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Interviews MarcusMarcus MillerMiller Jazz At Lincoln Center, March 29--30

DudukaDuduka DaDa FonsecaFonseca Dizzy’s Club, March 28--31

IngridIngrid JensenJensen Dizzy’s Club, April 1

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Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) March-April 2019 – Volume 9, Number 12

Cover Photo and photo at right of Julian Priester By Ken Weiss

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CONTENTS 4 Marcus Miller 30 Duduka DaFonseca Visit these websites: CLUBS, CONCERTS, EVENTS 33 Ingrid Jensen JazzStandard.com 13 Calendar of Events INTERVIEWSINTERVIEWS Jazz.org 18 Clubs & Venue Listings 20 Julian Priester by Ken Weiss JJBabbitt.com MaxwellDrums.com

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2 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 3 know what/ I need to put that on my album, so. INTERVIEWINTERVIEW JI: Is that the “I’ll Be There” that the Four Tops recorded first around 1966?

Marcus Miller MM: This is a completely different one that Michael Jackson and the Jackson 5 recorded. Miles Davis, Sinatra, Grover Washington and more JI: How about War, one of the other inspira- tions for the music on your album Renais- Interview & Photos By Eric Nemeyer son 5 tracks underneath the singing were just sance. as incredible as the singing. So it was a really intoxicating package for a ten year old kid. At MM: So we’re in the same period. I got drawn JI: Could you discuss some of your sources of that point, I said, “I think I need to take this into the R&B thing with the Jackson 5. Then inspiration and background? music stuff a little bit more seriously.” I start- as a bass player, you start gravitating towards ed playing the bass and learning the songs. funky bands. War was an incredible band at MM: I’m from a musical family. My father Luckily, the bass player that I was emulating – that time, and Sly and the Family Stone, and a plays the piano. His cousin played piano with or who I thought I was emulating – was little later Kool and the Gang and Tower of Miles Davis. Wynton Kelly was his name. My Michael’s brother Germaine. He is the guy Power were all important bands. father’s father played the piano, and my fa- who plays the bass when they’re on the stage. ther’s sisters all sang. So music was part of my I realize now that I was emulating James JI: War, led by Eric Burdon, was an out- life. To be honest, it wasn’t anything special. I Jamerson - the famous Motown session bass growth of his previous band, The Animals thought that’s what everybody did. You had player. He was playing on all the records. So I who had hits with “Don’t Let Me Be Misun- choir rehearsals at your house on Wednesdays, got a really good solid foundation from those derstood,” and “House of the Rising Sun.” and you heard your dad practicing all week. Jackson 5 records. All the kids my age were You went to church and listened to that music. crazy about them. I guess every generation has MM: Exactly. That was Eric Burdon’s group. Then you went down to the church basement the kid group that they love. My generation In the ‘70’s, they were just coming up with and performed for your family on Sunday af- just happened to be fortunate enough to have grooves. The grooves had a little bit of a New Orleans flavor to them. The bass line usually stayed in the same place creating a trance. One of those songs was “Slippin’ Into Darkness.” “I wasn’t sure whether I wanted to The bass just played three notes over and over again. And that thing just got in your bones take her [Roberta Flack’s] offer to play man. I think I have some theme bass lines that I walk around the street hearing in my head - and that’s one of them. So every once in a in the road band … But I ran into her while, I pull them out and decide to try to do a cover. on the street in New York. She was rid- JI: Janelle Monáe—her song “Tightrope”?

ing her bike. She said, ‘You haven’t re- MM: Well, that’s on the other side because that song was out, like that song was a hit a turned my phone calls. Are you going couple of years ago. But it’s so cool. It re- minded me of the songs I loved because it has a bass line that’s really cool. It sounded like a to go on the road or not?’ I couldn’t boogie-woogie, New Orleans kind of feeling. So I called Dr. John, whose voice kind of con- say no to her face—so I took the gig. It tains New Orleans in it – to have him collabo- rate with me on this song. We had a lot of fun.

was one of the best things I ever did.” JI: Ivan Lins’ compositions provide a com- pletely different flavor on your CD. ternoons. That’s what I thought everybody did. their kid group be a bunch of geniuses. Mi- So music wasn’t really that special—it was chael Jackson stayed inspirational for his MM: That guy writes such beautiful songs. I just part of my life. But when I heard the Jack- whole life - and up until a few years ago when recorded with him a few times. I first heard son 5, when I was ten years old, and they told he passed. He was an inspiration to me. I was “Setembro (Brazilian Wedding Song”) on a me the kid singing was my age—that kind of at a bass clinic a few years ago and they said Quincy Jones album - he did a beautiful ver- blew my mind. These guys were so talented we don’t have a drummer, we just want you to sion, with wordless vocals. I wanted to do it and the music was so incredible. Not only play the bass for the kids and talk about the and, of course, I wanted to give it a spin be- were they talented, but they came at the end of bass. I ended up playing that song “I’ll Be cause it doesn’t really make sense for me to the Motown era … that Motown machine There” - which of course I’ve known for years try to recreate a song in it’s original style. I where they were cranking out music. I mean, and years. It came out kind of cool and some- wanted to take the Brazilian part and switch it they were a well-oiled machine. Those Jack- body played me a tape of it and I said you over to Afro-Cuban. So I inserted a vamp in

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To Advertise CALL: 215-887-8880 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 5 how it’s not about playing all the notes, it’s throw some bass on there. He’d say, “Okay, Marcus Miller really about playing the right notes. That was I’ll see you later.” A year and a half later, confirmed when I found myself in Miles Da- they’d show up back in New York. I’d go to (Continued from page 4) vis’ band doing the same thing with a trumpet. the studio after they’d gone all around the It’s just about finding these notes to affect world overdubbing musicians to this drums there, and got Ruben Blades to collaborate people. It has to do with setting them up, do- and bass thing that I had left him with a year with me to access that side of it. He came up ing what they expect up to a certain point. and a half earlier. This thing was now a tapes- with a chant to sing during the vamp. Then we Then, when they really think they know try. It was unbelievable – a collage of all these got Gretchen Parlato, who’s a really well what’s coming, that’s when you go some- different elements. They had this English rock known New York chant vocalist to do the where else and really blow their minds. Rob- guitar from Britain and they had guys from the wordless vocals. Then she does a scat solo - erta was a genius at that. Luther was a genius. Middle East playing percussion. It was incred- and it turned into something really nice. Miles was a genius at that. I enjoyed playing ible to see somebody make music that way. He on Donald Fagen’s Nightfly. Somebody just was more like a painter than a musician. He JI: You were mentioning that sometimes you reminded me about that album. Brilliant. Don- would add elements, stand back and look at it just pick things up and you don’t even know ald Fagen was half of Steely Dan. I played on for a while, and then add something else. The you’re picking up those ideas. Given the ex- maybe four or five cuts. Just to see him put album was called Boys and Girls. Then we did tensive list of musicians with whom you have music together ... He wanted each of the in- another called Bête Noire, which was really played – and to pick up some of those things struments to fit together, to mesh together like cool. I remember working with Aretha Frank- that you might not realize at the time that you a clock, like a Swiss clock. He was really in- lin. Luther was producing her. After he had his are picking up - could you talk about some of terested in how the bass interacted with the first couple of hits, Clive Davis asked him to recording sessions that have been highlights guitar, which interacted with the drums. He produce Aretha. for you, that may have contributed. wanted them all to fit - to be really synchro- nized. JI: Was that when she recorded “Who’s MM: I started out with Roberta Flack. That Zoomin’ Who” around 1985? was one of my early gigs. Initially, I wasn’t JI: How did he communicate that to you or sure whether I wanted to take her offer to play expect you to do that? MM: It was right before that. We did “Jump in the road band—because at 19 years old, I To It.” That was the hit that we wrote for her. couldn’t imagine myself standing there play- MM: I’d play a take and then I’d hear him Some artists walk in the door and they’re “Some artists walk in the door and they’re ready to start. They’re at the top of their emotional peak as soon as they start playing. Ar- etha wasn’t one of those. She had to warm up. She didn’t give it up right away. When she finally started to get warm, it was just about the time that the band was learning the song and that everything was coming together. So, you got these great performances.”

ing those slow songs all night. But I ran into solo. When we were in the control room lis- ready to start. They’re at the top of their emo- her on the street in New York. She was riding tening back, he would solo the bass and the tional peak as soon as they start playing. Are- her bike. She said, “You haven’t returned my guitar, or solo the bass and the drums—just tha wasn’t one of those. She had to warm up. phone calls. Are you going to go on the road play just those two instruments without any of She didn’t give it up right away. When she or not?” I couldn’t say no to her face—so I the other instruments, to see how they meshed finally started to get warm, it was just about took the gig. It was one of the best things I together. I could tell what he was listening for. the time that the band was learning the song ever did. I was on the stage, playing these So I said, “Oh, let me do one more take on it. I and that everything was coming together. So, songs that aren’t that difficult to play on bass. got it. I see what you’re looking for and locked you got these great performances. I started But I saw how effective this music was. It was it in for him.” That’s cool. But at the top of the comparing that to other situations where the the first time I ever saw people crying based music were these beautiful melodies - these

on someone singing a song. It was because it really emotional, honest songs. If you have a

was just so emotionally moving. It was a real great song and then you really take some care “Encroachment huge lesson for me. Luther Vandross was a to put the music together, you can come up of freedom will not come background singer in the band at the same with something beautiful. Bryan Ferry was about through one violent action time. So he was learning the same lesson. Af- also a really cool artist to work with. He was or movement but will come about ter a couple of years with Roberta, Luther and kind of a predecessor to Bowie. He’s still through a series of actions that appear I recorded Luther’s demo for him to get his around doing his thing. I first worked with him to be unrelated and coincidental, but own record deal. A couple years later, I found in the ‘80’s and it was crazy. The guy would that were all along systematically myself on the stage by him - watching him show up in New York and call me to the stu- planned for dictatorship.” affect people in the same way. It was a really dio. He’d have nothing but a drum beat. He’d — John Adams, 2nd President strong lesson about the power of music - and say play some bass to this drum beat. So I’d — Anton Chekhov

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So by the time the band really kind of got Quincy Jones was the arranger and he handed the studio. After we recorded the song, we ran it together, they’d already peaked. Then those everybody music. George Benson was looking the song in the studio and recorded everybody artists were frustrated because they’re like, at the music like, “Man, this stuff looks com- having a good time to the song. Even in the “Man, I’m trying to capture the magic of that plicated.” George is a real natural player. He studio, as I was recording it, I already knew it first take and I can’t.” They’re on the down doesn’t read that much. I looked at it. I said, was a hit - because I could see 55 people par- side of the mountain. So I learned about pa- “Man, don’t worry about it. This is right up tying to it. I said, “Oh, this works.” We really tience. You have to peak as a group, as op- your alley.” Frank Sinatra showed up, started had a good time, and as Spike predicted, it was posed to peaking as an individual. That was a singing and after he sang two verses, he said, a huge dance hit. As a matter of fact, on MTV really, really important lesson. “Okay George Benson solo.” By that time, awhile back, they had a special called George said, “Oh, I got this.” He killed it like “Famous rear end songs,” and “Baby Got JI: What kinds of experiences did you have he always killed it. It was just funny to see Back” was one of them and “The Butt” was working with Grover Washington? What kinds him be a little bit nervous before a session. another one. So I’m in good company I guess. of instructions did he give you? What kinds of The album’s called LA is My Lady. The room Spike asked me to produce the song on a go- things did you talk about? was full of musicians. Quincy was the arranger go band out of Washington, D.C. called E.U. and the conductor. [Experience Unlimited]. They’re an incredible MM: You know, with Grover, Ralph McDon- band. That go-go movement in D.C. is very ald was the producer. I had met Ralph about a JI: Did you have any discussions with Frank interesting. It was started by Chuck Brown, year earlier. I was playing with Bobbi Humph- Sinatra? What kind of vibe was there in that who recently passed but it was so interesting rey, who was a really well known flute player. session? because it really has stayed in D.C. It really I wrote a song that Bobbi wanted to record. never became a national thing until this song, She asked Ralph, who was producing her al- MM: I took the elevator up to the seventh “The Butt.” Spike’s movie enabled that go-go bum, if she could have her young bass player floor where the studio was. This big Italian sound to reach the rest of the nation. come in and play on the one song that he dude was standing at the elevator. “What’s wrote. Ralph let me come in and play. After your name?” I gave him my name. It’s the first JI: What other movies did you work on that the session, Ralph asked, “Can you read mu- time I’ve ever had to go through security to made an impact on you? sic?” I said, “Yes.” He said, “Don’t bullshit get to a recording session. We were all waiting me. Can you read it?” I said, “Yes, I can read for Frank. Quincy ran the songs over with the MM: I did House Party. That was my first big it really well.” He says, “Okay. I’m gonna band. Frank showed up, sang a couple of one. Then I did Eddie Murphy’s Boomerang, start recommending you because I like your takes, then did the next song, and sang a cou- which was a really cool movie – with Eddie sound.” Not only did he start recommending ple of takes. He said, “I think that’s good Q,” Murphy, Robin Givens, Halle Barry, Martin me for sessions, but he started calling me for and he left. That was my experience with Lawrence, Grace Jones, David Allen Grier, the sessions he was producing himself and one Frank Sinatra. It was like that a lot. You just Chris Rock. That was the first time I started of those artists that he was producing was go in, you read the music, you do your thing using R&B elements in the score as opposed Grover Washington. So thanks to Ralph, be- and you leave. You make sure to sign your to just using strings or something like that. tween the time that he said he was going to form first, to make sure you get paid. Because it was an urban movie, I figured it start recommending me and three months lat- could stand to use some rhythm in the score. I er, I was working 24 hours a day. In New JI: You were involved with a lot of film music did a movie called Two Can Play That Game York, at that time, there was so much work. If and you worked with Spike Lee. Could you with Vivica A. Fox. you could read and you could play with feel- talk about some of those experiences? ing, there was a lot of opportunity. So Ralph JI: To calculate where every piece of music, was really instrumental in kind of getting me MM: Spike had had his first breakthrough every note and rhythm went in a film, you going. He called me for the Grover sessions. movie, She’s Gotta Have It. He had to really used to had to have your slide rule out to cal- I’m 19 years old. Three or four years before scratch to get that one made. I think that was culate the number of frames per second, sec- that, I was playing along with records in my his first film or the first one he got released onds per frame, and all that. Now it’s so much bedroom. Now I’m sitting here playing. It ac- through a major distributor. I was just admir- quicker and easier. tually felt like I was playing along with a ing his work from afar and I got a phone call. Grover Washington record, even when I was He said, “Marcus, this is Spike. Listen, I got a MM: The computer changes all that. You used recording with him. I did realize that I was beach party, a pool party scene in my next to have to come to a scoring session with cal- actually in the band because I played a lick movie. It’s got a bunch of girls with big be- culators. If you wanted to make sure the or- and then I heard Grover repeat the lick in his hinds in bathing suits, and I need you to write chestra hit when the guy, when the cars solo right after that. I said, “Whoa!” That nev- a song for it. I need the song to be called ‘The crashed or something like that, you had to re- er happened in my bedroom when I was play- Butt’ and I need it to be the dance sensation ally do some measurements - to figure out ing along with the record. The musicians never across the nation, okay? Call me when you got what tempo you could make the music … so reacted to me when I was playing along with something.” That was it. So I had to come up that a good beat on the music would corre- the record. It was a beautiful experience. The with this tune called “The Butt.” So I got to- spond with the car crash. Now, your computer band was Steve Gadd on drums, Richard Tee gether with my songwriting buddy Mark Ste- can do that in two seconds. So it’s not as diffi- on piano, Eric Gale on guitar and Ralph vens—who is Chaka Khan’s brother. We came cult. The other thing that makes it not as diffi- McDonald on percussions. It was a great up with a song and we recorded a demo for cult is that a movie composer had to be able to group. It was the Winelight album, and the big Spike and sent it to him. He said, “I love it. (Continued on page 9)

8 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 people emotionally through the film. Some- resolve it in a really nice way. Marcus Miller times when I was first starting to write music for movies, the director would say, “Man, JI: What kinds of interesting or dramatic mo- (Continued from page 8) that’s a beautiful piece of music. But no one’s ments have you experienced in recording mu- paying attention to my scene because you’ve sic for films? imagine the whole score in his head. All he got too much going on with the music that’s would do really was to play it on the piano for drawing people’s attention. Okay? I appreciate MM: I was doing a film for Disney and they the director. So, just imagine - it’s gonna be what you did, but you’ve got to help me out had one guy assigned to the session whose job huge. Now, with your samplers and your key- here. I could use about a third of what you was simply to keep me moving, so that they boards and everything, the director walks in wrote just to support my scene.” So you begin didn’t spend too much money on this orchestra the studio and you play it, it basically sounds to realize that your music is simply a compo- that was very expensive. The director was like an orchestra already - because you have nent of the overall picture. When you’re mak- there and we were getting towards the end of all these samples. So people don’t have the ing music for a CD, your music is the whole the session. The director goes on the talk back imagination that they used to have, because thing - so it has to be a complete picture. But speakers into the room conducting the orches- you can kind of realize anything you want. lots of times with movie scores, the music tra. He said, “Listen man, I forgot to tell you simply has to kind of be an emotional guide that I need music in this one 15-second sec- JI: Remember when you watched movies or for people. If people notice the music in the tion.” The Disney guy is freaking out because TV shows where the themes were overwhelm- scene, it means the music is not really doing we’re getting ready to go into overtime - be- ingly new and original. Some of the most its job right. cause I’m going to have to take a break and memorable songs were the themes on some of compose the stuff in the back room, and then those TV sitcoms and westerns. Now you go JI: Stanley Clarke has mentioned that when he send it to the copyist who’s going to have to to the movies, and when they say buy the was writing music for some film, the Producer write it out for all the different musicians. We score, much of the music is made up record- or Director told him that they didn’t want any had 16 people. So I said, “Listen, everybody in ings that are licensed from current pop albums minor chords in the music. So he wrote every- the orchestra … please take out your pen- or are hits from the past that you already thing using augmented chords - which to the cils.” I dictated … I said violins, chord, note, know. untrained ear could sound like they’re minor rest …. eight notes going down from C natural chords. going down to A natural.” I dictated every- MM: Well, you know, there did become a body’s part right there on the spot and said, division between the soundtrack and the score. MM: Sounds like Stanley. What you’ve got to “Okay, let’s try it.” So we did. I changed a If you go to old movies, they were one and the realize is that if you’re going to go into any couple of things. We got the piece ready to go same. The soundtrack was the score. The same kind of musical work where you’re going to be in seven minutes. music that you heard while you were watching interfacing with people who aren’t musicians - the movie was on the album that you bought. you have to allow for the fact that they don’t JI: Was this a new piece of music, or were But after Saturday Night Fever, which was the know the language. That doesn’t mean they’re you taking thematic material that you were number one selling album of all time before... dumb. It just means they don’t know the lan- using elsewhere in the score? Saturday Night Fever was a perfect movie to guage. So for a lot of people, minor just means do that with because it was a dance movie. that it has a feeling of darkness. It gives them MM: No, I had to write it right there on the They could put some dance songs in there. a feeling of darkness. I’ve had a lot of direc- spot. But, you know, I pulled it together in They realized there was so much money to be tors who are really smart guys who, when they seven minutes and then we recorded it, and we made from the soundtracks that they just start- start using laymen’s terms, when I’m talking were done. One of my assistants, who does a ed putting hits on the soundtracks - even if the to them, I use the musical term. By the end of lot of films said, “You know, you jazz guys hits had nothing to do with the movie. They’d the movie process, these guys are educated, have it so easy because somebody throws get some great artists to put some hits togeth- and they have the language to communicate. something at you and you just improvise right er, and then they’d put it on the soundtrack For me, the bigger problem is when they know there on the spot. It doesn’t freak you out. and they’d say something like, “music inspired just a little bit about music. That’s a problem. Somebody else would have had to go in the by the movie” - because everyone realizes it Because then they really start. , I had a guy back room, and sit at the piano for half an hour didn’t have anything to do with the movie. when I did a soundtrack for a film and the to come up with something.” Well, now because of the economic situation, producer told me, “Listen, this is primarily for they’re not even asking artists to create new children. Children don’t like minor chords.” music. Lots of times, they just go in the cata- I’m like, “Okay.” I’m not sure about that be-    log and find great songs that they think are cause I’ve been to a bunch of Disney films and appropriate. That’s the new trend now. Plus, the minor doesn’t do anything but set up the with a new song, you can never be guaranteed major and the end of the film. You need that.

that it’s gonna be a hit. With an old one,

there’s a guarantee. It’s already a hit. So JI: Tension and release - that’s a big part of ““Good character you’re hedging your bet a little bit. successful music and storytelling and a lot of is more to be praised than other things. outstanding talent. Most talents are, JI: In writing music for films, working with to some extent, a gift. Good character, either the director or the producer, what have MM: Yeah. Tension and release and minor by contrast, is not given to us. We been some of the challenges that you’ve expe- chords serve a purpose. I decided that what he have to build it piece by piece -- by rienced – in the role of creative individual really meant was that he didn’t want it to be thought, choice, courage and versus corporate decision maker? overly dark. I’m not going to take him literally determination.” and not have any minor chords. That’s ridicu- MM: Well, the first thing you have to learn as lous. The whole thing about a kids’ film is to a musician is that your job is simply to guide set it up, scare the hell out of them, and then - John Luther

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INTERVIEWINTERVIEW

Ernie Watts The Process Never Ends

Interview & Photo By Eric Nemeyer

JI: How much do you miss Wilmington, Del- aware?

