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Tuesday, January 31, 2012

Troupe Brings 'Scenes'to life

By CAROL SOUTH, Special to the Record-Eagle
TRAVERSE CITY — The intersection of dance, music and passion will immerse viewers in artistic excellence.

"Scenes From a Park" pairs an original ballet with a score of Irving Berlin classic songs played by a world-class jazz quartet. The ballet will be performed at two shows Saturday, Feb. 11, at the Dennos Museum's Milliken Auditorium.

The Northwest Michigan Ballet Theatre production follows a cast of characters — including lovers, stylish ladies, co-eds, children, an old man, a policeman and a bag lady — as they meet, play and connect. The characters and their relationships develop in a series of vignettes that take place over the course of a year.

Thomas Morrell, artistic director of the youth ballet company, conceived of "Scenes From a Park" 10 years ago while chaperoning students during a trip to Paris. An avid choreographer who tells stories through dance, Morrell's imagination was sparked while people-watching in a small park.

"The one thing they had in common was that they all shared this little microcosm in the midst of a large city," he said. "It then occurred to me that this park could be anywhere in the world."

Emma Tongue, 12, is in her second season with the Northwest Michigan Ballet Theatre. Portraying the Baby Doll girl and a Tomboy, double cast with Maria Piche, Tongue enjoys bringing the ballet's story to life.

"I like how original and unique it is," said the seventh-grade homeschooler.

Morrell set "Scenes From a Park" in the early 1940s, an era dear to his heart. Original period costumes created for the ballet evoke the dawn of World War II.

"Even though I was not born until 1951, I think there is a real strength and romanticism to (this) era," Morrell said.

With no pre-written score, Morrell tapped two dozen classic Berlin songs to help tell the story and set the mood. The ballet's music director, Laurie Sears, arranged the original score.

Sears previously collaborated with Morrell in 2002 and 2006 to present "Scenes From a Park" in the region. Each time Morrell stages the ballet, he and Sears adapt the score to compliment new dancers in the roles and revised scene changes.

Playing the flute, clarinet and saxophone, Sears will be joined by Steve Stargardt on keyboard, Jack Dryden on bass and David Collini on drums. Tom Riccobono, conductor of Encore Winds and principal trombonist with the Traverse Symphony Orchestra, will serve as conductor.

Working live with dancers on stage is a challenge for musicians because, unlike a recording, the music differs every time. The energy between the dancers and musicians, however, creates a visual and aural experience for the audience.

"There is the human, expressive element in the music which the dancers respond to and in turn the musicians play off of," said Sears. "This type of communication in the performance makes it alive with both energy and sensitivity."

"Scenes From a Park" combines 15 of Morrell's dance students ages 9-17 with professional guest dancers, including locals Philip Leete and Holly Nieman.

Portraying a lover, Jordan Semer is an Interlochen Arts Academy graduate who danced professionally for six seasons with the Louisville Ballet and Dayton Ballet. Now semi-retired from dance and in college downstate, this is Semer's fourth production with the Northwest Michigan Ballet Theatre.

Semer, who trained with Morrell from about age 9 until he went to Interlochen for high school, eagerly returns every year.

"It is always a joy to work with Tom and the kids — Tom's leadership and vision for every production make it hard to say, 'No,'" Semer said. "Tom really knows how to tell a great story through dance, and he chooses to do ballets that are not just 'run of the mill' productions."

http://record-eagle.com/herald/x950977424/Troupe-brings-Scenes-to-life

Terell Stafford: Trial and Inspiration

ANDREW J. SAMMUT,

Published: January 30, 2012

Terell Stafford is as likely to credit his influences as he is to impress his listeners. Coming to jazz comparatively later than many players, and even with his busy schedule as a sideman, leader and educator, he remains devoted to exploring the music's roots, while expressing a relentless desire to learn more.

Stafford first started playing trumpet at age thirteen, initially studying the classical repertoire and pursuing a music education degree at the University of Maryland. After being accepted into a classical performance program at Rutgers University, Stafford's curiosity, drive and chops earned him an invitation to join saxophonist Bobby Watson's group, Horizons. From there it was on to further gigs including the Clayton brothers, the Vanguard Jazz Orchestra and over ninety recordings as a sideman, as well as six releases under his own name and his current role as Director of Jazz Studies at Temple University.

