Hello, I'm Hank Troy.

This evening at Glenarm place.

We are pleased to have with us the Charlie Burrell Jazz Trio.

Many of you know Charlie from his long tenure as bassist with the Denver Symphony Orchestra.

He's one of the few musicians at home with both classical music and jazz, with him on drums as Kevin Smith.

Kevin was a student of the late Liriano, who played regularly in Charlie's trio.

And on piano, we're proud to present Colorado's First Lady of Jazz, Louise Duncan.

We invite you to join us now for a delightful performance of Improvizational Jazz by the Charlie Burrell Trio.

Well, at the beginning of my trio, I think was roughly had its inception around 1952 or 53, but only at that time I was with the Al Rose trio, and we called it the Al Rose trio.

And years later, after I'd gone to San Francisco and came back to Denver, then I had the fortune, the very great fortune of catching up with Louise, and she reluctantly condescended to join my trio, w ith a big smile on her face like, of course.

You know.

So actually, we had our first beginning with I was in Emporia, Kansas, where I was raised playing at a very small radio station.

Years ago there was a huge party or a public dance, I guess you would call it.

That's what they called it knows days and Ellington, Duke Ellington was in town.

In the studio where I was playing piano, just alone.

And of course, you couldn't see out in the part where the people sat.

And when I finished my program and the lights came on, and knowing he was in town and having seen him before, there was no way for me not to know that that was Ellington.

And when he came into the studio and asked me to sit back down to the piano, and he pulled up a chair beside me and asked me to play for him, and I sat there and played, but I sat there and cried too.

Because that to me was one of the greatest things I've ever had happen to me in my life.

Thank you, thank you.

Thank you.

And moving right along, we'd like to play a little number that is one of my favorites that very fine fellow made popular years ago.

He played vibraphones, they called them.

I think his name was, what was his name?

Do you remember, darling?

Well, Lionel Hampton.

Yes.

Lionel Hampton.

Excuse me.

I've been with the classics too long.

Lionel Hampton and I would like to play one of his very, very, very favorites on the sunny side of the street.

And on this one, you'll have the pleasure of having a bass introduction, which is very rare.

But I shall introduce the number.

And if we get into it right, it'll be it will be a miracle.

Okay.

Me and you.

1,2 a 1,2,3,4 Well, the difference between classical and jazz is the freedom that one does or does not have.

With the classics, you're very limited in your scope of freedom because you had to play normally in the framework of what is written for you in comparison to the other musicians around you.

And it might be as many as anywhere from four to probably 100 or 120.

So consequently you have to do is more teamwork specialized in that direction.

But with jazz, it's what I call a freeloader.

In other words,Deuces wild.

You can go for yourself and have the fun you want to have.

And if you make mistakes, no one knows it normally but you, except for someone like Louise who would know it.

But normally, if you make a mistake, you vow to not make that mistake the next time.

So consequently have much more freedom.

There's no comparison, as a matter of fact, the freedom you have in the jazz realm as opposed to the classical.

To be a good drummer, I believe it's a matter of listening to the people you're playing with and having a good rapport with the the people you work with.

With Charlie and Louise, it's just absolutely timeless playing with them because it it's just, it's beautiful.

What keeps me going with music in today's world, it seems that there's very little honesty and very little truth.

And I think music is that outlet for me.

Piano and good music is my security blanket here on Earth.

It helps me face some of the things that aren't too cool.

And if I can get to a piano fast enough, I love to play right today just as much as I did when I couldn't get on the piano stool by myself.

I've figured that out over the years, I just have a passion for playing that monstrous instrument, because when I first started playing, it was such a challenge to me, & I didn't think I'd ever be able to play more than Do-Re-Me if that, and my mother thought Id even played less.

So consequently, it was the biggest challenge of my life, and it still is a challenge.