Archive for the Unsung Women of Jazz Category

Unsung Women of Jazz #8 – Mary Osborne

Posted in Unsung Women of Jazz with tags , , , , on October 15, 2011 by curtjazz

Mary Osborne (1921 – 1992)

“The only electric guitar I knew of was the Hawaiian guitar, I’d listen to all the jazz guitarists of the time, but they all played acoustic. But here was Charlie Christian playing Django Reinhardt’s ‘St. Louis Blues’ note for note but with an electric guitar. It was the most startling thing I’d ever heard.” – Mary Osborne

When I began this series, I only chose nine women. Because I knew that somewhere along the way, there would be a talented woman whom I had overlooked, that needed to be on this list. Well, surprise! I found not one, but two. The first, profiled here, is guitarist Mary Osborne. The second is…well, you’ll find out in the next post.

Born into a musical family in Minot, ND; Mary’s direction was set from an early age. “We had a very large family and everybody could play an instrument, but nobody intended to be a musician.” Mary said in a 1991 New York Times interview.  “They tell me that one time they found me sitting at the piano picking out tunes. I was 2 or 3 or something. My dad says ‘I think I finally got myself a musician.’ From then on he just doted on me, he brought me every string instrument.” Ms. Osborne tried the mandolin and the banjo, before settling on the guitar at age 9.  As a teenager, she played her acoustic guitar on local radio broadcasts, for which she was paid in Hershey Bars.

At 17, her life was changed when pianist Al Trent came to Bismark, ND, on a one-nite stand. Trent’s electric guitarist was a gifted young man named Charlie Christian.  The next day, Mary bought herself an electric guitar and became a devoted follower of Christian’s. And Christian, impressed by their mutual love of Django Reinhardt, took the time to mentor Mary.

In the late ’30’s Ms. Osborne moved to Pittsburgh and then to New York. Though she encountered barriers due to her sex, her talents were too good to be completely ignored.  Eventually, Mary landed a gig with legendary violinist Joe Venuti, (who considered her a replacement for his late partner Eddie Lang) which then led to work and recordings with Coleman Hawkins, Mary Lou Williams, Ben Webster, Dizzy Gillespie and much to her chagrin, many bookings as part of gimmicky all-girl groups.  Her love though, was joining in the late night jams at the famed clubs along 52nd Street.  She was quite a sight, this pretty, petite white girl, up on the stand and more than holding her own with some of the best jazzmen of all time.

Around that same time, Mary met her husband, trumpeter Ralph Scaffidi.  They remained in New York and Mary kept working, leading her own trio, which played many NYC hotels and appearing often on radio and in this upstart new medium, television.  She also gave birth to three children, between 1955 and 1959.  While pregnant with her third child, she recorded the first of her two albums, A Girl and Her Guitar.  Despite the corny title, this was no novelty record. Mary swung hard, cool and fast, leading a group that included pianist Tommy Flanagan, bassist Tommy Potter and drummer “Papa” Jo Jones.

[From Cats vs. Chicks, Mary trades licks with the great Tal Farlow on “Anything You Can Do…”]

During the ’60’s, Mary Osborne continued to work on the NY scene. She even refined her skills by taking classical guitar lessons. In 1968, Mary and Ralph decided to move to Bakersfield, CA, where they started a successful company that made guitars and amplifiers. She continued to perform locally and she taught at Cal State University in Bakersfield.  She would surface occasionally for recordings and higher profile gigs. In 1977 she appeared on Marian McPartland’s album Now’s The Time, which featured an all female group that included another of our Unsung Women, Vi Redd.  in 1981, Stash Records released  Now and Then, which was split between freshly recorded trio tracks and some cuts from A Girl and Her Guitar.  The ’81 tracks proved that Mary had not lost a step over the years; in fact her sound had matured into something that was less Charlie Christian and more uniquely hers.

In 1990, she joined Lionel Hampton for a set during the Playboy Jazz Festival. By all accounts, the 69-year-old Osborne stole the show (I tried desperately to find some video or audio footage, but no luck).  This led to her coming back to New York for a week at the Village Vanguard in 1991. Sadly, it would be her last New York gig. Mary Osborne died of cancer in 1992.

When I conceived this series, this spot in the order was to be filled by Emily Remler. Though we will still touch on Ms. Remler at a later date, I find it ironic that we are instead speaking of a woman who made Emily possible. Mary Osborne was a true pioneer.

