Howard Stone: Jazz and The Movies

The 1927 film, The Jazz Singer, was the first feature-length (not a short) “talkie” (a film with synchronized speech, singing, instrumental score and sound effects). While the title suggests that it was about a jazz crooner, the story is about a young man who wants to sing pop music instead of following in his father’s footsteps as a cantor. The film was a great commercial success, which revolutionized entertainment. By the end of the decade, 50 percent of the U.S. populace went to the movies weekly. Unfortunately, Hollywood’s track record when depicting the world of jazz has not been very good, as most films have relied on clichés and commercial themes that have strayed from reality. Periodically though, filmmakers have captured the essence of the music and the musicians. Forest Whitaker‘s portrayal of Charlie Parker in Bird and jazz saxophonist Dexter Gordon’s Oscar-nominated role in ’Round Midnight were thoughtful explorations of the jazz life.

Howard Stone.

In the past few years, two jazz-themed movies – Green Book (2018) and La La Land (2016) have taken home Oscars for Best Picture and in 2014, JK Simmons won an Oscar for his performance as a demonic jazz educator in Whiplash. While winning critical acclaim and box office success, many in the jazz community were less than pleased with these offerings. The most recent jazz film, Bolden, was panned by the critics and failed at the box office as well. On the other hand, there have been some wonderful documentary films about jazz in the last several years. Keep On Keepin’ On, I Called Him Morgan, Chasing Trane and What Happened, Miss Simone? are a few noteworthy offerings.

So, while in recent years some filmmakers have done a better job depicting the world of jazz, it hasn’t been films about jazz (or even jazz soundtracks) that have been that important to the art form. Instead, it has been the music in movies that has had an outsized impact on jazz. A little history is in order. The explosion in popularity of the cinema in the 1920s through the 1950s (when television viewing began to skyrocket and attendance at movie theaters began to decline) coincided with the period when composers and lyricists began writing songs that became known as “The Great American Songbook.” Many of these songs were written for the movies and even when they were first performed on Broadway, found their way into the movies, where the audiences were much larger. It was a time when the likes of Irving Berlin, George Gershwin, Johnny Mercer, Jerome Kern, Richard Rodgers, Cole Porter and Harold Arlen, to name just a few, were writing the songs that jazz performers embraced and have been performing ever since, to the point that these songs are now “jazz standards.”

In 2004, the American Film Institute published its poll of the “100 Greatest Songs In American Movies,” Topping the list was “Over the Rainbow” from The Wizard of Oz (1939), with “As Time Goes By” from Casablanca (1942) next. On July 24 at the Sonnenalp Hotel (get tickets here) and again on July 25 at the Jazz Tent in Lionshead (get tickets here), Vail Jazz will present the great Ann Hampton Callaway, performing those two jazz classics and many more as she takes the audience on a walk down memory lane in her show entitled “Jazz Goes To The Movies.” I hope to see you all at these shows. As the character Sam (Humphrey Bogart) said in Casablanca … “here’s looking at you, kid.”

Howard Stone is the Founder and Artistic Director of Vail Jazz, the presenter of the annual Vail Jazz Festival. This summer Vail Jazz is celebrating its 25th Anniversary Season with performances by internationally renowned artists in multiple venues throughout the Vail Valley. In addition, Vail Jazz presents throughout the year jazz educational programs with a special focus on young musicians and young audiences. Many of Vail Jazz’s performances and educational programs are presented free of charge.

John Pizzarelli Pays Tribute to Nat ‘King’ Cole

The charismatic guitarist turns up his vocal chords to honor one of the 20th Century’s most beloved jazz stars

One of the most memorable compliments John Pizzarelli ever received was, “I don’t really like jazz music, but I like what you do.”

Upon hearing this, the guitarist stopped in his tracks for a moment, wondering how anyone could truly dislike jazz. Then he realized that some people simply don’t understand the vast musical umbrella the genre covers.

“People get so scared by the word ‘jazz,’ says Pizzarelli, who grew up surrounded by music thanks to his famous father, Bucky Pizzarelli. “Some people think you play jazz for yourself and not for people around you. Growing up, jazz for me was sometimes the same group of guys playing the same sort of music. Now you have bebop, swing, Latin jazz … there are so many different variations. It’s really exciting. It’s almost impossible that some variation wouldn’t appeal to every kind of person.”

One particular artist under that vast jazz umbrella has made an especially life-changing impression on Pizzarelli. This is Nat “King” Cole. Pizzarelli’s latest album, For Centennial Reasons, is his third tribute to the legendary musician whose timeless songs landed on the top of the pop charts (“pop” at the time was often synonymous with “jazz”), more than a hundred times during his day and remain among the most recognizable of tunes in The Great American Songbook.

 

In a career that began as a small boy playing with his father 35 years ago, Pizzarelli has long connected with Cole’s tunes. In turn, he has developed a knack for cultivating a solid communication pipeline between himself and every audience.

 

“A lot of artists from my father’s generation would get up on stage and play song after song after song,” Pizzarelli says. “Some guys can rely on their artistry so they don’t have to speak. So afterward you’d say, ‘I didn’t get much about the person, but he can really play the saxophone.’ I like to know why you’re doing what you’re doing.”

With his intricate guitar playing and engaging singing style, there is a unique charisma Pizzarelli brings to the stage that stretches beyond the jazz genre.

“It was around 1983 that I saw Billy Joel, Bruce Springsteen and Frank Sinatra in the same venue,” he recalls. “Each guy had a different way of communicating. When Billy told stories between songs, it really added something to the whole experience and when Sinatra sang, there would always be a theatrical aspect. I don’t try to bring that to the show, necessarily, but I keep everybody at ease and let them know what’s going on. I like to keep people informed and entertained.”

