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    Letter From Evans 19

    Uploaded by

    Joao Rodrigues

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    of 26
    THER FROM Warren Bernhardt Chuck Israels Poter H. Larsen Ron Nethercutt Board of Advisors: A Quarterly Tee) Delete AEreaa ay 7) e EES PT athe OTE ed Fall 1992 ISSN # 1056-4179 News ER SEIT WE Leer To Evan (191 064-2 PY 900) and Turn Out The Stars (191 063-2PY 900) are new CD relesses (released with the sanction of the Bill Evans Estate) available at Tower Records at $14.95 each. (The mail erde: department can te reached at 800-648-4844.) Both recordings are from sets at Ronnie Scott's Club, London, in July and August of 1980. The late is the Dreyfus Jazz Line and is distributed through PolyGram. Reviews are forthcoming. HE Along withthe above, I received three other new Evans (CDreleases whose credentials have not been established: Bill Evans Trio Live In Europe, Volumes I and Il, PM Mascers Sories, EPM, 188 bd Voltaire, Paris 75011. Gomez and Morell are with Bill, recerded in lve performance in the ssurnner of 1974, Atpress time, Ididn't have the opportunity forextensive listening but they appear tobe club appearances rather than outdoor concerss. The diminutive liner notes are in French, The recording quality i lo-fianalog with the drums overloading the signal at times. Some of the tune endings ar faded out and some beginnings are faded into Sounds ihe 1 unauthorized reaording done by a member of the audience. Tere is @ Jot of tape hiss and the volume is ‘ing constantly adjused by the person recording. Appar ently there was litle ediing to overcome these failings, except forthe fade-ous. ‘The third release of questionable origin is Bull Evans: Time To Remember, Live In Europe, 1965-72, Nataska Im pomts, P.O, Box 427, Margarenvile, NY 12455. The liner on this one i kind of low-budget green with an anatmctive sraphic using the leters Band B. This gives the dusion that you have us: purchased something from “BE Records.” “Tune titles, timings, and sidemen are documented but there fs absolutely no other information. (Review to follow in another iste.) WH azz waiter Mastin Wiliams pessed away from flu com- Yol. 4, Number 1, Price $5.00 _ plications oa April 13, 1992, in Alexandria, Virginia. I ty not to dwell on obituaries in LFE. I'll leave that to other ‘publications, Williams’ death, however, leftan unanswered question ot rwoconcerning Bill Evans. I met and talked with Williams in Washington D.C. at the International Associa- tion of Jazz Educator's (LA.LE.) conference in January of “91. He claimed great insight into Bill Evans and his "voicing concepts.” J made a mental note fo check out his claim that Evans “learied” his voicings from none other than classical composer-pianisthomist, Gunther Schuller. Thad talked to Schuller about Williams" rather gross over-simplificaton. Before | could investigate ary rmusical or pian'stic claims, ‘Schullet launched a dialogue depicting how be personally ‘supported the Evans's drug habit for over a year, by giving him money, regularly. Give me a break! T expect a jezz owriterfmusisian/pedagogue of Schuller's stature to offer a le more cogent cement on such a pivotal figure as Bill Evans. | guess there is lot of coattal-riding by members of the so-called revered music press than I had anticipated. If your immediate resporse to the phrase “Bill Evans” is “junkie” then you haven't realy listened to the music and in this issue: News ... Corrections Letiers .. Pootry Talking With Nenette Jazz in Nazi Germany - Book Review CD Review, Gianni Lenoci The Holly Cole Trio in Concert CD Review - Bil! Evans with Tony Scott 12 Interview - Jimmy Rowles .......- Trans..- “Midnight Mood” Part Two. . Tribute Compositions List Part Two Letter from Evans, Fall 1902 Matt Peatson, (212) 275-4510, (address: Matt Pearson, WamnerBros, Records, 75 Rockafeller Ceer, 21stFroor, New You NY 10019). hope the jazz department xt Wamer snot being affected by the recent kill-a-cop lyrics, rap lop. How would you classify mp anyway, spoken word with scial Commentary — certainly not msi. I in the recent Mark Murphy interview, I mentioned the avallibliy of the one Mark Murphy release in which Bill Evans played piano. Terri Hinte of Fantasy Records informed ime that Rai (OIC-141) & sill available on LP and cas Sette(Pantagy Records, Tenth ané Parker, Berkeley, CA 54710. Hi A Bullet? Pred Hersch has entered his tune “Evanoes- sence” (LEE, May/Bune 1992) inthe 1992 BillBeard Magazine ‘Song writing contes. It has made the finals. HE The Great American Piano Competition will again tke place ia Jacksonville, Florida as pat ofthe Jacksonville Jazz Festival The evetis presated by the media, WICT-TVIEM,, tenes the media is tated very well. am planning to ater aguin tis year. The finals wil occur on October 8, 1992. Last Jear's winner, Travis Shook, has now signed a record deal ith George Butler (Columbia Records), Look fora rlesse under his name “Mary ofthe pianists that participted in the lst year's event sowol the influcnce of Bil Evans. (See Volume I, No. 3, Jan/Feb °02.) The address is Jacksonville Jazz Festival, Great American Piano Competition, 100 Festival Park Ave- ru, Jacksonville FL 32202-1397, phene 904-353-7770. Bi ‘received a nic letter and invitation tothe Barge Haly Jazz Festival. This year the entie festival isa Bill Evans TTibute, Eavico Pleramunai will be performing with mary ater: The fectival rns from Augwst 23 tO Aupust 30. For tore information contact Mr. FRANCESCO MARTINELLI, LUNG ARNO MEDICEO 10, 56127 BISA, ITALY, phone 50 4142603, Iwi not be able to atend bat Mr. Martinelli said he would send me tapes. HE Mecdane and Inconsequential Department [A few readers have voiced opinions as tothe dscomtinuance of punched holes in LFE and thc incoaveaicnce of removing Staples to place thei isoues in a three sing binder. The lack ot “The Ars Peppec Society, organising secretary, Tabasco Pete Webb, elitr of The NewsPenper newsletter. Tabasco Pete Webb, ‘Los Altos” 34c¢ Dengrove Park, Caterbury Kent CT2 0PY, ENGLAND Tel. 0227 712342 holes saves me about $1.$0 per ream of paper. Staples are the only inexpensive means of binding the paper into something readable (ike a book) that [ mow of. OF course, I'm open to totter, equally inexpensive, suggestions. I will ty to imple- ‘meat shipping in a plastic bag when income erables it. With this isue, I have included hole punch locations oa the back page. A three hole punch goes for about 8 bucks atyour local Office supply store. A staple remover goes for about 95 cents. Hi don’t normally publicly acknowledge gifts to LFE but this one isspecial. Most of you know that Ido send out quite fa few courteg subscriptions. Recently David and Caris Lict- san subscribed and senta giftafterrecviving courtesy issues for 2 year, David is my favorit spokesman for j127 on the soprano sax. his recordings with pianist Richie Beirach are Iegend. It's great to see professional musicians support LFE. Corrections age four of the solo transcription “Midnight Mood” was printed twice somehow. My apologies. ‘Art Tofaneli, the tanscriber, isnotan architect. He supervises the research and dovelopmets lab at Acuson, a majot mant- factirer of diagnostic ultrasound equipment, When Ilisted the Verve recording, 883-801:2, in reference to Art Tofanelli’s transcription, I did not know it was a CD ‘number. At the time of the writing, Tonly had 2 tape copy of the LP (V6 £792) but Ihave ordered the CD, available from many dealers, PolyGram now owns Verve Records. A com- pany named PolyDor is listed on many of the Verve LPs. Poly Doris a subsidiary of PolyGram Industries. misspelled picnist Kirk Lightsey’s name in the interview ‘with Mark Munphy in the last issue. There is no excuse since Thave woLightsey CD’s in my collection. "When mettioning pianist David Benoit upcoming release Letter to Evan | erroneously stated that Benoit had not re- ‘corded an Evans composition before. Onbis 1989GRP release Waiting for Spring (GRP GRD-9595) Mr. Benoit recorded “Tum Out The Stars” and “Funkallcto.” His composition “I Remember Bill Evans” appears on two of his CDs. IF YOU HAVE NOT RE- NEWED, THIS IS YOUR LAST ISSUE. Letter from Evans, Fall 1992 Letters ST TSE In an effort to provide information, no matter how sketchy, 1 ‘have printed parts ofa letter from subscriber Bull Byam. None of this has been confirmed.