Vital Spark : A Love Letter to the Composer Kenny Wheeler with Dave Holland, Norma Winstone and Paull Churchill and the LVP

Dave Holland, Norma Winstone and Paul Churchill and the London Voice Project: Vital Spark: The Kenny Wheeler Music- Edition Records

The trumpeter/composer Kenny Wheeler, who passed away in 2014, has left an indelible mark on the world of music. Wheeler was a Toronto born Canadian musician who studied at the Royal Conservatory of Music before relocating to Britain in 1952. There he worked with saxophone/composer John Dankworth in his orchestra from 1959 through 1965. Wheeler also studied composition with both Richard Bennett and Bill Russo in the early sixties. Wheeler was always interested in both performing with and composing/arranging for large jazz groups, and his first recording under his own name, Windmill Tilter, was recorded back in 1969 with Dankworth’s orchestra, although it wasn’t released until 2010.

In mid-sixties and into the early seventies, Wheeler became influenced by the free improvisational movement in England that found him playing with such progressive artists as saxophonist Evan Parker, guitarist Derek Bailey, drummer John Stevens and multi-reedist John Surman in Britain, and he joined American saxophonist/composer Anthony Braxton Quartet from 1971-1976.

Kenny Wheeler, Norma Winstone and John Taylor

Wheeler became a member of a chamber jazz group, Azimuth, from 1977 through 2000, where he met the pianist John Taylor and his then wife vocalist Norma Winstone. His relationship with the superb bassist Dave Holland dates back from their days in the vibrant London jazz scene of the nineteen-sixties. Holland’s first recording with Wheeler was on the trumpeter’s initial release Windmill Tilter, but his inclusion in Wheeler’s seminal album Gnu High, one that featured pianist Keith Jarrett, guitarist Bill Frisell, and drummer Jack DeJohnette from 1975, is perhaps the most acclaimed.

Norma Winstone and Dave Holland (photo credit unknown)

Vital Spark is a collection of some of Wheeler’s final compositions, some of which have never been recorded previously. This collaboration between three of Wheeler admiring alumni, the bassist Dave Holland , the vocalist Norma Winstone, and Paul Churchill, The Musical Director of the London Voice Project is a beautiful love letter to the composer. Churchill was a conductor of Kenny Wheeler’s Big Band and worked with Wheeler on the release of Mirrors from 2007. The recipient of many of these compositions from Wheeler over a period of several years before assembling, Churchill arranged them and eventually enlisted Holland and Winstone to make this project come to fruition. Besides manning the LVP, which is one of the United Kingdom’s leading contemporary vocal ensembles, Churchill was, for nearly fifteen years, the British accompanist of the vocalist Mark Murphy . 

Paul Churchill (photo credit unknown)

Vital Spark is a collection of nine compositions predominantly based on poetry and represent a personal, collaborative reinterpretation of Wheeler’s work maintaining the composer’s character and intention. Of the nine songs chosen for this album, my research found only “Inner Traces,” having been previously recorded.

Of the remaining Wheeler compositions, the talented lyricist Winstone provided new lyrics for “Inner Traces,” “Vital Spark,” and “These are the Things We Trust.” The remaining six compositions were inspired and provided with lyrics drawn from some of Wheeler's favorite poets.

“Will You Walk a Little Faster” is based on Lewis Caroll’s “The Mock Turtle’s Song” from his Alice in Wonderland. The poet Stevie Smith’s provides lyrics for “Not Waving but Drowning” and “Heavenly City.” Langston Hughes is the inspiration and provides lyrics for the composition “Jazzonia.” William Blake’s” Infant Joy” provides both lyrics and a theme for that composition, and French-Canadian Emile Nelligan’s “Fruite D’Enfance” or “Fruit of Childhood” is the source of both the lyrics and the inspiration of that Wheeler composition. 

The album is a deft unification of jazz ensemble work provided by Holland’s group- pianist Nikki Iles, Mark Lockheart’s tenor and soprano saxophone work, John Parricelli’s guitar, James Maddren’s drums and Holland’s resonate bass along with Norma Winstone’s beguiling voice. The vocal chorale work was skillfully arranged and directed by Paul Churchill and included the eight Soprano, nine Alto, four Tenor and four Bass voices of The London Voice Project.