Although he is famous for putting his own stamp on Cole’s classics and a slew of others from The Great American Songbook, Pizzarelli is known to sprinkle his style onto pop hits from the likes of Neil Young, The Beatles, Joni Mitchell, Elvis Costello, Tom Waits and The Allman Brothers.

“When we get there, we feel it out. I like that,” he says. “We ask ourselves, what record do we want to highlight? Do we want to play more Sinatra? More bossa nova? I could do more Nat Cole. I may play some Ellington. It’s nice to have these problems.”

In the end, Pizzarelli relishes knowing that something in his repertoire will strike some memorable chord with every single member of the audience.

“The best thing about any performance is introducing music to new fans and have people tell you what the music meant to them,” Pizzarelli says.

John Pizzarelli’s 100-Year Salute to Nat “King Cole

Vail Jazz Club Series

July 17

John Pizzarelli along with Mike Karn on double bass and Konrad Paszkudzki on piano deliver a pair of intimate solo performances at The Sonnenalp’s Ludwig’s Terrace on Wednesday, July 17. Doors for the first seating open at 5 p.m. with performance beginning at 5:30 (get tickets here). Doors for the second seating are at 7:30 p.m. with music starting at 8 p.m (get tickets here). Tickets are $40. Full dinner service is available, not included in ticket cost and a $30 per person food or beverage minimum applies.

Vail Jazz @ Vail Square

July 18

The trio’s tribute show amps up for the big stage/multimedia performance in the Jazz Tent at Lionshead’s Vail Square at 6 p.m. on Thursday, July 18. Tickets are $25 for general admission, $40 for preferred seat and $50 for premium seat. Beer, wine and cocktails are available for purchase. Get tickets HERE.

For more information,  call 970-479-6146.

 

Preview of the 25th Annual Vail Jazz Festival: Unforgettable

“Out of clutter, find simplicity. From discord, find harmony. In the middle of difficulty, lies opportunity.” The life of Nathaniel Adams Coles bears witness to these words of wisdom from none other than Albert Einstein. Nat “King” Cole, as he became known, was born into an African-American family in Montgomery, Alabama, 100 years ago this year, and this adage served him well during a lifelong struggle with racism.

Nat’s father was a Baptist minister and his mother led the choir at his father’s church. The family relocated to Chicago when he was 4 years old and during his early years, he played the organ at his father’s church. Nat’s mother taught him to play the piano, providing him with the only formal music training he ever received, and as a teen he would sneak out of the house late at night to listen to jazz at local clubs. By 15, Nat had quit high school, determined to become a jazz pianist. At 17, he joined an all-black touring musical show, but was stranded in Los Angeles when the show folded on the road. True to Einstein’s maxim, in the middle of a difficult situation, he saw opportunity and began playing in local bars, all the while honing his jazz chops. When his reputation began to grow, he was offered the opportunity to organize a quartet (piano, bass, drums and guitar) to play at a more upscale venue.

Howard Stone.

The band worked hard to prepare for the gig, as Nat understood this was the breakout moment he had been waiting for. But it appeared that fate would intervene. On opening night, his drummer failed to show up. This is when Einstein’s direction to find simplicity and harmony out of clutter and discord would save the day, along with the mantra of all great jazz players: when all else fails, improvise. Nat found simplicity and harmony with a drummer-less trio, forging a new way to present swinging jazz. It caught on, but as he put it, “for years the Trio did nothing but play for musicians and other hip people. We practically starved to death.”

He was not yet 21 and with all of his success, Nat was still unknown outside the world of jazz. Money was an issue and he was struggling. However, that was about to change, for as legend tells it, on a fateful night, the trio was playing in a club when a drunk began harassing him and demanding that he sing a specific song. At first, he tried to ignore the man as he didn’t know the tune and singing wasn’t part of his act. When that failed, he decided to try to shut up the drunk by singing “Sweet Lorraine,” a song that he knew. The audience loved his smooth baritone voice and his unique phrasing and enunciation. That night, out of an extremely difficult situation, he once again proved that when opportunity knocks, you need to open the door.

Nat went on to record the song in 1940, which would become his first hit record and started him on the road to success and fame. During the ensuing two-plus decades, he would record hit after hit, including “Unforgettable,” that aptly described him as a remarkably gifted entertainer. He became one of the most famous singers of the era, moving away from jazz to the broader audience of pop, and in the process selling over 50 million records and successfully touring throughout the world. In 1946, he had his own radio program – a first for a black musician – and in 1956, he had his own network TV program, another first for a black musician.

But unfortunately, in mid-20th century America, Einstein’s axiom proved to be no match for the “discord” and “difficulty” of racism and no matter how hard Nat tried to seize the opportunities that potentially existed for him, there were barriers for blacks that he could not break down.

A case in point, in 1948 he purchased a home in an all-white neighborhood in Los Angeles and was greeted by a burning cross on his front lawn. The family dog was poisoned and neighbors confronted him and told him that they did not want “undesirables” in the neighborhood. Nat responded, “neither do I. And if I see anybody undesirable coming in here, I’ll be the first to complain.”

His TV show, which was lauded by the critics, only aired for a year because a national sponsor could not be found. As Nat said at the time, “Madison Avenue is afraid of the dark.

At the height of his popularity in 1956, he decided to return to his home state of Alabama and perform in Birmingham. Playing for an all-white audience (audiences were segregated in the South at that time), he was “welcomed home” by four white members of the audience who vaulted onto the stage and attacked him. He survived, but he would never return to the South to perform again.

While racism threatened his very existence, it was Nat’s three-pack-a-day smoking habit that killed him, as he tragically succumbed to lung cancer in 1965 at age 45. And while he died way too young, his musical legacy was renewed for a new generation of fans in 1991, when his daughter, Natalie, recorded a Grammy-winning virtual duet with Nat of “Unforgettable.”

