Yesterday was a day off. Everyone traveled to Charlotte, but Frank, Sugar Rob and I stayed in DC to attend the American-Russian Cultural Cooperation Foundation Gala at the Russian Embassy. The great Russian tenor saxophonist/bandleader, Igor Butman, and I jointly received the (ARCCF) Foundation Award for our cultural diplomacy. He is my brother from another mother and I absolutely enjoyed seeing him and the ever beautiful Oksana. Igor will always say something insightful and hilarious and play all kinds of horn, and he did. The Gala, chaired by Susan Carmel Lehrman, was classy, communal and comfortable. Many culturally engaged DC citizens and friends were present including Wayne and Catherine Reynolds, Murray and Lisa Horwitz, and Washington Performing Arts Society Board Chairman, Reggie Van Lee. It was festive – with or without vodka.
The legendary Frank Stewart and I are on the road to Charlotte and it’s 4:12am as I write this. Frank is making the drive longer by periodically understating how many hours we have to go.
Today, we are going to hear about the group’s day off from a young person with an old school work ethic. When you see him, you are washed in a wave of comfort because you know that the most meticulous details will be executed with the utmost precision. Whatever the task, he is professional, proactive and is enthusiastic about being thorough. Frank is telling me to add that he works with pride and integrity (those two words because they work together a lot). We all love him….and that’s not a gimme. Road production associate, driver, wrangler and part-time librarian, Mr. Jay Sgroi:
It takes a lot of energy to perform day to day (or work any everyday job for that matter…). When you put so much into every performance, it is only natural to become run down. On tour, work has a tendency to take over, and it’s easy to forget that balance is the key to a healthy life.
A day off provides an opportunity to achieve balance. Whether you are an introvert seeking a moment to be with yourself (a precious commodity when traveling with 90 people) or someone who is nourished by the camaraderie of sharing stories over a meal and a drink, this day is a chance to re-energize and “take in” from the world into which you have been pouring out so much each night. It also allows us to, even if only for a moment or two, step outside of the nightly mental pressures of putting on the best show possible, in order to take care of ourselves.
For some of us, that means catching up: paying bills, Skyping with children, or recouping lost hours of sleep from the nights before. For others, it means getting ahead: practicing music, hitting the gym, or working tirelessly on an outside project. And there will always be those who just relax and recharge with a movie, a night on the town, or an old favorite recording, while the diehards, who are so in love with what they do, chose to go to a jam session ‘someone said’ was a short walk from the hotel. Most importantly, whatever the case, everyone is able to CHOOSE to do something for themselves.
I used the day off to partake in a little bit of most of the above and, more importantly, to enjoy the company of the people around me – not just as co-workers figuring out what needs to be done next, but as the patchwork second family we’ve become.
Each day, I am grateful to be a part of a production that transcends individual talent to present a show that brings such palpable, positive energy to every place we go. But today, I also feel grateful for the pause. We all do. I look forward to seeing (and hearing) how these fresh breaths of individual energy will come together to bring a new interpretation and intensity to tomorrow, on and off the stage.
This evening we will perform at Friendship Missionary Baptist Church in Charlotte, NC. This is the home church of our good friend, Anthony Foxx, the former mayor of Charlotte who was recently appointed as the U.S. Secretary of Transportation.
Tonight represents the first of three church performances on this tour and everyone is approaching it with great anticipation. We are grateful to the John S. and James L. Knight Foundation and Dennis Scholl for partnering on this project with the Arts and Science Council of Charlotte, Blumenthal Performing Arts Center and Friendship Missionary Baptist Church. This is a true community event and we look forward to uplifting everyone at Friendship Missionary Baptist Church tonight.
“Abyssinian: A Gospel Celebration”, will be on tour on October 3-23, and will be webcast live on October 24th, 25th and 26th at 8PM ET on wyntonmarsalis.org/live
Sunday afternoon, we were presented in our Nation’s capitol by the Washington Performing Arts Society. They are the very definition of a community arts organization. Both the Jazz at Lincoln Center Orchestra and my small groups have been honored to perform under their auspices for close to thirty years.
