>> Announcer: MAJOR FUNDING

FOR WYLD RYCE IS PROVIDED BY A

GRANT FROM THE DAYTON HUDSON

FOUNDING.

[ ♪♪ ]

>> THIS IS THE TWIN CITIES

WEEKLY ARTS MAGAZINE.

IN THIS FINAL EDITION OF WYLD

RYCE, WE'RE GOING TO HEAR AND

SEE SOMETHING REALLY SPECIAL,

SOMETHING LIKE THIS.

[ ♪♪ ]

[ ♪♪ ]

[ ♪♪ ]

[ ♪♪ ]

>> THAT WAS RON CARTER AND HE

WAS PLAYING JAZZ.

HE IS A MASTER MUSICIAN, ONE

OF THE BEST AROUND.

MY NAME IS DORIS HEINZE AND

I'M A SINGER.

I TRY TO BE A GOOD ONE.

I SING SHOW TUNES, GOSPEL,

SPIRITUAL, SOME BLUES AND

ESPECIALLY JAZZ.

NOW, I APPRECIATE ALL FORMS OF

MUSIC, OPERA, COUNTRY AND

WESTERN, THERE ARE MANY FORMS

OF ART, BUT I PUT JAZZ RIGHT

AT THE TOP AND I THINK A LOT

OF OTHER PEOPLE FEEL THE SAME

WAY.

BUT FOR A NUMBER OF REASONS,

THE JAZZ SCENE HERE IN THE

TWIN CITIES HAS BEEN DORMANT,

FOR SOME TIME, TOO LONG.

SOME PEOPLE HAVE HAD TUNNEL

VISION ABOUT MUSIC.

AND WHEN I WAS FIRST BOOKED

HERE, IN 1959, THERE WERE MANY

JAZZ CLUBS IN TOWN.

THERE WAS HERBS, THE PADDED

CELL, THE KEY CLUB, THE FLAME,

FREDDY'S.

FREDDY'S USED TO HAVE LIKE

ELLA FITZGERALD, SARAH WAND,

BILLY, BUT BY THE TIME THEY

CAME BACK FROM THEIR FIRST

TOUR IN JAPAN IN 1963, THEY

WERE ALL GONE.

FREDDY'S HAD TURNED INTO A

PLACE CALLED VIN VENT VAN GOGH

GOGHS, NO MORE JAZZ.

NOW IT'S BEGINNING TO COME

BACK.

JAZZ IS BEGINNING TO BECOME

ALIVE AGAIN IN THE TWIN

CITIES. IN FACT, YOU MIGHT SAY THAT

IT'S BURGEONING.

[ ♪♪ ]

>> IN THE TWIN CITIES, WE GET

JAZZ THAT'S BIG NAME,

ORCHESTRA HALL SIZE, AND

AVENUE ON GUARD, WALKER ARTS

CENTER SIZE.

AVON GUARD.

SINCE MORE CLUB JAZZ, LESSER

KNOWN BUT RECORDED TALENTS

COME THROUGH IOWA THAN HERE,

WE ASK LOCAL PROMOTERS ABOUT

CLUBS, ABOUT NAME TALENT, AND

ABOUT THE LOCAL SCENE.

[ ♪♪ ]

>> WHAT I DO IS I TRY TO BRING

IN BASICALLY CONCERT MUSIC.

PEOPLE WHO ARE WRITING CHAMBER

MUSIC IN THE 20th CENTURY.

IT'S NOT THE KIND OF MUSIC

THAT YOU GO TO A NIGHTCLUB

FOR.

IT'S MUSIC THAT YOU GO AND YOU

SIT AND LISTEN TO INTENSELY

FOR ONE HOUR TO TWO-HOUR

PERIOD.

>> ALTHOUGH THERE REMAIN MANY

PEOPLE WHO LISTEN TO JAZZ WHO

ONLY ENJOY LISTENING TO IT IN

A CLUB ATMOSPHERE, NICE, DARK,

SMOKY CLUB WHERE THEY CAN SIT

AND SIP BORBON.

>> THE LONGHORN WAS THE LAST

CLUB TO ATTEMPT JAZZ

REGULARLY.

THEY HAD PROBLEMS.

>> YOU CAN'T KEEP A ROOM OPEN

JUST FOR EVERY FOUR TO SIX

WEEKS BRINGING IN THE GUEST

ACT.

