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Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) September-October 2018 – Volume 9, Number 7

Cover Photo and photo at right of Richard Wyands By Ken Weiss

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CONTENTS 4 Richard Wyands by Ken Weiss INTERVIEWSINTERVIEWS Visit these websites: CLUBS, CONCERTS, EVENTS 20 Scott Robinson (Jazz Standard, 10/31) JazzStandard.com 13 Calendar of Events Jazz History FEATURE 24 Matt Robinson (Dizzy’s, 10/12-13) Jazz.org

18 Clubs & Venue Listings 32 Clifford Brown, Pt. 3 by John R. Barrett JJBabbitt.com MaxwellDrums.com

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Feature RichardRichard WyandsWyands GotGot ToTo BeBe ListenableListenable InterviewInterview && PhotosPhotos byby KenKen WeissWeiss

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Richard Wyands JI: If you had to choose between a great bassist or a great drummer in your trio, which would be Got To Be Listenable more important to you?

By Ken Weiss nice to live in. I went to school there, grammar RW: That’s hard to say but I’ll say a great bass- school through San Francisco State College. I ist. I’ve done a lot of duo work with just bass Pianist Richard Wyands (b. July 2, 1928, Oak- have no way to explain my longevity except to and piano and you can’t have a duo with just land, CA), who turned 90-years-old a few weeks say perhaps clean living. I never got busted or drums and piano, although I’ve done that in the after this interview, has spent the bulk of his went to jail. I’ve traveled all over the world and old days, like in the ‘30s and even ‘40s. I used to career as one of the most highly sought-after I’ve never had any problems with people. May- do that but it’s a little rough, it sounds strange. jazz sidemen. He’s comfortable playing most be I was just lucky but I did pretty well. I’ve had Bass is very important. Drums are important too jazz genres and is known for his consistency, a lot of good friends, a lot of musician friends, and I’ve played with some great drummers in- dependability, flexibility, and especially for his and my parents and family were very good. I’ve cluding Buddy Rich. very tasteful piano work. He’s developed his been married to my wife for over fifty years and skills as a listener and has concentrated on or- we’ve never had any problems. I didn’t get mar- JI: What was it like to play with Buddy Rich? ganically deepening the music at hand in place ried until I came to New York. I decided I want- of impressing with showy piano chops. Wyands ed to see a lot of the world before I got into a RW: That was a trio with no bass, Flip Phillips has accompanied Ella Fitzgerald, Carman marriage situation and that worked out perfectly. was the horn player. Buddy Rich, that was very McRae, Anita O’Day, Gigi Gryce, Roy Haynes, Some of my friends didn’t do too well in that interesting. We played at a club in San Francisco Charles Mingus, Oliver Nelson, Etta Jones, Ed- respect. named the Black Hawk. I played there from die “Lockjaw” Davis, Gene Ammons, Freddie 1950 to 1955 with various people. Buddy Rich, Hubbard, Zoot Sims, Benny Carter, Illinois JI: At this point, you’ve cut back your perfor- a great drummer, but we never had much to say Jacquet, and was a mainstay with Kenny Burrell mances. You have a steady Thursday night trio to each other, strangely enough. We never even for many years. This interview took place on gig at the 75 Club in Lower Manhattan with had a conversation. We worked together for a May 25, 2018 at his home of over 50-years on Lisle Atkinson and Leroy Williams. How is it to week and he never said hello. I was replacing Manhattan’s Upper West Side. The piece ends still have people want to hear you play at age Hank Jones, who called me at the last moment to with a little anecdote from Wyands’ wife, Leono- 89? make the gig because he couldn’t. Flip Phillips ra, who was kind enough to relate how she met was a pretty good friend however, we did a lot her husband. RW: I’m sort of semi-retired. Things aren’t like of things together. they used to be, I don’t travel very far. I used to Jazz Inside Magazine: There’s few who have travel all over the world but there’s no place to JI: So how is it to play in an intimate setting with someone who you don’t have any relationship with? “I’ve managed to get through situations that RW: Sometimes it’s not so good, it all depends seemed almost impossible, musically on who the people are. I used to try to get along with everybody somehow, musically especially. Like I said, Buddy didn’t have much to say and speaking. Personally getting along with mu- he and Flip Phillips were having some problems.

sicians could be a little difficult. I had to JI: What kind of problems?

work at being good without losing my mind RW: I don’t know, which one was the leader, to start off with. I believe Flip was supposed to be the leader in that trio. Buddy could be a little with some of the musicians you had to deal difficult, [Laughs] but I admired him as a musician. He really could play. That was a hard with. I worked with a lot of singers who group, but I managed. I’ve managed to get through situations that seemed almost impossi- could be difficult, I’m not gonna mention ble, musically speaking. Personally getting along with musicians could be a little difficult. I had to played this music professionally longer than you go to that I haven’t already been to. I’ve seen work at being good without losing my mind with have. You’re turning ninety in less than five enough. And a lot of the musicians I performed some of the musicians you had to deal with. I weeks and you’ve been performing for seventy- with are no longer with us. I don’t go out to worked with a lot of singers who could be diffi- four- years. What do you attribute your longevi- clubs anymore, there aren’t that many New York cult, I’m not gonna mention any names, but very ty to? City jazz clubs left, but I’d still rather be here difficult. But I managed, and in this business, than any place else. I still feel good playing with you have to do that, otherwise you’ll lose your Richard Wyands: This may sound strange but my trio. The two musicians who are working mind. living on the West Coast as long as I did may with me, we’ve known each other for many, have had a lot to do with it. My life was pretty many years. We like each other, really, very JI: You’ve played with many of the greatest well laid out for me. The Bay Area was very much so. They feel about things just about the musicians in jazz history. In what setting do you

6 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 this record produced. I’ve been trying to find school. The government hired us, I don’t re- Richard Wyands that record, to find out if it ever was released. member if we ever got paid, but we’d go to Ar- That’s enough of that. I thought some of my my and Navy bases and play for the service men own records were pretty good. and they enjoyed it. In those days, it was great. feel produced your most important music? We were pretty good. I was only sixteen at the JI: Was there someone who hired or wanted to time. After I had had two piano teachers, I de- RW: It’s hard to say. I’ve often thought of all hire you that most surprised you? cided that I didn’t need any more teachers, and the groups, all the different musicians that I’ve my mother agreed with me. She listened to me. I performed with, and some of it was difficult, RW: No. Most of the people who hired me for was still also playing drums at that time, and I very difficult. I spent a lot of time with Kenny dates were crazy about my playing, otherwise was good. I would have been a good drummer Burrell. Guitar and piano can be very difficult at they would have hired somebody else. That’s the but she wasn’t gonna buy me drums. times, they get in each other’s way harmonical- way I look at it. There were certainly enough ly. It’s not easy, but I managed to keep things other people to hire, all kinds of people. JI: You mentioned your interest in drumming. balanced between the two of us, or whatever guitarists I’d be working with. Actually, I really didn’t want to work with guitar players. In the “I wouldn’t play in a free -type jazz group, I know early days of my career, playing with a guitarist wasn’t so difficult, it wasn’t so complicated. To that. I have but it’s not easy. I’d rather have things have a trio like the Nat King Cole Trio, that was easy, but as things progressed harmonically, it in a more organized, or at least what appears to be became a little difficult to work with a guitarist. But I worked with a lot of different guitarists a more organized setting. I’ve been in all kinds of successfully. At one point, I decided I’d try to avoid working with guitar players. [Laughs] I groups where the bandleader just stomps the tem- didn’t care how good they were. The better they were, the harder it was. po off and says, ‘Okay, one, two, one,’ and you go

JI: Who was the most creative musician you’ve for yourself, [Laughs] which is not my idea for ever worked with? You played with so many of the greats. something musical. I have to have it more orga-

RW: I don’t know, it would take me some time nized. I wouldn’t think about playing in a musical to answer that question. I wish I could answer that. I wouldn’t say it was a singer, I was usually group like that. No, no, no, no. I like organization.” the teacher when it involved a singer. The piano player was the main man for all the singers I It’s very impressive that you took lessons from performed with. They were great singers. Car- JI: Was there a pivotal event that turned you Johnny Otis, the singer/musician/talent scout man McRae, she was good because she was also towards a musical career? who was known as “The Original King of Rock a pianist. She could play piano and she knew her & Roll,” and “The Godfather of R & B.” music. Ella Fitzgerald didn’t play piano, but she RW: Not really. I wanted to study music when I was easy to work with. She would listen and you was about seven-years-old. I wanted to play RW: Johnny Veliotes was really his name but could explain things to her easily. But she was piano. I played classical music first and then I he shortened his last name to Otis. He was so great in her own right, she didn’t need much decided I wanted to play jazz. I listened to the Greek. He lived a few blocks from me so I asked help. [Laughs] Really she was something else, radio – Duke Ellington, Count Basie, Teddy him if he would teach me, which he did, until he that’s all I can say. I worked with male singers at Wilson, oh wow. I wanted to play jazz piano like decided to be a singer and left Berkeley, Califor- times, but mostly female. them and be a band leader. My mother was very nia and moved to Los Angeles and got his big interested in jazz. She bought jazz records for band together. JI: Can you recall your most memorable perfor- me and a little turntable to play them on. My mance or musical experience? father wasn’t interested in jazz, all he wanted to JI: Do you think your knowledge of drumming do with it was to dance. He loved to dance. My helps your piano playing? RW: I did a record with Oliver Nelson’s big mother was very important in the expansion of band that was outstanding - the arrangements, my career. RW: Yes, definitely. I paid a lot of attention to my performance, and the band. There was only drums, even in my early years when studying one thing wrong - they never released the record. JI: After starting with classical music, you had piano. Percussion was very important to me. [Laughs] Kenny Burrell was the leader and he to find a jazz teacher on your own. said he didn’t like the way he played and he JI: You graduated with a degree in music from wasn’t gonna let this record be released. And RW: Right, I was in junior high school and I San Francisco State College but there was no everybody in the band couldn’t believe what he studied with one of the West Coast jazz pianists official jazz professors there at the time. How was saying. What? There were great arrange- by the name of Wilbert Baranco. He had a six- did you get a jazz education there? ments and he played good, everybody played month course. He said,” Richard, this is it. All I good, but he said it was not going to be released. can teach you is gonna last only six months,” RW: I went to college and played in the college I think the label was Prestige. I was very disap- and he was right. He lived in walking distance orchestras and bands and then we finally got a pointed. How could he? That was one of the from my house and I walked there once a week. professor who was interested in jazz so I had a better records I played on. Oliver Nelson was an That’s all I needed and soon I was playing in couple courses in jazz. He didn’t really teach excellent arranger and player. I’m still friends lots of San Francisco’s clubs. Things were easy. jazz, it was just you write your arrangements and with Kenny but I still think how could he do I was able to play pretty good piano in high we’ll play them. The teacher wasn’t much of a that? How did that record company allow that to school. If you look at that 1945 photo on the jazz player himself, but that really helped my happen? They had to pay a lot of money to have wall there, that was our last jazz group in high (Continued on page 8)

To Advertise CALL: 215-887-8880 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 7 played for strippers, it was no big deal. I certain- bands. Richard Wyands ly wasn’t going to invite my parents over to see me play in these clubs. Oh, boy, those strip JI: How was it to hear a recording of yourself (Continued from page 7) clubs, there were so many strippers, you would- on the radio for the first time? n’t believe it. They’d have like fifteen or twenty career. strippers in one club, and they wanted jazz, RW: Well, I wasn’t playing exactly like I want- that’s why they hired us to play for them to do ed to play. I couldn’t play bebop at that time, not JI: How did you learn to improvise? their striptease. I was young, I looked like a little really. My style was a little older than what I kid, they used to call me “Youngblood,” but San originally got to. I didn’t sound like Bud Powell. RW: I learned like most jazz musicians then, Francisco was different, the police didn’t bother I figured I’d get to it sooner or later. [Laughs] you just learned on your own somehow. You you. That was work, that was employment. We listened to records, went to see bands play, you played whatever songs they wanted. There was- JI: At what point did you feel confident as a talked to musicians. That was then, now it’s a n’t any music to read so I could spend my time bebop player? different scene. There were no courses in jazz at watching them. That’s way back. San Francisco State College but a number of RW: [Laughs] I don’t know whether I ever did. jazz musicians went there because it was inex- JI: Because you were gigging so late into the Most of the musicians were trying to play bebop pensive. night during college, you often were operating and I played with these bands. After World War on only four hours of sleep. How were you able II there was a shortage of musicians so they took JI: Your classmates at SFSC included Jerome to fit in school and gigging? anybody they could get. I was pretty young but Richardson, Cal Tjader and briefly Paul Des- they said, “Okay, Richard, we want you to be in mond. RW: I did what I had to do. The San Francisco our band.” I ended up playing better than they clubs closed at 2 AM, it wasn’t as late as in oth- did, solo-wise. They had more experience play- RW: Right, we worked together. I worked in a er cities. I was nineteen and going to college ing in big bands because of the service bands. I group with Paul Desmond, that was before he while living in Berkeley. I was doing well hung out with them, went on jobs with them, and was with Dave Brubeck. Jerome Richardson enough to buy my own used car. we tried to play bebop and modern jazz, and the lived around the corner from me in Berkeley and people liked it. That’s what they wanted to hear. we got to be pretty good friends. I made my first JI: By the time you finished college in 1950, We played blues and all sorts of stuff, every- recording in a band with Jerome that was led by bebop was well-established and the swing era thing under the sun. I liked it. I had to learn how saxophonist Quedelis Martin. was fading. What was your reaction to hearing to play everything, all kinds of styles, or I wouldn’t work. Things have changed a lot since then. That was a great era. At the end of World War II there were a lot of clubs, even in San “I would sit right next to the bandstand, Francisco, where the bands played so-called modern jazz. We tried to play like Charlie Par- right next to the piano Art Tatum was ker and Bud Powell.

playing. I would tell him I was sitting JI: What was your experience seeing Charlie Parker play?

there, because he was partially blind, and RW: I was thrilled. I just stood there watching.

he would talk to me while he was playing. JI: You found work in the early ‘50s as sort of the house pianist for San Francisco’s historic He’d say, ‘Now Richard, this is what I’m Black Hawk club. Talk about that time.

