1806 jazz notesFiddling around (not literally) on the internet I found some interesting jazz birthday items for March. For instance, saxophonists James Moody, Brew Moore, Flip Phillips and Lew Tabackin all share March 26 as their birth dates and the very next day is shared by Harold Ashby, Pee Wee Russell and Ben Webster. Different years of course, but the same date.

Likewise, pianists Frankie Carle, Pete Johnson, Cecil Taylor share the 25th.

(Speaking of Cecil Taylor, the avant-garde pianist is one of the pioneers of free jazz and his playing uses a very physical approach, at times attacking the piano with his fists and forearms. There is a story which may be apocryphal but makes for a good yarn. A truck was transporting a Bösendorfer grand piano, Taylor’s piano of choice, through city streets when the following small disaster occurred — the Bösendorfer fell off the truck and was smashed to pieces. Someone told the story to Taylor who paused for a few seconds before saying, “I wish I’d heard that!” Now you know what his playing can sound like.)

Jimmy McPartland, jazz trumpeter and husband of Marian, who incidentally was born on March 20, was born on March 15, 1907, and died on March 13, 1991.

Drummer Barrett Deems was born on March 1. So, for that matter, was Glenn Miller, but I’m not in the mood to write about Miller, although he shows up on quite a number of early jazz recordings long before he became James Stewart.

(By the way, did you know that one of Miller’s early compositions, for the Dorsey Brothers Orchestra, was a ditty called Cousin Annie’s Fanny and was reportedly banned by a number of radio stations because of double entendres in the lyrics?!)

But I digress. It’s Barrett Deems who is the focal point of this little story.

Deems is probably best remembered for years spent as a member of the Louis Armstrong All-Stars. He had a formidable driving technique and was sometimes referred to as “the world’s fastest drummer.”

Armstrong, who used to refer to him as “The Kid” was quoted as having said about Deems’ playing that “he makes coffee nervous.”

Deems  always was a bit of a character but the older he got the more eccentric he became; by this time he had grown a beard and, truth to tell, had a pretty wild appearance. He was never at a loss for words and described himself as the oldest teenager in the business. The words weren’t always, shall we say, acceptable in polite circles and he ruined more than one recorded interview. He certainly was justification for the practice of broadcast delay. It was around this time that Mr. Deems entered my life.

We were both appearing at the Bern International Jazz Festival which in those days used the five-star Hotel Schweizerhof as its headquarters. The festival musicians stayed at the hotel and each evening we ate like kings in its very elegant restaurant. Enter, literally, Barrett Deems who in a typically loud voice asked why they wouldn’t serve him a hamburger!

But the straw that broke the camel’s back requires a little explanation. Deems was in the habit of carrying a duck call in his pocket — a very piercing duck call — and yes, came the evening when he paraded through the restaurant blowing the duck call to the obvious dismay of all and sundry. The very next day we were all advised that in future we would be served dinner at a nearby restaurant.

It was a very nice restaurant, but it wasn’t the Schweizerhof.

For the last few years of his life in Chicago, Deems  had a successful big band and could still drive it along with energy and enthusiasm.

In September of 1998 the oldest teenager in the business died of pneumonia, leaving many of us with a trail of memories of an era when jazz had more than its share of real characters.

Speaking of characters, March 24 is a date that has been set aside from 4pm to 8pm as a celebration of the life of Geoff Chapman, longtime writer for the Toronto Star and later a contributor to The WholeNote, reviewing CDs of Canadian jazz artists.

After Chapman’s death last September, former Star editor Vian Ewart suggested having a celebration of Geoff’s life. Chapman’s wife Bilgi supported the idea and David Stimpson, founder of University Press Group, avid reader and jazz enthusiast, suggested The Pilot as a suitable venue.We met with Michelle Elliott, The Pilot’s events co-ordinator, who helped to organize the event.

There will be nibbles available and a cash bar. Geoff’s interests were wide-ranging and we are hoping that not only his jazz fans will come out and join in the party.

There will, of course, be music, provided by Don Thompson, piano, Neil Swainson, bass, and Terry Clarke, drums, with other musicians invited to sit in (and don’t be surprised if they do).

I like to imagine that Geoff will be looking down on us quaffing his drink of choice, a good English beer.

