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JAZZ HISTORY FEATURE ArtArt Blakey,Blakey, PartPart 66

Interviews GrantGrant GreenGreen Jr.Jr. Standard, June 28--July 1

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PHOTOs Jaleel Shaw Dizzy’s Club, June 20 Terence Blanchard Jazz Standard, June 14--1717 Marcus Miller Enrico Pieranunzi DAVEDAVE

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Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) May-June 2018 – Volume 9, Number 3

Cover Photo and photo at right of by Ken Weiss

Publisher: Eric Nemeyer Editor: Wendi Li Marketing Director: Cheryl Powers Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Ken Weiss Contributing Writers: John Alexander, John R. Barrett, Curtis Daven- port; Alex Henderson; Joe Patitucci; Ken Weiss.

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CONTENTS 4 Dave Burrell by Ken Weiss INTERVIEWSINTERVIEWS PHOTOS CLUBS, CONCERTS, EVENTS Jazz History FEATURE 20 Grant Green Jr. 12 Jaleel Shaw 13 Calendar of Events 30 , Part 6 by John R. Barrett 24 23 Herbie Hancock 18 Clubs & Venue Listings 28 Marcus Miller 29 Enrico Pieranunzi

36 Kenny Barron

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DaveDave BurrellBurrell Feature TurbulenceTurbulence andand RomanceRomance InterviewInterview && PhotosPhotos byby KenKen WeissWeiss

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DB: I studied Jelly Roll Morton first to actually be a part of the NPR tribute. I started playing Dave Burrell differently because I had the technique from that particular exercise. It became part of the way that Turbulence and Romance I had upgraded my own technique. So I wasn’t conscious of it beyond that fact. I had written a Interview and photo by Ken Weiss from the Museum of Art. Burrell’s piece called “A. M. Rag,” which also goes by wife, Monika Larsson, the noted librettist/poet, “Margy Pargy,” where I was playing stride but it Pianist/composer Dave Burrell is a uniquely was present at the time of the interview session. wasn’t encompassing the whole piano, so to an- creative jazz master who combines the entire Burrell was the recipient of lifetime achievement swer that question, I would have to say some- range of jazz’s rich history into his work. Boogie honors at the 23rd annual Vision Festival at Rou- times it’s conscious. portraits of people a lot, -woogie, ragtime, stride, bebop, and free jazz lette in from May 23 to 28. and if I’m doing a portrait of a person who has elements can all organically appear during his nothing to do with stride or older styles, you performances and compositions. Burrell was Jazz Inside Magazine: You’re almost alone in wouldn’t find that in the composition. During a born in Middletown, Ohio on September 10, being a current pianist who routinely incorpo- performance, when these styles come out, it’s 1940, while visiting his grandmother. After grad- rates the entire spectrum of jazz and older piano something that I’m not necessarily conscious of. uating from Fisk University in 1938, his parents styles into their playing. What draws you to the For example, when I played duet with Sam moved to the newly built River Houses in older piano styles? Woodyard we played one of my boogie-woogie Harlem, . At the age of four, his family pieces and Sam lit up. He was so comfortable, moved to Cleveland, Ohio where Dave’s father DB: I am an avant garde, free jazz pianist that and I thought, ‘I want to shift, I want the boogie Herman Burrell enrolled at Western Reserve sometimes explores the history of African- to stay here with us but I want to go free now. University for graduate studies in Sociology. American music. I remember, for instance, the What do I do?’ So I started to play the boogie- Right after Herman Burrell received a grant jazz historian Sam Charters came into a jazz club woogie in the opposite direction. I thought, ‘This from the Julius Rosenwald Foundation to finish where I was playing on 6th Avenue in New York is fine, now I’m free. I’ve freed myself and I still his doctoral thesis on race relations at the Uni- City and said to me, “I hear in your playing what sound like I have the original motif going. I have versity of Hawaii, the young family moved to I hear in Jelly Roll Morton’s playing some- Sam right with me.’ I looked up and Sam was so Honolulu, Hawaii in 1946. Music was always a times”. He asked me if I played any of his mu- happy I didn’t want that moment to end. I used part of Burrell’s life. His parents had both been sic. I told him no and he suggested I get a book the boogie-woogie to launch the freedom. Up part of the Jubilee Singers at Fisk University in by James Dapogny with everything that Morton until that point of playing with old-timers that Nashville and were frequently rehearsing for ever wrote transcribed exactly. At the time, would feel so comfortable in that idiom, I never Broadway shows or operas. Additionally, his Charters was contributing to a tribute to Jelly ever thought of making a track on a CD where I mother was a popular radio personality in Ha- Roll Morton in Washington, DC along with NPR would go back to a certain period of jazz. I was waii. The family entertained a number of popular and he wanted to include me. I started playing always thinking of either portraits or situations that I wanted to capture like a painter.

“I was a kid living in the country side with horses JI: In the liner notes to your recording The Jelly Roll Joys [1991, Gazell] you say that in regards and plenty of beaches and Hawaiian friends, not to playing Jelly Roll Morton’s music that “Nothing in the jazz repertoire is more challeng- exactly an environment to learn the piano. You had ing. How so?

all these cultural confrontations so we all took DB: Octaves and intervals. When I listened with Sam Charters he said, “You hear how hard it’s karate and other martial arts seriously in order swinging? It’s really swinging.” I thought, ‘Is mine swinging that hard? Am I up there in that to protect ourselves from kids from other category with him?’ And I thought, ‘Not yet, I have to go a little bit deeper into the thrust and neighborhoods. It was a pretty rough time as far relax with it.’ I was a little tentative with it at that point. When you think you know Morton well as gangs and who’s gonna take a seat on the bus, enough to sit down and play it, I think that there’s a point where you free yourself up, and and who’s gonna go home with a bloody nose.” that did eventually come. After that, what I need- ed to do next was take sections, different strains, and figure out how I could improvise the way I jazz artists at their home. Burrell has recorded Morton’s music very gingerly and the more I got did at that time. with artists such as , Pharoah into it the more I realized that I had overlooked Sanders, , , Gra- this music and that it was good for my chops. I JI: What’s the response you get from your chan Moncur lll, , Sonny Shar- ended up playing a solo of Morton’s Monk-like younger audience regarding the boogie-woogie, rock, David Murray, William Parker, Odean composition “Freakish” on the “Dr. Jazz Jelly stride, and ragtime elements in your playing? Do Pope, Sunny Murray, Roswell Rudd, Bob Stew- Roll Morton Special” that was held July 3-4, they recognize what you’re doing? Do they reso- art, Billy Martin, Steve Swell and Bobby Zankel. 1991. The other participants included Wynton nate with these older styles? This extensive interview took place on a snowy Marsalis, Marcus Roberts and Dick Hyman. December 15, 2017 at his condominium across DB: I think there’s the thought of having some-

6 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 want to play the piano wrong but I wanted to use cluded Quincy Jones, , Dave Burrell my fingers and do other things. With Sunny and Sonny Sharrock. What was your experience Murray I had that opportunity because [Laughs] I there? couldn’t be heard otherwise. I had to play below (Continued from page 6) him or above him, and I started to figure out any DB: A baritone sax player friend of mine named thing that surprises you. There’s universality to sound I could get. I played the other night with Emmett Simmons joined and he any jazz audience just wanting that phenomena, Bobby Zankel at the Philadelphia Clef Club and I would come back to school and start playing that vibe, and that’s common all over the world. found a new sound where I could go “tonk,” these lines on baritone sax, which was of great It was the French, in particular, who were first to “tonk,” “ronk.” I did it some more and Odean interest. At the time, I was the music director for embrace the avant garde we brought over from Pope, who was also playing, looked at me ap- a group that played regularly at Louie’s Lounge, New York and Chicago in the sixties. provingly, although I didn’t know how to get out which was an R & B club, and we’d play Ray of it. I mean, what do you follow that with? So Charles’ “Drown in My Own Tears.” We were JI: What early musical influences did you have? finally I took the palms of my hands and slapped one big happy family.

DB: My parents had an extensive record collec- tion. In 1955 I was fifteen and I remember listen- “There are many people playing free today ing to Erroll Garner’s Mambo Moves Garner with Candido. I wore that one out, and later on I with concepts that mirror the concepts of the met and played with Candido in New York. Al- so, Ahmad Jamal’s Live at the Pershing Lounge record fascinated me in how incredibly hypnotic sixties but they go off into their own territory. it was, just one in a lifetime, perfect . My thing was Fats Domino. I had a group that played It’s refreshing. It’s like in the beginning when “Blueberry Hill,” and that goes back to the stride, the Fats Domino boogie-woogie baseline on one first heard the New Yorkers in Paris. You “Blueberry Hill,” for example. In the second half of the fifties, I was on a weekly Hawaiian variety could hear a pin drop because everybody in TV show with my band. We all lived on a coun- try dirt road. All of my band members grew up in families that would sit on their back porches and the audience was hearing the music for the play, usually string instruments – mandolin, gui- tar, banjo and ukulele. first time. Today there’s that same kind of

JI: Both of your parents were accomplished phenomena all over again.” singers. Did you inherit their vocal chops?

DB: I was singing in my group as a teenager and them on the keys to end as an anchor. JI: After graduating Berklee in ’65, you moved I think I was better then than as an adult. My back to New York and into a duplex loft on Bond parents were always in Broadway musicals like JI: Have there been other prominent jazz musi- Street and, as you mentioned earlier, soon many South Pacific and Paint Your Wagon because cians with firm roots in Hawaii? notable artists including , Gil Evans, those plays went straight from Broadway to the , Archie Shepp, , Fort Ruger Theater in Honolulu. I was around at DB: I don’t really know. Trombonist Trummy and started coming by. the rehearsals but I wasn’t really that interested Young from Duke Ellington’s orchestra retired in the Broadway shows, although certain compo- out there. He was my father’s friend and he was DB: Yeah, the loft was huge. I never saw a loft sitions would just stick in my musical craw. teaching me a little bit. The biggest thing going like that with an upstairs skylight. I heard Min- Meanwhile, I was a kid living in the country side on in Hawaii is people passing through on their gus looked at it and wanted to rent it. I kept my with horses and plenty of beaches and Hawaiian way around the world. We had a lot of people Wurlitzer baby grand piano on the top floor. I friends, not exactly an environment to learn the like Herb Jeffries and Tempest Storm come to had the piano up on blocks. I was very particular piano. You had all these cultural confrontations our house because the word was out that if you about the way I sat, I don’t know if the piano was so we all took karate and other martial arts seri- wanted to get some of Harlem and the East Coast comfortable for anybody else. It kind of looked ously in order to protect ourselves from kids stuff, call the Burrell’s. Herb Jeffries was gonna like a hot rod car. I rented the top space of my from other neighborhoods. It was a pretty rough do a concert in Waikiki at a club and said that he loft to Paul Bley for him to practice. He was very time as far as gangs and who’s gonna take a seat would use me if I knew my chords better. I met serious about the time that he was practicing on the bus, and who’s gonna go home with a the Delta Rhythm Boys who actually wanted my there. Down the street, Archie had a place and bloody nose. So when I heard Obama say the mom to join them but my dad said, “No way are had rehearsals with , who was play- same thing years later, it was good. I was laugh- you gonna join the Delta Rhythm Boys!” They ing with knitting needles. It was a time when one ing to myself. were in Honolulu quite often; it was one of their experimented. hubs. There was not a lot of live jazz but every- JI: Hence the origination of Frances Davis’ body seemed hungry for it. They didn’t get any JI: You quickly found work in New York with “karate clusters.” jazz from the East Coast until I brought a group pivotal free jazz leaders Marion Brown, Archie from Berklee in Boston home one summer, Shepp and , and appeared on DB: I remember watching a John Cage concert at around 1963. We played all summer, being numerous essential of the time. How did MIT when he had put microphones on balloons booked at one place in particular, Forbidden it feel to perform during the peak of free jazz and amplified chairs which he scraped on the City, where we played opposite Lenny Bruce. compared to the current day? floor. He fondled the balloons to create new sounds. Then he took sledge hammers and JI: In 1961 you transferred from the University DB: My parents got a surprise when they came smashed two nine-foot Steinway and just of Hawaii to Boston’s Berklee College of Music in from Hawaii to check on me. They came to left them there with the sound ringing. I didn’t to join a very impressive student body that in- (Continued on page 8)

To Advertise CALL: 215-887-8880 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 7 know I got better as a pianist from that practice worked with George Wein’s Newport Jazz Festi- Dave Burrell routine. val. We learned the standard jazz classics such as “Lester Leaps In” and “Strutting with Some Bar- JI: Ragtime was considered musically and politi- becue”. On one side of the album we had the (Continued from page 7) cally regressive when you began your career. inside music that we played, and on the other East 3rd Street, where I had a forty dollar a month Was there pushback to you recording ragtime side, we had the outside stuff. bathtub in the kitchen flat. They saw that “The sections at that time? kid is really serious!” It was crude living and I JI: Your first time overseas as a musician came was only interested in my piano and my tape DB: I hardly ever listened to the radio, or knew in 1969 at the Pan-African Festival in Algiers recorder. It didn’t matter when I ate, I was eating what was going on. We were just so plugged into when the State Department brought you over in after I finished practicing, and sometimes that the now, to the moment. I see that it takes a long Archie Shepp’s group. That festival featured would be in the middle of the night. There were- time for anything to really gel. Of course, rag- artists from every African country and exposed n’t too many good pianos around and the word time wasn’t the outstanding part of my reper- you to new rhythms, music, dance and drums. got out that I had one. lived across the toire. I started with one piece, and that one piece, How did that experience effect your career? street and I was over there a number of times, people that were into downtown jazz would say, which was very inspiring because there was mu- “Don’t ever stop playing that piece. That piece is DB: It was a phenomenon and it made the whole sic all over their floor, and there was one big pot a real gem.” And I would think ‘Why? It’s just sixties experience valid. Ending the decade with of soup that everybody was gonna eat from even- another portrait that I did.’ That was just one the trip to Africa changed my way of thinking tually. If you went to Pharoah’s house, he al- direction that I was pushing towards once. There about sound and rhythm. My take away from that ready had a baby, so sometimes he would make was a critic from the New York Times in the was I knew that what was holding me back in me babysit. There are many people playing free audience when I played with my group at Lin- New York was the same thing that was freeing today with concepts that mirror the concepts of coln Center in the mid-‘70s. I had a painter paint- me up in Africa. I realized that I didn’t have to the sixties but they go off into their own territory. ing while we were playing who got paint all over play songs in a way that the New York establish- It’s refreshing. It’s like in the beginning when us and himself. [Laughs] We thought that was a ment was playing. I could do whatever I wanted one first heard the New Yorkers in Paris. You good thing, we were so into it. I also had a syn- to do and it would be accepted. I played with the could hear a pin drop because everybody in the thesizer player there who put the vocalist through nomadic musicians, the Tuaregs from the Sahara audience was hearing the music for the first time. the piano and drums. It was a new sound and the Desert, and they were so intense, much more Today there’s that same kind of phenomena all critic loved it. He wrote “space-age electronic intense than I was. Other Americans there over again. jazz”. The performance included stride and piec- frowned on me playing with them because they es from Leonard Bernstein’s West Side Story. were so “scary.” They invited us to play with them but asked that we not look at their women in the eye because we would be cursed for life. I went out to the stage where ten to twelve Tuareg “we came down Interstate 1 during women singers, stunningly dressed in bright col- or robes, stood in a horseshoe around the piano. Hurricane Gloria with my grand piano in When I started playing a D minor drone, they blossomed and went into song. From that mo- the back of the truck. I didn’t know ment on I had a feeling of weightlessness. I could do whatever I wanted to do on the piano and it sounded appropriate. anything about the way that jazz was set JI: How did Pharoah Sanders come to play only up in Philadelphia, although I had come tambourine on your second album High Two [1968, Freedom]?

down for shows at venues like the Empty DB: The producer was Alan Douglas and it was at a time when Woodstock was still ringing in Foxhole and the Aqua Lounge. I needed everybody’s ears. Pharoah and I had been re- hearsing my quartet of Leonard Bernstein’s West Side Story at my apartment for to have another crack at being in the a long time. So when I learned that Alan Douglas wanted to record me in a piano trio context and I woodshed and thought that Philadelphia needed to find a way to pay Pharoah, I put him on tambourine and he got a check from the un- would allow me to do that.” ion.

