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Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) November-December 2019 – Volume 10, Number 7
Cover Photo and photo at right of Bob Baldwin
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CONTENTS 4 Bob Baldwin — The Language Of INTERVIEWSINTERVIEWS 32 Bill Frisell — It’s just about the commu- CLUBS, CONCERTS, EVENTS Music, by Ken Weiss 28 Wycliffe Gordon—“… always just striv- nication 13 Calendar of Events ing to … make it the best” 20 Clubs & Venue Listings Visit these websites: JazzStandard.com
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2 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 3 that was my early influence and like I said, I’m picking up all this music at age five. So, it was INTERVIEWINTERVIEW a wonderful experience as a young child learn- ing how to pick up the music. And, of course, he taught me jazz theory and jazz harmony and scales and all that kind of good stuff shortly after that. Bob Baldwin Never give up what you really love! JI: What were some of the musical highlights as you observed the music around you in your early years? Interview by Eric Nemeyer Jazz.com can be heard weekly nationwide. BB: I didn’t meet Ella, But I do remember Bob Baldwin is a contemporary jazz pianist, meeting Hugh Masakela when he defected from composer, author, producer, and inventor who JI: Bob, you hail from a musical background, South Africa and Apartheid around 1968-69 began studying music at a young age, at home where your dad was a piano player in the New when he was coming into great popularity. in Mt. Vernon, NY with his father, Robert Bald- York area. Talk about how your inspiration and Hugh lived in Greenburgh, His escape from win, Sr., a jazz pianist who worked with bass how your interest in music got started when South Africa was a big deal and he was well legends Keter Betts and Art Davis. Bob was you were very young. respected in the community. Greenburgh was also a fan of his older cousin, pianist Lary Wil- this hip little town next to White Plains that had lis. Baldwin's recording career started in 1983 BB: I was born in Mt. Vernon, but lived in a great artistic pulse. Cab Calloway lived near and his debut album, A Long Way to Go, re- Yonkers. We moved to Peekskill in 1968. I there. Frank Foster. Atlantic Starr original leased in 1988. Among his notable releases are remember it like yesterday because not just a members Porter Carroll and Sharon Bryant. Bob Baldwin Presents Abbey Road and the few weeks later, [Dr. Martin Luther] King was Even Gordon Parks lived in that area. I met him Beatles; Never Can Say Goodbye: A Tribute to shot and my mom almost passed out from dev- once. He was a great man and photographer, Michael Jackson; MelloWonder: Songs in the astation. I was about five years old when I start- the first African-American to do photography Key of Stevie. An accomplished pianist, Bald- ed learning about jazz. I was just getting into for the cover of Time-Life. My dad was a pho- win has composed and or arranged music for kindergarten. Dad was a musician, a pianist, tographer and had some Hasselblad equipment. Regina Carter, The Four Tops, Grover Wash- had great ears, had great chops, but never had I learned how to develop film in his darkroom ington, Jr., Paul Brown, Richard Elliot, Marion the chance to tour worldwide because he was at next to the garage. It was there we bonded as Meadows, Ragan Whiteside, Lori Williams, home working a day job to take care of the well. He’d play all the hip jazz ‘cassettes’ while Tom Browne, Bob James, Will Downing, Pieces family. But at age five years old, I learned so figuring out chemicals and enlargers and f-stop of a Dream and others. Bob Baldwin's own much about Oscar Peterson and Art Tatum and settings on the camera. That was fun from recordings have featured an array of leading Errol Garner. Those are the guys that he lis- about 1965 to 1972. My dad was amazing be- artists including Gerald Albright, Noel Pointer, tened to. In Yonkers, I learned about jazz as cause he was the consummate student of left- Lenny White, Larry Coryell, Chuck Loeb, Russ young as I can remember. At age six, dad dis- right brain. He was a musician, an engineer, Freeman (Rippingtons), Najee, and more. covered I had perfect pitch and started me on and used to take a car motor apart and put it back together. He was the ultimate handyman. Between 1968 and 1972 when dad was in full health, he taught me about chords, scales and “finish your dream man. the fake book. He would pull out the book and have me learn chord progressions and teach me how to solo around the changes. It was this Don’t stop dreaming. Don’t period when I was learning all about jazz. I found my musical style leaning more towards a modal sound versus a bebop or an avant-garde ever stop dreaming. Continue vibe. Miles was just into his Cool Jazz vibra- tion and I found myself vibing off of that dur- ing that time. Kind of Blue with Bill Evans was to pursue the things that you very impactful. Also, dad was a big Oscar Pe- terson fan. He would take the turntable and run the record at half speed, and proceeded to tran- love doing and stay away scribe solos from the recording. I used to do that at a young age and try to figure out the solos of Peterson, Art Tatum. While I didn’t always execute the solos, I understood them from those bad deals, man.” and how they were impacted by the chord. Pe- terson was the master. His timing and his work Among his 25 career solo discs since 1988, he my way. It was age seven for seven years I took with Ed Thigpen and Ray Brown were breath- has had six of his singles chart in the Top 20 classical lessons. Those are the guys of his gen- taking. I remember West Side Story. Dad could- since 2011 (Billboard Jazz) and eleven of his eration. It was around 1964 when I began lis- n’t wait to grab it from the store and play it in CDs reach the Top 20 CD's since 2000 tening - so, those guys were still very much in the house. The album Triste was always play- (Billboard). In addition to his performing activ- the throes of their jazz careers. Of course, the ing in the house. ities, Baldwin is the author of the book You Dizzy Gillespie’s and the Miles Davis’s and Better Ask Somebody, a practical guide to the Herbie Hancock’s soon followed. But dad was JI: What were some of the first songs that you music business. His radio show NewUrban- very, very heavily into the piano, obviously. So (Continued on page 6)
4 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 5 BB: The family took it hard. My little brother that station. We later friended each other when Bob Baldwin William was born in 1971, so mom was left I landed an internship at WBLS in 1980. She taking care of four kids. Oldest to youngest are later moved to CD101.9 when they started up (Continued from page 4) Debbie, myself, Linda, and William. Mom was Smooth Jazz in 1988. She gave me my first in a tough spot. I lied on my first job applica- airplay in New York, and for that, I’m forever learned? tion in working at a supermarket around the grateful. corner to bring a few dollars home. Wasn’t BB: I remember the first standards I learned much but it helped and helped me grow up real JI: What were some of the first performing were “In a Sentimental Mood” and “Satin Doll” fast. Between 1975 and 1978, I actually quit engagements that opened doors for you? by Ellington. “Satin Doll” was the perfect les- playing piano. My dad’s illness really de- son in the 2-5-1 progression, and from there, I pressed me. But I but picked it back up in Col- BB: In 1983 I got my first gig with Norman was able to make up alternate changes from lege when I played for a gospel choir between Connors. Bittersweet because here was some- that progression. I began to learn how to 1979-1981. The choir opened up for The Haw- one I looked up to and admired. He had the ears change the color of the chord, which gave the kins Family and at the time, Tremaine Hawkins for talent, but when we met, the business piece performance a different mood. The alternate was on fire. She sang at the college and there was a nightmare and I took some lumps on that changes really became a part of my sound from wasn’t a dry eye in the house. She optimized one. It angered me so much, I ended up finish- day one. Musicians seemed to gravitate from soul even though she was singing this new ing my degree in business administration and that, and audiences embraced the alternate wave of gospel. That’s when I fell in love with minored in Broadcast Communications at Ge- mood the different changes made, while staying Gospel and as they say, “the magic was back”. neva College through 1986, in Beaver Falls, true to the original melody. During this period, I had a love for playing again. So here I am, Pennsylvania. That speaks to why I’ve got this my sister was the “soul” records queen: Aretha, full of jazz, soul and gospel, the very heart of thing for radio. At the time, I did three years of Marvin, Stevie, Smokey, Isaac Hayes, and lat- my music. college before I eventually finished up. But I er, Earth Wind and Fire, Chicago. Stevie caught came home, did an internship at WBLS Radio my ear first probably because he played piano, JI: How did your interest in contemporary jazz and was doing gigs around town and working and his harmonic sound was very distinct to develop from Gospel? part time and going back to school. I was doing me. this job at Allstate doing insurance work when I “they were deciding whether or not to give me piano lessons or go buy this really nice Persian rug for the living room. My mom actually opted for the piano lessons. So, that was one of those great stories as a young guy. As I got older, she would call me her walking rug. So, it was like one of those great things you just don’t forget when you’re grown up that your parents really went to bat for you when they get you the things that you wanted to go for.”
BB: In New York at the time, in 1975 through got the call to work with the Norman Connors JI: What was it about Stevie Wonder that at- 1980, a great jazz station, WRVR, played the down in the US Virgin Islands. That was like tracted you so much more than other artists? straight, contemporary and the fusion. I got hip my first professional gig. Norman Connors’ to Jeff Lorber, George Duke, Joe Sample, group was called the Starship Orchestra. Duke BB: I fell in love with Stevie and was totally Chick Corea. They were all amazing players in Jones, my friend in Mount Vernon at the time into his golden era, 1971 through 1976, where their prime. We lost Duke and Sample, but had called me for the gig. Duke and Marian he was playing multiple instruments and over- Chick and Lorber are still on top of their game. Meadows were on the gig. Another guy named dubbing them on the recording, which was un- I cried when they flipped over to gospel. The Jack Burvick, keyboardist - all those guys precedented. My dad told me no one had done “WRVR” call letters previously belonged to an played with Norman in the ‘70s with the Star- that. With Stevie being blind, it made the feat FM jazz station in New York City broadcasting ship Orchestra. Again, it was a great experi- more incredible. Fulfillingness First Finale, at 106.7 FM from 1961 to 1980. It was there ence, but there were some teaching moments in Talking Book, Music of My Mind, Innervisions when I heard of Pat Prescott, who was the pro- terms of business that I did not want to carry and Songs in the Key of Life were my fave Ste- grammer there. She was the heart and soul of with me as I eventually became a bandleader. vie projects. In 1972, dad fell ill. He suffered So, there were some goods and some bads.
from encephalitis. I believe it was triggered by What happened was that I got called to do the
Lyme Disease, but at that time, it wasn’t really “Encroachment gig and about two days later they asked me to a defined disease. Anyway, it affected his mo- of freedom will not come bring my own gear. As a side man you don’t do tor skills and seemed like overnight, his work- about through one violent action that - especially getting on a plane. At that time manship, ability to take care of the family and or movement but will come about the keyboard of choice was the Fender Rhoads, most of all, his piano skills were stripped from through a series of actions that appear which weighed a ton. Yes, north of a hundred him. to be unrelated and coincidental, but pounds. Thankfully it was without the speaker, that were all along systematically but it was still heavy. By the time the airlines planned for dictatorship.” JI: How did your mom and family cope with got a hold of it, the keyboard was badly out of this setback? — John Adams, 2nd President (Continued on page 8) — Anton Chekhov
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On Sundays we would do a jazz jam prior to every gig. And then it got crazy with board. session. We’d pull out some charts and just the money. I wasn’t getting paid like I was sup- tweak the music. The club was owned by Vin- posed to. So, it was just one of those teaching BB: Yes, he was just a beast on the piano. His ny Pastore who became famous with The So- moments. I was glad to have gone down and sense of rhythm was just so over the top. It was pranos. I got called to open up for Tom Browne done the gig and we had made some great mu- just a great thing to experience. I have a cousin at the Bottom Line in 1986. He asked me to sic. It was there I met Marion Meadows. We’ve who’s been playing jazz for long time - Larry play in his band for a while. That’s how we been friends ever since. So, that was my first Willis, a relative on my mom’s side. In fact, I ended up putting together the album. The gos- real fun experience as a professional. But after saw him about three months ago up in Tar- pel record he did called No longer I came out in going through all the drama with the business, I rytown. He was playing at a club there. But I 1988 on Malaco jazz. Malaco was dabbling in went back to school and got my degree. I was saw Larry playing with the Fort Apache band. jazz. They wanted to do more of a contempo- like, “I need a little backup here - a lot of back- He was in that band for many, many years. I’d rary jazz thing. Danny Weiss and Dave Wilkes up.” go down to the city, to the Blue Note, Village were running that label on the jazz side. Danny Vanguard. I used to go down to a club called of course became famous by running Sha- JI: You got a crash course about the music Mikell’s on 96th street. I got the chance to see nachie. But he was trying to do the same thing business with that gig. Grover Washington a few times. I got a chance as Malaco back in the late eighties. So I did a to meet Michel Camilo, Richard Tee, Eric Gale record with Tom and then I did my own album. BB: Absolutely. Yes. What not to do - and and all those great musicians of that era. It was more like a production project called I’ve what not to do with my own musicians when I Got A Long Way To Go, which is kind of my hired them. So, I treat them with the utmost JI: How did the opportunity develop for you to first release - but I’m not really featured there respect, and I think that’s one of the things open for Tom Browne? as a keyboardist, but more as an arranger. My that’s kind of kept me around for a long time dad took the cover shot when I was at the park and the reason a lot of the cats respect me. BB: It was 1986 and I opened up for Tom years prior, so we were coming full circle. It They know when I call them and the gig is go- Browne at the Bottom Line in New York City. was then when I agreed to not quit playing mu- ing to happen –that they’ll get their money and We later became friends and I produced one of sic, but to let my dad’s music live through me. we are going to have a good time and make the first Gospel-Jazz projects. Only Koinonia That was our covenant, our promise, our bond. some great music. and Seawind were doing anything of the sort, I’ve not let him down, even though he passed in 2008, 82 years young. And from there I won the Sony Innovators award in 1989 selected by “The ‘WRVR’ call letters previously belonged to an Roberta Flack. And that’s kind of what put me on the map. Roberta was, at the time, signed to FM jazz station in New York City broadcasting at Atlantic and she was good friends with Sylvia Rhone. Sylvia Rhone got wind of the project 106.7 FM from 1961 to 1980. It was there when I and then that’s how I ended up getting two rec- ords on the Atlantic Jazz label before they heard of Pat Prescott, who was the programmer eventually folded—Rejoice and Reflections of Love in 1990 and 1992 respectively. there. She was the heart and soul of that station. JI: It looks like a lot of things came together We later friended each other when I landed an for you and you were on the road to smooth sailing. internship at WBLS in 1980. She later moved to BB: In a number of ways that’s true. But in CD101.9 when they started up Smooth Jazz in 1991 I lost my brother William in a car crash 1988. She gave me my first airplay in New York, when he was going back to college. That was a game changer and of course, set back the fami- and for that, I’m forever grateful.” ly. It was tough to go through that. The album Reflections of Love was a tribute to him.
