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Jazz to the Future – The Revitalization of a Scene

July 3, 2019 2 comments

JAZZ to the Future illustration

 

Jazz to the Future – The Revitalization of a Scene

story by Leo Adam Biga

Illustration by Derek Joy

Originally appeared in the July 2019 issue of Omaha Magazine (omahamagazine.com/articles/jazz-to-the-future)

 

Legacy Informs Revival

Veteran drummer Curly Martin came of age in the ‘50s and ‘60s, when North O brimmed with players and venues. Today, he’s a flashpoint for shedding light on the history and making jazz relevant again. He is adamant “you can’t be taught jazz or blues.”

“We had mentors. Preston Love was one of my biggest mentors. I was a junior in high school, 16 years old, when I got the gig with his band. I got permission to go on the road and said bye to Tech High.”

He insists the only way to learn is to “just hang out and play, man.”

“My whole thing is about the music and passing on the knowledge,” says Martin, who’s forming a foundation to mentor youth, The Martin Mentoring Lab. He’s presented jazz labs at Hi-Fi House in the Blackstone District and is doing the same at The Jewell in the Capitol District.

“I believe the audience is in Omaha—they just don’t know what they’ve been missing because it’s been gone for so long,” says Kate Dussault, formerly of Hi-Fi House. “Omaha has this really unique opportunity right now, which is why we’re creating this foundation as a place where people can come and learn by osmosis.”

In Martin, Dussault found a kindred spirit.

“He reveres jazz like I do—as black classical music. Curly’s determined to bring jazz back to Omaha and [Hi-Fi House is] doing everything we can to help him.”

His son Terrace Martin, a noted musician and producer in Los Angeles, is leading a similar charge on the coast. 

“It’s a whole new clique going on,” Curly says. “All these young musicians catching hold and putting all this together—passing the work and knowledge around.”

The Grammy-nominated album Velvet Portraits, featuring Curly and Terace, was recorded at producer Rick Carson’s Omaha-based Make Believe Studios. Carson says Terrace, with artists like Kamasi Washington and Robert Glasper, are leading “a jazz resurgence,” adding, “The jazz they’re playing isn’t straight-ahead jazz, it’s this jazz mix-up of hip hop, funk, R&B, and soul.”

“Terrace is sitting right at the nexus of hip hop and jazz,” Dussault says. “He’s a sought-after producer who works with Kendrick Lamar and Herbie Hancock. He’s part of that whole crew bringing this new sort of jazz and making playing jazz cool again to young people.”

That synergy travels to Omaha in work Terrace, Curly, and others do at Hi-Fi, Make Believe, Holland Performing Arts Center, and The Jewell. None of this new activity may have happened, Dussault notes, if Martin hadn’t asked Hi-Fi “to help him bring back jazz at the club level.”

“At the time, in my estimation, jazz truly was dead in Omaha,” she says. “Love’s Jazz was doing a little smooth jazz and you had great shows at the Holland, but you can’t develop a jazz audience at $35 and $65 a ticket. So we came up with a concept of doing shows where Curly and company perform jazz and tackle history he thought otherwise would never be told. He’s really a big believer if kids don’t see it, they can’t aspire to play it—and then we’ll never turn this around.”

Dussault committed “to celebrate the history with Curly and guys he grew up with that had a pretty important impact on the canon of jazz, blues, R&B, even rock. We brought back his friends. We underwrote the shows and we were full almost every time.”

Make Believe captures interviews and performances of Martin and guest musicians. The result is an archive of artists who lived North O’s jazz and blues past.

Filling the Void

Recent standing-room-only Holland performances confirm what Martin and Dussault already knew. “There’s an audience for this music—but you have to reintroduce it,” she says. “Omaha has to work on audience development.” She adds that there has been serious neglect of the scene, not just in Omaha but around the country. “It needs to be respected, coddled, and brought back.”

Omaha Performing Arts executive director Joan Squires saw the same void. Filling that gap became the mission of its Holland Jazz Series and 1200 Club.

“Nobody was presenting, in any real consistent way, the major touring jazz artists and ensembles here, and we felt it was important we do it,” Squires recalls. “Jazz is an important art form and something we’re very committed to. We do it not just for what’s on the stage but also for the education components the artists bring to our community.”

OPA’s jazz program launched in 2007. The main stage concert hall series features “a mix of very established jazz masters and renowned artists along with up-and-coming talent,” she says.

Jazz on the Green fell under OPA’s domain when Joslyn Art Museum sought someone to take it over.

“We jumped at the chance, because it’s certainly a big part of our mission and it’s a beloved series,” Squires says. “Midtown Crossing’s opening made for a perfect location. All the pieces came together to take that series to a whole new level. We’ll regularly get 8,000 to 10,000 people at a performance. It’s extraordinary.”

Omaha saxophonist Matt Wallace, who toured with Maynard Ferguson and played the prestigious Blue Note and Birdland, likes the city’s new jazz landscape.

“In general, I think the scene is very healthy right now between the players we’re producing and the available venues. The whole scene depends on schools doing well and having places to play. It’s very systemic. If one part is missing, there’s an issue. I’m very encouraged by what’s happening.”

He’s impressed by The Jewell, which opened last fall.

“What happens with most clubs is they get one of two things right—either it sounds great or it looks great. This club actually got all of it right. Another thing I like is that when you walk in you get a history of artists who played at the Dreamland—Nat King Cole, Dinah Washington, Duke Ellington.”

Jewell owner Brian McKenna’s club is a conduit to Omaha’s jazz past.

“There are two stories here,” McKenna says. “There’s the generation of Curly Martin and the previous generation of Preston Love. Each became enchanted with the sounds and players of their eras. They met the artists who came through and ended up playing with them.”

Back in the Day

Martin and his buddies learned to play jazz on the North Side, jamming alongside big-time touring artists. They became respected industry journeymen. Martin has brought some—Stemsy Hunter, Calvin Keys, Ron Beck, and Wali Ali—back to gig with him in Omaha.

North 24th Street landmark Allen’s Showcase, Martin says, “was a musicians’ hangout. It was just about music, period. You went to the Showcase for one reason only—to hear the best of the best. That’s what black music was about. That was the place for the players. The Sunday jam session was notorious. It went from 10 in the morning till 1 the next morning. You had time to play, go home, change clothes, eat, come back.”

The Dreamland Ballroom was where people went to see the major artists at the time. “We knew it as a blues place—Little Richard, Etta James, BB King…You never could dance in the damn ballroom because it was packed tight,” Martin says. “You know where us young musicians were at—right up to the stage looking up.”

