Editor, Webmaster:  Phil Cartwright       Editor@earlyjas.org
Personalities -- by Phil Cartwright
Al Couch -- Moving to the Jazzy Side of the Street
Those of you who follow the Night Owls, the Hot Jazz Seven, the
Cleveland TOPS swing band, and the Cleveland Jazz Orchestra know
the great jazz cornetist/trumpeter
Al Couch.  Al is a fine musician
and adds a wonderful contribution to these bands, most of which
pull up some pretty tough charts.  I have heard the CJO many times
but what is TOPS? The TOPS band is a 20 piece orchestra that
rehearses at the Union hall on Carnegie every Wednesday.  TOPS?  
Tough Old Professional musicians.  It’s been my privilege to work
with Al with the Owls and the HJ7 for several years and he is a real
inspiration for those bands.
If you are a classical music follower, perhaps you have heard or seen
Charles Couch.  Charles played trumpet with the Best Band in the
Land,
The Cleveland Orchestra for 30 years.
Yes, Al and Charles are one and the same.  He uses ‘Al’ for jazz and
‘Charles’ for “legitimate” music.  One and the same, yes, but
proficient in two very different musical worlds.  
First, there’s Charles.
Charles is a legitimate musician educated in the classical tradition.  He was born and raised in Southern California.  
Starting when he was eight years old, Charles had a number of private teachers, each progressively more demanding
and respective of his obvious talent.  His talent came from his father’s side:  His father was musical; His sister is the
piccolo player with the
San Diego Symphony; His brother is a free lance trombonist in the San Francisco Bay area.
Charles, the classicist, has Bachelor’s and Master’s degrees in trumpet performance at prestigious universities and a
stint as trumpet instructor at the Armed Forces School of Music. He started out wanting to be a studio musician.  
They were the heroes in Southern California when he was growing up.  The classical world was the stronger pull
according to Charles.  In his words, “My aptitudes kept steering me in the direction of "legit" work.  I had the sort of
sound and technique that fit with that music … and it worked out well.  I did play a fair amount of dance work, at
ballrooms and Latin clubs, and I loved it.”

In 1971, Charles was a scholarship student at the
Blossom-Kent State summer program.  That led to a successful
audition with the The Cleveland Orchestra the following year and he joined the Orchestra in 1972.  Charles’ first day
on the job with the Orchestra was
Lorin Maazel’s first day as music director.  His last day on the job was Christoph
von Dohnanyi's last day
as music director, so his tenure coincided exactly with the tenure of those two music
directors.  Since his retirement from the Orchestra, Charles continues to play classical music with a variety of groups
including Erik Svoboda’s Heritage Brass Quintet and the Cleveland Pops Orchestra.
How about Al the jazzman?  Again, in his own words…

“As soon as I took up the trumpet, we got some 45s of the
Mexican-American virtuoso Rafael Mendez.  He was my
first trumpet idol.  When we graduated to LPs, one of the first records we got (which I still have and play) was
"Harry James in Hi-fi".  They sounded good to me then and they sound good to me now.  

“When I was younger, I kept current with the jazz scene. I would go to hear Dizzy at the Blackhawk, etc.  I got about
as far as Miles' "Bitches Brew" album, and then I got stuck. At that point I began to listen backward in time until I
arrived at King Oliver, sometime during my time in the army.  When I really began to listen to Louis Armstrong, it
was a revelation.  I forget what led to my first sitting in with
Ted Witt at Nighttown, but that became something I
looked forward to on Friday nights after the orchestra concert.  That in turn led to me sitting in with, and then
joining the Night Owls.  Sitting in with the Hot Jazz 7 came next.”
I asked Al/Charles about jazz in the Cleveland Orchestra.  Frankly, I was re are a great many
jazz enthusiasts in the
orchestra.  Some of us dabbled in it as the opportunity came up.  I think the best jazzman in the orchestra is the
French horn player
Richard Solis.  You don't normally think of the horn as a jazz instrument, but he's such a great
player, he can make it jump through hoops.  We play at a jam session at the home of Merritt Johnquest every
summer.  This is an event that has been going since time immemorial. Bob Matson, a retired percussionist, is another
regular.
”When the orchestra has to try to ‘swing,’ as at a Pops concert, for example, it usually sounds a little ponderous and
stilted.  Once in a while it will start to get off the ground.  The best performances of this type take place at the annual
Martin Luther King tribute concert, when they bring in the gospel choirs and rhythm section, including a Hammond
B3 organist.  Then things can start to rock.  
Henry Mancini used to bring his arrangements out to Blossom along with
his own rhythm section and lead trumpet player. Those were very ‘popsy’ programs, but they had a good ‘feel’ to
them, despite the commercial fare.”

