Eclectic, Enlightening and Elegant: 3 unique series featuring renowned jazz artists return for AJI's 2014 concert season

AmJazzInTM

Winter/Spring 2014 • Volume 24

Billy HarperNat Hentoff

Clay JenkinsLee Konitz

Stephanie O’Keefe

THE GOALS OF AJI• To advance and promote jazz music throughout the world.• To maintain a repertory jazz orchestra to perform new and archival jazz music.

• To educate and expose the public to jazz by live performances and panel discussions.• To physically house, archive and preserve jazz music: compositions, scores, arrangements, recordings, artwork, photographs, films and other jazz works.• To seek and attract donations of jazz works with an emphasis on original compositions, scores, arrangements and recordings.• To make jazz works available for research, study and education.• To support charitable endeavors that promote and advance jazz music.

Board of Directors

Mark A. Masters, President Pete Carlson

Scott EllsworthAlan P. Schultz

Ronald Teeples (1935-2008)Audree Coke Kenton (1922-2012)

Advisory Board

Andrew CyrilleRay DrummondScott EvansGary FosterReed GratzTim Hagans

John LaPorta (1920-2004)Gene Lees (1928-2010)

Kirsten Edkins,Director of Community Outreach

The American Jazz Institute is a tax-exempt non-profit organization pursuant to I.R.C. Section 501(c)(3). Contributions to The AJI are tax deductible. Please see inside for member benefits or contact us: PO Box 5716, Pasadena, CA 91117 Phone: 760-898-1730 and 626-497-5359 E-mail: AmJazzIn@aol.com Website: www.amjazzin.org

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Our upcoming 2014 concert season in Southern California's desert communities is off to an early and very exciting start on December 8 at The Living Desert in Palm Desert. AJI director Mark Masters has arranged music by some of Ellington's leading brass players, among them Clark Terry, Cat Anderson, Juan Tizol, Cootie Williams and Art Baron, to be performed by an eleven-piece ensemble. Trombonist Baron, with Ellington's band in 1973 and 1974, will be the featured artist. After 2012's highly successful inaugural season, AJI is pleased to again join The Living Desert in presenting an Enlightening season of outstanding vocal and instrumental artists. Eclectic describes AJI's fourth season of talent-loaded ensemble and small group concerts in Pete Carlson's continuing "Jazz for Jazz Lovers" series. Elegant describes AJI's popular Vicky's "Jazz Supper Club" series, now in its sixth season of presenting world-class vocalists in an intimate setting. We invite you to join us for another season of remarkable music.

The American Jazz Institute Newsletter

AJI and Capri Records present The Mark Masters Ensemble

with Tim Hagans, Billy Harper, Peter Erskine, Hamilton Price, Gary Foster, Gary Smulyan, Oliver Lake, Sonny Simmons & Anna Mjöll

EVERYTHING YOU DIDTHE MUSIC OF WALTER BECKER & DONALD FAGEN

Arranged and Conducted by Mark Masters

More than forty years ago, Walter Becker and Donald Fagen gave birth to the band Steely Dan. The band was always recognized as a group whose music imaginatively combined jazz and rock styles. The group's personnel in live performances and on record has always included some of jazz's most important performers. The group's classic Aja (1977) recording featured saxophonists Wayne Shorter, Tom Scott and Pete Christlieb.

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Pete's solo on Deacon Blues from Aja remains one of the high points in improvised saxophone solos for all who know it. Walter Beckers's enthusiasm and affection for the music of the great improvisor, tenor saxophonist Warne Marsh, led to Becker and Fagen's production of Apogee (1978), a now classic quintet recording led by Marsh and Christlieb. -- Gary Foster, from the liner notes

Mark Masters has done the world and music of Fagen and Becker a great service and favor. These are not merely arrangements, but a brilliantly conceived re-imagining of the Steely Dan oeuvre. Hard to imagine the tunes I played on tour back in '93 and '94 sounding so open and transparent, and being the platform for some of the more modern jazz playing you're likely to hear anywhere. The album is fun, it's hip, and it's instructive. The band assembled by Mark is great, the solos are wonderful, and the engineering by Talley Sherwood sparkles. Everyone involved with this project should feel proud. I know that Donald and Walter will be very pleased and proud of how authentically their tunes translate to some real jazz. -- Peter Erskine, from the liner notes

This recording has been in a stage of contemplation for close to thirty-five years. I became intrigued with Walter Becker and Donald Fagen's songwriting abilities when I heard their long-playing phonograph record Aja in 1977. Although this record does include three compositions from Aja, its main focus is Becker and Fagen's earlier and somewhat lesser known material, at least lesser known to the casual Steely Dan fan. The premise of this recording is to free Becker and

Fagen's music from the earthly confines, in some cases, of harmonic structure and allow the quartet of Harper, Hagans, Price and Erskine to create the magic that great improvisors birth. This record is a quartet recording with an ensemble. The ensemble is there to create colors for the soloists to respond to, as well as featuring some players who bring their own special sounds to the project. -- Mark Masters, from the liner notes

FEATURINGBilly Harper, tenor saxophone

Tim Hagans, trumpetHamilton Price, bassPeter Erskine, drums

Anna Mjöll, voice

THE ENSEMBLELouis Fasman, Les Lovitt, trumpetStephanie O'Keefe, French horn

Les Benedict, Dave Ryan, Ryan Dragon, tromboneDon Shelton, alto & soprano saxophones, alto flute

John Mitchell, tenor saxophone, bassoonGene Cipriano, tenor saxophone, English horn

Gary Smulyan, baritone saxophoneBrian Williams, bass clarinetBrad Dutz, vibes, percussion

SPECIAL GUESTSOliver Lake, alto saxophone on Chain LightningSonny Simmons, English horn on Do It Again

Gary Foster, alto saxophone on Fire In The HoleDave Woodley, trombone on Aja

To order EVERYTHING YOU DID direct from AJI, see page 9.

From the early reviewsSteely Dan has long implicitly and sometimes explicitly paid tribute to jazz through their own music. Bandleader, arranger and American Jazz Institute Board of Directors President Mark Masters thought it would be a cool idea to pay back the favor. ... if you thought like I did that just because the Steely Dan originals were so exquisitely arranged, there's nothing left a big band can do to them but throw more brass at it, Masters is here to say otherwise. ... The friendly competition between Hagans' trumpet and Harper's saxophone are nearly show stopping, as is Erskine's hard swinging drums right behind them. This, by the way, is one of Masters' signature moves: constructing his large bands as if it's a dynamic small combo supplemented by a big horn section instead of a big, lumbering orchestra. His careful designation of featured soloists help to make it that way. ... Vocalist Anna Mjöll is also deployed in unconventional ways. She defines the main harmonic line for "Bodhisattva" with wordless singing, which approximates but not imitates the lyrical line of the original; doing it in the manner she does it emphasizes the swing that's been put in place of the rock'n'roll sentiment that is familiar to everyone. ... By not being slavish to the original treatment of Becker and Fagen's songs, Masters came up with something rather original himself. Putting such top shelf talent in the service of top shelf songs, "Everything You Did" is a living legends tribute that reminds us that the genius of Steely Dan goes beyond merely coy lyrics and studio perfectionism. -- S. Victor Aaron, SomethingElseReviews.com

... On the aural evidence of this thoroughly enjoyable record, Masters has no idea that Steely Dan loved jazz. Of course he must, but the record treats the material like a bunch of solid rock'n'roll songs that have to be taken apart and carefully put back together before the likes of this ensemble can play them. And that's fine.