Recommended Recordings:

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Unsung Women of Jazz #7 – Vi Redd

Posted in Unsung Women of Jazz with tags , , , , , on October 1, 2011 by curtjazz

Vi Redd

This record is a sterling example of what the music [jazz] lost in the name of its phallocentricity. Vi Redd demonstrates a thoughtful tone and a careful respect for those around her. Her solos are pithy and directly to the point…Quite honestly, there’s really nothing quite like her records.”From Rob Ferrier’s All Music guide Review of Vi Redd’s Lady Soul LP

Claire Daly, Tineke Postma, Tia Fuller, Virginia Mayhew are just a few of the strong women jazz saxophone players on the scene today. Rewind 40 – 50 years and you’ll find very few names.  Elvira “Vi” Redd was one of those few.  Now I know that there were many women sax players during the ’40’s – 60’s who were part of the “all girl” big bands and novelty acts. What I’m talking about are women who stepped out there on the front line with the men and recorded as leaders.  Vi Redd was a pioneer.

Ms. Redd is the daughter of Alton Redd, who was a New Orleans drummer and the co-founder of the Big Easy’s legendary Clef Club. Vi was born in Los Angeles in 1928.  With her father being a major part of the Central Avenue jazz scene, Vi was exposed to many of the greats of jazz from an early age.  Young Vi was also blessed with an aunt, Elma Hightower, who was considered one of the foremost L.A. music teachers of her time.  Ms. Hightower was instrumental in Vi’s decision to play the saxophone.

Like many sax players of her generation, Ms. Redd’s sound is heavily influenced by Charlie Parker.  So, it was no accident that the first of her two albums as a leader was titled Bird CallRecorded in 1962, it’s a good album, that features Herb Ellis on guitar; Leroy Vinnegar on bass; Carmell Jones on trumpet; Russ Freeman on piano and a young, pre-fusion Roy Ayers on vibes.  In addition to her solid work on alto, Ms. Redd also sings on a few numbers, which is not a bad thing, as she is a fine vocalist with a compelling grit to her sound.  The tunes penned by producer Leonard Feather are the only selections that miss the mark.

The next year, she recorded her second and apparently final album, Lady SoulIt’s the more polished of the two albums, with great playing and singing by Ms. Redd and first-rate support from Dave Bailey, Bucky Pizzarelli and Ben Tucker.  Unfortunately, Lady Soul has slipped into obscurity and is extremely hard to find.

When one does research on the career of Vi Redd, the term that recurs more than any other is “under-recorded”. How true that is. For though Ms. Redd has played and toured with artists such as Count Basie, Dizzy Gillespie, Dexter Gordon, Sarah Vaughan and Max Roach, she has only two albums to her name and a scant four more with other artists.  Notable among these is Now’s The Time; an all female session led by Marian McPartland, in 1977.  Throughout the years, she gigged around the Los Angeles area and supported herself as a schoolteacher between engagements.  She finally received a bit of long overdue recognition in 2000, when she was honored at “Instrumental Women: Celebrating Women-N-Jazz“, a concert at the Academy of Television Arts and Sciences.

As of this writing, Vi Redd is retired and living in the L.A. area. And as we can see in this heartwarming interview conducted by a family member in 2009, she is still sharp, delightful and energetic.

Recommended Recordings:

Unsung Women of Jazz #6 – Melba Liston

Posted in Unsung Women of Jazz with tags , , , , , on September 24, 2011 by curtjazz

Melba Liston (1926 – 1999)

“When I saw the trombone I thought how beautiful it looked and knew I just had to have one. No one told me that it was difficult to master. All I knew was that it was pretty and I wanted one.” – Melba Liston

Trombonist/Arranger/Composer Melba Liston was born in Kansas City, MO on January 13, 1926.  In her early years, she shuttled back and forth between the and Kansas City, KS, where her grandparents lived.  She got her first trombone at seven, when a traveling music store brought instruments to school.  By the time she was eight, she was playing solo trombone on local radio shows. 

When Melba was eleven, her family moved to Los Angeles.  There she was mentored by a local music teacher, who ran a big band made up of neighborhood children.  That relationship ended after four years, when Melba decided to join the musicians union, against the teacher’s wishes. Nevertheless, Liston joined the pit band at Los Angeles’ Lincoln Theatre at age sixteen. 