RW: I was there with bassist Vernon Alley. The gonna do. I’m gonna play,’ and he named club had been there but they decided they wanted to hear a different kind of music in the club the chords and what he was doing. He’s so they hired Vernon to bring his group in there. There were two bands – our band and a group doing all this talking while he’s playing … that was playing some old-time music. They weren’t bad but finally the club decided to hire only modern jazz groups, including us. I guess I He didn’t mind. He was fantastic.” was hired, not because I was that good, there just weren’t that many piano players that could play bebop the first time? that style of music in 1945-’46. Vernon Alley JI: You had to perform around the Bay Area hired me when I was eighteen-years-old and I during college in order to survive, finding work RW: I loved it. I’m trying to think what bands I stayed with him quite a while. The Black Hawk in strip clubs. What did you parents think of that heard first. Duke Ellington wasn’t a bebop band. was not a very interesting looking place but I and what memories come to mind? Count Basie’s, close but ... the soloists were spent a lot of time there. I saw all kinds of stars bebop players. My mother used to take me to the there and met so many people. RW: I never told them. [Laughs] I didn’t tell Oakland Auditorium to hear these bands. I re- them I was working in strip clubs. That was member the first time I heard Dizzy Gillespie’s JI: One of the people you played opposite at the unnecessary, why tell them that? They weren’t big band in 1946. Oh, boy, that was an event. I Black Hawk for a few weeks was Art Tatum. going to be there anyhow. They just took my never will forget that, oh, man. I could get into word for it that I was working in jazz clubs, but dance halls when I was young, as long as I was- RW: I sure did. We sort of became friends. I quite a few of them were strip clubs. I just n’t being served alcohol. I saw all those great (Continued on page 10)

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To Advertise CALL:Experience 215-887-8880 SeptemberResults-October 2018 In  24-48Jazz Inside Magazine Hours!  www.JazzInsideMagazine.com CALL 215- 887-8880 9 She wouldn’t turn around and yell at us or any- something else, but you’re not supposed to be Richard Wyands thing like that. Some of the other singers, God! there anyhow if you don’t like the way they They’d call you a bunch of names. I used to sing. Ella was special, that’s all I can say, but at (Continued from page 8) drive her. We played Las Vegas for three weeks times we didn’t know how special or whether and that was the most miserable, miserable three she was special or not. She was so nervous, im- would play intermissions when he finished play- weeks I ever spent. Not musically, not with Ella, agine Ella Fitzgerald being nervous? During the ing, I would play solo, by myself. He had a trio but just being in Las Vegas. That was terrible. first couple of weeks, she would turn around and with guitar and bass. Slam Stewart was the bass Do you have any idea what Vegas was like in look at us like she wasn’t happy. We didn’t player, who I later became friends with. Any- the mid-‘50s? I’m talking about the race situa- know why. Say something, speak up. If you way, what I would do was I would sit right next tion. We were the stars of the show and we don’t like the way we’re playing, tell us. I never to the bandstand, right next to the piano Art Ta- couldn’t even go into the club except through said that to her but I wanted to. I couldn’t under- tum was playing. I would tell him I was sitting the kitchen. We couldn’t eat at a table at the club stand why she was looking at us like that. So there, because he was partially blind, and he where we were working. We had to eat in the finally she tells me why. She didn’t like the would talk to me while he was playing. He’d kitchen or in our dressing room. We weren’t drummer, the way he was playing. She finally say, “Now Richard, this is what I’m gonna do. allowed to go into the audience to say hello to fired the drummer but it took two weeks! She I’m gonna play,” and he named the chords and someone at the tables even if they asked us over. should have been at the rehearsal in the first what he was doing. He’s doing all this talking We’d get told to go back to the dressing room or place and then she would have known what he while he’s playing. Every time he played, I’d sit the kitchen. Is that any kind of way to live? Even sounded like. But Ella, it was hard being hard on right by him and he knew I was sitting there. He Ella had to sit in a room. We did two shows a her. I tried to be as nice as I possibly could with didn’t mind. He was fantastic. He couldn’t see night like that. And then we couldn’t stay at the her, mainly because I liked the way she sang. I me but... hotel where we were playing. Ella couldn’t ei- wouldn’t go on the road with a singer whose ther! She’s the star of the show! I had a car so I singing I didn’t like. No, that didn’t make any JI: So he was giving you lessons? used to drive her back and forth to the club from sense, but that sort of thing is still happening. where we had to stay. That was awful. That was RW: Sort of. He’d tell me what he was going to my first time in Vegas and I had no idea that was JI: Carman McRae hired you shortly after you do and I’d sit there and watch his hands on the happening there. I said, ‘Oh my God, we’ve got left Ella and brought you to New York City in keyboard. to be here for three weeks?’ I’d go out in the 1958 on tour. You ended up leaving her tour to daytime and walk around downtown Vegas and stay there. Had you planned to do that? JI: Did you improve from these sessions? the cops were looking at me. Vegas! This was not down south. I wondered how we were going RW: I was supposed to leave when we came to RW: Oh, did I ever! He was one of the greatest to make it through this. The drummer was white New York. She told me she liked the way I pianists in the world. I used to sit next to Erroll but we didn’t have any problems in that respect. played but she had somebody else in mind. I Garner too. Sometimes he would also say some- I said I’d never come back there and I haven’t forget who. I didn’t have any trouble with her thing to me. I saw Erroll Garner saw off one of been back since. That was 1957, my first and but I know other pianists did. I got along with the black notes from the piano. How he did that I last time in Vegas. Never go back to Vegas, that Carman fine, musically, I thought. don’t know. I had to come back and play after he was my theme song. [Laughs] Reno, same thing. had played and I looked down and saw a note Cops following you around, watching you. The JI: Reports are that you found it uncomfortable was missing and there it was on the floor. United States of America. It’s improved since to adjust to McRae’s slow-paced ballads. then but my God! That’s why I [avoided] the JI: How did you come to be music director for south. I played in the south but years later. RW: Whew! Oh, yeah. You read that? She sang Ella Fitzgerald in 1956? very slow tempo, extremely slow, which is hard JI: You’ve mentioned some of the numerous [for an accompanist] to do, to play along that RW: I was recommended by Oscar Peterson and singers you’ve played and recorded for. How slowly. I just had to bear down, not rush, be Ray Brown. She was looking for another pianist satisfying is it to play behind a singer night after careful. I kept telling myself that while I was and they recommended me. They also recom- night? playing. You’ve got to play with all sorts of mended a bass player, whom I had never met, singers and musicians. It’s almost impossible to and a drummer from Los Angeles. We didn’t RW: It all depends if you like the singer and the play that slow tempo but I liked Carmen, I liked even know each other. Can you believe that? way they sing. Your job is to play behind them. I her style and the songs she sang. I worked with She didn’t even come to the rehearsal. Here got to a point where I could enjoy it. You’ve got so many singers, especially when I was in Cana- she’s hiring three new musicians that she’s never to enjoy it or you shouldn’t even be there. If you da before I came to New York. There it was a heard before and she doesn’t come to the re- don’t like being an accompanist then forget it. different singer every week. It was a good expe- hearsal. I thought that was rather strange. How But playing behind Ella and Carman McCrae, rience. That’s the way I had to look at it. I also do you know you even like these guys? It turned and a few other singers, was very satisfying to worked with Johnny Mathis in Canada. out she didn’t like the drummer and the way he me. Some pianists didn’t really like it, they just played. I thought he was alright but not for her. did it because of the money, but I enjoyed play- JI: Once you settled in New York City, you had The thing about Ella, as great as she was, she ing with some of the singers. Ella and Carmen to live there for a number of months before the didn’t want to rehearse. were very special. union would let you work, since you were trans- ferring from the San Francisco union. What did JI: It’s quite impressive that Oscar Peterson JI: Do you have any special insight to share you do to earn a living during that time? recommended you. regarding how best to accompany vocalists? RW: I had to wait something like three or six RW: That is impressive. He and Ray Brown had RW: You really have to know exactly what they months before I could get a union card and be heard me play in San Francisco and they thought want, which is part of the job. That’s why you able to work certain jobs. I could only work I’d be pretty good for Ella. rehearse. They tell you, although some singers certain places because I was on a transfer, that’s don’t even know how to talk about it. You have what they called it. You transferred from San JI: Any Ella memories? to like it, and I did. I enjoyed accompanying Francisco to the local New York union. You Ella, Carman, and whoever else I played for. But don’t have to go through that now but in those RW: We didn’t have any problems with Ella. if I didn’t like the way they sang, now that’s days you did. Sometimes I cheated and I’d sneak

10 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 here in this neighborhood. He helped me get an along fine, but a lot of musicians didn’t like him. Richard Wyands apartment. We lived in the same building for a One day he accused me of breaking the glass to while. Jerome had been doing very, extremely his piano booth and he made a big deal about it. (Continued from page 10) well — studio work, bands. Unfortunately, he’s It was a little chip. I looked down at it and said, gone now. His wife is gone. Things have ‘Rudy, what? Oh, come on now, that little chip?’ out of town and go to Philly. changed now. New York is not nowhere near Other than that we got along fine. what it used to be, really. It’s all a different sce- JI: So you didn’t get a non-musical side job? ne now. JI: Did you break his glass?

RW: Oh, no. What was I gonna do? I didn’t JI: You made what would eventually be five RW: No, not that I know of. know anything else. Teach maybe? I think I had recordings with Gigi Gryce in 1960 [with Rich- some piano students. ard Williams, Mickey Roker, Julian Euell or JI: One of your first recordings was with Reggie Workman]. What do you recall about Charles Mingus [Jazz Portraits: Mingus in Won- JI: How was it to transition from the West Coast your time with Gryce? derland, United Artists, 1959]. What do you to the East Coast style of living? have to say about Mingus? RW: I liked Gigi but something went wrong RW: It was a transition in some respects. I did- with his health and he died. Just like that. He RW: A little difficult, he was a little unusual. n’t think it was too difficult. I came from a fairly was a little nervous but he was very nice. I liked You just had to know how to deal with him. He large city to a giant city but I had been in New him, I liked being in his bands. Oh, boy, did I was from California also, Los Angeles. That’s York before and I knew people in New York. ever. There were a lot of people around like him where I met him. He called me for some work in then. He was a good musician and writer. California. He said he liked the way I played. So JI: You ended up having to sell your car in New we got to know each other. He was always nice York? JI: After Gryce, between 1960-’61, you had the to me. A very odd guy, I guess you’ve heard busiest recording streak of your career recording things, but a great bass player, man. RW: Yeah, I did, I couldn’t pay my rent. for Prestige with leaders Gene Ammons, Eddie [Laughs] I had to sell my car to get money. The “Lockjaw” Davis, Etta Jones, Oliver Nelson and JI: You also made a recording with Rahsaan car was only two or three years old. Things Willis Jackson. How did you come to make all Roland Kirk [We Free Kings, Mercury, 1961]. weren’t going too well, workwise, so I said, those dates for Prestige? That was your first time meeting him? ‘Well, I guess you’ll have to sell your car. You’re not gonna go back to California. You’ve RW: All I had to do was make one. The guys RW: [Laughs] I think that was the first time I got to stay here somehow.’ So that’s what I did. who produced the records paid attention to who worked with him, I don’t know that I’d even It wasn’t easy. Paying rent, oh jeeze. I thought the musicians were, how they played, and how seen him before with those instruments. I I’d never make it through that. A lot of musi- good they’d be in other situations. The lead mu- walked into the studio and I saw all these strange cians came from the East Coast so they could sicians used their regular groups but sometimes looking instruments and I said, ‘Well, I’ll just just go home, but to go all the way back to Cali- they didn’t. Sometimes they used who the record pay attention to these things.’ He was blind so fornia? [Laughs] For what? California wasn’t company suggested, and that’s how I recorded you had to approach him a little differently. But doing too well either. By the way, I still belong with some of those musicians. he wasn’t hard to get along with. I got along to the union in San Francisco. with him fine. The first recording I did with him, JI: What memories do you have of those artists? I had no idea what his music was like, but as JI: What do you recall of exploring the New long as he played alright, I didn’t care. I worked York jazz clubs once you moved there? Who RW: I was on Etta Jones’ famous recording in a few clubs with him. I liked him, I really did. impressed you? Don’t Go to Strangers. Prestige decided to use me with her. I had never even met or heard her JI: Was it difficult to play with his unusual in- RW: It was no big deal. I went to the clubs and before until in the studio for that recording. I had struments, such as the stritch and manzello, and sized up the situation. no idea what she sounded like, [Laughs] I’m his use of multiple horns at the same time? telling you. I also did a couple more recordings JI: How did you make yourself known around with her and then I worked with her and Hou- RW: No, you just listened. It sounded different town, especially when you weren’t allowed to ston Person around the city. I was on her last but I just waited to see what it was gonna sound play? studio album [Etta Jones Sings Lady Day, 2001, like. Okay, count off the tempo – one, two, one, Highnote]. She was sick, everybody knew it, but two, three, four, and then you listen. That’s all I RW: I went around and met musicians. I knew a you couldn’t tell. Her singing wasn’t effected. can say about Rahsaan. I worked with him and lot of them anyhow. I used to play in Harlem, She stayed in the recording booth and just came got used to what he was doing. He played good, that’s how I met my wife [Lenora]. We met in out once to use the bathroom that day. A few blowing whistles and all sorts of stuff. I’ve Minton’s Playhouse, one of the clubs where I weeks later we found out she was gone. I no- known a lot of musicians who were sort of out used to work in the late ‘50s. I knew the owner ticed she was moving around slowly the day we there. I liked him, I’ve got some of his records there. I didn’t really need the union card and all recorded but she sang just as well as ever. We here. that stuff there. got to be good friends. She used to come around and listen to me play at various places. Yeah, I JI: The longest professional relationship of your JI: Who were some of the first musicians to hire liked Etta, I really did. career was with Kenny Burrell [1964-77]. you in New York when you relocated there? Would you talk about him and why the two of Who really helped you get started? JI: You spent a lot of time in the early ‘60s in you were such a good fit? Rudy Van Gelder’s famed studio. What was RW: I got in touch with Jerome [Richardson} your experience there? RW: He realized that I was paying attention and he turned me on to a lot of things. That’s to what he was doing and how to blend with how you have to go about it. You can’t just go to RW: Just be calm, don’t let Rudy get on your the guitar without getting in the way, because the union. Nobody’s gonna help you there. They nerves. [Laughs] He didn’t bother me but some it’s not easy for guitar and piano unless things

want you to pay your dues. I did a lot of things of the musicians and him ... He didn’t want you with Jerome. I was living next door to him, over to do this, don’t touch that. I liked him, we got (Continued on page 20)

To Advertise CALL: 215-887-8880 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 11 New CD Release from Dallas Area Pianist John A. Lewis

John A. Lewis, piano Merik Gillett, drums Robert Trusko, bass

TRACKS:  Backstory  Deadline  Jacked  Complicity  Bylines  Liable  Precocity  Excerpt from the "Ancient Dance Suite"  What Say I  A Cautionary Ruse

