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CelebratingCelebrating TheThe 65th65th NewportNewport JazzJazz FestivalFestival WithWith AA 2424--PagePage PhotoPhoto GaryGary RetrospectiveRetrospective ofof TheThe 50th50th NewportNewport FestFest

BartzBartz Comprehensive AnotherAnother Earth,Earth, 5050 YearYear AnniversaryAnniversary DirectoryDirectory of NY ClubS, ConcertS NewportNewport JazzJazz Festival,Festival, AugustAugust 22--44

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Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) June-July 2019 – Volume 10, Number 2

Cover Photo of Gary Bartz by Eric Nemeyer Photo at right of Gary Bartz by Ken Weiss

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

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CONTENTS INTERVIEWSINTERVIEWS 39 Celebrating the 2019 Newport Jazz Visit these websites: CLUBS, CONCERTS, EVENTS 64 Gary Bartz by Ken Weiss Festival with A Photo Retrospective of JazzStandard.com 31 Calendar of Events 5 24-Page Pullout Pinup Jazz Photo the 50th Newport Fest Jazz.org 36 Clubs & Venue Listings Calendar For 2019-2020 JJBabbitt.com

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Thomas Jefferson Jefferson Thomas

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“Good is more character to be praised than outstanding talent. Most talents are, to some extent, have to by contrast, is not givenbuild it piece by to us. piece We a gift. Good character, determination.” and courage choice, thought, “Be more concerned with your character than your reputation, because your characteris what you really while are, your reputation is merely what others think you are.” — To Advertise CALL: 215-887-8880 June-July 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 15 16 June-July 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

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CALENDARCALENDAR OFOF EVENTSEVENTS

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 The VI Jazz Collective; Dizzy’s Club, Jazz At Lincoln Center, Saturday, June 1 60th & Bdwy  Danny Barker; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Roy Haynes; Blue Note, 131 W. 3rd St. Bdwy

Tuesday, June 11 Sunday, June 2  Christian McBride Big Band; Dizzy’s Club, Jazz At Lincoln  Georgia Horns; Dizzy’s Club, Jazz At Lincoln Center, 60th & Center, 60th & Bdwy Bdwy  Roy Haynes; Blue Note, 131 W. 3rd St.

Monday, June 3 Wednesday, June 12  JALC Youth Orchestra with Ingrid Jensen; Dizzy’s Club, Jazz  Christian McBride Big Band; Dizzy’s Club, Jazz At Lincoln At Lincoln Center, 60th & Bdwy Center, 60th & Bdwy  Roy Haynes; Blue Note, 131 W. 3rd St. Tuesday, June 4  Kenny Werner Trio; Dizzy’s Club, Jazz At Lincoln Center, Thursday, June 13 60th & Bdwy  Christian McBride Big Band; Dizzy’s Club, Jazz At Lincoln  James Francies Flight With Special Guests Bilal(4/4) & Kate Center, 60th & Bdwy K-S (4/5); Blue Note, 131 W. 3rd St.  Martin Family: Terrace Martin & Curly Martin With Larry Goldings; Blue Note, 131 W. 3rd St. Wednesday, June 5  Kenny Werner Trio; Dizzy’s Club, Jazz At Lincoln Center, Friday, June 14 60th & Bdwy  Christian McBride Big Band; Dizzy’s Club, Jazz At Lincoln  James Francies Flight With Special Guests Bilal(4/4) & Kate Center, 60th & Bdwy K-S (4/5); Blue Note, 131 W. 3rd St.  Martin Family: Terrace Martin & Curly Martin With Larry Thursday, June 6 Goldings; Blue Note, 131 W. 3rd St.  Hillary Gardner, Ehud Asherie; Dizzy’s Club, Jazz At Lincoln Saturday, June 15 Center, 60th & Bdwy  Christian McBride Big Band; Dizzy’s Club, Jazz At Lincoln  Joey Alexander Trio Featuring Larry Grenadier & Kendrick Center, 60th & Bdwy Scott; Blue Note, 131 W. 3rd St.  Martin Family: Terrace Martin & Curly Martin With Larry Goldings; Blue Note, 131 W. 3rd St. Friday, June 7 Sunday, June 16  Dion Parson & 21st Century Band; Dizzy’s Club, Jazz At  Christian McBride Big Band; Dizzy’s Club, Jazz At Lincoln Lincoln Center, 60th & Bdwy Center, 60th & Bdwy  Joey Alexander Trio Featuring Larry Grenadier & Kendrick  Martin Family: Terrace Martin & Curly Martin With Larry Scott; Blue Note, 131 W. 3rd St. Goldings; Blue Note, 131 W. 3rd St.  Monday, June 17  Chico Pinheiro Quartet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Saturday, June 8  Tuesday, June 18  Dion Parson & 21st Century Band; Dizzy’s Club, Jazz At  Scottish National Jazz Orchestra; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Lincoln Center, 60th & Bdwy  Joey Alexander Trio Featuring Larry Grenadier & Kendrick  Dizzy Gillespie Afro Cuban All-Stars; Blue Note, 131 W. 3rd Scott; Blue Note, 131 W. 3rd St. St.

Sunday, June 9 Wednesday, June 19  Dion Parson & 21st Century Band; Dizzy’s Club, Jazz At  Scottish National Jazz Orchestra; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Lincoln Center, 60th & Bdwy  Joey Alexander Trio Featuring Larry Grenadier & Kendrick  Dizzy Gillespie Afro Cuban All-Stars; Blue Note, 131 W. 3rd Scott; Blue Note, 131 W. 3rd St. St.

Monday, June 10 Thursday, June 20 (Continued on page 32)

To Advertise CALL: 215-887-8880 June-July 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 31  Christian McBride's Tip City; Dizzy’s Club, Jazz At Lincoln  Jonathan Michel; Empirical; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Sunday, June 23 Center, 60th & Bdwy  Lisa Fischer & Grand Baton; Blue Note, 131 W. 3rd St.  Christian McBride's Tip City; Dizzy’s Club, Jazz At Lincoln  Bad Plus; Jazz Standard, 116 E. 27th St. Center, 60th & Bdwy  Spike Wilner Trio; Josh Evans Quintet; Small's, 183 W. 10th  Lisa Fischer & Grand Baton; Blue Note, 131 W. 3rd St. St. Friday, June 21  Peter Lin TNT Quartet CD Release; Django Reinhardt Festi- val: Samson Schmitt, Pierre Blanchard and more!; Birdland,  Christian McBride's Tip City; Dizzy’s Club, Jazz At Lincoln 315 W. 44th St. Center, 60th & Bdwy Monday, June 24 Savion Glover; Blue Note, 131 W. 3rd St.  Lisa Fischer & Grand Baton; Blue Note, 131 W. 3rd St.  Randy Napoleon's Midwest Guitar Legacy: Grant Green, Wes  Montgomery, Kenny Burrell; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Saturday, June 22  Savion Glover; Blue Note, 131 W. 3rd St. Wednesday, June 26 François Bourassa Quartet; Empirical; Dizzy’s Club, Jazz At  Christian McBride's Tip City; Dizzy’s Club, Jazz At Lincoln  Center, 60th & Bdwy Lincoln Center, 60th & Bdwy Bad Plus; Jazz Standard, 116 E. 27th St.  Lisa Fischer & Grand Baton; Blue Note, 131 W. 3rd St. Tuesday, June 25   Myron Walden Quintet; Miles Tucker Quartet; Mimi Jones and The Lab Session; Small's, 183 W. 10th St.  David Ostwald's Louis Armstrong Eternity Band; Charnett Moffett's Bright New Day: CD Release; Birdland, 315 W. 44th St.  Savion Glover; Blue Note, 131 W. 3rd St.

Thursday, June 27  Sean Jones, Dizzy Spellz; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Bad Plus; Jazz Standard, 116 E. 27th St.  Myron Walden Quintet; Simona Premazzi Quintet; Malick Koly "After-hours"; Small's, 183 W. 10th St.  Pete Malinverni Trio; Birdland, 315 W. 44th St.  Kenny G; Blue Note, 131 W. 3rd St.

Friday, June 28  Sean Jones, Dizzy Spellz; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Bad Plus; Jazz Standard, 116 E. 27th St.  Ethan Iverson Quartet - Tom Harrell, trumpet; Ethan Iverson, piano; Ben Street, bass; Eric McPherson, drums; Village Vanguard 178 7th Ave S.  Mike Boone Quartet; Victor Gould Sextet; JD Allen "After- hours"; Small's, 183 W. 10th St.  Birdland Big Band; Paul McCandless with Charged Particles; Django Reinhardt Festival: Samson Schmitt, Pierre Blanchard and more!; Birdland, 315 W. 44th St.  Kenny G; Blue Note, 131 W. 3rd St.