JI: Coltrane’s bassist, Jimmy Garrison, came to JI: What did you do to prepare to play free jazz JI: The 360 Degree Music Experience was a trio live with you after you moved into a brownstone music? you co-founded with Grachan Moncur III and in Harlem in 1970. How did he come to move in Beaver Harris in 1968. How did the band’s name and what was happening musically in your home DB: The Thesaurus of Scales and Melodic Pat- relate to the music played? then? terns by Nicolas Slonimsky was the main book that I played from with Pharoah Sanders and DB: Beaver coined the band’s title. The first DB: Jimmy Garrison was at Coltrane’s funeral Marion Brown. Pharoah had told me that he and album that we did was called From Ragtime to and I knew Jimmy needed a place to stay. I had a Coltrane had practiced out of this book every day No Time and that was inspired from the kinds of brownstone in Harlem and I asked him if he – twenty pages a day. So I bought the book. inside stuff that we were interested in. We had wanted to stay there. He moved in and started to Pharoah, who came over almost every day to Marshall Brown as a teacher and mentor, teach- practice, played in his key and I played in mine. I ing us about bebop and traditional jazz. He (Continued on page 10)

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To Advertise CALL:Experience 215-887-8880 ResultsMay-June 2018 In Jazz 24-48 Inside Magazine Hours!  www.JazzInsideMagazine.com CALL 215- 887-8880 9 JI: Another major endeavor has been your Amer- often knew each other off the battlefield. What is Dave Burrell ican Civil War: 1861-65 project, a five-year ex- so human about a war, any war, is that you lose ploration of the war made possible by your ten- so much of yourself for nothing. I saw that, I saw year position as Composer-in-Residence at Phila- how important it is to know what you are talking (Continued from page 8) delphia’s Rosenbach Museum and Library. You about before you can compose anything. For teach me things that he and Coltrane and McCoy had unlimited access to the museum’s extensive example, Lincoln liberated the slaves but how were into. We started to play at a place on 9th collection of rare books, letters and manuscripts. was he able to do that and who from the outside Street called Hilly’s. Hilly, the club owner also How did you approach the challenge of bringing was helping him? So learning about the Europe- owned CBGB’s. 19th century events back to life by way of mod- an interests and the European lobby became fas- ern music? cinating. I came to feel like a scholar eventually, JI: One of your compositions that you’ve record- to some degree. ed multiple times and still play is “Teardrops for DB: The director of the Rosenbach Museum and Jimmy.” What triggered that tribute to Jimmy Library said to me, “You bring our collection to JI: What’s the new project you are currently Garrison? life through music.” I went into the archives and involved with? found out everything I could about the American DB: His bass solos became an integral part of Civil War. The recommended reading from some DB: I’m working with Moni on a project origi- every Coltrane set. You knew there was gonna of the staff became imperative to me to comple- nally inspired by the music of James P. Johnson. be twenty minutes from the bass at every perfor- ment my archival research at the Museum, three He was from New Brunswick, [New Jersey] and mance and if you listened, you saw that he was scholarly examinations in particular come to part of the . The James P. building something phenomenal. After he died of mind - Drew Gilpin Faust's This Republic of Johnson project includes Carolina Shout and will cancer I went home and wrote “Teardrops for Suffering: Death and the Civil War, Chandra be a category short of being an opera. When you Jimmy,” and later Moni [his wife Monika Lars- Manning's What This Cruel War Was Over: Sol- get involved with a project like this you have to son] put lyrics to the piece. It became a popular diers, Slavery, and the Civil War, and Douglas L. go year by year or opportunity by opportunity. song for many of the vocalists in New York at Wilson's book Lincoln's Sword: The Presidency It’s a work in progress. I didn’t know that he had the time. Leena Conquest is on my recent RAI and the Power of Words. As the war progressed written the Charleston, which became the inter- Trade recording singing “Teardrops for Jimmy.” so did my research and interest. The idea of do- national dance craze. He seemed to be the link ing portraits became clearer as the project devel- between Scott Joplin and modern jazz /Duke/ JI: Saxophonist Bobby Zankel, who has played oped and matured. My annual concert presenta- Monk. Johnson’s stride was so strong; it must extensively with through the years, tions followed the war consequently. In my first have been what Monk took away. James P. John- says that Cecil told him that you were, “The first year I created musical portraits of General Rob- son originated this exodus from the kind of Mo- to get it,” the first one to get what he was doing ert E. Lee, Elmer Ellsworth, John Brown, and zart-inspired rags of Joplin that I like. The stride and apply it to their own work. Ulysses S. Grant. In the case of John Brown, I of James P. Johnson sounds different, and I hear wrote two separate portraits, John Brown: it in Monk’s playing. We are developing a story- DB: That’s flattering. I think that’s pertaining to Life, and John Brown: Death. During my second line from reading these interesting books relating the energy that Cecil put out. He’s like a diction- year I read letters home from the war front, to several contributing artists from the period. By ary of free. newspaper articles, eye-witness reports resulting now I have read several biographies, novels and in a suite I named Civilians During War earth shattering opinions from some great voices, JI: What compelled you to undertake composing Time. By now a theme started to grow out of my and listened to great music from this historical a jazz opera? It took you eight years of work. composition, One Nation: American Civil landmark period. I am very impressed in particu- War where I built the composition from lar by James Weldon Johnson’s work, as well as DB: I was always told that opera was the highest both Yankee Doodle and Dixie. I refer to the two the poetry of Langston Hughes. A few years art form and I wanted something to fall back on major battles that took place in the third year of back I was commissioned to write a score to when I became older. I thought that if you had an the war, Vicksburg and Gettysburg, in my Oscar Micheaux’s silent black and white film opera in your repertoire it would always come suite Turning Point. I invited trombonist Steve “Body and Soul”. Four or five of the composi- back. A work that had dance, drama, the improv- Swell to perform with me. The center piece from tions from my work appear on my Momentum isation of jazz with precision, the lighting, the this suite is a composition, “Paradox of Free- CD with Guillermo Brown and Michael For- sets, the theater, all in one, you could pull it out dom,” where I pour my heart into the tension and manek on the HighTwo label. As it happened, whenever you wanted. For example, I left a pi- release created by the emancipation. The live my mother was the secretary to James Weldon ano-vocal score in Milan with some Italian musi- performance resulted in a CD, Turning Johnson while she went to Fisk University in the cians about ten years ago, after we did a week- Point (NoBusiness) accompanied by outstanding mid-‘30s up until the time of his death. I have the long workshop together. I’m about to fly to Mi- liner notes by Ed Hazell. The two last years of original copies of James Weldon Johnson’s 2- lan and rehearse with their orchestra. The week- the war kept me glued to the archives, reading as volumes “The Book of American Negro Spiritu- long workshop will culminate in a concert at many daily front pages of some of the South’s als” from my mother’s music collection. My new Novara Jazz Festival. Moni was asked to write a leading newspapers, adding a vocal to the score project Full-Blown Rhapsody will come together poem that will be recited by the Ivory Coast ac- with a libretto by Monika Larsson, Listening to with Moni exploring the events leading up to the tor Rufin Doh for the concert. The orchestra has Lincoln and Ode to a Prairie Lawyer. Monika 1919 Red Summer-riots, her interpretations of expanded on my original score with Armenian and I were invited to Messina, Italy to pre- the many emerging art forms, and my own dis- folk themes, African poetry, and thus with these sent Ode to a Prairie Lawyer with mezzo sopra- coveries of the linkage from the Harlem Renais- extensions, the story took some new turns. At no Veronica Cardullo in 2017. I intend to contin- sance. It is quite a thrilling process, to listen, to first we thought, ‘Hey, what are they doing ue presenting my American Civil War suite to learn and to conceptualize musical portraits from changing our opera around?’ And then we real- international audiences and to keep stretching the yet another important era of African-American ized by joining them we would be part of the arrangement to include more instruments. history. next generation of this work. The band members enriched and renewed the arrangement because JI: What was the biggest revelation you had JI: It seems most of your playing is outside the they truly felt passionate about working on it. So while researching the Civil War? States? in a way, I did get my wish for this longevity that I think is necessary. DB: There was a lot, in particular, most of the DB: I would say so, there’s just been a wave of generals went to West Point for training, and me performing and recording abroad. I did an-

10 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 cane Gloria with my grand piano in the back of fill what you imagined?” Dave Burrell the truck. I didn’t know anything about the way that jazz was set up in Philadelphia, although I DB: Yes, thanks to Bob Stewart. I didn’t know had come down for shows at venues like the how well we had played in Germany on a radio (Continued from page 10) Empty Foxhole and the Aqua Lounge. I needed show as part of a festival in the nineties. When other recording this year in Italy with some Sicil- to have another crack at being in the woodshed the company released the LP last year, I realized ian musicians that I’m really proud of and that I and thought that Philadelphia would allow me to how important what we did really was. At some think represents where I want to be in the free do that. point, we’re gonna have to get together again. I’d jazz trio setting. like to do more things with Bob. JI: What happens at your country home deep in JI: You look at your time in Paris with Sam the woods of the western region of Sweden that Odean Pope (saxophone) asked: “How did Woodyard (Duke Ellington’s drummer) as one of you and Monika retreat to? you come up with your harmonic concept?” your career highlights. DB: We have a kind of sanctuary there, happily DB: My harmonic concept comes from the lead- DB: Sam Woodyard gave me confidence. He existing among the many animals in the wild. ership of John Coltrane and Pharoah Sanders out was a beautiful human being. We worked very You can hear yourself think there and a lot of the of the Nicolas Slonimsky Thesaurus of Scales hard, we laughed a lot and I learned more from first ideas that I put on paper come to me there, and Melodic Patterns book. Pharoah told me that summer than ever before. He loved our as with Moni and her poetry and other writing. about it and that Coltrane and Monk used the opera score. Moni and I had just started writing There are three small cottages; one has a grand book. You find just page after page of these in- Windward Passages. She wrote the book and the piano and a huge desk for writing. We are sur- ternational scales. We heard stories back then, in libretto. The music kept evolving along with the rounded by woods, farms, fields and dirt roads. the mid-‘60s, of Miles’ group with Coltrane and libretto. We started writing right after we’d met A neighbor keeps a dozen horses grazing nearby. Cannonball listening to East Indian ragas, so in Honolulu in June, 1978. After we’d settled in At the end of the day most horses have found anything they did we had to do as well. I had a the Upper West Side in New York, later in the their way closer to my studio. A couple of sum- reel-to-reel on a slow speed playing Indian ragas fall the concept became clearer to us. By the time mers ago we planted an orchard with apples, all day long. And the scales of course I would we went to Paris in the spring of 1979 there was cherries, pears and plums. We look forward to find in that book. enough new material from our project to spring returning for many more years to follow our on Sam Woodyard. He would call out from his efforts to fruition. Bobby Zankel (saxophone) asked: “What did drums, “What you got for me tonight, buddy”, you experience the first time you heard Cecil and and I would pull out some new thing we were JI: The final questions have been given to me by how did your approach to playing begin to working on, like “Punaluu Peter,” “Sarah’s La- other artists to ask you: evolve in that direction?” ment,” and so on. He loved it. We played two sets night after night to a packed house at the Billy Martin (drums) said: “Dave is a one of a DB: I first heard Cecil, it was somewhere in club Campaigne Premier right off rue Raspail in kind; he’s an incredible true artist. He’s a really Europe, and I never heard anybody play like that, Montparnasse for a whole summer. Who is who singular artist. He’s a very generous person when even till this day. He was always someone that in jazz in Paris at the time showed up: Steve he plays. He’s very powerful. I don’t know any inspired me but once I met him in person at a Lacy, Kenny “Kluke” Clarke, the critic Mike other piano player that can play louder than me restaurant in Brooklyn, I found out what a genu- Schwerin and Slugs’ owner Jerry Schultz, to acoustically! [Laughs] I’m exaggerating there inely total artist he is. He’s always had interest in name a few. A young French actress sat up front but I don’t know any other piano player that can all of the arts. What you find with Cecil Taylor is several nights a week. Moni and I lived on really hold a certain intensity and volume like he clarity. You hear everything that he does, it re- Boulevard St. Jacques around the corner so we can. And he’s really hip to the whole spectrum of minds me of architecture. would walk to the club with a new composition, getting things out of the piano. My question for or arrangement, freshly noted on paper every you is I know you’ve worked on an opera and I William Parker (bass) said: “Dave you have other night. It kept both Sam and me very happy. wanted to know if it’s finished, has it premiered accomplished so much. Your music has constant- I often relate to our collaboration, really the three yet, and how I could see it?” ly been an inspiration to me. One of the most of us together, Moni, Sam and me, as one of the touching moments I’ve experienced through your highlights of my compositional career. Moni is DB: It’s a “nine lives” opera in a lot of ways work comes on your 1969 recording La Vie de writing a book, A Jazz Life, and the chapter from because it’s finished on one level and that first Bohème [BYG Actuel]. The inclusion of the the time we lived in Paris is as wondrous as we level led me to many other steps. For example, voice of your mother Eleanor on one song seems remembered. My summer with Sam culminated we never got to the dancers that we’d envisioned. to reach back to an inspired time. What was it in a solo piano concert in September at Basel We had people that wanted to do the sets before like?” Stadthaus and Werner Uehlinger put it out as a we were ready to think about sets. But the whole double-LP, Windward Passages on his Swiss idea of having it for a lifetime and you can work DB: My mother started her own opera company label HatArt. I wish Sam could have heard me on it when you have the funding is the kind of called the Windward Opera Guild, which is that night. After Basel, Moni and I headed back project I have always thought it should be. It where the title for our opera comes from. She to New York to finish the score, and orchestra- seems natural and normal for it to take so many was wearing a lot of hats, doing many different tion. twists and turns. It’s not a big mainstream pro- things, and then all of a sudden she had cancer. I duction mentality and approach, it is cutting- went to Hawaii and on her deathbed at Queens JI: You spent your younger years in New York edge kind of formulas that are only funded occa- Hospital; I recorded her singing one of her favor- and Hawaii, why have you lived in Philadelphia sionally and sometimes we are vigorously look- ite arias from Puccini’s La Bohème. I went back since 1985? ing for those monies and at other times we’re to Paris from there and returned to the recording doing something that’s away from it because you studio with the reel-to-reel tape of my mother DB: We lived in Gothenburg, Sweden for two can’t do it all the time. It’s a little bit overwhelm- singing to be mixed. At first the recording sound- years in the mid-‘80s. By the time we returned to ing and I didn’t know that in the beginning. ed very abstract. It also sounded very much like New York things had changed. The rents were the kind of pain I had standing there watching higher, some close friends were gone, so we Bob Stewart (tuba) asked: “What led you to do my mother just fade away.

