Board of Advisors: Warren Bernhardt A Quarterly Publication Dedicated to Bea T ry =P aE Pa cod Chuck Israels Peniitoess Crane Zn Ron Nethercutt Winter 1993 - ISSN # 1056-4179 Vol. 4, No. 2, Price: $5.00 News a 1 im suby, pisnist Waren Bemhart performed in the Tel Aviv Jazz Festival, organized ty flninaker and Jong tine fiend of Bill Evans, Francis Poudras. Th festival featured tributes to many of Pours favorite misicians including [Bvam, Dizzy, and Bird. Beahar also has & new CD out ‘Reflections,on the DMP label, This CD features a dfforeat trestmen ofthe tune Bill Evans tne ‘Re: Person I Knew" French Jazz pianist Bernard Maury will be teaching ina new jaz2 school to be established in Pais. The school wil have @ Bill Evans wing as well as a Dake Ellingion wing Mote details as they ative C1 Pinsise Sack Reilly has entered into an agreement to piblish several ancles on Bill Evans compositions in lapan Many ofthese articles fist appeared in LFE. C1 Bassist Red Mitchel hes passed awey.T' mshi very much, CO There are five (count “em) new Bill EvansCDs reviewed in this ise. Many Thanks to Phil Bikey for his eontribu- Evans fans cannot complain about not having new listening material, The recordings done at Romie Scom's Civ are worthy of your attention. 1 Tixxecortempiating the release of Bill Evans materials Should rad the legal notice inthe October 31, 1992 issue of BillBoard Magazine. The adress of tho aitomey ropre- senting the Estate of Bill Evans is Stephen R. Lowy, Budd Wilkie Blvd, 8th Foor, Beverly Hills, CA 90211, phone (213) 653-8444, 1. Volume ‘Two of Jazz at The Maintenance Shop is svail- able in Jepun on Laser Video Disc. The label is VAP Inc. Tol. Volume One has been out for several months inthe USA. These performances were produced andtapedby lown Public Television, Ames, fowa,in January 1979. don’ thave 2 video dise player yet. I saw some avalabe atthe local electronic surplus dealer about a yearago forless than a $100 but didn't bay one. Ofcourse, they are gue now. New ones cost $600 and up. I hope the company will make VHS releases available before too much longer. Tm very grateful wo Art Tofanelli for the compete ‘rarscription of I Lover You, orgy" from At the Montrewr Jeez Festival, Verve CD #827-844-2 or LP #V6-8762, that appears inthis issue. Ar is areal frend to LFE and isto be cornmnded for his many hours o work. Readers will notice thatall the notes ae there, not ust the melody ne. Art and Tare till deciding onthe next pioce to turscibe and we are open for suggestions. We would prefer a solo piano version, cleary recorded, preferably of a Bill Evans Compesition. Copyright clearances on some standards canbe quite expen. LFE has procured some music printing software for Art so his next offering will be p:inted with mote conventional notation. Artis presently using aCAD érawing program with 1 library of music symbols that he designed. His copy work 'outstanding, even with the hoe-brew software. CO TFE Postearde are now available. Ten dollars will buy you pecket of 25 official LE Postcards, complete withthe In this Issue: News ..... eee oe 4 Letters .... i Great American Piano Competition .. 6 Frod Hersch Trio in Atlanta... ..... 10 MeCoy Tyner in Los Angeles... . CD Reviews Evans... . . CD Reviews -non-Evans . Interview - Win Hinkle. . - Interview - Henry Mancini . Transcription - “! Loves You, Porgy” . 20 Tribute Compositions List . .Letter from Evans, Winter 1983 LFE ogo to mail notes to your friends. By purchasing same, you be helping LFE as well as taking advantage of the lest remaining bargain from the U.S. Postal Service, 19 cents for domestic and 40 cents for foreign. Letters SS Dear Win, ‘As I was perusing the new issue of LFE, | came across « ‘most curious correspondence to you from an individual by the name of George Ziskind in the letiers section. I feel it is necessary to respond to this letter, as your response was less than adequate. ‘While itis evident that Mz, Ziskind doesn't appreciate my ‘musical efforts, his launching of what appears to be a personal, attackis totally inappropriate, as [have neverbad any personal, ‘contact with this individual, ‘As for some of the musical referencesin his letter, Socrates is the wrong place to look for an answer to his elementary question on the eifference between substitute chords and reharmonization. They are in fact one in the same. The tno ‘ment a substitute chord is used, reharmonization has occurred! If Mr. Ziskind is such a puristinhis devotionto the Gershwins, Aslens, etal., pethape he should rethink his admiration for Bill, Evans, as he freely and consistently reharmonized the works, of these composers. The composers he refers to wrete some {reat music, however none of them were true jez2 improvisers;, it sin fact the jazz improvisers Who have taken the melodies of these composers and set them to harmonies which lend themselves to the art of jazz improvisation ‘When I took my first lesson with Bill Evans in 1966, he spont a good deal of time demonstrating the art of rebarmoni zation, in great detail, ty playing several versions of “Some- day My Prince Will Come,” cach witha rotally new harmonic structare. [suggest he should pick up a copy of my Handbook of Chord Substitutions, to get some idess on how to make ‘music & more gratifying expeticace, both playing and listen ing! Until Mr. Ziskind expands his musical horizons, I'd advise ‘him not to listen to Coltrane, or any other post-1960 music, lesthe trigger transient ischemic attack: Sincerely, ‘Andy LaVerne Peekskill, NY This isa great response to a troubling opinion by Ziskind (see Leners, Vol. il, No. 6, page 4). I cannot solve Mr. Ziskind's paradox of being « jazz lover, even a Bill Evans lover, and his iconoclastic, arch-conservative stand on chord substitution. hope that is tirade against Andy LaVerne's (and practically every other jazz artist's) tendency to re-harmonize was done out ofboredom, ignorance, orjust aboutany reasonother thar @ personal artack. Everyone is entitied to his or her opinion, but there will be no personal attacks in these pages if Ihave Page LETTER FROM EVANS is