Stafford's latest release, This Side of Strayhorn (MAXJAZZ, 2011), began with a commission for an educational project from the Cityfolk arts outreach group, with Stafford and his quintet later deciding to record some of that material. The resulting album explores both familiar and lesser-known Billy Strayhorn compositions. It's also Stafford's first CD to hit the Billboard charts, reaching number one on JazzWeek's Jazz Radio Report.

Chapter Index

Stafford and Strayhorn

Influence, Innovate and Cook

Just Say Never

Education, Naturally

Contemporary Directions, Timeless Foundations

Stafford and Strayhorn

All About Jazz: How did you select the Strayhorn compositions on This Side of Strayhorn?

Terell Stafford: Some of the greatest resources for Strayhorn are the older, wiser musicians, such as Frank Wess or Houston Person, who I can go to and say, "Hey, what tunes do you like? What tunes are you into?" and who can give me advice and guidance. From that perspective I got a great history lesson from the jazz masters, and they pointed out some interesting tunes.

From a couple of tunes that I knew and played with different people, from a couple of things [pianist and arranger] Bruce [Barth] had brought to the table, and speaking with some of the jazz masters, having them contribute to something they know so well, [all those people] helped me to put that commission and that record together.

As far as choosing Bruce Barth as an arranger, he's hands down one of my favorites and he's my best friend. When the commission project came through I was told, "you can either do the arranging yourself or choose one of your favorite arrangers," and I said "Well, no one better than Bruce Barth for the Billy Strayhorn project!"

AAJ: What does your experience as a sideman bring to your work as a leader?

TS: As a leader, I sometimes look at my role as a glorified sideman. I've learned so many lessons from Bobby [Watson], but every night we would play or every time he would write a tune, he would always put the name of the musician on the chart. He would never just write, "trumpet." The Clayton brothers do the same exact thing. When you start to write the names of the individuals, then you want that individualistic voice coming from that particular part. You're not going to ask how it should be played or dictate how it's going to be played. You're going to accept how it is played, and you're going to move on musically from that point. As a leader of the group, when Tim Warfield is standing next to me, my expectation is not for Tim to come to me [as if to say], "I'm the leader, you come to my concept." It's more like, "My name is on the marquee, but let's work as a group to figure out our concept."

I can provide leadership through my vision, and from my instrument. I don't necessarily have to speak it verbally because there's enough respect in the group that it automatically happens. It's the same thing with the Clayton brothers, or any other group. I know Matt [Wilson]'s vibe and his personality, and I try to bring that knowledge and play to his vision, while keeping my own voice. I do the same thing with the Clayton brothers and other groups that I play with. It's important for me to play the music the way I hear it, but I still want to keep in mind the concept of the artist I'm performing with.

AAJ: What is it about This Side of Strayhorn that you think resonated with audiences and critics?

TS: Every Strayhorn tune is singable, and there's a vocal aspect to [his music]. For many people, when they hear these songs they [also] hear the lyrics, so there's an attachment to [them]. On some records I've shied away from the blues (even though that's my roots and definitely where I come from), to be hipper, or find different things, or to stay in the "mainstream." For this particular record, it's all about the blues and the expression.

We came to the record travelling a week beforehand, really getting a good vibe amongst the musicians. When we did the record it took no time at all. It was the quickest record I've ever done, probably in my career. It took maybe four plus hours, which is nothing. We came in at ten or eleven, we were out of there, and it was great. It was also really helpful to have John Claytonproduce the record. He's another great friend, and he's incredible with people and an incredible musician with a huge heart. He made great suggestions and encouraged everyone on the record date.

I came away from this record date feeling like what I'd done was appreciated not only by the musicians but also by the producer [and] friends. When the record came out, I think the warmth of the whole CD drew people in, as well as its cohesiveness. The music of Billy Strayhorn really speaks for itself.

AAJ: Are there any future projects planned, exploring other composers or artists along the lines of this album?

TS: We had more Strayhorn material than we needed for the record, so we have almost half of a CD ready of new material. They're interesting tunes as well, but I think the theme again is the blues, and that's the theme of so many great composers and arrangements: you can capture the blues in whatever you do and that emotional element is always there.

