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Donalddonald of NY Club, Concert Harrisonharrison Quintetquintet Withwith Brianbrian Lynchlynch Atat Jazzjazz Stabndard,Stabndard, Septemberseptember 2121--2424 Eric Nemeyer’s WWW.JAZZINSIDEMAGAZINE.COM September-October 2017 Interviews LarryLarry OchsOchs BrianBrian LynchLynch Comprehensive DirectoryDirectory DonaldDonald of NY Club, Concert HarrisonHarrison QuintetQuintet withwith BrianBrian LynchLynch atat JazzJazz Stabndard,Stabndard, SeptemberSeptember 2121--2424 Spectacular Jazz Gifts - Go To www.JazzMusicDeals.com To Advertise CALL: 215-887-8880 December 2015 Jazz Inside Magazine www.JazzInsideMagazine.com 1 COVER-2-JI-15-12.pub Wednesday, December 09, 2015 15:43 page 1 MagentaYellowBlacCyank To Advertise CALL: 215-887-8880 September-October 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 1 Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) September-October 2017 – Volume 8, Number 7 Cover Photo (and photo at right) of Donald Harrison by Eric Nemeyer Publisher: Eric Nemeyer Editor: Lily Chang Marketing Director: Cheryl Powers Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Ken Weiss Contributing Writers: John Alexander, John R. Barrett, Curtis Daven- port; Alex Henderson; Joe Patitucci; Ken Weiss. ADVERTISING SALES 215-887-8880 Eric Nemeyer – [email protected] ADVERTISING in Jazz Inside™ Magazine (print and online) Jazz Inside™ Magazine provides its advertisers with a unique opportunity to reach a highly specialized and committed jazz readership. Call our Advertising Sales Depart- ment at 215-887-8880 for media kit, rates and information. SUBSCRIPTION INFORMATION SUBMITTING PRODUCTS FOR REVIEW Jazz Inside™ (published monthly). To order a subscription, call 215-887-8880 or visit Companies or individuals seeking reviews of their recordings, books, videos, software Jazz Inside on the Internet at www.jazzinsidemagazine.com. Subscription rate is and other products: Send TWO COPIES of each CD or product to the attention of $49.95 per year, USA. Please allow up to 8 weeks for processing subscriptions the Editorial Dept. All materials sent become the property of Jazz Inside, and may or & changes of address. may not be reviewed, at any time. Jazz Inside™ Magazine | Eric Nemeyer Corporation MAIL: P.O. Box 30284, Elkins Park, PA 19027 EDITORIAL POLICIES COPYRIGHT NOTICE Copyright © 2017 by Eric Nemeyer Corporation. All rights reserved. No part of this OFFICE: 107-A Glenside Ave, Glenside, PA 19038 Jazz Inside does not accept unsolicited manuscripts. Persons wishing to submit a manuscript or transcription are asked to request specific permission from Jazz publication may be copied or duplicated in any form, by any means without prior Telephone: 215-887-8880 Inside prior to submission. All materials sent become the property of Jazz Inside written consent. Copying of this publication is in violation of the United States Federal Email: [email protected] unless otherwise agreed to in writing. Opinions expressed in Jazz Inside by contrib- Copyright Law (17 USC 101 et seq.). Violators may be subject to criminal penalties Website: www.jazzinsidemagazine.com uting writers are their own and do not necessarily express the opinions of Jazz Inside, and liability for substantial monetary damages, including statutory damages up to Eric Nemeyer Corporation or its affiliates. $50,000 per infringement, costs and attorneys fees. CONTENTS 18 Clubs & Venue Listings INTERVIEWSINTERVIEWS Visit these websites: CLUBS, CONCERTS, EVENTS 20 Larry Ochs—Disturbed By The Music, JazzStandard.com, Jazz.org, FEATURE 13 Calendar of Events, Concerts, Festi- Interview & Photo by Ken Weiss JJBabbitt.com, MaxwellDrums.com 4 Donald Harrison vals and Club Performances 30 Brian Lynch PAY ONLY FOR RESULTS LIKE US www.facebook.com/ JazzInsideMedia PUBLICITY! FOLLOW US Get Hundreds Of Media Placements — ONLINE — Major Network Media & www.twitter.com/ JazzInsideMag Authority Sites & OFFLINE — Distribution To 1000’s of Print & Broadcast Networks To Promote Your Music, Products & Performances In As Little As 24 Hours To Generate Traffic, Sales & Expanded Media Coverage! WATCH US www.PressToRelease.com | MusicPressReleaseDistribution.com | 215-600-1733 www.youtube.com/ JazzInsideMedia 2 September-October 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 September-October 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 3 DonaldDonald HarrisonHarrison Feature Interview & Photos by Eric Nemeyer DH: Bill Pierce, a friend of mine, was my teach- heard you went with my