Woody Herman led a band for six decades, and in those six decades, granted complete musical freedom to only two sidemen: Drummers Dave Tough and Jake Hanna. Because of their taste, time, ability to swing, support and play for the band, the Old Woodchopper let them play any way they wanted. In the process, Tough and Hanna became legends.

There’s a new book out about one of those legends, Jake Hanna, and it stands as essential reading. For anyone who can read.

Maria S. Judge, Hanna’s niece, has written her uncle’s biography, “Jake Hanna: The Rhythm and Wit of a Swinging Jazz Drummer” (Meredith Music Publications) and like the subject, the work is as much a “production” as it is a bio. That’s because Hanna, who sadly left us only two years ago, was quite the multi-faceted “production” himself, fondly remembered as a story teller, humorist, sports fan, family man, teacher, mentor, talent scout, and a versatile percussionist who virtually stood for the concept of swing. And the concept of swing he stood for was his concept of swing.

Obviously, a regular bio could not do in this singular case, which is why Ms. Judge enlisted the contributions of, count ‘em, 192 friends, fans, family members, fellow musicians, students and admirers. As a whole, they tell of the drummers’ many sides, ranging from genial family man and uncompromising musician, to rabid sports fan and hilarious raconteur.

Indeed, a good majority of the 192 contributors herein say something about the man’s famed sense of humor, whose pinpoint, spontaneous wit rivaled that of any professional humorist. His lines and his stories, liberally sprinkled throughout, will have you laughing until you gasp for what’s left of breath. Start with the story he tells about Buddy Rich with Sam Most and the sextet in Chicago.

Above all, of course, Hanna was a drummer, with legions of admirers in and out of the business. Drummers of every style and age—including Charlie Watts, no less—worshipped him. Though Judge’s work is not an instructional book or educational manual, there’s plenty of meat here for drummers about Hanna’s style, philosophy, technique, drum tuning, the art of playing brushes and cymbals, his thoughts on equipment, and opinions on other drummers, musicians and singers. And sure, though he revitalized the bands of Maynard Ferguson and Woody Herman much in the same way as Louie Bellson revitalized Duke’s band, he was a superb small group player and accompanist to singers, was instrumental in the formation and ongoing success of the Concord Jazz label, was responsible for convincing Rosie Clooney to come back to the business, and set an example for jazz and for integrity by becoming the first player to leave a lucrative studio position to play jazz exclusively.

As just one example of how highly he was regarded in and out of the jazz community, when Bing Crosby returned to live performing for the last several years of his life, he only wanted one drummer backing him: Jake.

In describing Jake Hanna, two of the phrases that crop up again and again are “one of a kind,” and “they don’t make them like that anymore.”

How true. But as funny as he was, to Jake Hanna, it was all about music.

Guitarist Howard Alden was right on the mark, saying, “…He was all about music. There was a sincerity and honesty in his playing, and if you played sincerely and honestly with him, he would like it and respect it. He had no tolerance for bullshit. When he played he was behind every note, there was no trying to put on airs. He was completely in service of the music, the beauty and the swing.

“Jake was the most sincere, no-nonsense musician on any instrument, not just drums. Every note was from the heart and was full of integrity.”

It’s not certain whether awards are given out for books like these. If they’re not, there should be. If they are, Maria S. Judge should win it.

Evidently, the JazzLegends.com audience is valuable enough for a number of spammers to post their junk on the Community Pages. Rest assured that we’re doing everything possible to get rid of these rude clowns and to ensure that our pages will never be graced by them again. And believe me, my friends, if it takes MAKING THEM AN OFFER THEY CAN’T REFUSE, I’ll do it. Thanks for your patience and understanding.

By the way, look for some fabulous new material coming soon, including a rare Basie concert, Jo Stafford with Torme’ and Ella, and some neat MP2 stuff.

Those who remember the firery, hard-swinging, uncompromising, perfectionist known as “the world’s greatest drummer” may be in for a surprise after perusing the following.

