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CONTENTS 18 Clubs & Venue Listings INTERVIEWSINTERVIEWS Visit these websites: CLUBS, CONCERTS, EVENTS 20 —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

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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 . When 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 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 - 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 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)

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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. And, if you’re given a talent, you need to municators—and he’s still around. A lot of guys than he was—more experimental than Terence develop it—because if you don’t develop it, then have played with Roy and learned a lot of les- when we had the band. Ultimately, he became you are not doing what you were put here for. So sons. Danilo Perez and I were playing on the experimental also. But I think we were develop- do not listen to other people when they tell you, jazz cruise, and we were both talking about how ing our own consciousness. I used to do what I you should do a certain thing. They have a tal- much we learned from Roy. heard that did. I’m not sure be- ent, and they’re developing their talent, to give cause I’ve never really met Duke Ellingon. I their gift to the world—and you’re doing the JI: Could you compare Roy Haynes’ style of heard that he would listen to what the musicians same thing. I came up in a Mardi Gras Indian leadership with Art Blakey’s? were doing and then write from that format. So tradition—and I like to dance and disco. So I if I heard a trumpet player’s abstract idea, I always said that I play from a dancer’s perspec- DH: They’re really kind of similar. They know a would write a song based off of the abstract of tive. All the young guys were saying that’s lot of music. I once saw Roy Haynes and Art that idea. That would be the format. The furthest dumb. But then I look around and I see other Blakey tell each other, for about three hours, the band went out or the furthest limb they were guys are on their records, or dealing “You’re the greatest, and I love you so much.” It on—that would be my starting point for a com- with chanting on records. So if you stay true to was going back and forth. They had mutual re- position. My thinking was, “OK, this is where yourself, then even the people who say that spect for each other. They’re just two natural they want to get to. So let me start a song here. [what you’re doing] is dumb, can be influenced guys, with a lot of love in their hearts ... and an Then they have to go further.” by you being true to yourself. ability to enable young musicians to grow at their pace, and to nurture them—with love. The JI: I think said that songs have JI: There is a lot to be said about the relevance thing I love about a lot of those guys in that gen- no beginning or ending … that when you start of looking inward rather than outward to in our eration is that they do things just because they playing, you’re just picking up where you left pursuits to discover and realize what our paths love the music, and so that you’ll love the music. off. are. I try to keep that spirit alive. Art also made sure to include us, and went on interviews when he DH: That’s one of the things Ron told me: when DH: Ultimately, I think you have to learn a lot did an interview. Art and Roy would always to you work on furthering your music, remember of music. If you’re part of a tradition—with talk about us to the press. I remember when I what you did the night before. Then come back traditional music—you have to learn the tradi- was with Roy, and they would ask him about all and keep going. I notice with certain great musi- tion. Each of us are different. Each of us has a the great gentlemen that he had played with— cians, man—which is weird—once we play an different nose, walks a little differently. So, ulti- and he would always mention the guys who idea, three years later those great musicians will mately, the personality of who you are should were in his band now, and talk about us, and say, know exactly what we were working on. They shine above everything else; and being true to “these are the young guys.” And, Art did too. come back and start dealing with those ideas yourself should be the ultimate criteria for what- again. And I’m like, “Wow, these cats really are ever you’re doing. JI: During the time you were in Art Blakey’s deep, man! This guy remembered that we did band, you developed a working relationship with this three years ago.” JI: What were some of the challenges that you . Did you guys know each experienced when you joined Art Blakey’s band. other before and how did that relationship devel- JI: You and Terence Blanchard recorded for op? Columbia. When you got that deal, what kind of DH: Art was the one who encouraged me to guidance or suggestion did you get from the write music—and I’m thankful to him to this DH: Actually, we were in a big band in New (Continued on page 8)

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To Advertise CALL: 215-887-8880 September-October 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 7 best musician. A lot of times I didn’t make a you and Terence Blanchard went on to pursue Donald Harrison decision where I was going to make a lot of your individual directions? Talk about the kinds money. I said, “Well, I need to play with these of ideas you began to have and directions you people, because I want to learn.” I wanted to were taking in your own pursuits. (Continued from page 6) learn all different types of music and to see where I could take all those things once I put DH: I’ve been doing a lot of stuff. I went into producer? them together. Sometimes I just say, “I need to the hip-hop world. I went into composing for go and play music” instead of worrying about orchestras. DH: George Butler just let us do what we want- how much money I could make by being on TV, ed to. So I miss him for that reason. Some pro- by being involved in some movies or whatever. I JI: Talk a little about your foray into the hip-hop ducers, a lot of producers, will let you do what want to be a real musician. So that’s what I world. How did that affect your artistry as a jazz you want but some have ideas that don’t go chose a lot of times. I think in the end, it has player? along with what you’re thinking about. So there helped me to develop who I am. I learned what DH: I live on St. James Place in . So there was this kid on my block, Christopher “Some people will want to take advantage of you, Wallace, who used to stand on the stoop every day. We started talking. He was around 13 years and some people are going to help you. You old. We got to be friends. He’d ask me about playing music and I would tell him about what have to try to decipher who’s going to help you. jazz was like. He started telling me about hip- hop. He was into RUN DMC. Ultimately, he Sometimes the guy who’s taking advantage of started coming to my house. I had a little studio. So I started mentoring him about jazz and hip- you is helping you too. So you just have to figure hop and R&B—all kinds of stuff. He wound up being a rapper known as Notorious B.I.G. He where you are at that particular point in time became the King of Rap—New York rap, any- way. I think it’s because I was teaching him and what’s the best move to make when you’re various musical devices from a jazz perspective that he later used to move hip-hop forward. But dealing with business.” he was letting me hear all these hip-hop groups. I was digging the beat. I liked hip-hop before because my generation, when I was a teenager, can be a little tug of war. But George Butler it’s like to play with , going to the had The Sugarhill Gang, Afrika Bambaataa, said, “Go play whatever you want.” That’s how hip-hop world, going to the Mardi Gras Indian Kurtis Blow and all those people. So I was part he was. He was cool. He just came in the studio world, going to the jam-band world. I have years of that generation that started hip-hop. I liked it, to make sure we weren’t going over budget. of experience playing in all different types of but I didn’t think it would last [chuckles] at that Every once in a while he would say something, bands—studying each one and being able to put point, but it did. He re-acquainted me with the but he was a cool guy. He was very important that together. Now I can put everything together style of hip-hop music. I got into it and started because he was the guy who signed the young and use it the way I want to. digging the rhythms, and we’d go to clubs and musicians. He made the world aware that young dance to the music. Ultimately, it wound up the people could make jazz records again. JI: Talk about your influences. rhythms, the hip hop, wound up in the record- ings I made. I got together with Digable Planets. JI: What sort of business acumen and leadership DH: I hope that anybody playing jazz would be They were a hip-hop group with jazz influence. capacity did you develop as a result of your rec- listening to Charlie Parker. He and John Col- And I did something with Guru—his Jazzmatazz ord deals? trane put it together as far as I’m concerned. thing. So I was involved with some of the hip- Those are the two most influential saxophonists. hop groups. Over the years, it sort of sneaked DH: Some people will want to take advantage of I’ve learned and listened to almost the whole into my recordings. Now, I’m actually rhyming you, and some people are going to help you. history of jazz saxophonists. I think that it was myself. Well, I’ve been rhyming, but I’m really You have to try to decipher who’s going to help necessary for me. I was on tour with Wallace putting it on record now. I was rhyming with you. Sometimes the guy who’s taking advantage Roney and he was playing some voicings that he Notorious B.I.G. when he was at my apartment. of you is helping you too. So you just have to learned from Herbie Hancock. So we’re all big So I do it from both perspectives: from a jazz figure where you are at that particular point in students of all of the music. We try to keep perspective—as a jazz instrumentalist who was time and what’s the best move to make when aware of what’s going down. When you know influenced by hip-hop—and then as an MC who you’re dealing with business. But I always try to something, you can either use it or not. You can knows something about jazz. make the decision that’s going help me be the say, “Well, that’s not really me.” But if you don’t know it, you don’t have a choice. You JI: Talk about your composing in the symphonic have to deal with whatever you know. So I al- realm.

ways like choices. I always like to say, “Well,

that’s not really me.” And how do I know? Well, DH: For me, symphonic music is just a lot of “In times of change, because I went there and learned it. I understand different themes going in and out. So for me, if the learners shall inherit the how it’s put together. So that was my idea for you understand jazz, you should be able to write earth, while the learned find learning all different types of music. Some classical music or orchestral music. The main themselves beautifully equipped things I kept and some things I threw away. difference is the structure of the line. Once you to succeed in a world that Maybe they’re still there and I just don’t realize realize how to structure a line for orchestral mu- no longer exists.” it. But I went into the oven to see what was sic, then you should be free. I mean, take some- cooking in there. body like John Williams who’s a jazz pianist. Jazz musicians write for classical music. They’re — Eric Hoffer, American Philosopher JI: Why don’t you talk about the period after (Continued on page 10)

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(Continued from page 8) nuance, when he hits the bass drum, when he can analyze a Charlie Parker solo—strong and both influencing each other. To me, what jazz hits the snare, what he’s doing with the cymbals, weak notes. Generally, I can get someone to be musicians are doing is thinking orchestrally on a bass motion if he’s going up in minor thirds, able to analyze a Charlie Parker solo in about the spur of the moment. They’re composing like what kind of run he’s playing. So I’m listening two weeks if they have a working knowledge of a Beethoven or a Ravel, but they’re doing in- for everything anyway. So I just did the same music. If they practice diligently, they probably stantaneously. You have to have the same thing with an orchestra. I guess I was sort of a have a working knowledge of bebop in about six knowledge of music. You have to know what the natural at doing that. months to a year. rhythms are and what the harmony is. You have to hear everything and put it all together. We’re JI: Are you still writing for larger ensembles? JI: That’s the key: practicing and studying dili- doing the same thing that an orchestral xxxxxxxxxxxcomposer gently. is doing, but we’re just doing it on the spur of DH: I want to get to it, but I’ve been on the road the moment and as a group. Great jazz musicians so much. When I started doing that, I was doing DH: Well, you know, some people can look at it have that knowledge. When I started writing a residency for Meet the Composer. My life has every day and never figure it out. I have a way classical music, I just did the same I did when I been like a natural “just stay on the path and that I can teach, “Well, this is what it is. This is was soloing. The only thing I changed was the don’t even worry about nothing.” Things just why it’s working.” I remember when I went to shape of the lines. The emphasis and the shape come to me. I was playing with Brian Lynch, Berklee, there were certain things I didn’t know. of the lines are different. who was with Eddie Palmieri, who I had seen at And they told me, “Well, this is what this scale Carnegie Hall and heard his records. I’d always is. Now you know.” Basically, you explain just JI: What was your preparation for exploring wanted to play with Eddie Palmieri, but I didn’t what you know. That has helped me with trying your writing in that size ensemble? Were you pursue it. I didn’t have anybody call him to tell to develop that line of thinking. Not that it’s studying scores by Beethoven or Shostakovich him I wanted to play with him. Brian Lynch and necessary, but it helps to know exactly what or things like that? I were playing in Japan and he said, “Man, we everything is and be able to explain it. I guess need a saxophone player for Eddie Palmieri. that puts you on another level of creativity, be- DH: No, I just put on records and used my ears You think you want to try that?” I was like, cause now you’re past the point of trying to fig- [laughs]. That’s all I did. The only thing I had to “Yeah! That’s like a dream come true.” So ure out what it is. You know exactly what every- study was the range of the instruments. I didn’t things just happen. I wanted to write classical thing is. Music becomes about who you are as a study anything else. It was just, “OK, the oboe music and then they said, “You want to do this person. can go this low. These notes are hard for him to residency for Meet the Composer? You can play. This is hard once you get down this low for write for classical music.” I was like, “Thank JI: You have to live some life to be able to put a trombone. Or when you get up this high, then you.” It just happens, man. I’m glad it does. something into the music. he’s going to have problems.” Other than that, I didn’t study anything else. JI: So with Eddie Palmieri, did you have to DH: That’s true [chuckles]. Charlie Parker put it learn a whole bunch of lead sheets? so succinctly, “If you haven’t lived it, it won’t JI: What was the outlet for your writing on come out of your horn.” That’s all it is. It’s not a some of those symphonic things? DH: Brian [Lynch] was my guide. He really big deal. knows that style of music backwards and for-    DH: Mostly just live, orchestras in , wards. Eddie Palmieri, of course, was my guide some civic orchestras. too. All I’d do is just listen to him. He was so on

the point. I was keeping my eyes and ears open.

