ray brown, who passedaway on july 2, had been

scheduled to play at Yoshi’s July9 through 14. The performancesthat week were accordinglytransformed into a tribute toRay Brown, with local musicianand composer Marcus Shelbyfilling in on bass. Marcus hadthe following to say about Ray:

“Ray Brown redefined therole of the bass chair. Hisinnovative melodic, rhythmic,and harmonic concept was anextension and progression ofJimmy Blanton and OscarPettiford and set the standard forevery bassist who came after.”

“The first bass method bookI studied was written by RayBrown, the first record Itranscribed was an OscarPeterson record featuring RayBrown, and my first bass teacherI studied with was John Clayton,who was a student of RayBrown. Even though I did notknow Ray personally, I feel likeI’ve lost a musical father andteacher.”

i met ray brown in 1995 at theStanford Jazz Workshop. We liked eachother right away. When I left, I gave himmy card, explaining that I lived near theairport and could give him a ride. Lessthan a month later, when Ray called, Iwas stunned. He wanted me to do CDsales at his regular week-long Yoshi’sengagement. I would get a commission,dinner, and free admission to every show.We spent a lot of time together, as hewould sit with me and sign CDs. Iremember turning to him at one pointand saying, “I’d like you even if you didn’tplay the bass.” His eyes widened and hisface lit up in surprised delight.

the first lessonAt the end of the week, he invited me

for my first private lesson. These werenot paid – the subject never came up. Iworked hard as his assistant, and theinstruction was something he chose togive. What a lesson! Yikes! Ray did notpull his verbal punches. “You almostsound like you know what you’re doing.”

He practically shouted at me to run –not walk – and get myself a classically-trained teacher and learn propertechnique. Ray Brown yelling made quite

an impression. I mentioned it later, andhe said he had spent the extra time withme earlier so I would know what kind ofman he was before the lesson.

never too oldI expressed concern that I might be

too old to retrain. “How old are you?” heasked. “Twenty nine,” I replied. “I haveTIES older than you!” He explained thathe had already been in his fifties when heretrained his own technique and that Ishould get over it and begin; playingwould be so much easier when I wasthrough. Soon enough, I was able to tellhim he’d been absolutely right. When Ilater advanced, he told me his wish forme was to play at the level of myaspirations. After I began teaching someyears later, we compared notes on thattoo.

Ray was a focused, detail-orientedpowerhouse with an astonishingmemory. I would get worn out, trying tokeep up with him. Behind hiscommanding presence lurked aneffervescent sense of humor just waitingto bubble up, full of surprises. He likedpeople to push back a little. He couldswear fluently, at every other word.

a two-way streetHis deep growl of a voice, accurately

caught on many recordings, wouldreadily break into a giggle. His humilityand flexibility amaze me to this day. Overa meal one day, I found a rare chance toland a small potshot. “See,” I crowed, “youcan learn something from me, too.”Seriously, but with a twinkle in his blueeyes, he leaned forward and replied, “Inever said it was a one-way street.”

I used to drive Ray back to his hotelafter the gigs. One night, we were to meetvery early the next morning. He wantedme to hand him the bass and rush hometo rest, leaving him to struggle up a flightof steep stone stairs with the bass and abad knee. I refused. Picture the scene – in

the middle of the night, Ray Brown wantshis bass right now and the answer is “no.”Again, that incredulous look, but heceded gracefully, and I ran the bass upthe stairs.

The next morning, while I waspouring milk on my cereal, he said, “I’dhave the perfect job for you if you were aboy.” Now there’s a statement guaranteedto spark a lively conversation. If he’dseriously thought that, the topic wouldn’thave come up, but that’s how heintroduced the idea that he might needhelp after knee replacement surgery.Apparently, my stairs trek had inspiredthe unlikely thought to hire a girl 40 yearshis junior to carry equipment. After longconsideration, he did, and flew me outto the Lionel Hampton Jazz Festival fora week as a roadie. Now that’s flexibility!

goodbyeRay passed away July 2, 2002. I last

saw him on May 19, as driver/roadie fora local performance. As it was only heand I in the van, we had a great chance tohave a good visit. I regularly had a littlelist of questions for him, either aboutmusic or life, and as usual he patientlyconsidered them one by one, dispensinghis unique brand of no-nonsense advice.When we said goodbye at the airport, hesaid, “Thanks, you’ve been a doll, asalways.”

Ray, thank you so much for enrichingmy life and art for seven years. You’vebeen a doll, too.

Writer Mandy Flowersremembers hermentor, Ray Brown.By Mandy Flowers

Painting (c)BRUNI 2002 fromThe Jazz Masters Series byBRUNI. BRUNI Gallery,Campbell, CA (408) 370-4700,www.brunijazzart.com. BRUNIis the featured cover story in theAugust issue of JAZZIZ magazine.

In Memory ofRay Brown

Ray Brown,A Personal Farewell

Mandy Flowers is a graduate of BerkleeCollege in Boston, and was fortunateenough to study with Ray Brown andCharlie Haden. She performs full-time andoffers technical and spiritual bassinstruction. She can be reached viamandyflowers.com or 650-616-9408.

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volume 1, issue 10 | august 2002

(c)BRUNI 2002

well, it’s august, just one moremonth until summer either starts or ends,depending on whether you’re in the Cityor not. ;-) The festivals are in full swing,and there’s something for every corner ofthe Bay area: the North BeachJazz Festival, the San Jose JazzFestival, Jazz in Flight’s EddieMoore Jazz Festival inOakland, plus the wrap-up ofthe Stanford Jazz Festival andSFJAZZ’s ongoing freesummer concert series (see ourarticles on the first threefestivals, and our calendar onpage 10 for the latter twoevents).

On a more somber note,the jazz world lost an icon thispast month, and Ray Brownwill be missed by countless Bay areamusicians and fans alike. His student andfriend, Mandy Flowers remembers himon our front page this month, along withMarcus Shelby, who was influenced andinspired by Brown’s work. Peninsula artistBruni captured Ray’s personality sobeautifully in her portrait of him, I’mgrateful to her for sharing that with us.

This issue is a bit of an arts renaissance.In addition to Bruni’s painting, we havegreat poems about jazz by renowned poetA.D. Winans, illustrated by amazingphotographs by Lee Tanner. Again, I’mvery grateful for these artists sharing theirwork with us!

I had the opportunity to be presentfor the interview of legendary jazz poet

Editor’s Note

Correction: In our June issue, in our articleregarding Yoshi’s anniversary, we erroneouslystated that Yoshi’s and the Blue Note hadcollaborated for a couple of years, which wasincorrect. We apologize for this error!

~Mary Destri

ruth weiss by current day jazz poetsRaymond Nat Turner and ZigiLowenberg of Upsurge for this issue. Itwas a real meeting of the minds, aseverything from jazz, poetry, art,

acceptance, rebellion,ethnicity, gentrification, andwomen’s roles in the Beatscene were discussed.

I used to see ruthperform at the old GatheringCafé in North Beach, and atage 74, she’s still as busy asever. She even graciouslyagreed to do a guest readingat an Upsurge benefit atAshkenaz on July 28.

As the interview wrappedup, Raymond commented,“One of the things that’s soincredible just watching and

checking you out is that you keep rolling,”to which ruth responded, “Poetry is mylife. I can’t give a little here and a littlethere. I’m an all the way kind of person.”

And the Beat goes on…

San Francisco Editor: Mary DestriLayout/Designer: Ken Chen

Executive Director: Todd WilliamsonPrinting: MarinSun Printing, 120 Mitchell Blvd, San Rafael

August Contributors:Bruni, Scott Chernis, Frank Federico, Mandy Flowers,

Philip Gordon, Michael Handler, Jerry Karp, Zigi Lowenberg,Harry S. Pariser, Wanda Sabir, Joe Salerno, Marcus Shelby,

Steve Sheraton, Lee Tanner, Raymond Nat Turner,Jesse “Chuy” Varela, A.D. Winans, Rob Woodworth

Music Calendar: Mary Destri

Jazz Steps SubmissionsIf you would like to submit your writing, photographs or artwork inJazz Steps, please contact our Editor, Mary Destri, atmary@jazzsteps.com.

Jazz Steps San Francisco is published monthly byJazzSteps.com

4509 Interlake Ave. N #177Seattle, WA 98103

Phone: 206-675-0384Fax: 206-547-6360

E-mail: mary@jazzsteps.comWebsite: www.jazzsteps.com

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One of the last recordings of Gil Evans is abootleg of him with Sting at the Umbria JazzFestival in Perugia, Italy in 1987, LastSession, also featuring Branford Marsalis.

page 2 | august 2002

Welcomejazz steps:

Photo by Scott Chernis

it was over a year ago (4/20/01) thatSouth bay pianist-singer Smith Dobson wastragically killed in a late night auto accidenton Highway 85 as he was returning home toSanta Cruz from a gig. It shocked the jazzcommunity and the Bay Area lost one of itsbrilliant figures. What the 54 year-old broughtas a player, teacher and advocate, was apassionate drive to enrich and enlightenpeoples lives with jazz music. It reflects in hisown immediate family with wife Gail, anaccomplished jazz singer, and their children,Sasha and Smith Jr., following in theirfootsteps.

As the 13th Annual San Jose Jazz Festivalswings into action, Smith continues to be abeacon as one of the original co-founders ofwhat is now considered the country’s “largestfree jazz festival.” Last year, he was honoredwith a stage in his name and continues intothis year. The idea is to give forum to greatand unsung resident talent. From veterans likeMark Levine to young bucks like Taylor Eigsti,he taught, motivated and encouraged peopleto play with an organic spirit that was playfulyet intellectual.

Straight up Smith put South bay jazz onthe map. Much like the Kuumbwa Jazz Centerin Santa Cruz, The Jazz & Blues Company inCarmel and Pete Douglas’ Bach, Dancing &Dynamite Society in Half Moon Bay, he startedan outpost at his Garden City home base thatwiden the sphere of where world-class jazzmusicians could play that went beyond SanFrancisco.

Smith was born in Stockton, California andgot his love of music from both his parents.Latin and jazz standards were the forte of hismother Norma Gonzales Dobson, a singer ofMexican descent. His father was an Americanwho played jazz piano and accordion. Dobsonattended San Francisco State College andUniversity of the Pacific. He was recruited intothe Airmen of Note, the US Air Force’s premierjazz band, in 1967.

Moving back to San Francisco after hishitch, he soon became a first call pianist whoplayed and recorded with stars like Cannonballand Nat Adderly, Joe Pass, Arthur Prysock,Clark Terry, Joe Williams, Nancy Wilson,Woody Shaw, Bud Shank, Frank Rosolino,Freddie Hubbard, Pharoah Sanders, JoeHenderson, Art Pepper, Bobby McFerrin, VanMorrison, Richie Cole, Eddie Jefferson, MarkMurphy, Stan Getz and Bobby Hutcherson.

In 1981, he began San Jose’s longest runningand most successful Jazz Series at the GardenCity Restaurant.Together with his wifeGail the gig lasted 20years and broughtthrough an array ofjazz greats, many ofwhich he wouldaccompany. He waspart of the originalgroup of jazz loversthat started the SanJose Jazz Society in1986 and broughtinto being a non-profit whose missionis to bring Jazz to the

ALL THAT JAZZ!

jazz in flight’s 13th annual eddiemoore jazz festival is almost upon us,Thursday through Saturday, August 8 –17.The line-up this year is in keeping with thehigh standards that have made this festivalone of the most well-respected in the country.These high standards are also a key reasonwhy JIF, an all-volunteer organization, hasbeen around for as long as it has.

Founder Ken Schubert explained that JIFstarted in 1975 with a small group of musiciansand people who loved the music. He had alarge loft at 115 Main Street in San Francisco,where they presented music almost every night– sometimes twice a day.