I think in the future there will be similar projects, for the simple fact that I love Thad Jones, and there are so many other great composers and arrangers out there. There's so much Strayhorn material that we really wanted to get on this record but just couldn't. The options are there but there hasn't been anything in particular chosen right now. There have been a lot wheels spinning!

http://www.allaboutjazz.com/php/article.php?id=41280

The 23nd Tel Aviv Jazz Festival, February 21-24, 2012

The Tel Aviv Jazz Festival, in its 23rd year, is one of the most prominent and important jazz events in Israel. It has gained a reputation in Israel and abroad for attracting both Israeli and international jazz personalities, and is also well known for its special music projects. However, its main appeal is the exciting annual experience it offers to lovers of the genre.

Once again, this year's festival will host famous jazz musicians from abroad who will join Israeli artists in original productions and debut performances. Among the international artists in this year's festival: veteran singer Mary Stallings; renowned baritone player Ronnie Cuber; mysterious veteran bassist Henry Grimes; a Bulgarian combo including the composer and pianistDimitar Bodurov and the much admired shepherd flute ("kaval") player Theodosii Spassov; well known trumpet player and percussionist Jerry Gonzalez; clarinetist Oran Etkin and the Malinese balafon player Balla Utha.

This year the festival puts the spotlight on jazz in France, home of one of the best jazz scenes around. Two of the most currently fascinating French jazz musicians will appear at the Festival: the French pianist Baptiste Trotignon and saxophonist David El-Malek. Additionally the Festival will also present two musicians who are not French by birth, but who have lived and worked in France in recent years: Israeli pianist Yonatan Avishai and one of the true jazz greats living today, Kirk Lightsey.

It's a bit hard to claim the following feature artists as musically Israeli; they are of worldwide renown and their places of residence span the globe, but home is home: Omer Avital on contrabass; Avishai Cohen on trumpet; Eli Djibri and Yuval Cohen on saxophone; Omer Klein on piano and Kobi Israelite on accordion, drums, saxophone and electronics.

Alongside these artists Festival will also host a wide range of Israeli jazz combos, veteran and beginners alike, in varied styles and tastes. As befitting an event that champions original and new creative work, the Festival will feature specially produced original and debut productions, such as a journey in the footsteps of the pioneers of Middle Eastern music, with the participation of guitarist Yehuda Keisar, Dori Ben-Zeev, the gypsy jazz band Swing de Gitanes, and the Balilty family Moroccan jazz band with their all-stars accompaniment.

Also gracing the Festival will be Nurit Galron and her trio, the Amit Friedman sextet together with a string quartet, and the guitarist and singer Dida Peled who will host Shlomi Shaban.

True to the Festival's yearly tradition, it is possible to enjoy live jazz, free of charge. This year, performances will be held in the tent outside the new Cinematheque building.

Visit Website

http://www.allaboutjazz.com/php/news.php?id=93040

Wally Wrightman obituary

Mark Bennister

My uncle Wally Wrightman, who has died aged 77, was a larger than life character, a jazz musician, promoter and radio broadcaster. He was born in Tottenham, north London, one of five children, and became hooked on music at an early age. After leaving the RAF in 1955, Wally had a number of jobs, mostly in sales, but he really wanted to perform. He played the double bass and sang in the emerging 1960s London Soho jazz scene, including playing at the famous Mandrake Club. It was in one of these clubs that Judy Garland happened to be in the audience and requested that he repeat one of his songs.

Wally featured on the 1962 Trafalgar Square photo of hip jazz musicians, mirroring Art Kane's famous Harlem photo from four years earlier. However, a close encounter with the Kray twins convinced him that it was time to leave London and led him to seek work as a musician on cruise ships. Cruising took him to Australia where he settled in Sydney.