EW: [laughs] It was a great place to grow up. Because it was so quiet, it was a perfect place to practice and study and get it together. That’s what I did mostly – just practice and listen to records. Then I graduated from high school there. I went to West Chester College for a year and then I got a Downbeat scholar- him and we talked. He let me play his horn cause you want to do it, then what’s to retire ship to the Berklee School of Music in Boston and stuff like that. I was in high school, so it from? and I went up to Boston. That’s where I met was a really inspiring experience. My first Alan Broadbent. Alan had won one of the jazz record was Kind of Blue, so I was already JI: When you were playing with Cannonball, Downbeat scholarships in New Zealand and very familiar with his playing and with Col- who played alto sax, were you playing alto or he came over on a boat from New Zealand so trane’s playing from listening to that record. tenor? we both got in the program the same year. When I met Cannonball, it was quite an expe- rience. And then later on, we were really good EW: I was playing alto. I started originally JI: When you were in Wilmington, you were friends. I played with his group and we did with – my very, very first instrument was – a kid when Clifford Brown was still around? some recordings and some TV things and a the baritone. It’s a funny kind of story. I was bunch of stuff in LA. He was a good man. interested in art in junior high. This was grade EW: I was after Clifford. I think he died in seven. I wasn’t really that interested in learn- 1955, ’56, and I started playing in 1958. I JI: Did he give you any words of motivation ing an instrument. I had a friend that wanted knew of him but missed him. He’s buried or inspiration when you first met him? to learn to play the saxophone. It was fall, the about three blocks from the house where I beginning of the school year, and the music grew up. EW: Not really. I mean, it was always play- department at the school had instruments to ing. It was always through the music. You lend. They were ready to start teaching peo- JI: You were near Philadelphia, which had a know, it’s always an amazing thing – when ple. So we went to the music department. I flourishing jazz scene at the time. Did you get you’re a young kid and you’re playing, and went with him on a lunch break. He wanted to a chance to go up there often? then you start playing with these people that learn the saxophone and I didn’t know, I fig- are people you grew up listening to, it’s al- ured I’d try something, and I wanted to get a EW: I went up to the Academy of Music. I ways quite a thrill to know that people that trombone. I must’ve seen The Glenn Miller heard the Jazztet there. We used to go up to you love and appreciate, appreciate what you Story on TV that week or something, and I Birdland. A friend of mine, a trumpet player, do too. I spent two years with Buddy Rich’s figured, “I’ll try the trombone. That looks like his father had an apartment in New York and band, just traveling around, meeting all these fun.” My friend got a tenor saxophone. They we would come up for weekends and go to people and playing with everybody. It was were all out of trombones so I got a baritone Birdland. That was the first time I heard Art like a family. Everybody was learning, and saxophone because I was tall for my age and Blakey’s group, with Wayne Shorter and everybody was learning from everybody. The the teacher figured I could carry it in march- Freddie Hubbard—that fantastic band with young guys were learning from the older ing band. So I started on baritone, and then a Curtis Fuller, Cedar Walton, Jimmy Merritt. guys, the older guys were listening to the couple of months later they got an alto saxo- They were trading sets with the Gerry Mulli- younger guys and saying, “What’s that?” The phone and I started playing the alto, through gan Big Band. Mulligan’s Big Band would process never ends. That’s the thing that’s the school system of Wilmington, Delaware. I come on and they would sound like a small really alive about it. It’s always evolving, it’s was studying with the teacher at the school. group, because they played very quietly. And always growing, and it never ends. That’s Practicing – I was immediately drawn to it so then Art Blakey’s band would come on with what keeps you young, because there’s always I practiced all the time. six guys and they’d sound like a big band. something to learn. You don’t retire from [laughs] It was incredible, the energy. We something that you love. If you’re doing JI: Initially, practicing entails reading, learn- used to do that and that was a lot of fun. Then something that you don’t particularly like, ing scales, and so forth. How did you make I used to go the University of Delaware. They then okay, that’s great, you retire – you get the transition to developing your improvisa- used to have concerts. That was where I heard away from it. But the thing is, if you do music tional skills and how did that begin? Cannonball play live for the first time. I met and you do because you love it, you do it be- (Continued on page 11)

10 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 harmony in a particular way, and they all kind But it was always my own choice of notes. I Ernie Watts of had the same vocabulary so their music never memorized the solo to “Giant Steps.” I was in a mid-range. But when Coltrane never memorized the solo to any of the great, (Continued from page 10) played, he just took it to a whole other play, famous saxophone solos. For some reason, I harmonically and technically. So to me as a got it in my mind when I was very young, that kid, it sounded like he was playing in another jazz was a creative art form, and everybody EW: Well it all worked together. At that time key, but it worked. So that was it. From there had a right to their own, their own concept, in my school system there was no jazz depart- on, I always wanted to play in the other key. and their own way of assimilating the infor- ment, so I studied classical music with the [laughs] But then after a while I learned about mation and creating their vocabulary. That’s teacher at the school. Eventually I started chord-scales, the diminished scales, and all what it was supposed to be. The jazz vocabu- studying classical music at the conservatory in the mixolydian patterns and all of those lary was supposed to be a unique, individual Wilmington, learning all of the transcriptions things. But as a kid, that was the way I figured vocabulary. So I didn’t really learn from for saxophone – the Bach and the Beethoven, it out for myself. Then, that’s all I did was memorizing licks. I learned from getting in and then the beautiful French music. I was listen to Coltrane. I took my lunch money and touch with the melodic energy. These guys reading music and studying the classical tech- every week I’d buy a Coltrane record. I had a were such incredible players, but there a mel- nique for the saxophone and my neighbor, Ali little stack around my record player so every ody that went through everything. I listen to a Jenkins, he had a wonderful record collection. night, I’d put three or four Coltrane records on lot of Keith Jarrett. I don’t listen to a lot of Our house was a rowhouse, so he lived next the stacker and then I’d go to sleep listening saxophone players; I listen to a lot of piano. I door. He could hear me practicing through the to Coltrane. So I was hearing all those melod- listen to Keith a lot because everything he wall. He started lending me records. The first ic things intuitively – fourths and dominant plays is a melody. Everything, everything has record he loaned me was a Dave Brubeck scales and all of those things. I was playing a melodic context to it. Coltrane, as bizarre as record called Jazz Moves to College and I them and I didn’t know what they were, but I his stuff got at the end, as free and open as it heard Paul Desmond. Paul played so melodi- was still dealing with the vocabulary. Later on got, there was always a melodic core. Same cally and so clearly that I could play those I learned what they were. Listening to Can- thing with Cannonball. Same thing with all things with him on the record player. That’s nonball, Charlie Parker, Eric Dolphy, all of great players. If you start doing research on how I started improvising and dealing with these incredible players, and then as I kid, what makes an instrumentalist great, the peo- the concept of improvising – playing with being thirteen or fourteen, I figured, “Well, ple that you respect and the people that you records. I learned intuitively. I learned the that’s just the way you play. That’s the way hear, that you really love and keep going back saxophone technically and physically to play the saxophone sounds.” That’s the way I to, are all the people that were in touch with a through classical music. I learned all my learned how to play. I was about thirty years melodic thread. scales, the correct embouchure, how to play old before I realized that that was some of the the instrument “correctly.” But then at the most involved music that there ever was. I JI: You mentioned the intuitive aspect. You same time I was listening to records and im- thought, “Well, that’s jazz. That’s what you can teach the theory first, but if somebody provising and learning to improvise by ear, do.’ [laughs] That’s the way I learned to play. doesn’t feel the electricity from the music the intuitive way. After a while, my mother itself, they’re not going to be able to com- realized that I wasn’t going to quit. I was al- JI: Did you later, in an effort to expand on municate that. You don’t have to know exact- ways self-driven. They never made me prac- what you knew intuitively, transcribe solos or ly what you’re doing while trying to emulate tice. So I kept practicing and my mother real- otherwise do things to connect the dots? what you’re hearing. You can always apply ized that I wasn’t going to stop, so what she the theory later. did was she joined the Columbia Record Club EW: No, I never transcribed a lot of solos. I one Christmas. She brought me a little stereo still study a lot of solos. I study a lot of Col- EW: And it all works together. But the thing record player. Everything that I used to get, I trane things, because they’re just so wonder- is, I think the beginning, the essence of it, is grew up out of the Sears catalog. So Sears had ful. He was one of the great all-time virtuosos. just really loving the music. The energy that this music section called Silvertone. She or- But I get them from Andrew White in Wash- you put into learning and putting all the pieces dered me the Silvertone stereo. She joined the ington, D.C. I just got a bunch of stuff from together is related to this deep love that you Columbia Record Club and the first record Andrew a couple of weeks ago. I did the To- have for wanting to play this music. Then you she got for me, which was a freebie that year, night Show for twenty years with Doc Sev- do whatever you need to do to learn how to was Kind of Blue. That was the new jazz rec- erinsen’s band and I met Andrew when he get better. ord that year. That’s why I figured it was was playing electric bass with The Fifth Di- 1958, ’59. I heard that and that was it for me. mension. So he comes on The Tonight Show Continued in the next issue I heard everybody in the band. I heard Can- and we introduce each other. He’s a great guy. of Jazz Inside Magazine nonball – he was incredible – and Miles, Jim- He says, “I’m ready to publish these transcrip- my Cobb, Paul Chambers, and then there were tions. What do you think of that? Do you two piano players, Bill Evans and Wynton think people would be interested?” I said, Kelly. Then I heard Coltrane and it was like “Man, that sounds great!” He started doing it, this revelation to me. It was like sticking my I guess, in the seventies. I enjoy that. I study

finger in a light socket. I mean the hair just some classical repertoire and the Coltrane “Ultimate success is not stood up on the back of my neck when I heard things, just as studies. As far as playing goes – him play. Being thirteen or fourteen, I could- this was way before I started studying An- directly related to early success, n’t explain what he was doing. The only way I drew’s things – I learned from the energy of if you consider that many successful could explain it was it sounded like he was the music. I always tapped into the energy. So people did not give clear evidence playing in another key, but it worked, right? I never transcribed what Coltrane was play- of such promise in youth.” Because everybody in the band, they had a ing, but I got in touch with the energy of it. certain vocabulary and they dealt with the Intervallically, I could tell what he was doing. - Robert Fritz, The Path Of Least Resistance

To Advertise CALL: 215-887-8880 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 11 Hello, my name is David Haney. I am a pianist and composer. In 2012 I took over as publisher and editor of Cadence Magazine. We have the same mandate to present independent free press. We are dedicated to the promotion of creative music. I encourage you to give us a try. You will love the new Cadence.

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 Catherine Russell and Her Septet: Alone Together; Birdland, 315 W. Sunday, March 10 44th St.  Freddy Cole Quintet: Songs For Lovers; Dizzy’s Club, Jazz At Lincoln  Thundercat; Blue Note, 131 W. 3rd St. Center, 60th & Bdwy  Jazz For Kids; The Clayton Brothers Quintet; Jazz Standard, 116 E. Saturday, March 16 27th St.  Kim Nalley: Love Songs; Dizzy’s Club, Jazz At Lincoln Center, 60th &  George Cables Trio - George Cables, Piano; Dezron Douglas, Bass; Bdwy Victor Lewis, Drums; Village Vanguard 178 7th Ave S.  Mingus Big Band: Celebrating 10 Years At Jazz Standard; Jazz  Vocal Masterclass with Marion Cowings; Billy Kaye Quartet; Brandon Standard, 116 E. 27th St. Sanders Quintet; Nick Hempton Band; Alon Near Trio "After-hours";  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Small's, 183 W. 10th St.  Smalls Showcase: Dean Tsur Saxophone Choir; Michael Weiss  Scott Reeves Jazz Orchestra; The Afro Latin Jazz Orchestra; Bird- Quartet; Alexander Claffy Quintet; Brooklyn Circle; Small's, 183 W. land, 315 W. 44th St. 10th St.  Ron Carter's Blue Note Winter Residency; Blue Note, 131 W. 3rd St.  Catherine Russell and Her Septet: Alone Together; Birdland, 315 W. 44th St. Monday, March 11  Thundercat; Blue Note, 131 W. 3rd St.  Brussels Jazz Orchestra & Tutu Puoane: We Have A Dream; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Sunday, March 17  Mingus Big Band: Celebrating 10 Years At Jazz Standard; Jazz  Kim Nalley: Love Songs; Dizzy’s Club, Jazz At Lincoln Center, 60th & Standard, 116 E. 27th St. Bdwy  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Jazz For Kids; Mingus Big Band: Celebrating 10 Years At Jazz Stand-  Ronnie Burrage & Holographic Principle; Jonathan Barber Quartet; ard; Jazz Standard, 116 E. 27th St. Jon Elbaz Trio "After-hours"; Small's, 183 W. 10th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Lorna Dallas; Birdland, 315 W. 44th St.  Vocal Masterclass with Marion Cowings; Emanuele Tozzi Quintet; Bill  Wallace Roney Quintet - March Residency; Blue Note, 131 W. 3rd St. Goodwin Trio; Joe Magnarelli Group; Ben Zweig Trio "After-hours"; Small's, 183 W. 10th St. Tuesday, March 12  Birdland Latin Jazz Orchestra; Birdland, 315 W. 44th St.  Brussels Jazz Orchestra & Tutu Puoane: We Have A Dream; Dizzy’s  Thundercat; Blue Note, 131 W. 3rd St. Club, Jazz At Lincoln Center, 60th & Bdwy  Michael Leonhart Orchestra "Valentine's Day Show: Movie Love Monday, March 18 Themes"; Jazz Standard, 116 E. 27th St.  Juilliard Jazz Ensembles; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Bdwy  Jeremy Manasia Quartet; Abraham Burton Quartet; Malik McLaurine  Mingus Orchestra: Celebrating 10 Years At Jazz Standard; Jazz Trio "After-hours"; Small's, 183 W. 10th St. Standard, 116 E. 27th St.  Catherine Russell and Her Septet: Alone Together; Birdland, 315 W.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. 44th St.  Ari Hoenig Trio; Joel Frahm Trio; Sean Mason Trio "After-hours";  Thundercat; Blue Note, 131 W. 3rd St. Small's, 183 W. 10th St.  Judi Silvano and The Zephyr Band; Birdland, 315 W. 44th St. Wednesday, March 13  Wallace Roney Quintet - March Residency; Blue Note, 131 W. 3rd St.  Brian Charette: Music For Organ Sextette; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Tuesday, March 19  Double Date With Tierney & Kate: From Django To Joni; Jazz Stand-  John Chin Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy ard, 116 E. 27th St.  Godwin Louis; Jazz Standard, 116 E. 27th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Dayna Stephens Quartet - Dayna Stephens, Saxophone; Aaron Parks,  John Stetch & Vulneraville; Dave Pietro Quintet; Davis Whitfield Trio Piano; Ben Street, Bass; Greg Hutchinson, Drums; Village Vanguard "After-hours"; Small's, 183 W. 10th St. 178 7th Ave S.  Catherine Russell and Her Septet: Alone Together; Birdland, 315 W.  Steve Nelson Quartet; Frank Lacy's Tromboniverse; Malik McLaurine 44th St. Trio "After-hours"; Small's, 183 W. 10th St.  Thundercat; Blue Note, 131 W. 3rd St.  Saxophone Summit with Joe Lovano, Dave Liebman, and Greg Osby; Birdland, 315 W. 44th St. Thursday, March 14  David Sanborn; Blue Note, 131 W. 3rd St.  Valentine’s Day: Kim Nalley Sings Love Songs; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Wednesday, March 20  Double Date With Tierney & Kate: From Django To Joni; Jazz Stand-  Bobby Broom Organi-Sation: Soul Fingers; Dizzy’s Club, Jazz At ard, 116 E. 27th St. Lincoln Center, 60th & Bdwy  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  An Evening With Branford Marsalis; Jazz Standard, 116 E. 27th St.  Phil Stewart Quartet; Chris Byars Original Sextet; Jonathan Thomas  Dayna Stephens Quartet - Dayna Stephens, Saxophone; Aaron Parks, Trio "After-hours"; Small's, 183 W. 10th St. Piano; Ben Street, Bass; Greg Hutchinson, Drums; Village Vanguard  Catherine Russell and Her Septet: Alone Together; Birdland, 315 W. 178 7th Ave S. 44th St.  Rob Bargad's Reunion 7tet; Harold Mabern Trio; Micah Thomas Trio  Thundercat; Blue Note, 131 W. 3rd St. "After-hours"; Small's, 183 W. 10th St.  Saxophone Summit with Joe Lovano, Dave Liebman, and Greg Osby; Friday, March 15 Birdland, 315 W. 44th St.  Kim Nalley: Love Songs; Dizzy’s Club, Jazz At Lincoln Center, 60th &  David Sanborn; Blue Note, 131 W. 3rd St. Bdwy  Mingus Big Band: Celebrating 10 Years At Jazz Standard; Jazz Thursday, March 21 Standard, 116 E. 27th St.  David Binney’s Angelino Quartet; Dizzy’s Club, Jazz At Lincoln Cen-  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. ter, 60th & Bdwy  Michael Weiss Quartet; Alexander Claffy Quintet; JD Allen "After-  Spanish Harlem Orchestra; Jazz Standard, 116 E. 27th St. (Continued on page 14) hours"; Small's, 183 W. 10th St.