Before moving on, however, bear in mind that Buddy Rich was, for a good part of his career, as much a part of show business as he was a part of jazz. As a sideman with the orchestras of Bunny Berigan, Artie Shaw, Tommy Dorsey and Harry James, part of his job description was playing shows, backing star singers and dancers, drumming for floor shows, etc. All of that was just part of the gig, plain and simple. Even a glance at a detailed Coltrane itinerary shows that, in the course of a nightclub gig, the tenor genius had to play for a floor show.

How times have changed, and I don’t know if it’s for the better. Cutting shows, as it used to be called, was a marvelous learning experience for all players. Presumably, that just no longer applies today.

The following list does not claim to be complete, only representative of some real showbiz greats and near-greats who you never would think of as on the same bandstand–or in the same radio studio– as Buddy Rich.

These were before the days when another drummer was brought in to play for the “name.” In those days, Buddy played for one and all.

Unless otherwise noted, the following are Tommy Dorsey radio broadcasts featuring Buddy Rich at the drums:

WIth Red Skelton in the film “Ship Ahoy”: 12/41
With Dinah Shore:9/29/42
With Spike Jones: 9/29/42
With Lucille Ball: 11/42 and 9/10/45, the latter in the film “Dubarry Was a Lady.”
With Gene Kelly: As above.
With Bing Crosby: 6/18/44
With Gracie Fields: 9/25/44
With Rudy Vallee: 7/10/44
With Al Jolson: 7/23/44
With Jose Iturbi: 7/30/44
With Sophie Tucker: 8/6/44
WIth Phil Harris: 8/20/44
With Martha Raye: 9/10/44
WIth Eddie Cantor: 9/24/44
With DIck Powell: 10/8/44
With Paulette Goddard: 6/24/45
Janet Blair: 7/22/45
Shirley Booth: 9/2/45

Buddy Rich backed the following on the “Stage Show” television program that featured the Tommy and Jimmy Dorsey Orchestra:

With Johnnie Ray: 1/1/55
With Duke Ellington: As above
With Patti Page: 1/8/55
WIth Kate Smith: 3/12/55
WIth the McGuire Sisters: As above

On Eddie Condon’s “Floor Show” TV series:
With Sidney Bechet: 3/19/49

More trivia:
The history books have always read that Buddy Rich’s “bass drum experiment” was a “one time only” situation which took place at the Paramount Theater on February 22, 1949, when the Rich crew was on the bill with Mel Torme’. In fact, Buddy reprised his two bass drum feature on the Condon television program two more times: Playing “Old Man River” as he did at the Paramount on March 3, 1949; and on the tune “Heat Wave” on April 2, 1949.

And finally, though many, would-be future jazz greats got their starts in Buddy’s big bands from 1966 through 1986, perhaps none became a bigger star than trumpter Chris Botti, who sat in the Rich trumpet section from December of 1984 through March of the following year.

I look forward to receiving your questions, comments and additions to this list.

Though the years, I’ve had the good fortune of being involved with several charitable causes, including the Arthur Ashe Youth Tennis Foundation, Asbestos Victims of America, Mural Arts Program, Shriner’s Lulu Temple, Philadelphia Orchestra, Drexel University, Combs College of Music ,and Breast Health Foundation among them. All were and are good and very worthy causes and I was happy to help.

Then I discovered Jazz Bridge. Rather, they found me. I had known singers Suzanne Cloud and Wendy Simon-Sinkler for years and had heard they were heading up an organization called Jazz Bridge, but that’s about all I knew until several months ago.

The past few years have been challenging for everyone–myself included–especially jazz musicians. Jazz Bridge, I learned, was a non-profit organization dedicated to helping jazz performers in need. I’m told that some folks came to Jazz Bridge for help.

Jazz Bridge came to me, and without going into the particulars, you probably wouldn’t be reading this if it were not for Suzanne, Wendy and the organization. Among other things, they saw to it–quickly and without fuss–that I had the tools of my trade in hand.

Given that I’ve been involved in jazz and the entertainment industry since childhood, and given the challenge of the past several years, I can unequivocally state that what Jazz Bridge does is important, significant, essential, and in many cases live-changing. And life-saving.

For those who may know me only as that “wise guy drummer,” let the record show that I am humbled and honored to be associated with an organization such as this and with the truly wonderful people behind it.

