Great Night in Harlem 2011

What do you call it when Lou Reed, Macy Gray, and Donald Fagen jam on-stage at the storied Apollo Theater? It is a jazz concert, and a pretty important one at that. Each year, some of the hippest rock and soul artists, fully understanding the debt their music owes to jazz and blues, come out to support the Jazz Foundation of America. They also get a rare chance to cut loose and swing like mad with some jazz and blues heavy weights. Last night was no exception when former Saturday Night Live music supervisor Hal Willner took over as producer of JFA’s annual Great Night in Harlem benefit concert, with a less talk, more blues and soul format.

Of course, the sounds of New Orleans are always prominent at JFA events. The Foundation has always been there to help jazz and blues musicians in times of financial and medical need. However, Katrina was something of a wholly different magnitude, increasing their caseload several hundred-fold.

Whenever I hear the Hot 8 Brass Band, the hair stands up on the back of my neck. More than any other group, they represent the resiliency of NOLA musicians. Not even the senseless murder of drummer Dinneral Shavers (covered in-depth by CBS’s 48 Hours Mystery) could derail the indomitable combo. In recent years, tragedy struck the band once more, but the Foundation was also there again. As a result, they were able to triumphantly rock the house last night, with an assist from fellow New Orleanian Dr. John.

In addition to the Crescent City, this year’s great night also featured the sounds of Kansas City, reuniting the all-star band seen and heard throughout Robert Altman’s criminally underappreciated Kansas City. The term all-star here means musicians like Nicholas Payton, Mark Whitfield, Geri Allen, Don Byron, and Christian McBride, all headliners in their own right. The reunion of the KC Band would be a big deal at major festival. Yet, not only did they burn through the 1930’s big band standards that made Altman’s film such a joy, they also backed up Gray, Fagen, and Reed quite effectively. For instance, her uncharacteristically up-tempo “God Bless the Child” might sound like a dubious proposition, but it worked surprisingly well. In fact, Gray’s soulful vocal approach fit the swing and blues eclecticism of the evening quite aptly.

Of course, longtime JFA supporters were eagerly waiting for the Foundation’s executive director Wendy Oxenhorn to wail on the blues harp and she never disappoints. Indeed, her blues chops greatly helped establish her credibility with JFA’s clients in the early years. Jazz musicians are independent by nature (and not infrequently idiosyncratic). Convincing then to accept help, even when they are facing existential crises has been difficult at times. Fortunately, Wendy could convince them she was offering a hand-up rather than a hand-out. Then Katrina hit.

JFA has done incredible work, providing critical medical care with their partners at Englewood Hospital in New Jersey, replacing lost instruments, and preventing evictions or foreclosures. Thanks to the generosity of Vice Chair Agnes Varis, JFA has also provided meaningful work to scores of musicians through their Jazz in the Schools program, which also affords a critical introduction to jazz, the greatest expression of American values in music, to the younger generations. JFA is close to making their fundraising target with this year’s Great Night, but they are not quite there yet. To help them carry on their good work, go here.

Great Night 2009

It is not a great time to ask for money, so it was heartening to see a full house for the Jazz Foundation of America’s annual Great Night in Harlem at the Apollo Theater. As usual, some of the biggest names in music came out to support a truly worthy cause.

For twenty years, JFA has been a lifeline for jazz and blues musicians in desperate financial need—artists without insurance, pensions, or even proper royalty accounting. JFA has been there to prevent evictions and to provide emergency medical treatment with their partners at the Englewood Hospital and Medical Center. Always overworked, their caseload exploded during the aftermath of Hurricane Katrina. According to their multi-talented Executive Director Wendy Oxenhorn, ten years ago, they were working with 35 musicians, all based in New York. Last year, the Jazz Foundation had 1,600 clients around the world.

