Eric Nemeyer’s

WWW.JAZZINSIDEMAGAZINE.COM October-November 2017 Interviews DafnisDafnis PrietoPrieto Jazz At Lincoln Center, Nov 3-4

ScottScott RobinsonRobinson Jazz Standard, October 31

BobbyBobby SanabriaSanabria Dizzy’s Clu, Nov 17-19

MariaMaria SchneiderSchneider Jazz Standard, November 21-26

WarrenWarren WolfWolf Dizzy’s Club, Nov 10-12

Comprehensive DirectoryDirectory of NY Club, Concert ElioElio VillafrancaVillafranca With Nuevo Jazz Latino at Jazz At Lincoln Center, November 3-4 Spectacular Jazz Gifts - Go To www.JazzMusicDeals.com

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To Advertise CALL: 215-887-8880 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 1 Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) October-November 2017 – Volume 8, Number 8

Cover Photo (and photo at right) of Elio Villafranca by Jerry Lacay; Photo at right by Eric Nemeyer

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CONTENTS 18 Clubs & Venue Listings INTERVIEWSINTERVIEWS 30 Warren Wolf CLUBS, CONCERTS, EVENTS 20 Dafnis Prieto 34 Maria Schneider FEATURE 13 Calendar of Events, Concerts, Festi- 24 Scott Robinson 4 Elio Villafranca Visit these websites: vals and Club Performances 27 Bobby Sanabria JazzStandard.com, Jazz.org, JJBabbitt.com, MaxwellDrums.com

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ElioElio VillafrancaVillafranca Feature

Interview & Photo by Eric Nemeyer cian. I was 16 years old. After that experience, had the opportunity to tour Europe and Cana- some of the Cuban musicians who traveled a da with Pat Martino’s band and soon after I Jazz Inside: Could you provide a glimpse lot to the exterior would provide me with jazz moved to New York City where I continued into how you discovered your passion for jazz recordings and charts so I could listen, learn, my immersion in jazz. My development as a and the people and or opportunities that and study. In the U.S. I received jazz piano jazz musician is an ongoing process as I play opened the door for your immersion and de- lessons in Philadelphia from pianists Ed Si- with and learn from other musicians. These velopment in the music. mon, Farid Baron, and Tom Lawton. Also in have included Wynton Marsalis, Billy Harper, Philly I became involved in the free jazz sce- Billy Hart, Victor Lewis, Vincent Herring, Elio Villafranca: I discovered my passion for ne with Bobby Zankel and Charles Gayle. Lewis Nash, JD Allen and others. Music pro- jazz when I first went to the International Jazz Gradually, I began to get other opportunities ducer Todd Barkan and Roland Chassagne Festival in Havana, Jazz Plaza, and experi- to play with people I admired like Sonny For- opened the doors of the beautiful Dizzy’s enced my very first jazz performance with tune, Jon Faddis, Johnny Pacheco, and Ralph Club Coca Cola to my music, and my most Richie Cole’s quartet. At the time I didn’t Peterson. A good friend of mine, Ron Berg, recent recordings have been financially sup- know what blues was, but his performance put his faith in my music and supported me in ported by Jim Luce, and Robin Wyatt. One of impacted me so much, that from there on I producing my first two albums, Incantations/ my greatest opportunities came in November knew that I wanted to become a jazz musi- Encantaciones and The Source In Between. I (Continued on page 6)

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To Advertise CALL: 215-887-8880 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 5 found in other similar duets. Working with that club. Actually, I have a funny story play- Elio Villafranca him was also effortless because we have simi- ing with Bobby: In one of my early visits to lar musical tastes, concepts and aspirations-- the club, Bobby and his group played the perhaps because he started his musical career standard “On Green Dolphin Street.” I fell in (Continued from page 4) as a pianist and then changed to percussion, love with that tune, so I made the commitment 2010 when Chick Corea invited me to spend a while I started as a percussionist and then to learn it and play it in my next visit to the few hours jamming with him at the Jazz Gal- changed to piano. club. As I mentioned before, I didn’t have a lery in New York. Since Chick is one of my real book, so I asked many musicians for a biggest influences in music, it was a tremen- JI: What kinds of challenges and opportuni- copy of that standard. Finally I got a record- dous honor to play with him and talk music. ties did you experience in Cuba as you pur- ing, which I transcribed and learned in a hur- ry. One night I went to the club with the sole idea of playing that tune. Lucky enough, Bob- by’s pianist didn’t show up that night, and “I see composing and improvising as one without my knowledge his bass player intro- duced me to Bobby as a pianist who could do thing, especially when I’m playing jazz or free the job for the night. When Bobby approached me and asked me if I could do the job, I said improvising. You have to be creative instantly, yes, thinking that I would finally have the opportunity to play “On Green Dolphin compose something that is meaningful and Street.” What I didn’t realize was that he was perform those ideas while they are just forming asking me to play the entire gig that night, and not just the only tune I knew from this band. I in your head; there are no second chances to spent the night luchando in the dark with no charts, and the bassist leaning over my shoul- re-write it or to change it. You have to take der shouting out chord changes! What was most frustrating of all, they never called “On what’s there and turn it into art in the moment.” Green Dolphin Street.”

JI: With your Conservatory studies in Cuba JI: Could you discuss your recording, Dos Y sued this creative path as a pianist and com- having been focused on composition and per- Mas, on Motema and how the initial germ of poser? cussion, how have those influenced an idea evolved into the completed artwork the processes you pursue in composing and for release? EV: Like many Cubans, I learned about popu- improvising? lar music, rock, jazz and rumba in the streets. EV: The idea of doing this collaboration was At that time there was no Real Book in Cuba. EV: The earliest influences on my music ca- first initiated by Arturo Stable. Over the last We would learn jazz by transcribing what we reer were on the streets of my hometown, San nine years, Arturo and I have worked on many heard. I came from the small town of Pinar Luis, where I witnessed rehearsals and perfor- different projects together, including my pre- del Rio to Havana and my family was my mances of the Afro Cuban folkloric ensemble vious album The Source In Between. Realiz- only means of support. They gave me 45 Cu- of Tambor Yuka. The Tambor Yuka is one of ing that we had many similar musical inter- ban pesos per month to survive in the big city. three important variations of Congolese music ests, Arturo suggested we develop a body of I would use it to buy cassette tapes, which in Cuba (along with Tambor Palo and Maku- original works and record a duet album. From cost fifteen pesos each! Often I would buy 2 ta). My studies began at age 11 and continued the beginning we established that we didn’t cassettes and then go to the homes of other in varying levels of intensity until I was se- want our new project to focus exclusively on musicians who could travel outside of Cuba-- lected into the Instituto Superior de Arte Cuban or Afro-Cuban music. We also agreed like pianists Ernan Lopez-Nusa, Pucho Lopez, (I.S.A.) where I developed a serious interest that we wanted to create something different or Chucho Valdes — to see what new music in composition and continued studies in Per- from what we had each done in our previous had come out and I would ask them if they cussion. My training in composition was total- projects as bandleaders, something creative, could make me copies. Sometimes they did ly in classical music. I never took a jazz or a but at the same time friendly and accessible to and sometimes they didn’t. But once I had a popular music course. Such courses were not listeners. The idea became that of fusing vari- copy in my possession I would listen to it over offered at the school, but that didn’t stop me ous musical elements and genres that we love and over and transcribe the music. That’s how from writing my first jazz compositions and and that shaped us as musicians, such as jazz, I learned all of the standards. I remember founding my first jazz ensemble named flamenco, Afro Cuban, Middle eastern, Rum- spending hours at a table at Gonzalo Rubal- Ferjomesis. I see composing and improvising ba, free jazz, son, and danzón, along with caba’s home copying by hand the entire as one thing, especially when I’m playing jazz other rhythms we came up with in the session, Herbie Hancock solo on “The Eye of the Hur- or free improvising. You have to be creative hoping to create a world music sound. During ricane,” while he practiced piano at the same instantly, compose something that is meaning- the year of preparation, the project expanded time. Jazz was something that was not al- ful and perform those ideas while they are just into a cultural exploration much greater than lowed at my school, so I had to go out side the forming in your head; there are no second what we could have anticipated, which led me school to learn it. The one club where I used chances to re-write it or to change it. You to suggest the title, Dos Y Mas (Two and to play some jazz and experiment with im- have to take what’s there and turn it into art in More.) Working with Arturo was great. His provisation was The Maxim, the only jazz the moment. My years of studies in Havana’s musicality and ability to play many different club in Havana at the time. The first time I music schools were essential in my harmonic hand drum instruments with ease created a played out was with trumpeter and singer wide range of musical possibilities not easily Bobby Carcases who would play regularly at (Continued on page 8)

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The economy and where they live, then we can really say we and melodic development, while the earlier politics also played a small roll in my deci- start to be familiar with their culture, and our exposure to Congolese roots in my home sion, but the main impetus was music. understanding of their music is amplified. An town, gave me a very important rhythmic example: I had heard recordings of Ecuadori- foundation that is a signature in my style of JI: How has life in the United States benefit- an marimba, so when I got a chance to visit playing and composing. ed your creative pursuits and the business side the country, I went to the province of Es- of the music for you? meraldas where there is a strong African cul- JI: Talk about your departure from Cuba and tural tradition. My friends brought along their friend, Lucho, who drove a taxi and ensured that we got to savor local foods and experi- ence how people lived there. He introduced “Living in New York has given me the possibility me to a family of musicians who constructed to perform with some of the must talented artists marimbas in a beautiful workshop full of wooden instruments, performed the dances, and musicians in the world and made it possible and carried the legends and oral traditions of Afro Ecuadorian culture from one generation to have my music more widely heard and to the next and to the larger community. A spontaneous visit to the workshop with the appreciated. However, with all of these benefits man who made the instruments where I learned about the construction of the different I still find it challenging to combine the artistry types of instruments, turned into an afternoon of playing the marimbas with family members and business sides of music, and be as honest dancing around us and long discussions about their music and history. Later, I visited the with my art as I hope to be.” family’s elderly matriarch who sat in the af- ternoon breeze and told Afro Ecuadorian sto- your move to the United States. EV: For me there is always a conflict between ries, occasionally breaking into song. I went the creative side and the business side of with the man to a class at a local orphanage EV: I immigrated to the U.S. in 1996 and the things. During my training years in Cuba, I where he taught the children how to play the reason was music. At the time I was a mem- would mostly focus on the creative side, rhythms and melodies of marimba music. The ber of singer songwriter Carlos Varela’s which is very important, but in America I children then taught me their dances. The group, I was on the faculty at the Instituto have to learn how to balance those two oppo- whole experience added many dimensions to Superior de Arte in Havana, where I was site energies. I learned that art is not just the my understanding of that particular portion in teaching harmony courses to the students as way artists express themselves, it is also the the Ecuadorian culture. well as Latin jazz courses to American musi- way we make money to survive in a capitalist cians who would travel to Cuba to learn our society, especially when art is not widely sup- JI: How have your activities as a music edu- music. I was offered the opportunity to come ported by the government. Living in New cator at Temple University influenced your to Philadelphia to teach the same courses at York has given me the possibility to perform artistic pursuits and understanding? the Asociacion de Musicos Latino America- with some of the must talented artists and nos in Philadelphia. I love my country, but I musicians in the world and made it possible to EV: I enjoy teaching. I think it is a big part of needed to explore more about myself and im- have my music more widely heard and appre- my training as a musician. Sharing my experi- merse myself in the music I loved and wanted ciated. However, with all of these benefits I ences with the students and answering ques- to play, so I took the opportunity. Being deep- still find it challenging to combine the artistry tion they may bring to the class helps me as ly interested in jazz, I knew that I needed to and business sides of music, and be as honest much as it helps them to achieve a higher lev- come to the United States if I wanted to study with my art as I hope to be. el of understanding and consciousness about jazz seriously. In Cuba I only had the oppor- my playing and music in general. I think curi- tunity to play my music once a year, if I was JI: What kinds of understandings have osity is key in music’s development. I have lucky enough to be selected to play at the Jazz you discovered about people and/ or cultures found Temple University to be a fertile terrain in your travels and performances recently? where curiosity is fostered among teachers and students.

EV: Learning about other cultures is the core

and most important thing about traveling. JI: Talk about what you've learned about “In times of change, Culture, and therefore music, comes from leadership from one or more of the jazz artists the learners shall inherit the people’s imaginations, and what we can imag- with/for whom you have worked. earth, while the learned find ine comes from all the threads that are the themselves beautifully equipped fabric of our lives. This may sound simple and EV: I don’t think there is a musician in the to succeed in a world that obvious for many, but I think that as musi- business that takes leadership more seriously no longer exists.” cians, we often believe that listening to music, than Wynton Marsalis and Chick Corea. I transcribing tunes, and playing it are enough learned a lot playing with Marsalis: While we to learn about a culture. However, when we (Continued on page 9) — Eric Hoffer, American Philosopher

8 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 “Culture, and therefore music, comes from people’s imaginations, and what we can imagine comes from all the threads that are the fabric of our lives.”

