Document

TheJAZZ CULTURE

The Jazz Culture, VI:24 1

Barry Harris at 2012 Roma Jazz Workshop Association

2 The Jazz Culture, VI:24

Left: Andrea Papini, Right: Vince Benedetti,Richard Clements, below, Right, Fausto Ferraiuolo

Concertize at the Rome Jazz Association

3The Jazz Culture, VI:24

REPORT on ROMECONCERT ofBarry HarrisBy Connie McNameeBarry Harris’ appearance at the

Felt Club in Rome was the big

concert at the culmination of the

fall workshop, September 21 , 2012.

The Roma Jazz Association

sponsors a series ofworkshops, jam

sessions and concerts in the Fall

and Spring of each year.

The evening began with the solo guitar ofDavid Friedman, an

American based in England who runs the London workshop earlier

in the summer. The melody he stated, a Barry Harris original

called "Road to Gary," was taken up by the student vocalists (from

their various seats) and served as the entrance anthem for the trio:

Luca Pisani on bass, Oreste Soldano on drums, and, of course,

Barry Harris on piano.

They started right offwith a good-natured version of "Like

Someone In Love." Dr. Harris has a particularly inspired way of

dealing with the descending chords in the body of the song which

resembles "falling happily down the stairs."

"I Want To Be Happy" followed, picking up the tempo, then a

trio of beauties that brought to mind an afternoon ballet class with

Chopin playing, except IT started with a Harris original waltz, "To

Duke, With Love," written on the occasion ofEllington's death, in

a medley with "Prelude to a Kiss" from Ellington himself. Barry

Harris was then moved to play "Lotus Blossom," by Duke's

collaborator, Billy Strayhorn--a tune well loved and often played

Repor & Reviews 1‐6, 1 5-1 7Adriano Mazzoletti on

Italian Jazz 7‐15How To Direct a Jazz Improv

by H. Danko 18‐20Jazz Heritage 21‐25

Wilburr Ware by G. WareRome Photojournal 26‐27

Let's Link [email protected]

[email protected] © 2012


by Frans Elsen, one ofBarry Harris's closest musical "brothers,"

who passed away last year.

Just as the mood was becoming almost too deep and personal,

Barry broke it up by narrating a romantic tale that he was clearly

making up on the spot, in order to form some cohesion between

the song titles. It was totally goofus, and was translated into

Italian by stalwart friend and pianist Andrea Papini, who had been

the translator for the classes. The first song illustrating the

romantic story line was "My Heart Stood Still," then "Barbados,"

a tropical line on blues changes that was played at a magical

tempo.

As the story progressed, the happy couple had so many

children that the husband volunteered to carry the next fetuses in

his own body. He gave birth to octuplets, "delivered by Caesarean

section, of course." The next song was "I'll Keep Loving You," a

valentine festooned with ornamental curlicues, then "There Will

Never Be Another You," with quotations from "Cocktails For

Two," and, surprisingly, "Mairsy Doats," to end the first set.

After a convivial intermission, Barry Harris opened with the

lyrical "She," dedicated to all the ladies in the audience. He

followed with "Sweet And Lovely," confounding the bass player

with the unusual Thelonious Monk changes. Back to the story line

for "All God's Children Got Rhythm" and a similar sounding song

called, "I Left My Heart at the Stage Door Canteen," then came

the Matt Dennis classic, "Everything Happens to Me," backed up

by a "Sweet Georgia Brown" that referenced "Poinciana." A very

self-possessed young woman sang "A Time for Love." It was

Elisa Tronti, a vocal student who started coming to the workshops

four years ago, when she was ten.

The end game approached and Barry Harris sang his original

vocalese, words and music, on "Embraceable You," which he

calls "Embarryharrisable You." At this point, some student


musicians were called up to the stage, including myself, Connie

McNamee. Singing the song with him is an honor usually

bestowed upon Sonia Cavalleri, who was a no-show for the first

time in fifteen years. There were three pianists: Vince Benedetti, a

dear old friend and teacher who lives in Switzerland; New Yorker

Richard Clemmons, and young Nobuo Watanabe from Tokyo.

There were two guitarists: Israeli Ofer Landesberg and London's

David Friedman again. Dominic----from Naples was on drums,

and a first-time local student, Giuseppe Romagnoli, played bass.

Everyone rose to the occasion wonderfully. They all stayed

onstage to play "Wee Dot," a fast blues composed by J.J. Johnson

that was sung by the student vocalists, again from their seats. Then

came "Tea For Two." Finally it was time to hit the theme,

"Nascimento," a Barry Harris original, as all the people clapped in

time, some sang, many even danced. Tearful smiles and hugs as

another workshop came to an end.