As such, Masters makes almost no concessions to the original sound of the songs. "Charlie Freak," for example, a tightly-wound, vaguely classical number in the Dan original, is remade into a slow-breathing film noir, enlivened by tenor saxophonist Billy Harper's sensitive solo. ... And what a band! The athletic Tim Hagans on trumpet shines throughout, playing a bit outside the fairly straight-ahead vibe that predominates on the record. ... Masters' approach is squarely in the big-band tradition, marked by polished craftsmanship and consistently strong solos but not at all by the arch hipness of Steely Dan. And that too is fine. His thorough-going re-imagining of this material lays bare how un-jazzy, in a way, the Steely Dan songs were. -- Jeff Dayton-Johnson, AllAboutJazz.com

... The music, under the baton of Masters, retains its charm and its quirkiness while taking on the beautiful harmonic foundation of a first-rate jazz ensemble, one enhanced by an orchestral direction with the inclusion of bassoon, bass clarinet, vibes, and French and English horns. The added bonus -- and this is what jazz, in large part, is all about -- is the room allowed for lots of magnificent soloing from the likes of trumpeter Tim Hagans, baritone saxophonist Gary Smulyan and alto saxophonist Gary Foster -- players who here, as on previous Masters outings, are inspired to the highest level of performance acumen. "Black Cow" has to be singled out. The original is a Steely Dan classic. Opening with an ominous bass line, it slips into a slinky groove, polished to a high sheen by vibraphonist Brad Dutz, and featuring the every-woman voice of Anna Mjöll, who sounds resigned, a bit exasperated as she sings: "I'm the one who must make everything right." She makes it exactly right, as does the Mark Masters Ensemble. -- Dan McClenaghan, AllAboutJazz.com

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Palm Desert businessman Pete Carlson, owner of Pete Carlson’s Golf & Tennis, presents a series of seven not-to-be-missed concerts featuring internationally renowned jazz artists from the West Coast and New York. Mr. Carlson's love of jazz and his deep commitment to the desert community is much in evidence in this fourth season of "Jazz for Jazz Lovers" concerts and in his continuing sponsorship of the Vicky's "Jazz Supper Club" concert series benefiting Coachella Valley student musicians. AJI also acknowledges Pacific Western Bank in Indian Wells for their generous support of our educational programs in the Coachella Valley. Their sponsorship of "Jazz for Jazz Lovers" and The Living Desert's "Jazzoo Concert Series" makes it possible for area students to attend both concert series free of charge.

Eclectic: Pete Carlson's "Jazz for Jazz Lovers" concert series

All concerts are at Pete Carlson's Golf & Tennis, 73741 Highway 111 in Palm Desert.

Tickets may be purchased in advance at Pete Carlson's store or by calling the store at 760-568-3263. Tickets may also be purchased at the door the evening of the concert, if limited seats are available.

April 11, 7:00 pmTHE PUTTER SMITH/JEFF COLELLA DUO$15, students freeTwo great talents, two distinguished careers: bassist Putter Smith has performed with legends Monk, Brookmeyer, Konitz, Pepper and Mulligan, and pianist Jeff Colella with Lou Rawls and Anita O'Day.

Richie Cole

January 18, 7:00 pmTHE RICHIE COLE QUINTET featuring Bruce Forman, guitar$25, students freeInfluenced by Charlie Parker, Richie Cole is an alto sax master and a legendary bebop practitioner. During his long solo career, Richie has performed worldwide and recorded over 50 albums.

Gary Foster

February 28, 7:00 pmDENNY ZEITLIN: SOLO PIANO$20, students freeTwo-time winner of the DownBeat International Critics Poll, Denny Zeitlin has recorded over 30 albums and performed worldwide with the likes of Herbie Hancock, Pat Metheny and Bobby Hutcherson.

March 14, 7:00 pmTHE RON ESCHETE TRIO$15, students freeRon Eschete has long been regarded as one of the finest guitarists in mainstream jazz. Says Jim Merod from Jazz News: ... the Eschete trio is as polished as the classic Modern Jazz Quartet ...

February 21, 7:00 pmTHE LANNY MORGAN SEXTET$20, students freeAs a solo performer and leader of his own group, Lanny Morgan came to prominence in New York as lead alto for Maynard Ferguson, and has performed in every club and festival that exists.

February 5, 7:00 pmTHE STEVE HUFFSTETER QUINTET$20, students freeSteve Huffsteter is an in-demand West Coast trumpet master who has performed in big bands from Stan Kenton to Bob Florence and in smaller ensembles from Pete Christlieb to Cecilia Coleman.

March 28, 7:00 pmTHE MUSIC OF CAL TJADER featuring Gary Foster, woodwinds $25, students free From the 1950s until his death in 1982, Cal Tjader's light and rhythmic style on the vibraphone made the marriage of Latin jazz and mainstream bebop immensely popular. Fresh arrangements of Tjader's music by Mark Masters will be performed by woodwinds master Gary Foster and an 8-piece all-star ensemble.

Steve Huffsteter

Lanny Morgan

Denny Zeitlin

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The second season of AJI's partnership with The Living Desert, Palm Desert's world-renowned zoo and botanical garden, is pleased to present a lineup of master musicians and vocalists that will celebrate the iconic music of Ellington, Jobim and Dorsey, pay tribute to the classic movie compositions of Mancini, LeGrand and Mandel, and honor the barrier-breaking bandleader and singer Billy Eckstine on what would have been his 100th birthday. Extraordinary jazz, extraordinary venue ... Enlightening!

2 concerts each day, at 3:00 pm and 5:00 pm.

Single performance tickets: $35 members of The Living Desert, $45 non-members6-concert season tickets: $180 members of The Living Desert, $210 non-members

Concerts sell out early. Tickets not sold at the door, may be purchased any day prior to event.For tickets and information, call 760-346-5694 ext 2102 or email jazzoo@livingdesert.org.

The Living Desert is located at 47900 Portola Avenue in Palm Desert.

Enlightening: "Jazzoo Concert Series" at The Living Desert

March 2JAZZ GOES TO THE MOVIES: THE MUSIC OFHENRY MANCINI, MICHEL LE GRAND & JOHNNY MANDELfeaturing a 7-piece AJI ensemblearranged and conducted by Mark MastersFrom the 1950s through the 1970s, the most significant music composed for film came from these three legends of popular music. AJI will perform The Shadow of Your Smile, Charade, The Days of Wine and Roses, and many more.

February 9THE MUSIC OF ANTONIO CARLOS JOBIMfeaturing a 9-piece AJI ensemble arranged and conducted by Mark MastersJobim's roots were always firmly in jazz, heavily influenced by West Coast jazz musicians in the 1950s. Combined with the rhythmic feel of the Brazilian samba, Jobim's bossa nova recordings were often copied but never equalled.

January 26BILLY ECKSTINE 100th BIRTHDAY CELEBRATIONfeaturing vocalist GINA ECKSTINEBilly Eckstine's smooth baritone broke down barriers throughout the 40s, first as leader of the original bebop big band, then as the first romantic black male in popular music. His gifted daughter Gina will be accompanied by a trio.

March 23THE TOMMY DORSEY SONGBOOKfeaturing Dorsey alum GENE CIPRIANOarranged and conducted by Mark MastersThe popularity of Tommy Dorsey's orchestra was due in large part to arranger Sy Oliver and jazz greats like Ziggy Elman and Buddy Rich. Saxophonist Cipriano and AJI's 7-piece ensemble will perform music the band made famous.

January 5, 2014THE CHARLIE SHOEMAKE QUINTETAbout vibist Charlie Shoemake, Jay Harvey writes: He has a shimmering liquid sound and his neatly balanced lines swim in it as a natural element. The quintet will feature music paying tribute to the great George Shearing Quintet.

December 8, 2013ELLINGTON BRASS ENCOUNTERSfeaturing Ellington alum ART BARON and the AJI Big Bandwith special guest vocalist Amanda KingCompositions by members of Duke Ellington's famed brass sections -- Juan Tizol, Matthew Gee, Clark Terry, Cat Anderson, Cootie Williams and Art Baron -- will be performed by trombonist Baron and AJI's 11-piece band.