—Ed. ‘Dear Win, Just a bricf look at what might be in store for us from some of, the record companies. ‘* MUSE—Atempting to put together 2 2 CD set of the Tory ‘ScotyEvans live recordings of August 1959, The albums is- ‘sued form these sessions were titled, “I'll Remember” and “Golden Moments” will not fit on one CD so MUSE is attempting 10 locate unissued tracks to “flesh out” these re- eases. * RIVERSIDE—Orrin Keepnews ot someone muststill ve the unissued materiel from the Shelly's Manne Hole 1963 date, Fantay also has bits of scattered material + VERVE— Has not issued the Vanguard Session of 1967 with Philly Toe Jones. The interview with Ted O'Reilly and Evans Jan. 1991) indicates Evans refused issuance of the ‘material from the Trident date (1964) and extra material from the “Alone” sessions has been Tos: or accidently destroyed. Unissued sessions with Lee Konitz are probably oflittle valve. * WARNER— Should havo a wealth of material from 197- 1980, It's good to Team that at least seme of the Vanguard ‘material from June 1980 will soon be available. W. Byam Bedford, MA Dear Win, | fully realize what a pain in the as itis to get outa newsleter oma regular schedule. Still,I'm somy to see you bave to got {quarterly — butifit’s necessary so be it ‘You now from al my vasiow eters and phone calls thet I support LFE and the idea behind it. (One way Ilookatit this Bill gave meencugh pleasure and knowledge over his lifetime ttatit’s wort §20)yr. for me torepay for what Ireceived}) But my support of LFE docsn’timply in any way that T agree with all of your opinions, reviews, tates.etc. After al, if Joe Tean enjoy Ist Amendment protection, thea you certainly should, abe. “Algrough [don"t have time here atthe gig torealy ge into this, [just touch on the following example: your hvelling about what Andy LaVerne does. Tam well aware of his penchant (perhaps it is more than a penchant; it might be his need, bis compuision, even his aberration I don't know) 10 teharmonize tines. We all knew that Goorge Shearing has teen doing this, on an irogular besis, fr all of his carer; George, however, docs it in more accessible and to more acceptable way than Andy. Whoever doesit, and however they ot, I feel thatthe fact is inescapable that the “new,” rehar- onized version is, in fact a new product. Tama great Page proponent of and adherent to what refer 10 as “The Golden ‘Age of American Pop Music,” which I define as (roughly) 1922 C ibink that was when R&H [Rodgers and Hatt] wrote “Tl take Mankattan”) [correct title is “Manhattan”] t ap- proximately 1954 of “35. Just like Bird will never happen ‘gain,or Ast Taturn or Prez or Wame Marsh, the Golden Age ‘will never resuscitate. Thmes change; tastes change, and T ‘20eS6 that's as It should be. But Teast my lot with the Gersh- ‘wins, Aslen, Porter, Kern, and the rest of that crew. Their stuff ‘was brilliant, and Wes a one-time happening. And when T do thelr musi, 1 feel that my challenge is to be as creative as | possible can within the framework they have set up for me, have no quibble with anyone - Andy LaVeme, George Shear ing, bell, Ido it mysolf every day in varying degrees - using substitutions. Bue at what point in the continuum do substitu tions become rehatmonizatious? Thats onc for Socrates. And as climb down from the soapbox, I'll just adi: a reharmoni- zation is another tune. George Ziskind New York, New York Tend to agree with you, up to @ point. Your views tend 10 be a litle iconoclastic and rigid. Jaz: isa flexible, growing art. I've found that my perceptions have had to grow along with ft ‘especially when i comes to tunes or choosing tunes 10 Tear or play jazz on. I'll agree thatthe art of American Standard Seng is, tn decline but Idon’t lite the idea of ooking for a particular year, ‘asthe apex. Your use ofthe word “continuum” & very appropri ate, Tine/space ts infinite, suffering from man's finite mind, and his fecble attempts to categorize and pigeon hole. Jazz 18 the same. That's why we are drawn tot. ED. Dear Win, Some thought went into whether or not I should re-subseribe. My reason for subscribing to your newsletter originally was to lear more about Jazz pisno in general and Bill Evans in articular. Ifeel, however, thataftera year's worth of reading, the only thing I know substantially more about is Win Hinkle Yes, as the editor your views should well be Known, however, I feel that a volume as slim as Letter From Evans may not contain the volume for complaints about styles of music, particular musicians, writers, record labels, Jazz clubs, or what Jou saw on television the other evening which was such “vastet of your time, There ate certainly an uncoantable nam ‘er of musicians who wonld greatly benefi froma, appreciate, and deserve coverage in your nowsletter, Perhaps now that you tre publishing quarterly a change of policy could be in order. Perkaps something zlong the lines of “We give exposure to ‘what we like, and pass over what we don’t.” Please consider this “constructive criticism.” Ido enjoy reading most of Letter From Evans and would to have more of what I am sure many ‘of your readers subscribe for. Thank you for your work of love Win, I do hope that I will be renewing my subscription to Leiter From Evans once again next year. Sincerely, David Rebert Evpak Sacramento, CA Lotter from Evans, Fall 1992 Guilty as charged. Purting together a newsletter suc as this ain't easy. I don't want it to be a fon magazine, blindly worshiping a deceased pianist, The newsleter 1s dedicated 10 Bili Evans, providing information asto why I think Evans was ‘0 influential, You would be surprised at the number of CDs. LPs and cassettes I receive, listen to once, and then fle away, or trade for new staffdown atthe used record store. I'm always open to hearing more. Few make it to my favorite list and exposure in LFE. ‘As for the concentration on Win Hinkle, when | teach ‘music, I praise the philosophy that “you are your own best teacher,” Iam ry own best teacher. All can do is attempt to explain how I learn things, why I am drawn to things. ‘David, Ichallenge you to write something for LFE.I don’t ‘think that readers enjoy the publication mainly for the reviews ‘and features on musicians other than Bill Evans. The articles on other experis of the art of jazz piano trio playing will, continue and I hope 10 add more names to those already featured in the publication. But Falso want to add more Bill Evans specific articles. Dear Win, Thave just received LFE Aug.92 issue. Because of continuing financial squceze ( I am retired, living mostly on “fixed” income - fixed, I guese, to be less cach year!) Ishall have 10 decline torenew.Cela vie, I thought your words regarding the Kenawa PBS special ‘were unkind, and totally unnecessary! ‘Thank you and continued best wishes. Yours uuly, Bob Bames Santa Fe, NM. Ihave renewed your subscription for another year. Those that have given me gifts make it pessible. Do not consider yourself affthe hook The nex! time you work a good paying gig, please set aside $20 for something you obviously like to read. stand by my criticism of PBS specials praising the me- diocre (Andre Previn isa great example). There are so many fine jazz players whe will remain unknown because they have ‘no classical tes. A tie to rhe classical world means absolutely nothing when the art of jazz ts concerned! (I'm speaking from the perspective of being 2 symphony musician for 16 years) PRS seeks out shows supposedly invotving two or more sepa- rate art forms ltke fies looking jor garbage. I would like my Mahler and Charlie Parker served separately, thank you. The editor loves to receive letters, especially critica! ont For every critical lener there are 10 short notes from readers praising the publication. Lerers to the Editor are edited for ‘larity and germaneness to specific subjects. W.H. Poetry Corner TT “Although I rarely enjoy poetry, except when expressing a Irelodie line a3 a lyre, 1 have included nwo poens which readers sent me. I wonder ifthere any songwriters who could set these 10 music. A Poem For Bill Evans by Anne Zindars, Sept. 16, 1980 A Soul in flight suarded for three days needs pasts reconciled Sor awhile. transitions suspended new growth awaits trough old roots planted, Harvested through time's fallow understanding. Modulating love. Cadence Magazine & Record Sale The Place to Find Records! We stock over 700 labels from all ever the word and 1000's of dierent records. What we dent stock -wecenget! Fer 15 years we hava provided to the Jazz Record Buyer the finest sevice latte best peas. Roterences? Ask anyone who has deat wih utt For @ compile cala Joqve pus the curent issue of Ce enzo jez: Magezne send $250.0: Cadence Magazine Cadence Building Redwood, NY 13679 315-287-2852 Subscription:$25 Letter from Evans, Fall 1992 Poem for Bill Evans by Jaz R. Stevens Liquid erystal from black and white ivories ‘sound from wood and metal ‘eascades dancing...pastel bliss 0 dance together..to dance alone Touching, probing, searching..and just knowing to find commitment..to find selfhood Symmetrical logic..the piano inventing itself ‘ancient legacies become new the heys known the soul struggling to escape the greyness new melodies emerge, inner pain finding its redemption even one note, beholding its singular power waiting for ito ring true holding t until U subrats to its purpose each one following finding its own family ‘quintessential sound declaring a conviction of ts own shimmering laedscapes darkness becoming light Remembering the raia, indeed. ‘othe fragrance of woman ever-knowing, yet waiting 10 become known ‘Muste equalling Passion Hearing it more closely. Hearing it more clearly... Hearing ito. Heoring