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Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) December-January 2020 – Volume 10, Number 7

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CONTENTS 4 Harold Mabern — Knowing How to INTERVIEWSINTERVIEWS Visit these websites: CLUBS, CONCERTS, EVENTS Stay Out of the Way – The Final Inter- 30 Dave Stryker JazzStandard.com 13 Calendar of Events view 35 Lewis Nash Jazz.org 20 Clubs & Venue Listings JJBabbitt.com MaxwellDrums.com

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2 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 3 I’m old.” Or I can say what Howard Cosell said, “I’m a legend in my own mind,” otherwise I INTERVIEWINTERVIEW don’t think about it, all I think about is the results. How many articles have I done, how many covers have I been on? Until that happens, it really don’t mean a thing. It’s only words and you can’t take it to the bank. Harold Mabern Knowing How to Stay Out of the Way – The Final Interview JI: Do you like doing interviews? I’m asking because it took a bit to set this up.

that was okay. This “Iron Man” thing came HM: I don’t really get a chance to do inter- Interview & Photo By Ken Weiss views, as a rule. If it comes about, and it’s some- about later because I used to play at this jam session in Chicago called the Randolph Rendez- thing that I feel I want to do, or if it’s something Harold Mabern (b. March 20, 1936, Memphis, that means something, then I’ll go along with it. TN) is one of the many excellent pianists from vous where the bandstand would go around. Most times, not a lot of piano players would Otherwise I don’t think about it. I don’t get a lot the Memphis area to have made a significant of calls to do interviews, and I’m not on the mark in the history of jazz. Beloved for his in- show up, so I’d have to play the whole two sets without intermission. The guy playing congas covers, but I don’t lose sleep over it. You got to credible comping skills, Mabern has been an go on with what you’re doing. As long as I can intricate part of recordings made by the MJT+3, said, “Look at that, ladies and gentlemen, the Iron Man of the keyboards!” That’s how that play, that’s the main thing. The Jazztet, Wes Montgomery, Stanley Turren- tine, Lee Morgan, Blue Mitchell, Hank Mobley, came about. JI: Most of your career has been spent as a Roland Kirk, J.J. Johnson, Freddie Hubbard, sideman, which you take great pride in. You say Jimmy Forrest, George Coleman, and Eric Alex- JI: How much of an advantage does having such large hands give you, and are there disad- on your website – “I was never concerned with ander, as well as numerous titles under his own being a leader. I just always wanted to be the name. Mabern talks about his time spent with vantages? best sideman I could be. Be in the background Phineas Newborn Jr. and his life doing what he so you can shine through.” Would you expound was chosen to do. He’s soft-spoken and South- HM: It can be an advantage but some of the greatest piano players got small hands, but it on why that’s been enough for you? ern, humble by nature, and this 3-hour interview, done on June 13, 2019 near New York’s helps me when I’m doing a lot of comping. I can get excessive power or, as Freddie Hubbard said HM: I do take great pride in being a sideman, Union Square, reveals many pearls of wisdom. and that’s been enough. Last night I had a stu- Mabern dedicated this interview to Phineas in liner notes, I can get certain kinds of voicings, different kinds of sounds, because of the size. dent and Peter Bernstein’s wife came by, and I Newborn Jr. Sadly, Mabern passed suddenly played something, and she said, “Oh, that and unexpectedly on September 17, 2019. This is Because of the span, I might be able to play chords that some of the other guys can’t get. The sounds like Stravinsky!” Now, that was a com- thought to be his final significant interview. pliment because I don’t even know how to spell only disadvantage is that I used to play this song in D-flat, and sometimes I had a problem play- Stravinsky. First of all, I’m a self-taught musi- Jazz Inside Magazine: Colorful nicknames in cian. I tell my students, ‘Don’t play, on piano jazz are a thing of the past. You’ve been called ing the melody because the width of the middle finger could get stuck in the keys. Otherwise, especially, don’t play with the person, you play for them.’ So, I get joy out of being an accompa- nist. When Cedar Walton came to me and said, “To obtain something, you have to listen. “Brother Mabern, that was some fine comping you did,” that meant more to me than him saying I played well because not everybody can comp. When I first started, I wanted to comp like Comping is a specialty. Wynton Kelly, Red Gar- land, Tommy Flanagan, Hank Jones, Bobby Richie Powell, who was a harmonic genius, Timmons, Cedar Walton, and a few others. You can’t just teach how to comp, you learn that by but I was playing too much. I had to be listening to the people that came before you. If I never played another job as a so-called leader, shown by a friend how to leave space. that’s fine with me. If I never made another recording, that would be fine with me, but I love to comp. It’s a so-called subordinate role but Comping has always been easy for me be- when you’re able to shine through, and people say, “Who is that playing that?” That’s the com- cause I love doing it, but I learned by listen- pliment.

ing to all the people that came before me.” JI: Bassist Howard Rumsey had some mild criticism for you as a leader. He said, “Harold’s too nice a guy,” and that you weren’t assertive it’s all the same – big hands, small hands. “Mr. Big Hands” and “The Iron Man.” enough for his liking.

JI: Press releases and articles have started to Harold Mabern: Those names were put on me HM: He was probably right but that’s the only refer to you as “legendary.” Putting your hum- and I don’t really think about them, one way or way that I can be. I can’t change my personality. bleness aside, how do you feel about that refer- another. It doesn’t make me happy to be called I’d rather be a nice guy than be a rude guy. I ence, and how important is recognition to you? that way. The “Big Hands” thing was a song read that, and if that’s what he felt, I couldn’t

composed for me by my closest friend, Frank change that. As long as I’m okay with myself, HM: I’ll quote my non-biological little brother, Strozier. We were in a group called MJT+3 and and I feel that I’m okay. Herbie Hancock, who said, “That just means that he wrote a song for me called “Big Hands,” and (Continued on page 6)

4 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 5 any kind of special attention. That’s why most key to playing this music. Being able to hear the Harold Mabern piano players end up getting their trios so they obvious and being able to hear the not so obvi- can play what they want to play, the way they ous. Mulgrew Miller was like that. There’s a (Continued from page 4) want to play it. fine line between hearing what everybody can hear and having an “inner ear” [to hear what JI: How would you assess the general level of others can’t]. JI: You being “too nice a guy” is also what expertise in comping on the current scene by makes you so beloved to many peers and fans. other pianists? JI: You’re very adept at mixing in quotes of Many have accounts to tell of you going out of other songs when you play. What triggers you to your way to spend time writing out charts and HM: You’ve got a lot of brilliant, young piano add a snippet of one song into a composition one teaching when asked a question. players out here but a lot of them, and I won’t night but not the next, and how often do you add call names, the comping is missing. They got the a quote and that distracts from the song? HM: That’s a trait I learned from my homey, technique, they can play through the keys, play George Coleman. He’s like that, he loves to different scales, but the comping is lacking. HM: I don’t know how it happens, but I just teach. He loves music so much, and when you come up with some kind of way. I try not to do it love what you do, and have a passion for playing JI: You’re also known for your command of the because sometimes they call me the “Quote this music, it’s easy to do that. That’s what I do. Great American Songbook. It’s said that you Man,” but Bird quoted. Clifford Brown and Son- As Ted Dunbar used to say, “Teaching is learn- know over 5,000 tunes. How did you work up to ny Rollins quoted. I don’t purposely say, ‘I’m ing, learning is teaching.” When you teach, you that? Do you have a superior memory? gonna quote this, it’s just an automatic thing. It’s learn. For me, music is a special blessing be- instinctive. cause I didn’t choose it, it chose me. I started at HM: I don’t know if it’s that many but it’s 17, no piano lessons at all. I slipped through the probably pretty close to that. I know the Great JI: Does it always work out when you throw a cracks. American Songbook, but I’ve been known to go quote out? outside the box like Stevie Wonder, Chaka Khan JI: You spoke earlier about your love of com- or David Foster. I asked Dick Hyman once, who HM: Most times it does. ping. Your peers talk about how skilled you are is one of my heroes, I asked him, and he said he You’ve got to entertain the people. Cannonball Adderley and Art Blakey entertained people. Even John Coltrane, ‘My Favorite Things,’ that was considered commercial, but I think he bought a house off the royalties. You have to think about the people. I don’t think about the cats because some of them may come in, buy one beer, and stay at the bar all night. That’s why I say with five minutes left, I might play ‘Cherokee’ through the keys for the cats.”

at comping. How did you develop that talent? knew about 10,000 tunes. There’s tunes I know JI: And what happens when it doesn’t? that I don’t know the name to. When I’m stand- HM: The piano players that I came up with, ing in the line at the bank to cash a check, and I HM: One night, I was trying to quote Freddie we’re much better piano players, I can tell you hear some music playing on Muzak, I’ll learn Hubbard’s thing I use a lot, “Thermo,” and I got that. I came up with the greatest piano players of that. caught and George Coleman said, “See!” The all time, bar none. The ones who were a few phrase didn’t work out over the chord changes years older than me, the one’s my age, and the JI: How did you work up to that? Would you that I was playing. You have to make sure that few that were a little younger than me, like say you have a superior memory? the quote will fit the structure of the song. I Herbie Hancock, McCoy Tyner, Chick Corea would say 97 percent of the time it works when I and Keith Jarrett. So, I came up at the right time. HM: I don’t know if it is superior, but I have a do it. To obtain something, you have to listen. When I great memory because since I couldn’t read mu- first started, I wanted to comp like Richie Pow- sic, I’d start off using my ears. I have a pretty JI: You’ve said, “I think of myself as a blues ell, who was a harmonic genius, but I was play- good ear and I retain what I hear, and that’s the pianist who understands the philosophy of jazz.” ing too much. I had to be shown by a friend how That’s understandable due to your Memphis

to leave space. Comping has always been easy upbringing but there came a point when you

for me because I love doing it, but I learned by “Encroachment hated the blues and only wanted to play bebop. listening to all the people that came before me. of freedom will not come Look at the big bands, like Count Basie, if the about through one violent action HM: You can’t teach the blues. The great Diz- rhythm section is sagging and the drummer’s or movement but will come about zy Gillespie, the co-creator of this music, said, fighting the bass player, it’s the piano player’s through a series of actions that appear “The difference between me and Bird is that job to make it swing, because if something goes to be unrelated and coincidental, but Bird could play the blues, I couldn’t,” and he wrong, most musicians turn around and say, that were all along systematically was right. John Coltrane could play the blues “What’s going on here?” And the piano player’s planned for dictatorship.” because he played with rhythm and blues bands. going to be blamed because it’s not swinging, Even my hero, Mr. Ahmad Jamal, played with — John Adams, 2nd President but when it’s good, the piano player never gets — Anton Chekhov (Continued on page 8)

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JI: How did you teach yourself piano? Did it “Booker Little was secretive about come easily to you?

HM: No, it’s still not easy. I practiced a lot how he played trumpet. If somebody when I got to Chicago – 9 to 11 hours a day, of practice and playing. I practiced scales on my own or go down to the Chicago Conservatory to would ask him how he did something practice, and then we’d go out to jam sessions. So, for five years, I was playing the piano 12-13 he would say, ‘I know, but I’m not hours a day.

JI: Phineas Newborn Jr. had a profound effect telling.’ He wasn’t doing that in a on your career. How did you come to connect with him?

nasty way, he was saying that he HM: At that time, we didn’t know anything about Bud Powell or Art Tatum because we worked hard for that and that you didn’t hear their music. We heard Oscar Peter- son [on the radio] because he and Ray Brown had a hit on “Tenderly.” Pianist Charles Thomas needed to put in the time also.” said, “Man, if you want to play, you should check out Phineas Newborn Jr. I said, ‘Who is for the cats, I’d be up there playing some stuff still promote myself. that?’ He introduced me to Phineas, and when I that’s so out of sight, which is what’s happened heard and saw Phineas, and I saw the command at the clubs over the recent years and the folks JI: Unlike many musicians, you come from a he had at 18-19 years, I said, ‘Wow! That’s what stop coming to the club. You’ve got to entertain non-musical family. What pivotal event led you I want to do.’ I knew I would never be able to the people. Cannonball Adderley and Art Blakey to music? outplay him, I didn’t want to, but he highly in- entertained people. Even John Coltrane, “My fluenced me in the way that he approached the Favorite Things,” that was considered commer- HM: We were hanging out one day at this little piano as an orchestra. The piano is an orchestra. cial, but I think he bought a house off the royal- girl’s house when I was 16 and she played a Some people say I’m a piano banger, but the ties. You have to think about the people. I don’t song on the piano using only the black keys piano is a percussive instrument, and I’ve bro- think about the cats because some of them may called “I Stuck My Dolly in the Mud.” So, I ken less strings than some of my colleagues who come in, buy one beer, and stay at the bar all went to the piano and I played the same song. have studied classical piano. night. That’s why I say with five minutes left, I That’s when I knew that I could hear things, and

8 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 I asked him who he was listening to and he said, JI: What did Phineas Newborn emphasize dur- Harold Mabern “I kind of like Herbie Hancock.” I never told ing his lessons? Herbie that. So, if he knew how great and deep Herbie was, a crazy person wouldn’t understand HM: Again, he didn’t talk much. He’d play and JI: You met him at a record store? that. There’s nobody like him. He never had to I’d listen. I watched, I learned. He didn’t say do work anything out. He put his hands on the keys this or that, he just played the piano and I lis- HM: They had a little record store that sold and it came out. But he practiced a lot and he tened. He never said take this finger and do this. sheet music, and in the back, they had an old played the classical pieces. And the reason how upright piano, a set of drums, and a bass, so they he was able to get his dexterity like that, he told JI: After transferring to Manassas High could teach students. I saw Phineas there and he Gerald Wilson that he used to play the Hanon School’s quality music program, you joined said, “Play something for me,” that’s what he [exercise] book where all the exercises were in students who would go on to become future jazz always said. If he told you to play first, that the key of C and he got bored so he just started stars – Frank Strozier, Booker Little, George meant that you were in trouble. The only thing I playing all the exercises through all the different Coleman, Charles Lloyd and Louis Smith. What knew then was “The Happy Farmer.” I had a keys. That helped his concept and technique. He were they like as school kids? book and I had learned how to read a little bit. never said a bad word about anybody. He also He played the first part with his left hand and I really liked Wynton Kelly. HM: That’s right, along with Hank Crawford played the second part. The first thing he played and then Isaac Hayes came behind us later. Dee for me was “Taboo” by Art Tatum, and when I JI: Would you talk more about why Phineas Dee Bridgewater’s father, trumpeter Matthew saw that, that just really blew me away. I knew Newborn Jr. was ignored? Garrett, was our teacher. We had a great time, then that that’s what I wanted to do. we were very mischievous. Like, instead of be- HM: It was how dare you be so great and that ing in class, Frank and I would go to a place JI: Phineas Newborn Jr. had a job giving les- phenomenal coming from a little town. He was- called the Harlem House, where Booker Little’s sons in the record store? n’t even born in Memphis, he was born in sister worked, and get hotcakes, sausage and

HM: He was giving piano lessons to little kids. It wasn’t a fulltime thing, it was just a little “I got a day job around ‘64 at Hart Schaffner & something to add to what he was already doing, because he was working with in his father’s Marx, a men’s clothing company in Chicago … group. and then when it was time to leave, I had amassed JI: How much were lessons and how much time did you spend with him? about $5000. All of the musicians during that time

HM: Oh, shoot, they couldn’t have been more, worked day jobs to supplement the nighttime stuff. maybe, than a dollar. Lessons were cheap then. I met him in ’50-’51, and I was around him until Vernel Fournier worked at Sears and Roebuck. ’54. That’s when I graduated high school and moved to Chicago. Israel Crosby was a mailman. Victor Sproles

JI: What was your relationship with him? Was worked in the post office. Bob Cranshaw was a there a friendship? garbage man, which he took pride in, although HM: He didn’t talk much. You’d play something and he’s say, “You sound good.” That’s all his wife didn’t like him telling people about that.” he would say, and that was a compliment to me. He was also an excellent tenor saxophone play- Whiteville, Tennessee, which is like ten blocks bacon. The principal, Mr. Hayes, a little, short er. He was one of the greatest, misunderstood, long. That’s unheard of. If he had been from guy, but he was tough, everybody was scared of misconstrued, geniuses that ever lived. He was Philadelphia or Chicago… Are you getting my him, he caught us coming in late one day, so, he like Mozart, you name it, he was highly unap- point? It was like how dare you be a country spanked us. He said we weren’t where we need- preciated and put down. To this day, it breaks boy. So, they couldn’t give it up. They didn’t ed to be and he took a pad, it didn’t really hurt, my heart when I hear piano players playing be- say it, but they were thinking of him as a country and he said, “Every time I hit you, you say hot- cause I say, ‘Somebody’s jiving me.’ I remem- bumpkin. When Oscar Peterson was asked to cakes!” He hit us a couple times, but Frank for- ber when he came to New York one time to play name his two favorite piano players, he named got to say it, and he hit him twice. He said, “I at the Top of the Gate. I always called him Jun- Art Tatum and Phineas Newborn Jr. Now that’s told you to say hotcakes.” It wasn’t brutal, it was ior, and I said, ‘Junior, how you feeling?’ He from Oscar Peterson, who is the most frighten- just to let us know we should have been in class. said, “I’m okay. I wish I had some gigs.” That ing piano player I’ve heard. He’s not the most Unfortunately, we would cut classes – chemistry broke my heart because they had ostracized him. intimidating, because if you allow yourself to and physics. Who knows, had I gone to those Believe me, they broke his heart. Coltrane loved become intimidated, you defeated your purpose. classes, I could have been a great scientist now, him. Coltrane used to watch him practice. Mr. You get inspired and move on. Now if Oscar making billions of dollars, but you can’t go back Ahmad Jamal, Mr. Hank Jones, and Mr. Tommy had said a little bit more about Phineas when and get those days. We were never violent or Flannagan loved him, but a lot of guys didn’t Phineas was alive, his stock would have gone drinking/smoking dope. All we wanted to do give it up to him. A lot of professional jealousy. up. Phineas didn’t have anybody to speak up for was get through the basic classes so we could I asked him one time who he was listening to, him, but he was greatly admired by people. get to the band room to play music. George and this was during the time that he was sup- Hank Jones said, “I finally figured out what it is Coleman, Louis Smith, Phineas Newborn, they posed to be crazy, but he wasn’t crazy. He had about Phineas, he has two right hands,” because were like our leaders because they knew all the great sense, he would just turn off jive people if he played more piano with his left hand than language then – all the bebop, all the Bud Pow- they came around. He did have a little break- most of us play with both. ell and Bird, so we looked up to them. Even down because of the stress, but he wasn’t crazy. (Continued on page 10)