All compositions by John A Lewis

12 Visit JohnALewisJazz.com September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

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Jazz At Lincoln Center, 60th & Bdwy Wednesday, September 19  Mark Guiliana SPACE HEROES; Jazz Standard, 116 E. 27th St.  Regina Carter & Xavier Davis; Dizzy’s Club, Jazz At Lincoln  Chris Potter, Saxophone; James Francies, Piano; Eric Harland, Center, 60th & Bdwy Drums; Village Vanguard 178 7th Ave S.  Davina and the Vagabonds; Jazz Standard, 116 E. 27th St.  Chick Corea Trio; Blue Note, 131 W. 3rd St.  Bill Stewart Trio - Walter Smith Iii, Saxophone; Larry Grenadier,  Allyson Briggs & Fleur Seule; Birdland, 315 W. 44th St. Bass; Bill Stewart, Drums; Village Vanguard 178 7th Ave S.  Stanley Clarke Band; Blue Note, 131 W. 3rd St.  Coltrane Revisited: Eric Alexander, Greg Osby, Jon Irabagon, Wednesday, September 26 Helen Sung, Lonnie Plaxico, Matt Wilson; Birdland, 315 W. 44th  Ted Rosenthal Trio: Rhapsody in Gershwin; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Mark Guiliana SPACE HEROES; Jazz Standard, 116 E. 27th St. Thursday, September 20  Chris Potter, Saxophone; James Francies, Piano; Eric Harland,  Ulysses Owens, Jr. THREE; Dizzy’s Club, Jazz At Lincoln Center, Drums; Village Vanguard 178 7th Ave S. 60th & Bdwy  Chick Corea Trio; Blue Note, 131 W. 3rd St.  Theo Croker Quintet; Jazz Standard, 116 E. 27th St.  Yellowjackets; Birdland, 315 W. 44th St.  Bill Stewart Trio - Walter Smith Iii, Saxophone; Larry Grenadier, Bass; Bill Stewart, Drums; Village Vanguard 178 7th Ave S.  Stanley Clarke Band; Blue Note, 131 W. 3rd St. Thursday, September 27  Coltrane Revisited: Eric Alexander, Greg Osby, Jon Irabagon,  Magos Herrera and Brooklyn Rider; Dizzy’s Club, Jazz At Lincoln Helen Sung, Lonnie Plaxico, Matt Wilson; Birdland, 315 W. 44th Center, 60th & Bdwy  Freddy Cole Quartet; Jazz Standard, 116 E. 27th St.  Chris Potter, Saxophone; James Francies, Piano; Eric Harland, Friday, September 21 Drums; Village Vanguard 178 7th Ave S.  Ulysses Owens, Jr's New Century Big Band; Dizzy’s Club, Jazz  Chick Corea Trio; Blue Note, 131 W. 3rd St. At Lincoln Center, 60th & Bdwy  Yellowjackets; Birdland, 315 W. 44th St.  Theo Croker Quintet; Jazz Standard, 116 E. 27th St.  Bill Stewart Trio - Walter Smith Iii, Saxophone; Larry Grenadier, Bass; Bill Stewart, Drums; Village Vanguard 178 7th Ave S. Friday, September 28  Stanley Clarke Band; Blue Note, 131 W. 3rd St.  Louis Hayes: Serenade to Horace Silver; Dizzy’s Club, Jazz At  Coltrane Revisited: Eric Alexander, Greg Osby, Jon Irabagon, Lincoln Center, 60th & Bdwy Helen Sung, Lonnie Plaxico, Matt Wilson; Birdland, 315 W. 44th  Freddy Cole Quartet; Jazz Standard, 116 E. 27th St.  Chris Potter, Saxophone; James Francies, Piano; Eric Harland, Drums; Village Vanguard 178 7th Ave S. Saturday, September 22  Chick Corea Trio; Blue Note, 131 W. 3rd St.  Late Night Dance Session: Charles Turner III & Uptown Swing;  Yellowjackets; Birdland, 315 W. 44th St. Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Theo Croker Quintet; Jazz Standard, 116 E. 27th St.  Bill Stewart Trio - Walter Smith Iii, Saxophone; Larry Grenadier, Monday, October 1 Bass; Bill Stewart, Drums; Village Vanguard 178 7th Ave S.  Moutin Factory Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Stanley Clarke Band; Blue Note, 131 W. 3rd St. Bdwy  Coltrane Revisited: Eric Alexander, Greg Osby, Jon Irabagon,  Mingus Big Band; Jazz Standard, 116 E. 27th St. Helen Sung, Lonnie Plaxico, Matt Wilson; Birdland, 315 W. 44th  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Alex Lore Quartet; Anthony Wonsey Quartet; After-Hours Jam Ses- sion; Small's, 183 W. 10th St. Sunday, September 23  Steve Ross  Smokestack Brunch: Jamie Reynolds; Theo Croker Quintet; Jazz Standard, 116 E. 27th St.  Bill Stewart Trio - Walter Smith Iii, Saxophone; Larry Grenadier, Tuesday, October 2 Bass; Bill Stewart, Drums; Village Vanguard 178 7th Ave S.  Abelita Mateus And Friends; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Stanley Clarke Band; Blue Note, 131 W. 3rd St.  Eli Degibri Quartet; Jazz Standard, 116 E. 27th St.  Greg Ruvolo Big Band Collective; Birdland, 315 W. 44th St.  Tom Harrell's Trip - Tom Harrell, Trumpet; ; Mark Turner, Saxophone; Ugonna Okegwo, Bass; ; Adam Cruz, Drums; Village Vanguard 178 7th Ave S. Monday, September 24  Spike Wilner Trio; Frank Lacy Group; After-Hours Jam Session;  Monday Nights with WBGO: Orrin Evans Captain Black Big Band; Small's, 183 W. 10th St. Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Dee Dee Bridgewater With The Theo Croker Quintet  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Eddie Palmieri & Friends: Honoring The Legacy of McCoy Tyner; Wednesday, October 3 Blue Note, 131 W. 3rd St.  Piotr Orzechowski/Kuba Wiecek Trio; Dizzy’s Club, Jazz At Lincoln  Scott Allan; Birdland, 315 W. 44th St. Center, 60th & Bdwy  Allison Miller and Carmen Staaf's Science Fair; Jazz Standard, 116 E. 27th St. Tuesday, September 25  Tom Harrell's Trip - Tom Harrell, Trumpet; ; Mark Turner, Saxophone;  Tord Gustavsen Trio; Late Night Session: Jen Allen; Dizzy’s Club, Ugonna Okegwo, Bass; ; Adam Cruz, Drums; Village Vanguard 178 (Continued on page 14) 7th Ave S.

To Advertise CALL: 215-887-8880 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 13  Craig Brann Quintet; Mike Troy Quartet; After-Hours Jam Session; Bdwy Small's, 183 W. 10th St.  Smokestack Brunch: Oscar Perez Cuban Afro-Fusion; Kenny Werner  Dee Dee Bridgewater With The Theo Croker Quintet Friday, October 5 Quartet; Jazz Standard, 116 E. 27th St.  Willie Jones Iii Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Tom Harrell's Trip - Tom Harrell, Trumpet; ; Mark Turner, Saxophone; Bdwy Ugonna Okegwo, Bass; ; Adam Cruz, Drums; Village Vanguard 178 Thursday, October 4  Kenny Werner Quartet; Jazz Standard, 116 E. 27th St. 7th Ave S.  Willie Jones Iii Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Tom Harrell's Trip - Tom Harrell, Trumpet; ; Mark Turner, Saxophone;  Smalls Showcase: Jamale Davis Trio; Monte Croft Quartet; Tivon Bdwy Ugonna Okegwo, Bass; ; Adam Cruz, Drums; Village Vanguard 178 Pennicott Trio; Philip Harper Quintet; Small's, 183 W. 10th St.  Walking Distance featuring Jason Moran; Jazz Standard, 116 E. 27th 7th Ave S.  Anu Sun & The Shed All-Stars; Buika @ Sony Hall; Robert Glasper X St.  Monte Croft Quartet; Tivon Pennicott Quartet; JD Allen "After-Hours"; Chris Dave X Derrick Hodge; Blue Note, 131 W. 3rd St.  Tom Harrell's Trip - Tom Harrell, Trumpet; ; Mark Turner, Saxophone; Small's, 183 W. 10th St.  Dee Dee Bridgewater With The Theo Croker Quintet Ugonna Okegwo, Bass; ; Adam Cruz, Drums; Village Vanguard 178  Robert Glasper X Chris Dave X Derrick Hodge; Blue Note, 131 W. 3rd 7th Ave S. St.  Sylvia Cuenca Quartet; David Ambrosio Quintet; Jovan Alexandre  Dee Dee Bridgewater With The Theo Croker Quintet Sunday, October 7 "After-Hours"; Small's, 183 W. 10th St.  Willie Jones Iii Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Robert Glasper X Chris Dave X Derrick Hodge; Blue Note, 131 W. 3rd Bdwy St. Saturday, October 6  Jazz For Kids; Kenny Werner Quartet; Jazz Standard, 116 E. 27th St.  Dee Dee Bridgewater With The Theo Croker Quintet  Willie Jones iii Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Tom Harrell's Trip - Tom Harrell, Trumpet; ; Mark Turner, Saxophone; Ugonna Okegwo, Bass; ; Adam Cruz, Drums; Village Vanguard 178 7th Ave S.  Vocal Masterclass With Marion Cowings; Ai Murakami Quartet Feat. Sacha Perry; Marianne Solivan Quartet; Don Menza Quartet; JC Stylles/Mark Whitfield Birthday Bash; After-Hours Jam Session; Small's, 183 W. 10th St.  Robert Glasper X Chris Dave X Derrick Hodge; Blue Note, 131 W. 3rd St.  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.

Monday, October 8  Frank Carlberg Large Ensemble; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Jonathan Michel Quartet; Jonathan Barber Quartet; After-Hours Jam Session; Small's, 183 W. 10th St.  Cory Henry: The Revival with Nat Townsley & Sharod Barnes; Blue Note, 131 W. 3rd St.  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.

Tuesday, October 9  The Little Giant At 90: Celebrating Johnny Griffin; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  James Poyser Quintet featuring members of "The Tonight Show" Band and The Roots; Jazz Standard, 116 E. 27th St.  Tom Harrell Quartet - Tom Harrell, Trumpet; Danny Grissett, Piano; Ugonna Okegwo, Bass; Adam Cruz, Drums; Village Vanguard 178 7th Ave S.  Davis Whitfield Trio; Abraham Burton Quartet; After-Hours Jam Session; Small's, 183 W. 10th St.  Robert Glasper: Houston Nights ft Kendrick Scott & More; Blue Note, 131 W. 3rd St.  Kevin Eubanks Quartet With Terri Lyne Carrington, Nicholas Payton, Ben Williams; Birdland, 315 W. 44th St.

Wednesday, October 10  The Little Giant At 90: Celebrating Johnny Griffin; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Michael Leonhart Orchestra featuring Special Guest Randy Brecker; Jazz Standard, 116 E. 27th St.  Tom Harrell Quartet - Tom Harrell, Trumpet; Danny Grissett, Piano; Ugonna Okegwo, Bass; Adam Cruz, Drums; Village Vanguard 178 7th Ave S.  Antonio Ciacca Quartet; Pat Bianchi Trio; Aaron Seeber "After-Hours"; Small's, 183 W. 10th St.  Robert Glasper: Houston Nights ft Kendrick Scott & More; Blue Note, 131 W. 3rd St.  Kevin Eubanks Quartet With Terri Lyne Carrington, Nicholas Payton, Ben Williams; Alan Broadbent Trio; Birdland, 315 W. 44th St.

Thursday, October 11  Dayramir Gonzalez & Habana Entranceé; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Pérez, Cohen, Potter Quintet with Larry Grenadier and Nate Smith; Jazz Standard, 116 E. 27th St.  Tom Harrell Quartet - Tom Harrell, Trumpet; Danny Grissett, Piano; Ugonna Okegwo, Bass; Adam Cruz, Drums; Village Vanguard 178 7th Ave S.  Will Bernard Quartet; Noam Wiesenberg Quintet; Endea Owens "After -Hours"; Small's, 183 W. 10th St.  Robert Glasper Trio ft Special Guest Yasiin Bey (Formerly Mos Def); Blue Note, 131 W. 3rd St.  Kevin Eubanks Quartet With Terri Lyne Carrington, Nicholas Payton, Ben Williams; Alan Broadbent Trio; Birdland, 315 W. 44th St.

(Continued on page 16)

14 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

To Advertise CALL: 215-887-8880 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 15  Fred Hersch Duos - Fred Hersch, Piano; Anat Cohen, Clarinet ; Friday, October 12 Village Vanguard 178 7th Ave S.  Matt Wilson’s Honey And Salt; Dizzy’s Club, Jazz At Lincoln Center,  Allyn Johnson Quartet; Jeremy Manasia Quintet; Jonathan Thomas - 60th & Bdwy "After-Hours" Jam Session; Small's, 183 W. 10th St.  Pérez, Cohen, Potter Quintet with Larry Grenadier and Nate Smith;  Robert Glasper X Christian McBride X Nicholas Payton; Boney James Jazz Standard, 116 E. 27th St. @ Sony Hall; Blue Note, 131 W. 3rd St.  Tom Harrell Quartet - Tom Harrell, Trumpet; Danny Grissett, Piano;  Ron Carter's Great Big Band; Birdland, 315 W. 44th St. Ugonna Okegwo, Bass; Adam Cruz, Drums; Village Vanguard 178 7th Ave S.  Brandon Lee Sextet; Seamus Blake Quartet; Corey Wallace Dubtet Friday, October 19 "After-Hours"; Small's, 183 W. 10th St.  Scott Colley Quartet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Robert Glasper Trio ft Special Guest Yasiin Bey (Formerly Mos Def); Bdwy Blue Note, 131 W. 3rd St.  Life Cycles, Featuring Brian Blade, Jon Cowherd, Monte Croft, John  Kevin Eubanks Quartet With Terri Lyne Carrington, Nicholas Payton, Hart, Myron Walden, Doug Weiss; Jazz Standard, 116 E. 27th St. Ben Williams; Alan Broadbent Trio; Birdland, 315 W. 44th St.  Fred Hersch, Piano; Esperanza Spalding, Vocals ; Village Vanguard 178 7th Ave S.  Joey Alexander With Strings - Pianist Joey Alexander Performs With A Saturday, October 13 20-Piece String Section Under The Direction Of Music Director/  Matt Wilson’s Honey And Salt; Dizzy’s Club, Jazz At Lincoln Center, Arranger Richard Derosa; 8PM, Rose Theater; Jazz At Lincoln Center, 60th & Bdwy 60th & Bdwy  Smokestack Brunch: Arianna Neikrug; Pérez, Cohen, Potter Quintet  Adam Birnbaum Quartet; Charles Ruggiero Octet; JD Allen "After- with Larry Grenadier and Nate Smith; Jazz Standard, 116 E. 27th St. Hours"; Small's, 183 W. 10th St.  Tom Harrell Quartet - Tom Harrell, Trumpet; Danny Grissett, Piano;  Robert Glasper: Miles Davis Tribute "Everything's Beautiful" w/ Bilal; Ugonna Okegwo, Bass; Adam Cruz, Drums; Village Vanguard 178 7th Kenneth Whalum; Blue Note, 131 W. 3rd St. Ave S.  Ron Carter's Great Big Band; Birdland, 315 W. 44th St.  Smalls Showcase: Fima Chupakhin Quintet; Brandon Lee Sextet; Seamus Blake Quartet; Brooklyn Circle; Small's, 183 W. 10th St.  Robert Glasper Trio ft Special Guest Yasiin Bey (Formerly Mos Def); Saturday, October 20 Blue Note, 131 W. 3rd St.  Scott Colley Quartet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Kevin Eubanks Quartet With Terri Lyne Carrington, Nicholas Payton, Bdwy Ben Williams; Alan Broadbent Trio; Birdland, 315 W. 44th St.  Life Cycles, Featuring Brian Blade, Jon Cowherd, Monte Croft, John Hart, Myron Walden, Doug Weiss; Jazz Standard, 116 E. 27th St.  Fred Hersch, Piano; Esperanza Spalding, Vocals ; Village Vanguard Sunday, October 14 178 7th Ave S.  Matt Wilson Quartet Plus Steve Nelson; Dizzy’s Club, Jazz At Lincoln  Joey Alexander With Strings - Pianist Joey Alexander Performs With A Center, 60th & Bdwy 20-Piece String Section Under The Direction Of Music Director/  Jazz For Kids; Allan Harris: The Genius of Eddie Jefferson; Jazz Arranger Richard Derosa; 8PM, Rose Theater; Jazz At Lincoln Center, Standard, 116 E. 27th St. 60th & Bdwy  Tom Harrell Quartet - Tom Harrell, Trumpet; Danny Grissett, Piano;  Smalls Showcase: Teodross Avery; Adam Birnbaum Quartet; Charles Ugonna Okegwo, Bass; Adam Cruz, Drums; Village Vanguard 178 7th Ruggiero Octet; Philip Harper Quintet; Small's, 183 W. 10th St. Ave S.  Robert Glasper: Miles Davis Tribute "Everything's Beautiful" w/ Bilal;  Vocal Masterclass With Marion Cowings; Ai Murakami Quartet Feat. Kenneth Whalum; Blue Note, 131 W. 3rd St. Sacha Perry; Dave Glasser Quartet; Bruce Harris Quintet; After-Hours  Ron Carter's Great Big Band; Birdland, 315 W. 44th St. Jam Session; Small's, 183 W. 10th St.  Robert Glasper Trio ft Special Guest Yasiin Bey (Formerly Mos Def); Madeleine Peyroux @ Sony Hall; Blue Note, 131 W. 3rd St. Sunday, October 21  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.  Carlos Henriquez Octet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Life Cycles, Featuring Brian Blade, Jon Cowherd, Monte Croft, John Monday, October 15 Hart, Myron Walden, Doug Weiss; Jazz Standard, 116 E. 27th St.  Julliard Jazz Ensembles; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Fred Hersch, Piano; Esperanza Spalding, Vocals ; Village Vanguard Bdwy 178 7th Ave S.  Mingus Orchestra; Jazz Standard, 116 E. 27th St.  Vocal Masterclass With Marion Cowings; Ai Murakami Quartet Feat.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Sacha Perry; Ralph Lalama & "Bop-Juice"; Joe Magnarelli Quartet;  Ari Hoenig Quartet; Joe Farnsworth Group; After-Hours Jam Session; After-Hours Jam Session; Small's, 183 W. 10th St. Small's, 183 W. 10th St.  Robert Glasper: Miles Davis Tribute "Everything's Beautiful" w/ Bilal;  Robert Glasper Trio ft Special Guest Yasiin Bey (Formerly Mos Def); Blue Note, 131 W. 3rd St. Blue Note, 131 W. 3rd St.  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.  Ice On The Hudson Featuring: Rene Marie, Janis Siegel, Darius De Haas, Karen Oberlin; Birdland, 315 W. 44th St. Monday, October 22  Monday Nights With WBGO - Emilio Solla Tango Jazz Orchestra; Tuesday, October 16 Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Dan Nimmer Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Rodney Green Trio + Special Guest; Jazz Standard, 116 E. 27th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Fred Hersch Duos - Fred Hersch, Piano; Anat Cohen, Clarinet ;  Josh Evans Quintet; Lucas Pino Nonet; After-Hours Jam Session; Village Vanguard 178 7th Ave S. Small's, 183 W. 10th St.

