JerseyJazz - BRANFORD MARSALIS QUARTET JAZZ at KEAN STAGE
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THE MAGAZINE OF THE
NEW JERSEY JAZZ SOCIETY JerseyJazz JANUARY 2022
VOLUME 50 ISSUE 01
JAZZ at KEAN STAGE
BRANFORD MARSALIS QUARTET
IN THIS ISSUE
ARTICLES/REVIEWS COLUMNS
08 January Jazz Social: 03 All That’s Jazz
Dara Tucker
05 Editor’s Choice
10 Big Band in the Sky
37 From the Crow’s Nest
14 Jazz History:
43 Not Without You
Celebrating Frank Wess
20 Jazz at Kean Stage:
Branford Marsalis Quartet
24 Talking Jazz:
Marcus McLaurine
29 Rising Star: Caelan Cardello
32 Jazz at NJPAC: Bill Charlap
33 Jazz at the Blue Note:
Bob James
ON THE COVER _ The Branford Marsalis Quartet. From left,
Marsalis, Justin Faulkner, Eric Revis, and Joey Calderazzo 39 Other Views
NJJS.ORG JERSEY JAZZ JANUARY 2022 02
ALL THAT’S JAZZ
BY CY DNE Y HA LPIN
H
appy New Year!! It’s been a Cowles, Fanny Delsol, Susan Donnell, ganizations/companies who con- at Sea, Bell & Shivas, P.C., Ocean Coun-
challenge and privilege to serve Christopher Drukker, Bill Farrington, tributed to the ongoing efforts and ty College, Sandy Sasso, Larry Fuller
the New Jersey Jazz Society as Piper Ferguson, Neil Grabowsky, operations of NJJS in 2021: Sanford Trio, Richard Engel, Rosalind Grant,
Board President this past year, and I’d Jack Grassa, Tony Graves, Cydney Josephson, Editor and Mike Bessire, Jim Eigo/Jazz Promo Services, Orig-
like to begin the New Year by thank- Halpin, Jonah Hanlon, Takako Hark- Art Director of Jersey Jazz; NJJS’s inal Vinyl Records, James Pansulla,
ing my fellow Board members for ness, John Herr, John Hester, Ayano Advisory Committee members Don Metuchen Arts Council/Jazz, Arbors
their support and dedication to the Hisa, Kasia Idzkowska, Guinera Ka- Braden, Mariel Bildsten, Ted Chubb, Records, Live at Night/SOPAC, Jazzda-
continued growth and development of matova, Robert Kessler, Jeremy Kim, Al Kuehn, and Jason Olaine; Brett gen Tours, PM Records, Kean Univer-
NJJS. Sadly, we say goodbye to Dave Cathy LaFerer, Shervin Lainez, Chris Messenger and staff/Morris Muse- sity, George H. Buck Jazz Foundation,
Dilzell who has generously served Lee, Andrew Lepley, Russell Malone, um; Jazz House Kids; Metuchen Arts North Carolina Jazz Festival, Chris
NJJS as Treasurer, but has need Keith Major, Connie Norkin, Mike Council/Jazz; and Nan Hughes Poole. DeVito Quintet, Smooth Jazz New Jer-
to resign. We thank him for all he’s Oria, Susan Peterson, Sara Pettinella, Advertisers are the sustaining life sey, Smooth Jazz NJ/Maplewood Divi-
done to support and promote NJJS. Braden Piper, Olga Rainka, Lynn Red- force for Jersey Jazz, as membership sion of Arts & Culture, The Jazz Club
I’d also like to acknowledge and mile, Todd Rosenberg, Taili Song Roth, fees alone are insufficient to finance a of Sarasota/Sarasota Jazz Festival.
thank all of the Jersey Jazz Contrib- Agnes Ruiz, Casey Ryan, Mitchell publication of this caliber. Thank you With much appreciation, I’d like
uting Editors: Noal Cohen, Bill Crow, Seidel, Gordon Tunison, Pablo Valle, to all who advertised this past year, and to acknowledge our grantors: Morris
Schaen Fox, Will Friedwald, Arnie Carter Wade, Anna Webber, Harri- to the many who have done so year af- Arts—through the New Jersey State
Goodman, Lin Josephson, Joe Lang, son Weinstein, Aaron Winters, Na- ter year. The Board and I are so grateful Council on the Arts/Department of
Alex Levin, Dan Morgenstern, Mit- than West, Bill Westmoreland, Janis for your continued patronage, in spite State, a Partner Agency of the Nation-
chell Seidel, and Jay Sweet; and con- Wilkins, and Anna Yatskevich whose of what must have been an incredibly al Endowment of the Arts—whose
tributing photographers: John Abbott, volunteerism and expertise have filled challenging year as well for all of you: support helped fund this year’s Vir-
Anthony Alvarez, Lucas Asensi, Gary these journal pages this past year. The Jazz Cruise, Morris Museum/Jazz tual Socials and who have generously
Ashley, Joseph Berg, Andrew Bogard, With much gratitude I’d like to on the Back Deck, William Paterson committed to continued funding in
Martin Cohen, Richard Conde, Jessica thank the following people and or- University, Mark Clemente, JazzFest 2022; Investors Bank—whose support
NJJS.ORG JERSEY JAZZ JANUARY 2022 03
ALL THAT’S JAZZ
I
helped fund the “Celebrating Lionel cember and we need YOU to join f you haven’t already contributed Department for further information.
Hampton’s Life and Music” program; with us in this collaborative effort. to this annual campaign, please You can also make a tax-efficient
and the Rea Charitable Trust and In a year that continued to pres- consider a generous tax-deduct- gift from your IRA today! Qualified
the Summit Area Public Founda- ent physical and very real financial ible gift today. Please help NJJS Charitable Distributions (QCDs), also
tion—whose support is dedicated to challenges, through membership continue its performance and educa- known as IRA Charitable Rollovers,
the funding of Generations of Jazz/ dues and the generosity of donors tional initiatives by donating anytime are the savviest way for individuals
Educational programing. (Please like yourself, NJJS seamlessly con- online at www.njjs.org. There’s a red age 70 or older to use their IRAs to
note: All 2021 Virtual Socials and verted our award-winning maga- “Make a Donation” button conve- maximize their charitable giving.
Education Series presentations can be zine Jersey Jazz to a digital online niently located on our home page for Your IRA donation is a generous way
enjoyed anytime for free on the New and download-able publication, easy giving. We process our payments to fulfill your required minimum dis-
Jersey Jazz Society YouTube channel.) presented nine virtual streaming through PayPal but you do NOT need tribution for the year. Gifts generated
Lastly, I’d like to acknowledge concerts via our website homep- a PayPal account. Once inside our site, directly from your IRA will save you
and thank our NJJS members and age, Facebook page and YouTube click on the yellow donate button and on taxes while helping NJJS fulfill its
patrons. You are the heart and soul channel, expanded partnerships you can make a donation with your mission to promote and preserve jazz.
of this organization and why 2022 with other jazz organizations, pro- debit or credit card of choice. You can Every donation gets us closer to
celebrates our 50th year dedicat- vided more educational program- also donate by mail to: NJJS, P.O. Box our $20,000 goal. We need YOU to
ed to the performance, promotion ming, launched a new website with 223, Garwood, New Jersey, 07027. join with us in this collaborative effort.
and preservation of jazz. Lists are streaming capabilities, and pursued Please make check payable to NJJS.
