Final Goodman Quartet Reunions
This unbelievable CD combines a previous release–The Benny Goodman Quartet at Saratoga on August 18, 1973–with an unbelievable new discovery: Almost 20 minutes of another Goodman Quartet reunion concert, in much better fidelity, that took place on July 15, 1973. Here are Gene, Benny, Hamp, Teddy and Slam in all their swinging glory playing “Avalon,” “Moonglow,” “Ding Dong Daddy” and more. Any performances from this group in the 1970s are scarce and invaluable. Price: $20

London House Rarities Volume One: 1958/1959
We knew these were floating around somewhere and we have finally found them. Here’s the great Krupa Quartet with Gene, Eddie Wasserman, Ronnie Ball and Jimmy Gannon in two, never-before-heard sessions from Chicago’s London House. Dates are December 15 and December 25, 1958 and January 1, 1959. Merry Christmas and Happy New Year from the Jazz Quartet with more than an hours’ worth of rare, Krupa gems. Price: $20

London House Rarities Volume Two: 1953, 1956, 1958, 1959
More scarce Jazz Quartet performances from Chicago’s London House. Included are more sessions from December 15, 1958 and January 1, 1959, plus additional performances from December 18, 1958. As a bonus, there’s a “Dark Eyes” and “Flyin’ Home” from 1956 (!). The remainder of this essential collection is comprised of an already-available JazzLegends release, the famed Krupa Trio Bandbox sessions of January, 1953, out on our title “The Last and Greatest Live Recordings of the Original Gene Krupa Jazz Trio.” Price: $20

For various reasons, I am making my invaluable Buddy Rich collection of VHS tapes and DVDs available for very quick sale. These are not copies or duplicates, nor are they being sold on ebay or any other web site. They were purchased at great expense some years ago, and the time has come to move on. Please contact me directly at DrumAlive@aol.com and/or 215-620-5227. Serious inquiries only. Here is a rundown of what is available:

BUDDY RICH ON THE DICK CAVETT SHOW: DECEMBER 29, 1972

BUDDY RICH ON THE DICK CAVETT SHOW: MAY 23 1972

These DVDs were recorded directly from VHS tapes purchased from the Cavett offices, cut from their masters, which no longer exist. These are the entire 90-minute programs with Buddy playing and talking, in great, great quality.

BUDDY RICH ON THE MERV GRIFFIN SHOW, A SALUTE TO BUDDY RICH, AIRED FEBRUARY 13, 1979
One hour tribute to Buddy Rich, starring Buddy Rich and his entire big band, along with musical / showbiz associates Redd Foxx, Mel Torme’, Henny Youngman, and veteran dancer Jack Ackerman. This was taped directly from the television broadcast–which has never been re-broadcast, by the way–via Betamax in 1979. Buddy talks about his career, sings, dances and plays. This is a gem. The Griffin vaults do not have material that goes back this far.

TONIGHT SHOW WEST SIDE STORY PREMIERE: 1966
One of the rarest clips of Buddy in the universe, this is in black and white with small time code at bottom of the screen. Surprisingly good quality, though not broadcast quality ala the Cavett, Griffin and other Carson shows.

JOHNNY CARSON TONIGHT SHOWS
All programs are complete, uncut, 90 minute, color programs, duplicated from the salt-mine-stored Carson masters. All were purchased directly from Carson Productions. Buddy Rich guests on all programs.
Dates:
November 29, 1972
September 5, 1973
January 15, 1974
February 19, 1975
April 22, 1975
November 6, 1975
April 13, 1976
June 25, 1976
Note: One of these is a drum battle with Louis Bellson.

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My sincerest thanks to all of you who have sent your prayers and good wishes in line with my recent diagnosis of malignant melanoma. The good news is that I am doing just fine, and that what I had was and is the most superficial form of this condition. I am healing well here in Naples, FL, though I do face a period of reconstruction and/or plastic surgery. It’s a shame I’m selling all the Buddy Rich material. I’m starting to look like him.

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Staten Island’s one and only Robert Bierman was collecting and making a data base of Krupa materials long before a lot of us were around. He continues to be kind and generous with his stellar collection and has just shared a wonderful grouping of film clips that we’re calling “Book Revue and More.” “Book Revue,” of course, is the famed, 1940s, Warner Bros. cartoon that is highlighted by animated representations of Goodman, James, Sinatra, Krupa and many more. It’s here in its entirety and in full color. Also on the reel are very rare excerpts from the “World of Benny Goodman” TV documentary of the early 1960s with comments from Gene and various others, extensive interviews with Louis Bellson and Lionel Hampton prior to their participation in the Krupa tribute performance at The Felt Forum in 1974, a Gene Krupa Story trailer in mint condition, trailers for “Ball of Fire,” “The Gang’s All Here,” “Girl Crazy” and much, much more. This is a must-have.

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You may notice that the JazzLegends.com web site has undergone more changes. Our goal is to make the site as easy to use as possible, while presenting the most accurate information about new and old product, as well as providing a forum for your suggestions and opinions. Let us know what you think.

Until then, keep swingin’
Bruce Klauber
June, 1008

JazzLegends.com visitors may have heard this story before, but it bears re-telling:

Some seasons ago, we pulled the famed “The Drums By Jones” CD from our list of available products. Hudson Music and I had been in negotiations with the original producers of the project to issue it worldwide in a deluxe edition. Sadly, the folks who claimed to have the rights to the material were asking for more money for the rights than we would have recouped in a lifetime, so the deal fell through.

Shortly after, we received a strongly-worded document from those who said they were legally representing the owners of the material. We were asked, among other things, and in no uncertain terms, to remove “The Drums By Jo Jones” from our website. We did.

Since that time, we have heard absolutely nothing about what was supposed to be planned as a deluxe–there’s that word again–two CD set with booklet, unreleased photographs, and more. Try as we might, we cannot find any existence of this by the company who said they were releasing it (there is an English outfit by the name of Carter International who may or not be offering this, but we have little or no information about the company or the product).

In our quest to make these essential pieces of history available to our visitors, we are again offering “The Drums By Jo Jones” on CD…until we are told to do otherwise. It is essential and a must-have.

Presumably, everyone has already noticed that we have the entire 1948 film, “Smart Politics” available. Thanks to Robert Bierman to letting us offer this gem that features Gene and the crew in “Young Man with a Beat,” sung by the inimitable Freddie Stewart.

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Look for two, upcoming magazine features of interest–I hope–by yours truly. One, in the next issue of the eagerly-awaited “Traps” magazine is a piece of major-league length on the history of the drum battles, complete with some graphics that you probably have never seen. We are told that this should be on the news stands on or about April 21st. This, as far as can be determined, is the only feature piece dedicated to the guilty pleasure of percussionists near and far, the drum battle. For subscription info, log onto www.TrapsMagazine.com

“Classic Drummer Magazine” bills itself as “the fastest growing drum magazine on the planet.” It may be, and since their inception, they have devoted themselves to covering players and subjects that the other publications don’t. As just one example, they have recently done a feature on the one and only Donny Osborne, perhaps the only real “Buddy Rich protege who ever existed. I was interviewed recently and extensively about my participation in the “Classic Rock Drum Solos” DVD. Writer Bob Girouard was incredibly knowledgeable about the DVD, about my work, and about the world of rare and vintage film in general, and that’s rare. For more info on this fine publication and for details on how to subscribe, visit www.ClassicDrummer.com

*****

Even those of you who know me personally may not be aware that I’ve been a fan of Frank Sinatra, Jr. since 1967, when I first became aware that there was a Frank Sinatra, Jr. Those who continually try to compare Frankie to anyone are in the wrong ballpark. The fact is, Frankie is out there with a crack, 20-piece orchestra, singing songs and presenting orchestrations that are timeless. I had the great opportunity to interview Frank Sinatra, Jr.–and later review the show–for the “Naples Daily News” (a Scripps-Howard publication). We are reprinting it in its entirety and urge everyone to see Frank, Jr.’s show whenever he’s booked in your area.

