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Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) August-September 2018 – Volume 9, Number 6

Cover Photo and photo at right of By Ken Weiss

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CONTENTS 4 Mike Stern by Ken Weiss INTERVIEWSINTERVIEWS Visit these websites: CLUBS, CONCERTS, EVENTS 20 Steve Wilson (9/6-9 Jazz Standard) JazzStandard.com 13 Calendar of Events Jazz History FEATURE 24 (9/13-16 Jazz Standard) Jazz.org

18 Clubs & Venue Listings 32 , Part 8 by John R. Barrett JJBabbitt.com MaxwellDrums.com

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Mike Stern

Feature Mike Stern TheThe FallFall andand RiseRise ofof MikeMike SternStern InterviewInterview && PhotosPhotos byby KenKen WeissWeiss

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As far as any benefits to my playing, By Ken Weiss 23rd Street. I was catching a cab to take a flight to that’s kind of a work in progress. I’m trying to go on the road that day. I looked at both sides of not think about what I have to do. When I heard Mike Stern (b. January 10, 1953, , Massa- the street, like you normally would, and I tripped playbacks of the new recording I thought that it chusetts) has long been one of music’s finest gui- over the debris and broke both of my humerus sounded better than it felt because there’s some tarists. He’s received six Grammy-nominations bones. The right one was badly injured. I ended pain involved. I still have pain when I’m playing after early associations with , Billy up seeing a great hand specialist that [guitarist] but the adrenalin kicks in and the music is heal- Cobham, Blood, Sweat & Tears, and Jaco Pasto- Wayne Krantz recommended and a couple ing, it just gets your mind off shit if you can push rius. This interview took place on April 7, 2018 months later I was able to play with yourself into that zone. I probably need to have just prior to his performance at South Jazz Club at the Blue Note. my shoulder done next. in . Stern openly spoke of his recent devastating accident and details about his past. JI: So you feared your career was over? JI: The new recording’s titles read like a chrono- logical presentation of your accident and recovery Jazz Inside Magazine: You were Michael Sedg- MS: I was more than scared that I wasn’t going process. Did you set out to capture your journey wick at birth, how did you become Mike Stern? to play again, that I wouldn’t even be able to in that way? teach. I love to play the guitar, it just helps in so Mike Stern: I was adopted by my stepfather. I many ways – my whole vibe. It’s a real gift for MS: Not really, the tunes were already written. I kind of didn’t see my dad. I saw him for the first me to be able to play and be into music. was actually going to do something with Chick few years after my parents got divorced but he and then the accident happened. I titled them after had a different family at that point, and I think he JI: Is the photo on the cover of your CD the actu- I did the record. I named it Trip because that’s was in favor of not having to pay for two fami- al site where you fell? what happened and I didn’t want to try to hide lies. I met my half-sister, [actress] Kyra Sedg- from it. You have to just keep going when these wick about twenty years ago for the first time. MS: No. That’s a photo of another street taken by things happen to you in life. I wanted to embrace We have the same dad. She’s a totally great per- the wife of Will Lee, the bass player. I’m not a this and maybe give somebody else some inspira- son, unbelievable. She married Kevin Bacon and big fan of getting my picture taken so I was hap- tion, and I’ve had good feedback. so that makes him my half-brother-in-law. py to use her photo. They’re really down to earth. JI: Your song “Gone,” which appears on Trip, is JI: You’ve been forced to make alterations in touchingly sad and delicate. You’re known for JI: Trip (Heads Up) is your first release since your playing due to your injuries. Have any bene- laying down monster chops and playing hard, how is it to write and perform a work that leaves you so exposed? “I love to do it [practice] because music is MS: I’ve always been partial to ballads, I think so endless. I feel like I’m a beginner, we all it’s a natural thing for me in my heart. You try to be who you are. There’s some stuff that I like to be exciting on, and playing more with up-tempo. are. It’s just so huge, there’s so much you But there’s also bluesy stuff, that’s in the middle or more melodic, I love that, and there’s stuff that can learn. I’m usually practicing stuff that I I really want to be sad. That’s what I try to do when I write and play. don’t know first. The things I’m working on, JI: You’re known to be a practice-aholic, you’ll practice 8 hours a day. How do you practice and brand new stuff, and not the stuff that I’m is excessive practicing still necessary for you?

