Portland Jazz Festival with Miles Davis program

Transcription

Oregon’s Jazz Magazine
December 2011
Thara Memory will open 2012
Portland Jazz Festival with Miles Davis program
Trumpeter, composer and educator honored as this year’s
Portland Jazz Master
W
By Lynn Darroch
hen he was 12 years old, Thara Memory discov“So I said, ‘Well, no, not compared to you. But I can
ered Miles Davis.
hold down my own thing,’ I told him; ‘I can hold down
“The older cats really encouraged me to listen to
my own thing and bring some people up with me.’”
Clifford Brown and Lee Morgan,” he says, “but Miles was
And so, when Memory opens the 2012 Portland Jazz
the one that struck me. I
Festival February 17, with
listened to ‘Porgy and Bess’
a headline appearance in
everyday, and I walked
the Winningstad Theater,
around playing the lines.
he’ll perform an all-Miles
Then one day I realized I’d
program. And he’ll be usnever be as good as him.
ing many student musicians
And I cried.
from his Pacific Crest Jazz
“But the next day, I
Orchestra in the 23-piece ensaid, ‘I’m gonna try the best
semble he’s assembled.
I can.’”
“Everybody loves the
So Memory started atmusic of Miles Davis,” Memtending every Miles Davis
ory points out, “but hardly
concert that came within
no one plays it. That’s the
his range, and one day, the
point I’m trying to get after.
man they called “The Dark
I’m trying to put it back on
Prince” approached and
the table.”
said: “You’re that trumpet
And not just “All Blues”
photo by Alfredo Lattenmaier
player, aren’t you?”
or “Four,” either. Memory’s after big“Now you know, that man was never flattering,” says
ger game.
Memory as he recalls the encounter. “So Miles says, ‘I bet
“The larger wind orchestra performances? You never
you can’t play worth a shit.’
heard those. Clark Terry did that recording of ‘Porgy and
“And what was I to do?” Memory asks. “You take
Bess’ about 10 years ago, but that’s about it. They don’t
comments like that in reverse, and you go, ‘Ah this cat recplay it because the lines are so sparse that you can’t inognizes me on some human level, and he knows that I can
stantly fatten ‘em up and get a giant solo and rounds of
really play or he wouldn’t be standing around looking me
applause.”
in the eye.’
But Memory intends to, in a program that will in-
Inside!
Continued on page 4
George Cooligan makes Portland debut
KMHD Update
Musician of the Month - Karla Harris
Prez Sez ....
We need your support -- consider gift memberships, tax-deductible donations to the JSO
D
ecember is finally here. It’s
time to get out the holiday
CDs again, and maybe give
yourself an early gift by attending one
of the special concerts celebrating the
season. They start right away, so don’t
wait until mid-month to see what is
coming.
I have another gift suggestion. A
gift membership to the Jazz Society is
a great choice for the special people in
your life. When you give a JSO membership, they will be reminded of your
thoughtfulness each month when their
Jazzscene arrives. You will be able to
share in discussions of the interesting
articles and CD reviews, and can use
the calendar to plan jazz nights out
together. This sounds like a pretty
good present to me.
A new jazz club, Ivories Jazz
Lounge and Restaurant, has opened
in the Pearl at 1435 NW Flanders.
From my point of view, there is always room for more jazz, and this
club promises to be a little different.
Owner Jim Templeton has created
a piano bar and a stage for jazz
P
SOCIETY
OF OREGON
P.O. Box 19882
Portland OR 97280
503-427-1676
Web site: www.jsojazzscene.org
Jazzscene is published monthly and
distributed to Jazz Society members.
ensembles. He will be featuring local
and regional musicians each month
with an early and a late set. I stopped
in at Happy Hour about a week after
the club opened, and I got a chance to
hear Matt Schiff on guitar with Rick
Homer on trumpet. I was impressed.
This club is a nice addition to the local scene. I recommend checking it
out. They even have a Sunday brunch.
http://www.ivoriesjazz.com/index.
htm
This month’s member night is
Thursday, December 8, at the Blue
Monk. Alan Jones will be hosting a
jazz jam beginning at 8:00 pm. Join us.
Jam sessions are always fun, and you
will get a chance to hear folks you may
not have heard before. Besides, this is
a good way to thank the Blue Monk
for continuing to support jazz.
As you finish off the year, please
consider making a tax-deductible donation to the Jazz Society. We thank
you very much for past generosity,
and we hope you can help us again.
We really do need your financial support.
Happy Holidays to all of you.
Bill Powers
President, Jazz Society of Oregon
[email protected]
503-427-1676
The Jazz Society of Oregon
Membership Application/Renewal Form
Or join/renew on-line at www.jsojazzscene.org/membership.htm
Questions/Information: [email protected] Phone: 503-427-1676
Benefits of membership in the Jazz Society of Oregon!
!
!
!
!
!
!
!
Support America's original art form - JAZZ!
Support local jazz musicians, clubs and events
Support students of jazz
Reduced admission prices to JSO sponsored events
Your very own copy of the JazzScene magazine
JSO is a 501(c)3 Non-Profit Organization
Contributions are tax deductible
Membership Categories
1 Year
Regular
$42
Professional Musician
$36
21 and under / 65 and over
$25
Business
$50
Become a member now!
Name:
___________________________
E-mail:
___________________________
Phone:
(day) _______________________
(night) _______________________
Address:
___________________________
___________________________
2 Year
$74
$60
$45
$90
Patron Categories
(includes complimentary membership)
Sideman
$100 - $249
Soloist
$250 - $499
Band Leader
$500+
City/State: ___________________________
Zip +4:
___________________________
Membership Category: ______________
1Year: ____ 2 Years: ____
New: ____ Renewal; _____ Gift: ______
I wish to volunteer with JSO
Areas of volunteer interest _____________
President: Bill Powers
____________________________________
Vice-President: Eric Weber
Referred by JSO member: ________________________
Secretary: Richard Lazere
____________________________________
(For new memberships, a 3 month extension is given to
a referring member.)
Treasurer: Arthur Marx
Jazzscene Editor: Lynn Darroch
Return this form with payment to:
Jazz Society of Oregon, P.O. Box 19882, Portland, OR 97280
Jazzscene email: [email protected]
________ (includes free e-mail delivery of Jazzscene)
Amount Due: Membership fee
Calendar Coordinator: Shelley
+ Printing/Postage fee
________ (EMAIL $0, US Mail $39 (1 yr), or US Mail $78 (2 yr) )
Garrett
+ Patron/Donation amount ________ (Thank You! Donations are tax-deductible)
Email: JSODATES @aol.com
JSO Board of Directors
Chuck Carpenter
Jolie Jordan
Richard Lazere
Ken Loveall
Arthur Marx
Scott Phillips
Bill Powers
Margie Smith
Eric Weber
Total: ________
Check/Money Order__, Visa__, MasterCard___
Name on Credit Card: ______________________________________________________
Credit card No.: ___________________________________________ Exp Date: _______
Signature: ___________________________________________________ Date: ______
2
“We get such good statistical information about our audience these days with People Meter data
collection, that it’s easy to pinpoint what sounds are performing well and resonating with them.” Matt Fleeger
Another year of change at KMHD
I
Audience focus pays off for area’s jazz radio station
n December, 2010, we introduced jazz radio station KM- of music; it’s only fitting that a full time station would, in
HD’s Program Director, Matt Fleeger, to Jazzscene readsome part, work to educate listeners about the history of
ers in an article by Kyle O’Brien about the station and
the music. But we still want to be a place where people can
the future of jazz radio. So far, it looks
tune in when they [simply] want their
like the future’s been good to KMHD – at
Jazz “fix.” Our job, when we’re doing
least the past 12 months.
it best, is to be entertaining and educaIt’s been another year of changes at
tional without being “stuffy.”
Portland’s 24/7 jazz radio station, which
KMHD’s “home sound” – you dewas managed by Mt. Hood Community
scribed it as “classic jazz from the ‘50s and
College until a partnership was arranged
‘60s … by classic labels like Verve, Blue
in 2009 with Oregon Public Broadcasting
Note ... and the sub-genres developed during
that allowed it to manage and house the
that time.” Definition accurate? Successstation at it’s Macadam Avenue headfully implemented?
quarters.
Yes, that’s an accurate descripphoto by Peter Machado
We checked in with Fleeger by
tion. “Home sound” is what most of us
email to see what’s been going on at the station with a
think of when we talk about “classic” jazz. That’s the Blue
weekly cumulative listenership that’s second largest in the
Note/Verve/Columbia/Savoy/Prestige/Atlantic sound of
country. It’s a key player in event sponsorship and one of
the mid-1950s through the mid-‘60s. It’s swingin’, upbeat
the many forces that make Portland a jazz mecca.
and melodic. We aim to play this sort of sound about 70%
The biggest change in the past year, perhaps, has been
of the time during the day.
a shift to paid DJs in weekday morning (Monday-Friday)
You mentioned use of social media and live stream – has that
and afternoon (Monday-Thursday) drive times. Program
helped increase listenership?
Director Fleeger also has a show Monday-Thursday, noonStreaming and social media have increased our online
1:00 pm, that features new releases, though the station is
listenership -- that’s for sure. It also allows our terrestrial
still staffed primarily by volunteer announcers.
listeners to take us with them wherever they go (via computer or mobile phone apps). Our monthly online listenerHave listener numbers grown in the past 12 months?
ship is quite high for a Jazz station.
We’ve seen a sizable increase in our audience over the
You estimated you were “60% done” transforming the stapast year. While our listenership has grown, it’s also betion (a process that began in July 2009). Where are you now?
come younger. Also, time spent listening to the station is
What’s left? rising, which is a very good sign. These are good signs that
We’re a good way there. But improvement never ends.
our goal of striving to be a more consistent station is startSuccessful broadcasters are always in a constant state of ading to pay off.
justment and flux. I feel we’re putting a really good prodAs another goal, last year you mentioned a need for a balance uct out there at this point. But we’re always looking for
between education and entertainment. Has that been achieved?
new ways to serve our listeners and to make their listening
How?
experience with KMHD more beneficial and enriching.
This is still the goal, since Jazz is such a deep genre
We now have a place on our schedule for just about every part of the story of Jazz, from the ancient to the future.
In a journalistic sense, if we’re telling the whole story of the
music – I feel we’re doing the right job.
Any other changes of note?
KMHD has been shifting from being a station with a
“producer” focus to one that is “audience” focused. We
get such good statistical information about our audience
these days with People Meter data collection that it’s easy
to pinpoint what sounds are performing well and resonat8:00 pm
ing with them. Every decision that we make is with the
audience in mind. On a personal level, that’s what I love
The Blue Monk
about working in public radio -- we’re not trying to sell this
3341 SE Belmont St.
product to any corporate interests or advertisers. We’re just
503-595-0575
trying to make our listeners happy!
JSO Member Night
Thursday, December 8
Alan Jones Jam Session
3
Thara Memory - continued from page 1
clude numbers from “Porgy
and Bess,” “Sketches of
Spain” and several later
works, including “Tutu.”
But how did those years
of studying and playing the
master’s lines lead to Memory’s “own thing”?
“I wasn’t trying to sound
like Miles,” he explains. “I
was trying to feel like Miles.
That’s the whole point of the
project – use your passion and
try to draw out some of the
things in the music that Miles
did."
Memory hears “inner music” in Miles Davis. Let him
explain:
“If you are smart enough to know where [Davis’s]
music is going,” he says, “you can become comfortable
enough to deal with the various levels of emotion that it
lays out for you. And then the musicians get something
back that you hardly ever get back from other people’s
music – you get comfort.
“Generally, you’re on the bandstand playing, there’s
not much comfort, my brother,” Memory says. “The money’s not right, the audience is not right, and everything’s
kind of stark and bleak at times. But that particular music,
once you’re inside the door, there’s a comfort inside the
playing.”
To make sure his musicians get inside thast Miles
Davis door, he started rehearsals for the February concert
during Thanksgiving week.
“If you don’t polish a stone, you can’t expect it to
shine,” he says. “That’s why I’m starting early. I want to
go over the arrangements – not to make ‘em better, but
to see if we can find that comfort and give it away to the
audience.”
As important as those big wind ensembles are to
Memory, he plans to close the program with a solo.
“I’m going to play ‘Seven Steps to Heaven’ – something that’s been really close to me,” he says. “When I
first met Mel Brown, that was what he wanted to play.
We were athletes then. I’d be
jumping around, and Mel’s
ready, Michael York’s ready,
and I’d say, ‘Seven Steps…,’
and we’d go into orbit.
We pushed the envelope
– pushed the passion, the
speed, the level of creativity.
Now I’m a lot more seasoned,
and it’ll be a little different.
Because I want to really get
down to the soul of it.”
It’s not that he doesn’t
have complete confidence
in the unit he’s assembled,
even if it features a number of young players. Though
Memory’s honored nationally as a jazz educator, he’s not
using the students just to demonstrate his commitment to
the next generation.
“No. The reason is, they’re sounding good,” says
Memory. And indeed, his young jazz orchestra will soon
be heard on four tracks of Artist of the Year Esperanza
Spalding’s new CD, “Radio Music.”