(Continued from page 8) ence. His concept of leadership is to free eve- would encourage me to expand my ideas were waiting to come out to the stage of the rybody and trust in their contributions to the without pushing his own, and felt like good Allen room, Jazz at Lincoln Center, he was music. He doesn’t control the interactions, no leadership, necessary in a studio environment. hanging with the musicians and making sure matter what direction the music takes, Chick we all felt comfortable. Then on the stage, he is there to support the music as it develops. As JI: Could you share some words of wisdom would speak to the audience, making sure bassist John Patitucci described him… “Chick you've heard, or understandings or advice they felt comfortable as well. His casual style is like your best friend, he is always there no you've picked up about music or business or is at once engaging and warm while his music matter what.” I had also learned a great deal life from one or more of the artists with whom is so precise and so tight it is almost formal in about leadership from music producer Jeff you've worked: Pat Martino, Wynton Marsal- its execution. I try to follow that modelxxxxxxxxxxx for my Levinson during the recording of Tree of Life is; Jon Faddis; Sonny Fortune or others? own performances. Watching pianist Chick by Francisco Mela for Half Note Records. Corea at a sound check during the 2011 Re- Different from other producers, he would nev- EV: The advice that most recently impacted turn to Forever Tour was another great experi- er interfere in the creative process. Instead he (Continued on page 10)

To Advertise CALL: 215-887-8880 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 9 pators project at Dizzy’s with Billy Hart, Sean World subject to abuse, starvation and pov- Elio Villafranca Jones and the others, and it is very strong. erty. Everyone involved in this project, musi- You should always be in the moment and put cians, photographers, videographers, execu- all your energy and thoughts in that moment. tive producers, and sound engineers, got very (Continued from page 9) Send me a copy of the recording when you excited and donated their time and talent to me came from my friend and indirect mentor finish!” contribute to the cause. One hundred percent Chick Corea. In November I went to see his of the money generated by the sales of the last performance of a month at the Blue Note, JI: Is there anything you'd like to talk about vinyl edition, as well as a large percent of the NYC, with his electric band. Impressed with that I haven't prompted you about? money generated by the sales of the CD, will his performance I told him about my upcom- be donated to Direct Grace to support its cam- ing recording with my Jass Syncopators, and I EV: I recorded the album Flower by the Dry paign in helping millions of kids deprived of the basic things in life such as freedom, secu- rity, and food. The Jass Syncopators featuring “Sharing my experiences with the students and Victor Lewis, drums, Vincent Herring, alto sax, J.D. Allen, tenor sax, Bruce Harris, trum- answering question they may bring to the class pet, Gregg August, bass, Juango Gutierrez- barril, Camilo, Molina-barril, and myself, helps me as much as it helps them to achieve a piano, recorded original music I composed, which I dedicate to all children of the world higher level of understanding and consciousness who suffer from horrible conditions. This is a beautiful project that we all can be proud of! about my playing and music in general. I think curiosity is key in music’s development.”

   wished out loud that my project would be as River at Soundsmith Corporation, Peekskill, strong as his. He said, “…never compare your Neq York my group Elio Villafranca & The work with others at the time of the perfor- Jass Syncopators. The idea was to do a rare mance. That will lower your ability to fully form of recording known as Direct to Disc to express yourself. I have seen your Jass Synco- support Direct Grace Fund for Children of the

10 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 FrankFrank WessWess Scott Robinson (interview on page 24) commented: “It’s one of the great oppor- tunities of what I do. In baseball, kids grow up idolizing Mickey Mantle for exam- ple. If they’re fortunate enough to get to a point where they can actually become a major league player, Mickey Mantle is long gone. But I get to play with “Mickey Mantle.” I grew up listening to Frank Wess – and I reached a point where I can go play at the Vanguard with Frank Wess.”

Photo taken at Newport Jazz Festival, August 14, 2004 © Eric Nemeyer

To Advertise CALL: 215-887-8880 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 11 Joey DeFrancesco Monk Centennial, Dizzy’s Club Jazz At Lincoln Center, October 12-15

© Eric Nemeyer

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Sunday, October 1 Tuesday, October 10  Freddy Cole, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Monk Centennial, Ts Monk Sextet, Dizzy’s Club, Jazz At Lincoln  Randy Weston / Billy Harper Duo, Blue Note, 131 W. 3rd St. Center  Joey Alexander Trio With Charnett Moffett, Ulysses Owens, Jr., Jazz Standard, 7:30, 9:30 PM. 116 E. 27th. Monday, October 2  Eddie Palmieri 80th Birthday Celebration, Blue Note, 131 W. 3rd St.  Mingus Big Band, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Vanguard Jazz Orchestra; Village Vanguard, 178 7th Ave S.  John Colianni’s Jazz Orchestra, Blue Note, 131 W. 3rd St. Wednesday, October 11  Monk Centennial, T.S. Monk Sextet, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Tuesday, October 3  Kenny Barron, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Rodney Green Trio, Dizzy’s Club, Jazz At Lincoln Center  The Bad Plus, Bill Frisell, Guitar; Ethan Iverson, Piano; Reid Ander-  Steve Cardenas With Adam Kolker, Ben Allison, Matt Wilson, Jazz son, Bass; Dave King; Drums; Village Vanguard, 178 7th Ave S. Standard, 7:30, 9:30 PM. 116 E. 27th.  Eddie Palmieri 80th Birthday Celebration, Blue Note, 131 W. 3rd St.  Renee Rosnes Quartet, Village Vanguard, 178 7th Ave S.

 Thursday, October 12 Wednesday, October 4  Joey Defrancesco Plays Monk, Dizzy’s Club, Jazz At Lincoln Center  Nicki Parrott Celebrates Blossom Dearie, Dizzy's, JALC, 60th & Bdwy  John Beasley's Monkestra, Jazz Standard, 7:30, 9:30 PM. 116 E.  Mike Moreno Monk Centennial Band, Jazz Standard, 7:30, 9:30 PM. 27th. 116 E. 27th.  Bad Plus, Bill Frisell, Village Vanguard, 178 7th Ave S.  Renee Rosnes; Village Vanguard, 178 7th Ave S.  Eddie Palmieri 80th Birthday Celebration, Blue Note, 131 W. 3rd St.

Thursday, October 5 Friday, October 13  Jean Baylor & Marcus Baylor, Dizzy’s Club, Jazz At Lincoln Center  Monk Centennial, Joey Defrancesco Plays Monk, Dizzy’s Club, Jazz  Larry Goldings, Peter Bernstein, Bill Stewart, Jazz Standard, 7:30, At Lincoln Center 9:30 PM. 116 E. 27th.  John Beasley's Monkestra, Jazz Standard, 7:30, 9:30 PM. 116 E.  Renee Rosnes Quartet, Chris Potter, Tenor; Renee Rosnes, Piano; 27th. Peter Washington, Bass; Lenny White, Drums; Village Vanguard, 178  Eddie Palmieri 80th Birthday Celebration, Blue Note, 131 W. 3rd St. 7th Ave S. Saturday, October 14 Friday, October 6  Monk Centennial, Joey Defrancesco Plays Monk, Dizzy’s Club, Jazz  Big Band Sound Of Rufus Reid, Dizzy’s Club, Jazz At Lincoln At Lincoln Center Center  John Beasley's Monkestra, Jazz Standard, 7:30, 9:30 PM. 116 E.  Larry Goldings, Peter Bernstein, Bill Stewart, Jazz Standard, 7:30, 27th. 9:30 PM. 116 E. 27th.  Eddie Palmieri 80th Birthday Celebration, Blue Note, 131 W. 3rd St.  Renee Rosnes Quartet, Chris Potter, Tenor; Renee Rosnes, Piano; Peter Washington, Bass; Lenny White, Drums; Village Vanguard, 178 7th Ave S. Sunday, October 15  Monk Centennial, Joey Defrancesco Plays Monk, Dizzy’s Club, Jazz At Lincoln Center  Saturday, October 7  Andrew Cyrille, David Virelles, Ben Street, Jazz Standard, 7:30, 9:30  Big Band Sound Of Rufus Reid, Dizzy’s Club, Jazz At Lincoln PM. 116 E. 27th. Center  Eddie Palmieri 80th Birthday Celebration, Blue Note, 131 W. 3rd St.  Larry Goldings, Peter Bernstein, Bill Stewart, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Renee Rosnes Quartet, Chris Potter, Tenor; Renee Rosnes, Piano; Monday, October 16 Peter Washington, Bass; Lenny White, Drums; Village Vanguard, 178  Monday Nights With WBGO - Allison Miller’s Boom Tic Boom, Dizzy’s 7th Ave S. Club, Jazz At Lincoln Center  Vanguard Jazz Orchestra; Village Vanguard, 178 7th Ave S. Sunday, October 8  Big Band Sound Of Rufus Reid, Dizzy’s Club, Jazz At Lincoln Tuesday, October 17 Center  Dizzy Centennial - Josh Evans Big Band: To Diz With Love, Dizzy’s  Larry Goldings, Peter Bernstein, Bill Stewart, Jazz Standard, 7:30, Club, Jazz At Lincoln Center 9:30 PM. 116 E. 27th.  Frank Kimbrough Quartet Plays Monk At Town Hall 1959, Jazz  Renee Rosnes Quartet, Village Vanguard, 178 7th Ave S. Standard, 7:30, 9:30 PM. 116 E. 27th.  Chico Freeman Plus+Tet, Village Vanguard, 178 7th Ave S.  McCoy Tyner, Blue Note, 131 W. 3rd St. Monday, October 9  Vanguard Jazz Orchestra; Village Vanguard, 178 7th Ave S.  Lee Konitz 90th Birthday Celebration Blue Note, 131 W. 3rd St. Wednesday, October 18  Monk Centennial, Frank Carlberg Large Ensemble: Monk Dreams,  Dizzy Centennial, Josh Evans Big Band: To Diz With Love, Dizzy’s  Hallucinations, And Nightmares, Dizzy’s Club, Jazz At Lincoln Club, Jazz At Lincoln Center Center  Brian Lynch Quintet, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Chico Freeman Plus+Tet, Chico Freeman, Saxophone; Anthony (Continued on page 14)

To Advertise CALL: 215-887-8880 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 13 Wonsey, Piano; Kenny Davis, Bass; Gust Tsilis, Vibes; Billy Hart, Works - Composed By Members Of The Orchestra, Rose Theater,  Charles Tolliver Tentet, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th. Drums; Terri Lyne Carrington; Village Vanguard, 178 7th Ave S. Jazz At Lincoln Center, 60th & Bdwy.  Chico Freeman Plus+Tet, Chico Freeman, Saxophone; Anthony  Marcus Strickland’s Twi-Life & Friends - Monthly Fall Residency, Blue  Dizzy Centennial, Dizzy At 100 With Jon Faddis, Dizzy’s Club, Jazz Wonsey, Piano; Kenny Davis, Bass; Gust Tsilis, Vibes; Billy Hart, Note, 131 W. 3rd St. At Lincoln Center Drums; Terri Lyne Carrington; Village Vanguard, 178 7th Ave S.  Charles Tolliver Tentet, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Brandon “Taz” Niederauer, Blue Note, 131 W. 3rd St.  Chico Freeman Plus+Tet, Chico Freeman, Saxophone; Anthony Thursday, October 19 Wonsey, Piano; Kenny Davis, Bass; Gust Tsilis, Vibes; Billy Hart,  Dizzy Centennial, Dizzy At 100 With Jon Faddis, Dizzy’s Club, Jazz Drums; Terri Lyne Carrington; Village Vanguard, 178 7th Ave S. Sunday, October 22 At Lincoln Center  Dizzy Centennial, Dizzy At 100 With Jon Faddis, Dizzy’s Club, Jazz  Charles Tolliver Tentet, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th. At Lincoln Center, 60th & Bdwy  Chico Freeman Plus+Tet, Chico Freeman, Saxophone; Anthony Saturday, October 21  Charles Tolliver Tentet, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th. Wonsey, Piano; Kenny Davis, Bass; Gust Tsilis, Vibes; Billy Hart,  Jazz At Lincoln Center Orchestra Songbook, 30th Anniversary -  Chico Freeman Plus+Tet, Chico Freeman, Saxophone; Anthony Drums; Terri Lyne Carrington; Village Vanguard, 178 7th Ave S. Landmark Concert With Wynton Marsalis Performs Favorite Original Wonsey, Piano; Kenny Davis, Bass; Gust Tsilis, Vibes; Billy Hart, Works, Composed By Members Of The Orchestra, Rose Theater, Drums; Terri Lyne Carrington; Village Vanguard, 178 7th Ave S. Jazz At Lincoln Center, 60th & Bdwy.  Brandon “Taz” Niederauer, Blue Note, 131 W. 3rd St. Friday, October 20  Dizzy Centennial, Dizzy At 100 With Jon Faddis, Dizzy’s Club, Jazz  Jazz At Lincoln Center Orchestra Songbook, 30th Anniversary At Lincoln Center Landmark Concert With Wynton Marsalis Performs Favorite Original  Caleb Wheeler Curtis Quintet, Jazz Standard, 7:30, 9:30, 116 E. 27th. Monday, October 23  Greg Reitan Trio, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Vanguard Jazz Orchestra; Village Vanguard, 178 7th Ave S.  Harold López-Nussa Trio, Ft Gregoire Marét, Pedrito Martinez & More, Blue Note, 131 W. 3rd St.