*****

SINATRA SINGS SINATRA

Frank Sinatra Jr. could have taken the easy way out and chosen not to sing for a living.
But comparisons to his illustrious father have never stood in the way of his passion for the music of America’s finest composers and orchestrators and his quest to have it heard.
Singing the 45 years before youngsters like Harry Connick and Michael Bublé offered their take on his father, Sinatra Jr. has worked harder than most to carve out a solid career as a vocalist, bandleader, conductor, composer and actor.

(Sinatra played the Philharmonic Center for the Arts on Monday, March 31).
No, there haven’t been any hit records, television or stage shows, but he works quite a bit, even though his “Sinatra Sings Sinatra” show is an expensive one to mount.
Frank Sinatra, Jr., born in 1944, is the middle child of of three and the only boy. Nancy was in the limelight as a hit-making recording artist and film star, “ and Tina did well as a film producer and managing products with the Sinatra name. The younger Sinatra is the only sibling who maintains a constant stage presence. He was married for a while, is single now. A son, Mike, from another relationship, is a student at University of Califorina.

The music seemed to consume him from an early age.

“When I started as a kid I wanted to be a piano player and a songwriter, “ he told Will Haygood of the Washington Post. “I only became a singer by accident. I was in college, playing in a little band. The lead singer got tanked one night. A guy in the band pointed at me and said, ‘You sing.’ I said, ‘Me? Why me?’ He said, ‘You’re a Sinatra aren’t you? Sing!’”
As for his father, he also told the Post, “He was unreachable. He was traveling, or off making some movie. When I began in this business, with Sam Donahue’s band in 1963, “it was only on rare occasions when we saw each other.”

That would change decades later.

It’s taken years, though, for Sinatra to finally be satisfied with the sound of his own voice, he said in a phone interview
“I have become a better singer,” he said, “in the sense that I have gotten closer to the sound that I always wanted to hear my voice make inside my head. … I am now so much more comfortable working. It’s taken a lot of years for me to finally arrive at that attitude, vocally.”

The younger Sinatra studied his father’s style carefully through the years and when and if he wants to, he can sound eerily and uncannily like his dad. A good example of this can be heard on the 1996 album “As I Remember It,” a heartfelt musical and spoken tribute to Frank Sinatra.
“Yes,” he says a bit reluctantly, “that was a good record.”

That recording and his “Sinatra Sings Sinatra” program, where he sings many of the songs made famous by his father, stand as the exceptions through the years. After his father’s death, he says, “the audience wants me to sing those songs.”

Frank Jr. has long had his own eclectic repertoire (some recorded for his recent Reprise release, “That Face”), which dates back to one of his first studio efforts, “Spice.” The title song and a dark number called “Black Night” were written by the younger Sinatra.

“Nelson Riddle knew exactly what he wanted to do with the song ‘Black Night,’ ” Sinatra explained. “On the night that was recorded, that was March 29, 1971 — it was my first album with Nelson Riddle — something very, very difficult happened. We were in the recording studio here in Los Angeles, and Sinatra came walking in, because he heard I was recording that night. He came into the studio that night and he sat there and said, ‘What an arrangement!’ Nelson just blew him away. It was a very exciting evening.”

As hard as it may sometimes have been for the singer to carve out a niche for himself as a performer on his own terms, there have been many, many moments through the decades that he fondly remembers.
“I was the opening act in Vegas for three years for comic Phil Harris and the legendary bandleader trumpeter Harry James,” said Sinatra. “Phil Harris was one of the funniest people I ever knew. He could do more with less than anyone. He was incredible, the consummate stage performer who was also one hell of a musician. He was just brilliant.” (Contemporary audiences will know Harris as the voice of Baloo in the 1967 Walt Disney film, “The Jungle Book.”)

A thoroughly studied musician, Sinatra continues to be fascinated by the orchestrations — many featured in the “Sinatra Sings Sinatra” program — that made the music of Frank Sinatra timeless.
How is it that those arrangements — by craftsmen like Riddle, Gordon Jenkins, Billy May, Don Costa, Billy Byers and the rest — sound as if they were written yesterday?
Sinatra’s explanation is that “they knew how to orchestrate. They knew how to make best use of the musical instruments. They knew how to write counterpoint in music. They knew how to make the instruments sound as they wanted them to sound.”

Listeners at the Phil will hear many of these songs and arrangements as the arrangers wanted them to sound, played by a 20-piece orchestra under the direction of Terry Woodson. And this orchestra is as fine as any group of its kind, past or present.

In 1988, while leading, conducting and singing with his own band at downtown Las Vegas’ Four Queens Casino and Hotel, Frank Sinatra Jr. received a telephone call that would put his years of study, listening, learning and performing to the ultimate test.

“I had been conducting for myself,” he explained. “And the reason why I had been doing that is because we were working on such a small stage that there was no room for a conductor. So I ended up conducting for myself. When Sinatra came in one night, he said, ‘My God, the kid conducts!’ In his eyes, all of a sudden I was Eugene Ormandy, you know what I mean?
“He called me in early 1988. I was in my hotel room in Atlantic City and I was discussing the show that we were doing with my trumpeter, Buddy Childers, and my drummer, Bob Chmel. The phone rang and my father was on the phone, which surprised me, and he said to me, ‘Why don’t you come out and conduct for me?’

“So when my friends revived me with the smelling salts, I said, ‘What in the world is going on?’ He said, ‘I need somebody to conduct for me.’ I said, ‘What’s the matter with the guy you’ve got?’ Then I had to hold the phone away because he was yelling. He said, ‘These people don’t have the slightest idea of what I’m doing!’ Then he said to me, ‘Maybe another singer would understand what a singer is trying to do.’ And that was a pretty revolutionary thing to do. You never go to a show to hear a singer and see that the show is being conducted by another singer.

“He brought me in, and I began to learn him. I knew the music. I had to learn him. I was with him the last seven years that he worked. It was a wonderful experience and I miss it like you can’t imagine. It was a learning experience, and it was probably the greatest compliment that he ever gave me. And he didn’t give out compliments easily.”

After his father’s death in 1998, Frank Sinatra Jr. again hit the road with his own band. And one of the key members of the band was the pianist and sometimes conductor of his father’s orchestra, Bill Miller.
Miller, best known for being the pianist on the elder Sinatra’s famed “One for My Baby (and One More for the Road)” was the original lounge pianist at the Desert Inn in Las Vegas in 1951.

“My father was playing at the Desert Inn that year,” Sinatra recalled, “and I believe it was the first year that he ever played Las Vegas. “He met Bill Miller and loved his touch and the way he played. Bill Miller joined Sinatra in 1951. In 1951, I was seven. Bill would come to our home and rehearse with my father. I was taking piano lessons already, but I listened to a professional, and I tried to get the touch on the piano that Bill Miller had.
“As the years went by, whenever there was a Sinatra recording session and I could go to it, I would make it my business to be there and listen to the arrangements. But I would always find myself standing by the piano, listening to what Bill Miller was doing. Without knowing it, he was my teacher.

“Bill was with my father for almost 45 years. After my father died, Bill had been in retirement. In October of 1998, I went to Atlantic City to work and I was surprised to learn that the hotel who had booked us was the final hotel Sinatra performed in when he was still working. So I got an idea in my head.

“I told my people I wanted the big orchestra and that I was going to call Bill Miller to see I could convince him to come out of retirement. Bill Miller came to Atlantic City, and with very low, ethereal music playing, he was sneaked onto the stage and started to play his famous ‘One More For my Baby.’ And when the lights came up on him, people recognized him and they gasped.

