NOTESv e g a s j a z z . c o m

The off icial publication of Vegas Jazz and the Las Vegas Jazz Scene

The Dave Loeb Interview

Part 1

Blindfold Test

Vol. 22, Issue 2 - March/April 2013

Concerts Reviews Artist Bios

j a z z h a p p e n s h e r e .

VEGAS JAZZOFFICERS

PRESIDENT Carolyn FreemanV. PRESIDENT Judy TarteTREASURER Joyce DeversSECRETARY Samantha BadgleyPAST PRESIDENT Frank Leone

BOARD OF DIRECTORSJ. J. Brennan Phyllis (Ginger) David Matt Koerner Kim LinzyDave Loeb Emanuel Schmidt Judy Tarte Mimi Williams

ADVISORSRocky Gordon Dave Rowell Daniel Teich

JAZZ NOTES! is published bi-monthly by Vegas Jazz, a 501(c)3 nonprofit corporation. Subscribe by membership at: vegasjazz.org or by emailing: info@vegasjazz.org Send newsletter emails to Editor@vegasjazz.org or AdMgr@vegasjazz.org Deadline for publication is 1st of the month prior to issue date. SEND MAIL: JAZZ NOTES!, Editor, P. O. Box 60396, Las Vegas, NV 89160

EDITOR Judy Tarte

CONTRIBUTORS JJ Brennan Carolyn Freeman Patrick Gaffey Brian Kendall Frank Leone Dave Loeb Travis Lohman Dave Rowell Bobby Scann Emanuel Schmidt Mimi Williams

PHOTOGRAPHY Paul “Spyder” Evans Ed Foster Emanuel Schmidt Web files

DESIGN Julee Flicker

VEGAS JAZZ MSG. LINE (702) 313-6778

WEBSITE vegasjazz.org

VOL 22 ISSUE 2 MAR-APR 2013

2 President’s Message3-4 Upcoming Events/Meet the Artists5-7 Reviews8-10 Dave Loeb Interview/Blindfold Test10 Introducing Vegas Jazz Member11 In Memoriam/Memberships

Today is the day to discuss and give great thought to our future plans. The Jazz picnic is going to happen, hopefully in a shadier location with optimum weather. Last year I had hoped for no rain and instead got too much heat. I think that positive thought from all of you is in order. We will again hold our very festive holiday party, as I am sure that those of you who attended last year had a good time. Now we have to consider filling in the blanks. What do you want? I have my favorites but I want to know about yours.

I have had some very good news from the Shakespeare Theater Company President, Michael Gill. He is proposing to establish free Jazz concerts for the community. They will remunerate the players and we are to do the booking. Their building remodeling will begin in September but until that time the theater is available. I thought I was having a really good dream! This is an offer we cannot refuse. Michael feels that there are families who cannot afford to go to events and wants to give that opportunity to everyone. I have given a great deal of thought about the music to be presented. It is my feeling that we should include varied styles such as a Dixie Band, Django Gypsy Group, etc. I will set up a panel so this can be done fairly, but with provision for new ideas. We are fortunate to have so many accomplished musicians here, and now, to have a space to allow them to create their art is an unbelievable gift! Thank you, Shakespeare Theater Company.

Recently I had the opportunity to hear Kurt Elling at the Cabaret Theater in the Smith Center. I had only heard his recordings, so to see him live was an experience. He is unique, gifted and so very unusual. His offering of “Skylark” was incredibly beautiful. It seems that it is good to get out once in a while and see what is happening in the world.

The most important highlight of my life was the Nathan Tanouye and the Las Vegas Jazz Connection CD Release Concert. As you may know, my business partner Sharon Resch and I own Peacock Entertainment, which produces CDs and all the performances of the Jazz Connection. Nathan has created a new CD “11” for us and it is a thing of beauty. I hope that you all will get a chance to hear it. There is a review of the concert in this issue of JazzNotes! Again, how lucky we are to have Nathan and his orchestra in our city.

Please contact me in regard to any suggestions you may have. We are always looking for volunteers from all walks of life. I have found that running an organization is akin to operating a business. We all have our areas of expertise. For Vegas Jazz to operate more effectively we need to pull together. YOUR expertise is needed. Please assist in whatever way you can.

Remember, “Music is Forever!”

2 I JAZZ NOTES! Mar-Apr 2013

CAROLYN’S CORNERfrom your President Carolyn Freeman

ATTENTION: Please be advised…as of the May/June issue, ONLY members current on their 2013 membership dues will be mailed their copies of JazzNotes! If you’re unsure of your status please call 702-313-6778 for an update. Thank you.

Cover photo of David Loeb by Emanuel Schmidt

Mar-Apr 2013 JAZZ NOTES! I 3

SPRING 2013 - UPCOMING CONCERTS - LAS VEGASDate/Time Artist(s) Venue Cost

March 6 - 7:30 UNLV Jazz Ensemble UNLV Black Box Theater $10 and Green Valley HS Jazz Band

March 7 - 7:00 La Voz De Tres Shakespeare Company Theater $15 at the door one set with a “Meet the Artists” reception to follow (cash only)

March 9 - 2:00 Jazzin’ Jeannie Brei Winchester Cultural Center $10 in advance, $12 day of show and the Speakeasy Swingers

March 13 - 7:00 UNLV Latin Ensemble Flamingo Library Theater free

March 24 - 2:00 Sam Most Winchester Cultural Center $10 in advance, $12 day of show

April 19 - 12-1:00 Rocky/Ruthie Lombardo U.S. Lloyd George U.S. free Courthouse (Jury Assembly Rm)

April 29 - 7-9 Spring Jazz Fest: Black Box Theater tickets available Jazz III/ Contemporary with Carl Saunders through PAC Box Office

April 30 - 7-9 Spring Jazz Fest: Black Box Theater tickets available Jazz I/II with Carl Saunders through PAC Box Office

May 1 - 7-9 Spring Jazz Fest: Black Box Theater tickets through PAC Box Office Jazz Guitar Ensemble/Latin Ensemble Note: PAC Box Office#: 895-ARTS

May 8 - 7:00 UNLV Jazz Combos Flamingo Library Theater free

March 7: LA VOZ DE TRESSponsored by American Jazz Initiative (AJI)

Shakespeare Company Theater, 821 N. Las Vegas Blvd (formerly Reed Whipple)

A repeat performance from the popular trio presented as part of their 2013 concert tour (see JazzNotes! March/April 2012 for a review of their February 28, 2012 concert). This New York City-based group will be appearing in Las Vegas for one night only. Chilean vocalist Natalia Bernal, keyboardist Mike Eckroth and seven-string guitarist Jason Ennis will present an evening of Latin American-influenced songs, original compositions and selections from the Great American Songbook, in a unique representation of their individual backgrounds and musical influences.