Now, Jazz Bridge seeks your involvement by way of their first “Kickstarter” campaign, which is an effort to raise $6,000 in order to pay venue rentals.One of the missions of Jazz Bridge is to provide performance opportunities for local musicians, and this year they’re doing it with five series that will feature what may come close to 200 players.

To contribute, to help, to donate, to buy tickets to one or more of this season’s many great shows, or to sponsor, go to this link. And do it now.

http://www.kickstarter.com/projects/1704332705/jazz-in-the-neighborhood.

Again, he goal is $6,000, which, in the grand scheme of things, ain’t much. Especially for an organization that’s dedicated to harmonizing art and life.

[Excerpted from the book, “My Life in Showbiz and All that Jazz,” by Bruce H. Klauber]

The long-anticipated feature length film about The Three Stooges is now out on DVD. For those who haven’t seen it, or even for those that have, the Farrelly Brothers production is surprisingly good and often damn funny. Moe, Larry, Curly, Shemp, Joe Besser and Curly-Joe DeRita, rest their souls, would likely be pretty happy with it.

The film isn’t about Stooge history, nor should it have been, but this seems an appropriate time and place to address their extraordinary story.

In 1959 and 1960, the venerable, slapstick comedy team was in the midst of one of the most miraculous comebacks in show business history. Almost washed up by 1958, when their 23-year Columbia Pictures contract for short subjects was cancelled, a number of television stations around the country purchased a bargain package of vintage Stooges’ films offered by Columbia, often shown on children’s shows in tandem with Popeye cartoons. No one had high hopes for these films, some produced as early as 1935. Edited Laurel and Hardy shorts didn’t do well on television through the years. Surprisingly, the kids went wild over the three comics and they gained an entirely new audience. Cartoons were the basis of children’s programming in those pre-Sesame Street days, and The Three Stooges were human cartoons. Even in glorious black and white.

Moe Howard, who owned the act and the name, saw what was happening on television, ratings-wise, and went into action. Kids just had to see these three guys, however elderly they were at that point, in person. At the suggestion of Larry Fine, Moe hired a replacement “third stooge” by the name of Joe DeRita, who stepped in for Joe Besser. Joe (“You crazy, you”) had served for a few years as the last “Curly replacement” in the Columbia film shorts. He didn’t want to continue in the role, he claimed, as his wife was ill and he didn’t want to travel. Truth be told, Besser likely saw no future as a Curly Howard clone.

How wrong he turned out to be.

When the shorts started making some noise on television, The Stooges got a booking at what was one of this country’s legendary nightclubs, now shuttered, the Holiday House in Pittsburgh, PA. The club’s owner hired the boys to do matinee shows, with the menu consisting of hamburgers, hot dogs and Cokes. The Holiday House was sold out for weeks. In 1959, the veterans were suddenly in demand for personal appearances, merchandising deals, comic books, recordings, television guest shots, and surprise of surprises, full-length feature films. No more shorts for these guys. Philadelphia television personality Sally Starr played The Stooges’ short films on her highly-rated program, “Popeye Theater,” and one afternoon, Moe, Larry and Joe showed up in person on Starr’s show and announced they would be appearing in a few weeks in Philadelphia at the Latin Casino nightclub.

There was simply no question that I had to be there and nagged my folks—not Three Stooges fans, by the way—for weeks. They relented and I, indeed, saw The Three Stooges in the flesh. They were, incidentally, as Moe used to say, “even uglier in person than on TV.” What kid wouldn’t be unbelievably excited seeing these guys in person? I know I was, and I was so worked up that I did what any kid would do: I puked.

Fast forward to 1973. Larry Fine had suffered a stroke, Joe DeRita had retired after bombing with an act called “The New Three Stooges,” and Moe was working as a single, initially on college campuses, where he showed vintage Stooge films and answered questions from the audience. Ultimately, he found new life doing his old routines on the popular Mike Douglas television show. Howard was in Philadelphia for the Douglas program and for a gig at The TLA Cinema, a popular area theater, still in operation. At the time, I was a student at Temple University, a radio/television/film major minoring in journalism, trying vainly to get a writing position on the “Temple University News” (my family strongly urged me to learn something other than drumming). I was told by the newspaper’s editor to “stand in line.”