getting better at and have already played MS: I love to do it because music is so endless. I feel like I’m a beginner, we all are. It’s just so with for a month.” huge, there’s so much you can learn. I’m usually practicing stuff that I don’t know first. The things I’m working on, brand new stuff, and not the your horrible 2016 accident. Would you talk ficial creative discoveries come about as a result? stuff that I’m getting better at and have already about Trip as a personal triumph and again hav- played with for a month. I practice new vocabu- ing the ability to physically perform at a high MS: There’s some stuff that I wish I could do but lary. I’ll transcribe something from Sonny Rol- level? it’s getting there. My playing’s not too much lins’ Colossus or something, which I different and people say they don’t hear too much did get into recently. Not to memorize the licks MS: I’m sure glad I can still play. I wasn’t sure difference, if at all. Some people that don’t know but just to have that vocabulary in my brain, to and I was freaking out. I fell on some construc- I had the accident say, “Oh, you sound great,” see how he’s thinking. tion that wasn’t supposed to be there in New and I shake their hand and they go, “What’s York City. It was very concealed on my street, wrong with your hand?” There’s a good drummer JI: It’s interesting that you still actively tran-

6 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 harmony, and that kind of stuff. Gradually it got beautiful. It’s got a lot of space, it’s smokin’.” He Mike Stern better, but at first I thought it never would. said, “Okay, okay.” So about a week later, we did this other cut with the band live. It didn’t have a JI: After Blood Sweat & Tears, you left and title and there was a long guitar solo. I thought, scribe solos of other musicians at this point in joined ’s band. What memories “Man, I’m not gonna get this.” First we did one your career. Is that something you hear other very stand out from that time? take and Miles said, “No, don’t do that.” I wasn’t established musicians doing? sure what he wanted, the form was loose as hell, MS: It was great, Billy was really awesome. I got but Bill said to just play with a lot of energy. We MS: Yes, I know a lot of cats that do that, or at called because the guitar player that he wanted did it again and Miles came back in and said, least play along with the records. I think ultimate- couldn’t make the gig, or something, so I got “Okay, that’s it.” And I said, “Can’t we do it ly that’s how you learn any language. You learn it called. Just playing with Billy was a ball, he again, chief? I think I can do it better,” and he by hearing other people do it that are more fluent swings so hard. We used to do a of mine said, “Fat Time,” that’s what he was calling me in the language and you cop their stuff. I tell my called “Brooze,” that I wrote for Japanese trum- when I first met him. I was heavier and he liked students that it will be very awkward in the be- ginning. When I was first learning how to play jazz, I was a pretty good blues player and had “I was scared to play with that band [Blood, Sweat really learned by ear. I was listening to a lot of diatonic music – more rock, some - and Tears], they were more like beboppers. Ron growing up in Washington, DC. My mom used to play classical so I listened to a lot of Bach. McClure and were in the band. Eventu- She also played a lot of jazz records so I learned from that. I started studying more and learned ally, Roy McCurdy, who played with Cannonball for how to read and went to Berklee College of Mu- sical Knowledge. [Laughs] To learn, you have to many years, joined the band … Jaco [Pastorius] play with people who are more fluent than you. I was very aware of that’s what I needed to do and joined the band for a few months before ... Weather I put myself in a lot of situations that were weird for me. I felt scared to do them and I did them Report. ‘Spinning Wheel’ never sounded so good! I anyway. got that opportunity because of , who I JI: Your first prominent gig was the two years spent with Blood Sweat & Tears. How was the experience of suddenly moving from the role of was studying with at Berklee. We were playing and student to that of a performer in front of large audiences with high expectations? he said, ‘You have some special stuff.’”

