baker,
come close to matching his impact, Stan Getz, Benny Goodman, Ornette
technicality, and creativity. During his Coleman, Thelonious Monk, Stan
short but impressive career, LaFaro Kenton, and John Coltrane. His most
displayed an unmatched talent for celebrated work came as a member
bass improvisation and exploration. of the Bill Evans Trio (1959-1961), a
His innovations included an exten- group known for its conversational
sion of the bass’ range and a rapid approach and its redefinition of the
NJJS.ORG JERSEY JAZZ APRIL • 2021 17JAZZ HISTORY
“
bass and drums’ role in a jazz context. start playing the bass until the end of
Born April 3, 1936, in Irvington,
NJ, LaFaro lived just 15 miles from
New York City. His father, Rocco
his high school career at 18 years old.
He only chose to play it when he was
accepted as a music major at Ithaca
WITH LAFARO AND DRUMMER
Joseph, was a trained concert vio-
linist who had a keen interest in jazz
College, where all attending stu-
dents were required to play a string PAUL MOTIAN, EVANS FOUND
and big band music. Throughout the
1930s, Rocco toured regularly with
some of the most famous names
instrument. He took to the bass
quickly and practiced incessantly.
Within no time, he began working
THE PERFECT COMBINATION.”
in big band music, including Paul local gigs, at times with his father.
Whiteman and Tommy Dorsey. When In 1955, LaFaro left Ithaca and In 1956, LaFaro began working 1958) showcase his incredible skills.
the music scene began to slow in joined Buddy Morrow’s Big Band. with trumpeter Chet Baker. The In a 1960 article for the Jazz Review,
New York during World War II, the Morrow was a Juilliard-trained ensemble performed regularly and LaFaro revealed that “I don’t even like
LaFaro family moved to Geneva, NY, trombonist who played mainly in a even appeared on the Tonight Show. my records except for maybe the first
where Rocco worked first as a night rhythm and blues style and became By 1957, LaFaro was starting to get one I did with Pat Moran.” One high-
watchman and part-time musician. popular with hit records such as noticed as one of the most exciting light from these recordings is on the
Naturally, music was encour- “Night Train and “Rose, Rose, I Love young bassists on the scene, and he tune “Onilisor.” On this cut, LaFaro
aged in the LaFaro household, and You.” LaFaro was not particularly began making a string of small group presents the melody and performs
Rocco would often take his family inspired while working with Morrow, recordings that showcased his abili- an extended solo. His playing reveals
to area concerts. Scott showed an and after several tours and record- ty. The first of these recordings came a fully realized harmonic, melodic,
early aptitude for music and first ings, he left the group and settled in as a member of pianist Pat Moran’s and rhythmic concept that he would
began playing piano, bass clarinet, Los Angeles, where he spent his days trio. LaFaro’s playing on This is Pat fully develop throughout his career.
and tenor sax in the school band at practicing and his evenings going to Moran, and Beverly Kelly Sings With Another remarkable step in La-
a young age. Remarkably, he didn’t as many jam sessions as possible. The Pat Moran Trio (Audio Fidelity: Faro’s career came as a member of
NJJS.ORG JERSEY JAZZ APRIL • 2021 18JAZZ HISTORY
pianist/percussionist/vibraphonist
Victor Feldman’s group. On the album
The Arrival of Victor Feldman (Con-
temporary Records: 1958), LaFaro
is prominently featured on every
track. His work on Arrival may be the
best-recorded representation of his
true virtuosity. LaFaro would record
and perform with Feldman several
more times during his career, includ-
ing the album Latinville! (Contem-
porary Records: 1960). Other notable From left, LaFaro,
Bill Evans, Paul Motian
recordings from the period include
the Cal Tjader-Stan Getz Sextet 1958
Fantasy recording, For Real, where and often bold in his views, he insist- and Herb Geller, and His All-Stars stint with the Miles Davis Sextet and
LaFaro is again featured extensively. ed that Kenton replace his drummer Play Gypsy (ATCO Records: 1959). was now looking for a new direction
In 1959, LaFaro briefly took a in favor of one of his approval. As a re- On October 28,1959, Scott LaFa- where he could develop a concept in
break from small group playing and sult, he was fired from the gig. At this ro’s life changed when he first met pi- which the bass and drums were not
toured with Benny Goodman before point, LaFaro returned to freelance anist Bill Evans at a recording session to be used primarily as a rhythmic
joining the modernistic Stan Kenton activities where he continued to work for clarinetist Tony Scott. LaFaro was entity but as an equal countrapunc-
Orchestra. LaFaro was an admirer of at several Los Angeles jazz clubs and already interested in Evans’ playing tual voice. With LaFaro and drummer
Kenton’s music from childhood but on some fine albums such as Modern and had told many of his peers that Paul Motian, Evans found the perfect
felt limited in his role within the band. Touch of Marty Paich-The Broadway he desired to work with the pianist. combination that would create the
Extremely confident in his abilities Bit (Warner Bros. Records: 1959) Evans had just come off a celebrated mood he envisioned for his new trio.