My thought was, if I could get an exclusive interview with Moe and submit the story to the Temple newspaper, I’d have to be hired. After all, this was Moe. I used a contact I had at the local UHF television station—the station that was broadcasting Stooges’ films daily– to help me set up an interview. The interview was scheduled at the theater for the early afternoon, and I made my way to the TLA. While almost there, the excitement was evidently too much for me. It was déjà vu all over again: I puked.

After getting straight, I met Moe Howard and found him to be one of the most intelligent and gentle people I’ve ever met, in or out of the business. He was white-haired and about 74 years old then, but he was still Moe. Initially, I addressed him as “Mr. Howard,” but he insisted I call him Moe. I told him I had been watching The Stooges on television every day since I was eight years old. “You’ve got a lot of courage, kid,” he replied.

Given that I had a good knowledge of show business by then, I figured that the only way to make my mark as a journalist was to use my smarts to come up with questions that were rarely asked. So, instead of asking Moe the usual, “Did you guys ever get hurt?” I opened with, “Moe, how long have you been working a single?”

He was impressed, and remarked that no one had ever asked him that before, and explained that after Larry’s stroke and Joe DeRita’s retirement, he finally had to break up the act. He loved working the colleges and got a kick out of the fact that all the students wanted was to get a pie in the face, thrown by the head Stooge. And if you wanted to know, the pies that The Stooges threw were filled with shaving cream.

After we were joined by his wife, Helen, Moe asked me about my interests. I told him of my drumming and interest in jazz. He then launched into a story about his friendship with Stan Kenton and how he insisted that Kenton be hired to appear in the Marine Ballroom of Atlantic City’s Steel Pier during every Stooge Pier appearance in the main theater. Kenton and The Stooges? Who would have thought?

He did not hesitate to voice his bitterness about Abbott and Costello. Moe resented that A & C were doing full-length features for years, while The Stooges were stuck in Columbia’s shorts department from 1935 to 1958. He believed that Costello was getting advance prints of Stooges’ film shorts in order to copy the original Curly. If you can sit through the dross of most of Abbott and Costello’s pictures, you’ll see the validity of Moe Howard’s claims.

We spent several marvelous hours together, and at the end of the interview, Moe presented me with the ultimate rarity: An autographed picture of Moe, Larry and the original Curly. I wrote my story and with autographed picture in hand, waltzed up to the offices of the “Temple University News.” Those in charge were astonished. I was hired instantly, and given carte blanche to write about whatever I wanted. I did interviews with everyone from Soupy Sales, Timothy Leary and Marilyn Chambers; to a feature on television’s Superman, George Reeves; and a front-page obituary of Gene Krupa.

I loved playing drums, singing and working out on the other instruments in my arsenal, but with Moe Howard’s help, I came to believe that entertainment journalism—which later evolved into writing and producing videos on the major figures of jazz– was my calling. I can thank Moe Howard for my long career as an editor, video producer, writer and author.

About a year after my interview with Moe Howard, plans were made to resurrect The Three Stooges. Joe DeRita would return to the act and long-time Stooge foil Emil Sitka (“hold hands, you lovebirds”) would take the place of Larry. Moe blacked in his hair, photos were taken and there was a contract for a feature film appearance in the works. It never happened. Moe Howard died in 1975. His autobiography, “Moe Howard and The Three Stooges,” one of a load of books about the Stooges on the market, was published posthumously two years later. In 2000, a surprisingly good television movie about the Stooges was aired to great ratings. The Farrelly Brothers’ feature stands as ample enough proof that the Stooges can–and will most likely–live forever.

The 2012-2013 Jazz Bridge schedule of performances for this year and next promises to be among the most exciting in its history, featuring a stellar array of creative, innovative, incredibly talented—and yes, swinging—jazz artists from virtually every genre’.

For further information on the performers, show times, ticket prices and other pertinent details, visit the Jazz Bridge web site at www.JazzBridge.org, Jazz Bridge’s Facebook pages, and/or the Facebook pages of yours truly.