publshed four times @ year at an annual subscripton tats of $20.00 (bulk Tate) in the continental. United States, $27,00 first class; $27.00 (thd class) in Alaska, Hawall, Canada, ‘and Mexico. The annual rate for Asia, Africa, and the Pacilic Rini is $60, The rate-in all other countries is $40 (funds in US. dollars): Previous issues are avail- able at $7.00 each ($8.50 foreign). Please allow eight weeks for delivery The opinions exprecsod herain ara no! necessarily those of the Publisher/Edt- tor, Win Hinke, of the Board of Advisors. Lettore to the editor are welcome on any subjact Advertising Will be accepted from Nims that have a product of genuine interest to tho Eill Evans onthusiast A rate eatd:is available on tequest. Non-commercial sources of Bil Evans materials may present notices for possible inclusion in LFE: The final determination ‘of suitability will be made at the Sole discreion of the Publisher/Editor. The cover logs, based on a phato- ‘graph by Jim Marshall, was designed by Mike Ning and is Used by permission. — ae ‘Board of Advisors: © Warren Bernhardt Chuck leraels ‘Ron Nethercutt Peter H. Larsen (vocant) Suaff Win Hinkle, Publisher/Editor-in-Chiel ElleriHinkle, Aseictant Editor. Toni Strollo, Copy Editor: Bill Montgomery, Editor for Asia Art Tofenelli, Transeription Editor. Letter from Evens Win Hinkle, Editor 2712 Cady Wey Winter Park, FL 32792-4856 etn Voice Phone (407) 678-7119 "BAX (407) 678-7049 Electronic Mail may be left for the editor on CompuServe #71083,2477 DISCLAIMER The editor/publisher, writers, and members of the Board of Advisors of LETTER FROM EVANS have never knowingly endorsed or ‘promoted any illegal auciio or video recordings.Letter from Evans, Winter 1993 anything to do with it. I hope that Ziskind and LaVerne do not know each other professionally or personally. When [first started writing aboutjacz, [tended to home on certain surjects, sometimes witha vengeance tat could be construed as a personal attack. [stil am just as opinionated, but ry 1 temper my writing by sticking to facts. In this ease the facts that jazz musicians love to change harmonic Struc sures and will continue todo so. t's hard io imagine shar any jazz musician worth listening 10 could play *Siella By Star Tight” (10 give a well-known exaraple) with the original tonic diminished seventh chord asthe fist chord change, the way the original sheet music was published. [think that Andy realizes that some LFE readers will write lewers 10 the editor — just to hear themselves tal. I's prety obvious thet Ziskind had a (tenporary, I hope) case of fot. inmouth-disease on his subject. I happersto all of us atone time or another, I've talked to George on the phone and found him 10 be very intelligent and an informed musician. Some- times when we get a pencil ypewriter or word processor tnder our fingers, we tendo become a Dr. Jekyll or Mr. Hyde. 1 think i's a By-product of being a musician. Lets forget it toughen our skins, and get on with more serious pursuits like listening, playing, talking, and writing abou: Bil Evans.— Ea, To the Editor: Your review of Tony Scott's Sung Heroes calls for the following observations. Sung Heroes was recorded at the studio and at the dates noted in the LP and CD that we released on Sunnyside. aul Motian, who was atthe sessions, confirmed the exact dates and location by consulting his agenda of that year. ‘The tapes are not “left overs.” We have the original tapes and boxes. Bust Koral says, “Just before Tony and Fran left for the Orient in 1959, the clarinetist made albums that focused on his, priorities. He taped a 52nd Sect uibutc for me on Corel, with, tan all-star cast. And he went into the studio to [do] this (Sung, Heroes) and one other set. It was asif he was putting his house in ower ‘The Art Pepper Society organising sceretaty, Tabasco Pete ‘Webb, editor of The NewsPepper newsletter. Tabasco Pete Webb, “Los Altos” 34c Dengrove Park, Canterbury Kent CT2 OPY, ENGLAND Tel. 0227 712342 ‘The sound was not re-engincered, The only thing that was done was to sequence the tunes differently. As you ean hear ‘ho attempt was made to lower the tape noise. If you had to raise the level to hear the chythm section, itis because we did not try to manipulate the sound to "equalize" the original recording, It is obvious that you are allergic 10 Tony Scott's music; thankfully Bill Evans was not. Please, in the future, give us more credit. We do not put out "left-overs” in our records and ‘we go as far as we cam todo the facts. Francois Zalacain New York, New York T stand by my appraisal. If Sco was ‘putting his house in order" with this studio session, his musical house must be as messy as my desk. There is simply no direction in the music ‘and the way is was recorded. The sound cries out for remixing, or "re-engineering" (perhaps “post-production” would be a ‘better phrase), but this was probably not possible since it was apparently recorded directly to two-track (the main format of. that era) I think that you misuse the word “equalize.” The bandwidth was fine, The rhythm section was simply recorded with too litle gain, by design or by accident. A litle judicious compression could have helped a great deal, since many ‘purchasers of the CD were looking forward w hearing Bill Evans, Scont LaFaro, and Paul Motian, nct being inundated ‘with what sounded like a four-hundred-pound clarinet The product sounds like "leftovers," but T'll take your word for it that it was produced without that intention. What- ever its origins, it is not up to the high standards set by ‘Sunnyside, I'm wiling to treat my allergic reactions 10 Tony Scott. welcome any recording showing a better side of Scom. Evans did see something in working with him. The musical relationship must have been fruitful. I'm very interested in exploring that relationship. This recording is void of any information in that direction Ed. Dear Mr. Hinkle: In response to your not being able to find a source for the Rah CD by Mark Murphy, in the United States itis out on Original Jazz Classics OJC-141 (Fantasy) (LP), ONC-S141 The Note A Newsletter of the Al Cohn Memorial Jazz Collection Dr. Larry Fisher, Chairman Music Department East Stroudsburg University East Stroudsburg, PA 18301 PreeLotter from Evans, Winter 1993 (Cassette), and not at this time available on CD. It was oxi nally a Riverside Record. The OIC record can be purchased from Double-Time Juzz trough Jamey Acbersold, P.O. Box 1244, New Albany, IN 47151-1244 Bill, a indicated in Larsen #59, plays on two tunes: “Out cof This World” and "My Favotite Things.” 