Marchons, marchons!

Happy listening and please make some of it live. 

Jim Galloway is a saxophonist, band leader and former artistic director of Toronto Downtown Jazz. He can be contacted at jazznotes@thewholenote.com.

I know i’ve written on a number of occasions about the falling off of the jazz scene in Toronto and I still feel that the glory days have come and gone — but not all is lost.

jazz notes  del dakoJazz has, of course, died several times over the course of its history, but one way or another seems to survive. Writing this brought to mind an occasion when I was in high school: we were in the change room of the gymnasium and the teacher came to the door and announced “The King is dead. Long live the King.” In this case the new “king” was Queen Elizabeth, but the phrase means that the heir immediately succeeds to the throne upon the death of the preceding monarch.

Similarly one might have pronounced on sundry occasions “Jazz is dead, long live jazz.”

Since, with the exception of The Rex, jazz clubs operating six nights per week are, it would seem, a thing of the past, the focus has moved to concert halls and clubs presenting jazz one to three nights a week, and to special “one-off” or annual events.

JPEC: One such event is coming up this month. Jazz Performance and Education Centre (JPEC) will have their fourth annual Jazz Gala on Saturday February 23 at the Toronto Centre for the Arts, 5040 Yonge St. Joe Sealy will present “Africville Stories” — from his JUNO award-winning Africville Suite which was composed in memory of his father and is a homage to the history, people and activities of Africville in Nova Scotia. Canadian treasure Jackie Richardson will be featured along with bassist Paul Novotny, Mark Kelso, drums, and Nova Scotian born Mike Murley on saxophone. The second part of the concert will be “A Salute to Motown” with Roberto Occhipinti as musical director.

Ellington Society:It may seem a little early to mention an event which doesn’t take place until late April, but this is an annual concert presented by the Toronto Duke Ellington Society and it consistently sells out, so I figured it wasn’t too soon to bring it to your attention. The date is April 27 at Walter Hall in the Edward Johnson Building at U of T and this year the music will be performed by JUNO winner John MacLeod and The Rex Hotel Orchestra.

These concerts began on October 24, 1991, at Holy Trinity Church and audiences have been entertained over the years by a cross-section of Toronto’s leading jazz talents including Mark Eisenman, Barry Elmes, Al Henderson, Mike Murley, Kevin Turcotte, Ron Collier, Don Thompson, Jeff Healey’s Jazz Wizards, Brian Barlow’s Orchestra, Martin Loomer’s Orange Devils and my own Wee Big Band.

Proceeds will go to the Society’s Scholarship Fund and ticket prices are $35 if you purchase before March 1 after which they are $40.

Paintbox: One of the successes of downtown development, and Lord knows, there aren’t many of them in condominium-dominated Toronto, is the Regent Park Arts & Cultural Centre, a multi-tenant arts hub located on Dundas St. E. between Sumach and Sackville streets. Situated in this complex, but a separate entity, is the Paintbox Bistro, the brain child of owner Chris Klugman. Trained as a chef, he has recruited his kitchen staff from George Brown College where he teaches. A regular at the restaurant is Mitchell Cohen, president of the Daniels Corporation, builders of this Regent Park complex. He and bassist Henry Heillig are old friends and out of that friendship came the idea of a jazz series at the Paintbox. Result? A series of six concerts in a people-friendly space which can comfortably accommodate an audience of 150 and deliver good food, good wine and good jazz.

The series begins on February 1 with the Heillig Manoeuvre CD launch followed at intervals by the Elizabeth Shepherd Trio, Phil Dwyer with Don Thompson, Thompson Egbo-Egbo Trio, Jane Bunnett with Hilario Duran and the Joe Sealy Trio with Paul Novotny and Daniel Barnes. Tickets are $15. For more detailed information please call 647-748-0555 or go to paintboxbistro.ca.

Phoenix rising: The legendary phoenix bird obtains new life by rising from the ashes of its predecessor. Seven years ago the Toronto jazz venue Top o’ The Senator closed its doors but this year in phoenix-like fashion it will reopen with a new owner — and a new name.

The new owner is Colin Hunter, founder and chairman of Sunwing Airlines. Passionately fond of music and in the business himself as a crooner, his efforts and a considerable input of financial support mean that 251 Victoria St. will once more be home to live music with the opening of the Jazz Bistro.