The house was packed and brimming with expectation. Some heavy hitters were out this afternoon: innovative composer/pianist Darin Atwater, one of our country’s most profound writers, Leon Wieseltier with his 11 year old son Matthew, and my 7th grade teacher, Sr. Lee Ann, whose handwriting I copied and use to this day (just not as good).
Today we’re going to hear from someone who was a running back in high school, has 25 years of experience as a licensed driver of charter buses & oil tanker trucks, did 21 years of honorable service in the US Navy and worked for 5 years as a mortician in the state of Maryland! We call him Big Boss, Mr. Raymond Murphy:
It was early Sunday morning, and while many worshipers were up preparing to attend 8am service and Sunday School, the Jazz at Lincoln Orchestra and Chorale Le Chateau were aboard 4 buses departing the Norfolk, VA, Tidewater area. We were driving to where I grew up, Washington, DC. Today’s concert was performed at the Kennedy Center, originally named the National Cultural Center in 1958, but renamed as an everlasting memorial to President John F. Kennedy in 1971. Well, the Jazz at Lincoln Orchestra and Chorale Le Chateau delivered some good ol’ fashioned back-in-the-day Afro-American culture on the Kennedy Center’s Concert Hall stage this evening.
Wynton Marsalis and Damien Sneed united Jazz and Gospel outside of the typical liturgical environment that many worshipers are familiar with. ‘Processional’ was my favorite movement. The orchestra played a fast shouting beat and the choir was clapping, dancing, co-signing and rocking the house. I mean literally rocking the house. Backstage, I could see the risers the choir members were standing on bouncing and rocking from side to side. The Jazz at Lincoln Orchestra and Chorale Le Chateau were having CHURCH! It reminded me of how we danced and worshipped at Holy Cross under the late Bishop Stella V. Mack.
By the conclusion of this concert, EVERY patron in attendance at some point had joined in with some type of participation. “Abyssinian” jazz and songs of praise were uplifting to people of every culture present in the shell of the Concert Hall.
As the tour manager, I started preparing for this Abyssinian Tour way back in February of this year. I am responsible for planning the day to day operation and movement of the tour from city to city. Planning this tour consisted of locating and reserving 66 hotel rooms in 16 cities, finding a professional bus company to lease 4 comfortable, safe, highway reliable buses, hiring a two person team to drive the equipment truck and multi-tasking with miscellaneous roadwork when required.
I have 100 people to manage on this tour which does and will present some different and unanticipated challenges each and every day. Once the first note is played though, I forget about all of the obstacles we had to overcome preceding the start of show. I am here because I LOVE and ENJOY being the Tour Manager.
It’s 11:23pm and I must go and prepare for an 11am departure to Charlotte, NC. That means 5:30am for me! I would not want to be any other place than here with the Jazz at Lincoln Orchestra and Chorale Le Chateau.
Today is a travel day to Charlotte for the JLCO and Chorale Le Chateau. It also serves as an important day of voice rest for our vocalists. In advance of our performance in Charlotte tomorrow, gospel artist/educator Karla Scott worked with students in the region on September 23. It was a pleasure to partner with Mark Propst, Performing Arts Specialist for the Charlotte-Mecklenburg Schools. Let’s hear from him now:
Good Afternoon All,
I want to “testify” that Karla Scott, guest clinician for the Abyssinian Mass, surpassed my wildest expectations yesterday. She had students at Butler High School and East Mecklenburg High School eating out of the palm of her hand. Immediately upon her arrival at each school, she mesmerized them with her pleasant personality and charismatic charm. Her rapport with high school students was terrific. Instantly, she related to their interests in music, musical styles, and musical performers. Her presentation was very interesting, informative, and engaging. She listened to students sing and explored several movements of Abyssinian Mass, including its history, how it evolved, how it continues to evolve, and general information about jazz and gospel music.
From a curricular standpoint, I appreciated Karla’s flexibility in working with both Ms. Graves and Ms. Heinen, choral music teachers. Everything was presented in a positive, upbeat, reaffirming manner. My hope is that the experience for her was equally as rewarding. I know I certainly enjoyed spending the day with her!
