RHYTHM & JAZZ November 1994 Vol. 1, No. 5
Copyright (c) 1994 Dan Margules. All rights reserved.
LETTER FROM THE EDITOR
Nothing beats a live concert. It's the best way to hear the type of
music we talk about every month in these files. The performers improvise
off each other and their energy is fueled by your enthusiasm. If you are
not fortunate enough to live in an area frequently visited by R&J acts,
however, you might want to consider planning your next vacation around a
jazz festival. And one of the best -- for purely contemporary jazz -- is
the Catalina Island Jazz Trax Festival held twice a year during each of
the
first two weekends in October.
A festival is a great way to get turned on to new acts. Catalina is
where I first went when I was new to the format. I remember looking
forward to seeing The Rippingtons for the first time and David Benoit for
the second, but also being thrilled by violinist Doug Cameron, delighted
by
Acoustic Alchemy, blown away by Special EFX, and mesmerized by pianist
David Lanz, then promoting his just-released CRISTOFORI'S DREAM (this
month's "Cool Classics" pick toward the end of this file).
As I write this, I'm still coming down from the high from my seventh
consecutive annual trek to the tiny isle 26 miles off the coast of Long
Beach, California. Held in the grand ballroom of the historic Avalon
Casino, this festival gets better every year! This year we were introduced
to the hot new sounds of urban contempojazz mixers Colour Club (see the
"Ultra" section below). We survived the battle of the saxes (Gerald
Albright, Boney James, Warren Hill, and Dave Koz). And we were entertained
by our old favorites, Keiko and Kazu Matsui, whom we interviewed for our
feature story this month.
Hotels on the island fill up fast, so if you're thinking of going next
year, start planning NOW. Call 1-800-866-TRAX for more information. Until
then, keep downloading RHYTHM & JAZZ every month. It's also a great
source
to find out about fresh, new contemporary instrumental music!
Dan Margules
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ULTRA! - THE SMOOTHEST AND THE COOLEST by Wayne Radcliffe
COLOUR CLUB (JVC), 53:33
Welcome to the Colour Club, and watch your step -- it's dope in here!
There's stuff lying around you ain't never heard before. "The A sections
have mostly horn hooks. The B sections are kind of classically oriented,
with strings and orchestral feelings. And the bridges contain the meat
of the tune, what the song's about," says Bernard (just Bernard, fka
"Skipper" Wise) of his hip-hop jazz collaboration with producer
Pierce
(Earth, Wind & Fire, Martika's Kitchen). "Colour Club is basically
me
and Bernard bouncing things off each other," explains Pierce. "Then
we
chose musicians for their proficiency levels and attitude. Most of the
musicians on the album are straight-ahead jazz players; we wanted them to
play loose and in a pop style."
Well, howbotsumtinlikdis? The first single, "Freedom Words," and
its
extension, sprinkled with p.d. samples of JFK and MLK speeches... Look
out, here comes a Miles-like trumpet line by Rick Braun on the
instrumental "Consumption"! And is that Tony Guerrero kicking
it up on
"The Cultures Of Jazz"? All right! Take 6's Dave Thomas lends
his
harmonies to "Trust In Me", while Rhassan Patterson croons out
smooth
blues in "Chicago", that windy town. Great tunes and wildly
unpredictable production on this adventurous disc advance Bernard &
Pierce to the cutting edge of contemporary jazz. Planning a party with
room to dance? Look no further than Colour Club for tomorrow's hippest
sounds!
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FEATURE STORY
EXCLUSIVE INTERVIEW WITH KEIKO MATSUI! by Dan Margules
Everyone becomes an instant fan of Keiko Matsui the first time they see
her. Like a delicate flower, she sits behind her synthesizers playing
serene, spacey, classical-oriented music. Then she steps out front with
her hand-held KX5 and wails incredibly through jazz and blues
improvisations with her band. Her CDs, produced by her husband, acclaimed
shakuhachi player Kazu Matsui, consistently boast the most beautiful,
memorable melodies in the contemporary instrumental genre. All that talent
in addition to being an incredibly beautiful woman! We recently chatted
over dinner on Catalina Island after Keiko's All-Star jam session at the
Catalina Jazz Trax Festival which featured the likes of Don Grusin, Norman
Brown, Charlie Bisharat, Mindi Abair, and Akiro Jimbo. Jimbo joined us
briefly in our conversation, as did the Matsuis' 6-year-old, trilingual
(Japanese, English, and Spanish) daughter, Maya, in her first interview
ever. Here's an approximation of that discussion:
RHYTHM & JAZZ: I want to talk about your new album, DOLL, but first
we
should start by continuing from where the interview in last
month's issue of RHYTHM & JAZZ left off. Rob Mullins was telling
us about some work he's doing with you currently.