MS: I was scared to play with that band, they pet player Tiger Okoshi. my time feel. He said, “Fat Time, when you’re at were more like beboppers. Ron McClure and a party, you got to know when to Larry Willis were in the band. Eventually, Roy JI: You started your career playing fusion jazz. leave.” [Laughs] So in other words, the session McCurdy, who played with Cannonball for many Was that the primary focus of what you wanted to was over. He liked it and he called the tune “Fat years, joined the band. was the do or was that reflective of where the work op- Time” after my nickname, which I really appreci- original drummer and Jaco [Pastorius] joined the portunities were? ated. Miles was really a big fan of all kinds of band for a few months before he joined Weather music. He liked whatever was cookin’, energy Report. “Spinning Wheel” never sounded so MS: No, it was just an honest way of being who I wise. He dug Hendrix, he listened to a lot of clas- good! I got that opportunity because of Pat Me- was because I grew up listening to rock and sical music. He tried different things and com- theny, who I was studying with at Berklee. We blues, a lot of blues. Pop tunes and soul tunes. I bined them. He was always moving music in a were playing and he said, “You have some spe- was really into Aretha. It’s just natural to include different way, his way. He would conceptualize cial stuff.” I guess he really liked my playing – that in my music, to write that way. And the gui- something and then leave it up to the musicians. my time feel especially, I think. And I didn’t tar tends to lend itself to more eclecticism than He didn’t want to hand out charts for you to play know why. I thought I sucked, and I probably did. maybe other instruments because it’s such a pop- it exactly. There was not a lot of that until the He heard about the audition for the band so I ular instrument. My favorite kind of music is second time he asked me back in the band. At went thinking I wasn’t going to make the gig. I jazz, though. To give you an idea, one of my times things were a little too loose for my taste. just thought I’d get a taste of what it’s like to favorite records is Friday & Saturday Night at the At one point, I felt like I was obviously overplay- audition for a band like that. I was real nervous by Miles Davis. ing with him when he was doing things like and then I got the gig, which really made me “Human Nature” or “Time After Time” at gigs. nervous. [Laughs] I had played some little clubs JI: Miles Davis famously returned to the stage in At live gigs, we would vamp forever and he did- but I wasn’t ready for all that. I guess you never 1981 after a five-year hiatus and hired you for his n’t want the drummer to go anywhere. So it was are but I grew into it. I had to get over being shy. comeback band. What was that first week like long, so me and decided we were going with Miles? to play, so we overplayed and Miles used to get JI: When you went to Berklee in 1971, was it pissed off a little bit, but he was very supportive with the intent of playing jazz? MS: I got the gig on the recommendation of sax- of me over all, big time. I loved playing with him. ophonist , who’s a badass musician. MS: I went very much with the intent of playing When we first started rehearsing, I thought Miles JI: Your first major concert with Miles was at the jazz. I was really in love with the music. I was was a little nuts. He asked me to play on some- 1981 Kool Jazz Festival which was his big come- kind of slow at learning it. I had a good feel ac- thing that had already been recorded for his back performance after a five year hiatus. What cording to some of the teachers, including Pat, comeback record – The Man with the Horn. I was going on behind the scene that day leading but I thought the rest of it was really slow. I did- went to Columbia’s studio and he said, “Just play up to the presentation? n’t know how I was gonna learn how to play over over this.” But I didn’t really hear it. I tried and I chord changes, and hear melodies over all the said, “Miles, it sounds done to me. It sounds (Continued on page 8)