YOU KNOW, YOU HAVE TO KEEP THE

ROOM OPEN BY LOCAL SUPPORT,

FOR YOUR IN-TOWN GROUPS.

WHICH WE WEREN'T GETTING.

YOU KNOW?

AND THAT WOULD BE THE PRIMARY

REASON, I WOULD THINK.

>> HOW DID THE NATIONAL GROUPS

DO?

>> NATIONAL GROUPS DID GOOD,

YOU KNOW, BUT THEN WE STARTED

BRINGING IN THEM SOONER.

INSTEAD OF EVERY FOUR TO SIX,

EVERY, LIKE, THREE TO FOUR, OR

THREE TO FIVE.

AND THEN, WELL, WHAT HAPPENED

THEN IS IT WOULD BE TOO SOON.

>> SO YOU WERE SPLITTING YOUR

AUDIENCE TOO MUCH?

>> YEAH.

REALLY.

AND IT'S A SMALL AUDIENCE TO

BEGIN WITH.

[ ♪♪ ]

♪ JAZZ ♪

>> THE NUMBER OF CLUBS

FEATURING JAZZ HAS INCREASED

SINCE 1978.

THE YEAR THE LONGHORNS STOPPED

BOOKING JAZZ REGULARLY.

>> WELL, THERE'S JAZZ IN MORE

TWIN CITIES BARS, CLUBS, AND

RESTAURANTS THAN I THINK

THERE'S EVER BEEN.

SO, LOCAL JAZZ MUSICIANS ARE

PROBABLY FINDING MORE WORK

THAN THEY HAVE IN A LONG

TIMEMENT

NOW, IN MANY CASES, IT'S ONLY

ONE NIGHT A WEEK, SO I DON'T

WANT TO GIVE THE IMPRESSION

THAT -- THAT IT'S A THRIVING

KIND OF A SCENE.

JAZZ MUSICIANS ARE WORKING

CONSTANTLY.

BECAUSE I'M SURE THEY AREN'T.

>> MANY PLACES PLAY JAZZ NOW,

BUT IT'S MOSTLY A SECONDARY

THING.

ONE NIGHT A WEEK, TWO NIGHTS A

WEEK, OR THE PRIMARY PURPOSE

OF THE PLACE IS TO SERVE FOOD

OR SOMETHING ELSE.

>> THE PLACE WHERE THE MOST

JAZZ HAPPENS HAS NOT BEEN A

JAZZ CLUB IN THE AUDIENCE

SENSE.

BUT MORE A MUSIC CLUB

ATTRACTING JAZZ MUSICIANS.

>> THE RAINBOW GALLERY IS A

PLACE WHERE THE MUSICIANS CAN

COME TOGETHER AND HANG OUT,

PLAY ANY KIND OF MUSIC THEY

WANT TO.

ESPECIALLY CREATIVE.

I THINK THAT IT CAN ALSO BE AN

OPEN SET FOR OTHER THINGS TO

OCCUR.

AND IN OTHER WAYS, I THINK

IT'S JUST A SURVIVAL STUDIO.

[ ♪♪ ]

>> IT'S DIFFICULT TO RUN THE

PLACE IN THE WINTER BECAUSE

THEY HEAT WITH WOOD.

SO WE CLOSE DOWN IN THE

WINTER.

OTHERWISE IT'S KIND OF ALL

RIGHT, ESPECIALLY IF THE

GROUPS BRING IN THEIR OWN

PEOPLE.

THAT'S WHAT IT TAKES TO MAKE

THIS PLACE GO.

>> WHAT DO YOU MEAN, MAKE --

>> WELL, WE DON'T REALLY HAVE

A PUBLICITY MACHINERY THAT WE

COULD TURN OUT FOR EACH AND

EVERY GROUP THAT WE HAVE,

THEY'RE SO DIFFERENT.

SO EACH GROUP THAT

SUCCESSFULLY BRINGS PEOPLE IN

HERE USUALLY HAS SOME KIND OF

A NETWORK OF BRINGING THE

PEOPLE IN.

LIKE THEIR FRIENDS.

[ ♪♪ ]

>> I FEEL THAT JAZZ CAN MAKE

IT IN THE CITIES IF IT'S

PROMOTED RIGHT.

[ ♪♪ ]

>> WE HAVE ENTERTAINERS NOW

THAT WOULD GLADLY COME INTO I

CLUB LIKE THIS, DO EVERYTHING,

JUST FOR THE EXPOSURE.