To Advertise CALL: 215-887-8880 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 13  Dayna Stephens Quartet - Dayna Stephens, Saxophone; Aaron Parks,  Saxophone Summit with Joe Lovano, Dave Liebman, and Greg Osby;  Family Concert: Who Is Miles Davis? Trumpeter Sean Jones hosts Piano; Ben Street, Bass; Greg Hutchinson, Drums; Village Vanguard Birdland, 315 W. 44th St. this hour-long concert, in which families will learn about the trials and 178 7th Ave S.  David Sanborn; Blue Note, 131 W. 3rd St. triumphs of legendary trumpeter Miles Davis’ career and hear what  Rob Bargad's Reunion 7tet; Oleg Butman/Natalia Smirnova Quartet; made his music so special. 1PM, 3PM, Rose Theater, Jazz At Lincoln Aaron Seeber "After-hours"; Small's, 183 W. 10th St. Center, 60th & Bdwy  Saxophone Summit with Joe Lovano, Dave Liebman, and Greg Osby; Saturday, March 23 Birdland, 315 W. 44th St.  Warren Wolf Quartet Featuring Joe Locke; Dizzy’s Club, Jazz At Sunday, March 24  David Sanborn; Blue Note, 131 W. 3rd St. Lincoln Center, 60th & Bdwy  Warren Wolf Quartet Featuring Joe Locke; Dizzy’s Club, Jazz At  Spanish Harlem Orchestra; Jazz Standard, 116 E. 27th St. Lincoln Center, 60th & Bdwy Friday, March 22  Dayna Stephens Quartet - Dayna Stephens, Saxophone; Aaron Parks,  Jazz For Kids; Spanish Harlem Orchestra; Jazz Standard, 116 E. 27th  Warren Wolf Quartet Featuring Joe Locke; Dizzy’s Club, Jazz At Piano; Ben Street, Bass; Greg Hutchinson, Drums; Village Vanguard St. Lincoln Center, 60th & Bdwy 178 7th Ave S.  Dayna Stephens Quartet - Dayna Stephens, Saxophone; Aaron Parks,  Spanish Harlem Orchestra; Jazz Standard, 116 E. 27th St.  Santi Debriano and Flash of the Spirit; Alex Sipiagin Quintet; Philip Piano; Ben Street, Bass; Greg Hutchinson, Drums; Village Vanguard  Dayna Stephens Quartet - Dayna Stephens, Saxophone; Aaron Parks, Harper Quintet; Small's, 183 W. 10th St. 178 7th Ave S. Piano; Ben Street, Bass; Greg Hutchinson, Drums; Village Vanguard  Saxophone Summit with Joe Lovano, Dave Liebman, and Greg Osby;  Vocal Masterclass with Marion Cowings; Charles Owens Trio; Alon 178 7th Ave S. Birdland, 315 W. 44th St. Near Trio "After-hours"; Small's, 183 W. 10th St.  Santi Debriano and Flash of the Spirit; Alex Sipiagin Quintet; Corey  David Sanborn; Blue Note, 131 W. 3rd St.  Emilio Solla Tango Jazz Orchestra; The Ktet; The Afro Latin Jazz Wallace DUBtet "After-hours"; Small's, 183 W. 10th St. Orchestra; Birdland, 315 W. 44th St.  David Sanborn; Blue Note, 131 W. 3rd St. Monday, March 25  Matthew Shipp Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Mingus Big Band: Celebrating 10 Years At Jazz Standard; Jazz Standard, 116 E. 27th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Lucas Pino Nonet; Rodney Green Group; Jon Elbaz Trio "After-hours"; Small's, 183 W. 10th St.  Victoria Shaw; Birdland, 315 W. 44th St.  Wallace Roney Quintet - March Residency; Blue Note, 131 W. 3rd St. Tuesday, March 26  Allison Miller’s Boom Tic Boom; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Steve Slagle's A.M. Band; Jazz Standard, 116 E. 27th St.  Terell Stafford Quintet - Terell Stafford, Trumpet; Tim Warfield, Saxo- phone; Bruce Barth, Piano; Peter Washington, Bass; Billy Williams, Drums; Village Vanguard 178 7th Ave S.  Robert Edwards Quintet; Abraham Burton Quartet; Malik McLaurine Trio "After-hours"; Small's, 183 W. 10th St.  Eric Harland's Voyager; Blue Note, 131 W. 3rd St. Wednesday, March 27  Black Art Jazz Collective; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Joey Defrancesco Trio With Troy Roberts And Billy Hart; Jazz Stand- ard, 116 E. 27th St.  Terell Stafford Quintet - Terell Stafford, Trumpet; Tim Warfield, Saxo- phone; Bruce Barth, Piano; Peter Washington, Bass; Billy Williams, Drums; Village Vanguard 178 7th Ave S.  Michael Stephans: Quartette Oblique; Amos Hoffman Trio; Davis Whitfield Trio "After-hours"; Small's, 183 W. 10th St.  Cyrille Aimee: A Sondheim Adventure; Birdland, 315 W. 44th St.  Eric Harland's Voyager; Blue Note, 131 W. 3rd St. Thursday, March 28  Black Art Jazz Collective; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Alfredo Rodriguez/Pedrito Martinez Duo; Jazz Standard, 116 E. 27th St.  Terell Stafford Quintet - Terell Stafford, Trumpet; Tim Warfield, Saxo- phone; Bruce Barth, Piano; Peter Washington, Bass; Billy Williams, Drums; Village Vanguard 178 7th Ave S.  Brandi Disterheft Quartet; Amos Hoffman Trio; Jonathan Thomas Trio "After-hours"; Small's, 183 W. 10th St.  Cyrille Aimee: A Sondheim Adventure; Birdland, 315 W. 44th St.  Cory Henry Birthday Residency: The Revival; Blue Note, 131 W. 3rd St.  Duduka Da Fonseca, Helio Alves And Maucha Adnet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Friday, March 29  Avishai Cohen Quartet; Jazz Standard, 116 E. 27th St.  Bobby McFerrin & Gimme5 w Joey Blake, Dave Worm, Judi Vinar & Rhiannon; Blue Note, 131 W. 3rd St.  Birdland Big Band; Birdland, 315 W. 44th St.  Duduka Da Fonseca, Helio Alves And Maucha Adnet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Marcus Miller: Electric Miles - Bassist and long-time Miles Davis collaborator Marcus Miller leads a wide-ranging exploration of Davis’ bold experiments with jazz, rock, funk, hip-hop, and electronic fusions. 8PM, Rose Theater, Jazz At Lincoln Center, 60th & Bdwy Saturday, March 30  Avishai Cohen Quartet; Jazz Standard, 116 E. 27th St.  Bobby McFerrin & Gimme5 w Joey Blake, Dave Worm, Judi Vinar & Rhiannon; Blue Note, 131 W. 3rd St.  Eric Comstock; Birdland, 315 W. 44th St. (Continued on page 16)

14 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 ErnieErnie WattsWatts

© Eric Nemeyer

To Advertise CALL: 215-887-8880 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 15  Duduka Da Fonseca, Helio Alves And Maucha Adnet; Dizzy’s Club,  McCoy Tyner and Charles McPherson At 80; Pianist McCoy Tyner Jazz At Lincoln Center, 60th & Bdwy and saxophonist Charles McPherson join the Jazz at Lincoln Center  Marcus Miller: Electric Miles - Bassist and long-time Miles Davis Orchestra with Wynton Marsalis for an 80th birthday celebration. 8PM, collaborator Marcus Miller leads a wide-ranging exploration of Davis’ Rose Theater, Jazz At Lincoln Center, 60th & Bdwy bold experiments with jazz, rock, funk, hip-hop, and electronic fusions. Sunday, April 7 8PM, Rose Theater, Jazz At Lincoln Center, 60th & Bdwy  Jazz For Kids; Veronica Swift; Jazz Standard, 116 E. 27th St.  An Evening With Ben Vereen; Dizzy’s Club, Jazz At Lincoln Center, Sunday March 31 60th & Bdwy  Jazz For Kids; Avishai Cohen Quartet; Jazz Standard, 116 E. 27th St.  Sullivan Fortner Trio - Sullivan Fortner, Piano; Ameen Saleem, Bass;  Bobby McFerrin & Gimme5 w Joey Blake, Dave Worm, Judi Vinar & Jeremy ‘Bean’ Clemons, Drums; Village Vanguard 178 7th Ave S. Rhiannon; Blue Note, 131 W. 3rd St.  Jeremy Manasia Quintet; The Zebtet: Music of Saul Zebulon Rubin;  Renee Manning/Earl McIntyre Septet; Birdland, 315 W. 44th St. Alon Near Trio "After-hours"; Small's, 183 W. 10th St.  Duduka Da Fonseca, Helio Alves And Maucha Adnet; Dizzy’s Club,  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St. Jazz At Lincoln Center, 60th & Bdwy Monday, April 8 Monday, April 1  Mingus Big Band: Celebrating 10 Years at Jazz Standard; Jazz  William Paterson University Jazz Orchestra & Quintet With Ingrid Standard, 116 E. 27th St. Jensen; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Manhattan School Of Music Jazz Orchestra: Manhattan Sings; Dizzy’s  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Club, Jazz At Lincoln Center, 60th & Bdwy  Ari Hoenig Quartet; Joe Farnsworth Trio feat. Buster Williams; Jon  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Elbaz Trio "After-hours"; Small's, 183 W. 10th St.  Omer Avital Trio; Rodney Green Quartet; Sean Mason Trio; Small's,  Georgia Middleman and Gary Burr; Birdland, 315 W. 44th St. 183 W. 10th St.  Deborah Davis, 21st Annual Jazz Benefit; Blue Note, 131 W. 3rd St.  Jim Caruso's Cast Party; Birdland, 315 W. 44th St. Tuesday, April 2  Pablo Sainz Villegas; Blue Note, 131 W. 3rd St.  J.D. Allen Quartet Featuring Liberty Ellman; Jazz Standard, 116 E. Tuesday, April 9 27th St.  SFJAZZ Collective plays Miles Davis; Jazz Standard, 116 E. 27th St.  Yotam Silberstein Quartet Featuring John Patitucci; Dizzy’s Club, Jazz  Julien Labro & The Chanson Experiment; Dizzy’s Club, Jazz At At Lincoln Center, 60th & Bdwy Lincoln Center, 60th & Bdwy  Sullivan Fortner Trio - Sullivan Fortner, Piano; Ameen Saleem, Bass;  Steve Wilson & Wilsonian’s Grain - Steve Wilson, Alto Saxophone; Jeremy ‘Bean’ Clemons, Drums; Village Vanguard 178 7th Ave S. Orrin Evans, Piano; Ugonna Okegwo, Bass; Ulysses Owens, Jr.,  Hillel Salem Quintet; Abraham Burton Quartet; Malik McLaurine Trio Drums; Village Vanguard 178 7th Ave S. "After-hours"; Small's, 183 W. 10th St.  Justin Robinson Quartet; Frank Lacy's Tromboniverse; Malik McLau-  Benny Green; Birdland, 315 W. 44th St. rine Trio; Small's, 183 W. 10th St.  Joshua Redman Quartet: Aaron Goldberg/Reuben Rogers/Gregory  James Carter Organ Trio; Birdland, 315 W. 44th St. Hutchinson; Blue Note, 131 W. 3rd St.  Dizzy Gillespie Afro Cuban All-Stars; Blue Note, 131 W. 3rd St. Wednesday, April 3 Wednesday, April 10  J.D. Allen Quartet Featuring Liberty Ellman; Jazz Standard, 116 E.  SFJAZZ Collective plays Miles Davis; Jazz Standard, 116 E. 27th St. 27th St.  Mason Brothers Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Yotam Silberstein Quartet Featuring John Patitucci; Dizzy’s Club, Jazz Bdwy At Lincoln Center, 60th & Bdwy  Steve Wilson & Wilsonian’s Grain - Steve Wilson, Alto Saxophone;  Sullivan Fortner Trio - Sullivan Fortner, Piano; Ameen Saleem, Bass; Orrin Evans, Piano; Ugonna Okegwo, Bass; Ulysses Owens, Jr., Jeremy ‘Bean’ Clemons, Drums; Village Vanguard 178 7th Ave S. Drums; Village Vanguard 178 7th Ave S.  Brent Birckhead; Sam Dillon Quartet; Davis Whitfield Quartet "After-  Remy Le Boeuf Quintet; Mike Lee Trio; Davis Whitfield Trio "After- hours"; Small's, 183 W. 10th St. hours"; Small's, 183 W. 10th St.  Clint Holmes Celebrates The Jazz of Sammy Davis. Jr From The  James Carter Organ Trio; Birdland, 315 W. 44th St. Copa to Broadway; Joe Alterman; Birdland, 315 W. 44th St.  Dizzy Gillespie Afro Cuban All-Stars; Blue Note, 131 W. 3rd St.  Joshua Redman Quartet: Aaron Goldberg/Reuben Rogers/Gregory Hutchinson; Blue Note, 131 W. 3rd St. Thursday, April 11  SFJAZZ Collective plays Miles Davis; Jazz Standard, 116 E. 27th St. Thursday, April 4  Mason Brothers Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Veronica Swift; Jazz Standard, 116 E. 27th St. Bdwy  An Evening With Ben Vereen; Dizzy’s Club, Jazz At Lincoln Center,  Steve Wilson & Wilsonian’s Grain - Steve Wilson, Alto Saxophone; 60th & Bdwy Orrin Evans, Piano; Ugonna Okegwo, Bass; Ulysses Owens, Jr.,  Sullivan Fortner Trio - Sullivan Fortner, Piano; Ameen Saleem, Bass; Drums; Village Vanguard 178 7th Ave S. Jeremy ‘Bean’ Clemons, Drums; Village Vanguard 178 7th Ave S.  Carlos Abadie Quintet; Jerry Weldon Quartet; Jonathan Thomas Trio  Aaron Seeber Quartet; Francisco Mela and the Crash Trio; Malick "After-hours"; Small's, 183 W. 10th St. Koly "After-hours"; Small's, 183 W. 10th St.  James Carter Organ Trio; Birdland, 315 W. 44th St.  Diane Marino; Birdland, 315 W. 44th St.  Arturo Sandoval; Blue Note, 131 W. 3rd St.  Joshua Redman Quartet: Aaron Goldberg/Reuben Rogers/Gregory Hutchinson; Blue Note, 131 W. 3rd St. Friday, April 12  SFJAZZ Collective plays Antonio Carlos Jobim; Jazz Standard, 116 E. Friday, April 5 27th St.  Veronica Swift; Jazz Standard, 116 E. 27th St.  Sherman Irby & Momentum; Dizzy’s Club, Jazz At Lincoln Center,  An Evening With Ben Vereen; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy 60th & Bdwy  Steve Wilson & Wilsonian’s Grain - Steve Wilson, Alto Saxophone;

 Sullivan Fortner Trio - Sullivan Fortner, Piano; Ameen Saleem, Bass; Orrin Evans, Piano; Ugonna Okegwo, Bass; Ulysses Owens, Jr., Jeremy ‘Bean’ Clemons, Drums; Village Vanguard 178 7th Ave S. Drums; Village Vanguard 178 7th Ave S.  Eliot Zigmund Quintet; Ken Fowser Quintet; JD Allen "After-hours";  Ralph Bowen Quartet; John Marshall Quintet; Corey Wallace DUBtet Small's, 183 W. 10th St. "After-hours"; Small's, 183 W. 10th St.  Birdland Big Band; Birdland, 315 W. 44th St.  James Carter Organ Trio; Birdland, 315 W. 44th St.  Joshua Redman Quartet: Aaron Goldberg/Reuben Rogers/Gregory  Arturo Sandoval; Blue Note, 131 W. 3rd St. Hutchinson; Blue Note, 131 W. 3rd St.  McCoy Tyner and Charles McPherson At 80; Pianist McCoy Tyner Saturday April 13 and saxophonist Charles McPherson join the Jazz at Lincoln Center  SFJAZZ Collective plays Antonio Carlos Jobim; Jazz Standard, 116 E. Orchestra with Wynton Marsalis for an 80th birthday celebration. 8PM, 27th St.

Jazz Lovers’ Rose Theater, Jazz At Lincoln Center, 60th & Bdwy  Sherman Irby & Momentum; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Saturday, April 6  Steve Wilson & Wilsonian’s Grain - Steve Wilson, Alto Saxophone;  Veronica Swift; Jazz Standard, 116 E. 27th St. Orrin Evans, Piano; Ugonna Okegwo, Bass; Ulysses Owens, Jr.,  An Evening With Ben Vereen; Dizzy’s Club, Jazz At Lincoln Center, Drums; Village Vanguard 178 7th Ave S. 60th & Bdwy  Ralph Bowen Quartet; John Marshall Quintet; Philip Harper Quintet;  Sullivan Fortner Trio - Sullivan Fortner, Piano; Ameen Saleem, Bass; Small's, 183 W. 10th St. Lifetime Collection Jeremy ‘Bean’ Clemons, Drums; Village Vanguard 178 7th Ave S.  James Carter Organ Trio; Birdland, 315 W. 44th St.  Eliot Zigmund Quintet; Ken Fowser Quintet; Brooklyn Circle; Small's,  Arturo Sandoval; Blue Note, 131 W. 3rd St. 183 W. 10th St.  Joshua Redman Quartet: Aaron Goldberg/Reuben Rogers/Gregory JazzMusicDeals.com JazzMusicDeals.com Hutchinson; Blue Note, 131 W. 3rd St. (Continued on page 17)

16 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880  George Burton Quartet; JD Allen; Small's, 183 W. 10th St.  Sheila Jordan; Birdland, 315 W. 44th St. Friday, April 26  Michael Wolff Trio; Birdland, 315 W. 44th St.  Stefon Harris & Blackout; Jazz Standard, 116 E. 27th St.