Saturday, June 29  Sean Jones, Dizzy Spellz; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Bad Plus; Jazz Standard, 116 E. 27th St.  Ethan Iverson Quartet - Tom Harrell, trumpet; Ethan Iverson, piano; Ben Street, bass; Eric McPherson, drums; Village Vanguard 178 7th Ave S.  Mike Boone Quartet; Victor Gould Sextet; Philip Harper Quintet; Small's, 183 W. 10th St.  Paul McCandless with Charged Particles; Django Reinhardt Festival: Samson Schmitt, Pierre Blanchard and more!; Birdland, 315 W. 44th St.  Kenny G; Blue Note, 131 W. 3rd St.

Sunday, June 30  Sean Jones, Dizzy Spellz; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Bad Plus; Jazz Standard, 116 E. 27th St.  Jennifer Wharton's BONEGASM; Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.  Kenny G; Blue Note, 131 W. 3rd St.

(Continued on page 34)

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HankHank JonesJones NewportNewport JazzJazz FestivalFestival AugustAugust 14,14, 20052005

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To Advertise CALL: 215-887-8880 June-July 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 33 bass; Obed Calvaire, drums; Village Vanguard 178 7th Ave Monday, July 1 S.  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Tad Shull Quartet; David Gibson Quintet; Small's, 183 W.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. 10th St.  Jonathan Michel Quartet; Joe Farnsworth Trio; Small's, 183  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St. W. 10th St.  Dirty Dozen Brass Band; Blue Note, 131 W. 3rd St.  Yoko Miwa Trio; Birdland, 315 W. 44th St.  Maurice Mobetta" Brown & Friends; Blue Note, 131 W. 3rd St. Monday, July 8  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Joel Frahm Trio; Rodney Green Quartet; Small's, 183 W. Tuesday, July 2 10th St.  Dr. Lonnie Smith Trio; Jazz Standard, 116 E. 27th St.  Steven Feifke; Birdland, 315 W. 44th St.  Linda May Han Oh - Ben Wendel, saxophone; Matthew  Gratitude: Members Of Earth Wind & Fire; Blue Note, 131 W. Stevens, guitar; Fabian Almazan, piano; Linda May Han Oh, 3rd St. bass; Obed Calvaire, drums; Village Vanguard 178 7th Ave S.  Robert Edwards Quintet; Buzz Donald & Friends; Small's, Tuesday, July 9 183 W. 10th St.  Allan Harris; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Veronica Swift with the Emmet Cohen Trio; Birdland, 315 W. Bdwy 44th St.  Ari Hoenig Quartet; Jazz Standard, 116 E. 27th St.  Dirty Dozen Brass Band; Blue Note, 131 W. 3rd St.  Justin Robinson Quartet; Abraham Burton Quartet; Small's, 183 W. 10th St.  Freddy Cole Quartet; Birdland, 315 W. 44th St. Wednesday, July 3  Ron Carter Quartet; Blue Note, 131 W. 3rd St  Dr. Lonnie Smith Trio; Jazz Standard, 116 E. 27th St.  Linda May Han Oh - Ben Wendel, saxophone; Matthew Stevens, guitar; Fabian Almazan, piano; Linda May Han Oh, Wednesday, July 10 bass; Obed Calvaire, drums; Village Vanguard 178 7th Ave  Christoph Carlos, Eduard Schmitz; Dizzy’s Club, Jazz At S. Lincoln Center, 60th & Bdwy  Tuomo Uusitalo Trio feat. Chris Cheek; Francisco Mela &  Ulysses Owens; Jazz Standard, 116 E. 27th St. MPT Trio; Charles Blenzig "After-hours"; Small's, 183 W. 10th  Josh Lawrence "Color Theory"; Jay Rodriguez Trio; Small's, St. 183 W. 10th St.  Veronica Swift with the Emmet Cohen Trio; Birdland, 315 W.  Freddy Cole Quartet; Birdland, 315 W. 44th St. 44th St.  Ron Carter Quartet; Blue Note, 131 W. 3rd St.  Dirty Dozen Brass Band; Blue Note, 131 W. 3rd St. Thursday, July 11 Thursday, July 4  Quiana Lynell; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Dr. Lonnie Smith Trio; Jazz Standard, 116 E. 27th St. Bdwy  Linda May Han Oh - Ben Wendel, saxophone; Matthew  Billy Childs; Jazz Standard, 116 E. 27th St. Stevens, guitar; Fabian Almazan, piano; Linda May Han Oh,  Chip White Dedications Sextet; Asaf Yuria Exorcisms Sextet; bass; Obed Calvaire, drums; Village Vanguard 178 7th Ave Mimi Jones and The Lab Session; Small's, 183 W. 10th St. S.  Freddy Cole Quartet; Birdland, 315 W. 44th St.  Gilad Hekselman Trio; Luke Sellick Quartet; Malick Koly  Ron Carter Quartet; Blue Note, 131 W. 3rd St. "After-hours"; Small's, 183 W. 10th St.  Nancy Kelly: Remembering Mark Murphy; Veronica Swift with the Emmet Cohen Trio; Birdland, 315 W. 44th St. Friday, July 12  Dirty Dozen Brass Band; Blue Note, 131 W. 3rd St.  Eddie Henderson; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Billy Childs; Jazz Standard, 116 E. 27th St. Friday, July 5  Sylvia Cuenca Quartet; E.J. Strickland Quintet plus Aimee  Dr. Lonnie Smith Octet; Jazz Standard, 116 E. 27th St. Allen; Wallace Roney Jr. "After-hours"; Small's, 183 W. 10th  Linda May Han Oh - Ben Wendel, saxophone; Matthew St. Stevens, guitar; Fabian Almazan, piano; Linda May Han Oh,  Freddy Cole Quartet; Birdland, 315 W. 44th St. bass; Obed Calvaire, drums; Village Vanguard 178 7th Ave  Ron Carter Quartet; Blue Note, 131 W. 3rd St. S.  Marshall McDonald Jazz Project; Wayne Escoffery & Tenor Traditions; Corey Wallace DUBtet "After-hours"; Small's, 183 Saturday, July 13 W. 10th St.  Eddie Henderson; Dizzy’s Club, Jazz At Lincoln Center, 60th  Veronica Swift with the Emmet Cohen Trio; Nancy Kelly: & Bdwy Remembering Mark Murphy; Birdland, 315 W. 44th St.  Billy Childs; Jazz Standard, 116 E. 27th St.  Dirty Dozen Brass Band; Blue Note, 131 W. 3rd St.  Sylvia Cuenca Quartet; E.J. Strickland Quintet plus Aimee Allen; Brooklyn Circle; Small's, 183 W. 10th St.  Freddy Cole Quartet; Birdland, 315 W. 44th St. Saturday, July 6  Ron Carter Quartet; Blue Note, 131 W. 3rd St.  Dr. Lonnie Smith Octet; Jazz Standard, 116 E. 27th St.  Linda May Han Oh - Ben Wendel, saxophone; Matthew Stevens, guitar; Fabian Almazan, piano; Linda May Han Oh, Sunday, July 14 bass; Obed Calvaire, drums; Village Vanguard 178 7th Ave  Jeremy Bosch; Dizzy’s Club, Jazz At Lincoln Center, 60th & S. Bdwy

Jazz Lovers’  Billy Mintz Band; Wayne Escoffery & Tenor Traditions; Philip  Billy Childs; Jazz Standard, 116 E. 27th St. Harper Quintet; Small's, 183 W. 10th St.  Grant Stewart Quartet; Nick Hempton Band; Small's, 183 W.  Nancy Kelly: Remembering Mark Murphy; Veronica Swift with 10th St. the Emmet Cohen Trio; Birdland, 315 W. 44th St.  David Berger Jazz Orchestra; Afro Latin Jazz Orchestra;  Dirty Dozen Brass Band; Blue Note, 131 W. 3rd St. Birdland, 315 W. 44th St.  Ron Carter Quartet; Blue Note, 131 W. 3rd St.