“When Esperanza took the first two cuts of those
kids back to New York, [saxophonist and bandleader] Joe
Lovano gave me a phone call, and he said, ‘You close your
eyes you cannot tell these are kids. So whatever you’re
doing, you keep on doing it.’ They thought it was very
hip – the arrangements and that youthful sound,” says
Memory.
“I usually use three or four professionals in the student band as guides,” he goes on. “All you need is guides,
and the student musicians play right up to the mark. They
come out there, all their music is memorized … because a
lot of times, I like to have the band play without reading.
So I can reshape it. All for the sake of getting some comfort from the music.
“That’s where I’m at in my life right now.,” says Memory, 64 and suffering from the effects of diabeties that cost
him a finger (David Monette designed and built Memory
a custom, two-valve instrument so he could continue
playing). “I’ve gone through the whole athletic thing. I’ve
continued next page
Thara Memory on jazz education
degrees. Everybody in Curtis Salgado’s band has a graduate degree. There you have it.
“There’s almost no room for people who are bright,
talented and can seriously play,” he says. “Rassan Roland
Kirk? They would have put him in a mental ward and
dismissed him long ago. John Coltrane? They would have
thought he was on drugs.”
His advice?
“You have to learn to survive within this framework,”
he says. And several of his star pupils, including Spalding
and saxophonist Hailey Niswanger, seem to be doing fine.
Though he’s devoted much of his life to it, and is a
product of high school and college studies in both classical
music and jazz, Memory isn’t comfortable with the nearuniversal belief these days that playing jazz requires a formal music education.
“Eddie Harris told me, ‘Thara, one day you’re going to
have to have a degree to play this music in a nightclub and
talk to people about it.’
“And he was right. If we take 50 Portland musicians
making their living from music, 80% of them will have
bachelor’s degrees, and 50% of those will have graduate
4
Thara Memory - continued from page 4
– which I accept graciously. My plans are – not to come off
of it. I’m going to see how much I can get out of this Miles
Davis project. I’m going to just do the concert music and
see what it does. I’ve already booked a noon lunch at City
Hall and I’m hoping to book a moderately big concert in
the atrium at City Hall – as a prelude to the Jazz Festival
performance. And every performance will be totally different,” he adds with enthusiasm.
“That’s why I have the large ensemble get rid of the
music sometimes. Learn your parts and then, let’s put the
paper away. I love working without a net. I’m not afraid, I
have no apprehensions. I love working without a net.”
If you do fall, “you screw up big time,” Memory says.
It doesn’t stop him, though.
“I’m in the wheelchair for a while now,” he says. “But
you can still play from the chair. Second to last time I saw
Miles, he was in a wheelchair.”
Still finding comfort in Miles and holding down his
own thing, Memory continues to bring others up with
him, too.
gone through the whole thing where I was mad as hell at
everybody and at how artists are treated in this country,
and how others can make a living and we can’t make a
living. I’ve gone through every one of those stages, and
I’ve beat them all, and now, you do the stuff that really
enriches you.
“Reason number one,” he continues. “You take 20 club
gigs in a month. And you take one concert that month;
you’re not going to make any more money on 20 gigs than
you will on that one concert. It’s been proven. And if you
only break even, that’s really cool and enriching [anyway]. It shows that the artist has the power to control not
only his own artistic destiny, but economic also.”
And Memory’s determined to prove it.
“This is the second time I’ve been invited to play on
this level,” says the man who first came to Portland with
Joe Tex and stayed to play in area clubs for 40 years. “The
first was when I opened the Monterey Jazz Festival with
Esperanza. The Portland Jazz Festival, this is the first time
with my name on it, and people labeling me a Jazz Master
Editor's Corner
Sunday Night Jazz @ The Blue Monk completes first year
Producing a weekly or monthly series of concerts is becoming a popular way to present jazz -- even if it’s in a nightclub.
In the past 12 months, the Portland Jazz Festival has produced
such events in partnership with Tony Starlight’s Supperclub and
Lounge and, currently, at The Mission Theater. Other series have
included Sunday nights at The Crow Bar (curated by guitarist and
composer Dan Duval) and the fledgling series produced at the
Community Music Center by Tim Willcox.
“Ninkasi Presents Sunday Night Jazz @ The Blue Monk”
began in late November, 2010, with a concert by The Quadraphonnes Saxophone Quartet, and Quads member Mary-Sue Tobin
curates the series. So it was only fitting to celebrate its first year
of weekly concerts last month with a return engagement by the
Quads. The series has presented a different group every week,
offering area artists an opportunity to present music – and combinations of musicians – not regular heard in club gigs.
This month’s schedule includes the Tim Paxton Ensemble (124), Trio Subtonic 12-11) and Tom Wakeling12-18.
Jazz in Portland – can it get much better than this?
Jazz clubs come and go, but since Jimmy Mak’s moved to its
current location, we've rarely see a new venue designed for jazz.
But that’s what the new Ivories Jazz Lounge and Restaurant offers. Owner Jim Templeton has designed a club he’d like to play
in – and he does: solo piano and in a trio weekly. Ivories joins
Jimmy Mak’s, Touche and The Camellia Lounge to form a jazz
nexus in the Pearl. The Sylvan Steakhouse is now hosting the Ron
Steen jam on Mondays.
Good news is often tempered by bad in the world of jazz venues, though. Pianist Jeanne Ronne reports that, as of January 2,
2012, there will no longer be a Sunday brunch at the Benson Hotel; the hotel is closing the dining room for all meals. Ronne has
played the Benson’s Sunday Brunch since 1980.
Several concert series are going strong (see above), however,
and Portland continues to attract top players who want to live –
and work – here, including recent arrival George Cooligan (see
article this month on his debut) and others who have added to the
roster of nationally-known musicians on area stages.
Portland hosts a 24/7 jazz radio station (KMHD – see update in this month’s issue), an award-winning international jazz
festival with some year-round programming and educational
outreach, and, of course, a jazz support organization in the JSO
with its monthly magazine and calendar. The area is also home to
a number of college-level jazz studies programs as well as excellent instructors teaching student musicians in public schools and
other programs. Jazz also receives regular coverage in the online
magazine, Oregon Music News. Many musicians have testified to
the variety and depth of the scene, and the positive impact it has
on their development.
As a volunteer host on KMHD (Bright Moments! Fridays, 1-4
pm), I broadcast at least one live performance by Portland musicians every week: more than 200 different players in two years.
Videos of some of those performances are on YouTube at Brightmomentspdx,; they’ve received more than 25,000 views.
For many jazz musicians, there are never enough opportunities to work, though, and performances are often under-compensated, given the quality of the artists and their value to the community as a cultural force. And not everyone agrees that all is well
with jazz in Portland, including the subject of our cover story this
month, Thara Memory:
“Some people think, because there is one radio station playing
jazz, it means that all is well. No, it just means you’ve got one doctor roaming the hall for 500 patients. One doctor roaming the halls
playing this boom box.”
Interesting analogy. Memory implies there’s a population in
need of more jazz. Let’s hope he’s right, and that the lack of opportunities and adequate pay will be addressed as they find their
way to what’s already on offer and support more.
But at present, the scene’s brimming with talented players
providing quality music in such quantities that every night of the
week a listener’s faced with a number of equally compelling alternatives.
5
Holiday albums go beyond traditional fare ... Flouzat disc shows where jaz should be going
In a Yuletide Groove, Chris Bauer.
This holiday disc is subtitled “Harmonica Jazz for the Holidays.” So when you ask yourself, how many different ways can
we hear jazz versions of traditional Christmas tunes, here’s yet
another. Harmonicist Bauer is a decent player, though not quite
on par with Toots Thielemans. His improvisatory lines are easy
and laid back, and his melodies on target, so you know what
you’re getting on this disc of yuletide standards such as “Winter
Wonderland,” “Frosty the Snowman” and “White Christmas.” If
you’re a fan of the mouth harp, you’ll probably dig this straightahead take on the season. If not, there are plenty of other holiday
options out there.
2011, Chris Bauer Music, 60 minutes.
Send Me Some Snow, Chris Standring & Kathrin Shorr.
Reviews by Kyle O'Brien
If you’ve heard “The Little Drummer Boy” one too
many thousand times and are looking for some new holiday
tunes, this cheerful disc of originals by composer/guitarist/
arranger Standring and vocalist Shorr should lift you from the
doldrum-pa-pum-pums. The tunes are hooky and melodic, like
a good holiday tune should be, but it’s the quality of the musicianship and lyrics that make this a winner. The opener, “Send
Me Some Snow,” is a catchy tune, featuring nice harmonies and
Shorr’s breathy, invitingly expressive voice. She’s like a modern
Billie Holiday meets Doris Day. The orchestration is understated
and jazzy, with Standring’s mellow guitar highlighting many
tunes, including the light Latin, “There’s No Time Like Christmastime.” You may not initially recognize any of the tunes on
this disc, but they somehow seem familiar. They make for a
lovely, and non-repetitive holiday listen.
2011, Ultimate Vibe, 34 minutes.
Vintage Christmas, David Ian.
Christmas is a time for memories, nostalgia and joy. Ian has
the nostalgia down, with this retro collection of holiday classics,
done like the great Christmas records of the ‘50s and ‘60s. Here,
the jazz trio plays a perfect vehicle to drive the melodies on
songs including “Let it Snow,” “The Christmas Song,” and “I’ll
Be Home for Christmas.” While the album doesn’t break any
new ground, it is a pleasing listen and one to have on holiday
rotation, due to its warm sound, due in part to Ian’s piano channeling players such as Bill Evans and Vince Guaraldi that brings
the jazzy warm-fuzzies out. The inclusion of guest vocalists Acacia and Andre Miguel Mayo brings welcome changes of pace but
takes away none of the honest “vintage” tone. Put this one in the
player with Nat King Cole and Sinatra, and you’re sure to have a
happy holiday party.
2011 Prescott Records, 34:25.
2Tone Christmas, Cindy Horstman & Michael Medina.
This Texas duo is an unlikely jazz pair -- harp and electric
bass – the first clue that this is anything but traditional Christmas music. Sure, you’ll recognize the titles: “Deck the Halls,”
“Joy to the World,” “Carol of the Bells.” But the execution is
New Age meets Smooth jazz. The digital production and the
mellow nature of both the bass and harp make this disc sound
like a Christmas lullaby. But after the initial Smooth jazz bore-
dom of “Deck the Halls,” complete with drum programming,
the music gets a tad more interesting, including a swinging jazz
waltz version of “Joy to the World,” which features a fine soprano sax solo by Tom Braxton. The harp isn’t overdone – thankfully -- but this disc borders on the cheesy, as on the plunky version
of “The Little Drummer Boy” or the R&B version of “Angels We
Have Heard on High.” It’s certainly not your normal Christmas
album, and it’s also a bit sleepy.
2010, Seahorse Records, 36 minutes.
Christmas in July, Elisabeth Lohninger Band featuring Axel &
Walter Fischbacher.
Serious jazzheads will love this Christmas disc by Austrian native and vocalist Lohninger. Right off the bat, you know
you’re getting something refreshingly different. She sings Mel
Torme’s “Christmas Song” to the chords
of “Giant Steps,” calling the hybrid “Giant Chestnutz.” Backed by guitarist Axel
Fischbacher and pianist Walter Fischbacher,
along with bassist Johannes Weidenmuller
and drummer Ulf Stricker, Lohninger shows
off her impressive vocal chops while taking
a trip around the musical world. She visits
Brazil, Italy, Mexico, Japan and Germany,
among other global spots, bringing a sense
of Christmas from those locales, and, most impressively, singing
mostly in the languages of those countries. Christmas is a global
holiday, and Lohninger makes sure she is respectful of the traditions she brings together. Her ear for dialects is astounding, and
her band makes sure that the multicultural music behind her is
infused with a good amount of jazz to keep it cohesive and fresh.
If you want a global Christmas, this is your disc.
2011, JazzSick Records, 60 minutes.
Still Alive and Kickin’ Down the Walls, Bryan and the Haggards.
I sang the praises of this group’s debut album, and there’s
no reason not to keep the accolades coming on their sophomore
release. The group’s approach is completely unique -- they
take songs written or recorded by Merle Haggard, and place
them into a two-beat avant-garde jazz setting. It’s an odd but
completely engaging mash of Bakersfield twang and Ornette
Coleman-style free jazz. The opener, “Ramblin’ Fever,” keeps its
simplistic country form, but saxophonists Jon Irabagon and Bryan Murray blast through with solos and lines that stray far from
the original chordal base. With guitarist Jon Lundbom chunking away at the chords, as on the two-step of “Seeing Eye Dog,”
and bassist Moppa Elliott and drummer Danny Fischer holding
down the fort, it’s a fun romp through the country-fried Southwest, with a big dose of New York cutting-edge jazz. On some, I
almost wish they took it just a bit further on the jazz side, since
a few tracks play it too safe, but the overall impact is just as cool
as the original ... if you can handle it.
2011, Hot Cup Records, 42 minutes.
One Way…Or Another, Guilhem Flouzat.
