July 2013 Issue of Jazz Inside Magazine

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Tootie Heath & Jimmy Heath
Chris Potter
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Phil Woods Charnett Moffett Brian Landrus Greg Bobulinski (Part 2) Comprehensive Directory of NY Club Concert & Event Listings
Five Towns College Jazz
Expanded CD Review Section!
Angela Strehli, Dorothy Morrison, Tracy Nelson, Annie Sampson

Blues Broads at Iridium, Tuesday & Wednesday July 16-17
www.thebluesbroads.com www.jalc.org/dizzys www.92y.org/jazz
The Blues Broads

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Heath Brothers Dizzys Club, 7/18-7/21

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ISSN: 2150-3419 (print) ISSN 2150-3427 (online) July 2013 Volume 4, Number 11
Cover Design by Shelly Rhodes Cover photos and photos on this page (right) Cedar Walton & Barry Harris by Ken Weiss Publisher: Eric Nemeyer Associate Publisher: Jerry Gordon Editor: John R. Barrett, Jr. Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Ken Weiss Contributing Writers: John Alexander, John R. Barrett, Dan Burke; Jr.; Curtis Davenport; Eric Harabadian; Gary Heimbauer; Alex Henderson; Rick Helzer; Mark Keresman; Nora McCarthy; Joe Patitucci; Ken Weiss. ADVERTISING SALES 215-887-8880 Jerry Gordon JerryGordon@JazzInsideMagazine.com Eric Nemeyer advertising@jazzinsidemagazine.com
ADVERTISING in Jazz Inside Magazine (print and online) Jazz Inside Magazine provides its advertisers with a unique opportunity to reach a highly specialized and committed jazz readership. Call our Advertising Sales Department at 215-887-8880 for media kit, rates and information. SUBSCRIPTION INFORMATION Jazz Inside (published monthly). To order a subscription, call 215-887-8880 or visit Jazz Inside on the Internet at www.jazzinsidemagazine.com. Subscription rate is $49.95 per year, USA. Please allow up to 8 weeks for processing subscriptions & changes of address. EDITORIAL POLICIES Jazz Inside does not accept unsolicited manuscripts. Persons wishing to submit a manuscript or transcription are asked to request specific permission from Jazz Inside prior to submission. All materials sent become the property of Jazz Inside unless otherwise agreed to in writing. Opinions expressed in Jazz Inside by contributing writers are their own and do not necessarily express the opinions of Jazz Inside, Eric Nemeyer Corporation or its affiliates. SUBMITTING PRODUCTS FOR REVIEW Companies or individuals seeking reviews of their recordings, books, videos, software and other products: Send TWO COPIES of each CD or product to the attention of the Editorial Dept. All materials sent become the property of Jazz Inside, and may or may not be reviewed, at any time. COPYRIGHT NOTICE Copyright 2013 by Eric Nemeyer Corporation. All rights reserved. No part of this publication may be copied or duplicated in any form, by any means without prior written consent. Copying of this publication is in violation of the United States Federal Copyright Law (17 USC 101 et seq.). Violators may be subject to criminal penalties and liability for substantial monetary damages, including statutory damages up to $50,000 per infringement, costs and attorneys fees.
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CONTENTS
46
CLUBS, CONCERTS, EVENTS 15 Calendar of Events, Concerts, Festivals and Club Performances 28 Clubs & Venue Listings FEATURES 4 The Blues Broads - Interview with
Andrea Strehli by Jerry Gordon
Eric Frazier - Fort Greene Jazz Festival, Brooklyn 51 Jazz Birthday Gallery 52 Remembering Joshua Wolff by Nora McCarthy INTERVIEWS 30 Albert Tootie 34 Jimmy Heath
35 Sarah Elizabeth Charles 36 Phil Woods by Ken Weiss 42 Greg Bobulinski 45 Chris Potter James Carter 47 Brian Landrus
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REVIEWS OF RECORDINGS 57 Antonio Adolfo; J.D. Allen; Andy Bey; George Benson; Terence Blanchard; The Blues Broads; Dewa Budjana; Marc Cary; Johnny Conga; The Fat Babies; Paolo Fresu; Bob James & David Sanborn; Roger Kellaway & Eddie Daniels; Frank Lacy; Brian Landrus; Joe Lovano; Rob Mazurek; Bob Mover; Odean Pope; Frank Rosaly; Akira Tana; Chucho Valds; Ben Wendel & Dan Tepfer; Mike Wofford; The Wrong Object
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July 2013 Jazz Inside Magazine www.JazzInsideMagazine.com
EVERYBODYS TALKING ABOUT
THE BLUES BROADS!
DOROTHY MORRISON | ANGELA STREHLI | ANNIE SAMPSON | TRACY NELSON
The four Blues Broads are an army of powerhouse voices. The quartets lifted up to heaven and anywhere else within earshot on its self-titled CD/DVD package; the visuals are as righteous as the harmonies. Margret Moser/Austin Chronicle The combination of these four women has led to what is one heck of a group. Phillip Sayblack/CBS TV The Blues Broads were a big hit at Monterey. With a wide range of stylistic influences and a wealth of combined material to draw from as well as a very entertaining presentation the BBs really tore it up and won lots of new friends! Tim Jackson/ Executive Producer, Monterey Jazz Festival The Blue Broads are stand-your-ground belters Richard Scheinin/San Jose Mercury ...theres a magic that happens when just the right combination of voice and spirit come together like it does here. No matter what condition your life is in, The Blues Broads will turn on the love light and let it shine. Bill Bentley/The Morton Report Expect belting. Chris Gray/Houston Press ...great music performed by a four fine singers. Listen to it. Go see them if they come to your town. Your soul will be happy that you did. Jim White/Pittsburgh Post-Gazette
Tour information
07/11/13 07/12/13 07/13/13 07/14/13 07/16/13 07/17/13 11/15/13 Ottawa, Ont Rochester, NY Portland, ME Northampton, Mass New York, NY New York, NY Lucerne, Switzerland Ottawa Blues Fest Blues and Ribs fest North Atlantic Blues Fest Iron Horse Iridium - 8pm & 10pm Iridium - 8pm & 10pm Lucerne Blues Festival
The Iridium
1650 Broadway (51st), New York, NY 10019 Reservations (212) 582-2121 www.theiridium.com
www.thebluesbroads.com
Feature
Dorothy Morrison
Tracy Nelson
Angela Strehli
Annie Sampson
Angela Strehli
The Blues Broads
Interview By Jerry Gordon
BB: When it was suggested by our mentor, Bob Brown, that this stage show we were presenting was too good not to document, I said, Look, I think its going to have to be a video because we will never have a perfect studio recording, it just wont totally convey the show that we have. So I thought that we would be judged unfairly and it would just sort of miss the point if people just put on a CD and that was it. JI: Angela, New York is in for quite a treat The Blues Broads are appearing at The Iridium, New York, July 16-17, 2013, touring in support of their live CD & DVD set The Blues Broads Visit: www.TheBluesBroads.com
4
when this female super group, The Blues Broads, appear at the Iridium on July 16th and 17th. You ladies are beautiful, certainly not broad, and your repertoire includes as much soul and gospel as it does the blues. Would you please tell me about the formation of the band and its members? BB: Sure. Many years ago, Tracy Nelson, who I had run into in the blues world, started coming out to the west coast. I live north of San Francisco in Marin County. Tracy would come out and she liked my band, so that meant we could do double bills at various blues festivals, etc. Yeah, so we had that going on and in the meantime, husband, Bob Brownbought this wonderful roadhouse out in the country called Rancho Nicasio. So Rancho started having an annual barbeque season in the summer with music presented. So Tracy and I did a couple of barbeques, you know, one a year for a couple years, and then Bob said, Why dont you invite some of your friends who are vocalists to join you and you can call it the Blues Broads? I said, Oh, thats a great idea. I had actually collaborated
Jazz Inside Magazine
with other vocalists before back in Texas, I did a collaborative record with Marcia Ball and Lou Ann Barton [Dreams Come True, 1990]. JI: I have it. BB: Anyway, I thought it was just so much fun to join forces with other singers at that time, and I was really disappointed that for various reasons, we never got to tour. Bob knew it and thought it was a great concept. So I said, Okay, lets do it. We have various friends here in the Bay Area, including Maria Muldaur and Linda Tillery and even Carlene Carter wanted to be a Broad one year because she was around. So we had fun with that, but one long-time friend was Annie Sampson and once she came and sang with us, we said, Oh, Annie, whenever you do this, its great. You have to join us. So she was in and then a couple years later I met Dorothy Morrison at our place, we were presenting a gospel group and they brought Dorothy along and when I met her, I just fell down; her personality alone, not even her singing, was just larger
(continued on page 6)
July 2013
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The Blues Broads

(continued from page 4) than life. JI: And she can dance, too. BB: [Laughs] Boy, we tease her about that one. She had some fun that night. I just thought, oh great, what a wonderful person. Bob said, Why dont you ask her to be a Broad? I thought, oh, geez, she had been in the Edwin Hawkins Singers. So I finally got up my courage because she was in the gospel world and very famously had sung the lead on Oh Happy Day and written some of the verse, which she was never credited for. But anyway, I finally got up my courage and called her. Well, it took more than one call and I said, Look, Dorothy, we may be called The Blues Broads, but it doesnt mean we do bawdy material or anything like that. Its just a fun thing and I think if you see us, youll kind of get it. So she came out to a barbeque, an annual barbeque, and she said, Okay, this is fun. I think I can do this, I can try this, Id like to try it. Once Dorothy got in the picture and we got a little experience playing together, that was it. Then we got serious about, okay, this is the group, this is what we should be doing, even if its just for fun, but we did take it more seriously once Dorothy completed the picture, personality-wise and musically. JI: How long have you been together now? BB: Well, I guess its been about four yearssorry, Im not real good with dates, I could look all this stuff up JI: I know the performance on the DVD is from 2011. BB: Thats right, it was at the end of the year and it was released in 2012, so that is our one and only recording. Our goal now is to write more material of our own. JI: Well, the original material on the CD and DVD is fabulous. BB: Thank you. JI: How did you guys agree on your repertoire? I mean, its quite diverse. Is this discussed? Is this hashed out? How does it work? BB: Absolutely yes, it is. It is kind of overwhelming to narrow things down. Weve tried lots of things that didnt work, so the only way you can do it is to try it. Everybody brings their ideas to the table. But its the audience, really, who makes the final determination, you know, by their reaction. JI: What I enjoyed, every song displays the unique style and character of the lead vocalist on that piece. BB: Thats a very important point. JI: Does the singer arrange the piece themselves? How does that work? BB: Well, yes, I mean, obviously the singer of the song has her idea of how it should go, so yes, you could say that. Its very collaborative though and the musicians also contribute a lot to the whole picture there. We could talk about that for a minute. JI: Yeah, the musicians on the DVD are terrific. Who will you be using at the Iridium? BB: All the same guys. That was basically my band. Steve Ehrmann is on bass, and he has played with many well-known blues musicians over the years, everybody from John Lee Hooker to Roy Rogers. Mike Emerson, is a great and very busy Bay Area keyboardist.
(Continued on page 8) 6
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The Blues Broads

(Continued from page 6)
Guy or some other great Chicago-style guitarist. BB: Absolutely. Absolutely. And Paul Revelli is on the drums. These are all A-team guys and were lucky that they love us enough that were number one on their list because they are always in demand. To me, I couldnt get on stage and sing without great musicians behind me. I need that to push me to sing, period. It allows us to be loose because were not worried about what theyre doing. JI: Well, Angela, youve all had highly successful, long-standing solo careers. How is it possible to join together and establish this group identity that you display on the DVD? BB: Well, you know, I guess part of it was good fortune, but the thing about our individual careers thats great is that weve done em. We have done that and were glad to have that history, but now we can do something that really is more fun to us at this point in our lives and our careers. Its different, instead of being completely responsible for everything vocally, we get to share that and back each other up in every way. Its such a wonderful thing to have a team on stage instead of just being out there by yourself, we really love that part of it. So being together, thats the easy part. Now, singing harmony is another story, and thats been a challenge for all of us because, you know, youre used to just singing things the way you want to and harmonizing is a lot more difficult than that.
JI: Can you speak about all the girls, please? I find their personalities so interesting and they are so different from each other. BB: Well, lets start with Annie Sampson. She was in an important band in the Bay Area called Stoneground. I dont know if you know the name Sal Valentino. JI: From the Beau Brummels; And I bought the Stoneground record on Reprise Records in 1970. BB: Of course you did! [Laughs] JI: I couldnt believe it when I read that Annie was from Stoneground. BB: So Annie has this background thats more in rock and roll and just whatever was going on at the time. JI: Hair. BB: And also yes, in the musical Hair. And besides having her musical career, she has been teaching for 20 years or somath. So she has just retired from that and had the time and the, you know JI: Desire. BB: urge to do more with the music. So that was great timing for us and she still has her own
(Continued on page 10)
JI: What about Deanna Bogart who sounds wonderful on your recordings, is she going to be at the gig? BB: Deanna Bogart will not be at the gig. She was a special guest that night we videotaped the performance, she just happened to be around and I cant remember exactly the first time she heard us, but it was at Rancho Nicasio and she said, Oh, my gosh, I would love to, I mean, we presented her as an artist there and she said, Oh, god, Id love to sit in with you guys. JI: I would draft her. She was into it. BB: I know, except shes too young to be a Broad. Gary is an all-around guitarist who plays many styles and thats why he fits in so well for the Broads-- his versatility. And the fact he can sing higher than the rest of us. [Laughs] Thats the only drawback, when were working on our songs and we have to harmonize, everybodys voices are in such a low register and so were always saying, Okay, whos going to sing that high part? Anyway, every once in a while Gary helps us out with falsetto. JI: Hes really able to adapt to different styles on the guitar. On one track he sounds like Stevie Ray Vaughan, on another he sounds like Buddy
(Continued on page 10) 8

The Blues Broads

wonderful band and we all still do our own thing. But the great thing about our show is that we can still, as you said, demonstrate our own individuality, our own style, yet being in the Broads is a whole different thing. Its fascinating.. BB: And Annies energy is fantastic. It keeps us going. JI: I personally liked it when she like put her hands together and bowed to the audience. Thats a big one for me. I like that display of humility, particularly after an outstanding performance. I thought she was fantastic. BB: Yeah. Its just a wonderful thing for Annie to get a standing ovation, thats just about, I think, every time weve ever performed. JI: What about Dorothy? BB: So Dorothy Morrison has for the most part of her life been in the gospel world and still is. Like I said, we had to do some fast-talking to get her to join. She was a member of the Edwin Hawkins Singers, and that recording of Oh Happy Day on which she sang the lead, of course, somehow became a worldwide phenomenon. JI: It was a hit. BB: Oh, yeah, millions and millions of copies, and counting. The only traditional gospel composition to ever crossover on to the pop charts and become a giant hit. JI: What has she done since she was a member of The Edwin Hawkins Singers? BB: Golly, that world is still a completely different world to me. Her brother is a pastor, and so she mainly sings in his church, and they perform everywhere. She sings in a gospel choir, they go to other churches and other places. She was just in LA this weekend, shes been to Japan... JI: But how did you get Dorothy to sing the devils music? BB: Well, [Laughs], she did have experience in the secular world back in the 70s, and actually made a record called A Better Day for Elektra, which never saw the light of day. But it took a while to convince her that it might be a really fun thing and that it wouldnt conflict with her gospel career, that it would just be in addition to it. We didnt have any lofty goals of recording or anything else, it was really just having fun together. Were not some group that was put together according to our voices and our this and our that, where everything is orchestrated. Its not that way. JI: Like the Monkees.
10
July 2013 Jazz Inside Magazine
BB: Yeah, exactly. JI: How about Tracy? Lets talk about Tracy. BB: Tracy Nelson obviously has had a long career, she has her astounding voice and can sing anything she cares to, and has. She has a variety of records, with a variety of styles. But in her heart is blues and gospel music, so that comes out. Thats what comes out in our group. She lives outside of Nashville, so we dont get to play that often because of the difficulty of getting everybody together. That means she has to travel here and actually Dorothy is residing in Sacramento, which is a couple of hours away, so we have to get enough meaningful gigs together to have a little run, so thats how weve done it. So our next little run happens to be a great one up there in the Northeast. JI: Tracys had a great career; I imagine shes still pretty busy. She must really believe in the group to make herself available for this BB: Absolutely. She has been my main cohort from the beginning. JI: One of the questions I had was how were the rest of you girls with singing gospel music? BB: Oh, yes, thats exactly right, it works both ways. But you know, youre talking about singers, and singers have traditionally come from the church. They might have left the church or their careers might have left the church, but thats, you know I have a huge gospel collection of my own, its just a continuing inspiration for me to listen to those singers and their beautiful styles. JI: Who are your favorites? BB: Oh, golly [Sighs]. Where can I start? Dorothy Love Coates, as far as a solo artist, but the group style is my very favorite, the quartet style. There was the super group of gospel singers, The Caravans, with Shirley Caesar and Albertina Walker and Dorothy Norwood. And then all of the men groups, everybody from the Blind Boys of Alabama to the Dixie Hummingbirds. JI: Can you talk more about your career? About working at Antones, you know, coming from Texas, how that colored your way of singing, what you heard as a kid, your song Two Bit Texas Town, I want to hear the whole shmear. BB: Okay. Well, yeah, I did listen to the radio alot, as a kid, I had a Zenith shortwave, so even though I grew up in West Texas, in Lubbock, I had access to another world and I know that is a common experience and thats why I wrote that song, Two Bit Texas Town. I know that radio has changed peoples lives. JI: I go back to How Much Is That Doggie in the Window? I bet you dont even know that one. BB: Oh, hell, yes, I do. Its so funny, I remember every song from my childhood, it all affected
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The Blues Broads

us, I mean, it allme, anyway. I had my ear glued to the radio. Anyway, at some point I heard these late-night shows out of Nashville and Shreveport and they were playing blues and I didnt even know what you called it. John R and the Hossman had a rhythm and blues show on WLAC Nashville for many, many, many years. I was pleased to see when I went to the Rock and Roll Hall of Fame Museum, they had a whole little interactive thing on their history. Then there was Ernies Record Mart, who sponsored a show out of Shreveport, that was another great one and featured some of the Louisiana artists who probably didnt have that much national prominence, but they were wonderful. Lots of Excello records, everything out of New Orleans, all that sort of thing. So anyway, that just piqued my curiosity and I just had to find out about that world and ended up falling in love with it and not as something I thought I could do evereven through my 20s when I was doing it! I just felt compelled in my heart. I finished school in Austin, in 68, and then I had a couple different groups and did this and that, even traveled to Los Angeles because there was no music business in Austin at the time, which is kind of a joke now because its such a big music town. Jimmie Vaughan and Stevie and myself and others, we had our little blues bands in Austin and we did have a lot of support for what we were doing and even when we were able to record and do all that stuff, a lot of blues so-called purists really didnt think that we either should or could do what we were trying to do. We didnt have an answer for that because our intentions were just purely from the heart. The people who did encourage us and support us really were the blues masters themselves that we got to know. Even though I had traveled to Chicago to hear my heroes, it was through being one of the founders of Antones, the club in Austin which still is alive 38 years later, that I met and learned from some of the great ones. JI: You were a founder of the club itself? BB: I was one of the people who was, yeah, who was there from the beginning, because Clifford loved blues, he would go out and hear our groups and like I say, we didnt have really great gigs or anything and he thought, well, if I can just present the masters, then people will be educated about the whole genre and then they will appreciate The Fabulous Thunderbirds (a popular local Austin band) and I had a band called Sunnyland Special, or probably by then it was Southern Feeling, and theyll appreciate what you guys are trying to do. So thats what happened, we would get these wonderful musicians to come to Austin, which was a little bit out of the loop, shall we say? Not being a huge city or anything like that, and he would present those people and he would let the rest of us open for them. But I was a part of the club and I got to spend time with my heroes, it was really a nice situation, because they would come down for
(Blues Broads continued on page 49) 12
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Monday, July 1
Johnny O'Neal at Fat Cat, 6:00 PM. 75 Christopher St. Ryan Blotnick Solo Guitar at Shapeshifter Lab, 6:55 PM. Howard Williams Jazz Orch at Garage, 7PM. 99 7th Ave S. Stan Killian with Margret Grebowicz at Le Cirque Cafe,
18 Whitwell Pl, Brooklyn.
7:30 PM. 151 East 58th St.
Giacomo Gates at Dizzy's Club Coca Cola, 7:30 and 9:30
PM. 10 Columbus Circle #5.
Mingus Orch, Jazz Standard, 7:30, 9:30PM. 116 E. 27 St. Greg Murphy 3: Celebrating Rashied Ali's Birthday at
Clemente Solo Velez Educational and Cultural Center, 7:30 PM. 107 Suffolk St. Julie Eigenberg and Yaron Gershovsky with special guest Andres Laprida at Blue Note, 8PM, 10:30 PM. 131 W. 3 St. Rob Paparozzi and the Pat Karwan Band at Quelle Bar, Dutchman's Brauhaus, 8:00 PM. 2500 East Bay Avenue, Manahawkin NJ Koran Agan at Radegast Hall, 8:00 PM. 113 North 3rd St., Williamsburg, Brooklyn. International Society for Improvised Music: Second Crosscultural Improvisation Workshop and Perfomance at
Roulette, 8:00 PM. Artists include Elliot Sharp, Jane Ira Bloom, Hyun-Sik Shin, and others. 509 Atlantic Avenue, Brooklyn. David Amram, Cornelia St. Cafe, 8:30 PM. 29 Cornelia St. Harlem Renaissance Orchestra at Swing 46, 8:30 PM. 349 West 46th St. Behn Gillece 4 at Fat Cat, 9:00 PM. 75 Christopher St. Swingadelic at Maxwell's, 9:00 PM. 1039 Washington St., Hoboken NJ. New York Bakery Connection at Tomi Jazz, 9:00 PM. 239 East 53rd St. Ty Stephens and Soul Jaazz at Metropolitan Room, 9:30 PM. 34 West 22nd St. Eva Novoa 33 with Billy Mintz at Shapeshifter Lab, 9:30 PM. 18 Whitwell Pl, Brooklyn. Nat Janoff 3 at Garage, 10:30 PM. 99 7th Ave S.
Tuesday, July 2
Yvonnick Prene 4 at Garage, 6:00 PM. 99 7th Ave S. Vince Giordano and the Nighthawks at Damrosch Park,
Lincoln Center, 6:30 PM. Dance lessons at 6:30 PM; music starts at 7:30 PM.
15
Diane Schuur at 54 Below, 7:00 and 9:00 PM. Lower level,
254 West 54th St.
Wednesday, July 3
Rob Edwards 4 at Garage, 6:00 PM. 99 7th Ave S. David Leonhardt 3 at The Inn at Millrace Pond, 6:30 PM. Urban Guerilla Orchestra at Damrosch Park, Lincoln
Thursday, July 4
Michika Fukumori 3 at Garage, 6:00 PM. 99 7th Ave S. Swingadelic at Princeton Shopping Center, 6:00 PM. 301 George Gee Swing Orchestra at Damrosch Park, Lincoln
Lauren Shub and The Ilya Maslov 3 at Central Avenue,
Downtown Jazz Fest, 7PM. 137 Central Ave, Westfield NJ. Festival, 7PM. 105 Elm St., Westfield NJ.
Richard Reiter Swing Band at Elm St., Downtown Jazz Noname James and Butterball at PNC Plaza, Downtown
313 Hope Johnsonburg Road, Hope NJ.
North Harrison St., Princeton NJ.
Jazz Festival, 7PM. 1 Lincoln Plaza, Westfield NJ.
Chris Colaneri 4 at Westfield Train Station, Downtown
Jazz Festival, 7PM. 104 North Avenue West, Westfield NJ.
Dave Schumacher 4 at Fat Cat, 7PM. 75 Christopher St. The Verge at Somethin' Jazz, 7PM. 212 E. 52 St. Dominick Farinacci at Dizzy's Club Coca Cola, 7:30 and
9:30 PM. 10 Columbus Circle #5.
Phronesis at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St. Jerry Gonzalez and the Fort Apache Band at Blue Note,
8:00 and 10:30 PM. 131 W. 3 St. Winery, 8PM. 155 Varick St.
Lynne Jordan: A Musical Tribute to Nina Simone at City J. C. Hopkins Combo featuring Svetlana Shmulyian at
Iridium, 8:00 and 10PM. 1650 Broadway. 9:30 PM. 53 East 11th St. St., New Brunswick NJ.
Bob Arthur Duo at New York City Baha'i Center, 8:00 and Vincent Troyani Band at Tumulty's Pub, 8PM. 361 George Fay Victor Ensemble with Ken Filiano at Shapeshifter Lab,
8:15 PM. 18 Whitwell Pl, Brooklyn.
Roy Hargrove 5 at Village Vanguard, 8:30 and 10:30 PM.
178 7th Ave S. CocoMama at Fat Cat, 9PM. 75 Christopher St. Sebastien Ammann at Korzo, 9PM. 667 Fifth Avenue, Park Slope, Brooklyn. Brian Landrus CD Release Party at Joe's Pub, 9:30 PM. 425 Lafayette St. Howard Britz CD Release Party with special guest Noah Bless at Shapeshifter Lab, 9:30 PM. 18 Whitwell Pl, Brooklyn. Justin Lees 3 at Garage, 10:30 PM. 99 7th Ave S. Bizingas with Brian Drye at Korzo, 10:30 PM. 667 Fifth Avenue, Park Slope, Brooklyn. After Hours Session with Greg Glassman at Fat Cat, 12:30 PM. 75 Christopher St.
Center, 6:30 PM. Dance lessons at 6:30 PM; music starts at 7:30 PM. Corner of Amsterdam Avenue and West 62nd St. Allen Rubenstein 4 at Fat Cat, 7PM. 75 Christopher St. Dominick Farinacci at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Circle #5. Cyrus Chestnut 4 at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St. Mark Murphy and Friends featuring Sheila Jordan, Janis Siegel, and surprise guests at Joe's Pub, 7:30 PM. 425 Lafayette St. Jerry Gonzalez and the Fort Apache Band at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Steven Kroon Latin Jazz Sextet at Iridium, 8:00 and 10PM. 1650 Broadway. Kelly Suttenfield 5 at Kitano, 8PM, 10PM. 66 Park Ave. Joanna Wallfish at Zeb's, 8PM. Second floor, 223 W 28th St. Renku featuring Michael Attias at Cornelia St. Cafe, 8:30 PM. 29 Cornelia St. Roy Hargrove 5 at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. New York Funk Exchange at Club Groove, 9PM. 125 MacDougal St. Groover 3 at Fat Cat, 9PM. 75 Christopher St. Gisle Torvik 3 at Somethin' Jazz, 9PM. 212 E. 52 St. Joe Alterman 3 with James Cammack at Caffe Vivaldi, 9:30 PM. 32 Jones St. The Hot Sardines at Joe's Pub, 9:30 PM. 425 Lafayette St. Behn Gillece and Ken Fowser CD Release Party at Smalls, 9:30 PM. 183 W. 10 St. Grandpa Musselman and the Syncopators at The Wayland, 10PM. 700 East 9th St. Chris Carroll 3 at Garage, 10:30 PM. 99 7th Ave S. After Hours Session with Ned Goold at Fat Cat, 12:30 AM. 75 Christopher St. Sean Nowell Group at Smalls, 12:30 AM. 183 W. 10 St.
Center, 6:30 PM. Dance lessons at 6:30 PM; music starts at 7:30 PM. Corner of Amsterdam Avenue and West 62nd St. Ruslan Khain 3 at Cleopatra's Needle, 7PM. 2485 Bdwy. Nick Hempton 5 at Fat Cat, 7PM. 75 Christopher St. Jerry Gonzalez and the Fort Apache Band at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Jackie Ryan with special guest Harry Allen at Birdland, 8:30 and 11PM. 315 West 44th St. Roy Hargrove, Village Vanguard, 10:30 PM. 178 7th Ave S. Wilson Chembo Corneil at Nuyorican Poets Cafe, 9PM. 236 East 3rd St. Pete Malniverni Group at Smalls, 9:30 PM. 183 W. 10 St. Saul Rubin's ZEBTET at Fat Cat, 10PM. 75 Christopher St. Alex Layne 3 at Garage, 10:30 PM. 99 7th Ave S. David Weiss, Fat Cat, 12:30 AM. 75 Christopher St.
Friday, July 5
Vanderlei Pereira Blindfold Test at Fat Cat, 6:00 PM. 75
Christopher St. Vineland NJ.
Gil Lewis at Viet Bistro, 6:00 PM. 3849 South Delsea Drive, Masami Ishikawa 3 at Garage, 6:15 PM. 99 7th Ave S. Claudio Roditi 4 at Shanghai Jazz, 6:30 and 8:40 PM. 24 Jam Session at Zeb's, 6:30 PM. Second floor, 223 W 28th St. Dennis Jeter at Deer Head Inn, 7PM. 5 Main St., Delaware
Main St., Madison NJ. Water Gap PA.
Kathleen Potton at Somethin' Jazz, 7PM. 212 E. 52 St. Cyrus Chestnut 4 at Jazz Standard, 7:30, 9:30, and 11:30
PM. 116 East 27th St.
Sylvia Cuenca 4 at Smalls, 7:30 PM. 183 W. 10 St. Mark Sganga at 76 House, 8PM. 110 Main St., Tappan NY. Jerry Gonzalez and the Fort Apache Band at Blue Note,
8:00 and 10:30 PM. 131 W. 3 St.
Sharif Zaben 3 at Cleopatra's Needle, 8PM. 2485 Broadway.
16
Peter Bernstein, Harold Mabern, Peter Washington, and Jimmy Cobb at Iridium, 8:00 and
10PM. 1650 Broadway. George Cables 3 with Essiet Essiet and Victor Lewis at Kitano, 8PM, 10PM. 66 Park Ave. Andy McDonough and Friends at Palumbo's, 8PM. 4057 Asbury Avenue, Tinton Falls NJ. Nick Demopoulos' Smomid at Shapeshifter Lab, 8:15 PM. 18 Whitwell Pl, Brooklyn. Dave Stryker and Blue to the Bone CD Release Party at Birdland, 8:30, 11PM. 315 W. 44th Roy Hargrove 5 at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Anat Fort 3 at Cornelia St. Cafe, 9:00 and 10:30 PM. 29 Cornelia St. Red Hook Ramblers at Edison Rum House, 9PM. 228 W. 47 St. Emily Wolf Project with Jason Yeager at Somethin' Jazz, 9PM. 212 E. 52 St. Azande Cummings' As Jazz Band at Metropolitan Room, 9:30 PM. 34 West 22nd St. Hyungjin Choi 3 at Shapeshifter Lab, 9:30 PM. 18 Whitwell Pl, Brooklyn. Swingadelic at Swing 46, 9:30 PM. 349 West 46th St. Jared Gold with The Dave Gibson Band at Fat Cat, 10:30 PM. 75 Christopher St. Joe Farnsworth 4 at Smalls, 10:30 PM. 183 W. 10 St. Dylan Meek 3 at Garage, 10:45 PM. 99 7th Ave S. Mind Open with Andrew Ahr at Somethin' Jazz, 11PM. 212 E. 52 St. Manami Morita at Blue Note, 12:30 AM. 131 W. 3 St. After Hours Sessions with Alexi David at Fat Cat, 1:30 AM. 75 Christopher St.
Saturday, July 6
Larry Newcomb 4 at Garage, 12:00 PM. 99 7th Ave S. Pam Purvis and the Blue Skies Band at Maxfield's on Main, 1PM. 713 Main St., Booton NJ. Healthy Music Research Lab Band: Doc Jones and the Medicine Men at Saint Peter's
Church, 3:30 PM. Corner of 619 Lexington Avenue and 54th St.
Roberto Sanchez-Picasso 3 at Somethin' Jazz, 5:00 PM. 212 E. 52 St. Jesse Simpson at Garage, 6:15 PM. 99 7th Ave S. La Sonora Carruseles at Damrosch Park, Lincoln Center, 6:30 PM. Dance lessons at 6:30
PM; music starts at 7:30 PM. Corner of Amsterdam Avenue and West 62nd St. Ariadna Castellanos: Flamenco Piano at (Le) Poisson Rouge, 6:30 PM. 158 Bleecker St. Bernard Pretty Purdie 3 at Shanghai Jazz, 6:30 and 8:45 PM. 24 Main St., Madison NJ. Mark Wright and Ruth Brisbanne at 76 House, 8PM. 110 Main St., Tappan NY. Joe Pellegrio 3 at Dauphin Grille, Berkeley Oceanfront Hotel, 7PM. 1401 Ocean Avenue, Asbury Park NJ. Renee Rosnes at Deer Head Inn, 7PM. 5 Main St., Delaware Water Gap PA. New Swing Sextet at The Falcon, 7PM. 1348 Route 9W, Marlboro NY. Eden Ladin 5 at Fat Cat, 7PM. 75 Christopher St. 3 Shalva with Assaf Gleizner at BeanRunner Cafe, 7:30 PM. 201 S. Division St., Peekskill NY. Mozik at Metropolitan Room, 7:30 PM. 34 West 22nd St. Jerry Topinka at Salt Creek Grille, 7PM. One Rockingham Road, Princeton NJ. West Side 5 at Somethin' Jazz, 7PM. 212 E. 52 St. Cyrus Chestnut 4 at Jazz Standard, 7:30, 9:30, and 11:30 PM. 116 East 27th St. Jeff Williams Group featuring Duane Eubanks at Smalls, 7:30 PM. 183 W. 10 St. Jerry Gonzalez and the Fort Apache Band at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Matt Baker 3 at Cleopatra's Needle, 8PM. 2485 Broadway. Peter Bernstein, Harold Mabern, Peter Washington, and Jimmy Cobb at Iridium, 8:00 and 10PM. 1650 Broadway. Victor Lewis 3 with Seamus Blake and Essiet Essiet at Kitano, 8PM, 10PM. 66 Park Ave. Laura Hull 3 at The Mill, 8PM. 101 Old Mill Road, Spring Lake Heights NJ. B. D. Lenz and Lelica at The Publick House, 8PM. 111 Main St., Chester NJ. Percy Jones' MJ-12 at Shapeshifter Lab, 8:15 PM. 18 Whitwell Pl, Brooklyn. Dave Stryker and Blue to the Bone CD Release Party at Birdland, 8:30, 11PM. 315 W 44 St. Roy Hargrove 5 at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Mario Pavone's Orange Double Tenor Septet featuring Noah Preminger and Ellery Eskelin at Cornelia St. Cafe, 9:00 and 10:30 PM. 29 Cornelia St. Rome Neal and The Beautiful Young Ladies of Jazz featuring The Mimi Jones Band at Nuyorican Poets Cafe, 9PM. 236 East 3rd St. Brett Sandler at Somethin' Jazz, 9PM. 212 E. 52 St. 3 Cachimbo at Edison Rum House, 9:30 PM. 228 W. 47 St. Emily Asher's Garden Party at Joe's Pub, 9:30 PM. 425 Lafayette St. Erin McDougald at Metropolitan Room, 9:30 PM. 34 West 22nd St. Spaghettata di Suoni featuring Greg Burk at Shapeshifter Lab, 9:30 PM. 18 Whitwell Pl, Brooklyn. Double Down Rat Pack Swing at Swing 46, 9:30 PM. 349 West 46th St. Rafael D'Lugoff 5 at Fat Cat, 10PM. 75 Christopher St. James Chance and The Contortions with R. Stevie Moore, Sal P, and Endless Boogie at (Le) Poisson Rouge, 10PM. 158 Bleecker St. Joe Farnsworth 4 at Smalls, 10PM. 183 W. 10 St. Peter Valera and the Jump Blues Band at Garage, 10:45 PM. 99 7th Ave S. Chardavoine 5 at Metropolitan Room, 11:30 PM. 34 West 22nd St. Maria Cangiano at Blue Note, 12:30 AM. 131 W. 3 St. After Hours Session at Fat Cat, 1:30 AM. 75 Christopher St.
Sunday, July 7

Jeremy Baum's Soul Jazz 3 at The Falcon, 10:00 AM. 1348 Route 9W, Marlboro NY. Gil Lewis at Bistro on Broad St., 10:30 AM. 400 Broad St., Elmer NJ. Ben Healy 3 at Garage, 11:30 AM. 99 7th Ave S. Baby Soda Jazz Band at Tribeca Grand Hotel, 11:30 AM. 2 Avenue of the Americas. Urban Tango 3 at Blue Note, 12:30 and 2:30 PM. 131 W. 3 St. Pam Purvis and the Blue Skies Band at Langosta Lounge, 1:00 PM. 1000 Ocean Avenue, Asbury Park NJ.
July 2013 Jazz Inside Magazine www.JazzInsideMagazine.com 17
and his 17 piece big band The NY State of the Art Jazz Ensemble
July 2013
All Shows on Tuesdays at 8:00 PM July 2: Bob Arthur Duo July 9: Jabbo Ware and the Me, We and Them Ensemble July 16: Frank Perowsky Big Band July 23: Mike Longos 17 piece NY State of the Art Jazz Ensemble with vocalist Ira Hawkins July 30: Ray Blue Ensemble
400 Main St., Metuchen NJ. Leonid Volskyi 4 at Smalls, 4:30 PM. 183 W. 10 St. Bill Charlap Solo Piano at Deer Head Inn, 5:00 PM. 5 Main St., Delaware Water Gap PA. Stephanie J. Block at Birdland, 6:00 PM. 315 West 44th St. Abe Ovadia 4 at Cornelia St. Cafe, 6:00 PM. 29 Cornelia St. Carrie Jackson with Norman Simmons and Norman Edge at Trumpets, 7PM. 6 Depot Square, Montclair NJ. Cyrus Chestnut 4 at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St. Nancy Harms at Smalls, 7:30 PM. 183 W. 10 St. Jerry Gonzalez and the Fort Apache Band at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Kimberly Thompson 4 at Iridium, 8:00 and 10PM. 1650 Broadway. Joe Taino at Van Gogh's Ear, 8PM. 1017 Stuyvesant Avenue, Union NJ. Gabriela Martina 5 at Shapeshifter Lab, 8:15 PM. 18 Whitwell Pl, Brooklyn. Ches Smith 3 with Mat Maneri and Craig Taborn at Cornelia St. Cafe, 8:30 PM. 29 Cornelia St. Nick Hempton Band with Brad Child at Smithfield, 8:30 PM. 215 West 28th St. Swingadelic at Swing 46, 8:30 PM. 349 West 46th St. Roy Hargrove 5 at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Baby Soda Jazz Band at St. Mazie, 9:30 PM. 345 Grand St., Williamsburg, Brooklyn. Sarah Slonim 3 at Smalls, 12:00 AM. 183 W. 10 St.
Perfect Alibi 5 with Meg Macan at Hailey's Harp, 3:00 PM.
Sam Johnson Band at Tumulty's Pub, 8PM. 361 George
St., New Brunswick NJ. Pl, Brooklyn.
Dave Kain Group at Shapeshifter Lab, 8:15 PM. 18 Whitwell Louis Hayes: Cannonball Adderley Legacy at Birdland,
8:30 and 11PM. 315 West 44th St. 178 7th Ave S.
Cedar Walton 3 at Village Vanguard, 8:30 and 10:30 PM. The Horns Band with Matt Pavolka at Korzo, 9PM. 667 Fifth
Avenue, Park Slope, Brooklyn.
Caroline Rothstein Presents 'Recycled Jazz Beats': Poetry
Accompanied by The Lafayette Harris 3 at Nuyorican Poets Cafe, 9PM. 236 East 3rd St. IN with Tim Armacost and Harvie S at Somethin' Jazz, 9PM. 212 E. 52 St. Jo Wallfisch at Cornelia St. Cafe, 9:30 PM. 29 Cornelia St. Davy Mooney Organ 3 at Shapeshifter Lab, 9:30 PM. 18 Whitwell Pl, Brooklyn. Anthony Coleman's Damaged 4: Seven Words at The Stone, 10:00 PM. Corner of Avenue C and 2nd St. Christie Dashiell at Cornelia St. Cafe, 10:15 PM. 29 Cornelia St. Dave Baron 3 at Garage, 10:30 PM. 99 7th Ave S. Denver General with Kirk Knuffke at Korzo, 10:30 PM. 667 Fifth Avenue, Park Slope, Brooklyn.
Wednesday, July 10
Rick Stone 3 at Garage, 6:00 PM. 99 7th Ave S. Arturo O'Farrill's Afro Latin Jazz Orchestra with special
Monday, July 8

Stephanie J. Block at Birdland, 7PM. 315 West 44th St. Lou Caputo Not So Big Band, Garage, 7PM. 99 7th Ave S. La Tanya Hall at Le Cirque Cafe, 7:30 PM. 151 East 58th St. Davy Mooney 4 at Smalls, 7:30 PM. 183 W. 10 St. Jerry Gransden Big Band at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Jimmy Bruno and Peter Bernstein with The Les Paul 3 at Iridium, 8:00 and 10PM. 1650 Broadway. Koran Agan at Radegast Hall, 8PM. 113 North 3rd St., Williamsburg, Brooklyn. 3 (mit) Marlene featuring Michael Attias at Shapeshifter Lab, 8:15 PM. 18 Whitwell Pl, Brooklyn. Harlem Renaissance Orchestra at Swing 46, 8:30 PM. 349 West 46th St. Druckmittel at Somethin' Jazz, 9PM. 212 E. 52 St. Brett Sroka's Ergo at Shapeshifter Lab, 9:30 PM. 18 Whitwell Pl, Brooklyn. Chris Beck 3 at Garage, 10:30 PM. 99 7th Ave S.
Tuesday, July 9
Geoffrey Keezer: Heart of the Piano at Birdland, 6:00 PM.
315 West 44th St.
Tony Jefferson 4 at Garage, 6:00 PM. 99 7th Ave S. Silent Film Screening with Live Music by Joel Forrester at Ray Gelato and the City Rhythm Orchestra at Damrosch
Pravda, 7PM. 281 Lafayette St.
Park, Lincoln Center, 6:30 PM. Dance lessons at 6:30 PM; music starts at 7:30 PM. Corner of Amsterdam Avenue and West 62nd St. David Aaron 5 at Central Avenue, Downtown Jazz Festival, 7PM. 137 Central Avenue, Westfield NJ. Gordon James at Elm St., Downtown Jazz Festival, 7PM. 105 Elm St., Westfield NJ. Johnny B and The Blues Blazers at PNC Plaza, Downtown Jazz Festival, 7PM. 1 Lincoln Plaza, Westfield NJ. Joe Taino Group at Westfield Train Station, Downtown Jazz Festival, 7PM. 104 North Avenue West, Westfield NJ. Stephen Kammerer 4 at Somethin' Jazz, 7PM. 212 E. 52 St. Silver Arrow Band at Drom, 7:15 PM. 85 Avenue A. Calixto Oviedo 5 at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St. Gato Barbieri at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. The Grandmothers of Invention (featuring Don Preston and Napoleon Murphy Brock) Play the Music of Frank Zappa at Iridium, 8:00 and 10PM. 1650 Broadway. Jabbo Ware and the Me, We and Them Ensemble at New York City Baha'i Center, 8:00 and 9:30 PM. 53 East 11th St. Anthony Coleman's Damaged 4: Damaged by Sunlight at The Stone, 8:00 PM. Corner of Avenue C and 2nd St.
18
guest Tito Rodriguez Jr. at Damrosch Park, Lincoln Center, 6:30 PM. Dance lessons at 6:30 PM; music starts at 7:30 PM. Corner of Amsterdam Avenue and West 62nd St. Vince Giordano and the Nighthawks at Old Westbury Gardens, 7PM. Lawn chairs and blankets suggested. 71 Old Westbury Road, Old Westbury NY. Nilson Matta: Samba Meets Jazz at Sandi Pointe Coastal Bistro, 7PM. 908 Shore Road, Somers Point NJ. Manami Morita Piano 3 at Shapeshifter Lab, 7:15 PM. 18 Whitwell Pl, Brooklyn. Next Generation Orchestra at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St. Carrie Jackson and Her Jazzin' All-Star Band at New Brunswick Hyatt, 7:30 PM. 2 Albany St., New Brunswick NJ. Res at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Scot Albertson 4 at Kitano, 8PM, 10PM. 66 Park Ave. Anthony Coleman 3 with Mat Maneri at The Stone, 8:00 PM. Corner of Avenue C and 2nd St. Identified Strangers with Nir Felder and Gilad Hekselman at Shapeshifter Lab, 8:15 PM. 18 Whitwell Pl, Brooklyn. Louis Hayes: Cannonball Adderley Legacy at Birdland, 8:30 and 11PM. 315 West 44th St. Craig Weinrib at Cornelia St. Cafe, 8:30 PM. 29 Cornelia St. Cedar Walton 3 at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Negroni's 3 at Somethin' Jazz, 9PM. 212 E. 52 St. Joe Alterman 3 with James Cammack at Caffe Vivaldi, 9:30 PM. 32 Jones St. Daniel Bennett Group at Metropolitan Room, 9:30 PM. 34 West 22nd St. Invictus with Kevin Harris at Shapeshifter Lab, 9:30 PM. 18 Whitwell Pl, Brooklyn. Alex Sipiagin Group CD Release Party at Smalls, 9:30 PM. 183 W. 10 St. Elliott Sharp/ Anthony Coleman 3 at The Stone, 10:00 PM. Corner of Avenue C and 2nd St. Sarah Slonim 3 at Garage, 10:30 PM. 99 7th Ave S. Matt Geraghty Group at Smalls, 12:30 PM. 183 W. 10 St.
Thursday, July 11
Willie Martinez at Urban Plaza, 12:30 PM. Free. 51 West
53rd St.
Hillary Gardner at Birdland, 6:00 PM. 315 West 44th St. George Weldon 3 at Garage, 6:00 PM. 99 7th Ave S. Mark Sganga at Solari's, 6:00 PM. 61 River St., Hackensack
NJ.
Rudi Mwongozi 3 at Cleopatra's Needle, 7PM. 2485 Broad-
way. St.
Morrie Louden Group at Somethin' Jazz, 7PM. 212 E. 52 Hod O'Brien and Stephanie Nakasian at Shanghai Jazz,
7PM. 24 Main St., Madison NJ.