wanted to give Philadelphia a closer look. As it the Jelly Roll project [The Crave, NoBusiness were, we came down Interstate 1 during Hurri- Records, 2016] with tuba and did the results ful-   

To Advertise CALL: 215-887-8880 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 11

JaleelJaleel ShawShaw Hear Jaleel with Shamie Royston at Dizzy’s Club at Jazz At Lincoln Center June 20, 2018

© Eric Nemeyer

12 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

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Friday, June 1 lesen, Drums; Village Vanguard 178 7th Ave S.  After-hours Jam Session; Small’s, 183 W. 10th St. · Benny Green Trio; Dizzy’s Club, Jazz At Lincoln Center,  Keyon Harrold; Blue Note, 131 W. 3rd St. 60th & Bdwy

 Joey Defrancesco With Mark Whitfield And Lenny White; Jazz; Jazz Standard, 116 E. 27th St. Wednesday, June 6  Birdland Big Band; Birdland, 315 W. 44th St.  Sharel Cassity Elektra; Dizzy’s Club, Jazz At Lincoln Cen-  With Chris Potter, Tenor Saxophone, Ethan Iverson, ter, 60th & Bdwy Piano, Ben Street, Bass; Village Vanguard 178 7th Ave S.  Elina Engibaryan; Jazz Standard, 116 E. 27th St.  Neal Smith New Breed Sextet; Michael Weiss Quartet; JD  Stacey Kent; Birdland, 315 W. 44th St. Allen "After-hours"; Small’s, 183 W. 10th St.  Scott Colley Trio With Mark Turner, Tenor Sax, Kenny Wol-  The Bad Plus; Blue Note, 131 W. 3rd St. lesen, Drums; Village Vanguard 178 7th Ave S.  Lage Lund Quartet; Fukushi Tainaka Quintet; Jovan Alexan- Saturday, June 2 dre "After-hours"; Small’s, 183 W. 10th St.  Keyon Harrold; Blue Note, 131 W. 3rd St.  Benny Green Trio; Dizzy’s Club, Jazz At Lincoln Center,

60th & Bdwy  Joey Defrancesco With Mark Whitfield And Lenny White; Thursday, June 7 Jazz; Jazz Standard, 116 E. 27th St.  Felix Peikli & Joe Doubleday’s Showtime Band; Dizzy’s Club,  Bossa Brasil, 315 W. 44th St. Jazz At Lincoln Center, 60th & Bdwy  Billy Hart With Chris Potter, Tenor Saxophone, Ethan Iverson,  Dafnis Prieto Big Band; Jazz Standard, 116 E. 27th St. Piano, Ben Street, Bass; Village Vanguard 178 7th Ave S.  Stacey Kent; Birdland, 315 W. 44th St.  Smalls Showcase: Jimmy O'Connell Sextet; Neal Smith New  Scott Colley Trio With Mark Turner, Tenor Sax, Kenny Wol- Breed Sextet; Michael Weiss Quartet; Philip Harper Quintet; lesen, Drums; Village Vanguard 178 7th Ave S. Small’s, 183 W. 10th St.  Lage Lund Quartet; Jure Pukl Quartet; Charles Goold "After-  The Bad Plus; Blue Note, 131 W. 3rd St. hours"; Small’s, 183 W. 10th St.

 Keyon Harrold; Blue Note, 131 W. 3rd St. Sunday, June 3  Benny Green Trio; Dizzy’s Club, Jazz At Lincoln Center, Friday, June 8 60th & Bdwy  Dion Parson & 21st Century; Dizzy’s Club, Jazz At Lincoln  Joey Defrancesco With Mark Whitfield And Lenny White; Center, 60th & Bdwy Jazz; Jazz Standard, 116 E. 27th St.  Dafnis Prieto Big Band; Jazz Standard, 116 E. 27th St.  Bossa Brasil, 315 W. 44th St.  Birdland Big Band, Stacey Kent, 315 W. 44th St.  Billy Hart With Chris Potter, Tenor Saxophone, Ethan Iverson,  Scott Colley Trio With Mark Turner, Tenor Sax, Kenny Wol- Piano, Ben Street, Bass; Village Vanguard 178 7th Ave S. lesen, Drums; Village Vanguard 178 7th Ave S.  Vocal Masterclass with Marion Cowings; Sacha Perry Trio;  Venture; Mike Rodriguez Quintet; Corey Wallace DUBtet Deborah Davis; Bruce Harris Group; Jon Beshay "After- "After-hours"; Small’s, 183 W. 10th St. hours"; Small’s, 183 W. 10th St.  Keyon Harrold; Blue Note, 131 W. 3rd St.  The Bad Plus; Blue Note, 131 W. 3rd St.

Monday, June 4 Saturday, June 9  Dion Parson & 21st Century; Dizzy’s Club, Jazz At Lincoln  Jazz At Lincoln Center Youth Orchestra; Dizzy’s Club, Jazz Center, 60th & Bdwy At Lincoln Center, 60th & Bdwy  Dafnis Prieto Big Band; Jazz Standard, 116 E. 27th St.  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Stacey Kent; Birdland, 315 W. 44th St.  Danny Bacher, 315 W. 44th St.  Scott Colley Trio With Mark Turner, Tenor Sax, Kenny Wol-  Vanguard Big Band; Village Vanguard 178 7th Ave S. lesen, Drums; Village Vanguard 178 7th Ave S.  Ari Hoenig Trio; Group; After-hours Jam  Smalls Showcase: Buzz Donald Trio; Michael Cochrane Session; Small’s, 183 W. 10th St. "Lines of Reason"; Mike Rodriguez Quintet; Philip Harper

Quintet; Small’s, 183 W. 10th St. Tuesday, June 5  Keyon Harrold; Blue Note, 131 W. 3rd St.  Alex Sipiagin Sextet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Sunday, June 10  Joey Alexander Trio; Jazz Standard, 116 E. 27th St.  Dion Parson & 21st Century; Dizzy’s Club, Jazz At Lincoln  Stacey Kent; Birdland, 315 W. 44th St. Center, 60th & Bdwy (Continued on page 14)  Scott Colley Trio With Mark Turner, Tenor Sax, Kenny Wol-

To Advertise CALL: 215-887-8880 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 13  Dafnis Prieto Big Band; Jazz Standard, 116 E. 27th St.  Vanguard Big Band; Village Vanguard 178 7th Ave S.  Charles Blenzig Group; Abraham Burton Quartet; After-hours  Bruce Harris; Birdland, 315 W. 44th St.  Joel Frahm Trio; Jonathan Barber Group; Small’s, 183 W. Jam Session; Small’s, 183 W. 10th St.  Scott Colley Trio With Mark Turner, Tenor Sax, Kenny Wol- 10th St. lesen, Drums; Village Vanguard 178 7th Ave S.  McCoy Tyner; Blue Note, 131 W. 3rd St.  Vocal Masterclass with Marion Cowings; Sacha Perry Trio; JC Wednesday, June 13 Stylles Organ Quartet; Hillel Salem "After-hours"; Small’s, Tuesday, June 12  Paul Nedzela Quartet; Dizzy’s Club, Jazz At Lincoln Cen- 183 W. 10th St. ter, 60th & Bdwy  Paul Nedzela Quartet; Dizzy’s Club, Jazz At Lincoln Cen-  Keyon Harrold; Blue Note, 131 W. 3rd St.  Ralph Peterson Trio; Jazz Standard, 116 E. 27th St. ter, 60th & Bdwy  Maria Schneider Orchestra; Birdland, 315 W. 44th St.  Ralph Peterson Trio; Jazz Standard, 116 E. 27th St.  Joe Lovano & Dave Douglas With Lawrence Fields, Piano, Monday, June 11  Maria Schneider Orchestra; Birdland, 315 W. 44th St. Linda May Han Oh, Bass, Joey Baron, Drums; Village Van-  Tarek Yamani Trio; Dizzy’s Club, Jazz At Lincoln Center,  Joe Lovano & Dave Douglas With Lawrence Fields, Piano, guard 178 7th Ave S. 60th & Bdwy Linda May Han Oh, Bass, Joey Baron, Drums; Village Van-  Carlo De Rosa & Cross-Fade; Kennci 4; I J T Q "After-hours";  Mingus Big Band; Jazz Standard, 116 E. 27th St. guard 178 7th Ave S. Small’s, 183 W. 10th St.  Paquito D'Rivera; Blue Note, 131 W. 3rd St.

Thursday, June 14  Victor Goines Quartet; Dizzy’s Club, Jazz At Lincoln Cen- ter, 60th & Bdwy  Terence Blanchard Featuring The E-Collective; Jazz Stand- ard, 116 E. 27th St.  Maria Schneider Orchestra; Birdland, 315 W. 44th St.  Joe Lovano & Dave Douglas With Lawrence Fields, Piano, Linda May Han Oh, Bass, Joey Baron, Drums; Village Van- guard 178 7th Ave S.  Harish Raghavan Quintet; Hailey Niswanger Quartet; Davis Whitfield "After-hours"; Small’s, 183 W. 10th St.  Paquito D'Rivera; Blue Note, 131 W. 3rd St.

Friday, June 15  Victor Goines Quartet; Dizzy’s Club, Jazz At Lincoln Cen- ter, 60th & Bdwy  Terence Blanchard Featuring The E-Collective; Jazz Stand- ard, 116 E. 27th St.  Maria Schneider Orchestra; Birdland, 315 W. 44th St.  Joe Lovano & Dave Douglas With Lawrence Fields, Piano, Linda May Han Oh, Bass, Joey Baron, Drums; Village Van- guard 178 7th Ave S.  Brian Charette Trio; Spike Wilner Quartet; JD Allen "After- hours"; Small’s, 183 W. 10th St.  Paquito D'Rivera; Blue Note, 131 W. 3rd St.

Saturday, June 16  Victor Goines Quartet; Dizzy’s Club, Jazz At Lincoln Cen- ter, 60th & Bdwy  Terence Blanchard Featuring The E-Collective; Jazz Stand- ard, 116 E. 27th St.  Maria Schneider Orchestra; Birdland, 315 W. 44th St.  Joe Lovano & Dave Douglas With Lawrence Fields, Piano, Linda May Han Oh, Bass, Joey Baron, Drums; Village Van- guard 178 7th Ave S.  Jon Roche & Friends; Brian Charette Trio; Spike Wilner Quartet; Brooklyn Circle; Small’s, 183 W. 10th St.  Paquito D'Rivera; Blue Note, 131 W. 3rd St.

Sunday, June 17  Victor Goines Quartet; Dizzy’s Club, Jazz At Lincoln Cen- ter, 60th & Bdwy  Terence Blanchard Featuring The E-Collective; Jazz Stand- ard, 116 E. 27th St.  Bridges Orchestra featuring Memo & Jacquelene Acevedo; Birdland, 315 W. 44th St.  Joe Lovano & Dave Douglas With Lawrence Fields, Piano, Linda May Han Oh, Bass, Joey Baron, Drums; Village Van- guard 178 7th Ave S.  Vocal Masterclass with Marion Cowings; Sacha Perry Trio; Ehud Asherie Trio; Richie Vitale Quintet; Small’s, 183 W. 10th St.

