Oregon’s Jazz Magazine

Inside! George Cooligan makes Portland debut

KMHD UpdateMusician of the Month - Karla Harris

Continued on page 4

December 2011

When he was 12 years old, Thara Memory discov-ered Miles Davis. “The older cats really encouraged me to listen to

Clifford Brown and Lee Morgan,” he says, “but Miles was the one that struck me. I listened to ‘Porgy and Bess’ everyday, and I walked around playing the lines. Then one day I realized I’d never be as good as him. And I cried.

“But the next day, I said, ‘I’m gonna try the best I can.’”

So Memory started at-tending every Miles Davis concert that came within his range, and one day, the man they called “The Dark Prince” approached and said: “You’re that trumpet player, aren’t you?”

“Now you know, that man was never flattering,” says Memory as he recalls the encounter. “So Miles says, ‘I bet you can’t play worth a shit.’

“And what was I to do?” Memory asks. “You take comments like that in reverse, and you go, ‘Ah this cat rec-ognizes me on some human level, and he knows that I can really play or he wouldn’t be standing around looking me in the eye.’

“So I said, ‘Well, no, not compared to you. But I can hold down my own thing,’ I told him; ‘I can hold down my own thing and bring some people up with me.’”

And so, when Memory opens the 2012 Portland Jazz Festival February 17, with a headline appearance in the Winningstad Theater, he’ll perform an all-Miles program. And he’ll be us-ing many student musicians from his Pacific Crest Jazz Orchestra in the 23-piece en-semble he’s assembled.

“Everybody loves the music of Miles Davis,” Mem-ory points out, “but hardly no one plays it. That’s the point I’m trying to get after. I’m trying to put it back on the table.”

And not just “All Blues” or “Four,” either. Memory’s after big-

ger game.“The larger wind orchestra performances? You never

heard those. Clark Terry did that recording of ‘Porgy and Bess’ about 10 years ago, but that’s about it. They don’t play it because the lines are so sparse that you can’t in-stantly fatten ‘em up and get a giant solo and rounds of applause.”

But Memory intends to, in a program that will in-

Thara Memory will open 2012 Portland Jazz Festival with Miles Davis program

Trumpeter, composer and educator honored as this year’s Portland Jazz Master

By Lynn Darroch

photo by Alfredo Lattenmaier

2

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President: Bill PowersVice-President: Eric WeberSecretary: Richard LazereTreasurer: Arthur MarxJazzscene Editor: Lynn DarrochJazzscene email: lynndarroch@yahoo.comCalendar Coordinator: Shelley Garrett Email: JSODATES @aol.com

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December is finally here. It’s time to get out the holiday CDs again, and maybe give

yourself an early gift by attending one of the special concerts celebrating the season. They start right away, so don’t wait until mid-month to see what is coming. I have another gift suggestion. A gift membership to the Jazz Society is a great choice for the special people in your life. When you give a JSO mem-bership, they will be reminded of your thoughtfulness each month when their Jazzscene arrives. You will be able to share in discussions of the interesting articles and CD reviews, and can use the calendar to plan jazz nights out together. This sounds like a pretty good present to me. A new jazz club, Ivories Jazz Lounge and Restaurant, has opened in the Pearl at 1435 NW Flanders. From my point of view, there is al-ways room for more jazz, and this club promises to be a little different. Owner Jim Templeton has created a piano bar and a stage for jazz

ensembles. He will be featuring local and regional musicians each month with an early and a late set. I stopped in at Happy Hour about a week after the club opened, and I got a chance to hear Matt Schiff on guitar with Rick Homer on trumpet. I was impressed. This club is a nice addition to the lo-cal scene. I recommend checking it out. They even have a Sunday brunch. http://www.ivoriesjazz.com/index.htm This month’s member night is Thursday, December 8, at the Blue Monk. Alan Jones will be hosting a jazz jam beginning at 8:00 pm. Join us. Jam sessions are always fun, and you

will get a chance to hear folks you may not have heard before. Besides, this is a good way to thank the Blue Monk for continuing to support jazz. As you finish off the year, please consider making a tax-deductible do-nation to the Jazz Society. We thank you very much for past generosity, and we hope you can help us again. We really do need your financial sup-port. Happy Holidays to all of you.

Bill PowersPresident, Jazz Society of Oregon

bill.powers@jsojazzscene.org 503-427-1676

3

In December, 2010, we introduced jazz radio station KM-HD’s Program Director, Matt Fleeger, to Jazzscene read-ers in an article by Kyle O’Brien about the station and

the future of jazz radio. So far, it looks like the future’s been good to KMHD – at least the past 12 months.

It’s been another year of changes at Portland’s 24/7 jazz radio station, which was managed by Mt. Hood Community College until a partnership was arranged in 2009 with Oregon Public Broadcasting that allowed it to manage and house the station at it’s Macadam Avenue head-quarters.

We checked in with Fleeger by email to see what’s been going on at the station with a weekly cumulative listenership that’s second largest in the country. It’s a key player in event sponsorship and one of the many forces that make Portland a jazz mecca.

The biggest change in the past year, perhaps, has been a shift to paid DJs in weekday morning (Monday-Friday) and afternoon (Monday-Thursday) drive times. Program Director Fleeger also has a show Monday-Thursday, noon-1:00 pm, that features new releases, though the station is still staffed primarily by volunteer announcers.

Have listener numbers grown in the past 12 months? We’ve seen a sizable increase in our audience over the

past year. While our listenership has grown, it’s also be-come younger. Also, time spent listening to the station is rising, which is a very good sign. These are good signs that our goal of striving to be a more consistent station is start-ing to pay off.

As another goal, last year you mentioned a need for a balance between education and entertainment. Has that been achieved? How?

This is still the goal, since Jazz is such a deep genre

of music; it’s only fitting that a full time station would, in some part, work to educate listeners about the history of the music. But we still want to be a place where people can

tune in when they [simply] want their Jazz “fix.” Our job, when we’re doing it best, is to be entertaining and educa-tional without being “stuffy.”

KMHD’s “home sound” – you de-scribed it as “classic jazz from the ‘50s and ‘60s … by classic labels like Verve, Blue Note ... and the sub-genres developed during that time.” Definition accurate? Success-fully implemented?

Yes, that’s an accurate descrip-tion. “Home sound” is what most of us

think of when we talk about “classic” jazz. That’s the Blue Note/Verve/Columbia/Savoy/Prestige/Atlantic sound of the mid-1950s through the mid-‘60s. It’s swingin’, upbeat and melodic. We aim to play this sort of sound about 70% of the time during the day.

You mentioned use of social media and live stream – has that helped increase listenership?

Streaming and social media have increased our online listenership -- that’s for sure. It also allows our terrestrial listeners to take us with them wherever they go (via com-puter or mobile phone apps). Our monthly online listener-ship is quite high for a Jazz station.

You estimated you were “60% done” transforming the sta-tion (a process that began in July 2009). Where are you now? What’s left?

We’re a good way there. But improvement never ends. Successful broadcasters are always in a constant state of ad-justment and flux. I feel we’re putting a really good prod-uct out there at this point. But we’re always looking for new ways to serve our listeners and to make their listening experience with KMHD more beneficial and enriching.

We now have a place on our schedule for just about ev-ery part of the story of Jazz, from the ancient to the future. In a journalistic sense, if we’re telling the whole story of the music – I feel we’re doing the right job.

Any other changes of note? KMHD has been shifting from being a station with a

“producer” focus to one that is “audience” focused. We get such good statistical information about our audience these days with People Meter data collection that it’s easy to pinpoint what sounds are performing well and resonat-ing with them. Every decision that we make is with the audience in mind. On a personal level, that’s what I love about working in public radio -- we’re not trying to sell this product to any corporate interests or advertisers. We’re just trying to make our listeners happy!

Another year of change at KMHD Audience focus pays off for area’s jazz radio station

“We get such good statistical information about our audience these days with People Meter data collection, that it’s easy to pinpoint what sounds are performing well and resonating with them.”

Matt Fleeger

JSO Member Night Thursday, December 8

Alan Jones Jam Session8:00 pm

The Blue Monk3341 SE Belmont St.

503-595-0575

photo by Peter Machado

4

Thara Memory - continued from page 1

clude numbers from “Porgy and Bess,” “Sketches of Spain” and several later works, including “Tutu.”

But how did those years of studying and playing the master’s lines lead to Memo-ry’s “own thing”?

“I wasn’t trying to sound like Miles,” he explains. “I was trying to feel like Miles. That’s the whole point of the project – use your passion and try to draw out some of the things in the music that Miles did."

Memory hears “inner music” in Miles Davis. Let him explain:

“If you are smart enough to know where [Davis’s] music is going,” he says, “you can become comfortable enough to deal with the various levels of emotion that it lays out for you. And then the musicians get something back that you hardly ever get back from other people’s music – you get comfort.

“Generally, you’re on the bandstand playing, there’s not much comfort, my brother,” Memory says. “The mon-ey’s not right, the audience is not right, and everything’s kind of stark and bleak at times. But that particular music, once you’re inside the door, there’s a comfort inside the playing.”

To make sure his musicians get inside thast Miles Davis door, he started rehearsals for the February concert during Thanksgiving week.

“If you don’t polish a stone, you can’t expect it to shine,” he says. “That’s why I’m starting early. I want to go over the arrangements – not to make ‘em better, but to see if we can find that comfort and give it away to the audience.”

As important as those big wind ensembles are to Memory, he plans to close the program with a solo.

“I’m going to play ‘Seven Steps to Heaven’ – some-thing that’s been really close to me,” he says. “When I first met Mel Brown, that was what he wanted to play.

We were athletes then. I’d be jumping around, and Mel’s ready, Michael York’s ready, and I’d say, ‘Seven Steps…,’ and we’d go into orbit. We pushed the envelope – pushed the passion, the speed, the level of creativity. Now I’m a lot more seasoned, and it’ll be a little different. Because I want to really get down to the soul of it.”

It’s not that he doesn’t have complete confidence in the unit he’s assembled,

even if it features a number of young players. Though Memory’s honored nationally as a jazz educator, he’s not using the students just to demonstrate his commitment to the next generation.

“No. The reason is, they’re sounding good,” says Memory. And indeed, his young jazz orchestra will soon be heard on four tracks of Artist of the Year Esperanza Spalding’s new CD, “Radio Music.”

“When Esperanza took the first two cuts of those kids back to New York, [saxophonist and bandleader] Joe Lovano gave me a phone call, and he said, ‘You close your eyes you cannot tell these are kids. So whatever you’re doing, you keep on doing it.’ They thought it was very hip – the arrangements and that youthful sound,” says Memory.

“I usually use three or four professionals in the stu-dent band as guides,” he goes on. “All you need is guides, and the student musicians play right up to the mark. They come out there, all their music is memorized … because a lot of times, I like to have the band play without reading. So I can reshape it. All for the sake of getting some com-fort from the music.

“That’s where I’m at in my life right now.,” says Mem-ory, 64 and suffering from the effects of diabeties that cost him a finger (David Monette designed and built Memory a custom, two-valve instrument so he could continue playing). “I’ve gone through the whole athletic thing. I’ve

Though he’s devoted much of his life to it, and is a product of high school and college studies in both classical music and jazz, Memory isn’t comfortable with the near-universal belief these days that playing jazz requires a for-mal music education.

“Eddie Harris told me, ‘Thara, one day you’re going to have to have a degree to play this music in a nightclub and talk to people about it.’

“And he was right. If we take 50 Portland musicians making their living from music, 80% of them will have bachelor’s degrees, and 50% of those will have graduate

degrees. Everybody in Curtis Salgado’s band has a gradu-ate degree. There you have it.

“There’s almost no room for people who are bright, talented and can seriously play,” he says. “Rassan Roland Kirk? They would have put him in a mental ward and dismissed him long ago. John Coltrane? They would have thought he was on drugs.”

His advice?“You have to learn to survive within this framework,”

he says. And several of his star pupils, including Spalding and saxophonist Hailey Niswanger, seem to be doing fine.

Thara Memory on jazz education

continued next page

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Thara Memory - continued from page 4gone through the whole thing where I was mad as hell at everybody and at how artists are treated in this country, and how others can make a living and we can’t make a living. I’ve gone through every one of those stages, and I’ve beat them all, and now, you do the stuff that really enriches you.

“Reason number one,” he continues. “You take 20 club gigs in a month. And you take one concert that month; you’re not going to make any more money on 20 gigs than you will on that one concert. It’s been proven. And if you only break even, that’s really cool and enriching [any-way]. It shows that the artist has the power to control not only his own artistic destiny, but economic also.”

And Memory’s determined to prove it.“This is the second time I’ve been invited to play on

this level,” says the man who first came to Portland with Joe Tex and stayed to play in area clubs for 40 years. “The first was when I opened the Monterey Jazz Festival with Esperanza. The Portland Jazz Festival, this is the first time with my name on it, and people labeling me a Jazz Master

– which I accept graciously. My plans are – not to come off of it. I’m going to see how much I can get out of this Miles Davis project. I’m going to just do the concert music and see what it does. I’ve already booked a noon lunch at City Hall and I’m hoping to book a moderately big concert in the atrium at City Hall – as a prelude to the Jazz Festival performance. And every performance will be totally dif-ferent,” he adds with enthusiasm.

“That’s why I have the large ensemble get rid of the music sometimes. Learn your parts and then, let’s put the paper away. I love working without a net. I’m not afraid, I have no apprehensions. I love working without a net.”