The general manager is Sybil Walker, carrying on the role she had at Top o’ The Senator, booking artists and managing the operation.

The club will feature live performances Tuesday through Sunday with Thursday through Saturday being jazz, Wednesday for Latin, and “Take the Stage Tuesday” which will be a community outreach program with members of the jazz community, touring artists and students programming their own evenings in conjunction with Sybil’s input.

The jazz programming will be a mix of top local musicians and visiting stars. In the works are an Oscar Peterson tribute and welcome return bookings of Kenny Barron and Lew Tabackin.

I can’t resist saying it — “The Senator is dead. Long live the Jazz Bistro.”

Final note: With deep regret I have to make mention of the untimely death of Del Dako. He had impressive playing credentials as a jazz saxophonist, accomplished on both baritone and alto saxes, before a serious accident while riding his mountain bike in the autumn of 2001 rendered him unable to play the saxophone. Undaunted, he set about learning to play vibraphone on which instrument he was able to continue expressing himself through music. As a saxophone player he played with several name players including Eddie “Cleanhead” Vinson, Big Nick Nicholas, Nick Brignola and Slim Gaillard, and held the baritone sax chair in my Wee Big Band for the years preceding his accident. He was dogged by ill health after the biking accident and more recently he was diagnosed with cancer. He was with fellow musicians on Friday January 18 and found at his home by a friend the next day, having taken his own life. But for those of us who knew him, he too will live on in our memories.

As usual I ask you to keep listening to jazz and do your best to make some of your listening live. 

Jim Galloway is a saxophonist, band leader and former artistic director of Toronto Downtown Jazz. He can be contacted at jazznotes@thewholenote.com.

I have been writing a column in WholeNote for a number of years now and as 2012 heads towards the past I thought it might be interesting to look back at some of the items from the late 90s on, at changes that have taken place as well as some constants that don’t alter.

2000: For example, at end of the year 2000 I wrote: “Looking back over the past year, I realise just how much good jazz is available on a regular basis in this city. On any given week in Toronto, you can hear a wide range of music. The performers are often visiting “names,” but the majority are our own artists — and the standards are high. The concentration of good musicians in our own community is astonishing. The number of playing opportunities is regrettably small,  for it is an unfortunate fact that there is a lot less work for musicians than there used to be. And Toronto is a city with more playing opportunities than most. A young player entering the profession today has a difficult path ahead. There are simply not enough jobs to go around and talent is no guarantee of success.”

And I thought it was bad then!

jazznotes ralph suttonjazznotes bill basie between-1946-and-19482003: A sense of humour is part of the makeup of most jazz musicians and I have always tried to inject some into this column almost every month. So in 2003 I made up a small list of CDs that “might have been”:

Anita O’Day – “What A Difference O’Day Makes”

Bill (aka Count) Basie/Bill Holman Christmas Album – “Jingle Bills”

Mitch Miller – “Mitch’s Brew”

Al Kay – “Kay Passa”

Guido Basso – “Basso Profundo”

Phil Dwyer – “Dwyer Circumstances”

jazznotes bill holman -photo credit john reevesRay Bryant and Bill Mays – “Bryant and Mays: A Perfect Match”

Stompin’ Tom Connors – “Stompin’ At The Savoy”

(And in rehashing the topic for this month’s column with David Perlman, I have to give him credit for suggesting an album with Mike Murley, Larry Cramer and a rhythm section that could be called “Murley, Larry and Co.”)

2010: The 2010 December issue contained some memories of the years when I was artistic director of the Toronto Downtown Jazz Festival including the following:

“We have at times even helped the course of true love. One time I was in one of the festival vehicles along with a visiting group on the way to a sound check when the band’s road manager saw a lovely young lady walking along the street in downtown Toronto. He called out to the driver, “Stop the van! I must meet that beautiful woman! Stop the van!!” He slid the passenger door open and jumped out into the crowd.

We never saw him again — not at the sound check or the concert. He simply disappeared. I do hope everything worked out for him.”

In 2008 I expressed some of my feelings about Christmas in a piece titled “The Ghost Of Christmas Presents”:

“It’s that time of the year when the festive season, and all that goes with it, is upon us,” I wrote. “That time when there are the rival groups of Ho! Ho! Hos! in the red corner and Bah Humbugs! in the blue.