 Terence Blanchard ft The E-Collective; Blue Note, 131 W. 3rd St.  Kenny Barron Quartet; Dizzy’s Club, Jazz At Lincoln Center, 60th & “Some people’s idea of Bdwy Saturday, April 20  Gerald Clayton Quintet - Logan Richardson, Alto Saxophone; Walter free speech is that they are free  Larry Goldings/Peter Bernstein/Bill Stewart; Jazz Standard, 116 E. Smith III, Tenor Saxophone; Gerald Clayton, Piano; Joe Sanders, to say what they like, but if anyone 27th St. Bass; Marcus Gilmore, Drums; Village Vanguard 178 7th Ave S.  Monty Alexander Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Christopher McBride; Noah Preminger Quintet; Corey Wallace DUBtet says anything back that Bdwy "After-hours"; Small's, 183 W. 10th St.  Tom Harrell “Infinity” - Mark Turner, Tenor Saxophone; Charles Altura,  Manhattan Transfer; Blue Note, 131 W. 3rd St. is an outrage.” Guitar; Ugonna Okegwo, Bass; Johnathan Blake, Drums; Village  Wynton Marsalis and Ken Burns: Country Music - Jazz at Lincoln Vanguard 178 7th Ave S. Center Orchestra with Wynton Marsalis and vocalists Emmylou Harris,  George Burton Quartet; Brooklyn Circle; Small's, 183 W. 10th St. Rhiannon Giddens, and Marty Stuart perform country hits. Plus get a  Sheila Jordan; Birdland, 315 W. 44th St. sneak peek at Ken Burns’ latest documentary, Country Music. 8PM, - Winston Churchill  Michael Wolff Trio; Birdland, 315 W. 44th St. Rose Theater, Jazz At Lincoln Center, 60th & Bdwy  Terence Blanchard ft The E-Collective; Blue Note, 131 W. 3rd St. Sunday, April 14 Sunday, April 21 Saturday, April 27  Stefon Harris & Blackout; Jazz Standard, 116 E. 27th St.  SFJAZZ Collective plays Antonio Carlos Jobim; Jazz Standard, 116 E.  Larry Goldings/Peter Bernstein/Bill Stewart; Jazz Standard, 116 E.  Kenny Barron Quartet; Dizzy’s Club, Jazz At Lincoln Center, 60th & 27th St. 27th St. Bdwy  Sherman Irby & Momentum; Dizzy’s Club, Jazz At Lincoln Center,  Monty Alexander Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Gerald Clayton Quintet - Logan Richardson, Alto Saxophone; Walter 60th & Bdwy Bdwy  Tom Harrell “Infinity” - Mark Turner, Tenor Saxophone; Charles Altura, Smith III, Tenor Saxophone; Gerald Clayton, Piano; Joe Sanders,  Steve Wilson & Wilsonian’s Grain - Steve Wilson, Alto Saxophone; Bass; Marcus Gilmore, Drums; Village Vanguard 178 7th Ave S. Orrin Evans, Piano; Ugonna Okegwo, Bass; Ulysses Owens, Jr., Guitar; Ugonna Okegwo, Bass; Johnathan Blake, Drums; Village  Christopher McBride & The Whole Proof; Noah Preminger Quintet; Drums; Village Vanguard 178 7th Ave S. Vanguard 178 7th Ave S. Philip Harper Quintet; Small's, 183 W. 10th St.  Joey "G-Clef" Cavaseno Quartet; Bruce Harris Quintet; Small's, 183  Stranahan/Zaleski/Rosato; Ned Goold Quartet; Small's, 183 W. 10th  Kurt Rosenwinkel; Dena DeRose Featuring Special Guest Artist: W. 10th St. St. Houston Person; Birdland, 315 W. 44th St.  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.  Manhattan Transfer; Blue Note, 131 W. 3rd St.  Arturo Sandoval; Blue Note, 131 W. 3rd St.  Terence Blanchard ft The E-Collective; Blue Note, 131 W. 3rd St.  Wynton Marsalis and Ken Burns: Country Music - Jazz at Lincoln Monday, April 15 Monday April 22 Center Orchestra with Wynton Marsalis and vocalists Emmylou Harris,  Mingus Big Band: Celebrating 10 Years at Jazz Standard; Jazz Rhiannon Giddens, and Marty Stuart perform country hits. Plus get a  Mingus Big Band: Celebrating 10 Years at Jazz Standard; Jazz sneak peek at Ken Burns’ latest documentary, Country Music. 8PM, Standard, 116 E. 27th St. Standard, 116 E. 27th St.  Purchase Jazz Orchestra With Special Guest Steve Nelson; Dizzy’s Rose Theater, Jazz At Lincoln Center, 60th & Bdwy  Monday Nights With WBGO, Yale Jazz Ensemble Featuring Randy Brecker And Wayne Escoffery; Dizzy’s Club, Jazz At Lincoln Center, Club, Jazz At Lincoln Center, 60th & Bdwy 60th & Bdwy  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Sunday, April 28  Ari Hoenig Quartet; Joe Dyson Quintet; Sean Mason Trio "After-  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Stefon Harris & Blackout; Jazz Standard, 116 E. 27th St. hours"; Small's, 183 W. 10th St.  Joe Martin Quartet; Joe Farnsworth Trio; Jon Elbaz Trio; Small's, 183  Kenny Barron Quartet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Roy Haynes 94th Birthday Celebration; Blue Note, 131 W. 3rd St. W. 10th St. Bdwy

 Jed Levy; Birdland, 315 W. 44th St.  Gerald Clayton Quintet - Logan Richardson, Alto Saxophone; Walter  Purchase Jazz Orchestra: Conducted by Jon Faddis w/ Ken Tuesday, April 23 Smith III, Tenor Saxophone; Gerald Clayton, Piano; Joe Sanders, Peplowski; Blue Note, 131 W. 3rd St. Bass; Marcus Gilmore, Drums; Village Vanguard 178 7th Ave S.  Darcy James Argue's Secret Society; Jazz Standard, 116 E. 27th St.  Chris Byars Original Sextet; JC Stylles Group; Small's, 183 W. 10th  Sam Reider & Human Hands; Dizzy’s Club, Jazz At Lincoln Center, Tuesday, April 16 St. 60th & Bdwy  Michael Leonhart Orchestra; Jazz Standard, 116 E. 27th St.  Ken Peplowski Big Band with Special Guest John Pizzarelli; Afro Latin  Gerald Clayton Quintet - Logan Richardson, Alto Saxophone; Walter  American Pianists Association Competition Winner; Dizzy’s Club, Jazz Jazz Orchestra; Birdland, 315 W. 44th St. Smith III, Tenor Saxophone; Gerald Clayton, Piano; Joe Sanders, At Lincoln Center, 60th & Bdwy  Tom Harrell “Infinity” - Mark Turner, Tenor Saxophone; Charles Altura, Bass; Marcus Gilmore, Drums; Village Vanguard 178 7th Ave S. Guitar; Ugonna Okegwo, Bass; Johnathan Blake, Drums; Village  Gene Jackson Trio; Frank Lacy's Tromboniverse; Malik McLaurine Monday, April 29 Trio "After-hours"; Small's, 183 W. 10th St. Vanguard 178 7th Ave S.  Mingus Big Band: Celebrating 10 Years at Jazz Standard; Jazz  Kurt Rosenwinkel; Birdland, 315 W. 44th St.  Spike Wilner Trio; Josh Evans Quintet; Malik McLaurine Trio; Small's, Standard, 116 E. 27th St.  Roy Haynes 94th Birthday Celebration; Blue Note, 131 W. 3rd St. 183 W. 10th St.  Temple University Jazz Band With Terell Stafford And Marshall Gilkes;

 Daryl Sherman "Spring Fever" with Art Baron, trombone; Boots Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Maleson, bass; Birdland, 315 W. 44th St. Wednesday, April 24  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Big Sam's Funky Nation; Blue Note, 131 W. 3rd St.  Ari Hoenig Trio; Kennci 4; Jon Elbaz Trio "After-hours"; Small's, 183  Darcy James Argue's Secret Society; Jazz Standard, 116 E. 27th St. Wednesday, April 17 W. 10th St.  Evan Christopher: The Kings Of New Orleans Clarinet; Dizzy’s Club,  April Miho Hazama and m_unit "Dancer in Nowhere"; Jazz Standard,  Natalie Douglas "Nat Sings Nat: The Songs of Nat King Cole" With Jazz At Lincoln Center, 60th & Bdwy 116 E. 27th St. Mark Hartman; Birdland, 315 W. 44th St.  Gerald Clayton Quintet - Logan Richardson, Alto Saxophone; Walter  Jazz At Lincoln Center Gala - Dizzy’s Club Closed  Tom Harrell “Infinity” - Mark Turner, Tenor Saxophone; Charles Altura, Smith III, Tenor Saxophone; Gerald Clayton, Piano; Joe Sanders, Guitar; Ugonna Okegwo, Bass; Johnathan Blake, Drums; Village Bass; Marcus Gilmore, Drums; Village Vanguard 178 7th Ave S. Tuesday April 30  Matt Pavolka's Horns Band; Dave Baron Quintet; Micah Thomas Trio Vanguard 178 7th Ave S.  International Jazz Day - Camille Thurman With The Darrell Green Trio; "After-hours"; Small's, 183 W. 10th St.  Stephen Riley Quartet; Harold Mabern Trio; Micah Thomas Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Kurt Rosenwinkel; Dena DeRose Featuring Special Guest Artist: Small's, 183 W. 10th St.  Joe Locke Group + Special Guest Raul Midón; Jazz Standard, 116 E. Houston Person; Birdland, 315 W. 44th St.  Sheila Jordan; Birdland, 315 W. 44th St. 27th St.  Roy Haynes 94th Birthday Celebration; Blue Note, 131 W. 3rd St.  Hector Del Curto w/ Paquito D'Rivera; Blue Note, 131 W. 3rd St.  Gilad Hekselman; Village Vanguard 178 7th Ave S.

 Steve Nelson Quartet; Abraham Burton Quartet; Malik McLaurine Trio Thursday, April 18 Thursday, April 25 "After-hours"; Small's, 183 W. 10th St.  Larry Goldings/Peter Bernstein/Bill Stewart; Jazz Standard, 116 E.  Frank Catalano Quartet; Birdland, 315 W. 44th St.  Stefon Harris & Blackout; Jazz Standard, 116 E. 27th St. 27th St.  Monty Alexander Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th &  “New York, Old Friend”: Songs Of Kenneth D. Laub With Clint Holmes,  Bdwy Veronica Swift And Nicolas King; Dizzy’s Club, Jazz At Lincoln Center,  Tom Harrell “Infinity” - Mark Turner, Tenor Saxophone; Charles Altura, 60th & Bdwy Guitar; Ugonna Okegwo, Bass; Johnathan Blake, Drums; Village  Gerald Clayton Quintet - Logan Richardson, Alto Saxophone; Walter Smith III, Tenor Saxophone; Gerald Clayton, Piano; Joe Sanders,

Vanguard 178 7th Ave S. Bass; Marcus Gilmore, Drums; Village Vanguard 178 7th Ave S.  New York Jazz Nine; Moutin Factory Quintet; Malick Koly; Small's, “...among human beings 183 W. 10th St.  Matt Haviland Quartet; Jim Snidero Quintet; Jonathan Thomas Trio;  Sheila Jordan; Birdland, 315 W. 44th St. Small's, 183 W. 10th St. jealousy ranks distinctly as a  Terence Blanchard ft The E-Collective; Blue Note, 131 W. 3rd St.  Kurt Rosenwinkel; Dena DeRose Featuring Special Guest Artist: weakness; a trademark of small minds; Houston Person; Birdland, 315 W. 44th St. a property of all small minds, yet a property  Manhattan Transfer; Blue Note, 131 W. 3rd St. Friday, April 19 which even the smallest is ashamed of;  Larry Goldings/Peter Bernstein/Bill Stewart; Jazz Standard, 116 E.  Wynton Marsalis and Ken Burns: Country Music - Jazz at Lincoln 27th St. Center Orchestra with Wynton Marsalis and vocalists Emmylou Harris, and when accused of its possession will  Monty Alexander Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Rhiannon Giddens, and Marty Stuart perform country hits. Plus get a lyingly deny it and resent the Bdwy sneak peek at Ken Burns’ latest documentary, Country Music. 8PM, Rose Theater, Jazz At Lincoln Center, 60th & Bdwy accusation as an insult.”  Tom Harrell “Infinity” - Mark Turner, Tenor Saxophone; Charles Altura,

Guitar; Ugonna Okegwo, Bass; Johnathan Blake, Drums; Village

Vanguard 178 7th Ave S. -Mark Twain

To Advertise CALL: 215-887-8880 March-April 2019  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- Beacon Theatre, 74th St. & Broadway, 212-496-7070 Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, 718- 3143. 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, 212-581-3080 Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and -3330, ekcc.org/merkin.htm Blue Note, 131 W. 3rd, 212-475-8592, bluenotejazz.com Bleecker), 212-645-0600, garagerest.com Metropolitan Room, 34 West 22nd St NY, NY 10012, 212-206- Bourbon St Bar and Grille, 346 W. 46th St, NY, 10036, Garden Café, 4961 Broadway, by 207th St., New York, 10034, 0440 212-245-2030, [email protected] 212-544-9480 Mezzrow, 163 West 10th Street, Basement, New York, NY Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, Gin Fizz, 308 Lenox Ave, 2nd floor. (212) 289-2220. 10014. 646-476-4346. www.mezzrow.com bowerypoetry.com www.ginfizzharlem.com Minton’s, 206 W 118th St., 212-243-2222, mintonsharlem.com BRIC House, 647 Fulton St. Brooklyn, NY 11217, 718-683-5600, Ginny’s Supper Club, 310 Malcolm X Boulevard Manhattan, NY Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933 http://bricartsmedia.org 10027, 212-792-9001, http://redroosterharlem.com/ginnys/ MIST Harlem, 46 W. 116th St., myimagestudios.com Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 445-2362, Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area), NY, 718-230-2100, brooklynpubliclibrary.org glenrockinn.com 516-328-2233, mixednotescafe.com Café Carlyle, 35 E. 76th St., 212-570-7189, thecarlyle.com GoodRoom, 98 Meserole, Bklyn, 718-349-2373, goodroombk.com. Montauk Club, 25 8th Ave., Brooklyn, 718-638-0800, Café Loup, 105 W. 13th St. (West Village) , between Sixth and Green Growler, 368 S, Riverside Ave., Croton-on-Hudson NY. montaukclub.com Seventh Aves., 212-255-4746 914-862-0961. www.thegreengrowler.com Moscow 57, 168½ Delancey. 212-260-5775. moscow57.com Café St. Bart’s, 109 E. 50th St, 212-888-2664, cafestbarts.com Greenwich Village Bistro, 13 Carmine St., 212-206-9777, green- Muchmore’s, 2 Havemeyer St., Brooklyn. 718-576-3222. nd Cafe Noctambulo, 178 2 Ave. 212-995-0900. cafenoctam- wichvillagebistro.com www.muchmoresnyc.com bulo.com Harlem on 5th, 2150 5th Avenue. 212-234-5600. Mundo, 37-06 36th St., Queens. mundony.com Caffe Vivaldi, 32 Jones St, NYC; caffevivaldi.com www.harlemonfifth.com Museum of the City of New York, 1220 Fifth Ave. (between Candlelight Lounge, 24 Passaic St, Trenton. 609-695-9612. Harlem Tea Room, 1793A Madison Ave., 212-348-3471, har- 103rd & 104th St.), 212-534-1672, mcny.org Carnegie Hall, 7th Av & 57th, 212-247-7800, carnegiehall.org lemtearoom.com Musicians’ Local 802, 332 W. 48th, 718-468-7376 Cassandra’s Jazz, 2256 7th Avenue. 917-435-2250. cassan- Hat City Kitchen, 459 Valley St, Orange. 862-252-9147. National Sawdust, 80 N. 6th St., Brooklyn. 646-779-8455. drasjazz.com hatcitykitchen.com www.nationalsawdust.org Chico’s House Of Jazz, In Shoppes at the Arcade, 631 Lake Ave., Havana Central West End, 2911 Broadway/114th St), NYC, Newark Museum, 49 Washington St, Newark, New Jersey 07102- Asbury Park, 732-774-5299 212-662-8830, havanacentral.com 3176, 973-596-6550, newarkmuseum.org Highline Ballroom, 431 West 16th St (between 9th & 10th Ave. New Jersey Performing Arts Center, 1 Center St., Newark, NJ, highlineballroom.com, 212-414-4314. 07102, 973-642-8989, njpac.org Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525, New Leaf Restaurant, 1 Margaret Corbin Dr., Ft. Tryon Park. 212- 609-466-9889, hopewellvalleybistro.com 568-5323. newleafrestaurant.com Hudson Room, 27 S. Division St., Peekskill NY. 914-788-FOOD. New School Performance Space, 55 W. 13th St., 5th Floor (betw hudsonroom.com 5th & 6th Ave.), 212-229-5896, newschool.edu. Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ New School University-Tishman Auditorium, 66 W. 12th St., 1st “A system of morality IBeam Music Studio, 168 7th St., Brooklyn, ibeambrooklyn.com Floor, Room 106, 212-229-5488, newschool.edu INC American Bar & Kitchen, 302 George St., New Brunswick New York City Baha’i Center, 53 E. 11th St. (betw Broadway & which is based on relative NJ. (732) 640-0553. www.increstaurant.com University), 212-222-5159, bahainyc.org emotional values is a mere Iridium, 1650 Broadway, 212-582-2121, iridiumjazzclub.com North Square Lounge, 103 Waverly Pl. (at MacDougal St.), Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910 212-254-1200, northsquarejazz.com illusion, a thoroughly vulgar Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, jalc.org Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and conception which has nothing  Frederick P. Rose Hall, Broadway at 60th St., 5th Floor 6th Ave.), 212-840-6800, thealgonquin.net  Dizzy’s Club Coca-Cola, Reservations: 212-258-9595 Oceana Restaurant, 120 West 49th St, New York, NY 10020 sound in it and nothing true.”  Rose Theater, Tickets: 212-721-6500, The Allen Room, Tickets: 212-759-5941, oceanarestaurant.com 212-721-6500 Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928 Jazz Gallery, 1160 Bdwy, (212) 242-1063, jazzgallery.org The Owl, 497 Rogers Ave, Bklyn. 718-774-0042. www.theowl.nyc The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey Palazzo Restaurant, 11 South Fullerton Avenue, Montclair. 973- Blvd.), Brooklyn, NY, 718-453-7825, thejazz.8m.com 746-6778. palazzonj.com Jazz Standard, 116 E. 27th St., 212-576-2232, jazzstandard.net Priory Jazz Club: 223 W Market, Newark, 07103, 973-639-7885 — Socrates — Anton Chekhov Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl., Proper Café, 217-01 Linden Blvd., Queens, 718-341-2233

18 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, Zankel Hall, 881 7th Ave, New York, 212-247-7800 NY, 718-768-0855 Zinc Bar, 82 West 3rd St.

Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ, RECORD STORES 908-232-7320, 16prospect.com, cjayrecords.com Academy Records, 12 W. 18th St., New York, NY 10011, 212-242 “It is curious that physical courage Red Eye Grill, 890 7th Av (56th), 212-541-9000, redeyegrill.com -3000, http://academy-records.com should be so common in the world Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Downtown Music Gallery, 13 Monroe St, New York, NY 10002, and moral courage so rare.” Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795 (212) 473-0043, downtownmusicgallery.com Rockwood Music Hall, 196 Allen St, 212-477-4155 Jazz Record Center, 236 W. 26th St., Room 804, Rose Center (American Museum of Natural History), 81st St. 212-675-4480, jazzrecordcenter.com (Central Park W. & Columbus), 212-769-5100, amnh.org/rose MUSIC STORES — Mark Twain Rose Hall, 33 W. 60th St., 212-258-9800, jalc.org Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036, Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472, 646-366-0240, robertoswoodwind.com Queens College — Copland School of Music, City University of 845-658-9048, rosendalecafe.com Sam Ash, 333 W 34th St, New York, NY 10001 NY, Flushing, 718-997-3800 Rubin Museum of Art - “Harlem in the Himalayas”, 150 W. 17th Phone: (212) 719-2299 samash.com Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Cam- St. 212-620-5000. rmanyc.org Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island pus, PO Box 270, New Brunswick, NJ, 908-932-9302 Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, City, NY 11101, 718-433-1990. sadowsky.com Rutgers University Institute of Jazz Studies, 185 University Avenue, Newark NJ 07102, 973-353-5595 rustikrestaurant.com Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New newarkrutgers.edu/IJS/index1.html St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377 York, NY 10019, 212-730-8138, maxwelldrums.com SUNY Purchase, 735 Anderson Hill, Purchase, 914-251-6300 St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728 SCHOOLS, COLLEGES, CONSERVATORIES Swing University (see Jazz At Lincoln Center, under Venues) St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200, 92nd St Y, 1395 Lexington Ave, New York, NY 10128 William Paterson University Jazz Studies Program, 300 Pompton saintpeters.org 212.415.5500; 92ndsty.org Rd, Wayne, NJ, 973-720-2320 Sasa’s Lounge, 924 Columbus Ave, Between 105th & 106th St. Brooklyn-Queens Conservatory of Music, 42-76 Main St., RADIO NY, NY 10025, 212-865-5159, sasasloungenyc.yolasite.com Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450 WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-624- Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 8880, Fax: 973-824-8888, wbgo.org NY, 718-622-3300, brooklynconservatory.com WCWP, LIU/C.W. Post Campus Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, City College of NY-Jazz Program, 212-650-5411, nypl.org/research/sc/sc.html WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html Drummers Collective, 541 6th Ave, New York, NY 10011, WKCR 89.9, Columbia University, 2920 Broadway Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, shang- 212-741-0091, thecoll.com Mailcode 2612, NY 10027, 212-854-9920, columbia.edu/cu/wkcr haijazz.com Five Towns College, 305 N. Service, 516-424-7000, x Hills, NY ADDITIONAL JAZZ RESOURCES ShapeShifter Lab, 18 Whitwell Pl, Brooklyn, NY 11215 Greenwich House Music School, 46 Barrow St., Tel: 212-242- Big Apple Jazz, bigapplejazz.com, 718-606-8442, gor- shapeshifterlab.com 4770, Fax: 212-366-9621, greenwichhouse.org [email protected] Showman’s, 375 W. 125th St., 212-864-8941 Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000 Louis Armstrong House, 34-56 107th St, Corona, NY 11368, Sidewalk Café, 94 Ave. A, 212-473-7373 LaGuardia Community College/CUNI, 31-10 Thomson Ave., 718-997-3670, satchmo.net Sista’s Place, 456 Nostrand, Bklyn, 718-398-1766, sistasplace.org Long Island City, 718-482-5151 Institute of Jazz Studies, John Cotton Dana Library, Rutgers- Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St., Skippers Plane St Pub, 304 University Ave. Newark NJ, 973-733- Univ, 185 University Av, Newark, NJ, 07102, 973-353-5595 10023, 212-258-9816, 212-258-9900 Jazzmobile, Inc., jazzmobile.org 9300, skippersplaneStpub.com Long Island University — Brooklyn Campus, Dept. of Music, Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565, Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300, University Plaza, Brooklyn, 718-488-1051, 718-488-1372 jazzmuseuminharlem.org SmallsJazzClub.com Manhattan School of Music, 120 Claremont Ave., 10027, Jazz Foundation of America, 322 W. 48th St. 10036, Smith’s Bar, 701 8th Ave, New York, 212-246-3268 212-749-2805, 2802, 212-749-3025 212-245-3999, jazzfoundation.org Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel, NJ City Univ, 2039 Kennedy Blvd., Jersey City, 888-441-6528 New Jersey Jazz Society, 1-800-303-NJJS, njjs.org 221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799 New School, 55 W. 13th St., 212-229-5896, 212-229-8936 New York Blues & Jazz Society, NYBluesandJazz.org South Gate Restaurant & Bar, 154 Central Park South, 212-484- NY University, 35 West 4th St. Rm #777, 212-998-5446 Rubin Museum, 150 W. 17th St, New York, NY, 5120, 154southgate.com NY Jazz Academy, 718-426-0633 NYJazzAcademy.com 212-620-5000 ex 344, rmanyc.org. Princeton University-Dept. of Music, Woolworth Center Musical South Orange Performing Arts Center, One SOPAC Studies, Princeton, NJ, 609-258-4241, 609-258-6793 Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787  Spectrum, 2nd floor, 121 Ludlow St. Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923 Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor, 212-721-6500, lincolncenter.org The Stone, Ave. C & 2nd St., thestonenyc.com th Strand Bistro, 33 W. 37 St. 212-584-4000 SubCulture, 45 Bleecker St., subculturenewyork.com PAY ONLY FOR Sugar Bar, 254 W. 72nd St, 212-579-0222, sugarbarnyc.com Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), 212-262-9554, swing46.com Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212- 932-3228, symphonyspace.org Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Broooklyn, 718-789-2762, tealoungeNY.com Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), RESULTS 212-777-7776, terrablues.com Threes Brewing, 333 Douglass St., Brooklyn. 718-522-2110. www.threesbrewing.com Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue, City Island, Bronx, 718-885-3200, titopuentesrestaurant.com Tomi Jazz, 239 E. 53rd St., 646-497-1254, tomijazz.com Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-358- 7501, Fax: 212-358-1237, tonicnyc.com Town Hall, 123 W. 43rd St., 212-997-1003 PUBLICITY! Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.), 212-362-2590, triadnyc.com Tribeca Performing Arts Center, 199 Chambers St, 10007, [email protected], tribecapac.org Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, Get Hundreds Of Media Placements — trumpetsjazz.com Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968 ONLINE — Major Network Media & Authority Sites & (845) 359-1089, http://turningpointcafe.com Urbo, 11 Times Square. 212-542-8950. urbonyc.com OFFLINE — Distribution To 1000’s of Print & Broadcast Village Vanguard, 178 7th Ave S., 212-255-4037 Vision Festival, 212-696-6681, [email protected], Networks To Promote Your Music, Products & Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069, Performances In As Little As 24 Hours To Generate 908-753-0190, watchungarts.org Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538, Traffic, Sales & Expanded Media Coverage! 914-834-2213, watercolorcafe.net Weill Recital Hall, Carnegie Hall, 57th & 7th Ave, 212-247-7800 Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY www.PressToRelease.com | MusicPressReleaseDistribution.com | 215-600-1733 11211, (718) 384-1654 wmcjazz.org

To Advertise CALL: 215-887-8880 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 19 JI: What do you feel is your biggest contribu- tion/innovation to music and the evolution of INTERVIEWINTERVIEW trombone playing?

JP: I strove to elevate the character of the trom- bone. My hero was J.J. Johnson, and although he was a great study, I wanted to get away from J.J. Julian Priester I learned a lot by listening to him, but I didn’t Here I Am think it was beneficial for me to sound like him, so I chose to study saxophone players, especially Sonny Rollins and Charlie Parker, who was the Interview and photo by Ken Weiss my own family wanted to know why I wasn’t number one influence in my career. The tenor more aggressive off stage, why I wasn’t in the saxophone and the trombone share the same Julian Priester (born June 29, 1935, Chicago, ear of the movers and shakers of the jazz indus- register, so I studied jazz music listening to tenor Illinois) is one of the most influential trombon- try? I was never aggressive enough to make a saxophonists and trying to imitate that instru- ists in history. He’s a highly advanced and ex- phone call and introduce myself and ask for an ment’s flexibility on the trombone. Of course, traordinarily versatile artist capable of playing opportunity. I was still able to do things, basical- there was no way I could actually do that be- bebop, hard bop, post-bop, R & B, fusion, gos- ly because of friends, particularly through John- cause of the mechanics of the two instruments, pel and avant-garde jazz. After performing ny Griffin, who was also a Chicagoan. He but I was able to develop a style that was sort of around Chicago with bluesmen Muddy Waters helped introduce me to people when I moved to reaching into that direction and it was far and Bo Diddley, Priester spent time with Sun New York. enough away from J.J. Johnson. That gave me a Ra, Lionel Hampton, Dinah Washington, Max better chance to market myself. There were oth- Roach, Duke Ellington, Art Blakey, Dave Hol- JI: You’ve made few recordings as a leader er great trombone players - Slide Hampton, Cur- land and Herbie Hancock. He’s not been per- over your career, a total of 11 albums, and that tis Fuller, Grachan Moncur, and others, and I forming as much as he’d like since devoting includes a stretch of 20 years, beginning in don’t mean to diminish they’re contributions, himself to teaching at Seattle’s Cornish College 1977, where you did not release any material but I desired to be different. I really respect mu- of the Arts [1979 to 2011] and battling signifi- under your own name. Why so few? sicians who are innovative. You had to have a cant health and life issues, but he’s now ready unique voice to really be recognized and no- and able to be more active. This phone interview JP: That has to do with several things including ticed, because if you sounded like someone else, took place on January 12, 2019. my relationship with the industry. How can I put you were really promoting their endeavors. this? I wasn’t as marketable as I should have That’s the problem that Sonny Stitt had. He Jazz Inside Magazine: Your contribution to been. I resented the spotlight and the glamor sounded like Charlie Parker and he suffered music has been significant since the mid-‘50s. needed to sell records. I’m not a showoff, a talk- emotionally and physically. Collaborating with Sun Ra, Lionel Hampton, er. I’m kind of shy, I guess that’s the best word Dinah Washington, Max Roach, John Coltrane, for it, at least off the stage. I get aggressive with JI: I asked trombonist Steve Swell to comment on your contribution to jazz and he said, “I would say he was one of the first to move into “You had to have a unique voice to really multiple territories of improvisation, trombone or otherwise. He was a bopper, then a free bop- per, then got into fusion, then improvising with- be recognized and noticed, because if out chords. I think a lot of folks did that along the way, but he seemed always to be exploring you sounded like someone else, you new territories. Julian is the first trombonist I know of to really go out of the first things he was known for, the things that got him famous.” were really promoting their endeavors. JP: That follows my thoughts. My ambition That’s the problem that Sonny Stitt had. was to not be still, I wanted to evolve. It was important to keep pushing forward and looking He sounded like Charlie Parker and he for musical ideas. I felt that as great as bebop was, and as inspirational as it was in my devel- opment, that I should be looking ahead. I think suffered emotionally and physically.” that my exposure to Sun Ra very early in my development was important. His habit was to Duke Ellington, Art Blakey, Herbie Hancock the trombone in my hand, but I’m quiet without force his performers to be creative, and he would should afford you recognition as a master crea- it. I wanted to be an artist like Charlie Parker, in do that by not giving specific instructions. He tive artist, yet you’ve been underappreciated musical respects [Laughs], not so much lifestyle. would just point to the player to take a solo. throughout your career. Why do you think that I wanted to create brilliant music. There was a There were no chord changes, we just had to use is? strike already against me, as far as playing the our ears to recognize and convert sounds into trombone, and its popularity. It’s a great instru- what we knew would work musically. I learned Julian Priester: There’s several reasons. One ment however, and I blame the audience for not not to panic when something musically un- has to do with the instrument that I perform on. I understanding that. [Laughs] I really wanted to planned came. think that the trombone itself is underappreciat- break that barrier and somehow make the public ed in the hierarchy of instruments among the aware of this beautiful instrument and its pluses. JI: How do you handle musical mistakes? general public, as well as the instrument that The character of the trombone is unique and it’s young, aspiring musicians choose to play. An- not recognized. I fell in love with the trombone JP: There are no mistakes, it’s how you react to other reason is my personality, I’m very nonag- and here I am. what was unintentional. If you flinch, then that’s gressive, and that did impact my career. In fact, (Continued on page 22)

20 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 21 ne during the start of your career? stallion is not what he used to be. [Laughs] I’ve Julian Priester remained here but I’m not completely satisfied. JP: Ahh, that’s a great question. I have had I’d love to be able to go out on tour but it’s more (Continued from page 20) many problems trying to live the two lives – the expensive for a promoter to bring me to Europe domestic life and the jazz life. They’re incom- to perform than it would be from the East Coast. a mistake. Let the accident influence what your patible, as long as I’ve been playing. I’m on my next idea is. I got into a head space where if an third marriage now and the failure of the first JI: Your first instrument was piano but after accident occurred, I would resolve it by repeat- two marriages were closely connected to the being forced to play glockenspiel in the high ing that accident, so that it was no longer an inability of me to be the domestic provider as a school orchestra during parades you changed accident now. I accepted that mistake and made jazz musician, and the desire to be a jazz artist. instruments. it part of the structure of the musical idea, and After many years in my career, I realized I was that works. Don’t let the audience know that you more satisfied in being a jazz artist rather than a JP: Right, I came across the trombone almost didn’t intend to play what you just played. Play jazz musician, seeking work in the bands of by accident, I guess it was fate. My first expo- it again, and that eliminates the mistake. I’ve others. I wanted to be brilliant as a trombonist, sure to music was through piano. My mother always been adamant about staying on the front unique as a trombonist, and that would qualify was an accomplished church pianist and I used edge of creativity. When I recognize myself me as a jazz artist. I’m still capable but, by to sit at her side, looking over her shoulder. I repeating ideas over and over again, it really choice, I’m not seeking work in the commercial was the youngest sibling of six in the family and bothers me. I strive to be fresh of ideas. I’m not music field. I’m seeking work in the creative one of my brothers was a jazz fan and he ex- successful all of the time, because it’s all sponta- music field and that’s impacted my life. Here in posed me to that music, and I was impressed neous and sometimes you just arrive at a certain Seattle, there’s not much going on for the crea- with him and his friends in the way that they point that you’ve been there before. My philoso- tive music artists. reacted to the music. This was back in the ‘50s phy has been to go with it. so it was vinyl and they would take the needle JI: Are you saying that you moved out to the and put it back to the passage that they loved, JI: What are you still working at to improve on, West Coast in order to survive or to save one of over and over, and that impressed me. That im- if anything? your marriages? pressed me. Also, the names of the artists stood out – Bird, Diz, Monk, Hawk, Newk, and Miles. JP: I play by ear. With all the knowledge that I JP: No, I wasn’t married at the time. Staying on Those names, for me—I was young, a pre- have, I found it more creative to listen to the the West Coast was purely accidental. It oc- teen—those names were like fantasy names. I sound of the group and not think about the chord curred when Herbie Hancock broke up the was captured by that, the excitement that my changes. I’m identifying the sound and playing Mwandishi band in San Francisco. I got married, brother displayed and by the unusualness of within that sound. I know what the chords are by for the third time, and when my first son was those names, and from that moment on, I wanted hearing them, so it’s a more instinctual approach born, the incident of the [1978] assassination of to do that. When I got into high school, I wanted rather than an academic one. That’s mostly what the mayor of San Francisco [George Moscone] to join the jazz band, but I was also required to I’m doing now in terms of garnering the infor- influenced my decision to leave there. I had an play in the orchestra, which also doubled in mation that I use to create solos. I’m also think- invitation to be on the faculty of Cornish Col- playing as the marching band for the sports teams and a yearly parade. For the marching band, of course you couldn’t carry a piano around, so they gave me a glockenspiel, which “There are no mistakes, it’s how wasn’t pleasing to my ear. I asked instead to play a horn, such as a trumpet, but there was already a line to play that, so my instructor gave you react to what was uninten- me a euphonium to play. It has the same finger- ing system as a trumpet so the idea was that in the future, I would be able to switch to trumpet tional. If you flinch, then that’s when a chair became available. But it so hap- pened by coincidence, the mouthpiece for the euphonium was the exact same as the one used for the trombone. I wanted to join the jazz band a mistake. Let the accident in- at school but there was no precedent, at that time, for a euphonium in jazz, but there was a precedent for trombone in jazz, so the trombone fluence what your next idea is.” came into my life, and it became my livelihood. I wasn’t aware at the time that the trombone ing about form and getting away from what’s lege in Seattle, so I accepted that and since then, wasn’t the premiere jazz instrument, perhaps I become normal. I want to be fresh and in the I’ve raised my family there. I’ve lived there for would have made a different choice had I moment. So I’m getting away from what I’ve forty years, although Seattle is not fulfilling my known. studied and practiced when I create solos. When musical ambitions. There are taverns here but I I play a solo, it’s spontaneous. I use the term don’t expose myself to working in taverns. I JI: You had to learn to stand up for yourself in spontaneous composition which comes closest to learned from Max Roach that people don’t listen order to be heard. the method that I use. Of course, I’m following to music in taverns, and the music that I create is the musical rules of harmony, rhythms and mel- music to listen to. I prefer to work on the concert JP: Yes, as a result of me choosing the trom- ody. stage where the audience specifically comes to bone, I had to be aggressive on stage. I would go listen, and there’s not a whole lot of that going to various jam sessions in Chicago and there was JI: You’ve lived on the West Coast for the past on in Seattle. I’ve thought about going back to competition to get to the microphone. The saxo- 45 years, the great majority of that time in Seat- New York, oh God, but I’m older now. I’m not phone players could play for a long time because tle. How is it to spend most of your career se- as physically apt to pay the dues. I’m not willing there were no endurance issues that there were cluded away from jazz’ East Coast epicenter, to suffer like I was when I was younger. I’m 83- for the trumpet and trombone players. It became especially after being super involved in the sce- years-old now and life has changed, the old grey my habit to get to the microphone before the

22 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 JP: My love of music. I would play whether the promoters decided to do was to take half of Julian Priester there was money involved or not. If there was an each of the orchestras and have the leaders take opportunity to play some music, I was there. I their turn with the band. So, as a young member, had a good relationship with Sun Ra, but what it was decided that I would not make that tour. I saxophone players did and that aggressive ap- changed everything at seventeen was that I got was to stay in New York City and wait for them proach turned into a plus, an asset, in terms of married and that became an influential element to return. I still had a wife and two kids in Chi- my attitude, my image, and the impact that I had in my life. I had to become more serious about cago that I had to send money to. Here I was in on the audience. It gave the message that I was making money. With Sun Ra, we played every New York, without a salary, told that if I was ‘special,’ to the audience, and I guess I carried day, rehearsing for little or no money, and as a still there when the band came back from Aus- that attitude with me throughout my whole ca- married person I found that particular situation tralia, I had a job waiting for me. I still had to reer, especially if there was a saxophone player undoable. It came to a head after we had an en- pay rent, which eliminated my ability to send in the band. [Laughs] That competitive spirit gagement that lasted for eleven weeks, and eve- money back to Chicago, so l left Lionel Hamp- was alive and well and influenced my musical ry week the money would be short, and at the ton’s band for that reason. Fortunately, one of character on stage. I’m blessed as a result of end of the eleven weeks, I calculated that I had the saxophone players in Lionel Hampton’s having that experience and assuming that pos- been paid for seven of those weeks. That con- band, Eddie Chamblee, had just married Dinah ture. vinced me that I should leave Sun Ra and find Washington and he was interested in putting work to support my family. We were suffering. I together a small group to tour with her. He asked JI: The famous ‘Captain’ Walter Henri Dyett attempted to find a real job, [Laughs] and that me if I was interested, and since I was stranded was the musical director at DuSable High didn’t work out because I felt that I was being in New York, I had no choice but to say yes. I School, where you trained. There are numerous taken advantage of. I was working in this mail was desperate. So, I went on the road with Dinah colorful stories about his tough love schooling. order house with the promise that after a certain Washington and a weekly salary that rescued me What can you share about your time with him? amount of time I’d be getting a raise, and when from poverty. Dinah lived in New York, so I put that time expired, instead of getting a raise, they a lot of time there, and a year later, I made the JP: I have to mention Norman Vincent Peale, transferred me to another department which official move from Chicago to New York City whose philosophy Captain Dyett mentioned to required another seven weeks before I would be by bringing my family there. It worked out his students to make us aware of the power of eligible for a raise. I left that job because if I was great. I was accepted as an available trombonist positive thinking. He did that to shape our to suffer, I was going to suffer as a musician. So and I was getting work. I’m proud of having the minds. He outlawed the word can’t. if you used I left Sun Ra, and Richard Evans, a fellow stu- rare distinction of performing with four major that word, you were punished, maybe even kicked out of class. He insisted on discipline and honesty, and those ideas I’ve kept close to me “I learned from Max Roach that people even to this day, and I credit that attitude to ex- plain the success that I’ve garnered in my career. I came into the school band with some musical don’t listen to music in taverns, and knowledge – I could already read music and had studied the piano. I was a little ahead of most of the music that I create is music to listen the students in the class and Captain Dyett rec- ognized that I had a little attitude. He once asked me to play a passage from one of the concert to. I prefer to work on the concert stage pieces. I was still playing the euphonium and the baritone horn at that point, and he asked me to where the audience specifically comes play this gorgeous euphonium solo. He came and stood behind me and rested his hand on my to listen, and there’s not a whole lot of shoulder, which had the effect of destroying my confidence and impairing my ability to play that particular solo, although I had already played it that going on in Seattle.” many times before. What he was doing with his hand on my shoulder, he was gradually tighten- dent at DuSable who was working as a bassist drummers at that time – Philly Joe Jones, Max ing his grip, and you can imagine the effect that for Lionel Hampton’s band, recommended me Roach, Elvin Jones and Art Blakey. I feel unique that had on me. He tightened his grip, which when the trombone chair became available, and in that regard, to have worked with all of those made it personal. It was somewhat painful, and I that’s how I joined that band. giant “Artists.” could not ignore it. He was doing that to knock me off my perch, my attitude that I was better JI: How were things with Lionel Hampton? JI: What was the demand for trombonists at the than most of the other students. That was a les- time you moved to New York in 1958-’59? son for me, it brought me back down to earth. I JP: The money situation was strange there too, continued to study and advance my ability, but although I did get paid every time I worked, but JP: There was work commercially for trombon- my attitude now was more humble, and because only when I worked. I didn’t make a weekly ists. I hired myself out to the Yonkers Pops Or- of that, I was able to understand that I still had a salary, or anything like that. I got paid a paltry chestra, as a requirement actually, to be eligible lot to learn rate because I was one of the youngest members to play for the Broadway shows. You had to of the band. Lionel Hampton took advantage of have had some orchestra experience to be hired JI: Charles Davis recruited you into Sun Ra’s me. I was inexperienced yet qualified to do the so I used that to qualify me. I did that for several band [1952-3] when you were 17 and still in job and he felt that he did not have to pay me the years until I had good opportunities to play jazz. high school. At the time, Sun Ra was having same amount that he paid the more experienced, I got a leave of absence from the theater to go to difficulty attracting musicians because they felt older musicians. I stuck with him because I Europe with the Thad Jones/Mel Lewis Orches- his music and arrangements were strange, his loved to play but when the opportunity came to tra and then a couple months later, I got a call rehearsals were 7 days a week, 8 hours long, and leave the band, I took advantage of it. The end from the bassist in the Duke Ellington Orchestra. filled with lectures. What attracted you to him? came when his band had a tour of Australia, Apparently, the trombone player hadn’t shown along with the Stan Kenton Orchestra, and what (Continued on page 24)