NJJS.ORG JERSEY JAZZ APRIL • 2021 19JAZZ HISTORY
The sound of Evans’ trio was first lived a clean and disciplined life. in a free context. Many found the June of 1961, the Bill Evans Trio had
revealed on the 1959 recording Por- During breaks with Evans, music jarring and dissonant while a two-week engagement at the Vil-
traits in Jazz (Riverside: 1960). The LaFaro hooked up with another great others found it freeing and a sig- lage Vanguard in New York, and the
album created an incredible interest jazz innovator in Ornette Coleman. nificant creative achievement. trio was recorded on their closing
in the trio and in LaFaro’s bass in- Coleman changed jazz’s trajectory By 1961, LaFaro was mostly di- night on June 25. These recordings
novations. LaFaro remained a mem- with his “free” approach, which viding his time between Evans and were released on the album Bill Evans
ber of the Bill Evans’ Trio until his eliminated the overuse of written Coleman while still finding time to Sunday at The Village Vanguard and
death; however, the group was often and preconceived arrangements. play and record with other jazz ex- Waltz for Debby (Riverside: 1961). The
forced to take breaks due to Evans’ With Coleman, LaFaro recorded perimentalists such as trumpeter albums now serve as a dedication to
struggles with heroin addiction. The the controversial album Free Jazz Booker Little and composer/conduc- LaFaro’s life and the achievements
incredible impact drugs had on Ev- (Atlantic: 1961) which is a 36-min- tor Gunther Schuller. He also began of Evans’s first great trio. After the
ans and many of LaFaro’s contempo- ute experimentation in which two taking a serious interest in composi- Vanguard sessions, LaFaro joined
raries was a constant frustration for separate groups play unrelated tion, of which he only completed two, Getz, drummer Roy Haynes, and
the bassist, especially since LaFaro material together at the same time “Gloria’s Step” and “Jade Visions.” In pianist Steve Kuhn at the Newport
Jazz Festival on July 2. The Newport
“
gig would be his final performance.
On July 5, 1961, LaFaro, who
DURING BREAKS WITH EVANS, liked to drive fast, traveled eight
hours from Newport to Geneva to
visit his mother. He then spent the
LAFARO HOOKED UP WITH ANOTHER day swimming and hanging out with
old friends. Late in the evening, he
GREAT INNOVATOR IN ORNETTE COLEMAN.” and his childhood friend, Frank Or-
tley, drove 80 miles to Warsaw, NY,
NJJS.ORG JERSEY JAZZ APRIL • 2021 20JAZZ HISTORY
where he met up with several more It has been over six decades since lene LaFaro-Fernandez (Reissued in
acquaintances, including musicians LaFaro’s death, and still, he is recog- 2014 by the North Texas University
Gap and Chuck Mangione. After a nized as one of the most outstanding Press). Grammy-nominated bassist
night of drinking coffee and listening bass technicians of all time. Even and producer Billy Mohler summed
to records by Chet Baker, and Bela today, few professionals can match up LaFaro’s impact on jazz bass play-
Bartok, LaFaro and Ortley decided his technicality and inventiveness ing by calling him “one of the elite
to make the long drive back to Ge- on the instrument. Since LaFaro’s bassists that I would call a virtuo-
neva. Around 1:45 a.m. LaFaro fell death, new recordings have surfaced so. His lyrical hornlike phrasing and
asleep at the wheel and crashed into of his playing. His life has been com- advanced rhythms put him in his
a tree. The car exploded, and both memorated in the biography, Jade own league as a bass soloist. Scott’s
LaFaro and Ortley died instantly. Visions: The Life and Music of Scott playing made shockwaves in the jazz
Scott LaFaro’s death rocked the LaFaro, written by his sister He- world that are still felt to this day.”
jazz world and the musicians who
loved him. Bill Evans was so dis- Bassist Jay Sweet is an Adjunct
“
traught that he barely performed in Professor in the Department of Music
SCOTT LAFARO’S DEATH
public for a year. With his passing, and Theatre Arts at Monmouth
LaFaro joined a group of jazz innova- University in West Long Branch, NJ,
tors such as Bix Beiderbecke, Clifford and is the Founder and Director of
Brown, Charlie Christian, Jimmy
Blanton, and Booker Little, who died ROCKED THE JAZZ WORLD AND Sweet Music Academy in Howell, NJ.