Lifetime Collection Sunday, July 7  Dr. Lonnie Smith Octet; Jazz Standard, 116 E. 27th St.  Linda May Han Oh - Ben Wendel, saxophone; Matthew JazzMusicDeals.com JazzMusicDeals.com Stevens, guitar; Fabian Almazan, piano; Linda May Han Oh, (Continued on page 35)

34 June-July 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880  Life Cycles: Blade, Boccato, Cowherd, Croft, Hart, Walden & Weiss; Blue Note, 131 W. 3rd St. Friday, July 26

 Catherine Russell; Evan Sherman Big Band; Dizzy’s Club, “Some people’s idea of Saturday, July 20 Jazz At Lincoln Center, 60th & Bdwy free speech is that they are free  Jon Faddis Quartet; Dizzy’s Club, Jazz At Lincoln Center,  George Coleman Quintet; Jazz Standard, 116 E. 27th St. 60th & Bdwy  Fred Hersch Trio - Fred Hersch, piano; John Hébert, bass; to say what they like, but if anyone  Buster Williams; Jazz Standard, 116 E. 27th St. Eric McPherson, drums; Village Vanguard 178 7th Ave S. says anything back that  Vijay Iyer - Graham Haynes, cornet & flugelhorn; Mark Shim,  Amanda Sedgwick Quintet; Brandon Lee Quintet; JD Allen tenor sax; Steve Lehman, alto sax; Stephan Crump, bass; "After-hours" ; Small's, 183 W. 10th St. is an outrage.” Jeremy Dutton, drums; Village Vanguard 178 7th Ave S.  Birdland Big Band; Michael Wolff Trio; John Pizzarelli and  John Ellis Quartet; Randy Johnston Trio; Philip Harper Quin- The Swing 7; Birdland, 315 W. 44th St. tet; Small's, 183 W. 10th St.  Meshell Ndegeocello; Blue Note, 131 W. 3rd St.  Steve Smith's Groove Blue Organ Trio; Lew Tabackin Trio; - Winston Churchill Steve Smith's Groove Blue Organ Trio; Birdland, 315 W. 44th St. Saturday, July 27  Life Cycles: Blade, Boccato, Cowherd, Croft, Hart, Walden &  Catherine Russell; Evan Sherman Big Band; Dizzy’s Club, Monday, July 15 Weiss; Blue Note, 131 W. 3rd St. Jazz At Lincoln Center, 60th & Bdwy  Evan Arntzen Octet; Dizzy’s Club, Jazz At Lincoln Center,  George Coleman Quintet; Jazz Standard, 116 E. 27th St. 60th & Bdwy  Fred Hersch Trio - Fred Hersch, piano; John Hébert, bass;  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Sunday, July 21 Eric McPherson, drums; Village Vanguard 178 7th Ave S.  Jorge Glem Trio feat. Ari Hoenig; Giveton Gelin Quintet;  Jon Faddis; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Amanda Sedgwick Quintet; Brandon Lee Quintet; Eric Wyatt Small's, 183 W. 10th St. Bdwy "After-hours"; Small's, 183 W. 10th St.  Benny Benack III "A Lot of Livin to Do" - Album Preview &  Buster Williams; Jazz Standard, 116 E. 27th St.  Michael Wolff Trio; John Pizzarelli and The Swing 7; Birdland, Single Release; Joe Alterman Trio; Birdland, 315 W. 44th St.  Vijay Iyer - Graham Haynes, cornet & flugelhorn; Mark Shim, 315 W. 44th St.  James Carter; Blue Note, 131 W. 3rd St. tenor sax; Steve Lehman, alto sax; Stephan Crump, bass;  Meshell Ndegeocello; Blue Note, 131 W. 3rd St. Jeremy Dutton, drums; Village Vanguard 178 7th Ave S.  Aaron Seeber Quintet; Jon Beshay Quartet; Small's, 183 W. Tuesday, July 16 10th St. Sunday, July 28  Evan Sherman Big Band; Dizzy’s Club, Jazz At Lincoln Cen-  Ron Aprea Big Band; Sammy Figueroa Band: A Tribute to  Catherine Russell; Dizzy’s Club, Jazz At Lincoln Center, 60th ter, 60th & Bdwy Cal Tjader; Afro Latin Jazz Orchestra; Birdland, 315 W. 44th & Bdwy  Michael Leonhart; Jazz Standard, 116 E. 27th St. St.  George Coleman Quintet; Jazz Standard, 116 E. 27th St.  Vijay Iyer - Graham Haynes, cornet & flugelhorn; Mark Shim,  Life Cycles: Blade, Boccato, Cowherd, Croft, Hart, Walden &  Fred Hersch Trio - Fred Hersch, piano; John Hébert, bass; tenor sax; Steve Lehman, alto sax; Stephan Crump, bass; Weiss; Blue Note, 131 W. 3rd St. Eric McPherson, drums; Village Vanguard 178 7th Ave S. Jeremy Dutton, drums; Village Vanguard 178 7th Ave S.  Chris Byars Original Sextet; JC Stylles Quintet feat. Steve  Steve Nelson Quartet; JD Allen Quartet; Small's, 183 W. 10th Nelson; Small's, 183 W. 10th St. St. Monday, July 22  Meshell Ndegeocello; Blue Note, 131 W. 3rd St.  Steve Smith's Groove Blue Organ Trio; Birdland, 315 W. 44th  Andrea Motis Quintet; Dizzy’s Club, Jazz At Lincoln Center, St. 60th & Bdwy  James Carter; Blue Note, 131 W. 3rd St.  Mingus Big Band; Jazz Standard, 116 E. 27th St. Monday, July 29  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Mark Gross + Strings; Dizzy’s Club, Jazz At Lincoln Center,  Johannes Weidenmueller Trio; Charles Owens Trio; Small's, 60th & Bdwy Wednesday, July 17 183 W. 10th St.  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Ken Peplowski Quintet; Bruce Williams Quintet; Dizzy’s Club,  The Reunion 7tet; Birdland, 315 W. 44th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Jazz At Lincoln Center, 60th & Bdwy  Victor Wooten; Blue Note, 131 W. 3rd St  Humanity Quartet feat. Peter Bernstein & Joel Frahm; Joe  Ryan Keberle; Jazz Standard, 116 E. 27th St. Farnsworth Trio; Small's, 183 W. 10th St.  Vijay Iyer - Graham Haynes, cornet & flugelhorn; Mark Shim,  Keyon Harrold; Blue Note, 131 W. 3rd St. tenor sax; Steve Lehman, alto sax; Stephan Crump, bass; Tuesday, July 23 Jeremy Dutton, drums; Village Vanguard 178 7th Ave S.  Adrian Cox; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Jim Greene Trio; Harold Mabern Trio; Charles Blenzig "After- Bdwy Tuesday, July 30 hours"; Small's, 183 W. 10th St.  Connie Han; Jazz Standard, 116 E. 27th St.  Pauline Jean; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Anat Fort Trio; Steve Smith's Groove Blue Organ Trio; Bird-  Fred Hersch Trio - Fred Hersch, piano; John Hébert, bass; Bdwy land, 315 W. 44th St. Eric McPherson, drums; Village Vanguard 178 7th Ave S.  Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St.  James Carter; Blue Note, 131 W. 3rd St.  Ian Hendrickson-Smith Quartet; Josh Evans Quintet; Small's,  Harold Mabern Trio - Harold Mabern, piano; John Webber, 183 W. 10th St. bass; Joe Farnsworth, drums; Village Vanguard 178 7th Ave  John Pizzarelli and The Swing 7; Birdland, 315 W. 44th St.  Humanity Quartet feat. Peter Bernstein & Joel Frahm; Frank Thursday, July 18  Victor Wooten; Blue Note, 131 W. 3rd St. Lacy's Tromboniverse; Small's, 183 W. 10th St.  Jon Faddis Quartet; Dizzy’s Club, Jazz At Lincoln Center,  Keyon Harrold; Blue Note, 131 W. 3rd St. 60th & Bdwy  Buster Williams; Jazz Standard, 116 E. 27th St. Wednesday, July 24  Vijay Iyer - Graham Haynes, cornet & flugelhorn; Mark Shim,  One Step Beyond featuring Eric Person and Bryan Carrott; Wednesday, July 31 tenor sax; Steve Lehman, alto sax; Stephan Crump, bass; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Amaro Freitas; Dizzy’s Club, Jazz At Lincoln Ctr, 60th+Bdwy Jeremy Dutton, drums; Village Vanguard 178 7th Ave S.  Jonathan Barber; Jazz Standard, 116 E. 27th St.  Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St.  John Bailey Quartet; Craig Brann Quintet; Malick Koly "After-  Fred Hersch Trio - Fred Hersch, piano; John Hébert, bass;  Harold Mabern Trio - Harold Mabern, piano; John Webber, hours"; Small's, 183 W. 10th St. Eric McPherson, drums; Village Vanguard 178 7th Ave S. bass; Joe Farnsworth, drums; Village Vanguard 178 7th Ave  Albert "Tootie" Heath; Steve Smith's Groove Blue Organ Trio;  Wayne Tucker Quintet; Small's, 183 W. 10th St.  Pat Bianchi Trio; Darrian Douglas Unity Band; Charles Blen- Birdland, 315 W. 44th St.  David Ostwald's Louis Armstrong Eternity Band; John Piz- zig "After-hours"; Small's, 183 W. 10th St.  Life Cycles: Blade, Boccato, Cowherd, Croft, Hart, Walden & zarelli and The Swing 7; Birdland, 315 W. 44th St.  Keyon Harrold; Blue Note, 131 W. 3rd St. Weiss; Blue Note, 131 W. 3rd St.  Victor Wooten; Blue Note, 131 W. 3rd St.  Friday, July 19 Thursday, July 25

 Jon Faddis Quartet; Dizzy’s Club, Jazz At Lincoln Center,  Catherine Russell; Evan Sherman Big Band; Dizzy’s Club,

60th & Bdwy Jazz At Lincoln Center, 60th & Bdwy “There are basically two types  Buster Williams; Jazz Standard, 116 E. 27th St.  George Coleman Quintet; Jazz Standard, 116 E. 27th St.  Vijay Iyer - Graham Haynes, cornet & flugelhorn; Mark Shim,  Fred Hersch Trio - Fred Hersch, piano; John Hébert, bass; of people. People who accomplish tenor sax; Steve Lehman, alto sax; Stephan Crump, bass; Eric McPherson, drums; Village Vanguard 178 7th Ave S. things, and people who claim to have Jeremy Dutton, drums; Village Vanguard 178 7th Ave S.  Danton Boller Quintet; Reggie Watkins Quintet; Mimi Jones accomplished things. The first group  John Ellis Quartet; Randy Johnston Trio; Corey Wallace and The Lab Session; Small's, 183 W. 10th St. DUBtet "After-hours"; Small's, 183 W. 10th St.  Michael Wolff Trio; John Pizzarelli and The Swing 7; Birdland, is less crowded.”  Birdland Big Band; Birdland, 315 W. 44th St. 315 W. 44th St.  Meshell Ndegeocello; Blue Note, 131 W. 3rd St. - Mark Twain

To Advertise CALL: 215-887-8880 June-July 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 35 Clubs,Clubs, VenuesVenues && JazzJazz ResourcesResources

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

36 June-July 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, Zankel Hall, 881 7th Ave, New York, 212-247-7800 NY, 718-768-0855 Zinc Bar, 82 West 3rd St.

Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ, RECORD STORES 908-232-7320, 16prospect.com, cjayrecords.com Academy Records, 12 W. 18th St., New York, NY 10011, 212-242 “It is curious that physical courage Red Eye Grill, 890 7th Av (56th), 212-541-9000, redeyegrill.com -3000, http://academy-records.com should be so common in the world Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Downtown Music Gallery, 13 Monroe St, New York, NY 10002, and moral courage so rare.” Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795 (212) 473-0043, downtownmusicgallery.com Rockwood Music Hall, 196 Allen St, 212-477-4155 Jazz Record Center, 236 W. 26th St., Room 804, Rose Center (American Museum of Natural History), 81st St. 212-675-4480, jazzrecordcenter.com (Central Park W. & Columbus), 212-769-5100, amnh.org/rose MUSIC STORES — Mark Twain Rose Hall, 33 W. 60th St., 212-258-9800, jalc.org Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036, Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472, 646-366-0240, robertoswoodwind.com Queens College — Copland School of Music, City University of 845-658-9048, rosendalecafe.com Sam Ash, 333 W 34th St, New York, NY 10001 NY, Flushing, 718-997-3800 Rubin Museum of Art - “Harlem in the Himalayas”, 150 W. 17th Phone: (212) 719-2299 samash.com Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Cam- St. 212-620-5000. rmanyc.org Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island pus, PO Box 270, New Brunswick, NJ, 908-932-9302 Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, City, NY 11101, 718-433-1990. sadowsky.com Rutgers University Institute of Jazz Studies, 185 University Avenue, Newark NJ 07102, 973-353-5595 rustikrestaurant.com Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New newarkrutgers.edu/IJS/index1.html St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377 York, NY 10019, 212-730-8138, maxwelldrums.com SUNY Purchase, 735 Anderson Hill, Purchase, 914-251-6300 St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728 SCHOOLS, COLLEGES, CONSERVATORIES Swing University (see Jazz At Lincoln Center, under Venues) St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200, 92nd St Y, 1395 Lexington Ave, New York, NY 10128 William Paterson University Jazz Studies Program, 300 Pompton saintpeters.org 212.415.5500; 92ndsty.org Rd, Wayne, NJ, 973-720-2320 Sasa’s Lounge, 924 Columbus Ave, Between 105th & 106th St. Brooklyn-Queens Conservatory of Music, 42-76 Main St., RADIO NY, NY 10025, 212-865-5159, sasasloungenyc.yolasite.com Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450 WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-624- Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 8880, Fax: 973-824-8888, wbgo.org NY, 718-622-3300, brooklynconservatory.com WCWP, LIU/C.W. Post Campus Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, City College of NY-Jazz Program, 212-650-5411, nypl.org/research/sc/sc.html WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html Drummers Collective, 541 6th Ave, New York, NY 10011, WKCR 89.9, Columbia University, 2920 Broadway Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, shang- 212-741-0091, thecoll.com Mailcode 2612, NY 10027, 212-854-9920, columbia.edu/cu/wkcr haijazz.com Five Towns College, 305 N. Service, 516-424-7000, x Hills, NY ADDITIONAL JAZZ RESOURCES ShapeShifter Lab, 18 Whitwell Pl, Brooklyn, NY 11215 Greenwich House Music School, 46 Barrow St., Tel: 212-242- Big Apple Jazz, bigapplejazz.com, 718-606-8442, gor- shapeshifterlab.com 4770, Fax: 212-366-9621, greenwichhouse.org [email protected] Showman’s, 375 W. 125th St., 212-864-8941 Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000 Louis Armstrong House, 34-56 107th St, Corona, NY 11368, Sidewalk Café, 94 Ave. A, 212-473-7373 LaGuardia Community College/CUNI, 31-10 Thomson Ave., 718-997-3670, satchmo.net Sista’s Place, 456 Nostrand, Bklyn, 718-398-1766, sistasplace.org Long Island City, 718-482-5151 Institute of Jazz Studies, John Cotton Dana Library, Rutgers- Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St., Skippers Plane St Pub, 304 University Ave. Newark NJ, 973-733- Univ, 185 University Av, Newark, NJ, 07102, 973-353-5595 10023, 212-258-9816, 212-258-9900 Jazzmobile, Inc., jazzmobile.org 9300, skippersplaneStpub.com Long Island University — Brooklyn Campus, Dept. of Music, Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565, Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300, University Plaza, Brooklyn, 718-488-1051, 718-488-1372 jazzmuseuminharlem.org SmallsJazzClub.com Manhattan School of Music, 120 Claremont Ave., 10027, Jazz Foundation of America, 322 W. 48th St. 10036, Smith’s Bar, 701 8th Ave, New York, 212-246-3268 212-749-2805, 2802, 212-749-3025 212-245-3999, jazzfoundation.org Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel, NJ City Univ, 2039 Kennedy Blvd., Jersey City, 888-441-6528 New Jersey Jazz Society, 1-800-303-NJJS, njjs.org 221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799 New School, 55 W. 13th St., 212-229-5896, 212-229-8936 New York Blues & Jazz Society, NYBluesandJazz.org South Gate Restaurant & Bar, 154 Central Park South, 212-484- NY University, 35 West 4th St. Rm #777, 212-998-5446 Rubin Museum, 150 W. 17th St, New York, NY, 5120, 154southgate.com NY Jazz Academy, 718-426-0633 NYJazzAcademy.com 212-620-5000 ex 344, rmanyc.org. Princeton University-Dept. of Music, Woolworth Center Musical South Orange Performing Arts Center, One SOPAC Studies, Princeton, NJ, 609-258-4241, 609-258-6793 Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787  Spectrum, 2nd floor, 121 Ludlow St. Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923 Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor, 212-721-6500, lincolncenter.org The Stone, Ave. C & 2nd St., thestonenyc.com th Strand Bistro, 33 W. 37 St. 212-584-4000 SubCulture, 45 Bleecker St., subculturenewyork.com PAY ONLY FOR Sugar Bar, 254 W. 72nd St, 212-579-0222, sugarbarnyc.com Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), 212-262-9554, swing46.com Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212- 932-3228, symphonyspace.org Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Broooklyn, 718-789-2762, tealoungeNY.com Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), RESULTS 212-777-7776, terrablues.com Threes Brewing, 333 Douglass St., Brooklyn. 718-522-2110. www.threesbrewing.com Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue, City Island, Bronx, 718-885-3200, titopuentesrestaurant.com Tomi Jazz, 239 E. 53rd St., 646-497-1254, tomijazz.com Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-358- 7501, Fax: 212-358-1237, tonicnyc.com Town Hall, 123 W. 43rd St., 212-997-1003 PUBLICITY! Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.), 212-362-2590, triadnyc.com Tribeca Performing Arts Center, 199 Chambers St, 10007, [email protected], tribecapac.org Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, Get Hundreds Of Media Placements — trumpetsjazz.com Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968 ONLINE — Major Network Media & Authority Sites & (845) 359-1089, http://turningpointcafe.com Urbo, 11 Times Square. 212-542-8950. urbonyc.com OFFLINE — Distribution To 1000’s of Print & Broadcast Village Vanguard, 178 7th Ave S., 212-255-4037 Vision Festival, 212-696-6681, [email protected], Networks To Promote Your Music, Products & Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069, Performances In As Little As 24 Hours To Generate 908-753-0190, watchungarts.org Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538, Traffic, Sales & Expanded Media Coverage! 914-834-2213, watercolorcafe.net Weill Recital Hall, Carnegie Hall, 57th & 7th Ave, 212-247-7800 Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY www.PressToRelease.com | MusicPressReleaseDistribution.com | 215-600-1733 11211, (718) 384-1654 wmcjazz.org