JI: What happened after you left college? so he was helping to pave the way for the new JI: What were some of the events and ideas generation of Gospel-Jazz cats like Jonathan that pushed you to do your own recordings, as BB: Well, I continued to do gigs around town Butler and Kirk Whalum, who helped to bring an independent artist? and kept honing the chops. I used to go down to it mainstream. But it was Tom Browne’s No the city a lot and check out the Barry Harris Longer I, which was at the front end of the BB: The year 2000 was when I did my first big workshop. I think I probably went to at least ten Gospel-Jazz movement, and I was right there indie record. After doing records with Atlantic or fifteen of his workshops when I was in my with him. The project caught the eye of Danny Jazz and Shanachie, I realized that the returns twenties and that was a great experience. I used Weiss and Dave Wilkes, who were trying to were low when you didn’t have ownership. To to go down to the Village Vanguard. I saw launch Malaco Jazz. Their attempt failed terri- this day, I know artists who’ve released north McCoy Tyner one time with Gary Bartz. bly due to Malaco’s failure to distribute jazz in of 20 albums and have no ownership. I didn’t McCoy was playing with so much heat and fire the north and in particular, between DC and want to be that guy. I realized that I was going man. If I was a piano, I would feel sorry for it NYC. They left a lot of money on the table. (Continued on page 10)
8 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 9 song that had basic jazz progressions that took high school, unfortunately. So, I didn’t miss Bob Baldwin us someplace. So, it was probably about seven anything as far as that goes. years old when I got hip to that tune and started (Continued from page 8) actually playing it on the piano. So, that was JI: Were you also into Motown, Beatles, Beach quite a thrill for me to learn Duke Ellington that Boys and music like that? to take a hit in sales and popularity, but chose age. Just a sidebar off of that … I used to sit to take the road of ownership and making more down and write out the Oscar Peterson solos. BB: Absolutely. Growing up in New York per unit. In having conversations with Grover, As I mentioned, my dad taught me how to tran- there was a station called WABC. DJ’s like Duke and Sample, they were all on board with scribe solos. We’d be on the turntable. He’d Cousin Brucie [Bruce Morrow]. They played that move, and all regretted not doing the same play it at half speed and we’d sit down and try an amazing plethora of music from the Beatles in their own careers. Duke did it later in his to write the solos out. That was a really great to Earth, Wind and Fire and everything in be- career and he said it was the best thing he ever ear training exercise for me at age nine or ten tween; of course, all the Motown stuff. My did. Controlling your recordings versus a major years old. sister who is seven years older than me, turned label doing so was always a ‘freak show’ for me onto all the Motown stuff. She had all the me. The ugliness of the music business speaks JI: Did you have a favourite or favourite Oscar Marvin Gaye’s and Aretha Franklin’s and all to that major fire on the property of UMG rec- Peterson, more than one favorite Oscar Peter- the Detroit music. But the record that really ords, where thousands of masters were burned son album. caught my ear on that side was there was a se- to ashes. I always kept a backup of my recorded ries of albums by Stevie Wonder that absolute- masters. I heard the horror stories from Duke BB: The one that really hit me at that age, ly blew me away because he couldn’t see, and and Grover, took a few lumps on my own and which was probably new at the time, was West because he played every instrument under the took heed. That said, on more than one occa- Side Story. Oscar took some great arrangements sun. He was one of the first, if not the first artist sion, there have been some accounting night- off of that play and my God, yes. That was one to actually overdub his parts on a record. And mares with the so-called ‘record labels’ I was of those records that really stuck with me for a Robert Margolis, who was the producer along with. Frankly, I could run a label ten times bet- long time. with Malcolm Cecil, they really captured that ter than most. So many of them have gone by sound that Stevie is known famous for even the wayside. One went bankrupt, two closed JI: My favorite Oscar Peterson recordings are through today. There was four key albums that their doors [Nu-Groove], one closed doors and The Trio and the Sounds of the Trio recorded in I had during that time that really took me by got gobbled up by EMI [Narada], and another 1961 live at the London House in Chicago. It’s surprise as far as the non-jazz elements go. But cat went down from a money-laundering still one of my favourites. it taught me a lot about arranging and of course scheme. There was a lot of fiduciary reckless- - I was probably ten or eleven. The first album ness on the part of label owners, both big and BB: Did that have Ray Brown on there and Ed that came out was Music of My Mind, which small. So I’m glad to have a piece of ownership Thigpen? had the “Superwoman” on it. Stevie’s playing in my career, and learned the ropes of other the moog bass and playing drums and overdub- bigger labels. My digital catalog is distributed JI: Yes. bing all the moving parts. It was absolutely by The Orchard which is Sony, and my label is mind blowing. Then it was Talking Book and called City Sketches Records. CSI came to BB: I’ll check that out. Yes, I was hip to Ray Inner Visions. Those are the records he didn’t fruition in 1997, and we picked up the digital Brown and Ed Thigpen in the late sixties when produce, but he was down there in Electric La- distribution around 2007. I’m very happy with I was eight, nine years old, man. That music dy studios in New York tracking all that stuff The Orchard and happy to say, they pay on just absolutely blew me away. And the time and overdubbing himself. I think the only rec- time and always accurately. When you don’t that those guys have between the three of them ord out at that time that also had overdubs on it have to worry about the money piece, you can was impeccable, absolutely impeccable. And was Marvin Gaye’s What’s Going On? So that just focus on making a great product, some- Thigpen’s timing in all those records is just record and those four records on the pop side thing that stands the test of time. amazing. You can put this stuff up to a click were the ones that really honed me into more of track and it would almost sync up. The guy has a pocket kind of player. Those records were JI: Are there activities and creations in which such an amazing inner rhythm sensibility about very influential as a keyboard player at that you are involved beyond music? him. age.
BB: Yes. I’m working on an invention that I JI: Yes. It’s great. They do “I’ve Never Been JI: Did you buy the sheet music for some of hope will be the backbone of the festival I want in Love Before,” but I think that’s from Guys those songs or did you just do it by ear? to produce. It is a product that I’ve been devel- and Dolls. They do “On Green Dolphin Street,” oping for about four years and hopefully, it will “Chicago,” … medium tempo and then after a BB: Well, my father had a lot of that music on come to fruition in 2020, so I guess you can break on the drums, it goes into double time, paper and we used to go through it. So, we used coin me as pianist / composer / author / inven- blowing. Fabulous playing. to go through, “You Are The Sunshine In My tor. Life” and all those slick augmented chords or BB: Wow! That’s amazing. So now to answer “Too High” which had those amazing chords JI: Let’s return for a moment to your early your question about high school, my dad got on top of that bass line. So yes, we went development. How old were you when you sick when I was eleven years old. Unfortunate- through a lot of that stuff and it was on paper. It started playing tunes and putting some of this ly, I was not able to attend any high school was a great experience as an eleven or twelve- together? Was it within the first year or so of things, like activities, because I had to come year-old. It was amazing. you getting some lessons from your dad? home early and take care of him. So, I never got a chance to do any high school band stuff JI: Did your sister play music too? BB: Yes, I’d say I was about seven years old. like that. Not to say that they were anything The first jazz song I remember playing was that I would want to be a part of anyway - be- BB: She wasn’t into it as heavily as I was, but “Satin Doll.” It was one of those simple Duke cause they were into like ELO and the rock she - my oldest sister - played accordion for a Ellington pieces. But it gave me a full under- thing – Kiss … There was no jazz band at my little while. I think she stopped doing that after standing of jazz progressions and that was a (Continued on page 12)
10 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 11 as a young guy. As I got older, she would call write the music into there and, of course, they Bob Baldwin me her walking rug. So, it was like one of those had the sequencing and you just hook it up with great things you just don’t forget when you’re the keyboards and the drum machines and this, (Continued from page 10) grown up that your parents really went to bat that and the other. So that was the basis of how for you when they get you the things that you I started putting music together. And the first high school. Then my youngest sister played wanted to go for. And they were definitely sup- record I did on Malaco was a record that had violin for a while, but neither one of them stuck portive as far as the music goes. this whole sequencing piece and that was in- with it. While we’re talking about my early spired from the whole Stevie Wonder thing, years … My father played with bassists Art JI: Were there performance venues or record- doing all this stuff live. It was kind of an inspi- Davis and Keter Betts. Art lived in Cortland ing studios in the Westchester area that played ration from what he was doing, except it was all Manor in New York, which is right outside of a role in your development? in the computer. Peekskill, New York and upper Westchester. That’s just the Upper West Side of Westchester BB: One thing that was really, really special JI: How long did the Minot scene continue to County. So he would come over to the house was this little studio up in White Plains, New happen? and they would practice. They used to do gigs York called Minot Sound. It was not too far around the County – bass and piano duos. I from the train station, walking distance. Guys BB: That died in 1992. Honestly, I was the last used to sit on dad’s piano while he was doing would come up from the city and it became this guy to actually record there. I did an album the gig and just soaking it all in as a nine or ten really major hip kind of hang. In fact, it was called Reflections of Love and that album came year old, which is really amazing. One time I there that I met Luther Vandross before he put out in 1992, but it was done in the middle of went over Art Davis’s house and Max Roach out his first record. He was a big jingle singer 1991. Shortly after that Minot shut down. But was there. and he did all his jingles up in White Plains, that was the second record I did on Atlantic, New York. And of course, the one that was Reflections of Love. They had this amazing nine JI: Art Davis played on a number of Coltrane famous at that time, I believe was a KFC com- -foot grand piano which was, at that time, close albums. I saw Keter Betts playing with Les mercial. Marcus Miller was hanging out there. to 80 or 90 years old. The bass response and the McCann one summer at a really great theatre-in This is pre 1981-1982. Marcus Miller, David treble, just the entire way that piano was built -the-round venue, the Lambertville [New Jer- Sanborn, Lenny White, of course Atlantic Star was just absolutely amazing. I had a chance to sey] Music Circus. It was across the Delaware recorded there, Bob James recorded a lot of his record two or three cuts on that piano, man. It River near country-ish New Hope, Pennsylva- records there when he was living in Westches- was, just, whoo. I get chills just thinking about nia, which was really fun during the summer. ter County. I got a chance to meet all those how great that piano sounded back then. They brought in a range of jazz, pop, rock, folk guys just when they were coming up. Marcus and other acts throughout the summer. My had recorded Never Too Much, but he was also JI: Besides the fusion or the gigs that were mom took me there a few times during the working with Sanborn and producing Grover more contemporary jazz gigs, were you also summers before the place folded. Les was per- Washington. I think it was on the Winelight doing some acoustic things as well? forming music from his album, Swiss Move- album. He was all over that record. Marcus was ment, with Eddie Harris. still doing Saturday Night Live, and was just BB: I never got a chance to do anything on getting ready to work with Miles. I gave Mar- record as far as straight ahead or acoustic bass. BB: That was a groove, man. Those guys really cus his first interview at WLIB. I helped set That is something in my later years that’s on grooved on that record. “Compared to What” that interview up for him. This is the year when my bucket list. I’ve got about three or four pro- was great. My dad played with Keter Betts for a he was just getting ready to take off. That was jects in my mind right now that I’m ready to while, around town and, of course, Keter was his first radio interview with WLIB. I know actually unleash and unload, that will be a kind married to Ella [Fitzgerald] for a while. I don’t Marcus for a long time. What a great musician of an appreciation of the music that my dad think my dad ever met Ella, but definitely hung and just all the accolades he’s gotten, he de- taught me. So that is one of those things that’s out with Keter for quite some time. I believe serves. But now getting back to this Minot stu- going to evolve over the next three to five she lived up in Westchester County for a while dio. I’m meeting Bob James and I’ve got a years. So definitely be on the lookout for that. when they were married. So, I was surrounded friend of mine that I met at the Crazy Horse with some really great talented musicians and, who brought me up to Minot which is how I got JI: Maybe plan to do those projects while bass- of course, Greenburg New York had its own turned on to those cats right around 1982-1983. ists like Ron Carter and Rufus Reid are still little vibe going. Hugh Masekela had defected The Tom Browne opening at the Bottom Line active. from South Africa in the mid-sixties and lived was 1986. So, when I’m meeting Bob James in in Greenburg. It was right around the time he the early eighties, 1982-1983, he’s using this BB: Oh yes, absolutely. Absolutely. There was doing “Grazing In The Grass” when Herb old sequence program called Texture, which aren’t a whole lot of them left. There’s so many Alpert signed him to A&M records. Frank Fos- they don’t make anymore. It was basically a great straight ahead records out of here. I just ter lived up there too. So there was a lot of program where you can just write all your mu- want to make sure that I represent the genre great music. sic into the computer and just keep a good rec- properly - because there’s so much great music ord of everything that’s going on. You can spit out here and it’s going to be hard to try to do JI: Were your parents encouraging you to pur- charts out and all that kind of good stuff. So, I something better than what Herbie and Miles sue a career in music? ended up using the same program that Bob and all those guys did back in the ‘60s. Of James was using at the time. That’s how I got course, I love the piano work with Michel BB: Absolutely. My dad was giving me the into dealing with what they call midi sequenc- Camilo. I love what Eliane Elias has done. So, I musical inspiration and mom was just the big- ing, which has been the backbone of electronic want to put that same kind of respect on that gest cheerleader you could ever ask for in a music today. That’s how I got into creating mainstream type of sound. family setting. In fact, they were deciding music and eventually that’s morphed into doing whether or not to give me piano lessons or go live stuff and using stuff that I put in the com- JI: What was it like for you in the 1990s as you buy this really nice Persian rug for the living puter. But it all started back in 1982-1983 with began to lead your own band? room. My mom actually opted for the piano this program I got from Bob James. So that was lessons. So, that was one of those great stories the heavy PC program. And basically, you just (Continued on page 22)
