Dave Douglas Jazz at Lincoln Center March 3-4

Eric Nemeyer’s

WWW.JAZZINSIDEMAGAZINE.COM FEBRUARY-MARCH 2017

Interviews DianneDianne ReevesReeves Jazz At Lincoln Center Rose Theater, Feb 10-11

Dave Douglas Jazz At Lincoln Center March 3-4

Billy Hart Jazz Standard, March 9-12

Eddie CDCD REviewsREviews Eddie

Comprehensive DirectoryDirectory Palmieri of NY Club, Concert Palmieri & Event Listings 80th Birthday Celebration, Jazz At Lincoln Center, March 3-4 Spectacular Jazz Gifts - Go To www.JazzMusicDeals.com Fabulous CDs, Box Sets & The Jazz Lovers Lifetime Collection 20 PRINTED VOLUMES, OVER 6000 PAGES + 20 CDS = 40 POUNDS OF JAZZ

To Advertise CALL: 215-887-8880 December 2015 Jazz Inside Magazine www.JazzInsideMagazine.com 1

COVER-2-JI-15-12.pub Wednesday, December 09, 2015 15:43 page 1 MagentaYellowBlacCyank

To Advertise CALL: 215-887-8880 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 1 Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) February-March 2017 – Volume 8, Number 3

Cover Photo (and photo at right) of Eddie Palmieri by Eric Nemeyer

Publisher: Eric Nemeyer Editor: John R. Barrett, Jr. 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; Eric Harabadian; Alex Henderson; Joe Patitucci; Ken Weiss.

ADVERTISING SALES 215-887-8880 Eric Nemeyer – [email protected]

ADVERTISING in Jazz Inside™ Magazine (print and online) Jazz Inside™ Magazine provides its advertisers with a unique opportunity to reach a SUBSCRIPTION INFORMATION SUBMITTING PRODUCTS FOR REVIEW highly specialized and committed jazz readership. Call our Advertising Sales Depart- Jazz Inside™ (published monthly). To order a subscription, call 215-887-8880 or visit Companies or individuals seeking reviews of their recordings, books, videos, software ment at 215-887-8880 for media kit, rates and information. Jazz Inside on the Internet at www.jazzinsidemagazine.com. Subscription rate is and other products: Send TWO COPIES of each CD or product to the attention of

$49.95 per year, USA. Please allow up to 8 weeks for processing subscriptions the Editorial Dept. All materials sent become the property of Jazz Inside, and may or

& changes of address. may not be reviewed, at any time.

Jazz Inside™ Magazine | Eric Nemeyer Corporation EDITORIAL POLICIES COPYRIGHT NOTICE MAIL: P.O. Box 30284, Elkins Park, PA 19027 Jazz Inside does not accept unsolicited manuscripts. Persons wishing to submit Copyright © 2017 by Eric Nemeyer Corporation. All rights reserved. No part of this OFFICE: 107-A Glenside Ave, Glenside, PA 19038 a manuscript or transcription are asked to request specific permission from Jazz publication may be copied or duplicated in any form, by any means without prior written consent. Copying of this publication is in violation of the United States Federal Telephone: 215-887-8880 Inside prior to submission. All materials sent become the property of Jazz Inside unless otherwise agreed to in writing. Opinions expressed in Jazz Inside by contrib- Copyright Law (17 USC 101 et seq.). Violators may be subject to criminal penalties Email: [email protected] uting writers are their own and do not necessarily express the opinions of Jazz Inside, and liability for substantial monetary damages, including statutory damages up to Website: www.jazzinsidemagazine.com $50,000 per infringement, costs and attorneys fees. Eric Nemeyer Corporation or its affiliates.

CONTENTS 22 Clubs & Venue Listings INTERVIEWSINTERVIEWS PERFORMANCE REVIEW CLUBS, CONCERTS, EVENTS 22 Dianne Reeves 24 Bobby Hutcherson—Life Celebration FEATURE 13 Calendar of Events, Concerts, Festi- (at St. Peter’s,Church New York City) 4 Eddie Palmieri 32 Dave Douglas vals and Club Performances

PAY ONLY FOR RESULTS LIKE US www.facebook.com/ JazzInsideMedia PUBLICITY! FOLLOW US Get Hundreds Of Media Placements — ONLINE — Major Network Media & www.twitter.com/ JazzInsideMag Authority Sites & OFFLINE — Distribution To 1000’s of Print & Broadcast

Networks To Promote Your Music, Products & Performances In As Little As 24 Hours To Generate Traffic, Sales & Expanded Media Coverage! WATCH US www.PressToRelease.com | MusicPressReleaseDistribution.com | 215-600-1733 www.youtube.com/ JazzInsideMedia

2 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 3

Feature EddieEddie PalmieriPalmieri

Interview by Curtis Davenport wonderful, as far as what we used to do, JI: I’m going to skip ahead to the beginning which was play ball. Stickball was the most of your musical career, not the very begin- Jazz Inside: In doing my research, I found popular thing. And then listening to the re- ning, but when you first really started to get out we have a bit of a common background. I cordings that my brother would bring in and noticed, around the time of La Perfecta. Now, was born in the Bronx and you were raised in looking into all the orchestras that were hap- you have been credited with introducing the part there. You grew up down the block from pening in those years, the 1940’s, which was concept of a trombone-driven horn section in people such as Colin Powell. Can you speak a certainly the orchestra of Machito and His Latin music, and that would soon become the little bit about growing up in the Bronx? Afro-Cuban Orchestra. And from then on, that standard. When I grew up listening to Latin was it. Listening to the recordings, playing music, I expected to hear that trombone Eddie Palmieri: Well, I was born in Manhat- ball, and certainly practicing my piano. Stick- sound. tan. We lived at 112th Street between Madison ball was the most popular game, you know, and Park. And we moved up to the Bronx because it was everything baseball. And natu- EP: Naturally, trombones were used in the when I was a young man, and I was raised rally, I couldn’t play hardball or softball while great jazz orchestras; they used trombones in there. I went to elementary, junior high, and I was practicing my piano. So stickball really the recordings of Machito. But never were the high school there. It was really absolutely became my favorite sport. (Continued on page 6)

4 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

To Advertise CALL: 215-887-8880 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 5 Eddie Palmieri “I rented a place next to it called the Riviera Terrace ...on Wednesdays … And I was my (Continued from page 4) trombones brought up front. That was something quite different that we did. And the man own blocker outside. ‘Over here, folks, not that was responsible for that was a gentleman called Barry Rogers. I always wanted what we over there!’ … so we were pulling some called a cahunto, which means three trumpets in the rhythm section and vocals. One of the people into the place ... until the Palladium first men I worked with was a gentleman called Johnny Segui. He played bass and he broke down and went to the agent and also had a cahunto, which meant three trumpets in the rhythms section and vocals. I said, ‘The kid is crazy out there! And worked with Sentico Valdes, and he also had a cahunto. That style was very popular com- he’s taking away our business’” ing out of Cuba. Tito Puente had a great cahunto, which my brother, Charlie Palmieri, played piano for. And Monga Santamaria was used to come in with a quintet or just one and we weren’t one of the favorite orchestras a conga player when he arrived here from trombone, and then with another gentleman that would draw [an audience]. But the Palla- Cuba via Mexico. So they all ended up with called George Castro, who played wooden dium went through a crisis when they had had Tito Puente. Tito had an incredible cahunto, flute with another group, and when he wasn’t a raid. And once they had the raid, it meant and so did Tito Rodriguez, so we were working he would work with me. I would call that now they couldn’t sell liquor, they got weaned to that. The only orchestra with five him, and one day I was able to get the flute their liquor license taken away, and they were saxes, as far as we were concerned, was the and trombone together, and I said, “That’s never able to receive it again. But the old man Machito Orchestra. I loved the sound of the what we’re looking for”. That was the sound. loved that place, and he just kept running the cahunto and I was used to it, but it was diffi- And after that we added one more trombone Palladium. And little by little, I knew that we cult when I first started, to get the trumpet to give it the power that we needed. And then had to get into the Palladium to perform be- players to stay with you because they would La Perfecta was a very exciting, very rhyth- cause the greatest dancers in the world were go to the highest middle and see whoever mic, musical, and potent ensemble tape, both going there. It was also very important to be could play the most in a gig. Then, in one of to dance to and to listen to. And the perfor- seen there. The way the Palladium used to those jam sessions that were happening in the mances were very, very exciting to see. sign you, they would sign you for thirty or Bronx right off Southern Boulevard, there was forty or fifty gigs. Tito Rodriguez, for exam- a young man called Johnny Pacheco, who was JI: Now, on the subject of La Perfecta, I un- ple, signed for almost the whole year, and playing flute then. He had already recorded, derstand that when you formed the group and they could get out it if they got called for he was already popular. He started with my you were gaining popularity, they wouldn’t let something else, but if not, they were always brother playing flute, and then became a very you into the Palladium to perform. Why not? working in the Palladium. That’s what I was talented percussionist. But at the time, he was looking for. That was also the time when there playing wooden flute. And he would have jam EP: I was already working in the Palladium in was the cabaret card. The cabaret card had sessions on Tuesdays, and I went up there on 1956 and in 1958 with Sentico Valdes, and I racial overtones because there were too many one of the Tuesdays in a place called the Tri- had played there also with Tito Rodriguez. blacks and Hispanics musicians working in ton and I met Barry Rogers. And I said to But then when I started my orchestra, it was- Manhattan. As long as you stayed in midtown, Barry, “I work up here also, can I call you for n’t a question of whether we could get in. It you were okay, but when you came into Man- some gigs?” And that’s how it started. And I was very difficult to get into the Palladium, hattan you needed that cabaret card, otherwise you weren’t going to be able to work. And there was a lot of suffering, from the jazz mu- “I knew that we had to get into the sicians, to the Latin musicians. If there was any kind of problem they would take away your cabaret card and then you really had Palladium to perform because the problems, okay? So there was really tension in those years there, but as far as the Palladi- greatest dancers in the world were um was concerned, the only way I was able to get in, I rented a place next to it called the Riviera Terrace. It was this beautiful place going there. It was also very important only a block away, and I rented it on Wednes- days because they used to run Wednesdays, to be seen there. The way the Palladium Fridays, Saturdays, and Sundays. And I was my own blocker outside. “Over here, folks, used to sign you, they would sign you not over there!” That kind of a thing (laughs). And since La Perfecta was already hot uptown, they knew about it, and it was very for thirty or forty or fifty gigs.” danceable, man, so we were pulling some (Continued on page 8)

6 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Concert Halls, Festivals, Clubs, Promoters FILLFILL SEATSSEATS ININ JUSTJUST HOURS!HOURS! PayPay OnlyOnly ForFor ResultsResults ConcertConcert && EventEvent MarketingMarketing GetGet YourYour PhonesPhones RingingRinging NOW!NOW!

Your Multi-Media Campaign Runs On The Proprietary System We Built WeWe DoDo EverythingEverything ** SetSet UpUp InIn 22--Hours!Hours!