Mark MastersArt Baron

Tommy DorseyHenry Mancini

Gina EckstineBilly Eckstine

Antonio Carlos JobimCharlie Shoemake

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Vicky’s is located at 45-100 Club Drive in Indian Wells.

Your evening starts at 5:30 in the Supper Club Lounge with no-host cocktails, followed by a special 3-course dinner and show. $75 per person, including dinner, tax, tip and entertainment. Purchase 3 concerts and save $25, or save $50 on all 6.

Seating is limited. Advance reservations only. Please call 760-345-9770 for reservations and information.

Sponsored by:Pete Carlson’s Golf & Tennis, Palm Springs Life and Travel Host

Hosted by The American Jazz Institute

The sixth season of AJI's "Jazz Supper Club" concerts is presented by Vicky's of Santa Fe Restaurant in Indian Wells. Once again, audiences are in for six memorable evenings in an intimate and elegant supper club setting: an outstanding 3-course dinner and world-class jazz vocalists and instrumentalists in concert, up close and personal. You'll be supporting AJI's important jazz education and community outreach program. Net proceeds go to AJI's "Find Your Own Voice SM" mentoring clinics in Coachella Valley junior high and high schools.

March 24: GINA ECKSTINE and TrioGina Eckstine returns to Vicky's, performing all styles of music beautifully and with a powerful presence and unique voice that are truly captivating. Eckstine, whose father was Billy Eckstine, has the spunk, the spirit and the soul of her family's patriarch, says Don Heckman, The International Review. Her current CD, Everything I Have is Yours, is a swinging, sultry and hip tribute to her father.

February 17: STEPHANIE NAKASIAN and TrioKnown as one of the world's leading jazz singers, with roots in swing and bebop, Stephanie Nakasian takes listeners on a melodic journey, fresh and authentic, that often transcends the Great Ladies of Song. Proof positive is in her new CD, Show Me the Way, a highly regarded follow-up to Billie Remembered, a widely applauded interpretation of Lady Day's earlier recordings.

January 6: JACKIE RYAN and TrioJackie Ryan returns to Vicky's for an encore after last season's stunning performance! Says Jazz Times critic Christopher Loudon: .... one of the outstanding jazz vocalists of her generation and, quite possibly, of all time ... rivaling the dexterous sass of Sarah Vaughan, the instinctive smarts of Carmen McRae and the scintillating verve of Diana Krall. Her latest CD, Doozy, wins rave reviews.

April 14: AMANDA KING and TrioAmanda King is a classic chanteuse that critic Stephen Holden calls one of the nightclub world's exceptional rising talents. Her appropriately titled CD, Chanteuse, was reviewed by Rich Keith, Pure Jazz Radio: ... it is evident that she has it all together. Amanda presents a program of standards, and songs that probably should

be standards, with a style that hints that she’s been there and done that ... but still gets a kick out of doing it.

March 3: MARY STALLINGS and TrioMary Stallings is a classic example of how it takes time, musical seasoning and living a full life

to mature as a vocalist and to address a lyric properly. Her recent CD with renowned pianist Eric Reed, Don’t Look Back, had Jazz Times critic Christopher Loudon proclaiming, Stallings and Eric Reed …

achieving the same sort of rare, supreme simpatico as Ella and Louis, or Sinatra and Riddle.

January 27: KATHY KOSINS and TrioASCAP award-winning vocalist Kathy Kosins has won the hearts of critics with her eclectic

musical palette. Says Critical Jazz critic Brent Black: ... she transcends the world of singer to that of vocal artist ... tone, timing, pitch, phrasing are all there and all spot on. Her new CD, The Space Between,

follows To the Ladies of Cool, her acclaimed tribute to Connor, O'Day, Christy and London.

Elegant: "Jazz Supper Club" concert series at Vicky's

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THE ANDREW CYRILLE 21st CENTURY BIG BAND UNLIMITED with AJI's Mark Masters conducting his arrangements

of Andrew Cyrille's compositions

Andrew Cyrille and AJI:a remarkable evening at New York's Lincoln Center

Gary Foster and Putter Smith return for an encore

On Thursday, January 17, 2013, at the David Rubenstein Atrium at Lincoln Center in New York City, Andrew Cyrille's 21st Century Big Band Unlimited performed the leader's music arranged for the large ensemble by Mark Masters. An hour prior to the start of the concert, the venue was at capacity and there was a line outside of another five or six hundred people! The evening was as much a tribute to how the jazz community feels about Andrew Cyrille as it was just a concert featuring him. The ensemble was filled with Andrew's associates throughout the years as well as two West Coast legends. There were equal parts free jazz and bebop. The program included Proximity, a beautiful ballad that featured alto saxophonist Gary Foster and bassist Putter Smith, both from Southern California in New York for this performance. So That Life Can Endure featured the brass section led by Ron Tooley and Billy Harper (tenor saxophone) and Cecil Bridgewater (trumpet). High Priest was Andrew's tribute to

Gary Foster and Putter Smith will record a second duo project this winter. Their recording, Perfect Circularity, was released in 2007 and received excellent reviews. No surprise there! Foster and Smith are certainly masters of improvised music. Michael Gladstone wrote for AllAboutJazz: The virtuosity shared by Smith and Foster makes "Perfect Circularity" a highly enjoyable album. Two such musically respected figures as Foster and Smith deserve an encore of their duo configuration. AJI director Mark Masters is committed to this second volume in the duo series because of AJI's belief in recording projects that deserve to be not only heard but to be preserved for future generations of musicians to enjoy and learn from. Perfect Circularity is available direct from AJI. See page 9. AJI expects the new project to be available in late spring 2014.

David Ware that featured Clay Jenkins (trumpet). A Simple Melody was a feature for trombonist Art Baron and his plunger mute skills. The Navigator and 5-4-3-2 were both freebop anthems that featured Billy Harper and Alex Harding (baritone saxophone). Given was a straight ahead theme that showed off the ensemble's ability to navigate some challenging lines. Marty Ehrlich (woodwinds) was featured on two totally free improvisations. First, Marty and Gary Foster explored the art of musical communication with no boundaries and then trumpeter Tim Hagans appeared as a special guest to improvise with Marty. John Clark (French horn) and the two trombones joined unannounced and added some beautiful underpinnings to the Hagans and Ehrlich feature. Andrew performed a solo composition that was stunning in its melodic beauty. "Remarkable" somehow falls short of describing this truly unique evening of amazing music shared by world-class musicians and a capacity audience.

When you experience great art, you realize what you are seeing or hearing cannot be any other way. Perhaps that is another way of expressing that something is perfect.

I hear that perfection in what Gary and Putter have created.