O
tricky and my sincerest apologies if ways to refine our social media out- Would you like to maximize the n behalf of my fellow Board
I’ve inadvertently omitted anyone. reach campaign for better commu- impact of your gift? Many of you work members, we thank you for all
nication and greater visibility with for employers that have a matching you do to support jazz music and
J
azz music requires collabora- our members and jazz enthusiasts gift program that will double the im- education. Together we’re keeping this
tion. Our “Keeping the Music at large. These endeavors couldn’t pact of your gift for free by complet- uniquely American art form swinging!
Swinging … Together!” annual have happened without the generous ing and submitting a simple form. Here’s wishing everyone a happy and
appeal campaign kicked off in De- support from our donors. Thank you! Check with your Human Resources healthy New Year—with great jazz!
NJJS.ORG JERSEY JAZZ JANUARY 2022 04
EDITOR’S CHOICE
BY SA NFO RD JOS EPHSON
Evan Sherman’s Sidewalkin’: the musicians depended solely on
contributions from the street audi-
The album has an Art Blakey
feel about it, and Sherman point-
Shaped on the Streets of New York ence. “Jerry said, ‘Let’s see if we can ed out that it was recorded in the
get a trumpet player.’” They added same room where many of the Jazz
trumpeter Joe Magnarelli, and by the Messengers recordings were made.
fall people were asking, “Why don’t Among the eight tracks are Charlie
E
arly in 2020, drummer Evan ers. “He wanted to know if I could you guys have a CD to sell?” So, in Parker’s “Chasin’ The Bird”, Sam
Sherman told me he was making play in front of a fruit stand on 207th November, they went to the famous Jones’ “One for Amos”, Weldon orig-
plans for his first album (‘Rising St. and Broadway.” Since the other Rudy Van Gelder Studio in Engle- inals “Capuchin Swing” and “The
Star’, Jersey Jazz, March/April 2020). musicians were pianist Davis Whit- wood, NJ, and recorded Sidewalkin’. Henry Hustle”, and Wonsey’s “The
“People have been asking me,” he said, field, trumpeter Josh Evans, and Fortuitously, NBC’s The Today Sherman Stroll”, inspired by the way
“‘When are you going to record?’” saxophonist Stacy Dillard, Sherman Show had discovered Sherman’s Sherman walks. The one standard
On January 7, Sherman will said, ‘yes’. That was the beginning of a band and aired a segment on it in is Edward Redding’s “The End of a
have a CD release party at New York summer of street music at places like December 2020 that also included a Love Affair”. Said Sherman: “Jerry
City’s The Django for his self-pro- Terremoto Coffee on West 15th Street guest appearance by Wynton Mar- would often play that at the end of a
duced album, Sidewalkin’. But it’s in Chelsea and Good Enough to Eat, salis. “I know that this music heals set, because a set is like a love affair.”
not the album he originally envi- a comfort food restaurant at 85th and me,” the 28-year-old Sherman told
sioned. That was for his big band, Columbus on the Upper West Side. Today’s Hoda Kotb, “and, if it heals : The Django is located at
but when the pandemic hit, all live At the latter location, his band- me, I think it could heal other people 2 Avenue of the Americas on the
performances were canceled, and mates were keyboardist Anthony as well. I never dreamed I’d drag my cellar level of the Roxy Hotel. The
Sherman was stuck in his Har- Wonsey, bassist Tyler Mitchell, and drums up and down Columbus Av- Evan Sherman Quintet performance
lem apartment “going crazy.” tenor saxophonist Jerry Weldon. “The enue. Some of the great musicians on January 7 is at 10 p.m. For
Then, in June 2020, he received restaurant paid us in the beginning,” have a quote: ‘Take care of the music, reservations, call (212) 519-6649.
a phone call from bassist Ben Meign- Sherman said, but after a few days, and the music will take care of you.’” Proof of vaccination is required.
NJJS.ORG JERSEY JAZZ JANUARY 2022 05
ABOUT NJJS
F
ounded in 1972, The New Jersey Jazz Society MEMBER BENEFITS JOIN NJJS
has diligently maintained its mission to promote 10 FREE Concerts Annually Family/Individual $45
and preserve America’s great art form—jazz. To at our “Sunday Socials” (Family includes to 2 Adults and
2 children under 18 years of age)
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Jazz Magazine - Featuring Articles,
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Musician Member $45 / 3-Year $90
(one time only, renewal at standard
provide scholarships to New Jersey college students Discounts at NJJS Sponsored basic membership level.)
studying jazz. Through our outreach program Concerts & Events. Youth $15 - For people under
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at reduced prices at most NJJS
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Visit www.njjs.org or email info@njjs.org concerts and events and through deductible to the full extent allowed by law. For
for more information on our programs and services mail order www.njjs.org/Store more Information or to join, visit www.njjs.org
NJJS.ORG JERSEY JAZZ JANUARY 2022 06
Editorial Staff New Jersey Jazz Society, Officers 2021
EDITOR PRESIDENT
Sanford Josephson, editor@njjs.org Cydney Halpin, pres@njjs.org
Magazine of the New Jersey Jazz Society ART DIRECTOR EXECUTIVE VP
VO LU M E 50 • I SSUE 01 Michael Bessire, art@njjs.org Jane Fuller, vicepresident@njjs.org
CONTRIBUTING PHOTO EDITOR TREASURER
Mitchell Seidel, photo@njjs.org Mike Katz, treasurer@njjs.org
NJJS org CONTRIBUTING EDITORS
Noal Cohen, Bill Crow, Schaen Fox,
VP, MEMBERSHIP
membership@njjs.org
Joe Lang, Dan Morgenstern
VP, PUBLICITY
CONTRIBUTING PHOTOGRAPHERS
Sanford Josephson,
Christopher Drukker,
sanford.josephson@gmail.com
Tony Graves, Keith Major
VP, MUSIC PROGRAMMING
WEBMASTER
Mitchell Seidel, music@njjs.org
Christine Vaindirlis
RECORDING SECRETARY
Irene Miller
Jersey Jazz (ISSN 07405928) CO -FOUNDER
is published monthly for members Jack Stine
of The New Jersey Jazz Society
IMMEDIATE PAST PRESIDENT
P.O. Box 223, Garwood, NJ 07027 Advertising Mike Katz
908-380-2847 • info@njjs.org
DIRECTOR OF ADVERTISING
Membership fee is $45/year. DIRECTORS
Periodical postage paid at West Caldwell, NJ Jane Fuller, advertising@njjs.org
Jay Dougherty, Cynthia Feketie,
Postmaster please send address changes ADVERTISING RATES
Pete Grice, Carrie Jackson,
to P.O. Box 223, Garwood, NJ 07027 Full Page: $135, Half Page: $90, 1/3 Caryl Anne McBride, Robert McGee,
All material in Jersey Jazz, except where another Page: $60, 1/4 Page: $30 James Pansulla, Stew Schiffer,
copyright holder is explicitly acknowledged, Elliott Tyson, Jackie Wetcher
is copyright ©New Jersey Jazz Society 2020. All For reservations, technical information and deadlines
contact advertising@njjs.org or visit njjs.org/
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Magazine/Advertise. Make payment at PayPal.