(Continued on page 16)

14 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

To Advertise CALL: 215-887-8880 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 15  Paquito D'Rivera; Blue Note, 131 W. 3rd St.  David Murray & Class Struggle With Craig Harris, Trombone,

Mingus Murray, Guitar, Lafayette Gilchrist, Piano, Rashaan

Carter, Bass, Russell Carter, Drums; Village Vanguard 178 “...among human beings Monday, June 18 7th Ave S.  Monday Nights With WBGO, Uptown Tentet; Dizzy’s Club, jealousy ranks distinctly as a  Nick Finzer Sextet; Harold Mabern Trio; Aaron Seeber "After- weakness; a trademark of small minds; Jazz At Lincoln Center, 60th & Bdwy hours"; Small’s, 183 W. 10th St.  Mingus Big Band; Jazz Standard, 116 E. 27th St. a property of all small minds, yet a property  Victor Wooten With Dennis Chambers, Bob Franceschini; which even the smallest is ashamed of;  Vanguard Big Band; Village Vanguard 178 7th Ave S. Blue Note, 131 W. 3rd St. and when accused of its possession will  Lucas Pino Nonet; Joe Farnsworth Group; Small’s, 183 W. lyingly deny it and resent the 10th St. Thursday, June 21 accusation as an insult.”  Paquito D'Rivera; Blue Note, 131 W. 3rd St.  Ann Hampton Callaway; Dizzy’s Club, Jazz At Lincoln

Center, 60th & Bdwy -Mark Twain Tuesday, June 19  Vinicius Centuaria With Helio Alves, Paul Sokolow, Adrianno;  Jazztopad Festival Presents: Maciej Obara Quartet Presented Jazz Standard, 116 E. 27th St. Lincoln Center, 60th & Bdwy In Partnership With The Polish Cultural Institute Of New York;  Freddie Cole Quartet; Birdland, 315 W. 44th St.  Mingus Big Band; Jazz Standard, 116 E. 27th St. Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  David Murray & Class Struggle With Craig Harris, Trombone,  Vanguard Big Band; Village Vanguard 178 7th Ave S.  Django Bates Trio With Peter Eloh, Peter Bruun; Jazz Stand- Mingus Murray, Guitar, Lafayette Gilchrist, Piano, Rashaan  Ari Hoenig Trio; Jonathan Michel Group; After-hours Jam ard, 116 E. 27th St. Carter, Bass, Russell Carter, Drums; Village Vanguard 178 Session; Small’s, 183 W. 10th St. 7th Ave S.  Freddie Cole Quartet; Birdland, 315 W. 44th St.  Monty Alexander; Blue Note, 131 W. 3rd St.  David Murray & Class Struggle With Craig Harris, Trombone,  Frank Perowsky Quartet; Bruce Williams Quartet; Asaf Yuria Mingus Murray, Guitar, Lafayette Gilchrist, Piano, Rashaan "After-hours"; Small’s, 183 W. 10th St. Carter, Bass, Russell Carter, Drums; Village Vanguard 178  Victor Wooten With Dennis Chambers, Bob Franceschini; Tuesday, June 26 7th Ave S. Blue Note, 131 W. 3rd St.  Christian Sands Trio; Dizzy’s Club, Jazz At Lincoln Center,  Robert Edwards Group; Frank Lacy Group; After-hours Jam 60th & Bdwy Session; Small’s, 183 W. 10th St. Friday, June 22  Janis Siegel; Jazz Standard, 116 E. 27th St.  Victor Wooten With Dennis Chambers, Bob Franceschini;  Ravi Coltrane; Birdland, 315 W. 44th St.  Ann Hampton Callaway; Dizzy’s Club, Jazz At Lincoln Blue Note, 131 W. 3rd St. Center, 60th & Bdwy  With Mark Turner, Tenor Sax, Charles Altura, Guitar, Ugonna Okegwo, Bass, Johnathan Blake, Drums;  Vinicius Centuaria With Helio Alves, Paul Sokolow, Adrianno; Village Vanguard 178 7th Ave S. Wednesday, June 20 Jazz Standard, 116 E. 27th St.  Steve Nelson Quartet; Frank Lacy Group; After-hours Jam  Shamie Royston Trio With Special Guests Jaleel Shaw And  Birdland Big Band; Birdland, 315 W. 44th St. Session; Small’s, 183 W. 10th St. Lee Hogans Album Release Party; Dizzy’s Club, Jazz At  David Murray & Class Struggle With Craig Harris, Trombone,  Monty Alexander; Blue Note, 131 W. 3rd St. Lincoln Center, 60th & Bdwy Mingus Murray, Guitar, Lafayette Gilchrist, Piano, Rashaan

 Django Bates Trio With Peter Eloh, Peter Bruun; Jazz Stand- Carter, Bass, Russell Carter, Drums; Village Vanguard 178 ard, 116 E. 27th St. 7th Ave S. Wednesday, June 27  Freddie Cole Quartet; Birdland, 315 W. 44th St.  John Bailey Quintet; Ken Fowser Quintet; Corey Wallace  Christian Sands Trio; Dizzy’s Club, Jazz At Lincoln Center, DUBtet "After-hours"; Small’s, 183 W. 10th St. 60th & Bdwy  Victor Wooten With Dennis Chambers, Bob Franceschini;  Duchess; Jazz Standard, 116 E. 27th St. Blue Note, 131 W. 3rd St.  Ravi Coltrane; Birdland, 315 W. 44th St.

 Tom Harrell With Mark Turner, Tenor Sax, Charles Altura, Saturday, June 23 Guitar, Ugonna Okegwo, Bass, Johnathan Blake, Drums;  Ann Hampton Callaway; Dizzy’s Club, Jazz At Lincoln Village Vanguard 178 7th Ave S. Center, 60th & Bdwy  Emanuele Cisi Quartet; George Papageorge Group; Mike  Vinicius Centuaria With Helio Alves, Paul Sokolow, Adrianno; Troy - "After-hours" Jam Session; Small’s, 183 W. 10th St. Jazz Standard, 116 E. 27th St.  Lettuce; Blue Note, 131 W. 3rd St.  Freddie Cole Quartet; Birdland, 315 W. 44th St.  David Murray & Class Struggle With Craig Harris, Trombone, Thursday, June 28 Mingus Murray, Guitar, Lafayette Gilchrist, Piano, Rashaan  Adrian Cunningham Quintet With Special Guest Vocalist Carter, Bass, Russell Carter, Drums; Village Vanguard 178 Brianna Thomas From My Fair Lady To Camelot; Dizzy’s 7th Ave S. Club, Jazz At Lincoln Center, 60th & Bdwy  Smalls Showcase: Jade Synstelien Trio; John Bailey Quintet;  Grant Green Evolution Of Funk With Grant Green Jr., Donald Ken Fowser Quintet; Philip Harper Quintet; Small’s, 183 W. Harrison, Marc Cary, Khari Simmons, Mike Clark; Jazz 10th St. Standard, 116 E. 27th St.  Victor Wooten With Dennis Chambers, Bob Franceschini;  Ravi Coltrane; Birdland, 315 W. 44th St. Blue Note, 131 W. 3rd St.  Tom Harrell With Mark Turner, Tenor Sax, Charles Altura, Guitar, Ugonna Okegwo, Bass, Johnathan Blake, Drums; Sunday, June 24 Village Vanguard 178 7th Ave S.  Ann Hampton Callaway; Dizzy’s Club, Jazz At Lincoln  Darrell Green Quartet; Keith Brown Group; Jonathan Thomas Center, 60th & Bdwy -"After-hours" Jam Session; Small’s, 183 W. 10th St.  Vinicius Centuaria With Helio Alves, Paul Sokolow, Adrianno;  Lettuce; Blue Note, 131 W. 3rd St. Jazz Standard, 116 E. 27th St.  Benny Bennack III ft. the DW Jazz Orchestra; Birdland, 315 Jazz Lovers’ Friday, June 29 W. 44th St.  Adrian Cunningham Quintet With Special Guest Vocalist  David Murray & Class Struggle With Craig Harris, Trombone, Brianna Thomas From My Fair Lady To Camelot; Dizzy’s Mingus Murray, Guitar, Lafayette Gilchrist, Piano, Rashaan Club, Jazz At Lincoln Center, 60th & Bdwy Carter, Bass, Russell Carter, Drums; Village Vanguard 178 7th Ave S.  Grant Green Evolution Of Funk With Grant Green Jr., Donald Harrison, Marc Cary, Khari Simmons, Mike Clark; Jazz Lifetime Collection  Monty Alexander; Blue Note, 131 W. 3rd St. Standard, 116 E. 27th St.

 Ravi Coltrane; Birdland, 315 W. 44th St. Monday, June 25  Tom Harrell With Mark Turner, Tenor Sax, Charles Altura, JazzMusicDeals.com JazzMusicDeals.com  Band Director Academy Faculty Band; Dizzy’s Club, Jazz At (Continued on page 17)

16 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

org

Guitar, Ugonna Okegwo, Bass, Johnathan Blake, Drums; Standard, 116 E. 27th St. Saturday, June 30 Village Vanguard 178 7th Ave S.  Ravi Coltrane; Birdland, 315 W. 44th St.  Adrian Cunningham Quintet With Special Guest Vocalist  Andy Fusco Quintet; Dmitry Baevsky Quartet; JD Allen "After-  Tom Harrell With Mark Turner, Tenor Sax, Charles Altura, Brianna Thomas From My Fair Lady To Camelot; Dizzy’s hours"; Small’s, 183 W. 10th St. Guitar, Ugonna Okegwo, Bass, Johnathan Blake, Drums; Club, Jazz At Lincoln Center, 60th & Bdwy  Lettuce; Blue Note, 131 W. 3rd St. Village Vanguard 178 7th Ave S.

 Grant Green Evolution Of Funk With Grant Green Jr., Donald Harrison, Marc Cary, Khari Simmons, Mike Clark; Jazz 

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To Advertise CALL: 215-887-8880 May-June 2018  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. & 07701, 732-842-9000, countbasietheatre.org ry.com W., 212-769-5100, amnh.org Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027, Langham Place — Measure, Fifth Avenue, 400 Fifth Avenue Antibes Bistro, 112 Suffolk Street. 212-533-6088. 908-232-5666 New York, NY 10018, 212-613-8738, langhamplacehotels.com www.antibesbistro.com Cutting Room, 19 W. 24th St, 212-691-1900 La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal St, Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759, Dizzy’s Club, Broadway at 60th St., 5th Floor, 212-258-9595, New York, 212-529-5945, lalanternarcaffe.com arthurstavernnyc.com jalc.com Le Cirque Cafe, 151 E. 58th St., lecirque.com Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-378- DROM, 85 Avenue A, New York, 212-777-1157, dromnyc.com Le Fanfare, 1103 Manhattan Ave., Brooklyn. 347-987-4244. 2133, artsmaplewood.org The Ear Inn, 326 Spring St., NY, 212-226-9060, earinn.com www.lefanfare.com Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St., East Village Social, 126 St. Marks Place. 646-755-8662. Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York, 212-875-5030, lincolncenter.org www.evsnyc.com New York, 212-246-2993, lemadeleine.com BAM Café, 30 Lafayette Av, Brooklyn, 718-636-4100, bam.org Edward Hopper House, 82 N. Broadway, Nyack NY. 854-358- Les Gallery Clemente Soto Velez, 107 Suffolk St, 212-260-4080 Bar Chord, 1008 Cortelyou Rd., Brooklyn, barchordnyc.com 0774. Lexington Hotel, 511 Lexington Ave. (212) 755-4400. Bar Lunatico, 486 Halsey St., Brooklyn. 718-513-0339. El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-831- www.lexinghotelnyc.com 222.barlunatico.com 7272, Fax: 212-831-7927, elmuseo.org Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542, Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn, Esperanto, 145 Avenue C. 212-505-6559. www.esperantony.com Living Room, 154 Ludlow St. 212-533-7235, livingroomny.com 718-965-9177, barbesbrooklyn.com The Falcon, 1348 Rt. 9W, Marlboro, NY., 845) 236-7970, The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083, Fat Cat, 75 Christopher St., 212-675-7369, fatcatjazz.com Makor, 35 W. 67th St., 212-601-1000, makor.org bargemusic.org Fine and Rare, 9 East 37th Street. www.fineandrare.nyc Lounge Zen, 254 DeGraw Ave, Teaneck, NJ, (201) 692-8585, B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144, Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202, fivespot- lounge-zen.com bbkingblues.com soulfood.com Maureen’s Jazz Cellar, 2 N. Broadway, Nyack NY. 845-535- Beacon Theatre, 74th St. & Broadway, 212-496-7070 Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, 718- 3143. maureensjazzcellar.com Beco Bar, 45 Richardson, Brooklyn. 718-599-1645. 463-7700 x222, flushingtownhall.org Maxwell’s, 1039 Washington St, Hoboken, NJ, 201-653-1703 www.becobar.com For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427 McCarter Theater, 91 University Pl., Princeton, 609-258-2787, Bickford Theatre, on Columbia Turnpike @ Normandy Heights Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, galapago- mccarter.org Road, east of downtown Morristown. 973-744-2600 sartspace.com Merkin Concert Hall, Kaufman Center, 129 W. 67th St., 212-501 Birdland, 315 W. 44th St., 212-581-3080 Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and -3330, ekcc.org/merkin.htm Blue Note, 131 W. 3rd, 212-475-8592, bluenotejazz.com Bleecker), 212-645-0600, garagerest.com Metropolitan Room, 34 West 22nd St NY, NY 10012, 212-206- Bourbon St Bar and Grille, 346 W. 46th St, NY, 10036, Garden Café, 4961 Broadway, by 207th St., New York, 10034, 0440 212-245-2030, [email protected] 212-544-9480 Mezzrow, 163 West 10th Street, Basement, New York, NY Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, Gin Fizz, 308 Lenox Ave, 2nd floor. (212) 289-2220. 10014. 646-476-4346. www.mezzrow.com bowerypoetry.com www.ginfizzharlem.com Minton’s, 206 W 118th St., 212-243-2222, mintonsharlem.com BRIC House, 647 Fulton St. Brooklyn, NY 11217, 718-683-5600, Ginny’s Supper Club, 310 Malcolm X Boulevard Manhattan, NY Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933 http://bricartsmedia.org 10027, 212-792-9001, http://redroosterharlem.com/ginnys/ MIST Harlem, 46 W. 116th St., myimagestudios.com Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 445-2362, Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area), NY, 718-230-2100, brooklynpubliclibrary.org glenrockinn.com 516-328-2233, mixednotescafe.com Café Carlyle, 35 E. 76th St., 212-570-7189, thecarlyle.com GoodRoom, 98 Meserole, Bklyn, 718-349-2373, goodroombk.com. Montauk Club, 25 8th Ave., Brooklyn, 718-638-0800, Café Loup, 105 W. 13th St. (West Village) , between Sixth and Green Growler, 368 S, Riverside Ave., Croton-on-Hudson NY. montaukclub.com Seventh Aves., 212-255-4746 914-862-0961. www.thegreengrowler.com Moscow 57, 168½ Delancey. 212-260-5775. moscow57.com Café St. Bart’s, 109 E. 50th St, 212-888-2664, cafestbarts.com Greenwich Village Bistro, 13 Carmine St., 212-206-9777, green- Muchmore’s, 2 Havemeyer St., Brooklyn. 718-576-3222. nd Cafe Noctambulo, 178 2 Ave. 212-995-0900. cafenoctam- wichvillagebistro.com www.muchmoresnyc.com bulo.com Harlem on 5th, 2150 5th Avenue. 212-234-5600. Mundo, 37-06 36th St., Queens. mundony.com Caffe Vivaldi, 32 Jones St, NYC; caffevivaldi.com www.harlemonfifth.com Museum of the City of New York, 1220 Fifth Ave. (between Candlelight Lounge, 24 Passaic St, Trenton. 609-695-9612. Harlem Tea Room, 1793A Madison Ave., 212-348-3471, har- 103rd & 104th St.), 212-534-1672, mcny.org Carnegie Hall, 7th Av & 57th, 212-247-7800, carnegiehall.org lemtearoom.com Musicians’ Local 802, 332 W. 48th, 718-468-7376 Cassandra’s Jazz, 2256 7th Avenue. 917-435-2250. cassan- Hat City Kitchen, 459 Valley St, Orange. 862-252-9147. National Sawdust, 80 N. 6th St., Brooklyn. 646-779-8455. drasjazz.com hatcitykitchen.com www.nationalsawdust.org Chico’s House Of Jazz, In Shoppes at the Arcade, 631 Lake Ave., Havana Central West End, 2911 Broadway/114th St), NYC, Newark Museum, 49 Washington St, Newark, New Jersey 07102- Asbury Park, 732-774-5299 212-662-8830, havanacentral.com 3176, 973-596-6550, newarkmuseum.org Highline Ballroom, 431 West 16th St (between 9th & 10th Ave. New Jersey Performing Arts Center, 1 Center St., Newark, NJ, highlineballroom.com, 212-414-4314. 07102, 973-642-8989, njpac.org Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525, New Leaf Restaurant, 1 Margaret Corbin Dr., Ft. Tryon Park. 212- 609-466-9889, hopewellvalleybistro.com 568-5323. newleafrestaurant.com Hudson Room, 27 S. Division St., Peekskill NY. 914-788-FOOD. New School Performance Space, 55 W. 13th St., 5th Floor (betw hudsonroom.com 5th & 6th Ave.), 212-229-5896, newschool.edu. Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ New School University-Tishman Auditorium, 66 W. 12th St., 1st “A system of morality IBeam Music Studio, 168 7th St., Brooklyn, ibeambrooklyn.com Floor, Room 106, 212-229-5488, newschool.edu INC American Bar & Kitchen, 302 George St., New Brunswick Baha’i Center, 53 E. 11th St. (betw Broadway & which is based on relative NJ. (732) 640-0553. www.increstaurant.com University), 212-222-5159, bahainyc.org emotional values is a mere Iridium, 1650 Broadway, 212-582-2121, iridiumjazzclub.com North Square Lounge, 103 Waverly Pl. (at MacDougal St.), Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910 212-254-1200, northsquarejazz.com illusion, a thoroughly vulgar Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, jalc.org Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and conception which has nothing  Frederick P. Rose Hall, Broadway at 60th St., 5th Floor 6th Ave.), 212-840-6800, thealgonquin.net  Dizzy’s Club Coca-Cola, Reservations: 212-258-9595 Oceana Restaurant, 120 West 49th St, New York, NY 10020 sound in it and nothing true.”  Rose Theater, Tickets: 212-721-6500, The Allen Room, Tickets: 212-759-5941, oceanarestaurant.com 212-721-6500 Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928 Jazz Gallery, 1160 Bdwy, (212) 242-1063, jazzgallery.org The Owl, 497 Rogers Ave, Bklyn. 718-774-0042. www.theowl.nyc The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey Palazzo Restaurant, 11 South Fullerton Avenue, Montclair. 973- Blvd.), Brooklyn, NY, 718-453-7825, thejazz.8m.com 746-6778. palazzonj.com Jazz Standard, 116 E. 27th St., 212-576-2232, jazzstandard.net Priory Jazz Club: 223 W Market, Newark, 07103, 973-639-7885 — Socrates — Anton Chekhov Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl., Proper Café, 217-01 Linden Blvd., Queens, 718-341-2233