1t is possible that it is available on CD in Japan with a possibly longer version of "My Favorite Things.” The only indication Ihave of a nurater is as follows: RIVERSIDE V VICI-23695. [am unsure if this is a record or a CD. ‘Onanattached sheet Ihave also included a listing of some receat CDs, LPS, and one video that Bill appears on. Some Ihave been cut for awhile but I don't remember you listing al ‘of them before. ‘Al this brings me to making en offer to you. I think it ‘would be nice if with every issue we could preset a chrono- logical discography of Bill Evans. As the Larsen Book is 20 longer available, and there are a number of additions and changes to it, your readers might be interested. T would be happy to provide this for you, listing four to six sessions for each issue. As long as Letter From Evans stays acn-proit would be happy to dothis at no charge. I itis ever [ssved as something separate from Leter From Evars thea | think it only fair that Peter Larsen, you, an T would work out some type of agreement. In addition, I would like to suggest we put a litle extra information about the session. An example would be some background on Jerry Wald, with whom Bll first corded. enjoy much of Leter From Evans and look forward to your coatinuing improvements, If this 18 of interest please feel free to contact me at the shove address or phones. The Quarterly Journal of the Erroll Garner Club Musical Analysis and Research Interviews/Oral Histories Record Reviews | ‘Transcriptions US.A {elsewhere United Kinzcom/Europe (excluding Europe) $25.00 Amaually L15 Annually payable to: payable to: Tre Emol Garner Club The Erol Gamer Club cfotim Doran, «fo Joanne Ellis PO. Box 601 43 Sandringham Road Pomona, NY 10970 Petersficld, Hampshire US.A. (GU322AB, ENGLAND Paget Ou " ‘Gans & ones ZaeondZeterurd Wet Wins WWRO7S 174 (C0 Chat BeterInedices Johnny Pace GUCCD4G2 Nore AEC Pine Sunt MISC Phiobgy ina 9/458 Unset REG nvappenedinPescare NISC Phiogyt00 1242 CO Singing Rees Food auc 3 REC. Quarat Tro Poma tow FeehSwund6n 12 GO Rare UrreeasedBretcast Davis M. YaleunS02241-8 @) A Unica? CD JarrSaulatPagy& Bess Pots CAP COP9SIS22 36 CD Togter Again Koate Moon MC0-02000 5 cD Ti sGuene ons MagnotsMRCD-107 9 CO LheinStookiom 1965 ISG RojaazRIDSIO Also I recently acquired.a Laser Disc titled Piano Legends inartaied by Chick Corea on Pioneer Artists PA-D1-409. Ithas Bill performing asolo versione "ILoves You, Porgy,” though it appears from the stage set-up that other picces were also performed. I would hazard to guess this is Larsen 15/1 and that it is also available on VES. ‘Most of the above have been available from Cadence or Jamey Acbersold atone time or another. Sincerely, Robert Abinante Aptoe, CA ‘The following letter was in response 10 Robert's letter above. encourage Robertin bis work. I would like to rake on such a job, but am not being realistic in trying to find the time or ‘money (uniess I cant get some sorvof grant) to take iton. Robert discussed the idea of presenting parts of it in each issue of LFE We did not get the opportunity to met in Los Angeles. ‘This response should help answer some of the concerns and questions that readers have expressed. I did finally find ard hearthe Rab recording of Mark Murphy with Evansappearing ‘on two cus. Evans snot prominently featured —Ed. Dear Robert: “Thanks for your letter, renewal, and gift. Your idca about printing a discography is fine. My presentstatus onthesubject follows. T have writes Peter Lersen urging him to reissue bis discography. | offered him a financial arrangement to publish it in the US for him. He tured me dowa — he wants to do ‘update and publish ithimself but has no definite plans. have received several other Bill Evans discographies, one from Spain, another from Japan, and Brian Henessey’s list. With these, my own lists, and the lists of others, I thiak Toould publish a prety comprehensive listing. [have no definite plans to doit, however, sine all my time and money istakenup with LFE. T'll print whatever you send me, including annotation. ‘Your enclosed excempt seems very good. I would like w see tune titles and timings added. They help a great deal when researching specific dates. I am assuming you have these recordings or have access to specific information about them. ‘About one third are new to me. I can lst the timings and titles if yousend me tapes or xerox copies of liner notes (made forLetter from Evens, Winter 1993 ‘About one third are new to me. Lean listthe timings and ies ifyou send me tapes or xe10x copies of liner notes (made for ‘educational purposes only), There are often tnistakes in titles on Finer notes, especially in sloppy (mostly bootleg) releases. We should make an attempt at verification. If Tever publish a discogapky Iwill give you full ewdit for your contibutions and research, Tenvisiona discography asa database, constantly updated — maybe never printed in its entirety on pape. only specific cexcerp’s. Informstion management is a computer science. “Those involved in the arts always scem to be among the last to soc the handwriting on the wall. In the future, 1 antieipare avid Bill Evans enthusiasts and collectors to have acooss toa ‘computer, or terminal if they expect to have curtent informa tion. I'm not saying that itis absolutely necessary 10 be ontop ofthe latest Bill Evans release. I know lots of folks who bave not bought a CD player and are content to spin theit scratchy cold LPs, oreassetes forthe duration. I'm notconteatwith this, ‘and many LFE readers are more high tech than I am in their jazz listening parsuits. ‘You may be aware of the new jazz discography series by Tom Lord available through Cedence. 