REVIEWS of Three Italian Pianists in Rome:Andrea Papini, Fausto Ferraiuolo, & VinceBenedettiby Doodlebug

The Bear went over the

mountain to see what she

could see at the Rome Jazz

Association, and caught

Andrea Papini, Pianist

featured at the Felt Club on

September 17. The concert

was produced by President

Anna Pantuso, assisted by

Luciano Fabris in Rome.

Mr. Papini played with Oreste

Soldano, drums, and an unknown handsome bassist sporting a

goatee. Mr Papini was notable for his fluency in bebop and for

staying close to his heart. Mr. Papini kept the flame alive with

Anna Pantuso,

President ofRoma Jazz Association


vivacity and an original sound

(close to the sound of a Mason

Hamlin, but on a Petrossian).

Among the songs Mr. Papini

played were “Barbados,” a Bird

blues played as a calypso,

(1 55=quarter note). He swung,

and was full of surprising ideas

starting with a three note motif

and scalar lines. Mr. Papini

played “I Should Care” sensitively, with knowledge of the lyrics,

and knows how to play a melody as if he were singing it, and

accented the important notes, at 72=quarter note. Mr. Papini chose

“On A Misty Night,” by Tad Dameron, a rarely played tune, and

displayed exquisite taste and good articulation on long lines,

starting with a four note motif that he then expanded. On

“Broadway,” Nicoletti Manzini sat in on alto, quoting from Bird

fluently with a lovely tone. Then Mr. Papini played “Dig” (on

Sweet Georgia Brown) and revealed his talent at building

interesting and complex lines. The bassist played light skipping

lines in his solo with good articulation. The Drummer Mr. Soldano

had a crisp swinging sound on drums. Following this, an

interesting bass solo played close to the melody.

Fausto Ferraiuolo, Pianist, was featured on Tuesday night September

18, with Oreste Soldano on drums and Luca Pisani on bass. This writer

stepped in on them playing “This is the End of a Beautiful Friendship,”

where the pianist showed his lyric gift by voicing with crystal

transparency the colors of spring and fall a a medium swing (1 38=

quarter note). Luca Pisani, an excellent bassist with his own sound,

started his solo on a four note motif and exchanged 8’s with the

drummer, Mr. Soldano, who was always supportive and enthusiastic.

Pianist played fanciful variations before restating theme and ascending

on triplets to the finale. Next was “Everything I Love” with beautiful

flower like chord under the melody played as a ballad.

Cont. p. 1 5

Andrea Papini & �icoletta

Mazzollett on alto


EDUCATION FEATURE:Adriano Mazzolletti on Italian Jazz

& The Encyclopedia ofJazz

September 19, 2012

Pub. Note: Adriano Mazzoletti has been one of the key people in

the history of jazz in the past century who produced, expanded the

audience of jazz and helped jazz artists get heard.

Adriano Mazzoletti was the head of the European Broadcasting

Union (the union of all public radio stations in Europe) for the Jazz

Section for 25 years (from about 1960 to 1990). He oversaw the

spread of jazz and its cross pollination in many countries. When he

was 19 he organized a concert with Louis Armstrong's All Stars.

He produced thousands of concerts, more than 100 records,

including those of his company Riviera Jazz Records. He wrote the

definitive (according to Leonard Feather) Encyclopedia of Jazz,

and brought to light the history of Italian jazz in three books soon

to become four. Thus Adriano Mazzoletti made a great, enduring

contribution to the world jazz community and culture.

Andriano Mazzoletti in his own words: “My father is from Genoa,

my mother is from Sicily. I was born in Genoa, with a brother who

studied in the States in his youth. I studied clarinet and piano, but

I played the drums. At that time in Italy they did not have music in

105 ofAndriano Mazzolletti's collaborators on the

Four Volume Encyclopedia ofJazz


the schools. When I

was 7 or 8 years

old, I heard on the

radio a music that I

liked very much,

but I didn't know

what it was. I found

out later it was jazz.

I discovered this

music. I liked it

very much; many

bands, the Tommy

Dorsey Band, the

Duke Ellington

Orchestra, Benny Goodman and many Italian bands. At the time,

Italian radio had house bands with a little bit of commercial

sponsorship. RAI-- would pay the band. They played very, very

good jazz with arrangements from American records and [also]

written by Italians.

“My father played piano and my grandfather played the flute,

they played written music. Every Sunday afternoon, my

grandparents played at home classical music for their friends.