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to NJJS, P.O. Box 223, Garwood, NJ 07027. Ted Chubb, Al Kuehn, Jason Olaine
NJJS.ORG JERSEY JAZZ JANUARY 2022 07
JANUARY JAZZ SOCIAL
Dara Tucker Reviewing her 2019 Watchman lived in Switzerland and Nashville
Bringing Originality to Familiar Tunes Music Group album, Oklahoma Rain, before settling in New York City.
London Jazz News’ Peter Bacon wrote Bacon pointed out that her singing
that Tucker “brings a fresh approach style “mixes jazz and R&B ... and adds
V
ocalist Dara Tucker’s recent al- her repertoire at the New Jersey to jazz-inflected singing with a tinges of gospel and country.” At times,
bum, Dreams of Waking: Music Jazz Society’s Virtual Social. big sky atmosphere to the sound- he said her tone reminded him “vague-
for a Better World (Green Hill Other jazz musicians, in addition scapes she and her band create.” ly of that other singer/songwriter with
Productions: 2021), featured tunes as- to Chestnut, appearing on the album Born in Tulsa, OK, to a fami- Nashville connections, Mary Chapin
sociated with well-known singer/song- include pianist Sullivan Fortner, bass- ly of singers and ministers, Tucker Carpenter ... The act of stretching from
writers such as Carole King and Stevie ist Dezron Douglas, drummer Johna- traveled across the United States, jazz towards an Americana direction
Wonder and composers such as Burt than Blake, saxophonist John Ellis, performing with her family. She shows greater potential for original-
Bacharach. According to Betsey Bell, and trumpeter Giveton Gelin. Among ity—no one else seems to be operat-
writing in the (UK) Jazz Journal, “The additional song selections on Dreams ing in this particularly territory.”
great subtlety in the arrangements of Waking are James Taylor’s “Secret The January 29th Social will be
brings freshness to these already leg- O’ Life”, Donny Hathaway’s “Some- streamed on the njjs.org website as
endary tracks. Tucker achieves this day We’ll All Be Free”, and Won- well as on the NJJS Facebook page
especially in her take on Burt Bacha- der’s “You Haven’t Done Nothin’”. and YouTube channel. There is no
rach’s ‘What the World Needs Now’. As a composer, Tucker col- admission charge, but donations
It’s fleshed out with beautiful piano laborated in 2019 with Keb Mo’ to are welcome and appreciated.
flourishes from Cyrus Chestnut, who write the title track for his Concord Funding for the NJJS Socials
is also very good on Tucker’s rendition Jazz album, Oklahoma, which won has been made possible, in part, by
of Carole King’s ‘You’ve Got a Friend’.” a Grammy Award in 2020 for Best Morris Arts through the New Jersey
On January 29 at 7 p.m. Tuck- Americana Album. One of her orig- State Council on the Arts/Depart-
er will be singing selections from inal compositions, “Do We Sleep?”, ment of State, a partner agency of the
the album and other songs from appears on Dreams of Waking. National Endowment for the Arts.
NJJS.ORG JERSEY JAZZ JANUARY 2022 08
BIG BAND IN THE SKY
Barry Harris: Mentor to Many
and Master of Bebop
“He Was a Talmudic Scholar of Bebop
... and a Swinging Socrates.”
BY SA NFO RD JOS EPH SON
W
hen I interviewed alto saxo- just one week short of his 92nd
phonist Charles McPherson birthday, at Palisades Medical
in March 2020 (‘From Bebop Center in North Bergen, NJ, from
to Ballet’, Jersey Jazz, May/June complications due to Covid.
Barry Harris, right, with Charles McPherson, early 1990s
2020), he told me that, growing up in Upon hearing of Harris’ death,
Detroit, one of his neighbors was the McPherson posted a tribute on Face-
pianist Barry Harris. McPherson and book. “As my first jazz teacher,” he literature, art, music beyond jazz, the virtuoso improvisations of Parker,
his friend, trumpeter Lonnie Hilly- wrote, “Barry has been my mentor philosophy, and so on ... His gener- Gillespie, and Powell under a micro-
er, would occasionally sit in at the and musical inspiration since I was osity was enormous, and he helped scope, discovering the musical gram-
nearby Blue Bird Inn jazz club. “We 15. From Barry, I learned not only people on their own musical journey; mar that makes bebop work—scales,
could play the melody,” McPherson about music but about a multitude this was deeply important to him.” chords, chromatic passing tones.”
said, “but we couldn’t improvise of subjects and concepts beyond Npr.org’s Mark Stryker, on the day Stryker, author of Jazz From Detroit
worth a damn. Barry Harris heard us music and jazz. He stressed the im- of Harris’ death, wrote that his pas- (University of Michigan Press: 2019),
and said, ‘If you want, come by the portance of being well-rounded as sion for teaching, “grew out of an an- added that Harris was able to chan-
house, and I’ll show you some things.’” a person and to be knowledgeable alytical mind and a lifelong quest for nel “the language and spirit of bebop’s
Harris died December 8, 2021, about the world and many disciplines: knowledge and improvement. He put founding fathers through his own
NJJS.ORG JERSEY JAZZ JANUARY 2022 10BIG BAND IN THE SKY
foxy wit, vivid harmonic imagination, Adderley and eventually moved to
and distinctive rhythmic rumble ... New York. He became friendly with
Barry Harris
He was a Talmudic scholar of bebop; the late Pannonica de Koenigswarter,
at TD James
Moody Jazz a beacon of artistic integrity and also known as the Jazz Baroness, and
Festival in 2013. generosity; and a swinging Socrates, moved into her Weehawken, NJ, home
guiding students in a quest for truth, in the ‘60s and lived there for the rest
beauty, and the hippest chords to play of his life. Thelonius Monk also lived
on ‘Indiana’ and ‘Embraceable You’.” there for the last 10 years of his life.
