www.jazzINSIDEMaGazINE.

coM DECEMBER 2009

ISSN: 2150-3419 (print)
ISSN: 2150-3427 (online)

The Ultimate Directory of NY Area Jazz Club, Concert & Event Listings

Bob Brookmeyer
Interview

Junior
A Jazz Nativity,
Sun Dec 20 thru
Fri Dec 25, 6PM,
Birdland

Mance
Live Recording Caf Loup December 6, 2009

Bob Brookmeyer Jazz InsIdes

80th Birthday Celebration Top Cds of 2009
George Klabin Red Hot
On Scott LaFaro, Resonance Records Holiday Stomp:
Dec. 10-12 at 8 PM
Plenty of CD Reviews Rose Theater, Jazz
At Lincoln Center
Performance Reviews: Steve Grossman,
Rabbi Greg Wall, Houston Person & Pamela Luss
Ira Gitlers Apple Chorus
E
E
R
F
 Steve Maxwell vintage and CuStoM druMS
410 S. Michigan Ave. Ste 802
Chicago, IL. 60605 312-360-9881
723 7th Ave. 3rd Floor
New York, NY. 10019 212-730-8138
Steves cell: 630-865-6849
www.maxwelldrums.com
MANHATTAN
and CHICAGO
Our Manhattan shop is located at 723
7th Ave. 3rd floor. Were right at the
corner of 7th avenue and 48th street,
which is known as music row in
Manhattan. Our NYC manager is Jess
Birch and he and Steve will both be at
the shop. Steve is in the Chicago store
on Saturdays.
(chic): sat: 104
(nyc): Mon-sat: 117
intage and
o ur v m
y dru specia
om
Our Manhattan location is only a short distance from
where Frank Ippolito had his great shop, which was where t li s
Steve studied with Papa Jo Jones back in the early 70s and us
ts
c
where he got his first glimpse of the beauty of custom
drums from Al Duffy, who was truly the first custom
drum builder and a mainstay at Franks shop. Were proud
to be in Manhattan and we hope to carry on the tradition
of the great shops like Franks.
NEW: Effective April 1, Willie Martinez joins our
staff heading up our new repair department. Willie is
the best in the business and his name is known all over
Manhattan. Repair shop is open, so come on down and
let us help you with your gear.
Our new shOp includes:
craviOttO: Worlds largest selection of Craviotto
one-ply snares and drum sets
vintage: Extensive inventory of high end vintage
snare drums, sets and cymbals
MuseuM: A showcase for some of the rarest and
historic sets and snares.
gretsch: USA Custom drums in bebop sizes made
famous by the 60s era jazz greats and including our
Gretsch Vintage Tribute kits available only through
us. True vintage build out with rail consolette and even
burgundy sparkle among other colors.
cyMbals: Istanbul, Bosphorus, Zildjian, Old As, Old
Ks, Dream and our own Turkish made Session cymbals
All of the great sticks, heads, hardware, bags,
etc that we offer.
At our Manhattan store
(all items are available for sale):
Gene Krupas late 30s radio King snare drum
Rare Slingerland black beauty snare drum.
One of only 12 known.
Rare Gretsch cadillac nitron green
50s era 3 ply kit
practice space: Our NY store has drum set
practice available for rent on an hourly basis. Call 212-
730-8138 for details!
teaching studiO: Ron Tierno has relocated
his long standing teaching studio to our shop. Call Ron
directly at 646-831-2083 for lesson information and visit
his site at www.nydrumlessons.com
new! We now have our brand new vintage style Rail
Consolette tom holder assembly in stock. Check it out on
the website and in our stores.
stOre hOurs:
Other hours by appointment
sun: closed Manager: Jess birch
 Credit: Ken Weiss
Jazz Inside Magazine IMPORTANT: WAIT THERES MORE!
ISSN: 2150-3419 (print) ISSN 2150-3427 (online)
December 2009 Volume 1, Number 5
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Cover Design by Lori Dawson
Cover photo of Junior Mance by Steven Sussman www.JazzInsidemagazine.com.

CONTENTS
Publisher: Eric Nemeyer
Editor: Gary Heimbauer
Advertising Sales & Marketing: Eric Nemeyer, John Alexander
Circulation: Robin Friedman, Susan Brodsky
Photo Editor: Joe Patitucci
Layout and Design: Karry Thomas CLUBS, CONCERTS, EVENTS
Contributing Artists: Shelly Rhodes
Contributing Photographers: Eric Nemeyer, Joe Patitucci, Ken Weiss. 16 Noteworthy Performances
Contributing Writers: Dan Bilawsky; Al Bunshaft; John Cizik; Curtis
Davenport; Bill Donaldson; Dimitry Ekshtut; Robert Gish; Ira Gitler; Eric
17 Calendar of Events
Harabadian; Gary Heimbauer; Rick Helzer; Jan Klincewicz; Joe Lang; Ronald
Lyles; Layla Macoran; Matthew Marshall; Dave Miele; Nick Mondello; Patricia
28 Announcements Upcoming Events;
Nicholson; Joe Patitucci; Michael Steinman; Ariel Teitel; Ken Weiss. Cover: Junior Mance Regular Engagements; Additional Club
Advertising Sales Feature begins on page 6 and Venue Schedules
212-887-8880
33 Directory of Clubs, Venues, Music and
Jazz Inside Magazine Editorial Policies
Eric Nemeyer Corporation Jazz Inside does not accept unsolicited manuscripts. Persons wishing to Record Stores, Schools & Universities,
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Telephone: 215-887-8880
Email: advertising@jazzinsidemagazine.com
Jazz Inside unless otherwise agreed to in writing. Opinions expressed in Jazz 35 Around Town
Inside by contributing writers are their own & do not necessarily express the
Website: www.jazzinsidemagazine.com opinions of Jazz Inside, Eric Nemeyer Corporation or its affiliates.

SUBSCRIPTION INFORMATION
(1) Jazz Inside (monthly). To order a subscription, call 215-887-8880
Submitting Products for Review COLUMNS
Companies or individuals seeking reviews of their recordings, music books,
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Subscription rate is $49.95 per year, USA. Please allow up to 8 weeks for videos, software and other products are requested to send TWO COPIES 4 Apple Chorus by Ira Gitler
processing subscriptions & changes of address. 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, 36 An Intentional Community
(2) Jazz Inside Magazine (Quarterly, with CD). Subscription rates are at any time.
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Copyright 2009 by Eric Nemeyer Corporation. All rights reserved. No part
Advertising in Jazz Inside Magazine &
of this publication may be copied, photocopied or duplicated in any form, INTERVIEWS & SKETCHES
Jazz Inside NY Magazine (print and online) by any means without prior written consent. Copying of this publication
Jazz Inside Magazine provides its advertisers with a unique opportunity is in violation of the United States Federal Copyright Law (17 USC 101 et 6 Junior Mance
to reach a highly specialized and committed jazz readership. Please call seq.). Violators may be subject to criminal penalties as well as liability for
our Advertising Sales Department at 215-887-8880 for media kit, rates substantial monetary damages, including statutory damages up to $50,000 12 Bob Brookmeyer
and information. per infringement, costs and attorneys fees.
14 George Klabin
38 Greg Diamond
Two publications from Jazz Inside 39 Jonathon Haffner
Jazz Inside NY 40 Nick Kadjaski
MONTHLY FREE (available FREE in print at 200 locations around NY and via download of PDF file from
website. Also available in print by paid subscription, delivered to your home or office). Features interviews,
49 Top Jazz CD Picks of 2009
articles, reviews of recordings and books, listings of events, jazz clubs, festivals and other venues.
Jazz Inside Magazine LIVE PERFORMANCE REVIEWS
QUARTERLY 150200 pages, CD (available by paid subscription & at retailers throughout the USA,
Internationally) is a 150250 page quarterly magazine that includes a companion CD featuring full-length 37 Pamela Luss with Houston Person;
tracks by leading and emerging artists. It is available by subscription and at book, record and music stores Greg Wall 50th Birthday Celebration
and chains and newsstands nationally and internationally. Each edition of Jazz Inside Magazine features
detailed interviews, colossal bio-discographical features, reviews of recordings, books and musical
products, motivational, philosophical, articles, and for those readers who make music, a bonus 150-page CD REVIEWS
e-book on the enhanced CD with lead sheets, transcriptions, analyses and more.
50 Over 30 Hot New CDs
2 December 2009 Jazz Inside NY
www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
 Antoinette

Montague New Release:

Available from ALLEGRO/
IN THE GROOVE Feb 2010

Behind the Smile

Mulgrew Miller, Bill Easley, Kenny Washing-
ton, Peter Washington. With original
music by Antoinette Montague and songs
by Sam Jones, William Smokey Robinson,
Duke Ellington, Big Bill Broonzy.

For Bookings: Call 203-820-8819 or

E-mail: annie@antoinettemontague.com

WEDNESDAY DECEMBER 16TH

THE DUKE ELLINGTON SOCIETY CONTINUES ITS ANNIVERSARY CELEBRATION WITH ITS
50TH HOLIDAY CONCERT/PARTY At Saint Peters Church, East 54th St. & Lexington Ave., NYC
7:30pm 9:45pm Featuring The Antoinette Montague group and BILL EASLEY on sax/flute & clarinet
Free for TDES Members- $20 Donation for Nonmembers- $10 Donation for Students Seating begins at 7 pm *Swinging music & food!*

SUNDAY DECEMBER 20TH

LIVE AT THE BASSLINE
Remembering Etta Jones & Eddie Jefferson Antoinette Montague & TCII on vocals 130 East 1st St., Mt.Vernon, NY
3 to 6pm Admission: $20 in advance $25 at the door One drink minimum
Plenty of Free Parking, Right across from MetroNorth New Haven Line-Mt. Vernon East 917-882-9539 or 212-283-5513

www.antoinettemontague.com
Ad design: Danita Albert Photo: Hugo Castillo
Apple Chorus
MSM Jazz Philharmonic, Jacquet,
OFarrill, Steve Grossman
by Ira Gitler
Before we get into the more recent stuff I want
to amplify some of the subjects I touched on in the
November edition that I promised to amplify in this
issue. My first concerns the concert played by the
Manhattan School of Musics Jazz Philharmonic Or-
chestra, conducted by Justin DiCioccio. It was a di-
versified program to say the least, opening with Od-
yssey For Brass by pianist/composer-arranger Mike
Abene. Unfortunately I arrived just as the piece was
ending, thanks to a Manhattan traffic jam.
The second piece was a complete change of
pace. Violinist Kate Davis (she played bass in the
other parts of the evening) and pianist Florian Hoef-
fner collaborated on Clare Fischers beautiful bossa
nova Pensativa. Davis bowing combined the sweet
yearning and infectious rhythms of the piece in her
interpretation, buoyed by Hoeffner who also con-
tributed songful solo work as well.
Then came a most unusual orchestral piece,
Bob Graettingers three-part City of Glass. Back in
the 1940s Graettinger was a young saxophonist/
4 December 2009
composer-arranger who by 1947 decided to concen-
trate solely on writing. He began to contribute to
Stan Kentons Orchestra and in 48 debuted City of
Glass. It no doubt was ahead of its time and I, a stone
bebopper, who loved Stravinsky and Bartok, couldnt
get with it. Obviously, Graettinger wasnt fully satis-
fied. He recomposed the score, adding a full string
section, orchestral woodwinds, French horns and
tympani to the Kenton big band. It was recorded
in 1951 but I heard it for the second time (and not
immediately) after it was released in a Kenton CD
collection of Graettinger compositions and arrange-
ments on the Capitol label in 1995. It takes some lis-
tening to let all the layers into your ears and being,
but each time one discovers new feelings. This cer-
tainly was true when I heard it live. The Manhattan
Jazz Philharmonic, with 36 strings and added horns
and percussion, gave a magnificent performance on a
professional level.
The second half of the program was devoted to
Focus, written by Eddie Sauter for Stan Getz and re-
corded by tenor saxophone giant in 1961. The suite
has seven songs ranging from the rapid Im Late, Im
Late and the swift Night Rider to the absolutely
gorgeous Her and nostalgic I Remember When.
The individual tenor saxophone voice of Joe Lovano
carried the improvisations. On the balladic pieces
he came across with warm invention but because he
was set in the middle of a forest of seventeen strings
(counting the harp) and close to the team of bass and
drums, on the up tempo numbers, from where I was
sitting, you could feel his rhythmic impulses but not
clearly hear the complete articulation of his melodic
line. To Joe, who recently returned from Europe with
accidentally injured arms: Love, and heal well!
I must reiterate the excellence of the MSM mu-
sicians and also praise the expert conducting by Di-
Cioccio. I believe there is a concert of Mingus music
coming up in February. Watch for the date in these
pages.
In late October, Russias gift to the jazz world,
saxophonist Igor Butman, joined with saxophonist
Julius Tolentino, trumpeter Brian Lynch, trombon-
ist James Burton, guitarist Peter Bernstein, pianist
Anthony Wonsey, bassist Richie Goods and drum-
mer McClenty Hunter in paying musical tribute
another tenor icon, Illinois Jacquet, in the week of
what would have been his 90th birthday. Tolentino,
best known as an altoist, got his alto licks in several
spots but engaged Butman in a tenor battle on The
King and played Illinois famous solo on Flying
Home. He also used the gooseneck on Robbins
Nest, as did Butman within a string of mellow so-
los by Lynch, Burton (with plunger), and Bernstein.
Wonseys turn in the spotlight found him creating
resonant waves with a two-handed approach. On the
Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
richly-grooving Black Velvet Anthony introduced
the catchy melody in at an easy lope before the en-
semble truly captured the rich textural groove of the
song. Igors tenor talked the talk passionately in his
solo turn.
Before the closing Flying Home, Lester
Youngs Tickletoe was cooked to a turn in turn
by Wonsey, Bernstein, Butman, and Tolentino, this
time on alto. This was a set that called up positive
memories of Illinois and put a smile on your face.
November began with Arturo OFarrills
Afro Latin Jazz Orchestra at Symphony Space. The
OFarrills are an extraordinary musical family: Ar-
turos father, Chico, was one of the top composer/
arrangers in jazz, Latin and Latin jazz. On this night
the orchestra played his Oro, Incienso y Mirra, re-
corded by Chico with Dizzy GillespieI heard them
perform it at St. Patricks Cathedral at Christmas
time some years ago. At Symphony Space trumpeter
Jim Seeley, with cup mute and strong open horn got
the message across.
Another piece, The Composing Process, was
written by Adam, one of Arturos teen-age sons
(Adam is a trumpeter who is a member of several
bands at LaGuardia High School and also plays pro-
fessionally; the other son Zachary, is the drummer
with the Afro Latin Jazz Orchestra and also gigs with
his brother in their quintet, Alphabet Soup.
After intermission Randy Weston took over the
piano bench from Arturo who conducted the orches-
tra through three of Westons compositions: African
Village Bedford Stuyvesant; African Sunrise Suite; and
Blues to Africa. Randys keyboard resounded with
majestic beauty and the orchestra replied in kind.
The concert, which had opened with a swinging
number, Sunny Ray. by Ray Santos, noted arranger
for such storied bands as Machito, Tito Puente and
Tito Rodriguez, ended with Arturos premiere of
Wise Latina Woman, commissioned to honor Su-
preme Court Justice Sonia Sotomayor. It was a piece
that, emphasizing percussion and brass, painted a
picture of activity and integrity.
Recently I viewed a documentary written and
directed by Bruce Ricker that celebrates the career of
the nonpareil Johnny Mercer. Its titled This Time
the Dreams On Me. These two hours are one the
best, and highly entertaining, takes on an American
musical career. From Hollywood to Broadway and
everything in between, the stars are out and perform-
ing Mercers music and lyrics. I saw it on TCM but it
will be available as a DVD via HBO.
One of the important messages is that so much
of the Great American Songbook is linked to jazz.
Just a short list of Mercers collaboratorsGeorge
Continued on Page 25
Feature
Junior Mance
By Eric Nemeyer

Junior Mance began playing piano as a child. He joined Gene Ammons band in
1947, and then Lester Young in 1949. In 1951 he met Cannonball Adderley, serving
in the Army Band at Fort Knox, Kentucky. After the Army, Junior joined the house
rhythm section at the Bee Hive Jazz Club in Chicago, where he accompanied Char-
lie Parker, Coleman Hawkins, Sonny Stitt and many others. He toured with Dinah
Washington in 1954, joined Cannonball Adderleys band in 1956, and then Dizzy
Gillespies band in 1958 for three years. Mance recorded his first album as a leader for
Verve in 1961. His trio backed vocalist Joe Williams. He also often performed with Ed-
die Lockjaw Davis and Johnny Griifin. For the past 20 years, Junior has been a faculty
member at the New School in New School for Jazz and Contemporary Music in New
York. Mance performs all over the world, and regularly at Caf Loup in New York.

Jazz Inside: Whats your secret to your youthful enthusiasm?

Junior Mance: Good question. Whatever it is, I hope I keep it.

JI: Man, youre always happy.

JM: Well, I try to be. I dont know. Nobody believes Im 80 now.

JI: I dont believe your 80. I think youre 43. Except I have those albums from the
1950s where youre playing with Cannonball Adderley.

JM: That was in Seattle. We were in the Army together. It was strange the way it
came about. I was drafted, and I was sent to Ft. Knox for basic training. I wanted to

Credit: Steven Sussman

When youre in the band with people like
Gene Ammons and Sonny Stitt, your ego is not
teaching you how to play.
get in the band, but they wouldnt let me because I didnt play a marching instru- to sit in. I always wait to be invited. But I hadnt been near a piano, at that time,
ment. So, they put me in the infantry basic training. Then one night during basic in about six weeks. I still had a few weeks to go in basic training. I just blurted
training, I had to do guard dutywalking around with an empty rifle. I walked out, Hey man, can I sit in one? The piano player heard me first, and he reached
past a club, and I heard this music playing. It sounded fantastic, and I couldnt down and grabbed me by the wrist. He said, Yeah man, come on up here! Come
place who it was. Every time Id walk around, I heard the same thing playing. I up and play something. Then he disappeared. I found out later, the reason for
said, Wow! Theyve got some great records. I heard the saxophone. I said, Now, that was that he had to make this gig, which was at the Service Club entertaining
thats not Bird. Its not Sonny Stitt, who I worked with just before being drafted, the guys who couldnt leave the post. What it was - he wanted to go to Louisville
when I was with the Gene Ammons - Sonny Stitt Band. Gene was still living in because he had a date with a girl. He had been trying to get a date with this girl for
Chicago. Thats where Im from. Sonny joined the band and he was working from months, and she had finally said yes. So, he just split. Im sitting there - forgot to
Chicago along with the rest of the band. Gene hadnt moved to New York. In fact, take my steel helmet off. I looked around, and people were snickering, laughing,
he never did. He always lived in Chicago, even after I had moved to New York. I and saying, What is that? And I said, Oh my goodness! I took it off and just
got my break in the Army. Its like you do guard duty, you walk for two hours and laid it on the floor beside the piano. And so the guys are looking at me and say-
rest one, walk two and rest one. So when it came to my break, I put the rifle down ing, What the hell is this? Cannonball is looking at me. I had never met him.
in the guard shack and ran back to the club. I said, Im going to listen to some Then, he had heard me asking to sit in. So, Cannonball, being the nice guy that he
good music for a change and see what kind of records those are they got. And was said, All right, man, what do you want to play? So, I said, Well man, play
when I walked in, I still had the steel helmet on and combat boots! something out of your book. He didnt know how to take that. When a musician
says something like that, he knows he must be a musician. So I told him to play
JI: All set to go on stage. anything. I dont want to disrupt things. So, he called a tune, which was a blues.
They played, and Cannonball said, All right, man, you got it. I played a couple
JM: Yeah. But see during the Korean War, you could wear civilian clothes after of courses after reading the chart. After a couple of courses, I looked up and every-
duty hours, if you were out of basic training - which I wasnt. Being on guard body in the band was looking at me with this strange look. But Cannonball said,
duty, I still had to. Inside the club, I walked down, and I saw this big band on the
Yeah, man, play some more. So, I say, Okay, but what did he say that for? I
stage with this big roly-poly guy. They were in civilian clothes. I said, Wow! So
stretched out, and nobody said anything after that. The rhythm section was right
I ran up to the stage, and I listened to a few numbers. It was Cannonball who was
with me. I happen to look up and the guys in the brass section were all shaking
playing the alto solos. They just blew me away. Something I never asked to do is
their heads. In fact, the whole band, brass section and saxophone section, they
were just shaking their heads in tempo. After a while, a few of them start snap-
www.juniormance.com ping their fingers. So I just stretched out then. Man, then theyre shouting, Yeah,
6 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
man, go ahead! Go ahead and play some more!
Meanwhile, my arms are about to drop off. I looked
at Cannonball, pleadingly. I said, Hey, man, come
on. Come on, Im tired. So, the band came in shout-
ing a shout course then they finished the ar-
rangement. Cannonball walks over to the piano, tells
me it was great, and asks me my name. I just used the
name I always use, Junior Mance. And they laughed
and said, Hey Junior Mance! What are you doing
here? And I just looked at him and asked them right
back. And he says touch and then his next statement
was, I guess youre coming to the band after youve
finished basic. I told him no, since I was going to
Korea. He was confused. I explained it was because I
didnt play a marching instrument and I couldnt be
in the band. That night, it happened that their last set
up coincided with the hour that I had to get back to
walking around with the rifle. So, I finished the set,
and told them I had to get back to duty.
JI: You had the two rounds on duty after the one off,
on break.
JM: Yeah, which were the last two I had for the night.
The next day, Im back out in the field, and in fact, I
was on infiltration coursewhere you crawl through
mud under machine gun fire, the machine guns are
encased in the cement where they cant aim them
down. I was crawling through, its about the length
of a football field, and you better stay low all the time.
I got to the end of it, and I saw this Jeep approaching
the Sergeant. It looked like Cannonball, but I wasnt
sure. I said, No, no. What would Cannonball be
doin out here. He gave the Sergeant a slip of paper.
The Sergeant immediately gave it back to him and
says, Mance, take off. They want to see you at Head-
quarters. I was wondering, what is this all about. So,
I went. I jumped into the Jeep with Cannonball, and I
said, Cannon, what is this? Whats this about, man?
He told me to just be cool and wait until we were out
of earshot. We drove about five or ten minutes and he
says, Now, to start, he says, These orders are phony.
Me and the guys cooked them up. We told your Com-
mander, he says. We can have an in-house piano
player. We needed one because it just so happened
that their band played a lot of Officers Club events,
like dances. Cannonball tells me he wanted the Band
Commander to hear me and maybe they could him
to pull some strings or something. I hoped so, too.
So, we get to the barracks and Cannonball told the
drummer to set up his drums and the bass player to
get his bass out. The guys say, Okay. The Warrant
Officer - thats what Band Commanders were in those
days, the rank between Master Sergeant and Lieuten-
ant. I asked Cannonball what I should play for him?
He told me to just play something in medium tempo
blues or something. So, I started playing and then af-
ter awhilewhich Cannonball probably instructed
the guys to do, they say, Yeah, yeah, and clap their
hands on the beat. Now, this Warrant Officer didnt
know boo about jazz. Hes looking from one guy to
another with two fingers in his belt his hands on his
hips. He was just looking back and forth between
them. When I finished the tune, and if there ever was
To Advertise CALL: 215.887.8880 December 2009
a backhanded compliment, he said, Well you must other gigs with the band. The group, my basic train-
be good, they think you are. So, then he asked the ing group got sent, 200 of them, to Korea, and they
question Cannonball forgot to go over with the guys. lasted about two weeks. They were caught in an am-
He asked, Well, what is your other instrument? I bush between two big hills and got mowed down with
couldnt think of a lie fast enough; if I had tried to machine gun fire. Only about half a dozen of them
take time to do it. By the way, I didnt know what a survived. One of them came back to Ft. Knox with his
glockenspiel was, and I found out later that most of leg shot off. I happened to have known this guy, and I
the piano players that come in played glockenspiel. I went over to the hospital at Ft. Knox. He told me what
had never heard of a glockenspiel. So, all I could do happened. He says, Man, we werent even properly
was say, Oh, Im sorry. Pianos all that I can play. Its trained. To this day I owe my life to Cannonball Ad-
the only instrument Ive ever played. So, the guy said, derley. I still think so - even though hes not here. We
Well, thats a problem. But, lets see what we can do. became best friends, man - all the way up to the time
He got permission for me to get out of my barracks, he died. I was in the first band that he organized.
the recruits barracks. Every night Id go and hang out
with the band, if theyre playing somewhere - or, I used JI: What was the experience like when you were re-
it to just go to their barracks to hang out. A week or cording for Mercury? What was the vibe?
so went by, when I went to hang out with the band, I
saw they were all kind of depressed about something. JM: It was great. It was the group we had with Jimmy
I said, Well, whats happening? They are sending you Cobb on drums, Sam Jones on bass.
guys to Korea? They told me noit was about them
losing their drummer, who is like a helluva big band JI: That must have been so great because just the way
drummer. He would remind you of Sonny Payne Sam laid down the time, and that kind of fat sound
[from the Count Basie Orchestra] that kind of and on top of the beat.
Big Band drummer. He had got orders to ship out to
Special Services Band in Germany. So, I said, Oh, JM: Oh, man, Sam was my favorite bass player.
man. Thats a drag. But they werent only losing a
good drummer; they were losing the company clerk. I JI: Mine too.
didnt know what that was at the time, so I asked. Its
the guy that just sits in the office all the time and does JM: Yeah. Everybody loved Sams playing. Thats
clerical work for the group. The one they had hap- what it was; it was just a quintet. On some things
pened to have a good connection for them and would
warn them about things that were going to take place,
like inspections. Hed get the word first and spread it Modern Jazz for the Indie Rocker
to the guys at the barracks to clean up when inspec-
tion would be in about an hour. Things like that. So,
I said, Whoa, man, and I asked Cannonball how do
Ryan
to get that gig. Cannonball said that the first thing
was a company clerk needs to know how to type. So,
MeagheRs
I blurted out, Hey, man! I can type. I learned how to
type in high school.
atRoefy
JI: That was handy.
Live at Cornelia St Caf
Dec. 30th @ 8:30 pm
JM: You could see the light bulb go off over Can- Live at Puppets Jazz Bar
nonballs head! Just like when a guy gets an idea like
you see in the comic strip. Cannonball said, Yeah?
Dec. 13th @ 8 pm
I say, Yeah. He told me the next part is going to a Ryan Meagher is a guitarist who makes
six week course - Clerk Typist School. It mainly deals jazz his home but hearing his playing
with learning administration and so forth. So, Can- on Atroefy (Fresh Sound New Talent)
nonball immediately went to the guy and told him, makes me believe that this guy can run
Look, we can get Mance because he knows how tot circles around most anyone if they dare
type. We can send him to Clerk Typists School if we challenge him.
can just get him out of that infantry group. They -John Book of The Run-Off Groove
thought about it and the next day, the Warrant Of-
ficer had pulled some strings, and it came through.
JI: That was lucky.
JM: Yeah. So, I went to Clerk Typist School for six
weeks, but immediately, they took me out of the bar-
racks for this group that was sent to Korea. The group
was going to Korea at that time. They transferred me
then to the barracks with the band - a few weeks after
I got the gig! I was the Clerk Typist and making the
Jazz Inside NY www.jazzinsidemagazine.com 7
 In most of those bands that I played with, man,
most of the players knew so much more than I did. I was
looking up to them trying to learn . When youre in the
band with people like Gene Ammons and Sonny Stitt,
your ego is not teaching you how to play.
Sam played cello, he learned to play Jazz cello, and while. Then he was with Woody Herman for a while,
Al McKibbon played bass. Before Jimmy and Sam and he wound up with J. J. Johnson before reuniting
came into the band, Specs Wright was the drummer. with Cannonball. I was with Dizzy, and I was like
We had a few bass players. I cant even remember the learning more about music than any music school Id
names of most of them. Sam came in while Specs was ever been to. And it turns out that Dizzy and I were
playing, and then Jimmy Cobb came in. The band sort of neighbors. He lived in Corona [Queens, New
broke up - and the only reason the band broke up - York], and I lived in East Elmhurst, which is about,
was because back in the 50s unless you get a lot of no more than a ten-minute walk. Cannonball and I
gigs, you were not making a lot of money. talked about it. Cannonball said, Well, man if I had
an offer to play with Dizzy, I would take it. He un-
JI: You guys were traveling all over the country, derstood fully if I accepted Dizzys offer. Thats when
though. we really became tight, best friends until the end,
when ole Cannon died. So I did join Dizzy. And I
JM: We were. We were traveling in cars too. But we stayed with him for three years.
werent making any big money. John Levy was man-
aging us, and he kept us working. However, the bread JI: What kinds of words of wisdom or ideas did
back then wasnt like it is now. Thats about the time Dizzy share with you that made an impact?
when Cannonball decided to accept Miles offer.
Miles was trying desperately to get him in his band. In JM: Dizzy taught me more of what I really wanted to
the meantime, Dizzy made me an offer, and I joined learn about the piano - not technically, but he knew
his band at the same time. Nat went with Lionel for a more about chord changes and alternate changes. I
just learned a lot about it. I even learned I really ad-
mired the way that he would own the gig. He knew
how to get to people, right in the palm of his hand.
We played a lot of gigs that werent even at jazz clubs.
He played everything. We were working all the
time. We worked about 40 weeks out of the year. I
learned about presentation and about getting to the
audiences. Hed do things, School Days - what Joe
Carroll did - if the audience was kind of square and
hed go right into that with rhythm. His theory was,
Man, you get em there, doin that, and anything
you play, theyre gonna accept. He was right. That
was just his way of thinking. Dizzy had a mind that
was just unreal. Thinking of things like that Swing
Lo, Sweet Cadillac was another some of them silly JM: Yeah. Cannonball was a high school music direc-
tunes. He was a showman.
going to be like? He did it with a nice rhythm. But
he used that as one of the throwaway tunes if the au-
dience wasnt responding. That became one of them.
The first recording I did with Did with Dizzy was
Have Trumpet, Will Excite. We did this thing, My
Heart Belongs to Daddy. I liked that arrangement.
JI: Going back to Cannonball Did Cannonball
make any suggestions about how he wanted things
to go?
JM: Ill tell you, he and Nat were never separated,
man. The stuff we played, they had already played
while they were still in Florida. A lot of the stuff
they came up with when we were in the Army. We
would rehearse with a quintet sometimes, because
we started getting gigs whenever we got the time off.
Being that we were out of training, we could go into
Louisville any night. We had a few gigs on weekends.
Wed come back to the barracks every night because
the drive was only 20 miles. Wed play the gig and
come back, sleep, and then after duty hours, head
back to Louisville. So, he had this quintet thing go-
ing while we were in the Army - different personnel.
But it worked. A lot of those things he played, like
the one called Cannonball, which is the chorus to
Carolina Shout, I think, was one of the tunes that
he played in Florida a lot.
JI: How about Spectacular?
JM: That came after we had organized - you remem-
ber when he made those early records. Savoy..
JI: That was in 55 and 56.
JM: Yeah, in the 50s, yeah. Thats right, because
I didnt get out until 1953, and they got out a few
months later. Anyway, what happened, they had
never been to New York. They were both still school
teachers.
JI: Theyre from Tallahassee.
tor, band director. Their parents were teachers, too.