When I was 1 1 or 12 I studied classical piano although I was not

interested in classical music--I was into jazz. I would ask my

teacher, what chord is this, but he knew nothing. Afterwards I

studied clarinet--I played a little, but after I played only drums, but

never professionally.

“Later, beginning in the '50's, in night clubs and bars, all the

bands played jazz, because jazz was the only music for dancing.

The bands played solos and improvised, sometimes played a tango

or waltz, but all the time played jazz, in America and Europe.

“But in 1965 (rock and roll format of)--two guitars, drums and

bass--finito jazz! No trumpet, saxophones, (no horns)--finito!

Adriano Mazzolletti, a major figure in the world

jazz community, holds a record he produced of

American jazz artists


JC: What percentage of people now like jazz?

Adriano Mazzoletti: “In Italy, the word "jazz" is well known but

often used improperly: it is used to publicize concerts which in

effect are not concerts of jazz or to publicize the most different

items: cars, perfumes, after shave.. .even a bath tub! People say 'I

love jazz' and many go to festivals. But a small percentage of them

buy records, magazines, books. They go to the festivals just to

meet people or they go when there are the big names and the

concert becomes an event not to be missed. But nowdays the well

known musicians left are few (Ornette Colemam, Keith Jarrett,

Sonny Rollins, Chick Corea, Wynton Marsalis, Herbie Hancock,

Brad Mehldau a.s.o.) so the big festivals like Umbria Jazz, in

order to create an event by all means, are able to invite Elton John

or other rock stars. This is the problem today.

“Nevertheless, there are many youngsters who are willing to

study jazz and to play an instrument. There are four schools in

Rome, among them the Saint

Louis College (where I teach)

or the Felt Club.

JC: When did you start

producing jazz?

Adriano Mazzoletti: “I began

working in radio when I was

20 and stopped when I was 65.

Music and show biz-mainly

jazz. Now I live in Rome;

when I stayed in Perugia I organized in the fifties the first jazz

concert with Louis Armstrong at Teatro Morlacchi. I organized

the Hot Club of Perugia, and after we presented Chet Baker and

some other French and Italian musicians. In the same time I had

an idea: to organize a jazz festival around the whole region of

Umbria. The administration of the city was very much interested;

it was very important for tourism. Perugia is the capitol of the

Musicians at the Felt Club in Rome

taking Barry Harris' class in improv

1 0 The Jazz Culture, VI:24

Umbria region. When I left

Perugia to go to Rome, after two

or three years, Carlo Pagnotta, the

producer who made ofUmbria

Jazz a great festival, took it over.

JC: Who publishes your books?

Adriano Mazzoletti: “EDT of

Turin, which is known for

classical music and jazz. They

have published also the books of

Gunther Schuller.

JC: Can you tell me more about

the Encyclopedia you have

directed and the EBU Union?

Adriano Mazzoletti: “With the

Encyclopedia of Jazz, (1 991 -92), there were attached 100

recordings. For 25 years, I was the President of the Jazz and Light

Music Section of the European Broadcasting Union, union of all

public radios and also Canada. Every year 2 or 3 events took place,

the most important jazz artists of each country were featured at

concerts by their national radio organization. Every radio (from

each country) sent a soloist, the most important, to a concert. They

were asked to compose, to write music, and every year the

composers wrote for big bands-five, trumpets, five trombones, a

really big band. Part 2, each soloist was featured in a small combo.

The EBU also sponsored jazz festivals and every country sent

groups. I sent many musicians, for example, Gian Luigi Trovesi, a

very important musician, I sent him to play in France, Finland,

Austria, and people began to know him and to invite him at jazz

concerts and festival in all Europe. In my third book about Italian

jazz, the last chapter is devoted to the EBU. It's the first time that a

book about that important period for jazz is being written. For

Italian radio I organized live concerts for 15 years. On that period I

invited many European, Italian and American musicians like

Mr. Mazzolletti holds two of

his books on Italian jazz


Dexter Gordon, Lionel Hampton,

Ornette Coleman and many, many

others. Also I had a radio jazz show

for 2- years, from 9-12 p.m., where

all the musicians played live.

JC: How did find the time to do all

this?

Adriano Mazzolletti: “For me, work

is not a problem. I like to work, very

much. Now, e.g., I am teaching at the

College of Saint Louis in Rome, a

social history of jazz, I am writing

new books and I'm making a radio

program.

JC: What was the situation of jazz in

the past?

Adriano Mazzolletti: “When I speak of Italian jazz, I explain the

reason why Italian jazz for 20 or 30 years, was not as popular as

jazz in France, because for twenty years we had fascism.