To Advertise CALL: 215-887-8880 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 7 he told me something like this also, he could tell was up against. But I wasn’t ready to go. I just Mike Stern the guy was nervous and he called him over and said, “Chief, I’m good. Don’t worry about me.” said, “Yeah, man, I know you’re nervous, so am He knew that I wasn’t going to get sober by him I, but fuck it!” [Laughs] That’s how he dealt with suggesting it, it was gonna have to come from (Continued from page 7) it. You got to push past it no matter what. Miles me. Then I went on to play with Jaco and I went MS: We were getting high as hell, for one thing, was an extremely sensitive guy, obviously. He from bad to worse. But that was a ball too. Jaco me and Miles. We had already done a gig at Kix played incredibly sensitive, beautiful ballads. It was something else, an incredible musician, but in Boston which was a much better venue for a would just make you cry, the way that he’d play bipolar. I mean really up and down. I kind of band like that. The Kool Festival was held at sometimes. He was so sensitive that sometimes I knew that the whole time, that he had ups and [’s] Avery Fisher [Hall] which is like think he had this kind of tough guy thing as a downs. I had shit going on too, but he had it an echo chamber. I mean you can still hear the defense. I always thought that, and I wasn’t worse. It was profound emotional issues for him notes from some of those licks if you listen hard in thinking that because if you got to know him, and everybody knew it. He just didn’t want to do enough, [Laughs] it’s still echoing around. Since he was a lot warmer. Miles was always warm anything about it. We tried. When I got sober then they’ve baffled it, but when we were there, because he had a sense of humor about himself, later on, he was finally asking me [about it]. I just man, and Miles wanted it loud. Miles really want- underneath all of it. But he was very, very shy in couldn’t play with him anymore. He got really ed to do that. It wasn’t about making more bread, some ways, and insecure in a lot of ways. And pissed off and said, “Man, you promised me he was making less bread sometimes. Eventually, my respect kind of grew over the years for him, when you got out of that place,” because I went somebody in Japan offered him a fortune to put even after I had stopped playing for him, that he to a rehab finally and I got sober, and I told him, the band back together with Tony and Herbie, but was able to be that insecure and still do what he “I’m not gonna go on the road if you’re doing he turned it down, saying, “I’m doing this now.” I did, because he went against the grain. He could what you’re doing. I’m not gonna talk you out of would have loved to have heard that myself. We have stayed with something that worked ages it, man. You do what you want to do but I can’t were always trying to get him to swing out a lit- before but he felt the drive to change up and go hang because I’ll get fucked up again.” After a tle. I think he kind of threw us a bone when he for it. That was stronger than his insecurity. He couple years he saw me and that I was still sober. did “My Man is Gone Now,” but we did it in a had to fight his natural thing. He worried, he got He knew how fucked up I had been back in the different way. So the [Kool Jazz Festival] gig scared, but he didn’t give into that. He had a day and said, “Man, you’re doing pretty good. sucked, we all thought that the Avery Fisher Hall strong spirit. How long has it been?” I said, “A couple years. was not happening. I mean nothing could really I’m going to meetings, I ask for help. Mike suck with Miles, there were always moments that JI: Would you share a Miles memory? Brecker helped me a lot, a lot of people.” And he he would hit a note right in the right place, and started asking about it so I thought he was really most of his playing was just so soulful, no matter MS: One time I was really strung out. In those bottoming out, which he was, and he wanted to get his shit together. It was finally time for him and then he said the wrong thing to the wrong Miles came back in and said, “Okay, that’s it.” guy and got his ass kicked. It was really tragic. He should still be around. That was really a loss. And I said, “Can’t we do it again, chief? I think I JI: You mentioned your struggles with substance can do it better,” and he said, “Fat Time,” that’s abuse. There were also other people concerned about you including Gill Evans and, most telling of all, even was concerned for your what he was calling me when I first met him. I health.

was heavier and he liked my time feel. He said, MS: Yeah, Chet was totally out of it. At one point, I went over to his house and somehow the “Fat Time, when you’re at a party, you got to works didn’t work. You know, the needle that I was using got jammed up and I had one shot of know when to leave.” [Laughs] So in other dope and he said, “Well, you can come in but I’m trying to stay sober now.” I guess his girlfriend words, the session was over. He liked it and he was coming back soon. She was trying to keep him cool and he looked better. I said, “I just got called the tune “Fat Time” after my nickname to use your bathroom for a minute, man.” And my shit didn’t work and I went nuts - “Shit! Motherfucker! I just lost the goddam shit!” And he said, “Mike, you’ve got to cool out, man.” So he saw that I was as bad as he ever got. And then he went back to it, unfortunately. I was still going crazy at that time. When he died, I had been sober what was going on. To me, that’s enough, I days I was really fucked up, doing a lot of heroin, for a few months. Chet was a great player and a would have been happy listening if I was in the and Miles saw it. He didn’t know it at first, but he great person. He was such a sweetheart. audience. So it wasn’t the right venue and the saw it. At one point, he was grabbing my arms to band was still half-baked. We hadn’t really look at my tracks. I said, “Miles, that’s old. I’m JI: Did you think at the time that drugs were played enough. It was really hit or miss. not doing that anymore.” But he said, “Fat Time, helping you creatively or were you just using? don’t try to fool an old pro.” [Laughs] And at one JI: How was Miles handling the highly pressur- point he tried to pay to put me in a rehab. He was MS: No, I didn’t think they were helping me ized setting of closing out the festival under the worried about me. He said, “Let me put you in a creatively – ever. And never watch of so many fans and critics? rehab up there in Montauk. Truman Capote was thought that either. None of that stuff helps. Some up there, it’s real nice.” It would have cost a lot people loosen up with a drink or two before a gig, MS: He didn’t give a fuck. I mean he cared but and he was gonna pay out of his own pocket. and that may be cool for some people, but there’s he just said, “Fuck it!” One time he told a bass That’s the side of Miles people don’t know. He no drugs that can help with music. For me it’s player, who had just started playing with him, and had that kind of real caring side and knew what I (Continued on page 10)