COME VISIT During the summer, they just decided to go to New

JI: Thats how you connect people with this music. York. Cannonball and Nat put their horns in the
Louis Armstrong Artists who turn their back to the audience and be- trunk, and they drove up to New York, going around
have in ways that are aloof, have outside of someone listening to the different groups and everything. One
National Historic Landmark like Miles Davius turned off people to jazz. night, Cannonball, told me this story. They went by
Caf Bohemia where Oscar Pettiford had his Octet
Guided House Tours JM: Right, right. Dizzy was a very funny guy. He there. Jerome Richardson was in the band. But Jerome
TuesFri, 104; SatSun, Noon4
Closed Mondays
had a million jokes. He could have been a comedian. Richardson had a record date - a studio record date,
He was a comedian without even trying. Hed keep which went into overtime. Richardson called Oscar
the audience in stitches and while theyre laughing, to say that hed be a little late. And Cannonball told
then he got them to liking tunes. We had no problem me this story, too. Cannonball said he was listening.
on any of the gigs we played. I said, Wow. I never Theyd been sitting near the phone - one of those wall
thought about it like that. Unless a group was play- phones. Cannonball said he heard Oscar say, Well,
ing a real jazz club, when they played bebop tunes, man, get here as soon as you can. Cannonball, he
they would be over the heads of the audience. But just took the bull by the horns, and very politely, says,
34-56 107th Street, Corona Queens, NY 11368
Dizzy was different. One day, we had a rehearsal and Excuse me Mr. Pettiford, I wasnt eavesdropping, but
718-478-8274 www.louisarmstronghouse.org he come up with this tune, Volare -an Italian tune, I happened to hear your conversation. He says, Im
song. All of us were wondering what the hell it was a saxophone player, and Im from Florida. Im just
8 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
LAHM_JI_SU09 3.indd 1 6/11/09 1:33:16 PM
SCOBAR ENTERTAINMENT AND LAMPKIN MUSIC GROUP PRESENTS

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here on vacation, you know to listen to your band,
but he said, Id like to play the parts to your music.
He said, Oscar probably thought to himself, Well
what have I got to lose? Cannonball said that Oscar
was nice enough to let him play. He told Cannonball,
Well, go get your horn. I think that the key was that
Cannonball said, Ill play those parts - that he could
read music. The word I got from some of the other
cats in the band was that Cannonball wowed Oscar
with his sound. It was big and full. He was reading
the music like he had written it - his sight reading. So,
Oscar told him, Hey, man, take the next solo. Can-
nonball stretched out. Ozzie Cadena, who was with
Savoy was in the audience. They got quiet and they
listened, saying, Wow! Who is that? So, to make a
long story short, Cannonball was in the studios the
next day. Ozzie had put together a group. I was still in
Chicago then. The next day they went to studios, and
they did those records. They did several dates, you
know, and then they drove back to Florida because
they still had the school teaching gigs. The records
came out, and man, they were hits - if there is such
a thing, in the jazz world. I heard them in Chicago
on the disc jockey show. One day Cannonball called
me from Florida, and said, Look man, Im ready to
test the waters, are you with me? I said yes because I
wanted to come back to New York. I had been to New
York before I was in the Army you know, with Gene
and Sonny. I had a good gig man. I was in the house
band at the Bee Hive in Chicago for about two years
or a year and a half before Cannon had called.
JI: So everybody that came through, you were play-
ing with.
10 December 2009
with them for almost a year. The last thing he said
on the last night, Man, why dont you come to New
York? I said I was thinking about it and that maybe
I would when I got out of the Army. In fact I started
at the Bee Hive the same day I got home from the
Army. Buddy Smith called me up; he had heard I was
coming home. He asked, You wanna work tonight?
And with a, Yeah, man, it started.
JI: That must have been the thrill of a lifetime to play
with Charlie Parker.
JM: Thats right. He was just down to earth playing.
He was just a down to earth guy. He would ask if you
knew this tune or that. He and Coleman Hawkins
were the only two that came there like that. Id say,
Yeah, I know that one, what key do you want it in?
They both had the same answer. Theyd say, Make it
easier on yourself. They meant that whatever key you
put the tune in; theyd play it just as well. I learned a
lot on that gig, too, about tunes and things. I stayed
there about a year and a-half, but I really wanted to go
back to New York. I went to Florida firstCannon-
ball, Nat, and myselfwe got together some tunes to
play. They brought a bass player and a drummer up
Credit: Ken Weiss
from Florida, but they werent up to what John Levy
was doing, taking on managing on the same time
then. Thats when we had Specs Wright, and this
bass player was there that they brought up for just a
JM: Right. Myself and Israel Crosby. The drum- few weeks until Sam Jones was available. Thats when
mer was a guy named Buddy Smith who had the gig. Sam Jones, Specs Wright, and myself in the rhythm
He was a good drummer. His time was good. Thats section. And then Specs passed away during that, and
thats when Jimmy Cobb came in. Jimmy Cobb was
where I worked with many, many guys. I even did a
there till the end when the band broke up. I think in
month with Bird [Charlie Parker].
fact, Jimmy also had joined Miles when Cannonball
went into the band and started playing with Miles. I
JI: What was that like?
mean, as a steady drummer.
JM: Oh, man, that was a helluva gig. One of the best
JI: Yeah. Were you interested in writing a lot for any
gigs I ever had.
of those bands?
JI: Were there any kind of words of wisdom from
JM: Not too much. I wrote the tune Jubilation
that experience? while I was with Cannonball. A lot of people started
playing it then. Its been good to me, I still play it and
JM: Not really, man, we just played. Lockjaw, Lester a lot of groups still play it. There was a disc jockey in
Young came in. I played with Lester back in 1949 for JapanI heard it was his theme song.
almost two years on one of the long breaks he had
from Norman Granz, and then he had to go back to JI: When you moved to New York, what kinds of
Norman. challenges did you experience?
JI: What did you observe about the how the artist forJM: Well, when I moved there I played with Cannon-
whom you worked led their bands? ball. I went there to work with Gene. The whole band
was still living in Chicago. We just came in to work
JM: You know it really wasnt a leadership thing. We the gig. One of the gigs we worked was on 52nd Street.
just got on the stand and they would call a tune and It was still going then - around 1947. We worked at
youd blow. It was never more than a quartet. They Three Deuces. Thats when Gene had his hit, Red
brought in singles single artists. They brought in Top. The intermission band is the one that got my
Coleman Hawkins. He drew so many people. They attention - the intermission trio, I should say. It was
had everybody come in for four weeks. They held George Shearing, Shelly Manne, and Oscar Pettiford.
Coleman Hawkins over for four extra weeks, be- I listened to it, every one of their sets. I spent a lot of
cause he really brought the crowds out. Then I think time going up and down 52nd Street sticking my head
after him was Eddie Lockjaw Davis. Another guy I in listening to everybody. We were only there for two
remember was Joe Holiday. He was a tenor player weeks and then we came back to Chicago. We were in
from New York. Charlie Parker came in after I was Continued on Page 25
Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
Braden-Rapp:
The Strayhorn Project
Digital release date November 29th, 2009
CD release date January 4th, 2010

Upcoming
performances:

December 14th
8 & 10 PM
Blues Alley, Washington, D.C.
(202) 337-4141

January 4th, 2010

6 PM performance & CD signing
Lincoln Triangle, Barnes & Noble
1972 Broadway at 66th Street
New York City
(free and open to the public)

January 25th, 2010

8:30 PM
Feinsteins at the Loews Regency
540 Park Ave, New York City
(212) 339-4095

www.Bradenrapp.com

Visit Caffe Noir

www.premiummusicsolutions.com
Interview
Bob Brookmeyer
By Eric Nemeyer

JI: Can you talk about the array of activities in which

Charlie Parker and Coltrane. The filling of space con-
you are immersed as you approach the milestone of stantly, for a composer, is almost antithetical. Space
your 80th birthday? should be there, and contemplation, and time to have
the music almost look at itself. So thats probably
BB: Im currently trying to finish a CD for the Van- why youre hearing more spaces. And, also Im very
guard Jazz Orchestra happily married now for 21 years and that could
change your concept too. It is settling and inspiring.
JI: The last album by the Vanguard Jazz Orchestra I found out a funny thing. I was living in New York
for which you arranged music was when the band was
in Gramercy Park about 30 years ago. I might have to

Credit: Ken Weiss

led by Mel Lewis in the 1980s. Skylark was on that
have four celli, a couple clarinets and add something.
album among other titles.
Then Id go out to see Manny Albam in the country
BB: Make Me Smile was the second release. This is a and Id bring the piece with me all of a sudden it
new one for the band. We recorded three of the pieces
in Columbia, Missouri in March, as part of the NEA Im trying to figure how I can get a listener make the trip with
[National Endowment for the Arts] sponsorship, for
a jazz society there. The NEA commissioned pieces me. There is so much noise and so much activity especially since
and we premiered them there. Charlie Parker and Coltrane. The filling of space constantly, for
JI: What kind of discussion ensued about the nature a composer, is almost antithetical. Space should be there, and
of the arrangements you are in the process of writing contemplation, and time to have the music almost look at itself.
for them?
only needed one cello. I was living near a fire station when youve found the center of the piece. Well, if
BB: Ive been in conversation with John Mosca.
and police station all the normal stuff you have in there is a center to the piece, then were dealing not
Hes the Musical Director and were old friends. So
the city. Then, I moved to Brooklyn and I still didnt quite in spiritual terms, although we should be be-
we started talking about what we were going to do. I
have quiet. So I moved to the country in Goshen cause there is a music God, who gives you a chance to
wrote Crazy Piece For Oatts. You cannot stop Dick
and it really got quiet. Thats kind of a pre-requisite. write music well. If you walk in with an attitude I
Oatts. Hed come through a battlefield and wind up
cant imagine Mingus walking into a studio and or-
the winner. I wrote a piece for tenor saxophonist
JI: Certainly, when its quiet there arent all those dering the music God around. You have to walk in
Rich Perry one of my favorite players. I wrote one
distractions that might shape or impact the direction with humility. If I walk in with an attitude, I might
for trumpeter Scott Wendholdt. Im writing one for
of your music. as well walk out again. So you carefully get yourself
Gary Smulyan [baritone sax] and Ralph Lalama now;
then one for Mosca, Jim McNeely, Terrell Stafford, in there, and get established and then you go to work.
BB: Well, youre not fighting distraction. If youre Things happen when youre working. They dont hap-
and another two or three after that; and one for me
working until two or three in the morning here, pen when youre not working.
to play with the band.
then youre the only person in the world sonically.
Theres you and nobody else. JI: Then, it sounds like you believe that there is a pro-
JI: I hear a certain relaxed intensity in your writing.
Its difficult to put into words. But, your use of long found connection between music and spirituality.
JI: Are you using pencil and paper as opposed to
tones, and space permeate your arrangements. Can
computer notation programs? BB: There has to be. You cannot write badly delib-
you talk about that a bit. Does what Im alluding to
resonate with you? erately. You cannot write good deliberately. If I go to
BB: Always. the Vanguard to actually play, I cant decide to play
BB: Yeah, I think so. Im a big fan of Morton Feld- bad. I can hope to play good. But I cant make that
JI: Ever experience any kind of block or challenge in decision and have it actually happen. You go and see
man, and of his philosophy as opposed to Stock-
having your ideas develop? what happens. Jim Hall and I were so close for a year.
hausen, who is creating now the music for the world,
forever. Morty quietly wrote quiet music. He began All we did was play duo. We were really inside of each
BB: I used to have it a lot when I was going to the others heads. We had a wonderful time. And, Jim
expanding durational concepts. He went from an
Conservatory in Kansas City. I had massive writers had a comment. He wasnt so much of the spiritual
hour, to an hour and a half and finally up to six hours
block. But no one there ever told me how to make stuff, but people would come up to him and say, it
for a piece of music. There was an interview on the
music. I teach now a modular-based system, where sounded great. Jims response became, yeah, isnt it
web dealing with two guys in their 30s, yuppies, for a
we can construct music thats away from hearing, like I wonder where it came from! We rehearsed a
California concert. They played one his longer pieces,
thats away from imagination. I can work that way. lot and played a lot together. We were at Seventh Av-
named after a painter. They described how they had
As Stravinsky said: when you find the center of the enue South for four nights once and we couldnt do
grown and gone into the music. They didnt listen to
music, thats called inspiration. So, all that pre-com-
it. They walked into it, which is a composers dream. anything. Its like we were playing into a brick wall.
positional work, and beginning the piece, working
They felt some changes in their thinking and their We played Hoppers for a couple of weeks and things
along thats hard work. All of a sudden, or slowly,
feeling and their life. just rolled out. So a lot depends on who is there es-
he said, a light shines invisibly on you and thats
So with that in mind, Im trying to figure how pecially in something as delicate as a duo and what
I can get a listener make the trip with me. There is so kind of space you can have to have your music go out
www.bobbrookmeyer.com Continued on Page 26
much noise and so much activity especially since
12 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
MAURICIO ZOTTARELLI
NEW CD 7 LIVES
Featuring:
Gustavo Assis Brasil Itaiguara Brando Milene Corso
Brandi Disterheft Dom Salvador Oriente Lopez
Esperanza Spalding Cidinho Teixeira Rodrigo Ursaia

Featuring Zottarellis many different rhythmic and

compositional skills, this album is high-quality Brazilian jazz.
H. Sugita, Swing Journal, Japan

the stupendous drummer Mauricio Zottarelli

The News Group online/Latino Amrica Exterior online, Spain

Zottarelli is not only a gifted composer

but also a great producer. 7 Lives is a hit!
S. Gerosa, Jazz n More Magazine, Switzerland

Buy CD/Downloads at
iTunes, Amazon, CDBaby, Digstation

www.mzdrums.com

Tuesday,
December 22nd
Mauricio Zottarelli quintet
appearing live at:

ZINC BAR
82 West 3rd St
Greenwich Village, NYC
212-477-9462
www.zincbar.com
sets at 9:30pm 11pm 1am

Photos by www.poby.net
Interview
George Klabin
By Eric Nemeyer
Jade Visions The Life and Music Of Scott LaFaro is a beautiful
bookI call it a love story. Its between two people Scott and his
sister. Its so rare. They were so close and so loving toward each
other as children, and they maintained it up until he passed.
George Klabin is the founder of Resonance Re-
cords. He has a long history, going back to the 1960s,
of recording jazz artists. The album Scott LaFaro
Pieces of Jade was released this autumn on Resonance
Records. This album celebrates LaFaros life and music
with previously unreleased performances, a recording
of a rehearsal session with pianist Bill Evans and an
interview with Evans about the bassist.
[This is an excerpt from the comprehensive
interview with George Klabin, founder of
Resonance Records, that is scheduled for an
upcoming issue of Jazz Inside Magazine.]
JI: First of all, talk about what was it that initially
captured your attention and motivated your attrac-
tion for Jazz?
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GK: LaFarrow this month that just came out.
JI: I havent seen it but Ill find it on a news stand
for sure.
GK: Its very well done. Its got John Goldsteen. You
know him?
JI: Yeah, yeah.
GK: Weve got him to write it. Some transcriptions,
some solos, and weve got a taped interview with Bill
Evans. They did a really beautiful job. To tell a story,
to plug the book. And get a little taste about who
he was and how he related to his sister. So, the book
itselfI hope you review the book.
JI: Of course. Yeah.
GK: Jade Visions The Life and Music Of Scott La-
Faro is a beautiful book. It has been released at the
same time as the Scott LaFaro album on Resonance. I
call it a love story. Its between two people Scott and
his sister. Its so rare. They were so close and so loving
toward each other as children, and they maintained
it up until he passed. It is really a special thing - much
more than just a story about this great bass player.
He wasnt just this troubled guy like so many people
might believe. He wasnt on drugs or anything. It was
so sad, do you know how he died?
JI: Yes. It was in an automobile crash on Route 5 up-
state New York.
GK: Oh my God! But he got drunk, its so sad. Late
one night, 1:00 AM, drove drunk, apparently. This
was in the book. But he was clean. He hated Bill Ev-
ans habit. He really had a problem with it. Ironically
the one moment he over did it with a drug alcohol
- it killed him. So, anyway, having said that
JI: Well, why dont you talk about what it was that
got you interested in Jazz, first off?
GK: Well, what I think first got me into to Jazz was
when I was like five or six years old; I was given an
old Victrola, a wind-up Victrola. It was portable. You
know what Im talking about?
JI: Where did you grow up, by the way?
JI: Sure!
www.resonancerecords.org
Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
Newly discovered tracks make up this album by
bassist Scott LaFaro who died tragically in a car
accident at age 25 while working with the Bill
Evans Trio.
Resonance Big Band is one of the stellar re-
leases by the label from 2009, featuring a big
band composed of top players from LA playing
the music of Oscar Peterson.
GK: It has the sound coming out of the head. It has a
needle. You put the needle in, you screw it, you hold
the needle down on the 78. There were a few records
my father had that I liked. One of them was from
Fred Astaire. On one side it was They All Laughed.
On the flip side, it was called Slap That Bass. And
what was fascinating to me was that there was a bass
solo. It wasnt much of a solo, but it was all the sudden
a guy playing alone on the bass, right. But it wasnt
Jazz. It was something different. I was fascinated with
it, and I just remember it, the rhythm of itit was
just fascinating. My father also had Boogie Woogie re-
cords. I loved Boogie Woogie .- like Albert Ammons.
I was always fascinated with sounds and recordings.
The themes in my life, from almost the very earliest
age, were from musicmainly from jazz or whatever
I called jazz in those daysand recording. My father
had an old wire recorder. The wire recorder was basi-
cally a Dictaphone. He didnt need it anymore, so he
gives it to me. Im playing with thatpretending I
was an announcer and all that. You know, to make a
long story short, I was fascinated with that.
GK: Two places. I grew up in New York City and dur-
ing the summers, I grew up here in Brazil. My father
Continued on Page 41
PERFORMANCE Spotlight PERFORMANCE SpotlighT
Roy Meriwether
S i n g e r / S o n g w r i t e r

Trio Paul Ramsey, bass

MELISSA NADEL appearing at
Dave Mead, drums
Blue Note Jazz Club
131 W. 3rd Street New York, NY 10012 212-475-8592
www.bluenote.net $10 *Reservations Recommended

December 11-12 Friday, December 25 @ 12:30am

Lenox Lounge
288 Lenox Avenue An angelic voice
and impressive
(between 124th & 125th), NYC talent who infuses
212-427-0253 Jazz and Pop
to create a
genuinely
refreshing

e i s t
and original

i c a l
Er von Kceptions
sound

E x
& No
Come celebrate the release of

DIRTY MARTINI
now available on iTunes

www.melissanadel.com Tutuma Social Club, Dec 15, 8pm

WHAT MATTERS is available online @ cdbaby.com, iTunes,
www.ericavonkleist.com
www.roymeriwether.biz amazon.com, rhapsody.com, and all other internet-related sites.

SOUTH ORANGE
PERFORMING ARTS CENTER

DIANNE
Photo by Christian Lantry

REEVES
HOLIDAY CONCERT
SUN DEC 20
4 & 7PM

DAVID
SANBORN
THU JAN 28 8PM
Photo Courtesy of Decca Label Group

GLORIA
Photo Courtesy of GloLo, LLC

GAYNOR
SPECIAL VALENTINES
DAY CONCERT
SAT FEB 13 8PM

SOPACnow.org 973.313.ARTS(2787)
Noteworthy Performances
Remembering Lady Day: www.madeleinepeyroux.com
Madeleine Peyroux
The Blue Note: Fri 12/4 Sun 12/6
Madeline Peyroux is a free-spirited singer who has spent
much of her life travelling and performing. She was born in
Georgia but grew up in Brooklyn and Southern California
before moving to Paris and becoming a travelling street
musician. Since her debut recording in 1996, she has been
receiving rave reviews and much adoration, and is often
compared to the late, great Billie Holiday. For this gig, she will
be paying tribute to Holiday, who left us 50 years ago. Joining
her is Bruce Barth, David Finck, Russell Malone, Marcus
Strickland, Avishai Cohen and Oded Lev-Ari.
Danny Lerman
Iridium December 22
On Tuesday, December 22nd, Danny Lerman and his
Little Big Band will return to Iridium Jazz Club with special
guest vocalist, Jazz/Broadway singer Devin Richards,
from Broadways newest hit, Finians Rainbow. The band
features trumpet player Duke Jones, pianist Haim Cotton,
Pakeshi Ogura, guitar, Dwayne Perdue, drums, Billy Grant,
bass. Danny, alto, soprano and tenor saxes. The show
will feature music from Dannys current CD Meow Baby
including and several classics for the holiday season.
Beat Kaestli www.myspace.com/beatkaestli
The Blue Note: Sun 12/13
Vocalist & Bandleader Beat Kaestli will be celebrating his
newest release Far From Home A Tribute to European
Song, featuring songs by Kurt Weill, Michel Legrand,
Georges Bizet, Annie Lennox and original compositions.
It is a daytime performance so sets will be at 12:30 PM &
2:30 PM. Soulful, sensitive singing. I am impressed by Beat
Kaestlis CD and I look forward to hearing more! - Vocalist
Jon Hendricks
Credit: Eric Nemeyer
Dena DeRose Trio www.denaderose.com
The Kitano: Fri 12/18 Sat 12/19
Singer/Pianist Dena DeRose has 9 CDs to her credit as
a leader, all of which have received critical praise. Her
talents have been shared with people like Ray Brown, Clark
Terry, Marian McPartland, Benny Golson, John Scofield,
Deborah Brown, Jimmy Cobb, Ken Peplowski, Phil Woods,
David Fathead Newman, Rufus Reid, Mark Murphy, Slide
Hampton, Marvin Stamm and many others. For this gig,
shell be joined by incredible drummer Matt Wilson and
bassist Martin Wind.
Credit: Carolyn Appel
Marcus Roberts Trio www.marcusroberts.com
Dizzys Club Coca Cola: Mon 12/21 Sun 12/27
Marcus Roberts is well known for his stride piano inflections
that celebrates the jazz piano styling of the early 20th century.
His sound is reminiscent of New Orleans and he can play the
blues as well as anybody. He is also a fine interpreter of the
music of Thelonious Monk who was also quite influenced by
stride. He has been blind since his youth and he attended
the Florida School for the Deaf and Blind, alma mater of Ray
Charles. He got his first big break when Wynton Marsalis
hired him in 1985. For this gig he will be joined by drummer
Jason Marsalis and bassist Rodney Jordan.
16 December 2009 Jazz Inside NY
Credit: Eric Nemeyer
Mathew Shipp and www.williamparker.net
William Parker Duo
Blue Note: Mon 12/7
Pianist Mathew Shipp and bassist William Parker are two
of the leading lights in the world of Experimental and avant-
garde jazz. It will be a special occasion at December 7th is
Shipps birthday. He will be 49. Collectively, they have played
with David S. Ware, Roscoe Mitchell, Bill Dixon, Sunny
Murray, Charles Tyler, Billy Higgins, Charles Brackeem, Alan
Silva, Frank Wright, Frank Lowe, Rashid Ali, Donald Ayler,
Don Cherry, Cecil Taylor, Jimmy Lyons, Milford Graves and
with traditionalists like Walter Bishop, Sr. and Maxine Sullivan.
Come see them at the Blue Note.
Pablo Ziegler Quartet www.pabloziegler.com
with Special Guests
Jazz Standard: Thurs 12/10 Sun 12/13
The Jazz Standards seventh annual Tango Meets Jazz
festival will be directed by Pablo Ziegler, a master of this
thrilling Argentine style and the creator (with Quique Sinesi
and Walter Castro) of the Latin Grammy Award-nominated
album Buenos Aires Report. Ziegler will be joined by
Credit: Sergio R. Reyes
saxophonists Miguel Zenon on the 10th and 11th and David
Sanchez on the 12th and 13th. Ziegler plays straight from the
beating, bleeding heart of nuevo tango, with its Argentinean
mix of swagger and sweetness. His tunes stay firmly within
the tradition, with an urgent, finely tuned control of tension and
release. (London Guardian)
Mark Soskin Trio www.marksoskin.com
Barge Music: Thurs 12/17
Pianist Mark Soskin will be joined by Jay Anderson on bass
and Adam Nussbaum on drums. The 55 year old Brooklyn
native will be playing in his home town, right under the Brooklyn
Bridge on this floating venue. Soskin has recorded and
performed with such diverse musicians as Sonny Rollins, Joe
Henderson, Randy Brecker, Billy Cobham, Buster Williams,
Eddie Henderson, Stanley Turrentine, Cornell Dupree, Herbie
Mann, John Abercrombie, Claudio Roditi, Sheila Jordan, Gato
Barbieri, Joe Locke, DavidFatheadNewman, Mark Murphy,
Slide Hampton, and the list goes on!
Gerald Cleaver www.myspace.com/geraldcleavermusic
and Violet Hour
Cornelia Street Caf: Fri 12/18 Sat 12/19
Drummer and composer Gerald Cleaver and this two-
tenor version of his group Violet Hour play new music and
selections from their latest Fresh Sound New Talent release,
Gerald Cleavers Detroit. Joining him will be Chris Lightcap
on bass, Ben Waltzer on piano, and Andrew Bishop and
Wayne Escoffery on tenor saxophone. They will be playing
sets at 9 and 10:30PM Friday the 18th and Saturday
the 19th.
Credit: Shannon Brinkman
New Years Eve Week: www.jazzstandard.net
Struttin with Some Barbecue!
Jazz Standard: Tues 12/29 Sun 1/3
No one makes music more of a celebration that the folks from
the Big Easy. Celebrate the New Year New Orleans style with
Henry Butler on piano, Donald Harrison on alto saxophone,
Sean Jones on trumpet, Wycliffe Gordon on bone, Ben Wolfe
on bass and Ali Jackson on drums. The name of the group
was inspired by the fabled Louis Armstrong recording of
1927, and they plan to bring the excitement of a Crescent City
parade to this NYC jazz club. The Jazz Standard is the place
to be for a jazz fan to celebrate the New Year.
www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
 Calendar of Events
How to Get Your Gigs and Events Listed in Jazz Inside NY
Submit your listings via e-mail to jazz@jazzinsidemagazine.com. Include date, times, location,
phone number for additional information and or tickets/reservations. Deadline: 14th of the month
preceding publication (e.g. May 14 for June issue). Listings placed on a first come basis.

NEW YORK
Tues 12/1: Jazz for Curious Listeners at National Jazz
Museum in Harlem. 7:00pm. Free. A Month with Chris-
tian McBride: The Bass. 104 E. 126th St., Suite 2C. 212-
348-8300. www.jazzmuseuminharlem.org
Tues 12/1: Mike Longo & The NY State of the Art Jazz
Ensemble with Hilary Cole at NYC Bahai Center. 53 E.
11th St. (Bet University Place & Broadway) 212-222-5159.
www.bahainyc.org/jazz.html.
Tues 12/1: Rolf Sturm at Caffe Vivaldi. 8:30pm. No cover.
32 Jones St. (Off Bleecker near 7th Ave.) http://caffevivaldi.
com. www.rolfsturm.org
Tues 12/1: Hypnotic Brass Ensemble at BB Kings.
9:00pm. $15 advance; $18 at door. 237 W. 42nd St. 212-
307-7171. www.bbkingblues.com
Tues 12/1: Cleve Douglass & Dwayne Cook Broadnax
Trio at FB Lounge. 7:00pm. No cover. 172 E. 106th St. 212-
348-3929. www.fondaboricua.com
Tues 12/1: Ken Hatfield with Hans Glawischnig & Jim
Clouse at Fetch. 7:00pm. No cover. 1649 Third Ave. (Bet.
92nd & 93rd St.) 212-289-2700. www.kenhatfield.com.
Tues 12/1: Arditti Quartet with Uri Caine at (le) poisson
rouge. 9:00pm. $20. 158 Bleecker St. 212-505-FISH. www.
lepoissonrouge.com.
Tues 12/1, 12/8, 12/15, 12/22, 12/29: Joel Frahm Trio at
The Bar Next Door. 8:30pm & 10:30pm. 129 MacDougal
St. 212-529-5945. www.lalanternacaffe.com.
Tues 12/1, 12/8, 12/15, 12/22, 12/29: Annie Ross at Met-
ropolitan Room. 9:30pm. 34 W 22nd St. (Bet. 5th & 6th Ave.)
212-206-0440. www.metropolitanroom.com.
Wed 12/2, 12/9, 12/16, 12/23, 12/30: Jonathan Kreisberg
Trio at The Bar Next Door. 8:30pm & 10:30pm. 129 Mac-
Dougal St. 212-529-5945. www.lalanternacaffe.com.
Wed 12/2, 12/9, 12/16, 12/23, 12/30: Gordon Edwards &
Stuff at Creole Restaurant. 9:00pm. $7 cover. 2167 Third
Ave. @ 118th St. 212-876-8838. www.creolenyc.com
Thurs 12/3: New School Ornette Coleman Ensemble led
by Jane Ira Bloom at The New School. 9:00pm. Free. 55
W. 13th St. 212-229-5667.
Thurs 12/3: Jake Saslow at The Bar Next Door. 8:30pm
& 10:30pm. $12 cover. 129 MacDougal St. 212-529-5945.
www.lalanternacaffe.com.
Thurs 12/3: Noah Preminger at Fat Cat. 7:00pm. 75 Chris-
topher St. 212-675-6056. www.fatcatmusic.org
Thurs 12/3: Sound Assembly at Bowery Poetry Club.
7:00pm. $10.
Thurs 12/3: Hanuman Sextet at Ottos Shrunken Head.
7:00pm. 538 E. 14th St. 212-228-2240. www.ottosshrunken
head.com

rESErvAtioNS DEC 16 DEC 1520 DEC 31NEW YEArS EvE

212-258-9595/9795 Arturo oFArrill muSiC oF luCkY PAQuito DrivErA
jalc.org/dccc All StAr SExtEt thomPSoN: & brAziliAN DrEAmS
Artist Sets: $2035
w/Jim Seeley, David Bixler, Boris Kozlov, EriC rEED & w/thE NEW York
7:30 PM & 9:30 PM plus
Vince Cherico & Roland Guerrero
After Hours: The Curtis Brothers
viCtor GoiNES voiCES
11:30 PM Fri & Sat w/Reuben Rogers & Rodney Green
Moran After Hours sets: $1020 After Hours: Denise King Quartet EArlY Diz: $150PP
DEC 7 MONDAY NIGHTS WITH WBGO
Student rates available Includes music charge, 3-course meal and
NYu JAzz orChEStrA DEC 2127 party favors.
w/ChriS PottEr & mArCuS robErtS trio (Doors open at 6pm. Music begins at
Gil GolDStEiN w/Rodney Jordan & Jason Marsalis 7:30pm.)
After Hours: Tardo Hammer Trio
uSiC Hosted by WBGOs Josh Jackson
miDNitE Diz: $250PP
t DEC 813 DEC 25CloSED oN ChriStmAS DAY Includes music charge, 3-course meal,
two glasses of select house red or white
rANDY WEStoN DEC 28JAN 3 wine, champagne toast and party favors.
AFriCAN rhYthmS PAQuito DrivErA (Doors open at 10pm. Music begins at
SExtEt w/lEWiS NASh & brAziliAN DrEAmS 11pm.)
After Hours: Anthony Wonsey & Joanna
et
Pascale w/thE NEW York JAN 1CloSED oN NEW YEArS DAY
voiCES
Nov 14 CD RELEASE PARTY After Hours: Antonio Madruga & Friends
ANNE DrummoND
QuiNtEt
w/Dave Eggar, Klaus Mueller,
Kiyoshi Kitagawa & Alvester Garnett
photo by Chuck Stewart

To Advertise CALL: 215.887.8880 December 2009 Jazz Inside NY www.jazzinsidemagazine.com 17

 Thurs 12/3: Harlem Speaks at National Jazz Museum in
Harlem. 6:30pm. Free. Ben Riley. 104 E. 126th St., Suite
2C. 212-348-8300. www.jazzmuseuminharlem.org
Thurs 12/3: Hiromi, Kenny Barron & Roger Kellaway
at Carnegie Hall, Zankel Hall. 8:30pm. $36-$46. Oscar
Peterson Remembered. 57th St. & 7th Ave. 212-247-7800.
www.carnegiehall.org.
Fri 12/4: Nicole Henry at Metropolitan Room. 9:45pm.
$25. 34 W 22nd St. (Bet. 5th & 6th Ave.) 212-206-0440. www.
metropolitanroom.com.
Fri 12/4: Margret Grebowicz with Ben Monder, Joe Mar-
tin & Mark Ferber at 55 Bar. 6:00pm. 55 Christopher St.
212-929-9883. www.55bar.com.
Fri 12/4: MK Groove Orchestra at Blue Note. Late Night
Groove Series. 12:30am.131 W. 3rd St. 212-475-8592.
www.bluenotejazz.com
Fri 12/4-Sat 12/5: Brian Lynch & Ray Appleton at Cre-
ole Restaurant. 8:00pm & 10:00pm. $20 cover. Tribute to
Freddie Hubbard. 2167 Third Ave. @ 118th St. 212-876-
8838. www.creolenyc.com
Fri 12/4: The Bar Next Door. Harvis S @ 7:00pm &
9:00pm. Kendrick Scott @ 11:00pm & 12:30am. $12 cover
per set. 129 MacDougal St. 212-529-5945. www.lalanterna
caffe.com.
Sat 12/5: Monk in Motion is a partnership between BMCC
Tribeca PAC and the Thelonious Monk Institute that pres-
ents the top three winners from the annual Thelonious
Monk International Jazz Competition. Ben Williams, bass.
199 Chambers Street (on the BMCC campus), 7:00 PM
tribecapac.org . 212-220-1460, $25 General Admission,
$15 Students/Seniors
Sat 12/5: Lionel Loueke with Massimo Biolcati & Ferenc
Nemeth at (le) poisson rouge. 7:00pm. $20. 158 Bleecker
18 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
St. 212-505-FISH. www.lepoissonrouge.com.
Sat 12/5: Seamus Blake Group at Blue Note. Late Night
Groove Series. 12:30am.131 W. 3rd St. 212-475-8592.
www.bluenotejazz.com
Sat 12/5: The Microscopic Septet at 92YTribeca.
10:00pm. $18 advance; $20 at door. 200 Hudson St. 212-
601-1000. www.92y.org. www.microscopicseptet.com
Sat 12/5: The Bar Next Door. Hendrik Meurkens @
7:00pm & 9:00pm. Jon Gordon @ 11:00pm & 12:30am.
$12 cover per set. 129 MacDougal St. 212-529-5945. www.
lalanternacaffe.com.
Sun 12/6: Peter Mazza with Brian Charette & Quincy Da-
vis at The Bar Next Door. 8:00pm & 10:00pm. $12 cover.
129 MacDougal St. 212-529-5945. www.lalanternacaffe.
com. www.petermazza.com
Sun 12/6: Fat Cat. Ehud Asherie @ 6:00pm. Stacy Dil-
lard @ 8:30pm. 75 Christopher St. 212-675-6056. www.
fatcatmusic.org
Sun 12/6: Jacm Manricks at Grassroots Tavern. 7:30pm.
Free. 20 St. Marks Place (Bet. 2nd & 3rd Ave.)
Sun 12/6: Uncle Monk, Radio I-Ching at Local 269. $10;
$7 students & seniors. 269 E. Houston St. @ Suffolk. www.
myspace.com/rucmanyc
Sun 12/6: Chembo Corniel Quintet at FB Lounge. 7:30pm
& 9:30pm. $15. 172 E. 106th St. 212-348-3929. www.fonda
boricua.com
Sun 12/6: Michael Marcus, Ellergy Eskelin, Steve Swell,
Neil Kirkwood, Michael TA Thompson, Fay Victor & An-
ders Nilsson at 1050 Restaurant. 2:00pm. $20. 735 10th
Ave. @ W. 50th St.
Sun 12/6: Combo Nuvo: NYU Jazz Artist/Faculty In-
Residence Ensemble at Blue Note. 12:30pm & 2:30pm.
Tribute to Freddie Hubbard. $24.50 includes brunch, show
& 1 drink. 131 W. 3rd St. 212-475-8592. www.bluenote.net
 Mon 12/7: Ugonna Okegwo at Fat Cat. 8:30pm. 75 Chris- Fri 12/11: The Bar Next Door. Ben Monder @ 7:00pm 199 Chambers Street (on the BMCC campus), 7:00 PM
topher St. 212-675-6056. www.fatcatmusic.org & 9:00pm. Nir Felder @ 11:00pm & 12:30am. $12 cover tribecapac.org . 212-220-1460, $25 General Admission,
Mon 12/7: Marianne Solivan at The Bar Next Door. per set. 129 MacDougal St. 212-529-5945. www.lalanterna $15 Students/Seniors
8:30pm & 10:30pm. $12 cover. 129 MacDougal St. 212- caffe.com. Sat 12/12: The Blue Method at Blue Note. Late Night
529-5945. www.lalanternacaffe.com. www.myspace.com/ Fri 12/11 & Sat 12/12: First Annual Filipino-American Groove Series. 12:30am.131 W. 3rd St. 212-475-8592.
mariannesolivan Jazz Festival at Triad Theater. 9:30pm. $30; 2-drink min. www.bluenotejazz.com
Mon 12/7: Local 269. Shayna Dulberger @ 7:30pm. Mi- With Annie Brazil, Jon Irabagon, Tateng Katindig, Mon Sat 12/12: Montego Joe with Ricardo Strobert, Naoko
chael Bisio Quartet @ 9:00pm. Yoni Kretzmer Trio @ David, Eddie Katindig, Charmaine Clamor, Derek Niev- Ono, Gene Torres & Alex Garcia at University of the
10:30pm. $10; $7 students & seniors. 269 E. Houston St. ergelt & Abe Lagrimas. 158 W. 72nd St. triadnyc.com Streets. 8:00pm. $10. 130 E. 7th St.
@ Suffolk. www.myspace.com/rucmanyc Sat 12/12: Monk in Motion is a partnership between Sat 12/12: The Bar Next Door. Kenny Wessel @ 7:00pm
Mon 12/7: Jazz for Curious Readers at National Jazz Mu- BMCC Tribeca PAC and the Thelonious Monk Institute that & 9:00pm. Lage Lund @ 11:00pm & 12:30am. $12 cover
seum in Harlem. 7:00pm. Free. Greg Tate. 104 E. 126th presents the top three winners from the annual Thelonious per set. 129 MacDougal St. 212-529-5945. www.lalanter-
St., Suite 2C. 212-348-8300. jazzmuseuminharlem.org Monk International Jazz Competition. Matt Brewer, bass. nacaffe.com.
Tues 12/8: Daoud David Williams & the Spirit of Life En-
semble at NYC Bahai Center. 53 E. 11th St. (Bet University
Place & Broadway) 212-222-5159. bahainyc.org/jazz.html.
Tues 12/8: New School Afro Cuban Ensemble led by
Bobby Sanabria at The New School. 4:00pm. Free. 55 W.
13th St. 212-229-5667.
Tues 12/8-Wed 12/9: Onaje Allen Gumb Trio at FB
Lounge. 7:30pm & 9:30pm. $15. 172 E. 106th St. 212-348-
3929. www.fondaboricua.com
Tues 12/8: Ken Hatfield with Gene Torres & Eric Hoffman
at Fetch. 7:00pm. No cover. 1649 Third Ave. (Bet. 92nd &
93rd St.) 212-289-2700. www.kenhatfield.com.
Tues 12/8, 12/15, 12/22, 12/29: Igmar Thomas, Luques
Curtis, Obed Calvaire & Corey Berhard at Creole Res-
taurant. 9:00pm. No cover. Young Lions Roar. 2167 Third
Ave. @ 118th St. 212-876-8838. www.creolenyc.com Dec 1 Jessica Jones Quartet
Tues 12/8: Jazz for Curious Listeners at National Jazz
Museum in Harlem. 7:00pm. Free. A Month with Chris- tapestry rewoven
tian McBride: On Film. 104 E. 126th St., Suite 2C. 212-
348-8300. www.jazzmuseuminharlem.org
Dec 2 teD nash the Mancini proJect
Tues 12/8: James Carney with Josh Roseman, Chris Dec 3-6 GolDen Boy- the Music of art Blakey
Lightcap & Mark Ferber at 55 Bar. 9:30pm. 55 Christo-
pher St. 212-929-9883. www.55bar.com. Dec 8 Jason Marsalis viBes Quartet
Wed 12/9: Sarah James, Ed Schuller & Herb Robertson Dec 9 rusty paul BanD
at Local 269. 6:30pm. $10; $7 students & seniors. 269 E.
Houston St. @ Suffolk. www.myspace.com/rucmanyc Dec 10-13 charisMa! the Music of lee MorGan
Wed 12/9: Inga Swearingen at Caffe Vivaldi. 7:30pm. 32 charles tolliver, Bennie Maupin, Billy harper, David weiss,
Jones St. (Off Bleeker near 7th Ave.) 212-691-7538. www.
caffevivaldi.com
Geri allen, Dwayne Burno, Billy hart
Wed 12/9: Avishai Cohen with Omer Avital & Nasheet Dec 15 the BoBs
Waits at 55 Bar. 10:00pm. 55 Christopher St. 212-929-
9883. www.55bar.com. Dec 16 eD palerMo BiG BanD
Thurs 12/10: FLUX Quartet & Dom Minasi with Jason
Dec 17-20 lee konitz/Mark turner Quintet
Hwang, Tomas Ulrich & Ken Filiano at Roulette. 8:30pm.
$15; $10 students & seniors. 20 Greene St. (Bet. Canal & with ethan iverson, Ben street and albert tootie heath
Grand) 212-219-8242. www.roulette.org Dec 22 Danny lerMan little BiG BanD
Thurs 12/10: Trio Iberico at The Bar Next Door. 8:30pm
& 10:30pm. $12 cover. 129 MacDougal St. 212-529-5945. with special Guest star: Devin richards
www.lalanternacaffe.com. Dec 23-27 4 Generations of Miles- Mike stern, sonny
Thurs 12/10: Oz Noy with Jay Anderson & Dan Weiss
at 55 Bar. 10:00pm. 55 Christopher St. 212-929-9883. fortune, Buster williaMs, JiMMy coBB
www.55bar.com.
Thurs 12/10: Pink Martini at Town Hall. 9:00pm. $45 &
Dec 29 terese Genecco & her little BiG BanD
$35. 123 W. 43rd St. 212-840-2824. the-townhall-nyc.org. Dec 30-31 new years eve with the Mike stern BanD
Thurs 12/10: Ken Peplowski, Terry Gibbs & Freddie feat. Dennis chambers, and randy Brecker
Bryant at Tribeca Performing Arts Center, Borough of
Manhattan Community College. 8:00pm. $35; $32.50 for
students. Celebrating the Swing Masters. 199 Chambers
St. 212-220-1460. www.tribecapac.org.
Fri 12/11: Andy Cotton with Gintas Janusonis, Adam
Klipple & Kris Bauman at Nublu. 62 Ave. C (Bet. 4th & 5th
St.) 646-546-5206. www.nublu.net
Fri 12/11-Sat 12/12: Doug Carn at Creole Restaurant.
8:00pm & 10:00pm. $20. 2167 Third Ave. @ 118th St. 212-
876-8838. www.creolenyc.com
Fri 12/11: Romain Collin at Blue Note. Late Night Groove
Series. 12:30am.131 W. 3rd St. 212-475-8592. www.blue-
notejazz.com

