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OBITUARY RICK STONE: guitarist, composer, family man, teacher.

RICK STONE was born in Cleveland, Ohio and died in New York City on July 29, 2016. He attended Berklee College of Jazz. After he came to New York City he went to Barry Harris’s Jazz Culture Theatre, where he sat in with Clarence “C” Sharpe, Tommy Flanagan, Lionel Hampton and Junior Cook and studied improvisation with Barry Harris. At Queens College he received an MA in music, where he studied with Tony Purrone, Ted Dunbar, Jimmy Heath, Donald Byrd.

A sought after teacher, Mr. Stone won two awards from IAJE for Outstanding Service to Jazz Education. He taught at Hofstra University on Long Island and Jazzmobile. A nationally recognized musician, he won several NEA performance grants. He toured South America and South Africa with his own trio, and toured Italy as a guest artist. He performed regularly at Sette MOMA. He worked with Sol Yaged’s combo for several  years. At a gig at Swing Café, he performed duos with noted guitarists Peter Bernstein, Mark Elf, Freddie Bryant, Roni Ben-Hur, and Peter Leitch.  He performed at Birdland, The Smithsonian Institute and Carnegie Recital Hall. He performed with musicians like Kenny Barron, Richard Wyands, Eric Alexander, Vernel Fournier, Dennis Irwin, Billy Hart, Harvie S, and Joe Strasser. He wrote for Just Jazz Guitar, Guitar Life and Mel Bay music books.

As a player, he had exquisite virtuoso technique, clean lines, but was able to play with tenderness, sensitivity, contrapuntal propulsion and grittiness. Rick Stone achieved that sought after prize as a jazz artist, a distinctive voice as an improviser and his own sound. Sometimes he became abstruse, using many substitutions because he was erudite. A number of his compositions are among the finest of his generation, and he added to the collection of jazz standards, both recorded and left to posterity on paper. His personal spirit always uplifted those around him on the scene. Although not a native New Yorker, he acquired a sense of humor based out of New York City. One of the most gifted and well loved  jazz musicians of his generation, he leaves a place behind that no one can fill as he developed his gifts into a unique and sincere voice.

Several albums, “Blues for Nobody,” “Fractals,” “Far East” and “Samba de Noviembre” won acclaim and were nationally recognized on the airwaves.  An adoring husband and father, he is survived by his wife Idelle and children, Alexander and Ilessa. He died July 29, 2016, in New York at the Bellevue Hospital Hospice from a rare brain cancer. A well loved member of the New York jazz community, friends are now compiling archives produced in his own studio of performances and original compositions.




Charles McPherson Quintet at Dizzy’s

By Lionelle Hamanaka

July 28, 2016 at Dizzy’s, Charles McPherson presented his quintet, with Himself on alto saxophone, David Wong on Bass, Jeb Patton on piano, Yotam Silberstein on guitar, and Chuck McPherson, drums. The stunningly beautiful skyline over Central Park was an apt background for the evening’s music. The first few selections were originals, leading off with  “Marionette”  at about 140=quarter note, a song of  post bop modernism, with dynamic and fluid rhythmic ideas by Chuck McPherson, and a pianist and bassist who were locked in. “Marionette” is an exciting modern piece that  captured the angst so widespread these days, of a society and world in flux. Silberstein played a blues tinged lyric solo. Jeb Patton’s feel continues to evolve, his playing encompassing the whole piano heritage. He played a lot of scale runs in fourths, with a sold triplet framework. Jazz has always accurately reflected U.S. Society’s woes and moods, and in McPherson’s solo continued to ride the crest, with accelerating upbeats on the 2 and 4. Chuck McPherson played with assurance and consistent swing. The ensemble faded in diminuendo for a subtle ending.

“Nightfall” a ballet that McPherson wrote for the San Diego Ballet, was about 116=quarter note in 6/8. The composition fused contrast with implied dancer’s movements, with accents on the second beat of the triplets, switching to accents anticipating the downbeat in the B section. Like the lullaby of a somnabulant dreamer, one could visualize the leap of dancers movements. Yotam gave a dreamy  poignant solo accenting blue notes at the height of a phrase, seeming to express the hopes and fears that night brings on. Subtle coloring by Chuck McPherson with Dave Wong and Jeb Patton in strong simpatico. McPherson played an elegy to the longing and searching of a soul encountering many obstacles, seeking a path through the darkness. His lines evoked both the paradise-like quality of dreams and their lack of resolution. Jeb Patton expressed the same feeling of discontented searching. His solo had impressionistic beauty ending in double fisted chording. Patton first played piano rolls that reached a peak and seemed to traverse the starry night sky, building with some octave rolls while McPherson played harmonic long tones. The rhythm section then played ascending long tones over the drums, with some comping from the piano as contrast. The original A section re-entered, as if to say “Sometimes, it’s about the quest,” and the piece ended in sustained double pianissimo fade.

