VOL 20 ISSUE 6 NOVEMBER-DECEMBER 2011T h e n e w s l e t t e r o f V e g a s J a z z • J a z z H a p p e n s H e r e !

UNLV FALL JAZZ FESTIVALNovember 29 through December 1

With special guest

BRANDON FIELDS

“Remembering Herbie Phillips…the Man, the Music & the Times”

featuring special guest

CARL SAUNDERS with

Nathan Tanouye &

the Las Vegas Jazz Connection

PREFORMANCE INFORMATIONTO BE ANNOUNCED!

Carl Saunders Big Band, Las Vegas, 1964

(personnel listed on page 3)

AJI BIG BAND BASH, the 1st concert in the REMEMBERING series:

Jazz Guitar EnsembleJazz Ensemble IIIJazz Ensemble II

Contemporary Jazz EnsembleJazz Ensemble I

Latin Jazz Ensemble

UNLV Black Box Theatre 7:30 p.m.

Tickets will be available online atvegasjazz.org

at the Hamm Fine Arts building, 4505 S. Maryland Parkway LV, NV, 89154For tickets call 895-ARTS (2782) or online at TAC@unlv.edu

VEGAS JAZZ

OFFICERS

PRESIDENT Frank Leone

V. PRESIDENT Carolyn Freeman

TREASURER Joyce Devers

SECRETARY Samantha Badgley

BOARD OF DIRECTORS

J. J. Brennan Kim Linzy Dave Loeb Marty Mahoney Katrina Sumner Judy Tarte Mimi Williams

ADVISORS

Manny Gomez Rocky Gordon Dave Rowell Daniel Teich

JAZZ NOTES! Is published bi-monthly by VegasJazz, a 501© nonprofit corporation. Subscribe by membership at: vegasjazz.org or by emailing: info@vegasjazz.org Send newsletter emails to Editor@vegasjazz.org or AdMgr@vegasjazz.org Deadline for publication is 1st of the month prior to issue date. SEND MAIL TO: JAZZ NOTES!, Editor, P. O. Box 60396, Las Vegas, NV 89160

EDITOR Judy Tarte

CONTRIBUTORS Carolyn Freeman Matt M Koerner Travis Lohmann Adelaide Robbins Sue Smuskiewicz

PHOTOGRAPHY Araceli Barajas Paul “Spyder” Evans Debby Loeb J Tarte Web files

MEMBERSHIP Anna Lea

DESIGN Julee Flicker

VEGAS JAZZ MSG. LINE (702) 313-6778

WEBSITE vegasjazz.org

FROM YOUR PRESIDENT FRANK LEONEVOL 20 ISSUE 6 NOV-DEC 2011

2 President’s Column

3-4 Meet the Artists

5-6 Reviews

7 Meet the Board Introducing Vegas Jazz Members

8-9 Happenings / In Memoriam

10-11 Items of Note In my pre-teen years I luckily had a small table radio in my bedroom and around 1948, found a night-time show hosted by vocalist Margaret Whiting, called “The Great White Way.” It featured recordings of the “Great American Songbook” (though that term did not yet exist) as

sung by Frank Sinatra, Jo Stafford, Nat King Cole, Lena Horne, and many others. Through this show and from my mother’s fair collection of 78 RPM records, I discovered songs with great melodies, wonderful harmonic progressions, and meaningful lyrics. A couple of years later at age 10, I began studying classical piano, and by age 14 had developed an excellent technique. In the early 50s, 45 RPM extended play records (EPs) and the 10” LP emerged. Although I

can’t remember how acquired, we had several albums, some of them jazz. I began listening and was startled to hear standards I had discovered transformed into a new dimension. Here was “Lover Come Back to Me,” by Buddy De Franco, played at an incredible tempo, with Kenny Drew blazing away on piano. There was Chet Baker’s quartet playing “This Time the Dream’s On Me,” with Russ Freeman swinging along in his uniquely punctuated piano style, then an eerie harmonically strange cut of “Ghost of a Chance,” by blind pianist, Lennie Tristano, and an angular interpretation of “Blue Moon” by the Dave Brubeck Trio. I found myself fascinated by this new musical door that had opened, revealing new aspects of melody, harmony, and rhythm, coupled with the peculiar energy unique to jazz. My particular curiosity was with the re-harmonization of the songs. However, this world was to remain closed off for a while, as published teaching methods were

not yet existent. Every once in a while my marvelous piano teacher, Armand Del Buono, who was also a family friend, would play a standard song for my parents. One afternoon he played “Again,” a Dmitri Tiomkin song from the film, “Road House.” Though not a jazz player, his playing style was impressive, and compared to what was on the printed sheet music, his chords were massive, and I wanted to acquire knowledge of how to do this. Armand said I would have to take harmony lessons, but that he did not teach this subject.Around age 14, while walking in my South Philadelphia neighborhood, I noticed a new music

business had opened selling instruments and also advertising lessons. I inquired if they had anyone who taught “harmony.” The reply was, “Yes, the best in the world.” He was the best, and that man was Romeo Cascarino, a great American composer, who was to become my mentor and friend for the rest of my life. Within six months I could analyze any harmonic structure, and put this knowledge to use creatively both in classical composition and in re-harmonization of standards I had first discovered on the radio. Besides harmonic focus, Romeo insisted on developing the ability to create meaningful linear jazz melodies that had to be faithfully derived from the chord progressions/substitutions I was applying to standard songs. I also bought my first “fake book” of standard songs during this period, an expensive and treasured acquisition. In my first year at South Philadelphia High School, I was accepted as pianist into its concert