LightningLightning Fast,Fast, WayWay BetterBetter ResultsResults && FarFar LessLess ExpensiveExpensive ThanThan DirectDirect--Mail,Mail, Print,Print, RadioRadio && TVTV AdsAds——ComprehensiveComprehensive Analytics!Analytics! CALL: 215-600-1850 www.SellMoreTicketsFast.com | MakeSalesFast.com To Advertise CALL: 215-887-8880 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 7 nights, for sure. But Fridays were all mixed, 1940’s. Between all of them, they set great Eddie Palmieri and more of a Jewish crowd, because you examples for me with their different styles. have the mambo show, and then you have the Naturally, I began to come up with my own amateur dance contest, and then you have the signature, but that was a helping hand. It was (Continued from page 6) professional dance contest. So the blacks very interesting to listen to the way they people into the place. I couldn’t really get would come on and dance, and they were the would accompany the orchestras, and their involved in running it, but I did my best until dancers who would teach all the Jewish danc- solo styles, and all that. Besides that, you the Palladium broke down and went to the ers up in the Catskills. So in the summer, they know, later on I started to listen to jazz. agent and said, “The kid is crazy out there! would make money off those dancers, those And he’s taking away our business” (laughs). students. And then on Sunday, it was all JI: We looked at who inspired you, and I And the agent at the time was an ex- black. I mean, the majority was black, and know you have inspired many of the young bandleader, called Secco Bello, the Cuban. they danced, man. musicians who have come up after you. Of And Secco Bello says, “Then you will have to those young musicians, is there anybody who book him”. And sure enough, I got ninety- JI: I know your brother, Charlie, who is a has really caught your ear? Is there anyone something gigs, and I signed for the whole great pianist in his own right, was a great in- that we should be looking out for? year, and that’s how it started. We were work- spiration to you. Who were some of the other EP: Well there was one that was very famous when he passed away, Mr. Hilton Ruiz. He always used to tell me that he would listen to “Cuba is one of the most incredible me as a young man and he set out to be one of the great jazz pianists. And of the Hispanic islands that gave the genre to the world, players, Hilton was untouchable, in my opinion. There are a few different pianists, and we and we go all over the world, playing the all have good relations. Benito Perez and Michel Camillo, we have played together in different concerts, and Los Anito Macala, we genre and the structure that we learned have played together in Puerto Rico, and Chucho Valdes, for sure. They’re great play- from Cuba. So between the jazz artists ers, all of them. and the Cuban orchestras, that is certainly JI: This next question is not only for our audience, but for me. You and Cal Tjader are for- what I have weaned myself to.” ever linked together because of those spectacular albums that you recorded together, and it’s been said that your albums were the crea- ing steady at the Palladium and we closed the musicians that inspired you? tion, or the invention, of modern Latin music Palladium, eventually, in 1966. It was really that some people call by the term salsa. the place to play, it was really something to EP: Well, there was a pianist called Tommy You’ve recorded so much since then. Where see, because the greatest dancers that you Garcia that played piano with the Tito Rodri- do you place your work with Cal Tjader in could imagine were there, and they really guez Orchestra. There was one called Gilbert reference to your other work? came to dance. It was a one-on-one between Lopez, who was the pianist for Tito Puente. the orchestra and the dancer. Then my brother came in when Gilbert went EP: Well the piano part with Cal Tjader, natu- into the Korean War. And then, my mentor, rally, had to be Latin jazz. There were no vo- JI: My father was one of those dancers. He’s besides my brother, was Rene Hernandez, calists, so we used the word salsa. The band black, but they used to love him up there. who was the musical director and pianist for would play the Latin rhythms or patterns, but the Machito Orchestra. He was genius, and we were playing a combination that created EP: Oh yeah! The blacks were great dancers. when he arrived from Cuba, he put the Machi- the genre of Latin jazz. And it was amazing, On Sundays, the majority of the crowd was to Orchestra at another level, for sure. These Cal Tjader came to the old Cheetah Lounge black, and we were one of their favorite or- are the ones that were here in America. But by on 50-something Street. And he came over chestras. And there were all different ethnic 1960, I became aware of orchestras that were while I was playing on the bandstand. I crowds, you know, most of them were Latin coming out of Cuba, and they had great play- thought he was coming over for me to record and Puerto Rican on Friday and Saturday ers like Lili Martinez, from the Arsenio Ro- something with him alone, but he wanted to driguez Orchestra, and then you had Sue record the whole band. So we made that pos- Lopez, who played with the charanga. Cha- sible. And then it was an exchange of artists. I

ranga means violins, and wooden flute, and recorded one for him and he recorded one for

“In times of change, singers, and conga, piano, and bass. It’s a very my company which was Deco, which is a the learners shall inherit the exciting dance ensemble; Cachao worked in subsidiary of Roulette Records. And they earth, while the learned find that orchestra for many years. And then Pa- were both very well acclaimed. Everybody ruchin, who was really more jazz oriented. He constantly asks me about those records. And themselves beautifully equipped played with the Orchestral Rhythm Society. he was a great natural talent, man, I mean he to succeed in a world that And then you had Bebo Valdes, who was was amazing how he just fell right in. When no longer exists.” Chucho’s father. He was a master arranger, you listen to the recordings, you can’t believe and always had a big band and was already we just came in to record, you know what I — Eric Hoffer, American Philosopher familiar with the jazz harmonics from the (Continued on page 10)

8 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

To Advertise CALL: 215-887-8880 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 9 mean? You figured that we were together for the word salsa was used also by Fania Rec- ATTN: VENUES, a while. ords, and they made it easy for everybody to relate to the genre of all that salsa music, JI: It sure sounds like it. You’ve been called okay? But after Fania went out of business, LABELS, MUSICIANS everything from “Messiah” to “Madman” to the word stood, and the different forms were “Sun of Latin Music” to “Renegade of Latin used, in what they call salsa erotica, salsa Jazz”. Now, that’s what people have called cesoir, and I would have to say it was quite Fill More Seats Fast! you. What do you call yourself? How do you damaging to the youngsters that believed that refer to yourself? that’s the way the music should be played. We Sell More Tickets Fast! don’t have commercial radio for the bands EP: Oh, I’d have to say a lover of music, and that really played the exciting Latin dance quite blessed that I’ve been able to be suc- music. We only have community radio, and in cessful in presenting my music that has had Europe and other places, world radio. But Pay-Only-For- worldwide acclaim. And that I’ve been able to they mix that with all different kinds of music. travel the international bandstand. I consider So it’s very difficult. And the genre has lost that a tremendous honor, to bring my music to the impetus, the popularity that it once had. Results Event the all the different countries that I’ve been There are still dance troupes doing the Latin able to perform in. Dance Congress and all that, and it certainly Marketing helps, but it has hurt the music, in my opinion. “they don’t realize that salsa music came Campaigns out of New York, but that’s a different We Run Your Campaigns structure of dance music which became Using The Leading Edge Multi-Media, Multi-Contact quite monotonous and had no excitement System We Built To Drive in it. The true band structure of our music Inbound Calls Fast From is extremely exciting. It has that tension, Your Most Probable Buyers

and resistance, and a tremendous climax, Lightning Fast, Way you know, that gets the dancers excited.” Better Results & Far JI: I understand that you’re not a fan of the JI: Well said. Can you tell us about some of Less Expensive Than word salsa being applied to much of your the work you’re doing with Brian Lynch? Direct-Mail, Print, Radio music. EP: Well, the work with Brian Lynch is al- & TV Ads – You Get EP: Well, Tito Puente used to say this: “Salsa ready done. We’re always playing together is what I put on my spaghetti, Ed- one way or another. We’ve been playing to- Comprehensive Re- die” (laughs). I mean, there it is in a nutshell. gether for twenty years. These rhythmical patterns have their own ports And Analytics – proper names, and they lump them all togeth- JI: How did the two of you first start playing er and they say, “Oh, that’s salsa, or that’s together? And You Pay Only For salsa music” and they don’t realize that salsa music came out of New York, but that’s a EP: Well I met him through a marimba player

different structure of dance music which be- called Charlie Sepulveda. He lives in Puerto

came quite monotonous and had no excite- Rico but Charlie brought him to the orchestra Reach 1,000 to 100,000— ment in it. The true band structure of our mu- and Brian and I hit it off, just like talking sic is extremely exciting. It has that tension, about Conrad Herwig and I. And as a matter Whether at the Last Mi- and resistance, and a tremendous climax, you of fact, Conrad and Brian will be at York Col- nute or Long in Advance know, that gets the dancers excited. With oth- lege. er kinds of salsa, that name was added to a different rhythmic pattern, which is just the JI: I heard there were some sessions that you vocals and the orchestra. It never generates did where you were on piano and your brother SellMoreTicketsFast,com any excitement, there are no trumpet solos, no Charlie was on organ. And even the concept 215-887-8880 bongo solos, no piano solos, and no bass so- of that sounds hot. los. It’s just amazing how that happened. But (Continued on page 12)

10 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 11 we’ve done so much traveling. We went to

Eddie Palmieri Asia, we went to Europe, we did a 35,000

mile tour, really. We landed up in England, France, and Germany, and from there came “It's surprising how many persons (Continued from page 10) home, took off for Hong Kong, then Singa- go through life without ever recognizing pore, then Mexico, then we went to Seattle. that their feelings toward other people are EP: Yeah, that was a classic album we did We did about twelve shows up there, three largely determined by their feelings toward called Vamonos Pa’l Monte in 1971. I also did shows a night, then from there we went to themselves, and if you're not comfortable Harlem River Drive right around that time. Tucson, Arizona, then we drove to Scottsdale, within yourself, you can't be Both recordings were for Deco Recordings, Arizona, then we flew to San Francisco to do comfortable with others.” who I recorded with until 1974, when I rec- The Music of Wayne Shorter. On that record- orded for a new company, and the first ing, I was an invited guest. And now there’s - Sydney J. Harris [release] with them was called Sentido. going to be another recording of The Latin Side of Herbie Hancock. Then I’ll be at the JI: Now on the Harlem River Drive album, Blue Note the following week, starting on the go all over the world, playing the genre and you played with Aretha Franklin and King 12th of August. Randy Brecker will be on that, the structure that we learned from Cuba. So Curtis’ band? and Conrad is in charge of all the “Latin Side between the jazz artists and the Cuban orches- of Somebody” with all the great jazz artists. tras, that is certainly what I have weaned my- EP: Yeah, yeah, with Ronnie Cuber, the bari self to. There’s classical music that I have [sax] player, they called him “The God of the JI: When Eddie Palmieri listens to music, gone through and listened to, Stravinsky and Baritones”. And Ronnie was working with what or who does he listen to? Bach for example. The whole combination me, and doing some gigs, and then the record- makes it something that’s quite special for ing came up, and we worked together. He was EP: Well, that’s a great question. It was Miles me. the one that brought in Cornell Dupree, etc. Davis in the jazz world, naturally, and Mr. And from there you have Harlem River Drive. Coltrane. I was able to see his original quartet JI: I heard you were doing a take on Bach on at the Birdland with Barry Rogers. And then a one of your recent discs. JI: I know you and Brian Lynch won a Gram- lot of the Cuban orchestras that constantly my for your last project together. What’s next record. When you’re able to hear or receive EP: We did a composition, a gigue, by Bach, for Eddie Palmieri? those recordings, they’re always in the fore- and also we did Minuet in G by Beethoven. front. Cuba is one of the most incredible is- EP: Well, we’re at a holding pattern, because lands that gave the genre to the world, and we   

AT LAST! PAY-ONLY-FOR-RESULTS PUBLICITY Put Your Music & Your Business In The News—Get Hundreds Of Major Network & Authority Media Placements - Online & Offline, Print & Broadcast - To Promote Your Music, Products & Performances In As Little As 24 Hours!

Massive Distribution To Online & Traditional Media  13,000 Radio/TV stations (AM, FM, Cable, News, Talk, Religious, Sports, Music: segment by genre)  3,000 magazines (segment by market, interest)  8,000 Newspapers (dailies& weeklies) in the USA

Get Comprehensive Online Media Placement Reports Links to each of the hundreds of online network media outlets where your press release appears. The reports that many publicists DON’T provide!

Fast Service + Fast & REAL Results  ONE-HOUR-EXPRESS-SERVICE - For your pre-written release  DONE-FOR-YOU - We professionally write and search engine optimize—SEO— your release & distribute it in 24 to 48 hours

PressToRelease.com

MusicPressReleaseDistribution.com

Eric Nemeyer Corporation P.O. Box 30284 Elkins Park, PA 19027 | 215-887-8880

12 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

CALENDARCALENDAR OFOF EVENTSEVENTS

How to Get Your Gigs and Events Listed in Jazz Inside Magazine Submit your listings via e-mail to [email protected]. Include date, times, location, phone, tickets/reservations. Deadline: 15th of the month preceding publication (Feb 15 for Mar) (We cannot guarantee the publication of all calendar submissions.)