“Spring Is Here,” by Richard Rodgers was played at a fast 200 instead of the ballad feel usually imposed. This lovely Rodgers tune raised the temperature with a sunny tonal quality as McPherson flew through all registers, asking the perennial question, ‘why shouldn’t one be feeling happy in spring?’ Leave it to a master to find new ways to pull magic out of a song—well-that you’ve heard before. Reaching for joyousness and finding, with explosively wide intervals that seemed to piece the ceiling. Jeb caught the enthusiasm and ran with it, doubling the tempo in scale runs, then breaking up the time and creating rhythmically and melodically inventive licks—using the rhythmic licks of the song to propel the band. Yotam Silberstein skipped around, using a lot of space, then filling the space with three note licks that were scalar based, logical comments, playing patterns and then answering them. Dave Wong played a solo alive with the vibrancy of a young explorer in the open air, adding a refreshing sense of space with a pretty tone that sounded influenced by Pettiford. Chuck McPherson played a short solo with a personal feel and color. The song ended on a sustained high tone after the saxophone created a cadenza.

“Embraceable You,” by George Gershwin, at about 96=quarter note, with a beautiful bass tone and deft drum background. McPherson used an intimate but fat tone, creating phrases of melody using fast scalar lines, with a phrasing that continually surprised the audience in its multi rhythmic complexity, telling a story of intimate involvement, the highways and byways of love delivered with swinging assurance. Mr. McPherson seemed to always find an unusual note to land his phrases on or bring it to its height and remains one of the masters of melodic invention in his improvisation. Silberstein played a cool solo, and Jeb Patton’s articulation was all the more cutting because he seemed to feel all the subdivisions of the beat—his accents were sharper. Wong used scale runs and some repeated seconds, following close to the melody. McPherson took the out chorus, showing the recesses of his emotion—he always manages to make that soul-felt cry. He ended in a cadenza echoing overtones as if his love was infinite.

The quintet played “Lover” at over 300, McPherson later quipping, “I know it’s a little fast.” He played the A section and Yotam played the bridge, the tempo pushing them to a passionate pitch, where the audience sat on the edges of their seats. Yotam’s solution was to play fewer notes using space, interspersing phrases. Jeb let go of his mind and just played the changes. It was really a showcase for the drummer, Chuck McPherson, who retained the tempo and enjoyed the workout, projecting his own sound. The whole house was excited as the band ended on a final long tone.

“The Seventh Dimension” was played at a medium tempo, with the first section at about 120=quarter note, a short note followed by a long tone, repeated throughout Section A, adding a third note that led to a segue with a bluesy sound. Yotam played the first solo, phrasing in an elided fashion, crossing over bar lines, which was very effective, transposing a classical device to jazz. He followed with several different patterns with a bluesy tinge, and sometimes landed on a cluster. McPherson entered with complex lines as if he were already in another space , playing mostly in a solid mid to lower register, using many substitutions and going off as if he were exploring outer space. A great song that captures the quest for a new world in of all places – outer space. McPherson’s spirit was very assertive and determined, he swung in an innovative way, a valid extension of post bop progressive jazz. Jeb Patton played crippled and original phrases, playing clusters and sounding influenced by Monk. Wong has a mysterious sound with a round center, developing some edge to his articulation. The theme was restated, kind of vamping like a visitor from outer space-a theme with danger in it. With blues phrases, that seemed to bring it all home, the song ended in a diminuendo.

Finally “Tenor Madness” by Sonny Rollins about 250=quarter note, a feel good tempo, with some snappy New York hipness to it. Yotam had a good feel. He tends to grab and worry licks and repeat till he runs into another to contrast, interspersing it with chords. McPherson caught Yotam’s last phrases and developed it, his style showing how to accent different corners of a beat to create drive using substitutions in a logical pursuit. His long lines those of a veteran runner of jazz marathons, using his extreme registers, and seeming to float over the form as if it were not limited, but freeing.  Jeb sounded like he lit his own fire and took off, starting with a three note licks, adding oddly voiced chords, a strand of pearly and lyric lines. Chuck did a fiery and swinging solo, of controlled power. He seems to have come into his own, expressing New Jersey at its best (Sass and Count Basie did come from NJ). The group then traded licks in ever diminishing measure counts. Yotam and McPherson seemed like a jazz odd couple, finishing the set on a note of triumphant.