Vail Jazz is extremely pleased to present the John Pizzarelli Trio “For Centennial Reasons: 100 Year Salute to Nat King Cole” on July 17 at the Sonnenalp Hotel (get tickets here) and July 18 at the Jazz Tent in Lionshead (Get tickets here). These shows will be multi-media presentations combining a live performance by John and his trio with classic video of Nat King Cole performing some of his greatest hits.

Howard Stone is the Founder and Artistic Director of Vail Jazz, the presenter of the annual Vail Jazz Festival. This summer Vail Jazz is celebrating its 25th Anniversary Season with performances by internationally renowned artists in multiple venues throughout the Vail Valley. In addition, Vail Jazz presents throughout the year jazz educational programs with a special focus on young musicians and young audiences. Many of Vail Jazz’s performances and educational programs are presented free of charge.

Howard Stone: The DNA of Jazz

Genetic ancestry testing is skyrocketing in popularity with more and more people attempting to learn about their genealogy. Recently there was a story in the news about Korean-American identical twin sisters that had been separated for adoption at birth. Thirty three years later they were reunited after their connection was confirmed, when each had their DNA tested by 23andMe. That doesn’t happen very often, but the connection between relatives is being discovered regularly now and it is a common occurrence to discover the identity of second and third cousins through the testing.

Howard Stone.

In a way, the genealogy of jazz has been undergoing similar testing for years, not by geneticists, but instead by musicologists who have been examining various styles of music, trying to locate jazz’s “musical relatives.” At the heart of jazz, I’ll call it its musical DNA, are three distinctive “genes”: African rhythms; the blending of multiple music traditions, and improvisation. Many musicologists have concluded that the festive and exuberant music known as choro (pronounced SHOH-roh), which began evolving around 1870 in Rio de Janeiro, is one such relative. However, it would be decades later when jazz emerged in New Orleans, but both forms of music would share many similarities since they sprang from the same musical DNA. Both were A), built upon a foundation of Afro-centric rhythms, B), nurtured in a cosmopolitan center where there was a meddling of cultures and multiple European musical influences and C), heavily relied upon improvisation.

Not unlike jazz in the U.S., choro was at first played by unschooled musicians from the underclasses and with its earthy roots, was regarded with contempt by the white and wealthy establishment. However, by the decade of the 1920s, choro was the popular music of Brazil, while at the same time in the U.S., the decade was known as the “Jazz Age.” In essence, each music grew from the same musical DNA, but in different locales at different times. Each reflected the changing societies it inhabited, but grew into something new and different. And just as successive generations of jazz musicians have reinterpreted the so-called “standards” over time, so too, have choro players reinterpreted composition from an earlier time.

As a jazz fan, my first exposure to Brazilian music was the bossa nova, the musical DNA of which is traceable to the Brazilian samba and American jazz. A close examination of the samba shows that its musical DNA is traceable to choro. So if you were constructing a musical family tree for Brazil, choro would be the father of the samba and one of the grandparents of bossa nova, with the other grandparent being American jazz. The great grandparent would be the rhythms of Africa.

While jazz and choro share much in common, there are, of course, many differences as well. One significant difference is the prominent use in choro of acoustic stringed instruments (mostly guitars, mandolins and related instruments), with the Brazilian 7-string acoustic guitar often featured. Brass and reed instruments are also featured, but no piano or drum set. Percussion sounds are played on the pandeiro, a Brazilian tambourine. In jazz, the most common guitar played is a 6-string instrument; however, there are a few jazz guitarists that play a 7-string instrument. The addition of another string allows the guitarist to play a bass line and add depth to the music, but adds complexity that requires a high level of virtuosity if the player is going to master the instrument. In the hands of a passionate and brilliant player, the instrument can be played in a stunning and thrilling manner that defies description. One such player is Yamandu Costa, considered to be one of the greatest Brazilian guitarists of all time. A remarkable interpreter of choro, samba and the music of Brazil, Yamandu will be in Vail performing with his trio Wednesday at the Sonnenalp Hotel (get tickets here) and Thursday at the Jazz Tent in Lionshead (get tickets here). You won’t want to miss this rare opportunity to see and hear one of the finest guitarists in the world play the music of Brazil.

Howard Stone is the Founder and Artistic Director of Vail Jazz, the presenter of the annual Vail Jazz Festival. This summer Vail Jazz is celebrating its 25th Anniversary Season with performances by internationally renowned artists in multiple venues throughout the Vail Valley. In addition, Vail Jazz presents throughout the year jazz educational programs with a special focus on young musicians and young audiences. Many of Vail Jazz’s performances and educational programs are presented free of charge.

7 Reasons Why Yamandu Costa Loves His Job

Yamandu Costa embraces the music of his entire continent

Growing up in a musical family in Brazil’s Rio Grande do Sul near the borders of Argentina and Uruguay, Yamandu Costa took up the guitar when he was only seven years old. By the time he was a teenager, he had developed a deep passion for numerous classical styles of Brazil – bossa nova, samba, choro, etc. – and also for the seven-string version of the instrument popular in his country. He was also influenced by the unique folk genres (ie: tangos, milonga, chacera) of bordering countries and began winning awards for his one-of-a-kind playing style, which is characterized by all 10 fingers moving at such a lightning fast pace that the resulting sound resembles that of 200 strings rather than seven.

To watch him play – his fluttering eyelids and head rolling along to each strain – is evidence enough that he lives to play, but here are a few other reasons why Costa’s musical journey is clearly the one he’s meant to make.

1) He gets to represent his country and leverage Latin musical influence.