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Maurice "Mobetta" Brown Soul Resurgence With Special Friday, November 1 Guest Big Chief Donald Harrison; Jazz Standard, 116 E. Stefon Harris & Blackout; Dizzy’s Club, Jazz At Lincoln 27th St. Center, 60th & Bdwy Fred Hersch Trio - Fred Hersch, Piano; Drew Gress, Bass; Jackie Jones 2 at Due Mari, 6:30 PM. 78 Albany, New Joey Baron, Drums; Village Vanguard 178 7th Ave S. Brunswick NJ. Eunha So 4 feat. Todd Coolman at Birdland Theater, 7:00 Robert Glasper Experiment at Blue Note, 8:00 and 10:30 PM. 315 W. 44th. PM. 131 W. 3rd St. Ranky Tanky at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd Jenny Scheinman/ Alison Miller 4 at Birdland, 8:30 and St. 11:00 PM. 315 W. 44th. Isaac Delgado Album Release Party at Birdland, 8:30 and John Zorn's New Masada 4 at Village Vanguard, 8:30 and 11:00 PM. 315 W. 44th. 10:30 PM. 178 7th Ave. S. Birdography: Celebrating Clifford Brown w/David De- Denise Reis at Birdland Theater, 9:45 PM. 315 W. 44th. Jesus and Chris Smith at Birdland Theater, 9:45 PM. 315 W. 44th. Saturday, November 2 Stefon Harris & Blackout; Dizzy’s Club, Jazz At Lincoln Thursday, November 7 Center, 60th & Bdwy Tom Harrell Infinity Band; Dizzy’s Club, Jazz At Lincoln Nicole Zuraitis at Birdland Theater, 7:00 and 9:45 PM. 315 Center, 60th & Bdwy W. 44th. Maurice "Mobetta" Brown Soul Resurgence With Special Swing Dance Long Island at Jazz Loft, 7:30 PM. 275 Chris- Guest Big Chief Donald Harrison; Jazz Standard, 116 E. tian, Stony Brook NY. 27th St. Robert Glasper Experiment at Blue Note, 8:00 and 10:30 Fred Hersch Trio - Fred Hersch, Piano; Drew Gress, Bass; PM. 131 W. 3rd St. Joey Baron, Drums; Village Vanguard 178 7th Ave S. Jenny Scheinman/ Alison Miller 4 at Birdland, 8:30 and Arcoiris Sandoval Sonic Asylum Band; Adam Kolker Quartet; 11:00 PM. 315 W. 44th. Malick Koly "After-Hours"; Small’s, 183 W. 10th St. John Zorn's New Masada 4 at Village Vanguard, 8:30 and Frank Vignola at Birdland Theater, 7:00 and 9:45 PM. 315 10:30 PM. 178 7th Ave. S. W. 44th. Viva Cuba! at Jazz Loft, 7:00 PM. 275 Christian, Stony Sunday, November 3 Brook NY. Talib Kweli w/Live Band at Blue Note, 8:00 and 10:30 PM. Stefon Harris & Blackout; Dizzy’s Club, Jazz At Lincoln 131 W. 3rd St. Center, 60th & Bdwy Isaac Delgado Album Release Party at Birdland, 8:30 and Alan Ferber & NYU Nonet at Blue Note, 11:30 AM and 1:30 11:00 PM. 315 W. 44th. PM. 131 W. 3rd St. John McLaughlin at Iridium, 8:30 PM. 1650 Broadway. Robert Glasper Experiment at Blue Note, 8:00 and 10:30
PM. 131 W. 3rd St. John Zorn's New Masada 4 at Village Vanguard, 8:30 and Friday November 8 10:30 PM. 178 7th Ave. S. Tom Harrell Infinity Band; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Monday, November 4 Kenny Werner Quartet; Jazz Standard, 116 E. 27th St. Fred Hersch Trio - Fred Hersch, Piano; Drew Gress, Bass; Lew Tabackin: Zoot, Coleman & Tabackin; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Joey Baron, Drums; Village Vanguard 178 7th Ave S. Mark Sherman Quartet; Charles Ruggiero/Frank Basile Octet; Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Corey Wallace Dubtet "After-Hours"; Small’s, 183 W. 10th St. Dizzy Gillespie Afro-Latin Experience at Blue Note, 8:00 Frank Vignola at Birdland Theater, 7:00 and 9:45 PM. 315 and 10:30 PM. 131 W. 3rd St. th W. 44 . Viva Cuba! at Jazz Loft, 7:00 PM. 275 Christian, Stony Tuesday, November 5 Brook NY. Paul Nedzela Quartet; Dizzy’s Club, Jazz At Lincoln Cen- Talib Kweli w/Live Band at Blue Note, 8:00 and 10:30 PM. ter, 60th & Bdwy 131 W. 3rd St. Fred Hersch Trio - Fred Hersch, Piano; Drew Gress, Bass; Isaac Delgado Album Release Party at Birdland, 8:30 and Joey Baron, Drums; Village Vanguard 178 7th Ave S. 11:00 PM. 315 W. 44th. Ranky Tanky at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St. Saturday, November 9 Isaac Delgado Album Release Party at Birdland, 8:30 and Tom Harrell Infinity Band; Dizzy’s Club, Jazz At Lincoln 11:00 PM. 315 W. 44th. Center, 60th & Bdwy Kenny Werner Quartet; Jazz Standard, 116 E. 27th St. Wednesday, November 6 Fred Hersch Trio - Fred Hersch, Piano; Drew Gress, Bass; Paul Nedzela Quartet; Dizzy’s Club, Jazz At Lincoln Cen- Joey Baron, Drums; Village Vanguard 178 7th Ave S. ter, 60th & Bdwy Mark Sherman Quartet; Charles Ruggiero/Frank Basile Octet; (Continued on page 14)
To Advertise CALL: 215-887-8880 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 13 Brooklyn Circle; Small’s, 183 W. 10th St. Joey Baron, Drums; Village Vanguard 178 7th Ave S. Sheryl Bailey 3 at Zinc Bar, 7:30 and 9:00 PM. 82 W. 3rd St. Frank Vignola at Birdland Theater, 7:00 and 9:45 PM. 315 Mike Mullins: Bird Gets The Worm; Aaron Seeber Quintet; Roy Haynes at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St. W. 44th. David Gibson "After-Hours"; Small’s, 183 W. 10th St. Donald Edwards 5 at Birdland Theater, 8:30 PM. 315 W. Viva Cuba! at Jazz Loft, 7:00 PM. 275 Christian, Stony Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St. 44th. Brook NY. Anderson Brothers at Blue Note, 11:30 AM and 1:30 PM. Talib Kweli w/Live Band at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St. 131 W. 3rd St. Talib Kweli w/Live Band at Blue Note, 8:00 and 10:30 PM. Tuesday, November 12 Isaac Delgado Album Release Party at Birdland, 8:30 and 131 W. 3rd St. Jerome Jennings Cd Release: Solidarity; Dizzy’s Club, Jazz 11:00 PM. 315 W. 44th. At Lincoln Center, 60th & Bdwy Michael Leonhart Orchestra; Jazz Standard, 116 E. 27th St. Monday, November 11 Dayna Stephens Quintet - Dayna Stephens, Saxophone; Sunday, November 10 Berklee Institute Of Jazz And Gender Justice Featuring Kris Jonathan Finlayson, Trumpet; Eden Ladin, Piano; Ben Tom Harrell Infinity Band; Dizzy’s Club, Jazz At Lincoln Davis; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Street, Bass; Eric McPherson, Drums; Village Vanguard 178 Center, 60th & Bdwy Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. 7th Ave S. Kenny Werner Quartet; Jazz Standard, 116 E. 27th St. JD Allen Trio; Tivon Pennicott Trio; Ben Barnett "After- Steve Nelson Quartet; Frank Lacy Band; Jon Elbaz "After- Fred Hersch Trio - Fred Hersch, Piano; Drew Gress, Bass; Hours"; Small’s, 183 W. 10th St. Hours"; Small’s, 183 W. 10th St. Django Reinhardt Festival 20th Anniversary Starring Dora- do Schmitt at Birdland, 8:30 and 11:00 PM. 315 W. 44th. Roy Haynes at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Wednesday, November 13 Jonathan Barber & Vision Ahead; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Dayna Stephens Quintet - Dayna Stephens, Saxophone; Jonathan Finlayson, Trumpet; Eden Ladin, Piano; Ben Street, Bass; Eric McPherson, Drums; Village Vanguard 178 7th Ave S. Dave Baron Quartet; Ryan Berg Quartet; Small’s, 183 W. 10th St. David Ostwald's Louis Armstrong Eternity Band; Django Reinhardt Festival With Special Guest Ken Peplowski; Bird- land, 315 W. 44th St. Young at Heart: Kind of Blue at Jazz Loft, 1:00 PM. 275 Christian, Stony Brook NY. Joe Alterman 3 at Birdland Theater, 7:00 and 9:45 PM. 315 W. 44th. Django Reinhardt Festival 20th Anniversary Starring Dora- do Schmitt at Birdland, 8:30 and 11:00 PM. 315 W. 44th. Roy Haynes at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Thursday, November 14 Willie Jones III: Our Man Higgins; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Vinicius Cantuaria Sings Jobim & Joao; Jazz Standard, 116 E. 27th St. Dayna Stephens Quintet - Dayna Stephens, Saxophone; Jonathan Finlayson, Trumpet; Eden Ladin, Piano; Ben Street, Bass; Eric McPherson, Drums; Village Vanguard 178 7th Ave S. James Austin Sextet; Noah Bless: Slide Appeal; Davis Whit- field "After-Hours"; Small’s, 183 W. 10th St. Joe Alterman 3 at Birdland Theater, 7:00 and 9:45 PM. 315 W. 44th. Brazilian Jazz: Getz, Gilberto and the Bossa Nova at Jazz Loft, 7:00 PM. 275 Christian, Stony Brook NY. Kenny Garrett at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St. Django Reinhardt Festival 20th Anniversary Starring Dora- do Schmitt at Birdland, 8:30 and 11:00 PM. 315 W. 44th.
Friday, November 15 Willie Jones III: Our Man Higgins; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Chucho Valdés With Special Guest Chick Corea. Grammy Award–Winning Pianist Chucho Valdés Will Play A Broad Spectrum Of Latin And Jazz Styles. Pianist Chick Corea Will Join Valdés For The Second Half Of The Concert In The Pair’s First-Ever Collaboration. Jazz At Lincoln Center, Rose Theatre, 8pm Vinicius Cantuaria Sings Jobim & Joao; Jazz Standard, 116 E. 27th St. Dayna Stephens Quintet - Dayna Stephens, Saxophone; Jonathan Finlayson, Trumpet; Eden Ladin, Piano; Ben Street, Bass; Eric McPherson, Drums; Village Vanguard 178 7th Ave S.
(Continued on page 16)
14 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880
To Advertise CALL: 215-887-8880 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 15 Diego Urcola Quartet; Jason Marshall Group; Wallace Roney David Ostwald's Louis Armstrong Eternity Band; Cyrille Jr. "After-Hours"; Small’s, 183 W. 10th St. Aimee: A Sondheim Adventure; Birdland, 315 W. 44th St. Django Reinhardt Festival With Special Guest Roger Kella- way; Birdland, 315 W. 44th St. Roger Kellaway 3 at Birdland Theater, 7:00 and 9:45 PM. Thursday, November 21 The Rodbros; Dizzy’s Club, Jazz At Lincoln Center, 60th & 315 W. 44th. Bdwy Kenny Garrett at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St. The Abyssinian Mass By Wynton Marsalis, Featuring The Jazz At Lincoln Center Orchestra With Wynton Marsalis And 70-Piece Gospel Choir Chorale Le Chateau Directed By Saturday, November 16 Damien L. Sneed. Presented In Collaboration With Lincoln Willie Jones III: Our Man Higgins; Dizzy’s Club, Jazz At Center’s White Light Festival. Rose Theatre, 8pm Lincoln Center, 60th & Bdwy Stanley Clarke Band ; Blue Note, 131 W. 3rd St. Chucho Valdés With Special Guest Chick Corea. Grammy Bill Frisell; Jazz Standard, 116 E. 27th St. Award–Winning Pianist Chucho Valdés Will Play A Broad Javon Jackson Quartet - Javon Jackson, Saxophone; Jeremy Spectrum Of Latin And Jazz Styles. Pianist Chick Corea Will Manasia, Piano; David Williams, Bass; Mcclenty Hunter, Join Valdés For The Second Half Of The Concert In The Drums; Village Vanguard 178 7th Ave S. Pair’s First-Ever Collaboration. Jazz At Lincoln Center, Alexander Claffy Trio; Nick Finzer Quintet; Malick Koly "After- Rose Theatre, 8pm Hours"; Small’s, 183 W. 10th St. Vinicius Cantuaria Sings Jobim & Joao; Jazz Standard, 116 Andy Ezrin Piano Trio; Daryl Sherman "Satchmo The Singer" E. 27th St. With Scott Robinson And Boots Maleson; Cyrille Aimee: A Dayna Stephens Quintet - Dayna Stephens, Saxophone; Sondheim Adventure; Birdland, 315 W. 44th St. Jonathan Finlayson, Trumpet; Eden Ladin, Piano; Ben Street, Bass; Eric McPherson, Drums; Village Vanguard 178 7th Ave S. Friday, November 22 Hal Galper Trio; Jason Marshall Group; Brooklyn Circle; Paula West; Dizzy’s Club, Jazz At Lincoln Center, 60th & Small’s, 183 W. 10th St. Bdwy Roger Kellaway Trio; Django Reinhardt Festival With Special The Abyssinian Mass By Wynton Marsalis, Featuring The Guest Roger Kellaway; Birdland, 315 W. 44th St. Jazz At Lincoln Center Orchestra With Wynton Marsalis And 70-Piece Gospel Choir Chorale Le Chateau Directed By Damien L. Sneed. Presented In Collaboration With Lincoln Sunday, November 17 Center’s White Light Festival. Rose Theatre, 8pm Willie Jones III: Our Man Higgins; Dizzy’s Club, Jazz At Stanley Clarke Band ; Blue Note, 131 W. 3rd St. Lincoln Center, 60th & Bdwy Bill Frisell; Jazz Standard, 116 E. 27th St. Vinicius Cantuaria Sings Jobim & Joao; Jazz Standard, 116 Javon Jackson Quartet - Javon Jackson, Saxophone; Jeremy E. 27th St. Manasia, Piano; David Williams, Bass; Mcclenty Hunter, Dayna Stephens Quintet - Dayna Stephens, Saxophone; Drums; Village Vanguard 178 7th Ave S. Jonathan Finlayson, Trumpet; Eden Ladin, Piano; Ben Dmitry Baevsky Quartet; Corey Wallace Dubtet "After-Hours"; Street, Bass; Eric McPherson, Drums; Village Vanguard 178 Small’s, 183 W. 10th St. 7th Ave S. Birdland Big Band; Brandon Goldberg Trio With Jonathan Grant Stewart Quartet; Charles Owens Trio; David Gibson Michel And Mark Whitfield, Jr.; Cyrille Aimee: A Sondheim "After-Hours"; Small’s, 183 W. 10th St. Adventure; Birdland, 315 W. 44th St. Django Reinhardt Festival With Special Guest Joel Frahm; Birdland, 315 W. 44th St. Saturday, November 23 Paula West; Dizzy’s Club, Jazz At Lincoln Center, 60th & Monday, November 18 Bdwy Alex Sipiagin Sextet With Special Guest Alina Engibaryan; The Abyssinian Mass By Wynton Marsalis, Featuring The Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Jazz At Lincoln Center Orchestra With Wynton Marsalis Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. And 70-Piece Gospel Choir Chorale Le Chateau Directed By Ari Hoenig Trio; Joe Farnsworth Quartet; Sean Mason "After- Damien L. Sneed. Presented In Collaboration With Lincoln Hours"; Small’s, 183 W. 10th St. Center’s White Light Festival. Rose Theatre, 8pm Sheila Jordan Birthday Celebration; Cyrille Aimee: A Sond- Stanley Clarke Band ; Blue Note, 131 W. 3rd St. heim Adventure; Birdland, 315 W. 44th St. Bill Frisell; Jazz Standard, 116 E. 27th St. Javon Jackson Quartet - Javon Jackson, Saxophone; Jeremy Manasia, Piano; David Williams, Bass; Mcclenty Hunter, Tuesday, November 19 Drums; Village Vanguard 178 7th Ave S. Alex Sipiagin Sextet With Special Guest Alina Engibaryan; Dmitry Baevsky Quartet; Mimi Jones And The Lab Session; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Small’s, 183 W. 10th St. Stanley Clarke Band ; Blue Note, 131 W. 3rd St. Jay Leonhart; Brandon Goldberg Trio With Jonathan Michel Bill Frisell; Jazz Standard, 116 E. 27th St. And Mark Whitfield Jr.; Cyrille Aimee: A Sondheim Adven- Javon Jackson Quartet - Javon Jackson, Saxophone; Jeremy ture; Birdland, 315 W. 44th St. Manasia, Piano; David Williams, Bass; Mcclenty Hunter, Drums; Village Vanguard 178 7th Ave S. Bruce Williams Quintet; Abraham Burton Quartet; Malik Sunday, November 24 Mclaurine "After-Hours"; Small’s, 183 W. 10th St. Paula West; Dizzy’s Club, Jazz At Lincoln Center, 60th & Cyrille Aimee: A Sondheim Adventure; Birdland, 315 W. 44th Bdwy St. Stanley Clarke Band ; Blue Note, 131 W. 3rd St. Bill Frisell; Jazz Standard, 116 E. 27th St. Jazz Lovers’ Javon Jackson Quartet - Javon Jackson, Saxophone; Jeremy Wednesday, November 20 Manasia, Piano; David Williams, Bass; Mcclenty Hunter, The Rodbros; Dizzy’s Club, Jazz At Lincoln Center, 60th & Drums; Village Vanguard 178 7th Ave S. Bdwy Ralph Lalama & "Bop-Juice"; Johnny O'neal Trio; Hillel Salem Stanley Clarke Band ; Blue Note, 131 W. 3rd St. "After-Hours"; Small’s, 183 W. 10th St. Bill Frisell; Jazz Standard, 116 E. 27th St. Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St. Lifetime Collection Javon Jackson Quartet - Javon Jackson, Saxophone; Jeremy Manasia, Piano; David Williams, Bass; Mcclenty Hunter, Drums; Village Vanguard 178 7th Ave S. Andy Laverne Quintet; Harold Mabern Tribute; Neal Caine JazzMusicDeals.com JazzMusicDeals.com "After-Hours"; Small’s, 183 W. 10th St. (Continued on page 17)
16 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Ulysses Owens, Jr. Big Band; Dizzy’s Club, Jazz At Lincoln Saturday, November 30 Center, 60th & Bdwy Wycliffe Gordon & Friends; Dizzy’s Club, Jazz At Lincoln
Center, 60th & Bdwy “Some people’s idea of John Scofield & Dave Holland Duo; Blue Note, 131 W. 3rd St. Saturday, December 7 free speech is that they are free Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St. Charles McPherson Quintet '80th Birthday Celebration'; Jazz Jason Moran & The Bandwagon - Jason Moran, Piano; Tarus Standard, 116 E. 27th St. to say what they like, but if anyone Mateen, Bass; Nasheet Waits, Drums; Village Vanguard 178 Johnathan Blake & Pentad - Immanuel Wilkins, Alto Sax; Joel says anything back that 7th Ave S. Ross, Vibraphone; David Virelles, Piano: Tue-Thu; Kris is an outrage.” Christopher McBride & The Whole Proof; George Burton Davis, Piano: Fri-Sun; Dezron Douglas, Bass; Johnathan Quintet; Victor Lewis & Seamus Blake "After-Hours"; Small’s, Blake, Drums; Village Vanguard 178 7th Ave S. 183 W. 10th St. Joe Lovano Nonet; Birdland, 315 W. 44th St. Emmet Cohen Trio; Sandy Stewart With Bill Charlap And Juilliard Jazz Ensembles: The Music Of John Coltrane; Diz- - Winston Churchill Peter Washington; Birdland, 315 W. 44th St. zy’s Club, Jazz At Lincoln Center, 60th & Bdwy
Monday, November 25 Sunday, December 1 Sunday, December 8 Wycliffe Gordon & Friends; Dizzy’s Club, Jazz At Lincoln Charles McPherson Quintet '80th Birthday Celebration'; Jazz Jimmy Cobb Trio; Dizzy’s Club, Jazz At Lincoln Center, Center, 60th & Bdwy Standard, 116 E. 27th St. 60th & Bdwy John Scofield & Dave Holland Duo; Blue Note, 131 W. 3rd St. Johnathan Blake & Pentad - Immanuel Wilkins, Alto Sax; Joel Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St. Ross, Vibraphone; David Virelles, Piano: Tue-Thu; Kris Anthony Pinciotti Quartet; Brent Birckhead Quartet; Ben Jason Moran & The Bandwagon - Jason Moran, Piano; Tarus Davis, Piano: Fri-Sun; Dezron Douglas, Bass; Johnathan Barnett "After-Hours"; Small’s, 183 W. 10th St. Mateen, Bass; Nasheet Waits, Drums; Village Vanguard 178 Blake, Drums; Village Vanguard 178 7th Ave S. Natalie Douglas "Tributes"; Birdland, 315 W. 44th St. 7th Ave S. Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.