To Advertise CALL: 215-887-8880 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 23 ly. I wanted to be a contributor to the advance- would dabble, but fortunately, due to my back- Julian Priester ment of the art of playing creative music. I was ground and Walter Henri Dyett, I used self- already comfortable with various styles of mu- discipline to deny that lifestyle and save my life. (Continued from page 23) sic. I was fascinated by Dixieland and the role I look at my time [in that mailroom] as a lesson. that trombone played in that music, how it stood If I wanted to survive in this wild world, the jazz up for this recording session, so I showed up to out. I was also into free music because it re- world, then I had to really be disciplined. the recording studio and made a recording on minded me of the work that I was doing with one piece with Duke Ellington Orchestra. That Sun Ra in terms of the attitude. Sun Ra never JI: As you mentioned, Keepnews facilitated put me in the position to be thought about when gave us charts, he gave us spoken ideas. your first recording as a leader – Keep Swing- the trombone chair became available in that in’ [1961, Riverside], which included a remarka- band. When it opened up, I applied for a leave JI: Johnny Griffin introduced you to Orrin ble lineup - Jimmy Heath, Tommy Flanagan, from the pit orchestra at the Shubert Theatre to Keepnews (V.P. of Riverside Records at the Sam Jones, and Elvin Jones. Did you pick the go on the road for a State Department tour to the time) who gave you a job in the label’s shipping musicians and tunes? Asia, but would you believe that I was not grant- department. You worked there with Philly Joe ed to take another leave since I had taken a leave Jones, Chet Baker, and Kenny Dorham. Talk JP: That was Orrin’s decision. All those other earlier? So, I quit and that ended my commercial about that experience. artists were on the Riverside label. They were career in New York City. I guess I was put on available and agreed to participate in this project the do not hire list because I didn’t receive any- JP: [Laughs] Oh, boy, that enabled me to pay involving this young, inexperienced trombone more calls to appear with the theater, but I was my rent. Orrin Keepnews was a gem. He helped player, and as a result of Orrin being involved, happy with that because my heart was in per- introduce me to the musical community and the album became a classic. I will always credit forming jazz music as a creative artist. gave me the opportunity to record. I credit him those gentlemen on the recording for helping me with giving me my start. I was the youngest gain a lot of respect. JI: Did Duke Ellington influence you an artist? working there and I was just in awe of Philly Joe Jones, Chet Baker, and Kenny Dorham, espe- JI: Max Roach hired you in 1959 and at your JP: I think Duke Ellington helped me adopt my cially Kenny Dorham, who was one of my he- first gig with him in Pittsburgh he fought with future attitude. We were leaving the army base roes as a bebopper. My ego was blown in the George Coleman on stage during the set. What in Laos, flying to Thailand, on an army airplane presence of those players, they were on another happened there? with its hard-wooden benches lining the sides of level. I was young and clean, not exposed to the the plane. It was uncomfortable. After we land- other side of “the jazz life” that involves alcohol JP: Apparently, there had been a history. Both ed, walking across the tarmac, I happened to and drugs, whereas everyone of those gentlemen George Coleman and Booker Little, and to some have a conversation with Duke about an upcom- were. [Laughs] They were veterans. There was degree Art Davis, had had prior encounters with ing recording project that I thought was just one incident that occurred there that stands out. Max Roach and it came to a head at this Pitts- going to be a rehearsal. I told him that I was fine Philly Joe Jones and Chet Baker were observed burgh engagement. It was my first time perform- with the session being for his personal use but, if on the corner of 125th and 7th Avenue, selling ing with Max. Of course, we were fired by the it was going to be released, I would like to be Riverside records out of boxes taken from the club after the incident happened. The hotel that we were staying in was owned by an African American and he permitted Max to set up in the “I have to mention Norman Vincent Peale, dining room of the hotel and perform to earn enough money to pay our transportation cost to whose philosophy Captain Dyett mentioned get back to New York. Max hired the Turrentine brothers, Stanley and Tommy, to substitute for George Coleman and Booker Little and they to his students to make us aware of the agreed to stay with the band. They worked in the band. Tommy was more of a bebopper whereas power of positive thinking. He did that to Stanley was more of a blues/gospel influenced player, and very acceptable to the audience. shape our minds. He outlawed the word JI: You made a number of memorable record- ings with Roach including 1960’s We Insist! can’t. if you used that word, you were Freedom Now Suite which was done during the peak of the Civil Rights Movement. What was punished, maybe even kicked out of class.” the reaction from the audience to that music, particularly the white audience? paid for it because nothing had been discussed. shipping department. [Laughs] I’m chuckling Duke’s reply was classic. He said, “Well, what because as serious as that incident is, because of JP: Back in New York, people supported Max do you want, Julian? After all, you’re just a the nature of the individuals, they were brilliant and his efforts to bring attention to the horrible trombone player.” Hello! [Laughs] That artists, they weren’t punished. The police were situation that African Americans were subject to, knocked me off my feet. That changed my not brought in on the theft, which is what it was. as far as opportunities that were available to whole attitude about myself and the direction I They sold the albums in Harlem to get drugs. them. It was time for change, and we were part should be going in. I had to be more than just a That was the jazz life. A lot of the younger mu- of the community there and they were part of us. trombone player, and from then on, that became sicians, those of my age, felt that using drugs The listeners were educated and realized we my goal. I wanted to be an innovator, so I was a requirement in order to play the brilliant were all humans. It’s a mystery to me how peo- changed my attitude towards music. I strove to music that was being played by those older mu- ple, any people, can feel ownership of the world, be an artist and incorporated a whole different sician addicts whose music was beyond the ordi- of our space. We all own this globe. attitude. I stopped playing for the love of playing nary. The thought was to be as great as our he- and started to play for the satisfaction of creating roes, that we had to use drugs. That was a deci- JI: The violent side of Max Roach is well docu- something that’s unique. I sought change, devel- sion that I had to always deal with, as far as how mented, and you may have set the record for opment. I became more of a risk taker, musical- I wanted to live my life. At weak moments, I being attacked three times by him. The first inci-

24 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 we played, I didn’t hear any drums. My back clothes. It’s all water over the bridge. I’m not Julian Priester was turned to the drums and when I turned angry, all of that’s forgiven. Max and I, we love around to see why I couldn’t hear the drums, each other and nothing’s gonna’ change that. I Max was actually climbing over the drums, understand that he was mentally ill. I kind of dent led to you exiting the band in 1962. What coming towards me, and the expression on his suspect that he resented the fact that I had happened? face was rage. He came up to me and we tussled brought my girlfriend to his apartment. I don’t at Pep’s Showbar in Philadelphia. The stage was know, I don’t have any proof of that. We never JP: What set that off was Booker Little was elevated inside of this oval-shaped bar. We spoke of that issue afterwards. diagnosed with leukemia. He could not perform wrestled on stage, knocked the drums over, because his hands were swollen and in pain. Ted which were on a higher riser, and they fell into JI: Why would he resent that? Were you mar- Curson was called in to substitute for Booker the bar area, knocking over a few bottles of ried at the time? Little in a Philadelphia engagement. Big mis- whiskey, and then Max and I actually rolled off take, they were two opposites. There was no the stage. I think it was the bartender who was JP: No, I was divorced, but we did later marry. way that Ted Curson could fit into the shoes of the only one that threw any actual blows because Max had certain ideas about male-female rela- Booker Little, musically that is. The perfor- Max and I were tussling. [Laughs] Meanwhile, tionships that I was not privy to. Max had lived mance was under par and it affected Max, who the audience was applauding. They reacted as if in the jazz world and had been exposed to the was already mentally disturbed by the fact that it was entertainment. Of course, we got fired and dark side of that. My girlfriend had had experi- Booker was ill, dying. It duplicated the experi- went back to New York. About 3 o’clock in the ences on that dark side, and I think Max became ence that Max had already had with Clifford morning, I got a phone call from Max asking me aware of that and lost respect for me, which led Brown. Losing another trumpet player was not to accompany him to go see his psychiatrist, to that incident. He shook me in an effort to something that Max emotionally could handle. which I agreed to do. It was then that I learned “wake me up,” at least that’s how I’m interpret- Max got on the microphone and started berating that Max had a condition where when he drank ing it. Again, we never fell out of our friendship the music, talking to the audience about how sad alcohol, his body did not process it, it built up in after that, although I did perform less often with the music was. While he was doing this, I went his body. He had been drinking as a result of him due to having other opportunities. to the back of the stage, to where the piano had Booker being ill, and he didn’t have control over been stored since we weren’t using it. It was not his emotions, and he attacked me as a tonic. He JI: After Roach, you settled in as Blue Note lit there, and I lit a cigarette and leaned on the was relieving himself of some of the angst. He Records’ unofficial on-call studio trombone piano, waiting for Max to finish his tirade. As I knew I wasn’t gonna’ hurt him. I learned at that musician, as well as working often with Atlantic

“I happened to have a conversation with Duke about an upcoming recording project … if it was going to be re- leased, I would like to be paid for it … Duke’s reply was classic. He said, ‘Well, what do you want, Julian? After all, you’re just a trombone player.’ Hello! [Laughs] That knocked me off my feet. That changed my whole attitude about myself and the direction I should be going in.”

waited for the music to start up again, Max left meeting that Max was attacking me for a forgiv- Records from 1965-67. How did you get that the microphone and walked over to where I was able reason. I didn’t have any hard feelings and opportunity? and slugged me in the face. Bam! Out of the we collaborated after that. blue, unexpected, unanticipated, and for no rea- JP: Because of my work with Max and my son that I knew. I was stunned. [Laughs] My JI: The second Roach incident came shortly work on Philly Joe Jones’ Blues for Dracula reaction was to quit. I left the stage, packed my after you rejoined him. This time you were at his recording, which impressed Max and was instru- horn up, and I was on my way back to New apartment celebrating Abbey Lincoln’s birthday. mental in Max taking me on in his band, other York, but the club owner came to the dressing jazz artists thought that including me on their room, saying he was sent by Max asking me not JP: I brought my girlfriend with me and she recordings would be beneficial to their project. I to quit. It was a Sunday matinee and he wanted and I were in the kitchen talking. Max came into have to mention Duke Pearson. He was like the to finish the engagement. So, me, as a nice guy, the kitchen and attacked me. He grabbed me by musical director for Blue Note Records, and he accepted what was extended as an apology. But I my shoulders and was just shaking me. I was had a large ensemble that I was also performing asked the club owner why Max wasn’t there standing in front of these kitchen cabinets and in. When Blue Note was looking to use a trom- himself with the apology, so the owner left and my head was bouncing off the cabinets. My bonist, I was the natural choice as a member of shortly thereafter, Max arrived, and he was so reaction was to stop him from shaking me and so the Duke Pearson Orchestra because I was right pent-up that he was talking through his teeth. I struck him in the face and knocked out the cap there and available. His teeth were clenched, he was talking without that was on one of his front teeth. He bled from opening his mouth. I went back on stage and that on my suit and I startled a few people when JI: Art Blakey hired you in 1968 but that also during the middle of my solo, on the first song I got on the elevator with all this blood on my (Continued on page 26)

To Advertise CALL: 215-887-8880 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 25 as a musician for hire for recordings where my that’s where my heart lies from listening to Julian Priester name wasn’t even mentioned in the credits, as Charlie Parker. I’ve carried that music with me well as working on Broadway until I got he call for all these sixty-plus years as the foundation. (Continued from page 25) to play with Duke Ellington. At the same time, growing up in Chicago, which is really a blues hub, I was exposed to the blues ended in a bad experience, this time over money. JI: You’ve had numerous challenging situations and had the opportunity to play in blues bands as with prominent leaders who had to be heroes for well as gospel church music. All that music still JP: Yes. Art respected me. I have to you before you joined them. There was Lionel goes around in my head. I feel there’s no bad acknowledge that, but he put me in an Hampton, Max Roach, Art Blakey, Duke Elling- music. Fusion is for me an offspring of the [awkward] position where I had to defend the ton, and later Herbie Hancock. Negative things blues. I don’t like what the term rock n’ roll band against his outside habit of taking the mon- happened under them. How do you make sense brings to your mind, that speaks of entertain- ey he was supposed to pay the band and using it of finding out that your heroes are not what you ment, and the music we strove for was to enrich to buy drugs, so there was no money to pay the expected them to be? people. band. The incident that broke the camel’s back came after we had performed in Boston. After JP: Separate personalities from their art. I un- JI: Hancock used a lot of post-production work the performance, Art instructed us to meet him derstand what motivated those leaders to act and on the recordings. Did you always like what he at the place I was staying once we got back to come to the decisions that they made to survive. did to your sound? New York to get our money. So, here’s the Lionel Hampton paid me $25 an engagement band, waiting at my place for Art to come by because of his humongous payroll. I can’t fault JP: I accepted it because of my attitude that all and pay us. We waited all night. The sun was him for conducting his business the way he did music is valid. I used to resent electronic music coming up and we were still waiting on Art. I because he knew I was just happy to be playing. because I thought it was demeaning to acoustic tried to call him, and he would not answer. His I wouldn’t be happy anymore, I’m not that same music. I prefer to be doing acoustic music alt- wife answered and she just made excuses for person. I got an education from working with hough electronics add another instrument – the him. When the sun came up, I decided that I those leaders. I learned how to conduct my own use of synthesizer. You can’t really imitate the wasn’t gonna’ wait any longer, I was just going business by being tested by them. These are the sound of live instrument, it’s not real sounding to go to Art’s house and get the band’s money. things that you don’t want to happen so how do I and sound is what drives response. Music is So, we went to his house and banged on his avoid them happening again. It was a learning special because not only will it attract your at- door. At first, he wouldn’t answer, so we contin- experience. Later, as a bandleader, I was con- tention, it stimulates your emotion. ued to bang on his door. We could hear recorded fronted with the same situation. I had to pay music playing inside. Because of the noise that people who were taking a chance by exposing JI: I have inside information that Hancock did- we were making, one of his neighbors opened themselves in situations where sometimes the n’t pay extravagantly well at the time. It was their door, saw these black guys banging on Art money was funny. I did my best to treat them $300 per week and you had to cover your own Blakey’s door and yelled, “Call the police!” As better than other bandleaders. It all comes down meals and hotel rooms.

JP: That’s true, but I was happy to have the “...we had the idea that we were gonna’ be a opportunity to play that music regardless of the circumstances. It reminds me of working with cooperative organization with everyone contrib- Lionel Hampton. [Hampton’s] salary was not weekly, it was $25 only on the days that the uting to the music, which we did … We thought band worked. Working with Herbie was a won- derful experience for me. It was a learning expe- that we could do this cooperative group, but it rience and I was exposed to venues and audienc- es that I never would have had the opportunity to didn’t work on the business side. We didn’t be exposed to if not for that association. One experience leads to the next experience.

know that at the start … The main reason was JI: How was it decided that all members of Mwandishi would take a Swahili name and how that on the contract there was only one individ- did you come to be Pepo [pay-po] Mtoto, as well as “Spirit Child?” ual’s signature, and that was Herbie’s. The rest JP: That came about from an association that of the band was just hired musicians …” Herbie and Buster Williams had established with Tootie Heath’s son, who influenced them to soon as he said that, Art opened the door. He to respect for the music. If you’re going to be a adopt Swahili names in support of the spiritual wanted to let me in and keep the rest of the guys jazz player, you have to have worked to a level movement by African Americans to draw atten- out, but I refused. I told him we were all here to where you can afford to be a jazz player. You tion to the people who were suffering because of get our money and we’re all coming in, and we have to be able to pay your bills, especially if the social environment they were living in. It did. It turned out that Art had already spent the you have a family. The jazz life is not dependa- also attracted attention to the band, having these money so he said he would take us to his manag- ble for young, inexperienced people. names. It set the band up in a different category er and pay us. He had also injured himself out of of not just being jazz players, but jazz players frustration because we were banging on his JI: Herbie Hancock hired you in 1970 for the with unique properties. We were devoted to the door. He had kicked the door out of anger and three-year run of his famous fusion sextet – music and to each other, and we were projecting injured his big toe. He ended up going to the Mwandishi. What was your interest and impres- a certain character. My name came about after hospital because he had injured it so bad. We got sion of fusion at the time he hired you? one of the first engagements we had, which was our money but after that incident, I didn’t think up in Vancouver. In the hotel, we each had that that was a viable place for me to be so I left JP: I had already a mindset that I would not cooking units. I invited the band for breakfast to the band and went back to my commercial work avoid challenges. Originally, I’m a bebopper, my apartment and cooked a whole breakfast.