“I was sitting there in the darkness, and the older I get, the more I look like Sinatra. When I was sitting there in a dark blue light, in my tuxedo, the resemblance was a little striking. The people were dead silent, and it really moved them, so much so, that they had tears in their eyes. Bill Miller worked with me until July, 2006, when he had a heart attack and died. He played right up until the end. His daughter came up to me after his death, telling me, ‘You gave my father another eight years of life.’ But Bill died never knowing what he taught me about music. I miss him every day.”

Of the new breed of singers who have followed in his father’s footsteps, Sinatra is “just glad they’re doing better music. That also goes for Rod Stewart and Michael Bolton, who are both friends of mine. The fact that they’re singing better music pleases me a great deal. They’re going to educate a generation.”

As for the future, Sinatra will continue to take work, when the gig is right, with nothing less than a full orchestra, playing the great songs and the great arrangements. There may be more film and television roles down the line per his guest spots on “The Sopranos,” and he has just completed a second appearance on “The Family Guy.”

Musically? In a 2001 essay entitled “Frank Sinatra is Alive and Well and Singing in Europe,” poet and Sinatra family friend Rod McKuen, hit the nail on the head when he commented, “Frank Sinatra Jr. is his own man, and while he’s proud to be ‘the keeper of the flame’ at this point in time, there is absolutely no doubt that he will be creating his own standards as a singer and writer in the near — not distant — future.” Or, as no less than the Washington Post put it in 2006, Frank Sinatra Jr. is “uniquely gifted in his own right.”

*****

The following week, Tony Bennett was in town at the same venue, and he absolutely killed. The 82-year-old legend was onstage for an astounding 90 minutes and sounded better than he did 40 years ago. Special credit must be given to pianist Lee Musiker and drummer Harold Jones. Jones, playing a wonderfully sounding DW set of drums, demonstrated why he was, as Bennett said, “Count Basie’s favorite drummer.”

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There should be, we hope, some major announcements on the DVD and CD fronts, in terms of getting things out commercially, properly and internationally. Stay tuned.

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We are headed up north for a series of shows, but will return to Naples, FL in early June. Not only am I playing at least three nights down here, I am contributing regularly to The “Naples Daily News,” “Naples Sun Times” and “ETC.” I am in the fortunate position of covering the great jazz scene regularly…while getting to–literally–play a part in it as well.

God bless and keep swingin’

— Bruce Klauber, April, 2008.

I like Kenny G. Consider it a guilty pleasure. In our home, the moment the Christmas decorations come out, three seasonal CDs are immediately played. Two are pianist Ramsey Lewis’ famed albums recorded for the Argo label in the late 1950s. The other is Kenny G’s Christmas CD. To me, it evokes the season. No, it isn’t jazz, and Kenny has never really professed to be hard core jazz player. Sure, he’s a “lick” player–aren’t we all?–but Kenny’s licks are his own. The critics, such as they are, have done the same thing to Kenny G. as they did to the late and great trumpeter, Al Hirt. Critics have judged these players by way of their own expectations. In other words, Al Hirt and Kenny G. have sold a zillion records, so in their judgement, if Al didn’t play as well as Dizzy and if Kenny G. doesn’t play as well as Coltrane or Steve Lacy, then they must be shams. I remember a Down Beat magazine cover story from the mid-1960s that focused on Al Hirt who admitted that he indeed was no Miles or Dizzy and that he never said he was.

Still, business is business, and after 25 years and 26 albums with Arista Records–an association that yielded 75 million in record sales–Kenny G. and Arista are separating. Kenny G. will be going to the Concord/Starbucks label because, as he told the Associated Press, Arista wanted another album of standards, while the saxophonist wanted to do his first album of originals since 2002. “Rhythm and Romance,” not to be confused with the legendary Krupa film, “Rhythm Romance,” is the title of the new effort for Concord, which will also feature some Latin tunes.

Truth be told, one doesn’t end an unbelievably lucrative, 25-year association purely because of “artistic differences.” I’d bet the farm that Kenny G.’s sales for Arista have not been what they used to be, which is likely one of the main reasons behind the parting. But don’t worry. I understand that Kenny G. will be doing just fine without Arista, or without anyone, for that matter. Someday, however, I would really love to hear this guy in a straight-ahead quartet setting, swinging the blues, standards and “rhythm” changes. Anthony Braxton did it. Why not Kenny G.?

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My main man, Frank Sinatra, Jr., has finally received a star on the Hollywood Walk of Fame. It is long, long overdue. Before Harry Connick, Michael Buble, Michael Feinstein, Rod Stewart and rest–long, long before, by the way–Sinatra was out there working and singing the finest of songs backed by the finest of arrangements. “This has been quite a sentimental journey,” Sinatra said. “My brother deserves the honor because he is practically, single-handedly, keeping the American songbook alive,” said sister Nancy. And all good wishes go out to “big Nancy,” Nancy Sinatra, Sr., who is said to be recovering quickly from a heart attack.

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“Gretsch Drum Night at Birdland,” the live recording from 1960 that featured–in solo and in battle–Art Blakey, Elvin Jones, Philly Joe Jones and Charli Persip–is now available from JazzLegends.com on CD. This has not been available, to the best of our knowledge, since the early 1990s. It is a must-have for drummers of all ages and styles. The story of this drum battle and all the others throughout drum history will be featured in a cover story in “Traps” magazine, said to be on news stands on or about April 21st. Another recent and rather startling discovery is the fondly-remembered Harry James band television broadcast of 1965 that featured a certain world’s greatest drummer. Our good detectives have found–get this–a full color version of this fabulous show. Stay tuned.

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The jazz scene here in Naples, Florida, keeps on cooking and shows no signs of slowing down even as the season draws to an end. Trumpeter Bob Zottola’s Expandable Jazz Band is now working an unprecedented seven nights per week. This fabulous group was recently augmented for a short time by one of Duke Ellington’s greatest bassists, Philadelphia’s own John Lamb. Get your reservations now for The Joy Adams/Bruce Klauber show upcoming at Remy’s in Naples. The last one was sold out–inside and outside–so get your tables now by calling 239-403-9222. We will be joined by pianist Jean Packard, bassist Frank Begonia and tenor saxophonist Lou Califano.

Readers of this space have probably become familiar with the name of “Jebry,” a.k.a. Judy Branch, the ex-Harry James singer who virtually started the jazz scene in Naples years ago. Jebry is fortunate, and deservedly so, to work the same spots, year after year, so “opening nights” at new venues are rarities. The following is the story of a recent one, which will appear in the “Marco Island Eagle” newspaper. Incidentally, I’m happy to announce that I am now contributing semi-regular reviews and features for the “Naples Daily News,” including an interview with Frank SInatra, Jr. that is set to appear March 28th. You can access this fine newspaper from anywhere by logging on to NaplesNews.com. Herewith is the feature on Jebry:

OPENING NIGHT WITH JEBRY

Jazz singer Jebry, a.k.a. Judy Branch, the one-time Harry James Big Band singer who was among the first to bring jazz to Naples when she came here 22 years ago, doesn’t have to look for work. Work comes looking for her. The owners of a relatively new Naples restaurant, Capri: A Taste of Italy, heard about Jebry’s great band and devoted following, came out to hear the group, and hired them immediately.

Jebry doesn’t have many opening nights, in that the majority of her club work, at places like Norm’s and The Island Pub, has been ongoing for many seasons. So last Thursday at Capri: A Taste of Italy was indeed a special evening, and befitting such a singular event, Naples jazz fans and jazz players filled the place to capacity.