“That’s how we met ‘em all. We had a chance to sit-in and play with them.…Later on, when we got 20, 21, they remembered us. That’s how we got gigs.”

Once musicians sufficiently honed their craft here, they left to back big-name artists on major concert tours and hit records. They found success as sidemen, session players, composers, producers, and music directors. Some, like Buddy Miles, became headliners.

The same scenario unfolded a generation earlier at the Dreamland, Club Harlem, Carnation Ballroom, and McGill’s Blue Room. Anna Mae Winburn, Preston Love, and Wynonie Harris broke out that way.

On the North O scene, mostly black talent played in front of integrated audiences on the strip dubbed The Deuce. Driving riffs, hot licks, and soulful voices filled myriad live music spots.

“Everybody was coming north,” Martin says.

“When I came up, we were not leaving Omaha for New York or Los Angeles. There was that much work. There were that many great musicians and venues. Then there were all the cats coming back and forth through Omaha. We were seeing the best in the world…why go anywhere?”

An infrastructure supported the scene in terms of black hotels, rooming houses, and restaurants. A&A Records was “a kick-ass music store with eight listening booths.”

“We had all that going on,” Martin says. “I’d come out of my house every morning and hear music on every corner. It was a fairytale, man. At night, you had to dress up—suit and tie, shoes shined. It was classy. Twenty-fourth and Lake was like being on Broadway. It was like that back in the day.”

Further making the scene special were clubs such as Backstreet, Apex Lounge, The Black Orchid, and The Green Light. At Off Beat Supper Club emcees introduced Cotton Club-like revues and floor shows. “It was killing,” Martin says. “It was the most popular black club in North Omaha.”

After-hours joints added another choice for late nights out. High stakes games unfolded at the Tuxedo Pool Hall. The Ritz and Lothrop movie theaters and social halls provided more entertainment options.

“North Omaha was a one-stop shop when it came to music. There was more to it than just jazz. That was just part of it. The history of North Omaha is not simple at all, especially about the music. There was just tons of music.”

And transcendent talent.

From Gene McDaniels hitting gold with “A Hundred Pounds of Clay” to Lalomie Washburn writing Chaka Khan’s mega-hit “I’m Every Woman,” it’s clear the talent was there.

“Cats getting record deals with Chess Records in Chicago. I can go on and on,” Martin says. “They were hometown stars in the ‘hood—and we all grew up together.”

Restoring What Was Lost

In the ensuing decades, clubs closed and the economy dwindled.

As the North O scene waned, new metro artists emerged—Dave Stryker, Jorge Nila, Dereck Higgins, Steve Raybine, and the Potash Twins.

There were still veterans around for up-and-comers to learn from.

Matt Wallace learned under Luigi Waites. “Playing with older, more experienced guys your game has to come up—there’s just no way around it,” Wallace says. “I try carrying that on.”

Drummer Gary Foster is grateful to his mentors. “I had so many experiences of people taking their time with me, from Bobby Griffo to Charles Gamble to Luigi to Preston, and Preston’s sons Norman and Richie. They were very open.”

Bobby Griffo, aka Shabaka, “was just a prime mover in the North Omaha modern jazz scene. Anybody that was anybody played with him,” Foster says.

Griffo ran the Omaha Music School and led the big band Arkestra that included prime players Timmy Renfro, Mark Luebbe, Gamble, and Foster.

Omaha’s Jazz Scene Hung On

“The Showcase was still going. The Howard Street Tavern had Tuesday night jam sessions. Luigi normally had a night there (and at Mr. Toad’s). A lot of people came in to play,” Foster recalls. “Jack DeJohnette’s band. The Johnny Otis Revue. Dizzy Gillespie and Earl Hines came to town and did a jam session at Howard Street.”

“That stuff went on all the time. The big one was at Kilgore’s. Chick Corea was in town to play the Music Hall. He wanted to know if there was anything going on and we took him to Kilgore’s. He sat in all night playing drums. He didn’t even touch the keyboard.”

Foster says jazz could also be heard at places like The Gaslight and Julio’s.

“And there were still all kinds of little after-hours clubs. I remember one down by the stockyards. I walked in there with my drums—this young white boy with all these black musicians in an all-black club. When the guys sitting at the bar turned around, their coats opened and they were all carrying pistols. They were like, ‘Don’t worry, you’re with the band, you’re cool, you don’t have to worry about anything here.’”

But things slowed to a crawl from the 1990s on.

“Clubs stopped hiring the caliber of jazz artists they once did,” he says. “There were always good local players playing, but it was just a niche thing. Nobody was really making any money at it. We turned to other music to keep gigging. You had to do what you had to do to make it. We played jazz because we loved it.”

The same 10 jazz players played all the gigs. “That’s why I moved to New York,” Foster says. Stryker, Nila, and Karrin Allyson preceded him there.

Climbing Back

Foster is glad the jazz scene has picked up.

Mark’s Bistro owner Mark Pluhacek helped feed the resurgence with a regular jazz program at Jambo Cat beneath his eatery. Though it gained a following, that wasn’t enough to prevent its closing.

Chuck Kilgore, a musician and former club owner, played at and booked Jambo Cat, which he called “the perfect venue.” Even perfect wasn’t good enough.

The truth, Kilgore says, is that few entrepreneurs are willing to risk an investment when there’s “almost certain” small returns.

“Jazz is mostly subsidized these days the way symphonic music is,” Pluhacek says. “It’s underwritten for it to survive. It’s not what people are listening to in huge volumes, so it has to be supported in other ways.”

Pluhacek enjoyed Jambo’s run while it lasted.

“It all came together. It was wonderful. We realize the importance of it. We hope the energy for jazz just grows and gets better.”

Hope for the Future

Besides the Holland and Jewell, other outlets for jazz include the Ozone Lounge, Omaha Lounge, Havana Garage, Harney Street Tavern, and Mr. Toad’s.

Education is also key to engaging an audience.

LJAC hopes to have artists at The Jewell work with elementary school students, and OPA is introducing the genre to pre-schoolers through Jazz at Lincoln Center’s WeBop program. Another facet of cultivating audiences is radio jazz programming. Artists still depend on air play.

“What’s changed is musicians’ ability to get their music out there,” KIOS-FM jazz host Mike Jacobs says. “We get a lot of music produced and marketed by musicians themselves. The major labels have gotten away from doing straight-ahead jazz. A lot of artists produce a hybrid jazz-pop sound. They’re like gateway artists to the classic stuff.”