Coming to terms with innocence, sometimes knowledge betray revealing inner sears of soul nourished earlier on by the White Dragon that delivered false electricity tothe Blood yet the music always called you back delighting once again in painting the sky the quest for selfs strong, the pathways myriad Eloquence returning..newer conversations that made it easier 1o believe in Spring Then you were gone dut never the music and the spiris within it still fe imagining. .renewing..a time remembered Deeper still, the meaning was clearer Intuition giving its kiss to eloquence and mystery Hearing it more closely Hearing it more... Hearing it.. Hearing. Pages: Talking With Nenette, Part Two by Mike Nin This is part two of an interview with Nenette “rime” reforred to is the early seventtes. MN: Were you familiar with his music at that time? ‘Actually, no. Thad listened to some jazz, but was not ‘what you would calla jazz fan. I tend to be extremely eclectic in my musical tastes. Sometimes I just like silence, Tfee! the world is so noisy, rarely do we get to meditate and appreciate the sounds in nature for instance. I was introduced to Bill's music in a very subtle way. “Hullo Bolinas” was the piece which caused us to meet. Some of my personal favorites include “Twelve Tone Tune (T.T-7,)" and "B Minor Waltz” = the list changes all the time. MN: How did “For Neneste” (In April) comeabout? NE: I'm embarrassed 10 say that the cxact details elude mo right now. However, very frequently Bill would have same- thingin mind, and it would evolve slowly . He was particularly about to whom the tune was dedicated. He often had ideas for ‘accompanying lyties. Forexample, lunearthed “t's Love, Its Christmas.” You should hear the fabulous Bob Dorough sing it He could render it immediately, heso gifted, Thad him make fa recording for me, Jude Hibler, from the now defunct J222. Link which was based in San Diezo, seid Tony Bennett was interested in recording it. That would have been a great honor for Bil. ‘Tuek and Pati said thar they are recording “B Minot Waltz” with tentative lyrics by Michacl Stillman. David Bencit just recorded “Letter To Evan” on his latest release. vans. The » NOW IS THE TIME 9 TO CHECK OUT THE LARC. The International Association of Record Collectors has been provid- ing common ground for record col- lettors of all styles of jazz for more ‘than 26 years. Annual dues are $20.00. Send for your free sample copy of the |.A.J.R.C. Journal. -R'C. Membership Director, c/o Vic Hail, P.O. Box 75155, Tampa, FL $3605, USA. Letter from Evans, Fall 1992 Prior to “For Nenctte, "Since We Met" was dedicated to me. actuslly titled it. Tdon’t know if 've answered your question, Dut as I said, Bill's mediod of composition was imegular. That js, unpredictable, He didn’t justsit down and sty “Today, I'm ‘going to write a song just foryou” MINN: Any update on the bio by Don Nelson? NE: Tassume he's phaggin away. He has a monumental task abead of him, He seems very determined to do an indepth, wars and all, biography. I've read some highly fictional accounts of Bill’ life that are basedsolely onthessilly fantasies of certain individuals whoneeded to establish an identification ‘with Bil. These accounts are lacking in any joumalistic truth. Don Nelson is a real writer with a body of work to show for it He goes way backand knew Bill and wrote about him before any one-else. He strives for balance and fact — there's no fluff in his writing. I feel he’s extremely sensitive too, which is necessary in the understanding of Bill's life. For example, I recently came across the Town Hall program notes from 2/21/66 in which Den wrote, “Evans has the capacity 1 transfer a particular emotion intact io alistencr, Sinatra does itwith his voice, Evans with his fingers. ‘As you know, Dr. Charles Blanca, Director of Jazz Studies at the University of New Orleans tas been working on a ‘eusical bio of Bill. I think that these two waiters might just be able to painta comprehensive portrait. MN: Tell me about the movie by Francis Paudras about Bill. NE: Sedly, Francis’ lovely wife Anita, passed away. All of Francis’ projects were curailed curing her illness. Anita helped Francis wiite the story of Bud Powel (there is a book. in French). They both appearbriefly in“Round Midnight.” For those who have it on video, they can sce them both sitting at the bar, orin the audience listening to music. Tim net sure what Franeis is doing now, but he organized a tribute in Tel Aviv, I understand, with Warren Bemhardt playing. ‘Coming up, NE talks about her children, Bill's brother Harry and Bill’s job dates, concerts and recordings. Book Review Different Drummers: Jazz in the Culture of Nazi Germany By Michael H. Kater, Oxford University Press, 1992 ‘This book isa “must read” for people who have an interest in jazz before and during World War Il from the German per- spective. Michac! Kater has done a superb jab of researching the music and musicians from the end of World War I to the ‘end of World War I. Using personal interviews with surviving ‘musicians and other sources, Kater is able to list every major jaz. or dance band artist, where they performed, where they Icaveled, when they preformed, how they were received, and how they were treated. He tegins in Berlin efter World War L, where we find the Welmar Republic embracing tho modernists that were jazz forum YOUR WINDOW ON THE JAZZ WORLD Bi Are you ivvolved in jazz miometioraly? I the answaris yas, then you should subserbe to JAZZ FORUM, the birronthly mage- zine othe hirelional Jazz Fodoraien,Itaffer a unique parpac- | ve Fomtop wilers and cles around the globe, from Argentine 19 ‘Yugesivia. Sard in 1995, JAZZ FORUM le the only uy intr niaione|jazz magazine. Its fe magazine for professionals ena tans alge, tle with news you can use. Hl zz FORUM'S irtematonal edtion is published in English and eppears bironthy—sk times per year. The beat way to net miss a copy fo take outa subscription, which you ean docirsnty through our Editorial Ofice in Warsaw, Poland. Ournew subscip- tion operation wil uararteo fect and efiiont service for reads round the world, Annual subsefbon mies: In Europe; US.620.00(airrai) oF $18.00 surface mall IN Amprica, Canada, and rast ot he word, U-S$20.00 (surlace ait, $25.00 (airmal) Beck issues aro avalable on request fcr $3.00 per copy. Send your order accompanied by payrrentin bank shock o irter- national Money order to: SIAZZ FORUM, Nowogrodake 49, 00-695 Wareaw, Poland, THE MAGAZINE OF THE INTER- NATIONAL JAZZ FEDERATION Page7 Letter from Evans, Foll 1992 sweeping through Europe at the time. The Germans were particularly crazy about jazz, The rise of Netional Socialism, however, soon brought censorship and proscription (Which dictated that an at form bom on foreiga soll and presided over by Nogtocs and Jews could have no place in the culture of a “master mice”). Jazz was an especially threatening form of expression for the Third Reich. Is cteators were nct only at the very bottom, of the Nazi racial hierarchy, but the very essence of ja2z — spontanelty, improvisation, and above all, individuality — ‘also represented direct challenge to the repetitive, simple, ‘uniform pulse of Garman march music. The fact that many of, the most talented European jazz artists were Jewish only served to make the music more objectionable. (One of the most interesting aspects of Kater’s book bas 10 do with the multiple and frequently changing censorship standards employed by the Third Reich's propaganda minis- ter, Joseph Goebbels. Jazz was outlawed on the bome front, and citizens risked severe punishmeat for listening to jazz becadcasts from any of the foreign radiostations. However, [countries jazz was peated, as it tended to pacify locel inhabitants and was considered ‘important for maintaining the high spiit of German soldiers — who liked it Jazz was peamitied (on a limited seale) for soldiers home on leave, Policies changed frequently. Civilian and military bands were permitted to play jazz inthe occupied, countries, but notin Germany. Kater provides a number of quick facts about jazz in Nazi Germany: ‘© World War | was often characterized as a French-Negro-Jewish war against Ger- mans. > Public and private attitudes towards blacks, including Afro-Americans, were ambivalent, This was reflected on the few black jazz musicians in Germany. The por- Chet’s Choice ANEWSLETTER DEDICATED 70 5014 Dunbar Road Raleigh,NC 27606 USA Tel 919-851-4422 Fax 919-8551-8968 vading raciom of the day did not eounte- nance blacks, no mattet what their social station or where they originally hailed from. In 1992, when nationalist santiment sttt- ‘ened, the autocratic Papen cabinet for- bade the hiring of ‘colored musicians.” in German minds a link was forged be- tween racialy inferior blacks and Jews. Jews were offen portrayed as racially akin to blacks and possessed of similarly objac- tionabls characteristics, Atter 1999, colored offspring of former co: lonials, ving legaly in the Reich in tiny numbers as German ciiizens, were pre- verted