orchestra, which was under the direction of Dr. Jay Speck, who was a renowned conductor/educator. Beside the classical repertoire we prepared for concerts, jazz was being practiced in the music room after school by some students in the orchestra. I began sitting in with them and was accepted as one of the “cats” for the jams. Many of us remained life-long friends; all were excellent musicians. In the 11th grade most of us joined the Philadelphia Union, Local 77, AFM. The Union had a rehearsal hall where jam sessions would be held, providing a more challenging musical environment, as these sessions might be attended by young Union musicians from other high schools, and older Union members with professional employment experience from jazz bands; like Billy Root and John Bonnie (Stan Kenton Orchestra), or Frank Tiberi from Woody Herman’s band. There were other jam places like Ellis Tolin’s “Music City,” where the very young vocalist Ruth Price and trumpeter Lee Morgan first came on the scene. Philadelphia was truly a fertile jazz environment. And so, my initial curiosity about chords led to opening the door of jazz. That door has never

closed; neither has my quest for new and surprising harmonic progressions that are not artificial or arbitrary. No chord is ever lost; it’s just waiting to be found!

Discovering Jazz-My Early Beginnings A-chording to Frank Leone

2 I JAZZ NOTES! Nov-Dec 2011

Nov-Dec 2011 JAZZ NOTES! I 3

BRANDON FIELDS – Featured performer at the UNLV FALL JAZZ FESTIVALBrandon Fields started playing the piano at age five, violin at eight and was enamored with the alto saxophone

by ten. He began working as a freelance musician while still a teenager, and moved to the Los Angeles area in 1982 to embrace the inspiring local club and studio scene. His debut recording The Other Side Of The Story came out in 1986. Three additional concept albums followed, including A Coffehouse Christmas, Higher Ground (the music of Stevie Wonder), and most recently Fields and Strings, a beautiful collection of standards released in late 1999 on Paras Records. He received a 2002 Album of the Year Latin Grammy for Alejandro Sanz Y Solo Se Me Ocurre Amarte and

performed on Ray Charles’ 2005 Grammy slamming Genius Loves Company.As a sideman, his recording credits reflect his eclectic influences, including, among others Tower of Power,

Earth Wind & Fire, Elton John, Quincy Jones, Nancy Wilson, Jewel, B.B. King, Bonnie Raitt, Babyface, Luther Vandross, Al Jarreau, The Rippingtons, Stanley Clarke, The Temptations, Michael McDonald, Randy Newman, Neil Diamond, Kenny Rogers, Lionel Richie, Queen Latifah, Engelbert Humperdink, and Harry Connick Jr. He has also been a featured player on several movie soundtracks, among them The Preacher’s Wife, Waiting to Exhale and Dreamgirls.Since June 2006 he has been performing with Barry Manilow for the legendary star’s house gig at the Las Vegas Hilton.As a clinician for Selmer Saxophones and Rico Reeds, Brandon has taught at some of the premier music camps and schools around the

world. When he’s home in Los Angeles, Brandon continues to write and record, honing his skills on a variety of auxiliary instruments (flutes, keyboards, and percussion,) and to play at his favorite L.A. area clubs in both acoustic and electric settings.

–submitted by Matt Koerner

LOOK FOR THESE EXCITING EVENTS!!

Beginning November 29 the UNLV Jazz Department will be presenting their UNLV FALL JAZZ FESTIVAL featuring jazz saxophonist Brandon Fields. This will be a 3 day event with all concerts beginning at 7:30 p.m. at the Black Box Theater at UNLV. For ticketing and information please call 895-ARTS.

Kicking off the festival on Tuesday, November 29 will be the Jazz Guitar Ensemble & Jazz Ensemble IIIWednesday, November 30 will feature Jazz Ensemble II and Contemporary Jazz Ensemble

On the final date, Thursday, December 1 Jazz Ensemble I and the Latin Jazz Ensemble will perform

T he American Jazz Initiative (AJI) will present the first in their “REMEMBERING” Series at the Casa de COPA in the Bootlegger Bistro complex. Entitled “Remembering…the Man, the Music, the Times…,” this event will feature the music of Herbie Phillips played by the Nathan Tanouye Las Vegas Jazz Connection Big Band and will feature special guest CARL SAUNDERS. Attendees are

encouraged to dress for the event as they would have for “going out for a night on the town” in the 1960’s through the 1980’s. Tickets will be available online at vegasjazz.org.

Remembering the Music of Herbie Phillips: An Upcoming AJI EventHerbert Daly Phillips, better known as Herb or Herbie Phillips was a big band composer, and arranger. He was

prominent in the Las Vegas music community. Phillips worked as trumpeter and conductor for both Frank Sinatra and Frank Sinatra, Jr. and he played trumpet in several notable big bands, including those of Louie Bellson, Buddy Morrow, and Billy May. He is, however, better known as a composer. After high school graduation Phillips attended the University of Nebraska, Lincoln. During this time he played

trumpet in several territory bands and in 1955 moved to New York City. While waiting to get his union card, a six-month period, Phillips subbed in several bands, including those led by Les Elgart, Woody Herman, Dan Terry and Jimmy Dorsey.Around 1960-61 he moved to Las Vegas where he spent the remainder of his life. He played in several show

bands and eventually landed a long-lasting gig in the house band at the Flamingo Las Vegas. He played in the Las Vegas Hilton house band from 1970 to about 1983. It was at this time many people felt that the music industry