Jacobs’ KIOS colleague Christopher Cooke is cautiously optimistic The Jewell and other jazz spaces will re-energize things here. He hopes to one day see a “real summer jazz festival in Omaha.”

Meanwhile, Martin helps to build appreciation for the past and a foothold for the future. “It’s about the music coming first. I’ve been blessed and I have to pass it on,” he says.

“Curly was around for a scene that doesn’t exist anymore,” Carson says, “and he’s still connected to the people who made that music…No one is putting him and those dudes on the pedestal. But they’re world-class musicians. They’re clearly exceptional talents.”

Martin wants North O’s renaissance to be informed by what went before.

“How you going to know what we need, when you don’t know what we had?”


This article was printed in the July/August 2019 edition of Omaha Magazine. To receive the magazine, click here to subscribe.

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Journeyman jazz artist indulges passions for music, education and all things creative  


Journeyman jazz artist indulges passions for music, education and all things creative  

©by Leo Adam Biga

Paul Serrato exudes a New York state of mind acquired from decades of Big Apple living.

From the time the classically-trained jmusician discovered jazz via radio during his Omaha youth, he was drawn to America’s arts center. Excelling on piano, he no sooner graduated Creighton Prep then went East, first to Boston, then New York. He arrived in the era of The Beats, Miles Davis and Andy Warhol. He was there for the British invasion, the bust of the 1970s, the boom of the ’90s and the terror of 9/11.

This journeyman jazz pianist gigged in clubs, recorded his original music and composed-performed for off-off-Broadway shows. He worked various jobs before becoming an English as Second Language instructor.

At 83 he makes no concessions to age. Since returning  to Omaha in 2011, he’s continued performing-creating and indulging his appetite for literature, art, film, theater and dance. He’s still releasing CDs on his own Graffiti Productions label. His latest, “Gotham Nights,” has charted nationally. He plans a new jazz project for 2020.

“Age for me is mostly a number,” says Serrato. “I can’t spend time worrying about how I’m supposed to feel or what I should be doing at my age. My life has focus in music and education. I have degrees in both. In music I find excitement and energy as a pianist as well as composing, producing and promotion.

“Presently, I’m writing vocal music. particularly setting poetry to music. I’ve always composed and produced what I wrote. The pattern emerged in high school when I went into a studio and made my first single – a song with a fellow student on vocal.”

He teaches ESL for Metropolitan Community College. He tries “to make it comfortable” for recent arrivals “to adapt to a new culture and a new land.” “Cultural transference or acculturation – that’s an ESL teacher’s job.” His class assignments encourage students to celebrate their own heritage, too.

The bilingual Serrato stays in touch with former students from around the world.

In 2016 he combined his music and education passions  in a project commemorating 9/11. He was teaching that day near ground zero.

“We had to vacate our building. After we were allowed back in a few weeks later I had my international adult students write about their impressions of that day. They were from Taiwan, Japan, Turkey, Korea, Chile, all these different countries. They wrote eloquently about that and I saved their essays. Fast forward 15 years later and I asked some of my ESL students in Omaha to read these testimonials set to music I composed at a Gallery 72 event commemorating that tragic day. I was very proud of how that event turned out.”

Image result for paul serrato

 

Years earlier, New York’s hothouse of creativity found Serrato working with Warhol Factory personalities Jackie Curtis, Candy Darling and Holly Woodlawn.

“Some of that material for these crazy talented trans performers and underground figures was rather risque.”

In jazz circles, Serrato got tight with “master Latin percussionist” Julio Feliciano, whom he recalls “as just full of energy and vitality and ideas.” “He contributed his deep musicianship to my many recording sessions and New York gigs. We enjoyed that vibe that enables the most successful collaborations. That also includes Jack ‘Kako’ Sanchez. They were a percussion team. It’s evident on my record ‘More Than Red.’ which made the national jazz charts.

“I’ll never find another like Julio. It was like (Duke) Ellington with (Billy) Strahorn – the two of us together. We had a tremendous collaboration. He was a Vietnam vet who OD’d on prescription pain killers. It was tragic. So young, so talented, so brilliant. We were like brothers musically and spiritually.”

Serrato still records all his music in New York, which serves as a muse for his work.

He enjoys traveling. He once used a guide book to see Europe on five dollars a day. He followed bull fights in Spain and smuggled back copies of banned books from Paris. A former ESL student from Japan twice arranged for him to do music tours there.

He accepts that few jazz artists ever really make it big.

“For every artist like that,” he says, “there’s a legion of others like myself that don’t have that kind of profile.”

He describes “a tectonic shift in the jazz culture” that’s turned this once popular music into a niche thing.

“In a lot of people’s minds, jazz is not that important because it doesn’t make much money and doesn’t get much media attention, so we work however we can. But it’s always been a struggle, even in the golden era.”

The Life can take a toll.

“I remember as house manager and sometime performer at the Village Gate in the ’60s you’d have to make it through 2 a.m. gigs. It’s a tough life. No wonder there was alcohol and drugs and everything.”

Gigs are hard to come by here. His music gets labeled “sophisticated” or even “avant-garde.” He insists “Gotham Nights” is accessible with its Latin melodies.

He enjoys encouraging his students to follow their dreams. Having patience in this age of instant gratification is tough but can be rewarding.

“We are living in a culture of fast celebrity and quick social ‘likes’ – and just as quickly forgotten. My advice to any young artist is to keep focused on long-term possibilities. In other words, stick it out for the long-haul. You never can predict when or how your work will pay off. I speak from experience. I got a big payoff a few years ago from HBO for a song I wrote in 1971 they used in ‘Cinema Verite’ with James Gandolfini.”

Until your ship comes, he advises to get busy living and creating.

Visit http://www.paulserrato.com.

Venerable jazzman Paul Serrato has his say

March 25, 2019 Leave a comment

Venerable jazzman Paul Serrato has his say

©by Leo Adam Biga

Appearing in the April 2019 New Horizons

 

Paul Serrato

 

Journeyman jazz pianist, composer, arranger and recording artist Paul Serrato has packed much living into 83 years. The accouterments of that long, well-lived life fill to overbrimming the textured South Omaha house he resides in.

The humble dwelling is in the shadow of Vinton Street’s mural-adorned grain silos. They are distant echoes of the skyscrapers of New York, where for decades he plied his trade gigging in clubs and cabarets and writing-performing musical theater shows.