“We continued doing that at the loft until1979 when we lost out lease, and we becamewhat I call ‘the road show.’ We played inchurches, bars and galleries. At that time, it

BART station on the free Emery-go-Roundshuttle.

When I ask Schubert how the season gelledfor JIF, he said that he, the president andtreasurer sat around and tossed suggested inthe hat of groups they’d like to see at JIF thisyear.

“We sort of picked some of our favoritebands and went after them,” Schubert says.“It ended up bringing all saxophone players –the leaders were all saxophone players, orsaxophones are featured in every band. Mostof the players arefrom the east coastand they don’t getout here that often,so I’m reallylooking forward toit.”

“The first fivenights will be at theOakland AsianCultural Center. Ireally enjoyworking with the people at the Cultural Centerand at Ex’pression. We featured Kimara there,and we collaborated with the Asian AmericanJazz Festival there as well.”

“We open with a band that has played withfor us in the past, John-Carlos Perea Quartet,featuring Francisco Wong on the saxophones.Carlos is American Indian, and we wanted tosee if we could get saxophonist Burt Wilson, aformer Bay area resident, down from Seattle,but [confined to a wheelchair all his life] he’snot traveling any longer. Anyway, FrancisWong is in that band [instead].”

One hears Perea’s Native American rootsin the opening cut on his debut album FirstDance, with Wong featured in a beautiful solo– part two of “Three Things” for Phil McGee(former dean of the Ethnic StudiesDepartment at San Francisco State University,where Perea got his degree.)

Silicon Valley through performance andeducation.

Smith served as a catalyst on its board ofdirectors. He received lifetime achievementawards from the SJJS and the Monterey JazzFestival. The entire family was honored bythe city of Santa Cruz in January 2001. Hewas also on the board of the Stanford JazzAlliance and Kuumbwa Jazz Center as well asteaching at UC Santa Cruz and San Jose State.

Once called the “Bay Area’s Frank Sinatra,”now his numerous albums and CDs serve asreminders of this gifted man as a sidemanand leader. Smithzonian, Live at Garden City,and Sasha Bossa were all self-produced effortsavailable on CD now. But the Dobson legacyhasn’t ended, with daughter Sasha now in NYCand about to release her debut album, DetourAhead (Small’s), and Smith Jr., who plays vibesand drums, gigging around town with JoshiMarshal and others. Gail continues tooccasionally perform and teach. Smith lives!

was called Bay Area Loft Jazz. Then in, I thinkit was 1982, we merged with the San FranciscoJazz Foundation, and the name became theBay Area Jazz Society. I directed Loft Jazz, andI directed Jazz Society until I retired in 1986.Then the organization went belly up.”

The following year, Schubert wasapproached by a friend who had a dancestudio. “Dance in Flight was in the schoolacross the street from Mission Dolores Park.Well, that’s where Jazz in Flight was conceived.”Schubert and friends decided to revive the all-volunteer organization, which they namedJazz in Flight.

“We started at Kimball’s in San Franciscowhen they first opened, then we moved to theeast bay and became involved with the oldIota’s on Claremont. Again I directed JIF, themajority of the first years, then in 1997, Istepped down to vice presidency. I wantedsomeone else to learn to do all those things,but I’ve been heavily involved ever since. NowBruce Pizzichillo is president, with Chris Whiteas treasurer.”

Early on, JIF co-founder Jessica Felixstarted a children’s program, Children inFlight. These free music workshops are forchildren 5-15 years old, and are taught byTacuma King at the Alice Arts Center inOakland on Saturdays.

Named after Bay area drummer EddieMoore, who suffered a fatal stroke on Yoshi’sbandstand, the Festival this year has a newconcert home – two homes in fact. The venuesare the Oakland Asian Cultural Center’s 350-seat theatre, located in the Pacific RenaissancePlaza, 2nd Floor, 388 9th Street, and theEx’pression Center for New Media, a 200 seatMeyer Sound Performance Hall, 6601Shellmound Street, Emeryville.

OAC, which is accessible from thedowntown Oakland BART station, will hostthe first five shows. The other three will behosted by Ex’pression Center for New Media,a short ride away from the West MacArthur

This Bay area band is followed the nextday by “The Cosmosamatics,” featuringMichael Marcus and Sonny Simmons onsaxes, Tarus Mateen on bass and Jay Rosenon drums. Both Marcus and Simmons oncecalled this area home, so the concert will be arare opportunity to drop by and say hi to twogreat musicians, as well as learn how topronounce the group’s name. This is a westcoast debut.

Hamiett Bluiett (reeds), D.D. Jackson(keyboards) and Kahil El’Zabar (drums/percussions) are the headline show of the

festival Saturday,August 10. KenSchubert said thatearlier this year hehad wanted toinvite the entireWorld

S a x o p h o n eQuartet, but whenthe organization(JIF) moved awayfrom Yoshi’s, where

there was a built-in audience, JIF decided notto do anything on such a large scale. “I decidedto just invite WSQ member Bluiett, and hewas very enthusiastic about bringing a trio.That trio has recorded – they have a CD out.”

When asked about D.D. Jackson, Shubertreplied, “He’s a pianist out of Canada, a DonPullen protégé. In fact, Don was supposed todo a concert in Montana, and he died the nightbefore the concert, so D.D. Jackson took hisplace. He plays organ and those electricinstruments that sound like organs.”

El’Zabar, just awarded the “Percussionistof the Year” award June 19 by the JazzJournalists Association, has a new album outAugust 27 – Love Outside Dreams on Delmarkwith David Murray on sax and Fred Hopkinson bass.

By Jesse “Chuy” Varela

By Wanda Sabir

JOHN-CARLOS PEREA QUARTET WILL OPEN THIS YEAR’S FESTIVAL.Eddie Moore Jazz Festival

moore continued on page 5

FRIDAY, AUGUST 9Main Stage (Plaza de Cesar Chavez)5:30 Quetzal7:30 Los Hombres Calientes

SATURDAY, AUGUST 10Main Stage (Plaza de Cesar Chavez)12:00 The 50 Voice Oakland Jazz Choir2:00 John Santos and the Machete Ensemble4:00 Larry Coryell6:00 George Duke Quartet

Smith Dobson Stage (Park Avenue)1:00 The Art Hirahara Trio3:00 Matt Clark (piano) Quartet5:00 Larry Vuckovich Trio7:00 Mark Levine and the Latin Tinge.

SUNDAY, AUGUST 11Main Stage (Plaza de Cesar Chavez)12:00 Montclair Women’s Big Band2:00 Jon Faddis4:00 Chuchito Valdes Afro Cuban Ensemble6:00 Oleta Adams

Smith Dobson Stage (Park Avenue)1:00 Leonard Thompson3:00 Shanna Carlson Quintet5:00 Dick Hindman

Smith Dobson & The San Jose Jazz FestThis year the Smith Dobson Stage will be

situated on Park Avenue in a patio area behindthe San Jose Tech Museum and will host animpressive cast of Bay Area pianists andsingers who definitely emulate the spirit thathe had for playing, singing and advancing jazz(see schedule).

smith continued on page 11

Los Hombres Calientes’ New Congo SquareVol. 3 was recorded in Cuba, Jamaica, Brazil,

the Dominican Republic and New Orleans.august 2002 | page 3

Festivalsjazz steps:

Scott Chernis

Tickets can be ordered fromwww.ticketweb.com or by phone at 866-468-3399. JIF members get a $4 discount per ticket.All shows are at 8:00 p.m. and 10:00 p.m.,except Sunday, August 11, at 7:00 and 9:00p.m. Check www.jazzinflight.org or call JIF at(510) 763-4663 for information about thefestival or their other programs.

North BeachThe 8th AnnualJ A Z Z F E S T I VA L

their doors and celebrate jazz history.Some of this evening’s performers includethe Marcus Shelby Jazz Orchestra at theSt. Francis of Assisi Church, as well asthe Michael Bluestein Quartet, the CalvinKeys Trio, and the Freddy WilliamsQuartet. Shows start at 7:00. Did Imention it is all free?

thursdayThursday evening, August 8, Richard

Howell and Oriente Lopez will headlinethe Latin Jazz Series, consistently on ofthe festival’s most popular events. BayArea saxophonist Richard Howell bringsa wide spectrum of music to the festival.While working with such greats as EttaJames, Don Cherry, and Billy Higgins,Howell’s sound has been described aspowerful, yet sensual. Havana-bornOriente Lopez has earned the respect ofthe worldwide jazz community throughhis achievements as a flautist, pianist,composer, arranger, orchestrator andmusical director. This show at BroadwayStudios is $15 in advance, $18 at the door(21 and over).

fridayOn Friday evening, August 9, the

festival brings Cajun, blues, and atraditional brass band sound for a “Tasteof New Orleans.” Three fabulous bandsmake up this bill, including Juice, theCritical Brass Band, and the Brotherhoodof Groove. Straight from the clubs ofNew Orleans comes Juice, who last yearperformed at over 130 clubs and festivalsin the Southeast. Their sound includesjazz, funk, and classic New Orleans R&B.After being invited to play the NewOrleans’ Jazz and Heritage Festival,Telluride Weekly described them as “thereal, raw deal.”

Also featured on this same ticket is theBrotherhood of Groove. With that nameand their latest CD entitled A Pocket Fullof Funk, that pretty much sums it up.The band features former Sun Ratrumpeter Michael Ray, as well as theremarkable tenor sax of John Ellis of theCharlie Hunter Quartet. This show isalso at Broadway Studios with a ticket

the cafés, restaurants, and parks inhistoric north beach are again aboutto be filled with the sounds of jazz. Theespresso, the wine, the pasta, all evokingthe feel of romantic Italy, will soon becomplimented by the sights and soundsof the 8th Annual North Beach JazzFestival.

Not just any jazz festival, but a festivalwith some of the best jazz talent on thescene today. Running August 7 throughAugust 11, the festival covers all types ofjazz, from Latin to New Orleans.

jazz for a new generationThe festival is known for promoting

jazz to new listeners and a new generation.“This is not your father’s jazz festival,”explains co-founder Alistar Monroe.Continuing with its grassroots feel, thefestival promotes primarily local talent.

Co-founder Herve Ernest remembersthe days at a club in Manhattan when theDJ suggested he listen to an album calledGiant Steps. Little did he know, JohnColtrane’s Giant Steps would set his lifeon a course in jazz that he is still pursuingtoday. “If it wasn’t for that DJ inManhattan, I may have never beenintroduced to jazz.” Therefore, Ernesthopes to introduce jazz to many moreyoung people by creating a festival thatfocuses on a younger demographic.

the partyTo kick off this year’s festival, opening

night August 7 kicks off with “Jazz onGrant Block Party.” And that it is! Thisall-ages opening night free event is atribute to North Beach’s glorious past,when jazz spilled out into the streets fromevery corner café. Over 25 bars and cafesthroughout the neighborhood will open

By Rob Woodworth

Tickets for the Latin Jazz Series and A Taste of NewOrleans can be purchased at www.tickets.com or

without surcharge at the North Beach Jazz Festivaland Gallery office at 2810 Leavenworth Avenue in

the Cannery. For additional information, visit or callthe store at 415-771-2061, or check out their

website at www.nbjazzfest.org.