1 asked Cadence if it ‘would be available on computer disk or CD ROM. They said bsolutely not, obviously sware that the information is not copyrightable. If made available in computer format, it pens th door to others using snd printing the information, essen- tilly creating an opportunity to make moacy on Torn Lord's ‘work. A complete jazz. discography is, of course, more mar- ketable than one just devoted to Bill Evans. Information brokering is fimnly established in the business world. Publishing and sclling a discography could be consid- cred information brokering on a more atistic level. All of my LFE publishing effors offer difficult to find, but public do- tnaininformation,aloag with viewpoints and opinions of those involved with the subject matter, sometimes in a very non- business-like, off-the-cuff format. have entered the public domain information parts of the [Larsen work into a computer format (ASCH Text, and it cost mealmost$400) end append to itregulaily.Lalso consider ary now information that [have added to be not copyrightable and ‘public domain. I don't think Larsen entirely agrees with my position. ‘A bot of people fear electronic publishing. The legal con- coms and ethical ramifications are still being formulated. I forecastthat the furure of books, as far as publishing informa- tioa,isin serious doubt. The reference mechanism of the future wil be random access. Information access in book form, as ‘we know it,is sequential and is bocoming obsolete. We'll still tte cutting down trees for use in works of fiction, novels. poetry, and the like, but not for reference books and textbooks. If you're involved in the publishing business, information sceess, educetion, a library, or even simple information use, you better start retooling Your hardware, software, and mind set for the inevitable, Thope to see you in Lez Angeles on August 15. We can talleabout it more then, Win Biinklo ‘Winter Park, Fl ‘Addendum: ‘One LEE recent subscriber is a copyright attorney and we briefly discussed the Larson Discography. In spite of the ‘argument that the discographieal information is public do- rain, Larson's book Turn On The Stats isa copyrighted work ‘and subject to protection that copyright laws provide for. Dear Win: Have just been scnt an excellent copy of your magazine, Letter From Evans. Yn browsing through it, Iwas intrigued by ‘your teview of a programme in TV News, about Dame Kisi ‘Andre Previn, and Ray Brown. How right you are, it was a complete load of rubbish. Ray Brownmust have been laughing all the way to the bank. It was shown on prime time British television and everyone I spoke with agreed it was 2 complete waste of money, We did not get much, in fact practically nothing about jazz.on our television nesworks, this was shown ‘on our PBS, the British Broadcasting Corporation. The crazy thing is that the government has fold the BBC that when thelr license renewal comes up in 1996 they have got to be more commercial. Heaven help us. Have included a copy of my current magazine. Based o1 ‘a idea of mine 30 yeats ago. I don’t believe it, seems like yesterday ‘My kindest regards, and appreciation of the Work you put in to produce your publicatioa. We, too, have our upe end downs, then that’s life. ‘You very sincerely, Dennis H. Mattnews: Cadence Magazine & Record Sale The Place to Find Records! We swck over 700 labels from all overthe weld and 1000's of diferent moonda, What wen tock Ween get! For 3 yeus we have provided tothe are | cont Payer the nest service the best ices Fielermaces? Ask snyone who has dealt ‘vith st Fora compleecalogue plus he ‘curent ame of Cadence juss Magazine send 52501: Cadence Magazine Cadence Building Redwood, NY 13679 315-287-2852 ‘Subscription:$25 PagesLetter from Evans, Winter 1999 Crescendo & Jazz Music Iiford, Bssex, England ‘The response so far is four to one against the program. Rey Brown did have a smirk on his face throughout the enire show. Mr. Matiiew’s publication is directed towards the mary jazz musicians in the U.K. He has transcriptions, technical ari cles, information, and news for jazz musicians. t's very well [put together, Crescendo and Jazz Music, The Limelight Pub- lishing Group, Broadway Chambers, 1 Cranbrook Road, I Jord Essex, IG1 464, England, Phone 081-553 0860, Fax (081-553 0827—Ea. The 10th Annual Great American Jazz Piano Competition by Win Hinkie Cctober 8, 1992, 7:00 PM, The Florida Theater, Jacksonville, Florida, USA. ‘The Great American Jazz Piano Competition once again kicked-off the festivities of the Jacksonville Jazz Festival. With the exception of two acts, this year’s festival program was aimed.at the great musical unwashed. You know who they are, the short-sttention-span masses, the retched refuse of our teaming shores, your neighbors, yout close friends, your far- ‘away friends, maybe even your children! You know who the facts were. (Their names have been changed to protect the guilty.) Spyro Agnew, Bela Bartok and the Flintstones, The ‘Yellow Snows, Groover Washington Jt. — you know the ones. ‘Sandwiched among all this foo was Tom Harrel and the New ‘York Jazz Giants, and the New York Voices. I didn't feel like ‘wading through all that sonic pollation and trying to keep my ‘wits about me enough to hear Tom znd tbe guys ot the voices. Tl wait for a beter venue. Last year, [called the editors of Jaze Times on the phone snd inquired if they had planned to cover and review the event. They were not and did net. They fare as non-plused by the jazz tastes in Jacksonville as Tam. Tnspite of all this, the Great American Jazz Piano Compe- {ition remains an event woriby of your attention and mine. I is a worthwhile, rewarding event [recommend to prospective contestants and listeners slike. I cannot say the sime for the Jacksonville Jazz Festival. More than likely, the competition ‘exists because of the festival. The commercial character ofthe festival may be necessary to suppott the competition. If that is the case, I wish the Jacksonville Jazz Festival continued suceess, in spite of its adolescent programming, ‘The vente was