The Great Night concerts usually feature several celebrity co-hosts, but last minute illnesses sidelined board-member Danny Glover and longtime supporter Chevy Chase, so their duties were left to the Sopranos’s Michael Imperioli, Wendy Oxenhorn, and pinch hitter Dick Parsons. Chairman of Citicorp. Of course, it is nice to see famous figures show their support for JFA, but the music is the real attraction at their Apollo galas.

This year’s concert was billed as a “tribute to the blues,” which they broadly defined, in a departure from the all-star jazz jams that characterized their earlier Apollo shows.
Even before the show formally started, there was a relaxed pre-concert set from Piedmont bluesman John Dee Holeman, consisting of variations on blues classics like “Mojo Hand” and “Hoochie Coochie Man.”

Of course, there was still a healthy amount of jazz, including a guitar trio led by Dr. Frank Forte, the Englewood physician who has treated thousands of JFA referrals pro bono. He can play too, leading accomplished jazz guitarists Gene Bertoncini and Bucky Pizzarelli through an enjoyable rendition of “If I Had You.” Jazz pianist Eric Lewis also played a hypnotic power solo rendition of his “(Here) In Your Arms,” complete with rock-star lighting effects, sounding radically different from his stint with the Lincoln Center Jazz Orchestra.

JFA will probably forever be associated with New Orleans, so naturally there were several performances by NOLA musicians. An all-star group including R&B vocalist Irma Thomas and contemporary blues piano-man Dr. John paid tribute to the late great funky pianist-vocalist Eddie Bo (Bocage). Happily, everyone seemed perfectly in-synch, which is often not the case for all-star blowing sessions. Thomas dug deep into the blues bag on “You can Have My Husband but Don’t Mess with My Man,” inspiring a Chuck Berry-style duckwalk from R&B guitarist Deacon John Moore.

NOLA blues were also represented in the person of Henry Butler, arguably heir to Professor Longhair’s throne as king of the funky New Orleans piano-players. His blues-drenched cover of the Otis Redding standard “Dock of the Bay,” was an obvious audience pleaser. Perhaps the most recognizable musician of the evening was the penultimate Lou Reed, who also got in on the blues act with a medley that included Blind Lemon Jefferson’s “See That My Grave is Kept Clean” as well as the Velvet Underground favorite “Romeo Had Juliet.”

In keeping with JFA tradition, this year’s Great Night closed with Sweet Georgia Brown belting out “Stormy Monday” and “Let the Good Times Roll,” the former featuring Wendy’s eagerly anticipated harmonica solo, nearly sabotaged this year by a faulty harp. Fortunately, a replacement was found, and she killed the crowd, as usual.

Wendy and the Foundation do amazing work on behalf of the musicians who have made jazz the great American art-form. Just because you play jazz or the blues, doesn’t mean you should the blues if you ever get sick or injured. That is where the staff of the Foundation has been coming in for twenty years. The concert might be over, but you can still hear it tomorrow and next Thursday on Sirius Radio. You can also still donate online or by mailing a check to:

Jazz Foundation of America
322 W. 48th St., 6th Floor
New York, NY 10036

Keeping the Music Healthy

When asked for advice from aspiring students of music, a good musician friend recommends plenty of sleep and a healthy diet. Having recently celebrated his 50th year in music, Quincy Jones clearly developed healthier habits than so many of his jazz colleagues we lost tragically early in their careers. Health and music took center stage last week when Jones was awarded the first annual Music For a Better Life Award from Health Corps®, the health education non-profit founded by Dr. Mehmet Oz (which employs several of my friends).

In your basic sheik lower Manhattan black-tie gala, many of the beautiful and glamorous from the sports and entertainment worlds came out to join Dr. Oz to pay tribute to Jones and Broadway legend Ben Vereen, including L.L. Cool J, who made the presentation to the Grammy winning producer and big band leader. It was an event that focused welcome attention on the relationship between music and health. Unfortunately, many musicians in need have been devastated by healthcare emergencies, but Jones is a member of the Advisory Committee of an organization dedicated to helping in such times of crisis.