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ORDER Start Your Promotion NOW! - PressToRelease.com To Advertise CALL:Experience 215-887-8880 ResultsJune-July 2019 In Jazz 24-48Inside Magazine Hours! www.JazzInsideMagazine.com CALL 215- 887-8880 63 week got can- blues started becoming popular, it was a house celed. They were raiser. Count Basie would not play “One INTERVIEWINTERVIEW just hanging O’clock Jump’” until about 12 midnight when around Baltimore everything was getting hot. That’s when they’d at this jam session bring out the blues and now the party was on. that I was at and To hear these young musicians-and they’re they heard me. great musicians, just about as good as any oth- Gary Bartz Benny Golson er generation - but things are missing. It’s just Baltimore, Coltrane, Miles Davis and More told me: “Yeah, many things are missing from their studies. It’s we heard you. Me not that they won’t gain it, but it’s just a little and John backwards. Interview By Eric Nemeyer [Coltrane] heard you. We went back to New Photo (opposite) of Gary Bartz & McCoy York going ‘There’s this little alto player in JI: Would you talk about your album Coltrane Tyner by Ken Weiss Baltimore.’” Rules and how it went from initial concept to finished work of art? JI: What kind of opportunities did you have in JI: What year was that? Baltimore as you began to develop as a player? GB: I’ve been studying and following John GB: It was either 1955 or 1956. I tease and say Coltrane forever. In my studies of John and his GB: Oh, Baltimore was a very musical city at “Well, John Coltrane knew about me before I music, I began to write tunes based on his con- that time. We had Pennsylvania Avenue, which knew about him,” - which is not true, but I cepts and things like that. Record labels were had all these nightclubs along the strip. The thought that was funny when Benny told me telling me they thought that it might be a good Royal Theatre was down at the bottom of the that. It was that kind of scene. There were jam concept for an album, So I went ahead with it. strip. So, there was always music. I saw every- sessions almost every night. If I hadn’t been But I want to own everything now. I need to body from Duke Ellington to Screamin’ Jay going to school there would have been some- own my masters.” In the last century, all the Hawkins. Everybody came through there. My where for me to go play every night. musicians gave away all that valuable music to favorite blues singer was Jimmy Reed. I saw corporations. I’ve had almost everything hap- him quite a few times. My father would take JI: Were you able to get a lot of jobs locally? pen to me, as far as dealing with record labels. me out to jam sessions. One time he took me I did an album with Miles at The Fillmore out to a matinee and Sonny Stitt was perform- GB: Well, most of the time I did a lot of blues West. Anything they put out with Miles is go- ing. Of course, I love Sonny Stitt, too. My dad gigs. People wanted to dance. I think that’s ing to make money. And they want to do buy- had sneaked my saxophone into the trunk of another thing that’s missing today. The young outs. That’s one reason. I always had it in mind the car and, unbeknownst to me, went up and guys can’t play the blues. Part of the reason is to start a record label from talks many years told Sonny Stitt, “You know, my son plays because they don’t call the blues. Blues is a ago with Gigi Gryce, Donald Byrd, Jimmy saxophone. He’d like to sit in.” So Sonny an- learning vehicle. If I come up with an idea, a Owens. By the way, I had enough material for a two-CD set. We recorded it all together, but I’m putting them out separately.

“The idea is to not play like JI: When you were studying the music of John Coltrane, were you doing a lot of transcription of solos or approaching it all intuitively? your influences. It’s to take GB: Well, not really because what I was doing was more or less working on his “Giant Steps” what they gave to the world and innovations. To me, that is the first innovation since the cycle of fifths in music as far as har- monics are concerned. The cycle of fifths, of show other ways of doing it.” course, is a natural occurrence in nature, but he just took it the next step and put “two-five” nounced from the stage, “I understand we have musical idea, the first place I’m gonna work on chords in front of that and nobody had thought this young man who would like to come up and it is in the blues. Because the blues is only 12 of that. Maybe I should take that back. It’s not play with us.” He called me up and I was in bars long. It’s the most basic form that I know that they hadn’t thought of it. There is a similar shock. I really was. I was not prepared for any- of - and “[I Got] Rhythm” changes, also, I’ll sequence on the bridge of “Have You Met thing like that. But, I did go up. I played and try to work the ideas out on the rhythm chang- Miss Jones.” Also, the turnaround on “Half Sonny Stitt. Being the gentleman that he was, es before I go to standards. The blues is just a Nelson” is a bit like it and the turnaround on he took me through all the keys on the blues. I very important part of this music. I’ll go to “I’ve Never Been In Love Before” by Frank didn’t know one key from the other at that hear young musicians and I don’t hear them Loesser. I’ve just been studying that and in time. Like I say, I was all ears. I’ve been play a blues all night. I can remember playing studying it. Most people just try to recreate blessed, as I see through the years, to have a a gig with Bill Hardman one night and around what he’s doing. But it’s a whole concept. I try really good ear. So I went through all the keys. the third set he said, “Damn, man! We haven’t to figure a way that I can use it at any time and It wasn’t a mental thing; it was a hearing thing. played a blues all night!” He was upset, “When not like he used it—because there are many So I heard it. We became lifelong friends. As a are we gonna play a blues!” So, that’s the kind ways to use it. That’s what I’ve been doing: matter of fact, I met John Coltrane and Benny of gigs I first started doing around town - play- studying it and studying him studying it - Golson about that same time. I was 14 or 15. ing for dances and parties and high school which is really great because of the recordings, They were working with a rhythm and blues hops. They wanted to dance, so the blues was you actually hear him learning as he’s record- band - with Bullmoose Jackson. They were very important. In studying it, I found out that ing, as the records come out. In trying to learn supposed to do two weeks and the second initially, especially back in the 1930s when (Continued on page 66)

64 June-July 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 June-July 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 65 The two major elements of this music is the funny and could play the saxophone. I loved Gary Bartz blues and the swing—the pulse. To me, if ei- his music. But, one day, I put on a record and I ther one is missing I don’t know what you’re heard this sound and it was the prettiest thing (Continued from page 64) doing. You’re playing music, but it’s a differ- I’d ever heard. I found out his name was Char- ent kind of music. Now that I’ve done the Col- lie Parker. At that point, I didn’t even know it, he would apply it to every song he could trane album and whet my appetite for studying, what the instrument was. I was about six years think of — “How High the Moon,” and then turning the studies into and homage to old. But, I was enamored of that instrument “Confirmation,” “I Can’t Get Started,” “Body the musicians that I’m studying, I want to do a and Charlie Parker from that moment on. And and Soul.” He did it on every song. After he’d Charlie Parker. I’ve gotta do Bird because every Christmas—not even just Christmas—I done it on so many songs, he knew how to do that’s who started me in this music. I want to was begging my parents, “Please. I want an it on any song - because he knew what the con- do a Bird album. I want to do an Ornette album alto saxophone.” Of course, at six, seven, cept was. So, then it became free. That’s what and possibly a Lester Young. I guess I’m stick- eight, they don’t think you’re serious. It took I’ve been doing: trying to figure it out. So, I’ve ing with the saxophonists because that’s who I five years before they finally got me one. They been writing songs utilizing it, but also figur- study the most - but I study all the musicians. rented one and I got into it. That’s actually ing different ways to use it within songs and how it started. But it was the sound of Charlie not necessarily like he would use it, because JI: Since you mentioned Charlie Parker, talk a Parker’s music that caught me and I have not you don’t want to be a copy. little about your initial inspiration, how you wavered. He still fascinates me, and I’m still were originally exposed to his music, and how learning from him. JI: Well, you’ve developed your own identity that made an impression upon you. anyway, so you wouldn’t be a copy. JI: When you expressed that interest, where GB: Well, I used to go by my grandmother’s there any school programs that you were able GB: Now, I’m really studying Ornette Cole- house on Sundays. My parents would take me to get involved with in the interim? man. I feel that Ornette “got” Bird better than by there for dinner. any alto player or anybody. He really under- GB: Well, I was eleven when I got my first stood Bird - and he didn’t play like Bird. The idea is to not play like your influences. It’s to take what they gave to the world and show “I don’t look at what I do as improvisa- other ways of doing it. I think Miles got Or- nette. He understood Ornette better than any- body understood Ornette. He went just about tion. To me, improvisation is off the as far as he could go with that band: Wayne, Herbie, Ron, and Tony. That was the freest top of your head. I’ve got a list of band I’d ever heard. They were freer than Or- nette - because they played changes when they definitions that mean improvisation. wanted to, and they were free when they want- ed to, and sometimes within the same piece …. sometimes within the same chorus. That is It means “unstudied,” “unrehearsed,” amazing! “spur of the moment.” None of that do JI: I’ve always thought that in order to be a masterful player in open form or free form or I do. The only time it’s spur of the avant-garde—whatever somebody wants to call it—is to have mastered every possible har- monic, melodic, rhythmic element on the in- moment of the top of my head is side, so that you can express whatever you want on your instrument spontaneously – so when I make a mistake. Yeah, that’s that there’s nothing that you can’t do. In so doing, when you explore open form or playing “outside,” you would be able to impart your improvised. Otherwise, I’m composing own structure where there might not be any or any obvious structure. When I listen to Col- a composition.” trane in the later recordings, it’s clear that he’s not trying to pass off any kind of shortcomings JI: Where was that? horn in Christmas of 1951. I’m not sure how or inability to play as art, as some avant-garde soon, but I started taking private lessons from players may have done in trying to play free GB: Baltimore, Maryland. My father’s young- Professor Albert Holloway. I’m sure not many …. as a function of not having developed the est brother Leon—Sharp, they would call him people even in Baltimore remember him. But, kind of musical mastery Coltrane pursued. Sharp Bartz - because he - would go to New he was a saxophone instructor and I was taking Coltrane’s solos on his later recordings rather York and buy the slickest clothes, and come private lessons from him. When I was accepted than being “disorganized” as some might be- back to Baltimore. He was always the sharpest into the band, probably in high school, I start- lieve, are intricately woven mathematically and guy around. He had all these records. That was ed. I went to City College, which was really harmonically – not to be confused with some- the highlight of my week - to go by my grand- high school. I was in the orchestra and the thing less. mother’s house and listen to these records. marching band, which I hated. But if you were- Initially, I was listening to Louis Jordan, who I n’t in the marching band, you couldn’t be in GB: Absolutely. Yes. I agree totally. And the love. I still love Louis Jordan and would like to the regular band. So, they got me there. So, I other thing, too, is he was so immersed in the do a dedication album to him, also. He got me did start taking formal lessons, but mainly my blues. This music, if nothing else, is the blues. started because I love comedy - and he was lessons were listening. I teach at Oberlin Con-

66 June-July 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 reading music that means one thing and one you the things I learned from Max - my philos- Gary Bartz thing only to me: that means they don’t know ophy on life, my politics, everything. the music! I tell my students, “Look. I’m sure servatory of Music. I’ve been there since 2001. you don’t want to go see a movie or play and JI: How did your experience at Julliard sup- I notice that 90% of the students that come into the actors are reading from the script. That’s port or challenge your direction that you were the curriculum can’t hear because they start off just crazy. I feel the same way when I see a kind of attracted to in jazz and improvisational by reading rather than by hearing music. I musician reading music. It’s no different.” I’ve music? started off by hearing music and I firmly be- acted and taken some acting lessons. You lieve that is the proper way to learn music. If memorize your lines. Then it becomes more GB: Well, mainly, at that time Julliard was you can’t hear it, you’ll never hear music. So, real. If I’m reading music on stage, only half of European-oriented. your ear has to be the first thing before read- my mind is there. Half is reading and the other ing. Beethoven, Mozart, the great musicians - half is trying to do whatever else I’m trying to JI: It was like every conservatory at the time. they were writing songs and pieces before they do with the music. And so you can’t really The curriculum was strictly limited to learning could write their name. They couldn’t read or totally immerse yourself in that piece. Max the Classical music repertoire, and the over- write, but they could write music because they Roach probably had a lot to do with that be- arching goals were to play in a symphony or- could hear music. That to me is the proper cause he would not allow music on the band- chestra. way. I’ve said this before, but learning by read- stand. We would rehearse. We might learn five ing first is backwards. It’s not that it’s a bad songs at rehearsal. That night, we had to know GB: Yeah. Whatever jazz I played was be- thing. It’s just backwards. So now my problem them. We would try to sneak music on stage cause of the musicians that I met there. The at school was and is trying to open up their and try to hide it and he would always find it day that I registered, two gentlemen that be- ears and develop their hearing process. Almost and holler out, “No music on the bandstand!” came lifelong friend were also in line register- 100% of them realize “Oh you’re right. I can’t That forced me to learn how to learn music ing – Grachan Moncur and Andrew Cyrille. hear.” Because I’ll put a song on and say really quick. We became really good friends and actually “Learn this song.” And it may be a song I don’t had a band together. We started hanging out know and I’ll say, “We’re going to learn this JI: What was the period of time that you were and going to places and going to jazz sessions. together.” And they see that they have a prob- first playing with him? Like I said, we had a band together and that lem learning it because they can’t hear. They kind of nurtured my life in New York, musical- don’t know how to hear, so that’s one thing. I GB: I joined Max Roach and Abbey Lincoln in ly. That was in 1958. In 1964, I started work- forgot what the question was. 1964. My first plane ride was in 1964. Then I ing with Max. In 1965, I started working with worked with him periodically in different Art Blakey and the Jazz Messengers with Lee JI: Did you have a chance to see Charlie Par- bands up into the 70s. We went to Iran. I was Morgan, I’m fortunate to say. He taught me so ker when he came to perform in Baltimore? in bands with Charles Tolliver. We did the much. I miss him a lot. I actually joined The Members Don’t Git Weary album. That was Messengers from my dad’s club. My dad GB: Well, fortunately and unfortunately, his actually a working band. But, when I joined bought a club in Baltimore in 1960. I had a last weeklong engagement was at a nightclub the band, the band was Julian Priester, Bob permanent gig there. Twice in my life I’ve had around the corner from where I grew up called Cunningham and Ronnie Matthews on piano. a permanent gig. I wasn’t there every day be- “Club Tijuana.” I had met many musicians Max didn’t always used as a piano player, cause I started traveling, but I played there there. I met Johnny Hodges. I met Eddie though. In 1969 Max took a band to Iran in- with Max Roach. I met Cannonball. That’s “Lockjaw” Davis. I met a lot of the great musi- cluding Woody Shaw, Reggie Workman, and another story because my dad worked on the cians that had performed there. They would Stanley Cowell - and he has recordings of railroad. He was a railroad man and he used to come out. I would hang out in front of the club. those. I guess his family has them. He would talk about Charlie Adderley, “Charlie Adder- There was a french-fried shrimp place attached always say, “I’m going to put that out one ley’s got a nephew who plays saxophone.” to the club, from which you could go into the day,” but he never did. They used to brag on each other. He would club. I couldn’t get in the club. I was too brag about me and Charlie Adderley would young. I was 14 years old. But, I heard him. I JI: Do you remember any discussions with brag about Cannonball. Cannonball hadn’t never saw him, but I heard him live. So, that’s Max or any advice, any words of wisdom that heard about me, but I knew who Cannon was as close as I got. About a month or two later he he shared with you? because he was out there. I finally met him and passed away. he came in the club one afternoon with the GB: Max was like a father figure to me. I met whole band: Joe Zawinul, Yusef Lateef. My JI: Well, it seems like the level of musician- him around the same time I started going out to mom remembers that because Yusef and Can- ship and technical ability has tremendously clubs-about age 14 or 15. I sat in with him one nonball ate about two or three chickens apiece. developed in the last 20-25 years or so. Some night at the Club Casino in Baltimore. He was She says, “Wow! Musicians are hungry!” have said that at the same time, while tech- a gentleman like Sonny Stith, and he called nique has grown and younger player are writ- “Cherokee” - thinking I wouldn’t know it. I’d JI: How did the racial tensions that were so ing or playing more complex rhythms, time been studying and listening to Bird, so I knew prevalent in the United States impact travelling signatures, forms, and so forth, that some mu- “Cherokee.” I couldn’t call the changes out when you were touring with Max Roach in the sic has become less accessible. It is not that because I didn’t know any changes. I didn’t early 1960s? creativity has diminished or that more abstract know what a change was, but I could hear it, so sounds and exploration are undesirable. As I played it. He liked what he heard, so he gave GB: Traveling wasn’t easy. But having grown some have commented, connecting with the me his telephone number and I told him I was up in a segregated city - Baltimore was segre- audience with great melodies seems to have coming to New York. He said, “Well, when gated and it was situated on the Mason-Dixon diminished. you come to New York, give me a call.” So, I line—we had two black high schools: one on did. I moved to New York and started going to the East side and one on the West side. The GB: Yeah, for sure. For one thing, and this Julliard. I started going by his house and he black students only had one choice. If you bugs the hell out of me, too. You can ask any and Abbey would cook dinner and we would lived on the West side, you went to Frederick of my students. If I see musicians on stage play chess all day. I couldn’t even begin to tell (Continued on page 68)

To Advertise CALL: 215-887-8880 June-July 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 67 GB: Well, she went to the “Black” store. Or, since slavery. I argue with people about that, Gary Bartz she bought them without trying them on. She but I say, “It’s all cosmetic.” They just put and her girlfriend, who had even lighter skin some lipstick and a wig on it. They still do the (Continued from page 67) than she did, used to go downtown and go to same thing. They might do it in a different the white movies just for fun - because they way, but the goal is the same. And right now, I Douglass High. If you lived on the East side, could. But, they were teenagers then. By the think we’re going through another reconstruc- you went to Paul Laurence Dunbar. When you time she got married and had kids, she didn’t tion period. went out to the public park, there was a white do that. So, I was a very angry man. I was a swimming pool and there was a black swim- very angry young man, coming from a segre- JI: Well one color that seems to motivate or ming pool. There were black tennis courts and gated city. I helped to desegregate schools be- unite people is green. there were white tennis courts. We had white cause I went to high school in 1955 and the movie theaters that we couldn’t go to. If we did first year of desegregation began in 1954. I was GB: Oh, always. Yeah. go, you’d have to sit in the balcony. So, I never the second graduating class after they desegre- really went. I would go to the black movie gated schools. They wanted smarter African- JI: For me, the whole Left-Right paradigm is a theaters. We had the Royal Theatre, which had American students and they talked me into creation to keep people divided. There’s noth- the entertainment that I was interested in any- going to the school - where I should have gone ing stronger than having a population of people way. But, I grew up in a segregated city. When to the Black school-Douglass High-because united with the same desires to have a family, I went to Pittsburgh, we couldn’t stay down- they understood the kind of music I was trying have a job, the opportunity to make money, town. We had to stay at the black hotel - same thing with Philadelphia and with Chicago. We stayed at the “Black” hotels, which, in a way, was good - because the entertainment and the “If I see musicians on stage artist community was a lot closer. We knew each other. We kept running into each other in the hotels and on the road. Now, we can stay reading music that means one anywhere - so, we very seldom see each other unless we make it a point to go see each other. Through Max, I met Adam Clayton Powell and thing and one thing only to me: people like that. Everybody used to come by Max’s house. He was very outgoing - always that means they don’t know the throwing parties. I started going to Lewis Michaux’s bookstore, which was on 7th Ave- nue right off of 125th Street. That was the first music! If I’m reading music on time I saw Malcolm X. Malcolm would be in there discussing books and theories with the owner of the bookstore, Lewis Michaux. I stage, only half of my mind is would go in there and just hang out and buy books. there. Half is reading and the other JI: What kinds of books were you reading? half is trying to do whatever else GB: Well, Max had turned me on to this great historian and anthropologist-who had all sorts of credentials - J.A. Rogers. His foremost I’m trying to do with the music. books were a three-volume set called Sex and Race which was about miscegenation in the world history. Max had a book called 100 And so you can’t really totally Amazing Facts about the Black Man. It was kind of a small book, but it was really eye immerse yourself in that piece.” opening. It kind of opened up the whole terri- tory that, later on, many writers and historians started using. The J.A. Rogers book kind of to play. But at City, it was mostly marching have some security and so forth. started that. But he wrote quite a few books. band and orchestra and that was it. I remember He’s since passed away, but he was a great being reprimanded because I was playing a GB: Oh, absolutely it’s ‘divide and conquer.’ man. I remember this one book Max had about Charlie Parker tune after the rehearsal. Other counties are different because they were- the pig, about hogs -and why it was such a bad n’t built on the foundation of slavery the way animal to eat. He was just all over the place. JI: That would have been the hippest thing that this country was-and I don’t see racism in oth- He was very educated. I love to read, so I they might have played that day at the school. er countries. I see prejudice. I don’t see racism. would go get these books and read. Then we For me, the problem is we have yet to recog- would have discussions. I was very much in- GB: Ah! You’re right! So, when I came to nize, this in this country. volved because, as a kid, I would to go into a New York, I was very angry. I guess talking to department store with my mother and see the Max and meeting the people kind of helped me JI: How do you mean “prejudice”? white kids’ moms trying on clothes. My mom form a philosophy, and really start studying couldn’t try on clothes because she was black. civil rights and understanding the problems GB: Prejudice is just, “you don’t like this.” this country has and still has. This is my opin- But, racism is beyond not liking. It’s a system JI: How did she buy clothes then? ion, but I don’t think anything has changed that’s created for people to not like a certain

68 June-July 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 pointed because he was playing electronic mu- they do because that’s their instrument. He Gary Bartz sic. My thoughts were, “Oh, wow. I wish he never said much about the music or anything. had called me when he was playing the other What he would do-and I love this about him, race - and it has to do with, like you say, mon- material.” You know, “Green Dolphin Street,” too-if he liked something what you did, he ey. But, I mean this country was built mostly “Woody ‘N You” and all that. That’s what I would just say, “I love when you do this.” So, by slaves. My great grandfather-part of my grew up on. I didn’t grow up on this electronic now you know, “Okay. He likes that.” That mom’s family-ran away when was about elev- music, which was new to me. I’d played in was his way of dealing. I think he changed en and went into the merchant marines. He rock bands and blues bands that had electric over the years. But in those years, before he ended up helping to build Johns Hopkins Hos- guitars. Miles had a wah-wah pedal and syn- retired the first time, that’s the way he dealt pital. We built this country. Slaves literally thesizers and Fender bass. Dave Holland was with the band. He might say something every built a lot of this country. I don’t want to say playing both Fender and acoustic at the time. I now and then to somebody, but no. We just we built all of it, but we had a lot to do with it - figured I’d probably stick it out for a couple played. He respected everybody and what they for no money. I could deal with that if that’s weeks just because it’s a good thing to be were doing. And that’s what he did. over, but it’s still going on. It hasn’t changed. working with Miles. But, as I started playing They still use these racist tactics to keep people the music, I began to understand. Miles wasn’t JI: Was he asking you or anybody to bring in divided and conquered, like you say. The sys- playing anything different. He was still playing new music? tem is racist, not necessarily the people. We the way he always played, if not better. He just need to be together as humans - not as could play high. He started being able to play GB: No. I think if we had brought something whites or blacks. We’re not whites or blacks. higher notes. His breathing got better. I began in, we would have done it. But I think we re- Kids don’t see that. Kids never see that. to enjoy it and said, “Wow. Okay.” So, I em- hearsed maybe twice the whole time I was in braced it. When he called me though, I was the band - and same thing with Art Blakey. JI: Sure. That’s right. As Ashley Montagu shocked. Our group of friends would periodi- With Art, if we did rehearse, he would never said, kids are geniuses until they’ve been de- cally call each other and mimic Miles’ voice: be there. He’d listen to the song once or twice geniused. “Hey, Gary. How ya doin’?” So, when he and he’d have it down. Max would rehearse. called me he said, “Hey, Gary. This is Miles. I McCoy didn’t rehearse much, either. Like I GB: Haha! I like that! Yeah. want you to join the band.” I said, “Who is said, we would never have music. No band that this?” You know, I thought it was one of my I was ever in would have music on stage. Ever! JI: One of the big opportunities that opened up friends! I literally did. And a couple times, I That’s a no-no. That’s not this music. I think for you was when you joined Miles Davis’ said, “Now, come on, man. Who is this?” And that comes from kids going to school and the band. What were the series of events that led to I finally realized that he started getting a little classically-oriented curriculum. This music that development for you? annoyed. I said, “Oh, shit! This is really comes from the streets. We didn’t start out Miles.” So, that’s how that came about. reading. That came secondarily. I went to Jul- GB: Well, of course, I’ve always loved Miles. liard to learn harmony and theory, because I I would follow him wherever he was. I saw the JI: What kinds of suggestions did Miles offer? didn’t know one chord from the other. I could band which is my favorite of all of Miles’ hear one chord from the other, but if someone bands which included Red Garland, Philly Joe GB: We had a few rehearsals at his house on called the chords out to me, I wouldn’t know Jones, Paul Chambers, and John Coltrane. I 77th Street, which we just dedicated as a his- what they were talking about. saw them at a club in Washington, D.C. called toric building. I remember one time Gil Evans The Spotlight. I ran into John in the bathroom. was upstairs. We didn’t know that. Miles JI: Was there touring before a recording with I asked him, “Can you play ‘Blue Train’?” He would ask people to come by and listen to the Miles? said, “No, we don’t do that one.” Then I would band and see what they thought, and get feed- see him hanging out at Birdland all the time. I back. Gil told me about this years later. For the GB: Well, I never went in the studio with went to go see Miles the night after he got beat most part Miles, handpicked his band - and Miles. He felt that that particular band was in the head by the policeman. As I was coming they were usually bandleaders. He didn’t pick such an organic band that going in the studio down the steps at the Birdland, I heard the sidemen. I hate that word. To me, there’s no would stifle us. We might play a song for 20 band was on and I said, “Oh good! Miles is such thing as a sideman. But, he wouldn’t pick minutes. We used to play two and a half hour- here!” But, when I got down it was Nat Adder- musicians who hadn’t apprenticed in other long shows. We would really get into it. So he ley taking his place. He was purposefully mim- bands. I had been with Max Roach, I been with would record every show we did. That’s why icking Miles as much as he could. In the late Art Blakey, I had been with McCoy Tyner, and there are all these bootlegs out here. 1960s, I was working with Max Roach and other bands. It was the same thing with Keith there was a ten-day engagement at Count Ba- Jarrett and Jack [DeJohnette] and everybody. JI: What were your associations or impres- sie’s in New York. Max Roach’s band was So, when Miles picked you it was because he sions of some of the other people that were in opposite Miles’ band. So he got to hear me liked what you were doing. He’s the type of the band with you at the time? every night and I, of course, got to see him bandleader that I try to be. I don’t say too every night. much about the musicians. I let them do what GB: Well, I had known Jack. We had been in bands before. I met Dave Holland. He was in JI: What year was that? the band for a while. I had worked in The Mes- sengers one time with Chick Corea, who was GB: I joined Miles in 1970. So, that probably also in the band when I first joined. So, I knew would have been around 1968 or 1969. During “A man can get discouraged Chick. I didn’t know Keith. I met Keith when I that time when I was working with Max, I was many times but he is not a failure joined the band and I met Airto when I joined also working with McCoy Tyner. I was work- until he begins to blame somebody the band. I loved everybody personally. Musi- ing at Slugs one week with McCoy and Miles else and stops trying.” cally, I did have a bit of a problem with Keith came in and he heard me and the following because I felt that he was not necessarily lis-

week, he called me for the gig. That’s how that tening to me when I would solo. He was trying came about. Actually, at the time, I was disap- - John Burroughs (Continued on page 70)