The London Voice Project (photo credit by Karen Hatch)

The music opens with “Inner Traces” and features an opening repeating piano lines by Nikki Iles, the transcendent voice and lyrics of Norma Winstone, and accompanied by the soaring voices of the choir. Holland provides a deeply resonant pizzicato bass solo that is harmonized by the choir’s angelic-like, homophonic texture, before the music introduces a moving tenor saxophone solo by Mark Lockheart. It is the splendid voices of the choir that make this one feel like you have been transported to another world.

James Maddren’s wonderfully syncopated drum work opens this playful Lewis Carroll piece “Will You Walk a Little Faster” before Holland’s bass offers his own heart-like pulse. This features some jubilant vocalese from Winstone, as she navigates this chicanery-like path of Wheeler’s spirited music. Lockheart’s soprano soars like a free bird. Holland and Maddren anchor the buoyant beat, and the choir voices drape the music with a repeating verse that just accentuates the demand for acceleration that the lyrics demand. A joyful aural delight.

Wheeler’s fondness of the work of English poet Stevie Smith becomes apparent as we find two compositions here that he chooses to bring to musical life. The plaintive “Not Waving but Drowning,” features some expansive guitar work by John Parricelli, Winstone’s beautiful voice and Lockheart’s windborne soprano work.

Wheeler’s composition of Smith's “Heavenly City” is treated with a repeating riff that modulates as Winstone’s wordless vocalizing creates the music’s purposeful saunter. Holland’s bass prominently sets the pace; Iles’ piano work accompanies brilliantly. Lockheart’s tenor adds some emotion grit and guitarist Parricelli offers a more aerial approach over the choir’s powerful vocalizing.

Langston Hughes “Jazzonia” features Holland’s a movingly reverent bass solo, as the choir carries the hymn-like feel for this one. Iles piano work is especially emotive and Lockheart’s burnished tenor sound resonates with earnestness.

“Fuite D’Enfance” finds Winstone’s crystalline voice taking over this staccato piece, as Holland and Maddren carry the rhythmic load. Parricelli’s guitar provides an acoustic guitar solo of note, and Iles piano work has a distinctive melodicism to be enjoyed. Maddren’s drum work at the coda is rewardingly explosive. 

The album’s title cut is “Vital Spark”, and it is notably majestic. The music swells as the choir sets the stage before the ensemble is led by Holland’s probing bass. Winstone’s limpid voice sings her lyrics with such authority and conviction. Holland offers a facile and powerful pizzicato solo that is deftly accompanied by Iles. Her solo here offers some of  the best of her work on the album. The choir’s unified voices just sweep you away with their moving harmonies.

William Blake’s “Infant Joy,” a song from the view of a newly born baby, comes alive with Holland’s opening bass lines and Winstone’s evocative voice. The choir hovers in the background as Winstone's voice and Lockheart’s tenor spell out the melody. Parricelli’s guitar provides an otherworldly post natal look before the group and choir reach an apex of realization and awareness that spells pure joy. “Sweet joy befall thee!” 

The final composition is Wheeler’s “These are the Things We Trust” with lyrics by Winstone and it is a fitting swan song for the maestro. Opening with a solemn piano intro by Ile’s. Winstone’s lyrics speak “Haunting sounds that filled my life and made their mark on me, Could I rewind to things left behind?” and “Cruel is the light that descends into the night, where all of our dreams are dust. Some things remain untouched by the rain and these are the things we trust.” The music just resonates with a feeling that these three artists set out to pay homage to Wheeler whose work meant so much to them and wanted to truly respect and honor his legacy. Vital Spark certainly attains that goal  successfully and in spades.

John Surman: "Flashpoints and Under Currents: A Time Trip and a Lost Treasure of Progressive Music Circa 1969

John Surman Flashpoints and Under Currents : Cuneiform 

The British born musician John Surman has been making music for over sixty years, first gaining recognition for his baritone saxophone work with the Mike Westbrook Band in the mid-sixties. Along the way, this creative soul was a key driving force in the British jazz scene. He pursued avant-garde, modal and free jazz genres, but he has also explored creative music incorporating folk, pastoral, choral and chamber-like musical inspirations. He is clearly an eclectic musical maestro of international importance. In addition to Westbrook, his curriculum vitae includes numerous notable collaborations that include artists like Dave Holland, John McLaughlin, Terje Rypdal, Mike Gibbs, Jack DeJohnette, Alexis Korner, Thomaz Stanko, John Taylor, Paul Bley, John Warren, John Marshall, and his partner vocalist Karin Krog.  