9:30 PM. 10 Columbus Circle #5. Eric Wyatt at Ginny's Supper Club, 7:30 and 9:30 PM. 310 Lenox Avenue. Chris Potter Underground at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St. Preservation Hall Jazz Band at Apollo Theater, 8PM. 253 West 125th St. The Duke Ellington Orchestra at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Chris Parker 3 CD Release Party at Kitano, 8PM, 10PM. 66 Park Ave. Stafford Hunter 4 at Makeda, 8PM. 338 George St., New Brunswick NJ. Anthony Coleman/ Ashley Paul Duo at The Stone, 8:00 PM. Corner of Avenue C and 2nd St. Victor Prieto 3 at Shapeshifter Lab, 8:15 PM. 18 Whitwell Pl, Brooklyn. Louis Hayes: Cannonball Adderley Legacy at Birdland, 8:30 and 11PM. 315 West 44th St. Richard Gentile 3 CD Release Party at Cornelia St. Cafe, 8:30 PM. 29 Cornelia St. Cedar Walton 3 at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Rob Reich Solo Guitar at Somethin' Jazz, 9PM. 212 E. 52 St. Fred Glide Jazz Ensemble at Caffe Vivaldi, 9:30 PM. 32 Jones St. Emily Asher's Garden Party at Edison Rum House, 9:30 PM. 228 W. 47 St. Alex Sipiagin Group CD Release Party at Smalls, 9:30 PM. 183 W. 10 St. Anthony Coleman/ Michael Attias/ Mike Pride at The Stone, 10:00 PM. Corner of Avenue C and 2nd St. Will Terrell 3 at Garage, 10:30 PM. 99 7th Ave S.
Ben Allison Group at Dizzy's Club Coca Cola, 7:30 and
Ryan Keberle and Catharsis featuring Tim Hagans at Jazz
Gallery, 9:00 and 10:30 PM. Fifth floor, 1160 Broadway. 9PM. 212 E. 52 St.
Samantha Carlson with Joe Alterman at Somethin' Jazz, Mitra Sumara at Drom, 9:30 PM. 85 Avenue A. Jook Joint Shufflers at Edison Rum House, 9:30 PM. 228 George Gee Swing Orchestra at Swing 46, 9:30 PM. 349 Anthony Coleman Solo Organ at The Stone, 10:00 PM.
W. 47 St.
West 46th St.
Corner of Avenue C and 2nd St. George Colligan Group at Smalls, 10:30 PM. 183 W. 10 St. Joey Morant 3 at Garage, 10:45 PM. 99 7th Ave S. Harrison Young 3 at Somethin' Jazz, 11PM. 212 E. 52 St. Coulon at Blue Note, 12:30 AM. 131 W. 3 St. Ehud Asherie at Smalls, 1:30 AM. 183 W. 10 St.
Saturday, July 13
Daniela Schachter 3 at Garage, 12:00 PM. 99 7th Ave S. Champian Fulton 4 at Garage, 6:15 PM. 99 7th Ave S. Harlem Renaissance Orchestra: Tribute to Illinois Jacquet
Friday, July 12
Anthony and the Blue Tiger Big Band with special guest
Barbara Baron at Tim McLoone's Supper Club, 6:00 PM. (Dinner served at 6:00 PM; music starts at 8PM.) 1200 Ocean Avenue, Asbury Park NJ. Brooks Hartell 3 at Garage, 6:15 PM. 99 7th Ave S. Tipica 73: 40th Anniversary Celebration at Damrosch Park, Lincoln Center, 6:30 PM. Dance lessons at 6:30 PM; music starts at 7:30 PM. Corner of Amsterdam Avenue and West 62nd St. Tony DeSare 3 at Shanghai Jazz, 6:30 and 8:30 PM. Reservations required. 24 Main St., Madison NJ. Robert Rucker 3 at Cleopatra's Needle, 7PM. 2485 Bdway. Spencer Reed at Deer Head Inn, 7PM. 5 Main St., Delaware Water Gap PA. Soando at The Falcon, 7PM. 1348 Route 9W, Marlboro NY. Baby Soda Jazz Band at Pier 45, Hudson River Park, 7PM. Free. West St. at West 10th. Colette Michaan 5 at Shapeshifter Lab, 7PM. 18 Whitwell Pl, Brooklyn. Terry's Band at Somethin' Jazz, 7PM. 212 E. 52 St. Renee Rosnes 3 with Todd Coolman and Adam Nussbaum at Carnegie Room, 7:30 PM. 59 South Broadway, Nyack NY. Ben Allison Group at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Circle #5. Chris Potter Underground at Jazz Standard, 7:30, 9:30 and 11:30 PM. 116 East 27th St. Tommy Campbell Group at Smalls, 7:30 PM. 183 W. 10th St. The Duke Ellington Orchestra at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Ken Peplowski 4 with Ehud Asherie at Kitano, 8PM, 10PM. 66 Park Ave. Ralph Irizarry at SOB's, 8:00 and 10PM. Dance lessons at 7PM, music starts at 8PM. 204 Varick St. Coleman Plays Coleman: Anthony Coleman Solo Piano at The Stone, 8:00 PM. Corner of Avenue C and 2nd St. Steve Turre 5 at Two River Theater, 8PM. 21 Bridge Avenue, Red Bank NJ. NineNine featuring Paul Steven Ray at Shapeshifter Lab, 8:15 PM. 18 Whitwell Pl, Brooklyn. Louis Hayes: Cannonball Adderley Legacy at Birdland, 8:30 and 11PM. 315 West 44th St. Cedar Walton 3 at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Peter Eldridge's Farewell for Now Concert at Cornelia St. Cafe, 9:00 and 10:30 PM. 29 Cornelia St.
at Damrosch Park, Lincoln Center, 6:30 PM. Dance lessons at 6:30 PM; music starts at 7:30 PM. Corner of Amsterdam Avenue and West 62nd St. Vince Giordano and the Nighthawks at Music Mountain, 6:30 PM. 225 Music Mountain Road, Falls Village CT. Frame Work at Dauphin Grille, Berkeley Oceanfront Hotel, 7PM. 1401 Ocean Avenue, Asbury Park NJ. Hod O'Brien and Stephanie Nakasian featuring Veronica Swift at Deer Head Inn, 7PM. 5 Main St., Delaware Water Gap PA. Meg Hanson Group at Salt Creek Grille, 7PM. One Rockingham Road, Princeton NJ. New Sarah Slonim 4 at Somethin' Jazz, 7PM. 212 E. 52 St. Gerry Malkin 4 at BeanRunner Cafe, 7:30 PM. 201 South Division St., Peekskill NY. Ben Allison Group at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Circle #5. Simphewe Dana at Ginny's Supper Club, 7:30 and 10PM. 310 Lenox Avenue. Chris Potter Underground at Jazz Standard, 7:30, 9:30 and 11:30 PM. 116 East 27th St. Joel Press Group at Smalls, 7:30 PM. 183 W. 10 St. The Duke Ellington Orchestra at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Sachamo Mannan 4 at Cleopatra's Needle, 8PM. 2485 Broadway. Ken Peplowski 4 with Ehud Asherie at Kitano, 8PM, 10PM. 66 Park Ave. Jazz Passengers at Iridium, 8:00 and 10PM. 1650 Broadway. Karen Rodriguez Latin Jazz Ensemble at The Mill, 8PM. 101 Old Mill Road, Spring Lake Heights NJ. Survivors Breakfast Plays Anthony Coleman at The Stone, 8:00 PM. Corner of Avenue C and 2nd St. Yuko Ito 3 with Michiko Fukumori at Tomi Jazz, 8PM. 239 East 53rd St. Steve Turre 5 at Two River Theater, 8PM. 21 Bridge Avenue, Red Bank NJ. HIP Harmony in Process at Shapeshifter Lab, 8:15 PM. 18 Whitwell Pl, Brooklyn. Louis Hayes: Cannonball Adderley Legacy at Birdland, 8:30 and 11PM. 315 West 44th St. Cedar Walton 3 at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Dave Stryker Organ 3 with Adam Nussbaum at Hat City Kitchen, 9:00 and 10:30 PM. 459 Valley St., Orange NJ. Nir Felder at Jazz Gallery, 9:00 and 10:30 PM. Fifth floor, 1160 Broadway. Matt Parker 5 at Cornelia St. Cafe, 9:00 and 10:30 PM. 29 Cornelia St. Cristian Mendoza 4 at Somethin' Jazz, 9PM. 212 E. 52 St. Marek and the Boss Chops at Edison Rum House, 9:30 PM. 228 W. 47 St. Joel Forrester 3 at Silver Lining, 9:30 PM. 75 Murray St. Swingadelic at Swing 46, 9:30 PM. 349 West 46th St. Freakish: Anthony Coleman Plays Jelly Roll Morton at The Stone, 10:00 PM. Corner of Avenue C and 2nd St. George Colligan 4 at Smalls, 10:30 PM. 183 W. 10 St. Virginia Mayhew 4 at Garage, 10:45 PM. 99 7th Ave S. Joseph Howell 4 at Somethin' Jazz, 11PM. 212 E. 52 St. The Red Microphone Takes Chelsea at Metropolitan Room, 11:30 PM. 34 West 22nd St.
Electric Ladyland Project featuring Sheryl Bailey and Vic
Juris at Blue Note, 12:30 AM. 131 W. 3 St.
Sunday, July 14
Lou Caputo 4 at Garage, 11:30 AM. 99 7th Ave S. Baby Soda Jazz Band at Tribeca Grand Hotel, 11:30 AM. 2
Avenue of the Americas. St.
Greg Diamond at Blue Note, 12:30 and 2:30 PM. 131 W. 3 The Heart of Samba Documentary Fundraiser Concert
featuring Sergio Krakowski and Hadar Noiberg at Drom, 3:30 PM. 85 Avenue A. Andrea Wolper 4 at Puffin Cultural Forum, 4:00 PM. 20 Puffin Way, Teaneck NJ. John Merrill 3 at Smalls, 4:30 PM. 183 W. 10 St. Paul Hubbell and The Reeds at Deer Head Inn, 5:00 PM. 5 Main St., Delaware Water Gap PA. Wren 3 at Somethin' Jazz, 5:00 PM. 212 E. 52 St. Terence Murren's Jazz Manouche at City Winery, 6:30 PM. 155 Varick St. David Coss 4 at Garage, 6:30 PM. 99 7th Ave S. George Gee Swing Orchestra at Pier 84, Hudson River Park, 6:30 PM. Free. Dance lessons at 6:30 PM; music starts at 7PM. West 44th St. Righteous Girls with Gina Izzo at Somethin' Jazz, 7PM. 212 E. 52 St. Ben Allison Group at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Circle #5. Chris Potter Underground at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St. Lezlie Harrison at Smalls, 7:30 PM. 183 W. 10 St. The Duke Ellington Orchestra at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Elio Villafranca 4 with Terrell Stafford at Iridium, 8:00 and 10PM. 1650 Broadway. Chamber Music featuring Alex Waterman, TILT Brass Sextet and others at The Stone, 8:00 PM. Corner of Avenue C and 2nd St. Son Lewis at Van Gogh's Ear, 8PM. 1017 Stuyvesant Avenue, Union NJ.
19
Global Living Room: Justin Hines and Javier Diaz at
Cornelia St. Cafe, 8:30 PM. 29 Cornelia St. Felix and the Cats at Swing 46, 8:30 PM. 349 West 46th St. Cedar Walton 3 at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Baby Soda Jazz Band at St. Mazie, 9:30 PM. 345 Grand St., Williamsburg, Brooklyn. Troy Roberts 3 at The Wayland, 9:45 PM. 700 East 9th St. Anthony Coleman Ensemble: The Abysmal Richness of the Infinite Proximity of the Same at The Stone, 10:00 PM. Corner of Avenue C and 2nd St. Joel Forrester 4 at Little Branch, 10:30 PM. 20 7th Ave S. Abe Ovadia 3 at Garage, 11PM. 99 7th Ave S. Ai Murakami 3 at Smalls, 12:00 AM. 183 W. 10 St.
Pat Cuttitta at PNC Plaza, Downtown Jazz Festival, 7PM. 1
Lincoln Plaza, Westfield NJ.
Wednesday, July 17
Anderson Brothers at Garage, 6:00 PM. 99 7th Ave S. Angela Davis 3 at Somethin' Jazz, 7PM. 212 E. 52 St. Joel Harrison Big Band at Dizzy's Club Coca Cola, 7:30
B. D. Lenz at Westfield Train Station, Downtown Jazz
Festival, 7PM. 104 North Avenue West, Westfield NJ. Brooklyn.
Bradley Russell at Shapeshifter Lab, 7PM. 18 Whitwell Pl, Joshua Davis at Somethin' Jazz, 7PM. 212 E. 52 St. Joel Harrison Big Band at Dizzy's Club Coca Cola, 7:30 Dameronia: A Philly Joe Jones 90th Birthday Celebration
and 9:30 PM. 10 Columbus Circle #5. 7:30, 9:30 PM. 116 E. 27 St.
Emilio Solla y la Inestable de Brooklyn at Jazz Standard, Chuck McPherson: Satchmo Is Forever A Tribute to
and 9:30 PM. 10 Columbus Circle #5.
Monday, July 15

Howard Williams Jazz Orch at Garage, 7PM. 99 7th Ave S. Marianne Solivan at Zinc Bar, 7PM. 82 West 3rd St. Matt Baker 3 at Le Cirque Cafe, 7:30 PM. 151 East 58th St. Hendrik Meurkens and Gabriel Espinosa at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Circle #5. Peter Bernstein at Smalls, 7:30 PM. 183 W. 10 St Symphonics Live featuring Shawn Randall, Duv, and special guests at Blue Note, 8:00, 10:30 PM. 131 W. 3 St. Cameron Brown and Dannie's Calypso featuring Lisa Parrott at Shapeshifter Lab, 8:15 PM. 18 Whitwell Pl, Brooklyn. Big Butter and The Egg Men at Cornelia St. Cafe, 8:30 PM. 29 Cornelia St. Felix and the Cats at Swing 46, 8:30 PM. 349 West 46th St. Kenny Shanker 4 at Garage, 10:30 PM. 99 7th Ave S.
Tuesday, July 16
New Tricks at Garage, 6:00 PM. 99 7th Ave S. Christine Spero Group at Central Avenue, Downtown Jazz
Festival, 7PM. 137 Central Avenue, Westfield NJ. Marlene VerPlanck at Elm St., Downtown Jazz Festival, 7PM. 105 Elm St., Westfield NJ.
Directed by Don Sickler, featuring Jeremy Pelt, Gerry Smulyan, and Kenny Washington at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St. Fats Waller: A Handful of Keys a tribute featuring Bill Charlap, Carol Woods, Anat Cohen, Randy Sandke and others at Kaufmann Concert Hall, 92nd St. Y, 8PM. Corner of 92nd St. and Lexington Avenue. Youngjoo Song at Blue Note, 8:00, 10:30 PM. 131 W. 3 St. Matt Vorzimer 3 at Harlem Tavern, 8PM. 2153 Frederick Douglass Boulevard. The Blues Broads featuring Tracy Nelson, Dorothy Morrison, and others at Iridium, 8:00 and 10PM. 1650 Broadway. Frank Perowsky Big Band at New York City Baha'i Center, 8:00 and 9:30 PM. 53 East 11th St. Louie Belogenis/Tony Malaby 4: Twice Told Tales at The Stone, 8:00 and 10:00 PM. Corner of Avenue C and 2nd St. Adam Shaber Band at Tumulty's Pub, 8PM. 361 George St., New Brunswick NJ. Axel Axiom at Shapeshifter Lab, 8:15 PM. 18 Whitwell Pl, Brooklyn. Billy Childs 4 at Birdland, 8:30 and 11PM. 315 West 44th St. Chad Lefkowitz-Brown 5 CD Release Party at Cornelia St. Cafe, 8:30 PM. 29 Cornelia St. The Bad Plus at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. John O'Gallagher 4 at Korzo, 9PM. 667 Fifth Avenue, Park Slope, Brooklyn. Jason Yeager 3 at Somethin' Jazz, 9PM. 212 E. 52 St. Peter Knoll 3 at Shapeshifter Lab, 9:30 PM. 18 Whitwell Pl, Brooklyn. Paul Francis 3 at Garage, 10:30 PM. 99 7th Ave S.
Louis Armstrong at New Brunswick Hyatt, 7:30 PM. 2 Albany St., New Brunswick NJ. Jimmy Van Heusen: Swingin' on a Star A Tribute featuring Bill Charlap, Dena DeRose, Freddy Cole, Peter Bernstein, Peter Washington, Kenny Washington, and others at Kaufmann Concert Hall, 92nd St. Y, 8PM. Corner of 92nd St. and Lexington Avenue. Seu Jorge at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. The Blues Broads featuring Tracy Nelson and Dorothy Morrison at Iridium, 8:00 and 10PM. 1650 Broadway. Cinzia Spata 4 with Essiet Essiet and Ari Hoenig at Kitano, 8PM, 10PM. 66 Park Ave. Louie Belogenis, Russ Lossing, and Kenny Wollesen at The Stone, 8:00 and 10:00 PM. Corner of Ave C and 2nd St. Jesse Neuman and Wolf Face at Shapeshifter Lab, 8:15 PM. 18 Whitwell Pl, Brooklyn. Billy Childs 4 at Birdland, 8:30 and 11PM. 315 West 44th St. Brian and the Aardvarks at Cornelia St. Cafe, 8:30 PM. 29 Cornelia St. Bad Plus, Village Vanguard, 8:30, 10:30 PM. 178 7th Ave S. Jidam Kang Group at Somethin' Jazz, 9PM. 212 E. 52 St. Andres Mogensen with Jerry Bergonzi at Shapeshifter Lab, 9:30 PM. 18 Whitwell Pl, Brooklyn. Lage Lund 4 at Smalls, 9:30 PM. 183 W. 10 St. Nobuki Takamen 3 at Garage, 10:30 PM. 99 7th Ave S. David Gibson 4 at Smalls, 12:30 AM. 183 W. 10 St.
Thursday, July 18
Carla Cook 4 at Urban Plaza, 12:30 PM. Free. 51 W. 53rd St. Omaha Diner: Charlie Hunter, Steve Bernstein, Skerik,

20 July 2013 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880
Monday, july 8 @ 6 pm
thursday, July 11 @ 8 pm
Lyle Lovett and

his Acoustic Group
Lovett fuses elements of country, swing, jazz, folk, gospel, and blues in a convention-defying manner. Tickets: $150
Kansas
With Special Guest Arc and Stones They have appeared on the Billboard charts for over 200 weeks throughout the 70s and 80s and played to soldout arenas.Tickets: $70
Saturday, July 13 @ 8 pm
Thursday, August 29 @ 8 PM
Survivor
With Special Guest Station Frankie Sullivan Reunites Four Original Survivor Members including Dave Bickler and Jimi Jamison. Tickets: $65
Dave Koz & Friends

On tour, expect to see the Summer Horns playing gems from the album and the hottest hits from their individual catalogues. Tickets: $80
Saturday, July 27 @ 7:30 pm
Echoes of Sinatra, Starring Steve Kazlauskas
The spirit of Frank Sinatra the man and his music will be center stage at when Steve Kazlauskas stars in Echoes of Sinatra. Featuring the Tony T. Sextet, this event will highlight the enduring Sinatra era, with all the songs that defined a generation: Come Fly with Me, Witchcraft, Ive Got You Under My Skin, Strangers in the Night, It Was a Very Good Year, Thats Life, Mac The Knife, New York, New York and many more, sung in Sinatras iconic jazzy/swing style. Its got all the elements for a night of fine entertainment. Tickets: $35
80 East Ridge, Ridgefield, CT
203.438.5795 www.ridgefieldplayhouse.org
and Bobby Previte at Brooklyn Bowl, 6:00 PM. 61 Wythe Avenue, Brooklyn. Dre Barnes Project at Garage, 6:00 PM. 99 7th Ave S. Champian Fulton with special guests at Novita, 6:00 PM. 25 New St., Metuchen NJ. Masami Ishikawa 3 at Cleopatra's Needle, 7PM. 2485 Broadway. Tim Kuhl and Grey McMurray at Shapeshifter Lab, 7PM. 18 Whitwell Pl, Brooklyn. Maria Ottavia 3 at Somethin' Jazz, 7PM. 212 E. 52 St. Heath Brothers at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Circle #5. Watts Family Reunion Band featuring Lew Soloff, Ravi Coltrane, Don Byron, Frank Lacy, Robin Eubanks, Paul Bollenback, and Jeff Tain Watts at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St. West Coast Jazz: Bill Charlap, Jon Gordon, Michael Phillip Mossman, Gerry Smulyan, Ted Rosenthal, and others at Kaufmann Concert Hall, 92nd St. Y, 8PM. Corner of 92nd St. and Lexington Avenue. Seu Jorge at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. K. J. Denhert at Iridium, 8:00 and 10PM. 1650 Broadway. Lainie Cooke 5 with Tedd Firth and Joel Frahm at Kitano, 8PM, 10PM. 66 Park Ave. Flow 3 with Louie Belogenis and Joe Morris at The Stone, 8:00 and 10:00 PM. Corner of Avenue C and 2nd St. Mark Gross 4 at Makeda, 8PM. 338 George St., New Brunswick NJ. Koplant No at Shapeshifter Lab, 8:15 PM. 18 Whitwell Pl, Brooklyn. Billy Childs 4 at Birdland, 8:30 and 11PM. 315 West 44th St. Ingrid Laubrock's Anti-House with Mary Halvorson and Tom Rainey at Cornelia St. Cafe, 8:30 PM. 29 Cornelia St. Harlem Renaissance Orchestra at Swing 46, 8:30 PM. 349 West 46th St. Bad Plus, Village Vanguard, 8:30, 10:30 PM. 178 7th Ave S. Beats and Instruments: Farrah Burns at Ginny's Supper Club, 9PM. 310 Lenox Avenue. Hector Martignon at Nuyorican Poets Cafe, 9PM. 236 East 3rd St. Ricky Rodriguez 4 at Somethin' Jazz, 9PM. 212 E. 52 St. Grand St. Stompers at Edison Rum House, 9:30 PM. 228 W. 47 St. Andres Mogensen with Jerry Bergonzi at Shapeshifter Lab, 9:30 PM. 18 Whitwell Pl, Brooklyn. Lage Lund 4 at Smalls, 9:30 PM. 183 W. 10 St. Grandpa Musselman and the Syncopators at The Wayland, 10PM. 700 East 9th St. Sammy Miller 3 at Garage, 10:30 PM. 99 7th Ave S.
Billy Childs 4 at Birdland, 8:30 and 11PM. 315 West 44th St. Carl Testa: IRIS at Firehouse 12, 8:30 PM. 45 Crown St., The Bad Plus at Village Vanguard, 8:30 and 10:30 PM. 178 Tom Rainey's Obbligato with Ingrid Laubrock and Drew Chris Morrissey 4 featuring Aaron Parks at Jazz Gallery, Needle Driver featuring Brandon Seabrook and Allison Rosie 151 and the Red Hook Ramblers at Edison Rum George Gee Swing Orchestra at Swing 46, 9:30 PM. 349 Erik Deutsch Band at Shapeshifter Lab, 10PM. 18 Whitwell Magical Listening Hour with Louie Belogenis, Michael
New Haven CT. 7th Ave S.
Gress at Cornelia St. Cafe, 9:00, 10:30 PM. 29 Cornelia St. 9:00 and 10:30 PM. Fifth floor, 1160 Broadway.
Miller at Shapeshifter Lab, 9PM. 18 Whitwell Pl, Brooklyn. House, 9:30 PM. 228 W. 47 St. West 46th St. Pl, Brooklyn.
Attias, and Steve Swell at The Stone, 10:00 PM. Corner of Avenue C and 2nd St. Montez Coleman Group at Smalls, 10:30 PM. 183 W 10th St. Kevin Dorn & BIG 72 at Garage, 10:45 PM. 99 7th Ave S. SoHo Rentals with Alejo Nobili at Somethin' Jazz, 11PM. 212 E. 52 St. Will Bernard at Blue Note, 12:30 AM. 131 W. 3 St.
Saturday, July 20

Friday, July 19
Michika Fukumori 3 at Garage, 6:15 PM. 99 7th Ave S. Freddy Cole 4 at Shanghai Jazz, 6:30 and 8:35 PM. Seats Denton Darien 3 at Cleopatra's Needle, 7PM. 2485 Bdway. Vicki Doney at Deer Head Inn, 7PM. 5 Main St., Delaware
by reservation only. 24 Main St., Madison NJ. Water Gap PA.
Eric Mintel 4 at Salt Creek Grille, 7PM. One Rockingham
Road, Princeton NJ.
Heath Brothers at Dizzy's Club Coca Cola, 7:30 and 9:30
Watts Family Reunion Band featuring Lew Soloff, Ravi
Coltrane, Don Byron, Frank Lacy, Robin Eubanks, Paul Bollenback, and Jeff Tain Watts at Jazz Standard, 7:30, 9:30 and 11:30 PM. 116 East 27th St. B. D. Lenz 3 at Maxfield's on Main, 7:30 PM. 713 Main St., Booton NJ. Adam Brenner 4 at Smalls, 7:30 PM. 183 W. 10 St. Nicole Henry at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Mary Alouette and the Djams at FADA, 8PM. 530 Driggs Avenue, Brooklyn. Puppeteers featuring Arturo O'Farrill at Iridium, 8:00 and 10PM. 1650 Broadway. Vincent Herring 4 with Mike LeDonne and Lewis Nash at Kitano, 8PM, 10PM. 66 Park Ave. Elliot Sharp at Shapeshifter Lab, 8PM. 18 Whitwell Pl, Brooklyn. Choco Orta at SOB's, 8:00 and 10PM. Dance lessons at 7PM, music starts at 8PM. 204 Varick St. Louie Belogenis, Ikue Mori, and Sylvie Courvoisier at The Stone, 8PM. Corner of Avenue C and 2nd St. Champian Fulton 3 at Two River Theater, 8PM. 21 Bridge Avenue, Red Bank NJ.
22
Larry Newcomb 4 at Garage, 12:00 PM. 99 7th Ave S. David Jimenez 4 at Somethin' Jazz, 5:00 PM. 212 E. 52 St. Hide Tanaka 3 at Garage, 6:15 PM. 99 7th Ave S. Freddy Cole 4 at Shanghai Jazz, 6:30 and 8:35 PM. Seats by reservation only. 24 Main St., Madison NJ. Jimmy DeSalvo 3 at Dauphin Grille, Berkeley Oceanfront Hotel, 7PM. 1401 Ocean Avenue, Asbury Park NJ. Bill Goodwin CD Release Party at Deer Head Inn, 7PM. 5 Main St., Delaware Water Gap PA. Tisziji Munoz 4 with John Medeski, Don Pate, and Bob Moses at The Falcon, 7PM. 1348 Route 9W, Marlboro NY. Marlene VerPlanck at Riley Park, 7PM. Free. Main Avenue, Bradley Beach NJ. Olivia Foschi 5 at Somethin' Jazz, 7PM. 212 E. 52 St. Kenny Lee and the All-Stars featuring Les Kurtz at BeanRunner Cafe, 7:30 PM. 201 South Division St., Peekskill NY. Heath Brothers at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Circle #5. Onaje Allan Gumbs and New Vintage at Ginny's Supper Club, 7:30 and 10PM. 310 Lenox Avenue. Watts Family Reunion Band featuring Lew Soloff, Ravi Coltrane, Don Byron, Frank Lacy, Robin Eubanks, Paul Bollenback, and Jeff Tain Watts at Jazz Standard, 7:30, 9:30 and 11:30 PM. 116 East 27th St. Jim Ridl Group at Smalls, 7:30 PM. 183 W. 10 St. Seu Jorge at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Alberto Pibiri 3 at Cleopatra's Needle, 8PM. 2485 Broadway. Vincent Herring 4 with Mike LeDonne and Lewis Nash at Kitano, 8PM, 10PM. 66 Park Ave. Gina Fox at The Mill, 8PM. 101 Old Mill Road, Spring Lake Heights NJ. Unbroken featuring Louie Belogenis and Kenny Wollesen at The Stone, 8:00 and 10:00 PM. Corner of Avenue C and 2nd St. Champian Fulton 3 at Two River Theater, 8PM. 21 Bridge Avenue, Red Bank NJ. Billy Childs 4 at Birdland, 8:30 and 11PM. 315 West 44th St. The Bad Plus at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Tony Malaby 4 with Ben Monder at Cornelia St. Cafe, 9:00 and 10:30 PM. 29 Cornelia St. Chris Morrissey 4 featuring Aaron Parks at Jazz Gallery, 9:00 and 10:30 PM. Fifth floor, 1160 Broadway. 3 Cachimba at Edison Rum House, 9:30 PM. 228 W. 47 St. Mr. Ho's Orch at Somethin' Jazz, 9PM. 212 E. 52 St. Crescent City Maulers, Swing 46, 9:30 PM. 349 W 46th St. Montez Coleman Group at Smalls, 10:30 PM. 183 W. 10 St. Daylight Blues Band at Garage, 10:45 PM. 99 7th Ave S. The Motions at Blue Note, 12:30 AM. 131 W. 3 St.
Sunday, July 21
Bob Rodriguez 3 at The Falcon, 10:00 AM. 1348 Route 9W,
Marlboro NY.
Kyoko Oyobe 3 at Garage, 11:30 AM. 99 7th Ave S. Henry Butler New Orleans Brunch at Joe's Pub, 12:00 PM.
Eric Mintel 4 at PNC Plaza, Downtown Jazz Festival, 7PM.
1 Lincoln Plaza, Westfield NJ.
425 Lafayette St. Andrea Tierra CD Release Party at Blue Note, 12:30 and 2:30 PM. 131 W. 3 St. Juilliard Jazz Ensemble at Cyr Center, 3:00 PM. 159 West Main St., Stamford NY. Perfect Alibi 5 with Meg Macan at Hailey's Harp, 3:00 PM. 400 Main St., Metuchen NJ. Jessie Stinnett: The Moving Creatures A Dance Project with live music at Shapeshifter Lab, 3:00 PM. 18 Whitwell Pl, Brooklyn. B. D. Lenz with Lelica at Bea McNally's, 3:30 PM. 109 Grand Avenue, Hackettstown NJ. Patrick McGee 5 at Deer Head Inn, 5:00 PM. 5 Main St., Delaware Water Gap PA. Lindsay Mendez and Marco Paguia at Birdland, 6:00 PM. 315 West 44th St. David Coss 4 at Garage, 6:30 PM. 99 7th Ave S. Los Hermanos Colon at Pier 84, Hudson River Park, 6:30 PM. Free. Dance lessons at 6:30 PM; music starts at 7PM. West 44th St. Tom Gershwin at Caffe Vivaldi, 7PM. 32 Jones St. Vixens and Vagabonds Cabaret at Shapeshifter Lab, 7PM. 18 Whitwell Pl, Brooklyn. Heath Brothers at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Circle #5. Watts Family Reunion Band featuring Lew Soloff, Ravi Coltrane, Don Byron, Frank Lacy, Robin Eubanks, Paul Bollenback, and Jeff Tain Watts at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St. Bucky Pizzarelli and Ed Laub at Smalls, 7:30 PM. 183 W. 10 St. Seu Jorge at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Manuel Valera and New Cuban Express at Iridium, 8:00 and 10PM. 1650 Broadway. Louie Belogenis, Roberta Piket, and Billy Mintz at The Stone, 8:00 and 10:00 PM. Corner of Avenue C and 2nd St. Daniel Blake: The Aquarian Suite at Shapeshifter Lab, 8:15 PM. 18 Whitwell Pl, Brooklyn. New Brazilian Perspectives: Livio Almeida at Cornelia St. Cafe, 8:30 PM. 29 Cornelia St. Swingadelic at Swing 46, 8:30 PM. 349 West 46th St. The Bad Plus at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Secret Architecture at Caffe Vivaldi, 9:30 PM. 32 Jones St. Shoshana Bush 3 at The Wayland, 9:45 PM. 700 East 9th St. New Brazilian Perspectives: Benji Kaplan at Cornelia St. Cafe, 10PM. 29 Cornelia St. Tsutomu Naki 3 at Garage, 11PM. 99 7th Ave S. Smalls Family Jam Session at Smalls, 11PM. 183 W 10 St.
Roxy Perry at Westfield Train Station, Downtown Jazz
Festival, 7PM. 104 North Avenue West, Westfield NJ. das 3 at Metropolitan Room, 7PM. 34 West 22nd St.
Brazil + Jazz: Howard Alden and Jeanne Gees with Choro Silent Film Screening with Live Music by Joel Forrester at
Pravda, 7PM. 281 Lafayette St. PM. 10 Columbus Circle #5.
Claudia Acua at Dizzy's Club Coca Cola, 7:30 and 9:30 Rossano Sportiello with Nicki Parrott at Shea Center
Auditorium, William Paterson University, 7:30 PM. 300 Pompton Road, Wayne NJ. The Mad Hatter: Music of Chick Corea As Performed by Bill Charlap, Renee Rosnes, Chris Potter, Steve Wilson, and others at Kaufmann Concert Hall, 92nd St. Y, 8PM. Corner of 92nd St. and Lexington Avenue. Seu Jorge at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Mike Longo's New York State of the Art Jazz Ensemble at New York City Baha'i Center, 8:00 and 9:30 PM. 53 East 11th St. Michael Moore 4 at The Stone, 8PM. Corner of Avenue C and 2nd St. Mike Kragh Blues Band at Tumulty's Pub, 8PM. 361 George St., New Brunswick NJ. AMP 3 at Shapeshifter Lab, 8:15 PM. 18 Whitwell Pl, Brooklyn. Steve Kuhn, Buster Williams, Dave Liebman, and Billy Hart at Birdland, 8:30 and 11PM. 315 West 44th St. Kyoko Kitamura at Cornelia St. Cafe, 8:30 PM. 29 Cornelia St. Fred Hersch 3 with Joe Lovano at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Mutasm with Will McEvoy at Korzo, 9PM. 667 Fifth Avenue, Park Slope, Brooklyn. Larry Corban 3 with Harvie S at Somethin' Jazz, 9PM. 212 E. 52 St. Sarah Silverman with surprise guest pianist at Cornelia St. Cafe, 10PM. 29 Cornelia St. Etienne Charles' Creole Soul CD Release Party at (Le) Poisson Rouge, 10PM. 158 Bleecker St. Michael Moore 4 with Fay Victor at The Stone, 10:00 PM. Corner of Avenue C and 2nd St. Adam Larson 3 at Garage, 10:30 PM. 99 7th Ave S. Tony Malaby at Korzo, 10:30 PM. 667 Fifth Avenue, Park Slope, Brooklyn.
Wednesday, July 24
Marc Devine 3 at Garage, 6:00 PM. 99 7th Ave S. Yuka Mito at Somethin' Jazz, 7PM. Third floor, 212 E 52 St. Kelli Sae's Brooklyn Grind at Shapeshifter Lab, 7PM. 18
Monday, July 22
Louis Prima Jr. and the Witnesses at City Winery, 6:00
Whitwell Pl, Brooklyn.
Claudia Acua at Dizzy's Club Coca Cola, 7:30 and 9:30
PM. 155 Varick St. Fat Cat Big Band at Garage, 7PM. 99 7th Ave S. Beat Kaestli at Zinc Bar, 7PM. 82 West 3rd St. Sarah Elizabeth Charles at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Circle #5. Roberta Piket Solo Piano at Smalls, 7:30 PM. 183 W. 10 St. Dennis Mackrel at Shea Center Auditorium, William Paterson University, 7:30 PM. 300 Pompton Road, Wayne NJ. The Persuasions at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Jose Feliciano at Iridium, 8:00 and 10PM. 1650 Broadway. Sarah Hayes and the Savoy Seven at Swing 46, 8:30 PM. 349 West 46th St. Animal Crackers featuring Kenny Werner at Smalls, 10PM. 183 W. 10 St. Adam Rongo 3 at Garage, 10:30 PM. 99 7th Ave S.
Rob Duguay's Songevity featuring James Weidman and
Frank Lacy at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St.
Eve Cornelious with WPU Summer Jazz Ensemble at Shea
Tuesday, July 23
Ray Blue 3 at Garage, 6:00 PM. 99 7th Ave S. Jazz Stars of Tomorrow: Students from New School of
Jazz and Contemporary Music at Pier 45, Hudson River Park, 6:30 PM. Free. West St. at West 10th. Doctor Dubious and the Agnostics at Central Avenue, Downtown Jazz Festival, 7PM. 137 Central Avenue, Westfield NJ. Bradford Hayes at Elm St., Downtown Jazz Festival, 7PM. 105 Elm St., Westfield NJ.
Center Auditorium, William Paterson University, 7:30 PM. 300 Pompton Road, Wayne NJ. Mancini, Mandel, and the Movies A Tribute featuring Bill Charlap, Sandy Stewart, Renee Rosnes, Jeremy Pelt, Houston Person, Rufus Reid, and others at Kaufmann Concert Hall, 92nd St. Y, 8PM. Corner of 92nd St. and Lexington Avenue. Seu Jorge at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Taeko Fukao 4 at Kitano, 8PM, 10PM. 66 Park Ave. Michael Moore, Sylvie Courvoisier, and Mark Feldman at The Stone, 8PM. Corner of Avenue C and 2nd St. Steve Kuhn, Buster Williams, Dave Liebman, and Billy Hart at Birdland, 8:30 and 11PM. 315 West 44th St. Fred Hersch 3 with Joe Lovano at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Brianna Thomas at Smalls, 9:30 PM. 183 W. 10 St. The Persons featuring Michael Moore and Kenny Wollesen at The Stone, 10:00 PM. Corner of Avenue C and 2nd St. Adrian Mira Group at Garage, 10:30 PM. 99 7th Ave S.
Thursday, July 25
Dave Liebman at Urban Plaza, 12:30 PM. 51 W 53rd St. Geoff Burke 4 at Garage, 6:00 PM. 99 7th Ave S. Mark Sganga at Solari's, 6:00 PM. 61 River St., Hackensack 23
NJ.
Bernie Worrell Orchestra at New Jersey Performing Arts
Note, 8:00 and 10:30 PM. 131 W. 3 St.