(from the perspective of musicians) fell apart in Las Vegas. The big band era was at a low, and major casinos were switching from live bands to taped music, which resulted in a major musicians strike in 1989. Several factors compelled Phillips to ultimately leave the Las Vegas Hilton. First, the Hilton management changed the showroom format

by bringing in a production show; the type of show that, if it were a hit, would require a musician to play the same music for years. He was disinclined: around 1975, he injured his lip, which developed into a lump that wouldn’t heal. He took lessons to rebuild his embouchure, but worried that if he continued to play, he would permanently damage his lip. When Phillips left his job at the Hilton he began writing for his own rehearsal band. Up until the late 1980s, the Las Vegas Musicians Union

had its own rehearsal hall that members used for rehearsal bands, known as “kicks bands.” Phillip’s rehearsal band was one of these “kicks bands.” Though there are a number of rehearsal tapes in circulation, his band never recorded a professionally engineered studio albumEveryone who knew Herbie loved him. He was an instant friend to everyone and always made you feel as if you had known him forever. Herbie died September 13, 1995, from complications of an aneurysm that struck while he was conducting a jazz band rehearsal at the

Community College of Southern Nevada.

Herbie Phillips (1964)

COMING SOON

4 I JAZZ NOTES! Nov-Dec 2011

CARL SAUNDERS – Featured guest artist at the AJI “REMEMBERING…” performanceCARL SAUNDERS was born on Aug. 2, 1942 in Indianapolis, Indiana and his first five years were

mostly spent on the road. His uncle was trumpeter-bandleader Bobby Sherwood was riding high with the popular Sherwood Orchestra, and Saunders’ mother Gail (Bobby’s sister) sang for the Sherwood Orchestra and Stan Kenton, among others. When Carl was five, he and his mother settled in Los Angeles; living with Carl’s aunt Caroline and her husband, tenor-saxophonist Dave Pell. At the time, Saunders heard the records of the Dave Pell Octet and was influenced by the style and phrasing of trumpeter Don Fagerquist. He began playing trumpet in the seventh grade and quickly found that he had a natural ability, mostly learning to play by ear and never having any lessons. He played in school bands, and after he graduating high school, his mother helped get him a job with Stan Kenton’s Orchestra at the age of 18. Saunders auditioned for Kenton’s band and was given a choice: wait for the first opening in the trumpet section or join the band the following week as a member of the mellophonium section. He chose the latter and spent much of 1961-62 on the road with Kenton.After spending part of 1962-63 traveling with Bobby Sherwood’s group (playing drums), Carl settled

in Las Vegas where during the next 20 years he played with a countless number of show bands, including lead trumpet with Ella Fitzgerald, Tony Bennet, and Frank Sinatra. Saunders also traveled as a lead player with Paul Anka and Robert Goulet and with such bandleaders as Si Zentner, Harry James, Maynard Ferguson, Benny Goodman and Charlie Barnet. In 1984, Carl moved to Los Angeles where he was soon playing lead trumpet with Bill Holman’s Orchestra, a position he still holds.

Saunders has also worked with John Williams and the big bands of Bob Florence, Johnny Mandel, Gerald Wilson, and the Phil Norman Tentet. In 1994, he became a member of the Dave Pell Octet (in Don Fagerquist’s old chair.) In addition, he is often heard at the head of his own groups including the Carl Saunders Be Bop Big Band, his sextet and a quartet.Among his CD releases, the 2002 Bebop Big Band is notable for the high musicianship of the band, the colorful originals, the hard swinging,

and the five arrangements by Herbie Phillips that set the mood for the project. The late Phillips, a close friend of Saunders from his Las Vegas years, was a talented trumpeter and arranger/composer who loved bebop. Saunders, who has inspired students and kids all over the world conducting clinics says that he gets inspiration from them because they

share his energetic dedication and passion towards the creation of beautiful music. Asked to define jazz, Carl says, “It’s a combination of intellectual funk and hypnotic swinging.” His recordings show that not only is he a prolific composer but he is one of the finest jazz trumpeters of the 21st century.

Carl Saunders’ Big Band in Las Vegas, 1964 (Cover Photo)Rhythm Section: Ronnie DiFillips/Piano, Carson Smith/Bass, Ron Carducci/Drums Saxes L to R: Harry Guard/Baritone & Alto, Rick Davis/Tenor, Charlie McLean/Alto, Bill Trujillo/Tenor, Steve Perlow/Baritone Trombones L to R: Dick Winter/Bass Trombone, Carl Fontana, Charlie Loper, & Joe Hambrick/Trombone, Hoot Peterson/Bass TromboneTrumpets L to R: Herbie Phillips, John Hudgins, Buddy Childers, Larry McGuire, & Carl Saunders leads the band.

Holiday Christmas Concert

Sunday • December 18 • 2:00 PM • Nicholas J. Horn Theater

Walt Boenig’s talented ensemble will perform new Christmas arrangementsFeaturing

Vocalist Laura Taylor

Free Admission

College of Southern Nevada3200 Cheyenne, North Las Vegas, NV • For reservations, call 651-LIVE (5483)

Nov-Dec 2011 JAZZ NOTES! I 5

REVIEWS

And Now, Something New…September 14 • Flamingo Library • Review by Travis Lohmann

The “SIZZLE FEST” HOT! HOT! HOT!September 10 • East Las Vegas Community Center • Review by Adelaide Robbins

On this evening the new formation of UNLV’s Liberace Jazz Quartet took the stage at

the Flamingo Library for an adventurous concert. With new members Nick Schmitt on bass, Larry Aberman on drums, and Nick Tulli on saxophone joining pianist

Otto Ehling, the foursome began what was to be a wonderful night of music. The concert was kicked off with a quirky composition by Oliver Nelson titled: “Butch and Butch.” This particular arrangement, made famous by the jazz pianist Keith Jarrett, featured a swinging solo by Nick Tulli and a wonderfully executed solo by Otto Ehling. The playing as well as the cohesiveness of the members on this tune was amazing. Larry Aberman took a colorful, rhythmically dynamic solo before returning back to the head of the tune, in what proved to be a great opener.