JI: Did you do all of the orchestrations and all of the voicings? JI: How does your immersion into the educa- “The sense of having tional arena help your creativity and/or your enemies or doubters can serve DH: Yeah, I didn’t find it. I mean, I found it artistry? challenging because it takes so long [laughs]. To as a powerful motivating device me it’s just like soloing. When I’m playing with DH: It makes you focus specifically on how to and fill you with an added a band I’m listening to what the pianist is doing. explain to someone what you’re doing. It helped creative energy and focus.” I’m seeing in my head if he’s playing a chord. me develop a methodology for teaching bebop I’m seeing all the notes spelled out anyway— and different types of music. Now I can look at where he’s going, where the bass player’s going, it and really analyze it and know exactly what or where the drummer’s going. I listen for every each note means. There’s a method behind how I - Robert Greene

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John Medeski

John Medeski will appear at Jazz At Lincoln Center, October 6-7, with the group Hudson including Jack DeJohnette, John Scofield, Larry Grenadier

Photo © Eric Nemeyer

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CALENDARCALENDAR OFOF EVENTSEVENTS

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 Toshiko Akiyoshi 3 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. Friday, September 1 10 Columbus Cir. #10.  3 feat. Buster Williams & Lenny White at Jazz  Amy Rivard at Astor Room, 4:00 PM. 31-11 35th Ave., Queens. Standard, 7:30 & 9:30 PM. 116 E. 27th.  Michael Feinstein: Showstoppers at 54 Below, 7:00 PM. 254 W.  Roy Hargrove at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St. 54th.  Shrine Big Band at Shrine, 8:00 PM. 2271 7th Ave.  Soñando at The Falcon, 7:00 PM. 1348 Rte. 9W, Marlboro NY.  Kurt Rosenwinkel 5 at Village Vanguard, 8:30, 10:30 PM. 178 7th  Turucuto & Franco Pinna at Shrine, 7:00 PM. 2271 7th Ave. Ave. S.  Nellie McKay at Deer Head Inn, 7:30 PM. 5 Main St., Delaware Water Gap PA.  Grassella Oliphant at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. Monday, September 4 10 Columbus Cir. #10.  Cyrus Chestnut 3 feat. Buster Williams & Lenny White at Jazz  Ryan Keberle Big Band: Celebrating Gerry Mulligan at Dizzy's Standard, 7:30 & 9:30 PM. 116 E. 27th. Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Roy Hargrove at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  Sax Appeal feat. Jimmy Heath, Gary Bartz, & Donald Harrison at Iridium, 8:00 PM. 1650 Broadway. Tuesday, September 5  Marshall McDonald Jazz Project at Maureen's Jazz Cellar, 8:00 and 9:30 PM. 2 N. Broadway, Nyack NY.  Bruce Williams 6 at Dizzy's Club Coca Cola, 7:30 PM. 10 Columbus  Bill Mobley 3 at Mezzrow, 8:00 PM. 163 W. 10th St. Cir. #10.  Charlie Parker Birthday Celebration feat. Greg Osby, Jeremy Pelt  Jeff “Tain” Watts' Alumni Band at Jazz Standard, & others at Birdland, 8:30 and 11:00 PM. 315 W. 44th. 7:30 & 9:30 PM. 116 E. 27th.  Kurt Rosenwinkel 5 at Village Vanguard, 8:30, 10:30 PM. 178 7th  Roy Haynes at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St. Ave. S.  Gene Bertoncini/Paul Meyers at Luca's Jazz Corner, 8:00 PM.  Patrick Bartley Presents The Mighty Cannonball Adderley at 1712 1st Ave. Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.  Steve Kuhn 3 feat. Steve Swallow at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  3 at Village Vanguard, 8:30, 10:30 PM. 178 7th Ave. S. Saturday, September 2  Herb Alpert/Lani Hall at Cafe Carlyle, 8:45 PM. 35 E. 76th.  Allyn Johnson 4 at Dizzy's Club Coca Cola, 9:30 PM. 10 Columbus  Mike Boone at Candlelight Lounge, 3:30 PM. 24 Passaic, Trenton Cir. #10. NJ.  Marquis Hill at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir.  Veronica Swift at Birdland, 6:00 PM. 315 W. 44th. #10.  Michael Feinstein: Showstoppers at 54 Below, 7:00 and 9:30 PM. 254 W. 54th.  Amina Figarova at Deer Head Inn, 7:00 PM. 5 Main St., Delaware Wednesday, September 6 Water Gap PA.  Bernard “Pretty” Purdie & Friends at The Falcon, 7:00 PM. 1348  Steven Bernstein's Millennial Territory Orchestra at Dizzy's Club Rte. 9W, Marlboro NY. Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Barbara Rose at Nauvoo Grill, 7:00 PM. 121 Fair Haven Rd., Fair  Jeff “Tain” Watts' Elvin Jones Alumni Band at Jazz Standard, Haven NJ. 7:30 & 9:30 PM. 116 E. 27th.  Lorens Chuno at Shrine, 7:00 PM. 2271 7th Ave.  Roy Haynes at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  Johnny O'Neal 3 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10  Carrie Jackson at INC American Bar, 8:00 PM. 302 George, New Columbus Cir. #10. Brunswick NJ.  Cyrus Chestnut 3 feat. Buster Williams & Lenny White at Jazz  Steve Kuhn 3 feat. Steve Swallow at Birdland, 8:30 and 11:00 PM. Standard, 7:30 & 9:30 PM. 116 E. 27th. 315 W. 44th.  Roy Hargrove at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  Bill Charlap 3 at Village Vanguard, 8:30, 10:30 PM. 178 7th Ave. S.  Sax Appeal feat. Jimmy Heath, Gary Bartz, Javon Jackson &  Jason Clotter Jam Session at Maureen's Jazz Cellar, 8:00 and 9:30 Donald Harrison at Iridium, 8:00 PM. 1650 Broadway. PM. 2 N. Broadway, Nyack NY.  Bill Mobley 3 at Mezzrow, 8:00 PM. 163 W. 10th St.  Herb Alpert/Lani Hall at Cafe Carlyle, 8:45 PM. 35 E. 76th.  Ty Stephens & SoulJaaazz at Trumpets, 8:00 PM. 6 Depot Sq.,  Marquis Hill at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. Montclair NJ. #10.  Charlie Parker Birthday Celebration feat. Greg Osby, Jeremy Pelt & others at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  Cafe at Farafina, 8:30 PM. 1813 Amsterdam Ave. Thursday, September 7  Kurt Rosenwinkel 5 at Village Vanguard, 8:30, 10:30 PM. 178 7th Ave. S.  Adelante Latin Jazz Orchestra at Union Farmer's Market, 4:00 PM.  Gloria Isaiah at Shrine, 9:00 PM. 2271 7th Ave. 1976 Morris, Union NJ. th  Patrick Bartley Presents The Mighty Cannonball Adderley at  Bruce Harris at Silvana, 6:00 PM. 300 W. 116 . th Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.  Tamir Hendelman 3 at Birdland, 6:00 PM. 315 W. 44 .  Paa Kow at Club Bonafide, 7:30 and 9:30 PM. 212 E. 52nd.  Brianna Thomas: Ella Sang the Blues at Dizzy's Club Coca Cola, Sunday, September 3 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Jeff “Tain” Watts' Elvin Jones Alumni Band at Jazz Standard,  Big Joe Fitz & The Lo-Fis at The Falcon, 10:00 AM. 1348 Rte. 9W, 7:30 & 9:30 PM. 116 E. 27th. Marlboro NY.  Dave Shumacher 4 at Hyatt Regency, 8:00 PM. 2 Albany, New  Bill Washer/Jon Ballantyne at Deer Head Inn, 5:00 PM. 5 Main St., Brunswick NJ. Delaware Water Gap PA.  Steve Kuhn 3 feat. Steve Swallow at Birdland, 8:30 and 11:00 PM. th 315 W. 44th.  Eugene Seow 4 at Silvana, 6:00 PM. 300 W. 116 . (Continued on page 14)  Dave Stryker 4 at The Falcon, 7:00 PM. 1348 Rte. 9W, Marlboro NY.  Bill Charlap 3 at Village Vanguard, 8:30, 10:30 PM. 178 7th Ave. S.

To Advertise CALL: 215-887-8880 September-October 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 13  Herb Alpert/Lani Hall at Cafe Carlyle, 8:45 PM. 35 E. 76th.  Marquis Hill at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.

Friday, September 8

 Jakob Varmus 4 at Silvana, 6:00 PM. 300 W. 116th.  Harold Mabern 3 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Jeff “Tain” Watts' Ask the Ages Band at Jazz Standard, 7:30 & 9:30 PM. 116 E. 27th.  Kermit Ruffins & BBQ Swingers at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  COTA Cats at Deer Head Inn, 7:00 PM. 5 Main St., Delaware Water Gap PA.  3 at Maureen's Jazz Cellar, 8:00 and 9:30 PM. 2 N. Broadway, Nyack NY.  Mel Davis & Friends at Trumpets, 8:00 PM. 6 Depot Sq., Montclair NJ.  Steve Kuhn 3 feat. Steve Swallow at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  Bill Charlap 3 at Village Vanguard, 8:30, 10:30 PM. 178 7th Ave. S.  Herb Alpert/Lani Hall at Cafe Carlyle, 8:45 PM. 35 E. 76th.  Rico Jones 4 at Metropolitan Room, 9:30 PM. 34 W. 22nd.  Marquis Hill at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.  & Friends at Blue Note, 12:30 AM. 131 W. 3rd St.

Saturday, September 9

 COTA: Mitchell Cheng/Patrick McGee at Deer Head Inn, 2:00 PM. 5 Main St., Delaware Water Gap PA.  Mike Bond at Candlelight Lounge, 3:30 PM. 24 Passaic, Trenton NJ.  COTA: Kirk Reese 3 at Deer Head Inn, 3:30 PM. 5 Main St., Delaware Water Gap PA.  COTA: Dan & Skip Wilkins at Deer Head Inn, 5:00 PM. 5 Main St., Delaware Water Gap PA.  Benny Benack III at Birdland, 6:00 PM. 315 W. 44th.  COTA: Katie Thiroux 4 at Deer Head Inn, 6:30 PM. 5 Main St., Delaware Water Gap PA.  Soul Sacrifice at Falcon Underground, 7:00 PM. 1348 Rte. 9W, Marlboro NY.  Harold Mabern 3 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Jeff “Tain” Watts' Ask the Ages Band at Jazz Standard, 7:30 & 9:30 PM. 116 E. 27th.  Kermit Ruffins & BBQ Swingers at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  Dave Kikoski 3 at Maureen's Jazz Cellar, 8:00 and 9:30 PM. 2 N. Broadway, Nyack NY.  Steve Kuhn 3 feat. Steve Swallow at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  COTA: Marianne Solivan 4 at Deer Head Inn, 8:30 PM. 5 Main St., Delaware Water Gap PA.  Bill Charlap 3 at Village Vanguard, 8:30, 10:30 PM. 178 7th Ave. S.  Herb Alpert/Lani Hall at Cafe Carlyle, 8:45 and 10:45 PM. 35 E. 76th.  Ralph Lalama 4 at Luca's Jazz Corner, 9:00 PM. 1712 1st Ave.  COTA: Celebration of the Arts Jam at Deer Head Inn, 10:00 PM. 5 Main St., Delaware Water Gap PA.  Marquis Hill at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.  Statik Selektah & Friends at Blue Note, 12:30 AM. 131 W. 3rd St.

Sunday, September 10

 COTA: John Swana 6 at Deer Head Inn, 2:00 PM. 5 Main St., Delaware Water Gap PA.  COTA: Estaban Castro 3 at Deer Head Inn, 3:30 PM. 5 Main St., Delaware Water Gap PA.  COTA: Billy Test 3 at Deer Head Inn, 5:00 PM. 5 Main St., Delaware Water Gap PA.  Katie Thiroux at Birdland, 6:00 PM. 315 W. 44th.  COTA: Davey Lantz/Dan Wilkins at Deer Head Inn, 6:30 PM. 5 Main St., Delaware Water Gap PA.  Harold Mabern 3 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Jeff “Tain” Watts' Ask the Ages Band at Jazz Standard, 7:30 & 9:30 PM. 116 E. 27th.  Kermit Ruffins & BBQ Swingers at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  COTA: Celebration of the Arts Jam at Deer Head Inn, 8:00 PM. 5 Main St., Delaware Water Gap PA.  Bill Charlap 3 at Village Vanguard, 8:30, 10:30 PM. 178 7th Ave. S.

Monday, September 11

 Keyon Herrold: The Flow Anthology at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  McCoy Tyner at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  Funk Shui at Silvana, 8:00 PM. 300 W. 116th.  Woody Allen & Eddy Davis New Orleans Jazz Band at Cafe Carlyle, 8:45 PM. 35 E. 76th.

Tuesday, September 12

 Bucky Pizzarelli 3 at Luca's Jazz Corner, 6:00 PM. 1712 1st Ave.  Keyon Herrold: The Flow Anthology at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Ethan Iverson 3 feat. & Jeff “Tain” Watts at Jazz Standard, 7:30 & 9:30 PM. 116 E. 27th.  David Sanborn at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  Melissa Aldana at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  Bill Charlap 3 at Village Vanguard, 8:30, 10:30 PM. 178 7th Ave. S.  Herb Alpert/Lani Hall at Cafe Carlyle, 8:45 PM. 35 E. 76th.  Evan Sherman Entourage at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.

Wednesday, September 13

 Camille Thurman/Charenee Wade: Salute to Sarah Vaughan at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Tim Berne's Snakeoil at Jazz Standard, 7:30 & 9:30 PM. 116 E. 27th.  David Sanborn at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  Melissa Aldana at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  Bill Charlap 3 at Village Vanguard, 8:30, 10:30 PM. 178 7th Ave. S. (Continued on page 16)

14 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 15  Herb Alpert/Lani Hall at Cafe Carlyle, 8:45 PM. 35 E. 76th.  Evan Sherman Entourage at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.