from being intograted into society. The two Black-American jazz favorites were Ellington and Armstrong, although neither had visited Germany. The majority of jazz dance band leaders were Jews. Hitler and Goebbels despised Americans for their relatively large cegree ot toler ‘ance extended to the racial minorities. Several citias became jazz centers of sorts—Berin, Frankfurt, Leipzig, Ham burg, Dusseldorf, Munster. Those either had performing jazz bands or ‘swing clubs" made up of Jazz fans, Music came under regulation. The first group of musicians to suffer from regula~ tions were foreigners. Many German musicians pretended not ‘oni to be able to play jazz but also actu- ally be Americans, adopting En; ‘Swing club members (jazz fans) often adopted English names. In 1995, German artists wore forbidden to use foreign names. ‘The term “drummer,” being Engish, wes banned. Gypsies were added to the list of German undesirables in 1995. Music of Jewish composers, ie., Irving Berlin and George Gershwin, was oul- lawed, as were Jewish tunes. All Black: and Jowish-American artists ‘were outlawed; theit recordings could not be sold or performed on radio. This in- cluded Benny Goodman. Ironically, Artie ‘Shaw escaped this inclusion. Banned Jewish recordings continued to be gold in Germany, sometimes with false labels. i Mir Bist Du Shein,” a popular Jewish tuno, continued to be requested by civil- Letter from Evans, Fell 1992 ians and miltary personnel despite of the ban, Until 1988, many British Jewish musicians wore marketed In Germany. The Germans had no way of knowing they were Jewish. In 1998 Berlin, the swing dance was oft. clally verboten. Jazz continued to flourish right up to the beginning of the war, Berfin's light entertainment scene flour- ished until about 1943. It diminished after the Berlin bombings began. Some musicians used phony names for jazz tunes in order to escape tha cansors. Alter all the negative measures against jazz, it was decided to reat a new Ger- man iciom, a sort of German Jazz. It was poory received. ‘As German musicians wore drsttad into the military, foreign musicians moved in 10 take their places. Thess foreigners were generally better jazz musicians than their German counterparts, To entertain soldiers in the field, Goebbels formed troop entertainment missions. Since their missions took place on forsign soll, musicians were permitted to play a mest anything, Jazz was frequently found in officers’ clubs. German civilians and military were able to hear jazz over British and American tary radio from 1943 on. ‘Some German jazz lovers challenged the ‘system of censorship by holding public dances featuring the current jazz music of Germany's enemies. Others listened to jazz on the phonograph at private parties or as part of private clubs. Many experi enced clashes with Hitler Youth groups ‘and the Gestepo. Some ended up in con- centration camps or in the military at the front. Germany established an ‘armed force's ra- dio network’ for broadcast to soWdiers in the field; network stations often broadcast jazz. Later, during the war, and to counter the German pilot's proferonoe for jazz on Brit. ish radio, Goebbels established a radio or- chestra to broadcast a similar type of music from Gorman-based musicians. This was not well received, Jaz flourished in some of the occupied ‘countries. Copenhagen had twelve clubs where swing was played from 1940-45. Jazz recordings were also allowed in occu- piod countries, resulting in jazz record sales throughout the Reich. + There were some biack musi ing in the occupied countries. + Towards the end of the wer, stricter an jazz ordinances wore passed and jazz be- came very limited + Toa degree, jazz survived in the ghettos. One ghetto had a swing band that played for al occasions, including partes, hang- ings, and sho ‘As Iwas reading I was wishing for access to recordings of German jazz of the Nari period. Kater makes excellent at tempts at describing many of the recordings but words re simply inadequate, Some ofthe sounds might be imagined by considering the instrumentation and ty making comparisons with American jazz and danos band sounds ofthe ime Reading tis book brought back memories of my frst tip toGermany in 1960, 15 yearsafter the end of World War I. performed with an Arcticaa show band fortwomonths. well remember hearing many German bands emulating American and English bands, bat without conviction or authenticity. I ako beard a number of familia, transcribed improvisations performed without the slightest idea of what the music was About. In some cases it was only my familiarity with the ‘tiga rcordings that permited recognition ofthe music. In short, with few exceptions, the German musicians I beard in 1960 had little or o understanding of jazz. + Ithas taken Germany a long time to re- cover from its aitempts to eradicate jazz In fact, many jazz musicians with whom | have spoken foal that Germany is only now beginning to contribute anything of substance regarding the jazz artform — BP. ins work: Bill Prince is professor of American Music at the University of North Florida, Jacksonville, PL 32216. ‘Tris interesting that the printing ofthis bookcoincides with the release of the movie Swing Kids, the story of the music (primarily American) of the mid and late "30s and how it was perceived by Nazi Germany. When I see the movie I'ltsearch the credits for the name of Michacl Hi. Kater: CD Review Gianni Lenoci: Blues Waliz by Win Hinkle Mend et air aano Tein uae cance Dk Lorenzo, drums, SPLASCIN) Records CDH 334-2, produced ‘by Peppo Spagnoli, Splase(h) Records, a division of Senz’h SCRE 21081 Arcisnt, Iaby-vie Roma, 11- P.O. Box $7, Poge & Letter trom Evans, Fall 1992 Phone and Fax, (031) 262334 - (0332) 470448, Gianni Leno, Via Giote:t, § Moncpoli (BA) Iuly, phone (080) 9302758 Recorded October 20, 1950 ‘Allcompositions by Gianni Lenoel exceptas noted. 1, “Thank ‘You, Mr. Evans” 2. *Capucine,” 3. “in Loving, Memoties,” 4, "Chautia.” 5. “Sweet Marina,” 6. “Wendy” Paul Des- mond), 7. “Blues Waltz" (Paul Bley). “This is a very interesting recording. When Tfirst received itn the mail [wasa little put-off by tae packaging—the colors ae turquoise and omange and feature a nostalgic image of « danc- ing couple oa te paper insert, Iwas reminded of the European dance party recordings that saw so frequently in record stores while I vas living in Germany (courtesy of the U.S. Anny) uring the 1960s. This CD is no dance party. Lenoci and ‘company play post-Bebop trio musi inthe test radition and ‘sometimes move into free jate without giving the audience muuch netice “Thank You, Mr. Byans" is pefommed ina loose-twe fel. Tihas some specific harmonic direction which is understated ty the pianist. The bass plays parts of the melody with the plano. [ike the tne a gieatdeal. Perhaps I can get a copy of this tune for publication in LFE. “Capucine” stars with mysterioso érums, and no specific time. The bass and piano joinia, playing simple effects without stating ary musical directions, melodica or harmonically ‘Afr this free opening, the actual tine sas with a loose, sraightelghti-note time fecl. The tune is quite effective, in contrast to the free, non-essential introduction. The harmony is specific, bat in a non-functional way. The bassist is an interesting player. He has a Tot of chops but a preference to soloin the lower register. [heat spurts of notes, fast passages dispiaying chops but no real singing sty Ic. He sounds muddy attimes. From thei soloing, T get the feeling that neither Finist not bassist are comfortable with this tune. The non-functional changes don't scam te have boon adequately assimilated for my estes [Asa bassist Lam often required to solo on tunes with which I really don't feel comfortable with—T think juzz players owe it to themselves and their audiences to be ‘thoroughly familiar with « tune before soloing. W plicated changes or barmeny based on non-traditional concepts this can take some time. There is a great deal of soloingon brand new tunes, brought into the studio for the first time just for the specific date. Much of this eoloing showldn’t have happened and isaa insult tothe intelligence of the listener] ‘Tune number tree, “la Loving, Memories,” takes a defi- nite, Post- Evans bent towaré free jazz trio playing. I's good ‘music and probably indicative of what players such as Ceci Taylor and Paul Bley sre doing now. Thee is middle section with arco harmonics in the bass and fistfuls of motes by the pianist, Thank heaven it doesn’t last too long and the tio returns to plying the form of the tune agein before finishing. [For 4 great description of playingoutside, to the point Page 10 of kidding yourself and potsibly the audience, see the interview with Red Mitchell in the April edition of Coda magazine, In this interview Red recounts his experiences playing with Ornette Coleman for the first time.