To Advertise CALL: 215.887.8880 December 2009 Jazz Inside NY www.jazzinsidemagazine.com 19

 Fulton Ferry Landing, Brooklyn
info@bargemusic.org
(718) 624-2083
www.bargemusic.org Sun 12/13: Peter Mazza with Patrick Cornelius & Thom- Tues 12/15: Eyal Vilner Big Band at Fat Cat. 8:30pm. 75

bargemusic
december jazz calendar: thursdays at 8pm
Brazilian Jazz Night with
3 marev at Fetch. 7:00pm. No cover. 1649 Third Ave. (Bet.
The Luiz SimaS Trio
10
GraNdpa muSSeLmaN &
hiS SyNcopaTorS
17 The mark SoSkiN Trio
Sun 12/13: Beat Kaestli at Blue Note. 12:30pm & 2:30pm.
Tribute to Freddie Hubbard. $24.50 includes brunch, show
& 1 drink. 131 W. 3rd St. 212-475-8592. www.bluenote.net
Sun 12/13: Frank Fontaine Trio & Francisco Mela at FB
Lounge. 7:30pm & 9:30pm. $15. 172 E. 106th St. 212-348-
3929. www.fondaboricua.com
Sun 12/13: Canadian Brass at Town Hall. 3:00pm. $60,
$50 & $35. 123 W. 43rd St. 212-840-2824. www.the-town-
hall-nyc.org.
Sun 12/13: Elena Katayama with Yuka Aikaa & Atsundo
Aikawa at Caffe Vivaldi. 9:30pm. 32 Jones St. (Off Bleeker
near 7th Ave.) 212-691-7538. www.caffevivaldi.com
Sun 12/13: Adam Cruz with Seamus Blake, Steve Wil-
son, Steve Cardenas, Aaron Goldberg & Joe Martin
at 55 Bar. 9:30pm. 55 Christopher St. 212-929-9883.
JSjidec09
www.55bar.com.11/16/09 2:00 PM Page 1
son Kneeland at The Bar Next Door. 8:00pm & 10:00pm.
$12 cover. 129 MacDougal St. 212-529-5945. www.lalan-
ternacaffe.com. www.petermazza.com
Sun 12/13: Eyal Vilner Big Band at The New School.
4:00pm. Free. 55 W. 13th St. 212-229-5667. myspace.com/
eyalvilner
Sun 12/13: Barbara Fasano & Eric Comstock at Metro-
politan Room. 4:00pm. 34 W 22nd St. (Bet. 5th & 6th Ave.)
212-206-0440. www.metropolitanroom.com.
Sun 12/13: Jill Melanie Wirth with Marjorie Eliot, Sedric
Choukron & Rudel Drears at Parlor Entertainment.
4:00pm. Free. 555 Edgecombe Ave., #3F.
Sun 12/13: Inga Swearingen at North Square Lounge.
12:30pm & 2:00pm. No cover or min. 103 Waverly Pl. @
MacDougal. 212-254-1200. www.northsquareny.com.
Sun 12/13: Joey Baron at Roulette. 8:00pm. $15; $10
students & seniors. 20 Greene St. (Bet. Canal & Grand)
212-219-8242. www.roulette.org
Mon 12/14: Jazz Is: Now! at National Jazz Museum in
Harlem. 7:00pm. Free. All about jazz in the 21st century
Part one with Jonathan Batiste. 104 E. 126th St., Suite 2C.
212-348-8300. www.jazzmuseuminharlem.org
Mon 12/14: Local 269. SHOT x SHOT @ 7:30pm. Alex-
ander Hawkins Quartet @ 9:00pm. $10; $7 students &
seniors. 269 E. Houston St. @ Suffolk. www.myspace.com/
rucmanyc
Mon 12/14: Sachal Vasandani at The Bar Next Door.
8:30pm & 10:30pm. $12 cover. 129 MacDougal St. 212-
529-5945. www.lalanternacaffe.com. http://sachalvasan-
dani.com
Tue, 12/15: Erica von Kleist and No Exceptions, Tutuma
Social Club, Dec 15, 8pm, 164 East 56th St (between 3rd
Av. & Lexington), 646-300-0305, www.ericavonkleist.com
Christopher St. 212-675-6056. www.fatcatmusic.org
Tues 12/15-Wed 12/16: Logan Richardsons Shift at
FB Lounge. 7:30pm & 9:30pm. $20. 172 E. 106th St. 212-
348-3929. www.fondaboricua.com
Tues 12/15: Ken Hatfield with Harvie S & Valery Pono-
92nd & 93rd St.) 212-289-2700. www.kenhatfield.com.
Tues 12/15: Gary Morgan & Panamericana at NYC Bahai
Center. 53 E. 11th St. (Bet University Place & Broadway)
212-222-5159. www.bahainyc.org/jazz.html.
Tues 12/15: Jazz for Curious Readers at National Jazz
Museum in Harlem. 7:00pm. Free. A month with Chris-
tian McBride: My Bands. 104 E. 126th St., Suite 2C. 212-
348-8300. www.jazzmuseuminharlem.org
Wed 12/16: Antoinette Montague, Bill Easley, sax - Duke
Ellington Society 50th Holiday Concert/Party At Saint Pe-
ters Church, East 54th St. & Lexington Ave., 7:30pm
9:45pm Featuring The Antoinette Montague group and Bill
Easley on sax/flute & clarinet. Free for TDES Members- $20
Donation for Nonmembers- $10 Donation for Students
Seating begins at 7 pm *Swinging music & food!*
Wed 12/16: Jim Pugliese with Christine Bard, Roy
Campbell, Chris Cochrane, Michael Evans, Kato Kideki
& Audrey Chen at The Players Theatre. 8:00pm. $20. 115
MacDougal St. 212-352-3101. www.jimpugliese.org
Wed 12/16: Uri Caine, Chris Speed, Ralph Alessi, Nir
Felder, Tim LeBebvre & Nate Smith at 55 Bar. 10:00pm.
55 Christopher St. 212-929-9883. www.55bar.com.
Wed 12/16: Jazz Is: Now! at National Jazz Museum in
Harlem. 7:00pm. Free. All about jazz in the 21st century
Part Two with Jonathan Batiste. 104 E. 126th St., Suite
2C. 212-348-8300. www.jazzmuseuminharlem.org

MON DEC 14
MINGUS MINGUS
MONDAYS MINGUS ORCHESTRA MONDAYS

TUE & WED DEC 15 & 16

DONNY McCASLIN GROUP

ALEX SIPIAGIN - RYAN KEBERLE - MARCUS ROJAS - JOHN CLARKE
Jazz Venue of the Year - ALL ABOUT JAZZ Best Jazz Club - NEW YORK MAGAZINE & CITYSEARCH BEN MONDER - EDWARD SIMON - HANS GLAWISCHNIG - ADAM CRUZ
TUE DEC 1 THU-SUN DEC 17-20
INGRID JENSEN QUARTET: THEREVISITED
BET BAND,

GEOFFREY KEEZER - ED HOWARD - VICTOR LEWIS - PLUS SPECIAL GUESTS STEVE WILSON ENSEMBLE:
WED DEC 2
INGRID JENSEN QUINTET: ATLIVE, SEA
THE ZAWINUL PROJECT
JEREMY PELT - DANNY GRISSETT - UGONNA OKEGWO - RODNEY GREEN
LAGE LUND - GEOFFREY KEEZER - MATT CLOHESY - JON WIKAN - PLUS SPECIAL GUESTS MON DEC 21
MINGUS MINGUS
THU-SUN DEC 3-6
MONDAYS MINGUS BIG BAND MONDAYS

CHANO DOMINGUEZ TUE & WED DEC 22 & 23

FLAMENCO QUINTET EDMARMARSHALL

CASTANEDA
GILKES - DAVID SILLIMAN
TRIO
THE FLAMENCO SIDE OF KIND OF BLUE PLUS SPECIAL GUESTS
MARIO ROSSY - BLAS CRDOBA - ISRAEL SUREZ - TOMASITO JOE LOCKE & ANDREA TIERRA
MON DEC 7 THU & FRI DEC 24 & 25 CLOSED. HAPPY HOLIDAY!
MINGUS MINGUS
MONDAYS MINGUS BIG BAND MONDAYS
SAT & SUN DEC 26 & 27

AMY CERVINI QUARTET

TUE DEC 8
TRIO DA PAZ
ROMERO LUBAMBO - NILSON MATTA - DUDUKA DA FONSECA
WED DEC 9 MON DEC 28
MINGUS MINGUS
BILL MAYS TRIO
PETER WASHINGTON - BILLY DRUMMOND
MONDAYS MINGUS BIG BAND MONDAYS

TUE-SUN DEC 29-JAN 3

THU-SUN DEC 10-13
TANGO MEETS JAZZ FESTIVAL WITH THE SWING IN THE NEW YEAR WITH US!

PABLO ZIEGLER QUARTET

CLAUDIO RAGAZZI - HCTOR DEL CURTO - PEDRO GIRAUDO
STRUTTIN SOME
WITH
BARBECUE! FEATURING

MIGUEL ZENN (DEC 10 & 11) DAVID SNCHEZ (DEC 12 & 13) HENRY BUTLER & DONALD HARRISON
PRODUCED BY PAT PHILIPS & ETTORE STRATTA SEAN JONES - WYCLIFFE GORDON - BEN WOLFE - ALI JACKSON
JAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA EVERY SUNDAY AT 2PM - DIRECTED BY DAVID OROURKE

20 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

 Thurs 12/17: The Curtis Brothers at The Bar Next Door.
visitors center: OPEN M-F 10 AM - 4 PM
104 E. 126th Street, #2C, New York, NY 10035

8:30pm & 10:30pm. $12 cover. 129 MacDougal St. 212- W W W. J M I H . O R G

529-5945. www.lalanternacaffe.com.
Thurs 12/17: Peter Fish with Paul Livant, Waldron Ricks, THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS
BJ Drazen, Billy Grant & Harvey Morris at 55 Bar.

Harlem Speaks

Photo courtesy of the estate of William P. Gottlieb Copyright 1979 www.jazzphotos.com

10:00pm. 55 Christopher St. 212-929-9883. 55bar.com.
Thurs 12/17: Harlem Speaks at National Jazz Museum
in Harlem. 6:30pm. Free. Ray Santos. 104 E. 126th St.,
Suite 2C. 212-348-8300. www.jazzmuseuminharlem.org
Fri 12/18: Hilliard Greene & Sam Newsome at ICO Gal- A SPECIAL SERIES HONORING HARLEM HEROES
lery. 7:30pm. $15 in advance; $20 at door. 606 W. 26th St.
212-966-3897. www.icogallery.com. hilliardgreene.com Dec. 3: Ben Riley Dec. 17: Ray Santos
Fri 12/18: National Jazz Museum in Harlem All Star
Big Band at the Rubin Museum of Art. 7:00pm. $18 in Drummer Saxophonist/composer
advance; $20 at door. Harlem in the Himalayas. 150 W.
17th St. 212-620-5000. www.rmanyc.org. www.jazzmuseum
T IME : 6:30 -- 8:30 pm P RICE : Free LOCATION: The NJMIH Visitors Center, 104 E. 126th Street, #2C
inharlem.org
Fri 12/18: Toussaint The Liberator at Blue Note. Late
Night Groove Series. 12:30am.131 W. 3rd St. 212-475-
8592. www.bluenotejazz.com
Fri 12/18: Justin Vasquez, Nir Felder, Benito Gonzales,
Janek Gwizdala & Clarence Penn at 55 Bar. 10:00pm. 55
Christopher St. 212-929-9883. www.55bar.com.
Fri 12/18: The Bar Next Door. Fluid Trio @ 7:00pm &
9:00pm. Hans Glawischnig @ 11:00pm & 12:30am. $12
Dec. 18 The National Jazz Museum in Harlem
cover per set. 129 MacDougal St. 212-529-5945. www.la- All-Star Big Band's annual Ellington
lanternacaffe.com.
$18 ADVANCE $20 AT DOOR
concert. Loren Schoenberg, director.
Fri 12/18: Band of Outsiders at Lakeside Lounge.
11:00pm. 162 Ave. B (Bet. 10th & 11th St.) 212-529-8463.
www.lakesidelounge.com
Fri 12/18, 12/26: Wallace Roney Trio at Creole Restau-
rant. 8:00pm & 10:00pm. $20. 2167 Third Ave. @ 118th St.

Jazz Is: Now!

212-876-8838. www.creolenyc.com
Sat 12/19: Monk in Motion is a partnership between WITH

BMCC Tribeca PAC and the Thelonious Monk Institute that Jonathan Batiste
presents the top three winners from the annual Thelonious
Monk International Jazz Competition. Joe Sanders, bass. December 14 & 16: Double header all about jazz in the 21st century
199 Chambers Street (on the BMCC campus), 7:00 PM
tribecapac.org . 212-220-1460, $25 General Admission, 7:00pm | NJMH Visitors Center, 104 E. 126th St., #2C
$15 Students/Seniors
Sat 12/19: The Bar Next Door. Sean Smith @ 7:00pm &
9:00pm. Patrick Cornelius @ 11:00pm & 12:30am. $12 Jazz for Curious Readers
cover per set. 129 MacDougal St. 212-529-5945. www.la-
lanternacaffe.com. Dec. 7: Greg Tate
Sat 12/19: Kelsey Jillette with Tom Abbott, Hiro Honma,
Brad Whiteley & Jason Lawrence at 55 Bar. 6:00pm. 55 7:00 - 8:30 pm | FREE
Christopher St. 212-929-9883. www.55bar.com.
Sat 12/19: Jack Kerouac: Whats New? at National Jazz Jazz for Curious Listeners The NJMIH Visitors Center
Museum in Harlem. 11:00am. Free. 104 E. 126th St., Suite 104 E. 126th Street, #2C
Free classes celebrating Harlem and its legacy
2C. 212-348-8300. www.jazzmuseuminharlem.org
Sat 12/19: Garage A Trois at Bowery Ballroom. 8:00pm. Tuesdays 7:00 - 8:30 p.m.
$20. 6 Delancey St. (Bet. Bowery & Chrystie St.) 212-533-
2111. www.boweryballroom.com
The NJMIH Visitors Center, 104 E. 126th Street, #2C
Attend any individual class.
saturday panels
Sat 12/19: Ive09 at Blue Note. Late Night Groove Series. 11AM 4PM FREE
12:30am.131 W. 3rd St. 212-475-8592. bluenotejazz.com INCLUDING FILMS, PANEL DISCUSSIONS
Sat 12/19: David Weiss with J.D. Allen, Nir Felder, Matt AND LIVE MUSIC
A Month with Christian McBride
Clohesy & Rudy Royston at Fat Cat. 75 Christopher St.
december 1: The Bass December 19:
212-675-6056. www.fatcatmusic.org. davidweissmusic.com
Sun 12/20 thru Fri 12/25: Bending Towards The Light A december 8: On Film
Jack Kerouac: What's New?
Jazz Nativity, 6:00pm every night, Birdland, 315 W. 44th Join scholar Sara Villa and others on recent discoveries
december 15: My Bands and jazz-related items in the Kerouac oeuvre.
St., 212-581-3080, www.birdlandjazz.com. Performances
featuring jazz greats including Lew Soloff, Hank Jones, december 22: All-Star Projects The NJMIH Visitors Center
Steve Turre, Warren Vache, Benny Powell, Ingrid december 29: Favorite Recordings 104 E. 126th Street, #2C
Jensen, Arturo OFarrill, Russell George, Frank Wess,
Steve Wilson, Virginia Mayhew, Donny McCaslin, and the

tapdancers Max Pollak, Maurice Chestnut, with an All

DOCTOROW FAMILY
F O U N D AT I O N

Star Band: Art Baron, Bob Kindred, Jon Gordon, Colin

Brigstock, Adam Asarnow, Tim Horner, Dean Johnson Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council
and Candido

To Advertise CALL: 215.887.8880 December 2009 Jazz Inside NY www.jazzinsidemagazine.com 21

 Have you always wanted
10:30pm. $10; $7 students & seniors. 269 E. Houston St. @ to write reviews of jazz
Suffolk. www.myspace.com/rucmanyc
Mon 12/21: Yaalla Ballin at The Bar Next Door. 8:30pm
performances & recordings?
& 10:30pm. $12 cover. 129 MacDougal St. 212-529-5945.
www.lalanternacaffe.com. http://yaalaballin.com Jazz Inside
Tue 12/22: Danny Lerman and his Little Big Band with
guest vocalist, Jazz/Broadway singer Devin Richards Magazine
(from Broadways newest hit, Finians Rainbow); Iridium
Jazz Club, 1650 Broadway, 8:00 pm and 10:30 pm. Tickets Jazz Inside NY
are $25.00. Two drink minimum. RSVP: 212-582-2121.
Tues 12/22: Ken Hatfield with Rob Thomas & Steve Jazz Inside Online
Kroon at Fetch. 7:00pm. No cover. 1649 Third Ave. (Bet.
92nd & 93rd St.) 212-289-2700. www.kenhatfield.com. Please respond ONLY via e-mail:
Tues 12/22: Jazz for Curious Listeners at National Jazz Jazz@JazzInsideMagazine.com
Museum in Harlem. 7:00pm. Free. A Month with Chris-
tian McBride: All-Star Projects. 104 E. 126th St., Suite 2C.
212-348-8300. www.jazzmuseuminharlem.org
Sun 12/20: Gregory Porter at FB Lounge. 7:30pm & Tues 12/22-Wed 12/23: Kendrick Scott Oracle at FB Sat 12/26: Mimi Jones Band Electric at Blue Note. Late
9:30pm. $15. 172 E. 106th St. 212-348-3929. www.fonda Lounge. 7:30pm & 9:30pm. $20. 172 E. 106th St. 212-348- Night Groove Series. 12:30am.131 W. 3rd St. 212-475-8592.
boricua.com 3929. www.fondaboricua.com www.bluenotejazz.com
Sun 12/20: Barbara Fasano & Eric Comstock at Metro- Wed 12/23: Daniel Smiths Bassoon & Beyond Quartet Sun 12/27: Peter Mazza with Dony McCaslin & Matt Clo-
politan Room. 4:00pm. 34 W 22nd St. (Bet. 5th & 6th Ave.) with Lafayette Harris at Caffe Vivaldi. 8:15pm. 32 Jones hesy at The Bar Next Door. 8:00pm & 10:00pm. $12 cover.
212-206-0440. www.metropolitanroom.com. St. (Off Bleecker St., near 7th Ave.) 212-691-7538. www. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.
Sun 12/20: Janis Mann Quartet at Blue Note. 12:30pm danielsmithbassoon.com com. www.petermazza.com
& 2:30pm. Tribute to Freddie Hubbard. $24.50 includes Thurs 12/24: Roni Ben-Hur at The Bar Next Door. 8:30pm Sun 12/27: Carolyn Leonhart at Blue Note. 12:30pm
brunch, show & 1 drink. 131 W. 3rd St. 212-475-8592. www. & 10:30pm. $12 cover. 129 MacDougal St. 212-529-5945. & 2:30pm. Tribute to Freddie Hubbard. $24.50 includes
bluenote.net www.lalanternacaffe.com. http://ronibenhur.com brunch, show & 1 drink. 131 W. 3rd St. 212-475-8592. www.
Sun 12/20: Peter Mazza with Hans Glawischnig & Jordan Fri 12/25: Melissa Nadel at Blue Note. Late Night Groove bluenote.net
Perlson at The Bar Next Door. 8:00pm & 10:00pm. $12 Series. 12:30am.131 W. 3rd St. 212-475-8592. www.blue- Sun 12/27: Eric Johnson Trio at FB Lounge. 7:30pm &
cover. 129 MacDougal St. 212-529-5945. www.lalanterna- notejazz.com 9:30pm. $20. 172 E. 106th St. 212-348-3929. www.fonda-
caffe.com. www.petermazza.com Fri, 12/25: Melissa Nadel, Singer/Songwriter, Blue Note boricua.com
Mon 12/21: Local 269. Herb Robertson Group @ Jazz Club, 12:30am, 131 W. 3rd St, 212-475-8592, www. Mon 12/28: Elin at The Bar Next Door. 8:30pm & 10:30pm.
Jazz
7:30pm.Inside ad:Layout
Violetville 1 Farberman
@ 9:00pm. Brad 8/6/2009 Sextet3:47
@ PM Page $10
bluenote.net, 1 *Reservations Recommended $12 cover. 129 MacDougal St. 212-529-5945. www.lalan-
ternacaffe.com. www.elinmusic.com
Mon 12/28: Local 269. Michael Attias Quartet @ 9:00pm.
$10; $7 students & seniors. 269 E. Houston St. @ Suffolk.
www.myspace.com/rucmanyc
Tues 12/29-Wed 12/30: Stacy Dillards One with James
Hurt at FB Lounge. 7:30pm & 9:30pm. $15. 172 E. 106th
St. 212-348-3929. www.fondaboricua.com
Tues 12/29: Ken Hatfield with Harvie S & Ron Horton at
Fetch. 7:00pm. No cover. 1649 Third Ave. (Bet. 92nd & 93rd
St.) 212-289-2700. www.kenhatfield.com.
Tues 12/29: Jazz for Curious Listeners at National Jazz
Museum in Harlem. 7:00pm. Free. A month with Chris-
tian McBride. 104 E. 126th St., Suite 2C. 212-348-8300.
Academic Programs
B.S. in Music Industry, with
JAZZ AT SAINT ROSE www.jazzmuseuminharlem.org
Wed 12/30: Ryan Meaghers Atroefly. 8:30pm. Cornelia
Street Caf, 29 Cornelia Street, 212-989-9319, www.cor-
concentrations in commercial When you study Jazz at The College of Saint Rose... neliastreetcafe.com
music, music business, and You become a member of the first college jazz ensemble ever invited to Thurs 12/31: Wallace Roney Trio at Creole Restaurant.
music technology perform at the Newport Jazz Festival 7:00pm & 9:00pm. Reservations recommended. 2167 Third
Ave. @ 118th St. 212-876-8838. www.creolenyc.com
B.S. and M.S. in You can perform and attend master classes with jazz greats such as Frank
Music Education Foster, Byron Stripling, Mark Vinci, Bob Mintzer, and Bill Cunliffe.
Brooklyn
B.A. in Music Music Industry majors intern at sites including the Albany Symphony
Orchestra, Cotton Hill Recording Studios, Polygram Records and SONY/ Wed 12/2: Kim Bock with Scott Ritchie & Paul Francis at
Minor in Jazz Performance CBS Records the Tea Lounge. 9:00pm & 10:30pm. $5 suggested dona-
tion. 837 Union St., Park Slope. 718-789-2762. www.teal-
Qualified applicants who
oungeny.com. myspace.com/paulfrancisdrums
demonstrate superior music
Thurs 12/3: Tim Berne with Oscar Noreiga, Matt Mitchell
performance through an & Ches Smith at IBeam Music Studio. 9:00pm. $10 sug-
Our campus, located in Albany, N.Y., has the personal feeling of a small town
audition may be eligible for neighborhood with the amenities of a vibrant cultural and economic center only gested. 168 7th St. http://ibeambrooklyn.com
Music Talent Scholarships. a few blocks away. Thurs 12/3: Gene Segal with Sam Barsh, Danny Fisher
& Adam Niewood at the Tea Lounge. 9:00pm & 10:30pm.
$5 suggested donation. 837 Union St., Park Slope. 718-
The College of Saint Rose 789-2762. www.tealoungeny.com. genesegal.com/live
Fri 12/4, 12/11, 12/18: Vinnie Sperrazza with Jacob Sacks
& Dave Ambrosio at IBeam Music Studio. 8:30pm. $10
For more information: 1-800-637-8556 www.strose.edu/music
suggested. 168 7th St. http://ibeambrooklyn.com

22 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880


Fri 12/4: Douglas Bradford Group at the Tea Lounge.
9:00pm & 10:30pm. $5 suggested donation. 837 Union St.,
Park Slope. 718-789-2762. www.tealoungeny.com. mys-
pace.com/dougbradford
Sat 12/5: Amino Belyamani, Sam Minaie & Qasim Naqvi
at IBeam Music Studio. 8:30pm. $10 suggested. 168 7th
St. http://ibeambrooklyn.com
Sat 12/5: Jim Kiernan with Kenee Lee, John ODea &
Gregg Masiello at the Tea Lounge. 9:00pm & 10:30pm. $5
suggested donation. 837 Union St., Park Slope. 718-789-
2762. www.tealoungeny.com. myspace.com/windsorterrors
Sun 12/6: Melanie Friske & the Detroit Sub Rev at the
Tea Lounge. 8:00pm & 9:30pm. $5 suggested donation.
837 Union St., Park Slope. 718-789-2762. www.tealoung-
eny.com. myspace.com/mfandthedetroitsubrev
Mon 12/7: Jon Lundbom & Big Five Chord at Zebulon.
10:00pm. 258 Wythe Ave. 718-218-6934. www.zebulon-
cafeconcert.com. www.jonlundbom.com
Tues 12/8: .man, Andrew DAngelo, Josh Sinton & BAd
nAncy at Douglass Street Music Collective. 8:00pm.
$10. 295 Douglass St. (Bet. 3rd & 4th Ave.)
Wed 12/9: Jon Diaz at the Tea Lounge. 9:00pm & 10:30pm.
$5 suggested donation. 837 Union St., Park Slope. 718-
789-2762. www.tealoungeny.com.
Thurs 12/10: The Spokes with Andy Biskin, Phillip
Johnston & Curt Hasselbring at Barbes. 8:00pm. $10.
347-422-0248. www.barbesbrooklyn.com. myspace.com/
thespokestrio
Thurs 12/10: Zevious CD Release Party with Scurvy at
the Tea Lounge. 9:00pm & 10:30pm. $5 suggested dona-
tion. 837 Union St., Park Slope. 718-789-2762. www.teal-
oungeny.com.
Fri 12/11: Ben Stapp with Tony Malaby & Satoshi Takei-
shi at the Tea Lounge. 9:00pm & 10:30pm. $5 suggested
donation. 837 Union St., Park Slope. 718-789-2762. www.
tealoungeny.com. myspace.com/benstapp
Sat 12/12: Slow to Wake with Topu Lyo, Bryan Teoh, Ben
Gallina, Shane Rettig & EJ Fry at IBeam Music Studio.
8:30pm. $10 suggested. 168 7th St. http://ibeambrooklyn.
com. www.slowtowake.com
Sat 12/12: Rob Matrianni & Pete List at the Tea Lounge.
9:00pm & 10:30pm. $5 suggested donation. 837 Union St.,
Park Slope. 718-789-2762. www.tealoungeny.com.
Sat 12/12: Thos Shipley Trio at Parlor Jazz! 9:00pm &
10:30pm. $20 includes both sets, beverages, snacks &
dessert. 119 Vanderbilt Ave. (Bet. Myrtle & Park). 718-855-
1981. http://thosshipley.ning.com
Sun 12/13: Matt Wilson Quartet at Belarusian Church.
401 Atlantic Ave. @ Bond St. www.connectionworks.org
Sun 12/13: Ryan Meaghers Atroefly. 8:00pm. Puppets
Jazz Bar, 481 5th Ave, Park Slope, Brooklyn, NY, 212-499-
2622, www.puppetsjazz.com
Sun 12/13: Claudia Quintet with Gary Versace, John
Hollenbeck, Chris Speed, Ted Teichman, Drew Gress
& Matt Moran at Douglass Street Music Collective.
9:00pm. $10. 295 Douglass St. (Bet. 3rd & 4th Ave.)
Tues 12/15: Douglass Street Music Collective. Michael
Attias & Anthony Coleman @ 8:00pm. Dan Levin & Inge-
brigt Haker Flaten @ 9:00pm. Josh Sinton, Owent Stew-
art-Robertson, Tony Falco & Frank Rosaly @ 10:00pm.
$10. 295 Douglass St. (Bet. 3rd & 4th Ave.)
Wed 12/16: Derek Reese at the Tea Lounge. 9:00pm
To Advertise CALL: 215.887.8880 December 2009
& 10:30pm. $5 suggested donation. 837 Union St., Park
Slope. 718-789-2762. www.tealoungeny.com.
Thurs 12/17: Devin Grey at the Tea Lounge. 9:00pm &
10:30pm. $5 suggested donation. 837 Union St., Park
Slope. 718-789-2762. www.tealoungeny.com.
Fri 12/18: Pamela Martinez, Brian Hamilton, Dan Mc-
Cool, Luke Schnieders & Caitlin Gray at the Tea Lounge.
9:00pm & 10:30pm. $5 suggested donation. 837 Union St.,
Park Slope. 718-789-2762. www.tealoungeny.com. mys-
pace.com/teletextile
Sat 12/19: Billy Mintz and Roberta Piket/Perry Robinson
at IBeam Music Studio. 8:30pm. $10 suggested. 168 7th
St. http://ibeambrooklyn.com. www.billymintz.com
Sun 12/20: Brad Madsen, Braden Palmer, Adam Kabak &
Jerrold Kavanagh at the Tea Lounge. 8:00pm & 9:30pm.
$5 suggested donation. 837 Union St., Park Slope. 718-
789-2762. www.tealoungeny.com. www.bradleymadsen.
9:00pm. No cover. 152 W. Park Ave., Long Beach. 516-889-
com/bmgroup.htm
3366. www.dianehoffman.com
Sun 12/27: Yaron Elyashiv, Yuta Tanaka & Takehiro Shi-
mizu at the Tea Lounge. 8:00pm & 9:30pm. $5 suggested New Jersey
donation. 837 Union St., Park Slope. 718-789-2762. www.
tealoungeny.com. myspace.com/yaronel Wed 12/2: Eddie Montiero Trio at Shanghai Jazz.
Wed 12/30: Dan Aran, Nir Felder, Art Hirahara, Linda Oh, 6:30pm. 24 Main St., Madison. 973-822-2899. www.shang
Nick Hempton & Yonatan Voltzok at the Tea Lounge. haijazz.com.
9:00pm & 10:30pm. $5 suggested donation. 837 Union St., Fri 12/4: Carrie Jackson with Danny Mixon at Hibiscus
Park Slope. 718-789-2762. www.tealoungeny.com. www. Restaurant. 7:00pm. No cover or min. 270 South St., Mor-
danaran.com ristown. In Best Western Morristown Inn. 973-359-0200.
www.hibiscuisine.com
Queens Fri 12/4: Ralph Douglas with Hal Slapin & John Voursis
at Shanghai Jazz. 6:30pm & 8:30pm. 24 Main St., Madi-
Fri 12/4, 12/11, 12/18, 12/25: Hiromi Suda with Hiroya son. 973-822-2899. www.shanghaijazz.com.
Tsukamoto & Keita Ogama at Linn. 8:00pm. 29-13 Broad- Sat 12/5: Claudio Roditi at Shanghai Jazz. 24 Main St.,
way, Astoria. 718-204-0060. www.linnrestaurant.com. www. Madison. 973-822-2899. www.shanghaijazz.com.
hiromisuda.com
Advertise
Sun 12/6: Klez Dispensers at Flushing Town Hall.
2:00pm. A Hanukkah Celebration. $15; $12 members &
children; $10 member children. 137-35 Northern Blvd. 718-
463-7700. www.flushingtownhall.org
Sun 12/20: Bakithi Kumalo at Flushing Town Hall.
2:00pm. A Kwanzaa Celebration. $15; $12 members &
children; $10 member children. 137-35 Northern Blvd. 718-
463-7700. www.flushingtownhall.org
Here
Bronx
Sat 12/5: Chris Washburne & The SYOTOS Band at
Bronx Library Center. 2:30pm. Free. 310 E. Kingsbridge
Rd. 718-579-4244. www.carnegiehall.org
Westchester
Sat 12/5: Westchester Jazz Orchestra at Irvington Town
Hall. 8:00pm. $35; $30 senior; $5 student. Sax Masters:
The Music of Coltrane, Cannonball, Bird & More. 85 Main
Reserve by the
St., Irvington. 914-591-6602. www.westjazzorch.org
15th of the Month
Long Island
Thurs 12/10: FTC Jazz Orchestra & Vocal Jazz Ensemble
215-887-8880
at Dix Hills Performing Arts Center, Five Towns College.
7:30pm. $10. 305 N. Service Rd., Dix Hills. 631-656-2148.
www.DHPAC.org
Fri 12/11: Salute to Johnny Smith, Al Viola & Tal Farlow
at Dix Hills Performing Arts Center, Five Towns College.
7:30pm. $10. 305 N. Service Rd., Dix Hills. 631-656-2148.
www.DHPAC.org jazz@jazzinside
Mon 12/14: FTC Jazz Ensembles at Dix Hills Performing
Arts Center, Five Towns College. 7:30pm. Free. 305 N.
Service Rd., Dix Hills. 631-656-2148. www.DHPAC.org
magazine.com
Fri 12/18: Diane Hoffman Trio at Nick DiAngelo Bistro.
Jazz Inside NY www.jazzinsidemagazine.com 23
 Have you always
Tues 12/15: Dan Crisci at Shanghai Jazz. 6:30pm. 24
wanted to write
Sat 12/5: Branford Marsalis Quartet with the Maria Sch-
neider Orchestra at Prudential Hall. 8:00pm. $21-82. Main St., Madison. 973-822-2899. www.shanghaijazz.com.
New Jersey Performing Arts Center, 1 Center St., Newark. Wed 12/16: Warren Vach with Vinnie Corrao & Nicki

reviews of jazz 973-353-8051. www.njpac.org

Sun 12/6: Jersey Jazz at Shanghai Jazz. 6:30pm. 24
Parrott at Ocean County Library. 8:00pm. $13 advance;
$15 at door. 101 Washington St., Toms River. 732-255-

performances Main St., Madison. 973-822-2899. www.shanghaijazz.com.

Mon 12/7: Swingadelic at Maxwells. 9:00pm. No cover.
1039 Washington St., Hoboken. 201-653-1703. www.max
0500. www.ocean.edu
Wed 12/16: Rossano Sportiello Group at Shanghai Jazz.
6:30pm. 24 Main St., Madison. 973-822-2899. www.shang
& recordings? wellsnj.com
Mon 12/7: Rossano Sportiello at Bickford Theatre.
haijazz.com.
Fri 12/18: Carrie Jackson & Jazzin All Stars at St. Jo-
8:00pm. $15 in advance; $18 at door. On Columbia Turn- sephs Plaza. 7:00pm. No cover or min. 233 Market St.,

Jazz Inside
pike @ Normandy Heights Road, east of downtown Mor- Newark. 973-242-8012.
ristown. 973-971-3706. www.njjs.org Fri 12/18: Rob Paparozzi Quartet at Shanghai Jazz.
Tues 12/8: Thaddeus Expose Music of New Orleans with 6:30pm & 8:30pm. 24 Main St., Madison. 973-822-2899.