18 May-June 2018  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. 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To Advertise CALL: 215-887-8880 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 19 is influenced by someone. Everyone has a musical idol. You have to take what you learn INTERVIEW from them and create your own sound or INTERVIEW voice. You can usually hear various influ-

ences in someone’s playing style. The prob- lem is that some players will try to sound just like their idol. There can only be one Grant Grant Green Jr. Green, or George Benson, or . These guys learned from Artists that they idolized, Carrying on the legacy ... but took what they learned and created their own unique voice.

development and approach? JI: Being the son of any well known musician Hear Grant Green Jr. is always tough. People are always going to Jazz Standard, June 27-July 1, 2018 GG: It was huge. To be there and watch him compare you them, that’s the price you pay. play—it was amazing. I learned so much from Who or what inspired you to want to begin watching and listening. serious study and career pursuit as a musician- By Eric Nemeyer guitarist? JI: Discuss your involvement in preserving JI: Tell us about your upbringing and the kind Grant Green’s legacy. GG. My father and , Stevei’s of feelings and sounds you experienced at parents were my next door neighbors. Also, home growing up in Detroit. GG: At a gig, I always do a number he wrote my grandfather. He knew I wanted to be a or played. Also, when young players come up musician. I was born and raised in St Louis, GG. Detroit was a great musical experience to talk about music, I try to take them back to and as a kid, I would watch this guy walk for me. You had Motown Records and Detroit my roots, because they are the future of the down the alley playing the harmonica. I just was the home for so many great jazz musi- music. had to have one, so my grandfather bought cians…many of whom still live there. I re- one for me. In two weeks, I was playing what member meeting James Jamerson. I knew he JI: Could you share some of your perspec- I heard that guy play. That’s when my grand- was a bass player, but I didn’t know how tives about learning how to improvise? father knew I would become a musician. great he was until later in my life. He influ- enced so many bass players. This is my James GG: Improvising comes from the heart. JI: What kind of practice do you do when you Jamerson Experience: He bought a new Cadil- Make no mistake about it, you have to feel are not publicly performing, and what purpos- lac Fleetwood and I was about fifteen at the what you are playing. Yes, you have to think es or goals do you have in mind when you too, but it’s really from the heart. If you can practice? “Improvising comes from the heart. Make no mistake about it, you have to feel what you are playing. Yes, you have to think too, but it’s really from the heart. If you can feel it, so will your listening audience.”

feel it, so will your listening audience. time. I always wanted to drive, but didn’t GG. I try to play anything I hear, no matter have a license. So, I asked him if I could drive JI: One of the things we each try to do as jazz what it is. It keeps your ears sharp. his car he said, “Yes”. Off we went in his new artists is to develop our own voice or identity. Cadillac…I’m driving down the street real If that is important in your own career, how JI: Could you cite one or more artists who cool…Then he said, “You’re driving to slow,” have you worked toward that given the chal- have inspired you, and discuss how specifical- and he takes his foot and smashed mine on the lenges of having virtually the same name, and ly that they have significantly influenced you gas pedal. We were flying down the street and playing the same instrument as your father and impacted your art or artistry? that scared the crap out of me. I didn’t want to who’s unique voice is documented on so drive for a long time after that. many recordings? GG. Of course, my father. And, a big inspira-

JI: How has your father’s, Grant Green’s, GG: Now, this is really important! Everyone (Continued on page 22) legacy and harmonic concept influenced your

20 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 21 GG. Being a musician is a never-ending JI: What will you need to feel successful? Grant Green Jr. learning process. There’s something new to Happy, fulfilled? (in or out of music) learn everyday. GG. Living your life and giving this gift of (Continued from page 20) JI: How do you stay balanced-as an artist, as music, There’s nothing greater than putting a tion has always been George Benson - He’s an individual-and nurture deeper meaningful smile on someone’s face because they loved still a big influence on me; a great musician ideas and feelings in this contemporary socie- what you played. and a great person. The same thing with Steve ty in the face the incessant stress and sensory Wonder. I would also have to say Pat Methe- overload that surrounds us? JI: In a couple of sentences, how do you want ny and John Scofield — They’re great musi- your music to influence people-what do you cians. GG. We live in a totally different world from want it to say or do? when our parents were growing up and raising JI: Discuss the idea of doing the right things families…It gives us a lot to write about - I GG: Just to know my music touched someone versus doing things right, and how you may or hope there will be something left for our chil- in some way. may not have implemented those ideas, or dren to write about… behaved in those ways in your life, music. JI: If there is one for you, what is the connec- JI: Could you relate a humorous or unusual tion between music and spirituality? GG. As musicians, we have a lot of influ- experience you’ve had during recording or in ence…in what we say, what we do, how we live performance? GG: Well if you feel it in your heart and dress. There are so many kids that want to do soul…it’s spiritual. what we do. You want to do the right thing for GG. I played with a comic and blues musician them. They will take what we do and play it to named Charlie Eckstein. He was a wonderful the next level. man; like a dad to me after my father passed.  One day, we were playing in Toronto and I

“As musicians, we have a lot of influence…in what we say, what we do, how we dress. There are so many kids that want to do what we do. You want to do the right thing for them. They will take what we do and play it to the next level.”

JI: Dan Boorstin, former Librarian of Con- had a wireless remote unit, so, I decided to gress stated that “The greatest obstacle to dis- jump off the stage and walk through the audi-

covery is not ignorance, it is the illusion of ence. I don’t know why, but I decided to jump

knowledge.” How have you experienced and back on stage. Well, I made this huge jump

dealt with this? and made it to the stage, but my foot caught

the edge and I flew right in to the drums and “Have the courage to say no. GG. Yes I have. You would be surprised what banged up my leg…very smooth…but, I got some people have said to me, like the blues up like nothing was wrong. Needless to say, I Have the courage to face the truth. comes from Irish folk music or that John Col- was embarrassed. Do the right thing because it is right. trane only honks his horn, No joke people These are the magic keys to living have said these things to me … JI: What are your views about staying on the your life with integrity.” path of mastery versus reaching some destina- JI: If there is a profound quote or idea (or tion of being a master? more than one) that has significantly impacted the way you live your life, could you cite that/ GG. You see I believe you can never be a - W. Clement Stone those foundational understandings? master because you are always learning.

22 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 HerbieHerbie HancockHancock Newport Jazz Festival August 3, 2013

© Eric Nemeyer

To Advertise CALL: 215-887-8880 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 23 bar lines, and through the chords and not over them. What about Oscar and Tatum and Bird INTERVIEWINTERVIEW and Coltrane? Too much technique? Or Isaac Stern, or Itzhak Perelman, or Yo-Yo Ma? Is their playing sterile because they have phe- nomenal technique? That’s not to say that I don’t love and appreciate people like Miles Jimmy Bruno Davis, or , or . What bothers Connecting with that energy ... me about the whole technique thing, is when I hear a lot of younger players struggling with their instrument to get their ideas out. Some- Interview & Photo By Eric Nemeyer practice routine anymore. When I was young- times they have a marvelous concept or con- er, I’d practice scales, arpeggios, chords and ception but lack the foundation of playing JI: Tell us about your upbringing in Philadel- tunes. Then I would spend hours playing over skills on their instrument to effectively present phia, your family and the kinds of feelings, all the tunes and a few common harmonic pro- those musical ideas. Less is not always more. sounds and sights you experienced at home. gressions in all twelve keys. Some of that time Music needs to touch people on some level. If was spent learning the violin literature. I used you can do that with a few notes or a hundred JB: I was fortunate enough to grow up in a to practice around eight to twelve hours a day, or a combination of both, you have communi- musical family. My father was a professional now I am playing the guitar or involved in cated something to your audience. To me that’s guitarist and my mother was a singer. They some musical experience most of the day al- the bottom line of all art. met playing in a club on Locust street.xxxxxxxxxx I think it most everyday. I have finally realized that was called the Cove. They both loved jazz but practice and performing are two different JI: Could you discuss one or two of the artists had to play all kinds of music to make a living. things, two different mental processes. who have significantly influenced your own They never seemed to be frustrated by that, in approach to music and improvisation and cite fact they were happy to be working playing JI: Your technique is praised by everyone who specifically how they have do so? any kind of music... different times, I guess. I plays the guitar. Discuss the temptation to fo- grew up hearing Ella and Louie and Frank Si- cus on or be drawn to technique over the music JB: : impeccable technique and natra. My first recollection of music was Ella itself that some artists experience. How have articulation. Same goes for and and Louie doing “Foggy Day”. From there it you worked to balance the two? Hank Garland. Pat Martino for his totally went to Bird, Oscar Petersen, Coltrane, etc. all unique approach to music and the guitar. He is the guitarists especially Johnny Smith JB: Early in my career it was very hard to not very inspirational to me because of his work “Moonlight In Vermont” and Hank Garland let my technique get in the way of the music. I ethic. No one can ever play like Pat. The point “Jazz Winds form a New Direction”. I never never thought I had exceptional technique. of being inspired by anyone is to let that inspi- heard of rock music until I went to high school. Every classical musician had great facility, I ration drive you discover something unique Both my parents had great ears. There were no thought that was part of learning your instru- about your own music, not to copy them. no Real Books, etc., so they had to learn every- ment. Later I became upset with comments one can ever copy greatness. You can only thing by ear. I think that is a better way to learn about my playing being too technical, etc. It imitate it. Learning someone’s lines isn’t going music but that’s another topic. Through my didn’t change my approach any, because I soon to make your music be unique. Classical com- father I met bassist Al Stauffer. I began study- realized that most of those type comments posers such as Stravinsky, Debussy, Ravel or ing with Al around the age of fifteen or six- come from people who have no technique and Phillip Glass have shown me about form and teen. He was my only formal training in jazz. will never have any facility. To some, having harmonic freedom. Jazz doesn’t have to be A He was a marvelous teacher because he in- no technique makes the more intellectual ABA or ABA. Their sense of harmony is free. spired you to practice constantly. Around the somehow. What a crock. To play any type of I hear the same harmonic freedom in Pat Mar- same time there were a few violinists that were music, a musician needs to have technique. tino’s music as well. Most classical virtuosos from the Philadelphia Orchestra that were Knowing how to use takes years of experience. have inspired me to pursue my drive to master friends of my parents. I first learned to play the I think I have reached a point were only the the guitar. No one can ever master an instru- ment entirely, it’s the “getting there” that’s important. People always focus on that aspect JI: Could you share some of your perspectives of my playing [technique], because about learning how to improvise?

it’s the easiest thing to notice … What JB: I think eventually there comes a time when you have to stop using the chord/scale ap- proach. I don’t think it works to make music. I about Oscar and Tatum and Bird and don’t think it is even a tool for analysis. You have to learn scales and arpeggios to be able to Coltrane? Too much technique? play your instrument. every classically trained musician knows all the scales and rudiments guitar from violin books. music matters; I focus on the musical idea. etc. They need that practice to be able to play Some of those ideas involve a lot of notes, their instrument not make jazz. A jazz musi- JI: What is the nature of your practice ap- while others only require one or two notes. cian needs the same info for the same reason. proach? People always focus on that aspect of my play- As far as improvising , there are an infinite ing, because it’s the easiest thing to notice. No number of ways to get the creative process JB: These days I am so busy playing jazz and one ever gets the harmonic concepts or the going. If I were to summarize my approach I recording and traveling that I don’t have a different phrasing ideas I use to play over the (Continued on page 26)