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To Advertise CALL:Experience 215-887-8880 ResultsAugust-September 2018 In  Jazz24-48 Inside Magazine Hours!  www.JazzInsideMagazine.com CALL 215- 887-8880 9 the Flying Machine.” He had a photographic [Laughs] It can be too much in that same world Mike Stern memory. It broke my heart not to play with him where you’re smothering each other. But we after I got out of rehab, but I think I made the might start doing some gigs together as we get right choice. I don’t think I would have been able older. We’re talking about it some. But I get so (Continued from page 8) to sustain Jaco and stayed sober. much inspiration from her. She keeps moving, very clear, the best I’ve ever felt and the most her records are so different. She’s doing this Afri- creative I can be was when I’ve been sober. Then JI: You’ve played with many great guitarists can stuff now but her first record was with Paul you feel that music is your high and that’s plenty. during your career. Would you comment on play- Motian, he used to play with her at the 55 Bar for That’s a good addiction. ing with and ? like fifty dollars. He really dug her vibe. He said, “You just get the drums there,” which was easy JI: You brought up earlier. Would MS: Both of them are fantastic and Pat is still because he didn’t use a big kit. She’s amazing. you share a memory about him? playing his ass off and he’s a big inspiration of somebody’s who’s come back from a lot. And JI: Has Leni’s work with African musicians in- MS: He had a great sense of humor. He was just Jim, much the same. He had his bout with alco- fluenced you and has she taught you to play the a beautiful cat, a really good friend of mine. One hol. We used to go to meetings together. It was n’goni? time, me and my wife Leni were down at his just an amazing opportunity to play with those house in Ft. Lauderdale, and we were all getting guys. I was really scared to play with both of MS: No, I can’t play the n’goni, that’s for damn fucked up in those days. It was a Saturday night them in some ways, and I told them that. I said, sure, but she can. She played on Trip. Every time and we got really drunk and did a lot of blow. But “Man, you’re a hero,” and they were cool. They I hear her write in that kind of world music thing, we were feeling horrible the next day. We hung just said, “Just play, let’s play.” I’d love to do I get inspired by it. It’s really cool, she keeps out and Jaco comes in with a rose and little, tiny more with Pat Martino and would have loved to moving. cat that he somehow found in the street. He came have done more with Jim. We were talking about into our room and said, “Happy Sunday” with a doing more but Jim had such back issues, he had JI: Which of you owns more guitars? sweet smile. He knew that Leni loved cats. His a titanium back at the end of his life. He’s always dad was really cool too. he was good singer, he such an amazing inspiration. When I first got into MS: She does. I’m the type of guy who likes to really swung. Jaco got a lot from his dad. His dad jazz, he was like my favorite, him and Wes. Pat stick with something and just get deeper into it. lived in Philly. He used to hang in all the bars, Metheny loved those guys and he kind of pushed The same thing with the kind of music I write. I unfortunately. Jaco was born drunk, legally, I me in that direction. I also loved . always loved Bill Evans, the piano player. He really think because his parents were really would play and just grow within the certain thing “professionals” in that regard. His dad was beau- JI: You also live with a great guitarist – your he kept doing with his trio stuff. I like to change tiful but it was sad. He told me one time how hurt wife Leni Stern. How did you meet? up and have a lot of variety on my records, but he was when Jaco died. He was so drunk at times. it’s still my tunes, and it’s still in a certain kind of He went to Jaco’s funeral and started banging on MS: We met in Boston. I had already gone genre. Each record changes a little bit and guitar- the coffin like it was bongos. Jaco would have through Berklee and she was still going there, wise, I like to use one or two guitars. done something like that, that’s their sense of studying some composition, guitar and film scor- humor. I think they kind of believed that when