If you do fall, “you screw up big time,” Memory says. It doesn’t stop him, though.

“I’m in the wheelchair for a while now,” he says. “But you can still play from the chair. Second to last time I saw Miles, he was in a wheelchair.”

Still finding comfort in Miles and holding down his own thing, Memory continues to bring others up with him, too.

Editor's CornerProducing a weekly or monthly series of concerts is becom-

ing a popular way to present jazz -- even if it’s in a nightclub. In the past 12 months, the Portland Jazz Festival has produced such events in partnership with Tony Starlight’s Supperclub and Lounge and, currently, at The Mission Theater. Other series have included Sunday nights at The Crow Bar (curated by guitarist and composer Dan Duval) and the fledgling series produced at the Community Music Center by Tim Willcox.

“Ninkasi Presents Sunday Night Jazz @ The Blue Monk”

Sunday Night Jazz @ The Blue Monk completes first yearbegan in late November, 2010, with a concert by The Quadra-phonnes Saxophone Quartet, and Quads member Mary-Sue Tobin curates the series. So it was only fitting to celebrate its first year of weekly concerts last month with a return engagement by the Quads. The series has presented a different group every week, offering area artists an opportunity to present music – and combi-nations of musicians – not regular heard in club gigs.

This month’s schedule includes the Tim Paxton Ensemble (12- 4), Trio Subtonic 12-11) and Tom Wakeling12-18.

Jazz in Portland – can it get much better than this?Jazz clubs come and go, but since Jimmy Mak’s moved to its

current location, we've rarely see a new venue designed for jazz. But that’s what the new Ivories Jazz Lounge and Restaurant of-fers. Owner Jim Templeton has designed a club he’d like to play in – and he does: solo piano and in a trio weekly. Ivories joins Jimmy Mak’s, Touche and The Camellia Lounge to form a jazz nexus in the Pearl. The Sylvan Steakhouse is now hosting the Ron Steen jam on Mondays.

Good news is often tempered by bad in the world of jazz ven-ues, though. Pianist Jeanne Ronne reports that, as of January 2, 2012, there will no longer be a Sunday brunch at the Benson Ho-tel; the hotel is closing the dining room for all meals. Ronne has played the Benson’s Sunday Brunch since 1980.

Several concert series are going strong (see above), however, and Portland continues to attract top players who want to live – and work – here, including recent arrival George Cooligan (see article this month on his debut) and others who have added to the roster of nationally-known musicians on area stages.

Portland hosts a 24/7 jazz radio station (KMHD – see up-date in this month’s issue), an award-winning international jazz festival with some year-round programming and educational outreach, and, of course, a jazz support organization in the JSO with its monthly magazine and calendar. The area is also home to a number of college-level jazz studies programs as well as excel-lent instructors teaching student musicians in public schools and other programs. Jazz also receives regular coverage in the online

magazine, Oregon Music News. Many musicians have testified to the variety and depth of the scene, and the positive impact it has on their development.

As a volunteer host on KMHD (Bright Moments! Fridays, 1-4 pm), I broadcast at least one live performance by Portland musi-cians every week: more than 200 different players in two years. Videos of some of those performances are on YouTube at Bright-momentspdx,; they’ve received more than 25,000 views.

For many jazz musicians, there are never enough opportuni-ties to work, though, and performances are often under-compen-sated, given the quality of the artists and their value to the com-munity as a cultural force. And not everyone agrees that all is well with jazz in Portland, including the subject of our cover story this month, Thara Memory:

“Some people think, because there is one radio station playing jazz, it means that all is well. No, it just means you’ve got one doc-tor roaming the hall for 500 patients. One doctor roaming the halls playing this boom box.”

Interesting analogy. Memory implies there’s a population in need of more jazz. Let’s hope he’s right, and that the lack of op-portunities and adequate pay will be addressed as they find their way to what’s already on offer and support more.

But at present, the scene’s brimming with talented players providing quality music in such quantities that every night of the week a listener’s faced with a number of equally compelling alter-natives.

6

Holiday albums go beyond traditional fare ... Flouzat disc shows where jaz should be going

continued next page

Reviews by Kyle O'Brien

In a Yuletide Groove, Chris Bauer. This holiday disc is subtitled “Harmonica Jazz for the Holi-days.” So when you ask yourself, how many different ways can we hear jazz versions of traditional Christmas tunes, here’s yet another. Harmonicist Bauer is a decent player, though not quite on par with Toots Thielemans. His improvisatory lines are easy and laid back, and his melodies on target, so you know what you’re getting on this disc of yuletide standards such as “Winter Wonderland,” “Frosty the Snowman” and “White Christmas.” If you’re a fan of the mouth harp, you’ll probably dig this straight-ahead take on the season. If not, there are plenty of other holiday options out there. 2011, Chris Bauer Music, 60 minutes. Send Me Some Snow, Chris Standring & Kathrin Shorr.

If you’ve heard “The Little Drummer Boy” one too many thousand times and are looking for some new holiday tunes, this cheerful disc of originals by composer/guitarist/arranger Standring and vocalist Shorr should lift you from the doldrum-pa-pum-pums. The tunes are hooky and melodic, like a good holiday tune should be, but it’s the quality of the musi-cianship and lyrics that make this a winner. The opener, “Send Me Some Snow,” is a catchy tune, featuring nice harmonies and Shorr’s breathy, invitingly expressive voice. She’s like a modern Billie Holiday meets Doris Day. The orchestration is understated and jazzy, with Standring’s mellow guitar highlighting many tunes, including the light Latin, “There’s No Time Like Christ-mastime.” You may not initially recognize any of the tunes on this disc, but they somehow seem familiar. They make for a lovely, and non-repetitive holiday listen. 2011, Ultimate Vibe, 34 minutes. Vintage Christmas, David Ian. Christmas is a time for memories, nostalgia and joy. Ian has the nostalgia down, with this retro collection of holiday classics, done like the great Christmas records of the ‘50s and ‘60s. Here, the jazz trio plays a perfect vehicle to drive the melodies on songs including “Let it Snow,” “The Christmas Song,” and “I’ll Be Home for Christmas.” While the album doesn’t break any new ground, it is a pleasing listen and one to have on holiday rotation, due to its warm sound, due in part to Ian’s piano chan-neling players such as Bill Evans and Vince Guaraldi that brings the jazzy warm-fuzzies out. The inclusion of guest vocalists Aca-cia and Andre Miguel Mayo brings welcome changes of pace but takes away none of the honest “vintage” tone. Put this one in the player with Nat King Cole and Sinatra, and you’re sure to have a happy holiday party. 2011 Prescott Records, 34:25. 2Tone Christmas, Cindy Horstman & Michael Medina. This Texas duo is an unlikely jazz pair -- harp and electric bass – the first clue that this is anything but traditional Christ-mas music. Sure, you’ll recognize the titles: “Deck the Halls,” “Joy to the World,” “Carol of the Bells.” But the execution is New Age meets Smooth jazz. The digital production and the mellow nature of both the bass and harp make this disc sound like a Christmas lullaby. But after the initial Smooth jazz bore-

dom of “Deck the Halls,” complete with drum programming, the music gets a tad more interesting, including a swinging jazz waltz version of “Joy to the World,” which features a fine sopra-no sax solo by Tom Braxton. The harp isn’t overdone – thankful-ly -- but this disc borders on the cheesy, as on the plunky version of “The Little Drummer Boy” or the R&B version of “Angels We Have Heard on High.” It’s certainly not your normal Christmas album, and it’s also a bit sleepy. 2010, Seahorse Records, 36 minutes. Christmas in July, Elisabeth Lohninger Band featuring Axel & Walter Fischbacher. Serious jazzheads will love this Christmas disc by Aus-trian native and vocalist Lohninger. Right off the bat, you know you’re getting something refreshingly different. She sings Mel

Torme’s “Christmas Song” to the chords of “Giant Steps,” calling the hybrid “Gi-ant Chestnutz.” Backed by guitarist Axel Fischbacher and pianist Walter Fischbacher, along with bassist Johannes Weidenmuller and drummer Ulf Stricker, Lohninger shows off her impressive vocal chops while taking a trip around the musical world. She visits Brazil, Italy, Mexico, Japan and Germany, among other global spots, bringing a sense

of Christmas from those locales, and, most impressively, singing mostly in the languages of those countries. Christmas is a global holiday, and Lohninger makes sure she is respectful of the tradi-tions she brings together. Her ear for dialects is astounding, and her band makes sure that the multicultural music behind her is infused with a good amount of jazz to keep it cohesive and fresh. If you want a global Christmas, this is your disc. 2011, JazzSick Records, 60 minutes. Still Alive and Kickin’ Down the Walls, Bryan and the Hag-gards. I sang the praises of this group’s debut album, and there’s no reason not to keep the accolades coming on their sophomore release. The group’s approach is completely unique -- they take songs written or recorded by Merle Haggard, and place them into a two-beat avant-garde jazz setting. It’s an odd but completely engaging mash of Bakersfield twang and Ornette Coleman-style free jazz. The opener, “Ramblin’ Fever,” keeps its simplistic country form, but saxophonists Jon Irabagon and Bry-an Murray blast through with solos and lines that stray far from the original chordal base. With guitarist Jon Lundbom chunk-ing away at the chords, as on the two-step of “Seeing Eye Dog,” and bassist Moppa Elliott and drummer Danny Fischer holding down the fort, it’s a fun romp through the country-fried South-west, with a big dose of New York cutting-edge jazz. On some, I almost wish they took it just a bit further on the jazz side, since a few tracks play it too safe, but the overall impact is just as cool as the original ... if you can handle it. 2011, Hot Cup Records, 42 minutes. One Way…Or Another, Guilhem Flouzat. Drummer Flouzat creates the kind of sophisticated jazz that can’t be defined easily, combining influences as vast as chamber music and funk into a smart and cohesive modern vision. It goes from the edgy jumps of “One Way,” featuring Laurent Coq’s taut piano, to the pensive darkness of “Black Magic,” to the metered outside rhythm of “Sometimes at Night,” and the music is al-ways intriguing, if not quite melodic. For being a drummer-led group, the percussion is surprisingly sparse. Flouzat prefers calculated crescendos and accents over blatant flourishes, which

7

Renee Marie's Black Lace Freudian Slip: "If we still gave stars, this one would get five!"

elevates the music above club jazz. Saxophonists Antonin Hoang and Ben Wendel use rounded, mellow tones to relay their lines, making them speak louder than their actual volume. This is a fine example of where jazz should be going. 2011, Onze Heuresonze. 51:10.Black Lace Freudian Slip, Renee Marie. Marie is a true vocal jazz talent, as she has proven with each consecutive release. This one is a winner, showcasing her power-ful voice and a knack for writing expressive and soulful tunes, like the bluesy title track, a sultry song with a teasing whimsy. Her diversity is evident here as well, ranging from pretty ballads (“Thanks, But I Don’t Dance”) to swinging blues (“Rim Shot”), to a quick jazz samba (“Rufast Daliarg”) to country-folk pop (“Wishes”), with touches of bop, gospel and R&B. Marie’s voice is big, vibrant and exciting, exuding energy and a joy for the mu-sic. If we still gave stars, this one would get five. 2011, Motema, 67:30. Capsule, The Landrus Kaleidoscope. On his debut, baritone saxophonist Brian Landrus shined, displaying a mastery of his big instrument while nodding to its past stars. Here, he branches out with doubles on bass clari-net and bass flute, among other woodwinds, while fronting an electro-acoustic quintet. This is a more ambitious project than his debut, and it shows his diversity. The opener, “Striped Phase,” is a soaring fusion tune featuring Landrus’s command of the bass clarinet over a retro-70s style groove, layered with acoustic bass by Matthew Parish and electric piano by Michael Cain. Add guitarist Nir Felder and drummer Rudy Royston, and you have a fiery group playing solidly cool fusion jazz. The players are al-

lowed to stretch out, but it never feels like a jam session. Instead, that looser feel gets reined in by well-arranged original tunes, like the reggae-meets-funk of “Like the Wind,” where Landrus plays a breathy bass flute solo. Landrus is certainly an artist to keep an eye on, especially considering he is one of the few folks dedicated to big and low horns. 2011, Blueland Records, 60 minutes. Current, Jovino Santos Neto Quinteto. Neto is a three-time Latin Grammy nominee from Seattle, and this native Brazilian pianist and composer is an internation-al star on the Brazilian jazz front. Here, Neto enlists his Quinteto group to play a mix of Brazilian jazz styles on his original tunes. They are lively and fun, with enough musical complexity to keep it interesting throughout on styles ranging from sambas and choros to marchas and modern tunes. It’s the interactivity of the players that makes this a thoroughly engaging disc. Saxo-phonist Harvey Wainapel is one of the best on the West coast, and he plays off Neto’s rhythmic comping seamlessly. Percus-sionist Jeff Busch and drummer Mark Ivester lay down the beats, with strong bass lines from Chuck Deardorf. It’s a tightly woven group playing great Brazilian jazz right here in the Northwest. 2011, Adventure Music, 57:55.

The Shedd Institute - Eugene

TheShedd12.8 & 11 Yule Be Swinging!