Eckroth is quoted: “This is a collective group, placing an equal emphasis on what each member of the group is doing. The songbook ranges from Brazil to other parts of Latin and American music, but we are at heart a jazz band and the emphasis is on improvisation.”

March 9: JAZZIN’ JEANNE BREI & the SPEAKEASY SWINGERSSponsored by Clark County Parks and Recreation

Winchester Cultural Center, 3130 S. McLeod Drive (north of D.I.) 702-455-7340

The Speakeasy Swingers are comprised of Jeanne Brei, voice; Don Hill, sax; Bobby Scann, trombone (also featured in the “Meet the Members” section of this issue); Michael Ray Tyler, trumpet; Charlie Shaffer, piano; Dick Jones, bass; and Paul Testa, drums. 91-year-old Don Hill played three years with Louis Armstrong and was an essential part of The Treniers, the early R&B and rock band that became the longest-lasting Las Vegas lounge act in history.

MEET THE ARTISTS

l to r: Mike Eckroth, Jason Ennis, Natalia Bernal

4 I JAZZ NOTES! Mar-Apr 2013

March 24: SAM MOSTSponsored by Vegas Jazz and Clark County Parks and Recreation

Winchester Cultural Center, 3130 S. McLeod Drive (just north of D.I.) 702-455-7340

Who is Sam Most, you ask? According to Charlie Mingus “he is the world’s greatest jazz flute player.”Jazz Historian, Leonard Feather, has said “Justice should demand that the history books document Most’s role

as the first truly creative Jazz Flutist.”Virtually every top flutist active in jazz over the last several decades has acknowledged Most’s role in introducing the instrument to modern

jazz and in pioneering and perfecting a number of its most widely used techniques; among them he is credited with being the first flutist to “sing” or “hum” through the flute.

Born in Atlantic City, Most began his musical journey at the age of 18 with the bands of Tommy Dorsey, Shep Fields and Don Redman. His first recording at age 23, entitled Undercurrent Blues earned him the title “first bop flutist,” and the next year he was awarded Downbeat Magazine’s “Critic’s New Star Award.” Since that time he has played jazz all over the world (Afghanistan, Nepal, Indonesia, India, Europe, South America, Japan) and has recorded and played for such names as Stan Getz, Horace Silver, J.J. Johnson, Zoot Sims, Stan Kenton, Sarah Vaughn, Donald Byrd, Chet Baker...the list goes on and on. He toured with Buddy Rich from 1959-’61 and then worked in Las Vegas and Palm Springs, with, among others, Red Norvo and Louie Bellson. Upon moving to Los Angeles he became a mainstay in the jazz scene and as a studio musician.

He is also the author of the following highly acclaimed books: Jazz Flute Conceptions and Metamorphosis: Transformation of the Jazz Solo. Another book on harmony and piano voicings is to be published soon.

Sam continues his contributions to the jazz world, playing in festivals and on the jazz circuits. In recent years, he has been teaching improvisation, theory and composition. He is accomplished on all woodwind instruments and piano and has recently added a new dimension to his performance, a most unique scat singing talent, that, up to this time had been displayed on rare occasions only by request.

April 19: ROCKY and RUTHIE LOMBARDOSponsored by the City of Las Vegas as part of the Downtown Cultural Series

Lloyd George U.S. Courthouse (Jury Assembly Room), 333 Las Vegas Blvd., So; call 702-229-3515

Presentation will include songs from the American Songbook: featuring American composers from 1920 to the present.ROCKY LOMBARDO - Trumpet, Flugelhorn and Piccolo Trumpet

Rocky has performed frequently in the San Francisco area at the Jazz Workshop and Pearl’s Jazz Club; recorded with Carl Fontana, Joe Farrell, Richie Cole, and with several big bands; his jazz festival

experiences include Telluride and Montreux (performing with Max Roach). His diversified career includes performances with the Nevada Pops, Nevada Symphony, Nevada Chamber Orchestra and Las Vegas and

Denver Opera Companies; television specials with Henry Mancini, Jerry Lewis, Joe Williams, and Bill Cosby; and in celebrity rooms for such artists as Tony Bennett, Sammy Davis Jr., Nancy Wilson, Doc Severinsen, Mel Torme, and Jack Jones.

His teaching experience includes UNLV jazz improvisation classes, jazz combo classes and as leader of larger jazz ensembles. He currently performs with his jazz duo and trio as well as at the Smith Center for the Performing Arts and teaches trumpet and jazz improvisation. RUTHIE LOMBARDO - Piano, Organ and Vocals

Ruthie has performed in the Denver and Las Vegas areas with such notables as Chet Baker, Harold Land and Bud Shank as well as leading her own duos and trios. She has many original compositions which have been published, and worked with Russ Freeman and Joe Lano on a CD project. She worked in Las Vegas at the Sahara and the Desert Inn Hotels and has performed with several big bands, including those of Walt Boenig and Tony Scodwell. She has also performed and conducted clinics at several jazz festivals, including the Mile High Festival in Colorado. She continues to teach and perform regularly, primarily in the Las Vegas area.

April 29/30: CARL SAUNDERSUNLV Spring Jazz Fest; Black Box Theater, located at 4505 Maryland Parkway, part of the UNLV Performing Arts Center complex.