} “Tune number five, “Claudia,” is a waltz and one of the most melodic tunes oa the recording. Paul Desmond's “Wendy,” is played fairly straight ahead, in sharp contrast 10 the rest of the CD. ‘The recorded sound has a sort of “home studio” quality. ‘There is no reverb or digital delay, and the room Is very dry. ‘The cymbal sound is especially dry. This extra crispness is refreshing. {All things considered, Lenoci is an interesting playex. The tio plays some good music, but not at « level that would qualify this CD for my desert island list —WH. In Concert: The Holly Cole Trio always venture onto Walt Disney World property with great trepidation, usually as an employee. When I lived in Dallas, Texas, a friend of mine, who worked for H. Ross Perot, told ne aboutthe security measures and scrutiny thatall eraployees ‘underwent while on Perot’s company property — the situation at W DW is very similar, On this vist, I tied to cast aside the feeling that big brother wes watching me and attempted to see what Pleasire Island had to offer. WDW's Pleesurc Island opened about three years ago. It ‘was advertised as an adult entertainment altemative to theme, parks, where guests could enjoy their favorite alcoholic bey- emges along with the entertainment. (The rest of the Magic Kingdom is dry. Pleasure Island is not very pleasureful to me. Itis a continuous assault on the senses. All of the music, be it ‘canned or live, is about 20 decibels louder than itneeds to be. If I visit again, Pll bring ear plugs. This part of the WDW property is still for children, only ete they are encouraged to inebriate thernselves and are then. allowed to get back into their motor vehicles and ¢rive home ‘on the same toads that I do. I witnessed wo such drunken, ‘children on our departure from Pleasure Island. They were above the legal drinking age, but children, and drunk, never~ theless. ‘When I heard that the Holly Cole Trio was appearing ata special, one-night-only, Pleasure Island concert, I decided 10 take my 15- year-old daughter down (o the complex and let het sce what Pleasure Island is all about, as well as check ont Holly Cole. Pleasure Island was quite predictable — one amusement park is pretty much like the rest. The Holly Cole ‘Trio was something else, Twas introduced to « truly talented singer, singing very good material in a unique wey, backed up by two great musicians, Both Pilch and pianist Davis are from Letter from Evans, Fall 1992 Toronto, Holly was maed in Nova Scotia and now call Toronto het home, ‘Bassist David Pilch end pianist Aaron Davis took the sage first. They started «slow, rather funk rendition of the “Mickey Mouse March” in G major. Inthe middle, they dissolved into the changes of some gospel-flavored hymn T wasn't familiar with, going tack tothe Mickey Mouse tane agnin at the end Cole's frst tune was a contemporny one entitled “Tm Gonna Laugh You Right Out of My Life." It was a rolicking, good natured opening number that served as a great introduction to Cole and her sexy, slighty naughty-girl countenance, Cole's voice 18 big, but durk-toned. She appears 10 like the low registr of her voiso, which she coatrels with flair and gusto. She is a long-haired brunette with striking good looks, but not ‘what the male chau viast pig in me would calla “bornbsbelL” Sheis not e slave to diets and overly thin like so many female singers; the girl has some meaton ber but isnot overweight at all. Her figurc is not imposing, but feisty standard. The fact that she dresses to flatter her basic good looks is what makes her very attctive. Col isin definite control of her performances and her ectiny. I don't believe thee is a male associate contreling heraifairs from behind the scenes. The ban} appearing ia the room next tothe stage was producing a great deal of volume in its set, which contiemed right through Cole's show. Cole's trio, like most good jazz groups, is very depeadeaton silence to make music, Cole will eften start a tune acapella (without accompaniment fter receiving a starting pitch from the piano or retaining a reference pitch from the previous tune, which ‘was vey difficult to do with the competing noise. She politely asked the WDW stage manager to close the doors of the offending room in a vain attempt to reduce the competing ‘band's volume. (The Disney people, inther infinite wisdom, imate no attempt to reschedule the otter band’s sets in order toteduce interference with Cole's show. This is WDW stand- ard procedute but @ shock tothe system for ensetainess fiom the teal world who work at WDW for the first ime.) Cole discret left the stage during the piano solo on the next number and let the stage manager know that the offending ‘hand must reduce its volume if she was expected to continue ber show. They di and Cole went on. ‘The Trio’s sevond vocal was «fairly standard rendition of, Stow Beat to China.” Pianist Davis and bassist Plleh we quite adept at coaxing percussive effecs from their instr ments, 50 a drummer wat not missed. The timbres of low female voice, ecoustic piano, and string bass blend together very well, without losing their specific identities. The absence of drums also serves to better showease the talents of the singct. Ths trio's strong suit is their cohesiveness a aunitand the great arrangements that demonstrate each member's con. trutions, Next, Cole sang a Disney une, “Trust in Me,” from the movie The Jungle Book. 1 used © play this tune with the Disney Sefuri Band in Frontier Land. The tune doesn't go very far as an instrumental, but as a vocal, Cole gave it new meaning. Pilch's percussion effects on the bass were espe- cially convincing in this tue. ‘The nent number, “My Baby Just Cares for Me” (inthe key of A major), featured bassist Pileb, Davis lid out forthe whole tune. Pich is onc ofthe most musical bassiss that Ihave ever heard. His chope and intonation are dead-on, showing his total control of the instrument (a sceraingly simple thing, but you ‘would besurprised at how many jazz bassists I cannot say that abou). “Thencamne the Neal Hefty standard “Girl Talk” Gin ©), and also an island tune whose title escaped me. Next came a tune which tured out to be a particular highlight for me, a Tom ‘Waits tune tied “Purple Avenue.” I was quite surprised to Jean of Waits's talent as a lyricist. His use of the English Tenguage here is sstonishing. [had the impression that Waits has never tecorded this rune himseif andthat he gave it Cole to perform. Ifits her very well. ‘A very hip arrangement of "Honeysuckle Rose” followod, sarting in B-flat with Cole giving a distinctively unique rendition ofthe tune. The tro shifted up a half step, repeating the tworfive change inthe different tonality in measure two, ‘and then rewmed to B-flat in the next measure as jazz musi- cians have been doing fr yeas. Inthe third chorus, however, they styed inthe key of Bajor, completing the modulation. ‘This tansition wes so smooth that mest ofthe suience didn't sotice — very hip! ‘What followed must be the most unique arrangement in the Tiio'sbook The tunc “Smile,” done inC majorinasiow funk throeffour. Again bassist Pilch added very nice percus- cffeets. hope they have recorded i this way — italy works, ‘The concert closed with “If I Were « Bell” in B-flat and what Cole described as her favorite ballad, "My Poolish Heart” In spite of somewhat inept promotion and production, 1 thoroughly enjoyed this concert. You would think that afier lhundredsof thousands of outdoor concerts oa WDW prorerty thatthe production erew could have insured « quiet environ- ‘ment in which a drummer-les jazz trio could perform. Disney did give me two complimentary admissions to the show. Unfortunately, they ako told me the wrong starting time for the concert forcing my daughter and Ito endure more Pleasure than anticipated. The WDW media office toldme the concert would start at £00 pam., the advertised staring dime. The concert did not start until 9:00 pm, and was advertised on WDW property for that time, Several others who arrived for the 8 PM start had to wait around. Atleast I dida"Ubave to pay for that privilege, [At the end of the concert, WDW stage manager expressed some concem about whether or not the musicians had pes- formed for a full hour. (The convert ran approximately 56 ‘minutes,) The stage manger was actually dickesing with the ‘band, telling them to get back on siage and play another tune, even though the audicnce had vanished and didnot require it. ‘Other WDW employees were already striking the set ane removing folding chairs, but the Mose apparently wanted his Page 11 Letter from Evans, Fall 1992 pound of flch. The discussion about the situation contiaved ‘past the appointed finishing time, so the “Head Mouse” de- Cided the band would not have to retake the stage (since it had alteady been struck). As I said before, working at WDW can be ashock to the system. ‘Ifyou are everfortunate enough tofind the Holly Cole’Ttio booked at your local jazz. festival, do your ears a favor and ‘check them out. You won't be disappointed. —W.H. Note—The latest CD feauring the Holly Cole Trio is Blume It Ou My Youth on Matatran-Blue Note, CDP 707349 2, produced by Greg Cohen, recorded at Eastern