Christmas at The Shedd 20112.2-10 The Emerald City Jazz Kings:

Pick Yourself Up2.3 Hummel Blues Harp Blowout2.11 Ken Peplowski w/ Siri Vik2.29 Tim Birne: Snakeoil3.1 Woideck Jazz Heritage:

The Gershwin Brothers3.8-16 The Emerald City Jazz Kings:

Here Come The Blondes

Ticket Office: 541-434-7000Shows at 7:30 pm www.theshedd.org

Yule Be Swinging! December 8 evening & 11 matinee

Christmas at The Shedd 2011

KenPeplowskiFebruary 11

The Jazz Kings

Pick Yourself Up!February 2-10Eugene, Corvallis, Florence

JazzScene-Shedd-2011-12.indd 1 11/27/2011 9:00:36 AM

Trip The Light Fantastic, Hal Galper, piano.I’m really delighted to see Galper return to a straight ahead

orientation on a fresh, buoyant new release. Working with Se-attle veterans Jeff Johnson, bass, and John Bishop, drums, Galper makes it clear that this is going to be a brisk outing from note one. And that first note brings in “Alice In Wonderland.” But this version, as opposed to most others, leaves no prisoners, as Galper and company go for broke. Having gotten out of the gate in a whirlwind, Galper also shows a penchant for ballads with “Babes of Cancun” and a stunning solo on “Guess I’ll Hang My Tears Out To Dry.” The pianist also takes charge on three of his own compositions, the best (and most lyrical) an off-beat sort of waltz, the title tune. And then what does Galper do? He reincar-nates a Mario Lanza (!) opus from the early ‘50s. Granted, Lanza

never approached an interpretation quite like Galper’s on “Be My Love,” but there it is in all it glory. Galper is a high-energy pianist; very contemporary and, in places, extremely percussive. He’s definitely on high beam with this trio.

Origin, 2011, 44:10.Take Flight, Liz Childs, vocals.

This is the second CD for Childs, a singer who seems quite comfortable with both classic material and more contemporary vehicles. She works here with the polished trio of Ed Maceachen, guitar, Dan Fabricatore, bass, and Anthony Pinciontti, drums. I particularly liked her easy, carefree style on such standards as “Dindi,” “Lover,” “Just One Of Those Things,” “You’d Be So Nice To Come Home To,” “You Don’t Know What Love Is” and many others. I did find it a bit odd that, among these great tunes, Childs mixes in a few by pop purveyors Bob Dylan and Leonard Cohen. But those oddities are more than made up for by a couple of deliciously obscure “baby” tunes. Bobby Troup’s “Baby, Baby, All The Time” is combined with an ancient Bes-sie Smith line, “Reckless Blues.” The other “baby” tune is a real rarity that I first heard from the wonderful Carol Sloane called “Baby Don’t You Quit Now”; probably the reason it earns such a high grade is that it was written by Jimmy Rowles and Johnny Mercer. Childs seems to have a built-in feeling for jazz interpre-tation. She never forces a note, sings nicely on key, and offers just enough scat singing and imaginative phrasing to please any grizzled old jazz fan. Like me!

Self-Produced, year probably 2011, 78:57.Breaking News, The New World Composers Octet.

Not all of the swagger is in The Apple. Take a group with an unwieldy name like The New World Jazz Composers Octet, for example. This is a Boston-based ensemble just brimming with musicianship. Many of the musicians and arrangers have long ties to Berklee College of Music, Boston’s bastion of jazz educa-tion. All of the music is original and puts the ensemble to the test in a variety of settings. For example, the CD opens with a vigorous, brisk selection called “Poco Picasso.” But it switches gears on the very next tune, a ballad titled “Wishful Thinking” that features a gut-wrenching solo by the group’s leader, Daniel Ian Smith. The title tune is a boppy blues in the manner of the

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Pianist Hal Galper returns to straight ahead ... Meurkens trades harmonica for vibes

Continued on next page

Reviews by George Fendel

Blue Note type of things that dotted the landscape back in the day. For contrast, how about “Song Sung Long,” a tune that fea-tures the recitation of a poem by Smith’s daughter! Perhaps the high point of the disc, however, is a three-tune trilogy by Ted Pease, one of Smith’s fellow faculty members at Berklee. The three tunes -- “Thad’s Pad” for Thad Jones, “Strays” for Billy Strayhorn, and “Willis” for Bill Holman -- capture the essence of those distinguished members of the jazz fraternity. But what you should keep in mind is that this band swings authoritatively; it’s freewheeling jazz with numerous vibrant solo opportunities; and the arrangements cook up a storm.

Big And Phat Jazz, 2011, 61:42.Live At Bird’s Eye, Hendrik Meurkens, harmonica, vibraphone.

Ah, the truth comes out! Here we’ve admired Meurkens for years as a wizard of the jazz har-monica, but for the first time, we get to hear him on vibes. It only makes one wonder why it took this long. Just pop in the first cut, a fiery Joao Donato line called “Amazonas,” and there’s Meurkens in flight on vibes! The mood changes as his quartet moves effort-lessly to “Estate.” Meurkens’ passion-ate harmonica is something to behold. The buoyant Brazilian beat resumes

with “Sambatropolis,” and again the leader is featured on vibes. Jobim’s “Dindi” has worked its way to standard status, and Merukens’ harmonica works seamlessly with the piano of Misha Tsiganov. “Lingua De Mosquito” brings out a playful, childlike quality, and Meurkens follows that with another swinging line, “Noa Noa,” a little-know Sergio Mendes tune. His vibraphone reading of “Body And Soul” is absolutely perfect as a mood setter, and then the leader follows with another rich Brazilian melody line on Donator’s “Minha Saudade.” The set closes with Jobim’s “Voce Vai Ver,” typical Jobim lyricism all the way. What a gorgeous detour for Meurkens. As much as you’ve admired him as “the next Toots” over the years, here he is in the same league as guys like Milt, Hutcherson and Burton.

Zoho, 2011, 54:48.A New Kiss, David Budway, piano.

Marking his debut on the impressive, St. Louis based Max-jazz label, Budway shows himself to be a powerful piano pres-ence in a variety of styles and settings. His basic trio includes Eric Revis, bass, and Jeff “Tain” Watts on drums. Being a piano guy first, I would have left well enough alone, but Budway brings in both Branford Marsalis and Marcus Strickland, who play soprano saxophones individually on no less than four cuts. But the trio takes over with p’zazz on George and Ira’s classic, “Strike Up the Band.” And it’s here you get to experience some remarkable Budway chops. Among other winners you’ll find Budway’s exquisite ballad, “Love You Tonight”; a ripping tempo on a Latin-inspired original called, of all things, “Stinky”; and “Round Midnight” gets a solo reading full of adventurous little flights, twists and turns -- and a few Monkisms, of course. If I were to choose a favorite cut on the disc, I’d have to go with an inspired version of Cole Porter’s “You’d Be So Nice to Come Home To.” Budway treats it along the lines of a Bach invention, with voice chasing voice. I’ll bet Porter would have loved it. One can hear all the hours of classical music that Budway must have spent practicing in his youth. These and more make mark the debut of a startlingly inventive new piano voice.

Maxjazz, 2011, 62:49.

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Feinstein's Sinatra choices befuddle reviewer ... Eade, Blake create tone poems for voice and piano

Whirlwind, Dominique Eade, voice, Ran Blake, piano.This is quite a departure for the superb singer Eade. It’s

been in the making for years, as apparently she and pianist Blake have held like-minded musical leanings for a long time. Blake is considered by many to be a “third streamer”: a player who makes dissonances, odd meanderings and stops and starts sound just fine, thank you! Ms. Eade takes Blake’s cue with a highly creative performance, giving familiar melodies new vo-cal attire. Some might call it “chance taking”; some might call it “improvising”; some might call it “art.” Take your pick, because Eade turns this material into individual and unique little “tone poems.” I might say with emphasis that there are very few sing-ers who could pull this off without sounding pretentious and over the top. But Eade indulges in neither. Instead, she perfectly puts forth these new creations as though she means every word. And Blake is right there “conversing” with her in nearly surreal alignment. It’s an approach that probably isn’t for everybody. But if you have ears for it, there’s a lot happening here to dive into. For the record, a few of the familiar titles include “My Fool-ish Heart,” “Dearly Beloved,” “Old Devil Moon,” “Where Are You” and “The Thrill Is Gone.” But, I’d submit, you’ve never heard them sung quite like this.

Jazz Project, 2011; 46:02.Opening Statement, Tito Carillo, trumpet, flugelhorn.

For some 15 years, Carillo has been Chicago’s post-bop standard bearer. A trumpet player in the tradition of Freddie Hubbard or Woody Shaw, Carillo leaves no doubt that he’s a force in the power department. His basic group includes Windy City colleagues Benjamin Lewis, piano, Lorin Cohen, bass, and Dana Hall, drums. Two saxophone players are guests on a num-ber of selections, bringing the quartet to a quintet. Eight of the ten tunes played here are original compositions by the leader, and he makes it quite clear that he’s in charge on high-energy pieces such as the opener, “Truth Seeker,” and the equally en-ergetic “Shades of Morpheus.” But Carillo also delivers the message with great feeling on ballads that include “Song For Elisa,” the Miles-like “Stillness,” or the strongly stated melody line of “Where You Come From.” Carillo, who is a full-time jazz trumpet professor in the Illinois higher education system, carries forth the honored tradition of scintillating post bop on what I assume is his debut album.

Origin, 2011, 72:05.The Sinatra Project, Vol. 2: The Good Life, Michael Feinstein, vocals.

I somehow missed out on volume one of Feinstein’s Sina-tra tribute, so let’s give it a go on volume two. Feinstein’s pas-sionate, Broadway-style renderings are as solid as ever, but his choice of songs is at the very least, odd. His opener is a rather tasteless pop opus called “Thirteen Women.” If Frank ever sang it, well, he shouldn’t have. Other tunes are of much better qual-ity, but I would at best only peripherally associate them with Sinatra. For instance, did Frank ever record “Is You Is or Is You Ain’t My Baby?” He probably did, but it just doesn’t resonate as a Sinatra tune. The same could be said for “Hallelujah I Love Her So” and the Latin-tinged “Sway.” A complete and total mystery is the inclusion of something called “C’est Comme Ca,” a rather nice tune, but where are the Francis memories? And, truthfully, wouldn’t you put “The Good Life” and Tony Bennett together? Same for Sammy Davis and “For Once In My Life” and “Once in a Lifetime.” Okay. Having said all that, a medley of “Luck Be A Lady” and “All I Need Is the Girl,” and classy takes on “I’ll Be Around,” “The Way You Look Tonight” and “The Lady Is A Tramp” are 100% Ol’ Blue Eyes. Feinstein is in fine voice and the arrangements, including strings here and there,

are well suited to the singer. It’s simply the menu of so-called Sinatra tunes that, in some cases, befuddles me.

Concord, 2011, 41:13.Minor Returns, Jeffrey Snedeker, French horn.

The rich, resounding French horn may not have carved out a marquis place in jazz history, but a few brave cats have excelled on this challenging instrument. Consider such players as Julius Watkins, John Graas and Willie Ruff, among others. Well, Central Washington University in Ellensburg boasts faculty member Jeffrey Snedeker as a versatile French horn expert. With an array of fellow faculty members and a few students, Snedeker lights up the room with stellar, straight ahead arranging and some tunes that would qualify as classic jazz choices on any-body’s list. Among them, how about the rarely played George Wallington gem, “Godchild,” or Billy Strayhorn’s timeless “Chelsea Bridge.” Others scoring high marks include “Oleo,” “Autumn Leaves,” “Summertime,” “Straight, No Chaser,” “In A Sentimental Mood,” and even “Take Five.” A couple of sur-prises (and great choices) were “Moonlove,” a romantic melody written by that jazz icon Peter Tchaikowsky (!) and “Allegretto” from “Jazz Symphony No. 1” by John Graas. It comes from a re-cording so rare you’d never even find it with one of those metal detectors. But apparently Snedeker did, and nice going, friend. There’s still room on my jazz menu for some refined French horn cuisine, and this is it!

Self-Produced, 2010, 72:01.

SHORT TAKESEl Cumbanchero, Mark Weinstein, concert, alto and bass flutes.

What sets this CD apart from the run of the mill Latin disc is the instrumentation and the arranging. To the usual group of percussion-eers, Weinstein added arrangements by Aruan Ortiz, and he in turn brought a bevy of strings to the date. The added voices make for quite a compelling album. All the music is built around a Cuban base, but Weinstein’s virile flute and the vigor-ous arrangements really cover the ground here. A real departure from the “same ol, same ol” that Latin music seems to usually spin out.

Jazzheads, 2011, 53:52.Our Modern Lifestyle, The Young Lizards.

I was all set to “bash” this as yet another Hammond B-3-based yawner. But it’s a lot better than the usual ensemble of this type, because the players take on well chosen, underexposed tunes by composers such as Woody Shaw, Joe Henderson, John Coltrane and Clare Fischer. In my head, I just can’t get the organ out of the church, but that’s my problem. As for you, there are some hip things happening here, and if this is your cup of tea, you’d be well advised to drink it.

Pony Boy Records, 2011, 64:27.Legacy, Al Naylor, trumpet and flugelhorn.

If you thought Iowa was all cornfields and Central Standard Time, well, yes, Virginia, there’s jazz in Iowa. At least in the Mar-ion, Iowa school district, where you’ll find trumpet ace Naylor. At every opportunity, he’s out there playing with students and former students, and this album brings a quintet of some of the best of them together. The songs are nearly all original composi-tions by the leader. He writes swinging, boppy lines and gives ample solo opportunities to his talented colleagues. A jazz gig in Iowa? Well, why the heck not?!

Self-Produced, 2011, 47:21.