brother.” So I said, er at Berkelee. And the first time I met Art Bla- “Yeah. Art called me.” So he said, “Go ahead DH: I remember that I wrote a song when I first key, Bill was playing tenor sax with him. I guess and join his band.” Roy was cool. But then I joined the Jazz Messengers. When Art Blakey I was about 18 years old, and Bill said, “Go get went back with Roy. And actually I played with heard the arrangement, he didn’t play drums. your horn.” He told Art that I was a young guy. I Roy from 1979 until about 1995, off and on. So Then he put a drum arrangement on the song. He was immediately petrified, but Art insisted. I got I would say I was in Roy’s band for 15 years. asked me, “Is that what you were looking for?” my horn and I played—I think Bobby Watson He’s a big one. He’s one of the great teachers And I immediately told him, “No, that’s not was playing alto saxophone at the time. After we and ever youthful and ever growing. Art Blakey what I was looking for, but that’s way bet- played, then Art said, “You know, I’m calling had a thing about work ethics. He had some kind ter.” [More laughter] I sort of remembered that you one day.” I believe that was in 1979. Ulti- of ear to know that you could develop into when you’re dealing with guys on a higher cali- mately, I wound up going with Roy Haynes something. He taught us mostly by his drum ber like that. immediately after that. They both knew each playing. He told me that saxophonists have to other. Then in 1982, I believe, when the Marsal- stay in tune with trumpeters. If the trumpet is out JI: Could you talk about how that opportunity is brothers left, Art finally said OK. I played of tune, you play out of tune with him. If he’s in with Art Blakey opened up for you and how with him for four years. Roy Haynes knew about tune, you play in tune. You have to live each things developed? it. I had to call Roy. He was the first person to note. That was really monumental for me to hire me in New York. He called me and said, “I (Continued on page 6) 4 September-October 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 September-October 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 5 day. He made me develop all facets of writing. I Orleans—a high-school big band. We had a lot Donald Harrison just wanted to be a player. Even though I wrote, of fun in high school. We’re both from New I never really thought about writing until I Orleans, so we’re simpatico. We made a couple joined Art’s band. You know, Roy Haynes — I of records as co-leaders while we were with Art. (Continued from page 4) have to give him a lot of credit for a lot of things I guess it was time for us to leave, and Terence, I do. He was the first person to give me a at that period, he was always a little ahead of understand that. Trumpet is the lead instrument chance. He really knows how to lay the law me. I was always like “wherever I am, that’s and wherever he goes I have to go with him. down, as far as the rhythm … the question and where I am.” He said it’s probably time for us to Another thing he said was that everybody is answer, he calls it, of what bebop is … and tak- start a new thing. I said, “OK, let’s go, man.” I given a specific talent. So don’t worry about ing jazz to another level. He really is a commu- think that band stayed together for about three what someone else is doing, just stay on your nicator with his drums—one of the great com- years. Even though we were co-leading a band, we had some ideas that were very similar. We both loved a lot of great musicians. We had some ideas that were different. But we gave each “Another thing [Art Blakey] said was that other the freedom—even if we didn’t understand some times—to do whatever we felt was neces- everybody is given a specific talent. So don’t sary, and we backed each other. I tried to do what was best on his music and he tried to do his worry about what someone else is doing, just best on my stuff too. That really helps, I think. stay on your path. And, if you’re given a talent, JI: Was he writing more than you at that time? you need to develop it—because if you don’t DH: By the time we had a band, I was writing just as much as he was. develop it, then you are not doing what you were JI: Since he was writing before you, was he put here for. So do not listen to other people when giving you any pointers? they tell you, you should do a certain thing.” DH: No, I think we were both developing in our own way. I was probably more forward-thinking path.
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