KAZU MATSUI: I'm producing Philip Bailey's album and Keiko is working
on tunes for it. Rob Mullins is helping us arranging.
KEIKO MATSUI: It's great!
R&J: What will it be like, stylistically?
KAZU: It's secret. That means I still don't know. So Keiko's getting
together with Philip on Tuesday and Wednesday and they're writing
together.
R&J: Philip Bailey also sings on Keiko's new album.
KAZU: This time, originally, the album was going to be all
instrumental. But Philip suddenly called us and he said, "Keiko,
are you doing an album? Somebody told me you are doing an album
and I'm not singing on it!" So we converted one tune to a vocal
tune and Philip Bailey sang on it.
R&J: That would be the urban-tinged "Voice Of The Heart".
Tell me
about the album's other vocal tune, "Funny Things". That has a
unique, happy kind of feeling. It's not your typical NAC vocal.
KAZU: That tune was recorded three years ago.
R&J: It didn't make it on the last album?
KAZU: Well, Keiko wanted to sing. [looks at his wife and they share a
laugh]
KEIKO: I waited three years. I liked the song so much, I wanted to
sing it, but I wanted to show my best voice. I went to voice
lessons about a couple months, but I'm getting too busy so I do
not have time to go. Finally we recorded the song anyway (sung by
Molli Pasutti).
R&J: The album, DOLL, is certainly one of your best. Did you approach
it differently in any way?
KEIKO: Technically, this album doesn't have a real drum kit. We
sampled real sounds, but we made loops.
R&J: What was the thinking behind that?
KAZU: Well, you know, if you use machine, it's hypnotic, right? But
we don't want to use total machine, because it's just machine. If
you make some real playing and sample it, and, for 4 or 8 bars,
loop it, it's still hypnotic -- but human. That's the concept
behind this album.
KEIKO: And that way we can focus more on the piano and on more
acoustic instruments. Of course, that thinking comes after
composition.
R&J: During your show this afternoon I was noticing how every one of
your songs has a very beautiful and infectious melody, and each is
so distinct from the others. What is your writing process? Where
do your ideas come from?
KEIKO: Sometimes I begin from the melody, the motif. I try to find a
good motif to make one whole song. And sometimes, too, it comes
out initially in the parts, the orchestration. Usually I just
concentrate and wait to hear what comes.
KAZU: In the night.
KEIKO: Right. At midnight, after Maya is in bed and everybody is
asleep.
R&J: Do you compose on your keyboards during these midnight sessions?
KEIKO: Without keyboards. In front of keyboards, but just thinking.
In my head.
KAZU: Like Beethoven!
R&J: Really? That's incredible! Is that how you were trained?
KEIKO: I have perfect pitch, so I don't need keys...
KAZU: I have perfect wife, so I don't need keyboards either!
KEIKO: When I start to think arrangement, to make whole song, then I
start to play. But when I'm composing, basically I'm just hearing
in my head and writing down the melody.
R&J: Amazing! How do you decide on which synthesizer sounds to use?
KAZU: I think it's talking between producer and arranger and writer.
When we are really cutting it, we choose there. Right there. So
it's not like we decide everything before we go into the studio.
It's more like we choose in the studio. Even one song, it came
from 4 or 5 different synthesizers, so it's a combined sound. And
this combination is very important. Even just one line from
Keiko's album, it's like 4 or 5 synthesizers making sounds.
R&J: Is she playing the part live?
KAZU: Yeah. Because one keyboard triggers 4 or 5 synthesizers.
R&J: My favorite track on DOLL, "Moroccan Ashes", seems to
have a lot
of that. Wonderful textures. What does the title mean?
KAZU: We create the tunes, then we create the title. Because it
sounded like maracas, because of that percussion groove.
R&J: "Water Lily" is another really pretty melody that I liked
a lot.