Afro Latin Jazz Orchestra; John Dimartino; Birdland, 315 W. Tuesday, November 26 44th St. Monday, December 9
Wycliffe Gordon & Friends; Dizzy’s Club, Jazz At Lincoln Mingus Big Band; Jazz Standard, 116 E. 27th St. Center, 60th & Bdwy Monday, December 2 Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. John Scofield & Dave Holland Duo; Blue Note, 131 W. 3rd St. Mingus Orchestra; Jazz Standard, 116 E. 27th St. Harry Allen Quartet; Birdland, 315 W. 44th St. Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St. Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Jason Moran & The Bandwagon - Jason Moran, Piano; Tarus Anderson Brothers; Birdland, 315 W. 44th St. Mateen, Bass; Nasheet Waits, Drums; Village Vanguard 178 Tuesday, December 10 Manhattan School Of Music Jazz Orchestra: Tribute To Hugh 7th Ave S. Michael Leonhart Orchestra With Special Guest Keyon Har- Masekela; Dizzy’s Club, Jazz At Lincoln Center, 60th & rold; Jazz Standard, 116 E. 27th St. Steve Nelson Quartet; Frank Lacy Band; Jon Elbaz "After- Bdwy Hours"; Small’s, 183 W. 10th St. Christian McBride & Inside Straight - Steve Wilson, Saxo- Louis Armstrong Eternity Band; Birdland, 315 W. 44th St. phone; Warren Wolf, Vibraphone; Peter Martin, Piano; Chris- Tuesday, December 3 tian McBride, Bass; Carl Allen, Drums; Village Vanguard Johnathan Blake & Pentad - Immanuel Wilkins, Alto Sax; Joel 178 7th Ave S. Wednesday, November 27 Ross, Vibraphone; David Virelles, Piano: Tue-Thu; Kris Stacey Kent; Birdland, 315 W. 44th St. Wycliffe Gordon & Friends; Dizzy’s Club, Jazz At Lincoln Davis, Piano: Fri-Sun; Dezron Douglas, Bass; Johnathan Israeli Jazz Celebration: Yuval Cohen Sextet; Dizzy’s Club, Center, 60th & Bdwy Blake, Drums; Village Vanguard 178 7th Ave S. Jazz At Lincoln Center, 60th & Bdwy John Scofield & Dave Holland Duo; Blue Note, 131 W. 3rd St. Joe Lovano Nonet; David Ostwald's Louis Armstrong Eternity Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St. Band; Birdland, 315 W. 44th St. Wednesday, December 11 Jason Moran & The Bandwagon - Jason Moran, Piano; Tarus New York Youth Symphony: Swinging Through The Ages Mateen, Bass; Nasheet Waits, Drums; Village Vanguard 178 With Special Guest Matt Wilson; Dizzy’s Club, Jazz At Harish Raghavan 'Calls For Action'; Jazz Standard, 116 E. 7th Ave S. Lincoln Center, 60th & Bdwy 27th St. Itamar Borochov Quartet; Santi Debriano & Flash Of The Christian McBride & Inside Straight - Steve Wilson, Saxo- Spirit; Small’s, 183 W. 10th St. phone; Warren Wolf, Vibraphone; Peter Martin, Piano; Chris- Veronica Swift With The Emmet Cohen Trio; Birdland, 315 Wednesday, December 4 tian McBride, Bass; Carl Allen, Drums; Village Vanguard W. 44th St. Jonathan Kreisberg Quartet 'Capturing Spirits'; Jazz Stand- 178 7th Ave S. ard, 116 E. 27th St. Stacey Kent; Birdland, 315 W. 44th St. Johnathan Blake & Pentad - Immanuel Wilkins, Alto Sax; Joel Steven Bernstein's Millennial Territory Orchestra with special Thursday, November 28 Ross, Vibraphone; David Virelles, Piano: Tue-Thu; Kris guest Catherine Russell; Dizzy’s Club, Jazz At Lincoln Thanksgiving With Wycliffe Gordon; Dizzy’s Club, Jazz At Davis, Piano: Fri-Sun; Dezron Douglas, Bass; Johnathan Center, 60th & Bdwy Lincoln Center, 60th & Bdwy Blake, Drums; Village Vanguard 178 7th Ave S. John Scofield & Dave Holland Duo; Blue Note, 131 W. 3rd St. Joe Lovano Nonet; Birdland, 315 W. 44th St. Thursday, December 12 Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St. Lioness; Dizzy’s Club, Jazz At Lincoln Center, 60th & Jason Moran & The Bandwagon - Jason Moran, Piano; Tarus Bdwy Bill O'connell & The Afro Caribbean Ensemble; Jazz Stand- Mateen, Bass; Nasheet Waits, Drums; Village Vanguard 178 ard, 116 E. 27th St. 7th Ave S. Christian McBride & Inside Straight - Steve Wilson, Saxo- David Ambrosio Quintet; Malick Koly "After-Hours"; Small’s, Thursday, December 5 phone; Warren Wolf, Vibraphone; Peter Martin, Piano; Chris- 183 W. 10th St. Charles McPherson Quintet '80th Birthday Celebration'; Jazz tian McBride, Bass; Carl Allen, Drums; Village Vanguard Veronica Swift With The Emmet Cohen Trio; Birdland, 315 Standard, 116 E. 27th St. 178 7th Ave S. W. 44th St. Johnathan Blake & Pentad - Immanuel Wilkins, Alto Sax; Joel Charles Turner & Uptown Swing Holiday Swinging Special; Ross, Vibraphone; David Virelles, Piano: Tue-Thu; Kris Stacey Kent; Birdland, 315 W. 44th St. Davis, Piano: Fri-Sun; Dezron Douglas, Bass; Johnathan Friday, November 29 Blake, Drums; Village Vanguard 178 7th Ave S.
Wycliffe Gordon & Friends; Dizzy’s Club, Jazz At Lincoln Joe Lovano Nonet; Birdland, 315 W. 44th St. Center, 60th & Bdwy Ulysses Owens, Jr's Generation Y; Dizzy’s Club, Jazz At “...among human beings John Scofield & Dave Holland Duo; Blue Note, 131 W. 3rd St. Lincoln Center, 60th & Bdwy jealousy ranks distinctly as a Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St. weakness; a trademark of small minds; Jason Moran & The Bandwagon - Jason Moran, Piano; Tarus Friday, December 6 a property of all small minds, yet a property Mateen, Bass; Nasheet Waits, Drums; Village Vanguard 178 which even the smallest is ashamed of; 7th Ave S. Charles McPherson Quintet '80th Birthday Celebration'; Jazz and when accused of its possession will Christopher McBride & The Whole Proof; Small’s, 183 W. Standard, 116 E. 27th St. 10th St. Johnathan Blake & Pentad - Immanuel Wilkins, Alto Sax; Joel lyingly deny it and resent the Birdland Big Band; Sandy Stewart With Bill Charlap And Ross, Vibraphone; David Virelles, Piano: Tue-Thu; Kris accusation as an insult.” Peter Washington; Veronica Swift with The Emmet Cohen Davis, Piano: Fri-Sun; Dezron Douglas, Bass; Johnathan Trio; Birdland, 315 W. 44th St. Blake, Drums; Village Vanguard 178 7th Ave S. (Continued on page 18) Joe Lovano Nonet; Birdland, 315 W. 44th St. -Mark Twain
To Advertise CALL: 215-887-8880 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 17 Steven Bernstein’s Sexmob; Dizzy’s Club, Jazz At Lincoln wa, Bass; Johnathan Blake, Drums; Village Vanguard 178 Center, 60th & Bdwy 7th Ave S. Saturday, December 28 Duchess; Dizzy’s Club, Jazz At Lincoln Center, 60th & Raul Midón Trio; Jazz Standard, 116 E. 27th St. Bdwy Kenny Barron Trio - Kenny Barron, Piano; Buster Williams, Friday, December 13 Bass; Jeff “Tain” Watts, Drums; Village Vanguard 178 7th Adonis Rose And The New Orleans Jazz Orchestra With Ave S. René Marie And John Boutté Adonis Rose And The New Thursday, December 19 Freddy Cole Quartet; Evan Sherman Big Band; Birdland, Orleans Jazz Orchestra Brings Their Sonic Power And Stylis- Carmen Lundy; Jazz Standard, 116 E. 27th St. 315 W. 44th St. tic Versatility To The Appel Room. Appel Room, 7pm & Kenny Barron Quintet - Mike Rodriguez, Trumpet; Dayna 9:30pm Stephens, Tenor Sax; Kenny Barron, Piano; Kiyoshi Kitaga- Steve Miller - Cannonball Adderley And The Blues. Guitarist wa, Bass; Johnathan Blake, Drums; Village Vanguard 178 And Rock And Roll Hall Of Fame Inductee Steve Miller Leads 7th Ave S. Sunday, December 29 A Spirited Celebration Of Saxophone Legend Cannonball Monty Alexander; Birdland, 315 W. 44th St. Raul Midón Trio; Jazz Standard, 116 E. 27th St. Adderley Featuring The Patrick Bartley Sextet And Vocalist Riley’s Red Hot Holidays; Dizzy’s Club, Jazz At Lincoln Kenny Barron Trio - Kenny Barron, Piano; Buster Williams, Brianna Thomas. Rose Theatre, 8pm Center, 60th & Bdwy Bass; Jeff “Tain” Watts, Drums; Village Vanguard 178 7th Louis Hayes: "Serenade For Horace"; Jazz Standard, 116 E. Ave S. 27th St. Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St. Christian McBride & Inside Straight - Steve Wilson, Saxo- Friday, December 20 phone; Warren Wolf, Vibraphone; Peter Martin, Piano; Chris- Carmen Lundy; Jazz Standard, 116 E. 27th St. tian McBride, Bass; Carl Allen, Drums; Village Vanguard Kenny Barron Quintet - Mike Rodriguez, Trumpet; Dayna 178 7th Ave S. Stephens, Tenor Sax; Kenny Barron, Piano; Kiyoshi Kitaga- Monday December 30 Mingus Big Band; Jazz Standard, 116 E. 27th St. Birdland Big Band; Stacey Kent; Birdland, 315 W. 44th St. wa, Bass; Johnathan Blake, Drums; Village Vanguard 178 Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Mary Stallings; Dizzy’s Club, Jazz At Lincoln Center, 60th 7th Ave S. & Bdwy Monty Alexander; Birdland, 315 W. 44th St. Tadataka Unno Trio; Birdland, 315 W. 44th St.
Saturday, December 21 Saturday, December 14 Tuesday, December 31 Adonis Rose And The New Orleans Jazz Orchestra With Carmen Lundy; Jazz Standard, 116 E. 27th St. René Marie And John Boutté Adonis Rose And The New Kenny Barron Quintet - Mike Rodriguez, Trumpet; Dayna New Years Eve With Regina Carter Quintet; Jazz Standard, Orleans Jazz Orchestra Brings Their Sonic Power And Stylis- Stephens, Tenor Sax; Kenny Barron, Piano; Kiyoshi Kitaga- 116 E. 27th St. tic Versatility To The Appel Room. Appel Room, 7pm & wa, Bass; Johnathan Blake, Drums; Village Vanguard 178 Chris Potter Circuits Trio - Chris Potter, Saxophone; James 9:30pm 7th Ave S. Francies, Keyboard; Eric Harland, Drums; Village Vanguard Steve Miller - Cannonball Adderley And The Blues. Guitarist Monty Alexander; Birdland, 315 W. 44th St. 178 7th Ave S. And Rock And Roll Hall Of Fame Inductee Steve Miller Leads Birdland Big Band With Vocalist Veroncia Swift; Marilyn A Spirited Celebration Of Saxophone Legend Cannonball Sunday, December 22 Maye; Birdland, 315 W. 44th St. Adderley Featuring The Patrick Bartley Sextet And Vocalist Carmen Lundy; Jazz Standard, 116 E. 27th St. Brianna Thomas. Rose Theatre, 8pm Kenny Barron Quintet - Mike Rodriguez, Trumpet; Dayna Louis Hayes: "Serenade For Horace"; Jazz Standard, 116 E. Stephens, Tenor Sax; Kenny Barron, Piano; Kiyoshi Kitaga- 27th St. wa, Bass; Johnathan Blake, Drums; Village Vanguard 178 Christian McBride & Inside Straight - Steve Wilson, Saxo- 7th Ave S. phone; Warren Wolf, Vibraphone; Peter Martin, Piano; Chris- Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St. tian McBride, Bass; Carl Allen, Drums; Village Vanguard 178 7th Ave S. Stacey Kent; Birdland, 315 W. 44th St. Monday, December 23 Mingus Big Band; Jazz Standard, 116 E. 27th St. Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Sunday, December 15 Jim Caruso's Cast Party; Birdland, 315 W. 44th St. Jazz For Kids; Louis Hayes: "Serenade For Horace"; Jazz Standard, 116 E. 27th St. Christian McBride & Inside Straight - Steve Wilson, Saxo- Tuesday, December 24 phone; Warren Wolf, Vibraphone; Peter Martin, Piano; Chris- Kenny Barron Trio - Kenny Barron, Piano; Buster Williams, tian McBride, Bass; Carl Allen, Drums; Village Vanguard Bass; Jeff “Tain” Watts, Drums; Village Vanguard 178 7th 178 7th Ave S. Ave S. Ken Peplowski Big Band; Birdland, 315 W. 44th St. Freddy Cole Quartet; Birdland, 315 W. 44th St.
Monday, December 16 Wednesday, December 25 Mingus Big Band; Jazz Standard, 116 E. 27th St. Kenny Barron Trio - Kenny Barron, Piano; Buster Williams, Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Bass; Jeff “Tain” Watts, Drums; Village Vanguard 178 7th Dave Pietro; Birdland, 315 W. 44th St. Ave S.