Magazine Matt King at Shanghai Jazz. 6:30pm. 24 Main St., Madi-

son. 973-822-2899. www.shanghaijazz.com.
Wed 12/9: Bucky Pizzarelli at Shanghai Jazz. 6:30pm. 24
www.shanghaijazz.com.
Sat 12/19: Eric Mintel Trio at Shanghai Jazz. 6:30pm &
8:30pm. A Charlie Brown Christmas: The Music of Vince

Jazz Inside NY
Main St., Madison. 973-822-2899. www.shanghaijazz.com. Guaraldi. 24 Main St., Madison. 973-822-2899. www.
Wed 12/9: Dave Liebman Quartet at Rutgers University, shanghaijazz.com.
Dana Library, Dana Room. 2:30pm. Free. 185 University
Sun 12/20: Dianne Reeves, Holiday Concert, 4pm & 7pm,
Ave., Newark. 973-353-5595. www.libraries.rutgers.edu

Jazz Inside
South Orange Performing Arts Center, SOPACnow.org,
Thurs 12/10: Matt King at Shanghai Jazz. 6:30pm. Win-
973.313.ARTS(2787), 973) 275 1114, One SOPAC Way,
ner of Great American Piano Competition. 24 Main St.,
South Orange, NJ 07079

Online
Madison. 973-822-2899. www.shanghaijazz.com.
Sun 12/20: Nancy Nelson with Keith Ingham at Shanghai
Fri 12/11: Herb Woodson Quartet at Shanghai Jazz.
Jazz. 24 Main St., Madison. 973-822-2899. www.shang
6:30pm & 8:30pm. 24 Main St., Madison. 973-822-2899.
haijazz.com.
www.shanghaijazz.com.
Tues 12/22: John Zweig with Steve Freeman at Shanghai
Please respond ONLY Sat 12/12: Don Braden Quartet at Shanghai Jazz.
6:30pm & 8:30pm. 24 Main St., Madison. 973-822-2899. Jazz. 6:30pm. 24 Main St., Madison. 973-822-2899. www.
via e-mail: www.shanghaijazz.com. shanghaijazz.com.
Thurs 12/24: Keith Ingham at Shanghai Jazz. 6:30pm. 24
Jazz@JazzInsideMagazine.com Sun 12/13: John Carlini Trio at Shanghai Jazz. 24 Main
Main St., Madison. 973-822-2899. www.shanghaijazz.com.
St., Madison. 973-822-2899. www.shanghaijazz.com.
Sat 12/26: Winard Harper Group at Shanghai Jazz.
6:30pm & 8:30pm. 24 Main St., Madison. 973-822-2899.
www.shanghaijazz.com.
Thurs 12/31: Tony DeSare Trio at Shanghai Jazz. 6:00pm

Monk in Motion & 9:00pm. 24 Main St., Madison. 973-822-2899. www.

shanghaijazz.com.

The Next Face of Jazz And Beyond

ARTS CENTER Sat 12/5: The Bruce Daigrepont Cajun Band at Lycian
December 5, 12, 19 at 7:00 PM
PERFORMING

Center. 8:00pm. $30. Kings Highway, Sugar Loaf, NY.

$25 General Admission, $15 Students/Seniors
Monk in Motion is a partnership between BMCC Tribeca
PAC and the Thelonious Monk Institute that presents the top
three winners from the annual Thelonious Monk International
Jazz Competition. This years instrument is the bass.
www.sugarloafmusic.org. www.brucedaigrepont.com.
Sun 12/6: Sonny Rollins at Tarrytown Music Hall.
2:00pm. 13 Main St., Tarrytown, NY. 877-840-0457. www.
tarrytownmusichall.org
Fri 12/18-Sat 12/19: Nicki Mathis in Pender County at
Aetna Theater, Wadsworth Atheneum Museum of the
Arts. $25. 600 Main St., Hartford, CT. 860-683-8881.
Sun 12/20: Antoinette Montague, TCIII, vocals - Re-
membering Etta Jones & Eddie Jefferson, 130 East 1st St.,
Mt.Vernon, NY, 3 to 6pm Admission: $20 in advance $25
at the door One drink minimum, Plenty of Free Parking,
Right across from MetroNorth New Haven Line-Mt. Vernon
East 917-882-9539 or 212-283-5513

Ben Williams Matt Brewer Joe Sanders

First Place Second Runner Up First Runner Up
Sat, Dec 5 at 7PM Sat, Dec 12 at 7PM Sat, Dec 19 at 7PM
from Washington, DC from Albuquerque from Milwaukee He that is conscious of guilt cannot
bear the innocence of others, so they will
19 9 C h a m b e r s S t r e e t (o n t h e B M CC c a m p u s) try to reduce all others to their own level.

tribecapac.org . 212-220 -1460

Charles James Fox

24 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

 Gitler Continued from Page 4
Gershwin, Harold Arlen and Hoagy Carmichael
and Mercer himself - illustrates where I am going
with this. As a young composer, George hung out in
Harlem, Nuff said.
A few weeks later I read of Wynton Marsalis
new association with Michael Feinstein that relates
to the kind of sophisticated and/or swinging songs
that have never left the consciousness of the people
who grew up on them and need to be enlightening
new audiences.
On that topic I was at Cafe Sabarsky in the
Neue Gallerie at 86th & 5th Avenue on November
12 where the sophisticated, swinging duo of Eric
Comstock (piano and vocals) and vocalist Barbara
Fasano (his wife) served up songs by Mercer & Ar-
len; Mercer&Whiting; Mercer&Legrand; Duke
Ellington&Bob Russell); Billy Strayhorn; two Kurt
Weill songs with different collaborators: Ira Ger-
shwin, Odgen Nash; and numbers introduced by
Dakota Staton (The Late, Late Show) and Nellie
Lutcher (Hurry On Down); also some more obscure
gems they polished. There was a Marlene Dietrich
Medley that was cabaret and they gave that the per-
fect touch. The history lessons in between songs were
never didactic, rather bright and breezy.
This distinguished duo plays other clubs around
the city (such as the Metropolitan Room) and they
are special. I guarantee you will not be looking at
your watch when they are on. More likely you will
be simultaneously enjoying what theyre singing and
anticipating what is coming next.
Flash: At press time I discovered that tenor sax-
Mance Continued from Page 10
and out of Chicago until I got drafted, which was in
1950. I even would go up to the place where Big Nick
was working. Oh, man, I cant remember the name of
the place, but it was right there at the edge of Central
Park. Thats where all the musicians used to gather.
Mintons was still going then - with Dizzy and Monk
and all them.
JI: Did you develop your business acumen when you
got that first record with Verve?
JM: That was my first record period, as a leader. I was
still with Dizzy then when that record was made.
JI: What kind of business kind of things did you be-
gin picking up watching Dizzy and then going out
on your own?
JM: Oh, I picked up the whole bit. I learned things
about being on gigs. I learned as much about staging
and showmanship as I could from Dizzy.
JI: When you were playing with Cannonball and
Dizzy, was there any opportunity for you to play with
Miles Davis at all?
JM: I got to play with him in Chicago. He used to
come over from East St. Louiswhere his home was.
To Advertise CALL: 215.887.8880 December 2009
ophonist Steve Grossman, a native New Yorker, was
back in town. A few months back he was here from
his Bologna (Italy) home to play at the Kitano but
suffered a fall in which he hurt his back and wasnt
able to appear. His return was greeted with enthusi-
astic applause when I heard him at the Jazz Standard
backed by a wonderful trio: David Hazeltine, piano;
John Webber, bass; and Jason Brown, drums.
Grossman played with great zeal from the jump.
He is a passionate musician who lives to play more
than plays to live. After a Like Someone in Love
that was alternately tender and tough. He followed
up with a minor-key flier based on Dizzys Bebop
changes. Hazeltines solo showed he was up to the
velocity with clarity.
Next Steve, really rushing the season, gave us a
pre-Thanksgiving hearing of The Christmas Song.
His sound, gritty and sometimes battleship grey, is
employed to move from melodic statements to rapid
runs and vestiges of his love for phrases from middle-
period Sonny Rollins.
Brown, a young and powerful comer, gave
arousing send-off to Keikos Birthday March. It
was written by Elvin Jones, one of Grossmanss for-
mer leaders, and Steve dedicated it to Keiko, Jones
widow, who was in the house. Things had not been
dull up to this point by any means but with March
the quartet really took off with an intensity that dug
deep into the guts of the collective audience. There
were kinetic exchanges of 8s with Brown.
The set ended with The Theme, generally cred-
ited to Miles Davis, although musicians Ive talked
to say Kenny Dorham wrote it. Grossman rewrote
it here, putting it in different keys while adhering to
He came by the Bee Hive a few times and sat in. But
I never played in any of his bands.
JI: How has your work and involvement in education
made an impact on your artistry or your perspectives?
JM: It made a big impact on me, personally. I just
finished my 20th year at New School. Martin Mueller
frowns at me and says, Well, youre not leaving are
you? I say, No, not unless you guys are firin me.
He said, Well, dont even worry about that happen-
ing. Chico Hamilton and Arnie Lawrence founded
the school. One night, I ran into them in a bar on 23rd
Street. I think it was 23rd and 6th Avenue. They just
called me over to the bar and said, Man, come here,
we want to talk to you. And thats when they told
me they were starting the school. I thought that was
great. They told me they wanted me to teach. Teach?
I said, Oh no, no. I never taught before. I dont have
the credentials. I was a college dropout! I was going to
Roosevelt College after a year and a-half because there
were no jazz courses or programs in the school. That
was 1947. Eddie Baker, a Chicago piano player, and
myself were both expelled for practicing jazz in the
practice room. We were expelled for a week - punish-
ment or something, you know. So, I never went back
because that same week was when Gene Ammons
said, Well, Im going to New York. Can you go? I
said, Yeah, without even thinking twice. My mom
didnt like it because I was only about 17 or 18 at the
Jazz Inside NY www.jazzinsidemagazine.com 25
the rhythmic structure of the line. In his second solo
chorus I felt a Good Bait quote coming and, two
choruses later, it appeared. Webber, a rock through-
out, had a fat-toned solo, Hazeltine spun a brief one
and Brown stirred the solo pot on the last bridge and
helped steer Steve home after the final eight.
Art Blakey is still being quoted from time to
time with his Jazz washes away the dust of everyday
life. Grossman and cohorts got rid of the dust all
right as they blew us all away.
Books: I mentioned two books last time. Ive
been too busy to really get fully into
them but The Music an Life of Theodore Fats
Navarro, by Leif Bo Peterson and Theo Rehak, about
the life of a man who spawned a trumpet lineage
Cifford Brown, Donald Byrd, Lee Morgan, Freddie
Hubbard, Woody Shaw... is available from the Scare-
crow Press in Lanham, Maryland.
The most thoroughly researched book on
MonkThe Life and Times of Thelonious Monk by
Robin D.G. Kelley is out on Free Press, a Division of
Simon & Schuster, Inc. I started to read the book and
had to guard against becoming overly fascinated or
this column would not have been forthcoming.
CD: Heres your elegant Christmas gift. Si-
natra/New Yorkfour CDs: 1. Manhattan Center,
1955; 2. Carnegie Hall, 1974; 3. Madison Square
Garden, 1974; 4. Carnegie Hall, 1984; DVD, Carn-
egie Hall, 1980. Contact: www.sinatra.com
More CDs info to come next month, but for
now give a listen to a new, young alto saxophonist
with a voice of his own: Jon Irabagon, The Observer
(Concord).
A Merry and a Happy. Fill in the blanks.
time. The irony is that Eddie Bakerwere the same
agehe finished at Roosevelt. He went back after the
suspension was over. He got his degree, and by the
time he got his degree, thats when most of the schools
started jazz programs. You know who they made the
Dean of the Jazz program at Roosevelt? Eddie Baker.
Eddie told me that he put in his 20 years and then re-
tired. Hes on pension from Roosevelt now.
JI: With all the temptations and substances and
everything that has gone on in music on and off for
many years, how did you avoid the peer pressure to
take the straight and narrow to focus on the music?
You dont get to be 80 years old by living a life thats
all messed up.
JM: The people I worked with, man - Ive paid more
attention to them than anything else. I avoided the
messed up thing. I was really afraid of it. You know?
I had gone back with Gene Ammons and went back
with Norman Granz. Everybody was strung out in
the band except Gene Wright the bass player.
JI: How have you avoided the tyranny of the ego,
Junior?
JM: In most of those bands that I played with, man,
most of the players knew so much more than I did. I
Continued on Page 26
 Mance Continued from Page 25
was looking up to them trying to learn. I wanted to
know where they had been - not where they were go-
ing. Maybe thats why I like teaching. I find a lot of the
young guys are the same way now. They want to know
more about where Ive been and who Ive played with.
They leave it up to me to point them in the direction
where they want to be. I always respected everybody
because I was the youngest guy in the band. When
youre in the band with people like Gene Ammons and
Sonny Stitt, your ego is not teaching you how to play.
You know? That would be the last thing on your mind.
Playing with Dizzy was like playing with God.
JI: Beyond essential musicianship, what kind of
qualities do you believe are essential to embody for
people who want to achieve success?
JM: Be yourself. Dont try to be like other people. Armory. My wife works out there too. Shes very ath-
Dont be an imitator. Ive got some great students and letic - used to be a marathoner.
thats why I still like teaching. My first private stu-
dent in the school was Brad Mehldau. He reminded JI: So, do you take grape seed extract, and mega doses
me of Wynton Kelly at the time - when he first en- of Omega 3 fatty acids and all that stuff.
tered the school. Then the next time I heard him was
when he was on the thing he is now. Larry Goldings JM: I was doing that, Im pretty much just a multi-
was one of my students. He switched to organ. I vitamin person now. but I watch what I eat. Theres
said, man, what made you switch to organ? He said, certain foods that Ill stay away from you know. I
theres too many of you piano players and I cant get have an annual physical every six months. At 80 years
a gig. I thought that was cute. old, you dont take chances. But I work out a lot. I
started doing Karate when I was like about 47 or 48
JI: What do you do to recharge your batteries outside years old. You know, and I did it for about, about 15
of music? years. I almost was addicted to it. Man. And I got as
far as second degree black belt. The guys I was train-
JM: Well, Im sort of a healthy nut. I try to beat the ing with are seventh and eighth degrees. I didnt let it
heat. I still work out. This new YMCA is right down interfere with my career. Our Grand Master told me
the street from me. It used to be a National Guard the same thing, Man, youve got a great career.

Brookmeyer Continued from Page 12 because we were sounding better and better. So we sen us and it is very important. You talk more with
and roll around. With writing music composing became the New Art Orchestra. I think that it is still students than with peers I think. Manny knew how
you can create more of that yourself. You make an one of the better bands in the world. The tragedy is to write. He was a little more conservative than I was.
environment where the music has a chance to func- that nobody else thought so that we couldnt work. Before he died, he and Betty came up to the house
tion. If it succeeds, good. I think success is double That happens with musicians too. Somebody can be here, and he played me something he had written for
edged. My friend Earl Brown, a teacher, used to men- a really important musician, but he doesnt have quite the Metropole Orchestra and a singer. I showered
tion good will. Those are two magic words. If the or- the salable qualities. There are ways that you can play compliments on him from the heart. It was very nice.
chestra or band are playing the music with good will, that people like, and there are ways that you can play It was the last time I saw him. He wasnt a hero. Al
then you have an excellent chance of getting it done. that people dont like. Cohn was a hero to Manny and I. Manny and I were
If they arent If theyre typical, like I used to be a sort of in the rooting section. Gil Evans was unbe-
jaded studio musician, watching their watch, asking JI: What was your relationship like with Manny Al- lievable and George Russell was a dear friend.
when can I get out of here then you get what you bam, one of the great arrangers?
get. What the musicians dont realize, as studio mu- JI: What was it about Al Cohn that made him a hero
sicians, is that this is the most important thing that BB: I met him right after I got to New York, around to you and Manny?
theyll do today. Whatever the music is, if you regard 1953. He would hire me for record dates and we be-
it as less, then you shouldnt be a musician. You have came best friends. We were really close and we really BB: He was called Mr. Music for very good reasons.
to take everything you have and make it the best that loved each other. I wasnt getting any studio work. I He played beautifully, and very song-like. He had his
you can. I learned that too late for the studios, but in was a valve trombone player. Manny thought I could own language, his own turnarounds a lovely sound
time for me for some other things. do a good job and he thought that I sounded like a which got more and more like Gene Ammons as he
regular trombone player. So, he invited a bunch of got older. He was a great composer and arranger. Un-
JI: Much wisdom there. producers to his apartment and made some drinks. fortunately, he had a bad marriage and two kids he
He played LPs of me playing third trombone, and had to support. So he made writing a thing for money
BB: I tell bands that I want this to happen and that first and second and said, please pick out the valve mainly, and then he played for fun. It seemed to work
this is the most important thing that youll ever do in trombone. They couldnt do it. So that helped me get out OK. He was a great writer flawless. He didnt
your life. Certainly, this is the most important thing studio work. He helped me get started writing also. make mistakes. He was very careful.
today. Then they look at you. I ask, Its not impor- There was a Terry Gibbs big band date, for his LA
tant today? Then youre in the wrong place. band, and I wrote three for that one. Later, Manny JI: One of my favorite arrangements of Als is on
and I also had the BMI Workshop, which was a joy the Jimmy Van Heusen composition Come Blow
JI: That idea is in concert with a quote by Beryl for both of us. Your Horn which he wrote for Maynard Fergusons
Markham that Ive run in the magazine, If a man band around 1964. Apparently, Maynard needed one
has any greatness in him, it comes to light, not in JI: What kinds of discussions did you have with more chart for the recording and Al simply wrote the
one flamboyant hour, but in the ledger of his daily Manny about arranging? arrangement in the few hours prior to the date. What
work. are your teaching activities like now?
BB: Not really a great deal. We didnt sit around
BB: I think my New Art Orchestra is living proof of talking about technique or voicings or anything like BB: Im semi-retired. I left New England Conser-
that. They came t me during a summer festival in Ger- that. With the workshops, sometimes we wouldnt vatory. Last March, I had an Artist-In-Residency at
many. I had all pretty good players. John Hollenbeck agree and that got interesting. By the second year, I Graz (Austria), a program run by my friend Ed Par-
played drums. Everybody else was European. I told would say, Well, Manny says And Manny would tyka. Probably time for me to do more private teach-
them how to play things and they loved it. Theyd say, Well Bob says We had given up all the things ing. I try to plan a normal future. But with the cur-
play it and everything was better all of a sudden. So that were not working well between us and then we rent economy . and this is an abnormal country, in
they came back a second year, and they said, Every- worked very well together. I dont think musicians an abnormal time and I know probably more than
body else plays wrong. So we agreed all of us how talk a whole lot about music. Unfortunately, they I should about the government. I research and study
music should be played. We had Gerry Mulligan as talk about women, money, politics, sports things all the time on the web. My wife Jan doesnt think we
a guest the second year. By the third year, we got a away from what theyre doing which is too bad . need to be aware of all that to run our lives. Its nice
prize. So we thought that wed record and be a band, Because weve chosen to do this thing or it has cho- Continued on Page 27

26 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

 Brookmeyer Continued from Page 26 kinds of suggestions do you have for others looking BB: I dont know. Sometimes I just get quiet and
to know that Obama goes to Copenhagen as planned for a grounded home life with someone mentally and dont do much for a few weeks. Im always used to
and he returns and suddenly were a one world gov- emotionally stable? working, and Jan would like to do more thats fun.
ernment. Then what few liberties remain from the Shes very good for me that way because I have a
Constitution are gone forever. BB: Well, Jan and I kept trying. Shes my fourth wife, hard time spelling fun. When you live by yourself or
and Im her third husband. My advice now is dont work by yourself for quite awhile, you unconsciously
JI: Well youre in New Hampshire which is the Live get married until youre 58. Thats what I was when I tend to get very selfish about your time.
Free or Die state, right? found Jan. And, get married in Norway too.
JI: After you became sober, did your humility over-
BB: [laughs] On paper. JI: Its all about staying on the path of mastery, learn- take your ego?
ing, improving, growing.
JI: So, Bob in your humble years in the music busi- BB: I didnt really have an ego problem. I was always
ness, with what kinds of revelations have you been BB: You mean with marriage or with music? good at what I did. Ego problems come when youre
presented and what kinds of discoveries have you not as good as you need to be. Then you bring the
made? JI: Both. ego along to pump yourself up. Or, youre very good
and youre an asshole. Thats a personal trait. I always
BB: Ive had a double life before sobriety and after BB: Well, we some friends of ours who are talking wanted to play with people who played better than
sobriety. Before I quit drinking I didnt really care about working on their marriage. We laugh about me. I admired Gil Evans, George Russell. Bill Hol-
about that stuff about contracts, or going to mix- that. We get along and we talk things out. We had a man and I are very close. I never walked around with
ing or anything. Id go to the record date, charge as nice conversation last night about how much we like anyone thinking, Geez, Im walking with a genius.
much money as I could and that would be it. When each other a reaffirmation. Weve never had any- Im just walking with really good friends. We all have
I became sober, I became interested in business. My thing bad or critical or anything near that because this thing where we think were going to write the best
negativity turned to positive thinking. John Snyder we love each other, and we like each other and we like piece of music in the world. Nobody starts out saying,
took two days and explained a record contract to me to be together. Its the same as having a best friend. Im going to write the third best piece of music.
which is just a piece of horseshit. I learned the value You would be spending your time arguing about this
of money. I learned that you have to fire people. I had or that. So I think that a lot of these problems that JI: Why did you choose the valve trombone?
the New Art Orchestra, and I had to let several peo- arise during a marriage are about are you with the
ple go. Duke Ellington never fired anybody. Once he wrong person? It took me awhile to find that out. BB: Because I didnt want to play slide trombone,
opened with two drummers and two bass players. He Jan likes me, likes what I do for a living, and I like and I quit playing the clarinet. I worked all summer
got the drummer he wanted, but he wouldnt fire the her. For the first time, it can tend to make your mu-
to make money for a set of drums. I wanted to be a
other guy. The other guy got the idea after about two sic a little calmer. I dont try to make peoples teeth
drummer. My second choice was trumpet. I came
weeks of two drummers that maybe he doesnt want hurt anymore. I was writing classical music for a few
home one night at the end of the summer, and the
me. If you want to be a bandleader, and be a success- years and my aim was to be mean, and to do things
band director at Central Junior High made me the
ful one, you dont have to have thick skin, but it helps musically that would make your teeth hurt. I dont
new sixth trombone player. It didnt please me. But
to have courage that youre making the right deci- try that anymore. One my great successes back then
in a rare moment of domestic accord, I said OK. I
sion, and that the music is the most important thing, was when I did a one man show in Stockholm, and a
learned how to finger by watching the trumpets. In
not personal relations. friend of mine was playing it in the car, and a baby in
1948, a symphony guy ordered a rental valve trom-
the back seat began to cry. At that time I though if I
bone and didnt like it so I got that.
JI: What kinds of words of wisdom have you shared can make babies cry, Im on the right track. It was a
with student about pursuing whats in their heart? joke, but a real one.
JI: How are you celebrating your 80th birthday.
BB: I usually say, Get a real estate license. Then if JI: So you dont need tension to create great art?
that doesnt get them mad, or looking at me funny, BB: Well if I count the rings on the tree, Im sur-
then I tell them that the other option is that nobody BB: Being relaxed helps me work. I dont know if it prised I made it this far. Most of my friends are dead.
is necessarily going to pay you to do what you want to makes great art. But, writing music is hard enough. And, by the way I treated myself earlier in my life,
do. There was something I wanted to do called The It is the hardest thing I dont know how to do. If you I should be six feet under. I hope I can stay around
Electric Theatre Orchestra. The band was going to be have problems on the side Composers always have for awhile and so does Jan. There are things I want
great but I couldnt get funding for it. I realized that economic problems. To have to struggle with your to do musically and personally, and thing I want to
if I wanted to do it, I would have to work for half a mate is a little too much to do. do with Jan. We have a great cat Rosy. I want to
year, save the money, and I pay the money to support get her a male cat so she has someone to play with.
my dream because it is nobody elses dream right JI: I want to go back to Terry Gibbs band for a mo- Thats our family unit. We have four sons and eight
now. So if youre going to be what they call a pure art- ment. That was such a tight, swinging band, with grandchildren.
ist, you do whatever you have to do to support it how- Mel Lewis on drums, and Manny Albam writing ar-
ever you have to support it. It might make marriage rangements like Sweet Georgia Brown and others. JI: Anything I havent prompted you about that
and family difficult. But people do work that out. All What kinds of discussions did you have about writ- youd like to mention.
things are possible though. If you have a great wife ing for the band?
or husband, and you want to continue on your path, BB: A British guy wanted me to comment on Maria
when youre younger you can work it out. BB: Nothing, really. Al Cohn, Manny and I were the Schneider, Darcy [James Argue] and John Hollen-
East Coast writers. We sent the scores out to Los An- beck. They all said I was a big influence and yet they
JI: You mentioned that you are happily married now geles, and theyd record them, and we got the records are all so different. I was trying to figure out what
for 21 years. That can be challenging if you are not back and we were very impressed by how good the kind of influence I had been. If I could read it in an
with someone who understands the creative spirit, band sounded. optimistic way for me, it would be that
and wants to be part of that path and so on. Given my influence would be that they would turn out to
the success youve had with your marriage, what JI: What do you do to recharge your batteries? be individuals.
To Advertise CALL: 215.887.8880 December 2009 Jazz Inside NY www.jazzinsidemagazine.com 27
 Calendar of Events

December 2009
1 Tues SpeakEasy
2 Wed Nate Wooley 5
3 Thurs Sara Serpa Band
4 Fri Gerry Hemingway 5
5 Sat Michael Adkins Band
6 Sun Mark Helias/Gerry Hemingway
Ray Anderson
7 Mon David Amram 5
8 Tues Liam Sillery 5
9 Wed Songwriters Beat
10 Thurs Andy Bey
11 Fri Tony Malaby 4
12 Sat Tony Malaby 4
13 Sun Tony Malaby/Angelica Sanchez
Tom Rainey
14 Mon Serial Underground
15 Tues SpeakEasy
16 Wed Jason Rigby 3
17 Thurs Amanda Baisinger
18 Fri Gerald Cleaver 5
19 Sat Gerald Cleaver 5
20 Sun Cameron Brown 5
21 Mon New York Quarterly
22 Tues Soren Moller 4
23 Wed Khalil Madyun/Robert Ross/
David Bennett Cohen
27 Sun Eri Yamamota 3
28 Mon Phillip Cheah 3
29 Tues Marc Ostrow
30 Wed Ryan Meagher 4

28 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

 T ER
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PREFERRED CARD OF
JA ZZ AT L I N CO L N C E N T E R

Wycliffe Gordon by Frank Stewart

To Advertise CALL: 215.887.8880 December 2009 Jazz Inside NY www.jazzinsidemagazine.com 29

30 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
 DECEMBER 2009
JAZZ VESPERS
SUNDAYS AT 5:00 FREE ALL ARE WELCOME!
6 Dan Loomis Band & Voices
13 Norwegian Snow Quartet
20 Curtis Brothers & Insight
27 Ike Sturm Quintet

MIDTOWN JAZZ AT MIDDAY

WEDNESDAYS AT 1:00 SUGGESTED DONATION: $7
SPONSORED BY MIDTOWN ARTS COMMON
2 Giacomo Gates, singer
Steve LaSpina, bass
9 Aaron Graves Trio
16 John Proulx, pianist/singer/songwriter
Jay Leonhart, bass
23 Christmas Show!
Joyce Breach, Alex Leonard,
Daryl Sherman, Rich Siegel,
Marlene VerPlanck, Ronny Whyte,
David Silliman, Boots Maleson
30 Carol Sudhalter, sax
Vito Di Modugno, piano
Francesco Lomagisto, drums
SAINT PETERS CHURCH
Lexington Avenue at 54th Street
www.saintpeters.org/jazz 212-935-2200

December 2009 Jazz Schedule

Dec 4 & 5: Billy Kaye Quintet
Dec 11 & 12: Roy Meriwether Trio
Dec 18 & 19: Danny Mixon Quartet
Dec 26: Danny Mixon Trio

First Annual New Years Eve Masquerade

Champagne toast at midnight ~ Hors doeuvres ~ Prizes
$50 per person or $90 per couple
9pm to 4am and Breakfast served after hours

To Advertise CALL: 215.887.8880 December 2009 Jazz Inside NY www.jazzinsidemagazine.com 31

 Dec 1: Mike Longos 17-piece Big Band
The NY State of the Art Jazz Ensemble
with vocalist Miss Hilary Gardner
Dec 8: Percussionist Daoud David Williams &
The Spirit of Life Ensemble
Dec 15: Gary Morgans 20-piece Big Band PanAmericana!
Dec 22 & 29: NO SHOWS

JAZZ at the
Turning Point Cafe
Piermont, NY
Only 25 minutes from NYC, NJ,
CT, Westchester, Orange in Rockland

An intimate setting ideal for jazz

Sunday December 6
7pm-10pm
Drummer Winard Harper Group
Saturday December 12
6pm-7:30pm
Trombonist Clifton Anderson Group
Thursday December 17
8pm-10:30pm
Neil Alexander & NAIL
present their Annual Winter Solstice Party
Jim Cammack, Nadav Zelniker