 Steve Nelson Quartet; Cody Moffett's Jambalaya; After-Hours Jam  Cory Henry: The 4 Deacons Sharay Reed, TaRon Lockett & Isaiah Session; Small's, 183 W. 10th St. Sharkey; Blue Note, 131 W. 3rd St.  Cory Henry: First Steps Band ft Jay White & Carlin White; Blue Note,  Renee Rosnes & Bill Charlap - Duo Piano; Birdland, 315 W. 44th St. 131 W. 3rd St.  Ron Carter's Great Big Band; Birdland, 315 W. 44th St. Tuesday, October 23  Under One Sun; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Wednesday, October 17  Jakob Bro Trio; Jazz Standard, 116 E. 27th St.  Dan Nimmer Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Ravi Coltrane, Saxophone; Gadi Lehavi, Piano; Scott Colley, Bass;  Ralph Peterson's Aggregate Prime; Jazz Standard, 116 E. 27th St. Johnathan Blake, Drums ; Village Vanguard 178 7th Ave S.

Jazz Lovers’  Fred Hersch Duos - Fred Hersch, Piano; Anat Cohen, Clarinet ;  Robert Edwards Quintet; Frank Lacy Group; After-Hours Jam Session; Village Vanguard 178 7th Ave S. Small's, 183 W. 10th St.  Or Bareket Quintet; Danton Boller Quintet; Davis Whitfield "After-  Robert Glasper: Mulgrew Miller Tribute ft Derrick Hodge & Rodney Hours"; Small's, 183 W. 10th St. Green; Blue Note, 131 W. 3rd St.  Robert Glasper X Christian McBride X Nicholas Payton; Blue Note,  Ron Carter Quartet; Birdland, 315 W. 44th St. 131 W. 3rd St.  Ron Carter's Great Big Band; Birdland, 315 W. 44th St.

Lifetime Collection Wednesday, October 24  Rodney Whitaker Sextet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Thursday, October 18 Bdwy  Juan Andrés Ospina Big Band; Dizzy’s Club, Jazz At Lincoln Center,  Jakob Bro Trio; Jazz Standard, 116 E. 27th St. 60th & Bdwy JazzMusicDeals.com JazzMusicDeals.com (Continued on page 17)  Ralph Peterson's Aggregate Prime; Jazz Standard, 116 E. 27th St.

16 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880  Mostly Monk: Mike Ledonne Trio; Dizzy’s Club, Jazz At Lincoln Cen- Harrold; Jazz Standard, 116 E. 27th St. ter, 60th & Bdwy  Ravi Coltrane, Saxophone; Gadi Lehavi, Piano; Scott Colley, Bass;  Christian Sands Trio with Special Guests Caio Afiune and Keyon Johnathan Blake, Drums ; Village Vanguard 178 7th Ave S.

Harrold; Jazz Standard, 116 E. 27th St.  Vocal Masterclass With Marion Cowings; Ai Murakami Quartet Feat. “Some people’s idea of  Ravi Coltrane, Saxophone; Gadi Lehavi, Piano; Scott Colley, Bass; Sacha Perry; Tardo Hammer Trio; Brandon Sanders Quartet; After- Johnathan Blake, Drums ; Village Vanguard 178 7th Ave S. Hours Jam Session; Small's, 183 W. 10th St. free speech is that they are free  The Jazz At Lincoln Center Orchestra Plays Monk - Wynton Marsalis  Robert Glasper: R+R=NOW; Kandace Springs @ Sony Hall; Blue to say what they like, but if anyone Performs Brand New Thelonious Monk Arrangements With Music Note, 131 W. 3rd St Direction By Saxophonist Ted Nash; 8PM, Rose Theater; Jazz At says anything back that Lincoln Center, 60th & Bdwy  Thelonious Monk Festival - Monk’s Dream Featuring Bassist Russell Monday, October 29 is an outrage.” Hall, Pianist Barry Harris, Drummer Jeff “Tain” Watts, Vocalist Vuyo  Josh Lawrence & Color Theory; Dizzy’s Club, Jazz At Lincoln Center, Sotashe, Tap Dancer Michela Marino Lerman, And More; 7PM & 9:30 60th & Bdwy PM, The Appel Room; Jazz At Lincoln Center, 60th & Bdwy  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Dave Stoler Quartet; Stafford Hunter & Continuum; Corey Wallace  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. - Winston Churchill Dubtet "After-Hours"; Small's, 183 W. 10th St.  Monday, October 29  Robert Glasper: R+R=NOW; Taylor McFerrin with Marcus Gilmore  Cory Henry & Friends; Blue Note, 131 W. 3rd St.  Ravi Coltrane, Saxophone; Gadi Lehavi, Piano; Scott Colley, Bass;  Ron Carter Quartet; Birdland, 315 W. 44th St. Johnathan Blake, Drums ; Village Vanguard 178 7th Ave S.  Wayne Tucker Sextet; Harold Mabern Trio; Isaiah J. Thompson "After- Tuesday, October 30 Hours"; Small's, 183 W. 10th St. Saturday, October 27  David Chesky: Jazz In The New Harmonic; Dizzy’s Club, Jazz At  Robert Glasper: Mulgrew Miller Tribute ft Derrick Hodge & Rodney  Mostly Monk: Mike Ledonne Trio; Dizzy’s Club, Jazz At Lincoln Cen- Lincoln Center, 60th & Bdwy Green; Tigran Hamasyan @ Sony Hall; Blue Note, 131 W. 3rd St. ter, 60th & Bdwy  Camille Bertault; Jazz Standard, 116 E. 27th St.  Ron Carter Quartet; Birdland, 315 W. 44th St.  Smokestack Brunch: Michael Kanan Trio; Christian Sands Trio with  Jon Batiste & Friends - Jon Batiste, Piano/Vox/Harmonabord; Joe Special Guests Caio Afiune and Keyon Harrold; Jazz Standard, 116 E. Saylor, Drums; Phil Kuehn, Bass; Tivon Pennicott, Tenor Sax; Patrick 27th St. Bartley, Alto Sax; Giveton Gelin, Trumpet ; Village Vanguard 178 7th Thursday, October 25  Ravi Coltrane, Saxophone; Gadi Lehavi, Piano; Scott Colley, Bass; Ave S.  Rodney Whitaker Sextet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Johnathan Blake, Drums ; Village Vanguard 178 7th Ave S.  Michel Camilo Trio; Blue Note, 131 W. 3rd St. Bdwy  The Jazz At Lincoln Center Orchestra Plays Monk - Wynton Marsalis  Ron Carter’s Golden Striker Trio; Birdland, 315 W. 44th St.  Christian Sands Trio with Special Guests Caio Afiune and Keyon Performs Brand New Thelonious Monk Arrangements With Music  Wednesday, October 31 Harrold; Jazz Standard, 116 E. 27th St. Direction By Saxophonist Ted Nash; 8PM, Rose Theater; Jazz At  Cristina Pato Quartet  Ravi Coltrane, Saxophone; Gadi Lehavi, Piano; Scott Colley, Bass; Lincoln Center, 60th & Bdwy  Scott Robinson’s Heliotones: A Halloween Spectacular Johnathan Blake, Drums ; Village Vanguard 178 7th Ave S.  Thelonious Monk Festival - Monk’s Dream Featuring Bassist Russell  Jon Batiste & Friends - Jon Batiste, Piano/Vox/Harmonabord; Joe  The Jazz At Lincoln Center Orchestra Plays Monk - Wynton Marsalis Hall, Pianist Barry Harris, Drummer Jeff “Tain” Watts, Vocalist Vuyo Saylor, Drums; Phil Kuehn, Bass; Tivon Pennicott, Tenor Sax; Patrick Performs Brand New Thelonious Monk Arrangements With Music Sotashe, Tap Dancer Michela Marino Lerman, And More; 7PM & 9:30 Bartley, Alto Sax; Giveton Gelin, Trumpet ; Village Vanguard 178 7th Direction By Saxophonist Ted Nash; 8PM, Rose Theater; Jazz At PM, The Appel Room; Jazz At Lincoln Center, 60th & Bdwy Ave S. Lincoln Center, 60th & Bdwy  Robert Glasper: R+R=NOW; Taylor McFerrin with Marcus Gilmore;  Vince Ector Trio; Carlos Abadie Quintet; Giveton Gelin Quintet "After- Blue Note, 131 W. 3rd St. Hours"; Small's, 183 W. 10th St.  Ron Carter Quartet; Birdland, 315 W. 44th St. Wednesday, October 31  Robert Glasper: Mulgrew Miller Tribute ft Derrick Hodge & Rodney  Michel Camilo Trio; Blue Note, 131 W. 3rd St. Green; Tigran Hamasyan @ Sony Hall; Blue Note, 131 W. 3rd St.  Ron Carter’s Golden Striker Trio; Birdland, 315 W. 44th St.  Ron Carter Quartet; Birdland, 315 W. 44th St. Sunday, October 28

 Alexander Claffy Quartet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Bdwy Friday, October 26  Christian Sands Trio with Special Guests Caio Afiune and Keyon

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To Advertise CALL: 215-887-8880 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 17 Clubs,Clubs, VenuesVenues && JazzJazz ResourcesResources

5 C Cultural Center, 68 Avenue C. 212-477-5993. www.5ccc.com City Winery, 155 Varick St. Bet. Vandam & Spring St., 212-608- 212-539-8778, joespub.com 55 Bar, 55 Christopher St. 212-929-9883, 55bar.com 0555. citywinery.com John Birks Gillespie Auditorium (see Baha’i Center) 92nd St Y, 1395 Lexington Ave, New York, NY 10128, Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), 212-769- Jules Bistro, 65 St. Marks Pl, 212-477-5560, julesbistro.com 212.415.5500, 92ndsty.org 6969, cleopatrasneedleny.com Kasser Theater, 1 Normal Av, Montclair State College, Montclair, Aaron Davis Hall, City College of NY, Convent Ave., 212-650- Club Bonafide, 212 W. 52nd, 646-918-6189. clubbonafide.com 973-655-4000, montclair.edu 6900, aarondavishall.org C’mon Everybody, 325 Franklin Avenue, Brooklyn. Key Club, 58 Park Pl, Newark, NJ, 973-799-0306, keyclubnj.com Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-875- www.cmoneverybody.com Kitano Hotel, 66 Park Ave., 212-885-7119. kitano.com 5050, lincolncenter.org/default.asp Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356 Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490, Allen Room, Lincoln Center, Time Warner Center, Broadway and Cornelia St Café, 29 Cornelia, 212-989-9319 knickerbockerbarandgrill.com 60th, 5th floor, 212-258-9800, lincolncenter.org Count Basie Theatre, 99 Monmouth St., Red Bank, New Jersey Knitting Factory, 74 Leonard St, 212-219-3132, knittingfacto- American Museum of Natural History, 81st St. & Central Park 07701, 732-842-9000, countbasietheatre.org ry.com W., 212-769-5100, amnh.org Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027, Langham Place — Measure, Fifth Avenue, 400 Fifth Avenue Antibes Bistro, 112 Suffolk Street. 212-533-6088. 908-232-5666 New York, NY 10018, 212-613-8738, langhamplacehotels.com www.antibesbistro.com Cutting Room, 19 W. 24th St, 212-691-1900 La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal St, Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759, Dizzy’s Club, Broadway at 60th St., 5th Floor, 212-258-9595, New York, 212-529-5945, lalanternarcaffe.com arthurstavernnyc.com jalc.com Le Cirque Cafe, 151 E. 58th St., lecirque.com Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-378- DROM, 85 Avenue A, New York, 212-777-1157, dromnyc.com Le Fanfare, 1103 Manhattan Ave., Brooklyn. 347-987-4244. 2133, artsmaplewood.org The Ear Inn, 326 Spring St., NY, 212-226-9060, earinn.com www.lefanfare.com Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St., East Village Social, 126 St. Marks Place. 646-755-8662. Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York, 212-875-5030, lincolncenter.org www.evsnyc.com New York, 212-246-2993, lemadeleine.com BAM Café, 30 Lafayette Av, Brooklyn, 718-636-4100, bam.org Edward Hopper House, 82 N. Broadway, Nyack NY. 854-358- Les Gallery Clemente Soto Velez, 107 Suffolk St, 212-260-4080 Bar Chord, 1008 Cortelyou Rd., Brooklyn, barchordnyc.com 0774. Lexington Hotel, 511 Lexington Ave. (212) 755-4400. Bar Lunatico, 486 Halsey St., Brooklyn. 718-513-0339. El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-831- www.lexinghotelnyc.com 222.barlunatico.com 7272, Fax: 212-831-7927, elmuseo.org Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542, Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn, Esperanto, 145 Avenue C. 212-505-6559. www.esperantony.com Living Room, 154 Ludlow St. 212-533-7235, livingroomny.com 718-965-9177, barbesbrooklyn.com The Falcon, 1348 Rt. 9W, Marlboro, NY., 845) 236-7970, The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083, Fat Cat, 75 Christopher St., 212-675-7369, fatcatjazz.com Makor, 35 W. 67th St., 212-601-1000, makor.org bargemusic.org Fine and Rare, 9 East 37th Street. www.fineandrare.nyc Lounge Zen, 254 DeGraw Ave, Teaneck, NJ, (201) 692-8585, B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144, Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202, fivespot- lounge-zen.com bbkingblues.com soulfood.com Maureen's Jazz Cellar, 2 N. Broadway, Nyack NY. 845-535-3143. Beacon Theatre, 74th St. & Broadway, 212-496-7070 Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, 718- maureensjazzcellar.com Beco Bar, 45 Richardson, Brooklyn. 718-599-1645. 463-7700 x222, flushingtownhall.org Maxwell’s, 1039 Washington St, Hoboken, NJ, 201-653-1703 www.becobar.com For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427 McCarter Theater, 91 University Pl., Princeton, 609-258-2787, Bickford Theatre, on Columbia Turnpike @ Normandy Heights Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, galapago- mccarter.org Road, east of downtown Morristown. 973-744-2600 sartspace.com Merkin Concert Hall, Kaufman Center, 129 W. 67th St., 212-501 Birdland, 315 W. 44th St., 212-581-3080 Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and -3330, ekcc.org/merkin.htm Blue Note, 131 W. 3rd, 212-475-8592, bluenotejazz.com Bleecker), 212-645-0600, garagerest.com Metropolitan Room, 34 West 22nd St NY, NY 10012, 212-206- Bourbon St Bar and Grille, 346 W. 46th St, NY, 10036, Garden Café, 4961 Broadway, by 207th St., New York, 10034, 0440 212-245-2030, [email protected] 212-544-9480 Mezzrow, 163 West 10th Street, Basement, New York, NY Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, Gin Fizz, 308 Lenox Ave, 2nd floor. (212) 289-2220. 10014. 646-476-4346. www.mezzrow.com bowerypoetry.com www.ginfizzharlem.com Minton’s, 206 W 118th St., 212-243-2222, mintonsharlem.com BRIC House, 647 Fulton St. Brooklyn, NY 11217, 718-683-5600, Ginny’s Supper Club, 310 Malcolm X Boulevard Manhattan, NY Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933 http://bricartsmedia.org 10027, 212-792-9001, http://redroosterharlem.com/ginnys/ MIST Harlem, 46 W. 116th St., myimagestudios.com Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 445-2362, Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area), NY, 718-230-2100, brooklynpubliclibrary.org glenrockinn.com 516-328-2233, mixednotescafe.com Café Carlyle, 35 E. 76th St., 212-570-7189, thecarlyle.com GoodRoom, 98 Meserole, Bklyn, 718-349-2373, goodroombk.com. Montauk Club, 25 8th Ave., Brooklyn, 718-638-0800, Café Loup, 105 W. 13th St. (West Village) , between Sixth and Green Growler, 368 S, Riverside Ave., Croton-on-Hudson NY. montaukclub.com Seventh Aves., 212-255-4746 914-862-0961. www.thegreengrowler.com Moscow 57, 168½ Delancey. 212-260-5775. moscow57.com Café St. Bart’s, 109 E. 50th St, 212-888-2664, cafestbarts.com Greenwich Village Bistro, 13 Carmine St., 212-206-9777, green- Muchmore’s, 2 Havemeyer St., Brooklyn. 718-576-3222. nd Cafe Noctambulo, 178 2 Ave. 212-995-0900. cafenoctam- wichvillagebistro.com www.muchmoresnyc.com bulo.com Harlem on 5th, 2150 5th Avenue. 212-234-5600. Mundo, 37-06 36th St., Queens. mundony.com Caffe Vivaldi, 32 Jones St, NYC; caffevivaldi.com www.harlemonfifth.com Museum of the City of New York, 1220 Fifth Ave. (between Candlelight Lounge, 24 Passaic St, Trenton. 609-695-9612. Harlem Tea Room, 1793A Madison Ave., 212-348-3471, har- 103rd & 104th St.), 212-534-1672, mcny.org Carnegie Hall, 7th Av & 57th, 212-247-7800, carnegiehall.org lemtearoom.com Musicians’ Local 802, 332 W. 48th, 718-468-7376 Cassandra’s Jazz, 2256 7th Avenue. 917-435-2250. cassan- Hat City Kitchen, 459 Valley St, Orange. 862-252-9147. National Sawdust, 80 N. 6th St., Brooklyn. 646-779-8455. drasjazz.com hatcitykitchen.com www.nationalsawdust.org Chico’s House Of Jazz, In Shoppes at the Arcade, 631 Lake Ave., Havana Central West End, 2911 Broadway/114th St), NYC, Newark Museum, 49 Washington St, Newark, New Jersey 07102- Asbury Park, 732-774-5299 212-662-8830, havanacentral.com 3176, 973-596-6550, newarkmuseum.org Highline Ballroom, 431 West 16th St (between 9th & 10th Ave. New Jersey Performing Arts Center, 1 Center St., Newark, NJ, highlineballroom.com, 212-414-4314. 07102, 973-642-8989, njpac.org Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525, New Leaf Restaurant, 1 Margaret Corbin Dr., Ft. Tryon Park. 212- 609-466-9889, hopewellvalleybistro.com 568-5323. newleafrestaurant.com Hudson Room, 27 S. Division St., Peekskill NY. 914-788-FOOD. New School Performance Space, 55 W. 13th St., 5th Floor (betw hudsonroom.com 5th & 6th Ave.), 212-229-5896, newschool.edu. Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ New School University-Tishman Auditorium, 66 W. 12th St., 1st “A system of morality IBeam Music Studio, 168 7th St., Brooklyn, ibeambrooklyn.com Floor, Room 106, 212-229-5488, newschool.edu INC American Bar & Kitchen, 302 George St., New Brunswick New York City Baha’i Center, 53 E. 11th St. (betw Broadway & which is based on relative NJ. (732) 640-0553. www.increstaurant.com University), 212-222-5159, bahainyc.org emotional values is a mere Iridium, 1650 Broadway, 212-582-2121, iridiumjazzclub.com North Square Lounge, 103 Waverly Pl. (at MacDougal St.), Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910 212-254-1200, northsquarejazz.com illusion, a thoroughly vulgar Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, jalc.org Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and conception which has nothing  Frederick P. Rose Hall, Broadway at 60th St., 5th Floor 6th Ave.), 212-840-6800, thealgonquin.net  Dizzy’s Club Coca-Cola, Reservations: 212-258-9595 Oceana Restaurant, 120 West 49th St, New York, NY 10020 sound in it and nothing true.”  Rose Theater, Tickets: 212-721-6500, The Allen Room, Tickets: 212-759-5941, oceanarestaurant.com 212-721-6500 Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928 Jazz Gallery, 1160 Bdwy, (212) 242-1063, jazzgallery.org The Owl, 497 Rogers Ave, Bklyn. 718-774-0042. www.theowl.nyc The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey Palazzo Restaurant, 11 South Fullerton Avenue, Montclair. 973- Blvd.), Brooklyn, NY, 718-453-7825, thejazz.8m.com 746-6778. palazzonj.com Jazz Standard, 116 E. 27th St., 212-576-2232, jazzstandard.net Priory Jazz Club: 223 W Market, Newark, 07103, 973-639-7885 — Socrates — Anton Chekhov Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl., Proper Café, 217-01 Linden Blvd., Queens, 718-341-2233