Now at the tender age of eighty, this man is continuing to produce modern musical offerings that still deliver to the listener consistent invention, beauty and reflection. He has become a perfect mentor for the upcoming artist of the next generation.

I have reviewed both of his most current ECM releases Invisible Threads (here) from Jan 2018 and his Words Unspoken (here) from 2024, and Surman never ceases to find ways to expand the palette and reinvent the concept of creative improvised music.

This latest release, Flashpoints and Under Currents, captures a live performance of Surman's ten-piece group from a performance recorded in Hamburg, Germany on April 18, 1969, apparently in front of an audience. At the time of this recording- a very busy year for Surman-he had just completed his second album as a leader titled How Many Clouds Can You See among several other collaborative efforts. This new release is a expanded release from Cuneiform Records which originally released Surman's studio recorded Flashpoint NDR Jazz Workshop -April 1969 and released in CD and DVD form in 2011. The latest release Flashpoints and Under Currents is more historically of interest because Surman has included eight additional compositions and because the listener is 

On this iteration of the group is the same. Surman plays soprano and baritone sax, and bass clarinet and is joined by the Canadian trumpet/flugelhorn master Kenny Wheeler. Three British saxophonist of note, Ronnie Scott on tenor and Alan Skidmore on tenor and flute, and Mike Osborne on alto fill the horn section with Malcom Griffiths and the Austrian Erich Kleinschuster are on trombones. The rhythm section includes another Austrian, Fritz Pauer handling the piano, the South African Harry Miller on upright bass, and another Brit, Alan Jackson on drums. The release includes thirteen compositions, ten by Surman and one each by Wheeler, Pauer, and Kleinschuster. The music runs a little over 108 minutes spanning in time from just over four minutes to just under twelve minutes in run time.

The group deserves a little biographical refresher to get the significance of this important session in context. The three members of this recording who are still present are John Surman, whose discography as a leader and his worldwide exposure as a sought after sideman, speak for themselves. The prolific saxophonist Alan Skidmore is now eighty-three. Skidmore's saxophone and flute started out in the blues with Britain rockers John Mayall and Alexis Korner and  graduated to associations with Elvin Jones, Weather Report and Dexter Gordon. And Alan Jackson, the drummer, who served in many of Mike Westbrook's ensembles besides working on several Surman projects, now eighty-five and  presumably retired from playing.  The remaining seven members of this band have sadly all transitioned. 

Mike Osborne, the alto saxophonist, retired in 1982 due to health issues, and passed in 2007 at the age of sixty-five. Ronnie Scott, saxophonist and one of the founders of his jazz world famous club named after him in London, passed in 1996 at the age of sixty-nine.  Kenny Wheeler the prolific and well respected composer/trumpeter left us in 2014 at the age of eighty-four. Trombone ace Malcom Griffiths, a one time member of Mike Westbrook's Band, Michael Gibbs Orchestra and lead trombone in Buddy's Rich's Orchestra, left us in 2021 at age seventy-nine. Austrian trombonist Erich Kleinschuster, an alumni of the Kenny Clarke-Francy Boland's ensemble, who also played with Stan Getz and Astrid Gilberto as well as harmonica giant Toots Thielman's,  left us in 2018 at the age of eighty-eight. Fellow Austrian and educator/pianist Franz Pauer, who played with prominent jazz artists like Dexter Gordon, Don Byas, Booker Ervin, and Art Farmer, passed in 2012 at the age of sixty-eight. South African bassist Harry Miller, besides working with Mike Westbrook's Band and Chris McGregor's Brotherhood Of Breath, also played with Elton John and as a guest bassist for King Crimson. He was tragically killed in an auto accident in 1983 at the age of forty-two. With this in mind, it becomes all the more significant to have a chance to listen to this talented assembly of some of Britain's most creative musicians at what might be arguably considered their prime, the late sixties.

The music from Flashpoints and Under Currents is a testament to Surman's inquisitive mind. It captures the musician as an aspiring composer and arranger for larger format ensembles, while capturing his proficiency as a formidable multi-reed artist and as a leader.  The compositions can be risky, probing, dynamic, often free, sometimes cacophonous or modal in nature. But sometimes the music shows a penchant to create melodic beauty. Surman uses diverse textures, inventive section accompaniments, tonal variation and multiple rhythmic ideas. 