the same as last year — The Florida ‘Theater, an historic, small, but well appointed concert hall with fair acoustics. The sound engineers did a creditable job, reinforcing the sound of the nine-foot Steinway without dis- Page tortion or unwanted coloration, The bassist and drummer were Jay Leonhatt and Terry Clarke (also the same as last yeti). These two proved, once again, to be an excellent chcice, focusing their talents to the job at hand — becoming quick studies insupporting the five finaisisintheir highly individual performances. Leonhart and Clarke play regulasly together is the Jay Leonkart Trio with pianist Ted Rosenthal (a finalistin the 1988 competition), After each finslist performs his set, the five judges retire tomake a decision on which three of the five will be awarded ptizes. The Jay Leonhatt Trio performed a great set while the juclges deliberated (more about that later). Tn previous years, the competition was free to the public; but this year, a $5 admission fee was charged. In spite of tha, the hall was sold out by noon oa the evening of the event. The competition (and festival) is presented by WICT TV and FM. ‘The competition is sponsored ty Cellular One ond ATT Long Distance Network. There are twelve additional sponsors of the festival who don’t need mentioning. I mention these (wo ‘because they are supporting a good causc, are to be congratu lated, and [ urge their patronage by LFE readers. ‘The following information is quoted directly from the competition’s printed program. Please remember that the opinions expressed below are those of a marketing Person connected with the Jacksonville Jazz Festival, not those of Leer From Evars: ‘The Judges ‘Dr. George Butler is seaior vice president and executive producer of jazz and progressive music for Columbia Re- cords/Sony Music. He's produced many recordings with such stars as Wy ton Marsalis, Wayne Shorter, and Rarnsey Lewis, sd last year's conepettion winner, Travis Shook. Jazz pianist and singer Shirley Hom has come roaring TO CHECK OUT THE tajic) NOW IS THE TIME LARC. The International Association of Record Collectors has been provid- ing common ground for record col- lectors of all styles of jazz for more than 26 years. Annual dues are $20.00. Send for your free sample copy of the LA.J.R.C, Journal. 1.A.J.R.C. Membership Director, c/o Vic Hall, P.O. Box 75155, Tampa, FL 33605, U.S.A.Letter from Evans, Winter 1993 for wooks, She's a highly-acclaimed musician who is one of, the tly great vocalist Willard Jenkins, exocutive director of the National Jazz Service Organization, is a tireless activist for jazz, amd in his long career he’s been a jazz writer, broadcaster, and educator. Fianist, harmonica player, and composer Howard Levy has been involved in music ranging from the Balkan Rhytien ‘Band to the Harmonica Jazz Quartet. He has played with such ‘greats as Paquito d'Rivera, Chuck Mangione and Arturo San- doval and is a member of Bela Fleck and the Flecktones. ‘Joe Segal, a highly-respected jazz impresario, isthe pro- prictor of Chicago's Jazz Showcase. He's been a major pre- sentet of jazz in Chicago for 45 years from a variety of clubs and venues, the last I at the Blackstone Hotel. ‘The Program James Gelfand “Blue Monk" (Thelonious Monk} “A Nightingale Sang in Berkeley Square” (Maschwite/Sherwin/Strachey) Autumn Leaves” Johnny Mercer) Williaa Peterson "Minor Yours” Bill Peterson) "My Funny Valentine” (Rodgers and Hart) “Rhytha-e-ning” (Thelonious Monk) Franck Amsaliem "SKI" (Milt Jackson) “Ruming After Eremity” (Franck Amsallem) "DEE" (Franck Amsallera) im Pryor "When My Lady Sings" (lim Pryer) “Only With Time” (Jim Pryor) “What Is This Thing Called Love?" (Cole Poster) Bradford Mehldau "How Long Has This Been Going On?” (George Gershwin) “"Woofin’ and Tweetin'” (Amt Farmer) “Anthropology” (Charlie Parker) The Prizes "Al finalists take home eash awards. The first place winner receives $2,000 and the right to perform Saturday before the Festival audience, $1,000 fer second place, $500 tothe third place winner, and $250 each to the wo rumers-up. Adction- Ally, the winner will be offered residence inthe University of North Florida's Antistin- Residence prograty parto the Uni versty's Distinguished American Music Program. Winners have traditionally received invitations i pesform ata variety of oer jeze festivals inthis country and abroad. ‘The Finalists (in alphabetical order) ‘Algeriaa-born Franck Amesallem was raised in Nice, France. The 30-year-old graduated from the Nive Conserva- tory and received a full scholarship from the French gover ‘ment to study at the Berklee School of Music. Amsallem, who ‘was. finalist in the 1989 Great American Jazz Piano Compe- tition, currently lives in Brooklyn, New York. He receatly ‘made his debut recording as a leader, Out A Day, on OMD Records, with Gary Peacock and Bill Stewart, and bas an active performing career ia New York. Canadian James Gelfand von second prize at last year’s (Great American fazz Piano Competition and first prize at this year's Montreal International Jazz Festival Alcan Competi tion. Gelfand, 33, bas recorded numerous albums and per- formed with many jezz performers, as well as leading his own groups. He attended McGill University in Montreal, Betllee School of Music in Boston, and eamed a Master of Music degree from the Eastman School of Music in Rochester, New ‘York Gelfand lives in Quebec. ‘Twenty-twoyear-old Bradford Mehldau attended the New School for Social Research's Jazz and Contemporary Music Program. The New York artist has toured with the Christopher Holiday Quartet ané performed on his RCA/Ne- ‘vas release, The Narural Moment. Mehldau has also pet formed with Jimmy Cobb, Jusior Cook, Cecil Payne, Jimmy Heath, and others. He’s hosted jar sessions at the Village Gate, 2s well as performed at the Village Vanguard end Fat “Tuesdays in New York City Jazz pianist and composer William Peterson is an assis- tant professor of music at Florida State University where he teaches film scoring, jazz arranging, and jazz piano. The 31-year-old received a Bachelor of Music degree from Cincin- pa