Born in Detroit on December Harris’ most important albums,
15, 1929, Harris discovered jazz and according to Stryker, were the trio
bebop when, at age 17, he heard a re- recordings he made in the ‘60s
cording of Bud Powell’s “Webb City” and ‘70s such as At the Jazz Work-
with saxophonist Sonny Stitt and shop (Riverside: 1960), Chasin’ the
trumpeter Fats Navarro. In 1954, he Bird (Riverside: 1962), and Live
succeeded Tommy Flanagan as the in Tokyo (Xanadu: 1976). His best
house pianist at the Blue Bird Inn solo recordings, Stryker said, were
(other members of the band included The Bird of Red and Gold (Xanadu:
baritone saxophonist Pepper Adams 1979) and Solo (September: 1990).
and drummer Elvin Jones), and two In addition to his recordings as a
years later, toured with drummer Max leader, Harris was the pianist on the
Roach and recorded with trumpet- classic Lee Morgan album, The Side-
PHOTO BY TONY GRAV ES
ers Art Farmer and Thad Jones and winder (Blue Note: 1964). Recalling
tenor saxophonist Hank Mobley. The Sidewinder in a February 2020
Harris left Detroit in 1960 to tour article, AllAboutJazz’s Greg Simmons
with alto saxophonist Cannonball wrote that, “Barry Harris’ piano work
NJJS.ORG JERSEY JAZZ JANUARY 2022 11BIG BAND IN THE SKY
throughout the album is a special to the heart of what makes a melody.”
blend of technical proficiency with a “Sir Harris,” wrote bassist Chris-
dollop of gut blues. On ‘Boy, What A tian McBride, on Facebook, “was
Night,’ his solo draws inspiration from one of the oak trees of bebop and
way back, with echoes of the barrel- jazz education. Anyone who took the
house keyboards of James P. John- time to listen to him and pay atten-
son or Jimmy Yancey, while remain- tion came away a better musician.”
ing au courant of the early sixties. His Added pianist Monty Alexander,
playing catches modernism with note- also on Facebook: “His guidance to
worthy respect for his predecessors.” young musicians is irreplaceable. He
Jazz critic (and Jersey Jazz col- helped so many young musicians to
umnist) Dan Morgenstern once de- find a better path for themselves.”
scribed Harris as,“one of the very few Harris was named a National En-
pianists who never allow the fingers to dowment for the Arts Jazz Master in
fill in when the mind falters. There are 1989 and received an honorary doc-
no cliched runs in his book.” Pianist torate from Northwestern University
Michael Weiss, one of many pianists in 1995. His last public appearance,
mentored by Harris, told Stryker that in November 2021, was at a concert
Harris, “orchestrated his melodies celebrating NEA Jazz Masters at
and constructed his improvisations in Flushing Town Hall in Queens, NY.
a lyrical, unhurried and free-flowing He is survived by his daugh-
manner. His codification of the be- ter, Carol Geyer and her husband,
bop language stands apart from most Keith, who live in Metro Detroit.
of the trite attempts at jazz theory in
the academic world, because it goes : See more Big Band on p. 35
NJJS.ORG JERSEY JAZZ JANUARY 2022 12JAZZ HISTORY
Celebrating the Musical ‘Magic’ of
Saxophonist/Flutist Frank Wess
“He Idolized Johnny Hodges, and I Think You
Can Hear That in His Tenor Playing.”
BY NOAL CO HEN
H
is colleagues called Frank Wess early 1950s, helping secure its rightful
“Magic,” an appropriate sobri- place in modern jazz. He would also
quet in view of the exceptionally prove himself to be an accomplished
consistent artistry and professional- composer, arranger, teacher, and
ism he brought to every project with mentor to many aspiring musicians.
which he was involved throughout a Frank Wess was born on January
career spanning 70 years. His saxo- 4, 1922, in Kansas City, MO, so he
phone approach was lyrical, soulful, would have turned 100 on January 4,
swinging and a unique, genre-defying 2022. He began his musical training
blend of influences including Johnny after the family moved to Sapulpa,
Hodges, Lester Young, Ben Webster, OK, in 1932. Another move brought
and Benny Carter, yet informed by him to Washington, DC in 1935 where
PHOTO BY TONY GRAV ES
bebop harmonies. Assuming the flute he graduated from Dunbar High
mantle from Wayman Carver of the School in 1937. The orchestra teach-
1930s Chick Webb orchestra, Wess er at Dunbar was Henry Grant (who
was a pioneer on the instrument in the had earlier taught Duke Ellington)
NJJS.ORG JERSEY JAZZ JANUARY 2022 14JAZZ HISTORY
“
who provided important instruc- indignities. He returned to Washing-
I WENT FROM BASIE TO BROADWAY
tion in theory and composition as ton and enrolled at the Modern School
well as encouragement. A classmate of Music as a flute major, earning a
AND NEVER MISSED A PAYDAY.”
at Dunbar was pianist Billy Taylor. Bachelor of Music degree in 1953.
Although initially enrolling at Based on Eckstine’s recommen-
Howard University with the inten- dation, Count Basie had been trying
tion of attending dental school, Wess to get Wess to join his band for some
switched to the school’s music con- time, but the saxophonist refused un-
servatory where he spent a year. By member of the U.S. Army Band serv- Billy Eckstine, the first big band to til 1953 when the money Basie offered
this time, still in his teens, he was ing as Assistant Bandleader and clar- play the new music known as bebop. was tempting as was the opportunity
already playing professionally in inet soloist (an instrument he de- During Wess’ tenure (on tenor saxo- for greater exposure. The “New Tes-
Washington with a youth band led by spised). The ensemble was stationed phone), the ensemble included some tament” version of the Basie band,
pianist John Malachi that rehearsed in Africa and performed in Dakar, of the new genre’s most important with a host of fine soloists, many of
at the Jungle Inn. Jelly Roll Morton Casablanca, Monrovia, Tlemcen ,and innovators including trumpeters Fats whom Wess, himself had recruited,
lived above the club and would attend Algiers. He also led a 17-piece band Navarro, Miles Davis and Howard was a swinging powerhouse and a
the rehearsals giving Wess the oppor- that accompanied Josephine Baker on McGhee, saxophonists Dexter Gor- commercial as well as artistic success.
tunity to meet the jazz legend. Wess concert tours for Allied troops. Per- don, Gene Ammons and Leo Parker, Besides Wess on flute, alto and tenor
also worked dances at the Lincoln forming music in a variety of styles bassist Tommy Potter, and drummer saxophones, the ensemble includ-
Colonnade and joined the pit band at including vaudeville, classical and Art Blakey. Wess described Ecks- ed Joe Newman, Thad Jones, Sonny
the Howard Theater. With Blanche marching band, his World War II ex- tine as the “godfather of bebop.” Cohn and Snooky Young on trumpet,
Calloway, he toured Massachusetts perience was invaluable preparation After Eckstine disbanded in 1947, Al Grey, Henry Coker, Bill Hughes and
where he encountered stars-to-be for the long and varied career to come. Wess worked with the orchestras of Benny Powell on trombone, Marshall
including guitarist Irving Ashby Wess returned to Washington Eddie Heywood, Lucky Millinder and Royal, Ernie Wilkins, Frank Foster,
and saxophonist Paul Gonsalves. after the war and soon joined the Bullmoose Jackson, but, by 1949, had Eddie “Lockjaw” Davis, Eric Dixon,
From 1941-1945, Wess was a legendary orchestra led by vocalist tired of the road with its stresses and Billy Mitchell and Charlie Fowlkes
NJJS.ORG JERSEY JAZZ JANUARY 2022 15JAZZ HISTORY
on saxophones, Eddie Jones on bass, enon that helped give the “New Tes-
Freddie Green on guitar, Sonny Payne tament” band its unique character.