He became involved in show-business management, enjoying great success throughout the rest of the 60s and 70s with some of Australia's top acts on his books. Wally went on to form Anthem Management and booked acts on many of Australia's top variety shows. He toured stars such as Debbie Reynolds, Dusty Springfield and Count Basie. In the latter years of his career he once again focused most of his attention on jazz. Wally represented many local acts and brought international acts such as Buddy Greco and Barbara Morrison to some of Australia's top jazz venues. He also turned his hand to production with the guitarist Martin Taylor. Wally's contemporaries and friends included Ronnie Scott, Jack Parnell and Laurie Morgan; some of the UK's most iconic jazz performers.

Wally's depth and breadth of knowledge of jazz led him to his dream job as jazz presenter on Eastside Radio in Sydney. He was made for the job and became the station's longest serving presenter. His natural, relaxed style, infectious wit and inside knowledge of the entertainment business instantly made him a favourite on the station. In addition to breathing life into old classics and championing newer jazz acts, he conducted a series of memorable interviews with politicians, writers, poets and entertainers including James Moody, Georgie Fame and Clive James.

Wally is survived by his wife, Jacqueline; brother, Jack; and sisters Betty, Stella and Anne.

http://www.guardian.co.uk/theguardian/2012/jan/29/wally-wrightman-obituary

Sunday, January 29, 2012

Poncho Sanchez gives Roanoke audience taste of Latin jazz

By Tad Dickens

Decades have passed since trumpeter and bandleader Dizzy Gillespie met up in New York City with transplanted Cuban conguero Chano Pozo. The music those two pioneered, Latin jazz, in the right hands remains a wonder of American music.

Photo: Courtesy Ashley Stagg

On Saturday night at Jefferson Center, Poncho Sanchez was the man with the right hands. Sanchez and his tape-wrapped digits smacked out groove after tasty groove as his Poncho Sanchez Latin Jazz Band brought new verve to the music that Gillespie and Pozo made. A sold-out crowd in Jefferson Center's 900-plus-capacity Shaftman Performance Hall responded in kind, even if folks were reluctant to get up and move until nearly the end.

The group came to town touring behind Sanchez's collaboration with New Orleans jazz trumpeter Terence Blanchard, "Chano Y Dizzy!" The 2011 disc celebrates the Latin jazz legacy with Gillespie and Pozo's original music and some new tunes from Blanchard and Francisco Torres.

Blanchard, who joined the band for most of the set, might have been ill. He had trouble with his breath on Gillespie's "Groovin' High," stopping to cough during his solo and practically fizzling out at the end before coughing more.

He recovered by the next song, a requested cover of Mongo Santamaria's "Besame Mama," in which he and Sanchez' trumpeter Ron Blake traded eight-bar breaks, each capitalizing on key phrases from the previous solo, then going for more. Elsewhere, Blanchard showed power and creativity, using his horn for a variety of idiosyncratic tones.

The band - three horns, three percussionists (including Sanchez), pianist and upright bassist - were so tight at times that it sounded like one giant instrument.

Sanchez, seated at center stage, brought down explosions with syncopated and stuttery-quick phrases, much as he had when he brought his act to the Jeff in 2008.

The show started with "Chano Y Dizzy!" number "Promenade," written by Sanchez's trombonist and musical director Francisco Torres. The trombonist, who co-produced the disc with Sanchez, was a marvel of articulation and intonation.

Most of the night was devoted to "Chano Y Dizzy!" numbers, including the disc's opening medley of groundbreaking 1940s numbers "Tin Tin Deo," "Manteca" and "Guachi Guaro," the final number stretching lengthwise as Sanchez and Blanchard slapped and blasted.

"He channels the ghost of Dizzy Gillespie, doesn't he?" Sanchez said.

About midway through, Sanchez paid tribute to his onetime Cal Tjader Band mate, Clare Fischer, playing Fischer's gorgeous song, "Morning." Fischer had died Thursday.

"He was a good friend," Sanchez said, "and a harmonic genius."

http://www.roanoke.com/news/roanoke/wb/304135

Hospice to host Valentine’s Day fundraiser

By Wendy Holdren

Treat yourself and your Valentine to an evening of indulgence that won’t leave you feeling guilty.

Chocolates will be served and jazz music will be played, but all proceeds from this event will benefit Hospice of Southern West Virginia.

“Chocolate Jazz: A Night of Indulgence” will take place Feb. 11 at 7 p.m. at the John W. Eye Conference Center at Mountain State University. Single tickets are $35 and couple tickets are $60.