Tuesday, October 24  Oran Etkin’s Reimagining Benny Goodman, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Azar Lawrence Quartet With Benito Gonzalez, Essiet Essiet, Lenny White, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Terell Stafford, Trumpet; Tim Warfield, Saxophone; Bruce Barth, Piano; Peter Washington, Bass; Billy Williams, Drums; Village Van- guard, 178 7th Ave S.  Harold López-Nussa Trio, Ft Gregoire Marét, Pedrito Martinez & More, Blue Note, 131 W. 3rd St.

Wednesday, October 25  Oran Etkin: Gathering Light, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Azar Lawrence with Benito Gonzalez, Essiet Essiet, Lenny White, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Lea Delaria With Special Guest Norm Lewis, Birdland, 315 W. 44th St.  Terell Stafford, Trumpet; Tim Warfield, Saxophone; Bruce Barth, Piano; Peter Washington, Bass; Billy Williams, Drums; Village Van- guard, 178 7th Ave S.  Arturo Sandoval, Blue Note, 131 W. 3rd St.

Thursday, October 26  Mike Ledonne Trio Featuring Ron Carter, Dizzy’s Club, Jazz At Lincoln Center  Yosvany Terry, Baptiste Trotignon Quartet, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Arianna Neikrug, Lea Delaria With Special Guest Norm Lewis, Bird- land, 315 W. 44th St.  Terell Stafford, Trumpet; Tim Warfield, Saxophone; Bruce Barth, Piano; Peter Washington, Bass; Billy Williams, Drums; Village Van- guard, 178 7th Ave S.  Arturo Sandoval, Blue Note, 131 W. 3rd St.

Friday, October 27  Marilyn Maye & Tedd Firth Big Band, Appel Room, Jazz At Lincoln Center, 60th & Bdwy.  Georgia Horns, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy.  Yosvany Terry, Baptiste Trotignon Quartet, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Birdland Big Band, Lea Delaria With Special Guest Norm Lewis, Birdland, 315 W. 44th St.  Terell Stafford, Trumpet; Tim Warfield, Saxophone; Bruce Barth, Piano; Peter Washington, Bass; Billy Williams, Drums; Village Van- guard, 178 7th Ave S.  Arturo Sandoval, Blue Note, 131 W. 3rd St.

Saturday, October 28  Marilyn Maye & Tedd Firth Big Band, Appel Room, Jazz At Lincoln Center, 60th & Bdwy.  Georgia Horns, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Vinnie Sperrazza, Peter Brendler, Bruce Barth, Jazz Standard, 116 E. 27th.  Yosvany Terry, Baptiste Trotignon Quartet, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Louis Armstrong Eternity Band, Birdland, 315 W. 44th St.  Terell Stafford, Trumpet; Tim Warfield, Sax; Bruce Barth, Piano; Peter Washington, Bass; Village Vanguard, 178 7th Ave S. (Continued on page 16)

14 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

To Advertise CALL: 215-887-8880 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 15  Arturo Sandoval, Blue Note, 131 W. 3rd St.  Ann Hampton Callaway "Jazz Goes To The Movies", Birdland, 315 W. 44th St.  Fred Hersch, Piano; John Hébert, Bass; Eric McPherson, Drums; Sunday, October 29 Village Vanguard, 178 7th Ave S.  Georgia Horns, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Dizzy Gillespie All-Stars, Blue Note, 131 W. 3rd St.  Frank Perowsky Jazz Orchestra, Afro Latin Jazz Orchestra, Birdland, 315 W. 44th St.  Terell Stafford, Trumpet; Tim Warfield, Saxophone; Bruce Barth, Sunday, November 5 Piano; Peter Washington, Bass; Billy Williams, Drums; Village Van-  George Coleman Quintet, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th. guard, 178 7th Ave S.  Vocal Masterclass With Marion Cowings, Ai Murakami Trio Feat.  Arturo Sandoval, Blue Note, 131 W. 3rd St. Sacha Perry  Behn Gillece Quartet, Richie Vitale Quintet, Hillel Salem, After-Hours Jam Session, Small’s, 183 W. 10th St. Monday, October 30  John Colianni Jazz Orchestra, Birdland, 315 W. 44th St.  Manhattan School Of Music Jazz Orchestra, Dizzy’s Club, Jazz At  Fred Hersch, Piano; John Hébert, Bass; Eric McPherson, Drums; Lincoln Center, 60th & Bdwy Village Vanguard, 178 7th Ave S.  Ari Hoenig Trio, Jonathan Barber Group & After-Hours Jam Session,  Dizzy Gillespie All-Stars, Blue Note, 131 W. 3rd St. Small’s, 183 W. 10th St.  Natalie Douglas Celebrating Shirley Bassey, Birdland, 315 W. 44th St. Monday, November 6  Vanguard Jazz Orchestra; Village Vanguard, 178 7th Ave S.  Triangular: Ralph Peterson Trio Featuring The Curtis Brothers, Diz-  Odean Pope Sax Choir Birthday Celebration Ft. Ravi Coltrane, Blue zy’s Club, Jazz At Lincoln Center Note, 131 W. 3rd St.  Theo Hill Trio, Jonathan Michel Group & After-Hours Jam Session, Small’s, 183 W. 10th St.  Vanguard Jazz Orchestra; Village Vanguard, 178 7th Ave S. Tuesday, October 31  Makoto Ozone Trio Featuring James Genus And Jeff “Tain” Watts, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Tuesday, November 7  Scott Robinson & The Heliotones: A Halloween Spectacular With  Triangular: Ralph Peterson Trio Featuring The Curtis Brothers, Diz- Phillip Harper, Frank Lacy, Gary Versace, Pat O’Leary, Jazz Stand- zy’s Club, Jazz At Lincoln Center, 60th & Bdwy. ard, 7:30, 9:30 PM. 116 E. 27th.  Frank Lacy Group, Abraham Burton Quartet & After-Hours Jam  Ann Hampton Callaway "Jazz Goes To The Movies", Birdland, 315 Session, Small’s, 183 W. 10th St. W. 44th St.  Django Reinhardt NY Festival All Stars, Birdland, 315 W. 44th St.  Fred Hersch, Piano; Village Vanguard, 178 7th Ave S.  Ravi Coltrane, Saxophone Adam Rogers, Guitar Dezron Douglas,  Dizzy Gillespie All-Stars, Blue Note, 131 W. 3rd St. Bass E.J. Strickland, Drums; Village Vanguard, 178 7th Ave S.  Rebirth Brass Band, Residency, Blue Note, 131 W. 3rd St. Wednesday, November 1  Dan Nimmer Trio, Dizzy’s Club, Jazz At Lincoln Center, 60th & Wednesday, November 8 Bdwy  Israeli Jazz Celebration: 7:30pm—Guy Mintus Trio; 9:30pm—Yotam  Andrew Gould Quartet, Josh Lawrence "Color Theory", Jovan Alexan- Ben-Or Quartet, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy. dre, After-Hours Jam Session, Small’s, 183 W. 10th St.  Michael Zilber Quartet, Ryan Keberle & Catharsis, Aaron Seeber,  Ann Hampton Callaway "Jazz Goes To The Movies", Birdland, 315 After-Hours Jam Session, Small’s, 183 W. 10th St. W. 44th St.  Django Reinhardt NY Festival All Stars; David Ostwald's Louis Arm-  Fred Hersch, Piano; Village Vanguard, 178 7th Ave S. strong Eternity Band; Birdland, 315 W. 44th St.  Dizzy Gillespie All-Stars, Blue Note, 131 W. 3rd St.  Ravi Coltrane, Saxophone Adam Rogers, Guitar Dezron Douglas, Bass E.J. Strickland, Drums; Village Vanguard, 178 7th Ave S.  Rebirth Brass Band, Residency, Blue Note, 131 W. 3rd St. Thursday, November 2  George Coleman Quintet, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Dan Nimmer Trio, Dizzy’s Club, Jazz At Lincoln Ctr, 60th & Bdwy Thursday, November 9  Christopher Mcbride Quintet, Luca Santaniello Quartet, Davis Whit-  Leonard Bernstein At The Jazz At Lincoln Center Orchestra With field, "After-Hours" Jam Session, Small’s, 183 W. 10th St. Wynton Marsalis Celebrates The Leonard Bernstein Centennial; Rose  Ann Hampton Callaway, Birdland, 315 W. 44th St. Theater, Jazz At Lincoln Center, 60th & Bdwy.  Fred Hersch, Piano; Village Vanguard, 178 7th Ave S.  Sullivan Fortner, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy.  Dizzy Gillespie All-Stars, Blue Note, 131 W. 3rd St.  New York Jazz Nine, Nick Hempton Trio, Jonathan Thomas, After- Hours Jam Session, Small’s, 183 W. 10th St.  Django Reinhardt NY Festival All Stars, Birdland, 315 W. 44th St. Friday, November 3  Ravi Coltrane, Saxophone Adam Rogers, Guitar Dezron Douglas,  George Coleman Quintet, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th. Bass E.J. Strickland, Drums; Village Vanguard, 178 7th Ave S.  Nuevo Jazz Latino, 30th Anniversary Landmark Concert With Elio  Talib Kweli – Live band residency: “Quality” album 15th Anniversary, Villafranca, Yosvany Terry, Dafnis Prieto, Pedrito Martinez, Carlos Blue Note, 131 W. 3rd St. Henriquez, Mike Rodriguez, Appel Room, Jazz At Lincoln Center, 60th & Bdwy.  Eliane Elias: From Bill Evans To Brazil, Pianist, Vocalist, And Grammy Friday, November 10 Award Winner, Eliane Elias Performs The Music Of Bill Evans, Brazili-  Leonard Bernstein At The Jazz At Lincoln Center Orchestra With an Classics And Originals, Rose Theater, Jazz At Lincoln Center, Wynton Marsalis Celebrates The Leonard Bernstein Centennial; Rose

60th & Bdwy. Theater, Jazz At Lincoln Center, 60th & Bdwy.  Vinicius Cantuaria, Dizzy’s Club, Jazz At Lincoln Ctr, 60th & Bdwy  Warren Wolf, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy.  Mark Gross Quintet, George Colligan Quintet, Corey Wallace "After-  Tim Ries Quintet, The Flail, After-Hours Jam Session With Joe Farns- Hours", Small’s, 183 W. 10th St. worth, Small’s, 183 W. 10th St.  Ann Hampton Callaway, Birdland, 315 W. 44th St.  Django Reinhardt NY Festival All Stars, Birdland, 315 W. 44th St.  Fred Hersch, Piano; John Hébert, Bass; Eric McPherson, Drums;  Ravi Coltrane, Saxophone Adam Rogers, Guitar Dezron Douglas, Village Vanguard, 178 7th Ave S. Bass E.J. Strickland, Drums; Village Vanguard, 178 7th Ave S.  Dizzy Gillespie All-Stars, Blue Note, 131 W. 3rd St.  Talib Kweli, Blue Note, 131 W. 3rd St.

Jazz Lovers’ Saturday, November 4 Saturday, November 11  George Coleman Quintet, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Leonard Bernstein At The Jazz At Lincoln Center Orchestra With  Nuevo Jazz Latino, 30th Anniversary Landmark Concert With Elio Wynton Marsalis Celebrates The Leonard Bernstein Centennial; Rose Villafranca, Yosvany Terry, Dafnis Prieto, Pedrito Martinez, Carlos Theater, Jazz At Lincoln Center, 60th & Bdwy. Henriquez, Mike Rodriguez, Appel Room, Jazz At Lincoln Center,  Warren Wolf, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy 60th & Bdwy.  Jon Roche, The Flail, Philip Harper Quintet, Small’s, 183 W. 10th St.  Eliane Elias: From Bill Evans To Brazil, Pianist, Vocalist, And Grammy  Django Reinhardt NY Festival All Stars, Birdland, 315 W. 44th St.

Lifetime Collection Award Winner, Eliane Elias Performs The Music Of Bill Evans, Brazili-  Bad Plus, Bill Frisell, Village Vanguard, 178 7th Ave S. an Classics And Originals, Rose Theater, Jazz At Lincoln Center,  Ravi Coltrane, Saxophone Adam Rogers, Guitar, Dezron Douglas, 60th & Bdwy. Bass E.J. Strickland, Drums; Village Vanguard, 178 7th Ave S.  Vinicius Cantuaria Quintet, Dizzy’s Club, 60th & Bdwy JazzMusicDeals.com JazzMusicDeals.com  Smalls Showcase: Mike Bond Trio, Mark Gross Quintet, George (Continued on page 17) Colligan Quintet, Brooklyn Circle, Small’s, 183 W. 10th

16 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880  Kristina Koller, Mike Clark Quartet, Small’s, 183 W. 10th St.  Veronica Swift; Diane Schuur, Birdland, 315 W. 44th St.