[ ♪♪ ]

>> SOMETHING THAT LEADERS, I

THINK, GOOD LEADERS IN THIS

AREA.

[ ♪♪ ]

>> WHAT MAKES THIS CLUB

DIFFERENT FROM ANY CLUB IN

TOWN IS THAT WE SPECIALIZE IN

ENTERTAINMENT.

[ ♪♪ ]

[ ♪♪ ]

>> ENTER THE RIVER VIEW SUPPER

CLUB.

OWNER JIM FULLER KNOWS HE'S

TAKING A RISK, BUT HE FEELS

HIS TWO MANAGERS CAN MAKE THE

CLUB WORK.

>> WE PLAN ON HAVING JAZZ IN

HERE AT LEAST FOUR NIGHTS A

WEEK, FOUR TO FIVE NIGHTS A

WEEK.

AND TO COMPLEMENT IT, WE PLAN

ON HAVING BROADWAY, BROADWAY

ENTERTAINMENT TWO NIGHTS A

WEEK.

LET'S SAY A JAZZ MUSICIAN HAS

A COUPLE ALBUMS OUT, WE KNOW

HE'S GOOD, BUT HE -- HE'S NOT

REALLY WELL-KNOWN.

>> WOULD YOU BRING HIM IN?

>> ACCORDING TO THE EXPOSURE

THAT HE'S GOT INTO THE CITY OF

MINNEAPOLIS, YOU KNOW, IN THIS

PARTICULAR AREA.

>> THE ONLY CITIES WITH A

SUCCESSFUL JAZZ SCENE WHERE

BIG NAMES COME WITH SOME

REGULARITY ARE CITIES THAT HAD

AT LEAST ONE FULL-TIME JAZZ

STATION.

>> YOU KNOW, IT SEEMS TO ME

THAT RECORD COMPANIES HAVE A

TENDENCY TO MAKE TRENDS AND

THE REALITY IS THAT WHETHER

THE RECORD HAPPENS TO

ACCIDENTALLY SELL OUT THE

RECORDS, THE REMAINING

COMPANIES IMITATE THAT SOUND

RATHER THAN TRYING TO FIND A

NEW SOUND TO -- NOT SO MUCH

COMPETE WITH THIS ALREADY

SELLING SOUND BUT TO GIVE THE

LISTENER ANOTHER VIABLE OPTION

TO TURN THE RADIO ON TO.

[ ♪♪ ]

>> SO THE RIVER VIEW MAY

BECOME THE TWIN CITIES JAZZ

CLUB, EVEN THOUGH THEY'LL

BRING ORCHESTRA HALL-SIZE

TALENT IN AT FIRST.

ONCE THINGS SETTLE IN, THE

AREA COULD SEE SOME NEW NAMES,

EVEN THE RAINBOW IS

CONSIDERING BRINGING IN AN

OCCASIONAL OUT-OF-TOWN TALENT

AND EVERYONE AGREES THAT THAT

WOULD BE A GOOD THING.

>> I THINK IT'S IMPORTANT TO

HAVE WELL-KNOWN, ESPECIALLY

NAMED JAZZ TALENT COMING

THROUGH THIS TOWN BECAUSE IT

BRINGS A SURGE OF ENERGY FROM

OTHER PLACES THAT THE PEOPLE

HERE CAN CONTACT WITH.

>> OH, I THINK IT'S IMPORTANT

THAT A CLUB LIKE THE RIVER

VIEW OCCASIONALLY BRING IN

NAMED JAZZ PERFORMER BECAUSE

IT GIVES THE CLUB SOME STATURE

AND THEN IT MAKES IT BETTER

FOR LOCAL MUSICIANS TO PLAY IN

THE CLUB THAT HAS SOME RENOWN.

>> IT MAKES YOU THINK THAT

YOU'RE WORKING, YOU KNOW,

YOU'RE WORKING IN A JAZZ

COMMUNITY THAT'S INTERNATIONAL

IN SCALE AND IT IS

INTERNATIONAL IN SCALE.

>> IN THE END, ONE MIGHT THINK

IT WOULDN'T MATTER MUCH

WHETHER TOURING GROUPS CAME TO

A CLUB OR A CONCERT HALL, AS

LONG AS THEY CAME.

BUT AS JAZZ BASSIST RON CARTER

POINTS OUT, A GOOD CLUB IS

WHERE THE INTERACTION IS

STRONGEST, AND WHERE THE

STANDARDS ARE SET FOR BOTH THE

MUSICIANS AND THE AUDIENCE.