468 Piermont Avenue

Piermont, NY 10968
(845) 359-1089
www.turningpointcafe.com

32 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

 Clubs and Venues
55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), 212-929-9883,
www.55bar.com
92nd Street Y, 1395 Lexington Ave, New York, NY 10128
212.415.5500, www.92ndsty.org
ABC No Rio, 156 Rivington St. (betw Clinton & Suffolk), 212-
254-3697, www.abcnorio.org
Aaron Davis Hall, City College of NY, Convent Ave., 212-650-
6900, www.aarondavishall.org
Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-875-
5050, 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 (Starry Nights), 81st St. &
Central Park W., 212-769-5100, www.amnh.org
Anyway Caf, 34 E. 2nd St., 212-533-3412 or 212-473-5021,
www.anywaycafe.com
Arthurs Tavern, 57 Grove St., 212-675-6879 or 917-301-8759,
www.arthurstavernnyc.com
Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-378-
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
Bar4, 7 Ave and 15th, Brooklyn NY 11215, 718-832-9800,
www.Bar4.net
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
Birdland, 315 W. 44th St., 212-581-3080
Black Box Theater, 308 W. 133 Street, Harlem, NY 10453,
(above Morning Star Petacostal Church)
Blue Note, 131 W. 3rd St., 212-475-8592,
www.bluenotejazz.com/newyork
Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, 718-403-
7450, www.bluestonebarngrill.com
Blue Water Grill, 31 Union Square West, 212-675-9500
Bodles Opera House, 39 Main St, Chester, NY 10918,
www.bodles.com
Bourbon Street 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
BRIC Studio, 647 Fulton St., Brooklyn, NY, Tel: 718-855-7882
x53, Fax: 718-802-9095, www.bricstudio.org
Brooklyn Exposure, 1401 Bedford Avenue, Brooklyn, NY 11216,
718-783-8220
Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn,
NY, 718-230-2100, www.brooklynpubliclibrary.org
Cachaa, 35 West 8th St (bet. 5th/6th Aves), 212-388-9099
www.cachacajazz.com
Caf 111, 111 Court St., Brooklyn, NY, 718-858-2806,
www.cafe111online.com
Caf Bar, 247 Eldridge (Houston, Stanton), 212-505-0955
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
Cafe Sabarsky, in the Neue Gallerie at 86th & 5th Avenue
Caf St. Barts, 109 E. 50th St. (at Park Ave.), 212-888-2664,
www.cafestbarts.com
Caf Steinhof, 422 Seventh Ave. (14th St., Park Slope S.), Brooklyn,
NY, 718-369-7776, www.cafesteinhof.com
Caff Buon Gusto, 151 Montague St., Brooklyn, NY, 718-624-
3838, www.caffebuongustoonline.com
Cami Hall, 165 W. 57th, 212-978-3726, www.camihall.com
Carnegie Club, 156 W. 56th St., 212-957-9676,
www.hospitalityholdings.com
Carnegie Hall, 7th Av & 57th, 212-247-7800, www.carnegiehall.org
Cecils Jazz Club & Restaurant, 364 Valley Rd, West Orange, NJ,
Phone: 973-736-4800, www.cecilsjazzclub.com
Charley Os, 713 Eighth Ave., 212-626-7300
The Church-in-the-Gardens, 50 Ascan Ave., Forest Hills, NY,
718-268-6704, www.thechurchinthegardens.org
Cleopatras Needle, 2485 Broadway (betw 92nd & 93rd),
212-769-6969, www.cleopatrasneedleny.com
To Advertise CALL: 215.887.8880 December 2009
Cobis Place, 158 W. 48th (bet 5th & 6th Av.), 516-922-2010
Community Church of NY, 40 E. 35th St. (betw Park & Madison
Ave.), 212-683-4988, www.ccny.org
Copelands, 547 W. 145th St. (at Bdwy), 212-234-2356
Cornelia Street Caf, 29 Cornelia St., 212-989-9319, www.
corneliastreetcafe.com
Creole Caf, 2167 Third Ave (at 118th), 212-876-8838.
Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027,
908-232-5666
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 Street Grill, 26 North Division Street, Peekskill, NY,
914-739-6380, www.divisionstreetgrill.com
Dizzys Club Coca Cola, Broadway at 60th St., 5th Floor, 212-258-
9595, www.jalc.com
Dorians, 226 W. 79th (betw Bdwy/Amst), 212-595-4350
The Ear Inn, 326 Spring St., NY, 212-226-9060, www.earinn.com
eighty-eights, 1467 Main Street, Rahway, NJ, 732-499-7100
El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-831-
7272, Fax: 212-831-7927, www.elmuseo.org
The Encore, 266 W. 47th St., 212-221-3960, www.theencorenyc.com
Enzos Jazz at The Jolly Hotel Madison Towers: 22 E 38th St. at
Madison Ave. (in the Whaler Bar located in the lobby)
Fat Cat, 75 Christopher St. (at &th Ave.), 212-675-7369,
www.fatcatjazz.com
Feinsteins at Loews Regency, 540 Park Avenue (at 61st Street),
NY, 212-339-4095, feinsteinsattheregency.com
Firehouse 12, New Haven, CT, 203-785-0468, www.firehouse12.com
Five Spot, 459 Myrtle Ave, Brooklyn, NY, Tel: 718-852-0202, Fax:
718-858-8256, www.fivespotsoulfood.com
Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY,
718-463-7700 x222, www.flushingtownhall.org
Franks Cocktail Lounge, 660 Fulton St. (at Lafayette), Brooklyn,
NY, 718-625-9339, www.frankscocktaillounge.com
Freddys Backroom, 485 Dean St., Brooklyn, NY 11217, 718-622-7035
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
Gishen Caf, 2150 Fifth Ave., 212-283-7699.
Glen Rock Inn, (Glen Rock, New Jersey) 222 Rock Road,
Glen Rock, NJ 07452, 800-400-2362
The Goat, 21 South Orange Ave. So. Orange, NJ
973-275-9000, www.thegoatcafe.typepad.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
Hawaiian Tropic Zone, 729 7th Ave (at 49th St), NY
212-626-7312, www.hawaiiantropiczone.com
Helens, 169 Eighth Ave. (betw 18th & 19th St.), 212-206-0609,
www.helensnyc.com
Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525,
609-466-9889, www.hopewellvalleybistro.com
Houstons, 153 E 53rd St, New York, 10022, 212-888-3828
Il Campanello Ristorante, 136 W. 31st St. (betw 6th and 7th Ave.),
212-695-6111, www.ilcampanelloristorante.com
Iridium, 1650 Broadway (below 51st St.), 212-582-2121,
www.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, 290 Hudson St., Tel: 212-242-1063, Fax: 212-242-
0491, 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
Jimmys, 43 East 7th Street (between 2nd and 3rd Ave),
212-982-3006
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: 212-420-
0998, www.julesbistro.com
Kitano Hotel, 66 Park Ave., 212-885-7000 or 800-548-2666,
www.kitano.com
Jazz Inside NY www.jazzinsidemagazine.com 33
The Kitchen, 512 W. 19th St., 212-255-5793
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
Kush, 191 Chrystie Street, New York , NY, 212-677-7328
L&M Loft, 170 Tillary St. #205, Brooklyn, 718-855-5952.
La Lanterna (Next Door at La Lanterna), 129 MacDougal Street,
New York, 212-529-5945, www.lalanternarcaffe.com
Laila Lounge, 113 N. 7th St. (betw Wythe & Berry), Brooklyn, NY,
718-486-6791, www.lailalounge.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
Le Figaro Caf, 184 Bleecker (at MacDougal), 212-677-1100
Lenox Lounge, 288 Lenox Ave. (above 124th St.), 212-427-0253,
www.lenoxlounge.com
Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington
St.), 212-260-4080
Limas Taste, 122 Christopher St., 212-242-0010
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
Maries Jazz Bar, 51 W. 46th, bet 5th-6th Av, 212-944-7005
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 Street New York City, NY
10012, 212-206-0440, www.metropolitanroom.com
MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn, NY,
718-488-8200 or 718-636-4100 (BAM)
Mintons Playhouse, 210 W. 118th St, (at St. Nicholas Ave.), www.
uptownatmintons.com, 212-864-8346
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
Mo-Bay Uptown, 17 W. 125th St., 212-876-9300,
www.mobayrestaurant.com
Mo Pitkins, 34 Avenue A, New York, NY, 212-777-5660
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
NAMA, 107 W. 130th. (bet Lenox & 7th Av.), 212-234-2973
Newark Museum, 49 Washington Street, 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 & Day, 230 Fifth Ave., Brooklyn, NY (at President St.), 718-
399-2161, www.nightanddayrestaurant.com
Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718-797-
1197, Fax: 718-797-0975
North Square Lounge, 103 Waverly Pl. (at MacDougal St.),
212-254-1200, www.northsquarejazz.com
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), 212-505-
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
Orbit, 2257 First Ave. (at 116th St.), 212-348-7818,
www.orbiteastharlem.com
Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928
ONeals Redbar, 50 West 65th St., Across from Lincoln Center,
reservations suggested, 212-787-4663, www.onealsny.com
Oro Blue, 333 Hudson St. (at Charlton St.), 212-645-8004
Pace Downtown Theatre, 3 Spruce St. (betw Park Row & Gold St.),
212-346-1715
Parlor Entertainment, 555 Edgecomb Ave., 3rd Floor (betw 159 &
160 St.), 212-781-6595, www.parlorentertainment.com
Parlor Jazz, 119 Vanderbilt Ave. (betw Myrtle & Park), Brooklyn,
NY, 718-855-1981, www.parlorjazz.com
Peddie School-Jazz Fridays Series, South Main St. Box A,
Hightstown, NJ 08520, 609-490-7500
www.peddie.org/community/Capps/concerts.asp
Perch Cafe, Brooklyn
Perks, 535 Manhattan Ave, New York NY 10027,
212-666-8500
Performance Space 122, 150 First Av., 212-477-5829, www.ps122.org
Porters, 216 Seventh Ave. (bet 22nd & 23rd), 212-229-2878
Priory Restaurant & Jazz Club: 223 W Market St., Newark, NJ
07103, 973-639-7885
Proper Caf, 217-01 Linden Blvd., Queens, NY 11411, 718-341-
2233, jazz Wednesdays
Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn,
NY, 718-768-0855
Pumpkins, 1448 Nostrand Ave, Brooklyn, 718-284-9086,
www.pumpkinsjazz.com
Puppets Jazz Bar, 294 5th Ave. at 1st Street, Park Slope, Brooklyn,
NY, 718-499-2627, www.PuppetsJazz.com
Rare, 416 W. 14 St. (betw 9th Av & Washgtn), 212-675-2220
RARE Jazz at The Lexington Lounge, 303 Lexington Ave (at 38th
St.), 212-481-8439
Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000,
www.redeyegrill.com
Richie Ceceres Restaurant and Supperclub, 2 Erie Street
Montclair, NJ 07042, 973.746.7811, www.RICHIECECERE.com
River Room, Riverbank State Park, Riverside Drive at 145th Street,
212-491-1500, www.theriverroomofharlem.com
Robins Nest Restaurant & Bar, 2075 1st Av, 212-316-6170
Rose Center (American Museum of Natural History), 81st St.
(Central Park West & Columbus), 212-769-5100, www.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
Roths Westside Steakhouse, 680 Columbus Ave., Tel: 212-280-
4103, Fax: 212-280-7384, www.rothswestsidesteakhouse.com
Ruby Lounge, 186 E. 2nd St., 212-387-9400
Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, www.
rustikrestaurant.com
St. Johns Lutheran Church, 115 Milton St. (betw Manhattan Ave.
& Franklin St.), Brooklyn, NY, 718-389-4012
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
Sanctuary, 25 First Ave. (above 1st St), 212-780-9786
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
Shades Bar, 720 Monroe St., Hoboken, NJ 07030, 888-374-2337,
www.shadesofhoboken.com
Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899,
www.shanghaijazz.com
Shellys, 104 W. 57th St. (betw 6th & 7th Ave.), 212-245-2422,
www.shellysnewyork.com
Showmans, 375 W. 125th St., 212-864-8941
Shrimp Box on City Island, 64 City Island Ave, Bronx, NY, 718-
885-3200
Sidewalk Caf, 94 Ave. A, 212-473-7373
Silvermine Tavern, 194 Perry Ave. Norwalk, CT 06850, 203-847-
4558, www.silverminetavern.com
Sistas Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn, NY,
718-398-1766, www.sistasplace.org
Skippers Plane Street Pub Restaurant & Jazz Club, 304
University Ave. Newark NJ 07102 (Across from Essex County
College), 973-733-9300, www.skippersplanestreetpub
Slipper Room, 167 Orchard St. (at Stanton St.), 212-253-7246,
www.slipperroom.com
Smalls, 183 W. 10th St. (at 7th Ave.), 212-929-7565,
www.fatcatjazz.com
Smiths Bar, 701 8th Ave, New York, 212-246-3268
Smoke, 2751 Broadway, 212-864-6662, www.smokejazz.com
Snug Harbor Cultural Center, 1000 Richmond Terr., Staten
Island, NY, 718-448-2500, www.snug-harbor.org
Sofias Restaurant - Club Cache [downstairs], Edison Hotel,
221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799
Solomons Porch, 307 Stuyvesant Ave., Brooklyn, NY,
718-919-8001
South Orange Performing Arts Center (SOPAC), One SOPAC
Way, South Orange, NJ 07079, www.sopacnow.org, 973-313-2787
South Street 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
Stella Adler Studio, 31 W. 27th St., 3rd Floor, 212-689-0087,
www.stellaadler.com
34 December 2009
The Stone, Ave. C & 2nd St., www.thestonenyc.com
Stonewall Bistro, 113 Seventh Ave., 917-661-1335
Sugar Bar, 254 W. 72nd St., 212-579-0222
The Supper Club, 240 W. 47th St., 212-921-1940,
www.thesupperclub.com
Sweet Rhythm, 88 Seventh Ave. S. (betw Grove & Bleecker),
212-255-3626, www.sweetrhythmny.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
Table XII, 109 E. 56th St., NY, NY, 212-750-5656
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, www.titopuentesrestaurant.com
Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-358-
7501, Fax: 212-358-1237, tonicnyc.com
Town Hall, 123 W. 43rd St., 212-997-1003
Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.),
212-362-2590, www.triadnyc.com
Tribeca Performing Arts Center, 199 Chambers Street, 10007,
info@tribecapac.org, www.tribecapac.org
Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, www.
trumpetsjazz.com
the turning point cafe, 468 Piermont Ave. Piermont, N.Y. 10968
(845) 359-1089, http://www.turningpointcafe.com/
Village Vanguard, 178 7th Avenue South, 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
Wolf & Lamb, 10 East 48th Street, New York, NY 10017
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, 90 W Houston St., 212-477-8337, www.zincbar.com
Zuni, 598 9th Ave # 1, New York, NY 10036, 212-765-7626
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, 342 Bowery (between 2nd & 3rd St),
212-473-0043
J&R Music World, 13 Monroe Street, 212-238-9000, www,jr.com
Jazz Record Center, 236 W. 26th St., Room 804,
212-675-4480, www.jazzrecordcenter.com
Normans Sound & Vision, 67 Cooper Sq., 212-473-6599
Princeton Record Exchange, 20 South Tulane Street, 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
Charles Colin Publications, 315 W. 53rd St., 212-581-1480
Jody Jazz, 35 White St., 5th Floor, New York, NY 10013,
212-219-4050, www.jodyjazz.com
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, 212-840-
3057, 212-391-1185, www.drummersworld.com
Robertos Woodwind & Brass, 149 West 46th St. NY, NY 10036,
Tel: 646-366-0240, Fax: 646-366-0242, Repair Shop: 212-391-
1315; 212-840-7224, www.robertoswoodwind.com
Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New York,
NY 10036, 212-302-5893
Sam Ash, 160 West 48th St, 212-719-2299, www.samash.com
Sadowsky Guitars, 20 Jay St. Brooklyn, NY, 718-422-1123,
www.sadowsky.com
Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New York,
NY 10019, 212-730-8138, www.maxwelldrums.com
SCHOOLS, COLLEGES, CONSERVATORIES
92nd Street 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
Charles Colin Studios, 315 W. 53rd St., 212-581-1480
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: 212-242-
4770, 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
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
SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY
914-251-6300, 914-251-6314
Turtle Bay Music School, 244 E. 52nd St., New York, NY 10022,
212-753-8811, www.tbms.org
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: 973-624-
8880, 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) 854-
9920, 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.)
PERFORMING GROUPS
Westchester Jazz Orchestra, Emily Tabin, Exec. 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, Rutgers-
Univ, 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.
 Around Town
Junior Mance Live Recording
Dec 6, Caf Loup
On Sunday December 6, 2009, Junior Mance,
pianist with Cannonball Adderley, Dizzy Gillespie
and a career full of performances with everyone from
Lester Young and Charlie Parker forward, will re-
cord a new album live at Caf Loup, 105 West 13th
Street
New York City. Juniors quintet for the record-
ing includes Hide Tanaka, bass; Jackie Williams,
drums; Ryan Anselmi, tenor sax; Andrew Hadro,
baritone sax.
Reservations: 212-255-4746, www.cafeloupnyc.
com
The Jazz Nativity
Swings into Birdland for
the 4th Year
Bending Towards The Light A Jazz Nativ-
ity will be performed each night, for six nights be-
tween Sunday, Dec. 20 thru Friday, Dec. 25 at 6PM
at Birdland, 315 WEST 44TH ST. NYC. Created
by Anne Phillips and presented by Kindred Spirits.
Call 212-581-3080 for information and reservations.
The various performances feature a host of jazz greats
including Lew Soloff, Hank Jones, Steve Turre, War-
ren Vache, Benny Powell, Ingrid Jensen, Arturo
OFarrill, Russell George, Frank Wess, Steve Wilson,
Virginia Mayhew, Donny McCaslin, and tapdanc-
ers Max Pollak and Maurice Chestnut. They will
be backed by an All Star Band including Art Baron,
Bob Kindred, Jon Gordon, Colin Brigstock, Adam
Asarnow, Tim Horner, Dean Johnson and Candido
Red Hot Holiday Stomp
To Advertise CALL: 215.887.8880 December 2009
Jazz Nativity
and singers Hilary Kole, Anne Phillips, Robert En-
cila, Joshua Triplett, Stephanie McGuire and from
the Newark Boys Chorus School, Jordan Kirkwood.
Red Hot Holiday Stomp at
Jazz At Lincoln Center
The Red Hot Holiday Stomp hosted by trombon-
ist Wycliffe Gordon will take place for three nights in
the Rose Theatre at Jazz at Lincoln Center from De-
cember 10-12 at 8 PM and & December 12 at 2 PM.
This family-friendly concert will also include Victor
Goines (tenor saxophone), Wess Warmdaddy An-
derson (alto saxophone), Marcus Printup (trumpet),
Dan Nimmer (piano), Don Vappie (banjo), Joe Tem-
perley (baritone saxophone), Herman Burney (bass),
Herlin Riley (drums) and Niki Harris (vocals). Audi-
ences will enjoy Big Easy-style holiday swing in the Big
Apple on December 10-12, 2009, at 8 p.m., and De-
cember 12, 2009 at 2 p.m. Tickets are $30, $50, $75,
$95 and $120 and are available at the Jazz at Lincoln
Center Box Office on Broadway at 60th St., by calling
Credit: Frank Stewart
Jazz Inside NY www.jazzinsidemagazine.com 35
CenterCharge at 212.721.6500 or via jalc.org. Box Of-
fice hours: Mon.-Sat., 10 a.m.-6 p.m., Sun. 12 p.m.-6
p.m. $10 Hot Seats are available for purchase to the
general public on Wednesday of show week at the Jazz
at Lincoln Center Box Office.
Vocalist Alexis Cole
Celebrates The Season With
Motema CD Release Concert
In the spirit of the holiday season, and to cel-
ebrate the recent release of The Greatest Gift - Songs
of the Season (Motema Music), vocalist Alexis Cole
has scheduled two concerts which will benefit World
Bicycle Relief, an organization which provides sus-
tainable access to healthcare, education, and eco-
nomic opportunities in developing nations through
The Power of Bicycles.
On December 4, Cole will perform in Manhat-
tan at St. Peters Church, in an official CD release
event for The Greatest Gift. Joining Cole will be
members of the U.S. Military Academys big band,
The West Point Jazz Knights: Scott Arcangel (piano);
Brandon Nelson (bass); Scott Drewes (drums); Mark
Tonelli (guitar); Xaviour Perez (sax); Dan Pierce
(trombone); and Vito Speranza (trumpet,) as well as
her father, songwriter Mark Finkin, whose stirring
original song, Jesus is the Best Part of Christmas, is
one of the standout tracks on the CD. Special guests
for this performance are saxophonists Gottfried
Stoger and cellist Segastian Stoger-DeMayo, as well
as the St. Pauls Childrens choir.
A portion of the proceeds from the sale of CDs
sold at the December 4 show will be donated to
World Bicycle Relief.
Cole chose to donate all proceeds from sales of
The Greatest Gift, which was released on October 13,
to benefit World Bicycle Relief, as the organizations
mission resonated with her own love of bicycles and
her desire to make an impact in the realm of sustain-
ability and AIDS relief. World Bicycle Relief was
founded in 2005 by SRAM Corporation and Trek
Bicycle in response to the December 2004 tsunami
that swept the Indian Ocean. In partnership with
World Vision Sri Lanka, this project has since pro-
vided more than 24,000 locally manufactured bi-
cycles to carefully selected men, women and children
in greatest need of transportation. Soon after, the
organization expanded its efforts to help fight AIDS
in Africa. Over 50,000 bicycles have been donated
in support of disaster assistance and disease preven-
tion. The Greatest Gift, an enhanced CD, includes
two powerfully moving videos that document this
wonderful work.
A winner of the 2007 Jazzmobile competition
and an award recipient at the Montreaux Jazz Voice
Competition, Alexis has released three albums: Very
Early, Nearer the Sun, and Zingaro. A dedicated edu-
cator, she teaches privately, has taught at the 92nd St.
Y in New York City, and has served on the faculty of
Berklee College of Music in Quito.
Eclectic and adventurous, Alexis is equally at
home in Mumbai studying Indian vocal techniques
as shes been in Tokyo performing at the Tableaux
Lounge, and as she is now at West Point, where her
latest career turn is as lead vocalist of the prestigious
Jazz Knights. Alexis is also an accomplished pianist,
An Intentional Community
By Connie Crothers, RUCMA, Liaison for the Housing Committee
Every person who lives here in this never-let-
you-up challenging and stressful city gets over-
whelmed with it at times and imagines an alternative.
In such a moment, I pondered: Where would I really
want to live? I went online and searched intentional
communities. So many came up. I was mostly inter-
ested in ecological, cooperative, artists communi-
ties. There were many, some beautifully situated,
some intriguing in their setup. One of them was tree
houses green in that way as well as the more com-
monly understood environmental way.
I had to give up on all of them. They werent
located here in New York City, where my heart is.
My heart is here, of course, because of the music
I live for and the musicians I know and hear and
create music with.
A couple of weeks ago, I suddenly realized
that I am actually an active participant in creating
just the kind of intentional community Id want
to spend the rest of my days in. At present, we are
calling it a musicians building, but this building
would be open for anyone who would want to live
in a place where there is so much music going on
all the time. This would be just the life for me a
soundproof place to live and do my work (I could
play for countless hours non-stop if the inspiration
hit me, without wondering who is going crazy be-
cause of it); Id be able to spend so much time creat-
ing music because I wouldnt have to work so hard
for the landlord the rent would be something I
could manage with my musical revenue, living the
simple life; Id be feeling more organically in tune
with my surroundings because everything would be
constructed green; a couple of performance rooms
would be just a few minutes away, where my friends
and I and many other musicians who we dont yet
36 December 2009
arranger, and composer. She boasts dual degrees
from Queens College in Jazz/Classical Voice and
Jazz Piano.
True to Alexis eclectic nature, the tracks on
The Greatest Gift span genres. Selections include jazz
and classical instrumentals, childrens chorale ar-
rangements, Indian classical and overtone singing,
straight ahead jazz, and bluesy pop. Alexis reinvents
the Christmas favorites Hark! The Herald Angels
Sing, God Rest Ye Merry, Gentlemen, and Have
Yourself A Merry Little Christmas, and she contrib-
utes a heart-warming new song, The Call, to the
lineup of Christmas standards. When asked about
her inspiration for The Call, she says, I was work-
ing as an AmeriCorps volunteer at St. Pauls Episco-
pal Church, recruiting mentors for at-risk kids. One
of the women in my office suggested I write a song,
and that night I wrote The Call. Ten years later,
bringing kids from the same program into the studio
to record the song was such a thrill!
know could perform the music that means the most
to us all because we wouldnt have to account to
anyone except our audience and our spirit; the 24/7
jam session room that Ive always dreamed about
all the time, non-stop improvisation, never having
to put a lid on that energy (the Benefit for Arts for
Art on Friday and Saturday, November 20 and 21,
at Celemente Soto Velez is a grand preview of what
this life could feel like!); meeting and mingling with
neighborhood people because they would be in
the building teaching the children and adults in
a place where it isnt blackboard style, its real per-
formance, surrounded by musicians living as musi-
cians, with older musicians on premises to share
their improvisation wisdom and pass on their great
stories; perhaps for neighborhood people, a room of
their own, a performance room where I could go and
get in on their music; maybe we could all join the in-
house food coop and buy from some of the regional
farmers.
Who needs pretty country scenery or tree
houses?
I think this intentional community can
happen. It just takes enough musicians and other
artists who want it enough to get together, plan it
and work together to achieve it. It also takes bring-
ing in the neighborhood people as participants,
making it a neighborhood-enriching project.
Many of us are meeting now, brainstorming, get-
ting information, making contacts. Dreaming big,
we are focusing on each next step as we go. Want
to join in with us? Just send me an e-mail: connie-
crothers@aol.com
Connie Crothers, pianist, is known for her un-
compromising approach to spontaneous improvisa-
Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
Mark Finkin, Alexis father, penned an uplift-
ing, catchy, and sure-to-become holiday classic for
the album, Jesus Is the Best Part of Christmas,
on which he collaborates with the same delightful
childrens chorus, and he delivers perhaps the most
bluesy version of God Rest Ye Merry Gentlemen
yet on record. Born into fascinating circumstances as
a child of two deaf parents determined to give their
child what they couldnt have, Mark was introduced
early on to the piano, and remains a passionate and
prolific composer and performer.
Alexis enlisted a stellar team for The Great-
est Gift, including multi-Grammy award winning
producer Todd Barkan who, along with Katherine
Miller, signed on to co-produce this ambitious ad-
venture. Also featured on the album are A-list play-
ers Don Braden, Jon Cowherd, Alan Ferber, Warren
Chiasson, Christian Howes, Jeff Haynes, and others.
For further information on The Greatest Gift,
visit www.Motma.com, www.alexiscole.com.
Credit: Ken Weiss
tion. Seven of her CDs have been chosen by critics for
their years best lists. Her quartets most recent CD,
featuring Richard Tabnik, Roger Mancuso, Ratzo
Harris Music is a Place was chosen by Stuart
Broomer for his list of the best 10 records of 2007.
Love Energy, a quartet record with Lenny Popkin,
Carol Tristano and Cameron Brown, was voted #1
record of the year in Wire. Connie recorded duo with
Max Roach, Swish, and performed duo with him
at the Brooklyn Academy of Music, in Tokyo, and at
Harvard University, where she was honored as Visit-
ing Jazz Artist. She has performed solo in the Vision
Festival and at Merkin Hall in NYC; the Berlin
Jazztage; Jazz at Middleheim, Belgium; DuMaurier
International Festival in Toronto; Carnegie Recital
Hall. She performed with her band at the JVC New
York Jazz Festival, De Singel, Belgium, Bim House,
Netherlands. Other performances include appear-
ances with Jemeel Moondoc, Henry Grimes, Kevin
Norton, Kazzrie Jaxen, Roscoe Mitchell, Warne
Marsh. She performed in the NYC venues Location
One, The Stone, Tonic, The Village Vanguard.
 Live Performance Reviews
is a good song with a jazz interpretation; a fun addi-
Pamela Luss with tion to the set. The closing song, Teardrops from My
Houston Person Eyes, was bluesy and upbeat. Atkinson had a shining
October 28th moment with a bouncy drum solo. Drummond consis-
Jazz Standard tently brought complexity to each tune with the bass.
As musical director, di Martino left plenty of room for
By Layla Macoran the band to play. It was a good move.
Pamela Luss desire to please is evident, and if
Vocalist Pamela Luss performed at Jazz Stan- her mission for the evening was to satisfy a diverse
dard to celebrate the release of her latest CD, Sweet midweek crowd of music lovers, then the mission was
and Saxy. Her collaborator on stage and the CD, aptly accomplished.
legendary tenor sax man Houston Person served as
trusted and wise sage throughout the evening. To-
gether with a band of top veterans (John di Martino- Greg Wall 50th
piano; James Chirillo-guitar; Ray Drummond-bass; Birthday Celebration/
Alvin Atkinson-drums) the set was a collection of
Rabbi Induction Ceremony
Broadway standards and pop classics.
Luss effervescent personality carried the au-
October 31st
dience through a mildly tentative start, then the Sixth Street Community Synagogue
comfort level kicked in after a few songs and all was By Layla Macoran
well. She takes a fresh approach in her delivery, mak-
ing traditionally emotional songs a little lighter. Bill The East Village of New York is a lively neigh-
Withers lonely lamentation Aint No Sunshine had borhood, especially on October 31st. Most residents
a bit more hope than the usual interpretation. Carol were engaged in Halloween debauchery despite the
Kings Its Too Late was slowed down and cooled to occasionally heavy rain. The Sixth Street Commu-
a steady burn. nity Synagogue was celebrating something more
The strongest points of the evening were the significant with the induction of a new rabbi. This
Broadway tunes. Luss allowed her skill to really evening was exceptionally unique, because the new Greg Wall
emerge, particularly in the Frank Loesser tunes. rabbi was avant jazz saxophonist Greg Wall. Along
Cant Get Out of This Mood and the exceptional with becoming leader of this congregation, Wall cel-
Faye, Fima Ephron, Ken Wessel) set up and pro-
Ive Never Been in Love Before were solid, revealing ebrated his fiftieth birthday by inviting a few friends
ceeded to bring world music to the former Lutheran
the genuine sweetness in her voice. to play and raise money for the synagogues center for church. (Absolutely nothing about this synagogues
Person once again confirmed why he is one of the arts.
existence is ordinary.) The group played a standard
the finest tenor saxophone players ever. He comple- Two of my greatest passions have come to- in their repertoire, Remembering You, and a folk
mented Luss vocals gracefully, never overpowering gether. I dont have to choose between being a mu- song from Zimbabwe. Soon to follow was the band
her. His wisdom is obvious and supportive; an an- sician and being a student of [my faith], Wall said Later Prophets, playing American Yiddish folk
chor for the group. The entire band proved that the to an audience that included his wife and children, music. Dudu Fisher joined them for a klezmer in-
right components can create a winning combination longtime members, community supporters and fel- spired tune.
and a relaxed rapport. low musicians. Speakers bestowed well wishes and Guitarist Gary Lucas, guest player for Later
Encouraging the spirit of Halloween, Luss sang blessings on Wall and his joy was obvious. Prophets and innovative Captain Beefheart whiz
the ever reliable Witchcraft and the theme from the Once the informal formalities were complete, popped in for an intimate duet of Sunrise Sunset,
60s television show, Bewitched. Who knew there were the music began. Members of Unity Orchestra (Shai offering a sentimental moment between old friends.
lyrics to that composition? As it turns out, Bewitched Bachar, Aaron Alexander, Hasan Bakr, Alioune Klezmer Fest filled the sanctuary with light
and exuberance, tempting many audience members
to dance in the pews.
As the evening ended with a jam session, Rabbi
Wall thanked everyone for their support, urging the
congregation to be on time the following Saturday
for morning services.
Musicians of various faiths (Jews, Christians
and Muslims were represented) were bound by the
universal love of notes, rhythms and chords. Talk-
ing with Rabbi Wall a few days later he expressed his
pleasure about the evenings events. I love people.
I am an open Jew, and a citizen of the world. Music
is the best way to relate to all. When asked if his
music career will affect his new role as rabbi, Wall
responded, No, they knew what they were getting
themselves into with me!
If the induction ceremony is any indication of
what is to come, then Sixth Street Community Syna-
Pamela Luss and Houston Person gogue is in very good hands.
To Advertise CALL: 215.887.8880 December 2009 Jazz Inside NY www.jazzinsidemagazine.com 37
Interview
Greg Diamond
By Gary Heimbauer
Guitarist Greg Diamond is emerging in the New
York jazz scene as a bandleader and sideman. Hes
performed at venues such as Dizzys Club Coca Cola,
The Knitting Factory, 55 Bar, Zinc Bar, Detour, and
many others. Greg was invited to compete among six
other finalists at the Gibson International Jazz Guitar
Competition hosted by the Montreux Jazz Festival in
Switzerland. He has shared the stage with various jazz
If you, the artist, are fearful of doing something or
creating something because youre fearful that its inconsistent
with what others have done or are doing, then youre
fettering your creativity and your artistic potential.
artists: Seamus Blake, Antonio Hart, Rolando Briceo,
Michael Philip Mossman, Hector Martignon, Don
Friedman, Sonny Murray, Bill Goodwin, and others.
Greg is a graduate of Aaron Copeland School of Music at
Queens College, with a Masters in Jazz Performance.
JI: Tell us about the inspiration that got you started
on this creative path and your burgeoning interest
in jazz.
GD: I grew up listening to classic rock so initially I
was inspired by guitarists the likes of Jimmy Page,
Jerry Garcia, Jimi Hendrix, Carlos Santana, and,
later on, Trey Anastasio of Phish. These were, in my
mind, all musicians who obviously, aside from being
proficient guitarists, conceptually were (and continue
to be) on another level (vis--vis the vast majority of
mainstream rock guitarists). Later on I of course dis-
covered John Coltrane, Bud Powell, Duke Ellington,
Charlie Parker, Thelonius Monk, etc. and of course
my trajectory changed from that point onward. At
the same time, I started getting into Latin music lis-
tening to artists like Arsenio Rodriguez, Hermeto
Pascoal, Mongo Santamaria, Lucho Bermudez, Hec-
tor Lavoe, Richie Ray, and so many others. Most of
my inspiration I would say comes from horn players
and pianists (e.g. Coltrane, Bud, Wayne, Cannon-
ball, Dexter Gordon, etc) but if I were to cite some of
the guitarists that have influenced me in some shape
or form over the years, these would be a few: Wes
Montgomery, Grant Green, Jim Hall, Pat Metheny,
Kenny Burrell, Sylvain Luc, Peter Bernstein, and
most importantly Kurt Rosenwinkel. I continue to
listen to Latin music: Colombian, Peruvian, Brazil-
ian, Cuban, Argentinian, etc. but insofar as jazz I
listen to anything from Brian Blade, Miguel Zenon,
Brad Mehldau, Kurt Rosenwinkel, to Bud, Dex,
Wayne, Monk, Ellington, Miles, Bird, Mingus, Basie
the list could go on and on. As an artist I feel that
Ive embraced both traditions, Latin American and
North American, new and old, and that has been
shaping my trajectory for sometime now.
38 December 2009
JI: Tell us about the development of your new re-
cording from concept to studio and release?
GD: Ive always felt an affinity towards Latin music.
Im Colombian on my mothers side, I had the privi-
lege of traveling there several times throughout my
childhood, and I later went on to live there for two
years immediately after graduating from high school.
Now, Ive been trying to create my own niche as an
artist that interprets contemporary jazz within a
predominantly Latin American context, with Latin
grooves, rhythms, and Latin spirit as it were. The
problem with using the term Latin jazz is that it of-
ten connotes a certain sound that I find a bit generic,
and in some cases even hokey. I chose some standards
by a few renown Latin American artists (i.e. Mongo
Santamaria, Hermeto Pascoal, Astor Piazzolla) and
tried to make them my own, so that there would
be a certain cohesive quality on this recording. I
feel that every song featured on this album is very
different but I also wanted to create a sound thats
distinctly my own and recognizable to the listener.
The process of choosing the personnel, as well as
scheduling rehearsals and record date was tumultu-
ous and stressful, but in the end it really worked out
amazingly well. We laid down 11 tracks in 9 hours.
I called Seamus Blake because hes simply one of my
favorite saxophonists out there, for his rich tone, his
lyricism and soulfulness. I chose Edward Perez, Fer-
en Nemeth, and Arturo Stable to be in the rhythm
section because I knew how they sounded together, I
was aware that they toured and performed together
regularly. I think it really shows in the recording. At
the last-minute, I decided to bring in Brian Hogans,
who happened to be my roommate at the time, to
lay down a few tracks on alto and soprano. Brian is a
phenomenal saxophonist/pianist and a great friend,
he did amazing work and hes definitely someone to
look out for in the near future. I wanted a track with
vocals, I decided to bring in my sister Vanessa, I knew
she would sound great and I knew it would add a dif-
ferent color to the recording. My dear friend and pia-
nist/composer Emilio Solla stepped in to co-produce
the record, he also laid down a couple of tracks. He
was an enormous help from the very beginning until
the very end, for that Im immensely grateful to him.
He went to great lengths to make sure that everything
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came out well. We recorded at Skyline Pro Studios
in Hamden, NJ, Paul Wickliffe was the engineer, he
also mixed and mastered. Paul was tremendous. Im
very happy and fortunate to have worked with him.
We had our CD Release Party at Smalls Jazz Club
and we filled the room on both sets.
JI: Tell us about the challenges and benefits about
operating your own independent record label?
GD: Its very challenging as an artist to put out an
album. We as artists are often consumed with better-
ing ourselves and our craft. In my case, as Im certain
has been with many of my contemporaries, I invested
a tremendous amount of time, energy, and money
into the production of my record. Now that its done,
Im learning how to manage and represent myself un-
der my own label. This can be quite daunting at times
just because were in a difficult noncommercial me-
dium thats extremely competitive, and as certain as I
am with the potential of my music and the sound of
my group, I still have much to learn on the manage-
rial, entrepreneurial end of things. In all likelihood,
monetarily speaking, I wont break even after all Ive
invested paying for musicians, studio, mechanical
licensing, PR, etc. Be that as it may, I have a great re-
cord out and its opening a lot of doors for me and
its giving me more clout as an artist. Another plus to
having my own label is that I have complete owner-
ship of my own music and I have complete freedom
to do whatever I want with it
JI: What do you find as one of the biggest challenges
as an aspiringguitar player in New York?
GD: In NYC, there are only a handful of guitarists
that are getting called to play in clubs, for record
dates, and tours. These guitarists are exceptional,
theyve worked very hard to get to where they are,
and theyre rightfully being rewarded for their hard
work and talent. When you go out there and see
Continued on Page 41
 Interview
Jonathon Haffner
By Gary Heimbauer
Jonathon Haffner was raised in Southern Cali-
fornia where he began playing saxophone at an early
age. While in California he began studying saxophone
with Phil Sobel. Since moving to New York City he
has performed/recorded with Butch Morris, Kenny
Wollesen, Bill Frisell, Jason Moran, Steven Bernstein,
Medeski, Martin, and Wood, Uri Caine, Jim Black,
Eddie Henderson, Chris Potter, Sex Mob, Cindi Lau-
per, Jesse Harris, Brazilian Girls, Brian Blade, Gra-
ham Haynes, Jonas Mekas, The Nublu Orchestra, Il-
It is really important to keep focused on why you are here,
what you want out of it and what you want to accomplish. One
thing is for sure. There are no rules and anything is possible.
han Ersahin, Elliott Sharp, Art Baron, David Binney,
and Rickie Lee Jones. Jonathon also co-leads the group
Himalayas with drummer Kenny Wollesen, and per-
forms in the ensemble Now We Are Here which is led
by filmmaker Jonas Mekas.
Jazz Inside: Tell us what your experience was study-
ing with saxophone educator/guru Phil Sobel and
what impact he has had on your playing?
Jonathon Haffner: Phil Sobel had such a huge im-
pact on me as a musician and as a person. His concept
of playing the saxophone and playing music is one I
have not come across anywhere else. He teaches you
to be true to yourself not only in music but also in
everything you do - really discovering yourself and
being honest with yourself. You cant really play the
saxophone well unless you deal with your own issues.
In some ways you are teaching yourself constantly
and he knows how to bring this out in people. He
can put things into words so they understand how to
think about the saxophone and about music. That is
one of the hardest things...to put things into words
so your students can see things the way you see them.
Besides that he uses references such as the oval and
how think of measuring between two notes. It would
take a long time to describe but he uses specific ideas
and then shows you how to use those ideas to play
music and also to live - amazing human being. He is
gone now but I am always thankful for the years that
I spent studying with him.
JI: What was the vision in the two-drummer ap-
proach on the new record?
JH: Well a lot of the bands I play with have more than
one drummer. Nublu Orchestra has always had two
or more drummers in it. Playing with Nublu, I started
thinking differently about groove and what playing in
time is. If you have two drummers both playing in dif-
ferent tempos, well there you go... All your past experi-
To Advertise CALL: 215.887.8880 December 2009
ences of playing sort of gets thrown out, and there you
are and you have your horn. This sense of being locked
is completely changed. In a lot of ways it makes the
improvisor much stronger and forces you to develop
your ideas more. You cant rely on the other people as
much, because they are doing different things. Also in
the band Himalayas, there is no drum set but many
drummers who each play one drum.
JI: What does the title of the record mean?
JH: Life On Wednesday Its a record title. It means different than how anyone else in the band would.
We were on the street - outside in the cold. Maybe I
a few different things to me but I am not sure if I can
describe it. When you play music you can go some- was surrounded by drummers and a tuba and maybe
where in that moment. So then I was thinking Life Kenny was next to a bunch of trumpet players. Then
the audience would experience it differently too. It
on Mars or life in another place ....can happen in just
a moment. But then its gone and then you play music kind of changed how I think about performance and
with some other musicians the next day and every- the stage. You begin to question the stage and even
thing has changed. You never go back to the same some clubs just feel silly - like you are a museum piece
place because the music is constantly moving. The and everyone is there observing you. Somehow, by
landscape is different. Its amazing how fast things even being on stage it makes things seem like they
change in the music world and your perception is all are in the past. Not sure why, but we - the folks I play
you really have. You dont know how someone else music with - all continue to talk and think about
this. Now We Are Here is one of the most interest-
hears it or how you might even hear it the next day, or
ing things I have been apart of. Jonas Mekas the film
listening back to a recording versus being on stage. Its
just how your ears and how you experience it at that maker speaks. The band was started mostly by Dalius
moment and then it is gone. Then, its just a memory. Naujo, a great drummer I play with a lot. He and Jo-
So music for me is something that exists in time and nas are both from Lithuania. Himalayas would play
in some ways you mark time by playing music - kind at Zebulon in Brooklyn a lot and Jonas would come
of how the earth marks time by going around the see us. Eventually he would join us and speak into the
sun. Its in constant motion, and it cant be captured mic. I dont even know what to call it or how to de-
really. So I was thinking Life on Mars but then the scribe it, but there is an urgency there that just moved
location turned into a point in time Wednesday. me and changed me. I have never been the same since.
But Wednesday comes every week which I thought Jonas is in his 80s and he is this force that is strong
was kind of funny. This point in time that is repeti- and immediate. That band did its first real show at
tive because of the days of the week. Anyway I think the Stone. Tim Keiper, Daniel Jodocy, Dalius Naujo,
you get the picture. were on percussion. Guyora Kats was playing piano
and that added a great element to the ensemble. We
JI: Tell us a little about your two other ensemble still play a lot in New York. We just did a show last
projects Himalayas and the Now We Are Here night at Le Poisson Rouge.
group.
JI: I see that David Binney is the producer of the new
recording. What does David bring to the project as a
JH: Himalayas is a band that Kenny Wollesen, Jen-
producer that another producer does not?
nifer Harris and myself started about 5 years ago.
Some of the first performances were on the streets of
JH: Dave is just an amazing musician and a great
New York and there were a lot of people performing
producer. I have know him since I first moved to
- some of the greatest musicians in New York. This
New York. He really lets things develop naturally
also changed my perception of what a stage is and
and makes sure the artists are making their own
what an audience is and how we all hear things. How
statements instead of him dictating how things go.
I would experience the music would be completely
A lot of things he told me that I needed to develop -
but didnt really tell me what to do or how. He would
www.jonathonhaffner.com Continued on Page 42
Jazz Inside NY www.jazzinsidemagazine.com 39
Interview
Nick Kadjaski
By Eric Nemeyer

JI: Tell us what your experience was studying with being influenced in new ways by the different sonori-
Ralph Allessi and what impact he has had on your ties that a guitarist has at their disposal, and as a com-
playing? poser I like the ability to make use of those sonori-
ties. The opening track of Remembering Things to
NK: Ralph was incredibly influential for me as an Come highlights some of the electronic rawness that
improviser and a composer. I started studying with can only come from an electric guitar. I think that
him in 2002 shortly after moving to New York City. Sean and Ben also have huge ears and are really able
Every couple of weeks Id have a lesson and we would to pull off playing together but not over one another.