Carl was born into a musical family. His uncle was trumpeter-bandleader Bobby Sherwood, his mother sang for the Sherwood orchestra as well as Stan Kenton, and his uncle is tenor saxophonist Dave Pell.

He began playing trumpet in seventh grade and quickly found he had a natural ability, mostly learning to play by ear, never having any lessons. Upon graduating high school he joined Stan Kenton’s band and spent much of the next two years on the road with the group. After that, he traveled with Bobby Sherwood’s group, settling in Las Vegas, where he spent the next 20 years playing with countless show bands, including lead trumpet with Ella Fitzgerald, Tony Bennett and Frank Sinatra. He moved to Los Angeles in 1984 and was soon playing lead with Bill Holman’s Orchestra and working for John Williams and other big bands including Bob Florence, Johnny Mandel and Gerald Wilson.

Once asked to define jazz, he replied, “It’s a combination of intellectual funk and hypnotic swinging.” Saunders continues to play, record and conduct clinics all over the world.

Mar-Apr 2013 JAZZ NOTES! I 5

Joe Williams, one of the world’s greatest jazz singers, created a foundation that presents an annual fund-raising concert to provide music scholarships for deserving Las Vegas college students. This afternoon event was a ‘Love Affair’ between the audience, who love the music and support the program and

the entertainers, who performed as a tribute to Joe. It was agreed by all, many of whom had been attending this

annual event for years, that this year’s program was the best by far. Clint Holmes, Laura Taylor, Ronnie Rose, Sammy Shore, Tina Walsh, the Cunninghams, Jo Belle Yonely, Earl Turner, Pia Zadora with Vincent Falcone, Marlena Shaw, and the wonderful Emcee, Pete Barbutti, world renowned entertainers whom we are proud to identify as “locals,” gave absolutely outstanding performances. The one exception to “local” talent was a surprise visit from the gracious Ben Vereen, who had performed at the Smith Center the night before and changed his travel plans so he could lend his talents for this most worthy cause. All performers were backed by the UNLV Jazz Ensemble I, again showing the proficiency and talents within the University Jazz Studies program. Many of these students

At this point in time, there is more than enough written about the UNLV Jazz Ensembles, as well as the associated student acts and combos. All of the performances from UNLV’s student groups have always featured top-tier performances, memorable music, and most of all, the enthusiasm and support of the local Vegas music scene. The audience in attendance ranged from college students to long time Las Vegas natives. The concert given on January 12, 2013 at the Flamingo Library was no exception. UNLV’s own “Joe Williams Every Day Foundation Quintet” gave an absolutely blissful concert. The synergy this group plays with is absolutely unbelievable. UNLV’s Joe Williams Quintet consists of the following members: Jason Corpuz on piano, Carlos Alvarez on saxophone, Jorge Machain on trumpet, Max Acree on trombone, Nick Schmitt on bass, and Austin Pooley on drums.

The evening kicked off with a wonderful arrangement of the Duke Ellington classic “Satin Doll.” This particular arrangement was done by Austin Pooley and featured a wonderfully executed piano introduction by Corpuz, followed by a statement of the head with the three horns. Rhythmically speaking, the improvisations featured on this arrangement were extremely fluid, musical and contoured. Carlos Alvarez followed with a full-bodied sound on the soprano sax. His musical ideas were logical. Especially interesting was the “B” section where the melody was played in half time.

Benny Golson’s tune “Stablemates,” arranged by Julian Tanaka was next on the list. This chart really showcased the talents of trombonist Max Acree. It’s a joy to listen to him exhibit his

had been recipients of this scholarship. Dave Loeb, Director of Jazz Studies, along with fellow faculty member, Nathan Tanouye, were jusifiably proud of the expertise shown by their students.

Clint opened the show with an energy that prevailed throughout the afternoon. Special guest, Ben Vereen, did not disappoint and made a passionate appeal to the audience to nurture the Arts with his show stopping “Stand By Me/Stand Up for the Arts.” What a motivator he is!

The finale brought all the performers back on stage to sing “Every Day I Have The Blues” and ended with the audience singing along. It was a wonderful, joyful experience.

All in all, it was an afternoon of incredible energy, talent, and fantastic music. What a thrill to be a part of it all. Let’s keep the music playing…

control, range, tone and musical ideas. Utilizing the entire range of his horn, Max really brings amazing personality and style to this group. Jorge Machain followed, with an equally impressive solo. Machain showed he is no stranger to virtuosic solos, with rising coloristic lines, bits of bebop vocabulary scattered throughout, musical sequences, and usage of space. This was a wonderful arrangement. Austin Pooley’s drumming really pulled the feel and groove of the whole group together.

Other selections of the evening included an original by Corpuz titled “Dreamcatcher” and an original by Alvarez titled: “Green Valley Parkway.” These concerts give opportunities for the students to exhibit not only their performance abilities but also their talents in composition. Alvarez, Corpuz, and Schmitt all gave lucid, yet bold musical solos over “Green Valley Parkway,” a tune which holds together very well and captures the vibrant and bustling atmosphere of the local area. Another standout selection was the Henry Mancini tune “BriggsVille” which featured the impeccable and amazingly precise playing of Max Acree. What a range! The final tune of the evening was a Thelonious Monk standard arranged by Nick Schmitt. With dissonant horn hits and a wonderful piano ostinato in the beginning, it was the perfect way to end the evening.

From modern, to original, to classic jazz, there’s a reason why this sextet is UNLV’s top college group. Simply put, they can do it all.

JOE WILLIAMS SCHOLARSHIP FUND CONCERTNovember 11, 2012 - UNLV Ham Hall - review by J.J. Brennan and Mimi Williams - photos by Ed Foster

THE JOE WILLIAMS SEXTET STUDENT EXTRAVAGANZAJanuary 12, 2013 - Flamingo Library Theater - review by Travis Lohmann

REVIEWS

finale:l to r - Ronnie Rose,

Earl Turner, Ben Vereen, Marlena Shaw, &

Clint Holmes

emcee: Pete Barbutti

6 I JAZZ NOTES! Mar-Apr 2013

Sherlock Holmes might call this concert presentation “The Case of the Vacillating Venues.” Indeed, it was originally announced to be taking place at the Shakespeare Company Theater (formerly the Reed Whipple Auditorium). Then it appeared the Shakespeare, due to not having completed renovations, would not be able to host the event. Subsequently, it was changed to the CSN Horn Auditorium, with little ability to get out word of the change. In the “11th Hour”, Shakespeare’s CEO, Michael Gill, was able to come through for Eleven Colors. Kudos to Michael and good luck to his company!