jazz forum YOUR WINDOW ON THE JAZZ WO} Be you inal in az insrutionaly? If the answer i yes, hen you should subserbe to JAZZ FORUM, the Kimontly magazine of the Ieemationa Jaz Federaticn. I fers nique pespetive from top ‘wetes: and cites around te globe, from Argentina to Yugostaris Stated in 1965, JAZZ FORUM is the only trly iterainal 92 tragazine. I's the magazine for pofesslonals and fans ae, illed with jowayou ci | BE JAZZ FORUM: snternadena edi is pubis in Baglish ad pears bimorthly ix times po year The bos way t0 not miss #0 Bio take eut a mabscgion, which you can Jo diely thzowgh eux ier! Office in Wars, Poland. Our sew subscription operation will ‘uarinee fistandeficeat sevice forests wound te wnld, Ang Shmiaiastee ‘eEone U5.52,00amai 18.0 sce mh Inu, Gia ade of ewe, 05 $2000 race maid esq boot uur ation gut fr$8.0 peor Selyr everncompnied by etn eskor teal IE vo Nowe 4, 0485 Wane, Pon THE MAGAZINE OF THE INTER- NATIONAL JAZZ FEDERATION Page?Letter from Evans, Winter 1899 teaches film scoring, jazz amranging, and jazz piano. The 31-year-old received a Bachelor of Music degree from Cinein- ati College Conservatory and the Master of Music degree in Jazz Studies and Contemporary Media from the Eastman ‘School of Musie. Peterson bss served a film composer forthe Eastman Kodak Company and has been featured as a soloist with the Eastman Jazz Ensemble, Jim Pryor, the youngest of our finalists at 21, was born in Chicago and raised in Champsign, Mins. He has been play- ing since age si, frst onthe organ, thea switching to piano at age 1S. He is curently a student of Henry Butler. Pryor has ‘Won several awards from college jazz festivals, an Outstend- ing Musician Award from Down Beatmagezine, andtook fist place at the American Pianists Association's Biennial Jazz Piano Competition in August He has played with Terrence Blanchard, Roy Haynes, Donald Harrison, and many others. Now for LFE’s reactions to the performances. James Gelfand Gelfand played in last year's competition and, in my opinion, was the second best of last year's finalists. His playing this year was pretty lackluster in conurast. [hope he is, able to get it together. ‘William Peterson “This gay was the best-dressed of the performer, probably ‘the most edueated, and the most boring. He seems to weat & “big E” (for the Eastman School of Music) on his musical chest, whenever hesits down to play. His playing was control- led, precise, and very vanilla. Franck Amsallem “Amsallemn’s performance wasstraight forward. He was the first player to get a full tone from the instrument. His touch Chet’s Choice ‘A NEWSLETTER DEDICATED TO (CHET BAKER AND His MUSIC 5014 Dunbar Road Raleigh, NC 27606 USA Tel 919-851-4422 Fax 919-8551-8968 Paget immediately brought out the inherent tone of the instrument, ‘both the good parts and the bac parts (the upperregisterneeded some voicing and re-tuning). Amsallem’s approach was to ‘make a personal statement, and let the judges take itor leave it, He showed a certaia concentration that a lat of Ametican- trained pianists lack. Every note was important to the musical whole, there was no wasted motion or notes. ‘The only thing about Amsallem’s playing that concemed ‘me is probably a product of his youth (or a problem with my old cats and perceptions); his solo lines sometimes ended on fairly distant extensions of the particular chord change at hand. ‘These notes were tated as melodic resting points, rather than as spting-boards to « new twist of melody (passing tones), oF section of the phrase, perhaps crossing the traditional phrase boundaries (like Bill Evans). only noticed this in about three places. I's very herd to describe in words and Idan't want to ‘well on it It just kept the performance from crossing over, into that Magie adjective atca I 1cscrve for very few pianists. Amsallem was my instant choice for first place winner, but wasn’t thatof the judges, who placed him second. His playing was farandaway the mestmusicel thing of theevening. Thope he takes this one criticism as being constnuctive. He was the only contestant I deigned to interview for a future LFE issue. Sim Pryor Twas a Tite leery of Jim Pryor when he was introduced, since he walked to the microphone before the piano. He felt it necessity to “explain” the first tine he performed, a solo original named "When My Lady Sings.” This tune (and the next) were writen with an expanding relationship with his gifted in mind. (The last tune of his set, “What Is This Thing Called Love” tied in with the overall heme of his set.) ‘When Pryor finally did sit down at the piano his perform ance was puncuated by what could only te descrived as ‘comedy shrick. He would play dissonant cluster, make faces, thea getup from the bench fo look inside the instrument and comect the wrong now. Lrematked to the guy siting next to ime that Pryor must have mailed in a videotape to enter the contest instead of the usual audio casete, since his perform ance abilities were dependent on visual cucs. Pryor did demonstmate some good basic piano technique and ad lotof the Monk and McCoy Tynet vocabulary down. “The primary focus of his performance was showbiz, not noe cessaily honest musicianship. 'm going to draw some flak about this statement but his “themed” prescnration reminded rme of a minstcl show. Pryor’s musical objectives in this situation ssemed to be "o win" (appropriate for a compet- tion), — not to express himself or expose his soul with the ar form wecall jaz. Showbiz.won outat this ycat’s competition; with one exception al the judges ewarded Prycr the top prize Ta my opinion he placed a solid third. Bradford Mehldau ‘When Mehlisu started to play [ was immediately trans- ported to New York Cir, listening to a truly professionalLetter from Evans, Winter 1993 pianist, His changes, touch, and style were coming from « voice of experience, His first selection, Gershwin's “How Long Has This Been Going On?," was seductive and full of the colors that reminded me of several fine pianists, including Bill Mays, Mike Wofford, anxd Hank Jones. [remarked to the guy sitting next to me that, if 1 had an