To Advertise CALL: 215-887-8880 June-July 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 69 play jazz.” ed recording with Donald. I think he was living Gary Bartz out there. I initially did some of The Black- JI: For some developing players, they can’t byrds records with him and then Donald was (Continued from page 69) wait to get past the melody rather than devel- having problems with his embouchure. So I oping the themes and motives that are integral would go in and play through the whole record, to lead me in his don’t look at what I do as parts of the melody - as you just eloquently and then Donald would come in when his improvisation. To me, improvisation is off the pointed out. Developing the melody or theme chops were in better shape and he would add top of your head. I’ve got a list of definitions is the essence of what Coltrane did on, for ex- his parts onto the records. He was such a stud- that mean improvisation. It means “unstudied,” ample, “Chasin’ the Trane” and for which Son- ied musician. He took over the department at “unrehearsed,” “spur of the moment.” None of ny Rollins is as well - building a solo over an Oberlin when Dr. Wendell Logan was sick - he that do I do. The only time it’s spur of the mo- extended period and weaving that motive back asked Donald to come out and take over for ment of the top of my head is when I make a and forth, inside and out, extending and con- him. So, we got a chance to bond again and mistake. Yeah, that’s improvised. Otherwise, tracting, and so on. that was in the 2000s. We could sit and talk I’m composing a composition. That’s what I’m about harmony and many other things. working on. Every time I solo, I’m trying to GB: Exactly. Yeah, that’s it. So, it’s important. create a composition, which you can copyright. The schools serve a purpose, but they need JI: One of the albums you did was with The fact that I was a composition major at Jul- work. They’re teaching things backwards. Not Shirley Horne. What was your association like liard also helped me to understand about com- that that’s a bad thing - they just have to learn with her? posing and composition. You need a great be- it when they finish. That happens anyway ginning, you need a great ending, you need when they come out of school. That’s when GB: Well, I’ve known Shirley from the early great thematic material in the song. Within it, they really start learning. days because I used to go to Washington and you build off of your thematic material. You go to the jam sessions over there. I would hear don’t just throw out a bunch of ideas and go JI: Could you talk about your association with about Shirley. I had worked with Betty Carter from one idea to the other. I listen to Trane McCoy Tyner with whom you have played in Baltimore. I think horn players don’t listen sometimes and Sonny, sometimes they would extensively over many years? to singers enough and I can tell when a horn do this. You familiar with “Chasin’ the player listens to singers. It’s very important. Trane”? GB: Okay, yeah. The first time I saw McCoy You gotta know the words. Art Blakey knew he was working with The Jazztet with Art the words to every song we played. He knew JI: Sure. The one on the Live at the Village Farmer and Benny Golson around 1959. I the melodies to every song we played. He was Vanguard album? knew he was about my age. When he joined a complete musician and played a little piano, Trane, he took it to another level. I just learned too. So, did Philly Joe Jones and Max Roach. GB: Especially. Especially that. Well, that’s all so much playing with him because he was one They all played piano and that’s another thing one idea. That whole composition that he of the first pianists to understand how to play that older musicians would ask me: “Do you played on “Chasin’ the Trane” is based on one when a horn player was playing freer. He knew play piano?” When I was a teenager, they idea. See, I study composition and I have a how to comp behind you or when not to comp would all ask me, “Do you play piano?” I did- transcription of that entire solo, which Andrew behind you and he knew what voicings to use n’t. I didn’t grow up in a house with a piano. White has transcribed, fortunately, for all of us. and what to do. He had that ear, too. He could But, I knew I better learn how to play a piano. hear. He can hear like crazy - and, to me, more Shirley played the heck out of the piano. She JI: He transcribed all of Coltrane’s solos and than anything, that’s what this music is. It’s could make gigs just playing the piano. But, has a whole catalogue of those that I picked up about hearing. Beethoven had to have a helluva she was like she played-soft-spoken and in- a long time ago - and he rates the difficulty of ear. He went deaf and was still creating great tense. Listening to her really helped me to each solo as well in that catalog. music. To this day, I enjoy playing with learn how to play ballads - because ballads are McCoy - every time. He has the power and he very hard to play … much harder than any- GB: Yeah. They are great. We owe a big debt also has the finesse - which is kind of hard to thing else. It’s easier to play “Cherokee” than to him for doing that. When I go through that- control sometimes when you’re that powerful. to play a beautiful ballad - for horn players. I and I go through that sometimes with my stu- was fortunate to be around her. She would dents-we just read it just like we were reading JI: What kinds of ideas have you discovered come to Baltimore and hang out at the club a score. Because I told them, “You gotta read about leadership from Blakey? because her drummer was working with me at scores. That’s how you learn how to write mu- one point-Steve Williams. They would come sic and learn composition.” You sit down and GB: I’ve been leading a band since 1960. Like over together and she would sing a song or you read a Beethoven score. Back to Coltrane I said, my dad had a club, so I started leading two, which was always a highlight. …. that whole song is nineteen minutes and it’s bands then. But, there are many firsts that I had all based on one idea. He kept going back to with Art. The first time I ever talked on a mic,  that idea. I listen to Sonny Rollins. He’s a com- the first time I ever went to California, the first poser. The greatest musicians at that level are time I did a record date. Many things I learned not improvising. They’re composing. I think from Art are what not to do. Every band leader

the word “improvisation” is very misleading I ever worked with, I learned from. They knew

and throws young people off. For one thing, how to get what was best out of the musicians. they come in the school and they want to learn “”The greatest discovery of any jazz. I tell them, “You know, I don’t even JI: Talk a little bit about Donald Byrd, since generation is that human beings know that that is, first of all. But, I can teach obviously he played with Coltrane while you can alter their lives by altering the you how to play music.” That’s what I’m inter- were aspiring to head in that kind of direction attitudes of their minds.” ested in. I’m not interested in a name of a gen- in the late 50s. re. I’m interested in learning and studying mu- sic, which is as vast as the universe. But they GB: I’d had records of his since I was in high come in and they say, “I wanna learn how to school. I was living in California when I start- - Albert Schweitzer

70 June-July 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Contact Steve: 630-865-6849 | email: [email protected]

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When it comes to superb vintage drums Our experience: In addition to operating our NY and you need a true expert. I have over 40 Chicagoland stores, I currently serve as years of experience with vintage drums manager and curator of the world’s finest private collection of rare and celebrity and have authenticated and brokered owned drums in the world. some of the rarest and finest sets in exis- We have authenticated and brokered the sale of instruments owned by such tence, including sets owned by some of famous drummers as Buddy Rich, the world’s most renowned drummers. Joe Morello, Elvin Jones, Mel Lewis, Tony Williams, Sonny Greer, Don Lamond, Cozy Cole, Papa Jo Jones, Philly Joe Jones, Whether you want to purchase or sell a Gene Krupa, Peter Erskine, Stan Levey, fine vintage snare drum or drum set, or Dave Tough, Louie Bellson, Jake Hanna, Earl Palmer, Billy Gladstone and more. perhaps purchase something owned by Steve We have sold more of the world’s rarest Maxwell a famous drummer you admire, trust drums and drum sets than anyone in the world. Items such as: the finest known the industry’s leading expert. Ludwig Top Hat and Cane drum set; the finest known and unique example of When you call or email, you get me. I am available and I want to speak Leedy’s Autograph of the Stars set; four with you. Feel free to call or email with questions and requests. of the twelve known examples of ’50s era Gretsch cadillac nitron green “Birdland” drum sets; more Gretsch round badge era No one does “vintage” better, and you deserve the best. 12-14-18 drum sets than any dealer world- wide; eight of the rare Billy Gladstone snares (of which only 25 exist) and one of the only Serving the www.maxwelldrums.com two complete Billy Gladstone drum sets. Community of Our worldwide clientele consists of Midtown Manhattan 242 W. 30th Street, New York, NY 10001 serious players; collectors, investors and Professional Ph: 212-730-8138 Hours: 11–7 M–F; 11–6 Sat anyone else who loves the finest examples Drummers and of rare vintage drums. Our expertise runs Chicagoland 2000 Bloomingdale Road, Unit #110 deep and is rooted in the superb instru- Drum Lovers Glendale Heights, IL 60139 Ph: 630-237-4997 ments crafted by US manufacturers from Hours: 11–6 Fri; 10–5 Sat | Additional hours by appointment. the 1920s through the 1970s.

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To Advertise CALL: 215-887-8880 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 1