Special thanks must be accorded to Carolyn Freeman and Sharon Resch for their never ending support to sustain the Las Vegas Jazz Connection Orchestra.

With the hard wooden chairs of the former Whipple Center, newly replaced with plush ones, the near capacity audience was able to focus on the music without any distracting posterior discomfort. This band, capable of holding its own against any in the world, got off with an energetic Latino start; “Visiones de Cuba,” featuring brilliant solos by Phil Wigfall, Eric Tewalt, and Gil Kaupp, with Michito Sanchez contributing powerfully, as he would throughout the concert, the authentic Cubano and other Latin styles percussion strokes atop the driving drums of John Abraham.

It only took this first song to sense the audience’s rapture, which never diminished for the entire concert. The selections were well

balanced, half being Latin, and half being swinging arrangements. In addition, delightful contrast was provided by two featured vocalists. Lenny Lopez sang wonderfully on “Dentro La Luz,” building in intensity until the song’s climax, where he indeed brought the listeners “Into the Light!”

Toscha Comeaux, (formerly of the Cirque’s “Elvis”), contributed two gorgeous ballad selections, the classic, “My Funny Valentine,” and Russ Freeman’s lovely laconic tableau, “Summer Sketch.” In these, with a huge soaring voice bordering on the operatic, she was able to exhibit the extreme range of her voice, improvisational skills, and a deft interpretative style. This is one voice that never need fear being overpowered by an orchestra.

Mention must be made of the significant improvisational solos contributed throughout the concert by David Loeb, Nate Kimball, Wayne de Silva, Rebecca Ramsey, and John Abraham. Nathan Tanouye, Conductor/Arranger, had his work cut out for him, having to hold the orchestra together on his charts of extremely technical intricacies, the piece de resistance being his interpolation of the Rhapsody in Blue, featuring UNLV’s award-winning pianist, Otto Ehling. This is a bold attempt at re-arranging and re-orchestrating Gershwin’s classic, as the original is so indelible in the minds of its listeners. This is the only the second flirtation of rewriting this gem that I know of. The first was Philadelphia pianist-arranger Calvin Jackson’s brilliant 1958 venture for Liberty Records; Jazz Variations on Rhapsody In Blue. The Gershwin family was offended, considering this as being blasphemous and sued, forcing Liberty to withdraw the now collectable velvety blue covered LP from the market. It has never been legally re-issued in any format.

ELEVEN COLORS – THE LAS VEGAS JAZZ CONNECTION ORCHESTRAPresented by Peacock Entertainment

January 20, 2013 - Shakespeare Company Theater - review by Frank Leone - photos by Emanuel Schmidt

Program1. Visiones de Cuba 4. Eleven Colors 7. Happy Little Sunbeam2. Para Ti 5. My Funny Valentine-featuring Toscha Comeaux 8. Into the Light-featuring Lenny Lopez3. Nickolas’ Green Monster 6. Summer Sketch-featuring Toscha Comeaux 9. Rhapsody In Blue-featuring Otto Ehling, Pianist

Saxes: Trumpets: French Horns:Phil Wigfall - Eric Tewalt Dan Falcone - Glenn Colby Doug Beasley - Fred StoneMarc Solis - Rob Mader Gil Kaupp - Matt FronkeWayne de Silva

Trombones: Rhythm:Curt Miller - Nate Kimball Dave Loeb-Piano / John Abraham-Drums / Marc Langis-Bass / Michito Sanchez-Latin PercussionMike Dobranski 12 Strings: Rebecca Ramsey, Concertmaster

Peacock Entertainment partners: Carolyn Freeman and Sharon Resch

Otto Ehling in performance ofRhapsody in Blue

The good news is that this new version succeeds on its own, and with all due respect to Gershwin’s original, both thematically and harmonically. After all, the original Rhapsody was improvisatory,

and as it’s been reported, when Gershwin himself played it, he always improvised new ideas. Otto Ehling has successfully done this, too, in today’s performance, utilizing his considerable improvisational and pianistic skills simply, then again, intricately, and finally flashy. That’s what the piano is for, so why not?

This concert was performed without an intermission, yet no one was about to stir. When it was finally over, the band and all the featured performers, now amassed on the stage, received a thunderous, standing ovation. If anything, “Eleven Colors” was a misnomer; “A Thousand and One Colors” would have been more like it.

NOTE: The CD, Eleven, can be purchased through: cdbaby.com for $15 or by contacting Carolyn Freeman at 702-528-0455

Mar-Apr 2013 JAZZ NOTES! I 7

The four members of B3 Conspiracy hail from New Jersey, but they individually began their migrations to Las Vegas in the mid 1960s.

Having paid their dues in virtually all of the city’s showroom orchestras, they now enjoy playing the music of McDuff, Miles and Monk.

Led by Hammond B3 artist Bill Callanan, the quartet includes guitarist Hap Smith, tenor saxophonist Thom Pastor, and drummer Paul Testa.

Sleeping Lions opens with Dizzy Gillespie’s “A Night In Tunisia” in the manner of B3 legend Jimmy Smith, with Callanan’s work becoming stronger after the first four or five minutes. Young’s “Luny Tunes” follows, offering nice guitar and sax work - both solo and duo. Track 3, “brother” Jack McDuff’s “A Real Goodun,” is an aptly titled swinger that gives Smith and Pastor opportunities to stretch out and display

their “chops.” It is arguably one of the better two or three tracks on the disc, attesting to the group’s level of comfort with McDuff charts.