After all that time in Manhattan, plus spending bohemian summers in Europe, he returned to Omaha eight years ago upon the death of his mother. He inherited her snug bungalow and it’s there he displays his lifetime passion for arts and culture. Books, magazines, albums, DVDs, VHS tapes and CDs fill shelves and tables. Photos, prints, posters and artworks occupy walls.

Each nook and cranny is crammed with expressions of his eclectic interests, There’s just enough space to beat a measured path through the house and yet everything is neat and tidy under the fastidious eye of Serrato.

“This is how we live in New York in our cluttered, small apartments,” he said.

In a music room is the Yamaha keyboard he composes on and gigs with as well as manuscripts of completed and in-progress instrumental works. Though he’s recorded many CDs released on his own record labels, many of his tunes have never been made  public.

“I couldn’t bring it all out. That’s how it is for any artist.”

His latest release “Gotham Nights” on his Graffiti Productions label has charted nationally since January.

Some of his catalogue is licensed for television. He finds it “exciting” to hear his music on TV or radio. Tracks from “Gotham Nights” have aired on the nationally syndicated “Latin Perspective” public radio program.

Serrato has made provisions for his archives to go to his alma mater, Adelphi University, when he dies.

“They’ve been very supportive, very receptive about accepting my archives,” he said.

His home contains reminders of his second career teaching English as a Second Language to international students, including photos and letters from former students with whom he corresponds. All these years teaching immigrants and refugees, combined with his many travels, gives Serrato friends in faraway places.

“It’s really wonderful,” he said. “I’m very fortunate. We keep in touch. We send each other gifts . I have more close friends around the world than I do in Omaha.”

A friendship with a former student from Japan led to Serrato making two concert tours of the Asian nation.

He began working as an ESL instructor long ago in New York. He earned a master’s degree in Urban Education from Adelphi. He now teaches ESL for Metropolitan Community College in Omaha.

 

Paul Serrato

 

 

Coming of age

Serrato’s always shown an aptitude for learning. Growing up, he was drawn to the big upright piano his aunt played in church. It wasn’t long before he gained proficiency on it.

“I can remember myself so distinctly fascinated by the piano, wanting to play it, going over and pounding on the keys. That’s how I got to playing the piano as a toddler. From an educational point of view, it’s interesting how children can gravitate to an environment or a stimulus when they see adults doing things.”

Not being good at sports and not having advantages more well-off kids enjoyed, he said, “Music gave me the confidence I could do something. My early childhood was rather deprived. We moved around a lot. It wasn’t until I was 9 we got settled. My mother bought a piano and paid for classical lessons. She was a pretty remarkable woman considering what she had to go through raising a kid on her own.”

Music gave him his identity at Omaha Creighton Prep.

“I could start to come out as a musician and I found people liked what I did. They applauded. I was like, Hey, man, I’m good, I can do this. That’s how I got started on the track.”

All it took for him to shine was affirmation.

“That’s how it is, that’s how it always is.”

iHe was starved for encouragement, too, coming from a broken family of meager meansHe performed classical recitals and competed in talent shows at school and community centers, even on radio. “I won a couple of first prizes on KOIL” He played on a WOW show hosted by Lyle DeMoss. All of it made him hungry for more.

His classical training then took a backseat to captivating new sounds he heard on jazz programs out of Chicago on the family’s old Philco radio set.

“That was an eye-opener, definitely because at that point I had only studied classical piano – Chopin, Debussy. I hadn’t been exposed to hearing guys like Oscar Peterson or Art Tatum and Erroll Garner. Hearing that stuff opened up a big door and window into other possibilities.”

He began composing riffs on popular song forms, mostly big band and Broadway show tunes.

“That’s what jazz players did and still do – take standard songs and interpret them. That’s the classic jazz repertoire. I still love Cole Porter. I still play his stuff. I have a whole Cole Porter portfolio.”

New York, New York

After high school Serarto’s awakening as an aspiring jazz artist pulled him east. After a stint at Boston University he went to New York. It became home.

Said Serrato, “There’s three kinds of New Yorkers: the native New Yorker who’s born there; the commuter who comes in from Long Island to work or play; then there are those like myself who go there for a purpose – to achieve a goal – and for personal fulfillment. New York draws in all these dynamic young people who go to feed themselves creatively/.”

The sheer diversity of people and abundance of opportunity is staggering.

“You meet people of all different persuasions, professions, everything.

Finding one’s kindred spirit circle or group, he said, “is so easy in New York.” “You don’t find it, it finds you. I made lots of friends. I’d meet somebody in a coffee shop and it would turn out they were producing a play and needed somebody to write music. I’d say, ‘I write music’. ‘Oh, why don’t you do it?’ they’d say.

“For example, I ended up collaborating on many projects with Jackie Curtis, who later became an Andy Warhol superstar. We met at a Greenwich Village bookstore I managed. Totally serendipitous. He was very young. We struck up a conversation. I said, ‘I write songs.’ He said, ‘Oh we could do a musical together.’ We did the first one, O Lucky Wonderful, as an off-off-Broadway production, on an absolute shoestring.”

Serrato worked with other Warhol personalities, including Candy Darling and Holly Woodlawn.

“Some of that material for these crazy talented trans performers and underground figures was rather risque.”

He also teamed with comedian Craig Vandernberg, “who did a great spoof on Las Vegas crooners.”

Whatever work he could find, Serrato did.

“I had different kinds of jobs. I was a bartender, a bouncer, a waiter, an artist’s model. That’s how I supported myself. You have to hustle and do whatever it takes. That’s the driving force. That’s why you’re in New York. That’s why it’s competitive and  there’s that energy because you look around and you see what’s possible.

“You’re in the epicenter of the arts. All that stuff was my world – visual arts, performance arts. There’s all this collision of cultural forces and people all interested in those things.”

Serrato believes everyone needs to find their passion the way he found his in music.

“That just happens to be my domain. I tell my students, ‘Hopefully, you’ll find your domain – something you can feel passionate about or connected to that will drive you and give you the energy to pursue that.’ I love to guide young people.”

Everything he experienced in NYC fed him creatively.

“As an artist’s model I met all these wonderful artists and art teachers. That’s when my passion for visual art and painters really got implanted.

When it comes to artistic vocations, he said, “many are called, few are chosen.”

“If you are truly engaged as an artist, you have confidence – you know you’re connecting.”

He eventually did well enough that he “would take off for months in the summer and go to Europe to follow bullfights and go to Paris.” “Then I’d come back and just pick up where I left off.”