To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 9 it’s just something innately in me that just came the bank, and then when it was time to leave, I Harold Mabern through. Now, I’m no Herbie Hancock or Hank had amassed about $5000. All of the musicians Jones or Stanley Cowell or Dick Hyman, but during that time worked day jobs to supplement (Continued from page 9) I’ve been able to put a few notes together. I was the nighttime stuff. Vernel Fournier worked at in a position where I went to London, England Sears and Roebuck. Israel Crosby was a mail- though George and I are only a year apart age and recorded with Louis Hayes’ Quartet with man. Victor Sproles worked in the post office. wise, he understood the bebop language then, members of the London Philharmonic Orchestra. Bob Cranshaw was a garbage man, which he which is still important now, because that’s still Everything was written out, and there were two took pride in, although his wife didn’t like him the hardest music to play. What Frank Strozier other piano players on it, and as we walked in, telling people about that. and I learned from George and Louis Smith, we the copyist was still copying. To this day, that’s passed it down to Charles Lloyd and Booker been the scariest day of my life. I don’t know JI: What other day jobs did you hold down Little because they were a grade or so behind us. how I got through that. until doing music fulltime? Booker Little was secretive about how he played trumpet. If somebody would ask him how he did JI: Are you a good reader? HM: In New York City I worked for a message something he would say, “I know, but I’m not service, delivering packages and mail for $45/ telling.” He wasn’t doing that in a nasty way, he HM: Decent. week, I worked at the Wall Street Journal, deliv- was saying that he worked hard for that and that ering over 300 newspapers a day to office build- you needed to put in the time also. JI: Is it true you were playing gigs around ings for $150/week, and at Alexander’s Depart- Memphis for 50 cents a night? ment Store for $98/week. One day, I was finish- JI: You talked about Phineas Newborn Jr. being ing up my newspaper route and I ran into the underappreciated, as well as Memphis as a HM: Yeah, 50 cents. Maybe every now and Judge. That’s what we called Milt Hinton. He whole, regarding its contribution to jazz. Just then, they would raise it to 75 cents. I think saw me with all those papers, and he stopped in going over the names of those you went to high George Coleman was making a dollar, or a dol- his tracks. He was shocked. He said, “Harold, school with is stunning, and there’s been so lar and a quarter, but that was a lot of money. what are you doing?” I told him I was trying to many others including Gerald Wilson and Sonny There was a lady named Anna Mae Bulloc, she take care of my family and he said, “A man’s Criss. Why has Memphis been so under- was probably making a dollar, and now you got to do what a man’s got to do!” He was push- recognized through the years? know her as Tina Turner. I think she’s now ing his upright bass and had his fender bass on worth 250 million. These are all the people I his shoulder, probably going to do his third re- HM: Here again, I think it’s about how dare came up with. I did a few little gigs with her, but cording of the day. Before he passed, his wife you be so, and I hate this word – hip. Even she wouldn’t know my name now because that told me that after he saw me doing that, he though Sonny Criss had a nice, little career go- was 60 plus years ago. gained new respect for me as a person. I’m just ing, and Hank Crawford did pretty good on the telling you this because it really happened, but “Chitlin Circuit,” and one of his main students, JI: Did you have any interactions with Sun lots of musicians worked day jobs. I worked who he influenced is David Sanborn. I don’t Records or any of the label’s recording artists them until Lee Morgan called me to join his know. If we had that kind of talent, and had such as Elvis Presley, Jerry Lee Lewis, Johnny band in 1968. come from up north in the east, maybe we would Cash or Roy Orbison? have been accepted a little bit more, but it never JI: Living in Chicago gave you the opportunity happened. Maurice White, Memphis, Tennessee, HM: No, the only thing is we went into Sun to to experience Ahmad Jamal in clubs around came up with a group you probably heard called do a record date. There was one song that they town. What is it about Jamal that you like so Earth, Wind & Fire. That’s Memphis. When were trying to get somebody to sing it. Three much? Maurice was about 14, he used to go to George people tried to sing it and they couldn’t. It was Coleman’s house and George Coleman’s brother just a blues song. I tried it and Sam Phillips, the HM: It’s not what I like, it’s what I love so would show him things on the piano. Dee Dee owner, he said, “You just like me. You can’t much. He’s so deep and original. He influenced Bridgewater, her name was Denise Garrett, born sing either.” [Laughs] That was my only connec- Miles Davis. If you listen to his “Darn That May 27, 1950 in Memphis. There’s a legendary tion to Sun Records. That was the end to my Dream,” that’s a masterpiece. He’s able to con- smooth jazz piano player from Memphis who singing career, although Frank Strozier and I, we ceptualize stuff, he’s able to take a song that’s moved to Minneapolis named Bobby Lyle. He’s worked amateur shows singing and we won like normally a ballad, and play it with a bounce, and a bad cat. Jimmy Lunceford started the program a dollar and a quarter, which was a lot of money. you don’t miss the feeling of it. You have to and the list goes on and on. For some reason, Rufus Thomas was very helpful to us. have a special kind of ear to appreciate his geni- we’ve been completely ignored, except for us. How he took a song that was corny like Charles Lloyd, who I’m happy for, Dee Dee JI: You transitioned to Chicago in 1954 with “Music, Music, Music,” which we never would Bridgewater, and Maurice White. George Cole- the intent to join Frank Strozier at the Chicago have thought to record, but he took it and rede- man, they had to do a petition for him to get the Conservatory of Music but financial difficulties fined it. When Ahmad was 11, he never talks NEA [Jazz Master Award]. Come on. I thought blocked that. How did you support yourself in about it, he was playing Liszt etudes with the he was a Jazz Master 50 years ago! Chicago, as well as refine your skills at the same Pittsburgh Symphony Orchestra. He’s a special time? kind of man, and those of us that are following JI: When and how did you learn to read music? him, we’re better musicians for it. Once Ahmad HM: We had little gigs on the weekend and Jamal plays a song, I don’t care what it is, it HM: That’s a good question. To this day, I’m every now and then, you got lucky and got a $75 becomes his. still amazed that I learned how to read trumpet gig. That was a lot of money in ’54, that was a music in the marching band, but I couldn’t get a biggie. Then I went out and got a day job around JI: You found work in Chicago with saxopho- sound, so they put me on the baritone horn, the ‘64 at Hart Schaffner & Marx, a men’s clothing nists Johnny Griffin, Gene Ammons and euphonium. Mulgrew Miller and Donald Brown company in Chicago, because even though I was Clifford Jordan. What do you recall from those also played the baritone horn. I’m not saying this staying with my mother, sister and brother — times? to say, oh, musical genius, I still don’t know they were so good to me — I still had to do du- how I learned how to read music on those instru- ties around the house. I took a job sorting out HM: I didn’t do a lot of work with them be- ments, and I still don’t know how I learned how different parts of coats - collars, sleeves and cause there were so many groups around. I was to read piano music, to a certain extent. I guess buttons for $125 after taxes, which I just put into blessed because Walter Perkins hired me to be in

10 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 be by Harry Warren called “You’re Getting to fortable in that environment. Once I got in with Harold Mabern Be a Habit with Me,” but musicians talk in short Hamp, then I really felt secure because I knew I terms. I was supposed to know that. They don’t would be making X amount of dollars every ask you what you want to play. As far as Sweets week. The goal then was, no matter what you his band MJT+3. There were only three groups was concerned, I knew everything because I made, you had to send home $100 every week. around that were making money and we had a called myself a musician. That was a great learn- Once I started playing with Hamp, and then hit record [MJT+3] on Vee-Jay Records. We ing process, because you had to do your home- playing and recording with Betty Carter, the old sold 10,000 records. That was a jazz hit in 1961. work. That’s what the old-timers would put on timers would come and check you out, and not you. If you didn’t know it this week, you’d say anything to you, and then, I guess, some- JI: Why did you end up leaving Chicago in know it next week. body said, “That Harold Mabern has an affinity 1959 when you were having such success with for and with singers. He knows how to comp.” MJT+3 in Chicago at the time? JI: Talk about how it felt to arrive in New And word got around and I had most of the sing- York. What were the first few months like? ing gigs at Birdland. It was nothing planned, it HM: Because we had gone as far as we could What did you see that impressed you? Was New just happened. I played with all the singers at go. We had grown so it was time to make the York City what you expected it to be? Birdland – Betty Carter, Irene Reid, Dakota next step to “The Big Apple.” And we had a Staton, Etta Jones, Ernestine Anderson, Johnny manager, C. B. Atkins, who was married to Sa- HM: It was more than what I expected. Every- Hartman, Lovelace Watkins, Arthur Prysock. rah Vaughan, and he had about two months of thing impressed me – the big buildings, the mere work for us in New York City. So, we couldn’t fact that I was in this club where Charlie Parker JI: Lionel Hampton hired you from 1960-’61 go any further and now it was time to get to the played, and it was named after him – it was and you made your first European tour. What real deal in New York City and to stay long frightening. But we knew what we had to do. was that first time in Europe like for you? enough to get our union cards, which we did. We were determined to hold on to our pennies. The band flew east together but we went our If we could stretch it out long enough to get the HM: That was interesting. The first tour went separate ways to live. Frank Strozier was staying with his then wife’s aunt, who was Coleman Hawkins’s wife, I stayed in a hotel for a week, “I was living two train stops from Birdland, I was before moving to the Y, and Bob Cranshaw had his family and they got an apartment. at 130 West 73rd Street. My piano I bought cost

JI: You’ve spoken of your first night in New $96, it was an upright that they had to hoist York City in past interviews but it’s too good of a tale to not relay again, perhaps with more de- through the window. My rent was $96 and today tails? it probably rents for $5000. All the guys used to HM: True story, like I said, I had $5000 in my shoes, because during that time, Ziplock baggies come by my house because I had a piano ... weren’t on the market. So, I wrapped the money in a paper towel and we headed straight to Bird- Herbie Hancock used to come by with his brief- land because we were living half a block from it. When we get there, Cannonball is outside, case. He was staying in the Bronx with Donald smoking a cigarette. He said, “Hey, Big Hands, you want a gig?” I said, ‘Sure,’ I thought he Byrd, but they didn’t have a piano. Horace meant with him. He took me downstairs and Pee Wee Marquette [Birdland’s doorman/master of Parlan ... Jack DeJohnette, John Hicks …” ceremonies] said, “Where you going Papa?” He called everyone Papa. Cannonball said, “He’s union card, then that would give us an edge, to Buenos Aires, Argentina. I couldn’t believe it, with me.” The cover charge to get into Birdland because when you got the union card, you were but there I was. I sat in with Hamp and, he called was 99 cents. This was a Tuesday night with part of the network and you didn’t have to run everybody “Gates,” he said, “Hey, Gates, come Harry “Sweets” Edison Quintet with Jimmy and hide or pay a penalty when the union man by and get your vaccinations.” We had some Forrest, Gene Ramey, Tommy Flanagan, one of came around. Once I checked into the Y, where I good times – a lot of traveling involved. All one- my heroes for life, and Elvin Jones. Cannonball was paying 75 cents a day, I felt then that I nighters with one or two nights off. There was a introduced me to Sweets. The place was packed could sustain myself, and then when I sat in with lot of joy involved because I was with the great – Quincy Jones, Bill Lee, standing against the Lionel Hampton, got the gig with him, that real- Lionel Hampton and some great musicians like wall, Red Garland, it must have been at least 10- ly boosted my confidence. trumpeter Virgil Jones, who I was roommates 15 piano players. Sweets said, “Do you want to with, because at that time you had to have a play?” I said, ‘Yeah, man.’ So Sweets said to JI: You hit New York as a 23-year-old, self- roommate. We were very close, and we would me, “‘Habit,’ 8 bar introduction, A-flat.” I won- trained pianist, who didn’t start on piano until go out at nights and jam. It was a chance to see dered what the heck is “Habit?” I knew how to age 16. What was the level of insecurity and self the world at an early age. Europe was a big tran- play an 8 bar introduction in A-flat, and “Habit” -doubt you had in your proficiency and qualifi- sition from Memphis, which was quiet and is probably some kind of old standard, because cations to compete for jobs against the more laidback, and then being in Europe, playing in a Sweets only played one or two originals. So, I established pianists in town? stadium to ten to fifteen thousand people. It was kind of fumbled the first chorus. Second chorus I totally different with the languages and the heard him say, “You got the gig.” He was on the HM: I had got some pretty good training in foods, just like it was totally different to be in spot because Tommy Flanagan was getting Chicago, and I knew the Great American Song- New York or being in Tokyo. Tokyo is New ready to leave for J. J. [Johnson] the next day. book. I had also gotten the chance to play there York twice. I love big cities. See, during that time, if you could halfway play, with band leader Morris Ellis, that’s where I got and be on the scene, you could get a gig and/or a my big band expertise together, to read big band JI: You’re wearing a hat that with Tokyo print- record date just like that. The song turned out to music. So, when I sat in with Hamp, I felt com- (Continued on page 12)

To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 11 had to have somebody. To this day, I don’t know a compliment because I followed Wynton Kelly Harold Mabern who recommended me for the job with J.J. I got in the band. that job and the day we went on the road was the (Continued from page 11) day my son was born. My bags were packed, I JI: So, you knew Miles’ recordings, and ad- had my little, portable record player and my mired Wynton Kelly and knew how he had han- ed on the front. Is that your favorite city to per- shoebox loaded with fried chicken, potato salad, dled the music. What was your approach to fill- form in? corn bread, rolls and pound cake. That’s the way ing the piano role in Miles’ band? Did you mod- we traveled - our lunchbox was a shoebox. So, I el your playing after what Kelly had done or did HM: It’s my favorite city on the planet, New ran to the hospital and said, ‘Hi baby. Bye ba- you look to change things? York’s number two. When I go to Tokyo, and by,’ and I was gone. Nowadays it’s different, but then get back to JFK [Airport], I get depressed, back in those days, you went to the gigs. That HM: I tried to keep the concept alive, but I because every time I go to Tokyo, I see some was one of my favorite gigs. I had the chance to didn’t purposely try to sound like Wynton, alt- part of it that I didn’t know about before. It’s a record with him on an album called Proof Posi- hough that would have been easy because we magnificent city, plus they love the music. They tive, which all the trombone players love and both came through the “Nat King Cole School of don’t walk, they run to get you a towel or some that makes me feel good. Music.” I wasn’t trying to sound like him be- slippers. cause Miles would say, “Sound like yourself.” JI: You worked with Miles Davis in 1963. Oth- JI: After Cedar Walton left the Art Farmer- er musicians often tell a similar story of being JI: What was life with Miles like? Spending Benny Golson Jazztet in 1961 to join the Jazz called with a job offer by Miles and hanging up time with him and touring in a certain way, play- Messengers, you replaced him in the band even on him, thinking they were being spoofed. What ing in high-profile gigs, and the different audi- though another pianist had already been hired. was your experience? ence that he attracted? Who was that pianist? HM: I was working with Roy Haynes when I HM: It was like being on top of the world. All HM: Kenny Barron, he’s done quite well. I was got that job. I wasn’t thinking about Miles, not the top people came to see him play – Frank living two train stops from Birdland, I was at that I didn’t want to play with him. If I had a Sinatra, Elizabeth Taylor, Sammy Davis Jr., 130 West 73rd Street. My piano I bought cost choice, I wanted to play with Clifford Brown Sidney Poitier, Ava Gardner, you name it. That $96, it was an upright that they had to hoist and Max Roach. That’s the one group I wanted was a great experience for me because, as a jazz through the window. My rent was $96 and today to play with. The job came to me, I was recom- musician, he was on another level, like a pop or it probably rents for $5000. All the guys used to mended by Richard “Prophet” Jennings, who rock star. Everybody loved him. He was charis- come by my house because I had a piano and I had heard me play with the singers and he felt I matic, always ahead of his time, including the was only two stops from Birdland. Herbie Han- would be good to accompany Miles because I way he dressed, he and Roy Haynes. He didn’t cock used to come by with his briefcase. He was knew how to stay out of the way. One day, I really talk a lot; he was about the music. He staying in the Bronx with Donald Byrd, but they came home and my wife told me that somebody didn’t dictate how you played, but if he didn’t didn’t have a piano. Horace Parlan, one of my named Prophet had called and to call Miles. I like something you played, he would tell you dearest friends, a harmonic genius, came by. called Miles, and here again, he already knew that. He said to me, “Take that E-flat out of the Jack DeJohnette, John Hicks, and Chris Ander- about me from Chicago. He had a tour coming chord or I’m gonna strand you.” “Strand you’’ son came. One day, Cedar called me and said, up on the west coast and he had to get a new means leave me without transportation, guys “Brother Mabern, you might want to come by band together because the others all left, for one used to do that. I told him, ‘No, you won’t be- and sit in.” He could have called anybody, but reason or another. George Coleman and Ron cause I have $1,150 in my pocket,’ and he start- he called me. I was with Lionel Hampton, get- Carter had already gotten the gig, and Jimmy ed laughing and said, “Let’s play some music.” ting ready to go to Wildwood, New Jersey the Cobb was just finishing out until Miles got who That was the extent of his humor. very next day, but I went over and sat in. Well, he wanted, which was the young Tony Williams. Art and Benny knew me from Chicago with the Miles asked me where I was playing, and I told JI: Did he do that on the bandstand? MJT+3. I played a song with them and when I him I had two weeks [left] at Birdland with Bet- looked up, Benny was smiling, and Art, who ty Carter. He said he would be down. He wanted HM: Oh, yeah. He’d whisper it to you. never did show much emotion, said, “Hey man, to come by just to make sure that I was right for you sound good. We hear anything, we’ll let you the job, because he had called every other piano JI: Did you ever have a leader “strand you?” know.” From what I understand, Kenny had the player. He came by, heard me, and threw a book, but at that point, I probably had three or punch at me. A fake punch, because he’s a box- HM: Nope, because I made sure, if I knew guys four years on him, experience comping and er. That meant that I was okay. The only prob- who had a reputation for doing that, I stayed playing with different people. It wasn’t that I lem was that his opening night was Betty away from them. I always made sure that if I was just so great, but I had been playing with Carter’s closing night and I couldn’t make it, went on the road that I had money to get back groups. The next morning, Art Farmer called Betty wasn’t letting me go, so Victor Feldman home. Lionel Hampton left some musicians. I and said, “Hey, Benny and I talked it over and drove up from L.A. to make the first night [with don’t know if you call that stranded or that they we want you to join the band.” It was 8 o’clock Miles] at the Blackhawk. I went with Miles for didn’t make the lobby call on time. in the morning, I thought I was dreaming. He six weeks. He said, “Let’s play some music!” It told me to play the way I had played the night was an experience for me, but he never promised JI: Your time with Miles didn’t last long. In before – comping, playing for them, supporting me the gig forever, he just hired me to do the Jack Chamber’s book Milestones, he notes that them. tour. Miles felt uncomfortable soloing over your ac- companiment. Would you address that, and JI: Another bit of good luck helped you into J.J. JI: Miles Davis famously didn’t give out a lot looking back, do you feel you should have done Johnson’s band. Bobby Timmons missed re- of advice on how he wanted his band members things differently? hearsal, so you took his spot. When that sort of to play. How did you prepare to play with him? thing happens, does it create bad blood between performers? Would you turn down a job depend- HM: I had listened to the records so I knew the (Continued on page 22) ing on who you were replacing? tunes he was playing. I just did the best I could with the music, and he was very complimentary. HM: No, because the job came to me and J.J. He told me, “You sure can swing,” and that was

