The Jazz Education Network is in New Orleans for its second annual convention, January 5 - 8. I am attending and I will be promoting my newly finished video, JAZZ JOURNALS, to be shown at schools, organizations, and any place that promotes jazz history. It features the interviews and reports I’ve covered over the past five decades. Check out the photos.
Be sure to look for me, I’ll be hanging around at the Roosevelt Hotel, and I’ll be along with my tenor at those late-night jam sessions. I’m covering the event for a mini-documentary to show in my Broadcast Journalism, Broadcast Announcing, and Reporting classes at the State University of New York in Oneonta.
Daniele Vavassori: Jazz Canto....Italian singer with rock roots releases jazz album
The irony of the great Italian crooners — Sinatra, Martin, Bennett, Damone, Darin, Como, et al. — is that none actually hailed from Italy. Indeed, apart from one-hit-wonder Domenico Modugno, whose chart-topping “Volare” earned him a pair of 1958 Grammys for Record of the Year and Song of the Year, the ranks of Italian-born pop and jazz vocalists whose careers have extended beyond the borders of their native land are pretty thin. (Nor is the female side of the equation any more robust; quick, name an Italian vocalist, apart from Roberta Gambarini, who has earned an international audience).
Which makes newcomer (or, at least, new to American shores) Daniele Vavassori a bit of an anomaly, though a most welcome one. Nothing in Vavassori’s musical background points to his recent emergence as a jazz stylist. Yes, his grandfather introduced him to Sinatra and Como recordings, but he preferred Queen, Billy Joel and Tori Amos. Early on, he began writing songs and formed the rock outfit Liberty (subsequently expanded to Liberty Express). In 2005, he joined the band PLC, whose Rock Surgery earned significant notice.
It wasn’t until earlier this year that Vavassori became fascinated with swing melodies, an interest that led him to jazz. With guitarist Sandro Gibellini, bassist Marco Ricci and drummer Stefano Bertoli, the 33-year-old has since recorded A Pocket Full of Dreams (4My Records). Sung entirely in English, the album is, he says, “a tribute to the great swing songs of the 20th century.” Perhaps. The Gershwins’ tenderly regretful “But Not for Me,” Sacha Distel’s ruminative “The Good Life” and the Isham Jones-Gus Khan chestnut “It Had to Be You” don’t immediately suggest hard-core swing (though, admittedly, all have been swung over the years).
Semantics aside, Vavassori choice of nine standards is solid, if eclectic. (Indeed, A Pocket Full of Dreams may mark the very first time that “Let It Snow, Let It Snow, Let It Snow” has been included on a non-Christmas album). He opens with Dave Frishberg and Johnny Mandel’s lilting “Little Did I Dream.” The voice is unexpected. This isn’t the muscular crooning of Sinatra or Martin or Darin, or even the softer Como. Vavassori’s light, bright sound is closer to that of early ’60s pop star Gene Pitney, though his emerging jazz instincts are keen enough to also hint at the rhythmic gentility of John Pizzarelli.
Born in Bergamo on the 11th of May 1977, Daniele Vavassori has held a lifetime passion for singing. After years of inspiration and dedication to pop/rock he rediscovered the magic colours of swing melodies which led him to get in touch with an amazing jazz trio. The result of this collaboration is 'A pocket full of dreams', a ten track album which is a homage to some of the greatest songs of the last century and more...
Bob Shields: Bartender & Manager - Sylvia Levine talks with former bartender and manager at various NYC clubs
Hard core jazz fans and musicians who have spent serious time hanging out in New York jazz clubs know the people behind the scenes, who comprise an essential part of the jazz community, but who are neither musicians nor club owners. For more than twenty years, these unsung heroes have contributed to the ambience of the city’s legendary jazz rooms—and have served jazz—by communicating their own love and respect for the artists and the music as they perform their responsibilities—as bartender, waitress or doorman. It is time to document the stories of some of the people who helped us all feel at home.