Thankfully, the Jazz Foundation of America has been a life-line for jazz musicians in dire straits—artists without insurance or pensions, who were never properly compensated for their work. JFA has been there to forestall evictions and to provide emergency medical treatment. When Hurricane Katrina hit New Orleans, their caseload went from the hundreds to the thousands, yet they worked tirelessly to bring emergency relief to the musicians carrying on the apostolic jazz tradition in the city where the music was born.

This Thursday at 8:00 PM, JFA holds their annual Great Night in Harlem concert uptown at the Apollo Theater. Featuring a diverse program of multi-genre artists, including Lou Reed, Dr. John, Irma Thomas, Henry Butler, and Gene Bertoncini, this year’s concert promises plenty of blues, broadly defined. Of course, the line-up is subject to change right until the final curtain falls, but JFA always delivers a show well-worth the price of admission.

Ticket information can be found at JFA’s website here. You can also send a donation to:

Jazz Foundation of America
322 W. 48th St., 6th Floor
New York, NY 10036

Photo released by HealthCorps®: LL Cool J presents the Music for a Better Life award to Quincy Jones at HealthCorps Green Garden Gala, Thursday, April 30, 2009. (Manhattan Society/Corrigan-Zief)

Jazz Therapy: Dedicated to Earl May

Jazz Therapy Vol. 1: Smile
By Gene Bertoncini & Roni Ben-Hur
Motema Music

It came as a shock when the great jazz bassist Earl May had died in early January. I had recently heard him perform at a Jazz Foundation holiday event, where he looked and sounded great. Still a vital force on the New York scene, as it turns out, he was planning a new recording with his frequent musical collaborator, guitarist Roni Ben-Hur. The musicians often played together in the lobby of the Englewood Hospital in New Jersey, as part of a program sponsored the Jazz Foundation of America. Their intent was to produce a duo CD that would benefit Englewood’s Dizzy Gillespie Memorial Fund, which provides health services to jazz musicians in need. As a tribute to May, Ben-Hur has recorded the benefit CD they envisioned, with acoustic guitarist Gene Bertoncini joining the electric player for a set of jazz duets entitled Jazz Therapy Vol. 1: Smile, produced by Ben-Hur’s label and the Jazz Foundation of America.

As befits its name, Therapy is highly accomplished, but soothing jazz that would not sound out of place during a performance at Englewood. Given its lyrics, which might not be ideal for hospital audiences, one wonders if “Killing You Softly” ever made their Englewood set list. However, as the opening track, it is certainly indicative of the guitarists’ laid back camaraderie and very hip interplay.

The perilous title track, Charlie Chaplin’s “Smile,” often lends itself to overly maudlin interpretations. Although Bertoncini and Ben-Hur are true to the original sentiment, they invest their rendition with a strong underlying rhythm and some tasteful flourishes, which prevent it from descending into the lachrymose.

While the entire CD is the tribute to May, some tracks are more direct in their reference to the bassist. Ira Gitler’s liner notes suggest the Chaplin standard was a reference to May’s own smiling countenance (seen pictured inside the CD digipack). Dizzy Gillespie and Ray Brown’s “That’s Earl, Brother,” though not originally composed in May’s honor, is nice twofer tribute both the bassist and the trumpeter-composer who started the jazz medical fund at Englewood. Naturally, it is the fleetest burner of the session, with Ben-Hur taking the lead on the bop lines.

Bertoncini in turn comes to the fore on a pair of his elegant originals, “You Are a Story” and the concluding “Set Blue,” a sophisticated reworking of Toots Thieleman’s “Bluesette.” In addition to being a friend of JFA, Bertoncini is also well known to the St. Peter’s community (the New York Lutheran church known for its jazz services and memorials), where his sensitive style is always appropriate. Together he and Ben-Hur create some intimate but artful jazz, obviously in heart-felt tribute to May, Englewood, and the Jazz Foundation. While its relative consistency in tone and tempo would be a drawback for other sessions, it fits Motema’s “Jazz Therapy” concept, which they plan to carry forward with future releases.

