On this the 40th anniversary of All Nite Soul, the Jazz Ministry of Saint Peter’s Church – the Jazz Church – is thrilled to honor National Endowment for the Arts (NEA) Jazz Master, saxophonist and flutist Frank Wess. The event begins with Jazz Vespers at 5 PM. All Nite Soul starts at 7 PM with over 80 musicians celebrating All Nite Soul and honoring Frank Wess. An “exhibit wall” in the Living Room of Saint Peter’s Church will tell the story of Frank Wess with memorabilia.

Frank Wess is revered as a smoothly swinging tenor saxophone player in the Lester Young tradition, as an expert alto saxophonist, and as one of the most influential, instantly recognizable flutists in jazz history. In 2007, Frank Wess received America’s Highest Honor in Jazz, the prestigious NEA Jazz Masters Award.

Frank Wellington Wess was born on January 4, 1922 in Kansas City, Missouri. Frank first studied classical music and played with the Kansas All-State High School Orchestra. After moving to Washington, DC, in 1935, he began to play jazz in lunchtime jam sessions with fellow students, including Billy Taylor. An early touring career was interrupted by military service –– he played in a 17-piece band during World War II –– and then was resumed when he came out of the Army and joined an outstanding lineup in the Billy Eckstine Orchestra. It was at this time that he took up the flute, studying at the Modern School of Music in Washington.

Wess joined the Count Basie big band in 1953, helping it to evolve during its so-called “New Testament” phase and remaining with it until 1964. Wess’s flute playing, set off by Neal Hefti’s arrangements, contributed strongly to the Basie Orchestra’s new sound, while his tenor saxophone playing served as a counterpoint to the more fiery sound of Frank Foster. Wess has played since the 1960s in countless settings: with Clark Terry’s big band, the New York Quartet with Roland Hanna, Dameronia (1981-85), and Toshiko Akiyoshi’s Jazz Orchestra. During this period, he also bridged the worlds of jazz and popular show business. Wess performed as a staff musician for ABC Television, both for the Dick Cavett Show and for the David Frost Show (with the Billy Taylor Orchestra). In Broadway pit bands, he played for shows such as Golden Boy (starring Sammy Davis), Irene (with Debbie Reynolds), and Sugar Babies (with Mickey Rooney). For ten years, he played first-chair tenor saxophonist in the Carnegie Hall Jazz Band. He has also led his own big bands on world tours, and has played recently in the Dizzy Gillespie Alumni Big Band. Widely recorded on many labels, both as a leader and a sideman, Wess is a perennial favorite in DownBeat polls and a now-legendary presence on the jazz scene. His most recent album is Once is Not Enough (Labeth, 2009) (Thanks to the NEA for this biographical information.)

“In jazz parlance, tenor saxophonist and flutist Frank Wess is ‘somethin’ else.’ On one hand, (as Luis Bonillo said) Frank is the ‘pinnacle of elegance.’ On another, he is a down-home character who can swing like there’s no tomorrow, can play the blues with hearty grit, can write band parts that stand up and shout.” The Star Ledger, Zan Stewart

“All Nite Soul” was created in 1970 to celebrate the fifth anniversary of the first Jazz Vespers service held in 1965. The event has continued every year since then with hundreds of musicians performing and coming together in a “jazz love fest.” The Hungry Souls’ Café, an important feature of the event, serves homemade Soul Food! All Nite Soul is held in October starting on the Sunday evening of Columbus Day weekend and continues into Monday morning, hence the name All Nite Soul. Each year a major jazz icon is celebrated. Those honored in recent years include Dr. Billy Taylor, Benny Powell, Jane Jarvis and Joe Wilder.

The Jazz Ministry of Saint Peter’s Church is “a home for diverse individuals and communities which celebrates the dignity and vitality of Jazz, provides vibrant liturgy and pastoral care, and through intersecting partnerships, offers jazz programs, education and services.” An outreach program of Saint Peter’s Lutheran Church in New York City, The Jazz Ministry was founded in 1965 by the late Reverend John Garcia Gensel who created Jazz Vespers, a worship service featuring a wide range of jazz musicians that is held each Sunday at 5:00 PM. Our pastors include Amandus Derr, Jared Stahler, Kaji Spellman, Bill Eschen, Héctor Ribone and vicar Kevin O’Hara. The Jazz Ministry thrives today with many events and programs such as All Nite Soul, Prez Fest, Jazz on the Plaza, Seminars for Musicians, Midtown Jazz at Midday, memorials, tributes, concerts, and others yet to be developed, to serve the jazz community.