Thursday, September 14

 Matt King 4 at Union Farmer's Market, 4:00 PM. 1976 Morris, Union NJ.  Hot Sardines at Manhattan Bridge Archway, 6:00 PM. Water St. bet. Adams St. & Anchorage Pl., Bklyn.  Joe Pino 5 at Shrine, 6:00 PM. 2271 7th Ave.  Charlie Gordon at Silvana, 6:00 PM. 300 W. 116th.  Camille Thurman/Charenee Wade: Salute to Sarah Vaughan at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  David Sanborn at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  JLCO feat. : The Fantastic Mr. Jelly Lord at Rose Theater, Lincoln Center, 8:00 PM. Broadway @ 60th.  Arturo O'Farrill at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  Bill Charlap 3 at Village Vanguard, 8:30, 10:30 PM. 178 7th Ave. S.  Herb Alpert/Lani Hall at Cafe Carlyle, 8:45 PM. 35 E. 76th.  Gabrielle Stravelli 3 at Luca's Jazz Corner, 9:00 PM. 1712 1st Ave.  Evan Sherman Big Band at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.

Friday, September 15 Instant & [Almost!]

 Mike Holober/Marvin Stamm 5 at Maureen's Jazz Cellar, 6:00 PM. 2 N. Broadway, Nyack NY.  Jacob Varmus 3 at Shrine, 6:00 PM. 2271 7th Ave.  Martha Lorin 4: Ella Fitzgerald Tribute at Deer Head Inn, 7:00 PM. 5 Main St., Delaware Water Gap PA.  Fred Hersch/Kurt Elling/Kate McGarry: Leaves of Grass at Appel Room, Lincoln Center, 7:00 and 9:30 PM. Broadway @ 60th.  Gipsy Kings at Beacon Theatre, 7:30 PM. 2124 Broadway.  Herlin Riley 5 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Antonio Sanchez Group at Jazz Standard, 7:30 & 9:30 PM. 116 E. 27th.  David Sanborn at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  JLCO feat. Wynton Marsalis: The Fantastic Mr. Jelly Lord at Rose Theater, Lincoln Center, 8:00 PM. Broadway @ 60th.  Arturo O'Farrill at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  Bill Charlap 3 at Village Vanguard, 8:30, 10:30 PM. 178 7th Ave. S.  Herb Alpert/Lani Hall at Cafe Carlyle, 8:45 PM. 35 E. 76th.  Cha Cha at Silvana, 10:00 PM. 300 W. 116th.  Evan Sherman Entourage at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.  Skyzoo at Blue Note, 12:30 AM. 131 W. 3rd St.

Saturday, September 16

 Voichi Uzeki at Candlelight Lounge, 3PM. 24 Passaic, Trenton NJ.  Eric Comstock/Sean Smith at Birdland, 6:00 PM. 315 W. 44th.  Troy Roberts 4 at Deer Head Inn, 7:00 PM. 5 Main St., Delaware Water Gap PA.  Fred Hersch/Kurt Elling/Kate McGarry: Leaves of Grass at Appel Room, Lincoln Center, 7:00 and 9:30 PM. Broadway @ 60th.  Matkot at Club Bonafide, 7:30 PM. 212 E. 52nd.  Herlin Riley 5 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Antonio Sanchez at Jazz Standard, 7:30 & 9:30 PM. 116 E. 27th.  David Sanborn at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  JLCO feat. Wynton Marsalis: The Fantastic Mr. Jelly Lord at Rose Theater, Lincoln Center, 8:00 PM. Broadway @ 60th.  Arturo O'Farrill at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  Bill Charlap 3 at Village Vanguard, 8:30, 10:30 PM. 178 7th Ave. S.  Herb Alpert/Lani Hall at Cafe Carlyle, 8:45 and 10:45 PM. 35 E. 76th.  Mar Sala at Silvana, 9:00 PM. 300 W. 116th.  Evan Sherman Big Band at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.  Large Professor at Blue Note, 12:30 AM. 131 W. 3rd St.

Sunday, September 17 Jazz Lovers’ Advantage The Ultimate Competitive Seeking & Professionals  Jon Weber/Chloe Perrier at Deer Head Inn, 5:00 PM. 5 Main St., Delaware Water Gap PA. MindControlMarketingSystems.com  David DeJesus at Birdland, 6:00 PM. 315 W. 44th. Expectations. That Exceeds Satisfaction & Value Profitable Results, Strength, Industrial

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Lifetime Collection  Herlin Riley 5 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Antonio Sanchez Group at Jazz Standard, 7:30 & 9:30 PM. 116 E. 27th.  Song Sparrow at Silvana, 8:00 PM. 300 W. 116th. JazzMusicDeals.com JazzMusicDeals.com (Continued on page 17)  Bill Charlap 3 at Village Vanguard, 8:30, 10:30 PM. 178 7th Ave. S.

16 September-October 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 and 9:30 PM. 10 Columbus Cir. #10.  Donald Harrison 4 w/Brian Lynch at Jazz Standard, 7:30 & 9:30

th PM. 116 E. 27 .

 Henry Threadgill: The Pulitzer Project at Rose Theater, Lincoln “...among human beings “Some people’s idea of Center, 8:00 PM. Broadway @60th. jealousy ranks distinctly as a  /Steve Gadd at Blue Note, 8:00 and 10:30 PM. 131 W. weakness; a trademark of small minds; free speech is that they are free 3rd St. to say what they like, but if anyone  Coltrane Revisited feat. Eric Alexander, Steve Kuhn & others at a property of all small minds, yet a property Birdland, 8:30 and 11:00 PM. 315 W. 44th. which even the smallest is ashamed of; says anything back that  Miki Yamanaka 3 at Dizzy's Club Coca Cola, 11:15 PM. 10 Colum- and when accused of its possession will bus Cir. #10. lyingly deny it and resent the is an outrage.” accusation as an insult.” Saturday, September 23

- Winston Churchill  Duane Eubanks at Candlelight Lounge, 3:30 PM. 24 Passaic, -Mark Twain Trenton NJ.  Veronica Swift at Birdland, 6:00 PM. 315 W. 44th.  Thursday, September 28  Zach Brock 2 at Deer Head Inn, 7:00 PM. 5 Main St., Delaware

Water Gap PA. Monday, September 18  William Paterson University Jazz Ensemble at Union Farmer's  Mary Stallings & Mike LeDonne 3 at Dizzy's Club Coca Cola, 7:30 Market, 4:00 PM. 1976 Morris, Union NJ. and 9:30 PM. 10 Columbus Cir. #10.  Big Band Celebrates at Dizzy's Club  Wayne Tucker & Bad Motha's at Birdland, 6:00 PM. 315 W. 44th.  Donald Harrison 4 w/Brian Lynch at Jazz Standard, 7:30 & 9:30 Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10. th PM. 116 E. 27th.  John Yao 5 at Silvana, 6:00 PM. 300 W. 116 .  Marcus Strickland's Twi-Life David Sanborn at Blue Note, 8:00  Chick Corea/Steve Gadd at Blue Note, 8:00 and 10:30 PM. 131 W.  Pamela Winslow Kashani/Jerry Mandel: Love & Sax at Metropoli- and 10:30 PM. 131 W. 3rd St. nd 3rd St. tan Room, 7:00 PM. 34 W. 22 .  Woody Allen & Eddy Davis New Orleans Jazz Band at Cafe Car-  Joe Sanders 4 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 lyle, 8:45 PM. 35 E. 76th.  Henry Threadgill: The Pulitzer Project at Rose Theater, Lincoln Center, 8:00 PM. Broadway @60th. Columbus Cir. #10. th  Hudson River Jazz Ensemble at Maureen's Jazz Cellar, 8:00 and  Freddy Cole 4 at Jazz Standard, 7:30 & 9:30 PM. 116 E. 27 . 9:30 PM. 2 N. Broadway, Nyack NY.  Chick Corea/Steve Gadd at Blue Note, 8:00 and 10:30 PM. 131 W. Tuesday, September 19 rd  Miki Yamanaka 3 at Dizzy's Club Coca Cola, 11:15 PM. 10 Colum- 3 St.  Pharoah Sanders at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  Yasushi Nakamura 3 at Dizzy's Club Coca Cola, 7:30 PM. 10 bus Cir. #10.  Cecile McLorin Salvant at Village Vanguard, 8:30, 10:30 PM. No Columbus Cir. #10. phone reservations. 178 7th Ave. S.  Matt Wilson's Honey & Salt at Jazz Standard, 7:30 & 9:30 PM. 116  Julian Lee at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. E. 27th. Sunday, September 24 #10.  Chick Corea/Steve Gadd at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  Joanie Samra 4 at Deer Head Inn, 5:00 PM. 5 Main St., Delaware Water Gap PA.  Mike Sailors Jam Session at Luca's Jazz Corner, 8:00 PM. 1712 1st th Friday, September 29 Ave.  Gabrielle Stravelli at Birdland, 6:00 PM. 315 W. 44 .  Judimarie Canterino at Maureen's Jazz Cellar, 6:00 PM. 2 N.  Coltrane Revisited feat. Eric Alexander, Steve Kuhn & others at  Vinny Bianchi's La Cuchina at Deer Head Inn, 7:00 PM. 5 Main St., Birdland, 8:30 and 11:00 PM. 315 W. 44th. Broadway, Nyack NY.  Mary Stallings & Mike LeDonne 3 at Dizzy's Club Coca Cola, 7:30 Delaware Water Gap PA.  Corcoran Holt at Dizzy's Club Coca Cola, 9:30 PM. 10 Columbus  Paquito D'Rivera at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Cir. #10. and 9:30 PM. 10 Columbus Cir. #10.  Donald Harrison 4 w/Brian Lynch at Jazz Standard, 7:30 & 9:30 Columbus Cir. #10.  Annie Ross at Metropolitan Room, 9:30 PM. 34 W. 22nd. th PM. 116 E. 27th.  Freddy Cole 4 at Jazz Standard, 7:30 & 9:30 PM. 116 E. 27 .  Miki Yamanaka 4 at Dizzy's Club Coca Cola, 11:15 PM. 10 Colum-  Chick Corea/Steve Gadd at Blue Note, 8:00 and 10:30 PM. 131 W. bus Cir. #10. 3rd St. Monday, September 25  Mark Patterson 5 at Maureen's Jazz Cellar, 8:00 and 9:30 PM. 2 N. Broadway, Nyack NY. Wednesday, September 20  Gabe Condon Band at Shrine, 8:00 PM. 2271 7th Ave.  Water Gap Jazz Orchestra at Deer Head Inn, 7:30 PM. 5 Main St., Delaware Water Gap PA.  Pharoah Sanders at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  Ethan Winogrand 3 at Shrine, 7:00 PM. 2271 7th Ave.  Mambo Legends Orchestra: The Palladium Era at Dizzy's Club  Cecile McLorin Salvant at Village Vanguard, 8:30, 10:30 PM. No  Little Johnny Rivero & His Giants at Dizzy's Club Coca Cola, 7:30 Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10. phone reservations. 178 7th Ave. S. and 9:30 PM. 10 Columbus Cir. #10.  Woody Allen & Eddy Davis New Orleans Jazz Band at Cafe Car-  Julian Lee at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir.  Matt Wilson's Honey & Salt at Jazz Standard, 7:30 & 9:30 PM. 116 lyle, 8:45 PM. 35 E. 76th. #10. E. 27th.  Jam of Now: Funk Jam Session at Silvana, 9:00 PM. 300 W. 116th.  Chick Corea/Steve Gadd at Blue Note, 8:00 and 10:30 PM. 131 W.

3rd St. Saturday, September 30  Coltrane Revisited feat. Eric Alexander, Steve Kuhn & others at Tuesday, September 26 Birdland, 8:30 and 11:00 PM. 315 W. 44th.  Daryl Yokley at Candlelight Lounge, 3:30 PM. 24 Passaic, Trenton  Miki Yamanaka 4 at Dizzy's Club Coca Cola, 11:15 PM. 10 Colum-  /Bill McHenry at Dizzy's Club Coca Cola, 7:30 and NJ. bus Cir. #10. 9:30 PM. 10 Columbus Cir. #10.  Andrew McGovern 3 at Metropolitan Room, 4:00 PM. 34 W. 22nd.