24 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 25 JB: There is a stream of music that’s in the air JB: That was a fluke. John Burke, Vice Presi- Jimmy Bruno or in the cosmos or the universe or in the spirit dent at Concord, said I was the only artist he or soul. It is essential to learn how to connect ever signed from a demo. About fifteen years (Continued from page 24) with that energy. there is not one way to do it. ago a friend of mine, Jack Prince, owned a club Every individual finds his own path to that called JJ’S Grotto. He is a real jazz guitar fan. would say that at any given point in an har- same pool of creativity. He sent a demo tape to Concord and somehow monic progression or lack of one, the twelve got John Burk to listen to it and a few months notes are constantly spinning around a tonal JI: Discuss your new solo album on Concord later I was offered a recording deal. I have center. That center can be key related or related Records? Repertoire? Preparation? Recording? been with them since the early 90’s. Because to something else such as a pedal tone or a of them I have some sort of a profile in the jazz chord cluster. The art is to make a good melo- JB: I have been working on this project for community. dy or line with those twelve notes. You have to about 6 months. I never realized how difficult know how they will sound in relation to one it would be. I keep changing the repertoire. I JI: Could you share some of your business another and in relation to the harmonic pro- want to find more tunes that do not lend them- experience as a recording artist. gression not each individual chord. The same selves to solo guitar. In a perfect situation I hold true for music that is based on a few would choose every tune like that but because JB: Fortunately, all my experiences with Con- chords or one or two harmonic entities. The of time constraints that is not possible. An ex- cord have been positive. I have good luck with linear aspect of the line is more important then ample would be “Freedom Jazz Dance” or booking agents and venues; also with endorse- its vertical considerations. Look at Bach’s mu- “Milestones”. I’m still working on that. At the ment deals. An offshoot of the whole thing is sic. It is totally linear. The theorist will always same time I don’t want to work anything out. I that because I have achieved some notoriety, I find a way to analyze a given groupxxxxxxxxxx of notes want it to be spontaneous, otherwise is would have been making videos and writing books for against a given chord. What they will never be be a performance of a classical piece. With that Mel Bay. Mel Bay is a great company. They able to do is to analyze or conclude some for- in mind, the idea of going into a studio is out treat every author with respect and decency. mula or rule for how to make a line over a se- of the question. The cost would be astronomi- You also get paid on time and the amount is ries of chords. Or why it sounds good or bad. cal. I decided to record it myself. That way I correct. That’s a real novelty in this business. I Sometimes the music is vertical: one chord one can play a few tunes anytime I like. Hopefully, work with three people there, Bill Bay, Doug line etc. But that’s only a small part of the pic- I will capture the best performances. I am us- Witherspoon and Corey Christiansen. The en- ture. The linear or horizontal nature of music, ing a Roland 2480, Pro tools and Mac G4 with dorsement aspect has worked out as well. I all music, is totally ignored by almost every a few good mics. I have miked the guitar have worked with and for bob Benedetto, text I have ever seen. Theoretical analysis is through the amp and acoustically. I am using a Guild guitars and now Hofner. Raezer’s Edge good for learning what some other player sure SM 57 for the amp, a direct line from the Cabinets, Thomastik strings and now Koch might have been thinking. But the more I play amp which is a Koch and using an AKG C Amps and Acoustic Image and Aer.

JI: Please provide any interesting or unusual stories, advice, wisdom that would shed light “After one tune I looked up during a on the current state of the recording business, and the current and future of jazz records in bass solo, and sitting at the bar were particular.

Russell Malone, , Paul JB: My only advice is to be true to your art and never give up. The recording industry is in Hollenbeck, Ron Affif, and sitting two the midst of a major upheaval. The usual out- lets for CDS and jazz in general has changed. feet in front of me was George Benson. The internet, with it’s MP3 and file sharing technology and the computer’s ability to burn So, to say that I got a little unnerved is any disk in under ten minutes has changed the whole thing. The record companies are trying a giant understatement. Since then, I to fit into that new structure. Ten years from now I don’t think we will be buying music in have met almost all my guitar heroes.” the traditional way I think it will be all gone. It has moved to the MP3 player or music files on and the older I get, I have found that that type 1000 S and a small Marshal condenser mic. I your computer. The technology is only going of thinking is only an educated guess. If you am playing it on the Jimmy Bruno proto type to get better and it’s not going to go away. It talk to most improvisers, most will tell you from Hofner with a custom Jimmy Bruno pick moves at a pace that no one can keep up with. I they were not think about any particular theo- up designed by Seymour Duncan. The guitar is can’t predict the future but I think whatever the retical concept or approach. There is flow to due in stores around April. The pick-up is result, it will be better for the artist. With the music that you have to tap into. You will never available from Seymour Duncan’s web site. internet it is possible for every artist to interact tap into that stream if you are thinking about The CD, with any luck, will be released in the with his fan base. I try to answer every email I rules and scales etc. I think the entire jazz ped- summer. I am also working with a producer get. I enjoy talking to anyone who takes the agogy needs a serious overhaul. Somewhere in Nick Phillips of Concord records. the internet time to email me. I think people will be able to the middle is the answer. is an amazing thing. I can send files back and attend a concert and a few days later be able to forth etc and discuss various options etc. download it from the internet. A few bands are JI: Discuss what is essential beyond learning already doing that. The band “Phish” comes to the musical vocabulary that is critical in one’s JI: How did your recording contract with Con- mind. They are already doing just that. I think development of depth as a composer and im- cord Records develop? it will be a big part of how we will buy and proviser. listen to music. All music, not just jazz. I also

26 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 major music publications. Jimmy Bruno JB: I only want my music to touch people on JI: Jazz musicians are often preaching to the some level, intellectual, spiritual or emotional- foresee changes in the print medium as well, choir—at industry conventions, and in the me- ly. Audiences identify with feel. How does the although the magazine industry has not been dia. What ideas do you have that might work to music make them feel. I think that is the most hit as hard as the record companies. broaden the interest in jazz? import and sometimes only necessary ingredi- ent. I hope that I have helped and inspired a JI: What changes do you foresee? What would JB: Education in the schools is the answer. It few young people with my teaching. you like to see happening in the record indus- should start in grade school. Jazz is an Ameri- try? can art form that was brought to this country JI: Could you discuss what ideas or activities by black people. It’s roots are in the black outside of music you engage in and how they JB: I wish that every music critic would first community. That fact needs to be taught in the provide fulfillment for you? be able to play an instrument. I wish that they same way we know about how the early Euro- would take a music course so they know what pean classical music was developed, its roots JB: These days I don’t have much time for they are talking about. Some of them need a and development. The same need to be done hobbies but I do love photography and hope to course in journalism as well. There are a hand- for jazz. get back into it one day. The whole concept of ful of knowledgeable writers. The rest are mor- light in photographs is very similar to texture ons. They are clueless when it comes to music. JI: Could you cite one or more of the most and harmony in music. They have a few pet phrases they use to de- valuable or rewarding things you’ve experi- scribe someone’s playing: words like “angular enced or observed in your experiences as a JI: How do you stay balanced—as an artist, as lines”, “edgy”, “innovative”, xxxxxxxxxx “retro,” etc., recording and performing musician? Could you an individual—and nurture deeper meaningful come to mind... all overused clichés And then cite one or more of the most preposterous? ideas and feelings in this contemporary society have the audacity to call someone’s music in the face the incessant stress and sensory “Cliche”. Very few can actually talk about the JB: A guy named Charles Carlini brought me overload that surrounds us? music in a way that the non musician can un- to New York about fifteen years ago. I played derstand. They don’t recognize re- a little club called the Zinc Bar. Right before JB: I don’t know that I do stay balanced. I harmonization, innovative forms and struc- we started, he came up to me and said, “A lot think that if I did not have music as a form of tures, etc. These are things I think would be of guitar players are coming to check you out, self expression, I would have a hard time deal- interesting to any reader. Innovation to these including George Benson.” I thought to my- ing with all the sensory overload. Our whole guys is a new sound on the guitar. What about self, “Yeah George Benson is going to come culture is disappearing. Look at our movies the music? Well they can hear a different gui- here.” After one tune I looked up during a bass and TV. Sadly, that is the culture of America. tar sound but they can’t hear any music. Just solo, and sitting at the bar were Russell Reality game shows, stupid sitcoms, news because the sound is different doesn’t make it Malone, Jack Wilkins, Paul Hollenbeck, Ron shows that not about news but about hype. innovative. You can still have bad music, just Affif, and sitting two feet in front of me was They even hype the weather. Talk show hosts with a different (innovative?) sound. Some- George Benson. So, to say that I got a little capitalizing on someone’s misfortune. times they don’t even get the instrumentation unnerved is a giant understatement. Since then, Music keeps me centered. Music doesn’t lie or right. I had a guy from “ALL Music Guide”, I have met almost all my guitar heroes: Tal plot or hype. Music gives you back whatever not know the difference between a bass and Farlow, Joe Pass, Hank Garland, Johnny you put into it. Music has a structure that is guitar on my CD Midnight Blue It was a duo Smith, , Les Paul , Herb Ellis, ordered and at the same time free. I focus on track the and I did on the tune John Pisano, Joe Diorio, and Charlie Byrd, to the positive things music has given me. And “Stella”. Well this idiot thought it was Gerald name a few. Another time was in Philly, when then I think what a lucky individual I am. I overdubbing himself. I’ve contacted the publi- Pat Martino walked into this pizza joint I was make a good living at what I love to do. I have cation, they still let the review stand. This goes playing. I had met Pat a long time ago when I a wonderful family and a great circle of friends for good reviews as well. What good is it if a was around fifteen, but just at a concert to say and fans. What else is there? I know....health. I guy gives you a great review and in the very hello. It took me a while to feel comfortable wish I had never started smoking, because my same publication writes moronically about playing in front of George and Pat. The next health these days is not the best, and yet, I am some other artist good or bad. That doesn’t night, in walks Eddie Gomez. Since then, I not sick thanks to the many doctors who are give much credibility to the good review he have become good friends with all of these constantly helping me. Anyone thinking about gave you. I should not being saying this as gentle giants. Each one has helped me in my starting to smoke is playing Russian roulette most of my reviews are positive but for all the career. with all the chambers loaded.

wrong reasons. This is something that needs to One other instance, was when I met the www.jimmybruno.com

be said. I don’t think it will change anything great Bobby Watson. I had always been a huge

but I give the public a lot of credit for not be- fan of Bobby. A rather old guy, very intoxicat-  ing stupid. I think they are being duped by ed, came to me and said, “Bobby is coming to these mindless bottom feeders. That being said, sit in.” I said, “Bobby who?” “Watson,” he there are a handful of excellent writers that I says and looks at me like I was nuts. An hour

would be proud to be critiqued by...good or later Bobby Watson walks on stage and we bad. I won’t name them because I fear I may start to play. I was lucky enough to record a leave out an excellent critic and have him think CD with him, Live at Birdland. There are “”A man’s character may that I have lumped him in with the rest of the many others. Some of the fans I meet are ex- be learned from the adjectives idiots. The problem is that the bad writers tremely extraordinary people. I wish I could don’t know they suck. And the magazine edi- name them all. which he habitually uses tors are unaware as well. Some of these guys in conversation.” are not fit to write for a high school newspaper, JI: In a couple of sentences, how do you want

where, incidentally, I have seen much better your music to influence people—what do you - Mark Twain journalism and more interesting stories than in want it to say or do?

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xxxxxxxxxx

MarcusMarcus MillerMiller Newport Jazz Festival August 3, 2013

© Eric Nemeyer

28 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 xxxxxxxxxx

EnricoEnrico PieranunziPieranunzi Charleston Jazz Festival May 31, 2007

© Eric Nemeyer

To Advertise CALL: 215-887-8880 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 29 conversation: Ray’s solo, a mess of bumps and thumps, and continued by Art with greater in- FEATUREFEATURE tensity. Joe rumbles on the mallets, Blakey takes it back, and the drums coalesce. There is no real theme, nor does there need to be. “Lover” is ridiculously fast, started by all drum- mers in a collective solo of dense power. Mor- Art Blakey gan’s solo is a thing of wonder, a series of co- His Life & Music — Part 6 herent interlocking phrases where there is hard- ly room for breath. In the liner notes to this album, Kenny By John R. Barrett, Jr. distant cymbals, and the terse comments of Washington calls this Lee’s best recorded solo; Timmons. Morgan sort of slouches in, drawling it’s certainly in contention. Roy is ecstatic on Always intrigued by world rhythms, Bla- his notes and keeping it simple. When Lee takes cymbals, Joe drives down low, Art rolls along, key organized a series of drum ensemble rec- it louder, Blakey turns tough, crushing the two- and Barretto mists like the rain – a heady climax ords, usually stressing Afro-Cuban (Orgy in beat; the clubbing continues on Bobby’s back- to a stellar album. It would not be released until Rhythm, Holiday for Skins) or African music room solo. Hear the funk quotient rise when 1999, but it was worth the wait. (The African Beat). An exception to this would Merritt solos, and Philly Joe follows with a cho- In late November the Messengers took a be Drums Around the Corner, which explored rus of big snares. Roy is better still, Ray pops it tour of Europe, including a week at the Olympia the world of mainstream jazz drumming. (His hard, and Blakey tops them all. No doubt about Theatre in Paris. After one of these shows Art only other disc in this vein would be the live it – this is his blues. was approached by film director Edouard Moli- Gretsch Drum Night at Birdland, made in “Lee’s Tune” is a headlong rush through a naro – he had just completed a movie, Des 1960.) Made on November 2, 1958 (just three bad part of town: Jymie starts a wicked vamp, Femmes Disparaissent, which was still without days after Moanin’), all of the Messengers were Bobby repeats with his left hand, while the right a soundtrack. When Blakey agreed to record the present, minus Benny Golson. Three other does chords that sound like car horns. This is music, he was peppered with other requests: the drummers joined Art: , Philly Joe cop-show music, exemplified by Morgan’s group was to write the music, with all original Jones (doubling on tympani), and Ray Barretto, world-weary solo. Blakey provides fierce sup- themes … and could you do it this week? Art the premier conguero in jazz. accepted the challenge, assigning Ray and Roy are heard on the Golson to work on the themes; the left speaker, the others on the right. band saw the film later in the week, The drummers start with “Moose the and recorded the music in early De- Mooche”, the theme apparent in the cember, now available on the disc rhythms they play. On the bridge Jazz in Paris: Jazz & Cinema Volume there’s a little exchange: Art is first, Two. followed by Roy, Philly, and Blakey Because of the short notice, there again. The theme then starts proper, was no time to compose an original with Morgan’s exuberant shout; cym- score; most of the tunes are reworks bals ring on both speakers, and Bar- of earlier Golson pieces. For exam- retto taps gently. Timmons has a ple, “Ne Chuchote Pas” is “Whisper sweet melodic chorus, backed by Not” is miniature, the whole thing Haynes’ hi-hat; Art cuts in with a played in ninety seconds. Morgan mighty roll, and backs Bobby on the wields a mute, twisting the notes with second chorus. Another roll and Lee’s fragile beauty – Golson whispers his on: high, passionate screams, en- part, in a breathy sort of fog. Tim- hanced by vibrato and Jones’ ecstatic mons is nearly silent ‘til the end, snares. Barretto’s rippling turn is when an ominous chord ends the enhanced by Merritt; he’s barely per- piece. ceptible, and highly melodic. “Pierre et Beatrice” varies the The drummers have another ex- theme but retains the mood; the short change (Haynes wins this one); Lee running times ensure concise perfor- revisits the theme, and it was sup- mance, everything reduce to its es- posed to end here, but Philly begins sence. “Generique” weds a moody another solo, a monstrous survey of drum piece to a smooth-gliding blues, tom-toms. Roy is delirious, blending bass and port as Barretto bubbles along … the turmoil of built again on Morgan’s mute. Three Blakey- snares in a heady stew, made thicker by the a city street. Exchanges follow, with Jones us- penned blues, the longest pieces in the set, studio echo. Turning quiet in the last moment, ing silence, Haynes working out his toms, and plumb a variety of feelings: “Blues Pour Dou- Blakey begins a hip march, showing his prow- Blakey’s snares at their loudest. dou” is largely a duet between Merritt and Mor- ess on snares with lots of cymbals mixed in. Joe “Let’s Take 16 Bars” is all a drum fan gan, playing behind a ton of echo. returns on tympani; Art uses mallets on his tom- could want: an earthy solo by Barretto, Philly’s “Blues Pour Marcel” is a workout for Tim- toms, and a second round of exchanges ensues. mad bombast, Roy’s organization, and Art’s mons, where notes rise like weary smoke. Ben- The drum-melody sequence returns for the kitchen sink. The actual tune is standard-issue ny has the mood perfect, growling in zigzags fadeout, and fifteen minutes have gone by – this blues, which Lee stomps good; Timmons creeps like Ammons, or maybe Plas Johnson. Lee’s “Moose” is big like its namesake, and just as along the scale and the exchanges return. Catch turn is good, although the mute grows repeti- powerful. the ending, where the drums tap out “The tive. Benny gets more room – and his best solo Art’s roll introduces “Blakey’s Blues”, a Theme” – this tune is short on substance, but – on “Blues Pour Vava”, pacing slowly with a sly number whose theme is carried by Jymie. A totally laden with style. gravelly horn. What a gorgeous mood: tunes deep, meaty walk, the bass is augmented by “Drums in the Rain” plays like a lengthy like this aren’t composed, they are felt.