All Nite Soul 2010 – Honoring Frank Wess takes place on Sunday, October 10, 2010 at Saint Peter’s Church, 619 Lexington Avenue (at 54th Street), New York City.
5:00 PM: Jazz Vespers Free Will Offering
7:00 PM: All Nite Soul Concert — $20 Suggested Ticket Donation in advance.
$25 Suggested Ticket Donation at the door. Tickets in advance at http://www.saintpeters.org/jazz / http://www.facebook.com/saintpetersjazz 212 935 2200
“E” train to Lexington Avenue or “#6” to 51st Street

From the New York Times review 08/31/2009

With Frank Wess, the day’s headliner, the strictly-jazz crowd was on firm ground. Mr. Wess, at 87, remains a reliable messenger from another time: his shapely, easy-swinging saxophone solos in medium tempo were models of cool vernacular art. The notes went by softly, but the grammar and style of the solos were hard-boiled 1940s and ’50s: authoritatively lagging swing, bop flurries, virile ballad phrases, meaningful resolutions. He was brilliant in extended solos during Johnny Mandel’s ballad “A Time for Love” and used the uptempo “Billie’s Bounce” as his Parker reference, trading solos with the saxophonist Scott Robinson.

Frank Wess accepts the Flutist of the Year Award from writer Elzy Kolb of Hot House magazine during the Jazz Journalists Association’s 2009 Jazz Awards at the Jazz Standard (NYC) on June 16, 2009. Wess has performed and recorded recently with pianist Hank Jones, and with a nonet; besides playing tenor saxophone with the Count Basie Orchestra for many years, he focused the jazz world’s attention on flute starting in the late 1940s. Voiceover id’ing attendees by Howard Mandel.

By Edward Bianco
Frank Wess Nonet | Labeth Music (2009)

Known affectionately as “Magic” to his professional colleagues, saxophonist/flautist Frank Wess is a living legend in the jazz world. His résumé includes stints with Billy Eckstine, the Clark Terry Big Band and a decade performing with the Count Basie Orchestra, and he is recognized as one of the first major flautists to have an impact on the music. Once Is Not Enough is an audacious recording that follows his most recent collaboration with Hank Jones on Hank and Frank II (Lineage Records, 2009), with six original compositions and three covers tastefully arranged to feature the many soloists on his hand-picked nine-piece ensemble.Among the members of the Frank Wess Nonet are trumpeters Terell Stafford and Frank Greene, trombonist Steve Turré, altoist Ted Nash and baritone/bass saxophonist Scott Robinson, with bassist Peter Washington, pianist Gerald Clayton and drummer Winard Harper rounding out the rhythm section. Guests Michael Weiss (piano) and Rufus Reid (bass) sub for Clayton and Washington, respectively, on two tracks.

Though well established as a premier flautist, Wess has also made his mark as a Lester Young-influenced tenor saxophonist; it is as a sax man that he predominates here, though he also plays flute on selected tracks. The “magic” begins right off the bat on the opening title piece—one of four arranged by drummer Dennis Mackrel—a swinging bebop burner showcasing Wess on the lead backed up by the five-piece horn section that relinquishes the stage to Robinson’s lively baritone voice. The swinging sounds continue on “Sara’s Song,” where Turré’s trombone emerges as the first soloist, setting up strong bass work from Washington, and Harper’s rumbling pounding of the drums, all bolstered by superb background horns.

There’s more of the same on the perky “You Made A Good Move,” another Wess original where the saxophonist leads the music with a regal solo performance. All is not swing, however, as the leader provides mellow music with the light original, “Dementia, My Darling,” dedicated to his granddaughter, Nicole; Wess leaves the original ensemble format, preferring a quartet that features guests Weiss and Reid. Employing this same quartet setting, Wess delivers a second ballad with his creative arrangement of Billy Strayhorn’s time-honored classic, “Lush Life.”

Wess takes to the flute on two of the three standards offered here (“Sweet and Lovely,” and “Fly Me To The Moon (In Other Words)”), demonstrating his skills on the instrument that forged the prominence he so richly deserves.

It’s easy to understand why Frank Wess would title this album Once Is Not Enough, as it clearly refers to the superlative charts and world-class cast of players that make listening to this session only once merely one fix in a lifelong addiction to such fine music.

Frank Wess Nonet at All About Jazz.

by Zan Stewart/The Star-Ledger

Wednesday May 13, 2009, 2:25 PM

Frank Wess’ Celebration Nonet. When: Tonight through Sunday, 7:30 and 9:30 p.m. Where: Dizzy’s Club Coca-Cola, Jazz at Lincoln Center, Fifth Floor, Time Warner Center, Broadway at 60th Street, New York. How much: $35 music charge, $5-$10 minimum. Call (212) 258-9595 or visit jalc.org.