Al/Charles says that he considers himself fortunate to find himself playing with these fine jazz groups.  “It is allowing
me to realize my childhood ambition of playing jazz, an ambition that was sidetracked for thirty years, while I was
having a career
On the Classical side of the Street.”
The Northeast Ohio is indeed fortunate to have a man of Al’s great talent playing our kind of music.  Thanks Al!
Jazz Festivals in New Orleans — 2006
First, here is a report from Joan Brasaemle:        
The
2006 New Orleans Jazz and Heritage Festival dates are set for April 28 to 30 and May 5 to 7, 2006.  The location for
Jazz Fest is its traditional home, the Fair Grounds Race Track.  
If you prefer Dixieland, and do not want to hear all of the famous headliners–this year to include Bob Dylan, Elvis
Costello, Dr. John, Hugh Masekela, Fats Domino, Jimmy Buffett, Lionel Richie, Paul Simon, etc. you don’t even need to
carry your own chair, because the Dixieland venue, a tent called Economy Hall features groups like Preservation Hall
Jazz Band, Banu Gibson, Dukes of Dixieland, Gregg Stafford’s Jazz Hounds, Andrew Hall Society Jazz Band, Young
Tuxedo Jazz Band, Pete Fountain, Walter Payton & the Snapbeans, Dr. Michael White & the Original Liberty Jazz Band
featuring Thais Clark, and Bob French & the Original Tuxedo Jazz Band; musicians like Nicholas Payton and Ohio’s own
Duke Heitger; Social & Pleasure Clubs such as the Algiers Steppers; and last but not least, Eddie the Engineer, who
leads the Second Line, and incidentally makes those fabulous parasols in his basement.


This will be the most important and emotional Jazz Fest in recent years.  If you ever wanted to go, this is the year.  New
Orleans needs your tourist dollars and support.  Yes, according to the Beacon Journal and other sources, “most of the
city is a mind-blowing wreck”, but the tourist areas are functioning.  According to restauranteur David Russo, who
recently visited the city, about half of the restaurants are open with limited hours, but more are opening all the time.
If you decide to go, you should get on line to www.nojazzfest.com as soon as possible to see the music lineups for each
weekend, decide who you want to see and when, and find a place to stay.  You can sign on to get announcements of
importance to the festival.  
Lou and I have made many friends among the musicians, festival attendees and the staff.  We meet and dance with local
folks and those from California, New Mexico, Florida, Michigan, New York, New Jersey, New Hampshire, Virginia,
Connecticut, Italy, and even some from Ohio.  I have had the privilege of strutting with the Lady Rulers, the Lady
Warriors, the Algiers Steppers and many other Social and Pleasure Clubs.  Annie, a friend from California and I once
did a duet funeral march to Just a Closer Walk With Thee, before the rest of the second line joined us after the band
changed the tempo from a dirge to a party.  Sometimes the band comes down off the stage and we really do get to be
the second line.  It is great fun and more meaningful if one participates.
Do come to NOLA and join us.  See you in Economy Hall.        
French Quarter Jazz Festival
For the last 20 years or so, Ted Witt has been attending the French Quarter Jazz Festival.  In contrast to the Jazz and
Heritage Festival above, the French Quarter Jazz Festival is much smaller and concentrates on the traditional jazz of
New Orleans.  The 23rd annual French Quarter Jazz Festival will be held this year April 21-23.  As the name suggests,
all the activities are held right in the French Quarter.  Bourbon Street has several stages on the street and the local
pubs all feature the traditional jazz of the city.Some of you may recall that
Jamie Wight, an Ohio musician, migrated
to New Orleans and was doing well as a New Orleans musicians.  Then came Katrina.  Jamie lost a house and car but
EARLYJAS helped him back on his feet after that disaster and a heart attack.  Jamie is now doing well and will be
back in New Orleans for the French Quarter Jazz Festival.
If you want to see Ted and Jamie in action, plan your visit now.  The website is: http://fqfi.org/
Earlville Association for Ragtime Lovers Yearning
for Jazz Advancement and Socialization
EARLYJAS