Concerts for Collingswood 2012-2013
Shows at Collingwood Community Center
30 Collings Avenue (next to firehouse)
Media, PA

October 4th- Rhenda Fearrington
November 1st- Dan Fogel
December 5th – Sam Reed
January 3rd – Denis DiBlasio
February 7th – Fred Adams Philadelphia Heritage Art Ensemble
March 7th Bob Pollit Quartet
April 4th- Gloria Galante
May 2nd- Barbara Montogomery

Concerts for Media
Shows at Unitarian Universalist Church of Delaware County

145 West Rose Tree Road, Media, PA
October 17th – Michael Andrews
November 21st- Francois Zayas
December 19th- Father John D’Amico
January 16th- Luke Carlos O’ Reilly
February 20 Marc Adler
March 20 Dave Posmontier
April 17 Tony Miceli and Diane Munro
May 15 Pearl Williams

Concerts for the Arch Street Friends
Shows at Arch Street Friends Meeting House
4th and Arch Street
Philadelphia, PA

October 18th-Jim Ridl/Terrell Stafford (confirmed)
November 15th- Ella Gahnt (confirmed)
December 20th – Bobby Zankel (confirmed)
January 17th- Larry McKenna (confirmed)
February 21st-Tom Lawton
March 21st- Alan Nelson (confirmed)
April 18th-
May 16th- Kevin Valentine (confirmed)

Concerts for Cheltenham
Shows at Cheltenham Center for the Arts
439 Ashbourne Road
Cheltenham, PA

October 3rd– Leon Jordan
November 7th– Tony Williams
December 5th– Jill Salkin
January 2nd- Ed Wise and his New Orleans Jazz Band
February 6th-Paula Johns
March 6th- Nimrod Speaks
April 3rd Denise Montana
May 1st – Kitty Mayo

Concerts for Kennett Square
Shows at Kennett Flash
102 Sycamore Alley Kennett Square, PA

October 3rd– Lee Smith
November 7th – Terri Kleinfelter
December 5th– Tyrone Brown
January 2nd- Dave Wilson
February 6th- Mary Lou Newnam
March 6th- Hot Club of Philadelphia
April 3rd – Eddie Jones
May 1st – Sherri Butler

[Excerpted from the book, “My Life in Showbiz and All that Jazz” by Bruce H. Klauber]

My earliest musical memory? Elvis Presley. I was four years old when I used to curl up for hours by a heating vent in our row home, playing “Hound Dog” over and over again on a record player that only played 45rpm platters. I so annoyed my family that my mother finally hid the recording.

I had never heard anything like the fire that Elvis had. Though he had appeared on television programs hosted by Milton Berle, Steve Allen and Tommy and Jimmy Dorsey, it was on the top-rated “Ed Sullivan Show” that The Pelvis made his biggest splash. Watching Sullivan was a Sunday night tradition in our family, and many other families, and I eagerly anticipated seeing Elvis in action. The man was incredible, and I think I saw his first movie, “Love Me Tender,” a dozen times. In the years to follow, I saw every picture Elvis ever made, as lousy as the majority of them were. I was listening to the car radio in the summer of 1977 when the news of his death was broadcast. I still haven’t gotten over it.

Years later, I was driving home from my suburban Philadelphia office. It was in the fall and the sun was beginning to go down at around 6 p.m. All of a sudden, in the middle of the street, I saw Elvis Presley, in full Elvis regalia. Maybe all the talk was true. Maybe Elvis wasn’t really dead. I pulled the car over, began talking to him, and invited him to the jam session I was co-hosting that night in center city Philadelphia. “It’ll be cool, man,” I told Elvis. “No publicity. Come down and do a couple of tunes.”

“Maybe I will,” he said. “And thank you very much.”

Arriving home, I was white as a sheet. “Elvis” never showed up at the jam, and everyone I ever told about that scenario thought I was crazy. Six months later, I was telling a neighbor this story and found out there was a mentally challenged man who lived in the Roxborough section of Philadelphia, where I was then living, who walked the streets dressed as—and impersonating—Elvis. I guess the real Presley is dead after all. Then again, who knows?