“In those days living in New York was not as prohibitive as it is now economically. The rents have since priced a lot of people out.”

On his summer idyls abroad he followed a guide book by author Arthur Frommer on how to see Europe on five dollars a day and, he found, “you could just about do it.”

“His book had all the cheap places you could stay and eat. It worked, man. It was fabulous.”

Always the adventurer, he smuggled back copies of banned books.

 

All that jazz

Jazz eventually became his main metier. He earned his bachelor’s degree in Jazz Studies and Latin American Music from Harbor Conservatory for the Performing Arts in East Harlem.

Jazz is a truly American art form. Though its following is shrinking, he said the music retains “plenty of vitality.”

“The fact that it’s not mainstream music is probably to its benefit because that means you can be individual, you don’t have a lot of hierarchy breathing down your neck saying do it this way, do it that way. So a jazz artist can sort of be what he or she wants to be.

“It’s a personal expression. It’s not a commodity the way corporately sanctioned music can be.”

A few jazz artists have managed to gain broad crossover appeal.

“But for every artist like that,” he said, “there’s a legion of others like myself that don’t have that kind of profile.

“There’s been such a tectonic shift in the jazz culture. Mid-20th century jazz artists – (Thelonious) Monk, (Dave) Brubeck – used to make the covers of national magazines. Who would put a jazz musician on the cover of a national magazine today? Do you ever see jazz musicians on the late night TV shows? You see rock, pop or hip-hop artists. In a lot of people’s minds, jazz is not that important because it doesn’t make much money and doesn’t get much media attention, so we work however we can. But it’s always been a struggle, even in the golden era.”

The Life can take a toll.

“I remember at the Village Gate in the ’60s. I was house manager and performed there sometimes. You’d have a 2 a.m. show. You had to make it through these gigs. It’s a tough life. No wonder there was alcohol and drugs and everything. It’s always been a tough life.”

 


 

 

Playing by his own rules

Making quality music, not fame, remains Serrato’s ambition. In New York he got tight with similarly-inclined musicians, particularly “master Latin percussionist” Julio Feliciano.

“He was Yorkirican – a New Yorker of Puerto Rican descent. Just full of energy and vitality and ideas. He contributed his deep musicianship to my many recording sessions and New York gigs. We enjoyed that vibe that enables the most successful collaborations. That also includes Jack ‘Kako’ Sanchez. They were a percussion team. It’s evident on my record ‘More Than Red,’ which spent many weeks on the national jazz charts.

“I’ll never find another like Julio. It was like (Duke) Ellington with (Billy) Strahorn – the two of us together. We had a tremendous collaboration. He was a Vietnam vet who OD’d on prescription pain killers. It was tragic. So young, so talented, so brilliant. We were like brothers musically and spiritually.”

What Serrato misses most about New York is “the cultural network” he had there that he lacks here.

“Like I have an idea for a musical project right now. In New York I could just pick up the phone and tell these guys, ‘Come over.’ and they’d come over and we’d start working on it. I can’t do that here. I don’t have that kind of musical infrastructure here.

“My studio in New York was a place where we would try out things. It was wonderful for me as a composer. It taught me a lot of discipline in terms of being accurate and clear about what I write.”

Just as musician Preston Love Sr. found when he returned to Omaha after years away, Serrato’s found his hometown less than inviting when it comes to jazz and to the idea of him performing his music.

“I hear people say things like. ‘We love your music, but it’s very sophisticated. We never hear music like this around here. What do you call it?’ I scratch my head when they say those things. I never get this in New York.”

He turns down some offers because, in true New Yorker fashion, he doesn’t drive and public transportation here can’t easily get him to out-of-town gigs.

“I’m not the first New York creative who left the city and had to make an adjustment somewhere else.”

Some discerning listeners have supported his music, including KIOS-FM.

“They’ve been very good to me.”

He’s cultivated a local cadre of fellow arts nuts. He sees shows when he can at the Joslyn, Kaneko, Bemis, Holland and Orpheum. His best buddy in town is another New York transplant, David Johnson. Their shared sensibilities find them kvetching about things.

What Serrato won’t do is compromise his music. His website says it all: Urban Jazz – Not by the Rules. He’s put out CDs on his own terms since returning to Omaha.

“I’m a music producer – of jazz music in particular. So when I have enough music that I think I’m ready to record, I figure out a way to record it. I don’t really have the network here to feel confident enough to do a project like ‘Gotham Nights’ in Omaha. So I rely on my band members in New York. We’ve played together for years. I want to record with them.”

For “Gotham Nights” he booked two four-hour recording sessions in Manhattan.

“It was so successful because I had everything clearly written. I gave it to my guys and the caliber they are, they saw it, and they played it. I knew these guys so well that we didn’t have to rehearse. I gave them the charts and turned them loose and let them go. We all spoke the same musical language – that’s the most important thing. I had eight instrumental tunes. We went through it once, twice at most.”

“Gotham Nights” marks a change for Serrato in moving from artsy to mainstream.

“In the past I’ve had good success, but sometimes I’ve heard, ‘Oh, your music is too avant garde,’ which is like poison. ‘Gotham Nights’ is not avant garde. It reflects my Brazilian influences. It’s Latin jazz filtered through my own musical personality. Very melodic. It’s why it’s so accessible.”

The album is the latest of many projects he’s done that celebrate his muse, New York, and its many notes.

He was there teaching only blocks from ground zero when the twin towers came down on 9/11.

“We had to vacate our building. After we were allowed back in a few weeks later I had my international adult students write about their impressions of that day. They were from Taiwan, Japan, Turkey, Korea, Chile, all these different countries. They wrote eloquently about that and I saved their essays. Fast forward 15 years later and I asked some of my ESL students in Omaha to read these testimonials set to music I composed at a Gallery 72 event commemorating that tragic day. I was very proud of how that event turned out.”

He’s teaching a new ESL class this spring. As usual, he said, he’s trying “to make it comfortable” for recent arrivals “to adapt to a new culture and a new land.”

“Cultural transference or acculturation – that’s an ESL teacher’s job.”

But his class assignments always encourage students to celebrate their own culture, too.

The ever searching Serrato said, “I love other cultures and I love education. I’m a big believer in bilingual education. Teaching’s been a natural evolution for me. All musicians are educators at heart.”

Fellow hin at http://www.paulserrato.com.

Read more of Leo Adam Biga’s work at leoadambiga.com.