The next presentation was a Bob Sheppard tune called: “Lightness.” This song was transcribed by Nick Tulli and presented a softer, more refined side of the group. The piece had some really colorful comping rhythms and harmonies. Nick Tulli did a fantastic job of showing off his lush tone over the head of the tune. Otto Ehling presented an extremely vibrant piano solo, showcasing his command of the jazz vernacular, yet keeping phrases logical and flowing. Larry Aberman also threw in some bursts of cymbal work, which really helped accentuate and propel the piece. Otto

A s the title suggests, “Sizzle Fest” brought plenty of heat to an afternoon which began with a rain storm but brightened up quickly, with both the sun appearing and the excitement of Latin Jazz played by Nathan Tanouye and the Las Vegas Jazz Connection. The concert also featured co-composer and

co-arranger Cocho Arbe and singer Lenny Lopez from the group Santa Fe and the Fat City Horns. The event was presented by Carolyn Freeman’s American Jazz Initiative and Allegiant Air.

The opening number was a familiar one from the bands’ repertoire, “Maid in Mexico” written by the late, well known jazz pianist and composer, Russ Freeman. The arrangement, by Tanouye, got things off to a great start.

Next up was “Para Ti” a Tanouye original. It was an easy bolero with a languorous piano solo played by Otto Ehling backed by the brass and continuing with a clave background. Kevin Stout’s trombone solo was a standout. Full brass shared lines with the unison saxes and French horn and ended with a vamp interlude with strings.

The next offering, “Brasil Tune” was an original written by pianist Otto Ehling. The piece opened with a brass choir intro then swung into a samba rhythm with brief trumpet lines and a rolling piano solo with percussion backing. Mustn’t forget to mention Phil Wigfall’s inventive soprano sax solo; the wonderful percussion playing of Gabriel Falcon and Michito Sanchez and the impressive brass ending on the piece.

Guest composer Cocho Arbe was introduced and conducted his original “One More Bepop,” a straight ahead jazz tune that turned Latin and featured an alto sax solo by Marc Solis as well as the always amazing Derek Jones on a bass solo.

The brass began the salsa original ”Visiones de Cuba” by Nathan Tanouye. The percussion took over and Phil Wigfall played a flute solo with some intricate ensemble work behind him. The brass joined the percussion and were then let loose with bass and timbales and John Abraham’s terrific drumming. The band came back in with unison reeds, contrasting horn lines and Gil Kaupp’s great trumpet solo for a big finish.

Nathan next introduced the second featured guest, singer Lenny Lopez, whose first selection was “Yo No Quiero Que Te Vayas,” a slow romantic bolero, showing a strong male voice and lots of feeling. Phil Wigfall effectively soloed on alto. His second tune, “Into The Night,” a Tanouye original featured a trumpet solo by Gil Kaupp. Following this, Lenny sang another original, “Samba de Vida” by Russ Freeman and arranged by Nathan. Lenny is a really good singer and had great accompaniment behind him, full brass ensemble playing, lovely string lines and screech trumpets, getting in the last word.

Cocho returned to the podium to conduct a Machito composition, “Cuban Fantasy” arranged by Cocho. Originally scored for four trumpets, Cocho added one more trumpet part as well as one more trombone part. He remarked that he was pleased with the effect. This piece is a classic and was a perfect choice to wind up a perfect concert.

Ehling also occasionally threw in rapidly descending sequences for an extremely impressionistic sound.

It’s not too often the audience will get treated to an intimate piano solo, however, this is exactly what Otto Ehling provided. In a harmonically complex, absolutely soaring rendition of George Gershwin’s “I Loves You Porgy,” Otto’s solo piano version really shined. He had a chance to take advantage of the beautiful melody Gershwin crafted, as well as add some of his own harmonic knowledge into the mix. This certainly was a wonderful respite and a great interlude into what was to come next. Other selections of the night included the standard “Stella By Starlight,” featuring a rhythmically driving solo by bassist Nick Schmitt, as well as a Bill Evans ballad titled: “Your Story” with Nick Tulli and Otto playing as a duet.

The final tune of the evening was a Herbie Hancock tune named: “One Finger Snap.” A fast up-tempo swing tune, this selection was a great way to end the evening. This tune really got a chance to show off all the members playing abilities; from Otto’s competent piano playing to Nick Schmitt’s steady bass playing, and outstanding drumming by Larry Aberman. Overall, this concert proved once again, that even with three new members added to the group, the Liberace Quartet can still give absolutely musical concerts and are a spectacle to behold.

6 I JAZZ NOTES! Nov-Dec 2011

CD REVIEW

UNLV JAZZ ENSEMBLE IBea’s Flat (UNLV)Review by Ken Franckling

There is much to savor on this latest University of Nevada Las Vegas disc, which showcases the jazz program’s premier band. The collection exhibits top-notch playing, composing and arranging, as well as appearances on one track

each by three of 2011’s artists-in-residence: trumpeter Bobby Shew and saxophonists George Garzone and Bob Sheppard. The album opens with an exhilarating ride through Russ Freeman’s “Bea’s Flat,” which was arranged by UNLV alum and jazz faculty member Nathan Tanouye. It sets the bar high for the rest of the project, and the ensemble rises to every challenge.