Next up is leader Callanan’s compositon “Once In A Mile,” a nice melody which, once again, showcases a strong sax performance. After this cut, the group does a fine job of swinging with Les McCann’s upbeat “That Healin’ Feelin’.” The following track, another McDuff swinger titled “One And Eight,” provides Callanan with perhaps the best chance of showcasing the range of his B3 talent. It’s one of the disc’s better offerings.

The penultimate number (seven, if you’re counting) is another Callanan composition, melodically interesting, with a strong sax solo.

To close out with a swinger, Callanan again turned to McDuff for the upbeat “Vas Dis,” with his B3 and Pastor’s sax working very well, both individually and together.

While I’d have preferred to be blown out of my chair with a few episodes of the pyrotechnics that can be produced on the B3, that is not what this group is about. What they do is fine, and merits some more listening.

SLEEPING LIONS, 2012 CD RELEASE FROM B3 CONSPIRACYCD review by Dave Rowell

Otto Ehling and the Jazz Connection Orchestra in rehearsal

CONGRATULATIONS....The UNLV Jazz Ensemble I, conducted by Dave Loeb and Nathan Tanouye, and the UNLV Latin Jazz Ensemble, directed by Uli

Geissendoerfer, have been selected, among distinguished music programs nationwide, to compete in the College Big Band and Open Combo Divisions, respectively, at the prestigious Monterey Next Generation Jazz Festival April 5-7, 2013, in Monterey, CA. This is the third invitation in six years for students from the UNLV Jazz Studies Program to perform at this acclaimed festival and we congratulate them for their remarkable accomplishment!

Only six groups in each of these categories, from over seventy top collegiate jazz programs, were chosen through a rigorous “blind” CD audition process judged by renowned faculty from the Berklee School of Music.

8 I JAZZ NOTES! Mar-Apr 2013

“LIKE IT’S THE LAST PIECE YOU’LL EVER PLAY” - The Dave Loeb Interviewby Emanuel Schmidt

As I sat down in Dave Loeb’s UNLV office, it became evident that here was a man who not only has a long and diverse history, but he was comfortable in the choices he had made, just like the chair he chose – flexible, giving him an overview of his surroundings, but also having to be carefully balanced by its occupant. Most of the broader Las Vegas music community has seen at least one of Dave Loeb’s many professional hats – pianist, composer, arranger, educator, networker - and we know they all look great on him. But what of the history behind the man who singlehandedly keeps his metaphorical milliner employed? Loeb knows that the music he makes is the result of living life, of experiences, and that’s perhaps why he knows his own history, and that of others who have affected him. In fact, he knows a lot of history, and in great detail.

Loeb’s Scottish uncle, who played drums in a Scottish band on weekends, was perhaps the first to take note of the boy’s talent, and later in school, Loeb took the Seashore test of musical ability and aced it. DL: I started taking piano lessons from a church organist when I was I think 6 or 7. Our home piano was horribly out of tune and I would relish the chance to figure out something on some other instrument that was actually in tune…so I’d go and play…[also], my grandmother…was a huge influence, she took me to community concerts when I was about eight, and that made an indelible mark, including the Columbus

Boys’ Choir, and still to this day, I can remember those concerts. The pure sounds, the boy sopranos singing, and the pitch was so perfect, and then there was also [pianist] Jorge Bolet (1914-1990).

But Loeb’s initial musical experiences were occasionally challenging. His great ear allowed him to

experiment with popular music at an early age, much to the chagrin of Dr. Duddy, the piano teacher whose sole mission was to turn Loeb into a church organist, as soon as the latter could reach the pedals:

I’d go and play for Dr. Duddy, he would slam the lid on me – I was only eight years old, you know – he would say, ‘this is not appropriate for you to play, Mr. Loeb.’ So I learned at a very early age to not take verbatim what many of your mentors tell you.”

Loeb recognizes the important life lessons he faces and passes

them on to his students: “[my students] probably find it bizarre that I encourage [critical evaluation], but I know that…any great musician…we all know, that the ‘aha’ moments, when they come, they all come from within…great teachers like a Joe Lano, guide you…there’s no way around that self-discovery. That’s what makes music so wonderful, particularly jazz music, because of the internalizing and the very hard work of being a musical detective and digging…”

Loeb wasn’t exposed to jazz until high school, by which time he was already well versed in classical piano repertoire, plus his sight-reading was already exceptional. His ability to work out music by ear not only grew, but became the stuff of legend in his community: “Once word got out, everybody wanted me to be in their bands. Because I could hear it and tell them what notes to play.” The necessity to help pay the bills at 15 became the mother of musical invention and Loeb began to pay his dues playing a variety of R&B, classical and jazz organ and piano gigs. He even played bass. But the young pianist had something to prove: apart from his grandfather, there was no exceptional musical history in his family. DL: Once in a while, my grandfather would get his harmonica out, but once I started playing, he seemed to not want to do that anymore, which was kind of unfortunate, for whatever reason…ES: maybe he felt intimidated…DL: I think it was something like that, but it was just a shame, because…just to share…I didn’t have any pretense or anything.

No doubt, winning the ‘Battle of the Bands’ helped establish Loeb’s credentials, and opportunities increased. But Loeb knows opportunities are unevenly distributed or attained, and with a hint of melancholy he recalls: “My friends growing up were African Americans, whatever the term was at the time…they lived around the corner…we were the upper ghetto, they were the ghetto…they were in the cub scouts…once we were in junior high school we kind of split, and then they got into trouble, and most of them went to prison for different things.” Perhaps music educators should take note: some students stay off the streets purely because of their love of music. This love can be a powerful catalyst: “Many of the groups I played in, were electricians and would play on weekends, …then I was introduced to jazz organ…Don Patterson… and I fell in love immediately. Even before Jimmy Smith…and Jimmy Smith is from Norristown, PA…so there is kind of a cult of jazz organists in that area, they kind of linger and they kind of float, and I kind of started to get immersed in that a little bit.”