Omaha’s jazz past and present merge at The Jewell 

February 9, 2019 1 comment

Omaha’s jazz past and present merge at The Jewell 

©by Leo Adam Biga

Appearing in the February 2019 edition of The Reader (www.thereader.com)

 

Brian McKenna, a drummer and former Sony Music Studios executive, pays homage to North Omaha’s rich jazz history at his new downtown club, The Jewell, in the Capitol District.

The fine dining-live music establishment’s February 6-7 grand opening features Grammy Award-winner David Sanborn and his Jazz Quintet.

McKenna’s appreciation for North O’s legacy music scene is evident throughout the swank space. Oversized reproductions of archival photos picture icons who played the Dreamland Ballroom. The black and white images add warmth to an already intimate room distinguished by a contoured stage backdrop meant to represent a jewel’s kaleidoscopic patterns. The club takes its name from Jimmy Jewell Jr., who booked the killer acts that made the Dreamland on North 24th Street a venue of some renown in jazz circles.

Dreamland operated on an upper floor of the Jewell Building, which today is home to nonprofit agencies, and back in the day housed a street level barber shop and pool hall. Leave it to a transplant from New York to put the Dreamland, which closed in 1965, front and center again. McKenna, an Eastman School of Music graduate, first learned about the venue in school. He was intrigued how it was a Midwest circuit stop for touring legends Louis Armstrong, Duke Ellington, Count Basie, Dizzy Gillespie, Nat King Cole, Sarah Vaughan, Dinah Washington, Lionel Hampton and many more.

Now the Jewell carries forward the Dreamland’s heritage.

“To revitalize it a little bit is kind of cool. That’s why I called it The Jewell – to bring that back and to do right by North Omaha,” said McKenna, who’s located his club in the Capitol District to take advantage of folks staying in downtown’s 3,000 hotel rooms. Besides, North Omaha already has Love’s Jazz & Art Center.

Still, he said, “This is not going to happen without North Omaha’s blessing. I have 11 investors from different pockets of the city, including North Omaha. I’m taking ads out in the Omaha Star. I’m trying to really embrace this authentic storyline, so that we can work together to make sure this is a community celebration.”

He wants The Jewell to be a platform for sharing this undertold narrative about North O’s live music culture.

“Along the way I’ve been telling this story and a lot of people don’t know this story. To keep it genuine, we’ve got to really spell it out.”

When McKenna and his Fremont, Nebraska native wife moved to Omaha in 2015 to raise their daughter, he researched Jimmy Jewell Jr., the Dreamland, other historic local music hives and the many noted musicians who resided or visited here. Once the Jewell idea crystalized, he sounded out North O leaders (Mike Maroney, Al Goodwin) and players (Curly Martin) for their knowledge and approval in creating a venue that’s both tribute to the past and showcase for established and emerging talent.

Having left Sony in 2008 to form his own music management company, McKenna Group Productions, which he now operates out of Omaha and New York, and fueled by his fascination with the history here, he found a project to challenge himself.

 

Brian McKenna at The Jewell.jpg

 

Brian McKenna at The Jewell

 

 

“I figured out something that wasn’t here at the level I thought it should be and that was a proper sit-down fine dining music venue,” he said. “But I knew it wasn’t going to work unless we really found the thread – and that was North Omaha.

“We’re going to hopefully carry that torch and really expose what used to be and try to bring some people back and then deliver that to future generations. The next generations need to know that this was a great scene, a beautiful scene. There’s a huge story there.”

McKenna marvels at what Jimmy Jewell Jr. did.

“He was able to get the biggest names. I mean, c’mon, man. It’s not easy to convince managers and agents,

but he was selling out the venue from 1930 all the way to 1965. Kudos to Jimmy Jewell Jr. for doing that.”

McKenna’s collecting stories. How on an extended Omaha stay, Nat King Cole wrote the hit “Straighten Up and Fly Right” –  “i’ve got some artists that will be doing tributes to Nat King Cole” – and how artists arrived by bus and stayed in private black homes or black boardinghouses, lionized by adoring neighbors. After gigs, star musicians jammed with local players.

Meanwhile, hometown musicians honed their chops here before going off to solo, sidemen, studio session careers. Victor Lewis, Arno Lucas, Carol Rogers, Calvin Keys, Lois McMorris, the late Buddy Miles and others broke out. Those who left (Wali Ali) or returned (Curly Martin) now have a new place to gig at.

McKenna digs how Count Basie hired Preston Love Sr. at the Dreamland to tour with his orchestra and how Anna Mae Winburn headlined there and later lead the International Sweethearts of Rhythm all-female swing band that McKenna studied in college.

“We need to talk about this,” McKenna said. “We’re going to really be celebrating the historical sense but also bringing the new players, too, like Esperanza Spalding and Christian McBride. Every time I go back East and talk to them about North Omaha, they’re like, ‘Oh yeah – there was a scene there.’ We’ve got to put the spotlight on that. That’s what I want to do. On our social media we’re posting a lot of that historical stuff. We’ve got to educate folks that we had this here.”

He’s also insisting artists make pilgrimages to the Jewell Building, whose display of photos from the Dreamland’s heyday, said McKenna, “gives me chills.”

David Sanborn is eager to learn.

“I’m sorry to say I’m unaware of the history of jazz in Omaha. It’ll certainly be new to me and an interesting experience,” Sanborn said.

McKenna’s taking steps to immerse visiting artists in the community by contractually requiring they do outreach through master classes or workshops. “I have relationships with UNO, the Holland Center and Love’s for this educational component.”

His support of the local music community extends to reserving Wednesdays for area performers.

Programming-wise, the club’s “not going to be a hundred percent jazz,” he said, adding, “There are  singer-songwriters coming through.”

The Jewell’s about good quality music, whatever the genre. Just no hard rock.

“It’s good to be diverse like that. Good music is good music.”

Further rooting the club to this place is Assistant General Manager Monique Alexander, a North Omaha native with a legacy connection to Duke Ellington as a distant cousin.

McKenna, who rose through the Sony ranks as a researcher, librarian and eventually vice president of audio operations and marketing. is applying his expertise to the entire endeavor.

“I felt I should do something that taps into that experience. Managing artists is great but you’ve got to do something in the community, too.”

He’s modeled The Jewell after Dizzy’s Club Coca-Cola in New York. Dakota in Minneapolis and Jazz St. Louis.

His industry contacts with agents, managers and talent bookers should aid in attracting top tier artists.