Don (Ernest) Friedman (May 4, 1935-June 30, 2016) was born in San Francisco to music-loving parents, who started him with classical piano lessons at five. He improvised anyway, though not yet introduced to jazz. Los Angeles was the capital of west coast jazz at the time and after Mr. Friedman’s family moved to the San Fernando Valley, he went to the Hollywood Palladium to hear the Les Brown, Stan Kenton, Billy May bands. He listened to Lee Konitz, Conte Condoli, and Frank Rossolino, veering from classical to jazz. He studied with Sam Sacks and learned the solos of Charlie Parker, Sonny Rollins and Miles Davis by heart. On weekends, he played at The Dry Nightclub with a sister and brother act. The sister played clarinet and the brother played trumpet. The Dry Nightclub showcased teenaged bands. On the west coast, he worked with people like Dexter Gordon, Chet Baker, Buddy DeFranco, and Ornette Coleman. His first records were as a sideman with Hank DeMano and Jack Millman.

He went on tour with Buddy DeFranco and played at Birdland in New York and Basin Street. That convinced him to move to New York in 1958, where he formed his own trio, and also played with Pepper Adams, Booker Little, Chuck Wayne, Elvin Jones, Charles Lloyd, Herbie Mann and Jimmy Giuffre in the 1960’s. When Scott LaFaro moved to New York they became roommates. Mr. Friedman and Scott LaFaro worked with singer Dick Haymes at a club called The Living Room on the lower east side.  Orin Keepnews recorded Mr. Friedman in the 1960’s on Riverside, producing four trio LP’s. In 1965 Mr. Friedman won in the New Star category in the Critic’s Poll in Downbeat.  He recorded on Riverside, Prestige, East Wind, Stash, Concord, Progressive, Steeplechase, Sackville, and other labels.

Don Friedman worked with Clark Terry’s big band. He began teaching jazz piano at NYU and led the jazz ensemble at the time. He recorded over 50 records on various labels, most of them featuring his own trio, and his own lovely songs. He also recorded with stars like Lee Konitz, Lew Tabackin, Charles McPherson, Scott LeFaro, Clark Terry, Max Roach, Harold Ashby, Joe Henderson, Attila Zollar, and others. He performed most recently in New York City at Mezzrow’s and the Kitano. Mr. Friedman developed what all jazz musicians want: to discover their own unique voice, a beautiful tone, expressing his romantic, passionate personality, knowing the whole piano repertoire and its devices, playing with imagination, fire and his own color scheme. He was also a beloved teacher.


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Tribute/Fundraiser for Rick Stone Saturday, June 11, 2016, 7:30-11:30 PM

The Bar Next Door was packed for the 7:30 set, hosted by Peter Mazza, organized by Nick Moran and Carol Leven. The set featured originals by Rick Stone, a noted composer who combines sensibility of post progressive jazz, with swing and blues, and an improviser whose recordings showed a personal take on the work of Monk and other bebop repertoire delivered by a distinctive modern guitar voice. Harvie S. was on bass and Joe Strasser  on drums. Chris Drucker took some photos that will be on site shortly. I was sitting next to Francine Morin, a singer, and the audience was a combination of friends, fans and some veteran jazz musicians who popped in like Winard Harper and Mark Morganelli in a display of love and recognition. Rick Stone has a home studio that is on a professional level, and while sidelined by his illness has taken up with fierce determination, the role of producer and archivist of his own oeuvre spanning decades, with the same commitment he showed to the music as student, teacher, composer and player, certainly one of the best of his generation. Nick Moran  is one of the main people that is assisting him in this effort.

The photographs below were taken by Chris Drukker, a friend of Rick Stone.



































IMG_2519_lIMG_2494_l IMG_2328_lTriad Blues (?) was first–is this a misnomer; a modern blues with a whole tone melody played at about 120=quarter note. Mr. Strasser broke up the beat with some rolls and compelling punctuation; nice appropriate solo triplets with accent on the third note by Mr. Mazza in ascending patterns, who then switched quarter note licks. Mr. Moran was alternating 8th, 16th notes, with runs and quarter notes, with a few triplets and notes thrown in from blues scale in mounting intensity, Mr. Strasser providing a sensitive frame staying in a funky blues groove. Mr. Mazza expressed his friendship and affection for Rick Stone and said he often wrote songs featuring a new device or something he was trying to master about music.