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In MemoriamBy Rob Scheps

Sid Cooper (saxophone, flute, clarinet), 92; born 11/2/18, Montreal, Canada, died 7/18/11, Lake Worth, FL.

Cooper was raised in Brooklyn, NY and started his career, like many musicians, in the orchestras of Catskills hotels. At age 26, he joined Tommy Dorsey for a five-year hitch. He also worked with Ella Fitzgerald, Billie Holiday, Louis Armstrong, Taft Jordan, Ben Webster, Sy Oliver and Paul Quinichette.

Cooper became a member of the Tonight Show Band in New York, but when Johnny Carson and the show moved to Califor-nia in 1972, Cooper chose to stay behind. His commercial career included playing lead alto sax with Frank Sinatra and appearing in a number of Woody Allen movies, including “Bullets Over Broadway” and “Alice.” He was one of the great New York studio woodwind doublers. His greatest claim to jazz fame, however, is his work on Miles Davis and Gil Evans classic big band recording, “Miles Ahead,” where Cooper appears on flute and clarinet.

Walter Norris (piano), 79; born 12/27/31, Little Rock, AK, died 10/29/11, Berlin, Germany.

Norris was raised in Little Rock, where he developed into a fine pianist. He moved to Los Angeles in the 1950s, where he showed his stylistic diversity early on by recording with straight ahead trumpeter Jack Sheldon, and then appearing on Ornette Coleman’s first record, “Something Else.” In the company of Cole-man’s more famous bandmates -- Don Cherry, Billy Higgins and Charlie Haden -- Norris made a mark on history by playing on this seminal album; the last time Coleman recorded with a pianist until Geri Allen, more than 30 years later.

Criminally underrated throughout his career, Norris worked with Charles Mingus, Pepper Adams and other greats. He made history again when he replaced longtime pianist Roland Hanna in the Thad Jones/ Mel Lewis Band in 1975, appearing on their great record, “New Life,” in the company of Adams, Frank Foster, Jon Faddis and others.

Norris made a series of solo CDs , including “Winter Rose,” “Live at Maybeck 4,” and the duo recording, “Hues of Blues,” with bassist George Mraz, his section mate in the Jones/Lewis Band. In recent years, Norris made his home in Berlin and was just shy of 80 years old when he passed.

Joel DiBartolo (bass, educator), 65; born 11/24/45, Buffalo, NY, died 9/27/11, Scottsdale, AZ.

Joel grew up in Buffalo, part of a fertile Upstate New York jazz scene at the time. He was classically trained and performed in orchestras and was an early member of fellow Upstater Chuck Mangione’s groups, recording with Chuck as well

He joined Buddy Rich’s Band around 1971, playing on Rich’s album, “Stick It.” He then put in 18 years with the Tonight Show band in Los Ange-les, 1976 to 1994. During his time in L.A., DiBartolo was in high demand in the studios, playing on countless sessions for TV and film, including the scores for major movies, including “Rocky,” “ Jaws” and “Star Wars.”

The studios did not keep him from playing jazz with major figures, though, including Freddie Hubbard, Frank Sinatra, May-nard Ferguson, Joe Williams, Sarah Vaughn and more.

In 1994, desiring a change, DiBartolo moved to Arizona, where he became the beloved head of Jazz Studies at Northen Ari-zona University from 1995 until his passing.

Mort Silver (saxophone, flute, clarinet ), 65; born 1946, Bronx, NY, died 4/6/11, New York, NY.

Mort lived in the same building as saxophone legend Vic Morosco in the Bronx while growing up, and he decided to learn saxophone as a result. He attended Juilliard and went to “fin-

ishing school” in the Catskills. Silver later played jazz and pop with Buddy Rich, Tony Bennett, Shirley Bassey, Lena Horne and Johnny Mathis.

He was also active on Broadway, playing many shows such as “Grand Hotel,” “Blood Brothers,” “Gypsy” and “Annie Get Your Gun.”

Silver’s flute and clarinet playing were excellent, and he made several classic records with the demanding ensemble of composer Steve Reich, including “Octet” and the splendid “Tehellim.”

Armen Halburian (percussion, inventor), 77; born 12/25/33, Bronx, NY, died 3/16/11, New Jersey.

Halburian was a percussionist of Armenian descent who started as a regular jazz drummer, playing with Marian McPart-land’s trio in New York for six months. However he became well known in the early 1970s for his varied and colorful percussion work with a plethora of cutting edge artists of the time.

He played and recorded extensively with flutist Herbie Mann, with whom he made “London Underground” and many other recordings. He was also on the famous 19th Street Scene in New York in the early 1970s -- colleagues and neighbors living in lofts on the street were part of a creative and liquid group of musicians that included Chick Corea, Michael and Randy Brecker, Dave Liebman and more. Halburian was part of the Free Life Collective, led by Liebman, that included Dave Holland, Michael Brecker and Ralph Towner. A seminal LP from this period was Liebman’s “Lookout Farm,” which also included Halburian.

He also worked with Steve Gadd, Lenny White and Jack DeJohnette and recorded with Roy Ayers, David Fathead New-man, Joe Farrell and Larry Young. He was on another classic record, trumpete Woody Shaw’s 1977 masterpiece, “Rosewood,” on Columbia. Halburian auditioned with Miroslav Vitous for the first edition of Weather Report in 1970, but the gig went to Airto Moreira.

He was also an inventor. His solid bar chimes, drum key and custom sticks have all become useful parts of a drummer’s arsenal over the years.

Melvin Sparks (guitar), 64; born 3/22/46, Houston, TX, died 3/15/11, Mount Vernon, NY.

Sparks began playing guitar at age 11 in Houston. From a musical family, he left school to tour with Little Richard, which led to gigs with soul singers Curtis Mayfield, Jackie Wilson and Marvin Gaye.

Sparks moved to New York in the 1960s and became quite busy as a studio guitarist for Blue Note and Prestige, two of the greatest jazz record labels at the time. His clean, soulful, bluesy style was the perfect complement to the B-3 organ, and Sparks made many records with its greatest practitioners: Charles Ear-land, Jimmy McGriff, Dr. Lonnie Smith and Jack McDuff. He also recorded multiple albums with Hank Crawford, Big John Patton, Houston Person and Idris Muhammad. Sparks also recorded with Sonny Stitt, Etta Jones, David Fathead Newman and Plas Johnson.

Sparks also had a solo career, which began with “Sparks,” his 1970 solo debut on Prestige. He made ten more records under his own name. Often found playing little clubs in Harlem, Sparks’ ca-reer had a resurgence in 1994 when he worked with saxophonist Karl Denson’s Greyboy All Stars and Denson’s other group, Tiny Universe. This led him to new, young audiences who dug Sparks and were influenced by him. Recordings with Soulive and other groove bands led by youngbloods were soon to follow.

He was one of the major stylists of jazz guitar and, while un-derrated, his influence should not be overlooked.

By Nancy Tice

Notes & ChordsHoliday concerts, benefits, floods in Thailand and the ghost of Cole Porter in a Shanghai piano

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When I started writing this column 20 years ago, I used to worry I wouldn’t have enough material, but this month, we are enjoying an embarrassment of riches

-- so much news, we need to get right to it. Get out and enjoy as many of these shows as possible to keep the live jazz music scene in Portland vibrant and on-going. But before we start, who said the following:

“I wish to sing of my interior visions with the naïve candor of a child.”

Answer appears at the end of the column.

Vocalist Shirley Nanette invites you to join her on Sunday evenings, 6-9:00 pm, at the Elk Lodge (6 N. Tillamook St., about a block north of Broadway, between Williams and Vancouver). She is accompanied by Vince Frates on piano, Dennis Caiazza on bass, and Tim Rapp keeps on drums. No cover charge.

Norman Sylvester reports that a very successful benefit concert was held at the Old Church on November 17 to assist saxophonist Reggie Houston in his battle with cancer. We are happy to report Houston is winning!

When I saw the news about the floods in Bangkok Thailand, I sent an email to former Portland pianist Randy Cannon, to see if he was at all affected. He called me back and said, “I’m happy, no problems with the floods.” He moved there a number of years ago to enjoy a much more “robust” music scene.

Pianist Randy Porter presents “Christmas with Randy Por-ter and Friends” at the Old Church on Sunday, December 11 at 5:30 pm. In The Oregonian, Lynn Darroch wrote: “Porter has built a reputation as a musician’s musician, a knowledgeable, inventive, and sophisticated player with a remarkable sense of time and gorgeous keyboard facility.”

Vocalist Heather Keizur will be joined by Steve Christoffer-son, Dennis Caiazza, and Ron Steen for a wonderful evening of music at Arrivederci on Friday, December 23, 7:30-10:30 pm. She may even sing some holiday tunes in French!

Jazz Society Hall of Fame members, the Tall Jazz Trio, are hosting their 23rd annual Holiday Concert at Jimmy Mak’s on December 2. Mike Horsfall on vibes, Dan Presley on bass, and Dave Averre, drums, are the core members. This year, they will again be joined by vocalist Marilyn Keller, and by George Mitch-ell (piano), Lee Wuthenow (tenor sax), Bryant Allard (trumpet) and Dennis Costi (reeds). Making a reservation will guarantee you a seat.

Jay Harris -- and Moon By Night Soul Jazz -- has been in-vited back to play at Blue Diamond (2016 NE Sandy) after a suc-cessful first night performance last month. “The owner got the idea that we do have some local supporters, and as a result, we’ll be back there on December 10 again with the possibility of more regular work in the new year.”

Vocalist and pianist Robert Hicks returned to Portland on November 2, after an extended tour to China and other Far East countries. He met Canadian vocalist, Genevieve, “Gigi” Maren-tette in Hong Kong, and refined a show of duets they call “The Hollywood Jazz Review.” Here’s his account of the gig they pre-sented at the Peace Hotel in Shanghai:

“The Peace Hotel in Shanghai is a classic example of 1929 Art Deco architecture. In 1992 it was listed as one of the famous hotels of the world by the World Hotel Association. Fairmont Hotel Group spent millions restoring this remarkable building to its original splendor. Restoration began in 2007 and was com-pleted in 2010.

“One Sunday a month, the Peace hosts a salon in the Grand Ballroom. They are in the tradition of forums of the past where writers, architects, musicians and artists gathered to present and discuss their craft. Gigi and I were honored to be given a night of our own to perform for an intimate gathering. The Steinway I played is the original piano from 1929. Charlie Chaplin and Noel Coward played it. Marlene Dietrich sang with it. Mr. Coward wrote “Private Lives” while staying at The Peace (then called The Cathay).

“Cole Porter and countless world ambassadors and lumi-naries were guests at this hotel. Performing our program of music, much of it from that ‘20s & ‘30s, in a setting where the original composers and artists stayed, whose fingers touched the very same keys on the piano, was a magical experience like no other. The ghosts from the past were alive and frolicking with us that night. When we performed Charlie Chaplin’s “Smile,” there was not a dry eye in the house.”

I was pleased to meet two talented female vocalists at Art Abrams CD release celebration last month. Linda Daiber, who sang with Art’s band, and Tara Williamson.

Williamson invites you to help celebrate the release of her new CD, “Christmas,” on December 11 at Orenco Station Grill in Hillsboro, 7:00-9:30 pm. She also sings regularly at Tony Star-lights, and is the female vocalist in the Bureau of Standards Big Band.

Daiber is singing in a benefit concert December 3 at Eliot Center at the First Unitarian Church, SW 12th and Salmon. The funds raised are for the 13 Salmon Homeless Family Day Shelter that operates at the church. It’s a CD release party for two new CDs by Ellen Vanderslice. Mike Horsfall, Kevin Deitz, Neil Mas-son and Lee Wuthenow will accompany her.

Last month’s Musician of the Month, Tony Starlight, has a jam-packed calendar at his Supperclub Lounge this month. Some highlights include the Tony Starlight Christmas Extravaganza on December 3, 9, 10 and 16, with minor-friendly shows on Decem-ber 15, 18, 21, and 22. Minors are welcome until 9:30 pm, Sunday – Thursday.

On the December 17, Tony presents his popular Dean Mar-tin Tribute, and on Friday, December 30, he will present the Best of Tony Starlight Show, commemorating five years in business.

Tony and Jimmy Mak are teaming up to get the word out about Prostate Cancer at a Benefit Concert at Jimmy Mak’s on December 8, “PAR For Life Performance and Dinner.”

Finally, we offer hearty congratulations to proud new par-ents Shelly Rudolph and Chance Hayden on the birth of their son, Hollis Rudolph Hayden, who arrived on 11-1-11.

Answer to the Quiz: Claude-Achille Debussy, 1862-1918.

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Jack Rosenberg Memorial AwardJSO Musician of the Month for December, 2011: Karla Harris

By Rita RegaInstrument: voiceEarly years/Education: I was born and bred in St. Louis, Mis-

souri. There were no musicians in my family, I had no real life experience of anybody who did music (professionally), beyond my teachers. Growing up, I always loved singing. As kids we’d make up shows and transcribe lyrics. There was always music around, and my Dad liked to sing in the house. My first gig was when I got paid to sing at a wedding at age 13. In high school, I was in bands and choir and played the piano well enough to accompany myself. I also had a love of English and words. It seemed more practical to major in communications than get a degree in music. I didn’t want to be a music teacher. I went to the University of Missouri at St. Louis and have a degree in Speech Communications. Over the years, I have used my de-gree. I’ve worked at a PR firm, been a free-lance writer, and do corporate writing for Edward Jones Financial Services.