Thank you Todd, Mike, Robert, and Barb so much for the opportunity to have Karla join us for such a great day! Ms. Scott’s North Carolina roots served us all very well. “In that great gettin’ up mornin’, fare thee well, fare thee well!”
Thank you Karla very much! I hope you will stay in touch.
Mark Propst, Performing Arts Specialist
We look forward to more uplifting in the concert hall and the community!
Last night we played in Norfolk, Virginia. We were presented by the Virginia Arts Festival whose Artistic Director, Rob Cross, played in the Eastern Music Festival Orchestra when I was a high school student attending camp at the Festival. We laughed about me showing up with an E-flat trumpet to play the Hummel trumpet concerto but all of the orchestra parts were in E-natural! [Who had even heard of an E trumpet then?]
Rob is dedicated to lifting the community with great art and an even better time. Two of our favorite singers, Carla Cook and Rene Marie, were also part of the Festival’s Gospel & Jazz Celebration Weekend and Rene blessed us with her presence last night. The hall was about half full, but we were grateful to perform for those who came.
Seeing my father play for so many years in clubs for 10, 7, 5 people, taught me the importance of bringing feeling and integrity to every performance. He used to say, “Even if it’s only for one person, play like it’s your last gig. That one person out there might be you.” Since so many of our orchestra members are the offspring of jazz musicians, we all feel that way and try to live by it.
Today, we will hear from another JLCO member and from the gospel artist who is visiting many of the Abyssinian tour stops leading our educational initiatives, Karla Scott. First, a man who’s singing, teaching, arranging and singing style on the trombone is of the highest quality and depth, Mr. Vincent Gardner:
For me, the short 3-hour bus ride from Chapel Hill, NC to Norfolk, VA was not the best part of the day (although I might not be saying that after 2 more weeks on the bus), but rather having the opportunity to play in the area where I grew up (only 15 minutes or so from where my mother still lives, and is still Minister of Music at our church, a position she has held for nearly 30 years). Ironically, she can’t be here because she’s attending a Brooklyn Tabernacle Choir Concert in Brooklyn, to prepare for presenting a program of their music with her own choir later in the year.
During my growing years, there was never any indication from the community that it was possible, or even practical, to pursue music as a profession. So I always feel a certain tickle in my stomach about being able to fulfill JALC’s mission on my home turf.
The church holds a strong position in this community, so I expected this piece to resonate strongly with the audience. Although they may have been somewhat familiar with the sound and musical direction of the JLCO, I doubt that they could have anticipated the power of our integration with Damien Sneed’s stellar Chorale Le Chateau. They are doing an amazing job singing with the Mass’ myriad nuances and unconventional harmonies. My sister Roslyn, who has been singing in one of my mother’s choirs practically her entire life, said “I don’t know how much y’all are paying them, but they need a raise!”
Tonight, I thought, the choir felt relaxed and free enough to take more liberty with their parts, and to also make a few mistakes. For me, this signals that our performances will to soon transcend what’s written.
I have experienced the power of collective creativity. When the 15 members of the JLCO use the music as merely a guide, a performance becomes a living, breathing musical statement capable of unimagined change in real time. I can only imagine how it will feel when over 80 people achieve that with this piece. We’re just starting and that will surely happen many times before this tour is over.
Highlighting the educational impact this project is having on the road, let’s hear from gospel artist and educator, Karla Scott:
On October 4, 2013, I was privileged to introduce Processional, Doxology and Gloria Patri from the Abyssinian Mass at Hampton University. In attendance were seventy-five student singers, members of the Voice faculty and representatives from the Virginia Arts Festival. The group’s director is well known choral arranger Omar Dickenson.
The choir sang their school alma mater to begin the session. This is a very, very special group. From the beginning of the session, they were engaged, open and eager to learn. The choir is beautifully balanced. Their sound is at once robust, warm, elegant and exciting to hear – it was my pleasure to tell them so. Based on what I heard, we looked first at Doxology.