Swim This featuring Gerry Hemingway with special guest
Center, 6:30 PM. Free. 1 Center St., Newark NJ.
Will Terrell 3 at Cleopatra's Needle, 7PM. 2485 Broadway. Jim Campilongo 3 with Chris Morrissey and Ben
Jazz Lovers Heaven

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Perowsky at The Falcon, 7PM. 1348 Route 9W, Marlboro NY. Morrie Louden Group at Somethin' Jazz, 7PM. 212 E. 52 St. Jason Yeager at Caffe Vivaldi, 7:15 PM. 32 Jones St. Kim Nalley Sings Billie Holiday at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Circle #5. Wallace Roney Orchestra Premeiring Wayne Shorter's Universe at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St. Toninho Horta at Joe's Pub, 7:30 PM. 425 Lafayette St. Duduka da Fonseca 3 with guest vocalist Maucha Adnet at Shea Center Auditorium, William Paterson University, 7:30 PM. 300 Pompton Road, Wayne NJ. Benny Goodman: Let's Dance! A Tribute featuring Bill Charlap, Ken Peplowski, Warren Vach, Bucky Pizzarelli, Joe Locke, and others at Kaufmann Concert Hall, 92nd St. Y, 8PM. Corner of 92nd St. and Lexington Avenue. Andrew Bird with Tift Merritt at Bearsville Theater, 8PM. 291 Tinker St., Woodstock NY. Odean Pope Saxophone Choir with James Carter at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Marlene VerPlanck 4 with Tedd Firth and Jay Leonhart: CD Release Party at Kitano, 8PM, 10PM. 66 Park Ave. Freddie Hendrix 4 at Makeda, 8PM. 338 George St., New Brunswick NJ. Michael Moore, Mary Halvorson, and Gerald Cleaver at The Stone, 8PM. Corner of Avenue C and 2nd St. Winnie Dahlgren Project at Shapeshifter Lab, 8:15 and 9:30 PM. 18 Whitwell Pl, Brooklyn. Steve Kuhn, Buster Williams, Dave Liebman, and Billy Hart at Birdland, 8:30 and 11PM. 315 West 44th St. Fred Hersch 3 with Joe Lovano at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Sugartone Brass Band at Ginny's Supper Club, 9PM. 310 Lenox Avenue. Willie Martinez y La Familia Sextet at Nuyorican Poets Cafe, 9PM. 236 East 3rd St. Baby Soda Jazz Band at Rst--Rnt, 9PM. 30-01 35th Avenue, Long Island City NY. Troy Roberts at Somethin' Jazz, 9PM. 212 E. 52 St. Jonny King 4 with Steve Wilson and Billy Drummond at Smalls, 9:30 PM. 183 W. 10 St. Michael Moore 5 with Tony Malaby and Gerald Cleaver at The Stone, 10:00 PM. Corner of Avenue C and 2nd St. Ryan Meagher 3 at Garage, 10:30 PM. 99 7th Ave S.
The Kate Pittman 3 at Douglass St. Music Collective, 8PM. 295 Douglass St., Brooklyn. Joyce Breach 4 with Warren Vach at Kitano, 8PM, 10PM. 66 Park Ave. Holocene 3 with Michael Moore and Guy Klusevcek at The Stone, 8PM. Corner of Avenue C and 2nd St. Dueling Pianos 4: Brandon McCune Vs. Kyle Koehler at Two River Theater, 8PM. 21 Bridge Avenue, Red Bank NJ. Steve Kuhn, Buster Williams, Dave Liebman, and Billy Hart at Birdland, 8:30 and 11PM. 315 West 44th St. Fred Hersch 3 with Joe Lovano at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Ellery Eskelin 3 CD Release Party at Cornelia St. Cafe, 9:00 and 10:30 PM. 29 Cornelia St. Juancho Herrera at Jazz Gallery, 9:00 and 10:30 PM. Fifth floor, 1160 Broadway. Somethin' Vocal with Matt Baker 3 at Somethin' Jazz, 9PM. 212 E. 52 St. Red Light District with Broadway Brassy at Edison Rum House, 9:30 PM. 228 W. 47 St. Ron Sunshine and Full Swing at Swing 46, 9:30 PM. 349 West 46th St. Michael Moore, Peter Evans, Denman Maroney, and Tom Rainey at The Stone, 10:00 PM. Corner of Avenue C and 2nd St. Stafford Hunter Group at Smalls, 10:30 PM. 183 W. 10 St. Hot House at Garage, 10:45 PM. 99 7th Ave S. Abdul Zuhri at Blue Note, 12:30 AM. 131 W. 3 St.
Saturday, July 27
Marsha Heydt and the Project of Love at Garage, 12:00
PM. 99 7th Ave S. Brooklyn.
Dick Dale at Brooklyn Bowl, 6:00 PM. 61 Wythe Avenue, Mauricio DeSouza 3 at Garage, 6:15 PM. 99 7th Ave S. Swingtime Big Band at Music Mountain, 6:30 PM. 225 Dave Stryker 3 at Shanghai Jazz, 6:30 and 8:45 PM. 24 Blue Skys 3 at Dauphin Grille, Berkeley Oceanfront Hotel, Ron Oswanki 4 featuring John Abercrombie and Tim Ries Alex Brown at Shapeshifter Lab, 7PM. 18 Whitwell Pl,
Music Mountain Road, Falls Village CT. Main St., Madison NJ.
7PM. 1401 Ocean Avenue, Asbury Park NJ.
at Deer Head Inn, 7PM. 5 Main St., Delaware Water Gap PA. Brooklyn.
Bobby Katz 5 at Somethin' Jazz, 7PM. 212 E. 52 St. Kim Nalley Sings Billie Holiday at Dizzy's Club Coca Cola, Wallace Roney Orchestra Premeiring Wayne Shorter's
Friday, July 26
Dick Dale at Brooklyn Bowl, 6:00 PM. 61 Wythe Avenue, Tom Tallitsch 4 at Garage, 6:15 PM. 99 7th Ave S. Sarah Partridge 3 at Shanghai Jazz, 6:30 and 8:30 PM. 24
7:30 and 9:30 PM. 10 Columbus Circle #5.
Brooklyn.
Main St., Madison NJ. Broadway.
Mamiko Watanabe 3 at Cleopatra's Needle, 7PM. 2485 Bill Washer and Andy LaVerne at Deer Head Inn, 7PM. 5
Main St., Delaware Water Gap PA.
Steve Wilson/ Bruce Barth 4 with special guest Rachel
Loshak at The Falcon, 7PM. 1348 Route 9W, Marlboro NY. 7PM. Free. West St. at West 10th.
Chuck Braman Jazz Band at Pier 45, Hudson River Park, Hiroshi Yamazaki 3 with Glenda Davenport at Somethin'
Jazz, 7PM. 212 E. 52 St.
Kenny Barron and Harvie S at Carnegie Room, 7:30 PM. 59
South Broadway, Nyack NY.
Your Own Personal Lifetime Access! Jazz Listening, Enjoyment, Discovery Limited Availability
http://bit.ly/JvSML0
24
Kim Nalley Sings Billie Holiday at Dizzy's Club Coca Cola,
7:30 and 9:30 PM. 10 Columbus Circle #5.
Wallace Roney Orchestra Premeiring Wayne Shorter's
Universe at Jazz Standard, 7:30, 9:30 and 11:30 PM. 116 East 27th St. Bobby Caldwell at B. B. King Blues Club, 7:30 and 10PM. 237 West 42nd St. Heath Brothers 4 with special guest Freddie Hendrix at Shea Center Auditorium, William Paterson University, 7:30 PM. 300 Pompton Road, Wayne NJ. Tardo Hammer 3 at Smalls, 7:30 PM. 183 W. 10 St. Andrew Bird with Tift Merritt at Bearsville Theater, 8PM. 291 Tinker St., Woodstock NY. Odean Pope Saxophone Choir with James Carter at Blue
Universe at Jazz Standard, 7:30, 9:30 and 11:30 PM. 116 East 27th St. David Bixler 4 at Smalls, 7:30 PM. 183 W. 10 St. Odean Pope Saxophone Choir with David Sanchez at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Booker T. Jones at City Winery, 8PM. 155 Varick St. Justin Lees 3 at Cleopatra's Needle, 8PM. 2485 Broadway. Bucky Pizzarelli/ Ed Laub Duo at Kitano, 8PM, 10PM. 66 Park Ave. Frank Noviello at The Mill, 8PM. 101 Old Mill Road, Spring Lake Heights NJ. Mijo de la Palma featuring Billy Carrion Jr. at Puffin Cultural Forum, 8PM. 20 Puffin Way, Teaneck NJ. Michael Moore/ Russ Lossing 5 with Mark Helias and Gerry Hemingway at The Stone, 8:00 and 10:00 PM. Corner of Avenue C and 2nd St. Dueling Pianos 4: Brandon McCune Vs. Kyle Koehler at Two River Theater, 8PM. 21 Bridge Avenue, Red Bank NJ. Aye Aye Rabbit with Ed Pastorini at Shapeshifter Lab, 8:15 PM. 18 Whitwell Pl, Brooklyn. Steve Kuhn, Buster Williams, Dave Liebman, and Billy Hart at Birdland, 8:30 and 11PM. 315 West 44th St. Fred Hersch 3 with Joe Lovano at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Ellery Eskelin 3 CD Release Party at Cornelia St. Cafe, 9:00 and 10:30 PM. 29 Cornelia St. Ingrid Laubrock 5 featuring Tim Berne and Tom Rainey at Jazz Gallery, 9:00 and 10:30 PM. Fifth floor, 1160 Broadway. Brust/Horowitz 5 at Somethin' Jazz, 9PM. 212 E. 52 St. Marek and the Boss Chops at Edison Rum House, 9:30 PM. 228 W. 47 St.

9:30 PM. 18 Whitwell Pl, Brooklyn. Crescent City Maulers at Swing 46, 9:30 PM. 349 W 46th St. Stafford Hunter Group at Smalls, 10:30 PM. 183 W. 10 St. Gerald Hayes 3 at Garage, 10:45 PM. 99 7th Ave S. Swiss Chris at Blue Note, 12:30 AM. 131 W. 3 St.
The Inbetweens with Mike Gamble at Shapeshifter Lab,
Johnny O'Neal at Dizzy's Club Coca Cola, 7:30 and 9:30
Sunday, July 28
Erik Lawrence 4 with Pete Levin at The Falcon, 10:00 AM.
1348 Route 9W, Marlboro NY. Iris Ornig 4 at Garage, 11:30 AM. 99 7th Ave S. Gustavo Casenave at Blue Note, 12:30 and 2:30 PM. 131 W. 3 St. Monday Blues Jazz Orchestra at German-American Society of Trenton, 3:00 PM. 215 Uncle Pete's Road, Trenton NJ. Lee and Elizabeth Tomboulian at Smalls, 4:30 PM. 183 W. 10 St. Sara Ferguson at Deer Head Inn, 5:00 PM. 5 Main St., Delaware Water Gap PA. John Nankof 3 at Somethin' Jazz, 5:00 PM. 212 E. 52 St. B. D. Lenz 3 at Maxie's Supper Club, 6:00 PM. 635 West State St., Ithaca NY. David Coss 4 at Garage, 6:30 PM. 99 7th Ave S. Salsa with Nu D'Lux at Pier 84, Hudson River Park, 6:30 PM. Free. Dance lessons at 6:30 PM; music starts at 7PM. West 44th St. Kim Nalley Sings Billie Holiday at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Circle #5. Wallace Roney Orchestra Premeiring Wayne Shorter's Universe at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St. Ehud Asherie 3 at Smalls, 7:30 PM. 183 W. 10 St. Odean Pope Saxophone Choir with David Sanchez at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Brian Lynch 4 with Emmet Cohen, Peter Washington, and Billy Hart at Iridium, 8:00 and 10PM. 1650 Broadway. The Horn Guys featuring Michael Moore, Tony Malaby, Ellery Eskelin, and Ray Anderson at The Stone, 8PM. Corner of Avenue C and 2nd St. Clem Ehoff 3 at Van Gogh's Ear, 8PM. 1017 Stuyvesant Avenue, Union NJ. Felix and the Cats at Swing 46, 8:30 PM. 349 West 46th St. Playdate featuring Joel Frahm at Cornelia St. Cafe, 9:00 and 10:30 PM. 29 Cornelia St. Fred Hersch 3 with Joe Lovano at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Gypsy Jazz with The Bailsmen at The Wayland, 9:30 PM. 700 East 9th St. Michael Moore Plays Available Jelly at The Stone, 10:00 PM. Corner of Avenue C and 2nd St. Joonsam Lee 3 at Garage, 11PM. 99 7th Ave S. Smalls family Jam Session at Smalls, 11PM. 183 W. 10 St.
PM. 10 Columbus Circle #5. Ron Carter Orchestra at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St. Earl Klugh at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. Terese Genneco and Her Little Big Band at Iridium, 8:00 and 10PM. 1650 Broadway. Ray Blue Ensemble at New York City Baha'i Center, 8:00 and 9:30 PM. 53 East 11th St. Vijay Iyer, HPrizm, and Matana Roberts at The Stone, 8:00 and 10:00 PM. Corner of Avenue C and 2nd St. Abel Tabares' Afro Cuban Band at Tumulty's Pub, 8PM. 361 George St., New Brunswick NJ. Pablo Ziegler's Tango Conexion with special guest Stefon Harris at Birdland, 8:30 and 11PM. 315 West 44th St. Al Foster 4 at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Andrew D'Angelo 4 at Korzo, 9PM. 667 Fifth Avenue, Park Slope, Brooklyn. Chris Conz at Edison Rum House, 9:30 PM. 228 W. 47 St. Jason Miles' The Spirit of Miles: Beyond the Cellar Door at Shapeshifter Lab, 9:30 PM. 18 Whitwell Pl, Brooklyn. Lucas Pino No Net Nonet at Smalls, 10PM. 183 W. 10 St. Jacob Drazen 3 at Garage, 10:30 PM. 99 7th Ave S. Eva Novoa at Korzo, 10:30 PM. 667 Fifth Avenue, Park Slope, Brooklyn. Bryan Carter Group at Dizzy's After Hours, 11:30 PM. 10 Columbus Circle #5.
Joel Forrester at Brandy Library, 8PM. 25 North Moore St. Blue Vipers of Brooklyn at Chez Oskar, 8PM. 211 Dekalb Jazz 3 TBA at Cleopatra's Needle, 8PM. 2485 Broadway. Swing Dance Night with the Cotton Club All Stars at The
Avenue, Fort Greene, Brooklyn.
Cotton Club, 8PM. 656 West 125th St. Hotel, 8PM. 228 W. 47 St. 10:30 PM. 178 7th Ave S.
Vince Giordano and the Nighthawks at Sofia's, Edison Iris Ornig Jam Session at Kitano, 8PM. 66 Park Avenue. Vanguard Jazz Orchestra at Village Vanguard, 8:30 and Earl Rose 3 at Bemelmans' Bar, Hotel Carlyle, 9PM. 35
East 76th St.
Chicha Libre at Barbes, 9:30 PM. 376 Ninth St., Brooklyn. Cole Ramstad and the Chinatown All Stars at Apotheke, Jam Session at Cleopatra's Needle, 10PM. 2485 Broadway. Terry Waldo and His Rum House Jass Band (except 7/15
10PM. 9 Doyers St.
and 7/22) at Edison Rum House, 10PM. 228 W. 47 St. Smalls, 10PM. 183 W. 10 St. 147 Bleecker St.
Ari Hoenig Group with Jean-Michel Pilc (except 7/22) at Richie Cannata Jam Session at The Bitter End, 11:45 PM. Spencer Murphy at Smalls, 12:30 AM. 183 W. 10 St.
Tuesdays (7/2, 7/9, 7/16, 7/23, 7/30)

Chris Gillespie at Bemelmans' Bar, Hotel Carlyle, 5:30 PM.
Wednesday, July 31
Gil Lewis at Filomena Lakeview, 6:00 PM. 1738 Cooper St.,
35 East 76th St. Grove St.
Yuichi Hirakawa House Band at Arthur's Tavern, 7PM. 57 Mark Sganga and Larry D'Albero at Bayou, 7PM. 1072 Bay
Deptford NJ.
St., Staten Island.
Nick Finzer 4 at Garage, 6:00 PM. 99 7th Ave S. Lauren Shub at Johnny K's, 6:00 PM. 1030 Raritan Road,
Jo Shornikow at Manhattan Inn, 7:30 PM. 632 Manhattan
Avenue, Greenpoint, Brooklyn.
Monday, July 29
Jack Wilkins and Howard Alden at Eats on Lex, 7PM. 1055
Lexington Avenue.
Cecila Coleman Big Band at Garage, 7PM. 99 7th Ave S. Deer Head Inn Jazz Orchestra at Deer Head Inn, 7:30 PM. 5
Main St., Delaware Water Gap PA.
The Amigos Band Presents Western and Hot Swing at
Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Circle #5. Rafi Malkiel 5 with special guests at Blue Note, 8PM. 131 W. 3 St. Felix and the Cats at Swing 46, 8:30 PM. 349 West 46th St. Hadar Noibero with special guests at Blue Note, 10:30 PM. 131 W. 3 St. Alex Layne 3 at Garage, 10:30 PM. 99 7th Ave S.
Clark NJ. Ron Oswanski 4 featuring Tim Ries, John Abercrombie, and Ian Froman at The Falcon, 7PM. 1348 Route 9W, Marlboro NY. Vicki Burns and Jack DeSalvo at Somethin' Jazz, 7PM. 212 E. 52 St. Johnny O'Neal at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Circle #5. Ron Carter Orchestra at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St. Orrin Evans Group at New Brunswick Hyatt, 7:30 PM. 2 Albany St., New Brunswick NJ. Earl Klugh at Blue Note, 8:00 and 10:30 PM. 131 W. 3 St. George Braith 4 with Lisle Atkinson at Kitano, 8PM, 10PM. 66 Park Ave. Vijay Iyer and Rajna Swaminathan at The Stone, 8:00 and 10:00 PM. Corner of Avenue C and 2nd St. Pablo Ziegler's Tango Conexion with special guest Stefon Harris at Birdland, 8:30 and 11PM. 315 West 44th St. Peter Evans' Zebulon 3 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia St. Al Foster 4 at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave S. Alex Snydman 3 at Somethin' Jazz, 9PM. 212 E. 52 St. Joe Alterman 3 with James Cammack at Caffe Vivaldi, 9:30 PM. 32 Jones St. Yotam Silberstein at Smalls, 9:30 PM. 183 W. 10 St. Austin Walker 3 at Garage, 10:30 PM. 99 7th Ave S. Bryan Carter Group at Dizzy's After Hours, 11:30 PM. 10 Columbus Circle #5.
Spike Wilner 3 at Smalls, 7:30 PM. 183 W. 10 St. Marc Devine 3 at Cleopatra's Needle, 8PM. 2485 Broadway. Vince Giordano and the Nighthawks (except 7/2) at Sofia's, Kyoko Oyobe at Kitano, 8PM. 66 Park Avenue. Pedrito Martinez Band at Guantanamera, 8:30 PM. 939
Edison Hotel, 8PM. 228 W. 47 St. Eighth Avenue.
Dandy Wellington and His Band at Hotel Chantelle, 8:30
PM. 92 Ludlow St. West 46th St.
George Gee Swing Orchestra at Swing 46, 8:30 PM. 349 Slavic Soul Party at Barbes, 9PM. 376 Ninth St., Brooklyn. Loston Harris 3 at Bemelmans' Bar, Hotel Carlyle, 9:30

Annie Ross at Metropolitan Room, 9:30 PM. 34 West 22nd
St.
Jam Session at Tumulty's Pub, 9:30 PM. 361 George St.,
New Brunswick NJ. 10 St.
Jam Session at Cleopatra's Needle, 10PM. 2485 Broadway. Smalls Legacy Band (except 7/30) at Smalls, 10PM. 183 W. Orrin Evans Jam Session at Zinc Bar, 11PM. 82 W. 3rd St. Kyle Poole and Friends at Smalls, 12:30 AM. 183 W. 10 St.
Wednesdays (7/3, 7/10, 7/17, 7/24, 7/31)

Louis Armstrong Centennial Band at Birdland, 5:30 PM.
315 West 44th St. 35 East 76th St.
Chris Gillespie at Bemelmans' Bar, Hotel Carlyle, 5:30 PM. Bill Crow 4 at Red Hat Bistro, 6:00 PM. One Bridge St.,
REGULAR GIGS
Mondays (7/1, 7/8, 7/15, 7/22, 7/29)
Earl Rose at Bemelmans' Bar, Hotel Carlyle, 5:30 PM. 35
Irvington-On-Hudson NY.
Eve Silber at Arthur's Tavern, 7PM. 57 Grove St. Sarah King and The Smoke Rings (except 7/3) at Chez
Oskar, 7PM. 211 Dekalb Avenue, Fort Greene, Brooklyn.

Les Kurtz 3 at Cleopatra's Needle, 7PM. 2485 Broadway. Julie Milgram 3 at Lime Leaf Thai Restaurant, 7PM. 128 Joel Forrester at Manhattan Inn, 7PM. 632 Manhattan Courtney Graf at Millesime, 7PM. 92 Madison Avenue. Reggie Woods at Sapphire, 7PM. 333 East 60th St. Jason Marshall Organ 3 at American Legion Post #398, Avalon Jazz Band at Apotheke, 8PM. 9 Doyers St. Jam Session with Mike Lee at Hat City Kitchen, 8PM. 459
Tuesday, July 30
Alex Snydman 3 at Garage, 6:00 PM. 99 7th Ave S. Pam Purvis and The Blue Skies Band at Central Avenue,
Downtown Jazz Festival, 7PM. 137 Central Avenue, Westfield NJ. Glenn Alexander and Humblebrag at Elm St., Downtown Jazz Festival, 7PM. 105 Elm St., Westfield NJ. Stringbean and the Stalkers at PNC Plaza, Downtown Jazz Festival, 7PM. 1 Lincoln Plaza, Westfield NJ. Watson at Westfield Train Station, Downtown Jazz Festival, 7PM. 104 North Avenue West, Westfield NJ. Silver Arrow Band at Drom, 7:15 PM. 85 Avenue A.
East 76th St. Kat Gang with Joe Young at Arcane Bistro, 7PM. 111 Avenue C. Grove St. Stompers at Arthur's Tavern, 7PM. 57 Grove St. Brain Cloud at Barbes, 7PM. 376 Ninth St., Brooklyn. Ken Fowser 5 (except 7/1) at Sandi Pointe Coastal Bistro, 7PM. 908 Shore Road, Somers Point NJ. Mingus Big Band (except 7/1) at Jazz Standard, 7:30, 9:30 PM. 116 E. 27 St. Takuya Nakamura at Manhattan Inn, 7:30 PM. 632 Manhattan Avenue, Greenpoint, Brooklyn.
West 72nd St.
7:30 PM. 248 West 132nd St. Valley St., Orange NJ.

25
Thursdays (7/4, 7/11, 7/18, 7/25)

Sam Raderman/Luc Decker Jam Session (except 7/4) at
Gerardo Contino y sus Habaneros at Guantanamera, 8:30
PM. 939 Eighth Avenue. PM. 35 East 76th St.
Loston Harris 3 at Bemelmans' Bar, Hotel Carlyle, 9:30 Sweet Georgia Brown with Off the Hook at Arthur's Tav-
Nearly all men can stand adversity, but if you want to test a mans character, give him power.
- Abraham Lincoln Jam Session with Tim Lekan at Sandi Pointe Coastal Pedrito Martinez Band at Guantanamera, 8:30 PM. 939 Stan Rubin Orchestra at Swing 46, 8:30 PM. 349 W 46th St. Jam Session with The Wolfpack at Adobe Blues, 9PM. 63
Bistro, 8PM. 908 Shore Road, Somers Point NJ. Eighth Avenue.
Lafayette Avenue, Staten Island. Kat Gang at The Rose Club, Plaza Hotel, 9PM. Corner of Fifth Avenue and Central Park South. Loston Harris 3 at Bemelmans' Bar, Hotel Carlyle, 9:30 PM. 35 East 76th St. Smokin' Billy Slater at Edison Rum House, 9:30 PM. 228 W. 47 St. Alyson Williams with Arthur's House Band at Arthur's Tavern, 10PM. 57 Grove St. Mandingo Ambassadors at Barbes, 10PM. 376 Ninth St., Brooklyn. Jam with Joonsam Lee at Cleopatra's Needle, 10PM. 2485 Broadway.
Smalls, 5:00 PM. 183 W. 10 St. Chris Gillespie at Bemelmans' Bar, Hotel Carlyle, 5:30 PM. 35 East 76th St. Eri Yamamoto 3 at Arthur's Tavern, 7PM. 57 Grove St. Tiffany Chang 3 at Lime Leaf Thai Restaurant, 7PM. 128 West 72nd St. Terry Waldo at Manhattan Inn, 7:30 PM. 632 Manhattan Avenue, Greenpoint, Brooklyn. Bill Goodwin and Friends at Deer Head Inn, 8PM. 5 Main St., Delaware Water Gap PA. Lauren Henderson at Millesime, 8PM. 92 Madison Avenue. Pedrito Martinez Band at Guantanamera, 8:30 PM. 939 Eighth Avenue. Lapis Luna at The Rose Club, Plaza Hotel, 8:30 PM. Corner of Fifth Avenue and Central Park South. Felix and the Cats (except 7/18) at Swing 46, 8:30 PM. 349 West 46th St. Jam Session at Deer Head Inn, 9PM. 5 Main St., Delaware Water Gap PA. Nicole Zuraitis with Dandy Wellington and His Band at Ella Lounge, 9PM. 9 Avenue A. Loston Harris 3 at Bemelmans' Bar, Hotel Carlyle, 9:30 PM. 35 East 76th St. Sweet Georgia Brown with Off the Hook at Arthur's Tavern, 10PM. 57 Grove St. Jam with Kazu 3 at Cleopatra's Needle, 11:30 PM. 2485 Broadway.
ern, 10PM. 57 Grove St. AM. 2485 Broadway.
Jam with Joanna Sternberg at Cleopatra's Needle, 12:30
Saturdays (7/6, 7/13, 7/20, 7/27)

Jo Shornikow at Manhattan Inn, 11:00 AM. 632 Manhattan Dandy Wellington and His Band at Hotel Chantelle, 12:00 New York Jazz Academy Big Band at Somethin' Jazz, 2:00 Dwayne Clemons and Sasha Perry at Smalls, 4:00 PM. 183 Chris Gillespie at Bemelmans' Bar, Hotel Carlyle, 5:30 PM. Eri Yamamoto 3 at Arthur's Tavern, 7PM. 57 Grove St. Dandy Wellington and His Band at The Astor Room, 8PM.
Avenue, Greenpoint, Brooklyn. PM. 92 Ludlow St. PM. 212 E. 52 St. W. 10 St.
35 East 76th St.
34-12 36th St., Astoria, Queens. Avenue, Greenpoint, Brooklyn. PM. 939 Eighth Avenue.
Smokin' Billy Slater at Manhattan Inn, 8PM. 632 Manhattan Avalon Jazz Band at Matisse, 8PM. 924 Second Avenue. Gerardo Contino y sus Habaneros at Guantanamera, 8:30 Mal Stein at Cupping Room Cafe, 9PM. 359 W. Broadway. Baby Soda at Cafe Moto, 9:30 PM. 394 Broadway, Brooklyn. Loston Harris 3 at Bemelmans' Bar, Hotel Carlyle, 9:30
Fridays (7/5, 7/12, 7/19, 7/26)

Pasquale Grasso Jam Session at Smalls, 4:00 PM. 183 W.
Alyson Williams with Arthur's House Band at Arthur's
10 St.
Birdland Big Band at Birdland, 5:00 PM. 315 West 44th St. Chris Gillespie at Bemelmans' Bar, Hotel Carlyle, 5:30 PM. Eri Yamamoto at Arthur's Tavern, 7PM. 57 Grove St. Smokin' Billy Slater at Manhattan Inn, 8PM. 632 Manhattan
Tavern, 10PM. 57 Grove St. 2485 Broadway.
Jam with Jesse Simpson at Cleopatra's Needle, 12:00 AM.
35 East
76th
St.
Sundays (7/7, 7/14, 7/21, 7/28)

Tony Middleton 3 at Kitano, 11AM, 1PM. 66 Park Avenue. Avalon Jazz Band, Lambs Club, 11AM. 132 West 44th St. Michael Leviton at Manhattan Inn, 11:00 AM. 632 Manhat Dandy Wellington and His Band at The Astor Room, 11:30 Mary Alouette and The Bailsmen at Hotel Chantelle, 12:00 Emily Wolf at Millesime, 12:00 PM. 92 Madison Avenue. Mark Sganga at Beso, 12:30 PM. 11 Schuyler St., Staten Bob Kindred 3 at Cafe Loup, 12:30 PM. 105 West 13th St. Gabrielle Stravelli at Le Pescadeux, 12:30 PM. 90 Thomp-
Lauren Henderson at Millesime, 8PM. 92 Madison Avenue.
tan Avenue, Greenpoint, Brooklyn.
AM. 34-12 36th St., Astoria, Queens. PM. 92 Ludlow St. Island.
son St.
Vocal Masterclass with Marion Cowings at Smalls, 1:00
PM. 183 W. 10 St.
Koran Agan 3 at Radegast Hall, 1:30 PM. 113 North 3rd St.,
Williamsburg, Brooklyn.
Keith Ingham at Cleopatra's Needle, 4:00 PM. 2485 Broad-
way.
Jazz Vespers at Saint Peter's Church, 5:00 PM. 619 Lexing-
ton Avenue.
Junior Mance 3 at Cafe Loup, 6:30 PM. 105 West 13th St. Jam Session at American Legion Post #398, 7PM. 248
West 132nd St.

Creole Cooking Jazz Band at Arthur's Tavern, 7PM. 57
Grove St.
Joel Forrester at Manhattan Inn, 7PM. 632 Manhattan
Avenue, Greenpoint, Brooklyn. 8:30 PM. 939 Eighth Avenue.
Forroteria at Millesime, 8PM. 92 Madison Avenue. Juan Carlos Formel y su Son Radical at Guantanamera, Stephane Wremble at Barbes, 9PM. 376 Ninth St., Brooklyn. Arturo O'Farrill's Afro Latin Jazz Orchestra (except 7/28) at
Birdland, 9:00 and 11PM. 315 West 44th St. 2485 Broadway. 47 St.
Jam with Michika Fukumori at Cleopatra's Needle, 9PM. Candy Shop Boys at Edison Rum House, 9:30 PM. 228 W. Stew Cutler and Friends at Arthur's Tavern, 10PM. 57
Grove St.
Johnny O'Neal at Smalls, 10PM. 183 W. 10 St.
Brian Landrus
(continued from page 50)
it to me before the show. I got so nervous I forgot the bridge, so I just started improvising and slowly found my way back the last A. The crowd went nuts. It taught me to always play from your heart and just roll with it. It made me realize how often Id have to prove myself.... and be totally cool with that. Showbiz is strenuous, and you gotta always handle business. I learned that its very important to always be on time, play reliably, look good, and play the shit outa the doubles. Many of those gigs required high levels of flute & clarinet playing so thats when I got very serious about those. I actually started playing flute in high school because I wanted to sit with all the cute girls :) Playing music in front of thousands of people night after night changed my life. When I was playing with the Temptations and the Four Tops, I felt such strength and love in their music. One of the nights in Lake Tahoe, we were playing My Girl and I couldnt help but tear up when I looked out and saw everyone in this huge theater singing, dancing, and smiling. Taught me the importance and power of strong melodies. JI: The music world, the jazz world are replete with temptations associated with varying desires for power, fame, fortune that can have the potential to compromise ones focus, ones integrity and character. What do you do to maintain your focus and to ensure that you minimize those kinds of influences and people? BL: Ive certainly made many mistakes, I only hope to learn and grow from them. Its eye opening when you make the same mistake several times before you can identify it and truly get beyond. The business is complex, with many moving parts that all have to intersect to make things happen. Ive had many strong examples of what to, and what not to do. Ive been a vegetarian since I was 12 because I love animals. It was the same year I started playing music. Thats been a very positive force in my life. I love exercise. Thats very beneficial in my life to keep me feeling strong. I run and strength train four to six times a week, even on the road. It makes me centered and I love the challenge of weight training. I practice Buddhist meditation. Focusing on our breathing can tell us a lot about the mental activity we have going on, and can be surprising about how many thoughts were juggling simultaneously. JI: Talk about the kind of support youve experienced from your family that has helped you gain balance, clarity and success in your life?
BL: Im very lucky to have an incredibly supportive family. Theyve had my back since the beginning. I feel very blessed to have been encouraged to make it happen. I have a beautiful wife, and a very special little baby named Ruby. Shes adorable - she makes me smile everyday.
JI: What do you do to relax when youre not making music? BL: Exercise and meditation. Those two are a necessity. I dont feel balanced if either is missing.

27
Clubs & Venues

55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), 212-929-9883, www.55bar.com 92nd St Y, 1395 Lexington Ave, New York, NY 10128 212.415.5500, www.92ndsty.org Aaron Davis Hall, City College of NY, Convent Ave., 212-6506900, www.aarondavishall.org Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-8755050, www.lincolncenter.org/default.asp Allen Room, Lincoln Center, Time Warner Center, Broadway and 60th, 5th floor, 212-258-9800, www.lincolncenter.org/ default.asp American Museum of Natural History, 81st St. & Central Park W., 212-769-5100, www.amnh.org Arthurs Tavern, 57 Grove St., 212-675-6879 or 917-301-8759, www.arthurstavernnyc.com Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973378-2133, www.artsmaplewood.org Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St., 212-875-5030, www.lincolncenter.org Backroom at Freddies, 485 Dean St. (at 6th Ave.), Brooklyn, NY, 718-622-7035, www.freddysbackroom.com BAM Caf, 30 Lafayette Ave., Brooklyn, NY, 718-636-4100, www.bam.org Bar 4, 7 Ave and 15th, Brooklyn NY 11215, 718-832-9800, www.Bar4.net Langham Place, Fifth Avenue, 400 Fifth Avenue New York, NY 10018, 212-613-8738, http://www.langhamplacehotels.com Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn, 718-965-9177, www.barbesbrooklyn.com Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083, www.bargemusic.org B.B. Kings Blues Bar, 237 W. 42nd St., 212-997-4144, www.bbkingblues.com Beacon Theatre, 74th St. & Broadway, 212-496-7070 Bickford Theatre, on Columbia Turnpike @ Normandy Heights Road, east of downtown Morristown. 973-744-2600 Birdland, 315 W. 44th St., 212-581-3080 Blue Note, 131 W. 3rd St., 212-475-8592, www.bluenotejazz.com/newyork Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, 718403-7450, www.bluestonebarngrill.com Bourbon St Bar and Grille, 346 W. 46th St, NY, 10036, 212-245-2030, contact@bourbonny.com, contact@frenchquartersny.com Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, www.bowerypoetry.com Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, NY, 718-230-2100, www.brooklynpubliclibrary.org Buttonwood Tree Performing Arts & Cultural Center, 605 Main St., Middletown, CT. 860-347-4957, www.buttonwood.org. Caf Carlyle, 35 E. 76th St., 212-570-7189, www.thecarlyle.com Caf Loup, 105 W. 13th St. (West Village) , between Sixth and Seventh Aves., 212-255-4746 Cafe Mozart, 308 Mamaroneck Ave., Mamaroneck, NY Caf St. Barts, 109 E. 50th St. (at Park Ave.), 212-888-2664, www.cafestbarts.com Caffe Vivaldi, 32 Jones St, NYC; www.caffevivaldi.com Candlelight Lounge, 24 Passaic St, Trenton. 609-695-9612. Carnegie Club, 156 W. 56th St., 212-957-9676, www.hospitalityholdings.com Carnegie Hall , 7th Av & 57th, 212-247-7800, www.carnegiehall.org Casa Dante, 737 Newark Avenue, Jersey City, NJ, www.casadante.com Chicos House Of Jazz, In Shoppes at the Arcade, 631 Lake Ave., Asbury Park, 732-774-5299 City Winery, 155 Varick St. Bet. Vandam & Spring St., 212608-0555. www.citywinery.com Cleopatras Needle, 2485 Broadway (betw 92nd & 93rd), 212-769-6969, www.cleopatrasneedleny.com Copelands, 547 W. 145th St. (at Bdwy), 212-234-2356 Cornelia St Caf, 29 Cornelia St., 212-989-9319, www. corneliaStcafe.com Creole Caf, 2167 Third Ave (at 118th), 212-876-8838. Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027, 908-232-5666 Crossroads 78 North Avenue, Garwood, NJ Cutting Room, 19 W. 24th St, Tel: 212-691-1900, www.thecuttingroomnyc.com Destino, 891 First Ave. & 50th St., 212-751-0700 Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), 212-533-6212, www.jazzatdetour.com Division St Grill, 26 North Division St, Peekskill, NY, 914-739-6380, www.divisionStgrill.com Dizzys Club Coca Cola, Broadway at 60th St., 5th Floor, 212258-9595, www.jalc.com DROM, 85 Avenue A, New York, 212-777-1157, www.dromnyc.com/ The Ear Inn, 326 Spring St., NY, 212-226-9060, www.earinn.com El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212831-7272, Fax: 212-831-7927, www.elmuseo.org The Encore , 266 W. 47th St., 212-221-3960, www.theencorenyc.com The Falcon, 1348 Rt. 9W, Marlboro, NY., 845) 236-7970, Fat Cat, 75 Christopher St. (at &th Ave.), 212-675-7369, www.fatcatjazz.com Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202, www.fivespotsoulfood.com Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, 718-463-7700 x222, www.flushingtownhall.org For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427 Franks Cocktail Lounge, 660 Fulton St. (at Lafayette), Brooklyn, NY, 718-625-9339, www.frankscocktaillounge.com Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, www.galapagosartspace.com Garage Restaurant and Caf, 99 Seventh Ave. (betw 4th and Bleecker), 212-645-0600, www.garagerest.com Garden Caf, 4961 Broadway, by 207th St., New York, 10034, 212-544-9480 Ginnys Supper Club, 310 Malcolm X Boulevard Manhattan, NY 10027, 212-792-9001, http://redroosterharlem.com/ginnys/ Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 445-2362, www.glenrockinn.com Greenwich Village Bistro, 13 Carmine St., 212-206-9777, www.greenwichvillagebistro.com Harlem Tea Room, 1793A Madison Ave., 212-348-3471, www.harlemtearoom.com Hat City Kitchen, 459 Valley St, Orange. 862-252-9147. www.hatcitykitchen.com Havana Central West End, 2911 Broadway/114th St), NYC, 212-662-8830, www.havanacentral.com Hibiscus Restaurant, 270 S. St, Morristown, NJ, 973-359-0200, www.hibiscusrestaurantnj.com Highline Ballroom, 431 West 16th St (between 9th & 10th Ave. www.highlineballroom.com, 212-414-4314. Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525, 609-466-9889, www.hopewellvalleybistro.com Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ IBeam Music Studio, 168 7th St., Brooklyn, ibeambrooklyn.com Iridium, 1650 Broadway, 212-582-2121, iridiumjazzclub.com Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910 Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, www.jalc.org Frederick P. Rose Hall, Broadway at 60th St., 5th Floor Dizzys Club Coca-Cola, Reservations: 212-258-9595 Rose Theater, Tickets: 212-721-6500 The Allen Room, Tickets: 212-721-6500 Jazz Gallery, 1160 Broadway, New York, NY 10001 Phone: (212) 242-1063, www.jazzgallery.org The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey Blvd.), Brooklyn, NY, 718-453-7825, www.thejazz.8m.com Jazz Standard , 116 E. 27th St., 212-576-2232, www.jazzstandard.net Joes Pub at the Public Theater, 425 Lafayette St & Astor Pl., 212-539-8778, www.joespub.com John Birks Gillespie Auditorium (see Bahai Center) Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: 212420-0998, www.julesbistro.com Kasser Theater, 1 Normal Avenue, Montclair State College, Montclair, 973-655-4000, www.montclair.edu/arts/ performancefacilities/alexanderkasser.html Key Club, 58 Park Place, Newark, NJ, (973) 799-0306, www.keyclubnj.com Kitano Hotel, 66 Park Ave., 212-885-7119. www.kitano.com Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490, www.knickerbockerbarandgrill.com The Knitting Factory, 74 Leonard St., Tel: 212-219-3132, www.knittingfactory.com La Famiglia Sorrento, 631 Central Ave, Westfield, NJ, 07090, 908-232-2642, www.lafamigliasorrento.com La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal St, New York, 212-529-5945, www.lalanternarcaffe.com Le Grand Dakar Cafe, 285 Grand Ave, Clinton Hill, Brooklyn, http://nymag.com/listings/restaurant/le-grand-dakar/ Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York, New York, 212-246-2993, www.lemadeleine.com Lenox Lounge, 288 Lenox Ave. (above 124th St.), 212-4270253, www.lenoxlounge.com Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington St.), 212-260-4080 Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542, Living Room, 154 Ludlow St. (betw Rivington & Stanton), 212-533-7235, www.livingroomny.com The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC Makor, 35 W. 67th St. (at Columbus Ave.), 212-601-1000, www.makor.org Lounge Zen, 254 DeGraw Ave, Teaneck, NJ, (201) 692-8585, www.lounge-zen.com Makeda, George St., New Brunswick. NJ, www.nbjp.org Maxwells, 1039 Washington St, Hoboken, NJ, 201-653-1703, www.maxwellsnj.com McCarter Theater, 91 University Pl., Princeton, 609-258-2787, www.mccarter.org Merkin Concert Hall, Kaufman Center, 129 W. 67th St. (betw Broadway & Amsterdam), 212-501-3330, www.ekcc.org/ merkin.htm Metropolitan Room, 34 West 22nd St New York City, NY 10012, 212-206-0440, Mirelles, 170 Post Ave., Westbury, NY, 516-338-4933 Mixed Notes Caf, 333 Elmont Rd., Elmont, NY (Queens area), 516-328-2233, www.mixednotescafe.com Montauk Club, 25 Eighth Ave., Brooklyn, NY, 718-638-0800, www.montaukclub.com Museum of the City of New York, 1220 Fifth Ave. (between 103rd & 104th St.), 212-534-1672, www.mcny.org Musicians Local 802, 332 W. 48th St., 718-468-7376 or 860-231-0663 Newark Museum, 49 Washington St, Newark, New Jersey 07102-3176, 973-596-6550, www.newarkmuseum.org New Jersey Performing Arts Center, 1 Center St., Newark, NJ, 07102, 973-642-8989, www.njpac.org New School Performance Space, 55 W. 13th St., 5th Floor (betw 5th & 6th Ave.), 212-229-5896, www.newschool.edu. New School University-Tishman Auditorium, 66 W. 12th St., 1st Floor, Room 106, 212-229-5488, www.newschool.edu New York City Bahai Center, 53 E. 11th St. (betw Broadway & University), 212-222-5159, www.bahainyc.org Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718797-1197, Fax: 718-797-0975 North Square Lounge, 103 Waverly Pl. (at MacDougal St.), 212-254-1200, www.northsquarejazz.com Novita Bistro & Lounge, 25 New St, Metuchen. Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925, www.nublu.net Nuyorican Poets Caf, 236 E. 3rd St. (betw Ave. B & C), 212505-8183, www.nuyorican.org Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and 6th Ave.), 212-840-6800, www.thealgonquin.net Oceana Restaurant, 120 West 49th St, New York, NY 10020 212-759-5941, www.oceanarestaurant.com Opia, 130 East 57th St, New York, NY 10022, 212-688-3939 www.opiarestaurant.com Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928 Palazzo Restaurant, 11 South Fullerton Avenue, Montclair. 973746-6778. www.palazzonj.com Pigalle, 790 8th Ave. 212-489-2233. www.pigallenyc.com Priory Restaurant & Jazz Club: 223 W Market St., Newark, NJ 07103, 973-639-7885 Private Place, 29 S. Center St, South Orange, NJ, 973-675-6620 www.privateplacelounge.com Proper Caf, 217-01 Linden Blvd., Queens, 718-341-2233 Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, NY, 718-768-0855 Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ, 908-232-7320, www.16prospect.com, www.cjayrecords.com Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000, www.redeyegrill.com Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795 Rockwood Music Hall, 196 Allen St, New York, NY 10002 212-477-4155 Rose Center (American Museum of Natural History), 81st St. (Central Park W. & Columbus), 212-769-5100, amnh.org/rose Rose Hall, 33 W. 60th St., 212-258-9800, www.jalc.org Rosendale Caf, 434 Main St., PO Box 436, Rosendale, NY 12472, 845-658-9048, www.rosendalecafe.com Rubin Museum of Art - Harlem in the Himalayas, 150 W. 17th St. 212-620-5000. www.rmanyc.org Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, www. rustikrestaurant.com Shapeshifter Lab, 18 Whitwell Pl, Brooklyn, 646-820-9452. www.shapeshifterlab.com St. Marks Church, 131 10th St. (at 2nd Ave.), 212-674-6377 St. Nicks Pub, 773 St. Nicholas Av (at 149th), 212-283-9728 St. Peters Church, 619 Lexington (at 54th), 212-935-2200, www.saintpeters.org Salon at Rue 57, 60 West 57th St, 212-307-5656, www.rue57.com Sasas Lounge, 924 Columbus Ave, Between 105th & 106th St. NY, NY 10025, 212-865-5159, www.sasasloungenyc.yolasite.com Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, www.nypl.org/research/sc/sc.html Session Bistro. 245 Maywood Avenue, Maywood. 201-8807810. Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, www.shanghaijazz.com ShapeShifter Lab, 18 Whitwell Pl, Brooklyn, NY 11215 www.shapeshifterlab.com Showmans, 375 W. 125th St., 212-864-8941
28
Clubs & Venues