on drums and vocalist Joe Williams. After 11 years, Wess left Basie
Many of the finest arrangers of in 1964 to settle in New York City
the period contributed to Basie’s rep- where his reputation preceded him
ertoire including Neal Hefti, Ernie and work in a variety of settings
Wilkins, Benny Carter and Quincy awaited. As he put it, “I went from
Jones. From within the band, Thad Basie to Broadway and never missed
Jones, Frank Foster, Joe Newman and a payday!” He played in the pit bands
Wess, himself (“Yesterdays,” “Segue of hit shows including Golden Boy,
in C,” “Blue on Blue,” “Swingin’ at the Chicago, Annie, and Sugar Babies. On
Waldorf,” “Summer Frost,” “Pepper- television, he could be heard on The
mint Pipes”) also wrote arrangements. Dick Cavett Show, The David Frost
Tenor saxophone and flute were Show, and The Sammy Davis Show
always Wess’s preferred instruments, as well as many specials and tele-
but in 1957, he switched to alto sax in thons. He is also present on a num-
order to accommodate the addition ber of film soundtracks and jingles.
PHOTO COU RT ESY O F WILL IAM PATERSON
of Eddie “Lockjaw” Davis. Although As a sideman in great demand,
there aren’t many examples of Wess’ Wess backed instrumentalists and
alto sax solos with Basie, they can be vocalists representing many gener-
heard on the recordings of “Fantail,” ations and styles. His discography
Frank Wess performing “A Square at the Roundtable,” “Rock reveals that between 1964 and 2011,
with the William Paterson a Bye Basie” and “Backwater Blues.” he participated in sessions with
Jazz Orchestra in 2011.
Actually, most of his solos during his around 150 different artists or en-
Basie tenure were on flute, a phenom- sembles, from Benny Carter to Jaco
NJJS.ORG JERSEY JAZZ JANUARY 2022 16JAZZ HISTORY
Pastorius and from Annie Ross to between the two Franks on tenor sax flute ensemble with Holly Hofmann us an opportunity to reflect on and
Diana Ross. Some of the most nota- was striking with Foster exhibiting and Ali Ryerson, and a big band co- enjoy the “magic” he wove for so long.
ble of these are recordings with The a bigger sound and more aggres- led with trumpeter Harry Edison. Here are some thoughts about
Toshiko Akiyoshi Orchestra, Clark sive approach but Wess holding his In his later years, Wess often fa- Frank Wess taken from recent inter-
Terry’s Big Bad Band, Dameronia, own with a more lyrical and mea- vored mid-sized ensembles of eight views with musicians that knew him:
and The Gerald Wilson Orchestra. sured but equally engaging manner. or nine pieces. A recording by one
As a leader and co-leader, his ear- Wess was involved in a number of these, Tryin’ to Make My Blues Scott Robinson _ “Johnny Hodges
ly sessions for the Commodore and of successful musical partnerships Turn Green (Concord Jazz: 1993) is loomed very large with him. [He] had
Savoy record labels often involved his and collaborations including The worthy of mention since the music one of Hodges’ altos. He had a beautiful,
Basie bandmates of the 1950s, espe- New York Jazz Quartet comprised on it will be reprised as part of a Cen- beautiful French Dolnet alto. I guess it
cially Frank Foster with whom he of himself, Sir Roland Hanna on pia- tennial celebration. (See page 19) was marked Vito but made by Dolnet, if
would later record the albums Two no, George Mraz on bass, and drum- Wess died of a heart attack in 2013, I understand correctly. It was similar
for the Blues (Pablo Records: 1983) mer Ben Riley; a quintet co-led with at the age of 91. He viewed a jazz solo to the tenor that Don Byas played. It
and Frankly Speaking (Concord Re- the under-appreciated trumpeter as an essay, the telling of an artist’s had the snake on the neck with jew-
cords: 1984). The stylistic contrast Johnny Coles; Flutology, a three- individual story in his or her own els, ruby eyes looking at you while you
way. It was a concept he maintained played. The octave key was built in the
throughout his career. Reflective of form of a snake and it was an astonish-
“
his many achievements, he received ing horn with Johnny Hodges’ name
FRANK WAS THE FLUTE CAT
the NEA Jazz Master Award in 2007 engraved on it—beautiful engraving
and,in 2010, was honored at an All on every single key—very unusual key
WAY BACK IN THE BEGINNING.”
Nite Soul event at St. Peter’s Church system with lots of extra stuff. I toured
in New York City where in his intro- with Frank when he had that horn. It
duction, historian Phil Schaap called was really something. So he idolized
him “the most important living jazz Johnny Hodges, and I think you can
musician.” Wess’ centennial provides hear that in his tenor playing also.”
NJJS.ORG JERSEY JAZZ JANUARY 2022 17JAZZ HISTORY
Champion Fulton _ “[He] really was, liever in, and Frank Wess had a spir-
at least with me and I think in general it. To me, it’s not about what Frank
FRANK WESS in his life, really focused on swing- Wess sounded like or what he talked
TRIBUTES: ing and rhythm. And we would talk
a lot about that, like what it felt like
about. The important thing I got from
Frank Wess was what he felt like!
to be in the Basie band, what that He’s been dead awhile but I can still
ON JANUARY 9TH at New
kind of rhythm felt like and how they feel Frank Wess all up in my bones.”
York’s Birdland Theater,
achieved it. I remember him talking
multi-instrumentalist
to me about the importance of patting Dotti Anita Taylor _ “He was fabu-
Scott Robinson will lead a
your foot when you’re playing which lous as a teacher. I speak very highly
tribute to Frank Wess with
is something no one talks about. Actu- of how he was as a teacher because
a quartet featuring pianist
ally, I spent three years in jazz college ago—there were certain role models the flute, I will say, is not the easi-
Helen Sung. Robinson will
and nobody ever talked about that to but the goal, man, was to have your est instrument to learn how to play,
perform on Wess’ own bass
me. But that was one of the first things own voice. And Frank’s ace in the hole number one. And through different
flute. On January 19th and
Frank talked about and when to pat on was that he was one of the pioneers of things that he would say to me he
20th at Dizzy’s Club and
quarter notes, what tempos and when jazz flute. So that’s pretty much one enabled me to not only get a sound
January 22nd at the Mohonk
to pat half notes, when to pat whole major, major factor, that Frank was out of the flute but to develop a really
Mountain House in New
notes. He was the master in my opin- the flute cat way back in the begin- good sound out of it. I say that in all
Paltz, NY, he will lead an octet
ion, one of the masters of knowing ning. There were cats before that, but humility in that when I get comments
including trombonist Steve
how to make a set list, like knowing Frank was one of the first. When he about how I play, one comment that
Turre, saxophonist/flutist Bill
which tunes and which tempos and was with Basie he played tenor and is made lots of times is the tone that
PHOTO BY TONY GRAV ES
Easley, and drummer Dennis
which keys should go in which order.” alto, but I’ve always been “bisaxual” I get, the sound I get out of the flute.