Drummer Flouzat creates the kind of sophisticated jazz that
can’t be defined easily, combining influences as vast as chamber
music and funk into a smart and cohesive modern vision. It goes
from the edgy jumps of “One Way,” featuring Laurent Coq’s taut
piano, to the pensive darkness of “Black Magic,” to the metered
outside rhythm of “Sometimes at Night,” and the music is always intriguing, if not quite melodic. For being a drummer-led
group, the percussion is surprisingly sparse. Flouzat prefers
calculated crescendos and accents over blatant flourishes, which
continued next page
6
Renee Marie's Black Lace Freudian Slip: "If we still gave stars, this one would get five!"
lowed to stretch out, but it never feels like a jam session. Instead,
that looser feel gets reined in by well-arranged original tunes,
like the reggae-meets-funk of “Like the Wind,” where Landrus
plays a breathy bass flute solo. Landrus is certainly an artist to
keep an eye on, especially considering he is one of the few folks
dedicated to big and low horns.
2011, Blueland Records, 60 minutes.
Current, Jovino Santos Neto Quinteto.
Neto is a three-time Latin Grammy nominee from Seattle,
and this native Brazilian pianist and composer is an international star on the Brazilian jazz front. Here, Neto enlists his Quinteto
group to play a mix of Brazilian jazz styles on his original tunes.
They are lively and fun, with enough musical complexity to
keep it interesting throughout on styles ranging from sambas
and choros to marchas and modern tunes. It’s the interactivity
of the players that makes this a thoroughly engaging disc. Saxophonist Harvey Wainapel is one of the best on the West coast,
and he plays off Neto’s rhythmic comping seamlessly. Percussionist Jeff Busch and drummer Mark Ivester lay down the beats,
with strong bass lines from Chuck Deardorf. It’s a tightly woven
group playing great Brazilian jazz right here in the Northwest.
2011, Adventure Music, 57:55.
elevates the music above club jazz. Saxophonists Antonin Hoang
and Ben Wendel use rounded, mellow tones to relay their lines,
making them speak louder than their actual volume. This is a
fine example of where jazz should be going.
2011, Onze Heuresonze. 51:10.
Black Lace Freudian Slip, Renee Marie.
Marie is a true vocal jazz talent, as she has proven with each
consecutive release. This one is a winner, showcasing her powerful voice and a knack for writing expressive and soulful tunes,
like the bluesy title track, a sultry song with a teasing whimsy.
Her diversity is evident here as well, ranging from pretty ballads
(“Thanks, But I Don’t Dance”) to swinging blues (“Rim Shot”),
to a quick jazz samba (“Rufast Daliarg”) to country-folk pop
(“Wishes”), with touches of bop, gospel and R&B. Marie’s voice
is big, vibrant and exciting, exuding energy and a joy for the music. If we still gave stars, this one would get five.
2011, Motema, 67:30.
Capsule, The Landrus Kaleidoscope.
On his debut, baritone saxophonist Brian Landrus shined,
displaying a mastery of his big instrument while nodding to
its past stars. Here, he branches out with doubles on bass clarinet and bass flute, among other woodwinds, while fronting an
electro-acoustic quintet. This is a more ambitious project than his
debut, and it shows his diversity. The opener, “Striped Phase,”
is a soaring fusion tune featuring Landrus’s command of the
bass clarinet over a retro-70s style groove, layered with acoustic
bass by Matthew Parish and electric piano by Michael Cain. Add
guitarist Nir Felder and drummer Rudy Royston, and you have
a fiery group playing solidly cool fusion jazz. The players are al-
The Shedd Institute - Eugene
The
Shedd
12.8 &11 Yule Be Swinging!
Christmas at The Shedd 2011
2.2-10 The Emerald City Jazz Kings:
Pick Yourself Up
2.3
Hummel Blues Harp Blowout
2.11
Ken Peplowski w/ Siri Vik
2.29 Tim Birne: Snakeoil
3.1
Woideck Jazz Heritage:
The Gershwin Brothers
3.8-16 The Emerald City Jazz Kings:
Here Come The Blondes
Ticket Office: 541-434-7000
Shows at 7:30 pm
www.theshedd.org
JazzScene-Shedd-2011-12.indd 1
Christmas at The Shedd 2011
Yule Be Swinging!
December 8 evening & 11 matinee
The Jazz Kings
Ken
Peplowski
February 11
7
Pick Yourself Up!
February 2-10
Eugene, Corvallis, Florence
11/27/2011 9:00:36 AM
Pianist Hal Galper returns to straight ahead ... Meurkens trades harmonica for vibes
Blue Note type of things that dotted the landscape back in the
day. For contrast, how about “Song Sung Long,” a tune that features the recitation of a poem by Smith’s daughter! Perhaps the
high point of the disc, however, is a three-tune trilogy by Ted
Pease, one of Smith’s fellow faculty members at Berklee. The
three tunes -- “Thad’s Pad” for Thad Jones, “Strays” for Billy
Strayhorn, and “Willis” for Bill Holman -- capture the essence of
those distinguished members of the jazz fraternity. But what you
should keep in mind is that this band swings authoritatively;
it’s freewheeling jazz with numerous vibrant solo opportunities;
and the arrangements cook up a storm.
Big And Phat Jazz, 2011, 61:42.
Live At Bird’s Eye, Hendrik Meurkens, harmonica, vibraphone.
Ah, the truth comes out! Here we’ve admired Meurkens
for years as a wizard of the jazz harmonica, but for the first time, we get
to hear him on vibes. It only makes
one wonder why it took this long. Just
pop in the first cut, a fiery Joao Donato
line called “Amazonas,” and there’s
Meurkens in flight on vibes! The mood
changes as his quartet moves effortReviews by George Fendel
lessly to “Estate.” Meurkens’ passionate harmonica is something to behold.
The buoyant Brazilian beat resumes
never approached an interpretation quite like Galper’s on “Be
with
“Sambatropolis,”
and
again the leader is featured on vibes.
My Love,” but there it is in all it glory. Galper is a high-energy
Jobim’s “Dindi” has worked its way to standard status, and
pianist; very contemporary and, in places, extremely percussive.
Merukens’ harmonica works seamlessly with the piano of Misha
He’s definitely on high beam with this trio.
Tsiganov. “Lingua De Mosquito” brings out a playful, childlike
Origin, 2011, 44:10.
quality, and Meurkens follows that with another swinging line,
Take Flight, Liz Childs, vocals.
“Noa Noa,” a little-know Sergio Mendes tune. His vibraphone
This is the second CD for Childs, a singer who seems quite
reading of “Body And Soul” is absolutely perfect as a mood
comfortable with both classic material and more contemporary
vehicles. She works here with the polished trio of Ed Maceachen, setter, and then the leader follows with another rich Brazilian
melody line on Donator’s “Minha Saudade.” The set closes with
guitar, Dan Fabricatore, bass, and Anthony Pinciontti, drums.
Jobim’s “Voce Vai Ver,” typical Jobim lyricism all the way. What
I particularly liked her easy, carefree style on such standards
a gorgeous detour for Meurkens. As much as you’ve admired
as “Dindi,” “Lover,” “Just One Of Those Things,” “You’d Be
him as “the next Toots” over the years, here he is in the same
So Nice To Come Home To,” “You Don’t Know What Love Is”
league as guys like Milt, Hutcherson and Burton.
and many others. I did find it a bit odd that, among these great
Zoho, 2011, 54:48.
tunes, Childs mixes in a few by pop purveyors Bob Dylan and
A New Kiss, David Budway, piano.
Leonard Cohen. But those oddities are more than made up for
Marking his debut on the impressive, St. Louis based Maxby a couple of deliciously obscure “baby” tunes. Bobby Troup’s
jazz
label, Budway shows himself to be a powerful piano pres“Baby, Baby, All The Time” is combined with an ancient Besence in a variety of styles and settings. His basic trio includes
sie Smith line, “Reckless Blues.” The other “baby” tune is a real
Eric Revis, bass, and Jeff “Tain” Watts on drums. Being a piano
rarity that I first heard from the wonderful Carol Sloane called
guy first, I would have left well enough alone, but Budway
“Baby Don’t You Quit Now”; probably the reason it earns such
brings in both Branford Marsalis and Marcus Strickland, who
a high grade is that it was written by Jimmy Rowles and Johnny
play soprano saxophones individually on no less than four cuts.
Mercer. Childs seems to have a built-in feeling for jazz interpreBut the trio takes over with p’zazz on George and Ira’s classic,
tation. She never forces a note, sings nicely on key, and offers
“Strike Up the Band.” And it’s here you get to experience some
just enough scat singing and imaginative phrasing to please any
remarkable Budway chops. Among other winners you’ll find
grizzled old jazz fan. Like me!
Budway’s exquisite ballad, “Love You Tonight”; a ripping tempo
Self-Produced, year probably 2011, 78:57.
on a Latin-inspired original called, of all things, “Stinky”; and
Breaking News, The New World Composers Octet.
Not all of the swagger is in The Apple. Take a group with an “Round Midnight” gets a solo reading full of adventurous little
flights, twists and turns -- and a few Monkisms, of course. If I
unwieldy name like The New World Jazz Composers Octet, for
were to choose a favorite cut on the disc, I’d have to go with an
example. This is a Boston-based ensemble just brimming with
inspired version of Cole Porter’s “You’d Be So Nice to Come
musicianship. Many of the musicians and arrangers have long
Home To.” Budway treats it along the lines of a Bach invention,
ties to Berklee College of Music, Boston’s bastion of jazz educawith voice chasing voice. I’ll bet Porter would have loved it. One
tion. All of the music is original and puts the ensemble to the
can hear all the hours of classical music that Budway must have
test in a variety of settings. For example, the CD opens with a
spent practicing in his youth. These and more make mark the
vigorous, brisk selection called “Poco Picasso.” But it switches
debut of a startlingly inventive new piano voice.
gears on the very next tune, a ballad titled “Wishful Thinking”
Maxjazz, 2011, 62:49.
that features a gut-wrenching solo by the group’s leader, Daniel
Ian Smith. The title tune is a boppy blues in the manner of the
Continued on next page
Trip The Light Fantastic, Hal Galper, piano.
I’m really delighted to see Galper return to a straight ahead
orientation on a fresh, buoyant new release. Working with Seattle veterans Jeff Johnson, bass, and John Bishop, drums, Galper
makes it clear that this is going to be a brisk outing from note
one. And that first note brings in “Alice In Wonderland.” But
this version, as opposed to most others, leaves no prisoners, as
Galper and company go for broke. Having gotten out of the gate
in a whirlwind, Galper also shows a penchant for ballads with
“Babes of Cancun” and a stunning solo on “Guess I’ll Hang My
Tears Out To Dry.” The pianist also takes charge on three of his
own compositions, the best (and most lyrical) an off-beat sort of
waltz, the title tune. And then what does Galper do? He reincarnates a Mario Lanza (!) opus from the early ‘50s. Granted, Lanza
8
Feinstein's Sinatra choices befuddle reviewer ... Eade, Blake create tone poems for voice and piano
Whirlwind, Dominique Eade, voice, Ran Blake, piano.
This is quite a departure for the superb singer Eade. It’s
been in the making for years, as apparently she and pianist
Blake have held like-minded musical leanings for a long time.
Blake is considered by many to be a “third streamer”: a player
who makes dissonances, odd meanderings and stops and starts
sound just fine, thank you! Ms. Eade takes Blake’s cue with a
highly creative performance, giving familiar melodies new vocal attire. Some might call it “chance taking”; some might call it
“improvising”; some might call it “art.” Take your pick, because
Eade turns this material into individual and unique little “tone
poems.” I might say with emphasis that there are very few singers who could pull this off without sounding pretentious and
over the top. But Eade indulges in neither. Instead, she perfectly
puts forth these new creations as though she means every word.
And Blake is right there “conversing” with her in nearly surreal
alignment. It’s an approach that probably isn’t for everybody.
But if you have ears for it, there’s a lot happening here to dive
into. For the record, a few of the familiar titles include “My Foolish Heart,” “Dearly Beloved,” “Old Devil Moon,” “Where Are
You” and “The Thrill Is Gone.” But, I’d submit, you’ve never
heard them sung quite like this.
Jazz Project, 2011; 46:02.
Opening Statement, Tito Carillo, trumpet, flugelhorn.
For some 15 years, Carillo has been Chicago’s post-bop
standard bearer. A trumpet player in the tradition of Freddie
Hubbard or Woody Shaw, Carillo leaves no doubt that he’s a
force in the power department. His basic group includes Windy
City colleagues Benjamin Lewis, piano, Lorin Cohen, bass, and
Dana Hall, drums. Two saxophone players are guests on a number of selections, bringing the quartet to a quintet. Eight of the
ten tunes played here are original compositions by the leader,
and he makes it quite clear that he’s in charge on high-energy
pieces such as the opener, “Truth Seeker,” and the equally energetic “Shades of Morpheus.” But Carillo also delivers the
message with great feeling on ballads that include “Song For
Elisa,” the Miles-like “Stillness,” or the strongly stated melody
line of “Where You Come From.” Carillo, who is a full-time jazz
trumpet professor in the Illinois higher education system, carries
forth the honored tradition of scintillating post bop on what I
assume is his debut album.