Sidewalk Caf, 94 Ave. A, 212-473-7373 Silver Spoon, 124 Main St., Cold Spring, NY 10516, 845-2652525, www.silverspooncoldpspring.com Sistas Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn, NY, 718-398-1766, www.sistasplace.org Skippers Plane St Pub, 304 University Ave. Newark NJ, 973733-9300, www.skippersplaneStpub.com Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565, www.SmallsJazzClub.com Smiths Bar, 701 8th Ave, New York, 212-246-3268 Sofias Restaurant - Club Cache [downstairs], Edison Hotel, 221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799 Somethin Jazz Club, 212 E. 52nd St., NY 10022, 212-371-7657 Sophies Bistro, 700 Hamilton St., Somerset. www.nbjp.org South Gate Restaurant & Bar, 154 Central Park South, 212484-5120, www.154southgate.com South Orange Performing Arts Center, One SOPAC Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787 South St Seaport, 207 Front St., 212-748-8600, www.southstseaport.org. Spoken Words Caf, 266 4th Av, Brooklyn, 718-596-3923 Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor, 212-721-6500, www.lincolncenter.org The Stone, Ave. C & 2nd St., www.thestonenyc.com Sugar Bar, 254 W. 72nd St., 212-579-0222, www.sugarbarnyc.com Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), 212-262-9554, www.swing46.com Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212- 932-3228, www.symphonyspace.org Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Broooklyn, 718-789-2762, www.tealoungeNY.com Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), 212-777-7776, www.terrablues.com Theatre Row, 410 W. 42nd, 212-714-2442, www.theatrerow.org Tito Puentes Restaurant and Cabaret, 64 City Island Avenue, City Island, Bronx, 718-885-3200, titopuentesrestaurant.com Tomi Jazz, 239 E. 53rd St., lower level. 646-497-1254, www.tomijazz.com Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212358-7501, Fax: 212-358-1237, tonicnyc.com Town Hall, 123 W. 43rd St., 212-997-1003 Trash Bar, 256 Grand St. 718-599-1000. www.thetrashbar.com Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.), 212-362-2590, www.triadnyc.com Tribeca Performing Arts Center, 199 Chambers St, 10007, info@tribecapac.org, www.tribecapac.org Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, www. trumpetsjazz.com Tumultys Pub, 361 George St., New Brunswick Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968 (845) 359-1089, http://www.turningpointcafe.com/ Village Vanguard, 178 7th Ave S., 212-255-4037, www.villagevanguard.net Vision Festival, 212-696-6681, info@visionfestival.org, www.visionfestival.org Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069, 908-753-0190, www.watchungarts.org Watercolor Caf, 2094 Boston Post Road, Larchmont, NY 10538, 914-834-2213, www.watercolorcafe.net Weill Receital Hall at Carnegie Hall, 57th & 7th Ave, 212-247-7800 Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY 11211, (718) 384-1654 www.wmcjazz.org Zankel Hall, 881 7th Ave, New York, 212-247-7800 Zebulon, 258 Wythe St., Brooklyn, NY, 11211, 718-218-6934, www.zebuloncafeconcert.com Zinc Bar, 82 West 3rd St. RECORD STORES Barnes & Noble, 1960 Broadway, at 67th St, 212-595-6859 Colony Music Center, 1619 Broadway. 212-265-2050, www.colonymusic.com Downtown Music Gallery, 13 Monroe St, New York, NY 10002, (212) 473-0043, www.downtownmusicgallery.com J&R Music World, 13 Monroe St, 212-238-9000, www,jr.com Jazz Record Center, 236 W. 26th St., Room 804, 212-675-4480, www.jazzrecordcenter.com Normans Sound & Vision, 555 Metropolitan Ave, Brooklyn, New York 11211 Princeton Record Exchange, 20 South Tulane St, Princeton, NJ 08542, 609-921-0881, www.prex.com Rainbow Music 2002 Ltd., 130 1st Ave (between 7th & St. Marks Pl.), 212-505-1774 Scottis Records, 351 Springfield Ave, Summit, NJ, 07901, 908-277-3893, www.scotticd.com MUSIC STORES Mannys Music, 156 W. 48th St. (betw. 6th and 7th Ave), 212-819-0576, Fax: 212-391-9250, www.mannysmusic.com Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212840-3057, 212-391-1185, www.drummersworld.com
Robertos Woodwind & Brass, 149 West 46th St. NY, NY 10036, 646-366-0240, Repair Shop: 212-391-1315; 212-8407224, www.robertoswoodwind.com Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New York, NY 10036, 212-302-5893 Sam Ash, 333 W 34th St, New York, NY 10001 Phone: (212) 719-2299 www.samash.com Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island City, NY 11101, 718-433-1990. www.sadowsky.com Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New York, NY 10019, 212-730-8138, www.maxwelldrums.com SCHOOLS, COLLEGES, CONSERVATORIES 92nd St Y, 1395 Lexington Ave, New York, NY 10128 212.415.5500; www.92ndsty.org Brooklyn-Queens Conservatory of Music, 42-76 Main St., Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450 Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, NY, 718-622-3300, www.brooklynconservatory.com City College of NY-Jazz Program, 212-650-5411, Columbia University, 2960 Broadway, 10027 Drummers Collective, 541 6th Ave, New York, NY 10011, 212-741-0091, www.thecoll.com Five Towns College, 305 N. Service Rd., 516-424-7000, ext.163, Dix Hills, NY Greenwich House Music School, 46 Barrow St., Tel: 212-2424770, Fax: 212-366-9621, www.greenwichhouse.org Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000 LaGuardia Community College/CUNI, 31-10 Thomson Ave., Long Island City, 718-482-5151 Lincoln Center Jazz At Lincoln Center, 140 W. 65th St., 10023, 212-258-9816, 212-258-9900 Long Island University Brooklyn Campus, Dept. of Music, University Plaza, Brooklyn, 718-488-1051, 718-488-1372 Manhattan School of Music, 120 Claremont Ave., 10027, 212-749-2805, 2802, 212-749-3025 New Jersey City University, 2039 Kennedy Blvd., Jersey City, NJ 07305, 888-441-6528 New School, 55 W. 13th St., 212-229-5896, 212-229-8936 New York University-Jazz/Contemporary Music Studies, 35 West 4th St. Room#777, 212-998-5446, 212-995-4043 New York Jazz Academy, (718) 426-0633 www.NYJazzAcademy.com Princeton University-Dept. of Music, Woolworth Center Musical Studies, Princeton, NJ, 609-258-4241, 609-258-6793 Queens College Copland School of Music, City University of NY, Flushing, 718-997-3800 Rutgers Univ. at New Brunswick, Jazz Studies, Douglass
Campus, PO Box 270, New Brunswick, NJ, 908-932-9302 Rutgers University Institute of Jazz Studies, 185 University Avenue, Newark NJ 07102, 973-353-5595 newarkwww.rutgers.edu/IJS/index1.html SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY 914-251-6300, 914-251-6314 William Paterson University Jazz Studies Program, 300 Pompton Rd, Wayne, NJ, 973-720-2320 RADIO WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-6248880, Fax: 973-824-8888, www.wbgo.org WCWP, LIU/C.W. Post Campus WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html WKCR 89.9, Columbia University, 2920 Broadway Mailcode 2612, New York, NY 10027, Listener Line: (212) 8549920, www.columbia.edu/cu/wkcr, jazz@wkcr.org One Great Song, Hosted by Jay Harris, www.wmnr.org (at 6 on Saturdays, and at www.tribecaradio.net at 11AM Sundays and again on Monday and Thursday nights at 11PM.) Lenore Raphaels JazzSpot, www.purejazzradio.com. PERFORMING GROUPS Westchester Jazz Orchestra, Emily Tabin, Director, PO Box 506, Chappaqua, NY 10514, 914-861-9100, www.westjazzorch.org ADDITIONAL JAZZ RESOURCES Big Apple Jazz, www.bigapplejazz.com, 718-606-8442, gordon@bigapplejazz.com Louis Armstrong House, 34-56 107th St, Corona, NY 11368, 718-997-3670, www.satchmo.net Institute of Jazz Studies, John Cotton Dana Library, RutgersUniv, 185 University Av, Newark, NJ, 07102, 973-353-5595 Jazzmobile, Inc., 154 W. 126th St., 10027, 212-866-4900, www.jazzmobile.org Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300, www.jazzmuseuminharlem.org Jazz Foundation of America, 322 W. 48th St. 10036, 212-245-3999, www.jazzfoundation.org New Jersey Jazz Society, 1-800-303-NJJS, www.njjs.org New York Blues & Jazz Society, www.NYBluesandJazz.org Rubin Museum, 150 W. 17th St, New York, NY, 212-620-5000 ex 344, www.rmanyc.org.
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29
Interview
Albert Tootie Heath

Interview & photo by Eric Nemeyer
Hear The Heath Brothers Tootie & Jimmy Heath at Dizzys Club in New York, July 18 21 www.jalc/org/dizzys
JI: Lets talk about what it was like for you and your brothers, Jimmy and Percy growing up in the Philadelphia area. ATH: We do go back a little bit. Well, as far as the Philadelphia era goes, Jimmy is a little ahead of me, so he had a whole different group of people who he was close to - which included Coltrane and Dizzy, and all of those other people who were just a little bit older than me. He played at a club called the West Indian Club, a few blocks down from where we lived, 1900 block of Federal Street. We used to play down there on Saturday or Sunday afternoon. It was kind of an after-hours club, after the bars would close. I used to play down there with Sam Reed who is still around, and Ted Curson. We had a group called the Be-Bop Trio. Jimmy Garrison was the bass player - and ended up being Coltranes bass player for eight years. We played for whatever money people would donate. At that and many years later you realize what you really sounded like back then and you hope nobody has a tape of that. ATH: Yeah. Every now and then there was a humbling experience for me - because there was a young man named Ronald Tucker that played around Philadelphia. He was a drummer as well. We would be down in the basement practicing and trying to imitate whatever we heard on the recordings, and this guy would be outside on his way to the school yard with a basketball. He would hear us playing and he would come down in my mothers basement, and sit in whenever we were playing. He could really play. He eventually recorded with Jackie Mclean on the album Little Melonae. So that was one of the humbling experiences of my beginnings - that there were always some guys around that could really do what we trying to do, and didnt even try very hard. JI: What kind of lessons did you take on drums, and what kind of doors did your brothers help to open for you? JI: Well actually, later in life, Jimmy helped me
Monday night, up there. I used to go up there, and I did study with Ellis briefly. He was one of the main guys for technique and stuff like that. Mickey Roker, myself and another guy were all studying with Ellis at the time. I knew Lex Humphries who he ended up with Sun Ra for a long time. Cedar Walton was also a part of my development. I got a chance to play with him when he came out of the military. I was living in New York at the time. We got together and played quite a bit together along with Clifford Jordan. Then Cedar moved out here to California, and I played a lot with him out here when [Billy] Higgins wasnt available. JI: How long have you been out in California? ATH: Thirty-something years. Higgins lived out here. When Cedar moved down here the trio at the time was David Williams and Higgins and Cedar. But whenever Higgins wasnt available Id do some of it. When Higgins got sick I became the guy with Cedar. Then Cedar moved back to New York and I went in and out of New York a little bit. It got to be very expensive to bring me there. Plus, there were plenty of good players in New York City. So he was able to replace me with some of those local guys. Now, I think he uses Lewis Nash, or Willie Jones or some of those that are really wonderful. So Cedar, Tommy Flanagan and Barry Harris were all part of my development. But around Philadelphia, it was Bobby Timmons. JI: Sam Dockery was here. ATH: Sam Dockery was definitely around. He is still around by the way. I used to play a lot in Camden with Sam and Buster Williams father, Charles Williams and other guys that lived in Jersey. There was a lot going on in Jersey, because after the clubs would close in Philadelphia, especially on a Saturday night, midnight Jersey would open up. There were plenty of gigs over there in Wildwood and Atlantic City, outside of Camden. The Red Hill Inn was a club over there. It was on the way to New York, a little bit beyond Camden, I used to play over there a lot. I played a lot at The Showboat and the Blue Note, around Philly. I played with Thelonious Monk at the Blue Note up on Ridge Avenue. I used to play around Philly with a lot of people who came in from New York - and then I finally moved to New York and got with some of those same people. JI: Do you remember any noteworthy experiences performing with Thelonious Monk? ATH: Well Thelonious, as I always tell everybody, was quite a unique experience! It was a week at the Blue Note, along with a bass player by the name of Jimmy Bond who just died recently. What I learned about Thelonious was that you needed to have a baroness as a friend, who owned a Rolls Royce, and who would bring you to work every night. And, then, when you got there, you could sit out in the car until it was time to hit. Once it became time to start to play, you would just walk in the club with your hat
What I learned about Thelonious was that you needed to have a baroness as a friend, who owned a Rolls Royce, and who would bring you to work every night. And, then, when you got there, you could sit out in the car until it was time to hit.
time I realized we could get paid for playing. I was fifteen or sixteen and just kind of learning how to play, listening to a lot of recordings, and trying to be musicians. Another place on Federal Street across from where we lived was called Lincoln Post. It was a parade kind of organization, American Legion. We used play in there as well and there were also donations. People would give us money - and we would maybe make maybe a dollar a piece for playing. It was a minimal amount of money. I think we may have had fifteen bucks to split up among the whole band. I always tell my friends I cant imagine what we sounded like because I knew it was horrible. In those days I knew that was awful. So I always tell my friends if I see any photographs its a good thing they didnt have sound with those pictures in those days. JI: Everybody goes through that one time or another. Youre trying to play the best you can 30
a lot. Percy was already gone. I had one teacher Ill never forget in Philadelphia. His name was Charles Wright, and they called him Specs Wright because he was one of the most phenomenal readers that I have ever seen. He was one of my teachers and a dear friend of my brother Jimmy. I learned a lot from him that I kind of utilize today. I had teachers in high school band, and junior high school band. I had teachers there who were basically teaching military drumming, which was also something that I could use later in life. I didnt realize how important it was when it was being given to me. JI: Music City was a store on Chestnut Street in Philadelphia where I had started taking lessons for awhile. It was owned by drummer Ellis Tollin. ATH: Ellis Tollin used to have jam sessions on
Tootie Heath
and coat on sit down at the piano and start playing never say good evening, goodbye, you guys sound horrible, or this is in such and such a key, or were going to do so and so, or one-two-three-four. Nothing! Just start playing, and this is what I remember about Thelonious. Every night it was the same thing. The Baroness would drive him to Philadelphia from New York. They would sit out in front of the club smoking cigarettes, doing whatever they did until it was time to hit. Then he would come in with his hat and coat on. He never would take his hat or coat off. He just sat down started playing. Jimmy Bond and I had to figure out what it was he was playing - and Jimmy had to figure out what key he was in, and try to play along with him. We did that for a whole week, and he never said anything. When I got to New York, I was in a group with Cedar Walton with a trio that played at the Five Spot. There was also another trio I was in with Roland Hanna that played at the Five Spot, as an opening act for the main attraction - which was I think was Charlie Mingus group and Thelonious Monk. We opened for these main attractions for eight, nine weeks or so, every night, five, six nights a week. I just played here in Los Angeles in a club and now its just for one night - and the
But I used to see him every night, and I loved to have those little words with him in the kitchen. One time he asked me, You got a thousand dollar bill in your pocket? because you might want to buy a house, or a car or something. Then, he pulled a thousand dollar bill out of his pocket and showed me. But I got more from him then when I played with him in Philadelphia. JI: What were some of the other highlights of your early years in Philadelphia, before you headed to New York? ATH: I was actually maybe eighteen before I moved away from Philadelphia. I played with Stan Getz and Oscar Pettiford at the Showboat. I couldnt have been more than sixteen or seventeen at the time. I dont remember who the piano player was. Im not even sure if they had a piano. I was playing during a bass solo, and I was playing as quietly as possible with a brush on a cymbal. You could hardly hear me, and I was very conscious that this was a bass solo - and this was Oscar Pettiford. So I couldnt be banging and knocking and making too much noise during his solo. Oscar turned around and told me, shhh. He shushed me, and I was already down to the minimum - so it destroyed me for the rest of the set. It was devastating for him to turn around and tell me to be quiet. I couldnt be quiet, I was already quiet! So at the end of the set, Stan came over to me and said, Dont worry man, Oscar is just a little temperamental,
phia - so I really got a chance to know a little about him. We were in a little group called the High Tones, with Bill Carney, and a conga drummer, and singer. I played with him for maybe a couple of years, and then all of a sudden a recording thing came up, and he chose me. I knew he could play better than anybody that Id ever played with - but I had no idea he was going to be the giant he became. He was already a giant in my eyes. But his musician &$%# was unbelievable. He could play anything. We would play the rock the house stuff where he would get up on the bar and walk the bar and honk and get the audience in a frenzy in the club - like saxophone players used to have to do. He could also play all the changes you wanted to hear. He could do everything. JI: What were the challenges that you experienced when you first moved to New York. ATH: The basic challenge was to be confident in what you were doing because it was always challenged. There were always so many great players around that played the same instrument you played - and who had been doing it much longer. There were also some people who werent doing it as long, but who were as good as you. So it was a constant challenge to your confidence in yourself. There were people playing in the street playing, beating on boxes. New York was full of music - and it is today too. That was one of the main challenges, just to remain confident and find your own place in the music scene or finding your place in a club, in a circuit, like Birdland. You could play down there on Monday nights. When you were chosen to play on a Monday night, man that was quite an honor - because everyone would come down to the club on Monday night. It was the hangout. You could see everybody Philly Joe Jones, Art Blakey You knew that you had to get up there and do what you did in front of all of these people - all your peers. You really had to have a lot of confidence in yourself, or pretend to have it. When youre at a young age like I was in New York I was pretending. I was a nervous wreck having to play in front of people like Errol Garner and Miles Davis. You looked around at the bar and all of these people were standing there looking at you. JI: Do you remember any conversations with Miles Davis or any other leaders? ATH: I got to know him because of my brother Jimmy. They were really good friends. He actually had Jimmy and Percy in his band at one time. What I remembered about him is that he suggested I needed to listen to singers, and it took me the longest time to understand that. He used to say, Frank Sinatra. He said that all the time. Then I got a chance to really think about it. I paid more attention to Miles playing. His phrases were like a singer - like he was singing in the horn. He would say things in his horn. And it took me a long time to understand the difference between his playing and, for instance, Freddie Hubbard or Dizzy at the time. They played more notes and they were fiery and exciting and all that. But Miles had a way of making
I dont remember a thing ... expect me being very nervous and feeling like he [Coltrane] had accidentally called me. I thought it might have been a mistake given all of the thousands of choices he had I knew he could play better than anybody that Id ever played with He was already a giant in my eyes.
next night its somebody else and the next night after that its somebody else. Its only one night. You cant really establish an audience that way. Anyway, I used to talk to Thelonious quite a bit on our breaks. We would pass each other when it was time for him to go on. He would have little comments. That said, one night I was playing a little drum solo and he came into the club and he went on into the kitchen, which was our dressing room. When we came off, he looked at me and said, You sound pretty good man. I said, Oh man thanks. I was overwhelmed. But then at the end of his sentence he said, But youre not no Max Roach. I never forgot that. You sound pretty good man, but youre no Max Roach. JI: Kind of a left handed compliment. ATH: I know, I know, and I took it - and then it slapped me right over the head. I knew I wasnt Max Roach, but I thought I was something. He carried me up, then eased me down - letting me know I wasnt really that great, but I was okay.
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and he likes to have things to say to drummers. About fifteen to twenty years later I saw Stan Getz somewhere and I asked him, do you remember the time that I played with you and Oscar down at the Show Boat? He said, Yeah, I remember that. Of course I remember. That was the most horrible $#%& Ive ever heard in my life. JI: What do you remember about recording with John Coltrane in the 1950s? ATH: Well, the only thing I can tell you is that I dont remember a thing about any of that except me being very nervous and feeling like he had accidentally called me. I thought it might have been a mistake given all of the thousands of choices he had of people to play with. I always felt like I never got a chance to question him about that. I liked the recording, but I remember just being super nervous, and thats about all I can say about that. I dont remember him talking to me, or explaining anything music or anything. But we had played a little bit around Philadel-
Tootie Heath
statements in his playing. I got what he was talking about after a while. If you listen to singers, it makes you phrase differently. JI: I understand. It took a number of years for me to gain that appreciation as well and the appreciation of subtlety. I developed a deep appreciation for Shirley Horn, with whom Miles was friendly and whose repertoire he appropriated. Similar to Little Jimmy Scott, she created incredible intensity at the softest volumes and slowest tempos ATH: Miles used to talk about Shirley Horn her a lot. He also talked about Prince, the pop singer. All of this really helps your dynamics. As a drummer, you begin to breathe rather than playing a bunch of rudiments. It gives you space. It gives you rest. It gives you time to really sit down on the beat and try to say something. Thats the whole thing, Thats what he was trying to say to me in a few words. Thats what I got from it. JI: Could you talk about the development of the Heath Brothers in the 1970s as you and Jimmy and Percy began more prolific collaborations? ATH: Jimmy always said that we always did play together even though it was very rare that we could be together as a group. But whenever it happened we would cherish that moment of being able to play together - because we all came from the same roots, and listened to the same people. So when Percy became available when the Modern Jazz Quartet decided to quit, we decided to start the Heath Brothers. It was probably Jimmys idea because he is the organizer, and he still is - writing and organizing charts, and hes a leader. One thing led to another and we got a recording contract with Columbia. That helped get us out to a larger market. Then we went to Concord Records, and from there on it is history. We had a chance to make a couple of live recordings. We got a chance to record, maybe twice a year. Percy came up with a lot more melodies than me, but I did have a few contributions to the brothers. Jimmy was basically the writer. JI: Who handled all the business details? Percy told me that he handled all of that when he was with the Modern Jazz Quartet. ATH: Yeah, well he didnt do any of that when we got together. He wouldnt do any of that.. He was so tired of doing that. Jimmy had all of those responsibilities. JI: What was your association with the Modern Jazz Quartet? ATH: What happened was that all my life Id been listening to the Modern Jazz Quartet. Growing up, I loved Kenny Clarke. When Kenny left the group Connie Kay took over, and I loved his contributions. So I knew most of the
music. When Connie became disabled and had that stroke and couldnt play anymore, John [Lewis] suggested that I join the group so I was in. In 1996 and we went all over the world California, China, Europe. JI: Did John Lewis, or Percy or, Milt Jackson offer any suggestions to you? ATH: Well, John had his own ideas about grooming drummers for this position. He had this sound in his head and he wanted the drums to play a certain part in the quartet. When I first joined, John did not like my choice of instruments - like the drum company was not satisfactory. JI: What were you playing back then? ATH: I had some Yamaha drums at the time. He did not like the sound of those drums, and he told me he would get me some drums - which he did. He ended up getting me an endorsement which I still have today - with Sonor. Kenny Clarke and Connie Kay both played Sonor Drums. He knew the sound of the drums and thats what he wanted. It was the same with the cymbals. John took me to the [Zildjian] factory in Boston. He tried to get me Connie Kays cymbals, but they were in litigation with Connies son. They were actually Johns cymbals because John got them for Connie. But Connie was in control of them and after he died John was not able to get those cymbals. So we picked out the cymbals and I liked them very much. Id been hearing that Sonor drums were kind of the heaviest, most expensive drums you could get in those days. Since the MJQ had a valet person to carry all the instruments, it was no problem. I would walk in and the drums were set up - and you go to the next gig and everything is there, all ready to go again. And when we traveled, it was always first class. JI: Did you ever wake up in any places and scratch you head and ask, Where am I today? ATH: I did! In Rome, we stayed in the biggest hotel. I remember going to my room, and I had a balcony that looked out onto the main street. I was up on the seventh or eighth floor, and I could see everything going on in Rome. I went back in my room and I noticed this door was kind of cracked open on the side. So I pulled it open and peeked through and there was a whole other apartment over there with a TV set. So I called down to the desk, and said the door to the room next to mine was open and asked them if they wanted to come up and lock it. The guy at the hotel desk said, Oh no mister, thats the other part of your suite. So I had this huge suite - and I didnt believe it was mine. JI: What kinds of things do you do to decompress when youre not making music? ATH: Im a father, a grandfather, and great grandfather, husband - and that answers all of that. Im married for thirty something years. I do a lot of computer email and all of that good stuff. I used to have a studio in the house we lived in
for thirty something years, and I had a practice routine, and I had a jogging routine. JI: Do you still jog? ATH: Yeah. Im on one of those stationary bicycles now, because Im in a condominium. When I lived in Pasadena, I used to go to the Rose Bowl every morning around five thirty and finish six fifteen or so and I did that for 30 years. JI: Whats your practice routine like? ATH: Im going back to the beginning. Im practicing rudiments, because I have a couple students who are really excellent rudiment players. Its challenging because I have to go back and to the beginnings of drumming. All Ive got to do is be creative - and to be creative in todays drumming is quite different than what is was when I started to play. So rudiments are very important and Im practicing a lot of rudiments now. JI: When I interviewed Hank Jones a few years ago, I asked him what he practiced. He said, Just the basics - scales and cords. ATH: Everything is about the basics. If you can do the basics, you can improvise - you can do all the wonderful stuff. But you can easily forget about the basics and get caught up in the improvising and whats current. JI: What kind of stuff do you do with the computer besides email? Do you do any writing on there too? ATH: The writing part was more of a hobby than anything else, and once I moved, I dismantled the software, and then I realized I needed to update everything, so Im not doing any writing at this time. So Im basically just working on being a better improviser jazz musician. JI: Do you have some words of wisdom or understandings by which you abide? ATH: Just be grateful and comfortable with who you are and what you have and can do and what you cant do. JI: Given your lengthy career in the music business, the jazz world, what are some of the lessons youve learned that you might like to share? ATH: What you put out, is what you get back. You have to give trust to people youre dealing with until they show theyre not to be trusted. At that time you make your change - but not until then. You cant go by what somebody else says about their experience with someone else. JI: Im to speak to Jimmy [Heath] after I speak with you. Any message for him? ATH: I love him. Thats it. He knows that. I love him dearly, and I owe him my life and my career. Everything. I think he knows that, but I think it would be good to say it again.
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Interview
Jimmy Heath
Interview by Eric Nemeyer
JI: Talk about The Heath Brothers. JH: Tootie, Percy and me could reach a feeling that I very seldom get with anybody else. We came from the same mother and father. Weve got the same genes. Musically we could reach an understanding. JI: I noticed youre playing soprano on the albums back in the 70s on Muse, notably on A Sound For Sore Ears. JH: Yeah. Did you know that some people, like Dizzy and Bags, liked my soprano sound over the tenor really. But, I dont practice the soprano, I practice on the tenor. And do you know who told me the same thing when he started playing soprano? John Coltrane. The soprano has a certain appeal. It was different at that time and when John came out with it, earlier players like Charlie Barnet and Sidney Bechet played with a lot vibrato. JI: So you dont practice soprano JH: No, but I can pick the soprano up and play it and get a better response than I do sometimes on the tenor, I dont understand it, but it must be that soprano sound. JH: Talk about your influences in the way you developed your Big Band arranging style? JH: First of all, I believe that the Big Band is our symphony orchestra. We can get all the sounds we need out of the big band. We can also subtract members and have smaller groups from the big band. The big band is the larger entity, if you want a sextet, septet, nonet, quartet, duo whatever we can take that out of the big band. But the reverse, is not doable. The only person that I knew who would make a quintet sound like a big band was probably Horace Silver in the way that he orchestrated his quintet or people who worked with sextets like Art Blakey and myself. We will try and make it sound like a big band. But the big band itself, you know look at all the colors you have. We could have something with just a trombone section. We can have something with just a trumpet section. We can have just a saxophone section. We can leave the rhythm out, we can bring the rhythm in. We have so many variables in a big band. Thats why I love the big band so much. You can also do like Duke, he was the master of paring, thats how he got that sound of Mood Indigo and those other things with the trombone, clarinet and a muted trumpet. You know, so youve got a lot pairing going on and you know Im a person who loves music. Period. I like different sounds in music, not just a
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quartet with a saxophone player playing the melody and then soloing and then piano and then bass and then the drums. That got boring to me as great as people like Dexter Gordon was. That same format got boring to me. Let the bass player, play first, let the piano play first. In my groups, I always let somebody else play first, let the tenor play first. You know, it got to be to routine for me. And out of the big band there are so many colors and textures. With respect to big band writing, I found it interesting that Hank Jones told me that Thad Jones would orchestrate by writing the lead alto parts from the beginning to the end of the arrangements. Then he would write the first trumpet part and then he would write the trombone part. Then he would fill in the harmony. And, Ive never heard of anything like that. Everybody else is writing stacking the chords up as they go. JI: Youve written music thats appeared on TV. JH: Like, Conan and his show. He plays C.T.A. my tune, a lot of times. I get nice royalties from the TV on occasions. JI: Did Dizzy make any suggestions to you about writing or arranging. JH: Oh, Dizzy was always teaching. Dizzy was a master teacher. I learned more from Dizzy than from anybody. Hes my mentor. He was always showing you things on the piano, always. And he was very rhythmic oriented and he would tap out different rhythms. JI: Could you talk about rehearsing your band? JH: Well, I get the quality musicians for my recordings, I only made two big band recordings and I made couple of tentets. But the big band guys, Ive got to wait till they are available. Its very fortunate that they like to play with me. They like to play my music, so I can get the best, Lewis Nash just wrote me an email in
Europe somewhere. The gig we had at the Blue Note was one of the highlights of his life. Hes the best drummer for a big band. My brother Tootie doesnt like to play big band, He says it is too restrictive. JI: What would you say to people who want to make music and who want to have the kind of prosperous, healthy, mind, body and spirit that youve experienced and developed. JH: Youve got to sing, youve got to talk, and youve got to sing to the people. Youve got to communicate. First thing I say is most important is the music it self. If you dedicate yourself to the music I have a kind of optimistic look something good is going to happen for you. Youre in competition with many people in the world today, so you have to work hard at it. See, Coltrane worked harder and the results are obvious. People are still trying to achieve that level of performance. You know, Sonny Rollins practices all the time. So you are into a life of music, if you are lucky enough to have a wife or a partner that allows you to do what you do, thats half the battle. Because a lot of people are aggravating you and trying to get you telling you: youve got to do this, youve got to go, hey get a job. You know? If you have somebody that really loves the music in your corner, your partner, thats an advantage. The bottom line is you have to work harder. When I leave here, Im going to work on music. Now, as far as practicing, I do that. But, I spend more time at the piano than I do practicing the saxophone usually. Im at the age of eighty, Im still working actively. Im doing a couple of cruises, one with me and the Heath Brothers quartet and one the Dizzy Band on a different ship. Im all over the place, man still writing a lot still dealing with sending arrangements around to bands. Ive got a couple of gigs with college bands, where I send the music and I go and perform the event. Ive got several of those to do this year. Im pretty much booking into next year. Im hoping to get to it.
Interview
Sarah Elizabeth Charles

Interview by Joe Patitucci
Hear Sarah Elizabeth Charles at Dizzys Club, New York, July 22.
Visit www.SarahElizabethCharles.com www.jalc.org/dizzys dency and how have those made an impact on your artistic development and identity? SEC: Participating in the Betty Carter Jazz Ahead Program definitely has had a lasting effect on my development. I dont think you can have the opportunity to work such masters as Dr. Billy Taylor, George Cables, Curtis Fuller, Chip Jackson, Winard Harper, Carmen Lundy, and others, and not feel that the experience has a lasting effect on you. The most interesting part of doing this residency for me was two fold: having the chance to bring other musicians music to life and creating lasting contacts/friendships that have continued to grow musically and personally since. It baffles me how intense the power of musical interaction can be. The way youre able to connect with the people you are playing with is unlike anything else. And the results that come from a group of supportive musicians working together and not vibing one another are unbelievably positive. JI: How did your experiences in the academic settings at The New School for Jazz and Contemporary Music where you earned a BFA degree support or challenge your artistic,
JI: Could you talk about your creative approaches to modernizing classics, as being one of the colors on your sonic palette, that plays a role in the expression of your artistry? SEC: I have so many standards that speak to me, in every genre of music. In jazz, there are so many tunes that Ive grown to love and play. Ill usually only decide to cover a tune though if I have something new to say within it. So when you ask about modernizing classics, I think about making them my own. The lyrics, melody and harmony have to speak to me in a way that makes me want to reinterpret and communicate my message within the song to my audience. In terms of process, Ill usually start with an emotion. For example, when I heard Corcovado by Antonio Carlos Jobim, there was a familiarity that I felt. The person singing the song is telling the story of a relationship ending because they dont share the same depth of feeling for their partner as their partner does for them. Jobims
Jimmy Owens and Reggie Workman. I studied privately with Cecil Bridgewater and received some of the most useful business advice I studied composition with George Cables who I first met in DC at the Betty Carter Jazz Ahead Program, and with whom I now work on a professional level. The classroom doesnt end when you walk off campus. You have to be gigging, hanging, listening, rehearsing, supporting, etc. in order to figure out what your musical identity will continue on into being when you walk off campus for the last time. JI: Could you discuss the development of your quartet recording, Red, (which includes Jesse Elder,, piano, Burniss Earl Travis, bass, and John Davis, drums.) and the noteworthy experiences that occurred between the initial ideas and the finished artwork? SEC: The S.E.Charles Quartet has been together for a little over 3 years now. During the past 3 years, Jesse, Burniss, John and I have developed the material on our debut record Red. Weve been developing our sound and our approach to the music that we play and have grown to know each other extremely well. What I love most about playing with these guys is that they feel free to play! I love making music with musicians who focus on enhancing the music by putting their individual stamp on it and conversing with others who are doing the same. JI: What do you do to relax when youre not making music? SEC: Everything I do when Im not physically making music are the most important elements to making music. Hanging in the park, doing pilates, running, watching movies, journaling, spending time with family, friends and boyfriend are all things that I do and that I love. Its a good thing I enjoy them too, because doing these things are where I draw all of my inspiration from. In this case, I guess you could say that I never stop making music.
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It baffles me how intense the power of musical interaction can be. The way youre able to connect with the people you are playing with is unlike anything else ... the results that come from a group of supportive musicians working together and not vibing one another are unbelievably positive.
lyrics are extremely poignant and I could relate to being on both sides of this situation, so the emotion that came to the surface for me was frustration a frustration with the difficulties that often times come along with finding love and having love find you. So the arrangement came to the surface, and my relation to the subject matter was communicated via odd meters, emotional vocal delivery and rhythm section ferocity. This is what Ill try to do figure out how to find myself within certain classics and how to fit these tunes into my repertoire so that the overall sound of my music, originals and arrangements, is cohesive and me. JI: What were some of the key understandings that you picked up during your participation in the Betty Carter Jazz Ahead Composers ResiTo Advertise CALL: 215-887-8880
performing and income-producing pursuits? SEC: I decided what my time at The New School for Jazz and Contemporary Music was going to be within the first week of freshmen classes. I got to New York City, didnt know many people at all and during this first week spoke to a lot of upperclassmen about their experience while at the New School. Other students told me to make sure that I had a clear idea about what I wanted to get out my time at the New School and who I needed to study with in order to receive this. So I studied under all of these people. I took vocal lessons and studied technique and improvisation with Janet Lawson, Amy London and Richard Harper. I took ensembles and worked on repertoire/arranging with Junior Mance, Jane Ira Bloom, Richard Boukas,
Interview
Im one of the last of the bebop generation. I was there when the music changed the world. JI: Youve penned a memoire, when will that be released? PW: Advance Music is interested. Ive had more rejects over the past 15 years and I think Ive finally found the right people, but when, I have no idea. I started writing this when I moved to Paris in 1968. When you move to Paris you start to paint, you cook, and you write a book, even if youre there only for a day [Laughs]. I was there 5 years and the book started with Chan [Parker Charlie Parkers widow and then Woods wife] who went on to write her own book. JI: An excerpt of your memoire ran in another publication recently and it was quite entertaining, especially the part about your early teacher, Mr. Abato, and how hed look out the window while you were playing and hed suddenly scream Madonna! Look at the knockers on that broad! PW: Yeah, hed be combing his hair and stuff! That was at Charlie Colins studio on West 48th Street. Here I am, my parents are paying a fortune for me to go to Julliard and Im taking a subway downtown to study with this guy. Those were the early lessons when he didnt really know but he was a great teacher. He had his funny quirks but after four years with him, he kind of mellowed. When I juried for my entrance exam at Julliard, the panel of clarinet players didnt think I had it and Jimmy was the only guy that spoke up for me and got me in there so I kinda owe those four wonderful years at Julliard to Mr. Abato. I just recorded a tribute album for him with my saxophone quartet. I hope hed be happy. I heard from a dear friend that one of the last things Jimmy said was say goodbye to Phil Woods. He really thought I was something spe-
Phil Woods
Professional Warrior
Visit: www.PhilWoods.com
Im still here and Im working and I can still play. I never boozed on the gig, after the gig. I think I only had to give the money back twice because I couldnt play and thats a 60 year career, so thats not bad. My abuses got worse as I got older, its an evolving snowball and finally, I do nothing at the moment. I used to be on chemicals and now Im reduced to elements [Laughs]! JI: Charlie Parker has traditionally been blamed for serving as the role model that seduced generations of musicians to use drugs and alcohol as a means to expand their work. Do you feel thats true? PW: He never endorsed that. Hed always say, Do what I say, not what I do, that was his classic line. He was a junkie, he was an alcoholic, he was a basket case. I dont feel thats true but at certain periods of your life, you feel a couple a pokes and maybe one shot of cognac is good but it can get to abuse. I always tried to play as clean as possible. Id never mess with the cocaine and whiskey before the gig, maybe a poke or two to relax, but I never played drunk. I couldnt do it, I was never that good a drinker. Zoot said, Im so glad you gave up drinking, you werent very good at it! JI: Charlie Parker served as a central influence for you. Youve been called New Bird in the past, but youve managed to not sound like a copy of him. How difficult was it to find your own place, your own voice? PW: I think I always had my own voice, thats who I am. I was never in his shadow, the first jazz I played was Benny Carter transcribed solos and Johnny Hodges solos. I studied with the triumvirate and then when Bird came along, that was more my age group and the whole world exploded with Diz, Bird, Monk when bebop came in. It was pretty revolutionary so I was
Interview & Photos by Ken Weiss