30 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 and Merritt are involved), but is augmented by loud pops along the way. A scene Art Blakey, Part 6 absent. Instead, the front line is composed of about highways gets a perky little theme, chug- Lee Morgan and Jerome Richardson, who plays ging along as Timmons hits a bleeping, “traffic” baritone sax and some flute. If this was official- chord. Bells enter the mix, as does a thundering Most of the music takes the form of short ly (as billed in the film), it crash at the end. Reflecting the movie’s spon- cues, a means of transition from one scene to would be Jerome’s only recording with the sor, Rusty warns about alcohol: “Some of them the next. “Nasol” lets Blakey work the tympani: band. His main function is ensemble work: on even like getting loaded and blasting off in two grave thumps are answered by nervous horns. the main theme he blows a gruff counterpoint to tons of steel headed for trouble. They rarely (“Tom” is basically the same thing, with more Morgan’s mute. This tune, apparently called miss.” horns and less tympani.) There are drum breaks “No Time for Speed”, appears in short frag- The ending stresses that drivers should use (“Poursuite dans le Ruelle”), Latin pieces ments throughout the film. As it plays the first courtesy, tying the advice to religious concepts (“Mamdo dans le Voiture”), and swinging time, letters and words appear on the screen, – most notably, Thou Shalt Not Kill. A relent- waltzes (“La Divorcée de Leo Fall”). bumping together in sync with the horns – this less rolling vamp emerges, as cars barrel for- Most of these count as sketches, of little essentially forms the logo, and the movie be- ward like trains. Rusty escapes from the road (to value outside the context of the film – the long gins. the sound of Richardson’s delicate flute), and pieces are different, where the group chemistry It opens with a series of car crashes, por- reminds us of the faith humans claim to hold: has time to work its magic. While a footnote in trayed as abstract shapes. (This seems inspired “But you say one thing and do another!” Upset the history of the Messengers, Des Femmes by the Bach sequence in Disney’s Fantasia.) A at all the accidents, Rusty gets back into his Disparaissent was praised by French critics, skidding noise (seen as a growing triangle) is spaceship and says “That’s why I’m leaving. some of whom found the music better than the capped by a red explosion, punctuated by Bla- But you … where are you going?” The band film it accompanied. This would be true of the key’s cymbal. He then clicks his sticks, and a blows a final, ominous chord, dissolving into a group’s next soundtrack, made for a cartoon in nervous bass twang introduces our narrator, cymbal and lastly into a bell, tolling desolation. 1960. voiced by comedian Howard Morris. He is While hardly a cinematic landmark, the film is An unusual various-artists project (Blue Rusty, a wheeled Martian spy who vaguely re- worth watching, especially for the music and Note artists playing the music of Irving Berlin) sembles a car. As Mars is running out of oxy- stylish animation. While the tunes were never caused Blakey to form a duet with the great bassist Paul Chambers. Recorded on March 29, 1959, “I’ve Got My Love to Keep Me Warm” “Invited on stage during a Canadian jazz festival, finds Chambers slippery on the theme, as Art stays quiet on the hi-hat. Paul’s notes are thick, Shorter blew Art away with his rendition of agile, carefully delineated – later bassists would ‘Evidence’; in short time Blakey called up Ferguson, use more technique, but few would ever play better. Brushes and clicks form the bulk of Art’s pleading the case in his inimitable manner. ‘Look, solo, where snares take the day on the exchang- es. Seeing how well they play together, one we’re in trouble. We don’t have a sax player and you wishes Chambers could have played in the Mes- sengers; the closest he’d come would be Lee know Wayne ain’t gonna stay with you too long be- Morgan’s album Leeway, made in 1960. Also recorded at this session was “What Is cause he’s a small group man.’ Ferguson consented, This Thing Called Love?”; like “I’ve Got My Love”, this would turn up as a bonus track on and Blakey had another ace in his hand.” Drums Around the Corner. Chambers bows the theme, with the woody trembling sound he gen, Rusty climbs into a rocket (matched by an recorded again, a 45 was issued (“Crazy Driv- made famous. (He plays this way for the whole ascending horn line) and heads for Earth, ing Blues”/”No Time for Speed”) to promote song, a rarity for him – the bow was usually pleased to find other creatures that look like the film. restricted to solos.) Art wraps him in tight cym- him. Everything on Earth has the “abstract” Art went from strength to strength in the bals, then switches to mallets on a dense solo. ‘50s look found in cartoons by UPA Pictures. ‘Fifties, showing exquisite taste when it came to One hand for tom-toms, the other for the cym- (That stands to reason: animation designer Cliff hiring. Bobby Timmons, always a volatile per- bals; it works so well it sounds like two drum- Roberts had worked for UPA a few years earli- sonality, suddenly quit in 1959 to join Cannon- mers. Paul prevails on the exchanges, and has a er.) ball Adderley; while there he wrote “This grand exit – this was an interesting experiment, He hears tales of woe at a car lot (“They Here”, as much a signature tune for Cannon as one I wish they did more of. were slaves to a race of creatures who had only “Moanin’” was for Blakey. His replacement It was around this time that the Messengers two legs. Brutal!”) and then Rusty gets sold as a was Walter Davis, a strong but overlooked worked on their only American film: they wrote used car! His owner’s wild ride is accompanied voice. (Timmons would return to the group in and performed an entire soundtrack, for an ani- by a searing drum roll: a steady, rugged pace, 1960, with no more explanation than when he mated cartoon no less. Sponsored by the Tem- left in the first place.)

perance Board of the Methodist Church, Stop As important as this change was, it was

Driving Us Crazy! was a public service film, nothing compared to the move in the saxophone

apparently aimed at young drivers. Recorded in “The greatest day in your life chair. Benny Golson left the band, forming the New York, the film’s score was composed by hard-bop Jazztet with ; his replace- Benny Golson and produced by William Bernal, and mine is when we take total ment was unknown to the casual fan but already the writer of the cartoon. The music, blues inter- responsibility for our attitudes. attracting attention among musicians. Born in spersed with short cues, does an effective job in That’s the day we truly grow up.” Newark, Wayne Shorter had played briefly with depicting road travel, and the turbulent mindset in the mid-’Fifties, did a hitch in it creates. the Army, studied a short time under John Col- Dating this session is difficult: it was seem- trane (who had him sub a few times in Miles’ ingly made in mid-1959 or early ‘60 (Timmons - John Maxwell (Continued on page 32)

To Advertise CALL: 215-887-8880 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 31 with Morgan playing right from the start. Art solo and the crowd goes wild suring Art’s bit. Art Blakey, Part 6 launches a massive roll, then it’s Wayne’s turn: As well they should: this was a potent concert, a rusty wave of sound always pushing forward. with Wayne Shorter giving notice to the world. (Continued from page 31) Powell’s comps are warm and thick, a match for As it turned out, Bobby Timmons was only Art’s cymbals. Morgan takes it slower, but is no gone a few months; Art welcomed him back ‘58 band) and was presently in the Maynard less intense, hitting the roof with pure clipped and the tunes kept flowing, as if he had never Ferguson big band. notes. Jymie’s walk is fast and inventive; he’s left. (He would again quit and return at the end Invited on stage during a Canadian jazz like a tiger stalking through the brush. Barney of the year, again replaced by Walter Davis.) festival, Shorter blew Art away with his rendi- has a another tight solo, more melodic than his The Big Beat, recorded on March 6, 1960, tion of “Evidence”; in short time Blakey called last – he seems to emulate Shorter’s approach. shows a friendly battle for the post of chief up Ferguson, pleading the case in his inimitable Bud is next, tripping pleasantly through several songwriter – Shorter was improving at a fright- manner. “Look, we’re in trouble. We don’t have choruses; the end is short and the applause is ening pace. His “The Chess Players” has a deli- a sax player and you know Wayne ain’t gonna long. cious slow groove, Lee floating high as Wayne stay with you too long because he’s a small At this time the guests left the stage, and makes deep hums. The tenor goes first, with a smoother tone than he showed in Paris; he coasts through in wavelike patterns, showing his skill but not showing off. His wispy lines are “Art signed an endorsement with the offset by throaty groans, with churning chords Gretsch Drum Company in the late ‘Fifties, an for a backdrop. Lee goes for the fast approach: high spikes at the start, down-home chants arrangement that would last many years. thereafter. They instinctively know what works together; these horns are in partnership, not In addition to the usual advertisements, competition. Bobby turn is typically funky, typically effortless – these chessmen are bish- Gretsch sponsored an annual drum concert ops, stretching long, working the angles, and at Birdland, starting in 1958. Blakey picked preaching fierce. “Sakeena’s Vision” is sleek, a brace of the talent for these events, and outdid himself straight lines built on bumpy drums. Morgan’s staccato is in full force, with strong clean notes for the show on April 25, 1960, which was in abundance. Wayne goes for dense clusters, then switches to Coltrane’s sheets of sound. A recorded by Roulette as Gretsch Drum Night pacemaker turn by Art follows, a thunderous justification of the album’s title. I would have at Birdland, Volumes One and Two.” liked more horns, but what we get is prime. Timmons’ stake in this contest is “Dat group man.” Ferguson consented, and Blakey Davis took his seat at the piano. Restrained on Dere”, a low-down sequel to “This Here”. The had another ace in his hand. the earlier numbers, Art shows his fervor on theme is sly and the horns eat it up, A European tour was set to close 1959; the “The Midget”, making the usual big entrance. bluesy precision. Morgan has sass as he blares a promoter of the show at Paris’ Théâtre des Merritt’s sinewy vamp leads to Davis’ glassy tough solo; Timmons’ waterlike comp improves Champs-Elysées promised a Blakey big band, chords, and then to Morgan’s sad theme. Lee the trumpet. The sax is laid-back but not lazy, with appearances by , Barney moves cautiously on the solo, climbing upward sailing with easy, yawning lines. Bobby has a Wilen, Duke Jordan, and other expatriates. It as his tone broadens. Growling like a trombone, wonderful barroom solo, full of tinkling chords turned out Blakey knew nothing of it – the pro- Lee spreads a web of staccato notes, blanketed – the horns answer with a second theme, and moter simply put those names on the poster, by a growing fog of cymbals. Timmons ends it as it began … if you need a hoping the musicians would show up. Most, of Shorter spins in close confines, as the speed definition of soul-jazz, here it is. course, did not – although Powell and Wilen did gradually increases. His tone is a cool warble, at Following this is “Lester Left Town”, per- arrive; they were welcomed on stage and played times like a ; as the emotion builds, haps the first standard composed by Shorter. on two numbers, which were recorded as Paris Wayne becomes raspy, exiting in a proud strut. The placid theme recalls Young, but Wayne’s Jam Session. Walter is delicate, switching from sleek chords solo does not: insistent, metallic, breathless, Things are decidedly loose: you hear the to bright single notes – he deserved more ac- aggressive. Bobby’s in the background, almost musicians talk as Bud launches into “Dance of claim, as this solo indicates. Merritt’s fuzzy subliminal with foggy chords – Morgan’s turn is the Infidels”. One by one they fall into place, effort leads to Blakey, whose simple march short but potent. Timmons has a nice smooth working well on such short notice. The first solo pattern is embellished by grandiose cymbals – a effort, and the tune exits, sooner than I’d like. goes to Wilen, whose alto veers in jagged an- Latin interlude follows, ending with the theme Not to worry – Shorter would be back. gles; reminds me of Jackie McLean, only a little statement. They are all good, but Shorter is one Art signed an endorsement with the smoother. Morgan climbs the stairs to frantic step beyond. Gretsch Drum Company in the late ‘Fifties, an heights, Art slamming the cymbals behind him. The set concludes with a truncated “Night arrangement that would last many years. In ad- At times ides fail him, but still a good effort – in Tunisia”, its pace faster than normal. Using dition to the usual advertisements, Gretsch no such problem for Shorter, whose lines are the chart from the ‘57 version, Wayne’s bridge sponsored an annual drum concert at Birdland, restless and peerless. He gruffly attacks the is patterned after ’s – same grit, starting in 1958. Blakey picked the talent for chords, venturing close to multiphonics … the same everything. He also does the lead-out to these events, and outdid himself for the show on debt to Coltrane is apparent. Bud spins a facile the solos with Morgan floating screamers above April 25, 1960, which was recorded by Roulette blues, the exchanges throw sparks, and Art him – this is gorgeous, but hear what follows. as Gretsch Drum Night at Birdland, Volumes holds sourt with flashy interjections. The audi- Shorter erupts into trills, racing in twelve direc- One and Two. ence is pleased – in a sense, they did get a big tions as his tone gains an exotic tinge. Lee is The drummers for the evening were Bla- band. even stronger, as heat builds and stutter riffs key, Philly Joe Jones, Charli Persip, and Elvin “Bouncing with Bud” comes off sharper, climb high. Percussion sneaks in during Jymie’s Jones, who would join the Coltrane Quartet a