Origin, 2011, 72:05.
The Sinatra Project, Vol. 2: The Good Life, Michael Feinstein,
vocals.
I somehow missed out on volume one of Feinstein’s Sinatra tribute, so let’s give it a go on volume two. Feinstein’s passionate, Broadway-style renderings are as solid as ever, but his
choice of songs is at the very least, odd. His opener is a rather
tasteless pop opus called “Thirteen Women.” If Frank ever sang
it, well, he shouldn’t have. Other tunes are of much better quality, but I would at best only peripherally associate them with
Sinatra. For instance, did Frank ever record “Is You Is or Is You
Ain’t My Baby?” He probably did, but it just doesn’t resonate
as a Sinatra tune. The same could be said for “Hallelujah I Love
Her So” and the Latin-tinged “Sway.” A complete and total
mystery is the inclusion of something called “C’est Comme Ca,”
a rather nice tune, but where are the Francis memories? And,
truthfully, wouldn’t you put “The Good Life” and Tony Bennett
together? Same for Sammy Davis and “For Once In My Life” and
“Once in a Lifetime.” Okay. Having said all that, a medley of
“Luck Be A Lady” and “All I Need Is the Girl,” and classy takes
on “I’ll Be Around,” “The Way You Look Tonight” and “The
Lady Is A Tramp” are 100% Ol’ Blue Eyes. Feinstein is in fine
voice and the arrangements, including strings here and there,
are well suited to the singer. It’s simply the menu of so-called
Sinatra tunes that, in some cases, befuddles me.
Concord, 2011, 41:13.
Minor Returns, Jeffrey Snedeker, French horn.
The rich, resounding French horn may not have carved
out a marquis place in jazz history, but a few brave cats have
excelled on this challenging instrument. Consider such players
as Julius Watkins, John Graas and Willie Ruff, among others.
Well, Central Washington University in Ellensburg boasts faculty
member Jeffrey Snedeker as a versatile French horn expert. With
an array of fellow faculty members and a few students, Snedeker
lights up the room with stellar, straight ahead arranging and
some tunes that would qualify as classic jazz choices on anybody’s list. Among them, how about the rarely played George
Wallington gem, “Godchild,” or Billy Strayhorn’s timeless
“Chelsea Bridge.” Others scoring high marks include “Oleo,”
“Autumn Leaves,” “Summertime,” “Straight, No Chaser,” “In
A Sentimental Mood,” and even “Take Five.” A couple of surprises (and great choices) were “Moonlove,” a romantic melody
written by that jazz icon Peter Tchaikowsky (!) and “Allegretto”
from “Jazz Symphony No. 1” by John Graas. It comes from a recording so rare you’d never even find it with one of those metal
detectors. But apparently Snedeker did, and nice going, friend.
There’s still room on my jazz menu for some refined French horn
cuisine, and this is it!
Self-Produced, 2010, 72:01.
SHORT TAKES
El Cumbanchero, Mark Weinstein, concert, alto and bass flutes.
What sets this CD apart from the run of the mill Latin disc
is the instrumentation and the arranging. To the usual group of
percussion-eers, Weinstein added arrangements by Aruan Ortiz,
and he in turn brought a bevy of strings to the date. The added
voices make for quite a compelling album. All the music is built
around a Cuban base, but Weinstein’s virile flute and the vigorous arrangements really cover the ground here. A real departure
from the “same ol, same ol” that Latin music seems to usually
spin out.
Jazzheads, 2011, 53:52.
Our Modern Lifestyle, The Young Lizards.
I was all set to “bash” this as yet another Hammond B3-based yawner. But it’s a lot better than the usual ensemble of
this type, because the players take on well chosen, underexposed
tunes by composers such as Woody Shaw, Joe Henderson, John
Coltrane and Clare Fischer. In my head, I just can’t get the organ
out of the church, but that’s my problem. As for you, there are
some hip things happening here, and if this is your cup of tea,
you’d be well advised to drink it.
Pony Boy Records, 2011, 64:27.
Legacy, Al Naylor, trumpet and flugelhorn.
If you thought Iowa was all cornfields and Central Standard
Time, well, yes, Virginia, there’s jazz in Iowa. At least in the Marion, Iowa school district, where you’ll find trumpet ace Naylor.
At every opportunity, he’s out there playing with students and
former students, and this album brings a quintet of some of the
best of them together. The songs are nearly all original compositions by the leader. He writes swinging, boppy lines and gives
ample solo opportunities to his talented colleagues. A jazz gig in
Iowa? Well, why the heck not?!
Self-Produced, 2011, 47:21.
9
In Memoriam
By Rob Scheps
Sid Cooper (saxophone, flute, clarinet), 92; born 11/2/18,
Montreal, Canada, died 7/18/11, Lake Worth, FL.
Cooper was raised in Brooklyn, NY and started his career, like
many musicians, in the orchestras of Catskills hotels. At age 26, he
joined Tommy Dorsey for a five-year hitch. He also worked with
Ella Fitzgerald, Billie Holiday, Louis Armstrong, Taft Jordan, Ben
Webster, Sy Oliver and Paul Quinichette.
Cooper became a member of the Tonight Show Band in New
York, but when Johnny Carson and the show moved to California in 1972, Cooper chose to stay behind. His commercial career
included playing lead alto sax with Frank Sinatra and appearing
in a number of Woody Allen movies, including “Bullets Over
Broadway” and “Alice.” He was one of the great New York studio
woodwind doublers. His greatest claim to jazz fame, however, is
his work on Miles Davis and Gil Evans classic big band recording,
“Miles Ahead,” where Cooper appears on flute and clarinet.
Walter Norris (piano), 79; born 12/27/31, Little Rock, AK,
died 10/29/11, Berlin, Germany.
Norris was raised in Little Rock, where he developed into
a fine pianist. He moved to Los Angeles in the 1950s, where he
showed his stylistic diversity early on by recording with straight
ahead trumpeter Jack Sheldon, and then appearing on Ornette
Coleman’s first record, “Something Else.” In the company of Coleman’s more famous bandmates -- Don Cherry, Billy Higgins and
Charlie Haden -- Norris made a mark on history by playing on
this seminal album; the last time Coleman recorded with a pianist
until Geri Allen, more than 30 years later.
Criminally underrated throughout his career, Norris worked
with Charles Mingus, Pepper Adams and other greats. He made
history again when he replaced longtime pianist Roland Hanna in
the Thad Jones/ Mel Lewis Band in 1975, appearing on their great
record, “New Life,” in the company of Adams, Frank Foster, Jon
Faddis and others.
Norris made a series of solo CDs , including “Winter Rose,”
“Live at Maybeck 4,” and the duo recording, “Hues of Blues,”
with bassist George Mraz, his section mate in the Jones/Lewis
Band. In recent years, Norris made his home in Berlin and was just
shy of 80 years old when he passed.
Joel DiBartolo (bass, educator), 65; born 11/24/45, Buffalo,
NY, died 9/27/11, Scottsdale, AZ.
Joel grew up in Buffalo, part of a fertile Upstate New York
jazz scene at the time. He was classically trained and performed
in orchestras and was an early member of fellow Upstater Chuck
Mangione’s groups, recording with Chuck as well
He joined Buddy Rich’s Band around 1971, playing on Rich’s
album, “Stick It.”
He then put in 18 years with the Tonight Show band in Los Angeles, 1976 to 1994. During his time in L.A., DiBartolo was in high
demand in the studios, playing on countless sessions for TV and
film, including the scores for major movies, including “Rocky,” “
Jaws” and “Star Wars.”
The studios did not keep him from playing jazz with major
figures, though, including Freddie Hubbard, Frank Sinatra, Maynard Ferguson, Joe Williams, Sarah Vaughn and more.
In 1994, desiring a change, DiBartolo moved to Arizona,
where he became the beloved head of Jazz Studies at Northen Arizona University from 1995 until his passing.
Mort Silver (saxophone, flute, clarinet ), 65; born 1946, Bronx,
NY, died 4/6/11, New York, NY.
Mort lived in the same building as saxophone legend Vic
Morosco in the Bronx while growing up, and he decided to learn
saxophone as a result. He attended Juilliard and went to “fin-
ishing school” in the Catskills. Silver later played jazz and pop
with Buddy Rich, Tony Bennett, Shirley Bassey, Lena Horne and
Johnny Mathis.
He was also active on Broadway, playing many shows such
as “Grand Hotel,”
“Blood Brothers,” “Gypsy” and “Annie Get Your Gun.”
Silver’s flute and clarinet playing were excellent, and he
made several classic
records with the demanding ensemble of composer Steve Reich,
including “Octet” and the splendid “Tehellim.”
Armen Halburian (percussion, inventor), 77; born 12/25/33,
Bronx, NY, died 3/16/11, New Jersey.
Halburian was a percussionist of Armenian descent who
started as a regular jazz drummer, playing with Marian McPartland’s trio in New York for six months. However he became well
known in the early 1970s for his varied and colorful percussion
work with a plethora of cutting edge artists of the time.
He played and recorded extensively with flutist Herbie
Mann, with whom he made “London Underground” and many
other recordings. He was also on the famous 19th Street Scene in
New York in the early 1970s -- colleagues and neighbors living
in lofts on the street were part of a creative and liquid group of
musicians that included Chick Corea, Michael and Randy Brecker,
Dave Liebman and more. Halburian was part of the Free Life
Collective, led by Liebman, that included Dave Holland, Michael
Brecker and Ralph Towner. A seminal LP from this period was
Liebman’s “Lookout Farm,” which also included Halburian.
He also worked with Steve Gadd, Lenny White and Jack
DeJohnette and recorded with Roy Ayers, David Fathead Newman, Joe Farrell and Larry Young. He was on another classic
record, trumpete Woody Shaw’s 1977 masterpiece, “Rosewood,”
on Columbia. Halburian auditioned with Miroslav Vitous for the
first edition of Weather Report in 1970, but the gig went to Airto
Moreira.
He was also an inventor. His solid bar chimes, drum key and
custom sticks have all become useful parts of a drummer’s arsenal
over the years.
Melvin Sparks (guitar), 64; born 3/22/46, Houston, TX, died
3/15/11, Mount Vernon, NY.
Sparks began playing guitar at age 11 in Houston. From a
musical family, he left school to tour with Little Richard, which
led to gigs with soul singers Curtis Mayfield, Jackie Wilson and
Marvin Gaye.
Sparks moved to New York in the 1960s and became quite
busy as a studio guitarist for Blue Note and Prestige, two of the
greatest jazz record labels at the time. His clean, soulful, bluesy
style was the perfect complement to the B-3 organ, and Sparks
made many records with its greatest practitioners: Charles Earland, Jimmy McGriff, Dr. Lonnie Smith and Jack McDuff. He also
recorded multiple albums with Hank Crawford, Big John Patton,
Houston Person and Idris Muhammad. Sparks also recorded with
Sonny Stitt, Etta Jones, David Fathead Newman and Plas Johnson.
Sparks also had a solo career, which began with “Sparks,” his
1970 solo debut on Prestige. He made ten more records under his
own name. Often found playing little clubs in Harlem, Sparks’ career had a resurgence in 1994 when he worked with saxophonist
Karl Denson’s Greyboy All Stars and Denson’s other group, Tiny
Universe. This led him to new, young audiences who dug Sparks
and were influenced by him. Recordings with Soulive and other
groove bands led by youngbloods were soon to follow.
He was one of the major stylists of jazz guitar and, while underrated, his influence should not be overlooked.
10
Notes & Chords
Holiday concerts, benefits, floods in Thailand and the ghost of Cole Porter in a Shanghai piano
By Nancy Tice
“The Peace Hotel in Shanghai is a classic example of 1929
Art Deco architecture. In 1992 it was listed as one of the famous
hotels of the world by the World Hotel Association. Fairmont
Hotel Group spent millions restoring this remarkable building
to its original splendor. Restoration began in 2007 and was completed in 2010.
“One Sunday a month, the Peace hosts a salon in the Grand
Ballroom. They are in the tradition of forums of the past where
writers, architects, musicians and artists gathered to present and
discuss their craft. Gigi and I were honored to be given a night
of our own to perform for an intimate gathering. The Steinway I
played is the original piano from 1929. Charlie Chaplin and Noel
Vocalist Shirley Nanette invites you to join her on Sunday
Coward played it. Marlene Dietrich sang with it. Mr. Coward
evenings, 6-9:00 pm, at the Elk Lodge (6 N. Tillamook St., about
wrote “Private Lives” while staying at The Peace (then called
a block north of Broadway, between Williams and Vancouver).
She is accompanied by Vince Frates on piano, Dennis Caiazza on The Cathay).
“Cole Porter and countless world ambassadors and lumibass, and Tim Rapp keeps on drums. No cover charge.
naries were guests at this hotel. Performing our program of
music, much of it from that ‘20s & ‘30s, in a setting where the
Norman Sylvester reports that a very successful benefit
original composers and artists stayed, whose fingers touched the
concert was held at the Old Church on November 17 to assist
very same keys on the piano, was a magical experience like no
saxophonist Reggie Houston in his battle with cancer. We are
other. The ghosts from the past were alive and frolicking with us
happy to report Houston is winning!
that night. When we performed Charlie Chaplin’s “Smile,” there
was not a dry eye in the house.”