ADVERTISING: Reserve your ads to promote your events and get the marketing advantage of con- trolling your own message — size, content, image, identity, photos and more. Contact the advertising department: 215-887-8880 | [email protected]

 Count Basie Orchestra feat. Dee Dee Bridgewater at Blue Wednesday, February 1 Note, 8:00 and 10:30 PM. 131 W. 3rd St.  Jeff Barone 3 at Bar Next Door, 7:30 PM. 129 MacDougal.  Prawit Siriwat 3 at Bar Next Door, 6:30 PM. 129 MacDou-  Dan Block Group at Smalls, 7:30 PM. 183 W. 10th St. gal.  30th St. Blues Band at Shrine, 8:00 PM. 2271 7th Ave.  Javon Jackson Band at Dizzy's Club Coca Cola, 7:30 and  Carmen Lundy at Birdland, 8:30 and 11:00 PM. 315 W. 9:30 PM. 10 Columbus Cir. #10. 44th.  Count Basie Orchestra feat. Dee Dee Bridgewater at Blue  American Songbook: Okkervil River at Appel Room, Note, 8:00 and 10:30 PM. 131 W. 3rd St. Lincoln Center, 8:30 PM. Broadway @ 60th.  Tobias Meinhart 5 feat. Ingrid Jensen at Cornelia St. Cafe,  Ambrose Akinmusire 4 at Village Vanguard, 8:30 and 8:00 PM. 29 Cornelia. 10:30 PM. 178 7th Ave. S.  Rez Abbasi at Bar Next Door, 8:30 PM. 129 MacDougal.  Aubrey Johnson Group at Cornelia St. Cafe, 9:00 and  Carmen Lundy at Birdland, 8:30 and 11:00 PM. 315 W. 10:30 PM. 29 Cornelia. 44th.  Jill McCarron 2 at Knickerbocker Bar, 9:00 PM. 33 Univer-  American Songbook: Andrew Lippa & Friends at Appel sity Pl. Room, Lincoln Center, 8:30 M. Broadway @ 60th.  Mar Sala at Shrine, 9:00 PM. 2271 7th Ave.  Ambrose Akinmusire 4 at Village Vanguard, 8:30 and  Tredici Baci feat. Simon Hanes Plays Works of Mor- 10:30 PM. 178 7th Ave. S. ricone, Nino Rota & others at The Stone, 9:00 PM. 2nd St.  Jon Sheckler 3 at Caffe Vivaldi, 9:00 PM. 32 Jones. @ Avenue C. nd  Simon Hanes & Anonym at The Stone, 9:00 PM. 2 St. @  Kali Rodriguez-Peña at Dizzy's Club Coca Cola, 11:15 PM. Avenue C. 10 Columbus Cir. #10.  Matt Marantz 4 at Cornelia St. Cafe, 9:30 PM. 29 Cornelia.  Kali Rodriguez-Peña at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10. Saturday, February 4

 Catherine Russell/Anthony Hervey: Who Is Louis Arm- Thursday, February 2 strong? At Rose Theater, Lincoln Center, 1:00 PM. Broad- way @ 60th. th  Mike Sailors at Silvana, 6:00 PM. 300 W. 116 .  Nick DiMaria at Silvana, 6:00 PM. 300 W. 116th.  David Kuhn 3 at Bar Next Door, 6:30 PM. 129 MacDougal.  Expansion: Dave Liebman Band Celebrates John Col-  Keve Wilson at Caffe Vivaldi, 7:00 PM. 32 Jones. trane at Deer Head Inn, 7:00 PM. 5 Main St., Delaware  Jazz Loft Big Band at Jazz Loft, 7:00 PM. 275 Christian, Water Gap PA. Stony Brook NY.  Freddie Bryant 3 at Bar Next Door, 7:30 PM. 129 MacDou-  Emilio Teubal 3 at Club Bonafide, 7:30 PM. 212 E. 52nd. gal.  Javon Jackson Band at Dizzy's Club Coca Cola, 7:30 and  New Aires Tango at Club Bonafide, 7:30 PM. 212 E. 52nd. 9:30 PM. 10 Columbus Cir. #10.  Gerry Gibbs 6 feat. Tom Harrell & Buster Williams at  Count Basie Orchestra feat. Dee Dee Bridgewater at Blue Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Note, 8:00 and 10:30 PM. 131 W. 3rd St. Cir. #10.  Steve Sandberg & Alaya feat. Mark Feldman at Cornelia  Swing Dance Long Island at Jazz Loft, 7:30 PM. 275 Chris- St. Cafe, 8:00 and 9:30 PM. 29 Cornelia. tian, Stony Brook NY.  Banda Nueva York at Shrine, 8:00 PM. 2271 7th Ave.  Count Basie Orchestra feat. Dee Dee Bridgewater at Blue  Rich Perry 3 at Bar Next Door, 8:30 PM. 129 MacDougal. Note, 8:00 and 10:30 PM. 131 W. 3rd St.  Carmen Lundy at Birdland, 8:30 and 11:00 PM. 315 W.  Carmen Lundy at Birdland, 8:30 and 11:00 PM. 315 W. 44th. 44th.  American Songbook: John Ondrasik (of Five for Fighting)  American Songbook: Heather Headley at Appel Room, w/string quartet at Appel Room, Lincoln Center, 8:30 PM. Lincoln Center, 8:30 PM. Broadway @ 60th. Broadway @ 60th.  Ambrose Akinmusire 4 at Village Vanguard, 8:30 and  Ambrose Akinmusire 4 at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave. S. 10:30 PM. 178 7th Ave. S.  George Garzone Boston Collective at Cornelia St. Cafe,  Simon Hanes 3 at The Stone, 9:00 PM. 2nd St. @ Avenue C. 9:00 and 10:30 PM. 29 Cornelia.  Kali Rodriguez-Peña at Dizzy's Club Coca Cola, 11:15 PM.  Jill McCarron 2 at Knickerbocker Bar, 9:00 PM. 33 Univer- 10 Columbus Cir. #10. sity Pl.  Tredici Baci feat. Simon Hanes Plays Contemporary Friday, February 3 Works at The Stone, 9:00 PM. 2nd St. @ Avenue C.  Maz (of Snarky Puppy) at Club Bonafide, 9:30 PM. 212 E.

52nd.  Alfredo Colon 4 at Shrine, 6:00 PM. 2271 7th Ave.  Kali Rodriguez-Peña at Dizzy's Club Coca Cola, 11:15 PM.  La Cuchina Unplugged feat. Vinny Bianchi at Deer Head 10 Columbus Cir. #10. Inn, 7:00 PM. 5 Main St., Delaware Water Gap PA.  Phony People at Blue Note, 12:30 AM. 131 W. 3rd St. nd  DODO Orchestra at Club Bonafide, 7:30 PM. 212 E. 52 .  Gerry Gibbs 6 feat. Tom Harrell & Buster Williams at (Continued on page 14) Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 60th & Bdwy

To Advertise CALL: 215-887-8880 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 13 Sunday, February 5 Monday, February 6 Tuesday, February 7

 Patrick McGee 4 at Deer Head Inn, 5:00 PM. 5 Main St.,  Mingus Big Band at Jazz Standard, 7:30 and 9:30 PM. 116  Tal Yahalom 3 at Bar Next Door, 6:30 PM. 129 MacDougal. Delaware Water Gap PA. E. 27th.  Robert Rodriguez Jam Session at Club Bonafide, 7:30  Mari Koga at Birdland, 6:00 PM. 315 W. 44th.  Peter Amos 3 at Bar Next Door, 6:30 PM. 129 MacDougal. PM. 212 E. 52nd.  Giuseppe DeGregorio & NYC Gospel Jazz Syndicate at  Devin Bing at Dizzy's Club Coca Cola, 7:30 and 9:30 PM.  Camille Thurman at Dizzy's Club Coca Cola, 7:30 and 9:30 Club Bonafide, 7:30 PM. 212 E. 52nd. 10 Columbus Cir. #10. PM. 10 Columbus Cir. #10.  Gerry Gibbs 6 feat. Tom Harrell & Buster Williams at  McCoy Tyner at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd  Theo Bleckman at Jazz Standard, 7:30 and 9:30 PM. 116 Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus St. E. 27th. Cir. #10.  Beat Kaestli 3 at Bar Next Door, 8:30 PM. 129 MacDougal.  McCoy Tyner at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd  Count Basie Orchestra feat. Dee Dee Bridgewater at Blue  David Amram & Company at Cornelia St. Cafe, 8:30 PM. St. Note, 8:00 and 10:30 PM. 131 W. 3rd St. 29 Cornelia.  Matt Marantz 3 at Bar Next Door, 8:30 PM. 129 MacDougal.  Ambrose Akinmusire 4 at Village Vanguard, 8:30 and  Marcos Valle at Birdland, 8:30 and 11:00 PM. 315 W. 44th. 10:30 PM. 178 7th Ave. S.  Vanguard Jazz Orchestra at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave. S.  Kris Davis 3 at The Stone, 9:00 PM. 2nd St. @ Avenue C.  Atla & Matt DeChamplain at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.

Wednesday, February 8

 Andrew Shillito 3 at Bar Next Door, 6:30 PM. 129 MacDou- gal.  The Flail at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Yotam Silberstein 4 at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.  Fabrizio Sotti & Friends feat. Melanie Fiona at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  Noam Wiesenberg 5 at Cornelia St. Cafe, 8:00 and 9:30 PM. 29 Cornelia.  Dillon Mansour 3 at Shrine, 8:00 PM. 2271 7th Ave.  Dave Stryker at Bar Next Door, 8:30 PM. 129 MacDougal.  Marcos Valle at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  Equilibrium at Caffe Vivaldi, 8:30 PM. 32 Jones.  Vanguard Jazz Orchestra at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave. S.  Kris Davis/Jen Shyu at The Stone, 9:00 PM. 2nd St. @ Avenue C.  Atla & Matt DeChamplain at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.

Thursday, February 9

 Noah Haidu at Birdland, 6:00 PM. 315 W. 44th.  Cowboys & Frenchmen at Cornelia St. Cafe, 6:00 PM. 29 Cornelia.  Josh Lawrence at Silvana, 6:00 PM. 300 W. 116th.  Bobby Katz 3 at Bar Next Door, 6:30 PM. 129 MacDougal.  Blue Devils at Jazz Loft, 7:00 PM. 275 Christian, Stony Brook NY.  Freddy Cole 4: Songs for Lovers at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Alfredo Rodriguez/Pedrito Martinez at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.  Rachelle Ferrell: Valentine's Celebration at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  Powell Brothers Sextet at Cornelia St. Cafe, 8:00 and 9:30 PM. 29 Cornelia.  Jonathan Greenstein 3 at Bar Next Door, 8:30 PM. 129 MacDougal.  Marcos Valle at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  Vanguard Jazz Orchestra at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave. S.  Kris Davis/Julian Lage at The Stone, 9:00 PM. 2nd St. @ Avenue C.  Atla & Matt DeChamplain at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.

Friday, February 10

 Alfredo Colon 4 at Shrine, 6:00 PM. 2271 7th Ave.  Iris Ornig 5 at Deer Head Inn, Delaware Water Gap PA.

(Continued on page 16)