As a good karma bonus, proceeds of Therapy go to a worthy cause. The good work of Englewood’s longtime partner, the Jazz Foundation of America is also always worth reviewing. Led by the tireless Wendy Oxenhorn, JFA has been a life-line for jazz musicians in dire straits—artists without insurance or pensions, who were never properly compensated for their work. JFA has been there to forestall evictions and to provide emergency medical treatment (with their partners at Englewood). When Hurricane Katrina hit New Orleans, their caseload went from the hundreds to the thousands. You can learn more about the Foundation at their website and see NY1’s report on Ben-Hur’s performances at Englewood in the newly rechristened Earl May Corner here.

JFA Delivers Another Great Night

Wendy and the Jazz Foundation of America staff deserve congratulations for producing their best annual Great Night in Harlem benefit last night, based on the five of seven concerts I have attended. Not to be misinterpreted, they have always been great shows, but the Apollo Theater sound system was much more cooperative this year than in years prior.

Again, the music has always been great, but this year seemed to have more working groups than one-time-only jam ensembles, which probably yielded better results. For instance, Randy Weston opened with longtime bassist Alex Blake and percussionist Neil Clarke for the spiritually transcendent opener “The Healers.”

They were followed (after a brief piano solo and introduction from Chevy Chase) by Dave Brubeck’s quartet of altoist Bobby Militello, bassist Michael Moore, and drummer Randy Jones. In a true example of giving the people what they want, they played “Take Five.” If Brubeck played it say 400 times a year since recording it in the summer of 1959, this could be around the 19,200th time he has played it in performance, yet it still sounds fresh. Militello particularly tore up the solo, not at all sounding like a Desmond carbon copy. The entire quartet sounded great, and why not? Playing “Take Five” with Brubeck on the stage of the Apollo has to rank pretty high up there.

The Foundation is indelibly linked to New Orleans now after all the emergency services they provided to musicians in the wake of Katrina, so there is usually a Crescent City presence at Great Night shows. Dr. Michael White’s Original Liberty Jazz Band returned this year, exploring the bawdier roots of jazz and blues with vocalist Thais Clark through the song “Horn Man Blues.” It was great fun, delivered with style, but to describe it as double entendre would suggest misleading subtlety—it is pretty straight-forward about sleeping with the band.

Arguably the biggest guest star was Norah Jones, performing “The Nearness of You” backed by Buster Williams and Hank Jones, who was presented a cake for his ninetieth birthday. Actually, it would have been cool to hear that powerhouse duo take a purely instrumental turn, but the only act to get more than one number was Frank Foster’s Loud Minority, who followed Foster’s emotional thanks to the Foundation. They started with his standard “Shiny Stockings” as an instrumental showcase for guest soloists Jimmy Heath, Frank Foster, and Phil Woods, and then backed vocalist Nnenna Freelon’s “Don’t Explain.” Of course, the greatest applause probably went to Wendy on harmonica during the concluding blues jam, as it usually does.

JFA does amazing work on behalf of jazz musicians in need. The concert might be over but you can still contribute. Visit their website here or send a check to:

Jazz Foundation of America

322 W. 48th St., 6th Floor

New York, NY 10036

Great Night, Great Cause

When I write about how the Jazz Foundation of America helps musicians in need, I write of that which I know of first-hand. I have been involved with the organization as a volunteer and supporter for a number of years, but during the months following Hurricane Katrina that involvement became particularly intense, as I coordinated the independent instrument donation offers that poured in from around the country. I heard directly from musicians how much the Foundation had done for them, paying their bills and providing housing and work opportunities. As a result, I have no reservations recommending their annual Great Night in Harlem benefit concert on May 29th.