This interview was taken at the home of Phil Woods (born November 2, 1931) in Delaware Water Gap, Pennsylvania close to the historic Deer Head Inn on March 8, 2013. Luckily, the recording equipment survived close investigation from Grey Girl, Woods lovely but inquisitive cat. Jazz Inside Magazine: Your middle name is Wels. Is that a family name? PW: Yes, its my grandmothers maiden name. JI: Youve described yourself as a curmudgeon in the past, is that a fair description of you? PW: Oh, its an exaggeration. Im a sweet heart, Im Mister Mellow. A curmudgeon in the fact that I dont take any shit, I dont suffer fools lightly, so I guess that would be curmudgeonly, but Im a fairly charming fellow in social situations. I dont consider myself a curmudgeon 24 hours a day, my family would not permit that. I think to survive in the music business, you gotta have a suit of armor and curmudgeonly serves me well. Dont mess with me, dont push your luck. Im Irish, it comes naturally. JI: Humor comes easily for you. Ive got you tied with Paul Bley as the two funniest jazz artists. PW: If it aint fun, I want no part of it. All my writers are dead like Zoot [Sims] and Al Cohn and [Joe] Venuti and Bill Harris. The history of humor in jazz is legion, there were some very funny cats. I think thats what jazz has that classical music doesnt have. We laugh a lot. You get some musicians together and they start telling some funny Benny Goodman stories, its a riot and I think it serves you well when youre sitting on the bus for hours and hours. You have to maintain a sense of humor, you cant play that artist suffering in the garret. I never felt that agonizing genius, I dont play that game. Im a professional warrior and Im very proud of that. JI: There was a review of yours in the New York Daily News recently (July, 2012) that said you, May well be, pound for pound, the greatest alto saxophonist in the world. What do you make of the poundage reference? PW: [Laughs] Yeah, exactly! Poundage, Im getting fat, thats all hes trying to say! I dont know, I think thats a bit overblown. I cant defend him and say, Yeah, hes right, that aint gonna wash. Its because Im getting old and
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I think to survive in the music business, you gotta have a suit of armor and curmudgeonly serves me well. Dont mess with me, dont push your luck. Im Irish, it comes naturally.
cial. Every time my name was mentioned Taught the kid everything he knows! I never took any alto lessons with him just clarinet and learning about Brahms and Beethoven. JI: The memoire excerpt also touched on your abusive past. Heres a quote Did a lot of blow, smoked a lot of grass and drank a lot of booze. Ive had fuckin fun! I never thought life was a lemon to be squeezed dry. Youve got to live it, man. No regrets, huh? PW: No, well yeah, the smoking part I could have done without. Cigarettes, not so much the other stuff, marijuana doesnt ruin your lungs but the two packs a day of cigarettes I do regret. But touched by all of the masters. I never played a Charlie Parker solo, I mean I copped some licks if I found something attractive in the music I would ingest it. I was a blend of all that came before me. Benny Carter was a huge influence on me, as was Rabbit. But Bird was the primary reason for a lot of stuff. JI: Its always said that every artist should find their own voice. Is that something that comes innately or does it come from hard work with the intent to be unique? PW: I think that after youve been playing 60
Phil Woods
years, you gotta come up with a voice. You gotta find the you in you, and I think that Ive achieved that quite a while ago. I found the me in me. JI: What do you think is most misunderstood about Parker? PW: How kind he was to young musicians. He knew who the young kids were in town, never ripped them off, never stole their horns, and that never got in the papers, only the negative stuff. JI: What do you think is most misunderstood about you? PW: I dont know that Im a Charlie Parker clone. I find that rather objectionable. I think I have my own voice and have contributed something but Im not the genius that he was. Im a grunt, I came up through the buses playing fourth tenor with Charlie Barnets band. I take pride in the fact that Im a professional musician that can do any job, I can read any kind of music, I can transpose and play a French horn part, a piccolo part. I hear one chord and I know exactly what it is so I can improvise on it. I can analyze it immediately, Im well trained. Four years of Julliard and all those years on the bus with the masters. I was playing Groovin High with Dizzy Gillespie at 24. Dizzy was very important, as was Quincy [Jones]. Quincy discovered me for Dizzys band and Dizzy was a mentor, right up to the end. So if I have a voice, I got it right from the horses mouth. If it was Horace Silver, right from the Horaces mouth. JI: The new wave of musicians are only getting trained in the classroom. PW: I used to be down on jazz education because I think I became a better musician because I did it the old fashion way I went to a conservatory and learned species counterpoint and Bach fugal techniques. Now were graduating three thousand tenor players. Three thousand lawyers a year, you know, is too much, but they all get gigs. You major in jazz starting in high school and youre led to believe there may be a future in it yet theres only four gigs. JI: It seems the only opportunity thats growing is teaching gigs. PW: Thats the positive side and Americas young musicians are the most well taught because those guys that went on to become teachers were good. When I work at schools across the country, boy, the level of performance is up there and its a result of the teacher. JI: Would you talk about your biggest musical breakthrough? Was there a specific event or time that stands out for you? PW: Birdland All-Stars was my first. I used to work Birdland on Monday nights and I was
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picked to be in the Birdland All-Stars. Me and Al Cohn, Conte Candoli, Kenny Dorham and Sarah Vaughans rhythm section. I sat behind Budd and Pres and Basies band and Sarah Vaughan and, my God, the list is long. Quincy heard me on that tour and hired me for the Dizzy Gillespie band. So getting into the Birdland band and Quincy hearing me and getting the chance to go on the world tour with Dizzy were all very important events. Once I got Dizzys OK, it opened up a lot of doors. JI: How did you feel starting out and playing with these masters? PW: Scared to death, you kidding? It was absolutely thrilling but I knew I had a lot of work to do and I still do. I dont think the work is ever finished but at that point, I knew that I was in the fast lane. I was confident that I could handle it because I was well educated and I could play, I was gifted. Benny Carter paid me the greatest compliment before he passed. They were talking about me somewhere and some guy said, Phil Woods is a great saxophone player, and Benny Carter said, Phil Woods is a great musician, and thats what Ive always aspired to. I think its important to be a cultured human being if you are going to consider yourself to be an artist and jazz walks that peculiar line between art and entertainment. JI: Who do you feel is the most talented alto saxophonist to follow Charlie Parker? PW: You know the list Sonny Stitt, Cannonball. Now? I love Jon Gordon, he was one of my best students and I think hes one of the most important players of the middle-aged guys. JI: Cannonball Adderley arrived in New York three months after the death of Parker and within days was the talk of the town. What was your reaction to his quick fame? PW: One of the stories I tell is when Jackie McLean came and got me. I was working playing striptease on Sheridan Square with Nick Stabulis in the Nut Club and it was three months after Bird had died and Jackie and I both loved Charlie Parker but we said, Well, maybe well get some gigs now. Jackie came to my gig and took me to the Bohemia and Cannonball was sitting in with Oscar Pettiford and we just looked at each other and said, Oh, shit in unison [Laughs]. The thing about jazz, when somebody comes along and theyre better than you are and theyre new in town, you still help them. Musicians are great like that and I dont know any other business that does that. JI: Theres the often told story of a 12-year-old Phil Woods seeing his uncles saxophone and wanting to melt it down into shiny toy soldiers. Is that a tale or would you have really done that? PW: No, of course not. Thats what struck me when I first saw it but theres no way I could have turned that saxophone into ingots, I was not equipped but it makes a nice story.
JI: If you had done that, perhaps the jazz world would have lost you to a career as a famous sculpture or jeweler? PW: Right, or a metal worker! JI: Seemingly every article mentions you trained with Lennie Tristano but you actually only had 6 lessons with him when you were 15 and youve said you were too young to learn anything from him. What can you say about his influence on your career besides enabling you to meet Charlie Parker directly for the first time? PW: I wasnt ready for Lennie but it was a chance to go to New York and be around Bird and the action with my friend. I had a kid band at that time with Joe Morello and Sal Salvador in Springfield. Im the last one, theyre all gone. JI: Any influence from Tristano on you? PW: No, I cant say that I learned anything. He was giving me piano lessons but I could already play the piano and hed have me write out solos which were what I thought were true examples of my improvisational work which is really something you cant do. If you take the time to write out a solo, thats not really what a solo is. Its got to be done on the fly. And he was blind! I could never figure out hows he gonna read it? What I learned was to come to terms with a big city and I went to 52nd Street after every lesson. I learned from Tristano that I had work to do and he showed me that my scales were not intact and I needed more keyboard harmony work and I needed to listen to everybody and analyze more. I learned but it was too brief. The lessons I got were strange, I didnt quite grasp what he was trying to tell me at times but I was green. JI: Its incredible that you were able to make the five hour trip from Massachusetts to New York City and then navigate the subways without an adult at age 15 in order to meet with Tristano. PW: I was with my older friend Hal and he promised my mother that he would take care of me and Hal was already studying with him. I wanted to go to New York because in those days thats what you had to do to play jazz and the revolution was on Ferlinghetti, Bernstein, film noir, Larry Rivers and all the painters. It was the explosion of the arts after the Second World War. It was so vibrant and it was happening on every corner and there was jazz in every joint. It was the place to be. JI: How much were you affected by these revolutionary artists in other genres? PW: Any cultured person has to be aware of what the artists are doing around them. When I was a kid, I would haunt the local museums and libraries. Charlie Parker said he liked Bartok Schoenberg so I went and got all their work I could find. I think my parents must of said, What the hell is he listening to now? They were ready to accept the jazz part but, my God, the twelve-tone stuff? Im sure they thought I
Phil Woods
other musicians of both races, something he deemed creditworthy. PW: Im very proud of that myself, I was raised by the Brothers Charlie Barnet, Dizzy, Art Blakey, Quincy. I was accepted. JI: Was it hard for you in the beginning to feel that you fit in? PW: The most difficult part was when I married Chan. That was kind of strange. Art Pepper in his book said that Woods loved Charlie Parker so much that he married his widow and when I
had lost it. I was a culture vulture even at age 14. JI: So your parents were supportive of you? PW: Absolutely, they said do whatever you believe in but do the best you can. They were very proud of me and very supportive. JI: What can you say about the mysterious lack of critical acclaim for Tristanos work and the criticism hes received through the years as a sort of Svengali? PW: He was a great musician, he was a pioneer. He went places, he was the first one to go free. Look at his students, it wasnt just Lee Konitz and Billy Bauer, he turned out some wonderful students. He worked with Bird and if Bird liked it, it must be OK. A lot of people thought like that. JI: Youve had the opportunity to play with Tristanos most famous student over the years Lee Konitz. Hes writes very complimentary things about you in his book (Lee Konitz, University of Michigan Press) but theres one section where he addresses his label as a cool jazz player and he uses you as an example of a hot jazz player. He recalled the time he played with you at the 2003 Umbria Jazz Festival and when he followed your solo with his own, the intensity of the music came down because he was creating on the spot and not relying on familiar phrases. He said your playing was strong and definite which is a result of you knowing what youre going to play ahead of time. I want to stress that this did not read as a criticism of you. PW: Lee Konitz and I are dear friends but hes wrong about me knowing ahead of time what I am going to play. We did four concerts and we made five records that week and I remember one of the first concerts he said, Phil, I want you to promise me that youre not going to play anything that youve ever played before and I said, OK, Lee and as soon as we got on stage, I played a patented Charlie Parker lick and he said, You said you werent going to and I said, I lied! Hes got licks, we all got licks. Were all human, even Lee Konitz. I love him but sometimes we disagree philosophically and hes right, I have licks but so does he. We all have licks except Tom Harrell doesnt have licks but he pays a hell of a price for that. His mind is not wired like ours. He was with my quintet for over five years and some of the stuff he would come up with was revelatory. Hes one of the greatest improvisers on the planet but what a price, he never leaves his apartment. JI: I asked pianist Connie Crothers, who trained under Tristano for many years, what Tristano had to say about you. She said he didnt talk about you as his student but, Although he didnt think about race, he credited Phil with being one of the white musicians who gained respect from
Phil, Zoot! We had brand new stuff that we never played. Benny was just weird, it was one of the rougher tours ever, ever. I have great respect for his playing, but as a leader, he was really difficult to work for and we were very happy to get home. We did 10 days in Moscow and it was pretty dour. You ask for a salad and they threw a cucumber at you. There were no greens and the food was awful but the vodka was great. They told us your rooms are gonna be bugged but I said, Theyre not going to be able to understand what Zoot and I are talking about anyway! We next went to Sochi, a resort on the Black Sea, and we had a party in Jimmy Knep-
One writer said, Woods has two stories he always tells about Charlie Parker. And I said to myself I wonder if this guy had hung out with Shakespeare, wouldnt he want to share that? Isnt that a big deal? The stories demonstrate the generosity of Bird
saw Pepper next I said, Come on Pep, what is that shit? He said, I shouldnt have said that. Some of the black cats took umbrage at the fact but Dizzy never did. He said, Dont pay them no attention, Miles and Coltrane, same thing. I could play and they left me alone. The black cats used to call my band the Boston Celtics white guys that can play [Laughs]. JI: When you started your career in music, what did you dream the future would hold for you? PW: I had no idea, when I went to Julliard, I think I was even entertaining thoughts of being a classical clarinet player. I wasnt sure that I was equipped to be a good jazz artist until that session with Charlie Parker, when he leaned over and said, Sounds real good, Phil. JI: You were part of Benny Goodmans famous 62 tour of the Soviet Union. Would you talk about that tour? What was it like to spend time with Goodman? How did the Soviets treat and respond to the music? PW: Because of Willis Conovers Voice of America [radio program] the Russians were ready to hear some real jazz. You know, we the Voice of America that turned the whole world on to jazz, we just never had a Voice of America for Americans [Laughs]! I can sum it up by saying that somebody asked Zoot Sims what it was like to travel in Russia with Benny Goodman any Zoot said, Any tour with Benny Goodman is like being in Russia! or Johnny Frosk calling Jerry Dodgion saying, I have some good news and some bad news, and Jerry saying, Whats the good news? He said, Benny Goodman died last night. Whats the bad news? He died in his sleep. Thats some cold shit, isnt it? Benny was a pain in the ass. He could play the shit out of the clarinet, but he was a rotten human being. He was terrible. It was six weeks of hell working with him. We didnt get out of [playing] the 30s until the Russians were screaming Phil, Zoot! per and Jerry Dodgions room. It was a night off and I got pretty well lit and went out on the balcony and yelled at the top of my voice in frustration Fuck you King! At that very moment, on the balcony below me, Benny was getting some fresh air and recognized my voice and next morning there was a sudden call for a rehearsal at 9:00 AM and it was like 110 degrees. He called Blue Skies just the reeds and I said, Oops. And then he said to play my part alone and he stuck his clarinet in my ear and he kept nailing me and the band is sitting there until Zoot finally said, Hey Pops, lighten up and Benny said, Whats it to you, and Zoot with his flair for languages said, Well, hes my roomski and Benny backed off but I was so angry for days. I wanted to quit but you dont quit in Russia, you end up in a Gulag. I read the State Departments report and he was ready to send my ass home but he couldnt find a Russian alto player and there wasnt one around. JI: Are you comfortable talking about the reasons why you felt the need to leave the U.S. for France in 1968? PW: It was a rotten time in America in 68 and the studio scene was drying up. All the writers had left and the music was starting to get kind of weird. Bill Haley and the Comets hit and the Beatles hit. All of a sudden there werent so many gigs, I had a draft aged son. I had lived in Paris with Quincy Jones band in 1959 for a year with Chan and my family and we loved it so we went back there. One day, I was coming out of the subway near the Sorbonne and there were riot police and all the students. I was with my French manager and I said, It looks like some trouble, and she said, Oh no, the police are very sympathetic to the students needs and the next thing you know, Paris is on fire. I said, Good career move, Phil. I left America to get away from violence and I end up in the middle of a war. It was pretty hairy but exciting and as
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Phil Woods
soon as August came, the French went on vacation and the war was over. It was magic while I was there, forming the European Rhythm Machine we were one of the number one groups in Europe, and hit all the major festivals and made records. After five years, I headed to Los Angeles to see if I could make a name for myself back in the States but that didnt work out. I was headed back to France when Michel Legrand hired me to do a gig so I was saved by a Frenchman from having to go back to France because that led to a thing he wrote for me called Images and that won a Grammy. That changed my whole life, you gotta be at the right place at the right time. JI: On your website you have a quote that says I have outlived three generations of music critics. Theyre gone. Im still ticking and bopping! Have you felt mistreated by the critics over the years? PW: No but I think many of them have perfect holes. No ears. They dont know what the hell theyre talking about. When I did the Town Hall concert with Thelonious Monk, John Wilson reviewed it as pipe and slipper music. He said its not real jazz, theyve watered it down and we had a six-week tour booked and everybody cancelled because of John Wilsons New York Times review and now that recordings a classic but this guy didnt get it and he was the Dean of jazz critics. Theres some good ones like Ira Gitler, Gene Lees and Nat Hentoff, but in general, they have other jobs and then they write about jazz but they dont really know what the fuck is going on. Im not supposed to like the critics. Its supposed to be a war. Critics are dangerous. JI: Would you prefer if there were no jazz critics? PW: No, I think the war must go on [Laughs]. Ill keep lambasting them and they will probably keep lambasting me. One writer said, Woods has two stories he always tells about Charlie Parker. And I said to myself I wonder if this guy hung out with Shakespeare, wouldnt he want to share that? Isnt that a big deal? The stories demonstrate the generosity of Bird, its not so much about me as the fact that I was there to witness his kindness. JI: Youve won four Grammys and received major awards such as the NEA Jazz Master Fellowship and the Kennedy Center Living Legend in Jazz Award. How important are these awards and the recognition youre now getting as a jazz legend? PW: Its terrific, especially the NEA Masters. Thats my country telling me Im OK and they gave me $25,000 to prove it. I treasure those but I dont take it that seriously, Im not all of a sudden the King.
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JI: Youve recorded with a number of rock and popular acts such as Paul Simon and Steely Dan and most famously on Billy Joels Just the Way You Are. Does it bother you that many people just recognize your work on that one song versus your long professional career? PW: No, thats terrific but youre leaving out the one I love the most Aretha Franklins Somewhere. Oh, I love that, Im so proud of that one and Im proud of the stuff I did with Lena Horne. That Billy Joel song was a big hit and a lot of people heard about me from that record. Billy Joel came to see me at a gig in Rhode Island and as he walked into the dressing room I said, I made you and I can break you. He cracked up. Hes a good guy. I never met him when I recorded for him. It was just me and Phil Ramone [the recording engineer]. I recorded for Phoebe Snow [Never Letting Go album] and Billy Joel in the same half-hour and a half-hour later, I was back in Charleys Tavern. I was paid $700 dollars total for both recordings, I had a rotten manager. He didnt even know who Billy Joel was. My first manager/producer is the only man who has the recipe for the Hungarian omelet first steal a dozen eggs. I could have gotten more money but I wouldnt have this wonderful story to tell. JI: You also recorded with Steely Dan. PW: I am Dr. Wu, it was written for me. I hold the worlds record for the largest room service bill ever because they put me in the Beverly Hills Hotel, with all expenses. I invited all the alto players in L.A. and ordered lobsters and oysters and champagne and we partied for a couple of days. Im pleased to say that I was the most expensive sideman they ever hired and they hired a lot of sidemen. I heard the bill was 4-5 thousand dollars, which was a lot in those days. JI: Regarding your 1971 Leonard Feather Blindfold Test, Feather played you a cut from Anthony Braxtons avant-garde solo saxophone recording For Alto. You said, Im sure he hasnt studied the saxophone. This doesnt bother me, theres a lot of primitives that play and get a lot of exciting music; but this is such an ego trip, that you can think that youre so much of a bitch that you can do a solo album. You concluded by saying I dont even want to guess who it is, because I might hate him. Any regrets on that one? PW: No, not really, hes still a dear friend even after he read it. He respected my opinion. Anthony said to me, You saved my life when I was in the Army I listened to your records, you kept me from going crazy. I call it like I see it. I dont think hes a very good saxophone player but I think hes a great artist. A lot of people dont like John Cage because said every sound is music. I think he has no technique but what hes doing is pretty damn good. I think making a whole album of just that is a bit much though and that was my point there. After a while it wears thin, get someone else in there and change the colors.
JI: How do you view the work of Ornette Coleman and the 60s avant-garde movement in general at this point? PW: Well, Eric Dolphy is my hero, we were on Orchestra U.S.A. with John Lewis back in the day and Eric and I were always the first ones at rehearsal and I admire him greatly. I think without Eric Dolphy, thered be no Ornette Coleman or Anthony Braxton. Eric Dolphy was the guy, he could play. JI: What do you think about the avant-garde movement that broke out in the 60s? PW: Im all for it, Im tired of hearing Caravan and Just Friends and On Green Dolphin Street and I think it has to be done and thats why I admire Dave Liebman, who takes it outside. What I really find intriguing is how well South America has picked up what Dizzy was preaching. We were in Brazil in 1956 with Dizzys band and in the front row was Jobim and then in Buenos Ares in the front row was Astor Piazzolla. They both picked up on what we were doing. I like the crossover, fusion thing with South American and Cuban rhythms which Dizzy started with Chano Pozo. I think if theres any future in jazz, its uniting all the different cultures and jazz fits well with all of them, thats the amazing thing. JI: You had mentioned the future of jazz and many artists are finding success in covering current popular songs as compared to the traditional jazz standards from 50 years ago. Any chance youll be covering a current tune? PW: Yeah, if I ever hear one I like, Ill use it [Laughs]. Im still digging out old chestnuts that nobody else plays. Thats always been my thing, the more obscure songs. Im tired of the same old repertoire that everybody plays, I like to find stuff that nobody plays and theres a lot of stuff that hasnt been played. I watch old movies and if I hear a song I never heard before, I try to check it out. JI: In the past youve said that playing for singers was one of your favorite things. Why would a headlining saxophonist want to back a singer? PW: I love singers, its the way I was raised. Pres and Billie Holiday have always been my heroes. Theres a perfect union between the saxophone and a voice and for me, the perfect union was recording for Lena Horne. I played behind Billie Holiday when I was a kid, she didnt like the saxophone player she had at The Cork & Bib in Westbury, Long Island so I was called in. You have to stay out of the way and thats an art in itself. You have to enhance the vocal, not get in the way of it. Less is more, Im still working on that. Emphysema was natures way of saying youre playing way too many fucking notes. JI: How did your signature leather cap come about?
PW: I think it came about when we were fitted for costumes before going overseas with Quincys band. We all had to go to this 5th Avemue tailor. We had first and second act costumes and I think I had a cap on when I went and the lady who was outfitting me said, You look good in a cap, were going to make you some caps, and I said, Cool. Ive worn caps ever since and I think every man is entitled to one affectation. JI: Youve not been one to quietly tolerate excessive talking by listeners in jazz clubs. What do you make of people who pay a $30 cover and talk through show? PW: God, no. They wouldnt do it to Yo-Yo Ma. If hes there playing the fuckin cello, you aint gonna say a word because thats classical music. Give us the same respect. Yeah, spending all that money and youre talking, it infuriates me. I got fired for telling somebody to, Shut the fuck up! The boss said, We cant have that here, youre fired! It only happens in America, Europeans come to listen. JI: Any pet peeves youd like to mention about the treatment of musicians by some club owners? PW: I wish theyd sign up with the union on the pension plan. Its scandalous that they agreed to it and now theyre all reneging on it. You make a living on jazz and youre not going to help us when we retire? Its pennies for the pension fund and theyre making a million dollars a year. Its a pet peeve, big time. JI: Dave Brubecks drummer, Joe Morello, was a childhood friend of yours. I saw him perform a few years before his death and he made it clear at the performance that he was the originator of the unusual time signatures found on Brubecks famous Take Five recording although Brubeck was given the credit. Did he ever speak with you about that issue? PW: People think that Dave Brubeck wrote Take Five. Did you know that Paul Desmond made it so all the royalties from Take Five go to the Red Cross? Thats millions of dollars. Joe Morello and I never played that game, we were friends. He knew and I knew, we didnt have to discuss the way he was being cavalierly treated, not respected. Joe did a second album but it was never issued until some small label found it and its fantastic. I dont get it, sometimes it just aint right. JI: You moved out to Pennsylvanias Pocono Mountains in 1973. Why did you end up there? PW: I used to live in New Hope, Pennsylvania and I used to play at the Deer Head Inn so I knew the area. Ive never liked living in the city, Im a country boy. Newark Airport is one hour away, its a perfect commute. JI: What other jazz notables live in the area and do you have a close relationship with them? PW: Its kind of special out here. Weve got the Al Cohn Memorial Collection at East Stroudsburg University. We have Bob Dorough, my
neighbor is Wolfgang Knittle who did the music for Jack Bro, Dave Liebman, Urbie Green, Jesse Green. Weve got all kinds of musicians, the Poconos have always had that because there used to be gigs. A lot of musicians would come out of New York and work the resorts and they would move here to raise their family, thats why I left New York. JI: At this point in your life you seen to be working as hard as ever, we had a hard time finding an open day to do this interview. You have health issues that require you to wear oxygen, why are you working so hard at age 81? PW: Why not? I have to take care of my family and what would I do? I subscribe to what Duke Ellington said when they asked him when he was going to retire. He said, Retire to what? I have
him a round of applause! I loved that camp and when it went belly-up, thats one of the reasons I went to France, if that camp had kept going, I think I would have stayed in America because it was the most beautiful summers. I used to take students to my record dates and I took them to meet Stan Getz and Cannonball Adderley and Maynard Ferguson and Woody Herman. That was a great sax section. GRACE KELLY asked For someone who is already a Jazz Master, played with everyone and continues to inspire others every day, how do you keep challenging yourself? Where do you draw your inspiration from? PW: I keep listening, Im always buying records and checking them out. I listen to the kids, the young people, the old people. Im a musi-
I wasnt sure that I was equipped to be a good jazz artist until that session with Charlie Parker, when he leaned over and said, Sounds real good, Phil.
the best life. I fly all over the world, I do what I love to do, I make a pretty decent living, I stay in the best hotels, I eat the best food, its great. Just over the past few months I did a tour in Japan then I worked in Tel Aviv with kids and then my wife and I did a jazz cruise with my quintet and Im getting ready to record my big band with singers singing my songs. Yeah, Im having a ball. JI: Is there any place you havent played yet? PW: China but I dont want to go there. The air quality is too bad, I have to be careful and I cant stand those little planes anymore. I only fly to major cities on at least a 737. Im very selective about what I do but Im doing more writing of big band music for this project Ive been working on for the past year and a half and my saxophone quartet. JI: My last questions are from other artists. RANDY BRECKER Id like to ask him about his memories of teaching at Ramblerny Jazz Camp (New Hope, PA) in the 60s where the sax section in his student big band featured the following 15-year-old saxophonists Roger Rosenberg, Richie Cole and Michael Brecker! PW: Thats right, thats why we started the school here, to try to relive the days of Ramblerny, that was a great school. That was a performing arts camp, not just a jazz camp, but we were the most popular. All the beautiful girls would come to our rehearsals. I remember Michael Brecker there, especially from a touch football game we had where he caught the winning pass, I was the quarterback. I think we were down and I threw one of my most perfect passes and, man, he reached out and caught it but broke a finger. He came to rehearsal the next day with a splint but still played the horn we all gave cian, I spend my days with music. When Im writing, its like the movies - I wake up in the middle of the night Eureka!! The work is never done and I think thats what keeps me young and my pulmonary guy says if I didnt play the saxophone, Id be in trouble. Im hungry for knowledge and I want to go on all the rides and I havent been on all the rides yet. Grace Kelly also wanted to know What is the most important thing about music to you? PW: Its my life, its what I do. Family, music, thats it, in that order. Im a musician and Ive had such a fantastic life, Ive played with everybody, man. Im a fortunate man and I treasure that. Im very pleased that Im still active. I get up in the morning and I brush my tooth, I give myself a round of applause and say lets get on with it. Grace Kelly I have a strong memory of us eating schnitzel together. We were in this awesome restaurant in Austria. The waiters were dressed in old-fashioned clothes and we had a great time eating these giant schnitzels. It might not be a memory that sounds that great in writing but it was so special to me. It was so surreal. I remember thinking, Am I really eating schnitzel with Phil Woods? It was pretty awesome!
The highest form of ignorance is when you reject something you don't know anything about.
--Wayne Dyer
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Interview
Greg Bobulinski
Trumpeter, Educator at Five Towns College
Interview by Joe Patitucci (Part 2)
GB: We [Clark Terry and I] became great friends and as we toured the world, I learned from the maestro on a daily basis. It was fantastic.) All I ever really wanted was to be one of the cats and this dream too, was realized. After all, it is a great life and what we make of it. I might add that when you get to my age there is a lot of water under that bridge and many people were essential as well as important to me and still are. Sincere thanks to all for their assistance in keeping this train on the track. JI: How has your work as an educator challenged, supported, or influenced your artistry and creative pursuits? GB: My work as an educator has always been challenging in the terms of you cant just get in front of a group of young minds and wing it. You have to have something to say and then make sure that they understand and fully comprehend what you are saying. In terms of support, my students over the years have been a total gas. The small element of unhappy campers is miniscule to the legions of faithful and hardworking students it has been my pleasure to teach. Never a dull moment Ill tell you. I have also been influenced by my educational activities to keep my performance skills at a very high level. You know practice what you preach and walk the talk. Sometimes, my educational duties conflict and delay my compositional activities, but on a positive note, when I finally do get back to whatever composition I had been working on, the flood gates are let open, and this I absolutely love. Education is a natural cyclical event for jazz performers. You begin as a total novice then become a young fledgling who can barely comprehend jazz music let alone improvisation, style, repertoire, etc. Then as you grow, others come up behind you and now all of a sudden, they need your help and guidance, just as you sought guidance and understanding from your first teachers and mentors. Truth be told, many of my students are now working professionals in the music business and doing very well. God Bless all of them. And Good Luck! JI: Certain instrumentalists have brought a great deal of attention to the pyrotechnics that are possible on their instruments Buddy Rich on drums and Maynard Ferguson and Dizzy Gillespie on trumpet. Could you discuss the temptations to approach ones instrument as an athletic sport rather than a musical endeavor and how to balance technique and ideas. GB: Technique is only worthwhile if it serves
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the higher purpose or the end purpose. An old Axim but one that always holds true. A Rule of Thumb. Dizzy Gillespie who fascinated audiences for years with screaming high chops and dazzling virtuosity was a true jazz genius his musical contributions/compositions/ensembles show the full range of musical gifts. Same with Buddy Rich who displayed flawless/spectacular solo drumming; at its core was a profoundly adept musician who understood the music as well as the ability to swing or groove. Maynards high register will always be a point of excitement and trumpet fever, yet for years he played standards and excelled at the valve trombone. Many music educators utilize an athletic sport example to get their students to understand the discipline and long hours of practice required to achieve success. In truth, there are some similarities but the two disciplines are basically and conceptually very different. Music combines all of the disciplines if done correctly math, history, art, acoustics, physics, repetition, selfconfidence, philosophy, athletics, and more. Athletics being a part that make music a complete art form. Music is not necessarily a part of athletics. Thus the similarity ends. Too many players try to pass off jazz with their use of technical tricks. Many succeed at dazzling audiences and go on to believe their own trickery as legitimate after a while. The balance of technique and ideas is precisely the goal of the improvising musician. The mastery of the technical side of your instrument should free the performer to explore new boundaries from a pure music approach rather than using technique as a gimmick or a listening hook. The biggest problem with the sports analogies is that if the student really learns to employ them, they sometimes have a very difficult time eliminating this athletic aspect from their performance thus damaging their ultimate ability to truly create music. Much like the improvisers who memorize licks upon licks in all keys and then when on their solo they can only play a pyro-technical solo which glues one lick to the next. Once again, this is not creating music but rather regurgitating your repeated technical practice drills. So in summation, technique must serve the end and never the other way around JI: Could you compare the benefits or shortcomings of taking the academic route versus the apprenticeship route the latter having been the pathway to a performance career in the past? GB: I read a quotation by Duke Ellington, from a book by Stanley Dance entitled, The World of Duke Ellington. In it, the Duke is asked a similar question. His answer is simple. For some, yes. For others, no. Some need the discipline of formal education to accomplish their goals while others, are more productive through selfeducation. Both ways offer substantial rewards. Academia does not really lead to performance. In truth, if one can perform, then they should go and perform. Academia is about gaining important additional fundamental knowledge. Allow me to take it one step further. The greatest artists are able to travel the thin line between Fine Art and Folk Art. Too much of either disturbs the delicate balance needed to achieve great art. As a
result, academia, along with apprenticeship and a good deal of performance experience, is absolutely necessary to achieve this unique, yet desired balance. JI: What are some of the essential understandings about business that you have learned in your professional activities as a performer, recording artist, educator and so forth? GB: While at Ohio State University, I attended a clinic held by Tony Studd, a virtuoso bass trombonist. He said, If you are lucky enough to succeed and play music for a living, you will find that 98% of your gigs will be utterly horrible, commercial, and non-musical. But you are not in it for the 98%, we are after the 2% of gigs that will be life changing, musical challenges, and artistic triumphs. Truer words were never spoken. The music business is a tough business. Once I understood the above concept, life balance was restored and I was able to proceed with my own musical ideas. A disturbing fact that has been brought to my attention concerning modern day jazz musicians is that they are actually paying club owners and promoters to perform music in these venues. What an unfortunate and tragic mistake! By doing this, these musicians have inadvertently set the music pay scale back about a half century. Please, as professional musicians, you deserve to be paid a proper wage for a proper job. Otherwise, there will be no music business and no one will be able to make a living from their craft. Many times, musicians are slipshod about these types of detail. This is to their own discredit. I hope to see a change in this recent trend. It is necessary to the survival of the free lance jazz musician. One more important essential understanding that has been brought about by my own professional activities is that if you undertake the life of a musician and attempt to earn a living at it then you are the music business! How you conduct yourself on and off the bandstand reflects on your business. Learn to do your job expertly and correctly. Phil Woods told me that Beny Carter used to tell him, be a cultured person! Go and read a book, see a play, learn about refined wines, go to the opera or ballet, write a music composition, take a nature walk . . .
Interview
Charnett Moffett
Interview by Eric Harabadian
Visit: www.charnettmoffett.net
Bassist extraordinaire Charnett Moffett speaks as he plays; with a pensive wisdom and thoughtful approach that is, at once, engaging and spiritually energetic. Growing up in a musical family, he is the son of legendary drummer Charles Moffett, who played for years with Ornette Coleman. Charnett first appeared on a recording at age seven playing with the Moffett Family Band. At age 16, while studying at Juilliard, he left to join the Wynton Marsalis Quintet. And he hasnt looked back since! Stints have included work with Art Blakey, Tony Williams, Stanley Jordan, Dizzy Gillespie, Herbie Hancock, Harry Connick, Jr. and many, many others. Currently he is in the midst of promoting his first solo bass album called The Bridge, a new group recording entitled Spirit of Sound and a new duo project with singer-songwriter/guitarist Jana Herzen called Passion of a Lonely Heart. These releases are all on the Motema Music label. Jazz Inside: You play both acoustic and electric bass. What influences the decision on what type of bass to use on a particular piece? Charnett Moffett: Thats a great question. What provocates that is based on which sound is gonna allow me to express the melodic idea to its fullest value. Each person has a different voice in how they speak. You have the sound of your voice; I have the sound of my voice. We talk about many different subject mattersit can
complete form. When I did the Beauty Within album back for Blue Note the title cut was done on the upright double bass. That melody would have never sounded the same on any other instrument because it was designed to be spoken in that voice. So the same can be said here for the solo project The Bridge as well as Spirit of Sound. For example, if you take one of the compositions like Opera, which features Amareia Moffett, the melody relies better on the fretless bass because of the range. The singer represents more of a soprano voice while the fretless represents a tenor kind of voice. If we take another song like the title cut Spirit of Sound, that is speaking more from the raga tradition where the bow is speaking as the voice and being supported by the tambour. It has a more mellow and lower tone so that the emotional weight and depth of the message can be felt more accurately. If we take a piece, for example, that features Jana Herzen, who Ive had the pleasure of recording the Passion of a Lonely Heart album, where I play the double bass, here I play the piccolo bass. And the tune I play is more upbeat and requires a higher frequency and movement. So everything is based on the sound and frequencydifferent colors and timbres around it. It also has to do with what is the overall feeling that were trying to convey in the emotion that we want to share with our listener. So that determines what instrument I play from a compositional standpoint. JI: Thats fascinating. Regarding the inception of the Spirit of Sound, it is obviously very diverse. Was that you intent before you got started or did it just evolve into an eclectic album? CM: Well as a bassist I started out in the Moffett Family Band. We did our first tour in 1975 and I was just the tender age of eight years old. When you are in the Far East and you are that young listening to eastern sounds, with two drummers and an additional bass player, with a front line of
these 12 notes represent tools for people to communicate. As human beings we need fresh air to breathe and water to drink. It doesnt matter who we are. Its really about finding the balance or common denominator of what flows with you creatively to share that energy with others to be used in a different light from circumstances that may have not been used in that way before. Thats the whole point of this album The Spirit of Sound. Its taking the sound of each person whos actually been a part of creating this sound, whether its Oran Etkin in the saxophone or clarinet department, Marc Cary in the piano department or Tessa Souter on vocals, its the way each idea or sound is expressed. And each idea is expressed by the energy that goes into it and that energy is what we call spirit. And thats what the title is about the spirit of sound. JI: I understand that your solo bass record The Bridge was a long time coming. Can you talk about the evolution of making this album? CM: Well unlike The Spirit of Sound ,solo bass work is a different concept. Now were only using one sound and that sound is a lower frequency. So now we have to find the right compositions that will work with bass or have been written for bass. I recorded the Beatles Eleanor Rigby and I had to find the right key that fits the instrument naturally yet still expresses the song and has a value to be able to play the melody from a low frequency standpoint. I had the opportunity to work with Stanley Jordan for many, many years and this is a song that people always wanted to hear him play. And I always wondered what it would be like with the bass doing it as a solo piece. On a piece like that what youre trying to do is making sure that the main point of the melody is heard clearly from an instrument that does not normally play the melody. But see the instrument does not know its not supposed to play the melody. The instrument is just a tool for an artist to express what they feel. Its their voice. If you happen to speak in a lower frequency voice it doesnt mean that a person cant understand what youre saying, its just that the tone and the range of the voice that shares the information is expressed in a different
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Its a big circle and it just depends on what point within the circle youre at with your livelihood or creative thought process. Its not that one is better than the other its just that we change based on the time of day and the seasons that were in. Sometimes we may want a specific type of food and then the next day you want something else. Musically, its the same way.
be music, politics, sports, whatever. But basically our excitement as human beings and the information that we share, depending on what it is that we are expressing, changes the sound of how we feel about things. Whether we are joyous about something, which will change the pitch of our voice or if were feeling more mellow or laid back, the sound might come from a lower frequency. And being a bassist and composer the bass has to be the foundation of all musical situations. Compositionally speaking, things have to stem from what sound is going to best allow me to give the message in its most
trumpet and saxophone without piano, that sound is memorable and implanted in your well being for a lifetime. And so the way I was introduced to music at a very early age felt quite natural to express myself in this form. In theory the diatonic system only has 12 notes in western music. These 12 notes represent 12 colors that we choose to do our painting with a canvas. But that doesnt mean you cant mix those 12 colors with other ones to create new colors. This same thing applies to music whether its European classical music, Eastern music or jazz. Its still the same 12 notes that are being unified. Now
Charnett Moffett
manner. And when youre using a solo instrument like the bass its a lot easier and you have a lot more clarity for people to follow along when there arent too many other sounds that have to fight for space. So everythings about space, time and flow. This allows a natural energy to move without force. And being that it is a solo instrument and that the bass is a supportive instrument it can also support itself. You can play the melody, you can play the root of the bass line, you can play the harmony line. You can play different registers, change the timing and do some strumming. Theres all these different places you can go. You can add effects if you choose to. So now youre adding different colors that make it more diverse from its normal standard position. JI: Why do you think there have not been many bass players that have done solo records? CM: Well I think people make choices. And I made a choice to do it because it felt natural to do so. I can remember going back to my earlier experiences playing because everything goes full circle when you think about it. What happened, Eric, was when we as bassists were not allowed to travel with our instruments, due to the circumstances of the politics of traveling with instruments with the airlines; we basically had a few choices. Either you got a bass at the venue or festival you were performing in or you figured out a way to bring your own instrument. I now have switched over to the Kolstein Bussetto travel bass which Ive been playing now, and is the instrument that was recorded on The Bridge. Its basically a smaller size instrument but it is still acoustic. It reminded me of when I started out as a youngster; I had a half-size bass. And when you return to certain types of instruments like this they make you remember some of the sounds you enjoyed making when you didnt have the musical knowledge or wisdom that you attain over three decades. So now you take your youthful innocence and apply some wisdom to it and you open yourself up to new possibilities and directions in music. Humbly speaking, that makes sense in the tradition which is why songs like Haitian Fight Song was recorded. The same is true for Caravan which was one of my features during a 25 year run with the Manhattan Jazz Quintet. Even a song like Stings Fragile, which was composed by a bassist, allowed myself to find my voice on a popular song where you can actually hear what Im doing and it is something familiar. JI: You mentioned recording material by The Beatles, Sting and you do a version of Adeles Rolling in the Deep. Have any of these pop artists heard your work or made any comments on it? CM: I meet a lot of jazz players in my travels that are fans of many different types of music. I cant say that Ive been approached by any of these artists personally but I admire their work
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and the important thing is to play music that you can be sincere about and make that connection with the people. This is really what it was about when recording The Bridge. It was also about paying homage to all the great masters that Ive had the opportunity to work with in the past that allowed me to express myself as a solo artist. JI: I was reading in your bio that youve appeared on over 200 recordings. Youve played with everyone from Tony Williams, Dizzy Gillespie and Herbie Hancock to David Sanborn and Bette Midler. Would it be a fair question to ask if you could recall any specific collaborative highlights? CM: Its a very fair question. Honestly, I look at this whole thing as a large circumference. Its a big circle and it just depends on what point within the circle youre at with your livelihood or creative thought process. Its not that one is better than the other its just that we change based on the time of day and the seasons that were in. Sometimes we may want a specific type of food and then the next day you want something else. Musically, its the same way. Obviously all the things Ive done are very important periods of my life and made me who I am today. And Spirit of Sound is the highest form of collaboration. Not only am I collaborating with the Motema family of musicians, with people like Marc Cary and some of the other artists, but also the next generation of the Moffett family band of my immediate family. Theres my daughter Amareia Moffett on vocals, my son Maxwho recently just made me a grandfatheron drums and tabla and my wife Angela on tamboura and spoken word. Its a much different experience. I didnt hire them because they were family; I hired them based on the sound that I was looking for. So whatever environment youre in is going to determine the next way that you organize music. So being influenced by Wynton Marsalis and playing on the Black Codes album at age 17 certainly had influence on the records I made during that time in my career. The same goes for Tony Williams right on up to collaborations with many wonderful artists like Elvin Jones and Pharaoh Sanders on the great Sonny Sharrock recording. On the flip side of it theres the David Sanborn years, which is a different kind of music but a perfect example of those same 12 notes being applied. Obviously Ornette Coleman has been a major contributor to me in many facets of life. JI: Expanding on the aspect of working with your family, its gotta be a blessing in a lot of ways? CM: This is something that has been very natural for me for many years now. And that goes back to when I was playing with my brothers and sisters on early Moffett Family Band albums. Ultimately, whether Im making music with family members or musicians that are nonfamily members, theyre still family because Im making music with them. Its all about the love thats expressed in the music. And wherever you can find a harmony, a union of compassion, of respect and understanding is when the best ele-
ments of music are going to be made. Really its about the chemistry that musicians have together that will create the best results. JI: Could you reflect on this past March and April with your Moffett Meets Manhattan tour of jazz clubs? What was the impetus for that and how did it go? CM: I thought it went really well. My producer, Mary Ann Topper really has done a fabulous job with The Bridge project as well as my executive producer Jana Herzen. Were just getting started as far as future gigs coming up, with festivals and things that are being planned now for the fall. When youre surrounded with these kinda people in your creative camp that can see a vision and believe in an artist, they can uphold the possibilities of what keeps jazz music moving. JI: What are some short and longer term goals you would like to accomplish in the foreseeable future? CM: Well there are many. I just got back from a show in Brazil supporting Will Calhoun who is my label mate along with Marc Cary. That turned out to be fabulous. I had a chance to talk with some of the other musicians that were a part of the festival like Stanley Clarke and Victor Wooten. There was this bass player camaraderie so maybe there might be some projects well do in the future. Vernon Reid was also there with his band and they were absolutely extraordinary! I dont discriminate against sound. Theres only two kinds of musicgood and bad. I like to focus on the good music that is positive and see how I can make it better. So when youre around these music festivals and around other musicians its all about new opportunities and finding choices. So its all about coming together as a musical neighborhood with musicians in the jazz community as well as others who have great appreciation for improvised music. But its all one kind of music when you think about it. I choose to express myself from the American jazz traditional point of view. Jazz exemplifies so many different things because its totally American. And America is completely diverse. JI: So whether its funk or fusion or whatever elements are mixed with jazz, youre good with all of it? CM: Yes I am because thats being true to who I am as a jazz artist. JI: I understand youre going to be doing a special event for Motemas 10th anniversary in September? CM: Yes I will be doing a concert in our nations capitol with Nicholas Payton and Lenny White and Im looking forward to that. Youre only as good as your last show so the main thing for us is to try to stay focused for where we are at the moment. When we have the next opportunity for a show we want to give our best, honestly. And we still wanna enjoy it and have fun too!
Interview
Interview
Chris Potter
Interview by Eric Nemeyer, Photo By Ken Weiss
Hear Chris Potter at The Jazz Standard, New York, July 11-14 www.JazzStandard.com | www.ChrisPotterMusic.com certain tunes, they kind of go through stages - usually there are no words spoken about it. Its just that tunes tend to evolve and if you play the same tune night after night after night, they gradually change into something different than what they started out as. You might not even notice the change JI: thats a process that all of us go through trying to apply everything that you know and from there on out its a process of editing down so that less is more, and as you say, maximizing the energy and the impact of every note. CP: Exactly. There are a lot of stories about Miles. Someone would invariably have a tune that theyd bring in. They would have a lot of material, and by the time they got done with it, it was just kind of a skeleton of what it originally was. But Miles knew what he was doing. He was whittling it down into what he felt like he needed to make it as strong a statement as possible. I think thats kind of a real gift to know how to do something like that. Unfortunately, I was way too young to work with Miles. In a way, I wish I could have just seen that process just to see how he did it. But, a lot of the band leaders that Ive been lucky enough to work with did work with Miles and speak with a huge amount of admiration. Also the idea that when youre hiring people to be in the band, you want to get the most out of them by encouraging the best parts of their personality to come out. You dont want to stifle anyone. You want to see what they have to bring to the table and encourage that and thats a very special thing about jazz music. Theres so much leeway. Theres so much improvisation from every part of the band and then when you throw it all together the complexity of whatever it is, four or five people making music together in that way. It can be a very subtle, complex thing that I think thats a lot of the beauty of what this music is. I want to make sure that that comes out to the forefront. JI: Talk a little bit about your association with Red Rodney which began when you were 18. CP: It was a real trip just to get to know and have a chance to work with someone like that right off the bat. It was a very lucky circumstance that he came to my hometown in Columbia, South Carolina to do a jazz festival there. So I worked with him there and he said to give him a call when I moved to New York. I did and he invited me to join his band. He was just the real thing, a real be-bop character, He just had a great love besides for the music. He also loved practical jokes. When we were going to get on a plane, he would pretend that he had a limp and get on first. He was such a kindly looking man, he was in his 60s, so everyone was just so incredibly nice. Oh, Im so sorry about your leg, are you okay? And he was fine. Thats the very, very tip of a big iceberg there. He had some good stories. Who knows if they were true or not? But it almost doesnt matter.
James Carter
Interview & Photo by Eric Nemeyer
Hear James Carter at the Caramoor Jazz Festival, Katonah, New York, July 28 | www.Caramoor.org
JI: Since were talking about Illinois Jacquet and you played with the Mingus Big Band and the Lincoln Center Jazz Orchestra, could you compare the approach the approach and leadership styles and the vibe that you experienced between those ensembles. JC: Well, lets start with Mingus. Mingus, it seemed to me, I guess word got back to him about a cat playing in town, blah, blah, blah, blah, his names James Carterso I get this phone call from Sue one day, saying to come down to her place and get some tapes and some music and whatnot and that he wanted to see if you could possibly do some performances and all, you know, with the band down at Time Caf. It was basically a workshop, that was the way Mingus operatedwhoever was there, whoever could fill a chair. The music continuously was his legacy, as far as Im concerned. Those who come in get their fill and get the well, get the rejuvenation happening through Mingus music and the camaraderie that would come acrossor the tension. he always as a progenitor of tension that would wind up manifesting itself in his music. It would be friendly tension, whered hed just put the rib into somebody...I got somebody that can do this too, so you better be up on your stuff. There really wasnt this alright, lets have a sit-down rehearsal and do this that and the other. You basically came in and if there was a piece happening then youd just literally read the parts and stuff, when it came time for you to solo, he would point at you and blam! Sometimes grooves and feelings would change, within the chordal structure and all. It wasnt the same thing all the time with Mingus. Wed start out the set with Moanin, but Moanin all of a sudden turned into something different, every week. Especially if you have different personnel going from week to week. So, thats another way that I met other individuals as wellBrecker and Earl Gardnerall the cats Alex Fosterso that was that one thing. I guess theres a bit of Ellington in that too, as far as itll be here waiting for you. Thats how Mingus kind of struck me; anytime you wanted to come in and give Sue a callwhen I look back I played everything in there, except lead alto, in the section. Lincoln Center was pretty much Duke. Thats how I really look at it revisiting Duke. JI: Did you receive specific instruction about some of your parts or any suggestions about your work in either of those organizations. JC: Nope, just go for what you know, use obvious judgment as far as dynamics
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AROUND TOWN SPOTLIGHT