I’ve written extensively about Elvis through the years, with a concentration on those despicable, “tell all” books that proliferated after his death. The late author Albert Goldman, who also crucified Lenny Bruce in print, was one of the more guilty parties. I won’t deny I was curious. Those who loved Elvis often wondered why he made those terrible films, recorded even more terrible soundtracks to many of his pictures, never toured Europe, rarely challenged himself as an artist, and in the end, killed himself.

Musically, he synthesized elements of blues, and the sounds of early rock pioneers such as Louis Prima and Louis Jordan. What he did was authentic and listeners could tell he “felt it.” He was also a naive country boy who, early on, put his entire livelihood in the hands of a self-serving lout named Colonel Tom Parker, an illegal alien and gambling addict who once managed country singers Eddy Arnold and Hank Williams. Parker could never see beyond a dollar sign. For years, Parker talked of writing his autobiography, which he was going to title, “How Much Does it Cost if it’s Free?”

But the Colonel wasn’t an idiot. When Elvis’ stock began to rise, he was concerned about Presley’s rep as a rebel and one who was single-handedly inspiring juvenile delinquency. He needed to institute damage control, which is why he literally forced his client to go into the army, and later, attempted to transform him into another Crosby via all those non-threatening films. Who could be more white bread than Crosby? (If only the public knew then what the real Crosby was like.)

The strategy of The Colonel worked, but in the process, irrevocably damaged Presley’s stature as a musical artist and motion picture star. There was hope for him, when the Pelvis starred in his comeback television special of 1968, but then The Colonel took the traditional route by booking him often in Vegas, and in stadiums through out the country, many of them in the non-demanding hinterlands. In retrospect, simply because The Colonel was an illegal alien and had no passport, it is impossible to conceive that Elvis Presley never gave a live performance outside of the United States. And there would be no tampering with Presley image, either, which is why Parker vetoed what may have been transforming film projects for “his boy,” including a co-starring role with Barbra Steisand in “A Star is Born.”

Elvis Presley died, I maintain, because of frustration and bitterness and because he knew his true potential was not even partially realized.

This is not “Real Estate Corner” and I’m no real estate maven, but I don’t do badly in the common sense sweepstakes.

And common sense tells me that if real estate experts want to build some kind of facility and attract big spenders, THEY SHOULDN’T BUILD IT IN A SLUM AREA.

And if they do, because market researchers said they should, THE SLUM AREA SHOULD BE CLEANED UP FIRST.

From what I’ve seen, the two-plus billion dollar hotel/casino chose not to clean up their own neighborhood, as abandoned, burned-out and decaying homes still stand just yards away from the new facility.

See, the Revel may be great inside. Getting to it, however, is anything but inviting.

And what brilliant mind determined that Atlantic City needed yet another casino?

The fact is, according to the Philadelphia Inquirer’s Suzette Parmley–who does a marvelous job covering the casino beat–Revel’s brief time in the sun may be coming to a quick end. Their July numbers, totalling $17 million and change, was far below what is needed and what was expected. Market leader Borgata, for example, led the pack with $54 million.

$17 million in July? The Down Beach Deli did better.

Given the short time the place has been open, it’s astounding that Parmley’s story should mention bankruptcy as a possibility. “The threat of an early bankruptcy has increased,” according to industry observers and gaming analysts, reported Parmley.

I’m no Criswell, either (remember him?), but from the first time I saw this place and where it was, I knew they were headed for trouble. I wrote about it and contacted–more than once–the powers that be about what I thought the problem was and how I thought it could be solved.

It wasn’t surprising that I was ignored.

Perhaps it’s not too late for them to use some common sense: If you spend billions to build in a slum, why not spend a few bucks to clean up the slum first?

In the meantime, I’d suggest to Barry Manilow, who’s booked at the Revel on September 8, that he get cash up front.

Better yet, why not book Phil Woods instead?

Check out our CD and DVD sections for new additons. On CD are the first recordings by the Goodman Trio and Quartet, and a two-CD set of JATP in Seattle, 1956, featuring the Krupa Quartet and a host of other jazz stars. We’re offering the two CDs for the price of one. On DVD are two, unaired television pilots. One is a fabulous Stan Kenton concert from 1962, the other a Pearl Bailey special featuring Ellington, Basie, Ella, Torme, Kenton, a wild Lionel Hampton segement and much much more. Coming in the near future, in response to request, are more CDs in our download shop, including the ultra-rare “Jazz Rhythms of Gene Krupa.”