 Eli Digibri 4 at Jazz Standard, 7:30 & 9:30 PM. 116 E. 27th.  Veronica Swift at Birdland, 6:00 PM. 315 W. 44th. Thursday, September 21  Chick Corea/Steve Gadd at Blue Note, 8:00 and 10:30 PM. 131 W.  Bob Dorough/Rosanna Vitro/Sheila Jordan at Deer Head Inn, 7:00 rd PM. 5 Main St., Delaware Water Gap PA. 3 St. st  Paquito D'Rivera at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10  James Beaudreau Band at Shrine, 6:00 PM. 2271 7th Ave.  Dennis Joseph 4 at Luca's Jazz Corner, 8:00 PM. 1712 1 Ave. th Columbus Cir. #10.  Dave Smith at Silvana, 6:00 PM. 300 W. 116th.  Pharoah Sanders at Birdland, 8:30 and 11:00 PM. 315 W. 44 .  Amy Rivera at Giulietta's Cantina, 7:30 PM. 13 Carmine.  Lorens Chuno at Shrine, 7:00 PM. 2271 7th Ave.  Cecile McLorin Salvant at Village Vanguard, 8:30, 10:30 PM. No phone reservations. 178 7th Ave. S.  Freddy Cole 4 at Jazz Standard, 7:30 & 9:30 PM. 116 E. 27th.  Pete Muller & Friends at Caffe Vivaldi, 7:30 PM. 32 Jones.  Jamhattan at Silvana, 10:00 PM. 300 W. 116th.  Chick Corea/Steve Gadd at Blue Note, 8:00 and 10:30 PM. 131 W.  Mary Stallings & Mike LeDonne 3 at Dizzy's Club Coca Cola, 7:30 3rd St. and 9:30 PM. 10 Columbus Cir. #10.  Julian Lee at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.  Mike Longo 3 at Maureen's Jazz Cellar, 8:00 and 9:30 PM. 2 N.  Donald Harrison 4 w/Brian Lynch at Jazz Standard, 7:30 & 9:30 Broadway, Nyack NY. PM. 116 E. 27th.  Pharoah Sanders at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  Chick Corea/Steve Gadd at Blue Note, 8:00 and 10:30 PM. 131 W. Wednesday, September 27  Cecile McLorin Salvant at Village Vanguard, 8:30, 10:30 PM. No 3rd St. phone reservations. 178 7th Ave. S.  Ethan Winogrand 3 at Silvana, 8:00 PM. 300 W. 116th.  Paul Jost Project at 55 Bar, 7:00 PM. 55 Christopher.  Julian Lee at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir.  Coltrane Revisited feat. Eric Alexander, Steve Kuhn & others at  4 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 #10. Birdland, 8:30 and 11:00 PM. 315 W. 44th. Columbus Cir. #10.  Nicky Parrott 3 at Luca's Jazz Corner, 9:00 PM. 1712 1st Ave.  Thana Alexa at Jazz Standard, 7:30 & 9:30 PM. 116 E. 27th. Sunday, October 1  Miki Yamanaka 3 at Dizzy's Club Coca Cola, 11:15 PM. 10 Colum-  Chick Corea/Steve Gadd at Blue Note, 8:00 and 10:30 PM. 131 W. bus Cir. #10. 3rd St.  Vanessa Racci at Maureen's Jazz Cellar, 6:00 PM. 2 N. Broadway,

 Bobby Deitch Band at Maureen's Jazz Cellar, 8:00 PM. 2 N. Broad- Nyack NY. Friday, September 22 way, Nyack NY.  Paquito D'Rivera at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 th Columbus Cir. #10.  Pharoah Sanders at Birdland, 8:30 and 11:00 PM. 315 W. 44 .  Shrine Big Band at Shrine, 8:00 PM. 2271 7th Ave.  Erin McClelland Band at Deer Head Inn, 7:00 PM. 5 Main St.,  Cecile McLorin Salvant at Village Vanguard, 8:30, 10:30 PM. No th  Cecile McLorin Salvant at Village Vanguard, 8:30, 10:30 PM. No Delaware Water Gap PA. phone reservations. 178 7 Ave. S. phone reservations. 178 7th Ave. S.  Julphan Tilapornputt at Silvana, 7:00 PM. 300 W. 116th.  Julian Lee at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.  Mary Stallings & Mike LeDonne 3 at Dizzy's Club Coca Cola, 7:30   

To Advertise CALL: 215-887-8880 September-October 2017  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 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 2017  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, 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, , 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. 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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 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 19 sation. The teachers I was exposed to never ex- plained that there was something involved called Interview creativity, or that what they wanted me to learn Interview could act as a foundation for creativity. In high

school, playing trumpet in the marching band was not cool. The music I had to play was not the music that I heard on the radio, it wasn’t the music I was Larry Ochs turned on by. You know, I read in other player’s books or interviews about their legendary high Disturbed By The Music school teachers but that wasn’t my experience at all. So music-making was a medium that I never imagined I was going to be a part of. When I got to Interview and photo by Ken Weiss am to be totally focused on what matters. I’ve nev- college, by then I had stopped playing trumpet. I er thought of this before, but it’s about being there thought I was going to get into politics. It was only Larry Ochs (b. May 3, 1949) is a New York City onstage within the groove of the music, and simul- after leaving college and moving to San Francisco born, Bay Area based tenor and sopranino saxoph- taneously, not being there, or being above the situa- that I picked up a saxophone with the intention of onist who is best known as co-founder of the ROVA tion. As far as the sandals, I just always hate having only playing for fun, to relax. I got into music – Saxophone Quartet but he’s also worked with many shoes on my feet. I like to feel kind of free, and really excited by music - as a listener and as a per- other imposing creative musicians including Steve shoes do the exact opposite for me. For years I son who looked at the arts and thought about it, and Lacy, , Wadada Leo Smith, Terry Riley, played in a group, occasionally with Fred Frith, and was inspired by it, but not as someone who said, John Zorn, , , Marilyn at the time he was always barefoot, and I thought ‘What’s going on behind the curtain?’ I only be- Crispell, Satoko Fujii, , William that was cool, but the thought of my being on stage came really serious about music while I was living Winant, Butch Morris, Mark Dresser, Scott barefoot, with all the electrical wires or other as- three and a half hours outside of San Francisco, Amendola, Vladimir Tarasov and the Kronos sorted detritus? Sandals struck me as the logical building my own place in the country, with no Quartet, This extensive interview took place on compromise. electricity. I’d go down to San Francisco and take December 11, 2016 at guitarist Tim Motzer’s Phil- a lesson with someone like Noel Jewkes and walk adelphia home prior to Ochs’ performance with JI: It’s interesting that you don’t necessarily think away and feel like I didn’t need to come back for a Nels Cline, Gerald Cleaver and Marshall Allen. of yourself as a musician but more as an artist while. He gave me so much to think about in one whose brush is the sax, and you view your music as hour, enough to figure out for the next year! Or so I a film that leads the listener to imagine their own felt. I was very, very independent-minded and in- Jazz Inside Magazine: Would you address your imagery. nocent. I didn’t want to learn in the standard way, ubiquitous onstage “uniform”? You’ve got the long which I think, looking back now, was not the best white, frizzy hair that illuminates from stage light- LO: I don’t have a standard or classic music- decision. I don’t recommend my path to anybody, ing, black clothes and shades, and often you change background, I’m basically self-taught. Over time in but it looks like it’s worked for me. I spent a lot of out of socks and shoes to play with bare feet in the seventies, I learned to appreciate all the arts, or time listening to records that I was interested in and sandals. perhaps more specifically, the ideas behind the trying to make sense out of them. I’d read an inter- making of art. One of the biggest turning-points view by Anthony Braxton or other musicians and Larry Ochs: [Laughs] Wow! That’s not a ques- was meeting Lyn Hejinian, who I’ve lived with artists, and then check out other artists that they tion I get very often. I can’t really address the hair, now since 1972, and then her brother Doug Hall. I said they were interested in. Often, when I would listen to the recommended musician or composer, their music would thrill me but not make total sense at first, but because someone like Braxton “I would say it’s important to me to mentioned this music or composer, I would listen to it over and over, and soon it would open up and I create music that encourages the could hear it. Then I’d have to think about how I was going to organize my own music, trying to use ideas I’d taken from what I was listening to. The participation of the listener and answer for me was to describe it or create some- thing on paper or on the sax that looked or sounded that has more than one correct like what I was hearing. My way of organizing sound was not traditional because I didn’t have those traditional skills to do it, but I created other way to “understand” it. I want to ways to make things happen. That’s why in some earlier interview you read I said that I don’t think allow the active listener to create of myself as a musician. Even today, I couldn’t walk into a studio and have a chart placed in front his own imagery to the music.” of me and easily reproduce it. That’s not what I’m about. I would say it’s important to me to create music that encourages the participation of the lis- the hair has its own life. Okay, black clothes? I like was impressed immediately with their seriousness tener and that has more than one correct way to them, it feels right, plus I don’t have to think about about all the arts; and at the same time their spirit “understand” it. I want to allow the active listener what color I want to wear on a given day. In my and their way of digging in to their own work. to create his own imagery to the music. One of the pre-musician days, I played air bass. I didn’t play When I was a kid, I played trumpet, but it was great 20th century artists – Stan Brakhage – was air guitar, I imagined myself as the bass player in pretty much all for college credit. Also, until I got fairly adamant that his films have no soundtracks. the back, in support of the music. The shades I out of college (where I listened a lot, but didn’t He felt that the images were themselves the music, wear are mainly about my not being able to take play music myself), I had had only private teachers or were making their own music. And being a fan the glare of the lights, but maybe, kind of hiding who weren’t good at all at communicating anything of his work, I would have to agree. Certainly, I was behind the shades perhaps, feeling safer. Definite- positive about making music. I think that it was just influenced by him among others to create music ly, there’s the thing that I like to get really “locked a job to them. It just seems that listening should that would - if you closed your eyes – allow you to in,” focused on the music, just being there for the have been the first point they made to me. I don’t see your own images accompanying that music. music, and I feel like the less of my normal self remember any discussion about music at all but that I am aware of being on stage, the more likely I maybe I wasn’t ready to have that kind of conver- (Continued on page 22)

20 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 21 after a show with glowing eyes and says, “I’ve when I completely understand the music, then it’s Larry Ochs been in a crisis about (a certain work) for weeks. I not that interesting any more. Once there’s no sur- came to this concert not thinking about it, but right prises involved, it’s lost the edge that keeps me in the middle of the second piece you played, all of interested in playing it. As a result, a band like (Continued from page 20) a sudden – bam! – I had this idea come to me that Rova has to keep creating new pieces with re- JI: In a 2000 interview you said, “Art doesn’t start completely solved the problem I’ve been obsessing freshed structures for improvisation, in order to off having meaning; it makes meaning. I think the over.” That’s what it’s about. You want people’s keep evolving, to stay interested. Now one does meaning is after the fact … Art that’s worth look- minds to get stimulated by your sounds, or sure, create similar pieces, but these similar pieces add ing at more than once says something more than “disturb them,” but it’s not so much that you intend new wrinkles/problems to stimulate / to solve. So the sum of its parts, and that isn’t really in the con- them to be uncomfortable. If you play this music in complete understanding is put off; the mystery is trol of the artist.” Do you still feel that way? the wrong venue, you will disturb some members reinvigorated. And experience both personal and Doesn’t that downplay the role and achievement of of an audience because you’re playing before peo- musical really matters to the greater music. I do – the artist and place it on the consumer? ple who are not open to the idea that there might be more often than not - feel very lucky to have the

LO: I feel that for most artists, certainly for me, I need a structure and/or a reason or stimulus for creating a piece, so in that way, I would disagree with that statement now. In other words, we need “I’ve never wanted to be in a our reasons or motivations for making the art. The artist will more often than not have some idea, situation with my music where concern, feeling, concept, etc. that stimulates the art, but I do still think that in the end, that my stim- ulus for creating a piece of music isn’t something it would comfortably act as that the listener needs to know. They’re going to have to make their own sense of what’s going on, and that’s what I would think of as the listener’s background music. I want to creative process. I think that’s an important aspect of art, that it presents itself in an open way. That it make music in order to wake activates the mind of the recipient. Art says to me, ‘Here I am, make with me what you will.’ When a person comes up to me after a concert and says, “I up the audience. Or perhaps loved that. That was great,” I’m not expecting them to have heard it the same way that I did, so even though I’m really glad there’s a connection, I’m more positively, I’m wanting not going to say, ‘What did you hear, because if you didn’t hear it the way I intended it, you didn’t for the sounds to interact with really hear it,’ because that’s not true. There’s a million ways to hear something. The first time I heard a record, I was attracted by the my audience.” energy of it. I didn’t hear the individual lines and notes particularly. It came at me in layers of sound at first listen, like waves. The first time I walked something out there that they don’t know about, background that I have, of being self-taught and into a Sun Ra concert I was completely over- that might actually be worth their consideration. figuring things out for myself. I really came to whelmed. That was an uncomfortable experience I’m fine with that, that’s part of the deal and I don’t appreciate music as a listener first, some years that first time, but when I listen to Taylor or Sun shrink from that. A lot has changed though since before I got into being a serious musician. I find Ra now, I hear so many details, you know? I think the ‘70s. The music that the bands do that I’m in, at that a lot of musicians who have gone through the the second part of the question is right. There’s a this point, is accessible to a lot more people than it more standard progression to becoming a profes- viewer’s experience and there’s the artist’s experi- was twenty or thirty years ago. Plus I think there’s sional musician, they seem to hear in a different ence, and I’m totally okay with artists who create less of a chance that you’re going to end up in front kind of way. It’s not that I hear in a better way, I completely spontaneously and don’t have a pre- of a hostile audience because all the music genres want to make that very clear, I’m not judging any- conception that gets them going into whatever it is now bleed into each other. Also, there’s less of an body else, but those two years being a DJ, and that they’re going to create. In a way, that can be a audience for live music at this point, so generally those years before that as a fan; I think that all little bit more of a pure creation than, for example, the people who come out are coming because they allows me even now to hear not as a technician. I a grant-driven reason for creating a piece of art, but want to hear what you’re doing. think that matters somehow. For playing and listen- it’s all valid. ing to improvised music, one needs to go into it JI: In an Email leading up to this interview, you with a completely open mind and use the tools that JI: In that same interview you also spoke of the sent an account of your impressions following a one has to add to or to reflect upon what’s going need for art to move you or disturb you. How does recent European performance. You wrote, on. With improvised music, if you start planning in musically disturbing an audience benefit you as a “Improvised music is a wonderful and unsolvable advance where the music is going to go, it will working musician? mystery.” Would you address the “unsolvable mys- never get there; it will never develop in the way tery” aspect of improvised music? you wanted it to. You just have to be a receptor and LO: [Laughs] Look, interview answers can tend then react. You have to hear the context, be in the towards the simplistic, they’re not nuanced. LO: I’ll try a couple of different ways to amplify context, and then at the same time, be ready and They’re off-the-cuff, you dig? So let’s try to ampli- on that statement. First, “mystery” is an important willing to choose your role in the context of what’s fy that statement. I would say it depends on who part of art making. I’m not a fan of making music happening, rather than forcing your ideas on the you are, but for me, I’ve never wanted to be in a easier to listen to by verbal introductions to it. I music. For free bands, I find that it’s not really situation with my music where it would comforta- prefer one gets thrown in the water and learns to useful, in terms of the next time you play with that bly act as background music. I want to make music swim that way. Of course that can lead to incidents group, to go back and listen to the set that was in order to wake up the audience. Or perhaps more like the one that happened to me in Spain in 2010 played previously, because there’s so many factors positively, I’m wanting for the sounds to interact when a patron at a concert actually went to the involved in improvised music. named a with my audience. One of the greatest compliments local police because my music was causing him trio we played in “What We Live” - meaning the you can get is when a fellow artist walks up to you serious stress. But for me, if there comes a time music reflected on all of life’s experience. Now, I