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

To Advertise CALL: 215-887-8880 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 15  Tom Dempsey 3 at Bar Next Door, 7:30 PM. 129 MacDou-  Burris at Shrine, 8:00 PM. 2271 7th Ave. gal.  Elisabeth Lohninger 3 at Bar Next Door, 8:30 PM. 129  Freddy Cole 4: Songs for Lovers at Dizzy's Club Coca MacDougal. Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Mingus Big Band at Jazz Standard, 7:30 and 9:30 PM. 116  Alfredo Rodriguez/Pedrito Martinez at Jazz Standard, E. 27th. 7:30 and 9:30 PM. 116 E. 27th.  Behn Gillece Group at Smalls, 7:30 PM. 183 W. 10th St.  Rachelle Ferrell: Valentine's Celebration at Blue Note, Tuesday, February 14 8:00 and 10:30 PM. 131 W. 3rd St.  Dianne Reeves at Rose Theater, Lincoln Center, 8:00 PM.  Marianne Solivan 4 at Deer Head Inn, 7:00 PM. 5 Main St., Broadway @ 60th. Delaware Water Gap PA.  Marcos Valle at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  Robert Rodriguez Jam Session at Club Bonafide, 7:30 PM. 212 E. 52nd.  Vanguard Jazz Orchestra at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave. S.  Freddy Cole 4: Songs for Lovers at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Ari Hoenig 3 at Cornelia St. Cafe, 9:00 and 10:30 PM. 29 Cornelia.  Bria Skonberg at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.  John Colianni 2 at Knickerbocker Bar, 9:00 PM. 33 Univer- th sity Pl.  Steve Nelson Group at Smalls, 7:30 PM. 183 W. 10 St.  Kris Davis Michael Formanek at The Stone, 9:00 PM. 2nd  Lisa Fischer & Grand Baton at Blue Note, 8:00 and 10:30 rd St. @ Avenue C. PM. 131 W. 3 St. th  Atla & Matt DeChamplain at Dizzy's Club Coca Cola,  Blu Cha Cha at Shrine, 8:00 PM. 2271 7 Ave. 11:15 PM. 10 Columbus Cir. #10.  Catherine Russell at Birdland, 8:30 and 11:00 PM. 315 W. th 44 .  Miguel Zenon 4 at Village Vanguard, 8:30 and 10:30 PM. Saturday, February 11 178 7th Ave. S.  Brandon Ross 4 at The Stone, 9:00 PM. 2nd St. @ Avenue  Bob Dorough 3 at Deer Head Inn, 7:00 PM. 5 Main St., C. Delaware Water Gap PA.  Evan Sherman Entourage at Dizzy's Club Coca Cola,  Burris at Silvana, 7:00 PM. 300 W. 116th. 11:15 PM. 10 Columbus Cir. #10.  Mark Cocheo 3 at Bar Next Door, 7:30 PM. 129 MacDou- gal.  Freddy Cole 4: Songs for Lovers at Dizzy's Club Coca Wednesday, February 15 Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Alfredo Rodriguez 3 at Jazz Standard, 7:30 and 9:30 PM.  Alicyn Yaffee 3 at Bar Next Door, 6:30 PM. 129 MacDou- 116 E. 27th. gal.  Rachelle Ferrell: Valentine's Celebration at Blue Note,  Delfeayo Marsalis & Uptown Jazz Orchestra at Dizzy's 8:00 and 10:30 PM. 131 W. 3rd St. Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Dianne Reeves at Rose Theater, Lincoln Center, 8:00 PM.  Ralph Towner at Jazz Standard, 7:30 and 9:30 PM. 116 E. th Broadway @ 60th. 27 .  Blu Cha Cha at Silvana, 8:00 PM. 300 W. 116th.  Lisa Fischer & Grand Baton at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  Marcos Valle at Birdland, 8:30 and 11:00 PM. 315 W. 44th.  Alexa Barchini 4 at Cornelia St. Cafe, 8:00 and 9:30 PM. 29  Vanguard Jazz Orchestra at Village Vanguard, 8:30 and Cornelia. 10:30 PM. 178 7th Ave. S.  Catherine Russell at Birdland, 8:30 and 11:00 PM. 315 W.  Lage Lund at Cornelia St. Cafe, 9:00 and 10:30 PM. 29 44th. Cornelia.  American Songbook: Liz Callaway at Appel Room, Lin-  John Colianni 2 at Knickerbocker Bar, 9:00 PM. 33 Univer- coln Center, 8:30 PM. Broadway @ 60th. sity Pl.  Miguel Zenon 4 at Village Vanguard, 8:30 and 10:30 PM.  Kris Davis/Johnathan Blake at The Stone, 9:00 PM. 2nd St. 178 7th Ave. S. @ Avenue C.  Brandon Ross 3: for Living Lovers at The Stone, 9:00 PM.  Atla & Matt DeChamplain at Dizzy's Club Coca Cola, 2nd St. @ Avenue C. 11:15 PM. 10 Columbus Cir. #10.  Evan Sherman Entourage at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10. Sunday, February 12 Thursday, February 16  Erica Golaszewski 4 at Deer Head Inn, 5:00 PM. 5 Main St.,

Delaware Water Gap PA.  Travis Sullivan at Silvana, 6:00 PM. 300 W. 116th.  Freddy Cole 4: Songs for Lovers at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Tommaso Gambini 3 at Bar Next Door, 6:30 PM. 129 MacDougal.  Alfredo Rodriguez 3 at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.  Pete Muller 3 at Caffe Vivaldi, 7:30 PM. 32 Jones.  Rachelle Ferrell: Valentine's Celebration at Blue Note,  Andrew Cyrille 4 feat. Bill Frisell at Dizzy's Club Coca 8:00 and 10:30 PM. 131 W. 3rd St. Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Anouman at Cornelia St. Cafe, 8:30 and 10:00 PM. 29  Ralph Towner at Jazz Standard, 7:30 and 9:30 PM. 116 E. th Cornelia. 27 .  Vanguard Jazz Orchestra at Village Vanguard, 8:30 and  Lisa Fischer & Grand Baton at Blue Note, 8:00 and 10:30 rd 10:30 PM. 178 7th Ave. S. PM. 131 W. 3 St.  Kris Davis/ Ingrid Laubrock at The Stone, 9:00 PM. 2nd St.  Martin Nevin Group at Cornelia St. Cafe, 8:00 and 9:30 Jazz Lovers’ @ Avenue C. PM. 29 Cornelia.  Paul Pieper 3 at Bar Next Door, 8:30 PM. 129 MacDougal.  Catherine Russell at Birdland, 8:30 and 11:00 PM. 315 W. Monday, February 13 44th.  American Songbook: Laura Mvula at Appel Room, Lin-  Paul Jubong Lee 3 at Bar Next Door, 6:30 PM. 129 Mac- coln Center, 8:30 PM. Broadway @ 60th.

Lifetime Collection Dougal.  Miguel Zenon 4 at Village Vanguard, 8:30 and 10:30 PM.  Sarah McKenzie 6 at Dizzy's Club Coca Cola, 7:30 and 178 7th Ave. S. 9:30 PM. 10 Columbus Cir. #10.  Brandon Ross & Blazing Beauty at The Stone, 9:00 PM.  The Baylor Project: Valentine's Day at Blue Note, 8:00 and 2nd St. @ Avenue C. JazzMusicDeals.com JazzMusicDeals.com 10:30 PM. 131 W. 3rd St. (Continued on page 18)

16 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

Ravi Coltrane Jazz Standard, February 21-26

Photo by Eric Nemeyer

To Advertise CALL: 215-887-8880 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 17 rd  Benny Green Trio at Dizzy's Club Coca Cola, 7:30 and Celebration at Blue Note, 8:00 and 10:30 PM, 131 W. 3 St. 9:30 PM. 10 Columbus Cir. #10.  George Coleman Birthday Celebration with Charles  Mingus Big Band at Jazz Standard, 7:30 and 9:30 PM. 116 McPherson at Jazz Standard, 7:30 and 9:30 PM. 116 E.

E. 27th. 27th. “Encroachment  The Loop Loft All Stars: Harland, Smith, Cinelu, Kelley,  Nicole Henry at Dizzy's Club Coca Cola, Late Night, 11:30 of freedom will not come Wamble at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St. PM. 10 Columbus Cir. #10. about through one violent action or movement but will come about Tuesday, February 21 Thursday, March 2 through a series of actions that appear  Juilliard Jazz Ensemble at Dizzy's Club Coca Cola, 7:30  George Coleman Birthday Celebration with Charles to be unrelated and coincidental, but and 9:30 PM. 10 Columbus Cir. #10. McPherson at Jazz Standard, 7:30 and 9:30 PM. 116 E. that were all along systematically 27th. planned for dictatorship.”  Nicole Henry at Dizzy's Club Coca Cola, Late Night, 11:30 Wednesday, February 22 PM. 10 Columbus Cir. #10.

 Jason Marsalis at Dizzy's Club Coca Cola, 7:30 and 9:30 — John Adams, 2nd President PM. 10 Columbus Cir. #10. Friday, March 3 of the United States— Anton Chekhov  Ravi Coltrane with Adam Rogers, Dezron Douglas, E.J. Strickland at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.  George Coleman Birthday Celebration with Charles (Continued from page 16)  Ivan Neville Piano Sessions Mardi Gras Celebration at Blue McPherson at Jazz Standard, 7:30 and 9:30 PM. 116 E. Note, 8:00 and 10:30 PM. 131 W. 3rd St. 27th.  Evil Giraffes on Mars at Club Bonafide, 9:30 PM. 212 E.  Dave Douglas Metamorphosis with Wadada Leo Smith, 52nd. Oliver Lake, Andrew Cyrille, Marc Ribot, Myra Melford,  Evan Sherman Entourage at Dizzy's Club Coca Cola, Thursday, February 23 Mark Dresser, and Susie Ibarra; Appel Room, Jazz At 11:15 PM. 10 Columbus Cir. #10. Lincoln Center, 60th & Broadway.

 Jason Marsalis at Dizzy's Club Coca Cola, 7:30 and 9:30  Eddie Palmieri: Celebrating 80 Years - Pianist, NEA Jazz Friday, February 17 PM. 10 Columbus Cir. #10. Master, and Grammy Award-winner  Ravi Coltrane with Adam Rogers, Dezron Douglas, E.J.  MVP Jazz Quartet – Remembering James Williams and Strickland at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.  Benny Green Trio at Dizzy's Club Coca Cola, 7:30 and Mulgrew Miller at Dizzy's Club Coca Cola, 7:30 PM, 9:30 9:30 PM. 10 Columbus Cir. #10.  Ivan Neville Piano Sessions Mardi Gras Celebration at Blue PM. 10 Columbus Cir. #10. Note, 8:00 and 10:30 PM. 131 W. 3rd St.  Miguel Zenon 4 at Village Vanguard, 8:30 and 10:30 PM.

178 7th Ave. S. Saturday, March 4  Bria Skonberg at Jazz Standard, 7:30 and 9:30 PM. 116 E. Friday, February 24 th 27 .  George Coleman Birthday Celebration with Charles  Jazz of the ’50s: Overflowing with style; Jazz at Lincoln  Music of Dexter Gordon at Dizzy's Club Coca Cola, 7:30 McPherson at Jazz Standard, 7:30 and 9:30 PM. 116 E. Center Orchestra with Wynton Marsalis and music director and 9:30 PM. 10 Columbus Cir. #10. 27th. Chris Crenshaw perform the music of Miles Davis, Art Bla-  Ravi Coltrane with Adam Rogers, Dezron Douglas, E.J.  Dave Douglas Metamorphosis with Wadada Leo Smith, key, Gerry Mulligan, and more. Rose Theater, Jazz At Lin- Strickland at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th. Oliver Lake, Andrew Cyrille, Marc Ribot, Myra Melford, th coln Center, 60 & Broadway Mark Dresser, and Susie Ibarra; Appel Room, Jazz At

Saturday, February 25 Lincoln Center, 60th & Broadway. Saturday, February 18  MVP Jazz Quartet – Remembering James Williams and Mulgrew Miller at Dizzy's Club Coca Cola, 7:30 PM, 9:30  Music of Dexter Gordon at Dizzy's Club Coca Cola, 7:30  Benny Green Trio at Dizzy's Club Coca Cola, 7:30 and PM. 10 Columbus Cir. #10. and 9:30 PM. 10 Columbus Cir. #10. 9:30 PM. 10 Columbus Cir. #10.  Ravi Coltrane with Adam Rogers, Dezron Douglas, E.J.  Mingus Big Band at Jazz Standard, 7:30 and 9:30 PM. 116 Strickland at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th. Sunday, March 5 th E. 27 .  Ivan Neville Piano Sessions Mardi Gras Celebration at Blue  George Coleman Birthday Celebration with Charles rd Note, 8:00 and 10:30 PM. 131 W. 3 St. Sunday, February 26 McPherson at Jazz Standard, 7:30 and 9:30 PM. 116 E.  Jazz of the ’50s: Overflowing with style; Jazz at Lincoln 27th. Center Orchestra with Wynton Marsalis and music director  Music of Dexter Gordon at Dizzy's Club Coca Cola, 7:30  MVP Jazz Quartet – Remembering James Williams and Chris Crenshaw perform the music of Miles Davis, Art Bla- and 9:30 PM. 10 Columbus Cir. #10. Mulgrew Miller at Dizzy's Club Coca Cola, 7:30 PM, 9:30 key, Gerry Mulligan, and more. Rose Theater, Jazz At Lin-  Ravi Coltrane with Adam Rogers, Dezron Douglas, E.J. PM. 10 Columbus Cir. #10. th coln Center, 60 & Broadway Strickland at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.

Monday, March 6 Sunday, February 19 Monday, February 27  Monday Nights with WBGO, Loston Harris at Dizzy's Club  Benny Green Trio at Dizzy's Club Coca Cola, 7:30 and  Music of Dexter Gordon at Dizzy's Club Coca Cola, 7:30 Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10. 9:30 PM. 10 Columbus Cir. #10. and 9:30 PM. 10 Columbus Cir. #10.  Mingus Big Band at Jazz Standard, 7:30 and 9:30 PM. 116  Mingus Big Band at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th. E. 27th. Tuesday, March 7

 Tessa Souter at Dizzy's Club Coca Cola, 7:30 and 9:30 Monday, February 20 Tuesday, February 28 PM. 10 Columbus Cir. #10.