18 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, Zankel Hall, 881 7th Ave, New York, 212-247-7800 NY, 718-768-0855 Zinc Bar, 82 West 3rd St.

Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ, RECORD STORES 908-232-7320, 16prospect.com, cjayrecords.com Academy Records, 12 W. 18th St., New York, NY 10011, 212-242 “It is curious that physical courage Red Eye Grill, 890 7th Av (56th), 212-541-9000, redeyegrill.com -3000, http://academy-records.com should be so common in the world Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Downtown Music Gallery, 13 Monroe St, New York, NY 10002, and moral courage so rare.” Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795 (212) 473-0043, downtownmusicgallery.com Rockwood Music Hall, 196 Allen St, 212-477-4155 Jazz Record Center, 236 W. 26th St., Room 804, Rose Center (American Museum of Natural History), 81st St. 212-675-4480, jazzrecordcenter.com (Central Park W. & Columbus), 212-769-5100, amnh.org/rose MUSIC STORES — Mark Twain Rose Hall, 33 W. 60th St., 212-258-9800, jalc.org Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036, Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472, 646-366-0240, robertoswoodwind.com Queens College — Copland School of Music, City University of 845-658-9048, rosendalecafe.com Sam Ash, 333 W 34th St, New York, NY 10001 NY, Flushing, 718-997-3800 Rubin Museum of Art - “Harlem in the Himalayas”, 150 W. 17th Phone: (212) 719-2299 samash.com Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Cam- St. 212-620-5000. rmanyc.org Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island pus, PO Box 270, New Brunswick, NJ, 908-932-9302 Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, City, NY 11101, 718-433-1990. sadowsky.com Rutgers University Institute of Jazz Studies, 185 University Avenue, Newark NJ 07102, 973-353-5595 rustikrestaurant.com Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New newarkrutgers.edu/IJS/index1.html St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377 York, NY 10019, 212-730-8138, maxwelldrums.com SUNY Purchase, 735 Anderson Hill, Purchase, 914-251-6300 St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728 SCHOOLS, COLLEGES, CONSERVATORIES Swing University (see Jazz At Lincoln Center, under Venues) St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200, 92nd St Y, 1395 Lexington Ave, New York, NY 10128 William Paterson University Jazz Studies Program, 300 Pompton saintpeters.org 212.415.5500; 92ndsty.org Rd, Wayne, NJ, 973-720-2320 Sasa’s Lounge, 924 Columbus Ave, Between 105th & 106th St. Brooklyn-Queens Conservatory of Music, 42-76 Main St., RADIO NY, NY 10025, 212-865-5159, sasasloungenyc.yolasite.com Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450 WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-624- Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 8880, Fax: 973-824-8888, wbgo.org NY, 718-622-3300, brooklynconservatory.com WCWP, LIU/C.W. Post Campus Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, City College of NY-Jazz Program, 212-650-5411, nypl.org/research/sc/sc.html WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html Drummers Collective, 541 6th Ave, New York, NY 10011, WKCR 89.9, Columbia University, 2920 Broadway Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, shang- 212-741-0091, thecoll.com Mailcode 2612, NY 10027, 212-854-9920, columbia.edu/cu/wkcr haijazz.com Five Towns College, 305 N. Service, 516-424-7000, x Hills, NY ADDITIONAL JAZZ RESOURCES ShapeShifter Lab, 18 Whitwell Pl, Brooklyn, NY 11215 Greenwich House Music School, 46 Barrow St., Tel: 212-242- Big Apple Jazz, bigapplejazz.com, 718-606-8442, gor- shapeshifterlab.com 4770, Fax: 212-366-9621, greenwichhouse.org [email protected] Showman’s, 375 W. 125th St., 212-864-8941 Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000 Louis Armstrong House, 34-56 107th St, Corona, NY 11368, Sidewalk Café, 94 Ave. A, 212-473-7373 LaGuardia Community College/CUNI, 31-10 Thomson Ave., 718-997-3670, satchmo.net Sista’s Place, 456 Nostrand, Bklyn, 718-398-1766, sistasplace.org Long Island City, 718-482-5151 Institute of Jazz Studies, John Cotton Dana Library, Rutgers- Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St., Skippers Plane St Pub, 304 University Ave. Newark NJ, 973-733- Univ, 185 University Av, Newark, NJ, 07102, 973-353-5595 10023, 212-258-9816, 212-258-9900 Jazzmobile, Inc., jazzmobile.org 9300, skippersplaneStpub.com Long Island University — Brooklyn Campus, Dept. of Music, Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565, Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300, University Plaza, Brooklyn, 718-488-1051, 718-488-1372 jazzmuseuminharlem.org SmallsJazzClub.com Manhattan School of Music, 120 Claremont Ave., 10027, Jazz Foundation of America, 322 W. 48th St. 10036, Smith’s Bar, 701 8th Ave, New York, 212-246-3268 212-749-2805, 2802, 212-749-3025 212-245-3999, jazzfoundation.org Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel, NJ City Univ, 2039 Kennedy Blvd., Jersey City, 888-441-6528 New Jersey Jazz Society, 1-800-303-NJJS, njjs.org 221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799 New School, 55 W. 13th St., 212-229-5896, 212-229-8936 New York Blues & Jazz Society, NYBluesandJazz.org South Gate Restaurant & Bar, 154 Central Park South, 212-484- NY University, 35 West 4th St. Rm #777, 212-998-5446 Rubin Museum, 150 W. 17th St, New York, NY, 5120, 154southgate.com NY Jazz Academy, 718-426-0633 NYJazzAcademy.com 212-620-5000 ex 344, rmanyc.org. Princeton University-Dept. of Music, Woolworth Center Musical South Orange Performing Arts Center, One SOPAC Studies, Princeton, NJ, 609-258-4241, 609-258-6793 Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787  Spectrum, 2nd floor, 121 Ludlow St. Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923 Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor, 212-721-6500, lincolncenter.org The Stone, Ave. C & 2nd St., thestonenyc.com th Strand Bistro, 33 W. 37 St. 212-584-4000 SubCulture, 45 Bleecker St., subculturenewyork.com PAY ONLY FOR Sugar Bar, 254 W. 72nd St, 212-579-0222, sugarbarnyc.com Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), 212-262-9554, swing46.com Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212- 932-3228, symphonyspace.org Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Broooklyn, 718-789-2762, tealoungeNY.com Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), RESULTS 212-777-7776, terrablues.com Threes Brewing, 333 Douglass St., Brooklyn. 718-522-2110. www.threesbrewing.com Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue, City Island, Bronx, 718-885-3200, titopuentesrestaurant.com Tomi Jazz, 239 E. 53rd St., 646-497-1254, tomijazz.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 PUBLICITY! Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.), 212-362-2590, triadnyc.com Tribeca Performing Arts Center, 199 Chambers St, 10007, [email protected], tribecapac.org Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, Get Hundreds Of Media Placements — trumpetsjazz.com Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968 ONLINE — Major Network Media & Authority Sites & (845) 359-1089, http://turningpointcafe.com Urbo, 11 Times Square. 212-542-8950. urbonyc.com OFFLINE — Distribution To 1000’s of Print & Broadcast Village Vanguard, 178 7th Ave S., 212-255-4037 Vision Festival, 212-696-6681, [email protected], Networks To Promote Your Music, Products & Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069, Performances In As Little As 24 Hours To Generate 908-753-0190, watchungarts.org Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538, Traffic, Sales & Expanded Media Coverage! 914-834-2213, watercolorcafe.net Weill Recital Hall, Carnegie Hall, 57th & 7th Ave, 212-247-7800 Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY www.PressToRelease.com | MusicPressReleaseDistribution.com | 215-600-1733 11211, (718) 384-1654 wmcjazz.org

To Advertise CALL: 215-887-8880 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 19 JI: During your career you’ve played in very brations to mark the event. Do you like a big Richard Wyands diverse settings. Have you had interest in free fuss being made about you? jazz? (Continued from page 11) RW: Not really. I can take it or leave it. RW: Hmm, not crazy about it. I wouldn’t are written out note-for-note. But I knew that play in a free-type jazz group, I know that. I JI: The last questions have been given to me he could tell that I was paying attention to have but it’s not easy. I’d rather have things in by other artists: what he was doing and what he wanted to do. a more organized, or at least what appears to I tried to listen to everything he said. He was- be a more organized setting. I’ve been in all Leroy Williams (drums) asked: “How is it n’t that easy to play with, he had his own kinds of groups where the bandleader just that your music is so beautifully melodic thing, and he knew that I understood what he stomps the tempo off and says, “Okay, one, while still keeping a strong sense of swing?” was trying to do and paid attention to it. two, one,” and you go for yourself, [Laughs] That’s one reason why we got along fine. I which is not my idea for something musical. I RW: I don’t know, I never thought of that. I saw one drummer— we were in a club—and have to have it more organized. I wouldn’t don’t want to play like other people, I always Kenny started to play an intro and this drum- think about playing in a musical group like try to have my own little style. I started to mer is sitting up there reading a newspaper! that. No, no, no, no. I like organization. dislike the idea of being compared to other He wasn’t paying attention. I didn’t like that There’s certain styles in music I don’t like. people or to sound like them. People would myself. Come on, reading a newspaper on the I’ve played with somebody who had four or ask, “How come you don’t sound like Barry bandstand? I said, ‘No, no, this isn’t going to five different styles, all in one composition. Harris?” I just picked his name, but I don’t work with this guy.’ Sometimes Kenny didn’t The tempos changed and all sorts of things want to sound like other people. Certainly in write any music so I had to pay attention and like that. I don’t like that so it’s better that I this day and age, that’s hard to do. Some peo- not sit there reading a newspaper. [Laughs] don’t even play in a group like that. I could do ple want you to sound like other people, that’s Kenny and I became pretty good friends and it, I guess, but I’d rather not. Everybody has what they want to hear. They want to hear a worked together a long time, and then he their own thoughts on the music they want to certain style, but I don’t want to do that. I moved to California and that was the end of it. play. understand that you have to work with people, you’ve got to sound like somebody that JI: As a leader, you’ve only made seven rec- JI: Pianist Cecil Taylor passed very recently. they’ve heard of, some kind of style. I realize ords. Why so few? He frequented many of New York City’s jazz that and I don’t think my style, when I listen clubs. Did you have a relationship with him? to my records, sounds strange. As long as it’s RW: I guess I wasn’t really asked to do any pleasant. I played a lot of music that was very more than that as a leader. I was more side- RW: No, I knew him, but we never talked difficult to deal with, to get any kind of a feel man than leader. I don’t know. about music. I didn’t see him that often. In for. You gotta make a living, sometimes you fact, I don’t remember the last time I saw him gotta play something that other people like. JI: Do you prefer to be a sideman more than a play live. I wasn’t crazy about his thing at all. And if they dislike it, then what? You’ll starve leader? to death. I think about Cecil Taylor, who you JI: Do you feel he’s a part of the jazz tradi- just mentioned. His style? I wouldn’t want to RW: Not necessarily. I like to do my music, tion? Do you see where he fits into it? sound like that, no, really. I’m not saying that the things I want to play, but I also want to be it’s bad. He can play other ways, I’ve heard a good sideman. It’s not easy to be a good RW: Yeah, but why or how, I don’t know him do it. Some people can get away with sideman, to play with various people, various because I never heard him play that much or playing like that but I’ve got to be listenable. styles. It’s not easy, that’s all I can say. have even heard his records. The last time I That’s all I can say, and that’s hard to do too. saw him I was working in town someplace a I listen to some of my older records that I JI: On the seven recordings under your name, few years ago and he came in to listen and we played on with groups and I say, ‘Wow! Was you only included six original compositions. talked a little. that you? Really, what? Man, that was good.’ Why not include more of your own work? Some of those Prestige records I’m on were JI: Did you have any involvement with New pretty good. RW: I don’t know. Maybe I didn’t really have York City’s loft-jazz scene in the ‘70s? anything that I really wanted to record? I was- Peter Bernstein (guitar) asked: “The Gentle n’t so crazy about some of my compositions. RW: What do you mean, what’s that? Oh, Jug record [a reissue of two previously issued okay, I heard about that but I wasn’t a part of albums including Nice an’ Cool which fea- JI: Does composing come easily for you? it. tured Wyands] is one of my all-time favorites. Have you spent a lot of time on it? I’ve always wanted to ask you about that ses- JI: What are your interests outside of music? sion and working with Gene Ammons. Did RW: I didn’t do that much composing. I think you play with him regularly around that time? that’s the reason. I’ve written a lot of stuff RW: I love sports, I wanted to be an athlete. I Did he just call tunes and go? What was Jug that I’ve never completed because I wasn’t played tennis and golf, although I had to give like?” satisfied with the outcome of the work. It golf up because my game was so poor. Stand- seems that I can’t complete my compositions, ing out there all day looking for balls. It was RW: That was recorded in 1961 at Rudy Van there’s always something wrong with them, a too much for me. It would take me a long time Gelder’s studio but I don’t really remember few bars here and a few bars there. I won- to play 18 holes. I’d spend most of my time the session for Nice an’ Cool, it was so long dered about that myself. I have some that I looking for lost balls. ago. I think I knew in advance what songs wrote many years ago, but they’re kind of were to be covered. I think Esmond Edmonds, ancient, I guess, at least that’s the way I hear JI: By time this interview is released you will who was in charge of the session as the pro- things now. have turned 90-years-old and had some cele- (Continued on page 21)