Trombonist Nate Kimball, a UNLV grad student in jazz composition, wrote “Namaste,” an intricately textured ballad (with a few uptempo moments) that sparkles with beautiful ensemble horn lines and solos by Kimball and reed player Julian Tanaka, who is featured on soprano sax. Shew is featured on Bert Joris’ “Magic Box,” with Tanaka’s spirited alto solo working as a simpatico lead into...Shew’s extended solo, which, in turn, triggered more great ensemble work. UNLV saxophonist Nick Tulli arranged the ensemble’s exotic and at times powerful take on “Witch Hunt,” the first of two Wayne Shorter compositions included. UNLV grad student and pianist Otto Ehling wrote the samba “Brasil Tune,” which features Ehling and guest artist Sheppard with an outstanding solo on soprano sax.

We get to hear another side of Tanaka, as arranger, on two tunes. One is “Fairweather Friend,” which was written by UNLV jazz guitar faculty member Joe Lano; the other is a fresh take on Henry Mancini’s classic “Days of Wine and Roses.” Tanaka is featured on clarinet on the breezy and meditative Lano tune and shifts to soprano on his adventurous version of the Mancini classic, which also features trumpeter Kevin Early, who ratchets up the intensity heading into the backstretch.

Grad student Matt Koerner, a trumpeter and a composition major, arranged the two concluding pieces, his own composition “Wavelength” and Shorter’s tune “Yes and No.” The relatively subtle and laidback “Wavelength” features Tanaka on soprano sax and drummer Paul Ringenbach amid exquisite ensemble horn support. Ringenbach and Garzone dominate the joyous yet harmonically complex take on “Yes and No.” What a treat for this ensemble, not only to hear sax master Garzone at work but to support him on record as well.

–Reprint Jazz Times Publications, October Education Guide, Oct. 1, 2011

On September 25, 2011, UNLV’s Jazz Ensemble I and Contemporary Ensemble gave a spectacular concert at Artemus Hamm Hall. This concert celebrated the release of Jazz Ensemble I ‘s newest CD titled: Bea’s Flat along with the accomplishments of everyone involved. The CD is the culminating effort of UNLV’s jazz studies program for the past year and has been garnering nothing but positive attention

and reviews from top jazz critics and publications. Director of Jazz Studies, Dave Loeb was justifiably enthusiastic and took much pride in pumping up the release of this magnificent album. “We’re extremely proud of the final product and this album showcases some of best playing and composing of college bands in the U.S., if not the world,” Dave gushed.

The UNLV Contemporary Ensemble, directed by Assistant Director Nathan Tanouye, opened for Jazz Ensemble I. This band played some amazing selections, including an arrangement by former UNLV Jazz student Julian Tanaka, entitled “Fairweather Friend.” Julian used to play in Jazz Ensemble I as well as the UNLV Liberace Quartet. He is currently on tour with the Sinatra Band on the “Come Fly Away” international tour. As Dave Loeb has stated many times, “we really strive to give the best of our students the best jobs available.” The UNLV Contemporary Ensemble gave a stellar opening for Jazz Ensemble I, and their performance certainly invigorated the audience for a wonderful set of great big band music.

After a brief intermission, UNLV Jazz Ensemble I took the stage. It should be mentioned that this band recently received an award from DownBeat magazine as one of the best “Graduate College Large Ensemble Outstanding Performance” schools. These awards do not come easily and are judged only by a recording given to a judging panel with only a number to identify each school. As a result, the judges have no idea what school they are listening to. “This award puts our school up there with the top jazz icons for jazz education institutions such as University of North Texas and the University of Miami,” Loeb proudly stated. Jazz Ensemble I certainly delivered.

The opening tune was a little known Duke Ellington standard called “Gladly.” It is part of a three-part suite written by Duke: “Madly, Sadly, and Gladly.” A really swinging tune, it’s amazing that this piece of music isn’t as widely known as it should be. UNLV Jazz Ensemble I got the tune just right , with impeccable jazz phrasing, amazing dynamic control and a tight rhythm and horn section. UNLV Jazz Ensemble I was recently selected as part of three universities from across the U.S. to participate in the Midwest Conference. “Gladly” is a tune they will be playing at this conference.

In addition to playing standard big band charts, it is important to showcase the student talent for writing music and arranging. Featured on this program were Matt Koerner’s “Wavelength,” Otto Ehling’s “Brasil Tune” and Nick Tulli’s arrangement of the Wayne Shorter tune “Witch Hunt.” A point worth noting, Nick Tulli’s arrangement of “Witch Hunt” recently won DownBeat magazine’s award for “Best Student Arrangement.” As noted, not only does UNLV’s Jazz Studies program excel in jazz performance, it also goes far and beyond in jazz composition and arranging.

The title of the album: Bea’s Flat, while cryptic to some can be easily explained by the track on the new album. Originally composed by jazz pianist Russ Freeman, this particular tune was arranged by Nathan Tanouye, with permission granted specifically from Russ Freeman’s widow: Carolyn. UNLV Jazz Ensemble I really made a stand out finale with this arrangement. With stellar interpretation, rhythmic drive, and cohesive communication between the instrumentalists, the album release party of UNLV Jazz Ensemble I surely established the group as a seminal force in college jazz ensembles.

Other standout selections of the afternoon included the great standard: “Old Country,” masterfully sung and embellished by stellar jazz vocal teacher Jobelle Yonely. Additionally, the extremely dissonant tune “Spirals,” composed by Steve Wiest was a very unique selection to be programmed. Nathan Tanouye adroitly conducted this piece with much attention paid to dynamic shading, texture, phrasing, and instrument entrances. This piece was the most creative in terms of musical color and instrumental effect. Overall, the entire concert was a logically planned, expertly chosen and well-executed event. As the biggest event yet for Jazz Ensemble I, the concert was the perfect complement to a successful CD release and an even more successful band.