KEIKO: After my father passed away at the end of last year, I couldn't
write anything. I had to start recording, but I couldn't write.
And I was thinking, where is he now? And then this melody came to
me.
KAZU: Water lily is, for Buddhist, a very important flower. It's a
kind of heaven-type flower, a religious flower for Asian people.
R&J: Is Buddhism a strong part of your life? Does it play a role in
your music?
KAZU: Oh yeah, but not all the time. We don't go to temple every week
or anything like that. But most Japanese have Buddhist
background. Classical shakuhachi music is a Japanese influence.
Buddhist music. Keiko's background is classical piano. And
sometimes it has church influences. And sometimes jazz, blues,
and others.
R&J: How often do you go back to Japan, and what is it like living bi-
culturally?
KAZU: We go back maybe five times a year. I teach in Japan, but Keiko
doesn't work.
KEIKO: My piano is sleeping there. I do not even practice when I am
there.
KAZU: She is more like a housewife in Japan. Cooking, cleaning. Here
is where she works. But in Japan she has just a normal life.
R&J: Kazu, your solo album SIGN OF THE SNOW CRANE (Sonic Atmospheres)
was wonderful. Will there be a follow-up?
KAZU: I have been working on it. Just slowly. Actually, I recorded
most of the tunes three years ago, but I haven't mixed them yet.
I just don't have enough time. I just did some work for the movie
"Legend Of The Fall" which is coming out maybe next month or so.
It stars Anthony Hopkins. We went to London and I recorded with
the London Symphony Orchestra. Great movie. James Horner
scoring. And I am producing Jimbo's album, PANAMA MAN.
R&J: Tells us about that.
AKIRA JIMBO: It means man with the Panama hat. It's difficult to
explain. It's better to hear it. It's more like world music
type, more ethnic, I think. Asian feels, or flamenco feels. Many
different elements combined. Very interesting album.
R&J: Kazu, do you play your shakuhachi on it?
KAZU: No. On PANAMA MAN, everything is in major keys!
JIMBO: All happy songs!
R&J: As a drummer, how do you write melodic music? Do you also have
perfect pitch?
KAZU: No, he has perfect RHYTHM!
JIMBO: I play guitar. I cannot compose by drums.
KAZU: Also, I'm producing Paul Taylor's album. He's the new sax
player in Keiko's band.
R&J: Speaking of her band, today's jam session was superb!
KEIKO: I enjoyed it very much, much more than I expected. Everybody,
musically and also personally, was very nice. Great people. We
had a great time.
R&J: It was really special to see Maya make her performance debut at
the start of the second half. Does she know yet if she wants to
play music professionally?
KEIKO: She's starting to take piano lessons. Now she's understanding
if she plays every morning and every evening, then her fingers
will get stronger and stronger and it will be easier to play. She
knows, so she plays every day right now, so she's getting better
and better.
R&J: Maya, did you have fun today? Did you like when everybody
clapped?
MAYA MATSUI: Yeah. I like to sign autographs.
R&J: How many did you sign today?
MAYA: 59, or something.
KEIKO: Last week she did 37.
MAYA: 36!
R&J: Then you did better this week! Did you practice in between?
[she nods, yes] That means you got better. Thank you for talking
with us, Maya. I know you and your parents have to go catch a
boat now. Keiko, Kazu, domo arigato on behalf of the readers of
RHYTHM & JAZZ! [they bow respectfully]
NOTE: Please see the end of this file for information on how you can get
Keiko Matsui's latest CD, DOLL, for free!
KEIKO MATSUI DISCOGRAPHY:
A DROP OF WATER (1987, Passport; 1993, White Cat/Unity)
UNDER NORTHERN LIGHTS (1989, MCA)
NO BORDERS (1990, MCA)
NIGHT WALTZ (1991, CGR/Sin-Drome)
CHERRY BLOSSOM (1992, White Cat/Unity)
DOLL (1994, White Cat/Unity)
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NEW RELEASES by Bethany Springs
MIKE TOMARO - HOME AGAIN (Positive), 46:18
GROOVE: Fantastic happy-jazz debut from Ken Navarro's saxophonist!
Tight, upfront playing; rhythmic, hook-laden melodies; what "Rhythm
&
Jazz" is all about!