Mackrel, all of whom worked
myself. What made Frank Wess Frank And I attribute it to what he was able
and recorded with Wess.
Bill Easley _ “Frank is a unique cat. Wess was his spirit! That human spir- to tell me to do so that I could achieve
All the guys from those generations it is something that I’m a true be- a beautiful sound out of the flute.”
NJJS.ORG JERSEY JAZZ JANUARY 2022 18The
LARRY FULLER
TRIO
THE BICKFORD THEATRE
Morristown, NJ
Sunday, March 27 Larry Fuller, piano
2pm
Hassan Shakur, bass
tickets: morrismuseum.org/jazz Jason Tiemann, drumsJAZZ AT KEAN STAGE
The Branford Marsalis Quartet:
T
he Branford Marsalis Quartet
has been together for three de-
Three Decades of Challenging Music cades. The secret to its longev-
“Unrelenting Intensity—Jazz Used to Have That, and It Got Away.” ity? “I challenge them and pay them
well,” said Marsalis, “but ‘challenge’
BY SANFORD JOS E P HSON
is the most important part. The guys
know we’re going to represent a high
level musically. We’re trying to play
jazz. We’re not trying to use jazz as a
vehicle for our improvisational tech-
nique. And, we enjoy each other’s
company. We like playing dress up.”
The other members of the quartet
are pianist Joey Calderazzo, bassist
Eric Revis, and drummer Justin Faulk-
ner. The quartet’s last album, The Se-
cret Between the Shadow and the Soul
(Okeh/Sony), was released in January
2019 to enthusiastic reviews. Down-
Beat’s Ed Enright wrote that the quar-
tet, “succeeds in its relentless pursuit
of musical sophistication, cohesive-
ness, and inclusiveness. Clearly, these
long-loyal bandmates have reached a
new plateau together.” The Guardian’s
NJJS.ORG JERSEY JAZZ JANUARY 2022 20JAZZ AT KEAN STAGE
Dave Gelly pointed out that, “over the
years, the quartet has developed a kind
band or the orchestra. I’m a benev-
olent dictator. I’m not stupid, so I’m “
MARSALIS OPERATES WITH
A ‘SIDEMAN’S MENTALITY’.”
of group mind.” Enright added that going to pick the best song regardless
Marsalis, “never has sounded better of who writes it. If it’s my guys, great.
on tenor and soprano saxophones.” If it’s somebody else, great. I’m not
At 3 p.m. on Sunday, January 30, interested in just playing my songs
the quartet will appear at Kean Stage in or using the band as a vehicle to talk Earlier this year, Marsalis received lette Parker, as a member of the
the Eugene G. Wilkins Theatre on the about me. I just want to get as many acclaim for composing the soundtrack Ikettes in the Ike & Tina Turner Revue.
campus of Kean University in Union, great songs as possible. Joey writes on the Netflix movie, Ma Rainey’s Black In the ‘70s, she sang in the band, Max-
NJ. The repertoire will be challenging great songs, and Revis writes great Bottom. In planning for the movie, Mar- ayn, with her then-husband, Andre
but definitely not predictable. “We songs; and they’re coming from com- salis recalled that the director, George Lewis. According to Marsalis, Lewis,
have a big library,” Marsalis said. “We pletely different stylistic points.” Wolfe, “wanted to find a singer who “had the ability to deliver the music
have the advantage of not being bur- sounded like Ma Rainey. I told him that with an emotional immediacy that
dened by popularity. We will play what- no one’s sung like her for 100 years. If was required. So, I just went with my
ever we want, depending on the audi- George could have found somebody who gut, called her up, and she said, ‘yes’.
ence, how sophisticated we feel the sings like Ma Rainey, he would have And, it all went from there.” With the
audience is. We have a lot of variables.” got her, but I knew he wouldn’t. I was exception of one song, “These Dogs
Only one of the five original com- in Australia, playing with an Australian of Mine”, Lewis was the singing voice
positions on The Secret Between the chamber orchestra, when I got the job. I for actress Viola Davis in the movie.
Shadow and the Soul was written by was looking at different people, taking As previously reported, (“Un-
Marsalis. Two were composed by recommendations, so I called Bruce derstanding the Real Meaning of the
Calderazzo and two by Revis. As a Hornsby and said, ‘Hey, man, I need a Blues”, Jersey Jazz, February 2021),
bandleader, Marsalis operates with a singer.’ He said, ‘Call Maxayn Lewis.’ Marsalis selected trumpeter Chuck
“sideman’s mentality. It’s never about Lewis began her career in the Findlay to coach the late Chadwick
me. It’s always about playing with the 1960s, under her birth name of Pau- Boseman so that he would look like
NJJS.ORG JERSEY JAZZ JANUARY 2022 21JAZZ AT KEAN STAGE
he was really playing the trumpet. Brown, Otis Redding, Jackie Wilson, listening to that advice, and Coltrane
“Chuck,” Marsalis said, “was per- Ike & Tina Turner—unrelenting inten- certainly did not listen to that advice.”
fect. He played with Doc Severinsen sity. Jazz used to have that, and it got Along with his brother, trum-
in The Tonight Show band.” Marsa- away. It shifted away from group play peter Wynton, Marsalis played ear-
lis, who led The Tonight Show band to a more individual improvisation. ly in his career with Art Blakey’s
from 1992-1995, emphasized that “You have people using Coltrane Jazz Messengers. Blakey, he said,
Findlay is, “a studio musician. He’s a as an inspiration,” he continued, “but “taught me how to be a bandlead-
jazz guy. When I was talking to Chad- they aren’t able to deliver with the er. I learned what the pulse of jazz
wick about a specific thing, he would same kind of sound and intensity he is, the discipline of playing jazz. He
say, ‘That’s the same thing Chuck create ways to solve those problems. had. So, the music kind of became dis- said jazz is about intensity, inten-
said.’” The actual trumpeter, playing Sean’s that kind of guy. I knew he’d connected. I like Coltrane for a million sity, intensity, even on the ballads.”