22 September-October 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Although those words ‘forwards’ and ‘backwards’ how great it is, because as soon as you do that, Larry Ochs are irrelevant. It’s all one big continuum of sound you’re done. Again, I feel from experience, that for me, it’s all equally compelling. there are lots of well-educated musicians who do not have the capability to just get all the way out do have groups in which we perform pieces that JI: Have you been able to recreate that feeling of there beyond their technique. It’s very much just have come out of listening back to freely impro- how you first felt when listening to Ayler in your getting out there with no mind and just rolling with vised music, but what you have then is “structured own playing or when listening back to your own it. There have been many concerts, especially those improvisation.” And you know, then it’s usually music? concerts with ROVA, and very my band, not a collective band. But the word col- often at a time when I’m not playing, where I lective can also apply. LO: Definitely. It just recently happened for me couldn’t imagine the music being any better than it again in fact, listening back to the duo recordings is. It’s an ecstatic feeling. JI: As you mentioned, your decision to pursue a that Gerald Cleaver and I made underground in a career in music was made late, you didn’t start on cave last October. That cave was in the Dordogne JI: How did your metamorphosis to a jazz musi- saxophone until the age of 21. Is it true that it was area of France, and filled with about 150 Pleisto- cian evolve? Albert Ayler’s Love Cry recording that inspired cene-era, man-made cave-paintings. The music we you to play tenor sax? made there together – with the cave itself as the LO: I’m more comfortable with “a jazz-influenced most important ingredient – made the hair stand up musician.” I was a kid in the sixties, first into Mo- LO: Yes, but there’s more to every decision than on my neck when I listened back to it for the first town and rock, especially the psychedelic stuff and one simple fact. Albert Ayler’s music and inten- time. So, yes, magic is happening on stage and the British guitar bands - Hendrix, The Who, tions still really speak to me. I’ve always felt that more often than not, it happens for me when I’m Cream, Fleetwood Mac (the first version) and defi- the most important thing is your sound. I could not the one generating the music, but rather when I nitely the Stones. I was into some jazz. I knew have all the chops in the world, or all of the ability am listening to others in the band make something about CTI, some Miles, and the people who were to play counter-rhythms against rhythms and all great happen. Steve Lacy called it “lifting the band- on covers of magazines, but I wasn’t in deep. The that stuff, but if the sound of the horn isn’t some- stand.” I have had that feeling where the music was world was changing at that time in the late ‘60s. I thing that you love, that you can live with as yours, just levitating all of us and the audience; where spent the summer of my high school junior year in then all of that other stuff is for naught. It was every note I played was “the perfect” addition to Copenhagen at a job I got through some agency. I Ayler’s sound and his spirit that inspired me as the music, and was helping to extend the feeling of was working in a laundry factory there, but I had much as what he was playing. I can hear another “perfection,” the feeling of getting off and staying my nights free and a place to stay, and that city was saxophonist who is technically a monster, but if levitated. With the 1989 ROVA + Braxton Europe- absolutely rocking. They had a huge anti-Vietnam they’re not projecting themselves through their an tour as a quintet, with the Dou- war movement there, but I wasn’t involved. I was sound, I’m not usually engaged. For me, it’s Lester ble Trio, in more than one of the Electric Ascen- watching, I was just a high school kid waking up. I Young, Sonny Rollins, Albert Ayler, Anthony sion shows, with Jones Jones, in , ended up going to University of Pennsylvania in Braxton. I say those names, I can hear their play- with Rempis and Johnston in Buffalo in 2014, in Philadelphia in the summer of ’67 and spent time ing. All the great ones have their individual thing in the long piece I wrote for in the next two to three years at WXPN radio sta- terms of sound and flow/groove. There was some- where all seven of us created lift-off as a septet. tion. I DJ’ed there and Michael Cuscuna was there thing about that Ayler recording Love Cry that With most recordings, it takes me a few listens along with other very nice guys who pointed me made me want to run out and rent a saxophone and before I can hear past “Ochs’ playing” and relax towards things I wasn’t aware of. There was a huge try to sound like him. At the time I was in San and get into the important thing - the group-music, blues library and somehow I got into the jazz Francisco, and I couldn’t find a job as a DJ playing which is what always, always matters most. I was a stacks. I’d pull out things that looked interesting. music on the radio which is really what I wanted to side-man on a recording session once where the One day I pulled out a Cecil Taylor record [Unit do, to turn people on to music and get paid for it, so leader of the session chose to redo beautiful takes Structures] and wow, what is going on here? It was “With improvised music, if you start planning in advance where the music is going to go, it will never get there; it will never develop in the way you wanted it to. You just have to be a receptor and then react. You have to hear the context, be in the context, and then at the same time, be ready and willing to choose your role in the context of what’s happening, rather than forcing your ideas on the music.”

I started playing “out” and started taking the time of pieces because his own solos seemed less than very strange, I thought, but very intriguing. I began to figure out how the Art Ensemble of Chicago was stellar to him; eventually he chose to use all second moving away from rock after Woodstock. It wasn’t structuring their long pieces. I was listening to the -takes with his best solos, rather than those where long after that, when I was in Philadelphia, that music of the original Ganelin Trio, with their full- the total music lifted off. It shocked me at the time, somebody told me I had to go to this sub-basement length LP compositions that have these amazing and so I still remember that. Is the casual listener “club” and check out “this weird band” which arcs to them. I was really into The Who. The long going to be impressed more by your great solo turned out to be Sun Ra’s band. After that, I was form of their opera Tommy intrigued me. I started within an overall “average” take or when the over- into the radio station stacks trying to find what else playing to blues records, but being enamored by all take rocks, even though a solo might be less was going on like that. I remember that I also went the post-Coltrane people, I really dug into Ayler, than stellar? I don’t know but I say it’s the group to the Fillmore East [in New York] one night to Shepp, Sanders, Rollins’ free jazz period, Ornette’s performance that matters most. In performance, hear a rock guitarist, and one of the bands also on Science Fiction era music, Miles’ electric music… there are many times where the sound, the music the bill was with his electronic band, etc. at first and Lacy, Braxton, Roscoe, Leo Smith just takes off, and I’m just really happy to be there and that was amazing. Slowly my ears were open- and Lester Bowie. It was really only after I got into and I hope it never stops, and of course, as soon as ing up. ROVA that I started digging in to earlier jazz play- I have that thought, the magic does stop. Again, ers. So I went “forwards,” and then “backwards.” you have to be in it, but don’t start telling yourself (Continued on page 24)

To Advertise CALL: 215-887-8880 September-October 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 23 rhythm section that’s supporting what I do. For me, because I’m always involved, unless I’m a true Larry Ochs I want music to transport people someplace. I want sideman which has happened very, very little. I it to be an out of body experience, and I think love the studio process. It all counts and you have there’s less of an emphasis on that goal, the out of the advantage of being able to snip it before people (Continued from page 23) body part of music, these days. When you listen to hear it, whereas on stage you don’t have that. I love JI: Another of your early powerful musical experi- a Charles Ives symphony, it isn’t necessary to be the whole recording process, but lots of other peo- ences was seeing John Coltrane live at the Village able to read the music on paper in order to be trans- ple don’t or don’t have time or tolerance for it. Gate in ’67. You were 18, so that was 3 years be- ported by what is happening around you. But you Glenn Spearman had no tolerance for that at all. fore you picked up the tenor and right before Col- have to want to go in and dig it. For Braxton, who puts out all of these super large trane passed later that year. CD sets, at the time he did the work with ROVA, JI: You were born in New York, spent time in he told me that for him, it was a tragedy what hap- LO: I would call that experience a pre-Ochs, hard- Philadelphia, but have lived almost exclusively in pened in studios. He liked everything and didn’t core experience in the sense that it happened too the Bay Area since 1971. How and why did you want to be part of the process deciding what didn’t soon. I was actually coming out of a Fugs concert end up there? get used. I love doing that, and it’s probably that I that was around the corner, and I heard music com- want to have control over things so that it turns out ing out of the club door and saw that John Coltrane LO: I had been coming out to the West Coast in a way that makes sense to me. If it’s my band, I was listed. I knew who he was but I’d never heard periodically. It was always in the back of my mind have to do it. There are no Teo Macero’s anymore, him. I walked down the Village Gate’s steps and that this was where I wanted to end up. I was also not for our music. there weren’t more than twenty people in there. interested in the drug scene, not the addictive ones, The music was so intense, especially in comparison but certainly marijuana. I was a part of the Wood- JI: You’re best known as a founding member of to the Fugs, God bless ‘em, they had a thing but it stock Generation. There was a part of me that felt the , the still going was nothing like this. Somewhere within twenty like moving to Manhattan after college was not strong collective that formed in 1977. How is it minutes, I had drifted off in my mind to another going to work for me, that I was going to get possible to keep a group together for 40 years? It’s place altogether, which wasn’t an uncommon thing caught up in bad things there. I think I needed to astonishing that there’s been just one personnel for me at a rock concert after smoking some pot, or get to a place where I felt safer than I would have change. whatever, and getting off on the music, and the in New York. In Philadelphia, there were a couple next thing you know, the concert’s over. I’d go of times where I got closer to being out of control somewhere inside the music. You’re asking me than I was comfortable with. When I got to San LO: Well, I guess everybody likes each other and, questions about things I haven’t thought about for Francisco, I just knew I was in the right place. Plus, kind of like brothers, you learn to accept where years, but this is another one of my experiences I wanted to do alternative radio, and there was people are at and that’s cool. It’s like a family; that influences that way I think about myself within more of it out on the west coast. Also my sister had we’re there for each other if needed. The other part of the answer is that the music is still really inter- esting, we still find that we get pushed by it. We “I want music to transport people some- get surprised or challenged by some aspect of the music we are doing and then figure out how to get it under our fingertips and into our craniums. We place. I want it to be an out of body still do lots of improvising from which we get ide- as. We have had periods of creative lulls and had to experience, and I think there’s less of find our way out, not so much by taking breaks, but rather by digging in again, trying to find more; or an emphasis on that goal, the out of body we seek out stimulus from outside individuals. We had a ten to fifteen year period where we were part of music, these days. When you finding money to fund commissioned works from outside musicians, and that certainly helped, giving listen to a Charles Ives symphony, it us a lot of new challenges. We did compositions by people like Jack DeJohnette, Henry Threadgill, isn’t necessary to be able to read the Alvin Curran, Terry Riley, John Carter early on, and later by Wadada Leo Smith, Fred Frith, Miya music on paper in order to be transported Masaoka, among others, many of which pushed us in directions we would not have gone in as a group. by what is happening around you. But Black Saint Records was very supportive. We grew by working with John Zorn and his cueing system, you have to want to go in and dig it.” by working with Butch Morris in the late ‘80s with his conduction stuff. And then we started getting into the large projects like Electric Ascension, the music world. As a listener, I’ve had the experi- left Penn to enter the Art Institute in San Francisco which has almost become the face of ROVA at this ence of being transported out of my body by music, so I had a place to start from there in 1971. Also, I point. Almost every festival we’ve done since 2005 and I’ve always felt like that’s the ultimate place to was a New York Giants baseball fan and they had has wanted us to do that, and sometimes I start be. It’s not me playing an amazing solo over a moved to San Francisco by then with Willie Mays. feeling like I’m a cover band for Ascension. Time passes quickly, it’ll be forty years with ROVA in There were many reasons convincing me to stay 2018. Things have changed, we’ve morphed, taken there. Plus the weather! Are you kidding me? I

arrived in what they call winter. Thank you, I’m longer breaks than we used to take. I have a lot

more groups now than I used to have in the ‘80s here for good!

and ‘90s that are not ROVA. We’re also in a time “Information is useless unless JI: On some of the recordings you’ve made, now where it’s harder for a band to tour often, so if you know how to interpret it, how to you’re listed as the primary artist, producer, arrang- you want to keep your hand in there, I feel I have use it to tell appearance from reality.” er, composer, and even liner note writer. Is there a to have more than just ROVA now. We do a lot different sense of attachment to the music in the less recording than we used to do, which I suspect projects where you’ve worn all of the hats? is primarily due to having far fewer ways to get recorded music to people. It’s frustrating spending LO: I would say no, it’s nice to share responsibil- a lot of time and money recording and mixing, - Robert Greene ity. In general, there isn’t that much of a difference while not knowing if someone is going to take your