HIGHLIGHTS: 5-piece horn section on funky opener "T-Baggin'";
playful
nature of title cut; tough groove of "Tuff Guy"; beautiful, floating
melody of mid-tempo ballad "Secret Smiles"; sweet-themed soprano
closer "Broken Hearts".
ALSO CHECK OUT: BILL BERGMAN AND THE METRO JETS (Gaia); David Sanborn's
UPFRONT (Elektra); Rain-Bo Tribe's WHAT THEY DON'T TELL YOU...
(Positive)
HENRY JOHNSON - MISSING YOU (Heads Up International), 50:14
GROOVE: Slick, warm, seductive electric guitar chops backed by tight,
R&B quartet. Upbeat, but with romantic, synthesized strings.
HIGHLIGHTS: Urgent, upbeat "Osaka Sunrise"; smooth, shuffling
title cut;
syncopated Donny Hathaway cover "Flying Easy"; exciting "The
Last One"
by keyboardist Bob Long; funky and dark "Mileslike" tribute.
ALSO CHECK OUT: Johnson's FUTURE EXCURSIONS (MCA/Impulse!); George
Benson; Norman Brown; FOURPLAY (Warner Bros.)
DR. BOMBAY - TEMPERATE ZONE (Indio), 48:39
GROOVE: You'll swear Russ Freeman's pen created the gems on this Ripps-
percussionist Steve Reid-produced project from Phoenix, Arizona, named
after a character from the TV series "Bewitched." Guitarist Mark
Innocenti, keyboardist Michael Noel, saxist Jeff Holl, and Reid
contributed the frolicsome compositions to this delightful
contempojazz winner. Soon to be distributed by a major label, but if
you can't wait, call (602) 814-8763.
HIGHLIGHTS: Hummable, breezy opener "Stellar Companion"; exuberantly
playful title cut; wailing "Pamplona"; exceptional guitar work
on
light "Cabo Song"; fiery "Aerial View"; radio-ready
"Freefall".
ALSO CHECK OUT: Russ Freeman's NOCTURNAL PLAYGROUND (BrainChild);
Rippingtons' MOONLIGHTING (Passport/GRP) and TOURIST IN PARADISE
(GRP); Gregg Karukas' THE NIGHTOWL (Optimism/Nightowl); T-Square
CHARLIE BISHARAT - ALONG THE AMAZON (GTS), 49:34
GROOVE: Former Shadowfaxer and present John Tesh sideman steps out with
impressive solo debut (from 1993). Violin is fitting lead for
exciting, electric soundscape with such guests as Strunz & Farah, Don
Grusin, Chuck Greenberg, and Russell Ferrante. Tunes have mysterious
moods and romantic tones.
HIGHLIGHTS: Plucky, indecisive "Flip A Coin"; struttin' "Andy
Gump";
spiritual, 'Fax-like "Seance"; hard-hitting "Black Diamond
Run";
mysterious vocal title cut closer (with Jon Anderson).
ALSO CHECK OUT: Doug Cameron; Jean-Luc Ponty; Shadowfax's FOLKSONGS FOR
A NUCLEAR VILLAGE (Capitol)
DAN REYNOLDS - LIFELINE (Positive), 49:39
GROOVE: Ken Navarro's keyboardist follows up debut (NO ENTRY) with more
accessible fare. Soothing, contemporary jazz band fronted by
Reynolds' pleasant acoustic piano tinkling. Beware of two skip-button-
ready vocal cuts.
HIGHLIGHTS: Funky organer "Vera's Corner"; contemplative, sensual
"Summertree" penned by saxist Marshall Keys; jazzy "Old Wishes",
also
by Keys; playful, sneaky "Only Lonely".
ALSO CHECK OUT: Ken Navarro; Gregg Karukas; David Benoit; Pocket Change
GERALD VEASLEY - SIGNS (Heads Up International), 59:58
GROOVE: Soulful, urban jammin' from bassist of Grover Washington, Jr.
and Special EFX, both of whom guest. East coast street vibe going on
with hip and funky arrangements. Melodic six-string bass leads,
especially on slow tracks.
HIGHLIGHTS: Chieli Minucci's melodic guitar contribution on dancer "A
Lasting Moment"; powerful, attention-grabbing opener "Marvin's
Mood";
contempo-funky take on standard "What Are You Doing The Rest Of Your
Life?"; sensitive playing on slow closer "Tranquillity Bass"
and on
romantic "Imani (Faith)".