“The choice I made to take this path was really worth it,” he says. “Growing my career slowly, calmly, without any exaggerated haste, just letting things happen, I realized that I could be a representative of a music genre from a whole continent, the South American continent. So I’m a Brazilian who tries to get closer and closer to Latin American music from the neighboring countries we have here. Over time, I have seen that it really makes a difference. I carry some of my continent through my musical creation. This artistic responsibility is a very important thing. This is part of a career that intends to be a calm and solid story. When I see that the rewards come in a natural, gradual way, this makes me very happy.”

2) Presenting the music of South America provides listeners with a glimpse into the continent’s cultural melting pot.

“I think Brazilian music, like Cuban music, North American music, gypsy music, like various cultures of the world, [has] in some way the will to represent the people, to represent a certain lifestyle. This influence comes in several ways, in the environment, in the climate, in the cuisine and from human culture. The music of Brazil, the music of Latin America, it represents the people that are very mixed, that are very diversified. I think that’s why there is so much interest in our music. When I say this, I mean this whole side of the world – the Americas – that [has] caused the world to blend more and more. I think that is why this interest is so profound, because the mixture of cultures happened here.”

3) He can carry on his father’s musical legacy.

“The memories I have of the guitar are from when I was very young. My father played the guitar very well. So it’s a natural thing for me to have followed this path and to become interested in this instrument. From an early age, my house was a gathering place for musicians. We have always had a culture of hosting serenades, musical encounters and such. This is something that I carry [on] today within my way of life. It turns out to be something that is always recurrent in my story.”

4) The guitar is his baby.

“The guitar is an instrument that I love deeply … because it is such a portable instrument, because it is an easy instrument to carry around everywhere. It is an instrument that adapts to all cultures, one way or another. Where it’s moving, it’s adapting. The people in each place can take from the guitar their own sounds that represent their own culture.”

5) He introduces his seven-string guitar to fans as if he were introducing a best friend … or a new language.

“One very interesting comment I received some time ago was when a guy came to me after the show and said, ‘look, I really enjoyed getting to know this instrument that you play.’ Somehow, he was making a parenthesis as if I did not play the guitar, as if the guitar was not so important to the music I do, but focused on the content, the final result of the music. I found it interesting to have such a comment, a guy who really liked the way I make music taking much more into account the musical discourse that was presented than the instrument that I play. The way he said, ‘I really enjoyed getting to know the instrument that you play,’ would be my expression through the guitar arriving in the universe of music.”

6) He has the opportunity to make special connections with diverse audiences all over the world.

“This connection with the audience is a very interesting thing. I travel the world and notice, of course, the differences with the audience, the preparation of the audience. This is a very subjective thing. How do you feel you have a good connection to the audience? That depends a lot on the day. Usually there are audiences who are more welcoming, more warm. I think [a connection is made] when you have good energy and when everything is helping – the sound, the acoustics of the room and also the sound engineer.”

7) Every time he performs he feels he’s delivering his best truth.

“What I like the most about performing live is that it’s the moment of truth. It’s a time that puts you in a very delicate situation, a moment that you have to prove yourself and your abilities. At the same time, you have to somehow conquer the audience. You have to have good taste, not exaggerate your performance. The truth of the artist is the moment he presents himself. I have a relationship of total dedication to the stage and I always hope for this to happen in the best way. In Brazil, we say that ‘practice is practice and the game is the game.’ At the moment of performance, everything must be prepared – all the energy that I built up to be able to play for the people. This is the most important moment, a moment of redemption. It is also a moment of balance that is difficult to achieve … a lot of concentration and a lot of relaxation at the same time so that the music can reach and touch the hearts of all people.”

Vail Jazz Club Series

July 10

Yamandu Costa makes his Vail debut, kicking off the 2019 Vail Jazz Club Series at The Sonnenalp’s Ludwig’s Terrace on Wednesday, July 10. Doors for the first seating open at 5 p.m. with performance beginning at 5:30. Get first set tickets here. Doors for the second seating are at 7:30 p.m. with music starting at 8 p.m. Get second set tickets here. Tickets at $40. Full dinner service is available, not included in ticket cost and a $30 per person food or beverage minimum applies.

Vail Jazz @ Vail Square

July 11

The Brazilian guitarist’s performance gets fast and furious for the big stage in the all-weather Jazz Tent at Lionshead’s Vail Square at 6 p.m. on Thursday, July 11. Tickets are $25 for general admission, $40 for preferred seat and $50 for premium seat. Beer, wine and cocktails are available for purchase. Get tickets here.

For more information, call 970-479-6146.

 

 

Vail Jazz to Launch Busy Summer for 25th

Ticketed performances are on sale now and free live music abounds all summer long

On a whim back in 1995, lifelong jazz fan and part-time Vail resident Howard Stone brought in a who’s who cast of the world’s greatest jazz artists for a long weekend live music extravaganza. Intended originally to be a one-off event, a mind-blown Stone walked away saying, “this is what I want to do for the rest of my life.”

Thus, the Vail Jazz Festival was born and has since blossomed into its current incarnation, a year-round exhibition of top musical talent from across the globe, hands on, in-depth educational programming and free performances.

In celebration of its 25th anniversary, Vail Jazz will launch into its biggest summer ever, with free and ticketed performances throughout the week from the end of June through Labor Day weekend. On Wednesday and Thursday evenings, respectively, the Vail Jazz Club and Vail Square series feature a lineup of the biggest names in jazz today. The Club Series emulates a true jazz club experience with intimate performances in the luxurious setting of Ludwig’s Terrace in the Vail Sonnenalp Hotel, while the Vail Square series allows artists to let loose on the big stage in the spacious, all-weather Jazz Tent in Lionshead. The grand finale of the festival is, of course, the original main event – the Vail Jazz Party over Labor Day weekend, bigger than it’s ever been for year 25.