24 September-October 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 improvisation” was a term that was not floating LO: Yes, briefly, a long time ago. I’ve known Larry Ochs around much at that time in San Francisco. Bruce Anthony for a long time now and actually, I think I [Ackley] got invited to do something there, and found that out from him. Perhaps, if he hadn’t have Bruce had been into choirs for a long time when he happened to walk into that office at that time, and product and then how people are going to hear it. was a kid. In his mind, there was a reason to organ- been intellectually curious to shout out, “What’s And for me, quite frankly, the idea that a lot of ize bands without rhythm sections in the Bay Area that?,” who knows? That was the key. people will be downloading low-end mp3 files is at the time, so he thought to do a saxophone quartet another kind of disincentive to making recordings. for this concert. He called me and [Jon] Raskin, JI: Another early triumph came in 1983 when who was set to be the alto player, and a fourth play- ROVA became the first U.S. new music/ JI: What influence, if any, did the World Saxo- er on baritone, who dropped out to go back to improvisational jazz group to tour the former Sovi- phone Quartet, which formed the year before, have school when the festival got postponed. Then An- et Union [Charles Lloyd Quartet played there in on ROVA? drew Voigt, who Jon knew, showed up out of no- ‘67]. That event started with a letter sent to you where. Jon borrowed an ancient baritone from me two years before, announcing that the quartet had LO: We didn’t know about them before we came and let Andrew play alto. Jon didn’t care, it was thousands of fans in the Soviet Union. How did the together in late 1977. I went to, I believe it was an only gonna be one show, right? We eventually did Soviets learn about the quartet? ROVA was an solo concert in Oakland, and he had that gig at (on Feb 4, 1978). After- obscure band in the U.S. at the time. some glossy flyers about the World Saxophone Quartet. That was the first I had heard of them and that was about seven to nine months after ROVA’s first concert. We first got together in September of “… if I made a cold call and said we ’77. So in essence, the World was a parallel uni- verse as opposed to an influence. It was a bit later were a saxophone quartet, they would that Oliver gave us one of his pieces for the World that we played for a while. They always described say, ‘Oh, you mean sax, bass, drums themselves as an extension of the Ellington sax section, taking it farther out from there, and we and piano?’ I would say, ‘No, actually thought of ourselves, at the time, as more of jazz- influenced new music saxophone quartet. Our in- fluence, however, was sound. We weren’t trying to it’s four saxophones,’ and they would sound like a new music group, we sounded like some kind of fusion of jazz and rock more than say, ‘What do you mean? What does anything else, but we were taking a lot of sound- specific devices and processes from new music that that sound like?’ And then you would we were hearing from the obvious sources – Xenakis, Cage, Morton Feldman, Varese, Stock- say, ‘It’s like a string quartet except it’s hausen, Scelsi, and certainly Messiaen, not only because of his music but that there were books of his that you could read and see what he was think- saxophone players.’ They couldn’t ing about. It wasn’t that we avoided playing con- ventional jazz music; we were into all of it, but we picture it or hear it in their minds…” were interested in having a really unique group voice, so we had a reason to not sound like the World Saxophone Quartet. They were better- wards everyone was excited, so we just kept going. LO: The number of fans we had there were proba- known individually and got a lot more attention Somebody had taped the concert and gave me the bly under a 1000 divided by 10. Who knows? May- than we did. We always felt them being there, kind cassette. I listened with my listener ears, as op- be a tenth of 100. There was a small cadre of peo- of in front of us, was a really good thing for us posed to my musician ears. As mentioned I had ple who got musical information sent to them clan- because most of the time, if I made a cold call and worked in radio and heard a lot of music, and I destinely on cassettes, and they became aware of us said we were a saxophone quartet, they would say, thought I had “never heard anything like this! This and wrote me and asked if I would mail them re- “Oh, you mean sax, bass, drums and piano?” I is cool.” It was the era of independent records, and cordings. They said something to the effect, “If would say, ‘No, actually it’s four saxophones,’ and I called the guys up excitedly and said, ‘Let’s keep there is ever any way that we can get you to Lenin- they would say, “What do you mean? What does working on these pieces and make a record. Let’s grad we would love to make it happen.” And I, as a that sound like?” And then you would say, ‘It’s like keep going.’ Thus we had that carrot in front of us little kid, the aura of the U.S.S.R. was just fascinat- a string quartet except it’s saxophone players.’ which kept us going. By that time, my sister Jacki ing to me. The Other Power, our nemesis. I was They couldn’t picture it or hear it in their minds, was living in New York. She was an artist and obsessed with that as a ten-year-old. I had gone to and if they did hear it, they didn’t hear what we filmmaker/ producer and had gotten interested in the USSR embassy in Manhattan and gotten these were actually doing. In reality, the World Saxo- the free improvised music scene there, and become propaganda magazines with covers featuring a phone Quartet being out there really didn’t help us close friends with Charles Bobo Shaw and others. happy-go-lucky farmer and people dressed in col- much because they were off in a whole different They eventually gave Jacki the keys to the Human orful uniforms. So when, years later, a letter came part of the music universe than we were, and a lot Arts Association, and she became the administrator from Leningrad from the so-called Leningrad New of people who were interested in what the World for them. I met these guys, and Bobo asked to hear Music Society announcing they had heard of were doing would prove not to be interested in our cassette, and he liked it and said he was going ROVA, it was like, wow, two parts of me meeting what Rova was doing because we didn’t have to a festival in Germany and that I should mail it to up. I knew I had to make this happen. I found out enough of a jazz connection for their ears. them because they might be interested. I did that; that they were really just a small group of people this was 1978, and they sent us a telegram inviting who loved the music but had no money and were JI: What was the genesis for the quartet’s for- ROVA to play the next festival in 1979. not the important organization they made them- mation? selves sound like to entice us to send records. JI: It’s a great story of how ROVA got its big Eventually, as I began to understand what was LO: It was a series of fortuitous events combined break to play Germany’s 1979 Moers Jazz Festival. really going on, I started looking for a way to get with the fact that four guys were looking for a crea- The festival’s organizer was playing your cassette ourselves there. I told the Russians that in order to tive outlet. There was something called The Free when Anthony Braxton happened to come into his raise the money for the trip, I needed them to send Music Festival - which meant it was an improvised office. Braxton heard it and told him to hire me an official letter with a letter-head inviting us. music festival that was free to the public. “Free ROVA. Have you spoken to Braxton about that? (Continued on page 26)

To Advertise CALL: 215-887-8880 September-October 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 25 those chaperones were spies; they were watching were coming because it was “an American jazz Larry Ochs us to make sure we didn’t do anything that was group,” which hadn’t happened there for over ten over the red line. But we ended up doing lots of years, along with the West Virginia marching band unapproved activities because of these other artists and often Sergey Kuryokhin, who would perform (Continued from page 25) that were with us. Yeah, we were watched, and we solo. But this concert at the Dostoevsky was So they pulled that together – in the early 1980’s were really paranoid about it. We were there a ROVA-only and attended by a network of artists that was no easy trick in the USSR - and that’s week or so, and at first it was a joke, but later on who learned about it clandestinely. So this audi- where the number of 1000 came up, I probably told we were concerned, not for us, but for all the peo- ence was a super-heavyweight audience who didn’t them to exaggerate to help make it happen. We ple who were interfacing with us in a very open know of ROVA, for the most part, but still were eventually found an organization from New Jersey way. We had crazy vodka parties in people’s apart- people in the arts in a serious way. The Dostoevsky that was taking college bands to the Eastern Bloc in ments; to host Americans in one’s home was ille- Museum show remains one of the really unforget- a form of cultural exchange, as a propaganda thing. gal, we were told (over and over), but these guys table events from ROVA’s past. It touched my So when we went in 1983, it was along with a wouldn’t hear of us not coming. At first we were soul. These people were not going to be brought marching band from West Virginia. It was the most cool with their casual disdain for the authorities, down by their situation, and they were just com- unlikely pairing of ALL time. Those cats were a but then when we began to see/imagine how much pletely with us the whole time, and we did our best very good marching band but it was pretty square, we were being watched. Perhaps it’s better to say music because what was in the air lifted us up. and virtually none of them had ever been out of when our suspicions grew to the point of true para- West Virginia. The deal with this touring organiza- noia that our hotel phones were tapped and we JI: One of ROVA’s great accomplishments has tion was that Rova had to agree to go to Romania were being watched, and we, nevertheless were come in performing Coltrane’s Ascension. ROVA’s for ten days because that was their main focus area; doing these things that we had been told would get first presentation of it came in ’95, which marked in exchange they would organize concerts for Rova people in trouble, we started wondering if we were- the first time anyone had ever done the piece live. in the USSR. Romania was another incredible ex- n’t being really irresponsible. That was especially [The group later updated it with electronics as perience and story. true in Leningrad where the ROVA concert had Electric Ascension]. It’s an almost overwhelming been cancelled by the mayor of Leningrad, who for experience to hear ROVA cover it. How did you JI: Were you being watched by the Soviet govern- some reason decided it had to be banned. But approach undertaking such an iconic composition ment at that time? somebody knew somebody who was connected to and how is it as a participant to play it? the KGB, who were a national government force, LO: Yes, here’s the back-story. When I told and at that time the local government was at log- LO: It’s one of the most special things I get to do, friends and relatives that ROVA was on its way to gerheads with the KGB. So through connections, to be playing in and listening to that for an hour, the USSR, they wanted to come along too, and our friends in Leningrad were given the okay to use watching it evolve as it moves from section to sec- eventually we ended up taking along a kind of the basement of the Dostoevsky Museum, which tion, and hearing the great contributions by great Noah’s ark of artists who paid to come, including was under KGB rather than local government con- improvisers. We have had a couple of shows where some documentary filmmakers, dancers, and my trol. So the concert was back on, but that really set the ensemble was not completely under our control, or more important than who was in it, was the fact of who wasn’t in it. Thus we realized that there needed to be a few members beyond ROVA who “Perhaps it’s better to say when our had performed it before because that continuity creates forward motion. We want to be surprised every time we go out onstage however, so I add a suspicions grew to the point of true few new people who have never done it before, who we expect will be instigating and introducing paranoia that our hotel [in Russia] new ideas into it because they have their own musi- cal vocabulary. I’m going to contradict myself here but now that there are two really great documents phones were tapped and we were of the piece that are out, the early CD of Electric Ascension and now the Blu-ray/DVD/CD of the 2012 show, I’ve kind of let go of responsibility in being watched, and we, nevertheless my mind. Up to the release of the DVD, I felt that because this was a John Coltrane master-work, it was critical to represent the strongest possible ver- were doing these things that we had sion of this piece that I could. But now I’m feeling that ROVA has done it so many times, and we’ve documented it enough times, that I’m much more been told would get people in trouble, confident to take it take it to a country and play it with local musicians. I have total confidence in the we started wondering if we weren’t piece being able to hold its own. The other thing I would say is how come we’re the only ones play- ing Ascension? It’s a great piece and it’s so much being really irresponsible.” fun, there ought to be other people trying to organ- ize playing it locally.

wife, Lyn Hejinian whose poetry was – we discov- off our paranoia because we knew that the city JI: The Electric Ascension performance at the ered - very well-regarded in the USSR. These other government and therefore the local police weren’t 2012 Guelph Jazz Festival was documented by a artists were very good at getting the word out to into it. We were told to take our instruments and go five-camera shoot and recently released as a DVD/ compadres in Moscow and Leningrad (now St. down the avenue and meet in front of the museum, Blu-ray/CD package [Rogue Art, 2016]. How did Petersburg) who set up events that, essentially, and we would be let in. And as we’re going to the you come to team up with the famed Lucas Ranch weren’t supposed to happen. Jazz was periodically museum, there’s getting to be a lot of people be- and Pixar Studios which helped mix the project? banned there, and certainly any music with lyrics hind us, which turned out to be many of the audi- was threatening to the authorities. With a camera ence that was waiting to see if it was really going LO: John Rogers of the company Ideas in Motion crew accompanying us, we were met / watched to happen. All of the concerts we did in USSR was inspired by his first seeing of Electric Ascen- over by a tour guide and chaperones. Every day were general-audience shows, and they were all sion in 2005 to propose a documentary on the mak- they’d take us on a tour and we’d do our show. But free and full with about 300 people. These people ing of Electric Ascension. But his motivation was