Photos by Scott Chernis

Celebrating theCultural Heritageof the City

price of $15 in advance, $18 at the door(21 and over).

saturdayClosing out the festival will be two free

days of magnificent jazz sounds in thegorgeous Washington Square Park. OnSaturday, August 10, a Bay Area favorite,Anibade featuring Ledisi, will return tothe festival stage. After a recent tour inJapan, they bring their soulful R&B vibeto the heart of North Beach. Also onSaturday, Sovoso will bring a uniquetreat to the festival. This group is an acappella “Bobby McFerrin-like” ensemblethat sings a unique, rhythmic mix of jazz,gospel, and world music. And if thiswasn’t already enough to squeeze into oneday, Saturday is tightly packaged withMingus and Miles in the form of MingusAmungus and Bitches Brew.

sundaySunday closes the festival in grand

style. Curiosity alone should get the bestof you when artist Josh Jones is describedas having “influences that range fromtraditional jazz to the ‘get down’ ethnicinfluences of today’s cross-culturalamalgamations…” This performancewill be followed by the Cuban sounds ofFito Reinoso. Closing the day and thefestival is the high-energy, Bay Areafavorite Vivendo de Pao (see sidebar).This is Brazilian jazz at its best – or asMonroe guarantees, “This is not a sitdown show…you will dance.”

Both Saturday and Sunday are freefor all ages and run from 11:00 – 6:00 inWashington Square Park.

“Our purpose is to bring peopletogether to celebrate the cultural heritageof this city – North Beach in particular.”Says Monroe. They have certainlyaccomplished that goal. With the help ofsponsors such as Stella Artois, SFWeekly,and Robert Mondavi, last year’s festivalhosted over 60,000 people.

since 1996, vivendo de paohas been putting the grooveinto Brazilian beats throughout the Bayarea. Best described as Brazilian, funk,and jazz improvisation, Vivendoconsistently brings the crowds to theirfeet.

Founder Kevin Welch was greatlyinfluenced by the music he heard whileliving in a thatched roof hut along theAmazon River. He brought this soundback to the Bay Area, spiced it up with alittle improv, and there you have therecipe for one tight groove.

The diverse talent and experience thatis found in Vivendo’s members speaksfor itself. Welch fronts the group with asoft melodic voice that dances over thebeats in perfect rhythm. Besides singingand playing guitar, Welch writes most ofthe songs that Vivendo performs. Byadding three new members to the mix,and a having a new recording on theway, “we are directing our energy in amore productive way…addingkeyboards, trap drums, and pandeiro; atambourine-like drum,” adds Welch.

Tenor saxophonist Richard Howellbrings tons of experience to the Vivendostage. Howell’s resume includes vocalist,composer, arranger, educator, andproducer. Howell has performedworldwide, and is the founder of theR.C. Howell Music ProductionCompany.

Longtime members include DavidEwell on the acoustic bass, WalterMackins on percussion and surdo (bassdrums) and Eddie Torres on congas,caixa, tamborim, agogo, and trapdrums. The three newest members areDarrel Green on trap drums, AlexCalatayud on pandeiro, and JacobAginsky on keyboards.

After performing in bars and clubsfor years, frontman Welch recalls ahighlight of Vivendo’s musicalevolution, “We played Davies SymphonyHall on a Latin night for symphonymembers. And after each song therewas clap, clap, clap...and then silence…itwas great…no bar sounds!”. Welch islooking forward to returning to NorthBeach, where the band got their start, toperform at the North Beach JazzFestival. “North Beach Jazz Fest was oneof the first festivals we ever played…andit was something like 10:00 in themorning on a Saturday…now we’reheadlining…”.

The name Vivendo De Pao translatesto “living off bread” or “barely scrapingby”. But after two dynamic CD’s andcountless live shows, this band’s soundsare far from “scraping by” – their foodpantry is bursting at the seams with aspicy hot Brazilian flavor.

Vivendo de Pao plays a free concert onSunday, August 11 in Washington SquarePark in San Francisco as part of theNorth Beach Jazz Festival. For moreinformation, visit the band’s site atwww.vivendodepao.com or the festivalsite at www.nbjazzfest.org.

Vivendo de PaoHeadlines NBJFJazz in the Park

By Rob Woodworth

Rob Woodworth is an avid jazz fan and drummer who is looking forward togetting even more involved in the Bay Area music community. He also enjoysEvil Knievel, professional wrestling, and coffee.

Vivendo de Pao’s follow-up to their debut CDTerreiro de Sao Francisco, entitled ScratchCooking Volume 1, was recorded in KevinWelch’s living room.

page 4 | august 2002

Festivalsjazz steps:

OUTSIDE THE MASONIC AUDITORIUM

before Wynton Marsalis’ June 14 SFJAZZconcert, the SFJAZZ All-Star High SchoolEnsemble is swinging hard. Jazz fans movingacross the theater’s marble terrace stop tocheck out the music, and many seem surprisedand then charmed to discover that the heartybig band sound is being supplied by a groupof teenagers. It soon becomes evident thatthese young players are making no concessionsto their age. The ensemble work is crisp, thesolos are accomplished and fervent, and thespirited enthusiasm is tempered by anunmistakable professionalism. Theirrepertoire displays a wide range of styles,starting with Ellington.

Band director Dr. Dee Spencer takes it all inwith obvious pride. This is, in fact, the next tolast performance by this first edition of theensemble. The seniors have already graduated,and Spencer will be starting over in the fallwith this year’s lower class members plus thesurvivors of the open auditions to be heldthis September. For now, though, she’senjoying this year’s accomplishment.

This band, first started in April 2001, hasbeen together the length of a school year.They’ve experienced a lot together, includingworkshops with some of the leading jazzplayers and educators in the world, aperformance at Yoshi’s and, perhaps mostmemorably, a trip to New York City to competein the Essentially Ellington High School JazzBand Competition at Lincoln Center. Alongthe way, the band has emerged as a flagshipfor the growing SFJAZZ education program.

dee spencer’s bandThe ensemble is the brainchild of Dr.

Spencer, an accomplished jazz educator andan active musician. A partial list of Spencer’scredentials includes assistant professorshipsat UMass Boston, Berklee School of Musicand Dartmouth and her currentprofessorship at SFSU. Until recently, she wasthe Director of Education Programs forSFJAZZ, and she remains the band’s director.

“About five years ago,” she recalled recently,“I directed the Regional Grammy Band for aprogram sponsored by NARAS (NationalAcademy of Recording Arts and Sciences). Theprogram was similar to what we’re doing here,but it didn’t have the support it needed. WhenI started working with SFJAZZ, I rememberedhow outstanding this kind of band could befor students. It’s labor-intensive, but it’s not aprogram that costs an arm and a leg. So it’s awin-win for everyone.”

The band draws musicians from acrossthe Bay Area, from as far as Moraga and SanJose. To get the best players she can, Spencermaintains contacts with high school banddirectors, asking them to encourage their starplayers to audition. To make this work,however, she has to ensure that the ensemble’sschedule allows her musicians to continue toperform with their own high school bands.

And because her musicians have othercommitments, Spencer only gets them forrehearsals once a week. That makes it vitalthat she start with students who are alreadyexcellent players.

“I go with the best musicians who walkinto the audition, and the best readers,” shesays. “I have good players who still might getbetter, but you’ve got to be amazing to get in.I’m basically fine-tuning and crafting. Gettingthem to play together, making sure therepertoire shows off their strengths. But I can’tteach them how to play their instruments.”

The benefits for students who do get in areconsiderable. They are able to play with otheryoung musicians who match their own talent

and commitment levels. They also get to playwith and learn from the high-powered guestmusicians SFJAZZ can bring in forworkshops. This year, those guests includedBranford Marsalis, Russell Gunn and StefonHarris.

ellington competitionAnother highlight this first year was that

trip to New York for the annual EllingtonCompetition at Lincoln Center. The SFJAZZensemble was one of 15 finalists out of 149entries invited to make the trip and perform.

“We arranged a recording session to makean audition tape,” Spencer related. “That itselfwas a good experience for everybody. Butthen we got selected to go to New York, and Isaid, ‘Oh, no.’ It wasn’t budgeted for. Howare we going to go? We had to raise somemoney real fast, but people came through forus. It was amazing. Our scheduled date atYoshi’s turned into a benefit that raised a lotof money. And we made it.”

“We were one of the few groups to makethe finals on their first try,” she continued.“Most groups take years and years of enteringand being rejected. Suddenly we’re competingin the big time. We’re on the stage of LincolnCenter. We went from the steps of the MasonicAuditorium to Lincoln Center. Other thanYoshi’s, we’d hardly even played on a real stage.But it was great. Our trombone player anddrummer received honorable mentions asoutstanding soloists, but most importantly,we got in there and played very, very well.”

The individuals honored were NicholasDePinna for Outstanding Soloist, trombone,and Bram Kincheloe, Soloist HonorableMention, drums.

enjoying the musicWith all the perks and adventures, Spencer

asserts that the most important element ofthe ensemble is making sure the students enjoythe experience and increase their love for themusic.

“Once you have a tradition,” she says,“especially a tradition of excellence, peoplereally rise to the occasion. There’s a lot ofsacrifice, but I’m a firm believer that the bandhas to be fun. If you mess up, you mess up.But you don’t get arrested.”

Although the full ensemble has had its lastperformance of the year, there’s still a chanceto see band members playing together incombo settings throughout the summer andinto November, through the Pan Pacific HotelSan Francisco’s monthly Master Series, anannual program combining jazz and visualart. Each month, the hotel presents anexhibition of work by an artist representing a

local gallery. Combos featuring musiciansfrom the SFJAZZ All-Star High SchoolEnsemble perform at each opening, and 10percent of the proceeds raised from art salesthroughout the program are donated to theband. The August opening, (Thursday August15 from 5:50 to 7:30) will feature painterCatherine Mackey of HANG Gallery.

Free open auditions for the 2002-2003edition of the SFJAZZ All-Star High SchoolEnsemble will take place Saturday, September14, 10 am to 3 pm at the Pan Pacific’s ExecutiveConference Center, 500 Post Street at Mason.All instruments are welcome. Visitwww.sfjazz.org, or call (415) 398-5655, formore information.

A freelance writer and former jazz radioproducer for WWNO in New Orleans, JerryKarp provides copywriting services for artistsand arts-related businesses through his business,Rocket Words (www.rocketwords.com).

SFJAZZ All-Star High SchoolEnsemble Takes FlightBy Jerry Karp

Student musicians preparing to entergrades 6-8 still have time to register for theAugust session of the Jazzschool’s SummerYouth Program. Young musicians will receivein-depth instruction on a wide range ofmusical categories from a world-class faculty.Class subjects include Jazz Ensemble, LatinEnsemble, Percussion Ensemble, Theory/EarTraining, Vocals, Rhythm Class and JazzPiano/Salsa Piano. The Summer YouthProgram represents an excellent opportunityfor young students to learn about jazz in anenvironment designed to be enjoyable, yetintensive – a lot of learning and a lot of fun.

Classes for the August session will take placeMonday through Thursday, August 5-8 and12-15, with a class recital on Friday, August16. Students attend six 55-minute classes eachday from 9 am to 12 noon and from 1 to 4pm, with a supervised lunch break from 12noon to 1 pm. All classes are taught at theJazzschool, 2087 Addison Street, in the heartof the Downtown Berkeley’s growing ArtsDistrict. The two-week program costs $500.

Students entering the program will findthemselves in a rich musical and learningenvironment. The Jazzschool is the onlyinstitution of its kind in the Bay Area, offeringa broad spectrum of performance and lectureclasses, short-term workshops and privateinstruction to musicians of all levels and ages.Everyone from professional musicians andserious students to amateur jazz aficionadostake advantage of the school’s excellent anddiverse curriculum and the world-class faculty.

Prospective students are asked to schedulean audition appointment or telephoneconsultation so they can be placed in the classlevel most appropriate to their ability andexperience. The faculty takes care to ensurethat the auditions are student-friendly to keepanxiety down to a minimum. Parents maymake audition appointments for the youngmusician in the family by calling the Jazzschoolat (510) 845-5373.