Ted Rosenthal Trio: Winter Wonderland; Dizzy’s Club, Jazz Freddy Cole Quartet; Birdland, 315 W. 44th St. At Lincoln Center, 60th & Bdwy Thursday, December 26 Tuesday, December 17 Raul Midón Trio; Jazz Standard, 116 E. 27th St. Matt Wilson's Christmas Tree-O With Special Guest Camila Kenny Barron Trio - Kenny Barron, Piano; Buster Williams, Meza; Jazz Standard, 116 E. 27th St. Bass; Jeff “Tain” Watts, Drums; Village Vanguard 178 7th Kenny Barron Quintet - Mike Rodriguez, Trumpet; Dayna Ave S. Stephens, Tenor Sax; Kenny Barron, Piano; Kiyoshi Kitaga- Champian Fulton; Freddy Cole Quartet; Freddy Cole Quartet;
wa, Bass; Johnathan Blake, Drums; Village Vanguard 178 Birdland, 315 W. 44th St. Jazz Lovers’ 7th Ave S. Monty Alexander; Birdland, 315 W. 44th St. Friday, December 27 Etienne Charles: Creole Christmas; Dizzy’s Club, Jazz At Raul Midón Trio; Jazz Standard, 116 E. 27th St. Lincoln Center, 60th & Bdwy Kenny Barron Trio - Kenny Barron, Piano; Buster Williams,
Bass; Jeff “Tain” Watts, Drums; Village Vanguard 178 7th Wednesday, December 18 Ave S. Lifetime Collection Matt Wilson's Christmas Tree-O With Special Guest Camila Birdland Big Band; Freddy Cole Quartet; Birdland, 315 W. Meza; Jazz Standard, 116 E. 27th St. 44th St. JazzMusicDeals.com Kenny Barron Quintet - Mike Rodriguez, Trumpet; Dayna JazzMusicDeals.com Stephens, Tenor Sax; Kenny Barron, Piano; Kiyoshi Kitaga-
18 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 MattMatt WilsonWilson JazzJazz StandardStandard DecemberDecember 1717--18,18, 20192019
© Eric Nemeyer
To Advertise CALL: 215-887-8880 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 19 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
20 November-December 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 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 21 rial than to just be a rented artist. So that was the guys who had record deals, who had major Bob Baldwin my quest from that point on. In 1996 I did my deals and also be distributed by major labels. first independent project called Welcome to So, it was important that I still had the support (Continued from page 11) the Games, when I moved to Atlanta. It was of the labels, but just not giving up the owner- right around the same time as the Olympics. ship. BB: Well, I was fortunate enough to have a So, I did like a little Olympic tribute recorded major deal with Atlantic Jazz for two years. I in Atlanta and just kind of give shout outs to JI: Yes. So, you had the distribution through did a record in 1990 and ‘92 an album called different things about Atlanta, like the one of the major labels then? Rejoice and Reflections of Love. Shortly after “Downtown Underground” and “Dreaming that, and I was on a label with the Gerald Al- The Dream,” which was dedicated to Martin BB: Yes, my first distribution dabble was in bright, Paul Jackson Jr., Bobby Lyle and an- Luther King. And that was when I really start- 2000. But before I did that, after the Olympic other guy, Hiram Bullock, who passed away ed to dabble with being an independent. The records, the Welcome to the Games in 1996, I years later. But we were all on the same label internet was not quite up and running yet, but did a record called Cool Breeze on Shanachie. and Laila Hathaway was just coming up on by the year 2000, I secured the name bobbald- I reunited with Danny Weiss and Dave Elektra, so she was in and out of Atlantic do- win.com. I think I was the third artist that was Wilkes. So, we did a one off and Cool Breeze ing some projects. I did two records there. actually securing his name as an artist on a was a product that came out of that experi- I’ve always been curious about the business website. Fattburger and I think Jethro Tull ence. I still maintain ties with the Shanachie side of the music and how the royalties preceded me. But in 1996, I actually sold family. Those guys are great. I enjoyed work- worked and I’m so glad I went to school for about 6,000 or 7,000 CDs online on an unse- ing with them. We still had that itch to go business so I could understand accounting and cured server. What was I thinking of? Indie. So, my first big Indie record was Bob- financing - because as you know, the music baldwin.com, which came out and the year business is a whole lot of accounting. If JI: People were paying with a credit card? 2000. I was able to solicit investment money you’re not familiar with how to read your to cover the cost of recording and I managed to get a deal with a label called Orpheus Rec- ords, which is run by Charles Huggins. But I “… the music business is a whole lot of was able to pull in some really great players - Gerald Albright, Eric Essex, Marion Mead- ows, Freddie V from the Average White band, accounting. If you’re not familiar with Vaneese Thomas, who is the daughter of the late great Rufus Thomas. So that record did how to read your statements, then you really, really well for me at the time. Once again, I got caught up in the shortcomings of get left in the dark a lot or you’ll get the music business - not getting paid properly for the royalties, having to go to court to deal with that. It seems like these independent dis- ripped off, or you just get caught out tributors sometimes don’t want to handle their business. When you have to deal with stuff there not handling your business and like that, it often inhibits continuity in your career. I can see why a lot of guys they have not owning any of it. You could be in this these hiccups in their recording processes.
business for ten, fifteen, twenty years JI: It is not difficult to get fed up with the egos and the dishonesty in the business.
and not actually own anything that you’re BB: Right, right, right, right. Listen, there is an overflow of egos and dishonesty in this working on. So, I began to get conscious business, so you always got to constantly keep your guard up, unfortunately. But thankfully, about ownership and accounting.” there is the music and the music is what keeps everybody calm and relaxed. There’s some- thing about music that just hits people a cer- statements, then you get left in the dark a lot BB: Yes, yes, yes. It was wild. I mean, Lord tain way that keeps me in the game, despite or you’ll get ripped off, or you just get caught knows, I don’t know where any of that data all the shortcomings and shortfalls of the peo- out there not handling your business and not was, but their information was highly trusted. ple handling the business. Eventually over the owning any of it. You could be in this busi- But yes, just to think, looking back now that last ten, fifteen years everything kind of ness for ten, fifteen, twenty years and not ac- you were selling this stuff on an unsecured worked itself out, as I hung in there long tually own anything that you’re working on. server, but that was the kind of trust that peo- enough to eventually be distributed by a ma- So, I began to get conscious about ownership ple had and how much people wanted to get jor, being paid directly monthly, which is a and accounting. It was at that point in 1993, I into the music. So that was a fun time just in beautiful thing, and managing to have some- was getting the itch to do something inde- terms of getting the understanding of how all thing to catapult and grow from. pendent of going down with the majors. And I this stuff works in terms of the internet and knew that doing that was probably gonna take commerce. So, I just kept scratching the sur- JI: What prompted you to go down to Atlanta a hit in sales and take a hit in profile. But in face in terms of how to build this thing as an to live? the long run, it was better that I own the mate- independent artist, but still have the respect of (Continued on page 24)
22 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880
To Advertise CALL: 215-887-8880 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 23 energy to get started and you’re gung ho. make money at that point was to just go out Bob Baldwin Then the second level is where you actually and do gigs. He said, “Man, I am just so tired have to put in the real work and your creation of this,” - because he had been doing gigs (Continued from page 22) grows from there. In the end of the process, since the ‘70s. He never had a break in terms you must complete your creation, because in of doing gigs. Like he was always doing gigs, the completion of the creation are the seeds always taking care of his band members. He BB: At the time I was working at Sprint, the for your very next creation. was a model citizen as far as being an artist, phone company - because at that time, I had a but he was just physically tired from just all pretty heavy telecommunications background BB: Yes, I think without knowing that’s what the gigs and not making any money as a writ- and I was doing collections of high-end ac- it was, I think those qualifications and those er or not making any money as an artist in counts. I was collecting ten to fifteen-million- hypotheses definitely work with what I’m royalties. That was right before I did the .com dollar checks for Sprint. So, they closed their doing because you have to fight through all record. because I was about to pitch that to a offices in White Plains, where I was working the resisting channels and avoid them as much label. I ended up pulling it back, finding in- and they gave us either an option to take a as possible. You got to see that finish line. I vestors and doing it myself. So, the takeaway package and move to Dallas or move to At- think a lot of people, they get started but they was that if Grover is complaining and at the lanta. So, I chose Atlanta because I had family don’t know how to finish. Then there are time, he was still hot, that he’s not getting any there. I ended up moving down there in 1993. those who get a nice record done, but they royalties, where does that leave me? I don’t So that’s how I started my quest to Atlanta. don’t have enough money or don’t know how even have even close to the stature that he That’s when I did the Welcome to the Games to promote it on the back end. So, part of the has. So that’s when I started to gather myself and the Cool Breeze and Bobbaldwin.com. A process is making the creation, the second and to take ownership of the recording and the lot of that was recorded down there. So it was part of the process is making sure people are masters so that I would have something fif- kind of a refreshing change for me because aware of what their creation is. teen or twenty years later, not just be out here the cost of living down there was still decent just being a rental artist. So that was really compared to New York. I could actually put JI: Talk about your experiences with some of valuable from Grover. I had a chance to talk some money in my pocket at the end of the the influential musicians with whom you have with Joe Sample a few times. In fact, I was month and then go buy equipment and start worked. Let’s start with Bob James. working for a magazine called Strictly Jazz. I building a studio and having money left over don’t know if you remember them. to market and things of that nature and still BB: Bob James and I actually still communi- keep the dream alive. cate to this day. In fact, when I see him in JI: Yes, I remember it. It was a thin magazine concert, I might sneak up to him and whisper that was published by somebody in Atlanta. JI: So, do you have a full studio down there the word Minot in his ear and he’ll jump back now? and look at me like I’m crazy. We’ll start BB: Yes, that’s right. Yes, a guy named cracking up - because he remembers those Jacques Williams. It lasted maybe three years BB: I have what I call a project studio where I days back in the ‘80s when we’d be up there but he amassed a few interviews along the can mix records and record keys. I don’t rec- sixteen, seventeen hours a day working. In way. So I was a staff writer at the time and I ord full bands at this point. I go off site to do fact, Bob was one of the first guys that en- ended up interviewing Joe Sample and he was that. But once I have all the tracks, I can take couraged me to look at things from an inde- in a hotel room somewhere in Kansas City them home and really taking my time and pendent ownership standpoint because at that and we had a telephone conversation and that come up with some really good mixes that are time he had a label called Tappan Zee Rec- my first time talking to him and he goes, very well thought out. I don’t have to rush ords distributed by CBS. He got a nice little “Okay, Baldwin make it quick, I’m going to through them because I’m looking at a clock. piece of change up front and he developed his go do a sound check.” And so that thirty- So, in that regard, yes, I’ve got enough gear labels which were distributed through CBS. minute conversation turned into like a two- down there to just get the record done, which And when it was all said and done, he ended and-a-half-hour conversation. I think he is the most important thing because without a up walking away with the Masters, which I missed the soundcheck. He was all late. But completed record, you can’t take things to the thought was a brilliant move. He was one of we had a great time talking because this was next level. the first guys that I really studied in terms of right at the time when the Crusaders were ownership. Another guy that really taught me breaking up. There was some, here we go JI: Yes. I mean that’s the thing. There was a something was Grover Washington Jr., in again, money issues, royalty issues, people book I read years ago, that’s still one of my 1999, the year of his passing. He died in De- not getting paid. So, there was a big infighting favorites. It’s called the Path Of Least Re- cember, right around his birthday at age 55. going on with the Crusaders and he was talk- sistance. It is about the process of creation He was supposed to play on a record with ing about writing a play, which never came and that you’re either in the reactive- Tom Browne called Funkin’ for Jamaica on out, about his experience as a music artist. So, responsive mode where you have a problem, the .com record, Bobbaldwin.com, but he one of the sad lessons I learned from him is you work on it to make it better, and then you passed shortly after telling me that. And I finish your dream man. Don’t stop dreaming. end up stopping working on it and it gets ended up doing a tribute to Grover on that Don’t ever stop dreaming. Continue to pursue worse again. And then you start working on it record. But we were doing a concert in Cin- the things that you love doing and stay away again and go through the same circular cycle. cinnati. I was playing with Will Downing at from those bad deals, man, because here’s Or you’re in the creative mode where you the time. Oh man, he was livid that night. So, somebody who he went to high school with create an entirely new structure, a bridge that we sat down and went to the bar and had a and these guys are just like fighting. And un- gets you to bypass the obstruction or problem drink and did some chatting. Basically, with- fortunately, they all died between ten and and move from where you are to someplace out getting too deep into it, he was saying that twelve years ago. They all passed away. new. In every creative endeavour there’s this the label that he was on at the time was not Wayne Henderson, Wilton Felder, Joe Sam- five-step process, the beginning of which is sending him any royalty payments and he was ple. And I don’t think they really, unfortunate- you have a robust kind of enthusiasm and in the hole. So the only way he was able to ly, closed the gap on the disputes.
24 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 and if it didn’t connect to a chord, made sure Hard Rock Cafe in San Diego, which was Bob Baldwin it made sense that you could feel it. But the another expensive venue. Eventually the con- basic thing was to connect the chords with the cert fell apart. And so, we all went out there melody. Once we got that locked in, then you because we had already spent our money on JI: Talk about your association with Marion can figure out the rest … because that’s just plane tickets and hotels. We ended up getting Meadows, Richard Elliott and Ragan White- the roadmap getting those scales connected to a hotel somewhere else and we ended up just side because they play a significant role in the chord. You got the roadmap, now what do having a kind of a freestyle concert that week- your albums. you do with the roadmap? So, I had to basi- end. It was in 2011. So, it was there that I met cally kind of give her some insight on the Paul Brown. We jammed together and we BB: Yes. It’s funny you mentioned that. First roadmap and then from there learning how to bumped into each other once later on that year of all, Reagan and Marion got the same birth improvise. So now, thank God she’s doing in Toronto. So, we traded numbers and I went date, December 7th. And my birthday is De- fantastic. Her last four singles went top ten and hung out at his house for a couple of days cember 9th, so we all have this Sagittarian billboard contemporary jazz. So, I’m really, a few years back and we just kind of bonded kinship. I met Marion on that Norman Con- really very proud of her. She’s actually killing musically. It was through him I was able to nors gig that I did back in 1983. We stayed in them on the charts right now. It was nice just meet Richard Elliott and we did a couple contact and I think our first records came out the same time. Shortly after that we collabo- rated on each other’s projects and it’s just “he was saying that the label that he was longstanding. One of the great friendships I’ve had. He’s just a really down to earth guy. on at the time was not sending him any He’s a fiery guy. He’s calm. Our musical vibes are pretty sweet. They just kind of blend royalty payments and he was in the hole. nicely. When we do collabs man, they just take off. Ragan Whiteside, I met the same day that Marion and I were doing a gig in a little So the only way he was able to make town in New York called Scarsdale, a real rich, uppity kind of town. They had the nerve money at that point was to just go out and to try to start a jazz club there, which was an absolute disaster. It lasted for about a year and do gigs. He said, “Man, I am just so tired a half, and they didn’t know what to do with it, unfortunately. But they had this real cool of this” … That was right before I did club there called the August Blue Light. We were doing this one fundraiser for somebody. the .com record … which I was about to Marian was on the gig. Ossie Davis’ son-in- law was there. His name was Abdul Wali. There was Tony Cintron, who played with a pitch to a label. I ended up … doing it lot of Latin jazz bands drums. Tony Lewis, who plays in my band now. It was just a mas- myself. So, the takeaway was that if Grover sive band. In fact, Duke Jones from Norman Connors was there as well. Ossie Davis was is complaining … that he’s not getting taking pictures with us and Ruby Dee, they were both still alive at the time. So, Reagan any royalties, where does that leave me?” was sitting in the audience because Reagan’s mother and father were friends with Ossie Davis’ kids. So, there was some kinship there. to be able to break some of those practices of tracks for Richard’s album. I think a couple of So, she was about eighteen or nineteen at the classical, which is great as an art form, a great tracks I did with Paul that Richard was fea- time going on to college for classical music skillset. But to get transition from that to solo- tured on. So that’s how that connection came and she’s hearing all this jazz getting blown ing without reading, knowing your scales … about. That’s my LA smooth jazz connection. off the stage. She’s like, “Who the heck what Richard Elliot, I haven’t had a whole lot of Those guys are cool. the--?” She was in total shock. So, she was communication with Richard. I met Richard going back to college the following year. She through Paul Brown. Paul Brown’s a real JI: What kind of processes do you go through had like one or two more years in Florida. So, good friend of mine, and actually Paul Brown in composing? she asked me, “Man, how do I take what I do and I kind of met by accident. I call it accident in classical, which is all reading and go into on purpose. There was this concert that was BB: Well, I definitely write things down. Ac- this whole jazz world, which is total improvi- supposed to take place in San Diego many tually, I just sing my ideas into the phone. If sation.” She’s like,” I don’t see anybody read- years ago. I think it was called something like something hits me, I could be in a mall, I ing any music. You guys are playing your the Lemon Jazz concert or something like could be shopping, grocery shopping, or I butts off, how do you do it?” So that’s when that. It was a huge concert that had like literal- could be just running an errand and then an we got a chance to work together. At that time ly 30 artists on the bill with like three bands. I idea hit you and you know that if you don’t she had great musical ability, great mechan- know that if that concert had gone down, write that idea down, it’ll be lost forever. So ics, great tone. She had tone back then from those band guys would’ve got crushed be- since I’ve had the iPhone and other smart her classical training. So, it was a process of cause it was just so much music. But as it phones, I make sure that I press that record me teaching her scales and chords and making stands, the overhead on that thing was so mas- button and locked that thing in. So that’s one sure that every note was connected to a chord sive. They were putting everybody over at the (Continued on page 26)
To Advertise CALL: 215-887-8880 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 25 haven’t I ever heard of this this artist? So, she at KJazz in Bermuda. They have since flipped Bob Baldwin was living in Baltimore in the Fort Washing- the format to some other things. I came back ton area and I had a gig at Ram’s Head in An- home in 2007 I worked for WCOK in Atlanta. (Continued from page 25) napolis and I invited her to come sit in. She I was the Programmer there. So, I was infus- had done a version of “Island” on her record ing that whole musical style in all those dif- thing that inspires me. Sometimes I’ll be driv- and I just did a version of it on mine on the ferent markets. And I found that it was work- ing and just on a real long drive and yes, I Brazilian American soundtrack. It’s just a ing. So, something just stuck with me. And in guess after hearing just the sound of tires hit- great Ivan Lins piece. So, she sat, did the 2008, I went from WCOK to Radio One sta- ting that pavement, you get kind of into this homework and we just connected musically. tion in Atlanta. I think it was called WJZZ, trance and for me it transformed me into some It’s been a really nice vibe ever since. I had a which are actually the call letters that came other creative spaces. So, I’ll start hearing chance to produce her record Out Of The Box down from Detroit, but Radio One got a hold things, and again, I’ll sing it into the phone and I just mixed her last album entitled Full of it and put it in Atlanta. That was a smooth and I’ll take it home and build it from there. Circle and she’s singer on a couple of pieces jazz station and I had started developing my Sometimes I might be inspired by something for me. We did a nice version of “My Love” show there. Shortly after that, they started that happened in somebody’s life, a birth of on my Beatles project, Abbey Road and The flipping formats, but the big one that really somebody or a death of somebody or it might Beatles. So that’s been a really nice relation- took me over the top was a CD 101 in New be something that somebody says that’s kind ship. The relationship between vocals and York. CD 101.9 in New York was the flag- of catchy. And I’ll take a phrase that someone pianos has a long history. So, some of the ship station for Smooth at the time. That was says and create a thought pattern around that. greatest music ever made was arranged by right around the time when Clear Channel was You know, so it comes from all kinds of keyboard players. I love the stuff that Tom contemplating folding Smooth, but they had- sources. I get a lot of inspiration from being Bell did for the Stylistics. What he did for that n’t done it. And just when CD 101 shut their outside though. Outside is a great creative group was just absolutely amazing. Of course, doors, Clear channel went nuts and closed space for me especially around water. I might Quincy Jones, his touch as an arranger and about 20 stations in 30 months. So, during be sitting down listening to some intense mu- what he’s done with singers like Patty Austin that time I started to launch New Urban Jazz, sic and maybe I’ll catch an idea from listening and, of course, Michael Jackson and James because I saw that a lot of the stations were to somebody and maybe I want to sound like a Ingram and Luther Vandross and countless leaving and I wanted to fill some kind of void. certain vibe and I may write a motif around other singers. So it is that connection between That’s when it started. I started with five sta- something that I might be really digging that musician and vocalists. And we just have a tions in the South, station in Nashville, Mem- just sticks in my head. nice thing and hopefully we’ll keep it going. phis, one in North Carolina and three in Ala- bama, mostly college stations that were play- JI: One other person that you work with a lot, JI: Could you talk a little bit more about New ing jazz. It’s been kind of with me ever since. is Lori Williams. She’s from Baltimore. Urban Jazz, your radio program and how that I’ve done every show weekly, ever since Oc- developed? tober 1st, 2008. So, I’ve done like 570 shows in a row weekly. It doesn’t matter what state I’m in, what country I’m in, I will do the “Stay focused, stay creative. Don’t forget to show. I will do it in the bathroom, I will do it at a hotel room. As long as I’ve got the com- give back to your family. Give back to the puter, a microphone and Logic Audio, I can send that thing through the internet lines. The community, love the music and use the show is a two hour show weekly and I’ve been very fortunate enough to now have al- music together as a feeding mechanism to most 50 stations now. In fact, we just picked up WCOK in Atlanta earlier this month and feed broken hearts out here man because we picked up a station, in fact, in the Virgin Islands, of all places in St. John’s. The current there’s so many of them. I hope that my station list is on the newurbanjazz.com. There’s a station list if you need to go refer- music has done that over the years.” ence it.