If you have heard the original release from 2011 then you will recognize the highlights from the first recording-Surman's the modally driven "Mayflower," the gorgeous "Once Upon a Time" and eruptive and cacophonous "Flashpoint,"  Pauer's airy, waltz-like "Gratuliere" and Kleinschuster's kinetic "Puzzle." These live recordings all have the energy and creativity that mark this incredible ensemble brimming with excitement and vivaciousness as they follow Surman's  compositional lead into a new world of music that seems to have been influenced by what has been going on around the world. Influences like Coltrane, Tyner and Sanders, composer arrangers like Oliver Nelson and Gil Evans and even free thinkers like Dolphy and Coleman. Its a British response to what was happening in the world of jazz circa 1969 and it captures the audience response.

The new album adds some gems that are not to be missed. Besides "Beyond the Hill," "Background," " Hallo Thursday," and "Aqua Regis" all Surman compositions  my favorites are Surman's  beautiful "Where Fortune Smiles," his driving quick-paced "Jack Knife" and Wheller's modal composition "Dallab."

The individual performances are worth noting, like some impressive solos like Osborne's top notch alto sax solo on "Flashpoint." Surman's slippery soprano work "Flashpoint" is like a cobra on steroids and raises the temperature to new heights. Griffith's expressive trombone work on "Gratuliere" is just outstanding as is Alan Skidmore's airy flute work. Expressive flugelhorn work by Wheeler on "Dallab"  and  again pulling some strings on "Once Upon A Time" along with some gorgeous piano work by Pauer.  Kleinschuster's trombone on his composition "Puzzle" leaves no prisoners and Alan Jackson offers an explosive drum feature at the coda. "Jackknife" is a wonderful vehicle to hear Wheeler on flugelhorn, Giffiths on trombone and Osborne again show some real mettle on his alto. 

Not all the music is going to age well. This was an experimental time of free expression, at times free of structure, containing elements of dissonance and unfettered noise generation, often lacking melody to hang onto. It could often be exhilarating in the moment, even for the audience in situ who can be captured by the overwhelming feeling of being present and part of an act of creation. But it also can lose the passive listener who can find it hard to feel like it was being played for his inclusion, lacking the feeling of being an observing participant.  That said, this is a marvelous picture into what the creative world of British jazz was like in the late nineteen-sixties.  It was vibrant, daring and pushed the envelope of traditional norms. It was also some of Europe's  most interesting artists of that era who were willing to follow Surman's lead and perform this progressive music with verve, confidence and enthusiasm. A treasure chest of music from another era.

 

Canadian guitarist Lorne Lofsky: This Song is New

This Song is New Lorne Lofsky Modica Music 

The excitement about searching for and listening to new music is that if you explore enough, you can find out about some talented artists who have somehow flown under your radar. My recent discovery of the Canadian guitarist Lorne Lofsky is a case in point. A talented artist who prefers to eschew the use of electronic enhancements to modify his beautiful, melodic tone, he instead uses a precise, thoughtful exploratory approach and a warm, fluid attack that speaks volumes to his uncluttered expressivity. The now sixty-seven-year-old Lofsky is based in the cosmopolitan city of Toronto, where he is acknowledged as a sought-after educator at both York University and Humber College where he teaches.

Lorne Lofsky ( photo credit unnown)

Lofsky’s guitar sensitivity was employed by trumpeter Chet Baker and he toured with saxophonist Pat LaBarbera in 1983. Lofsky worked with guitar legend Ed Bickert from 1983-1991, trumpeter Kenny Wheeler and he was part of pianist icon Oscar Peterson’s touring quartet from 1994-1996. Since the early 1980’s Lofsky and expressive saxophonist Kirk MacDonald worked as a local quartet and on his latest release This Song is New, they are joined by their intuitive rhythm section of bassist Kiernan Overs and drummer Barry Romberg. This recording is the first release of music from Lofsky as a leader in over twenty-plus years. After listening to this great album my only comment is what took him so long? 

The session was originally envisioned as a workout of new material that the guitarist had brought to try out in the studio with friends. Luckily the tape was running, and the decision was made to release the recording of this intimate and enjoyable session.

The music includes seven selections, five are Lofsty originals and two are the guitarist’s reimagining’s of standards like “Seven Steps,” a creative take on the Miles Davis/Victor Feldman composition from 1963 “Seven Steps to Heaven,” and Benny Golson’s “Stable Mates” which Lofsky dresses up as a Bossa.