ing. We met through . He introduced JI: So you own only two guitars? you’re gone, you send people off with a smile, us and one thing led to another. We were living but it was weird for the people that were there. It together but said we were never going to get mar- MS: Yeah, I do and Leni owns about ten. was just out of context. Jaco was especially great. ried, unless she needed a Green Card. And then Wow, what a musician, what a composer. Of she needed a Green Card, and I didn’t even think JI: When Yamaha approached you about devel- course, his bass playing was amazing. When he about it. At that point we’d been together for a oping the Mike Stern Signature Pacifica Guitar, played with Blood, Sweat & Tears, we couldn’t couple years. I said, “Let’s get a Green Card,” what elements did you insist the instrument need- believe it. First of all his time was so strong, and and so we got married. So far it’s lasted thirty- ed to have? we got along really good because of that. And I seven-years, we’ve been married a long time. was way not playing like on his level at all, but he MS: Yamaha came to me and said they wanted to was patient. We used to jam together and then JI: You have certain rules that help govern and build a Mike Stern model and I said, “Yeah!” I after I played with Miles he hired me to play with strengthen your marriage. Why is one of the rules worked with them for a while and we got some- his band, and we were playing together all the not playing together often and are there guide- thing that really sounded good to me and they time. He was so deep in all his writing. I heard lines regarding performing each other’s composi- built it. I’ve used it ever since. I wanted my mod- his first record at Bobby Colomby’s. Bobby was tions? el to have a warm sound and it was based off of his producer and they were recording at Bobby’s Roy Buchanan’s old guitar that I used to have. studio, and I went and heard that because I had MS: No, not regarding playing each other’s com- Telecasters are not known for their warmth but I just joined Blood, Sweat & Tears. Bobby said I positions. I’ve done a couple of her’s on my rec- had a tele that Pat Metheny heard me play and he had to hear this guy. Apparently, I had met Jaco a ords and I played on a couple of her records. We said, “Man, you should never play anything but couple of times before. One time at the Flying always like to write our own tunes. Her own that. That’s your thing, it’s special.” Machine, which was a disco and Jaco was play- tunes are beautiful, I want to do some more. And ing at halftime after a rock band. He played and we play together at home all the time, but at one JI: You’ve been playing at the 55 Bar in the Vil- nobody was paying attention as he played his ass point, years and years ago, we were doing a few lage for many years. off. I went up to him and told him I was going to gigs in clubs, and we just decided maybe it would Berklee soon and I loved the way he was playing. be wiser to kind of separate and not go on the MS: I love to play there. It’s been over thirty And then I saw him again in Boston around ‘72 road together ever. So we never really did that years, off and on. Jeff Andrews and I actually when I was studying with Pat. Pat said, “You together. Sometimes she comes out, if she’s visit- found the place in the early ‘80s. He’s a fantastic have to hear this bass player.” And I went and ing me, and she plays a tune. What happens is bass player, we played together in Mike Breck- heard him at the Zircon, this tiny place, he was sometimes you’re playing a gig and you’re deal- er’s first band. Jeff heard about the place and playing with and Pat. Jaco was play- ing with whoever you’re dealing with on the asked me if I wanted to play. We did it and got ing his ass off and I went up to him and I said, bandstand, and you get into a little argument with almost no bread. I was drinking in those days, “Man, you look familiar,” and he looked down them – “Hey, you’re playing too loud or it was a I’ve been sober for more than thirty years, so the from the stage and said, “Man, I don’t remember little... .” And you get a little pissed off, at least guy just gave me a whole bunch of wine. That’s your name but we met maybe five years ago at you don’t have to go home and sleep with them. all I needed, and Jeff got like twenty-five bucks.