 John Zorn's Masada: Book Three, Masada At The Vanguard; Village

Vanguard, 178 7th Ave S. “...among human beings “Some people’s idea of  Stanley Clarke Band with Lenny White, Blue Note, 131 W. 3rd St. jealousy ranks distinctly as a free speech is that they are free weakness; a trademark of small minds; to say what they like, but if anyone Sunday, November 19 a property of all small minds, yet a property  Bobby Sanabria Multiverse Big Band: West Side Story At 60 Reimag- which even the smallest is ashamed of; says anything back that ined, Dizzy's Club, Jazz At Lincoln Center, 60th & Bdwy. and when accused of its possession will  Brian Blade, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th. lyingly deny it and resent the is an outrage.”  Ai Murakami, Tardo Hammer, Small’s, 183 W. 10th St.  Veronica Swift; Birdland, 315 W. 44th St. accusation as an insult.”  John Zorn's Masada: Book Three, Masada At The Vanguard; Village Vanguard, 178 7th Ave S. - Winston Churchill -Mark Twain  Stanley Clarke Band with Lenny White, Blue Note, 131 W. 3rd St.   Talib Kweli – Live band residency: “Quality” album 15th Anniversary, Blue Note, 131 W. 3rd St. Monday, November 20 Tuesday, November 28  Steve Nelson Salutes Bobby Hutcherson, Dizzy’s Club, Jazz At  Dayna Stephens with Taylor Eigsti, Peter Bernstein, Ben Street, Billy Sunday, November 12 Lincoln Center, 60th & Bdwy. Hart, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy.  Warren Wolf, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy.  Ari Hoenig Trio, Jonathan Barber, Small’s, 183 W. 10th St.  Spike Wilner, Abraham Burton, Small’s, 183 W. 10th St.  Ai Murakami, Sasha Dobson, David Schnitter, Small’s, 183 W. 10th  Veronica Swift; Birdland, 315 W. 44th St.  Marcus Roberts Trio; Birdland, 315 W. 44th St. St.  Vanguard Jazz Orchestra; Village Vanguard, 178 7th Ave S.  Terell Stafford, Trumpet; Tim Warfield, Saxophone; Bruce Barth,  Django Reinhardt NY Festival All Stars; Birdland, 315 W. 44th St.  Marcus Strickland’s Twi-Life & Friends, Blue Note, 131 W. 3rd St. Piano; Peter Washington, Bass; Village Vanguard, 178 7th Ave S.  Bad Plus, Bill Frisell, Village Vanguard, 178 7th Ave S.   Fourplay, Blue Note, 131 W. 3rd St.  Ravi Coltrane, Saxophone Adam Rogers, Guitar Dezron Douglas, Bass E.J. Strickland, Drums; Village Vanguard, 178 7th Ave S. Tuesday, November 21  Yotam Silberstein, Dizzy’s Club, Jazz At Lincoln Center, 60th & Wednesday, November 29 Bdwy.  Dayna Stephens with Taylor Eigsti, Peter Bernstein, Ben Street, Billy Monday, November 13  Maria Schneider Orch, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th. Hart, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy.  Neal Smith Berklee Octet Featuring Billy Pierce, Dizzy’s Club, Jazz  Steve Nelson Quintet, Abraham Burton Quartet & After-Hours Jam  Nate Radley, Steve Davis, Small’s, 183 W. 10th St. At Lincoln Center, 60th & Bdwy. Session, Small’s, 183 W. 10th St.  Marcus Roberts; Birdland, 315 W. 44th St.  Tim Hegarty Group, Jonathan Barber Group & After-Hours Jam  Veronica Swift; Birdland, 315 W. 44th St.  Fourplay, Blue Note, 131 W. 3rd St. Session, Small’s, 183 W. 10th St.  Jason Moran, Village Vanguard, 178 7th Ave S.  Vanguard Jazz Orchestra; Village Vanguard, 178 7th Ave S.  Dee Dee Bridgewater, Blue Note, 131 W. 3rd St.  McCoy Tyner, Blue Note, 131 W. 3rd St. Thursday, November 30  David Chesky: Jazz In The New Harmonic, Dizzy’s Club, Jazz At Wednesday, November 22 Lincoln Center, 60th & Bdwy. Tuesday, November 14  Wycliffe Gordon, Dizzy’s Club, Jazz At Lincoln Ctr, 60th & Bdwy.  Hailey Niswanger, Steve Davis, Small’s, 183 W. 10th St.  Jerome Jennings Group Featuring Jazzmeia Horn, Dizzy’s Club, Jazz  Maria Schneider Orch, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Marcus Roberts Trio; Birdland, 315 W. 44th St. At Lincoln Center, 60th & Bdwy.  Taylor Eigsti, Asaf Yuria, Small’s, 183 W. 10th St.  Vanguard Jazz Orchestra; Village Vanguard, 178 7th Ave S.  Brian Blade, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Louis Armstrong Eternity; Veronica Swift; Birdland, 315 W. 44th St.  Fourplay, Blue Note, 131 W. 3rd St.  Lucas Pino Nonet, Abraham Burton, Small’s, 183 W. 10th St.  Jason Moran, Village Vanguard, 178 7th Ave S.  Diane Schuur, Birdland, 315 W. 44th St.  Dee Dee Bridgewater, Blue Note, 131 W. 3rd St.  John Zorn's Masada: Book Three, Masada At The Vanguard; Village Friday, December 1 Vanguard, 178 7th Ave S.  Steve Miller, Jimmie Vaughan & Charlie Musselwhite: The Blues

 Stanley Clarke Band with Lenny White, Blue Note, 131 W. 3rd St. Thursday, November 23 Triangle Memphis, Texas, And Chicago And More; Rose Theater.  Wycliffe Gordon, Dizzy’s Club, Jazz At Lincoln Ctr, 60th & Bdwy. Jazz At Lincoln Center, 60th & Bdwy.  Taylor Eigsti, Small’s, 183 W. 10th St.  Fabulous Dorsey Brothers With Peter And Will Anderson, Wycliffe Wednesday, November 15  Veronica Swift; Birdland, 315 W. 44th St. Gordon, Brianna Thomas, Bruce Harris, And More; The Appel Room,  Jerome Jennings Group Featuring Jazzmeia Horn, Dizzy’s Club, Jazz  Jason Moran, Piano; Village Vanguard, 178 7th Ave S. Jazz At Lincoln Center, 60th & Bdwy. At Lincoln Center, 60th & Bdwy.  Dee Dee Bridgewater, Blue Note, 131 W. 3rd St.  Fourplay, Blue Note, 131 W. 3rd St.  Brian Blade, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Curtis Nowosad, Harold Mabern, Small’s, 183 W. 10th St.  Diane Schuur; Birdland, 315 W. 44th St. Friday, November 24 Friday, December 2  John Zorn's Masada: Book Three, Masada At The Vanguard, Village  Wycliffe Gordon, Dizzy’s Club, Jazz At Lincoln Ctr, 60th & Bdwy.  Steve Miller, Jimmie Vaughan & Charlie Musselwhite: The Blues Vanguard, 178 7th Ave S.  Maria Schneider Orch, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th. Triangle Memphis, Texas, And Chicago And More; Rose Theater.  Stanley Clarke Band with Lenny White, Beka Gochiashvili, Salar  Brandon Lee Quartet, Jerome Jennings Sextet, After-Hours Jam Jazz At Lincoln Center, 60th & Bdwy. Nadar, Blue Note, 131 W. 3rd St. Session With Corey Wallace, Small’s, 183 W. 10th St.  Fabulous Dorsey Brothers With Peter And Will Anderson, Wycliffe  Veronica Swift With The Benny Green Trio; Birdland Big Band; Gordon, Brianna Thomas, Bruce Harris; Appel Room, Jazz At Lincoln Birdland, 315 W. 44th St. Center, 60th & Bdwy. Thursday, November 16  Jason Moran, Piano; Village Vanguard, 178 7th Ave S.  Fourplay, Blue Note, 131 W. 3rd St  Embrace: A Musical Celebration Of Friends And Collaborators Of The  Dee Dee Bridgewater, Blue Note, 131 W. 3rd St. Incredible Honk, Roswell Rudd, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy. Tuesday, December 13  Brian Blade, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th. Saturday, November 25  Big Band Holidays Featuring The Jazz At Lincoln Center Orchestra  Alex Lore, Brandon Sanders, Small’s, 183 W. 10th St.  Wycliffe Gordon, Dizzy’s Club, Jazz At Lincoln Ctr, 60th & Bdwy. With Wynton Marsalis And Vocalists Catherine Russell And Kenny  Diane Schuur; Steve Sandberg Quartet; Birdland, 315 W. 44th St.  Maria Schneider Orch, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th. Washington; Rose Theater, Jazz At Lincoln Center, 60th & Bdwy.  John Zorn's Masada: Book Three, Masada At The Vanguard, Village  Michael Stephans, Philip Harper Quintet, Small’s, 183 W. 10th St. Vanguard, 178 7th Ave S.  Veronica Swift, Benny Green; Birdland Big Band; 315 W. 44th St. Wednesday, December 14  Stanley Clarke, Lenny White, Blue Note, 131 W. 3rd St.  Jason Moran, Village Vanguard, 178 7th Ave S.  Big Band Holidays Featuring The Jazz At Lincoln Center Orchestra  Dee Dee Bridgewater, Blue Note, 131 W. 3rd St. With Wynton Marsalis And Vocalists Catherine Russell And Kenny

Washington; Rose Theater, Jazz At Lincoln Center, 60th & Bdwy.  Friday, November 17

 Bobby Sanabria Multiverse Big Band: West Side Story At 60 Reimag- Sunday, November 26  ined, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy.  Wycliffe Gordon, Dizzy’s Club, Jazz At Lincoln Ctr, 60th & Bdwy.  Brian Blade, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  Maria Schneider Orch, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.

 Michael Cochrane, John Fedchock, Small’s, 183 W. 10th St.  Marion Cowings, Ai Murakami, David Gibson, Small’s, 183 W. 10th

 Diane Schuur; Birdland Big Band; Birdland, 315 W. 44th St.  Jason Moran, Village Vanguard, 178 7th Ave S. “Have the courage to say no.  John Zorn's Masada: Book Three, Masada At The Vanguard, Village  Dee Dee Bridgewater, Blue Note, 131 W. 3rd St. Vanguard, 178 7th Ave S. Have the courage to face the truth.  Stanley Clarke Band with Lenny White, Blue Note, 131 W. 3rd St. Do the right thing because it is right.  Monday, November 27 These are the magic keys to  MSM Afro-Cuban Jazz Orchestra, Dizzy’s Club, Jazz At Lincoln living your life with integrity.” Saturday, November 18 Center, 60th & Bdwy.  Bobby Sanabria Multiverse Big Band: West Side Story At 60 Reimag-  Stranahan/Zaleski/Rosato, Jonathan Michel, Small’s ined, Dizzy's Club, Jazz At Lincoln Center, 60th & Bdwy.  Vanguard Jazz Orchestra; Village Vanguard, 178 7th Ave S. - W. Clement Stone  Brian Blade, Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.  McCoy Tyner, Blue Note, 131 W. 3rd St.

To Advertise CALL: 215-887-8880 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 17 Clubs,Clubs, VenuesVenues && JazzJazz ResourcesResources

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

18 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, Zankel Hall, 881 7th Ave, New York, 212-247-7800 NY, 718-768-0855 Zinc Bar, 82 West 3rd St.

Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ, RECORD STORES 908-232-7320, 16prospect.com, cjayrecords.com Academy Records, 12 W. 18th St., New York, NY 10011, 212-242 “It is curious that physical courage Red Eye Grill, 890 7th Av (56th), 212-541-9000, redeyegrill.com -3000, http://academy-records.com should be so common in the world Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Downtown Music Gallery, 13 Monroe St, New York, NY 10002, and moral courage so rare.” Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795 (212) 473-0043, downtownmusicgallery.com Rockwood Music Hall, 196 Allen St, 212-477-4155 Jazz Record Center, 236 W. 26th St., Room 804, Rose Center (American Museum of Natural History), 81st St. 212-675-4480, jazzrecordcenter.com (Central Park W. & Columbus), 212-769-5100, amnh.org/rose MUSIC STORES — Mark Twain Rose Hall, 33 W. 60th St., 212-258-9800, jalc.org Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036, Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472, 646-366-0240, robertoswoodwind.com Queens College — Copland School of Music, City University of 845-658-9048, rosendalecafe.com Sam Ash, 333 W 34th St, New York, NY 10001 NY, Flushing, 718-997-3800 Rubin Museum of Art - “Harlem in the Himalayas”, 150 W. 17th Phone: (212) 719-2299 samash.com Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Cam- St. 212-620-5000. rmanyc.org Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, 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 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 19 an music like Stravinsky, so I did my training as a classic percussion such as timpani, xylo- InterviewInterview phone etc. I developed my reading and har- mony, I learned about music history in gen- eral, I also had the time to practice drums by myself and that’s what I did almost for the Dafnis Prieto whole time. I’m self-thought on drum set. I also had a great teacher for snare drum his Learning From Everything name is Roberto Concepcion he was a great inspiration for me.