In college, I started singing professionally with the St Louis Jazz Quartet alongside traditional vocalist Jeanne Trevor. That got me into the clubs and started my jazz career. I was singing a lot of pop and rock also. It gave me a dynamic range, being able to sing with a big voice as well as a small voice. It was great training -- high energy, and [it] made you stretch vocally. In 2004, I got a call from bassist Tom Kennedy, who is from St. Louis and was get-ting off the road with drummer Dave Weckl. He wanted to form his own group. A few months after I joined his band, my husband was asked to relocate to Portland. So I dragged my feet for nine months, and eventually moved here with our two boys.

Portland: I had no idea what was out here musically. [Now] I think of Portland as a constant jazz party. You get to work with a variety of musicians all the time; in St. Louis, you work with one group and that’s it. There’s a lot more jazz here. Also, singers didn’t get the gigs there. The band leader would get the call, and they’d hire the singers. After I arrived in Portland, I got intro-duced to Mitzi Zilka, went to Ron Steen’s jams, and met Bobby Torres (who also worked for UPS like my husband). Started work-ing with Bobby who got me a spot at the Cathedral Park Jazz Fes-tival. Looked around for places to sing and started gigging at the Old Mill Cafe in Happy Valley with Mark Simon, etc.

I have a band I work with pretty regularly now (Mike Hors-fall, Dave Captein and Todd Strait), but I also work with six or eight different people. I work with everybody, like everybody does. I like working with a lot of different musicians, to learn new things. It’s great, though, to have a regular band so we can really sink into our arrangements, too. I’m a late bloomer; being here has given me the opportunity to figure out what I really love to do. I like to sing songs that I love. In every genre there are songs that appeal to me. My book has songs from Cole Porter to Hall and Oates.

Musical Influences: My parents’ LP collection included art-ists like Nancy Wilson, Billy Holiday, Barbara Streisand, Dione Warwick, Sara Vaughan, Aretha Franklin, etc. Loved “Heart” with

Ann Wilson. Love the way she sang, the visual aspect and energy of it. And Stevie Nicks; these are very strong, empowered women. I’m influenced by all the artists on my favorites list. Also, Tom Kennedy has had a big influence on me, along with Betty Carter and Annie Ross.

Most Satisfying Experience: The 2008 Cathedral Park Jazz Festival with Randy Porter on piano, Tom Kennedy on bass and Todd Strait on drums. It was musical bliss! It was a really wonderful concert, the music was great, the day was beautiful, the voice was doing whatever I wanted it to do, and the sound was good. It was very satisfying. I have had many moments like this.

Favorite Recordings: Nancy Wilson and Cannon-ball Adderley - “Nancy Wil-son/Cannonball Adderley”; Shirley Horn - ”Here’s to Life”; Lambert, Hendricks, & Ross – “The Hottest New

Group in Jazz”; Chic Corea and Return to Forever – “Light as a Feather”; Astrud Gilberto – “Finest Hour”; Earth Wind and Fire – “The Best of ...”; Heart – “Dreamboat Annie”; Antonio Pinto – “Love in the Time of Cholera” soundtrack; Carmen McRae – “Car-men Sings Monk”; Bill Charlap Trio – “All Across the City”; and the St. Louis Symphony Orchestra with Leonard Slatkin, conduct-ing – “Gymnopedie No 1.”

Discography: “Twice As Nice,” Karla Harris and Tom Ken-nedy, 2007 Bent Oak Records. Karla Harris, vocals; Tom Kennedy, acoustic and electric bass; Ray Kennedy, piano; Kara Baldus, piano; Miles Vandiver, drums; Jason Swagler, saxophone; Gery Meek, saxophone.

Gigs: Thursday, 12/1 - Wilf’s w/special guest Pete Swan, drums, Mike Horsfall, piano, and Dave Captein, bass; Friday, 12/2 - The Allison in Newberg w/Randy Porter, piano, and Dave Captein; Saturday, 12/3 - Jimmy Maks w/Bobby Torres Ensemble; Thursdays 12/8, 12/15, and 12/22 at the Ivories Lounge w/Jim Templeton, piano; Friday, 12/9 - Benson Hotel w/Steve Christ-offerson, piano; Saturday, 12/10 - The Allison w/Mark Simon, piano, and Kevin Deitz, bass; Sunday, 12/11 and Saturday 12/17 - Holiday Concert with The Big Horn Brass, Vancouver, Washing-ton; Friday, 12/16 - The Heathman Hotel w/Mike Horsfall and Dave Captein; and Friday, 12/23 - The Benson Hotel w/Joe Mil-ward, piano.

Future Plans: I have a special show I’d like to continue pre-senting called “Wine, Woman & Song.” The first set is the theme, which is based on research that shows what you hear affects what you taste. We match the kind of wine that you’re drinking to a particular style of music, to enhance the flavor of the wine; then, we play something that clashes with it and the audience can taste the difference. The wine maker is there and talks about the wine, I talk about the tunes, and we all have a great time. Another future plan is to record again. I’d like to document where I am now.

Other: Right now, I’m enjoying doing some of the arrang-ing. I want to keep working with the best people possible ... it stretches you.

13

George Colligan, formerly of New York, joined the music faculty at PSU this fall. He earned a reputation as an elite ses-sion performer and sideman during the late 1990s, and he’s appeared on more than 100 CDs. Most recently Colligan has toured and performed with artists such as Cassandra Wilson, Miguel Zenón, Don Byron, Gary Bartz, Jack DeJohnette, Mi-chael Brecker and Ravi Coltrane. He is a Chamber Music America/Doris Duke Foundation grant recipient who just released his 22nd record-ing, “Living For the City.”

Colligan, 42, was a faculty member at the Julliard School for two years and an assistant profes-sor at the University of Manitoba for two years before moving to Portland. He plays drums and trumpet professionally as well as piano and keyboard. He’ll join bassist and composer Charley Grey and Darrell Grant, a pianist, composer and vocalist, on the full-time Jazz Studies faculty.

Cooligan’s official Portland debut concert is scheduled for December 13, part of the PDX Jazz @ The Mission series at The Mission Theater in Northwest Portland. He’ll be joined by guitarist Dan Balmer, bassist Eric Gruber, drummer Todd Strait, and guest pianist Kerry Politzer (Cooligan’s wife). Colligan, an esteemed composer, will play trumpet and melodica on original compositions in addition to performing compositions by the late

George Cooligan comes to PortlandPortland State University adds Jazz Studies professor

area gains top-level multi-instrumentalistBy Lynn Darroch

pianist and former PSU professor, Andrew Hill.“[Hill] was an important and unique figure as a composer

and pianist,” Cooligan said in a press release. “I hope this concert will spark some renewed interest in his music.” Hill was one of the most prominent jazz pianists of the 1960s and recorded many classic albums for Blue Note. He was a NEA Jazz Master and a member of the Down-beat Hall of Fame. Hill taught at PSU from 1990 to 1995; he died in 2007.

Hill crafted a life as free from convention as his music, which is full of twists and dissonances. From experiences as different as playing with Charlie Parker and studying with Paul Hindemith, he developed

skills that allowed him to work with Dinah Washington and then emerge as a leader of the avant-garde. He toured small towns as a Smithsonian Fellow before teaching in California schools and prisons.

After five years of what he called “a comfortable life in Or-egon,” Hill decided to return to New York to pursue greater op-portunities as a performer, and his career took off again. His last release, “Time Lines,” was named Album of the Year by Down-beat magazine in 2006.

Hill’s music should provide a challenging catalyst for Cooli-gan’s debut.

Apologies!!

My apologies for the typesetting mess I made of the November issue of Jazzscene. We have some new software that should make the job easier to complete in a readable manner – but no software’s immune from pilot error.

Here’s to a more readable 2012.

SUNDAYS 6-9PM ATTILLICUM LOUNGE8585 sw Beav-hills-dale HWY ...swingin’

February 17 - Thara Memory, 7:30 pm, Winningstad TheaterFebruary 18 - Enrico Rava’s Tribe, 7:30 pm, Winningstad Theater February 19 - The Jazz Passengers, 7:00 pm, Winningstad Theater

February 21 - Mardi Gras @ The Mission, 7:30 pm, Mission Theater

February 22 - Garth Fagan Dance, 7:30 pm, Arlene Schnitzer Hall February 23 - Dee Dee Bridgewater, 7:00 pm, Newmark TheatreFebruary 24 - Roy Haynes Quartet, 7:00 pm, Newmark Theatre

February 24 - Bill Frisell -Tribute to John Lennon, “Speedy” West

and Jimmy Bryant, 9:30 pm, Crystal BallroomFebruary 25 - Vijay Iyer, Prasanna, Nitin Mitta, 3:00 pm, Crystal

Ballroom February 25 - Bill Frisell solo & the 858 Quartet, 7:00 pm,

Newmark TheatreFebruary 25 - Charlie Hunter solo and the Portland Jam Band

Marathon, 9:30 pm, Crystal BallroomFebruary 26 - Branford Marsalis/Joey Calderazzo Duo, 3:00 pm,

Newmark Theater

2012 Portland Jazz Festival Headliners Schedule

cation. Please list the day of the week, date, band name and any player’s names clearly. If your gig is for every Thursday, list it that way with the corresponding dates behind it. This e-mail address is for the calendar only, not for the JSO, thanks. -- Shelley Garrett, Calendar Coordinator, 503-310-5448

Please email your listings to jsodates@aol.com. Each month, you will be sent a reminder of the actual day your dates are due. Another e-mail advantage is that I will send you a confir-mation that your information has been received. No more worrying about mail service or fax mishaps! The due date is usually the 15th of the month prior to publi-

Calendar submission instructions

December, 2011

Thursday, December 1Blue Monk: Alan Jones Jam, 8 pmBrasserie Montmartre: JB Butler/Al Criado,

5:30 pmCamellia Lounge @ the Tea Zone: Alma

Brasileira w/Tom Pinit/Peter Fung, no cover, 8 pm

Clackamas Community College: CCC Concert Band “Fall Concert”

Heathman Hotel: Johnny Martin Trio, no cover, 7-10 pm

Jazz Alley, Seattle: Chick Corea Trio (Brian Blade, Hans Glawishnig)

Jimmy Mak’s: Mel Brown B-3 Organ Group, $5, 8 pm; minors until 9:30 pm

Portland Prime: Tony Pacini, 5:30-8:30 pmSherman Clay/Moe’s Piano’s: “First Thursday”

- Randy Porter, 7 pmTapalaya New Orleans Restaurant: Milneburg

Trio (Rick Campbell, Dave Johnson, Dave Duthie), no cover, 6-9 pm

Tony Starlight’s Supperclub Lounge: “Sing for Your Supperclub Big Band Karaoke,” 7:30 pm, $10, www.singforyoursupperclub.net

Wilf’s at Union Station: Karla Harris Quartet (Dave Captein, Todd Straight, Mike Horsfall), $8, 7:30-10:30 pm

Friday, December 2Allison Inn, Newberg: Karla Harris/Randy

Porter, 6:30-10:30 pmAndina: JB Butler Trio, 8-11 pmBenson Hotel: Johnny Martin, 8 pmBijou Cafe: “1st Friday Jazz @ the Bijou” -

Nancy King & Friends (Scott Hall/Cheryl Alex/Ed Bennett/Steve Christofferson), all ages, $10, 7-10 pm

Blue Monk: Eddie MartinezBrasserie Montmartre: Tablao, 8 pmCamellia Lounge @ the Tea Zone: “Jazz

Masters” - David Friesen/John Gross, $6, 9 pm

Dolores Winningstad Theatre: Julianne Johnson “Holiday Concert,” 8 pm

Duff’s Garage: Bridgetown Sextet, 9 pmJacqua Concert Hall at the Shedd, Eugene:

Rodgers & Hammerstein’s 1959 “The Sound of Music” (evening & matinee shows through 12/18)

Jazz Alley, Seattle: Chick Corea Trio (Brian

Blade, Hans Glawishnig)Jimmy Mak’s: “23rd Annual Winter Jazz

Concert” - Tall Jazz & Marilyn Keller (w/George Mitchell, piano; Lee Wuthenow, tenor sax; Bryant Allard, trumpet), tickets www.ticketsoregon.com, $12 reserved/$10 general, 8 pm

Nel Centro: Mike Pardew/Scott Steed, all ages, no cover, 9:30-11:30 pm

Portland Prime: Tony Pacini Trio (Tim Rap/Ken Anoe), 7:30-10:30 pm

Salty’s on the Columbia: Jof Lee/Mel Brown Trio

Secret Society Ballroom: Swing Papillon, no cover, 6-8 pm

Tippy Canoe, Troutdale: Ollie McClay/Craig Bidondo Duo, all ages, 6-10 pm

Touche: Laura Ivancie Quartet, $5, 7-9 pmTrinity Cathedral: “Una Fiesta de Esperanza”

(benefit Center for Cuban Studies); Xavier Tabera, vocals; Garner Pruitt, flugelhorn; Gina Pruitt, piano; 6-8 pm, gala reception

Vinotopia Restaurant, Cinetopia Mill Plain, Vancouver: Mark Simon, 6-10 pm

Saturday, December 3Benson Hotel: Johnny Martin, 8 pmBlue Monk: James FaretheewellBrasserie Montmartre: Tablao, 5:30 pm; Gravy,