Fort Greene Jazz Festival Brooklyn, New York July 27, 2013
The Fort Greene Jazz Park Festival Series began during the summer of 2010. It is now in its third year (2012 was rained out) and was established to enhance the culture of Jazz music and to bring families, community residents and people in general, together in an atmosphere filled with music, a natural environment and an appreciation of the art and the artists who present this gift. The Fort Greene Park Jazz Festival was born out of a dream of its sole sponsor, Eric Frazier. He had contemplated what it would be like to produce a Jazz Festival in his own back yard. Among the many internationally recognized artists are Danny Mixon, Cynthia Holiday, Maurice Brown, Taeko Fukao, David Lee Jones (Grammy winner with Digable Planets) and many great national and local artists as well including Eric Fraziers own Quintet This year, the festival takes place from 3:00 Pm until 7:00 PM on Saturday, July 27, 2013 (rain date Thursday, August 1, 2013), and 3:00 PM until 7:00 PM on Saturday, September 7, 2013 (rain Date Saturday, September 14, 2013) at Fort Greene Park, Brooklyn, New York (Entrance on Willoughby Avenue & Washington Place). This is a free event. Information: 718207-4836 *** ting great publicity and the excitement is building exponentially in the Fort Green, Brooklyn community. We have received a Proclamation from the office of the Borough President, Marty Markowitz each year, as well from the Office of City Council Woman Latisha James, Declaring The Date of the festival as Fort Greene Park Jazz Festival Day." JI: What kinds of challenges have you experienced in the creation of the event? EF: The most grievous challenge as been that of mother nature. We had to keep our fingers crossed that good weather would prevail. The big storm came upon us in 2012 and caused us to cancel. Since that time we have been able to secure rain dates for each event. JI: What can attendees expect this year in terms of sounds, sights, food and other elements? EF: People can bring their own food. Selling food is prohibited. The sights and sounds are tremendous! The festival takes place in the park which provides a natural environment. Park rules though state that there is no barbecuing and no alcohol. The area set aside for the audience is flanked by two gigantic oak trees and between them sits a large area of green grass which is ripe for picnic blankets, outdoor chairs, and play areas for children. In front of this area is a wide span of steps that provide natural seating and a great view of the concert. Audience members are encouraged to bring their blankets and summer chairs. There will be CDs available for sale and artists on hand to autograph them. Directions to the park include the no. 2 train to Nevins Street, walk up Dekalb Avenue to Washington Pk, go left to the Willoughby Ave. entrance, The festival is atop the hill. For more directions visit http://www.nycgovparks.org/parks/ FortGreenePark/ JI: Talk about some of the key performers and your associations that have helped bring this together? EF: Among an array of performers are internationally recognized vocalists Cynthia Holiday, Taeko Fukao and my quintet. The festival also gives me an opportunity to showcase artists who have participated in my monthly Open mic Jazz Jam sessions which are held at Rustik (471 Dekalb Avenue, Brooklyn) on the first Tuesday of each month. Visit www.ericfraziermusic.com for more information. JI: What are your plans and hopes for future events? EF: I plan to take on sponsors for future events. Currently, I am the sole sponsor. Additionally, I would like to complete a play I am writing. It uses my music and I'm excited about the process of pulling it together and getting the show on the road. JI: Are there things youd like to discuss that I havent prompted you for? EF: Yes, There will be some great comedy and dancing as well during the festival. Attendees might consider coming prepared to not only listen and enjoy, but to dance their sandals off as well. For more information contact 718-2074836, or ericconga@aol.com Eric Frazier is a producer, composer, arranger, writer, recording artist, vocalist, tap dancer, educator, author, speaker and entrepreneur.
Eric Frazier
Producer Fort Greene Jazz Festival
Interview by Joe Patitucci JI: Could you talk about the development of the Fort Greene Jazz Festival which you are producing in two partsthe first on July 27 and the second on September 7? EF: The Fort Greene Park Jazz Festival was born out of dream I had to bring a Jazz concert to the park that is housed right in my own neighborhood. I never had a clue that it would actually happen, but as it is said, you must dream. It is from ideas that we conjure up that make dreams a reality. I guess for me, it is actually some type of creed in which to indulge. JI: How has the event developed over the past few years? EF: The Fort Greene Park Jazz Festival began with a modest number of people in attendance for each series and it grew by more than double in 2011 for each series. We were rained out during 2012. Now our rain dates are locked in and we expect record attendance. The event is get46
Interview
Brian Landrus
Interview by Joe Patitucci
Hear Brian Landrus at Joes Pub in New York, July 2 www.BrianLandrus.com
Jazz Inside: How do you balance your activity and efforts to maintain your proficiency and ongoing growth on the various saxophones and woodwinds which you play - baritone saxophone, bass clarinet, and flutes? Brian Landrus: I usually shed between two to three hours a day. I try and choose one sax, one flute, and one clarinet to work on during that time. Tone is the most important tool on my palette. I do long tones on each of those daily with a tuner. When I teach Ill play etudes or tunes with my students and work on transposing from their written key to the horn I have with me. That helps keep my brain actively working. I have set routines that I know work on each horn, but I always try to push myself on every instrument every day.... extreme range, dynamics, speed... JI: Talk about your work performing and touring with bassist Esperanza Spalding, the camaraderie, learning and creativity that you experience as a group member? BL: Its an amazing group of players, really great people. Were all tight friends. Wherever we are, well all go to jam sessions and its like were family. I love those folks, and I know well be friends for life. Esperanzas a joy to work with and she always has everyone improvise in every show, its a great gig. I feel very fortunate to have traveled the world with her. JI: What have you discovered about business in your experience of producing, releasing, distributing and selling your CDs on your own label? BL: Its been a helluva learning experience. I was lucky to have learned what I wanted to do at a young age and it seemed like the right direction given the changing marketplace. Producing has always been one of my favorite aspects, so it seemed like a logical step to start my own label and begin building a catalog. The record industry has changed rapidly and drastically in the last 15 years, and I didnt want to give the rights away to any more of my records. So far I have three records out and am recording a trio album in the early fall. Ive learned that its crucial to have a great publicist for my releases. Ive been fortunate to be working with my dear friend Ann Braithwaite for many years now. Shes really helped make this business model work. I certainly wouldnt be where I am without her supTo Advertise CALL: 215-887-8880
port. Shes made sure to get the records to people that need to hear them. JI: Could you discuss some of the ideas and motivation you picked up in your work and or associations with Bob Brookmeyer, Jerry Bergonzi, Gary Smulyan, and George Garzone? BL: Bob Brookmeyer was one of my best friends. He inspired me in many ways. When I met him at NEC, we initially worked on music, but we spoke about music less and less over the years. It was always about life, and where the music comes from. The theoretical side left a long time ago. I miss him a lot, and I wish I could play him my new record. He was infinity supportive. Jerry Bergonzi was one of the major reasons I chose to attend NEC. I listened to his records on repeat for weeks at a time. When we met for my first lesson. He asked what I wanted to play, I said Have You Met Miss Jones, and he proceeded to blow my mind. I was playing baritone, he started on piano...and killed it. Then got up and said Keep playing! and moved to the drums, where he killed it again. Then got up again saying Keep playing! and picked up his tenor. Hes an absolutely incredible musician, and totally immersed in all aspects of the process. I studied with him for years and continue to practice out of his books. Hes been a dear friend, I feel blessed to know him. Gary Smu-
lyan is a very generous man. I met him when I took a lesson with him 8 years ago when I lived in Boston. I took a bus to his house in Westchester, New York and we hung for hours. He gave me many recordings of Leo Parker that are out of print, along with all the Bach cello suites arranged for baritone. He let me take all the materials back to Boston so I could copy them and send them back. So very giving, I really appreciate his generosity and that lesson changed my life. He spoke in depth about what it means to be a serious baritonist.... complete control of the entire instrument, not just the middle range where its easy. I also met George Garzone at NEC. George and I hit off from the start. We both have a rough street side to us. He could tell from the start that I grew up in a different way than many kids in academia. Wed tell each other old fight stories and be laughing our asses off. I was a crazy kid and with the things I got into am lucky to be alive, same with George. George played on my first record and weve played together a lot over the years. I love George, hes a really great cat, and hes helped me tremendously. Hes one of my best friends. JI: How did your experiences in the academic settings at University of Nevada and New England Conservatory where you earned Bachelors and Masters degrees respectivelysupport
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Remembering Joshua Wolff

JOSHUA WOLFF
September 28, 1973 May 19, 2013
Jazz Pianist and Singer

By Nora McCarthy Everyone who had the good fortune of meeting, knowing and/or working with Joshua Wolff would whole heartedly agree that he was a man of immeasurable talent, a consummate professional and a seriously nice guy who was generous in spirit, loving, kind, patient, smart, witty, brave, diligent and fun and thats just the half of it! But thats how it goes with great people, they shine under all circumstances and conditions, they are truethey can be nothing else and it is apparent in all they do. Joshs music was a mirror reflection of his beautiful, engaging and mischievous spirit combined with his unfailing energy, sound, virtuosity and creative brilliance; he was the real deal. Much of the attention in this fickle music business goes to the big names and you dont often hear about the equally great players who are out there performing as sidemen and/or writing and developing new music, who are waiting for their opportunity. Though Josh was someone who hadnt yet realized the fame and fortune he so deserved, he was a significant artist in the jazz world with a unique style and approach on his instrument that was second to none. He was also the most sought after accompanist in New York since his arrival in the late 90s and he worked with many stars in this business. Despite his low profile, he never allowed ego, bitterness, resentment, impatience or jealousy to taint or discourage his enthusiasm or faith in the music he loved. Instead, he maintained a rigorous performance, practice and teaching schedule, exuded happiness, humility and amazing patience and a positive attitude that was admirable and infectious. I never heard him complain. He had a lot of guts and you could always count on him. On Saturday, May 18, 2013 at around noon, I learned that my friend and band member Joshua Wolff was in St. Lukes Hospital in Manhattan fighting for his lifehe had been diagnosed with Stage IV pancreatic cancer on Mothers Day, only seven days earlier. Friends, family and colleagues from around the country gathered at his bedside that week. He passed away the next day on Sunday, May 19 surrounded by family and a dozen close friends, I barely had a chance to say goodbye let alone comprehend what had happened to him in the little more than two months since I had seen him last. The initial shock of this news was devastating and hard to accept; Josh was only 39full of life and music. We had just done a performance in February for Black History Month at City College with George Brandons Blue Unity Orchestra and had been meeting twice a month for music lessons. Id known and worked with Josh since 1998thats when I met the handsome,
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gregarious and gifted pianist. He had just arrived in New York from his hometown of Seattle, Washington. Josh was a singers delight, a strong soloist and sensitive accompanist. He worked with some of the best singers in the business today including but not limited to the following: Mark Murphy, Sheila Jordan, Jay Clayton, Catherine Dupuis, Judi Silvano, Tessa Souter, Whitney James, Michelle Walker, Hilary Gardner, Valerie Joyce, Bjorn Solli, Greta Matasa, Patti Summers, and Constance Hauman. Josh had a special relationship with Mark Murphy however, and he traveled around the country with him as well as a tour of Japan with him and Sheila Jordan. Josh was a fine singer also.His vast musical knowledge spanned the entire spectrum of jazz, from Gospel to blues to bebop, post bop, con-
a duel. The sold out audience of 700 were thrilled and many said it was the best concert they had ever seen. The anticipation for next years scheduled rematch was at a very high level. The concert can be viewed on YouTube: The Dual With Brother David Michael Wolff http://youtu.be/dm2xFefNKds The greatest thing you will ever know is just to love and be loved in return. Josh touched the lives of many throughout his lifetime and the outpouring of love from around the world is a testament to that truth. His song was a symphony in every key and he played it with the utmost passion, panache, courage, style and grace until he ran out of notes. He closed his earthly performance like the maestro that he was, a perfect resolution to a life well lived and while it is hard to say goodbye to my dear friend or make sense of his untimely death, I know he will never be forgotten. Joshua Wolff's Final Notes - Lush Life http://youtu.be/rUQG6OT9E_g
temporary, the Great American Songbook as well as classical...you name it, he could play it all. He simply made beautiful music and his incredible sense of time felt as if there was a complete rhythm section on the stage when it was just he and I. He could arrange on the spot and read anything that was put before him, no matter how involved or complicated, the first time downperfectly. In 2010, Josh became a member of George Brandons Blue Unity Ensemble and most recently the Blue Unity Orchestra and did several performances over the past two years with these groups and a recording in 2011, Toward the Hill of Joy with the Blue Unity Ensemble. Josh was also a member of my QuARTet that featured bassist Jeffrey Carney, drummer Tony Jefferson and alto saxophonist Jorge Sylvester. One of our duo performances at the Metropolitan Room in NYC has resulted in a live CD called, A Time For Love, that I am releasing later this year in his memory. Joshua Wolffs last public performance was with his brother, David Michael Wolff, in North Carolina, where they performed on two pianos in
There have been two memorials held, one in New York City at the Cathedral School of St. John the Divine and the other at the Cornish College of the Arts, Poncho Concert Hall, in Seattle, Washington. On July 15, the Carolina Philharmonic will host the first edition (of what will become the annual) Joshua Wolff Memorial Jazz Festival in Pinehurst, NC. At the request of the Wolff family, the Philharmonic has also established the Joshua Wolff Memorial Music Education Fund. Tax-deductible donations to this fund will help present the Joshua Wolff Memorial Jazz Festival and provide free music education opportunities and scholarships to children in Moore and Cumberland Counties, NC. To donate by check please address to Carolina Philharmonic, a 501 (c)(3) non profit, earmarked Joshua Wolff and mail to 460 Midland Dr., Pinehurst, NC, 28374, or by calling the Philharmonic at 910-687-4746.
The Blues Broads

(continued from page 12)
JI: Who else was a big influence besides Muddy? BB: Speaking of Louisiana a while ago, somebody like Clifton Chenier, just a wonderful bandleader and just a wonderful person. Just seeing people like that, seeing how they did, and Muddy, too, being on stage with people like that, you just learned, that was a huge learning curve right there because you saw the interaction between them and their band and thats something you cant replace. And Otis Rush was kind enough to bring me up on stage. Just the intensity of his music always astounded me. I like the hardnessI just happen to prefer that kind of hard-hitting stuff thats not, you know JI: Youre like a guy when it comes to that. BB: [Laughs] And I do like the kind of lowdown voices like Jimmy Reed, J.B. Hutto, and people who had - speaking of J.B. - humor in their songs. That just really got me, I loved that. Elmore James, Ill have to say, was a huge influence on me, although I never got to meet him. And Eddie Taylor, I did his song Big Town Playboy. JI: For your first album, right? BB: Yeah, and I would always start every show I ever did with that song. JI: Do you have a good story to tell about working at Antones? BB: Golly, well, since Stevie has such a big name, Ill tell you this: Albert King, oh, what a guy he was, Albert King was a tough man. He had come through a lot of tough life experiences
multiple days, they wouldnt come all that way just for a one-night show. We used to have them for four days or however-many days and the tickets were cheap so that students could afford to come out and see what it was all about. So that was a real phenomena that really did change Austin, because musicians especially from the East Coast, it seemed, ended up migrating down there to be a part of the scene. JI: Which of those musicians had an influence on your style and the way you conducted yourself? BB: Well, Ill have to say that Muddy Waters could have been the most influential. I happened to gravitate toward the Delta style, that and the beginnings of Chicago blues, when the bass and drums were not prominent, it was still about the guitars and harmonicas. Anyway, Muddy really embraced all of us. You see, those guys, I think, realized that people like ourselves--for better or worsewere going to be the people to carry on that musical tradition. No one wants to do their grandparents and parents music, but for us, it was all new. Muddy took us seriously because he knew we wanted to really learn, we werent just going to say, Oh, yeah, Im a blues musician. Maybe 20 years later, yeah, we all said, Yeah, I guess were really doing this. Weve gotten away with it, were in the game. Weve tried to really carry on those styles, and hopefully we have added to the music form.
and he just wasnt somebody to be trifled with. So Ill never forget the day that he was just sitting around in the afternoon and Clifford said to him, You know, Albert, theres this young guitar player named Stevie Ray Vaughan and you are absolutely his idol, and I swear to you, hes a good player, maybe you would invite him on stage. Well, like I say, Albert just was nobody to be trifled with, he was, I dont know how to say, but anyway, he wasnt necessarily enthralled by young white kids, know what I mean? He was a very serious guy and so anyway, I thought, this is not going to happen. But sure enough that night, he gets little Stevie up there and little Stevie of course just blazes with all guns and it was such a great moment. We saw the huge smile that you would only occasionally get from Albert, that huge grin because it, yes, it was obvious from the way he played that Stevie absolutely idolized Albert. JI: And Albert King went on to mentor Stevie Ray Vaughan, didnt he? BB: Yes. Absolutely. They ended up collaborating and theres some great footage of all that. It was one of those great moments at Antones, the youngsters and the old guys really getting together. That happened, of course with The Fabulous Thunderbirds and Muddy and with other people like that. You see, for one thing, speaking of the Thunderbirds, they were the house band at the original Antones, which meant that a lot of these artists could just come there. People like Albert Collins, and Buddy Guy, they could come from Chicago or wherever and play at Antones with the confidence that they would have a good backing band. JI: Who was in the Thunderbirds at that point? BB: Well, that was Jimmie Vaughan, he was the founder, and Kim Wilson, the great harmonica player, Keith Ferguson on bass and Mike Buck on drums. When Clifford made them the house band, that was a huge deal. They ended up going out on the road with some of the stars that played Antones because they like their skills as musicians and their dedication. JI: All right, lets go back to you guys. I wanted to speak about The Spinners Mighty Love for a second. You know, you, Tracy, and Annie singing background on that one was really fun for me. How did it feel doing 70s R&B? BB: Well, Im glad you dont think it was too far out of our pocket, but thats kind of JI: I like it better than the original. BB: Oh, fantastic. [Laughs] Dorothy was the one person that we did have to find some songs for right away and so, because she had not been doing styles other than gospel, and that is a song that Bob Brown came up with. And River Deep, actually. Those suggestions were right on for Dorothy.
Angela Strehli & Otis Rush, 1985

(photo by Clifford Antone)
JI: Whose choice was it to perform Dylans Its

July 2013 Jazz Inside Magazine www.JazzInsideMagazine.com 49
The Blues Broads

JI: Do you have any stories about the four of you on the road? I cant imagine what you guys are doing after your gigs. BB: Well, we have a lot of fun. You should ask some of the band members that question, you know? We have a lot of laughs. JI: So what about the name of the band? BB: Its funny the reactions we get to the name The Blues Broads, its funny that in this day and age people might think its a little untoward or something like that. Or as Tracy said, Ive been called a lot worse. We feel like were at the top of our game. To us it just means were confident in what were doing and were having fun. We show that in our overall attitude and like you say, we enjoy looking sharp and just really showing people what we can do individually and together. Were not a put-together group, yeah. And having this group of backing musicians makes it possible for us to improvise, like great jazz musicians would. Youve got your background, you know, youve got your backing people, and then you can kind of take off and do your thing and it doesnt have to be the same all the time and all of that. So I think thats real important in our presentation. JI: Could you please speak about the diversity of the Blues Broads material? Because when listening to them, I want to pray one second, and get loaded the next. Its crazy! performance career in the past? BL: I feel very lucky to initially have come from the apprenticeship side of life. My teacher Frank Perry had me subbing for him when I was 14 in his jazz quintet. I was playing with men that were great players all the time. I remember playing too long of a solo and the band just stopped... What a great lesson, they didnt have to say a thing. This went on for many years. When I started my own quartet Id hire the best players in town and paid the three of them $100 each when we were getting $300 a night. Most were thirty years older than me. I was happy to be paying these guys to kick my ass every gig. I knew that they deserved to get paid, and I hadnt earned it yet. After a year we got a raise and I made a little bread. I had an amazing guitarist named Clint Strong in my band for many years. When I began playing with Clint hed start playing the head over me when I was screwing it up. Hes a master, and he wasnt being mean, he was just telling me that I didnt know the tune. I appreciated what he was doing. I remember one night after about six months of this weekly gig when he didnt play any of the heads with me that said a lot. This continues today. I was told early on that I should always hire players better than me, so thats what Ive always done. . Thats how I continue to grow.... sometimes you have to be the one to keep the fire on. To me, much of the lineage is lost when players go degree-degree-degree. There has to be life experience in there. I know thats made me a much better player. I learned standards by playing
All Over Now Baby Blue? BB: Annie has done that song for many years. Her voice is so strong, we are astounded every time she sings it. JI: How does it feel to have to stay in the background? When someone else is singing, dont you want to get up there and start belting? Whats it like to have to stay in the background? BB: No, youre wrong, were thrilled to be in the background enjoying the performance of whoever it is and then doing our parts, or taking a break. Its not just a real orchestrated thing. On some songs, I think I get at least one break where I dont even have to be on stage. JI: I saw that on the DVD, I was looking for you, you were gone. BB: Well, and Im a strong believer in dont do more parts than is necessary. Just because you have four or five voices doesnt mean you have to use them all the time. I think a three-part harmony is a lot cooler than a four-part harmony. Four parts, somehow ends up sounding kind of square, to me. So we just do whatever we think is appropriate and we just dont do it if its not called for.
BB: [Laughs] Yeah, you just mentioned that it was important for people to realize that we dont just do blues. In fact, if weve ever been criticized for anything, it couldve been, Well, you should do more blues songs. So anyway, we dont care about that, we do material that just really seems to fit the voices and the attitude, just the styles that we can do the best and we dont care where it came from. JI: Well, thats great. You have a major achievement here. The Blues Broads are like the Mount Rushmore of contemporary blues and gospel singers! BB: Thank you. JI: Have you ever performed in New York before? BB: Over the years, yeah. But not recently, I mean, everywhere from Tramps to the Lone Star Cafe, to Mannys. Oh, boy, loved that place. BB: Were all so excited to be at the Iridium for two nights at such a great place, a jazz club thats comfortable. Bob and I got to go there several weeks ago and so we attended three or four shows. It was just such a comfortable room and with Todds enthusiasm and support, we feel so lucky. Itll be such a great ending to our tour.
Brian Landrus
or challenge your artistic, performing and income-producing pursuits? BL: Well, I started playing professionally when I was 16 and only went to college after Larry Engstrom, the chairman of the school of music at UNR told my mom they could get me a scholarship to go. I was at a crossroads and wasnt sure what I was going to do. Thankfully Larry talked me into going. I wasnt good at school until college, once there I was very serious, although I had to take a couple years off because of a show I did that was 6 nights a week, 8 shows a week. Im happy to have the experience of being at a big university. UNR has an excellent faculty and I learned a lot of theory to help me get to the next level. NEC was an amazing experience. I did two masters degrees there so I was able to write for jazz orchestra and play in the various ensembles every week. That really helped get my comp chops together for large ensemble. NEC was one of the most intense, and beautiful experiences of my life. I was highly encouraged to develop my own voice there. JI: What are your opinions about the benefits or shortcomings of pursuing the academic route versus performance and apprenticeship in the music industry that have in the past pathway to a
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them with my elders, and recordings, not just by being in a practice room at school-although thats a crucial element. Things have changed though, and Im aware these opportunities are rare. I always think about what Bergonzi said to me one day. What makes you who you are as a player? What you listen to, who you play with, and what you practice. Without any one of those were limited. I truly enjoy academia, and have gained a lot of knowledge from it. But as for flat out playing your axe, nothing does it like hanging with the greats. Now the funny part about that is these days most the heavy cats are in academia. JI: What kinds of lessons did you learn about stage presence, organization, leadership, business - in your experiences performing with pop music artists including The Temptations, The Four Tops, Martha Reeves, The Coasters, The Drifters, Feist, &The Beach Boys? BL: I started playing with pop acts when I was a kid. I got my first gig with the Coasters & The Drifters when I was 16. I had never put on a tuxedo until that first night. The contractor hasnt told them I was a kid, so when I showed up the MD was shocked, maybe I should say horrified. But I hung, I read the show and played My One & Only Love solo tenor under a spotlight in front of 1500 people. The band took a break for that song and it was a complete solo. I didnt know the tune well so the trumpet player taught
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JAZZ BIRTHDAY GALLERY
THIS DAY IN JAZZ JULY

July 1
Hartman (an album he recorded with Coltrane for Impulse Records in 1963). Hartman, a heavy smoker, was 60 when he died of lung cancer in 1983.
has been popular in the smooth jazz market since the early 1990s.
Rashied Ali (7/1/1933-8/12/2009). Philadelphia-born avant-garde/free jazz drummer best remembered for playing with John Coltrane during the last few years of Tranes life. Was 76 when he died of a heart attack in 2012.
July 4
July 7
Hank Mobley (7/7/1930-5/30/1986). Hard bop/postbop tenor saxophonist who recorded for Blue Note extensively in the late 1950s and 1960s. The late jazz critic Leonard Feather described him as a middleweight champion of the tenor saxophonist because he had a tone that was bigger than Stan Getz or Zoot Sims but not as big as Coleman Hawkins or Sonny Rollins. Doc Severinsen, 86 (7/7/1927). Big band trumpeter best known for the many years he worked with Johnny Carson as the bandleader on The Tonight Show. Joe Zawinul (7/7/1932-9/11/2007). Austrian pianist/ keyboardist best remembered for co-leading the fusion band Weather Report with saxophonist Wayne Shorter in the 1970s and for his years as a sideman in Cannonball Adderleys quintet. Zawinuls most famous compositions include Mercy, Mercy, Mercy and Birdland.
July 2
Ahmad Jamal, 83 (7/2/1930). Veteran acoustic pianist who specializes in bop and post-bop and has been active in jazz since the 1940s. Born Frederick Russell Jones in Pittsburgh, Jamal is a convert to Islam. Teodross Avery, 40 (7/2/1973). Big-toned post-bop tenor saxophonist/composer whose influences have included John Coltrane, Joe Henderson and Stanley Turrentine.
Fred Wesley, 70. (7/4/1943). Hard-blowing trombonist who is best known his years with the Godfather of Soul, James Brown. After leaving Browns band, Wesley spent several years with George Clintons Parliament/Funkadelic and briefly led his own p-funk band, the Horny Horns. Although best known for funk and soul, Wesley has also recorded his share of instrumental jazz albums.
July 5
Eric Watson, 58 (7/5/1955). Massachusetts-born acoustic pianist known for post-bop and avant-garde jazz. The expatriate improviser has lived in France for many years. Bruce Turner, (7/5/1922-11/28/1993). British alto and soprano saxophonist remembered for playing bop as well as swing and Dixieland. His autobiography, Hot Air, Cool Music, was published in 1984.
July 3
Lonnie Smith, 71 (7/3/1942). Not to be confused with pianist/keyboardist Lonnie Liston Smith, organist Lonnie Smith has been focusing on soul-jazz and hard bop since the 1960s. He played alongside baritone saxophonist Ronnie Cuber in the George Benson Quartet of 1966 and 1967. Johnny Hartman, (7/3/1923-9/15/1983). Romantic jazz vocalist known for his smooth, urbane, sophisticated approach. Hartman, who emphasized ballads, was active in jazz from the 1940s until the early 1980s and is remembered for John Coltrane and Johnny
July 6
Louie Bellson (7/6/1924-2/14/2009). Iconic swing/bop drummer who was active in jazz from the 1940s until the late 2000s. Played in the big bands of Duke Ellington, Harry James, Tommy Dorsey and Benny Goodman. Was 84 when he passed away in 2009. Rick Braun, 58 (7/6/1955). Commercial trumpeter who
July 8
Billy Eckstine (7/8/1914-3/801993). Legendary jazz singer remembered for his smooth, polished baritone vocals. The Pittsburgh native influenced a long list of vocalists ranging from Johnny Hartman and Arthur Prysock to soul star Brook Benton.
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Jazz Birthday Gallery

July 9
Frank Wright (7/9/1935-5/17/1990). Avant-garde tenor sax firebrand who was greatly influenced by Albert Ayler. Wright also played soprano sax and bass clarinet, although the tenor was the primary vehicle for his scorching free jazz. The Mississippi native was only 54 when he died in 1990. Colin Bailey, 79 (7/9/1934). British bop drummer who grew up in the U.K. but has been a U.S. citizen since 1970.
influential hard bop/post-bop trumpeters of the 1960s. Tom Harrell, Terence Blanchard, Brian Lynch and Roy Hargrove are among the many trumpeters Morgan influenced. Was only 33 when he died of a gunshot wound inflicted by his common-law wife at Slugs Saloon (an East Village club that closed not long after his death).
July 11
Kirk Whalum, 55 (7/11/1958). Commercial saxophonist who has been popular in the smooth jazz market since the 1980s. Has backed Whitney Houston, Barbra Streisand and many others in popular music. Francine Reed, 66 (7/11/1947). Jazz-influenced blues/ R&B singer who is known for performing and touring with country-pop singer Lyle Lovett. She is the sister of jazz singer Margo Reed.
July 10
Lee Morgan (7/10/1938- 2/19/1972). Influenced by Clifford Brown, Fats Navarro and Dizzy Gillespie, Philadelphia native Lee Morgan was among the most
July 12
Eric Nemeyer
Big John Patton, (7/12/1935-3/19/2002). Jimmy Smith-influenced organist who is remembered for his contributions to soul-jazz and hard bop. Was a sideman for alto saxophonist Lou Donaldson, guitarist Grant Green and others. Will Bradley, (7/12/1912-7/15/1989). Bandleader/ trombonist who was known for his contributions to swing. Had a major hit with his 1940 recording of Beat Me, Daddy, Eight to the Bar. Paul Gonsalves, (7/12/ 1920 5/15/1974). Massachusetts-born tenor saxophonist who played swing and bop and is best remembered for playing in Duke Ellingtons orchestra in the 1950s and 1960s. Was also a sideman for Count Basie in the late 1940s and Dizzy Gillespie in 1949 and 1950. Conte Candoli, (7/12/1927-12/14/2001). The younger brother of fellow trumpeter Pete Candoli, Secondo Conte Candoli is remembered for his work with Stan Kentons orchestra and Woody Hermans First Herd. Was originally from Indiana but spent much of his life in Los Angeles, where he was a member of Howard Rumseys Lighthouse All-Stars from 1956-1960. Chuck Loeb, (7/12/1955). Influenced by Pat Metheny and Jim Hall, Chuck Loeb is a lyrical guitarist whose output has ranged from fusion to pop-jazz to post-bop.
July 13
Albert Ayler, (7/13/1936-11/5/1970). Distinctive, bigtoned tenor saxophonist and free jazz firebrand who built an impressive catalogue in the 1960s. Influenced Charles Gayle, Ivo Perelman and many other avantgarde saxophonists. Was only 34 when he died in 1970.
July 14
Doug Carn, 65 (7/14/1948). Pianist who has often recorded as a post-bop instrumentalist but is also capable of writing or composing R&B. Formerly married to singer Jean Carn. Alan Dawson (7/14/1929-2/23/1996). Bop-oriented drummer who played in Dave Brubecks quartet from 1968-1974. Spent much of his adult life in Boston and was part of the Berklee College of Music faculty from 1957-1975. Lauren Sevian, 34 (7/14/1979). Baritone saxophonist who has played with the all-female big band Diva but has also recorded as a leader. Rubberlegs Williams (7/14/1907-10/7/1962). Atlantaborn Henry Rubberlegs Williams was a jazz and blues singer who entered the music world in the 1920s and went on to perform with some major bandleaders, including Fletcher Henderson and Chick Webb. In 1945, he was featured on some recordings by pianist Clyde Hart that employed Charlie Parker and Dizzy Gillespie as sidemen.
July 15
Philly Joe Jones (7/15/1923-8/30/1985). Philadelphia native and hard-swinging bop drummer who is best remembered for his contributions to Miles Davis 19551957 quintet with John Coltrane, Red Garland and Paul Chambers. Also recorded as a leader in the 1950s, 1960s and 1970s.
July 16
Hank Jones July 31

52 July 2013 Jazz Inside Magazine www.JazzInsideMagazine.com
Cal Tjader (7/16/1925-5/5/1982). Swedish-American vibist Cal Tjader was easily the most famous nonLatino musician who made his mark in Afro-Cuban jazz. Tjader was famous for his mambo, son and chacha interpretations of jazz and pop standards and was a mentor to conga player/bandleader Poncho Sanchez.
Ray Copeland (7/17/1926-5/18/1984). Hard bop drummer who was active from the 1940s until the early 1980s. Copeland, the father of drummer Keith Copeland, was only 57 when he died in 1984. Chico Freeman, 64 (7/17/1949). Chicago-born son of fellow tenor saxophonist Von Freeman. Although the tenor sax is his main instrument, the post-bop-oriented Freeman has also played soprano sax, clarinet, bass clarinet, flute and alto flute. Ben Riley, 80 (7/17/1933). Veteran hard bop/post-bop drummer who is best known for the three years he spent with Thelonious Monk. Has also been a member of the New York Saxophone Quartet and the Monk tribute group Sphere.
July 20
Ernie Wilkins (7/20/19196/5/1999). Swing/bop tenor sax player best remembered for his association with Count Basie. Also recorded as a leader sporadically. J. Plunky Branch , 66 (7/20/1947). Versatile saxophonist who has made his mark in both jazz and R&B. His song Every Way But Loose was a hit in the U.K.
July 18
Wilton Crawley (7/18/1930-11/1967). Virginia-born Dixieland/swing clarinetist who grew up in Philadelphia and began making a name for himself in the 1920s. Played with Jelly Roll Morton, Eddie Lang and other pre-bop greats.
July 21
July 19
Carmell Jones (7/19/1936-11/7/1996). Big-toned hard bop trumpeter who was greatly influenced by Clifford Brown. Was a sideman for Horace Silver and Gerald Wilson in the 1960s. Cliff Jackson (7/19/1902-5/24/1970). Stride pianist who emerged in the 1920s and continued to play in a pre-bop piano style up until the time of his death in 1970. Al Haig (7/19/1922-11/16/1982). Bop pianist who was
Sonny Clark (7/21/19311/13/1963). Hard bop pianist who recorded for Blue Note in the 1950s and early 1960s. Was only 31 when he died of heart failure in 1963.
July 22
Junior Cook (7/22/19342/3/1992). Big-toned hard bop
Charlie Persip July 26

Eric Nemeyer
Charles McPherson July 24

To Advertise CALL: 215-887-8880 July 2013 Jazz Inside Magazine www.JazzInsideMagazine.com 53
Eric Nemeyer
July 17
influenced by Bud Powell in the 1940s and was a sideman for Charlie Parker, Dizzy Gillespie, Stan Getz and others. Began recording as a leader in the 1950s.
tenor saxophonist best remembered for playing in Horace Silvers quintet in the late 1950s and early 1960s. Was also a sideman for Blue Mitchell and trumpeter Bill Hardman. Don Patterson (7/22/1936-2/10/1988). Jimmy Smithinfluenced organist known for soul-jazz and hard bop.
July 23
Steve Lacy (7/23/1934-6/4/2004). Soprano saxophonist who started out playing Dixieland in the 1950s but shifted his focus to avant-garde jazz and post-bop. From 1961-1964, Lacy and trombonist Roswell Rudd co-led School Days (a group that played Thelonious Monks music exclusively).
July 24
Billy Taylor (7/24/1921-12/28/2010). Dr. Billy Taylor had a remarkably long career in jazz, making his mark as both an acoustic hard bop pianist and an educator. Taylor was 89 when he passed away in 2010. Jon Faddis, 60 (7/24/1953). Big-toned hard bop trumpeter with a strong Dizzy Gillespie influence. Has served as musical director for the Gillespie ghost band and the Carnegie Hall Jazz Orchestra. Charles McPherson, 74. (7/24/1939). Bop-oriented alto saxophonist who was greatly influenced by Charlie Bird Parker. Has often been compared to fellow Bird disciples Sonny Stitt and Phil Woods.
July 25
Johnny Hodges (7/25/1906-5/11/1970). Lyrical but swinging alto saxophonist best remembered for his association with Duke Ellington. Known for his gorgeous, distinctive tone, Hodges joined Ellingtons band in 1928 and continued to play with him in the late 1960s.
Rashied Ali July 1

Eric Nemeyer
Jon Faddis July 24

Ken Weiss
Jazz Birthday Gallery
Eric Nemeyer
Ahmad Jamal July 2
Ken Weiss
July 26
Charlie Persip, 84 (7/26/1929). Veteran hard bop drummer who has been active in jazz since the early 1950s. Has recorded sporadically as a leader but is best known for his sideman work. Erskine Hawkins (7/26/1914-11/11/1993). Swing trumpeter/bandleader who is best remembered for his big band recordings of the 1930s, 1940s and early 1950s. Remained active in jazz in the 1980s.
July 30
David Sanborn, 68 (7/30/1945). Distinctive, influential alto saxophonist who has played everything from souljazz, smooth jazz and jazz-funk to straight-ahead postbop. James Spaulding, 76 (7/30/1937). Veteran alto saxophonist who has focused on hard bop and post-bop. His long list of sideman credits includes Sun Ra, Freddie Hubbard and Joe Henderson, among many others. Kevin Mahogany, 55 (7/30, 1958). Hard-swinging, big-voiced jazz singer with a strong Joe Williams influence and a passion for classic soul and the blues. Although most of his work has been jazz-oriented, the Kansas City-born Mahogany has also recorded some straight-up R&B.
July 27
Jean Toussaint, 53 (7/27/1960). Aruba-born hard bop/ post-bop saxophonist whose influences include Wayne Shorter, John Coltrane and Joe Henderson. Played with Art Blakeys Jazz Messengers from 1982-1986. Now lives in London.
July 28
July 31
Kenny Burrell, 82 (7/31/1931). One of the most influential jazz guitarists of the last 60 years, Kenny Burrell has been performing hard bop since the 1950s. Burrell first recorded as a leader in 1956 and continues to record in the early 2010s. Hank Jones (7/31/1918-5/16/2010). The older brother of trumpeter Thad Jones and drummer Elvin Jones, acoustic pianist Hank Jones had a remarkably long career in jazz. Hank Jones started out playing in swing bands as a teenager in the 1930s but later shifted his focus to bop. Jones was 91 when he died in 2010. Stanley Jordan, 54 (7/31/1959). Virtuoso fusion guitarist who has been recording since the early 1980s. Jordans influences have ranged from John McLaughlin, George Benson and Al DiMeola to Jimi Hendrix and Jeff Beck.
Billy Taylor July 24

Don Ellis (7/25/1934-12/17/1978). Versatile trumpeter who played everything from hard bop and post-bop to avant-garde jazz. Led the Hindustani Jazz Sextet, which was known for its strong world music influence. Brian Blade, 43 (7/25/1970). Versatile Louisiana-born drummer who has played jazz extensively but has also played rock and R&B.

Delfeayo Marsalis, 48 (7/28/1965). New Orleansborn trombonist who is a son of pianist Ellis Marsalis, a younger brother of trumpeter Wynton Marsalis and tenor/soprano saxophonist Branford Marsalis and an older brother of drummer Jason Marsalis. Influenced by J.J. Johnson, he has focused on hard bop and postbop.
July 29
Charlie Christian (7/29/1916-3/2/1942). Although he was only 25 when he died of tuberculosis in 1942, Charlie Christian had an enormous influence on jazz guitar. The swing-oriented Christian was jazz first important electric guitarist and influenced a long list of bop guitarists, including Barney Kessel, Wes Montgomery, Tiny Grimes, Grant Green, Kenny Burrell and George Benson.
Eric Nemeyer
Kevin Mahogany July 30