We are all much more than our ‘job’ — our relations with people and how we treat them, and in this everyone at the Bar Next Door seemed to agree that he was a star in the friend, teacher, husband, and father departments as well as jazz. No one could remember an instance of Rick Stone being jive, phoney, conceited or otherwise polluting the human environment, although all agreed he is gifted in the loquacious department. It became clear during the evening that his music was advanced and difficult to play.

Rain Forest was next, from Fractals, one of Mr. Stone’s cd’s, featuring Nick Moran starting with a gentle rubato with a pedal point device, then the bass and rums came in, to a Latin beat about 116=quarter note. The melody is plaintive and sweet; the improvisation of Mr. Moran focused on neighboring tones, seconds, with some nice fills. Lovely counterpoint by Harvie S. with mysterious quality with a circular sounding motif to end the tune.

Then singer Carol Leven sang “Scoby” a blues about Scoby who was a tap and sand dancer featured in one of Barry Harris’s concerts. The lyric by Holly Ross, that was a good fit to the melody, was sung almost completely on the upbeat and well phrased by Ms. Leven at about 104=quarter note. Ms. Leven began the song in a duo with Harvie S. who played a tasty solo related to the theme.

Gene Bertoncini was the featured star of the set, who plays the nylon string guitar with no electric amplification, on which he attains a unique, sensitive, and personal sound; and he is the rare musician whom you can tell feels the subdivisions of a quarter note down to the 16ths. He doesn’t play faster than he can feel those subdivisions and has a sense of swing within those tempos. He played “I Remember You,” first chorus rubato with two notes, the melody and a harmonic note, then with chords, then with obbligato rolled chords, section by section, then he went into double time about 140=quarter note in a soft swing, in a poetic rendition and improvisation, with incisive quarter notes. His playing was just as effective or perhaps moreso than much louder players without inner fire.  Harvie S. played a fluid solo accenting the high note of the phrase, then accenting some blue notes, with an intricate web of rhythms laid down by Mr. Strasser just with brushes. Then they traded 4’s with Mr. Strasser in nice trio counterpoint. Mr. Bertoncini cane make one note sing and brought the song to a rubato ending. Mr. Bertoncini then played “In Loving Memory,” an original by Rick Stone, in his own arrangement, a lovely song with a tender melody, that he framed in again a two note delivery, melody and harmonic note, rolling chords showing off the guitar as an intimate, personal lyric instrument.  After that he was invited to do another, so Mr. Bertoncini did “Once I Loved,” in a meaningful way from his own experience, to a latin beat, energized by the perceptive drummer with good taste, Mr. Joe Strasser, at about 138= quarter note, the beat was subdivided beautifully by Mr. Strasser, who delivered the rhythm like a string of exquisite tiny jewels, and made everyone sound good. Harvie S. was a precise and lively spirit, played with laser focus, before Mr. Bertoncini brought back the melody and took it out. Harvie S. and Joe Strasser performed with Rick Stone for years, and they have the compatibility (the same rhythm) and swing born out of years of playing together.

Nick Moran and Carol Leven then made announcements for you the general jazz public, which was that they are compiling hundreds of recording sessions to make available about four cd’s. to do so, they’re doing an Indie Go Go campaign, and everyone can contribute and ask their friends to join in to hear some really fine music. They want to raise 10,000 to produce these cds. So please go to Indie Go Go and look for the Rick Stone campaign.***

Later sets were scheduled to feature: Dan Adler, Sheryl Bailey, Peter Bernstein, Tom Dempsey, Joe Giglio, Tomas Janzon, and Audrey Silver. The first set featured Gene Bertoncini, Peter Mazza, Nick Moran and vocalists Carol Leven.  Harvie S, bass and Joe Strasser, drums were Rick Stone’s partners in crime, scheduled to play at this gig turned fundraiser, a celebration of the original music of Rick Stone, one of NYC’s premiere jazz guitarists. Rick was recently diagnosed with brain cancer and can no longer play. The Bar Next Door has turned his originally scheduled gig into a fundraiser to support the Rick Stone Archival Recording Project to keep his extensive musical legacy alive. All proceeds from ticket sales will go to the project. Admission includes first CD to be released. The night will also be the launch of the fundraising campaign. So if you can’t attend please see Indie Go Go. Sets at 7:30, 9:30 and 11:30. Thanks to the Bar Next Door management and Peter Mazza for facilitating this event!