9 pmCamellia Lounge @ the Tea Zone: The

Dissapointments (Tom Lund/Bill Erb/Tino Ferraro/Scott Eave), 9 pm

First Christian Church: “Season of Lights Concert” with Peter Ziza, Marilyn Keller & the Marylhurst University Choir, 7-9:30 pm, www.peterziza.com

First Unitarian Church Eliot Center: Ellen Vanderslice “CD Release Celebration” - Mike Horsfall/Dennis Caiazza/Neil Masson/Lee Wuthenow/ Linda Daiber/Carolyn Joyce; benefit for “13 Salmon Day Shelter” (Portland Homeless Family Solutions); tickets $10 adv. brownpapertickets.com $12door, 7:30-9 pm

Heathman Hotel: Mary Kadderly/Bill Athens/Dan Gildea, 8 pm-midnight

House Concert: Jessica Williams; for reservations, call Matt Briggs, 503-635-8995

Jazz Alley, Seattle: Chick Corea Trio (Brian

Blade, Hans Glawishnig)Jimmy Mak’s: Bobby Torres, $10, 8 pm;

minors until 9:30 pmMultnomah County Main Library, Collins

Gallery: “Opening Day Exhibition Reception - Pride and Passion: The African-American Baseball Experience,” Barry Glick and Jim Putman, 3-5 pm

Multnomah University, A-Frame: Tim Reed & Friends, w/Ron Leach, $5, 7-9 pm

Nel Centro: Mike Pardew/Scott Steed/Clay Giberson, all ages, no cover, 9:30-11:30 pm

Portland Prime: Mel Brown TrioThe Brits, Longview: Linda Lee Michelet;

“Red Cross Benefit,” reservations required, 360-575-8090, 7 pm

Tippy Canoe, Troutdale: Ollie McClay/Mark Simon Duo, all ages, 6-10 pm

Touche: Farnell Newton Soul3, Tyrone Hendrix, $5, 7-9 pm

Wilf’s at Union Station: Tom Grant Band (Linda Hornbuckle/Ken Anoe/Ron Steen), 8 pm-midnight

Sunday, December 4Acadian Ballroom: “Potluck in the Park Winter

Warm Benefit Concert” with Tom Grant and Friends (Shelly Rudolph/Nancy King/Marilyn Keller/Sweet Baby James Benton/Dave Captein/Jeffrey Frankel/ Ron Steen, 5-8 pm

Augustana Church: Jazz Service, Augustana Jazz Quartet w/Marilyn Keller, George Mitchell, Kevin Deitz, Ron Steen, 6-7:30 pm

Benson Hotel, London Grill: “Sunday Brunch,” Jean Ronne, 9:30 am-1:30 pm

Blue Monk: Tim PaxtonCinetopia, Beaverton: JB Butler, 4-8 pmClyde’s Prime Rib: Ron Steen Jam - George

Mitchell, piano, Dennis Caiazza, bass; no cover, 8:30-11:30 pm

Jazz Alley, Seattle: Chick Corea Trio (Brian Blade, Hans Glawishnig)

Petite Provence: 2jazzguitars, 6-8:30 pmThree Doors Down Cafe: Mia Nicholson/Mike

Horsfall, 6-8:30 pmTillicum Lounge, Raleigh Hills: Johnny Martin

Quartet, 21+, no cover, 6-9 pmTommy O’s Pacific Rim Bistro, Vancouver

(downtown): Tom Grant Band Concert &

Jam Session, 6-9 pmMonday, December 5Blue Monk: Renato Caranto Project, 8 pmBrasserie Montmartre: Erik John Kaiser/Todd

Bayles, 5:30 pmJimmy Mak’s: Dan Balmer Trio, no cover, 8

pm; minors until 9:30 pm: Woodshed Big Band, 6:30-7:30 pm, no cover

Laurelthirst Public House: Kung Pao Chickens (Tracy Kim/Jon Neufeld, guitars; Gary Geunther, reeds/vocals; Tim Acott, bass), no cover, 9-11 pm

Sylvan Steakhouse: Ron Steen Jam - “First Monday,” Tom Grant, piano, Dave Captein, bass; no cover, 8-11 pm

Tuesday, December 6Andina: JB Butler, 7-10 pmArlene Schnitzer Concert Hall: Straight No

Chaser, 7:30 pmBlue Monk: The Jazzistics, 8 pmCamellia Lounge @ the Tea Zone: “Jazz

Extraordinaire Tuesdays” - Steve Christofferson/Tom Wakeling/David Evans/Todd Strait, $6, 8 pm

Jazz Alley, Seattle: Mike Stern/Richard Bona/Dave Weckl/Bob Franceschini

Jimmy Mak’s: Mel Brown Septet, $6, 8 pm; minors until 9:30 pm; “Partners in Jazz - Metropolitan Youth Symphony Jazz Bands, 6-7:30 pm; $15 cover, includes admission for MYS and Mel Brown

MUSE Performance Center, Tigard: Portland Youth Jazz Orchestra “Jazz Gala - PYJO IA, PYJO IB & PYJO IIA,” w/Paul Mazzio, donation only, info at PYJO.com, 7:30 pm

Riverview Restaurant: 2jazzguitars, 6-9 pmWednesday, December 7Arrivederci’s Wine Bar, Milwaukie: Martin &

Francine Tocci, no cover, 7-10 pmBrasserie Montmartre: Brooks Robertson, 5:30

pmCamellia Lounge @ the Tea Zone: Weekly

Jazz Jam (Blake Lyman/Akila Fields/Jim Prescott/Sam Foulger), free, 8 pm

Jazz Alley, Seattle: Mike Stern/Richard Bona/Dave Weckl/Bob Franceschini

Jimmy Mak’s: Mel Brown Quartet, $5, 8 pm; minors until 9:30 pm

MUSE Performance Center, Tigard: Portland Youth Jazz Orchestra “Young Lions Concert - PYJO IIB, PYJO III,” special guest Lily Wilde Quintet, donation only, info at PYJO.com, 7:30 pm

Portland Prime: Randy Porter, 5:30-8:30 pmThe Ivories: Kerry Politzer, 4:30-8 pm; Chuck

Israels Orchestra, 8 pmTony Starlight’s Supperclub Lounge: “Andrew

Oliver Presents…” $8, 7:30 pmWestern Oregon University, Monmouth: David

Friesen “Christmas Concerts” - Dan Gaynor, piano; Tim Willcox, tenor sax; Rob Davis, tenor sax; Charlie Doggett, drums, 7:30 pm

Wilf’s at Union Station: “Ron Steen’s Vocal Showcase” - Toni Lincoln, vocals, Joe Millward, piano, $7, all ages, 7:30-10:30 pm

Thursday, December 8Blue Monk: Alan Jones JAM, 8 pm

Brasserie Montmartre: JB Butler/Al Criado, 5:30 pm

Heathman Hotel: Johnny Martin Trio, no cover, 7-10 pm

Jaqua Concert Hall, Eugene: Emerald City Jazz Kings, present “Yule Be Swinging! Christmas at The Shedd 2011”

Jimmy Mak’s: “PAR for Life - Holiday fundraising event,” starring Tony Starlight, $75 guaranteed + dinner/$25 general, TicketsOregon

Portland Prime: Tony Pacini, 5:30-8:30 pmTapalaya New Orleans Restaurant: Milneburg

Trio (Rick Campbell, Dave Johnson, Dave Duthie), no cover, 6-9 pm

Tony Starlight’s Supperclub Lounge: La Cabaret chanteuse: the Christmas Version, $10, 7:30 pm

Friday, December 9Arlene Schnitzer Concert Hall: “Gospel

Christmas,” 7:30 pmBrasserie Montmartre: Tablao, 8 pmCinetopia, Beaverton: JB Butler, 6-10 pmHeathman Hotel: Key of Dreams (Eric

Schultheis/Abe Wirth, guitars), guest Bobby Torres, 8 pm-midnight

Jimmy Mak’s: Devin Phillips BandMilwaukie Lutheran Church: Clackamas

Community College: “CCC Christmas by Candlelight Concert”

Nel Centro: Mike Pardew/John Stowell/Dave Captein, all ages, no cover, 9:30-11:30 pm

O’Connor’s Vault, Multnomah: David Friesen “Christmas Concerts” - Dan Gaynor, piano; Tim Willcox, tenor sax; Rob Davis, tenor sax; Charlie Doggett, drums

Portland Prime: Tony Pacini, 7-10 pmSalty’s on the Columbia: Jof Lee/Mel Brown

TrioTippy Canoe, Troutdale: Ollie McClay/Craig

Bidondo Duo, all ages, 6-10 pmTouche: Exotic Art Trio (Dan Schulte/David

Goldblatt/Todd Straight), $5, 7-9 pmVinotopia Restaurant, Cinetopia Mill Plain,

Vancouver: Mark Simon, 6-10 pmSaturday, December 10Allison Inn, Newberg: Karla Harris Trio (Mark

Simon, piano, Kevin Deitz, bass), 6:30-10:30 pm

Arlene Schnitzer Concert Hall: “Gospel Christmas,” 7:30 pm

Arrivederci! Wine Bar & Restaurant, Milwaukie: Portland Jazz Trio w/George Mitchell, 7 pm

Benson Hotel: Mary Kadderly/Chris Gabriel, 8-11:30 pm

Brasserie Montmartre: Tablao, 5:30 pmCafe Delirium, Gresham: Linda Daiber/Mike

Doolin, no cover, 7-9 pmCamellia Lounge @ Tea Zone: Mia Nicholson/

Randy Porter/David Evans, $6, 8 pmCommunity Music Center: “Portland Jazz

Composers’ Ensemble,” $12 advance (pjce.org)/ $15 day of show, $10 students, all ages, 8 pm

Nel Centro: Mike Pardew/Dennis Caiazza, all ages, no cover, 9:30-11:30 pm

Portland Prime: Mel Brown TrioTabor Neighbors House Concert Series: David

Friesen “Christmas Concerts” - Dan Gaynor, piano; Tim Willcox, tenor sax; Rob Davis, tenor sax; Charlie Doggett, drums; call 503-239-4089, 8 pm

Tippy Canoe, Troutdale: Ollie McClay/Craig Bidondo Duo, all ages, 6-10 pm

Touche: Kelly Shannon Trio, $5, 7-9 pmSunday, December 11Arlene Schnitzer Concert Hall: “Gospel

Christmas,” 4 pmAugustana Church: Jazz Service, Augustana

Jazz Quartet w/Marilyn Keller, George Mitchell, Kevin Deitz, Ron Steen, 6-7:30 pm

Benson Hotel, London Grill: Sunday Brunch, Jean Ronne, 9:30 am-1:30 pm

Cinetopia, Beaverton: JB Butler, 4-8 pmClyde’s Prime Rib: Ron Steen Jam - Gordon

Lee, piano, Dennis Caiazza, bass; no cover, 8:30-11:30 pm

Jaqua Concert Hall, Eugene: Emerald City Jazz Kings, present “Yule Be Swinging! Christmas at The Shedd 2011,” 2:30 pm

Old Church: “Jazz, Classical & Christmas” - Randy Porter, piano; Greg Ewer, violin;

DECEMBER 2The 23rd Annual Tall Jazz

Winter Concert w/Marilyn Keller

DECEMBER 9Devin Phillips Band

DECEMBER 27Kate Davis Trio

DECEMBER 31New Year's Eve

w/Soul Vaccination

Nancy Ives, cello; $10, 8-9:30 pmPetite Provence: 2jazzguitars, 6-8:30 pmShrine Center, Wilsonville: John Bennett

Dance Band, $10, 6-9 pmTillicum Lounge, Raleigh Hills: Johnny Martin

Quartet, 21+, no cover, 6-9 pmTommy O’s Pacific Rim Bistro, Vancouver

(downtown): Tom Grant Band Concert & Jam Session, 6-9 pm

Monday, December 12Congress Center: “Music on the Mall,”

2jazzguitars, 12:30-1:30 pmJimmy Mak’s: Dan Balmer Trio, no cover,

8 pm; minors until 9:30 pm; Robert Gray Middle School’s Panache Vocal Group & Stage Band, $10 suggested donation, 6:30-7:30 pm

Laurelthirst Public House: Kung Pao Chickens (Tracy Kim/Jon Neufeld, guitars; Gary Geunther, reeds/vocals; Tim Acott, bass), no cover, 9-11 pm

Sylvan Steakhouse: Ron Steen Jam - Bill Beach, piano; Kevin Deitz, bass; no cover, 8-11 pm

Tuesday, December 13Andina: JB Butler, 7-10 pmCamellia Lounge @ the Tea Zone: “Jazz

Extraordinaire Tuesdays” - Ezra Weiss Quartet (Ben Fowler/Jon Shaw/Chaz Mortimer), $5, 8 pm

Jimmy Mak’s: Mel Brown Septet, $6, 8 pm; minors until 9:30 pm; “Partners in Jazz, Orjazzum, $3, 6-7:30 pm Mission Theater: “PDX Jazz Presents” - George Colligan (Kerry Politzer, guest piano; Dan Balmer, guitar; Eric Gruber, bass; Todd Strait, drums), 8 pm

Riverview Restaurant: 2jazzguitars, 6-9 pmWednesday, December 14Camellia Lounge @ the Tea Zone: Weekly

Jazz Jam (Blake Lyman/Akila Fields/Jim Prescott/Sam Foulger), free, 8 pm

Jimmy Mak’s: David Friesen “Christmas Concerts” - Dan Gaynor, piano; Tim Willcox, tenor sax; Rob Davis, tenor sax; Charlie Doggett, drums; 8 pm