When I saw the news about the floods in Bangkok Thailand,
I sent an email to former Portland pianist Randy Cannon, to see
I was pleased to meet two talented female vocalists at
if he was at all affected. He called me back and said, “I’m happy,
Art Abrams CD release celebration last month. Linda Daiber,
no problems with the floods.” He moved there a number of
who sang with Art’s band, and Tara Williamson.
years ago to enjoy a much more “robust” music scene.
Williamson invites you to help celebrate the release of her
new CD, “Christmas,” on December 11 at Orenco Station Grill
Pianist Randy Porter presents “Christmas with Randy Porin Hillsboro, 7:00-9:30 pm. She also sings regularly at Tony Starter and Friends” at the Old Church on Sunday, December 11 at
lights, and is the female vocalist in the Bureau of Standards Big
5:30 pm. In The Oregonian, Lynn Darroch wrote: “Porter has
Band.
built a reputation as a musician’s musician, a knowledgeable,
Daiber is singing in a benefit concert December 3 at Eliot
inventive, and sophisticated player with a remarkable sense of
Center at the First Unitarian Church, SW 12th and Salmon. The
time and gorgeous keyboard facility.”
funds raised are for the 13 Salmon Homeless Family Day Shelter
that operates at the church. It’s a CD release party for two new
Vocalist Heather Keizur will be joined by Steve ChristofferCDs by Ellen Vanderslice. Mike Horsfall, Kevin Deitz, Neil Masson, Dennis Caiazza, and Ron Steen for a wonderful evening of
music at Arrivederci on Friday, December 23, 7:30-10:30 pm. She son and Lee Wuthenow will accompany her.
may even sing some holiday tunes in French!
Last month’s Musician of the Month, Tony Starlight, has a
jam-packed calendar at his Supperclub Lounge this month. Some
Jazz Society Hall of Fame members, the Tall Jazz Trio, are
highlights include the Tony Starlight Christmas Extravaganza on
hosting their 23rd annual Holiday Concert at Jimmy Mak’s on
December 3, 9, 10 and 16, with minor-friendly shows on DecemDecember 2. Mike Horsfall on vibes, Dan Presley on bass, and
ber 15, 18, 21, and 22. Minors are welcome until 9:30 pm, Sunday
Dave Averre, drums, are the core members. This year, they will
– Thursday.
again be joined by vocalist Marilyn Keller, and by George MitchOn the December 17, Tony presents his popular Dean Marell (piano), Lee Wuthenow (tenor sax), Bryant Allard (trumpet)
tin Tribute, and on Friday, December 30, he will present the Best
and Dennis Costi (reeds). Making a reservation will guarantee
of Tony Starlight Show, commemorating five years in business.
you a seat.
Tony and Jimmy Mak are teaming up to get the word out
about Prostate Cancer at a Benefit Concert at Jimmy Mak’s on
Jay Harris -- and Moon By Night Soul Jazz -- has been inDecember 8, “PAR For Life Performance and Dinner.”
vited back to play at Blue Diamond (2016 NE Sandy) after a successful first night performance last month. “The owner got the
Finally, we offer hearty congratulations to proud new paridea that we do have some local supporters, and as a result, we’ll
ents Shelly Rudolph and Chance Hayden on the birth of their
be back there on December 10 again with the possibility of more
son, Hollis Rudolph Hayden, who arrived on 11-1-11.
regular work in the new year.”
W
hen I started writing this column 20 years ago, I used
to worry I wouldn’t have enough material, but this
month, we are enjoying an embarrassment of riches
-- so much news, we need to get right to it. Get out and enjoy
as many of these shows as possible to keep the live jazz music
scene in Portland vibrant and on-going. But before we start, who
said the following:
“I wish to sing of my interior visions with the naïve candor of a
child.”
Answer appears at the end of the column.
Answer to the Quiz: Claude-Achille Debussy, 1862-1918.
Vocalist and pianist Robert Hicks returned to Portland on
November 2, after an extended tour to China and other Far East
countries. He met Canadian vocalist, Genevieve, “Gigi” Marentette in Hong Kong, and refined a show of duets they call “The
Hollywood Jazz Review.” Here’s his account of the gig they presented at the Peace Hotel in Shanghai:
11
Jack Rosenberg Memorial Award
JSO Musician of the Month for December, 2011: Karla Harris
By Rita Rega
Instrument: voice
Early years/Education: I was born and bred in St. Louis, Missouri. There were no musicians in my family, I had no real life
experience of anybody who did music (professionally), beyond
my teachers. Growing up, I always loved singing. As kids we’d
make up shows and transcribe lyrics. There was always music
around, and my Dad liked to
sing in the house. My first gig
was when I got paid to sing at
a wedding at age 13. In high
school, I was in bands and
choir and played the piano
well enough to accompany
myself. I also had a love of
English and words. It seemed
more practical to major in
communications than get a
degree in music. I didn’t want
to be a music teacher. I went to
the University of Missouri at
St. Louis and have a degree in
Speech Communications. Over
the years, I have used my degree. I’ve worked at a PR firm,
been a free-lance writer, and
do corporate writing for Edward Jones Financial Services.
In college, I started singing professionally with the St Louis
Jazz Quartet alongside traditional vocalist Jeanne Trevor. That got
me into the clubs and started my jazz career. I was singing a lot
of pop and rock also. It gave me a dynamic range, being able to
sing with a big voice as well as a small voice. It was great training
-- high energy, and [it] made you stretch vocally. In 2004, I got a
call from bassist Tom Kennedy, who is from St. Louis and was getting off the road with drummer Dave Weckl. He wanted to form
his own group. A few months after I joined his band, my husband
was asked to relocate to Portland. So I dragged my feet for nine
months, and eventually moved here with our two boys.
Portland: I had no idea what was out here musically. [Now]
I think of Portland as a constant jazz party. You get to work with
a variety of musicians all the time; in St. Louis, you work with
one group and that’s it. There’s a lot more jazz here. Also, singers
didn’t get the gigs there. The band leader would get the call, and
they’d hire the singers. After I arrived in Portland, I got introduced to Mitzi Zilka, went to Ron Steen’s jams, and met Bobby
Torres (who also worked for UPS like my husband). Started working with Bobby who got me a spot at the Cathedral Park Jazz Festival. Looked around for places to sing and started gigging at the
Old Mill Cafe in Happy Valley with Mark Simon, etc.
I have a band I work with pretty regularly now (Mike Horsfall, Dave Captein and Todd Strait), but I also work with six or
eight different people. I work with everybody, like everybody
does. I like working with a lot of different musicians, to learn new
things. It’s great, though, to have a regular band so we can really
sink into our arrangements, too. I’m a late bloomer; being here has
given me the opportunity to figure out what I really love to do. I
like to sing songs that I love. In every genre there are songs that
appeal to me. My book has songs from Cole Porter to Hall and
Oates.
Musical Influences: My parents’ LP collection included artists like Nancy Wilson, Billy Holiday, Barbara Streisand, Dione
Warwick, Sara Vaughan, Aretha Franklin, etc. Loved “Heart” with
Ann Wilson. Love the way she sang, the visual aspect and energy
of it. And Stevie Nicks; these are very strong, empowered women.
I’m influenced by all the artists on my favorites list. Also, Tom
Kennedy has had a big influence on me, along with Betty Carter
and Annie Ross.
Most Satisfying Experience: The 2008 Cathedral Park Jazz
Festival with Randy Porter
on piano, Tom Kennedy
on bass and Todd Strait on
drums. It was musical bliss!
It was a really wonderful
concert, the music was great,
the day was beautiful, the
voice was doing whatever
I wanted it to do, and the
sound was good. It was very
satisfying. I have had many
moments like this.
Favorite Recordings:
Nancy Wilson and Cannonball Adderley - “Nancy Wilson/Cannonball Adderley”;
Shirley Horn - ”Here’s to
Life”; Lambert, Hendricks,
& Ross – “The Hottest New
Group in Jazz”; Chic Corea and Return to Forever – “Light as a
Feather”; Astrud Gilberto – “Finest Hour”; Earth Wind and Fire
– “The Best of ...”; Heart – “Dreamboat Annie”; Antonio Pinto –
“Love in the Time of Cholera” soundtrack; Carmen McRae – “Carmen Sings Monk”; Bill Charlap Trio – “All Across the City”; and
the St. Louis Symphony Orchestra with Leonard Slatkin, conducting – “Gymnopedie No 1.”
Discography: “Twice As Nice,” Karla Harris and Tom Kennedy, 2007 Bent Oak Records. Karla Harris, vocals; Tom Kennedy,
acoustic and electric bass; Ray Kennedy, piano; Kara Baldus,
piano; Miles Vandiver, drums; Jason Swagler, saxophone; Gery
Meek, saxophone.
Gigs: Thursday, 12/1 - Wilf’s w/special guest Pete Swan,
drums, Mike Horsfall, piano, and Dave Captein, bass; Friday,
12/2 - The Allison in Newberg w/Randy Porter, piano, and Dave
Captein; Saturday, 12/3 - Jimmy Maks w/Bobby Torres Ensemble;
Thursdays 12/8, 12/15, and 12/22 at the Ivories Lounge w/Jim
Templeton, piano; Friday, 12/9 - Benson Hotel w/Steve Christofferson, piano; Saturday, 12/10 - The Allison w/Mark Simon,
piano, and Kevin Deitz, bass; Sunday, 12/11 and Saturday 12/17
- Holiday Concert with The Big Horn Brass, Vancouver, Washington; Friday, 12/16 - The Heathman Hotel w/Mike Horsfall and
Dave Captein; and Friday, 12/23 - The Benson Hotel w/Joe Milward, piano.
Future Plans: I have a special show I’d like to continue presenting called “Wine, Woman & Song.” The first set is the theme,
which is based on research that shows what you hear affects what
you taste. We match the kind of wine that you’re drinking to a
particular style of music, to enhance the flavor of the wine; then,
we play something that clashes with it and the audience can taste
the difference. The wine maker is there and talks about the wine, I
talk about the tunes, and we all have a great time. Another future
plan is to record again. I’d like to document where I am now.
Other: Right now, I’m enjoying doing some of the arranging. I want to keep working with the best people possible ... it
stretches you.
12
George Cooligan comes to Portland
Portland State University adds Jazz Studies professor
area gains top-level multi-instrumentalist
By Lynn Darroch
George Colligan, formerly of New York, joined the music
faculty at PSU this fall. He earned a reputation as an elite session performer and sideman during
the late 1990s, and he’s appeared on
more than 100 CDs. Most recently
Colligan has toured and performed
with artists such as Cassandra
Wilson, Miguel Zenón, Don Byron,
Gary Bartz, Jack DeJohnette, Michael Brecker and Ravi Coltrane. He
is a Chamber Music America/Doris
Duke Foundation grant recipient
who just released his 22nd recording, “Living For the City.”
Colligan, 42, was a faculty
member at the Julliard School for
two years and an assistant professor at the University of Manitoba
for two years before moving to
Portland. He plays drums and trumpet professionally as well
as piano and keyboard. He’ll join bassist and composer Charley
Grey and Darrell Grant, a pianist, composer and vocalist, on the
full-time Jazz Studies faculty.
Cooligan’s official Portland debut concert is scheduled for
December 13, part of the PDX Jazz @ The Mission series at
The Mission Theater in Northwest Portland. He’ll be joined by
guitarist Dan Balmer, bassist Eric Gruber, drummer Todd Strait,
and guest pianist Kerry Politzer (Cooligan’s wife). Colligan, an
esteemed composer, will play trumpet and melodica on original
compositions in addition to performing compositions by the late
pianist and former PSU professor, Andrew Hill.
“[Hill] was an important and unique figure as a composer
and pianist,” Cooligan said in a
press release. “I hope this concert
will spark some renewed interest in
his music.” Hill was one of the most
prominent jazz pianists of the 1960s
and recorded many classic albums
for Blue Note. He was a NEA Jazz
Master and a member of the Downbeat Hall of Fame. Hill taught at
PSU from 1990 to 1995; he died in
2007.
Hill crafted a life as free from
convention as his music, which is
full of twists and dissonances. From
experiences as different as playing
with Charlie Parker and studying
with Paul Hindemith, he developed
skills that allowed him to work with Dinah Washington and then
emerge as a leader of the avant-garde. He toured small towns as
a Smithsonian Fellow before teaching in California schools and
prisons.
After five years of what he called “a comfortable life in Oregon,” Hill decided to return to New York to pursue greater opportunities as a performer, and his career took off again. His last
release, “Time Lines,” was named Album of the Year by Downbeat magazine in 2006.
Hill’s music should provide a challenging catalyst for Cooligan’s debut.
