[members-announce] JIC November--Ernie Outlaw, Young musician in the Apple, George Van Epps, Chaloff, Woods, etc.

Paul Baker paulb at webitects.com
Fri Nov 14 10:47:13 EST 2003


Come to http://www.jazzinstituteofchicago.org 
to read the stories below.
(If you don't see a link, type the above address into your browser.)

November 2003

News & Views 
by Charles Walton

Harold Maybern
Charles Davis
Walter Perkins
and more 

Bronzeville conversation with Ernest Outlaw

"Ernest Outlaw, who died on July 12, performed for more than 50 years
throughout the US, including 25 years at the Playboy Club in downtown
Chicago. I knew Outlaw before his Playboy years and we hung out together
and talked about music, musicians, and many things. . ."
-by Charles Walton

Just lay hard on D-minor and A-minor and you'll be alright

"My telephone rang a few days ago and a young man (well, he's 30, but by
me that's young) was on the line asking me for advice on the jazz and
jobbing scenes here in Chicago. . . .I believe I gave him the straight
dope on the Chicago scene as it is today. Which started me thinking.
Back when I was 30 years old, I, too, was a newcomer...but this time the
scene was New York City and the year was 1959."
-by Joe Levinson

Guitarist George Van Epps

"Van Eps was an innovator. In his head he heard the guitar playing extra
lines that were not possible as the instrument stood. So he redesigned
the instrument with the fingerboard widened to include a seventh string.
Usually referred to as a "chordal" player, Van Eps disliked the term
since it consigned him to what he called the "chomp-chomp-chomp" school
of guitarists. The extra seventh string would not only allow him to play
bass accompanying lines on the instrument, but it opened up the confines
that the six-stringed instrument imposed, making it far more easy to
create a wide range of chords."
-from the archives of Steve Voce

Most valued player Serge Chaloff

"One of the first big bands to embrace bop's implications was Woody
Herman's. Leroi Jones (Amiri Baraka) has identified how that band was a
kind of hot-house of white musicians for whom bop was not only the new
music but also a kind of fashion accessory for those less than enamoured
with the polite trappings of middle-class white American society. There
is no better example of this than Serge Chaloff, whose baritone sax
playing amounted to perhaps the most thorough assimilation of bop's
ideas and radical vocabulary."
-by Nic Jones

Classic Phil Woods

"From March 1968 to December 1972, Phil Woods lived in France. He had
turned his back on a career in the studios of New York working on film
and TV soundtracks and advertising jingles to pursue a career in jazz.
His reputation as a first-rate lead alto saxophonist, as much as a
supremely gifted improviser in the Charlie Parker school, was built
working with a quintet he co-led with fellow alto saxophonist, Gene
Quill, that produced three albums and in big bands such as those led by
Dizzy Gillespie, Quincy Jones, Oliver Nelson and Benny Goodman."-by
Stuart Nicholson

NEA releases jazz musician study [NEA press release with links]

"The National Endowment for the Arts (NEA) today released further
details of its extensive survey of jazz musicians titled, Changing the
Beat: A Study of the Worklife of Jazz Musicians. The report contains
extensive data from about 2,700 jazz musicians located in New York,
Detroit, San Francisco and New Orleans. The survey was designed to
provide an understanding of the jazz environment in each of the cities
involved and to provide a detailed needs assessment from jazz artists."

JIC news

Member Alert! Members Party at the Jazz Showcase on November 16, 4:00

The Jazz Institute's Chicago Edge Concert Series presents Willie
Pickens. November 20, 7:00 pm., Curtiss Hall, 10th floor, 410 S.
Michigan Ave. Free to JIC members.

Congratulations to JIC board Vice President, educator, social scientist,
activist, and author Timuel Black, whose book, Bridges of Memory: An
Oral History of Three Generations of African-Americans in Chicago has
hit the streets. Professor Black's collection of famous and little-known
African-Americans includes dialogues with politicians and musicians,
artists and businessmen, journalists and civil rights/union activists.
Copies of the first of three volumes published by Northwestern
University Press can be found soon at your local bookstore.


The Bachelors and Benedicks Ball-or how I witnessed an Eddie Shedosky
caper and lived to tell about it 

"If one were to gather a cadre of jobbing musicians together from the
'golden' years of jobbing, and if a few beers or some good wine was on
hand to stimulate the little gray cells that handle reminiscence, sooner
or later tales about Eddie Shedosky would surface."
-by Joe Levinson

Grover Mitchell Remembered

"Fifty years ago Grover and I were young trombonists in the Department
of Pacific Marine Corps Band stationed on Treasure Island, a Navy base
off of San Francisco. The Korean war was on and we were several years
out of high school."
-by Jim Beebe

Classic Clark Terry/Bob Brookmeyer

"The importance of the 'New Thing' and the work of certain key musicians
of the 1960s has effectively conspired to wipe the ledger clean of any
references to what might be considered the 'old thing' verities of the
Clark Terry-Bob Brookmeyer Quintet. Yet the group managed to achieve an
enthusiastic following in the early to mid-1960s, despite the more
fashionable and widely reported events occurring elsewhere in jazz.
Indeed, they were even flown across the Atlantic to guest on the BBC
television series Jazz 625, 'An event unheard of, outside This Is Your
Life,' appositely quipped presenter Humphrey Lyttelton."
-by Stuart Nicholson
Come to http://www.jazzinstituteofchicago.org 
to read these stories.
(If you don't see a link, type or copy the above address into your

We're always looking for good jazz-related articles. 
Send us an email if you'd like to write something.

Paul Baker, Editor
paulb at webitects.com

To unsubscribe from this mailing list send an e-mail to imailsrv at jazzinstituteofchicago.org with "unsubscribe jazzgram" in the body of your message, or visit our website at http://www.jazzinstituteofchicago.org and enter your email address into the box on the home page.

More information about the members-announce mailing list