32 May-June 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 ing all the way. There’s a two-fisted effort on bals. For some reason they cut Art’s solo, going Art Blakey, Part 6 tom-toms, another after the endtheme plays, and straight to the unison riff and a messy end- a prodigious show of applause – and if you theme – while weak near the end, this is a great thought two drummers were good… display of the men’s ability and their different few months later. Backing them were Tommy Now Elvin and Persip take the stage, join- styles. In other words: this is what you buy a Flanagan and , who played in Per- ing Art as Philly gets a breather. They explore drum album for. sip’s working group at the time. The horns were “El Sino”, a tune by Charles Greenlea: Blakey The last two cuts are a little hard on the a little more obscure: Sonny Red Kyner, on alto, does the intro, then Elvin comes in for the ears – in shortening them to fit the LP, producer made a few albums in the ‘Sixties, while trom- theme statement. Jones is in top form, cymbals Teddy Reig deleted everything but the drum bonist Charles Greenlea would play on Col- shimmering like mad; Art does likewise, for a solos! While preparing the discs’ reissue on CD, trane’s Africa/Brass. busy little storm. The first solo goes to Red, Kenny Washington searched for the complete It begins with a roar: Blakey says “All whistling down the scale with soft cymbals be- session tapes, which appear to no longer exist. right!” and plows busy snares into “Wee Dot”. hind him. Blakey keeps it simple as Sonny gets The result is that the solos, without a musical Heard on the right speaker, he layers his cym- intense: the first chorus ends in a screaming context to frame them, seem like empty display bals as the horns dig in: Red is first, slithering trill, like Coltrane on alto. (This makes Blakey – virtuosity for its own sake. Art doesn’t play like Parker in a crystalline tone. This is where shout “Yeah!” – me too.) It’s his best solo of the on these takes, but that doesn’t mean he isn’t Philly Joe comes in, prodding from the left date, as is the case for Greenlea: faster than heard: on “Tune Up”, he whoops during Philly speaker; Flanagan’s comp is subdued through the thunder. Philly’s drums are tuned higher than Art’s; if anything he’s more aggressive than Blakey. Greenlea is throaty, blaring like a “the biggest change to the Messengers in ‘61: French horn; Art takes over, clicking the rim through this solo and Tommy’s. Lee Morgan had left to form his own group ... On Carter’s spindly effort, Joe hits some great thuds, to which Art shouts “Play it! Play Blakey needed the perfect trumpeter to suc- it!” He also does the honor during the horn exchanges, and there’s a flamboyant tom solo, during which Art skims a cymbal. Then they ceed him. He found him in switch, and Art begins with arrhythmic clusters – shades of Joe Morello on “Take Five”! The …. he recorded with Coltrane on The Believer intensity builds, and a delirious tom break gets the crowd going. Next we hear snares, a quick and Africa/Brass, was paired with Eric Dolphy flourish on cymbals, and both drummers attack as the theme returns. Without any question, this on Outward Bound (Dolphy’s first as a leader), is the cream of the album. Philly Joe pounds the intro for “Now’s the and was part of ’s session for Time”, with Greenlea in charge. He also gets the opening solo, slowly pacing in a wrinkled Free Jazz, the album that named a genre. A tone; this is where Blakey takes over, and how. At first content to keep time, he prods Greenlea with the occasional snare, then erupts on the fiery horn with phenomenal chops, Hubbard toms where no one expects it. Joe then returns, putting toms everywhere as Charles works a was always trying something new – of all the blues lick. Listen for Red’s riff on the chorus – barely audible, but it makes all the difference. available players to replace Morgan, Art Then it’s his turn – the tine is delicious but the solo is rather mundane. You hear a succession couldn’t have made a better choice.” of standard sax licks, played at different speeds – if only his ideas were as good as his sound. (His nickname likely came from Stitt; the sonic normal and very melodic, while losing none of Joe’s solo, shouting “Let him play! Let him resemblance is strong.) his luminous tone. The drummer here is Persip, play!” He announces Persip at the end of his A rather obvious splice takes us to the end in the center of the mix; he favors tight cym- dense, melodic solo, and later goes “All right, of Red’s solo, with Art back in charge and tap- bals, with clustered snares in between. Flana- Elvin!” during Jones’ abstract effort. Each man ping it lightly. Flanagan’s turn is restrained, gan’s comp is gorgeous, mostly told in broad gets another solo, this time on brushes – good unlike the drummers: Art sticks to the hi-hat, as chords – on the solo he moves gently, as Elvin stuff, but this goes on forever. Blakey is silent Philly bangs hard to get attention. He sounds slaps a big brush. He goes nearly silent for for “A Night in Tunisia”, so we can hear all the desperate to join in – he repeatedly thumps the Carter’s agile turn, scraping a whisper, the rhythm: a terrific Latin unison pattern gives way one-beat (in waltz time … with the rest of the shouting as the exchanges begin: Blakey with to several crackling solos, Charli’s being the band in 4/4!) and goes to the tom-toms as Bla- power, Charlie with speed, and Elvin with eve- best. Quite a “Night” … and quite a night. key keeps time. Finally he drops all pretense rything. Three composers shared honors on August and simply horns in, getting a harsh metallic All three then do a unison drum theme (the 7 for A Night in Tunisia, Blakey’s second disc rhythm. (This may actually be another splice at crowd goes wild) and here come the drum so- by that name. Structured on the 1957 version work, but I’m not certain.) los: Jones is first, all busy snares and intense (and, by extension, the 1959 Paris rendition), And now we get the drum solo: Philly Joe polyrhythms. Charlie works with the silence, in the title cut is notable for Morgan’s unaccompa- starts with a martial snare pattern, adding cym- carefully-placed taps that build in volume. He nied finale and Shorter’s growing strength. bals for heat. After a big flourish Art takes over, gets a conga pattern from the tom-toms, weaves Weaving through the first chorus, this reed is a long roll he takes from drum to drum, ahout- a long snare roll, and seasons it with tiny cym- (Continued on page 35)

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ORDER Start Your Promotion NOW! - PressToRelease.com 34 Experience ResultsMay-June 2018 In Jazz 24-48Inside Magazine Hours! www.JazzInsideMagazine.com CALL 215-887-8880 To Advertise CALL: 215-887-8880 (Continued from page 33) trombone to emerge since J. J. Johnson. Fuller the title implies, this is a sunrise … and it’s edgy, smart, and absolutely relentless. That goes made the Messengers a sextet for the first time mighty bright. double for Morgan, whose screaming trills since 1957; he was also the first full-time trom- “This Is for Albert”, penned by Shorter, is make you take notice. His solo works on the up- bonist in the group’s history. dedicated to Bud Powell; according to Art, and-down pattern heard at the end of “Donna Both these events dwarfed the biggest Powell’s real first name was not Earl, but Al- Lee”, with a drawl tossed in at the end. Merritt change to the Messengers in ‘61: Lee Morgan bert. Workman bounces a broad intro, the has an exceptional solo, but this is so close to had left to form his own group. Lee had been an rhythm settles in, and the horns proceed in a the earlier version I wonder why it was remade. anchor for the past five years, the bold voice graceful slide downward. First solo goes to the “Sincerely Diana”, a romance by Shorter, that made the soul-jazz click. Blakey needed composer: an insistent tone, anchored to the opens on a pivot: Wayne moves three notes in the perfect trumpeter to succeed him. He found high notes. Cedar gives him an active, rippling this direction, reverses for three, and repeats him in Freddie Hubbard, a native of Indianapo- comp; he is only heard on the left speaker, many times. Darkly hued, his lines acquire a lis with some impressive dates already under his while Wayne is exclusively on the right. (Such passionate quaver near the end, when Morgan belt. Playing briefly with the Mastersounds separation was common in the early days of calls high. Glittering and rhythmic, this stuff (featuring a young Wes Montgomery), Hubbard stereo; today it sounds off-centered, even thin.) will take your breath away – ditto for Bobby, then moved to New York and found himself in The sax concludes with short metallic screams – who gives a cocktail touch to his solo. Unas- tight company. He recorded with Coltrane on these no longer sound like Coltrane, but a dis- suming, this is a tune that grows on you, much The Believer and Africa/Brass, was paired with tinct voice using that technique. like the Messengers’ style. Eric Dolphy on Outward Bound (Dolphy’s first Curtis keeps his turn simple and warm, “So Tired” would become another standard as a leader), and was part of Ornette Coleman’s with an old-fashioned buttery sound. His double for Timmons, who could seemingly write these session for Free Jazz, the album that named a -time moments are marvelous, which Walton things at will. Paced faster than later renditions, genre. A fiery horn with phenomenal chops, surrounds in thick chords. Hubbard, on what the horns march the theme in funky harmony. Hubbard was always trying something new – of might be a flugelhorn, whoops happily on a fast Shorter relaxes, blowing long and low – you can all the available players to replace Morgan, Art up-and-down sequence. (He is hurt most by the almost see steam rising. Compared to this, Mor- couldn’t have made a better choice. dead sound – it seems like he’s playing inside a gan is a cataclysm, where flurrying notes For two days in October 1962, this sextet cardboard box!) Art switches to brushes for bounce against a busy piano. Everything here is recorded the Caravan album at Plaza Sound Cedar’s solo, which a lighthearted dance for good, but the best is the tune itself; if these guys Studios. This famous facility was on the sev- both parties. He sounds a little like Powell, but were tired, you’d never know. enth floor of the Radio City Music Hall – the mostly like himself – the horns conclude with a Lee’s “Yama” sounds like “Dat Dere” elevator only went to the sixth floor and so eve- nice end-theme, with Fuller standing out. Bud turned inside out – the same melodic approach, ryone had to lug their equipment up a final would like it, by any name. and the same shade of blue. Bobby is in his flight of stairs. The session opens with The heat is turned way down for “Skylark”, element, wiggling lovely lines though quiet “Caravan”, its chart clearly based on “A Night a luxuriant stroll for Hubbard and his low regis- surroundings. Morgan is resonant, hopeful, and in Tunisia”. Unlike the rich echo of the Van ter. The sound is improved on this cut, showing slow; few horns could match him for understat- Gelder studios, the sound at Plaza is rather off the fullness of his tone; the other horns hum ed strength. The depression runs deep when dead, robbing Art of some of his power. His a soft chord, and a lone cymbal ticks in the dis- Wayne steps in; woody like a clarinet, he circles cymbal-crossed opening is joined by Walton tant. Shorter swings through for eight bars, alone, with grainy notes and nighttime despair. playing a “Manteca”-style vamp, and then by sticking to theme as Coltrane would play it; Lee is not known as a writer; this proves he the horns theming in unison. when Freddie returns, he shouts through the was. Fuller plays the bridge straight, while the roof in a stunning, razor-sharp sequence. (The Another example is next: Art’s 4/4 intro others race madly – Hubbard is first from the Stitt-like tag ending is also nice.) leads to “Kozo’s Waltz”, a study in volume and gate, whooping it fast and taking it high. Lee Hubbard’s “Thermo” is hard-bop personi- harmony. Wayne has a dark tone as he sways did this often, but Freddie seems cleaner, more fied, Hubbard racing in Lee Morgan’s image. through his solo; he enjoys the tempo and has a distinct in his diction. Shorter blows a sad siren, Staying up high, he plays a Morse-code riff atop lengthy study of “While My Lady Sleeps”, the then twists upward in double-time fury. His last Blakey’s rimshots. There’s a word to describe favorite quote of John Coltrane. Lee is trium- chorus quotes the theme, tart like an oboe and this – luminous. Wayne pushes the beat, per- phant, though his spot is too short; Timmons sharp like a tack. Curtis’ turn is rubbery, Art haps too much – air leakage from his horn ruins follows, and is surprisingly lyrical. This album reprises his opening solo (the drums sound like an alternate take, shelving a marvelous effort is the perfect meal, where each course is better plastic – the echo is missed) and the theme re- from Hubbard. His solo is regimented, every- than the one before; their musicianship and peats itself. It’s not quite “Tunisia”, but it will thing done in even steps and regular intervals – composing skills are growing before our very do. delightful when he does this fast. ears. “Sweet ‘n’ Sour”, a good-natured waltz by Fuller tries a slow glide, in a rich chocolaty Bobby Timmons left the Messengers in Wayne, finds Walton floating calm chords, a tone; it doesn’t exactly fit the mood of the 1961, this time for good. Blakey’s choice to straight line for the rest to dance on. Workman piece, but is great nonetheless. Walton is suita- replace him was the upcoming Cedar Walton, a steps up during Shorter’s solo, which is both bly bumpy (he’d later say “My playing got prolific composer with a cerebral edge. A pro- husky and turbulent – call him the sour. Freddie stronger, because with Art’s powerful style I fessional for about three years, Walton had is the contrast, floating gently over Cedar’s viv- had to get stronger.”) and the tune coasts to an come from the Art Farmer – Benny Golson id chords. This is short and followed by Fuller, exhilarating end. While a decent effort, ; his greatest accomplishment at the time who blows broadly, as would a French horn. oversized studio did not suit the group – as was playing on the original session for Giant Walton stays closest to the waltz pattern, mov- many fans of the Messengers would attest, you Steps. (Coltrane would later redo the album ing from graceful to bluesy. “Wee Small had to hear them live, which would take the with a different group – the tracks with Walton Hours”, a feature for Curtis, plants long leisure- label to Birdland eight months later.

would be released in 1975, on the album Alter- ly notes against a brass counterpoint; listen for

nate Takes.) Wayne, who is almost silent, and exquisite.

Jymie Merritt had also vacated his chair, Fuller’s tone is rich, and highly distinctive: it’s  now filled by , fresh off his smoother than J. J., as agile as Frank Rosolino. stint with Coltrane. The band was also enhanced The unaccompanied but at the end is extra- by the addition of Curtis Fuller, the strongest sweet, and Reggie groans a dignified end. As

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JAZZINSIDE_full-page_VintageExp10.07.17.indd 1 11/13/17 3:10 PM New CD Release from Dallas Area Pianist John A. Lewis

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

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

All compositions by John A Lewis

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