JI: When you were doing the program from BB: Wow! Well, Lori - I’ve got the radio pro- BB: Yes. Back in 2004 I was doing a radio Bermuda, were you living in Bermuda? gram, New Urban Jazz, which I started in program in Jacksonville, Florida. I was Pro- 2008. I’m always looking for something new, gram Director at a station there called WJSJ. BB: I was back and forth. There was a guy different that I haven’t put my ear to yet - This is still when Smooth Jazz was kind of that owned the station and I would stay there maybe something that’s got a real sweet kind hot. I was there for about a year and a half, like two, three months at a time and hang out. of quality that just maybe has not taken a turn and then I got called and at that time, I was Of course, I went there during the summer. It in terms of being heard on a wide scale. So, I fusing contemporary jazz with some Brazilian was great. In fact, we did a couple of small was on the web about couple of years ago and Samba, Bossa Nova, and anything that I could jazz festivals over there and brought people I heard Lori do this version of “Body and get my hands on outside of the country of jazz over from the States. It was a lot of fun, man. Soul” and she turned this ballad into this fiery artists that wanted to do smooth or contempo- It was nice being able to try to put Smooth on Latin jazz piece. Two piano players were on rary and throw them into the mix. So that was the map. But on the business side, unfortu- the record and it’s a real killer arrangement. the birth of it. In 2005, I got called to launch a nately for them, they couldn’t keep it together. And it really caught my ear. I’m like, man, Smooth Jazz station in Bermuda. I was pro- So they had to flip the format and sell the sta- why have I never heard this tune and why gramming there for about a couple of years - tion.
26 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 creativity - and I’m so glad that he planted they put out and the people that are connected Bob Baldwin those seeds in me at such a young age. That’s to them, I think there’d be just such a better the stuff I wanted to infuse into the book and connection between the music execs and the get people to not always think about the mu- artists and the audience - because at the end of JI: You’re working on some things right now sic. The music is important, as the music is the day, it’s the audience that’s making the for a release later this year. Do you want to the vehicle that everybody is excited about. difference. You know what I mean? talk about that? But don’t leave the business unattended. Be- cause as you see, even today, you hear of JI: Absolutely. BB: Sure. I’ve got an album called Henna. these horror stories, guys losing millions and I’m not exactly sure of the release date yet, millions of dollars from letting their manager BB: Yes. But you’ve got to figure out the but it’s going to be sometime in the fall of this oversee stuff and they just run his stuff into vehicle in which to feed the people. So, my year. This record, compared to some other the ground. You hear about that stuff with goal is just to continue to the feed them and records, has more of a live feel. In fact, I’m athletes as well. inspire people to do great things. I’m hoping using the guys from my band. Dave Ander- at some point that I will be able to do a festi- son, bass, who’s worked with Bill Evans, sax- JI: Yes. It’s crazy. It’s challenging for crea- val, at some point. I’m not sure where, but I ophonist, and Tony Lewis on drums from the tive people to conduct business because we want to fuse a couple of the beautiful genres Bronx. He’s more of a jazz-funk kind of are emotionally connected to our creations of jazz and put them in their rightful, respect- drummer, but he’s got a really beautiful sound and that is enticing to many predators and ful place in an area that hasn’t really been and we’ve been together on and off for about sociopaths who get into the music and enter- doing much. So, I’m hoping to develop that 20 years. So, we know each other like the tainment business, who understand those over the next several months. So, I will defi- back of my hand. They’re playing on about weaknesses and try to take advantage of art- nitely keep you posted on that as well. six or seven cuts on that album. So, it’s a real ists and musicians to make easy money. The organic record. There’s a tune there, a George predators try to create the illusion that they JI: Are there any words of wisdom or ideas Duke track that I do, just kind of tribute what are “the” guy who you’ve been missing for that you want to close with or share to inspire he’s done over the years, fusing jazz and Bra- the last 10, 20, 30 years, who can now take any of the readers and prospective and exist- zilian music. But mostly, it’s made of original your career to the next level and you’ll really ing fans? stuff. Also, I’m reissuing that cut called “Club Life.” Club Life was a record that from what I can see right now has the most soloists ever “just when CD 101 shut their doors, Clear channel on a smooth jazz. Yes, friendships that devel- oped over the years. I would send the track went nuts and closed about 20 stations in 30 months. out to guys and I would say, “Listen, play 24 So, during that time I started to launch New Urban bars and give me some really cool stuff.” Man, the guy sent me back some amazing Jazz, because I saw that a lot of the stations were music. Walter Beasley and Nils and U-Nam, and what Reagan did on it … Brooke Alford leaving and I wanted to fill some kind of void.” on the violin and Marcus Anderson on the vocoder. So, it was just a nice fun record man. be successful beyond your dreams. What hap- We’re dedicating some of the proceeds to a pens, of course, in many cases is that these BB: Absolutely. I would say to the fan base non-profit called How Big Is Your Dream in predators are just charlatans who go to the and to people in general, don’t ever give up Atlanta. So, we’ve been sending money down local print shop in the morning to print their on your dream. Be consistent with the things there for them to further the studies of young business card that says manager or promoter that you want. Stay focused, stay creative. kids who want to get into music in their teens. on it, pick up the cards later in the afternoon, Don’t forget to give back to your family. Give So, it’s all for a good cause. and head out to clubs at night looking for their back to the community, love the music and next marks. use the music together as a feeding mecha- JI: Is there anything that you want to talk nism to feed broken hearts out here man be- about that I haven’t prompted you for? BB: Absolutely, man. Absolutely. I’m sur- cause there’s so many of them. I hope that my prised that it’s still happening, that people music has done that over the years. In fact, BB: I think we’ve pretty much covered every- haven’t learned their lesson. It’s just really a I’ve gotten calls and emails from people, folks thing. I wrote that book in 2011 called You part of the business that I absolutely loathe. If I don’t even know, I’ve had people email me Better Ask Somebody. That was kind of an they could ever clean that part of it up, which and say they were getting ready to go into experience of all the things that you and I they probably won’t in our lifetime, the music surgery, or that they’re going through cancer talked about and more, about what’s going on business would be such a pleasant business. right now and they’ve taken my music into in the music business and just to prompt peo- the chemo room with them. You know, that’s ple to stay on top of their business side. That JI: The music business offers low barriers to the kind of power that music can have in peo- was inspired by my dad who at a young age entry which are perfect for wannabes that are ple’s lives. I just hope that my music can con- was not only a piano player, but he was also a neither expert at what they do, experienced tinue to have that kind of positive impact on Civil Engineer. He used to draw schematic and devoid of the meta values of integrity, people’s lives. So whatever love you put into designs and TV sets by hand. He had an excellence and caring. So the music business the music, it’ll feed the people and it will amazing mathematical mind. So, he was the is a pathway of least resistance for them to come back to you almost without fail.
one who really taught me to really always have the “Life of Riley.” think down the middle, don’t think too crea- BB: Yup. And I think the key word that you tively and don’t over analyse stuff. He helped said is caring man. If more managers and la- me create this balance between analytical and bels will actually care about the music that
To Advertise CALL: 215-887-8880 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 27 moments of mu- I’m playing, I want the piano and the drums to sic. I didn’t get a lay out. The bass has a good feel and I want to INTERVIEWINTERVIEW chance to see Lou- play with the bass. is Armstrong. I just heard him on JI: Could you discuss some of your performing recordings. And experiences—such as with the Ellington band? Wycliffe Gordon thank god for vid- eo tape for that WG: I’ve had great musicians that I’ve admired “… always just striving to … make it the best” part of the record- like Britt Woodman who I sat next to that played ing industry, but to with Duke Ellington for many years. I got a see J.J., like he chance to sit next to him in 1989 and 1990. And Interview & Photo by Eric Nemeyer embodied all of that. There was so much history to play concerts and to have someone like him in just the simplicity that he played of the melo- give encouraging words the sky opens up even JI: Wycliffe, do you want to talk about some of dy. But it sang, it spoke, no vibrato. J.J. just more. Someone like Buster Cooper—I’m talking the trombone players who have influenced you? said, it was like he was saying goodbye. And about trombone players. I’ve been fortunate, maybe that was the significance of it. Trombone because I’ve been around the kind of people WG: Well, I’ve had a chance to meet and to players, J.J. is definitely one. But I love the that, first of all, they’re happy to be alive. I’ve hang with J.J. Johnson who’s been a tremendous many different schools of trombone, even from been around those also that are discouraging; influence. As a matter of fact, when I teach he’s the plunger players like Tricky Sam Nanton, of they’re like, “Why is this not happening? Why is the first person that all my students study, once course. But one of the solos that I had my stu- that not happening? This is not happening for we get past the basics and fundamentals. J.J. was dents to study was Booty Wood from Duke El- me and life is just….” I’m like, “Man, why?” really a nice man. He was not one that was really lington’s records, “Blues in Orbit.” There’s Al You know I’ve had some of those experiences willing to share his secrets of his development Grey, Quentin Buddy Jackson, Tyree Glenn, so too. And none are directed towards me in terms trombone playing. And I’d heard for years, cats the various schools of plunger playing. I love of my playing, but if I would continue to hang always asked J.J., “J.J., what method of talking Jack Teagarden, he’s one of those singing trom- with that type of company then I would develop are you using to play so clean and all the regis- bone players. He would sing, but you could tell those, you know, that type of attitude. Britt ters of the instrument?” And J.J. would just give that he sang by the way that he played his instru- Woodman told me once. I was playing. We’re this blasé answer—“Oh, I’m just playing.” I ment. So I’ve checked out Curtis Fuller, Bill doing the music of Duke Ellington. And I got a said, “Well, surely, he’s not going to do it to me. Watrous, Carl Fontana, Frank Rosolino. I’ve chance to play a solo. And he said, “I wish that We weren’t playing that day. And I was walking listened to a lot of the trombone players and when I was younger I had just played like that.” with J.J. and we were walking for about a mile studied their style to get something. Dave To hear that from someone who I admired and just talking. So I fell for it. I asked him the same Steinmeyer—to share an experience—he’s not respected so much, it was just great. And then I question. He said, “Oh, I don’t think about it, I well know as a jazz trombonist, but I was play- also sat next to someone in the band that wasn’t just play.” So, ok, well, he’s going to take that ing, my first time playing with the Smithsonian so encouraging. I won’t call the person’s name, but it’s like he always came to me like, “Well, you’re doing this and you’re doing that,” never “there’s a much bigger audience for really gave me an encouraging word, not that you have to. But I’m conscious; I always want to communicative musicians who help you be encouraging to students, musicians, whether they’re in school, in class, in college, or whether they’re professional musicians, because that understand, help bring you in a bit, could be the very thing that says, “You know what? I can do this” and that may be the next because not everybody is a jazz aficionado.” Louis Armstrong.”