-- Mark Masters

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Have you ever wondered what it would be like, if a modern musician were to wander onto the stage and sit in with one of the great bands of the past? Well, that's what this album is all about. It's a collection of tunes written by members of Duke's bands, during the era when he reigned supreme, and played here by eight of today's top artists: the Mark Masters Ensemble. This group's instrumentation is unique: five reeds and a rhythm section consisting of piano, bass and drums. Each individual is famed, having spent a career working with top-level jazz groups. The baritone sax is held by the award-winning Gary Smulyan; the other reed players -- each fluent with clarinet, alto, tenor and flute -- are Gary Foster, Pete Christlieb, Gene Cipriano and Don Shelton. The supporting rhythm section features pianist Bill Cunliffe, bassist Tom Warrington and drummer Joe La Barbera. Leader Mark Masters is responsible for the arrangements. The Ellington artists who contributed the tunes -- all part of Duke’s library over the years -- include Johnny Hodges, Paul Gonsalves, Harry Carney, Jimmy Hamilton and Ben Webster. Hodges composed "Esquire Swank," "Lawrence Brown Blues," "Used To Be Duke," "Jeep’s Blues" and "Peaches." Gonsalves did "The Line Up" and "The Happening;" Carney contributed "We’re In Love Again" and "Rockin' In Rhythm;" Hamilton gave us "Ultra Blue" and "Get Ready;" and Webster wrote "Love’s Away." You may not know some of the titles, but you’ll recognize the melodies. ... Close your eyes, and you’ve time- and place-shifted back to one of the great 1940s ballrooms. The same can be said of all these tracks: This is, indeed, an encounter of a most magical kind. It’s an ensemble and album to die for. -- Ric Bang, www.JazzScan.com

With so many Duke Ellington tributes available that focus exclusively on the most familiar repertoire, it is refreshing to see an arranger like Mark Masters digging deep into the hidden contributions by the men who made up the pianist's landmark orchestra. -- Ken Dryden, www.AllMusic.com

Besides the tunes, what's to like about this album are the arrangements, their execution by a suave West Coast octet, and Gary Smulyan (which, come to think of it, is almost everything). Smulyan is the only East Coast player here, and the featured soloist.

Masters does not need to "modernize" these songs from the Ellington milieu, because their natural elegance is already timeless. The charts are clean and crisp and the band just glides. Fittingly, the frontline is all saxophones: Smulyan, Pete Christlieb, Gary Foster, Don Shelton and Gene Cipriano. On driving pieces like "Rockin' In Rhythm" (Carney/Ellington) and "The Happening" (Gonsalves), Smulyan's baritone is a commanding, full-blast force. Yet in his hands the baritone can also be sinuously erotic ("Jeep's Blues," Hodges) or romantically lush with a passionate overflowing final cadenza ("We're In Love Again," Carney). Christlieb and Foster are also money. On "Love's Away," Christlieb's breathy, brave tenor vibrato is an offering to the song's composer, Webster. Foster's alto flies up out of two Hamilton tunes, "Ultra Blue" and "Get Ready," like the very voice of joy. -- Thomas Conrad, Jazz Times

This saxophone lineup clearly has the necessary talent to capture the Ellington sound. Baritone player Gary Smulyan is the featured soloist on most of the tracks. Tenorist Pete Christlieb -- a first-rate player in his own right -- is a great addition. The other multi-reedists are Gary Foster, Don Shelton and Gene Cipriano ... Musically they deliver in spades. This band is at its best when it plays full force reed melodies. "Used To Be Duke" puts it all in the open with its orchestrated equivalent of bugle call. "Rockin' In Rhythm" is one of the Ellington orchestra's most distinctive melodies, with saxophones overlaying saxophones in a jump swing bounce. The solo turns are excellent as well, but these songs are all about tight group playing and tricky melodies. These guys pull them off brilliantly. Also, pianist Bill Cunliffe nails Ellington's distinctive intro on "Rockin'" and contributes fantastic fills and solos throughout. ... Masters' arrangements hew close to Ellington's compositions and that's the smart way to go. These songs were essentially perfect when they were written fifty, sixty or seventy years ago. There's no reason to mess with them now. -- Gene Simmons, www.AllAboutJazz.com

... Except for "Rockin' In Rhythm," most of the pieces, many of which were introduced in small group sessions led by the composers, are not ones that have a wide familiarity with the general jazz audience. That is part of what makes this album so special; the chance to hear some mostly overlooked but wonderful pieces. In addition the charts by Masters and the playing by this stellar band are constantly exhilarating. While Smulyan is the most prominent voice, Shelton, Foster, Christlieb and Cipriano each give us some tastes of their special talents. Kudos go out to Masters and his cohorts for bringing this music into the spotlight. -- Joe Lang, Jersey Jazz

... A collaboration between Masters, who is also the director of The American Jazz Institute,

and baritone saxophonist Gary Smulyan, the saxophone section assembled here is a formidable one in its own right. Smulyan is joined by Pete Christlieb, Gary Foster, Don Shelton and Gene Cipriano, with a rhythm section of pianist Bill Cunliffe, bassist Tom Warrington, and drummer Joe La Barbera. As usual, Masters' arrangements are, no pun intended, masterful, and the ensemble executes them with great enthusiasm and flair ... -- Scott Albin, www.JazzTimes.com

... The individuals who filled out the roster in Ellington's illustrious band earned their own place in history by shaping the sound and identity of his group so, rather than tread on well-worn ground, arranger Mark Masters and baritone saxophonist Gary Smulyan have decided to shine a light on the reed personalities that populated Ellington's famed front row. "Ellington Saxophone Encounters" takes a good look at some lesser known works written by the maestro's saxophone-toting sidemen ... Masters employs a five saxophones-plus-rhythm unit to bring life to his own arrangements of the music of such Ellington mainstays as alto saxophone icon Johnny Hodges, clarinet wizard (and tenor saxophonist) Jimmy Hamilton, tenor giant Ben Webster, baritone saxophone pillar Harry Carney and tenor saxophonist Paul Gonsalves ... Some of the music simmers, some of it burns and some of it smolders, but Masters always finds the right temperature to suit each tune. While all five front liners acquit themselves well throughout this date, it's Smulyan, tenor saxophonist Pete Christlieb and saxophonist-cum-clarinetist Don Shelton that shine brightest. Smulyan's solid-as-a-rock baritone saxophone is kinetic where it counts and proves equally effective in mellow environs ("We're In Love Again"). Shelton taps into the very essence of the music with his clarinet ("Get Ready" and "Peaches"), but Christlieb proves to be the real breakout star. His pure passion and swinging fire put his work a step above the rest from the very start ("Esquire Swank") and he never lets up. The rhythm section exhibits the same sense of refined swing that defined the sound behind Ellington's horns. Bassist Tom Warrington is an in-the-pocket walker who also solos with style and charm, drummer Joe La Barbera lays the groundwork and pianist Bill Cunliffe's debonair playing is a real treat -- and a tribute to Ellington himself. Masters and Smulyan deserve a great deal of credit for crafting such a unique tribute to some of the finest section men and soloists to ever wield saxophones. -- Dan Bilawsky, www.AllAboutJazz.com

This is a superb CD that is a must buy for both Ellington band fans, and those that appreciate his famous saxophonists’ talents. -- Jeff Krow, Audiophile Audition, www.audaud.com

The reviews are in on "Ellington Saxophone Encounters." Just a sample:

To order ELLINGTON SAXOPHONE ENCOUNTERS direct from AJI, see page 9.

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'OL BLUE EYES IS BACK ... Revisited

From Boston's famed Berklee College of Music,AJI presents the future of jazz

Forty years ago, Frank Sinatra returned from his self-imposed retirement to record a masterpiece, 'Ol Blue Eyes is Back (Reprise 2155). In June of 1973, Sinatra came together with Gordon Jenkins and Don Costa to record what were then new songs primarily by Joe Raposo. Sinatra was one of the very few of his generation -- you could count them on one hand -- who could adapt to current musical styles graciously by finding the quality that lived within certain songs. His 1968 record Cycles (Reprise 1027), with several exceptions, contained some really beautiful songs, such as Both Sides Now (Joni Mitchell), Wandering (Gayle Caldwell) and Cycles (Rod McKuen). Of course, like every other pop singer, Sinatra was trying to make "hit records." The difference with him, though, was that he was able to retain his dignity while doing so. It is hard to think of anyone else recording an album with Duke Ellington in 1967 and the next year slipping so effortlessly into the Cycles recording. Difficult to believe it's been forty years, but not difficult to hear that it is timeless. From his liner notes that accompanied 'Ol Blue Eyes is Back, Stan Cornyn wrote, He sings and it's the voice that brings it all back and you realize that not one -- isn't it curious? -- not one other voice so clear and clean in all the years has come along, not one other. He is still, no contest, the best this world knows. -- Mark Masters

April 4, 2013, offered yet another proof positive that the future of jazz is in very good hands. As a bonus concert in Pete Carlson's "Jazz for Jazz Lovers" series, The American Jazz Institute presented the Edmar Colon Quartet from Berklee College of Music in Boston. Four of the pioneering music college's finest players, led by tenor saxophonist Edmar Colon, performed a number of standards from the Great American Songbook as well as their own compositions. Other members of this exciting young quartet were Diego Ramirez (drums), Tabari Lake (bass) and Grant Richards (piano). Each of the four musicians are accomplished players and they all had the youthful enthusiasm to easily communicate with the younger student musicians that they came into contact with at the clinic prior to the evening performance. The "Find Your Own VoiceSM" Jazz Mentoring clinic provided by AJI was hosted by Jim Little, director of The Coachella Valley Boys and Girls Club Heatwave Jazz Band at their facility in Palm Desert.