“Over 25 years, Howard has curated a community of artists that span the globe. This summer, fan favorites return alongside the rising stars of tomorrow to present jazz in all its forms, from the American Songbook to Gypsy jazz, big band to blues, and salsa to straight ahead,” says Vail Jazz Executive Director James Kenly. “This lineup delivers the joy of jazz throughout the summer and across the valley.”

Tickets for all summer performances are on sale as of this week. Here’s the breakdown of what’s in store this summer, so be sure to mark your calendars.

Free events:

Vail Jazz @ The Market

Every Sunday from June 30 through Aug. 25 – Vail Jazz presents free live music from a rotating lineup of highly acclaimed regional musicians, 12-3 p.m. at The Jazz Tent at Solaris during the Vail Farmers Market & Art Show.

Vail Jazz @ The Remedy

Every Sunday night from July 7 through Aug. 25 at 8 p.m., a rotating cast of musical talent joins pianist Tony Gulizia and drummer Brian Loftus for free live music at The Remedy Bar in the Four Seasons Vail.

Jammin’ Jazz Kids

Every Sunday in July (July 7 through 28) from 11:00-11:45 a.m., the Jazz Tent at Solaris in Vail calls all kids from 4 to 12 years old. Vail Jazz’s Tony Gulizia and a team of musical educators lead a FREE hands-on workshop teaching the basics of rhythm and melody. Instruments provided.

Vail Jazz @ Riverwalk

Every Friday at 6 p.m. from July 5 – Aug. 23, Vail Jazz kicks off the weekend with a variety of acclaimed blues, funk, rock, bluegrass and jazz artists performing live at the outdoor amphitheater at The Riverwalk in Edwards. Bring a blanket, picnic and an urge to dance. Food and alcohol are available for purchase.

Veronica Swift and the Emmet Cohen Trio return to Vail Aug. 7 and 8.

Ticketed shows:

The Vail Jazz @ Vail Square fires up the all-weather Jazz Tent in Lionshead from 6 to 8 p.m. every Thursday from July 4 to Aug. 29. General admission seats are $25, preferred seats are $40 and premium seats are $50. Drinks are available for purchase. The Vail Jazz Club Series features the same artists who take the big stage at Vail Square, but performing two intimate dinner club sets at 5:30 and 8 p.m. every Wednesday from July 10 to Aug. 7 at Ludwig’s Terrace at The Vail Sonnenalp Hotel. Tickets are $40. Full dinner and drink service are available for purchase.

July 4 (Vail Square) Fiery pianist Marcia Ball returns to Vail to unleash upbeat musical storytelling

July 10 (Club) 11(VS) – Seven-string guitarist Yamanda Costa plays Brazilian samba, bossa nova

July 17 (Club) 18 (VS) – Iconic guitarist John Pizzarelli pays Tribute to Nat King Cole

July 24 (Club) 25 (VS) – Sultry vocalist Ann Hampton Callaway presents Jazz Goes to the Movies

July 31 (Club) Aug. 1 (VS) – Hailing from the Crescent City, keyboardist and soulful vocalist Jon Cleary pays Tribute to Henry Butler and the Great New Orleans Piano Tradition

Aug. 7 (Club) 8 (VS) – Hypnotic young vocalist Veronica Swift & The Emmet Cohen Trio return by popular demand

Aug. 15 (VS) – Acclaimed jazz and blues vocalist Catherine Russell makes Vail debut

Aug. 22 (VS) – Latin Jazz and salsa extraordinaire Pancho Sanchez ignites dance tunes

Go here for tickets and more information about the Vail Square series.

Go here for tickets and more information about the Club series.

Vail Jazz 25th Anniversary special anniversary gala celebration

July 8 – This one-of-a-kind event features internationally lauded trombonist Wycliffe Gordon displaying his funk stylings at Larkspur Restaurant. Expect a night of dancing, amazing food and an open bar. General admission tickets are $250, VIP Experience $300.

Get tickets here for the Wycliffe Gordon 25th Anniversary event.

The 25th Annual Vail Jazz Party

From Aug. 29 to Sept. 2, more than 40 of the world’s most talented jazz artists (including the iconic Vail Jazz House Band) converge at the Vail Marriott and in Vail Square for a Labor Day weekend stacked with explosive indoor and outdoor performances. In the same format as that first fateful event 25 years ago, artists rotate from stage to stage, some in unlikely combinations that result in a flurry of unique and previously untapped talent and improvisational masterpieces. To witness these shows are truly once-in-a-lifetime opportunities. New this summer, Niki Haris’ Gospel Prayer Meetin’ – historically the Vail Jazz Party’s most popular performance and always the first to sell out – will take place at the Gerald Ford Amphitheatre on Sunday, Sept. 1.

Get tickets here for the 25th Annual Vail Jazz Party.

For more information about Vail Jazz, call 970-479-6146.

Channeling the voice of a legend

As early as she can remember, Nicki Parrott has been drawn to the voice of Peggy Lee. Hailing from New South Wales, Australia, Parrott grew up constantly listening to classical music and started playing piano before she was 5 years old. She added the flute to her repertoire a few years later and began joining concert bands at school. Her older sister, also a musician, had a habit of bringing home Louis Armstrong and Charlie Parker records. It didn’t take long for both girls to cultivate a love for jazz. Playing clarinet and saxophone, Parrott’s sister started a band and asked her younger sister if she’d be interested in playing bass.

“We had grown up playing music together and I wanted to be part of everything,” Parrott recalls. “I never even thought about the bass. Then I brought it home from school. It only had three strings on it, but I didn’t think that was a problem at the time. There was a guy across the street who played. I started to develop a good ear. I copied bass players on record and fell in love with the bass pretty quickly.”

The Aussie’s vocal talents did not emerge until some time later, after her bass talent had been widely discovered and she was regularly performing with the late great Les Paul.

Parrott had been a Monday night mainstay with Paul at New York City’s Club Iridium when one evening he stopped her point blank in the middle of a set and suggested she start singing.