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Sunday, December 1 Friday, December 6  Wycliffe Gordon & Friends; Dizzy’s Club, Jazz At Lincoln  Charles McPherson Quintet '80th Birthday Celebration'; Jazz Center, 60th & Bdwy Standard, 116 E. 27th St.  John Scofield & Dave Holland Duo; Blue Note, 131 W. 3rd St.  Johnathan Blake & Pentad - Immanuel Wilkins, Alto Sax; Joel  Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St. Ross, Vibraphone; David Virelles, Piano: Tue-Thu; Kris  Jason Moran & The Bandwagon - Jason Moran, Piano; Tarus Davis, Piano: Fri-Sun; Dezron Douglas, Bass; Johnathan Mateen, Bass; Nasheet Waits, Drums; Village Vanguard 178 Blake, Drums; Village Vanguard 178 7th Ave S. 7th Ave S.  Joe Lovano Nonet; Birdland, 315 W. 44th St.  Afro Latin Jazz Orchestra; John Dimartino; Birdland, 315 W.  Ulysses Owens, Jr. Big Band; Dizzy’s Club, Jazz At Lincoln 44th St. Center, 60th & Bdwy  Chris Botti; Blue Note, 131 W. 3rd St. Monday, December 2  Mingus Orchestra; Jazz Standard, 116 E. 27th St. Saturday, December 7  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Charles McPherson Quintet '80th Birthday Celebration'; Jazz  Anderson Brothers; Birdland, 315 W. 44th St. Standard, 116 E. 27th St.  Manhattan School Of Music Jazz Orchestra: Tribute To Hugh  Johnathan Blake & Pentad - Immanuel Wilkins, Alto Sax; Joel Masekela; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Ross, Vibraphone; David Virelles, Piano: Tue-Thu; Kris  Dizzy Gillespie Afro-Latin Experience; Blue Note, 131 W. 3rd Davis, Piano: Fri-Sun; Dezron Douglas, Bass; Johnathan St. Blake, Drums; Village Vanguard 178 7th Ave S.  Joe Lovano Nonet; Birdland, 315 W. 44th St.  Juilliard Jazz Ensembles: The Music Of John Coltrane; Diz- Tuesday, December 3 zy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Johnathan Blake & Pentad - Immanuel Wilkins, Alto Sax; Joel  Chris Botti; Blue Note, 131 W. 3rd St. Ross, Vibraphone; David Virelles, Piano: Tue-Thu; Kris Davis, Piano: Fri-Sun; Dezron Douglas, Bass; Johnathan Blake, Drums; Village Vanguard 178 7th Ave S. Sunday, December 8  Joe Lovano Nonet; David Ostwald's Louis Armstrong Eternity  Charles McPherson Quintet '80th Birthday Celebration'; Jazz Band; Birdland, 315 W. 44th St. Standard, 116 E. 27th St.  New York Youth Symphony: Swinging Through The Ages  Johnathan Blake & Pentad - Immanuel Wilkins, Alto Sax; Joel With Special Guest Matt Wilson; Dizzy’s Club, Jazz At Lin- Ross, Vibraphone; David Virelles, Piano: Tue-Thu; Kris coln Center, 60th & Bdwy Davis, Piano: Fri-Sun; Dezron Douglas, Bass; Johnathan  Dizzy Gillespie Afro-Latin Experience; Blue Note, 131 W. 3rd Blake, Drums; Village Vanguard 178 7th Ave S. St.  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.  Chris Botti; Blue Note, 131 W. 3rd St. Wednesday, December 4  Jonathan Kreisberg Quartet 'Capturing Spirits'; Jazz Stand- Monday, December 9 ard, 116 E. 27th St.  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Johnathan Blake & Pentad - Immanuel Wilkins, Alto Sax; Joel  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Ross, Vibraphone; David Virelles, Piano: Tue-Thu; Kris  Harry Allen Quartet; Birdland, 315 W. 44th St. Davis, Piano: Fri-Sun; Dezron Douglas, Bass; Johnathan  Chris Botti; Blue Note, 131 W. 3rd St. Blake, Drums; Village Vanguard 178 7th Ave S.  Joe Lovano Nonet; Birdland, 315 W. 44th St.  Lioness; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Tuesday, December 10  Chris Botti; Blue Note, 131 W. 3rd St.  Michael Leonhart Orchestra With Special Guest Keyon Har- rold; Jazz Standard, 116 E. 27th St.  Christian McBride & Inside Straight - Steve Wilson, Saxo- Thursday, December 5 phone; Warren Wolf, Vibraphone; Peter Martin, Piano; Chris-  Charles McPherson Quintet '80th Birthday Celebration'; Jazz tian McBride, Bass; Carl Allen, Drums; Village Vanguard 178 Standard, 116 E. 27th St. 7th Ave S.  Johnathan Blake & Pentad - Immanuel Wilkins, Alto Sax; Joel  Stacey Kent; Birdland, 315 W. 44th St. Ross, Vibraphone; David Virelles, Piano: Tue-Thu; Kris  Israeli Jazz Celebration: Yuval Cohen Sextet; Dizzy’s Club, Davis, Piano: Fri-Sun; Dezron Douglas, Bass; Johnathan Jazz At Lincoln Center, 60th & Bdwy Blake, Drums; Village Vanguard 178 7th Ave S.  Chris Botti; Blue Note, 131 W. 3rd St.  Joe Lovano Nonet; Birdland, 315 W. 44th St.  Ulysses Owens, Jr's Generation Y; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Wednesday, December 11  Chris Botti; Blue Note, 131 W. 3rd St.  Harish Raghavan 'Calls For Action'; Jazz Standard, 116 E. 27th St. (Continued on page 14)

To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 13  Christian McBride & Inside Straight - Steve Wilson, Saxo- tian McBride, Bass; Carl Allen, Drums; Village Vanguard 178 And Rock And Roll Hall Of Fame Inductee Steve Miller Leads phone; Warren Wolf, Vibraphone; Peter Martin, Piano; Chris- 7th Ave S. A Spirited Celebration Of Saxophone Legend Cannonball tian McBride, Bass; Carl Allen, Drums; Village Vanguard 178  Charles Turner & Uptown Swing Holiday Swinging Special; Adderley Featuring The Patrick Bartley Sextet And Vocalist 7th Ave S. Stacey Kent; Birdland, 315 W. 44th St. Brianna Thomas. Rose Theatre, 8pm  Stacey Kent; Birdland, 315 W. 44th St.  Steven Bernstein’s Sexmob; Dizzy’s Club, Jazz At Lincoln  Louis Hayes: "Serenade For Horace"; Jazz Standard, 116 E.  Steven Bernstein's Millennial Territory Orchestra with special Center, 60th & Bdwy 27th St. guest Catherine Russell; Dizzy’s Club, Jazz At Lincoln Cen-  Chris Botti; Blue Note, 131 W. 3rd St.  Christian McBride & Inside Straight - Steve Wilson, Saxo- ter, 60th & Bdwy phone; Warren Wolf, Vibraphone; Peter Martin, Piano; Chris-  Chris Botti; Blue Note, 131 W. 3rd St. tian McBride, Bass; Carl Allen, Drums; Village Vanguard 178 Friday, December 13 7th Ave S.  Adonis Rose And The New Orleans Jazz Orchestra With  Birdland Big Band; Stacey Kent; Birdland, 315 W. 44th St. Thursday, December 12 René Marie And John Boutté Adonis Rose And The New  Mary Stallings; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Bill O'connell & The Afro Caribbean Ensemble; Jazz Stand- Orleans Jazz Orchestra Brings Their Sonic Power And Stylis- Bdwy ard, 116 E. 27th St. tic Versatility To The Appel Room. Appel Room, 7pm &  Chris Botti; Blue Note, 131 W. 3rd St.  Christian McBride & Inside Straight - Steve Wilson, Saxo- 9:30pm phone; Warren Wolf, Vibraphone; Peter Martin, Piano; Chris-  Steve Miller - Cannonball Adderley And The Blues. Guitarist Saturday, December 14  Adonis Rose And The New Orleans Jazz Orchestra With René Marie And John Boutté Adonis Rose And The New Orleans Jazz Orchestra Brings Their Sonic Power And Stylis- tic Versatility To The Appel Room. Appel Room, 7pm & 9:30pm  Steve Miller - Cannonball Adderley And The Blues. Guitarist And Rock And Roll Hall Of Fame Inductee Steve Miller Leads A Spirited Celebration Of Saxophone Legend Cannonball Adderley Featuring The Patrick Bartley Sextet And Vocalist Brianna Thomas. Rose Theatre, 8pm  Louis Hayes: "Serenade For Horace"; Jazz Standard, 116 E. 27th St.  Christian McBride & Inside Straight - Steve Wilson, Saxo- phone; Warren Wolf, Vibraphone; Peter Martin, Piano; Chris- tian McBride, Bass; Carl Allen, Drums; Village Vanguard 178 7th Ave S.  Stacey Kent; Birdland, 315 W. 44th St.  Chris Botti; Blue Note, 131 W. 3rd St.

Sunday, December 15  Jazz For Kids; Louis Hayes: "Serenade For Horace"; Jazz Standard, 116 E. 27th St.  Christian McBride & Inside Straight - Steve Wilson, Saxo- phone; Warren Wolf, Vibraphone; Peter Martin, Piano; Chris- tian McBride, Bass; Carl Allen, Drums; Village Vanguard 178 7th Ave S.  Ken Peplowski Big Band; Birdland, 315 W. 44th St.  Chris Botti; Blue Note, 131 W. 3rd St.

Monday, December 16  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Dave Pietro; Birdland, 315 W. 44th St.  Ted Rosenthal Trio: Winter Wonderland; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Chris Botti; Blue Note, 131 W. 3rd St.

Tuesday, December 17  Matt Wilson's Christmas Tree-O With Special Guest Camila Meza; Jazz Standard, 116 E. 27th St.  Kenny Barron Quintet - Mike Rodriguez, Trumpet; Dayna Stephens, Tenor Sax; Kenny Barron, Piano; Kiyoshi Kitaga- wa, Bass; Johnathan Blake, Drums; Village Vanguard 178 7th Ave S.  Monty Alexander; Birdland, 315 W. 44th St.  Etienne Charles: Creole Christmas; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Chris Botti; Blue Note, 131 W. 3rd St.

Wednesday, December 18  Matt Wilson's Christmas Tree-O With Special Guest Camila Meza; Jazz Standard, 116 E. 27th St.  Kenny Barron Quintet - Mike Rodriguez, Trumpet; Dayna Stephens, Tenor Sax; Kenny Barron, Piano; Kiyoshi Kitaga- wa, Bass; Johnathan Blake, Drums; Village Vanguard 178 7th Ave S.  Duchess; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

(Continued on page 16)

14 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 15  Chris Botti; Blue Note, 131 W. 3rd St. Bass; Jeff “Tain” Watts, Drums; Village Vanguard 178 7th Ave S.  Freddy Cole Quartet; Birdland, 315 W. 44th St.  Chris Botti; Blue Note, 131 W. 3rd St. Thursday, December 19  Carmen Lundy; Jazz Standard, 116 E. 27th St.  Kenny Barron Quintet - Mike Rodriguez, Trumpet; Dayna Thursday, December 26 Stephens, Tenor Sax; Kenny Barron, Piano; Kiyoshi Kitaga-  Raul Midón Trio; Jazz Standard, 116 E. 27th St. wa, Bass; Johnathan Blake, Drums; Village Vanguard 178  Kenny Barron Trio - Kenny Barron, Piano; Buster Williams, 7th Ave S. Bass; Jeff “Tain” Watts, Drums; Village Vanguard 178 7th  Monty Alexander; Birdland, 315 W. 44th St. Ave S.  Riley’s Red Hot Holidays; Dizzy’s Club, Jazz At Lincoln  Champian Fulton; Freddy Cole Quartet; Freddy Cole Quartet; Center, 60th & Bdwy Birdland, 315 W. 44th St.  Chris Botti; Blue Note, 131 W. 3rd St.  Carlos Henriquez Nonet; Dizzy’s Club, Jazz At Lincoln Cen- ter, 60th & Bdwy  Chris Botti; Blue Note, 131 W. 3rd St.

Friday, December 20  Carmen Lundy; Jazz Standard, 116 E. 27th St.  Kenny Barron Quintet - Mike Rodriguez, Trumpet; Dayna Friday, December 27 Stephens, Tenor Sax; Kenny Barron, Piano; Kiyoshi Kitaga-  Raul Midón Trio; Jazz Standard, 116 E. 27th St. wa, Bass; Johnathan Blake, Drums; Village Vanguard 178  Kenny Barron Trio - Kenny Barron, Piano; Buster Williams, 7th Ave S. Bass; Jeff “Tain” Watts, Drums; Village Vanguard 178 7th  Monty Alexander; Birdland, 315 W. 44th St. Ave S.  Riley’s Red Hot Holidays; Dizzy’s Club, Jazz At Lincoln  Birdland Big Band; Freddy Cole Quartet; Birdland, 315 W. Center, 60th & Bdwy 44th St.  Chris Botti; Blue Note, 131 W. 3rd St.  Carlos Henriquez Nonet; Dizzy’s Club, Jazz At Lincoln Cen- ter, 60th & Bdwy  Chris Botti; Blue Note, 131 W. 3rd St.

Saturday, December 21  Carmen Lundy; Jazz Standard, 116 E. 27th St.  Kenny Barron Quintet - Mike Rodriguez, Trumpet; Dayna Saturday, December 28 Stephens, Tenor Sax; Kenny Barron, Piano; Kiyoshi Kitaga-  Raul Midón Trio; Jazz Standard, 116 E. 27th St. wa, Bass; Johnathan Blake, Drums; Village Vanguard 178  Kenny Barron Trio - Kenny Barron, Piano; Buster Williams, 7th Ave S. Bass; Jeff “Tain” Watts, Drums; Village Vanguard 178 7th  Monty Alexander; Birdland, 315 W. 44th St. Ave S.  Barry Harris Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th  Freddy Cole Quartet; Evan Sherman Big Band; Birdland, 315 & Bdwy W. 44th St.  Chris Botti; Blue Note, 131 W. 3rd St.  Carlos Henriquez Nonet; Dizzy’s Club, Jazz At Lincoln Cen- ter, 60th & Bdwy  Chris Botti; Blue Note, 131 W. 3rd St.