For more information about the SummerYouth Program, visit www.jazzschool.com, ore-mail swing@jazzschool.com. Jerry Karp

Summer Jazz YouthProgram Underway atBerkeley’s Jazzschool

The SFJAZZ All-Star High School Ensemble competing at theEssentially Ellington contest at Lincoln Center.

this spring, Eastside Arts Alliancehosted Bluiett, El’Zabar and violinist BillyBang, in an intimate evening of music“down under.” The concert was a preludeto the Malcolm X Jazz Arts Festival thispast May. The funky space lent anintensity to a set where children giggledand wailed in time with Bang, whostrummed his violin like a guitar. Bluietton baritone saxophone and wooden flutewas a weighty presence, while El’Zabarsang, chanted and grooved on multiplepercussion instruments, which includedthe kalimba or thumb piano. Their trio’salbum, If You Believe (8th HarmonicBreakdown, 2002) is a shared venture –all the men contributed original work.

On Sunday, August 11, it’s Ben Allison& Medicine Wheel, with two shows, 7and 9 p.m. Allison is on bass, with TomasUlrich on cello, Michael Black onsaxophone, Frank Kimbrough on pianoand Mike Sarin on drums.

The Festival skips a few days and thenresumes onThursday, Aug. 15 MartyEhrlich Quartet featuring Ehrlich, CraigTaborn (piano), Michael Formanek(bass) Gerald Cleaver (drums).

Michael Formanek is a longtime friendof Schubert, who “lived here before he

went to live back east. When I had the loftin San Francisco,” Schubert says,“(Formanek) was in Dave Liebman’s band.They played at the Loft on a regular basis.That’s how I got to know him, so it’s goingto be great to see him again.”

On Friday, August 16, the Festival movesover to Ex’pression Center for New Media,with Tim Berne (saxophone), MichaelFormanek (bass), and special guest pianistCraig Taborn performing.

Ellery Eskelin closes this year outSaturday, August 17 also at Ex’presssion.His band also has the only woman in thisyear’s festival, Andrea Parkins onaccordion. The other member of the trio isJim Black on drums, “a fine drummer,who’s not well known on the west coast.Their music is very interesting.”

When asked how this festival differedfrom those in the past, Schubert said thatthe main difference was size. “We’re notcertain about the attendance at these newvenues, so we couldn’t afford to spend alot of money for larger units. That’s whywe have quartets and trios this year. If wedo well this year, we’ll be back again doinglarger units. I know it’s great working atthe Asian Cultural Center. Next year, we’dlike to do all of our festival there just tohave it all in one place.”

moore continued from page 3

Eddie Moore Jazz Festival

Bay area non-profit Music in Schools Today helpsto keep music in our public schools. Check out

their website at www.mustcreate.org.august 2002 | page 5

educationjazz steps:

Photo by Joe Salerno

In the music business, occasionally there ismusic you want to check out and write about,music that means something to you and yourworld. Music that excites you and thenmellows you out and then drives you into afrenzy at the same time. In these times ofincreasing categorization and rigid formatting,3 Thinking are challenging the trends andshowcasing the talents of three individualmusical personalities.

3 Thinking is comprised of Terence Disleyon piano, Eric Kurtzrock on drums, and GaryBrown on bass. The final mix is a heady,exciting blend of Jazz, Rock, Classical, Reggae,and Latin influences. I visited with themrecently at their regular weekly venue, DonJohnson’s restaurant and lounge, AnaMandara, on Beach Street in San Francisco,to find out what was on their minds and“stoke the buzz.”

Musically, my expectations were right-on,as I had heard Terry and Eric some time agoat another venue and, the impression wasmade: these two guys had fire in their heartsabout this music. Now, it was obvious thatwith the steady gig, and the addition of GaryBrown on bass, they had really honed theirsound. The material was fresh and crisp, andcreated an atmosphere that charged theambiance of this place. The audience wasattentive and definitely “dialed in” with the jazzgrooves 3 Thinking were laying down.

Terry’s original melody lines andimprovisations, on one of the most beautifulgrand pianos I’ve ever seen, were marvelousjuxtapositions, reminiscent of jazz greatsEvans and Tyner, layered with a rock groove.And Eric, heh... is Art Blakey in the house?The guy is hard-bop hip, great textures anddynamics, wonderful arrangements on someLatin and jazz/rock driving material that reallyshowcased his creative and technical gifts. Theguy is intense!

PG: How did you come up with the name3 Thinking?

TD: We initially were looking for a namethat would have some crossover, because ifyou say that so-and-so band is just a trio, forinstance, then it really doesn’t speak aboutwhat they’re doing musically...it’s a veryappropriate name for what we are aboutconceptually.

EK: Exactly, we come from three completelydifferent musically places...it’s still jazz...butdifferent places, the moment we startingplaying we felt we really hit on somethingunique...something all three of us had a partof.

PG: When you first got together youwere playing one kind of music, jazzstandards. Now in the three years that youguys have been together, how has the musicevolved?

TD: At first, we did a lot of pop covers,Pink Floyd, etc. to grab people’s attention andjazz standards, which we would improvise on.We all have a lot history playing that kind ofmusic, and we enjoyed playing jazz, but lately,I’ve written most of the music that we play

now. It’s a combination of jazz and rock stuff,but now we don’t do as much of other peoples’music. It’s more of our own original stuff.

PG: I noticed earlier you had done somearrangements on some standard jazzmaterial in the first set....

EK: Actually those arrangements, more orless, have come about by just playing on thosetunes so much, it’s very natural for us to workon a tune, and since we know each other reallywell, we arrange on the spot as the songevolves...every time we play a tune somethingnew is discovered with the material.

PG: In that context, do either one of youset the musical direction, or is it acollaboration?

EK: Terry writes a lot of the music, but,both Gary and I have a lot to say about howit’s going to sound and how it turns out...ourfirst album we be mostly Terry’s music,primarily out of necessity and practicality,because he is such a prolific writer, we’re justkeeping up and making contributions as wefeel it would collectively enhance the sound ofthe tunes.

TD: The compositions and the music weplay are both about the direction we are tryingto go musically.

PG: In that regard, what is influencing you,Terry, on this first album?

TD: Actually, everything that we’ve beenthrough, as individuals, all of us carry a lot ofmusical history of playing with a lot ofdifferent people over the years, but we are sobusy right now, and so involved in what we’redoing, that primarily I just listen to us, everyweek we tape our gigs, and we’ll all be listeningto them during the week, and then we’ll workon them.

EK: I’d have to say our new stuff issomewhere between Weather Report andHard Bop, Some of our straight ahead stuffis right out of the Hard Bop school, you know,Art Blakey and McCoy Tyner...rhythm sectionoriented, fiery straight-ahead, and thenballads like Bill Evans used to do. Terry haswritten some beautiful ballads...but we reallykeep finding our way back to the hard bopstuff, Art Blakey was one of my teachers, andI find it odd that after all these years we arecoming back to this form of music...thisniche...it’s such a treat!

PG: What about the gear you use...Iheard earlier that Don Johnson went outand bought an $80,000 piano for therestaurant... that must be great coming towork?

TD: That’s right, Don went out and boughtone of the best pianos in the city, spent $80,000,on a Bosendorfer, and, I also use the KurzweilK2000, which I brought in, but we don’t havea lot of room here as you can see, so, we alsoare use a loop station, when we spin someloops into some of our reggae tunes...we aregradually getting more technical with themusic as time goes on.

EK: As far as drums are concerned, theyare old school traditional, real open-sound,no stuffing the bass, all Turkish symbols, thatproduce a really dark sound. (Gary Brown isoff to New York tonight, playing at the BlueNote.)

PG: In a restaurant environment like this,obviously very high-end, what kind of anaudience are you playing to?

EK: Well, normally we do a lot of balladsand play a softer first set...but it was kind ofraucous in there tonight, so we were hitting itpretty hard early. Usually we do that in oursecond and third sets.

TD: When this place first opened, it waslike an open-book, people didn’t expect a lotfrom the restaurant band, but now, that’schanged, we’ve got quite a lot of people comingback in, specially for the band, and we’ve beengetting quite a lot of attention, so now ongood nights, it’s more like a gig than playingin a restaurant. It’s been voted the premierlounge for jazz in San Francisco.

PG: Do you have any tours scheduled, orany favorite cities you would like to play?

TD: Nothing right now, but if we get backto my hometown London, I’d like to play againat Ronnie Scott’s place, and generally startworking in Europe as well as working here.

EK: Right now we are focused on gettingthis next album together....we’ve been workinghere for two years, they let us come and go,they are extremely low-maintenance venue asfar as clients go, they like just having the oneband, since we are developing a following, andpeople are coming in to hear us play. It’s notlike most places where you have this bizarreweekly mix of five different bands coming in,that brings in very different types of peopleand that would be very disruptive to thisatmosphere. Radio play is one of our nextgoals, we’ve done some interviews, and wewere just filmed in a documentary show withEddie Henderson, another show with Eddie,will be happening again August 9th, and thentwo Thursdays of every month, hopefullystarting in September, we are going to beimporting some people here, some hornplayers, like Craig Handy, from HerbieHancock’s Band, and vocalist Mary Stallings.

PG: I wouldn’t mind sitting in for thatone...What’s next for the band?

TD: Get the next album out, thenairplay...and then we shop for a licensing dealand set our first tour.

EK: Absolutely, we are madly insane aboutthis project, equally. We get up everyday andcall each other, to find out what’s going on,it’s very intense at this moment...and theaddition of Peter Casey as our manager hasreally contributed and created a lot of greatenergy!

PG: Speaking of managers, I see fromPeter, that we need to wrap this up, I want tothank you guys for spending sometimetalking with me tonight. Hearing a group ofmusicians with this much talent is rare, I lookforward to what’s ahead.

For further information and upcoming shows,visit: www.ThreeThinking.com or check outthe band at Ana Mandara Restaurant,Thursdays-Saturdays, 8:30-12:30 pm at 891Beach Street in San Francisco, phone 415-771-6800.

Saxophonist and writer Philip Gordon can becontacted at www.bluematrix.org orwww.thewritingschool.com.

incorporating a stellar lineupof local and imported musicians, Jazz inFlight presented “A Tribute to Eric Dolphy”at Yoshi’s on June 24. The first set wasbroadcast live on KPFA.

Eric has influenced innumerablemusicians, and many of those performinghad particular links to the man and hismusic. Bassist Dr. Art Davis was the mostdirect link, having recorded with Eric. LA-based flautist extraordinaire JamesNewton was a friend of Dolphy, and hascontinued to develop his style. Newtonserved as the ensemble’s leader and as theevening’s master of ceremonies.

Dolphy was born in Los Angeles on June24, 1928. He is best known for his ownwork, as well as his collaborations withChico Hamilton, Charles Mingus, BookerLittle, and John Coltrane. Dolphy was anaccomplished multi-instrumentalist whoplayed alto, flute, clarinet and bass clarinet.He died of a heart attack in Berlin in 1964.

Dolphy’s work was always well aheadof its time. Austrian scholar AlexandraHettergott, in a fascinating paper onDolphy’s music, commented on “EricDolphy’s fields of musical interests: hisliking for Schoenberg’s free tonality, hisbeing intrigued by Indian ragas and thesinging of the Pygmies, his being inspiredby bird songs...”

Beginning the first set, Newtonintroduced “Beard and Hat,” Dolphy’stribute to Thelonious Monk, remarkingthat “the first time I heard Eric’s music, itscared me to death.” James Newton offeredone of his spectacular solos, and violinistLesa Terry – known for her playing withthe Uptown String Quartet and MaxRoach’s Double Quartet – added to the mix.