offscreen, was Wendell Brunious. play that ‘20s music with the prop- reasons that I can’t speak of briefly. He Who are his other heroes? “Jelly
To provide the piano music for ac- er technique and the proper spirit.” had a strong understanding of who Roll Morton, Sidney Bechet, Louis
tor Glynn Turman, portraying the fic- A great admirer of the legend- he was. He made musical decisions Armstrong, Charlie Parker, Ornette
tional pianist, Toledo, Marsalis chose ary tenor saxophonist John Coltrane, based on moving himself forward. Coleman, Dexter Gordon, Charlie
the young keyboardist Sean Mason Marsalis said that, in his own play- Where most musicians who invented Mingus’ band, Miles Davis had two
(Jersey Jazz “Rising Star”, October ing, “I’m more of a Sonny Rollins something like ‘Giant Steps’ would great bands, Eric Dolphy. There’s just
2021). “Sean,” he said, “is an extraor- guy.” But the importance of Coltrane, have simply stayed there, he didn’t. so many people.”
dinary talent. He has an extraordinary he explained, “is the level of inten- “When Illinois Jacquet gave me
amount of discipline. Musicians need sity that his band played with. The music lessons,” Marsalis recalled, “he : The Kean University campus is
to be able to fix themselves. Their ears sound of that band was a huge source said, ‘Find two or three things that are located at 1000 Morris Ave. in Union,
need to be good enough so they can of inspiration to me. That’s the kind yours and just stick with it. Everybody NJ. For tickets or information, log
recognize weaknesses in their play. Or, of band that I wanted. I grew up play- knows it’s you.’ If I was going to do onto kean.universitytickets.com or call
if you point out a weakness in their ing R&B. The best examples of R&B, that, I would have stayed on the R&B (908) 737-7469. Masks will be required,
playing, a bell goes off in their head to particularly in the ‘60s, were James side where the pay’s better. I won’t be regardless of vaccination status.
NJJS.ORG JERSEY JAZZ JANUARY 2022 22TALKING JAZZ
A Jersey Jazz Interview with
Marcus McLaurine
BY SCHAE N FOX
M
arcus McLaurine has become one of the most in-demand
bassists in jazz. Born in Omaha, NE, he studied music at
the University of Nebraska. Hoping to eventually get to New
York, he enlisted in the Air Force in 1976 and got stationed at
McGuire Air Force Base (now Joint Base McGuire-Dix-Lakehurst)
in Burlington County, NJ. McLaurine spent three decades in bands
led by the late trumpeter Clark Terry and has appeared with a who’s
who of jazz legends including Dizzy Gillespie, James Moody, and
Lou Donaldson. He is currently an Adjunct Professor in the Jazz
Studies program at William Paterson University in Wayne, NJ.
NJJS.ORG JERSEY JAZZ JANUARY 2022 24TALKING JAZZ
JJ How long were you stationed band who were into jazz asked me if complete stranger came up to me JJ How did you get to work
at McGuire Air Force Base? I want to go and hang out with them. said, “Give me your phone number. with Melba Liston?
DK Four years. It was actually one There was a jazz club in Trenton A good friend of mine is a musi- DK I only had been in New York a
of the best moves I’ve ever made and they said, “Richie Cole is play- cian, and you guys might get along.” couple of months when Clifford got
in my life, because it was like go- ing tonight.” We went, and the band I gave him my number and about a gig up in Harlem. On the break, he
ing to school. The only band that I sounded great. After the band was a week later, he called and said, “My said, “Melba Liston is here and she
didn’t play in was a classical quar- finished, I spoke to the bass player. friend is in town. Why don’t you wants to meet us.” I didn’t know
tet. I played in every other band: the He said, “Would you like to play my come over? My wife is cooking din- who Melba Liston was at that time.
marching band, the jazz big band, bass?” I was playing his bass, and a ner, and we can have a jam session.” Erica Lindsay, a great tenor play-
the concert band, a small jazz com- That was Clifford. He had been on the er, and Francesca Tanksley, a great
bo, and I actually led the rock band road. We just clicked. He said, “Give piano player, were with Melba, and
for a while. It was a good experience, me your number. I might have some- she said, “I really enjoy your play-
“
because it made me read a lot, and I thing for you.” He called me about ing, would you like to join my band?”
I HAD THE
got my reading chops tightened up. like a week and a half later and said, I said, “Of course,” and that’s how
“I have a gig in Manhattan this Fri- I joined. (Liston was a pioneering
JJ Is that when you got to know day. There’s only one catch, the gig female trombonist and arranger
the trombonist Clifford Adams?
DK Clifford is actually the reason GOOD FORTUNE starts at 3 a.m.” At that time, I was
just so excited to play in Manhattan. I
and was named an NEA Jazz Mas-
ter in 1987. She died in 1999).
why I’m in New York. When I was
in the Air Force band, I would usu- TO WORK WITH didn’t care. So, we played the gig, and
I actually met (saxophonist) Steve JJ What are your best
memories of her?
CLARK (TERRY)
ally come home after rehearsal and Coleman that night. When I got out
practice about three hours every of the military, Clifford said, “You DK She was just Melba, just very
FOR 30 YEARS.”
night just to get my chops up, be- need to stay in New York. New York calm and mellow, just the real thing.
cause I was going to make a career needs bass players.” I said, “Okay, I’ll She was well respected in the jazz
out of it. One night two guys in the stay until my money runs out again.” community, and for good reason. Mel-
NJJS.ORG JERSEY JAZZ JANUARY 2022 25TALKING JAZZ
ba was way ahead of the time, be- Clark. He called and said ‘This is
cause she was a great musician, but Clark Terry.’ My first reaction was,
she was also a fantastic arranger. She ‘Yeah, right!’ He said, ‘No, this is
used to do all those arrangements Clark Terry. And I have two gigs. I
for Dizzy’s band, and she had a real got a week at the Blue Note and I
reputation as a top flight arranger. got a week up in Quebec City, Can-
ada. Can you make it?’ I said, ‘Yeah,
JJ How long were you with her I can do it.’ He said, ‘Okay, I’ll see
before you joined Clark Terry? you next week.’ Click, he hung up.
DK I was with Melba that whole I was basically terrified as I would
year. We actually did Carnegie Hall, do the gig cold, not knowing what we
McLaurine with Clark Terry
the Kool Jazz Festival, and sever- were going to play. I had heard Clark
al more festivals. Unfortunately, I for the first time back in 1972. I was
didn’t get to record with her, but still living in Omaha, and doing a gig JJ Did Melba realize that JJ On average how much
someone posted a little video clip we with the saxophone player Preston she might lose you when she of the year would you be
did. I just saw it a few months ago. Love at the University of Nebraska. recommended you to Clark Terry? with Clark Terry?