When the Lincoln discontinued live shows in 1943, Liston joined the new band being formed by Gerald Wilson.  She also recorded in a group with old school pal Dexter Gordon.  Melba stayed with Wilson for five years, until his group disbanded.  She then joined Dizzy Gillespie’s Big Band, along with Wilson. That lasted about a year, until Dizzy’s band also broke up. 

After joining Wilson again in a Bebop band that backed Billie Holiday on an ill-fated tour of the South, Ms. Liston gave up music for a few years. She took a job with the Los Angeles Board of Education. Music, however, was not completely out of her blood, as she continued to compose and arrange on the side.  She even tried her hand at acting for a while, landing bit parts in The Prodigal, alongside Lana Turner and in The Ten Commandments, as a harp player. 

But the music was never far away from Melba’s heart, so when the State Department asked Diz to form a big band for a Middle East/Asia tour, he coaxed Liston into joining him. Though she rarely soloed during that time, she did a considerable amount of arranging.  Including “Stella by Starlight”, “My Reverie” and “Wonder Why”. These arrangements (and more by Melba) were recorded and can be heard on the Birks Works compilation, on Verve.

Diz wasn’t the only one who dug Melba’s arranging.  Quincy Jones, who played trumpet in the Gillespie band at the time, was forming a band to tour Europe. he asked Ms. Liston to join him and she agreed. In 1958, Melba Liston recorded her sole album as a leader; Melba Liston and Her BonesOn this date, Liston and an array of trombonists, including Slide Hampton, Al Grey and Bennie Green, were front and center, with solid support from Kenny Burrell, Ray Bryant, Charlie Persip and others. Co-produced by Leonard Feather, it’s a shame that this fine album drifted into obscurity.

In that same year, Melba met pianist composer Randy Weston. Weston admitted that at the time, he had never met a woman trombonist before.  Their meeting sparked a creative partnership that lasted almost 40 years.  Weston initially hired Melba to put some meat on the bones of his compositions. They realized quickly that musically, they were two halves of the same coin. Said Weston; “Melba is incredible; she hears what I do and then expands it. She will create a melody that sounds like I created it. She’s just a great, great arranger.”  All in all Weston and Liston worked on 10 albums together, including Little Niles, Earth Birth and Volcano Blues.

Melba Liston with Dizzy’s ‘Dream Band’ in 1982 on “Manteca” [Melba solos starting at 3:35]

Besides her work with Weston, Melba continued to freelance, working often with Clark Terry and briefly with Charles Mingus. Upon her return to Los Angeles in the late ’60’s, the pop music world took note of her talents and she arranged sessions for stars including Marvin Gaye and the Supremes.

Ms. Liston was very active until 1986, when she suffered the first of several strokes.  She had to give up playing and was confined to a wheelchair, but Melba continued to compose and arrange, until her death in 1999.

Melba Liston – most of her career was spent behind the scenes, but her work was always headliner quality.

Recommended Recordings:

  • Melba Liston and Her Bones (Fresh Sound) – CD in print; mp3 available
  • Volcano Blues  [w/ Randy Weston] (Verve – Gitanes) – CD OOP but available
  • Little Niles [Randy Weston] (Jazz Track [Import]) – CD in print [her first recording with Weston]
  • Khepera [Randy Weston] – (Verve) CD in print, mp3 available  [her final recording with Weston]

Unsung Women of Jazz # 5 – Jutta Hipp

Posted in Unsung Women of Jazz with tags , , , on September 11, 2011 by curtjazz

Jutta Hipp (1925 – 2003)

As Hipp…matured artistically, she had defined her own artistic standards and revolted when pressured to record music she did not like. She also suffered from severe stage fright throughout her career. Thus being the featured artist at a large performance venue was more of a daunting chore for Hipp than a joyful public celebration of her talent.” – All About Jazz

The lore of jazz is filled with stories of musicians of prodigious gifts who appeared on the scene in a starburst and disappeared back to whence they came just as quickly; leaving behind perhaps a few recordings and the often faulty memories of those who worked with them. Pianist Jutta Hipp epitomizes these musicians.