“Please don’t misunderstand me when I admit to being drawn to the blue corner, but I’m tired of the commercialism and insincerity which has turned the season into just another big sell. School may be out, but crass isn’t dismissed!

“The first Christmas card’s inscription read: “merry Christmas and a happy New Year to you.” “Merry” was then a spiritual word meaning “blessed,” as in “merry old England.” But today the great divide is between the spiritual aspect of Christmas and the secular and the secular is winning at a canter. Christmas may come but once a year but the commercial aspect of it which might well be called “giftmas” lasts for at least two months.”

Resolutions: After Christmascomes the event that used to be one of the busiest nights of the year for musicians — New Year’s Eve. It paid at least double scale and very few musicians sat at home wondering why they didn’t have a gig. Now most players do sit at home with their memories of gigs galore in days gone by. I have one funny, if at the time a bit embarrassing, recollection of the night at the Montreal Bistro when we had the count down to midnight and everybody was ready to sing Auld Lang Syne — and I launched into Happy Birthday to You!

New year is, of course also the time for New Year’s resolutions. Personally I don’t bother with them. If I’m going to resolve to try and do something, or change certain habits, why wait until the end of December? Do whatever it is no matter what time of year it is. After all it’s just as easy to break a resolution made in the middle of July as it is at the New Year when it might be made under the affluence of incohol!

But I have a couple of wishes for other people and I’m quite prepared to wait until January 2013 or even later:

I wish that jazz audiences would resolve not to talk loudly in a club while the music is being played. You are being rude and insensitive to the musicians and the people around you.

And I wish some wealthy patron would come along and donate decent pianos to several of the venues around town. My heart goes out to the talented pianists in this town who, over the years, have had to struggle with out of tune pianos, broken strings and keys. It’s a pipe dream I know, but as the song goes I Can Dream Can’t I.

Mind you, the latter isn’t a problem that exists only here. I remember an occasion when I was touring with that wonderful pianist, Ralph Sutton. The town was in the north of England and the piano was almost unplayable. Now Mr. Sutton for the most part was an easygoing agreeable character, but he did have a fuse which in certain circumstances was on the short side and I could see his anger rising as he did his best on this terrible apology for an instrument. We struggled through to the end whereupon Ralph, who was physically a very strong man, reached into the piano and pulled out handfuls of hammers and strings while saying with relish, “No other poor bastard will ever have to play this piece of shit!

On the subject of resolutions I’ll leave the last word to Oscar Wilde — “Good resolutions are simply cheques that men draw on a bank where they have no account.”

Have an enjoyable and safe festive season and may it continue into the new year.

Happy listening. 

Jim Galloway is a saxophonist, band leader and former artistic director of Toronto Downtown Jazz. He can be contacted at jazznotes@thewholenote.com.

30-31-jazznotes-hanna-gallowayJohn edwin “jake” hanna, drummer: born Dorchester, Massachusetts April 4, 1931; married 1984 Denisa Heitman; died Los Angeles February 12, 2010.

There have been so many books about jazz it is difficult to know what to buy — histories, biographies, essays, criticisms and some by superior writers such as Ralph Ellison, Gary Giddins, Nat Hentof, Albert McCarthy, Albert Murray and Scott Yanow.

But very few are as entertaining as Jake Hanna, The Rhythm And Wit Of A Swinging Jazz Drummer, a new addition to the ranks.

Jake Hanna was one of the great drummers but just as well known for his wit. He had an irrepressible sense of humour which endeared him to audiences and fellow musicians. In the band room he was always a centre of attention and wherever he was there was always laughter.

It was surely just a matter of time before somebody decided that there had to be a book about him and, to borrow the name of a jazz standard, “Now’s The Time.” The author is Maria S. Judge and she knew the Hanna family very well–she is, in fact, Hanna’s niece and a published writer of several books.

The early part of the book deals with the Hanna family and no other writer could have gone into more detail or have given a better insight into the environment that produced a man destined to become one of the legends of jazz.

The bulk of the work consists of anecdotes, remembrances by members of Hanna’s jazz community and contributions from friends and acquaintances. Together they convey a colourful picture of the drummer/raconteur who has left an indelible mark on the lives of so many of us.