Sunday, December 22  Carmen Lundy; Jazz Standard, 116 E. 27th St.  Kenny Barron Quintet - Mike Rodriguez, Trumpet; Dayna Sunday, December 29 Stephens, Tenor Sax; Kenny Barron, Piano; Kiyoshi Kitaga-  Raul Midón Trio; Jazz Standard, 116 E. 27th St. wa, Bass; Johnathan Blake, Drums; Village Vanguard 178  Kenny Barron Trio - Kenny Barron, Piano; Buster Williams, 7th Ave S. Bass; Jeff “Tain” Watts, Drums; Village Vanguard 178 7th  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St. Ave S.  Barry Harris Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St. & Bdwy  Carlos Henriquez Nonet; Dizzy’s Club, Jazz At Lincoln Cen-  Chris Botti; Blue Note, 131 W. 3rd St. ter, 60th & Bdwy  Chris Botti; Blue Note, 131 W. 3rd St.

Monday, December 23  Mingus Big Band; Jazz Standard, 116 E. 27th St. Monday December 30  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Jim Caruso's Cast Party; Birdland, 315 W. 44th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.

 Barry Harris Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th  Tadataka Unno Trio; Birdland, 315 W. 44th St. & Bdwy  Carlos Henriquez Nonet; Dizzy’s Club, Jazz At Lincoln Cen-  Chris Botti; Blue Note, 131 W. 3rd St. ter, 60th & Bdwy  Chris Botti; Blue Note, 131 W. 3rd St.

Tuesday, December 24  Kenny Barron Trio - Kenny Barron, Piano; Buster Williams, Tuesday, December 31 Bass; Jeff “Tain” Watts, Drums; Village Vanguard 178 7th Jazz Lovers’  New Years Eve With Regina Carter Quintet; Jazz Standard, Ave S. 116 E. 27th St.  Freddy Cole Quartet; Birdland, 315 W. 44th St.  Chris Potter Circuits Trio - Chris Potter, Saxophone; James  An Evening With Barry Harris; Dizzy’s Club, Jazz At Lincoln Francies, Keyboard; Eric Harland, Drums; Village Vanguard Center, 60th & Bdwy 178 7th Ave S.  Chris Botti; Blue Note, 131 W. 3rd St.  Birdland Big Band With Vocalist Veroncia Swift; Marilyn Maye; Birdland, 315 W. 44th St. Lifetime Collection  Carlos Henriquez; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Wednesday, December 25  Chris Botti; Blue Note, 131 W. 3rd St. JazzMusicDeals.com JazzMusicDeals.com  Kenny Barron Trio - Kenny Barron, Piano; Buster Williams, (Continued on page 17)

16 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Vanguard 178 7th Ave S. Piano; Scott Colley, Bass; Nasheet Waits, Drums; Village Vanguard 178 7th Ave S.  Spike Wilner Trio; Abraham Burton Quartet; Malik Mclaurine; Small's, 183 W. 10th St.  Mike Karn Quartet; Bruce Harris Quintet; Alon Near; Small's,

“Some people’s idea of 183 W. 10th St.

free speech is that they are free Wednesday. January 8 to say what they like, but if anyone  Amina Figarova Sextet; Dizzy’s Club, Jazz At Lincoln Center, Monday, January 13 says anything back that 60th & Bdwy  Isaiah J. Thompson Quartet; Dizzy’s Club, Jazz At Lincoln is an outrage.”  Maurice “Mobetta” Brown Birthday Vibes Session; Blue Note, Center, 60th & Bdwy 131 W. 3rd St.  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Music Of Bob Brookmeyer Directed By Ryan Truesdell; Jazz  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Standard, 116 E. 27th St.  French Quarter Festival- Géraldine Laurent; Anne Paceo; - Winston Churchill  Scott Colley Quartet - Ralph Alessi, Trumpet; Craig Taborn, Plume; Jonathan Jurion; EYM Trio; Ben Barnett; Small's, 183 Piano; Scott Colley, Bass; Nasheet Waits, Drums; Village W. 10th St. Vanguard 178 7th Ave S.  Emanuele Cisi Quartet; Simona Premazzi Quintet; Neal Caine; Small's, 183 W. 10th St. Wednesday. January 1 Tuesday, January 14  Chris Botti; Blue Note, 131 W. 3rd St.  Christian Sands Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Thursday, January 2 Thursday, January 9  Maceo Parker; Blue Note, 131 W. 3rd St.  Brianna Thomas Band; Dizzy’s Club, Jazz At Lincoln Center,  Michael Leonhart Orchestra With Special Guest Anat Cohen;  Gonzalo Rubalcaba Trio D’été; Dizzy’s Club, Jazz At Lincoln 60th & Bdwy Jazz Standard, 116 E. 27th St. Center, 60th & Bdwy  Philly Reunion: Joey Defrancesco, Kurt Rosenwinkel, Chris-  Julian Lage Trio - Julian Lage, Guitar; Jorge Roeder, Bass;  Chris Botti; Blue Note, 131 W. 3rd St. tian Mcbride & Lil’ John Roberts; Blue Note, 131 W. 3rd St. Dave King, Drums; Village Vanguard 178 7th Ave S.  Chris Potter Circuits Trio - Chris Potter, Saxophone; James  Melissa Aldana Quartet; Jazz Standard, 116 E. 27th St.  Gerry Gibbs - Thrasher People; Steve Nelson Quartet; Jon Francies, Keyboard; Eric Harland, Drums; Village Vanguard  Scott Colley Quartet - Ralph Alessi, Trumpet; Craig Taborn, Elbaz; Small's, 183 W. 10th St. 178 7th Ave S. Piano; Scott Colley, Bass; Nasheet Waits, Drums; Village Vanguard 178 7th Ave S.

 Hayes Greenfield Trio; Joris Teepe Quartet; Davis Whitfield; Friday, January 3 Small's, 183 W. 10th St. Wednesday. January 15  The Curtis Brothers “Algorithm” Album Release; Dizzy’s Club,  Gonzalo Rubalcaba Trio D’été; Dizzy’s Club, Jazz At Lincoln Jazz At Lincoln Center, 60th & Bdwy Center, 60th & Bdwy  Maceo Parker; Blue Note, 131 W. 3rd St.  Chris Botti; Blue Note, 131 W. 3rd St. Friday, January 10  Michael Leonhart Orchestra With Special Guest Jeff "Tain"  Chris Potter Circuits Trio - Chris Potter, Saxophone; James  Brianna Thomas Band; Dizzy’s Club, Jazz At Lincoln Center, Watts; Jazz Standard, 116 E. 27th St. Francies, Keyboard; Eric Harland, Drums; Village Vanguard 60th & Bdwy  Julian Lage Trio - Julian Lage, Guitar; Jorge Roeder, Bass; 178 7th Ave S.  Spiritual Sounds And The Jazz Age - The Jazz At Lincoln Dave King, Drums; Village Vanguard 178 7th Ave S.

Center Orchestra With Wynton Marsalis Revisits Two Of Its  Gerry Gibbs - Thrasher People; Francisco Mela Trio; Andrew

Most Acclaimed Originals: Victor Goines’ Untamed Elegance, Kushnir; Small's, 183 W. 10th St. Saturday. January 4 And Chris Crenshaw’s God’s Trombones; Rose Theatre, Jan 10-11, 8pm; Jazz At Lincoln Center, 60th & Bdwy  Gonzalo Rubalcaba Trio D’été; Dizzy’s Club, Jazz At Lincoln  Philly Reunion: Joey Defrancesco, Kurt Rosenwinkel, Chris- Center, 60th & Bdwy tian Mcbride & Lil’ John Roberts; Blue Note, 131 W. 3rd St. Thursday, January 16  Chris Botti; Blue Note, 131 W. 3rd St.  Lizz Wright; Jazz Standard, 116 E. 27th St.  Atom String Quartet; Dizzy’s Club, Jazz At Lincoln Center,  Chris Potter Circuits Trio - Chris Potter, Saxophone; James  Scott Colley Quartet - Ralph Alessi, Trumpet; Craig Taborn, 60th & Bdwy Francies, Keyboard; Eric Harland, Drums; Village Vanguard Piano; Scott Colley, Bass; Nasheet Waits, Drums; Village  Maceo Parker; Blue Note, 131 W. 3rd St. 178 7th Ave S. Vanguard 178 7th Ave S.  David Murray Octet "Revival"; Jazz Standard, 116 E. 27th St.

 Mike Rodriguez Sextet; Philip Dizack Quartet; Brooklyn  Julian Lage Trio - Julian Lage, Guitar; Jorge Roeder, Bass; Circle; Small's, 183 W. 10th St. Dave King, Drums; Village Vanguard 178 7th Ave S. Sunday, January 5  Gerald Cleaver Violet Hour Sextet; Ameen Saleem Quartet;  Gonzalo Rubalcaba Trio D’été; Dizzy’s Club, Jazz At Lincoln Malick Koly; Small's, 183 W. 10th St. Center, 60th & Bdwy Saturday. January 11  Chris Botti; Blue Note, 131 W. 3rd St.  Russell Hall Presents The Feeling Of Romance; Dizzy’s Club,  Chris Potter Circuits Trio - Chris Potter, Saxophone; James Jazz At Lincoln Center, 60th & Bdwy Friday, January 17 Francies, Keyboard; Eric Harland, Drums; Village Vanguard  Spiritual Sounds And The Jazz Age - The Jazz At Lincoln  Walter Blanding Quartet; Dizzy’s Club, Jazz At Lincoln Cen- 178 7th Ave S. Center Orchestra With Wynton Marsalis Revisits Two Of Its ter, 60th & Bdwy

Most Acclaimed Originals: Victor Goines’ Untamed Elegance,  Maceo Parker; Blue Note, 131 W. 3rd St. And Chris Crenshaw’s God’s Trombones; Rose Theatre, Jan  David Murray Octet "Revival"; Jazz Standard, 116 E. 27th St. Monday, January 6 10-11, 8pm; Jazz At Lincoln Center, 60th & Bdwy  Julian Lage Trio - Julian Lage, Guitar; Jorge Roeder, Bass;  MONDAY NIGHTS WITH WBGO - Ashley Pezzotti Quintet;  Philly Reunion: Joey Defrancesco, Kurt Rosenwinkel, Chris- Dave King, Drums; Village Vanguard 178 7th Ave S. Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy tian Mcbride & Lil’ John Roberts; Blue Note, 131 W. 3rd St.  Kenny Davis Quartet; Jean-Michel Pilc Trio; Corey Wallace  Maurice “Mobetta” Brown Birthday Vibes Session; Blue Note,  Lizz Wright; Jazz Standard, 116 E. 27th St. Dubtet; Small's, 183 W. 10th St. 131 W. 3rd St.  Scott Colley Quartet - Ralph Alessi, Trumpet; Craig Taborn,  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Piano; Scott Colley, Bass; Nasheet Waits, Drums; Village

Vanguard 178 7th Ave S.

 Mike Rodriguez Sextet; Philip Dizack Quartet; Eric Wyatt; “...among human beings Small's, 183 W. 10th St. jealousy ranks distinctly as a Tuesday, January 7 weakness; a trademark of small minds;

 Ed Cherry Quartet Featuring Peter Bernstein; Dizzy’s Club, a property of all small minds, yet a property Jazz At Lincoln Center, 60th & Bdwy Sunday, January 12 which even the smallest is ashamed of;  Maurice “Mobetta” Brown Birthday Vibes Session; Blue Note, and when accused of its possession will 131 W. 3rd St.  Brubecks Play Brubeck; Dizzy’s Club, Jazz At Lincoln Center,  Music Of Bob Brookmeyer Directed By Ryan Truesdell; Jazz 60th & Bdwy lyingly deny it and resent the Standard, 116 E. 27th St.  Philly Reunion: Joey Defrancesco, Kurt Rosenwinkel, Chris- accusation as an insult.”  Scott Colley Quartet - Ralph Alessi, Trumpet; Craig Taborn, tian Mcbride & Lil’ John Roberts; Blue Note, 131 W. 3rd St. Piano; Scott Colley, Bass; Nasheet Waits, Drums; Village  Tivon Pennicott With Strings; Jazz Standard, 116 E. 27th St.  Scott Colley Quartet - Ralph Alessi, Trumpet; Craig Taborn, -Mark Twain(Continued on page 18)

To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 17  Dizzy Gillespie All-Stars; Blue Note, 131 W. 3rd St.  Transformation With Glenn Close And Ted Nash - The Jazz Saturday. January 18  Dave Stryker Quartet Featuring Warren Wolf; Jazz Standard, At Lincoln Center Orchestra With Wynton Marsalis Performs  Walter Blanding Quartet; Dizzy’s Club, Jazz At Lincoln Cen- 116 E. 27th St. A New Work By Jlco Member Ted Nash And Award-Winning ter, 60th & Bdwy  Joe Lovano & Dave Douglas Quintet - Sound Prints - Joe Actor Glenn Close; Rose Theatre, Jan 30-Feb 1, 8pm; Jazz  Maceo Parker; Blue Note, 131 W. 3rd St. Lovano, Saxophone; Dave Douglas, Trumpet; Lawrence At Lincoln Center, 60th & Bdwy  David Murray Octet "Revival"; Jazz Standard, 116 E. 27th St. Fields, Piano; Linda Oh, Bass; Joey Baron, Drums; Village  Igor Butman & The Moscow Jazz Orchestra; Blue Note, 131  Julian Lage Trio - Julian Lage, Guitar; Jorge Roeder, Bass; Vanguard 178 7th Ave S. W. 3rd St. Dave King, Drums; Village Vanguard 178 7th Ave S.  John Bailey Sextet; Paul Nedzela Quartet; Wallace Roney  Vijay Iyer Trio; Jazz Standard, 116 E. 27th St.  Kenny Davis Quartet; Jean-Michel Pilc Trio; Mimi Jones And Jr.; Small's, 183 W. 10th St.  Jakob Bro Quartet - Mark Turner, Saxophone; Jakob Bro, The Lab Session; Small's, 183 W. 10th St. Guitar; Thomas Morgan, Bass; Joey Baron, Drums; Village Vanguard 178 7th Ave S.  David Liebman Trio; Tim Hegarty Quartet; Malick Koly; Saturday. January 25 Small's, 183 W. 10th St. Sunday, January 19  Benny Green Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th  Walter Blanding Quartet; Dizzy’s Club, Jazz At Lincoln Cen- & Bdwy ter, 60th & Bdwy  Dizzy Gillespie All-Stars; Blue Note, 131 W. 3rd St.  Maceo Parker; Blue Note, 131 W. 3rd St.  Dave Stryker Quartet Featuring Warren Wolf; Jazz Standard, Friday, January 31  David Murray Octet "Revival"; Jazz Standard, 116 E. 27th St. 116 E. 27th St.  Nilson Matta’s Brazilian Voyage Quintet; Dizzy’s Club, Jazz  Julian Lage Trio - Julian Lage, Guitar; Jorge Roeder, Bass;  Joe Lovano & Dave Douglas Quintet - Sound Prints - Joe At Lincoln Center, 60th & Bdwy Dave King, Drums; Village Vanguard 178 7th Ave S. Lovano, Saxophone; Dave Douglas, Trumpet; Lawrence  Transformation With Glenn Close And Ted Nash - The Jazz  Kenny Davis Quartet; Jean-Michel Pilc Trio; Mimi Jones And Fields, Piano; Linda Oh, Bass; Joey Baron, Drums; Village At Lincoln Center Orchestra With Wynton Marsalis Performs The Lab Session; Small's, 183 W. 10th St. Vanguard 178 7th Ave S. A New Work By Jlco Member Ted Nash And Award-Winning  John Bailey Sextet; Paul Nedzela Quartet; Brooklyn Circle; Actor Glenn Close; Rose Theatre, Jan 30-Feb 1, 8pm; Jazz Small's, 183 W. 10th St. At Lincoln Center, 60th & Bdwy  Igor Butman & The Moscow Jazz Orchestra; Blue Note, 131 Monday, January 20 W. 3rd St.  Jazz At Lincoln Center Youth Orchestra; Dizzy’s Club, Jazz  Vijay Iyer Trio; Jazz Standard, 116 E. 27th St. At Lincoln Center, 60th & Bdwy Sunday, January 26  Jakob Bro Quartet - Mark Turner, Saxophone; Jakob Bro,  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Benny Green Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th Guitar; Thomas Morgan, Bass; Joey Baron, Drums; Village  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. & Bdwy Vanguard 178 7th Ave S.  Sam Newsome Quartet; Joe Farnsworth Group; Ben Barnett;  Dizzy Gillespie All-Stars; Blue Note, 131 W. 3rd St.  Scott Wendholt/ Adam Kolker Quartet; Joe Farnsworth Quar- Small's, 183 W. 10th St.  Dave Stryker Quartet Featuring Warren Wolf; Jazz Standard, tet; Corey Wallace Dubtet; Small's, 183 W. 10th St. 116 E. 27th St.  Joe Lovano & Dave Douglas Quintet - Sound Prints - Joe Lovano, Saxophone; Dave Douglas, Trumpet; Lawrence Tuesday, January 21 Fields, Piano; Linda Oh, Bass; Joey Baron, Drums; Village     Sean Mason Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th Vanguard 178 7th Ave S. & Bdwy  Chris Byars Original Sextet; Johnny O'Neal Trio; Hillel Salem;  Dizzy Gillespie All-Stars; Blue Note, 131 W. 3rd St. Small's, 183 W. 10th St.  Ed Cherry Trio; Jazz Standard, 116 E. 27th St.  Joe Lovano & Dave Douglas Quintet - Sound Prints - Joe Lovano, Saxophone; Dave Douglas, Trumpet; Lawrence Fields, Piano; Linda Oh, Bass; Joey Baron, Drums; Village Monday, January 27 Vanguard 178 7th Ave S.  Benny Benack III: “A Lot Of Livin’ To Do” Album Release  JD Allen Trio; Frank Lacy Group; Small's, 183 W. 10th St. Party; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Ari Hoenig Trio; Giveton Gelin Quartet; Sean Mason; Small's, Wednesday. January 22 183 W. 10th St.  Larry Willis: A Life In Jazz Featuring Willie Jones III, George Cables, Jeremy Pelt, Steve Davis, Justin Robinson And Gerald Cannon; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Tuesday, January 28  Dizzy Gillespie All-Stars; Blue Note, 131 W. 3rd St.  James Morrison Quartet; Dizzy’s Club, Jazz At Lincoln Cen-  Kendrick Scott Oracle; Jazz Standard, 116 E. 27th St. ter, 60th & Bdwy  Joe Lovano & Dave Douglas Quintet - Sound Prints - Joe  Antonio Sanchez & Migration; Blue Note, 131 W. 3rd St. Lovano, Saxophone; Dave Douglas, Trumpet; Lawrence  Brubeck Brothers Quartet Celebrates Dave Brubeck's Cen- Fields, Piano; Linda Oh, Bass; Joey Baron, Drums; Village tennial; Jazz Standard, 116 E. 27th St. Vanguard 178 7th Ave S.  Jakob Bro Quartet - Mark Turner, Saxophone; Jakob Bro,

 Matt Pavolka's Horns Band; Tomas Janzon Quartet; Kyle Guitar; Thomas Morgan, Bass; Joey Baron, Drums; Village Benford; Small's, 183 W. 10th St. Vanguard 178 7th Ave S.  Taru Alexander Quartet; Steve Nelson Quartet; Jon Elbaz; Small's, 183 W. 10th St.