Ms. Hipp was born in Leipzig, Germany in 1925.  She learned to play the piano as a child, but in the immediate aftermath of the Second World War she studied painting at the Leipzig Kunstakademie. By this time her interest in jazz had begun.  When the Soviets took over what would become East Germany in the late ’40’s, she moved with her family to Munich. There, Jutta began to play piano professionally, starting her own group. In the early 50’s, she joined a group led by saxophonist Hans Koller. 

During her early days, Ms. Hipp copped to being influenced by great swing pianists, like Basie, Teddy Wilson and Fats Waller.  However, by the time she reached Munich, she had heard Bud Powell and was fully in his thrall.  There was also a bit of Lenny Tristano in her attack, although Ms. Hipp always brushed aside those comparisons.  Jutta led her own quintet in Frankfurt in 1953-1955 and recorded for several labels, including a session that was later released by Blue Note.

It was now time to come to America.  Jutta Hipp arrived in New York in November 1955. Her immigration to the United States was sponsored by jazz critic Leonard Feather who had discovered Hipp while visiting Germany and was “blown away” by her talent.   Ms. Hipp played at the famous Hickory House for much of the first half of 1956 and within a few months, she became the first white female as well as the first European instrumentalist ever signed by Blue Note Records. Hipp cut three albums as leader for Blue Note in 1956.  The first two of those were live trio albums recorded during her six month stint at the Hickory House, with British bassist Peter Ind and Ed Thigpen, known for his years with Oscar Peterson, on drums.  Hipp was by now expressing a fondness for the blues drenched style of Horace Silver, which does show a bit on these first two records. 

The most famous of the Blue Note recordings featured the great tenorman Zoot Sims as a co-leader.  Sims made a perfect musical partner for Hipp and they sound as if they had played together for years. On this record, the Silver influence had disappeared – in fact she seems to have developed her own ingratiating style, that is mature and swings hard.  She followed this recording with a successful appearance at the 1956 Newport Jazz Festival and looked for all the world to be on her way.  Unfortunately, the Sims album was Jutta Hipp’s last known recording.

Two things served to scuttle her musical career. First, she suffered from stage fright. Playing in anything other than an intimate venue, before an appreciative crowd left her virtually paralyzed.  This made bookings in large rooms and additional appearances at large festivals impossible. Second, she had no interest in recording music that she did not like.  Feather tried to get her to record some of his songs in late ’56. Jutta refused, causing a permanent rift in their professional relationship, which, considering Feather’s influence in the jazz scene of the time, was not good for her career.

By 1958, Jutta Hipp had left the jazz world for good. She never married.  She remained in New York for the rest of her life; supporting herself as a seamstress at a factory in Queens. She painted scenes of street life in Queens. Hipp also was a fine photographer, who took many shots of her favorite Long Island beaches and of the musicians playing in the NYC and Long Island jazz clubs where she continued to attend concerts when the mood hit her. Such was her loss of contact with the music world, that Blue Note did not know where to send her royalty checks until 2000.

Jutta Hipp died in her Queens apartment on April 7, 2003 of pancreatic cancer.  She died without family or friends to help her. Shortly before her death, she had been discharged from the hospital into the care of some neighbors in her apartment building, one of whom was a nurse .  She had insufficient funds for a burial or a funeral, and she willed her body to Columbia University, for scientific research.

It was a sad and lonely end for a wonderful musician, whose talent had touched many during her brief period in the spotlight.

Recommended Recordings:

A Gorgeous “Mosaic”

Posted in CD Reviews, Unsung Women of Jazz, Who's New in Jazz with tags , , , , , , , , , , , , on July 31, 2011 by curtjazz

As we’re in the midst of our “Unsung Women of Jazz” series, a post about drummer/composer/producer Terri Lyne Carrington’s new album, The Mosaic Project, feels rather timely.  Not because Ms. Carrington is obscure (with an over two decade career that has included gigs with Herbie Hancock, Stan Getz, Wayne Shorter and most visibly, on Arsenio Hall’s late night TV show in the ’90’s, she’s anything but unknown), but because the jazz on this disc is performed by women only.

And what a powerful group of women this is: Dianne Reeves, Dee Dee Bridgewater, Nona Hendryx, Cassandra Wilson, Esperanza Spalding, Helen Sung, Tineke Postma, Geri Allen, Patrice Rushen, Ingrid Jensen, Sheila E. and Gretchen Parlato all make beautiful musical contributions. Though I’ve always enjoyed Ms. Carrington’s work on the drums, I’ve found her albums as a leader to be frustratingly uneven. That is, until now.  The Mosaic Project  is Terri Lyne Carrington’s strongest album, by a mile.  Ms. Carrington’s driving, soulful rhythms are always a perfect fit with the diverse contributions of her guests.