Even before Katrina, JFA kept plenty busy. They had provided emergency housing for hundreds of musicians a year and formed a special relationship with the Englewood Hospital and Medical Center in New Jersey to grant completely free treatment to uninsured jazz musicians. Of course, Katrina dramatically increased JFA’s caseload.

JFA gets a lot of just attention for the emergency housing and medical assistance they provide, and the employment they offer through their Agnes Varis Jazz in the Schools Program. Less recognized is the community infrastructure they supply, like the weekly jam session they produce in the Local 802 hall. It’s open to anyone, including participating musicians as well as polite listeners, starting around 7:00. It is a jam session, so you never know, but there are some rock-solid regulars in the rhythm section who play most of the night, and it is hosted Okaru Lovelace, a fantastic vocalist. It is a rare opportunity for people new to the City to jam—just one of the many services provided by JFA.

The Great Night concerts are always cool shows in the historic Apollo Theater. The line-ups are always subject to change right up to the last moment, but this year’s invitation lists: Randy Weston, Frank Foster, Jimmy Heath, Phil Woods, James “Blood” Ulmer, Nnenna Freelon, Jason Marsalis, Frank Wess, and Dr. Michael White. Whatever the program, it will be well worth the price of admission. The show is on Thursday the 29th at 8:00. Visit their website to buy a ticket (or make a donation).

Season for Celebration

With the holidays gearing up, it is time to celebrate. Frankly, anytime people come together in the spirit of camaraderie to make music is cause for celebration. In the last four days, New York offered two very different music related parties, but a good time was had by all at both.

I first heard TOMOKO at St. Peter’s leading the congregation through Ellington’s “Come Sunday” and was totally impressed by her voice. Friday, she launched her debut CD Organically Afro Asiatic at the swank 230 Fifth. While she is actually more of soul or R&B singer, her CD was co-executive produced by Wycliffe Gordon (the jazz trombonist who first came to prominence in Wynton Marsalis’s group and the Jazz @ Lincoln Center band), who also plays on two tracks. TOMOKO has an amazing voice and is a poised performer. Strongly influenced by Stevie Wonder, fans of the Motown legend should definitely appreciate her music too. (You can watch her new video, which definitely should sell a lot of CDs, here.)

Then last night, the Jazz Foundation of America held its annual Thanksgiving party for friends, clients, and supporters, in the vastly different setting of Local 802, featuring the famous and the should-be famous jamming together to create some fantastic music. Wendy and the Foundation do the Lord’s work, looking out for sick and elderly musicians who have dedicated their lives to the music. They worked tirelessly in the wake of Katrina, when their client rolls expanded exponentially. JFA also has a new CD available of the 2007 Great Night in Harlem, which you can purchase here to support their efforts.

Unfortunately, the Foundation will have another, more somber celebration this coming Sunday. Their co-founder Herb Storfer and Chairman Dr. Leo Corbie passed away within weeks of each other, so the Foundation will pay tribute to their lives and gifts in a joint memorial. Taking things full circle, it will be at St. Peter’s at 7:00 PM. Again, supporting the Foundation would be a fitting tribute to both men. Happy Holidays.

Jazz Foundation’s Latest Great Night

Taking John Hammond’s famous From Spirituals to Swing concert as their inspiration, the Jazz Foundation of America held its annual Great Night in Harlem benefit concert last night in the Apollo Theater. Thursday night’s program however, had even greater sweep, starting with pre-slavery African music, stretching up to 1970’s R & B.

The night started on a high note with a performance from the Silver Belles, the surviving members of the original Apollo chorus line, who were the subject of the excellent documentary Been Rich All My Life. They were followed by Djele Lankandia Cissoko with a corps of African drummers, Donald Harrison and the Mardi Indian Chiefs, and the Canaan Baptist Praise Team, all representing jazz’s ancestral roots.

There was plenty of jazz and blues in the house as well. Dr. Michael White led the tribute to early New Orleans jazz, which he has become a living embodiment of. Henry Butler and surprise guest Dr. John represented on behalf of the Harlem’s piano battlers, and New Orleans as well, as the influence of their home town is always present in their music.