“It’s Valentine’s weekend. We thought it would be something out of the ordinary to do and for a great cause,” Volunteer Coordinator Becky Lilly said.

“Hospice is a non-profit organization and we do not turn anybody away if they cannot pay.

Sometimes they may have Medicare or Medicaid, but if it doesn’t cover it all, we cover expenses, so we do depend a lot on donors to help us.”

Musical guests Lady D and David Wells will perform at Chocolate Jazz.

Throughout the evening, servers will deliver trays of chocolate samples from local businesses. Everything from chocolate cupcakes to chocolate-covered bacon will be available for tasting.

A chocolate fountain will also be set up, thanks to MSU culinary students.

“It’s a night to relax, mingle, listen to music and indulge yourself in chocolate.”

For tickets, call 304-255-6404.

— E-mail: wholdren@register-herald.com

http://www.register-herald.com/local/x1456434059/Hospice-to-host-Valentine-s-Day-fundraiser

Moving to the music

By JUDY SHERARD

jsherard@dailynews.net

Whether it's rap, jazz, rock or classical, most of us like music.

JoAnn Jordan, a board certified music therapist, uses music to enrich and improve others' quality of life.

"We are a very evidence-based practice," she said. "We can show what we do is effective."

As a teen Jordan knew she wanted to work with people and use music in her work.

After reading a newspaper article about music therapy, "I knew immediately that was what I wanted to do."

She's led a variety of music-oriented classes for the Hays Recreation Commission Center for about six years. Participants range in age from 6 months to adults at assisted living centers.

"The program and activities depend on the population I'm working with," she said.

Workshops provide a social skills learning opportunity for young participants, and on-task development for older children.

Children participating in Jordan's "Music Sparks" enrichment workshop last week at the Hays Public Library, were using their imagination to link music and reading.

Tracy Jenisch said she brings her 18-month-old daughter Katie to the library for story time, and decided to check out the music workshop.

Like the other children, Katie enjoyed moving to the sounds.

"I'm drawing a cowboy," one child called out while drawing in the air to Jordan's musical accompaniment.

Others drew a circle and a rainbow.

Jordan used music to add another dimension to reading, highlighting the drama while reading "The Pied Piper."

Children aren't the only ones who benefit from music enrichment and therapy. Adults also benefit from Jordan's work.

"When working with an older population, I help them maintain skills," Jordan said.

Playing instruments and moving with the beat help them retain range of motion.

"Intergenerational groups are my favorite thing in the whole world," she said.

"It gives children a chance to be around older people, and it's fun for the older groups to interact with children." - http://www.hdnews.net/Story/Music012912

Shaggy, Richie Stephens honoured at Jazz

BY HORACE HINES Observer staff reporter

FLORENCE HALL,Trelawny - Art of Music Production, promoters of the Jazz and Blues Festival last night honoured Jamaican performers Richie Stephens and Shaggy during the event held at the Trelawny Multi-purpose Stadium.

Richie Stephens was honoured for his nearly two decades of contribution to Jamaican music, while Shaggy was given the award for promoting Jamaica's culture internationally.

Richie Stephens was called on stage to be honoured following his awesome performance during which he was joined on stage by German performer, Gentleman.

On Thursday night, the opening night of the festival, veteran performers Yellow Man, Marcia Griffiths, Lloyd Parks and Derrick Morgan were honoured for their sterling contribution to Jamaica's music.

Indy musician Cathy Morris is reunited with lost electric violin

Indianapolis jazz musician Cathy Morris was almost trembling as she held her long-lost electric violin again Friday.

She'd given it up for stolen, probably about a year ago after one of her performances, when it disappeared from under a stage at Indianapolis International Airport.

But a friend saw a story Friday in The Indianapolis Star about an auction today, where about a year's worth of lost and found items recovered from the airport terminal are to be sold.

The auction is drawing attention because a crew from cable television's Travel Channel is scheduled to be there to record an episode of a new reality series, "Baggage Battles."

Key Auctioneers of Indianapolis expected the violin to be one of the most unusual items in the sale of unclaimed goods, set for 1 p.m. today at the airport.