[According to] the ideology of fascism, Italy had to be the center

of the culture in every aspect: music, literature, architecture, a,s,o.

As Jazz was not Italian but American, it was not accepted. Fascism

did not like jazz or other musics from other countries. In Germany

the situation was the same. They did not like Jews, because the

master race was German. Anyway it is important to say that

fascism did not forbid jazz. At a certain moment, when in 1935

Mussolini made war in Africa, the Fascism forbade songs in

English or to play music ofEnglish authors. In 1938 it was

forbidden to play any work, music or theatre piece written by Jews

because of the horrible racial laws. In 1941 when Italy declared

war to the United States, it was forbidden to play compositions

written by Americans. But in none of these State decisions was the

word Jazz mentioned. In fact from 1942-43 Italian jazz musicians

recorded and played jazz. They played, for example, “Stompin at

Mr. Mazzolletti shows one

Volume ofthe Encyclopedia of

Jazz


the Savoy,” and the title was translated into Italian and they

changed the name of the composer. 'Honeysuckle Rose' became

'Pepe sulle Rose' and the author was not Fats Waller

but an Italian. So Italian composers got royalties for this political

stupidity.

JC: When did jazz in Italy start?

Adriano Mazzolletti: “After the end of the First World War,

syncopated music arrived in all Europe and also in Italy.

Immediately small groups and musicians interested in this music

started to appear, all over in Rome, Genoa and Milan. The first

musicians were the banjo player Vittorio Spina and Michele

Ortuso, the violin player Cesare Galli and Agostino Valdambrini,

the drummer Arturo Agazzi called Mirador and pianist Amedeo

Escobar who was a close friend with Giacomo Puccini.

“Do you know Puccini?

JC: Yes.

Adriano Mazzolletti: “Every night he went to hear the jazz band

ofEscobar who composed 'Nervous Day'.

JC: How many songs did he write?

Adriano Mazzolletti: “A lot.

JC: Why were you so interested in Italian

jazz?

Adriano Mazzoletti: “I realized that

Italian music was good as good as the jazz

played in other countries. None of the

Italian magazines had a story about this. I

made research, and then I began to write a

book. But nobody knew then -- the records

were old. [So] I decided organize a little

record company, “Riviera Jazz Records,” to

publish old Italian records of these

Mr. Mazzolletti spent

years on researching

jazz in the US, Italy,

and other countries

1 3The Jazz Culture, VI:24

musicians. We made 18 records of Italian jazz from 1920-1950.

During the war all masters of the 78 rpm were destroyed. I found

commercial records but the sound was no good. Each time, I went

to Paris and found good engineers.

“[For example] Gorni Kramer born 191 1 , was famous, not as an

accordionist, but as a band director, composer of pop songs Few

fans remembered him as an accordionist from the 1930's. After

doing some research, I found vintage old 78 rpm. Fantastic! I

heard these records and thought, it is incredible . . . in 1935 nobody

played accordion in that style. Kramer was the only accordion

player who did solo artistic work.

“When I began to write the book on Italian jazz, I was always

interested in American jazz but also in European jazz . Stéphane

Grappelli was a very close friend ofmine. In 1957 he came to

Rome to play piano in a hotel. Django died in 1953 and when he

died, Stéphane did not want to play with a rhythm section. He

liked to play piano and played at the hotel lounges. One day a

French friend called me to meet Stéphane Grappelli at his home.

Armando Trovajoli, a very good pianist loved Stéphane and

Django. I asked him, "Do you want to play a radio concert?"

Trovajoli wrote the arrangements in two days. Stéphane played the

violin--all the people were very enthusiastic. From that time,

according to the words of Stéphane, he returned to play mostly the

violin. Perhaps not everybody knows that Stéphane was of Italian

The famous Trio Vocale Lescani and other stars of Italian jazz

available on Riviera Jazz


origin.

Adriano Mazzolletti: “When Dizzy died, I was in San Antonio,

invited by the IAJE to give a conference of Italian jazz. Joe

Venuti, Joe Albany, one of the first bop players, Eddie Lang, Nick

La Rocca, about the contribution of Italian-Americans to jazz. I

wrote two books of biographies ofAmerican musicians who came

to Italy, including Frank Guarente and Arthur Briggs two trumpet

players, the first American jazz musician to come to Europe.

Pub. Note: [Mr. Mazzoletti] then picked up a book of drawings,

original drawings from France bound in a special volume given to

him by André Clergeat. Drawings of people like Django Reinhardt

and other important French and American musicians. The author

is Charles Delaunay, the most important organizer of jazz in

France for 40 years, he was… “the son ofRobert Delaunay, an

important painter around 1890,” Mr. Mazzolletti said.