26 September-October 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 a place that’s only going to get darker as the movie (drums) said: “Larry is a brilliant Larry Ochs moves on, no matter how hard they try to solve conceptualist. He comes up with great ideas and things. Movies such as They Live By Night, Devil then great compositional ideas arise. That’s how it with the Blue Dress, Touch of Evil. The tenor saxo- appears. So my question is does it work that con- (Continued from page 26) phone can really reach into those kinds of dark cepts create compositions, meaning: musicians to always to get the music itself to more people, and places and put a salve on them and go deep into the work with, or do compositions dictate a concept?” eventually – years later – after shooting 3 other soul and act as a healing source. Okay, there is a festivals that presented Electric Ascension, he real- connection, maybe! For me, film noir is another LO: If “musicians to work with” are tied in to the ized that the music itself could only be appreciated part of me. It’s not something that I can say in- equation, then I would have a tendency to go with if filmed in its entirety because the arc of the piece spires my music. But perhaps my love of that gen- that. Choosing the musicians dictates the composi- – the journey – was part of the greatness of the re has something to do with the way I connect with tions. I mean you’re limited by the musicians in the music. So I believe he suggested doing the Kick- all art. Never thought about that. band, right? And I like limits, but you also don’t starter campaign. And his wanting the best possible want to know in advance where the music will go. product led him to spend all the Kickstarter money JI: A number of your compositions are dedicated Surprise is an opportunity for growth, so it’s more on the shooting of the music, saving nothing for the to filmmakers such as Wim Wenders, Stan about choosing players one admires in some way to documentary, which became its own entity. Later Brakhage and David Cronenberg. Interestingly, work with, and then coming up with the work. In on, in post-production he and others connected your dedications to filmmakers perhaps outnumber groups where composition is involved, I will very with the mixing and editing of the Blu-ray version your pieces for musicians. Would you rather have often pick the people, and then once I’ve got the of the music had technical problems that they felt had a career as a filmmaker? people, I will come up with the specific composi- could be best solved at Lucas or at Pixar. John and tional concepts. Now here’s the difference – there others involved from his side have been at this LO: I don’t know about that. No, it can’t be true. are structures for composition that I get enamored documentary work for decades in the Bay Area. I’ve been a musician who’s wanted to be a musi- of. In other words, there are ways to order the pro- One or more of them knew people at Lucas Ranch cian. I love film, and there’s lots of films where I cess, things that I work with on paper. If you were and at Pixar. Thus the use of their services. And it feel I’d really like a shot at doing the music for the to look at the ROVA website, we just put out a new was just awesome to hear the music and see the film, but in the end I’ve dedicated music to recording dedicated to Butch Morris, and on the films on their screens. Surreal. filmmakers that I’m way into. I would love it if I ROVA site there are links to all the scores for the could ask them to listen to the music - the piece compositions on that recording. I have a long piece JI: What are your guilty pleasures outside of mu- that I’ve dedicated to them - and have them create a on there, and what I call “a roadmap” has eleven sic? montage to the music, instead of the other way horizontal rows, one for each of the eleven musi- around which is the way it works most of the time. cians. Vertical rows indicate the events and the LO: In the great tradition of jazz, I love watching These dedications are more of a fun thing. The sections of the piece. Lisle Ellis turned me on to a few sports - baseball and basketball mainly, but I dedicated pieces that I’ve done for the filmmakers this form for composition years ago during the just don’t have time to go to the games. And then are not connected to what I’m getting from their What We Live period. You will see signs and let- films, I am deep into films of all kinds. Film noir is films. No, it’s much more of an acknowledgement ters in each square that indicate what the musician my – “not-at-all-guilty pleasure.” But so many of somebody who’s really inspired me and a thank focuses on for that event or section. So a lot of great directors. I’m kind of director-oriented more you to them. concepts are taught, one for each of these cues; than genre-oriented. Orson Welles! Cronenberg! each has its specific realization. It can be as simple Kurosawa! Jean Pierre Melville! Anthony Mann, Gerald Cleaver (drums) asked: “What was your as a sign that indicates that, when we are in section Julie Taymor! I love David Lynch, although he experience as an attendee at Woodstock?” 3-2 of the piece, that you are free to do what you does know how to miss. Im Kwon-taek! Terrence want, based on what else you are hearing. Then Malick! Fellini, John Ford’s westerns, Stan LO: There’s a lot of answers to that question. there are more specific cues. For example: a sign/ Brakhage, Herzog, Wenders. [Laughs] Well, I didn’t get into anything that was instruction to play a multiphonic on the low end of out of control there, although looking back at it your instrument. So when I start thinking about JI: The last questions have been given to me by now, one might think the whole show was teetering how I want to organize this type of composition, other musicians to ask you. on being out of control. Woodstock was so kind of the system/concept might be as important as the out-of-body, mind-blowing, that it was the kind of musicians involved. Nels Cline (guitar) asked: “Larry, what is the con- experience that I made sense out of only after leav- nection in your mind between film noir, which you ing, because at the time, it was all one could do to Scott Amendola also asked: “Why the hell did you love, and tenor saxophone?” drift through and cope. I was an attendee there, start a band with two drummers?” without a role, and I was just trying to take it in. LO: [Laughs] Well, I will say that I am a major And one simply couldn’t take that all in. A Wood- LO: [Laughs] Torturing Scott seemed like a fun fan of film noir, and I love some of the sound stock had never happened before, and when you’re idea. I now have hours of videotape where one or tracks on film noir, but the connection with saxo- in an experience like that, you’re way in it, you’re a the other of the two drummers comes up to me on a phone? Not my tenor saxophone. I don’t think, but part of it. There were moments of extreme bore- train and asks to speak confidentially. “That other maybe I can say there is an absolute connection dom, there were times when music was going on guy is stealing all my shit, man.” Etc. If they ever between the soulfulness of the tenor saxophone and that was not my thing at all, and I would drift. give me any trouble, I’ll be releasing those tapes. the soulfulness of some film noir. Some of my There were even moments when sleep was appro- They know I have them now, so I get them to play favorite film noir movies are about well- priate, and you’d go back to your tent happy to all the gigs for free! Okay, let’s try this with a more intentioned people whose lives have just spiraled to crash. One of the great moments for me started serious answer. Number one, I love the drums. I early Monday morning, I’m guessing 1 or 2 AM, had been working in the Glenn Spearman Double

and I was really wasted by then, and going back to Trio, which had two drummers, including Donald

the tent, regretting how much I was going to miss Robinson who later was coupled with Amendola

this, and sorry to be missing the last sets still to for around ten years in the Larry Ochs Sax & “The greatest day in your life come, but waking up the next morning to hear, Drumming Core. Glenn had passed away in ’98, and mine is when we take total wow, the music still going on. I walked up and it and that had left a hole in my musical universe. responsibility for our attitudes. was Hendrix onstage. I got to hear his “Star Span- Eventually, I had this idea that it would be really gled Banner.” I had seen him before several times, cool to make two drummers share the space and yet That’s the day we truly grow up.” but this was just one of those awesome moments. for each of them to simultaneously retain their For me, The Who doing Tommy there, Ten Years individuality, while also trying to make them After, my first experience of Santana, and many equals with the horn player. In other words, to others were amazing, high energy moments for me. create music where it wasn’t true all the time that - John Maxwell the drums were in support while the sax was in the

To Advertise CALL: 215-887-8880 September-October 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 27 (Continued from page 27) do. I love Archie Shepp’s playing, but I think my front. I wanted to challenge myself to create impro- sound has to do with the way and when I started to vised structures where drums and horn players play. Roscoe [Mitchell] is much more, to me, a ATTN: VENUES, were actually on equal ground. Because I was out- direct influence, and I don’t think I sound like him side essentially, listening to this great cooperative at this point, but I was emulating his solos at first. I LABELS, MUSICIANS playing they were doing, I wasn’t concerned about never tried to sound like Albert Ayler because his their “problems”. I was ecstatic much of the time. sound was just beyond me at first. I had no idea Actually, they made great fucking music together. I how you got sound like that out of the horn, where- couldn’t have been happier. But having four hands as Roscoe’s intervalistic sequences of pitch, and Fill More Seats Fast! there instead of two, it became more possible for also his aggressive insistence on the way he inter- them to be an orchestral entity, a group/communal faced, was very in your face, in my mind, in a good Sell More Tickets Fast! sound. way. I always felt he was the guy. I came to Sonny Rollins a little later, listening to his records from (percussionist) said: “Talk about when he was experimenting around in Europe in the group ROOM.” the early sixties. He’s the greatest. He was a guy who just amazed me, more than somebody I ever Pay-Only-For- LO: ROOM came along in the ‘80s. It was Chris tried to sound like because I didn’t think that I’d Brown, Willie and myself, with Scot Gresham- ever get there facility-wise. I really appreciate Lancaster for the first period of time as a live elec- Lester Young, Coleman Hawkins, and all those tronics mixer + contributor, in his own right, from guys; I listen to them a lot, but I never really want- Results Event the mixing board. We were a group that was very ed to go there. I knew intuitively that the early jazz early to be mixing acoustic instruments, which styles, I would never be able to do anything except would be Winant’s percussion, Brown’s piano and sound like them. My voice wasn’t from that time Marketing the saxophones, with live electronic processing. period. I couldn’t hear and enjoy, but I couldn’t This was not something that was around every day feel it deep inside. This was 1969 and the goal then, certainly not in an improvised music situa- wasn’t to sound like or be like anybody. It’s me tion. It was very exciting to do, and we all wish this I’m looking for. I went to workshops and took Campaigns band had made its way into the 21st Century be- some jazz lessons, but it was clear to me right away cause now everybody just walks up and plugs in, that “straight-ahead jazz” wasn’t me, although I and they’re ready to go, whereas we would have 5- don’t want it to sound like I’m putting any style We Run Your Campaigns 10 hour sound-checks, with the constant threat of down. And when I look back at my trumpet- an overload or breakdown of the electronics, which playing high-school days, it was then that my Using The Leading Edge were absolutely essential to the music. All the teachers were trying to make me play music that I acoustic instruments were processed by the elec- couldn’t feel in any way, but it never occurred to Multi-Media, Multi-Contact tronic gizmos that added a wild and unpredictable me that I could take this piece of metal and actually System We Built To Drive layer to the sound. It was really a challenge but a make something with it that moved me. Luckily, I lot of fun, and part of history now. woke up eventually. Inbound Calls Fast From

Steve Adams (ROVA member) asked: “What is Bruce Ackley also asked: “What do you enjoy Your Most Probable Buyers

your relationship to the traditional lineage of tenor about composing music versus just playing free?”

saxophone playing? How do you see yourself relat- ing to the playing of Sonny Rollins, Lester Young, LO: There were a whole bunch of years where I Coleman Hawkins, etc.? Your connection to later was really questioning composition in general be- Lightning Fast, Way players, like Coltrane and Shepp, is more obvious, cause I was simultaneously involved in all these but I don’t know if you think of your playing as really good groups like What We Live with Lisle Better Results & Far Less being an extension of earlier styles or a completely Ellis and Don Robinson, and Maybe Monday, separate development.” where we would “just” get up and go, and at the Expensive Than end of a show I would think something like - ‘Holy LO: If you play pitch on a saxophone and you shit, these sets are so strong, why am I spending all Direct-Mail, Print, Radio aren’t playing traditional classical saxophone, if of this time torturing myself trying to create com- you have any jazz influence in your sound, if that’s positions for improvisers?’ That debate raged on in & TV Ads – You Get what you’re going for, you absolutely have a con- my mind for some period of time in the 1990’s but nection, all the way back, whether you recognize it’s no longer an issue. I see how both ways of Comprehensive Reports that fact or not. If your sound is connected to creating are awesome, are effective, and are influ- Shepp or Coltrane, then your sound is, in my opin- enced or inspired by each other, etc. A recent free And Analytics – And You ion, also connected to the players who came before band like the trio with and Darren them because their sound comes out of that. You Johnston seems to surprise me in each new perfor- Pay Only For Results! may think my sound comes out of Archie Shepp. I mance. But man, so does ROVA, that old fogey

don’t think that, but I’m happy that other people band. We just dig in in a different way, and using

the tools given to us by each particular “structured

improvisation” aka “composition,” we mine new Reach 1,000 to 100,000—

nuggets and stay excited by what we find. But I

“Have the courage to say no. would say that I do like composing when the band Whether at the Last Mi- gets to four and certainly five and up. I just heard a Have the courage to face the truth. band at a festival in Europe with I think it was nute or Long in Advance Do the right thing because it is right. eight strong players, and yet they all played almost These are the magic keys to living all the time. You know how many amazing combi-

your life with integrity.” nations that that band held within it? So that seems to me to be a place where composition has an edge, SellMoreTicketsFast,com in allowing for all those combinations to get a chance to be heard. 215-887-8880 - W. Clement Stone 

28 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 29  JI: Could you cite how your experiences with specifically influenced your play- InterviewInterview ing and composing?

