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TheJAZZ CULTURE

1The Jazz Culture, VII:55

We Are One Chorus in Toronto, Canada's Annual Concert ofThe Jazz Workshops Dir. Howard Rees

Below, Mercedes Ellington Promotes Ellingtonia

JAZZ ROYALTY-DUKE ELLINGTON'SBIRTHDAY AT THE STATUE

L. Hamanaka

On Sunday, April 29, 2013 Mercedes Ellington, founder of the

Duke Ellington Center for the Arts, received a Proclamation from

Gale Brewer, City Councilwoman for that district, for her work to

preserve the legacy of her grandfather. Her brother Edward, a

guitarist, also heads an octet that specializes in Duke Ellington's

music. A Junior High School Band from Lincoln Center, (an alto

player from the junior high school band, Devante Dunbar, spoke

with enthusiasm about the Saturday program at Lincoln Center,

and said he planned to become a pro) a high school band from

LaGuardia featuring fine two singers, Chelsea Fingal and Cristoba

Aria, and a college band from the Manhattan School ofMusic led

by Bobby Sanabria, performed compositions by Ellington or made

famous by him. One of the greatest American composers, who

wrote big band, orchestral, classical and descriptive music for

films, as well as a substantial legacy of religious music containing

some of the most beautiful and singular works. such as "Heaven,"

which was sung freely with harmonic obligato by Ms. Fingal, a

teenager with a free spirit and fine technique. Another singer who

is outstanding, Marion Cowings, sang late in the program. A

neighborhood crowd joined by Ellington fans crowded the statue at

110th Street and Fifth Avenue on a beautiful spring day.

Mercedes Ellington

recently set up The Duke

Ellington Center for the Arts

and brother Edward, seen

here playing guitar, takes his

grandfather's music on the

road.

The Jazz Culture, VII:552

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BARRY HARRIS Receives Jazz ElderStatesman Award from Congressman Rangel

by Lil Phil l ips

On Sunday, April 28, 2013, Jazz Legend Dr. Barry Harris -

Pianist, Composer, Arranger, Author, Grammy Recipient, and

world-renowned Educator - returned to the Harlem, the place

where he honed his jazz "chops" to celebrate Jazz Appreciation

Month with that community. Accompanied by two of his most

adept students on bass and drums, and the inspirational sounds of

the NYC Barry Harris Jazz Chorus, Dr. Harris delighted those who

attended Jazz Vespers in Harlem at the Historic Mother A.M.E.

Zion Church with a selection of jazz standards and his own

originals, including the debut performance of a stunning

arrangement of the 23rd Psalm. With this uplifting combination of

powerful prayers and inspirational music, by the end of the

afternoon the audience was moved to join Dr, Harris' praise tap

dancers in the aisles -- and 'they danced like David'. The finale

was a call for love, peace and understanding, a presentation of

Barry Harris' beautiful composition "We Are One."

Congressman Rangel Presents Dr. Harris with Jazz Elder

Statesman Award


Congressman Charles B. Rangel

delivered an eloquent tribute to Dr.

Harris and presented the Jazz Elder

Statesman with a Congressional

Proclamation in recognition of your

excellence in jazz and devoted

service to the community.

Mother Zion’s dynamic Artist-in-

Residence, Ms. Nikki Williams -

Award-Winning Poet, Artist,

Performing Artist, and Playwright -

brought the audience to its feet in

response to her electrifying, insightful poetry.

Jazz Vespers in Harlem at Mother A.M.E. Zion Church is

Senior Pastor, Reverend Dr. Gregory Robeson Smith’s outreach for

ministering to the Harlem community through a non-traditional

service, incorporating inspirational jazz. Sponsored by the Mother

Zion Jazz Society, under the direction of jazz vocalist Lil Phillips,

this event was funded in part by Poets & Writers, Inc. through

public funds from the New York City Department ofCultural

Affairs, in partnership with the City Council.