A dynamic version of Mal Waldron’s“Fire Waltz,” prefaced by a spectacular introby Dr. Anthony Brown on the drums, wasfollowed by Duke Ellington’s “ComeSunday.” Chinese master musician QiChao-Liu sat in on zhonghu, a lower-pitched version of the stringed erhu. Qi,Lisa, and Jon Jang played with the rhythmsection for this tune. As someone whoexperimented with many musical styles,Eric would have been pleased by thiscollaboration.

During the second set, the ensembleplayed “GW,” Dolphy’s tune for his formerleader Gerald Wilson, “Something Sweet,Something Tender,” which featuredtrumpeter Leo Wadada Smith, “Two-Forty-Five,” and also reprised “Fire Waltz”and “Hat and Beard.” San Jose StateProfessor Hafez Modirzadeh contributedmightily on the tenor sax, and JamesNewton continued his remarkable flutework. But the set’s highlight was OliverLake’s performance of “The Prophet”which featured brilliant alto sax work byLake (best known for his work with theWorld Saxophone Quartet) and a greatsolo by Dr. Art Davis. Lake has recorded“The Prophet” on his album of the samename. The evening concluded with anencore: the Dolphy composition“Gazzelloni,” presumably written as atribute to Italian classical flautist SeverinoGazzelloni. “Because,” as James Newtonremarked, “Charles Mingus said ‘that wewent to school, too.’”

Harry S. Pariser is an artist, writer,photographer, and publisher. His latest bookis Explore the Virgin Islands. Visit hiswebsite at www.savethemanatee.com.

Yoshi’s Tribute toEclectic Jazz TrailblazerEric Dolphy

Redefining Restaurant Jazz

By Philip Gordon

By Harry S. Pariser

an interview with3 Thinking

Eric Dolphy’s first recording on theBlue Note label in 1964, Out to Lunch,unfortunately turned out to be his last,due to his untimely death later that year.

page 6 | august 2002

interviewjazz steps:

Hearing Dena DeRose singing thestandards onstage today, one would neverguess that she started out with nointention of becoming a singer. Yet, it tooka potentially career-ending affliction toput her behind the microphone.

DeRose’s musical path goes back toBinghamton, New York, where at the ageof two, she began picking out tunes on atoy organ. Lessons followed by age three.“Up until I was fifteen, I was primarily[studying] classical and switching betweenpiano and organ,” she recalls. “So when Iplayed organ, I was either playing classicalor theater organ or what was calledpopular organ music, ‘Tico Tico’ and stufflike that. Then getting into my mid-teens,I got into some pop bands, weddingbands and stuff like that, so I did whateverthe top tunes of the day were.”

Singing, however, took second billing.“I did a tiny bit in these wedding bands,”she admits. “I didn’t really want to, I justhad to do back up and stuff. As akeyboard player, that’s part of the role ina pop band.”

Eventually, DeRose found her calling.“I had dabbled in many styles beforeactually deciding, look, I love jazz, and Ijust wanna get rid of all my electrickeyboards and just sit down and reallylearn the piano,” she notes.

Watching legends like Hank Jones,Kenny Barron and Mulgrew Millerperform increased her determination. “Istarted practicing like crazy and did anygig I could, just to learn a bunch of tunes.”

In 1988, DeRose’s career took a fatefuldetour. “My right hand started hurting,”she recalls, “and I thought, well, I’m justnot practicing enough. So I would justpractice like crazy and gig like crazy.Finally, it got so bad, I really couldn’t play.I could hardly move my index finger, forone, without having shooting pain gostraight up into my ear. I kept denying it,because I really wanted to play, and Ididn’t really know anything else.”

It would take two surgeries – one forcarpal tunnel syndrome, one for arthritis– and over three years for DeRose’s pianoskills to return. She put her dream ofmoving to New York City on hold.“That’s what made me even moredepressed, ‘cause I was thinking to myself,‘well I was all ready to move and thishappened. Is someone trying to tell mesomething?’ It was just the worst time ofmy life!”

Fortunately, she found a new creativeoutlet. “I was hanging out, listening to

Dena DeRose:Sister in Jazz

my piano teacher at a club inBinghamton, and someone said, ‘comeon up and sing a tune.’ People applauded– I wasn’t that good, but they heardsomething, so I started learning sometunes and…booking myself around myhometown area, just singing and havingmy piano teacher’s trio behind me for acouple of years.”

And DeRose began to study the greatsingers. “For learning tunes, I listened toElla, because the songbooks, the melodieswere right, and the pitch was great andyou can hear every word. I bought all the[Ella] records I could, plus some Sarah[Vaughan] and Carmen McRae, andJohnny Hartman.”

By ’92 DeRose had relocated to the BigApple, where she gigged with the likes ofRandy Brecker and Jacky Terrasson, withno recurrence of hand problems. “Whenmy second doctor took my cast off,” shestates, “he said ‘your therapy is to play –and a few pinching grip exercises, that’sit.’ He instilled a lot of confidence in me,and I really believed it wouldn’t come back,and it hasn’t. In fact, when I don’t practiceor play enough, it gets a little stiff.”

DeRose self-produced her first record,Introducing Dena DeRose, in 1996. Itcaught the ear of the folks at Sharp Ninerecords, who picked it up for distributionand have released two more discs. Lookfor a fourth, Love’s Holiday in September.“It’s again a lot of standards, plus I havetwo original tunes on it, one I wrote forMarian McPartland. I have special guests,one of whom is pianist Bill Charlap,who’s on a [duet] cut where I just sing.Another great thing I have on [the disc] is

a brass quintet, asort of brass choirsound that I do anumber of tuneswith.”

When DeRoseisn’t touring as aleader or with“Made for theMovies: AH o l l y w o o dS o n g b o o k , ”singing alongsideEric Comstock andthe legendary BillHenderson, she

teaches. She’s onfaculties in New York City and theNetherlands, as well as giving privatelessons. She’s also part of the StanfordJazz Workshop, which is going onthrough August 9th in Palo Alto.

And what’s her most valuable adviceto students? “It’s no different than ever,really,” she states. They need to listen to alot of records and go see live music andlisten to the people who brought thismusic. The past two weeks we’ve lost RayBrown, Rosemary Clooney, the greatsongwriter Matt Dennis and a greatpianist, Russ Freeman. I always tell mykids, ‘whenever you see Hank Jones isplaying somewhere or Sonny Rollins, yougotta go!’”

once described by a journalist asbeing “like Jessica Rabbit and Louis Armstrongat the same time,” Kim Nalley’s performancesare brimming with sass and brass. She recentlyup and left the Bay area for the greenerpastures (or mountains, as the case may be)of Switzerland, but will again be gracing ourpresence in August. I recently e-mailed Kim toget the scoop on her homecoming.

MD: What in the world are you doing inSwitzerland?KN: Learning punctuality. No seriously, I wasperforming in Europe last year and met thelove of my life. And as much as I love SanFrancisco, I realized that I could always comeback to a city, but relationshipsdon’t really work that way. I hadsome nice job offers, to perform ina show called “Swing” in Germanystarting this November and toteach some workshops in Bern, soI was going to go back to Europeanyway. I just went a little soonerthan expected. However, my officialline is, “I’m doing the bi-continentalthing right now.”

MD: What do you have lined upfor the Bay Area in August?KN: I will be doing SF Jazz FestivalAugust 1, Sonoma Jazz FestivalAugust 13, Jazz at Pearl’s with theContemporary Jazz Orchestra August 5, a fewhits in the East and South Bay and definitelyjamming and catching up with musicians atmy usual haunts like Pier 23, Stanford Jazz,the No Name etc. Check outwww.kimnalley.com for details and times.

MD: Tell us about your new CD.KN: It is entitled Need My Sugar, is the firstCD I have produced, and like my last CDMillion Dollar Secret is at the nexus of bothjazz and blues. Need My Sugar is a real classicjazz vocalist with a trio album like Sarah

Vaughan’s Swinging Easy but with more ofthe soul and groove associated with DinahWashington. It features Etta James’ pianist,Dave Mathews, uberbassist Jeff Chambers,and my drummer from the Nocturne Band,Kent Bryson. All three of these guys arepersonal friends, as well as superlativemusicians and the music echoes the live triowork we have been doing. The CD wasproduced both in the USA and Switzerland,will hit the streets by August 1.

MD: What other projects do you have linedup the rest of this year?KN: Besides “Swing” and teaching, I am in theprocess of negotiating European distributionfor the CD, booking a tour in Europe that Ican fly the band on the CD out for andlearning the Alp Yiddish they call the Swiss

language. Also, I amtrying to meet andto work out newmaterial with theplayers in Europe,which is a bit moredifficult than in theBay Area. SanFrancisco is unique.It has a wealth ofgreat talent and inany given night youwill have about 50venues with livemusic in SF alone,not to mention the

entire Bay Area. (I am getting homesick as Iwrite!) Over here, the scene is not socentralized. One player might be fromSwitzerland the other from Italy playing a gigin Germany. The European Economic Unionhas made this type of scenario even morecommon. Basel is exactly on the border ofFrance, Germany and Switzerland, Italy isabout 3 hours away and Austria is less thanan hour. So, I am conveniently located fortaking Central Europe by storm.

MD: What’s the first thing you’re going todo when you’re back in San Francisco?KN: Complain about not being able to smoke.

Kim Nalley’sAugust Bay AreaAppearances

8/1, 12:00 noon SF JazzFestival, Embarcadero 2, SF8/2, 10PM DowntownRestaurant, Berkeley8/5, 9PM Jazz at Pearl’s (withthe Contemporary JazzOrchestra)8/9, 8PM Enrico’s8/13, 6PM Sonoma JazzFestival

photos by Steve Sheraton

Kim Nalley returns to the Bay Area this monthfrom her new home in EuropeBy Mary Destri

By Frank Federico

New York pianist and vocalist Dena DeRose will be performing at the San Jose JazzFestival on August 10.

Let Music-East West assist you with Radio Promotion, StrategicPlanning or Personal Assistant Services.

Want to take the work out of the music business?

415-751-5934

Kim Nalley’s self-produced CD, to be released thismonth, features Etta James’ pianist Dave Mathews,

renowned bassist Jeff Chambers and Johnny NocturneBand drummer, Kent Bryson.

august 2002 | page 7

interviewsjazz steps:

Dena De Rose will be playing at theSan Jose Jazz Festival’s “Sisters in Jazz”stage on Saturday, August 10 at 12:00noon, after teaching at the StanfordJazz Workshop through August 9.

Scott Chernis

jazz steps recently askedraymond nat turner and zigilowenberg of jazz and poetry ensembleUpsurge! to interview legendary Beat jazz poetruth weiss. Having just returned from asuccessful European tour, the 74-year granddame of jazz and poetry, sporting brightmagenta hair, met with Raymond and Zigi todiscuss the past, present and future of theirunique art form. Following are excerpts fromthat interview.

Raymond: First, I would like to thank MaryDestri and Jazz Steps, for bestowing this giftand honor on us, because I had heard yourname for probably the last five to ten years,come up periodically. People would say, “Youshould see ruth weiss,” or “Do you know her?”So, now, it becomes a reality.

I wanted to say that I give you my utmostrespect and props, because being a survivor inmore than one way, i.e. to come out ofGermany [ruth and her family fled NaziGermany and Austria in the 1930s], and to bea survivor of the Beat poetry era, because a lotof people didn’t quite make it.

ruth: Well, I hate to say it, it isn’t just notmaking it, not being known, but a lot of peoplewho are known are gone.