Mr. Mazzoletti then shared photographs of himself at 19 when

he produced a concert with Louis Armstrong, one with Miles,

Stéphane Grappelli and him at the Pompei Festival where he

produced concerts from 1980-1992, and one photo of him with

Dizzy. He invested a lot of his personal fortune in producing

records and concerts.

Two of the Riviera Jazz Company's cds covering Jazz in Italy

from 1930-40


JC: Could you name the Italian jazz artists you consider the best?

Andriano Mazzolletti: “Dado Moroni is one of the best in

European jazz. Some others are: Rossano Sportiello, piano,

Giorgio Cusciito, piano, Fabiano Pellini, baritone. These people

play in the mainstream style . Other musicians like the new idiom.

A month ago the Jazz Festival at Marseille invited me to do a

conference, and Paolo Fresu was there. He began his career in

Sardinia and for his 50th birthday, organized 50 concerts in 50

days in Sardinia. Besides Paolo Fresu, trumpet, the excellent

Italian jazz musicians are, in my opinion, Flavio Boltro, trumpet;

Rosario Guiliani and Francesco Bearzatti, Maurizio Giammarco

sax; Gianluigi Trovesi bass clarinet, Stefano Bollani, Enrico

Pieranunzi and Danilo Rea, piano, Rosario Bonaccorso and Enzo

Pietropaoli, bass, Antonello Salis and Gianni Coscia, accordion.

Anyway there many other very good musicians, all the Italian jazz

is of high level, they play everywhere in the world.

JC Note: Adriano Mazzoletti is now writing his third book onItalian jazz, from 1968 to today. To inquire about Mr.Mazzolletti's Riviera Jazz Records or his books, please email:[email protected]

Bassist, the first soloist played

dynamically with wide intervals using

the idea 1+2, 1+2, accenting upbeats in the lower middle register.

Pianist used some whole tone extensions accenting the + of 2 with

dramatic chords, and interspersing chords in a scalar pattern and

ending in Spanish sounding triplets leading to an upward

crescendo. “Prelude to a Kiss” followed with an evocative

weaving ofmelodic inversions hiding chromatic harmony in a

pastoral arrangement of sound Ellington would have liked, with

sensitive counterpoint by bassist. “I Remember You,” the Vernon

Duke song was next at 144=quarter note, with scalar ideas

accenting higher notes of the chord; a 6 note motifmodulated

through keys and the trio traded 8s with drummer. “Pannonica” by

Monk was beautifully realized by using simple counterpoint with

Cont. from p.6


chord clusters at turning points. Drums played brushes. Piano did

some rolls, crunches and glisses in a poetic rendition. The bass did

pretty counterpoint on out chorus. The bass solo showed

originality and quoted from Robin's Nest. Mr. Ferraiuolo showed

off his original, “Quiet Now,” played as a ballad a pretty well

voiced song in a simple arrangement with ascension on whole tone

scale chords with sensitive counterpoint by Mr. Pisani on bass.

Vince Benedetti played “Sophisticated Lady” (Duke Ellington)

with Luca Pisani and Oreste Soldano, drums, a portrait in

chromatics with prettily voiced chords like baubles strung on a

necklace ofmusic. He played “Mohawk,” a blues by Bird, at about

1 38=quarter note. Floating and swinging through some 16 note

lines, playing the bebop language easily, with grace and intimate

knowledge. The bass solo switched registers using triplets, making

statements with good articulation. The trio then traded 4s. Before

playing “Lolita,” he paid homage to Barry Harris by playing his

tune at about 143=quarter note. Mr. Benedetti made the song

exciting depicting an adventurous romantic attraction creating a

tapestry amplified through a simple melody. Bassist Pisani

sounded classically informed as he easily morphs within a song to

contrasting tempos and moods. The pianist then traded 4s and

sprinted up the keyboard expressing surprise and delight of a man

confronted by a Lolita. On “Dexterity” by Bird, (rarely played) at

about 168=quarter note. Mr. Benedetti delighted Bird lovers by

showing advanced bird vocabulary grasp and inserted rolls, blues

licks and triplets, and quoted John Lewis's “Afternoon in Paris,”

sometimes using a double fisted technique and satisfying the

enthusiastic crowd of bop lovers.

At the Felt club in Rome, Italy, The Jazz Workshop

Association (President Anna Pantuso and assisted by Luciano

Fabris) produced concerts, workshops and jam sessions and

showed jazz is a world music, for musicians from many countries

gathered to pursue their mastery over the art form. A number of

famous and emerging talents came from France, Spain, England,


Japan, Italy, Switzerland, the

US, to focus from Monday,

September 17 to Friday

September 21 , on

improvisatory, singing, and

piano workshops led by Jazz

Master Dr. Barry Harris.