Please share this event with your friends!

RICK STONE Saturday, June 11, 2016 from 7:30 PM to 11:30 PM (EDT)

The Bar Next Door – 129 MacDougal, New York, NY 10012




April 27, 2016 there is a tribute still going on to our dearly beloved Rick Stone who has been taking some sick days lately. Since he had a gig at Mezzrow’s, some friends stood in for him tonight, Tardo Hammer, Harvie S., and some guitarists–Peter Mazza, Gene Bertoncini, Peter Bernstein. The place was packed–we saw Ralph Lalama, Burt Eckoff, and others and it was hard to find a place to stand, forget about sitting down. Almost everyone there seemed to have known Rick in some way or another;

LEFT: MEGAN and STEVEN, a former student of Rick Stone

IMG_3742stone 009as a student of his, a friend from the jazz world, or an admirer who had heard one of his CDs.

Tardo Hammer, Peter Mazza and Harvie S. started the set playing “Time After Time,” (Jule Styne). Dense voicings with a resonant sound characterizing an arrangement of Mr. Mazza. Tardo played a triplet infused, warm solo sounding like a reminiscence of good times and bad, perhaps the stumbling of two stablemates finding their way through the musical times of their generation. In an understated solo that was filled with a sense of expectation and discovery, Tardo was playing in the moment. Mr. Mazza used wide intervals and patterns that skipped at a lively pace. Using the melody Harvie S. played a soulful solo with some blue notes, with excellent articulation. Then the group reunited for the out chorus at a swinging tempo, about 130=quarter note.Person after person expressed their love for Rick and spoke of him as a person who always encouraged others and spoke well of other people.

Gene Bertoncini said, “I think I’ll play a love song. It’s all about love anyway.” As if each note were a descending teardrop, that settled into a n easy swing at about 148=quarter note, played with delicacy and sensitivity in tumbling phrases. Tardo played some phrases reminiscent of Wynton Kelly, and then took off in spiral bebop–as if asserting “we speak bebop here,” variations on “I Hear A Rhapsody,” (George Fragos, Jack Baker and Dick Gasparre). After which Harvie S. alternated phrases with Gene in a brilliant duet. Then Tardo came back and Gene and he did a duo for a chorus before taking the song out. “But Beautiful,” was then played by Gene Bertoncini as a solo feature, with exquisite feeling.

Peter Bernstein came and livened up the pace with “In Walked Bud,” (Monk) at about 175=quarter note, playing joyous phrases with incisive articulation on the Monk standard. He also played rarely heard clusters, with a slightly irreverent sense of humor. Tardo responded brilliantly, spinning off equally surprising phrases that seemed to leap in midair. Harvie S. used space well on his solo and you could hear the subdivisions of the beat; he played very vibrantly. Tardo and Peter traded 8’s, Tardo starting off with clusters, and Peter responding with wide intervals in his motifs. The three ended the song with finesse.

“Embraceable You,” was next a beautiful ensemble version with perfect balance between the three. Tardo wove melodic arcs that were perfectly phrased, whenever he repeated a motif within the song it seemed to be a reiteration of love. Harvie S. played intimately with tension, often in two registers within one phrase. Peter played with virtuosity, using very widely voiced melodic lines. The audience applauded with warmth and the gentleman at the mike said someone would be coming around taking photos and sound clips.

Let’s praise the Creator that these wonderful music people are here!

DANCE with his band:  Sunday Brunch at Swing 46
Every Tuesday and Friday at Swing 46

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Friday, June 10, 2016
Valery Ponomarev’s OuR Father who art Art Blakey, 7:30 and 9:30 PM at Zinc

Birthdays: Chuk Fowler, Alan Kamen, Maria Romano, Kenyatta Beasley, Lil Phillips, George Gee, Eric Lemon, Randy Noel, Stafford Hunter, Bob Mover, Dave Schnitter, Noriko Ueda, Frank Senior, Katie Collins, Lonnie Hillyer, Kenny Gates, Ilya Lushtak, Richard Benatar, Alex Stein, Dealva Divine, Jim Eigo, Gene Perla, Brian McMillen, Neal Miner, Leroy Williams, Kiani Zawadi, Juini Booth, David Gibson, Elizabeth Tamboulian. Carol Fredette

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Jazz Culture Subscribers:

Richard Clements: Pianist, 11th Street Bar Mondays, 8
Luciano Fabris-Rome
George Gee Orchestra at Swing 46, every Tues, most Fridays 9:30; also Small’s in the Village at 4:30 on Sundays in April; also First Fridays at the Ballroom 4 West 43rd Street 8:30