BL: Well, as a composer and arranger for small group, I was deeply influenced by Horace way before I played with him. I think that Horace and Brian Lynch the great songwriters from the Jazz Messengers, especially and Wayne Shorter, were my basic inspirations for the style of my The most important thing in life is attitude early composing and arranging. Listening to Horace also oriented me in the direction of Latin Interview By Eric Nemeyer from the band played the side for Tom Harrell, music due to the pronounced “Latin tinge” in his he dug it and put in a good word for me. Drum- work. Also, I was very influenced as a young JI: Discuss your association with Charles mer Harold White, who I was playing with at player by the trumpeters in Horace’s band, from McPherson while you were living in San Diego. The Star Cafi, also had played with Horace and Blue Mitchell through , Charles In what significant ways did he influence your might have said something. This is all conjec- Tolliver and Randy Brecker to Tom Harrell. So life and music? ture, but I had also sent Horace a tape, and he the influence was there even before I joined the called me to come out and audition. I stayed at a band; what playing with Horace did was cement BL: Charles was a huge influence on me. Play- buddy’s house, went out to the rehearsal studio the sense of belonging to the lineage of these ing alongside him in his quintet three nights a and auditioned. An audition with Horace was great trumpeters through the medium of the week for a number of months really helped me like this: You and three other trumpeters are in Quintet and Horace’s inimitable music. to grow; he was and is playing at such a high the room with Horace and the rest on the band, level! I learned on the bandstand, at rehearsal, there’s music on the stand, he kicks the tune off JI: What kinds of benefits did you derive play- and in impromptu playing and hanging sessions and everyone blows back to back! It was a trip. ing with the Toshiko Akiyoshi Jazz Orchestra, at his house. I hadn’t listened to as much Sonny The other trumpeters were Clay Jenkins, Tim 1982-1988? Rollins as I did to Trane before I started to hang Hagens, and Jay Thomas, and they were all with Charles; he really turned me on to Newk. playing their butts off. The next morning the BL: It’s crucial for a horn player to have the The way Charles listened to music, the way he phone rings at my friend’s house and it’s for me. experience of playing in a big band for the disci- talked about music and what he talked about; I answer the phone and it’s Horace. “This is pline of ensemble playing. I had not had so everything influenced me heavily! He showed Horace Silver. You got the gig!” That was one much of that experience before joining Toshiko, me things about ’ concept, which I of the best feelings I ever have had in my life. so it was a great learning experience for me in had already been exposed to visiting New York And the next three and a half years with Horace that regard. I was playing with Horace at the City, and suggested I study with his partner Lon- were incredible times, playing with a true master same time as I was in Toshiko’s band for the nie Hillyer when I got back to the city, which I and stretching out every night. I was fortunate to first three years, so between the two gigs I really did right away when I moved to town. Lonnie have as a front line partner during my tenure had a most wonderful and varied musical diet! was a big influence toothe whole Barry school with Horace: the great , with whom has been a big thing in my musical life, like I feel I’ve had a unique and strong rapport with JI: What were the most challenging aspects of understanding when really playing changes musically and personally over the years. playing with Toshiko’s Big Band? mean. But Charles wasn’t just about straight bebop; he used his knowledge to extend the idi- JI: What kinds of rehearsal occurred, and what BL: Her music is very challenging to play. For- om. Talking about him just now makes me want direction did Horace provide? tunately, we had an incredible band; people like to drop everything, go over by him and learn Frank Wess, , , Walt some more! BL: We rehearsed before every tour; each year Weiskopf, John Eckart, Joe Mosello or Dave Stahl on lead trumpet. I really had a great time in that band, and some of my most enduring musi- “I think more than ever, recording will cal and personal relationships, particularly my partnership with Conrad Herwig, were forged during that time. Sometimes being on the bus, serve as documentation (to serve the traveling and being in such close proximity with fifteen other musicians, can be a little stressful. But it also can be great, particularly when you’re next generation of players) and as an on the road with cats like we had.

adjunct to live performance, rather JI: What kinds of business understanding did you glean in making a deal with Criss Cross Records to do your first recording, Peer Pres- than as a primary focus in itself.” sure?

Horace had a whole bunch of new music. We BL: From the beginning of my recording ca- JI: How did your association and tenure, from rehearsed intensely, like it was a gig with long reer, I’ve been more concerned with being able 1982-1985, with Horace Silver’s group, devel- solos and all. Horace sometimes would say to document my work than being a sharp busi- op? things about certain things he wanted on the nessman. I’ve been lucky to have good relation- heads. Not so much on the solos except for cer- ships with the labels I’ve recorded for like Criss BL: After I moved to the city, I started playing tain times where he would suggest a bluesy line Cross and Sharp Nine. With the small independ- with The Bill Kirchner Nonet. We did an LP for might work better through a certain progression ent jazz label, you’re not thinking as much about Seabreeze, the first time I ever soloed on a rec- than all the changes we were trying to run. a deal as you are about just getting some music ord. I think what happened was that somebody (Continued on page 32)

30 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 31 From there, a number of Angel’s musicians in- the expanded resources coming from Afro- BrianJoseph Lynch Jarman cluding myself went over to the orchestra of the Caribbean musical traditions. great cantante Hector LaVoe when Angel broke up his band. This was in 1983. Now up to the JI: Could you share one or more of the influen- (Continued from page 30) time I joined LaVoe’s group, I had been getting tial experiences you had or perspectives with along pretty much on my intuitive ability. I which you were presented during your associa- recorded and out there, and then on to the next loved and felt Latin music, but I hadn’t really tion with Art Blakey and the Jazz Messengers? project. There may not be big bucks involved on gotten with the clave, the fundamental organiz- either end, but it maintains the viability of the ing principle of Afro-Caribbean music. I under- BL: Playing with Art Blakey and the Jazz Mes- music and its integrity; you’re not thinking so stood it on an elementary level only. When I got sengers was the fulfillment of a lifelong dream much about “marketability”, whatever that with Hector’s band, I was now really playing to me and a priceless gift. I was already in my means. We seem to be evolving towards new with the elite and had to get with the program. It thirties when I joined the Messengers and al- models of recorded music production and wasn’t a problem to apply myself since I loved ready an experienced musician, but I still presentation now with the current business melt- the music so much! Something that really struck learned a lot about group dynamics and practic- down. I think more than ever, recording will me was how much the rhythm was together and ing the art of jazz at the highest and most au- serve as documentation (to serve the next gener- swinging in that music. To be honest, in compar- thentic level possible. You had to play at your ation of players) and as an adjunct to live perfor- ing Latin rhythm sections with jazz rhythm sec- peak every time you put the horn up to your mance, rather than as a primary focus in itself. tions during that time, the jazz rhythm section mouth in the Messengers or you weren’t doing came off second best in terms of cohesiveness, your job. Like Eddie, Art Blakey made me feel JI: You’ve had a lot of experience with Latin drive, precision, and all around “swing”. By the that I was a valued contributor to his band and jazz bands and musicians. In what ways have time that I joined Eddie Palmieri’s band in 1988, by extension a real part of the lineage of the those experiences influenced your music? How I was quite experienced and somewhat knowl- music as exemplified by the Messengers’ trum- do those elements manifest themselves in your edgeable in playing and understanding Latin pet tradition. Having my tunes played by the playing? Also, what kinds of studying, writing music, but being around Eddie advanced my band and interpreted by him was a priceless did you undertake that prepared you for your studies considerably! Eddie’s a natural teacher, experience. I’ll always be a Messenger and my association with Eddie Palmieri, for whom you and lifted the veil off of many mysteries. I music will always be informed by that fact. I’ve served as arranger and musical director? learned a lot from listening to music on the bus never played harder than when I was in that while on the road with Eddie. He encouraged me band! It was a pinnacle for me that I will never BL: Latin, or perhaps more properly Afro- to really learn about the history of the music, forget and will carry with me to the end. Caribbean music, has been a very important part especially the classic Cuban music. So at that of my musical life from my days studying in my point, I really started to do a lot of heavy listen- JI: Could you discuss some of your perspec- hometown, Milwaukee. A very talented guitarist ing to the classics like Chappotin, Arsenio Ro- tives about improvisation, and developing those and arranger, Toty Ramos, had put together a driguez, and the sexteto groups. Beny More, skills? group that played both transcriptions of classic Aragon, Cachao’s descargas, and the rest. Eddie salsa numbers by Ray Baretto, Tipica 73, Machi- has been so encouraging to me over the years, BL: Improvisation is like talking, and you learn to and the like, and his own Latin-jazz composi- making me feel like a valued force in his music. to speak by listening. You must learn vocabulary tions. This was my first experience with playing Its been a privilege to be a collaborator in his in order to speak effectively and with meaning. Vocabulary in jazz improvisation comes from the tradition of the masters of the music from Louis Armstrong to the masters of today, and “I joined the Messengers and already an you learn vocabulary from listening, transcrip- tion, and emulation. That’s my perspective on experienced musician, but I still learned a learning how to play. You should never lose sight of the fact that the ultimate goal as a jazz improviser is to tell your own story, and even to lot about group dynamics and practicing make your own contribution to the tradition through extending on what has come before. the art of jazz at the highest and most JI: Could you discuss the kinds of processes authentic level possible. You had to play you go through in composing? What kinds of elements have been the germs of inspiration for your compositions? at your peak every time you put the horn BL: The main inspirations for my composing up to your mouth in the Messengers or are first, the jazz tradition as exemplified by the great jazz composers and improvisers. Second, is the processes and traditions of Afro-Caribbean you weren’t doing your job.” music. Thirdly, I am deriving more inspiration these days from my studies and listening in Eu- with a real Latin group, and I also was exposed music as an orchestrator, arranger, and even co- ropean art music, especially certain composers to a lot of the music through Toty and the other writer (on “Shekere Agent Man” on the La Per- that seem to really speak to me. Among these musicians in the band. This experience put me in fecta II CD). Afro-Caribbean music is an inte- composers I would rank Bartok, Berg, the Polish good stead when I moved to New York, where gral part of my own musical conception, and composer Symanowski, and Mahler as special. the salsa scene was a vital part of any so quali- permeates every part of my musical life. Even And, also of course Bach. I listen to a lot of mu- fied trumpeter’s working week. I started with the when I’m writing a bebop style tune, I’m think- sic, from many traditions, and I find inspiration very fine band of singer Angel Canales, with ing in clave. I think that most of the real innova- in many different sources. Rhythm often is the whom I worked around town, recorded two LPs, tion (or strides towards innovation) today in jazz first germ of inspiration for a compositiona and toured Venezuela, my first foreign trip. is coming from those who are conversant with (Continued on page 33)

32 September-October 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 known: the pianist David Hazeltine. musicians have had problems maintaining Brian Lynch against the difficulties, many certainly not of JI: Erica Jong said that fame means that mil- their own making. It’s tempting to try to evade lions of people have the wrong idea about you reality one way or another, which in the end will (Continued from page 32) are. Could you discuss your views of image always take you down. You have to be strong to versus identity? deal with the insecurities of being a finite person rhythmic style as an overall environment for a practicing an infinite art. And if you learn how song or longer piece, or a certain rhythmic motif BL: Real fame is something that jazz musicians to be a compassionate person, both with others as a building block. I think I’ve developed a generally don’t have to worry about! People do and yourself, you have a much better chance of certain recognizable melodic style in my tunes tend to have a certain view of you if they see being able to achieve and making your achieve- based on a busy, detailed sort of line; especially you in a performer’s role. And even the idealis- ment truly meaningful. when I employ fourths, fifths and seconds in tic artist has to think of a certain marketable combination á la Trane or Woody Shaw. I find “image” to help their viability in a crowded JI: What foundational understandings are the myself using this sort of melodic lexicon a lot in field. I hope that I can project an image as a guideposts by which you live your life? my tunes, which sets a challenge for me as a performer that reflects who I am as an artist and player because of their difficulty. I feel the most person in a way that helps the audience to enter BL: Keep learning. If you can learn something satisfied with my work when I can balance sim- into my music easily. I think a performer should from any situation, life will always be a win-win plicity and complexity in good proportion. And if I am writing something to blow on, it’s got to be fun! If a progression is challenging to play on, it must be also rewarding to master and not “Technique for me has always been the just hard for its own sake. ability to execute your musical thoughts JI: Discuss the temptation to focus on, or be drawn to, technique over the music itself, which some artists experience. How have you worked fully. Developing a full technique enables to balance the two? you as an improviser to think globally and BL: Technique for me has always been the ability to execute your musical thoughts fully. not just about the next note ahead. I have Developing a full technique enables you as an improviser to think globally and not just about the next note ahead. I have always worked hard always worked hard on and continue to on and continue to perfect my technical skills in order to be free to really play. I always seem to perfect my technical skills in order to be have more music in me than technique to get it out! But I think it’s important to be thinking about that relationship and be sure that music is free to really play.” driving and not technique. At the deep level, though, I feel music and technique are one. show dignity, and have accessibility in his per- experience. Try to do the things you already formance space while still privileging it so he or know how to do better and more simply. Never JI: Whose ideas and thinking have been the she can do their job. Above all, I firmly believe be afraid of excellence. The most important most influential for you? Discuss the specific that you can be a compelling presence on a stage thing in life is attitude. It’s the one thing we people who are the exponents of those ideas if without pretension or exaggerated behavior. actually can have some control over. Be a nice relevant. person; like says, “It’s nice to be JI: How do you stay balanced as an artist and as nice!” Honesty as a person and in music is very BL: Bebopthe epitome of clarity and disci- an individual in contemporary society in the face important to me. Loyalty to people and ideals pline in the jazz formhas been the most influ- the stress and sensory overload that surrounds that mean something to you is very important to ential concept to me as a jazz musician. As such, us? me too. It’s how I try to live my life. To have I’d put Charlie Parker’s ideas, as espoused musi- honesty and loyalty is the best way to be a side- cally by him and the other masters of bebop, and BL: Listening to music deeply is still the best man or lead a band. as theoretically revealed by the great Barry Har- way I know to get in touch with the things that ris, as of prime importance to me. John Coltrane, really matter. I’m lucky to have a great partner both in his music and his commitment to musi- in my wife, who is very aware of how I can  cal advancement, has always been a hero. overload myself and is a great inspiration to me Woody Shaw, as the exemplar of advancement in her own balanced ness. I try to be more selec- on my own instrument has also been a basic tive in what I do as time goes on in order to do source for me. Woody also loved Bartok, as I more of the things I really want to do. do, for his reconciliation of folkloric materials and art music of the highest order. And in gen- JI: How do you think character and integrity

eral, the African, African-American, and Afro- (good versus bad) impact one’s music? How Caribbean sensibility in all forms of culture is of does it impact yours? “Fame means millions of the highest and most elemental importance to people have the wrong idea BL: There is a definite relation between integri- me. All the greats that I’ve been so blessed to of who you are.” share the bandstand with have influenced me, ty and music. All the greats had vast integrity. especially Horace, Eddie, Art, and Phil Woods. I The next level is to have the strength of charac-

was influenced a lot by someone I grew up with ter to keep yourself viable and bring your music musically, one of the greatest players I’ve ever through, against all obstacles. I think a lot of - Erica Jong

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© Eric Nemeyer

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JAZZINSIDE_full-page_VintageExpert.indd 1 12/17/13 5:07 PM 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 Visit JohnALewisJazz.com