“We will get Wynton Marsalis out here, I guarantee you that. But the timing’s got to be right.”

He’s confident the club’s high standards of decor, house instruments (a Steinway piano, a custom Gretsch drum kit, a killer base) and acoustics (a floating ceiling to isolate vibrations from above), combined with its historical focus, will attract name talents.

“They will do whatever it takes to perform at great venues.”

McKenna’s left nothing to chance.

“It needs to be nurtured and developed. It’s not going to be rushed. It’s gotta be done right. To put this together has not been an easy thing. It’s been very detailed oriented. Every single move I’m making means something.”

The cozy, 150-seat venue boasts great sight-lines, with patrons only a few feet from the stage.

“When you’re that close it’s a different thing,” he said. “That’s the treat – to be that close to these types of artists. They’ll talk to you in a different way than they will performing in a big house. That’s what I love about this club – it’s a whole different vibe.”

He’s leveraging The Jewell’s sustainability on business travelers-tourists as well as locals looking for a signature night out. The club, at 1030 Capitol Avenue, is accessible from the Marriott and The Capitol Plaza.

It has its own dedicated chefs (Jon Seymour and Mark Budler) food and beverage director (Brent Hockenberry), hosts and servers in putting out its New Orleans-influenced menu.

McKenna expects to draw diverse audiences.

“People of all different cultures and walks of life will congregate similar to what happened at the Dreamland Ballroom. People will come to eat, drink and hear great music.”

The club worked out the kinks during a soft opening that launched January 17. Sanborn will help officially usher in The Jewell at a ribbon-cutting. He and his quintet will play 6:30 and 8:30 p.m. shows both nights. Sanborn’s trademark alto saxophone will blend with acoustic bass, drums, piano and trombone in performing works from his personal repertoire and from the late jazz composer-instrumentalist, Michael Brecker.

For tickets and upcoming featured artists, visit https://jewellomaha.com.

Read more of Leo Adam Biga’s work at leoadambiga.com.

 

David Sanborn Interview: The Jewell’s grand-opening artist shares some of his music takes

February 9, 2019 Leave a comment

David Sanborn Interview: The Jewell’s grand-opening artist shares some of his music takes

©by Leo Adam Biga

 

Grammy-winning alto saxophone master David Sanborn helped usher in Omaha’s new live music hot spot, The Jewell, at its February 6-7 grand opening in the Capitol District.

I got a chance to interview him before his quintet played their Omaha gig.

Check out my Reader feature on The Jewell, its owner Brian McKenna and his club’s tribute to the North Omaha live music scene legacy on my blog, leoadambiga.com, or on the paper’s website, http://www.thereader.com.

 

David Sanborn Interview

 

Saxophonist David Sanborn long ago made his musical bones, yet still marvels at his good fortune.

“Yeah, every day I’m grateful I’m able to actually make a living doing something i love to do,” Sanborn said. “I’m kind of amazed that at my age I’m still able to do that.”

 

His natural curiosity finds him ever exploring his instrument and craft.

“It’s a discipline you never completely master because it’s all about process, so the more you play, the more you hear. It just keeps opening up. There’s always another door to open, another corner to turn, another world to discover. That’s the great thrill of music  – you never get to the end of it. You’ve got to develop a sense of humility about it if you’re going to keep from going crazy.”

 

His exploration resides in both the sound and the silence.

“It’s just new ways of looking at harmony, new ways of looking at space, and use of notes, and understanding in a deeper way the relationship of silence and sound. The sound and the silence are of equal value.”

 

David Sanborn Quintet to Grace Enlow Recital Hall

 

Music is mystery.

“If you look at music as interrupting the silence, the sound only has meaning in the silence that surrounds you,” he said. “What you’re doing as any artist is manipulating space. You have to honor those spaces where you’re not. Especially if you’re playing in a group, it’s not all about what you’re doing, it’s how you interact with people and where you play and don’t play. It’s a conversation you want to keep interesting, dynamic and engaged.”

In terms of new directions he’s ventured into as an artist, he said, “I don’t know if it’s so much a matter of my tastes changing or what I’m interested in pursuing has changed, but I mean the basic thrust of it is that I’m curious about things, about life in general and because music is the centerpiece of my life, about music.

The seeking and learning never stops.

“It’s always going to change. Somebody’s going to have something else to say. It depends on the venue, how the audience reacts to you. You need to respond to all of that. So if you look at it that way, it never gets old, and it’s always new and you’re always discovering new things.”

As for jazz, he said, “the idea of collective improvisation and what the rules are are constantly being redefined.”

 

“You can’t keep recreating a style or an era of the music because then it’s just a museum piece. Jazz is an evolving, vital, art form. The reason it holds such fascination is because it’s a very challenging art form where you’re composing on the spot. That’s a high wire act. It’s tremendously rewarding.”

Just as jazz is it’s own reward, he feels jazz travels its own journey and remains as relevant today as when it started. It may have a relatively small following compared to other music forms, but it’s hardly an endangered genre.

“It depends on what you think jazz is,” Sanborn said. “If jazz is a concept, if jazz is a philosophy, then it’s not going to end. It responds to the times. It incorporates elements from other types of music. if you want to break down music in terms of types. I don’t like to do that. But jazz is always going to be evolving.

 

“What we call jazz now would not necessarily have been called jazz in 1930. Maybe not. But jazz in 1930 or 1920 is not necessarily what jazz is today. So is it dead? Well, I don’t think so. I don’t think anybody would think so. If you think of jazz as a fixed thing – like this is jazz – you’d be missing the point. The same with pop or classical. It’s just music. It’s people telling their story. And they use different means to tell their story.

 

“What we loosely call jazz is one way of doing it. It reflects a certain time and place and geography. All of that.”

Keiko Matsui: Music of the heart

December 9, 2018 Leave a comment

Keiko Matsui: Music of the heart

©by Leo Adam Biga,

Appearing in the December 2018 issue of The Reader (www/thereader.com)

Keiko Matsui

 

When the Dave Koz and Friends Christmas tour wends its way to Omaha’s Orpheum Theatre on Monday, December 10, Keiko Matsui will be among the guest artists.

 

A native of Japan, Matsui is a composer and pianist whose music defies easy categorization. The industry labels her ethereal, emotive, rhapsodic sounds as smooth jazz, new age or adult contemporary. She burst on the scene by earning Billboard’s Contemporary Jazz Artist of the Year nod i 1996.