For me, the best moments of creation are not when Ive been
motivated through fear or the desire for attention, which are two
emotions that the ego thrives on, but through the simple need to
create something just for the sake of creating it and nothing more.
discuss how to approach improvisation and compo-
sition. Wed play a lot as well. He opened my sensi-
bilities up to listening and playing in a new way. I
remember one of the first playing exercises that we
did when I started studying with him. It was very
simple. We would each choose two or three notes
and improvise with them, sometimes over a form and
sometimes not. The beauty of it was that it freed you
to try new things that you might not have thought to
try, like different sounds or rhythms. It forced me to
listen in order to have a musical dialogue with him.
We also delved into different musicians and how they
approached composition and improvisation, includ-
ing Steve Coleman and Ornette Coleman. We talked
about how composition comes from the same place as
improvisation and doesnt have to be over a traditional
form. I remember creating simple melodies that could
be used as launching pads for improvisations. A few
of the tunes on Remembering Things to Come are
a product of the lessons that I had with him.
JI: Why the two guitar approach?
NK: When I first moved to New York I thought that
I would be playing with pianists but it turns out that
Ive ended up meeting and playing with a lot of gui-
tarists, which is great because I also listen to a lot of
guitarists and that sound is in my ear as a composer.
Several guitarists that I have listened to a lot of are Pat
Metheny, John Scofield and Bill Frisell. I think Frisell
in particular has made a deep impression on me. One
of my favorite albums is Marc Johnsons The Sound
of Summer Running which both Frisell and Metheny
are on. I think this album was the first time I was
aware of two guitarists sharing the bill, so to speak.
What really makes it work for me is that Frisell and
Metheny each have such a distinctive sound and ap-
proach to the instrument. As a result, they play off of
each other and with the rest of the band beautifully.
Their voices are never confused for one another. Gui-
tarists also have access to pedals which are harder for
saxophonists to make use of. As an improviser I like
40 December 2009
JI: What do you find as one of the biggest challenges
as an aspiringsax player in New York?
NK: There are of course many great saxophone
players living in New York. Theyre all finding their
voices compositionally and sonically and theyre per-
forming at the highest caliber possible and sounding
fantastic. I hear a lot of wonderful music being made
and a lot of very personal sounds coming from the
saxophone players here. I think one of the biggest
challenges for me is to try and stay true to my own
voice on the instrument and not be overly influenced
by everything that I hear. Its hard to say, Wow, that
was a great show that I just heard, now let me go and
try and do my own thing without sounding just like
that!, because the inclination is to want to play like
the fantastic sax player that you just heard, but the
challenge is to find your own way to do it.
JI: What kinds of challenges do you find being an
independent artist?
NK: Being an independent artist in New York is
tough, but also rewarding, for many reasons. There
is such an abundance of art and culture here - and
I dont just mean music, but everything - that its
very difficult to have your voice heard. Thats why its
wonderful when someone decides to come out to see
a show that youre playing in. It means something,
because they could have chosen to do a whole laun-
dry list of other things that evening but they chose to
share it with you. Its, of course, also tough to make a
living here as an artist, but I think that thats always
been the case on some level. You find ways to make
it work if you really want to be here. You teach, wait
tables, temp, the list goes on. Ive had many of them.
Its a struggle. The reasons for being here are great too
though. The high quality of musicianship here is hard
to find elsewhere. I also think that the struggle here
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gives musicians a sound that is uniquely New York.
Its edgier and grittier and living here forces you to
find your own voice. I recently had the opportunity
to play in New York with a fantastic Turkish pianist
named Tulug Tirpan. His music was challenging
and at the rehearsal for the show he was shocked at
how well everyone in the band played his pieces. The
drummer replied, and Im paraphrasing, Thats how
it is here, even in rehearsals you play like its the per-
formance because every time you play it matters. I
think thats true.
JI: Tell us a little bit about the title of the new re-
cord Remembering Things to Come and what the title
means?
NK: My brother Greg wrote the liner notes for the
album and found a quote from Ralph Ellisons Invis-
ible Man that I think does a good job of describing
the title: the end is in the beginning and lies far
ahead. That also happens to be one of my favorite
books but Im not sure he knew that when he found
the quote. Ive read a lot of Eastern Philosophy books
and practiced it on my own too, and I do believe that
on some level everything is connected. Its interesting
to me how so many things that youve done in the
past end up being cyclical and come back to you over
time. I think that the title is a way for me to acknowl-
edge that connection musically and in life.
JI: With the highly competitive current reality of
this artform, the compelling need on the part of
many artists to be the center of attention and to be si-
multaneously and paradoxically selfless, howdo you
avoid the tyranny of the ego?
NK: Regardless of the current reality of the artform
I think that this is an issue that any artist deals with.
For me, the best moments of creation are not when
Continued on Page 42
 Klabin Continued from Page 14 well. But I would buy the Boogie Woogie stuff, and I to Sam Goodys. I was about age thirteen or fourteen.
divorced my mother when I was four and he had cus- learned about Boogie Woogie. I just loved it. Its such Sam Goodys was the big record store in those days. I
tody in the summer. So like clock work, I was shipped an incredible thing. I tried to play it. When I was in would go down to the one in a particular location, it
down to Brazil in the summernear San Palofor high school, some kid knew how to play some licks, was down on 40 something street and 2nd Avenue. I
about three months. Jazz for me and in those days you know, with the left hand. Then I would just fool would go in there with a certain amount of money
the early 50s - was still pretty new. Be-bop was just around and improvise. I never really knew how to read probably like 20 or 30 dollars. About once a month,
starting. I didnt know anything about that. I went music, but I had fun. So, I was now participating. and I would see all the new releases. Most of the re-
to Colony Records for my birthday and bought this cords were about $3.98 in those days. They were, of
record the name of the song was Ping Pong. It has JI: Did you wind up playing in any bands? course, vinyl records. There were all these albums on
one of those with echo effects. Whenever he would Riverside and Blue Note. This was probably about
play the muted trumpet, you could hear the echo GK: No, never. I learned to play by ear. I learned how 1960 or 1961. They would not allow people to listen.
from it. It was this cool kind of jazz thing, whatever to play a few tunes, like a Blues in F and a few other So, I just bought things. I took chances. I would buy
it was. That was the beginning of Jazz for me. tunes. I played patterns. I never understood, really. mostly Riverside and Blue. There werent that many
But I became skilled in repetition, by playing those records. It was neat. You could go in there, and there
JI: Did you want to play an instrument? patterns. I could convince somebody that I could im- would be like 50 records a month you could choose
provise and play for a few minutes. It was fun! And from. So it wasnt that difficult to buy some and feel
GK: Yes, I wanted to play piano. So I asked my thats all I cared about. My first jazz club experience introduced to something. I admit I concentrated
mother when I was about six or seven, Please can I was hearing Dorothy Donegan at the Embers - a more on piano than I did on anything else. You know,
play piano? And I thought if you took some lessons great steak house. I had met her and talked to her a I was trying to learn piano, all different styles. Only
you could play the piano. I didnt connect any idea couple times. She would remember me. I would come later I became up to date on other types of Jazz.
that you had work hard at it, that youd have to have
and hear her every once in a while. Then there was Er-
talent, and all those other things. But I just figured
roll Garner. I love Erroll Garner. I bought all his re- JI: Since you didnt go into music as a career initially,
it was like anything else - you learn how to do it. It
cords, and I thought he was one of the greatest things what were you drawn to in high school and maybe in
didnt quite work out that way. I took lessons to read
in the world. Again, I was about twelve or thirteen. thinking what you could do with your life?
simple music and to play boring little pieces. But I
To make a long story short, I ended up graduating
never liked it. Then I went classical.
onto Bill Evans when I was about fourteen or fifteen. GK: I went to a boarding school in Connecticut.
When I would come back for my vacations and so on,
JI: So you never really had a chance to really be cre- It took a while to appreciate him. I really loved Oscar
ative or expressive. and Ramsey Louis. So, it was kind of a mixture of there was a place called on 52nd Street - in the famous
bluesy swinging stuff and more sophisticated music 52nd Street strip. There was guy who played like Oscar
GK: Not at that point, when I was finally about like Bill Evans. That became, for me, something re- Peterson there. I ended up booking this guy and his
twelve, I started playing Boogie Woogie. Again, ally fascinatinglike every time I go and expand my trio at my high school. I became an entrepreneur. It
theres that theme. You know, the Boogie Woogie. horizons. was my first experience really becoming an entrepre-
By the age of twelve, I was going to the record stores neur, and I carried it through to Columbia Univer-
in the city, because they were still there - with all the JI: The contrast between Bill Evans and Oscar Peter- sity. I entered Columbia in 1965. By 1966, I booked
78s. At that point, it was about 1958 - so 78s were son must have been an ear-opener for you. Freddie Hubbard with Sheila Jordan in a concert at
starting to be pass . They started to stack them up in the Wollman auditorium. I convinced them to have
the back just to get rid of them. GK: It was, plus the fact that it was music that was them. Of course thats how I met Helen Keane, Bill
truly different. He invented a new style of piano, no Evans manager and thats how I met Bill Evans.
JI: I think it was around 57 or 58 that LP was tak- question. It was unique. I loved it, but it was difficult. Helen lived two blocks from where my parents lived
ing over. Eventually, over a few years, I got to appreciate how in New York.
special it was. It wasnt easy. Music was this huge pan-
GK: Yeah, the LP fully came out. There were twelve orama. I was discoveringlike a child loves to soak (continued in Jazz Inside Magazine,
inch ones, not just ten. So, of course I had those as up information. Heres what I would do: I would go quarterly edition)

Diamond Continued from Page 38
other amazing cats blow you away it motivates you to
get back in the shed and work out some new things.
Thats how a lot of us grow, by going out and seeing
all of these amazing musicians. Its inspiring and gal-
vanizing. New York has a staggeringly immense pool
of talent. Thats what keeps many of us here, as op-
posed to living somewhere where wed presumably
have more recognition and feel less marginalized. If
you want to make things happen, you cant sit around
and wait for your phone to ring cause it wont. You
have to go out there and make your own noise. The
most challenging and frustrating aspect of being a
bandleader in New York is that there are few jazz
clubs and tons of politics revolving around the book-
ing process. Most of the people that do the booking
at clubs are inundated with unsolicited emails and
phone calls on a day-to-day basis. Many times they
wont reply or theyll simply tell you that theyre
booked until next year, basically anything to get you
to leave them alone.
JI: With the highly competitive current reality of
this art form, the compelling need on the part of
many artists to be the center of attention and to be
simultaneously and paradoxically selfless to be im-
mersed in the creative process, howdo you avoid the
tyranny of the ego?
GD: I firmly believe that for any artist to achieve
success there has to be ego. The trick is not to allow
yourself to be undermined by the ego. The ego is what
drives the music forward, but ultimately its not you
the artist that matters most, its the music that you
the artist puts forth to the listener. I believe that if
one loses sight of that, then the ego can be harmful. I
think a good example of an artist that never allowed GD: Indeed, as an artist onstage, youre in a very deep,
this to happen would be John Coltrane: he had enor- elevated state of consciousness. I sometimes think of
mous ego, that is to say, he was fully aware of what he
had within himself and where he needed to go with
his music, but he was always about the music and not
about himself. Some musicians allow themselves to
be subjugated by their own ego, because of fame, tal-
ent, what have you, and that at times can manifest
itself in their music. I believe that the greatest musi-
cians are those who are humble yet resolute and de-
termined to achieve greatness. They will not allow
the ego to cloud their own vision of who they are,
they keep things honest. To them their music itself
is paramount.
JI: As an artist, your state of mind and ability to dig
deep is important. Outside of playing, what do you
do to re-center and find peace of mind?
Continued on Page 42

To Advertise CALL: 215.887.8880 December 2009 Jazz Inside NY www.jazzinsidemagazine.com 41

 Diamond Continued from Page 41 cant impact on your character and or artistry? tent with what others have done or are doing, then
it as a metaphysical dialogue. There is nothing for youre fettering your creativity and your artistic po-
me that can compare to this. Being a New Yorker GD: Charlie Haden once said: dont think of tential. Another thing that I also strongly believe in:
for most of my life, inner peace and tranquility is, yourself as a jazz musician. Think of yourself as a hu- Im not playing for other musicians. The recognition,
needless to say, not always readily available amid allman being who plays musicI think of myself as a support, and encouragement of my contemporaries
of the hustle and bustle. Aside of performing I think musician. Jazz is a conduit of musical expression, a is something that has helped me move forward and
I truly can find peace of mind when Im in nature, language as it were. I believe that there is undoubt- overcome my sentiments of self-doubt in past years;
silence, and solitude. My other refuge is my family. Iedly a tradition that must be studied, respected, and however, the success of any musician I believe is not
feel at peace when I spend time with them. Im truly revered, but it isnt a canonical art form. The spirit contingent upon the recognition of other musicians,
blessed. I would not be where I am if it had not been of jazz, ever since its inception, has always been that its the general public that matters, the listener. My
for their love and support. of freedom of expression. It also was and continues goal as a composer, bandleader, and performer is to
to be a reflection of the reality and the life experi- create and present music thats accessible to the lis-
JI: Could you share some words of wisdom ideas, ence of our times. As a musician I think that if you, tener without compromising artistry or aesthetic
motivational quotations, and or behaviors youve ob- the artist, are fearful of doing something or creating quality. Difficult and paradoxical but I think its pos-
served,heard or discovered that have made a signifi- something because youre fearful that its inconsis- sible to some degree.

Haffner Continued from Page 39
say, well this idea here could be stronger, and things
like that. And then when something was finished he
might make one small change but it would really
bring out the piece more - sort of taking a song or
a record to its full potential taking what you have
and really making things shine. But also he really
helped me develop as an artist and a leader by sort
of forcing me to make a lot of the decisions on my
own but always sort or being there along the way -
basically what a good producer is suppose to do. He
helps bring out the personality of the artist with out
changing too much of the artists original concepts.
JI: What kinds of challenges do you find being an as-
piring independent artist saxophone player in NYC?
Well, living in New York is a challenge in itself - rent,
making money, staying healthy, keeping up with re-
lationships, etc. Its all a challenge here but New York
is a great place. Some of the challenges seem huge and
sometimes its a bit difficult to keep perspective. Also
there are so many scenes here and so many things
going on. It is really important to keep focused on
why you are here, what you want out of it and what ing ideas is obviously important but what really mat-
you want to accomplish. One thing is for sure. There ters is if you like it. Is this something that I want to
are no rules and anything is possible. It is the true listen to? If you really like something then you will
American City. Every culture, class, race, color, lan- believe in it and then you wont really even need to
guage, food, everything is here - the rich and the worry about ego or any distractions. The idea itself
poor. We all ride the subway - street artists and Wall will be what you focus on and if it is strong and it
Street bankers. I learned a lot from just talking with comes from you then it will continue on - even after
other musicians when I first moved here, like Greg you. But it is most important to believe in it your-
Osby, David Binney, Butch Morris, Kenny Wollesen. self because no one else is going to care if you dont
It definitely is important to ask a lot of questions and care. Even if you do care about it, a lot of other people
figure out what you want. In a lot of ways if you are wont care about it at all. If it is strong, people will
enjoying what you are doing, and you know what you see that or hear it. Looking for recognition etc. is
want, then the challenges dont really seem like chal- just a detour. If you are playing music and you fuck
lenges...they are actually just fun. something up, just go practice a bit more and learn. If
someone tells you that you are fucking something up
JI: With the highly competitive current reality of a lot of the time it is not about you or them just about
this artform, the compelling need on the part of the music. Its about the music not us.
many artists to be the center of attention and to be si-
multaneously and paradoxically selfless, how do you JI: Could you share some words of wisdom ideas,
avoid the tyranny of the ego? motivational quotations, and or behaviors youve ob-
served, heard or discovered that have made a signifi-
JH: Well I think believing in yourself is one of the cant impact on your character and or artistry?
most important things to being a musician. It is
something that so many people do so having interest- JH: Sure. Show up on time. Dont rely on anyone.

Kadjaski Continued from Page 40
Ive been motivated through fear or the desire for at-
tention, which are two emotions that the ego thrives
on, but through the simple need to create something
just for the sake of creating it and nothing more. I
try and remember that as I go through my daily life
and am challenged by my own ego. Sometimes Im
successful, and sometimes Im not, but being aware
of it is the key. In Rainer Maria Rilkes Letters to a
Young Poet he says to the young poet, go into your-
self and test the deeps in which your life takes rise;
at its source you will find the answer to the question
whether you must create. Accept it, just as it sounds,
without inquiring into it. A little flowery, but I
think it speaks to what Im talking about.
JI: As an artist, your state of mind and ability to dig
deep is important. Outside of playing, what do you
do to re-center and find peace of mind?
NK: Im extremely fascinated by quantum physics
specifically and how it relates to our everyday lives.
Ive also read a lot of Eastern Philosophy books and
42 December 2009
the two disciplines are very alike in many ways. Bal-
ance is an important aspect of both fields. Theres a
great book by Frijtof Capra called The Tao of Phys-
ics that does a good job of detailing the connections
between the two. Thinking about these things helps
me to see the bigger picture outside of myself, but
makes me aware that Im also a part of it. Knowing
that there is something larger than myself - call it
what you want, I call it the universe - that somehow
Im connected with gives me a sense of peace. I try to
revisit these concepts as often as possible.
JI: Could you share some words of wisdom ideas,
motivational quotations, and or behaviors youve ob-
served,heard or discovered that have made a signifi-
cant impact on your character and or artistry?
NK: There are a lot of people and ideas that have
influenced me greatly. I think perhaps the one that
would best sum up what weve been talking about
comes from the mythologist Joseph Campbell, Fol-
low your bliss. This quote really affected me when
I heard it and I think it still rings true. No matter
Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
what it is youre doing or decide to do with your life
its important to listen to your instincts and go with
what you feel is right for you at that moment in time.
That applies to the notes that you choose as a soloist
or to the jobs and relationships that you find yourself
in, Follow your bliss.
Leadership is
not magnetic personality, that can
just as well be a glib tongue. It is not
making friends and influencing people,
that is flattery. Leadership is lifting a persons
vision to higher sights, the raising of a
persons performance to a higher
standard, the building of a personality
beyond its normal limitations.
Peter F. Drucker
 CD Reviews Continued from Page 64
PERSONNEL: Mark Saltman, bass; William
Knowles, piano; Lori Williams-Chisholm, vo-
cals; Antonio Parker, alto saxophone; Doug Pierce,
flugelhorn, trumpet; Brian Settles, soprano sax,
tenor sax; Victor Provost, soprano steel pan; Jimmy
Junebug Jackson, drums.
By Eric Harabadian
Mark Saltman and William Knowles are a writ-
ing/performance team that appears to have a very
democratic way of leading an ensemble. They both
thrive on original compositions and arrangements
splitting the duties equally, with key lyrical spots
filled by Saltman. The addition of vocal chanteuse
Williams-Chisholm adds a sophisticated and sultry
aura to the proceedings.
Theme in Search of a Film kicks things off
in a buoyant and powerful fashion, with a light and
lilting melody that is complimented uniquely by the
inclusion of Victor Provosts steel drums. This track
maintains an island feel that is underpinned by the
strong pull of Jacksons drums and Saltmans steady
bass. The second cut Cry is an exultant Knowles
composition featuring Williams-Chisholm wordless
vocals supported by a fluid steel drum solo, a strident
and relaxed piano accompaniment and a Seawind-
like horn chart. Shesh is Hebrew for the number
6 and reflects Saltmans heritage as well as describes
the time signature the tune is in. There are some nice
Middle Eastern themes and modalities and chord
changes with an ostinato bass line keeping it all to-
gether.
What Was I to You matches a Brazilian
groove with wonderful and effervescent vocals from
Williams-Chisholm. This is a clever and insightful
examination of the dynamics of a love relationship
and is as wise as it is rhythmically intoxicating. Salt-
mans Blues for Sale showcases some interesting
intervallic melodic play between the vocals and pan
drums, with a funky mid-tempo groove driving the
whole thing. Nice changes abound along with a toe-
tapping good natured vibe. Folk Song is another
Saltman tune with an indigenous-flavored melody
fueled by scat vocals and great solos from Doug Pierce
on trumpet and Antonio Parker on alto sax.
At this juncture Saltman does a back-to-back
of socio-political perspective with the tracks They
Dont Really Care For Us and Yesterdays Man. Slanted Samba; Triosity; Tonight and Tomorrow.
The first deals with the aftermath of the floods in
New Orleans a few years back, with a sharp and
poignant lyric supported by some great comping by
Knowles and fluid horns. The title track is an ode
to personal survival in the modern world. A note of
nostalgia and some interesting rhythmic twists and
turns make this one special. The album is rounded
out by some straight-ahead Latin in 08 Samba and
a classic Kind of Bluesounding jazz-swing with
East Orange Blues.
This is a nice mix of East and West Coast jazz
styles that span the gamut from relaxed and laid-back
to urgent and upbeat.
To Advertise CALL: 215.887.8880 December 2009
well, obviously respecting what the other can bring to
the table. Musically, its a feast. The Latin influences
are there in the lovely Slanted Samba, Chorinho
and Aha; the blues are given an elegant nod in the
upbeat Howards F# Blues; and the power of impro-
visation flows throughout Triosity.
Levys other instruments is a harmonica, and
on most tracks those parts are overdubbed. On one
BABATUNDE LEA track, Sandi, he is playing piano and harmonica si-
multaneously- and quite effectively.
UMBO WETI Motema Music. MTM-25. www.
motema.com. Invocation; Boom Boom; Cousin Mary;
Prince of Peace; Let The Rain Fall On Me; Reaching
Up; Creator Has A Master Plan; Umbo Weti; Colors;
Sun Song; African Tapestry(Prayer for a Continent);
Song For My Father.
PERSONNEL: Dwight Trible, vocals; Ernie Watts,
tenor sax; Babatunde Lea, drums and percussion;
Gary Brown, bass; Patrice Rushen, piano. STEVE LEWANDOWSKI
By Layla Macoran
FAMILIAR MELODIES stevelewandowski.com.
Level Groove, Season of Love, Git You Time, A Light
This live performance/tribute to master vocalist Spring Snow, Passion Dance, Lilies and Tulips, Twi-
Leon Thomas was recorded at Yoshis in Oakland last light Magic Blues, Whistling Samba, Alone.
year. The audiences energy is high, and aids in the over- PERSONNEL: Steve Lewandowski, John Parrott,
all spirit of love and honor reflected in this double CD guitars; Chuck Hedges, clarinet; Bob Maynard,
set. Several of Thomas songs are interpreted, includ- vibraphone; Don Steinberg, mandolin; George
ing Sun Song, Let The Rain Fall On Me and the Welland, Mark Urness, bass; Jeff Pietrangelo, fluegel
signature Creator Has A Master Plan. Trible often horn, trumpet; Andrew Spadafora, tenor saxophone;
seems to channel Thomas way of delivering with raw Lynn Lewandowski, flute, piccolo, bass clarinet.
emotion. He succeeds without attempting to imitate.
The magic is in the free form blend of blues, Afro- By Bob Gish
jazz, bop, and gospel exuberance. Lea never lets the
beat drop, always present with a tap or shake or jingle. Want a playful, uplifting, relaxing bunch of
Every track has a vital life of its own, supported and tunes in a retro setting with plenty of fourto- the-
fed by the audience and the sheer joy of each player. bar Freddie Greene rhythm guitar playing? Want
Umbo Weti is a rare album honoring a rare talent. some mandolin, vibraphone, clarinet, toe tapping,
partner-swinging tunes? Tired of deafening ampli-
fication and full-bore, health-hazard electric guitars?
Ah, you say you want some familiar melodies
and some hot acoustic, low- volume electric guitar
licks something soothing like the tones of a Gibson
Super 400 or nylon string rhythms and chord melo-
dies in the tradition of Django Reinhardt, or maybe
a little Wes Montgomery thrown in for good Mid-
west measure(s). Say youre tired of the over-exposed
HOWARD LEVY wizardry of coastal guitarists and would welcome
something with a pure Midwest taste akin to former
TONIGHT AND TOMORROW Chicago Ses- favorite brews like Schlitz or Old Milwaukee?
sions LTD. CSS01V09. Howards F# Blues; Song for Well, order in, well make a recommendation
Susan; Chorinho; Floating; Flunky Jazz; Sandi; Aha; for the likes of you. That would be a set of Steve Le-
wandowski tunes played by Mr. L. and his band of
PERSONNEL: Howard Levy, piano and harmon- merry men, nine empathetic buddies--plus Steves
ica; Larry Gray, double bass; Ernie Adams, drums. spouse, Lynn Lewandowski, also a special friend
among friends.
By Layla Macoran A Light Spring Snow is a fabulously arranged
and played ensemble blues, one of the many Steve Le-
This album spans nearly forty years of Levys wandowski compositions found here. Lewandowski
musical career. He handpicked songs from his vast solos nimbly and nobly on all of his tunes demonstrat-
collection of compositions, dating as far back as ing a range of techniques and finger facility only pos-
1969. The modern interpretation is equally fresh and sible with years of practice and love for the guitar. Its
quirky. Larry Gray and Ernie Adams are ideal allies one of those things where you say, Why isnt this guy
to complement Levys boundless range. a household name? Well, he is around Wisconsin, as
As a pianist, his relationship with the instrument are many of his sidemen, especially Chuck Hedges.
is so intimate and playful. They know each other very Continued on Page 44
Jazz Inside NY www.jazzinsidemagazine.com 43
 CD Reviews Continued from Page 43
Whistling Samba captures the spirit of the
collection although its hard to whistle while youre
smiling, an expression which will be the odds on fa-
vorite of all listeners to these probably never before
heard yet strangely ingrained DNA destined to be
favorite tunes once heard.
Dan McMillion
Jazz Orchestra
NICE N JUICY Sea Breeze Jazz SBJ2152, www.
seabreezejazz.com. MacArthur Park; Nice N Juicy;
Love for Sale; Thriller; My Funny Valentine; Surviving
Soho; Blues Express; Lush Life; Hey Jude; Vita Bella.
PERSONNEL: Dan McMillion, trumpet,
flugelhorn, valve trombone; Chad Shoopman, trum-
pet, flugelhorn; John Robinson, trumpet, flugelhorn;
Elton Reyes, trumpet, flugelhorn; Matt McCarthy,
trumpet, flugelhorn; David Moss, alto sax, soprano
sax, flute; Chris Dyle, alto sax; Bobbie DeAngelis,
tenor sax; Matt Gawlik, baritone sax; Keith Oshiro,
trombone; Chris Clifton, trombone; Luis Alverez,
trombone; Chris Lundquist, bass trombone; Rich-
ard Drexler, piano/Rhodes keyboard; Joe Porter,
bass; Glen Bush, drums.
By Eric Harabadian
Former Buddy Rich and Woody Herman alum
McMillion leads an impressive ensemble of arrangers
and soloists through a diverse and exciting program
of jazz and pop-inspired delights. And its no surprise
that he is a contemporary of the late Maynard Fergu-
son because his imprint, as well as those from the other
afore-mentioned big band masters, is all over this disc.
Jimmy Webbs classic MacArthur Park opens
with a fairly pedestrian arrangement spiced up by
David Moss Coltrane-esque soprano sax solo and
McMillions own stratosphere-reaching trumpet.
Title track Nice n Juicy is a nice mid tempo romp
with agile doubling on trumpet and trombone from
the leader. Cole Porters Love for Sale really shows
this ensembles mettle with a brisk read that swings
like crazy. Showing another R&B side, Thriller,
popularized by Michael Jackson, proves an inventive
vehicle with a bass line that inspires countless solos
from McMillion, Oshiro and Moss, respectively.
Other key moments include the elegant swing of
Shorty Rogers Blues Express, McMillions beauti-
ful muted trumpet on Billy Strayhorns Lush Life
and the Doc Severinsen meets Ferguson pomp on
Lennon/McCartneys Hey Jude.
Kudos to the collaborative efforts of producer
McMillion and engineer Tom Morris who give the
entire mix a three dimensional depth and sheen that
really puts the listener in the drivers seat!
44 December 2009
leads this tour de force on a lush journey of incompa-
rable artistry and taste.
This is a comprehensive record in the sense that it
shows the many sides or moods, if you will, of Moody
and company. For instance, you have the opener Secret
Love, which is a nice way to begin with a relaxed bop
vibe that showcases Moodys warm and mellow tenor
from the outset. Voyage, an original composition by
AMANDA MONACO Barron, follows in a mid-tempo swing, with some in-
teresting modulations that raise the stakes from each
I THINK ILL KEEP YOU Late Set Records. www. of the groups soloists. Thelonius Monks Round
latesetrecords.com. I Think Ill Keep You; Slinky; So Midnight is a perennial that always seems to bring
Much For Spring; HCKHH Blues; Jitterbug Waltz; out the best in improvisers, and is certainly not lost on
Darn That Dream; Co-Op Shift; You and the Night the group here. There are many other touchstones one
and the Music; Haifalutin; Its Like This, See could spotlight but I would be remiss if I did not in-
PERSONNEL: Amanda Monaco, guitar; Sean clude the beautiful duet between Moody and Barron
Conly, bass; Satoshi Takeishi, drums; Michael At- on East of the Sun. The interplay between the two is
tias, baritone and alto saxophones. both conversational and transcendent. Bravo!
By Layla Macoran
Amanda Monaco has put together a group that
is exuberant and swinging. Excellent covers were
chosen; Monacos touch stands out on tracks such as
the Fats Waller tune, Jitterbug Waltz, Darn That
Dream and You and the Night and the Music.
Michael Attias is a treasure throughout the entire ROY NATHANSON
album. His work is the consistent guiding force that
takes I Think I ll Keep You to a more sophisticated SUBWAY MOON Yellowbird Records yeb-77112.
level. Nearly every track is a testimony to his skill and www.yellowbird-records.com. Love Train; Subway
versatility. He is equally expressive in alto or baritone Noah; Party; Alto Rain; Dear Brother; Orange Alert;
saxophone mode. Two Horn Rain; New Guy to Look At; Stand Clear;
Credit should also be given to Conly and Takei- Safer End of Subway Moon.
shi for maintaining such a solid hold on the rhythm. PERSONNEL: Curtis Fowlkes, trombone, vocals;
The key track for the entire group is Jack Bruces Brad Jones, bass; Tim Kiah, vocals, bass; Roy Na-
HCKHH Blues. The quartet gels in a way that al- thanson, alto and soprano sax, vocals; Sam Bardfeld,
lows the music to flow seamlessly, making I Think I ll violin; Napoleon Maddox, human beatbox, vocals;
Keep You a keeper. Bill Ware, vibes, vocals, organ; Hugo Dwyer, key-
board sampler; Sean Sonderegger, tenor sax, flute;
Marcus Rojas, tuba; Gabriel Nathanson, trumpet.
By Matt Marshall
Roy Nathanson blends soul-infused jazz instru-
mentation and vocals with spoken word in a recre-
ation and revitalization of the Beat dream of melding
poetry with music. Allen Ginsberg is even sampled
James Moody on one track the standout Dear Brother reciting
over and over from the opening line from his poem
MOODY 4A IPO Recordings IPOC1016 www. Kaddish (Strange now to think of you), estab-
iporecordings.com. Secret Love; Voyage; Round lishing the numbers groove, if you will. Elsewhere,
Midnight; Without a Song; Stella by Starlight; East of Nathanson burrows into the earth to link with the
the Sun; Stablemates; Bye Bye Blackbird. titular subway, both through instrumental mimicry
PERSONNEL: James Moody, tenor saxophone; and lyrical content. These lyrics can range from the
Kenny Barron, piano; Todd Coolman, bass; Lewis hopeful soul of the opener, Love Train, to the more
Nash, drums. interestingly complex and political Orange Alert,
which conjures the automatic, train-like progression
By Eric Harabadian from high-pressure fear-mongering to bodies coming
home in caskets, with a lethargic, stupefied popu-
The sign of a true musical master can be found lace on-board for the ride. The bass line on Subway
in the distinctive manner in which they turn a phrase Noah chugs reliably, mechanically, strongly forward
or execute a notewhen you hear it you know its as horns blow out warning blasts and shots of the vibes
them. Well, that is certainly the case with this group signal upcoming stops and the opening of doors. A
of seasoned musicians, not the least of which is James hipster nod to artistic experimentation half a century
Moody himself. And on this studio date for IPO he gone (and to other modern day progenitors like Tom
Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
Waits), Subway Moon nevertheless sounds fresh and
vital, intimating that perhaps the style if not the
legacy of Ginsberg, Kerouac and their brethren was
beaten down and brushed away too quickly.
Osland-Dailey
Jazztet
EVIDENCE Sea Breeze Jazz SBJ-3090 www.
seabreezejazz.com. Evidence; Title Goes Here; Mode
Three; Long As You Know Youre Living Yours; For-
getting; Eighty-One; The Letter E; Spiral Dance; A
Long Way (To Go); R.J.; Flashpoint; Wichita Mind
Control; A.I.R. ( Air India Radio).
PERSONNEL: Miles Osland, saxes & flute; Ra-
leigh Dailey, piano; John Willmarth, drum set;
Danny Cecil, bass.
By Eric Harabadian
The Osland Dailey Jazztet is a group that knows
no musical bounds. They arent afraid to think out-
side the box, as it were, and experiment with odd time Im Gone, (complete with door-closing sound ef- tive skills when not playing his own compositions.
signatures, alternative arrangements and creative use
of space. This Kentucky-based quartet is a modern
jazz combo in every sense of the word.
They span the gamut dipping into the eclectic
improvisational oeuvre for a grab bag of delights such assembly of winning tunes and arrangements. The heavenward, also sax as wings. Pasin takes a chorus,
as the title track Evidence by Thelonius Monk.
They rise out of the gate with a deft arrangement by
Dailey showcasing angular and vibrant piano accents
rounded out by a robust coda from Willmarth. Dai-
leys Title Goes Here keeps the energy on a high
note where a driving groove paves the way for Os-
lands playful and pastoral soprano sax work. There
is a somewhat ECM kind of composite to the overall
feel of this disc as that observation is certainly driven
home with an effective cover of Keith Jarretts As
Long As Youre Living Yours. There are some qui-
eter moments too such as the Dailey penned ballad
Forgetting, featuring the Moe Koffman meets Paul
Horn flute work of Osland.
Tight arrangements, elaborate yet succinct tunes plangent tones of Paparozzis harmonica and raspy passing fair as he passes our way with this fine record-
and melodies with a grand and adventurous spirit
await the listener who hungers for something more.
Heart, Peg, Monkey Around, Border Song, Strange
Brew, Body and Soul, Keep it Simple, Love The One
Youre With, Let Them Talk, I Think Its Going to
Rain Today, Shes Too Good for Me, Love and Peace.
PERSONNEL: Rob Paparozzi, harmonica, vocals;
John Korba, Glenn McClelland, piano; George
Naha, Jimmy Lehey, Hugh McCracken guitars, do-
bro; Ed Alstrom, Hammond organ; Bailey Gee, bass;
Bernard Purdie, drums; Phoebe Snow, vocals. alto sax, soprano sax, flute; Benny Green, piano,
Dannie Richmond, drums.
By Bob Gish
By Bob Gish
Well, dont miss this CD! Its a top drawer, A-1
saucy winner. Rob Paparozzi surely has a passionate Here is jazz played on the outside but still ap-
Etruscan soul as explained in the liner notes about pealing to the common listener all very, very hip.
his heroic parentage and World War II vintage photo Chris Pasin composed a majority of the tunes on
of his father, and one can hear that hard fought Ital- this CD and gives testament to the contention, not
ian ancestry throughout this recording; however, always evident, that a composer knows how best to
Paparozzis soulfulness is not limited to one heritage, play the composition in question.
place, or impulse. Dont expect some subdued, ram- Following such a premise Pasins trumpeting on
bling tour though Italian villas here. The ride, broth- these tracks should be superlative and it is. Though
ers and sisters, is hot-blooded harmonica and song! its nicely matched by Steve Slagles sax and flute,
From the outset, in a bluesy, hip rendering of Benny Greens piano, Rufus Reids bass (outstanding
Ticket to Ride, the listener knows the ancient and on Island) and Dannie Richmonds drums. Al-
the contemporary merge in Paparozzis music. Theres ways surround yourself with equal talent is another
some wailing and some hollering and plenty of hot premise for testing and proof here. Its plenty valid
licks and hard beats here that more than disabuse one throughout this project.
of tepid instrumental or nationalistic stereotypes. The tune most familiar with jazz fans is My
Not only does Paparozzi play the dickens out of Romance, a Rogers and Hart standard by which to
the harmonica, he sings the blazes out of a tune like judge Pasins commonplace chops and his interpre-
fects), In the Heat of the Night, Monkey Around, Again he passes the test, with accolades to spare, as
and a plentiful number of the other tunes. do his sidemen, playing the tune up-tempo rather
George Naha, Jimmy Lehey, Ed Alstrom all than as a slow ballad.
add that special, funky, sweaty sophistication to this Pasin opens on the head. Slagle soon soars
special sound effects like the aforementioned closing Gabriel-like, answering Slagle and opening the gates
door, and the retro scratchy 78 rpm intro to Peg O for Benny Greenes celestial piano, who in turn, invites
My Heart morphing into Peg is more than dramatic Reid to substitute his bass for a harp. Soon the entire
in juxtaposing the old and the new. Hard drumming, choir of instruments reunites, leading us along the
muffled guitar lines, pulsing bass, and the hoots and golden streets to the marching beats of Richmonds
hollers and harmonica kisses, and choral fills make drums, culminating in a Welcome home affirmato.
these two tunes one one big, soulful tour de force. The title track, Detour Ahead (by Ellis/
Phoebe Snow joins in on a road house version of Frigo/Carter) was first heard by Pasin when played
Monkey Around filled with old battle of the sexes by Cedar Walton and it soon became obsessively des-
verities, all underscored by the twangy guitar slippin tined for this project and emblematic for the turns in
and a slidin of Hugh McCracken, Nada, and Leahey. Pasins own musical journey from sideman to leader
Lets monkey around, indeed! of this assembly of kindred spirits.
Border Song adds a Holy Moses spiritual Lifes passages are implied throughout whats
impulse to the collection especially suited to the passed, passing, or to come. And Pasin is more than
voice. Body and Soul is a beautiful jazz harmonica ing.
rendition of the torchy standard with just Glen Mc-
Clelland accompanying Paparozzi on piano.
Take it to heart, and to your i-pod, youll be
playing this CD, these tunes again and again. Check
out Keep it Simple to see why!