 Adam Moezinia at Dizzy's Club Coca Cola, Late Night,  William Patterson University Big Band at Dizzy's Club 11:30 PM. 10 Columbus Cir. #10. Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Donald Harrison, Henry Butler Mardi Gras, Fat Tuesday Celebration at Blue Note, 8:00 and 10:30 PM, 131 W. 3rd St. Wednesday, March 8 “It’s better to be despised by  Wolfgang Muthspiel at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.  Person To Person – Houston Person, Eric Person at the despicable than Dizzy's Club Coca Cola, 7:30 PM and 9:30 PM. 10 Colum- admired by the admirable.” bus Cir. #10. Wednesday, March 1  Adam Moezinia at Dizzy's Club Coca Cola, Late Night, 11:30 PM. 10 Columbus Cir. #10.  A Gotham Kings Mardi Gras Celebration at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.  Donald Harrison, Henry Butler Mardi Gras, Fat Tuesday

18 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

Billy Hart Jazz Standard, March 9--1212

Photo by Eric Nemeyer

To Advertise CALL: 215-887-8880 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 19  Ari Hoenig 4 (except 1/9) at Smalls, 10:30 PM. 183 W. 10th St.

th  Pasquale Grasso at Mezzrow, 11:00 PM.163 W. 10 St. “...among human beings “Some people’s idea of  Jam Session at Smalls, 1:00 AM. 183 W. 10th St. jealousy ranks distinctly as a free speech is that they are free weakness; a trademark of small minds; Tuesdays (1/3, 1/10, 1/17, 1/24, 1/31) a property of all small minds, yet a property to say what they like, but if anyone which even the smallest is ashamed of;  Earl Rose at Bemelmans, 5:30 PM. 35 E. 76th. says anything back that and when accused of its possession will  Tyler Mitchell (except 1/24 and 1/31) at Jules Bistro, 7:30 is an outrage.” PM. 65 St. Marks Pl. lyingly deny it and resent the  Marc Devine 3 at Cleopatra's Needle, 8:00 PM. 2485 accusation as an insult.” Broadway. - Winston Churchill  David Budway Jam Session at Maureen's Jazz Cellar, -Mark Twain 8:00 PM. 2 N. Broadway, Nyack NY.  George Gee Swing Orchestra at Swing 46, 8:30 PM. 349 Thursday, March 9 W. 46th.  Charlie Apicella & Iron City at Il Porto, 7:00 PM. 37 Wash-  Chris Gillespie 3 at Bemelmans, 9:30 PM. 35 E. 76th. ington Ave., Bklyn.  Chris Gillespie 3 at Bemelmans, 9:30 PM. 35 E. 76th.  Person To Person – Houston Person, Eric Person at  Jam Session at Cleopatra's Needle, 10:00 PM. 2485 Broadway.  Jam w/T. Kash at Cleopatra's Needle, 12:30 AM. 2485 Dizzy's Club Coca Cola, 7:30 PM and 9:30 PM. 10 Colum- Broadway. bus Cir. #10.  Adi Meyerson Jam Session at Mezzrow, 11:00 PM. 163 W. th  Billy Hart at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th. 10 St. th  Adam Moezinia at Dizzy's Club Coca Cola, Late Night,  Jam Session at Smalls, 1:00 AM. 183 W. 10 St. Sundays (1/1, 1/8, 1/15, 1/22, 1/29) 11:30 PM. 10 Columbus Cir. #10. Wednesdays (1/4, 1/11, 1/18, 1/25)  Marion Cowings Vocal Class (except 1/1) at Smalls, 1:00 Friday, March 10 PM. 183 W. 10th St.  Rob Mosci at Bemelmans, 5:30 PM. 35 E. 76th.  Jazz for Kids: Jazz Standard Youth Orchestra at Jazz Standard, 2:00 PM. 116 E. 27th.  Ted Nash Quintet at Dizzy's Club Coca Cola, 7:30 and  Louis Armstrong Eternity Band at Birdland, 5:30 PM. 315 W. 44th.  Keith Ingham at Cleopatra's Needle, 4:00 PM. 2485 Broad- 9:30 PM. 10 Columbus Cir. #10. way.  Billy Hart at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.  Les Kurtz 3 at Cleopatra's Needle, 7:30 PM. 2485 Broad- way.  Ai Murakami 3 at Smalls, 4:30 PM. 183 W. 10th St.  Adam Moezinia at Dizzy's Club Coca Cola, Late Night,  Rob Mosci (except 1/1) at Bemelmans, 5:00 PM. 35 E. 76th. 11:30 PM. 10 Columbus Cir. #10.  Stan Rubin Orchestra feat. Joe Politi at Swing 46, 7:15 PM. 349 W. 46th.  Lu Reid Jam Session (except 1/1) at Shrine, 5:00 PM. 2271 th  Chris Gillespie 3 at Bemelmans, 9:30 PM. 35 E. 76th. 7 Ave. Saturday, March 11  Tony Hewitt/Pete Malinverni at Mezzrow, 11:00 PM. 163  Terry Waldo's Gotham City Band at Fat Cat, 6:00 PM. 75 W. 10th St. Christopher.  Ted Nash Quintet at Dizzy's Club Coca Cola, 7:30 and  Jam w/Nathan Brown at Cleopatra's Needle, 11:30 PM.  Johnny O'Neal 3 (except 1/15) at Smalls, 7:30 PM. 183 W. 9:30 PM. 10 Columbus Cir. #10. 2485 Broadway. 10th St.  Billy Hart at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.  Jam Session at Smalls, 1:00 AM. 183 W. 10th St.  Peter Mazza 3 (except 1/1) at Bar Next Door, 8:00 PM. 129  Adam Moezinia at Dizzy's Club Coca Cola, Late Night, MacDougal. 11:30 PM. 10 Columbus Cir. #10.  John Lander Jam Session at Caffe Vivaldi, 8:00 PM. 32 Thursdays (1/5, 1/12, 1/19, 1/26) Jones.  Arturo O'Farrill Afro Latin Jazz Orchestra at Birdland, Sunday, March 12  Earl Rose at Bemelmans, 5:30 PM. 35 E. 76th. 9:00 and 11:00 PM. 315 W. 44th.  Bill Washer & Friends at Deer Head Inn, 8:00 PM. 5 Main  Jam w/Kelly Green 2 at Cleopatra's Needle, 9:00 PM. 2485  Ted Nash Quintet at Dizzy's Club Coca Cola, 7:30 and St., Delaware Water Gap PA. Broadway. 9:30 PM. 10 Columbus Cir. #10.  Vanessa Trouble: Red Hot Swing (except 1/5) at Swing 46,  Champain Fulton 3 (except 1/1) at Bemelmans, 9:00 PM.  Billy Hart at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th. 8:30 PM. 349 W. 46th. 35 E. 76th.  Jam Session at Deer Head Inn, 9:00 PM. 5 Main St., Dela-  John Merrill & Friends at Mezzrow, 11:00 PM. 163 W. 10th Monday, March 13 ware Water Gap PA. St.  Chris Gillespie 3 at Bemelmans, 9:30 PM. 35 E. 76th.  Program of Deprogramming at Fat Cat, 1:00 AM. 75 Chris-

 Spike Wilner & Guests at Mezzrow, 11:00 PM. 163 W. 10th topher.  New York Youth Symphony – The Great Trumpeters at St.  Hillel Salem at Smalls, 1:00 AM. 183 W. 10th St. Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus  Jam w/Kazu Trio at Cleopatra's Needle, 11:30 PM. 2485

Broadway.  Wednesday, March 15  Jam Session at Smalls, 1:00 AM. 183 W. 10th St.

 Kenny Barron Quartet at Jazz Standard, 7:30 and 9:30 PM. Fridays (1/6, 1/13, 1/20, 1/27) 116 E. 27th.

th  Jam Session (except 1/6) at Smalls, 4:00 PM. 183 W. 10

REGULAR GIGS St. th “Ultimate Mondays (1/2, 1/9, 1/26, 1/23, 1/30)  Birdland Big Band at Birdland, 5:15 PM. 315 W. 44 .  Earl Rose at Bemelmans, 5:30 PM. 35 E. 76th. success is not  Renaud Penant (except 1/20) at Jules Bistro, 7:30 PM. 65  Mingus Big Band (except 1 / 2) at Jazz Standard, 7:30 and St. Marks Pl. directly related to 9:30 PM. 116 E. 27th.  Chris Gillespie 3 at Bemelmans, 9:30 PM. 35 E. 76th. early success, if you  Francois Wiss (except 1/23) at Jules Bistro, 7:30 PM. 65  Johnny O'Neal at Mezzrow, 11:00 PM. 163 W. 10th St. St. Marks Pl. consider that many successful  Jam Session at Cleopatra's Needle, 12:30 AM. 2485  Jon Weiss 2 at Cleopatra's Needle, 8:00 PM. 2485 Broad- Broadway. people did not give clear way.  Jam Session at Smalls, 1:00 AM. 183 W. 10th St.  Swingadelic at Swing 46, 8:30 PM. 349 W. 46th. evidence of such promise

 Vanguard Jazz Orchestra at Village Vanguard, 8:30 and in youth.” 10:30 PM. 178 7th Ave. S. Saturdays (1/7, 1/14, 1/21, 1/28)  Woody Allen & Eddy Davis New Orleans Jazz Band at Cafe Carlyle, 8:45 PM. 35 E. 76th.  Jam Session at Smalls, 4:00 PM. 183 W. 10th St.  Jam Session at Cleopatra's Needle, 10:00 PM. 2485  Jay Leonhart/Tomoko Ohno (except 1/7) at Birdland, 6:00 Broadway. PM. 315 W. 44th. - Robert Fritz, The Path Of Least Resistance

20 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

George Coleman Jazz Standard, March 1-5

oto by Eric Nemeyer

To Advertise CALL: 215-887-8880 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 21 Clubs,Clubs, VenuesVenues && JazzJazz ResourcesResources

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

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

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

To Advertise CALL: 215-887-8880 February-March 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 23 Bobby Hutcherson Life Celebration (1941-2016) Saint Peter’s Church, New York City, January 28, 2017

Review and photos by Ken Weiss with very capable support from Kenny Barron, A number of short eulogies were included, Buster Williams and Victor Lewis. Locke pre- some of which were impromptu. Michael Cuscu- Bobby Hutcherson, who died at the age of ceded his duet with Barron by warning the lis- na noted the late vibist had “a Zen-like calm” 75 in August of 2016, was one of the most influ- teners that they were about to hear a new tune he and “one of the most gentle spirits.” He recalled ential and important vibraphonists in the history had written to honor Hutcherson – “Make Me that back in the ‘80s, they both were addicted to of jazz. He was one of the first to adapt his in- Feel Like It’s Raining”- but that they had not watching soap operas, neither ever missed an strument to the freer postbop language, often practiced it so, “I’m hoping we have a beautiful episode of Days of Our Lives. “It was such a playing chords with a pair of mallets in each train wreck!” The performances and performers serious jones, we’d call each other if one of us hand, while establishing his reputation with oth- kept coming in waves. George Cables, Eddie was in Europe [to give an update]. Woody Shaw er groundbreaking artists including Eric Dolphy, Henderson, Essiet Okon Essiet, Victor Lewis III spoke of growing up as a child with Jackie McLean, Archie Shepp, Andrew Hill, Joe and Joel Ross played “Little B’s Poem,” Hutcherson as a frequent visitor to their home Chambers, Herbie Hancock, McCoy Tyner and Hutcherson’s well-covered composition written and Joe Locke read a heartfelt piece he had writ- Woody Shaw, as well as releasing his own ac- for his three-year-old son. Eventually, Joe ten, beginning with, “My life would undoubted- claimed Blue Note recordings. Chambers replaced Ross for a tune and then a ly have taken a different path were it not for Todd Barkan and Michael Cuscuna coordi- sextet took the stage – George Coleman, Steve Bobby Hutcherson…” nated this tribute to the late vibraphonist which Davis, Steve Nelson, Mike LeDonne, Ray featured a number of our finest vibraphone play- Drummond and Billy Drummond. Todd ers and began with a very forceful duet by Cochran, John Leftwich and Michael Carvin  McCoy Tyner and Joe Lovano covering Tyner’s followed, and finally a quartet of Bill Ware,  “Walk Spirit, Talk Spirit.” A very tan Joe Locke Hector Martignon, Alex Blake and Francisco  followed with a high energy display on vibes Mela closed it out. Below: (L to R): McCoy Tyner, Joe Lovano