Portland Prime: Randy Porter, 5:30-8:30 pmPress Club: Ballroom: Swing Papillon, no

cover, 7:30 pmThe Ivories: Kerry Politzer, 4:30-8 pm; Chuck

Israels Orchestra, 8 pmWilf’s at Union Station: “An Evening of

Holiday Favorites” - Rebecca Kilgore/Tony Pacini/Ed Bennett

Thursday, December 15Bijou Cafe: “Supper Jazz @ the Bijou Café”

- Cheryl Alex & Randy Porter, all ages, no cover, 7-10 pm

Brasserie Montmartre: JB Butler/Al Criado, 5:30 pm

Heathman Hotel: Johnny Martin Trio, no cover, 7-10 pm

Jimmy Mak’s: Tasha Miller & the Educated Band, 7:30-10:30 pm (partial proceeds benefit Chapman School), 8 pm; minors until 9:30 pm

Portland Prime: Tony Pacini, 5:30-8:30 pm

Tapalaya New Orleans Restaurant: Milneburg Trio (Rick Campbell, Dave Johnson, Dave Duthie), no cover, 6-9 pm

Friday, December 16Bijou Cafe: Rebecca Kilgore & Friends

(Randy Porter/Scott Steed/Dick Berk/Lee Wuthenow), all ages, $10, 7-10 pm

Brasserie Montmartre: Tablao, 8 pmCinetopia, Beaverton: JB Butler, 6-10 pmHeathman Hotel: Karla Harris/Mike Horsfall, 8

pm-midnightJimmy Mak’s: Intervision, $12Nel Centro: Mike Pardew/Jeff Leonard, all

ages, no cover, 9:30-11:30 pmPortland Prime: Tony Pacini, 7-10 pmSalty’s on the Columbia: Jof Lee/Mel Brown

TrioThe Upstage Restaurant, Port Townsend,

Washington: Torch & Twang (Mia Nicholson/Steve Christofferson/Paul Brainard/Tim Paxton), 7:30 pm

Tippy Canoe, Troutdale: Ollie McClay/Craig Bidondo Duo, all ages, 6-10 pm

Touche: Robert Moore & the Wildcats w/Peter Boe, $5, 7-9 pm

Saturday, December 17Allison Inn, Newberg: Mary Kadderly/Bill

Athens/Christopher Woitach, 6:30-10:30 pmBody Vox Theater: Multi media dance

performance Ginger?! ... Bread Boy? w/Luciana Proano, JB Butler, Damian Erskine, Mark Griffith, Ann Rutherford, Dar and Rio Butler; tickets www.lucianaproano.com , 7-9 pm

Brasserie Montmartre: Tablao, 5:30 pm; Djangophiles, 9 pm

Heathman Hotel: Bobby Torres Trio, 8 pmHobo’s Restaurant & Lounge: Blackburn &

Duthie, no cover, 8 pmJimmy Mak’s: Patrick Lamb Band,

“Holiday Soul,” 7:30 pm & 10 pm, $18

guaranteed/$15 general TicketsOregonNel Centro: Mike Pardew, Scott Steed/Randy

Rollofson, all ages, no cover, 9:30-11:30 pmPortland Prime: Mel Brown TrioTippy Canoe, Troutdale: Ollie McClay/Craig

Bidondo Duo, all ages, 6-10 pmTony Starlight’s Supperclub Lounge: “Dean

Martin Christmas Show” w/Linda Lee Michelet

Touche: Kelly Shannon Trio, $5, 7-9 pmVie de Boheme Winery: Pete Peterson Septet,

featuring Ellen Whyte, $10, 8 pmWaldport Community Center: “Christmas

concert” with Beverly Ritz, $10/$25 family, 6 pm

Wilf’s at Union Station: Kate Davis Trio, $10, 8 pm

Woodstock Wine & Deli: David Friesen “Christmas Concerts” - Dan Gaynor, piano; Tim Willcox, tenor sax; Rob Davis, tenor & soprano sax; Charlie Doggett, drums; 8 pm

Sunday, December 18Alberta Rose Theater: The Tiptons & The

Quadrophonnes (minors accompanied by parent or guardian), $12 adv/$15 door, AlbertaRoseTheatre.com or 503-764-4131 or Box Office, 7 pm

Augustana Church: Jazz Service, Augustana Jazz Quartet w/Marilyn Keller, George Mitchell, Kevin Deitz, Ron Steen, 6-7:30 pm

Benson Hotel, London Grill: Sunday Brunch, Jean Ronne, 9:30 am-1:30 pm

Blue Monk: Tom Wakeling/Steve Christofferson/David Evans/Todd Straight, $5, 8 pm

Body Vox Theater: Multi media dance performance Ginger?! ... Bread Boy? w/Luciana Proano, JB Butler, Damian Erskine, Mark Griffith, Ann Rutherford, Dar & Rio Butler, tickets www.lucianaproano.com , 7-9 pm

Clyde’s Prime Rib: Ron Steen Jam - Greg Goebel, piano, Dennis Caiazza, bass; no cover, 8:30-11:30 pm

Nel Centro: Brunch - Mike Pardew/Dave Captein/Randy Rollofson, 10:30 am-1 pm

Petite Provence: 2jazzguitars, 6-8:30 pmTillicum Lounge, Raleigh Hills: Johnny Martin

Quartet, 21+, no cover, 6-9 pmTommy O’s Pacific Rim Bistro, Vancouver

(downtown): Tom Grant Band Concert & Jam Session, 6-9 pm

Monday, December 19Brasserie Montmartre: Erik John Kaiser/Todd

Bayles, 5:30 pmJimmy Mak’s: Dan Balmer Trio, no cover, 8

pm; minors until 9:30 pmLaurelthirst Public House: Kung Pao Chickens

(Tracy Kim/Jon Neufeld, guitars; Gary Geunther, reeds/vocals; Tim Acott, bass), no cover, 9-11 pm

Sylvan Steakhouse: Ron Steen Jam - Steve Christofferson, piano, Phil Baker, bass; no cover, 8-11 pm

Tuesday, December 20Arlene Schnitzer Concert Hall: Pink Martini

Holiday Celebration, 8 pm

Alan Jones

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Margaret ThompsonHans Wandel

Special ContributionsBen Nolan

Friends of the Jazz Society of Oregon

Camellia Lounge @ the Tea Zone: “Jazz Extraordinaire Tuesdays” - Steve Christofferson/Tom Wakeling/David Evans/Todd Strait, $6, 8 pm

Jimmy Mak’s: Mel Brown Septet, $6, 8 pm; minors until 9:30 pm; “Partners In Jazz,” Naomi LaViolette, $3, 6:30-7:30 pm

Riverview Restaurant: 2jazzguitars, 6-9 pmWednesday, December 21Arrivederci’s Wine Bar, Milwaukie: Mike

Horsfall, 7-10 pm

Benson Hotel: Mary Kadderly, 7-10 pmBrasserie Montmartre: Brooks Robertson, 5:30

pmCamellia Lounge @ the Tea Zone: Weekly

Jazz Jam (Blake Lyman/Akila Fields/Jim Prescott/Sam Foulger), free, 8 pm

Jimmy Mak’s: Mel Brown Quartet, $5, 8 pm; minors until 9:30 pm

Portland Prime: Randy Porter, 5:30-8:30 pmThe Ivories: Kerry Politzer, 4:30-8 pm; Chuck

Israels Orchestra, 8 pm

Vie de Boheme Winery: Circle 3 (David Friesen, bass; Greg Goebel, piano; Charlie Doggett, drums), 8 pm

Wilf’s at Union Station: “Wilf’s Special Christmas Show” - Linda Lee Michelet/Ron Steen/Joe Millward $10, 7:30-10:30 pm

Thursday, December 22Arrivederci! Wine Bar & Restaurant,

Milwaukie: Mike Winkle, vocals; Chuck Everett, piano; Matthew Lotz, piano

Bijou Café: Graham Covington Trio (Dennis Caiazza & Ron Steen), 7-10 pm

Brasserie Montmartre: JB Butler/Al Criado, 5:30 pm

Heathman Hotel: Johnny Martin Trio, no cover, 7-10 pm

Heathman Lodge, Vancouver: Mike Horsfall, 5-9 pm

Jazz Alley, Seattle: Tingstad & RumbelJimmy Mak’s: Mel Brown B-3 Organ Group,

$5, 8 pm; minors until 9:30 pmOxford Hotel, Bend: Tom Grant Band, Shelly

Rudolph & Jackie Nicole Portland Prime: Tony Pacini, 5:30-8:30 pm Tapalaya New Orleans Restaurant: Milneburg

Trio (Rick Campbell, Dave Johnson, Dave Duthie), no cover, 6-9 pm

Tula’s, Seattle: David Friesen “Christmas Concerts” - Dan Gaynor, piano; Tim Willcox, tenor sax; Rob Davis, tenor sax; Charlie Doggett, drums

Wilf’s at Union Station: Randy Porter Trio, $8, 7:30-10:30 pm

Friday, December 23Allison Inn, Newberg: Mary Kadderly/Bill

Athens/Christopher Woitach, 6:30-10:30 pmArrivederci! Wine Bar & Restaurant,

Milwaukie: Heather Keizur Band w/Steve Christofferson, Dennis Caiazza & Ron Steen, $3, 8-11 pm

Bijou Cafe: Nancy King & Friends (Cheryl Alex/Dan Gaynor/Todd Straight/Scott Steed/Warren Rand), all ages, $10, 7-10 pm

Brasserie Montmartre: Tablao, 8 pmCinetopia, Beaverton: JB Butler, 6-10 pmJazz Alley, Seattle: Tingstad & RumbelJimmy Mak’s: Hit Machine! & the Bart

Hafeman “CD Event,” $12 guaranteed/$10 general at TicketsOregon, 8 pm; minors until 9:30 pm

Nel Centro: Mike Pardew/Damian Erskine/Carlton Jackson, all ages, no cover, 9:30 pm

Oxford Hotel, Bend: Tom Grant Band, Shelly Rudolph & Jackie Nicole

Portland Prime: Tony Pacini, 7-10 pmSalty’s on the Columbia: Jof Lee/Mel Brown

TrioTippy Canoe, Troutdale: Ollie McClay/Craig

Bidondo Duo, all ages, 6-10 pmTouche: David Friesen Trio (Greg Goebel/

Charlie Doggett), $5, 7-9 pmVinotopia Restaurant, Cinetopia Mill Plain,

Vancouver: Mark Simon, 6-10 pmSaturday, December 24Allison Inn, Newberg: Mary Kadderly/Bill

Athens, 6:30-10:30 pmAugustana Church: “Christmas Eve

Future Jazz

Radio Jazz and Blues

KMHD 89.1 FM — all jazz 24/7 (blues on Friday nights); on the web at kmhd.org KBOO 90.7 FMMondays -“Noontime Jamboree”- host Retta Christie, noon-2 pmWednesdays – “Jazz Lives,” host Nick Gefroh, noon-2:00 pm; “A Jazz World,” host David Lifton - alternates with “Jazz in the Afternoon,” host Bob Riddle, 2:00-4:00 pmSaturdays - “The Matrix,” host Yugen Rashad, 4-7 pm

KLCC - Eugene, 89.7 FM, Cottage Grove/Oakridge, 91.5, Riddle, 103.1, Sisters, 90.3 KLBR - Bend 88.1fm KLFO - Florence 88.1 FM KLCO - Newport, 90.5 FM KLFR - Reedspoprt, 89.1 FMKMPQ - Roseburg, 88.1 FM

Candlelight Jazz Service,” Augustana Jazz Quartet w/Marilyn Keller, George Mitchell, Kevin Deitz, Ron Steen, 6-7:30 pm

Cinetopia, Beaverton: Mark Simon, 6-10 pmHeathman Hotel: Linda Lee Michelet Trio, 8

pm-midnightPortland Prime: Mel Brown TrioTippy Canoe, Troutdale: Ollie McClay/Craig

Bidondo Duo, all ages, 6-10 pmTouche: Kelly Shannon Trio, $5, 7-9 pmSunday, December 25Augustana Church: Jazz Service, Augustana

Jazz Quartet w/Marilyn Keller, George Mitchell, Kevin Deitz, Ron Steen, 6-7:30 pm

Benson Hotel, London Grill: Christmas Dinner, Jean Ronne, 1-4:30 pm; Mark Simon 4:30-8 pm

Petite Provence: 2jazzguitars, 6-8:30 pmTillicum Lounge, Raleigh Hills: Johnny Martin

Quartet, 21+, no cover, 6-9 pmMonday, December 26Jimmy Mak’s: Dan Balmer Trio, no cover, 8

pm; minors until 9:30 pmLaurelthirst Public House: Kung Pao Chickens

(Tracy Kim/Jon Neufeld, guitars; Gary Geunther, reeds/vocals; Tim Acott, bass), no cover, 9-11 pm

Sylvan Steakhouse: Ron Steen Jam - Phil Goldberg, piano, Dennis Caiazza, bass; no cover, 8-11 pm

Wilf’s at Union Station: Jean Ronne Trio w/David Evans, 8 pm

Tuesday, December 27Arlene Schnitzer Concert Hall: Woody Allen

and His New Orleans Jazz Band, 7:30 pmCamellia Lounge @ the Tea Zone: “Jazz

Extraordinaire Tuesdays” - Ben Scholz Trio (Tom Grant, piano; Dave Captein, bass), $6, 8 pm