20 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 beat in each bar. No, no, that isn’t what I feel were popular at the time. As I got older, I Richard Wyands is the right thing. Some singers want all kinds played differently. I loved Duke Ellington and of fills and stuff behind their singing. If they still play some of his compositions. That’s ducer, told me what songs to expect. There don’t like it then I have to change. I’ll play how it started for me. That was a very long were a few songs that I didn’t know, there more or less. time ago but I have to thank my mother for were a couple tunes I’d never even heard of. trying to help me belong with music, jazz Gene Ammons didn’t have any quirks, he JI: What do you think of Oscar Peterson’s especially. My father wasn’t exactly a jazz knew exactly what he wanted to do, what comping? He certainly played a lot of notes. fan, by any means. Nat King Cole was one of tunes he wanted to play, what keys they were my favorites, especially when he had his early to be in, how long we were gonna play on RW: I wasn’t thrilled with Oscar Peterson’s trios. I liked his singing but he was an out- each tune, and how many solos. He knew all comping. He was not that type of a player. He standing pianist. of that before we got there. Esmond Edmonds sometimes played too much, overplayed I had a lot to do with it too. I don’t think the session took us very long, there weren’t a lot of takes done. I can’t say that I knew Gene “I don’t want to play like other people, I Ammons well. I never worked with him, except on the recordings. That’s all. I never even made a job in a nightclub with him. I made always try to have my own little style. I the records with Gene Ammons because Es- mond Edmonds liked the way I played and started to dislike the idea of being hired me. All I know is that I like Gene Am- mons. I like the way he played. compared to other people or to sound like

Peter Bernstein also asked: “What do you them. People would ask, “How come you feel are the most important elements of “comping”? You are one of the greatest ever don’t sound like Barry Harris?” I just and I wonder what your approach is to it?”

RW: Peter Bernstein said that? Whoa, I don’t picked his name, but I don’t want to sound know if I can explain it. I pay attention to comping. I used to like the way that John like other people. Certainly in this day and Lewis comped, not on everything, but I like his comping. Some pianists are too busy. You age, that’s hard to do. Some people want can’t be too busy, they’re just filling up every beat in every bar. That’s not my idea of com- you to sound like other people” ping. It’s hard to explain what I do but you’ve got to leave some space. Not too much space, but a little, and don’t try to copy exactly what thought. Not playing the way he plays by him- How I Stole Richard Wyands the soloist is doing. Play in there but not copy self or with a rhythm section, but he over- By Lenora Wyands - his wife it. Some piano players copy everything the played, for my taste, comping. soloist is trying to play. No. It’s hard to ex- Lenora Wyands: How we met was that he plain. Nobody’s ever asked me what I thought Monty Alexander (piano): “Who were the was playing in Harlem at Minton’s Playhouse about comping. pianists that were your main influences/ and I used to go and flirt with him, me and my inspirations?” girlfriends. In those days, you went to the JI: How did you get so good at comping? different clubs and we made sure we sat at the RW: Oh, wow, my friend Monty. Well, end where the bandstand was, and I used to RW: Am I good at it? Count Basie, believe it or not, when I was a wink and blink at him and I got his attention. kid but not when I finally got into the serious One day my older brother and I went to an JI: Peter Bernstein says you’re the best. business [of performing]. I liked the simplici- afternoon session. We went to the bar for a ty in Basie’s playing. I just liked the way he drink and Richard came off the bandstand and RW: That’s what he said, huh? I didn’t know played. Duke Ellington was second on my list. asked my brother if he could talk to me. So I was that good at it really. I just did some- If you noticed, both of these people were ban- that’s where it’s started and it’s been, this year thing with Peter a few weeks ago. I’m glad he dleaders—not that I was interested in becom- it’ll be 57-years that we’ve been married. likes it. I especially tried to concentrate on ing a big band bandleader. That’s the way I comping during my early career. I’ve played thought about it at the time as a youngster. I JI: Did you have any reservations about start- with people who’ve said, “You’re over play- had a lot of their records and saw them play ing a relationship with a musician? ing, you’re filling in too much,” I’ve heard with my mother in San Francisco and Oak- that. But I don’t play too many fill-ins, it all land. I used to try to play like Count Basie. LW: My mother did! She said, “What? A depends with who I’m playing with too. I’m Duke Ellington was a little bit more difficult musician? [Laughs] Are you kidding me?” inspired to play different ways with different for me, at that age, but Basie had a simple And then she met him and she cooked some people. I try not to overplay. Sometimes I’m style and I became the “Kid Basie,” that’s good dinners for him. So he was in, he passed not successful. I’ve played with singers that what I got called. I used to have a band with a the test. He loved her cooking. Yeah, we’ve have said, “Richard, you’re not playing couple of friends of mine, we tried to play had a very good relationship.

enough, enough!” I don’t want to fill up every jazz, tried to play some of Basie’s songs that 

To Advertise CALL: 215-887-8880 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 21 Charlie Parker Festival 2018

Charles Tolliver’s 50 Year Anniversary of Tolliver’s star-laden quintet paid tribute to his ‘Paper Man’ Featuring Gary Bartz, Jack debut album, 1968’s Paper Man, a stirring DeJohnette, Buster Williams and Jason Mo- work that bridged the gap between hard bop ran / Brianna Thomas and the avant-garde. All-star groups often August 24 at Marcus Garvey Park, Manhattan don’t live up to their billing but that wasn’t the case with Tolliver’s crew, not with By Ken Weiss DeJohnette’s rambunctious percussion driving the music constantly forward. City Parks Foundation's SummerStage pre- sented trumpet veteran Charles Tolliver and Vocalist Brianna Thomas opened the evening young award-winning vocalist Brianna Thom- with her sextet (Conun Pappas, piano; Marvin as leading groups on August 24 at Harlem’s Sewell, guitar; Ryan Berg, bass; Alvin Atkin- Marcus Garvey Park as part of the 26th Anni- son, Jr., drums; Fernando Saci, percussion) versary celebration of the Charlie Parker Jazz and some powerhouse vocals. Festival, New York City’s free annual salute to the legendary late saxophonist. 

22 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 SteveSteveGaryGary WilsonWilson BartzBartz CharlieAppearing Parker at Jazz Festival Standard 2018 September 6-9 Photo © Ken Weiss

To Advertise CALL: 215-887-8880 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 23 BusterBuster Williams,Williams, CharlesCharles TolliverTolliver Charlie Parker Festival 2018

Photo © Ken Weiss

BriannaBrianna ThomasThomas Charlie Parker Festival 2018

24 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 JackJack DeJohnetteDeJohnette Charlie Parker Festival 2018

CyrusCyrus ChestnutChestnut Appearing at Jazz Standard JasonJasonAugust MoranMoran30-September 2

To Advertise CALL: 215-887-8880 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 25

Jason Moran, Gary Bartz, Charles Toliver, Buster Williams, Jack DeJohnette Charlie Parker Festival 2018

26 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 JI: How has that great respect for specialization. Some people worked out? really specialize and hone a particular skill and INTERVIEWINTERVIEW really get it to a very, very high level and part of SR: It’s worked me wishes I were more that way. But I have to be out well because true to my nature. It seems to be my nature to now I’m playing have a thousand interests and to get all excited tenor all the time. I about a million different things and add them all Scott Robinson didn’t really want into what I do - so it quickly spirals out of con- “I like doubling. I like playing all the different sounds.” to do it that way trol and I end up with these big complicated pro- because it’s my jects in various stages, full of instruments that I nature to add ra- have to haul around. But it’s all part of the fun. JI: Who and what were your initial inspiration to ther than subtract. That’s why my life gets so focus on baritone sax? complicated. I’m always adding things in - and JI: What is your “laboratory” like? it’s hard for me to say no and take something SR: Well that’s an interesting question. I actually out. I haven’t taken the baritone out, but I’ve cut SR: Well, you know, I’m attracted to science. don’t focus on the baritone sax although a lot of way, way back on it. If you look back over my I’m not any kind of scientist and I never went to people think I do. I never played much baritone recorded work, I’m on more than 200 CDs at this school for any of that but I’m attracted to the until I came to New York. I started getting some point. There’s a lot of baritone sax in there. But aesthetics of science and I use that in my music. I calls from people that needed a baritone sax if you look at just the ones I’ve done under my use it a lot. I like taking scientific materials and player. So I started playing it more and then I own name, going all the way back to the begin- looking at them from an aesthetic viewpoint, and started getting more calls to play it, and I played ning in 1984 - there’s very little baritone sax in using them in composition and in performance. If it with a lot of big bands. Most ofxxxxxxxxxx that has come there. I enjoy the instrument but it’s never been you came into my lab, you’d see a lot of amazing to an end. I’m still playing it with Maria Schnei- my primary focus. I’m more of a B-flat guy. I instruments, all kinds of unbelievable sound der’s band, and I was playing it with Bob Brook- play tenor and B-flat. I skip over the baritone and sources and strange devices. You’d also see meyer. I actually really do love the instrument play the bass sax a lot on my own projects. Even some actual laboratory equipment, some chemi- and I think I managed to develop a personal though for several years now I’ve been really cal, glassware and stuff like this. Strange beakers sound and approach to it which helps to get me a focused on the tenor, some people aren’t aware and vials kind of hanging around the room and lot of attention. The problem is that there’s of it. I played at the Newport Jazz Festival with that’s just part of the vibe out there. I have a something about the baritone that once you start two different bands - Maria Schneider and Ryan round disc that lights up. It looks like lightning playing it and you get good at it and you get a Truesdale’s Gil Evans’ Project. Maria wrote a sort of, and it responds to sound - and they used reputation for being good at it. Nobody wants to brand new piece, a big tenor sax feature - and I these in Star Trek when the board is recharging. know that you do anything else - and the tenor stood up in front of the band for the entire piece They use these weird plates that describe these has always been my primary voice. I found my- and played tenor. Later, I saw a review of the strange electrical arcs. I just like to turn it on and self faced with a situation where people weren’t Newport Festival and it said that Scott Robinson it really puts a vibe in the room - puts a kind of calling me to play tenor anymore. Then it be- sounded stellar on the baritone sax. science meets music-of-the-future feeling in the room.

“In baseball, kids grow up idolizing Mickey JI: Let’s talk about some of the artists with whom you’ve played who have made an impact Mantle ... If they’re fortunate enough to get on your artistry and/or your perspectives about music. You’ve played with such a wide variety to a point where they can actually become of artists, including those whose roots are in another era, the Swing Era - like Buck Clayton and a major league player, Mickey Mantle is Lionel Hampton.

long gone. But I get to play with “Mickey SR: My earliest heroes in this music were Lester Young, Ben Webster, Louis Armstrong, Albert Mantle.” I grew up listening to Frank Ayler, Rahsaan Roland Kirk. These are people that I listened to when I was a boy. I don’t get Wess – and I reached a point where I can caught up in the debates over whether the music of the 20s is more or less valid than the music of go play at the Vanguard with Frank Wess.” the 30s or whether be bop was somehow the end of jazz. We call Bebop modern jazz. Well, it’s came even worse. After a few years of this, if JI: When I used to go to hear Thad Jones’ band, from the 1940s, you know? It’s a long time ago people did see me somewhere playing tenor, I Pepper Adams played the woodwind doubles that now. It’s splitting hairs really to me to argue started hearing comments like, “Wow, you sound were written for bass clarinet on baritone sax – about Bebop versus Swing or others. But there really great. I didn’t even know you played ten- transposing on the spot. are a lot of people out there that are ready to go or.” This became kind of disturbing to me and to the mat over these kinds of distinctions. I love troublesome. I began to feel that I was losing my SR: There’s a logic to that transposition that the music. To me, it’s a big river. The music is identity and my personal voice. I never wanted to makes it doable, at least in a certain register. all connected. Every part of it feeds on every back off from the baritone because I love the When I started playing in Mel Lewis’ band, I other part of it and it moves together with a pur- instrument. But I was kind of forced to back off became Gary Smulyan’s number one sub back in posefulness all of its own. What appears to us to of it because of the reality that if I didn’t, my the days. I played many, many times in that band be part of the river is more a reference to the voice on the tenor would just become lost. So I and went to Japan with them. I always brought landscape around it because the water is moving. started taking fewer jobs on baritone and focus- the bass clarinet and the guys were like, “Wow, The river itself has already moved on. I love the ing more on tenor and telling certain people to nobody ever does that.” But for me it was kind of music, if it’s good creative music. If it’s part of call me for tenor and call somebody else for bari- fun, and fun to hear those parts played as they that great continuum, then I love it with all my tone. were intended, on a bass clarinet. I like doubling. heart and to be able to play with the masters of I like playing all the different sounds. I have (Continued on page 29)

To Advertise CALL: 215-887-8880 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 27 ScottScott RobinsonRobinson Appearing at Jazz Standard October 31