“Seven Steps” is given a jaunty rhythmic treatment and provides the platform to display the intuitive simpatico that MacDonald and Lofsky have developed after years of working together. Bassist Overs and drummer Romberg go faithfully along keeping the pace. I especially like Romberg’s rumbling drum solo and Overs lingering last note at the end.

The gorgeous ballad “The Time Being,” is an ethereal piece that sidesteps the moniker of “straight-ahead” jazz and demonstrates the ever-exploring nature of the guitarist’s work for finding alternative ways of looking at music. He calls this “…a snapshot of where your at in your personal/musical life.” It is pensive, evocative of self-discovery and his guitar deceptively sounds at times more like a comping pianist.

“Live at the Apollo,” which is musically related to John Coltrane’s “Giant Steps,” finds a beautiful interaction between Overs and Lofsky, as Romberg percolates in the background. The guitarist offers a creative and silvery solo that teems with ideas and fluidity. MacDonald offers a Trane-inspired run on his horn that bristles, derivative but not imitative. Loving to create a play on words with his composition’s titles, Lofsky here refers to a juxtaposition of the famous Harlem Music venue The Apollo and Neil Armstrong’s famous “…step for mankind” trip from the Apollo 11 mission in 1969.

 “This Song is New” uses an unnoticeable change in key through the melody statement which some may say was derived from another song “This Song is You,” but the guitarist assures any comparison to the two is totally coincidental. The slowly sauntering rhythm is carried by Overs buoyant basslines and Romberg’s shuffling brushwork. Lofsky and MacDonald are especially melodic on this and the group creates a warm feeling that wraps you like a quilt in front of a wood-burning fireplace; just cozy.

Following his penchant for creating pun-like titles, “An Alterior Motif” fits Lofsky’s tendency toward tongue-in-cheek. The music utilizes alternate harmonies throughout and there is a tension that builds up in MacDonald’s angular saxophone work and Lofsky’s subtle comping. This is one is a thinking man’s delve into unusual musical possibilities and deserves attention.

Perhaps the most interesting of the compositions is “Evans from Lennie,” which honors Tristano’s penchant for harmonic freedom and rhythmic variation. Lofsky was playing with the music of “Pennies from Heaven” when writing this one and was reminded of the work of Tristano acolytes Warne Marsh and Lee Konitz. Lofsky actually studied briefly with Konitz. The multiple influences here include Tristano's angular approach, MacDonald’s Konitz-like saxophone statement, and Lofsky’s melodic guitar work that spans the gap between bebop and modern jazz, much like Tristano and Bill Evans did with their piano work. This one takes some deep listening to fully appreciate the nuances that Lofsky and friends achieve here.

The finale is a Bossa treatment of Benny Golson’s standard “Stable Mates,” which is like seeing your lady out on the town in an unfamiliar but spectacular new outfit. You know her, but she looks and sounds so different. The rhythmic variation enlivens the well-traveled tune with some vibrancy. Lofsky says, playing in different time signatures has become more familiar over the years, and he employs the time changes effectively in his compositions. 

Take some time, listen to and absorb Lorne Lofsky's This Song is New and you will be rewarded by this beautiful and expertly executed session.

My Fourth of July List Celebrating Living Jazz Legends

Revised to include additions based on readers comments:


With the recent passing of Herb Ellis, Hank Jones, Fred Anderson and Benny Powell it becomes painfully apparent that we continue  to lose some of the great heroes and pioneers of this music that we call jazz. Despite  losses like these, jazz has proven time and again that it is a durable art form. It is a resilient performance art that is constantly recreating itself beyond categorization. This durability and creativity springs from the jazz tradition. Through the longevity and generosity of  the living jazz masters this tradition continues. They pass it along  through their moving performances, their valuable recollections and their tireless dedication to educating the next generation. The jazz audience has been characterized as aging and relatively small, but none can deny it is made up of passionate enthusiasts. On this fourth of July let our passion start a yearly celebration of our living jazz legends, those who have been and continue to be so instrumental in bringing us this music we love so much. The musicians who have created what could arguably be called America’s only true indigenous art form. An art form that has become the most internationally cooperative means of communication in the world today.

Here is my list of veteran players who are still with us, many vibrant and still actively playing or teaching, people who should be honored for their past and continuing contributions to this music we call jazz. I have only included those artists who have reached their seventieth birthday and beyond and I am sure I am missing some important players ( my apologies for any inadvertent omissions), but here is my fourth of July 2010 list of living jazz legends, with a great big thank you to each and every one.