For me the most memorable tracks were “I Got Lost in His Arms”, the Irving Berlin classic, which gains new life wrapped in an R & B groove and Ms. Parlato’s sensuously ethereal vocals; Bernice Johnson Reagon’s “Echo” with a powerful spoken introduction by  Angela Davis, Abbey Lincolnesque vocals by Ms. Reeves and a muted trumpet solo from Ms. Jensen; Geri Allen’s “Unconditional Love”, with haunting solos by the composer on piano, Ms.Postma on soprano sax and Ms. Spalding’s wordless vocal line, floating over the top; “Michelle”, the Beatles’ classic, sounds terrific in a post-bop reworking; and “Magic and Music”, a touching tribute written by Ms. Carrington, to the singer Teena Marie, who passed away suddenly last December.

Check out the accompanying videos for a sampling of more. You’ll dig Terri Lyne Carrington and the ladies of her gorgeous “Mosaic”.

Unsung Women of Jazz # 4 – Gloria Coleman

Posted in Unsung Women of Jazz with tags , , , , on July 4, 2011 by curtjazz

Gloria Coleman (1931 – 2010)

“It was told that there was a version of this tune that had driven this man to tears, beyond his trivial dogma to a true understanding of the music.” – Jazz critic Eugene Chadbourne discussing Gloria Coleman’s rendition of Blue Bossa (on her Sings and Swings Organ album)

For many, the history of women on the jazz organ begins and ends with Shirley Scott. Though no other woman matched Ms. Scott’s prominence, there were others who deserved a piece of that small spotlight. One such woman was Gloria Coleman.

Ms. Coleman was a New York native, who as a child studied the piano, violin and bass.  In fact, she began her career in 1952 as a bassist, playing with pianists in the Philadelphia and Chicago areas.  As her interest in the piano and organ grew, her work as a bassist decreased. She got tips from organ legends “Wild Bill” Davis and Jimmy Smith, which helped her develop her foot pedal technique, allowing her to work without a bassist; something Ms. Scott rarely did.   

Like Shirley Scott, Gloria Coleman married a well-known tenor saxophonist: in Ms. Coleman’s case it was George Coleman, a strong player in his own right, who gained most fame for being the “transitional tenor” between Coltrane and Shorter in Miles Davis’ quintet. Their union was musically fruitful, as they would work together, on and off, for the rest of Ms. Coleman’s life.

[From Soul Sisters – Gloria Coleman’s “My Lady’s Waltz”]

Like most of the women in our series, Gloria Coleman recorded sporadically.  Her most well-known recording is her first as a leader; Soul Sisters which she made for Impulse in 1963, with Grant Green on guitar, Leo Wright on alto sax and a female drummer named Pola Roberts, who slipped back into obscurity right after this record, in spite of her capable performance.  Critics have called Soul Sisters an “underappreciated gem”. It certainly holds its own alongside the work that Scott, Smith, McDuff and others were doing at that time in the soul jazz idiom.  Green and Wright sound inspired on their solos and Ms. Coleman’s compositions are catchy. She also recorded a gem of an album in 1971, called Sings and Swings Organ, with trumpeter Ray Copeland, guitarist Ted Dunbar and others. 

[From Sings and Swings Organ – Gloria sings “Love Nest”]

Gloria returned the favor to Wright, sitting in on his Soul Talk album and composing the minor hit, “State Trooper”.  In more recent years, she recorded some memorable sides with Bobbi Humphrey (City Beat), Nat Simpkins (Cookin’ with Some Barbeque) and Hank Crawford (Groove Master).

Her finest album IMO, also proved to be her last. 2008’s Sweet Missy was a sort of family affair, with George Coleman featured on tenor and her son, George Jr. on drums.  “Dr.” Lonnie Smith also makes a memorable guest appearance, playing piano alongside Gloria’s organ, on “Put ‘em in a Box, Tie ‘em with a Ribbon”.  It’s a very relaxed, but joyous album. The soloists are universally terrific (especially Ms. Coleman, who had grown exponentially over the years) and the band is tight and swinging. Her vocals on the album are frayed but ingratiating with a quality reminiscent of the great Etta Jones. 