MORE ANDY KAHN ISN’T ENOUGH

The name of Andy Kahn appears often in this space. That’s because I love his playing, I can’t get enough of it, and I want everyone to hear him. In the 50 or so years of our personal and professional association, I’ve heard him advance and evolve in a thoughtful, intelligent and sometimes exploratory manner. What you won’t hear from Andy Kahn are “licks” of any kind. Not Oscar’s. Not McCoy’s. Not Bill Evans’. Not Chick Corea’s. Not Paul Bley’s. Not Bernard Peiffer’s. Okay, 24 years ago he did quote from a solo by Harry “Sweets” Edison.

What’s particularly gratifying about his playing is, of course, his Great American Songbook repertoire, and that listeners won’t even be aware of licks or the lack of them. Quite simply, Andy Kahn makes a beautiful sound.

Right now, he holds the Thursday night spot at center city Philadelphia’s Prime Rib restaurant, and Fridays at Girasole in Atlantic City. I have no doubt that all or some of the other five nights per week will be eventually filled.

MARY ELLEN DESMOND AND OTHERS

Right next door to the Warwick Hotel’s Prime Rib is a space called Tavern17. Featured there not too long ago was singer Mary Ellen Desmond, backed by pianist Tom Lawton and bassist Lee Smith. It was one of the more wonderful evenings of music I’ve ever had. For the complete story, check out the re-cap on the JazzTimes.com Community Pages.

DRUMMERS…BY THE BOOK

How many drummers in history have accompanied Jimi Hendrix, Count Basie, Ray Charles, B.B. King, Charles Mingus and Charlie Ventura? And how many drummers have been on network television five nights per week for almost 30 years? Only Ed Shaughnessy. Ed has written a superb book about his life and his drumming and it’s available from Rob Cook at Rebeats.com and other outlets.

The daughter of the late and great Jake Hanna has let us know that the long-in-preparation book about her dad should be available early this fall. Jake was a colorful character and a one-of-a-kind drummer, and I know first-hand that the book is chock full of great musical stuff, and great “Jake Stories.” Check out Amazon.com for release date.

BERNARD’S BACK

Stephan Peiffer, son of pianist Bernard, and pianist/educator/musicologist Don Glanden are the behind-the-scenes “powers-that-be” responsible for the release of “Bernard Peiffer: Improvision.” Part of the Universal Music “Jazz in Paris” series, “Improvision” is the first “new” Peiffer release in a half-dozen years. This stellar project issues, for the first time on CD, two incredibly rare LPs: “Bernie’s Tune” from 1956, “Modern Jazz for People who Like Original Music” from 1960, and some private material from the 1970s. “Astounding” is the only word for this project and for Bernard. For more details, log on to the Jazz Times Community Pages.

WANT TO KNOW ALL ABOUT JAZZ? VISIT ALLABOUTJAZZ.COM

I’ll be doing more work in the near future with Michael Ricci’s AllAboutJazz.com web site. Michael was one of the first out of the box, in 1995, with a comprehensive jazz site, and it’s only gotten bigger and better as time goes on. Latest development is a wide-ranging venture that will bring to visitors—via web pages and an app—every jazz and jazz-related event that is going on in your particular town. “Jazz Near You” is slated for a September launch.

How many folks visit Michael’s site? I can only say that, as you read this, my “How to Guide” on how to book jazz into a restaurant or club will have been read by nearly 4,000 people. That’s a lot of readers,and hopefully, a lot of eventual gigs for all.

JAZZ BRIDGE TOWN MEETING EVENT

I doff my cap to Suzanne Cloud, Wendy Simon-Sinkler and all other involved parties at Philadelphia’s Jazz Bridge, who worked tirelessly to put together what I consider to be one of the most important jazz events of the decade. This was a Town Meeting, hosted by Jazz Bridge and the newly-formed Philadelphia Jazz Coalition, and it was a forum to address the great, near-great and not-so great issues that face jazz musicians in Philadelphia and nationwide. Once again, for my take on that memorable evening, visit the Jazz Times’ Community Pages.