ALSO CHECK OUT: Kirwan Brown's COOL GROOVES (Fahrenheit); Brian
Bromberg; Special EFX's CATWALK (JVC); Vail Johnson's TERMINATOR
(Lucky)
RUSS FREEMAN & THE RIPPINGTONS - SAHARA (GRP), 46:14
GROOVE: Ripps' 8th release with signature bright, soaring Freeman
melodies. Deeper sound overall, with heavy bass from Kim Stone and
dancier beats by drummer Tony Morales.
HIGHLIGHTS: First-ever Ripp vocal with Jeffrey Osborne on Spinners cover
"I'll Be Around"; super-cool intro on "Principles Of Desire";
Freemanized hooks on "True Companion" and title cut; some of RF's
best
guitar work ever on calypso-ish "'Til We're Together Again"; rockin'
closer "Porscha".
ALSO CHECK OUT: Ripps' KILIMANJARO (Passport/GRP); Freeman's NOCTURNAL
PLAYGROUND (BrainChild); THE BENOIT/FREEMAN PROJECT (GRP); Kilauea's
ANTIGUA BLUE (BrainChild)
HIROSHIMA - L.A. (Qwest/Reprise), 53:37
GROOVE: Ethnic pop and jazz band led by Japanese-American Dan Kuramoto
(producer, sax, keyboards) revitalizes for label debut with heavier,
more dramatic sound, especially on tunes with taiko drummer Johnny
Mori. June Kuramoto's lead koto on instrumentals still amazing as
ever. Dreamy lead vocalist Teri Koide replaces Jeannette Klinger (who
replaced Machun in 1992).
HIGHLIGHTS: Exotic opener "Voices"; mysteriously aggressive hypnotizers
"Love And Understanding" and "Native Soul"; Koide's
engaging reading
of James Taylor's "Don't Let Me Be Lonely Tonight"; joyful closer
"One
World".
ALSO CHECK OUT: Hiroshima's EAST (Epic); Yutaka's BRAZASIA (GRP);
Osamu's SWEET CHAOS (Mesa); Kitaro's LIVE IN AMERICA (Geffen)
OTHER NEW STUFF...
ACOUSTIC ALCHEMY - AGAINST THE GRAIN (GRP)
Polished, '90's sound for master acoustic guitar duo from abroad.
BOB BERG - RIDDLES (Stretch)
Hard blowing from jazz fusion saxist; cool world percussion.
TOM COSTER - THE FORBIDDEN ZONE (JVC)
Daring, "out there" fusion from former Santana sideman.
KEN DAVIS - INSPIRATION (Ken Davis Music)
Relaxing, meditative keyboards and nature sounds, from down under.
RIC FLAUDING - JAZZ PORTRAITS (RPI)
Christian-label recap of guitarist's best tunes; bonus orchestral piece.
EVERETTE HARP - COMMON GROUND (Blue Note Contemporary)
Smooth, soulful, sophomore sax outing from one-time Clinton sideman.
WARREN HILL - TRUTH (RCA)
Super-hot saxer's bitchin' follow-up to DEVOTION.
KISS THE SKY - MILLENNIUM SKYWAY (JVC)
Paul Hardcastle's new one; disco-y jazz with emphasis on Imani vocals.
DAVID LANZ - CHRISTMAS EVE (Narada Lotus)
Solo acoustic piano Christmas classics.
JOE LOCASCIO TRIO - SILENT MOTION (Tafford/Heart)
Snazzy, be-boppin' acoustic jazz, trad. style; piano-bass-drums trio.
METRO (Lipstick)
Accessible fusion quartet featuring Mitchel Forman and Chuck Loeb.
TIGER OKOSHI - TWO SIDES TO EVERY STORY (JVC)
Blistering straight-ahead jazz trumpet with Mike Stern, Jack DeJohnette.
JONN SERRIE - PLANETARY CHRONICLES, VOL. II (Miramar)
Exploratory deep space probe including epic 20-minute track.
ANDY SNITZER - TIES THAT BIND (Reprise)
Sanbornesque debut from Rolling Stones' saxer (also heard on Bob James).
TINGSTAD & RUMBEL - STAR OF WONDER (Narada Lotus)
Partly spacey New Age angle on Christmas; guitars, synths, and ocarinas.