Raymond: That’s what I’m talking about.ruth: It was both. And every day, I hear

about another person who’s gone.Raymond: As a person who has seen a lot –

I was just totally floored by your history, aperson coming out of Germany…

ruth: I don’t think it’s that unusual at all,but…

Raymond: Well, to me it is, because I cameout of South Central LA, and I’m here inCalifornia…

ruth: OK, I think that’s amazing!Raymond: Well, I would grant you that. But,

150 years from now, when people open upbooks on the literary movement, how wouldyou like to be known? What would you saywould be the essence of ruth weiss?

ruth: I’ve always considered myself a poet.I’ve always known this is what my life was tobe, way back. I wrote my first poem at five.And I have done plays, I’ve done paintings,I’ve done stories, I’ve done theatre pieces, butI consider myself a poet whose other work –paintings, etc. – are simply an extension ofthe poem. So, this is the core. So first of all, Idefinitely want to be known as a poet.

Then, the word “Beat,” even though todayit’s a holy word, I still hear it in my ear how itwas meant then, which was a very derogatoryterm. People would come on weekends in theirpolyesters and look at the beatniks. And thenthose who would not exactly put them down,but wanted to imitate, would buy beatnik kits,which I thought was very funny, with blackglasses, and don’t forget the bongo drums! Imean, come on!

Zigi: And the berets!ruth: No, the berets actually started in Paris,

I think. They took that, so that was taken fromthe Bohemians. But the beret, they took thaton, too. But don’t forget the black glasses,because everyone was stoned, and you don’twant people to see your eyes. Completelyridiculous!

But if they say I’m part of the Beatgeneration, fine, because it was true. But oneof the ramifications would be definitely jazzpoet. But more recently, as I’m travelingaround and I want to keep connecting withjazz musicians, especially Bebop, but Iconnected in Germany with a cellist who isinto improvisation. I’ve connected with aflamenco guitarist, and we had fantasticshows. So, the music expands, so it isn’t onlyjazz…and maybe it’s all jazz, right?

Zigi: That’s right!

ruth: So, I think it’s wonderful – you’resaying that you’re honored to meet me, but Iam so elated that I’m meeting some youngerpeople that are really into that work of theword and the sound being one andintermingled, and that music is not abackground to the word. That it’s a dialogue.And I’m so happy that I can encourage this.

People say, “Whydon’t you teachclasses?” Well, I liketeaching by just doingit. And then, people canpick up and do theirown version of it.Whenever people havecome up to me and said“You’ve inspired me,and we’ve started ourown group,” thatmakes me very happy.But, always exploreyour own voice.

So when you say, “How would I like to beconsidered,” I would like to be considered apoet, and I like to work with good musicians,and I also like to work with painters. I get a lotof my inspiration for what I write from visualartists. Paul Blake, who is my partner since1967 – “the summer of love!” – is a wonderfulvisual artist. Ireally get somevisual impacts.So, I get a lot ofmy hits fromboth the visualand fromsound. I don’ttake a tune ofjazz and dosomething. Ijust like therhythm and thefeel of especiallyBebop jazz,which I firstheard back inthe 40s – Bird,you know,Charlie Parker,and Prez, andof course, BillieHoliday. Shewas aninspiration forme, how shedealt with hervoice.

The first time I heard Bebop, I knew it wasmy kind of sound. I’d already been writing inthose kind of phrasings.

Raymond: Where did you first hear Bebop?ruth: In Chicago. I lived at the Art Circle in

the late 40s, and there were musicians whoused to jam there, and then I ended up livingwith a saxophone player. His name was BillieCannon, and we were in our 20s, very young20s, and he had just come from New Yorkwhere he actually lived with Charlie Parkerand his lady, Little Bird.

Then, we lived together, and what we woulddo was get stoned on marijuana – I neverwould take anything other than that – andlisten for hours and hours. He really turnedme on to Thelonious Monk, of course, CharlieParker, Prez, Bud Powell, Billie Holiday.

And I became friends with a fantastic jazzviolinist named Stuff Smith. He and I kneweach other back in the late 40s. Of course, he

had been performing since the 30s. He livedon the South Side of Chicago, and I would govisit him. I would just sit there and smoke ajoint, and he’d start playing the violin, and itwas just like I was in another dimension. And,there wasn’t much jazz violin. Except theGypsies, of course. There is some Gypsy inmy background, too.

Anyway, Iwould say ’49, iswhen I really gotimmersed in it, inChicago. Then Iwent to New York.Then I was in NewOrleans, I metseveral jazzmusicians back in1950. And then, Iwas in SanFrancisco in ’52,and I’m walkingdown the street,

and there is Johnny Elgin, who was a keyboardplayer in New Orleans. He said, “Well, I justmarried this lady, and she’s got a place out on18th and Church, called Hill Haven, and lotsof musicians live there. Come and jam withus sometime.” So, there in the boiler room,any night you’d go by, they’d be jamming

there, and Iwould jointhem.

Well, a fewyears later, in1956, three ofthose musiciansopened up TheCellar, and that’show it got to bethat I so-called“ i n n o v a t e dpoetry and jazzin SanFrancisco.”

R a y m o n d :Why do youthink that theBeat poetrything happenedin North Beach,as opposed to,say, Minnesotaor New Orleansor LA? Whyhere?

ruth: Itexpanded later,by the way, into

LA, but first of all, North Beach, San Franciscohas always been known as a Bohemian quarter,from way back, way back. Just like the Villagein New York, just like the French Quarter inNew Orleans, and so on, Chicago’s NearNorth Side. What happened is – and this issimply my opinion – a lot of the poets, well-known Beat poets, lived in New York, and wentto Columbia College, and ended up in SanFrancisco. So, some people say it started inNew York. Well, it started with some NewYorkers, but it started actually – this is myopinion – in San Francisco, where it reallyexploded, it really happened. That’s where themagazine Beatitude came out.

Raymond: Zigi read some of your poemsthis morning, and I could really feel themusicality. One of the things I really dug wasthe way you run words together. I think that’sso very hip and musical to me. It reminds meof a horn. When did you start doing that, andwhat prompted you, and what is the meaningor significance of it to you?

i hear with lovei hear with lovei hear with love

i am the ear & voice of lovei am the voice & ear of lovei am the choice of lovei hear the voice of loveall is change

i hear the hum of the earth turning

1 2 3 4who are we for5 6 7 8how do I relate

fall down seven timesget up eight

it’s work it’s work it’s workit’s worth it

I HEAR WITH LOVE

San Francisco’s Jazz& Poetry Innovator

I HEAR WITH LOVE

Excerpted from the book A NEW VIEW OFMATTER by ruth weiss

By Raymond Nat Turner and

Zigi Lowenburg

UpSurge!’s debut CD, All Hands on Deck, was awardedHonorable Mention in the Spoken Word category by theAssociation for Independent Music in 2000.

page 8 | august 2002

Jazz & Poetryjazz steps:

ruth weiss will be appearing at the The1st Annual Upper Grant Avenue FallArt Fair, to be held on Sunday,September 22, from 11 to 6 pm. Theevent will feature over 100 artists andmerchant booths, including a smallpress, rare and independent bookmarketplace. For details on the event,or volunteering, or sponsoring, call(415) 986-6210 or (415) 781-4201.

ruth weiss

ruth: I think it’s my natural way of talking.My original language was not English, it wasGerman. How did I learn English? I arrivedhere, I’m 10 ½ years old, my parents put meinto a children’s home so I wouldn’t run in thestreets. No one speaks German. And here Iam, at the age of 10 ½, having gone throughAlgebra and everything, in a place where notone person speaks a word of my language, sothe only way I could pick up the language wasby sound. So, I was learning, at the age of 10½, as if I was a baby, just learning a newlanguage, because nobody told me that thismeant this. I had to figure it out, but it waslike it entered me directly, instead of beingtranslated.

And, often when I perform in Europe, andsome of the people don’t speak English –because all my work is performed in English –they will still respond on some kind ofemotional level, because of my tone. I hadthat kind of experience at the Gathering Cafe,where Mary first saw me. One night, about adozen people came in and sat in the back, wayin the back. And on one of the breaks, I wasnear there, and I heard them all speakingFrench. So, I went over and started speakingEnglish, and I realized that they didn’t speakany English. So in my very bad French, I asked,“What are you getting?” They said, “Oh, it’sgreat – and you should come to France!” ThenI realized it’s an international – not eveninternational, it’s an intergalacticcommunication of sound between people.

UpSurge! JazzPoetry Ensemble is a free-pushingjazz band with poets Raymond Nat Turner andZigi Lowenberg, chanting, shouting, singing,whispering, speaking and dancing their message.Combining poetry and jazz, male and female,Los Angeles and New York, Jewish and African-American, UpSurge! crosses boundaries, twistsexpectations, moves minds, and incites action,while always holding true to the rhythm. Formore information, check out their website atwww.upsurgejazz.com.Photos by Paul Beattie (left) and Scott Chernis (above)

Poetic Jazz-ticePoems by A.D. WinansPhotos by Lee Tanner

December 1961Duke Ellington concertSophisticated Lady - Mood Indigioand “A Train.”Picasso blueRiding each soundTo the end of the lineLightning notes shimmeringUp and down my spineLike a blind man tappingInto raw emotion

Duke Ellington

Ghoststhe shrill cry of deadjazz greats ring outin the night glidingon dark rain cloudsjazz notes loud as thunderburst the eardrumslike artillery firethe 4-walls closing inlike a police dragnetjazz luminaries beautifulbutterflies spreadingtheir wingsreshaping the starsthe universecosmic matter waiting

in theNight

intense convoluted horn soloold Diz filling the roomwith his raging truthMiles Davis and his lyricsavagery cutting to the boneslicing its way to the centerforce of gravitylubricating the gearsof my mindwhose pigments of indigodisguised as blue floatthrough the blue haze airechoing latitudes of motionlessmotion

Pure Jazz

Lee Tanner’s photographs haveappeared in Down Beat, RollingStone, Jazz Magazine (Paris), JazzTimes, American Photo andPopular Photography. Tanner hashad numerous one-man shows ingalleries and jazz clubs across thecountry, including The Jazz Galleryin New York City, and VisionGallery, Kimball’s East and Yoshi’sin the Bay area. For moreinformation, visit his website atwww.jazzimage.com

A. D. Winans is a San Franciscoborn poet whose work hasappeared internationally. A poemof his was recently set to music andperformed last April at Tully Hull atLincoln Center in New York City,and Dustbooks recently publisheda new book on Los Angeles poet/novelist Charles Bukowski, entitledThe Holy Grail: Charles Bukowski& the Second Coming Revolution.