He studied Bass Performance and
in their 20s at the peak of their de-
velopment. Of course, one can only
imagine what more could have been
THE MUSICIANS WHO LOVED HIM.” Composition at the Berklee College
of Music in Boston and received a
Masters in Jazz Research and History
achieved had LaFaro lived longer. from Rutgers-Newark University.
NJJS.ORG JERSEY JAZZ APRIL • 2021 21TALKING JAZZ
A Jersey Jazz Interview
with John Lee
BY SC H A E N FOX
B
assist John Lee spent 10 years with Dizzy Gillespie
and continues to keep his music alive through
several tribute groups such as the Dizzy Gillespie
Alumni Band, the Dizzy Gillespie All-Stars, and the
DG Afro-Latin Experience. At presstime, he was
scheduled to perform with the Afro-Latin Experience
in May at the South Orange Performing Arts Center.
NJJS.ORG JERSEY JAZZ APRIL • 2021 22TALKING JAZZ
JJ Are you from a musical family? He called me on a Sunday morning,
JL No. Actually, my father was a and said, “Max Roach is having au-
Methodist minister, but he had played ditions up in New York. You should
all the bass clef instruments in the do an audition. It’s good experience
Navy band. He played tuba and trom- for you. You won’t get the job, but
bone and bass, and he had a great you should do it.” So, I got a buddy of
love of jazz. Both my parents did. mine to drive me to New York. I au-
ditioned with Max, and I got the job.
JJ How did they feel about The dean had a policy that if any
your being a musician? music students were able to get a
JL They were very supportive. I start- professional job and had to go on the
From left, Jimmy Heath, Lee, and Rich Okun, retired Floor Manager of New York’s Blue Note.
ed playing the string bass in fourth road — if he approved it — you could
grade in the Amityville, Long Island, go for a few weeks, and study on the
school system. They had a great trained, and there were a lot of great er died when I was 15. Then I lost road. Monday morning, I told the dean
music program, and a great teach- programs in Long Island at that time my father when I was 25. He ac- I had the job with Max Roach. He was
er, Carolyn Lush, who taught all the for classical music, but I always had a tually met Dizzy once and always quite impressed, and I got to go with
string instruments. She was a great love of jazz. My parents were always talked about that. He did see one of Max. The thing was, I learned more
inspiration to many of us. When I was playing Dizzy, Count Basie, Sarah my first big gigs with Max Roach. about jazz in the first two weeks with
in the ninth or 10th grade, one of the Vaughan, Carmen McRae, Ella Fitz- After I graduated from high school Max than I learned the whole semes-
seniors, a cello player named Ronnie gerald, and Duke Ellington at home. in Philadelphia, I went to what is ter in school. I decided I would take a
Feldman, auditioned for the Boston now known as the University of the year off to pursue that course. At the
Symphony and made it. For all of us JJ Did your folks get to see Arts. I was in school with a great time Reggie Workman was Max’s reg-
young musicians it was an amazing you playing with Dizzy? bass player named Stanley Clarke, ular bass player. He had gone to South
thing to witness. I was classically JL No, unfortunately my moth- who was a few years ahead of me. America to work with Stanley Cowell
NJJS.ORG JERSEY JAZZ APRIL • 2021 23TALKING JAZZ
and Charles Tolliver. When he came
back, Max encouraged me to go back
to school and finish getting my degree.
“
DIZZY JUST HAD When Gerry and I broke up our
band, he moved to Los Angeles. He
was more interested in the R&B world.