Already during high school, Loeb’s ability to immediately reproduce the music he heard (and teach it to others) placed him in

David Loeb, Director of Jazz Studies and Associate Professor of Music at UNLV has had a varied career as a pianist performing with such renowned artists as Freddie Hubbard, Joe Williams, Andrea Bocelli, Garth Brooks, Celine Dion and Quincy Jones; as a studio keyboardist as well as playing for television shows including The Emmy Awards and Hill Street Blues and for feature films including The Birdcage and Pocahontas. He orchestrated for George Benson and Doc Severinsen and arranged music for the Academy Awards and American Music Awards. He performed as principal keyboardist with the Hollywood Bowl Orchestra, and is Musical Director for Ben Vereen. He is in demand as a jazz adjudicator and served as clinician in the International Association of Jazz Educators in New York City. He currently serves on the Board of Directors for Vegas Jazz.

Mar-Apr 2013 JAZZ NOTES! I 9

such demand that he received offers from further afield, and he had to make a tough choice. “I was getting all these calls from these groups in New Jersey, but I didn’t want to leave…I think I was 15 or 16 years old, and the woman who became my first wife…we were dating when I was 15…and I didn’t want to leave her, even though it’s only an hour and a half away, so I stayed around.”

After high school graduation, Loeb followed advice (“so he could obtain a teaching job”) and enrolled at West Chester University (PA) as a Music Education major in 1970, graduating in ’74. According to Loeb, the possibility of a performance career in jazz was at that time already under threat due to the advent of Rock music. But Loeb’s resilience, his passion for his music, his skills, and an extraordinary ability to find beauty in all musical situations, motivated him to explore beyond jazz – to play Rock, weddings, church music, and he never shied away from taking a ‘day gig’ to pay his bills if necessary:

“I played with groups professionally, … with Joe DeAugustine [Las Vegas drummer Tony DeAugustine’s father]. Joe played my first wedding…I paid my uncle back the $300 for an organ I had bought with money from delivering newspapers. I worked at the steel plants when I was about 16 years old. I also lifeguarded in the summer.”

Loeb’s skills as an organist were also in demand at a local church, where he played for services and choir performances:DL: I’d get in trouble [at the church], I remember making fugues out of [John Denver’s] “Leaving on a Jet Plane,” I would pick a pop tune and see if the choir noticed, I would very slyly, introduce two, maybe three voices, and to see if they’d recognize it. But I got in trouble, at one of the services, I had been at two proms in a row the night before, I’d been up all night, 15, 16 years old, and I was at the sermon, in the church, and just like today, I’m sitting on this [chair], I wanted support for my back so I slid off the organ stool to a chair, there in the chancel on the other side. So I’m sitting there, and the pastor ends the sermon, “…and the peace of God, which surpasses all understanding…,” you know, and everybody’s bowing their heads, and they’re waiting for a [plays IV – I ‘Amen’ plagal cadence on piano], but there I am asleep on my chair…and the pastor comes back, and he kind of shakes me…actually, he put his hand on the keyboard and went like [plays dissonant cluster], he had to shake me, and I came over to the organ, and played [IV – I]. And there were little snickers everywhere. I thought for sure, “that’s it, I’m fired, I lost my job,” but I needed the money, I had to have the money, $30 or $40 a week, whatever it was, and I was just so nervous, I waited till everybody was out of church, I was embarrassed, so I walked down the aisle and here’s the pastor, over on the other side where I couldn’t see him. And he goes, “David, did you read the last verse of the hymn you just played?” I said, “No, pastor, I’m so sorry.” He said, “Just read it.” And I read it, and it said, “he sleepeth not, he slumbereth not.” That’s what it was. And he said, “Don’t worry about it, it can happen to anybody.” Later he ended up marrying my first wife and I.

Loeb would finish his training at West Chester University and, while touring, saw an ad in Downbeat magazine for the Eastman School of Music and its new Masters in Jazz Studies and Contemporary Media (JCM): “I was interested in it and walked over to Eastman, my first wife arguing with me, she didn’t want me to leave her on the bus. I said, ‘I’m gonna go,’ went over, and walked into the Eastman Theater… and there’s the Eastman Orchestra playing [Stravinsky’s] ‘Rite of Spring,’ …it was an unbelievable sound. And I found my way around the back, snuck up on my old high school friend who was playing timpani for it, and he was surprised to see me. He said, “what are you doing here?” and I said, “I’m with the Glenn Miller Band.”

He said, “Can you come help me with this thing?” and he takes me upstairs, and it was Bill Dobbins, and he said, “Play for us,” and I played ‘Stella By Starlight,’ and he said, “How are your grades?” “Oh they’re fine.” “Have you finished your degree? When you’re ready, we’re accepting you.”

Loeb also had to pass a classical audition for which he provided a reel-to-reel recording of his performance of the Ravel G Major Concerto with the West Chester University Symphony Orchestra. It was during Loeb’s studies at Eastman that he came to another crossroads as he met one of his most significant musical collaborators:

“So [my first wife and I] moved to Rochester, and I was at Eastman and Ben Vereen, who was really hot at the time, was coming through and performed at the Town and Country. Many of the Eastman musicians, [saxophonist] Bob Sheppard, who was one of my great friends…would play there. And they said, come on over, come see the show. Marc Dicciani, a friend from Philadelphia, had gotten the job as Ben Vereen’s drummer, because he sightread the music. Ben had brought a drummer from New York, and he had a ballet sequence in 5/4, and he couldn’t play it…And he also hired my best friend Tony Ventura. His dad was Charlie Ventura, the saxophone player. Tony could play R&B like, Earth Wind and Fire, then turn around and play like Joe Pass, and then classical guitar. He was my best friend. So I caught up with Marc and Tony at the Town and Country, in another blizzard, and my wife argued with me because she didn’t want me to go and have an accident…but I went over and didn’t really know that much about Ben Vereen apart from a TV special [Comin’ At You], and they got me into the show, and I was just mesmerized by his performance… So after the show, I go backstage, and Marc says, “would you like to conduct for Ben Vereen?” “Really? Are you serious?”“Yeah.”