Interview by Eric Nemeyer, Photo by Ken Weiss music around me and I have been always in- JI: What kinds of listening or study of jazz terested in learning from it. Afro-Cuban music drummers and jazz groups did you do to help JI: What kinds of challenges did you experi- has a very deep development in Rhythms you gain proficiency to the level that your ence to your creativity and musical develop- structures, chants, melodies and it has a great background in Afro Cuban music provided? ment while you lived in Cuba? diversity of genres. But when I approach my- self into other genres of music I try to be open DP: I listened a lot of Elvin Jones mostly with DP: I always like challenges specially in mu- and not get stuck only where I’m coming the John Coltrane Quartet, also Tony Wil- sic and I think I have had lots of them around from, for me it’s also where I want to go with liams with Miles and Jack DeJohnette, Buddy my musical development, in Cuba one of my the ideas and how much of myself I can put Rich, Steve Gadd and many others. I liked to biggest challenge was to play, learn and create in. figure things out by myself, I didn’t have that music with the band “Columna B.” We were many drum books to learn from, so I learned always looking for some new ideas and the JI: How did you make the acquaintance of mostly the drum set by listening. understanding of the music itself. Canadian saxophonist Jane Bunnett on whose Blue Note album you recorded? What kinds JI: What kinds of challenges-in terms of mu- JI: What prompted you to migrate to the of discussions with Jane did you have, or what sic, business, career-did you experience upon United States, and how did that happen? suggestions did Jane make, and how did that your arrival in the United States? association influence you? DP: I was living in Barcelona, Spain and I DP: The life of the musician in America is wasn’t satisfied with my career there, then I DP: I met Jane Bunnett for the first time in hard but at least I’m doing what I like to do, was invited by Jane Bunnett to perform in France, then she came to Cuba and we talked the challenge is that sometimes I have to play Canada and the U.S. so I came and I decided and played some music together, after that she music that I don’t really like and just because that I had to make a step forward with my invited me to tour with her band Spirits of I have to pay my bills, I have to go and make professional life and make the move to New Havana, we also made an album together title it happen. York, so I did , that was in 1999, I wanted to Ritmo + Soul on Blue Note and EMI Records, JI: Could you compare the goals, perspective and or leadership styles of a few of the artists “The life of the musician in America for whom you have worked: Steve Coleman, Jane Bunnett, Henry Threadgill, Michel Camilo, Arturo O’Farrill? is hard but at least I’m doing what DP: That’s a big question because they all I like to do, the challenge is that have different ways to approach music in the first place, from the conception of the music sometimes I have to play music in their heads to the sound that come as a con- sequence of it, They are all great but very that I don’t really like and just different....

because I have to pay my bills, I JI: In brief, what kinds of impact did each of these musicians make upon your artistry?

have to go and make it happen.” DP: I think they all influenced me and they all challenge me to make myself a better drum- I liked the mix she had of AfroCuban tradi- mer and a better musician. live in a place where I could meet and play tional music with the Jazz elements. with different kind of musicians, I wanted to JI: Tell us about your experience working develop myself as much as I can, and New JI: How did your experiences at the National with Herbie Hancock? York was the place for it. School of Music in Havana benefit you, or challenge you? How did it provide the DP: That was a perfomance I did at the Eco- JI: Could you talk about how elements of groundwork for your career? nomic Forum. It was an All Star band with Afro-Cuban rhythms or music play a founda- Quincy Jones as a director, I can’t really tell tional role in your conception and approach to DP: At the time that I was at the National you that much about the experience because it all genres of music? School of Music in Havana I was learning was only a couple of tunes that I played with from the school all the European classic music DP: Well, I was born with the Afro Cuban from J.S Bach to more contemporary Europe- (Continued on page 22)

20 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 21

“I walk around with my recorder player and I record those ideas any where — when I’m walking, waiting for the subway etc. That way I make sure that the idea is not going to fly away from me.”

Dafnis Prieto how the band should articulate or interpret parts in the music and so on ... this kind of (Continued from page 20) music is more about the sound of the whole album and to make sure that it’s recorded well him and I saw Herbie five or then minutes too I’m talking about live music of course. before the gig. JI: Could you talk about how you have devel- JI: How does your approach or perspective oped your compositional skills? differ when you are in the role of being a side- man as compared to a leader? DP: Well, learning from everything. I hear what I want and I what I don’t want as a DP: I try to play all the music with the same sound projection in my bands. I study scores passion as if it were mine, but when I’m play- and charts from jazz composers and also from ing my music I know what I wrote and what I European music, African music, Indian music meant in each piece, so it’s quite easier. and the music that comes from Cuba. I follow a lot my intuition when I sit at the piano to JI: How did your deal with Zoho Records write music. It feels great when I’m doing it develop? but is a lot of work when you have a lot of music to write… DP: I met Joachim from Zoho Music when he was starting with a the Label called Khaon. JI: What processes do you go through to de- He approached me to make my own Record velop those compositions? but I wasn’t ready for it at that time, since DP: Sometime the idea comes from a simple then we have been in touch and now I have bass line or from a melody or from a rhythm two records on Zoho Music Label, the first is structure, I don’t follow a role in my writing title About the Monks and the second album is and I liked that way. I walk around with my Absolute Quintet.

recorder player and I record those ideas any Jazz Lovers’

where — when I’m walking, waiting for the JI: What kinds of suggestions or direction subway etc. That way I make sure that the from producers did you receive in the creation idea is not going to fly away from me. of your various albums? JI: What words of wisdom have you received DP: I produced my first record myself and the from a teacher or mentor, or is there a quota- Lifetime Collection second album it was produced by Roberto tion or fragment of wisdom that has inspired Occhipinti and myself. In this case the music you or that you abide by? JazzMusicDeals.com kept the same with not big change, that is JazzMusicDeals.com DP: There are a lot of them that I’ve fol- great for me to work with him because I’ve lowed, but I know them in Spanish ... haha … known him for many years and he knew the kind of music I was writing for this new al-  bum, good producer also get really specific on

22 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

To Advertise CALL: 215-887-8880 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 23 transposing on the spot.

SR: There’s a logic to that transposition that makes InterviewInterview it doable, at least in a certain register. When I start-

ed playing in Mel Lewis’ band, I became Gary Smulyan’s number one sub back in the days. I played many, many times in that band and went to Scott Robinson Japan with them. I always brought the bass clarinet and the guys were like, “Wow, nobody ever does I get to play with “Mickey Mantle.” that.” But for me it was kind of fun, and fun to hear those parts played as they were intended, on a bass clarinet. I like doubling. I like playing all the dif- By Eric Nemeyer tone and focusing more on tenor and telling certain ferent sounds. I have great respect for specializa- people to call me for tenor and call somebody else tion. Some people really specialize and hone a JI: Who and what were your initial inspirations to for baritone. particular skill and really get it to a very, very high focus on baritone sax? level and part of me wishes I were more that way. JI: How has that worked out? But I have to be true to my nature. It seems to be SR: Well that’s an interesting question. I actually my nature to have a thousand interests and to get don’t focus on the baritone sax although a lot of SR: It’s worked out well because now I’m playing all excited about a million different things and add people think I do. I never played much baritone tenor all the time. I didn’t really want to do it that them all into what I do - so it quickly spirals out of until I came to New York. I started getting some way because it’s my nature to add rather than sub- control and I end up with these big complicated calls from people that needed a baritone sax player. tract. That’s why my life gets so complicated. I’m projects in various stages, full of instruments that I So I started playing it more and then I started get- always adding things in - and it’s hard for me to have to haul around. But it’s all part of the fun. ting more calls to play it, and I played it with a lot say no and take something out. I haven’t taken the of big bands. Most of that has come to an end. I’m baritone out, but I’ve cut way, way back on it. If JI: What is your “laboratory” like? still playing it with Maria Schneider’s band, and I you look back over my recorded work, I’m on was playing it with Bob Brookmeyer. I actually more than 200 CDs at this point. There’s a lot of SR: Well, you know, I’m attracted to science. I’m really do love the instrument and I think I managed baritone sax in there. But if you look at just the not any kind of scientist and I never went to school to develop a personal sound and approach to it ones I’ve done under my own name, going all the for any of that but I’m attracted to the aesthetics of which helps to get me a lot of attention. The prob- way back to the beginning in 1984 - there’s very science and I use that in my music. I use it a lot. I lem is that there’s something about the baritone little baritone sax in there. I enjoy the instrument like taking scientific materials and looking at them from an aesthetic viewpoint, and using them in composition and in performance. If you came into “The problem is that there’s something my lab, you’d see a lot of amazing instruments, all kinds of unbelievable sound sources and strange about the baritone [sax] that once you devices. You’d also see some actual laboratory equipment, some chemical, glassware and stuff like this. Strange beakers and vials kind of hanging start playing it and you get good at it around the room and that’s just part of the vibe out there. I have a round disc that lights up. It looks and you get a reputation for being good like lightning sort of, and it responds to sound - and they used these in Star Trek when the board is re- at it, nobody wants to know that you charging. They use these weird plates that describe these strange electrical arcs. I just like to turn it on do anything else - and the tenor has and it really puts a vibe in the room - puts a kind of science meets music-of-the-future feeling in the always been my primary voice. I found room.

myself faced with a situation where JI: Let’s talk about some of the artists with whom you’ve played who have made an impact on your people weren’t calling me to play artistry and/or your perspectives about music. You’ve played with such a wide variety of artists, tenor anymore.” including those whose roots are in another era, the Swing Era - like Buck Clayton and Lionel Hamp- ton. that once you start playing it and you get good at it but it’s never been my primary focus. I’m more of and you get a reputation for being good at it, no- a B-flat guy. I play tenor and B-flat. I skip over the SR: My earliest heroes in this music were Lester body wants to know that you do anything else - and baritone and play the bass sax a lot on my own Young, Ben Webster, Louis Armstrong, Albert the tenor has always been my primary voice. I projects. Even though for several years now I’ve Ayler, Rahsaan Roland Kirk. These are people that found myself faced with a situation where people been really focused on the tenor, some people I listened to when I was a boy. I don’t get caught weren’t calling me to play tenor anymore. Then it aren’t aware of it. I played at the Newport Jazz up in the debates over whether the music of the 20s became even worse. After a few years of this, if Festival with two different bands — Maria Schnei- is more or less valid than the music of the 30s or people did see me somewhere playing tenor, I start- der and Ryan Truesdale’s Gil Evans’ Project. Ma- whether be bop was somehow the end of jazz. We ed hearing comments like, “Wow, you sound really ria wrote a brand new piece, a big tenor sax feature call Bebop modern jazz. Well, it’s from the 1940s, great. I didn’t even know you played tenor.” This — and I stood up in front of the band for the entire you know? It’s a long time ago now. It’s splitting became kind of disturbing to me and troublesome. I piece and played tenor. Later, I saw a review of the hairs really to me to argue about Bebop versus began to feel that I was losing my identity and my Newport Festival and it said that Scott Robinson Swing or others. But there are a lot of people out personal voice. I never wanted to back off from the sounded stellar on the baritone sax. there that are ready to go to the mat over these baritone because I love the instrument. But I was kinds of distinctions. I love the music. To me, it’s a kind of forced to back off of it because of the reali- JI: When I used to go to hear Thad Jones’ band, big river. The music is all connected. Every part of ty that if I didn’t, my voice on the tenor would just Pepper Adams played the woodwind doubles that it feeds on every other part of it and it moves to- become lost. So I started taking fewer jobs on bari- were written for bass clarinet on baritone sax – gether with a purposefulness all of its own. What

24 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 25 night. I can’t believe it. I’m still flying.” Not every- like that. One of them was with Hank Jones. I Scott Robinson body does that. She really is communicative and asked Hank about that. I said, “What did you think she’s just a great, great gal. She’s got everyone’s of that?” He said, “That cat has a very individual respect — and I’ve worked for plenty of people sound and approach to music, and I respected that (Continued from page 24) that are not that way. They know who they are. and I really enjoyed the sessions.” appears to us to be part of the river is more a refer- JI: Over the years I have read attacks on Anthony ence to the landscape around it because the water is JI: Could you elaborate a bit about how she com- Braxton by some well known players. moving. The river itself has already moved on. I municates some of the things that she wants during love the music, if it’s good creative music. If it’s a rehearsal? SR: Yeah, Anthony Braxton gets thrown into the part of that great continuum, then I love it with all slop bucket termed “free jazz” - which is kind of my heart and to be able to play with the masters of SR: She’ll gesture with her hands, and she’ll say, ludicrous. He’s certainly capable of playing in a this music from different eras is one of the great “That part needs to rise up. Think of yourself as free, improvised manner. He does a lot of that but treasures of my life. It’s one of the great opportuni- flying. Think of yourself as flying through the the bulk of his work is compositional. His are high- ties of what I do. In baseball, kids grow up idoliz- clouds and you’re soaring over everything and ly original compositions. He’s much more interest- ing Mickey Mantle for example. If they’re fortu- you’re a little bit afraid.” She’ll give you ideas like ed in that then in just a lot of free, open blowing. nate enough to get to a point where they can actual- that - emotional things, almost programmatic con- When you play in his ensemble, you have a certain ly become a major league player, Mickey Mantle is siderations that inform how the music is supposed amount of freedom to make personal statements. long gone. But I get to play with “Mickey Mantle.” to sound … how it’s supposed to be realized. Much But you must hue to the intent of the music and the I grew up listening to Frank Wess – and I reached a of her music tells stories - and the players need to arc that’s being described compositionally. That’s point where I can go play at the Vanguard with understand the type of story that’s being told so what’s important. Braxton is an amazingly hard Frank Wess. That is such an incredible thing. I’m that they can …. we’re actors in a way, aren’t we? working person, incredibly prolific. He’s written all so grateful for that. I got to play with Buck Clayton We’re playing a role. We’re playing a role in some this music … and all these operas. A term like free in his band, and record with him. I got to play with larger drama. So as actors, we need to find the jazz becomes very silly when you’re speaking of Illinois Jacquet. voice and the mannerisms that bring the drama to someone like Braxton. You asked what I appreciat- life. Her music is very dramatic. There’s a lot of ed about Braxton. The strongest comment I could JI: What kinds of ideas did you pick up in terms of story in it - so it places those types of demands on a make is that he’s a great example - maybe the leadership from some of these artists? performer where somebody else’s music might not. greatest living example - of someone who has real- ly created his own world in this music. As much as SR: I’ve worked for some pretty tough people. I’ve JI: By comparison, how does that compare to he loves standards, and he loves Lester Young, and worked for some people that are not very nice and someone like Anthony Braxton for example? he loves the whole spectrum of the music … but I’ve worked for some people who are really great within the genre, he’s beyond it really. He’s man- aged to create a world all of his own. I keep an Anthony Braxton file, a Sun Ra file, a Mel Lewis “It seems to be my nature to have file.