one to his grave. But another time, I happened to Jazz Masterworks Orchestra, I played lead trom- JI: Could you talk about the synergy between be off and J.J. was playing at the Blue Note. He bone. I had been playing with Wynton Marsalis; you and Jay [Leonhart]. was sharing a night with Jon Hendricks. And I I’d been on the scene for minute, and I didn’t get got there for J.J.’s last set. And this was near the the big head, but, you know, I was kind of say- WG: Well, we met several years ago always end of his life. We had known that he had can- ing to myself I’m doing a little something-- playing as sidemen with Dick Hyman at a show cer. And he played “Goodbye,” one of the most something, something out here. And you know, at the 92nd Street Y or maybe down in Florida amazing performances that I’d ever heard. He this is the second time they called me. And here between Sarasota, Fort Myers. We were always played no embellishments, no one chorus of the comes Dave Steinmeyer—and I’m playing sec- on the bandstand together. And I think the first melody, not one extra note, not one extra sound ond trombone. And I said, “Maybe, they just time I really took notice to Jay’s playing and or slide, nothing slick, nothing hip, by himself want me to sit in the solo chair.” I’m like, “I singing was from a show that he developed onstage [hums melody]. He just played that. And should be playing first.” I’d heard the name be- called The Bass Lesson. I was on a cruise ship when I looked around the room at the end of it, fore. And then when he started playing, I was and kind of admired how he could keep an audi- it was like all the trombone players that were in like, “Oh my God! I should be playing bass ence just by playing and singing with the bass town and not working that night were there at trombone [laughter].” This cat was so amazing. for an hour or whatever the time was. But I’d that gig, our mouths were just kind of wide I’d heard him play before. I just didn’t know walk by. They’re listening and laughing. I’d open. It seemed to be nothing fantastic like Bar- who it was. I heard recordings of trombone play- come by about 30 minutes later, they’re still num and Bailey’s. He played the melody one ers that piss all the trumpet players off because listening and laughing. I stepped in and I lis- time and walked off the stage. And it was he played so high and clean in that register and tened to one of the numbers. I don’t know if it “Goodbye” with one of his signature tunes, but it just a beautiful sound with no effort. So I admire was about flying someone to L.A. He had sto- was just like first of all how did he do that. He him for that. I got a chance meet, sit next to, talk ries. And what’s really amazing to me is how he encapsulated the whole room for at least I know to him. But my greatest influence musically can remember all of that. He says it takes prac- he did with the trombone players in that room. came from Louis Armstrong. I love the bass. I tice. But anyway, I always wanted to do some- And, man, it was just one of the most beautiful love listening to bass players. Oftentimes, when (Continued on page 30)
28 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 29 the things we didn’t practice was a song I heard heavy on them and they’ll go along with you, Wycliffe Gordon Jay do on one of the cruises that I remember, because at least they know you’re communi- “Me oh My, I got myself a problem.” We were cating with them. They’re trying. (Continued from page 28) standing in the studio, had no game plan and he started playing it. And I think that was the first WG: That’s one of the things that I talk to my thing more with my voice. Voice is the trom- thing we recorded. So the synergy was some- students about all the time. I see them in class- bone but also vocalese. I’d walk around scat thing that was building; it was always there and room a lot because I do a lot of educational ac- singing, and it seemed like a perfect opportunity; we just got closer and closer to it and stuff, tivity. And the students are so caught in playing, Jay plays and sings with the bass, but that was “Hey, let’s do something about this. It’s good, playing the changes. And then when they get on just one thing conceptually that we could ex- you know, hot. Let’s do it. Let’s make it availa- stage, it’s weird. I said, “Well, people they can pound upon. But then we got together and did a ble.” listen to that on the radio and when you’re per- show—Jack Kleinsinger’s Highlights in Jazz. forming, you have the audio but you also have We’d get a chance to play a number or two to- JL: You know, like those rock-and-roll bands the visual. And even if you don’t communicate gether, then another show a number or two to- do in the garages in Seattle. You know, “Let’s to the audience try bringing them in whether it’s gether. Then he called us together to do a seg- get together and do this.” And they all bring singing or something that’s going to make them ment of his show. We always said, “You know, themselves together and do it, an amazing want to listen other than the hip changes that we should do something about this. Maybe we amount of energy occurs. Well, we just decided, you’re playing. I don’t know; figure out some make a recording.” And it took about four, five “Let’s get together and do this thing.” We kept way to tell some jokes. And sometimes you try times to perform and the last time we did a talking about it and said, “Alright, let’s jump things and you don’t get it, but eventually you’ll show, I think we had a 20 or 30-minute segment. over the cliff.” Now we’re going to do it. And become good at figuring out who’s in your audi- And it was very well and we just said, “Let’s do now we’ve made a record that frankly I’m not ence and how you can talk to the audience. I try this,” basically. And we did it. We sat down; we surprised that it’s being received so nicely, but to say to my students to make sure to get their found dates that we had to go into the studio. Jay it’s really being received well by everybody. stage presence together, even if it’s going to be made most of the calls and I checked most of my in between tunes, how you’re going to introduce schedule. And we went to the studio and we JI: One of the problems we all run into in jazz is the songs. Talk to the people. Make them feel recorded for a couple of days. Before that actual- that a lot of people are great players, but not that they’re involved. ly, the fun part was getting together to rehearse. necessarily great showmen and don’t bring the We started out, I’d go to Jay’s house and then audience in. One of the things that I thought you JI: Jay, could you talk about your illustrious his lovely wife would have nice sandwiches. It two guys did great was bringing the audience in, activities over the last 30, 40 years here in the was always good to go over there, because I having a dialogue with the audience, and being city. You’ve really been involved in so many knew I’d get a nice sandwich or something, a able to really be showmen about it, because I different aspects of the music. meal or something after rehearsal. think that’s an aspect of the music that kind of alienates people because they’re so into whatev- JL: I’ve worked in the studios, which is a differ- Jay Leonhart: A Jewish girl from Brooklyn, of er they’re doing. It’s kind of like their own thing ent thing then working with people on a long range basis. I’ve had long-range gigs with peo- ple like Tony Bennett and Peggy Lee, Mel “make sure to get their stage Torme, people who I really traveled a lot with— Urbie Green, people like this. But I’ve worked in the studios with almost everybody and would presence together, even if it’s going get to know them to some degree. But it’s just a passing situation where you’re playing for them to be in between tunes, how you’re and see them for three hours in the afternoon. You might see them for another session and that’s it! And that’s how close Queen Latifah going to introduce the songs. Talk and I are. I mean she came into the studio once and we said hello, but I’m on her record. And I had a record out the same time that she did. And to the people. Make them feel that mine was up on jazz airplay. And as mine was going down, hers was going up. And we said they’re involved.” hello to each other on the way. I’ve got to work with millions, with thousands of great musicians course, you’re going to get a nice sandwich. I on stage, sometimes. in the studio, because I knew how to read suffi- brought some nice sandwiches with us today. ciently. I knew how to play in tune enough to be You want to know, I think the recording was JL: We all can’t be Miles Davis. We all can’t on a record. And frankly I was able to support more fun than the rehearsal. Recording it was get away with that. Sometimes we can play and my family better by being in New York then I fun. It was adventurous. It really was. We had a just be jazz musicians. And it’s great fun to be was being on the road someplace. And I didn’t ball in the studio. [lowers his voice] mysterious and removed and want to be away from the kids frankly. I really just be musicians, brooding jazz geniuses, but wanted to be with my children. WG: It was happening, but I think I had, not there’s a very small audience for brooding jazz more fun, but it was fun at the rehearsal, because geniuses. And there’s a much bigger audience JI: People I think in general like to be around that was where we working everything out. Most for communicative musicians who help you people they like and they trust. of the stuff we rehearsed, we didn’t record. We understand, help bring you in a bit, because not pulled out this tune, that tune, this tune, and that everybody is a jazz aficionado. We got like three JL: Right, absolutely, that’s the way it is. If you tune, “I like this.” And then Jay, he’s going percent of the world’s audience. And we need can play well, don’t expect to have every gig, through his sheets of music that he hadn’t seen more. And one way to do it is to bring them in. because want people they know, they trust, who in 20 years, said, “Ah, let’s do this one.” I said, They can swallow a lot if you give them a work well with them and who are easy to deal “Well, ok, we can do it,” but most of the things chance to, say, “Ok, alright, I understand this a with. That’s the way in every business. that we actually practiced we did record. One of little bit.” And then you can lay something really (Continued on page 31)
30 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 JI: Wycliffe, talk a little bit about your work away with that with, I guess, union musicians. JL: I noticed that Wycliffe writes differently with the Lincoln Center Jazz Orchestra. How did You wouldn’t be able to pull that off, but than I do. His song “This Rhythm on My Mind” that evolve? Wynton, he really rewarded the cats in the band which totally explains to me how he does it— well. I didn’t do the chitlins circuit; I had walked [sings] “I got this rhythm on my mind,” and the WG: That came out of playing with Wynton in right out of college into his band, and we were melodies and the lyrics start to curve and sud- June of 1989. June sixth, my first gig was in traveling. Whenever we went overseas, it was denly and then halfway through the song he Charleston, South Carolina. I remember that gig business class. When we were traveling in the stops, because he didn’t come up with anymore quite vividly, because that was starting out as a states, we started doing the tour buses. It was a lyrics. So he just goes [scats], and it turns out to summer job, a temporary thing and it turned into tour bus with beds and that kind of thing. So it be a beautiful song. my career. How that led to the Lincoln Center was nice. You almost didn’t mind. And the thing Jazz Orchestra, I think they started Jazz at Lin- that you and Jay spoke about earlier, playing WG: That’s true. coln Center before they became constituents of with musicians that you trust, it was a situation Lincoln Center. In 1988, they started having like that. One of the few situations where we JL: The lyrics are the last thing to come to him, concerts called Classic Jazz. And they had two actually after the gig, we would talk about the I think. The melodies, the rhythms, and I’m, or three concerts a year. And I was a part of that. music like what happened. And we were always “C’mon, man, write some lyrics to it. C’mon, I think the first concert I played was in 1989. I just striving to…make it the best, but just get to C’mon,” ‘cause I know a ton going on in that was a member of the first touring band that still the next level. I like to think that that happens brain, but he’s just not used to putting the lyrics had a lot of the cats that are no longer with us and that we’re striving to do that in most situa- down. 20, 30 years ago back when I was in high like Britt Woodman, Norris Turney and a few of tions, but sometimes, oftentimes, you’re playing school, I started writing poems and lyrics just the others, cats that played with Ellington and with cats that they just want to make the gig. because I loved rhymes. I didn’t really care Basie. And it was great to sit next to those cats. And it’s hard when you’re playing with a band about…I loved rhymes. I didn’t care what they We did the first tour in ’91. Then Wynton dis- or a group of musicians that you don’t work said. I had no interest expressing myself defin- banded the septet at the end of ’94. He told us together with all the time. But that was one of ing a flower, but I wanted to make flower rhyme that in the middle of that year that he’s going to the benefits of being in that situation. with power, rhyme with hour, rhyme with dour. concentrate more on developing Jazz at Lincoln And I loved that. I thought that was the hippest Center and that we basically had first dibs in JL: The funny thing about working with Wyc- thing that four lines could rhyme with each oth- terms of playing in the band. There was no real liffe is that he is extraordinarily busy, and I’m er. So I would write anything and then I realized, audition process, but we studied every period of very busy. And we’d carve out rehearsal time well, you gotta make a little bit of sense. Then jazz. We were prepared to play whatever music out of little niches, little holes in our schedule. suddenly what I meant started growing into what they put in front of us. 1995 was the start of And it’s such fun ‘cause he’s got phones ringing. I was writing. And I’m still not big on express- Wynton doing the Lincoln Center Jazz Orchestra He’s cleaning up the apartment this morning ing myself; I’m just not. I just like to have fun full time. So the septet was working very little. waiting for you to come and I’m sitting here with my lyrics and I end up expressing myself That was from ’95 till 2000, I was with the Lin- singing songs that we’re going to do in the fu- anyway and so does Wycliffe. I’m not trying to coln Center Jazz Orchestra till July of 2000. And ture. And we’re laughing, ‘cause I’m just doing turn him into Ira Gershwin, but I am encourag- it was a great band to play with. It was a lot of fun. We did a lot of touring not quite as much as we did with the Wynton Marsalis Septet. “… my first time playing with the Smithsonian Jazz
JI: What were the rehearsals like? Masterworks Orchestra, I played lead trombone. I
WG: There weren’t many challenges. We used had been playing with Wynton Marsalis; I’d been to rehearse a lot. When Wynton would have a commission or something, he was kind of good on the scene for minute, and I didn’t get the big for bringing things down to the wire. He works really well under pressure, but sometimes that head, but … I was kind of saying to myself ‘I’m pressure meant that we would have to rehearse nine or ten hours a day just so that we could get doing a little something ... out here’ … And here the job done. But that didn’t start within the Jazz Orchestra. We did that with the Septet when he comes Dave Steinmeyer—and I’m playing second was writing In This House on This Morning and trombone .... I’m like, ‘I should be playing first.’” up until two weeks before, the piece wasn’t fin- ished and we were still rehearsing. We were playing at the Regatta Bar in Boston. We re- the unconscious rehearsal method. He’s back ing him to write a lot, because he’s very good at hearsed from ten to one, two to five and left, did there doing his work, trying to get ready, and it. the seven, nine o’clock show and on the week- I’m singing a couple of new songs that I’m try- ends even an 11 o’clock show, and then re- ing to bring in. I know it’s sinking in, but I said JI: Years ago, when I studied arranging with hearsed after the gig. You know to get the music this counts as real rehearsal time because we Manny Albam, he said “Just make sure you done, but that’s not a normal rehearsal schedule. both are very busy, but we always find some write every day.” Generally with the Lincoln Center Jazz Orches- way, backstage, someplace, some way just to tra, they’ll have six-hour rehearsal days: Eleven talk about new material, get it together, and or- JL: That’s what you gotta do, because you get to two and three to six, but when it comes to a ganize it. So that’s what we’re doing now. that unconscious flow of lyrics and rhymes and crunch situation like that even with the big band, We’re just trying to rehearse and keep up our thoughts and rhythms, and it becomes rather when we were doing Blood on the Fields or Big other commitments. And Wycliffe’s talking to simple to just sit down and write an original Train, we had to have extra rehearsals. And one me about in “76 Trombones,” they had the think piece, at least simple to write the first draft of it. thing I liked about playing with that band, and method of learning to play, which I must admit I And writing is found in like the 17th draft. particularly with the sextet, is the cats were just did not see The Music Man. Now I have to go willing to do whatever it took to get the job and see it. done. We had a job to do and you couldn’t get
To Advertise CALL: 215-887-8880 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 31 a Miles Davis great musicians and playing a lot—more like record and he was jam sessions. As far as actually working, it was INTERVIEWINTERVIEW on that. Then a pretty lean. I was doing a lot of weddings. Noth- Wayne Shorter ing wrong with that. But that’s not exactly what record, a Herbie I had in mind. I was getting a little discouraged. Hancock record, a Then I got this call out of the blue from Paul, Bill Frisell Sam Rivers rec- just asking if I wanted to come over and play. ord. It just sort of That was kind of a big deal for me. He wanted a It’s just about the communication went on and on guitar. But I felt he wanted me for my music. I and on and on. wasn’t getting a call to be just another guitar JI: So you real- player—like when you go do a wedding or some Interview & Photo By Eric Nemeyer ized that he was the only bass player in jazz at kind of club date. So I went over to his place. that time, and with the shortage of bassists, he The first time we played was with Marc Johnson JI: You recorded an album with Ron Carter and had to simply summon everything and make all playing bass—who I also never met at that point. Paul Motian for Nonesuch a couple of years ago. those dates. It wasn’t that long after Bill Evans had died. I It was somewhat of a departure from the many showed up at Paul’s place and they were both musical things you’ve done previously. Could BF: [laughs] Yeah. It’s kind of gargantuan that reminiscing about Bill Evans. I’m thinking you talk about the group, the music and the ap- there is this sort of backbone throughout so “Wow, here I am with these two guys who were proach given these are the musicians with whom much music that he has been a part of—or at so closely associated with Bill Evans, and I’m you will be performing at The Blue Note for least music that was just incredibly important to playing guitar and I’m supposed to play trio.” several days. me. When I finally got to meet him and play Bill Evans was another one of those gigantic with him, it was a really big deal for me. Soon inspirations for me. I remember the first tune we BF: That was kind of a dream situation for me. after that — since I starting to hook up with Ron played was “My Man’s Gone Now.” It just I’ve been playing with Paul for more than 25 and since I had this really close relationship with seemed like such a heavy... It’s a George Gersh- years—so I have a really close relationship with Paul—I started having this fantasy about putting win song, but I really associated it with Bill Ev- him. He’s been such a huge inspiration, and such them together. I knew that they had played a ans. I found myself in this intense moment—to be playing trio with those guys and to be playing this song which I associated with Bill. So, things just slowly developed. He [Paul Motian] called “When I was in high school, I first heard me back to come play the next week and the next week. It was a long time before we actually a Wes Montgomery record. I think of that did a gig. I think it was about nine months be- fore we went up to Boston and did a gig. By that as ‘the opening of the door’ to me getting time, Joe Lovano was playing, and Ed Schuller was playing bass. But it was a long period of into jazz music. Ron was on that record. going over to his apartment and playing before we actually did a gig. But then once we started Then it seemed like as soon as I started doing gigs, it just turned into …. It’s been one of my main things that I do ever since then.