Events 1‐2

Duke Ellington's Birthday1‐2

Barry Harris Receives Jazz Elder

Statesman Award

l. Phillips 3‐4

Jazz Workshops in Canada

Howard Rees 5‐16

How To Make A Jazz Vocal Style 1 6-

1 7

Gig Listings 17

Jazz Brunch w/Rie Yamaguchi 18

[email protected]

left, Pastor Robeson & Dr. Barry

Harris

The Jazz CultureNewsletter Private JazzTours in NYC; also pairsmusic teachers in certaincountries with students or

jazz enthusiasts. ForFurther Info email:

[email protected]


5

JAZZ IN CANADA at THE JAZZ

WORKSHOP, TORONTO


Pub Note: Howard Rees is a Canadian jazz pianist born in

Toronto. He has created his own community ofmusicians and

singers through his Jazz Workshops that have seen more than

3,000 students come through over the past 30 years, has spent

much of the past 20 years helping Dr. Barry Harris document his

teaching methodologies, and has also founded a charity called We

Are One Jazz Project, that engages hundreds ofCanadian children

each year, introducing them to jazz. Besides playing out, he has a

choral group that is beginning to gig around Toronto. A devoted

student ofDr. Barry Harris, he bases his Jazz Workshops on

concepts passed down to him by Dr. Harris. (NOTE: Howard Rees

is shortened to “HR” and Jazz Culture to “JC” for the remainder of

this article).

Children ofToronto's inner city sing in We Are One Concert, a charity

founded by Howard Rees, Dr. ofThe Jazz Workshops. Canada's oldest

independent jazz academy


JC: Where were you born?

HR: Toronto.

JC: When did you start to study

music?

HR: I started classical piano lessons

when I was five. It was with a private

teacher in the neighborhood. I continued

with her until my teens. At age 12, I

played organ in an R&B group. That was

probably the transition between classical

music and jazz. I did that till age 18 or so.

We would play at the school dances. There was no jazz in high

school but I had a friend whose older sister was into it; we’d go

over to his place. His sister had Monk records and Miles records.

Those were the first things I remember listening to. I had a friend

who played trumpet, so we would learn tunes together.

As well starting in grade 7, I played first violin in the high

school orchestra through to grade 12. It probably gave me a sense

for playing bass. I’ve never studied bass, but it is something I

really enjoy. It’s a little familiar from having played violin all

those years.

JC: Were your parents musicians?

HR: No, but they [parents] were music lovers.

JC:What was your relationship with Barry?

HR: I found out about Barry’s class from an advertisement in

Downbeat magazine. This was in 1978. I remember writing to

Barry about coming to New York to study with him. I had a

Howard Rees

6


drummer friend who had just moved to New York and he invited

me to come visit. Everything suddenly fell in place. I had been

able to save a little money that I thought might last for a few

months. Of course it ran out in a few weeks! but the learning

experience was so powerful – everything made so much sense, that

I wound up staying for 6 or 7 years. That was more than 30 years

ago. It was during this time that I realized I wanted to become a

jazz musician.

When I first arrived in New York, I had this daily routine. I

was sharing a practice studio with a bass player on Fifth Avenue at

19th Street. I could use the studio till noon so I would get there by

7am and spend the morning. Then I’d walk down to Chinatown,

have lunch, walk back up to 74th Street to my karate class, and

later head to Barry’s class. It was a very inspirational time for me,

and set the course for what would happen for the next bunch of

years.

JC: Why do you like bebop?

Howard Rees lecturing at a music seminar in Toronto


HR: Because it’s beautiful! It might be the closest we get to

actually creating. Bebop functions at a very high level. There are

two levels of any art form, there’s a technical level, where you

really need to gain a level ofmastery. That’s the place where most

of people spend most of their time working, and then there is the

art level. From there, with much hard work it’s possible to move

the music forward. This is the realm of the ‘giants’ Bird, Bud,

Monk, Dizzy and Barry Harris to name a few.

JC: Does the discipline of karate help your music? Mr. Rees

then gave several parallels between jazz and karate.

HR: It’s not just about mastering your instrument; beyond that

you get to create. In Karate, Shodan or (first level black belt)

means “First Step.” So one interpretation is, somebody who has

reached that point is now ready to do some serious work and learn

about things from an advanced perspective. It requires study,

practice and perseverance, then you just throw all of that away and

play. It’s in the moment.