“He stopped me in the middle of a bass solo on stage and said, ‘is that all you’re going to do is play the bass?’ I had never sung in public,” Parrott says.

Nonetheless, she launched into Ella Fitzgerald’s “Deed I do” that night and her vocal career was born.

“He pressured me to do it, but then I fell in love with it,” Parrott says. “He seemed to have a lot of faith. You never knew what to expect with Les. He was always in the moment. He thought it was funny to catch me in the middle of a bass solo. He loved to be funny. He was all about the show.”

One major hit that became part of “the show” was Peggy Lee’s “Fever.”

“She was one of the first voices that really struck home for me,” Parrott says of Lee. “I started to try to find new ways to do some of her classics. What I found interesting about her is how much of a musician she was. She was a composer – she composed a lot of songs – not many singers compose their own songs. She was a great performer with a very unique, sassy style. I always loved her voice. She had a wonderful delivery, with this cool, understated way of singing.”

It’s not just Lee’s classics that Parrott focuses on in her Peggy Lee tribute performances. She also taps into some of the legendary vocalist’s more obscure numbers. Sing-a-longs are not out of the question, either, just so you know.

“I like to have a varied repertoire,” Parrott says. “The audience is going to know some songs, but they won’t know every song. I want to enlighten them about facts and songs they might not have heard. Above all, I want people to enjoy themselves.”

In addition to being part of the legendary Les Paul Trio for a number of years, Parrott has shared the stage with Clark Terry, Patti Labelle, Bucky Pizzarelli and countless other greats. She has composed recording and collaborated on nearly 30 albums, performed in major jazz festivals across the world and played in Broadway ensembles.

Nicki Parrott’s Tribute to Peggy Lee

Vail Jazz Club Series

Aug. 8

Internationally heralded vocalist and bass player Nicki Parrott returns to Ludwig’s Terrace at The Sonnenalp for a pair of intimate performances featuring Peggy Lee classics and more. She’s joined by Eric Gunnison on piano, Paul Romaine on drums and Vail Jazz favorite Ken Peplowski on clarinet. Doors for the first seating open at 5 p.m. with performance beginning at 5:30. Doors for the second seating are at 7:30 p.m. with music starting at 8 p.m. Tickets at $40. Full dinner service is available, not included in ticket cost and a $30 per person food or beverage minimum applies. Find tickets here.

Vail Jazz @ Vail Square

Aug. 9

The quartet bring its Tribute to Peggy Lee to the big stage for a multimedia performance in the Jazz Tent at Lionshead’s Vail Square at 6 p.m. on Thursday, Aug. 9. Tickets are $25 for general admission, $40 for preferred seat and $50 for premium seats. Beer, wine and cocktails are available for purchase. Find tickets here.

 

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Norma Deloris … a.k.a Peggy Lee

On May 26, 1920, in a small remote farm town in North Dakota a baby girl, Norma Deloris Egstrom, was born, the seventh of eight children. Her mother would die when she was 4 and her father, an alcoholic railroad worker, remarried shortly thereafter. Raised by her stepmother who was cold and abusive, she stayed away from home as much as possible.

Her parents were of Scandinavian ancestry and her fair skin, blonde hair and striking appearance in her youth set her apart from her peers. She began singing in church and the glee club in high school and resolved to become a singer. She left home for Hollywood at 17 to pursue her singing career, but was unsuccessful and quickly returned home; however, she wasn’t defeated and she began singing on the radio in Fargo, ND. Shortly thereafter, she returned to Calif., where a defining moment in her journey to stardom and fame would take place. Singing before an extremely boisterous crowd in a club, she could not be heard and instead of attempting to raise her voice to compete with the din in the club, she began lowering her voice. Years later she explained, “When they discovered they couldn’t hear me, they began to look at me. Then they began to listen. As I sang, I kept thinking, ‘Softly, with feeling.’ ”

Howard Stone

Not quite a “Eureka” moment, but this approach became an essential career defining stylistic technique and led to her “trademark sultry purr.” Paying her dues, she gained experience by traveling and singing with small bands in the late 30s. When she was 21 there was another “Eureka” moment, except this time it wasn’t her problem that was solved, but Benny Goodman’s. The King of Swing had just lost his lead singer and he urgently needed a replacement “girl” singer. He heard Norma Deloris sing in Chicago and hired her on the spot, a stint that would last 20 months, during which she would launch her career as a vocalist (selling several million records) and appear in two movies with Benny and his band. When she wasn’t singing with the band, she was falling in love with the band’s guitarist. Benny had a rule that his musicians could not “fraternize with the girl singer,” so he fired the guitarist, whereupon Norma Deloris quit the band. The two married in March 1943 and moved to L.A. where they began collaborating as composers and lyricists.

A string of hits followed, some performed by others, but many performed by Norma Deloris that became big sellers. By the late ‘40s, she was on top, performing in the biggest superclubs in the U.S. and Europe, but there was a problem. Her husband was an alcoholic and by 1951, their marriage ended in divorce. Norma Deloris would marry three more times, all of which ended in divorce, as she searched for the love and security that eluded her as a child. “They weren’t really weddings, just long costume parties,” she quipped later. Between her marriage interludes, there were affairs with musicians, including Frank Sinatra and Quincy Jones.

While her personal life was beginning to spiral downward in the late ‘50s, she continued to have extraordinary success in all the facets of her career well into the 1960s. She had already ascended to “star” status as a vocalist with a defining glamorous and seductive “look,” but this was a façade to conceal her personal pain. Her musicianship was unrivaled among the singers of the day and only Ella Fitzgerald and Frank Sinatra were worthy of comparison. Equally comfortable interpreting the Great American Songbook, singing jazz, pop tunes or the blues, she delivered all with her unique style and phrasing and a wonderful sense of rhythm. She continued to compose music and lyrics for songs, penning many hits and even wrote film scores. Nominated for an Oscar for her performance in “Pete’s Kelly’s Blues,” she was one of the highest paid performers of the era.