getting into jazz, everywhere I looked, it JI: By comparison to many drummers, Paul Motian is someone who plays much more seemed like Ron was on just about every sparsely, and is much more attuned to being an accompanist rather than overpowering the group other thing that I listened to.” or the soloist by imposing an array of impressive technical wizardry to direct the music. Could an important part of my musical life. It’s hard to little bit in the 1960s. They’re on an Andrew you comment, if this is relevant? even express what an impact he’s had on me, Hill record that they played together on a gig and continues to. Then there’s Ron who I’ve met somewhere. They had hardly played at all to- BF: The overall picture of the whole group— more recently—maybe ten or eleven years ago, gether. I just had this feeling that for me, it whoever all is playing—that, with him is the when I first played with him. I’ve played with would really be something to have them together priority. It’s not about the drums or the soloing. him much less than I’ve played with Paul. But in the same room. It took awhile to turn it into a It’s just about the communication amongst who- he’s another one of these kind of larger-than-life reality. ever is playing. That is what is always so inspir- heroes of mine. It’s just kind of immense and ing and intense about playing with him. I know overwhelming when I think of it. This gets to be JI: Could you talk about how your association that even the slightest gesture or anything that I a long story about my feelings about Ron. When with Paul Motian began to develop around play is affecting what he does—and vice versa. I was in high school, I first heard a Wes Mont- 1981? And, how did his influence begin to im- It’s a real intense listening kind of thing. For me gomery record. I think of that as “the opening of pact you? it just doesn’t get any better than that. And, it’s the door” to me getting into jazz music. Ron was always evolving. After a quarter of a century of on that record. Then it seemed like as soon as I BF: I feel so lucky. Prior to that I had gone to playing with him, every time we play, I still started getting into jazz, everywhere I looked, it school and lived in Boston. That’s where I met have to be on my toes. You can’t really settle in. seemed like Ron was on just about every other Pat [Metheny]. Pat was in Boston at that time, You never know what’s going to happen. It’s thing that I listened to. First, I got the Wes when he was playing with Gary Burton in the completely about what’s going on at that partic- Montgomery record—the Tequila album. It had late 1970s. From there, I went to Europe for a ular moment—even when we play a song that this song “Bumpin’ On Sunset.” I learned that year. Then I met my wife in Europe, and then we’ve played hundreds of times, or a standard, song for the all-school talent show when I was in finally moved to New York in 1979. Those first or one of his songs—there’s always something high school. Then I went and bought a Kenny years in New York were pretty rough—just try- new to uncover in it. He writes these songs, or Burrell record and he was on that. Then I bought ing to make a living. I was meeting a lot of (Continued on page 34)
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To Advertise CALL: 215-887-8880 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 33 wanted. It was such an exciting time for me. shape. You know a lot of times you write music Bill Frisell There were so many ideas floating around in my and go in, and get a bunch of guys and do it in mind. They do the albums so fast. It’s usually the studio. This was more like a real working two days of playing and then one day of mixing. situation. compositions or melodies, or whatever you want So I went in and played for one day, and I to call them — tunes… People don’t talk about thought everything was going pretty good. Then, JI: After ECM, you eventually developed an him as a composer that much. He hasn’t written somehow Manfred thought I was going in the association with Nonesuch Records. Have there a string quartet or an orchestra piece. But he wrong direction or something—and I ended up been strictures and structures there that differed writes these little beautiful melodies. That’s not finishing the album in the first two days. I from what you experienced at ECM? another thing that brought something unique to came back a few months later and finished it. It what we were doing. Early on, 95% of the music was kind of a scary experience for—going by BF: By that time, everything had speeded up. I was all his original music. Each one of those myself all the way over to Oslo, carrying my was playing with all these different people, and tunes helped to develop some sort of language guitar. I traveled around a little bit. But doing it wanting to do lots and lots of things in different that we’ve been working on all this time. More all by myself ... I hadn’t really had much experi- ways. I couldn’t really fit in with the ECM recently, we began playing more standard tunes, ence at all at playing alone—playing solo guitar. schedule. Even the way I wanted to work in the or Monk tunes. We’re able to use whatever the So there I am in this big room, just all by my- studio didn’t always fit with the way things went language is for whatever we play. self—just me and the engineer and Manfred there. Manfred had been such a huge inspiration Eicher. Oh man. I think my confidence has and influence on what I was doing. But I felt that JI: Did Paul discuss with you how his associa- grown a little bit since then, 20 some years ago. I needed to leave—sort of like leaving home, tion with Bill Evans might have impacted his I had a sort of on-again, off-again with ECM for leaving your parents, and standing up on your approach or perspective? a little while. I did a whole bunch of things at own, and seeing what you can do. I appreciate so the beginning. A real key moment was my being much what Manfred did for me, and I learned so BF: I don’t think that that’s anything he specifi- able to do my first album with my band, a few much during those years. I’m still doing a few cally talks about. He talks about people he’s years later—the Look Out For Hope album. That things with them. But during that early 1980s played with and memories of this or that. I think was another turning point. My daughter was time, I did so many albums on that label. There came a point where I felt I needed to try other
things and stand up on my own. With Nonesuch, “I was doing a lot of weddings. Nothing the situation was more like whatever came into my head at a given moment ... the music seemed wrong with that. But that’s not exactly to be able to be recorded according to the timing of when I was feeling it. It was really a luxury. what I had in mind. I was getting a little I’ve used different producers on different things. Sometimes I could do things in a couple of days, or I could work on it and come back to it. The discouraged. Then I got this call out of process could change from album to album— which was really great. the blue from Paul [Motian], just asking if I JI: Talk a little bit about your composing activi- wanted to come over and play. That was kind ties.
of a big deal for me. He wanted a guitar. But BF: When I’m home, and I have time, and I’m in that mode. The way it seems to work now and I felt he wanted me for my music. I wasn’t for quite awhile is that I try to just write stuff down, and don’t judge it. It’s easy to get into being too self-critical. Then nothing will come getting a call to be just another guitar player.” out at all. I try to get into a routine of every day letting it happen. There’s a lot of stuff that’s not it just comes through more in his playing, that born in 1985 and that’s when I felt like I needed that interesting. But I don’t want to decide that there’s all that history that’s in there, that to have my own band. That’s when I started this at the moment. I want to get into that stream of doesn’t have to be talked about. When we play a band with Kermit Driscoll, who is one of my consciousness. It’s almost like when you’re Monk tune, you know, he played with Theloni- oldest friends, Joey Baron, and Hank Roberts. I walking down the street, and you see some guy ous Monk. He played with Oscar Pettiford. He guess it was a year later when we did that re- who is whistling, and he’s not really thinking sat in one time with Coltrane, and played with cording. about anything. He’s not thinking about whis- Sonny Rollins. There’s this immense history tling. It’s just sort of happening. I try to get into there. Whatever the music is, he’s playing it JI: What kind of preparation went into that re- that kind of zone. Then a lot of stuff comes out. from really having lived it. He doesn’t hold back cording? Were you writing new material? I’ll fill up pages and pages of melodies. Some- talking about anybody. But, being there playing
though is where I get the most information. BF: Like I said, it was the first time I actually
had my own working group, where we actually
JI: Could you talk about the first recording you did gigs and tours. By the time we had recorded, did which was on ECM, and the kind of direc- we had done one tour in Europe and had played “”It does not take a majority to tion that was provided? a bunch around New York—that place Visiones. prevail... but rather an irate, tireless Stan Getz’s son, Steve Getz, early on, was really minority, keen on setting brushfires of BF: When I think back on my first album there, cool about giving us gigs—before anyone knew freedom in the minds of men.” it was sort of a difficult birth. I don’t know if I who we were or anything—like at Fat Tuesdays. was really ready. Well, I guess you’re never So it wasn’t a project just for the studio. It was ready. I tried a lot of things and some things more like a real band. When we went into the didn’t seem to gel with what Manfred [Eicher] studio, the music had already started taking - Samuel Adams(Continued on page 36)
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ORDER Start Your Promotion NOW! - PressToRelease.com To Advertise CALL:Experience 215-887-8880 NovemberResults-December 2019In 24-48 Jazz Inside Magazine Hours! www.JazzInsideMagazine.com CALL 215-887-8880 35 times I’ll have my guitar with me. Sometimes many years ago that I wasn’t actually making a really going on, and whatever it is I’m going I’ll just write something I hear in my head and record at all, or having someone write something through to try to make it. let it come out. Sometimes I’ll try to make a about me at all, or actually be listed in a poll. I complete statement of a phrase or a melody and would never have even dreamed that that kind of JI: Could you comment on the infinite nature of make it into a tune. stuff would be happening. We’re the only ones the music, and the lifelong pursuit that goes with that know for sure what we’re doing. Inside, it, and it’s relevance for you? JI: Are you working with pencil and paper? when I’m playing my instrument, my own per- sonal feelings about it—it still feels the same, BF: That’s the other realization. There’s not a BF: The computer thing… I just haven’t got- and not much different from the first time I finish line with music. It just goes on and on and ten… I know I’ve gotta get to it. I’ve just got to picked it up. It’s like, what is this thing? What on. That’s what’s amazing about music. It’s face up to the computer at some point. I still do am I going to do with this? I’ve told this story a infinite. You can never finish anything. Some- it the old fashioned way– sitting there with pen- bunch of times. I got to meet Bill Evans once. times people ask if I have any specific goals. cil and paper, and my guitar. When it’s time that This was in the early 1970s. Soon after I had The only goal is to just stay in it and keep going. I need music for an album or some project, or a started to get into this music—trying to figure film music thing, then it’s the panic stage. I’ll out what jazz was… I was living in Denver. I JI: You’ve maintained this starry-eyed humility either try to write new stuff or I’ll start looking was in college. Bill Evans was one of my big- in the face of all of the success you’ve had and back into these piles of accumulated stuff. Then gest heroes. He was playing in this little club in the wonderful players you’ve had the opportuni- I have enough distance from them so that some Denver for a week, and I went every night. ty to play with. Yet it appears that you have not stuff that I didn’t have much of a feeling about Night after night I would go, and I was just hav- been overly consumed with copying other influ- at the time it becomes “well, that seems like it’s ing these religious experiences. I just couldn’t ential players, or working to develop an identifi- kind of cool.” I’ll use those and build on that. believe what they were playing. I thought if you able voice. Yet, somehow in staying on the path, you have come to just that.
BF: I haven’t avoided … I do try to absorb “The overall picture of the whole group— whatever I can of whoever it is I’m playing with. But, I never can get it right. [laughs]…. So it whoever all is playing—that, with him is the ends up… I think a lot of what our individual voices are, are a result of our limitations. I think priority. It’s not about the drums or the that whatever my voice it, is …. I do try to copy everything. But I just can’t duplicate it. For me, soloing. It’s just about the communication music is about that exchange and the conversa- tion and the give and take when you’re with amongst whoever is playing. That is what other players. I’m trying to get whatever I can from them. I listen and try to learn. There’s that story about Miles Davis. When he was young he is always so inspiring and intense about couldn’t play stuff like Dizzy Gillespie could. So he’d play it in a lower range. I’m oversimpli- playing with him. I know that even the fying what the story was. But if Miles could have played exactly like Dizzy Gillespie, that slightest gesture or anything that I play is would be great. But then we wouldn’t have had Miles Davis. With music, it’s a world where you affecting what he does—and vice versa. can try anything and you don’t have to do it any particular way. It’s a real intense listening kind of thing.” JI: The greatest obstacle to discovery is the illu- sion of knowledge, according to Dan Boorstin, That seems like the way it usually happens. I practiced real hard, you’d get to a level that was former Librarian of Congress. What do you don’t end up using anywhere near all of it. I go just taking off all the time—that it would be this think? back mining through it and find stuff… Seems ecstatic, amazing thing that you’d be playing like I can hear it better when I look at it later. I’ll music that way. So one night after the perfor- BF: It’s clear to me that I don’t know much find a little cell of something and that’ll really mance, I was with my friends, and we were go- about anything. To me it’s important to do the generate something else. You have to avoid the ing to my car. The streets were all deserted. We work. You can really get yourself bogged down thoughts of self-criticism. If we’re just doing it go around the corner, and there’s Bill Evans just in being too self critical or thinking that you’re [the music], that’s what’s important. standing there all by himself—in the middle of really happening. You have to be critical to a the street, lost. I guess his ride didn’t show up. point and good enough to a point, but you have JI: I read on your website that someone wrote So we started talking to him. I gave him a ride to just get deep into what you’re doing. That to that Bill Frisell is the Clark Kent of guitar. I’m back to his hotel. We were saying, “Oh, Mr. me is the best feeling—those moments when I’m sure all of the accolades and compliments are Evans, we can’t believe how amazing the music trying to write or when I’m on a gig playing. very flattering. How do you maintain your bal- is.” And, the first thing that he said was “Oh When the stuff is really happening, you’re im- ance in the face of the many glowing reviews man, tonight I couldn’t play sh*t.” I was think- mersed in it and you’re not thinking about that have the potential to inflate your ego, and ing, “What? You’ve gotta be kidding me!” To whether it’s bad or good, you’re just inside of it. perhaps lead anyone away from, or otherwise me it was just this heavenly music. And, it sud- There are moments where you just forget all that cloud the purity of purpose of making music? denly dawned on me that you have to face up to stuff and you just get lost in the process of doing whatever it is every time you play. It’s a long it. Or, if you’re on a gig, and everything is hap- BF: Boy! That’s a good question. I’d like to say way around to say that no matter what anybody pening—as soon as you have the realization that that I’m not affected by any of that stuff. But, I says positive … I appreciate when people say it is happening, it usually crashes down. can’t help it. It’s sort of this weird “how did I positive things about what I do. But whether it is get myself into this situation?” It wasn’t that positive or negative, they still don’t know what’s
36 November-December 2019 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Contact Steve: 630-865-6849 | email: [email protected]
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When it comes to superb vintage drums Our experience: In addition to operating our NY and you need a true expert. I have over 40 Chicagoland stores, I currently serve as years of experience with vintage drums manager and curator of the world’s finest private collection of rare and celebrity and have authenticated and brokered owned drums in the world. some of the rarest and finest sets in exis- We have authenticated and brokered the sale of instruments owned by such tence, including sets owned by some of famous drummers as Buddy Rich, the world’s most renowned drummers. Joe Morello, Elvin Jones, Mel Lewis, Tony Williams, Sonny Greer, Don Lamond, Cozy Cole, Papa Jo Jones, Philly Joe Jones, Whether you want to purchase or sell a Gene Krupa, Peter Erskine, Stan Levey, fine vintage snare drum or drum set, or Dave Tough, Louie Bellson, Jake Hanna, Earl Palmer, Billy Gladstone and more. perhaps purchase something owned by Steve We have sold more of the world’s rarest Maxwell a famous drummer you admire, trust drums and drum sets than anyone in the world. Items such as: the finest known the industry’s leading expert. Ludwig Top Hat and Cane drum set; the finest known and unique example of When you call or email, you get me. I am available and I want to speak Leedy’s Autograph of the Stars set; four with you. Feel free to call or email with questions and requests. of the twelve known examples of ’50s era Gretsch cadillac nitron green “Birdland” drum sets; more Gretsch round badge era No one does “vintage” better, and you deserve the best. 12-14-18 drum sets than any dealer world- wide; eight of the rare Billy Gladstone snares (of which only 25 exist) and one of the only Serving the www.maxwelldrums.com two complete Billy Gladstone drum sets. Community of Our worldwide clientele consists of Midtown Manhattan 242 W. 30th Street, New York, NY 10001 serious players; collectors, investors and Professional Ph: 212-730-8138 Hours: 11–7 M–F; 11–6 Sat anyone else who loves the finest examples Drummers and of rare vintage drums. Our expertise runs Chicagoland 2000 Bloomingdale Road, Unit #110 deep and is rooted in the superb instru- Drum Lovers Glendale Heights, IL 60139 Ph: 630-237-4997 ments crafted by US manufacturers from Hours: 11–6 Fri; 10–5 Sat | Additional hours by appointment. the 1920s through the 1970s.
JAZZINSIDE_full-page_VintageExp10.07.17.indd 1 11/13/17 3:10 PM Bob Baldwin
AS PIANIST, CONTEMPORARY ORDER THESE KEYBOARD ARTIST, LEADER — RECORDINGS featuring Eric RECORDINGS Essix, Kim Waters, Gerald Albright, Lenny White, Larry Coryell, Chuck Loeb, Russ Freeman (Rippingtons), Euge Groove, Najee, Walter Beasley, Marion Meadows ...
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