Thursday, January 23  Benny Green Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Wednesday. January 29  Dizzy Gillespie All-Stars; Blue Note, 131 W. 3rd St.  Benito Gonzalez Trio: Tribute To McCoy Tyner; Dizzy’s Club,

 Kendrick Scott Oracle; Jazz Standard, 116 E. 27th St. Jazz At Lincoln Center, 60th & Bdwy Jazz Lovers’  Joe Lovano & Dave Douglas Quintet - Sound Prints - Joe  Antonio Sanchez & Migration; Blue Note, 131 W. 3rd St. Lovano, Saxophone; Dave Douglas, Trumpet; Lawrence  Vijay Iyer Solo; Jazz Standard, 116 E. 27th St. Fields, Piano; Linda Oh, Bass; Joey Baron, Drums; Village  Jakob Bro Quartet - Mark Turner, Saxophone; Jakob Bro, Vanguard 178 7th Ave S. Guitar; Thomas Morgan, Bass; Joey Baron, Drums; Village  Orlando Le Fleming Trio; Stafford Hunter & Continuum; Davis Vanguard 178 7th Ave S.

Whitfield; Small's, 183 W. 10th St.  Ronnie Burrage & Holographic Principle; Nicole Glover Trio; Lifetime Collection Neal Caine; Small's, 183 W. 10th St.

JazzMusicDeals.com Friday, January 24 Thursday, January 30 JazzMusicDeals.com  Benny Green 3; Dizzy’s, Jazz At Lincoln Ctr, 60th & Bdwy  Nilson Matta’s Brazilian Voyage; Dizzy’s, JALC, 60th & Bdwy

18 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 KendrickKendrick ScottScott JazzJazz StandardStandard

JanuaryJanuary 2222--23,23, 20202020

To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 19 Clubs,Clubs, VenuesVenues && JazzJazz ResourcesResources

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

20 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, Zankel Hall, 881 7th Ave, New York, 212-247-7800 NY, 718-768-0855 Zinc Bar, 82 West 3rd St.

Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ, RECORD STORES 908-232-7320, 16prospect.com, cjayrecords.com Academy Records, 12 W. 18th St., New York, NY 10011, 212-242 “It is curious that physical courage Red Eye Grill, 890 7th Av (56th), 212-541-9000, redeyegrill.com -3000, http://academy-records.com should be so common in the world Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Downtown Music Gallery, 13 Monroe St, New York, NY 10002, and moral courage so rare.” Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795 (212) 473-0043, downtownmusicgallery.com Rockwood Music Hall, 196 Allen St, 212-477-4155 Jazz Record Center, 236 W. 26th St., Room 804, Rose Center (American Museum of Natural History), 81st St. 212-675-4480, jazzrecordcenter.com (Central Park W. & Columbus), 212-769-5100, amnh.org/rose MUSIC STORES — Mark Twain Rose Hall, 33 W. 60th St., 212-258-9800, jalc.org Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036, Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472, 646-366-0240, robertoswoodwind.com Queens College — Copland School of Music, City University of 845-658-9048, rosendalecafe.com Sam Ash, 333 W 34th St, New York, NY 10001 NY, Flushing, 718-997-3800 Rubin Museum of Art - “Harlem in the Himalayas”, 150 W. 17th Phone: (212) 719-2299 samash.com Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Cam- St. 212-620-5000. rmanyc.org Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island pus, PO Box 270, New Brunswick, NJ, 908-932-9302 Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, City, NY 11101, 718-433-1990. sadowsky.com Rutgers University Institute of Jazz Studies, 185 University Avenue, Newark NJ 07102, 973-353-5595 rustikrestaurant.com Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New newarkrutgers.edu/IJS/index1.html St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377 York, NY 10019, 212-730-8138, maxwelldrums.com SUNY Purchase, 735 Anderson Hill, Purchase, 914-251-6300 St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728 SCHOOLS, COLLEGES, CONSERVATORIES Swing University (see Jazz At Lincoln Center, under Venues) St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200, 92nd St Y, 1395 Lexington Ave, New York, NY 10128 William Paterson University Jazz Studies Program, 300 Pompton saintpeters.org 212.415.5500; 92ndsty.org Rd, Wayne, NJ, 973-720-2320 Sasa’s Lounge, 924 Columbus Ave, Between 105th & 106th St. Brooklyn-Queens Conservatory of Music, 42-76 Main St., RADIO NY, NY 10025, 212-865-5159, sasasloungenyc.yolasite.com Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450 WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-624- Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 8880, Fax: 973-824-8888, wbgo.org NY, 718-622-3300, brooklynconservatory.com WCWP, LIU/C.W. Post Campus Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, City College of NY-Jazz Program, 212-650-5411, nypl.org/research/sc/sc.html WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html Drummers Collective, 541 6th Ave, New York, NY 10011, WKCR 89.9, Columbia University, 2920 Broadway Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, shang- 212-741-0091, thecoll.com Mailcode 2612, NY 10027, 212-854-9920, columbia.edu/cu/wkcr haijazz.com Five Towns College, 305 N. Service, 516-424-7000, x Hills, NY ADDITIONAL JAZZ RESOURCES ShapeShifter Lab, 18 Whitwell Pl, Brooklyn, NY 11215 Greenwich House Music School, 46 Barrow St., Tel: 212-242- Big Apple Jazz, bigapplejazz.com, 718-606-8442, gor- shapeshifterlab.com 4770, Fax: 212-366-9621, greenwichhouse.org [email protected] Showman’s, 375 W. 125th St., 212-864-8941 Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000 Louis Armstrong House, 34-56 107th St, Corona, NY 11368, Sidewalk Café, 94 Ave. A, 212-473-7373 LaGuardia Community College/CUNI, 31-10 Thomson Ave., 718-997-3670, satchmo.net Sista’s Place, 456 Nostrand, Bklyn, 718-398-1766, sistasplace.org Long Island City, 718-482-5151 Institute of Jazz Studies, John Cotton Dana Library, Rutgers- Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St., Skippers Plane St Pub, 304 University Ave. Newark NJ, 973-733- Univ, 185 University Av, Newark, NJ, 07102, 973-353-5595 10023, 212-258-9816, 212-258-9900 Jazzmobile, Inc., jazzmobile.org 9300, skippersplaneStpub.com Long Island University — Brooklyn Campus, Dept. of Music, Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565, Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300, University Plaza, Brooklyn, 718-488-1051, 718-488-1372 jazzmuseuminharlem.org SmallsJazzClub.com Manhattan School of Music, 120 Claremont Ave., 10027, Jazz Foundation of America, 322 W. 48th St. 10036, Smith’s Bar, 701 8th Ave, New York, 212-246-3268 212-749-2805, 2802, 212-749-3025 212-245-3999, jazzfoundation.org Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel, NJ City Univ, 2039 Kennedy Blvd., Jersey City, 888-441-6528 New Jersey Jazz Society, 1-800-303-NJJS, njjs.org 221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799 New School, 55 W. 13th St., 212-229-5896, 212-229-8936 New York Blues & Jazz Society, NYBluesandJazz.org South Gate Restaurant & Bar, 154 Central Park South, 212-484- NY University, 35 West 4th St. Rm #777, 212-998-5446 Rubin Museum, 150 W. 17th St, New York, NY, 5120, 154southgate.com NY Jazz Academy, 718-426-0633 NYJazzAcademy.com 212-620-5000 ex 344, rmanyc.org. Princeton University-Dept. of Music, Woolworth Center Musical South Orange Performing Arts Center, One SOPAC Studies, Princeton, NJ, 609-258-4241, 609-258-6793 Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787    Spectrum, 2nd floor, 121 Ludlow St. Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923 Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor, 212-721-6500, lincolncenter.org The Stone, Ave. C & 2nd St., thestonenyc.com th Strand Bistro, 33 W. 37 St. 212-584-4000 SubCulture, 45 Bleecker St., subculturenewyork.com PAY ONLY FOR Sugar Bar, 254 W. 72nd St, 212-579-0222, sugarbarnyc.com Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), 212-262-9554, swing46.com Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212- 932-3228, symphonyspace.org Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Broooklyn, 718-789-2762, tealoungeNY.com Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), RESULTS 212-777-7776, terrablues.com Threes Brewing, 333 Douglass St., Brooklyn. 718-522-2110. www.threesbrewing.com Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue, City Island, Bronx, 718-885-3200, titopuentesrestaurant.com Tomi Jazz, 239 E. 53rd St., 646-497-1254, tomijazz.com Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-358- 7501, Fax: 212-358-1237, tonicnyc.com Town Hall, 123 W. 43rd St., 212-997-1003 PUBLICITY! 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To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 21 JI: You called Miles Davis “Dave?” HM: We went down to Antigua and I got sick Harold Mabern as two dogs. It was a three-night gig and I HM: I called him Dave, short for Davis. couldn’t play, but Lee paid me all my money. (Continued from page 12) Some other people also called him that. I told him, ‘Yeah, Morgan, you’re Cancer the Crab,’ the astrological sign, and he said, HM: I never read that or heard that before. JI: You played with Lee Morgan off and on “Hard on the outside, soft on the inside.” We Miles said I was a good musician but I wasn’t between 1965 to his death in 1972. Would talked a lot about a lot of different things. He right for the band. The thing that I didn’t quite you talk about those years, your time spent was so advanced musically, all you could do understand was the modal stuff and the clus- with Morgan, off and on stage? was to look at him, at his thought process, and ters. When we played “Milestones,” I didn’t the way he wrote tunes. They say Cancers can know how to play the bridge. When I look HM: One of the greatest experiences of all, he be very deceptive and his tunes, the way they back at it now, that’s all I play now. Years treated me like a super-duper big brother. sound, they sound good but they’re very after I left the band, Miles came up to me at a Very encouraging, very giving, he was a tricky. The notation is very tricky, very hard benefit for Harold Vick and gave me a big trumpet genius, bar none. Miles loved him. stuff. He was a very great sight reader. When hug and said, “You really got your stuff to- Lee Morgan was hip without trying to be hip. he was fourteen, he used to sit in with the gether.” I don’t know what this critic wrote in He was naturally hip, and he could play that Philadelphia Orchestra with Eugene Ormandy his book but maybe I wasn’t ready during that trumpet. It’s just unfortunate that he had to and sight read the first trumpet book. He was time, that’s why you learn. lose his life the way he did. He was a wonder- brilliant. ful human being. One night I was playing my JI: You weren’t dismissed from Miles’ band? piano triplets that I got from Phineas, and Lee JI: Many consider Lee Morgan’s best album turned around and said, “Docmaninoff!” Not to be The Gigolo [1965, Blue Note]. What HM: I did my weeks with him, and I was Rachmaninoff, but Docmaninoff. He treated was your experience recording that classic supposed to do the Seven Steps to Heaven me great, man, we spent a lot of time together. with Wayne Shorter, Bob Cranshaw and Billy Higgins?

“It was like being on top of the world. All HM: That’s one of my favorites too because that’s the only time I recorded with Wayne Shorter. I’m quite proud of that recording. the top people came to see him [Miles Recording that was tedious. Most times, the first take is the take. You might do ten takes Davis] play – Frank Sinatra, Elizabeth on a song, but the first one was it. The record people are never satisfied. They don’t have a Taylor, Sammy Davis Jr., Sidney Poitier, trained ear, like the musicians. That record took a lot of time [and a lot of takes were done]. Ava Gardner, you name it. That was a JI: In the liner notes to Lee Morgan’s Live at great experience for me … he was on the Lighthouse [1970, Blue Note], Bennie Maupin touches on Morgan’s 10-year heroin another level, like a pop or rock star. battle. Did that present issues for you as a member of his band, and would you address Everybody loved him. He was charis- the pervasive drug scene you encountered during the early part of your career?

matic, always ahead of his time, including HM: It didn’t bother me one bit because you were still respected if you didn’t do that. If the way he dressed … He didn’t really talk you played the music, it was okay. Lee’s drug use didn’t bother me at all because he was on a lot; he was about the music.” methadone when he lost his life, he was coming off of it. As far as the drug scene, it’s unfortunate but a whole lot of musicians were on record date. That recording was conceived I’d go by his house, and his wife Helen, the drugs back then, but they could still play so while I was in the band. I was going to play lady who unfortunately shot him, was a great nobody looked down on anybody. I knew piano and Vic [Victor] Feldman was gonna cook, and she would fix food for us. Lee was where I came from, I knew what I was gonna play vibes. I went by Miles’ house to get paid like a little kid. Even the night he died, the do and what I was not gonna do. You’ve got a and asked him, I always called him Dave, I snow was this high, he said, “Ooh, Mabern, much worse drug scene now, all over the said, ‘Hey, Dave, what time is the record look at that snow!” Little did we know, that world, and people don’t realize it. It’s that date?’ He said, “Vic’s gonna make it, man.” I would be the cause of his death because nor- right there [points to the cell phone]. People was in shock. He said, “Why don’t you stick mally an ambulance could get to Slug’s in a walking down the street, getting hit by cars. around,” and I told him I was going back to couple minutes, but it took them a half hour That’s an addiction, that’s just like using New York City. He said, “I got a job for you that night. dope. A bad habit is a bad habit. with Sonny Rollins,” I went back and worked a week with Sonny Rollins. JI: Any memories of Lee Morgan to share? JI: You’re not a fan of technology? (Continued on page 24)