important duo gig conting up, I would call this guy first. His pleying was directly on my wavelength and we would probably have a lot of ‘musical ground in common. As a bassist, I feel that we would be compatible right away. This contest, however, was no jizz club date and “comfort” was not among my eciteria in identi- fying the best performance. Mehldau's playing was relaxed and very listenable, but just didn’t have that “spark” ot “bum that T look for in now (to me) jazz talent. Mehldau was my choice for second place; the judges gave him third. ‘Tac Jay Leonhart Trio performed while the judges did their hing, If you haven'tcaught Jey doing his “singing thing yet, ouare infor areal how In addition to being a formidable ‘bassist, Leouba is the Funniest musician to ever come dowa the pike. Ihad the pleasure of hearing his act atthe New York City club, Lush Life during a Jezz brunch several years ag0 and I laughed myself silly. He bas added some new tunes to the actas well as some very dificult things to pull offon the bass, suchas singing insixts, while playing alin onbisbess. His coordination is almost to the point of being able 1o do a "ass single.” making his own harmony and comedy. “The topics for Leonhar's songs are vazied and far-flung. One conoems & ceastto-coast airline flight sitting next 10 Leonard Bernstein (a true story); another describes party at the great Brazilian songwriter Evan Linn's mountain bome. Loorhart’s humor is very hip and tongue-in-cheek. Many of the lyrics went right over most of the Jacksonville audience's collective brad. I'm glad my wife and tecnage deughter did pot go along — my unbridled laughing would have embar- rassed them. I Lterelly howled st these great runes, but a the same time, remained in awe of Leonhar’s fantastic abilities 18 a musician and bassist. T managed to get Leonhatt’s latest CD end will uy toreview in later issue. (Check out Two Lane Highways, Kado 19806-2, and his fist singing release on Kado, Nesak Jazz, 19801-2, Life Out On The Road, A Jazz Journey — distibuted by Nesak Intemational, East Hanover, NJ07936) ‘To summarize, The Great American Jazz Piano Competi- tion isa fine event, even if my priortics are not the same as those of the majerity ofthe judges. The eveat gets better and beitercach year. T'vealready made plans oattend nextyear.— WH. Support LFE Order your LFE postcards today 25 for $10, prepaid. The Fred Hersch Trio at the Ritz Carlton by Win Hinkle Fred Hersch, piano; Tom Rainey, drums; and Drew Gress, bass. July 27-29, 1992, 8:00t0 11:30 pm. each eventing, the bar of the Ritz Carlton HoteHBuciead, Atlanta, Georsi, William Nell, music director. Tones ineluded: *Aurum Leaves,” "Estate" (@ simple bossa nova type tune mesning Summer” in Talian), "Alice In Wonderland,’ "Heart Song,” Sarabande,’ "Evanecsence” and "Rain Dance” (Hersch orig nals), and “Whisper Not” (Benny Golson). Tt was almost by accident that | heard about the Fred Heesch Trio appearing in Atlanta, Georgia. I've abvays liked visiting Atlanta, My good bass is being repaired up tere, soT seized the opportuity to check on my bass and heat the Pred Hersch Trio perform a three-lay engagement at this hote. The tripisonly eight hours by car end my family and {stayed with nny wife's wile who lives ncerby. ‘The Backincad section of Atlanta started as an exciosive residential area but has teen developed into an upscale busi ressazea, complete with high is office buildings and alerge office complex called Lennox Square. The City of Atlana bas had its economic ups and downs but, if this area is any indication, it has prospered in the long run. Tere used tobe a club called E.'s in this area, a middle class, but upwardly ‘mobile restaurant that featured duos and tio. I¢has ong since ceased operation but the area has given me some fond jazz memories. (first met and heard Dessist Michael Moore at EJ.'s almost 14 years ago.) ‘The music director of the Ritz Carton, William Noll (whom Ihave not met), issolely responsible for bringing the best of local and national jazz talent ino the smal bar ofthis ratbor upscale hotel during the suramer months. Eliane Elias played there recently and Kenny Barron was scteduked forlste August ‘On the first cvening of this theee-night engagement 1 brought along my teenage daughter. We stayed for the dura- tion and she was not bored ia the least. The toom is small, but ‘oll eppointed, wth solid mahogany walls, expensive parlor type furniture, and a decent small grant in the comer. We sat adjacent toa hand-carved masble replace which I'm surecost twice as much than ray home. The staff was courteous and efficient in spite of not being particularly hip to jazz, Hersch observed that, in New York, he feels lucky ifthe bartender doesn't have the espresso machine working daring one of his solo piano sets. The acoustics were periect for listening to a too, I rarely heard even a cash epister, blender, much less an espresso machine inthis refined atmosphere, The room vas ddry enough that drummer Tom Rainey bad no problem keep- ing the dynamics of drum in character with the unamplified piano trio environment. For those of you not familiar with Page?Letter from Evans, Winter 1993 ‘becoming the drummer of choice for the realy sensitive jazz Pisniss in the New York City area. He works quite regular'y ‘with Hersch ant Ken Wemer and bas become mther famous {for his trio contributions. He achieves sich a variety of colors ‘rom hisset, always adding othe collectivermusical soup with exquisite wste. Whenever I see him play be seems to conjure up some new sound In Atlanta, be found a way of lightly raping the cup of his overtone rich crash cymbal with the thickend ofhisstick, producing an almost electronic sounding ‘musical tone (of around 990 Hz). It kad an almost vilin-i quality. Rainey, lke ll greatarists, only used the sound twice, inthe cate thtce nights of the engagement, both times in the same tune. (Now that i taste!) Hersch has a new bassist sincs Thad lcard him last. Drew Gressis from Towson, Maryland, the commority justnorthof Baltimore noted for its great universty music program and delectable