We dedicate this series to the memory of Gerry Houston, long-time waitress at the Village Vanguard, who died last year. The subject of this week’s column is Bob Shields, bartender and manager at various NYC clubs. - Sylvia Levine Leitch.
Bob Shields:
I came to New York from Boston to work in sales and marketing; I'd been in business up there and this seemed like a challenging opportunity. There was nothing wrong with my life up in Boston—I managed a pharmacy, set my own hours, skied and played golf during the week, shared a great house with three young women—but I guess a new challenge was inviting.
I had heard some jazz in Boston, my girlfriend then was into it and dragged me off to Paul's Mall and the Jazz Workshop, where I heard great players including Stanley Turrentine, for example, and I started to go out in the evening to hang and hear music in New York. One of the places I went to a lot was the Angry Squire because it was right across the street from where I was living. Then at some point the owner, Frank Godin, asked me if I could fill in for him bartending one night. It seemed like a joke almost, and I did it. I really enjoyed working behind the bar and I started doing it more and more: I mean, I was having a lot of fun, meeting people that I liked, making money, and there were waitresses! The waitresses were all artists of one kind or another and interesting people and I really enjoyed the atmosphere.
Eventually I realized that I liked bartending way more than business, I was hearing some good music and I made more money at it than I did at the textile company. At that point, though, I wasn't the jazz fan that I am now and the Angry Squire did not have a consistently great roster of jazz artists, so I heard different levels of music. But I remember very clearly my jazz epiphany, when I really "heard" the music for the first time. It was in the late '70s and Kenny Barron—I even remember the song—played "Willow Weep for Me." I just shook my head. I have no musical training at all but maybe I have an ear for music. Anyway, from that moment on, I became a true jazz fan, a real jazz fan, and I pursued it. I really was captured by the music.
I would look forward to the great bands that would come in there and watch the schedule: Kenny, as I mentioned, would come in to play, and Clifford Jordan, another one. Dakota Staton would sometimes just stop by to hang at the bar, and she would perform there as well.
I moved on after a while and tried bartending at a number of other places, most of them without music: I was at the Lone Star Cafe for a period of time and they booked a wide variety of wonderful groups, primarily country and western, rhythm and blues, and bluegrass, but some with a jazzy feel, like Vassar Clements, a really great fiddle player who played with Stephane Grappelli at one time; Dr. John played there, Bill Monroe and his Country Gentlemen, the great guitarist Jorma Kaukonen, some very interesting bookings.
Three people were arrested for stealing an antique violin worth nearly $2 million from an internationally acclaimed musician while she stopped for a snack at a London sandwich bar, the Associated Press reported on Friday.
The South Korean violinist Min-Jin Kym was eating at a sandwich shop outside Euston Station on Nov. 29 when she noticed that her black violin case—which contained a Stradivarius and two valuable bows—was missing, according to the police. The violin, made in 1696, is one of about 400 made by Stradivarius that are still known to exist.
The police arrested and charged John Maughan, 26, and two teenagers on Wednesday. The names of the youths, 16 and 14 years old, were not included in news reports because of British law. Mr. Maughan is in custody and the two teenagers are free on bail.
The instrument has not yet been recovered and an insurance company has offered a reward for information. Ms. Kym, who is 32, began playing the violin at 6, made her international debut with the Berlin Symphony Orchestra when she was 13 and has performed with other leading orchestras.
From Afro-Cuban Rhythms to Latin Jazz (Raul A. Fernandez)
This book explores the complexity of Cuban dance music and the webs that connect it, musically and historically, to other Caribbean music, to salsa, and to Latin Jazz. Establishing a scholarly foundation for the study of this music, Raul A. Fernandez introduces a set of terms, definitions, and empirical information that allow for a broader, more informed discussion.
He presents fascinating musical biographies of prominent performers Cachao López, Mongo Santamaría, Armando Peraza, Patato Valdés, Francisco Aguabella, Cándido Camero, Chocolate Armenteros, and Celia Cruz. Based on interviews that the author conducted over a nine-year period, these profiles provide in-depth assessments of the musicians’ substantial contributions to both Afro-Cuban music and Latin Jazz.