22 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 23 HM: He was a great man. That was his first What makes that setting so pleasurable for Harold Mabern trip because he didn’t like to fly. He had all you? those records on CTI, so he had to go. He was (Continued from page 22) great. He practiced all day. His only bad hab- HM: Because unlike playing with a horn its were he smoked a lot of cigarettes and he player, it’s the same thing, but you might use ate a lot of pork. He treated me so great, paid a different kind of touch. You might not be as HM: You see this? [Holds up a flip phone] me well. It was a challenge because of the fact busy, it depends who you’re playing with. If Thirty dollars a month. That’s all I need. I’m that he didn’t read music, I had to match you’re playing with Ella, you might have to not gonna let this consume me, it makes no whatever he played. I had to have sharp ears – do a lot of big band punctuating. Joe Williams sense. I don’t even fool with that Facebook so, that was a lesson learned. liked a lot of sing along bass. That’s what stuff. I’m not knocking it. Why would I want makes playing for a vocalist so challenging. to get on Facebook and call people names? JI: You used to hang out with John Coltrane. Betty Carter may lay way behind the beat. If My email is enough for me, that’s as far as I What did he like to talk about? you lay behind the beat with her, big mistake. need to go with technology. I’m a traditional- You go straight ahead, let her lay behind, and ist, and I believe in using my common sense. HM: He’s probably the supreme, superb, she’ll catch up. It’s hard to explain, but when See, common sense will whip the heck out of greatest musician I’ve ever been around. Non- you do it right, the singers will let you know. education any day, trust me. Social media and egotistical. Being around Trane was like being The most scariest gig was playing with Sarah tweeting are dangerous. around a saint. That’s how pure of heart he Vaughn for three concerts. I’m still shaking was. Most nights he practiced during the time from that. Bob James was taking off from her JI: You were performing with Lee Morgan I’m up there playing with Betty Carter. A lot band because his wife was having his first the unfortunate night of his shooting at Slugs. of times, we’d sit in the back of Birdland on child. I was playing with Joe Williams at the Would you talk about that night? Budweiser beer cases. He’d have his wheat time and Bob James mentioned my name for germ oil, raisins and nuts, that he shared with his replacement. She had a thick book with HM: When you’re involved in a [love] trian- me, and we’d just be talking about the music. about 70 tunes and Bob James pulled 20 of gle, somebody’s gonna lose. Helen was Nothing stupid, always about the music, and them for me. I took that book and went into stranded there too. She wanted to go to the what he could do to improve himself. the woodshed at 5 o’clock Thursday evening, Vanguard and see Freddie Hubbard, but she I didn’t come out until 5 o’clock Friday morn- couldn’t get there. She was stuck there. So, JI: Did you ever perform with John Col- ing. I went through the whole book. I went to when Lee came in with his present-day lady, trane? the rehearsal and there’s Sarah sitting on a he had wrecked her car, so he couldn’t aban- stool, eating a bagel. I said, ‘Where’s the oth- don her. She couldn’t get to New Jersey. They HM: No, he invited me to. McCoy was late er musicians?’ She said, “Oh, no honey, it’s were all three stuck there. They were all talk- one night because his car broke down. I knew just me and you.” Oh, boy! Sarah Vaughn, ing happily for a minute, and then the next all his music, and John said, “Any time you Carman [McRae] and Teri Thornton—they thing you know, the talk turned to discomfort get a chance tonight, come up, but out of re- could tell any piano player, “Get up and check talk. Helen had literally taken Lee up out of spect for McCoy, I didn’t. But I did do the this out.” That’s how expert they were at play- the gutter – cleaned him up, fed him, and she John Coltrane Play-A-Long records put out by ing the piano. Trust me, you can’t shuck and decided it wasn’t going to go down like this. Jamey Aebersold. It was supposed to be me jive them. So, I was so scared at that rehears- It was unfortunate. We had already played a and Kenny Barron. Kenny was gonna play the al. I said, “Bob James, you dirty guy. What beautiful set. Some people lied and said it straight-ahead and I was gonna play the modal you get me into?” Sarah asked to do number happened on the bandstand – get out of here! part, but as it turned out, Kenny had a record 23. At that time, a lot of the singers would call It was not on the bandstand. We were on in- date, so I ended up making the whole date. numbers and not titles. I knew 23 wasn’t on termission, getting ready to go back. That’s as close as I got to playing with John the list that Bob James gave me. I went fum- Coltrane. I believe in karma. If it’s something bling and she said, “Well, wait a minute hon- JI: What were your feelings that night when meant for you to get, you’ll get it. There’s ey, don’t you read music?” I was nervous, but it happened? also the old saying – be careful what you wish when the three gigs were over, she gave me a for. I played with Eddie Jefferson, up until the nice bonus. That was the scariest gig I’ve had, HM: To be honest, I wasn’t surprised because time he passed. He told me he was gonna call other than going to London and playing with he had dropped a couple of premonitions ear- me to go to Detroit. Sometimes he would call, the philharmonic orchestra. lier. He said during that intermission, sometimes he didn’t. He didn’t call me for “Wouldn’t it be something if you read in the Detroit, and you know what happened in De- JI: Some singers earned reputations for being paper next week—musician shot?” He said troit, right? That’s when he got shot. Now, divas. Did you have difficult times with cer- that, so, when it happened, I wasn’t surprised, had I come to Detroit, we probably would tain vocalists? because if people have a premonition, you have been walking out of the club together. can’t turn it around. He said that to me, Fred- See my point? Be careful what you wish for. HM: Betty Carter was demanding, but the die Waits and Billy Harper. We said, “Come Karma — pursue what you wish for, but after only other gig that was tough was Dakota on Morgan,” and we moved back to the band- you pursue it, leave it alone. Because if you Staton. She wasn’t necessarily a diva, but her stand. That’s the first time I’ve ever said that, push, push, push, sometimes … That’s how I husband during that time [put pressure on us]. but, yeah, he came up to us and said that. He live my life – karma. That was a little challenging, but I got through felt something. That was a great loss, man. it. Joe Williams treated me great, but he knew JI: You mentioned earlier that accompanying what he wanted with the music. You couldn’t JI: Another iconic leader you worked with vocalists has been a strong point of your ca- fool him. You couldn’t fool none of them. was Wes Montgomery. What memories do reer, and that you’ve played with many of the you have of him from traveling Europe by great ones including Betty Carter, Johnny JI: You’ve been on many recordings over the car? Hartman, Sarah Vaughan and Joe Williams. past 55-years as a sideman. Your work with

24 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 was kind of a little out, but not all the way had sold 2,500 copies, and they hurried up Harold Mabern out. Also, on Lee Morgan’s Live at the Light- and re-signed me. house, Jymie Merritt wrote a couple songs Roland Kirk and Archie Shepp sticks out be- where I still tried to maintain some kind of JI: Did you feel ready to be a leader? cause they’re leaders of the avant-garde, a sanity and melodic gestures. I’m not an avant- genre you’re not generally associated with. gardist, I’m a blues, swingin’, hopefully, tra- HM: Ready or not, I knew I had to take that What’s your feeling on the avant-garde and ditionalist. I play accordingly to the tune. I let chance because a lot of piano players already free jazz? the tune dictate how I’m gonna sound. had record dates under their names. I took the responsibility, I wrote the music, and I think it HM: Roland Kirk may be classified that way, JI: Your solo career began with a burst of turned out quite well. As a matter of fact, but he wasn’t. He could play “2-5-1” [a series energy. From 1968-’70 you released four al- [Bill] Charlap has been spending his own of chords that is very much tonal] and Shepp bums for Prestige. How did they come to sign money, buying up most of my old records. He loved Ben Webster. Shepp was really on the you? said to me, “I really hear something in what edge of it, but he was really improvising on “2 you were doing.” He’s even going back to the -5-1,” but you’d have to listen for it. I did a HM: It wasn’t easy. They didn’t just say they MJT+3 records. date with Shepp and we did “Gigi,” and you could hear that he knows what he’s doing. Record people are always gonna put a tag on you. Like with me, Harold Mabern – post- “[The Gigolo, 1965, Blue Note is] one bop/hard-bop. I’m still trying to figure that out. I asked John Webber what hard-bop was, of my favorites too because that’s the and he wasn’t sure either. He took a guess and said maybe Art Blakey. They come up with these labels that don’t make much sense. only time I recorded with Wayne There’s blues and bebop and whatever they want to call it, call it. I just play the piano. Shorter. I’m quite proud of that record-

JI: What is your feeling on the avant-garde jazz and free jazz players? ing. Recording that was tedious. Most

HM: I never really got into to it that much. times, the first take is the take. You One of the people I checked out was Cecil Taylor. He wasn’t just banging on the piano. He had structure. He knew what he was do- might do ten takes on a song, but the ing. I’m not saying I liked everything, but he played a lot of stuff that made sense, and he first one was it. The record people are also supported the “2-5-1” guys. I really had a lot of respect for him, but otherwise, if I hear something by one of the guys that makes never satisfied. They don’t have a sense, then okay. But I’m not into avant-garde every day. It’s hard to play what Charlie Par- trained ear, like the musicians. That ker and Clifford Brown played. It’s hard to play form. When you say, “I’m playing free,” then anything goes. That’s not as challenging record took a lot of time.” as playing “Giant Steps” by John Coltrane or “Along Came Betty” by Benny Golson. Play- wanted to sign me. I did a Prestige record date JI: After the four Prestige releases, it took 8- ing free is easy because it’s a matter of what- on electric piano with Buddy Terry called years before recording again under your own ever you’re feeling at the moment. You don’t Electric Soul!, and Buddy went to the label name. Why was there such a loss of momen- have anybody telling you that it’s wrong. John and asked them to give me a date. The guy tum? Cage was at William Paterson University, my said he didn’t know and that he didn’t expect school, about 20 years ago. He came and sat me to sell but 500 records. I always say, this HM: That was their choice. Nobody called there [motionless] for like five minutes. I system, they won’t even give you a chance to me to do anything. There was a void there that called George Coleman and said, ‘George, put fail. Give me a chance to fail, one time, I I had no control over. I could have gone and on your TV,’ and George said, “I don’t hear might surprise you. So, he gave me a $100 knocked on the doors, but I didn’t want to put nothing.” I said, ‘I know you don’t!’ And I advance, that’s when guys were getting myself through that. think John Cage got paid big bucks for that. $1,200. He gave me a lousy $100. I won’t call his name, bless his little heart. I took it be- JI: After spending the majority of your years JI: What do you consider to be the recording cause, at that point, I hadn’t recorded as a so- as an in-demand sideman, your solo career that contains your most avant-garde playing? called leader and I needed it to get my stuff took off at the start of the 21st century, leading going. I sat at my Royal typewriter and sent a to 14 albums under your own name. That’s as HM: I’d have to think about that. Oh, boy. letter to 40 distributors. I wrote, ‘My name is many as you had in the 32 years between your [Pause] Strangely enough, the last Lee Mor- Harold Mabern. I have a new record – A Few debut release in 1968, and on through 2000. gan record we did [The Last Session]. Jymie Miles from Memphis … I appreciate your How did this new burst of recording as a lead- Merritt wrote a song called “Angela,” and I help.’ The first royalty statement I got said I (Continued on page 26)

To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 25 “Beehive,” that a lot of people like, I wrote less stressful even though it was larger be- Harold Mabern that going to the A & P grocery store. I wrote cause you had a chance to play solo, duet and it on a brown paper bag. I got home, went to trio. A lot of people don’t know it but that was (Continued from page 25) the piano, and put it down. I wrote “There but conceived by yours truly. Joe Newman, rest for the Grace of…” while walking through his soul, took me to Japan for the first time. er arise? Grand Central Station. I saw this brother lay- He wouldn’t leave home without me. Why? ing up on the ticket counter. You could have Because he loved the way I comped. I’m just HM: [Pianist] James Williams, rest his soul— given him a million dollars. It wouldn’t have telling you the truth. In Tokyo, the promoter he was responsible for that because he started mattered. He was out of it. So, I just paused, wouldn’t give me the time of day. He was having me do stuff on DIW. That’s just the and I started to [compose in my head]. That’s standoff-ish, but I didn’t have a problem with kind of person he was. He was from my how I write—walking down the streets, hol- that, I was just there to do the job with Joe hometown and was always looking out for the lering and whistling. I can’t remember the last Newman. The next day, we left for Sapporo, guys from Memphis. I owe a lot also to Eric song I wrote at the piano. and the promotor, who wasn’t talkative to me, Alexander, my prized student at William Pat- he pulls out a paper and says, “Harold erson University. I did a lot of recording with JI: So, you carry a pad with you? Mabern?” I say, ‘Yeah,’ I’m looking straight him. ahead because I never force myself on any- HM: Nope. If I hear a melody, I’ll grab what- body. I’m not gonna be a burden to you. He JI: You specifically used the word love twice ever paper I can find. I always carry a pen. I said, “I have an idea. I’ll bring over 10 piano in the title of your 2017 recording To Love love good ballpoint pens. players and we’ll call it 100 Gold Fingers. and Be Loved. Why was it important to you to Who would you like?” I started recommend- mention love? JI: Writing lyrics is something you’ve been ing names. I recommended 8 out of the 10. doing of late. Do the words you compose al- Some of the guys to this day don’t know it HM: I haven’t heard anybody use the word ways reflect the inspiration with which your was my recommendation that got them on it. love in maybe 20 years. I’m serious. That was music was written? a song I learned from Frank Sinatra and Nel- JI: Have you done much commercial work son Riddle from a movie called Some Came HM: When I write lyrics, the lyrics just come. during your career? Running. I’m not a prude. I’m not Doctor, I’m no lyricist genius but that’s my God-given Professor, Preacher Mabern, but nobody uses talent and I try to use the whole, full ball of HM: Not much. I had a chance to do one the word love anymore. It’s only sex, sex, sex. wax, so to speak. The melody comes and then commercial with J.J. [Johnson]. He had a Wait a minute, what about love? It’s disturb- I’ll see what’s the possibility of putting some Chevrolet commercial. He called but I was ing. Kids grow up and they don’t know any- words to it. out trying to buy a pair of shoes. But then thing about that. If you turn the TV on, I can karma happened. I got this call to do three bet you $100 to a penny, you’re gonna lose JI: You’ve played in a number of multiple nights at Tavern on the Green to work in their Chestnut Room. During one of the nights

there, a young man came up to me and asked “You’ve got a much worse drug scene if I’d like to do a commercial. I said, ‘Sure,’ and I got a call the next day to come down- now, all over the world, and people town with my tuxedo. I go down to a building that looked like it should have been torn down years ago—but when you took the elevator don’t realize it. It’s that right there up, it was a total transformation to something out of the Waldorf Astoria. There was Art [points to the cell phone]. People Blakey and Stan Getz, and food cooking. I said, ‘Gee, whiz!’ Arthur Elgort, the fashion walking down the street, getting hit by photographer, came in. I was at the piano and he said, “Mr. Mabern, let me turn the piano around so I can get you some residuals. We cars. That’s an addiction, that’s just like pantomimed for this Finesse Shampoo commercial which was about this lady who was using dope. A bad habit is a bad habit.” going to a Jazz club and had her hair done with Finesse Shampoo. We did it and he your penny—nobody uses the word love any- piano player settings including The Piano asked me if I was a member of SAG (Screen more. It’s just sex. I didn’t purposely choose Choir, the Contemporary Piano Ensemble and Actors Guild) and told him I didn’t even that song for the title; it just so happens that 100 Gold Fingers of Jazz. How difficult is it know how to spell SAG. He gave us a little the title spoke for itself. to play in that format and keep the music un- fee and told us we’d get the rest. I didn’t hear cluttered? no more until one day I’m watching Walter JI: You’re also an accomplished composer Cronkite on TV and then a commercial comes with over 100 compositions. What makes HM: That’s very challenging because you’ve on with a woman walking in the rain—and your writing unique? got to make sure that you’re pedaling right. then the next thing I know, I see me, big as Stanley Cowell didn’t like us to use the sus- this room. The checks started coming and HM: I don’t know if it’s unique, but I tell the tain pedal in The Piano Choir because you coming in - $12, $25, $300, $4000, whatever. students, ‘Don’t write the song, let the song might get clashes and overtones with the other I made quite a bit of money off that. write itself.’ Most of the songs I’ve ever writ- players who were comping. That was the most ten are away from the piano. I wrote the song challenging one. The 100 Gold Fingers was (Continued on page 28)

26 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 27 Wherever you went, you ended up at Brad- me but I get interested at World Series time. I Harold Mabern ley’s. It was a healthy environment; a lot of like the Golden State Warriors and the Yan- great music was played there. My most enjoy- kees. (Continued from page 26) able times there was playing with Geoff Keezer, listening to Kenny Barron and JI: The final questions have been given to me JI: Teaching has occupied the latter part of Mulgrew Miller together, and anytime Hank by other artists to ask you: your career. You started at William Paterson Jones or Tommy Flanagan played. University in 1981. As a self-taught artist, did Eric Alexander (saxophone) asked: “I’d like you have any reservations over taking a posi- JI: What are your pet peeves on the band- to know how you were able to develop your tion in academia? stand? unique style and technique considering that you were self-taught. How did you learn har- HM: No because they chose me. I didn’t ask HM: The only thing that makes me uncom- mony and re-harmonization?” for it. I just figured I’d teach what I know. I fortable is if the drummer and the bass player know how to write music for ensembles, are fighting each other for the time. One is HM: When I heard Phineas, that did it for me. trumpet, I’ve even done big band writing. lagging, one is pulling ahead. That’s uncom- He showed me how to orchestrate the piano. fortable because it’s hard for me to set and See, the piano is an orchestra, and people love JI: As someone who’s performed with many find where the groove is. I do the best I can chords, and listening to Ahmad, the way he of the music’s greatest artists, and had such a and then, when the gig is over, if I get a call to moved chords around, I kind of adapted that broad firsthand account of the rich history of play with the same guys, I respectfully de- for myself. Not to sound like him, but it was jazz, looking back to the days of Phineas cline. That’s how you do that. I can live just very infectious. As far as my style? I still Newborn Jr., Wes Montgomery and Miles through anything, musically speaking, for a don’t know if I have one. I listen to a lot of Davis, and then on to the current day, does it week or so. people, not to copy them, but just to see how seem that we’ve ended up on the right track? they motivate themselves. Being in Chicago, JI: Leading up to this interview, you told me taught me a lot about re-harmonization. Bill HM: I don’t think so, not as far as the artistic that you frequently stay up till four or five in Lee, Billy Wallace, Chris Anderson, who and talent level. I go back to the guys I came the morning watching TV. taught Herbie Hancock—that’s where that up with and the guys who were a little older. Some of the younger guys have forgotten them and don’t understand it. We’re talking about quality as opposed to quantity. Back “I believe in karma. If it’s then it was quality. I’m not saying you have to go back to Bix Beiderbecke, some do, but you call Bud Powell, [some of the younger guys] something meant for you don’t even know who Bud Powell is, and these are piano players! We’ve lost a lot because you’ve got a lot of young superstars to get, you’ll get it.” now. Big mistake. These guys now will never do what Hank Jones, Tommy Flanagan, Al HM: I watch the Stephen Colbert show, some comes from. Mainly Bill Lee. He’d play and Haig, Stan Getz or Ben Webster did. They’re of James Corden’s show, and then some of I’d watch. making much more money, but it’s about Comics Unleashed. At two o’clock, I’ll watch quality. Mannix, followed by Cannon, and then 77 Eric Alexander also asked: “I’d like to hear Sunset Strip and Peter Gunn. They play a lot an inside story about you and Frank Strozier.” JI: What’s happen to the presence of the of the old standards on those shows. After blues in jazz today? that, I might watch Sports Center, and by that HM: Frank Strozier and I were kids, 13 or 14- time, it’s five AM and I’ll watch My Three years-old, and neither one of us knew what we HM: That went away a long time ago. That’s Sons, The Beverly Hillbillies and Leave it to were doing. Frank Strozier always could play what turned people off from coming to clubs, Beaver, and then it’s time to get up and start the saxophone, but we’d play in one key and guys stopped playing the blues. A lot of them doing stuff. thought it was another. Frank was always a started playing out. Come on man, you’ve got phenomenal musician. When we played oppo- to play music for the people. JI: Where’s your time to sleep? site Coltrane, and Trane would ask him questions about stuff, people would look and say, JI: You often frequented Bradley’s. Would HM: Well, that’s it, I should be sleeping. I do “Coltrane’s asking this little guy?” Frank you give a few memories from the legendary some catnaps during the daytime. I do sleep at would explain to Trane the answer and then jazz club that closed in 1996? night from time to time with the TV on, but he would say to Trane, “Now, you show me most of the time, I’m up because I’m a night something.” Trane would be in the back prac- HM: That was a great jazz club. It took me a person. I sleep when I feel like it. I don’t have ticing what Frank had told him. Frank never long time to get in there because Bradley, rest insomnia; all I have to do is turn the TV off ran out of ideas. He never repeated himself. his soul, I wasn’t his typical kind of pianist. and go to sleep, but I just don’t. Ben Webster used to call him up and compli- He probably felt I played too hard and ment him. Frank should be out here playing banged, because even when he was sick on his JI: What are your interests outside of jazz but he just got fed up. Frank left music be- last days, he called me from the hospital and including guilty pleasures? cause he deserved better than he got. Thank said, “Now, go easy on the piano.” I finally goodness he’s not hurting for money. Frank got in there. That was the spot, like the origi- HM: I like sports – professional basketball Strozier practiced almost as much as Booker nal Birdland used to be back in the day. and football. Baseball’s a little too slow for Little. Booker Little practice 19 hours a day