I started when I was 16. I had a friend who took karate lessons

and he invited me to visit his school. The experience had a strong

effect on me and the two disciplines, jazz and karate seemed very

complementary. I’ve been studying a Japanese style called

Shotokan, one of the more well-known styles of Japanese karate.

When I went to New York to study with Barry, I’d hear things my

karate teacher would say; and when I went to karate class, my

karate teacher reminded ofBarry.

One of the parallels that I enjoy coming back to is the concept

that you don’t punch with your arm or kick with your leg – it’s the

whole body that delivers the technique. Exactly what Barry says –

play the piano with your back, with your butt!

I’m a fifth degree black belt and I’ve been teaching on and off,

8


it’s not a career thing. My teacher

moved out of town years ago, I

inherited the class. I’ve been doing it

for the last fifteen years or so.

JC: What gave you the idea of

starting The Jazz Workshops?

HR: It really began as a summer

project. I was back up here (Toronto)

for a couple ofmonths I needed

something to do. It was my intention

to return to New York in the fall. I

was completely inspired by what I’d

learned from Barry, and based it (the

workshops) on teaching his

principles. I started with 2 workshop

classes of about ten people each.

Each class had a rhythm section along with horns and singers.

Everyone would learn theory, and various group performance

techniques. The workshops became very popular. Other than full

time university courses, there were no other places where people

could play together and learn theory at the same time, and the

information that I was offering was qualitatively different from

what was available at the local schools. This fall the Jazz

Workshops turn 30!

Over the years there have been close to 3,000 people who have

come through (The Jazz Workshops) from Toronto, across Canada,

Europe, South America. I hold classes on Monday and Tuesday

nights and give a harmony class for guitar and piano players every

other Wednesday.

As for studios, it’s been a bit of a nomadic existence. The last

five years, I have been very fortunate. One ofmy students opened

Playing bass reminds Mr.

Rees ofthe many years he

spent on the violin


a studio that’s centrally located downtown. There is even a stage

with sound and lighting and we can hold jam sessions and concerts

with seating for about 70-80 people.

JC: What is the jazz scene in Toronto?

HR: I’m somebody who creates work and I’ve managed to

make my way by creating my own work. I had a pioneer spirit,

when I returned to Toronto, I thought ok - Toronto is a big city, by

virtue (of that) some percentage of people will be interested in

what I’m doing. I believed in what I had to offer and and operated

that way. I don’t think the scene in Toronto is that different than

what you find in most places. Some years there’s more clubs than

others to play in, but I think what happened to me was that I was

really profoundly influenced by what I learned from Barry and

came on a mission to let others know what I’ve learned. I’ve got

students who’ve been around for 25 years. We all realize that

learning doesn’t end. The materials Barry teaches are structural.

He doesn’t say, “Learn these licks.” He teaches you structure, and

how to put things together, but it’s completely open ended. As

much time as you want to (spend to) understand those materials

and how to put them together, you’ll continue to come up with

new things.

Those of us who’ve been in class with Barry, know that he’ ll

demonstrate something, and suddenly he’ ll say, “I’ve never played

that before.” I remember thinking at first, how could that be?

Then I came to realize the nature of his method is just that. You are

constantly coming up with new things, you’re trying to learn

different ways to use the materials all the time, so of course you’d

be coming up with things that you had not played before – that is

the point.

I remember Barry saying once in one of his classes, that he

wished he had a educational video that people could use to learn

his teachings. I bookmarked that idea and starting in 1992, Barry

1 0


and I began working on what was to be the first of three

‘Workshop Video’ volumes. Over the years, I have met people

from all over the world who have told me that they have the

videos. I know of schools in Japan, Europe, the Middle East and

North America that have since incorporated them into their course

materials.

JC: You’ve started an educational program with children

leading to an annual concert. How many kids have gone through

it?

HR: I founded a children’s charity in 2008 called the We are

One Jazz Project. The purpose of the charity is to bring music into

schools in underserved areas of the city [here they are called] high

priority neighborhoods where the children don’t have any music in

their schools. These are kids from low income, often new

immigrant families, kids that need a little something. We’re

partnered with the Toronto District School Board. We form a large

jazz choir with students in Grades 3-6. A key part of our project is

the mentoring component with the students and master musicians.