Although competitors for a quarter of a century,Duke Ellington and Count Basie put down their

swords for the 1961 album, First Time! The CountMeets Duke, to much critical and commercial acclaim.

august 2002 | page 9

poetryjazz steps:

August 1, Thursday3 Go T, Enrico’s, 7pmAnton Schwartz Quartet, StanfordShopping Center (SFJAZZ), 6pmBata-Ketu, Stanford Jazz Festival,8pmBobby Hutcherson, Yoshi’s, 8&10pmDick Fregulia/Vince Gomez Jazz Duo,Cobalt, 7pmKim Nalley, 2 Embarcadero Center(SFJAZZ), 12 noonLedisi w/Anibade, Café du Nord,10pmLos Compas, Elbo Room, 10pmMimi Fox, Downtown, 8pmSheryl Bailey, Jazz at Pearl’s, 9pm

August 2, FridayBlack Market Jazz Orchestra, Top ofthe Mark, 9pmBobby Hutcherson, Yoshi’s, 8&10pmJimmy Smith, Kimball’s East, 8&10pmJovino Santos Neto Quinteto,Kuumbwa, 8pmKen Fishler Trio, Cobalt, 7pmKim Nalley, Downtown, 9:30pmMal Sharpe & Big Money in Jazz,Enrico’s, 7pmMark Wright Sextet, Jazz at Pearl’s,9:30pmMingus Amungus, Elbo Room, 10pmRaw Deluxe, Bruno’s, 10pmWilliam Ford, 101 California Plaza,12noon

August 3, Saturday3 Thinking, Cannery, 1pmBlack Market Jazz Orchestra, Top ofthe Mark, 9pmBobby Hutcherson, Yoshi’s, 8&10pmGraham Bruce, Downtown, 9:30pmJamie Davis, Enrico’s, 8pmJimmy Heath Sextet, Stanford JazzFestival, 8pmJimmy Smith, Kimball’s East, 8&10pmMark Wright Sextet, Jazz at Pearl’s,9:30pmMichael LaMacchia Trio, Cobalt, 7pmVivendo de Pao, Elbo Room, 10pmWendel-Endsley Group, Bruno’s,10pm

August 4, SundayBobby Hutcherson, Yoshi’s, 2&8pmCARMA Big Band Open Rehearsal,Jazzschool, 8pmJazz Jam Session, Bird Kage, 7pmJazz Jam Session w/Khalil Shaheed,Bluesville, 7pmJimmy Smith, Kimball’s East, 5&8pmJohn Abercrombie Trio, Stanford JazzFestival, 8pmPaula West, Jazzschool, 4:30pm

August 5, MondayBishop Norman Williams Quintet, LesJoulins, 8pmContemporary Jazz Orchestra w/KimNalley, Jazz at Pearl’s, 9:00Jenna Mammina/Andre Bush,Enrico’s, 7pmLarry Vuckovich, Yoshi’s, 8&10pmOne for All, Stanford Jazz Festival,8pmThe Drummonds, Kuumbwa, 7pm

August 6, TuesdayCollective West Jazz Orchestra,Johnny Foley’s, 9:30pmJazz Jam, Beach Chalet, 6:30pmJovino Santos Neto, Stanford JazzFestival, 8pmLedisi, Yoshi’s, 8&10pmShan Kenner, Enrico’s, 7pmVicki Burns, Jillian’s, 7pmVince Lateano Trio, Jazz at Pearl’s,9pm

August 7, WednesdayBJ Papa Jam Session, Cobalt, 7pmHerb Geller/Mundell Lowe Group,Stanford Jazz Festival, 8pmJeff Massanari Trio, Jazz at Pearl’s,9pmJules Broussard, Enrico’s, 7pmLedisi, Yoshi’s, 8&10pmNorth Beach Jazz Festival (seeFestivals)United Brassworkers Front, BlueRoom Gallery, 8pm

August 8, ThursdayBruce Escovitz, Jazz at Pearl’s, 9pmDick Fregulia/Vince Gomez Jazz Duo,

Cobalt, 7pmFito Reinoso, Elbo Room, 10pmJohn-Carlos Perea Quartet, OACC,8&10pmJohn Stafford Trio, Enrico’s, 7pmLedisi w/Anibade, Café du Nord,10pmMaraca, Yoshi’s, 8&10pmMimi Fox, Downtown, 8pmNorth Beach Jazz Festival (seeFestivals)Sylvia Cuenca, 2 Embarcadero Center(SFJAZZ), 12 noonSylvia Cuenca, Stanford ShoppingCenter (SFJAZZ), 6pm

August 9, FridayB3 Sensations from Japan, Kuumbwa,8pmBlack Market Jazz Orchestra, Top ofthe Mark, 9pmBrad Niven Trio, Cobalt, 7pmCosmosamatics, OACC, 8&10pmDave Scott Quintet, Jazz at Pearl’s,9:30pmJoel Futterman/Ike Levin Trio, NoeValley Ministry, 7:30pmKim Nalley, Enrico’s, 8pmLos Hombres Calientes, San Jose JazzFestival, 7:30pmMaraca, Yoshi’s, 8&10pmMel Martin, Downtown, 9:30pmNorth Beach Jazz Festival (seeFestivals)Quetzal, San Jose Jazz Festival,5:30pmRufus Reid & the Stanford JazzWorkshop All-stars, Stanford JazzFestival, 8pm

August 10, SaturdayBlack Market Jazz Orchestra, Top ofthe Mark, 9pmBluiett-Jackson-El’Zabar, OACC,8&10pmBroun Fellinis, Bruno’s, 10pmDave Scott Quintet, Jazz at Pearl’s,9:30pmDick Conti Quartet, Downtown,9:30pmGeorge Coleman Quintet, StanfordJazz Festival, 8pmMaraca, Yoshi’s, 8&10pmMitch Marcus, Cannery, 1pmNorth Beach Jazz Festival (seeFestivals)Post Junk Trio, Enrico’s, 8pmSan Jose Jazz Festival (see Festivals)Susan Sutton Trio, Cobalt, 7pm

August 11, SundayBen Allison & Medicine Wheel,OACC, 7&9pmCARMA Big Band Open Rehearsal,Jazzschool, 8pmJazz Jam Session, Bird Kage, 7pmJazz Jam Session w/Khalil Shaheed,Bluesville, 7pmJoel Futterman/Ike Levin Trio,Musicians Union Hall, 7:30pmMaraca, Yoshi’s, 2&8pmNorth Beach Jazz Festival (seeFestivals)San Jose Jazz Festival (see Festivals)Summit, Bach Society, 4:30pmVirginia Mayhew, Jazzschool, 4:30pm

August 12, MondayBishop Norman Williams Quintet, LesJoulins, 8pmBluiett, Jackson, El’ Zabar Trio,Kuumbwa, 7pmContemporary Jazz Orchestra, Jazz atPearl’s, 9:00George Brooks’ Summit, Yoshi’s,8&10pmJackie Ryan, Plush Room, 8pmJenna Mammina/Andre Bush, Enrico’s,7pm

August 13, TuesdayCollective West Jazz Orchestra,Johnny Foley’s, 9:30pmGeorge Brooks’ Summit, Yoshi’s,8&10pmJazz Jam, Beach Chalet, 6:30pmKim Nalley, Sonoma Jazz Festival, 6pmNed Boynton Combo, Enrico’s, 7pmVince Lateano Trio, Jazz at Pearl’s,9pm

August 14, WednesdayDick Fregulia Jam Session, Cobalt,7pm

Eric Shifrin, Enrico’s, 7pmJeff “Tain” Watts Band, Yoshi’s,8&10pmLedisi, Bruno’s, 9pmVince Lateano Trio, Jazz at Pearl’s,9pm

August 15, ThursdayAmendola, Hiraharra, Sickafoose,Bruno’s, 9pmBrad Buethe Quartet, StanfordShopping Center (SFJAZZ), 6pmDick Fregulia/Vince Gomez Jazz Duo,Cobalt, 7pmJeff “Tain” Watts Band, Yoshi’s,8&10pmMarty Ehrlich Quartet, OACC,8&10pmMichael Bluestein Trio, Enrico’s, 7pmMimi Fox, Downtown, 8pmRobert Stewart Quartet, 2Embarcadero Center (SFJAZZ), 12noonVince Lateano Trio, Jazz at Pearl’s,9pm

August 16, FridayBlack Market Jazz Orchestra, Top ofthe Mark, 9pmBrenda Boykin, Downtown, 9:30pmDon Alberts Quintet, Jazz at Pearl’s,9:30pmHotter Thank That, Enrico’s, 8pmKarrin Allyson, Yoshi’s, 8&10pmKen Fishler Trio, Cobalt, 7pmKim Waters, Kimball’s East, 8&10pmLavay Smith, Café du Nord, 10pmSylvia Cuenca, Kuumbwa, 8pmThe Supplicants, Black Cat, 9:30pmTim Berne/Michael Formanek Duo,Ex’pression, 8&10pm

August 17, SaturdayBitches Brew, Bruno’s, 10pmBlack Market Jazz Orchestra, Top ofthe Mark, 9pmDon Alberts Quintet, Jazz at Pearl’s,9:30pmEllery Eskelin, Ex’pression, 8&10pmJackie Ryan, Downtown, 9:30pmKarrin Allyson, Yoshi’s, 8&10pmKim Waters, Kimball’s East, 8&10pmKitty Margolis, The Napa ValleyOpera House, 8pmMichael LaMacchia Trio, Cobalt, 7pmPatrick Green, Cannery, 1pmThe Supplicants, Black Cat, 9:30pmVicki Burns, Perry’s Joint, 8pmWalter Savage, Enrico’s, 8pm

August 18, SundayCARMA Big Band Open Rehearsal,Jazzschool, 8pmJazz Jam Session, Bird Kage, 7pmJazz Jam Session w/Khalil Shaheed,Bluesville, 7pmKarrin Allyson, Yoshi’s, 2&8pmKim Waters, Kimball’s East, 5&8pmTim Volpicella, Jazzschool, 4:30pm

August 19, MondayBishop Norman Williams Quintet, LesJoulins, 8pmCathi Walkup, Plush Room, 8pmContemporary Jazz Orchestra, Jazz atPearl’s, 9:00Eddie Gale Band, Yoshi’s, 8&10pmJeff “Tain” Watts Quintet,Kuumbwa, 7pmJenna Mammina/Andre Bush,Enrico’s, 7pm

August 20, TuesdayCathi Walkup, Plush Room, 8pmCollective West Jazz Orchestra,Johnny Foley’s, 9:30pmFlora & Airto, Yoshi’s, 8&10pmJazz Jam, Beach Chalet, 6:30pmNed Boynton Combo, Enrico’s, 7pmSonny Simmons, Bruno’s, 9pmVince Lateano Trio, Jazz at Pearl’s,9pm

August 21, WednesdayBJ Papa Jam Session, Cobalt, 7pmFlora & Airto, Yoshi’s, 8&10pmSami Kaneda, Enrico’s, 7pmSonny Simmons, Bruno’s, 9pmVince Lateano Trio, Jazz at Pearl’s,9pm

August 22, ThursdayApplejack Trio, Enrico’s, 7pmDick Fregulia/Vince Gomez Jazz Duo,Cobalt, 7pmJules Broussard & Ned Boynton,Downtown, 8pmKepa Junkera, 2 Embarcadero Center

(SFJAZZ), 12 noonFlora & Airto, Yoshi’s, 8&10pmNoel Jewkes, Jazz at Pearl’s, 9pmSonny Simmons, Bruno’s, 9pm

August 23, FridayAnton Schwartz Quartet, Jazz atPearl’s, 9:30pmBlack Market Jazz Orchestra, Top ofthe Mark, 9pmBrad Niven Trio, Cobalt, 7pmFlora & Airto, Yoshi’s, 8&10pmLavay Smith, Café du Nord, 10pmMichael Bluestein, Downtown,9:30pmSons of Bitches Brew, Kuumbwa, 8pmWalter Earl, Enrico’s, 8pm

August 24, SaturdayAnton Schwartz Quartet, Jazz atPearl’s, 9:30pmBitches Brew, Bruno’s, 10pmBlack Market Jazz Orchestra, Top ofthe Mark, 9pmCannon Ball, Cannery, 1pmFlora & Airto, Yoshi’s, 8&10pmJoshi Marshall, Downtown, 9:30pmLavay Smith, Biscuits & Blues,8:30&10:30pmMichael LaMacchia Trio, Cobalt, 7pmMike Vax Jazz Orchestra,Woodminster Amphitheater, 7pmPost Junk Trio, Enrico’s, 8pm

August 25, SundayCARMA Big Band Open Rehearsal,Jazzschool, 8pmFlora & Airto, Yoshi’s, 2&8pmJazz Jam Session, Bird Kage, 7pmJazz Jam Session w/Khalil Shaheed,Bluesville, 7pm