>> I THINK A CLUB IS WHERE THE

REAL WORK IS REALLY DONE.

I MEAN, YOU CAN PRACTICE AT

HOME, YOUR HOT LIPS, YOUR

SCALES, YOUR MELODIES FOREVER.

BUT BEING IN THE COMPANY OF

OTHER PLAYERS, IN AN

ENVIRONMENT LIKE THIS OLD

COFFEE HOUSE, FOR EXAMPLE,

WHERE THERE'S A GROUP OF

LISTENERS WHO ARE EXPECTING A

CERTAIN LEVEL OF CREATIVE TO

TAKE PLACE ALL THE TIME, YOU

KNOW, THEY'RE NOT WILLING TO

ACCEPT AN ERROR OR MAY NOT

EVEN BE AWARE IF SOMETHING IS

NOT QUITE RIGHT BUT THEY'RE

NOT TOTALLY SATISFIED WITH

WHAT'S HAPPENING.

THIS LEVEL OF PUBLIC SCRUTINY

AND PEER GROUP PRESSURE IS

WHERE ALL THE DEVELOPMENT

REALLY START TO TAKE PLACE.

SO THAT WHEN THIS GROUP GOES

TO A CONCERT HALL WHAT YOU SEE

IS THE DIAMOND, THE NIGHTCLUB

IS WHERE IT STARTS TO GET

FORMED.

[ ♪♪ ]

[ ♪♪ ]

[ ♪♪ ]

>> I LOVE TO SEE IT COMING

BACK AGAIN.

AND THOSE PERFORMERS ARE TRULY

EXCELLENT, REAL ARTISTS.

THE PIANO PLAYER WAS CARRIE

THOMAS, TONY MORIN OWE PLAYED

DRUMS AND PAT MORIARTY SAX AND

THOSE ARE ALL LOCAL PEOPLE.

WE HAVE THE TALENT, IF WE CAN

JUST HAVE PLACES TO HEAR IT.

ANOTHER JAZZ TALENT WE HAVE IN

OUR COMMUNITY IS A MAN CALLED

ORBIN HEIR, HE IS ONE OF THE

FINEST BLUES GUITARIST WHO

EVER PLAYED.

BACK IN THE '50s HE PLAYED

WITH MUDDY WATERS AND IN THE

EARLY '60s HE WAS WITH THE MO

JO BUFORD BLUES BAND BUT FOR

THE PAST 16 YEARS, THERE

HASN'T BEEN MUCH OPPORTUNITY

TO HEAR ORBIN HEIR'S MUSIC

BECAUSE HE'S BEEN INSIDE THE

WALLS OF STILLWATER PRISON.

[ ♪♪ ]

>> AUBURN HAIR IS ONE OF THE

GREATEST LIVING BLUES GUITAR

PLAYERS.

HE GAINED HIS REPUTATION FOR

PLAYING THE BLUE BLUES AS A

SIDE MAN IN CHICAGO BARS AND

BLUES JOINTS DURING THE 1950s.

AUBURN HAIR'S AGGRESSIVE STYLE

OF GUITAR STYLE FORMED THE

UNDERPINNING OF SOME OF THE

MOST FAMOUS BLUES MUSICIANS OF

HIS TIME, WOLF, JAMES COTTON

AND MUDDY WATERS.

TODAY, AUBURN HAIR IS NEARLY

FORGOTTEN, FOR THE PAST 16

YEARS, HE HAS BEEN IN

STILLWATER PRISON SERVING A

LIFE SENTENCE FOR KILLING A

POLICE OFFICER.

[ AUDIO UNINTELLIGIBLE ]

>> SOME NEIGHBOR DECIDED THAT

SHE WANTED TO CALL THE POLICE.

I DON'T KNOW WHAT SHE TOLD

THEM.

BUT, ANYWAY, THEY COME TEARING

IN.

I GOT SHOT IN THE BACK THREE

TIMES.

YOU KNOW?

REACTION IS, YOU KNOW, YOU

CHECK YOURSELF, YOU KNOW.

THAT'S THE WAY THAT COME DOWN.

>> DAN SHELLMAN HAS ATTEMPTED

FOUR TIMES WITHOUT SUCCESS TO

SECURE AN EARLY PAROLE DATE

FOR AUBURN.