And I went in, and I met Ben Vereen, and he was watching himself on Roots The Miniseries, on a TV. He was Chicken George on Roots, The Miniseries… So Marc [Dicciani] was upset with the conductor because the conductor had brought the band in for the fourth time incorrectly on ‘It Don’t Mean A Thing,’ a band introduction chart, real fast tempo, and Marc would do some things in the solo, I guess the conductor got turned around, and kept bringing the band in wrongly…Marc was infuriated, and I said, “well I’m finishing school in May” – and I tell students this story all the time – I had a grad assistantship in jazz at Eastman, the first one there, I taught beginning improvisation and keyboard. In fact, one of my former students is now one of the top jazz educators nationally, Ellen Rowe, I’m really proud of her - she had the spark right away.

So I turned [the job with Ben Vereen] down, thinking, well, that’s gone…but I was finishing school in May - and they called and said, “Can you come out in two weeks?” So I did. I came out to L.A. and we did the ABC affiliates, started with Ben Vereen, two years later, he asked me to start writing arrangements for him. Within a couple of years, I was writing almost all the arrangements in his live show.

Continued in the next issue.

10 I JAZZ NOTES! Mar-Apr 2013

BLINDFOLD TESTDave Loeb with Emanuel Schmidt

Oscar Peterson “C Jam Blues” (Night Train, Verve, 1962). Ray Brown (bs), Ed Thigpen (dr). [Immediately] Unmistakably Oscar. It’s Oscar Peterson. What’s this called, ‘Intermission Riff’? It could have been this Polish guy that copied his style exactly. But that’s a bet that’s Oscar. …you got me about the personnel…it might be Thigpen and Ray Brown. That’s what I think. It’s one of the classic trio records. Was it on Impulse? [After:] Verve! I can see it. That album I can see. Night Train! Of course. And it’s “C-Jam Blues”, they also call it “Intermission Riff.”

Bill Evans “I Loves You Porgy” (Waltz For Debby, Riverside, 1961). Scott Lafaro (bs), Paul Motian (dr). [After about two measures:] Oh that’s Bill, “I Loves You Porgy.” Not sure about the band…LaFaro…Motian. Classic. I don’t remember the album title…it’s live at the Vanguard…[After] Waltz For Debby. I can see that one too.

Thelonious Monk “Hackensack” (Criss Cross, Columbia, 1962). Charlie Rouse (ts) Frankie Dunlop (dr) John Ore (bs).That’s Monk. I know the tune [sings along]…Eronel…[ES: I believe the song title has something to do with the recording engineer, the location…]…Ruby…? No…I know this tune…[aims for the musicians]…Charlie…Charlie Rouse…[thinks] [After]. Yeah, they played with him all the time in that period. “Hackensack! Hackensack!”…exactly, in NJ there, that’s where they all worked.

François-Joël Thiollier “La Cathédrale Engloutie” (Debussy: Clair de Lune and other Piano Favorites, Naxos, 1996)Richie Beirach…Denny Zeitlin…Steve Kuhn…all these…it’s almost like a Scriabin thing. It’s like the Sunken Cathedral kind of thing…[ES: It is.] What’s that? That’s what it is?? Yeah! Beautiful.

Keith Jarrett “I Hear A Rhapsody” (Standards in Norway Live at the Konserthus, ECM, 1989). Gary Peacock (bs), Jack DeJohnette (dr). [Immediately] This is Keith, “I Hear a Rhapsody.” Gary Peackock and…Jack DeJohnette… Standards Live? [After] Standards in Norway! That’s what this is? I’ve heard it. I don’t have it, but I heard it. I’ve heard parts of it.

Marcin Wasilewski “Free Bop” (Trio, ECM, 2005). Slawomir Kurkiewicz (bs), Michal Miskiewicz (dr). Oooh..shades of Brad Mehldau…Larry Goldings? I’ve heard this guy. I’ve heard this guy. [ES: If you have, you can’t pronounce his name.]…I mean I recognize, the style, I have heard him playing. Maybe a student brought him in…[After:] Oh yeah yeah yeah, he’s phenomenal. [ES: this is the trio that plays with Tomas Stanko.] Yeah, yeah. I gotta get this stuff. I can’t keep up with this. I’m so busy running around typing papers.

Bobby Scann has lived and worked in Las Vegas since 1976. He is originally from Philadelphia, where he learned to play trombone his freshman year of high school (his band director needed a trombone for his bands). He then learned to play the double bell euphonium and was featured soloist in the concert band. He won a scholarship on that instrument to Valley Forge Military Academy and Junior College and while at Valley Forge played in the cadet dance band. He then studied classical trombone at Center City Philly and Temple University while working toward his Bachelor in Music degree. It was during his last year at Temple that his musical life changed. He began jazz studies with Adolph Sandole (brother of Dennis Sandole who was John Coltrane’s teacher). These studies gave him a great foundation in improvisation.

In 1970 he was accepted into the US Army Band at Fort Myer, Virginia where he and Dave Stahl formed a group to play big band charts as well as originals (this jazz band later became the Army Blues). During this time he worked on his Masters in Music and would play jazz on weekends. In 1974 he went to New York City working as a trombone “freelancer” with such “ghost bands” as Jimmy Dorsey, Tommy Dorsey and Lee Castle and at the Catskill hotel house bands as well as various Manhattan rehearsal bands.

His move to Las Vegas presented him with opportunities to play on tour with Elvis Presley and offered him his first “gig” at the

Introducing Vegas Jazz MemberBOBBY SCANN

Hacienda Ice Show with the Ron Andrews Orchestra. After three months there, he accepted the lead chair at Caesar’s in the Al Ramsey Orchestra. This provided years of playing in “star” shows with such luminaries as Frank Sinatra, Ann Margaret, Sammy Davis, Jr and numerous other celebrated performers. He then joined the Lou Elias Orchestra, house band at the Desert Inn.

Later he opened the Mandalay Bay Hotel/Casino in their production of Chicago.

In Bobby’s early years here, Dr. Ken Hanlon gave him an opportunity to become adjunct professor at UNLV, teaching classical trombone and trombone choir. Frank Gagliardi then presented him with the chance to teach jazz theory and jazz trombone. While at UNLV he worked on course work leading to his teaching credentials. He taught middle school band for 13 years. In his retirement, he now serves as a part-time faculty member of the Nevada School of the Arts.

