UNH Traditional Jazz with Hyman and Appleyard

On Monday, Oct. 18, the UNH Traditional Jazz Series continues with an intimate performance of standards by the duo of pianist Dick Hyman and vibraphonist Peter Appleyard. The show begins at 8 p.m. in Johnson Theatre at the Paul Creative Arts Center on the UNH campus in Durham.

Both musicians have years of diverse musical experience, including past appearances in this series. Hyman studied with jazz piano great Teddy Wilson, toured with Benny Goodman, was the pianist in a famous early 1950s video of Charlie Parker and Dizzy Gillespie on the Earl Wilson show, and has written numerous scores for Woody Allen films. He is recognized as an eclectic performer who can cover a wide range of styles within jazz, as well as outside the idiom.

Appleyard has had an equally diverse career, beginning in his native England in the 1940s playing in various local bands, including the RAF Band. He emigrated to Canada in the early ’50s, where he performed with Goodman, Buddy DeFranco, Peanuts Hucko, Herbie Mann and Mel Torme. Together with Hyman’s piano, the duo will explore a wide range of tunes from the American songbook. For more information, contact the UNH Music Department at 603-862-2404.

Jazz sessions in Rye
A new weekly jazz session has begun at the Pannaway Restaurant at 150 Lafayette Road in Rye. The free sessions feature vocalist Wendy Nottonson and a rotating cast of musicians, including pianist/saxophonist Charlie Jennison, guitarist Ken Ormes and bassists Tim Webb and Jim Leyden, among others. They take place on Fridays from 7 to 10 p.m. Call the Pannaway at 603-319-4200 for more information.

'Bitches Brew' at 40
Last month, Sony Legacy continued its milking of the cash cow known as the Miles Davis Columbia Records catalog with the 40th anniversary edition of “Bitches Brew,” which comes in two different versions. The larger package includes the original two-LP set, the two-CD reissue, a single CD of a live 1969 performance in Europe, and a DVD of a live performance from 1970, as well as the requisite extended booklet of facts, photos and essays, all for around $150. A more reasonably priced “Legacy Edition” includes the two-CD set and the DVD for around $20.

Recorded in 1969 and released in early 1970, “Bitches Brew” followed in the wake of Davis’s earlier jazz-rock effort “In a Silent Way.” “Brew” was an expansion on that classic, a heady blend of jazz, rock and funk grooves that symbolized a new, more open approach to the concept of improvisation and how it could fit into the newer music of the times. There are those, myself included, who feel this album was the second most important recording Davis released after “Kind of Blue,” which celebrated its 50th anniversary with a similar release in 2009.

“Bitches Brew” codified the experiments in jazz-rock fusion that came before 1969, while also setting the stage for a second wave that emerged in 1970. The early wave included Jeremy Steig & the Satyrs, Count’s Rock Band, The Blues Project, Cream, King Crimson, early versions of Santana and Blood, Sweat & Tears, and the first edition of The Tony Williams Lifetime. The exploratory influence of the late John Coltrane was prevalent, as were the music of Marvin Gaye, James Brown, Jimi Hendrix and Janis Joplin.

“Brew” featured a number of musicians who would go on to further fame in fusion’s second wave. In addition to Davis on trumpet, the core band included Joe Zawinul and Chick Corea on keyboards, John McLaughlin on guitar, Wayne Shorter on saxophones, Bennie Maupin on bass clarinet and flute, Dave Holland on acoustic bass, Harvey Brooks (from the band Electric Flag) on electric bass, drummers Jack DeJohnette and Lenny White, and percussionists Don Alias and Jumma Santos.

“Bitches Brew” is a classic, seminal recording in jazz history. Given the somewhat stagnant nature of jazz today, we could use someone like Miles Davis to reenergize the music and push it in new directions. Until then, we have documents such as “Bitches Brew” to remind us of the promise this music has.

The legacy of Pete Marino
In closing, a few words on the recent passing of local musician Pete Marino. Pete was a Manchester-based saxophone and flute player and a teacher who inspired students, musicians and music fans, alike, with his Lester Young and Stan Getz inspired approach to jazz. He was my first clarinet and saxophone teacher and gave me good guidance in my early years.

Pete and I recently reconnected in Gerry Grimo’s East Bay Jazz Ensemble from Vermont. Playing with Pete in this band reminded me not only of what a remarkable musician he was, but also of the kind, gentle and open-minded soul I knew as a young student. Pete’s passing leaves a hole in the Manchester music scene, but I’m sure he’s jamming away in his new place. RIP, Pete, you’ll be missed.