JI: Did he provide you with any particular direc- a thousand interests and to get all tion or suggestions that you found particularly noteworthy? excited about a million different things SR: Well, I know you like motivational kinds of and add them all into what I do - so comments. I met him again after I moved to New York. This might have been 1985. My first album came out in 1984. It was an LP. I saw Braxton at it quickly spirals out of control and Sweet Basil and I brought him a copy of the LP. He was incredibly enthusiastic about it. He looked at it I end up with these big complicated and all the different instruments, and wow. He was really grateful for it and incredibly friendly. He projects in various stages, full of in- started saying, “You know, we’re in a difficult cycle right now. There are a lot of problems in the struments that I have to haul around. world. But the important thing is that people like you and I keep on playing music like our lives But it’s all part of the fun.” depend on it.” He said that very emphatically and with great passion. That stuck in my mind. He’s very enthusiastic about other people’s work. Years leaders. Maria Schneider is very demanding in a SR: Working with Anthony Braxton … there’s later he started talking to me about that record and I certain way. She really knows what she wants to another great example of somebody that I idolized realized wow, he really did go and listen to it and get out of the music. It’s never sufficient to just from boyhood and eventually found myself per- pay attention – so that years later he can come back play the written notes and snore your way through forming with. He is a real treasure. He’s something and talk to me about it. It was amazing. He loves parts. You’ve got to really bring it to life. She’s very, very special - very powerful work ethic, in- music. I don’t know how he finds the time to listen always asking for dynamics and emotion — and credibly productive person, also very demanding in to all the stuff he loves listening to, and write all you’ve got to put a lot of feeling into it. You’ve got a certain way. Of course, his music is very different the stuff that he writes. Another guy that I used to to understand the intent of the music, and really from Maria Schneider’s. Much of the music I speak with a lot was Sun Ra. I used to see Sun Ra give it what it needs to come to life. She’s very played with Braxton was highly notated and very, all the time - any chance I got. He was very friend- specific about these things. But at the same time, very complex. I did one quintet performance with ly to me and we would sit and talk for hours some- she loves spontaneity. She loves the creative people him where we played standards, actually, interpret- times. He was very giving of his time, very encour- that she’s brought into the band and she loves to ed in a very freewheeling manner. aging. He gave me his book, signed it for me and wind them up and let them go—and when they go, everything and wouldn’t take any money for it. He she just revels in it. She’s very grateful to her musi- JI: I remember an album of his from the 1970s on was a really nice guy to me. He was another amaz- cians for what they do. She does what a lot of band ECM where he played Charlie Parker’s harmoni- ing person who created his own world. leaders never do: she sends cards or calls up the cally-developed “Donna Lee.”  next day and leaves a message saying, “Oh, Scott,  that was just so incredible what you played last SR: Yeah, right, right. He did a couple of albums

26 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 position I was asked to produce and conduct a mega-concert at the school’s performance cen- InterviewInterview ter in honor of Tito Puente using a student big band. I made one stipulation to the administra- tion. I wanted to the band to be made up com- pletely of Latino students at the school. You Bobby Sanabria have to understand, when I was freshman there in 1975 the faculty and student body didn’t “When we’re on the stage we’re also teaching.” even know who musicians like Tito Puente, Eddie Palmieri were. I’m a Nuyorican from the Bronx, in New York, the first one at that Interviw by Eric Nemeyer, Photo by Ken Weiss of interesting stuff that’s happening all around had attended the school. There was a Costa you, particularly musically. You don’t know Rican, my buddy from high school band, Da- JI: What are some of the key understandings everything, you haven’t live that long. Respect vid Carmona a trumpeter who turned me on to and words of wisdom - encouragement and or is one the most supreme forms of love. Listen the school, three or four Brazilians and one warnings - you’d like to share or do share with — your ears are your best teacher. When some Argentinean. Nobody on the faculty, except students and peers about career pursuits, creat- tidbit of knowledge is given to you, write it for a gentleman who changed my life, Keith ing music, the music business and so forth? down, record it, whatever needs to be done to Copeland, had the slightest idea of what Latin retain. Knowledge is power, those tidbits add music, culture really was. They only knew BS: I tell my students that it is imperative that up. Respect all elders. They’ve lived longer Santana, Milton Nascimiento because he had they know what is happening in the other arts - than you, they must’ve done something right. recorded an album with Wayne Shorter and dance, theater, poetry, literature, etc. That they The last piece of advice? Learn how to dance, Airto because everyone in the jazz world had have to know what’s happening in the world - you’ll swing harder. Particularly mambo on 2. him playing Brazilian percussion on their al- politically, socially, artistically, scientifically. [smile] bums to add some type of exotica. When you I occasionally ask, “What was the last book saw a chart it would say, “Latin” on it. I was you read?” You’d be surprised at the stares. I JI: Could you talk about the growth and de- shocked, the people I mentioned like Tito and find that unfortunately we live in an era were velopment of the Manhattan School of Music Eddie were some of the many that I grew up we have more access to information, culture, Afro-Cuban Jazz Orchestra (MSM ACJO)? listening to and were my heroes. I remember history, science, etc., than ever before, but when I told Eddie’s older brother, the virtuosic many times we are the most uninformed artists BS: Justin Dicioccio who is head of the jazz pianist Charlie Palmieri, he told me - “Listen kid, once you drive up I -95 and get past New Haven Connecticut, people start asking - ‘Tito “When you’re young you rarely think who?’ “My presence at the school as the first student of Puerto Rican descent was important about the future. I was always blessed in that in my own way I began to teach others about the music, culture, etc., simply because with a love of history and science which of my presence. By the time I had started teaching there years ago, that had completely I inherited from my father. It has given changed. When J.D. asked me to come to MSM it was the day that I informed Berklee I me perspective. My playing, composing wouldn’t return. It was just kismet. I don’t even think Justin even knew I was teaching and arranging is something that has there. But I loved teaching and I’m good at it. given me a lot of fulfillment, but I never Mind you, this is before the paradigm that exists now where everyone is trying to get a thought I would get the same feeling teaching gig because performance has dimin- ished. I was always involved in teaching, from teaching. It’s given me a which is basically sharing ones knowledge and mentoring. When I was a student at Berklee I satisfaction that only someone else used to hold listening parties in my dorm room teaching about the music, culture, etc. That all who is inspired by teaching can explain.” started because fellow students would knock on my dorm room and ask, “Are you the guy with the Latin records?” A friend told me, “If on planet earth. It didn’t used to be that way. department at MSM called me up and asked you don’t do it, who is? You’re the most quali- A true artist is totally aware of the world me to actually create and teach this particular fied. around him. It informs their art constantly, band about 16 years ago. I had just finished a

thus keeping them relevant. As a musician, year of teaching at my alma mater the Berklee JI: How did your CD ¡Qué Viva Harlem! - you want to be as versatile as you can possibly College of Music in the percussion depart- which is performed by Manhattan School of be. In other words be able to fit in any musical ment. I was teaching ten hours on Monday’s, Music Afro-Cuban Jazz Orchestra (MSM AC- situation you’re thrown in, not just jazz. Every flying up there and flying back that same JO) - develop? type of music in the world has improvisation night. It was very rewarding, and I had great

in it, not just jazz. Have ideals, an ethos, a students, but with all my other endeavors I BS: For the last several years the school has sense of dignity about what you do as an artist, was just burnt out. With the traveling, etc. it initiated a series of themes that encompass but don’t become an arrogant jazz snob. Be- would really turn into a 20 hour day. The good cause if you do you’re gonna’ miss out on a lot thing is that before I decided to relinquish the (Continued on page 29)

To Advertise CALL: 215-887-8880 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 27 28 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 tion. The company gets visibility and a reputa- Bobby Sanabria tion for putting their money where its mouth is by supporting jazz education, the students who ATTN: VENUES, (Continued from page 27) are fabulous get visibility, the school gets visi- bility, and I get to continue my passion for the LABELS, MUSICIANS both the jazz and orchestral/classical depart- art of the big band in between my own record- ments. Each year a theme is decided upon. ings. Justin has been completely supportive as Several years ago the year was dedicated to has the administration. We didn’t just recreate Fill More Seats Fast! cinema and we did a series of concerts with the original album. This is an iconic album for the MSM ACJO dedicated to move themes. fans of Latin jazz, it featured Candido, Doc Sell More Tickets Fast! Last year was dedicated to Harlem, so my vi- Cheatum, Patato, Cannonball, Eddie Bert, Ray sion was to do a concert first of Harlem Hot- Santos, Mario, I could go on and on, so some- houses dedicated to many of the clubs that thing special had to be done with it. I took the once existed there and finally a concert in trib- entire album and re-conceived it with new ute to all the different parts of the cultures that arrangements done by students I selected and Pay-Only-For- make up Harlem. I wanted to represent the supervised along with some arrangers I truly Harlem renaissance of the 20’s, 30’s, 40’s, and respect and have worked with like Joe Fiedler, of course the great migration of the Puerto Michael Philip Mossman and others. Every Results Event Rican community that started in the 1930’s chart has some quirky addition to it that I add- and continued through the 50’s. Most people if ed. Some of the pieces were in multi- you asked them where Afro-Cuban/Latin jazz movements, one was even in an odd meter, Marketing was born would say Cuba, but it really started something the Machito orchestra never did. at an old Jewish catering hall, The Park Palace The Borden auditorium at the school, which Ballroom on East 110th Street and Fifth Ave- holds about 900 people, was packed to capaci- Campaigns nue where in 1939 the Machito Afro-Cubans ty, the school had to close the outside doors under Mario’s musical direction created the and turn people away. The performance of the genre. On the new CD we feature music by orchestra was superb. The resulting CD, Ken- We Run Your Campaigns Duke, Billy Strayhorn, Juan Tizol, Clarence ya Revisited Live!!! released in 2008 was nom- Williams, Machito, and several original multi- inated for a Latin Grammy in the Latin Jazz Using The Leading Edge movement large scale works that are monu- category. The subsequent recording Tito mental in nature by Gene Marlow and current Puente Masterworks Live!!! in 2011 was nom- Multi-Media, Multi-Contact grad student in jazz Kyle Athayde. For the inated for Latin Grammy in the Latin Jazz System We Built To Drive most part every single concert at the school, category. Mark Ruffin at Sirius Satellite Jazz whether large or small is recorded. I’ve heard Radio has said, “The MSM ACJO is a group Inbound Calls Fast From that somewhere there are tapes of Max of professionals masquerading as students.” Your Most Probable Buyers

Roach’s pieces being performed when he was JI: How is your work as an educator in gen- student at the school back in the 1950’s eral helping to promote, preserve and advance [laughs]. After doing all these concerts at the Latin music, Afro-Cuban music and or jazz? Lightning Fast, Way school over the years and they being great events I thought it was sad that they were just BS: When you’re young you rarely think fleeting moments in time with no life after the about the future. I was always blessed with a Better Results & Far Less performance. Some of the most creative play- love of history and science which I inherited Expensive Than ing, composing, and arranging is coming from from my father. It has given me perspective. the college level, in particular at MSM. The My playing, composing and arranging is Direct-Mail, Print, Radio band I had that year was beyond superb. Every something that has given me a lot of fulfill- single chair in the band was a stellar soloist. I ment, but I never thought I would get the same & TV Ads – You Get remember the first day of the semester after feeling from teaching. It’s given me a satisfac- the rehearsal/class saying to myself, “Holy tion that only someone else who is inspired by Comprehensive Reports shit, this is the best group of students I’ve ever teaching can explain. Everywhere I go I see had.” Since the school already records the former or current students of mine making an And Analytics – And You concerts, why don’t we release them – and impact on the jazz scene. If you go to any jazz Pay Only For Results! have the money after expenses all go to the club in New York City on any given night I school’s scholarship fund. It’s a win-win situa- guarantee you, you will more than likely see/

hear someone whom I’ve had the privilege of teaching. Most of my colleagues at the New