2012 Portland Jazz Festival Headliners Schedule
February 17 - Thara Memory, 7:30 pm, Winningstad Theater
February 18 - Enrico Rava’s Tribe, 7:30 pm, Winningstad Theater February 19 - The Jazz Passengers, 7:00 pm, Winningstad Theater
February 21 - Mardi Gras @ The Mission, 7:30 pm, Mission
Theater
February 22 - Garth Fagan Dance, 7:30 pm, Arlene Schnitzer Hall February 23 - Dee Dee Bridgewater, 7:00 pm, Newmark Theatre
February 24 - Roy Haynes Quartet, 7:00 pm, Newmark Theatre
February 24 - Bill Frisell -Tribute to John Lennon, “Speedy” West
and Jimmy Bryant, 9:30 pm, Crystal Ballroom
February 25 - Vijay Iyer, Prasanna, Nitin Mitta, 3:00 pm, Crystal
Ballroom
February 25 - Bill Frisell solo & the 858 Quartet, 7:00 pm,
Newmark Theatre
February 25 - Charlie Hunter solo and the Portland Jam Band
Marathon, 9:30 pm, Crystal Ballroom
February 26 - Branford Marsalis/Joey Calderazzo Duo, 3:00 pm,
Newmark Theater
Apologies!!
My apologies for the typesetting mess I made
of the November issue of Jazzscene. We have
some new software that should make the job
easier to complete in a readable manner – but no
software’s immune from pilot error.
Here’s to a more readable 2012.
SUNDAYS 6-9PM AT
TILLICUM LOUNGE
8585 sw Beav-hillsdale HWY ...swingin’
13
December, 2011
Calendar submission instructions
Please email your listings to [email protected]. Each month,
you will be sent a reminder of the actual day your dates are due.
Another e-mail advantage is that I will send you a confirmation that your information has been received.
No more worrying about mail service or fax mishaps!
The due date is usually the 15th of the month prior to publiThursday, December 1
Blue Monk: Alan Jones Jam, 8 pm
Brasserie Montmartre: JB Butler/Al Criado,
5:30 pm
Camellia Lounge @ the Tea Zone: Alma
Brasileira w/Tom Pinit/Peter Fung, no cover,
8 pm
Clackamas Community College: CCC Concert
Band “Fall Concert”
Heathman Hotel: Johnny Martin Trio, no cover,
7-10 pm
Jazz Alley, Seattle: Chick Corea Trio (Brian
Blade, Hans Glawishnig)
Jimmy Mak’s: Mel Brown B-3 Organ Group,
$5, 8 pm; minors until 9:30 pm
Portland Prime: Tony Pacini, 5:30-8:30 pm
Sherman Clay/Moe’s Piano’s: “First Thursday”
- Randy Porter, 7 pm
Tapalaya New Orleans Restaurant: Milneburg
Trio (Rick Campbell, Dave Johnson, Dave
Duthie), no cover, 6-9 pm
Tony Starlight’s Supperclub Lounge: “Sing for
Your Supperclub Big Band Karaoke,” 7:30
pm, $10, www.singforyoursupperclub.net
Wilf’s at Union Station: Karla Harris Quartet
(Dave Captein, Todd Straight, Mike
Horsfall), $8, 7:30-10:30 pm
Friday, December 2
Allison Inn, Newberg: Karla Harris/Randy
Porter, 6:30-10:30 pm
Andina: JB Butler Trio, 8-11 pm
Benson Hotel: Johnny Martin, 8 pm
Bijou Cafe: “1st Friday Jazz @ the Bijou” Nancy King & Friends (Scott Hall/Cheryl
Alex/Ed Bennett/Steve Christofferson), all
ages, $10, 7-10 pm
Blue Monk: Eddie Martinez
Brasserie Montmartre: Tablao, 8 pm
Camellia Lounge @ the Tea Zone: “Jazz
Masters” - David Friesen/John Gross, $6, 9
pm
Dolores Winningstad Theatre: Julianne Johnson
“Holiday Concert,” 8 pm
Duff’s Garage: Bridgetown Sextet, 9 pm
Jacqua Concert Hall at the Shedd, Eugene:
Rodgers & Hammerstein’s 1959 “The
Sound of Music” (evening & matinee shows
through 12/18)
cation. Please list the day of the week, date, band name and
any player’s names clearly.
If your gig is for every Thursday, list it that way with the
corresponding dates behind it. This e-mail address is for the
calendar only, not for the JSO, thanks.
-- Shelley Garrett, Calendar Coordinator, 503-310-5448
Jimmy Mak’s: “23rd Annual Winter Jazz
Concert” - Tall Jazz & Marilyn Keller (w/
George Mitchell, piano; Lee Wuthenow,
tenor sax; Bryant Allard, trumpet), tickets
www.ticketsoregon.com, $12 reserved/$10
general, 8 pm
Nel Centro: Mike Pardew/Scott Steed, all ages,
no cover, 9:30-11:30 pm
Portland Prime: Tony Pacini Trio (Tim Rap/
Ken Anoe), 7:30-10:30 pm
Salty’s on the Columbia: Jof Lee/Mel Brown
Trio
Secret Society Ballroom: Swing Papillon, no
cover, 6-8 pm
Tippy Canoe, Troutdale: Ollie McClay/Craig
Bidondo Duo, all ages, 6-10 pm
Touche: Laura Ivancie Quartet, $5, 7-9 pm
Trinity Cathedral: “Una Fiesta de Esperanza”
(benefit Center for Cuban Studies); Xavier
Tabera, vocals; Garner Pruitt, flugelhorn;
Gina Pruitt, piano; 6-8 pm, gala reception
Vinotopia Restaurant, Cinetopia Mill Plain,
Vancouver: Mark Simon, 6-10 pm
Saturday, December 3
Benson Hotel: Johnny Martin, 8 pm
Blue Monk: James Faretheewell
Brasserie Montmartre: Tablao, 5:30 pm; Gravy,
9 pm
Camellia Lounge @ the Tea Zone: The
Dissapointments (Tom Lund/Bill Erb/Tino
Ferraro/Scott Eave), 9 pm
First Christian Church: “Season of Lights
Concert” with Peter Ziza, Marilyn Keller
& the Marylhurst University Choir, 7-9:30
pm, www.peterziza.com
First Unitarian Church Eliot Center: Ellen
Vanderslice “CD Release Celebration” Mike Horsfall/Dennis Caiazza/Neil Masson/
Lee Wuthenow/ Linda Daiber/Carolyn
Joyce; benefit for “13 Salmon Day Shelter”
(Portland Homeless Family Solutions); tickets $10 adv. brownpapertickets.com
$12door, 7:30-9 pm
Heathman Hotel: Mary Kadderly/Bill Athens/
Dan Gildea, 8 pm-midnight
House Concert: Jessica Williams; for
reservations, call Matt Briggs, 503-635-8995
Jimmy Mak’s: Bobby Torres, $10, 8 pm;
minors until 9:30 pm
Multnomah County Main Library, Collins
Gallery: “Opening Day Exhibition Reception
- Pride and Passion: The African-American
Baseball Experience,” Barry Glick and Jim
Putman, 3-5 pm
Multnomah University, A-Frame: Tim Reed &
Friends, w/Ron Leach, $5, 7-9 pm
Nel Centro: Mike Pardew/Scott Steed/Clay
Giberson, all ages, no cover, 9:30-11:30 pm
Portland Prime: Mel Brown Trio
The Brits, Longview: Linda Lee Michelet;
“Red Cross Benefit,” reservations required,
360-575-8090, 7 pm
Tippy Canoe, Troutdale: Ollie McClay/Mark
Simon Duo, all ages, 6-10 pm
Touche: Farnell Newton Soul3, Tyrone
Hendrix, $5, 7-9 pm
Wilf’s at Union Station: Tom Grant Band
(Linda Hornbuckle/Ken Anoe/Ron Steen), 8
pm-midnight
Sunday, December 4
Acadian Ballroom: “Potluck in the Park Winter
Warm Benefit Concert” with Tom Grant
and Friends (Shelly Rudolph/Nancy King/
Marilyn Keller/Sweet Baby James Benton/
Dave Captein/Jeffrey Frankel/ Ron Steen,
5-8 pm
Augustana Church: Jazz Service, Augustana
Jazz Quartet w/Marilyn Keller, George
Mitchell, Kevin Deitz, Ron Steen, 6-7:30 pm
Benson Hotel, London Grill: “Sunday Brunch,”
Jean Ronne, 9:30 am-1:30 pm
Blue Monk: Tim Paxton
Cinetopia, Beaverton: JB Butler, 4-8 pm
Clyde’s Prime Rib: Ron Steen Jam - George
Mitchell, piano, Dennis Caiazza, bass; no
cover, 8:30-11:30 pm
Petite Provence: 2jazzguitars, 6-8:30 pm
Three Doors Down Cafe: Mia Nicholson/Mike
Horsfall, 6-8:30 pm
Tillicum Lounge, Raleigh Hills: Johnny Martin
Quartet, 21+, no cover, 6-9 pm
Tommy O’s Pacific Rim Bistro, Vancouver
(downtown): Tom Grant Band Concert &
Jam Session, 6-9 pm
Monday, December 5
Blue Monk: Renato Caranto Project, 8 pm
Brasserie Montmartre: Erik John Kaiser/Todd
Bayles, 5:30 pm
Jimmy Mak’s: Dan Balmer Trio, no cover, 8
pm; minors until 9:30 pm: Woodshed Big
Band, 6:30-7:30 pm, no cover
Laurelthirst Public House: Kung Pao Chickens
(Tracy Kim/Jon Neufeld, guitars; Gary
Geunther, reeds/vocals; Tim Acott, bass), no
cover, 9-11 pm
Sylvan Steakhouse: Ron Steen Jam - “First
Monday,” Tom Grant, piano, Dave Captein,
bass; no cover, 8-11 pm
Tuesday, December 6
Andina: JB Butler, 7-10 pm
Arlene Schnitzer Concert Hall: Straight No
Chaser, 7:30 pm
Blue Monk: The Jazzistics, 8 pm
Extraordinaire Tuesdays” - Steve
Christofferson/Tom Wakeling/David Evans/
Todd Strait, $6, 8 pm
Jazz Alley, Seattle: Mike Stern/Richard Bona/
Dave Weckl/Bob Franceschini
Jimmy Mak’s: Mel Brown Septet, $6, 8 pm;
minors until 9:30 pm; “Partners in Jazz Metropolitan Youth Symphony Jazz Bands,
6-7:30 pm; $15 cover, includes admission
for MYS and Mel Brown
MUSE Performance Center, Tigard: Portland
Youth Jazz Orchestra “Jazz Gala - PYJO
IA, PYJO IB & PYJO IIA,” w/Paul Mazzio,
donation only, info at PYJO.com, 7:30 pm
Riverview Restaurant: 2jazzguitars, 6-9 pm
Wednesday, December 7
Arrivederci’s Wine Bar, Milwaukie: Martin &
Francine Tocci, no cover, 7-10 pm
Brasserie Montmartre: Brooks Robertson, 5:30
pm
Camellia Lounge @ the Tea Zone: Weekly
Jazz Jam (Blake Lyman/Akila Fields/Jim
Prescott/Sam Foulger), free, 8 pm
Jazz Alley, Seattle: Mike Stern/Richard Bona/
Dave Weckl/Bob Franceschini
Jimmy Mak’s: Mel Brown Quartet, $5, 8 pm;
MUSE Performance Center, Tigard: Portland
Youth Jazz Orchestra “Young Lions Concert
- PYJO IIB, PYJO III,” special guest Lily
Wilde Quintet, donation only, info at PYJO.
com, 7:30 pm
Portland Prime: Randy Porter, 5:30-8:30 pm
The Ivories: Kerry Politzer, 4:30-8 pm; Chuck
Israels Orchestra, 8 pm
Tony Starlight’s Supperclub Lounge: “Andrew
Oliver Presents…” $8, 7:30 pm
Western Oregon University, Monmouth: David
Friesen “Christmas Concerts” - Dan Gaynor,
piano; Tim Willcox, tenor sax; Rob Davis,
tenor sax; Charlie Doggett, drums, 7:30 pm
Wilf’s at Union Station: “Ron Steen’s Vocal
Showcase” - Toni Lincoln, vocals, Joe
Millward, piano, $7, all ages, 7:30-10:30 pm
Blue Monk: Alan Jones JAM, 8 pm
5:30 pm
7-10 pm
Jaqua Concert Hall, Eugene: Emerald City
Jazz Kings, present “Yule Be Swinging!