24 December-January 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Steve Nelson

Photo by Ken Weiss

To Advertise CALL: 215-887-8880 December-January 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 25 George Coleman

Photo by Ken Weiss

Michael Carvin

Photo by Ken Weiss

26 December-January 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 George Cables

Photo by Ken Weiss

To Advertise CALL: 215-887-8880 December-January 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 27 rely on what they think – they rely on what they feel. They also rely on the connection InterviewInterview that happens when you bring people together. I remember when I first started singing, Clark Terry took me under his wing, and he would put me in these situations with these musi- Dianne Reeves cians that, at the time, I didn’t know who they were. I certainly do now, but he would stick “It wasn’t so much what [Clark] said, me in the middle and I had my little arrangements and one of the things that I realized as much as all the things that he did…” was, “Wow! They’re talking with each other and I’m not in on the conversation!” And I Interview by Eric Nemeyer can’t imagine being in the audience and hear- wanted to be in on that. That “thing.” And ing them perform that close while they were that thing comes with trust and knowing the literally inventing this music. Jazz is a living other person musically. You can tell where DR: It’s always an organic process with me. music and when you’re up that close, you get somebody is at when you jump down in there. I love selecting the musicians that I know will to hear the conversations that go on in the They have this call and response; they have make it feel good. Billy Childs was on the music – that’s amazing. I wish I could have all of these things going on, and I was just record, my regular bassist Reuben Rogers was seen those artists. I always say that this music singing down in front and I said, “I don’t want on it – there was a lot of love and a lot of un- is so spiritual because people know each oth- to be a singer with a back-up band, I want to derstanding of how to do this. They have er’s history, and that is what plays on stage. be involved with the band.” So, from very strong personalities and like and respect that And that’s what I’m looking for with this con- early on, I just knew that it was really im- in the music. So, some of the songs – the cert. I know when I play at these great classi- portant to do that. One of the ways that I find forms and the arrangements were just most cal halls – like when I’m in Austria, I know is – even when you’re writing arrangements— sketched and then the musicians filled in the who has come before me and performed there I work a lot with Billy Childs; we’ve known rest and I sang in the sessions as I always do. and you just feel it. There’s an air and an atti- each other since we’re nineteen—and he It just came out great! tude and that’s the same way I feel about the knows the kinds of things I like to sing over. Apollo. When people come to the Apollo, He’ll write something that sounds very com- JI: Given your awareness and involvement they come there expecting something wonder- plex, but really it’s just this wonderful atmos- with the music and the legacy, could you talk ful, because that’s the feeling of the place. I’m phere that he puts me in and allows me to about how the Apollo Theater has played in really, really excited about creating an experi- improvise. If it’s an orchestra, since we can’t important role in hosting influential artists ence for people to have forever, and singing change the form of the song, he gives me involved with this music and maybe can share this music that I’m just absolutely in love with things that allow me to create vertically, I your perspectives about the excitement for on Valentine’s Day…and just bringing it! I’m always say. It changes every time, so it’s al- this venue. so hyped about being a part of that energy. ways fresh and it’s always new. I think that one of the things about arranging, is firstly, giving people something that they can sink their teeth into, and secondly, something that “I think you always you must pray for releases their own personality. Duke Ellington was great at that. He was able to take people’s strengths and weaknesses, and turn it into clarity and awareness. Because there something great. We as musicians have to interpret the songs and the interpretation can are so many things that go on and tell be so different one to the next. Being able to trust that and have that, makes the arrange- you that this thing is okay and that thing ment change.

is okay, and you just have to be in touch JI: Like you’re saying, when you’re playing with really great players, and you’re surround- ing yourself with people who are sensitive and with your inner-self—your spirit, or in the moment and have those tools, in much the same way you or I create a conversation however you define it.” using the English language, the English language is just the language. You want to forget about the words and the meanings, and you DR: You never know how great someone is JI: You mentioned spirituality and I wanted want to convey an energy. until you really see live them live on stage. I to know if you could comment about how can’t imagine what it was like to see these your journey has enabled you to discover the DR: Exactly! I loved Betty Carter for that. great artists like Billy Eckstein, Cab Callo- things that go beyond just the physical and The very first time I saw her, I had a totally way, Ella, Sarah Vaughn – the list goes on into the spiritual in regards to the music? religious experience—it just wrecked me for a and on. A venue like the Apollo, that is so month. I walked around kind of weeping. I intimate where everything is up close, brings DR: Part of it is. When you’re working with had never seen anything like that. Because it the audience right there. They’re hearing eve- musicians that really have all their tools in was something that I aspired to do and it ex- ry note, every breath, every subtle nuance – I order that is a big thing, because they don’t (Continued on page 29)

28 December-January 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 did I say?” (laughs). “What was that about?!” Dianne Reeves He kept putting me in those situations and my first orchestra experience was with him. He “A man can get discouraged would just put me in these situations and just (Continued from page 28) push because he knew it was there. The more many times but he is not a failure isted and I couldn’t believe it. Basically, the he pushed, the more I just absorbed every- until he begins to blame somebody musicians were an extension of her sound and thing. He helped me understand how to be else and stops trying.” they were co-creators on stage, and I thought, respectful of the song that you’re in. For in-

“Oh my god, how do you create that?” stance, I might be singing a beautiful ballad, but it may not be necessary to put a Blues lick - John Burroughs JI: As you had mentioned, Clark Terry be- in the interpretation of the song. came a mentor early on in your career. Can Fortunately, people always talk about the age you talk about the kind of discussions or ad- JI: Just to show off what you have as op- of fusion music and all that kind of stuff, but vise that you received, or opportunities that he posed to developing the song for what it is, or for me, it was an entrée into World Music. I may have helped develop for you? to be with where the other musicians are go- would never have known about artists like ing. Milton Nascimento and any of the Brazilian DR: It wasn’t so much what he said, as much musicians or musicians from India. I would as all the things that he did and all the places DR: Exactly! And so, he also taught me – I never have known about Cuban musicians or that he would present me. One of the biggest don’t view myself as an entertainer, but I anything had it not been for Jazz musicians. things was I was so eager to improvise and he think that my music is entertaining. I think it So, here was even more color and more ap- would always say to me, “You know, you is because all of those things are there and proach and a different way of seeing it, so I have to learn the melodies first and you have Clark really showed me how to do that. So, as was steeped in all of that stuff and I loved it. to sing the lyrics.” What I got from him was, I continue to develop, people would say, “Oh, One of the things that I found with the the building block of improvisation was she’s just too broad – she does all these differ- voice—which is why I loved Sarah Vaughn so phrasing. That was the very, very beginning ent things.” But it was never that. It was re- much—is that with the voice, you can really for me, you know? How I could really tell a specting each song that I was presenting on refine your sound. And there’s so many things story with a lyric. So, when I worked for him record. It might sound different, but it’s not that the voice has possibilities of doing and it and when I would sing it a certain way and because I would think, “This song needs this doesn’t have to just be one sound. When cer- there would be a reaction, I’d think, “What kind of texture in my voice, and this kind of tain harmonies are put by me, I respond to did I do?” or “How did I do that? Or, “What arrangement and this kind of way of singing.” (Continued on page 30)

To Advertise CALL: 215-887-8880 December-January 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 29 at Clark and Oscar Peterson – there was such the food we’re eating and now I’ve gotten into a joy about what they did, to me, beyond the this thing of cooking as clean as possible. Dianne Reeves music. It has to be a great love. One of the That means using healthy, organic ingredients things that I wish that I had in that session that go into the food and I now stay away was just a tape recorder just to have captured from red meats and all that stuff, and it tastes (Continued from page 29) all the stories because they were just unbeliev- really good. I’ve found that lemon cooks a lot them. Or if I work with a different pianist, I able. Some of them were just the rudest and of things in a certain way and I just found new respond to that. And Clark always liked that I nastiest stories (laughs), but they were great things…and I’m a Food Channel junkie was different with everybody that I sang with. because they were life stories, and I loved it. I (laughs). loved the whole experience. The culture of the JI: When Miles Davis was going through music has inspired me more than anything and JI: People who have achieved the highest some changes between Hank Mobley and respect they have for one another. level of success in their business career, or in John Coltrane, he had Sonny Stitt. And as their personal and creative lives could attrib- great a player as Stitt was, he was playing his JI: One you’ve been playing for a while and ute it to following some sort of conscientious- stuff. It was unlike the rest of Mile’s concept you don’t let the tyranny of the ego get in the ly or continuously, a plan for self- – it was a constantly changing amoeba-like way, you can develop that direct connection development or growth. Can you talk about organism – like, if Wynton Kelly was going with the music. And whenever you’re creat- how that has been instrumental in your own one way, Hank Mobley would go with him… ing, it supersedes the need for the ego to take life from the time you were in your teens in precedence and the curiosity about the other Los Angeles and subsequently after that? DR: Exactly! And I think that’s the essence. players and how they do what they do and the When I first started out working, Billy and I love of just being there is what’s showing up. DR: The biggest thing was when I first left, I used to have this group together out in the didn’t know what I wanted to do, but I knew beach area. It was a place where the owner DR: I love watching musicians. I love look- what I didn’t want to do. I didn’t allow feel- didn’t care what you played and how many ing at a horn player and then looking at anoth- ings to make the decision. I allowed only what people came in because he didn’t pay you er horn player and loving what they’re play- I knew to be absolutely true for me, to help (laughs). But it was a cool thing because you ing. Those are things I love. The musicianship me make an informed decision. It’s funny, a could pass a hat and after a while, we started went way beyond knowing how to play the lot of times, I made better decisions in regards making big money…which would pay for the music. The musicianship was an attitude and a to music than I have made in other aspects of gas! At the time, Larry Klein was in the band, culture, and a way. And I love that I got to be my life (laughs). That has since changed, but and Billy, myself and drummer that came a part of that because it doesn’t really—it’s early on I just knew, what I didn’t want and from the Latin tradition and we would create there, but it’s not like it was. trusted that thing inside me, and that’s how I this music. The whole concept was to write, started. arrange and then we would take this music as JI: What pitfalls do you think we should be  far as we could. Sometimes, we couldn’t even aware of as we pursue a life in this creative get back, we’d be gone so far. It was a great music. experience because it gave us an opportunity to keep having that thing that keeps inspiring DR: I think you always you must pray for one another and try different things. I think clarity and awareness. Because there are so from that, it was the thing that allowed me to many things that go on and tell you that this sing any kind of music or even perform with thing is okay and that thing is okay, and you anybody. just have to be in touch with your inner-self— your spirit, or however you define it. You JI: In addition to Clark, you’ve worked with have to respect that. Definite it and refine it some of the greats in Jazz like Harry “Sweets” always, and know what it is. Even if you have Edison, Phil Woods, Kenny Barron. Can you to compromise a bit to be able to do other share some highlights with working with such things, just know how to come back to center. people, or more specifically, any ideas, or wisdom, or observations that you made that JI: What do you do outside of music do you expanded your awareness that expanded your engage in to recharge your batteries? musical direction or artistry? DR: I like cooking and entertaining. I love to DR: When I worked with Sweets and Joe cook and I love to cook for people who really Williams, Clark on the Grand Encounter rec- love to eat my food. ord, the thing that taught me volumes more than anything, was the life and the music were JI: What do you cook? the same. Back then, I looked at all those guys

– they were old, but they were young. You’d DR: Everything! You know, from traveling Jazz Lovers’ ask them how old they were and they’d say, all over, you go and you taste things. I have “Eight!” and I believed it! I had the oppor- pretty good taste-buds, so I’ll find out what tunity to work with Dizzy and it was the same the ingredients are, so I’ll come back and thing. The stage is a sacred place – like a holy work it and try to make it. I’m in the kitchen place where you can experience such a eupho- the same way I am on stage—I think I cook as Lifetime Collection ria that you can’t have anywhere else. I can be well as I can sing. I think about, “How can I wearing shoes that are just killing my feet and use this for something?” We are at a time now JazzMusicDeals.com I walk on stage and they just don’t hurt. I look where people are not so healthy because of JazzMusicDeals.com