But all that success couldn’t fill the hole in her soul and is often the case, children of alcoholics don’t escape the curse of their parents’ addiction. Norma Deloris was no exception. Eventually, she succumbed to the pain of her childhood and excessive alcohol and prescription drug abuse followed, along with binge eating, all of which took its toll. By the time Norma Deloris was in her 50s her talents were severely diminished by her pathological behavior. Episodes of double pneumonia, diabetes, and heart trouble followed and exacerbated her declining fortunes. Sadly, many top entertainers continue to perform well past their “prime,” tarnishing their image and disappointing their fans and Norma Deloris was guilty of this failing. It appeared that she couldn’t accept that she no longer had “it” and she sorrowfully continued to perform, in a wheelchair and with a respirator, a shadow of her former greatness. She died at the age of 81.

However, she left behind a musical legacy, recording over 650 songs and 60 albums. She was nominated for 12 Grammy Awards, winning one and receiving the Grammy Lifetime Achievement Award. She composed music and lyrics for hundreds of songs that have entered the canon of our musical heritage and was inducted into the Songwriters Hall of Fame.

So who was Norma Deloris? Duke Ellington said it best: “If I’m the Duke, man, Peggy Lee is Queen.”  The list of her hits is beyond the scope of this article, but a very few highlights are her breakout recording of “Why Don’t You Do Right?” in 1943; her biggest hit, “Fever” in 1958 and a last hurrah in 1969 that tragically asked “Is That All There Is?”

At 5 p.m. and 7:30 p.m. on Aug. 8 at the Sonnenalp Hotel and at 6 p.m. on Aug. 9 at Vail Square in Lionshead, the wonderfully talented Nicki Parrott will pay tribute to Peggy Lee, singing all of the songs that Peggy Lee (a.k.a Norma Deloris) made famous. The performance on Aug. 9 will include screenings of photos and classic video of Peggy that capture her essence in a unique multimedia format.

Howard Stone is the founder and artistic director of the Vail Jazz Foundation, which produces the annual Vail Jazz Festival. Celebrating its 24th year, the Vail Jazz Festival is a summer-long celebration of jazz.

Seven Questions with Andrea Motis

In her own words, Spanish musician Andrea Motis provides insight on her background and inspirations

At 23 years old, Spanish-born Andrea Motis has already notched a lengthy career as a professional musician. When she was 7 she took on the role of lead trumpeter and also saxophonist at the Municipal School of Music of Sant Andreu in Barcelona. Playing with the Saint Andreu Jazz Band for another nine years, Motis performed and recording with the likes of Wycliffe Gordon, Jesse Davis, Bobby Gordon and Dick Oatts, to name just a few. By the time she was 15, she released her first album of jazz standards and after a couple more album recordings, she released last year’s Emotional Dance on major label Impulse! Records, highlighting her incredible range and deftness on trumpet as well as her alluring vocal talent. She has taken the European jazz scene by storm.Vail Jazz founder Howard Stone can also attest to the jaw-dropping caliber of her talent, having first seen her perform as a teenager.

“I see a 14-year-old performing at a major jazz festival and I said, ‘what the hell? This is unbelievable.’ I think I have to keep an eye on this gal. When she was 22, I worked with another organization to bring her to the states. They were willing to sponsor her and her band to come. She went to Stanford and they put out an email asking if anyone was interested in booking her. Of course I said yes. She’s not a household name, but she’s really a big deal in Europe.

Making her Vail debut, Andrea Motis joins one of New York City’s most lauded tenor sax players, Vail Jazz favorite Joel Frahm, for a trio of Vail Jazz performances. Catching up with Motis last week, we picked her brain about her inspirations and goals.

  1. Vail Jazz: What was the initial allure of the trumpet and why you were drawn to it at such a young age?

Andrea Motis: It was a causality, as I, at age 7, only knew some instruments like violins or pianos. In my neighborhood’s municipal school of music there were no more places for students of these instruments, only more “rare” instruments. So my father had a trumpet from when he was playing it at about 15 years old. He told me to at least get into the school with his instrument and, after that in one year or so, changing if I wanted. But I had a really good teacher and person – Toni Gallart – and I never left.

2. VJ: What was your initial impression of Joel Frahm and why did you choose him for your album and collaborative projects? How would you describe your on-stage dynamic?

AM: I first knew about Joel Frahm through the recording, Live at Smalls by singer Cyrille Aimée. I love that recording and all the musicians playing on it. It is such fresh music and standards that I love playing [played] so naturally and well. For me, his sound on this CD was some kind of “perfect” and I thought I would love having him on the CD. On stage, there isn’t any mystery. It is so easy to work with such a great musician like Joel who knows about all the standards. We just pick the ones we know better and he can perfectly play whatever new music we give him. We’ve also played originals. In fact, he’s playing on my originals on the CD, Emotional Dance.

3. VJ: What would you say are the most important elements necessary for a musician to successfully play by ear (as you do so well)?

AM: 1. Listening to music (jazz), 2. Learning by heart lots of melodies, 3. Transcribing some solos, 4. Playing as much as you can

4. VJ: As a young artist, what have been your most memorable performance/audience experiences to date?

AM: There are so many! One of the more special [experiences] to date was last August when I performed for the first time at the big outdoor theater – Grec – in Barcelona under my name. I prepared a three-part-show with jazz and songs with contemporary dance and funk. With so many great musicians and dancers, it was, for me, like a dream come true.

5. VJ: What are your ultimate goals as a musician?

AM: To be able to play every [type of] music I love, being able to improvise musically as I feel it without technical or theoretical troubles and to work more for playing it easily. Also composing and arranging more in the future and feeling free to do whatever appears in my mind.