The Ellington band swung as they always have, but it was with a Latin flavor when Arturo O’Farrill and Candido joined them. Roy Haynes had a drum solo feature all to himself, because he’s still that heavy. The bebop era boasted a line-up of Frank Wess, Jimmy Heath, Gary Bartz, Jimmy Owens, Junior Mance, Ben Riley, and Bob Cranshaw. Things concluded with a blues jam that included the Foundation’s Wendy Oxenhorn on harmonica, the one much of the audience had really come to hear.

Benefit concerts like this rarely match their printed programs exactly. Although there was a bit of consolidation in Thursday night’s program, they basically got everything in. Wendy was a great stage manager. There was some great music and the proceeds went to a very worthy cause. The Jazz Foundation has helped thousands of music displaced by Katrina. I can personally vouch for what they have meant to so many New Orleans musicians. While the concert was a fundraiser success, do not let that deter you from contributing to the Foundation, as they are always in need of greater funding. Checks can be sent to:

Jazz Foundation of America
322 W. 48th St., 6th Floor
New York, NY 10036

Another Great Night in Harlem

If it has been a while since you heard live music, come out to the Jazz Foundation of America’s annual Great Night in Harlem benefit concert at the Apollo Theater (yes, you take the A train). Announced guest performers include Hank Jones, Jimmy Heath, Candido, Junior Mance, Dr. Michael White, Roy Haynes, Ron Carter, Odetta, Ben Riley, Gary Bartz, and Donald Harrison. Of course the line-ups at these events are always subject to change.

The Foundation does incredible work on behalf of the artists who dedicated their lives to this music. When Katrina hit, their caseload exploded. I saw first hand what Wendy and her staff did for the musicians of New Orleans, so I can guarantee your money will be well spent.

There’s nothing better to do on a Thursday night than enjoying great music. You can miss CSI for a week, seriously. Details for ordering tickets are on their website. If you’re already stuck with other plans for that night, you can still just send money to:

Jazz Foundation of America
322 W. 48th St., 6th Floor
New York, NY 10036

What Buddy Bolden Says

The Jazz Foundation of America has mailer out announcing the 6th Annual Great Night in Harlem benefit concert. It will be May 17th, presumably in the Apollo Theater again. As their key art they use of the most famous photos in jazz—a rare surviving photo of Buddy Bolden, the first jazz musician.

Bolden could have used the help of an organization like the Jazz Foundation. After blazing through the New Orleans music scene with a legendarily strong cornet tone, he was consumed by his mental torments, spending the last years of his institutionalized. Years later, we remain fascinated by Bolden even though we have no idea what he really sounded like, as he never recorded. Of course, legends persist of an early cylinder he is rumored to have recorded—the jazz equivalent of the Holy Grail, Lost Ark, and the missing reel of Orson Welles’ Magnificent Ambersons, all in one.

Bolden has become more legend than fact, with apocryphal stories of him as the owner a barbershop and publisher of a tabloid called The Cricket, becoming accepted lore. However, Donald M. Marquis could find no evidence of either the shop or the broadsheet when researching his definite biography In Search of Buddy Bolden.

Both fabled avocations figure into Michael Ondaatje’s Buddy Bolden novel Coming Through Slaughter, which was adapted for the stage in Germany. The music featuring Dietrich Geese, Wolfgang Schmidtke, and Otto Beatus (none of whom I know anything about) among others, is actually pretty good, but presumably the script echoed mythical elements of Ondaatje’s book. Wynton Marsalis (him again) is involved with a Bolden film currently filming in North Carolina, which should continue to keep images of jazz’s Adam in our consciousness.

For some reason we remain fascinated with Bolden, the legendary Gabriel, whose horn could be heard all the way across town, only to be laid low by his inner demons. He is in many ways an apt symbol for what the Jazz Foundation does. See you May 17th uptown.