Gloria Coleman died on February 10, 2010. She left us a musical legacy that is definitely worth exploring.

Recommended Recordings:

Unsung Women of Jazz #3 – Valerie Capers

Posted in Unsung Women of Jazz with tags , , on April 25, 2011 by curtjazz

Valerie Capers

 “With jazz, you’re not interpreting; you’re composing on the spot. You have to develop your technique to the highest level so you are able to respond to a flow of creative ideas immediately. You should listen to everything — I listen to Ravel, Stravinsky, Schoenberg, Beethoven — so all that will go into your creative soul. Then you can call upon all kinds of music during performances. That’s the thrill. That’s the challenge and that’s the beauty of jazz.” – Valerie Capers

How Dr. Valerie Capers has managed to remain obscure is a mystery. The good news though is that this brilliant pianist/composer/singer/educator is still with us and a vibrant part of the scene. So we can all make up for lost time.

Born and raised in the Bronx, Valerie Capers was picking out tunes on the piano at an early age. She lost her sight at the age of six.  While blindness may have been a deterrent to some, it was not for young Valerie.  She learned to read music by braille and received her early schooling at the New York Institute for the Education of the Blind.   She then went on to obtain both her bachelor’s and master’s degrees from The Julliard School of Music, the first blind person to graduate from the famed arts school.  She was a classical player at the time, but jazz had always been a part of her life.  Her father was a musical associate of Fats Waller and her brother Bobby, played sax and flute in Mongo Santamaria’s band. For a brief time in the early ‘60’s, Valerie joined her brother in Mongo’s group, composing and arranging a few tracks for the legendary percussionist, including the minor hit “El Pussycat”.  

 [Sony will not allow me to embed a clip of “El Pussycat” in my blog. Click HERE to view it on YouTube.]

In 1965, Dr. Capers recorded her first album, Portrait in Soul, for Atlantic Records.  It was a very good jazz sextet date, with a strong soul influence; not atypical of the era.  Saxophonist Robin Kenyatta was the most notable member of the group.  Though Dr. Capers would not record again as a leader until Affirmation in 1982, she was still very active; working with Dizzy Gillespie, Tito Puente and James Moody, among others. She wrote major jazz based works, such as Sing About Love, a Christmas Cantata, that was produced by George Wein at Carnegie Hall and Sojourner, an “operatorio” based on the life of Sojourner Truth. 

From her first album Portrait in Soul, Valerie Capers plays “Little David Swing”

Capers served on the faculty at Manhattan School of Music and then for many years, at Bronx Community College, where she became chair of the music and arts department, in 1987.  Also in 1987, Valerie Capers became the first recipient of Essence magazine’s first Women of Essence Award, for music.

Dr. Capers made her best known recording, Come on Home, in 1995.  It was part of Columbia Records’ “Legendary Pioneers of Jazz” series, but as Scott Yanow points out on allmusic.com, “ Valerie Capers is much too obscure and under-recorded to be a legend, and not old enough to be a pioneer. “ Nevertheless, Come on Home is an excellent album, mixing well-known jazz and pop standards with a couple of Capers’ originals.  Jazz luminaries Bob Cranshaw, Paquito D’Rivera, Mongo Santamaria and Wynton Marsalis, take things to an even higher level on their guest appearances.  

From Come on Home, Valerie Capers plays “In a Mellow Tone”

She followed-up, four years later, with the critically acclaimed Wagner Takes the “A” Train; which is highlighted by the title track, a slightly Wagnerian interpretation of Billy Strayhorn’s classic; and by her version of “‘Round Midnight” which explores several  variations on the famous Monk theme in a little over eight minutes. 

Although Valerie Capers retired from the Bronx Community College faculty in 1995, her educational endeavors have hardly skipped a beat.  At 75, she is still based in her beloved Bronx; performing, recording and touring the U.S. and the world, never missing an opportunity to spread the gospel of jazz, leavened with her uniquely informative perspective.  Her website http://www.valeriecapers.com/ includes a great deal of information on what Dr. Capers is up to. Check out the site and catch her live if she’s in your area. You’ll be in for a real treat.

Dr. Valerie Capers tells an anecdote about Dizzy Gillespie, then plays “A Night in Tunisia” [Special Thanks to Dawn Russell’s Bongodawn Productions for this clip]

Recommended Recordings: