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Publisher: Eric Nemeyer Editor: Gary Heimbauer Advertising Sales & Marketing: Eric Nemeyer, John Alexander, Dimitry CONTENTS Ekshtut Circulation: Robin Friedman, Susan Brodsky CLUBS, CONCERTS, EVENTS Photo Editor: Joe Patitucci Layout and Design: Lori Jenkins (August issue), Karry Thomas 24 Noteworthy Performances Contributing Artists: Shelly Rhodes 27 Calendar of Events Contributing Photographers: Eric Nemeyer, Joe Patitucci, Ken Weiss. Contributing Writers: Dan Bilawsky; Al Bunshaft; John Cizik; 37 Announcements — Upcoming Events; Curtis Davenport; Bill Donaldson; Dimitry Ekshtut; Robert Gish; Ira Gitler; Regular Engagements; Additional Club Gary Heimbauer; Rick Helzer; Jan Klincewicz; Joe Lang; Ronald Lyles, Matthew Marshall; Dave Miele; Nick Mondello; Patricia Nicholson; and Venue Schedules Joe Patitucci; Michael Steinman Ariel Teitel; Ken Weiss. 42 Directory of Clubs, Venues, Music and Record Stores, Schools & Universities, Advertising Sales 212-887-8880, 347-637-0054 On The Cover: John Patitucci and more ® 44 Around Town Jazz Inside Magazine Feature begins on page 6 Eric Nemeyer Corporation P.O. Box 30284, Elkins Park, PA 19027 COLUMNS Telephone: 215-887-8880 Editorial Policies 4 Apple Chorus by Ira Gitler Email: [email protected] Jazz Inside does not accept unsolicited manuscripts. . 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Thirty years ago in June of 1979 trumpeter/ broadcasts of various groups from one led by George flugelhornist Mark Morganelli founded the Jazz Forum Coleman to a quartet featuring the pianos of John in the East Village. It was a place where both musicians Hicks and Albert Dailey. who already had paid some dues and established their Bruce Lundvall’s Elektra Musician label names to some degree, and new comers, trying to recorded sessions there for “live” audiences with by some of the music’s finest keyboard practitioners: gain a foot-hold in the highly competitive New York the Red Rodney/Ira Sullivan Quintet; and Woody , Kenny Barron and Cedar Walton; scene, were given opportunities to play in an informal Shaw’s group featuring . I was top-shelf bassists Ray Drummond, and atmosphere for an aware and interested audience. at the Rodney/Sullivan date and granted that their George Mraz; and pre-eminent percussionists, Leroy For three years there pianist Barry Harris taught chemistry guaranteed real fireworks, the atmosphere Williams, Louis Hayes, Al Foster and Jimmy Cobb. instrumentalists and vocalists every Monday evening created by the Forum and its audience contributed to Other luminaries included Lou Donaldson, before opening his Jazz Cultural Theater as classroom/ the great vibe of the LP. alto sax and vocal; George Coleman, tenor sax; public performance space on 8th Avenue a few blocks After the Forum’s run ended in ’83, Morganelli , tenor sax; John Scofield, guitar; John south of Madison Square Garden. created Jazz Forum Arts, now in its 24th year. Many Hendricks & Co.; Paquito D’Rivera, clarinet & alto Meanwhile the Jazz Forum was also presenting veteran listeners will remember the outstanding series sax; and Claudio Roditi, trumpet. large ensembles such as Morganelli’s rehearsal band, he presented in Riverside Park on Manhattan’s West The last two named were joined in the horn Chuck Israels’ National Jazz Ensemble, Jaki Byard’s Side. This was followed by the long-running Jazz at the department for the grand finale by producer Apollo Stompers and Charli Persip’s Superband, in Music Hall in Tarrytown, NY and many other events Morganelli, with a couple of mellow flugel choruses, addition to the jam sessions run by master drummer at venues in adjacent areas. Every summer he presents and a young trumpeter, surname Rivkin. I didn’t catch Jo Jones. 50 free concerts in Westchester County. In recent the agnomen but Rivkin riffed well. When Morganelli moved the Jazz Forum to years he has produced at Carnegie Hall, Avery Fisher It was certainly, from the standpoint of pacing Broadway at Bleecker Street in 1981 it continued Hall and at Jazz at Lincoln Center’s Rose Theater and quality, a gala night and to quote Groucho, “A gal apace into ’83 and was the site of benefit concerts where, on June 22, the Jazz Forum’s 30th Anniversary a night is enough for any man.” to help out musicians in need; the making of an was celebrated. The gal at Carnegie Hall two nights later (the award-winning film, Music in Monk Time; live radio The evening’s nexus was built on piano trios led second of two successive concerts) was Diana Krall,

4 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 surrounded by her sidemen—guitarist Anthony Wilson, bassist Robert Hurst and drummer Jeff Hamilton—and backed by no less than a 41-piece string, woodwind, flute, brass and percussion orchestra led by Alan Broadbent who, at one point in the proceedings made it 42 by taking a turn at his piano. The sound at Carnegie, with which I usually find something to carp about, was basically okay except for the high end of La Krall’s piano that sometimes was tinny. She was anything but, whether backed by sumptuous sound and taste of the huge ensemble on “Where Or When” or swinging blithely with the quartet on “The Frim Fram Sauce.” There was no intermission but the evening moved along seamlessly with the moods well mixed. Congratulations to Diana, all the musicians and producer George Wein for filling some of the gaps left by his not being able to present his annual festival, and on the occasion of the announcement (that I picked up on the internet while covering the Italian jazz scene in July) that there will be a George Wein NY jazz festival in the summer of 2010. Speaking of Italy, from where I am writing this column, I have two CDs to recommend on the Italian label, abeat, that can be reached through its website at abeat.com They both involve the fine pianist Dado Moroni, who has appeared in New York many times. Solo Dado (the title is self-explanatory) is the first; the other is Humanity, a duo with Tom Harrell. ‘Nuff said. Ciao ‘till September. JOHN PATITUCCI TRIO Remembrance

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To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 5 Feature

John Patitucci Credit: Eric Nemeyer By Eric Nemeyer

After some impromptu conversation with John, we got into the interview, as he began speaking about his experience playing with .

John Patitucci: I remember when I first got the gig and his comping was so fierce. I felt like I was getting blown off the stage by the comping and it was like, “Well, if the comping is better than my solo, I guess I got a lot of work to do on my improvising,” to be strong enough to assert my ideas, to make them sound like they should be there—that was a huge thing. For a bass, it’s like you really have to have power behind your stuff to play with these guys. When they comp, it’s so beautiful and so heavy. Herbie [Hancock] too— unbelievable comping, unbelievable, just incredible, awe inspiring, you know?

Jazz Inside: Could you share some conversations that you might have had with Wayne Shorter that were significant for you in terms of your artistry or just life in general?

JP: With Wayne, he talks about life a lot and he talks about sort of the mission that we all have— personally, as musicians as well as to our families and to each other and he doesn’t like it when people are just music machines and that’s all they talk about and care about—when they don’t really care about deeper spiritual things and developing as mature people. He’s also about the group being so important, and the collective improvisation as opposed to, “I got to do my thing and do my stuff and do my solo,” and that kind of thing.

JI: Sure, which disconnects you from the group.

JP: Yeah—totally. And the truth is, you can never go anywhere near as high artistically if you’re individually focused - as those great bands that we all revere and love, those records we listen to over and over, where there was a band thing where the cats hooked up and they took it to such a high level … which was way encouraging about me jumping out there, and the the whole, because we are really committed to that. beyond their individual levels even though those texture, and really trying stuff, and really stretching We really want that, so he feels free then to really push individual levels were so high, but the group thing and being bold and just being really reckless which us to try and to be crazy—to really jump of the cliff became just so much more than that. So Wayne I like to do anyway. He’s really encouraged me to do without a parachute. understands that very well, and he fosters that, and he so—to really try some stuff where I really don’t know talks to me and he’s a really funny cat too. He’s right if it’s going to come out on the bass, and just go for JI: That was interesting what you said about him being next to me on stage, and he’ll say stuff, and he’s really it and try to be orchestral in my choices. He’s always the cello and you being the flute. That sounds like saying, “I want to be the cello, and you be the flute,” something I remember reading years ago that Miles “…when music becomes too and just thinking more broadly, because he knows would suggest to the bassist, “Don’t play like you’re cerebral, it sort of locks peoples that he’s got guys—I mean we’re not teenage kids on a bass player.” He didn’t want them to pre-define the bandstand at this point. I’m gonna be 50, and the their role in the band. Now, with Herbie, what kind hands up and becomes very other guys are younger than me, but they already are of discussions did you have with him? I know Herbie well established and band leaders and everything. So and Wayne are close and cut from the same cloth. hard for them to express and get people take it very seriously—the group concept. So to a deeper level intuitively if it’s not like he’s got to worry that people aren’t going JP: Yeah, and with piano players, since I play some to be connected and play things that make sense for piano, I can get with them and say, “Show me this,” or, they are struggling so much just “What the heck are you doing here?” because you can to play what’s written.” www.johnpatitucci.com see it. Wayne wouldn’t be as literal and say to try this or to try this over that. He wouldn’t do that as much, but

6 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 he would play stuff that was so heavy and after a while “I’m really into …. really striving to be authentic in my life, which is you’d start to realize, “Oh, I think that I understand,” and you’d get a glimpse of how he’s approaching it. a hard challenge. It’s the biggest challenge to do it. It’s one thing to He does a lot with pure melodies and he doesn’t play talk about, and read about, or even to help others to learn about it, very scale-ish. He’s another one who is masterful at combining the sounds of triads with different things, but it’s another thing to live it, in your house, with your family.” so even over elaborate harmonies, it doesn’t sound like the usual stuff that guys might try to play. It never with Chick too, he had an interesting way, and I’d say, JP: That’s hilarious because he was so brilliant—he sounds like that. He’s got his own way of doing it. I “What are you thinking about on this thing? What was so heavy man. I didn’t play that much with him, remember when we were doing the “Directions in are you blowing over it?” and he’d say “Well, I’m but his sound! I was pretty young—I think I was 23 or Music” tour with Herbie, he had this arrangement on kind of trying this,” and he would make up his own 24. His sound really made a big impression on me that “So What” where he had all of these incredible sounds synthetic scales and stuff. He was really free. He was so night. It was huge. We did this concert in San Luis and he wasn’t really playing any minor chords. It was fluid of an improviser that there were really no chord Obispo, California at some concert place. It was the all this stuff built off the dominant [chord], and it was changes that could stump him. All these guys are like only real concert I ever played with him. like, “What is it? Come on,” so he let us go around that. It doesn’t matter how deep the harmony is, how behind him and I wrote the voicings down and he chromatic, how the pathway between the chords is JI: You mentioned Wayne Shorter’s leadership style. showed me what they were. So you could ask him and unusual, it doesn’t matter. They can just traverse the What things have you picked up from different leaders he’d tell you. “This is what it is,” or, “It’s this,” and we’d whole deal without much trouble at all. that guide you to be the kind of inspiring leader that ask, “What are you thinking when you do this?” He you want to be? JI: said, “Sometimes I just go for shapes and see what my How about working with Freddie Hubbard? JP: Well, mainly to encourage guys to really explore hands find and really explore that and do some other JP: I don’t know. He was a total virtuoso as well. He and develop and not play it safe and not just play stuff and once I’m in it, I can always find something.” was unlimited in his ability to play through changes. from their trick bag. And also, to pick guys that you He’s such a quick thinker and has an amazing ear He was like the Coltrane of the trumpet. There was feel would really enjoy playing the music that you’re and everything, and Chick was really fast like that nothing that he couldn’t play through, so in that way working on at the time, that really have fun doing it too—unbelievable. This is what used to kill me about he’s very similar actually to those guys and his playing and that would really be able to throw themselves into him, because I was in his band for ten years. He writes fit very well. I teach at City College here in New York, it with the band. That’s the way I like to do it. I try to difficult changes sometimes on his tunes that aren’t and when I teach comping, I like to play his record that find guys that are likeminded and say, “Here—here’s a easy to blow on - but he makes it sound really easy. So he plays “You’re My Everything” on. Herbie’s comping vehicle. Stretch on this,” or, “This is what I’m working when he’s playing his solo and you’re accompanying on that record is just some of the greatest comping on on, lets do this,” and I give people a lot of space and him, you’re thinking, “Oh wow, this is gonna be fun to any record ever. So Freddie fits right in with those that’s what I learned from all these guys. I’m interested play, this is gonna be easy,” until you start to play and cats. He obviously loved it. He loved that approach in being a composer and it’s important to me to have you are like, “Oh man, oh my god!” (laughs) And we harmonically. He was right in there with that. And used to crack up because he tended to write the chord the thing that I remember most about playing with symbols in a more simplistic fashion because he knew him was his ability to play also at really up-tempos but he was gonna overlay all these different alterations, create brilliantly. Usually us bass players, when we’re but with me, I used to walk through it with him, going to play “Rhythm Changes,” after a while we’re because I liked to write the alterations in while I was

like, “Ugh, I hope this is going to be over soon, after Credit: Eric Nemeyer learning the tune. I knew that when he said F7, he was chorus forty. [laughs] But with Freddie, I remember playing flat 13, flat 9-13 with a +11, or a sharp 9, you being on a gig and he was playing “Rhythm Changes” know? [laughs] So that was good training for me— one day on this concert we did, and I didn’t want him playing with him and ear training and dealing with all to stop and it was really fast, but I didn’t care. I wanted those changes being thrown at me and finding ways to to hear what he was going to do on the next chorus improvise and try not to sound like I’m playing licks because every chorus was unique and it was unlimited. over the stuff. He had that thing and was like that too. He just streams incredible fluidity. These guys JI: With Herbie, as you watched him play voicings, were very special and it’s really sad that we don’t have what kinds of things did you observe and learn? Were them around anymore—Joe and Freddie. Obviously there revelations? we still have Chick and Wayne and Herbie and guys like Joe Lovano and people who really improvise. JP: Well, I’ve listened to these guys so much, so it was just beautiful voice leading and a revelation in that he JI: When you worked with , what kinds of could arrange the whole tune of “So What” and never things did you get from him? play a minor chord. [laughs]. It was all these things off the dominant and these altered things and it JP: He was someone who played completely by ear. sounded so incredible and he made it totally different He could hear all that stuff and play so great, but I sounding. So that was the thing about that that was don’t think he was much of a theorist or even a reader. so powerful. He also re-harmonized a ballad that Roy Did you know that? Hargrove brought in for that record which came out sounding incredible. He basically re-harmonized the JI: Yes, I read in his biography that because he didn’t know exactly what he was doing theoretically, he entire piece, and we watched him do it in a rehearsal integrity as a composer but it’s also very important was afraid that if one day he lost ability, he wouldn’t and Mike [Brecker] and I were just — our jaws were not to overwrite because when music becomes too be able to re-learn things - or wouldn’t be able to on the floor. At one point he started to change all the cerebral, it sort of locks peoples hands up and becomes duplicate or continue – as someone who understood chords and he said, “Roy, I’m sorry I’m changing your very hard for them to express and get to a deeper level their approach backed by some deep theoretical tune,” and Roy was like, “Go ahead and change all of intuitively if they are struggling so much just to play knowledge. it! Go Ahead!” (Laughs) It was incredible. But then

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 7 FEATURE what’s written. people think “Oh no, he’s a right wing fanatic.” It’s not that. In fact, the harshest criticisms of Christ were JI: Have there been moments in your career when towards the religious pros of the right wing of his day, Credit: Eric Nemeyer you’ve received encouragement that gave you which were the Pharisees and the Sadducees. So, I’ve confidence to push ahead? been committed to this for a long time, and studying and being involved in churches and doing community JP: Well, Chick was very encouraging like I said. He stuff and it’s a huge a part of my life, and my family’s really believed in me as a composer and as a bass player life. My brother is a great guitarist, but he’s also a pastor and he believed in the path I was taking. He was really out in the San Francisco Bay area in a covenant church. supportive and he was willing to go out on a limb for I go to a Presbyterian church here that was launched me, like when he got me a record deal. The record from a main one in called Redeemer company said, “Well, we want to hear some demos,” Presbyterian. Tim Keller, who is an incredible man of and he told them, “No, he can compose, you’ll hear faith, also one of the smartest guys I’ve ever met in my the record when it’s done.” So that was pretty heavy. life has written two incredible books. One is called I was pretty young and was just trying to write and to The Reason for God, which was a New York Times play and I can understand their perspective too. It was Bestseller and there is another called The Prodigal God, like they didn’t know me that well. But Chick really which is great. I’m really into reading a lot of books bought me artistic freedom from the get go, which about this kind of stuff, but also just really striving is a heavy thing. And I would say Herbie and Wayne to be authentic in my life, which is a hard challenge. were very encouraging in terms of the style that I was It’s the biggest challenge to do it, and it’s one thing to working out of and playing in. Wayne was always like, talk about and read about or even to help others to “Oh man, that’s great.” He really was pushing me to learn about it, but it’s another thing to live it, in your keep exploring all the different colors and use the bow Novak. There were different challenges in different house, with your family (laughs)—with your kids, you and doing different things and Herbie too. They liked groups like with trio I remember one time he decided know? I have an incredible wife and she’s amazing the fact that I was trying to do some different things he wanted to play the music of Three Quartets, but and my daughters are wonderful but when you live in and play linearly - more like a horn or a pianist on the with the trio, and that was some hard music man. But a family, that’s where all your weaknesses are exposed. bass when it came my time to improvise. But also, just he was sort of figuring out how to do it with three guys You find out everything. I always joke with Danilo in general, they were just very encouraging. In terms instead of the quartet and that was very intense. Then because he’s got two daughters too and I say, “This is of Wayne’s band, Herbie has been very encouraging later on we had some of those pieces for the band with where we find out how jive we are!” laughs)( but it’s toward us in that band too. He comes to see us often Bob Berg—that was a very special group. He had some good, because you learn a lot—because it’s a challenge. and to hear what we’re doing, so we really appreciate incredible music written for that too—the stuff we Can you really live it? Can you have enough patience that. Wayne is really great with all of us. He gets did from Time Warp. It was incredible music man, and to really be a good a father? Can you get out of your excited and says ‘yeah man’—he likes it when we that band toured Europe quite a bit and that was really music mode enough to be with your family and relax stretch and really go for something new and not try special, and just a challenge harmonically to deal with and give them your time and your energy and your to recreate what we did last night or something like his music - and sound free doing it. That really shaped love and not be always so consumed with yourself and that. And granted, we have a lot of music that he’s me a lot. I learned a lot. and I were your music and your composing, and your practicing? written too. We improvise a lot, but we also have a lot also very close. That’s the reason I moved back to New That’s hard man. It’s a challenge for anybody who’s of pieces that we can go in and out of that he’s written York in ’96. One of the big reasons was that he was bitten with the bug, and has the disease of being because he keeps writing all of these beautiful pieces very encouraging about that and we lived very close obsessed with music and driven to be an artist. I am and that’s a fun situation because anybody can cue the to each other and he was just an incredible guy, you earnest and sincere and really working on this stuff. next tune—there’s no set list. know? He came to the hospital both times when my You do it in community actually. You do it by getting involved with other people, by giving yourself to them, JI: How did you maintain the freshness and the daughters were born. With his family, he was just an your family, and your friends. In our church, we are intimacy and the friendship and so forth for ten years incredible person and musician — very encouraging. big into having small groups where you get together without it getting stale? That was a great tour. Of course, Brian [Blade] and Danilo [Perez] and I are very close. And that’s a very with people and you really get to know them and you JP: I don’t know. It went by kind of fast. (laughs) It deep connection there, with that particular trio and walk with them through the struggles in their life. You was fun and it was challenging and it was so much with Wayne [Shorter] too, of course. There is a special pray with them, you hang with them, you have meals music. He kept writing a lot of music and we did a lot relationship there. It’s very much like a family so that’s together and you get involved with their families and of projects together. something I treasure, you know? that I think is a great thing. Communities are where you grow. And that’s why community in the jazz JI: What were some of the most challenging things at JI: Sure. In the course of the conversation, you’ve world is so important. When you have a group, it’s that time for you? made it clear that your intentions and your sort of a micro community and if it’s really connected on a musical ethics are rooted in a deep place. I’ve also heavy level—then the music can really go somewhere. JP: When I was with Chick’s band, he wrote a lot of read some corresponding perspectives in your liner So, I’ve found that just being part of that, and also incredible music, we stretched and I found a lot of new notes over the years. Given your connection to this, trying to grow spiritually … I read a lot, I try to pray a ways to play on the acoustic bass and the electric bass as Wayne Dyer calls it, this “Field of Intention,” or lot and I’m committed to that kind of willingness to and in the electric situations he was writing a lot of Source Energy, or a Higher Power - maybe you could be honest with yourself about what you’re weaknesses music toward the end of the electric band, before I left talk about the connection for you between music and are and try to deal with them. In my case, the way my it. It was almost like Bartok for electric instruments. spirituality. faith works is to let God have free reign to make me It was like Bartok meets Chick. It was some very deep a better person. To allow him to point out the things music and we had to really work on it and learn and JP: Well I’m somebody that’s been involved in studying that are not happening and work on them. To not try then improvise on it and that was very heavy. There and practicing Christian worship since I was about to side step them and say ‘well, you know,’ but admit it were also incredible moments with the trio through seventeen. Before that even—I was seeking when I was when I make a mistake and try to really face that and the years, with Dave Weckl on drums and also later younger, so that’s been a huge thing—not in a political move forward. We could talk about that all night. It’s on the group that we had with Bob Berg and Gary sense though. A lot of people say Christian now, and a huge topic, obviously (laughs).

8 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 JI: It’s something that really fascinates me. You JI: One of my favorite motivational speakers and mentioned being authentic. There is something to trainers, Brian Tracy, talks about studies and found be said for being in a family, or having parents, that that many of the people who failed the most are the either allow things for you to happen, or encourage ones that ended up with incredible success. So he said those things and provide you with the kind of support to try to fail as often as you can and as early as you can or quality upbringing that ultimately can’t help but so that, if you’re smart, you can learn from all those produce someone like yourself. I know that you’re failures, and really move yourself ahead. originally from Brooklyn. I also spent my first few years there growing up, before moving to Philadelphia. JP: (laughs) Yeah. Scrape yourself up off the floor as I like the quote from the Department of Health in many times as possible. So I was pretty naïve and I just 1928 that said, “It is difficult for people to overcome didn’t really know and I had a lot of dreams and just what their parents did to them as they were putting loved playing, so that’s what I did and I didn’t really their first six birthdays behind them.” Maybe you ever look back. In college I was studying, my teachers can talk a little bit about the type of family life that assumed that I was gonna play in an orchestra, which I enabled you to become who you are. loved, but I wasn’t prepared to give up jazz which they kind of wanted me to do. So I split after three years of JP: I was fortunate because every family has issues and college and my mother was worried. She said, “I wish stuff, but what was neat about our family is that people you had something to fall back on,’ but truthfully I were very connected generally and generationally. We never had that mentality ever in my life. It just didn’t hung out a lot with the grandparents, and we were all resonate with me for some reason. My thing was just sort of in Brooklyn not far from each other so both sort of like, all the chips are in—this is what I want sets of grandparents weren’t far away. We had a lot of to do. I was very reckless when I look back on it and aunts and uncles around too. The first place I actually see the odds were really stacked against me. I thank remember is the second place I lived in Brooklyn. God that he allowed me to do what was in my heart, As an infant we lived on 10th and 52nd in Boro Park. because I had no idea (laughs)…I had no idea how Then we had a house in East Flatbush and that’s the uncommon that is, that you get to do all the stuff you place I really grew up. My father and my uncle didn’t wanted to, you know? have any bread. They both went in and bought this house together. My uncle and his two daughters and JI: Its great when dreams start coming true, isn’t it? his wife lived on the bottom floor and we lived on the top floor. There was an attic that we all had use of and JP: Yeah, oh yeah, it was exciting. I enjoyed every bit there was also a basement where we used to set up the of it and it’s sometimes frustrating because I’m always Lionel trains. So it was a really tight knit family. It was trying to get to the next place, practicing a lot, trying very soulful, very Italian, a lot of cooking going on - to get better and sometimes I get frustrated if I’m not improving as fast as I like. But that’s life, you got to massive amounts of cooking and people loved music. not making instant progress, or having seemingly accept that. Nobody was a musician until my brother and I started reached a plateau, she won’t accept it, and redoubles doing this. They had no idea about the music world or her efforts – making brief spurts, followed by sharp JI: Years ago I read an article in Esquire magazine anything, but they didn’t discourage us like some of called “Mastery.” It talked about how some people declines and eventually giving up. But the concept for the other kids who I think had situations where their know that the path is never-ending. Some think those on the path of mastery is a long-term one, where parents said, “You’re not gonna do that,” or, “Don’t they are already masters – thus knowing everything, it is understood that most of the time you are spending even think about it.” I know my parents didn’t think and by definition leaving nothing else to learn. The are on these plateaus. You make a jump upward to the I would ever become a musician necessarily to earn a article was about sports, for the most part, It talked next level, then a small fallback to a level slightly lower living, but they never discouraged me. They came to about people on the path of mastery and three types level – but one that is higher than the one you were all my concerts and they were very much there for who are not – the dabbler, the obsessive, the hacker. on. Ultimately by staying on the path of mastery – as us, you know? But it was interesting later on where For example, the obsessive is someone interested in opposed to becoming a master - you reach levels of everything sort of went well. I asked my Dad, “What results, no matter how you get them. He or she starts subtly that you never imagined existed when you first did you think I was going to do?” And he said, “Well by making robust progress. But when she finds herself Continued on Page 36 I thought you’d be a salesman or something.” (laughs) So even though he had no idea, because it is a weird and strange world if you aren’t used to it - how does someone make a living as a musician? That’s a great Joris Teepe question now-a-days. So people in my family just didn’t know about all that stuff so they were just kind Big Band of like, ‘Well, whatever the kids are into, we’re gonna cd pre-release Tour of new York ciTY support them’ so that was a big gift for me that I didn’t Featuring some of the best musicians of today... Don Braden, realize until later when I talked to other people and Mark Gross, Earl Mcintyre, Michael Mossman, Gene Jackson, etc. grew up and went to school and had friends who Aug 3 & 4 nuBlu 62 Avenue C, NYC played instruments where their parents where like, Aug 5 faT caT 75 Christopher @ 7th Ave, NYC ‘you can’t do that,’ or really discouraged them. Aug 6 smalls 183W 10th street @ 7th Ave, NYC - Quintet only- Aug 7 cecils Jazz cluB 364 vAlley rd - West orAnge, NJ Aug 8 puffin foundaTion 20 puffin WAy teAneCk, NJ JI: I’ve learned that when people say ‘you can’t do For more details www.joristeepe.com that,’ they mean, ‘I can’t do that.’ The Big Band’s first cd “We Take No Prisoners,” available on Challenge Records. All original music written and arranged JP: Right, or ‘we are afraid for you to try to do that,’ or by bassist Joris Teepe. Street date: September 6 CR73284 something like that. www.joristeepe.com // www.challengerecords.com

To Advertise CALL: 215.887.8880 AugustCRI 2009 [09-436] • Jazz CR73284 Inside ™- AdvNY •Jazz www.jazzinsidemagazine.com Improv+++++.indd 1 14-07-09 09:53 9 BASS Lovers’ celebration Vicente Archer By Gary Heimbauer Credit: Eric Nemeyer JI: Vicente, there are a few amazing bassist stories Hayes, Curtis Fuller, Mark Whitfield, , around these days, like Esperanza switching from Geri Allen, Stanley Jordan, Karrin Allyson, Stefon violin and making her fast ascension to the top, but Harris, Janis Siegel, Lewis Nash, Mingus Big Band, you did it in one year!! How did this happen? Were and The Lincoln Center Jazz Orchestra with you practicing in your mind for some years? Did you , among many others, has affected shed 20 hours a day? Talk about when the switch you? Any stories or words of wisdom from them? happened and the one or two years following.

“One day I decided to buy a bass a friend was selling … After 8 months I got my first gig with Donald Harrison. That made me shed even more when I had down time from business school. I wasn’t ready to play at that level but JI: Some say that stress and angst make for good being in a pressured situation I was getting art, and others say you need to find serenity to really express yourself. Have you found that your life outside better every week.” of music, or your state of mind in general have a direct correlation to your playing?

VA : I started out playing jazz guitar and attended VA : Be yourself and do not try to play like what you VA : I am part owner of a skate/snowboard shop here

’ celebration the New England Conservatory of Music for one think they want to hear. in Brooklyn that occupies a lot of my downtime. So year. One day I decided to buy a bass a friend was when I do get a chance to practice, my time is focused selling, just for the fun it. I had figured out quite JI: What is new and coming up? and concentrated because I do not have all day a bit by myself before I took a couple of lessons to everyday to do that. Skateboarding/snowboarding has overs refine some of the technical issues. Some technical VA : Robert Glasper has a new recording coming out always been a part of me and has a direct correlation concepts from the guitar I applied to the bass at the end of August called Double Booked on Blue with music. It too is also very creative and is focused worked even though it was from a different family. I Note. It features the Trio with Chris Dave and his on individual style. already knew how to improvise and play on changes other band Experiment. and it wasn’t long for me to get the bass lines down. JI: What is the greatest compliment that you can BASS L I did play a lot with friends and we had sessions at JI: What was it that initially inspired you to become a receive as a musician? our house quite frequently. After 8 months I got my bassist? How did it all start? first gig with Donald Harrison. That made me shed VA : “Were you in the band that just played?” even more when I had down time from business VA : Not being able to play with any good bass players school. I wasn’t ready to play at that level but being at college. So I learned to play so I can hear what I in a pressured situation I was getting better every like. week. JI: What are your thoughts about electric vs. acoustic

JI: Can you talk about how playing with influential bass? Credit: Eric Nemeyer artists like Kenny Garrett, , Tom Harrell, Freddie Hubbard, Deborah Cox, Louis VA : I play and love them both. They both have their place in the music and are not limited to any genre. For example, it is always fun playing R&B, Hip-hop with the double bass, which is not always common.

JI: When you first embarked on the sophisticated “Our fatigue is often journey of becoming an improvising or jazz bassist, caused not by work, what were some methods that you found extremely useful to achieving your goals? but by worry, frustration and resentment.” VA : Know yourself and always explore regardless whether it works for the situation or not.

—Dale Carnegie www.vicentearcher.com

10 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 PERFORMANCE Spotlight • PERFORMANCE SpotlighT ADRIANO SANTOS BRAZILIAN JAZZ QUINTET

ZINC BAR To advertise your THURSDAY, AUGUST 27TH 9:30PM • 11PM • 1AM performances in Featuring David Binney, alto sax Helio Alves, piano ™ David Ambrosio, ac. bass Jazz Inside NY Magazine’s Dendê, percussion Adriano Santos, drums PERFORMANCE SPOTLIGHT 82 West 3rd Street Greenwich Village, NYC 212-477-9462 • www.zincbar.com

section, contact Eric Nemeyer “Adriano Santos exemplifies the wealth of sounds that can emanate from a creative drummer’s trap set.” at 215-887-8880 or Zan Stewart, jazz writer for The Star-Ledger

[email protected]

www.adrianosantos.com

Rasul Siddik-Katy Roberts The quartet will celebrate the release of Rasul’s first CD as a leader of his quintet after Willie Martinez (Origin Records) recording over 50 CD’s as a sideman with such greats as and David Murray. On his brand-new CD, Plays for Monk, -based guitarist Bobby Broom “tackles the nearly sacrosanct works www.myspace.com/rasulsiddiknowartet of renowned pianist/composer Thelonious Monk with an www.katyroberts.com artful mix of grit and grace. . . . With a seemingly effortless REAL NEW YORK STYLE LATIN JAZZ command of the guitar (and a fertile imagination to match), Broom turns what could have easily been a pedestrian ‘tribute’ record into an inspired, swinging affair.” @ —Jon Regen, Billboard FLUSHING TOWN HALL “One of the most musical guitarists of our times.” 137-35 Northern Boulevard —Ted Gioia, Jazz.com Flushing, NY 11354 Bobby Broom and his trio Free Outdoor Concert (Dennis Carroll, bass; Kobie Watkins, drums) Sunday, August 23rd. 2 PM - 4 PM One night Only tuesday, August 18 • 8:30 & 11:00pm Birdland • 315 W. 44th St. Tickets & Information: 212-581-3080

www.bobbybroom.com 236 East 3rd St. between Aves B & C August 27th, Two Sets @ 9:30 & 11:00

September 17, 2009 • 9:00pm Puppet’s Jazz Bar 481 5th Ave, Brooklyn, NY 11215 www.williemartinez.com www.myspace.com/lafamiliasextet 718-499-2622 www.nuyorican.org www.puppetsjazz.com www.flushingtownhall.org BASS Lovers’ celebration Cameron Brown By Eric Nemeyer Credit: Eric Nemeyer

JI: As a teacher at the New School and around the Cowell and Tony Williams and a cast of thousands. world, what do you feel is the most important thing a Pullen was an under-rated genius whose solo piano teacher can do for a student, and the most important record should be required listening for every young thing a youngster can do for himself? pianist. Dewey was the guy with the endless words of wisdom for every life situation. Joe Lovano matches CB: With a student, I try to be present, unguarded, Cherry’s love for and immersion in every imaginable really listen and tell it like it is, with all the nuances. kind of music and is simply the most positive Jazz musicians fly by the seats of their pants. We try to person I’ve ever met - a huge creative force in jazz. be prepared for every situation, but very often we’re improvising by intuition at the moment - listening. JI: What is it about musical improvisation that you What a student can do for himself is to practice and find so valuable? What does it offer to you, your band- listen and play and try to give him or herself to most mates, and the listeners? What motivates you and complete technical education possible. He needs drives you forward? to first imitate, and then get to the point where the material is absorbed, assimilated, and made his own. CB: What is it about jazz that so attracts us, that so Then he can carry on the real tradition of jazz, which seduces the Europeans and the Japanese and really is to innovate - create something new. everyone? What’s the source of that energy, the boundless joy and swagger of Louis’ “High Society”, JI: Over the course of your long and prestigious career, the soulful, impossibly delicate beauty of Miles and CB: I’m from the school of experience. I had to work. you’ve played with Don Cherry, George Russell, Bill Evans playing “Blue in Green?” I think that it I had to make a living, so I was just trying to learn as Roswell Rudd, Archie Shepp, Art Blakey, Philly Joe is the equal and opposite reaction to four centuries many tunes as I could, listen to as many great bassists Jones, Lou Donaldson, Dewey Redman, Joe Lovano of unspeakable cruelty, death and mayhem. Jazz and bands as I could. Then I tried to practice and play and on and on. Can you share some of the experiences is the diamond created by the awful experiences what they played. you had with some of these players? Anecdotes, words of slavery and its aftermath. Its positive energy is of wisdom? almost irresistible to people with open ears and open JI: Some say that stress and angst make for good art, and others say you need to find serenity to really ’ celebration express yourself. What do you do to stay balanced? “Jazz is the diamond created by the awful experiences of CB: Stress can be both a motivator and inhibitor of slavery and its aftermath. Its positive energy is almost creativity. With - she “got to” me - it was overs something of an inhibitor, but sometimes a good kick irresistible to people with open ears and open hearts and in the butt works wonders. The older I get, the more it has now become a universal language of improvisation I lean toward serenity to seek inspiration. Outside music I try to spend as much time as I can in nature: shared by musicians and listeners all over the world. It walking in the woods or hiking on the Appalachian BASS L remains connected to that painful root but, at the same Trail. time, has transcended it.” JI: What is the greatest compliment that you can receive as a musician? CB: You failed to mention my 10 year experience hearts and it has now become a universal language of with what was certainly the “band of my lifetime,” The improvisation shared by musicians and listeners all CB: When an audience member comes with a George Adams/Don Pullen 4tet featuring Dannie over the world. It remains connected to that painful compliment, you can see in their eyes and feel from Richmond. To be on the bandstand with Dannie root but, at the same time, has transcended it. I was their vibe that you really reached them, really touched Richmond for 8 and 1/2 years was the thrill of a lifetime blessed as a young teenager to sit five feet away from them with your playing and compositions. This is the for a young bassist. Dannie, Don and George were the , Wynton Kelly, Paul Chambers and greatest compliment - making that connection with best possible role-models for how to play this music. Jimmy Cobb, five feet away from Trane, McCoy “regular people.” Dannie was a dear friend, totally supportive both off [Tyner], Jimmy Garrison and Elvin [Jones]. I and on the bandstand, and one of the most complete couldn’t understand Trane at that moment, but I was musicians and drummers ever. Then he took me into irresistibly drawn to try to figure out how Jimmy and his band and taught me a big chunk of the Mingus Elvin, how Chambers and Cobb did what they did. repertoire -- priceless. I met Don Cherry when I was “In the beginning of a change, 19. He improvised his life, with music coming out of JI: When you first embarked on the sophisticated the patriot is a brave and scarce every pore, every minute. When you were with him, journey of becoming an improvising bassist, or a jazz man, hated and scorned. When the you were swept up in his profound joy and excitement bassist, what were some methods that you found cause succeeds, however, the timid about all music. There’s not time or space here to talk extremely useful to achieving your goals? (Perhaps join him...for then it costs nothing about all these wonderful players and composers. something that you developed on your own, or your to be a patriot.” George Russell is a very special composer and arranger favorite instructional resource) and getting to record all his big band material in the 1960s in Sweden was amazing. I played a big Carnegie www.cameronbrownmusic.com —Mark Twain Hall concert with him the 70’s which featured Stanley

12 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 PERFORMANCE Spotlight • PERFORMANCE SpotlighT

Hey You- Margie Notte Yes I’m talking to you!

Do you want to taste some serious fun or not?

Then get your ass uptown weekly to Perks Jazz Club for the Thursday Night Throwdown 9pm-1am. Saturday Jason Campbell Guitar aug. 1St • 9:00pM Pat Bianci Organ Cecil’s Jazz Club & Restaurant 364 Valley Road, West Orange, NJ • (973) 736-4800 Lawrence Leathers Drums Willie Williams: Saxophone Brandon McCune: Piano No Cover- Tom DiCarlo: Bass No Minimum- Don Williams: Drums No Bullshit! Kahlil Kwame Bell: Percussion Corner 123rd St & Manhattan Ave, Harlem “This is an absolute must have CD for any 212.666.8500 music lover who appreciates a rich, sultry and undiluted beautiful voice like Notte’s.” www.jasoncampbelljazz.com — Lynda Jo Gross, Daily Sun News www.myspace.com/ jasoncampbelljcandthejazzhoppers MargieNotte.coM Oscar Perez Nuevo Comienzo JAZZ SINGERS Oscar Perez, Piano Stacy Dillard, Saxophone • Greg Glassman, Trumpet WORKSHOP COLLECTIVE Anthony Perez, Bass • Jerome Jennings, Drums Emiliano Valerio, Percussion • Charenee Wade, Voice

“This is a musician that has his own voice. Both his compositions and his improvisations are evidence of this” Summertime Swing! —Dave Miele, Jazz Improv Magazine Ricky DeMarco Premiere of Commissioned work - Afro-pean Affair September 3 • Sets at 9pm and 10:30pm Dor Green Jazz Gallery • 290 Hudson Street, New York, NY Ira Hawkins www.jazzgallery.org September 13 • 3pm Concert Leila Keels OSPAC Jazz Festival • 4 Boland Drive, West Orange, NJ Sachiko Tatsuishi www.ospac.org

Nuevo Comienzo with special guests Wycliffe Gordon and Peter Bernstein August 15, 2009 CD available on iTunes, Rhapsody 7-11:00pm • $10 www.oscarperezmusic.com Shutters Café Afro-pean Affair was created with support from the Chamber Music America’s New Works: Creation and Presentation Program, funded 433 W 34th Street through the generosity of the Doris Duke Charitable Foundation. 212-279-3446 New York City

MORE INFO: [email protected] 973-923-7932 Leonardo Cioglia By Eric Nemeyer

JI: Can you talk about some of the differences and with producing my own shows and was hands on similarities that you’ve discovered first in the world with creating my CD covers, posters, flyers and such of Brazilian music and American music? artsy items. New Media was becoming more and more part of our lives and I was drawn with fascina- LC: This one will be a tough to come up with a sim- tion into this ‘virtual’ world. ple answer. It’s such a dear subject to me because I have been dealing with it all my life, this hybrid life Emerson College was offering this masters program that region has a tremendous influence in my own that I’ve led. You see, I have been in the U.S. for more that seemed perfect for what I was interested in. It compositions. There I will also be playing with my than half of my life, plus, when in Brazil I went to an was called Visual and Media Arts. There I learned to great friend Duduka Da Fonseca and his quintet. So, International type school - The American School of build websites, was the coordinator for the Jazz Oa- I am looking forward to this festival. I am also flying Brasília - not to mention my Italian roots. I do tend to sis, a daily radio jazz program and had my own Bra- home to Brazil more often. I want to be able to spend think that we have more similarities then differences zilian music show at WERS, the college’s radio sta- more time with my family. In the process I am also between the music of Brazil and the American Mu- tion. It was the first time I was exposed to novel ideas booking performances with local musicians. sic. More important to me then the differences and such as digital distribution and how to integrate this similarities between any cultures is the exchange, the new technology into what I had been doing all along. JI: What is it about musical improvisation that you give and take between the two cultures. That’s where I think that this course was fitting in the sense that find so valuable? What does it offer to you, your it has always been and where it will always be.

JI: Despite having achieved a level of success as a mu- sician, you decided to go back to school for art. Can “The key though, is to find musicians that know how you talk about what made you make this decision to improvise with space. What they play is just as and how art has played a role in your life, alongside your musical activities? important as what they don’t play. That takes very

LC: Thankfully my parents were very careful in ex- skillful improvisers to accomplish.” posing me to a various forms of art and culture in my

’ celebration early years. Growing up in the city of Brasília was very it really merged all aspects of my background to serve band-mates, and the listeners? What motivates you interesting as well because I was part of a different the purpose of music and art for me. To this day it’s and drives you forward? Brazil, a new Brazil that was being developed. People been very useful and satisfying to be involved with from all over the country were migrating to this new all aspects of a production such of my CD Contos for LC: I like the interaction aspect of it. How what one overs modernist capital. The city was still in development. instance. Where again I was involved in all aspect of player does can affect the way you play with him or It was this mixture of being a super, amazingly well its production.... from the music, to the cover art, the her and vice versa. I also like the energy that comes built work of art on its own and this young develop- photos and the website that is coming up soon. out of a group or an individual’s interpretation of a ing city. The fact that I studied in this international piece of music. For me a good improviser is not nec- school exposed me first hand to people from all over JI: Can you talk about your current activities, musi- essarily a soloist. I like improvisers that think and in- BASS L the globe and their backgrounds. Music had already cally, and what is on the horizon? teract as composers that see things in a larger scope. been a part of my life since I was 8 years old, my Ital- When I write my music I have certain specific parts ian grandfather, who gave me my first music lesson LC: Because I tend to want to get involved with many for the instrumentation that I have in mind but I al- ever, was a professional orchestra musician. My dad facets of what I do towards music, things move a little ways let the players make them their own. Of course played the violin and considered a music career but slow for me. I don’t see this as a negative thing. It’s this requires a certain level of trust in the musician. opted otherwise. So, at that age they put me into a positive that you can actually take your time and do It’s important to choose the musicians that are used music school primarily for classical music. There I things like you really want them done. So, with that to playing together so that they can complement one was part of the children’s choir and we sang in Bra- said I am really focusing on pushing my first compo- another. Jazz for me is a process through which many sília’s first opera productions – “La Bohème,” “Car- sitional CD Contos. Even though the CD came out forms and styles of music can be delivered. I like the men” and “Carmina Burana”. During my teen years I at the end of last year, I am still looking for the right fact that improvisation can be used in many elements got involved with punk rock and later with Rhythm place to have the CD release event here in New York. of music. I am fascinated by freedom within struc- n’ Blues and eventually jazz. After finishing high I would love for it to be with the musicians that re- tures if you will. Take my album Contos. It’s a com- school I went on an exchange program to Canada. corded the album - John Ellis, Mike Moreno, Stefon positional album, a suite of ten songs that stand on You see I had finished high school in three years. In Harris, Aaron Goldberg and Antonio Sanchez. We their own and yet serve as vehicles for improvisation. my senior year I was free to choose any courses that I are participating in the Ouro Preto Jazz Festival in I choose to have great soloists from my generation wanted. It turned out that the school that I was gong Brazil this year in September in this will be our CD and yet everyone in the group has an acute sense for to in Kelowna, BC, had a great high school program. release event there. We are all going except Stefon composition. This causes for them to improvise not I ended up receiving a partial scholarship to attend who had previous engagement elsewhere. only over the ‘blowing’ sections, but on the compo- Berklee College of Music. After considering between sitions themselves. A groups that has guitar, piano music and an architecture/urbanism program I opted This will be major for me because it’s one of my favor- and vibraphone/marimba can be very harmonically to head to Boston. My Boston years were amazing. I ite festivals in Brazil in one of my favorite towns in dense, which is what I wanted. The key though, is appreciated my music courses but was also really into the world which is in the state of Minas Gerais where to find musicians that know how to improvise with the art and academic world of that city. Towards the my entire family is from and where the music from space. What they play is just as important as what end of Bachelor’s program I was really interested in they don’t play. That takes very skillful improvisers branching out though. I had always been involved www.leonardocioglia.com Continued on Page 52

14 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 PERFORMANCE Spotlight • PERFORMANCE SpotlighT Richie Goods & Nuclear Fusion with Mike Clark, Helen Sung & Jeff Lockhart

Tuesday‐Saturday, August 11‐15 Dizzy’s Club Coca‐Cola, Jazz at Lincoln Center Broadway at 60th St. After Hours sets: 11pm Tu‐Th, 12:30am Fr‐Sa ($10)

Saturday, September 19 The Blue Note L BASS 131 West 3rd St. Late night groove series: 12:30am ($8)

www.richiegoods.net overs “If you get the chance to catch this group do yourself a favor and do so. In the mean time pick up the new release [Live at the Zinc Bar], which is a snap shot of this group doing what they do best until the next live show.” Christopher Lams, Jazz Improv NY ’ celebration

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JI: You’ve played with a gigantic list of influential and some of my relatively inexperienced peers, who seem legendary leaders. Can you talk about some of the to think they can simply walk into such a position, highlights you’ve had? Not in terms of prestige or to drop simply on the basis of who it is they perceive they are. names, but just experiences that just blew your mind, I would no sooner expect this than I would expect to and had a big impact on you? Things you learned? work in a good band at the Village Vanguard without having first learned, after years of preparation, how to TC: The overriding single highlight of any career play the blues. Teaching is a craft that is developed after as a sideman that occurs anytime one is fortunate time and much experimentation. College teaching also enough to perform with a true master of the music is requires that you be present on a consistent basis. One that one has the opportunity to learn what one still has to make choices as to how to balance performing

“Teaching has never represented “just a gig” to me that is to be used solely as a financial antidote to playing awful

gigs instead. It is a calling and requires my fullest time business has been turned upside down in the recent and attention when I am in that mode.” past, and only the strong - and entrepreneurial - will survive. It is a new ballgame. The main thing that would improve the jazz world is the same thing it and teaching obligations. Something has to give. One has always needed….more awareness within and needs to get together musically. One also gets a glimpse has to make critical decisions. As far as I am concerned support from the American public. Until, and if ever, of the greatness of this music and how vast the musical in my capacity at Purchase, my students come first. the general American public can truly differentiate universe is. There is no limit to what a person can create, Teaching has never represented “just a gig” to me that is between entertainment and art, and value art for other than any limit he/she imposes upon him/herself. to be used solely as a financial antidote to playing awful its own sake without having to be “pacified by gigs instead. It is a calling and requires my fullest time entertainment”, jazz is likely to remain status-quo in

’ celebration JI: Can you talk about your life as an educator? What and attention when I am in that mode. terms of overall popularity and essentiality. This too are your day to day activities at Purchase? What are the challenges and rewards of teaching? Is it something you were born with or did you have to pay your dues overs to become a good teacher? “The main thing that would improve the jazz world is the TC: My life as an educator was initially accidental. It same thing it has always needed….more awareness within simply came as a result of Jamey Aebersold asking me if I had ever done any teaching, to which I answered and support from the American public. Until, and if ever, BASS L “no”, and then he offered to let me try teaching at one the general American public can truly differentiate between of his summer jazz camps. That put me in touch with some of the greatest teachers/mentors in the business. entertainment and art, and value art for its own sake It was simply “dumb luck” for me to get this sort of entrée into the world of jazz education. At Purchase, without having to be “pacified by entertainment”, jazz is my day to day activities include teaching some classes likely to remain status-quo in terms of overall popularity in our core curriculum and attending to the usual array of administrative duties associated with a Program and essentiality. This too is ultimately a matter of Director that oversees 90 students and 23 faculty members, all of whom report directly to me. I have education and priorities at all levels. The society as a whole no secretary. Although I do not feel that I am a “born” will have to embrace art on a multi-faceted level if the “jazz teacher, I feel that I have developed some abilities in that area in much the same way I have as a performer. world” is to show any significant signs of upward mobility.” I have benefited greatly from the apprenticeship system, both as a player and teacher, so I have learned by listening, watching, imitating, failing, and trial and JI: Since the late 70’s how have you seen the jazz is ultimately a matter of education and priorities at all error in general. It is a continual learning process. To world evolve, particularly in New York, for better and me, teaching is simply an advanced form of learning. levels. The society as a whole will have to embrace art for worse? What would make it better than it is? on a multi-faceted level if the “jazz world” is to show any significant signs of upward mobility. The sad thing is that many jazz musicians aspiring to TC: The jazz world always evolves. I do not concern form teaching careers do not realize that by the time I myself whether it is for “better or worse.” That axiom got my first full-time teaching gig at Purchase College JI: What is new and on the horizon in your is far too subjective, in my view. The music is evolving musical life? about 12 years ago, I had taught part-time for 16 in some ways, and is “de-volving” in others. The years at six different institutions before that, and had TC: Playing lower, slower, and softer. Possibly doing presented countless hours of private instruction and www.toddcoolman.com clinics all around the world. It baffles me to observe Continued on Page 52

16 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Richie Goods By Gary Heimbauer Credit: Eric Nemeyer

JI: Can you talk about your formative period? Going highest level, yet also wanting to achieve financial to Berklee and then moving to New York to study independence, and a good career? with Ron Carter and Ray Brown? How did those experiences have an impact on your development as a RG: Most of my decisions in my career were not made person and musician? strictly from a financial standpoint. All the different styles of music I play, producing, and writing are all RG: Berklee is an amazing college and probably was things that I have loved since I was a kid. I feel like the perfect college for me. I grew up in the church I am really living my dream. It is difficult juggling

“..it’s a pretty amazing feeling to be on stage, close my eyes and really feel each and every band member talking to each other, having a grand conversation without

words. The audience can really feel this, and it draws but also combining different styles of music - Jazz, L BASS Classical, Funk, Rock, Latin - to create something them in. As the conversation starts to get more heated magical and psychedelic!

and passionate, the audience starts to give off an energy, JI: What is it about musical improvisation that you

off of which the band feeds.” find so valuable? What does it offer to you, your band- overs mates, and the listeners? What motivates you?

RG: Wow! Good question. Musical improvisation

with gospel music, and I also grew up listening to everything though, but I am a firm believer that hard sets you free! It’s nice to have parts of the music that ’ celebration R&B and Rock music. Berklee really embraced all of work breeds success. There’s really no secret, just hard were pre-conceived, but it also can be constricting. those genres and gave me a solid background in jazz. work. I also believe in following my heart in my career When I teach workshops or master classes, I I was able to play with many musicians that are major decisions and finding ways to benefit financially names in the music business today and still some of from those decisions. You have to realize that this is a my best friends. I came to New York after landing a business. My first goal is to make great music, but there “…I am a firm believer that gig with Mulgrew Miller, who is very close to Ron is nothing wrong with making money in the process. I Carter. Working with Mulgrew made me realize that do worry sometimes about spreading myself too thin, hard work breeds success. I needed to get to that next level of bass playing. I but then I think about some of my idols like Stanley always strive for excellence, and it doesn’t get much Clarke, Marcus Miller, and Lenny White. Try to name There’s really no secret, just better than Ron Carter. Mulgrew connected me with something these guys don’t do! I am currently working hard work. I also believe in Ron, and he completely changed my approach to the on a film score/ soundtrack to an independent film. I acoustic bass. I studied with Ron every other week for think Stanley and Marcus would be proud of me. following my heart in my one year. A few years after that, I met Ray Brown, and got to hang with him. I hit him up for a lesson, and the JI: Can you talk about some of the common ground career decisions and finding only payment he required is that I continue to study between the world of science and the world of music ways to benefit financially with him whenever we were in the same town. His as you see it? approach was completely different than Ron’s but very from those decisions. You effective as well. I really miss him. Overall, studying RG: Science can be broken down into mathematical with Ron and Ray greatly improved my sound, sense terms as can music. Usually when I’m playing I think have to realize that this is of time, and my walking bass lines. in numbers as opposed to musical notes. Generally science deals with experimentation as does music. The a business. My first goal is JI: You seem to be smart about making a career, having term “Nuclear Fusion” is when nuclei come together to make great music, but not only played with jazz legends like Louis Hayes to form one greater nucleus that creates a powerful and the Cannonball Adderley Legacy Band, Mulgrew release of energy. Well, that’s what music is. One there is nothing wrong with Miller, Russell Malone, Milt Jackson, and Stanley musician may create good music by him or herself, but Turrentine, but also pop acts like Brian McKnight, when you combine several musicians, you can really making money in DJ Jazzy Jeff and the Fresh , Whitney Houston, get something explosive. It’s no longer four musicians, the process.” and Christina Aguilera. You’ve been in the studio its one band. In music, as in science, we experiment with Alicia Keys, Common and now you play with with combining different musicians, instruments, the Headhunters. Aside from that, you have your own or elements together to see what we can create. My always teach that music is a language, a way of production company! First, how do you manage to project, “Nuclear Fusion,” is not only combining communicating. Improvisation helps musicians in explore so many avenues without spreading yourself four musicians, with different musical backgrounds, a band to communicate more candidly on stage - too thin, and second, what advice do you have for provided they all speak the same language. For me, it’s someone who is both serious about playing at the www.myspace.com/therealrichiegoods Continued on Page 54

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 17 Carlos Henriquez By Eric Nemeyer

JI: Can you talk about your experience with the Jazz CH: I think what would work best is to have music At Lincoln Center Orchestra? How has it had an programs for students at a younger age. Children impact on your life and artistry? take a huge leap into educational development when they are 6 - 8 years old. The sooner we can introduce CH: My experience with the Jazz at Lincoln Center music into their lives the better their overall success. Orchestra has been wonderful. I was fortunate to be The arts are the first to be cut when there is any around great jazz musicians at young age and have economic crisis, which is unfortunate. That being been mentored and taught by Wynton since I was 16 said, music is an inherent part of our culture that years old. Being with the JLCO allows me to apply should be embraced and passed-on. this experience to my work, while on tour and in New York. Working with the JLCO, traveling on the JI: Can you talk about some of the differences and road and experiencing different cultures has helped similarities that you’ve discovered first in the world me develop as an artist. It enables me to use my craft of Latin music and American music? in the purest form and with the greatest quality. There isn’t any other position that will allow this type playing except for possibly working in a classical orchestra. Plus, Wynton is a nice guy to be around. CH: First of all, the greatest similarity is African music! One has to understand the roots of Latin and JI: You’ve been fortunate enough to work with some American music comes from Africa. Being a bass amazing musicians in the last few years, including player with Latin roots, I understand the fusion of Steve Turre, Eddie Palmieri, Tito Puente, Carlos different cultures. Being of Puerto Rican descent, bass player. In this recording he illustrates the value of Santana, George Benson, Gonzalo Rubalcaba, I understand the fusion of African music and what a bass is suppose to sound like and understands Danilo Perez, and Celia Cruz among others. What Taino Indian music from the Puerto Rican Island. what it is like to play in a Latin band. kinds of things did you pick of from one or all of Bomba and plena are music of the island of Puerto (2) Grand Central Station, these artists? Rico. American music is a melting pot of all music. My Radio Sure Sounds America’s first true music is the blues. It is known that Good to Me - Larry Graham, bass

’ celebration CH: I have been fortunate enough to work with African slaves, during the trade, were not able to play Larry is the innovator of the slap bass. He illustrated many artists. However, because of my heritage their instruments. So, it is known that their singing the technique of playing a mean bass and singing at and my love of Latin music, there certain artists was important in maintaining their lives. New the same time. that stand out for me and have given me the tools Orleans is a great place to start to understand how overs to succeed and become a better bassist. Working American music was developed. The channeling of (3) Oscar Peterson, Quiet Nights - Ray Brown, bass with Tito was a great honor. He taught me how to African, South American, Mexician and the Central - This was one of my first jazz albums which studied produce a certain sound when playing with his band. American music of the Indians all went through the in depth. I have to say, I will never understand Ray Most importantly, maybe, he taught me how to be canals of NOLA. It is so obvious as a musician to Browns’ sound and choices of note because it is so a man at a young age. Tito was a very generous and hear the African 6/8 bell pattern in the funk, R&B

BASS L great. He illustrates how to get a good sound out loving man to all young musicians. Eddie Palmieri and jazz music of today. However, it is so noticeable of an acoustic bass and pull off technique which is was a master of mixing traditional Latin music now, in American music, we have strayed away from a triplet heading down to a mean low note at any with modern jazz approaches. Playing with him, our roots. Today, electric drums and computers take given moment. especially at 15 years old, enabled me to begin to the place of humans in creating sounds. understanding these differentials. I have always said Paul Chambers, Bass on Top - My daddy gave me this Eddie was Thelonious Monk and Arsenio Rodriguez JI: What are your thoughts about electric vs. acoustic album while he was working as a trombone player. It combined. And finally, Gonzalo Rubalcaba and bass? was also a recommendation from a friend who told Danilo Perez. I performed in both of their trios at me to listen to this album if I wanted to learn how CH: I have no thoughts about these two wonderful the end of my teenage years. It was a great learning to play a killer bass. Paul chambers had all of the instruments. The one thing I can say is if you experience to watch both artists’ careers while in techniques as a soloist and accompanist. I learned know how to play the acoustic then you know that their thirties. I learned a great deal about practicing how to walk bass lines, and learned how to solo with instrument and the same with electric. I have no and working on something for a very long time and the bow from listening to his recordings. how it would pay off. Sometimes I kick myself for preference to either the electric or acoustic bass. They are both number one to me. not asking more questions during that time period. Tito Rodriguez, Live at the Palladium - Julio But nevertheless, I was lucky to be taught the many Andino, bass - Julio is a funky bass player. He always JI: What are your top five desert island bass records fundamentals that I still use today. swung his behind off! I learned the basics from him. that you couldn’t possibly live without, and please The bassist commitments to the rhythm section at state why? The leader doesn’t have to be a bassist, but JI: You are a native New Yorker, who went to any cost. LaGuardia HS of the performing arts. I’m sure you’ve please choose albums based on the role of the bass made many observations about the educational (no pun intended). JI: When you first embarked on the sophisticated system and the music scene here in NY. What do journey of becoming an improvising bassist, or a (1) Tito Puente, Dance Mania - Bobby Rodriguez, you think we need more of and what do we need less jazz bassist, what were some methods that you found bass - Bobby is the most funky and groovy Mambo of to make New York children and musicians have a extremely useful to achieving your goals? better life? www.myspace.com/bajo26 Continued on Page 53

18 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Bill Moring

By Gary Heimbauer Credit: Eric Nemeyer

JI: Being a bass player in big bands, such as with be three totally different sets of demand. Can you talk Count Basie or , and getting more about the unique challenges and rewards that you’ve loose and creative in the Stryker/Slagle Band or Chris had in these different playing circumstances? Potter and John Hart, and then backing up singers like Joe Williams or Diane Schuur, I would imagine to BM: I love the challenge of trying to make the music sound great no matter who I’m playing with, along with having a great interest in so many different kinds of music. My record collection is schizophrenic. I’ve “There is also more learned more about how to play from being thrust into dissonance in the new those situations and trying to do my best to service the moment. That’s the reward. The challenges have music, and some of the come from not always being able to get it right away, music is changing. There is also more dissonance in younger players seem to but not wanting to give up. The way I play today is a the new music, and some of the younger players seem culmination of all the gigs I have ever done and I still to be emulating their peers instead of the old guard. be emulating their peers feel like a work in progress, which is another reward. When I moved here, we were all checkin’ out the Thanks again, music! older dudes for our lessons, which is just different, not

instead of the old guard. better or worse. One thing that is definitely worse, are L BASS When I moved here, we JI: You’ve been playing in NY for over 20 years. From the cover charges at a lot of the clubs. What happened a musical perspective, what kinds of changes, for the to the Bradley’s vibe? were all checkin’ out the better and worse have you seen? JI: Can you talk about your career as a teacher? Do older dudes for our lessons, BM: It seems like the rhythmic feel is shifting away you feel this is something you were born to do, or overs from the swing groove most recently. Young players did you have to pay your dues to communicate ideas which is just different, not are stronger than ever due to Youtube and music effectively? How has being a teacher affected your better or worse.” education and they are writing interesting music that career and life? is a collection of their experiences, so naturally the ’ celebration BM: I enjoy teaching mostly because I enjoy people and music. I’m getting into it more the last five years because I’m getting my terminology together mostly from talking to my oldest son about his music. I never thought I was born to do this but I am learning as I go, and I think I am communicating more effectively than I ever have. Directing a big band at Montclair State University this past year was a big challenge for me and absolutely rewarding.

JI: What is it about musical improvisation that you find so valuable? What does it offer to you, your band- mates, and the listeners? What motivates you and drives you forward?

BM: It’s a feel thing for me. When I am having a musical conversation with other musicians, it feels like something much greater than I can accomplish by myself. I like that space that I get into and crave it on a daily basis and I really think the listeners can feel it when it’s good.

JI: What was it that initially inspired you to become a bassist? How did it all start?

BM: My friend down the street wanted to start a rock band and I always gravitated towards the low notes. He taught me how to lift lines off the vinyl [long-playing records] by dropping the needle and we had a group with another kid that played drums. We would rehearse all the time and I don’t think Continued on Page 54 www.billmoring.com

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 19 Joris Teepe By Gary Heimbauer Credit: Eric Nemeyer

JI: What was it like in 1992, coming to NY from musicians who are just playing their parts or doing the Netherlands. There were so many great young the ‘show’ and are looking at their watch all the time. musicians at that time that are now on their way to You won’t believe how often I have seen this - in all becoming legends. situations and all levels of musicians.

JT: It was a very exciting time for me. I moved to the JI: What was it that initially inspired you to become a Upper West Side near a club called Augie’s. I got my bassist? How did it all start? first gig there with Peter Mazza and Andy Watson after seventeen days in New York. Everyone was hanging JT: I started late, at age 17. My high school band in there - Jesse Davis, Tyler Mitchell, Don Braden, Scott Holland needed a bassist and so I volunteered because Wendholt, Dwayne Burno, Peter Washington, Dave I had piano lessons as a kid. It took me just some Berkman, the Farnsworth brothers, Eric Alexander, weeks to get the basics. We played rock & roll on all and so many more. I also was frequently hanging the hip school parties. A few months later my sister’s out at Bradley’s in the Village and that’s were I could boyfriend joined us. He was a trumpet player who meet Ray Drummond, George Mraz, Billy Higgins, introduced me to Chet Baker and Miles Davis. Freddie Hubbard, , and others. These two places where unique and valuable at that time. JI: What are your thoughts about electric vs. acoustic bass? JI: You’ve performed with a huge list of great musicians including Tom Harrell, Randy Brecker, Chris Potter, JT: A bass is just a tool that I use to express and Benny Golson, Joe Lovano, Barry Harris, create. I’m never interested in the type of strings or 3. Miles Davis, Live at Plugged Nickel. The freedom and Peter Bernstein, and on and on. What are some amps I use, I even don’t really care if it’s an acoustic or electric instrument. As you may know I am a lefty, and creativity is so intriguing. Ron Carter was my of your career highlights, and what have you learned teacher for a while when I first came to New York. from some of these situations in particular? but sometimes at jam sessions I just play on a right- handed bass or sometimes I play drums. 4. . (Untitled), unbelievable inspiring JT: Yes, I have been close to many great musicians JI: compositions and performance and put together with ’ celebration What are your top five desert island bass records and have been in many amazing situations. But in this great precision.

5. Shameless to say, but I would need to bring my “A bass is just a tool that I use to express and own first CD: ‘Pay As You Earn’, recorded in 1993, overs featuring Don Braden, Tom Harrell, Cyrus Chestnut create. I’m never interested in the type of strings and Carl Allen. Everyone plays great on this. I would just bring it to remind myself that I’ve done or amps I use, I even don’t really care if it’s an something with my life. Since then I’ve made many more recordings, but I could never make them better BASS L then this first one (except perhaps the one that will be acoustic or electric instrument.” released this month with my own Big Band).

JI: When you first embarked on the sophisticated question you didn’t mention Rashied Ali, who is the that you couldn’t possibly live without, and please journey of becoming an improvising bassist, or a jazz most important career highlight for me. He is a real state why? The leader doesn’t have to be a bassist, but bassist, what were some methods that you found master whom I deeply respect. He is a warrior, never please choose albums based on the role of the bass (no extremely useful to achieving your goals? compromising, a believer in true art He is willing to pun intended). risk everything he has to be loyal to the music. I’ve JT: My tactics were this: Take every gig you can, that’s JT: Well, I would need certain records just to keep been in his group for over eight years now and it has when you find out what you need to know and what’s myself inspired: changed my view as an artist drastically. For example missing. Also search for situations where everyone else in the band is better then you. That’s my advice it made me think of the energy of creating music, 1. The Poll Winners (Barney Kessel, Ray Brown, Shelly to young musicians. If you are smart and serious this is rather then the notes or rhythms that we play. Most Mann). It’s swinging so hard and the arrangements how you learn fast. other musicians respect him, but it’s sad to see that he are superb. It’s actually a series of three records. This doesn’t get the recognition from the critics. music is simple but keeps me sane and happy. JI: How do you neutralize stress? what activities do you do outside of music to better prepare you for JI: What is it about musical improvisation that you 2. The Genius of Ray Brown. This is a big band record playing/practicing success?? find so valuable? What does it offer to you, your band- that features Ray as well as Cannonball Adderley. mates, and the listeners? What motivates you and There are two of them, but any one is fine. A young drives you forward? JT: In my case I feel that I have an inner drive to play, Ray at his best! He has always inspired me to practice create and compose. You can wake me up at any time because his playing is so honest and clear. JT: Ultimately it is all about creativity. I can only be to play, and I’m ready even after 35 hours of traveling. satisfied if everyone in the band is listening and giving The real deal is to feel relaxed and secure. For me this all they can to create the best performance possible. has only to do with the people around me: I guess There is nothing more boring then playing with www.joristeepe.com Continued on Page 55

20 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Esperanza Spalding By Gary Heimbauer Credit: Eric Nemeyer

Esperanza Spalding is an amazingly talented twenty timate and people are really listening. On the big four year old bassist, composer and singer who has stages, the artists seem somewhat detached. been wowing audiences, critics and peers since she was barely out of her teens. Along with leading her own ES: Yeah, but that sh*t with Herbie (Hancock) was internationally touring groups, she is also a member of crazy! I never heard Dave Holland play electric be- Joe Lovano’s UsFive and Trio Fascination band. She is fore! Wow! a native of Portland, Oregon, where she played violin JI: Believe it or not, I missed it. throughout her youth before picking up the upright bass at age fourteen. At twenty one, she became one of the ES: What!? I’m sorry for you! youngest teachers in the history of the prestigious Berklee College of Music. This rising star has released two CDs JI: I spent a few hours writing a book of questions, as a leader—“Junji,” and “Esperanza.” Last summer she almost like essays for you, so I’m going to be a little appeared on the and Jimmy Kimmel corny here and read some on them off to you. Here’s show. We spoke with her on a Monday morning after a one: Although you are extremely talented in a musi- week long stint with Lovano and UsFive at the Village cal sense, I think a lot of your success is because of Vanguard, preparing for the recording of their new CD

Folk Art, recently released on Blue Note Records. L BASS JI: The Friday night set was amazing! I love the Van- “I’ve been given a gift to guard. I was right up front, practically on the stage. deliver, so I want to make

ES: Cool! It was a great week, but last night was just a gift to deliver, so I want to make sure that I’m in a overs incredible! sure that I’m in a way doing way doing my responsibility for having the glory and my responsibility for having the joy of being able to do it, and different people JI: I first heard you on NPR doing an interview, but I will express that in really different ways. That’s just hadn’t really heard you until the 2008 Newport Jazz the glory and the joy of how I see it, but I think that everybody that plays ’ celebration Festival. music sees it in a similar way but may express it in a being able to do it.” different way. It also helps to be around musicians ES: Oh! Did you see my set? who have been doing this for a really long time and to listen to how they think and talk about the art, your personality, your values, your perspective and JI: Yeah! I caught your set and I met you afterwards. and that may be part of it to—that I really listen to your rock solid vision. You have an air of supreme I said hello to you, but that set was so great! I wrote a the people that I spend time with whether they are confidence, yet without a speck of arrogance, and review of the festival last month and about half of it really young or old or whatever, but when you are plenty of humility. You seem to have a very intimate was about your set! But what a mistake it was to put spending time with someone that is so great and so relationship with what people call the zone. You you on the little stage. humble and you try to get inside of why they do what take risks and you go on adventures. So you have all they do, it makes you go, okay, if they are thinking this perspective at such a young age. What do you ES: Oh no—no, no! that and I just started this, damn, I better get on my attribute this to? knees and start praying to the music Gods and hope JI: Well, the thing is, so many people wanted to see that I could really contribute to this thing that we’re your set, but the space was limited, but I think that ES: Have you seen that movie Ratatouille? all involved in. you got a lot more popular from the time they sched- JI: No, I haven’t. uled you to the time of the festival. What’s your take JI: You seem like you’re incredibly optimistic and on that? ES: I was gonna quote a part of it. I don’t know how you have a strong ability to give to others. Do you to answer that question. I would have to say, “Oh, see your growing notoriety as purely opportunity or ES: Well, in the grand scheme of things I’m such a well I learned that smart thing that I said in this could there be danger to your artistry in that? new player, so for me, I felt pretty appropriate being place,” and to me everything that you just quoted, on that stage, and I think it was a testament to all of that’s just how I operate I guess, so I’m not sure ES: Well, there is a danger that I actually just discov- the press and things that have been happening that what source to quote. All I can say is that my basic ered this week. I was in a really bizarre weird funk so many people were interested. But all in all, I think approach to life encompasses that mentality about because the danger that can happen is, you can live it was better to have it that way than to put me on the the music, so I’m really not sure how to answer that sort of in this—well let me put it this way—with the stage that maybe somebody who was more seasoned other than, I think in a way, that’s how all serious opportunities that are happening, the more support or who had been around longer really deserves to be musicians think on a certain level. All musicians are I get, means I’m playing more with my band which is on, but if things keep going good, then next time really coming from similar places but in my mind, incredible, but this summer, most of the work I did they’ll want to put me on a bigger stage and that will the aspect of my spiritual connection or my con- was with my own music, my own projects, my own be cool. Everybody doesn’t have to see me all at once nection with a higher power, in context of how it arrangements, and I’m kind of like a tyrannical and then for people that didn’t get to see me, next bandleader. I kind of really know what I want to relates to music is in the sense of—(pause)—it’s a time they’ll get to see me, and it will be better. service and it’s a function to which I’ve been given hear and I’m a little strict about having the musi- cians try to emulate that sound. JI: The truth is, at Newport, the best performances are on the smaller stages because it’s much more in- www.esperanzaspalding.com

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 21 Tom Knific By Eric Nemeyer

JI: The name of your recent CD Mayan Myths remarkably stable in terms of personnel. Highlights intrigues me, especially with all the talk about the are my students and colleagues productivity and Mayan Calendar and with so many Crop Circles creativity. And the fact that so many keep in contact appearing with Mayan symbolism. Can you talk and reassure us of the value of their time here is about where that name came from, and the music on truly important to me. Having students go out the that album? door and land positions with major touring artists, establish successful working bands, and even win TK: Names are important to me – and with instrumental music, title options can be an open book. I try for titles to reflect the spirit or inspiration of the music - sometimes playful, sometimes poetic, “I do believe struggle is and often with the potential for several meanings. My newest CD, Lines of Influence, has a multi-entendre character building and may meaning. The title track was the first work written with my son John, so there are the familial lines. But there’s ultimately help. Many artists also the idea that the influences don’t flow in one seem to provide more than direction generationally. They bounce back and forth. The piece also references musical lines that influenced enough of this internally.” is something truly healthy about putting yourself out John and I. To answer your question, Mayan Myths there - taking chances, accessing one’s conscious and is a CD that has at its core a 3-movement piece, subconscious ideas in real time. What a wonderful “The Mayan Suite,” composed by saxophonist Trent their own professorships is a high. And it just seems thing it is to respond to the musical environment, to Kynaston. Trent drew inspiration from tours we had to keep happening. On a personal note, I had a play off of other musicians who are in the moment of Central America and specifically the Mayan temple landmark birthday recently. Former students showed as well - which is certainly why musicians bond the in Tulum, Mexico, which is interpreted as The Warrior up from throughout my entire career. It is a wonderful way they do. Listeners “get” that something is going Te mpl e. The Mayan goddess, Ix Chel, also know as feeling of connection and continuity. Also, my newest on, some kind of magic. And it is clear, in trying to Lady Rainbow makes an appearance in a sultry bolero. group, which recorded Lines of Influence, is made up describe the experience, the spoken word, comes in a I actually named the CD, as a reference to the suite, ’ celebration of all alumni. The drummer, Keith Hall, is now on slow second to enjoying the experience. Motivation and the inherent mystery of that civilization that we our faculty. That really puts everything in context. for me comes in trying to get closer and closer to being tried to capture. And we have no idea what their music And in terms of why it has worked, I would say that in touch with the music, getting ideas and emotional sounded like, so there is nothing but myth to draw on, we are extremely hands on, performance orientated, content across sincerely, and doing so while trying to

overs or create our own, which is the case here.

JI: You’ve been an avid educator for many years now, teaching double “…taking chances, accessing one’s conscious and subconscious ideas in real time. What a wonderful thing

BASS L bass at Western Michigan University since 1987. You’ve also taught at it is to respond to the musical environment, to play off of Michigan State University, the Cleveland Institute other musicians who are in the moment as well - which is of Music, and presented over a hundred master classes worldwide. Can you talk about the challenges certainly why musicians bond the way they do. Listeners and rewards of being an educator, and some of the highlights for you? “get” that something is going on, some kind of magic.”

TK: One of the substantial challenges was building a program. The degree program was started shortly and the opposite of a cookie cutter program. Certain grow as an artist. There is no room for complacency in after I arrived at Western Michigan University. We information is taught to all, but we encourage and this genre. All I need to do is consider the many greats also had the first jazz degree program in our state. promote individual strengths and concepts. In short, who came before us, and those who are contributing So we got to dream our program, given available we promote high standards in a creative context. And today – how much more motivation can one ask for? resources, etc. Challenges – even 20 years ago, it was for the last six years, we have had a slick partner club, always surprising to find faculty resistant to America’s The Union, which provides over 100 professional JI: What was it that initially inspired you to become classical music at an American institution of higher dates annually to faculty and students. It is great for a bassist? learning. However, our successes won most over morale and musical opportunity. TK: I started as a guitarist, a youngster of the Beatles early on. And because we are located in a relatively generation. I had a great first teacher, Jim Leihenseder, small market, we have had to work extra hard to keep JI: What is it about musical improvisation that you who got me into harmony and jazz before out of things professionally relevant and connected. To that find so valuable? elementary school. I immediately played electric bass end, we have a tremendous flow of major artists and TK: Improvisers, jazz people in general, are very in middle school and began studying double bass in educators as guests. has passed the 15 year much in the moment people musically. For me, there 9th grade. My father was a bassist earlier in life, and mark as a visiting artist, Fred Hersch, 6 years, and although not active at the time, I was used to seeing Stefon Harris 4 years. We have a wonderful faculty – the instruments in the house. Essentially, I wanted supremely dedicated, professionally active, and we are www.tomknific.com to start studying European classical music, and the

22 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 bass made the most sense. In a beautiful aside, my always sublime. It s always a pleasure hearing him bassist, what were some methods that you found father came back to playing bass in his late 70’s and deal with odd meters – as in Lucky Seven. (4) Super extremely useful to achieving your goals? continues to this day at age 83 - sometimes, several Bass, Vol. I - Ray Brown. So I need to have Ray – but gigs a week!. In elementary and middle school, I there are just so many great ones. If I take this, I get TK: Listening and absorbing are the most important used to rush home to catch Ray Brown on the Merv Christian McBride and as a bonus! This pathways to developing a voice, a voice with depth Griffin show. And my first jazz LP’s around that time is a playful bass party. I had the pleasure of hearing and resonance. This means transcribing, either included Ron Carter on several CTI releases. The them live in Houston. We published a transcription solely to memory or also committing to paper - and seeds were planted! Growing up in Cleveland, I had of Rays’ “Sculler Blue’s” from the CD, every note, top certainly not just bassists. Getting into every playing that wonderful orchestra to listen to, and studied for to bottom. (5) Heavy Weather – Weather Report. Jaco opportunity possible. Young players learn so much seven years with then Cleveland Orchestra principal, Pastorius - I cant imagine not having access to Jaco, so from peers. I was deeply fortunate to grow up in an Lawrence Angell. I have had great teachers whose this would be the one -a classic. I am already regretting environment with players older and more developed, shoulders I still stand on - Franco Petracchi as well as recordings not chosen – not a fun exercise! willing to bring me along. Those lessons run deep. time with Frank Diliberto, Eugene Levinson, Stuart Dating myself now, but there was not a plethora of Sankey and Dave Holland. I count John Clayton as JI: When you first embarked on the sophisticated published materials when I was getting going. The a mentor. I can’t begin to tell you the influence of journey of becoming an improvising bassist, or a jazz Jazz Education revolution had not yet occurred. I drummer Billy Hart, who I have performed, recorded Continued on Page 55 and taught with for nearly 20 years.

JI: What are your thoughts about electric vs. acoustic The New York Public Library for the Performing Arts presents bass?

TK: I enjoy both. Double bass is the world I spend the vast majority of my time. THE DUKE Much of the music I listen to is from that tradition. I have a strong classical background, continue to play with chamber ensembles, contemporary music ensembles, and perform solo literature for recitals, JAZZ SERIES Beginning in Fall 2008, The New York Public Library for the and write for these mediums. I also do quite a bit of arco work in jazz and creative music. There is Performing Arts hosts eight live jazz performances, featuring a something about being responsible for creating all the selection of Chamber Music America award-winning artists and sound. Having said that, it is fun to play electric bass – their innovative jazz ensembles. feels a bit like a sports car coming off the double bass. And for certain music, it is the rule. The articulation options, percussive qualities that are possible make it so. For me, there is no “vs.” between them. They are different animals with different musical roles.

JI: What are your top five desert island bass records “Relentlessly that you couldn’t creative. ” possibly live without, and please state why? —Nate Chinen, The New York Times TK: I have a hard time with these kind of questions. Like so many of us, a lifetime of collecting recordings

and sound files makes for massive repositories. And Photo: Jimmy Katz I always fear leaving one off when doing this sort of thing. But here goes.

(1) Chant du Contrebasse - Daniel Marillier. Daniel is DREW GRESS / a French classical virtuoso who values lyricism above all else. He also records new music and does novel 7 BLACK BUTTERFLIES arrangements of transcriptions for the bass. This one is with string orchestra accompaniment, and was August 26, 2009 recorded in a church. Beautiful. (2) You Must Believe Doors open at 7pm; concert at 7:30pm / Bruno Walter Auditorium In Spring - Bill Evans, with Eddie Gomez. Through 111 Amsterdam Ave @ 65th Street / The New York Public Library for the some cosmic coincidence, as a college kid, I was at Fat Performing Arts Dorothy and Lewis Cullman Center/ Free Admission / 212.870.1793 Tuesday’s in New York for what turned out to be Bill Evans last performance. It was the first time I heard Upcoming Concerts in the Duke Jazz Series: him live. Marc Johnson was performing with Bill. They did mostly material from the CD. Michel LeGrand, BRIAN LYNCH/SPHERES OF INFLUENCE who composed the title track, was in the audience - September 26, 2009 magic all night long. It takes little effort for me to be PETER APFELBAUM / THE NEW YORK HIEROGLYPHICS right there in my mind. The beauty of Eddie’s playing November 13, 2009 on the CD, and lyricism of his solos and the context has always made this a must. (3) Critical Mass -Dave Funding for this Holland. Again, I would need to have Dave Holland series was provided by The Doris along, and this is a great one. Dave’s writing, and his Duke Charitable playing as a rhythm section member and soloist are Foundation.

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 23 Noteworthy Performances

Kevin Eubanks Tierney Sutton www.kevineubanks.com www.tierneysutton.com Blue Note: Tues 8/18 – Sun 8/23 Iridium: Wed 8/19 – Sun 8/23

Kevin has been the musical director of the Tonight Show The Tierney Sutton Band continues to benefit from their Band for many years now, but he has never stopped cookin’ years of playing together. Their latest release, Desire, Credit: Courtesy of Blue Note features some amazing musical landscapes and a very with his own Quartet. For this string of gigs he will be joined adventurous and spiritual presentation. Some tunes, such by Marvin “Smitty” Smith on drums, Bill Pierce on saxophone as “It’s Only a Paper Moon,” are taken to extraordinary and a bassist TBA. This Philadelphia native has travelled the places, making a listener re-consider the depth of what was world playing his music and has shared the stage with such often looked past as just another standard. This group has luminaries as , Art Blakey, McCoy Tyner, Ron loads of chemistry and tours constantly, so catch them while Carter, Sam Rivers, and Roy Haynes. you can.

Ali Jackson Quintet Donny McCaslin Quartet www.alidrums.com www.donnymccaslin.com : Tues 8/18 – Wed 8/19 St. Peter’s Church - Jazz On The Plaza: Thurs 8/6

The last time this group played at the Jazz Standard, they St. Peter’s may be a church, but it has been one of the received one of the most enthusiastic write-ups we’ve ever hippest jazz spots in the city since the days of bebop and Pastor Gensel. It is affectionately known as “The Jazz given. Ali’s playing is what it’s all about. It’s miles deep, Church.” Every Thursday in July they will be having some but will make you smile in ecstasy at the same time. Last of the cities best groups play from 12:30 – 1:45 on the plaza time he had Jonathan Batiste on piano, but Aaron Goldberg at 53rd Street and Lexington, and our pick is the Donny will on duty this time around. Also in the band are Wayne McCaslin Quartet. It was a hard decision considering that Escoffery on sax, Vincent Gardner on bone, and Ben Wolfe the other three Thursdays feature Winard Harper, Ingrid on bass. Jensen, and the Jazz Knights.

Eddie Gomez Houston Person The National Jazz Museum in Harlem: Thurs 8/27 www.houstonperson.com Lenox Lounge: Fri 8/14 – Sat 8/15

Bassist Eddie Gomez is a native of Puerto Rico who grew Credit: Eric Nemeyer Credit: John Patitucci Houston Person is one of the living legends, having recorded up in NYC. He is most noted for his work with Bill Evans more than 75 albums on Prestige, Westbound, Mercury, from 1966-1977. He’s also played with Miles Davis, Dizzy Savoy and Muse Records. He has also recorded with Charles Gillespie, , , Buck Clayton, Brown, Bill Charlap, Lena Horne, Charles Earland, Etta Marian McPartland, Paul Bley, Wayne Shorter, Steps Ahead, Jones (who he toured with for years), Lou Rawls, and . He is most known for his soulful style of playing—he Steve Gadd, Jeremy Steig, , Tony Williams, epitomizes the soul jazz saxophone style, while also being Al Foster, Chick Corea and Carli Muñoz. versed hard bop and swing.

Tribute to : Featuring Peter Branin, John Di Hank Jones Trio Martino, Steve Turre, Chembo Corniel, Vince Cherico, www.officialhankjones.com and Boris Kozlov Birdland: Tues 8/25 – Sat 8/29 Creole Restaurant: Fri 8/21 – Sat 8/22 Credit: Jerry Lacay

Ray Barretto is often referred to as the ‘Godfather of Latin Credit: Eric Nemeyer Hank Jones is the epitome of a ‘Living Legend’ and it is no jazz.’ He was a Grammy Award-winning Puerto Rican jazz secret why the National Endowment for the Arts inducted musician who began infusing his incredible percussion work him as a “Jazz Master.” He has been at the forefront of the into bebop when he was first heard by Charlie Parker back Jazz world for 70 years, and is one of the few surviving in 1949. He went on to play with Tito Puente, The Rolling members of the group in the famous photograph, “A Great Stones, the Bee Gees, Celia Cruz and many other legendary acts. He passed away in 2006. The band performing this Day in Harlem.” He is the brother of drummer Elvin, and tribute features some of the best musicians New York has trumpeter/composer Thad. to offer! Chembo Corniel featured in Tribute to Ray Barretto

Howard Alden & Warren Vache John Patitucci with Joe Lovano & Brian Blade www.howardalden.com www.johnpatitucci.com Dizzy’s Club Coca Cola: Tues 8/11 – Sun 8/16 Barge Music: Thurs 8/20

Credit: Eric Nemeyer This trio features what are arguably the best bassist, tenor saxophonist Credit: Eric Nemeyer Guitarist is one of the most highly regarded and drummer of their day, together in one group! The leader and bassist, Patitucci, has a bio that cannot be compressed into this little space. He guitarists of his generation. The 50 year old seven string currently plays in Wayne Shorter’s band, and has played on countless virtuoso has recorded over a dozen albums with Concord albums with artists as diverse as B.B King, Bonnie Raitt, Chick Corea, Jazz, and overdubbed all of the guitar work for Sean Penn Herbie Hancock, Michael Brecker, George Benson, Dizzy Gillespie, in Woody Allen’s “Sweet and Lowdown.” Warren Vache is a , Bon Jovi, Queen Latifah, Sting, and Carly Simon. He’s also played with Stan Getz, Wynton Marsalis, Joshua Redman, Michael trumpeter, cornetist and flugelhornist from New Jersey who Brecker, Randy Brecker, Freddie Hubbard, Tony Williams, Hubert Laws, is known for his swing style of playing. Mulgrew Miller, and James Williams. The list goes on.

24 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 AUGUST—Local & Regional ______Caramoor Jazz Festival: August 1-2 George Wein’s Newport Jazz Festival 55: August 7-9 Katonah, NY Newport, RI Litchfield Jazz Festival: July 31-August 2 Aug 1: Jean-Michel Pilc Trio w/ Chris Tordini, Ari Aug 7: Etta James and the Roots Band; Howard Alden/ Kent, CT – (Kent is located in the northwest corner of Hoenig; Cedar Walton: 50 Years of Giant Steps: The Anat Cohen Quartet; Aug 8: Mos Def; Branford Marsalis Connecticut at the intersection of Routes 7 and 341.) Music of Coltrane and Walton; Gerald Clayton Trio; Quartet; Joshua Redman Double Trio; Esperanza July 31: Opening Night Gala; Lewis Nash; Jane Chuchito Valdez Quartet; Dianne Reeves “Strings Spalding; Cedar Walton All-Stars with Lew Tabackin Monheit; Aug 1: Dafnis Prieto; Trio Da Paz w/ Leny Attached” with Romero Lubambo, Russell Malone; Aug & Curtis Fuller; Hiromi’s Sonicbloom; Vandermark Andrade; Wycliffe Gordon & Jay Leonhart Quartet; 2: Junior Mance Trio; Cyrus Chestnut Trio; Luciana 5; Christian McBride; Vijay Iyer Trio; Marsalis Music & Benny Green; Bill Henderson Souza w/ Romero Lubambo; Randy Weston’s African Presents Miguel Zenon; North Carolina Central Big Quartet; Preservation Hall Jazz Band; Aug 2: Ted Rhythms Trio. www.caramoor.org Band; Branford-Joey Calderazzo Duo and Claudia Nash-The Mancini Project; Lionel Loueke Trio; Dena Acuna; Aug 9: Tony Bennett; Quartet; DeRose Quartet featuring Claudio Roditi; Houston Charlie Parker Festival: August 29-30 Roy Haynes Fountain of Youth Band; Michel Camilo; Person Quartet; Pancho Sanchez Latin Jazz Band New York, NY Joe Lovano; UsFive; The Bad Plus w/ Wendy Lewis; and much more! www.litchfieldjazzfest.com, Aug 29: Frank Wess Quintet; Gary Bartz; Jose James; Conversation w/ Christian McBride; Ernest Ranglin; Phone: (860) 567-4162 ; Aug 30: Cedar Walton Quartet; Papa Millennial Territory Orchestra; Brian Blade & The Vazquez Pirates Troubadores; Pyeng Threadgill; Dred Fellowship Band; Rudresh Mahanthappa’s Indo-Pak TWDJazz09_JazzImprov.qxp:Layout 1 6/16/09Scott Trio. 5:18 www.cityparksfoundation.org PM Page 1 Coalition; Rashied Ali-Charles Gayle-William Parker’s

SEPTEMBER 4–6 LENOX, MA

Visit us on Facebook at tanglewoodjazzfestival.org/blog OZAWA HALL JAZZ FESTIVAL SEPT 4 FRIDAY 8PM SEPT 5 SATURDAY 8PM SEPT 6 SUNDAY 8PM An Evening with Paquito d’Rivera "Reverse Thread" "A Triumph of Trumpets" with the with the Regina Carter Quartet Jon Faddis Quartet and special guests SEPT 5 SATURDAY 2PM Wallace Roney and Sean Jones Radio Deluxe with John Pizzarelli "Dreaming the Duke" and with special guests with Nnenna Freelon, Harolyn Dave Holland Octet with Chris Potter, Robin Bucky Pizzarelli, Aaron Blackwell and Mike Garson Eubanks, Antonio Hart, Alex Sipiagian, Gary Weinstein, Harry Allen Live taping Smulyan, Nate Smith, and Steve Nelson for national radio broadcast. SEPT 6 SUNDAY 2PM “A Piano Duet” with Kenny Barron TICKETS $17-75 and Mulgrew Miller ONE DAY LAWN PASS $34 888-266-1200 • tanglewood.org Vanguard Jazz Orchestra

Media Sponsor: TICKETS $17-75 ONE DAY LAWN PASS $34 888-266-1200 • tanglewood.org

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 25 “By Any Means”; Alfredo Rodriguez; The Rodriguez Moser’s Composers Big Band. www.lakegeorgearts.org Brothers. www.jazzfestival55.com Tanglewood Jazz Festival: September 4-6 Historic Lewiston Jazz Festival: August 28-29 Lenox, MA Lewiston, NY Notable Performers: Boston Symphony Orchestra; Notable Performers: Peter Malinverni, Gap Mangione. Paquito D’Rivera; Regina Carter; Nnenna Freelon; Kenny www.lewinstonjazz.com Barron; Mulgrew Miller; John Pizzarelli; Dave Holland; Jon Faddis; Harolyn Blackwell. www.berkshirefinearts.com ______AUGUST—National ______SEPTEMBER & OCTOBER—National Satchmo Summer Fest: July 30-August 2 New Orleans, LA Anacortes Jazz Festival: October – Details to be www.fqfi.org/satchmosummerfest Announced Anacortes, WA; www.anacortes.org Long Beach Jazz Festival: August 7-9 Long Beach, CA Catalina Island Jazztrax Festival: October 2-18 Aug 7: Dave Sanborn, TBA; Aug 8: Jonathan Butler, Avalon, CA Richard Elliot & Rick Braun; Ledisi; Les McCann Swiss Three Weekends of Jazz! www.jazztrax.com Movement; Hiroshima; Brian Bromberg; Clarence McDonald & Evolution; Jazz Search Winner; Aug 9: Grand Hotel Labor Day Jazz Festival: September 4-7 Angie Stone; Ramsey Lewis; Steve Cole; Leela James; MacKinac Island, MI Marc Antoine & Paul Brown; Al Williams Jazz Society; Notable Performers: Dee Dee Bridgewater, Earl Klugh, Jazz Search Winner. www.rainbowpromotions.com Sheila Jordan. www.grandhotel.com

Markham Jazz Festival: August 14-16 Jazz By The Boulevard Music and Arts Festival: Markham, Ontario, Canada September 11-13 www.markhamjazzfestival.com Fort Worth, TX; www.fortworthjazz.com

Mt. Hood Jazz Festival: August 15-17 Monterey Jazz Festival: September 18-20 Gresham, OR; www.mthoodjazz.org Monterey, CA; www.montereyjazzfestival.org

Orange County Classic Jazz Festival: August 6-9 Sedona Jazz Festival: September 22-27 Costa Mesa, CA; www.oc-classicjazz.org Sedona, AZ; www.sedonajazz.com

______AUGUST—International Summit Jazz: October 9-11 Denver, CO; www.summitjazz.com Jazz Festival Willisau: August 26-30 Willisau, Switzerland; www.jazzwillisau.com West Coast Jazz Party & Brunch Cruise: September 3-6 Oslo Jazz Festival: August 10-15 Irvine, CA; www.westcoastjazzparty.com Oslo, Norway; www.oslojazz.no Ziegler Kettle Moraine Jazz Festival: September 11-12 Red Sea Jazz Festival: August – Details to be West Bend, WI; www.kmjazz.com Announced Eilat, Israel ; www.redseajazzeilat.com ______SEPTEMBER & OCTOBER—International

Sildajazz: August 12-16 DølaJazz – Lillehammer Jazz Festival: October 15-18 Haugsund, Norway; www.sildajazz.no Lillehammer, Norway; www.dolajazz.com

Zomer Jazz Fiets Tour: August 28-29 Guelph Jazz Festival: September 9-13 Groningen, Netherlands; www.zjft.nl Guelph, Ontario Canada; www.guelphjazzfestival.com

______SEPTEMBER—Local and Regional Rimouski Festi Jazz International: September 3-6 Rimouski, Quebec Canada; www.festijazzrimouski.com COTA Jazz Festival: September 11-13 Delaware Water Gap, PA; www.cotajazz.org

Long Beach (Long Island, NY) Jazz Festival: September 4-7 Long Beach, NY; www.longbeachjazzfest.com Our character is but the stamp on our souls of the free choices of good Lake George Jazz Festival: September 19-20 and evil we have made through life.” Lake George, NY Sept 19: Bill Mays Interventions Trio; Ignacio Berroa Quartet; Giacomo Gates; Christian Scott Quintet; Sept 20: Roland Vasquez Quintet; Steve Turre Quintet; Diane —John Cunningham Gelkie

26 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

LAKE GEORGE JAZZ FESTIVAL POSTER CONCEPTS - Round 2 SK5 2008-0215 05.20.09 Calendar of Events

• Mon 8/3: Erin Rogers, Tom Swafford & Yoni Niv at The How to Get Your Gigs and Events Listed in Jazz Inside™ NY University of the Streets. 7:00pm. $5 donation. 130 Submit your listings via e-mail to [email protected]. Include date, times, location, E. 7th St. @ Ave. A. Monthly laboratory for experimental phone number for additional information and or tickets/reservations. Deadline: 14th of the & classical composers. www.paulpinto.bravehost.com/ month preceding publication (e.g. May 14 for June issue). Listings placed on a first come basis. comformerperposers. • Mon 8/3: Tessa Souter, CD Release Party for new New York City & 9:00pm. Pat Bianchi @ 11:00pm & 12:30am. $10 cover. recording on Motema, Blue Note, 131 W Third St., (betw. 129 MacDougal St. 212-529-5945. www.lalanternacaffe. 6th & MacDougal), 8pm, 212-475-8592, www.bluenote.net

com. www.giladhekselman.com. www.patbianchi.com • Mon 8/3, 8/10, 8/17, 8/24, 8/31: Jazz Foundation of America • Sat 8/1: Dave Frishberg & Rebecca Kilgore at Feinstein’s Jam at Local 802 Musician’s Union Building. 7:00pm. at Loews Regency. 8:30pm. 540 Park Ave. @ 61st St. 212- Bring your instrument & join New York’s jazz legends. 322 339-4095. http://feinsteinsattheregency.com • Sun 8/2, 8/9, 8/16, 8/23, 8/30: Junior Mance & Hide W. 48th St. (Bet. 8th & 9th Ave.) http://jazzfoundation.org Tanaka at Café Loup. 6:30pm. No cover. 105 W. 13th St. @ • Sat 8/1: Valerie Capers with John Robinson & Rudy 6th Ave. 212-255-4746. www.juniormance.com • Mon 8/3: Maria Neckam at La Lanterna Caffe. 8:00pm- Lawless at Nuyorican Poets Café. 9:00pm. $15. Following 11:30pm. $10 cover. 129 MacDougal St. 212-529-5945. by jazz jam and open mic. Complimentary banana • Sun 8/2: Laura Hull Jazz Quartet at Blue Note. 12:30pm & www.lalanternacaffe.com. www.marianeckam.com puddin’. 236 E. 3rd St. (Bet. B & C Ave.) 212-465-3167. 2:30pm. $24.50 includes brunch, show & 1 drink. 131 W. 3rd www.nuyorican.org St. 212-475-8592. www.bluenote.net • Mon 8/3: Jazz for Curious Readers with Stephanie Crease at National Jazz Museum in Harlem. 7:00pm. • Sat 8/1: Joe Sucato, Yoichi Uzeki, PJ Roberts & Mitch • Sun 8/2, 8/9, 8/16, 8/23, 8/30: Peter Mazza at La Lanterna Free. Discussion about her book, Duke Ellington: The Perrins at Bar 66. 8:30pm. $5. No min. 66 Charlton St., Caffe. 8:00pm-11:30pm. $10 cover. 129 MacDougal St. Author. 104 E. 126th St., Suite 2C. 212-348-8300. Four Points, Sheraton, SoHo. 347-528-3534. http:// 212-529-5945. www.lalanternacaffe.com. www.jazzmuseuminharlem.org bar66nyc.blogspot.com • Sun 8/2, 8/9: Ehud Asherie & Terry Waldo at Fat Cat. • Mon 8/3-Tues 8/4: Joris Teepe Big Band at Nublu. 9:00pm • Sat 8/1: Zemog at Blue Note. Late Night Groove Series. 6:00pm 75 Christopher St. @ 7th Ave. 212-675-6056. & 11:00pm. 62 Ave. C 12:30am.131 W. 3rd St. 212-475-8592. www.bluenotejazz. www.fatcatmusic.org com • Mon 8/3, 8/10, 8/17, 8/24, 8/31: Vince Giordano & • Sun 8/2: Primordial Jazz Funktet at Drom. 8:00pm. His Nighthawks Orchestra at Sofia’s Restaurant, • Sat 8/1: Chip Shelton Quintet at Creole Restaurant. $10 cover. 85 Ave. A. 212-777-1157. www.dromnyc.com. Edison Hotel. 3 sets, 8:00pm – 11:00pm. $15 cover, $15 8:00pm & 10:00pm. $15 cover. 2167 Third Ave. @ 118th St. www.danfurman.com/pjf min. “Dancing to the Music of the 1920’s and 1930’s.” 212-876-8838. www.creolenyc.com • Sun 8/2, 8/9, 8/16, 8/23, 8/30: Bob Kindred with John Hart 221 W. 46th St. (Bet. Broadway & 8th). 212-719-5799. • Sat 8/1: Annette A. Aguilar & Stringbeans at Bennerson & Steve LaSpina at Café Loup. 12:30pm. Sunday brunch www.myspace.com/VinceGiordanotheNighthawks Park. 3:00pm. 64th St. & Amsterdam Ave. www.jazzmobile.org from $8.50-$16.50. $5 bar min. 105 W. 13th St. @ 6th Ave. • Mon 8/3-Tue 8/4: Joris Teepe Big Band, Don Braden, 212-255-4746. • Sat 8/1: La Lanterna Caffe. Gilad Hekselman @ 7:00pm Gene Jackson, Earl McIntyre, Michael Mossman, Mark

August 3 August 17 August 25-30 Bill O’COnnell’s CArlOs henriQuez MusiC OF AntOniO triple plAy QuArtet CArlOs JOBiM w/Dave Valentin & Richie Flores w/Ali Jackson, Robert Rodriguez & Felipe Lamoglia & stAn getz August 4-9 w/Trio Da Paz, Joe Locke, Harry Allen, August 18 Maucha Adnet, Romero Lubambo CedAr WAltOn & Nilson Matta QuArtet ChiCO hAMiltOn & After Hours: Jimmy Madison & HMK Trio w/Vincent Herring, David Williams reservAtiOns euphOriA August 31 & Joe Farnsworth After Hours: Karolina Strassmayer 212-258-9595/9795 After Hours: Rick Germanson Trio & Drori Mondlak WAlter BlAnding www.jalc.org

August 10 August 19-23 Quintet Artist Sets: $20-35 7:30 & 9:30pm ChristiAn MCBride rOy hAynes & w/11:30pm set Fri & Sat After Hours Sets: $10-20 W/speCiAl guest the FOuntAin OF Student rates available August 11-16 yOuth w/Jaleel Shaw, Martin Bejerano JOhn pAtituCCi/ & David Wong

JOe lOvAnO/ August 24 BriAn BlAde After Hours: Richie Goods dAn niMMer triO w/David Wong & Pete Van Nostrand & Nuclear Fusion w/Mike Clark, Helen Sung & Jeff Lockhart

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 27 Gross and others, NuBlu 62 Avenue C, NYC. Music from Leo Traversa & Vanderlei Pereira at Zinc Bar. 9:30pm. • Wed 8/5: Joris Teepe Big Band at Fat Cat. 9:00pm & new CD on Challenge Records, www.joristeepe.com 82 W. 3dr St. 212-477-ZINC. 11:00pm. 75 Christopher St. @ 7th Ave. 212-675-6056. www.fatcatmusic.org • Tues 8/4: Houston Person on 135th St. bet. 7th & 8th Ave. • Tues 8/4: Jazz for Curious Readers at National Jazz 7:00pm. 212-866-4900. www.jazzmobile.org Museum in Harlem. 7:00pm. Free. “Wynton Marsalis: • Wed 8/5: Benny Powell at Grant’s Tomb. 7:00pm. 122nd Small Groups.” 104 E. 126th St., Suite 2C. 212-348-8300. St. & Riverside Dr. 212-866-4900. • Tue 8/4: Richard Lee Wendell and Friends, One 83 www.jazzmuseuminharlem.org Restaurant, 1608 First Avenue, New York, (Between • Wed 8/5: Mitch Perrins Group with Joe Sucato at Bar 66. E. 83/84 Streets), 7:30-10:30pm, 212-327-4700, • Tues 8/4: Mike Longo Funk Band at NYC Baha’i 8:30pm. $5. No min. 66 Charlton St., Four Points, Sheraton, www.one83restaurant.com Center. 53 E. 11th St. (Bet University Place & Broadway) SoHo. 347-528-3534. http://bar66nyc.blogspot.com 212-222-5159. www.bahainyc.org/jazz.html. • Tues 8/4: Ken Hatfield with Harvie S at Fetch. 7:00pm. No • Wed 8/5, 8/12, 8/19, 8/26: Jonathan Kreisberg Trio cover. 1649 Third Ave. (Bet. 92nd & 93rd St.) 212-289-2700. • Tues 8/4, 8/11, 8/18, 8/25: Annie Ross at Metropolitan at La Lanterna Caffe. 8:00pm-11:30pm. $10 cover. 129 www.kenhatfield.com. Room. 9:30pm. 34 W 22nd St. (Bet. 5th & 6th Ave.) MacDougal St. 212-529-5945. www.lalanternacaffe.com. 212-206-0440. www.metropolitanroom.com. • Tues 8/4: Jack Wilkins & Dan Adler at Bella Luna • Thurs 8/6: Jason Campbell with Pat Bianci & Wayne Restaurant. 8:00pm. 584 Columbus Ave. @ 88th St. 212- • Tues 8/4: Andrea Wittgens at Barnes & Noble. 6:00pm. Henderson at Perks Jazz Club. 8:00pm. No cover or min. 877-2267. www.jackwilkins.com Free. 1972 Broadway @ W. 66th St. 123rd & Manhattan Ave. www.jasoncampbelljazz.com • Tues 8/4, 8/11, 8/18, 8/25: Joel Frahm Trio at La Lanterna • Wed 8/5: 55 Bar. Emilio Teubal with Felipe Salles, Sam • Thurs 8/6-Sun 8/9: Improvisation & Composition Caffe. 8:00pm-11:30pm. $10 cover. 129 MacDougal St. Sadigurski, Franco Pinna & Moto Fukushima @ 6:00pm. Workshop with Marc Mommaas & Tony Moreno. $575 212-529-5945. www.lalanternacaffe.com. Noah Preminger with Frank Kimbrough, Joe Martin & adult; $525 student under 26. 676 Riverside Dr., #4A. 917- Matt Wilson @ 10:00pm. 55 Christopher St. 212-929-9883. 340-0270. www.newyorkjazzworkshop.com • Tues 8/4: Tommy James with Mark McGowan, Chris www.55bar.com. Byers, Hassan (JJ Wiggins) Shakur & Brian Grice at • Thu 8/6: Joris Teepe Quintet, Smalls 183W 10th Street @ Blaue Gans. 8:00pm. No cover. 139 Duane St. (Bet. W. • Wed 8/5: Erika Matsuo at Drom. 7:00pm $10; $12 at door. 7th Ave, NYC. www.joristeepe.com Broadway & Church St.) 212-571-8880. www.kg-ny.com 85 Ave. A. 212-777-1157. www.dromnyc.com • Thurs 8/6: Mingus Dynasty Quintet at Central Park • Tues 8/4: Jenny Scheinman with Nels Cline, Jim Black & • Wed 8/5: Joris Teepe Big Band, Don Braden, Gene SummerStage. 7:30pm. Free. “Asbury Shorts: An Evening Matt Penman at (le) poisson rouge. 7:00pm. $15 advance; Jackson, Earl McIntyre, Michael Mossman, Mark Gross of the World’s Best Short Films.” $17 at door each day. 158 Bleecker St. 212-505-FISH. www. and others, Fat Cat 75 Christopher @ 7th Ave, NYC. Music • Thurs 8/6: Gilad Hekselman Trio at Fat Cat. 7:00pm. lepoissonrouge.com. www.myspace.com/jennyscheinman from new CD on Challenge Records, www.joristeepe.com 75 Christopher St. @ 7th Ave. 212-675-6056. • Tues 8/4, 8/11, 8/18, 8/25: Iris Ornig Quartet at The • Wed 8/5: Susan Pereira & Sabor Brasil with Noah Bless, www.fatcatmusic.org Crooked Knife. 7:00pm. 29 E. 30th St. (Bet. Madison & Manu Koch, Itaiguara & Vanderlei Pereira at Celebrate • Thu 8/6: Morrie Louden Trio, One 83 Restaurant, Park) 212-696-2593. www.thecrookedknife.com Summer in Midtown 2009. 12:30pm. Free. 101 Park Ave 1608 First Avenue, New York, (Between E. 83/84 Streets), @ 40th St. http://susanpereira.com • JSaug09Tues 8/4: Paul 7/28/09 Meyers with Donny11:47 McCaslin, AM Page Helio Alves,1 7:30-10:30pm, 212-327-4700, www.one83restaurant.com

THU-SUN AUG 13-16 TRIO STEVE SWALLOW - AL FOSTER MON AUG 17 �MINGUS� �MINGUS� � � �MONDAYS� MONDAYS “Jazz Venue of the Year” - ALL ABOUT JAZZ • “Best Jazz Club” - NEW YORK MAGAZINE & CITYSEARCH MINGUS BIG BAND THU-SAT JULY 30-AUG 1 TUE & WED AUG 18 & 19 FREDDY COLE QUARTET ALI JACKSON QUINTET WITH SPECIAL GUEST HARRY ALLEN JULY 31 & AUG 1 WAYNE ESCOFFERY - VINCENT GARDNER - AARON GOLDBERG - BEN WOLFE SUN AUG 2 CLOSED FOR PRIVATE EVENT THU-SUN AUG 20-23 MON AUG 3 �MINGUS� �MINGUS� � � JOANNE BRACKEEN �MONDAYS� MINGUS ORCHESTRA MONDAYS QUARTET TUE AUG 4 RAVI COLTRANE - E.J. STRICKLAND (AUG 20, 22 & 23) - ADAM CRUZ (AUG 21) PLUS SPECIAL GUEST EDDIE GOMEZ SOMI MON AUG 24 �MINGUS� WED AUG 5 �MINGUS� � � �MONDAYS� MINGUS ORCHESTRA MONDAYS SASHA DOBSON TUE AUG 25 THU-SUN AUG 6-9 SACHAL VASANDANI ERNESTINE ANDERSON WED AUG 26 QUARTET JULIA DOLLISON+KERRY MARSH: LAFAYETTE HARRIS JR. - LONNIE PLAXICO - WILLIE JONES III THE MUSIC OF MARIA SCHNEIDER PLUS SPECIAL GUEST HOUSTON PERSON MARIA SCHNEIDER - BEN MONDER - FRANK KIMBROUGH - JAY ANDERSON - CLARENCE PENN MON AUG 10 �MINGUS� THU-SUN AUG 27-30 �MINGUS� � � �MONDAYS� MINGUS DYNASTY MONDAYS QUINTET TUE & WED AUG 11 & 12 JOE FORD - STEVE DAVIS - BUSTER WILLIAMS - BILLY DRUMMOND MON AUG 31 � � �MINGUS� MINGUS SEAN JONES GROUP � � �MONDAYS� BRIAN HOGANS - - LUQUES CURTIS - JOHN DAVIS MONDAYS MINGUS DYNASTY

28 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 • Thurs 8/6: Mike Rodriguez at La Lanterna Caffe. 8:00pm- http://feinsteinsattheregency.com 11:30pm. $10 cover. 129 MacDougal St. 212-529-5945. • Tues 8/11: Ken Hatfield with Gene Torres & Steve Kroon www.lalanternacaffe.com. www.trumpetplayerprofiles.com at Fetch. 7:00pm. No cover. 1649 Third Ave. (Bet. 92nd & • Thurs 8/6: Donny McCaslin Quartet at St. Peter’s Church. 93rd St.) 212-289-2700. www.kenhatfield.com. rd 12:30pm. Jazz on the Plaza. Free. 53 & Lexington. • Tues 8/11: Jazz for Curious Readers at National Jazz 212-935-2200. http://saintpeters.org/jazz Museum in Harlem. 7:00pm. Free. “Wynton Marsalis: • Thurs 8/6: Chembo Corniel at Nuyorican Poets Big Band.” 104 E. 126th St., Suite 2C. 212-348-8300. Café. 236 E. Third St. (Bet. B & C Ave.) 212-465-3167. www.jazzmuseuminharlem.org www.nuyorican.org. www.myspace.com/chemboro • Tues 8/11: Warren Smith & Composer’s Workshop • Thurs 8/6: 55 Bar. Amy Cervini with Anat Cohen, Yair Orchestra at NYC Baha’i Center. 53 E. 11th St. Evnine & Matt Aronoff @ 7:00pm. Vardan Ovsepian (Bet University Place & Broadway) 212-222-5159. with Margret Grebowicz, Tim Miller, Josh Davis & Dan www.bahainyc.org/jazz.html. Weiss @ 10:00pm. 55 Christopher St. 212-929-9883. • Tues 8/11: Tommy James with Mark McGowan, Dave www.55bar.com. www.amycervini.com Glasser, Kengo Nakamura & Brian Grice at Blaue Gans. • Thurs 8/6, 8/13, 8/20, 8/27: Joan Crowe at Metropolitan 8:00pm. No cover. 139 Duane St. (Bet. W. Broadway & Room. 9:45pm. 34 W 22nd St. (Bet. 5th & 6th Ave.) Church St.) 212-571-8880. www.kg-ny.com 212-206-0440. www.metropolitanroom.com. • Tues 8/11: Jack Wilkins & Bucky Pizzarelli at Bella • Thurs 8/6: Richard Seff with Chita Rivera at Barnes & Luna Restaurant. 8:00pm. 584 Columbus Ave. @ 88th St. Noble. 6:00pm. Free. 1972 Broadway @ W. 66th St. 212-877-2267. www.jackwilkins.com • Fri 8/7: Jeremy Pelt at Marcus Garvey Park. 7:00pm. • Tue 8/11: Richard Lee Wendell and Friends, One 83 122nd St. & 5th Ave. 212-866-4900. www.jazzmobile.org Restaurant, 1608 First Avenue, New York, (Between E. 83/84 Streets), 7:30-10:30pm, 212-327-4700, • Fri 8/7: Brad Jones’ Avant Lounge at Blue Note. Late www.one83restaurant.com Night Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. www.bluenotejazz.com • Wed 8/12: Tish Oney at Barnes & Noble. 6:00pm. Free. 1972 Broadway @ W. 66th St. • Fri 8/7: 55 Bar. Oz Noy at 55 Bar. 10:00pm. 55 Christopher St. 212-929-9883. www.55bar.com. • Wed 8/12: Sean Smith with John Ellis, Keith Ganz & Russell Meissner at 55 Bar. 7:00pm. 55 Christopher St. • Fri 8/7: Janine Alondres and Trio, One 83 Restaurant, 212-929-9883. www.55bar.com. 1608 First Avenue, New York, (Between E. 83/84 Streets), 7:30-10:30pm, 212-327-4700, www.one83restaurant.com • Wed 8/12: The Atlantic Quartet at Bar 66. 8:30pm. $5. No min. 66 Charlton St., Four Points, Sheraton, SoHo. • Fri 8/7: La Lanterna Caffe. Paul Bollenback @ 347-528-3534. http://bar66nyc.blogspot.com 7:00pm & 9:00pm. Patrick Cornelius @ 11:00pm & 12:30am. $10 cover. 129 MacDougal St. 212-529-5945. • Wed 8/12: Jimmy Heath at Grant’s Tomb. 7:00pm. 122nd www.lalanternacaffe.com. www.paulbollenback.com. St. & Riverside Dr. 212-866-4900. www.jazzmobile.org www.patrickcornelius.com • Wed 8/12: Ken Hatfield with Eric Hoffman & Gene Torres • Fri 8/7-Sat 8/8: Brian Lynch, Little Johnny Rivero, Willie at Trinity Lower East Side Lutheran Parish Garden. Martinez, Hans Glawischnig, Peter Branin & John 8:00pm. Free, outdoors. 602 E. 9th St. @ Ave. B (Charlie Di Martino at Creole Restaurant. 8:00pm & 10:00pm. Parker Pl.) www.kenhatfield.com th $15 cover. 2167 Third Ave. @ 118 St. 212-876-8838. • Wed 8/12: Rudder at (le) poisson rouge. $15. 158 www.creolenyc.com Bleecker St. 212-505-FISH. www.lepoissonrouge.com. August 2009 Jazz Schedule • Sat 8/8: Ben Tyree Trio at Blue Note. Late Night www.myspace.com/rudderbandnewyork Friday & Saturday Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. • Wed 8/12: Jazz Is: Now! with Jonathan Batiste at National August 1: Onaje Allan Gumbs www.bluenotejazz.com th Jazz Museum in Harlem. 7:00pm. Free. 104 E. 126 St., August 7 & 8: Valerie Capers • Sat 8/8: Nate Sutton Band at Bar 66. 8:30pm. $5. Suite 2C. 212-348-8300. www.jazzmuseuminharlem.org August 14 & 15: Houston Person No min. 66 Charlton St., Four Points, Sheraton, SoHo. • Thurs 8/13: Jason Campbell with Pat Bianci & Wayne August 21 & 22: Danny Mixon Quartet & Birthday Celebration 347-528-3534. http://bar66nyc.blogspot.com Henderson at Perks Jazz Club. 8:00pm. No cover or min. August 28 & 29: Vocalist, Carrie Jackson rd Sat 8/8: La Lanterna Caffe. Marshall Gilkes @ 7:00pm 123 & Manhattan Ave. www.jasoncampbelljazz.com NEW EVERY TUESDAY NIGHT & 9:00pm. Dave Stryker @ 11:00pm & 12:30am. • Thurs 8/6: Chembo Corniel at Nuyorican Poets August 4 & 11: JOEY MORANT $10 cover. 129 MacDougal St. 212-529-5945. www. Café. 236 E. Third St. (Bet. B & C Ave.) 212-465-3167. August 18 & 25: REGGIE WOODS ENSEMBLE lalanternacaffe.com. http://marshallgilkes.com/home.html. www.nuyorican.org. www.myspace.com/chemboro www.davestryker.com • Thurs 8/13: 55 Bar. Alison Wedding with Henry Hey & • Sun 8/9: Vinnie Zummo Trio with Janice Zummo at Blue Michael League @ 7:00pm. Jonathan Kreisberg with Note. 12:30pm & 2:30pm. $24.50 includes brunch, show & Henry Hey, Will Vinson, Joe Martin & Greg Ritchie @ rd 1 drink. 131 W. 3 St. 212-475-8592. www.bluenote.net 10:00pm. 55 Christopher St. 212-929-9883. www.55bar.com. • Mon 8/10: Sachal Vasandani at La Lanterna Caffe. • Thurs 8/13: Stacy Dillard/Greg Glassman Quintet at Fat 8:00pm-11:30pm. $10 cover. 129 MacDougal St. 212-529-5945. Cat. 8:30pm. 75 Christopher St. @ 7th Ave. 212-675-6056. www.lalanternacaffe.com. www.sachalvasandani.com www.fatcatmusic.org • Mon 8/10: Guilherme Monteiro at Barnes & Noble. • Thurs 8/13: Vijay Iyer at National Jazz Museum in Harlem. th 6:00pm. Free. 1972 Broadway @ W. 66 St. 6:30pm. Free. 104 E. 126th St., Suite 2C. 212-348-8300. • Tue 8/11-Sat 81/5: Richie Goods Nuclear Fusion with Mike www.jazzmuseuminharlem.org Clark, Helen Sung, Jeff Lockhart, Dizzy’s Club Coca Cola, • Thurs 8/13: Dave Allen with Matt Clohesy & Henry Cole at Jazz at Lincoln Center, Broadway at 60th St., After Hours Bar Next Door. 8:00pm. www.daveallenjazz.com sets: 11pm Tue-Thu, 12:30am, Fri-Sat ($10) • Thu 8/13: Marco Panascia Trio, One 83 Restaurant, 1608 • Tues 8/11: Pucci Amanda Jhones at Feinstein’s at Loews First Avenue, New York, (Between E. 83/84 Streets), 7:30- st Regency. 8:30pm. 540 Park Ave. @ 61 St. 212-339-4095. 10:30pm, 212-327-4700, www.one83restaurant.com

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 29 • Thurs 8/13-Fri 8/14: Judith Wexler with Jeff Colella, www.lalanternacaffe.com. www.petereldridge.com Bill Moring & Anthony Pinciotti at Feinstein’s at • Tues 8/18-Wed 8/19: Diva Jazz Trio at Feinstein’s at Loews Regency. 8:30pm. $39-$60. 540 Park Ave. @ Loews Regency. 8:30pm. 540 Park Ave. @ 61st St. st 61 St. 212-339-4095. http://feinsteinsattheregency.com. 212-339-4095. http://feinsteinsattheregency.com www.judywexler.com • Tue 8/18: Bobby Broom and trio, Dennis Carroll, bass; • Thurs 8/13: Dave Allen at La Lanterna Caffe. 8:00pm- Kobie Watkins, drums; 8:30 & 11:00pm 11:30pm. $10 cover. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com. www.daveallenjazz.com • Birdland, 315 W. 44th St., Tickets & Information: 212-581-3080, www.bobbybroom.com • Thurs 8/13: Winard Harper Sextet at St. Peter’s Church. 12:30pm. Jazz on the Plaza Free. 53rd & Lexington. • Tues 8/18: Jazz for Curious Listeners at National Jazz 212-935-2200. http://saintpeters.org/jazz Museum in Harlem. 7:00pm. Free. “Wynton Marsalis: Orchestral.” 104 E. 126th St., Suite 2C. 212-348-8300. • Fri 8/14: Jeremiah Hosea at Blue Note. Late Night www.jazzmuseuminharlem.org Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. www.bluenotejazz.com Sun 8/23: • Tues 8/18: Ken Hatfield with Harvie S & at Fetch. 7:00pm. No cover. 1649 Third Ave. (Bet. 92nd & • Fri 8/14-Sat 8/15: Chuchito Valdes at Creole Restaurant. 93rd St.) 212-289-2700. www.kenhatfield.com. 8:00pm & 10:00pm. $15 cover. 2167 Third Ave. @ 118th St. 4th: Mike Longo Funk Band 212-876-8838. www.creolenyc.com • Tues 8/18: Jeff Siegel Quintet at NYC Baha’i Center. 53 E. 11th St. (Bet University Place & Broadway) 212-222-5159. 11th: Warren Smith and the Composer’s • Fri 8/14: La Lanterna Caffe. Pete McCann @ 7:00pm & www.bahainyc.org/jazz.html. Workshop Orchestra 9:00pm. Nick Moran @ 11:00pm & 12:30am. $10 cover. 129 MacDougal St. 212-529-5945. www.lalanternacaffe. • Tues 8/18: Tommy James with Mark McGowan, Dave 18th: Jeff Siegal Quintet com. www.petemccann.com. www.nickmoranmusic.com Glasser, Hassan (JJ Wiggins) Shakur & Brian Grice at Blaue Gans. 8:00pm. No cover. 139 Duane St. (Bet. W. 25th: Vibraphonist Warren Chiasson Group • Fri 8/14: Janine Alondres and Trio, One 83 Restaurant, Broadway & Church St.) 212-571-8880. www.kg-ny.com 1608 First Avenue, New York, (Between E. 83/84 Streets), 7:30-10:30pm, 212-327-4700, www.one83restaurant.com • Tue 8/18: Richard Lee Wendell and Friends, One 83 Restaurant, 1608 First Avenue, New York, (Between • Fri 8/14: Brooklyn Boogaloo Blowout at 55 Bar. 10:00pm. E. 83/84 Streets), 7:30-10:30pm, 212-327-4700, With Leah Siegel, John Ellis, Will Bernard, Andrew www.one83restaurant.com Sherman, Tim Luntzel & Tony Mason. 55 Christopher St. 212-929-9883. www.55bar.com. • Tues 8/18: Jack Wilkins & Howard Alden at Bella Luna Restaurant. 8:00pm. 584 Columbus Ave. @ 88th St. • Sat 8/15: Tal Ronen Quartet with Anat Cohen at Fat 212-877-2267. www.jackwilkins.com Cat. 7:00pm. 75 Christopher St. @ 7th Ave. 212-675-6056. www.fatcatmusic.org • Tues 8/18: Matthew Shipp & Lafayette Gilchrist at The Highline Ballroom. 7:30pm. $15 advance; $20 at • Sat 8/15: Tomas Doncker at Blue Note. Late Night door. 431 W. 16th St. (Bet. 9th & 10th Ave.) 212-414-5994. rd Groove Series. 12:30am.131 W. 3 St. 212-475-8592. www.highlineballroom.com www.bluenotejazz.com • Wed 8/19: Kate Pazakis at Barnes & Noble. 6:00pm. Free. • Sat 8/15: La Lanterna Caffe. Lage Lund @ 7:00pm & 1972 Broadway @ W. 66th St. 9:00pm. Jon Irabagon @ 11:00pm & 12:30am. $10 cover. AUGUST 2009 129 MacDougal St. 212-529-5945. www.lalanternacaffe. • Wed 8/19: Winard Harper at Grant’s Tomb. 7:00pm. 122nd JAZZ VESPERS com. www.lage-lund.com. www.jonirabagon.com St. & Riverside Dr. 212-866-4900. www.jazzmobile.org SUNDAYS AT 5:00 — FREE • Sat 8/15: Big Band Workshop at Bar 66. 8:30pm. $5. No • Wed 8/19: Francois Moutin with Jean-Michel Pilc, Joel ALL ARE WELCOME! Frahm & Ari Hoenig at 55 Bar. 10:00pm. 55 Christopher min. 66 Charlton St., Four Points, Sheraton, SoHo. 347-

528-3534. http://bar66nyc.blogspot.com St. 212-929-9883. www.55bar.com. 2 Sean Smith Trio • Sat 8/15: Dor Green, Lela Keels, Sachiko Tatsuishi, • Wed 8/19: Peter Cincotti at The Highline Ballroom. 8:00pm 9 Klaro! Karolina Strassmayer Ricky DeMarco & Ira Hawkins at Shutter Café. 7:00pm. & 10:30pm. $25 advance; $30 at door. 431 W. 16th St. (Bet. & Drori Mondlak “Summer Time Swing” presented by Jazz Singers 9th & 10th Ave.) 212-414-5994. www.highlineballroom.com Workshop Collective. 433 W. 34th St. (Bet. 9th & 10th Ave.) • Wed 8/19: Martin Urbach Group at Bar 66. 8:30pm. $5. 16 Jan Leder Quartet 973-923-7932. No min. 66 Charlton St., Four Points, Sheraton, SoHo.

347-528-3534. http://bar66nyc.blogspot.com 23 Andrew Lamb Trio • Sun 8/16: Kuni Mikami & Hamp’s Boogie Band at Blue Note. 12:30pm & 2:30pm. $24.50 includes brunch, show & • Wed 8/19: Jazz Is: Now! with Jonathan Batiste at National 30 Sam Sadigursky 1 drink. 131 W. 3rd St. 212-475-8592. www.bluenote.net Jazz Museum in Harlem. 7:00pm. Free. 104 E. 126th St., & The Words Project • Sun 8/16: Harlem Day at Main Stage. 2:30pm. 135th St. & Suite 2C. 212-348-8300. www.jazzmuseuminharlem.org

Fifth Ave. 212-866-4900. www.jazzmobile.org • Wed 8/19: Francois Moutin with Jean-Michel Pilc, Joel JAZZ ON THE PLAZA • Mon 8/17: Laura Hull at Barnes & Noble. 6:00pm. Free. Frahm & Ari Hoenig at 55 Bar. 10:00pm. 55 Christopher THURSDAYS AT 12:30 — FREE 1972 Broadway @ W. 66th St. St. 212-929-9883. www.55bar.com. SPONSORED BY MIDTOWN ARTS COMMON • Thurs 8/20: Katie Bull, Landon Knoblock, piano; Joe • Mon 8/17: Allie at Yippie Café. 9 Bleecker St. 6 Donny McCaslin Quartet (Bet. Bowery & Elizabeth) www.yippiemuseum.org. Fonda, bass; Harvery Sorgen, drums; Jeff Lederer, tenor http://www.myspace.com/alliegman sax; 55 Bar, 55 Christopher St., 7pm, No cover. www.55Bar. com, www.KatieBull.com 13 Winard Harper Sextet th th • Mon 8/17: Elise Woods on 139 St. bet. 8 & Edgecombe • Thurs 8/20: Jason Campbell with Pat Bianci & Wayne 20 Ingrid Jensen Quartet Ave. 7:00pm. 212-866-4900. www.jazzmobile.org Henderson at Perks Jazz Club. 8:00pm. No cover or min. • Mon 8/17: “The Story” with John Escreet, Lars 123rd & Manhattan Ave. www.jasoncampbelljazz.com 27 Jazz Knights 8-Piece Big Band Dietrich, Samir Zarif, Chris Tordini & Greg Ritchie from West Point at 55 Bar. 10:00pm. 55 Christopher St. 212-929-9883. • Thurs 8/20-Sun 8/23: Vocal Workshop with Hilary Gardner

& Joshua Wolff and guest Mike Longo. $575 adult; $525 www.55bar.com. SAINT PETER’S CHURCH student under 26. 676 Riverside Dr., #4A. 917-340-0270. Lexington Avenue at 54th Street • Mon 8/17: Peter Eldridge at La Lanterna Caffe. 8:00pm- www.newyorkjazzworkshop.com www.saintpeters.org/jazz ● 212-935-2200 11:30pm. $10 cover. 129 MacDougal St. 212-529-5945.

30 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 OPEN M-F 10 AM - 4 PM visitors center: 104 E. 126th Street, #2C, New York, NY 10035 • Thurs 8/20: Ingrid Jensen Quartet at St. Peter’s Church. 12:30pm. Jazz on the Plaza Free. 53rd & Lexington. WWW.JMIH.ORG 212-935-2200. http://saintpeters.org/jazz • Thu 8/20: Elias Bailey Trio, One 83 Restaurant, 1608 THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS First Avenue, New York, (Between E. 83/84 Streets), 7:30-10:30pm, 212-327-4700, www.one83restaurant.com • Thurs 8/20-Fri 8/21: Eric Comstock & Barbara Fasano Harlem Speaks at Feinstein’s at Loews Regency. 8:30pm. $25 cover; $25 min. 540 Park Ave. @ 61st St. 212-339-4095. A SPECIAL SERIES HONORING HARLEM HEROES http://feinsteinsattheregency.com • Thurs 8/20: Adam Levy at La Lanterna Caffe. 8:00pm- Aug. 13: Vijay Iyer Aug. 27: Eddie Gomez 11:30pm. $10 cover. 129 MacDougal St. 212-529-5945. Pianist Bassist www.lalanternacaffe.com. www.adamlevy.com • Fri 8/21: Antoinette Montague Group with Bill Easley at Marcus Garvey Park. Free. Jazzmobile Summer Fest. 124th TIME: 6:30 --- 8:30 pm PRICE: Free St. & Madison Ave. LOCATION: The NJMIH Visitors Center, 104 E. 126th Street, #2C Photo courtesy Richard Conde • Fri 8/21-Sat 8/22: Tribute to Ray Baretto with Steve Turre, Chembo Corniel, Vince Cherico, Boris Koslov, Peter Branin & John Di Martino at Creole Restaurant. 8:00pm & 10:00pm. $15 cover. 2167 Third Ave. @ 118th St. 212-876-8838. www.creolenyc.com • Fri 8/21: La Lanterna Caffe. Chris Crocco’s Fluid Trio @ 7:00pm & 9:00pm. John Ellis @ 11:00pm & Jonathan Batiste Trio 12:30am. $10 cover. 129 MacDougal St. 212-529- August 28 5945. www.lalanternacaffe.com. www.chriscrocco.com. www.johnaxsonellis.com $18 ADVANCE $20 AT DOOR • Fri 8/21: The Bad Plus at The Highline Ballroom. 8:00pm & 11:00pm. $22 advance; $25 at door. 431 W. 16th St. (Bet. 9th & 10th Ave.) 212-414-5994. www.highlineballroom.com • Fri 8/21: Janine Alondres and Trio, One 83 Restaurant, 1608 First Avenue, New York, (Between E. 83/84 Streets), 7:30-10:30pm, 212-327-4700, www.one83restaurant.com NEW • Sat 8/22: Mitch Perrins Group at Bar 66. 8:30pm. $5. AugustJazz 12 & AugustIs: 19 | 7:00 pm PROGRAM No min. 66 Charlton St., Four Points, Sheraton, SoHo. Now! 347-528-3534. http://bar66nyc.blogspot.com Jonathan Batiste with an open panel discussion on jazz culture and its • Sat 8/22: La Lanterna Caffe. Randy Napoleon @ 7:00pm relevance in today's society & special musical guest/performances & 9:00pm. Greg Skaff @ 11:00pm & 12:30am. $10 cover. The NJMH Visitors Center, 104 E. 126th St., #2C 129 MacDougal St. 212-529-5945. www.lalanternacaffe. com. www.randynapoleon.com. http://gregskaff.com • Sun 8/23: Bossa Brasil at Jule’s Bistro. 8:30pm. Jazz for Curious Readers 65 Saint Marks Pl. 212-477-5560. www.julesbistro.com. www.mauriciodesouzajazz.com Aug. 3: Duke Ellington: • Sun 8/23: K.J. Denhert at Blue Note. 12:30pm & 2:30pm. The Author $24.50 includes brunch, show & 1 drink. 131 W. 3rd St. 212-475-8592. www.bluenote.net Jazz for Curious Listeners 7:00 - 8:30 pm | FREE • Mon 8/24: Duke Ellington Legacy Band with Edward The NJMIH Visitors Center Ellington III on 106th St. (Duke Ellington Blvd.) bet. Central Free classes celebrating Harlem and its legacy 104 E. 126th Street, #2C Park West & Manhattan Ave. 7:00pm. 212-866-4900. www.jazzmobile.org Tuesdays 7:00 - 8:30 p.m. The NJMIH Visitors Center, 104 E. 126th Street, #2C • Mon 8/24: Marlene Ver Planck at Barnes & Noble. 6:00pm. Free. 1972 Broadway @ W. 66th St. Attend any individual class. saturday panels • Mon 8/24: Marianne Sollivan at La Lanterna Caffe. 8:00pm- 10AM – 4PM • FREE 11:30pm. $10 cover. 129 MacDougal St. 212-529-5945. INCLUDING FILMS, PANEL DISCUSSIONS www.lalanternacaffe.com. www.mariannesolivan.com Wynton Marsalis: The Composer AND LIVE MUSIC • Tues 8/25: Ken Hatfield with Gene Torres at Fetch. August 4: Small Groups 7:00pm. No cover. 1649 Third Ave. (Bet. 92nd & 93rd St.) August 11: Big Band 8/29: Jo Jones 212-289-2700. www.kenhatfield.com. The Man Who Played Like The Wind August 18: Orchestral • Tues 8/25: Warren Chiasson Group at NYC Baha’i The NJMIH Visitors Center Center. 53 E. 11th St. (Bet University Place & Broadway) August 25: Chamber 212-222-5159. www.bahainyc.org/jazz.html. 104 E. 126th Street, #2C • Tue 8/25: Richard Lee Wendell and Friends, One 83 t h e DOCTOROW FAMILY Restaurant, 1608 First Avenue, New York, (Between FOUNDATION E. 83/84 Streets), 7:30-10:30pm, 212-327-4700, www.one83restaurant.com Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 31 • Tues 8/25: Jack Wilkins & Harvie S. at Bella Luna • Tues 8/25: Jazz for Curious Listeners at National Jazz (Charlie Parker Pl.) www.kenhatfield.com Restaurant. 8:00pm. 584 Columbus Ave. @ 88th St. Museum in Harlem. 7:00pm. Free. “Wynton Marsalis: • Wed 8/26: Brian Woodruff Sextet at Bar 66. 8:30pm. $5. 212-877-2267. www.jackwilkins.com th Chamber.” 104 E. 126 St., Suite 2C. 212-348-8300. No min. 66 Charlton St., Four Points, Sheraton, SoHo. • Tues 8/25: Bossa Brasil at Jule’s Bistro. 8:30pm. 65 www.jazzmuseuminharlem.org 347-528-3534. http://bar66nyc.blogspot.com Saint Marks Pl. 212-477-5560. www.julesbistro.com. • Tues 8/25: Cecil Bridgewater & Jazzmobile Allstars • Wed 8/26: Gayle Scott & Lou Moneta with New York’s www.mauriciodesouzajazz.com nd th on 122 St. bet. 7 & Lenox Ave. 212-866-4900. Finest Jazz Band at Feinstein’s at Loews Regency. • Tues 8/25: Art Lillard’s On Time Band at 55 Bar. www.jazzmobile.org 8:30pm. 540 Park Ave. @ 61st St. 212-339-4095. 7:00pm. No cover. 55 Christopher St. 212-929-9883. • Tues 8/25: at The Highline Ballroom. 8:00pm http://feinsteinsattheregency.com www.55bar.com. www.artlillard.com th & 10:30pm. $25 advance; $30 at door. 431 W. 16 St. (Bet. • Wed 8/26: Frank Wess at Grant’s Tomb. 7:00pm. 122nd St. th th • Tues 8/25: Tommy James with Mark McGowan, Dave 9 & 10 Ave.) 212-414-5994. www.highlineballroom.com & Riverside Dr. 212-866-4900. www.jazzmobile.org Glasser, Hassan (JJ Wiggins) Shakur & Brian Grice at • Wed 8/26: Ken Hatfield with Eric Hoffman & Hans • Wed 8/26: Drew Gress / 7 Black Butterflies, Bruno Walter Blaue Gans. 8:00pm. No cover. 139 Duane St. (Bet. W. Glawischnig at Trinity Lower East Side Lutheran Parish Auditorium, 111 Amsterdam Ave @ 65th Street / The New Broadway & Church St.) 212-571-8880. www.kg-ny.com th Garden. 8:00pm. Free, outdoors. 602 E. 9 St. @ Ave. B York Public Library for the Performing Arts Dorothy and Lewis Cullman Center/ Free Admission Doors open at 7pm; concert at 7:30pm, 212-870-1793 • Wed 8/26: Sing! Sing! Sing! at The Triad. 7:00pm. $10 cover; $10 min. “The Great American Songbook Sing-a- long” hosted by Anne Phillips and Michael Shepley.” Lyrics provided. 158 W. 72nd St. (Bet. Broadway & Columbus). www.triadnyc.com. http://singsingsing-east.blogspot.com • Thurs 8/27: Jason Campbell with Pat Bianci & Wayne Henderson at Perks Jazz Club. 8:00pm. No cover or min. 123rd & Manhattan Ave. www.jasoncampbelljazz.com • Thu 8/27: Willie Martinez La Familia Sextet, Nuyorican Poets Café, 236 East 3rd St. between Aves B & C, Two Sets @ 9:30 & 11:00, www.williemartinez.com, www.nuyorican.org. www.flushingtownhall.org • Thu 8/27: Adriano Santos Brazilian Jazz Quintet, David August 1-2 WAllAce Roney Quintet Binney, alto sax, Helio Alves, piano, David Ambrosio, ac. August 3 subs FoR les PAul Bass, Dendê, percussion, Adriano Santos, drums; Zinc Bar, 9:30PM, 11PM, 1AM, 82 West 3rd Street, Greenwich August 4 the cliFton AndeRson Quintet Village, 212-477-9462, www.zincbar.com, • Thurs 8/27: Eddie Gomez at National Jazz Museum August 5 gAbRiel esPinosA cd ReleAse in Harlem. 6:30pm. Free. 104 E. 126th St., Suite 2C. August 6-9 FRedA PAyne sings ellA FitzgeRAld 212-348-8300. www.jazzmuseuminharlem.org • Thu 8/27: David Silliman Trio, One 83 Restaurant, 1608 August 10 bucky PizzARelli subs FoR les PAul First Avenue, New York, (Between E. 83/84 Streets), 7:30-10:30pm, 212-327-4700, www.one83restaurant.com August 11 the Joe bAione sextet • Thurs 8/27: Kelsey Jillette with Tom Abbott, Hiro Honma, August 12-16 eliAne eliAs tRio- tRibute to bill evAns Jason Lawrence & Brad Whiteley at 55 Bar. 7:00pm. 55 Christopher St. 212-929-9883. www.55bar.com. August 18 Jc hoPkins big bAnd www.kelseyjillette.com August 19-23 tieRney sutton • Thurs 8/27: Tom Dempsey at La Lanterna Caffe. 8:00pm- 11:30pm. $10 cover. 129 MacDougal St. 212-529-5945. August 25 teRese genecco & heR little big bAnd www.lalanternacaffe.com. www.tomdempseymusic..com • Thurs 8/27: Cynthia Holiday on 132nd St. bet. 7th & Lenox August 26 ted kooshiAn’s stAndARd oRbit QuARtet Ave. 7:00pm. 212-866-4900. www.jazzmobile.org cd ReleAse; the ed PAleRmo big bAnd • Thurs 8/27-Sun 8/30: Guitar Workshop with Vic Juris & Rez Abbasi. $575 adult; $525 student under 26. 676 Riverside August 27-30 dAvid sAnchez bAnd Dr., #4A. 917-340-0270. www.newyorkjazzworkshop.com • Thurs 8/27: Jazz Knights: 18-piece big band from West Point at St. Peter’s Church. 12:30pm. Jazz on the Plaza. Free. 53rd & Lexington. 212-935-2200. http://saintpeters.org/jazz • Fri 8/28: Jonathan Batiste Trio at the Rubin Museum of Art. 7:00pm. $18 in advance; $20 at door. “Harlem in the Himalayas.” 150 W. 17th St. 212-620-5000. www.rmanyc.org • Fri 8/28: Stephanie Rooker at Blue Note. Late Night Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. www. bluenotejazz.com • Fri 8/28: Janine Alondres and Trio, One 83 Restaurant, 1608 First Avenue, New York, (Between E. 83/84 Streets), 7:30-10:30pm, 212-327-4700, www.one83restaurant.com • Fri 8/28: Robert Glasper, Tarus Mateen & Kim Thompson

32 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 at 55 Bar. 10:00pm. 55 Christopher St. 212-929-9883. • Thurs 8/6: Reuben Radding/Daniel Carter Duo with WANNA JAM? www.55bar.com. Joe Branciforte Trio at Le Grand Dakar. 8:30pm. Free. Join the 285 Grand Ave. (Bet. Clifton & Lafayette) • Fri 8/28: La Lanterna Caffe. Victor Prieto @ 7:00pm & 9:00pm. Rodney Green @ 11:00pm & 12:30am. $10 cover. • Sat 8/8: KLARO at ParlorJazz. 9:00pm & 10:30pm. $20 129 MacDougal St. 212-529-5945. www.lalanternacaffe. incl. both sets, open wine bar, light refreshments & dessert. NEW YORK com. www.victorprieto.net. www.rodneygreenmusic.com 119 Vanderbilt Ave. 718-855-1981. • Fri 8/28: Ghanniyya Green at Marcus Garvey • Sun 8/9: Andrew Rathbun Trio at Brooklyn Lyceum. JAZZ Park. 7:00pm. 122nd St. & 5th Ave. 212-866-4900. 9:00pm & 10:30pm. 227 4th Ave. 866-gowanus. www.jazzmobile.org www.brooklynlyceum.com ACADEMY • Fri 8/28-Sat 8/29: Dr. Mambo & Experience Ensemble with • Tues 8/11: Louise Dam Eckardt Jensen with Kevin Shea, Dwight Brewster, Bill Jacobs, Alex Blake, Neil Clarke, Brandon Seabrook & Tom Blancarte at Le Grand Dakar. KC Benjamin & Chacho Ramirez at Creole Restaurant. 8:30pm. Free. 285 Grand Ave. (Bet. Clifton & Lafayette) 8:00pm & 10:00pm. $15 cover. 2167 Third Ave. @ 118th St. • Wed 8/12: Awakening Orchestra at Brooklyn 212-876-8838. www.creolenyc.com Lyceum. 8:00pm & 9:30pm. 227 4th Ave. 866-gowanus. • Sat 8/29: Saturday Panels at National Jazz Museum in www.brooklynlyceum.com Harlem. 10:00am. Free. “Jo Jones: The Man Who Played • Sat 8/15: Art Lillard’s Heavenly Band at Tea Lounge. Like the Wind.” 104 E. 126th St., Suite 2C. 212-348-8300. 8:30pm & 10:00pm. 837 Union St., Park Slope. www.jazzmuseuminharlem.org 718-789-2762. www.tealoungeNY.com. www.artlillard.com • Sat 8/29: Caleb Curtis Quintet at Bar 66. 8:30pm. $5. • Sun 8/16: Joe Magnarelli at Brooklyn Lyceum. No min. 66 Charlton St., Four Points, Sheraton, SoHo. 9:00pm & 10:30pm. 227 4th Ave. 866-gowanus. 347-528-3534. http://bar66nyc.blogspot.com www.brooklynlyceum.com • Sat 8/29: Charlie Parker Jazz Festival with Frank Wess • Tues 8/18: Dave Ballou, Ben Gerstein, James Ilgentritz Quintet, Gary Bartz, José James & Aaron Parks. From & Harris Eisenstadt at Le Grand Dakar. 8:30pm. Free. 3:00pm. Free. Marcus Garvey Park, 124th St. & Mt. Morris 285 Grand Ave. (Bet. Clifton & Lafayette) Park. www.cityparksfoundation.org Now Registering • Wed 8/19: Chris McNulty & Paul Bollenback Group • Sat 8/29: La Lanterna Caffe. Brandon Lee @ 7:00pm & at Brooklyn Lyceum. 8:00pm & 9:30pm. 227 4th Ave. 2009-2010 9:00pm. Will Winson @ 11:00pm & 12:30am. $10 cover. 866-gowanus. www.brooklynlyceum.com 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com. www.bleejazz.com. www.willvinson.com • Thurs 8/20: Howard Alden & Warren Vache at Bargemusic. Enroll 8:00pm. $25; $15 student. Fulton Ferry Landing, at the foot • Sat 8/29: Darien at Blue Note. Late Night Groove Series. Online! of the Brooklyn Bridge. 718-624-2083. www.bargemusic.org. 12:30am.131 W. 3rd St. 212-475-8592. www.bluenotejazz.com • Sun 8/23: Gary Fisher at Brooklyn Lyceum. • Sat 8/29: Eldar Djangirov at The Highline Ballroom. 9:00pm & 10:30pm. 227 4th Ave. 866-gowanus. 8:00pm. $20 advance; $25 at door. 431 W. 16th St. (Bet. 9th www.brooklynlyceum.com & 10th Ave.) 212-414-5994. www.highlineballroom.com • Tues 8/25: Tim Kuhl with Michael Attias, James Ilgenfritz • Sun 8/30: Marta Gomez at Blue Note. 12:30pm & 2:30pm. & Ryan Mackstaller at Le Grand Dakar. 8:30pm. Free. 285 $24.50 includes brunch, show & 1 drink. 131 W. 3rd St. Grand Ave. (Bet. Clifton & Lafayette) 212-475-8592. www.bluenote.net • Wed 8/26: Jean Rohe at Brooklyn Lyceum. • Sun 8/30: Donny McCaslin with Ben Monder, Adam Cruz 8:00pm & 9:30pm. 227 4th Ave. 866-gowanus. & Ricky Rodriguez at 55 Bar. 7:00pm. 55 Christopher St. www.brooklynlyceum.com 212-929-9883. www.55bar.com. • Thurs 8/27: Rob Schwimmer at Bargemusic. 8:00pm. $25; • Sun 8/30: Charlie Parker Jazz Festival with Cedar $15 senior; $10 student. Fulton Ferry Landing, at the foot of Walton Quartet, Papo Vazquez Pirates Troubadores, the Brooklyn Bridge. 718-624-2083. www.bargemusic.org. Pyend Threadgill & the Dred Scott Trio. From 3:00pm. Free. Tompkins Square Park, E. 8th St. bet. Aves. A & B. • Thurs 8/27: Veronica Nunn Trio at Puppets Jazz Bar. www.cityparksfoundation.org 6:00pm. $10. 481 Fifth Ave., Park Slope (Bet. 11th & 12th St.) • Mon 8/31: Michelle Walker at La Lanterna Caffe. • Sun 8/30: Akiko Pavolka at Brooklyn Lyceum. 8:00pm-11:30pm. $10 cover. 129 MacDougal St. 9:00pm & 10:30pm. 227 4th Ave. 866-gowanus. 212-529-5945. www.lalanternacaffe.com. www.myspace. www.brooklynlyceum.com com/michellewalkerjazz • Thurs 9/3: Jacob Varmus Quartet with Toru Dodo, Kevin Thomas & Brian Woodruff at Puppets. 9:00pm. $6 cover, $10 min. 481 5th Ave., Park Slope. (Bet. 11th & 12th St.) Brooklyn

Queens • Sun 8/2: Dave Allen with Donny McCaslin, Drew Gress & Adam Cruz at Solo Kitchen & Bar. 9:00pm. 1502 Cortelyou Rd. www.daveallenjazz.com • Thurs 8/6: Lonnie Youngblood at 111-34 198th St. & Hollis. • Tues 8/4: Justin Wood Trio at Le Grand Dakar. 8:30pm. 7:00pm. 212-866-4900. www.jazzmobile.org Free. 285 Grand Ave. (Bet. Clifton & Lafayette) • Thurs 8/6: Boilermaker Jazz Band with Paul Cosentino at • Wed 8/5: Ras Moshe at Brooklyn Lyceum. 8:00pm & Forest Hills. 7:00pm. Free. 70th Road bet. Queens Blvd & 9:30pm. 227 4th Ave. 866-gowanus. www.brooklynlyceum.com Austin St. www.jazzthursdays.com • Thurs 8/6: Luiz Simas with Adriano Santos & Itaiguara • Fri 8/7, 8/14, 8/21, 8/28: Hiromi Suda with Hiroya at Bargemusic. 8:00pm. $25; $20 senior; $15 student. Tsukamoto & Keita Ogawa at Linn. 8:00pm. 29-13 Fulton Ferry Landing, at the foot of the Brooklyn Bridge. Broadway, Astoria. 718-204-0060. www.linnrestaurant.com. 718-624-2083. www.bargemusic.org. www.hiromisuda.com

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 33 • Sat 8/9: Lew Picardi Orchestra at Flushing Town Hall Main St., Madison. 973-822-2899. www.shanghaijazz.com. The River Queen. Noon-4:00pm. $89 includes music & Garden. 1:00pm. 137-35 Northern Blvd. 718-463-7700. • Sat 8/8: Joris Teepe Big Band at Puffin Foundation. food. Leaves Bogan’s Brielle Basin at Barnegat Bay. Call www.flushingtownhall.org 8:30pm & 10:00pm. 20 Puffin Way, Teaneck. 732-830-3496 for ordering & directions. www.njjs.org • Sat 8/9: Carol Sudhalter 8-piece band at Queens Library, • Mon 8/10: Swingadelic at Maxwell’s. 9:00pm. No • Mon 8/24: Swingadelic at Maxwell’s. 9:00pm. No Central Branch. 3:00pm. Free. 89-11 Merrick Blvd., cover. 1039 Washington St., Hoboken. 201-653-1703. cover. 1039 Washington St., Hoboken. 201-653-1703. Jamaica. 718-990-0700. www.maxwellsnj.com www.maxwellsnj.com • Tues 8/11: Arturo O’Farrill at Louis Armstrong House & • Tues 8/11-Wed 8/12: John Pizzarelli & Jessica Molaskey • Wed 8/26: Nicki Parrott at Shanghai Jazz. 24 Main St., th Archive. 7:00pm. 34-56 107 St., Corona. 212-866-4900. at Shanghai Jazz. 6:30pm & 8:15pm. $79 each for full- Madison. 973-822-2899. www.shanghaijazz.com. www.jazzmobile.org course dinner & show. 24 Main St., Madison. 973-822-2899. • Thurs 8/27: Jack Wilkins & Howard Alden at Glen Rock • Thurs 8/13: 18-piece Ensemble of Police Officers at www.shanghaijazz.com. Inn. 7:00pm. 222 Rock Rd., Glen Rock. 201-445-2362. Forest Hills. 7:00pm. Free. 70th Road bet. Queens Blvd & • Tues 8/11: Taj Mahal & Bonnie Raitt at NJPAC Prudential • Sat 8/29: Quartet at Shanghai Jazz. 24 Austin St. www.jazzthursdays.com Hall. 7:30pm. $43.25-$88.25. One Center St., Newark. Main St., Madison. 973-822-2899. www.shanghaijazz.com. • Fri 8/14: Jazzberry Jam at Marcus Garvey Park. 7:00pm. 888-466-5722. www.njpac.org • Sun 8/30: Bossa Brazil at Market in the Middle. Noon. 122nd St. & 5th Ave. 212-866-4900. www.jazzmobile.org • Tues 8/11: Swingadelic on Central Ave., Westfield. No cover or min. 516 Cookman Ave., Asbury Park. • Thurs 8/20: The Brawner Brothers at Forest Hills. 7:00pm. Sweet Sounds of Downtown Jazz Series in 732-776-8886. www.marketinthemiddleasburypark.com. 7:00pm. Free. 70th Road bet. Queens Blvd & Austin St. Westfield. www.swingadelic.com www.mauriciodesouzajazz.com www.jazzthursdays.com • Thurs 8/13, 8/20, 8/27: Mauricio de Souza Trio at • Mon 8/31: Bossa Brazil at Labrador Lounge. 7:00pm. • Sun 8/23: Willie Martinez at Flushing Town Hall Green St. Café. 5:00pm. No cover or min. 20 Green No cover or min. 3581 Rt. 35 N, Normandy Beach. 732-830- Garden. 1:00pm. 137-35 Northern Blvd. 718-463-7700. St., Newark. (Across from City Hall). 973-642-7373. 5770. www.kitschens.com. www.mauriciodesouzajazz.com www.flushingtownhall.org www.mauriciodesouzajazz.com • Thurs 8/13: Vic Danzi & Lou Sabini at Glen Rock Inn. 7:00pm. 222 Rock Rd., Glen Rock. 201-445-2362. …And Beyond Bronx • Thurs 8/13: Morris Nanton Trio at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com. • Sat 8/1: Ladysmith Black Mambazo at Belleayre • Sun 8/2, 8/9, 8/16, 8/23, 8/30: Alexander McCade Group • Fri 8/14: Mauricio de Souza Trio at Green Olive. 8:00pm. Music Festival. 8:00pm. $55, $40, $30, $25. Tent Off at Cullens Tavern. 5:00pm. 4340 White Plains Rd. No cover or min. 455 Passaic St., Hackensack. 201-487- Route 28, Highmount, NY. 800-942-6904, ext. 1344. 718-655-8955. www.amccabemusic.com 0759. www.northjersey.com. www.mauriciodesouzajazz.com. www.belleayremusic.org. www.mambazo.com • Mon 8/3: Lou Donaldson at Co-Op City. 7:00pm. Greenway • Fri 8/14: Grover Kemble Trio at Shanghai Jazz. 24 Main • Sat 8/1: Caramoor Jazz Festival, Venetian Theater. Jean- @ Section 5. 212-866-4900. www.jazzmobile.org St., Madison. 973-822-2899. www.shanghaijazz.com. Michel Pilc, Chris Tordini & Ari Hoenig perform Modern Lights @ 3:00pm. Cedar Walton’s “50 Years of Giant Steps” • Thurs 8/13: Arturo O’Farrill at 141st St. bet. Willis & • Sat 8/15: Dave Stryker Trio at Shanghai Jazz. 24 Main @ 4:15pm. Gerald Clayton, Joe Sanders & Justin Brown Alexander Ave. 7:00pm. 212-866-4900. www.jazzmobile.org St., Madison. 973-822-2899. www.shanghaijazz.com. @ 5:30pm. Chuchito Valdés Quartet and Dianne Reeves’ rd • Sat 8/15: Ray Schinnery on 153 St. bet. Convent & • Sun 8/16: Bossa Brasil at Langosta Lounge. 1:00pm. Strings Attached with Romero Lubambo & Russell Malone Amsterdam Ave. 7:00pm. 212-866-4900. www.jazzmobile.org 1000 Ocean Ave., Asbury Park. 732-455-3275. @ 8:00pm. $59, $44, $29. 149 Girdle Ridge Road, Katonah, • Thurs 8/20: Dave Gibson on Lyman Pl. bet. Freeman & www.langostalounge.com. www.mauriciodesouzajazz.com NY. 914-232-5035. http://caramoor.org th 169 St. 7:00pm. 212-866-4900. www.jazzmobile.org • Mon 8/17: Allan Vaché with Matt Hoffmann, Randy • Sat 8/1: Litchfield Jazz Festival. Dafnis Prieto @ noon. Reinhart, Mark Shane, Brian Nalepka, Kevin Dorn & Trio Da Paz & Leny Andrade @ 1:45pm. Wycliffe Gordon Terry Blaine at Bickford Theatre. 8:00pm. $15 in advance; & Jay Leonhart Quartet @ 3:30pm. Benny Green & Bucky Staten Island $18 at door. On Columbia Turnpike @ Normandy Heights Pizzarelli @ 5:15pm. Bill Henderson Quartet @ 7:00pm. Road, east of downtown Morristown. 973-971-3706. Preservation Hall Jazz Band @ 8:45pm. $55 tent, $35 lawn www.njjs.org in advance; $65 tent, $45 lawn at gate; kids under 12 free on • Mon 8/10: Annette A. Aguilar & Stringbeans at Tappen lawn. Kent School, One Macedonia Rd. (Rt. 341), Kent, CT. Park. 7:00pm. 212-866-4900. www.jazzmobile.org • Wed 8/19: Bucky Pizzarelli at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com. • Sun 8/2: Litchfield Jazz Festival. Ted Nash Quartet @ noon. Lionel Loueke Trio @ 1:30pm. Dena DeRose • Wed 8/19: Allan Vaché with Vinnie Corrao, Brian Nalepka New Jersey Quartet featuring Claudio Roditi @ 3:30pm. Houston & Kevin Dorn at Ocean County Library. 8:00pm. $13 Person Quartet @ 5:15pm. Poncho Sanchez Latin Jazz advance; $15 at door. 101 Washington St., Toms River. Band @ 7:00pm. $55 tent, $35 lawn in advance; $65 tent, 732-255-0500. www.ocean.edu • Sat 8/1: Sherrie Maricle & The DIVA Jazz Orchestra at $45 lawn at gate; kids under 12 free on lawn. Kent School, Centenary College. 5:00pm & 8:00pm. Hackettstown. • Wed 8/19: John Zweig with Carrie Jackson & Rick Crane One Macedonia Rd. (Rt. 341), Kent, CT. www.divajazz.com at Highlawn Pavilion. 7:00pm. No cover or min. 381 Eagle • Sun 8/2: Caramoor Jazz Festival, Venetian Theater. Rock Ave., West Orange. 973-731-3463. www.highlawn.com • Sat 8/1: Herbie Hancock & Lang Lang with New Jersey Junior Mance Trio @ 2:30pm. Cyrus Chestnut Trio Symphony Orchestra, John Axelrod, conductor, at • Thurs 8/20-Fri 8/21: Eric Frazier CD Release Party, Cecil’s @ 3:30pm. Luciana Souza & Romero Lubambo @ NJPAC Prudential Hall. 8:00pm. $29-$118. One Center Jazz Club, 364 Valley Rd., W. Orange, NJ, 973-736-4800, 4:45pm. Randy Weston African Rhythms Trio @ 6:00pm. St., Newark. 888-466-5722. www.njpac.org 9pm, 10:30pm, 12am, $15. www.ericfraziermusic.com $50, $35, $20. 149 Girdle Ridge Road, Katonah, NY. 914-232-5035. http://caramoor.org • Sat 8/1: Tony DeSare Trio at Shanghai Jazz. 24 Main St., • Thurs 8/20: Bucky Pizzarelli & Jerry Bruno at Glen Rock Madison. 973-822-2899. www.shanghaijazz.com. Inn. 7:00pm. 222. Rock Rd., Glen Rock. 201-445-2362. • Fri 8/7: Pablo Ziegler’s Trio for Luevo Tango at Belleayre Music Festival. 8:00pm. $25. Lodge Off • Mon 8/3: Neville Dickie at Bickford Theatre. 8:00pm. • Thurs 8/20: Swingadelic at Sinatra Park. 7:00pm. Route 28, Highmount, NY. 800-942-6904, ext. 1344. $15 in advance; $18 at door. On Columbia Turnpike @ Hoboken. www.swingadelic.com www.belleayremusic.org. www.pabloziegler.om Normandy Heights Road, east of downtown Morristown. • Fri 8/21 & Sat 8/22: Junior Mance at Shanghai Jazz. 24 973-971-3706. www.njjs.org • Fri 8/7: George Wein’s Jazz Festival 55 in Newport, Main St., Madison. 973-822-2899. www.shanghaijazz.com. RI. Etta James, Howard Alden & Anat Cohen Quartet • Thurs 8/6: Bob DeVos & Dave Stryker at Glen Rock Inn. • Fri 8/21: Mauricio de Souza Trio at Green Olive. 8:00pm. @ 8:00pm. $35-$89. International Tennis Hall of Fame, 7:00pm. 222 Rock Rd., Glen Rock. 201-445-2362. No cover or min. 455 Passaic St., Hackensack. 201-487- 194 Bellevue Ave. www.jazzfestival55.com • Fri 8/7: Joris Teepe Big Band, Cecils Jazz Club 364 Valley 0759. www.northjersey.com. www.mauriciodesouzajazz.com. • Sat 8/8: 3D Ritmo de Vida at The West Gate, Best Rd - West Orange, NJ, www.joristeepe.com • Sun 8/23: Riverboat Swing with , Midiri Western. 11:15pm. Hudson 26, Route 59, Nyack, NY. • Sat 8/8: Claudio Roditi Quartet at Shanghai Jazz. 24 Brothers, Mark Shane, Frank Tate & Joe Ascione on 845-358-8100. www.westgatelounge.com.

34 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 JACK KLEINSINGER Presents • Sat 8/8: Leny Andrade with Cesar Camago Mariano/ Romero Lubambo Duo at Belleayre Music Festival. 8:00pm. $55, $40, $30, $25. Tent Off Route 28, Highmount, Highlights In JAZZ NY. 800-942-6904, ext. 1344. www.belleayremusic.org. New York's Longest Running Jazz Concert Series • Sat 8/8: George Wein’s Jazz Festival 55 in Newport, RI. Final Year Mos Def, Branford Marsalis Quartet, Joshua Redman *** *** Trio, Esperanza Spalding, Cedar Walton with Lew Tabackin & Curtis Fuller, Hiromi, Vandermark 5, Jane Four Great JAZZ Concerts Monheit, Christian McBride Trio, Vijay Iyer Trio, Miguel Thurs. Sept. 10, 2009 - 8 pm Thurs. Nov. 12, 2009 - 8 pm Zenón Quartet, North Carolina Central Big Band, Branford-Joey Duo & Claudia Acuña from 11:30am- 7:00pm. $15-$100. Fort Adams State Park, Harrison Ave. Living www.jazzfestival55.com Cabaret Jazz Legends • Sun 8/9: George Wein’s Jazz Festival 55 in Newport, RI. Tony Bennett, Dave Brubeck Quartet, Roy Haynes Jazz Bucky Band, Michel Camilo, Joe Lovano, Christian McBride, Buddy Steve Bernstein Band, Bad Plus with Wendy Lewis, Barbara DeFranco Pizzarelli James Carter, Brian Blade Band, Rudresh Mahanthappa with with Band, By Any Means, Rodriguez Brothers, Roy Guzman Quintet. 11:30am-7:00pm. $15-$100. Fort Adams State Carroll Jay Leonhart John Pizzarelli Park, Harrison Ave. www.jazzfestival55.com Paula Joe Cohn Martin Pizzarelli • Fri 8/14: Kevin Mahogany at Belleayre Music Festival. 8:00pm. $25. Lodge Off Route 28, Highmount, NY. West Ron Odrich 800-942-6904, ext. 1344. www.belleayremusic.org. Ed Metz, Jr. • Sat 8/15: Kevin Eubanks Band at Belleayre Music Festival. 8:00pm. $55, $40, $30, $25. Tent Off Thurs. Oct. 8, 2009 - 8 pm Thurs. Dec.10, 2009 - 8 pm Route 28, Highmount, NY. 800-942-6904, ext. 1344. www.belleayremusic.org. • Sun 8/23: BB King with Marcia Ball, John Lee Hooker Hot Jazz Celebrating The Jr., Christopher Robin Band & Eran Troy Danner at Ives Concert Park. Starts @ 4:00pm. $85, $44, $35; From New Orleans... Swing Masters $25 lawn. On the Westside Campus of Western CT State Evan Christopher University, University Blvd., Danbury. 203-438-5795. Duke Heitger Terry www.ivesconcertpark.com Gibbs Ken Freddie • Fri 8/28: Lewiston Jazz Festival. Mambo Kings @ 5:30pm. ...To Israel Peplowski Recalls Bryant Pete Malinverni & Jody Sandhaus with Ron Corsaro’s Recalls Lionel Recalls Upstate Express @ 8:15pm. on the main stage. Other Anat Cohen Benny Hampton Charlie performers all day in various town venues. Free. Lewiston, Ehud Asherie Goodman NY. www.lewistonjazz.com Christian with • Sat 8/29: Lewiston Jazz Festival. Septet @ George Masso - Jackie Williams with 7:30pm in band shell.Gap Mangione @ 8:00pm on the main Derek Smith stage. Other performers all day in various town venues. Johnny Varro - Joe Ascione Nicki Parrott • Alvin Atkinson Free. Lewiston, NY. www.lewistonjazz.com Subscriptions are only $130 Produced in association with: for all four Concerts BMCC TRIBECA Performing Arts Center Tickets for individual concerts Borough of Manhattan may be ordered for: Community College Advertise $35.00/students $32.50 199 Chambers Street Mail Order Form to: Highlights in Jazz, 7 Peter Cooper Rd., New York, NY 10010 Here Checks payable to: Highlights in Jazz (Enclose a self-addressed stamped envelope) Reserve by the  Please send ______subscription(s) at $130.00 each for the Fall 2009 Season of Highlights in Jazz. 15th of the Month  Please send _____ ticket(s) ($35.00/students $32.50) for each of the following:  Sept 10, Concert  Oct 8, Concert  Nov 12 Concert  Dec 10, Concert 215-887-8880 NAME [email protected] ADDRESS CITY STATE ZIP

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 35 Patitucci Continued from Page 9 started out. the whip in math and all those other subjects. But you knew to solve a certain problem. Then you go, when it came to music, I was ‘all in.’ 24/7, I was trying “Wow, I should try using that again because I haven’t JP: But it’s a process and you got to be in it for life. to listen to music, study music, pester people who I’d used that in a while.” You’ll re-awaken something that Once you agree to that, you’re straight. You have to go to hear play if I liked their playing—‘How do you you haven’t explored in a while that you learned a long be willing to be in it for life. That’s what I tell my do this? What are you doing?’ I just really wanted time ago. Or the other thing is that it really makes you students. It’s not, “I’ll do this for a while and then to know so I never stopped being like that. I just try have to become clearer in explaining things to people this and then everything will be cool and I won’t have to expand the music that I’m curious about and it’s because different people learn the stuff differently. So to learn any more.” No, this is life, you are going to natural, because I like a lot of different styles, and you have to be creative and find the key to open up be doing this forever and if you want to wrestle with there’s so much to learn. Sometimes you are learning each individual kid’s understanding, whether it’s of this instrument, you got to have a lot of commitment, a bunch of stuff and you’re working on stuff and you the instrument itself, which is a huge can of worms, because it’s physically demanding and it takes put on a Charlie Parker record again and it just freaks the bass. I make my students work on the classical stuff everything you got. you out and you go, “Wow. I though I kind of had an too, to learn the instrument and really work on their understanding of the bebop language and now I can sound. The mark of a great jazz musician is your sound. JI: So that would lead to you perhaps making a see that it’s just way deeper than that.” And your rhythmic feeling has to be just amazing. comment on the essential qualities or attitudes, You have to have a great sound. You have to have a beyond musical skills, that people who are pursuing JI: So there’s always more to learn. When I interviewed beautiful sound and you have to have a great time feel this music or creative path, and are committed to Pat Metheny he said that the vast majority of the and have to make the music feel great. So rhythmically expressing themselves creatively and artistically, need people who will hear this music – and think that it is you have to be very strong and developed so with to possess. brand new - haven’t even been born yet. those two things you can learn a lot on the bass, by working on sound production with all of the technical JP: Well, I think you have to have a serious work ethic. JP: Right, exactly, and they’ll keep going back and things that are a big huge thing when you are studying You have to be willing to put everything into it. You discovering it. It’s incredible. It’s deep music and it’s the bass with classical music. Then obviously we have a have to be willing to be teachable and you have to be timeless. It’s not like certain kinds of music, and I like whole other set of things that we have to learn to with willing to accept and be honest with yourself about all kinds of music. There’s certain kinds of pop music the language of jazz, or the language of bebop, and the the things you can’t do yet, so that you can work on that’s timeless but there is a lot of pop music that’s not rhythmic language—also the articulations, and the them—instead of just practicing all of the stuff that timeless. It’s very tempocentric—it’s connected to a things that make it feel right—the blues. The blues is you know how to do already. You have to be willing sound at a certain time and then once that goes away, incredibly important and that’s something that I really to sound bad to get better—in the practice room, you you just kind of go, ‘Well that sounds dated,’ where try to stress to my students because now you have a know? You got to be willing because if you don’t, if as if you listen to an old R&B record like a Stevie generation of kids that all want to play music in odd you don’t sometimes sound bad in the practice room, Wonder record or those old Jackson Five records, time signatures all the time. (laughs) But, they have to you’re not practicing, you know what I mean? You’re or an O’Jays record, its timeless—or a be able to play a slow and a medium blues. (laughs) not going to get better. You got to be willing to record. You can listen to that from now to Kingdom slow down and work on some stuff and develop the come and you go, “Wow, that is really hip.” JI: Right, or to play a ballad with intensity. When I stuff that just doesn’t come out easily if you want to was younger and someone told me to listen to Shirley get to the next level and get more freedom on your JI: With a lot of the jazz, as you were saying, when Horn or Jimmy Scott, I probably would have jumped instrument. So that’s the thing. You really have to be you go back and listen to it, you realize that so much out of my skin. But once I discovered the intensity honest with yourself. I always tell the students, “Look is there you hadn’t heard the previous time you of her play something like “Basin Street Blues” at an man, I have a checklist. I always know the things that listened—these subtleties. incredibly slow tempo, it blew me away. It was more bug me about my playing and I work on them. And intense than so much that is played at some super fast JP: Yes, and as a bass player, I keep going back and try there is always something more and that’s part of the tempo with lots of volume. fun. I really enjoy practicing, so try to learn how to to listen as I grow in my understanding of the music enjoy the process—that’s a big deal. and there are a lot of things in what Pettiford and JP: Exactly, and these are the things. We try to Blanton played that are just really astounding—and help students develop deep skills and feeling for JI: This kind of commitment is not for everybody— obviously, after those guys too. But there’s so much the music—not to just be cerebral, or play what’s spending six or eight or ten hours in the practice room. stuff that happened, you know? It’s really incredible. fashionable now. Those things are interesting too. But Every one has to do it because we love doing it. There was so much innovation, you know? There in particular, when the kids express interest in the odd were all kinds of things each particular guy brought meter stuff, I try to steer them to the stuff that I think JP: Yeah, and then obviously when you get older to the table and the instrument kept expanding. The Danilo was pioneering many years back, with the use and you have a family and everything, you just can’t bass has just really, really, really grown a lot since, Afro-Cuban music and not just that but African music do that many hours anymore. They just don’t exist. when you think about the first guys like Pops Poster in all the Americas—in Panama and Chile and how So you have to find a way to be organized and try to and everything. They were just innovating on the you can use those rhythms and use claves and different get the job done with less, but you still have to try to instrument and finding new techniques, and then things in different meters. That makes it really more regularly get in there, so you have to have that work you fast forward to now and think about all the guys soulful. It has a connection to a groove where you ethic. It keeps you moving forward. in between, you know? It’s mind boggling how the aren’t always counting all the time. Once you learn instruments keep developing and expanding. JI: It sounds like you clearly have a healthy curiosity a rhythmic pattern that you can play off of, then you can expound on that. It’s more of a groove and relating about ideas and people—in and out of music. Talk JI: We were talking about the educational process and to the African concept which is less about sitting there a little bit about how that curiosity evolved over the of course you’re involved as a clinician and educator and going, 1-2, 1-2, 1-2-3, and more about finding a years? and you’re teaching at City College in Harlem. Talk groove within the time signature that relates to a clave about how working with students has challenged, or a figure that can be repetitive in your mind. Even JP: I think I’ve always been insatiable in wanting to supported or otherwise impacted your artistry and when you are stretching on it wildly, you still have know stuff. Some people need school to motivate the kinds of benefits that you get from teaching. them to learn. They need somebody to be pushing a center that helps you so that you’re doing it with them to learn stuff. I was kind of the opposite—when JP: Well, it’s great because a lot of times when a your heart and your soul. So it’s visceral and not just it came to music anyway. Other subjects, yes, I was just student comes in with a certain problem to solve, cerebral. That’s the stuff when it gets really interesting like everybody else. I needed somebody to be cracking sometimes you wind of accessing stuff that you forgot Continued on Page 52

36 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

Calendar of Events

Birdland Blue Note Cecil’s Jazz Club Cleopatra’s Needle 315 West 44th Street 131 W Third St. 364 Valley Rd. 2485 Broadway (betw. 8th & 9th Aves.) (betw. 6th & MacDougal) West Orange, NJ 07052 (betw. 92nd & 93rd St.) 212-581-3080 212-475-8592 973-736-4800 212-769-6969 AUGUST www.birdlandjazz.com www.bluenote.net www.cecilsjazzclub.com cleopatrasneedleny.com

1 - Sat Lou Donaldson 4 Bob James & Earl Klugh Margie “Gia” Notte Ken Simon 4

2 - Sun Arturo O’Farrill 5 Bob James & Earl Klugh Toru Dodo 3

3 - Mon Limbsakimbo; Jim Caruso Tessa Souter Cecil’s Big Band Roger Lent Jam

4 - Tue Ted Nash 4 Larry Carlton Bruce Williams Jam Session Robert Rucker Jam

5 - Wed David Ostwald Band; Trio 3 Larry Carlton Mid-Week Mellow Out Jon Weiss Open Mic + Geri Allen

6 - Thu Trio 3 + Geri Allen Larry Carlton Blues Jam Session Dan Furman 3

7 - Fri Birdland Big Band; Trio 3 + Larry Carlton Joris Teepe Big Band Evan Schwamm 4 Geri Allen

8 - Sat Trio 3 + Geri Allen Larry Carlton Steve Myerson Steve Carrington 4

9 - Sun Arturo O’Farrill 5 Larry Carlton Toru Dodo 3

10 - Mon Victoria Shaw; Jim Caruso Ronny Jordan Trio Cecil’s Big Band Roger Lent Jam

11 - Tue Steve Tyrell Bruce Williams Jam Session Robert Rucker Jam

12 - Wed David Ostwald Band; Lenny Steve Tyrell Mid-Week Mellow Out Jon Weiss Open Mic Andrade

13 - Thu Leny Andrade Steve Tyrell Blues Jam Session Keith Ingham 3

14 - Fri Birdland Big Band Steve Tyrell Cecil Brooks III’s Birthday Bruce Harris 4 Bash

15 - Sat Steve Tyrell Cecil Brooks III’s Birthday Ken Simon 4 Bash

16 - Sun Arturo O’Farrill 5 Gil Scott-Heron Cecil Brooks III’s Birthday Toru Dodo 3 Bash

17 - Mon Nick Adams; Jim Caruso Tim Eriksen Cecil’s Big Band Roger Lent Jam

18 - Tue Bobby Broom 3 Kevin Eubanks Bruce Williams Jam Session Robert Rucker Jam

19 - Wed David Ostwald Band; Richie Kevin Eubanks Mid-Week Mellow Out Jon Weiss Open Mic Beirach 5

20 - Thu Richie Beirach 5 Kevin Eubanks Blues Jam Session Mamiko Watanabe 3

21 - Fri Birdland Big Band; Richie Kevin Eubanks Eric Frazier Joonsam Lee 5 Beirach 5

22 - Sat Richie Beirach 5 Kevin Eubanks Eric Frazier Lance Murphy 4

23 - Sun Arturo O’Farrill 5 Kevin Eubanks Toru Dodo 3

24 - Mon Sally Mayes; Jim Caruso Gordon Chambers Roger Lent Jam

25 - Tue Hank Jones 3 Roy Ayers Robert Rucker Jam

26 - Wed David Ostwald Band; Hank Roy Ayers Jon Weiss Open Mic Jones 3

27 - Thu Hank Jones 3 Roy Ayers Renaud Penant 3

28 - Fri Birdland Big Band; Hank Roy Ayers Waldron Ricks 4 Jones 3

29 - Sat Hank Jones 3 Roy Ayers Blue Haze over NY

30 - Sun Arturo O’Farrill 5 Roy Ayers

31 - Mon Darmon Meader 5; Jim Robert Rodriguez Caruso

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 37 Calendar of Events

Cornelia St. Café Deer Head Inn Dizzy’s Club Dizzy’s Club 29 Cornelia St. 5 Main Street Coca Cola After Hours (bet. W 4th & Bleecker) Delaware Water Gap, PA Broadway at 60th St., 5th Fl Broadway at 60th St., 5th Fl 212-989-9319 18327 212-258-9595 212-258-9595 AUGUST corneliastreetcafe.com www.deerheadinn.com www.jazzatlincolncenter.com/dccc www.jazzatlincolncenter.com Izzy-Chris; John D’Amato; J. “Sweet” Sue Terry 4 Cedar Walton 3 Eli Yamin 4 Corniel 5 1 - Sat Valentine-Sunday Saints

2 - Sun Brooklyn Project Richie Roche & Nelson Cedar Walton 3 Hill

3 - Mon Simon Mulligan’s Cham- Bill O’Connell - Dave Valentin ber Series & Richie Flores

4 - Tue Simon Mulligan’s Cham- Cedar Walton 4 Rick Germanson 3 ber Series

5 - Wed Simon Mulligan; James Trivia Game Cedar Walton 4 Rick Germanson 3 Weidman

6 - Thu Enoch Arden; Ben Jesse Green Jazz Jam Cedar Walton 4 Rick Germanson 3 Waltzer 3 Saturday, August 1 7 - Fri Andy Bey Matt Vashlishan 4 Cedar Walton 4 Rick Germanson 3 8 - Sat Frank Kimbrough; Dan Zen for Primates Cedar Walton 4 Rick Germanson 3 Margie “gia” Notte Tepfer Dan Kaufman 3; Randy Davey Lantz 3 Cedar Walton 4 Friday, August 7 9 - Sun Ingram 3; Jesse Stacken

Joris teepe 10 - Mon William Komaiko Christian McBride

CD release party 11 - Tue Sachiko Kato; Taka Kigawa; John Patitucci, Joe Lovano & Richie Goods 4 Joshua Fried; Jed Distler Brian Blade Saturday, August 8 12 - Wed Gene Pritsker; Kirk Trivia Game John Patitucci, Joe Lovano & Richie Goods 4 steve MyersoN Nurock Brian Blade 13 - Thu Matt Aucoin; Jes Distler; Frank Spencer Reed Blues John Patitucci, Joe Lovano & Richie Goods 4 CD release party LoCrasto/Josh Mease Jam Brian Blade 14 - Fri Jung Lin; Jed Distler; Jacob Sherrie Maricle Diva Trio John Patitucci, Joe Lovano & Richie Goods 4 Fri. & Sat., August 14 & 15 Sacks; Russ Lossing; Hankus Brian Blade Netsky CeCil Brooks iii Barbara Sfraga Po’Jazz; George Young 4 John Patitucci, Joe Lovano & Richie Goods 4 15 - Sat George Colligan; E Yamamoto BirthDay Bash Brian Blade 16 - Sun Eric Plaks 5; Bill Evans; 3 Spirit John Patitucci, Joe Lovano & Fri. & Sat., August 21 & 22 80th Birthday Celebr. Brian Blade eriC Frazier 17 - Mon Brad Shepik 4 Carlos Henriquez 4 18 - Tue Chrysalis Chico Hamilton Karolina Strassmayer & Drori CD release party Mondlak

19 - Wed Ila Cantor Group Trivia Game Roy Haynes 4 Karolina Strassmayer & Drori Sundays in August Mondlak

CloseD 20 - Thu Mike Baggetta 4 Jesse Green Jazz Jam Roy Haynes 4 Karolina Strassmayer & Drori Mondlak

Mondays - August 3, 10 & 17 21 - Fri Ben Monder 3 Tom Whaley 3 Roy Haynes 4 Karolina Strassmayer & Drori CeCil’s Big BaND Mondlak 22 - Sat 5 Bob Dorough 3 Roy Haynes 4 Karolina Strassmayer & Drori w/ Mike lee Mondlak Tuesdays - August 4, 11 & 18 23 - Sun Speakeasy Roy Haynes 4 JaM sessioN 24 - Mon Dan Weiss Dan Nimmer 3 25 - Tue Nir Felder Group Music of Antonio Carlos Jobim Jimmy Madison & HMK Trio w/ BruCe williaMs & Stan Getz Wednesdays - August 5, 12 & 19 26 - Wed Martin Urbach 7 Trivia Game Music of Antonio Carlos Jobim Jimmy Madison & HMK Trio & Stan Getz

MiD-week Mellow out 27 - Thu French Nights Spencer Reed Blues Music of Antonio Carlos Jobim Jimmy Madison & HMK Trio Jam & Stan Getz Thursdays - August 6, 13 & 20 28 - Fri Son of Pony Go Trio Music of Antonio Carlos Jobim Jimmy Madison & HMK Trio Blues JaM sessioN & Stan Getz 29 - Sat Liar Show Mike Stephans Spatial Music of Antonio Carlos Jobim Jimmy Madison & HMK Trio Edition & Stan Getz

30 - Sun Liar Show Wayne Smith & Spencer Music of Antonio Carlos Jobim Reed & Stan Getz

31 - Mon Spoke Walter Blanding 5

38 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

Iridium The Jazz Gallery Jazz Standard Joe’s Pub 1650 Broadway 290 Hudson St. 116 E 27th St. 425 Lafayette St. (below 51st St.) (below Spring St.) 212-539-8778 212-582-2121 212-242-1063 212-576-2232 www.joespub.com AUGUST www.iridiumjazzclub.com www.jazzgallery.org www.jazzstandard.net

1 - Sat Wallace Roney Band Malaby - Sanchez - Rainey Freddy Cole 4 Fionn O Lochlainn/Brazz Tree; London Review; Clinton Curtis

2 - Sun Wallace Roney Band Jesca Hoop; Rachel Bay Jones

3 - Mon Les Paul 3 Mingus Orchestra Kendel Carson; Cooper Boone

4 - Tue Laurie Krauz & Daryl Kojak Alyson Williams Craig Wedren; Dana Leong 8

5 - Wed Gabriel Espinosa 7 SIM Faculty Sasha Dobson Happy Ending Music; Julian Velard

6 - Thu Freda Payne Ernestine Anderson 4 + Ma’ayan Castel/Miz Metro; Houston Person Henry Butler

7 - Fri Freda Payne Lage Lund 4 Ernestine Anderson 4 + Spencer Day; Sam Bradley; Houston Person Rob Murat

8 - Sat Freda Payne Ernestine Anderson 4 + Spencer Day; Sam Bradley Houston Person

9 - Sun Freda Payne Ernestine Anderson 4 + Reverend John DeLore; Houston Person Emma Hunton

10 - Mon Les Paul 3 Mingus Dynasty Frankie Negron; William Fitzsimmons

11 - Tue Joe Baione 6 Sean Jones 5 William Fitzsimmons

12 - Wed Eliane Elias Sean Jones 5 Cheryl Wheeler; Baye Kouate

13 - Thu Eliane Elias Steve Kuhn 3 Tracy Bonham; Auktyon

14 - Fri Eliane Elias Avishai Cohen TRIVENI Steve Kuhn 3 Goldspot; DK Dyson/Don Byron Eliane Elias Steve Kuhn 3 Erik Mongrain; Plastic People; 15 - Sat Razia Said

16 - Sun Eliane Elias Steve Kuhn 3 Nick Hallett

17 - Mon Les Paul 3 Mingus Big Band Matt Doyle; Peterson JC Hopkins Band Ali Jackson 5 Angel Taylor; Kassey Chambers, 18 - Tue Shane Nicholson

19 - Wed Tierney Sutton Ali Jackson 5 W.P.A.

20 - Thu Tierney Sutton Joanne Brackeen 4 + Mike Viola Eddie Gomez

21 - Fri Tierney Sutton Gilad Hekselman 4 Joanne Brackeen 4 + Amber Rubarth; Marcus & EJ Eddie Gomez Strickland; Kiss This

22 - Sat Tierney Sutton Loren Stillman 4 Joanne Brackeen 4 + Venn Diagrams & Clay McLeod Eddie Gomez Chapman; Burnt Sugar; Lady Rizo

23 - Sun Tierney Sutton Joanne Brackeen 4 + First Fig; Lady Rizo Eddie Gomez

24 - Mon Les Paul 3 Mingus Orchestra Francisco Mela

25 - Tue Terese Genecco Sachal Vasandani Clay Ross

26 - Wed Ted Kooshian 4 Julia Dollison & Kerry Our Hit Parade Marsh

27 - Thu David Sanchez Band Larry Willis 5 Tamar-kali

28 - Fri David Sanchez Band Eric Revis 4 Larry Willis 5 Stephane Wrembel; Henry Wolfe

29 - Sat David Sanchez Band Eric Revis 4 Larry Willis 5 Jose Pepito Gomez

30 - Sun David Sanchez Band Larry Willis 5 Kind Monitor

31 - Mon Les Paul 3 Mingus Dynasty

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 39

Kitano Lenox Lounge Smalls 66 Park Avenue 288 Lenox Avenue 183 W. 10th (at 38th St.) (above 124th St.) 212-252-5091 212-885-7119 212-427-0253 smallsjazzclub.com AUGUST www.kitano.com www.lenoxlounge.com

1 - Sat Mark Murphy 4 Allan Gumbs Harry Whitaker 4; Charles Davis 4; Spencer Murphy 3

2 - Sun LaFayette Harris 3 Terry Waldo 3; Marion Cowings 4; Spike Wilner; Alex Stein 4

3 - Mon Patience Higgins 4 Falkner Evans 3; Ari Hoenig 3 Aug 1 9:00PM SOUL OF THE BLUES FESTIVAL 4 - Tue Joey Morant Fredrik Noren; Ken Fowser & Behn Aug 2 8:30PM THE BROOKLYN PROJECT Gillece 5 Aug 3 8:30PM PIANO FESTIVAL: SIMON MULLIGAN’S 5 - Wed Linda Presgrave 4 Nathan & Max Lucas 3 Jay Leonhart; Gerald Clayton 3; Frank CHAMBER MUSIC SERIES Basile 4 Aug 4 8:30PM PIANO FESTIVAL: SIMON MULLIGAN 6 - Thu Mark Sherman 4 Good Home Cooking Band John Merrill 3; Joris Teepe 5; Sacha Aug 5 8:30PM PIANO FESTIVAL: SIMON MULLIGAN & Perry 3 JAMES WEIDMAN 7 - Fri Grady Tate 4 Valerie Capers Karolina Strassmayer & Drori Mondlak; Aug 6 7:00PM ENOCH ARDEN; A CELEBRATION OF THE Richie Vitale 5; Lawrence Leathers 200TH BIRTHDAY OF ALFRED, 8 - Sat Grady Tate 4 Valerie Capers Lee Kostrinsky; Dwayne Clemons 5; LORD TENNYSON Richie Vitale 5; Stacy Dillard 3 9:00PM BEN WALTZER TRIO 9 - Sun LaFayette Harris 3 Terry Waldo 3; Marion Cowings 4; Dave Aug 7 9:00PM GNU VOX SPECIAL: ANDY BEY Schnitter 5; Alex Stein 4 Aug 8 9:00PM PIANO FESTIVAL: FRANK KIMBROUGH Patience Higgins 4 Adam Birnbaum 3; Ari Hoenig 3 10:30PM PIANO FESTIVAL - DAN TEPFER, SOLO PIANO: 10 - Mon VARIATIONS ON THE GOLDBERG VARIATIONS 11 - Tue Joey Morant Jon Roche 2; Itai Kriss 4; Ken Fowser & Aug 9 8:30PM PIANO FESTIVAL: RANDY INGRAM TRIO Behn Gillece 5 10:00PM PIANO FESTIVAL: JESSE STACKEN 12 - Wed Mercedes Hall 4 Nathan & Max Lucas 3 Dan Tepfer; Owen Howard 5; Nick Aug 10 8:30PM PIANO FESTIVAL: WILLIAM KOMAIKO Hempton 4 Aug 11 8:30PM PIANO FESTIVAL: COMPOSERS 13 - Thu Karolina Strassmayer-Drori Good Home Cooking Band Ehud Asherie 2; Albert Rivera 5; Sacha Mondlak 4 Perry 3 COLLABORATIVE SPECIAL Gary Smulyan 3 Houston Person Yuko Kimura 4; John Marshall 5; Alex Aug 12 8:30PM PIANO FESTIVAL: KIRK NUROCK 14 - Fri Hoffman 3 Aug 13 8:30PM PIANO FESTIVAL: FRANK LOCRASTO- 15 - Sat Gary Smulyan 3 Houston Person Ralph Lalama 3; John Marshall 5; JOSH MEASE Spencer Murphy 3 Aug 14 9:00PM PIANO FESTIVAL - DUOS 16 - Sun LaFayette Harris 3 Terry Waldo 3; Marion Cowings 4; Aug 15 9:00PM PIANO FESTIVAL - SOLOS - AND A TRIO Spike Wilner; Alex Stein 4 Aug 16 8:30PM PIANO FESTIVAL 17 - Mon Patience Higgins 4 Michael Kanan 3; Ari Hoenig 4 BILL EVANS’S 80TH BIRTHDAY CELEBRATION Aug 17 8:30PM GUITAR FESTIVAL: BRAD SHEPIK QUARTET 18 - Tue Reggie Woods Band Spike Wilner; Grant Stewart 4; Corin Stiggall Aug 18 8:30PM GUITAR FESTIVAL: CHRYSALIS 19 - Wed Mauricio de Souza 4 Nathan & Max Lucas 3 Peter Bernstein; Frank LoCrasto 3; Aug 19 8:30PM GUITAR FESTIVAL: ILA CANTOR GROUP Anderson Twins 5 Aug 20 8:30PM GUITAR FESTIVAL: MIKE BAGGETTA QUARTET 20 - Thu Scott Robinson 4 Michael Max Fleming Ehud Asherie 2; Victor Prieto 4; Dwayne Aug 21 9:00PM BEN MONDER TRIO Clemons 5 10:30PM 21 - Fri Ken Peplowski 4 Danny Mixon 4 Jeremy Pelt 4; Lawrence Leathers Aug 22 9:00PM DRUMS FESTIVAL: 10:30PM GERRY HEMINGWAY QUINTET 22 - Sat Ken Peplowski 4 Danny Mixon 4 Jon Roche 5; Lee Kostrinsky; Jeremy Pelt 4; Spencer Murphy 3 Aug 23 6:00PM SPEAKEASY: STORIES FROM THE BACKROOM Aug 24 8:30PM DRUMS FESTIVAL: DAN WEISS DUO 23 - Sun LaFayette Harris 3 Terry Waldo 3; Neal Smith 5 ; Alex Stein 4 Aug 25 8:30PM GUITAR FESTIVAL: NIR FELDER GROUP Patience Higgins 4 Neal Smith 5 Aug 26 8:30PM DRUMS FESTIVAL: MARTIN URBACH 24 - Mon CD RELEASE 25 - Tue Reggie Woods Band Fred Hersch 3; Jonathan Kreisberg 4; Aug 27 8:30PM GNU VOX FESTIVAL: HEATHER MASSE Ken Fowser & Behn Gillece 5 Aug 28 6:00PM SON OF PONY 26 - Wed Ben Geyer 6 Nathan & Max Lucas 3 Jay Leonhart; Omer Avital; Dmitry Aug 29 9:00PM GNU VOX FESTIVAL: SHEILA JORDAN & Baevsky 4 10:30PM JAY CLAYTON 27 - Thu Misha Piatigorsky 3 Michael Max Fleming Hans Glawischnig & Ben Monder; Rick Aug 30 8:30PM TWILIGHT TIME Germanson 3; Sacha Perry 3 Aug 31 8:30PM SPOKE 28 - Fri Ebony Jo-An & Blackgold En- Carrie Jackson Brad Linde 7; Joe Magnarelli 4; Alex semble Hoffman 3 29 - Sat Ebony Jo-An & Blackgold En- Carrie Jackson Ned Goold 3; Joe Magnarelli 4; Stacy semble Dillard 3 30 - Sun LaFayette Harris 3 Terry Waldo 3; Marion Cowings 4; Roberta Piket 3; Alex Stein 4

31 - Mon Patience Higgins 4 5

40 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

Fulton Ferry Landing, Brooklyn [email protected] (718) 624-2083 One 83 Smoke The Stone Village Vanguard www.bargemusic.org Restaurant 2751 Broadway Ave. C and Second St. 178 Seventh Ave. S 1608 First Ave (at 105th St.) www.thestonenyc.com (below W 11th St.) 212-255-4037 bargemusic (Betw. East 83rd-84th St) 212-864-6662 august jazz calendar: thursdays at 8pm AUGUST 212-327-4700 www.smokejazz.com villagevanguard.net

1 - Sat Jazz Brunch; Orrin Evans Johannes Lauer/Tyshawn Ethan Iverson - Reid Ander- 6 luiz simas trio Sorey; First Meeting son - Paul Motian Brazilian Jazz Night

2 - Sun Jazz Brunch; Chris Ingrid Laubrock 3 Ethan Iverson - Reid Ander- Washburne 6 son - Paul Motian guitar 20 howard aldeN 3 - Mon John Farnsworth 5 Laurie Anderson & Colin 6 warreN vache Cornet Stetson Richard Lee Wendell Mike LeDonne 4 Kris Davis; Johannes Lauer Greg Osby 6 4 - Tue 27 roB schwimmer Jam Session 4 piano and theremin 5 - Wed Dezron Douglas Weiss-Sorey; Tyshawn Greg Osby 6 Sorey 3

6 - Thu Morrie Louden Trio Smoke Big Band Oblique I; Oblique II Greg Osby 6

7 - Fri Janine Alondres Arturo O’Farrill 5 Oblique III; Mushin Greg Osby 6 and Her Trio

8 - Sat Jazz Brunch; Arturo Jesse Elder & Aya Nishina; Greg Osby 6 O’Farrill 5 Jesse Elder 5

9 - Sun Jazz Brunch; Chris Martin Urbach 3; Matana Greg Osby 6 Washburne 6 Roberts 3

10 - Mon John Farnsworth 5 Vanguard Jazz Orchestra

11 - Tue Richard Lee Wendell Mike LeDonne 4 Terrence McManus 5; Vijay J.D. Allen 3 Jam Session Iyer & High Priest

12 - Wed Freddie Bryant 4 BOMB-X; Fay Victor 3 J.D. Allen 3

13 - Thu Marco Panascia Trio SMOKE Big Band ; Dan Weiss 3 J.D. Allen 3

14 - Fri Janine Alondres Brad Mehldau / Peter Gerry Hemmingway; Wayne J.D. Allen 3 and Her Trio Washington / Joe Farns- Krantz & Mark Guiliana worth

15 - Sat Jazz Brunch; Brad Mehldau / Pete Robbins 5; Ben Ger- J.D. Allen 3 Peter Washington / Joe Farns- stein 6 worth Have you always 16 - Sun Jazz Brunch; Chris BassDrumBone; Peripatet- J.D. Allen 3 Washburne 6 ics wanted to write 17 - Mon John Farnsworth 5 Vanguard Jazz Orchestra

18 - Tue Richard Lee Wendell Mike LeDonne 4 Joe Albano 5; Steve Ruel 4 Jason Moran 3 Jam Session reviews of jazz 19 - Wed Fieldwork Jason Moran 3 performances 20 - Thu Smoke Big Band Pascal Niggenkemper 3; Jason Moran 3 Elias Bailey Trio Okkyung Lee 3 21 - Fri Janine Alondres Melvin Sparks Robbins-Pavone-Sorey; Jason Moran 3 & recordings? and Her Trio Tom Rainey 3

22 - Sat Jazz Brunch; Melvin Mario Pavone 4 Jason Moran 3 Sparks 23 - Sun Jazz Brunch; Chris Improv Night Jason Moran 3 Jazz Inside™ Washburne 6 24 - Mon John Farnsworth 5 Vanguard Jazz Orchestra Magazine 25 - Tue Richard Lee Wendell Mike LeDonne 4 Fay Victor 3; In Medias Res Paul Motian - Joe Lovano - Jam Session Bill Frisell

26 - Wed George Colligan Wu-Wei: Chapter One; Wu- Paul Motian - Joe Lovano - Wei: Chapter Two Bill Frisell Jazz Inside™ NY

27 - Thu David Silliman Trio Smoke Big Band Wu-Wei: Chapter Three; Paul Motian - Joe Lovano - Wu-Wei: Chapter Four Bill Frisell

28 - Fri Janine Alondres Tribute to Charlie Parker Wu-Wei: Chapter Five; Wu- Paul Motian - Joe Lovano - Jazz Inside™ and Her Trio Wei: Postlude Bill Frisell

29 - Sat Jazz Brunch; Tribute to Thomas Morgan; Kyle Paul Motian - Joe Lovano - Charlie Parker Quass 4 Bill Frisell Online

30 - Sun Jazz Brunch; Chris Steve Lehman & Craig Paul Motian - Joe Lovano - Washburne 6 Taborn Bill Frisell Please respond ONLY via e-mail: 31 - Mon John Farnsworth 5 Vanguard Jazz Orchestra [email protected]

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 41 Clubs & Venues

55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), 212-929-9883, corneliastreetcafe.com 718-486-6791, www.lailalounge.com www.55bar.com Creole Café, 2167 Third Ave (at 118th), 212-876-8838. Le Grand Dakar Cafe, 285 Grand Ave, Clinton Hill, Brooklyn, 92nd Street Y, 1395 Lexington Ave, New York, NY 10128 Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027, http://nymag.com/listings/restaurant/le-grand-dakar/ 212.415.5500, www.92ndsty.org 908-232-5666 Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York, ABC — No Rio, 156 Rivington St. (betw Clinton & Suffolk), 212- Cutting Room, 19 W. 24th St, Tel: 212-691-1900, New York, 212-246-2993, www.lemadeleine.com 254-3697, www.abcnorio.org www.thecuttingroomnyc.com Le Figaro Café, 184 Bleecker (at MacDougal), 212-677-1100 Aaron Davis Hall, City College of NY, Convent Ave., 212-650- Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), 212-533-6212, Lenox Lounge, 288 Lenox Ave. (above 124th St.), 212-427-0253, 6900, www.aarondavishall.org www.jazzatdetour.com www.lenoxlounge.com Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-875- Division Street Grill, 26 North Division Street, Peekskill, NY, Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington 5050, www.lincolncenter.org/default.asp 914-739-6380, www.divisionstreetgrill.com St.), 212-260-4080 Allen Room, Lincoln Center, Time Warner Center, Broadway and Dizzy’s Club Coca Cola, Broadway at 60th St., 5th Floor, 212-258- Lima’s Taste, 122 Christopher St., 212-242-0010 60th, 5th floor, 212-258-9800, www.lincolncenter.org/default.asp 9595, www.jalc.com Living Room, 154 Ludlow St. (betw Rivington & Stanton), American Museum of Natural History (Starry Nights), 81st St. & Dorian’s, 226 W. 79th (betw Bdwy/Amst), 212-595-4350 212-533-7235, www.livingroomny.com Central Park W., 212-769-5100, www.amnh.org The Ear Inn, 326 Spring St., NY, 212-226-9060, www.earinn.com Makor, 35 W. 67th St. (at Columbus Ave.), 212-601-1000, Anyway Café, 34 E. 2nd St., 212-533-3412 or 212-473-5021, eighty-eights, 1467 Main Street, Rahway, NJ, 732-499-7100 www.makor.org www.anywaycafe.com El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-831- Marie’s Jazz Bar, 51 W. 46th, bet 5th-6th Av, 212-944-7005 Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759, 7272, Fax: 212-831-7927, www.elmuseo.org Merkin Concert Hall, Kaufman Center, 129 W. 67th St. (betw www.arthurstavernnyc.com The Encore, 266 W. 47th St., 212-221-3960, www.theencorenyc.com Broadway & Amsterdam), 212-501-3330, www.ekcc.org/merkin.htm Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-378- Enzo’s Jazz at The Jolly Hotel Madison Towers: 22 E 38th St. at Metropolitan Room, 34 West 22nd Street New York City, NY 2133, www.artsmaplewood.org Madison Ave. (in the Whaler Bar located in the lobby) 10012, 212-206-0440, www.metropolitanroom.com Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St., Fat Cat, 75 Christopher St. (at &th Ave.), 212-675-7369, MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn, NY, 212-875-5030, www.lincolncenter.org www.fatcatjazz.com 718-488-8200 or 718-636-4100 (BAM) Backroom at Freddie’s, 485 Dean St. (at 6th Ave.), Brooklyn, NY, Feinstein’s at Loew’s Regency, 540 Park Avenue (at 61st Street), Minton’s Playhouse, 210 W. 118th St, (at St. Nicholas Ave.), www. 718-622-7035, www.freddysbackroom.com NY, 212-339-4095, feinsteinsattheregency.com uptownatmintons.com, 212-864-8346 BAM Café, 30 Lafayette Ave., Brooklyn, NY, 718-636-4100, Firehouse 12, New Haven, CT, 203-785-0468, www.firehouse12.com Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933 www.bam.org Five Spot, 459 Myrtle Ave, Brooklyn, NY, Tel: 718-852-0202, Fax: Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area), Bar4, 7 Ave and 15th, Brooklyn NY 11215, 718-832-9800, 718-858-8256, www.fivespotsoulfood.com 516-328-2233, www.mixednotescafe.com www.Bar4.net Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, Mo-Bay Uptown, 17 W. 125th St., 212-876-9300, Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn, 718-463-7700 x222, www.flushingtownhall.org www.mobayrestaurant.com 718-965-9177, www.barbesbrooklyn.com Frank’s Cocktail Lounge, 660 Fulton St. (at Lafayette), Brooklyn, Mo Pitkins, 34 Avenue A, New York, NY, 212-777-5660 Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083, NY, 718-625-9339, www.frankscocktaillounge.com Montauk Club, 25 Eighth Ave., Brooklyn, NY, 718-638-0800, www.bargemusic.org Freddy’s Backroom, 485 Dean St., Brooklyn, NY 11217, 718-622-7035 www.montaukclub.com B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144, Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, Museum of the City of New York, 1220 Fifth Ave. (between 103rd www.bbkingblues.com www.galapagosartspace.com & 104th St.), 212-534-1672, www.mcny.org Beacon Theatre, 74th St. & Broadway, 212-496-7070 Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and Musicians’ Local 802, 332 W. 48th St., 718-468-7376 or 860-231- Birdland, 315 W. 44th St., 212-581-3080 Bleecker), 212-645-0600, www.garagerest.com 0663 Blue Note, 131 W. 3rd St., 212-475-8592, Gishen Café, 2150 Fifth Ave., 212-283-7699. NAMA, 107 W. 130th. (bet Lenox & 7th Av.), 212-234-2973 www.bluenotejazz.com/newyork Glen Rock Inn, (Glen Rock, New Jersey) 222 Rock Road, Newark Museum, 49 Washington Street, Newark, New Jersey Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, 718-403- Glen Rock, NJ 07452, 800-400-2362 07102-3176, 973-596-6550, www.newarkmuseum.org 7450, www.bluestonebarngrill.com The Goat, 21 South Orange Ave. So. Orange, NJ New Jersey Performing Arts Center, 1 Center St., Newark, NJ, Blue Water Grill, 31 Union Square West, 212-675-9500 973-275-9000, www.thegoatcafe.typepad.com 07102, 973-642-8989, www.njpac.org Bodles Opera House, 39 Main St, Chester, NY 10918, Greenwich Village Bistro, 13 Carmine St., 212-206-9777, New School Performance Space, 55 W. 13th St., 5th Floor (betw www.bodles.com www.greenwichvillagebistro.com 5th & 6th Ave.), 212-229-5896, www.newschool.edu. Bourbon Street Bar and Grille, 346 W. 46th St, NY, 10036, Harlem Tea Room, 1793A Madison Ave., 212-348-3471, New School University-Tishman Auditorium, 66 W. 12th St., 1st 212-245-2030, [email protected], www.harlemtearoom.com Floor, Room 106, 212-229-5488, www.newschool.edu [email protected] Helen’s, 169 Eighth Ave. (betw 18th & 19th St.), 212-206-0609, New York City Baha’i Center, 53 E. 11th St. (betw Broadway & Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, www.helensnyc.com University), 212-222-5159, www.bahainyc.org www.bowerypoetry.com Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525, Night & Day, 230 Fifth Ave., Brooklyn, NY (at President St.), 718- BRIC Studio, 647 Fulton St., Brooklyn, NY, Tel: 718-855-7882 609-466-9889, www.hopewellvalleybistro.com 399-2161, www.nightanddayrestaurant.com x53, Fax: 718-802-9095, www.bricstudio.org Houston’s, 153 E 53rd St, New York, 10022, 212-888-3828 Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718-797- Brooklyn Exposure, 1401 Bedford Avenue, Brooklyn, NY 11216, Il Campanello Ristorante, 136 W. 31st St. (betw 6th and 7th Ave.), 1197, Fax: 718-797-0975 718-783-8220 212-695-6111, www.ilcampanelloristorante.com North Square Lounge, 103 Waverly Pl. (at MacDougal St.), Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, Iridium, 1650 Broadway (below 51st St.), 212-582-2121, 212-254-1200, www.northsquarejazz.com NY, 718-230-2100, www.brooklynpubliclibrary.org www.iridiumjazzclub.com Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925, www.nublu.net Cachaça, 35 West 8th St (bet. 5th/6th Aves), 212-388-9099 Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910 Nuyorican Poet’s Café, 236 E. 3rd St. (betw Ave. B & C), 212-505- www.cachacajazz.com Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, www.jalc.org 8183, www.nuyorican.org Café 111, 111 Court St., Brooklyn, NY, 718-858-2806, Frederick P. Rose Hall, Broadway at 60th St., 5th Floor Oak Room Hotel, 59 W. 44th St. (betw 5th and www.cafe111online.com Dizzy’s Club Coca-Cola, Reservations: 212-258-9595 6th Ave.), 212-840-6800, www.thealgonquin.net Café Bar, 247 Eldridge (Houston, Stanton), 212-505-0955 Rose Theater, Tickets: 212-721-6500 Orbit, 2257 First Ave. (at 116th St.), 212-348-7818, Café Carlyle, 35 E. 76th St., 212-570-7189, www.thecarlyle.com THE ALLEN ROOM, Tickets: 212-721-6500 www.orbiteastharlem.com Café Loup, 105 W. 13th St. (West Village) , between Sixth and Jazz Gallery, 290 Hudson St., Tel: 212-242-1063, Fax: 212-242- Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928 Seventh Aves., 212-255-4746 0491, www.jazzgallery.org Oro Blue, 333 Hudson St. (at Charlton St.), 212-645-8004 Café St. Bart’s, 109 E. 50th St. (at Park Ave.), 212-888-2664, The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey Pace Downtown Theatre, 3 Spruce St. (betw Park Row & Gold St.), www.cafestbarts.com Blvd.), Brooklyn, NY, 718-453-7825, www.thejazz.8m.com 212-346-1715 Café Steinhof, 422 Seventh Ave. (14th St., Park Slope S.), Brooklyn, Jazz Standard, 116 E. 27th St., 212-576-2232, www.jazzstandard.net Parlor Entertainment, 555 Edgecomb Ave., 3rd Floor (betw 159 & NY, 718-369-7776, www.cafesteinhof.com Jimmy’s, 43 East 7th Street (between 2nd and 3rd Ave), 160 St.), 212-781-6595, www.parlorentertainment.com Caffé Buon Gusto, 151 Montague St., Brooklyn, NY, 718-624- 212-982-3006 Parlor Jazz, 119 Vanderbilt Ave. (betw Myrtle & Park), Brooklyn, 3838, www.caffebuongustoonline.com Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl., NY, 718-855-1981, www.parlorjazz.com Cami Hall, 165 W. 57th, 212-978-3726, www.camihall.com 212-539-8778, www.joespub.com Peddie School-Jazz Fridays Series, South Main St. Box A, Carnegie Club, 156 W. 56th St., 212-957-9676, John Birks Gillespie Auditorium (see Baha’i Center) Hightstown, NJ 08520, 609-490-7500 www.hospitalityholdings.com Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: 212-420- www.peddie.org/community/Capps/concerts.asp Carnegie Hall, 7th Av & 57th, 212-247-7800, www.carnegiehall.org 0998, www.julesbistro.com Perch Cafe, Brooklyn Cecil’s Jazz Club & Restaurant, 364 Valley Rd, West Orange, NJ, Kitano Hotel, 66 Park Ave., 212-885-7000 or 800-548-2666, Perk’s, 535 Manhattan Ave, New York NY 10027, Phone: 973-736-4800, www.cecilsjazzclub.com www.kitano.com 212-666-8500 Charley O’s, 713 Eighth Ave., 212-626-7300 The Kitchen, 512 W. 19th St., 212-255-5793 Performance Space 122, 150 First Av., 212-477-5829, www.ps122.org The Church-in-the-Gardens, 50 Ascan Ave., Forest Hills, NY, Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490, Porter’s, 216 Seventh Ave. (bet 22nd & 23rd), 212-229-2878 718-268-6704, www.thechurchinthegardens.org www.knickerbockerbarandgrill.com Priory Restaurant & Jazz Club: 223 W Market St., Newark, NJ Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), The Knitting Factory, 74 Leonard St., Tel: 212-219-3132, 07103, 973-639-7885 212-769-6969, www.cleopatrasneedleny.com www.knittingfactory.com Proper Café, 217-01 Linden Blvd., Queens, NY 11411, 718-341- Cobi’s Place, 158 W. 48th (bet 5th & 6th Av.), 516-922-2010 Kush, 191 Chrystie Street, New York , NY, 212-677-7328 2233, jazz Wednesdays Community Church of NY, 40 E. 35th St. (betw Park & Madison L&M Loft, 170 Tillary St. #205, Brooklyn, 718-855-5952. Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, Ave.), 212-683-4988, www.ccny.org La Lanterna (Next Door at La Lanterna), 129 MacDougal Street, NY, 718-768-0855 Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356 New York, 212-529-5945, www.lalanternarcaffe.com Pumpkins, 1448 Nostrand Ave, Brooklyn, 718-284-9086, Cornelia Street Café, 29 Cornelia St., 212-989-9319, www. Laila Lounge, 113 N. 7th St. (betw Wythe & Berry), Brooklyn, NY, www.pumpkinsjazz.com

42 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Puppets Jazz Bar, 294 5th Ave. at 1st Street, Park Slope, Brooklyn, Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), NY, 718-499-2627, www.PuppetsJazz.com 212-777-7776, www.terrablues.com Rare, 416 W. 14 St. (betw 9th Av & Washgtn), 212-675-2220 Theatre Row, 410 W. 42nd, 212-714-2442, www.theatrerow.org RARE Jazz at The Lexington Lounge, 303 Lexington Ave (at 38th Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue, St.), 212-481-8439 City Island, Bronx, 718-885-3200, www.titopuentesrestaurant.com Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000, Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-358- www.redeyegrill.com 7501, Fax: 212-358-1237, tonicnyc.com Richie Cecere’s Restaurant and Supperclub, 2 Erie Street Town Hall, 123 W. 43rd St., 212-997-1003 Montclair, NJ 07042, 973.746.7811, www.RICHIECECERE.com Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.), River Room, Riverbank State Park, Riverside Drive at 145th Street, 212-362-2590, www.triadnyc.com 212-491-1500, www.theriverroomofharlem.com Tribeca Performing Arts Center, 199 Chambers Street, 10007, Robin’s Nest Restaurant & Bar, 2075 1st Av, 212-316-6170 [email protected], www.tribecapac.org Rose Center (American Museum of Natural History), 81st St. Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, www. (Central Park West & Columbus), 212-769-5100, www.amnh.org/rose trumpetsjazz.com Rose Hall, 33 W. 60th St., 212-258-9800, www.jalc.org the turning point cafe, 468 Piermont Ave. Piermont, N.Y. 10968 Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472, (845) 359-1089, http://www.turningpointcafe.com/ 845-658-9048, www.rosendalecafe.com Village Vanguard, 178 7th Avenue South, 212-255-4037, 212-741-0091, www.thecoll.com Roth’s Westside Steakhouse, 680 Columbus Ave., Tel: 212-280- www.villagevanguard.net Five Towns College, 305 N. Service Rd., 516-424-7000, ext.163, 4103, Fax: 212-280-7384, www.rothswestsidesteakhouse.com Vision Festival, 212-696-6681, [email protected], Dix Hills, NY Ruby Lounge, 186 E. 2nd St., 212-387-9400 www.visionfestival.org Greenwich House Music School, 46 Barrow St., Tel: 212-242- Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, www. Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069, 4770, Fax: 212-366-9621, www.greenwichhouse.org rustikrestaurant.com 908-753-0190, www.watchungarts.org Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000 St. John’s Lutheran Church, 115 Milton St. (betw Manhattan Ave. Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538, LaGuardia Community College/CUNI, 31-10 Thomson Ave., & Franklin St.), Brooklyn, NY, 718-389-4012 914-834-2213, www.watercolorcafe.net Long Island City, 718-482-5151 St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377 Weill Receital Hall at Carnegie Hall, 57th & 7th Ave, 212-247- Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St., 10023, St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728 7800 212-258-9816, 212-258-9900 St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200, Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY Long Island University — Brooklyn Campus, Dept. of Music, www.saintpeters.org 11211, (718) 384-1654 www.wmcjazz.org University Plaza, Brooklyn, 718-488-1051, 718-488-1372 Sanctuary, 25 First Ave. (above 1st St), 212-780-9786 Zankel Hall, 881 7th Ave, New York, 212-247-7800 Manhattan School of Music, 120 Claremont Ave., 10027, Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 Zebulon, 258 Wythe St., Brooklyn, NY, 11211, 718-218-6934, 212-749-2805, 2802, 212-749-3025 Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, www.zebuloncafeconcert.com New Jersey City University, 2039 Kennedy Blvd., Jersey City, NJ www.nypl.org/research/sc/sc.html Zinc Bar, 90 W Houston St., 212-477-8337, www.zincbar.com 07305, 888-441-6528 Shades Bar, 720 Monroe St., Hoboken, NJ 07030, 888-374-2337, Zuni, 598 9th Ave # 1, New York, NY 10036, 212-765-7626 New School, 55 W. 13th St., 212-229-5896, 212-229-8936 www.shadesofhoboken.com -Jazz/Contemporary Music Studies, 35 Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, RECORD STORES West 4th St. Room#777, 212-998-5446, 212-995-4043 www.shanghaijazz.com Barnes & Noble, 1960 Broadway, at 67th St, 212-595-6859 Princeton University-Dept. of Music, Woolworth Center Musical Shelly’s, 104 W. 57th St. (betw 6th & 7th Ave.), 212-245-2422, Studies, Princeton, NJ, 609-258-4241, 609-258-6793 www.shellysnewyork.com Colony Music Center, 1619 Broadway. 212-265-2050, www.colonymusic.com Queens College — Copland School of Music, City University of Showman’s, 375 W. 125th St., 212-864-8941 NY, Flushing, 718-997-3800 Shrimp Box on City Island, 64 City Island Ave, Bronx, NY, 718- Downtown Music Gallery, 342 Bowery (between 2nd & 3rd St), 212-473-0043 Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Campus, 885-3200 PO Box 270, New Brunswick, NJ, 908-932-9302 Sidewalk Café, 94 Ave. A, 212-473-7373 J&R Music World, 23 Park Row (across from City Hall Park), 212-238-9000, www,jr.com SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY Silvermine Tavern, 194 Perry Ave. Norwalk, CT 06850, 203-847- 914-251-6300, 914-251-6314 4558, www.silverminetavern.com Jazz Record Center, 236 W. 26th St., Room 804, 212-675-4480, www.jazzrecordcenter.com Turtle Bay Music School, 244 E. 52nd St., New York, NY 10022, Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn, NY, 212-753-8811, www.tbms.org 718-398-1766, www.sistasplace.org Norman’s Sound & Vision, 67 Cooper Sq., 212-473-6599 Princeton Record Exchange, 20 South Tulane Street, Princeton, William Paterson University Jazz Studies Program, 300 Pompton Skippers Plane Street Pub Restaurant & Jazz Club, 304 Rd, Wayne, NJ, 973-720-2320 University Ave. Newark NJ 07102 (Across from Essex County NJ 08542, 609-921-0881, www.prex.com Rainbow Music 2002 Ltd., 130 1st Ave (between 7th & St. Marks College), 973-733-9300, www.skippersplanestreetpub RADIO Slipper Room, 167 Orchard St. (at Stanton St.), 212-253-7246, Pl.), 212-505-1774 www.slipperroom.com Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901, WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-624- Small’s, 183 W. 10th St. (at 7th Ave.), 212-929-7565, 908-277-3893, www.scotticd.com 8880, Fax: 973-824-8888, www.wbgo.org www.fatcatjazz.com WCWP, LIU/C.W. Post Campus Smith’s Bar, 701 8th Ave, New York, 212-246-3268 MUSIC STORES WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html Smoke, 2751 Broadway, 212-864-6662, www.smokejazz.com Charles Colin Publications, 315 W. 53rd St., 212-581-1480 WKCR 89.9, Columbia University, 2920 Broadway Snug Harbor Cultural Center, 1000 Richmond Terr., Staten Jody Jazz, 35 White St., 5th Floor, New York, NY 10013, Mailcode 2612, New York, NY 10027, Listener Line: (212) 854- Island, NY, 718-448-2500, www.snug-harbor.org 212-219-4050, www.jodyjazz.com 9920, www.columbia.edu/cu/wkcr, [email protected] Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel, Manny’s Music, 156 W. 48th St. (betw. 6th and 7th Ave), One Great Song, Hosted by Jay Harris, www.wmnr.org (at 6 on 221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799 212-819-0576, Fax: 212-391-9250, www.mannysmusic.com Saturdays, and at www.tribecaradio.net at 11AM Sundays and again Solomon’s Porch, 307 Stuyvesant Ave., Brooklyn, NY, Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212-840- on Monday and Thursday nights at 11PM.) 718-919-8001 3057, 212-391-1185, www.drummersworld.com South Orange Performing Arts Center (SOPAC), One SOPAC Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036, PERFORMING GROUPS Way, South Orange, NJ 07079, www.sopacnow.org, 973-313-2787 Tel: 646-366-0240, Fax: 646-366-0242, Repair Shop: 212-391- Westchester Jazz Orchestra, Emily Tabin, Exec. Director, South Street Seaport, 207 Front St., 212-748-8600, 1315; 212-840-7224, www.robertoswoodwind.com PO Box 506, Chappaqua, NY 10514, 914-861-9100, www.southstseaport.org. Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New York, www.westjazzorch.org Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923 NY 10036, 212-302-5893 Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor, Sam Ash, 160 West 48th St, 212-719-2299, www.samash.com ADDITIONAL JAZZ RESOURCES 212-721-6500, www.lincolncenter.org Sadowsky Guitars, 20 Jay St. Brooklyn, NY, 718-422-1123, Stella Adler Studio, 31 W. 27th St., 3rd Floor, 212-689-0087, www.sadowsky.com Big Apple Jazz, www.bigapplejazz.com, 718-606-8442, gordon@ www.stellaadler.com Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New York, bigapplejazz.com The Stone, Ave. C & 2nd St., www.thestonenyc.com NY 10019, 212-730-8138, www.maxwelldrums.com Louis Armstrong House, 34-56 107th St, Corona, NY 11368, Stonewall Bistro, 113 Seventh Ave., 917-661-1335 718-997-3670, www.satchmo.net Sugar Bar, 254 W. 72nd St., 212-579-0222 SCHOOLS, COLLEGES, CONSERVATORIES Institute of Jazz Studies, John Cotton Dana Library, Rutgers- The Supper Club, 240 W. 47th St., 212-921-1940, Univ, 185 University Av, Newark, NJ, 07102, 973-353-5595 www.thesupperclub.com 92nd Street Y, 1395 Lexington Ave, New York, NY 10128 Jazzmobile, Inc., 154 W. 126th St., 10027, 212-866-4900, Sweet Rhythm, 88 Seventh Ave. S. (betw Grove & Bleecker), 212.415.5500; www.92ndsty.org www.jazzmobile.org 212-255-3626, www.sweetrhythmny.com Brooklyn-Queens Conservatory of Music, 42-76 Main St., Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300, Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450 www.jazzmuseuminharlem.org 212-262-9554, www.swing46.com Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, NY, Jazz Foundation of America, 322 W. 48th St. 10036, Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212- 718-622-3300, www.brooklynconservatory.com 212-245-3999, www.jazzfoundation.org 932-3228, www.symphonyspace.org Charles Colin Studios, 315 W. 53rd St., 212-581-1480 New Jersey Jazz Society, 1-800-303-NJJS, www.njjs.org Table XII, 109 E. 56th St., NY, NY, 212-750-5656 City College of NY-Jazz Program, 212-650-5411, New York Blues & Jazz Society, www.NYBluesandJazz.org Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Columbia University, 2960 Broadway, 10027 Rubin Museum, 150 W. 17th St, New York, NY, Broooklyn, 718-789-2762, www.tealoungeNY.com Drummers Collective, 541 6th Ave, New York, NY 10011, 212-620-5000 ex 344, www.rmanyc.org.

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 43 Around Town

performed with greats like Wynton Marsalis, Harry high school musicians and alumni of the York College Latin Jazz Pianist Arturo Belafonte and Dizzy Gillespie. In 1995 he began Summer Jazz Program. The ensemble performs in directing Chico O’Farrill’s Afro-Latin Jazz Orchestra, notable New York City venues and is returning for the O’Farrill, August 11, a group dedicated to preserving the musical legacy fourth year to the Louis Armstrong House Museum, Free Jazzmobile Concert at of his father. The band had a residency at Birdland where it is always a big hit. for more than a decade and has toured around the The members of the Tin Pan Blues Band Louis Armstrong House Museum world; its recent release “Song for Chico” won the describe themselves as and Tom Waits at

2008 GRAMMY for Best Latin Jazz Album of the a Bourbon Street Parade. This festive four-man combo Louis Armstrong was famous for playing Year. In addition to his career as a master musician, celebrates the most dominant and enlightened strains trumpet on his balcony to the delight of his neighbors Mr. O’Farrill works extensively in education, teaching of American music from the early 20th century: jazz, in working-class Corona, Queens. Continuing the everything from high school students to master’s blues, and popular song. The Tin Pan Blues Band is tradition, the Louis Armstrong House Museum is candidates. He is currently on the faculty of SUNY making its first appearance at the Louis Armstrong pleased to present Arturo O’Farrill and his Afro-Latin Purchase. House Museum. Jazz Orchestra on Tuesday, August 11, for the eighth It is only natural for jazz musicians to play in Both events are free. Regularly scheduled house edition of Jazzmobile at LAHM. Organized for the tours will take place during the concerts. Tickets are benefit of our neighbors and the general public, the the home of the legendary Satchmo, who moved $8; $6 for seniors and students with ID. Admission event will begin at 7 pm outside Louis’s home on to Corona, Queens, with his wife Lucille in 1943. includes a 40-minute guided tour of the historic 107th Street (between 34th and 37th Avenues). www. The couple spent the rest of their lives in this house. house, and entry to the museum’s current exhibit. louisarmstronghouse.org Now their residence—still containing its original Jazzmobile is a trailer that opens up to become a furnishings—is a National Historic Landmark stage, and its annual stop at Armstrong House inspires administered by Queens College. The tour explores WHEN: Saturdays, August 1 and 22, 2009, from a jazz block party--perhaps the only one in New York. the life and legacy of Louis Armstrong and includes 1:00 pm to 3:30 pm. tape recordings of him enjoying a meal with Lucille at his dining room table, chatting with friends in his WHERE: The museum is located at 34-56 living room, or practicing the trumpet in his den. 107th Street in Corona, Queens. Directions, visit For more information on the concerts and the Louis http://www.louisarmstronghouse.org/visiting/ Armstrong House Museum, including directions, visit overview.htm. www.louisarmstronghouse.org. Jazzmobile has been presenting free outdoor concerts every summer since 1964, bringing the great Upbeat jazz artists of our time directly to the public. This concert is free and open to the public and is about Jazz Tourism sponsored by the New York State New Marketing Initiative Celebrates Council on the Arts, the New York City Department of Cultural Affairs, and the Louis Armstrong Bay State’s Jazz Scene Educational Foundation. Massachusetts is singing the praises of its vibrant jazz scene to visitors this summer, as tourism officials introduce MassJazz, a new marketing initiative to Hot Jazz and Cool Garden promote the Bay State’s extensive jazz activities year at the Louis Armstrong round to the tourism industry. Organizers of the campaign have issued a 40-page House Museum MassJazz Travel Guide detailing hundreds of outdoor Rising Musical Stars Play and indoor concerts, jazz festivals, nightclubs, radio programs, hotel brunches and jazz connections for Outdoor Concerts on Two Saturdays: out-of-town visitors and local residents. Details are August 1 and 22 also available on http://www.massjazz.com/. “The beauty of jazz is its influence from musical The Armstrong House Will Be Open for Tours from cultures from across the world, while remaining a Arturo O’Farrill Noon to 4 pm -- distinctly American art form,” said Governor Deval Patrick. “We want to translate the unique features Outstanding young bands will play old-time of Massachusetts’s jazz heritage into a strong tourism Paying tribute to Satchmo on his birthday week, jazz standards in Hot Jazz/Cool Garden, a free brand that appeals to both domestic and international aficionados from all over the world relax in the balmy concert series launched last summer by the Louis visitors.” night air alongside longtime Corona residents, some Armstrong House Museum. Made for the While promoting jazz concerts, festivals and of whom remember when Louis lived on the block. shade, the programs will take place in the museum’s clubs, organizers also plan to support the state’s The entire family is invited to bring folding chairs and Japanese garden on the first and fourth Saturdays of hospitality industry by publicizing jazz gigs and jazz come ready to have a good time! August, from 1:00 pm to 3:30 pm. brunches in hotels, restaurants and other venues. Born in Mexico, raised in New York City, world- Hot Jazz/Cool Garden was created to showcase “All summer and fall visitors can hear great jazz renowned pianist and composer Arturo O’Farrill was new groups that specialize in traditional jazz. This from Boston to the Berkshires, Cape Cod to the exposed to Afro-Latin music at an early age: He’s year’s lineup features the York College Blue Notes on North Shore, and everywhere in between,” said Betsy the son of Arturo “Chico” O’Farrill, who helped August 1 and Tin Pan Blues Band on August 22. The Wall, executive director of the Massachusetts Office popularize the genre. The younger O’Farrill received Louis Armstrong House will remain open for tours on of Travel & Tourism. “Our goal is to offer jazz as a new formal training at the Manhattan School of Music, both dates. way of showcasing the many cultural and hospitality the Brooklyn College Conservatory and the Aaron A big band in residence at York College/CUNY, amenities Massachusetts has to offer.” Copland School of Music at Queens College, and has the York College Blue Notes comprises talented local Wall pointed to the strong jazz presence in

44 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 regions across the state, with festivals taking place Jazz Festival in Boston each September, which draws then consider what Kansas City jazz master Ahmad in Boston, Falmouth, Lenox, Marblehead, Melrose, upwards of 70,000 participants. Alaadeen has to say in the release of his first jazz Pittsfield, Provincetown, Salem and Worcester over In addition to bolstering visitor attendance improvisation and history manual. the next four months. at BeanTown, Tanglewood and a dozen other jazz Primarily known by his surname, Alaadeen, The “Of the many cultural riches we have in festivals across the state, organizers hope to develop Rest of the Story is presented in a simplified manner Massachusetts, our jazz treasures deserve to be music education as a tourism product too. They’ll with easy to understand terms. Alaadeen’s methods celebrated in the tourism industry,” said MassJazz also promote summer jazz courses offered at local help guide intermediate to advanced artists in finding founder Michael P. Quinlin, who developed the universities and at cultural venues like Jacob’s Pillow, themselves as soloists, while laying down a foundation campaign with Massachusetts Office of Travel & which offers jazz dance workshops each July. to the art of improvisation. Written by a traditional Tourism, Berklee College of Music, Tanglewood Jazz The MassJazz Travel Guide is available for free in musician, Alaadeen offers a performer’s perspective Festival and other jazz advocates in the state. tourism centers around the state and in local concert rather than that of a theorist who may not play on a Quinlin said that Massachusetts has a stellar venues, jazz clubs, hotels and restaurants. It is being regular basis. tradition of producing popular jazz musicians like pianist distributed to incoming conventions, tour operators What’s unique about Alaadeen’s jazz method Chick Corea, drummer Roy Haynes, saxophonists and travel agencies throughout North America and to manual and approach is that he encourages creativity , Phil Woods and many others. select international outlets. and individuality in playing. “When I was coming For up-to-date information about jazz activities up if you took a solo and sounded like anyone else, In addition, Massachusetts offers some of the year round, visit http://www.massjazz.com/. To you would be booted off the stage,” said Alaadeen. world’s best jazz study programs at Berklee College request further information, contact MassJazz at 617 Written in old school script, one aim of the manual of Music, New England Conservatory, UMASS/ 696 9880 or [email protected] is to encourage music soloists to play with originality Amherst and other universities throughout the state. from their instincts and gut. Numerous jazz leaders have studied or taught in While the manual is not a step-by-step guide, Massachusetts, including Quincy Jones, Diana Krall, it does contain lesson plans for jazz educators and Branford Marsalis, Esperanza Spalding, Archie Shepp soloists. Also included are stories and photos from and Yusef Lateef. User-Friendly Jazz Alaadeen’s life experience that are a part of our oral “Today thousands of young people are studying Improvisation tradition. This experience contains musical values, music here, and there is a long tradition of jazz knowledge and lesson, surprising stories of struggle musicians learning their craft here and taking it out to Methods to Finding Yourself as a Soloist and great perseverance that should not be lost. the rest of the world,” said Tom Riley, vice president Do you have the desire to swing and make it your of external affairs at Berklee. In addition to its year Music educators and soloists benefit from the manual own thing? If you are a jazz educator or soloist, round programs, Berklee hosts the annual BeanTown Continued on Page 53

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 45 Live Performance Reviews

ning – a tune titled “Oy Masti Masti which featured cally fruitful, though only occasional, pairing of Joe Sean Nowell Group a very European style type feel and Mr. David Eggar Venuti and Zoot Sims. These cats impressively proved Smalls Jazz Club on cello, who was simply incredible. Again tremen- why they are among the brightest of the legatees of July, 2009 dous saxophone work from Nowell, an eye-popping the two legendary past masters. solo from Eggar, and a very funk based guitar solo Pizzarelli went into his vocal mode with a from Felder had you wanting more. smooth rendering of “Under a Blanket of Blue,” the By Christopher Lams Mr. Nowell was also very personable, engaging beginning of the vocal section of the evening. He was the audience as he explained the stories behind the soon joined by Kilgore and Molaskey on “We Take One of the greatest aspects of being a jazz critic songs. on the Town,” another Pizzarelli tune that is catchy in New York City is the element of discovery. To be The evenings first set closed with a gorgeous and fun. The ladies gave a knowing reading of “I asked to attend a performance by an emerging jazz arrangement of the Beatles tune “I Will” which was Knew Him When,” before Kilgore gave us her take artist, one with whom I have not previously been simply beautiful. A top-notch arrangement and an- on “Pennies from Heaven,” with some scatted assis- familiar, and then to be blown away by their perfor- other fantastic solo from cellist Eggar was just what tance from Pizzarelli, and a sublime version of one mance is one of the joys of jazz. Hence add another the arrangement ordered. of those tunes that you hear and wonder why it is not interesting and creative musician to my list. His Well it happened on this night again. I was not more frequently performed, “I’m Making Believe,” name is Sean Nowell. Nowell is a monster tenor saxo- familiar with tenor saxophonist Sean Nowell – and penned by Mack Gordon and James V. Monaco. Mo- phonist from Alabama who is slowly taking hold of now I’m a fan, very much enjoying his new release ti- laskey returned to advise us to “Wrap Your Troubles the New York City scene. With extremely refreshing tled The Seeker. in Dreams.” Both of these ladies are superior jazz in- compositions and chops that would make Tony Atlas fluenced vocalists who understand lyrics and phras- proud - I would advise the New York City jazzbo to ing in a way that few others do. keep an eye out on Mr. Nowell. JohnNeed Story.Pizzarelli and Guests It was time to give the spotlight over to the On this gorgeous New York evening at Smalls The Pizza Party other Pizzarelli, brother and bassist Martin for “You Jazz Club, the Sean Nowell Group (as he calls it) were Birdland, New York City Be the Judge,” a loving tribute to one of the great jazz taking the stage to celebrate his latest release. The set bassists of them all, . No John Pizza- opened up with a track titled “New York Vibe” from June 23-27, 2009 relli gig would seem complete without his revisiting the new Posi-Tone release entitled The Seeker. And his biggest crowd pleaser, “I Like Jersey Best.” With may I add - after getting a copy of this disc it is clearly the broadly beaming composer/lyricist Joe Cosgriff up for running as a top ten in my collection for 2009. By Joe Lang looking on, Pizzarelli interpolated his impressions of The opener slid in with a drum intro from Joe Ab- a multitude of other singers, including Paul Simon, batantuono, which led right into the head, attracting John Valenti, owner of Birdland, sure knows Bruce Springsteen, Bob Dylan, Lou Reed, Lou Rawls the listener’s attention and drawing one in instantly. how to throw a party! All you need do is to hire John and several others, into his extended and raucous Nowells compositions are not only a demonstration Pizzarelli, ask him to bring along a crew of swinging version of this wacky and wonderful song. When he of some serious tenor playing, but his melody lines cohorts, and voila, “The Pizza Party” happens, with alternated between his impressions of Billie Holiday are very catchy. The piece featured exceptional solos an explosion of terrific music bringing the crowd to and Madeleine Peyroux, with no variation between by Nowell, his guitar counterpart Nir Felder and Art one peak of enjoyment after another. the two, it brought down the house. Hirahara on piano. I can’t overstate how important It is not only the music that satisfies, but also the To bring this highly entertaining evening to a to take hold of a crowd right out of the gate and Now- charismatic and witty personality of Pizzarelli who is conclusion, Pizzarelli brought all instrumental hands ell did just that. He had me! as fast with a quip as anyone on the scene today. His back on deck for another of his new tunes, “Some- humorous between song patter, full of hip references, body Called Hanley,” and they left all on hand satis- and gentle joshing of acquaintances in the audience, fied, but sorry that this interlude of unadulterated brings a special extra element of entertainment to a good times had come to an end. first rate jazz experience. On Thursday evening of the five-day run, Pizza- relli and his guitar was joined by vocalists Jessica Mo- laskey (Mrs. Pizzarelli) and Rebecca Kilgore, tenor saxophonist Harry Allen, violinist Aaron Weinstein, pianist Larry Fuller, bassist Martin Pizzarelli and “You have to know what drummer Tony Tedesco. This is a group of superior you want to get. But when you know jazz players who also know how to project a sense of enthusiasm and joy in their performances. that, let it take you. And if it seems to take “Lady Be Good” served as the opener, with each you off the track, don’t hold back because of the players given an opportunity to strut their that is instinctively where you want to be. stuff in the spotlight, highlighted by Pizzarelli’s scat- And if you hold back and try to be always ting in unison with his guitar explorations. There where you have been before, were several Pizzarelli originals on the program, one you will go dry.” devoted to the selections from the new Arbors CD “New York Vibe” was followed up by a composi- PIZZArelli Party with the Arbors All Stars. One of tion titled “Domnowski Park” - which again featured these, “Strollin’ Down to Nola,” a tribute to the New Nowell grabbing the tune by the horns and showing York City recording studio where the album was re- his mastery of the tenor saxophone. This selection corded, proved to be an engaging bluesy number that —Gertrude Stein featured a gorgeous piano solo by Hirahara. felt instantly familiar. “Joe and Zoot,” a feature for Next up was my personal favorite of the eve- Weinstein and Allen, is Pizzarelli’s nod to the musi-

46 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Avant-Jazz “No, America, no jazz”. — Art Blakey Reflections on Culture FOREIGN MUSICIANS IN and Community AMERICA: THE ARTISTS VISA By Patricia Parker

Our country is embroiled in a struggle for the In order to expand the audience/community base, minds and hearts of its citizens. In a top-down, soci- it would be beneficial to serve a larger role in com- ety, driven not by human concerns, but increasingly munities outside our immediate circles. Nowadays dominated corporate interests, who and what creates it often seems as though we need our audience more culture? than they need us. This is not only a problem; it is a The role of culture is to reflect as well as inspire. Victoria M. Ingber It simultaneously creates and is created by the peo- Art Blakey would not be an example of a jazz ple. When culture is dominated by the need to make “In order to expand the Musician with the minimal level of success necessary money, society inevitably suffers. audience/community base, it to be eligible for an Artist Visa. For any foreigner For many in our society, the word “culture” has interested in working in the US, certain strategies come to mean consumerism, advertisements, and would be beneficial to serve dictated by the US Immigration Service will result fashion. Much of the security we traditionally as- a larger role in communities in an Artist Visa. The requirements for this type of sociate with “American Life” has been eroded by ac- visa, also known as the O-1 Visa are as follows: tions taken out of fear, political manipulation, and a outside our immediate circles. Foreign Musician will need at least 3 of the suffering economy. Mass media continues to claim a following: greater role in creating and defining our world and its Nowadays it often seems as • CDS and demos; cultures. As our globe has grown smaller, top-down, • Performances at prestigious venues; though we need our audience • Letters of recommendation written by experts in bottom line, commercial thinking has infiltrated more than they need us.” the field; all of the arts. Culture has quietly slipped from the • Performances as lead in groups; hands of the people. • Published announcements of gigs; Undeniably, artists play a unique and vital role • Material published about foreign musician in in the cultivation of culture. As artists, we consider lie. Unfortunately, it is also an accepted myth, a myth magazines, newspapers, internet, etc; ourselves an integral part of culture, yet we are be- that we can not afford to let stand. • Membership in exclusive music organizations; • Articles written by the foreign musician-in coming so marginalized as to barely exist. In fact, our Alone, an artist may not be able to build a better books, magazines, and newspapers, etc; existence is consistently questioned. (Is jazz dead?) world but what we do can help humanize the one that • Awards, certificates, honors, prizes; and / or We pinch ourselves to ensure our reality. we live in. If we come together in community, we can • High yearly income. Even now, we find ourselves subject to the age- weave a strong fabric using art as the thread. First we US Orchestra, Symphony, Music Group, old tactic of divide and conquer. With a cut in the must imagine then create a culture in which art is a Representative, Agent or Manager will be cloth of society and a tug on the thread of commu- unifying concept. This is only possible through an ef- needed to: nication, the fabric of our culture will rip with the fort to reach out and draw in the community around • Sign all forms and petitions; slightest pressure. Through advertisements and other us. And through a better understanding of the needs • Provide Tax ID Number or Social Security #; media, we are encouraged to think exclusively in the of our community we can be responsive and less mar- • Provide basic information, such as address, short term. This myopia makes it easy to be marginal- ginalized. To properly address the problems we face email, phone numbers, etc. Beside those who are entering due to their excellence in the music ized and then “conquered.” Today, we need not fear we must act from a belief that what we do and don’t field, there are musicians entitled to enter the control by foreign powers as much as we need to be- do is important, and what we do and don’t do does in US to work if they can be considered “culturally ware the moneyed influences that are unresponsive fact, make a difference. unique”, such as Yoruban jazz musicians from to our human needs and rights— but are so effec- This is not about building an Arts for Art, Inc. West Africa. tively distracting us from them. The less we support community. This is Arts for the world in which we Bear in mind that many books and articles on the the overall “mass media,” the more control we have live, a broad concept for all of artists and our ex- subject are very long and written in crazy legalese. over our place in culture. tended communities. Immigration law can be understood best by a musician We live, work and play as members of commu- My definition of Community is based on ex- when tailored to the needs of the musician. When nities and Community could be the answer to these panded definition of family, and like any family, you done correctly, the results are amazing. problems. Through building community we can be- don’t always have to like them but, bottom line, you Victoria Ingber is an immigration gin to regain our power. By building coalitions the can’t live without them. They are your family. attorney specializing in the arts for importance of art can be realized and our voices over 25 years. In addition to being heard. To do this, we need to see ourselves as inte- an expert in the field of the transfer gral members of a diversified community. So who is our community? It is our family, friends, the schools of foreign talent to the US, Mrs. with whom we are associated, as well as other artists Ingber is a voting member of New “A lot of people mistake York Artists Equity Association, of the same and different aesthetics and disciplines. a short memory for a We can come together around common cause. This Inc. and the recipient of the 2003 clear conscience.” is possible as long as we can see our commonality and National Leadership Award presented not fall prey to divisive tactics. by the Presidential Committee for For the health of our community we must ex- Women in Business. For questions: pand our reach beyond our fellow artists. We need to —Doug Larson 212-686-3838; [email protected]. include people who need and value what artists do.

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 47 Venue Review “The musicians that attend and Cleopatra’s Needle 2485 Broadway & 92nd St. run the sessions are nothing By Gary Heimbauer but supportive. …”Toru Dodo,

When most people hear “Cleopatra’s Needle,” well known musicians because they are expensive, who runs our Sunday night they probably think of the big obelisk in Central Park, but even though we have a great reputation, we stay jam …is great as a musician… or perhaps form a mental image of the ancient Egyp- open—we have no cover. It is completely free. We are tian queen’s sewing accessories, but it is also the name good in Jazz, but we are good at other things as well.” very respected….he doesn’t of one of the most unique and valuable jazz clubs in By doing this, he has managed to keep the snob- push you around and he allows Manhattan, and it was chosen for good reason. The bery and ego element out of the club. Cleopatra’s Nee- owner, Maher Hussein, is a native of Egypt who af- dle is a haven for young and talented up-and-coming the evolution of the night to ter moving to the United States opened the club with musicians who are just looking to play on a few tunes happen by itself.” his brother in 1989. Not only is the name a reference at a jam session without being dissected by their peers to their homeland—it is also a symbol of Hussein’s while playing to a room full of sneering faces. The is a great teacher and he is as humble as Toru.” Hus- philosophy and vision. He explains, “The needle was musicians that attend and run the sessions are noth- sein’s philosophy has worked. You will hear many originally built in an Egyptian city for celebration ing but supportive. Hussein recognizes the value in musicians sitting in from age 18 to 80 on all different named Heliopolis. A king at that time decided to this. He explains, “It’s not easy to find a musician that instruments, throughout the night. Even legends rec- make a city for celebration and when he made that is good, that everyone likes, and that people feel com-

“… jazz is in my blood now. I hear it day and night… jazz and blues comes from our deepest human roots. It is understandable to anyone. It communicates who we are, even from the Middle East.” Credit: Photos by Ed Newman. www.flickr.com/photos/ednewman city, he put the needle, the monument, in front of it and one of them is here in New York now—a gift from Egypt to the United States. So this concept of celebration is very much related to the club.” There is more than one reason to celebrate when you are at Cleopatra’s Needle. A few of them include: no cover charge, a jam session every night, a great line-up of scheduled jazz acts, and the opportunity to eat some of the best Mediterranean food in town at a reasonable price. There are two kinds of places to see jazz that serve food—the one’s that are primarily restaurants “Cleopatra’s Needle is a haven for young and talented up-and- and as a bonus have live jazz, and then the ones that coming musicians who are just looking to play on a few tunes at a are primarily jazz clubs and as a bonus have a food menu. In the latter category would be all the major jam session without being dissected by their peers while ones like Birdland, Blue Note, Iridium, Jazz Standard and Smoke (a few blocks above Cleopatra’s Needle), playing to a room full of sneering faces.” and in the former category, well, nothing really worth fortable around, which is what you need for the jam ognize the value and vibe of this place. My first time mentioning as far as music is concerned. However, session. The musicians will not come if you are very at the club, Harry Connick Jr. came in to play a few standing with one foot firmly planted in both worlds dominating or pushy. You can find plenty of good tunes, and this past time I was there, I was told I just is Cleopatra’s Needle. Hussein has managed to create musicians, but not many who can run a jam session. missed Wynton Marsalis and Eric Lewis joining the a very unique situation by refusing the temptation of If you can, you are lucky, and Toru Dodo, who runs jam a couple of nights before. Fortunately, the pho- a cover charge for all these years. He has developed our Sunday night jam, is one of the best. He’s great as tographer who told me was kind enough to let me use a loyal following that come for his food, and he has a musician, and as a person. He is very respected and his photos for this article! allowed a vibrant and unique music scene to develop it’s easy to play with him. He doesn’t push you around On Sundays, Mondays and Tuesdays, the jam as well. Hussein explains, “People call all the time, es- and he allows the evolution of the night to happen session is in the primetime slot. Monday features a pecially from Europe, Japan and Canada wanting to by itself. He is not dominating anything. ‘You play, singer’s open mic from 4-8 with Keith Ingham, and book gigs for well known musicians, but it is difficult now you don’t play’— you will never find this. That’s the Toru Dodu jam from 8-1AM. Tuesdays feature for us because we are a very small place and I give the why he’s been here so long. I also have a very good jam the jam with Roger Lent from 8-1AM and Wednes- gigs to musicians in New York. Other clubs can hire session on Monday nights, with Roger Lent. Roger

48 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 CD Reviews Continued from Page 80 days with Robert Rucker from 8-1AM. Other nights College. have a great array of scheduled performers such as Ken Teubal formed La Balteuband four years ago—a Simon, Steve Carrington, Waldron Ricks, Ranaud group that blends jazz and elements of Argentine “Nearly all men can stand Pennant, Bruce Harris, and Lance Murphy for the music like chacarera and zamba rhythms and the adversity, but if you want to test a month of August along with many others in August. sound of tango. Un Monton de Notas is their second All of those performances will be followed by a late man’s character, give him release. This music is complex and forward thinking [money and] power.” night jam session from 12-3AM. There is a house gui- while remaining elegant, accessible and even tar amp and drum set, and for pianists, Hussein just danceable at times. It is full of odd meters, changes purchased a brand new Yamaha baby grand! in meter, and rich harmonies, but it is pulled off with —Abraham Lincoln Why jazz? I posed this question to Hussein, grace—perhaps because this rhythmic complexity, and there was no hesitation when he explained, “Al- which may be something modern to jazz, has been an though it originally came from my brother’s vision, integral part of the music of South America for many who passed away, jazz is in my blood now. I hear it lifetimes. It is something that Teubal had internalized day and night, and it is a part of us now. I find that very early on. The album retains a folkloric quality as jazz and blues comes from our deepest human roots. modern as it may be. It is understandable to anyone. It communicates who Joining him are some of the other New York we are, even from the Middle East. It is connected to based bright young lions of this sound, including our folk music. The guy who sits here with his guitar Felipe Salles and Xavier Perez on sax, Franco Pinna and starts to play something a little bluesy maybe, and on drums and percussion and Moto Fukushima on the guy sitting under a tree in Egypt when he starts to electric bass. play his flute, can be playing the same thing. There is a definite connection, and people have created music JUSTIN VASQUEZ like this since ancient times for celebration.” In the food department, there is also some- TRIPTYCH. www.justinvasquez.com. Triptych; thing for everybody here. I’ve found that a good Nimbus; Invitation; Fields; One & Only; Red. Green. way to judge the entirety of a Mediterranean food Blue; End of the Day; Stella by Starlight. establishment’s cuisine is to try their hummus— PERSONNEL: Justin Vasquez, alto & soprano Cleopatra’s Needle had the best hummus I’ve ever saxophones; Aaron Parks, piano; Adam Rogers, had. It has a very complex but balanced flavor, and acoustic and electric guitars; Orlando Le Fleming, they left some husks and pieces of the chick peas in bass; Clarence Penn, drums; Gregoire Maret, the blend, giving it a great texture. Next, I enjoyed ALLEN TOUSSAINT harmonica; Gretchen Parlato, voice. some lentil soup with carrots and their khodar THE BRIGHT MISSISSIPPI — www. curry—an assortment of curried vegetables with By Matt Marshall allentoussaint.com. Egyptian Fantasy; Dear Old raisins, chutney, and coconut, which was also very Southland; St. James Infirmary; Singin’ The Blues; good. Other items on the menu include flavors from Fitting comfortably within the modern jazz Winin’ Boy Blues; West End Blues; Blue Drag; Greece, Italy, and the Middle East. There are a mul- idiom, saxophonist Justin Vasquez’s debut release Just A Closer Walk With Thee; Bright Mississippi; titude of pasta dishes, various soups, many vegetar- Triptych offers a few nice surprises as well. Check Day Dream ; Long, Long Journey; Solitude. out the Vasquez original “Fields,” which layers alto ian options such as couscous, and vegetarian mou- PERSONNEL: Allen Toussaint, piano/vocals; Don saka, and meat dishes such as kibbehsinaya, chicken and soprano sax with a strumming acoustic guitar, Byron, clarinet; Nicholas Payton, trumpet; Marc grounding but bright piano and a humming harmonica marsala and roast hen. If you like seafood, they have Ribot, acoustic guitar; David Piltch, upright bass; Jay to fashion a free-flowing modern piece that passes fish sandwiches, baked salmon or blue fish, and for Bellerose, drums/percussion; Brad Mehldau, piano; like a refreshing summer breeze that also holds the desert, you can get baklava, apricot pudding, rice Joshua Redman, tenor saxophone. sharp whiff of something significant. Citing a desire pudding, cheese cake, or carrot cake. The average to explore evolution through the title track, Vasquez entrée price is fifteen dollars, and from five to ten By Dan Bilawsky continues the quest throughout the record. The music is dollars for appetizers and sides. familiar just before twisting into something new, which Physically, the club is characterized by a main Classic early jazz material, a cast of musicians might likewise strike a known chord on an unexpected room, about 45’ x 30’ with a large central island to-die-for and the brilliant musical mind of pianist instrument or the pairing or tripling of such. style bar that is fully stocked and surrounded by and New Orleans legend Allen Toussaint all converge tables for eating. The stage is opposite the main en- to create a once-in-a-lifetime dream record. Sidney trance in the back right side of the room, and there Bechet’s “Egyptian Fantasy” opens the album and is another isolated dining room behind the stage. Don Byron and Nicholas Payton fly around one The lighting is dim and the feng shui is cozy. another as they solo with glee. “Dear Old Southland” In today’s economy, the business models that is pure magic as Toussaint gently caresses the keys have appealed to the frugal minded and empty- and the interplay between the pianist and guitarist “To be nobody but yourself pocketed are doing better than ever, and as Hussein Marc Ribot, on “St. James Infirmary” and elsewhere, in a world which is doing its best, confirms, “Day by day we are getting better and is priceless. Whether Toussaint is casually mingling better—that’s all I can say. We are very reasonable through the music with Byron (“Just A Closer night and day, to make you everybody so people are still coming.” Whether you are a fresh- Walk With Thee”), dancing with Ribot (on Django else, means to fight the hardest battle which man or a veteran player, a casual or a serious listener, Reinhardt’s “Blue Drag”) or gently delivering a slice any human being can fight; a food lover, someone looking to wind down with a of Ellingtonia with guest Joshua Redman (“Day And never stop fighting.” drink at a hip bar, or even a sports person looking to Dream”), he always knows just what to say and how to watch a game on TV, Cleopatra’s Needle won’t do say it. you wrong. For more information, visit www.cleo- —e.e. cummings patrasneedleny.com.

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 49 Interview Johnny Garry By Gary Heimbauer

JI: How did you get your start in the music business? work only that one night, but he kept me, Barney. He JG: Oh man, you couldn’t beat it. You had to pay gave me a big eighteen dollars a week, so I stayed, and two bucks to come in, and you could stay all night if JG: You remember Josh White? He was a folk singer then I was talking to Mary Lou and all these people you like, you know? Not like today. You go in a jazz and he was working at Café Society in the Village and and she was telling me, “If you like this business, you club today, you sit down for one set—then you get he lived on my block on 50th Street in New York and ought to stick with it.” But I wanted to be a musician, out. But the third thing that happened for me that I was working in the garment center for a while and you see? I had a C melody saxophone, but the teacher I love is Jazzmobile, for what it stands for, and what he came by my stoop and he said, “Would you like told me that I needed another profession, so that it does for people who can’t afford to see jazz. They to make ten dollars?” and I said, “Ten dollars doing didn’t work out. So I stayed with it, because Mary say jazz is dead and I say it’s not. It’s just expensive. what?” He said, “Well, there’s this guy at Café Society Lou Williams was very good to me. She kept me But to be around people like Basie and Ellington and that they call a prop boy, you know he moves the props going and said, “Hey, if you like the business, there’re all the greats, I had a chance to work around them and stuff from the stage,” only it wasn’t a stage, they just other things you can do.” But I met great people in because of Sarah and they accepted me just like I was had a dance floor and he said, “Well you have to move there. I met Paul Robeson, Adam Clayton Powell in one of them, man. That’s a great feeling to be sitting a piano. He’s sick,” and I said, “Yeah, I’ll do that for there, Hazel Scott came in, Meade Lux Lewis, Albert in the room with Duke Ellington, talking to him like ten dollars.” So I went down there that night to Café Ammons, they all worked that place, and then Sarah I’m talking to you. It’s beautiful man—beautiful— Society. “I want you to move this piano for Mary Lou came in. I was there about two years when she came absolutely gorgeous. Williams,” because she was one of the artists there— in, and then she told me that if she ever made any Lena Horne was the singer, and Eddie Haywood money, she’d hire me and that started my trend to the JI: Count Basie and Duke Ellington were two iconic would have the band. So he said to me, “Take it easy big time, as I call it. But I enjoyed that. But I enjoy band leaders, and their sound was so different. I would with the piano,” and I said, “Well, I got to go there what I do here at Jazzmobile too, at 85 years old. But imagine that they were a lot different on a personal right in front of these people because they are right up I’ll tell you, in this business I met some great people level as well. Can you comment on that? on you with these tables.” I figured, I’ll do it my way. I my man—great jazz musicians—which I think are the took the tail of the piano and swung it out and caught best. They are the best. JG: Well, to me Basie was just like a kid. He was soft. the keyboard part to slow it down, you dig? Then I got Well, not soft, but nothing bugged him. And you can the stool and when Mary Lou Williams came out, I JI: What were some of the highlights for you, over the tell that in the way his music is—the simplicity in it. put the stool under her and this lady was there writing years, working with so many legendary musicians? You got to pat your foot when you hear Basie. Duke, for the New Yorker, or something, and she wrote that on the other hand, was a maestro, man. Talking to him she came to see the show at the Café, but their was this JG: Well, first when I started working for Sarah. But was like talking to a god! JI: Kind of larger than life, huh?

“But the third thing that happened for me that I JG: Yeah—oh man. He was something else, and working with Sarah, I got to go around all these people love is Jazzmobile, for what it stands for, and what because she would be on the same bill with all them— Basie and Ellington and Louis Armstrong. Louis used it does for people who can’t afford to see jazz.” to tell some great stories about Bessie Smith when we were sitting in the room with him, and I felt just like I was one of them, and they never asked me to leave. And then I met Frank Wess, Jimmy Heath, Frank “Today, everything is laid out for the musicians— Foster, Benny Powell, and we rode the buses together. I still think I am part of them because Jimmy Heath the reservations in the hotel and everything. always calls me up and says, “You know, you are over 80 now— you’re 85, so you’re in the park” - because With these people, the old timers—Ben Webster, he says when you’re 59, you get into the park. But he says you got to try to get out of it at 110th street and we and all of them, you know, they played this music have the 80’s club now. When Roy Haynes was with us, when I was with Sarah, he was the drummer for and they weren’t rewarded right monetarily, about five years. He’s another one. He’s 80-something and I called him I think on his birthday one time, and but they didn’t give up.” I said, “Boy, you’re in the park. Try to come out!” He says, “I’m coming out babe, I’m coming out.” You got to get to 110th street. the big highlight was when I managed Birdland - the young black fella there who fascinated her with this JI: That’s a great metaphor. It shows how much of a real one. I managed Birdland on 52nd and Broadway piano. So anyway, that was the beginning. New Yorker you are. from 1960-1965. JI: What year was that and how old were you? JG: Yeah, Jimmy Heath comes up with some great JI: Wow, 1960 to 1965 was one of the greatest five stuff all the time. But there were some great moments JG: I’m about seventeen or eighteen—this is in 1941. year blocks in jazz! So many amazing bands were with Sarah, really great concerts and things. And then I started putting in nights. I was supposed to playing at that time. Continued on Page 56

50 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Interview Antoinette Montague By Eric Nemeyer

JI: You’re one of the more active independent and fellows who love this music to help to raise it up. artists who is also successfully powering your artistic And, each time the music raises up even a little bit, it pursuits, and helping other artists as well, by applying provides potential for us all. your business acumen and smartly and consistently engaging in marketing and promotion. JI: That’s true. And the benefits can come back in direct and indirect ways. Certainly, when decision- AM: From the beginning, I was learning from Carrie makers at clubs and festivals see that someone is Smith and Norman Simmons. Papa Jo Jones said: taking the initiative and making their own investment “Musicians don’t have problems that they can’t solve to promote, they take note. People in business among themselves.” The world changed. Technology recognize that artists who are actively promoting have has developed that has opened the door for artists to higher visibility, and as a result more of a following empower themselves and pick up where the labels and and more or developing recognition – which helps companies reduced or withdrew financial support the businesses that hire performers also succeed by for artists to do their craft. The world of independent the people and business the artist might generate. It is artists has grown as a result. And, who’s independent? a mutually beneficial situation. Plus, business people Even people who have contracts are independently are more likely to resonate with people who have some responsible for going and making sure that they business savvy and who are like them, rather than deliver. I live in two worlds. I’m a Human Resources someone who is approaching them their hand out professional by day, as Vice President of a publishing asking for something over demonstrating a way they firm. In that world, they think I don’t know about can help the business as well. marketing. I come out into the jazz world, and they all think I know. My repeat customers – the people AM: It would be great if everyone liked us. But not who keep coming out to hear me and who bring everyone is going to like you. But short of that, we can take responsibility for ourselves. I take responsibility. I’m responsible for me – the heart of me, the spiritual person in me that wants to treat people very, very nicely and making them feel pretty at the end of the AM: I’m grateful that even in this economy I’m “It is rewarding to day, if they are involved with the jazz family. There is doing what I have to do to invest and to follow-up something we can all do during the recession – or at and keep what I believe in – out there, in high profile. collectively come any time – and it doesn’t cost a dime. That is, we can Kenny Washington produced. We collaborated on treat each other with greater elegance. the production. He picked some tunes and I picked together with peers and And, in jazz, artists and audiences don’t want actors some. We developed them from skeletal structure to and actresses, and for you to be phony and jive on an idea. He’s a very good A&R person. The songs have fellows who love this stage – unlike in other idioms. What I like most about to mean something to me – otherwise I’m not singing this idiom is that it has me whittling down to the real it. This was the second time we worked together. We music to help to raise it me and understanding I can do better all the time. had grown from the first experience – and it was And, that’s not to minimize who and what I am. I’m great. It was pleasurable in the studio. Kenny can hear up. And, each time the thankful for many things. Physically, last June 2008, paint dry. Mulgrew Miller is on piano, Bill Easley on I was 215 pounds. Now, I’m at 137. I never had any clarinet, flute, sax. He’s got a new recording coming out music raises up even health problems. But, now I know how to eat, and I himself. He’s a great player. And, Peter Washington is take care of myself. I have a responsibility, And, we on bass. This is the same personnel I had on the first a little bit, it provides represent something bigger than ourselves. recording. I wrote the title tune, “Behind The Smile,” a blues, notated by Bertha Hope. potential for us all.” JI: What kinds of things are you doing ongoing to continue to develop your skills and artistry? JI: Could you share some of the words of wisdom you’ve received as you’ve pursued this creative path? AM: Every Wednesday I get together with Mike Longo. He’s trying to put more music in me – encouraging me AM: Carrie Smith said that if you’re going to get out extra people – are people who help me fill clubs. As to practice and do better. He is helping me develop my there, the difference is marketing. She said that if she a result, I get the opportunities to work. This year I technique and understanding music. Then I go over had had more marketing, she would have been a bigger was hired by the Newark Museum. It was an honor. to 112th Street and see Jim Carson, a vocal coach – name. She’s got a recording she did with Dionne Newark is also my hometown. I was looking to do that for quite a few good singers. His work on Across the Warwick and Dee Dee Warwick singing backgrounds gig for a long time. Sheila Anderson, who is an on-air Universe just went platinum. I also listen a lot more for her. Those are all Newark singers – and they’re personality at WBGO, hired me. To be able to have and a lot differently – to melodies, chords. I’m trying something else. My Newark, by the way, was not hard done a good job, get a good write-up – that means to develop more spontaneity and take more risks. times for me. Anyway, I’ve learned that it works to be the promo stuff is paying off, to help the people who less self-serving and more self-sacrificing. are hiring you and doing promotion on their end. It JI: Talk about your new recording. is rewarding to collectively come together with peers

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 51 Patitucci Continued from Page 36 Cioglia Continued from Page 14 to me. Not when people play “All The Things You Are” for many years and I always loved the way Joe played. to accomplish. As a listener, primarily, I appreciate in 11/8, at quarter note equals 350 beats per minute. Obviously, Brian and I for the last ten years have been music that can be both attainable, recognizable and I’m sorry, that’s not what makes me excited. That’s just playing together a lot and become very close and so I yet just as fresh and enticing in a particular moment. me. And I played a lot of music that’s in odd meters. I guess I wanted to give myself time to get a little better This duality is compelling to me and that’s the direc- get asked to do it on records all the time and it could before I tried to do a trio record, because obviously tion I tend towards and I believe that listeners in gen- be wonderful if it’s done with feeling in the right way. people think of Sonny Rollins’ Freedom Suite and eral relate to that as well. The fact that I live in New At City College, it’s great because there is an emphasis Night at the Village Vanguard with Sonny Rollins and York is a great motivation for me. The quantity and on the interactive perspective, where the group sound it’s kind of daunting to think, “Oh gee, I don’t want the high level of this city’s musicians, who are masters is more important than just, ‘I got to do my thing.’ anybody to even put my name in the same sentence.” of improvisation is definitely a driving force for me. I Those records are legendary and revered but I do like can’t think of another city in the world that this oc- JI: John, how do you stay balanced and recharge that format for the bass. Sonically it’s great. You can curs. Not to mention that you have first hand access your battery, given the stress of modern life, and really have room to make a beautiful and large bass to so many forms of music from all over the globe al- all the things you have going on in your career? Do sound because there’s not a lot of density around it, so ways at an extremely high level. This experience is in you ever have to get away from the music or your the bass can be really rich and so can the drums and so line with my upbringing back in Brasília and I really responsibilities for a moment in order to re-center? If can the tenor for that matter, because you’ve opened appreciate it. I feel very at home in New York. so, what kinds of things do this for you? up this space for them to be. And harmonically and rhythmically, there’s all this room for dialogue which JI: What was it that initially inspired you to become JP: Well, one thing that’s nice is that we have some is fascinating and a lot of fun. That’s the main reason a professional musician? How did it all start? friends that invite us in the summers up to Cape and then there are some tributes to people like Joe Cod - so we go by the ocean with some friends to Henderson and Freddie Hubbard and Sonny Rollins As I said, after high school I was dwelling with the hang out and that’s always a great re-charger. You and Monk and Trane. The idea, Remembrance, which idea of becoming an architect/urbanist. I had that in know, it just depends really—sometimes you get so is also the title of the last piece, is for Mike Brecker. But mind but also new that music would always be a big crazed with trying to catch-up on stuff and stay on the idea, is for people, musicians and friends that have part of my life. The opportunity to go Boston and top of everything and it gets to be too much. I like really inspired me and the idea is to celebrate them study music shifted my course. Now, I can’t see my- the Yankees too. My daughter and I a few weeks ago while they’re here and be present and appreciative of self doing anything else. I’d still like to study other got to go to a Yankee game and that was really fun. I the ones that are here now as well as remembering the areas such as literature and history but music is the like to watch them on TV too. As I’ve gotten older, ones that have already gone on. primary focus. Eventually I’d like to go back to I’ve gotten more into taking vacations and also sort school for a master’s and doctorate degree in music. of having hobbies which. I always kind of liked sports. JI: Sure, there’s a certain reverence about it. It sounds This will have to wait though. I wish I could play on a team for adults but I haven’t like you grew up in a similar situation as I did when in really figured out how to put that in my schedule. Like the 50’s and 60’s with both sets of grandparents, lots of I mentioned earlier, I like the church life that we have family and a reverence for older people – all making it Coolman Continued from Page 16 which is really great for me. That really encourages me a natural to appreciate and develop relationships with and recharges my batteries. I also like to cook. My wife people who have a lifetime of experience and wisdom some composing. Interactive relationships with my and I love to cook together, too. and achievement - like Jimmy Heath and Benny “fans” through the internet. Golson – for whom I have so much respect. JI: What do you cook? JI: What is it about musical improvisation that you JP: Yeah, and you know, I played with those guys, find so valuable? What does it offer to you, your band- JP: I cook a lot of Italian food. My wife can do all that and those guys are incredible. You play with them mates, and the listeners? What motivates you and but she’s also a phenomenal baker. She makes all kinds and you’re like, wow! And I’m going out on this tour drives you forward? of chocolate cakes and incredible sweets and all kinds with Roy Haynes who’s in his 80’s. Tomorrow we of stuff. So I like food, that’s a hobby—cooking, I like leave and go to Europe and that’s just incredible! The TC: Those are several questions. Improvisation is wine too—learning about it and stuff. My daughter guy is still burning, and playing his tail off. What an the act of problem solving. It is also the product of has a wonderful friend in the neighborhood and the inspiration and what a living encyclopedia of jazz. I teamwork, or lack thereof, and in it’s best moments parents are really great so last night we went over there always call him the walking encyclopedia of jazz. He illustrates the finest artistic qualities in mankind. It is and had a wonderful dinner and talked about a lot played with everyone and is so broad stylistically. It’s a metaphor for life. I am motivated by the desire to of things. Just being with people does it for me. I’m just incredible. learn, the need to grow, and the realization that the more old fashioned I guess. Now-a-days that would be beauty lies in the striving. One never gets it together (laughs), because we’re not texting or emailing. We’re JI: John, is there anything else that you would like to completely. just hanging out and talking, you know? mention that I haven’t prompted you for? JI: What was it that initially inspired you to become a JI: Can you talk about your new trio album, JP: No, but I hope people will take a listen to my new bassist? How did it all start? Remembrance, with Brian Blade and Joe Lovano? How record, Remembrances, because I think it’s got some did the idea for the project, and all of the material different sounds on it … and just to hear Brian and Joe TC: Hearing Ray Brown. Period. come about? What are some of the characteristics of play. You don’t have to listen to me at all. Just listen to JI: What are your thoughts about electric vs. acoustic the record? the way Joe and Brian play together. They’re incredible. bass? There’s a lot of respect for the tradition but also a lot JP: The seeds came from a rehearsal in around 2001 of forward thinking. There’s some interesting interplay TC: One is a guitar and one is a violin. or 2000 when we were rehearsing for a CD called and a lot of different styles too. There’s everything up at Joe’s place upstate and he had this Communion from a West African feel on one tune and then a piece JI: What are your top five desert island bass records beautiful room with a high ceiling. Brian and I set up with string octet and alto clarinet and drums with a that you couldn’t possibly live without, and please in there and we were rehearsing just trio because the bowed bass. There’s some real straight ahead stuff on state why? pianist couldn’t make the rehearsal and it felt so good there and there’s also a cross section of different things and it sounded so good. It just felt incredible and we as well. TC: Such lists are entertaining, I suppose, but were just looking at each other like, “Wow! Maybe we ultimately not very useful. People should find their should make a trio record.” So that idea stayed with me own muse. Regardless, in no particular order:

52 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 (1) The Bridge by Sonny Rollins – A triumph in at anytime. As you can surmise by now, I am not a great musicians play and improvise with you. For human development. sentimentalist. The idea of the “spirits moving me” is listeners, I hope they enjoy the sound as much as I bullshit for the most part, as far as I am concerned. I enjoying performing. (2) Kind of Blue by Miles Davis – True magic caught never evaluate the value of an idea or lack thereof. I on record. A rarity in any era. throw the scraps into a cardboard box. Eventually, one JI: What motivates you and drives you forward? (3) Jazz at Massey Hall by Charlie Parker - A magical such item can become the germ for a creative flow that example of a revolution in modern American music. culminates in a composition. CH: My family is my number one priority. Growing up, it was my mom, father and brother, and now, it is (4) Duke At His Very Best by the Duke Ellington my two beautiful kids and wife. Another motivation Orchestra – One of the classic Ellington bands is being part of this music and its culture. Sometimes Henriquez Continued from Page 18 featuring Jimmy Blanton and Ben Webster. Although it seems as if the odds can be against you as a there were others, Blanton was the most formidable CH: First of all, the main thing that has to be musician. But the overall struggle is worth it. influence on jazz bass playing in the twentieth learned as a bassist is foundation. You have to learn century. to play the instrument before you can embark on JI: What was it that initially inspired you to become (5) The Awakening by Ahmad Jamal – The great sophisticated journeys as a bassist. I am constantly a professional musician? How did it all start? dramatist of jazz. He tells a story and invites the improvising as a jazz bassist. The one thing that sets listener to utilize his/her imagination and creativity. jazz apart from other styles of music is the nature of CH: My parents. They were both artists - my father improvising on the spot without repetition. It is a played the trombone and my mother was a dancer. My top five will likely be different tomorrow…… living movement. Seeing their musical backgrounds created my desire to be a musician. It all started with parents pushing JI: When you first embarked on the sophisticated JI: Some say that stress and angst make for good me to learn piano, clarinet, and tenor saxophone. My journey of becoming an improvising bassist, or a jazz art, and others say you need to find serenity to really father knew of a classical guitar teacher in my bassist, what were some methods that you found express yourself. What do you do to stay balanced? intermediate school years. I studied classical guitar extremely useful to achieving your goals? for six years, switching to double bass by 13 years of CH: The mind of a musician is always a crazy one. It TC: Although I have received excellent tutelage from age. And the rest I am working on. is very hard for the normal being to really understand many great teachers, the best method for me has been what goes through a musician’s mind. Precise to train my ear, listen to and carefully study - transcribe accuracy is a leisure in the mind of a musician. To and analyze - recordings of the masters, to play by ear, Around Town Continued from Page 45 others it would be stressful. Musicians basically think and to screw up so much that I provided myself with in a couple of ways: ahead of the game. Like a Gemini, we are constantly ample learning opportunities. (1) Gain a basic knowledge of what came beforehand thinking of what to do next. Unfortunately, we depict and build upon it problems and situations which could cause you JI: Some say that stress and angst make for good (2) Use of ability to hear and analyze problems as a normal being. It is always said that a art, and others say you need to find serenity to really (3) Focus on technique, then harmony skills great mind has great losses, and the person living the express yourself. Have you found that your life outside (4) Learn to listen. In order to be a good player, great mind usually does not benefit. I am constantly of music, or your state of mind in general have a direct a musician must first be a good listener. One dealing with musicians. I deal with my problems correlation to your playing? If so, what activities do example of this is learning to hear the distance through music and choose to fix them with music. you do outside of music to better prepare you for between notes. playing/practicing success?? But the most important thing outside of a musician is a sturdy family that understands your art. Perhaps Alaadeen’s most important contribution TC: No. I think these postulates are highly overrated in the manual is his commentaries and written and needlessly examined and reexamined ad infinitum. JI: What is the greatest compliment that you can language. Alaadeen believes soloists must understand When performing, I owe every fiber of my being to the receive as a musician? them in order to get through the music. “This is music, for better or for worse. That is my obligation and CH: When a person who was at the concert says, significant because it becomes easier if they listen my give-back. I have a job to do. Outside of music, the “I’ll see you on the next gig!” I feel that when you to the language,” Alaadeen said. One of Alaadeen’s best activity I have found to keep myself in an optimal can heal somebody’s heart with your music, it is the favorite sections in the manual is the discovery mental and spiritual state has been to connect as often closest you can get to our creator. section. “It opens up your mind. I think the students as possible with the natural world - usually through should discover themselves. For example, take a fly fishing. I approach that with as much passion as JI: Can you talk about your current activities, chord or group of notes, then expand on it,” replied I do anything in my life. Listen to Beethoven’s sixth musically, and what is on the horizon? the master saxophonist, educator and composer. symphony to further illuminate the point. Whether Alaadeen and his manual “The Rest of the Story” my extra-musical life experiences impact positively or CH: I am still with the Jazz at Lincoln Center play a small role in growing jazz. Together they clear negatively on my music is for the listener to decide. Orchestra and with my brother, Wynton Marsalis. up some things that may have been missing in jazz In January, I recorded about ten tracks and plan to instruction. “I am contributing to future generations JI: What is the greatest compliment that you can release a CD later this year. I want to book more gigs receive as a musician? in a way that keeps the music going,” he replied. “The with my band and am continually conducting master end result is always performance. Passing jazz on to classes. One day, I will be the music director for one TC: That I shared something valuable with another future performers is what education is all about,” of Jazz at Lincoln Center’s “Latin in Manhattan” person. Alaadeen said. concert series. Alaadeen has been formally recognized as JI: Can you talk about your process of composing? both, a performing artist of the highest caliber, and JI: What is it about musical improvisation that you Is it something you can do like clockwork, or do you as an important contributor to his community in find so valuable? What does it offer to you, your wait for inspiration to hit? many momentous ways. A very significant educator, band-mates, and the listeners? teaching jazz in both the school system and privately TC: Anytime I have a melodic, harmonic, rhythmic, for 35 years, Alaadeen has been compiling his teaching CH: The value of musical improvisation is being formal, or pan-inspirational idea, I write it down methods since the 70s. He was approached by the free to play whatever you want. It offers us an immediately, regardless of its size or scope. It can come opportunity to express ourselves and to have other Continued from Page 56

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 53 Goods Continued from Page 17 a pretty amazing feeling to be on stage, close my eyes and transcribe a lot of solos. I did transcribe some bass so someone recommended me and I got the gig. I and really feel each and every band member talking solos, but I was more interested in improvising like a couldn’t read a note but I had a groove, so I listened to each other, having a grand conversation without horn or guitar player. There were a lot of singers that I and eventually started to put it together. When I was words. The audience can really feel this, and it draws would listen to, and try to emulate their phrasing and halfway through my junior year, my band director them in. As the conversation starts to get more heated riffs on my bass. Learning to play melodies on the bass ordered me to play acoustic bass during rehearsal. I and passionate, the audience starts to give off an helped me a lot. resisted because I didn’t know how but he won and I energy, off of which the band feeds. Man! I get excited fell in love. We played Thad Jones “Dedication” and I just talking about it! Music is about emotion. When I JI: Some say that stress and angst make for good grew a blister that popped all on the same tune and I can make someone really feel something emotional, I art, and others say you need to find serenity to really didn’t even care. I had fallen into something new and know I am doing my job. That’s what drives me. express yourself. Have you found that your life outside I was excited. of music, or your state of mind in general have a direct JI: What was it that initially inspired you to become a correlation to your playing? If so, what activities do JI: What are your thoughts about electric vs. acoustic bassist? How did it all start? you do outside of music to better prepare you for bass? playing/practicing success?? RG: My first instrument was the piano at age 5 and BM: I started on electric, so I still love playing it then several other instruments until I settled on the RG: Ahh Yes! I am a strong believer that life is music when I get a chance to. It’s a different touch in the electric bass in ninth grade and then the acoustic bass and music is life. Everything in this life is connected. right hand but the left hand is close to the same. I in my freshman year at Berklee. Growing up in the Anything I do, I relate to my music. Playing sports has still really love the sound of it when I hear it as a black community, when people talked about a song, always been a major part of my life. So much of sports listener and I think it is a valid instrument as far as they usually didn’t talk about or sing the melody or is a mental game, just as it is with music. Sometimes being able to express yourself. the guitar solo. It was the bass line that got them. I when I figure out a problem in my basketball or tennis didn’t really choose the bass. I was a drummer in high game, I also fix a problem in my music. JI: What are your top five desert island bass records school and was messing around with the bass and it that you couldn’t possibly live without, and please became an addiction. The next thing I knew, people JI: What is the greatest compliment that you can state why? The leader doesn’t have to be a bassist, were asking me to play bass in their band. I just went receive as a musician? but please choose albums based on the role of the with the flow. bass (no pun intended). RG: The greatest compliment I can receive as a JI: What are your thoughts about electric vs. acoustic musician is when someone tells me that I made them BM: I like so many different kinds of bass players bass? feel something. I think from my experience of growing that I don’t think I could pick out five, but I do up in the church, emotion has played a major roll in have some desert island records. The ones that RG: They are two different instruments. They can my music. I really feel it when I play, and I hope that come to mind are Duke and Trane for the deep serve the same purpose, but they can also play very the audience does as well. spiritual feeling and Jimmy Garrison, Lee Morgan’s different roles. I would hate to have to choose one or The Procrastinator for Ron Carter and the feel of the other. I love them both. JI: Can you talk about your process of composing? the rhythm section, Herbie’s Speak Like a Child for Is it something you can do like clockwork, or do you Ron Carter, Chick’s Now He Sings, Now He Sobs JI: What are your top five desert island bass records that wait for inspiration to hit? Do you do a little at a time, for the freedom, spirit and Miroslav, and Presenting you couldn’t possibly live without, and please state why? or have waves of clarity? Thad Jones and for the energy and The leader doesn’t have to be a bassist, but please choose creativity and of course, Richard Davis. albums based on the role of the bass (no pun intended). RG: For me, writing is usually something that is inspired. Sometimes I can sit down at the piano, and JI: When you first embarked on the sophisticated RG: (1) Quincy Jones “Walking in Space”. Ray Brown two hours later I have a completed song. Other times journey of becoming an improvising bassist, or a jazz on “Killer Joe” You can’t swing harder than that! I can work on a song for months to get it just right. bassist, what were some methods that you found (2) Stanley Clarke “School Days” What! I still don’t Sometimes I don’t set out to write a tune; I just play extremely useful to achieving your goals? believe its possible to play that fast! - yet still soulful. either the piano or bass and next thing you know, I (3) Herbie Hancock “Flood” Paul Jackson and Mike have a tune. As far as clarity goes, I usually don’t get BM: When I first started I had a groove but not Clark together - groove at its finest! (4) Jaco Pastorius that until the tune is played with the band. necessarily the best steady time. I worked a lot with a “Jaco Pastorius” a true innovator of the bass! (5) metronome and playing with records to strengthen my Ahmad Jamal “At the Pershing.” Israel Crosby on bass JI: Can you talk about your career as an educator? time and ears. I think being open to all music is very shows that a bass line can be the same as a melody. What are the challenges and rewards? important to the development of young musicians.

I know you said top five, but can I just throw in a RG: I love to teach. I have not accepted any university JI: Some say that stress and angst make for good Marcus Miller record? Any one will do. jobs yet primarily because I already have so much art, and others say you need to find serenity to really going on right now. However, I do workshops, master express yourself. Have you found that your life outside JI: When you first embarked on the sophisticated classes, and private instruction. Teaching for me is a of music, or your state of mind in general have a direct journey of becoming an improvising bassist, or a jazz way to give back some of the knowledge that was correlation to your playing? If so, what activities do bassist, what were some methods that you found passed down to me. It’s challenging because I have to you do outside of music to better prepare you for extremely useful to achieving your goals? find a way to articulate the way I approach music and playing/practicing success?? the way I think. Teaching is not only about giving. I RG: I learned to read music when I was five years get a lot out of teaching. I learn and re-explore my BM: I love music but can’t stand the business of music, old and learned to play by ear when I was six - that’s path to where I am now. My knowledge is challenged, so my family, working on my house, and playing sports really when I started improvising. I had formal jazz and I think that’s a good thing. and exercising in general, help me forget about all of and classical theory in high school, but being the free- that. And when I’m stressed out, playing always makes spirited Aquarius that I am, I have always devoted a me feel better. lot of time to playing whatever I want - even when Moring Continued from Page 19 I didn’t have a clue about theory. I think that’s true we ever did a gig but I learned a lot. I got into high JI: What is the greatest compliment that you can improvisation. I also used to play along with records school and they needed a bass player in the jazz band, receive as a musician?

54 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 BM: When someone knew it was me on a recording gym often when at home. Literature has been a part just by hearing it, which has only happened a few times. of my life - I had a double major in French literature I also think it’s great when an audience member remarks “It’s surprising how many as an undergrad, and try to develop my interior life on how the band sounds like a band. Then I know I did persons go through life without ever with reading and art in general. I am a foodie, and my job. love movies. I think of family first, the immediate, the recognizing that their feelings toward other extended, and the musical. I also draw so much from JI: Can you talk about your process of composing? Is it people are largely determined by their my two sons, who are really living proof of evolution. something you can do like clockwork, or do you wait for feelings toward themselves, and if you’re not inspiration to hit? comfortable within yourself, you can’t JI: What is the greatest compliment that you can be comfortable with others.” receive as a musician? BM: I have never considered myself a gifted composer although I do enjoy it. I’m at my best when I have a TK: From the listener, the compliment that means deadline because it seems to come pretty fast when I just the most, is when they sincerely express being moved, sit down and do it. Sometimes I write the melody first —Sydney J. Harris touched in some way. That they believe they heard and other times the harmony. That’s about it. your story. Feel connected from the music. Everybody wants to be understood. Basic human nature. And to evoke a sense of this, in real time, with strangers, is an incredible privilege. Sir wrote a Teepe Continued from Page 20 Knific Continued from Page 23 beautiful piece titled “A Story Often Told, Seldom Heard” relating to not being heard, understood. that’s why I’ve moved to New York. I found lots of developed practice methods combining my own Having had the honor of working with him on cats there who are on a similar journey. approach as well as adopting work I had done on the many occasions, I find it hard to believe he would guitar, which seemed to give me a bit of a harmonic need to consider this. Compliments from colleagues JI: What is the greatest compliment that you can edge. I created routines of outlining chords, scale and can be most profound, the understanding that you receive as a musician? arpeggio patterns, which I use and teach to this day. were partners in something really special. Peaking Now, there are wonderful publications that I fully as an ensemble, and acknowledging that, is one of JT: If someone who calls me for a gig really wants ME endorse and enjoy myself and as teaching methods the great pleasures in life. Jazz is wonderful in that to do it! It could be a club owner or another musician, including Mike Richmond’s Contemporary Walking the mentor concept is very much alive, and there is or anyone. It is just reassuring. Bass Lines, John Goldsby’s Compendium, Gary nothing like being acknowledged by someone you Campell’s Expansions, Walt Weiskopf ’s Intervalic JI: Can you talk about your process of composing? hold in highest esteem. Approach. For technique, my teacher Franco Petracchi’s Is it something you can do like clockwork, or do you Simplified Higher Technique is a must. wait for inspiration to hit? Do you do a little at a time, JI: Can you talk about your process of composing? or have waves of clarity? JI: Some say that stress and angst make for good TK: Composing and performing are very different art, and others say you need to find serenity to really processes for me. As we said earlier, exciting JT: This definitely comes in waves. I get best results express yourself. Have you found that your life outside when under pressure, but I never know exactly when I performances sometimes emanate form exciting or of music, or your state of mind in general have a direct challenging circumstances. If needed, I can practice discover or create something original. Sometimes it’s a correlation to your playing? If so, what activities do struggle and other times it comes very easy. For sure I or perform anywhere, anytime. However, composing you do outside of music to better prepare you for seems to require some space, some time to get to the need to write it down immediately or I loose it in a few playing/practicing success? minutes. Listening to other music sometimes helps, place where I feel in touch with my best resources. With my muse, so to speak. Emotionally, I find it but other times it is just disturbing my own idea’s. TK: In that tension and resolution are important to an almost vulnerable place, but recognize the value art, certainly music, I appreciate that thought. But I of it. Intellectually, I can write under a variety of JI: Can you talk about your career as an educator? think it comes down to personal vision, standards, circumstances, but in my heart, I know it is not the What has the experience been like? What are the and those elements that go into this quest to be same. So it is the opposite of clockwork. challenges and rewards? true to one’s sense of that. I do believe struggle is character building and may ultimately help. Many JT: I’m Director of Jazz Studies at a College in Europe So I write primarily from inspiration – usually artists seem to provide more than enough of this - the Prince Claus Conservatory in the Netherlands - people, or places, and sometimes events. I am internally. Sometimes the spark between band mates, and I manage this from my home in New York. We currently writing for a new CD and am enjoying an or bandleaders can add to that condition. Sometimes have 92 students from 21 different countries. In unprecedented amount of inspiration. I would love it comes down to invoking survival instincts, like addition I’m adjunct professor of Bass at Queens to hold on to this for the rest of my life! Recently, I when the stresses of travel require you to be at the top College, and I’m also the Bass Instructor at Wachovia’s have written two works with my son, John - a very of your game after not sleeping for 24 hours or more. Jazz For Teens at the New Jersey Performing Arts different approach, but tremendously fulfilling. We Some of my most memorable performances have been Center. It’s a lot of responsibility, but I love to teach. bounce ideas off of each other and sculpt away until under these conditions. But I would hope that to be Basically I see this as passing on information to we have something with which we are satisfied as a the exception rather than the rule. It is really about ‘hungry’ students. Naturally this is very rewarding and project. accessing what one has absorbed and studied over the inspiring, I learn from them as well, because I first years. Obviously, there is nothing more valuable than need to get the information organized for myself. The I can’t begin to tell you how cool that is. Writing for being in the moment, so whatever it takes to arrive at challenges are dealing with students who don’t commissions is yet a different process. It combines that. I draw tremendously on my life outside of music practice, but I try to keep distance from negative the above process with the realities of time and place and have actually most recently been consciously energy that comes on my path! – what will serve the project best – and with a working on channeling these resources for successful deadline. The trick for me is to marry the pragmatic performances. For me, it is about keeping the spirit of aspects with the inspiration. I really enjoy the those you love with you on stage. In terms of outside challenge. activities – and there is never enough time - I try to keep a fitness routine, love running, and get to the

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 55 Garry Continued from Page 50 JI: That’s true, but the majority of the music that I am JI: Her singing was so effortlessly amazing. How did interested in was created during your generation. she do it? With all that range, did she have to warm “A person reveals his/her true JG: Well, if you ever come to the city, you can call up before shows? character in the way that they treat me and come down, and I’ll try to enlighten you as someone who can do nothing JG: No, no—she didn’t need to warm up. much as I can. for them.”

JI: She went out cold? JI: I really appreciate that. Like you said, you are part of that generation. Your first hand knowledge is JG: Yes, she went out cold. I think God sometimes, something I could never know and only imagine! say for instance—Kobe Bryant or Michael Jordan. I think sometimes God gives certain things to certain JG: Well, the generation today is good too, but Around Town Continued from Page 53 things are different—with travelling too. Because people and nobody else has it and it’s amazing. No Missouri Folk Arts Program to apply for a grant to with those guys in the old bands, with Ellington and warm up or nothing and a lot of people don’t believe share his methods in a manual. This jazz master has Basie, they would jump off the bus and they’d run me, but I was with Sarah for about twelve years, and made a strong international impression not only as a to try to get a room. Today, everything is laid out on and off again, so a total of about twenty. She performer and educator, but also as a recording artist for the musicians—the reservations in the hotel and never had a sore throat. She never missed a gig— on his own ‘ASR label. Alaadeen is the recipient of everything. With these people, the old timers—Ben Sassy the amazing one. Billy Eckstine used to call her a dozen major awards and has participated in six Webster, and all of them, you know, they played this ‘hard rock.’ She never cracked. She was beautiful to media documentaries. He has performed with major music and they weren’t rewarded right monetarily, me. But really man, everybody was beautiful to me— industry icons such as Jay McShann, Miles Davis, but they didn’t give up. Some of them guys, they’d honest; all the greats—just to be sitting in a room Ella Fitzgerald, Stan Kenton, Lester Bowie, Billie get dressed in the bus, you know? And we’d just with them. I worked for Nancy Wilson, I worked for Holiday, Duke Ellington Orchestra, The Count Basie keep rollin’ after the concert. But they paid dues— Patti Page. In those days, they didn’t pay you when Orchestra, The Tonight Show Band and countless Heath, Frank Wess, Powell—I’m speaking of them you didn’t work, so I had to hustle other gigs if Sarah others. because I was really tight with them. I was tight with wasn’t working. Do you remember Rose Murphy? The Rest of the Story is published by everybody, but these were my main artists. Frank How old are you man? Fandeen Publishing Company and is available Wess and I were seat partners on the bus. I used to for purchase at Alaadeen.com. For large orders from talk to Philly Joe—not Philly Joe, Papa Jo Jones all JI: I’m only twenty-six. educational institutions, please contact Victoria the time, although I worked with Philly Joe, and I “Fanny” Dunfee for a pricing at fanny@alaadeen. JG: (Laughs) You don’t remember nothing! heard him tell people what jazz was, and he would tell them all the elements. He’d say, “Jazz is music com or (913) 831-4396. to listen to, to dance to, and to make love by,” and I’ve never forgotten that—never. He was funny man, Papa Jo. He wouldn’t even turn on window wipers when it rained. He said they didn’t keep time. Jammin’ On The Hudson –

JI: (Laughs) That’s hilarious. August 9, 23 FREE JG: Yeah, he said no way. I got a motto here in the ‘Jammin’; The Summer Concert Series for the ‘serious’ office. I picked it up in Kansas City. I still go out Jazz Lover! features world-class players, appearing Powerful, with Dr. Billy Taylor, who is a big part of Jazzmobile, every other Sunday. What could be more inviting of course, and he says, “When words fail, music than listening to the sounds of great Jazz Artists, cast speaks,” and I think that’s so hip—so hip. out over The Hudson River, at sunset, for Free?! Internet On Sunday August 9th The Co-operation This is an excerpt from the forthcoming interview performs. The band is led by Mickey Bass, bassist, with Johnny Garry scheduled to appear in Jazz Inside whose experience includes Art Blakey & the Jazz Marketing & Magazine, quarterly edition. Jazz Inside Magazine is Messengers among others. The objective of this band available by subscription and at retailers nationwide. is to keep alive, and fresh, both ‘Hard-bop’ and ‘Post- Promotional bop - the living Legacy of this Music. A ‘vintage’ recording of this Band is “Sentimental Mood” (Chiaroscuro), recently re-issued on “Early Bird Tools For R e c o rd s”. This ‘Co-operation will feature vibraphonist “Integrity is not a Bryan Carrott, trombonist Clifford Adams, and Jazz Artists, conditional word. It doesn’t blow trumpeter Josh Evans, along with Charles Davis Jr. in the wind or change with the weather. on tenor sax. Companies & It is your inner image of yourself, and if Sunday August 23rd will feature saxophonist you look in there and see a man Frank Wess, whose vast experiences includes who won’t cheat, then you know membership in the classic of Organizations he never will.” the 1950s and 60s, television work with The David Frost Show Band and more. A National Endowment for the Arts Jazz Master, Wess will be accompanied by Ilya Lushtak, guitar; Tal Ronen, bass; Denis Call 215-887-8880 Mackrel, drums. [email protected] — Unknown

56 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Jazz Education Sourcebook

HOW TO SUBMIT SCHOOL PROGRAM LISTINGS: Jazz Inside’s Jazz Education Sourcebook and Program Guide – Part 1 includes schools, programs and contact information and more. This section is designed to provide information for career-oriented students, hobbyists, musicians, fans and anyone wanting to continue and expand their education about improvisation, composing, arranging, performing, the history of jazz, the artists, recordings and more. Part 2 will be published in the September issue. Schools may contact : [email protected] to submit listings.

ADVERTISING FOR ARTISTS, CLINICIANS, SCHOOLS: HURRY! Make Sure Your Ad Is In The Jazz Education Sourcebook-Part 2, Contact Eric Nemeyer, 347-637-0054 or 215-887-8880, or e-mail to [email protected] to advertise in the Jazz Education Sourcebook and Program Guide – Part 2, in the September issue of Jazz Inside NY Magazine.

Brooklyn-Queens Conservatory of Music— Columbia University—Center for Jazz Studies LOCAL Queens Campus Professor George Lewis ______Kenneth Murphy 2960 Broadway, MC 1812 - 621 Dodge Hall 42-76 Main Street New York, NY 10027 92nd Street Y Flushing, NY 11355 212-851-1633, [email protected] 1395 Lexington Avenue 718-461-8910 www.jazz.columbia.edu, Admissions: (212) 854-2522 New York, NY 10128 www.bqcm.org Faculty: Ann Douglas, Brent Edwards, Farah Jasmine Griffin, 212.415.5500 George Lewis, Robert O’Meally, John Szwed, Christopher Programs include Jazz Keyboard, Jazz Combos and Jazz Charles Colin Studios Washburne Workshops. The annual Jazz In July Summer Program includes 315 West 53rd Street an array of performances by internationally renowned artists New York NY 10019 CUNY York College 212-581-1480 94-20 Guy R Brewer Blvd ASCAP (American Society of Composers, Authors, & [email protected] Jamaica, NY 11451 Publishers) www.charlescolin.com Tom Zlabinger Frances Richard Department of Music One Lincoln Plaza City College of New York—Jazz Program http://york.cuny.edu New York, NY 10023 Scott Reeves 718-262-2000 212-621-6327 Music Department [email protected] 138th St. & Covent Avenue C.W. Post University www.ascap.com New York, NY 10031 T.K. Blue [email protected] Department of Music Brooklyn-Queens Conservatory of Music— www.ccny.cuny.edu 720 Northern Boulevard Brooklyn Campus Bachelor Degrees: B.FA in Jazz, Classical, Music Technology, Brookville, NY 11548-1300 Earl McIntyre or Jazz Education; B.A. in Music or Music Education (516) 299-2930 58 7th Avenue Faculty: Includes Daniel Carillo, Alison Deane, David Del Tredici, [email protected] Brooklyn, NY 11217 Ray Gallon, Barbara Hanning, Michael Holober, Stephen www.liu.edu/~svpa/music 718-622-3300 Jablonsky, Chadwick Jenkins, Paul Kozel Faculty: T.K. Blue, Andy Fusco, Richard Iacona, Mark Marino, [email protected] John Ray, Ron Stanton, Earl Williams www.bqcm.org Drummers Collective, 541 6th Ave, New York, NY 10011, 212-741-0091, www.thecoll.com

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 57 Jazz Education Sourcebook

Five Towns College Long Island University 305 N. Service Road Bob Aquino Dix Hills, New York 11746 Department of Music, 1 University Plaza Admissions: 631-656-2110 Brooklyn, NY 11201 Web Site: www.ftc.edu 718-488-1668, [email protected] E-Mail: [email protected] www.liu.edu/brooklyn/music Admissions Contact: Bob Aquino Five Towns College music department offers one of the finest Bachelor Degrees: B.FA and B.A. Jazz/Commercial music programs in New York State. At the Faculty: Eddie Allen, Freddie Bryant, Jack Wilkins, Cliff graduate level, Five Towns College offers a program in Jazz/ Korman, Dwayne Broadnax, Vince Cherico, Sam Newsome, Commerical Music leading to the Master of Music (M.M.) with Carlo DeRosa, Gloria Cooper, Bob Aquino concentrations in performance, composition/arranging, music history and music technology. In addition a Doctor of Musical Long Island University—Brooklyn Campus Arts (D.M.A.) degree is also offered. Concentrations offered at Sam Newsome the doctoral level include music education, performance, music Brooklyn Campus history, literature and composition/songwriting. The program 1 University Plaza is designed to meet the needs of professional musicians, Brooklyn, NY 11201-5372 audio recording engineers, music business executives, (718) 488-1000, [email protected] multimedia specialists, and active professionals working in Peter Rogine, Five Towns College professor www.liu.edum www.samnewsome.com the music industry, music education, or a music related field. Faculty: Eddie Allen, Freddie Bryant, Jack Wilkins, Cliff Graduate courses are scheduled for the late afternoon or early Korman, Dwayne Broadnax, Vince Cherico, Sam Newsome, evening for the convenience of working professionals. For Carlo DeRosa, Gloria Cooper, Bob Aquino more information, contact an Admissions Representative at 631-656-3129. Financial aid and scholarships are available. Lucy Moses School 129 West 67th Street New York, NY 10023 Tel: 212-501-3360 Fax: 212-874-7865 [email protected] www.kaufman-center.org/lucy-moses-school Programs include lessons, classes, workshops and ensembles for children and adults.

Manhattan School of Music Five Towns College sax student Justin DiCioccio 120 Claremont Avenue New York, NY 10027 212-749-2802, [email protected] Jazzmobile www.msmnyc.edu Robin Bell-Stevens, CEO Faculty: Includes Jay Anderson, Michael Abene, Justin 154 W. 127th Street, Second Floor Five Towns College sax student DiCioccio, Bobby Sanabria, Jaime Baum, Rodney Jones, Samir New York, NY 10027 Chatterjee, Kenny Barron, David Liebman, Luis Bonilla, Cecil 212-866-4900 Bridgewater, Jospeh Locke, John Blake, Theo Bleckmann http://jazzmobile.org Greenwich House Music School, Jazzmobile, Inc. is a not-for-profit 501(c)(3) art and culture 46 Barrow St., Tel: 212-242-4770, Fax: 212-366-9621, www. New Jersey City University organization. The organization, founded by Billy Taylor, and now greenwichhouse.org Ed Joffe celebrating its 45th Anniversary is a pioneering organization in 2039 Kennedy Boulevard Jazz Education and mobile jazz concerts. For more information Hunter College of CUNY Jersey City, NJ 7305 about educational activities and performances, visit the website Ryan Keberle 201-200-3091 - http://jazzmobile.org Department of Music [email protected] 695 Park Avenue www.njcu.edu Juilliard Institute for Jazz Studies New York, NY 10021 Bachelor Degrees: B.M. in Performance (Jazz & Classical), Carl Allen 212-771-5020 B.A. in Music, Music Education, or Music Business 60 Lincoln Center Plaza, Rm. 222 [email protected] Graduate Degrees: M.M. in Performance (Jazz & Classical), New York, NY 10023-6590 www.hunter.cuny.edu/~music Multiple Woodwind Performance, or Music Education 212-799-5000 Faculty: Ryan Keberle, Priscilla Owens Faculty: Ed Joffe, Richard Lowenthal [email protected] www.juilliard.edu Jazz At Lincoln Center New School Jazz & Contemporary Music Program Carl Allen’s Assistant - Artistic Director of Juilliard Jazz Studies 60th & Broadway Martin Mueller Bachelor Degrees: Jazz Studies New York, NY 55 W. 13th Street Graduate Degrees: Master of Music, Jazz Studies, Artist http://jalc.org/jazzED/ New York, NY 10011 Diploma – pre-professional curriculum in the Juilliard Institute Jazz At Lincoln Center produces 20 education programs 212-229-5896 for Jazz Studies (a collaboration with Jazz at Lincoln Center) and resources that fall within four audience categories - [email protected], www.jazz.newschool.edu Faculty: Includes Carl Allen, Kenny Barron, Ron Blake, Kendall Students and Teachers, Kids and Families, Adults and Online Teri Lucas is Ext. 4589 Durelle Briggs, George Colligan, Xavier Davis, Richard Learners. Jazz For Young People Concerts, Middle School [email protected] DeRosa, Billy Drummond, Ray Drummond, Mark Gould, David Jazz Academy, Essentially Ellington High School Jazz band Faculty: Includes Ahmed Abdullah, Junko Arita, Daniel Beliavsky, Grossman, Eddie Henderson, Ted Nash, Ben Wolfe Program, Band Director Academy, Workshops, Clinics. JALC Jay Bianchi, Ben Bierman, Jane Ira Bloom, Richard Boukas, Education programs reach over 50,000 participants each year Joanne Brackeen, Cecil Bridgewater, Brian Camelio, Steve LaGuardia Community College through direct instruction and another 30,000 indirectly with Cardenas, Jeff Carney, Joe Chambers, Haim Cotton, Alexis CUN I, 31-10 Thomson Ave., curricula and print music library. Cuadrado, Andrew Cyrille, Gerard D’Angelo, Armen Donelian, Long Island City, 718-482-5151 Mario Escalera, Ray Gallon, , George Garzone, Dave Glasser, Dan Greenblatt, Chico Hamilton, and many more

58 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Drum Instruction “The Professional Way” New York University www.qc.edu/music, Admissions: (718) 997-5200 Jazz/Contemporary Music Studies Graduate Degrees: M.M. in Jazz Performance and Jazz John Sarracco Dr. David Schroeder Composition Drummer/Educator 35 West 4th Street Room # 980 Suite # 777 Faculty: David Berkman, Paul Bollenbeck, Vince Cherico, Gene New York, NY 10012 Jackson, Pablo Aslan, Ron Carter, Leon Dorsey, Antonio Hart, ph. 718.351.4031 212-998-5446, [email protected] Luis Bonilla, Steve Turre, Mark Feldman, Theo Bleckman, [email protected] www.education.nyu.edu/music.jazz Richard Harper Sheila Jordan, J. D. Walter, Michael Mossman. Chair of Department of Music: Dr. Lawrence Ferrara Bachelor Degrees: B.M. in Music Performance and Jazz Studies at New Brunswick Faculty: Includes David Demsey, Vincent Herring, Rich Perry, Graduate Degrees: M.A. and Ph.D. in Music Performance and Stanley Cowell Nancy Marano, Gene Bertoncini, Paul Meyers, Armen Donelian, Jazz Studies 100 Clifton Avenue Harold Mabern, Mulgrew Miller, Janet Reeves, James Weidman, Faculty: Includes Dr. Dave Schroeder, Bruce Arnold, Donald New Brunswick, NJ 08903-0270 Steve LaSpina, Marcus McLaurine, Horacee Arnold, Bill Friedman, Memo Acevedo, George Garzone, Gabriel Alegria, 732-932-9302, [email protected] Goodwin, Kevin Norton, Cecil Bridgewater, Richard DeRosa, Robin Eubanks, Ron McClure, Stefon Harris, and many more www.musicweb.rutgers.edu Jim McNeely, . Bachelor Degrees: Bachelor of Music Purchase College—Jazz Institute Master Degrees: Master of Music Weill Music Institute at Carnegie Hall Purchase College, SUNY Faculty: , Stanley Cowell, William Fielder, Conrad 881 7th Avenue Todd Coolman Herwig, Vic Juris, , Mike Richmond New York, NY 10019 735 Anderson Hill Road 212-903-9741 Purchase, NY 10577 Turtle Bay Music School www.weillmusicinstitute.org 914-251-6716 244 E. 52nd St. [email protected] New York, NY 10022, www.purchase.edu/music 212-753-8811 REGIONAL Bachelor Degrees: B.M. in Performance—Jazz Studies www.tbms.org ______Graduate Degrees: M.M. in Performance—Jazz Studies; New York, New Jersey, Pennsylvania, Connecticut, Performer Certificate; Artist’s Diploma William Paterson University Massachusetts, New England and Mid-Atlantic Faculty: Includes Eric Alexander, Jon Faddis, John Fedchock, David Demsey Doug Munro, Charles Blenzig, Todd Coolman, Richie Morales, 300 Pompton Road Berklee College of Music Ted Piltzecker, Wilson Corniel, Jr., Arturo O’Farrill Wayne, NJ 7470 Nick Balkin 973-720-2268 1140 Boylston St. Queens College—Copland School of Music [email protected], www.wpunj.edu Boston, MA 2215 Michael Mossman B.M. in Jazz Studies and Performance, Sound Engineering Arts/ (617) 747-2222 Flushing, NY 11367 Jazz Concentration, Music Management/Jazz Concentration Bachelor Degrees: Music Education, Film Scoring, Songwriting, 718-997-3823 and Music Education/Jazz Concentration Performance, Music Production & Engineering, Music [email protected] M.M. in Jazz Studies, Concentrations in Perf, Arranging Synthesis, Music Business/Management, Music Therapy, MakeMake MusicMusic YourYour Life!Life! We Offer Over 30 Degree Programs! Become a performer, music teacher, artist manager, musical director, audio engineer or producer. Enrollment Week for New & Transfer Students August 17 - 24 10 am - 4 pm

Classes start August 31 631.656.2110 We're located 35 miles from New York City 305 N. Service Road Dix Hills, New York 11746 www.ftc.edu AUDIO RECORDING TECHNOLOGY • BROADCASTING • BUSINESS • FILM/VIDEO • JOURNALISM • ELEMENTARY TEACHER EDUCATION MUSIC TEACHER EDUCATION • MUSIC BUSINESS • MUSIC PERFORMANCE • MASS COMMUNICATION • THEATRE ARTS

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 59 Jazz Education Sourcebook Robert Sirota, Contemporary Writing & Production, Composition, Professional Fairfield University www.moravian.edu/music Manhattan School of Music Jazz Arts President Music, Jazz Composition, dual major options Brian Torff Admissions: (610) 861-1300 Faculty: Includes Bill Pierce and Walter Beasley, saxophone;, 1073 N. Benson Road Bachelor Degrees: B.M. in Performance (Jazz or Classical), JoAnne Brackeen, piano; Kenwood Dennard, drums; Kevin Fairfield, CT 06824 Music Education, Composition, or Sacred Music; B.A. in Music Mahogany, voice; Mick Goodrick, guitar; Phil Wilson, trombone. (203) 254-4000, or Elementary Education msm Jazz oN [email protected], Faculty: Dan DeChellis, Anthony Gairo, Alan Gaumer, Byron Colgate University www.fairfield.edu Landham, Lou Lanza, Steven Mathiesen, Gary Rismiller, Pal Jazzheads Glenn Cashman Undergraduate Adm. (203) 254-4100 Rostock, David Roth, Dr. Neil Wetzel, Peter Smyser. New releases 13 Oak Drive Faculty: Orin Grossman, Laura Nash, Brian Torff Hamilton, NY 13346 New England Conservatory (315) 228-6688 Fredonia College, SUNY Ken Schaphorst [email protected] Bruce Johnstone 290 Huntington Avenue www.colgate.edu Mason Hall, School of Music Boston, MA 2115 Faculty: Glenn Cashman Fredonia, NY 14063 (617) 585-1388 (716) 673-4640 [email protected] Duquesne University [email protected] www.newenglandconservatory.edu Michael Tomaro www.fredonia.edu Bachelor Degree: B.M. or Undergraduate Diploma in Jazz Mary Pappert School of Music Admissions: (716) 673-3251 600 Forbes Avenue Faculty: Bruce Johnstone, John Bacon, Harry Jacobson, Linda Pittsburgh, PA 15282 Phillips [email protected] Justin DiCioccio, Conductor Manhattan School of Music Dave Liebman, Soloist www.duq.edu Hartford Conservatory 2009-1010 Jazz Concert Calendar Faculty: Ronald Bickel, Joe Dallas, Jim Guerra, Sean Jones, Walter Gwardyak Highlights—Preview Tony Mowod, Brian Stahurski, Michael Tomaro, John Wilson 834 Asylum Avenue Hartford, CT 6105 LIVE Fall 2009 PORGY & BESS East Stroudsburg University (860) 246-2588 Manhattan School of Music Jazz Orchestra Friday, October 9 Betsy Buzzelli-Clarke [email protected] Focus: The Music of Eddie Sauter, with Joe Lovano, www.jazzheads.com Music Department www.hartfordconservatory.org JH1165 make soloist 200 Prospect Street Admissions: (860) 246-2588 Borden Hall, MSM Jazz Philharmonic Orchestra, Justin East Stroudsburg, PA 18301 Bachelor Degrees: Accredited Arts Diploma DiCioccio, Conductor (570) 422-3052, [email protected] Faculty: Dave Dana, Bob DePalma, Giacomo Gates, Jay Wood www.esu.edu Eddie Sauter: Focus, Robert Graettinger/Stan Kenton: City of Glass Admissions: (570) 422-3211 Howard University Jazz Studies Faculty: Robert Miller, Patrick Dorian, Terry Flatt, James College of Arts and Sciences, Jazz Studies your Maroney, Otis French, Elizabeth Buzzelli-Clarke 2400 6th St NW Thursday, Oct. 22 BDN Washington, DC 20059 The Music of Clare Fischer, Bill Potts: The Jazz Soul of Eastman School of Music (202) 806-7097 Porgy and Bess Harold Danko [email protected] MSM Concert Jazz Band, Justin DiCioccio, Conductor 26 Gibbs Street www.coas.howard.edu/music/index.html Rochester, NY 14604 Friday, Oct. 23 BDN mark Admissions: (202) 806-7082 585-274-1449 Bachelor Degrees: B.M. in Jazz Studies, Music Business – Jazz, Ray Santos - A Life in Latin Music Justin DiCioccio, A tribute to a living master, the definitive arranger of big [email protected] Music Education, Composition, Music History, Music Therapy, Assistant Dean / Chair www.rochester.edu/eastman/jazz Music Business band Afro-Cuban music Admissions: Dr. Adrian Daly, [email protected] Graduate Degrees: Master of Music, Master of Music Education MSM Afro Cuban Jazz Orchestra Jazz Arts Program Department Secretary: Sheryle Charles Bobby Sanabria, Director [email protected]; Ext. 1440 Ithaca College Bachelor Degrees: Jazz Studies and Contemporary Media James J. Whalen Center for Music Tuesday, November 3 BDN Graduate Degrees: M.M. in Jazz Studies and Contemporary 3322 Ithaca College Sketches of Media Ithaca, NY 14850-7240 MSM Jazz Orchestra, Justin DiCioccio, Conductor, Faculty: Jeff Campbell, Harold Danko, Bill Dobbins, Clay 607-274-3366 Artist-in Residence Dave Liebman, soloist Jenkins, Mark Kellogg, Ramon Ricker, Dave Rivello, Bob www.ithaca.edu/music Gil Evans: Sketches of Spain Sneider, Dariusz Terefenko, Rich Thompson, Walt Weiskopf Music Admissions Director—Thomas Kline [email protected] Spring 2010 Bachelor Degrees: B.M. in Jazz Studies Friday, Feb. 12- Feb.14 Faculty: Lauri Robinson-Keegan, Michael Titlebaum, Louise / Charles Mingus Festival & Second Annual High School MattCrisCuolo mygatt Band Competition Master classes, workshops, concerts and jam sessions www.Jazzheads.com New CD: Lehigh University culminating in the Second Annual Charles Mingus High Bill Warfield School Jazz Band Competition tell Me a Bedtime story Music Department, Zoellner Arts Center 420 East Packer Avenue Wed. March 24 BDN INFormaTIoN Bethlehem, PA MSM Jazz Philharmonic Orchestra, Justin DiCioccio, Office of Admission orderline: 203-856-4040 Conductor featuring vocalist Jane Monheit (610) 758-5192, [email protected], and Financial Aid www.lehigh.edu/~inmsc/ or send $15 to: Manhattan School of Music Admissions: (610) 758-3839 Wed. April 21 ML Manhattan School of Music does 58 W. Meadow road Faculty: Dave Riekenberg, Bill Warfield Chamber Jazz Ensemble: Michael Patterson & Friends not discriminate on the basis of 120 Claremont Avenue with Gene Bertoncini, guitar, and Sara Caswell, violin sex, race, religion, sexual orienta- Wilton, Ct 06897 tion, color or national or ethnic New York, New York 10027 Moravian College origin, parental or marital status, 212 749 2802 ext 2 Neil Wetzel Manhattan School of Music and age or disability in the recruit- Moravian College Music Department 120 Claremont Avenue ment or admission of its students, [email protected] 1200 Main Street New York, NY 10027-4698 and in the administration of its Remy LeBoeuf on alto saxophone www.mattcriscuolo.com educational programs, financial and Jonathan Barnes on trumpet Bethlehem, PA 18018 www.msmnyc.edu assistance programs, and student 610-861-1650, [email protected], activities. It is an Equal Opportunity www.msmNyc.edu Employer. Brian Hatton

60 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Robert Sirota, Manhattan School of Music Jazz Arts President

msm Jazz oN Jazzheads New releases

Justin DiCioccio, Conductor Dave Liebman, Soloist

PORGY & BESS LIVE Manhattan School of Music Jazz Orchestra

www.jazzheads.com JH1165 make your mark Justin DiCioccio, Assistant Dean / Chair Jazz Arts Program

www.Jazzheads.com INFormaTIoN Office of Admission and Financial Aid Manhattan School of Music Manhattan School of Music does not discriminate on the basis of 120 Claremont Avenue sex, race, religion, sexual orienta- tion, color or national or ethnic New York, New York 10027 origin, parental or marital status, 212 749 2802 ext 2 and age or disability in the recruit- ment or admission of its students, [email protected] and in the administration of its Remy LeBoeuf on alto saxophone educational programs, financial and Jonathan Barnes on trumpet assistance programs, and student activities. It is an Equal Opportunity www.msmNyc.edu Employer. Brian Hatton

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 61 Jazz Education Sourcebook

Performance, Jazz Composition, or Contemporary Improvisation SUNY Potsdam (410) 704-2839 Graduate Degrees: M.M., Graduate Diploma, D.M.A., or Artist 44 Pierrepont Avenue [email protected], www.towson.edu/music Diploma in Jazz Performance, Jazz Composition, or Contemporary Potsdam, NY 13676 Admissions: 410-704-2836 - Ad Sales: 410-704-3375 Improvisation (315) 267-2423 Faculty: Jeffrey Antoniuk, David Ballou, Michael Decker, Faculty: Includes Charlie Banacos, Jerry Bergonzi, Ran Blake, [email protected] Steve Herberman, James McFalls, Timothy Murphy, Jeremy Fred Buda, Frank Carlberg, Gary Chaffee, Anthony Coleman, www.potsdam.edu/crane Ragsdale, Jeff Reed Sa Davis, Dominique Eade, Robin Eubanks, George Garzone, Admissions: (315) 267-2775 Billy Hart, Andre Hayward, Jon Hazilla, Jerry Leake, John Bachelor Degrees: B.A. in Music; Minor in Jazz Studies University of Connecticut Lockwood, Cecil McBee Faculty: Bret Zvacek Earl MacDonald 1295 Storrs Road, Unit 1012 Orange County Community College Syracuse University Department of Music Department of Music Chris Parker Joe Riposo Storrs, CT 6269 115 South Street 200 Crouse College 860-486-0670 Middletown, NY 12771 Syracuse, NY 13244-1010 [email protected] (845) 341-4791, [email protected] 315-443-2191 www.jazz.uconn.edu www.sunyorange.edu [email protected] Admissions: Deb Trahan (860) 486-3731 Admissions: Vinny Cazzetta, 845-341-4726 www.vpa.syr.edu Bachelor Degrees: B.A. Jazz Studies Emphasis Faculty: Chris Parker, Hilarie Clark-Moore, Stanley Curtis, Christa Faculty: Joe Riposo Faculty: Earl MacDonald, Kenny Davis, John Mastroianni, Bill Damaris, Peter Galipeau, Vivian Graziano, David Miele, Dana Reynolds Perna, Steve Raleigh, Levern Rollins-Haynes, Kevin Scott Temple University Terell Stafford University of Maine Peabody Institute at Johns Hopkins University Esther Boyer College of Music and Dance Richard Nelson Gary Thomas, Director of Jazz Studies 2001 N 13th Street 46 University Drive 1 East Mt. Vernon Place Philadelphia, PA 19122 Augusta, ME 04330-9410 Baltimore, MD 21202-2397 (215) 204-8036, [email protected] 207-621-3274 410-659-8100, [email protected] www.temple.edu/music [email protected] www.peabody.jhu.edu Admissions: [email protected] www.uma.maine.edu Bachelor Degrees: B.M. in Jazz Performance in Trumpet, Bachelor Degrees: B.M. in Jazz Instrumental Performance, Jazz Faculty: Russ Lombardi, William Moseley, Richard Nelson, Percussion, Double Bass, Saxophone, Flute, Piano, Guitar, Voice Vocal Performance, Jazz Arranging and Composition, Music Chuck Winfield Faculty: Nasar Abadey, Paul Bollenback, Jay Clayton, Michael Education with a Jazz Component, Music Therapy with a Jazz Formanek, Donvonté McCoy, Timothy Murphy, Gary Thomas Component University of Maryland Faculty: Jeremy Barker, Bruce Barth, Luis Bonilla, Don Collins, Chris Vadala Princeton University Alison Crockett, Louis DeLise, Craig Ebner, Steve Fidyk, Ed Clarice Smith Performing Arts Center Department of Music Flanagan, Tom Giacabetti, Erik Johnson, Greg Kettinger, Tom College Park, MD 20742 Anthony Branker Lawton, Dan Monaghan, Carl Mottola, Mike Natale, Dick Oatts, 301-405-5519 Woolworth Center Musical Studies Madison Rast, Arcenia Rosal, Ben Schachter, Jaleel Shaw, [email protected] Princeton, NJ 08544-1007 Terell Stafford www.music.umd.edu 609-258-2219 Admissions: (301) 405-5031 [email protected] The College of Saint Rose Faculty: Tom Baldwin, Gerard Kunkel, Jon Ozment, Ben www.princeton.edu/~puje Paul Evoskevich Patterson, Leigh Pilzer, Chuck Redd, Chris Vadala Bachelor Degrees: B.A. in Music; Certificate in Musical 432 Western Avenue Performance (Jazz) Albany, NY 12203 Univ. of Massachusetts—Amherst Graduate Degrees: M.A. & Ph.D. in Composition and Musicology (518) 454-5195 Jeff Holmes Faculty: Anthony Branker, Ralph Bowen, Michael Cochrane, [email protected] Department of Music—Jazz Studies Bruce Arnold, Brian Glassman, John Arrucci www.strose.edu FAC 263 Bachelor Degrees: B.S. in Music Industry and Music Amherst, MA 01003 Rowan University Education 413-545-6046 Dennis DiBlasio Graduate Degrees: M.A. in Music Technology, M.S. in Ed. in [email protected] 201 Mullica Road Music Education umass.edu/music/ Glassboro, NJ 08071 Faculty: Paul Evoskevich, Robert Hansbrough, Joseph Eppink, Marilyn Kushick—Publicity: [email protected] (856) 256-4651 Yvonne Chavez Hansbrough, Susan Harwood, Dennis A. Bachelor Degrees: B.M and B.A. in Jazz Performance [email protected] Johnston, Young Kim, Michael Levi, Marry Anne Nelson, Bruce plus Performance, Music Education, History, Theory, or www.rowan.edu/music Roter, Barbara Wild Composition Admissions: (856) 256-4200 or [email protected] Graduate Degrees: Jazz Composition & Arranging plus History, Faculty: Dennis DiBlasio, Douglas Mapp, George Genna, Hartt School at University of Hartford Composition, Music Education, Performance, Conducting, or Theory Tom Giacabetti, Eddie Gomez, John Guida, Tony Miceli, Jim 200 Bloomsfield Avenue Faculty: Jeffrey Holmes, David Sporny, T. Dennis Brown, Willie Miller, Joe Morello, George Rabbai, Robert Rawlins, Anthony West Hartford, CT 06117-1599 Hill, Catherine Jensen-Hole, Robert Ferrier, Arturo O’Farrill, Salicandro, Tom Traub, Ed Vezinho (860) 768-4465, [email protected] Eugene Uman, Robert Gullotti, David Berkman www.hartford.edu/hartt SUNY Binghamton Bachelor Degrees: Instrumental Performance and Vocal University of Rhode Island Michael Carbone Performance Professor Joe Parillo Music Department Master Degrees: Instrumental Performance and Vocal Music Department PO Box 6000 Performance 105 Upper College Road Binghamton, NY 13902 Faculty: Nancy Anderson, Rogerio Boccato, Christopher Kingston, RI 2881 (607) 777-2627 Casey, Steve Davis, Richard Goldstein, Jimmy Greene, Eddie (401) 874-2765, [email protected], www.uri.edu [email protected] Henderson, Randolf B. Johnston, Jr., Andy LaVerne, René Admissions: (401) 874-7100 www.music.binghamton.edu McLean, Eric McPherson, Shawnn Monteiro, Nat Reeves, Bachelor Degrees: B.A. in Jazz Studies Undergrad Admissions: (607) 777-2171 Edward Rozie, Gabor Viragh, Peter Woodard Faculty: Joe Parillo, Eric Hofbauer, John Monllos, Eric Platz, Faculty: Michael Carbone David Zinno Towson University Music Department SUNY Potsdam Dave Ballou University of Southern Maine Bret Zvacek 8000 York Road Chris Oberholtzer Crane School of Music Towson, MD 21252-0001 School of Music

62 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 37 College Avenue American River College PO Box 870405 Gorham, ME 4038 Dyne Eifertsen Tempe, AZ 85287 (207) 780-5126 4700 College Oak Drive 480-965-5069 [email protected] Sacramento, CA 95841 www.music.asu.edu/jazz www.usm.maine.edu/music (916) 484-8261 Bachelor Degrees: B.M. in Jazz Performance Admissions: (207) 780-5670 [email protected] Graduate Degrees: M.M. in Music Education (Jazz Emphasis) Faculty: Trent Ryan Austin, Les Harris, Jr., Chris Humphrey, www.arc.losrios.edu/~music Faculty: Michael Kocour, Dom Moio, Justin Brotman, Sam Chris Oberholtzer, Michelle Snow, Thomas Snow, Bill Street, Bachelor Degrees: A.A. in Jazz Studies Pilafian, Clarke Rigsby, Bryon Ruth, Mark Sunkett Bronek Suchanek, Gary Wittner Faculty: Dyne Eifertsen, Joe Gilman, Art LaPierre, Jacosa Limitau Auburn University University of the Arts Arizona State University Music Department Marc Dicciani Michael Kocour 101 Goodwin Hall 320 South Broad Street School of Music Auburn, AL 36830-5420 Philadelphia, PA 19102 (215) 717-6342 [email protected], www.uarts.edu Admissions: (215) 717-6030 THE JUILLIARD SCHOOL | JOSEPH W. POLISI, President Bachelor Degrees: Bachelor of Music in Jazz Studies Graduate Degrees: Master of Music in Jazz Studies, Master of Arts in Teaching in Music Faculty: Includes Marc Dicciani, Chris Farr, John Fedchock, Rick Van Horn, Gerald Veasley, and many more Jazz Bassist, Weill Music Institute at Carnegie Hall 881 7th Avenue alumnus, and New York, NY 10019 Juilliard Jazz Artist- (212) 903-9741, [email protected] in-Residence Christian McBride West Chester University Dr. John Vilella performs with School of Music student Eddie Swope Hall Barbash, on West Chester, PA 19383 alto sax. (610) 436-2495, [email protected] www.wcupa.edu/cvpa

Western Connecticut State University Dr. Dan Goble 181 White Street Photo: Hiroyuki Ito Department of Music, Western Connecticut State Univ Carl Allen Danbury, CT 6810 Artistic Director 203-837-8354, [email protected] Laurie A. Carter www.wcsu.edu/music Executive Director Admissions: (203) 837-9000 Juilliard Jazz Benny Golson Faculty: Jamie Begian, Andrew Beals, Chris DeAngelis, Chris Artistic Consultant Morrison, David Ruffels, Dave Scott, Jeff Siegel, Peter Tomlinson Jazz Performance Education Christian McBride Artist in Residence Williams College Andy Jaffe Benny Green Bachelor of Music Bernhard Music Center Visiting Artist 54 Chapin Hall Drive Saxophone Master of Music Williamstown, MA 1267 Ron Blake 413-597-4049, Joe Temperley Artist Diploma [email protected], music.williams.edu Trombone Curriculum Tailored to Each Student’s Need Admissions: (413) 597-2211 Steve Turre � Faculty: Freddie Bryant, Jeff Holmes, Andrew Jaffe, Erik Trumpet � Perform, Tour, Participate in Master Classes Lawrence, Conor Meehan, Teri Roiger Eddie Henderson � Extraordinary Faculty & Top Guest Artists Christian Jaudes Joseph Wilder Apply by December 1, 2009 NATIONAL Guitar All applicants must meet Juilliard’s jazz audition requirements. ______Rodney Jones B.M. requires high school diploma or equivalent Piano Amarillo College Kenny Barron M.M. requires bachelor of music PO Box 447 Frank Kimbrough Artist Diploma (a post-graduate, tuition-free program) Amarillo, TX 79178 Drums requires college degree or extensive experience www.actx.edu/~music Carl Allen Faculty: Dr. James Raucher, Dr. Jim Laughlin Billy Drummond Auditions in New York, February 26 – March 5, 2010 Kenny Washington Send Applications and Pre-Screen Recording to: American Conservatory of Music Bass Juilliard Admissions, 60 Lincoln Center Plaza, New York, NY 10023 Dr. Mary Ellen Newsom Ron Carter (212) 799-5000 252 Wildwood Road David Grossman Hammond, IN 46324 Ben Wolfe www.juilliard.edu/jazz (219) 931-6000, www.americanconservatory.edu

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 63 Jazz Education Sourcebook

(334) 844-4165 (209) 946-3970 5151 State University Drive [email protected] [email protected] Los Angeles, CA 90032 http://media.cla.auburn.edu/music/ www.brubeckinstitute.org (323) 343-4060 Admissions: (334) 844-6425 janice 946-2415, [email protected] Faculty: Ramon Vasquez www.calstatela.edu [email protected] University of the Pacific Conservatory of Music Admissions: (323) 343-3901 Patrick Langham Bachelor Degrees: B.A. or B.M. Augusta State University 3601 Pacific Ave Graduate Degrees: M.A. or M.M. Dr. Robert Foster Stockton, CA 95211 Faculty: Jeff Benedict, Paul De Castro, James Newton, 2500 Walton Way (209) 946-3970 Deborah Holland Augusta, GA 30904 [email protected] (706) 737-1453 www.pacific.edu California State University, Monterey Bay [email protected] Faculty: Patrick Langham (saxophone, director of jazz studies) Richard Bains www.aug.edu/music/ Degrees Offered: Bachelor of Arts in Jazz Studies, B.M in 100 Campus Center, Bldg 30 Admissions: (706) 737-1632 Music Education Seaside, CA 93955 Bachelor Degrees: B.A. or B.M in Performance; B.M. in Music (831) 582-4085 Education California Institute of the Arts [email protected] Faculty: Linda Banister, Richard Brasco, Robert Foster David Roitstein http://music.csumb.edu/site/x3510.xml 24700 McBean Parkway Admissions: 831-582-5111 Augustana College Valencia, CA 91355 Paul Contos, Ray Drummond - PT Faculty Steve Grismore 661-255-1050, [email protected] Bachelor Degrees: B.A. in Music 639 38th Street www.calarts.edu Faculty: Richard Bains, Paulette Gissendanner, Paul Contos, Rock Island, IL 61201 Bachelor Degrees: B.FA in Jazz Studies, James Ferguson (309) 794-7233 Graduate Degrees: M.FA in Jazz Studies [email protected] Faculty: Charlie Haden, David Roitstein, Joe LaBarbera, Darek California State University Sacramento www.augustana.edu Oles, Larry Koonse, Wadada Leo Smith, Vinny Golia, Paul Steve Roach Faculty: Joseph Ott, Steve Grismore Novros, Miroslav Tadic, Aaron Serfaty, John Fumo 6000 J. Street Sacramento Sacramento, CA 95819-6015 Baker University California State University, Northridge (916) 278-5155 J.D. Parr Gary Pratt [email protected] 406 8th Street 18111 Nordhoff Street www.csus.edu/music Baldwin City, KS 66006 Northridge, CA 91330-8314 Admissions: (916) 278-6011 (785) 594-4507 (818) 677-2743, [email protected], www.csun.edu Bachelor Degrees: B.M. in Jazz Studies, Applied Performance, www.bakeru.edu Bachelor Degrees: B.M. in Jazz Studies Composition, or Music Education Bachelor Degrees: B.A., B.S., or B.M.ed. Faculty: Matt Harris, Gregg Bissonette, Matt Falker, Robert Hurst, Graduate Degrees: M.M. in Performance, Conducting, Faculty: John Buehler, J.D. Parr Alex Iles, Don Kasper, Rob Lockart, John Pisano, Bobby Shew Composition, Music Education, or Music History and Literature Faculty: Julia Dollison, Aaron Garner, Steve Homan, Rick Lotter, Bloom School of Jazz Kerry Marsh, Mike McMullen, Gerry Pineda, Steve Roach, Matt David Bloom California State University at Bakersfield Robinson, Phil Tulga 218 S. Wabash Avenue #600 Doug Davis Chicago, IL 60604-2444 9001 Stockdale Highway Central Missouri State University 312-957-9300 Bakersfield, CA 93311 Dr. David Aaberg [email protected] (661) 654-3093, [email protected], Dept. of Music—HUD 118 www.bloomschoolofjazz.com www.csub.comAdmissions: (661) 664-3036 PO Box 800 Faculty: Doug Davis, Jim Scully Warrensburg, MO 64093 Bowling Green State University (660) 543-4909 Jeff Halsey California State University at Fullerton [email protected] College of Musical Arts Chuck Tumlinson www.ucmo.edu/music Ridge and Willard Street 800 North State College Faculty: David Aaberg Bowling Green, OH 43403 Fullerton, CA 92834 (419) 372-8148 (714) 278-5523 Chicago College of Performing Arts at Roosevelt [email protected] [email protected] University www.bgsu.edu/colleges/music www.fullerton.edu Heather McCowen Bachelor Degrees: Music Education, Music Performance, Music Bachelor Degrees: B.M. in Jazz/Commercial Music Emphasis, 430 S. Michigan Avenue Composition, Jazz Studies, World Music, and Music History Instrumental Chicago, IL 60605 Graduate Degrees: Guitar Performance, Jazz Studies Graduate Degrees: M.M. in Instrumental Performance, M.M. (312) 341-3789 Faculty: Chris Buzzelli, Jeff Halsey in Composition [email protected] Faculty: Chuck Tumlinson, Bill Cunliffe, Laura Harrison, Jeff ccpa.roosevelt.edu Brevard College Ellwood, Ron Escheté, Luther Hughes, Paul Kreibich, Andrew Jerry Prophet / Jazz Studies - Dept. Steve Wilson Martin, Mark Massey, Charles Sharp Paul Wertico / Contact after June 1st. Fiscal Yr. End of July 400 North Broad St. Bachelor Degrees: B.M. Brevard, NC 28712 California State University East Bay Faculty: Includes Jerry DiMuzio, Carey Deadman, Steve Berry, [email protected] Dave Eshelman Neal Alger, Rob Amster, Ruben Alvarez, Phil Gratteau, Jo Ann www.brevard.edu Music Department Daugherty, Jackie Allen Admissions: (828) 883-8292 25800 Carlos Bee Blvd Bachelor Degrees: B.A. in Jazz Studies, Performance, or Hayward, CA 94542 Chicago Jazz Ensemble Composition (510) 885-3735 Kat Ryan Faculty: Steve Wilson class.csueastbay.edu/music Columbia College Faculty: Johannes Wallmann, Dann Zinn 600 South Michigan Avenue Brubeck Institute, University of the Pacific Chicago, IL 60605 Steve Anderson California State University at Los Angeles 312-344-6269 3601 Pacific Ave Dr. Jeffery Benedict www.chijazz.com Stockton, CA 95211 Department of Music [email protected]

64 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Assistant Department Chair: Mary Blinn [email protected] Faculty: Jon Faddis, Artistic Director; Scott Hall, Education Director

College of the Mainland Sparky Koerner 1200 Amburn Road Texas City, TX 77591 (409) 938-1211 [email protected] www.com.edu Admissions: Kelly Musick, Registrar: (409) 938-1211 ext. 496 or [email protected] Degrees: Associate of Arts

Columbia College of Chicago Scott Hall 600 South Michigan Ave. Chicago, IL 60605 (312) 344-6322 [email protected], www.colum.edu/Academics/Music/about/Jazz_Faculty.php Faculty: Dan Anderson, Bill Boris, Frank Dawson, Diane Delin, Richard Dunscomb, Jon Faddis, Scott Hall, Tom Hipskind, Audrey Morrison, Duane Thamm, Peter Saxe, Barry Winograd

Cornish College of Arts Chuck Deardorf 1000 Lenora Street Seattle, WA 98121 (206) 726-5031 [email protected] www.cornish.edu Admissions: [email protected] / Sarah Burgess - Admin. #1 Beth Fleenor Bachelor Degrees: B.M. Faculty: Includes Kent Devereaux, Chuck Deardorf, Randy Halberstadt, Jim Knapp, Jovino Santos Neto, Margie Pos, Julian Priester

Cuyahoga Community College Steve Enos 2900 Comm. College Avenue Cyrus Cleveland, OH 44115 (216) 987-4256 [email protected] www.tri-c.edu Faculty: Steve Enos, Ernie Krivda, Joe Hunter, Lee Bush, Bryan Thomas, Demetrius Steinmetz, Rob Ticherich, Ray Porrello, Jackie Warren

DePaul University Bob Lark 804 W. Belden Ave Chicago, IL 60614 (773) 325-4397 [email protected] http://music.depaul.edu [email protected] Bachelor Degrees: Jazz Studies, Performance, Composition, Music Education Graduate Degrees: Jazz Performance, Jazz Composition, Music Education, Performance Faculty: Timothy Coffman, Mark Colby, Kirk Garrison, Bob Lark, Thomas Matta, Larry Novak, Bob Palmieri, Ron Perrillo, Bob Rummage, Kelly Sill, Bradley Williams

Duke University John V. Brown 105 Mary Duke Viddle Music Building Durham, NC 27208 (919) 660-3385 [email protected] www.duke.edu Admissions: (919) 660-3300 Faculty: John V. Brown [email protected] 919-660-3385

East Carolina University Carroll V. Dashiell, Jr. School of Music Fletcher Music Center

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 65 Jazz Education Sourcebook

Greenville, NC 27858-4353 Pat Harbison; Admissions: [email protected] Michigan State University (252) 328-6240 Faculty: David Baker, Luke Gillespie, Patrick Harbison, Steve [email protected] Houghton, Brent Wallarab, Thomas Walsh Jazz Studies Program www.ecu.edu/music/jazz (812) 855-9846 102 Music Building Admissions: (252) 328-6851 Left message East Lansing, MI 48824-1318 Faculty: Jeffrey Bair, Carroll Dashiell, Ernest Turner (517) 432-2194 Jackson State University [email protected] Elmhurst College Dr. Russell Thomas www.music.msu.edu Doug Beach Music Dept, Box 17055 Admissions: (517) 355-2140 Jazz Studies Jackson, MS 39217 Bachelor Degrees: Composition and Music Theory, Jazz 190 Prospect Avenue 601-979-2574, [email protected] Studies, Performance, Music Therapy, Music Education, Music Elmhurst, IL 60126 www.jsums.edu/jsumusic Graduate Degrees: Performance, Musicology, Theory, (630) 617-3518 Admissions: (601) 979-2100 or [email protected] Composition, Conducting, or Education [email protected] Bach. Degrees: B.M.E. or B.M.; Grad Degr: M.M.E, M.M. Doctoral Degrees: Performance, Composition, Conducting, or B.M. in Jazz Studies, jazz studies minor, b music business, Faculty: Russell Thomas, Dowell Taylor, David Ware Education music ed Faculty: Wess Anderson, Derrick Gardner, Randy Gelispie, http://public.elmhurst.edu/music/1299562.html University of Louisville School of Music Joe Gloss, Diego Rivera, Rick Roe, Rodney Whitaker, Sunny Faculty: Doug Beach, Jamey Aebersold Jazz Studies Program Wilkinson Louisville, KY 40292 Elon University Mike Tracy Middle Tennessee State University Jon Metzger [email protected] Department of Music Music Department (502) 852-1623, www.louisville.edu/music/jazz Don Aliquo Campus Box 2800 Admissions: Toni Robinson (502) 852-6032 or gomusic@ 2620 Dorset Street Elon, NC 27244 louisville.edu Murfreesboro, TN 37130 (336) 278-5683 Bachelor Degrees: B.A. w/ Jazz Emphasis, B.M Jazz Perfromance, 615-904-8362 [email protected] M.M Jazz Performance, M.M Jazz Composition and arranging [email protected] www.elon.edu/jazz Faculty: Ansyn Banks, Jim Connerley, Chris Fitzgerald, John frank.mtsu.edu/~music Bachelor Degrees: Music Performance, Music Education, Music LaBarbera, Jason Tiemann, Jerry Tolson, Mike Tracy, Craig Bachelor Degrees: B.M. in Jazz Studies Faculty: Jon Metzger, Dr. Stephen A. Futrell, Virginia Novine- Wagner, Tyrone Wheeler Master Degrees: M.A. in Jazz Studies Whittaker, Dr. Thomas Erdmann, Dr. Matthew Buckmaster Faculty: Don Aliquo, Jamey Simmons, Tom Giampietro, Shawn JazzSchool Purcell, Pat Coil, Jim Ferguson, Dr. David Loucky, Lalo Davila, Florida International University Susan Muscarella Rich Adams, Socrates Garcia Mike Orta 2087 Addison St. School of Music Berkeley, CA 94704 Millikin University 11200 SW 8th Street, WPAC 12 510-845-5373 Randall Reyman Miami, FL 33199 [email protected] 1184 W. Main Street (305) 348-1414, [email protected], www.music.fiu.edu Faculty: www.jazzschool.com Decatur, IL 62522 Mike Orta, Sam Lussier, Gary Campbell, Errol Rackipov, Nicky Admissions: (510) 845-5373 (217) 424-6319 Orta, Arturo Sandoval Faculty: Laurie Antonioli, Bill Aron, Joe Bagale, Wil Blades, [email protected] Sheldon Brown, Andre Bush, Jeremy Cohen, Christy Dana, www.millikin.edu/music Florida State University Wayne Wallace, Faculty: Andrew Burtschi, Brian Justison, Manley Mallard, Leon Anderson, Jr. Jazzschool.com Randy Reyman, John Stafford II, Stephen Widenhofer College of Music [email protected] Florida State University [email protected] Morehead State University Tallahassee, FL 32306-1180 Dr. Gordon Towell (850) 644-1048 L.A. Music Academy 120 Baird Music Hall [email protected] Joe Pocaro, Ralph Humphrey, Tierney Sutton, Jerry Watts, Morehead, KY 40351 www.music.fsu.edu Tariqh Akoni (606) 783-2198, [email protected] Music Admissions: [email protected] / 850.644.6102 370 S. Fair Oaks Avenue www.moreheadstate.edu/music Bachelor Degrees: B.A. in Jazz Studies Pasadena, CA 91105 Admissions: (606) 783-2000 or [email protected] Graduate Degrees: M.M. in Jazz Studies (626) 568-8850 Bachelor Degrees: B.M. in Jazz Performance; B.M.E. Faculty: Leon Anderson, Jr., Brian Gaber, Rodney Jordan, [email protected] Graduate Degrees: M.M., M.M.E. William Kennedy, Paul McKee, William Peterson, Marcus www.lamusicacademy.edu Faculty: Glenn Ginn, Steven Snyder, Gordon Towell Roberts, Scotty Barnhart Faculty: Includes Ralph Humphrey, Joe Porcaro, Dave Beyer, Tariqh Akoni, Tierney Sutton, Jerry Watts, Jr. Mount Hood Community College Fresno City College Susie Jones Michael Dana Loyola University 26000 S.E. Stark Street Jazz Studies John Mahoney Gresham, OR 97030 1101 E. University Avenue Music Department (503) 491-7158 Fresno, CA 93741 6363 St. Charles Avenue Box 8 [email protected] (559) 442-4600, [email protected] New Orleans, LA 70118 www.mhcc.edu www.fresnocitycollege.edu (504) 865-2164 Faculty: Susie Jones Faculty: Julie Dana, Michael Dana, Gary Deeter, Dale [email protected] Engstrom, Larry Honda, Olga Quercia www.music.loyno.edu Musician’s Institute Faculty: John Mahoney Steve Lunn Indiana University 1655 McCadden Place Dr. David Baker McNally Smith College of Music Hollywood, CA 90028 School of Music Dr. Mike Bogle (800) 255-PLAY 1201 E. 3rd St. 19 Exchange Street East [email protected] Bloomington, IN 47405 Saint Paul, MN 55101 www.mi.edu 818-855-1583 (651) 291-0177, [email protected] Bachelor Degrees: Bachelor of Music [email protected] www.mcnallysmith.edu www.music.indiana.edu Bachelor Degrees: B.M. in Performance

66 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 North Carolina Central University http://musicdance.sfsu.edu/ Department of Music Undergrad Admissions: (415) 338-2037 Mike Ira Wiggins P.O. Box 19406 San Jose State University Durham, NC 27707 Aaron Lington abcdef� 919-530-7214 One Washington Square Mainieri [email protected] San Jose, CA 95192-0095 www.nccu.edu/music (408) 924-4673, [email protected] Admissions: Contact Jocelyn Foy at (919) 530-6218 www.music.sjsu.edu Bachelor Degrees: B.M. in Jazz Performance, B.A. in Music Bachelor Degrees: B.A. in Jazz Studies, Studio Arts, and ghipqrstu� Education, Music Liberal Arts, Sacred Music, and Music Industry General Studies; B.M. in Music in Composition, Performance, Faculty: Ira Wiggins, Ed Paolantonio, Thomas Taylor, Robert and Music Education Trowers, Lenora Helm, Arnold George, Baron Tymas, LeRoy Virginia Groce-Roberts, Joe Hodge, Jeff Lewis, Aaron Lington, Barley, Brian Horton, Branford Marsalis, Joey Calderazzo John Shifflett, Frank Sumares, Rick Vandivier, Wayne Wallace vwxy North Central College Shenandoah Conservatory Jack Mouse 1460 University Drive 30 N. Brainard Street Winchester, VA 22601 http://www.su.edu/conservatory/index.cfm abcdefghim� Naperville, IL 60540 (630) 637-5984 Bachelor Degrees: B.M. in Jazz Studies, Commercial Music, [email protected] Music Therapy, Music Education, and Performance; B.S. in www.noctrl.edu Arts Management Admissions: (630) 637-5800 Faculty: C. Brian Kidd npqrsuvwxyz Faculty: Philip A. Ewell, Eugene T. Mouse, Barbara S. Vanderwall, Ramona M. Wis, Jeordano S. Martinez, Linda Sonoma State University Ogden Hagen, Lawrence G. Van Oyen Mel Graves 1801 East Cotati Avenue abcdef� Northern Arizona University Rohnert Park, CA 94928 Joel DiBartalo (707) 664-2134 Flagstaff, AZ 86011 [email protected] (928) 523-3496 www.sonoma.edu [email protected] Admissions: Mary Rogers (707) 664-2324 ghipqrstu� Alan Kleinschmidt: [email protected] www.cal.nau.edu/music Mike Mainieri is available for Faculty: Joel DiBartalo Faculty: Mel Graves, Bob Afifi master classes/clinics/workshops. Northern Illinois University Southern Illinois University vwxy Ron Carter at Carbondale Mike’s career spans 6 decades School of Music Philip Brown as a performing artist, composer, Dekalb, IL 60178 SIU School of Music arranger, bandleader, producer and (815) 753-0643 Mail Code 4302 [email protected] Carbondale, IL 62901 abcdefghimPresident of his own record label, � www.niu.edu/music (618) 453-5812 NYC Records Inc. Admissions: (815) 753-0446 or [email protected] [email protected] www.siu.edu/~music/ensembles/fac_jazztet.html Faculty: Ronald Carter, Robert Chappell, Art Davis, Tom As bandleader of Steps Ahead for Garling, Fareed Haque, Richard Holly, Willie Pickens, Kelly Admissions Contact: Karen Clayton (618) 453-7316; npqrsuvwxyz Sill, Rodrigo Villanueva Department of Music: (618) 536-8742 30 years, he is still active touring Faculty: Robert Allison, Philip Brown, Ron Coulter, Richard with the seminal group, which in Northwestern University Kelley, Timothy Pitchford itself has been a workshop in School of Music progress. At last count, more Southern Illinois University abcdef� 711 Elgin Road than 40 musicians have performed Evanston, IL 60208-1200 at Edwardsville (847) 491-3141, [email protected] Brett Stamps with the Steps Ahead. He has held music.northwestern.edu Department of Music master classes, clinics & lectures Faculty: Daniel J. Farris, Victor Goines, Paul Wertico Box 1771 SUIE ghipqrstuworldwide and performed � Edwardsville, IL 62026-3705 in the educational field with (618) 650-2026 San Diego State University small ensembles & big bands. Bill Yeager [email protected] School of Music and Dance www.siue.edu/music vwxy 5500 Campanile Drive Faculty: Brett Stamps, Reggie Thomas See Mike’s complete bio San Diego, CA 921182-7908 and discography at (619) 594-4680, [email protected] Stanford Jazz Workshop & Festival www.jazz.sdsu.edu PO Box 20454 www.mikemainieri.com Faculty: Bill Yeager, Rick Helzer, Richard Thompson, Lori Bell, Stanford, CA 94309 abcdefghim� Bob Ross, Gilbert Castellanos, Kevin Delgado, John Flood, Mike (650) 856-4155 Holguin, Scott Kyle, Bob Magnusson, John Rekevics, John Wilds [email protected] PRIvAte leSSoNS Jim Nadel, Director at Mike’s studio are also available for San Francisco State University www.stanfordjazz.org npqrsuvwxyzintermediate and advanced students. School of Music and Dance Dee Spencer Texas A&M University, Kingsville 1600 Holloway Avenue Dr. Paul Hageman BooKINGS: San Francisco, CA 94132 Music Department, MSC 174 email: [email protected] (415) 338-1431 Kingsville, TX 78363 abcdef� Phone: 212-496-1625 [email protected] (361) 593-2806, [email protected]

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com ghipqrstu67� vwxy Jazz Education Sourcebook www.tamuk.edu/music Admissions Contact: Tonia Hicks (205) 348-7112 or thicks@ University of Houston Bachelor Degrees: B.M. with Teacher Certification, B.M. in music.ua.edu Noe Marmolejo Music Performance Bachelor Degrees: B.M. in Jazz Studies Moores School of Music Master Degrees: M.M. in Music Education Graduate Degrees: M.M. in Arranging Houston, TX 77204-4893 Faculty: Dr. Paul Hageman, James Warth Faculty: Chris Kozak, Jonathan Noffsinger, Mark Lanter, Tom Wolfe (713) 743-3191 [email protected] Texas Christian University University of Arizona www.music.uh.edu Curt Wilson Jeff Haskell Faculty: Joel Fulgham, David Klingensmith, Noe Marmolejo, TCU Box 297500 School of Music Woody Witt, Mike Wheeler Fort Worth, TX 76129 UA College of Fine Arts 817-257-6625, [email protected] Tucson, AZ 85721 University of Idaho www.music.tcu.edu (520) 621-1341 Paul Wertico Admissions: (817) 257-7602 or [email protected] [email protected] School of Music Faculty: Curt Wilson, Thomas Burchill, Joey Carter, Joseph http://web.cfa.arizona.edu/music Box 444015 Eckert, Paul Rennick, Paul Unger, Brian West Moscow, ID 83844-4015 University of Central Oklahoma [email protected] Texas State University—San Marcos Brian Gorrell www.class.uidaho.edu/music Freddie Mendoza School of Music Music Admissions: [email protected] 601 University Drive 100 North University Drive Faculty: Alan Gemberling, Vern Sielert, Ian Sinclair, Daniel San Marcos, TX 78666 Edmond, OK 73034 Bukvich, Vanessa Sielert (512) 245-1462, [email protected] 405-359-7989 www.txstate.edu/jazzstudies [email protected] University of Illinois Bachelor Degrees: Performance Degree in Jazz Studies www.ucojazzlab.com Chip McNeil Graduate Degrees: Performance Degree in Jazz Studies Grad Admissions: Brian Gorrell College of Fine and Applied Arts Faculty: Dr. Keith Winking, Freddie Mendoza, Hank Hehmsoth, Faculty: Lee Rucker, Brian Gorrell, Danny Vaughan, Kent 2136 Music Building Butch Miles, David Dawson, Morris Nelms Kidwell, Jeff Kidwell, David Hardman, Clint Rohr, James Klages 1114 W. Nevada Street Urbana, IL 61801 Texas Tech University University of Cincinnati (217) 333-9703, [email protected], www.music.uiuc.edu Paul English Rick VanMatre Bachelor Degrees: Jazz and Improvisational Music School of Music Box 42033 College-Conservatory of Music Performance, Composing/Arranging Lubbock, TX 79409-2033 Cincinnati, OH 45221 Graduate Degrees: Masters in Jazz and Improvisational Music (806) 742-2270, [email protected] (513) 556-9447 Performance www.depts.ttu.edu/music [email protected] Faculty: Ron S. Bridgewater, Tito Carrillo, Lawrence Gray, Admissions: (806) 742-2270 www.ccm.uc.edu/jazz Dana Hall, Joan B. Hickey, Charles McNeill, James Pugh, Faculty: Jason Berg, Paul English, Ian Rollins Conservatory Admissions: (513) 556-5463; John Stephens, Glenn Wilson [email protected] Oberlin Conservatory of Music Faculty: Chris Berg, Philip DeGreg, Marc Fields, Art Gore, University of Illinois at Chicago at Oberlin College Bill Gwynne, Kim Pensyl, Paul Piller, James E. Smith, Rick Orbert Davis Wendell Logan VanMatre, John Von Ohlen Department of Performing Art/MC/255 39 W. College Street 1040 W. Harrison Oberlin, OH 44074-1576 University of Colorado at Boulder Chicago, IL 60607-7130 (440) 775-8238, [email protected] Dr. John Davis, College of Music (312) 996-2977, www.uic.edu www.oberlin.edu/con Campus Box 301 Admissions: (312) 996-2977 Bachelor Degrees: Majors in Jazz Performance and Jazz Boulder, CO 80309-0301 Faculty: Ernie Adams, Ari Brown, Orbert Davis, Nicole Mitchell, Composition 303-492-8810 Stewart Miller, Zvonmir Tot, Faculty: Gary Bartz, , Peter Dominguez, Robin [email protected] Eubanks, Bob Ferrazza, Billy Hart, Wendell Logan, Dan Wall. www.colorado.edu/music University of Kansas Admissions: (303) 492-6352 Dan Gailey Thelonious Monk Institute of Jazz Bachelor Degrees: Certificate in Jazz Studies Department of Music & Dance Loyola University New Orleans Graduate Degrees: M.M. in Jazz Performance and Pedagogy, 452 Murphy Hall 6363 St. Charles Avenue D.M.A. in Jazz Studies Lawrence, KS 66047 New Orleans, LA 70118 Faculty: Dave Corbus, John Davis, Paul Erhard, Brad Goode, John (785) 864-3436, [email protected], www.ku.edu Phone: (504) 865-2100 Gunther, Allen Hermann, Jeff Jenkins, Tom Myer, Paul Romaine, Admissions: (785) 864-3911 FAX: (504) 865-2500 Terry Sawchuk, Mark Simon, Douglas Walter, Keith Waters Faculty: Dan Gailey Email: [email protected] University of Denver University of Kentucky University of Akron Malcolm Lynn Baker Miles Osland Jack Schantz Lamont School of Music School of Music School of Music 2344 East Iliff Avenue 105 Fine Arts Building Gozzetta Hall Denver, CO 80208 Lexington, KY 40506-0022 Akron, OH 44325-1002 (303) 871-6997 (859) 257-8173 (330) 972-6910, [email protected] [email protected] [email protected] www.uakron.edu/music www.du.edu/lamont www.uky.edu/finearts/music Admissions: (330) 972-7100 Admissions: Jerrod Price (303) 871-6973 Admissions: (859) 257-1808 Faculty: Joe Augustine, Robert Fraser, Dean Newton, Bob Bachelor Degrees: B.M. in Jazz Studies – Performance, Jazz Bachelor Degrees: Bachelor of Arts, Bachelor of Music McKee, Jack Schantz, Rich Shanklin, Tim Powell Studies – Composition and Arranging, Commercial Music – Graduate Degrees: Master of Arts, Master of Music Performance, Commercial Music – Composition and Arranging, Faculty: Raleigh Dailey, Miles Osland, Lisa Osland University of Alabama—School of Music Commercial Music – Technology Chris Kozak Graduate Degrees: M.M in Performance – Jazz Emphasis and University of Louisville P.O. Box 870366 Composition – Jazz Emphasis Louisville, KY 40292 Tuscaloosa, AL 35487 Faculty: Malcolm Lynn Baker, Arthur Bouton, Eric Gunnison, (502) 852-6032 205-348-6333 David Hanson, Alan Hood, Alan Joseph, Tom Ball, Mike Mike Tracy [email protected], www.jazz.ua.edu Marlier, Marc Sabatella, Ken Walker, Donna Wickham School of Music

68 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 69 Jazz Education Sourcebook

Jamey Aebersold Jazz Studies Program Las Vegas, NV 89154-5025 University of North Texas [email protected] 702-895-3739, [email protected] Darla Mayes www.louisville.edu/music/jazz music.unlv.edu PO Box 305040 Admissions: (502) 852-1623 Bachelor Degrees: Bachelor of Music with a Concentration in Denton, TX 76203 Faculty: Ansyn Banks, Jim Connerley, Chris Fitzgerald, John Jazz Studies 940-565-3743 LaBarbera, Jason Tiemann, Jerry Tolson, Mike Tracy, Craig Graduate Degrees: Master of Music with a Jazz Studies [email protected] Wagner, Tyrone Wheeler emphasis www.music.unt.edu/jazz Faculty: David Loeb, Bruce Paulson, Tom Warrington, Jobelle Bachelor Degrees: Bachelor of Music University of Memphis Yonely Graduate Degrees: Master of Music Dr. Jack Cooper Faculty: Neil Slater, Tony Baker, Rosana Eckert, Dan Haerle, Jazz & Studio Music Department University of New Orleans Fred Hamilton, Stefan Karlsson, Brad Leali, John Murphy, 129 Music Building Edward Petersen James Riggs, Paris Rutherford, Jay Saunders, Lynn Seaton, Memphis, TN 38152 Jazz Studies, Music Department Ed Soph, Mike Steinel, Steve Wiest (901) 678-2541 Lakefront Campus [email protected] New Orleans, LA 70148 University of Northern Colorado music.memphis.edu 504-280-6381 Dave Stamps Admissions: (901) 678-3766 [email protected] 501 20th Street Box 28 Bachelor Degrees: B.M. in Composition, Jazz & Studio music.uno.edu Greeley, CO 80639 Performance, Jazz & Studio Composition/Arranging, Music Admissions: (504) 280-1124 (970) 351-2577 Business, Music Education, Music History, Performance, and Faculty: Victor Atkins, Steve Masakowski, Ed Petersen, Brian [email protected] Recording Technology Seeger, Leah Chase-Kamata, Evan Christopher, Thomas www.uncjazz.com Graduate Degrees: Master of Music, Composition, Conducting, Fisher, Roland Guerin, Henry Mackie, Irvin Mayfield, Brent Bachelor of Music – Jazz Instrumental Emphasis Jazz & Studio Music, Music Education, Musicology, Orff- Rose, Matt Rhody, Cindy Scott Master of Music – Jazz Instrumental Emphasis; Secondary Schulwerk, Pedagogy, Piano, Strings, Suzuki Strings, Emphasis in Jazz Pedagogy at the Doctorate Level Performance, Applied, and Collaborative Piano University of North Carolina - Greensboro Faculty: Dana Landry, Dave Stamps, Kevin Whalen, Erik Faculty: Joyce Cobb, Jack Cooper, Tim Goodwin, Chip Chad Eby Applegate, Gray Barrier, Robert Murray, James Vaughn Henderson, Chris Parker, Gerald Stephens P.O. Box 26167 Greensboro, NC 27402-6167 University of Northern Iowa University of Miami 336-334-3237 Chris Merz Frost School of Music [email protected], www.uncg.edu/mus School of Music Whitney Sidener Admissions: (336) 334-5243 110 Russell Hall P.O. Box 248165 Bachelor Degrees: Bachelor of Music Cedar Falls, IA 50614-0246 Coral Gables, FL 33124-7610 Faculty: Chad Eby, Wycliffe Gordon, Steve Haines, Mark (319) 273-3077 305-284-5813 Mazzatenta, John Salmon, Tom Taylor [email protected] [email protected], www.music.miami.edu www.uni.edu/jazzstudies Admissions: (305) 284-2241 or [email protected] University of Admissions: Alan Schmitz (319) 273-7180 or schmidt@uni. Director of Admissions: Catherine J. Tanner North Carolina - Charlotte edu Faculty: Rainier Davies, Randall Dollahon, Christopher Will Campbell Bachelor Degrees: Bachelor of Arts and Bachelor of Music Whiteman, Jason Furman, Stephen Rucker, John Yarling, Department of Music Graduate Degrees: Master of Arts in Music and Master in Douglas Bickel, Whitney Sidener, Gary Keller, Gregory Gisbert, 9201 University City Boulevard Music Alexander Norris, Dante Luciani, Timothy Brent, Rachel Lebon, Charlotte, NC 28223 Faculty: Chris Merz, Robert Washut, Bob Dunn, David Dunn Lisanne Lyons, Juan Secada, Nicole Yarling (704) 687-4469 [email protected] University of South Carolina music.uncc.edu Bert Ligon School of Music Admissions: (704) 687-2213 Office of Music Studies Ed Sarath Faculty: Will Campbell, Noel Freidline Columbia. SC 29208 1100 Baits Drive 803-777-4335, [email protected] Ann Arbor, MI 48109-2085 University of www.music.sc.edu 734-764-0583, [email protected] North Carolina - Wilmington Dean’s Office: (803) 777-4336 www.music.umich.edu, [email protected] Frank Bongiorno Faculty: Sonia Jacobsen, Kevin Jones, Bert Ligon Faculty: Geri Allen, Andrew Bishop, Michael Gould, Marion 601 South College Road Hayden, Robert Hurst, Mark Kirschenmann, Edwin Levy, Wilmington, NC 28403-3297 University of South Florida - School of Music William Lucas, Ellen Rowe, Edward W. Sarath, Richard (910) 962-3390 Prof. Jack Wilkins Stoelzel, Martha Travers, Dennis Wilson [email protected] School of Music, FAH 110 http://www.uncwil.edu/music 4202 E. Fowler Avenue University of Missouri - Kansas City Admissions: (910) 962-3243 Tampa, FL 33620 Prof. Bachelor Degrees: Bachelor of Music in Performance (Jazz, (813) 974-2311, [email protected] Conservatory of Music and Dance Instrumental) music.arts.usf.edu/jazz/ 4949 Cherry Street Faculty: Steve Bailey, Frank Bongiorno, Joe Chambers, Robert Admissions: (813) 974-2311 Kansas City, MO 64110-2229 A. Russell, Jerald Shynett, Andy Whittington B.M. in Jazz Composition and Jazz Performance (816) 235-2900, [email protected] M.M. in Jazz Composition and Jazz Performance www.umkc.edu/conservatory University of North Florida Faculty: Chuck Owen, Jack Wilkins, Tom Brantley, Jay Bachelor Degrees: B.M. in Jazz & Studio Music; B.A. with Jazz J.B. Scott Coble, Per Danielsson Steve Davis, Valerie Gillespie, Mark Concentration 4567 St. John’s Bluff Road South Neuenschwander, LaRue Nickelson, David Stamps Graduate Degrees: M.A. with Jazz Concentration Jacksonville, FL 32224-2645 Faculty: Doug Auwarter, Rod Fleeman, Stan Kessler, Michael 904-646-2960 University of Southern California Pagan, Al Pearson, Gerald Spaits, Dan Thomas, Bobby [email protected] Ron McCurdy Watson, Bram Wijnands, Roger Wilder www.unf.edu/coas/music Thornton School of Music Bachelor Degrees: B.M. in Jazz Performance/Arranging and 840 West 34th Street University of Nevada, Las Vegas Music; B.A. in Music Los Angeles, CA 90089-0851 Dave Loeb Faculty: Bunky Green, Lynne Arriale, Marc Dickman, Danny (213) 740-3119 Department of Music Gottlieb, Dennis Marks, J.B. Scott [email protected] 4505 Maryland Parkway www.usc.edu

70 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Bachelor Degrees: Bachelor of Music and Bachelor of Arts Wayne State University Western Carolina University in Performance Christopher Collins Pavel Wlosok Graduate Degrees: Master of Music, Doctor of Musical Arts, Department of Music Music Department and Graduate Certificate 4841 Cass Avenue 253 Coulter Building Faculty: Includes David Arnay, Gilbert Castellanos, Ndugu Suite 1321 Cullowhee, NC 28723 Chancler, John Clayton, Peter Erskine, Anne Farnsworth, , MI 48202 (828) 227-3261, [email protected] Russell Ferrante, Angel Figueroa, Bruce Forman, Jason (313) 577-1780 music.wcu.edu Goldman, Kathleen Grace, Alphonso Johnson, Kristin Korb, [email protected] Thom David Mason, Ron McCurdy, Roy McCurdy, and many music.wayne.edu Western Michigan University more Admissions: (313) 577-1800 Tom Knific Bachelor Degrees: B.M. in Jazz Studies 1903 W. Michigan Avenue University of Texas at Austin Graduate Degrees: M.M. in Jazz Performance Kalamazoo, MI 49008 Jeff Hellmer Faculty: Steve Carryer, Christopher Collins, Ronald Kischuk, 269-387-4710, [email protected] Department of Music Russell Miller, Clifford Monear, Robert Pipho, Daniel Pliskow, www.wmich.edu/jazzstudies Austin, TX 78712 Ernest Rogers, James Ryan, David Taylor Faculty: Tom Knific, John Campos, Scott Cowan, Keith Hall, 512-471-0744 Trent Kynaston, Robert Ricci, Diana Spradling, Stephen [email protected], www.music.utexas.edu Webster University Zegree B.M. in Jazz Performance and Jazz Composition Paul DeMarinis D.M.A. with Jazz Emphasis in Jazz Performance, Comp 470 East Lockwood Avenue Youngstown State University Faculty: Dennis Dotson, John Fremgen, Jeff Hellmer, John St. Louis, MO 63119 Kent Engelhardt Mills, David Neubert, Glenn Richter, Mark Sarisky, Brannen (314) 968-7039, [email protected] 1 University Plaza Temple, Mitch Watkins, Ronald Westray www.webster.edu Youngstown, OH 44555 Admissions: Niel DeVasto 314-968-6989 (330) 941-3636, [email protected], www.ysu.edu University of Toledo B.M. in Jazz Performance, Jazz/Music Technology, Bachelor Degrees: B.M. in Performance with a Jazz Gunnar Mossblad Composition, Performance (Voice, Keyboard, Guitar, Emphasis or Recording Emphasis, Performance, Education, Department of Music Instrumental), and Music Education; B.A. in Music; Certificate Theory/Composition, and Music History MS605 in Music Entrepreneurship Graduate Degrees: M.M. in Jazz Studies, Performance, Toledo, OH 43606 M.M. in Jazz Studies (Performance or Composition Theory, Education, and Music History (419) 530-4738 Emphasis) , Orchestral Performance, Voice, Keyboard, Faculty: Kent Engelhardt, David Morgan, Daniel Murphy, [email protected] Guitar, Composition, Music Education, and Church Music; Glenn Schaft www.utoledo.edu M.A. in Music with Emphasis in Pedagogy, Conducting, Admissions: (419) 530-8700 Music History, and Theory Bachelor Degrees: Bachelor of Music in Jazz; Bachelor of Arts with a Jazz Emphasis; Jazz Minor Graduate Degrees: Master of Music in Performance – Jazz Track Faculty: Mark Byerley, Norman Damschroder, Bradley Felt, Jon Hendricks, Gunnar Mossblad, Jay Weik, Timothy Whalen

University of the Pacific Patrick Langham Pacific Conservatory of Music artist composer educator 3601 Pacific Avenue Stockton, CA 95211 (209) 946-3222, [email protected] “Brilliant technique, mature conception www.pacific.edu/conservatory and high polished arrangements” Admissions: (209) 946-2211 — L.A. Times Faculty: Patrick Langham, Michael Zisman

University of Tennessee Chicago Jazz Philharmonic Mark Boling Artistic Director, Conductor School of Music, Room 211 Buy the debut CD, “COLLECTIVE CREATIVITY” 1741 Volunteer Boulevard online at chijazzphil.org Knoxville, TN 37996-2600 (865) 974-3241, [email protected], www.music.utk.edu/jazz Clinical Associate Professor Bachelor Degrees: B.M. in Jazz & Studio Music University of Illinois at Chicago Graduate Degrees: M.M. in Jazz & Studio Music Faculty: Mark Boling, Donald Brown, Keith Brown, Harold Available for Holloway, Vance Thompson

Washburn University clinics, seminars, workshops Craig Treinen 1700 SW College & performances Topeka, KS 66621 (785) 231-1010, [email protected] For booking inquiries www.washburn.edu/cas/music 316 Records Bachelor Degrees: Bachelor of Music Education and Bachelor P.O. Box 805330 3sixteenrecords.com of Music Performance orbertdavis.com Graduate Degrees: Master of Arts Chicago, IL 60680 Faculty: Craig Treinen 312-604-2212 tel 312-573-8934 fax

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 71 CD REVIEWS • CD REVIEWS • CD REVIEWS

start off with “All Or Nothing At All” and Elling tells Graves and Gomez also manage to fight their way to the story of Coltrane and Hartman next. Over the the fore and thunder along with the rapid-fire blowing course of the rest of the album we’re treated to some from the horns. fine piano work from Laurence Hobgood (“Dedicated Bley’s playing is more ethereal. It lies beneath To You” and “They Say It’s Wonderful”), sweeping or outside the music to tug at the dirty, somewhat saxophone playing from Ernie Watts (“What’s New”) unwieldy bulk with its mystical, tiny-piano strings. It and a strings and voice arrangement of “My One And is the brain’s behind the furious action, leading with Only Love” that will give you goose bumps. “Lush intelligent prodding and counterpoint rather than Life,” a standout on the original album, is a highlight dictatorial show-stealing. DIEGO BARBER here as well. Elling is peerless in his ability to create The record clocks in at just over 28 minutes, a mood throughout an album and, along with this but wants for nothing, exposing the lazy editing and CALIMA— Sunnyside Records SSC 1210. www. talented cast of musicians by his side, he has turned indulgent production that hampers many an album in sunnysiderecords.com Piru, 190 East; Desierto; what might be a difficult vocal project to envision into the CD age. While clearly a work of the avant-garde Catalpa; ; Richi; Virgianna; Air. an artistic triumph. (and it continues to challenge today, no less than it PERSONNEL: , drums; , did 45 years ago), follows perhaps the most bass; , saxophone; Diego Barber, guitar. Barrage traditional of all show-business dictates: always leaving them wanting more. This album is good exercise for By Matt Marshall the replay button. Spanish guitarist Diego Barber partners with the dream supporting cast of drummer Jeff Ballard, bassist Larry Grenadier and saxophonist Mark Turner to fashion a leisurely jaunt livened by the threat and excitement of its titular blowing fog. Sticking to his classical guitar throughout, Barber is able to sculpt PAUL BLEY QUINTET not only the expected sun-drenched numbers like “Piru” and “Lanzarote,” but also the funky “Virgianna” BARRAGE—ESP-Disk’ ESP 1008. www.espdisk. and—with considerable driving help from his mates— com. Batterie; Ictus; And Now the Queen; Around the stormy “Catalpa” that fires with full-force on all Again; Walking Woman; Barrage. George Hoar cylinders. “Richi,” a duet with Ballard, gives Barber PERSONNEL: , alto sax; Dewey the chance to display his virtuosity front and center, as Johnson, trumpet; Paul Bley, piano; Eddie Gomez, ORACLE—Northern Records. Web: www. he reels off five minutes’ worth of quick-fingered and bass; , percussion. loudwhisper.com. Little Bass Suite; Oracle; Solyqua; melodic acoustic guitar, replete with chest-thumping Solace Anon; Celestial Awake; Urban Legend; Gentle snaps, pops and bends. By Matt Marshall Giant; Scenes from a Marionette; Farewell PERSONNEL: George Hoar, electric and acoustic Recorded in October 1964, Paul Bley’s Barrage bass, piano, wood koch flute, melodeon; Dave is exactly that—a full-tilt onslaught of free-jazz Liebman, soprano sax (2); Mark Feldman, violin (8); exploration. You can almost feel the gravel spit from Troy Conn, guitar (4, 7); Brian Sullivan, drums (2, 3); beneath the quintet’s wheels to pelt you in the teeth. Tim Gordon, soprano sax (6); Kieran Loftus, electric Fittingly, the pieces on the record are brief—sprints piano (2, 5); Kevin Lutke, guitar (6); Kira Kundu, into the future; hard-hitting, full-action rounds of percussion (2, 4, 5, 6, 8); Carl Mendez, percussion boxing. They are succinct statements of well-defined (2, 4, 5, 6, 8); Joe Nocilla, drums (4); Steve Rossilli, craft wherein the highlighted structure has been drums (8); William Ware, vibes, marimba (3, 6, 8) whittled to its core, removing the outlying fluff not Kurt Elling to make the object more simple but to expose the By John Thomas DEDICATED TO YOU: KURT ELLING intricacies and experimentation coursing closer to the SINGS THE MUSIC OF COLTRANE AND bone. A free jazz Revolver. Bassist/composer/pianist George Hoar’s latest HARTMAN— Concord Jazz CJA-31314-02. www. All six tracks are the work of Bley’s ex-wife Carla, album, Oracle, features some beautiful and haunting kurtelling.com. All Or Nothing At All; It’s Easy To the composer and pianist perhaps best known for the compositions and an A-list of musicians. The album Remember (A Jazz Story Memory); Dedicated To revolution music she produced with Charlie Haden’s begins with a striking polyphonic solo bass suite that You; What’s New (instrumental); Lush Life; Autumn Liberation Music Orchestra. And the tunes take the was composed in a classical style, yet it evolves into Serenade; Say It (Over And Over Again); They Say character of many of the numbers produced by Paul an improvisational performance, showing the two It’s Wonderful; My One And Only Love; Nancy With Bley and Haden’s ex-boss Ornette Coleman in the five sides of George Hoar. The second piece is the title The Laughing Face; Acknowledgements; You Are Too or so years that preceded the recording of this album. track which is perhaps the highlight of the album. Beautiful The decidedly lo-fi production here—gray tape The beautiful melody is handled by Dave Liebman, PERSONNEL: Kurt Elling, vocals; Ernie Watts, hiss clouds and crowds the music into a nice, fuzzy on soprano saxophone, who infuses it with his soul- saxophone; Laurence Hobgood, piano. box of noise—keeps the squawks, blasts and trills stirring sound. Kieran Loftus plays electric piano, and of voyager Marshall Allen on alto sax and uses an extremely synthetic patch that sounds like it’s By Dan Bilawsky trumpeter Dewey Johnson from leaving the playing from the 80’s. Along with drums, there are layers of field altogether. They sound at times as if they’re other percussion sounds as well. While imitation is the sincerest form of flattery, blowing through waxed paper. The record’s muddy “Solyqua” begins with an energy building drum it isn’t always the best demonstration of artistry. pitch often blends the work of Bley and his bassist solo from Brian Sullivan that gives way to a complex Thankfully, Kurt Elling manages the rare feat of paying Eddie Gomez and drummer Milford Graves into a and multi-faceted melody harmonized and shared by tribute to two legends, and an album they created, single organism of scrambling percussion, stumbling, Hoar on piano and William Ware on vibes. Hoar’s while also maintaining his own artistic vision and bumbling through a fabulous choke of smoke. Yet piano playing is often rhythmically sloppy and the voice. A string quartet and saxophonist Ernie Watts

72 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 CD SPOTLIGHT • CD SPOTLIGHT • CD SPOTLIGHT Mike Mainieri Chemboro Records, Inc. Marnix Busstra Arthur Kell Quartet presents the Third CD release of: Mike Mainieri: Vibraphone Chembo Corniel & grupo Chaworó Marnix Busstra: Guitars, Bouzouki, Electric Sitar Eric van der Westen: Double Bass “things i Wanted to do” “...everything that modern jazz Pieter Bast: Drums should be: vibrant, challenging music...The recording retains all the energy of a kick-ass live event and should receive serious album-of-the-year consideration.” - Jazz Improv Magazine

invited guests Legendary vibraphonist Mike Mainieri and leader of Steps Ahead, joins Dutch guitarist Marnix Busstra in “Twelve Pieces,” Dave Samuels • Ludovic Beier • Jimmy Bosch an intimate, imaginative set of compositions that is brutally honest! On sale at “...made the audience realize that one hardly ever gets to hear music played that way” —Koen Schouten (de Volkskrant) GB Records - 212.581.2468 • Casa Latina - 212.427.6062

“Busstra, clearly influenced by John Scofield, demonstrates available Online www.arthurkell.com ...he’s an inspired, gifted improviser” —HP/ De Tijd CD Baby.com • iTunes • Napster • Descarga.com www.bjurecords.com www.nycrecords.com www.myspace.com/chemboro aug 13, 2009 ~ the nuyorican Poet’s Cafe 236 E.3rd St ( btwn Ave. B & C ) NYC George Hoar BoB GlucK www.nuyorican.org aug. 29- albany latin Festival Oracle “Sideways” www.albanylatinfest.org FMR Jazz label Recently was nominated for best Jazz album of the year from the Charlotte NC Music awards. “This CD will surely be met with critical acclaim for “...openness and improvisational its ability to transcend yet incorporate so many Featuring Dave Liebman & Mark Feldman acumen with shards of daring... Compositions & Arrangements by a brilliant improviser” genres and styles of jazz and Latin music” George Hoar (G.T.H. Music) —Jay Collins, Cadence —Cathy Gruenfelder, Jazz Improv Magazine MUSICIANS Mark Feldman, Violin “Unsigned Artist This is wonderful work from top to bottom, and Dave Liebman, Soprano Sax of the Month” I can’t remember a newly released Latin-jazz album Troy Conn, Guitar —Keyboard, June 2009 I’ve enjoyed this much. It’s energetic but heavily Brian Sullivan, Drums Kieran Loftus, Electric Piano romantic and furtively old-fashioned. Kiera Kundu, Percussion —Marc Meyers, Jazzwax.com Carl Mendez, Percussion Joe Nocilla, Drums COntaCts Steve Rosslli, Drums William Ware, Marimba, Vibes Chemboro Records, Inc - 201.218.2794 George Hoar, Acoustic and Electric Bass, [email protected] / [email protected] Piano, Wooden Flute www.myspace.com/chemboro www.loudwhisper.com facebook/Wilson Corniel [email protected] bOOKings / CliniCs Hector Leguillow/Metro Talent Group New York, Inc “Highly Creative 1383 Madison Street, suite 2R, Brooklyn N.Y. 11237 composer and CD and mp3s available at tel: 718.456.2253 / fax: 718.366.8940 performer” iTunes, Amazon and Nimbit —DownBeat email: [email protected] www.electricsongs.com website: www.metrotalentgroupny.com To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 73 CD REVIEWS • CD REVIEWS • CD REVIEWS piano sounds like an old slightly off tune upright. he plays on the opener, “Welcome,” you can feel the an evolving sense of tempo. Lovano and Kuhn play These two elements along with the quality of the eulogistic spirit in his touch. ‘Welcome’ seems more off each other beautifully and Baron creates weather melody give it a very frantic feeling which may or may like ‘goodbye.’ In December of 2008, Kuhn and his trio patterns with the drums—alternately thunderous, not have been intended. with and teemed up with oceanic or clear and breezy. “Solace Anon” finds Hoar playing beautifully Joe Lovano at Avatar Studios in NYC to record a “Central Park West” is played as a duo between on the piano. Again the melody and chords that he CD of ten tunes that Coltrane either wrote or made Lovano and Kuhn. The two play the tune with such has arranged, along with the bowed bass put it in the legendary and two Kuhn originals. It is nice to have a ease and freedom. Lovano’s playing is completely field of classical music, but then some Latin percussion Coltrane tribute record where the tenor player is not a reflexive, yet he is always allowing himself to truly be enters and improvisation begins. Hoar’s improvisations Coltrane disciple. Lovano has definitely incorporated confronted by the call to action that each moment on this composition are heartfelt and intense. Suddenly, an influence of Coltrane into his sound, but it is only brings, so his reflexes are always extremely active— the tempo increases, and the melancholy quality turns one of many elements to what is a very distinct sound his virtuosity, spontaneity and personality are an to hope and excitement. of his own. On this record, you will not find anyone incredible combination. Track five has a very contemplative and trying to re-create anything. “Like Sonny” is given a Latin tinged treatment otherworldly vibe and is entitled “Celestial Awake.” The opener, “Welcome,” originally appeared and Kuhn really shines on this one with his hand This tune gives Hoar a chance to really shred on electric on Coltrane’s record Transition from 1965 and it independence, and the way his hands interact. Finck bass, even though the tempo is slow. It is no surprise has a strikingly beautiful melody. It is treated like a takes a very tasty solo. that he dedicated it to Eric Satie and Jaco Pastorius. precious flower, with the utmost delicacy by these The first of the two Kuhn originals is “With “Gentle Giant” is a very pretty duo played between veteran musicians. Lovano and Kuhn play with a Gratitude,” which he plays solo. Through it, he tells Hoar and Troy Conn on guitar—Conn gets a very Bill peaceful and serene affection, and Baron and Finck an incredibly rich and profound story of love, loss, Frisell type of sound on this track. Hoar really gets to simply accentuate the efforts of the soloists, creating life and death. It has the quality of seeming to be stretch out on this one, taking a more rubato approach textures and making exclamation points, allowing the composed and improvised at the same time. to tempo. rubato tempo to be controlled by Lovano and Kuhn. “Configuration” is approached with complete “Scenes from a Marionette” is an epic composition When the tune finished, I felt like I had just finished freedom and abandon, and Baron and Lovano jump with some exciting twists and turns, through-composed meditating. on the opportunity. After a minute or so, Kuhn joins from beginning to end. Mark Feldman plays beautifully Things get a little darker with “Song of Praise.” the action with equal intensity. At Lovano’s free-est on violin. The tune begins with an unsettling introduction from moments, there is almost a primitive flamboyance, “Farewell” is exactly that—the album closer, and Kuhn before Lovano states the deep minor melody. but there is always a sense of joy in his playing. I will it ends how it began, with solo bass. For me, the opener Joey Baron reaches a climax of drum effects before only make a comparison because this is a tribute and closer are the best two tunes on the album—he suddenly dropping into a swing groove as the solo album, but Coltrane’s playing is much darker. arpeggiates two absolutely beautiful chord progressions section begins. Kuhn’s solo is as rich as can be, full The group approaches “Spiritual” in a free that will go right through your chest. The closer has of tension and release, and superimposing different context for the first two minutes, before settling into more of a joyful quality to it, where the opener was dark time signatures over the 4/4 structure. Finck is on a classic Jones/Coltrane/Garrison/Tyner sense of and haunting. It is dedicated to his father, Arthur Hoar. his every move, seeming to almost think along with swing. Lovano plays a tarogato on this tune, which him—great ears. When Lovano begins his solo, has a sound somewhere in between a soprano sax and Kuhn lays out. Lovano then gets back into to melody a clarinet. Kuhn takes a very innovative and varied as Kuhn creates un-structured textures behind him solo with one incredible idea after another. Baron’s and Baron builds to a climax. drumming really has that classic Elvin Jones vibe, “Crescent” also begins with a beautiful with its rolling explosions of rhythm. The album ends introduction from Kuhn. His touch and harmonic with another incredibly personal solo original from sensibilities make your eye lids droop in a sort of Kuhn entitled “Trance.” ecstatic sense of calm. Lovano plays the song with What is most wonderful about this album is love and care, and the abandon that love requires to that each player fully asserts their own identity, yet in truly be expressed. Baron is playful and adventurous. reverence to . They are not playing like Steve Kuhn Trio W/ The band continues with their gentle and him or imitating the music and interplay of his great Joe Lovano meditative exploration of Coltrane’s music with bands, but they are playing for him and in tribute to the ballad “I Want To Talk About You.” It becomes the spirit of the man and his music. You can feel the MOSTLY COLTRANE—ECM Records 2099 very clear on this tune, perhaps because Lovano isn’t love and gratitude emanating from the speakers Web: www.ecmrecords.com Welcome; Song of Praise; playing on it, that Kuhn is approaching this project Crescent; I Want To Talk About You; The Night Has a from a deeper place than trying to give tribute to Thousand Eyes; Living Space; Central Park West; Like the sound and style of Coltrane. You can feel the Sonny; With Gratitude; Configuration; Jimmy’s Mode; dedication to the man and his spirit. Kuhn plays with Spiritual; Trance a gorgeous melodicism and a very open but acute PERSONNEL: Steve Kuhn, piano; John Lovano, sense of time. tenor saxophone, tarogato; David Finck, double-bass; Things really brighten up with an up-tempo Joey Baron, drums version of “The Night Has a Thousand Eyes.” The band plays it with a very straight forward and up- By Cathy Gruenfelder lifting sense of harmony, and they swing their tails off. Toward the end of the tune, Kuhn and Lovano Jennifer Leitham improvise together and push each other on before “In January, February and March of 1960, I was LEFT COAST STORY—Sinistral Records 515 N. going back into the head. privileged to work with John Coltrane at the Jazz Oakland Ave Pasadena, CA 91101 Making a stark contrast to the previous tune Gallery in New York City. I will always cherish those Something’s Coming; One Hand One Heart; is “Living Space,” the title track of Coltrane’s 1965 eight weeks. This music reflects my deep respect for Somewhere; Blame it on My Youth; Dreamsville; release. It is a searching and free modal piece with him,” writes Steve Kuhn. From the very first notes The Studio City Stomp; Cast Your Fate to the Wind;

74 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 CD REVIEWS • CD REVIEWS • CD REVIEWS

Detour Ahead; Ghost. Tom Harrell, trumpet, flugelhorn; Conrad Herwig, PERSONNEL: Jennifer Leitham, bass, vocals; trombone; Al Foster, drums; David Hazeltine, piano; Josh Nelson, piano; Randy Drake, drums; Richard John Webber, bass. Greene, violin; John Chiodini, dobro-mandolin, guitar; Ginger Berglund, Jane Brucker, background By Dave Miele vocals. The tenor tradition is long and varied in jazz. One of the latest in the long line is Sean Lyons, whose By Dave Miele latest release, Roar of Lyons, is filled with originals and Jennifer Leitham is an engaging bassist, vocalist Sean Lyons neo-standards that carry on that valued tradition. The and arranger. Leitham is truly in complete control of disc opener is one of the most swingin’ tracks. Entitled ROAR OF LYONS—Posi-Tone Records P.O. Box her band, handling both the “top” and “bottom” as “Herk From the South End,” this original composition 2842 Venice, CA 90292 well as organizing the music. It is that organization would sound right at place on an album from the www.posi-tone.com. Herk From the South End; Bonnie and Leitham’s conception for the tunes that makes classic “Blue Note era.” The band plays the funky tune Rose; Nostalgia; Soultrane; Blackbelt Bebop; Woody ‘N Left Coast Story such an entertaining collection of in a boogaloo type vibe. Another of my favorite tunes You; Ask Me Now; Poincianna; Realized Dream. modern jazz. One of the most interesting aspects of on Roar of Lyons is Dizzy Gillespie’s “Woody ‘N You,” PERSONNEL: Seán Lyons, tenor sax; Jim Rotondi, the album is her treatment of three tunes from the musical . Leitham and the band have interesting takes on “Something’s Coming,” “One Hand One Heart” and “Somewhere.” The disc also contains several other standards, as well as an odd choice or two and an original by Ms. Leitham.

ROZANNE LEVINE & CHAKRA TUNING

ONLY MOMENT—Acoustics ELE 417CD. www. erjn.it/mus/whitecage.htm. Blues Lullaby in F; Thunder Talks; Lying in Bed, Moving Through Space; She Said, He Said; Lost Freedoms; Libra; Only Moment; Mothers and Daughters; Town Meeting; Omega. PERSONNEL: Rozanne Levine, alto, Bb and ½ clarinets, shakers, clapper, ocarina, bird whistle; Mark Whitecage, Bb and ½ clarinets, soprano saxophone, silver bowl, bird whistle, electronics; Perry Robinson, Bb, sopranino and ½ clarinets, wooden flute, ocarina; Rosi Hertlein, violin, voice, gongs, bells, tom tom, rain stick.

By Matt Marshall

Here is a “nature” record, replete with all manner of bird song, hoots and cooing, plus the sprinkling of a rain stick, that nevertheless doesn’t sound specially crafted to put you to sleep. That’s because Rozanne Levine and her mates are pure musicians, using nature as a touchstone for their musical debate, rather than drifting into an endless Om of atmospheric mimicry. The three reedists, Levine, Mark Whitecage and Perry Robinson, sound a spirited interplay of voices that, along with violinist/percussionist Rosi Hertlein’s foggy mourn and branch-snapping alarms, pulls you deeper into the forest. The cacophony of life only grows in variety and wonder.

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 75 CD REVIEWS • CD REVIEWS • CD REVIEWS which swings hard even during the Latin sections. The groove is miles and miles deep. He could play two non-surprise: the arrangements for his vocals are first disc is traditional sounding without being a rehash of notes and it could hit you deeper than some others rate. Then there’s the superb play list and sequencing, classic styles. players can do over the course of a whole album. I varying styles and rhythms. Every one will find several guess a great groove is something you either have or favorites. don’t, and if groove were water, you’d have to go to his This reviewer’s choices are “This Masquerade,” concerts with scuba gear. It is no secret why this 28 year “Laura,” “Speak Low,” “My Foolish Heart,” “A Time old has been hired by artists like Terence Blanchard, Patti for Love,” and, naturally enough, the title track, “My Austin, Lisa Stansfield, , Chaka Khan, the Shining Hour.” That makes up a majority of the tunes, Brooklyn Tabernacle Choir, and Gretchen Parlato. all of them done up just to the liking, swing, Latin, Of the ten tracks, all are originals except for “Walk ballad. The big-band sound makes for plenty of sound, with Me” which is a traditional gospel. When you press plenty of dynamism, never overpowering the vocals. play, you will here some very intense African music, but This is by no means to sell short tunes like “I Keep by the time you get to the end, you’ll have heard gospel, Going Back to Joe’s” or “Bean” or “Bluesette.” Michael Olatuja R&B, soul, funk and straight ahead jazz. For the most Oster’s voice is right there in the category of SPEAK — ObliqSound BD005. Web: www. part, Olatuja plays electric bass, but he can also play a Kenny Rankin (Oster has a bit more soul) Bobby stand up when the situation calls for it. Caldwell (Oster is, well, a tad less smooth), Al obliqsound.com/backdrop. Ma Foya; Altar Call; Olatuja, who also produced the album, invited Jareau (Oster can scat with the best of them), and Hold On;Little Sister; Le Jardin; Yi Yipada; a huge array of guest singers and musicians to play George Benson (not much guitar on these tracks, Unconditional;Speak; Walk With Me; Mama Ola PERSONNEL: Michael Olatuja, electric and acoustic on the album, and it makes sense when one considers notwithstanding the excellent comping and solo work the stylistic breadth of the album. Some of the singers of Randy Vincent). Saxophones dominate– taking bass, Fender Rhodes; Lynden Davis Hall, vocals (1,3); Andrew Roachford, vocals (3); Terri Walker, vocals include Eska Mtungwazi, Andrew Roachford, Terri most of the solos here, and that’s more than fine, with (4); TY, spoken word (8); Onaje Jefferson, vocals Walker, Onaje Jefferson, his wife Alicia Olatuja and an almost full complement of alto, tenor, baritone (no (5); Eska Mtungwazi, vocals; Alicia Olatuja, vocals neo-soul artist Lynden David Hall. Some of the soprano). (5,7,9); Fami Temowo, guitar; Troy Miller, drums musicians include guitar wiz Femi Temowo, Jean “This Masquerade” comes right out of exotica, (3,6,7,9,10); Jerry Brown, drums (2,4,5,8); Jason Toussaint, Jason Rebello and many more. a nice sense of clave throughout, emphasized by brass Rebello, piano, Fender Rhodes, Moog (1,6,9,10); Olatuja is not only a great composer, but also and piano.“Laura” swings like never before. “Young Jean Toussant, soprano sax (10); Isaach Aryee, Fender an inspired lyricist. His songs speak of love and and Foolish” features Vincent’s warm and romantic Rhodes, organ (2-4); Luke Smith, keyboards (5); hope, while often reflecting his roots in the church. guitar work–just the right choice for the ballad feel. Jason Michael Webb, keyboard (7); Thomas Dyani As diverse as the album gets, his bass sound and “Speak Low” is done with full big-band arrangement, Akuru, percussion (1); Anyan Leke, talking drum, distinct sense of time are always consistent, and are capturing the Latin mood in the AB sections, then (1); Volker Strater, percussion (6); Richard Temowo, always the propelling force of the music. His roots in swinging out at the Bridge and then maintaining that backing vocals (1-4,6,8); Anna Omakinwa, backing African music, gospel, R&B, and Jazz have combined tempo for the piano solo. vocals (1-4,6,8); Sewuese Abwa, backing vocals (2,4,8); beautifully on this debut album, Speak “My Foolish Heart” is done up true to the Brendon Guyatt, backing vocals (2,4,8); Heidi vogel, lyrics– vocal and piano, rendered tenderly, meaning backing vocals (2,4,8); Rasiyah, backing vocals (2,4,8); and feeling combining. “A Time for Love” seems like Sky, backing vocals (4) an ideal sound track for any number of cinematic love scenes, underscored by Peter Welker’s soft By Cathy Gruenfelder flugelhorn soon joined by strings. It’s so reassuring to feel, to hear that vocalist and musicians understand Recorded between 2003 and 2004, British/ the lyrics and want to, care to interpret them. Nigerian bassist Michael Olatuja is finally releasing There is plenty of what are thought of as more traditionally jazz instrumentals, arranged here to his debut album, Speak. When you hear this album, you’ll immediately think, “Why the wait?!” Olatuja’s satisfy the most discriminating all-around musician. OSTER /WELKER JAZZ What is telling here is that Oster is a musician himself, ALLIANCE which, alas, can’t be said of all self-proclaimed jazz vocalists. He knows his music and musicianship, and SHINING HOUR–Jazzed Media, P.O. Box 270346 it shows. Littleton, CO 80127, Sweet Pumpkin; Sophisticated Lady; This Masquerade; Laura; I Keep Going Back to Joe’s; Bean; Young and Foolish; Speak Low; My Shining Hour; My Foolish Heart; Groovin’ High; Blusette; A Time for Love. PERSONNEL: Jeff Oster, vocals; Peter Welker and Michael Whitwell, trumpet, flugelhorn; , Mel Martin, Rob Roth, Scott Petersen, Johnny Two for the Show Media offers special, one-on-one Barnett, sax; Peter Levin, B3 organ; Dave Matthews, attention to the Jazz artist and their personal campaigns. Matt Clark, Fred Lipsius, piano; Rand Vincent, Our experience includes publicity, concert promotion, Phishbacher artist development, and marketing. We have guitar; Chris Amberger, bass; Kevin Dillon, rums; established media contacts (print, radio, and Louis Romero, percussion. PROVE THAT!—Lofish Music. Web: www. television) and we have the ability and know-how to lofish.com. effectively translate our client’s goals. Decisions; Loopish; Cats; Mellow Moon By Bob Gish Moaning; Will You Still Be Mine; Prove That; I Want Call Chris DiGirolamo: 914-346-8677 You; Straight, No Chaser; Rabbitz in Space www.twofortheshowmedia.com Jeff Oster can sing. No surprise there. Another PERSONNEL: Walter Fischbacher, keys; Thomas

76 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 CD REVIEWS • CD REVIEWS • CD REVIEWS

Siffling, trumpet; Evan Gregor, bass; Joel Rosenblatt, drums; Axel Fischbacher, guitar (track 5); Elisabeth Lohninger, vocals (track 5); Bernhard Ullrich, tenor sax (track 2, 8); Christian Howes, violin, cello (track 4); Christopher Marion, violin (track 4)

By Cathy Gruenfelder

Prove That!is Walter Fischbacher’s seventh release as a leader, and it is full of a diverse array of wonderful moments. The New York based keyboardist and producer moved here from Austria in 1994, although he has continued to tour Europe ever since. This album takes us from Acid-Jazz to modern odd-meter stuff to fusion, to the unidentifiable. Phish goes back and forth from acoustic piano to all sorts of synthesized sounds, all in good taste, and never sounding cheesy. Along with six originals, he completely re-defines the Beatles’ “I Want You,” and Thelonious Monk’s “Straight, No Chaser.” A ninth tune is contributed by singer Elisabeth Lohninger entitled “Will You Still Be Mine.” The album begins with a medium tempo groove oriented number entitled “Decisions.” Phish records layers of different keys sounds, and the melody sounds as if it’s in an odd meter, although the groove is in 4/4. His acoustic piano playing sits behind the beat in a very funky way. “Loopish” is a more straight ahead Latin blues style tune. German trumpeter Thomas Siffling takes an intense solo. “Cats” is a medium/slow tempo number that features gorgeous playing throughout. Phish again moves through an array of keyboard sounds, creating various moods within the song. “Mellow Moon Moaning” begins with a gorgeous but melancholy arpeggiated chord progression that Siffling plays over beautifully. The piece develops in quite an epic fashion with the help of violins and cellos. Lohninger’s piece “Will You Be Mine” stands alone on the record, in terms of style. It has a sort of pop-rock drum beat, some tasty lines from Phish, and an ‘easy listening’ melody and lyric combination from Lohninger. Phishbacher’s playing has a lot of similarity to Brad Mehldau in his rhythmic approach and sense of phrasing. This is apparent on the title track “Prove That!” which features many cool twists and turns over the funky beat and interesting set of changes. Phishbacher goes from acoustic piano to his synth and Siffling puts some wah on his trumpet. “Rabbitz in Space” is pure acid jazz with its ‘drum & bass’ style beat and reverb drenched vocal loops where the title of the tune is repeated at various points. Nevertheless, as with all the songs, Phish offers some intense improvisations. Prove That! is the work of a very diverse and multi- faceted composer and musician. Some tracks can serve as dance music, some for relaxation, and others for serious straight-ahead listening.

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 77 CD REVIEWS • CD REVIEWS • CD REVIEWS

www.jasonrigby.net. Magenta; Crux; Shift of Color; Rigby commented that at the time he was developing The Sage; Tone Poem; Slip; The Archer; Jealous Moon. the concept for his second recording as a leader, The PERSONNEL: Jason Rigby, tenor & soprano Sage, he was listening a lot to Miles Davis’ Miles at the saxophones, flute; Russ Johnson, trumpet; Mike Fillmore. Even without the benefit of that revelation, Holober, rhodes; Cameron Brown, bass; Gerald upon hearing The Sage the influence of Miles’ mid to Cleaver, drums. late sixties music is apparent. Despite this The Sage favorably documents Rigby’s distinguishable concept By Ronald Lyles without succumbing to the trap of merely trying to JASON RIGBY update the sound of what he was listening to. In an interview recently published in Jazz In addition to Rigby’s own creativity, the success THE SAGE – Fresh Sound New Talent FSNT 328. Improv NY, New York based saxophonist Jason of his concept on The Sage is equally attributable to the sympathetic members of the quintet. Trumpeter Russ Johnson is impressive throughout. His lack of a significant audible debt to Miles Davis is critical to limiting the comparisons of the recording to Miles’ music and the range of his sound and ideas are consistently attention grabbing. Pianist Mike Holober plays Rhodes [electric piano] exclusively and is indispensable to the overall texture of the music. Bassist Cameron Brown and drummer Gerald Cleaver make a strong connection as a rhythm tandem. Rigby composed all eight titles on the recording. The focus of the compositions is less about melody or themes and more about creating open and loose soundscapes with occasional hints of the avant garde. The opening track, “Magenta”, combines an Ornettish theme with the Milesian texture of the music. Brown provides a very quick and flexible pulse while Cleaver thrashes away pushing the soloists. Here we get our first glimpse of Rigby’s tenor playing. Like many his sound comes out of the Coltrane lineage, but where others stop at the Classic Quartet, Rigby sounds like he also listened to late period Coltrane. He combines a slightly hard tone and a willingness to approach the extremes without ever fully committing to an entirely free approach. Never settling on simply paint peeling blowing, Rigby always sounds to be trying to construct organized solos with a definite destination. “Crux” has a similar approach to the preceding track and again favorably features Rigby on tenor as well as a fine solo from Johnson. Considering the preceding two tracks, “Shift of Color” is appropriately placed in the program. It has a slow and gentle flow with Rigby on flute. The only soloist is Holober, who explores some of the sounds and textures the Rhodes is capable of producing. Throughout the disc Holober is attentive to the Rhodes’ range of colors as opposed to adopting a solely pianistic approach to the instrument. “The Sage” reveals another potential parallel to Rigby’s concept as it hints to the music produced

78 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 CD REVIEWS • CD REVIEWS • RochCD REVLockyerIEWS “Nondirectional is notable not only for by trumpeter Dave Douglas’ quintet with similar plays his most pianistic solo on the Rhodes exhibiting Lockyer’s thoughtful solos and original instrumentation. It starts with an introduction played a commendable flow of ideas. voice on the guitar but for his intriguing by Cleaver alone until eventually it becomes a duet “The Sage” is an impressive recording that pushes the compositions…improvisations develop between Cleaver and Johnson. Johnson’s slightly edges while remaining accessible to most listeners. It logically...a surprising amount of variety... grainy sound resembles that of Douglas, which will be interesting to see whether Rigby continues to versatility in his playing....excellent modern adds to the similarities in the music. Eventually the develop the concept heard on this recording, but for tune settles into a groove and Holober and Rigby now The Sage can be recommended to those interested jazz set...” —Scott Yanow contribute solos. On the three minute “Tone Poem”, in stepping slightly beyond the mainstream. Rigby and the band minus Johnson play some subtle free form over skittering brush work from Cleaver. Like many of the tunes “Slip” starts with an introduction by members of the rhythm section before the tune settles in and the horns emerge. Brown plays Booking: a nimble bass vamp accented by Cleaver. This and the Roch Lockyer later “Jealous Moon” feature Rigby on soprano. Unlike 408-483-4858 his tenor playing, his approach on soprano sounds to www.rochlockyer.com be more influenced by Wayne Shorter than Coltrane. The latter tune features his strongest statement on the soprano as he patiently solos in the middle range of JIMMY RUSHING the instrument. THE SCENE LIVE IN NEW YORK–Highnote “The Archer” while similar to most of the other Records, Inc. 106 West 7th Street, New York, NY tracks in mood, possibly contains the most impressive 10023. www.jazzdepot.com. Deed I Do; Gee Baby solos by all three of the primary soloists. Johnson solos Ain’t I Good to You; I Can’t Believe That You’re in Love first and engages in a manipulation of sound that is With Me; I Want a Little Girl; The Red Door; Goin’ to fascinating. Rigby’s statement is the best example of Chicago; I Cried for You; Everyday I Have the Blues; his emphasis on structure during his solo. He focuses It’s Noteworthy; Good Morning Blues. on several phrases or group of notes that he mulls over PERSONNEL: Jimmy Rushing, vocal; Zoot Simms, and reworks in an engaging manner. Finally, Holober tenor saxophone; Al Cohen, tenor saxophone; Dave Free live jazz on the upper eastside!! Tuesdays through Fridays 7:30-10:30pm

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To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 79 NEW! Frishberg, piano; Major Holley and John Beal, bass; Nidre; Ol’ Man River; Dream Haiku; She Is Standing; The Fred Taylor Trio-Live At Cecil’s! Mousy Alexander, drums. El Silencio; Walk In Beauty; A Quiet Thing. Volume 1 PERSONNEL: Lisa Sokolov, vocals, piano; Todd By Bob Gish Reynolds, violin; Cameron Brown, bass; Gerry Hemingway, drums; John DiMartino, piano; Jake Jimmy Rushing not only knows the blues, he is Sokolov-Gonzalez, cello; , electric bass. the blues. From the very first track on this live scene recording he stands his ground and delivers the real By Matt Marshall stuff. “Deed I Do” seems like an affirmation for the entire scene. “Do I know the blues?” Rushing seems to There’s no question that Lisa Sokolov has a ask. “Deed I do. Deed I do,” is the soulful reply. And distinctive style of singing. At its best it has a Shirley listeners need Rushing to remind them that the real Horn-like quality of late-hour conversation, its thing still exists and can be found here in a recording significance heightened by darkness and spirits. At CCR-FT-4_1 full of all the energy and excitement of hearing these its worst it contains all the overblown theatrics you’d The intuitive trio in action wonderful old tunes being sung by a master. expect in a Saturday Night Live “jazz singer” skit. The on a 2-disc CD and DVD set The personnel are top notch too, of course–an latter roars it’s ugly head on most of the standards Now available on www.cdbaby.com all-star lineup of long established jazz men who all on this set, with Sokolov’s phrasing stretched into so or direct from: Fred Taylor Music have a stellar discography of their owl. “Gee Baby many ridiculous dives and growls it’s hard to know $15.00 check or money PO Box 1676 Ain’t I Good to You,” indeed! The beneficence whether to laugh or grimace. Her best work comes order postpaid Mukilteo WA 98275-7876 abounds here for the audience. Good times. Good on the originals and lesser-known tunes, which she Critical Praise for Circling music with that bluesy feeling permeating every doesn’t feel as compelled to brand with her uniquely “ .... a satisfying disc worthy of repeated listening.” aspect of the project. The asides and passing remarks searing treatment. The traditional Yom Kippur prayer John Vincent JazzReview.com April 2009 by Rushing and the band add to the ambiance and to “Kol Nidre” is the highlight, with Sokolov mimicking “... Crane, Taylor and Ackerman... play as one living breathing entity throughout Circling...” the groove. Banter couldn’t be better than it is here the swoons of her son Jake’s cello with harrowing, Dave Miele, Jazz Improv Magazine January 2009 as it is in jazz generally. open-vowel pleas. “ ... the spare, piano-less trio on (Fred’s) new CD o ers ample room for three skillful players All the tunes are oldies. All of them just great. “I to ply their artful trade. ” New Jersey Jazz Society 'Jersey Jazz' Can’t Believe” is a virtual choir of chatter, lyrics, great December 2008 jazz solos, and wonderful lines by the likes of Zoot. “I Want a Little Girl” is a jewel. “Just a little girl to love www.fredtaylormusic.com www.sonicbids.com/fredtaylordrummer a lot.” Yes indeed. Rushing can make the politically www.myspace.com/fredtaylordrummer incorrect not just palatable but down right tasty. That email: [email protected] little girl might not have the looks, the lyrics go, but man she can cook! And cook is just what this group of veteran jazz musicians does. There’s not a loser in the lot. “Goin’ to Chicago,” “I Cried for You,” “Everyday I Have the Blues,” and, EMILIO TEUBAL TM of course, “Good Morning Blues.” A bluesman like & More... UN MONTON DE NOTAS—Not Yet Records. Rushing can sing about Chicago while in New York Web: www.emilioteubal.com. Ping Pong; Before the naturally enough in that the blues, and the journeys Outerspace; X-Cetera (After); Un Monton de Notas; explicitly and implicitly stated make for a universal El Amanecido; Baguala; (T) La Arania ’08; A La The Singers Center trip. “Hurry down sunshine and see what tomorrow Pantalla A; Coda An educational/performance center where singers learn, brings.” PERSONNEL: Emilio Teubal, piano, Fender network, & perform any style of contemporary music. To be sure, blues lyrics are so profoundly simple JazzTimes featured The Singers Center in an article on Rhodes, accordion; Xavier Perez, soprano and tenor that they say it all. And Rushing infuses each word the Best Jazz Music Schools. saxophone, flute; Felipe Salles, soprano & tenor with that special vocal meaning. “You’ve got my brand saxophone, bass clarinet, flute; Moto Fukushima, of honey. Guess I’ll have to put up with you.” Rushing WORKSHOPS & electric bass; Franco Pinna, drums, bombo leguero; makes it all drip, man. Sweet and sad it is– sweet and ONLINE CLASSES Kobi Solomon, clarinet; Ivan Barenboim, clarinet; sad. Rushing proclaims, “Anybody asks you who sang Greg Heffernan, cello; Marcelo Woloski, percussion, VOCAL JAZZ PROGRAM this song, tell ’em little Jimmy Rushing . . . he’s been hand clapping THE GIG SERIES here and gone.” Ah, but he’s with us eternally thanks to wonderful THE RECORDING SERIES By Cathy Gruenfelder POP & MORE PROGRAM recordings such as The Scene Live in New York. Director: VOCAL JAZZ MASTER SEMINARS Un Monton de Notas is the work of a musician Grace Testani INDIVIDUAL STUDY whose sound reflects his biography. Teubal was born Faculty: NYU-SCPS in Madrid in 1976 to parents who were exiled from Certified Business & BUSINESS OF MUSIC Life Coach & MORE... Argentina due to the dictatorship at that time. From FREE webinars on Spain, he moved to England for a year, then to Mexico Social Networking, Painless Accounting & more... City for five years, before finally returning to the city that gave birth to the Tango in 1984. At that time, 212-222-6632 the nine year old Emilio began studying piano. After [email protected] graduating from the National Conservatory of Buenos www.SingersCenter.com LISA SOKOLOV Aires, where he studied composition, arranging and PO Box 229 Cathedral Sta, NY, NY 10025 orchestration, he became an active performer in the A QUIET THING — www.laughinghorserecords. jazz and tango scene of Buenos Aires until 1999, a division of Grace Notes Music com My One and Only Love; Succotash; You Go To when he moved to New York to earn his BFA at City Thanks to CreativeComputingCenter.com My Head; You’re All I Need To Get By; Lush Life; Kol Continued on Page 49

80 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Steve Maxwell vintage and CuStoM druMS 410 S. Michigan Ave. Ste 802 Chicago, IL. 60605 • 312-360-9881 723 7th Ave. • 3rd Floor New York, NY. 10019 • 212-730-8138 intage a ur v nd Steve’s cell: 630-865-6849 yo rum sp Our Manhattan location is only a short distance from m d ecia www.maxwelldrums.com where Frank Ippolito had his great shop, which was where to li s st Steve studied with Papa Jo Jones back in the early 70s and u s where he got his first glimpse of the beauty of custom c

drums from Al Duffy, who was truly the first custom drum builder and a mainstay at Frank’s shop. We’re proud to be in Manhattan and we hope to carry on the tradition MANHATTAN of the great shops like Frank’s. and CHICAGO NEW: Effective April 1, Willie Martinez joins our staff heading up our new repair department. Willie is Our Manhattan shop is located at 723 the best in the business and his name is known all over 7th Ave. 3rd floor. We’re right at the Manhattan. Repair shop is open, so come on down and let us help you with your gear. corner of 7th avenue and 48th street, which is known as “music row” in Our new shOp includes: Manhattan. Our NYC manager is Jess craviOttO: World’s largest selection of Craviotto one-ply snares and drum sets Birch and he and Steve will both be at vintage: Extensive inventory of high end vintage the shop. Steve is in the Chicago store snare drums, sets and cymbals on Saturdays. MuseuM: A showcase for some of the rarest and historic sets and snares. gretsch: USA Custom drums in bebop sizes made famous by the 60s era jazz greats and including our Gretsch Vintage Tribute kits available only through us. True vintage build out with rail consolette and even burgundy sparkle among other colors. cyMbals: Istanbul, Bosphorus, Zildjian, Old As, Old Ks, Dream and our own Turkish made Session cymbals · All of the great sticks, heads, hardware, bags, etc that we offer.

At our Manhattan store (all items are available for sale): · Gene Krupa’s late 30s radio King snare drum · Rare Slingerland black beauty snare drum. One of only 12 known. · Rare Gretsch cadillac nitron green 50s era 3 ply kit

practice space: Our NY store has drum set practice available for rent on an hourly basis. Call 212- 730-8138 for details! teaching studiO: Ron Tierno has relocated his long standing teaching studio to our shop. Call Ron directly at 646-831-2083 for lesson information and visit his site at www.nydrumlessons.com new! We now have our brand new vintage style Rail Consolette tom holder assembly in stock. Check it out on the website and in our stores.

stOre hOurs: (chic): sat: 10–4 Other hours by appointment (nyc): Mon-sat : 11–7 sun: closed Manager: Jess birch WORLD’S FINEST JAZZ CLUB & RESTAURANT 131 W. 3RD ST NYC 212-475-8592 WWW.BLUENOTEJAZZ.COM

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