Bea’s Flat- A Jazz ExtravaganzaSeptember 25 • Artemus Hamm Hall • Review by Travis Lohmann

Nov-Dec 2011 JAZZ NOTES! I 7

Introducing…Vegas Jazz Board Members:

Frank Leone

Adelaide was born in New York City into a “show biz” family. Her father was a musician, pianist and arranger who traveled and performed with

the USO during WW2, both in the US and abroad and her mother danced in off and on- Broadway shows. Raised in the Bronx she took lessons: piano, dance,

even castanets and harmonica. Music was always in the home…playing and singing with family and often, other performer friends. When she was a child, one of the favorite family entertainments was to take the Staten Island Ferry around Manhattan and sing 3-part harmony. By the time she auditioned and was accepted to the prestigious High

School of Music and Art in Harlem (today known as the La Guardia High School of Music and Art and Performing Arts located at Lincoln Center in Manhattan) she was already playing club dates and summer jobs in the Catskill Mountain Resorts and jazz gigs in groups around the City. While at the School of Music and Art she studied the double bass, learned orchestration, theory and harmony and began to compose and orchestrate original music.She received a full scholarship to the Eastman School of Music in

Rochester, N.Y. where she triple majored in piano, string bass and composition, in addition to taking gigs in small jazz groups on both piano and bass. Missing New York, she transferred to the Manhattan School of Music where she received her Bachelor of Music and Masters Music degrees within one year. (She also studied voice and was teaching secondary piano on the faculty at the same time.) From there she played a variety of jobs in the New York scene.

Some, she adds, were seedy and ill paid but were good for gathering

Introducing Vegas Jazz MembersADELAIDE ROBBINS

experience, polish and were preparation for future work. There were a lot of big band gigs (she joined the famous Buddy Rich Band at the Basin Street East and from there traveled throughout the country.) There were also a couple of Broadway shows and gigs at some well known jazz venues such as Birdland, the Embers, and the Hickory House. It was on the band bus that she first heard about the

opportunities for work in Las Vegas. In Vegas she has had a wide spectrum of gigs; everything from playing

piano in Sy Zentner’s orchestra for the Follies Bergere to singing backup for such notables as Patti Page and Bobbie Gentry. She has also played in Salsa bands, played jazz gigs in clubs such as both the 4-Queens and Riviera Monday night jazz performances, the Tender Trap and at the Melrose. What began as a one weekend job with Carl Fontana at the Alexis Park Hotel wound up becoming a nine month run which brought in well-known players both locally, such as Bill Trujillo, and from L.A. such as Joe Romano. She has also been piano accompanist for some very special singers including Doris Troy, Marlena Shaw, Joe Williams and Ruth Brown.She recently finished a long run with Joe Locatelli’s group at Daddy

Mac’s and is currently playing with the Jimmy Wilkens Big Band and Tom Hall’s Bebop Band at the E String in Henderson.When asked what she’s been up to, she usually answers: “Whatever

the next phone call brings me.” Keep those phone calls coming! We’re proud to have such a talented and diverse member as part of

our Vegas Jazz organization.

F rom South Philadelphia, Vegas Jazz President, Frank Leone began serious studies on piano and harmony at age 14 with Philadelphia’s celebrated composer, Romeo Cascarino; in what was to become a lifelong affiliation. At age 17 he received a scholarship to the Philadelphia Conservatory of Music, where he studied with Vincent Persichetti. At age 19, he was accepted into the Curtis Institute

of Music, where he received the degrees, Bachelor and Master of Music under the tutelage of Vittorio Giannini, Nicolas Flagello (composition), and Vladimir Sokoloff (piano).NOTE: for further information on his discovery of Jazz, see his column on page 2.His ability and expertise as a musical director, conductor, pianist, and arranger has garnered him an illustrious

career, working with some of the biggest names in entertainment including: Red Skelton, Engelbert Humperdinck, Paul Anka, Sergio Franchi and as Musical Director of The Minsky Follies at the Aladdin Hotel and as pianist in the Main Showrooms of both the Las Vegas Hilton and Caesars Palace.Frank has accompanied a cadre of stars that include: Frank Sinatra, Andy Williams, Steve and Eydie, Carol

Channing, Anthony Newley, Roy Clark, Ben Vereen, Robert Goulet, Tom Jones, Sammy Davis Jr., Ike and Tina Turner, Gladys Knight and The Pips, B.B. King, Ann-Margaret, Tony Bennett, Goldie Hawn and Elvis Presley, with whom he also toured.He has numerous television and recording credits to his name, and additional performances with many other celebrities, including: Natalie

Cole, Eartha Kitt, Raquel Welch, Tony Martin and Cyd Charisse, Peggy Lee, Dionne Warwick, Helen Reddy, Vicki Carr, Juliet Prowse, and the Pat Cooper Show. He has served on the Board of Directors of Musicians Local #369 since 1986 and since 2000, served as President of that organization.