BRUCE-O GOES TO ATLANTIC CITY

My recent visit to Atlantic City was done in secret. I wanted to be alone while visiting old haunts and keep an open mind when visiting new ones. Some nice folks from Caesars’ security staff let me know that business seems to be on the upswing. That is as it should be. It’s the summer season. The beach was packed, the new, Michigan Avenue stores seemed busy; every Jitney that passed me was full and casino floor—even in mid-day on a weekday—appeared to be doing well.

There’s even some jazz to be heard here. Pianist Orrin Evans had a recent date as a part of what was called the “Chicken Bone Beach Fesitval,” and the honchos at what once was the Playboy/Golden Nugget/Bally’s Grand/Hilton—and now the Atlantic Club Casino Hotel—are booking jazz on Sunday nights. Recent visitors included pianists Alan Broadbent, John Coliani and Jim Ridl, often heard in duo formats. How about booking jazz seven nights per week?

With the untimely death of Resorts co-owner Dennis Gomes in February, surviving partner Morris Bailey was looking for another co-owner and has found one in the form of the Mohegan Tribal Gaming Authority. These folks know what they’re doing and hopefully will continue to breathe new life, a new life started by Dennis Gomes, into A.C.’s oldest casino.

The same old problems still exist here, however. Urban blight and decay, abandoned lots and homes are on view, often yards away from billion-dollar hotel/casinos. Regular Atlantic City visitors are used to this. Newcomers are not. Doesn’t anyone down there realize that no one wants to see this in what is supposed to be a resort town? And what happened to the promises that were made from the day gaming was legalized in 1978? Until things are really and truly cleaned up, this town will continue to be in trouble.

MARVIN HAMLISCH: 1944-2012

Composer/conductor/pianist Marvin Hamlisch’s sudden death at the age of 68 on August 6th was a shock. He did a conducting gig as recently as July 21 and had just completed the score for the musical stage play of Jerry Lewis’ “The Nutty Professor.”

Hamlisch was not a jazz man, nor did he profess to be, but he was the last of a breed of “old time tunesmiths” in the tradition of Great American Songbook composers. Call me a cornball if you will, but you could whistle Hamlisch’s tunes. And you could dance to them. There was elegance, wit, musical logic and exquisite simplicity in many of his tunes. Even Sinatra dug him and tried to make a hit out of Hamlisch’s “There’s Something About You,” written in tandem with frequent partner, Carole Bayer Sager.

Sadly, and I didn’t know of this until his death, Marvin Hamlisch was being strongly considered to replace Philly Pops’ conductor Peter Nero after Nero’s planned departure at the end of the 2013 season. That would have been great for this city. And for music.

ROBERT BRASLER: AN APPRECIATION

Bob Brasler’s obituary did not appear in Down Beat magazine, and the flag in front of the A.F.of M. Local #77 wasn’t flown at half-staff upon his death. That’s because Bob was best known as being one of this area’s most innovative real estate developers and forward thinkers, responsible, in good measure, for Philadelphia’s National Constitution Center.

But musicians loved Bob Brasler, who passed away at the age of 75 in June, and Bob Brasler loved musicians. It didn’t matter what the nature of the social or charitable gathering was. All he needed was a piano player, and Bob would end up singing half the night.

The trio of pianist Andy Kahn, bassist Bruce Kaminsky and yours truly, accompanied Bob frequently through the years, often at the Arthur Ashe Youth Tennis Foundation headquarters (an organization, by the way, that Bob and his darling wife Sibby virtually put on the map) and most recently at his 75th birthday gala. Bob’s singing was an important part of these occasions, with charts, keys, lyrics and song lists submitted to us long, long in advance.

When Bob died, I got a call from Sibby, saying that Bob insisted, shortly before his death, that our trio play at his memorial service. I wasn’t surprised, but I was touched and honored.

This guy put on a show. And a heck of a show it was. He was one hell of an entertainer, and one hell of a human being. Wherever Al Jolson has been residing since 1950, I know he said the following when hearing of Bob Brasler’s arrival: “Brasler’s here? Oh, shit.”