30 December-January 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 would come my way. In ’87, I was lucky enough to be heard by Horace Silver on the InterviewInterview first record I ever played, which was with a pianist named John Esposito in a group called Second Sight. Somehow it got into Horace’s hands and he just called me out of the blue. Dave Douglas That was really my first high visibility touring

gig, let’s say. Then coming back to New York after that tour—you’re a musician, right? “my music usually comes from something outside music…” JI: Yes, I play vibes, compose and arrange. Actually, I recorded an album with Valery Interview & Photo by Eric Nemeyer and wanted to be one of the Jazz Messengers. [Ponomarev]. I had met Valery Ponomarev when I was JI: Talk a little about your first album. In maybe fifteen, just briefly. He wouldn’t even DD: Yeah, great musician! what ways did Booker Little’s life and music remember. I was so impressed with somebody impact you to inspire your first recording? playing like that. These people were just get- JI: He’s terrific. ting up there and making music together. By DD: Well, you know it’s funny. That wasn’t the time I got out of college, I felt somehow DD: But what I wanted to say, is that when my first album. I moved to New York in like the scene had changed. There were peo- you go out of town on the road, I left for three 1984. I was playing in the street in bands with ple playing mainstream jazz and then there months, and so when I came back everybody Vincent Herring, Charlie Davis, Billy New- were people downtown playing noise-crazy had lost my number. You know, it was like man, and great musicians. Bruce Cox was out stuff, with very little in between. I always felt starting form scratch. there sometimes with us. I was going to NYU like I was caught in the middle, and I feel like and getting a degree in music at the same I eventually ran into a lot of other people who JI: Yes. time. I graduated in ’86 and I guess I had this felt the same way. I started to develop connec- idea that you could just have a career as a jazz tions that way. I mean at the same time I was DD: In New York, after living there for three musician in New York as a trumpet player. I doing a lot of wedding work, Bar Mitzvahs, years and getting a toe hold in a couple plac- had always looked up to the Jazz Messengers jingles, Hessian gigs and anything at all that es, that is the moment that I traced to my im- (Continued on page 32)

To Advertise CALL: 215-887-8880 December-January 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 31 that I think about. At the time, I was a big much what makes that work is the voice lead- Dave Douglas Woody Shaw freak and I was transcribing ing the movement. Woody Shaw and trying to inject some of that spirit, and energy, and chromaticism into my JI: Absolutely. I read recently, that someone (Continued from page 31) own playing. It wasn’t what Horace was look- went up to Dexter Gordon to show off their petus to be a band leader; to just present my ing for. I don’t think I was wise enough to Charlie Parker licks and Dexter Gordon stuff. own music and create my own career from understand that and to really give him what he Dexter, in his deep voice, said, “Why don’t scratch. That was when I started at first hav- wanted—which is what I should have done. you play your own life instead of theirs. ing co-op bands. I had a band called The Mo- When you’re young, you just think you know Could you discuss your experiences with a saic Sextet, that recorded back then and the everything. You know that you know every- couple artists including Bill Frisell and John album is now available again on the GM la- thing. Zorn and the kinds of interactions you’ve had bel. Then there was a band called New and with them? How has your music developed as Used with Mark Feldman, Andy Laster, Ker- JI: I’ve said that myself. When we’re less a result of those experiences? mit Driscoll and Tom Rainey. We made a experienced we’re not even humble enough to couple records. It was really playing with lots think we know every. We know that we know DD: We were talking about this Parallel of different kinds of people that I started a everything. A house that I was at recently – Worlds record and I wanted to continue, be- band in ’92 called Parallel Worlds that was the magnet on their refrigerator said cause then there was something developing in with Mark Feldman on violin, Erik Friedland- “Attention teenagers: Leave home now while my life in a parallel fashion at that time which er on cello, Mark Dresser on bass and Michael you still know that you know everything”. was that I had been studying Balkan music. Sarin on drums. I went into it not realizing My first exposure was working with a theater that it was really a string group. It was trum- DD: Right exactly! First of all something that company in Switzerland. I was married to a pet, three strings and drums. I really thought became very important to me later was that woman from Geneva who played accordion, this was my vision of what jazz could be. Horace was the one who told me about Mary and I was exposed to a whole book of Roma- Here are these great musicians that I’m able to Lou Williams, her music, and how influential nian folk songs that I had to learn for the write for and who are playing on top of any- she was to generations of players including show that we were doing. She was also an one in the world on their instruments and him—Monk and Bud Powell, Herbie Nichols, actress. We had a gig at the Bell Café every we’re playing a lot of original music, with Hilton Ruiz. It was only later that I went and Friday when we lived in New York. We improvisation, and we’re also covering Duke studied her music. The album I made called would go back and forth to Switzerland. Inev- Ellington. We also happen to be playing Kurt Soul on Soul came out of that interaction. But itably, the marriage ended. I had met Jim Weill, Webern, and Igor Stravinsky. To me Horace also talked about how to play that Black and Brad Shepik and started rehearsing the idea wasn’t to play Webern straight. The music in an interesting way. He was really this Romanian stuff with them. I think be- idea was to say here were these great classic down on this model concept of learning chord cause I always loved Stavinsky, I was into themes—let’s improvise with them the way scales—here’s the chord, what are the right odd meters. We started delving into the Mace- that we do with the music of Charlie Parker or notes. His approach was that the voice leading donian brass band music and the Bulgarian the music of John Coltrane or Wayne Shorter. was more important than any of that, so how music and Croatian and Serbian, and dealing So, I didn’t think it was that strange a thing to do you get from one chord to the next? I’ve with odd groupings of 9/8 and 11/8 and differ- do, but I found out otherwise when it came been in a lot of abstract situations over the ent kinds of forms that were coming from that out. This was not what you were supposed to years and it’s something I always think about. part of the world. We ended up taking over do for your first jazz album. It was on the What’s the motion here? Where are we going? this gig that I had previously been doing with Soul Note label, so I’m still very proud of that Is this line making sense, even just out of thin my ex-wife—playing Monk and Balkan mu- record for a first effort and for something air, or with some crazy other thing going on? I sic. This, I guess, was in the early 90’s. There coming out of the blue like that. I don’t listen still feel like when I’m playing a line, I keep were people doing it. It wasn’t an idea that to it often, but when I hear it, I still feel like the melody in my head and the voice lead fell out of the sky. It goes way back to the we did a really good job. going. sixties. If you look at Joe Maneri and Bru- beck… But also a lot of the guys in Chicago JI: To backtrack for a second, when Horace JI: Absolutely. So that you are not just run- were looking at odd meters. St Louis guys— Silver had heard your playing and had con- ning scales and chords and being an automa- Julius Hemphill, Muhal, Richard Abrams, tacted you, obviously, that lifted your spirits ton—which is what many less experienced Henry Threadgill. Then Steve Coleman—who and gave you a lot of hope for a promising improvisers start out doing, I think. They’re I think was the modern master of the odd me- future. What did you take with you from those trying to learn the vocabulary of music to be ter. you could say. I was exposed more to it experiences with his band? able to apply it in some meaningful way. by a saxophone player named Matt Darriau, DD: There are still things that Horace said who has a band called Paradox Trio. I was DD: Yeah. I also think that he was reacting to also exposed more to the East European sound what happens with a lot of young musicians— when I started working with Don Byron in

which is, they hear the most impressive thing, 1990 playing the music of Mickey Katz. That “...among human beings and they just want to be that. So, for a lot of was an interesting group. If you look at those jealousy ranks distinctly as a us coming up at that time—and I’m sure it’s names, those are the people that are now in- weakness; a trademark of small minds; still the same—you hear John Coltrane doing volved in the wide range of music that jazz a property of all small minds, yet a property which even the smallest is ashamed of; all that crazy stuff and you just want to do currently is—Uri Caine, Mark Feldman, Steve and when accused of its possession will that. I think Horace’s point was—you’re tak- Alcott, Josh Roseman. It was a pretty big lyingly deny it and resent the ing the wrong lessons away from your listen- band. It must have been right after I recorded accusation as an insult.” ing of Coltrane. If you think it’s all about put- Parallel Worlds, right around ’93. Tiny Bell ting as many different substitutions into that Trio was ready to go with a book of Balkan -Mark Twain one chord-scale as you can... I think very influenced original stuff. I did it for a different

32 December-January 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 lot of ways. Dave Douglas JI: What was the nature of learning his mu- “”When a person cannot sic? What processes did you go through for (Continued from page 32) that? deceive himself the chances label, Song Lines, in Vancouver. At the same are against his being able to time I had fallen in love with these two Book- DD: What I mean by that is it changed every- deceive other people.” er Little records from 1960 and 1961 Out thing by working with John. You are watch-

Front and Victory and Sorrow. I wanted to do ing somebody who is very, very particular - Mark Twain a kind of composer’s tribute to Booker Little about every aspect of the music in a way that I and that’s when New World came along so it had never been exposed to before. So, not it works. The other level that John challenged all happened in the same year, all those three only the strategy for the improvising was dif- me on was just instrumental technique. He’s records. I think, part of looking back, I feel I ferent in every piece, but he was also specific somebody who sat in a dark room for eight to was real afraid of getting pigeon holed into about how he wanted the improving to go and ten hours a day for many years developing any one pack. I felt that if I just put Parallels what he wanted your approach to be from squeaks and squawks and saxophone sounds out, everyone was going to say it is third piece to piece. And that’s really something that nobody else on the planet can make. So stream. Okay, great, here’s another third different that I think a lot of pure jazz players we would be improvising together. We’d be stream guy. If I just did Tiny Bell Trio, it would really object to. But, at the same time I going for maybe thirty seconds to one minute. would be okay. Here’s a guy just doing Bal- think there’s a real compositional sense to it, I would pull out every trick that I had up my kan music. If I just did the Booker Little rec- that’s analogous to the way Ellington worked sleeve. Then he’s still going. He would keep ord then it would be okay. Here’s another with his bands. I would say John is really try- going for another ten minutes, and he’d want mainstream trumpet player. You understand? ing to draw something out of you—something new sounds, new ideas. So that really forced that you may not know that you have when me to rethink the potential of the instrument JI: Sure. he’s giving you those kinds of instructions. and come up with a new way of making sound There’s also the high pressure of working of thinking about making sound and new tech- DD: So, to get all those three out was a huge with John. He refuses to rehearse. You have a niques for doing it. I had learned a lot of that effort, but I felt I had been trying to get a rec- sound check, and that’s when you learn the from Herb Robertson. Watching him play ord deal for so many years that it was all bot- music. Then you have to come out and play it opened me up to a lot of the different sounds tled up inside me. It was not until those rec- flawlessly. John is not someone who is afraid that can happen on a horn. But it was standing ords really were made that I met John Zorn to yell at people. If you are going out and next to John that kicked my ass and made me and got the Masada experience. The Masada playing “Donna Lee,” you very rarely see put in a lot more work on that. boot camp of having to learn over 100 of his people yelling at each other on stage: “you songs and that changed everything for me in a missed the change.” That’s not really the way (Continued on page 34)

AT LAST! PAY-ONLY-FOR-RESULTS PUBLICITY

Can Get Hundreds Of Major Network & Authority Media Placements - Online & Offline, Print & Broadcast — To Promote Your Music, Products & Performances In As Little As 24 Hours!

Get Comprehensive Online Media Placement Reports Links to each of the hundreds of online network media outlets where your press release appears.