August 26, MondayBishop Norman Williams Quintet, LesJoulins, 8pmContemporary Jazz Orchestra, Jazz atPearl’s, 9:00Flora Purim & Airto, Kuumbwa,7&9pmBarry Finnerty, Enrico’s, 7pmJessica Jones Quartet, Yoshi’s,8&10pm

August 27, TuesdayCollective West Jazz Orchestra,

Bach Society, Miramar Beach, Half Moon Bay, 650-726-4143Beach Chalet, 1000 Great Hwy, SF, 415-386-8439Bird Kage, 4822 Telegraph Ave., Oakland, 510-655-0300Biscuits & Blues, 401 Mason St., SF, 415-292-2583Black Cat/Blue Bar, 501 Broadway, SF, 415-981-2233Blue Room Gallery, 2331 Mission St., SF, 415-515-1210Bluesville, 131 Broadway, Oakland, 510-893-6215Bruno’s, 2389 Mission St., SF, 415-648-7701Butterfly, 1710 Misson St., SF, 415-864-5575Café Claude, 7 Claude Lane at Bush, SF, 415-392-3515Café du Nord, 2170 Market St., SF, 415-861-5016Cannery, 2801 Leavenworth St, SF, 415-771-2061Cobalt Tavern, 1707 Powell St., SF, 415-982-8123Downtown, 2102 Shattuck Ave., Berkeley, 510-649-3810Elbo Room, 647 Valencia St., SF, 415-552-7788Enrico’s, 504 Broadway, SF, 415-982-6223Ex’pression Center for New Media, 6601 Shellmound St., EmeryvilleIntersection for the Arts, 446 Valencia St., SF, 415-626-2787Jazz at Pearl’s, 256 Columbus Ave., SF, 415-291-8255Jazzschool, 2087 Addison St., Berkeley, 510-845-5373Jillian’s, 101 4th Street, SF, 415-369-6100Johnny Foley’s, 243 O’Farrell St., SF, 415-954-0777Kimball’s East, 6005 Shellmound St., Emeryville, 510-658-2555Kuumbwa Jazz Center, 320-2 Cedar St., Santa Cruz, 831-427-2227Les Joulins Jazz Bistro, 44 Ellis St., SF, 415-397-5397Musicians Union Hall, 116 9th St., SF, 415-575-0777Noe Valley Ministry, 1021 Sanchez Street, SF, 415-454-523819 Broadway, 19 Broadway, Fairfax, 415-459-1091OACC (Oakland Asian Cultural Center) 2nd Floor, 388 9th Street,OaklandPlush Room, 940 Sutter St., SF, 415-885-2800Rasellas, 2801 California St., SF, 415-567-5010Rasellas 2, 1534 Fillmore Street, SF, 415-346-8696Top of the Mark, 999 California Street, SF, 415-392-3434Woodminster Amphitheater, 3300 Joaquin Miller Rd., Oakland,510-531-9597Yoshi’s, 510 Embarcadero West, Jack London Square, Oakland, 510-238-9200

Johnny Foley’s, 9:30pmJazz Jam, Beach Chalet, 6:30pmJohn Hammond’s Wicked Grin,Yoshi’s, 8&10pmNed Boynton Combo, Enrico’s, 7pmVince Lateano Trio, Jazz at Pearl’s,9pm

August 28, WednesdayDick Fregulia Jam Session, Cobalt,7pmJohn Hammond’s Wicked Grin,Yoshi’s, 8&10pmLedisi, Bruno’s, 9pmMimi Fox, Enrico’s, 7pmVince Lateano Trio, Jazz at Pearl’s,9pm

August 29, ThursdayDave MacNab Trio, Enrico’s, 7pmDick Fregulia/Vince Gomez Jazz Duo,Cobalt, 7pmMimi Fox, Downtown, 8pmOregon, Yoshi’s, 8&10pmRebecca Coupe Franks Trio, 2Embarcadero Center (SFJAZZ), 12noonRob Sudduth, Jazz at Pearl’s, 9pm

August 30, FridayBlack Market Jazz Orchestra, Top ofthe Mark, 9pmCannonball, Bruno’s, 10pmDiane Schuur, Kuumbwa, 7&9pmKen Fishler Trio, Cobalt, 7pmOregon, Yoshi’s, 8&10pmRhonda Benin & Soulful Strut,Enrico’s, 8pmScott Amendola Trio, Downtown,9:30pmUnited Brassworkers Front, BlackCat, 9:30pmYancy Taylor Jazztet, Jazz at Pearl’s,9:30pm

August 31, SaturdayAnna Kristina, Enrico’s, 8pmBlack Market Jazz Orchestra, Top ofthe Mark, 9pmDick Conte Trio, Cobalt, 7pmJamie Davis, Downtown, 9:30pmOregon, Yoshi’s, 8&10pmWill Bernard, Cannery, 1pmYancy Taylor Jazztet, Jazz at Pearl’s,9:30pm

Got a gig next month? Let us know!E-mail mary@jazzsteps.com.

JAZZ CLUB GUIDE

Club Calendar

BJ Papa hosts bi-monthly jam sessionsat Cobalt Tavern in North Beach.Shown here is his CD, BJ’s World.

page 10 | august 2002

On the Townjazz steps:

Jackie RyanPassion Flower(OpenArt)

Clark Terry wasn’tmumbling when he calledJackie Ryan “a true jazzsinger” on the notes of herlatest album, PassionFlower. Listening to the

gifted Bay area vocalist embrace a diversespectrum of internationally recognized songsand transform them into powerfulinterpretations that range from cabaretintimate to bebop frolic, it furthersubstantiates Clark’s continuing comment...“and a damn good one, too.”

With the resident “A Team” of LarryVuckovich (piano), Jeff Chambers (bass),Eddie Marshall (drums), Allen Smith(trumpet), Noel Jewkes (saxophone) and LuisRomero (percussion), she is a work of artseasoned with timbre, intonation and nuance.The experience as featured vocalist with theRudy Salvini Big Band has blessed her with astrong bell like resonance that allows hersmoky pitch-perfect tenor to dynamicallyproject the emotion and melodicism shecreates for the song.

She does wonders with Billie Holidayclassics like “Now or Never” and “Some OtherSpring.” “A Bouquet For Billy,” a medley ofStrayhorn’s “A Flower Is A Lovesome Thing”and “Passion Flower,” lingers with amelancholy blue hue.

The pleasant surprise is Joe Henderson’s“The Kicker” with original lyrics by Ryan.Bebopping with the best of them, she digsinto a groovy verse-inventing-almost-scatsolo that shows the influential shades of AnnieRoss and honors Joe.

She further delights us with Spanish andPortuguese renderings of “Historia De UnAmor” and “Luiza” by Antonio Carlos Jobim.Sweet and soulful, this is Ryan at her best anda must for collectors of Bay area jazz. Jesse“Chuy” Varela

Jenna MamminaMeant to Be(Mamma Grace Records)

OK, I’ve got to admit I’m ahuge Steely Dan and TomWaits fan. So when a newCD comes out with jazzcovers from these artists,I’m going to take notice.

Especially when the artist doing the coveringis a local lady with talents that will most likelytake her far and wide, and whose first CD,Under the Influence, I enjoyed very much. Ispeak of Jenna Mammina and her second CDfor Mamma Grace Records, Meant To Be.

This CD also offers interestingly differentversions of standards such as Duke’s “In aMellow Tone,” Strayhorn’s “Lotus Blossom”– beautifully enhanced with Ron Burger’sevocative accordion playing – and“Honeysuckle Rose.” There are also someoriginal tunes and other standards that Jennamakes very much her own; her uniquephrasing and vocal quality match the material

very well, and nothing is overdone by eitherthe musicians or the singer. Case in point isthe tenth track on the CD, “Distant Water,”which is becoming a trademark tune for heron live dates. You can really never get enoughof it.

The other players who blend so well includeAndre Bush, guitar; James Genus, bass; MattRollings, piano and B3; Paul McCandless,soprano and English horn; Matt Brubeck, cello;and Darol Anger guesting on violin.Everybody’s favorite bass/drum pair, JohnShifflett and Jason Lewis, appear on oneselection, and Tom Miller provides percussionon several tracks. All in all, this is a verylistenable CD, with great production valuesand unique musical colorations. Meant to Beshould find a home on many CD playersthroughout the country, especially with theradio play that will come as music directorsbecome aware of Jenna’s talents. MichaelHandler

Nnenna FreelonTales of Wonder(Concord Jazz)

When it comes toexpanding the jazzrepertoire, singers have hadan edge overinstrumentalists. They’remore likely to draw freelyfrom musical worlds

outside jazz, bringing new material into thefold. Just check out any of Cassandra Wilson’slast few releases, or Kevin Mahogany’s recentforay into the Motown songbook, “Pride andJoy” (reviewed in the June issue of Jazz Steps).

Nnenna Freelon’s Tales of Wonder exploresthe jazzy side of one of today’s most jazz-oriented pop composers, Stevie Wonder. Hismeaty chord changes and intricate yethummable melodies have attractedimprovisers for decades. Freelon’s disc recaststwelve of these gems with satisfying results.

Give Freelon credit for not taking the easyroute. Rarely does she fall back on originaltempos or arrangements here. By slowing thetempo on “Tears of a Clown,” she draws pathosfrom the lyrics. (Obversely, turning “Lately”into a samba takes some of the sorrow out ofthe song.) She finds swinging elements in manyof these tunes, notably “Another Star.” Onlyon “My Cherie Amour” does she choose notto mess with perfection, sticking with a tempojust shy of the original.

Freelon is ideally suited for this conceptalbum. Her voice and phrasing comes out ofthe jazz legacy, but is infused with the modernpop and soul influences that are inescapablefor singers of a certain age. She’s certainlygrown up with this material. And she’sgathered a capable group of musician, includingguitarist Chuck Loewb and bassist GeraldVeasley, to fulfill her vision.

Though the songs of Mr. Wonder have beenably interpreted by jazz instrumentalists as well(keep an eye out for the recently-released“Standard Wonder” from saxophonist DavePietro), Freelon has made an irrefutableargument here for artists to reconsider thesepop “standards.” Frank Federico

the festival kicks off on Wednesday, August 7 at 8:00p.m. with a gala featuring the San Jose Jazz Orchestra, underthe direction of Dennis Wilson, with singer Jamie Davis.

After that, the free festivities get underway at the headlinerhub of Plaza De Cesar Chavez in Downtown SJ where themain stage is located.

On Friday, August 9, things get rolling at 5:30 pm withQuetzal, the Afro-Mex fusion band from Los Angeles. Theirrecent Vanguard CD, Sing The Real has brought the grouppositive attention and features the talents of folklorist-bandleader Quetzal Flores and the dynamic singer-percussionist Marta Gonzalez. 7:30, New Orleans’ own Los

Hombres Calientes bring their fusion of Crescent City funkjazz with Afro-Cuban and Reggae flavors simmered into adelicious musical gumbo by percussionist Bill Summers andtrumpeter Irvin Mayfield.

From there, pick your favorites and go for it! There are 10stages of jazz, blues, Latin, world beat, high school big bandsand more. Major sponsors include AT&T, Southwest Airlines,Chevron, Ford Motor Company, Forest City CommercialManagement, KICU-TV, Bottomley Distributors, TheHoffman Agency, Coca-Cola and Hopkins & Carley. For thefull festival line-up, check out www.sanjosejazz.org or call 408-288-7557.

Jesse “Chuy” Varela is music director at KCSM Jazz 91 and acontributor to NPR’s Jazz Riffs.

moore continued from page 3

San Jose Jazz Fest: Free Festivities

Bay area saxophonist Theo Kirkrecently released his first CD,Hurricane, to be reviewed inthe next issue of Jazz Steps.

august 2002 | page 11

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