On one hand, he is the “pinnacle of elegance” — as his Celebration Nonet trombonist Luis Bonilla put it so aptly after the band’s first set Tuesday at Dizzy’s Club Coca-Cola. Wess demonstrated this facet repeatedly with his sumptuous lyricism on all manner of material.

On another, he is a down-home character who can swing like there’s no tomorrow, can play the blues with hearty grit, can write band parts that stand up and shout. These aspects were also regularly in view Tuesday.

The consistently vigorous Wess, 87, is a swing-to-bebop master, a jazz great who helped introduce flute to the modern realm. He’s also a tenor saxophone powerhouse who played and wrote his way to major league status with Count Basie from 1953-1964.

Wess just released “Once is Not Enough” (Labeth), a Nonet CD, and he brought a first-rate band to Dizzy’s to, indeed, celebrate.

Burton Lane’s “Come Back to Me” was an appropriately brisk opener. Wess arranged it for his 1993 Concord Jazz CD, “Tryin’ to Make My Blues Turn Green”; the set also included the title track and Teaneck saxophonist and flutist Scott Robinson’s “Night Lights.”

The beguiling “Come Back” theme, based on three-note phrases, had a vibrant 1950s modern swing feeling via Wess. In between the horn parts, Jersey City drum whiz Winard Harper added zesty commentary.

The leader soloed first, issuing one inventive thought after another with a colorful, singing tone and unshakeable rhythm. He displayed his deep knowledge of tenor innovator Lester Young — his primary influence — and Young’s disciple, Charlie Parker, in phrases that included chords turned inside out, fluid melodic items, and more.

Trumpeter Greg Gisbert, with a brilliant tone, and Robinson, on tenor with a Young-like sound, were also impressive with their mix of engaging remarks. A spiffy, robust band chorus added texture and interest.

Wess’ version of Gus Arnheim’s “Sweet and Lovely,” from the new CD, was initially voiced for two flutes and tenor saxophone, with brass interjections. With trombone then added to the frontline mix, another compelling lead sound resulted.

On flute, the leader coaxed forth a full yet breathy sound and offered a series of melodic gems. Ted Nash, also on flute, followed with alluring statements that ranged from funky to modern, then flutist Robinson, with more winsome expressions.

The medium fast “You Made a Good Move,” also from “Once,” included another Wess improv that was song-like through and through. Here, Bonilla told enticing stories with a big, gleaming sound, and, after a band shout chorus led by trumpeter Frank Greene, bassist Peter Washington soloed with his consummate taste and spot-on time feel.

Wess revealed his ballad artistry on his original, “If You Can’t Come, Don’t Call,” working with just pianist Michael Weiss, Washington, and Harper. The leader told his majestic story with sumptuous lines, as Washington dropped in complementary tidbits, and Weiss comped deftly.

Wess’ rollicking “Tryin’” was driven by Harper’s backbeat and showcased the leader’s ardent blues acumen. Robinson’s “Night Lights” sported the rich blend of alto clarinet and flute.

Zan Stewart is the Star-Ledger’s jazz writer. He is also a musician who occasionally performs at local clubs. He may be reached at zstewart@starledger.com or at (973) 324-9930.

“Once is not Enough”, Frank Wess’ newest release is capturing his optimism and romanticism very well. All the nonet pieces are full of light-hearted energy which reminds listener of Frank’s long career with the Basie Band. Another Basie alumni, Mr. Dennis Mackrel’s arrangements of Frank’s originals are dynamic, strong and musical.

Frank Wess – tenor saxophone, flute
Frank Greene – trumpet
Terell Stafford – trumpet
Steve Turre – trombone
Ted Nash – alto saxophone, flute
Scott Robinson – bass saxophone, baritone saxophone, flute
Gerald Clayton – piano
Michael Weiss – piano
Peter Washington – bass
Rufus Reid – bass
Winard Harper – drums

]]> http://frankwess.org/a/45/feed 0 http://frankwess.org/a/41 http://frankwess.org/a/41#comments Tue, 16 Dec 2008 09:03:02 +0000 marc http://frankwess.org/?p=41

With all your LOVE, ENCOURAGEMENT and SUPPORT, Frank Wess is
enjoying his eighty-sixth year still playing saxophone and flute as
always. After battling through some health crises, Frank now seems
to be doing extremely well, both mentally and physically, evident by
his latest musical antics.