crab cakes. Gress had « wonderfully sounding instrument, carefully sound reinforced with a microphone, rather than an electronic pick-up. Thebass amplification never overpowered; it merely reinforced the acoustic sound. The bass cound was always in perfect balance, and warm and,ich in tone quality. Cress had great technique, playing with great intonation, bat not letting his technique get inthe way of his singing solo style. [could find no fault in his playing whatso- ever, save for a sight tendency to be a little too busy (For my tustc) in ensemble playing undemesth Hersch. Gress had to read several ofthe tunes that Hersch wanted to play but soloed ‘well inspite of reading. Hersch told me that ths was the first tie that this particular triohad performed together. received no such indication tomlisteningto the music, save for Gress's ‘ccasional look at written charts tucked away inthe dark rock ofthe piano, ‘Now, to the music made, witch this trio makes a great deal of on a consistently high level. It was immediately apparent thatall three members were rime stretchers of he highest order (end I mean that in a very positive way), The abil 10 flow individual time within the overall ensemble time was great to Ihear and surprisingly transparent considering that the group ‘nd not gotten together that often, The level of overall musi- ‘lanship among the top players in Now York is disamningly high, and oven higher in this trio. Rarely have Tever been on sch intimate terms musically with a trioas with these three. Theard nearly all the musicon cach of the three consceutive evenings. Hersch ie trying to get the this trio recorded while still working with is quintet. Ifthe opportunity ever presemts itself, listen w Fred Hersch. You won't be disappointed. — wa. Page 10 McCoy Tyner at Catalina’s in Culver City, California by Win Hinkle My grandfather told me thatif you can't say anything nice, don't say anything a all Thave heeded tha advice most of the time, but there have been exceptions and this is one of them. Twas in Los Angeles for four nights recently and had the ‘opportunity to hear jazz every night. One of these everings was totally wasted altempting to hear the McCoy Tyner Tio. 1 decided to go hear Tyner after listening tothe Les Angeles jazz offerings on the KLON-PM Jazz Line since Tyner was ‘one ofthe pianists that played on the Herb Wong recording dedicated to Bill Evans, My wife had the opportunity 1 accompany me this evening, sowe arrived carly attheCatalira, ar and Gril to have dinner. (The menu was a litle pricey but the food was surprisingly good. [ordered a fillet ané found it to be bovter than T've eaten in New York City, at tvice the price) I had reserved a table directly in front ofthe band, but choose one more suitable for dianer about 14 fect directly in front of the bass player ‘We finished dessert right at 9:00 p.m. the advertised carting time forthe first st. Ourtiming went fornaught, since MeCoy was more than 35 minutes late. The drummer ard ‘assist were right on time, seting up thei instruments just before 9:00 pan. "After MoCoy sountered in, at 9:35 p.m. it was another 10 minutes before he tookhis position on the bandstand. McCoy is matkoted as “Tohn Coltmae’s pianist.” I don't who the publicist is that came up with that deseription, but it doesn't Serve him well. [consider him wo be MeCoy Tyner's pianist. Tean't name any piatist more influenced by saxophonist John Coltrane than McCoy, but he deserves billing on his own. ‘After McCoy took the bandstand and received the requisite introductory epplause, be launched inthis frsttune. The mest ‘obvious abomination was a drummer who had no earthly ides how to perform with tio dynamics in a small club environ ment. His dynamic level was at last four times that of the piano and bass. I don't know sbout the others preseat, but 1 came to hear McCoy, not the drummer, and he made that impossible. Bassist Avery Sharpe started his solo arco and finished pizzicato, Unfortunately, he played almost exactly the same thing with his fingers thathe did with the bow. Itsounded likche was warming up or something. [appreciate his attempt to keep his dynamic level at something approximating tio dynamics. When the bassist soloed, the drummer did softento bess sololevels. Butwhen the entire ensemble played, Iould hhear no bass at all and only about 5 percent of the overall mix was piano (instead of atleast one third). “There was little orno amplification teing used — the clu .was small enough not toneedit Catalina is a stval, intzate club, pertaps slightly lager than the Village Vanguard — a perfect room fora tio. My wife and I politely waited for theLetter from Evans, Winter 1993 perfect room for a tio, My wife and I politely waited for the second assault (tane) to fis and lef, not wanting to spoil ‘our great dinner. We negotiated with the manager not fo pay the $12 per person entertainment charge before leaving. We Comptivon, ant all LPE subscribes whohave rae snd seat gt Letter from Evans Win Hinkle, Editor Bulk Rate 2712 Cady Way U.S. Postage Pals i ame Permit No. 350 ‘Winter Park, FL 32792-4856 USA. fmt Dated Printed Matter - Please Forward Apart stg ef tunes ceceated to BI Evans, Tie Compose Resoted ries “unksoon a GeergeShvaing “nummer Wane ar Gren NOPA cO2e24Norwy) “AnyOherTine™ Michal, Stevens UE dane 92 “Boss You Berane ‘Sta Lasey “Eas Rementeros nico Penman soul Nats 1121 6D “Emaessence” Fred Horn sec, PoCYnt72 Ure sum, 92 “Eologue,PartOre! EglKapaad NNoPA coze0H(0sh) Boingue Pat Te (Ganeas 000) “ogy For BH Eva Ls) Balzovasly (camo ap abo) ‘For Ears? SieeAlen Pal Sra Pes Stave Alo, Passa PRAT FE Lue, 02 “Fore Saket Eni Znéers ‘Fou Four “Tomes Sabena Lan ieceds{Gomany) COUR 45020( changestbVeyEaty atime) “ooostye Me vans? Pri Woot EA 20% and by Ana Jamal on Amarcan Class Musi, Shubra SHUTO Stanedt oe sack lly “one For Wikey Leena DaridLebman Une RecrdsGomany,Ob0 9 in, CD Clasequn Fane) Pat Metheny Mary Glo tenes seLasct4) CO Hs142 “The Man ith The Gases Jae raBbom e "Toe Seen" Batara Car Walz Fo: BE ars” Chek Corea [DENOW 99¢747060 EX, IGISANT DEL JAZZ No. (cass) Page 32