There was also a concert

featuring Richard Clements

from New York that Doodlebug

could not attend for business reasons. Mr. Clements is one of the

few pianists of his generation that has carved his own immediately

recognizable sound.

At night, there were concerts followed by jam sessions where

new, young, and mature artists with a lot of experience dived in.

The following are a few examples: Nobuo Watanabe, a pianist

with a lyric gift obviously married to his instrument, played with

Pierluigi, a sensitive and responsive drummer and Claudio

Ottaviano on bass, Roger Crosland on Tenor sax from the UK on

“What is This Thing Called Love?” Then Richard Clements from

the US stepped in on “Taking a Chance on Love” and “Just in

Time”, with his singular sound and warmth, e.g. on “Just in Time”

using the song's orientation to the interval of a second to his

advantage by widening the intervals, arpeggiating chords and

playing his musical identity. Luciano Fabris, pianist, played well

in his accompaniment of the singer Hiromi on “Body & Soul.”

Hiromi was emotionally forthright with a pretty sound. Mr. Fabris

then expanded his horizons on the blues “Billie's Bounce,” playing

a passionate and intricate rendering using the chromatic passing

tones and bebop sound in well articulated phrases.The musicians

were exhausted, enchanted and fulfilled after their week of a

busman's holiday in Rome, making new friends and enjoying the

scenery and the hospitality of Italian people. To checkout the

Roma Jazz Association, please contact:

[email protected]

�obuo Watanabe & Claudio

Ottavino

HOW TO-EXPERT ADVICE


ImprovisingComposer/ComposingImproviser-Part IIBy HAROLD DANKO“You don’t learn to improvise,

you improvise to learn.” HD

“Jazz music is characterized by

improvisation and further defined

by repertoire.” HD

The premise ofmy

“Improvising Composer/

Composing Improviser”

workshops and classes is a

product of almost five decades of

performing, teaching, and composing. I feel strongly that

improvisation is a natural tendency if it is not impeded by one’s

education, and I have always been an improviser, in music as well

as life. Years ago I made the statement “You don’t learn to

improvise; you improvise to learn.” in a magazine interview, and

this idea continues to motivate my personal and public educational

efforts.

My current teaching methods bring this to the forefront by

using my own works to facilitate the integration of improvising

and composing into performance practice. My book, The

Illustrated Keyboard Series, maps out basic patterns of scale usage,

and many ofmy own compositions are used as examples of how

this process unfolds. Reprints ofmy published articles from

Keyboard Magazine help to clarify and expand the concepts

Harold Danko

Photo: Julia Radschiner


presented. In my teaching I have compiled many checklists to

structure and facilitate individual learning, and “Strategies for

Improvisation” is a short list of important skills and content that I

developed specifically for this course in order to encourage

discussion as well as individual exploration.

In 201 1 during a semester-long pilot course at the Eastman

School ofMusic in Rochester, NY, with the original title “The

Composer as Improviser/Improviser as Composer” I came to see

in no uncertain terms that for me improvising leads to composing

and the resulting compositions then provide even further

exploratory opportunities for improvisation. Thus my course title

was simplified to “The Improviser as Composer” and can take on

several formats, based on the level of participants and time

allotted.

In a college level course of one semester’s length (14 weekly

meetings) we explore historic aspects of improvisation in western

classical, ethnic/world, popular, and jazz styles and analyze works

from all genres as to content, performance practices, and possible

interrelationships. Depending on the background of students,

performance demonstrations and even ad-hoc ensembles can

become a part of the course structure. Examples from masters in

all styles, my own works, and most importantly the works of

students in the class, make the processes relevant to all. Research

papers and performance/analysis of original music are also

assigned.

Students will explore the relationship of improvisation and

composition in a variety ofmusical styles. Topics will include

jazz improvisation and theory as it relates to its history, and an

examination of the works and methodology employed by the

instructor, Harold Danko, in research, study, practice routines,

improvising, composing, rehearsals, live performance, and studio

recording. Student projects will include composition and

performances/presentations of at least two short pieces and a mid-


term paper to be revised during the remainder of the semester and

due at the final class. Attendance, preparation and active

classroom contribution are expected throughout the course.

I Discussion of the role of improvisation/composition

throughout history in various music genres as it relates to

members of the class and the instructor; variation principle;

recreation vs. formal disciplines; performance practices, with

examples from western classical, jazz, popular, and world musics;

group and solo improvisation; Concepts/Process/Results.