Its description of the five-string Jensen electric violin with ebony finger board and blond maple wood neck piqued the interest of Jeanne Spellman, Indianapolis. She suspected she knew the owner of the violin: her friend Cathy Morris.

She called Morris, who contacted airport officials. They pulled the instrument from the auction and returned it to her.

"I feel like I've been reunited with a lost child," Morris said.

For a professional musician, she said, "your instrument is an extension of yourself. When you are playing it, it carries your personality."

"When I realized it was gone, possibly forever, I couldn't acknowledge that. I called the airport a couple of times to see if it had been recovered or turned in to lost-and-found. But they said they couldn't find it."

"When I got the call today, it was emotional for me," she said.

Morris owns several electric violins and often carries a spare, like the Jensen she carried that day in a metal case to the airport. The list of songs played during the sets that day was still in the case.

She has owned it more than 15 years and often played it at shows and parties in Indianapolis and other cities.

Now that the $1,800 instrument is back in her hands, Morris said, she'll play it at several Super Bowl private parties in the next week, including a dinner arranged by the NFL for all 32 team coaches.

http://www.indystar.com/article/20120128/LOCAL/201280319

Saturday, January 28, 2012

'Ain't Misbehavin'' stylish look at Waller's music

By ELAINE SPENCER

The State Journal-Register

In his life of just 39 years, Thomas "Fats" Waller composed more than 400 jazz and swing tunes.

Many Waller tunes became hits for other artists of the jazz, swing and big band eras, but Waller, who died in 1943, didn't receive credit for many of the songs he wrote. "Ain't Misbehavin': The Fats Waller Musical Show," which opened Friday at the Hoogland Center for the Arts, remedies that oversight with style.

Produced and directed by Gus Gordon, the Tony Award-winning Broadway show is a quickly paced revue of 31 Waller tunes presented by five well-known local performers: Kevin Ford, Joel Tinsley-Hall, Debbie Ross, Tosh Gorens, and Lynexia Owens.

Act I opens with the title song, followed by 14 other Waller tunes, most with romantic or humorous twists. In Act II, the tunes take a more earthy turn with numbers such as "The Viper's Drag" ("viper" was 1930s Harlem slang for a marijuana smoker), "Your Feet's Too Big," "Fat and Greasy," and "Find Out What They Like".

Then the mood switches abruptly with "Black and Blue," which laments the burden of racism. Finally, the show concludes with swing-era hits such as "I'm Gonna Sit Right Down and Write Myself a Letter," "I Can't Give You Anything But Love," and "It's a Sin to Tell a Lie."

All five cast members are known for their ability to belt out tunes, and Friday night's performance was no exception. Their voices blended well throughout the show in many different combinations -- duets, trios, and ensemble numbers.

Ross' deeper voice was best displayed in "Mean to Me," a blues tune lamenting mistreatment by a lover, and "Find Out What They Like," a double-entendre-laden duet with Gorens about how to satisfy a man's appetite for something other than food.

Gorens added a brassy edge to that duet and to songs including "Squeeze Me" and "When the Nylons Bloom Again." And Owens, who had the highest voice of the three women, went just enough over the top on numbers such as "Yacht Club Swing" to provide a touch of humor without losing her pitch or timing.

Meanwhile, Ford and Tinsley-Hall got to show off their dancing skills in solo numbers and with the women members of the cast. Tinsley-Hall, who appeared this summer as Jim in The Muni's "Big River," also showed great comic acting chops in "That Ain't Right," a duet with Gorens in which she scolds him for cheating on her.

If you like jazz or swing music, or wonder what it might have been like to attend a show at the Cotton Club or other famous jazz venues of the past, you are most likely to enjoy this show.

"Ain't Misbehavin'" runs 1 hour and 50 minutes with a 15-minute intermission. The show will be presented tonight, Feb. 3 and 4 at 8 p.m. and Sunday and Feb. 5 at 2 p.m. Tickets are $18 for adults and $17 for senior citizens and students. For tickets call 523-2787 or visit www.hcfta.org.

http://www.sj-r.com/entertainment/x675929822/Aint-Misbehavin-stylish-look-at-Wallers-music

Sweet music: Indy musician Cathy Morris is reunited with lost electric violin