8 I JAZZ NOTES! Nov-Dec 2011

HAPPENINGS

The AJI “Sizzle Fest” event held on September 10 was an afternoon to remember! Kicking off the proceedings in the courtyard gazebo area was the UNLV Latin Jazz Ensemble under the leadership of Uli Geissendoerfer. They really set the mood in spite of the cloudy weather. Hot tunes had everyone moving to the music and, as if in agreement, the sun came shining through and the threat of rain dispersed. Following the Latin Jazz Ensemble performance were the colorful and entertaining Mariachi Franco de Las Vegas who were musical, charming and energetic. Food and drink from Qdoba Catering, flowers from English Garden Florist, balloons from Amazon Events, and interesting displays from the Hispanic History Museum all contributed to the festive air and party atmosphere. The venue at the East Las Vegas Community Center was ideal for both the outdoor activities and the Las Vegas Jazz Connection performance inside. Nathan Tanouye and his 27 piece orchestra, complete with violins and harp, along with co-composer and co-arranger, Cocho Arbe and special guest Lenny Lopez made this an over the top event. If you missed this one, be sure to mark it on your calendar for “Sizzle Fest” 2012…as we’re making it an annual affair!

CSN

UNLV

AJI

VOCAL JAZZ SOLO NIGHTS • Friday & Saturday • November 4 & 5 • 7:30pmThe CSN Jazz Singers showcase their talents in the Recital Hall at the Cheyenne campus. In addition to ensemble selections, each individual performs a solo, ranging from jazz standards to Broadway. $8 adults, $5 stu/srs.JAZZ COMBOS & JAZZ SINGERS • Sunday • December 4 • 2:00pmThe College of Southern Nevada’s music program features its student jazz combos and the talented CSN Jazz Singers in an afternoon complete with jazz standards and contemporary works in the BackStage Theatre at the Cheyenne campus. $8 adults, $5 stu/srs.BIG BANDS • Wednesday • December 7 • 7:30pmCSN’s dynamic big bands, directed by Walter Blanton and Matt Taylor, present the best in jazz band literature in the Nicholas J. Horn Theatre at the Cheyenne campus. $8 adults, $5 .stu/srs.WALT BOENIG BIG BAND HOLIDAY CONCERT Featuring Laura Taylor on Vocals • Sunday • December 18 • 2:00pmBringing swing music to Las Vegas since 1981, trombonist Walt Boenig’s talented ensemble will perform new Christmas arrangements, featuring vocals by Laura Taylor in the Nicholas J. Horn Theatre at the Cheyenne campus. FREE Admission. waltboenigbigband.com

3200 E. Cheyenne Ave, No. Las Vegas • For reservations, call 651-LIVE (5483)

This fall UNLV Jazz Studies programs saw a record 91 talented students enrolled. This is the largest number enrolled in the Jazz programs to date!Another season of great concerts is upon us and the Jazz Studies Area at UNLV (under the direction of Dave Loeb) is thriving!

Remember that each ticket purchased to a UNLV Jazz performance ensures continued growth and opportunities for the students at UNLV. Just take a look at the list of performances coming up; you won’t be disappointed!

continued next page...

Maggie Mancuso & Keith Potts

AJI “Sizzle Fest”

Mariachi Franco de Las Vegas - “Sizzle Fest” 2011

Carolyn Freeman & Bobby Shew - West Coast Jazz Festival

“Sizzle Fest” Assistant Producers: Matt Koerner & Carmen Woodruff

The Jazz Connection’s October 21st performance at the prestigious Ken Poston/L.A. Jazz Institute’s “Celebrating the West Coast Sound of Jazz” festival was a resounding success! Nathan and the Big Band presented an outstanding set “Remembering Russ Freeman” which was widely praised by all the L.A. “cats” for it’s polish, fine players, musicality, and well-rehearsed presentation. They were an excellent representation for our city and the jazz community! We’re proud to have been a part of it!

contributed by Carolyn Freeman

contributed by Sue Smuskiewicz

contributed by Matt M Koener

Nov-Dec 2011 JAZZ NOTES! I 9

JAZZ AT THE BOOTLEGGER BISTROGus Mancuso will be curator and host of the new JAZZOLOGY series at the Bootlegger Bistro. This event will be presented every Sunday night and will celebrate America’s unique art form: JAZZ. Current times are 8:00 p.m. to 10:30, but call the Jazzology hotline for updated information: 702.736.4939. Bootlegger Bistro, 7700 Las Vegas Blvd. South, LV,NV 89123All night happy hour with beer and wine, well and call drinks up to 50% off and pizza at half price.

PETE RUGOLO, award-winning composer and arranger has died at the age of 95. Rugolo, who came to prominence in the world of jazz as a composer and the chief arranger for Stan Kenton from 1945 to 1949, is credited with being a major force in shaping the progressive jazz sound of the Stan Kenton Orchestra. After leaving Kenton, Rugolo began a two-year stint as the musical director for Capitol Records in New York, where he was responsible for discovering and recording new acts. “Bebop was just starting then, and I signed all the bebop players for Capitol,” he recalled in a 1993 Times interview. Among the artists Rugolo signed was Miles Davis, and he produced the famous “Birth of the Cool” sessions with Davis’ group.“I came out to Los Angeles to do a Nat Cole album and just decided to stay,” said Rugolo, who recorded numerous albums with his own bands in the `50s while also arranging and conducting recording dates for Billy

Eckstine, June Christy, Peggy Lee and others. He became West Coast musical director for Mercury Records and broke into television in 1958 by writing new themes for “The Thin Man,” Subsequently he was associated with themes and underscores for such shows as “Richard Diamond: Private Detective,” the Boris Karloff hosted anthology series “Thriller,” “The Fugitive” and “Run For Your Life.” “Pete Rugolo’s passing is a notable event, as he was a true and powerful original, whose music made an invaluable contribution to a very rich period in American music,” composer John Williams said in a statement to The L.A. Times.