CHRIS PASIN
DETOUR AHEAD H2o Records, myspace.com/ BUD SHANK
ROB PAPAROZZI chrispasin. Lost and Found, I doesnt Matter, Jack-
hammer, Detour Ahead, The Light at the end of the FASCINATING RHYTHMS Jazzed Media,
ETRUSCAN SOUL robpaparozzi.com. Ticket to Tunnel, Enigma, My Romance, Island. P.O. Box 270346 Littleton, CO 80127. Chicane,
Ride, Im Gone, In the Heat of the Night, Peg O My PERSONNEL: Chris Pain, trumpet; Steve Slagle, Continued on Page 46

To Advertise CALL: 215.887.8880 December 2009 Jazz Inside NY www.jazzinsidemagazine.com 45

 CD Reviews Continued from Page 45
Over the Rainbow, Fascinating Rhythm, Night and
Day, Lotus Bud/No More Blues, In Walked Bud,
Lover Man, Manteca.
PERSONNEL: Bud Shank, alto saxophone, Bill
Mays, piano, Bob Magnusson, bass, Joe LaBarbera,
drums.
Bounce; Things Aint What They Used To Be; Scotch
and Water; My Babys Gone; Sack of Woe; Nostalgia
In Times Square; Equinox; The Double Up; From Four
Till Late; Break Out the Blues; Footprints; Solid.
PERSONNEL: Daniel Smith, bassoon; Martin Be-
jerano, piano; Edward Perez, bass; Ludwig Afonso,
drums; Larry Campbell, guitar.

By Bob Gish By Matt Marshall CURTIS STIGERS

Brands, like bands, have their power and pres- Following up his Bebop Bassoon and Swingin LOST IN DREAMS Concord Jazz CJA 31527-
tige. When it comes to Bud Shank you can expect Bassoon albums, Daniel Smith continues to sound a 02. Cold; Youve Got The Fever; Medley: Vera/We ll
quality built on loads of experience, lots of playing refreshing tone for jazz on his latest effort, Blue Bas- Meet Again; The Dreams Of Yesterday; Jealous Guy;
through the years. Bud surely is no dud and this lat- soon. Rarely (never?) has the bassoon been used as a My Funny Valentine; Daddys Coming Home; Bye Bye
est, very live and lively CD, aptly named for one of its frontline jazz instrument, yet Smith, with his deep, Blackbird; Reason For Our Love; Dirty Water; Feels
tracks, Fascinating Rhythm is assuredly rhythmic bluesy lines, full but breathy timbre and sweat-induc- Right; In The Wee Small Hours Of The Morning.
and, yes, fascinating. ing bop calisthenics, makes this seem more a fault of PERSONNEL: Curtis Stigers, voice and tenor
All of Shanks cohorts more than show up for imagination or opportunity than possibility. This is saxophone; John Scrapper Sneider, trumpet, glock-
the date. Joe LaBarbera knows how to make a drum further displayed by the breadth of material Smith enspiel & vibes; Matthew Fries, piano & Wurlitzer;
solo commanding, as he does at the outset on the lead covers here, from the continued plumbing of bebop
Keith Hall, drums & percussion; Cliff Schmitt,
track, Chicane. No chicanery here, just playful, and hardbop (Charlie Parkers Billies Bounce; Lee
acoustic double bass; Lawrence Feldman, clarinet,
tuneful magic. The second track, the famous favorite, Morgans The Double Up) to more experimental
bass clarinet & flute.
Over the Rainbow, features Shank, of course, and fare (John Coltranes Equinox; Wayne Shorters
the swinging piano styles of Bill Mays, whose intro- Footprints; Joe Zawinuls Scotch and Water)
duction of the title track is also especially hypnotic and, appropriately, straight-ahead delta blues (B.B. By Layla Macoran
to say the least. Kings My Babys Gone; Robert Johnsons From
Bob Magnusson rings through too in a rhyth- Four Till Late). As liner-note scribe Michael J. West Lost In Dreams is a mesh of jazz, blues, and old-
mic pedal tone and some skipping bass lines, allow- writes, unless one is on the hunt for I-IV-V changes, time soul. Stigers has the weathered voice of a sea-
ing one to feel the suspension if not awe inherent in one hardly notices that the blues form is common to soned nightclub sensation. Annie Lennoxs Cold
all rainbows. Magnusson, like his long-term cohorts every track. opens the album with deep-hearted meaning. Her
knows his way around rainbows, club dates, and re- The musical mix keeps the album moving as fervent lyrics, with Stigers pipes as a conduit, are
cording sessions with the best of the best and his in- Smith is afforded the opportunity to inhabit the vari- handled with that dash of moving non-convention.
terplay with Shank on Rainbow is transcendent for ous shades of his instrument; a record like this could The unusual medley of Vera/Well Meet Again
sure, arching back to old and ahead to new times. easily fall victim to its own novelty with the artist surprisingly works. A less experienced artist may not
Shanks solo on Fascinating Rhythm is a crowd content to rest on the unique concept and not push have made the connection or the arrangement worth
pleaser, judging by the Jazz Bakery applause and de- forward to explore all the possibilities his idea pres- a listen. The arrangements, by Sneider, indicate how
servedly so. LaBarberas accented hits add to the verve ents. Pianist Martin Bejerano and drummer Ludwig well he understands the texture of Stigers range.
and energy of the tune, allowing Magnusson and Mays Afonso remain from the bebop and swing records. The remaining songs slide into a bit of a routine.
to fade out in an outstanding concluding vamp. Added are bassist Edward Perez and, on the King and Although pleasant, the ambition slows down to the
Night and Day allows bass and drums to estab- Johnson tunes, guitarist Larry Campbell, probably predictable bluesy fare. With that in mind, very few
lish a kind of jungle beat of the tom toms, as it were, best known for his extended touring and recording can do much to perfect a Rodgers and Hart tune. He
compounded with cascading chording by Mays-- all stint with Bob Dylan that started in the mid-90s. does a nice job with My Funny Valentine.
building to Shanks tentative yet powerful entrance Campbell plays mostly acoustic slide support on the
soon ramping up to the volumes and cacophonous two tracks, but does bust out on From Four Till Late
sounds of the lyrics roaring traffics roar. In this tune with a powerful, single-note solo. Perez is instrumen-
especially, the lyrics are the back-story, the inspira- tal throughout, often supplying the classic grooves
tion for the instrumental interpretation. Its a stellar that make many of these tunes instantly recognizable
performance among a host of star-studded tracks.
(The Jody Grind; Footprints). Bejerano attacks
In Walked Bud encompasses and applies to
his keys in an aggressive hardbop manner, his crisp,
both Bud Powell and Bud Shank with a special play-
emphatic sound nicely countering the fuzzy tones of
ful double tribute to both virtuosos. And as this CD
Smiths bassoon. Afonso, currently with Spyro Gyra,
establishes, once again, Bud Shank walks and plays
knocks loose decidedly modern, postbop rhythms in
MADS TOLLING
with the best and always will.
support then favors pop flourishes when given space
to solo. Together these musicians lend the requisite THE PLAYMAKER Madsman Records. Just,
vibrant support that prevent the bassoon from be- The Playmaker(for Tom Brady); The Contemplator
coming mired in its naturally somber state. (for Zinedine Zidane); The Risktaker (for LeBron
Which is in no way to slight Smith. The bounce James); El Duderino; Star-maker Machinery (for
and gripping tone he executes across this full-range of John McLaughlin); Loki in the Pokey; I Skovens Dybe
blues is what makes the album truly special. Known Stille Ro (for NHOP); The Chicken (for Jaco Pasto-
for his classical work most notably the 5-CD re- rius); Blue Monk; Black Dog
cording of Vivaldis 37 bassoon concertos Smith PERSONNEL: Mads Tolling, violin; Mike Abra-
DANIEL SMITH here transforms his stern, unwieldy equipment into a ham, guitar; George Ban-Weiss, acoustic and electric
tool for inciting dance and wild celebration, without bass; Eric Garland, drums; Stanley Clarke, acoustic
BLUE BASSOON Summit Records DCD 530. sacrificing the nuance of its reedy breath. Ground- bass; Russell Ferrante, piano and keyboard; Stefon
www.summitrecords.com. The Jody Grind; Billies breaking in a deceptively simple fashion. Harris, vibraphone; Jeff Marrs, drums.
46 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
By Layla Macoran Only initiates in Spanish music of this genre that was popularized by Ella Fitzgerald, depicts the
will recognize the tunes at the start. Soon, however, end of a love affair with a mix of melancholy and bit-
The Playmaker reminds us how the right combi- they all seep into ones soul-sense of rhythm and the tersweet hope.
nation of team mates can make the game worth play- appeal of beautiful lyrics than only the music of the Most of the album is post bop and piano-centric
ing. Tolling as composer and bandleader serves well Spanish language can transmit: How Beautiful, I in nature, with some exceptional detours such as the
in the role of coach. Starting with Radiohead tune Feel Free with You, Roads in the Sky. Soul and acoustic folky tone poem Every Ocean, Every Star,
Just, Tolling substitutes Thom Yorkes signature moon and mood and then some! the new age-like title track and the horn driven pop/
vocals with a crooning violin. As the album progress Que rico, que suave! rock lilt of Heartbeat.
through his compositions, the musicians truly bring Vasandani is an immense talent with an ability
their individual magic to the front. Russell Ferrante is to truly connect with his audience in an honest and
an anchor of reassuring precision in The Playmaker open manner.
and El Duderino. Stanley Clarkes graceful solo in
The Contemplator adds a loving finishing touch
to the song. Its easy to see how John McLaughlin is
honored in the track Star-maker Machinery-Mike
Abraham seems to channel Santana and all things
Mahavishnu. His duel with Tolling is one of the most
passionate moments on the album. Even without the
Sachal Vasandani
heavy-hitter guest players, this quartet is a standout.
WE MOVE Mack Avenue Records MAC 1046,
The Playmaker is a fine second outing from Tolling
and company.
www.mackavenue.com. Escape/Theres a Small Ho- Melissa Walker
tel; No More; Dont Worry About Me; Every Ocean,
Every Star; We Move; Once in a While/Horizons; IN THE MIDDLE OF IT ALL Sunnyside
There Are Such Things; By the River St. Marie; Ring SSC1237. In the Middle of It All; Dont Give Up; The
Road (Back to You); Royal Eyes; Monks Dream; I ll Way He Makes Me Feel; I ll Sing a Song; The Other
Let You Know; Heartbeat; Travelin Light. Woman (part one); Forget Me (part two); Mr. Bojan-
PERSONNEL: Sachal Vasandani, vocals; Doug gles; If You Could Love Me; Invitation; Im With You
Wamble, guitars, keyboards, programming; Jeb Pat- Know; Our Love Remains; Where Or When.
ton, piano, organ, Wurlitzer; David Wong, acoustic PERSONNEL: Melissa Walker, vocals; Gregoire
bass; Quincy Davis, drums; Justin Brown, drums Maret, harmonica; Aaron Goldberg, piano and
SOFIA TOSELLO (1,2,6,7); Dayna Stephens, tenor and baritone saxo-
Fender Rhodes; Keith Ganz, guitar; Adam Rogers,
guitar; Christian McBride, electric and acoustic
phones (9,11,12,13); Vincent Gardner, trombone
ALMA y LUNA. Sunnyside Communications, Inc. (9,12,13). bass; Clarence Penn, drums and percussion.
www. sofiatosello.com. La Clarosa Cru, La Seca, La
V erdadera Llama, Que Bonito, Me Falto La Imag- By Eric Harabadian By Eric Harabadian
inacion, Mi Musita Saltena, Sin piel, Nacido en Agua
Melissa Walker is a survivor. The title track,
de Guerra, alma y Luna, Zambito Pa Mi Coyita, Vasandani is a wise vocalist who acknowledges originally done by Irma Thomas, speaks to adver-
Nada, Sentirme Libre Contigo, Caminos del Cielo. and embraces influences of the traditional jazz canon sity and overcoming obstacles in life when troubles
PERSONNEL: Sofia Tosello, vocals; Julio Santil- with a fresh and contemporary twist. His phrasing surround you. Walker knows a little bit about that
lan, Miguel Rivaynera, Pavel Urkiza, Byron Ramos, and approach is intelligent and personal, with an after riding high with an acclaimed jazz vocal career
Aquiles Baez, guitar; Jorge Roeder, bass; Yayo Serka, intimacy that really draws you in. And his essential throughout the 90s and then diagnosed with vocal
bombo leguero; Raul Lavadenz, acordeon, palmas; core trio of Patton, Davis and Wong drive the lions paralysis in 2003. But she turned her life around and
Pablo Farhat, violin, Miguel Rivaynera, palmas; Yos- share of this disc with simpatico and aplomb that can came back strong with this collaborative effort with
vany Terry, soprano saxophone, Anat Cohen, clari- instrumentalists and arrangers McBride and Penn.
only come from hours of performance and dedica-
net. Walker possesses a style that is truly intimate
tion to craft.
and inviting an approach that is non-judgmental
Escape/Theres a Small Hotel opens with a
By Bob Gish and welcoming. It is as if she is having a personal
colorful patchwork of originally penned lyrics that
conversation with you and sharing the inner most
paint a romantic getaway. With a soaring blend of thoughts and details of her life. Dont Give Up
Heres a Flamenco, gypsy, Argentine, Cuban,
wordplay and energetic accompaniment Vasandani by Peter Gabriel is a fine example of a positive mes-
jazz, zamba, tango inspired recording with vocals in
and company set the scene for sonic adventure. Hu- sage of perseverance translated by Walker and gen-
Spanish and thematically related to soul and moon
bert Laws bluesy No More conjures another set of tly sparked with the sweet harmonica of Gregoire
all the tracks full of Spanish staples of amour and
emotions with words that proclaim emancipation Maret. The Other Woman (part one) and Forget
moon-dance fervor, flavored by violin, acordeon,
and inner strength. Dont Worry About Me, a song Me (part two) are companion pieces that show two
bombo leguero, timbales, congas, and the ubiquitous
sides of a relationship gone wrong displayed by the
but ever essential guitar.
lilting melancholy mood of the first piece followed by
Sofia Tosello is a perfect match to strike up this the mid-tempo bluesy swing that propels the second.
jazzy, world music offering with a voice filled with Invitation is another standout tune with a Brazil-
exotic allure and a set of inspired songs of life, love, If a man has any greatness in him, ian feel ala Flora Purim or Tania Maria and Walkers
and longing. All of them, she attests are part of her it comes to light, not in one flamboyant hour, upbeat theme of courage and positivity is evident on
autobiography, part of her growth as an artist and all but in the ledger of his daily work. a dedication to 9-11 called Im With You.
collected and set loose here for others to hear and ap- While everyones performances are outstand-
preciate. ing, Aaron Goldbergs incomparable blend of taste,
Through the music we come to know Sofia To- ideas and style, in particular, are the perfect foil for
sello as a vocalist containing multitudes of influences Beryl Markham Walkers adventurous vocal excursions.
and feelings making for a deep pride in her culture. Continued on Page 48

To Advertise CALL: 215.887.8880 December 2009 Jazz Inside NY www.jazzinsidemagazine.com 47

 CD Reviews Continued from Page 45
Wayne Wallace
BIEN BIEN! Patois Records PRC009. Web:www.
patoisrecords.com. Bien Bien!; Freedom Jazz Dance;
Mojito Caf; Building Bridges; In a Sentimental
Mood; Playa Negra; Going Up!; Solid; Africa
PERSONNEL: Wayne Wallace, trombone, vocals;
Murray Low, piano, vocals; Michael Spiro, percus-
sion, vocals; David Belove, bass, vocals; Paul van
Wageningen, trap drums, vocals; Julian Priester,
trombone; Dave Martoli, trombone; Kenny Wash-
ington, vocals; Orlando Torriente, vocals
By Curtis Davenport
Trombonist Wayne Wallace is a musical cha-
meleon. During his impressive career, as a leader,
producer and sideman, this Bay Area icon has moved
between the jazz, Latin, R&B and rock music world
with the effortless grace of Air Jordan on a breakaway
dunk. However, his previous dates as a leader, which
are concentrated primarily in the jazz and Latin Jazz
genres, have been musically challenging, but occasion-
ally, inconsistent. There were a few times when a track
that would make me say Wow! would be immedi-
ately followed by a track that made me say What?
I say that to say this: Wayne Wallaces new disc Bien
Bien!, is the strongest and most cohesive of his career.
Bien Bien!, is the second recorded appearance
of Wallaces Latin Jazz Quintet; a follow-up to last
years Infinity. Wallace has long been a first call Latin
Jazz trombonist in the San Francisco area, and he has
featured many authentic Latin tracks on his previous
discs, so when he finally formed a full fledged Latin
group, it was no surprise. The quintet has remained in-
tact since their debut recording, so you have the same
core of top Latin Jazz musicians who have worked
with Wallace for years: Murray Low, the outstand-
ing pianist; bassist David Belove, who can name Pete
Escovedo, Bobby Matos and Patato as prior employ-
ers and all-star percussionists Michael Spiro and Paul
van Wageningen. To give that full throated trombone
choir sound that is the bedrock of much of Latin mu-
sic, Dave Martell and the legendary Julian Priester
were added to the mix on a couple of tracks.
The full spectrum of Latin music is covered on
this highly accessible and likeable disc, from bomba,
to bolero to salsa-fied Latin Jazz. The Wallace-penned
title track gets things off to a joyous start, with Wal-
laces trombone and Lows boppish piano as the
highlights. Wallace uses overdubbing to great effect,
allowing him to recreate that Roaring Elephants
sound associated with Latin trombone master, Barry
Rogers. Eddie Harriss Freedom Jazz Dance is the
most creative track, turned into an Afro-Puerto Ri-
can Bomba, with swinging vocals from Bay Area jazz
48 December 2009
singer Kenny Washington and Orlando Torriente, Van Dyke Parks Orange Crate Art starts as a mel-
who trade English, Spanish and scat choruses, back low walk on the beach but subtly moves into a slow
by a choir of voices repeating Baile de Libertad all grind. Goldings never loses control on the domineer-
the while, Wallace and the band are skipping through ing B-3, which gives Wilson room to standout and
Harriss famously skittish lines; very interesting and be heard. Keltner makes a lasting impression with an
very powerful music. Mojito Caf is dedicated to unexpected but steady off beat on the final Home-
Armando Peraza and Cal Tjader, who were the Bay coming. Such a choice takes the song further into
Area Latin Jazz giants when Wallace was just getting avant territory. Jack Of Hearts is ideal for those who
started. Through there is not a vibraphone in sight, still cherish those cool Wes Montgomery albums-
you still get that Tjader feel from Low, Wallace and and lets be honest-most of us do.
the band. The spirit of Barry Rogers is really invoked
on Building Bridges. No overdubbing here as Wal-
lace is joined by Priester and Martoli, in a celebration
of the Latin musical cultures of San Juan, New York
City and Havana. Its not a cutting contest, but each
of the three bone masters acquits himself well. They
are all together again on Ellingtons Going Up in
a respectful Latin bow to Ellingtons famed Gods
Trombones section: Lawrence Brown, Juan Tizol Phil Woods
and Tricky Sam Nanton. Sonny Rollins is also
honored, with his composition Solid getting the THE CHILDRENS SUITE Jazzed Media
full cu-bop treatment. Its a tour de force for Wallace JM1040 www.jazzedmedia.com. The Good Little
who makes his trombone virtually sing over the clave Girl; Come Out With Me; Sneezles; Pinkle Purr;
set down by Low and Belove. Down By the Pond; Waiting At the Window; Butter-
Though I mention just a few of them, there is cup Days; The Friend & Us Two; Furry Bear; Knights-
really not a weak track among the nine on this CD. in-Armour; Wind on the Hill & The Engineer; Soli-
Bien Bien!, is an impressive disc from beginning to tude; The Morning Walk; In the Dark& The End.
end. It features stellar musicianship, strong writing PERSONNEL: Phil Woods, conductor, alto saxo-
on the originals and well-chosen and creatively exe- phone; Vicki Doney, vocals; Bob Dorough, vocals,
cuted covers of tunes written by others. Its also a nice keyboards; Peter Dennis, narrator; Nelson Hill, alto
mix of cuts that encourage dancing and attentive lis- sax, flute; Tom Hamilton, tenor sax, clarinet; Roger
tening and occasionally, both simultaneously. Its a Rosenberg, baritone sax, bass clarinet; Ken Brader
pleasure to see all of the stars align on this album for III, trumpet, flugelhorn; Bobby Routch, French
Wayne Wallace, a great musician who has certainly horn, flugelhorn; Rick Chamberlain, trombone;
paid his dues. Lets hope that Bien Bien! brings Wal- Eric Doney, piano; Mark Williams, guitar; Steve
lace the attention he deserves from Latin Jazz aficio- Gilmore, bass; Bill Goodwin, drums; Paul Peabody,
nados on both coasts and all points in-between. violin; Joanna Ferrer, violin; Juliet Haffner, viola;
Mary Wooten, cello.
By Eric Harabadian
This project was a long time coming and a la-
bor of love for the veteran composer and bandleader
Woods. The journey that brought this recording to
fruition actually began in 1961 when, upon return-
ing with his family from an extended European tour
ANTHONY WILSON with the Quincy Jones band, Woods was looking for
a new creative pursuit during the interim of return-
JACK OF HEARTS Groove Note Records ing to live and studio work in New York City. His
GRV1046-2. Mezcal; Jack of Hearts; Hawk Eyes; children, at the time, were huge fans of A.A. Milnes
Carnegie Blues; Theme from Chinatown; Vida Per- Winnie the Pooh books and, while unpacking them
dida Acabou; Orange Crate Art; Harajuku; Zweet the saxophonist discovered the beauty of the authors
Zursday; Homecoming. prose. Hence, this began a nearly 50 year odyssey to
PERSONNEL: Anthony Wilson, guitar; Larry adapt the poetry of Milne to a childrens jazz suite.
Goldings, Hammond B-3 organ, celeste; Jeff Ham- The songs are specifically based on poems from
ilton, drums; Jim Keltner, drums. A.A.Milnes book Now We Are Six. They retain all
the whimsy and wonder of the original work, with
By Layla Macoran inspired and theatrical flair from vocalists Vicki
Doney, Bob Dorough and narration interspersed
How can anyone dislike an album that begins between tracks by esteemed British character actor
with a tune that sounds like a Californian version Peter Dennis.
of a Mexican tango? Wilson keeps the West Coast Woods alto has never sounded better and the joy
vibe alive in Jack Of Hearts. That California flow and light hearted spirit of this recording simply shines
is present in the new compositions (Vida Perdida through. With the holidays approaching this would
Acabou, Harajuku) as well as the chosen covers. be a lovely gift for children both young and old.
Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
 This list is in alphabetical order by artist includes new recordings and re-issues.
Bob Albanese featuring Ira Sullivan Scott LaFaro Pieces of Jade (Resonance)
One Way/Detour Brad Leali/Klaus Raible D.A.s Time (TCB)
Lynne Arriale Nuance (Motema) B.D. Lenz Hit It, Quit It
Roni Ben-Hur Fortuna (Motema) Howard Levy
Borah Bergman & Stefano Pastor Tonight and Tomorrow (Chicago Sessions)
Live at Tortona Mike Mainieri/Marnix Bustra
Josh Berman Old Ida 12 Pieces (NYC Records)
Blue Note 7 (Blue Note) Donny McCaslin Declaration (Sunnyside)
Chris Byars Blue Lights Charnett Moffett
The Music of Gigi Gryce (SteepleChase) The Art of Improvisation
Ann Hampton Callaway At Last James Moody Moody 4A (IPO)
Stanley Clarke Trio Jazz in the Garden Roy Nathanson Subway Moon
Nels Cline Coward Meshell Ndegeocello Devils Halo
John Coltrane Sidesteps (Box Set) (Concord) John Patitucci Remembrance (Concord)
Chembo Corniel Things I Wanted To Do (Chemboro) Gary Peacock/Marc Copland Insight
Stacy Dillard One (Smalls Records) Dafnis Prieto Si o Si Quartet
Eldar Virtue Live at Jazz Standard
Fly Sky & Country (ECM) Quadro Nuevo Cine Passion
Von Freeman Vonski Speaks (Nessa Records) Jackie Ryan Doozy (OpenArt)
Satoko Fujii & Myra Melford Randy Sandke Randy Sandkes Jazz for Juniors (Arbors 19385)
Under The Water (Libra) Bud Shank
Roberta Gambarini Fascinating Rhythms (Jazzed Media 1045)
So In Love (Decca) Daryl Sherman Johnny Mercer:
Derrick Gardner& A Centennial Celebration (Arbors 19388)
The Jazz Prophets: Frank Sinatra New York Box Set,
Echoes of Ethnicity 4 CDs & DVD (Reprise)
(Owl Studios) Gary Smulyan
Gregory Generet High Noon/The Jazz Soul of Frankie Laine
reGeneret-ion Mike Stern Big Neighborhood
Gnu Trio Gnu Trio Loren Stillman Winter Fruits
Benny Goodman Classic Columbia & Okeh Sessions (Mosaic) Joris Teepe Big Band
Jimmy Greene Mission Statement (Sunnyside) We Take No Prisoners (Challenge)
Roy Hargrove Big Band Emergence (Decca) Mads Tolling The Playmaker
Tom Harrell Prana Dance (HighNote) Trio 3 + Geri Allen At This Time (Intakt)
Heath Brothers Endurance (Jazz Legacy) Dave Tull
Hiromi Place To Be (Telarc Jazz) I Just Want to Get Paid (Toy Car 0110)
Holdsworth/Pasqua/Haslip/Wackerman Mike Turk The Nature of Things
Blues for Tony (Moonjune Records) Terry Vosbein & The Nashville Jazz Orchestra
Vijay Iyer Historicity (ACT Music) (Progressive Jazz
Keith Jarrett Yesterdays (ECM) 2009)
Oliver Jones/Hank Jones Pleased to Meet You Paul Wertico Impressions of a City
Beat Kaestli Frank Wess Once Is Not Enough
Far from Home: A Tribute to European Song Gerald Wilson Orchestra Detroit (Mack Avenue)
Arthur Kell Victoria Matt Wilson Thats Gonna Leave A Mark
Ithamara Koorax/Juarez Bim Bom/ Mark Winkler
The Compete Joao Gilberto Songbook Till I Get It Right (Free Ham Records 0907)

To Advertise CALL: 215.887.8880 December 2009 Jazz Inside NY www.jazzinsidemagazine.com 49

CD Spotlight CD Spotlight CD SpotlighT
bigger and better projects all the while building ets with the likes of Al Jareau and other luminaries,
on and expanding his technique and talent. This is rhythm and blues, soul, popular standards, solo gui-
no surprise, given Arroyos dedication and determi- tar, small combos, orchestras, singing and playing that
nation to take jazz guitar and especially Latin jazz melds into one fantastic instrument in all of these
guitar far beyond and yet securely grounded in his aspects Benson is the autodidact of the contemporary
Puerto Rican roots. music world, an icon of ever growing moment.
His style and sound are all his own and yet one So here comes another set of hits in Songs and
can hear his influences distinctly: Jose Feliciano, in Stories. Which one or one will soar to the top of the
ARC TRIO particular, and a host of musical compadres includ- smooth jazz, soul, or pop charts to join his other re-
ing Tony Marrero, Jorge Pastrana, Fernando Mat- cent hits is a dart board toss. Theres not a loser in
TRIPTYCH MIRROR Circumvention Music tina, Kiko Melendez to mention a few. His assembly the bunch. Theyre all fabulous . . . all demonstrating
047. www.circumventionmusic.com. Ballad of the of Gibson guitars and various and sundry amplifiers the amazingly impressive talent behind the name,
Credit Card Millionaire; Its What You Do; Still testify the eclecticism of not only his influences but behind the brand.
Time, Quiet Time; sundials I; Faith Tested; Trip- also his ear, his sense for the right blend of tone and Yes, its as futile to predict which tune will be
tych Mirror; Path of the Holy Spirit; Manic! Manic!! song. The mellifluous guitar of Maximo Torres is an the break out to the top of the heap, as to identify
Manic!!!; Last Chance to Say Goodbye. extra bonus here for aficionados of la guitara. which track is the most typical Benson. Show Me
PERSONNEL: Rick Helzer, piano; Justin Grin- All the tunes are ear candy in this sense with the Love, showcases his unison singing and guitar
nell, acoustic bass; Nathan Hubbard, drumkit, per- lines with the strong backbeat and the unique tones
just the right clave and just the right tempo and in-
cussion, vibraphone. of his endorsement Ibanez George Benson guitar.
strumentation. Ivan Rentas soprano saxophone is
both a condiment and a complement to the sounds Someday Well All be Free is a tour de force in this
By Matt Marshall regard. Phenomenal! is all one is reduced to saying.
heard every so softly on The Whisper of God and
His man and woman duets are so textured, so
Triptych Mirror alternates between tender, Pedro Bemudezs piano is sweet and soft chording be- ideally suited to the lyrics and the melody and so
forlorn piano melodies and the knocking and snap hind Quedate con Nosotros, for example, allowing infused with loving, soulful love making, as in A
of percussion and bass. The album rarely becomes Arroyo to sally forth on his single line, and octaves Telephone Call Away where Lalah Hathaway has
heated (though it swings strongly off and on through- soloing. Stay with Us is the English title to that Bensons number. The first track, targeted for easy
out the record), with the musicians preferring rather track which features as well bassist Greg Jones in a DJ reach in hits Ville, Dont Let Me Be Lonely To-
to tramp across open space in measured fashion, fully kind of metaphorical performance emblematic of the night is classic Benson, and as beautiful as any cover
exploring or shaping the landscape around them, cre- entire group and project. could be--unless its Rainy Night in Georgia, com-
ating vibrant, rattling pieces that are at once pensive The old joke is that guitarists always need one
plete with mournful guitar-train phrases.
yet crackling with active life. An emotion at times more guitar and thats borne out here in each track has Bensons jamming with Norman Brown on
will seem to escalate toward climax, but the player its own special guitar effect. God Bless the Child Nuthin But a Party, is destined for feature time on
will pull it back, preventing full-on release and shift- is a solo feature with just the right blend of bass and Sirius radio, programmed for the moods and tones
ing the focus to another instrumentalists story. Thus treble and only a hint of reverb. Its a beautiful solo
of Watercolors. This track is a kind of laying on
the trio constructs what the albums title suggests: a performance proving that every listener is ever in need
of hands in more than one sense, Brown like most
triptych told by three wildly proficient and intelligent of one more track, one more song by Arroyo in that
smooth jazz guitarists being audibly influenced by
musicians, each relating their own individual tales just when you think he hits his peak along comes an-
Benson the mentor. And let no one disparage BEN-
while reflecting and giving way to that of the others. other, be in funk, fusion, bossa, salsa, bolero, or swing,
SON or Brown or smooth jazz for that matter for
Arroyo, like his landform namesake washes over you, their simpatico performance.
be it flood or easy flowing rivulet, with the enlivening, When God gave out talent, as the old game
restoring waters of tasteful, dulcet transition. had it, Benson got more than his share. Thats why
listeners who experience Songs and Stories can thank
God and George Benson for being more than true
to his talent and blessing.

MIKE ARROYO
TRANSITION www.Mikearroyojazz.com. Box
9004, Sabana Branch Vega Baja, Puerto Rico 00694.
Street Jam, The Whisper of God, Stay with Us, God
GEORGE BENSON
Bless the Child, Hay Una Unicion Aqui, His Eye is on SONGS AND STORIES Concord Music Group.
the Sparrow, Sambinha de Esperanza, Pedro Bermu-
dez, Verde Luz, Recuerdos de Humacao, El Cuidara
www.georgebenson.com. Dont Let Me Be Lonely JOSHUA BREAKSTONE
Tonight, Family Reunion, Show Me the Love, A Tele-
de mi, Trust and Obey.
phone Call Away, Someday We ll All be Free, Nuthin NO ONE NEW Capri Records Ltd. # 74095-2.
PERSONNEL: Mike Arroyo, guitar; Pedro Bemu-
dez, piano; Ivan Renta, saxophones; Michael Rodri- But a Party, Come in From the Cold, Exotica, Rainy Over-Done; For Me; The Unknown One; Come On
guez, trumpet; Chembro Comier congas; Jimmy Ri- Night in Georgia, One Like You, Living in High Defi- Baby; Blues Heretofore; No One New; The Peacocks;
vera, drums; Carlos Torres, bass; Millie Larancuente, nition, Sailing. The Kicker.
vocals; Maximo Torres, guitar, Diego Lopez, drums; PERSONNEL: George Benson, guitar and vocals; PERSONNEL: Joshua Breakstone, guitar; Lisle At-
Greg Jones, bass. Norman Brown, guitar; Lalah Hathaway, vocals. kinson, bass; Eliot Zigmund, drums.