Clark was looking for a bass We went to the Student Union and it DK Probably, because we weren’t DK They would vary. Sometimes we
player. Clark and Melba were very was packed because it was Clark Ter- working that much, and she knew would be on the road a lot, but Clark
tight because they worked togeth- ry. On drums was Victor Lewis, one that would be a great opportuni- would spend much of the summer
er in Dizzy’s band. Matter of fact, of the top drummers in New York. ty for me. I was totally indebted months in Europe. During that time,
when we did Carnegie Hall, Dizzy He was a student at the University at to Melba for giving me that op- he wouldn’t use the band; he’d use guys
sat in with the band. So, she said, that time, Actually, that was the first portunity, because she didn’t have who were living over there. But when
‘Call my bass player Marcus Mc- time I ever heard ‘Mumbles’. It was to. That recommendation changed he was home, like during the rest of
Laurine.’ That’s how I got to be with so hilarious my face was hurting. the whole direction of my life. the year, he had a pretty busy schedule.
NJJS.ORG JERSEY JAZZ JANUARY 2022 26TALKING JAZZ
JJ What are your best He had on the red leather jumpsuit, pianist. They did an excellent job on JJ What was that like?
memories of being with Clark? the glasses and hair. And, we just sat that film. The drummer, Alan Hicks, DK The head guy at Pixar, Peter
DK I had the good fortune to work there. What do you say to this guy—“I who put that film together, was a Docter, called and said, “We’d like to
with Clark for 30 years. I’ve told this dug Kind of Blue?” Clark got close, student at William Paterson. He’s spend some time with you. We’ll be
story many times. We were going to saw Miles standing there, and yelled from Australia and was one of my coming out and maybe have lunch
do a tour in Europe and had landed out “Inky!” Now Clark was probably students for a couple of semesters. with you.” So about eight of them
at Charles de Gaulle Airport in Par- one of the few people on the planet He became close to Clark because came, and we just hung out and talk-
is. The promoters had not arrived who could get away with calling Miles he was so far away from home. Clark ed. Then they invited my wife and
yet, and Clark said, “I’m going to “Inky” because he was so dark. They became like a surrogate father. me to hang out at the Vanguard. I
get a croissant and some tea. I’ll be hugged and you could see the love Alan went back to Australia, think they just wanted to get a sense
right back.” So, we were sitting there that these guys had for each other. It where he had a friend who was into of what it’s like being at a jazz club in
with the luggage, and Miles walks was a pretty intense moment to wit- filming. They decided to film Clark. New York and see what musicians do.
up. That’s like God walking up. He ness. That’s one of my favorite stories. They came back, and created this They asked different things: How
said, “Where’s Clark?” For some rea- whole story of Justin and Clark’s would musicians act in a particular
son, he knew Clark was going to be JJ What do you think of the relationship. Once they got the film situation, or what would they wear, or
there. We told him, “He went to get a documentary Keep on Keepin’ On? off the ground, Quincy Jones got in- whether a saxophone player would use
croissant. He’ll just be right back.” He DK Oh, that’s a great tribute to Clark volved and got it to the next level. So, a strap. That’s a big deal if you don’t
just stood there and crossed his arms. and Justin Kauflin, the young blind Alan also did Quincy Jones’ biogra- know if they are supposed to use the
phy with Quincy’s daughter Rashi- strap or not. They also just wanted to
“
da. Just as a footnote, Alan Hicks get an idea of how musicians live. They
CLAUDIO WAS A SWEETHEART
recommended me to be a musical actually got a chance to experience
consultant to the film Soul. If you what it was like to be in New York. Lat-
AND A TOTAL MASTER.”
look at the credits, at the very end, er for the first screening, they flew me
you’ll see I’m listed with Herbie Han- out to California to the Pixar studios. I
cock and Teri Lynne Carrington. actually got to meet Herbie Hancock
NJJS.ORG JERSEY JAZZ JANUARY 2022 27TALKING JAZZ
for the first time, and meeting Her- JJ Please tell me about your
bie was a highlight. I hadn’t seen Teri connection to Claudio Roditi
Lynne in something like 25 years. She and the Trilateral Project.
used to work with Clark’s band when DK I met Claudio at the Litchfield
she was a teenager. So, we got a chance Jazz Camp. (Drummer) Samuel
to hang out after so many years. Martinelli put a CD together, Cross-
ing Paths, with Claudio, myself, and
JJ You went to South Africa Tomoko Ohno. Claudio was very sick,
several times with pianist Abdullah but he still played great on it. Claudio
Ibrahim. What was that like? really liked the band and decided to
DK South Africa is an amazing, beauti- keep the band together, and we start-
ful country. I had studied African his- ed playing gigs together. After Clau-
tory. I knew what had happened during so down to earth, so humble. Meeting dio passed, we decided in his honor
apartheid and what Nelson Mandela him was one of the highlights of my life. to keep it together as The Trilateral
had gone through in prison on Robin’s Project. Claudio was a sweetheart
Island. We were playing for the 50th JJ What was it like teaching and a total master. I felt honored to
anniversary of the African National at William Paterson be his friend and be on the band-
Congress. Nelson Mandela was pass- during the pandemic? stand with him. His spirit is always
ing the baton to (Tobo) Mbeki. We per- DK It’s actually made me learn there when we play. We always have
formed, and they invited all the artists how to use social media more. I’ve a special time together, and the more
to meet Mandela at the end of the per- been teaching on Zoom, and I’ve we play, the more it really jells into
formance. I shook his hand, which was actually got a feel for that. Along something. We are hoping to get a
pretty amazing in itself, and we spoke with my students at William Pat- recording out as our next project. We
for a minute. I just couldn’t believe erson, I have students in Taiwan, are now working on material, and we
that this person of this stature was just which is also very rewarding. are going to get featured guests on it. SandySasso.com
for more Sandy info
NJJS.ORG JERSEY JAZZ JANUARY 2022 28RISING STAR
Described as, ‘One in a Million’, Caelan
Cardello is Ready for the Next Step
“He Just Keeps Getting Better and Better ...
He’s Investigated the Whole History of Jazz Piano.”
BY SA NFO R D JOSE P H SO N
O
n November 16, 2019, the Giants William Paterson in May, and he was
of Jazz concert at the South Or- able to study with Mabern for 1 1/2
ange Performing Arts Center years. “He was one of my main in-
honored the late pianist and educator spirations and motivations,” he said.
Harold Mabern, who died two months “Every time I would walk into a les-
earlier on September17. The majority son with him, he would start playing
of performers that night were recog- immediately. He did not waste one
nizable jazz veterans, but there were second, and he had amazing stories
also some memorable performances by about Coltrane and Monk. I truly
young upcoming artists. One of those miss him. When you were playing
was pianist Caelan Cardello, a sopho- with him and asking questions, he re-
more at William Paterson University, ally showed that he cared about you.”
who played with a WPU quartet that When Cardello was four years old,
performed Mabern’s “Edward Lee.” growing up in Teaneck, NJ, he started
Cardello will be graduating from studying cello. “That lasted for about
NJJS.ORG JERSEY JAZZ JANUARY 2022 29You can also read