28 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Aaron Diehl (piano) asked: “How do you too stiff, but the stiffer it is, the better I like it. Harold Mabern always maintain a youthful exuberance, and There’s a small Yamaha in Beijing that’s how do you handle more difficult times of self beautiful, as well as the two Steinway’s at and that’s why Frank Strozier quit because he -doubt regarding your work and contribution Rudy Van Gelder’s recording studio. figured if you put all this time in, and you’re to the music?” not rewarded for the talent, then what’s the Stanley Cowell (piano) asked: “Harold, what point? I never thought he would have put the HM: I can sum it up in two words – good was your musical experience with The Piano saxophone down. After he left, all the musi- karma – and by keeping my faith in the “most Choir?” cians were asking where he was. It was too High.” I’m not talking about religion, because late then. They had their chance. Today is I don’t believe in religion, but I believe in the HM: Ten stars! Wonderful. I learned so much Frank’s birthday and fortunately he’s okay laws of the “most High.” I have my own be- and Stanley Cowell was so gentle. He’s really because he taught science for 22 years. Evi- lief in the “heavenly Father,” if you will, and a piano harmonic technical genius – composi- dently, when we were cutting chemistry and keep good karma. That keeps me going and tional genius – orchestrator. That was one of physics’ classes, he must have went back and being thankful for the ability and the chance the joys of my life to have been offered a got a refresher course. I wouldn’t be here to- to play this music which chose me. I was a chance to be a part of that group, even though day without Frank Strozier because he forced cotton picker, a cotton chopper, a cotton pull- we got some criticism from some of the guys. me to keep going to pursue what I’m doing. er, and one day, sprinkle, sprinkle, sprinkle, Some of the piano players put us down a bit, I and I grabbed it, and I’m still learning from it don’t know why but I think it was profession- Joe Farnsworth (drums) asked: “Who were and being inspired. al jealousy that they weren’t called to be a your running buddies in New York City? Who part of it. Well, everybody can’t be called, just did you hang out with in the early part of your Aaron Goldberg (piano) asked: “We both like everybody can’t be a [NEA] Jazz Master. career?” teach at William Paterson so I’m curious I understand that too, but when I look at the about your take on what you feel is right and piano list, with some of those guys, I think I HM: Other than MJT + 3, it was Bobby Tim- what is wrong with the current state/ could be a Jazz Master, especially since I’ve mons, Cedar [Walton] and Ronnie Mathews orientation of jazz education?” been teaching for 38-years. I have tremendous because we were all around the same age. I’m respect for Stanley Cowell, on all levels. I’m the baby. I’m 1936, Timmons and Mathews, HM: The lacking of the Great American jealous of him that he had the chance to see 1935, and Cedar, 1934. So those were my Songbook. I’m a stickler for that because if Art Tatum play his piano at his house when he guys, but I would hang out with other guys – you don’t understand the Great American was a kid. Sonny Clark and Barry Harris. We’d go to the Songbook, you lose a lot. Some of these guys Five Spot. Joe Zawinul and Chris Anderson write these tunes which are so hard to play. Peter Bernstein (guitar) asked: “It’s hard to and I used to get together and practice every- They can’t even figure it out, and the folks are think of a question because I know you, but day for about 15-20 years. Barry had the key going to sleep. If you understand the Great there is a question I should have asked you a to the warehouse of Riverside Records, and American Songbook, you’re gonna be a better long time ago. I’d like to know about playing they had an old upright piano, and we would musician, I don’t care if you play piano or with Wes Montgomery's group. Was there a go there and just reharmonize ballads and mandolin. Those songs were so well written. lot of rehearsing? Were you expected to know stuff. And once Herbie got on the scene, we You’re never going to master the Great Amer- Wes' tunes and arrangements?” spent a lot of time together because he would ican Songbook, that’s the joy. come by my house. HM: Very little rehearsing. We’d do the Aaron Goldberg also asked: “If you could sound check and maybe he’d say, “Mabern, Joe Farnsworth also asked: “What did you share one piece of advice for a jazz musician play this with me,” and I’d match it, and he’d learn from Bill Lee?” of my generation, what would it be?” look at me and say, “Oh, Mabern, you’re a bad cat.” And Wes was so giving that if you HM: Everything. That sounds like a blanket HM: Go back to the people that came before made what was conceived as a musical mis- statement but everything—how to compose, you and see how they approached the music. take, his thing was that if you didn’t know how to arrange, how to write lyrics, how to you made a musical mistake, he wasn’t going voice chords, because Bill could play piano Harold Danko (piano) asked: “I’d like to to be the one to tell you. He was very inspira- very well, not solo. That whole family, his hear about your experience with pianos on the tional for me, very giving. He paid me well sister was a real piano genius. Her name was road. Have there been any special pianos that and I will always miss him. I’ve been blessed. Consuela Lee Moorehead. I owe Bill Lee so you’ve played on tour that put a performance much. I can’t put it into words. Just being in over the top, or perhaps a particularly bad JI: Final comments? his presence and watching him. experience? Also, I don’t believe I’ve ever heard you on an electric piano.” HM: The only thing I want to say is I just Aaron Parks (piano) asked: "We know of hope one day the city of Memphis will get your support for Phineas Newborn Jr., do HM: That’s a good question because I’m the some kind of recognition for what we tried to you have other favorite "unsung" pianists?” second pianist to make a record date on elec- give to the music world, especially Phineas tric piano. Joe Zawinul was first, I was sec- Newborn Jr., because that was a special hu- HM: Albert Dailey, Sir Roland Hanna, and ond, on the album with Buddy Terry called man being. He never dogged anybody. Some- believe it or not, I think Tommy Flanagan Electric Soul. Ray Bryant came out to the body should open up the Phineas Newborn Jr. was unsung, even though … I always said studio. It was such an event. As far as a bad School of Music and I’ll be happy. that if I could play like Tommy Flanagan, experience, no, I don’t think there’s a piano I I’d stick my chest out. Mulgrew Miller, can’t play unless the keys are locked down James Williams, and Donald Brown. because of the fact that I play very percussive.  Most piano players can’t play the piano if it’s

To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 29 Peterson, and Ray Brown was on bass—and Ray JI: Had you been Brown plays more “dead center,” to my ears, than INTERVIEW listening to a lot of someone like Ron Carter, who you’ve played with, INTERVIEW his material? or other bass players you’ve played with, who play more on top of the beat. Do you make certain ad- LN: Oh, I have, justments there that you go in with, some precon- through the years, ceived idea? Lewis Nash so I was quite fa- “it’s not as much in the what, but in the how, the spirit you miliar with his LN: Well, I make an attempt not to preconceive. style and his play- It’s very hard to do that, to go in with a blank slate, bring to something, the way you animate things” ing. And the very so to speak, but I try my best to have as clear a first time was with slate as I can so that I can interact with where the Interview & Photo By Eric Nemeyer Ray Brown—we did trio things. That’s a heck of a person is that day. People feel differently and ap- feeling for a young drummer, to walk into that proach the beat differently today, than they have JI: Let’s talk about some of the people that you kind of situation, you know. A funny story is that on the records I’ve heard. And one thing musicians have recorded with. For example, Oscar Peterson? we had asked for some drums from my drum com- who I work with, and talk to a lot always talk pany at the time, which was Slingerland, and they about is how different it is when you listen to LN: Oh, well, that’s a great place to start. I re- had to guarantee that they would be there, and someone on a record, and then hear them live— member when the phone call first came, the first there would be no problem. And we get there— that’s another viewpoint, and you get a whole time I was asked to work with him. I didn’t want and there was no drums. So you can imagine my other set of information, so to speak, from listen- to assume too much...so, when they said heart beating fast, you know? But Oscar and Ray ing to them. Then when you actually play with “Lewis”—knowing that Louis Hayes had worked were both very cool about it—as long as they had them—it’s a whole other feeling. And so I try to with him before—the first thing I said was, “OK, been in the business, I’m sure they had seen much go into all these situations with the idea that I’m are you sure that you have the right Lewis?” Be- worse things happen. So we got some drums there, dealing in the moment, what’s happening at the cause I didn’t want to embarrass myself by getting eventually, and got to work. time, with as little preconceived ideas as possible. excited, and they had the wrong guy! They said, As far as the bass players, for example, having “No, we want Lewis Nash. Oscar asked us to call JI: What kind of instruction or information did he different approaches, or placements of the beat… you.” So then I thought, OK, how about that?! provide to you? There are things I can do to kind of embrace that, Working with him, for me, was a high point, and it without challenging it, or trying to lead it, or trying actually happened during the time I was working LN: Not much. You know, this is something I say to follow it. I like to think of me as encircling their with Tommy Flanagan. Tommy was extremely often when I do clinics or workshops, because the beat. nice about the whole thing. I was working at the young drummers often ask: “What does such-and- Village Vanguard with Tommy, and when the call such a bandleader like, and what do they say?” JI: What about working with Hank Jones? came, they had asked about me coming up to Can- And there’s so many varied approaches to leader- ada on a Sunday, and that would have meant miss- ship, and some guys are very specific; some peo- LN: I just worked with him, actually. ing the last night at the Vanguard, in order to make ple—I should say, some musicians and bandlead- JI: What was it like?

“one thing I noticed about the players from LN: Well, first of all, I’m in awe of Hank Jones. I mean, he’s not the only one I’m in awe of, but I just have so much respect for him, and that respect that period is that even though they may play comes from not just what he’s done historically, but having played with him and been on stage or in similar things, or may even play the same pat- rehearsal with him. I know the depth of Hank Jones as a musician, and believe me, I don’t know terns … they always sounded different. They if there’s many alive who have that. He’s a phenomenal musician. Hank’s original music is very each had a different touch, or different ap- challenging. Harmonically it is, rhythmically it is—most people probably think of Hank playing standards, but his re-harmonization of tunes and proach or different groove. I realized then that his original things—they have odd meters and different things going on. He’s very, very chal- it was how you played something—what you lenging to work with, and exciting.

played often—that would make an impact.” JI: When you were doing some of the original things with him, did he provide you with the piano this thing with Oscar, so my first inclination was to ers—are very specific about what they want. They lead sheet, or did he write out the drum part? just tell them: “No, I’m committed to something, I have things written in explicit detail, and if you can’t do it.” But I really wanted to do it, so I depart from what they’ve indicated on the paper, LN: Well, he had drum parts for most of the stuff, thought, well, what do I have to lose? I should just they’re aware of it right away. They say, “No, no, I and some other things, of course, were just lead talk to Tommy and if he says no, I certainly under- want what’s there.” And other people are very sheets, but he had drum parts. stand. But I talked to Tommy and Tommy said, loose and very open, and they say very little, and “Oh yeah! That would be great for you to do, yeah, they allow you a lot of leeway. I’ve been involved JI: Were there any particular incidents working sure! You know, get a sub—it’s the last night— with leaders who have both ways of dealing with with Hank that come to mind? and go up and do it.” I was so happy he said that. music. Oscar didn’t really say very much. He So I went up and did that. Of course, by the time I would just say, “We’re gonna keep it in a two-feel LN: Well, just recently I did a trio set in Japan had an opportunity to play with Oscar, he had for the first couple choruses,” or something like with Hank and Ron Carter, and Hank was playing already had a stroke, and was somewhat incapaci- that. Beyond that, they basically wanted me to so beautifully. Ron is the type of bass player that tated in his left hand; but he was a beautiful spirit, come in and do what I do, and that was nice, too. likes to challenge the piano player—harmonically, and it comes through in the music, regardless of with what he plays on the bass; he won’t just stick the physical disability. JI: It’s interesting that you’re playing with Oscar (Continued on page 32)

30 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 31 he heard me there .... He has a nickname for me, JI: What do you look for when you set up your Lewis Nash he calls me “One.” And he said, “You know why I drum set, in terms of selecting cymbals and tuning call you ‘One’?” and I said, “No, why do you call your drums? me that?” And he said, “Because when I play with (Continued from page 30) you I don’t have to worry where one is!” [laughs] LN: I think I tune my drums on the higher-pitched to roots, or he won’t play what’s expected all the Well, for the guys of Clark’s generation it’s some- side than a lot of guys do. I guess part of the rea- time, he will really play something to give a piano thing. You know, we are sometimes trying to cam- son for that is, when it comes to clarity, if they’re player a kind of different thought process on what ouflage everything in modern playing… tuned too deeply, then you lose a lot of that. I like they’re playing. Hank not only could follow that, to hear articulation clearly when I play, and espe- and elaborate on it, then he could turn right around JI: Yeah, everyone’s trying to be a little bit too cially in soloing and things like that. I like to hear and say, “Well, what about this?” and challenge hip. clearly delineated differences between the drums, someone like Ron. I guess that would be some- the different voices, and I look at the various thing that really stands out about Hank. LN: Right. [laughs] Harry Edison is probably drums as voices...and the cymbals, as well, as someone you might not see on my bio, because I other voices. I like cymbals which are somewhat JI: Working with Eddie Henderson, of course, don’t know if I recorded with him under his own dry, not too ring-y and not too high-pitched, on the would be different—perhaps you could talk about name. I did record with him with Gene Harris, but dark side, and with very distinct attack sounds that? he comes to mind because, to play with him, to from the stick, very clear stick attack on the rides. play a blues with him is a lesson, in itself. And I’m And the crashes I like to be darker, rather than LN: Sure. Eddie Henderson has a great sound, a really glad I got to know him, and play with him, high-pitched or really bright. great feeling, and he really loves the drums, you and again he got really close—when I would speak know. There’s one recording I did with Eddie to him, he would always ask about my family. JI: Let’s talk a little bit about the business of mu- where Billy Hart and I both are on one selection— sic. You’ve been involved in a lot of recordings that was a lot of fun, and we actually wanted to do JI: You’re on that Joe Henderson Big Band album. and performances, and I think it was Dizzy Gilles- more with the two drums, but we never got around Were you on all the tracks? pie who said: “After you get beyond the music, to doing it. I really enjoy working with Eddie, there’s the issue of getting paid, and business.” because he’s so musical. LN: No, I’m on three or four. Obviously, when you’ve worked as a sideman for a lot of recordings, it’s pretty cut and dry; you JI: How about Jackie McLean? JI: I love that, that’s a nice album. don’t have to deal with many of the issues that other people have. LN: Oh yeah, fire and brimstone! [laughs] Jackie’s LN: Yeah, very nice, and that was enjoyable to do, beautiful to play with and to be around, even off too. As a matter of fact, we didn’t rehearse for LN: Well, to backtrack a little bit—very often as a the bandstand. That’s one of the things I keep that, we did everything right there in the studio. I sideman you do have to deal with a lot of these coming back to again, when I’m talking to young- was sight reading, on all these arrangements, and other things, because often producers will be in- er people about experiences with the masters, is Joe, I think, did a couple of the arrangements that I volved who may, perhaps, have limited or no how much I’ve gotten from them musically, on the did. That was a lot of fun. knowledge, really, of music. But they’re always bandstand; but, in addition to that, off the band- chiming in their two cents, so to speak, and they stand. They become like fathers or uncles or older JI: Yeah, I bet. like to feel like they have a hands-on approach in brothers, and it really deepens the connection. dealing with the producing and recording. So they LN: And that was the first time I recorded with might make some suggestions which, musically, JI: Among the others that you have worked with Chick Corea, too. don’t really make very much sense. And you have are Joe Lovano, Lou Tabackin, Clark Terry, Art to find a way to deal with that which doesn’t insult Farmer, Kenny Barron. I’m sure you have stories. JI: Oh, that’s right, he’s on a few of those tracks. the person, because maybe they genuinely are Since you came into playing jazz a little bit differ- trying, but you have to let them know that, from a LN: I could probably think of a story for each ently, you weren’t initially inspired by people like musical standpoint, that suggestion will probably person. You didn’t mention John Lewis, and I’m Elvin Jones, Buddy Rich, “Philly” Joe Jones, or not work. If they insist on you trying it, sometimes going to mention him now because he just passed Art Blakey? you might try it. Because I’ve had certain sugges- away. John was one of the musicians who had the tions made to me to do things on the drums that I very specific approach to the music—which you LN: Not initially, no. would never have considered to do, even in my probably could have assumed, with his work with most creative, far-reaching moments, and it just MJQ—but things were written out, very specifical- JI: But subsequently you were…? doesn’t seem to go with what’s going on. And ly and clearly. But, aside from all the specific when something goes against the grain inside you, things, he really wanted a kind of fluidity and LN: Yeah, most definitely. it’s hard to humor some producer and do it. And swing to the music; I don’t know how to describe you’re the one who’s being documented in this it .... I guess an elegant fling, I don’t know, some- JI: When you started to study these things, did you record; it’s not going to say: “When he does this in times words fall short, but that’s what comes to get involved in taking their licks off of the album, bar 29, the producer suggested this.” So, they have mind when I think about him. He really appreciat- or were you going more for an understanding of to bear in mind that we are the ones being docu- ed the beauty of the drums and the kind of colors the groove—as opposed to specific transcriptions? mented for history, on these records, and we are and sounds that they can create, as well. That’s ultimately the ones that have to live with this stuff. one of the things that I really enjoyed about play- LN: Both things. I tried to copy a lot of their ing with him—he would say: “Well, how would phrasing and things that they played often, and I JI: Sure. But on the business end of it, aside from that section sound on another cymbal?”, or “How tried to play some solos on fours or eights, and what happens during the session, sidemen fre- would that sound if you played the mallets here?” extend it. If it was over form, I tried to reproduce, I quently don’t have the aggravation, most of the You know, he was very much into colors of the guess you could say....But one thing I noticed time, of making sure that you get your two hun- drums, and he would include those things in his about the players from that period is that even dred, five hundred or a thousand dollars, whatev- compositions. though they may play similar things, or may even er...That’s up to the leader. But when you did your play the same patterns … they always sounded own album..? JI: Any additional stories about some of the other different. They each had a different touch, or dif- people we mentioned? Clark Terry? ferent approach or different groove. I realized then LN: Well, that record was released on Evidence that it was how you played something—what you here in the States, but it actually was acquired by LN: Yes. Clark I met early in my career. He came played often—that would make an impact. them from a Japanese label. It came out in 1989 in out to Arizona, before I moved to New York, and (Continued on page 33)