LIVING JAZZ LEGENDS : July 4, 2010

Saxophonists: Pharaoh Sanders, Arthur Bythe  and Lew Tabakin (70), Zibigniew Namyslowski (71) Charle Lloyd (72),Archie Shepp (73), Don Menza (74) George Coleman (75), Gato Barbieri and Lanny Morgan (76), Wayne Shorter and John Handy (77), Phil Woods and Sonny Rollins (79), Ornette Coleman (80), Herb Geller and Benny Golson (81)  Lee Konitz and Med Flory (82), Lou Donaldson (83), Jimmy Heath (84), James Moody (85), Marshall Allen and Sam Rivers(86), Von Freeman (87), Frank Wess (88), Yusef Lateef (90).

Pianists: Herbie Hancock(70), McCoy Tyner and Roger Kellaway (71), Steve Kuhn (72), Les McCann, Carla Bley and Harold Mabern (74), Ramsey Lewis, Pat Moran and Pat Rebillot (75) Paul Bley and Larry Novak (77), Jack Reilly and Michel LeGrand (78), Horace Parlan, Muhal Richard Abrams and Derek Smith (79), Amhad Jamal and Barry Harris(80), Horace Silver, Junior Mance and Toshiko Akiyoshi (81), Martial Solal, Joanne Brackeen and Mose Allison (82), Dick Hyman (83), Randy Weston (84), Billy Taylor (88), Dave Brubeck (89), George Shearing (90) and Marian McPartland (92).

Bassists: Eberhard Weber (70), Charlie Haden (72), Ron Carter and Chuck Israels (73), Henry Grimes (74), Gary Peacock and Cecil McBee (75), Bob Cranshaw and Jack Six (77) and Richard Davis (80), Jymie Merritt (84),Eugene Wright (87).

Trumpeters: Ted Curson (75), Donald Byrd (77), Jack Sheldon (78), Kenny Wheeler (80), Doc Severinson (83), Clark Terry and Uan Rasey (88) and Snooky Young and Gerald Wilson (91).Lionel Ferbos (98) 

Guitarists: Ralph Towner (70), Gene Bertoncini (73), Kenny Burrell (78), Jim Hall and John Pisano (79), Bucky Pizzarelli (84) and Johnny Smith (88).

 
Trombonists: Billy Watrous and Dick Griffin (71), Grachan Moncur III and Philip Wilson (73), Julian Priester and Roswell Rudd (75), Curtis Fuller (76) Locksley "Slide" Hampton (78), Bob Brookmeyer (81), Urbie Green (83) is eighty-three and Eddie Bert (88).



Drummers: Andrew Cyrille and Idris Muhamed (70), Bernard Purdie (71), Pete LaRoca Sims, Tony Oxley, Edwin Marshall and Nesbert “Stix” Hooper (72), Grady Tate (73), Albert “Tootie” Heath and Chuck Flores (75), Ben Riley (77), Mickey Roker (78) Paul Motian and Ronnie Bedford (79), Jimmy Cobb, Joe Morello and Charlie Persip (81), Roy Haynes (85), Al Harewood (87),  Chico Hamilton (88), Candido Camero (89) and Butch Ballard (91).

Organists: “ Papa” John De Francesco and Mac “Dr John” Rebbenack (70), Brian Auger (71), Trudy Pitts and Johnny “Hammond” Smith (77) and Sir Charles Thompson (92).  

Jazz Vocalists: Astrud Gilberto and Al Jarreau (70), Mary Stallings (71), Etta James (72), Nancy Wilson and Carol Sloane (73),Freddy Cole and Mark Murphy (78), Abbey Lincoln, Helen Merrill, Gloria Lynne and Jon Hendricks (79), Annie Ross (80), Sheila Jordan and Ernestine Anderson (81), Cleo Laine and Ernie Andrews (82), Tony Bennett (83) and Jimmy Scott (84).

Miscellaneous Artists: Roy Ayers, vibraphonist (70),  Hermeto Pascal, accordian (74), Michael White, violin (77), Terry Gibbs, vibraphonist (86), Buddy DeFranco, clarinetist (87)

Composer/Arrangers,
Don Sebesky (72), Quincy Jones, composer/arranger/ trumpet (77), Lennie Niehaus, composer/arranger/saxophonist (81), Bill Holman, arranger/composer/saxophone (83),  Johnny Mandell, composer/arranger (84)

A happy fourth of July to all of you and thank you for your tireless contributions to the music we all love.