>> YOU KNOW, THE ONLY THING I

CAN CONCLUDE IS THAT IT WAS

THE NATURE OF THE OFFENSE.

SPECIFICALLY THE VICTIM.

THAT THE VICTIM WAS A

POLICEMAN.

AND, YOU KNOW, I THINK

THAT'S -- THAT'S UNFORTUNATE

AND NEVER TRIED TO MINIMIZE

THE SERIOUSNESS OF THE OFFENSE,

BUT AFTER HE'S BEEN THERE 16

YEARS NOW, HE HAS HAD TWO

MAJOR CANCER OPERATIONS, HIS

LIFE EXPECTANCY NOW IS LESS

THAN FIVE YEARS UNDER ALL

MEDICAL PROBABILITIES, HE IS

NOT REGARDED AS A THREAT TO

ANYBODY. HE'S BEEN A MODEL INMATE.

HE HAS GOT GREAT MUSICAL

TALENT.

HE CAN STILL CONTRIBUTE TO

SOCIETY WITH THAT TALENT.

>> YOU KNOW, YOU GOT A LOT OF

TIME TO DO IT SO YOU DO IT.

YOU DON'T TRY TO DO IT TWO,

THREE DAYS AT A TIME.

YOU DO IT ONE DAY AT A TIME.

YOU KNOW, JUST ONE.

TURNS OUT MUCH BETTER.

>> ALTHOUGH HE IS NOT

CONSIDERED READY FOR RELEASE,

PRISON AUTHORITIES DO

RECOGNIZE AUBURN HAIR'S

MUSICAL TALENT.

GOOD PRISON RECORD AND POOR

HEALTH.

SINCE HIS TRANSFER TO MINIMUM

SECURITY, HE HAS BEEN ALLOWED

TO PERFORM FOR AUDIENCES

OUTSIDE THE PRISON.

AUBURN HAIR HAS BEEN

REDISCOVERED.

BUT HE DOESN'T HAVE MUCH TIME

AS ONE OF THE GREATEST.

[ ♪♪ ]

[ ♪♪ ]

[ ♪♪ ]

>> HAS AUBURN, HAS HE IMPROVED

OR, IN A SENSE, BEEN REHA BILL

DATED WHILE IN PRISON?

REHABILITATED.

THE ANSWER IS YES.

I DON'T KNOW THAT PRISON DID

IT TO HIM.

I DON'T KNOW THAT PRISON

REHABILITATES ANYBODY, EXCEPT

THAT IT ISOLATE THEM AND IN

SOME CASES, IT MAKES THEM

THINK ABOUT THEIR LIVES.

[ ♪♪ ]

[ ♪♪ ]

[ ♪♪ ]

>> WHEN I'M OUT THERE, I

FORGET ABOUT HERE, YOU KNOW.

SO, THAT'S THE WAY THAT GO.

YOU KNOW?

YOU KNOW, IT'S ALL DIFFERENT

WORLD.

BUT, YOU KNOW, IT'S SOMETHING

THAT YOU HAVE TO -- YOU KNOW

YOU GOTTA COME BACK.

SO, YOU KNOW, YOU NEVER --

YOU'RE GOING AWAY TO STAY.

[ ♪♪ ]

>> AUBURN HAIR STILL PLAYS THE

BLUES AND HE IS STILL AN

INMATE WITH A LIFETIME

SENTENCE.

>> COULD BE BETTER.

COULD BE A LOT WORSE.

I'M HANGIN' IN THERE.

>> THAT MAN MAKES ME VERY VERY

HAPPY.

ON A SCALE FROM ONE TO TEN,

HE'S ABSOLUTELY TEN, TEN, TEN,

TEN, HE'S JUST GRAND.

I ONLY HOPE THAT HIS WORK IS

BEING RECORDED WHEREVER HE IS.

I CAN'T IMAGINE ANYONE WHO

LOVES MUSIC NOT BEING ABLE TO

SENSE THAT THERE'S SOMETHING

SPECIAL THERE.

JAZZ IS A FINE CLASSICAL GENRE

OF MUSIC.

LET US HEAR MORE OF IT.

LET US HEAR IT, PERIOD.

THIS PROGRAM IS THE LAST IN

THE WYLD RYCE SERIES.

IT'S BEEN FUN.

AND I HOPE YOU'VE ENJOYED IT,

TOO.

I'M DORIS HEINZE.

[ ♪♪ ]

>> Announcer: MAJOR FUNDING