Traditions and Innovations.

II “Strategies for Improvising” – discussion. Strategies for

Improvising for the Composing Improviser/Improvising

Composer By Harold Danko. General principles. See Harold

Danko on ggogle.com

Jay Anderson, bass, JeffHirschfield, drums, Harold Danko,

piano on Unriched

JAZZ HERITAGE


Gloria Ware’s on “Remembering WilburWare”Pub. Note: Wilbur Ware, bassist born

September 8, 1 923, in Chicago and died

September 9, 1 979 in Philadelphia. He

died at the age of 56 of emphysema and

according to Gloria Ware, Mr. Ware

had previously suffered from

tuberculosis and COPD. Wilbur Ware

was famous for his dynamic, innovative

style of bass playing, with rhythmic

variety, sticking to the bottom register

of his instrument, playing daring

intervals in a breakthrough style. He

taught himself banjo and bass, and was

a veteran ofWorld War II. Mr. Ware

worked with Thelonious Monk from 1957-58. Mr. Ware played

with Sonny Rollins on “Live at the Village Vanguard.” In Chicago

he played with Johnnie Griffin, Stuff Smith and Junior Mance,

among others. He worked with John Coltrane, Ernie Henry, Kenny

Drew, Zoot Sims, Kenny Dorham and Matthew Gee and many

others. In 1969 he worked with Elvin Jones and Archie Shepp.

“Chicago Sound” was his sole recording as a leader. To learn more

about donors and contributors, including Sonny Rollins, please

visit the WilburWareInstitute.org website.

Gloria Ware: “Since this concert was produced without

sponsors or grants, we will attempt to cover production costs. Our

primary aims were to present a world-class event and to gain

public attention for our reorganized nonprofit, and I think we were

successful. We want our mission and goals to become well known

to those who love this music, and we want to invite membership:

As you well know, the musicians we support are the primary

Mrs. Gloria Ware


sources ofAmerica’s gift to the world ofmusic. Even though most

innovators have passed on, many Jazz Masters remain. Theirs is a

unique understanding of past practices and vision for future

generations. We are dedicated to their full employment and

encourage their sharing with and mentoring youth, especially the

underserved and marginal, who will be eager to learn and grow as

they are informed and touched by this musical genius.

“Wilbur Ware brought a unique musical gift, an enormous

personality, and a legacy that supports his charismatic character.

He encouraged every musician to (a) study the basics and history

or the music, (2) develop a unique voice, (c) learn to “paint a

picture” and “tell a musical story” that utilizes technique but is not

limited to nor enslaved by it.

“As stated above, the younger generations must be exposed to

the music. Once exposed, they will be interested because the

creativity and genius inherent in the music will touch and

challenge them at the deepest artistic level. They may study the

Wilbur Ware and friend Bob Stoltenberg


history and learn about various

traditions and periods of development in

music schools and colleges, but the

musicians themselves will have to

clarify and interpret the basics for the

youth, explaining the contexts, societal

challenges, and cultural realities.

Therein lies the challenge, to show them

how this music is our National Treasure,

America’s gift to the world ofmusic,

thus travel is vital to their education.

They must see how the world loves and

appreciates the musicians and respects

and honors their talent.

“I am delighted and encouraged by

those who generously supported our effort, primarily the musicians

themselves…: Our donors included Sonny Rollins, Wilbur Ware’s

sisters (Barbara Yarbrough and Doris White), George Aprile, Dr.

Albert Sutton, Dr. Robert Baker, Attorney Peter Collins, Patricia

Vingo, Ed Williams, and bassist Richard Davis, among others.

Drummer Alvin Fielder helped defray some of the CD costs (we

will have an official CD Release Event in the near future). Our

Officers, Board Members, and Volunteers were vital to making

this performance event successful. despite dire weather predictions

of tornado activity in our area. Our Secretary Sandra Jordan

deserves special mention for her outstanding graphics (for the

concert and the CD) and her unbridled enthusiasm. Those who

helped with publicity and radio interviews must also be mentioned,

including Jim Harrison, Dorthaan Kirk (Thurston Briscoe, Gary

Walker) at WBGO, Cobi Narita, Arnie Perez (with SharifAbdus-

Salaam at WKCR), Dee Ramey WHCR, Ann Ruckert, and so

many others.

“I cannot thank the musicians enough, for most were extremely

cooperative. Our original programming was for the concert to

include two groups: Louis Hayes and Juini Booth. When our funds

were rescinded, we began to invite other musicians to participate,

Sandra Jordan, graphicartist


and most agreed to perform gratis, for we could only offer

honoraria, and we will be forever grateful. We are presently

planning for 2013 and beyond, so the work continues.