6. VJ: Who are other artists with whom you’d like to collaborate in the future and why?

AM: Cécile Mc Lorin Salvant. I admire her so much. Ingrid Jensen … I feel I like can play by her side. Many others that are just great people, friends and musicians. That’s so important. Also people I’ve already played with and I’ve discovered how well could we work together, such as Pasquale Grasso and Federico Dannemann on guitars.

7. VJ: What artists are you listening to at the moment and why do you find them inspiring?

AM: Freddie Hubbard, Mingus, Monk, Avishai Cohen, Parker, Tom Harrell, Esperanza Spalding, John Erik-Kellso, Luigi Grasso, to just saying people that come to my mind. It’s better to hear it [yourself] and take what you feel about it. I think that will be much better than trying to explain what I take from all that …

Andrea Motis and Joel Frahm live in Vail

Vail Jazz Club Series

Aug. 1

Andrea Motis and Joel Frahm perform a pair of intimate loung performances at The Sonnenalp’s Ludwig’s Terrace on Wednesday, Aug. 1. Doors for the first seating open at 5 p.m. with performance beginning at 5:30. Doors for the second seating are at 7:30 p.m. with music starting at 8 p.m. Tickets at $40. Full dinner service is available, not included in ticket cost and a $30 per person food or beverage minimum applies. Get tickets here.

Vail Jazz @ Vail Square

Aug. 2

The pair take their talent to the big stage in the Jazz Tent at Lionshead’s Vail Square at 6 p.m. on Thursday, Aug. 2. Tickets are $25 for general admission, $40 for preferred seat and $50 for premium seats. Beer, wine and cocktails are available for purchase. Get tickets here.

 

Learning by Listening

Something extraordinary has occurred in Barcelona, Spain that is proving that the old adage, “don’t fix it if it ain’t broke,” is applicable when applied to teaching jazz. Over the past 12 years the Sant Andreu Jazz Band (SABJ), comprised of boys and girls aged 7 to 20 years old, has been organized and led by Joan Chamorro, a Spanish jazz multi-instrumentalist and educator. During this period, 60 youngsters have played in the SABJ and have demonstrated a remarkable level of musicianship and an incredible ability to improvise, well beyond their years, playing together like seasoned pros with a joy and energy that has captivated their audiences. Before we explore why this amazing ensemble has had so much success, let us explore how jazz has been taught in the past and then we can compare Joan’s teaching techniques with the current approach in the U.S.

In the first two decades of the last century, as jazz evolved into a recognizable form of music, it did so without the use of written music … because most of the players couldn’t read music. Also, with improvisation at the heart of jazz, written music wasn’t relevant. Instead of studying written music, jazz was learned by “ear,” also known as “aurally,” from the Latin word that refers to the ear or hearing. Learning music aurally enables a player to develop the capacity to hear pitches, chords, melodies, rhythms and intervals without reference to written music. This ability to recognize and internalize sound, very much like how an infant hears words spoken and learns to speak them back, was how jazz was passed on from player to player and generation to generation.

Howard Stone

Listening to music is a passive activity. Many of us listen to music, but never really hear it. You drive along in your car listening to music, but do you really hear it? This is the key; you must actively stay focused to train you ear to hear the music. You then hear the music in an entirely different way.

When a jazz musician takes a solo and begins to improvise, he is akin to a storyteller, only he uses musical notes and phrases instead of words to tell his story. Simultaneously, he has to play his instrument and compose his story and his ability to know what the notes will sound like before he plays them is crucial, if he is to successfully improvise. Choosing the right notes, harmonies, rhythms and more is what separates the pros from the amateurs in jazz and the pros can do it because they have great “ears.”

As the formalization of jazz education began to take place in the latter half of the last century, reliance on reading music and understanding the theory of the music, pushed ear training aside, as it was judged not a very intellectual approach to music. Today, young musicians are taught scales and to learn to read music as a starting point. Practice books abound and the focus is to learn to faithfully play the notes that are on the page. Jazz musicians today are educated at conservatories where the technical side of the music is emphasized and virtuosity is prized. This is now the “approved” approach to teaching kids and aspiring professional musicians all types of music, not just jazz.

So what teaching methodology does Joan use to create such astounding results? Joan is “old school” and believes that starting a youngster’s musical education by teaching scales and to read music is too mechanical. He believes that it is more important for a novice to learn what a given note will sound like, than to know how to read the note. He therefore focuses on connecting his students to the music by having them listen to the music they will play, so they can hear what it sounds like. He encourages the students to sing the notes of a tune so that they can internalize the melody. In short, this is the early jazz tradition of playing by ear and 100 years later, the SABJ is proof positive that it works.

As an aside, Vail Jazz annually brings 12 of the most talented high school jazz musicians in North America to Vail to participate in our award-winning Workshop and for the past 23 years our teaching staff has exclusively relied on ear training with no written music allowed during the students’ 10-day residency. I can attest to its effectiveness, as many of our alumni are now professional jazz musicians.

At 5 and 7:30 p.m. on Aug. 1 at the Sonnenalp Hotel and at 6 p.m. on Aug. 2 in the Jazz Tent in Lionshead, Vail Jazz is very pleased to present from Spain, Joan Chamorro and 23-year-old Andrea Motis, a vocalist, trumpet player and former member of SABJ, who is now an internationally touring professional. They will be joined by the marvelously talented American tenor saxophonist Joe Frahm and other Spanish musicians rounding out a sextet. Come listen … and hear.

Howard Stone is the founder and artistic director of the Vail Jazz Foundation, which produces the annual Vail Jazz Festival. Celebrating its 24th year, the Vail Jazz Festival is a summer-long celebration of jazz.