Jimmy Mak’s: Kate Davis Trio, 8 pm; minors until 9:30 pm

McMenamin’s Edgefield: Susie Jones Retirement/Jazz Party (all star Mt. Hood alumni jam session), 6-10pm (proceeds to the National Foundation for Transplants in Mark Simon’s honor)

Riverview Restaurant: 2jazzguitars, 6-9 pmWednesday, December 28Benson Hotel: Mary Kadderly, 7-10 pmCamellia Lounge @ the Tea Zone: Weekly

Jazz Jam (Blake Lyman/Akila Fields/Jim Prescott/Sam Foulger), free, 8 pm

Jazz Alley, Seattle: Poncho Sanchez Latin Jazz Band

Jimmy Mak’s: Mel Brown Quartet, $5, 8 pm; minors until 9:30 pm

Portland Prime: Randy Porter, 5:30-8:30 pmPress Club: Ballroom: Swing Papillon, no

cover, 7:30 pmThe Ivories: Kerry Politzer, 4:30-8 pm; Chuck

Israels Orchestra, 8 pmWilf’s at Union Station: “Ron Steen’s Vocal

Showcase” - Nancy Curtin, vocals, Joe Millward, piano, $7, all ages, 7:30-10:30 pm

Thursday, December 29Brasserie Montmartre: JB Butler/Al Criado,

5:30 pmCamellia Lounge @ the Tea Zone: “Jazz

Extraordinaire Tuesdays” - Randy Porter/Tree Palmedo, $5, 8 pm

Heathman Hotel: Johnny Martin Trio, no cover, 7-10 pm

Jazz Alley, Seattle: Poncho Sanchez Latin Jazz Band

Jimmy Mak’s: Mel Brown B-3 Organ Group, $5, 8 pm; minors until 9:30 pm

Portland Prime: Tony Pacini, 5:30-8:30 pmTapalaya New Orleans Restaurant: Milneburg

Trio (Rick Campbell, Dave Johnson, Dave Duthie), no cover, 6-9 pm

Friday, December 30Allison Inn, Newberg: Marilyn Keller/George

Mitchell/Dan Presley, 6:30-10:30 pmBrasserie Montmartre: Tablao, 8 pmCinetopia, Beaverton: JB Butler, 6-10 pmHeathman Hotel: Johnny Martin Trio, no cover,

8 pmJazz Alley, Seattle: Poncho Sanchez Latin Jazz

BandJimmy Mak’s: Linda Hornbuckle Band, $10, 8

pm; minors until 9:30 pmNel Centro: Mike Pardew/Dave Captein, all

ages, no cover, 9:30-11:30 pmPortland Prime: Randy Porter, 7-10 pmSalty’s on the Columbia: Jof Lee/Mel Brown

TrioTippy Canoe, Troutdale: Ollie McClay/Craig

Bidondo Duo, all ages, 6-10 pmTouche: Richard Arnold Quartet, $5, 7-9 pm

Jazz Alley, Seattle1/3-8 Pearl Django/Martin Taylor1/12-15 Arturo Sandoval1/17-18 Chris Minh Doky & the

Nomads/Dave Weckl1/24-25 Sugar Blue1/30-2/1 Kim Wilson’s Blues All-Stars2/2-5 Peter Funk2/7-8 Bobby Broom & the Deep Blue

Organ Trio

1/19 - PDX Jazz Presents - Cyrille Aimee/Diego Figueiredo, “From Django to Jobim at the Mission Theater

PDX Jazz Winter 2012 Jazz Singing Workshop with Nancy King and Mary Kadderly; Mondays - January 30, February 6, 13, 20, and 27; information, registration: mary@marykadderly.com or 503-222-7310

1/26-28 “50th Clark College Jazz Festival” Gaiser Hall Theater, Clark College, Vancouver

2/17-26 - 2012 US Bank Portland Jazz

Festival Presented by Alaska AirlinesHeadline Artists: Branford Marsalis/

Joey Calderazzo, Roy Haynes, Dee Dee Bridgewater, Bill Frisell, Thara Memory, Charlie Hunter, Vijay Iyer with Prasanna and Nitin Mitt, Enrico Rava, The Jazz Passengers, Garth Fagan Dance, and Mardi Gras @ The Mission

The Emerald City Jazz Kings 2012Pick Yourself Up - The Songs of

Dorothy Fields - Steve Stone, director 2/2 Jaqua Concert Hall, Eugene, 7:30

pm2/3 Florence Events Center, 7:30 pm 2/5 Jaqua Concert Hall, Eugene, 2 pm2/10 LaSells Stewart Center, Corvallis,

730 pm Here Come The BlondesShirley Andress, director3/8 Jaqua Concert Hall, Eugene, 7:30

pm 3/9 Florence Events Center, 7:30 pm3/11 Jaqua Concert Hall, Eugene, 2 pm3/16 LaSells Stewart Center, Corvallis,

7:30 pm

Afrique Bistro, 102 NE Russell St.Arrivederci’s Wine Bar, 17023 SE

McLoughlin Blvd, Milwaukie 503-659-1143

Benson Hotel 309 SW Broadway, 503-228-2000

Camellia Lounge at the Tea Zone, 510 NW 11th, 503-221-2130

Charlie’s Bistro, Vancouver, 1220 Main St.Cinetopia, 11700 SE 7th St., Vancouver

360-213-2800Clyde’s Prime Rib 5474 NE Sandy 503-

281-9200Goodfoot Lounge 2845 SE Stark 503-239-

9292Heathman Hotel 1001 SW Broadway 503-

790-7752Hobo’s Restaurant and Lounge, 120 NW

3rd Ave, 503-224-3285Ivories Jazz Lounge and Restaurant, 1435

NW FlandersJazzy John’s BBQ, 512-J NE 81st. St. Van-

couver 360-831-5906Jimmy Mak’s 221 NW 10th 503-295-6542Justa Pasta 1336 NW 19th†503-243-2249La Provence Bakery and Bistro, 15964 SW

Boones Fy Rd, Lake Oswego, 503 635 4533

Laurelthirst Public House, 30th & NE

GlisanLiving Room Theaters, 341 SW 10th 971-

222-2005Nel Centro, 1408 SW 6th Ave, 503-484-

1099O’Connor’s, Multnomah 7850 SW Capitol

Hwy 503-244-1690Portland Prime, 121 SW Third Ave., 503-

223-6200Salty’s on the Columbia 3839 NE Marine

Dr. 503-288-444Sylvan Steakhouse, 5515 SW Canyon

Court Portland, OR 97221, 503-297-5568

Tapalaya’s New Orleans Restaurant, 28 NE 28th, 503-232-6652.

Terrace Kitchen 485 2nd St. Lake OswegoTippy Canoe bar & Grill, 28242 E Historic

Columbia River Hwy, TroutdaleTommy O’s Pacific Rim Bistro 801 Wash-

ington St, Vancouver, 360-694-5107Tony Starlight’s Supperclub 3728 NE

Sandy Blvd. 503-517-8584Touche’ 1425 NW Glisan, 503-221-1150Vie de Boheme Winery, SE 7th & Clay St.,

503-360-1233West Cafe 1201 SW Jefferson 503-227-8189Wilf’s at Union Station 800 NW 6th 503-

223-0070

Wilf’s at Union Station: Tony Pacini Trio, 8 pmSunday, December 31Allison Inn, Newberg: Mary Kadderly/Bill

Athens/Chris Gabriel, 8 pm-midnightBenson Hotel, Mayfair Ballroom: Bobby

Torres Ensemble, 9 pm-1 amBridgewater Bistro, Astoria: “New Year’s

Eve,” Swing CatsCinetopia, Beaverton: Mark Simon Trio, 8:30

pm-12:30 amHilton Hotel, Vancouver: Patrick LambHobo’s Restaurant & Lounge: Blackburn &

Duthie, no cover, 9 pmJimmy Mak’s: Soul Vaccination; Dinner Show”

$20 reserved/$15 general; “Cocktail Show” $25 reserved/$20 general, TicketsOregon

Nel Centro: Mike Pardew, Joe Freuen, Jeff Leonard, Randy Rollofson; all ages, no cover, 9:30-11:30 pm

Poncho Sanchez Latin Jazz Band Portland Prime: “New Year’s Eve Celebration”

- Mel Brown Super BandPress Club: Ballroom: “New Year’s Eve” -

Swing Papillon Spirit Mountain Casino: “New Year’s Eve - VIP High Rollers Party,” reservations required, Linda Lee Michelet

Tillicum: Johnny Martin Quartet, 6-9 pm Tippy Canoe, Troutdale: Ollie McClay/Craig

Bidondo Duo, all ages, 6-10 pmTouche: Kelly Shannon & Friends, $5, 7-9 pmWilf’s at Union Station: “New Year’s Eve” -

Ron Steen BandSunday, January, 1Benson Hotel, London Grill: “New Year’s Day

Brunch,” Jean Ronne, 9:30 am-1:30 pmTillicum Lounge, Raleigh Hills: Johnny Martin

Quartet, 21+, no cover, 6-9 pmMonday, January 2Sylvan Steakhouse: Ron Steen Jam - “First

Monday,” Tom Grant, piano, Dave Captein, bass; no cover, 8-11 pm

Tuesday, January 3Camellia Lounge @ The Teazone: Tom

Wakeling, Steve Christofferson, David Evans, Todd Strait, 8 pm

Jimmy Mak’s: Mel Brown Septet, $6, 8 pm; minors until 9:30 pm; “Partners In Jazz,” David Watson, $3, 6:30-7:30 pm

Wednesday, January 4Camellia Lounge @ the Tea Zone: Weekly

Jazz Jam (Blake Lyman/Akila Fields/Jim Prescott/Sam Foulger), free, 8 pm

Jimmy Mak’s: Mel Brown Quartet, $5, 8 pm; minors until 9:30 pm

Wilf’s at Union Station: “Ron Steen’s Vocal Showcase” - $7, all ages, 7:30-10:30 pm

Thursday, January 5Heathman Hotel: Johnny Martin Trio, no cover,

7-10 pmJimmy Mak’s: Mel Brown B-3 Organ Group,

$5, 8 pm; minors until 9:30 pmFriday, January 6Bijou Cafe: “1st Friday Jazz @ the Bijou” -

Nancy King & Friends (Cheryl Alex/Dan Gaynor/Todd Straight/Scott Steed/Warren Rand), all ages, $10, 7-10 pm

Jimmy Mak’s: Hailey Niswanger Group, sp. guest Thara Memory, $10, 8 pm; minors until 9:30 pm

Salty’s on the Columbia: Jof Lee/Mel Brown Trio

Calling All Jazz Supporters

Can you help your Jazz Society of Oregon?

(1) Make a donation—it’s tax deductible!

or

(2) Give a gift membership this holiday season!

Follow the links above, call us at (503) 427­1676,

send a check to Jazz Society of Oregon at P.O. Box 19882, Portland, OR 97280,

or visit http://www.jsojazzscene.org/membership.htm

Many thanks for your help!

Tippy Canoe, Troutdale: Ollie McClay/Craig Bidondo Duo, all ages, 6-10 pm

Tony Starlight’s Supperclub Lounge: Bridgetown Sextet, “CD Release”

Wednesday, December 76:30 pm

Top O’Manor - Royal Manor2021 S.W. Main St.

Everyone Welcome!

Board Meetings

P.O. Box 19882 Portland, OR 97280Phone: 503-427-1676Web address: www.jsojazzscene.org

P

SOCIETY

OF OREGON

The John G. Shedd Institute for the Arts - Eugene

Jimmy Mak’sJohnny Martin

C O M I N GA T T R A C T I O N S

Support our Advertisers!

Tall Jazz Trio

Randy Porter

CCC Concert Band “Fall Concert”Clackamas Community College

Niemeyer Center12/1

1st Friday Jazz @ the BijouNancy King & Friends

Scott Hall/Cheryl Alex/Ed Bennett/Steve Christofferson

Bijou Café12/2

“Jazz Masters” David Friesen & John Gross

Camellia Lounge @ the Tea Zone12/2

Julianne Johnson “Holiday Concert”Winningstad Theatre

12/2

“23rd Annual Winter Jazz Concert”Tall Jazz & Marilyn Keller

with George Mitchell, Lee Wuthenow & Bryant Allard

Jimmy Mak’s12/2

Portland Jazz Composers’ EnsembleCommunity Music Center

12/10

The Tiptons & The QuadrophonnesAlberta Rose Theater

12/18

“Potluck in the Park Winter Warm Benefit Concert”

Tom Grant and FriendsShelly Rudolph/Nancy King/

Marilyn Keller/Sweet Baby James Benton/Dave Captein/

Jeffrey Frankel/Ron SteenAcadian Ballroom

12/4

Portland Youth Jazz Orchestra “Young Lions Concert”

special guest Lily Wilde QuintetMUSE Performance Center, Tigard

12/7

Jazz, Classical & ChristmasRandy Porter, piano,

Greg Ewer, violin, Nancy Ives, celloThe Old Church

12/11

Woody Allen and his New Orleans Jazz Band Arlene Schnitzer Concert Hall

12/27

Susie Jones Retirement/Jazz Party (all star Mt. Hood

alumni jam session)All proceeds to the National Foundation for Transplants

in Mark Simon’s honorMcMenamin’s Edgefield, 6-10 pm

12/27

Rebecca Kilgore & Friends (Randy Porter/Scott Steed/Dick Berk/Lee Wuthenow)

Bijou Cafe12/16