By Bob Gish By Bob Gish By Layla Macoran

With this, his third CD, guitarist Mike Arroyo George Benson is a hit making machine and The liner notes for No One Knew were written
can be heard making a laudable transition to even deservedly so. Be it traditional jazz, smooth jazz, du- by Breakstone, and like a good teacher, he explains
50 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
CD RELEASE CELEBRATION
Saturday, January 2nd, 2010
SHADES
featuring vocalist
MARGIE GIA NOTTE
with
Don Braden Tenor Saxophone & Flutes
Jason Teborek Piano
Tom DiCarlo Bass
Cecil Brooks III Drums

and Special Guest Appearances by

Brandon McCune Piano
Freddie Hendricks Trumpet & Flugelhorn
Kahlil Kwame Bell Percussion

Featuring Arrangements by Don Braden,

Jason Teborek, Brandon McCune, and Todd Ellis

3 Sets, Starting at 9:00pm

Cecils Jazz Club and Restaurant
364 Valley Road, West Orange, NJ
973-736-4800

Produced by Todd B. Ellis, and Don Braden for Sonic View Productions, Inc.
Co-produced by Guy & Margie Notte for GNote Records & Productions, LLC.
Executive Producer: Guy Notte
Engineered, Mixed, & Mastered by Paul Wickliffe at Skyline Studios
Photography: Chris Drukker and Sabrean DeBlasio
Graphic Design: Chris Drukker
2009 GNote Records & Productions, LLC., All Rights Reserved

www.MargieNotte.com
his rationale for every song. One could almost forgo
reviewing since he tells us what we should hear. Put-
ting the notes aside, it is necessary to listen to No
One Knew from beginning to end, simply to catch a
change Breakstone may not have noticed.
The album opens with Over-Done and the
guitar nervously chatting over Atkinsons killer bass,
running through as if he were late for dinner. When
the next track, For Me, continues the pattern, the
listener may feel that Breakstone is interrupting the
private conversation between Atkinson and Zig-
mund. There is a masterful back and forth rapport
going on, and the other element seems overbearing.
Then the change happens. Breakstone finally
settles down and starts to play from the heart and
not merely for the complexity factor. The Unknown
One is sweet and warm. Come On Baby, written
by Atkinson, finds Breakstone beginning to enjoy
himself. Its welcome and reassuring that now the
true player is present. The improvisation feels nice
and natural throughout Blues Heretofore. The ele-
ments of the trio gel so the balance is right where it
should be.
No One Knew almost finds Breakstone go-
ing back into hyper mode, but he stops himself and
stays on the open course. Zigmund and Breakstone
have a fresh conversation here, and its quite lively.
Jimmy Rowles tune The Peacocks is beautiful and
sad, bordering on mournful. The three virtually float
together in this song. The closer, The Kicker, rocks
with great energy. The enjoyment factor kicks in and
When You're Serious About Music,
Media, Education & The Performing Arts
AUDIO RECORDING TECHNOLOGY
COMPOSITION/SONGWRITING
MUSIC TEACHER EDUCATION
MUSIC BUSINESS
MUSIC HISTORY
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MUSICAL THEATRE
Open Houses
Saturday, December 12 at 1 pm
Saturday, January 9, 2010 at 1 pm
305 N. Service Road Dix Hills, New York 11746
52 December 2009
Breakstone, Atkinson and Zigmund just let loose iswith thirty or so musicians, a lucky seven number
and have fun. A prime wrap to a fine set. of soloists including Marvin Stamm, Jim Pugh, Jon
Overall, No One Knew is a worthy showcase for Gordon, Dave Tofani, Bill Mays, and John Riley on
this talented trio. The shaky start is quickly forgot- all the essential brass, woodwind, and keyboard in-
ten thanks to the progression into nurturing waters. struments for a big sound like this.
Choice moments make this album a solid addition to There are a half dozen musicians playing trum-
their respective discographies. pet on various tracks; there are five, yes, five, not
seventy-eight trombones although it sounds like
that goodly number. As for saxophones, well, there
are another lucky seven players of tenor, alto, and
baritone (no soprano) players. Theres a duo of facile
fret men on guitar, balancing out a piano, bass, and
drums rhythm section as might be expected. Talk
about your happy holiday nights or partridges and
pear trees!
JACK CORTNER The sound produced is a wonderful sound all
its own but very much representative of the best of
BIG BAND the genre going all the way back to the glory days of
twentieth century big bands any listener of that era
SOUND CHECK Jazzed Media. P.O. Box 270346, can list. The arrangements are all tasteful and true to
Littleton, CO, 80127. Strike Up the Band, Speak Low, the cause and the play list includes compositions
Sometime Ago, Cantaloupe Island, Sound Check, Yes- by all the greats: the Gershwins, Kurt Weill, Herbie
terdays, Caravan, Cinema Paradiso, a la Mode, You Hancock, Jerome Kern, Duke Ellington, Cole Por-
and the Night and the Music, Its All Right with Me. terplus a couple of Cortner compositions thrown
PERSONNEL: Jack Cortner Big Band in for good measure namely Sound Check, which
gives the CD its title, and a la Mode with solos by
By Bob Gish Stamm, Mays, and Jon Gordon. Talk about getting
your moneys worth!
Strike up the and, please. And make it a big one. The trombone isnt heard nearly enough these
Make it the Jack Cortner Big Band! And big, big it days and Jim Pugh, Keith OQuinn, Tony Studd,
631.656.2110 www.ftc.edu
Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
A V A I L A B L E A T C D B A B Y. c o m

N E W R E L E A S E

a r t i s t s r e c o r d i n g c o l l e c t i v e . i n f o | s u m i t o n o o k a . c o m | e r i c a l i n d s a y. c o m

C D + A D DE S IG N + PHOTO G R A PH Y BY PA U L @ TS A NG . COM
and Birch Johnson prove just how regrettable that
is, to wit: Pughs riveting solo on Sometime Ago.
Stamm, a long time friend and collaborator of Cort-
ners (this is their second big band recording together,
i.e., FAST TRACK) and whose own quartet is stellar
too, is featured on many of the tracks and his solos
on Strike Up the Band, Speak Low, and Can-
taloupe Island are exemplary, ripe for text book
charts and transcriptions by any college jazz band
and its curriculum. Bob Malach on tenor saxophone
and Jon Gordon on alto jive up all the tunes, with
Gordon coming on especially strong with his Can-
taloupe solo.
As for that Basie sound and the prominence
of the rhythm section-- Jay Berliner is your man on
Sound Check. Check out his rhythmic chording
for sure. Always right there, taking you back to that
old-fashioned but still so hip Freddie Green sound.
Jeff Mironov establishes himself as more than up to
the rhythm maker task on Caravan, a tune that
more than one light night neighbor has complained
about as monotonous. Let such a curmudgeon tune
in the tune as heard here, not just with the Mays and
Stamm solos, but with the big brass presence, Jan
Andersens tom toms and his swinging exotic beats.
Mironov is also heard on a la Mode, You and the
Night and the Music, and Its All Right with Me.
(The latter, by the way, is a good pronouncement for
the entire enterprise.) John Riley, Jay Anderson, Bill
Mays, and Miranov are heard too on Cortners first
Mike Mainieri
Mike Mainieri is available for master classes/clinics/workshops.
Mikes career spans 6 decades
as a performing artist, composer,
arranger, bandleader, producer
and President of his own record
label, NYC Records Inc.
As bandleader of Steps Ahead for
30 years, he is still active touring
with the seminal group, which in
itself has been a workshop in
progress. At last count, more
than 40 musicians have performed
with the Steps Ahead. He has held
master classes, clinics & lectures
worldwide and performed
54 December 2009
You and I; Sweet and Lovely; The Work Song; The
Preacher.
PERSONNEL: Paul Gormley, bass; Sam Most,
flute, alto flute (#3), Paul Kreibich, drums; Larry
Koonse, guitar.
By Eric Harabadian
From the first note there is a familiarity and
comfort you feel that states this is the real deal! The
vibe is vintage and very organic in that, in this age of
big band CD and carry on the tradition here, antici- pitch correction, Pro Tools and fix-it-in-the-mix men-
pating, one would hope a third project. tality, these guys came to play. And play they do!
Yes, strike up the band. Strike up the Jack Cor- Bassist Gormley produced, mixed and oversaw
tner big band, again and again, and, we hope, yet this recording with an ear for spontaneity and retain-
again! ing a live and spartan approach. This is evident from
the outset with their take on Tadd Damerons Good
Bait. Most and Gormley play the melody in unison,
with great original and personal chordal voicings
from Koonse. Henry Mancinis Lujon stands out
as well as the lower registers of Mosts alto flute sug-
gest a beautiful tribal melody as Koonses angular
chords and lead lines counterpoint seamlessly. You
and I is a brisk samba where Most really dominates
with a hefty mix of bebop and blues lines and I Fall
Paul Gormley in Love Too Easily is a nice spotlight for Gormley
who beautifully establishes the melody on this classic
OUR DELIGHT Talking Dog Music TDM-1004 Jules Stein/Sammy Cahn ballad.
www.talkingdogmusic.com. Good Bait; Everything I The aptly named Our Delight should be any
Love; Lujon; Our Delight; I Fall in Love Too Easily; classic jazz lovers delight bar none!
in the educational field with
small ensembles & big bands.
See Mikes complete bio
and discography at
www.mikemainieri.com
PRIvAte leSSoNS
at Mikes studio are also
available for intermediate
and advanced students.
BooKINGS:
email: mmvibe@aol.com
Phone: 212-496-1625
Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
How long will you be able to get this jazz lovers
jackpot of $500 worth of books and CDs for only $97?
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Volumes and 7 E-Books

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CD reviews, photo
galleries PLUS for
those who happen to
make music, there is
Instruction on improvising
with hundreds of pages of
solo transcriptions, song
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An indispensable collection
for jazz fans, jazz educators,
students, musicians.

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Current sets include:
Volume 1, Number 1 - John Coltrane (Magazine with CD); Volume 1, Number 2 - Thelonious Monk (CD ONLY, no magazine); Volume 1, Number 3 - Pat Martino (Magazine only, NO CD); Volume 1, Number 4 - Miles Davis (Magazine only, NO CD)
Volume 2, Number 1 - Horace Silver (with CD); Volume 2, Number 2 - Michael Brecker (with CD); Volume 2, Number 3 - Wayne Shorter (Magazine only, NO CD); Volume 2, Number 4 - Wes Montgomery (CD ONLY, no magazine); Volume 3, Number
1 - Bill Evans (CD ONLY, no magazine); Volume 3, Number 2 - Cannonball Adderley (NO CD); Volume 3, Number 4 - Billy Taylor (with CD); Volume 4, Number 1 - Kenny Burrell (Magazine only, NO CD); Volume 4, Number 2 - Joe Henderson / Dave
Liebman (CD Only, No magazine); Volume 4, Number 3 - Art Blakey (2 CDs); Volume 4, Number 4 - Pat Metheny (w/CD); Volume 5, Number 1 - Dizzy Gillespie / Jon Faddis (CD); Volume 5, Number 2 - Phil Woods (CD Only, No Magazine); Volume 5,
Number 3 - Chick Corea / Buster Williams (CD); Volume 5, Number 4 - George Benson (CD); Volume 6, Number 1 - Clark Terry (CD Only, No Magazine); Volume 6, Number 2 - Joe Lovano (One CD of the Two originals); Volume 6, Number 3 - Buddy
Rich (w/CD); Volume 7, Number 1 - Louis Armstrong (Magazine with CD); Volume 7, Number 3 - Stanley Clarke (Magazine with CD while supplies last on CD); Volume 7, Number 4 - Wes Montgomery (Magazine, limited number of CDs)
Volume 8, Number 1 - Frank Sinatra (Magazine limited number of CDs); Volume 8, Number 2 - Stan Getz (Magazine, limited number of CDs); Volume 8, Number 3 Herbie Hancock (CD); Jazz Improv LIVE! Convention CD ONLY (no magazine)
 sound from Handelmans piano, Axts steady bass
and Maroccos accordion. Around 5:55 the songs
pace drops and Hagenbach sings the chorus with
lonely sincerity. Wysaske muscles his way through
piano/keyboards and a stair-stepping bass line to give
Sure as Youre Born a shot of adrenaline. The drums
dominate. A gentle clarinet opens Close Enough
for Love, and then slips away for the accordion to
ANGELA HAGENBACH replace the reeds. Its a cabaret piece reminiscent of
guilty pleasure Beat Kaestlis latest release.
THE WAY THEY MAKE ME FEEL Resonance Hagenbach smoothes out on the second half of
Records. RDC-1011. Cinnamon and Clove; Slow Hot the album. Its more swing-centered, and she appears
Wind; Summer Me, Winter Me; I Will Wait for You; quite at home. Koonse has a stellar solo while Handel-
Quietly There; Sure as Youre Born; Close Enough for man continues to keep the pared down group in line
Love; Charade; Whistling Away the Dark; His Eyes, on Charade. Whistling Away the Dark, with full
Her Eyes; The Way He Makes Me Feel. Michel Legrand. The set forms into a well designed strings, is a pretty sentimental journey which is further
PERSONNEL: Angela Hagenbach, vocals; Tamir album which accentuates Hagenbachs many vocal benefited from her lower range. Hints of Jon Luciens
Handelman, piano; Kevin Axt, bass; Bill Wysaske, strengths. The production is not flimsy; strings are so familiar phrasing, particularly near 4:23 as she rolls
drums; Steve Wilkerson, reeds; Willie Murillo, rare in the current era of economizing that it almost out tell me dreams really come true, surprise and
trumpet; Frank Marocco, accordion; Larry Koonse,
seems strange to hear them. What is done is done, so endear. Once again the strength of the quintet combi-
guitar; Peter Kent, concertmaster, violin; String Sec- nation comes through on His Eyes, Her Eyes. Piano,
enjoy the extra cherry on the sundae.
tion: Sharon Jackson; Vladimir Polamiditi; Cam- bass, drums, clarinet and accordion are rich and pro-
Hagenbachs husky voice is well used in The Way
eron Patrick; Shari Zippert; Susan Chatman; Gina vide a firm cushion for Hagenbach to luxuriate.
Kronstadt, Kathleen Robertson. They Make Me Feel. The songs of love and longing are Very few attempt The Way He Makes Me Feel
given special treatment in the interpretations. Slow, simply because Madame Streisand put her stamp on
By Layla Macoran Hot Wind could realistically describe her style, yet it years ago. Here, the success comes in the form of
its a song. She moves easily through this tropical ar- a straightforward read. She didnt make it her own,
Angela Hagenbach and producer George rangement while never breaking a sweat. The vibe but thankfully Hagenbach did not back down from
Klabin compiled a set of songs from film and stage leaves the islands and shifts to a more European so- the challenge. The interpretation hits the mark; no
composers Johnny Mandel, Henry Mancini and phistication. I Will Wait for You has a groovy big flourishes are necessary.

Galerie Hamid
Ethnic Arts & Jewelry
Expansive Selection of African Art

26 E. Glenside Ave. Glenside, PA 19038 (215) 884-8170

56 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

 Happy Holidays from Yummyhouse Records
Eldad Zvulun, Piano Neal Miner, Bass
Tobias Gebb, Drums, Arrangements

Why do so many different music

listeners love these holiday records?
Ranked in the Top 10 best jazz holiday CDs on About.com
Over 3,000 downloads on Amazon.com in ONE DAY!!

The Yuletide never swung harder through the leadership of

jazz drummer Tobias T. Gebb George W. Carroll, ejazznews
Enjoyable, full of holiday spirit and perfect to trim the tree to.
Trio West Plays Jazz Chicago, Brad Walseth
Holiday Songs
The music is quite tender, sweet and inspiring enough to make
one wish the holiday season never ended Edward Blanco
Trio West Plays Trio West Plays Holiday Songs has enough originality in the
Holiday Songs Volume 2 arrangements to separate it from the pack.
All About Jazz, Woodrow Wilkins
...make the effort to seek this Trio out if you plan on jazzing up
your holidays Midwest Record

Honorable Mention The Village Voice

the new CD by drummer Tobias Gebbs Trio West is a joy,
full of catchy tunes given imaginative treatments by
players at the very top of thier games Hot House

Tobias Gebb and Trio West

An Upper Westside Story

Available at iTunes, Amazon, CDBaby

and at artist website www.yummyhouserecords.com www.triowestmusic.com
 RICK HELZER /
JOHN STOWELL
FRIENDSHIP AND REMEMBRANCE Circumvention Music 051. www.
circumventionmusic.com. Hook, Line & Sinker; Friendship & Remembrance;
Desert Rest Stop; Passage; And Now, Back to Reality; Elegy for Sweet Pea; Hiros
Hideaway; For the Real Composer in the House; Mourning Dove.
PERSONNEL: Rick Helzer, piano; John Stowell, guitar.

By Matt Marshall

Befitting its title, this duet album from pianist Rick Helzer and guitarist
John Stowell weaves tones of joy, camaraderie, loss and regret. Helzer composed
six of the nine tracks here, but its one of the two the duo wrote together, Des-
ert Rest Stop, that finds them stretching most novelly, with Helzer favoring the
strings and pedals of his instrument, creating percussive beats and groaning lows
to augment his crisp high notes and the ping and snap of Stowells guitar. Another
standout is the melancholy ode to Billy Strayhorn, Elegy for Sweet Pea, on which
Stowell coaxes long, bitter tones from his guitar and Helzer adds resounding
block-chord vamps and a restrained, melodic solo. A haunting, meditative album.

MONIKA HERZIG
PEACE ON EARTH Owl Studios.com OWL00134. Go Tell It On The Moun-
tain; Let There Be Peace On Earth; The Coventry Carol; Children Sleep Softly;
This Little Light of Mine; Happy Xmas (War Is Over); Give Peace Every Chance;
Ballad For A Snowman; O Christmas Tree; Christmas Time Is Here; Silent Night;
Ode To A New Year; The Schneebrunzer Santa Claus Is Coming To Town.
PERSONNEL: Tom Clark, saxophones; Carolyn Dutton, violin; Joe Galvin,
percussion; Jack Helsey, tuba; Monika Herzig, piano; Peter Kienle, guitar; Nor-
bert Krapf, reading; Adam Loudin, trumpet; Marlin McKay, trumpet; Kenny
Phelps, drums; Wendy Reed, vocals; Frank Smith, bass; Nate Sutton, trombone;
Julia Herzig; Melody Herzig; Jasmin Herzig; Melanie Goldstone; Eleanor Gold-
stone; Isla Weber, additional vocals.

By Layla Macoran

Peace On Earth is a new addition to the holiday music rotation. The classic
Christmas songs are represented-Go Tell It on the Mountain, O Christmas
Tree, Christmas Time Is Here, and Silent Night all get updated arrange-
ments. Occasionally, the variations do not always work. Moving songs such as
John Lennons Happy Xmas (War Is Over) and Let There Be Peace on Earth
are barely recognizable.
The original tracks, written by Herzig, seem more accessible and vibrant.
Wendy Reeds catchy vocals as well as McKays perky solo on Ballad for a Snow-
man add true color to this swing tune. The album takes an odd turn, ending
with Norbert Krapf s reading of The Schneebrunzer, doing away with the ex-
pected sweetness of a holiday album finale. The result is a memorable twist from
the normal sentimental fare.
58 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

VIJAY IYER TRIO
HISTORICITY ACT Music ACT 9489-2. www.
actmusic.com. Historicity; Somewhere; Galang; He-
lix; Smoke Stack; Big Brother; Dogon A.D.; Mystic
Brew; Trident: 2010; Segment For Sentiment #2.
PERSONNEL: Vijay Iyer, piano; Stephan Crump,
bass; Marcus Gilmore, drums.
it inaccessible to some listeners. Similarly, absent the
powerful voice of his frequent collaborator Rudresh
Mahanthappa that tends to drastically increase the
intensity of the music, the trio sounds more relaxed.
The result is an opportunity to focus solely on Iyers
impressive piano playing. Whether new to Iyer or a
long time fan, Historicity is thoroughly stimulating
Two for the Show Media offers special, one-on-one from the first listen.
attention to the Jazz artist and their personal campaigns.
Our experience includes publicity, concert promotion, artist
development, and marketing. We have established media
contacts (print, radio, and television) and we have the ability
and know-how to effectively translate our clients goals.
Call Chris DiGirolamo: 914-346-8677
www.twofortheshowmedia.com
tric Relaxation can enjoy. The trio avoids the poten-

By Ronald Lyles
tial monotony in these tunes by adding surprises such OLIVER JONES/
as the subtle shifts in tempo on Mystic Brew. The
trios performance of Stevie Wonders Big Brother HANK JONES
On his most recent recording, Historicity, pia- retains the character of the Wonder tune while again
nist Vijay Iyer takes a look back in a very refreshing demonstrating the inventiveness of the trio. PLEASED TO MEET YOU Justin Time Re-
manner. On a program highlighted by covers from a Andrew Hill and Julius Hemphill were two cords Inc. JUST236-2. What Am I here For?; Groove
range of genres including standards, pop music and artists associated with the so called jazz avant garde Merchant; Ripples; Makin Whoopee; I ll Remember
the jazz avant garde, Iyer looks at the past as a means whose compositions should be performed more April; Star Eyes; Blues For Big Scotia; Cakewalk;
of informing how we got to where we are today and frequently by contemporary musicians. On Hills Monks Mood; I Remember OP; Lonely Woman.
our place in the continuum of that history. The result Smoke Stack, Iyer submerges the theme within his PERSONNEL: Hank Jones, piano; Oliver Jones,
is an engaging portrait combining seemingly incon- improvisation. Although filled with more overt tech- piano; Brandi Disterheft, bass; Jim Doxas, drums.
gruent sources into a singularly original presentation. nique than Hill typically displayed, Iyer pays ample
On his first recording entirely featuring a piano- tribute by still recalling Hills distinctive sound. The By Layla Macoran
bass-drums trio, Iyer is joined by frequent collabora- deceptively simple backbeat played by Gilmore under-
tors bassist Stephan Crump and drummer Marcus neath the alternated bowed and plucked bass vamp of When listening to a recording of dual instru-
Gilmore. Throughout the three make a persuasive ar- Hemphills classic Dogon A.D. serves as the perfect ments, one is often faced with the challenge of dis-
gument that it is one of the most invigorating piano foundation for Iyers exploration on the piano. tinguishing who is playing which riff and who is the
trios on the scene. Not simply adhering to the tradi- The eclectic covers distinguish Historicity from better artist. How does a person do that with two
tional roles limiting the bass and drums to rhythmic other piano trio recordings, but the equally com- piano masters such as Hank Jones and Oliver Jones?
support while piano is featured, the trio frequently pelling performances of the Iyer originals also have Simple answer: you dont. The real purpose is to take
flows to an implied internal rhythm freeing Crump much to offer. The title tune and Trident: 2000 the opportunity to study well in this master class re-
to weave contrasting lines through Iyers improvisa- find the trio at their interactive apex and contain corded for posterity.
tions while Gilmore provides percussive color. Iyers best improvisations on the disc. Helix is a Pleased To Meet You never allows you to disre-
The ten track program consists of covers of com- lesson in the use of dynamics to create drama as the gard the wealth of talent and history presented on
positions by Andrew Hill, Julius Hemphill, Leonard intensity gradually increases over the course of four this album. These are bebop piano heroes, humble
Bernstein and Stephen Sondheim, Stevie Wonder, minutes. Segment For Sentiment #2 reveals the enough to share the stage to make a tribute of sorts
soul jazz keyboardist Ronnie Foster and popular art- trios introspective side as they close out the disc. to their hero, the late Oscar Peterson. Recorded the
ist M.I.A. Iyer also revisits two of his own previously For listeners new to Vijay Iyer, Historicity is an summer of 2008 in Montreal, The album belongs to
recorded compositions and two additional originals ideal introduction. It lacks the density and some- the Jones/Jones duo, balancing the weight as if on a
are played here for the first time. times static feel of the music of Fieldwork that make seesaw. The collaboration also includes Oliver Jones
Familiarity with the original versions is not regular drummer Jim Doxas and Petersons young
necessary to appreciate the music on Historicity, but bassist, Brandi Disterheft.
the trios performance of the standard Somewhere
is an excellent example of what he refers to as ver- MattCrisCuolo Ellingtons What Am I Here For? opens the
CD, with Doxas brushing taking on a life of its
sioning the cover is a mix of the original work and own. Its bright, not overplayed, and indicative of
New CD:
something else entirely. To the non-musician ear, Iyer a drummer who listens for everything. He contin-
sounds to omit some notes in his statement of the tell Me a Bedtime story ues on Groove Merchant with the cymbals being
melody at a tempo somewhat slower than the trot es- light bouncy, almost taking the snares job. The bass
tablished by Crump and Gilmore. The effect is to add orderline: 203-856-4040 appropriately, well, grooves in this song, making it
a degree of tension to the otherwise longing nature of obvious why Peterson expressed that Disterheft was
or send $15 to:
the tune. This is heightened during his improvisation a musician to watch. Listening to Doxas and Dister-
which mixes Iyers penchant for a slightly percus- 58 W. Meadow road heft riff off each other in Hank Jones Ripples is a
sive and rhythmic approach to the keyboard with a Wilton, Ct 06897 drum and bass treat.
densely clustered and virtuosic flow of ideas. The album then moves into a straightfor-
The performances of Galang and Mystic ward Jones/Jones duel. As they skip over Makin
Brew share infectious grooves that even non-jazz fans www.mattcriscuolo.com Whoopee, Ill Remember April and Star Eyes,
of the original M.I.A. performance of the former, or quite possibly with their eyes closed, Hank Jones
the Tribe Called Quest sampling of the latter on Elec- comment from an old interview that bebop wasnt
60 December 2009 Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
SUBSCRIBE
the affordable gift that will remind friends and family about you all year long.

Jazz Inside Magazine

features
Enhanced Companion CD
Each issue features
full-length tracks by leading
and emerging artists

200-300 page magazine

Comprehensive 30-40 page

cover features

In-depth interviews with

those who create and shape
this music

75-100 detailed CD, DVD,

book & product reviews

Articles & Columns about

the artists, history, music,
motivational, philosophical
perspectives

PLUS: As a bonus, for those

who make music, an E-book
150-250 pages (in addition to
the print magazine) includes
songs, transcriptions, lessons
and how-to artices, and
arrangements for small group
and big band jazz ensembles
(scores and parts).

CALL TO ORDER
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Go her e to subscr i be for p ri nt or di G i tal edi ti ons

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CD Spotlight CD Spotlight CD SpotlighT

Roch Lockyer

Nondirectional is notable not only for

Lockyers thoughtful solos and original

voice on the guitar but for his intriguing
compositionsimprovisations develop
logically...a surprising amount of variety...
versatility in his playing....excellent modern

jazz set... Scott Yanow

Booking:

Roch Lockyer

408-483-4858
Irene Atman New York Rendezvous www.rochlockyer.com
Available on iTunes, Amazon.com, CDBaby.com
www.ireneatman.com

New York Rendezvous is an exceptional
addition to the vocal jazz contingency. Atman
has much to say and she says it perfectly.
C. Michael Bailey, All About Jazz

Atman has that irresistible intonation... storybook

perfect pitch able to touch the listeners soul,
understand the sorrows that burrow in their hearts,

stroke their sensibilities with tender caresses and
lick their wounds......New York Rendezvous
will have audiences doing just that.
Susan Francis, JazzReview

Oscar Perez James Bongiorno

Nuevo Comienzo New CD
Frank
Oscar Perez, Piano
Stacy Dillard, Saxophone
This Is The Moment Jackson
Greg Glassman, Trumpet 11 Standards including
Anthony Perez, Bass Have You Met Miss Jones,
Jerome Jennings, Drums
Fools Rush In, Bye Bye Blackbird,
Emiliano Valerio, Percussion
Charenee Wade, Voice Ive Got A Crush On You
Legendary jazz vocalist & pianist of
the San Francisco Bay Area, known for
James Bongiorno, piano
his smooth warm vocals, effortlessly
Del Atkins, bass
Royford Griffin, drums
scatting, and ability to make everyone
in the audiences feel he is singing just to
them, presents his original Holiday tune,
What Do I Want For Christmas.

Nostalgic / Sentimental
Romantic / Classic
This is a musician that has his own voice.
Photo credit: James Harger

Both his compositions and his Available at:

improvisations are evidence of this iTunes & CDBaby.com
Dave Miele, Jazz Improv Magazine

CD available on iTunes, Rhapsody

www.frankjacksonjazz.com
www.oscarperezmusic.com
www.ampzilla2000.com Presented by Kasis Records, LLC San Francisco, CA USA
CD Spotlight CD Spotlight CD SpotlighT
Jazz Singer
B.D. Lenz
2008 Rising Star
To advertise your
Maureen
Budway
Award Winner:
Best Jazz Band
GigMasters CD in Jazz Inside NY is releasing her first

new
Magazines Original Christmas Single
December Is Christmas Too
Release
featuring
Will Lee,
CD SPOTLIGHT Written and produced by her brother
David Budway and Lou Tracey,
Joel Rosenblatt
& Nick Rolfe section, contact it features Davids trio with full Choir!

December Is
Eric Nemeyer Christmas Too

at 215-887-8880
Maureen

or eric@jazz
Budway

AvAiLABLe AfTer DeCemBer 1

insidemagazine.com iTunes
Bookings: 908.684.1157 www.cdbaby.com/davidbudway
booking@bdlenz.com
www.davidbudway.com
BDLenz.com

CHICAGO JAZZ
PHILHARMONIC Trumpeter and composer Chris Pasin
debut album now available at CDBaby.com, Amazon, and iTunes
COLLECTIVE CREATIVITY
B Y OR BERT DAV I S
Upcoming performances on www.myspace.com/chrispasinmusic
Featuring
www.ChrisPasin.com

ll en
he so
n wd n
itc n er o ri
eM ow ilk aB G
ol i Br W w at risa
c
Ni Ar Ed M Te

THE DEBUT CD
Produced by

Orbert Davis & Mark Ingram

for Orbark Productions

Is it Classical
or is it Jazz?
You Decide.
AVAILABLE ONLINE
www.chijazzphil.org
Amazon.com
a fitting name for such a high level of musical style
makes perfect sense. This is refined and almost classi-
cal in feeling. When the duo reach the Peterson songs
Blues for Big Scotia and Cakewalk class truly is guitar, Carlos Darcy, percussion, Chris Theberge,
in session. Both Joneses have expressed their admi-
ration and connection to Oscar Peterson (Oliver
Jones played piano with Daisy Peterson when he was
nine!). Throughout Pleased To Meet You the influence
and inspiration is generously shared, most clearly
in I Remember OP. When the last song, Lonely
Woman, is performed solo, we are reminded that the
most beautiful arrangements are clean and simple; a
true tribute to Petersons - and the Joneses- gift.
BEAT KAESTLI
FAR FROM HOME wwwbeatkaestli.com. B+B
Productions. 159 9th Ave., NY 10013. La Habanera,
Somebody New, Sunday Morn, Missing/Here Comes
the Train Again September Song, Eso Lonely Butter-
fly, What Are You Doing the Rest of Your Life, Guggis-
berg Lied, Corrupted by the Blues, Conflicted, Color of
a Fool, Where, Silence of My Heart.
Give Pete Levins Holiday Collectors item
A Great Stocking Stuffer!
64 December 2009
PERSONNEL: Beat Kaestli, Magos Herrera, vo- His is a voice somewhat like that of the late
cals; Gregoire Maret, harmonica; Victor Prieto, ac- Kenny Rankins if one ranges closer to an American
cordian; Ryan Scott, guitar; Guilherme Monteiro, home. Bizets La Habanera strikes the unusual if not
bizarre thematic keynote for a jazz CD and this quite
percussion, Christian Howes, violin, Kenny Ramp- eclectic collection of sophisticated tunesmithing.
tion, trumpet, Ben Stivers, piano and nord; Gavin Kaestli is either the sole composer or a partner on
Fallow, bass, Bill Campell, drums; Sven Faller, bass, most of the compositions all of them worthy of sus-
Tino Derado, piano and accordion; Martin Kole, tained recognition. Silence of the Heart is perhaps
drums; Fany Kammerlander, cello. the most notable of Kaestlis compositional talents.
More and more we know, through exchanges,
By Bob Gish interchanges, influences and the like that art is art
the world over, beauty is beauty and provincial, na-
Got the world on a string here, one might say, tionalistic biases are out the window. Enter Beat
with a cosmopolitan set of tunes played and sung by Kaestliand may the Beat live on!
a world-class group of pretty much worldwide musi-
cians. Thus, in part, the source of the title of the CD,
Far From Home.
Beat Kaestili, however, brings it all home in this
tribute to European song. Theres an ample number
of songs too, fourteen in all, and Kaestli is at home
with all of them, be it through lyrics sung in English,
French, Spanish or what have you.
What are You Doing the Rest of your Life Saltman Knowles
is perhaps the most familiar tune in the list, with
Michele Legrands beautiful ballad wonderfully YESTERDAYS MAN Pacific Coast Jazz
rendered by Kaestlis high-pitched vocalizing and ro- PJ82364 www.pacificcoastjazz.com. Theme in Search
mantically exotic pronunciation. September Song of a Film; Cry; Shesh; What Was I To You; Blues For
is the bookend standard of the lot and Kaestli takes Sale; Folk Song; They Dont Really Care For Us; Yes-
this great American standard and makes it his own in terdays Man; 08 Bossa; East Orange Blues.
his inimitable manner. Continued on Page 43
Masters in this Hall... Adult Contemporary Jazz treatments
(not too smooth!) of 12 holiday favorites, performed by two veterans
of the New York Jazz scene Pete Levin and Danny Gottlieb (Pat
Metheny, Gil Evans, John McLaughlin, Sting). Originally released on
Gramavision, the album disappeared when the label folded, becoming
an unavailable collectors item. Pete retrieved the original synth
orchestrations and digital drum tracks and remixed the project to
create this reissue, adding bonus tracks - remixes of two tracks from
their first holiday CD, tHe neW AGe OF CHRiStMAS.
Certified Organic... Following his acclaimed 2007 organ
trio release for Motema, Pete continues to push the envelope
of the traditional organ trio in 2009 with this high energy set,
featuring performances by Joe Beck, Mike DeMicco, Jesse
Gress, John Cariddi, Harvey Sorgen & Erik Lawrence.
In a diverse, 35-year music career, NY keyboardist/arranger
Pete Levin has performed and recorded with hundreds of
Jazz and Pop artists - including Paul Simon, Annie Lennox,
David Sanborn, Lenny White, Wayne Shorter, Jaco Pastorius,
Robbie Robertson and John Scofield, Gil Evans, Jimmy Giuffre.
www.petelevin.com
Jazz Inside NY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
A Non-profit Jazz Label W ith a Mission.
Devoted to preserving jazz & discovering the rising stars of tomorrow

Angela Hagenbach - The Way They Make Me Feel

Sexy, soulful vocals from Kansas City's jazz diva! Angela
Hagenbach puts her stamp on classics from Johnny Mandel, Henry
Mancini, and Michel Legrand. This is her first CD in five years.

An extraordinary range, excellent phrasing,

and a singular style. - JazzTimes

John Beasley - Positootly!

Eagerly anticipated follow-up to 2008's acclaimed Letter to Herbie
(his impressionistic take on the music of Herbie Hancock), the
Louisiana native showcases his own engaging compositions along
with a few choice covers. Features Bennie Maupin,
Brian Lynch, James Genus and Jeff "Tain" Watts.

To my ears, he's absolutely one of the

best of his generation - Bennie Maupin

Scott LaFaro - Pieces of Jade

A rare glimpse inside the creative process with LaFaro in a
practice session with Bill Evans plus 5 selections recorded
during 1961 that showcase LaFaro with pianist Don Friedman
and drummer Pete LaRoca.

His approach to the bass...it was a beautiful thing

to see...He was a constant inspiration - Bill Evans

Av a i l a b l e a t

Get Free MP3 Downloads at

www.ResonanceRecords.org
 WORLDS FINEST JAZZ CLUB & RESTAURANT
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MCCOY TYNER TRIO REMEMBERING LADY DAY

DECEMBER 1 - 3 50 YEARS
FEATURING MADELEINE PEYROUX
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L AT E N I G H T G R O OV E S E R I E S S U N DAY J A Z Z B R U N C H

MK GROOVE ORCHESTRA FRI, DEC 4 COMBO NUVO:NYU JAZZ ARTIST/ SUN, DEC 6
FACULTY IN-RESIDENCE ENSEMBLE
SEAMUS BLAKE GROUP SAT, DEC 5
BEAT KAESTLI SUN, DEC 13
ROMAIN COLLIN FRI, DEC 11 JANIS MANN QUARTET SUN, DEC 20
THE BLUE METHOD SAT, DEC 12 CAROLYN LEONHART SUN, DEC 27
TOUSSAINT THE LIBERATOR FRI, DEC 18
M O N DAYS AT T H E B L U E N O T E
IVE09 WITH SPECIAL GUESTS SAT, DEC 19
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