Right & below:The Edmar Colon

Quartet

Above & left:Edmar Colon Quartet musicians mentor student musicians at pre-concert clinic

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AJI Record StoreORDER BY MAIL OR ONLINE AT www.amjazzin.org.

BETTER YET ... take your choice of our current CDs or Lee Tanner’s “The Jazz Image” book when you become an AJI Member! (See page 10.)

“Real Music Comes from Musicians SM” T-shirtIn response to the increasing use of electronically generated music, this attention-getting new T-shirt says it all. High quality, all cotton, black with light gray lettering front only.

$20 each, $10 tax deductible. With your order, please enclose a separate sheet specifying short or long sleeves and sizes S to 3XL.

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Ellington Saxophone Encounters The Mark Masters EnsembleBaritone saxophonist Gary Smulyan is featured on Mark Masters-arranged compositions by Ellington's legendary sax players: Hodges, Hamilton, Gonsalves, Carney and Webster. With Gary Foster, Don Shelton, Pete Christlieb, Gene Cipriano, Joe La Barbera, Bill Cunliffe and Tom Warrington.Farewell Walter Dewey Redman The Mark Masters EnsembleThe music of the late saxophone giant, arranged by Mark Masters and meant to be recorded by Redman himself, is performed as a loving memorial by an all-star ensemble featuring Oliver Lake, Tim Hagans, Peter Erskine and Dave Carpenter.Perfect Circularity: The Gary Foster/Putter Smith Duo (Exclusive for AJI Members)Woodwind and bass masters Gary Foster and Putter Smith showcase their long and amazing musical association. This is the inaugural disc in a limited-release series for AJI members documenting important jazz collaborations.Wish Me Well: Reflections on Gary McFarland The Mark Masters EnsembleGary McFarland, the too-long-neglected composer and arranger of the ‘60s, receives deserved recognition of his brilliant and unique style in these arrangements by Mark Masters for an all-star ensemble featuring Steve Kuhn, Tim Hagans, Gary Smulyan, Gary Foster, Darek Oles, Dave Woodley and Joe La Barbera.Exploration Grachan Moncur III OctetThe preeminent post-bop/free-bop jazz trombonist of the early ‘60s returns in a brilliant performance of his own compositions arranged by Mark Masters for a stellar octet of Tim Hagans, Gary Bartz, Billy Harper, Andrew Cyrille, Ray Drummond, Dave Woodley, Gary Smulyan and John Clark.Porgy & Bess...Redefined! The Mark Masters EnsembleThe most famous of all folk operas receives a newly definitive presentation in these adventurous arrangements by Mark Masters, performed by an ensemble of superb musicians featuring Billy Harper, Tim Hagans, Gary Smulyan, Dave Woodley, Ray Drummond, Joe La Barbera and Cecilia Coleman.One Day with Lee Lee Konitz with The Mark Masters EnsembleThe elder statesman of the alto in a memorable performance of his own compositions arranged by Mark Masters. Featuring Bill Perkins in a final recording, Gary Foster, Jack Montrose, Dave Woodley, Bob Enevoldsen, Steve Huffsteter, Ron Stout, Cecilia Coleman, Putter Smith and Kendall Kay.The Clifford Brown Project The Mark Masters Ensemble featuring Tim HagansA critically-acclaimed tribute to the legendary trumpet player, with Brown’s solos played by a stellar trumpet quartet supporting the improvisations of Tim Hagans. Arranged by Mark Masters and Jack Montrose. Featuring Montrose, Gary Smulyan, Dave Woodley, Cecilia Coleman, Putter Smith and Joe La Barbera.The Jazz Image: Masters of Jazz Photography by Lee TannerFrom renowned photographer Tanner, an unprecedented collection of over 150 stunning duotone photos by famed jazz photographers of legendary artists from Louis to Miles, on stage and behind the scenes. Introduction by Nat Hentoff. Hardcover, 176 pages, 10” x 12.”

Everything You Did ___ x $14.00 _______ Ellington Saxophone Encounters ___ x $14.00 _______ Farewell Walter Dewey Redman ___ x $14.00 _______ Perfect Circularity (members only) ___ x $14.00 _______ Wish Me Well ___ x $14.00 _______ Exploration ___ x $14.00 _______ Porgy & Bess...Redefined! ___ x $14.00 _______ One Day with Lee ___ x $14.00 _______ The Clifford Brown Project ___ x $14.00 _______ The Jazz Image (book) ___ x $40.00 _______ Real Music T-shirt (see above) ___ x $20.00 _______

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Please make your personal check payable to “The American Jazz Institute”and mail to The American Jazz Institute, PO Box 5716, Pasadena, CA 91117

NEW! Everything You Did The Mark Masters EnsembleThe music of Walter Becker and Donald Fagen, composed for their classic jazz and rock band Steely Dan, is imaginatively arranged by Mark Masters for Billy Harper, Tim Hagans, Hamilton Price, Peter Erskine and Anna Mjöll, supported by an all-star ensemble. The complete story of this unique AJI recording is on pages 1 and 2.

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Supporting, preserving and creating jazz is what The American Jazz Institute is all about. Since 2002, we have presented such varied concert programs as Celebrating Mingus, Sketches of Spain, Porgy and Bess...Redefined!, Jelly Roll Blues, Ellington Reunion Project, The Music of Chico O'Farrill, An Evening with Dewey Redman, Andrew Cyrille Plays Monk, The Music of Ornette Coleman, The Music of Lee Morgan, The Music of Tadd Dameron, The Jazz Soul of Frankie Laine and The Ellington Saxophone Project. During the past ten years, we have recorded eight critically acclaimed CDs: The Clifford Brown Project, One Day with Lee, Porgy and Bess...Redefined!, Exploration, Wish Me Well, Farewell Walter Dewey Redman, Ellington Saxophone Encounters and our newest, Everything You Did. Essential to our mission, we have also recorded over fifty individual oral histories of major jazz artists as well as an extensive collection of group histories, including The Ellington Legacy and The Singers Unlimited. To continue pursuing our mission, we invite the support of those who share our commitment to this music. Your tax deductible membership or contribution in any amount will be deeply appreciated by The American Jazz Institute and the artists that perform for you.

The American Jazz Institute is a non-profit organization that is solely dedicated to the enrichment and enhancement of the appreciation of jazz music. AJI seeks to preserve this national treasure as well as expand upon it by spotlighting America’s great jazz composers, arrangers and musicians -- both the firmly established and the newly discovered, and from traditional to avant garde.