Reach 1,000 to 100,000— School and MSM, or any of the other great

institutions where America’s greatest art form Whether at the Last Mi- “The greatest day in your life is taught, will tell you the same thing. The and mine is when we take total great thing is that most of us don’t know it, but nute or Long in Advance responsibility for our attitudes. when we’re on the stage we’re also teaching. Teaching and reaching. [smile] Milt Hinton

That’s the day we truly grow up.” said it best, “Those are my children out there playing.” SellMoreTicketsFast,com  215-887-8880 - John Maxwell 

To Advertise CALL: 215-887-8880 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 29  JI: So when you were at school then, what were the challenges going through an academic setting InterviewInterview versus—of course the old school jazz world people didn’t go to school? It wasn’t as codified as it is now, as Gary Campbell told me one time in an

interview. He said he got down to the University of Miami and he said it was codified like scrip- tures. But when I started playing, I had to tran- Warren Wolf scribe all of these solos, which I enjoyed. You learn things note for note. Things weren’t as laid “… it kind of starts with the rhythm ...” out as they were, and you learned by making a lot of mistakes on the bandstand. How did that com- pare by comparison to your experiences in the aca- demic world and of course you’re on the band JI: How does that balance work for you? When stand too? you’re out on tour and you come back is there kind JI: So when you were at school, how did your

of a down period? What’s the work like when you experiences in the academic settings at Peabody WW: I can give two examples, kind of. My high get back, the difference in activity? and at Berklee from which you earned degrees school, Baltimore School for the Performing Arts, support or challenge your artistic efforts and in- one of the top high schools in the country, we did a WW: Well there’s definitely a down period. I’ve come-producing pursuits during those periods? lot of classical music training. Jazz music was been on the road, period, since almost 2004. Not more like an elective. But I really didn’t understand just with Chris, it’s just been with a lot of other WW: Well let me start with Peabody. Peabody, I what all the classical training was doing for me people too. But Chris McBride came into play in didn’t go to the conservatory, it was more prepara- until a later age. Jumping to college, Berklee, yes, 2009, like around June, 2009. But when people in tory. I went there from the ages of five until thir- everything is laid out for you. They tell you what to this area, I’m speaking mainly of just Baltimore teen. So I really can’t talk about that one so much. do, and ear training and harmony, song writing and Washington, DC, when they start seeing that I classes and all of that other stuff. But for me, de- was gone a lot—especially the best times to work JI: Were your parents pushing you to go there or pending on what you want to do, if you want to be with are Thursday through Sunday. When they start what? in the production business, OK, I guess you have to seeing that I’m never here Thursday through Sun- be in the classroom. But for me, I knew I wanted to day or if they call and I just keep saying all the WW: Oh, yes. My parents are a big part of play. Did any of that stuff necessarily help me? I time no, I’m sorry I can’t make it, I’m out of town, that. I’ve been playing music since I was three would say to a certain degree, yes. But for the most I’m out of town, if I keep saying that over and years old. My father is retired now but he was a part, my true lessons came from being out Friday over, people will just stop calling after a history teacher for the Baltimore City public school and Saturday nights at the club learning from the while. However, there were two people who under- system. He taught U.S. and World History. But on guys that were better than me and just picking up stood that I was gone a lot, but they always knew the side he was also a musician, not touring nation- pointers from them, not saying I actually sat down well Warren has to come home sometimes. He ally. He just had a local band around town, they do and practiced with them. Because the great thing can’t work all the time so let’s give him a call. So a few gigs. But I’ve grown up watching him prac- about me is that I have perfect pitch. So I can hear there were two or three artists in Baltimore and DC tice. So my dad, his name is Warren Wolf senior, what they’re doing and just go ahead and play it who would call from time to time but it kind of he plays drums and vibraphone and piano and all right back. And I can listen to so many different dwindled down. People, like I said, they just that stuff too. So he started teaching me at the things, like if the piano player happens to play a stopped calling because they assume that you’re young age of three. So I was practicing five days minor seven flat five chord straight to a major or out of town all the time. But I have to kind of put it per week, 90 minutes per day with him. And then change it to a minor the next time, I can hear all of out there, like you said, on Facebook and tell peo- on Saturday mornings I would go to the Peabody that stuff. So my true lesson again was just on the ple hey, I am home. Call me for some work. Let’s preparatory and I would take lessons with a guy, bandstand like you were saying. School and the do it. I’m not out of town all the time. I just look at with a former member of the Baltimore Symphony, academia part, that helped me in certain areas I that as a form of giving back. I very much enjoy his name is Leo LePage. The great thing about Leo would say as far as writing music because when I playing locally just as much as I do playing inter- was not only was he a classical musician but he first got to Berklee I wasn’t that great at writing music at all. What else? “Berklee, yes, everything is laid out for JI: Do your mother or your father have perfect pitch? you … But for the most part, my true WW: Oh, no. For some reason my father nowa- lessons came from being out Friday and days he’s kind of developed it. I don’t know how he did it. I would say not perfect. He has good Saturday nights at the club learning from relative. It’s to the point where he can sit down and listen to a recording. He still has his band. So now that he’s retired he likes to write out charts. And it the guys that were better than me and just takes him a little while to do it. I don’t know if that’s just because of him getting up in age or it picking up pointers from them…” just takes him a while period. But he definitely has relative pitch. Me, I’m just like dead on, and it’s nationally. There definitely are some down was a jazz drummer in the Boston area back in the not just like one note. I can hear up to about five to times. Surprisingly, this summer we had some off day. I honestly used to think the guy was Buddy six notes at one time. And I’m very quick at it. time because Christian was out touring with Chick Rich because they kind of looked like each oth- Corea. And we just released a new record with er. My parents were definitely pushing me on for JI: That’s great. Christian on Mack Avenue called People Music. So that. surprisingly I thought we were going to tour that WW: My mom, she’s not a musician but she’s this summer but things like that happen in the mu- JI: Well that’s a good thing. actually teaching herself how to play piano sic business so we were off this summer. But things now. She’s retired also. again they’ll pick up starting next week, not for WW: And what was the next part of that question? (Continued on page 32) Christian but there are other people.

30 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 31 musicians, well I can’t speak for everybody, I very soft spoken and he didn’t say a lot of things WarrenJoseph Jarman Wolf know what I like to do for the most part is sleep. It like well this is what this person said back in the can be one or two things, two or three things, I’m day. You know a lot of jazz guys do that. But he sorry. I’ll read, I’ll sleep or I go exercise. I’m a big would just always say Warren, just keep play- fan of staying in the gym. As a matter of fact right ing. The music will take care of you as long as you (Continued from page 30) before I called you I had just left the gym. take care of the music. So he would say things like that to me. He meant a lot to me and that kind of JI: Yes. Did she teach as well? WW: I don’t think so. hurt when he passed. He helped me out a lot. Christian, like I said, was definitely another WW: No, no, no. She worked at the Baltimore Gas JI: Talk about some of the mentors musically that one. He gave me my first world experience. We’ve and Electric Company. She was a supervisor there you’ve had who have shared some words of wis- been everywhere. I’ve been touring with him for for about 25 to 30 years. So both of my parents dom or a quote or some guidance with you that has five years and through him kind of I would say we retired around the age of 60 or 59, somewhere made an impact on your artistry as well as on your got the Mack Avenue deal. I can also include Tia around there. They just live a life of playing music human nature, your character and integrity. Fuller in that category too. I’ve worked with Tia together [Laughter]. for a little bit, actually playing drums not vibes. WW: It’s funny. A lot of the guys that I play with Even though I recorded vibes on her CD, I played JI: Do you have brothers and sisters who play too? they’ve never given me any quotes I should say. I drums on her band for a bit. So there are a lot of would say the one quote that I’m always hearing people. I could keep going down the line forever. WW: I have two older sisters. I’m the young- from everyone, it’s just kind of like a universal est. My sister in the middle, she used to play violin thing, is just to keep playing, keep playing, keep JI: When you were doing your first and second in her elementary school days. That didn’t last. So playing. Some of the people who have been a big album for Mack Avenue Records, what kind of right now, she’s just singing a lot around Balti- significant part of my musical life, I can easily say direction were you getting or suggestions about more/Washington with a few local groups. She’s Christian McBride, Mulgrew Miller, he was what they wanted if anything? out there doing like wedding gigs and stuff like one. Mulgrew was one of the first person to actual- that. I have three children. My children, they live in ly, well the second person to take me out on the WW: Nothing. This is what I tried to model my Boston with their mom. My youngest son, his name road. The first person was saxophonist Ken records after. I tried to model artists on my records is Caden, Caden Wolf, I think he might start play- Warfield. He’s from New York. So Ken gave me after Christian because I like what he did. Like ing drums at some point. And my daughter, she’s my first call back in 2003. He took my down to when his first record was getting into it, and then the oldest, she’s a hell of a singer. She’s 13 so I’m St. Louis for 4 nights with his group. And then he went to Number Two Express, he had a whole curious to see where she’s going to go with it. I am Mulgrew took me on a tour to Japan with his group bunch of all stars of jazz on both of those rec- 33—and the last artistic person in my family is my Wingspan. He gave me a call like two days after ords. What I tried to do with the first record, and I wife, my current wife. She’s a ballet dancer. Ken called me. So through Mulgrew I had my first can’t speak for the second record for Mack Adams tour of Japan. So while we were in Japan, he intro- because I don’t have one yet. I tried to do on the JI: What is your schedule like? duced me to a guy named Hiro Yamashita, I think first record what any typical jazz artist should do that’s his last night. But definitely his name is Hiro. on their first record is basically to come out and WW: It depends. I’ve kind of paid attention to my He was a record producer for this company called play. Don’t try to get too fancy by showing all of schedule. It seems like every year there’s always at M and I, like Man and Ice, M and I. And through your original compositions and things like that. I least one month, I’m not saying one whole month that deal I did two records for the Japanese compa- wanted to show that I can play and here I am. This but if you just add up all the days, there’s always ny. We recorded the records in New York. So the is Warren Wolf. I’m a bad cat. I can play my tail off. So that was the objective with the first rec- ord. The second record, the Wolf Gang that’s com- ing out tomorrow, is more the type of record—it’s “I’m a homebody. So a lot of my still showing that I can play but it’s just showing who Warren Wolf is as a composer. So Mack Ave- nue actually never said anything like why don’t thinking times and when I can just you try this or why don’t you try that. It’s kind of like I had the full thing, I could do what I want. I have my own direction. And I pretty much know relax honestly as hard as it is just how to do this because even though this is my sec- ond record for Mack Avenue, it’s honestly my sixth record as a leader. So I’ve been down this lifting weights and running. That’s path before so I think I know what it takes to make a decent record. when I can kind get to sit back and JI: You’ve got the ears for it. All you’ve got to do is put two and two together. You have all the expe- just think and think about the future.” rience so it should work out great each time. What did the guys in Japan want from you? Did they have any specifics that they were stipulating up about a month, maybe a month and a half where first record that came out was Incredible Jazz front? I’m home. The rest of the time, the majority of the Vibes. That record featured myself, Mulgrew, time I’m always out. And that doesn’t mean on the Kendrick Scott on drums and Vicente Archer on WW: The thing about the Japanese, they are very road. I just might be out around Baltimore/DC bass. And then the second record we did was titled specific on really hearing standards for the most doing some type of work. Black Wolf. That record featured again Mulgrew part. You can do a few of your originals but their Miller, Jeff “Tain” Watts and Rodney Whitaker on main concern, what they like is to hear stand- JI: What do you do when you’re on the road? Do bass. But Mulgrew was definitely like a big help ards. So I would say for each record, let’s just say you do a lot of reading? How do you occupy your for me just getting me started and getting my name if we had 8 to 9 tracks on each record, I would time when you’re not playing? just out there. And he’s been that way for many probably do about 6 standards on each record. And people. So when he passed that was a big shock for I didn’t rearrange anything. I just kind of just WW: It depends. It depends on where we’re travel- everybody. Yes, just getting those things, getting played it straight down how it is. That stuff is real- ing to because I know sometimes it will be early my career going, he called me to New York for a ly powerful in Japan too. Just play the tune how it flights. We tend to get into the hotel and a lot of the few gigs. He was always, to me at least, he was (Continued on page 33)

32 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 straight? number one. A lot of my influence on compositions Warren Wolf they come from stories. I have to be influenced by JI: Well, they couldn’t get the lower, let’s say something like for instance, my wife. She’s been a when you went down from E down to C, they big part of my influence, of course she’s my wife, couldn’t get for a while, and they put out a four but she’s been a big part of my life. So I have four (Continued from page 32) octave one. In fact, I think I still have the catalog songs already because of things that we’ve talked is and they love you forever. which shows Terry Gibbs playing it or something, about or things that she’s done that’s made me and they couldn’t get the C, C sharp, D, D sharp compose a song. Like one of the songs on the rec- JI: Were you able to go through that pretty quickly and E to resonate the way they could with the low ord is because of her. It’s called in one or two takes or how did that work out? F. “Annoyance.” Now it’s funny, when people hear that title they’re like “Annoyance?” Wait a mi- WW: Pretty much. Let me think. The first record WW: Got you. nute. You married a girl and she annoyed you? But we did, we recorded the record in two days. We it’s really not like that. There’s a big story behind only did it in two days because something broke on JI: So talk about some of your practice approaches. that. Just rhythm and stories for the most part. I’m the vibraphone. I remember when I was using it, a not to the point where I can just—I mean I can do it string had popped and I think by that time I was WW: Nowadays a lot of my practicing really is if I really sit down and do it, but I really don’t like just pretty tired. I was getting worn out so I just kind of just running through scales for the most to just sit at a piano and I tend to right all my songs said let’s just call it a day because for most people part, just making sure I’m very accurate in nailing for the piano. I can’t sit at the piano and just start when they book a studio session they pretty much like to reserve the studio for one or two days, may- be even three just in case we need the time. So we did that one in two days. The second record for the I’ve kind of come to the conclusion that Japanese label, we did that one in one day because we had a pretty good rehearsal. So it was just a there is no wrong note when it comes to matter of going in and just putting it down on tape.