Christmas at The Shedd 2011”
Jimmy Mak’s: “PAR for Life - Holiday
fundraising event,” starring Tony Starlight,
$75 guaranteed + dinner/$25 general,
TicketsOregon
Tony Starlight’s Supperclub Lounge: La
Cabaret chanteuse: the Christmas Version,
$10, 7:30 pm
Friday, December 9
Arlene Schnitzer Concert Hall: “Gospel
Christmas,” 7:30 pm
Heathman Hotel: Key of Dreams (Eric
Schultheis/Abe Wirth, guitars), guest Bobby
Torres, 8 pm-midnight
DECEMBER 2
The 23rd Annual Tall Jazz
Winter Concert w/Marilyn Keller
DECEMBER 9
Devin Phillips Band
DECEMBER 27
Kate Davis Trio
DECEMBER 31
New Year's Eve
w/Soul Vaccination
Jimmy Mak’s: Devin Phillips Band
Milwaukie Lutheran Church: Clackamas
Community College: “CCC Christmas by
Candlelight Concert”
Nel Centro: Mike Pardew/John Stowell/Dave
Captein, all ages, no cover, 9:30-11:30 pm
O’Connor’s Vault, Multnomah: David Friesen
“Christmas Concerts” - Dan Gaynor, piano;
Tim Willcox, tenor sax; Rob Davis, tenor
sax; Charlie Doggett, drums
Portland Prime: Tony Pacini, 7-10 pm
Trio
Touche: Exotic Art Trio (Dan Schulte/David
Goldblatt/Todd Straight), $5, 7-9 pm
Allison Inn, Newberg: Karla Harris Trio (Mark
Simon, piano, Kevin Deitz, bass), 6:3010:30 pm
Christmas,” 7:30 pm
Arrivederci! Wine Bar & Restaurant,
Milwaukie: Portland Jazz Trio w/George
Mitchell, 7 pm
Benson Hotel: Mary Kadderly/Chris Gabriel,
8-11:30 pm
Brasserie Montmartre: Tablao, 5:30 pm
Cafe Delirium, Gresham: Linda Daiber/Mike
Doolin, no cover, 7-9 pm
Camellia Lounge @ Tea Zone: Mia Nicholson/
Randy Porter/David Evans, $6, 8 pm
Community Music Center: “Portland Jazz
Composers’ Ensemble,” $12 advance (pjce.
org)/ $15 day of show, $10 students, all ages,
8 pm
Nel Centro: Mike Pardew/Dennis Caiazza, all
ages, no cover, 9:30-11:30 pm
Tabor Neighbors House Concert Series: David
Friesen “Christmas Concerts” - Dan Gaynor,
piano; Tim Willcox, tenor sax; Rob Davis,
tenor sax; Charlie Doggett, drums; call 503239-4089, 8 pm
Touche: Kelly Shannon Trio, $5, 7-9 pm
Sunday, December 11
Christmas,” 4 pm
Benson Hotel, London Grill: Sunday Brunch,
Clyde’s Prime Rib: Ron Steen Jam - Gordon
Lee, piano, Dennis Caiazza, bass; no cover,
8:30-11:30 pm
Jaqua Concert Hall, Eugene: Emerald City
Jazz Kings, present “Yule Be Swinging!
Christmas at The Shedd 2011,” 2:30 pm
Old Church: “Jazz, Classical & Christmas”
- Randy Porter, piano; Greg Ewer, violin;
Nancy Ives, cello; $10, 8-9:30 pm
Shrine Center, Wilsonville: John Bennett
Dance Band, $10, 6-9 pm
Jam Session, 6-9 pm
Monday, December 12
Congress Center: “Music on the Mall,”
2jazzguitars, 12:30-1:30 pm
Jimmy Mak’s: Dan Balmer Trio, no cover,
8 pm; minors until 9:30 pm; Robert Gray
Middle School’s Panache Vocal Group &
Stage Band, $10 suggested donation, 6:307:30 pm
cover, 9-11 pm
Sylvan Steakhouse: Ron Steen Jam - Bill
Beach, piano; Kevin Deitz, bass; no cover,
8-11 pm
Tuesday, December 13
Andina: JB Butler, 7-10 pm
Extraordinaire Tuesdays” - Ezra Weiss
Quartet (Ben Fowler/Jon Shaw/Chaz
Mortimer), $5, 8 pm
minors until 9:30 pm; “Partners in Jazz,
Orjazzum, $3, 6-7:30 pm
Mission Theater: “PDX Jazz Presents”
- George Colligan (Kerry Politzer, guest
piano; Dan Balmer, guitar; Eric Gruber,
bass; Todd Strait, drums), 8 pm
Jimmy Mak’s: David Friesen “Christmas
Concerts” - Dan Gaynor, piano; Tim
Willcox, tenor sax; Rob Davis, tenor sax;
Charlie Doggett, drums; 8 pm
Press Club: Ballroom: Swing Papillon, no
cover, 7:30 pm
Wilf’s at Union Station: “An Evening of
Holiday Favorites” - Rebecca Kilgore/Tony
Pacini/Ed Bennett
Bijou Cafe: “Supper Jazz @ the Bijou Café”
- Cheryl Alex & Randy Porter, all ages, no
cover, 7-10 pm
5:30 pm
7-10 pm
Jimmy Mak’s: Tasha Miller & the Educated
Band, 7:30-10:30 pm (partial proceeds
benefit Chapman School), 8 pm; minors until
9:30 pm
Alan Jones
Friday, December 16
Bijou Cafe: Rebecca Kilgore & Friends
(Randy Porter/Scott Steed/Dick Berk/Lee
Wuthenow), all ages, $10, 7-10 pm
Heathman Hotel: Karla Harris/Mike Horsfall, 8
pm-midnight
Jimmy Mak’s: Intervision, $12
Nel Centro: Mike Pardew/Jeff Leonard, all
Trio
The Upstage Restaurant, Port Townsend,
Washington: Torch & Twang (Mia
Nicholson/Steve Christofferson/Paul
Brainard/Tim Paxton), 7:30 pm
Touche: Robert Moore & the Wildcats w/Peter
Boe, $5, 7-9 pm
Allison Inn, Newberg: Mary Kadderly/Bill
Athens/Christopher Woitach, 6:30-10:30 pm
Body Vox Theater: Multi media dance
performance Ginger?! ... Bread Boy? w/
Luciana Proano, JB Butler, Damian Erskine,
Mark Griffith, Ann Rutherford, Dar and Rio
Butler; tickets www.lucianaproano.com ,
7-9 pm
Brasserie Montmartre: Tablao, 5:30 pm;
Djangophiles, 9 pm
Heathman Hotel: Bobby Torres Trio, 8 pm
Hobo’s Restaurant & Lounge: Blackburn &
Duthie, no cover, 8 pm
Jimmy Mak’s: Patrick Lamb Band,
“Holiday Soul,” 7:30 pm & 10 pm, $18
guaranteed/$15 general TicketsOregon
Nel Centro: Mike Pardew, Scott Steed/Randy
Rollofson, all ages, no cover, 9:30-11:30 pm
Tony Starlight’s Supperclub Lounge: “Dean
Martin Christmas Show” w/Linda Lee
Michelet
Vie de Boheme Winery: Pete Peterson Septet,
featuring Ellen Whyte, $10, 8 pm
Waldport Community Center: “Christmas
concert” with Beverly Ritz, $10/$25 family,
6 pm
Wilf’s at Union Station: Kate Davis Trio, $10,
8 pm
Woodstock Wine & Deli: David Friesen
“Christmas Concerts” - Dan Gaynor, piano;
Tim Willcox, tenor sax; Rob Davis, tenor &
soprano sax; Charlie Doggett, drums; 8 pm
Sunday, December 18
Alberta Rose Theater: The Tiptons & The
Quadrophonnes (minors accompanied by
parent or guardian), $12 adv/$15 door,
AlbertaRoseTheatre.com or 503-764-4131 or
Box Office, 7 pm
Benson Hotel, London Grill: Sunday Brunch,
Blue Monk: Tom Wakeling/Steve
Christofferson/David Evans/Todd Straight,
$5, 8 pm
Body Vox Theater: Multi media dance
performance Ginger?! ... Bread Boy? w/
Luciana Proano, JB Butler, Damian Erskine,
Mark Griffith, Ann Rutherford, Dar & Rio
Butler, tickets www.lucianaproano.com ,
7-9 pm
Clyde’s Prime Rib: Ron Steen Jam - Greg
Goebel, piano, Dennis Caiazza, bass; no
cover, 8:30-11:30 pm
Nel Centro: Brunch - Mike Pardew/Dave
Captein/Randy Rollofson, 10:30 am-1 pm
Jam Session, 6-9 pm
Monday, December 19
Brasserie Montmartre: Erik John Kaiser/Todd
Bayles, 5:30 pm
pm; minors until 9:30 pm
cover, 9-11 pm
Sylvan Steakhouse: Ron Steen Jam - Steve
Christofferson, piano, Phil Baker, bass; no
cover, 8-11 pm
Tuesday, December 20
Arlene Schnitzer Concert Hall: Pink Martini
Holiday Celebration, 8 pm
Friends of the Jazz Society of Oregon
Friend (up to $99)
Jacqueline Barthold
Sandra Burlingame
Edward & Donna Caldwell
Homer Clark
Willie Collins
Carl Deiz
Marjorie Enneking
Dale Harris
Larry & Shirley Huston
Jolie Jordan
Robert Keller
Patti Laumand
JerryLeveton
Marylu Perkin
Tom Pfingsten
Greg Smith
Timothy Taylor
Margaret Thompson
Hans Wandel
Sideman ($100-$249)
Kirby & Amy Allen
David & Susan Gurok
Ruth & Glenn Henry
Igo & Cookie Jurgens
Greg Kratz
Bill Lang
Bob McClanathan
Linda Lee Michelet
Bob & Claire Riddle
Donald Rohrbacher
Richard Sly
Sandra Stallcup
Nick Steffanoff
Soloist ($250-$499)
Vic Hefferin
Ron Kloepfer
Band Leader ($500+)
Chuck Carpenter
Special Contributions
Ben Nolan
Extraordinaire Tuesdays” - Steve
Christofferson/Tom Wakeling/David Evans/
Todd Strait, $6, 8 pm
minors until 9:30 pm; “Partners In Jazz,”
Naomi LaViolette, $3, 6:30-7:30 pm
Arrivederci’s Wine Bar, Milwaukie: Mike
Horsfall, 7-10 pm
Benson Hotel: Mary Kadderly, 7-10 pm
Brasserie Montmartre: Brooks Robertson, 5:30
pm
JSO Ad Rates
Full Page (71⁄8 x 91⁄2)
Half Page Horizontal (71⁄8 x 43⁄4)
Half Page Vertical (91⁄2 x 33⁄8)
Quarter Page (33⁄8 x 43⁄4)
Bottom of Page Strip (71⁄4 x 11⁄2)
Business Card Size (33⁄8 x 21⁄8)
Column Size (2 x 21⁄8)
Classifieds (25 words or less)
Monthly
220.00
110.00
110.00
75.00
50.00
40.00
25.00
10.00
Annual
2200.00
1100.00
1100.00
750.00
500.00
400.00
250.00
100.00
* Deadline for copy is the 18th of each month
* Reserve early for space (by the 15th, please!!)