In MemoriamWe pause to remember those we’ve recenty lost from our Jazz World…

TOM GARVIN, highly regarded jazz pianist, accompanist, arranger, composer, lyricist, and producer, died from cancer on July 31, 2011. He was sixty-seven. Born February 4, 1944 in Petersburg, VA, he graduated from Peabody Conservatory and served in the U.S. Army Field Band as pianist/arranger.Tom enjoyed a rich musical career performing and recording with countless artists and bands including Art Farmer, Jack Jones, Peggy Lee, Carmen McRae, George Mraz, Lou Rawls, Bill Watrous, Phil Woods, Sy Zentner, Doc Severinsen, and The Tonight Show.

MARTY HARRIS, pianist who performed with such jazz greats as Woody Herman, Benny Goodman, Clark Terry, Bob Cooper and Anita O’Day, has died of cancer at age 77. Born Dec. 9, 1933, in New Jersey, Harris was reared in Florida and studied the piano in high school. He served in the Navy in the early 1950s and moved to the San Fernando Valley in 1961.

Wedesday, 11/9 • Jazz Ensemble I & Latin Jazz Ensemble • Flamingo Library Theater • 7:00pm (FREE) Sunday, 11/20 • UNLV Jazz Faculty • Flamingo Library Theater • 2:00pm (FREE)Tuesday, 11/29 to 12/1 • UNLV Fall Jazz Festival featuring guest artist Brandon Fields (see page 3)Thursday, 12/14 • UNLV Jazz Combos • Flamingo Library Theater • 7:00pm

One thing about the Jazz Area at UNLV is the constant surprises, growth, and innovation the program cultivates.Jazz Ensemble I News: No stranger to national attention, UNLV Jazz’s latest release Bea’s Flat has garnered a rave review in the national

publication JazzTimes Magazine, (review appears in this issue) the second consecutive CD review from JazzTimes. Stop by, say hello, and purchase the hottest independent Jazz release of 2011 (TNC Records,) UNLV Jazz Ensemble I’s Bea’s Flat - now on sale at each UNLV Jazz performance! For ticketing and departmental information please call 895.ARTS or visit music.unlv.edu .If the band isn’t recording or releasing a CD, performing with the Las Vegas Master Singers, or featuring renown artists, it’s getting ready

to perform at the prestigious Midwest Band and Orchestra Clinic in Chicago in December. A first for the UNLV Dept. of Music, Jazz Ensemble I has been invited to perform as one of only three jazz ensembles selected internationally! This clinic annually hosted over 15,850 attendees, 350+ exhibitors, representatives from more than thirty countries and all 50 states are represented in attendance. A most prestigeous invitation!

10 I JAZZ NOTES! Nov-Dec 2011

Nov-Dec 2011 JAZZ NOTES! I 11

Artists Membership: Artists who pay membership dues at the $50 or above membership level receive a listing of their jazz-related gigs on the Vegas Jazz web site in the monthly Events calendars, as well as a photo, short description, and link to their web site on the Artists page. All Artist level members please email your gig listings to: calendarlistings@vegasjazz.org

Artistic Expression: Although Vegas Jazz informs those whom we feature that the core of our membership are mainstream jazz lovers, we in no way wish to curtail artistic expression, freedom, and experimentation. Therefore, we beg your indulgence, cooperation, and support on the rare occasions that artists present more adventurous or even experimental music.

Interested in advertising in JAZZ NOTES!

Please contact Mimi Williams:AdMgr@vegasjazz.org

BECOME AN ACTIVE PARTICIANT IN YOUR ORGANIZATIONVegas Jazz is seeking volunteers for grant writing, fund raising, board of directors positions.

If you have the interest, we’ll show you how!

e-mail: vegasjazz.org or jtarte@gmail.com

Join KUNV at kunv.unlv.edu or call 895-0061

KUNV 91.5 FM Program Schedule

ARTIST David Mulkey & Laura Taylor

ELLA – IndividualGeorge CheriJoyce DeversJacqueline NewtonMidgene Spatz

BIRDJerry Rowland & Ed Boyer

MONK – StudentCharlene D. Baker

MILES – FamilyArthur & Kjestine CareyGeorge & Gloria Freeman

MEMBERS LIST New & Renewing Members August-September 2011

Kendell Hardin & Hans WallbroTom & Rose JohnsonJohn & Miriam LindnerBill & Hazel O’Brien

SATCHMOCecelia M. AvilaMartin & Cam Usher-Torres

CONGRATULATIONS:To MIKE MEECHEM and DAVE HART who were recently honored at the Entertainment Consumers’ Exchange luncheon. ECE is a non-profit association formed to pay tribute to their favorites in the entertainment industry. Excellence in Entertainment Awards and the Fans’ Entertainment Hall of Fame are among their current projects.

The newsletter of Vegas Jazz

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MESSAGE LINE: 702.313.6778

Membership dues entitle members to concert ticket discounts, an electronic version of Jazz Notes!, and a bi-monthly mailed version of Jazz Notes!. Additionally, your membership supports the following outstanding jazz functions: Printing/mailing of Jazz Notes!, 10 Student Scholarships to CSN Summer Jazz Camp; maintenance to the website; the Annual Black History Celebration; and partnerships with UNLV, CSN, the Joe Williams Foundation, the Junior League, and the Las Vegas Academy of the Performing Arts High School. Please consider increasing your membership level to help us continue these outstanding programs.Vegas Jazz Member Information Policy: All information is confidential, and will never be shared with other organizations or individuals.

STAY CONNECTED: When you change your address, name, or email, please let us know. 702.313.6778, message line; info@vegasjazz.org, email; or mail the info to us.

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