By Eric Nemeyer

28 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 isms that bring the drama to life. Her music is Braxton. You asked what I appreciated about Scott Robinson very dramatic. There’s a lot of story in it - so it Braxton. The strongest comment I could make is places those types of demands on a performer that he’s a great example - maybe the greatest where somebody else’s music might not. living example - of someone who has really cre- (Continued from page 27) ated his own world in this music. As much as he this music from different eras is one of the great JI: By comparison, how does that compare to loves standards, and he loves Lester Young, and treasures of my life. It’s one of the great opportu- someone like Anthony Braxton for example? he loves the whole spectrum of the music … but nities of what I do. In baseball, kids grow up within the genre, he’s beyond it really. He’s idolizing Mickey Mantle for example. If they’re SR: Working with Anthony Braxton … there’s managed to create a world all of his own. I keep fortunate enough to get to a point where they can another great example of somebody that I idol- an Anthony Braxton file, a Sun Ra file, a Mel actually become a major league player, Mickey ized from boyhood and eventually found myself Lewis file. Mantle is long gone. But I get to play with performing with. He is a real treasure. He’s “Mickey Mantle.” I grew up listening to Frank something very, very special - very powerful JI: Did he provide you with any particular direc- Wess – and I reached a point where I can go play work ethic, incredibly productive person, also tion or suggestions that you found particularly at the Vanguard with Frank Wess. That is such very demanding in a certain way. Of course, his noteworthy? an incredible thing. I’m so grateful for that. I got music is very different from Maria Schneider’s. to play with Buck Clayton in his band, and rec- Much of the music I played with Braxton was SR: Well, I know you like motivational kinds of ord with him. I got to play with Illinois Jacquet. highly notated and very, very complex. I did one comments. I met him again after I moved to New quintet performance with him where we played York. This might have been 1985. My first al- JI: What kinds of ideas did you pick up in terms standards, actually, interpreted in a very free- bum came out in 1984. It was an LP. I saw Brax- of leadership from some of these artists? wheeling manner. ton at Sweet Basil and I brought him a copy of xxxxxxxxxx the LP. He was incredibly enthusiastic about it. SR: I’ve worked for some pretty tough people. JI: I remember an album of his from the 1970s He looked at it and all the different instruments, I’ve worked for some people that are not very on ECM where he played Charlie Parker’s har- and wow. He was really grateful for it and in- nice and I’ve worked for some people who are monically developed “Donna Lee.” credibly friendly. He started saying, “You know, really great leaders. Maria Schneider is very we’re in a difficult cycle right now. There are a demanding in a certain way. She really knows SR: Yeah, right, right. He did a couple of albums lot of problems in the world. But the important what she wants to get out of the music. It’s never like that. One of them was with Hank Jones. I thing is that people like you and I keep on play- sufficient to just play the written notes and snore asked Hank about that. I said, “What did you ing music like our lives depend on it.” He said your way through parts. You’ve got to really think of that?” He said, “That cat has a very indi- that very emphatically and with great passion. bring it to life. She’s always asking for dynamics vidual sound and approach to music, and I re- That stuck in my mind. He’s very enthusiastic and emotion - and you’ve got to put a lot of feel- spected that and I really enjoyed the sessions.” about other people’s work. Years later he started ing into it. You’ve got to understand the intent of the music, and really give it what it needs to come to life. She’s very specific about these things. But at the same time, she loves spontanei- [Anthony Braxton said] “‘You know, ty. She loves the creative people that she’s brought into the band and she loves to wind them we’re in a difficult cycle right now. up and let them go - and when they go, she just revels in it. She’s very grateful to her musicians There are a lot of problems in the for what they do. She does what a lot of band leaders never do – she sends cards or calls up the next day and leaves a message saying, “Oh, world. But the important thing is that Scott, that was just so incredible what you played last night. I can’t believe it. I’m still flying.” Not people like you and I keep on playing everybody does that. She really is communica- tive and she’s just a great, great gal. She’s got music like our lives depend on it.’” everyone’s respect - and I’ve worked for plenty of people that are not that way. They know who they are. talking to me about that record and I realized JI: Over the years I have read attacks on Antho- wow, he really did go and listen to it and pay JI: Could you elaborate a bit about how she ny Braxton by some well known players. attention – so that years later he can come back communicates some of the things that she wants and talk to me about it. It was amazing. He loves during a rehearsal? SR: Yeah, Anthony Braxton gets thrown into the music. I don’t know how he finds the time to slop bucket termed “free jazz” - which is kind of listen to all the stuff he loves listening to, and SR: She’ll gesture with her hands, and she’ll say, ludicrous. He’s certainly capable of playing in a write all the stuff that he writes. Another guy that “That part needs to rise up. Think of yourself as free, improvised manner. He does a lot of that I used to speak with a lot was Sun Ra. I used to flying. Think of yourself as flying through the but the bulk of his work is compositional. His are see Sun Ra all the time - any chance I got. He clouds and you’re soaring over everything and highly original compositions. He’s much more was very friendly to me and we would sit and you’re a little bit afraid.” She’ll give you ideas interested in that then in just a lot of free, open talk for hours sometimes. He was very giving of like that - emotional things, almost programmatic blowing. When you play in his ensemble, you his time, very encouraging. He gave me his considerations that inform how the music is sup- have a certain amount of freedom to make per- book, signed it for me and everything and would- posed to sound … how it’s supposed to be real- sonal statements. But you must hue to the intent n’t take any money for it. He was a really nice ized. Much of her music tells stories - and the of the music and the arc that’s being described guy to me. He was another amazing person who players need to understand the type of story compositionally. That’s what’s important. Brax- created his own world. that’s being told so that they can …. we’re ac- ton is an amazingly hard working person, incred- tors in a way, aren’t we? We’re playing a role. ibly prolific. He’s written all this music … and  We’re playing a role in some larger drama. So as all these operas. A term like free jazz becomes actors, we need to find the voice and the manner- very silly when you’re speaking of someone like

To Advertise CALL: 215-887-8880 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 29 MattMatt WilsonWilson Appearing at Dizzy’s Club October 12-13

30 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 to dig deep is bring another dimension into their own play- important. Out- ing? INTERVIEWINTERVIEW side of playing, what do you do to MW: Every instrument plays melody, harmo- re-center and find ny and rhythm. The drums are a melodic in- peace of mind? strument when approached that way. The sax- Matt Wilson What do you do ophone is a melodic instrument when ap- to break through proached that way. You dig? To me, when we “I learned with my ears and not my eyes” all of the surface play time we play melody. The ride cymbal is stress in our con- a melody instrument. Check out Elvin Jones, temporary world? Roy Haynes and Tony Williams and hear the By Eric Nemeyer melody of their time. Woo hoo! MW: Laugh often and enjoy my kids. They re JI: What are your top five desert island drum- -center me and drive me crazy at the same JI: As a musician, what do you feel your role records that you couldn’t possibly live with- time. That is great! We have been trying as a or responsibility is in our society? Is what you out, and please state why? The leader doesn’t family to get out and experience the world in do something only for you and the musicians have to be a drummer, but please choose al- activities that are as technology-free as possi- you are sharing the stage with, or are you try- bums based on the role of the drums. ble. Appreciate what is right with world in- ing to achieve something outside of that mi- stead of always stressing about what is wrong. crocosm? MW: Off the top of my head: (1) Study in Eat good food made with love and offered Brown - Max Roach – Clifford Brown Quintet with pride. Take walks, do yoga and help peo- MW: Play some music that helps folks escape This was a serious band and the way Max ple. for a bit. Improvised music is shared in the sings on these tunes is astounding. (2) Out of moment so the audience is a vital part of the the Afternoon - Roy Haynes - Wow! Roy is a JI: What is it about musical improvisation experience. They want to be included in the prime example of playing melody and con- that you find so valuable? What does it offer journey so welcome them and take them veying The Song in what ever he plays. He is to you, your band-mates, and the listeners? somewhere. Let. Let them laugh, let them cry always playing the song. Incredibly creative What motivates you and drives you forward? and let them know you. and you feel everything he plays. (3) But Not for Me - Ahmad Jamal Trio Live at the Per- MW: I love music that is occurring in the JI: What is the greatest compliment that you shing - Vernel Fournier plays gorgeous trans- moment when the musicians are welcoming can receive as a musician? parent time on this record that allows Ahmad and allowing what is supposed to happen to to dance over the feel. I can listen to this eve- happen. It is risky business and the vulnerabil- MW: From players: It sure is fun to play with ryday and still marvel at its simplicity. His ity is what, to me, allows a jazz performance you. From an audience: It sure is fun to hear

brush sound is awesome also. (4) Coltrane- John Coltrane Quartet w/ Elvin Jones - I am always drawn to this recording for it is so “Appreciate what is right clear. I loved Elvin because his touch was so amazing. I never thought of Elvin as loud, his sound was warm and would just wash over with world instead of always you like a wave of warm water. (5) Moanin’ – Art Blakey (6) It Might as Well be Swing - stressing about what is wrong.” Basie with Sinatra, Sonny Payne. (7) Go - Dexter Gordon with Billy Higgins. Okay, this is seven CDs - but what the heck. Swing is a to be so exhilarating. I am constantly mar- you. From a promoter: It sure is fun to have great beat! These are proof! veled by how a group of musicians can do this you here. and I do it almost everyday. I want to be na- JI: When you first embarked on the sophisti- ïve, I don’t want to know what it is but just JI: What is the most rewarding facet of your cated journey of becoming an improvising celebrate that it is a vital part of my life. life as an artist? drummer, or a jazz drummer, what were some methods that you found extremely useful to JI: What was it that initially inspired you to MW: Playing music with a community of achieving your goals? become a drummer? How did it all start? amazing musicians that I love dearly as people. MW: I was fortunate to always be playing MW: I saw Buddy Rich on the Lucy Show  music with musicians so my development was when I was in the second grade and that was not sitting in a practice room and working out the spark. I later had a friend who had a rec-

something that I would lay on the music when ord. Rich vs.[Max] Roach and the second I

I did get a chance to play. I always liked to heard Max improvise over the bass line I “In the beginning of a play to play the song. I also was improvising knew that this was the sound that sang to me. change the patriot is a scarce all of the time because I did not know any I heard melody!! man, and brave, and hated and better. I did not read music until later which scorned. When his cause succeeds, was, as I look back, a blessing. I learned with JI: Do you feel that it is important for drum- the timid join him, for then it my ears and not my eyes. mers to explore musical elements other than costs nothing to be a patriot.” rhythm, such as melody and harmony in order

JI: As an artist, your state of mind and ability to better empathize with their band-mates, or - Mark Twain

To Advertise CALL: 215-887-8880 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 31 Three of the Brown children went to college, an amazing achievement for the era; both par- FEATUREFEATURE ents found a way to stress education. As one child put it, if someone said “Where’s the jelly at?” the answer would be “Right in back of the preposition.” As the youngest, Clifford was babied a Clifford Brown bit. Joe Brown would buy used toys for the kids and refurbish them; not so for Clifford, His Life & Music — Part 1 whose playthings were new. He could read

before he entered school, and rode a girl’s Jazz Loves Its Heroes, And Loves To Tell Stories About Them - bike at the age of two. (He couldn’t reach the seat, so he’d sit on the bar between the In Time, These Stories Acquire The Appearance Of Mythology. wheels!) He would discover his favorite toy a few years later…even before he had any interest in music. Father owned several instru- By John Barrett, Jr. Fats Navarro. While both travel similar lines, ments (piano, violin, trumpet); he’d play these Fats has a slightly rougher tone, and a simpler in his spare time, and would try to teach the A common theme is the Tragic Ending: a approach to solos. While Navarro charges kids. He was showing the trumpet to Eugene player emerges from nowhere, dazzles the forward, Clifford will go on quote-filled ex- Brown when Clifford got excited. “When I crowd for a few years, and then dies or disap- cursions—if Fats’ solos are diagonal lines, was too little to reach it, I’d climb to where it pears or somehow escapes notice. For whatev- Brown’s are elegant, finely-wrought curves. was (in a closet) and I kept on knocking it er reason, most of these tales are told of trum- Each phrase is part of the big picture; every down.” peters. There is Bix Beiderbecke, a hot stylist note has its purpose. It is a very competitive Joe got the message: he gave his son an whose best years were spent in a much- style, demanding concentration and discipline. old bugle, and after messing around with it, maligned dance band. There is Fats Navarro, Clifford Brown had these traits in abundance, Clifford joined the school band. That was how whose amazing energy was de- he got his first trumpet—by age stroyed by narcotics and fad diets. twelve he was taking lessons with There is Dupree Bolton, a brilliant Robert “Boysie” Lowery. Using no hard-bopper who made two albums book, no formal program, Lowery and spent much of his remaining life taught Clifford how to recognize in prison. chord changes, and how to impro- And at the head of the list we vise around them. Lowery calls his have Clifford Brown…who has system “the classes”; it helped little in common with the others. He Clifford, but Boysie was modest recorded often, worked tirelessly at about it. “He really knew what he his craft, had a stable home life, and wanted to do as far as music was was riding a wave of hard-earned concerned. All he needed was the success. His demise was not self- right person, and I think I was the inflicted, and it came without warn- one at the time.” ing: the car slid out of control, as While still in junior high, the wife of a bandmate was driving Clifford was playing in The Little him home. He accomplished all of Dukes, a boys’ band organized by this in four years, and there is no Robert Lowery. He’d occasionally telling what more he could have replace Lowery in his own group, done. You can hardly get more trag- The Aces of Rhythm. He couldn’t ic than that. do it often, as he was too young to Clifford Brown’s style has two get in the clubs. In 1946, he entered distinct elements, which are oppo- Howard High School, where his site yet complimentary. His pace is music teacher was Harry Andrews, typically fast; notes zigzag as they a Columbia graduate and former climb upward, and the intensity always grows. and it might be from the way he was brought Army bandmaster. “Many times I’d be clean- In this aspect he resembles Roy Eldridge—a up. ing up my desk after school, and he’d stick his constant competitor, full of fight. At the same He was born in Wilmington, Delaware, a head in and ask if I had time for another les- time, his tone rarely slurs, no matter how fast town not too far from Philadelphia. His moth- son. And we’d go at it. But he was ahead of he goes. The notes are clearly separate from er Estella helped run an employment agency; me. He knew polytonality. He played all those each other, usually pure in tone. It is rare to Joe Brown worked as a porter, a fireman, and little grace notes.” Even at this stage, much of hear him raspy, or short of breath. This trait at one time a deputy sheriff. They were mar- his style was already established. he shares with classical trumpeters, and with ried in 1913, and later found a house on Pop- Brown’s schedule never let up. In addi- Rafael Mendez, a man he admired greatly. lar Street; when Clifford was born in 1930, tion to The Aces of Rhythm, he played in the (This admiration was mutual; according to the house was full of success stories. Marie Howard High marching band—and was writ- Chris Powell, Mendez gave Brown his trum- Brown graduated high school at the age of 15, ing arrangements for it. He was a frequent pet when they first met.) the first in school history to do this; Ellsworth participant at YMCA jam sessions, and played When asked to name his influences on a was a chess instructor at the Wilmington 1954 questionnaire, Clifford cited one man: YMCA, and later taught Clifford the game. (Continued on page 33)