Long time Naples music aficionados, who have been following the singer since her appearances at The Witches Brew (a famed, Naples nightspot that was torn down about five years ago), know that an evening with Jebry is not run-of-the-mill entertainment, jazz or otherwise. Actually, “Jebry and Friends,” as it is billed, revives the lost art of the jazz jam session. There’s nothing new about the concept of a jam session, where singers and instrumentalists of all ages and styles guest, or “sit-in” as they say in the vernacular, with the rhythm section (in this case, the bassist, drummer and pianist accompanying Jebry). Jam sessions, in one form or another, have been around since the birth of jazz itself, and there have been some legendary ones throughout jazz history. One that stands out in memory, if only because it was recorded, was an early 1950s meeting of three of the greatest alto saxophonists in jazz, be-bop master Charlie “Yardbird” Parker, multi-instrumentalist/composer Benny Carter, and Duke Ellington star soloist, Johnny Hodges.

Jebry’s sessions through the years have featured just about every player and singer of quality in and around the Naples and Marco Island area, to say nothing of those horn players and vocalists visiting from New York, Philadelphia and points north, south, east and west. On an instrumental basis, just about every pianist and horn player of note in the area has either passed through Jebry’s bands, or has guested with her groups at one time or another. The late, legendary and beloved bop pianist, Kookie Norwood, was one. Others who immediately come to mind are the sublimely lyrical trumpeter Bill Papineau, who was with Jebry for years, and pianist Stu Shelton, a technically astounding artist who leads his own groups and appears often with leader and trumpeter Bob Zottola. Zottola, by the way, appears at Capri with his fine group every Monday night.

The jazz historians will decide whether the Thursday night get-together at Capri: A Taste of Italy belongs in the next book written about jazz history, but it was, without doubt, tremendously entertaining, and that’s what these things are supposed to be. As another great jazz singer, Joy Adams, is fond of saying: “That’s why they call it playing.”

Jebry’s accompanists, who also back all the guests, are as talented as any national or international “name,” past and present. Pianist Jean Packard, a superb player who knows just about every song ever written, and in any key, has for years been a favorite of famed mainstreamers like Al Cohn, Zoot Sims, Ruby Braff and Harry Allen. Bassist Richard Lytton is a great swinger with a wonderful ear, whose inventive solos are always a joy to hear. Drummer Bobby Phillips, Jebry’s husband, can–and does–play in any style, with great taste, and with unparalleled technique. No drummer is better at backing up Jebry.

As a vocalist, the star herself is surprisingly versatile, and really transcends categorization as a “jazz” or any other type of singer. She shouts the blues with the best of them and her country singing is as authentic as any singer on the country charts. Obviously, she shines at jazz, with influences that range from Ella Fitzgerald to Anita O’Day. What makes every night with Jebry so special is her generosity with the stage and with the spotlight. That is, of course, what makes a jam session.

And among the great jammers in attendance and on the stage last week were singers Betsy Guy (who always shines in her duets with Jebry), the Billy Eckstine-like stylings of Frank Michota (one fine drummer as well), the always-from the heart singing of Al Reddington, and my colleague of long-standing — which is why I can describe her as “astounding”– Joy Adams. Joining the group instrumentally though the night were that master of traditional jazz, cornetist Dick Cashman, master trumpet bopster Marty Krebs, clarinetist and saxophonist Karl Zihtilla (whose clarinet work startingly echoed that of the clarinet giant Buddy DeFranco), Naples’ pianistic answer to Dave Brubeck, Mel Rosen; and even yours truly, who got in some hot licks on drums and vocals.

It was quite an event, quite a night, quite an opening, and quite a jam session. Right now, the powers-that-be at Capri: A Taste of Italy have wisely booked Jebry and the group every Thursday for the foreseeable future. It’s easy to see why. As for next Thursday? Who knows what jazz star might show up?

Jebry and Friends perform at Capri: A Taste of Italy, every Thursday from 6 to 9 p.m. The restaurant is located in the Riverchase Plaza shopping center at the corner of Immokalee Rd. and Route 41. Call 239-594-3500 for information.

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Eddie Shu was among the most under-rated and under-appreciated of jazzmen. He may now get the recognition he deserved, though not for his playing. His widow, Carol Shulman, has filed a Civil Suit in Los Angeles Superior Court claiming that the film, “The Lost City,” directed by and starring Andy Garcia, is actually based on the life of Eddie Shu. The film focuses on, among other things, how entertainers and the entertainment business were affected by the Castro takeover in Cuba circa 1959. One of the central characters in the film, an entertainer, is exiled for freedom of expression from Cuba when Castro came in…as was Eddie Shu. To view the actual lawsuit, log on to JusticeNotBlind.com.

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In many of the early JazzLegends.com CD releases, we tended to group various sessions together on one CD. A number of sessions, therefore, have tended to get lost in the shuffle.

I bring your attention this month to “Gene Krupa: 1964 to 1971,” which contains three, very significant sessions. First is a very, very rare session featuring Gene with the Balaban and Cats dixieland crew, recorded in Milford, CT in 1971. Part two is a 1964 radio interview, with William B. Williams speaking to Gene, Hamp, Benny and Teddy, celebrating the release of “Together Again.” Finally, from 1970, just about when Gene came out of retirement, we have GK’s third and final appearance on “Dial M For Music,” with Eddie Shu, Marty Napoleon and Knobby Totah…incredible.

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Finally, reports have reached my desk confirming that writer Burt Korall is still dead. I will call his home telephone number just to make sure.

Keep swingin, Bruce Klauber, March, 2008

Naples, Florida, enjoys the healthiest of jazz scenes. Indeed, there is more happening here–where Joy Adams and I will be until April–than in most major cities. Locally-oriented examples include jazz trumpet virtuoso Bob Zottola’s Expandable Jazz Band, currently working seven nights a week (!) and the always-wonderful vocalist, Jebry, aka Judy Branch, as busy as ever in a number of locales.

The Joy Adams/Bruce Klauber engagement celebrating Fat Tuesday here at Remy’s Bistro was, in fact, a sellout. And this is the first perfomance we’ve done under our own leadership since first coming to Naples eight years ago. Management told us that all 160 seats indoors were filled, with another 50 eating and drinking outside, waiting for an inside vacancy. Joy and I owe a debt of gratitude for the superb, swinging and flexible backing by three wonderful friends and artists: Pianist Jean Packard, bassists Richard Lytton and reedman Lou Califano. We have basically been offered an “open door” at Remy’s Bistro, meaning that we can appear there whenever we want. We are returning on Tuesday, March 11. For any of our JazzLegends.com visitors who may be in the Southwest Florida area at that time, please come and see us. Call 239-403-9222 for reservations, or email me personally at DrumAlive@aol.com

On the national level, the Naples Philharmonic Center for the Arts has booked a great number of jazz and jazz-oriented attractions for the 2008 season, including appearances by Tony Bennett, Steve and Edyie, Bill Cosby, Frank Sinatra, Jr., a number of shows by pianist Dick Hyman (featuring players like Harry Allen, Randy Sandke and Eddie Metz, Jr.), singer Freda Payne paying tribute to Ella Fitzgerald, Steve Tyrell, Anne Hampton Calloway, 23-year old Russian singing sensation Sophie Milman, Branford Marsalis and Chris Botti.

This is, without question, a very healthy scene. The majority of these events, by the way, were, are and will be sold out.

A surprise, last-minute booking was none other than The Ramsey Lewis Trio. Those who remember the Chicagoan’s famed, funk-based trio featuring Red Holt and Eldee Young on million sellers like “Wade in the Water” and “Hang on Sloopy” were very, very pleasantly surprised at what they heard. Here is an detailed review of the show, which took place on February 6th: ******

Jazz musicians who have sold a million records and reached the top of the music sales charts are a very rare breed, though there have been some notable exceptions through the years. Louis Armstrong’s “Hello Dolly” actually knocked The Beatles off the hit parade in 1964. And there were others, including Stan Getz’ “Girl from Ipanema,” Dave Brubeck’s “Take Five,” Eddie Harris’ “Exodus,” and “The In Crowd” and “Wade in the Water” by a young pianist out of Chicago named Ramsey Lewis.