CD Reviews
Martins flute is very pretty, while Raphael Baratas measured drumming adds a slightly tense undercurrent and Adolfos solo, while also pretty, adds a where-have-you-gone touch of yearning to it. Chick Coreas Crystal Silence gets a gently swaying, bossa-laced treatment, the rhythm evoking an idyllic summer evening with Adolfos keys twinkling like starlight and Martins flute singing almost like a saxophones hard-but-not-brusque tonebut it gradually but indisputably builds to a understated dramatic climax without any overt, show-off-y fireworks. As mentioned before, Fine Mixtures is a very appropriate title. Here, fine not only means very, very good, but also means diminutive and delicate in that the Brazilian and American influences are so skillfully integrated its hard to discern where one ends and the other begins. Finas Misturas is not bebop or post bop with Brazilian rhythms nor is it Brazilian pop music with jazz overtones, but a true blending of both. Its a deceptively easygoing set, perfect for chill-out time yet brimming with plenty of nourishing food for the jazz-hungry listener and plenty to satisfy a discerning palette for Brazilian flavors. about 3 minutes. His discs were high-energy affairs that stretched the boundaries of tradition to their breaking point without bursting them. I find him to be the best sax player in the trio format since Sonny Rollins in the 50s. But if youve got to add a pianist, young Mr. Djangirov proves to be the one for the job. I had my doubts since in his own recordings, Djangirov has so far shown a proclivity for playing long albeit technically impressive solos designed to display his speed and dexterity. Fortunately, he has brought those tendencies under control here. He understands where Allen is going and enhances what is happening. Djangirov solos are relatively brief and pointed but no less striking than those in his solo work. The pianist appreciates that less is often more and when he is not soloing, he is as likely to lay out as he is to comp behind Allen. The result is an exciting young group with a sound that recalls the Classic Coltrane Quartet circa 1965, just before their breakup. Allen, like Trane, is at times almost begging to go out. Djangirov, like Tyner, is helping to keep the saxman grounded and Douglas and Barber create incredible rhythms. The result is exhilarating for the listener, with very little excess as is Allens trademark. Tracks still clock in at an average of 5:30. There has been a little expansion for the additional instrument but Allen and company still manage to avoid the self-absorbed meandering that plagues many of todays recordings. The selections, all Allen originals, are divided into two acts, as if it was play or musical. Though the liner notes explain the significance of each composition to the overall narrative, I never got the feeling that this story was essential to the performance or the subsequent enjoyment of the music. Grace is a fine piece of modern jazz, whatever the back story. I did have a number of favorite tracks; Chagall, a piece which moves around skittishly as if it is one of its namesakes paintings come to life. I love Djangirovs comping here, which recalls McCoy behind Coltrane on My Favorite Things. Luke Sky Walker, featuring some energetic playing from Allen as he is being chased by Djangirov, is also strong. Cross Damon, with its mournful beginning, suggests Coltranes Alabama before Barber kicks it into high gear and Allen joyfully follows his lead. Its as if they are saying the time for mourning is over, lets celebrate. Barber is a terrific young drummer. I had never heard him before this album but I will pay attention from now on. Papillion 1973 is a favorite for two reasons: Djangirovs solo is one of his strongest on the album, and it evoked memories of one of Steve McQueens finest performance on film. Finally, Selah (My Refuge), is the most traditional piece on the album. Allens tenor is bluesy and gorgeous; Djangirov provides appropriately understated counterpoint. Its a calming place to come and reflect after being taken on an exhilarating ride.
Antonio Adolfo
FINAS MISTURAS AAM www.aammusic.com. Floresta Azul; Balada; Giant Steps; Con Alma; Misturano; Memories of Tomorrow; Naima; Tres Meninos; Crystal Silence; Time Remembered. PERSONNEL: Antonio Adolfo, piano; Leo Amuedo, electric guitar; Claudio Spiwak, acoustic guitar; Marcelo Martins, tenor sax, flute; Jorge Helder, acoustic bass; Rafael Barata, drums. By Mark Keresman Antonio Adolfo is a Brazilian jazz pianist whose daughter is the fine singer Carol Saboya, not so incidentallylooking to mix-and-mashup assorted styles of both Brazilian music including samba, bossa nova, and moreand jazz. Fortunately for us, he succeeds with flying colors. Finas Misturas translates as Fine Mixtures, and that works for this writer. Piano-wise, Adolfos stylistic antecedents would include Bill Evans, Keith Jarrett, and Chick Coreamasters of sublime lyricism every one. Floresta Azul begins the proceeding with a pensive, coolly undulating melody, carried by Marcello Martins flute. Its elegant and soothing in a manner that recalls the first two albums by Chick Coreas Return To Forever (to clarify, the ones featuring Flora Purim and strong Latin overtones). Martins flute even has some of the sterling grace of Joe Farrells work with RTF, and bassist Jorge Helder has some of the probingly melodious and sinuous qualities of RTF then-bassist Stanley Clarke. Adolfos approach is florid and sparing, strangely (and beautifully) enough. Coltranes Giant Steps gets an oddly exhilarating run-throughoddly because its exhilarating (Martins surging tenor) while the rhythm has a slightly languid bossa nova feel while swinging mightily all the same. Its a study in contrasts that you might not notice because its so darn immediately enjoyable also note how Adolfos piano notes dance under Martins tenor, too. Dizzy Gillespies Con Alma is rendered as a contemplative ballad, Leo Amuedos electric six-strings simmer and shine like George Benson during his CTI period, oozing confidence and cool restraint. Keith Jarretts Memories of Tomorrow is a duet between Amuedo and Adolfo, both engaging in some sweet-but-not-saccharine unison playing, born along by a rhythm that furtively implies bossa nova without overtly featuring it. One of the prettiest jazz ballads ever, Naima gets a similar treatment, albeit with a full band.
J.D. Allen
GRACE Savant Records SCD 2130. Mass; Load Star; Chagall; Luke Sky Walker; Grace; Detroit; Cross Damon; Pole Star; Papillion 1973; Selah (My Refuge); The Little Dipper PERSONNEL: JD Allen, tenor saxophone; Eldar Djangirov, piano; Dezron Douglas, bass; Jonathan Barber, drums By Curtis Davenport On Grace, his seventh album as a leader, saxophonist J.D. Allen has made a few changes. He has a new bassist and drummer with Dezron Douglas and Jonathan Barber replacing longtime cohorts Gregg August and Rudy Royston. He also has expanded the group from a trio to a quartet with the addition of the celebrated young Russian-born pianist Eldar Djangirov. What thankfully has not happened is a change in the quality and style of the music. Douglas and Butler have fallen right into place as if they had been playing alongside Allen for years. And Djangirov has done something that many pianists cannot, that is, blended in with the groups musical style rather than alter it. Allen has been recording without a pianist since 2008. His output during that time period has been consistently good, marked by his inventive bursts on the tenor on tunes that averaged
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George Benson
INSPIRATION: A TRIBUTE TO NAT KING COLEConcord 34268. GeorgeBenson.com, ConcordMusicGroup.com. Mona Lisa; Just One of Those Things; Unforgettable; Walkin My Baby Back Home; When I Fall in Love; Route 66; Nature Boy; Ballerina; Smile; Straighten Up and Fly Right; Too Young; Im Gonna Sit Right Down and write Myself a Letter; Mona Lisa PERSONNEL: George Benson, vocals, electric guitar, ukulele; Randy Waldman, acoustic piano, co-producer, arranger; Wynton Marsalis, trumpet; Till Brnner, trumpet; acoustic bass; Gregg Field, drums; Sheila E., percussion; Michael Fisher, percussion; Judith Hill, vocals; Idina Menzel, vocals; plus big band and orchestra. By Alex Henderson George Benson has worn different hats over the years: guitar-playing hard bop instrumentalist, guitar-playing soul-jazz instrumentalist, R&B vocalist, jazz vocalist, traditional pop vocalist. And the late Nat King Cole also wore different hats, including piano-playing jazz instrumentalist in a small trio, piano-playing jazz vocalist in a small trio, and traditional pop vocalist with lavish orchestral backing and arrangements from pop heavyweights like Nelson Riddle. So when Benson decided to record an album paying tribute to Cole, there were many different optionsand the Benson who prevails on Inspiration: A Tribute to Nat King Cole is both a jazz vocalist and a jazz-influenced traditional pop crooner. Inspiration doesnt pretend to be the work of a jazz purist; Benson explores different sides of Coles legacy, and he does so with engaging results. Cole (who was born in 1919 and was only 45 when he died of lung cancer in 1965) was among the most successful traditional pop crooners of the 20th Century; his name is often mentioned alongside Bing Crosby, Frank Sinatra, Tony Bennett and Dean Martin. But Coles roots were straight-ahead jazz, and before he became a pop star, the singer/acoustic pianist had an intimate, drumless swing trio that included guitarist Oscar Moore and different acoustic bassists (first Wesley Prince, then Johnny Miller, then Charlie Harris). The Nat King Cole Trio recorded both instrumentals and vocal offerings, but when Benson acknowledges the Trio on Inspiration, he does so with inspired performances of their vocal hits of the 1940s (including Straighten Up and Fly Right and Bobby Troups Route 66). Much of Inspiration, however, is devoted to Coles traditional pop hitsand Benson (who is backed by the Henry Mancini Institute Orchestra) embraces the classic Nelson Riddle arrangements of hits like Walkin My Baby Back Home, Too Young, Mona Lisa, Nature
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Boy, Ballerina and Im Gonna Sit Right Down and Write Myself a Letter. However, on Unforgettable (which features Wynton Marsalis on trumpet), When I Fall in Love and Charlie Chaplains Smile, Benson goes with new arrangements by pianist Randy Waldman. Coles work influenced Benson in different ways. As a vocalist, he was clearly influenced by Coles singingand as a guitarist, Benson was influenced by Moore (along with Charlie Christian and Wes Montgomery). Its no exaggeration to say that Benson, who turned 70 on March 22, 2013, has been a Nat King Cole fan pretty much all his life. And Inspiration brings that out by opening and closing with Mona Lisa. The version of Mona Lisa that opens the CD was recorded in 1951, when Benson was only eight and accompanied himself on ukulele; the version that closes the CD was recorded 61 or 62 years later. So when one considers that Benson was performing Coles hits as a child and is still performing them as a man of 70, it really shows how well Coles music has held up over the years. And Cole, much like Benson, knew what it was like to be lambasted by the Jazz Police when he started having big pop hits. Coles traditional pop output is so iconic that its easy to forget how much he was criticized by some jazz snobs when he started burning up the pop charts of Billboard and Cash Box with smash hits like Nature Boy in 1948, Mona Lisa in 1950 and Unforgettable and Too Young in 1951. The jazz snobs of that era accused Cole of selling out, which is the same thing Benson went through when his Breezin album started selling like crazy in 1976. Breezin was the album that made Benson a pop star and an R&B star, and those who wanted him to play straight-ahead jazz exclusively were not shy about expressing that view. But none other than Duke Ellington himself said that when you get down to it, there are really only two types of music: good and bad. So the important question is not how much of a jazz album Inspiration is, but how much it offers in terms of qualityjazz, traditional pop, or otherwise. And in fact, Inspiration is rewarding whether Benson is moving more in the direction of vocal jazz or more in the direction of traditional pop. Inspiration is a fine celebration of Coles jazz side as well as his traditional pop side.
After; S Wonderful; Dissertation on the State of Bliss. PERSONNEL: Andy Bey, vocals and piano. By Eric Harabadian You know, Im a lot of things. I dont mind being called a jazz whatever. Anybody can put a name on the thing. But its much broader than that. Its about music. That quote from Andy Bey himself kind of sums it up very simply and succinctly. What you hear is what you get. And what this man can do with just a vocal microphone and acoustic piano is amazing. That is, essentially, the essence of this album; an artist in a solo setting at the pinnacle of his powers, with no pretense or gimmickry. This is almost unheard of in this age of digital multi-tracking and auto tune. But Bey is from a different generation. A time where you built your reputation based on intellect, intuition and pure talent. He applies all of those attributes here on this release. The thing that is most striking about Bey is the care he gives to each vocal or piano phrase. When he opens with the first lines of Rodgers & Harts It Never Entered My Mind you are instantly compelled to hang onto every word. That is because his delivery is so subtly dynamic and intense; he draws you into the lyric. Also his piano approach is one of understated sophistication. He accompanies himself superbly, yet his tendency is not to overplay. He wants the listener to have an intimate experience and really connect with the emotional content of a song. The piano is one with the lyrics but is totally serviceable to the words. Gershwins But Not for Me continues on a similar path. Bey lived this music and has performed it in various settings for years. Again, he brings a classic like this down to its essence and the listener can really get inside the song. The Demons are After You shows another side of the artist. The seventy-something Bey knows a thing or two about life and offers some practical knowledge for navigating through roadblocks that may inhibit one from reaching their potential. Bey offers real world advice, but not in a pushy or punitive way. His delivery is very poetic, almost stream-of-conscious. His performance here is truly transcendent. He dips back into the Gershwin well for Love is Here to Stay. When he sings its very clear... it is with a confidence to his partner that they are in good hands. Standards such as these have been done by countless others for decades, but few personalize them with such an impassioned signature as Bey. He shifts gears on his own Theres So Many Ways to Approach the Blues. This track has a similar structure to the previous Demons. It has a certain flow to the lyrics that is almost haiku in nature. His odd and angular chord punctuations give much weight and attention to the lyrics. Bey is offering a piece of his soul here. And, certainly, few know more about the blues than this man. The Joint is Jumpin is a fun one. Bey vividly sets the scene of a party that will not stop in a very literate and illustrative manner. His piano comping is light and bouncy and gives the feel of a band performance in full swing. The Morning After is a great interpretation of the Harold Arlen/Dory Langdon classic.
Andy Bey
THE WORLD ACCORDING TO ANDY BEYHighNote Records, Inc. HCD 7253. It Never Entered My Mind; But Not for Me; Dedicated to Miles; The Demons Are After You; Love is Here to Stay; Theres So Many Ways to Approach the Blues; The Joint is Jumpin; Being Part of Whats Happening Now; The Morning
It is a somewhat melancholy song and Beys heart wrenching delivery makes it all the more poignant. This is a tune that requires some real sensitivity and an empathic approach. And few can address the human spirit in all its phases so eloquently. He wraps up the album with two very different selections from the Great American Songbook. The first is Gershwins S Wonderful. What can you say; Bey plays it pretty standard in an appropriately upbeat manner. He knows how to blend the stoic or serious themed pieces, with lighter fare, and the inclusion of this track demonstrates that balance. The rarely performed Dissertation on the State of Bliss features lyrics by Ira Gershwin and music by Harold Arlen. It is subtitled Love and Learn Blues on what we humans think we know about love. Here Bey is the supreme interpreter, able to distill the irony from the lyrics and convey all the humor, pathos and frailty that can accompany the state of modern relationships. Even though the song was written a generation or two ago it is as contemporary as todays headlines when performed by the master Andy Bey.
Terence Blanchard
MAGNETIC - Blue Note 03354. Magnetic; Jacobs Ladder; Dont Run; Pet Step Sitters Theme Song; Hallucinations; No Borders Just Horizons; Comet; Central Focus; Another Step; Time To Spare PERSONNEL: Terence Blanchard, trumpet; Brice Winston, tenor saxophone; Fabian Almazan, piano; Joshua Crumbly, bass; Kendrick Scott, drums; Ravi Coltrane tenor and soprano saxophones; Lionel Loueke, guitar; Ron Carter, bass By Scott Yanow Throughout jazz history, there have always been a few individuals who solo as if they are arrangers. Their improvisations have a beginning, middle and an end, they build up their statements logically, and their solos are a complete statement, even when they are very spontaneous. Benny Carter, Louis Armstrong, trombonist Dan Barrett and of course Duke Ellington are among those who fall into that area of greatness. So does Terence Blanchard. Even before he began writing film scores, Blanchards trumpet solos and general conception always seemed a bit cinematic, telling a musical story that went beyond words. There are many moments on his newest CD Magnetic when the music sounds a bit like it came from a movie. But unlike some soundtrack albums, these performances stand alone and sound quite complete; it is up to listeners to fill in the story. On Magnetic, Blanchard is joined by his regular working quintet, with Brice Winston on
tenor, pianist Fabian Almazan, bassist Joshua Crumbly and drummer Kendrick Scott on most of the selections. His guests are Ravi Coltrane (playing tenor and soprano on two numbers), guitarist Lionel Loueke (uplifting three songs) and Ron Carter, whose bass is heard on two selections. The opening cut Magnetic sounds like the beginning of a sound track, with strong forward momentum and excited movement generated by repetitious notes in the melody. Winstons muscular and fluent tenor precedes improvisations by Blanchard and Almazan. Crumbleys brooding ballad Jacobs Ladder has some lively solos although Blanchards brief but dramatic statement at its conclusion takes honors. The medium-tempo blues Dont Run (which has hot solos from Coltrane on soprano and the leader) precedes the freer piece Pet Step Sitters Theme Song. Blanchard effectively uses an electrified device connected to his trumpet on this and a couple of other numbers. The dark Hallucinations (a Blanchard original with no connection to the Bud Powell piece of the same name) is a slow strut in which the emotional trumpet and a spot for Louekes guitar work quite well. No Borders Just Horizons is a feature for Kendrick Scott. Almazans Comet is an adventurous piano solo that is full of surprising moments. It leads logically to Central Focus on which Almazans improvisation seems to pick up where his last one left off. The episodic Another Step has Blanchard fully exploring electronics on his trumpet. The closer, Brice Winstons Time To Spare, sounds a bit like something Wayne Shorter might have composed in the 1960s. The blazing trumpet solo brings both this piece and the CD as a whole to a climax. It can be easy to take Terence Blanchards consistent excellence for granted, but few trumpeters play at his level on a consistent basis. In addition, Blanchards band, which is full of young talents, should not be overlooked. His groups of the past decade, while different musically, continue the tradition of Art Blakeys Jazz Messengers, graduating future bandleaders who will be enriching jazz for the next few decades. Magnetic is one of Terence Blanchards most satisfying releases of recent times.
The Blues Broads

PERSONNEL: Tracy Nelson Angela Strehli Dorothy Morrison Annie Sampson [Delta Groove] By Richard J. Skelly Years ago, Bay area soul-blues vocalist E.C. Scott, who was raised up singing in the
church, explained to me that blues and gospel music were branches of the same tree. The blues are about this life, but gospel is often about the after-life, was the point she made. An often-heard lament among blues fans is there just arent enough good women blues singers out there on the scene. Well, this CD plus DVD release from the Blues Broads, simply called The Blues Broads, on Delta Groove addresses that problem, and shows some powerful gospel roots as well. The results are highly enjoyable, and the DVD makes a nice companion to the audio disc. Recorded at the Throckmorton Theatre in Mill Valley, Calif., near San Francisco, the more recognizable names on this disc to blues fans, anyway -- are Tracy Nelson [formerly of bluesrock group Mother Earth,] and Angela Strehli, who made a name for herself on the Austin scene around the same time Stevie Ray Vaughan emerged in the 1980s. To be sure, these two women have been ensconced in and identified with blues for almost all of their singing careers. Less well-known to blues fans are Blues Broads Annie Sampson and Dorothy Morrison, who team up well with Strehli and Nelson on this recording and on the performance DVD. Louisiana-raised Sampson has a vocal style rooted in the church, and she began her career with a long run in the original San Francisco presentation of Hair, before becoming part of the S.F. rock group Stoneground, a band that recorded four albums and toured internationally. Morrison is best known for co-writing and singing the biggest gospel hit ever, "Oh Happy Day," with the Edwin Hawkins Singers. The disc and the DVD explore the relationship between blues and gospel and the two mesh well together here. One high point is Strehlis autobiographical original Two Bit Texas Town, which reveals how she got hooked on the blues as a young teenager in West Texas. Thankfully for us, she decided to pursue a singing career while helping [the late] impresario Clifford Antone launch his Antones Blues Club in Austin in the mid-70s. By opening the club when they did, they spurred other clubs into action and the results can be seen in the now-flourishing live music scene in Austin. In the 1990s, Strehli recorded an album, Dreams Come True, with fellow Austin blues women Lou Ann Barton and Marcia Ball that was a big seller for the Antones Records label, and a forerunner to this album. Other highlights include keyboardistvocalist-saxophonist Deanna Bogarts contributions on It Wont Be Long, and Nelsons soulful rendering of Walk Away. Throughout this disc, the four blues broads, five really, if we include Ms. Bogart, are well accompanied by a crew of West Coast musicians, bassist Steve Ehrmann, drummer Paul Revelli, guitarist Gary Vorgensen and keyboardist Mike Emerson. Sampson offers up a spirited take on Bring Me Your Love, which is reminiscent of the best classic rhythm and blues and Motown tunes, with its anthem-like feel and the repeating chorus: Bring it to me, bring it to me, bring me your love. The DVD and audio disc close with a rousing, inspiring, jump-out-of-your-chair take on
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Oh Happy Day, a gospel standard that sounds as vibrant as ever. The liner notes explain to us that the Blues Broads began as a casual collaboration when Nelson would come out to the West coast to join Strehlis Bay area band for gigs in that area. The group emerged from an annual BBQ event in Marin County, and this recording is just one example of what can happen when these four singers come together in concert. Both the disc and DVD are engineered well and expertly mastered. The Blues Broads makes a great addition to the collection for fans of blues, gospel and American roots music in general.
Dewa Budjana
DAWAI IN PARADISE-Moonjune Records MJR051. Lalu Lintas; Gangga; Masa Kecil; Kromatik Lagi; Back Home; Malacca Bay; Kunang Kunang; Caka 1922; Rerad Rerod; On The Way Home; Dancing Tears; Devananda PERSONNEL: Dewa Budjana, electric, acoustic & synth guitar; Shadu Rasjidi, bass; Sandy Winarta, drums; Saat Syah, suling bamboo flute; Indra Lesmana, keyboards; Irsa Destiwi, piano; Ade Irawan, piano; Krishna Balagita, keyboards; Bintang Indrianto, bass; Rishanda Singgih, bass; Ronald Fristianto, drums; Arie Ayunir, drums; Deva & Dawai, vocals; Vinod Gangani, vocals; Sophia Latjuba, vocals; Ubiet, vocals; Oni & Helmi, violin; Surti, viola; Wavan, violoncello; Aminoto Kosin, strings arrangement With very special guests: Dave Carpenter, bass (R.I.P.); Peter Erskine, drums; Reggie Hamilton, bass; Howard Levy, harmonica By Dan Burke With Dawai in Paradise, Leonardo Pavkovics Moonjune Records introduces Dewa Budjana to the thirsty-eared throngs of western progressive jazz fans longing for this level of absolute master guitar(tistry). This is actually Dewas 5th solo studio album. Otherwise, he is kept very busy in his native Bali with the highly successful Indonesian pop-rock band, Gigi, He also tours in the musthear jazz-fusion guitar trio known as Trisum, whose ranks have included both Tohpati (of Moonjunes Tohpati Ethnomission), and the touch-tapping master, Balawan. There must be something special about Indonesia that makes it such a fertile breeding ground for these topnotch progressive, jazz, and fusion musicians. Dewas technique has been compared to the artistry of Ralph Towner, Pat Metheny and John McLaughlin. His mercurial style of playing works well with the highly fluid rhythms on the twelve compositions of this release. Though the tracks span an 11 year period, with 5 dating from
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2011, 2ea from 2000 & 2002 and 3ea from 2005, there is a sense of vitality and adventure that bonds them as a whole. Working with Indonesian jazz keyboardist and producer, Indra Lesmana, Shadu Rasjidi and Sandy Winarta on bass and drums respectively, celebrated pianist Ade Irawan, and along with Weather Report drummer, Peter Erskine, the late legendary jazz bassist, Dave Carpenter plus a host of other great talent, Dewa has created a vibrant and colorful canvas full of rich texture, harmony and contrast. Beginning with Lalu Lintas, we are treated to a lush and soaring melodic introduction which brings to mind the music of the long out-of-print Forest of Feelings by David Sancious. The tune takes an interesting turn when a very funky slapback plucked bass groove emerges and is adorned with an obtuse guitar melody that morphs into a delicate jazz prequel to introduce the playful dual guitar master melody. A beautiful bass solo is revealed as layers of music peel away before things once again intensify with some very heavy guitar riffing and lead lines spurting spastically from the speakers. Gorgeous atmospheric guitar and an ephemeral vocal melody, teased along by a flutelike keyboard, open the track Gangga. A propulsive hand percussion rhythm section introduces the lush main theme complete with a guitar/voice call and response that recalls some of Ravi Shankars playful sitar/tabla pairings. Things take a decidedly modern turn when a heavily ring-modulated solo is overlaid against a jazzy snare and ride update of the rhythm track. My favorite track, Kunang Kunang expresses a sense of longing with its stunning flute, watery guitar lines and Portishead-inspired cutand-paste percussive effects. On the Way Home starts off almost like an atmospheric lullaby as played by the French band, Air, before bringing in a spare drumkit and nearly naked acoustic guitar that builds until it introduces an incredible synth solo that would prick up the ears of any selfrespecting progger. Kromatik Lagi begins life as an acid-jazz tune then quickly takes an uptempo turn with a spiraling of 1/16th notes that neatly mimic the 60s soundtrack to any Italian movie with Marcello and Sophia. A rich and mellow central section with beautiful bass and guitar provides a wonderful counterpoint to this. This playful exchange between the traditional and more contemporary compositional approaches provides the lucky listener with a sense of discovery throughout the journey of Dawai in Paradise. I anxiously await more from Dewa and highly encourage anyone interested in richly textured cross-cultural progressive jazz sojourns (and buckets of luscious guitar work) to give this disc a spin.
Below the Horizon PERSONNEL: Marc Cary, acoustic piano, producer, arranger, executive producer, mastering; Lou Holzman, engineer; Jana Herzen, executive producer; Willard Jenkins, liner notes; Rebecca Meek, photography; Jos L. Knaepen, photography; By Alex Henderson
Marc Cary
FOR LOVE OF ABBEYMotma Music 122. Web: Motema.com, Marccary.com. Music Is the Magic, Down Here Below; Melancholia; For Moseka; Who Used to Dance; Shouldve Been; My Love Is You; Love Evolves; Throw It Away; Another World; When Im Called Home; Conversation with a Baby; Transmutate; Down Here
In the jazz world, there are some instrumentalists who dont care for singers at all. Its a bizarre outlook, certainly; in most types of music (be it rock, R&B, country, reggae or salsa), the average guitarist, drummer or bassist goes out of his/her way to work with singers. But in jazz, the anti-singer bias is not hard to find. Some jazz instrumentalists, however, dont feel that way at all. Marc Cary is a perfect example. Cary has a reputation for being one of jazz more singer-friendly instrumentalists, having worked with Betty Carter and Shirley Horn (Cary has also backed non-jazz singers ranging from neo-soulster Erykah Badu to folk-rocker Ani DiFranco). One of Carys most rewarding associations was his 12-year association with Abbey Lincoln, who he pays tribute to on For the Love of Abbey. Although Lincoln was known for both interpreting lyrics and writing lyrics, Cary doesnt include any lyrics on this 65minute CD; For the Love of Abbey is strictly instrumental. And the only instrument is the acoustic piano; Cary plays unaccompanied, putting an instrumental post-bop spin on Down Here Below, Love Evolves and other Lincoln songs. Thats certainly an unusual way to pay homage to her, but the fact that For the Love of Abbey is unorthodox is a big part of its appeal that, and the fact that he brings so much feeling to his introspective, very personal interpretations of Lincoln songs such as Music Is the Magic and Throw It Away. Cary leaves no doubt that his appreciation of Lincolns legacy runs deep, and he doesnt need lyrics to express that appreciation. Whether he is turning his attention to Conversation with a Baby or My Love Is You, Carys pianism says it all. Many jazz singers dont do any songwriting at all, but Lincoln (who was 80 when she passed away in 2010) did a lot of composing along the way. In fact, only three of the 14 songs that Cary embraces on For the Love of Abbey are not songs Lincoln wrote: one by Duke Ellington (Melancholia), the other two by Cary himself (For Moseka and Transmutate). Some of Lincolns really hardcore fans might nitpick about the Lincoln gems that Cary omitsfor example, Let Up from Abbey Is Blue (a 1959 date) and Max Roachs Living Room. Roach originally recorded Living Room as an instrumental in 1962, and Lincoln added her lyrics to Roachs melody in the early 1970s (singer Judi
Silvano included a great version of Living Room on her Joe Lovano-produced debut album, Dancing Voices, in 1991). But even though For the Love of Abbey doesnt pretend to be all things to all people, the fact is that Cary really digs into Lincolns history. He does his homework, and his solo-piano homage to Lincoln ends up being both rewarding and full of surprises.
Johnny Conga
OYE! www.cdbaby.com/cd/congajohnny. Cold Duck Time; Mambo Diablo; Sidewinder; Mullaly Park-Bronx Rumba; Chablue; Footprints; Rumba y Guarapachangeo; All For You; Mambo For Tjader. PERSONNEL: Johnny Conga, congas, bongos, timbales, vibraphone, percussion, vocals; Mario Marrero, piano, bass; Fred Hoadley, piano (1,6), Sammy Alamillo, drums; Rick Houle, bass; Steve Mostovoy, trumpet; Nathaniel Paul, saxes, flute; Joe Cano, guitar; Julio Juaregui, piano, synth bass. By Mark Keresman Theres long been a tradition of Latinizing jazz tunes (and for that matter, some styles of pop), the setting of jazz tunes and improvisations to Latin rhythms. (And please forgive the usage of the somewhat generic term Latin, as Latin America includes many styles and types of rhythm, with Afro-Cuban being one of the most popular and prevalentbut for the sake of brevityetc.) From Dizzy Gillespie and Stan Kenton to Tito Puente and Machito, to Ray Barretto and Cal Tjader (not of LatinAmerican extraction but a monumental stylist all the same) jazz and Latin styles have long danced together, each taking turns leading. Multi-percussionist and bandleader Johnny Conga has been at it for a while, nearly half a century, racking up credits with such as Charlie Palmieri, Willie Colon, Joe Bataan, Tito Ramos, The Jackson 5, Willie Bobo, Mongo Santamaria, Maynard Ferguson, Sergio Mendes & Brazil 77, Arturo Sandoval, and Dave Valentin, yet there are only a handful of recordings under his leadership. But good news, Oye! is his latest set and fans of groove-oriented jazz will be swinging on clouds seven through nine. Johnny Conga learned to play the bongos from a Cuban uncle at the age of six. He learned to play the flute as well but started focusing on the Conga drums at the age of 14. One of his mentors was the great percussionist Sabu whom he credits with teaching him what it meant to be a dance musician. This platter sets the tone via its classy-cool opener, Cold Duck Time, composed by one of the progenitors of late-1960s groove-jazz, the late great Eddie Harris. A gently insistent, undulating groove (that could be a cousin to Horace Silvers Song For My Father) is driven by Congas punchy, percolating congas and Rick Houles sinuous, rubbery bass-lines. Steve Mostovoys trumpet soars here, with a touch of Freddie Hubbard class. Tito Puentes Mambo Diablo has that suave Afro-Cuban rhythm and
some sweetly shimmering vibraphone from Conga. The Sidewinder, Lee Morgans smash hit from the 1960syes, younger readers, there were actual jazz hit singles back in those times maintains its bittersweet bluesy hard bop hook, but Conga ups the ante considerably with his authoritative yet restrained congas. Nathaniel Paul,a new name to this writer, plays some sumptuously rich tenor with some Stanley Turrentine and Wayne Shorter overtones, and Mostovoys trumpet thickens the mix. This could be a hit single again, really. Speaking of potential hits, Congas original Chablue has a sprightly, summery ambiance and a rippling yet mellow-suave solo from Mostovoy and more good vibes (literally) from Conga himself. Another jazz classic gets recasted hereinConga and his crew give Wayne Shorters Footprints an exhilarating reading, with Congas congas directing the proceedings. Mostovoy shines here, toothe only thing amiss is the lengthits a tad short at a little over five minutes! (You probably assumed I was going to say it was excessive in length, perhaps.) Quiet Stroll, from the pen of Pat Patrick, longtime baritone sax mainstay for Sun Ra, falls a little more on the Latin side of Latin jazz (it could almost be an Eddie Palmieri goodie) with Pauls overdubbed flutes laying down a flurry of lean lyrical flurries. The rest of the album ebbs and flows between jazz driven by Latin rhythms and purely Latin fare with little jazz content (the darkly sultry Rumba y Guarapachangeo), while mostly leaning towards the jazz side of the equation. One of the notable things about Oye is despite the fact the leader is a percussionist and percussion is a big part of the focus, its not the sole focus. The ensemble playing is tight and earnest, no one soloist dominates, and there are no tedious, show-off-y percussion extravaganzas. Jazz fans that love Latin rhythms and fans of Latinstyles with a passion for jazzyou are both in luck with Oye.
The Fat Babies

CHICAGO HOT Delmark. www.delmark.com. Snake Rag; London Caf Blues; San; Alexanders Ragtime Band; I Surrender Dear; Dardanella; Black Snake Blues; Here Comes the Hot Tamale Man; Froggie Moore; Willow Tree; Weary Blues; Liza; Please; Susie; Tight Like This; Stomp Off, Lets Go. PERSONNEL: Andy Schumm, cornet; John Otto, clarinet, saxophones; Dave Bock, trombone; Paul Asaro, piano; Jake Sanders, banjo; Beau Sample, acoustic bass; Alex Hall, drums; Mike Walbridge, tuba (16). By Mark Keresman
Younger jazz fansor those not conversant with jazz before the flowering of the bebop eramay or may not be aware that jazz was pop music. Even before the Swing Era, it was a dance music to which hipsters and wannabehipsters danced with abandon. Chicagos The Fat Babies specialize in the New Orleans style as exemplified by Jelly Roll Mortonand its stylistic descendant, Chicago hot jazz, marked by fast tempos, collective improvisation, terse n pithy solos, and nigh-on-irresistible swing. One great thing about The Fat Babies is the energy and commitment they bring to these (mostly from the 1920s and 30s) songsthey present this music not with hokey nostalgia or hipster retro-jive but with not only a sense of faithfulness but a sense of fun. Points of reference would have to include Louis Armstrong, Bix Beiderbecke, the Preservation Hall Jazz Band, Sidney Bechet, early Duke Ellington (as in, pre-1935), Fats Waller, and Paul Whiteman, not to mention the soundtracks for the Boardwalk Empire TV series and many of Woody Allens films. (Even though jazz history has it that Whitemans band was relatively commercial in its day, it was also an incubator for lots of jazz talent.) The opener, King Olivers Snake Rag sets the tonea jumpy, strutting cadence, a collective approach to ensemble playing, and witty, to-the-point solos. (Not-so-incidentally, before achieving successand immortalityas a leader, Armstrong was a member of King Olivers orchestra.) The Babies bring an almost Ellingtonian sense of class and restraint to the (somewhat corny) standard Alexanders Ragtime Band, adding a subtle New Orleans flavor with its subtly picked banjo solo by Jake Sanders. I Surrender Dear slows it down, but theres lots to listen foran almost Thelonious Monk-like sense of minimalism and how it mixes romantic longing with a devil-may-care/ on-the-town jauntiness. The solos herein are virtually Ellingtonian (yes, again-Ive got to call em as I hear em) in their blues-tinged poetry. Here Comes the Hot Tamale Man means the party is back, friendsplenty of spicy moments from clarinetist John Otto, some cheery burlesque from trombonist Dave Bock, and thumping bass from Beau Sample. Willow Tree slows it down again, but you may get too wrapped-up in the soulfully bluesy ambiance to dance, not to mention the tantalizingly tasty and restrained soloing. (Loud and long are not the only ways to solo, even in a danceable context.) As in the Babies live performances, pianist Paul Asaro gets a spot or two to shinehere, he goes to town on the chestnut Liza, with some nimble, rolling, rollicking key-runs evoking the aforementioned wizard of the 88s Fats Waller. Please is more blues-charged panache, rendered with such a vivid, almost Impressionistic manner and sensitivity the reverie could transport you to a Parisian nightclub in 1932. The Fat Babies perform regularly, most Tuesday nights at Chicagos legendary Green Millanyone in the general Midwest vicinity is strongly advised to partake of their live show, where the considerable joie de vive of Chicago Hot is magnified by two (sometimes by three). Hear this band, one way or another.
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Paolo Fresu Devil Quartet

DESERTICOOt Records melodia.com. (I Cant Get No) Satisfaction; La Follia Italiana; All Items; Blame It On My Youth; Desertico; Suite For the Devil; Poettos Sky; Voci Oltre; Young Forever; Medley: Ninna Nanna Per Andrea, Inno Alla Vita. PERSONNEL: Paolo Fresu, trumpet, flugelhorn, multi-effects; Bebo Ferra, acoustic & electric guitars; Paolino Dalla Porta, acoustic bass; Stefano Bagnoli, drums. By Mark Keresman Italian trumpeter Paolo Fresu is considered a major player in Europehis discography includes over 100 titles on European labelsbut has yet to be a major name over here. Ah, but that is likely to changein recent years Fresu has been on recordings by two of ECMs biggest guns, guitarist Ralph Towner (the utterly gorgeous duo set Chiaroscuro) and composer/ bandleader Carla Bley (The Lost Chords Find Paolo Fresu). In 2012, he co-led an album with six-time Grammy-nominated Cuban composer and pianist Omar Sosa. Like that recording, Desertico appears on Ota Records, an Oakland, California label dedicated to the music of the acclaimed Sosa. But most importantly, Desertico is in many ways an ideal introduction to Fresus musicit provides a refined, comprehensive cross-section of his capabilities. There are aspects of fusion (circa early 1970s that is), of combining jazz with the Mediterranean folk strains of his homeland, hard bop, and achingly beautiful classic balladryall of these are present at all times, in different proportions. His Devil Quartet turns Satisfaction into a bristling hard bop romp that crackles and sizzles like the mid-1960s Jazz Messengers going on all four burnersexcept that Blakeys bunch didnt have a guitarist like Bebo Ferra, whose chunky, dense, John Abercrombie-like electric axe has the fullness and whomp of a tenor saxophone. Then these devils toss us a curveballLa Folla Italiana begins gently with a soothing modal melody redolent of Scarborough Fair before in evolves into a snappy mid-tempo hard bop piece while maintaining the modal thread. Fresus trumpet is rich with the influences of Miles Davis and Freddie Hubbardthe introspective lyricism of the former and the torrid roar of the latter. Also, like Miles, Fresu runs his horn through some electronics to judiciously bend and warp his hornsound. Ambre has a sultry seaside feel of Italian sun and temperate breezesFresu waxes languid and yet his horn feels sturdy and assertive as it does mellow. Guitarist Ferra is on acoustic six-strings here, his picking taking on a slightly Spanish hue, with bassist P.D. Portas pliant bass throb doing a guitar imitation.
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Given a tantalizingly short reading, the standard Blame It On My Youth is perhaps the most lovely track herethe band shimmers behind Fresus aching Miles-like horn, Fresus playing seemingly distilling (not imitating or simulating, but distilling) every drop of romantic angst from Davis Sketches of Spain. The title piece is driven by a Herbie Hancock-like ostinato with a bass-line you could feel in your gut (depending on your listening system, that is). Fresus muted horn is understatedly Miles-ian, Ferras guitar wiry and blues-tinged (with a hint of rock snarl). The impulsive-sounding Voci Oltre calls to mind fusions glory days, when the beast could be caustic as well as crowd-pleasing. Fresu bristles (when not singing sweetly via mute), Ferra achieves dense, slightly gnarly chord-age that sounds like a detuned electric piano, drummer Stefano Bagnoli combining rock-like volatility with a touch of New Orleans. Not only is Fresu aces, but his band is as wellthey play wonderfully as a unit, each subtly or overtly contributing to Fresus palette. Each track is, dare this writer say, short and bittersweettheres a palpable sense of concision here, as if overplaying were punishable bywell, lets not go there. Desertico manages the rare balancing act of being user-friendly and uncompromising, melodious and prickly, adventurous and yet fullyformed. This platter is highly recommended for post-Miles/Hubbard trumpet aficionada, malleable hard boppers, multikulti gatecrashers, Fellini fans, and the hopelessly eclectic.
Bob James & David Sanborn

QUARTETTE HUMAINE For more information: BobJames.com, DavidSanborn.com. You Better Not Go To College; Geste Humain; Sofia; Follow Me; My Old Flame; Another Time, Another Place; Montezuma; Genevieve; Deep in the Weeds PERSONNEL: Bob James, piano; David Sanborn, alto saxophone, soprano saxophone, sopranino saxophone; Steve Gadd, drums; James Genus, bass; Javier Daz, percussion (track 9) By Curtis Davenport If the music that we once referred to as Smooth Jazz had its own Mount Rushmore, surely one of the albums on it would be Double Vision; Bob James and David Sanborns classic. It represented what was good about that oftmaligned genre yes, the tunes were hook-laden but because of who was involved, the musicianship was first rate. Double Vision still has a place in the collection of many people who would not be considered Smooth Jazz aficionados. Believe it or not, its now been 27 years
since Double Vision. Though James and Sanborn have occasionally crossed musical paths on other peoples projects, they had not recorded a follow up to that first extremely lucrative album. That changed when in December 2012, the duo got together again in New York to record the sessions that comprise Quartette Humaine. Lets get right to the point, those expecting this essentially to be Double Vision II, will be in for a surprise. To be honest, the musical landscape has changed considerably in three decades; Smooth Jazz is no longer the commercial titan that it was in the 80s, which in many ways has freed musicians to pursue diverse creative pathways, as James and Sanborn have here. First: gone are the keyboards, synthesizers and guitars that were so popular 30 years ago. This is an all acoustic set James on piano; Sanborn on sax, mostly his trademark alto; Steve Gadd has returned on drums and James Genus, of SNL Band fame, plays the acoustic bass. Second: due in large part to the instrumentation, the sound of Quartette Humaine is decidedly less slick than its predecessor, successfully walking a fine line between classic and contemporary jazz. James and Sanborn said that they had in mind the work of Dave Brubeck (who ironically, passed away a week before these sessions) and Paul Desmonds classic quartet when they conceived this album. I think that its a very apt comparison. The sound they have achieved is like a present-day version of that great group serious enough to attract many straight-ahead jazz fans but still accessible enough to much of the general public. The album kicks off with a selection penned by James, which may have been intended as an overt tribute to Brubeck, You Better Not Go to College, a possible allusion to the fact that much of Brubecks early fame came from his numerous appearances on campuses around the country. This tune is my favorite on the album, with its light Brubeck-ian swing, propelled by Gadds brushwork and Genus insistent bottom. Over this bed we get James block chords and Sanborns alto, which in its trademark plaintive wail is completely different from Desmonds dry martini sound. Nevertheless, Sanborn manages to capture Desmonds overarching humor. Geste Humain gives James a chance to remind us how great he is at playing a gorgeous melody. It sounds like an excellent outtake from a Fourplay album. My Old Flame is the only standard on the album; its taken at an easy shuffle tempo which fits the song and the musicians well. Deep in the Weeds is the most Double Vision-like track on the disc, a midtempo funk workout, with Sanborn blowing a hot solo over Genus and Gadds insistent beat. In fact, the unsung heroes of this album just may be the rhythm team. They set unique and consistently interesting frameworks that inspire the pianist and saxophonist towards creating something more inventive than conventional Smooth Jazz licks. Quartette Humain is a fine and interesting follow-up to James and Sanborns classic first meeting. Its one of the best efforts by both leaders in a while. (CD Reviews continue on page 64)
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CD Reviews
MOST heard jazz 88s player ever. Not only has he accompanied singers diverse as Elvis Presley, Lena Horne, Joni Mitchell, and Van Morrison, but that rollicking but sentimental piano theme that closes every episode of TVs groundbreaking sitcom All in the Family? Him, heard in rerun heaven forever. Daniels has heard with the Thad Jones/Mel Lewis Orchestra, Gordon Goodwins Big Phat Band, Johnny Hammond, and more. These gents have played together before in various contexts, but Duke at the Roadhouse is special even for them. Firstly, this set is a duo plusKellaways keys, Daniels clarinet (and occasional tenor sax), and the cello of James Holland on some songs. Recorded live in Santa Fe, these three amigos go to town on the music of, and inspired by, Duke Ellington. True, these are some of the Dukes biggest, most well-known hits, but theyre rendered in such grand style only the biggest nitpicker/ogre will say, Yet another Perdido? They preserve and play up the Ellingtonian standards with conciseness (only one of the ten tracks is over nine minutes), inspired invention, and loving tribute. Beginning to See the Light christens the voyage with Daniels warm, reedy, woody-toned clarinet, evoking the vivid opulence of Dukes man Barney Bigard and the genial swing of Benny Goodman, but with a saxophone-like fullness. Kellaway plays sparingly at first, then with an old-school extravagance, with just the wee-est touch of schmaltz and with Monk-ian wit. (Let us not forget that Ellington was somewhat underrated as a pianist and was an influence on both Thelonious Monk and Cecil Taylorbut I digress.) Creole Love Call is a superb example on how blues playing was transformed by Ellington, and subsequently these cats. Daniels plays, no, is New Orleans blues feeling with some NYC bop-era suavity while Kellaway keeps it so (deceptively) simple you, Dear Listener, might cry. Perdido, that most happy-go-lucky of Duke-al swingers, gets transformed into elegant chamber musicjazz, to be sure, but played with the elegance, precision, and intimacy of a classical chamber group. Hollands cello has a presence thats stately (think Ravel and Milhaud) and positively orchestral, while Daniels applies a more ornate logic to the tune, making it sound as if its origins were the Les Six of Paris in the 1920s rather than Ellingtonalmost, as Kellaway keeps it earthy, and the lads dont skimp on the swing (they just channel it differently). Duke at the Roadhouse is puckish and swinging, Kellaway and Daniels basing their statements on Ellington without actually copying him. In A Mellow Tone features Daniels switching from clarinet to tenor, which he plays with steely-shiny Frank Foster tone on the outside, full of Frank Wess romantic flair on the inside. In A SAentimental Mood finds Holland swinging as if he were the Stephane Grappelli of
Roger Kellaway & Eddie Daniels

DUKE AT THE ROADHOUSE Live in Santa Fe IPO. www.iporecordings.com. Im Beginning to See the Light; Creole Love Call; Perdido; Duke at the Roadhouse; In A Mellow Tone; In A Sentimental Mood; Sophisticated Lady; Duke in Ojai; Mood Indigo; It Dont Mean a Thing. PERSONNEL: Roger Kellaway, piano; Eddie Daniels, clarinet, tenor sax; James Holland, cello. By Mark Keresman Let us begin at the beginning: Pianist Roger Kellaway and Eddie Daniels have played with more people than you and the person nearest you has consumed hot breakfasts. Kellaway, aside from his pure jazz credits with Ben Webster, Sonny Rollins, and Oliver Nelson, may be the
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Jazz Festival Series