Join AJI and take your choice of these gemsFull descriptions are on page 9 at the AJI Record Store

Name ______________________________ Address ________________________________ Phone __________________

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❑ New ❑ Renewal Annual membership: ❑ Platinum Circle ($100) ❑ Artistry Circle ($75) ❑ Patron ($50) ❑ Member ($25)

Platinum Circle, choose 3 CDs or Lee Tanner book; Artistry Circle, choose 2 CDs; Patron, choose 1 CD:❑ The Clifford Brown Project ❑ One Day with Lee ❑ Exploration ❑ Porgy & Bess...Redefined! ❑ Wish Me Well

❑ Perfect Circularity ❑ Farewell Walter Dewey Redman ❑ Ellington Saxophone Encounters ❑ The Jazz Image (book)

Please make your personal check payable to “The American Jazz Institute.”Mail to The American Jazz Institute, PO Box 5716, Pasadena, CA 91117

For further information, phone the AJI office at 626-497-5359

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AJI Membership

Member

$25 Annual Membership

• Souvenir AJI coffee mug

• AmJazzIn newsletter: AJI news and schedules of upcoming concerts and special events

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$50 Annual Membership

• Choice of 1 AJI CD

• AmJazzIn newsletter: AJI news and schedules of upcoming concerts and special events

Artistry Circle

$75 Annual Membership

• Choice of 2 AJI CDs

• AmJazzIn newsletter: AJI news and schedules of upcoming concerts and special events

Platinum Circle

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• Choice of 3 AJI CDs or “The Jazz Image” book

• AmJazzIn newsletter: AJI news and schedules of upcoming concerts and special events

Ellington Saxophone Encounters The Mark Masters EnsembleFarewell Walter Dewey Redman The Mark Masters EnsemblePerfect Circularity: The Gary Foster/Putter Smith DuoWish Me Well: Reflections on Gary McFarland The Mark Masters EnsembleExploration Grachan Moncur III OctetPorgy & Bess...Redefined! The Mark Masters Ensemble One Day with Lee Lee Konitz with The Mark Masters EnsembleThe Clifford Brown Project The Mark Masters Ensemble featuring Tim HagansThe Jazz Image: Masters of Jazz Photography by Lee Tanner

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AJI's new office welcomes visitors and researchers

With considerable regret, retirement beckons. For 14 years, it's been my great pleasure to design, edit and produce AmJazzIn, The American Jazz Institute Newsletter. Very well remembered, my first issue announced the 2001 concert appearance of Jack Montrose, Bill Perkins and Conte Candoli at AJI's then home at Claremont McKenna College. That CMC just happened to be my alma mater made my small contribution to AJI even more meaningful, as Mark Masters and our visionary close friend, the late CMC professor Ron Teeples, presented all those amazing concerts and embraced AJI's educational goals with an innovative jazz history course for liberal arts students and an ambitious oral history program that has recorded and archived interviews with over 100 major jazz personalities. With its move to the vibrant and growing desert communities in 2008, AJI's concert program has further evolved into the eclectic, enlightening and elegant series we now enjoy, all in support of AJI's ambitious scholarship and mentoring programs that encourage and nurture the region's young student musicians. I wish to express my appreciation to photographers Terry Lewis and Larry Redman for their coverage of AJI concerts over the years. Their images of performing musicians are sensitive, insightful and framable. To Mark especially, I am grateful for the opportunity to contribute to an organization I deeply believe in, for the opportunity to meet the splendid artists that make jazz happen, and for the opportunity to bear witness to the dedication, commitment, hard work and pure joy of living the music we all love. It was a great gig. -- Scott Evans

As retirement calls my good friend Scott Evans, it is worth remembering that the most tangible evidence, outside of attending an AJI performance, that The American Jazz Institute exists and fulfills its mission as a non-profit, is this newsletter. Scott has been along for the ride for the majority of the years that AJI has existed. He has always been a positive influence on events surrounding AJI and I am greatly indebted to him for his "above and beyond the call of duty" contributions to AJI's success. Many thanks, Scott! -- Mark Masters

Kirsten Edkins:musician, educator,

Director of Community Relations

The American Jazz Institute's office in Palm Desert is home to thousand of LPs, countless CDs, hundreds of books and a priceless treasure of recorded interviews with jazz personalities. Add all of the jazz-related memorabilia that has been donated to AJI and this is a truly remarkable and impressive collection now easily accessible to area students, educators and the public Our lending library of recordings and books is available to students and our large library of printed arrangements is available to band directors throughout the Coachella Valley. Here too is the heart of AJI's community outreach program, the "Find Your Own VoiceSM" Jazz Mentoring Program, now entering its fifth year in 2014. For AJI's Director of Community Outreach, Kirsten Edkins, the office is used for her meetings and as her teaching studio for AJI's scholarship students. Winners of AJI scholarships -- over $24,000 to date has been awarded to Coachella Valley music students and students from The Gerald R. Ford Boys & Girls Club of LaQuinta -- are privileged to study with Kirsten, a talented musician, gifted improvisor and respected teacher, surrounded by stacks of recordings and books she uses to reinforce the concepts that she is teaching. The office has also become both a work center for AJI's directors and an ideal meeting place for individuals wanting to learn more about AJI and our programs as they contemplate involvement in the organization and support for our ongoing goals and future growth. We are located at 74818 Velie Way, Suite 2, Palm Desert, CA 92260; phone 760-898-1730. Please call ahead to schedule your visit.

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Memorable moments from AJI’s 2013 concert seasonSpecial thanks to Pete Carlson’s Golf & Tennis, Vicky’s Restaurant and The Living Desert for their generous support of our jazz education and community outreach programs.

Appearing in Pete Carlson's "Jazz for Jazz Lovers" concert series:

ELLINGTON SAXOPHONE ENCOUNTERS: The Mark Masters Ensemble

CAT CONNER SINGS THE MUSIC OF PEPPER ADAMS featuring The Gary Smulyan Quartet

THE JOE LA BARBERA QUINTET

THE CECILIA COLEMAN TRIO

Marcia Laine with Mark Masters

THE JAZZ SOUL OF FRANKIE LAINE: Gary Smulyan and The Mark Masters Ensemble

THE MUSIC OF LEE MORGAN featuring Tim Hagans and Clay Jenkins

THE ART OF THE BOSSA NOVA: Gary Foster plays Clare Fischer

THE FRANK CAPP QUARTET WITH ERNIE ANDREWS

Photos on pages 6, 8, 11, 12 and 13 by Larry Redman. Photo of Denny Zeitlin on page 3 by Steve Maruta.

Appearing in the "Jazz Supper Club" concert series at Vicky's:

THE JOHN PROULX TRIOJACKIE RYAN and her Trio

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Appearing in the "Jazzoo Concert Series" at The Living Desert:

GINA ECKSTINE and her Trio

GENE CIPRIANO and THE CAT CONNER TRIO

JANIS MANN and her Trio

ANNA MJÖLL and her Trio

TRIBUTE TO GEORGE SHEARING: The Charlie Shoemake Quintet

THE DUKE ELLINGTON SONGBOOKfeaturing Anna Mjöll with the AJI Big Band

SUE RANEY and The Tom Ranier Trio AMANDA KING and her Trio

MICHAEL DEES and his Trio

FRANKIE LAINE 100th BIRTHDAY CELEBRATIONfeaturing (l to r) Bill Cunliffe (piano), Don Shelton, Cat Conner, Michael Dees and Sue Raney

Over the course of twenty-two concerts spanning December 2012 through April 2013, countless gifted musicians performed for those fortunate to have attended. So many highlights! At Pete Carlson's, there were jazz masters Clay Jenkins and Tim Hagans performing the music of Lee Morgan, Gary Foster playing newly orchestrated versions of Clare Fischer's music, the Cecilia Coleman trio and the Joe La Barbera quintet. At Vicky's of Santa Fe, marvelous Jackie Ryan set a new standard for the series! And at The Living Desert, Anna Mjöll's interpretation of the Ellington Songbook proved she is a very special singer that doesn't need to be compared to anyone else -- she is an original! Wonderful concerts, these and all of the concerts that AJI was privileged to present this past season. Another highlight of the 2013 season was the fact that we were able to get more student musicians out to the concerts. One common experience that all musicians have as young people is that initial exposure to live music and the awakening that occurs as a result. The camaraderie that has developed between the musicians and the audience, as well as between the student musicians and the professionals, each in their own way, puts the challenges of producing and presenting these three series far in the background.