Sound, Toronto, June/July 1991. Many of the tunes mentioned here are on this CD. CD Review Tony Scott: Sung Heroes Featuring: Bill Evans, Scott LaFaro, and Paul Motian Denn eee Teena Tony Scott, clarinet, guitar, ant baritone ssxopbonc; Bill Evans, plano, Seot LaFaro, bass; Paul Motan, drums Juan Sucre, quite Sunayside Communications SSC 1015-D.Pro- duced ty Tony Scott. Recorded Oct. 28-29, 1959. All ompo- Sitons by Tony Seot. I. “Misery” (To Lady Day), 2. "Portait of Ame Fank” 3. "Remembrance of Aft Tam,” 4, “Re: quiem for Hot Lips Page,” 5. “Blues For an African Fricnd,” "For Stephan Wolpe,” 7. “Tare! (got the Johnny Csr tune at Evane stared playing regulary, lie ltt) 8. “Memory of My Father,” 9. “Lament to Manolet.” ve had this CD for over a year but I've hesitated to review it until now. Tals hesitation tems from te nature of the record ing; it seems to be a compilation of “leftovers” from Tory Seett sessions, of,a very personal tribute recording of primary interest 0 Tony Soot fans enly. The programming and tare selection docsn't seom to have much thyme or reason. All the tunes are “éirge ballads” with the exception of a shor f section in “For Stephan Wolpe.” This my first encounter “Touy Scott and this recording docs not serve hits wel “The liner notes indicate recording date of Oct, 1959, just before the legendary Village Vanguard recordings on Dee. 28, 1959, with Lafaro and Motian. However, Peter Larsen's di ography Turn On The Stars lists these cus as being recorded in the summer of 1958. T tend to think that Lamen’s dave is rmote accurate. I's hard to believe that the listless shythm section heard on this CD is the same one that produces what is universally considered 1o be earih-shaking musie just two Page 12 monits later on the Venguard recordings. If the date on the Tneriscomrect, Scott must have admonished LaParoand Evans ‘to put very lle of themseives into the musi. Tf I ead the liner notes correctly, this CD is a re-issue of ‘an earlier Coral LP. The session was a tibuie to S2nd Street which was made for Bur Korull, Scott's producer, on the ‘covasion of Scot’s departure from the states 1b live in the orient “An interesting quote appears from Paul Motian in the Tiner notes. We were at the beginning of something. The dates with ‘Tony brought Bill and Scott and me together for the first time. Notlong after the sessions, we were peiforming asatrio. Tony really was responsible for that edition of the Bill Evans Trio. Ircouldn’t have been more than a few months later when we played the Sutherland Lounge in Chicago and things really came togetter. One night during that engagement Bill played Monk's ‘Round Midnight” in a way that Scott responded thas T can stli hear, Those two guys brought tears to my eyes: “This statement seems to support Larsen's notation of an earlier date forthe session. ‘The CD's fist cut is the only one that features Evans predominantly. His harmonic capabilisis ar refreshing com Sidering the recording date, but give no indication of the hhurmonie prowess to come just a few years later, “This recording has not made me a Soot fan, His sound is ‘very insinvating—"pscudo-hip’ of the times: Most ofthe tunes axe on endless suecession of slow blues with Scot playing mundane blues clarinet. His 1one has the slight graininess reminiscent of fizuny Giaffre without the finesse "The compositions are no remarkable, “Misery” and “Re- smembrance” are interesting ates, bu pale when compared to the compositions that Evans or Miles Davis had already one by this tine. Despite lengthy liner notes in which Burt Korall provides extensive biographical information on Scot, the muse fails to spoakfor ize. I would be interested 10 know ‘why ths particular hy thm section was booked forthe session. Talso worder which came firs, Scot's bang or the Bill Evans tio. This recording certainly does not feature the ill Evans ‘Trio. Did Scott restrain his sidemen in club gigs as much as Ihe did inthis recording? Motan’s rematks indicate that this was not the case-T’d love to hear some live recordings af this grup. "The re-enginecred sound is remarkable considering the recording date, but is overdone for my taste and ther is jst too much dynamic contrast, I believe in wking advantage of digital media, but this sound is ridiculous. I had to constansby agjust the volume of my playback system—nising and low tring the volume in vain atempts to bear the thytlan section andier piano. The noise floor is very low and the piano sound fad balance ar> good on the fist ballad, but it goes downhill from there, Scot's sound sllemates between barely audible and “the five-hundred-pound clarine.” When playing loudly, his predictable meanderings transport me tothe dentist's of Letter from Evans, Fall 1992 fice and the drill, or elementary school and fingemails en the chalk board. Abouthalfway through this recording the listener Tongs forthe end when he tam it off and go 0a 10 something ele. ‘Motian and Lafaro's appearances here are almost nomex- {stent. Theit minimal participation prompis me o wonder if their are other recordings of this band in which they have & ‘more prominent role. ‘This CD is of interest o Bill Evans crihusiasis for the first, tune, the restof the disc will probably go unplayed —W H. An Interview with Jimmy Rowles by, Win Hinkie ‘This inerview is taken from a telephone conversation with Rowles on April 14, 1992. WH: Let's geis some general information flist. Where ate ‘you from? JR; Tm from Spokane, Washington, WH: You grew up there. Did you then move to New York? IR: No, I went to Seattle for a while. My father wanted me to be « hewyer. I weat back to Gonzaga for pre-law, Just 10 make him happy. Gonzaga University {s in Spokane, Wash- ington. Jummy ads, “When I went to Seattle my father thought Twas going to the University of Washington, No. 1 was (pending) all night in Harlem tying to lear. I went beck to ‘Gonzaga to make him happy. Then, onmy twenty-first birth- day, 1 told him I was gcing to Califomia. (I received) 10 ‘support from hitn, No way. I went through that sarmmer and then carne to California. Ieame down here and stayed here. 1 finally landed myself « jab and started playing around here. 1 ‘was only 21. You can't gather 1oo much knowledge about ‘music - Spokane was just empty for me. I couldn't leam any thing about what [ wanted. WH: Who are some of the first peopleyou worked with? JR: The first job T ever played in this town (T don’t even, remember how T got it) was With a guy who had a big band, and itwas a good band, His ame was Bob Dade. He later went ‘ack East and became an agent. He called himself Bob Astor. Have you ever heard thatname? WH: No. JR: Well it used t0 pop up in Downbeat way, way back in the early 1940s. He had ahell of aband and Idida’t know what was doing in there. I was so happy. I never went through anything like that one sight. That was the first job I played here. I finally got a club job in a litde trio thing with a saxophone player, King Guion. I was working with him snd Dick Petersen (drums) ceme in. Eventually, | moved into his house and he let me stay there. His mother was a great Swedish ‘cook and he introduced me to Garwood Van and Muzzy ‘Macelino, and Istarted playing with them. WH: | What year was this? JR: The first purt of 1941, The next thing T did was when Herb Rose hired me to play alonein 2 place. He bought a club lateron, the 331 Club, ard he used to have Art Tetum and Slim and Slam, That's where Nat Cole played when Carlos Gastel gotahold of his contractand tamed him intoa stand up singer, ‘and from then on it Was history .Tthought that clab owner was pong to flip. He was always worried about business. Carlos ‘was sitting there onenight and he got bis contract for very litle money case Nat wasi't doing that mach business that night. “Anyway, Iworked in that club. Then T started working with ‘Stim and Slam in that club. WH: Slim Galliard and Slam Stewart? JR: Then they got « job sith Billy Berg in his first clab in [L.A and Berg incorporated Slim and Slam with Lecand Lester ‘Young and they put me in thatband. This band included Slim ‘and Slam, Lee ond Lester Young, Jake Porter, Bumps Myers tenor) and Rowles. Thatwas the beginning of alot of funfor ime because I got to write little things for this litle band. They trad Big Joe Turner singing and Marie Bryan wes danciag. It ‘yas a ball. Then Berg moved into a larger club and they switched it around so Slim and Slam worked alone. T worked With Lee and Lester Red Callender, Pau! Campbell, Louie Gonzales and Bumps Myers and i: was a real roaring club called the Trouville, Norman Granz used to come in and hang ‘around. He got his ideas for the Sunday jam sessionsand weat conto the big ones, Jazz ar the Philharmonic. WH: Do you think there is an identifiable West Coast jazz sound, Shorty Rogers and that style. JR: Ifyou want to get to What they called tho West Cosst jazz sound, I guess it would be Shorty Rogers. I didn't play ‘much with him a little bit, but not much. WH: There's a great interview with Red Mitebel! in this ‘month's Coda magazine explaining that the West Coast Jazz Style was peetty much of amyth. JR: There's not really womuch toitexcept, forsome funny reason, they featured very soft bass and soft cums. In fact, shen it got to a piano solo I felt like I was on a tight wire ot something in Ringling Brothers. There vas absolutely nobelp ‘and hated the style, So, they didn’t call me, didn't really WH: How did you first happen tomect Bill Evans? JR; The first time 1 met Evans he was playing at Shelly's ‘Shelly's Mar Hole and I went int heat him. He was very nice. Twent out and got a sandwich for him, trought it tack, and gavchim a piece of music. He ran over iti the lub while be ‘yas on the siand, but he didn'tever do anything with that, The nexttime I saw him was in Nice. We got to hang out together there. We played thete for about 2 week together, (we played separately bt saw each other that week). Noton he samme se, ‘atic was with the George Wein thing. took real nice picture ‘of him. I wish somebody bad taken a picture of us together. I have 2 picture taken of his som and I that was taken about a ‘month ago. WH: I'veseen that. Nenette sent mea print of that. JR: Nice kid and s0’s she. Nive people. Page 18 Letter from Evans, Fall 1992 WH: How would you describe Evans" influence on jazz piano players. JR: Ithinkhe was a very, very strong influence on pianists and other musicians, arrangers. I used to ica: all the ime, You ought to come over with me, there's a guy down here ‘hat sounds just like Bill Evans.” 'd say, “I don't want to hear thai, Td rather hear the real thing,” ualess i was somebody 1 knew or hnd heard of.T don’ treally thnk anybody got into the mood that be did. He bad his own thing. Fe was a beautful player. What he dd with that “Peacocks” i just lovely. Any- thing he played was lovely WH: Iwas talking with Clare Fischer lust January and be told me tat, as faras piano players, he would much rather bear somebody who's got something harmonic to offer than some~ body just technical. Anyone can sit down and pracice chops, but he wants to hear somebody with some hamonic interest and that's why Evans intrested him so muck. GR: Iremamberaguy in Seatle thal listened to. Theheavy, ‘well-Anown black jazz piano play er up there inthe after-hours spots wes a guy named Palmer Johnson, and he played nice plano, There was another guy thetc, Julian Henson. I don't think he actully Imew what he was doing. He was doing it sot of like Erroll when he came into music. He just played ‘hat his fingers went to, This guy was just marvelous. He'd play all kinds of strange chords and things, and io a fellow ‘who's only 18-year-old, this sounded like i was coming from Mars but It was prety. I prefered him very muck. Ishought ‘bewas the best pianist in Seattle, Tused to go.and listen to him allthe time. Sit with im and talk to him and askhima questions, Evans’ harmonic scuse and his tste ia not overdeing tech- sique, not running things into the ground. He wasteally 2 poct. WH: You took him one of your nmnes earlier and he dia’t éoanything with that one. Which one was that? JR: “The Devil's Day Off WH: How did he latch onto “The Peacocks?” JR: Tthink ie got that because I had done it with Stan Getz ‘Then Stan went to Europe, had itwith him, and Bil liked WH: Itlooks like he played itfrom about 1974 uate died JR: He told me in Nico thathe was playing it, T didn't even know. Nobody came and tokd me, buthe was ply ing my song in Nice every set. Iwas really tilled with that. Then, I went toLondon and he was at Ronnie Scot’. I went into tose him and went back to his dressing room. Hee said, “Oh, you just missed your song, Tjust go through playing it” He stopped and looked at it and said, “Youknow what, I'l play it again.” He went back out, played it again, and inroduced me to the people, made me take a bow. That was very sce. Iwas very thrilled when the lady called me and asked me something about the recording Ticense because he was going 0 record it ‘That really made me happy. When a guy like that takes your song it makes you fecl good. WH: Haveyou ever tried to play ay of his songs? JR: Not wo much. When somebody asks me, I just say 1 leave that to Bil, Beeause I ean"t come near wha! he di, 1 don't think. I never di fee like I could. JR: You played “How Deep Is The Ocean” on that titute record that Herb Wong did? Why didy ou choose that tune? JR: Iwas trying to figure out the reason for that myself. I thought it jost fit the occasion. . . honoring Bill for what he ‘gave to the word. WH: Andho gave alot to that tune, too. JR: Yes, hedid, Idon't know. I played it. was thinking and then I came up with an ending, “What Is There To Sey” and ‘wisted it into “There'll Never Be Another You.” [thought that, sight make a nice little tribute o him. WH: Tha’s good. [enjoyed that record. JR: Wong was there. did that in one takeand Iwentin there ‘and listened to it. He tumed tome and said, “T think that’s i,” sothat was nice. WH: Which piano players do you listen to today? I mean which contemporary piano players? JR: Tm stil listening to Wynton Kelley. 1 play James P. Johnson. I love to heat Duke and Strayhorn. I can spot Stray- horn in a second, [like Tommy Flannagan, Hank Jones, and Herbic Hancock. Herbie saw to it that my tune was inelnded inthemovie Round Midnight. He's a great player and a great person. I like all of them. I just listen to everybody. I also like to listen to people that move my heart and soul like Ben Webster, Lester Young, and Don Byas.1 miss all three of therm temibly. Tove Wayne Shorter and Joe Henderson. WH: Strayhom alo is a great tune writer. JR: His tunes are so orchestral and so lush. think Stayton isso underrated. He's getting a lot more recognition now. He was a master, and what an orchestrator. WH: How did i come about that you worked with Ella Fitzgerald? JR; Norman (Grants) ealled me up. I didn't know for sure, but I figured I'd give it a whir] and I stuck around for about three years. Thete was way too much travel for me. Ithastened the demise of my lungs; there's aveful lot of smoke om these airplanes. That Pete Cavallo could put you in a coffinin about, ‘an hour. Did you know WH: No, Ididn't. JR: You missed « wonderful person. Poor guy, cigarettes, flay killed hirn. Pm glad T quit when I did. WH: Tjust heard about Monty Budwip’s death JR: Thatwas tragic. The good Lord grabted him in ¢ humry. really miss hi WH: Idida't even know he wessick. JR: Well, you know it’s very, very difficult because he just had a stomach problem, went to get it checked out, and all of 1 sadden found out he had cancer all over. About two weeks Iter he was gone, It was really wagic. Everybody misses ‘Monyy very much. WH: Tima bass player and I've enjoyed his playing for years, Areyour tunes published? JR: Yes, mos: of them, Idon't have them all done wp with ‘fancy covers and a picture of somebody. One of them is, the first tune I did with Johnny Mercer, “Baby , Don": Quit Now.” ‘That's when my music company was in partnership with Jimmy Meflugh. He set up a sheet thing on it but Idon’t have Letter from Evans, Fall 1992 anything clse. T've been thinking ebout maybe doing that. 1 have about five songs with Jobany. The one he dedicated to his mother is lovely. I dic an album with Sarah Vaughn and she did two of them. One of them is “Moming Star” and the other is “Frazier, the Sensual Lion.” They used tohave a lion ‘out bete. Did you ever hear of that one? He lived here. He was the real thing. They resened him ftom a circus in Tijuana or something, They put hii in the Lion County Safari. All the female lions fell in love with him right then! This lion coukin’t even stand up, but they would get on both sides of him, it was on television, and hold him up while he drank water. His tengus hung about half afoot out of his mouth allthetime—he looked likehe washalf dead. But when the curtains went down at night he was very busy laughter! Johnny Mercer wrote 2 lytic that would stop traffic, Boy, it was toomuch. Ittold the ‘whole story WH: I'd like to hear Ruth Price or somebody like her sing that, JR: Well, Sarah sings it, Ruth Price would tear the hell out of that song. I wish she would. I'm going to have to get some lead sheets cone upon that. I don’t even have an onion. I got, 4 copy of it around here somewhere, What a crazy song. WH: How about your future plans? You were in the studio Last week, because I called and your wife saidyou were down doing some project. JR: Twas doing something fora picture coming out. I don't ‘even know the name of it. Johnny Manée! had a thing there. ‘went down and did “Prelude to a Kiss.” They featored Pete Chuistlicb on it. It wes a very lovely arrangement. He turned the arrangement over to Bill Holman and Bill Holman wroe a beauiful thing om it WH: ['ll look forward to hearing it when that movie comes ‘out. Your daughter, Stacy, played for the Jazz Cenual Organi zations’s Evans tribute last year. Have you ever been asked 10 play tha? Boy, I sure would Tike to hear you play init. JR: Dan McKenna wanted me to get down there. It just “didn’t seem to be right. I hope I'm strong enough to go down there, There's no smoking, Tknow that.So, 'l probably make the nextone. WH: I'm going to be in California in August for that JR: Isthat going to be in August? WH: It's always the closest 1 August 16, that’s Bil’s binthday. JR: Mine’sthe 19th WH: Another Leo piano pleycr. SR: Twas thinking, when [was reading Keith Jarrett, about ‘when you revere people, I think he’s right. Because I remem- ber when I was fist starting, the first person, of course, that 1 cevet beard play any jazz was Teddy Wilson. | just thought it ‘was the most marvelous thing | ever heard when I heard this recotd. [absolutely revered this man and his play ing. Port nately, [had one guy that could help me with the harmonies because it was all new to me. Of al people, he wasa Blackfoot Indian from Montana. He really knew. When I'm listening to ‘Teddy Wilsoa or Ben Webster, whose sound I just fll inlove with, I'm always hoping sometime I could meet both of these people. 