Saturday, July 27
2:30 PM - 7:00 PM
(Rain Date - Thursday, August 1)
The Fort Greene
Part 1
The Eric Frazier Quintet

with vocalists Cynthia Holiday, Taeko, Pam Cornelius, Sheryl Renee, Kumiko Yamakuda
Saturday, September 7
2:30 PM - 7:00 PM
(Rain Date - Saturday, September 14) Fort Greene Park, Brooklyn, New York Entrance: Willoughby Avenue & Washington Place Information: 718-797-2459
Part 2
Free Event!
www.EricFrazierMusic.com
the cello. The wonderful thingaside from how swell this set is in generalis these gents couldve simply breezed though these tunes with their usual suss and aplomb and this would have still been a fine album. While none of the renditions on Roadhouse are really radical, this duoplus-one gives these evergreens some tasty, well-thought, none-too-obvious interpretations, mixing/alternating blues feeling, classical lan, modernist wit, and heartfelt, just-short-of-sappy tenderness. Factor in excellent sonic quality and the Collective We just might be looking at one of the best duo albums of 2013.
Frank Lacy
AFRIKARIA Free Code FC27CD. freecodejazzrecords.com. Con Tempo Rary; Blues II Revolution: Afrikarian Suite: Part I The Flow, Part II The Wail, Part III Violence, Part IV, The Warmth, Part V The Story of Liberation; Spirit Monitor; Violet Blossoms; EEF. PERSONNEL: Frank Lacy, trombone, flugelhorn, pocket trumpet, African percussion, vocals; Paco Charlin, acoustic bass; Juanma Barroso, drums, African percussion. John R. Barrett, Jr. This is music with force, a restless strength felt from the opening notes and building from there. The whooshing percussion on Con Tempo Rary amasses slowly, not catching your
attention until joined by Paco Charlins bass. Once together they form a dense fog, through which the trombone of Frank Lacy growls and sighs agile on the theme, his solo turns anguished, weeping as all turns quiet. His tone now rumpled, Lacy seems to limp with drawled phrases; Juanma Barroso moves to the tom-toms, thumping gently as the cymbals slowly return. As this happens, the aggression builds: Lacy gets hard-edged in a series of whoops, the bass flutters upward and the drums seem to boil over. Charlins solo is rapid but also thick: big round notes that hum like bridge cables. This sound remains till the end, when he slithers high, hitting his peak as the cymbal rings its last. Through the open spaces and simplicity of the lines there is always depth of thought, always a sense of exploration. The liner notes proclaim Music must enkindle thinking, a philosophy they follow throughout. Starting as a gritty waltz, Blues II Revolution glides with confidence. Charlins walk is taut and urbane; Lacys swaggering movements are caramel-smooth. At least they start that way: 90 seconds in Frank talks to himself, with laconic high phrases answered by guttural blats. Better still is the follow-up - the trombone becomes a race car, rolling up-scale complete with audible gear changes. Paco is ice-cool throughout, quickening slightly during his solo but with the funky mood unchanged. Spirit Monitor may have the sets strongest tune, full of power and optimism; in many ways Im reminded of Wayne Shorters One by One. The horn is relaxed and quite buttery, with
phrases that spike high and waft gracefully downwards youll rarely hear a trombone this confident. The cymbals march briskly, the bass steady and sure; the backing stays out of Franks way, but that doesnt make it anonymous. Further on, the horn gets ambitious: first with quizzical bleeps, then feathery glides near the ceiling and he concludes with an elephants roar! Moving back in time, Violet Blossoms gives us a deep resounding bass and the good ol plunger mute, sounding like a cross between Tricky Sam and Charlie Browns teacher. The backdrop is slow and peaceful: a creeping pace from Paco, a spattering of brushes, and a sad theme suggesting Chelsea Bridge. As the choruses float by, Lacys tone tone grows dirtier, his attack more punchy; repeating some phrases in low register, he responds his own call! A brief bit from Charlin and the horn resumes its slow sorrow, fading out in thick cymbals with a quote of Harlem Nocturne. This fits very well: the tune is a celebration of late nights, long-ago thrills, and honking city horns. The albums centerpiece is the fivemovement Afrikarian Suite, composed by the trio and accompanied in the booklet by aphoristic poems. The verse for The Flow celebrates the creative process: This is a story of how only the savagely open-minded can mingle the humane with the divine. The flowing starts on a raft of percussion and a sort of spiraling zigzag from Paco. On trumpet this time, Lacy sends breathy notes on short ascents, then shouts double-time bursts at the top of his range. Now with shakers in hand, Frank thickens the rhythm bed while chanting the hopeful words. Sounds of music sweet noise! Nature water earth fire! It gets earthy indeed as he reiterates Nature! before resuming the horn and letting it all dissolve in the wispy lines of the bass. This transitions to The Wail, whose companion verse speaks of desert journeys and the hope which will make the land fruitful. A solo piece for Paco, he plants deep notes, and as they continue to resound he slinks upward, a bumpy road with sinewy slides. Violence similarly gives the spotlight to Barroso, a furious outpour of toms heightened by the occasional cymbal. The accompanying poem speaks of war, but rather than anger or chaos, what I hear is proud force. A weary bone begins a slow march on The Warmth; the bass hums mightily and the drums barely move but the progress will not be halted. Here the notes talk of the battles aftermath, a mood kept by the sound: All has been demolished. All has to be rebuilt. But that handful of hope is now in the air. That hope is conveyed by a flurry of bells, joyous in the wind when the horn stops its plaint. And, with The Story of Liberation, Frank gets his spotlight: whooping here, whispering there, moving in rhythm but with leeway to slow down, and a complexity of moods. Here there is joy, but also a sense of unease: Now we are free, but we have paid a great price for this freedom... A few languid notes shine like beacons between the breathy squiggles, but it is clear the urge to progress, to fight for ones betterment, will not flag. That feeling is all through this disc, and should speak to you as loudly as it speaks to them.
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S A N D I E G O C A B O S A N L U C A S P U E R T O V A L L A R TA B A H I A M A G D A L E N A Holland America m/s Westerdam
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Brian Landrus
MIRAGE Blueland Records. www.bluelandrecords.com. Arrival; Sammy; Dont Close Your Eyes; A New Day; The Thousands; Someday; Reach; Mirage; Ive Been Told; Three Words; Jade; Kismet. PERSONNEL: Brian Landrus, baritone & bass saxophones, bass & contra alto clarinets, bass flute; Nir Fender, guitar; Frank Carlberg, acoustic & Rhodes pianos; Lonnie Plaxico, acoustic & electric basses; Rudy Royston, drums; Mark Feldman, Joyce Hammann, violin; Judith Insell, viola; Jody Redhage, cello; Ryan Truesdell, conductor. By Mark Keresman For those not hip, hep, and happening, Brian Landrus is a Nevada-born, Bostoneducated, NYC-based baritone saxophonist, bandleader, and composer and one of the primo new voices on that big baritone horn. Landrus is also down with assorted other reeds and flute, but like Harry Carney his two main axes are the bari-sax and the bass clarinetplus, he knows how to put a band together and write some swell tunes. Hes paid those dues with Bob Brookmeyer (also studied with him), Bob Moses, Esperanza Spalding, and Maria Schneider, and more recently he leads two distinct combos (with some overlapping personnel): The fairly straightahead Landrus Quartet and the more eclectic Kaleidoscope, the latter mixing jazz with R&B/ soul (Landrus has played with assorted oldschool Motown-ers) and pop elements. Fear not, my stricter-minded jazz brethren, Kaleidoscope isnt Landrus selling-outrather, hes buyingin, making some coolly entertaining chill-out music thats loaded with integrity. Landrus and company toss us a bit of a curve with the opener Arrivalits full of the eerie rattle-and-hum one would hear on Paul Motians or Bill Frisells ECM platters, but then it morphs into an undulating semi-bossa nova groover, Nir Felders guitar shining ling preBreezin era Geroge Benson and Landrus sings a semi-sweet, nearly idyllic melody on bass clarinet. The strings swell and pulse, somewhere between The Sound of Philadelphia and Brookmeyers and Gunther Schullers Third Stream compositions. (Note for younger readers: In the 1950s and 60s, there was a fusion movement known as Third Stream wherein jazz and EuroAmerican classical music mixed-it-up.) Things get stranger still (but in the best possible ways!) with Dont Close Your Eyesif not for the slightly, oddly ominous bluesy undertones, this could be a long-lost early-70s CTI production by Bob James. Landrus eases his way into the song with some romantic, lush (think Stanley Turrentine) baritone, crooning suavely like Ben
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E. King or a member of the OJays. Someday is another slice of CTI-style balladryits not imitative of the CTI sound but it has the same classy, wine-chilled-just-so ambiance, except that Landrus horn of choice is (beautifully rhapsodic) bass clarinet and the strings are not the usual massed/sweetening style heard on some (some might say too many) jazz recordings, but a bare-bones string quartet. These elements dont work against each other, but rather provide a refreshing contrast between the spare and the luxurious. Ive Been Told employs a way-cool oldstyle reggae rhythm and really sinuous bass from Landrus regular Lonnie Plaxico. The strings arent here for sweetening, but assert themselves, adding to the tunes rhythmic feel. Landrus is both a soloist and a contributor to the ensemble sound, imparting an almost orchestral heft. Pick hit: The nostalgically moody (if you grew up at all in the 70s, Id say) Three Words, which might be a Thom Bell production (the producer/writer behind many a Philadelphia soul/R&B classic) were it not for the vigorous baritone mid-tempo wail and the crystalline guitar soloing of Felder. With its nearly popping, Marcus Miller-style bass-line, Jade is closer to current urban radio styles but darn [kidding!], theres that sleek, soulful bass clarinet riding the melody and Mark Feldmans deep-blues violin solo. (Somewhere blues-rock fiddler Sugarcane Harris is smiling.) Landrus and company have fashioned an opus that could, if this writers artistic license is properly renewed, be labeled (if labels you must have) avant-quiet storm jazz. Its got a mellow vibe throughout but a subtly wildly creative vibe going on as wellits as if Landrus likes both mellow/groove/R&B-laced jazz and assorted post bop modes and broke down any barriers between them. The winner is, naturally, the open-eared listener that doesnt disdain more accessible musical styles. This ones a winner, one for the behearer that enjoys CTI, ECM, and AACM.
By John R. Barrett, Jr.. This is a shout in your ear, or cold water straight in your face: bop rarely gets any harder. First off, you get a lot of rhythm: James Weidmans piano is a machine gun, dealing terse blasts of sound. On most tracks you get an agile bass, a load of steam from two drummers (if youre wearing headphones Francisco Mela gets your left ear while Otis Brown commands the right) and a fierce Joe Lovano careening down the middle. Heard on tenor for Blessings in May, his scratchy tone slithers fast, as typical for him; the tune is a simple back-and-forth pattern stuffed with attitude. Cymbals fall everywhere as Joe starts to growl: first we get tiptoe ascents, interspersed with metallic Coltrane squeals. Weidman bleeps sour chords, submerged neath the clicking sticks; his solo blends Monk harmonics with a two-finger twiddle of the right hand. Upward he goes, charging as the drums maintain the heat; Lovanos return, on soprano this time, tumbles fast on interlocked clusters of notes. These lines, in a narrow range of notes, snake around endlessly: call it streamers of sound. The exchanges give some to each drummer: Mela gives us an avalanche of cymbals, while Brown goes blunt (and hard) on the toms. Theres a brief return to the theme, and to me the ending seems abrupt, but not to worry this ride is far from over. Myths is arid and open: a ruminative bass, the splash of percussion (Mela is mostly snares and cymbals, while Brown likes the toms) and the simple weeping of a horn. Largely formless, Lovano wriggles around in mid-range; the occasional guitar flourishes liven it much. Halfway in Joe makes a sharp ascent, then to gracefully spiral down a nice spot of clam within the frantic drums. A harsh blare from Lovano, a rippling aside from Loueke, and it is done not much to much it, but the impression is made. Cross Culture begins with unease, in a repeated phrase by Weidman that bassist Peter Slavov picks up when the piano moves elsewhere. Lovano, sounding stronger than usual, nervously wiggles in short phrases as Loueke takes similar steps. When Joe states the theme proper, Weidman slyly parallels him in sour harmony. Sadness drips from Joe as his notes slink downward; James and Lionel repeat his phrases to cement the mood. For a sound this dense it doesnt seem crowded, even as the drums pick up the pace: Weidmans ending tremolo, begun as Lovano concludes his piece, is especially nice. That feeling continues In a Spin, where tenor and guitar share the sprightly theme and Weidman shows moments of Monk. Very busy his solo is, made more so by the drummers aggression; Louekes octave bleeps seem other-worldly, especially when Joe starts squealing. The effect is quite harsh, bust arresting; as a palate-cleanser we have Strayhorns Star Crossed Lovers, with creamy blocks of piano and an old-fashioned horn that recalls Lester Ben Webster too. In time he reverts to form and the pace quickens, the horn fluttering as the brushes bring sunshine. Esperanza Spalding has a deep, forceful hum in her solo, Weidmans Morse code comps bring a smile, and Joe
Joe Lovano
CROSS CULTURE Blue Note 38761. Blessings in May; Myths and Legends*; Cross Culture*; In a Spin*; Star Crossed Lovers; Journey Within*; Drum Chant*; Golden Horn; Royal Roost; Modern Man; PM*. PERSONNEL: Joe Lovano, tenor and soprano saxophones, tarogato, percussion; James Weidman, piano; Esperanza Spalding, bass on Blessings in May, Star Crossed Lovers, Golden Horn, and Modern Man; Peter Slavov, bass on Myths and Legends, Cross Culture, In a Spin, Golden Horn, Royal Roost, and PM; Otis Brown III, drums; Francisco Mela, drums, whistle, balafon; Lionel Loueke, guitar on tracks marked *.
Antonio Adolfo
Finas Misturas (fine mixtures)
Tunes by John Coltrane, Dizzy Gillespie, Chick Corea, Keith Jarrett, Bill Evans & Antonio Adolfo
Piano: Antonio Adolfo Tenor Sax & Flute: Marcelo Martins Electric Guitar: Leo Amuedo Acoustic Guitar: Claudio Spiewak Double Bass: Jorge Helder Drums & Percussion: Rafael Barata
An album of curvy improvisation and poise.
Mark Myers, jazzwax.com
Produced and arranged by Antonio Adolfo A Brazilian national treasure that needs more love on this side of the Equator.
Chris Spector, Midwest Records
Sublime is the word that best describes it!

Egidio Leito, musicabrasileira.org
A Brazilian Suite that is elegantly humid with the gentle swing of a warm wind.
C. Michael Bailey, allaboutjazz.com
Theres a finesse and beauty that keeps Adolfos music from becoming a simple combination of jazz standards floating over Brazilian rhythms.
Chip Boaz, The Latin Jazz Corner
Coltrane elevated to cerebral intuitive force, the melody relayed with delicacy and power, Bill Evans Time Remembered is as clear as cut glass and jewel-like, its melody sculpted via piano and flute
Ken Micallef, DownBeat
Available at all major websites
www.aammusic.com
Brazilian Music Workshops by Antonio Adolfo

In NYC - August 2013 ONLY
Private & Group Classes Piano Acoustic Guitar Brazilian Percussion Vocal Ensemble Brazilian Phrasing Harmony Songwriting Special Master Classes
INFORMATION: (786) 566-1527
www.antonioadolfo.net antonioadolfomusic@gmail.com
Michiko Studios (workshop location) NYC (Manhattan West 46th St.) www.robertoswinds.com/michiko_room.php
returns to Prez as it all concludes. It might seem odd among the albums modernism, but this kind of beauty always has its place. Journey Within, another sparring match with Loueke, has a similar call-and-response (and a similar guitar tone) as In a Spin. Its a heady ride, but weve been there before, only on this one the piano sits out. Drum Chant is what you think it is: Mela and Brown going at it fullbore, augmented by Louekes chicken-scratch riffs and a tootling soprano. Perhaps this is long for what it is, but worth a listen. Golden Horn gives us both bassists for the only time in the set, the organic sound of the balafon, more percussion (much of it played by Lovano himself), terse lines from Weidman, and circular riffs from the leader. The start of his solo sounds like noodling to me, but it gains strength and form when James comp turns more active. Royal Roost, named for the famed Forties venue, is a torrid bop workout, straightahead and fast. The drum exchanges (each getting their chance, as on Blessings) we get your heart beating, Slavovs effort is likely his best, and Joes tone is harder than usual for him, darting occasionally to his more urgent style. And, with a swoop of keys and a spiky tenor, PM takes a bumpy jog on a track fast with cymbals. He caws like a big rusty bird, Lionels strings emit a great sproing, and the bass bubbles with greater energy than most tracks. A circular figure from Loueke winds its way upward; Weidman and Joe slam their respective keys, and the pianist manages to hint Cecil Taylor and Well, You Neednt in his brief solo. From this point it relaxes, the reed drawling slowly among sputtering brushes and bang! The theme returns and it all ends in the musical equivalent of a jump cut. While some tunes are cursory and you could argue for more variety, the best parts are bold, the musicianship strong, and fans of Joe Lovano will definitely find much to like here.
Rob Mazurek
THE SPACE BETWEENDelmark 5007, Web: Delmark.com, RobMazurek.com. Vortex 1-5; We Are All One with the Moon and the Planets; Only; The Shifting Sequence; Illumination Drone 17; Space Between; Seven Blues; Indras Net PERSONNEL: Rob Mazurek, cornet, electronics; Marianne M. Kim, choreography; Todd Carter, engineer; Damon Locks, vocals, electronica, text; Nicole Mitchell, flute; Matt Bauder, electronics; Jeff Kowalkowski, acoustic piano, electric piano; Carrie Biolo, percussion; Mauricio Takara, electric cavaquinho; Guilherme Granado, sampler; John Herndon, drums; John Corbett, liner notes, Bob Koester, producer; Todd Carter, engineer By Alex Henderson Bob Koester, president and owner of Chicago-based Delmark Records since 1953, has a
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long history of acting on his gut instincts. Whether it was Dixieland, hard bop, avant-garde jazz, post-bop, electric Chicago blues or acoustic country blues, Koesters musical philosophy has been: if you feel it in your gut on some level, it deserves to be documented (which is a very different approach from not being able to breathe without a group of marketing consultants). And after all these years, Koesters gut instincts are still serving him well. They certainly do on cornetist Rob Mazureks The Space Between, an ambitious, conceptual two-disc set (an audio CD plus a DVD) that combines free-form improvisation with spoken word and a science fiction theme. The influences on The Space Between range from Sun Ra & His Arkestra to late 1960s/early 1970s-era Miles Davis to the Chicago-based Association for the Advancement of Creative Musicians (AACM). When an avant-garde jazz album has song titles like We Are All One with the Moon and the Planets, Vortex 1-5, The Shifting Sequence and Illumination Drone 17, chances are that it has some type of Sun Ra influenceand thematically, The Space Between shares Sun Ras sci-fi obsessions. But this recording is far from a carbon copy of Ra and the Arkestra, and the material also gets a great deal of inspiration from the musicians of the AACM. Delmark has a long history of documenting AACM artists, going back to the 1960s. And the AACM sound (which has made extensive use of space instead of going for the extreme density of Charles Gayle or 1965-1967-era John Coltrane) is a definite influence on The Space Between. The improvisations on this release are uninhibited, free-spirited and very stream-ofconsciousness, and the musicians really let loose when they feel like it. But The Space Between doesnt have the brutal, vicious, scorching atonality that some free jazz is known for. The performances are abstract and eccentric; a standard verse/chorus/verse/chorus approach was obviously the last thing Mazurek and his colleagues had in mind when they went into the studio with Koester. But Mazurek isnt going for crushing, all-out sensory assault. The free-form improvisation on this album is spacey but not confrontational and not especially angry. Mazurek doesnt confront on Indras Blues or Only; he meditates, and that spirit of meditation is very much in keeping with the AACM aesthetic. Anyone who stereotypes avant-garde jazz in general as being too abrasive, too dense, too angry, too harsh hasnt spent enough time listening to Roscoe Mitchell, Muhal Richard Abrams and other AACM artists who have recorded for Delmark over the years; the AACM has never been about pummeling and stomping the listener into submission. The Space Between is rewarding even if one sticks to the audio CD and simply hears the music without any visuals, but the DVD (which was directed by visual artist Marianne M. Kim) makes for an exciting and wildly psychedelic audio-visual experience. Kims trippy visuals (which include abstract choreography) really capture the bizarre, spacey, uninhibited nature of the music. Mazurek has been recording quality albums for Delmark since the late 1990s, but The Space
Between is easily the best album he has recorded for Delmark so far.
Bob Mover
MY HEART TELLS ME Motema 117. www.motema.com. My Heart Tells Me; So Near And Yet So Far; I Hadnt Anyone Till You; Get Out Of Town; Penthouse Serenade; Gone With The Wind; Youve Changed; By Myself; You Must Believe In Spring PERSONNEL: Bob Mover, alto, tenor and soprano saxophones, vocals; Kenny Barron, piano; Bob Cranshaw, bass; Steve Williams or Victor Lewis, drums; Josh Evans; trumpet; Steve Hall, tenor saxophone By Scott Yanow Early in his musical life, alto-saxophonist Bob Mover won a scholarship to attend Phil Woods jazz camp. He developed quickly as a musician, spent half a year playing with Charles Mingus in 1973 when he was 21, and two years later was working and recording in New York with Chet Baker. When he made his first recordings as a leader in 1976, he was strongly influenced by Lee Konitz, but over time the Charlie Parker sound and style have become more dominant. Decades have passed but Mover has retained his sound and stuck to his original bebop approach. Despite making relatively few recordings during the past decade, he remains in his musical prime. My Heart Tells Me, a superior two-CD set, not only features Movers playing on alto, tenor and soprano but, during its first half, it also finds him being an effective singer. The first disc has Mover joined by pianist Kenny Barron, bassist Bob Cranshaw and drummer Jeff Williams. While eight of its nine songs (all but a cooking version of Get Out Of Town) include Mover vocals, each selection also has strong examples of his saxophone playing. Movers singing on such numbers as My Heart Tells Me (a Harry Warren obscurity well worth reviving), a Brazilian-flavored version of Cole Porters So Near And Yet So Far, I Hadnt Anyone Till You and Youve Changed, is subtle and effective. His whispery voice, to use a phrase by Eddie Condon, doesnt hurt anyone and is a little reminiscent of Chet Baker. He swings simply and sticks to the lyrics. While Mover plays a bit of tenor (best on Penthouse Serenade) and soprano, alto is his main voice. His Bird-based solos are fun to hear in an era when John Coltrane, Michael Brecker, Cannonball Adderley and Wayne Shorter are much bigger influences on most saxophonists. Kenny Barrons concise solos are typically flawless, and his accompaniment on the two duet pieces Youve Changed and By Myself is
superlative. The second disc is strictly instrumental except for Movers singing on Kenny Dorhams Fair Weather. Mover is again joined by Barron, Cranshaw and Williams (who is replaced by Victor Lewis on two numbers) plus trumpeter Josh Evans and (on three songs) tenorsaxophonist Steve Hall. Mover contributed five of the seven selections and his interaction with Evans on the hotter numbers is a consistent delight. In addition to the Dorham song and the Mover originals, the second disc includes Mal Waldrons little-known but swinging Dees Dilemma. Survival Of The Sickest begins and ends with some fairly free improvising by the ensemble, sandwiching some heated straight ahead solos. Other highpoints include a blazing Sweet Basil (based on Cherokee) and the boppish Carmens Calypso which is similar to Charlie Parkers My Little Suede Shoes. Bob Movers playing is consistently inventive throughout this twofer and his tone is beautiful. It is little surprise that Phil Woods, in his liner notes, raves a bit about his former student. Mover, along with Woods, Grace Kelly and just a few others, is helping to keep bebop alto and the legacy of Charlie Parker alive and relevant.
mental warmth on the inside tone of Rollins, but he uses it in a very personal manner. Phrygian a Trois opens the album with a clarion call from Pope unaccompanied, with some rough, emotive cries evocative of Archie Shepp and David S. Ware. The bass and drums ease it, providing some percolating, slightly off-kilter swing. Without going into the speaking-in-tongues intensity of, say, late-period Coltrane, Pope nonetheless captures that restless, spiritual sound. While the structure is post bop, Pope is constantly pushing the envelope without abandoning rhythmic drive and recognizable (rather than implied) structure. Bassist Lee Smith has a firm yet supple style (think Cecil McBee, Charlie Haden) and its no wonder Billy Hart is one of jazzs first-call gents for contexts of bebop and (well) beyond. Hart is propulsive but subtly so, and provides all kinds of dandy accents and asides. While Pope is clearly the central figure here, it is most definitely a cooperative session. Good Question Two is sharp, swelling, bare-bones hard bop with Popes big tenor swinging a catchy melodic motif hard and stylishly, with some of the swagger of Griffin, while the other gents sizzle their support, Hart crackling like a thunderstorm. Blues For Eight isnt really a blues, structurally, but theres a dark blue hue to Popes husky wailing. Melody- and ambiance-wise, this track has a bit of the oblique wit of Thelonious Monkin fact, Popes tenor occasionally brings to mind Monks foil Charlie Rouse (affectionate while being charmingly standoffish). Almost Like is the most Rollinslike track here, its overall vigor and unity echo-
Odean Pope
Odeans Three IN + OUT Records. www.inandout-records.com. Phrygian a Trois; Fresh Breeze; The Garden of Happiness; Good Question Two; Blues It; Blues For Eight; Almost Like, Pt. One; 12th Night; You and Me. Personnel: Odean Pope, tenor sax; Lee Smith, acoustic bass; Billy Hart, drums. By Mark Keresman Regardless of your religious affiliation (or lack thereof), this is one Pope whose influence might improve your way of livingvia music, naturally. Tenor saxophonist Odean Pope is a jazz son of Philadelphia, perhaps best known for his longtime working relationship with Max Roach (nearly two decades). But Pope also rose through the ranks via Jimmy Smith, Jimmy McGriff, and the underrated Philly funk combo Catalyst, and studied with Ray Bryant besides. Plus, Pope is a jazz educator in Philly and beyond. Perhaps hed be better known if he were based in NYC or LA, but he keeps Philadelphia as his home base. His latest, Odeans Three, features liner notes from no less a tenor peer than the protean Joe Lovano. Stylistically Pope is in the lineage of big, hard-toned tenors such as John Coltrane, Sonny Rollins, and Johnny Griffin, but especially Rollins. Not too imply Pope is imitative, but he has that tough-and-steely on the outside, unsentiTo Advertise CALL: 215-887-8880 July 2013 Jazz Inside Magazine www.JazzInsideMagazine.com
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ing Rollins classic album Freedom Suite. If Three has a shortcoming, its that the album as a whole comes off a bit same-y if listened straight-throughthis session could have benefited from another instrumental voice (guitar, another hornand Pope himself plays assorted other reeds, although not here) to provide a tad more variety. But thats almost a quibble, as the playing here is uniformly excellent and everyone plays at a high level of inspiration. If youre one for the sax/bass/drums configuration, Odeans Three should be among your top three buys on your shopping list.
acoustic bass, crackerbox; Bob Koester, producer; Nick Broste, engineer; James Wagner, engineer; Peter Margasak, liner notes By Alex Henderson Musicians who play avant-garde jazz dont necessarily end up in New York City. Some of them move to Europe, some of them find Boston or San Francisco to be appealing places for avant-garde expression. And then there is Chicago, which has been a hotbed of avant-garde jazz since the 1960s and is the home of the legendary, highly influential Association for the Advancement of Creative Musicians (AACM). It isnt hard to understand why avant-garde jazz musicians enjoy living in Chicago, including drummer Frank Rosaly. Originally from Arizona, Rosaly has been Chicago-based since 2001 and has done plenty of sideman work in Chicagos avant-garde jazz scene. Cicada Music, however, is his first album as a leader, and this CD (which was recorded in 2008 and 2011) paints an attractive picture of Rosaly as both a drummer/percussionist and a composer (he also contributes some acoustic piano and electronics). All of the pieces come together nicely on Cicada Music; Rosaly wrote all of the material, and he is joined by a talented cast that includes James Falzone on clarinet, Jason Stein on bass clarinet, Keefe Jackson on tenor sax, bass clarinet and contrabass clarinet, Jason Adasiewicz on vibes and Jason Roebke on bass. Rosalys material is cerebral and abstract, but not in a harsh or abrasive way. Some free jazz goes for the jugular and does so without
Frank Rosaly
CICADA MUSICDelmark 5006. Web: Delmark.com, FrankRosaly.com. The Dark; Wet Feet Splashing; Yards; Babies; Adrian; Driven; Tragically Positive; Bedbugs; Typophile/Apples; Credits PERSONNEL: Frank Rosaly, drums, percussion, acoustic piano, electronics; James Falzone, clarinet; Jason Stein; bass clarinet; Keefe Jackson, tenor saxophone, bass clarinet, contrabass clarinet; Jason Adasiewicz, vibes; Jason Roebke,
apology; Rosaly, however, favors more of a probing, inquisitive mood on appealing originals such as Adrian, Wet Feet Splashing and Yards. And the pensive feeling on Babies, Driven and Credits is right in keeping with the AACM aesthetic that is so common in the Windy City. Back in the 1960s, the AACM promoted a style of avant-garde jazz that was reflective and contemplative rather angry or confrontational. Fearless AACM explorers like Anthony Braxton, Roscoe Mitchell and Muhal Richard Abrams werent about suffocating the listener with scorching density; they were about reflection rather than confrontation, and they made extensive use of space. For all their abstraction, the AACM recordings of the 1960s and 1970s had plenty of nuance. And there is nuance galore on Cicada Music. Rosaly and his colleagues can get heated at times, but overall, Cicada Music favors a very nuanced approach to outside playing. No one will mistake Adrian or the 12minute Typophile/Apples for straight-ahead bop or small group swing anytime soon; Cicada Music is decidedly left of center and clearly operates in the avant-garde realm. But compared to the nonstop brutality that some free jazz is known for, this album offers the listener plenty of breathing room. If Cicada Music is any indication, moving to Chicago 12 years ago was a wise decision for Rosaly.
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Akira Tana
OTONOWA @Cannatuna Records. Yashi No Mi; Nada Sou Sou; Otonoha 1; Karatachi No Hana; Akatombo; Koi No Vacance; Otonoha 3; Yoimachigusa; Ue O MuiteArukou (Sukiyaki); Momiji; Sakura Sakura; Otonoha 2; Kojo No Tsuki; Gion Kouta; Furusato. PERSONNEL: Akira Tana, drum set and Japanese fan drums; Masaru Koga, alto, soprano and baritone saxes, flute, shakuhachi and percussion; Art Hirahara, piano; Noriyuki Ken Okada, bass. By Eric Harabadian What began as a trio, formed to play a benefit for the Japanese earthquake and tsunami disaster of 2011, developed into a fullon studio project. With the addition of pianist Art Hirahara, drummer and recording date leader Akira Tana assembled a dedication to treasured Japanese folk pieces that were common to them all. And if jazz is, indeed, a universal language, then that fact is certainly never more evident than what these talented
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artists have done with this music. All of the compositions they chose were traditional songs reharmonized, arranged and adapted for the jazz lexicon. The group known as Otonowa which is Sound Circle in Japaneseis an inventive and unified ensemble, with a unique perspective on the global jazz landscape. A brief overview of the track list reveals quite an array of improvisational styles. For instance, opening tune Yashi No Mi features saxophonist Masaru Koga delivering a very ethereal and serene Coltrane-esque approach to this Asian classic. The band employs space and a pleasant ambience that also ushers in a reflective Euro-ECM vibe as well. They keep that tranquil feel going on Nada Sou Sou. The arrangement by pianist Hirahara coupled with Kogas delightful flute work is extraordinary. Their interplay both complements and challenges, producing great things in their performance. Akatombo is another Hirahara arrangement that appears to draw from a Jazz Messengers point of view. Kogas soulful alto sax work is first rate as the band plays appropriately bluesy. Koi No Vacance picks up the tempo and really swings. There are some nice breakdowns here too courtesy of Tana on trap drums. Perhaps, the most recognizable melody for western audiences would have to be Ue O MuiteArukou (Sukiyaki). It was a 1963 international hit that was popularized years later in the 70s by disco group A Taste of Honey. They retain the beauty and simplicity of the melody but give it a bouncy samba feel. This is revelatory and truly makes for an enjoyable ride. Kogas Coltraneesque roots shine again on the traditional tune Sakura Sakura. The band plays in time allowing the effortless flow of the soprano sax and Hiraharas Tyner-like comping to come alive. Kojo No Tsuki is another stellar track that stands out for Kogas use of baritone. His robust playing provides a rich and stable pedestal upon which many of the tunes here are supported. Akira Tanas wonderful group is truly doing something very special here and it is a fine example of how music can break down cultural barriers and expose the commonality within us all.
By Curtis Davenport One of my biggest musical regrets is that I missed experiencing the music of many great Cuban artists during some of their prime years, due solely to politics. One of those artists is Chucho Valds. However, even though most of us never got to hear what Irakere sounded like in their prime, we can be thankful that Chucho is still very active at 71 and creating great music. His latest album Border-Free (with a group that he calls The Afro-Cuban Messengers, in a nod to the jazz finishing school that was Art Blakey and the Jazz Messengers), is a deeply personal statement, filled with tributes to his family members and others who have influenced his musical direction. But you never forget that this is a Chucho Valds album, so these tributes are carried out in the midst of killer Afro-Cuban rhythms and piano statements of astonishing brilliance. Like Blakeys Messengers, Valds Messengers are comprised of impressive young musicians who are making a name for themselves, in this case in the Afro-Cuban jazz idiom. This is another reason that I hope that the political climate between the U.S. and Cuba continues to thaw, so that we can hear more from these five brilliant Cuban youngsters. In addition, Valds adds a ringer to the recording, as Branford Marsalis guest stars on three tracks. The albums title illuminates the fact that Mr. Valds made a conscious effort to make this more than just an Afro-Cuban album. The idea was to find other rhythms that could be fused with those of Cuba to create something fresh and intriguing. One of the best examples of this effort led to the most impressive track on the album, Afro-Comanche. In the 19th century, a group of approximately 700 Comanche were taken prisoner during fighting with the Spanish Army in what we now know as Texas. These Comanche were relocated to Mexico, then Spain and eventually Cuba. Many died from the conditions and the unfamiliar climate. Many of those who survived mixed with the Afro-Cubans and started families. Their children were known as Afro-Comanches. On this cut, Valdes begins with an opening on piano that employs traditional Native American musical elements. He then continues to state the theme, while AfroCuban rhythms are added. After a strong solo by bassist ngel Gastn Joya Perellada, Valds returns in 4/4 with a hard bop statement, raising the tension to the breaking point before he drops out, giving way a purely African drum solo by Dreiser Durruthy Bombal on the bats, which leads to a call and response chant, wrapping up as Valds blends in again to restate the theme. Afro-Comanche is twelve of the most exciting musical minutes that Ive heard this year. I have to admit that I could not (and still cannot) stop listening to it. Tab is another standout. A tribute to Margarita Lecuona, the composer of Babal Ay and other Cuban classics, this mid-tempo track is notable for Marsalis cool tenor work, as well as the impressive trumpet solo of Reinaldo Melin Alvarez. Bebo was written in honor of Chuchos late great father Bebo Valds, who
Chucho Valds
BORDER-FREE Jazz Village Records JV570016. http://worldvillagemusic.tumblr.com.
Congadanza; Caridad Amaro; Tab; Bebo; Afro-Comanche; Pilar; Santa Cruz; Abdel
PERSONNEL: Chucho Valds, piano; Reinaldo Melin Alvarez, trumpet; Dreiser Durruthy Bombal, bats, lead vocals; Rodney Barreto Illarza, drums, vocals; ngel Gastn Joya Perellada, double bass, vocals; Yaroldy Abreu Robles, percussion, vocals; Branford Marsalis, tenor sax, soprano sax
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was also an outstanding pianist and bandleader. The composition has an insistent melody line that stuck in my head immediately. It also featured more excellent trumpet from Alvarez and tenor by Branford. Whats most impressive of all, however, is Valds solo. On the spot, he decided to play a tumbao in his fathers style with his left hand while soloing with his right hand in his own style, resulting in something that sounded a bit like Chucho and Bebo playing together. It was nicely done and very moving. Pilar was written by Valds for his mother, who loved Bachs preludes and fugues and Miles Blue in Green, so Chucho gives us a bit of both in this introspective piece, which kicks off with a striking bit of bowed bass work by Perellada and follows with Valds reaching deep into his Bill Evans bag. Border-Free is another triumph for Chucho Valds, from concept to execution and all points in-between. Though it sounds clichd, I cant think of a better way to say it; Chucho just keeps getting better with age.
soon, melodica, piano (12); Dan Tepfer, acoustic & Fender Rhodes piano, alto sax (12). By Mark Keresman Here we have a couple of relative youngsters, but dont mistake youth for greenness. Both truly know their way aroundBen Wendel with Kneebody (including Nate Wood and Shane Endsley), Tony Scott, and Adam Rudolph; Dan Tepfer with Lee Konitz, Steve Lacy, and Bob Brookmeyer, and each have good recordings under their belts as leaders. Here, these lads tackle the duet format, but with a difference: While most jazz duet-sets are two humans on one instrument each, Small Constructions features each on a few axes and overdubbed at that. Yet theres still the intimacy of the usual duo approach, and with overdubbing, they can sound occasionally like a mini-orchestra. Further, both have a wide range of inspirations, in jazz and beyond it, so theirs is a richly multifaceted music. The Brubeck-ish Still Play has Tepfers rolling, lyrical, J.S. bach-tinged piano and Wendels baroque-like bassoon laying down a shifting foundation for the latters puckishly lyrical flights on soprano sax. Thelonious Monks Pannonica finds the pair maintaining Monks brand of curtness and simplicity while adding some very fastidious adornments. Line Up finds Tepfer on two pianos, a electric one providing percussive underpinning, and an acoustic one playing a rolling, Bach-like melodic
Ben Wendel & Dan Tepfer

SMALL CONSTRUCTIONS Sunnyside. www.DanTepfer.com www.BenWendel.com. Still Play; Pannonica; Jean and Renata; Line Up; Line; Nines; Gratitude; Ask Me Now; Rygabag; Dan That Dream; Variation 1 in D minor; Oblique Strategy. PERSONNEL: Ben Wendel, saxophones, bas-
line while Wendel soars a la Wayne Shorter. (The shade of J.S. Bach lurks throughout these proceedings.) Wendels Line finds Tepfer summoning Ellington is his solitary, somber mood, the piano notes thick as honey. Ask Me Now is another Monk chestnut, this time given a pure duo reading, just sax and piano. If 2013 writers of textbooks need recent recorded examples to which to refer as ideal examples of ballad playing, this could indeed be one. While the previous Monk rendition found them orchestrating Monk, Ask is sly Monk minimalism, Tepfer spare and droll while Wendel waxes warmly rhapsodic and romantic without ever getting sappyin this version, its always the other side of (round) midnight. Variation 1 in D minor is by baroqueera classical composer G.F. Handel, in which the duo keeps the chorale-like qualities of the piece while delicately introducing aspects of blues and late-night jazz balladry. What couldve been an oil-and-water mixture becomes the most natural thing in the world, blues infused with classical elegance and baroque music finding commonality with the blues. The closer Oblique Strategywith Tepfer playing sax and Wendel at the 88sis an almost painfully mournful sax/ keys encounter, a bare-bones, harrowing elegy to Everything Good. Wendel and Tepfers Small Constructions might seem modestits just two fellows, after allbut its an extraordinarily ambitious album, interlacing jazz verities with classical sonorities in an unpretentious, captivating mannerits a
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brand-new tributary of the Third Stream.
Mike Wofford
ITS PERSONALCapri Records Ltd. #74121-2. Little Melonae; Its Personal; Cole Porter; The Eighth Veil; Spin; I Waited for You; Springsville; Candle; Nicas Tempo; Hines Catch-up (for Earl Hines); Once in a Lifetime; No More. PERSONNEL: Mike Wofford, piano. By Eric Harabadian This time..its personal! Thats what veteran jazz pianist Mike Wofford says about his latest release. And it couldnt be a more apt title due to the fact that what you have is the man himself, alone with is instrument and with his history. Basically the leader takes the listener on a musical travelogue through various touchstones that have impacted his career andin the case of the title track, a composition that is dedicated to his flautist wife Holly Hofmannhis life. Texas-born Wofford relocated to Los Angeles in the early 60s and cut his teeth playing with the cream of the West coast jazz scene including Chet Baker, Art Pepper and June Christy. Hes also gone on to work with some of the greats of pop and rock such as Bill Cosby, the Jackson 5, John Lennon, Harry Nilsson, Quincy Jones and Joan Baez. Suffice to say this man has done it all but his career is certainly, still, in full swing. The impression here is that sometimes along the way it is important to reflect on where youve been in order to see where you are and where youre headed. As you peruse the track list you will find an interesting and eclectic assortment of material. This is Wofford unadorned, with no overdubs or sidemen to fall back on. What you have is the master at work in a solo setting where every nuance can be thoroughly absorbed and appreciated. Highlights include Jackie McLeans Little Melonae. This piece opens the album and it spotlights Woffords playful and open feel. It is bright and strident featuring challenging runs and a nice use of dynamics and melodic invention. The title track is appropriately thoughtful, with a tinge of sweetness to it. The changes are pensive and slow which set up a complex midsection that becomes variations on the initial theme. Probably one of the most influential composers of the last century or so has to be Cole Porter. Wofford composed an elegant and fitting tribute that is multitiered; going from ponderous and moody to ebullient and swinging. Spin is
another Wofford original that has an interesting 10-bar form, with an added 8-bar extension. There is a sense of urgency in this piece that really inspires. I Waited for You is a nice ballad by Dizzy Gillespie and Gil Fuller. It is dedicated to musicians Jimmy Rowles and Ellis Larkins and employs a smooth use of pedaling and left hand bass-walking. There are a number of other stellar selections here but one bold curiosity is the mash-up of Anthony Newleys classic Once in a Lifetime with Talking Heads similarly titled tune. At first glance it is understandably an odd pairing; two completely different songs with the same title. But thats how the mind of a master like Woffords works. He almost seamlessly bridges the gap between two spectrums of pop music and harmonically morphs one into the other. Mike Wofford plays with sophistication and style, yet he never loses sight of communicating with the listener on a grounded emotional level. Experiencing him in a solo forum finds the man in his natural element. It is truly a special treat!
The Wrong Object

AFTER THE EXHIBITION - Moonjune Records MJR055. Detox Gruel; Spanish Fly; Yantra; Frank Nuts; Jungle Cow Part I; Jungle Cow Part II; Jungle Cow Part III, Glass Cubes; Wrong but Not False; Flashlight into Black Hole; Stammtisch PERSONNEL: Michel Delville, guitar, Roland GR-09; Antoine Guenet, keyboards, vocals; Marti Melia, bass and tenor saxes, clarinet; Francois Lourtie, tenor, alto & soprano saxes, voice; Pierre Mottet, bass; Laurent Delchambre, drums, percussions, objects, samples + Benoit Moerlen, marimba & electronic vibraphone on tracks 2, 3, 5-7 & 11 Susan Clynes, vocals on track 8 By Dan Burke With the release of Wrong Objects latest offering, After the Exhibition, Michel Delville and company (now a sextet) have managed to erase the need or, for that matter, the ability of the listening audience to pigeonhole them into any specific category or genre. The first 30 seconds of Detox Gruel, fittingly placed at the beginning of this amazing cd, sets up the listener for what seems to be a swinging fresh take on post-bop jazz with the dual horn main theme courtesy of Marti Melia and Francois Lourtie. But, just as you settle in for a comfortable listen, we come to a screeching halt only to restart the track with a pseudo Sabbathian guitar riff and free-blowing notes morphing into a very liquid horn solo. Hold on now dont think youve got it down. Were about to change gears again and enter a mechanized groove with Laurent Delchambres skipping drums augmented by a repeated 6-note horn riff with drum track dropping in and out like a Protools dance mix. But then Pierre Mottets gorgeous fuzz bass solo comes onboard and ties the whole heavy metal/ mathrock vibe together before we return to a fitting bookend of the main dual horn riff. Remember that? I want what these guys had for breakfast! And this is only the first track!
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The next two tracks feature the versatile keyboard work of Antoine Guenet and guest marimba/vibes player, Benoit Moerlen . Antoine is also the leader of SH.TG.N, another Belgian MoonJune recording artist, and has recently joined forces with longtime RockIn-Opposition group, Univers Zero. The compositional hallmarks of the Zappa-inspired R.I.O. moniker (think Henry Cow) are proudly served up throughout this recording. There is also a healthy homage to Hatfield and the North and the Canterbury school, particularly illustrated in the fiendishly complex tunes Yantra, Flashlight Into Black Hole and the 12/8 portion of Jungle Cow Part II. Speaking of Frank, Michel has played with both FZs nephew Stanley Jason Zappa in the New Texture Pan Tonal Fellowship and with Franks mallet percussion master Ed Mann at 2004s Zappanale Festival. The tunes Wrong But Not False and Stammtisch would fit nicely in a mix with such Zappa classics as It Must Be A Camel and Little Umbrellas. Positioned midway in the song sequence, the Jungle Cow trilogy plays with atmospheres and textures as it ushers in a large dollop of Les Baxter/Martin Denny exotica where the musicians can play with texture and dissonance and really stretch out before raising the ante with an Immigrant Song styled wawa bass/horn riff and return, once more, to an intricately played guitar/horn section with delicate cymbalwork. One track that really goes left of leftfield is the delightful Glass Cubes with guest vocalist Susan Clynes. Her voice caresses Antoines delicate piano work and, when the two of them combine vocals toward the end, becomes downright sensual in the spirit of Kate Bush or Meshell NdegeOcello. I would love to hear more of this winning combination on future releases. I have been a big fan of both Michels compositional skill and his absolutely gorgeous guitar playing for awhile now. His other Moonjune releases, 2010s impossibly tasty Machine Mass Trio , 2009s DouBt/Never Pet A Burning Dog , 2008s Wrong Objects/Stories From the Shed , and 2007s Alex Maguire Sextet and Wrong Objects/The Unbelievable Truth (with the late and much missed Elton Dean) and Platform One (featuring Annie Whitehead and Harry Beckett) all showcase his thoughtful playing and his ability to listen to the other musicians. He has the chops and skill-set to be one of those pyrotechnic guitar gods touring with a backing band, but he would rather create challenging and rewarding ensemble pieces with his talented teammates. Fans of the aforementioned R.I.O. genre, as well as jazz fans looking for something more forward thinking (with crazy-good blowing to boot), should not hesitate in buying a copy of this Best of 2013 contender as soon as possible. Hats off to Moonjune Records and Leonardo Pavkovic for championing these bands and developing one of the most innovative and rewarding musical rosters.
Taeko
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