In addition, Fernandez examines the links between Cuban music and other Caribbean musics; analyzes the musical and poetic foundations of the Cuban son form; addresses the salsa phenomenon; and develops the aesthetic construct of sabor, central to Cuban music. Copub: Center for Black Music Research
Dick LaPalm [pictured in 1963] is a record promoter who worked closely with Nat King Cole on all of his releases for Capitol in the '50s and '60s. He sent along the following note regarding the history of The Christmas Song:
"In early May of 1946, the King Cole Trio, with guitarist Oscar Moore and bassist Johnny Miller, was appearing at The Trocadero in Hollywood. One night after the last set, a then 21-year-old Mel Torme came up to the bandstand and told Nat that he had a new song that he was eager for him to hear.
"After the last few customers had left, Mel [pictured] sat down at the piano and performed The Christmas Song for Nat and the guys. Nat loved it immediately, and he sat down at the piano and ran it down a couple of times. Years later, Nat told me that it was that very night that Oscar Moore played the Jingle Bells coda. Interestingly, Nat used this same ending every time he recorded the song.
"As much as Nat liked the song, he told Mel that it would be wrong to record it with just his trio, that it deserved a bigger showcase. Carlos Gastel, who was managing both Nat and Mel at the time, tried to persuade Capitol Records to use a few strings just for this one song. No luck. No strings!
"On June 14, 1946 while appearing at Kelly's Stable in New York, the Nat King Cole Trio went into the studios of WMCA radio to record The Christmas Song. As soon as he heard the first playback, Nat knew it was wrong. He was determined to have his way, displaying a rare instance of stubbornness. Nat convinced Capitol to let him re-record it—this time with a string section.
"On August 19, 1946 Nat returned to the same WMCA studio for his first-ever orchestral recording. By the way, the 'string section' consisted of four string players, a harpist and a drummer. A modest orchestral roster, to be sure, but a beginning, an augur of things to come for Nat Cole.
"The session turned out perfectly, and became a watershed recording in his career. Contrary to what many think, this was an entirely new session, not just the addition of some strings to the June 14th date.
"Nat's first recording of The Christmas Song hit record stores (remember them?) the third week of November 1946, and the response was incredible. One week later it reached the #3 spot on pop and r&b charts, an uncommon crossover, and a portent of what would ultimately become Nat's boundless appeal.
"This was the recording that Capitol would reissue every
holiday season for the next seven years, and each year it would chart in the Top 5. Any wonder that Capitol Records was elated?
"In August 1953, Nat recorded it again, this time with Nelson Riddle conducting, and, of course, with many more than five strings. This version was reissued for the next eight years.
"Then on March 30, 1961, Nat recorded the stereo version with Ralph Carmichael conducting. This is the last time he recorded the song, and to the present time, this is the rendition that Capitol reissues regularly.
"Though the song is seasonal, it had no such restraints where Nat's fans were concerned. It always blew me away to hear someone from Nat's audience shouting, "The Christmas Song...The Christmas Song" no matter the time of year.
"The duet with daughter Natalie, so brimming with love and devotion, was recorded in July of 1998 in England with the London Symphony Orchestra. I've often conjured up a vision of this huge orchestra in London's Abbey Road Studios, standing by for the downbeat and Natalie looking up and saying, 'Dad, you always wanted more strings. Well, this is really more strings!'
"This year marked the 65th year that we're treated to Nathaniel's classic recording, and it remains, by far, the most-played of all Christmas records. The original 1946 recording was inducted into The Grammy Hall of Fame in 1974.
"Merry Christmas, and enjoy the magic of the Season."
Roy Gaines was born August 12, 1937 in Waskom, Texas. His family moved to Houston when he was six. He is the brother of Grady Gaines, once saxophone player in Little Richard's backup band The Upsetters. At an early age Gaines first began playing piano in the style of Nat King Cole.