* Payment terms are 30 days net
* Must be in PDF or TIF format - fee for graphic
or design work
* Special rates available for multi-month ads
CALL: JSO Ad Manager at 503-427-1676
           email ad to [email protected]
Send check to:
Box 19882, Portland, OR 97280
Vie de Boheme Winery: Circle 3 (David
Friesen, bass; Greg Goebel, piano; Charlie
Doggett, drums), 8 pm
Wilf’s at Union Station: “Wilf’s Special
Christmas Show” - Linda Lee Michelet/Ron
Steen/Joe Millward $10, 7:30-10:30 pm
Milwaukie: Mike Winkle, vocals; Chuck
Everett, piano; Matthew Lotz, piano
Bijou Café: Graham Covington Trio (Dennis
Caiazza & Ron Steen), 7-10 pm
5:30 pm
7-10 pm
Heathman Lodge, Vancouver: Mike Horsfall,
5-9 pm
Jazz Alley, Seattle: Tingstad & Rumbel
Oxford Hotel, Bend: Tom Grant Band, Shelly
Rudolph & Jackie Nicole Portland Prime: Tony Pacini, 5:30-8:30 pm
Tula’s, Seattle: David Friesen “Christmas
Concerts” - Dan Gaynor, piano; Tim
Willcox, tenor sax; Rob Davis, tenor sax;
Charlie Doggett, drums
Wilf’s at Union Station: Randy Porter Trio, $8,
7:30-10:30 pm
Friday, December 23
Athens/Christopher Woitach, 6:30-10:30 pm
Milwaukie: Heather Keizur Band w/Steve
Christofferson, Dennis Caiazza & Ron
Steen, $3, 8-11 pm
Bijou Cafe: Nancy King & Friends (Cheryl
Alex/Dan Gaynor/Todd Straight/Scott Steed/
Warren Rand), all ages, $10, 7-10 pm
Jazz Alley, Seattle: Tingstad & Rumbel
Jimmy Mak’s: Hit Machine! & the Bart
Hafeman “CD Event,” $12 guaranteed/$10
general at TicketsOregon, 8 pm; minors until
9:30 pm
Nel Centro: Mike Pardew/Damian Erskine/
Carlton Jackson, all ages, no cover, 9:30 pm
Oxford Hotel, Bend: Tom Grant Band, Shelly
Rudolph & Jackie Nicole
Trio
Touche: David Friesen Trio (Greg Goebel/
Charlie Doggett), $5, 7-9 pm
Athens, 6:30-10:30 pm
Augustana Church: “Christmas Eve
Radio Jazz and Blues
KMHD 89.1 FM — all jazz 24/7
(blues on Friday nights); on the
web at kmhd.org
KBOO 90.7 FM
Mondays -“Noontime
Jamboree”- host Retta Christie,
noon-2 pm
Wednesdays – “Jazz Lives,” host
Nick Gefroh, noon-2:00 pm; “A
Jazz World,” host David Lifton
- alternates with “Jazz in the
Afternoon,” host Bob Riddle,
2:00-4:00 pm
Saturdays - “The Matrix,” host
Yugen Rashad, 4-7 pm
KLCC - Eugene, 89.7 FM,
Cottage Grove/Oakridge, 91.5,
Riddle, 103.1, Sisters, 90.3
KLBR - Bend 88.1fm
KLFO - Florence 88.1 FM
KLCO - Newport, 90.5 FM
KLFR - Reedspoprt, 89.1 FM
KMPQ - Roseburg, 88.1 FM
Candlelight Jazz Service,” Augustana Jazz
Quartet w/Marilyn Keller, George Mitchell,
Kevin Deitz, Ron Steen, 6-7:30 pm
Cinetopia, Beaverton: Mark Simon, 6-10 pm
Heathman Hotel: Linda Lee Michelet Trio, 8
pm-midnight
Sunday, December 25
Benson Hotel, London Grill: Christmas Dinner,
Jean Ronne, 1-4:30 pm; Mark Simon 4:30-8
pm
Monday, December 26
cover, 9-11 pm
Sylvan Steakhouse: Ron Steen Jam - Phil
Goldberg, piano, Dennis Caiazza, bass; no
cover, 8-11 pm
Wilf’s at Union Station: Jean Ronne Trio w/
David Evans, 8 pm
Future Jazz
Jazz Alley, Seattle
1/3-8 Pearl Django/Martin Taylor
1/12-15 Arturo Sandoval
1/17-18 Chris Minh Doky & the
Nomads/Dave Weckl
1/24-25 Sugar Blue
1/30-2/1 Kim Wilson’s Blues All-Stars 2/2-5 Peter Funk
2/7-8 Bobby Broom & the Deep Blue
Organ Trio
1/19 - PDX Jazz Presents - Cyrille Aimee/
Diego Figueiredo, “From Django to Jobim
at the Mission Theater
PDX Jazz Winter 2012 Jazz Singing
Workshop with Nancy King and Mary
Kadderly; Mondays - January 30,
February 6, 13, 20, and 27; information,
registration: [email protected] or
503-222-7310
1/26-28 “50th Clark College Jazz
Festival” Gaiser Hall Theater, Clark
College, Vancouver
2/17-26 - 2012 US Bank Portland Jazz
Festival Presented by Alaska Airlines
Headline Artists: Branford Marsalis/
Joey Calderazzo, Roy Haynes, Dee
Dee Bridgewater, Bill Frisell, Thara
Memory, Charlie Hunter, Vijay Iyer with
Prasanna and Nitin Mitt, Enrico Rava,
The Jazz Passengers, Garth Fagan Dance,
and Mardi Gras @ The Mission
The Emerald City Jazz Kings 2012
Pick Yourself Up - The Songs of
Dorothy Fields - Steve Stone, director 2/2 Jaqua Concert Hall, Eugene, 7:30
pm
2/3 Florence Events Center, 7:30 pm
2/5 Jaqua Concert Hall, Eugene, 2 pm
2/10 LaSells Stewart Center, Corvallis,
730 pm Here Come The Blondes
Shirley Andress, director
3/8 Jaqua Concert Hall, Eugene, 7:30
pm
3/9 Florence Events Center, 7:30 pm
3/11 Jaqua Concert Hall, Eugene, 2 pm
3/16 LaSells Stewart Center, Corvallis,
7:30 pm Tuesday, December 27
Arlene Schnitzer Concert Hall: Woody Allen
and His New Orleans Jazz Band, 7:30 pm
Extraordinaire Tuesdays” - Ben Scholz Trio
(Tom Grant, piano; Dave Captein, bass),
$6, 8 pm
Jimmy Mak’s: Kate Davis Trio, 8 pm; minors
until 9:30 pm
McMenamin’s Edgefield: Susie Jones
Retirement/Jazz Party (all star Mt. Hood
alumni jam session), 6-10pm (proceeds to
the National Foundation for Transplants in
Mark Simon’s honor)
Benson Hotel: Mary Kadderly, 7-10 pm
Jazz Alley, Seattle: Poncho Sanchez Latin Jazz
Band
Press Club: Ballroom: Swing Papillon, no
cover, 7:30 pm
Showcase” - Nancy Curtin, vocals, Joe
Millward, piano, $7, all ages, 7:30-10:30 pm
5:30 pm
Extraordinaire Tuesdays” - Randy Porter/
Tree Palmedo, $5, 8 pm
7-10 pm
Band
Friday, December 30
Allison Inn, Newberg: Marilyn Keller/George
Mitchell/Dan Presley, 6:30-10:30 pm
8 pm
Band
Jimmy Mak’s: Linda Hornbuckle Band, $10, 8
Nel Centro: Mike Pardew/Dave Captein, all
Portland Prime: Randy Porter, 7-10 pm
Trio
Touche: Richard Arnold Quartet, $5, 7-9 pm
Wilf’s at Union Station: Tony Pacini Trio, 8 pm
Sunday, December 31
Athens/Chris Gabriel, 8 pm-midnight
Benson Hotel, Mayfair Ballroom: Bobby
Torres Ensemble, 9 pm-1 am
Bridgewater Bistro, Astoria: “New Year’s
Eve,” Swing Cats
Cinetopia, Beaverton: Mark Simon Trio, 8:30
pm-12:30 am
Hilton Hotel, Vancouver: Patrick Lamb
Hobo’s Restaurant & Lounge: Blackburn &
Duthie, no cover, 9 pm
Jimmy Mak’s: Soul Vaccination; Dinner Show”
$20 reserved/$15 general; “Cocktail Show”
$25 reserved/$20 general, TicketsOregon
Nel Centro: Mike Pardew, Joe Freuen, Jeff
Leonard, Randy Rollofson; all ages, no
cover, 9:30-11:30 pm
Poncho Sanchez Latin Jazz Band
Portland Prime: “New Year’s Eve Celebration”
- Mel Brown Super Band
Press Club: Ballroom: “New Year’s Eve” Swing Papillon
Spirit Mountain Casino: “New Year’s Eve
- VIP High Rollers Party,” reservations
required, Linda Lee Michelet
Tillicum: Johnny Martin Quartet, 6-9 pm Tippy Canoe, Troutdale: Ollie McClay/Craig
Touche: Kelly Shannon & Friends, $5, 7-9 pm
Wilf’s at Union Station: “New Year’s Eve” Ron Steen Band
Sunday, January, 1
Benson Hotel, London Grill: “New Year’s Day
Brunch,” Jean Ronne, 9:30 am-1:30 pm
Monday, January 2
Sylvan Steakhouse: Ron Steen Jam - “First
Monday,” Tom Grant, piano, Dave Captein,
bass; no cover, 8-11 pm
Tuesday, January 3
Camellia Lounge @ The Teazone: Tom
Wakeling, Steve Christofferson, David
Evans, Todd Strait, 8 pm
minors until 9:30 pm; “Partners In Jazz,”
David Watson, $3, 6:30-7:30 pm
Wednesday, January 4
Showcase” - $7, all ages, 7:30-10:30 pm
Thursday, January 5
7-10 pm
Friday, January 6
Bijou Cafe: “1st Friday Jazz @ the Bijou” Nancy King & Friends (Cheryl Alex/Dan
Gaynor/Todd Straight/Scott Steed/Warren
Rand), all ages, $10, 7-10 pm
Afrique Bistro, 102 NE Russell St.
Arrivederci’s Wine Bar, 17023 SE
McLoughlin Blvd, Milwaukie 503-6591143
Benson Hotel 309 SW Broadway, 503-2282000
Camellia Lounge at the Tea Zone, 510
NW 11th, 503-221-2130
Charlie’s Bistro, Vancouver, 1220 Main St.
Cinetopia, 11700 SE 7th St., Vancouver
360-213-2800
Clyde’s Prime Rib 5474 NE Sandy 503281-9200
Goodfoot Lounge 2845 SE Stark 503-2399292
Heathman Hotel 1001 SW Broadway 503790-7752
Hobo’s Restaurant and Lounge, 120 NW
3rd Ave, 503-224-3285
Ivories Jazz Lounge and Restaurant, 1435
NW Flanders
Jazzy John’s BBQ, 512-J NE 81st. St. Vancouver 360-831-5906
Jimmy Mak’s 221 NW 10th 503-295-6542
Justa Pasta 1336 NW 19th†503-243-2249
La Provence Bakery and Bistro, 15964 SW
Boones Fy Rd, Lake Oswego, 503 635
4533
Laurelthirst Public House, 30th & NE
Glisan
Living Room Theaters, 341 SW 10th 971222-2005
Nel Centro, 1408 SW 6th Ave, 503-4841099
O’Connor’s, Multnomah 7850 SW Capitol
Hwy 503-244-1690
Portland Prime, 121 SW Third Ave., 503223-6200
Salty’s on the Columbia 3839 NE Marine
Dr. 503-288-444
Sylvan Steakhouse, 5515 SW Canyon
Court Portland, OR 97221, 503-2975568
Tapalaya’s New Orleans Restaurant, 28
NE 28th, 503-232-6652.
Terrace Kitchen 485 2nd St. Lake Oswego
Tippy Canoe bar & Grill, 28242 E Historic
Columbia River Hwy, Troutdale
Tommy O’s Pacific Rim Bistro 801 Washington St, Vancouver, 360-694-5107
Tony Starlight’s Supperclub 3728 NE
Sandy Blvd. 503-517-8584
Touche’ 1425 NW Glisan, 503-221-1150
Vie de Boheme Winery, SE 7th & Clay St.,
503-360-1233
West Cafe 1201 SW Jefferson 503-227-8189
Wilf’s at Union Station 800 NW 6th 503223-0070
Jimmy Mak’s: Hailey Niswanger Group, sp.
guest Thara Memory, $10, 8 pm; minors
until 9:30 pm
Trio
Tony Starlight’s Supperclub Lounge:
Bridgetown Sextet, “CD Release”
Calling All Jazz Supporters
Can you help your Jazz Society of Oregon?
(1) Make a donation—it’s tax deductible!
or
(2) Give a gift membership this holiday season!
Follow the links above, call us at (503) 4271676,
send a check to Jazz Society of Oregon at P.O. Box 19882, Portland, OR 97280,
or visit http://www.jsojazzscene.org/membership.htm
Many thanks for your help!
P
SOCIETY
OF OREGON
P.O. Box 19882
Portland, OR 97280
Phone: 503-427-1676
Web address: www.jsojazzscene.org
COMING
ATTRACTIONS
CCC Concert Band “Fall Concert”
Clackamas Community College
Niemeyer Center
12/1
Tall Jazz Trio
1st Friday Jazz @ the Bijou
Nancy King & Friends
Scott Hall/Cheryl Alex/Ed Bennett/
Steve Christofferson
Bijou Café
12/2
“Jazz Masters”
David Friesen & John Gross
Camellia Lounge @ the Tea Zone
12/2
Julianne Johnson “Holiday Concert”
Winningstad Theatre
12/2
“23rd Annual Winter Jazz Concert”
Tall Jazz & Marilyn Keller
with George Mitchell, Lee Wuthenow
& Bryant Allard
Jimmy Mak’s
12/2
Portland Youth Jazz Orchestra “Young Lions Concert”
special guest Lily Wilde Quintet
MUSE Performance Center, Tigard
12/7
Jazz, Classical & Christmas
Randy Porter, piano,
Greg Ewer, violin, Nancy Ives, cello
The Old Church
12/11
The Tiptons & The Quadrophonnes
Alberta Rose Theater
12/18
“Potluck in the Park
Winter Warm Benefit Concert”
Tom Grant and Friends
Shelly Rudolph/Nancy King/
Marilyn Keller/Sweet Baby James
Benton/Dave Captein/
Jeffrey Frankel/Ron Steen
Acadian Ballroom
12/4
Portland Jazz Composers’ Ensemble
Community Music Center
12/10
Woody Allen
and his New Orleans Jazz Band
Arlene Schnitzer Concert Hall
12/27
Susie Jones Retirement/Jazz Party
(all star Mt. Hood
alumni jam session)
All proceeds to the National
Foundation for Transplants
in Mark Simon’s honor
McMenamin’s Edgefield, 6-10 pm
12/27
Rebecca Kilgore & Friends
(Randy Porter/Scott Steed/
Dick Berk/Lee Wuthenow)
Bijou Cafe
12/16
Board Meetings
Support our Advertisers!
The John G. Shedd Institute
for the Arts - Eugene
Jimmy Mak’s
Johnny Martin
6:30 pm
Top O’Manor - Royal Manor
2021 S.W. Main St.
Everyone Welcome!
Randy Porter

Portland Jazz Festival with Miles Davis program

Transcription

Similar documents

one-sheet - Charmaine Clamor

Cure-a-Phobia - On the move MH 2016

TAZZ BAND

Invitation Oct 7 CCVG FINAL **ENGLISH

Intervention Press Release

“left handed virtuoso of the upright bass”

Dossier

Summer Concert Series - Arts Council of Princeton

Press Kit