We began by laying a brief foundation about Mr. Marsalis as an award winning performer and composer, then talking through some of the musical elements and ideas found throughout the mass as a whole. I then played an mp3 recording of Doxology for the choir. Due to the strong sight-reading and retention abilities of the choir, we were able to sing through Doxology and shape it a bit – very impressive and beautiful to say the least. The choir is eager to perfect and add it to their current repertoire.
We listened to a recording of Gloria Patri next, spoke it in rhythm, and then sang through the first four pages as a way to introduce the thematic material of the piece. This choir continued to impress. Their astute observations about what was happening musically and rhythmically with regard to texture made for a very lively and engaging discussion.
Finally, we looked at two sections of Processional, the beginning and the “to the house of the Lord” vamp. The choir grasped the themes quickly, sang well past our end time, and then begged to sing more of the music!
I absolutely love having an opportunity to introduce this work to students. My brief time with Hampton’s choir yesterday only served to solidify my opinion that the Abyssinian Mass should be taught and sung everywhere.
Tonight, we will perform at the Kennedy Center, presented by our long time partners at the Washington Performing Arts Society. In addition to being presented by WPAS every year for well over the last decade, we’ve also established a strong educational partnership with them. WPAS is a wonderful artistic partner and commissioned the Suite for Human Nature, which premiered there in 2004. This performance will certainly be special as 80 members of the WPAS Gospel Choir will be joining us for portions of the performance. Damien Sneed rehearsed with them on September 18 and 25.
The government shutdown has created a unique climate this past week in Washington, D.C. To that end, WPAS has made “Furlough Tickets” available at a price of $10 to all Federal employees. In the same spirit, Jazz at Lincoln Center also agreed to purchase 100 tickets to be distributed for free to community groups, students and underserved communities as a gift from WPAS and JALC. We sincerely hope audiences tonight and throughout the whole tour will be uplifted by our performances!
Last night was a rare second night in the same venue. Memorial Hall was filled with a very spirited audience. Two great saxophonists, Chad Eby and Stephen Riley, came out. Chad brought his 11 year old son, Spencer (who can make it through all of his major scales), and Stephen drove 2 and a half hours to hear us. Ralph Rodgers, Damyan Crews, Yaya Corbett, and Kevin Johnson came as a trumpet section representing North Carolina Central, and the great composer/educator Dr. Anthony Kelly came with a radiant and eclectic group of about 20 students from Duke.
Today we will hear from both a member of the JLCO and the leader of Chorale Le Chateau, Damien Sneed. First from the JLCO, someone who has mastered an encyclopedic variety of styles, approaches and sounds….and all with soul, Mr. Kenny Rampton:
Yesterday was day two of the tour and a luxury to sleep in after a few very busy weeks (Ahmad Jamal rehearsals/concerts, Harvard rehearsals/lecture, tour rehearsals, long travel day, soundcheck and gig Thursday night).
Last night, as we were all standing on the side of the stage waiting to go on, I was speaking with a few of the choir members. One of them said that it doesn’t feel like two different groups playing together but feels so much like we’re all part of the same energy, truly a collective. I couldn’t agree more. This particular JLCO collaboration has a feeling of unity and oneness.
The choir shows sincere appreciation and support for the band… and we appreciate and respect the passion, talent and depth that Chorale Le Chateau and Damien Sneed bring to the table. This feeling of unity is largely due to the dedication, spirit and love of everyone involved, but also due to the incredibly inspired music written by Wynton and the subject matter of this music…a celebration of ‘togetherness in worship’ through the form of a Baptist church service.
The basis of religion is, after all, spirituality and ONEness. That feeling really seems to be coming across through the music. Congress could learn A LOT from this concept…who knows, maybe some of them will show up at the Kennedy Center gig in a couple of days and learn something about working together (they could definitely use a little enlightenment)!
Playing with this choir is a very powerful and positive experience. On stage, The Spirit of Music is shining through each one of us, and the music is really starting to come off the paper. I’m looking forward to seeing how the piece will develop, grow and evolve over the next few weeks!!!
Demonstrating the broad educational impact this tour is having outside of the concert hall, let’s hear from the leader of Chorale Le Chateau, Damien Sneed:
Yesterday, I lectured at the University of North Carolina at Chapel Hill for a Radical Communities in U.S. Religious History class, within their American Studies department. This course teaches the Civil Rights movement and visions of the “Beloved Community” through exploring how the music and rhetoric of the Black Church emphasized Christianity’s radical tenets as the framework for achieving racial integration. Twenty five currently enrolled students were in the seminar and attended our Thursday evening performance. I was accompanied by 10 singers from Chorale Le Chateau.
We sang movements from the Abyssinian Mass and answered many questions from the students about what the music means to each of us on an individual and personal level. Within 15 minutes of the class, many of the students and the instructor were moved to tears as they felt the power of God and were able to connect to the message in the music. It was extremely gratifying.
Tonight, we will perform in Norfolk at Chrysler Hall, presented by the Virginia Arts Festival. For the past 17 years, the Festival has brought world class artists to the region in April and May with eclectic events ranging from a Tattoo Festival to diverse musical presentations. We are performing as part of the Festival’s Gospel and Jazz Celebration Weekend, which includes our good friends Carla Cook, who performed Friday night, and Rene Marie, who performs on Sunday with the Roy Muth Big Band. As Education is an integral part of Jazz at Lincoln Center’s mission, we partnered with the Festival’s Education Director, Christine Foust, to coordinate a gospel workshop led by artist and educator Karla Scott with the Hampton University Choirs. We are grateful to Omar Dickenson, Director of the Hampton University Choirs, for welcoming Karla.
Last night was the first performance of our three week US tour performing the Abyssinian Mass. We are definitely prepared. The 70 strong Chorale Le Chateau has been rehearsing for months and was in great form. Damien Sneed, our conductor, brought an energy, passion and an innovative way of improvising with every nuance of the vocal score that left even us grizzled veterans mesmerized.
Each day one of our members will give a short synopsis of their experience on this tour. We will hear today from the speaker of 4 languages, Mr. Walter Blanding:
Our tour started off with a 10 hour bus ride, which is not for the faint of heart. But, as always, when we got on that stage last night, it became very clear exactly why we do what we do. Every time the orchestra performs, we go for broke, no kidding, and no exceptions. But there was something about last night which was most definitely special and worth sharing.
Any time we do collaborations which integrate other styles of music or forms of art, something magical and unexpected always happens. I believe it’s the meeting of love, respect and improvisation that creates a recipe for something unique and divine. Last night when vocalist, Nicole Phifer, sang the movement, Prayer, I (and everyone else in the room) could feel her energy, her pain, and her commitment to strive. The passionate intensity of her sound hit me in the pit of my stomach.
I live for moments like this. This will be a great tour. I’m looking forward to seeing what tonight will bring.
Carolina Performing Arts, on the campus of UNC-Chapel Hill, is a long-time and valued partner of Jazz at Lincoln Center, having presented the JLCO every time the band has toured the South over the last decade.
They have done an incredible job of activating the academic and university community with pre-concert lectures featuring Dr. Genna Rae McNeil (UNC Department of History) who has an upcoming book about the history of the Abyssinian Baptist Church, Dr. Eboni Marshall Turman (Duke University Divinity School) who recently served as an assistant minister at the Abyssinian Baptist Church and Anthony Kelly (Duke University Professor of Music), who will be discussing the creation of the “sacred jazz monument” in large-scale religious works by Wynton. They are extremely appreciative that this program has provided the opportunity to build relationships with community stakeholders that they couldn’t have connected with otherwise. Members of the White Rock Baptist Church Gospel Choir will be singing on the steps of Memorial Hall prior to the show tonight.
This past week we played “The Weary Blues” in the style of King Oliver’s Creole Jazz Band in honor of Armstrong’s great mentor.
Even though Pops was architect of our soloing style, he was also a supreme innovator. Still, the fact of Armstrong’s greatness didn’t prevent him from acknowledging the greatness of others who taught and helped him.
Armstrong was a person who was a great respecter of tradition. He always talked about King Oliver. As a much older man, he said, “Every time I pick up my horn, I look up and I see Papa Joe.”
As a musician, Papa Joe Oliver played with a tremendous amount of dignity and intelligence. He brought versatility to the instrument in the way of playing. He taught us all how to make the horn sound like a chicken, cat or even a crying baby with the plunger mute. Oliver could also just take the mute out of his horn and play straight lead with so much feeling, power and pride. Once Oliver put that into the music, it was something Louis Armstrong always had — the ability to play the trumpet with that type of feeling. For real.
He could sing with angels and he could call out the demons too.
Tuesday night we celebrated the 30th annual NEA Jazz Masters Awards Ceremony and Concert. It was a stellar night for Jazz at Lincoln Center, the NEA and for jazz. We had some of the finest, up and coming musicians in jazz including Kris Bowers, Ambrose Akinmusire and Grace Kelly. This was a night for the Masters, of course, and they were out in full force. Phil Woods, Hubert Laws, Ron Carter, Toshiko Akiyoshi, Candido Camero, Dave Liebman, Sheila Jordan, Jimmy Owens, Jack DeJohnette and others all graced the Rose Hall stage.
Bobby Hutcherson and Kenny Barron earned a standing ovation for their rendition of Dave Brubeck’s “In Your Own Sweet Way”. To my surprise, the audience was keenly aware of the harmonic progression to the song and was treated to a solo by Mr. Hutcherson that was lyrical, inventive, sophisticated and sparkling. Kenny Barron, the great accompanist, was in his back pocket for the entirety of the beautiful standard.
Frank Wess, Benny Golson and Kris Bowers joined the JLCO for Mr. Wess’ “Magic”—a blues—and, as everyone present could attest; a whole pile of blues was played! Two saxophones were squeezed in a fashion befitting a music that should sound like people.
Of special note was the beautiful film produced by Sarah Rinaldi, on a jazz budget no less. The production team put on a 2.5-hour show with only a 3-hour rehearsal as preparation. It went off without even one glitch—that must be some sort of record.
The performance speaks for itself.
Steve Jobs was a man of absolute integrity. He pursued the deepest truths in his imagination with unabashed passion, uncompromising singularity of purpose, and unyielding urgency. Apple’s tenacious actualization of his transformative and lofty vision of integration brings us closer together.
He was a force of nature, a volcano, and a man who loves and misses his family. The world is much poorer today. And always.
And so we leave Italia by way of the A12 highway. Stuck in traffic entering Genoa at 8:30 on a Monday morning, we have plenty of time to savor the majestic mountainous splendor, the sweeping Mediterranean, and the hard-earned elegance of the Italian landscape with its diversity of hardy trees and shrubs punctuated with weather-worn houses of various rectangular shapes dressed in warm tones from olive to pink topped with triangular, terra cotta tiles glistening in the sun.
Today, Fernando and I have the pleasure of the Great Frank Stewart's company as this is an 8 hr drive and, though Fernando doesn't need a second, it's always good to be in Frank's company. Both men are not given to too much chatter, so there will be a lot of space for contemplation.
I'm glad Frank is on my last drive of these two months of touring because we silently acknowledge the grueling travel of the American tour and assess each other's state of health, sanity, and fitness as a barometer of toughness.
Questions of "How's your old ass holding up?" are met with a wry laugh that is musical in it's complexity of meanings from recognition to resignation to regeneration. We admit to fatigue while implying 'not as tired as you MF'. It's a very 'inside' type of inane masculine pride that is measured by the ability to sleep 3 or 4 hours a night in a car for 34 of 40 days and still execute your actual job as if walking the dog. (Fernando takes a vacation from running his travel company to enjoy weeks of sleepless night driving and carrying bags while conducting his everyday business all over the world). HaHa!
You have to love AND embody what you do (that's what he says), and Frank says it to with his omnipresent camera at his side. "You have to live this bruh." If this summer was about anything for us as a band, besides endurance and consistency.
It has been about Joe.
Joe Temperley is 80 something years old (he hates you mentioning it) and has dealt with every step of this onerous schedule without a single word of complaint or moment of irresolution on or off the bandstand. We all ask," You ok?" to which he grouchily responds, "Fine! I'm fine." We are acutely aware of his love for this music and for this band and the sacrifices he makes for both. Every time he plays his horn, it is with a depth of expression and dedication instructional to all of us. His legendary sound has taken on even more humanity, integrity and gravitas as these years progress. Last night, in Follonica, his solo on Victor's arrangement of Limbo Jazz was lengthy…and significant—aflame with urgency, inventiveness and pure joy. He had requested the rhythm section swing on his solo, and they laid it out for him. Meat and potatoes.
Marcus turned to the trumpet section after about the 3rd chorus and looked like he was getting full, "Damn! His playing always makes me happy." We all quietly 'Amenned' him. (Skysor doesn't allow too much overt demonstrating in his section). "Put it into the playing.". After the gig, we stood around in that unchoreographed circle that always forms, talking about Joe and how much he has taught us on this tour….. and in general.
We love and respect him in the deepest way AFTER 25 years of playing with him. He continues to show us that this road and this music demand everything you have; that there is a sacred dimension to playing that requires many layers of sacrifice; that quality time and meaningful times are not promised to any of us; that great situations for the actual playing of jazz are rare; and that you best be totally present when it's time to play.
Fernando and Irene had driven 11 straight hours without even stopping to eat.
We were headed to Manfredonia before going on to Ravello. High noon.
Luigi's mama cooked so much good food with such feeling and soul, I'm not going to dishonor the memory of it by trying to describe it— just going to quote the great Herlin Riley, "It tasted like some more."
Demo and Lucia came down and we talked about everything from the universal cultural ignorance of politicians to warm up routines on the trumpet.
We sang the Brandenburg Concerto no. 2, O Sole Mio, and Salty Dog, played Napoli, the Carnival of Venice, and St. James Infirmary, ruminated on him opening a school of music, laughed about really bad public critiques (reminded me of when I was growing up with brothers one-upping each other on whose parents administered the worst boodie whippin').
Mama Antonietta earned the Ryan Kisor award for fewest words with the most meaning. When asked to speak, she said, "No!" Prompting Fernando to refer back to the loquaciousness of action, "What she's saying is all in front of us brother." Amen. The volume, quality and diversity of food was astounding, surpassed only by the depth of feeling in each dish. She's still talking to us.
Demo gave me a Cat Anderson mouthpiece in a frame he made by hand. On the back is a picture of the great Italian trumpeter Oscar Valdambrini playing with Duke's band in Italy in 1967. It was inscribed: "This object returns home. It was given to Oscar Valdambrini by Cat Anderson 45 years ago. On Oscar's last TV show, he gave it to Demo who was performing for his first time on TV. God bless you and your family, love Demo and Lucia."
We enjoyed a great afternoon of each other's company talking 'bout aspirations and failures, and about what we could do to further the feeling of humanity in that picture of Oscar with Duke and them. We talked about how much we loved Maurice Andre and I told Demo that, at 13, I had never heard of a piccolo trumpet and was struggling to play along with Maurice's recording of the Leopold Mozart Concerto on the Bb trumpet. Some time later, I asked Prof Bill Fielder, "How does he get that sound?" He said, "That's a piccolo trumpet, man." Its something being country.
We started talking about Louis Armstrong, and Demo asked me to play Duke's "Potrait of Louis". We both started playing it and Luigi was so moved, he took his horn out and played the 'Joe Avery Second Line' with us in excellent harmony and time.
Then we listened to Bix Biederbecke's lyrical solo on Gershwin's Concerto in F w Paul Whiteman, as well as Jelly Roll playing his version of Maple Leaf Rag for Alan Lomax. We drank some good Italian espresso and everywhere there was Luigi's sister, Bernadette, luminously floating overhead with hospitality, grace and angelic sweetness.