Fast Service + Fast & REAL Results  ONE-HOUR-EXPRESS-SERVICE - For your pre-written release  DONE-FOR-YOU - We professionally write and search engine optimize— SEO—your release & distribute it in 24 to 48 hours

Massive Distribution Online & Offline  13,000 Radio/TV stations (AM, FM, Cable, News, Talk, Religious, Sports, Music: segment by genre)  3,000 magazines (segment by market, interest)  8,000 Newspapers (dailies& weeklies) in the USA

PressToRelease.com

MusicPressReleaseDistribution.com

Eric Nemeyer Corporation P.O. Box 30284 To Advertise CALL: 215-887-8880 December-January 2017  Jazz Inside Magazine  www.JazzInsideMagazine.comElkins Park, PA 19027 | 215-887-8880 33 of a dialogue in your band. When I hear Keith Some of his stuff sounds Dixieland, and Ro- Dave Douglas Jarrett’s trio, for example, there sounds to be swell that’s his original music. That’s how he an ongoing dialogue of some sort where peo- came up playing music—from that era. So I ple are listening to each other instead of using think that one way of looking at Herbie Nich- (Continued from page 33) everybody else as a platform to make their ols music is the collectivity of Dixieland with JI: What other things that John Zorn would own statement. the modern harmonies. We’re trying to ap- do at the sound check, that mainstream musi- proach it partially as collective improvisation cians would object to? DD: No, no, no. You’re misunderstanding. I and partially as exposition of tunes. It’s very wouldn’t say that John is using everyone as a interactive. Have you ever heard Roswell DD: He wouldn’t just do it at the sound platform. live? check, he was doing it on the gig as well. Like there’s no difference. JI: No, that was not what I was trying to say JI: Yes! at all. I wasn’t suggesting that John was doing JI: Not unlike Mingus, who I had seen berate that. Rather, I was referring to the types of DD: He’s fantastic! He’s a creative player and musicians on stage, in public. self-serving players you had cited earlier— so I feel like it’s such an opportunity to play players whose focus is on being the with somebody. You know a couple months DD: There are other bandleaders who work “baddest,” “hippest” players, and the way ago, I played with him and Steve Lacy— that way. they go through their machinations of getting playing the music of Monk. You know, up there and behaving in a way that the stage they’ve had that band for forty years. They JI: Is that a help or hindrance? is a forum purely for themselves. I was not played with Monk. So for someone of my referencing John’s group. generation and experience, it’s just beautiful DD: It’s more like… A lot of musicians who to be there. come up and learn jazz feel like when you DD: I feel like one of the reasons, ultimately, take a solo, it’s about your own freedom; that I was able to stay with John was that, for JI: Could you talk about the kinds of process- wherever you want to go, and whatever you me, music is all about dialogue. That is what es you go through in composing? Are your ate for breakfast, and that’s beautiful. There’s it is about for him too—even though some- works the product of a constantly changing a place for that, and certain music works that times he wants to rule the conversation. As a inspiration—rhythmically, harmonically, me- way. But not all music works that way. I think composer, you say we’re going to have a dia- lodically? John is more about: “Here’s what this piece logue, and we need to listen to each other and means to me and I’m looking for you to do interact, but this is what we’re going to say. DD: Well, my music usually comes from this.” To the audience it may seem like it’s Everybody works differently. Everybody’s something outside music. I get the ideas away completely free improvisation. But it’s a set personality is different. A lot of musicians from any instrument. Then, the composition of very strict verbal instructions. It’s not about wouldn’t be able to handle it and give him process is about tracing that to something, a you getting off and playing some hip shit. It’s what he’s looking for. new way of putting that down on paper. If not not about just being creative and playing off on paper, a new way of putting that in front of the top of your head. There is a very specific JI: So in that situation, depending on an indi- musicians. Getting them, asking them to play goal for this piece, and I want it to have this vidual’s personality, they could either benefit it. I tend to not write. I very rarely will sit sound. Sometimes you’ll come off stage and from it or be squashed by it. down and just write a tune, very rarely. The he’ll say: “On that tune, man, what are you way the composition seems to work for me is doing, you’re fucking killing me. You know DD: Yeah, absolutely! that I think of the basis of the project— you’re trying to play your fucking hip Woody thinking around Booker Little, or thinking Shaw shit and it’s a bunch of bullshit. You JI: Sounds like you benefited. around Mary Lou Williams. I try to define the aren’t saying anything.” Luckily, I have a boundaries of what that project is. What fairly balanced personality. I was able to take DD: Well, I certainly hope so. I try to benefit doesn’t belong? What does belong? What it with a grain of salt. But, I tried to under- from everything. kinds of things do I want to write, and what stand where he was really coming from and are the elements I’m going to work with? what he was looking for. I think it taught me JI: Could you discuss the quartet Vacation Then, once I’ve done that, I can write a book something, as a sideman, about getting deeper Blues with which you have a date scheduled. of music based on those parameters. Over the into trying to understand what the bandlead- course of some months, I put together this er’s looking for. Not in an invasive way. But, DD: We just rehearsed today. It’s so great. cohesive book that becomes either an album really, the great musicians out there spend a It’s so much fun. It’s incredible! or a book for a live band. So I try every time lot of time thinking about what the music is I’m going to write a new book, to think up a suppose to sound like, what’s going to make JI: Talk a little bit about the dynamic and new interesting set of challenges and parame- everybody else sound good, and how to make interaction in that group. ters. Then, I’m very inspired by the musicians the leader happy. That’s why they’re hired all on the scene—the musicians around me that the time. That’s why you see them on every DD: Well, it’s so new, it’s hard to say. My I’m able to call and hire. I count on people to record. They put that energy in to really think- idea with the group is to play a lot of Herbie be 110% invested in the moment. It’s very ing about how can I serve the band. That’s Nichols compositions—a lot of them, which frustrating for me when it’s not like that. very different from just trying to be the bad- really haven’t been played—and to play origi- These days I don’t do a lot of outside projects. dest cat on the block. nal music, some by Roswell and some by my- I don’t do a lot of special appearances or guest self. We have that as a common language. But star or all star things. I feel like a lot of times JI: A lot of people are get up to solo and they there’s a level on which the Herbie Nichols’ there really isn’t enough time to put the music think that everybody is supposed to follow stuff is coming out of a previous era, yet it’s together and have everybody be completely them. I’m guessing, you’re looking for more still very modern. I mean even pre-Monk. (Continued on page 35)

34 December-January 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 we’re talking about, somebody that’s willing show host that used to be on in Philadelphia. DaveJoseph Douglas Jarman to invest themselves personally in the music He used to say when you couldn’t figure out and somebody that’s willing to put in the the reasoning behind what’s going on, he says work. I look for people that really have their follow the money trail. (Continued from page 34) own voice, their own thing to say and that it invested as a person, as a musician, as a pro- be a voice that I feel I can contribute with. See DD: Well, yeah. fessional. You don’t hear that a lot. But I what I mean. think when you do go out and hear a band JI: So….. really playing in a unique language together, JI: Yes. to me those are the most valuable and exciting DD: Absolutely, but we shouldn’t go there. I moments. That’s what I live for. So I think on DD: Not that I’m going to give them some- just feel we’re so lucky to be talking on the some level, as a composer, that’s what all my thing to say, but that I can say something new telephone about music. And I’m so lucky to music is geared towards. It is creating those that I think that they will be able to find their have this job where I can just work on music moments, those special moments, that we all own way with. I also think sometimes it’s everyday. Then I go and play for people and know when everything is perfect. hard, as a composer, if the person is too styl- they’re sitting in a beautiful theater. I think a ized. If the person really has one thing that lot of times people aren’t aware what a won- JI: How do you want your music to influence they do and then I feel if I’m writing for that derful privilege it is that we’re not living in people? What do you want it to say or do for then what can you say, what can you do? some muddy field somewhere in a refugee them? There’s nothing to add. camp. You know, I think if people took more care to make sure that wasn’t happening to DD: I think as a musician or composer, all JI: Dan Boorstin, the former Librarian of people, that the world would be a better place. you can do is hope that people will understand Congress, said, “The greatest obstacle to dis- where you’re coming from as a human being. covery is not ignorance, but the illusion of JI: I agree. Dave, how do you stay balanced I think if they do, then they can be free to knowledge.” How have you experienced and as an artist and as an individual and nurture have their own experience with it. dealt with that in your music, your life or these deeper meaningful ideas and feelings in dealing with others? the face of the incessant stress and sensory JI: Some players go through the temptation to overload that surrounds us in contemporary be drawn to technique over the music itself. If DD: Well, I just think that it is such a person- society? you’ve had that experience how have you al thing. That comes down to being willing to worked to balance technique versus music? ask yourself the real questions everyday. DD: I don’t think that contemporary times are That’s why I think composing is the hardest any different than it’s ever been. There’s al- DD: I don’t know that I’ve ever had that ex- task, because you really have to make some ways been sensory overload. I just think it’s a perience. I’m trying to think. You mean like decisions and you have to say how much am I matter of being willing to concentrate and get being on a gig and the music is so hard you bull shitting myself here. You really have to to that place, and work and be honest with can only think about the notes and the tech- call your bluff and say, “Do I know what I’m yourself. It’s always been that way and it al- nique of getting it across? talking about?” And then, it never gets any ways will be that way. I think the country is easier because the truth changes from moment very polarized between the so-called Demo- JI: That or that being at a certain point that to moment. The truth is not, “Yeah, there’s a crats and the so-called Republicans. In a way, certain players seem to perceive music to be universal truth that’s always here.” Yes! But jazz has become this very similarly polarized more of an athletic sport instead of an artistic we’re human beings and we’re going with the atmosphere. You know, between people who endeavor. ebb and flow, the earth. So we just have to, have decided what the mainstream is, and from moment to moment, try to find what’s what it should be, and that nothing else really DD: Well, you know it takes all kinds. There right and what’s honest. There are a lot of belongs. And, between the rest of us who play isn’t just one way to swing. There isn’t one obstacles out there as you know. lots of different kinds of music, and are really music. It’s a pleasure sometimes as an instru- into just whatever great music is out there and mentalist to be able to pull something off, JI: I’d say so. available. I don’t think that this polarization is something clever, something tricky. I just feel really any different. I don’t think that what’s like if it’s not saying something deeper than DD: Just reading the newspaper these days is considered contemporary music these days is what’s the point. such a horrible thing. It’s really, I mean, one such a radical departure from what came be- of the worst times I can remember, in terms of fore. You know, there are a lot of radical art- JI: What criteria do you have for selecting opening the New York Times in the morning ists and great things, but there always have musicians for your own group? and it is something that’s got to change. Peo- been. So I think that the struggle to maintain ple are dying that shouldn’t be dying. That balance, and to stay creative, is the same as DD: Well, I think it would be very much what doesn’t need to be going on. A lot of innocent it’s always been. That is, to be willing to face people, you know. And that’s just wrong. that honest search within yourself everyday And to be a part of this country that’s in- and try to open yourself to new things; and to volved in killing a lot of innocent people— not just rest on givens and assumptions, and “”A man’s character may whether you believe we should be over there just the feeling that you can just do the same be learned from the adjectives or not—you know a lot of innocent people are thing over and over again and it will always dying. To be in the US army is one of the big- be fine. which he habitually uses gest sacrifices anybody could make. It’s huge! in conversation.” Then they’re going over there and dying. 

- Mark Twain JI: I can’t help but think back to this one talk

To Advertise CALL: 215-887-8880 December-January 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 35 Kermit Ruffins Blue Note, February 23-26

Photo by Eric Nemeyer

36 December-January 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 He’s available now! Call Steve’s cell at 630-865-6849.

The Nesting Instinct for the Working Drummer • Light weight with an all-in-one “Modern BIG THINGS do come in small packages. Drummer” nesting design for easy transport. reviewed this The ultra-portable Nesting Kit from Maxwell Drums • Small footprint for those tight set in their June is designed to give you superb sound in a very stages, but big sound. 2015 issue and compact package. Our compact design • Sturdy, efficient butterfly latches loved it! with internal seating rings allow you has many benefits: to separate the shell and put it back together with a consistently flawless seal.

And, every one of these sets is designed and hand built in the USA in our Manhattan shop.

Available in maple shells. Standard configurations of 8x10, 13x13, 14x16 or 8x10, 13x14, 14x18. Snares and other sizes also available. Natural maple finish. 45 degree bearing edges. Wraps avail- Serving the www.maxwelldrums.com able by request. Community of Call either our NY or Chicagoland store Midtown Manhattan 723 Seventh Avenue, 3rd Floor to order, or see the sets and our video Professional New York, NY 10019 Ph: 212-730-8138 Hours: 11–7 M–F; 11–6 Sat online at www.maxwelldrums.com Drummers and Chicagoland 2000 Bloomingdale Road, Unit #110 Also available: Our ultra compact hard- Drum Lovers Glendale Heights, IL 60139 Ph: 630-237-4997 Hours: 11–6 Fri; 10–5 Sat ware set puts a full set of hardware in a Additional hours by appointment. bongo-sized bag. A great addition!

JAZZINSIDE_full-page_NESTING05.04.16.indd 1 5/9/16 5:11 PM Concert Halls, Festivals, Clubs, Promoters FILLFILL SEATSSEATS ININ JUSTJUST HOURS!HOURS! PayPay OnlyOnly ForFor ResultsResults ConcertConcert && EventEvent MarketingMarketing GetGet YourYour PhonesPhones RingingRinging NOW!NOW!

Your Multi-Media Campaign Runs On The Proprietary System We Built WeWe DoDo EverythingEverything ** SetSet UpUp InIn 22--Hours!Hours!