26 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 iah, [Laughs] to borrow a term from the church. JI: How do you relay this information about the Julian Priester [Laughs] jazz life to students without crushing their dreams? (Continued from page 26) JI: After Mwandishi you made your own clas- sic fusion album Love, Love [1974, ECM] before JP: Yes, I do talk about this, I emphasize it. I They were impressed by that effort, they en- returning to your acoustic music roots. What stress innovation and using what’s right there in joyed the meal, so they selected an African name was your attraction to making fusion records as front of you. Recognize the element that can be for me that translated into being “The Great a leader? Did that music resonate with you or incorporated into the music you create. I make Cook.” Now that did not define me at all. So I was that for financial reasons? them aware of the music that’s in the air all rejected that name, and when they inquired into around us. Motion creates sound. Everything is what I wanted to be called. The name “Spirit JP: No, it was the music. It wasn’t financial at evolving, and that in itself is gonna’ create Child” came to mind so they translated Spirit all. It was an extension of the music that I was sound. It’s gonna’ move air and create sound, Child into Swahili and they called me Pepo Mto- involved with when I was working with Herbie. especially when it comes in contact with objects. to. So, I’ve lived with that name ever since, at Pat Patrick was very instrumental in providing I teach to open your ears and identify what you least amongst my family and close friends. I the electronics with the Herbie organization, and are listening to. think I’m somewhat of a spiritual person, per- the idea to do the Love, Love album was actually sonality-wise, coming from the experience of a combination of Pat and my own ambition to JI: How active were you as a performing artist coming up in the church. extend the music that we were making with during your teaching career in Seattle? Herbie. I saw the impact that the Mwandishi JI: Mwandishi was special, that’s obvious when band had on listeners and we wanted to continue JP: There was a lot of music when I got to Cor- hearing the ex-members of the band speaking that. Of course, with me being a trombonist, my nish and I wasn’t just teaching while I’ve lived about it. When you performed in Philadelphia having access to the sophistication of electronic here. I remained very active. I went on the road recently you opened up on stage about the two music was limited, so I wasn’t able to continue with Charlie Haden, as well as the Timeless All- tragic losses in your life – the death of your along that path. Not that I would have accepted Stars. I went to Europe with George Gruntz and mother when you were nine, and the time Herbie doing only that. I don’t think that would be very toured with Lester Bowie. I was also in a group Hancock disbanded Mwandishi. Would you wise, to have only one style. I don’t subscribe to called Quartett with Jay Clayton, Jerry Granelli, address the breakup of the Mwandishi band? that. I would not hesitate to perform rock n’ roll, and Gary Peacock, who were all also faculty or blues, or soul music, or even Dixieland if the members of the college. I also did a lot of work JP: That was devastating because of the im- opportunity presents itself. with Hadley Caliman, who was living up here, portance of what we were doing. The members as well as recording on Diane Schuur’s first of the band felt that we were innovators and that JI: The bulk of your latter career was spent record. My most recent group, Priester’s Cue, we were on the path to be special. We presented teaching at Seattle’s Cornish College of the Arts was made up of Cornish graduates – pianist that to the audience through our music. Original- [1979-2011] which you take great pride in. Were Dawn Clement, drummer Byron Vannoy and ly, when I first joined the band, we had the idea you surprised that you enjoyed teaching so much Geoff Harper on bass. An album was already that we were gonna’ be a cooperative organiza- and what aspect of it did you enjoy the most? released featuring that band and we also record- tion with everyone contributing to the music, ed a beautiful album at Van Gelder Studio which which we did, idea-wise and material-wise. We JP: I enjoyed the music element of it. I was I am looking to release now. thought that we could do this cooperative group, brought there to teach improvisation, the ele- but it didn’t work on the business side. We did- ments of music, and to develop the skills and JI: Unfortunately, you’ve dealt with some very n’t know that at the start. We were just over- attitude that are necessary to develop a devotion significant health-related issues during your joyed at being brothers in this musical adventure to music that will inspire one to not be affected latter years. You survived two organ transplants but the management, David Rubenstein and his by the perils that accompany the life of a jazz – a liver transplant in 2000, as well as a kidney organization, denied this. The main reason was musician, the incompatibility of the jazz life transplant a few years later, as a result from tak- that on the contract there was only one individu- with domestic life. I knew very many potential ing the anti-rejection medication needed for the al’s signature, and that was Herbie’s. The rest of jazz players who would still be valid if it hadn’t liver transplant. If that wasn’t enough, you lost the band was just hired musicians to accompany been for the pressure put on them to provide your home when you were unable to work with Herbie, which I don’t agree with that philoso- food and shelter. The jazz life is not dependable. your ailments. phy. I personally avoid being regarded as a side- There are choices to be made in order to follow man. the musical path. You really have to ignore other JP: Not only that, there were age issues. Cor- aspects of social life in order to be successful as nish College decided they wanted a younger JI: Stanley Crouch in his book Considering a musical artist. It demands too much time and faculty and they invited me to retire which, be- Genius described Mwandishi as, “one of the commitment. cause of my health issues, I accepted their invi- great ones of the era and perhaps any. No one tation because my health was impacting on the had ever heard anything like it… Had it lasted, a JI: That’s quite harsh criticism. students. But, along with that, the college did not strong alternative to what became known as offer a pension to its faculty, so upon retirement, fusion would have been out there to inspire oth- JP: I’m really saddened at the incompatibility I was out of an income. I wasn’t performing ers to hold on.” of the jazz life and domestic life. I’m on my much either because I had been off the scene in third marriage and failure of the first two were academia, so people were not thinking to use me JP: Yes, I support that thought. One of the rea- directly influenced by schisms between support- as a trombone player. I’m not working now as a sons that I was in love with that band, all of us ing a family and performing. It’s sad and I’m jazz artist, so economically I’m not footing the were striving to reach forward, trying to increase suffering emotionally as a result of that. I can’t bill here. It’s not working. I could go out and be our musical output, not just the sound of the even devote myself to either of them, one is a trombone player for hire any day but that’s not music, but understanding the importance that taking away from the other, and I want to be a where my heart lies. At my age, I feel I deserve music has, its impact on the human psychic, and full participant in both. I don’t like being bitter. I to be who I want to be and it’s a struggle. I’m recognizing that, it puts music in a different still want to hold onto the philosophy that Wal- still picking up the trombone, making music. category. It’s more than entertainment, it’s more ter Henri Dyett instilled in me that positive than just background entertainment. My goal has thinking will pay off. Don’t use the word can’t. JI: I hope this interview and the others to fol- been for the music to reach that level. Hallelu- Don’t use it, don’t think it. You can, always. low get the word out that you are back as a jazz

To Advertise CALL: 215-887-8880 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 27 the same mind, attitude and approach to the mu- mentioned it to Manfred. I told him that I wasn’t Julian Priester sic that was being created. We weren’t tied very happy with what was going on. He resented down to musical tradition. Again, it was like Sun me approaching him in that way so that created a (Continued from page 27) Ra’s music. The band was out of Chicago and schism in our relationship. I know that was years came out of the same environment. They were- ago and I should not be harboring any ill feel- artist. You recently toured with pianist David n’t looking to regurgitate music and there was a ings towards Manfred because of that incident, Haney and the music played was totally impro- social message in the music. There was a cour- but it did create a sour note in my attitude to- vised. Is that how you’re playing these days? age needed just to participate in introducing wards Manfred and I never approached him What type of music attracts you now? music of that style. It was amazing and that mu- again to do any recordings for his label. sic was important as a mirror of society. JP: On occasion, I will play with David [in a Richard Davis (bass) [also a Captain Dyett totally free setting]. It’s something that I’m used Curtis Fowlkes (trombone) said: “I remember student] asked: “Would you talk about your to doing since the days of Sun Ra. I enjoy doing seeing Monk at BAM on a double bill with Art experience with Clifford Jordan?” creative music like this, working with a sensitive Blakey. You were in the front line of Blakey’s artist who also listens and accompanies without band, along with tenor player Billy Harper and JP: Oh, good question. Clifford, a fellow DuSa- letting their ego influence their musical ideas. I trumpeter Bill Hardman. I wonder if you re- blelite. We became dear friends in Chicago, like people who can join in as a musical unit so member that night because Monk ended his set musically and personally, and Clifford was in- that we are all playing the same music at the by walking offstage and not returning, and peo- spirational. I mentioned earlier that I drew my same time. The object is to pair up ideas. ple were booing to the point where Blakey came inspiration from saxophone players and Clifford out and scolded the audience. I was in a group of was one of the saxophonists who influenced my JI: What are your interests outside of music? young teenagers who were sponsored by the musical output. I remained friends with Clifford community organization with tickets to attend after I moved to New York. He was living there. JP: I like good food. I like TV but I find it con- the performance and we weren’t understanding We collaborated on musical projects and record- fining, you’ve got to sit there and watch it. I of the mental issues that plagued Monk.” ings. As a matter of fact, the apartment that I came up with the radio and you didn’t have to sit was living in during the Art Blakey era was orig- there with the radio. You could move around JP: I remember that. He was a character. Take a inally Clifford’s apartment. He had moved in and still absorb it. I like educational documen- close look and examine Thelonious Monk, his with his wife and so that apartment became taries on TV, but I don’t like the normal televi- character. He was not a person who felt that it available and he let me take it over. Clifford was sion fare. I don’t find it appealing only because was necessary to suck up to the audience. He, a hustler, I mean he knew how to get work. He of the use of time that I could be using for more like Miles Davis, felt that the music that he was was preaching to me how to approach the venue rewarding projects. I could be writing music, producing was important and valuable, and owner and ask him how much he would charge reading books, gaining knowledge, just being that’s enough. If he wanted to get off the piano me to perform in his place. Now that’s odd, so aware of what’s around me. I listen to NPR and and walk around, it was his prerogative. That odd that the more I thought about it, the more MSNBC, which is one of my favorites. was his character, and I think because of that, he sense it made. How much to rent the place and qualified to be on the cover of Time Magazine. all the funds that came through the door would JI: The final questions have been given to me If that’s not respect, what is? [Laughs] I love be mine after I paid the owner a commission. It from other musicians to ask you: him for his uniqueness. did make business sense, but it was an approach that was so different from anything that I had Robin Eubanks (trombone) asked: “I was hon- Samuel Blaser (trombone) asked: “Here’s a ever been exposed to, it wowed me. I didn’t ored to follow you as the trombonist in Dave question that’s been with me for some time. know how to deal with it. Of course, I never Holland’s band. What do you feel are the ad- ECM Records doesn’t seem to have many trom- tried to implement it, I didn’t have the where- vantages or disadvantages about playing in a bone players as a leader in its catalogue. You withal to do it. I admired Clifford for his mind, band, such as David’s, with no chordal instru- may be the only one, along with Yves Robert. musically and streetwise. I saw it as a benefit for ments [piano, guitar, vibes]?” You recorded two wonderful albums - Love, me to adopt his street knowledge when dealing Love and Polarization for the label. Is there any with business, but I just didn’t have the courage. JP: First of all, I was used to that with my rela- specific reason why you didn’t record more mu- [Laughs] tionship with Max Roach. He wasn’t using a sic for Manfred Eicher? I wonder if Eicher really keyboard, so it wasn’t an oddity. I really enjoyed likes the trombone.” Steve Swell (trombone) asked: “It was phenom- creating music with Dave because his musical enal playing and hanging with you recently. On taste was on the cutting edge of pushing music JP: I don’t think it was that simple. I think it [Max Roach’s] Freedom Now Suite you take a forward. He wasn’t about regurgitating some- was due to the implementation of Manfred’s terrific solo on “Freedom Day.” How many thing that had already been alive. association with the label. He regarded the label takes were needed for that tune and how many in as his instrument and the product of that label general for the session?” Famoudou Don Moye (percussion) asked: “My was his creation. He insisted upon control of memories of performing with you are numerous personnel. For instance, on the Polarization JP: Oh my God, I don’t remember. That’s too and always a source of pride and respect. My album, he didn’t approve of my drummer. He long ago but I would think it all went down in question is how you felt about the fun, excite- wanted to cancel the recording session, resched- one take. In fact, I do recall Max was not in- ment and challenges of playing with Lester ule, and bring Billy Hart over from New York to volved in overdubbing or multi-recording. His Bowie’s Brass Fantasy and touring with Lester play drums. I felt that that was a little bit over attitude when he was performing was so disci- Bowie’s N.Y. Organ Ensemble. I know that we stepping his position, although I understand that plined that everything worked on the first time had some great moments!” he was the owner of the company. What capped through, and I believe that’s what happened on off the relationship between me and Manfred that album. As far as my solo, I remember the JP: Yeah, we did. Another similar situation happened as a result of another incident. I was in terror of having been put in this position where I where the music was on the cutting edge, it was Europe performing with George Gruntz’ band had to play those fast tempo [songs]. The trom- out front, it wasn’t trying to impress anyone. It recording for ECM and I realized that I was bone, on a fast tempo, is terrorizing, particularly was telling the truth about life, about music. It being treated as a sideman in Gruntz’ band. I as fast as Max Roach plays, [Laughs] but you was harsh in parts, and that’s part of life, it’s all wasn’t being given the opportunity to solo and find a way to survive. valid, and the individuals in the band were all of that went against my whole personality. So, I

28 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 sounds but without the organization that is af- was not said with any sense of false humility, Julian Priester forded with using chords, the music will not that’s you.” sound familiar and that’s important if you want (Continued from page 28) listeners to relate to it. If they can’t relate to it, it JP: I can feel myself saying that. That fits right falls into another category such as noise. in with the mindset that I’ve had. Those two Steve Swell also asked: “What are your spiritu- were also on the faculty of Cornish College of al practices? Meditation or a formal practice?” JI: So what is your connection to free music? the Arts when I joined there. We had many op- portunities to make music and share ideas. JP: It’s difficulty for me to put it into a catego- JP: I rejected free music because I recognized ry but I think meditation perhaps would be rela- that it was not organized, and without organiza- Bennie Maupin (sax) said: “I simply can’t think tive to my practice. I dropped out from going to tion how can you identify it? The term free mu- of one question. You’re one of the few innova- church after my mother passed away. My expe- sic is a valid term, but it describes something tive giants of your generation that is still on this rience at the funeral was devastating for me. I that is separate from its relationship to history planet. My mystical brother, friend, and truly a lost it, I lost it, and I’m still suffering from that. and the human experience. Music is a mirror musical mentor. Unsurpassed. What I can say is Uhm, even talking about it makes me uncom- image of life, and there are rough aspects of life, this - I’m eternally grateful for having spent a fortable. I’m still under the influence of Captain and perhaps free music does speak to that aspect, brief moment, live together with you, creating Dyett, and you can put that in the category of a but it’s not something that pleases me as a listen- some of the most unique and beautiful music of spiritual practice. I’m spiritually devoted to be- er. I enjoy creating, but even in that free envi- my life. Words cannot express my gratitude and ing positive and denying negative responses to ronment, I want it to be musical. You have to appreciation for the great Julian Priester. Thanks the events of daily life. That’s my practice, and use harmony and follow the melodic pattern, for the opportunity to sing my praises for the so far, I’m satisfied. I’m still alive. I’ve made it both are key elements in the manufacture of great musical spirit, AKA Pepo Mtoto.” past the 83rd revolution around the Sun. What pleasant sounds. Free music is music, but I can’t more can I ask for? connect emotionally to that. It doesn’t allow for JP: Bennie is unique as a player, creator and intimacy. artist. He is impressive personally. Our relation- Steve Davis (trombone) said: “You are a true ship is so intimate that we had both good times master who’s worked as a sideman on so many Eddie Henderson (trumpet) said: “I have quite and bad times. Sometimes we were angry with recordings. A few of my favorites being McCoy a few memories of you and I together. Do you each other, sometimes we were in love and Tyner’s Tender Moments, Freddie Hubbard’s remember the time you and I were riding across demonstrated that love. It all turned out to be Hub Cap, your work with Max Roach, as well as the country with the Mwandishi group? Every- good – our relationship and the music we pro- Herbie Hancock’s Mwandishi! I love your body had separate cars, and at that time I had a duced. I appreciate his comments and I believe 1960 Keep Swingin’ recording. With that said, Ferrari. You were in the car with me and in the that he is honest in his feelings for me, as I am my question is having played with such an array middle of Utah or Wyoming I let you take over with my feelings for him. You know, it pains of masters over many decades, how have you driving. You didn’t know what kind of car it me, it all stems from the Mwandishi band break- approached delivering the language of jazz mu- was, you had thought it was just a little cheap ing up. It was a painful experience, and to this sic through the trombone?” sports car. We switched seats and after about an day, forty-years later, the pain is still there. I hour, you looked down and you’re cruising at imagine Bennie also feels the same way. JP: My love for music made it so that at the 120 miles per hour, and you looked at me and drop of a hat, I will play, and I’ve carried that said, ‘What kind of car is this?’ [Laughs] That [Addendum added by Julian Priester’s wife- attitude with me all these years. I was also influ- was a rare moment. What memories do you have Nashira Priester]: The most hilarious thing we enced by Max Roach in terms of commanding of being together with me?” talked about when we read the interview was dignity for the music. I believe that I hit the nail over the years I had the chance to ask a friend on the head when I said I really didn’t need an JP: My buddy, oh boy. Very pleasant memories who was from Zimbabwe and I asked him and excuse [to play]. I wasn’t doing it for the money, of all the members of that group. We all became some other Zimbabweans, as well as looking it so anytime there was an opportunity to play very close, but Eddie was special – musically up on the computer, and, well, Pepo Mtoto does some music, I was there. That was my attitude and personally. He played the trumpet and was not mean “Spirit Child,” it means “Ghost Baby,” when I was doing all that recording with all fulfilling his training as a doctor when I first met or “Demon Baby!” It’s so amusing but we can’t those people that I loved. It was all the same to him, and we convinced him to stay with band fix it now, it’s too late in life to be going away me. After my conversation with Duke Ellington which meant that he had to drop out of his train- from “Spirit Child.” Our son has made a thesis when he was accusing me of being just a trom- ing. His first inspiration was music and he film when he graduated from school with an art bone player, I started thinking that I should be gained a lot of respect for making that decision degree called Spirit Child. emphasizing the artistic element, and that’s what to stay in the music life for as long as he has, as I did. well as staying in the medical field as a psychia- trist.  Joseph Bowie (trombone) asked: “I admire your tasteful and modern approach to improvis- JI: Do you have a memory to share about Eddie ing. Do you use chord patterns/scales to fashion Henderson? your solos or do you create your own original

phrases?” JP: Well, I’ve got other memories but I’m not

gonna’ publicize them! [Laughs] Ask Eddie “Do not wait. The time JP: I would think it’s a mixture of both. In about it! Yeah, anyway, I love him. He’s great. will never be ‘just right’. Start learning music, I went through the path of learn- where you stand, and work with ing the relationship of chordal movement and Jerry Granelli (drums) said: “We spent so whatever tools you may have at your how it impacts the flavor of the music. For in- many great hours talking about life, music, and command, and better tools will be stance, if you compare the music of Thelonious all of it. I’ll never forget our conversation once found as you go along.” Monk to the music of Horace Silver, both are after a concert in Vancouver with Jay Clayton. I brilliant, but radically different from each other. said, ‘You sounded great Priester,’ and you said, Chords are integral to producing music. Without “Thanks, but I heard all that before. I’m really chords you can make sounds that can be musical interested in what I haven’t played yet.” That - Napoleon Hill

To Advertise CALL: 215-887-8880 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 29 and we had many places to be play. I am se lf taught and I have learned a lot watching and INTERVIEWINTERVIEW hanging with some fantastic musicians from that golden era of Brazilian Music even though I was a kid at the time. I learned from musicians like Edison Machado, Tenório Jr, Duduka DaFonseca Edison Maciel, João Palma, Milton Banana, Raul De Souza, Dom Salvador, Victor Manga, Believe in what you do Sergio Barrozo Neto, Luis Carlos Vinhas, Tião Neto and many others ,by watching them play and playing along with theirs albums, By Eric Nemeyer man from the south of Brazil, Guto Wirtti. We which I believe is a great way to learn These started the session and I said to myself, days in Brazil is extremely difficult to play “Wow! This rhythm session sounds so right! “Samba Jazz.” Most of my friends in Brazil JI: Could you discuss your recent recording It feels like a walk on Ipanema Beach.” I make a decent living, either working in a stu- release and how it developed? came back to New York, and started to think dio playing commercial music, or playing for that I really wanted to do a trio project with a pop star singer, and I think that is OK. As a DF: I met Toninho (Horta) more than forty these two fabulous young musicians. At the matter of a fact Maucha Adnet, my wife is a years ago and I can say that without exception time I was playing quite a bit with Toninho singer and I love playing with her. I have I love all his compositions. I believe that around Europe and in New York, with a pro- played with many other singers and I really Toninho deserves much broader recognition ject of mine called “Samba Jazz and the Mu- enjoy it, it is a completely different musical worldwide. In 2000 I had the pleasure to meet sic of Jobim.” Then the idea clicked in my approach, and I like the challenge but in my David Feldman when he was studying at the head: “I am going to do a Trio album playing opinion it should be an option, not the only New School for Jazz and Contemporary Mu- the music of Toninho Horta.” That same year option. I always wanted to meet and play with sic in New York. We started playing together I went back to Rio and we recorded the al- American Jazz musicians and mix Brazilian right away and the chemistry between us was bum. The recording process was a fantastic and American cultures. The only way that I found to pursue my dream was by moving to New York, the place where you find the best “no matter where you play, music in the world. One of my musical goals in life, is to make a perfect blend of Samba and Jazz , and that is what I have been developing and is a universal language and refining my entire musical life.

chances are that you are always JI: Talk about your move to the Unted States and the challenges and opportunities you ex- going to touch someone. Also perienced.