He became friendly with other local musicians such as Clarence Hollimon and Johnny Copeland. In his teens he switched to the guitar and became an admirer of T-Bone Walker, another Texan. Roy soon began playing clubs throughout the Houston area. He met his hero in 1951, and even backed T-Bone on stage when he was fourteen.
By the 1950's Gaines had moved to Los Angeles. There he joined Roy Milton's band. He was only sixteen and learning quickly. Soon he took his new skills back to Houston. This period saw Gaines sitting in on many recording sessions with the legendary Peacock Studios He made his solo debut with an obscure release on Chart Records out of Miami. But it was when he came to the attention of Bill Harvey that his career stated to take off. Harvey was the leader of Duke and Peacock Record's house band. With that band Gaines was featured on various releases by Big Mama Thorton, Jr. Parker ("Driving Me Mad") and Bobby "Blue" Bland ("It's My Life Baby" & "Woke Up Screaming") in 1955.
Other early sessions included "Essential Jimmy Rushing" in 1954. And 1957's "Blues Wail: Coleman Hawkins Plays the Blues". He also worked with the Jazz Crudaders (later known simply as the Crusaders) appearing on two LPs in 1961. In 1966 Gaines returned to Los Angeles and joined the Ray Charles big band. While with the band he wrote "No Use Cryin'" for Ray's hit album "Crying Time".
Another R&B artist became impressed with the guitarist, and Roy began working with Chuck Willis (King of the Stroll). He moved to New York City and recorded with Willis for Atlantic Records. During this time he signed, under his own name, with RCA Victor's Groove subsidiary label. With Groove Gaines released two albums in 1956. Then came a chaotic period when he was going from label to label. In 1957 it was Deluxe Records. Back to RCA in 1958. And the sixties saw only two releases on the small Del-Fi and Uni labels. Chuck Willis died in 1958 and Roy continued his session work.
By the seventies Gaines was again in demand, making many public appearances either solo or with the Crusaders (1978). He continued as session musician working with artists like Aretha Franlin, Della Reese, the Supremes. He was featured on Stevie Wonder's landmark album album "My Cherie Amour", Milt Buckner's "Green Onions" (1975) and Albert King's "Albert" (1976).
He also continued to work with T-Bone Walker until Walker's death in 1975. Roy was part of Harry Belafonte's Las Vegas show in 1976. He toured Central and South America with the Supremes in 1976, and the U.S. with Diana Ross in 1977. When Gaines returned to L.A. he was once more in constant demand. This included movie and television work with Quincy Jones. Roy wrote "Don't Make Me No Never Mind" for the movie "The Color Purple" (1985), played on the session, and had a cameo role in the film itself.
But it wasn't until 1981 that he recorded solo again. Gaines signed with Red Lightin' Record and, in 1982, released "Gainelining" a very fine and critically acclaimed album. No other albums were released in the 80's. But the next decade included four - "Lucille Work fo Me" (1996), "Bluesman for Life" (1998), "I Got the T-Bone Walker Blues" (1999), and "New Frontier Lover" (2000). While on tour in Tokyo Roy found time to record with Japan's Mitsuyoshi Azuma on "Guitar Clashers from Gainesville, Tokyo" (P-Vine Records, March 25, 2000).
Hans Glawischnig was born in Graz, Austria on October 22,1970. His father, a respected pianist, big band leader and educator, instilled in Hans an early interest in music, enrolling him in 1976 as a violinist in the talented pupils class of the Academy of Music in Graz.
In 1983, Hans began playing the electric bass and by 1986 added the double bass which was to become his main musical voice. From 1986 to 1988 he studied part-time at the Jazz Department of the Academy with renowned American bassist Wayne Darling.
After high school Hans relocated to the United States to accept a scholarship at Berklee School of Music. During his years in Boston he honed the skills he is known for: mastery of varied musical genres, strong musicianship and an inquisitive musical nature. He studied with bassist Bruce Gertz, played and recorded with faculty members Hal Crook, Phil Wilson and Greg Hopkins and accompanied several visiting clinicians, including drummers Steve Smith and Casey Scheuerell. He also was presented with several Professional Music Awards and in 1992 he received his B.A. magna cum laude.