The reviewers have their say about AJI’s current CDs

The Mark Masters Ensemble featuring Oliver Lake Capri 74089-2

The Mark Masters Ensemble Capri 74078-2

Grachan Moncur III Octet Capri 74068-2

This album was supposed to be a collaboration between Dewey Redman and Mark Masters. But it became a tribute album when Redman died on September 2, 2006, four weeks before this recording was made. The project went forward, with Oliver Lake on alto saxophone filling Redman’s vacant chair. The other featured soloist is trumpeter Tim Hagans. ... Masters’ achievement is to capture Redman’s impulsive creative spirit in arrangements for big band. Tight, fierce Redman anthems like “I-Pimp,” “Thren” and “Dewey’s Tune” are projected onto a larger screen and given new weight and scale ... Oliver Lake’s alto saxophone cuts through the surrounding ensemble fabric like a serrated knife. His volatility, edginess and eccentric lyricism are his own, and are brilliantly appropriate to honor the Redman aesthetic ... It is safe to assume that Dewey Redman would have loved this record -- Thomas Conrad, Jazz Times

... Peppery and moody, invigorating and thoughtful -- that was Dewey Redman, and that’s this album. -- Kirk Silsbee, DownBeat

It’s hard to believe that Dewey Redman isn’t still around when listening to the Mark Masters Ensemble set, “Farewell Walter Dewey Redman.” Masters and the group -- especially alto saxophonist Oliver Lake -- capture the soul and sound of the unsung tenor titan on this marvelously inspired recording. Masters’ arrangements allow the freedom for solos that are creative in the extreme, from Lake especially, and also from trumpeter Tim Hagans, trombonist Dave Woodley and multiple reedman Gary Foster ... “Farewell to Walter Dewey Redman,” with its beautiful sixteen-piece ensemble harmonies -- Ellington comes to mind at times -- and inspired and adventurous soloing, is jazz at its finest. -- Dan McClenaghan, AllAboutJazz.com

“Farewell Walter Dewey Redman” is not so much a recording that says “good bye, Dewey” but a musical experience made memorable by Masters’ group and the special guests like Hagans, Peter Erskine, the recently departed Dave Carpenter and of course, Redman’s clone for this project, the incomparable Oliver Lake, that make this album a must for jazz audiences and aficionados alike. -- Edward Blanco, eJazzNews

... In creating “Wish Me Well,” Masters took on the task of overhauling McFarland’s compositions and arrangements for his own brass-heavy band. This is no mean feat, as McFarland typically used small groupings of strings and flutes and tended towards gossamer-light textures. Bringing Steve Kuhn and Gary Smulyan in as featured soloists was a stroke of genius. Kuhn’s solo on “Tree Tops,” the opening track, is simply breathtaking -- for my money one of the year’s musical highlights. Kuhn’s playing elsewhere is similarly elegant and inspired -- as on the opening to “Gary’s Waltz.” Smulyan, who appeared in an earlier Masters-led McFarland tribute concert, contributes blazing solos on almost every track. ... “Wish Me Well” is one of those rare tribute CDs that successfully captures the essence of its subject and functions as a definitive artistic statement by the musicians who created it. This is a “must-have” disc, and a superb work of art from one of America’s finest jazz ensembles. -- Dave Wayne, JazzReview

Mark Masters presented a concert of McFarland’s music featuring baritone saxophonist Gary Smulyan in 2002 and arranged 11 of his works for this release, featuring Smulyan, pianist Steve Kuhn (who worked with McFarland ), multi-reed player Gary Foster and trumpeter Tim Hagans, among others. Three of the pieces were written for Gerry Mulligan and the Concert Jazz Band: the breezy, lighthearted “Weep” and the upbeat “Kitch” (featuring Foster on alto sax), along with the Duke Ellington-influenced “Chuggin’” which showcases Smulyan. Perhaps the most striking work is “Gary’s Waltz,” a melancholy work recorded on numerous occasions by Bill Evans during the last few years of his life. But after Kuhn’s opening piano solo, Masters transforms this piece into a rich tapestry for the ensemble, gradually increasing its tempo and discarding its somber mood, spotlighting Hagans’ outstanding trumpet solo. The perfect balance of Masters’ charts and the intimate sound captured by engineer Talley Sherwood combine to make this an essential CD. Perhaps Mark Masters’ thoughtful exploration of Gary McFarland’s compositions will stir additional interest in the late vibraphonist’s work, which has been unjustly neglected. -- Ken Dryden, All Music Guide

Trombonist and composer Grachan Moncur III made a memorable impact forty years ago with his challenging compositions and austere improvising style. He then maintained a very low profile for decades, teaching, recording only rarely ... Now he’s made a welcome return to recording with the absolutely stunning CD “Exploration.” ... These performances, arranged in brilliant, even startling fashion by Mark Masters, don’t look back. The voicings, riffs and interludes devised by Masters, along with the absence of a chordal instrument, give “Exploration” a sound that looks forward, as Moncur always does. The arrangements are played with crackling intensity by this sterling octet, and the improvisations follow suit. Suffice it to say that every solo is impressive ... Hearty congratulations are due all around, to Moncur, to the sidemen, to Masters, to everyone involved with the project. “Exploration” is a great record. -- Marc Meyers, AllAboutJazz.com

... It’s an impressive line-up that features tenorist Billy Harper, Gary Bartz on alto and trumpeter Tim Hagans among the horns, plus the excellent rhythm section of Ray Drummond and Andrew Cyrille. Masters’ empathy with Moncur’s breezy, bluesy writing is obvious, and the use of French Horn (John Clark, naturally) and baritone (Gary Smulyan) allows for vibrant, broad strokes of color. Occasional Monk-ish twists or boppish ensemble lines alternate with pushy riffing or graceful parallel harmonies... But what of the leader? The glories of Moncur’s ‘60s output saw him venerated ... as the most vital trombonist in the emergent avant garde. Even then, Moncur was principally a melodic player inspired by J.J. Johnson and steeped in bop language, and that influence still shines through. Economical, funky and lyrical all at once, Moncur doesn’t waste a note throughout. All in all, this is a fine record. Bristling with intelligence, good humor and swing, Moncur’s music stands the test of time ... Nice to see him back. -- Peter Marsh, BBC

... Grachan Moncur III has been out of the limelight for decades ... “Exploration” is a fine and fitting welcome back. -- Dan McClenaghan, AllAboutJazz.com

Farewell Walter Dewey Redman

ExplorationWish Me Well: Reflections on Gary McFarland

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See The AJI Record Store for descriptions of all of our critically-acclaimed CDs. Order by mail or online at www.amjazzin.org. Better yet, join AJI and choose up to 3 current releases at no cost.