'mlistning to these people and you get sothat you've {got all thece heroes. Like when [ heard Don Byss, 1 bad an immediate hero —also whea Ibeard Dick Wison.I've always gravitated ioward tenor players. Like when [ heard Wayne Shorter it was like a shot inthe arm out here inL.os Angeles. Everything was on such a soft thing and here comes that balls ‘music. Wynton Kelley's album called Kelly Great, that I paid sixty cents for ina drug store, What a buy. That record turned me completely around — a light at the end of the tunnel Wynton Kelly was a real champ. Tt was just marvelous and ‘Shorter just sailed around. Ioved it. But what you have w do, think is listen to these people, ad absorb, and listen. Then, if you leit it will eae out in your work and you can stilllove them and honor them, but you don’t have w over-revere them. Tean't sy ilike hesaid it Keith Farrot), WH: Yes, be said it very well. JR: He wes very cloquent. If you can’t be yourself, you're not really doing what you set out to do. WH [found myself falling into that trap a couple of times ‘You start playing like a certain kind of play x. Tused to be a Michael Moore fan. I would play every lick that he played and hic whole approach. Then I decided I don’t really want to lay that way because I'm not Moore. Ijust don't want to play ike that. Now, I play likeme. Take it or leave it. JR: That's the way to doit. WH: [also used to admire Teddy Wilson's left hand a let. He bad such a transparent way of playing close veicings. The only way I can descrite is, that he would leave so much out that the change could be a varicyy of things. Yet, it was all compect and complete, I really oved his lefthand, especially ‘when he was comping behind someone or soloing. just loved the way he played. It was like a transparency and that was nique. He hed a way of playing consonant voicings that were ‘very good and his touch Was 80 2004, 190. JR: Another thing be was a master at was playing a rernclo octave. Hl didn't make it sound like BRRRRR, you know how they play itso fas. Itsounds almost like “how do you like this folks." Teddy makes it lke part ofthe thing. He went in ‘And it wasn’t that fast and I leamed it from hitn. I really listened to that man. WH: He wasa very tasteful pianist, He used muck the same vocabulary that other pianists used but he would always do i in avery tasteful way. JR: Have you ever heard Ast Tatum's recording of “Deep Purple.” WH: Yeah, | think F've gotthat. JR: Like when he goes [demonstration]... he’s got a line ‘with his left hand that I'm sure that Tedey Wilson paid atention to. 1 know aid WH: [gotta pull that out, Zheven’t heard that in along time. JR: That's accuzy line. WH: Luse to listen to Tarum's “Body and Sout” a lot. JR: He never played it the same way twice. Holy mackerel. use te follow him around here and listen to hkn after hours. WH: There was one solo version that he did that kind of foreshadowed what Coltrane did with the changes Iter. He's Page 1S Letter from Evans, Fell 1992 inD-flat, goes up half step (0 D, and then comes right tack 19 flat very quickly. He did things like that way back in the 1920's and people say Coltrane was the first to be slide slippin’, No, Tatum didi years ago. JR; Tasum was really something. I'm sure glad that Twas here when he was around. I got to know him. He just loved plano players and he loved all of us, He'd come and get you at the club where you were working, really, in his limo and take you out with him. Oh, he was something. I got out of the service and went down to 52nd Street when I came back 19 ‘New York. Iwalked in where he was play ing and when he took intermission I walked up and said “Ar, when you gonna play sy tune” He turned around and said “When did they letyou cout?™ WH: So, Stacy plays fluege! hom and trumpet, but do you have any other children in music? JR: Notin the music business. My son has a studio. He wes, ‘very talented and natural, with perfect pitch and all that. He went forthe guitar in the 1950s and late 1940s. He beard this stuff and he went for it. [tried to get him to play the piano. He's up in Oregon. He has his own studio and ne knows all, that electronic stuf. WH: T'm glad be's got the musical ears. Because there's 30, ‘few studio puys that have the ears, musician's cars. So that’s good. JR: He's doing al right with that studio, He makes cassertes ‘and stuff for people. He produces things. So, he's up in Oregon land he likes it ere. My other daughter, Stephanie, I bought her a flute, Arthur Gleghom just brought his flute over and I thought Stephanie was going w flip out, o [bought here flute ‘and she took lessons, but then she quit. She's managing health food store now. How about you. You play ing yourbass? WH: Oh yeah, I worked with Im Sullivan last weekend, which is always 1 pleasure. JR: Oh, he’s a marvelous musician. He's a great player. He always can add so much, No matter who is on the bandstand or what the sitnation is, it ends upbeingavery musical evening, Even if i's jast a simple tune, be can make so much out of it IR: Didyou ever play with Eadie Higgins? WH: No, neverdid, I've talked to him buc the opportunity, hhas never come up. He's down in this area. Inced to godown ‘and hang out with him. He divides his time between Florida ‘and Chicago, I think JR: He's anice player. Hike thatrecord he did with Wayne Shorter. That was the only time I heard him. I think that's one Te gotto pick up. Iread about one he made. WH: I'vegotatiorecotdhhe's done. [haven'teven listened toit yet. I've just got it in here and Meredith DiAmbrosio, his wife, gave ittome, JR; Thatmust be the new one I read about WR: Thaver'tlistened woityet SR: [think I'm going to pick that up. WH: I sent tha list of records thot we talked about. There's an older record that you did with Monty Budwig on bass, 1 think. Is that still available? If you get a chance, add the Page 16 recordings that I left out, I want a complete discography for you if I could gett. JR: Doyou wantme to send you list? WH: Yeah, f'you could. JR: 1 don't really have one myself. But, I know there's a friend of mine that has one. He's got more records of mine ve. [was just wondering about the record with Monty. itwas a io thing, Is it from a place down in Manhattan Besch called ‘Chappy’s? WA: Ican't remember, JR: Somebody was talling about something like that. WH: IthinkTwac reading about it in Coda magazine. JR: Codamagazine? WH: Yes, JR: [don't know that one. WH: That's aCanadian jazz magazine. It's good. They were talking about thie early Jimmy Rowles Trio thing. I think it wes Monty Budwig. JR: The first io record [ ever made was with Red Mitchel] and Ant Mardigan. WH: Maybe that was what I was talking about. JR: This wascalied Rare, But Well Done. WH: Tha's it. That's the one I'm talking abont. JR: [can't remember making a tic thing with Monty. WH: [ guess you haven't, Is that still available, Rare, But Well Done?” IR: Idon't know. Lreally don't. It was Liberty Records and whatever happened to them I don’t know. WH: Well, maybe your friend could help me with that. JR: ltwas probably swallowed up ty Gulf Oil or somebody. WH: It'swas great talking toyou. JR: Great talking to you, too. My mind skips ahead of me and Iskip when I talk, sometimes. Sony. ‘There's something I wanted to ask you, There's some Italian record compeny that just released that thing with Stan Getz and the Evans trio. Tthink is the one when they played “The Peacecks” in concert in Belgium. Is it possibleto get that record? WH: [lly wo get i © you The CD is very hard to get in the States. Midnight Mood, Part Two by Art Totfanelli ‘This isthe secord and last part of An's transciption of the Joe Zawioul wane “Midnight Mod” forma the Verve CD 883-801- 2. For new subscribers wo missed part one in the ast issue, senda stamped, self-addressed envelope and Iwill forward the fist part, pages onc through six. Thanks t Art Toffaneli for his hard work and sharing it with others. Lotter from Evans, Fall 1992 £3

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