He was the master of the one-liner on stage and off: “So many drummers, so little time.” Not all of them were original but somehow Hanna took ownership of them. If he liked you it was for life; if he didn’t it was also a pretty permanent arrangement. He was straight ahead in the way he played drums and straight as a die in the way he lived life.

Hanna could have been a great stand-up comedian, but was occasionally, in a friendly way, on the receiving end as when drummer Danny D’Imperio saw him come into the club and acknowledged him as “not just any old Tom-Tom Dick Dick or Harry Harry!” For once Hanna had no comeback.

It won’t spoil the book for you if I drop in a couple of stories from it like the time when Hanna was playing the Merv Griffin show and a famous singer agreed to an impromptu performance and said to him, “Give me four bars.” Hanna called out the names of four of the New York City bars where musicians hung out: “Charlie’s, Junior’s, Joe Harbors and Jim and Andy’s!”

Or the time when Mel Brooks and Carl Reiner were guests and people were panicking because Reiner was late. When he got there he was berated by Brooks. Reiner explained that he had just been to the doctor and was told he had arrhythmia, to which Hanna promptly responded “Who could ask for anything more.”

This is also a great “loo” book; in fact you should maybe buy two copies, one for your bookshelf and another for visitors who have to “spend a penny,” to coin, literally, a saying from my youth.

If you ever met Jake Hanna you will want to have this book. If he is only a name to you please buy it and enjoy getting to know him.

Jake Hanna, The Rhythm And Wit Of A Swinging Jazz Drummer. Maria S. Judge. Meredith Music Publications. $24.95 (US) or check amazon.com.

MR. ED: Jake Hanna was a huge fan of Ed Bickert, which will come as no surprise to anyone who heard Ed play. After the death of his wife Madeline, Ed retired from playing. I remember the evening very well. I was giving a concert of Ellington’s sacred music that night and at intermission we heard about Madeline’s passing. After that Ed simply stopped playing; a few years earlier he had had a fall on ice and suffered severe injuries to both arms from which he never completely recovered and with his wife’s death he simply didn’t have the will to keep on playing. No amount of coaxing could make him change his mind although he still shows up to hear musicians he likes.

I have a lasting memory of a recording session with Ed. The British trumpet player/bandleader Humphrey Lyttelton was in town and John Norris decided to make an album with him for Sackville Records.

The rest of the band included Neil Swainson on bass, Terry Clarke, drums, myself and Bickert. The music consisted of all originals by Humph, who showed up with no music! He would sing the various themes and we would go from there. Ed worked his magic and turned every number into music that was beautifully structured harmonically.

Like a lot of musicians I rarely listen to my own recordings, but when I do hear a track from that session it sounds like it had been arranged and well rehearsed, largely thanks to Mr. Bickert. And it was all done in one afternoon.

Well, on November 6 at the Glenn Gould Studio, you are invited to “Ed Bickert at 80: A Jazz Celebration,” with a line-up that includes Don Thompson, Neil Swainson, Reg Schwager, Terry Clarke, Oliver Gannon and others. Tickets are $45. Proceeds go to the Madeline and Ed Bickert Jazz Guitar Scholarship Fund.

Happy listening and, as Ted O’Reilly used to say when he signed off, “Think nice thoughts.” 

Jim Galloway is a saxophonist, band leader and former artistic director of Toronto Downtown Jazz.  He can be contacted at jazznotes@thewholenote.com.

jazz notes chapman option 2Unfortunately I find myself having to devote part of this month’s column yet again to a friend who recently passed away. I refer to Geoff Chapman an accomplished writer and a gentle man. He had wide-ranging interests and they included a great love of jazz, in fact it could rightly be called a passion. In the years that he wrote for the Toronto Star he covered theatre as well, but jazz stirred his emotions more deeply than anything else. Not that he ever made a big outward display of his feelings because nothing ever seemed to disturb that serene quality which has been described as a Buddha-like presence.

He was open-minded, always looking for something positive to say and I’ve yet to hear anyone say an unkind word about him. He was certainly a good friend to musicians, all of whom will think fondly of him.