Jazz piano is Mr. Rees's first love


We have weekly rehearsals with

up to 300 children over a four

month period and also give

supplemental in-school clinics.

Then we put on a big concert at a

major venue that is open to the

public. It’s about having a space

for the kids to feel good about

themselves and to feel part of. The

repertoire is made up ofBarry Harris’ orchestral compositions, and

the student choir is joined at the performance by a big band, an

adult choir, and a string section. Barry and Charles McPherson

have been coming up to be the special guests. People buy tickets,

but it’s mostly for the parents of the young kids in the choir, to

give them that opportunity. We’ve had several cases of students

who have gone on to high school having decided to pursue music

in a bigger way. To date we have made it on the generosity of one

beautiful individual and as well some corporate sponsors. We have

not had any government support. Our website is,

www.weareonejazzproject.com.

JC: What is the importance ofmusic and of jazz in particular.

HR: It’s a journey of self-discovery really. Think of the

alternative: what would it be like -- a world without music. All the

people who want to cut music programs from the schools or grants

to musicians probably don’t spend much time thinking about how

their own world would look without music. It’s one of the basic

elements of life. As a musician, I think we do several things on

different levels, we are entertaining people, we offer something

beyond the day-to-day thing ofwhat someone might be involved

in, and also give permission to people to explore their own create

sides.

JC: So you function mainly as a musician, educator, producer.

Children rehearse for the We Are

One concert in Toronto for four

months

1 2

The Jazz Culture, VII:55 1 3

HR: I just create my own work. I believe that

it makes sense to control as much of the whole

thing as possible. Not to be dependent on others to

do things. Aside from the Jazz Workshops, I’m the

President of the charity so there’s ongoing work,

there’s always things going on with that. I’m

doing karate. Lately I’ve been developing an adult

choir project. We have 18 singers and a trio.

Barry’s been generous enough to loan me his

arrangements. We are looking forward to some

club dates coming up in the summer.

JC: What musicians do you like to work with in

Canada?

HR: There a number of good players in

Canada, in Toronto in particular. But there’s not

the same kind of tradition of classical jazz as what

I was exposed to living in New York. Many ofmy

students are playing gigs, and I enjoy going out

and supporting them.

JC: How is Barry Harris’ method of teaching

Jazz different from other methods?

HR: Barry’s method is an improvisatory approach to learning

improvisation and harmony. He teaches structural components, and

how these components work together. That means that everyone

who learns this system will come up sounding unique, and that

there will be a limitless amount of ideas that you will be able to

generate. Over the years, I’ve met people from different countries

who have been learning Barry’s methodology. It amazes me to see

how people put the pieces together differently. Barry would say –

“Don’t fall in love with any one sound – you’ll miss a lot”.

What the opposite looks like is a teacher, or a method book, that

A Canadian

child learning

music


basically gives you licks or exercises, but (they) don’t tell you

where the (licks or exercises) come from or how to put those

things together. (So) you never learn how to generate those things

yourself. That’s the opposite ofwhat Barry does. He’s not saying

just do this or that. He’s teaching the elements you need to

improvise, then it’s up to you. From the beginning you know

where things come from, because you’ve learned structures. That’s

the improvisatory nature, using certain principals, you can from

the beginning, put things together yourself.

JC: Is there a musical tradition in Canada that you’ve been

building on?

HR: Individual musicians have been good. There is no

tradition that I’m aware of, no identifiable foundation that’s been

put in place. I believe I’ve built a unique community, a kind of

franchise ofwhat I was part of those years living in New York. It’s

been a 35 year process.

1 4

The Jazz Culture, VII:55 1 5

Photos of We Are One Concert, Children learning music, andtrombone section of the We Are One Orchestra

Gig Listings ofThe Jazz Culture Subscribers:

Please support theseartists and bring your friends.