Right after that, Stanley took
me over to Herbie Hancock’s house. SUCH A GOOD TIME ON I stayed in New York and joined Mc-
Coy Tyner’s band in ‘82. Gary Bartz
Herbie had a good friend in Hol-
land, a flute player named Chris
Hinze. Herbie said, “This guy is on
STAGE EVERY NIGHT.” called me one night and said, “McCoy
wants an electric bass player. He just
made an album with Stanley Clarke
CBS Records like myself. He’s look- and Phyllis Hyman, and the music
ing for an American rhythm section was written for electric bass. Carlos
for a year.” Stanley said, “Well, I just helped us develop our playing, too. We New York, and that’s where I kind of Santana was on the album. And he still
joined Chick Corea’s band, but may- spent about a year and a half more started my career as a leader. I started needs a guy that can also swing and
be John’s interested.” He gave me the than we had planned with Chris. We freelancing with people like Pharoah play fast tempos on the electric bass.”
address, and I sent a little tape over developed a lot of relationships with Sanders, Lonny Liston Smith, Nor- There aren’t many of us who could do
to Holland. About two weeks later, he up-and-coming musicians in Eu- man Connors; and I got the gig with that. So, that kind of worked out. And
called and said, “I want to hire you for rope. In particular, the Belgian gui- Larry Coryell and the Eleventh House I did that for about 2 1/2 years. Then
a year and whoever that drummer is tarist Philip Catherine, German pi- (a jazz fusion group). I did a few re- McCoy broke up that band in ‘84,
on the tape with you. I’d like him to anist Joachim Kühn, and the Dutch cords and toured all over the world
come, too.” That was Gerry Brown. pianist Jasper Van’t Hof. After that with him for about 2 1/2 years. That JJ Then you went with Dizzy.
I was just 20, and Gerry was job was over, we spent the next few took me up to about ‘77. And then How did that happen?
21. Fortunately for us, our neighbor months living there and traveling Gerry Brown and I formed our own JL I was supposed to be subbing for
in Holland was a great saxophon- around Europe. We finally came band. We did two records with Blue Bob Cranshaw on a gig, and he called
ist named Charlie Mariano. Charlie back to the States in October of ‘74. Note Records and two for Colum- me at the last minute to tell me, “Diz-
became like a godfather to us and When we came back, we moved to bia Records right up to about ’82. zy needs a bass player Friday night
NJJS.ORG JERSEY JAZZ APRIL • 2021 24TALKING JAZZ
in Memphis. He just fired his bass
player, and you’re perfect for the
job.” I flew down to Memphis, and
played with Dizzy. After the gig, he
asked me to join his band. That end-
ed up being almost 10 years. I was
the mainstay through three different From left, Abelita
incarnations of his bands plus the Mateus, Lee,
Tommy Campbell,
big band and the United Nation Or-
Sharel Cassity.
chestra. He always kept me along.
JJ Did you have to change any- his big band days and then the small bebop, swing music, bossa nova, Latin tired we were, once we hit the stage,
thing in your playing going from group, of course, and then there music, Afro Cuban, ballads or music it was a party. Dizzy just had such a
the small groups to the big band? is the United Nation Orchestra. influenced by Argentina from his days good time on stage every night. He so
PHOTO COU RT ESY O F NEW B RU NSWI CK JAZZ PROJ ECT
JL A lot of the songs were the Dizzy always said he loved the with Lalo Schifrin. He would cover enjoyed playing music and his audi-
same, the big band arrangement music south of the border. Dizzy was all different styles and keep it fresh. ences. That’s what I remember the
of “A Night in Tunisia” and things also one of the first jazz musicians most: the joy of it. It was great joie de
like that. The thing was, with Dizzy to explore Brazilian music with his JJ What are your best memories vivre with Dizzy. But he was a man of
there were a lot of different musical early recordings of “No More Blues” of being with Dizzy? very, very profound wisdom. I always
avenues. We would do a lot of con- and “Desafinado.” Stan Getz gets all JL One thing I should point out is used to say that it felt like there were
certs with symphony orchestras. the credit, but Dizzy was actually first, that we traveled constantly. In those three different relationships there:
He had his music arranged for an before “Girl from Ipanema.” The won- days, I was on the road 250 days a year. There’s the leader-sideman relation-
82-piece symphony orchestra. Then derful thing about playing with Diz- No matter how hard to travel was, or ship, the father-son relationship, and
there is the classic big band from zy was a typical concert would have how far away we had to go, or how a brother relationship. But he was
NJJS.ORG JERSEY JAZZ APRIL • 2021 25TALKING JAZZ
just a down-to-earth real soul. We his wife asked if I’d be interested group records. Now there is a third JJ Tell us about your Jazz
played for many heads of states and in doing some kind of program to band called The Afro-Cuban Expe- Legacy Productions (JLP).