Along with his talents, occasionally having the good fortune to be in the right place at the right time enabled him to leave the rest of the field trailing behind. I remember one night at the Montreal Bistro and Geoff was there to review the band. It was the same year that the jazz festival, because of imminent tobacco legislation, was about to lose the title sponsor, duMaurier. There was a grace period before the ban on tobacco sponsorship became law, but the sponsor decided to withdraw support as of that year.

To make a long story short, a good friend of the festival at City Hall, Sean Gadon approached the then mayor, Mel Lastman, and convinced him to intervene and call the then President of Imperial Tobacco, Don Brown. So there we were at the Bistro. Geoff was just getting ready to leave in order to file his review and in came a jubilant Sean Gadon with the news that the festival, which we had just cancelled had its funding for another year. Johnny-on-the-spot Chapman made some hasty notes before rushing off to file his story which scooped everybody else in town.

jazz notes chapman option 1But what made him much more than just a competent writer was that along with his language skills, an inbuilt natural ability to convey with words, he also had a broad knowledge of what he was talking about and a desire to communicate with his audience.

It starts to sound like the qualities of a good jazz musician, doesn’t it?

I remember one evening we had dinner together and in casual conversation I discovered we had shared an unusual childhood activity. As kids we had both chewed tar and to this day I love the aroma of hot tar! I initially thought that it might in some odd way have had something to do with the fact that we were both Brits until quite recently.
 I found a Canadian, albeit with the Irish name of O’Reilly, who, when he heard about our tar traits, exclaimed, “I used to do that!”

A good English beer, a cigar and listening to jazz was his recipe for a good time. Oh, and looking forward to seeing a good football — soccer, not rugby — match on TV.

When I think of Geoff, there is a line from a novel by Charles Dickens, “Our Mutual Friend” which seems a propos — “Have a heart that never hardens, a temper that never tires, a touch that never hurts.”

To The Letter

And now I will digress. My real introduction to acronyms was listening as a child to BBC — an acronym in itself — radio, and to a weekly comedy show starring Tommy Handley called ITMA which was made up from the first letters of the phrase “It’s That Man Again.” The show also introduced a classic, still widely in use today: TTFN — Ta Ta For Now.

Coming up with acronyms is a linguistic process that has existed throughout history. For example it was used in Rome before the Christian era, the official name for the Roman Empire, and the Republic before it, being abbreviated to SPQR (Senatus Populusque Romanus).

But acronyms became much more common in the 20th century with AT&T, Nabisco (National Biscuit Company), TV, Radar (short for for radio detection and ranging) and on and on. Back in the days when people actually wrote letters, some of you may have received or sent correspondence of a personal nature which had the letters SWALK on the back of the envelope meaning that it was Sealed With A Loving Kiss. Try that with a text message (lol).

Jazz has had its share of acronyms. Some of the most widely known were NORK (New Orleans Rhythm Kings), JATP — Jazz At The Phil, a travelling jazz extravaganza produced by Norman Grantz and the MJQ (Modern Jazz Quartet).

All of which is a preamble to KPMT, the Ken Page Memorial Trust which will hold its 14th annual jazz gala at The Old Mill on October 18 with a star-studded line-up including, from the United States, Harry Allan and Ken Peplowski on reeds, Warren Vache, cornet, Russ Phillips, trombone, and on piano Italian virtuoso Rossano Sportiello. The home team will consist of Terry Clarke, Alastair Kay, Reg Schwager, Neil Swainson, Don Thompson, Kevin Turcotte and your faithful scribe. Prior to the main event and in keeping with the goals of the Trust there will be a performance by the Ben Hognestad Trio featuring Matt Woroshyl from the University of Toronto Faculty of Music. You can enjoy them along with a complimentary cocktail. If you have never attended the gala this is a great year to get involved in support of jazz and the musicians who make the music. You’ll not see a line-up like this any place else in Toronto. For details see the ad in this issue of The WholeNote.

Meanwhile, now that the days are turning chilly it’s a good time to move inside and trade the hot sun for some hot choruses. As always, The WholeNote club listings, on page 55, are the town’s best guide to what’s on.

Happy live listening!

Jim Galloway is a saxophonist, band leader and former artistic director of Toronto Downtown Jazz. He can be contacted at jazznotes@thewholenote.com.

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