“We have met many wonderful people who are willing to

assist in the future, and that makes this extremely rewarding.”

Musician RemarksJimmy Cobb- "Wilbur Ware.. .a talented Bass player. .he could

play drums too! and friend."

Barry Harris- “He was the only bassist I knew who could lead a

pianist around to places unknown.”

Ray Drummond- “I never heard Wilbur Ware play live,” But the

things that I heard when I was coming up—“Sonny Rollins’ ‘Live

at the Village Vanguard’…his incredible artistry; innovation that

nobody has ever gotten to, [someone like] Bird or Prez or Diz…

was very inspiring.”

Rufus Reid -“He was a bass player that left us too soon.”

Juini Booth-“In the winter of 1966 I was to meet Wilbur Ware at

a place called Slugs on the Lower Eastside. I had just arrived to

New York.. . I told him how much I liked his style of playing the

Bass. So I followed him around the rest of the night listening to his

stories about his life . . I felt a sincere fondness for Wilbur. He

seemed to be a little burned out like most of the legendary Bebop

players that were hanging or living on the lower eastside of

Manhattan during this time. Nevertheless those guys were the

reason that brought me to New York. For many great Bebop

musicians sometimes money was not in the scheme of things.

Wilber and I continued walking through the night with him telling

wonderful stories ofMonk and Bird he was a major encounter in

my life … it was a special time when you'd had access to your

heroes on a daily basis. When I hear Wilbur's bass playing on

records suddenly I become a happier person.

Subscribe Free to the Jazz Culture

�ewsletter on the website:

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Culture Newsletter has been seen in 33

countries around the world and across the

United States. Copyright© 2012, The Jazz

Culture, Ltd. PO Box 2003 700 Columbus

Avenue, New York, NY 10025, Tel: 646-

312-7773.

The mission of the Jazz Culture

Newsletter is to draw the world jazz

community together. If you have any comments, criticisms or

suggestions please email us at: http://[email protected]


”Larry Ridley- “I think to acknowledge the fact that he was a

natural born genius. He had his own concept and style that he

introduced to the evolution of jazz. I knew him … I met him in

the mid 50’s in Chicago when he was playing with [people like]

Johnnie Griffin, Vaughan Freeman at the Flame. We were very

close. We were hanging out, talking, playing at eachother’s gigs. I

loved him because he had a very personal approach, the way he

constructed solos, not trying to play like Pettiford or Blanton. Plus

our birthdays.. .Mine is September 5, his was September 8th.”

Ron Carter- ". . .I had never known Wilbur Ware to own his own

bass.He seemed to always borrow what bass was nearby, and I was

fascinated and amazed that he always sounded like Wilbur Ware."

Jimmy Owens- “Wilbur was one of a handful of natural Jazz

artists. He’d have lots of book knowledge about performing only

the abilities that comes from Listening, repeating and learning how

to do things direct from your heart and brain. He was a musician

that worked the best-- with Monk. His natural feel always made

the people he was performing with swing and project the highest

sense of emotion. On this day, he would be 89. We all salute

Wilbur Ware for his great contributions to JAZZ Music.”

Lionelle Hamanaka,

Publisher

The Jazz Culture, VI:2426

JAZZ ROMA ASSOCIATION PhotojournalHappy Memories at the Felt Club in Rome 9/12

Concert crowd at the Felt ClubYoung Serbian pianist asks Dr.

Harris question

Pierluigi, drummer, left, and Hiromi with

Luciano Fabris singing "Body & Soul" at

jam session

Ellen, singer from Holland, directs �obuo

Watanabe and Fabio Marcoz ofFrance,

bassist, and above, Dr. Harris holds court;

at left, workshop attendees chow down


Richard Clements, left, right-Alexanderplatz, Rome's oldest jazz club, a band

there, the decor, below, artists waiting to go on at the Felt, lunchtime

Let's Link/Musician Friends of Jazz Culture

KuniMikami.com@CDBaby‐"Hamp's Boogie"

We remember Dr. Frank FosterListen to his Nippon Lament

Photo: Brian McMillen

QUOTATION:"Practice a Million Hours."

-Junior Cook, Saxophonist

"You can't take offwithout a

launching pad."

-Lonnie Hillyer, Trumpeter

Joe Magnarelli in concert

The Jazz Culture, VI:2428

Clarence Banks, Count Basie

Trombonist, Clinics, Private

Lessons, Seminars, call: 917-

428-6746

SeeRickStone.

com

Singer

Connie

Mc�amee

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