DF: In December of 1975, I moved to New that no matter what, always York to follow my dream of playing with American Jazz musicians and blending these play the music that you came two beautiful cultures. Two months after I arrived in New York, I got called to do a re- prepared to play. Believe in it cording session in Los Angeles. I played with the late, great trombone player Frank Rosoli- and just do it, always try to stick no, Raul de Souza, and performed a “drum duet” with Harvey Mason. I thought, “Wow, this is the American Dream!” I returned to to your original plan... People New York and spent all of my money. I bought a beautiful set of Gretsch drums, an- feel and appreciate it when you other dream come true, and then everything changed. For more than one year, there was are truthful to your music.” hardly any work. Although those were very difficult times, I would do it all over again. It has been a great learning experience and a there from the first hit. David was playing in experience and I could not be happier with the fantastic journey. I am very proud to be one of my quintet at the time, and I played on his results. a few musicians who in the late ‘70s helped first trio album, with the fabulous Hans Glaw- revive the Brazilian Jazz scene in New York ischnig on bass. A few years later David JI: What kinds of challenges and opportuni- City. I have been blessed to play, record, and moved back to Rio, where he still lives with ties did you experience in Brazil as you pur- become friends with many wonderful musi- his family. In a recent visit to Rio, I got a call sued this creative path as a drummer? cians. from Paulo Levi, a wonderful sax player from northeast Brazil, to play on his album. When I DF: In one way I was very lucky to be born in JI: What kinds of understandings have you got to the studio, David Feldman was the pia- Brasil and start playing at a time when Samba discovered about people and or cultures in nist, and the bass player was a young gentle- Jazz and Bossa Nova were extremely popular (Continued on page 32)

30 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 31 DF: In life we have many choices. One can Duduka DaFonseca

do the things that he or she believes in or let

other people tell them what they should do. I “...among human beings (Continued from page 30) prefer the first option. The great drummer / jealousy ranks distinctly as a percussionist Dom Um Romão told me short- weakness; a trademark of small minds; your travels and performances recently? ly after I’d moved from Rio to New York in ! a property of all small minds, yet a property 975, “If you bend to much, you end up show- which even the smallest is ashamed of; DF: I have learned that no matter where you ing your ass.” He was a great man, very street and when accused of its possession will lyingly deny it and resent the play music is a universal language and chanc- smart, Dom Um helped many musicians when accusation as an insult.” es are that you always going to touch some- we arrived in the U.S. including myself, Dom one. Also that no matter what, always play the Salvador, Naná Vasconcelos and many, many music that you came prepared to play. Believe others. -Mark Twain in it and just do it, always try to stick to your original plan... People feel and appreciate it JI: Regarding my solo albums, I produced DF: We have been playing together for over when you are truthful to your music. them myself, but was always open for the twenty five years, and I believe that Trio Da valuable suggestions of the musicians that Paz has a very original sound, which in my JI: Talk about what you’ve learned about played on them. opinion is one of the most, if not the most leadership from one or more of the jazz artists valuable quality in music. Trio Da Paz is now with/for whom you have worked. DF: Dealing with managers and venue deci- in the process of recording another album, just xxxxxxxxxx sion makers is another ball game. First of all the Trio. We always have a ball when we hit. DF: I have learned a lot from different leaders you have to be lucky to have a good manager We know each other so well, I believe that we in different ways, but they all share a very that likes and respect your music and is will- have a telepathic vibe going on at times. important common point, they hired you be- ing to help you. Dealing with venue decision JI: Are there words of wisdom or guiding cause they trust your musicality and they en- makers is also a matter of find someone who ideas - about life, business and or music - courage you to pour your heart out when you wants to help your music to get heard. I have which provide foundations for your creative play their music. That itself it is a fantastic had good experiences with some, in New pursuits? learning process. York Todd Barkan is definitely someone that has been helping me promote my music. DF: Believe in what you do, and be persis- JI: What have you discovered about the busi- tent, very persistent. ness side of the music as a result of your asso- JI: Talk about your association with Romero ciations recording for various labels, dealing Lubambo and Nilson Matta with whom you  with managers and venue decision makers? created Trio Da Paz?

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32 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 express themselves, you came from. That is, ultimately there’s a soul in an idiom that that comes through the dot, that’s not about the INTERVIEW was unknown terri- physical thing. INTERVIEW tory. Not everyone

in the school band IJ: Right. Perfect. The soul coming through the dot program went on to is the real gift of being an improviser. That gift is be a musician. A lot the privilege of being a musician who gets to go to Ingrid Jensen of the people did. A places. You get to play music with people who are lot of the people in willing to just open up themselves, and go into the Interactivity is the essence of this music the area that I grew unknown territory— whether its over a one-chord up went on to be vamp, or its over “Giant Steps.” It’s not really so professional musi- much about even the tune I’m playing anymore. Interview & Photo By Eric Nemeyer cians and improvising musicians. It’s about how much we are going to make out of that tune together—from the minute we begin play- JI: Some musicians have indicated that interactivi- ing to the last breadth of the gig. Where are we JI: Could you talk about the role interactivity plays ty isn’t always important—whether they’re playing going to let that music go? Again, that’s why the in your concept free or whatever it is. I have difficulty imagining audience is so important. You can almost feel it— playing with other people and not having interac- like a force coming at you, in a positive or negative IJ: Interactivity or interaction is to me the essence tivity. Then you’re just using them as a platform way. They are coming from a space where they’re of this music. It’s the spirit that struck me in the for your own pleasure, or whatever you want to call open to anything. You don’t want to come into the very beginning of my playing career. Or, I would it. Why have them there in the first place, if there’s gig with a set idea of how jazz sounds, and not be say it was even further before that. It goes back to not going to be some sort of dialogue—however willing to go to the next place with it. That goes my childhood—listening to jazz, listening to rec- abstract, or whatever form that might take. Ulti- back to my early days of listening to music. I got ords my mom made, listening to records my mom mately, if you’re playing with other people, you’re caught up by the spirit of someone like Clark Ter- would play around the house. That was more a also likely to be listening. ry—with his sound and his voice. I thought this feeling of a bunch of spirits getting together—just guy has got to be crazy. He’s got to be hilarious. feeling that spirit of something that wasn’t so re- IJ: Absolutely. I think that that’s a great observa- He can’t be just an uptight guy in a suit, who just hearsed. When I started playing, and improvising, tion and a great question—if it’s a question. For plays a certain way on every gig. There’s no way! I that feeling continued on—as a spirit that moved me, that’s more to do with the mentality of being was right. As I got to know Clark over the years, I me to want to play. The first time I improvised in soloist versus the mentality of being an integrated am constantly blown away with what an open spirit the combo at school, I felt this feeling of complete player—being in a preferable situation. I’m react- he is. That freedom in his playing defies category. and total fear, combined with absolute bliss of ing off of everything. Hopefully, I’m reacting for It’s just great music from a great person. inspiration, and the opportunity for me to express the audience and using the room sound, my own myself. sound in relation to the system, the system, what JI: Well, I think if we’re going to grow as artists, it’s giving me back. Way deeper than that, I am we always want to be expanding our horizons. The JI: How old were you when you first started play- reacting to every little nuance that goes on within moment you are stagnant you are dead. Unlike ing in that combo, and what kind of skills did you my band. I feel that I can only express myself when sports figures, many of whom peak (or earn lots of have at that point? I’m playing with players who are willing to be in money to motivate an exit from sports) at 35 or 40, that state. The way that I get off when I’m play- jazz musicians are really pursuing lifelong growth. IJ: I had basic trumpet skills. I had maybe a couple ing— nd it really is about getting off—is that I play It is all that life experience and understanding that of octaves to work with. It was a sound that I didn’t with people who want to be part of the whole fram- we can infuse into our playing which is really like. I had a knowledge of piano— of tunes, of ing of my playing. They don’t see me as just some- amazing to me. I think it keeps you young.

IJ: Absolutely. Look at these guys. Look at Roy “ You don’t want to come into the gig with Haynes. He’s 80 [something]. He’s just a kid. The important element to me in the music is to always a set idea of how jazz sounds, and not be remember to go for it—whether I’m writing or playing—that childlike state. I’ve been doing all willing to go to the next place with it. That these interviews with myself and essays for my website. I’ve been doing the ArtistShare thing. It goes back to my early days of listening to has been really fun to just sort of think about what it was that turned me on in music. A lot of it is the music. I got caught up by the spirit …” same today. When I travel around the world, peo- ple ask me “what do you do for a living...what’s melodies, from hearing my mom play standards, one that they can play time behind and that’s going your job?” I say, well, I don’t really have a job. I and sitting at the piano and playing a little bit. I had to be good enough. Hopefully, we’re playing to- just play. I’m like a kid. I put these things in this had some piano lessons. So with those limited gether because we want to get each other off and case, and I go from place to place, and I play. The skills, I was able to kind of put the sound I was go where we don’t know the music is going to traveling is a bit of work sometimes. So is the prep- hearing in my head. I just started to fish around for go—into the land of mystery. Then, of course, we aration and the business side, the management, ideas. Clark Terry calls it fishing for fingers— need the skills, and the vocabulary to get musical doing everything on my own. That’s the work be- which means you know you’re just searching. thoughts and musical stories out of that experience. cause it takes away from the playing. To find the You’re closing your eyes and hoping that you’ll balance in my life right now is also a big goal of land on a note that has something to do with the JI: I was just listening to Wayne Dyer talk about mine. I want to find that balance where I’m con- music. That was my first searching process. I was the power of intention, and how living in the mys- stantly able to just take off and play. fourteen years old. I had just gone into grade eight. tery of life is more important than living in what We had this fantastic band teacher who was intent we already know. He talks about how we all come JI: It’s hard. Most everyone is in the same situa- on getting everyone soloing—and he did. He man- from this microscopic dot. It’s fascinating because tion. You want to practice and you want to play— aged to get girls and guys soloing. He didn’t really he says if we turn up the microscope it does not tell but you also want to get paid at the end of the job. care if they got upset, or started screaming and you where you came from. Yes the dot came from yelling, or got embarrassed. He really thought that your parents blissful union as he mentioned. But IJ: There’s also, overhead—you know, living in it was important that the students had a chance to observation of the dot still doesn’t tell you where New York—especially if you’re doing self pro-

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ORDER Start Your Promotion NOW! - PressToRelease.com To Advertise CALL:Experience 215-887-8880 ResultsMarch-April 2019 In Jazz 24-48 Inside Magazine Hours!  www.JazzInsideMagazine.com CALL 215- 887-8880 35 ed exercising. I have to do all these physical and and one in bass clef. And starting finding relation- Ingrid Jensen kind of spiritual exercises to keep things flowing ships between those lines. Or, taking one note in and not injure myself. In addition to that though, the bass line and one in the treble, and then looking the thing that was really cool was I couldn’t learn at the interval, and coming up with every possible (Continued from page 33) licks. I couldn’t remember them. My mind couldn’t chord that relates to that. It’s really fun how you duced projects like I am. My new recording is memorize finger patterns that could lock me in. So just start to find any relationship, and you start to called At Sea. The entire project is about independ- I was actually forced to go for more of an original create different pathways from those changes. ence. It’s about the idea of being alone out in the thought. Rhythms definitely inspire me. I was in Peru, middle of it all—but having all these resources to twice. The Peruvian music—not the ambient flute make it work, and not relying on the big record JI: You have to look at that as a good thing though. music, but the African-influenced Peruvian music, company, or the little record company, or any rec- I used to look at all these “challenges” and the Creole they call it—has really got under my ord company at this point. It’s about having the “setbacks” as problems when I was starting. skin, with those twelve eight subdivisions. I’ve freedom, to just use what it is that I have at this We’ve all experienced political power-plays, and been sort of translating some of that music into point to survive, and to put music out there for you. egos and unfair criticism, and not getting jobs we more odd meter feelings as well. I’m keeping the wanted. You know, setbacks are painful at the mo- lyrical feeling of the rhythms, and kind of expand- JI: You mention just a moment ago, that Roy ment. Then you grow. I now look at those prob- ing on them. Another thing is that arranging helps Haynes and Clark are youthful in their eighties. lems as the very guiding posts that enabled me to me a lot to come up with tunes. Often times I’ll You mentioned that you’re always thinking like a stay on the path and get to where I have currently arrange a tune, I’ll just get obsessed with some part kid. One of my favorite quotes is by Ashley Monta- traveled, and accomplish certain things. It’s the of the tune and start to arrange it. Then I’ll realize gue who said, “don’t grow old in your adult quali- impeded stream that sings. later on, that it is so much more my tune than the ties, but in your childlike qualities.” So that way tune it was. So I’ll just take that part and start com- you’re always young. IJ: Exactly ing up with a piece. There’s actually a tune on my record that started out as k.d. Lang tune. I deviated IJ: I want your book list Eric. Do you have a book JI: I just read The Four Agreements. The author so far from it that I just changed the melody—just list? talks about how you can save yourself a lot of un- rewrote the melody. It’s like, that’s mine now. Part necessary suffering if you don’t care what people of the reason has to do with licensing and paying JI: Yeah, I do think or do. royalties. My song is so far from that tune, why should I pay to use this song when its not even that IJ: Can you put it in the magazine one day; I’d like IJ: I better write that one down. Cause you know song anymore. When I’m talking about composing to read it. we’re always working on ourselves here. Major to students, I tell them to use every possible idea self help. that you have to write with that could ever exist. JI: I don’t have it here, but about fifteen to twenty I’ve done stuff with my husband. He’ll write half years ago I started writing in these travel size jour- JI: I think so. It’s a good thing really. If people the tune and I’ll write the other half. It’s really fun nals—you know, those little agenda or date books. want to remain stagnant and forever be locked in to because then it blows your ear off because his sec- I began writing quotes that I like that I would see in their current level of understanding, that’s easy. On tion is just the next section. Then he’ll add some- books, books like The Path of Least Resistance, the other hand, Oliver Wendell Holmes said, “the thing after that. I’d like to get back into that be- which is one of my favorite books. I couldn’t even mind once expanded to a larger dimension never cause it’s really a lot of fun. When we were dating, begin getting into at first. Then, a light bulb went retreats to its original size.” we were writing things together. Once he just faxed on. It all made sense and began to come together— me a melody—no rhythms. I just took the melody and I plowed through the book. There are others. IJ: I think that its about fear too. It’s a very scary and wrote some chord changes out of it. Then, he Could you discuss your beginnings on trumpet. thing too to move on from yourself and go into the sent me the “A” section for a tune and I just wrote unknown. the bridge. That was it and the tune was done. I IJ: I’m left handed. Trying to play the trumpet was usually have a three way process for composing. very difficult thing for me because you play with JI: But that’s what you’re talking about in the mu- One, is I play something on the trumpet then I the right hand. If I would go back to the beginning sic—where you go on stage, or you’re at a session, write it down on some staff paper. Then I sit down and not worry about that, I would “A” say screw it. or playing and trying new things. Of course, it’s at a piano, and mess around with that. Then I play I’m playing the trumpet left handed. Or, B I would easier to try things, and easier to grow when you’re again—maybe playing the piano with my left hand not worry about the fact that I’m having to do this surrounded by people who you like and who you and then the melody with my right—to see how it intensely, very intricate skill using a hand with trust. It gives you a little bit of a safety net. sounds. Then maybe I record just a bass line with which I have no coordination. I can’t throw a ball, some of the chords. Then I might come up with I can hardly pick up a bottle of water without spill- IJ: Absolutely. You just have to go for it. another melody. Finally I’ll move to the computer ing it with my right hand. because my writing is so messy. Then when I listen JI: Could you talk about you’re the kinds of pro- back, usually on the computer, and I see the music, JI: That’s interesting that you play with your left cess you go through when you are composing. that’s the final editing process. I’ll print it out. hand. Some successful people take weaknesses and Then I’ll go back to the piano, or go back to the turn them into unique skills or selling points. Take IJ: Well, my process unfortunately gets controlled trumpet. It’s kind of this circular motion, of using Monk’s sound. Had he and Miles Davis been by how busy I am, and how much I am on tour. My whatever tools I have available to finish the tune. forced to go through the educational process that favorite process is when I have at least have a cou- Or just to work on an idea. I definitely feel like a exists today, their technique, and unique sounds ple of weeks off, and I’m at home, and the business composer in process. I feel like a beginner in so would have been sanitized. is out of the way. I can just completely let go of many ways. I was playing so much, and not really everything I have to worry about—as far as bills writing as much as I wish I had. I think a lot of it IJ: Oh, it could have robbed them. In a way, mine and taxes and things like that. I just sit at the piano had to do with my own obsession with wanting to was a very fortunate sort of handicap. I guess it’s a and play melodies to the chords and record into my be technically proficient on every level on my own handicap. But for me, playing with my right hand ipod. Or, I pick up my trumpet and do the same instrument. Maybe I was obsessing a little too was a struggle. The trumpet instructor said you thing—while I’m practicing some music, or warm- much with just playing the trumpet. But one of the played with your right hand and that’s it. It created ing up on something. As soon as I feel an idea start things, I find that’s difficult is keeping that balance a lot of stress in my life. I had three major injuries to flow I record it in there. I try to find some logi- between the trumpet and writing. And it’s going to in my life. Those came as a result of the tension cal relationships within those ideas. Then I start be a constant game to do that in my mind.

that came from playing with all that stress—forcing developing it in as many ways as possible. I took a Continued in the next issue coordination to take place. Thankfully that situa- couple of lessons with Kenny Werner. They really of Jazz Inside Magazine tion taught me to do things outside of music that opened my mind up to the possibilities of just tak- helped. I studied Chi Wong. I studied Yoga. I start- ing two different lines, writing one in treble clef

36 March-April 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 New CD Release from Dallas Area Pianist John A. Lewis

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