MICHAEL WHITE - SO FAR AWAY (Noteworthy)
Everette Harp's funky drummer on U.S. debut; slick, soulful grooves.
Note: Watch for listings of more Christmas CDs in next month's issue of
R&J!
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COOL CLASSICS by Wayne Radcliffe
DAVID LANZ - CRISTOFORI'S DREAM (Narada Lotus), 1988, 46:14
With R&J artists climbing aboard the urban bandwagon en masse, this
is a
good time to recall that commercial popularity of contemporary
instrumental music began with solo acoustic piano artists such as George
Winston and David Lanz. One of the first artists signed to the Narada
label, back when the term "New Age" was first being coined, Lanz
put out
HEARTSOUNDS and NIGHTFALL, two records in which the listener could get
lost in the beauty of his pianoscape. He teamed up with guitarist Paul
Speer for a pair of new age masterpieces, NATURAL STATES (with the hit
"Behind The Waterfall") and its sequel DESERT VISION. But Lanz's
biggest
solo success remains CRISTOFORI'S DREAM, his first gold record.
Not as "solo" (or as acoustic) as the releases that came before
it,
CRISTOFORI'S DREAM has supporting musicians, but the dreamy lyricism of
the compositions is unmistakably Lanz and the primary focus is still the
acoustic piano. Beginning with the storybook melody of the title cut,
named for Bartolommeo Cristofori, inventor of the piano, simply close
your eyes and let your mind freely float away on the wings of Lanz. The
tone is always light, but the dramatics are high on the yearning, 10-
minute "Green Into Gold" and the wintry cold "Wings To Altair".
The
final cut is a beautiful, heartfelt rendition of Procol Harum's '60's hit
"A Whiter Shade Of Pale". Lanz wasn't the first to do an instrumental
cover of a pop song, but he was the first to be so successful with it.
As an added attraction, he invited original Procol Harum member Matthew
Fisher to recreate his organ solo for this very special new age CD. A
true classic!
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ABOUT R&J
RHYTHM & JAZZ is published monthly by Dan Margules and uploaded to the
jazz
library of the Music/Arts forum on CompuServe. Users are encouraged to
distribute R&J to any other online services and bulletin boards to which
they have access, including the Internet, provided this file is not altered
in any manner. The contents of this file are copyrighted. No fee may
charged for copies of R&J (other than normal download charges for online
services) by any party other than the copyright owner. R&J may not be
included in commercial shareware packages without prior written permission
of the copyright owner.
RHYTHM & JAZZ is SHAREWARE. If you enjoyed reading this issue of R&J,
please support it with a small donation so that we may continue bringing
you exclusive feature articles and reviews of the latest and greatest in
contemporary jazz. For a donation of $15.00, registered users will receive
a FREE CD. This month's free CD is:
"DOLL"
KEIKO MATSUI's latest compact disc!
Compliments of UNITY!
Keiko Matsui's most delectable batch of tunes yet!
Every exotic track is special... produced by
shakuhachi player extraordinaire Kazu Matsui!
To register this issue of RHYTHM & JAZZ and receive our free CD:
Please send a check or money order for $15.00
made payable to _DAN MARGULES_.
For orders to be shipped outside the United States,
please add $3.00 for shipping and handling.
MAIL TO:
RHYTHM & JAZZ ELECTRONIC NEWSLETTER
KEIKO MATSUI OFFER
P.O. BOX 28788
San Diego, CA 92198-0788 U.S.A.
Offer good through January 31, 1995 (be sure to specify "KEIKO MATSUI
OFFER"). Please allow 4-8 weeks for delivery.
Even if you don't wish to register this issue of R&J, we'd love to hear
from you. Please send your comments, questions, suggestions to the e-mail
address below.
STAFF:
Publisher/Editor: Dan Margules
Contributing Writers: Wayne Radcliffe, Bethany Springs
JAZZIZ's "Contempo" columnist Jonathan Widran assisted in our
feature
interview this month.
RHYTHM & JAZZ ELECTRONIC NEWSLETTER
P.O. BOX 28788 SAN DIEGO, CA 92198-0788
CompuServe ID: 74160,3551
(to contact us through the Internet, use 74160.3551@compuserve.com)
RHYTHM & JAZZ, VOL. 1, NO. 5, Copyright (c) 1994 Dan Margules. All rights
reserved.