Lewis, who performed with his trio before a sold-out and wildly appreciative, three-encore audience at The Phil on Wednesday, could have easily rested on his laurels and play a medley of his seven gold records and three Grammy winners. He did not, and the result was one of the most refreshing and entertaining evenings of music–of any kind–presented during this or any other season. Accompanied by virtuoso bassist Larry Gray, and the amazingly versatile drummer Leon Joyce, Jr., Lewis has moved into a modern and impressionistic pianistic area, often invoking the lyricism of the late Bill Evans and the modal explorations of McCoy Tyner. He has combined this with a tremendous flair for gospel music, a good amount of crowd-pleasing humor and arrangements for the trio that often had it sounding like an orchestra Still, the famed, Ramsey Lewis funk remains very much in evidence, so while he has evolved stylistically, the Lewis sound continues to be instantly recognizable.

Other than a short rendition of “The In Crowd,” done as one of the encores, the repertoire of The Ramsey Lewis Trio is an electic one, ranging from the touching John Coltrane ballad “Dear Lord” to a rousing “Oh Happy Day.” Lewis has strong classical roots as well–he studied the classical concert repertoire as a youth with the legendary Dorothy Mendelsohn in Chicago–and that influence was quite clear on The Beatles “In My Life” and several Lewis compositions written for a suite of dances entitled “To Know Her,” which united the trio with the Goffrey Ballet.

Not enough can be said about Lewis’ accompanists. After hearing the superb, arco work and always inventive soloing by bassist Larry Gray, it is no surprise that his classical background is extensive. He was the featured bassist with the Lyric Opera of Chicago, and principal bassist of the Civic Orchestra of Chicago. He has also worked with a number of jazz greats, including Joe Williams, Clark Terry McCoy Tyner and Jack DeJohnette.

Like Gray, drummer Leon Joyce, Jr. transcends categorization. He is fluent in the New Orleans drumming style via his work with New Orleans legends like Pete Fountain and Ellis Marsalis; but he is equally at home with funk, gospel and even rock. Though his technique is astounding, is it always musical.

Ramsey Lewis is more visible and more popular these days–and not only as a pianist–than he was during his hit-making Chicago days. He hosts a popular, syndicated radio show, entitled “The Ramsey Lewis Morning Show.” And in 2006, he filmed a series of half-hour television shows for PBS called “Legends of Jazz with Ramsey Lewis.” Now widely available on DVD, “Legends of Jazz” represented the first time in 40 years that jazz was regularly broadcast on television.

He has often been described, quite accurately, as a legend. And just how does that feel? “It’s a high honor when someone says so,” Lewis has recently said, “but I don’t see myself that way. What keeps me enthusiastic and energizes me is the realization that the more I learn, the more I find there is to know.”

And though he is constantly learning, evolving and growing, Ramsey Lewis has never forgotten the audience. Above all, he is a dignified communicator, who, by the way, still swings like no other. This concert stands as one of the highlights of a great, jazz-oriented season at The Phil.
******JazzLegends.com appreciates the continued support of our thousands of international visitors, especially during this difficult economic period. Things are tough here and everywhere, but we continue to go to the ends of the earth to find product of interest that simply cannot be found elsewhere. Please note our new Tony Williams DVDs, including the famed “Zildjian Day 1985,” two outstanding VSOP concerts from 1982 and 1982 and a “Tony Williams Superstar Band” concert from 1983. Additionally, Dean Pratt, collector and annotator extraordinaire and former Buddy Rich big band member, has come up with two CDs that are as close to the “Krupa Holy Grail” as one can get. First is an extended, backstage conversation at Mr. Kelly’s in Chicago, between Gene and B.R., recorded in July of 1973, just about 90 days before Gene’s death. This is touching and often hilarious. You will hear and feel sides of these giants that you just won’t believe. On the same CD are the legendary out takes from “Burnin’ Beat.” The second CD, “Where’s Benny?” is an ultra-ultra rare concert from May of 1953, when Gene took over leadership of the Benny Goodman band that was to tour with Louis Armstrong. Pops stayed, Benny dropped out due to alleged illness, Gene took over and Benny, by and large, was not missed. You will hear some unreal Krupa drumming, on an 11-minute partial version of “Sing Sing Sing” coupled with a Willie Smith/Teddy Wilson/Krupa Trio verson of “Drum Boogie,” and a Krupa/Cozy Cole battle on “The Saints” with Pops and The All-Stars. The finale of this CD is an in-depth interview with Mr. Personality himself, “The King of Swing.” These two items, like a lot of our other material, were thought not to exist. These are must-haves.

Finally, we are told that our good colleague, drummer/producer Arthor Von Blomberg, has lined up several dates at Harrah’s in New Orleans for his all-star Krupa Tribute band that includes star alto saxophonist Richie Cole. Stay tuned, keep swingin’ and God bless.

Bruce Klauber February, 2008

Major, major improvements and renovations have come to the JazzLegends.com site, courtesy of our resident, genius of a webmaster, Terry McKyton. Improvement highlights include a wider design to match the standard users’ screen, a cleaner and less cluttered design, better layout of DVDs and CDs that will allow for track lists and a download/preview area, and banners that will point to new products on the site, holiday specials, etc.

Yes, I did mention “downloads,” and that feature will be instituted shortly. We are going to start with three of our most popular CDs, “Gene Krupa: The Great Concert,” “Gene Krupa Quartet at JATP: 1955,” and the famed “Benny Goodman/Gene Krupa Performance Recordings: 1937-1938.” Rest assured that the download process will be easy to use (there will even be short previews of songs that will help you to decide whether or not to buy) and at more-than-reasonable prices. If the response to this is positive, as it should be, we will be adding more CDs available for download each week.

One of the most obvious changes to the site in terms of visuals is the absence of the Google ads. Terry and I agree that, for whatever the minimal dollar value to JazzLegends.com, the ads were not attractive . They didn’t add much in terms of information, and they just took away from what we try to do on the site.

We have been rushing to come up with a real “special” in time for the holiday season, and along with the Jazzlegends.com gift certificate, we think we have it. This is a boxed set of four CDs, chosen by yours truly–“The Great Concert,” “Gene Krupa: 1943,” “Rare and Live: 1941-1942,” and “Steve Allen Tonight Shows 1954 and 1955”–plus a copy of the increasingly rare book, “World of Gene Krupa: That Legendary Drummin’ Man.” This $75 value is yours, in a gift box with free shipping worldwide, for $69.95. Ho, ho, and another ho.

I have not mentioned the name of Buddy Rich in this space for some time. However, if the name of our site is “JazzLegends,” then the world’s greatest drummer cannot be ignored. I want to go on record as saying that Buddy’s daughter, Cathy, continues to be tirelessly devoted to perpetuating all that was and is good about Buddy. Most of you have heard about the “Buddy Rich Drum Company,” which has been garnering nice notices in and out of the industry and is a part of some really neat promotions, including one in Modern Drummer’s special publication, Drum Gods, in the trades. For more information on these fine drums, visit BuddyRichDrumCompany.com. There is also a new Buddy CD out, culled from the famed, mid-1970s live tapes recorded by bandsman Alan Gauvin, with Buddy’s blessings. The CD is entitled “Time Out,” and it’s one of the best Buddy Rich recordings, from any decade, to be released in years. One listen to any cut at all will make us all realize why he was and is Buddy Rich, and why there will never, ever, ever be another. Products like these are not easy to get out to the marketplace, whether one is related to Buddy Rich or not. Cathy Rich deserves recognition and our thanks for getting these fabulous items out there properly.

In terms of other gift items, don’t forget the Bopworks, Gene Krupa model drum sticks, or the great new DVD from Hudson Music, “Classic Rock Drum Solos.” Set aside the labels of jazz and rock for a moment. This DVD is for drum fans, no matter what the style of music. I guarantee that you will be astounded by the technical virtuosity of Carl Palmer. Michael Shrieve, host Carmine Appice, Clive Bunker, Ginger Baker, Steve Smith, Cozy Powell, Neil Peart and various others. Additionally, there is an entire section devoted to the origin of rock solo drumming that features Krupa (with Carmine Appice doing a great impression of him), Louis Prima’s Jimmy Vincent, Louis Jordan’s Shadow Wilson. the Lionel Hampton band, Bill Haley’s Ralph Jones, The Ventures’ Mel Taylor, and the only film in existence of the first rock drum star, Sandy “Let There Be Drums” Nelson. We will probably be making this available on our site shortly, but right now, log on to HudsonMusic.com for further information.

Joy Adams and I are in Naples, Florida, until the early spring, enjoying the kids and the grand kids. As mentioned in this site several times over the years, the music scene is fabulous in Naples, and we are playing and singing–individually and collectively–at least twice a week. After hearing the new Buddy CD, I may have to cut it down to once a week!

God bless, keep swingin’, and all good wishes for the holiday and beyond,

Bruce Klauber November, 2007.

Those of us who are concerned about such things continue to be confused and disappointed about what the Gibson guitar company has done to the name of Slingerland and to the Slingerland line. To think that the drums– endorsed by Gene Krupa, Buddy Rich and dozens of other drum stars through the years–has virtually disappeared, is simply a disgrace. The situation is beyond understanding, especially given the news that Yamaha is bringing out a Rogers drum line, even though the drums are nothing like the original or classic Rogers line. What counts in that case is the name.

A number of us– including Arthor Von Blomberg, the mastermind behind the upcoming 100th birthday celebration for Gene and the future Broadway musical play based on Gene’s life and music–have contacted Gibson about buying the Slingerland name. Our point is that Gibson is doing nothing with it and at the very least, our consortium would keep the name alive. After contacting the Gibson offices in the United States, Europe, Asia, Japan and China about this, we have not heard word one about any of this, which is hardly unexpected. There is no information on whether any Slingerland inventory exists, and Slingerland drums are not offered in any national catalog or the Modern Drummer Drum Buyer’s Guide.

Slingerland might not have been the General Motors of the drum industry, but they were among the “big four” of drum manufacturers, with the other three being Gretsch, Ludwig and Rogers. All but Slingerland are still with us, and that is a disgrace to the industry and to America.

The big question, and feel free to address this in the JazzLegends.com forum, is: “If Gene Krupa and Buddy Rich were alive today, what brand of drums would they be playing?”

From what little I know, I am pretty sure that these giants would have played drums made in America, and I’m pretty sure the brand would have been Drum Workshop, a.k.a. DW. Indeed, DW did offer a Buddy kit at one time.,

The last time I spoke to anyone within the company, I was told that they cannot manufacture their fine product quickly enough to supply retailers and players. Their story, indeed, is a singular one. Herewith is some background info, courtesy of DW founder Don Lombardi and the DW web site:

Their slogan is, “The Drummer’s Choice® ” and Lombardi maintains that it’s more than a slogan, “it’s a fact.” Shades of Buddy Rich!

“It’s remarkable that in our 31st year, the excitement level of coming to work is every bit as much now as when we started,” he says.

It all began in 1972 when Don, at age 26, opened a small teaching studio in Santa Monica, Calif. He called the studio Drum Workshop, offering both private lessons and monthly workshops.

“My fascination with drums started at 12 with a neighborhood teacher at a local music store,” Don recalls. “Over the years, I had such great experiences with renowned teachers that as my love for playing drums grew, so did my love for learning and teaching about drums. The day I got my driver’s license, I started driving to teach at a local music store where I had taken lessons.”

Seeing an ad for Drum Workshop in the Yellow Pages, John Good, now DW’s Vice President, signed up for lessons at age 17 to improve his drumming and reverse what he refers to as “bad drumming habits.”

“After three months of lessons, Don approached me and said, ‘You know, I’ve had lots of successful students. I don’t think you’re going to be one of them’,” John says laughing. “So I said, ‘Great…now what are we going to do?’”

The two ultimately hooked up to market the first DW product: Don’s new design for a height-adjustable trap-case seat. Selling about a dozen seats a month, John quit his day job and went to work full-time for Don.

When DW received a purchase order for 100 seats from Camco Drum Company, Don and John realized that they had an innovative product that would sell. Thirty years later, DW is now offering a new version of the trap-case adjustable seat, made out of a lighter weight material, called the 6100 Adjustable Trap-Case Seat.

However, when DW created the original trap case seat, they had the capacity and personnel to create only a dozen seats a month, not 100. Don was still teaching and playing a nightly gig while John built the products. Shortly thereafter, Camco Drum Company owner Tom Beckman approached Don in 1977 with an offer to sell him Camco’s machinery, dies and molds, everything it took to make Camco drums and hardware-everything except the Camco name itself. This gave Don the opportunity to expand his capacity for creating the seats and to expand his product line.

At that point, Don made the decision to accept the offer and change the direction of Drum Workshop from teaching and selling to manufacturing.

(For those who do not remember, the Camco outfit offered a fine and most individual looking line of drums–their round lugs, still a DW design feature today–really made them stand out. Camco was never as big as the “big four,” but they did have some endorsers, including the drummer of The Beach Boys.)

“The idea of failing never really occurred to me,” Don remarks. “Based on our mini-success with the seat, we had learned that if we could offer drummers products that would improve their drumming, we could be successful. Of course, having a desire to go into manufacturing and having the money to do so are two different things.”

Borrowing most of the money from his parents and some from outside investors, Don purchased Camco’s tooling and reintroduced the Camco 5000 nylon strap bass drum pedal under the DW name. The pedal was refined to improve consistency, quietness, smoothness and adjustability of its mechanical operation. As the pedal was rapidly becoming “the drummer’s choice,” Don continued to search for ways to further improve it.

The rest is history. The ever-expanding line of DW drums, kits and hardware is the drum industry standard. Specifically, with their “Classics Series,” “Jazz Series” and 6000 Series of ultra-light stands, DW has successfully brought a legacy of percussion tradition to the year 2007. Call them “traditionally innovative,” if you will, or as they deservedly say, “The Drummer’s Choice.”

Would Gene and Buddy be DW artists? You bet.

I urge each and every JazzLegends.com visitor from around the world to visit DW on the web at www.DWDrums.com

We look forward, at some time in the not-too-distant future, to contact the fine DW folks about becoming involved with JazzLegends.com, as well as with the Gene Krupa upcoming 100th Birthday celebration and subsequent show based on Gene’s life and music.

It’s not only because I have a vested interest in these titles, but two, brand new DVD projects from Hudson Music constitute essential viewing and study. “The Art of Playing with Brushes,” presented by Adam Nussbaum and Steve Smith, presents the drum and brush masters–Billy Hart, Eddie Locke, Joe Morello, Charli Persip and Ben Riley–in performance and in instructional segments. This incredible, three -DVD set is, as the copy accurately says, “an educational and inspirational resource that will never go out of date and is certainly one that belongs in every drummer’s library.” JazzLegends.com visitors will also enjoy the vintage clips by the likes of Kenny Clarke, Denzil Best and many more.

And finally, “Classic Rock Drum Solos” is here. Despite the fact that helping to write and produce this incredible DVD took a year off my life–these vintage rock drummers were a handfull–the result is incredible. JazzLegends visitors and guests, though not rock-oriented, will love the clips by Louis Prima’s Jimmy Vincent, Billy Haley’s Ralph Jones, Louis Jordan’s Shadow Wilson, The Ventures’ Mel Taylor, Lionel Hampton, Gene Krupa, host Carmine Appice, and the many clips where the influence of Buddy and Gene are quite obvious. For ordering info, log on to www.HudsonMusic.com

Finally, our Krupa drumsticks are getting great reviews and seem to be very much in demand. For ordering info, log on to www.Bopworks.net.

Keep swingin’

Bruce Klauber

After six months of living in the relative paradise of Naples, FL, adjustment to being in big city Philadelphia has been rather difficult. The good news is that just as I have almost adjusted to Philadelphia, Joy Adams and I will be returning to Naples on July 15th. No, we won’t be there for six months, but will be taking advantage of the inexpensive air fares from Philadelphia to Fort Myers, and spending, perhaps, a month here and a month there. If playing opportunities existed for me in Philadelphia, my attitude might have been different. However, there are no playing opportunities for me in Philadelphia and there are several in Naples, FL. Don’t ask me why.

Some seasons back, we were asked to remove one of our most popular and important CD titles from the JazzLegends.com catalog. This was and is called “The Drums by Jo Jones.” For those of you who did not obtain it, this historic document was actually a two-LP set cut in Europe in the mid-1970s. Papa Jo spoke of the drumming legends he knew, demonstrated percussion styles, tributes, rudiments, how to use the drum set’s components, and much more.

After a few months of offering this for sale—and by the way, the original LP was given to me as a gift by the great organist/pianist/arranger Milt Buckner—we started receiving calls from various record labels, manufacturers and distributors from France and England who claimed they owned the rights to this project and that they were looking for a proper and wide distribution deal in the states. We almost had a distribution deal with Hudson Music in New York, but the people supposedly in charge of the Jones project were asking for far too much money (that we wish we had). The deal fell through, and shortly after, we were sent a cease and desist letter, saying that if we didn’t remove “The Drums by Jo Jones” from our catalog, there would be legal ramifications.

Despite the fact that other outfits were selling this, we removed it. We’re in the music education business here, not the legal ramifications business. The saddest thing of all is that, even though “The Drums by Jo Jones” is supposedly available in a deluxe, CD edition via the French people who first produced it, the project is almost impossible to find anywhere. That’s sad, as all we ever wanted to do was make this available.

The good news is that we have acquired a series of ultra-rare and quite unbelievable European footage of the one and only “Papa” Jo Jones, in mini-concerts with Illinois Jacquet and Milt Bucker. “Jo Jones in Europe,” which we offer on DVD (and VHS for those who want it that way) is top-quality audio and color film from the early 1970s that features almost an hour of Jo Jones as the superb soloist and accompanist he was. Footage of Jo, as you’re aware, is very, very rare, so this is a must have. Bonus footage on this DVD is a mini-concert, featuring another great drummer (and this may be the only film footage that exists of him) by the name of J.C. Heard. J.C. backs a great little band that features Doc Cheatham and Sammy Price, among others.

When “The World of Gene Krupa” book was first published some 17 years ago, most of the other jazz books on the market were, mainly, the same titles that had been on the library shelves under “jazz” for the past 20 years. Things have thankfully changed since then and these days, it seems that almost every jazz player of note has an autobiography on the market, to say nothing of histories, compendiums of a writers’ works (Dan Morgenstern, Stanley Crouch, Andre Hodier, Gary Giddins, and Frances Davis among them) and works on vintage instruments. Most are well worth reading, and some of the newer titles include bios of Wayne Shorter, Al Haig, Lee Konitz, Warne Marsh, Paul Desmond, Lennie Tristano, Tommy Dorsey, and a bunch of titles on Miles Davis (pass by the one written by his son); a big band history from Hal Leonard Publishing written by Dr. William F. Lee; a history, believe it or not, of the Coon-Sanders Nighthawks; a book on vintage metal/engraved snare drums also published by Leonard, histories of Impulse Records and The Village Vanguard; photo books from Lee Tanner and others; and auto bios by Horace Silver , Arturo Sandoval, and George Shearing. The list is by no means all-inclusive. What the jazz book market needs, in one opinion, is an unbiased, detailed history of the life and music of Buddy Rich. The book written by Mel Torme’, rest his soul, was more of a personal remembrance as was the odd duck of a work called “The Torment of Buddy Rich.” Doug Meriwether has no equal as a Buddy discographer, but a discography is only a small part of the Buddy Rich story. Steve Peck has dozens of one-of-a-kind Buddy photos, and dozens of those who new and loved BR are still around. I will say it here and on the record that if Cathy Rich and family will allow me to bury the hatchet where Buddy is concerned, I will do everything in my power to help get a book off the ground.

We recently told you about the wonderful the new drum magazine, “Traps.” There is another jazz magazine that’s hit the stores recently, and it’s a good one. “Jazzed,” published six times per year, is devoted to the large, and most significant area of jazz education. To our knowledge, only the IAJE Journal has been solely devoted to the education area. “Jazzed” is most welcome, and for subscription information, log onto www.jazzedmagazine.com

Our Krupa “The Great Concert” CD, recorded in 1966, is one of the best we’ve heard in terms of music and sound quality. In addition to being available on JazzLegends.com, it is also out there on CDBaby.com It’s so good, we want everyone to know about it.

Michael Berkowitz and the New Gene Krupa Orchestra have a new CD coming out shortly. This is the best Krupa tribute band (and one of the best big bands, period) that we’ve heard. Watch this space for more news.

We’ve had many, many requests and queries about the status of the new Krupa model drum stick. We do have, after long months of negotiations and waiting, an agreement from the Estate, but we are just waiting on the acceptance of a few modifications of said agreement. Believe us, this is going to happen.

You may recall that I was pretty knocked out by the performance of Steve March Torme’, Mel’s son, at The Philharmonic in Naples, FL, earlier this year. Steve’s management has posted my review on the home page of his web site. For those who missed it, check it out, especially those who are booking theatres and arts centers around the country. Steve gives one of the best performances of any kind…and he sells out.

Keep swingin’

Bruce Klauber

June, 2007

Joy Adams and I will shortly be concluding our five-month stay in Naples, FL, to return to our home in Philadelphia. Joy was originally set to have a hip replacement operation in Philadelphia in March, but all involved believed that having the procedure done in Florida would be a great help to her recuperation, due to the climate, etc. She is recovering very, very well and by and large, our time down here has been glorious. We are performing at least twice a week, and I am now writing a biweekly jazz column for the Naples Sun Times newspaper. As I write this, I’ve just been asked by their Assistant Editor to help assemble a comprehensive guide to entertainment in Naples, FL. Opportunities like this, for reasons I cannot figure, just don’t exist for me in Philadelphia. It would seem likely that, over the next few years, we will be spending more and more time here.

We’ve sadly lost a number of great, great jazz and entertainment people of late, including Tom Poston, Tommy Newsome, Bobby Rosengarden, Tony Scott, Andrew White and a very talented, Philadelphia-area jazz and blues singer named Zan Gardner. On the positive end, Ornette Coleman won the Pulitzer Prize in music. Who would have believed that in 1959?

Negotiations with Alfred Publishing for a “Great American Drum Catalogs” book have broken down for the moment, though we were “this close” to a deal, due to concerns they have over expense. Good friend and master drummer Steve Smith was kind enough to write an intro for the work, which we will reprint here in the future. We are also considering making vintage catalog reprints available on JazzLegends.com. What’s your take on this? Regarding an actual book down the road, I will continue to maintain my credo of, “It Ain’t Over Yet.”

Speaking of Steve Smith, I believe that he is the finest drummer working today. He has a new CD out with his great fusion band, Vital Information, entitled “Vitalization.” Like everything Professor Smith does, it’s fabulous. You can order online at HudsonMusic.com or VitalInformation.com Steve was one of the last, “name” acts at Philadelphia’s venerable jazz club, Zanzibar Blue, within the Bellevue-Stratford Hotel. Contrary to reports, Zanzibar will continue to exist, though in a different location.

After months of discussions, it will soon be official. There will be an “officially sanctioned” Gene Krupa model drum stick, manufactured by Chris Bennett’s Bopworks company out of Austin, Texas. Bopworks has deservedly garnered some nice press about their fine product of late. Visit Bopworks at www.Bopworks.net for info about when the Krupa stick is released as well as a great, Mel Lewis model. We will also make the sticks available on JazzLegends.com

Many of you are aware of the noted lyricist and author Gene Lees. Lees has long published a subscription-only newsletter called, and this is the full name, Gene Lees Ad Libitum & Jazzletter. Most know it as the Jazzletter. Published for 24 years, Lees contributes a number of pieces, but has always had guest writers though the years. One of Lees’ favorite people, players and writers was Bobby Scott. Scott, who passed away in 1988, was in the Gene Krupa Jazz Quartet in 1954. Bobby, a good friend of mine, actually posthumously contributed the intro to my new Krupa book. Bobby had given me an unpublished manuscript of his autobiography and asked me to help get him a publishing deal. Sadly, I couldn’t, but at least part of it, the part about Gene, was published as my books’ introduction. Scott was complex and most interesting person, perhaps the most intelligent human being I ever knew. Gene Lees encouraged Bobby Scott’s writing ability, and one of Scott’s first pieces for Lees’ Jazzletter was on Gene Krupa. Lees has now seen fit to reprint the piece in the April, 2007, issue of Jazzletter.

I had never seen the entire piece, and now I wish I had not. Bobby Scott loved Gene and considered him a stepfather and a teacher. But there are things in Scott’s essay that I, for one, did not need or want to know. These were very, very, very personal things that I don’t believe Gene Krupa would have ever wanted anyone to know about. I think, however, that Lees encouraged and encourages that type of writing, but I could never understand what any of those “personal things” had to do with music.

One curious tidbit in the Lees’ new introduction to Bobby Scotts’s essay is Lee’s assertion that he (Lees)regularly receives jazz-oriented screen plays for professional review. One he recently looked at, he says, was another screen treatment by an unnamed Hollywood producer of The Gene Krupa Story. Gene Lees claimed it was “absolutely horrible.”

In conjunction with last months’ reprint of Bobby Scott’s story on Gene, it would have been rather nice of Gene Lees to mention my new book on Gene, and perhaps one or more of my DVDs. But that did not happen. It never did happen and it never will. See, Gene Lees, like Down Beat’s John McDonough and author Burt Korall, have never acknowledged that I exist in any way, shape or form in this universe or beyond. I’ve never understood why. The jazz community is a relatively small one by any standards. We need to stick together and support each other, not criticize, ostracize or ignore. There is one well known writer out there, and this fellow writes a lot, who is a good example of that old-timey, corn ball type of behavior. I may have told this story before, but it deserves another airing. I once sent this fellow a copy of a CD that I produced and played on. The CD was, and is, sort of a semi-private thing, and I asked this guy to please, please just don’t say or write anything if you don’t dig it. He ignored me and panned the heck out of it. He later claimed that he never got my communication about not writing anything. Right.

If these little guys get some feeling of power by panning or ignoring fellow players and writers, let them have a ball with it. But the real people out there–the really good people out there–are more than aware that that type of behavior no longer applies.

And with that in mind, be sure to consider subscribing to Gene Lees’ Jazzletter. For information and subscription rates, write to Box 240, Ojai, CA 93024-0240. Keep swingin, Gene. — Bruce Klauber, May, 2007.

am pleased to announce the “official” release of “Norman Granz Presents Jazz at the Philharmonic, Hamburg, Germany, February 29, 1956. As one of the parties who discovered this previously-unknown recording, I tried from day one to put it in the hands of a record company, so it could be released widely and properly. Sadly, no American company would touch it, and I was even told by the folks who now handle JATP material that this “wouldn’t sell.” This was hard to believe, in that it wasn’t too long ago that this same operation released a 1949 JATP discovery that featured Shelly Manne and Fats Navarro. I won’t mention names. Maybe I will. The company is Concord Jazz, now the owner of Fantasy, now the owner of JATP material. Shame on you.

The good news is that the Fresh Sound record label out of Barcelona, Spain, took this project on and have given it the absolutely stellar, first-class release that it deserves. All the credit in the world must be accorded Fresh Sound founder Jordi Pujol and those associated with the release. Jordi is a man of taste and a man of integrity. His Fresh Sound label and its various imprints are simply spectacular. If it were not for him, an entire generation of young listeners would miss the chance to hear hundreds of jazz legends. And veteran fans are now able to rediscover their favorites.

For those who may have forgotten, this concert featured a scaled-down but quite swinging JATP crew, including Dizzy Gillespie, Roy Eldridge, Illinois Jacquet, Flip Phillips, Oscar Peterson, Herb Ellis, Ray Brown, Ella Fitzgerald, and playing the entire concert on drums, none other than Gene Krupa. Fresh Sound has not only digitally remastered the music, but has included two gorgeous and informative booklets. One was written by yours truly and other is the actual program–in German–from this concert.

The deluxe, two-CD set is extraordinary in every way. It is available all over the web, from places like EJazzLines.com, Worlds Records.com, and many more. I do urge you to go to the www.FreshSoundRecords.com site, if only to check out their hundreds of other great CDs.

Bopworks’ Chris Bennett and I are poised to begin production on the “officially sanctioned” Gene Krupa drumstick. We are just waiting for the official go-ahead by the Krupa Estate. The stick itself, as previously mentioned herein, is an exact duplicate of the 1948 Slingerland model. Each pair will have a replica of Gene’s actual signature. Very, very instrumental in helping to bring all the parties together is drum great and bandleader Mike Berkowitz. Michael, from day one, has been generous with his time and with his knowledge. This could not have happened without him. We are happy to be carrying Michael Berkowitz and the New Gene Krupa Orchestra’s initial CD. We hope and trust that we will have the honor of carrying his forthcoming release. I’ve heard a lot of Krupa tribute bands, including my own, going back to the days of–does anyone remember?–Brent Brace. Michael’s is the best of all. And by the way, Michael Berkowitz will be the first, official “endorsee” of the Gene Krupa model stick (until I try them first).

There is a new drum magazine in the marketplace, and it’s a darn good one. “Traps,” subtitled “The Art of Drumming,” comes from the good offices of Enter Music Publishing of San Jose, CA, edited by industry veteran Andy Doerschuk. Currently a quarterly, “Traps” is an exquisitely designed and produced publication that is heavily geared in favor of jazz. Indeed, their latest–and second issue–is devoted to Jeff “Tain” Watts,” who is given almost book treatment. Other pieces concentrate on the drummers of Blue Note records, the Motown giants. equipment reviews (including Bopworks drumsticks), and an analysis of the drumming of the one and only Mitch Mitchell. With your loyal interest and support, “Traps” will hopefully go monthly. They deserve to. Their stellar stable of writers includes giants like Chip Stern, Bill Milkowski and Bobby Sanabria. I think I’ll give them a call and see if they need another writer. For subscription information, log onto TrapsMagazine.com. I wouldn’t steer you wrong.

Many of our good international visitors are aware that I am in Naples, Florida, the southwestern portion of the state. My most significant other, the great jazz singer and photographer Joy Adams, has just undergone hip replacement surgery here. Joy is directly and indirectly responsible for JazzLegends.com It wasn’t too long ago that I wouldn’t have anything to do with computers. Joy bought me my first one in 1996, and here we are. She is doing very well in rehabilitation and will hopefully be home here in Naples as you read this. I know Joy would love to hear your good wishes via email, so open up your hearts and contact Joy at: DrumAlive@aol.com. Better yet, consider obtaining her superb CD, “Joy Adams Sings the Classics,” listed on the CD page of the JazzLegends.com web site.

Above all, keep swingin’.

Bruce Klauber April, 2007