After 30-plus years of global recording and touring, she identifies as a world citizen. She won’t be the only international artist at the 7:30 p.m. Omaha show though, as South African guitarist-singer Jonathan Butler will join American saxophonists Koz and Mindi Abair and American vocalist Shelea.

Each artist on the bill has followed an independent path.

Matsui’s journey has seen her break down barriers. Born in Tokyo, the classically trained Matsui draws on jazz, rock, pop and other forms in a blend of Western and Eastern influences that transcends boxes, For Matsui. making music is a direct expression of her innermost being that intimately connects to people.

“Maybe the music business people need to categorize – but not me,” she said by phone from her Southern California home. “It is just my music and I express myself through it. Of course, you might find some influences in it from different genres, but I really hope my melodies touch the human heart.”

This mantra informed the title of her last album, “Journey to the Heart.” Now she’s doing the final mix on a new album set to release in February. As usual, this new work will feature all original compositions.

“Each album is like a mirror whose music is reflecting me – my thoughts, my experiences and my emotions at that time. For me, it’s not just an album. It is a statement expressing myself – how I am,, how I want to be.”

Always open to discovery, on “Journey to the Heart” she collaborated with noted Cuban musicians who toured with her. For her new album and forthcoming tour she’s exploring a hybrid of acoustic and electric sounds with musicians she goes back with a long time.

“It’s like a reunion,” she said.

Matsui sincerely believes in the ability of music to heal and to unite. She feels its salve is more important than ever in a world of great hurt and division.

“There are so many problems on this Earth. Everyone has a reason and a theory. Whatever it is, music will affect it some way,” she said. “I feel music has magical power to change something on this Earth. I really feel this is my mission. I receive the melodies and I create the albums and I deliver my music by traveling to different places. I travel across the U.S., Europe, Africa and Asia, so I see many different audiences.

“At every concert in every country I really feel the experience that my music unites – no matter people’s nationality or ethnic  background. Music goes beyond those things. Music has no borders.”

She often hears from fans who use her music as a soothing, meditative aid. Some physicians report using it in operating and birthing rooms. Artists tell her they create to it. Matsui appreciates its many applications.

“I’ve learned through these experiences that my music really touches people and connects to their lives very deeply. I feel honored and grateful my music is living with someone else.”

But the composer-instrumentalist doesn’t consciously try to conjure a tune. It just happens.

“I never intentionally set out to write a single song. They just come to me. I hear the melody and I catch the melody and I go where the melody goes. I have pure freedom to create anything. I can draw on a blank canvas. I feel there is infinite possibility.

“It is not like me trying to compose melodies. It is like a very mystical thing I receive. Sometimes I hear it in my dreams. When I wake up and the melody’s still there, then that’s it – this has a special bond. Sometimes a song is really speaking to me in my head. It’s ringing all the time. Then I’m like, I’ve got it, I will record you.”

Her creative method is about quiet, stillness and receptivity.

“When I am composing I am not thinking anything and I am not forming any words because I just want to have the freedom. By listening, my music can go anywhere I sit down at the piano waiting to hear something from   somewhere. I feel I am touching notes from the silence in this magical ceremony and time. It’s very spiritual.

“Once I start hearing it then I catch the melodies of the piece and I write it down on music sheets or I record it on my iphone. I collect about 100 or so motifs before I start really narrowing down to the 10 best songs. I go through the same process for every album. There are all these things happening when I am  in the creative mode and this upcoming album was mostly like that. That for me is a good sign.”

Music is her livelihood, but so much more.

“Of course. I am making a living with my music,” Matsui said, “but for me music is not a business, it’s not just a job. For me this is a special opportunity to connect to other souls. Some of my really loyal fans who have been living with my music for over 30 years are really spiritual and they really dig into the elements. I really feel we have a special bond.”

Devoted Matsui fans will no doubt be out in force for her rare Omaha appearance, where she’ll likely win new fans, too. The communion she feels she and her music makes with audiences extends on-stage.

“During the show I am pouring my heart and soul into it. I’m using lots of energy and expressing lots of emotion and I am receiving the same from my fans. It is like exchanging energy together. We share an emotional experience together.”

Visit TicketOmaha.com or call 402.345.0606 for tickets and details.

Follow the artist at http://www.keikomatsui.com.

Read more of Leo Adam Biga’s work at leoadambiga.com.

 

KeikoMatsui_MainVisual

 

Omaha’s Love Family hosts celebration and street naming for Preston Love Sr.


Omaha’s Love Family hosts celebration and street naming for Preston Love Sr.

Friday, July 13

6 p.m.

24th and Lake

Preston Love Sr. Street

Speakers to include John Beasley and Curly Martin sharing stories about the late jazz musician, composer, arranger, band leader, educator, commentator and author. Preston Love Sr. was a charter member of the Omaha Black Music Hall of Fame, the namesake of Loves Jazz & Arts Center and the author of the critically acclaimed memoir “A Thousand Honey Creeks Later.”

Musical tribute concert immediately following at Loves Jazz & Arts Center by some of Omaha’s finest artists. Featuring songs performed and loved by Preston Love.

$7 donation

ON A PERSONAL NOTE:

When I began writing about North Omaha’s African-American community 20 years ago or so, Preston Love Sr. was one of the first persons I reached out to. He became a source for the and the subject of many of those early stories. He was a wise and loquacious sage with a real sense of history about his music, his people and his community.

The first article I got published in a national magazine was about Preston.

A good share of my work about him appeared around the time of the release of his long-in-the-making and highly regarded memoir, “A Thousand Honey Creeks Later.”

Upon his death, I was asked to write an in memoriam piece for The Reader.

A few years ago, I wrote a new piece compiled from my many stories about him, and read it at Loves Jazz before a packed house.

I have also written some about his son Preston Love Jr. and his daughters Portia Love and Laura Love.

Whether you knew the man and his legacy or not, here is a list of articles I featured him in that hopefully provide a fair representation of the man and the artist:

https://leoadambiga.com/2016/05/05/preston-love-a-t…late-hepcat-king/

https://leoadambiga.com/2010/06/03/preston-love-192…ed-at-everything

https://leoadambiga.com/2010/06/03/omaha-blues-and-…end-preston-love

https://leoadambiga.com/2010/06/03/preston-love-his…l-not-be-stilled

https://leoadambiga.com/2010/06/03/mr-saturday-night

There are several more stories in which I quoted him about everything from Native Omaha Days to soul food or referenced him in relationship to North Omaha’s live music scene and the area’s attempted revitalization.

 

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