32 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 mind a place like Bradley’s, where you would be players, you know—how they sit, or some sound Lewis Nash able to hear people like Tommy Flanagan and they use—and you begin to accept your voice, and Hank Jones, in duo situations. Then, later on, they you become more comfortable with that. And then added drums in there, but you’re able to really get you begin to elaborate on that, and I guess I’m Japan, and then a few years later Evidence picked a feel for how things work with a group on the beginning to feel now that maybe I’m just starting it up and distributed it here. So that was just a one- high level, and it’s important for young musicians to feel comfortable with how I hear things, and just time recording for a smaller Japanese label. to be able to do that. be true to my own voice .… It’s really difficult to do that on the drums, with all the great players that JI: Are you obtaining royalties or was that part of JI: Everybody who becomes aware of what’s we’ve had, and the things they’ve done: there’s your arrangement? deep inside eventually seeks out their own sound, hardly anything that we can do or play that hasn’t and develops that, and it’s much more than just the been done in a great way already. I was saying LN: From that particular record? notes or the music. How have you developed your earlier: it’s not as much in the what, but in the sound, Lewis? What were you looking for as you how, the spirit you bring to something, the way JI: Yes, or in general—certainly not from other were developing, once you got involved in pursu- you animate things; it’s in the touch, it’s in the peoples’ records? ing the improvisational approaches that we know approach, it’s in the intention, things like that, I as jazz music? often find myself thinking and saying. I hope that LN: In general, as a sideman, as you probably answers your question. know, unless you’ve contributed a tune, then gen- LN: As far as my sound, or my approach to the erally speaking, you get paid your fee and that’s it. drums? JI: Yes. Do you play piano, or any other instruments? JI: In terms of the music business, have you had JI: Yeah. Were you trying to distinguish yourself, any “shady” experiences? or was that just coming on a subconscious level, in LN: A little piano. I’d like to say, “composer’s terms of your tuning, cymbals you select, and the piano”—I wouldn’t go on any gigs. And I love LN: You know, Eric, I’m really fortunate in being groove that you were seeking—how you meshed vibraphone, and I love Milt Jackson. I loved play- able to say that I could probably count on one hand with the bass player to play time, the kinds of fills, ing with him. He was another one, man—he didn’t the really, really shady things that have happened your listening, how you were conversing and inter- play loud, so playing with Milt, you realize that to me in my career, business wise, that I know of. acting with players…? Those things all played a when you play a certain volume level that he liked I’m really glad to be able to say that, because I’ve part. to play at, he would hear the cymbals different- heard some horror stories, and I know people who ly...like you hear different overtones when you have gone through stuff, but for me, there haven’t LN: Especially in the earlier years when I first play pianissimo as to when you play fortissimo. been a whole lot of those kinds of things, and I’m came to New York, I think I was probably more And it’s just like, wow! And he wouldn’t play a lot really glad about that. influenced by some of the things I heard, in watch- of choruses. He would play two or three choruses, ing people like Higgins, and Elvin Jones, and Art on a song, and he was out of there. But he said so JI: Yeah, it’s nice to hear that. Lewis, there are Blakey and Art Taylor, and people like that, who much—that’s kind of referring back to what we fewer and fewer places to play live jazz now than were still around in those days. Then I would go were talking about with the guys. So, then you there were years ago. What’s you opinion on that? home and experiment with things—well, he had start to hear sonic things about the drums, maybe What’s happening with the opportunity to play, his cymbal at such-and-such height, and such-and- influenced by the way certain leaders or other and where do you think that all the players are going to be going? “People feel differently and approach the beat LN: I think that maybe one of the reasons that more and more of the great players and education- differently today, than they have on the records I’ve al venues are teaming up, you know, doing concerts on college campuses...and more and more heard. And one thing musicians who I work with, and people are doing workshops and things like this— because people before weren’t even thinking about talk to a lot always talk about is how different it is any clinics or things like that. People are starting to do that more because I suppose they’re creating when you listen to someone on a record, and then venues or opportunities for themselves, or the opportunities are being created for them. hear them live … and you get a whole other set of

JI: That’s also because there are fewer venues to information, so to speak, from listening to them.” play and hear music—assuming that you want to play at places where you get more than 75 dollars such angle—I wonder what that’s like? And I people played music, or the way they wrote, that a night… would try that. Or, he had a cymbal which sounded would help you to hear things. And then these darker, or a certain sound, and I would maybe would become a part of your playing. So there’s LN: Sure, and the flipside of that is that it’s so experiment with some cymbals to see what I many things that I could attribute to my associa- expensive that the young people can’t even go to a thought of that … because you’re always influ- tions with people like John Lewis, and Bags, and lot of these places, you know. It used to be that enced by what the great players play, and what Tommy Flanagan—especially ten years with him. you wouldn’t have to spend a fortune to hear a they use, equipment-wise. Or I might see how one That really affected my approach to the couple sets of music, and now the college students of the drummers who I admired maybe had the drums...maybe they weren’t drum things, but just have to pick and choose, and they can’t afford it. brushes fanned out a certain way, and I might see the way they played, and shaped and orchestrated if that applied to me, or I might see if one guy’s set music, influenced me. JI: It’s a problem, I know. When I was in school, I really high, or one guy’s set really low, and I was just magnetized by Thad Jones and his big might experiment with that. So you’re influenced band, and, as a drummer, I was into Mel Lewis, by a lot of these things that you see and hear in the and I would go and watch Mel. For four or five early days, and then after a while you begin to  bucks we’d get into the Village Vanguard. Now, realize where your comfort zone is, in terms of you can’t do that. allowing yourself to be relaxed at the instrument, to do what you do best. Often times, that may be in LN: Yeah, I surely miss that, and that brings to direct opposition or conflict to one of your favorite

To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 33

34 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Thompson who and started me up the ladder. I’m not saying to had a weekly gig, copy somebody’s solo note-for-note on the INTERVIEWINTERVIEW took me under his bandstand, but by learning how the masters did wing and started it, you can start to learn the vocabulary and showing me the build your own vocabulary. This music has an standards. That oral tradition going back to all the greats who Dave Stryker was my first jazz learned how to play from those who came be-

gig. Then in the fore them. Of course playing sessions and gigs “All the experiences and struggles you go through in life, good summers of 1975 with other players is essential so you can try and bad, inform who you are both in life, and in music.” and 1976 I went and put the stuff you’re working on into prac- to a Jamey Aeber- tice. I was lucky in Omaha as I had a group of sold camp in Wichita Kansas where some of friends that played all the time and we were all Interview & Photo By Eric Nemeyer the instructors were: Joe Henderson, Woody into learning the music. I listened to a lot of Pat Shaw, Thad Jones, Rufus Reid, Jerry Hahn, Martino, Grant Green, Wes, George Benson, Jack Peterson, James Williams, and John Bill Evans, Miles and Coltrane, Herbie Han- McNeil. The faculty would play at night and cock. Listening and transcribing was the key. JI: Tell us about your upbringing in Omaha that was incredible. That was the first time I and the kinds of feelings, sounds and sights heard of a II-V-I. Thanks Rufus. Also around JI: What kind of practice do you do when you you experienced at home. that time a jazz festival came through Omaha are not publicly performing, and what purposes with Gary Burton’s Quintet, Clark Terry’s or goals do you have in mind when you prac- DS: My older sister turned me on to the Beat- group and Gerry Mulligan’s quartet. I heard tice? les when I was nine or ten. I started taking gui- Pat Metheny with Burton. I think he was 18 or tar lessons and joined a rock band when I was 19 and he was already playing practically as DS: A lot of my practicing now is based twelve. The first album I ever bought was Dis- great as he does now. I got to meet Pat and around learning or writing new music for what- raeli Gears by Cream and later Smash Hits by take a lesson with him. I also became aware of ever particular gig or recording I have coming Jimi Hendrix. That tells you where I was at. I an amazing guitarist from Omaha named Billy up. I still like to transcribe solo’s, and recently wrote out McCoy’s solo on a Turrentine record. McCoy is amazing. Also learning piano “… you can start to learn the vocabulary and solo’s and Coltrane solo’s can really open up build your own vocabulary. This music has some different things on the guitar. JI: Could you cite one or more artists who an oral tradition going back to all the greats have inspired you, and discuss how specifically that they have significantly influenced you and who learned how to play from those who impacted your art or artistry? DS: I would have to say Billy Rogers, who was came before them. Of course playing just an incredible and exciting all-around, all styles monster of the guitar. Jack McDuff, who sessions and gigs with other players is gave me my first break when he hired me for his band from 1984-1985. Joe Dukes was the essential so you can try and put the stuff drummer and the groove was deep. Jack wasn’t afraid tell you if you weren’t swinging and that you’re working on into practice.” gig really got my strength and confidence up. Unfortunately those kind of gigs with ban- Rogers around this time. He was on the road dleaders like McDuff are not around anymore. started gigging shortly thereafter and continued with the Crusaders and when he came home to I’m glad I got in on it. Stanley Turrentine, who playing in rock bands through high school, visit I met and hung out and studied with him a I worked with for thirteen years—I was a huge when I went to a jam session at the union little. He was one of the best guitarists I ever fan, so that was quite a validation to get that where they were playing jazz tunes. I thought I heard and the fact that he was from Omaha gig. He was so soulful and swinging. Every- was pretty hot, until I realized I had no idea made me realize how much I had to learn, and thing he played felt great. To this day you can how to play, let alone even having heard, jazz. that it wasn’t impossible. I also learned from a still tell it’s him in two notes. That’s something I went to a record store and asked the clerk great organist and pianist from Omaha named we all strive for to have that kind of an identifi- about jazz and walked out with Coltrane’s My John Maller, plus another Omahan, Victor able sound. Favorite Things and George Benson’s Beyond Lewis was making his mark in New York at the Blue Horizon. Those two albums really that time with Woody Shaw and Dexter Gor- JI: Discuss your association with Stanley Tur- opened my ears. I also remember my Dad play- don. rentine? Could you cite several humorous, dra- ing Duke Ellington’s Tchaikovsky / matic or unusual events during that tenure? “Nutcracker Suite” when I was a kid, so that JI: Could you share some of your perspectives How specifically did you grow from that expe- could have been some of the first jazz I heard. about learning how to improvise? rience.

JI: Who or what inspired you to want to begin DS: I’m basically a self-taught player although DS: I got to travel all over the states and the serious study and career pursuit as a musician- I did study with Billy Rogers. I tell my stu- world with Stanley. I saw how music that feels good and has integrity can move people. I have vocalist? dents, and I really believe the way to learn this music and how to improvise, is to learn and (Continued on page 36) DS: In high school a local tenor player, Bobby transcribe solos. That is what worked for me

To Advertise CALL: 215-887-8880 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com 35 ple. Otherwise I would rather explore standards my blues side. Also I have a group called Trio Dave Stryker in my own way. One of the great things about Mundo that features the amazing Manolo having the opportunity to record and document Badrena on drums, percussion, vocals and all- (Continued from page 35) my music is that I work better under pressure around craziness. He is a gas to play with and and with a goal. So if I know I have a record he brings a lot of joy to music. Andy McKee tried to use that in my groups. When you are date or important gig coming up I get busy! plays bass and Slagle guests with us some- performing you want to reach people. This has Also as far as preparation for recording, the times. affected how I write music as well. I want peo- best situation is when I’ve been able to do ple to feel good when they hear my music. So some gigs with the group, and work out the JI: In a couple of sentences, how do you want finding that balance between reaching people music beforehand. Although some projects like your music to influence people-what do you and pushing the envelope is important. And as the Shades of Miles recording benefited from want it to say or do? I mentioned before T’s consistency and groove just getting some great musicians in the studio, were a high level to try and follow night after writing some themes for them to explore, and DS: With all the craziness in the world I hope night, so that built up my strength and desire to seeing what happens. that my music can be a positive influence. have my own sound and ideas. That it can make people feel good. Also if I JI: Discuss your partnership with saxophonist can help young musicians along the path to JI: Discuss your experiences recording for the Steve Slagle? creating their own identity, hopefully they will Steeplechase label? be able to enjoy some of the gifts that music DS: Steve and I have been playing together for has given me. DS: I started recording for Nils Winther at seventeen years now. My main focus these SteepleChase in 1990. It has been a great expe- days is working with The Stryker / Slagle JI: “Good people are good because they’ve rience and he has allowed me to document my Band. It is great to have a partner to bounce come to wisdom through failure,” stated Wil- writing, playing, and different projects for the ideas off of, and we both bring different things liam Saroyan. How have you experienced that last 14 years. He is a great producer in that he to the table. Also we both feel that what is in your music? In your life?

DS: Well I paid my dues coming up on the road, struggled in New York for many years, “…I would rather explore standards in was in some tough situations, and have battled some demons, all part of living life. All the my own way. One of the great things experiences and struggles you go through in life, good and bad, inform who you are both in about having the opportunity to record life, and in music. JI: How do you stay balanced-as an artist, as and document my music is that I work an individual-and nurture deeper meaningful ideas and feelings in this contemporary society in the face the incessant stress and sensory better under pressure and with a goal. overload that surrounds us?

DS: God has blessed me with a wonderful wife So if I know I have a record date or and two boys. It puts balance and meaning to my life beyond music and helps me keep important gig coming up I get busy!” things in perspective as to what is really important in life. I also enjoy nature, hiking, camping and golf, and having fun doing things trusts me and let’s me do what I want. Besides missing sometimes in jazz these days is the with my family. recording my working groups and composi- lack of real working bands. So that is what we tions, I have done special projects like my CD are concentrating on. Our last CD featured Bill JI: If there is one for you, what is the connec- Nomad with Bill Warfield’s Big Band with Moring on bass and Tim Horner on drums. We tion between music and spirituality? Randy Brecker, my Blue to the Bone Band have been working with them for the last seven with a 4-horn section, and my Shades of Miles years. We also travel as a duo or with special DS: To me music and spirituality are the same. project that was inspired by Mile’s Bitches rhythm sections depending on what the gig is I feel God has given me a gift and I am grate- Brew and In a Silent Way. My fifteenth CD for and financial considerations etc. But ideally we ful. the label is called Shades Beyond with Lenny want to keep the group happening. Plus we White, Steve Slagle, David Berkman and Terry have a simpatico happening from playing to- Burns. It is a continuation of the Shades of gether all these years, where we know where  Miles project. the other is going. It makes the music more exciting. Plus Steve is one of the baddest alto

JI: Describe some of the rehearsal or prepara- players out there which doesn’t hurt.

tion that you undertake in learning a song, and in preparing for a recording? JI: What other projects are you involved “”It does not take a majority to with ? prevail... but rather an irate, tireless DS: I’ve always tried to write music that meets minority, keen on setting brushfires of a certain criteria for myself. It has to be some- DS: Besides the Stryker / Slagle Band, for freedom in the minds of men.” thing interesting to play on, invokes a certain larger projects I play with the Blue to the Bone mood, and is melodic. Also as I mentioned Band. It has a four-horn section and we do before, hopefully something that moves peo- some New Orleans grooves, and I get to go to - Samuel Adams

36 December-January 2020  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Contact Steve: 630-865-6849 | email: [email protected]

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