JI: What kind of vibes are you playing? improvising, it’s just all a matter of how

WW: I’m not endorsed with anybody. The model that I prefer is a Musser M55. I prefer those but I you resolve it. have been playing so many different things. It de- pends. I’ve shown up to gigs and I’ve seen Yama- ha’s. I don’t know the model numbers on any of those. But I prefer the Musser M55. I own a Musser ProVibe but the only negative part about that and I really can’t tell it that much is that it’s each note and as far as getting my timing writing for the most part. I have to have something tuned to A-442, and that kind of sticks out some- down. Timing is a very big thing for me. This is that’s went on in my life that would make me want times when you’re playing a ballad. Generally I one of the things my dad used to do with me when to write. like to play Mussers. I was younger. He would take his stick and hit the side of a chair and make sure I’m always like and JI: That’s good. What do you do to decompress JI: One of the first set of vibes which I still have make sure I’m always dead on with time. So be- when you’re not on the road and you’re not sleep- and I’m still looking at it over there is Deagan 592 tween just running through scales for the most part ing? Commander. The lower fifth, the bars are a little bit and also, what else am I doing, kind of just like narrower, ever so slightly narrower than the freshening up on a lot of 2-5-1’s and things like WW: Man, I’m a homebody. So a lot of my think- Musser. But one of the things is when I got that, that. A lot of times when I’m practicing, I practice ing times and when I can just relax honestly as hard Deagan’s A-440, everything was tuned. Their ano- freely. I’m not practicing things like necessarily in as it is just lifting weights and running. That’s dizing machine actually broke down and I was time. I can pick any song. Let’s just say “Satin when I can kind get to sit back and just think and dying to get this thing. You know when you’re a Doll” or something like that. I’ll kind of play think about the future. I try to run four miles per teenager and you can’t wait to get your instru- through the song as if there’s no time behind me day and then I do a lot of just heavy, heavy weight ment. When I finally got it, I learned about the for the most part. I’m kind of just flowing through lifting and things like that. So I can do that, other instrument a lot more, that they were turning to A- the song and playing through all the changes, it’s things, typical male things for the most part, just 440 and Musser was tuning A-442 I guess always. I just not in time. So I’ll kind of just do things like going to a football game, just hanging out with the guess if you want to call it a cleaner sound or a that for the most part. And just trying out different guys, going out to get something to eat, things like different, I don’t know. I don’t really regard it as things on the instrument because I’ve kind of come that, sitting back and watching a movie. cleaner. But apparently Yamaha modeled their line to the conclusion that there is no wrong note when after the Deagan line. That’s what I heard. it comes to improvising, it’s just all a matter of  how you resolve it. So I’ll just try out different WW: I’ll have to check that out. things. It’s not anything in particular. I’ll just kind of play some things and see where I end up but I

JI: There was an instrument that’s made over in I always end up in the right spot.

think it’s the Netherlands or Denmark, I can’t re- member the brand. I had seen the thing and it’s got JI: So how about when you’re composing, where the hookups on every bar and really portable. The do you find you’re drawing your inspiration or “Have the courage to say no. thing was four octaves. And one of the things that ideas from? Have the courage to face the truth. the guy Hal Trommer told me years ago when he Do the right thing because it is right. was working at Deagan, I guess he was the head of WW: Well for me it kind of starts with the These are the magic keys to living things, this was back in the 80’s, was that the prob- rhythm. Since I’m very much a drummer it kind of your life with integrity.” lem with the four octave vibraphone was they starts with the rhythm right there. It has to be some couldn’t get the lower fifth straight. type of rhythm going on. It doesn’t necessarily have to be swing because there are so many types WW: What do you mean they couldn’t get it of rhythms out here that we can use in jazz. That’s - W. Clement Stone

To Advertise CALL: 215-887-8880 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 33 you should never follow a path that you consid- er to resonate with you and love it just because InterviewInterview everybody else loves it. What do you love? What do you want to do? Okay: learn it. Every- day put a little attention to who you are and what you are and talk to teachers about it. I feel that sometimes it’s the most valuable thing that Maria Schneider I can talk about to them about.

Attention To Detail JI: Tell us about the processes that led to the development of your album Sky Blue.

By Eric Nemeyer in his underwear, and he’d be just sitting there MS: Well, the music was written over a period twenty minutes hitting that little cluster and then of time. They are all commissions except for JI: One of my favorite pieces that you wrote is he would turn around and hand it to me and say, one. And, so it wasn’t conceived—actually “Lately.” I really like how you developed the “Okay it’s done.” It’s like he had to be sure. I none of my records have really been con- thematic material and built it. know that. And that attention to detail is what ceived—totally as a record. What I do is I take makes his music just ugh—it’s so, it’s like a commissions and when I start to see that there MS: It’s from the live album Days Of Wine And blotch. Nothing extra. You take such care, never might be something that could fit together then Roses. The band really swings when they play just slopping stuff down on the page. maybe I try to fill it out with one piece that that. That’s one of the cuts on that record that I might connect it or something. But, generally, I felt like, “Wow the rhythm section was slam- JI: When you do clinics and work with students kind of hope that because I’ve written the music ming.” in educational settings, how do those experienc- in the same period of time that it’s going to es impact your artistry? have some connecting element to it. I think this JI: Are you ever struggling with a voicing or music is pretty disparate. It’s like, there’s the twisting your fingers at the piano from time to MS: I think the aliveness you feel, sometimes thing with the Peruvian influence, then there’s time? the wish of these students, the freshness, re- some things that really have much more influ- membering what I was like at that age. I tend to ence by like the landscape of my home town. MS: Oh yeah. I’m always trying to figure out talk to them about the things have helped me little details. And then there’s that other part of along the way and things that I think will help JI: Going from Peru to Minnesota is a long it that’s just like, “now I know what I want this them and help them find themselves in their way.

MS: It’s a long ways. But, what? It’s not that “I try to remind them about what it is to long if I think about it. When I was a kid, my father used to work in South America and Mex- be alive and how amazing it is to create ico a great deal in the agriculture business. We lived in a small farm town. He was involved in music and dive into your feelings and designing machinery that a lot people who man- ufactured fibrous materials in Mexico and Peru communicate. And how important it is and different places used. My father would go there and assist with operations and things. So I and how essential it is that you maintain was kind of exposed to a little bit of Latin American culture as a kid, even though I lived being in touch with yourself and your in this very rural town, with like 4,000 people. I was always fascinated by it—fascinated by the own taste and your own voice. What may people, the music, the exotic-ness of it. To this day I just have such fascination with South be considered the wrong way to do America. I think it’s my favorite place to visit. Mostly I’ve been to Brazil. In Peru I was ex- something might be your voice.” posed to a new kind of music called lando. Then the other pieces just came out of… Most of my music is very autobiographical. If I was to de- to feel like.” I start to hear how I want it to music. I’m telling them exactly the things that scribe my music, I would say that I’m a story sound—and now how do I get it? How do I get are important to me. And me finding my music teller. I love to share stories. It’s kind of a way with theseHarold instruments? How do IMabern get all these and me finding my art and, when I’ve got the to share a story and all its essence in a much lines to September work; and what 8-10, are 2017 these chords. wrong voices going off in my head, the things clearer way than maybe words do—or in some What’s happening at the same time? How do I that I need to hear. I try to remind them about kind of direct emotional way. It’s not through get it to Dizzy’swork with Clubthese instruments, at Jazz At while Lincoln I’m what Center it is to be alive and how amazing it is to description so much, but I think music has so hearing this color. It’s just the technical nuts create music and dive into your feelings and much power that way. All the arts are some and bolts. communicate. And how important it is and how special window to soul like that, and that’s what essential it is that you maintain being in touch I’m doing in my music: hopefully touching peo- JI: Gil Evans used sit there for hours, just with yourself and your own taste and your own ple. And maybe in ways that they intellectually working on one chord and twisting his fingers voice. What may be considered the wrong way describe but hopefully that they just feel. That’s as well. to do something might be your voice. Gil Evans my wish. After we recorded this record, I was © Eric Nemeyer had very unorthodox ways of orchestrating. I really excited. I even made the bold statement, MS: Yeah me too. I’d see that with Gil too. want to always remind students that what the on my website, which might have been, because Locking the door, he would be playing a cluster jazz world considers to be hip is one path, but (Continued on page 35)

34 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Maria Schneider

(Continued from page 34)

I was sharing the whole process. I tend to share my insecurities as well as my securities. Vulner- ability is the thing that connects people always. Actually, when I first starting doing the whole ArtistShare thing and I did my first record, I was in the middle of writing this piece “Concert in the Garden,” and I was in a complete crisis. I was writing some journal stuff on the website and I was saying how I was really in a crisis and blah blah blah. My father called me up and said, “Geez, Pinky, nobody’s going to want to buy this record.” He kind of panicked me because, in a way, I felt, “Well it’s true.” Then I said to him, “Yeah, but this is about sharing the pro- cess.” And I’ve gone through this thing every single time I’ve ever written a piece. So part of me knows and hopes it comes out the other side. I don’t want to create any illusion that this stuff comes out of me like the baby Mozart.

JI: Composing can be a real struggle.

MS: It can be. It almost always is.

JI: Do you find that there are days that you have great ideas and other days when you are struggling with a little motive that’s in one measure.

MS: Oh yeah, and usually struggling with what the big picture is. “Where is this thing going?” …and struggling with the timing issues. For me the most difficult thing in writing music is how long should something happen. How long should this development be, how long should this section going from here to—for instance in the “Bird” piece, there was this section where I really wanted to give the sort of evocative feel- ing, imagining what it would be like for a little warbler to be migrating amongst other warblers with all the little wings fluttering by the light of the moon and the stars navigating in the night. Thousands of kilometers without stopping - that journey takes weeks. Here I am, writing a 22 minute piece, and this is one little part of it. So classical music. And so it’s trying to come up paper to speak truthfully about the way I’m how do you create that feeling for the right with this balance. I love tunes. I love the evoca- feeling and trying to be dedicated enough in amount of time for the music? Make it kind of tiveness of classical music as opposed to, some- every moment to not stop until I get across what meditative and make it not feel dull. Those times, jazz. Sometimes it is fun or it’s exciting I feel like I want to get across. Not giving up. kinds of things I really struggled with. or it’s beautiful. But is it taking you on this That’s the struggle. I tend not to give up, so the journey? I want to take people on this little trip. frustration is I’m not satisfied until I’m satis- JI: Do you sketch out the ideas or a direction, All those decisions I’m making are really guid- fied. And that point of satisfaction, sometimes I or is it really evolving organically? ed by something very internal in me: my heart press that bar pretty hard and high for myself, and my imagination. Trying to imagine this so it’s like, “Ahh, God, am I ever going to get MS: Not really at this point, because the materi- journey myself and always trying to imagine this sounding the way I want?” And if it’s not al that I’m using isn’t something that is really what it’s like to hear a piece for the first time. exactly what I want, I’m just tremendously dis- like a chunk of bars or a phrase. It’s more like Trying to create a feeling of suspense, some- appointed. It’s not a little thing. Kind of make a I’m developing something out of a motif. I times beauty, tension, resolution, lushness—but big deal about it, which maybe you’ll under- mean, here and there there’ll be something not too much lushness. More and more, I think stand.

that’s a tune like that and sort of works that joy is an element in my music - wanting to do Hear Maria Schneider and her Big Band at way. But there are a lot of other sections and that without pushing it over the top. Like, “Oh Jazz Standard, 116 E. 27th St., November 21-26. things that are very much more like writing I’m so joyful!.” It’s trying to get to notes on the 

To Advertise CALL: 215-887-8880 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 35 36 October-November 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Contact Steve: 630-865-6849 | email: [email protected]

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JAZZINSIDE_full-page_VintageExpert.indd 1 12/17/13 5:07 PM New CD Release from Dallas Area Pianist John A. Lewis

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

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

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