The Mark Masters Ensemble Capri 74069-2

Lee Konitz with The Mark Masters Ensemble Capri 74064-2

The Mark Masters Ensemble featuring Tim Hagans Capri 74059-2

... Masters honors the composer and those who have worked wonders with the opera throughout the Twentieth Century by setting the stage for his soloists and turning them loose. Tim Hagans and Billy Harper in particular step up to the bar and release their personal feelings on the music without distraction. The orchestra supports them confidently and adds cohesive interplay. The music has been arranged to suit George Gershwin's original plans. ... History parades before your eyes and ears as Masters’ powerful ensemble recalls timeless themes such as “It Ain’t Necessarily So,” “A Woman is a Sometime Thing,” and “Summertime” with originality and allegiance. ... Highly recommended, Mark Masters’ latest project honors this timeless jazz opera and its composer through musical excellence and a strikingly creative spirit. -- Jim Santella, AllAboutJazz.com

Well, they said it couldn’t be done, but he did it. Arranger Mark Masters has breathed new and refreshing life into Gershwin’s Porgy & Bess. Just when you thought Miles may have had the last word back in ‘61, Masters adds a touch of Mingus, a sprig of Kenton, and songs that you’ve heard a thousand times sound new and enticing. As with any stage production, it sure helps to have the right cast, and Masters has a dandy. Supported by trombones and French horn, Billy Harper tears his tenor through ”Summertime.” Trombonist Dave Woodley evokes images of Jimmie Knepper with Mingus during the torrential rhythmic shifts. Gary Smulyan coaxes visceral emotions out of his baritone as he pleads through “I Loves You, Porgy,” always backed up by flute and muted trumpets. Tim Hagans soars over delicate chordings on “A Woman Is a Sometime Thing.” But the real tour-de-force is an unforgettable “It Ain’t Necessarily So,” with Hagans swaggering over the propulsive rhythm provided by Joe La Barbera. ... Big band fans and Gershwin fans alike should definitely dig around for this one. -- George Harris, AllAboutJazz.com

... How often can one go to the well before it comes up dry? In the case of Mark Masters’ new take, the answer is: at least once more. ... rather than revisiting existing arrangements, Masters returned to the source: the original vocal scores. The result is a fresh look at an almost iconic work. -- John Kelman, AllAboutJazz.com

... composer/arranger Mark Masters has provided a treasure trove of old and new Konitz called “One Day with Lee” featuring a prominent supporting cast that includes Gary Foster, Bill Perkins and Jack Montrose in the sax section of an all-star Mark Masters Ensemble. Masters’ CD is a fascinating concept: Konitz contributes new solos over orchestrated versions of his old solos going back to the early ‘50s. Konitz’s unaccompanied alto solo on “All the Things You Are” leads to the 14-piece band playing the altoist’s old “Thingin’” ... For “317 East 32nd Street,” Masters orchestrates a 1953 line, and after the altoman solos -- before and after Masters’ additions -- Foster and Konitz exchange fours. And so the inspired concept goes throughout the album, along with solo bon-bons from trombonist Bob Enevoldsen, bassist Putter Smith, pianist Cecilia Coleman, trombonist Les Benedict and trumpeter Ron Stout. -- Harvey Siders, Jazz Times

... these are vibrant charts that literally jump off the page. Masters has clearly done his homework ... Everyone solos with confidence and a clear understanding of the material, but the star of the show is, of course, Konitz himself. With a tone that is warmer and at times grittier than in his youth, he just seems to get better and better ... With exceptional arrangements of classic material, a big band to die for, and a captivating guest soloist, what more can one ask? -- John Kelman, AllAboutJazz.com

Having heard “The Clifford Brown Project” and now “One Day with Lee” ... I can hardly wait to hear what the Mark Masters Jazz Ensemble and its sponsor, the American Jazz Institute, plan to do next. If these aren’t two of the finest big-band albums of the past year, they surely belong on anyone’s Top Ten list. While Konitz plays marvelously in any framework, he seems especially invigorated and at ease when surrounded, as he is here, by a large group of blue-chip musicians who breathe new life into five of his elaborate compositions, another by mentor Lennie Tristano and one of Lee’s signature themes, the standard “Lover Man” ... The highlights are almost too many to mention but must include the wonderful charts by Masters, exemplary work by the ensemble ... almost everyone in the band is given one or more chances to shine, and no one comes up less than sparkling. -- Jack Bowers, AllAboutJazz.com

This warm and energetic tribute to the late trumpet virtuoso Clifford Brown (who died tragically in 1956 at the age of 26, having single-handedly changed the way jazz trumpet was heard and understood in the United States) is ... a celebration of musical genius and creativity that looks backward while taking the music forward. Bandleader Mark Masters achieves the latter by taking such classic and beloved Brown compositions as “Joy Spring,” “Sandu” and “Bones for Jones” and arranging them for a large ensemble that includes no fewer than five trumpets, four of which perform newly harmonized arrangements of Brown’s own solos from his early-’50s recordings. The effect is both lushly beautiful and, on tracks like the upbeat “Sweet Clifford” and “Joy Spring,” electrifyingly intense. Highly recommended. -- Rick Anderson, All Music Guide

The main event: Masters’ arrangements of Brown’s solos for a trumpet choir consisting of Marc Lewis, Ron Stout, Kye Palmer and Ron King. Lewis transcribed the solos, and Masters tucks them into burning arrangements for an 11-piece band. In a sense, Clifford Brown is a soloist along with trumpeter Tim Hagans, baritone saxophonist Gary Smulyan and trombonist Dave Woodley. An added attraction: Jack Montrose, whose arrangements of “Joy Spring,” “Daahoud” and “Bones for Jones” originally appeared on “The Clifford Brown Ensemble Featuring Zoot Sims” and are “reissued” here. Montrose is also in excellent form on tenor sax on “Sweet Clifford,” “LaRue,” “Sandu” and “Bones for Jones.” ... The band swings furiously in its own right, but what lingers is the inimitable, songlike quality of these classic trumpet solos, breaking out of unison into opulent four-part harmony at just the right moments. -- David Adler, Jazz Times

... Mark Masters has created a fond tribute to a wonderful musician. He has been aided in no small way by fellow arranger Jack Montrose, who was responsible for three of the arrangements revived here which also appeared on one of Brown’s original recordings in 1954. Together with members of the ensemble, they keep the spirit of that music alive. Trumpeter Tim Hagans is the featured artist among a wealth of excellent soloists... -- Paul Donnelly, eJazzNews.com

Porgy & Bess ...Redefined!

The Clifford Brown Project

One Day with Lee

See pages 1 & 2 for details on AJI's just-released CD of compositions by Steely Dan's Walter Becker and Donald Fagen, arranged by Mark Masters for the 17-piece Mark Masters Ensemble. Check the early reviews!

See pages 3, 4 & 5 for details on AJI's 2014 season of 19 concerts in Southern California’s desert communities, presenting renowned jazz vocalists and instrumentalists in sure-to-be memorable evenings. Come join us!

© 2013 The American Jazz Institute

AmJazzInTM

The American Jazz InstitutePO Box 5716

Pasadena, CA 91117

DATED MATERIAL ADDRESS CORRECTION REQUESTED

Featured in this issue:New AJI CD! Everything You Did: the music of Becker & FagenNew AJI concert season starts December 8 with the premier performance of Ellington Brass Encounters

As an incentive to join AJI or renew your annual membership, we have a very appealing bonus: your choice of AJI’s critically acclaimed CDs and Lee Tanner’s spectacular book, “The Jazz Image.” Your support is important, appreciated and tax deductible.

AJI needs you See page 10

"Ellington Brass Encounters" featuring Art Baron December 8, 2013

The iconic music of Ellington, Shearing, Eckstine, Jobim, Mancini and Dorsey is honored in Season 2 of the "Jazzoo Concert Series" at The Living Desert.

Back by demand! Jackie Ryan & Trio January 6, 2014

Season 6 of Vicky's "Jazz Supper Club" headlines vocalists Jackie Ryan, Kathy Kosins, Stephanie Nakasian, Mary Stallings, Gina Eckstine and Amanda King.

Richie Cole Quintet featuring Bruce Forman January 18, 2014

Season 4 of Pete Carlson's "Jazz for Jazz Lovers" presents 7 major concerts featuring world-renowned jazz masters and all-star supporting artists.