monarchs. He treated the president continue his music. I started a pro- rience or the Afro-Latin Experience. JL After Dizzy left, I got further
the same way he treated a garbage gram called “Dizzy, the Man and the So, there’s actually three separate into producing at a small record
man. There was no pretension at all. Music.” We’d go to colleges and do projects. The big band, the All Stars, company called Jazz Legacy
a multimedia presentation of Diz- and the Afro-Cuban Experience. Productions. We put out about
JJ How did you find out zy’s music with films, and photos. 20 Records. Except for the Monty
about Dizzy’s cancer? At the time, I was producing JJ I was going to ask; do Alexander albums, which were
JL Oh man! We were out in Seat- some records for Shanachie Re- you have any gigs coming done live, they were all recorded
tle, and Dizzy got sick. That turned cords. They asked if there was any up? And then I just realized, in my house, in my present studio.
out to be our last engagement. We pet project that I wanted to do. I said, we’re still in a pandemic. They’re all a labor of love.
were actually on our way to Argen- “I’d like to do a tribute album to Diz- JL We actually have a gig on the The record business got harder
tina and South Africa. Instead, we zy.” We did an album called Dizzy’s books in May at SOPAC with the and harder to make money in, but
came back to New Jersey, and Diz- 80th Birthday Party — myself, Jon Afro-Latin Experience, featuring I’m still continuing to produce.
zy was diagnosed and had surgery. Faddis and Cyrus Chestnut, among Paquito D’Rivera as special guest on Actually, one of my productions
That was kind of the end of it. others. That’s where the whole Diz- May 8, God willing. We’ll see how this won the Latin Grammy last year
zy Gillespie Alumni thing started. It goes with the pandemic. (The Gi- for the best jazz album of 2019, so
JJ How did you get involved in was then called The Dizzy Gillespie ants of Jazz concert produced every I’m a Grammy winner now. The
the Gillespie tribute groups? Alumni All-Stars. About a year after year by Lee at SOPAC is tentatively album, called Jazz Bata 2, is with
JL I was the straw boss in the band that, we restarted the big band. By scheduled for November 20. Last the great Cuban pianist Chucho
for the last five years. I would do a about ‘95, we had the Dizzy Gilles- year’s GOJ was canceled. The 2019 Valdes. It was a really joyous
lot of the business for him, helping pie Big Band going and the Alumni event honored the late Harold Mab- project, and we got nominated
with payroll and things like that. So, All-Stars. Since then, we’ve done ern and was covered in the January/ for the Grammy. It was a really
about a year after Dizzy passed away, three big band records and two small February 2020 issue of Jersey Jazz). nice surprise when we won.
NJJS.ORG JERSEY JAZZ APRIL • 2021 26TALKING JAZZ
JJ When you moved to New Jersey Rosnes and Bill Charlap live around
were you looking for a place to the corner. Dave Stryker lives five
convert into a home studio? minutes from me. Vic Juris lived
JL Oh yeah, definitely. I just want- across the street from him. Rosean-
ed a house big enough where I could na Vitro just moved down the street
isolate some of the musicians. Good from me. Thelonious Monk Jr. and
recording is about isolation so all my old partner Gerry Brown live in
the sounds blend when you’re put- South Orange. Oscar Perez and Chris
ting the record together. The house Berger are over in West Orange.
we found has a nice place for the We lost so many people around
control room. Then I wired it up here last year. Within two months, we
so I could isolate the musicians lost Claudio, Jimmy Heath, Wallace
in different places in the house. Roney, Vic Juris ,and Lee May, the wid-
ow of the great bass player Earl May.
JJ I read that you were influen- Earl was with Dizzy in the old days.
tial in getting other musicians
to move into the area and that JJ Is there any film, novel or
you lived close to Claudio Roditi. play that you feel would give us
JL I’m up the hill from where Clau- non-musicians a good idea of
dio was. I actually found his house what a musician’s life is like?
for him. There are so many guys JL The most memorable jazz mov-
around here now. I don’t know how ie in recent years is Round Midnight
instrumental I was with the others. with Dexter Gordon, which is really
Don Braden lives here, and Renee the story of Bud Powell and his friend
NJJS.ORG JERSEY JAZZ APRIL • 2021 27You can also read