Mike Longo: Gillespie Auditorium at the Baha’i, every Tues.
Loston Harris: Bemelmans Bar at The Carlyle; Tues - Thur 9:30pm - 12:30am, Fri-Sat 9:30pm-1:00am The Carlyle,

Joe Magnarelli Quartet Plays in South Jersey, with Dave Baron, Bass, Joe Strasser, Drums, Steve Ash,Piano,Joe Magnarelli, Trumpet/Flugelhorn, MC, at Lord of Life Lutheran Church, 1 Winchester Ct., Tabernacle, NJ 609-268-0108 www.jazzzandbluesshowcase.com on Friday May 20, 2016
John Mosca & Michael Weiss, Vanguard Orchestra every Monday at the Village Vanguard 8 p.m.

David Pearl: Mondays at the Thalia, 95 St. bet. B’way & West End 8 p.m.
Bill Saxton: Every Friday and Saturday Bill’s Place 133 Street

Murray Wall, bassist, 11th Street Bar most Mondays, 8 p.m.
ENGLAND: John Watson Trio @palm-court.co.uk John Watson Tel: 01442 217825  ww.johnpianoman.co.uk JohnPianomanWatson
Weds. Aug 3 Valery Ponomarev Big Band at Zinc Bar 2 Weds (82 West 3rd Street, btw Thompson & Sullivan in Greenwich Village, New York City, NY 10012, tel. 212-477-ZINC 9462)


SEPTEMBER, 2016, with  Five days of Master Classes
				annapantuso@hotmail.com +39 339 3383139
				lucianofabris@hotmail.com +39 328 6748724

Happy Birthday to these Wonderful Jazz People:

Birthdays: Ben Wolfe, Kevin Mahogany, Jesse Martin, Ratso Harris, Melissa Slocum, Tom Kay, Mferghu, Connie MacNamee, Phoenix Rivera, Elise Wood, Chris White, Michael Abene, Dwayne Clemons, Henry Jeria, John Hart, Brianna Thomas, Bruce Williams, Patience Higgins, Clarence Banks, Roz Corral, Ejaye Martin, Fran McIntyre,Jack Wilkins, David Glasser, Robert Anderson, Ellen Martin, Lafayette Harris, Rhonda Hamilton Carvin, Nabuko Jazz, David Coss, Charles Davis, Mark Morganelli, Marcus McLaurine, Jack Walrath, Chuk Fowler, Alan Kamen, Maria Romano, Kenyatta Beasley, Lil Phillips, George Gee, Eric Lemon, Randy Noel, Stafford Hunter, Bob Mover, Dave Schnitter, Noriko Ueda, Frank Senior, Katie Collins, Lonnie Hillyer, Kenny Gates, Ilya Lushtak, Richard Benatar, Alex Stein, Dealva Divine, Jim Eigo, Gene Perla, Brian McMillen, Neal Miner, Leroy Williams, Kiani Zawadi, Juini Booth, David Gibson, Elizabeth Tamboulian. Carol Fredette

The Jazz Culture Newsletter: Jazz Tours in NYC are available; also music teachers in various countries for students & jazz lovers. email: info@thejazzculture.com. Ads are available in The Jazz Culture Newsletter. The Jazz Culture Newsletter has been read in 80 countries. Brian McMillen is a contributing Photographer. Connie MacNamee, Kumiko and arnold J. Smith are contributing writers.” Countries: US, UK, Albania, Argentina, Armenia, Australia, Austria, Bahrain, Barbados, Belarus, Belgium, Bangladesh, Belize, Brazil, Burma, Bulgaria, Canada, China, Chile, Colombia, Croatia, Czech Republic, Denmark, Ecuador, Egypt, Estonia, Finland, France, Germany, Gibraltar, Greece, Holland, Hong Kong, Hungary, India, Indonesia, Iran, Iraq, Ireland, Israel, Italy, Japan, Jordan, Kazakhstan, Kenya, Latvia, Lebanon, Lithuania, Luxembourg, Malaysia, Mauritius, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Pakistan, Peru, Philippines, Poland, Portugal, Puerto Rico, Romania, Russian Federation, Saudi Arabia, Serbia, Seychelles, Singapore, South Africa, South Korea, Spain, Sweden, Switzerland, Thailand, Turkey, Ukraine, Uzbekistan, Venezuela, Vietnam

Link http://issuu.com/nyjazzproject/docs/feb4c?e=4903038/660106