May listingsMay 1Weds Our FatherWho Art Blakey at Zinc,ValeryPonomarev, special guest Bassist, Essiet EssietMay 4 Rick StoneTrio at the Bar Next DoorMay 11 Rick StoneTrio at the GarageMay 14 Rick Stone at Freddie’sMay 18, Leila Keels with two other vocalists 8 p.m.735 10thAvenue at 50th St. in Skyline Hotel, 8:00 & 9:30 PM Sets; 10:30Jam Session $10 CoverMay 7, 14, 21,28 Barry Harris Class everyTuesday at 250West 65Street Community Center, 6:30 piano, 8:00 singers, 10:30improvisation

May 7 Bertha Hope Cardinal Cooke Nursing Home,NY 5thAve & 106th St, privateMay 10 Bertha HopeWalter ReadeTheater Lobby, LincolnCenter,NY PublicMay 24 Bertha Hope ZirZamin,90West Houston St, NY 7pmsharp.-tickets $20May 16 Joe Magnarelli Rome arts center Utica NYMay 17 Joe Magnarelli "THE OTHER SIDE" concert 7:30pm,original music funded by NYSCA

England: JohnWatson on BBC on the Larry Elms Show 94.9 FM,at 11:30 a.m. online or on DAB; Every Friday & Saturday: JohnWatson at the Palm Court, Langham 1c Portland Place, London,no cover or minimum 44-207-965-0195

France: May 8-11 Ray BlueTour of France

1 6The Jazz Culture, VII:55

How to Create a Unique Jazz VocalStyle

by Lionelle Hamanaka

They used to say you needed 3 things: Sound, Beat and

Feeling. So we might as well start with that.

Questions for Singers: Do you have an original sound? Does it

express your personality? Have you ever tried to change the

placement of your tone? Or enrich the tone with better placement

and breathe control. Can you change the color of your sound at

will, and use more or less upper or lower register and stay in tune?

Because all tones in your voice should be mixed.

Beat. Have you gotten past the Oompah feeling or 2 feel? Can

you hear the difference between a 2 feel and 4/4? Can you

subdivide the beat, and at what tempo? Do you know to create

triplets? These basic things a singer should know in order to devise

their own style, because the freedom to phrase uniquely depends a

lot on hearing things about rhythm, and listening to the rhythm

section.

What kind of jazz tunes, or what era of jazz do you like the

most? Blues, bebop, swing, big band? If you like something, you

will probably work harder at perfecting it. It takes years, so you

might as well focus on what you really like. The same question

goes for Who are your favorite singers? You have to study and

analyze other singers, and what they are actually doing to achieve

their style, and if you like what a singer achieves, you should listen

to their recordings over and over, not to copy but to extract

information. Then when it comes to making your own style, you

can say, well, so and so used to use long tones this way, she’d spin

a big vibrato at the end, and do a diminuendo.


INTIMATE FRENCH PLACEWITH JAZZ

Rie Yamaguchi, vocalist and

drummer, with Chris Flory,

distinguished guitarist, and Reid

Taylor bassist playing a Village

brunch every Saturday from 1 -4

at Vin Sur Vingt, 201 W. 11

Feeling. Well, feeling has a lot to do with having lived; and

once you have experienced something you can relate to a certain

lyric. Singers are always attracted by good lyrics. So you have

your treasure chest of experiences, and you use them in the

appropriate songs. In order for feeling to come out, you have to be

focused on the song, and not get distracted by anything else that is

going on. So you have to really think, line by line, what that lyric

means to you, and react to it at that moment. An Actor would say:

every song is a scene, and in that scene You are the most important

character, and something is happening to make you sing that song.

So this brings up the question, How do you choose the right

material for yourself? You know when you do a set that it has to be

varied rhythmically; on the other hand, you may want to tie the set

or concert together thematically. It might be a concert on

Ellington’s work; or Gershwin or Cole Porter, or bebop composers

like Monk or Tad Dameron. Let this be the beginning of a

discussion between us about how to create your own jazz vocal

style, start out by asking yourself questions, and you will be on a

fascinating road to developing your own style. Please reply to:

[email protected] with comments, etc.

St.Rie first heard jazz while working

at Small's between 6-7 years ago, and

fell in love with the music. She

studied drums with Billy Kay. She

said she wishes there were "30 hours

in a day to practice."


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