32 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 land State College, where the music program a separate car accident. And on July 7, the life Clifford Brown was superb and the college band was begin- of Fats Navarro ended with tuberculosis. ning to make noise. With Clifford in their Clifford’s body and spirit were wracked, in all with the Wilmington Elks Club band. (They ranks, they’d be making a lot more. ways possible. Thankfully, his parents were also jammed at the Brown household; among His activity never slowed, even during nearby, and he received a hospital visit from the participants was Rashied Ali.) He graduat- summer vacation. There were plenty of jam Dizzy Gillespie. The advice he gave was sim- ed in the spring of 1948; that Fall he enrolled sessions, and an increasing number of paying ple: “You’ve got to keep it going.” at Delaware State College, where his playing gigs. At Philadelphia’s Mercantile Hall, a He was back in Wilmington, by the end was already known. (At that time the school Brown-led group opened for Max Roach, who of the summer, beginning a painful recovery. had no music department; Clifford’s scholar- took notice as Clifford’s name was an- He could lift his arms with difficulty, but ship was for mathematics.) On weekdays he nounced. (He’d been alerted by Dizzy: “Man, could not yet hold a trumpet. Instead he prac- took classes and played at school functions; there’s a cat out of Wilmington, who plays ticed with just his mouthpiece, and limbered every weekend he’d go to Philadelphia and piano and blows the *&#! out of the trum- his fingers on the family piano. He got good jam with the pros. This is where his real edu- pet.”) It was the first time they met; Max enough to play local gigs as a pianist, and cation took place; he practiced with Red Rod- would remember the name. made a short tour with Robert Lowery. ney and dueled onstage with his idol Fats Na- Come September of 1949, Clifford ar- Clifford returned to the trumpet in the varro. Benny Golson describes one of these rived at Maryland State and found a seat on spring of 1951, and made frequent trips to encounters: “…Fats played the first solo, and the 14-piece college band. He wrote charts for Philly. In May of that year saxman Tom Dar- then Clifford began to play. Fats held his horn the group and was also composing, at his most nall saw Charlie Parker at Club Harlem. “The in his hands the way trumpet players do, and serious level to date. Besides the band’s regu- band was playing without him, just a trio. He sort of stepped back—not in awe, but sort of lar concerts, they were often hired for dances [Parker] was in the next room. Just sitting in like in respect. And I’ll tell you, Clifford was and parties, which sent the group throughout this huge room by himself…He said ‘Well, go really holding his own.” Not bad for a fresh- Maryland. get your instrument. I fired my trumpet player.’ I happened to mention Clifford, and he said ‘Go call him!’ Darnall did, from the “… by age twelve he was taking lessons with club’s phone; Brown played the evening show with Parker, who told him, ‘I hear what Robert ‘Boysie’ Lowery. Using no book, no formal you’re saying, but I don’t believe it.’” By this time Clifford had dropped out of program, Lowery taught Clifford how to recognize Maryland State; recuperation took all his time. chord changes, and how to improvise around There were occasional gigs but no full-time employment—until November 1951. Chris them. Lowery calls his system ‘the classes’; it Powell rolled into town with his band, The Blue Flames; they were an R&B group with helped Clifford, but Boysie was modest about it. jazz inclinations. (At the bass was Jymie Mer- ritt, later of the Jazz Messengers.) Clifford ‘He really knew what he wanted to do as far as went to one of their shows, blew a few bars for Chris Powell, and was offered a job on the music was concerned. All he needed was the right spot. His parents weren’t crazy for the idea (“You left college to do this?”) but gave their person, and I think I was the one at the time.’” reluctant blessing—and their son toured the country, while his body continued to recover. man. Near the end of the school year, on June It was with the Blue Flames that Clifford Clifford did well at Delaware State; early 6, 1950, Clifford and three others were driv- made his first recordings: four tunes on the on he was nicknamed “The Brain.” His origi- ing home from a gig. A deer ran across the Okeh label, made in Chicago on March 21, nal plan was to teach math if a jazz career road; the car swerved and flipped over. The 1952. Clifford solos on two of these numbers; didn’t pan out. But he was increasingly pulled driver and his girlfriend were killed. Brown originally paired on a 45 single, they can now to music. The deciding factor arrived in the and another musician were rushed to a hospi- be heard on The Beginning and the End summer of ’49, when Clifford was home for tal. Clifford was placed in a full-body cast, (Columbia/Legacy CK 66491). vacation. The Dizzy Gillespie big band was and could not move for several months. On These are typical jump blues, sung by playing in Wilmington, and the hall was top of this tragedy, Sam Turner, another Mar- Chris Powell; the musicianship is competent packed. One of the trumpets (Benny Harris) yland State trumpeter, died a few days later in but undistinguished—except for Clifford: he didn’t make it to the show. In the audience blossoms on “I Come from Jamaica,” giving was Robert Lowery, who had jammed with his one chorus the impact of ten. He ignores

Dizzy; he found Clifford (also in the crowd), the tune’s Latin beat, and showers a fast suc-

led him to the stage, and told Dizzy that here cession of high, pure notes. At no point does was a substitute trumpeter. Clifford took a “The greatest day in your life Clifford “honk” in the R&B tradition; seat with the professionals, and played up a and mine is when we take total throughout he shows a bebop sensibility. Rich storm—Dizzy said, “Where did this guy come and brassy, he ends in a stunning swagger— from?” He even took the solo on “I Can’t responsibility for our attitudes. and Powell shouts his encouragement. Brown Started,” which was normally reserved for That’s the day we truly grow up.” then takes a mute on “Ida Red,” rolling a Dizzy. After the show, Gillespie urged the rhythm to match Eddie Lambert’s guitar. Each young man to pursue a life of music. Within phrase is rounded, and the sound is warm…in two weeks Clifford had transferred to Mary- (Continued on page 34) - John Maxwell

To Advertise CALL: 215-887-8880 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 33 the WOR studio on June 9, for a session led was a new trumpet giant.” Grand praise from Clifford Brown by Lou Donaldson. (The other players were a seasoned critic…but listening proves this is equally stellar: Elmo Hope, Percy Heath, and not hyperbole. (Continued from page 33) “Philly” Joe Jones.) These men took no pris- Four tunes were recorded, with two takes oners, but neither did Clifford: his power is of “Choose Now.” (After Clifford’s death, contrast to Dizzy, whose mute work could be evident on “Brownie Speaks,” his first record- these tracks became Side Two of Clifford piercing in tone. Unlike the band, Clifford ed composition. Its theme is compact and Brown Memorial—Prestige 7055/OJC-017.) took his role here quite seriously. He is practi- busy, scaling up and down a few notes; the “Philly J.J.” is as advertised: a feature for the cally the only reason to hear these tunes—and horns parallel on the theme and harmonize on drummer, he pours on the cymbals after the you can hear, even at this time, the genesis of the bridge. Brown’s solo is confident, mixing short theme. There are a few interjections of his style to come. clear notes with slurred, brassy clusters—this brass, then Clifford gets his first solo: calm During Brown’s stay, the Powell band is miles away from his work with Chris Pow- and glassy, his notes hit the roof in varying a grew in popularity—but Clifford was getting ell. There’s a sly quote of “Swingin’ on a few simple ideas. (The backing horns are a

“One of the trumpets (Benny Harris) didn’t make it to the show. In the audience was Robert Lowery, who had jammed with Dizzy; he found Clifford (also in the crowd), led him to the stage, and told Dizzy that here was a substitute trumpeter. Clifford took a seat with the professionals, and played up a storm—Dizzy said, ‘Where did this guy come from?’ He even took the solo on ‘I Can’t Started,’ which was normally reserved for Dizzy. After the show, Gillespie urged the young man to pursue a life of music. Within two weeks Clifford had transferred to Maryland State College, where the music program was superb and the college band was beginning to make noise. With Clifford in their ranks, they’d be making a lot more.” restless. He had to dance as he played, which Star,” while Hope jabs some sour notes; Don- little too loud, and obscure Brown’s soft mo- was hard on his still-healing legs. As always, aldson works even faster, though his tone ments.) He is relaxed, yet powerful; Benny his first love was jazz, which he played when- sounds a little pinched. On the basis of this Golson tries hard on his solo, a disjointed first ever he got the chance. He wrote and arranged tune alone, the rookie had proven himself. chorus but a great second. “Philly” Joe then for the Powell group. One tune was called Lou is much better on “You Go to My gets his chance, and the ensemble roars home. “Commercialized Utensils” - but none of Head,” taking the first solo with creamy, vi- “Dial ‘B’ for Beauty” offers a contrast: these items were recorded. He found time for brato-filled notes. He then follows with a dou- after Clifford’s proud fanfare, Tadd plays jam sessions wherever the band was playing, ble-time flurry, stunning in its intricacy and alone, accented by brushes. Though his piano trading licks with Stan Getz and with John tunefulness. Clifford is strong with a three- work is often maligned, Dameron was capable Coltrane, who at the time was also on the note pattern, after which he goes racing: it’s a of great delicacy; this solo tiptoes, and shows R&B circuit. When Getz’ wife was arrested little muddy at first, but soon straightens out. some Ellington mannerisms. Golson is gem- for heroin, Brown organized a concert on The ending, where both horns weave around like on his short solo, and Oscar Estell has a Stan’s behalf, which raised five hundred dol- each other, is truly special—and Elmo ends choice phrase on baritone. Brown’s mute is lars. And as Clifford played beside the jazz the tune in a romantic flourish. The album, sassy on “Theme of No Repeat,” yawning giants, word was getting around. optimistically titled New Faces - New Sounds through a sweet chorus. (The open horn on the In Philly he ran into Tadd Dameron, who (Blue Note 5030), met every expectation. theme is likely the work of Idrees Sulieman.) was re-organizing his band after a long ab- In two days Clifford was back in the Clifford stays in the middle register for the sence. Tadd needed a trumpeter, and Brown same studio, recording for Tadd Dameron; he first take of “Choose Now” and spins a fast was very interested—he’d be filling a chair was reunited with Percy and Philly Joe, and circle. (Here the notes run together, without once held by Fats Navarro. The group was set surrounded by a crop of young horns. Produc- the precision he normally has.) Take Two is to record in early ’52 but the session was de- ing the session was Ira Gitler, who had heard slightly faster: Clifford’s solo is shorter, and layed, owing to Tadd’s drug problems. of Clifford but hadn’t yet heard him. In the better executed. (The same is true of Golson, Clifford toured with Chris Powell for another week before the session, Tadd boasted to Git- whose effort has a raspy kick.) year, then received two offers to record in ler of his new trumpeter—and still Ira was Following this session, the Dameron band June of 1953. (The parting with Powell was surprised. “When Brownie took his first solo headed for Atlantic City, where they played amicable; Chris wished him good luck, and on ‘Philly J.J’, I nearly fell off my seat in the the Paradise Club, opening for comedians like Clifford sought his advice in later years.) control room…Brownie, although influenced Redd Foxx. The Lionel Hampton band was in Brown hurried to New York, and was in by Fats, was not just an imitation of Fats—he (Continued on page 36)

34 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

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ORDER Start Your Promotion NOW! - PressToRelease.com To Advertise CALL:Experience 215-887-8880 ResultsSeptember-October 2018 In  Jazz24-48 Inside Magazine Hours!  www.JazzInsideMagazine.com CALL 215- 887-8880 35 Ten days later, Brown joined Gryce and four own compositions—the Hampton book large- Clifford Brown others in his first record date as a leader. ly consisted of standards and jam blues. It The session was arranged by Quincy seemed like a great chance, and the young (Continued from page 34) Jones, who also wrote two of the tunes. Percy trumpeters were ready to take it. and Lewis were in the band, as was Art Bla- Of course, Lionel Hampton saw it differ- nearby Wildwood, New Jersey, playing the key, who had jammed with Clifford on a pre- ently. If his sidemen made sessions for Euro- Surf Club. The two groups would jam togeth- vious occasion. The leader glows on Quincy’s pean labels, this could decrease the recording er in their off-hours, and this would lead to “Brownie Eyes”: he blows as Gigi whispers a offers for the band as a whole. He may also the next chapter in Clifford’s career. flute. A little gritty on the approach, Clifford have thought that the music could suffer if the During the Dameron engagement, there sounds friendly through his attack; Gigi might men were distracted with side projects. As the was time for another recording session. In the be even better, softly moaning with his alto. group left home, he laid down a law: individu- WOR studios on June 22 (for the third time in Lewis plays the theme on “Cherokee” as al band members cannot record in Europe two weeks), Clifford was back for Blue Note, Brown unleashes a chain of interconnected unless Hampton also participates. Violators this time in support of J.J. Johnson. Simply notes, in rolling rhythm. His first chorus may will be fired on the spot, and will not receive titled Jay Jay Johnson With Clifford Brown be too fast, but in time Clifford finds the right passage back to America. The musicians lis- (Blue Note 5028), this had Percy’s brother thing to say; so does Blakey, who breathes tened; they agreed to the terms. And they fig- Jimmy Heath on sax, and the rhythm section fire on the exchanges. They sink their teeth ured out ways of getting around the rule. of the Modern Jazz Quartet. John Lewis rolls into Gryce’s “Hymn of the Orient”: Lewis The first stop was Oslo, with a week of a fast start on “Get Happy,” and the horns comps sadly; Charlie Rouse strikes hard on concerts starting on September 6. The group sound modern on the reharmonized theme. his solo, while Brown’s is a riot of short, re- was well-received, and Clifford got his share Johnson’s solo is sculpted, with smooth flu- lated phrases. The exchanges are priceless: of solo time. By September 13 they had arrived at Stockholm, and Quincy Jones went to work. On the morning of September 15, “Clifford Brown’s style has two distinct elements, Quincy made some sides for the Swedish which are opposite yet complimentary. His pace is Metronome label; he promised to return at midnight with other musicians. After Hamp- typically fast; notes zigzag as they climb upward, and ton’s evening concert, Jones, Farmer, and Brown returned to their hotel rooms, saying the intensity always grows. In this aspect he resembles they were tired. Road manager George Hart Roy Eldridge—a constant competitor, full of fight. At was camped out in the hotel’s lobby, making sure no one left the building with their instru- the same time, his tone rarely slurs, no matter how ments. Hart never budged all night, so the three trumpeters snuck out the back door and fast he goes. The notes are clearly separate from headed for the Metronome studio. Brown and Farmer were backed by a each other, usually pure in tone. It is rare to hear group called the Swedish All-Stars; some of him raspy, or short of breath.” them played behind Moody on his ’49 records. The best-known among them would be gelhorn notes; there’s almost none of the Clifford plays a toy-soldier march as Art hits Arne Domnerus on the alto sax, and baritonist trombone’s rasp. Heath, on tenor, sounds alto- the “Topsy” drum riff. The resulting album Lars Gullin, who impressed Chet Baker when like as he twists through the heights of the (Blue Note 5032) was highly anticipated, and they first played together. This might not have instrument’s range. Clifford climbs in little accurately titled: New Star on the Horizon. been planned as a Clifford Brown session; on steps, then hits a thrilling succession of high Back at the Band Box, Clifford was prov- three of the four tunes the first trumpet solo notes; at the end of his solo the others join ing his worth every night. Lionel Hampton goes to Art Farmer. (These also found their him. By session’s end, Alfred Lion was duly loved horn battles, and would call on his sec- way on Clifford Brown Memorial - Prestige impressed. The producer signed Clifford to a tions for dueling solos. Art Farmer would 7055/ OJC-017.) “Stockholm Sweetnin’” has Blue Note contract, after which Brown re- usually take the first solo, and Brown would since become a standard, largely on the turned to the Dameron gig. Just another day’s follow: “He would send Brownie after me, strength of this version. Farmer and Gullin work for the increasingly busy trumpeter. and then we would play choruses, halves, take the theme, with the whole group in re- The job at the Paradise ended on the last eights, and fours…I must admit I was more sponse; Art’s tone is slightly sandy, and his week of June. Quincy Jones, then playing in than a bit jealous of his ability to play so well. solo style (a short phrase, varied often) resem- the Hampton trumpet section, stopped by the However, he was such a sweet and warm hu- bles Clifford’s. Domnerus is gentle, with club with an offer for Clifford. Dameron, ap- man being, I was forced to like him, even notes that lightly skip. You’d call him influ- parently angry at this overture, fired Brown though he made things very difficult for me as enced by Paul Desmond…only Desmond and two others. Within a week, he was play- a trumpet player.” wouldn’t be famous for another year! (Did ing with Hamp at the Surf Club. Preparing for On September 2, 1953, the Lionel Hamp- Arne create this style of alto? The world may a European tour, Lionel was bolstering his ton Orchestra boarded a plane for Oslo; for never know.) Brown’s solo sounds like roster with a flock of rising stars: Art Farmer, most of the group, it was their first time on the Farmer’s—except the lines are more involved, Buster Cooper, Jimmy Cleveland—plus Gigi Continent. Those with ambition, like Gigi and the notes faster, and the tone much clearer. He Gryce and Oscar Estell, who came with Quincy, viewed Europe as an opportunity: only gets a chorus to prove his skill, but it is Clifford from the Dameron band. To get the small labels would record you there, and you sufficient. new guys rehearsed before they hit the Conti- could return home a star. (This had happened nent, there was a two-week engagement at to James Moody, whose first hits were made (Continued in the next issue) New York’s Band Box, starting on August 18. in Sweden.) It was also a way to play your

36 September-October 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 New CD Release from Dallas Area Pianist John A. Lewis

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