That same year Hans made his move to New York to join the M.A. program at Manhattan School of Music on scholarship. At MSM he met many of the musicians he now regularly works with while studying electric bass with Jeff Andrews. Throughout his studies he gave lessons privately and tutored students for their harmony and ear training exams as a means of additional income. Word got out of his talents long before his graduation in 1994, and he was already turning down gigs in order to complete his studies.
Hans’ first break came in 1995 when he was hired to fill the bass chair in Bobby Watson’s Urban Renewal band on the recommendation of fellow student Steffon Harris, playing alongside New York veterans Victor Lewis, Mark Soskin, Rachel Z, Sammy Figueroa and Steve Kroons. A stint with Maynard Ferguson’s Big Bop Nouveau was to follow later that year. 1996 was to be a pivotal year for Hans.
While he kept busy performing as a freelancer around the New York area, he was invited to play with Ray Barretto’s renowned New World Spirit ensemble. Though he had played Latin music throughout his days in New York, his exposure to this legendary artist helped Hans refine his interpretation of rhythm, improvisation and musical interaction.
The group toured extensively and recorded two albums, Contact! for Blue Note records and Live in Europe (presently unavailable in the United States). Further engagements with Paquito D’Riviera, Dave Samuels and Bobby Sanabria followed swiftly, as did performances with Rick Margitza, Garry Dial, Billy Harper, Richie Beirach, Billy Hart, Joe Locke, Dave Binney, Adam Rogers, Steffon Harris, Claudio Roditi, Billy Drewes, Jamey Haddad, Brian Lynch, Phil Woods and Claudia Acuna, to name a few.
Another great opportunity presented itself when Hans was invited to join David Sanchez’ Melaza Sextet in 1998. The group toured the globe and recorded two albums for Columbia – Melaza (for which Hans penned Orbitando) and Travesia – which pushed the envelope of Latin Jazz to its limits and brought the group great critical acclaim as well as two Grammy Award nominations.
In 2001, Hans recorded a number of his own compositions, which were released as Common Ground on the Spanish label Fresh Sounds/New Talent in the summer of 2003. Several of his originals and arrangements were recorded by David Sanchez and Ken Hatfield (The Traveler for Music for Guitar and Bass on Arthur Circle records). For a reunion with Ray Barretto on Tribute to Art Blakey (on Sunnyside Records) Hans contributed an arrangment of Buh’s Bossa, and a recent session for Brian Lynch features the original composition Beholding.
In the following years Hans continued to perform and record with many of his colleagues. Miguel Zenon was signed to Marsalis Music in 2002, and Hans participated in the making of four critically acclaimed recordings Ceremonial, Hibaro, Awake and the Grammy-nominated Esta Plena, which draws inspiration from the now endangered Puerto Rican folkloric music form Plena.
2006 was to be another pivotal year. Chick Corea hired Hans on a recommendation from Bob Belden (who produced the James Moody recording Homage for Savoy records, on which Hans participated) to participate in a project commemorating the 250th anniversary of famed composer Wolfgang Amadeus Mozart. For this occasion, Mr. Corea composed The Continents, a six-movement work for Jazz quartet and chamber orchestra. The ensemble performed across Europe for the summer of 2006 to enthusiastic audiences.
The rapport in the rhythm section was so unique that Hans invited Chick and drummer Marcus Gilmore to play on Hans most recent recording project, Panorama, which was liscensed to Sunnyside records in 2008. Like Common Ground, this CD features Hans’ compositions exclusively and highlights his longtime colleagues, Miguel Zenon and Luis Perdomo, as well as appearances by Johnathan Blake, Antonio Sanchez, Dave Binney, Ben Monder and Rich Perry.
To date Hans has participated in over 50 recordings and continues to perform throughout the world, as well as giving master classes and teaching privately.
Giovanni Figueroa,Hans Glawischnig,Tom Kessler Live Colima 2009.
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