Currently, he teaches privately, continues to learn trombone, composition and arranging and perform with various jazz and classical groups.

He is very enthusiastic about the award-winning UNLV jazz studies program and the talented students that study and play there, as well as the new Smith Performing Arts Center. He feels that these will continue to ensure quality music and performances for the twenty-first century.

Mar-Apr 2013 JAZZ NOTES! I 11

ARTISTSheila McCanna & Maynard BravermanJ.J. BrennanGary BrodtDon & Alicia CunninghamTom & Mary HallDon JarchowLaura (Taylor) & David MulkeyAnn ParentiAndre SerraileELLA-IndividualJohn AbrahamJacqueline AudainWilliam BrandtCarrie Brown-ThomasJulie CallowayCharles CarpenterNorma CicaloMary CortneyJim CorwinCranford CrawfordPhylis (Ginger) DavidSheldon De GraffKen EastmanMarie EmmonsGrant GriffinCarolyn HollandRobert HuntlyAllen ImbachJames (J.A.) JohnsonJoy L. JohnsonWarren KujawaKim LinzyBarbara LockwoodIsabelle MahoneyArno MarshRaleigh C. McElroyLarry MillonziJudy NanceJacqueline Newton

Bill O’BrienElla Mae PartridgeGil PorterRonald PlanckPatrick QuinnEugene N. Redden, PhDGertrude RicksWayne RiggleAdelaide RobbinsCarl RobinsonGeorgie RuckerBob ScannRonald SchoenewolfBob Stevens SenteneriCarol ShortRichard A. SingerJean StahlRonald ThomasLloyd ThrowerArthur TillinghastBenjamin TollyPhyllis TribbyLea TurnerA.E. WarmanJodi WarmanPhillip WatermanMarshall WeaverTony WellsEleanor H. WilliamsMimi WilliamsJoseph WilsonMILES-FamilyLeroi & Beverly ArcherFrank & Avis ArellanesJoshua & Cornelia AshleyDoug & Larisa BeasleyEdea Trapletti & George BeresJoan M. BockholtHelga Hinspeter & John BrunoriChris & Robert BunkerRobert C., Joanne Campbell & Family

Memberships for March/April 2013 Jazz Notes!

In MemoriamWe pause to remember those we’ve recenty lost from our Jazz World…

Trumpeter, composer and educator DONALD BYRD died February 4, 2013. He was 80. Byrd became know as a crossover star by some in the jazz world due to his commercial success. Many critics

and aficionados considered him a sell-out, but Byrd defended his artistic choices, and saw no reason why he shouldn’t be able to enjoy a good material living as a musician.

His career ranged from that of a jazz stalwart in the 1950s and ’60s to best-selling R&B star in the ’70s to the halls of academia as part of the pioneering first wave of African-Americans to teach black music in universities.

From Detroit, he attended Cass Tech, where he studied classical music and was mentored by the legendary band director Harry Begian. He graduated from Wayne State University and at age 22 went to New York where he performed and recorded with the cream of the emerging hard bop idiom, including Art Blakey, Max Roach, Sonny Rollins, John Coltrane, Red Garland and countless others. By the early 1970s, Byrd had begun exploring a danceable fusion of jazz, R&B and soul. In 1973 he recorded his best-selling LP Black Byrd.

In later years, Byrd returned to playing jazz with only mixed success due to a diminished technique. He last performed in Detroit in 2004 as part of a 70th anniversary celebration at Baker’s Keyboard Lounge. At this time his labored breathing made it difficult for him to play. In 2000, Byrd was named a National Endowment for the Arts’ Jazz Master, the country’s highest honor in jazz.

Arthur & Kjestine CareyPatrick H, Sr. & Patrick H, Jr. CardozaRay & Margaret CartwrightWilliam & Aline ChristMike & Lydia CohenLouise & Henry ColucciBob & Ruth CombsTom & Nyda ConcialdiOttis B. & Margaret CornettFrank & Cameron DeAngeloBart (Russell) & Shirley diBartoloWendell & Peggy W. Jackson-EdwardsDavid FosterAustin & Jessie Fox The Frankert FamilyPaul FriedmanSidney & Janet GoldsteinJeannette B Stewart & Neal GrahamJennifer Palombi & Michelle Guerin Rich, Sandy, Cora & Casey HadlandDon & Marie HamiltonMary Maassen & Richard HankeHans Wallbro & Kendall HardinDr. Glen Hatcher, Jr.Michael & Betty HerringRose & Tom JohnsonDick, Rusty & Kathy JonesNancy & Doug KrauseAnn Marie, Ed, Daniel, Melissa, Leo & Jacob LandDanny & Tracey LeeBill & Donna LiebmanJohn & Miriam LindnerDelice & Nicole LiseRich & Jan MattaRuth Wilson & Victor MistrettaJo & Tom MitchellDorinda Allen, James & Elcendia NordTony & Louise OsieckiWade & Jacquelynne ParkerThom Pastor

Bob & Pat PetersKarl & Ruth RileyDavid & Christine RingenbachHenry & Shirley RobesonDanilo, Lydianila & Brian SorianoRobert B & Eileen SowinskiMaria Clita & Larry ThriftTom Wright & Dina TitusBob & Joan StavaIra & Claudia ThomasJohn & Yolanda QuandtVan & Gayle Van EssenMarlene & Jose VeraLouis & Annette VirgilLester & Winfrey WhitfieldLynda & Jennifer WhitehairSheila & William WingfieldSATCHMOJoseph & Karen AzzaraRobert & Edith CarlsonJerry FischerCarolyn FreemanDavid HattonRichard JanesAlan & Joanne JavorckyFrank LeoneHarvey MillerBruce ReinesDavid, Jan & Andrew RowellJudy TarteDUKERobert StoldalCOLTRANECurt & Eliane MillerSTUDENTCesar DuvalinSharen PetrilloNick SchmittCeleste C. Taylor

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