Last January, Frank received the prestigious NEA Jazz Master
Award. These days Frank seems to be very much himself and is again
concentrating on His MUSIC PLAYING. One of the nicer things that has
been happening for Frank this past year or so is his association with
Ilya Lushtuk, the guitar player who brings his friends to Frank’s
place almost every week to jam.

Frank has also scheduled two of his own groups to play at the
Village Vanguard from April 29th to May 4th, and at Dizzy’s Club from
June 3rd to June 8th.
He will play in a quintet with Ilya Lushtuk, Rufus Reid, Winard
Harper and Terell Stafford at The Village Vanguard and with Frank
Greene, Terell Stafford, Steve Turre, Ted Nash, Scott Robinson, Cyrus
Chestnut, Ray Drummond and Winard Harper as octet at Dizzy’s Club.

He is also scheduled to tour with the Mr. Louis Nash Band in
Japan in the fall of this year. This truly is an exciting
time… Not to mention with the tremendous generosity of all Frank’s
closest friends, Susan Winthrop and Rosanne Percivalle, we celebrated
a wonderful 86th Birthday Jam this past January 4th. It was truly a
great time had by all!!!

To conclude, I sincerely hope to share all of Frank’s People
fortune and Musical fortune with all of You!

I Thank You from bottom of my heart!

Love, Peace and Health To The greatest People,

Sara with Frank Wess

“Every time I look around I see a new jazz flute player,” says Frank Wess, who was in at the start of the jazz flute revival.
We were in the artists’ bar at Belle Vue, Manchester. Frank was relaxing between the two Basie sessions of Wednesday, April 3.
A soft-spoken man of medium build, he has a neat little moustache and penetrating, widely-spaced eyes that make him look younger than his 35 years. He was tired from the Basie tour’s gruelling travelling, but he was ready to talk flute.
And I was wager to listen to an expert on an instrument which, I am sure, will soon establish itself as firmly in British as in American jazz.

Started 1950

“I first studied flute at the Modern School of Music in Washington in 1950,” Frank told me. “My teacher was Wallace Mann, principal flute with the National Symphony Orchestra of Washington. When I first told him I wanted to learn flute purely for jazz he just laughed.”
On other Jazz flautists Frank said:
“Sam Most plays very prettily, and when I made the longplayer ‘Flutes and Reeds’ I had great fun working with Jermone Richardson.”
“I’ve heard a lot about Bobby Jasper, but up to now I’ve never actually heard him play. The late Esy Morales, though not strictly a jazzman, was a player whose work I greatly admire.

Teaching, now

“Wayman Carver is still around, incidentally. I met him a few month ago at Atlanta, Georgia, where he’s now teaching.”
“Kincaid of the Philadelphia Symphony, is the greatest,” Wess went on. “Nicolai and my old teacher, Wallace Mann, also rate pretty high.”
When I asked him whether he played anything besides flute and tenor, Frank told me: “I was solo clarinet with the 5th U.S. Army Band from ‘41 to ‘45. But nowadays I only play clarinet only when I have to. It’s an instrument I don’t care for – doesn’t give you any satisfaction even when you’ve really studied it.”

More power

Well plays a Powell closed G sharp Boehm with open holes. He put the instrument through its paces for me. It has an extension to low B natural, and when I tried it myself I found it had very much more resistance than my own Selmer. Though made of metal it had more power and a bigger range of volume than many wooden flutes I have tried.
Frank Wess does not use the conventional “smile” type of embouchure but blows with lips thrust well forward. “You loose a little refinement that way,” he explained. “But you get better intonation in the top register and it’s easier for quick changes from tenor.”
Frank also hooks his thimb well under the body of the instrument instead of using the more orthodox hold in which the right-hand thumb pushes outwards underneath the trillkey connection rods.
By all the rules this ought to slow him down, but it doesn’t – not a bit. His playing for me in private, even more than his solos at the Basie concert, showed me that he is an exceptionally agile player.
The Wess tone was a pleasant surprise. When heard at close quarters it is beautfully firm and rich. I do not think his recordings do him justice.
Our interview ended when Count Basie himself came into Frank’s dressing room just before the second house concert started. If he hadn’t Frank and I might have gone on talking flute all night.
Which would have suited me fine, for Wess, with his quiet and truly modest personality, is a man of great charm.
More than that, he is an enthusiast and a pioneer of an instrument that more and more reed man will have to take seriously if they wish to keep abreast of the lastest and best developments in mainstream jazz.