10 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 such a treat to have played with him. you gotta do it. Mike Stern also asked: “What memories do Bob Franceschini (saxophone) asked: “Can you you have about living upstairs at 55 Grand Street give some advice on how to avoid overweight (Continued from page 10) and playing the club downstairs, and playing a lot charges at the airport?” Bob added - “Mike is the Now there’s a new owner and the place is hipper. with me, Peter Warren and ? Give best at getting our gear on board without paying I was still playing with Miles at the time, but Mike my love, ok? He’s so great.” exorbitant airline overweight charges. He is also even then, a place to play was a place to play, for great at getting his guitar on the plane and from me. Not everybody wanted to play there but now MS: Wow, that’s beautiful. A lot of memories keeping people from putting luggage on top of his it’s a little place that people want to play. Cecil with that and a lot that I can’t remember [Laughs] guitar in the overheads. It’s uncanny. He told me Taylor used to come in there a lot and hang. He because those days were, yeah, I was pretty out Bob Berg used to kid him saying that while he dug the music and I was always very happy about there. But Leni and I moved into this little loft was a great guitar player, his real talent is negoti- that because I dug him, man. space and there was this little bar downstairs 55 ating at the airport. Mike will get a laugh from Grand Street, which has no connection to the 55 this.” JI: What are your pleasures outside of music? Bar. They wanted jazz at this bar so Leni and I played there as a duo and then we started getting MS: [Laughs] I am getting a laugh and Bob Berg MS: I like to swim every day. I like to swim and people to play with us. Then other bands came. did say that one time, he said, “Man, you can play then go practice. Music is so much of what I love That was the hang after hours in New York for a the hell outta the guitar but this shit, you’re a to do. I love to read different stuff. I’m a news while. Every jazz musician was there motherfucker!” Now, those days are over. I used junkie. I like to see what’s going on with the and we were all getting toasted. But the music to travel with all my own stuff. I had a trio with world, which is a tragedy nowadays. There’s was smoking’. I played with Sco there and every Dave Weckl and Jeff Andrews and I would bring plenty of inspiration from the blues today. time I play with him, every time, it’s a real treat. two amps and Dave would bring all his own That band with Victor Lewis, Peter Warren and drums and Jeff brought his amp top and bottom JI: I understand that you swim outdoors during John Purcell was badass. Man that was fun. And and we’d pay fifty dollars or sometimes for free. midwinter. then to play with Miles together with Sco, what After 2001 it stopped and now you have to buy awesome music. I’ve been a fan of Sco even be- the plane. So I rent amps and I bring my guitar on MS: Well, I have done that. I’m crazy enough to fore I could really play jazz. He’s one of the guys board because finally they’re a lot looser. do that. One time in Norway during March I went that I heard at Berklee when he was playing with into a Fjord and people said, “You’re a true Vi- Joe Hunt. He could really play the blues. Bill Evans (saxophone) recalled how you became king!” a member of the Miles Davis band: “In short, Billy Cobham (drums) had a personal request 1980 was Miles’ comeback into the music world, JI: The final questions have been given to me by and then a question: “Is there only one arrange- and I was his liaison to helping him put his tour- other artists to ask you: ment for “Brooze?” If yes, please send me a lead ing band of musicians together. Miles and I had sheet.” already been recording in the studio with Miles’ () asked: “Hey Mike, can nephew Vince Wilburn and Vince’s crew of mu- you explain to the readers how you keep forging MS: [Laughs] Wow, I’ve got to get that to him. sicians for several months in New York. I was ahead in spite of all your recent physical chal- We played that with his band. I will, I’ll do that. spending everyday hanging with Miles and dis- lenges? I remember you telling me once on the Billy is special and I love the fact that he writes cussing the music, band, etc. I had introduced bus that when the business started changing, you all the time. There are drummers that do that but him to and he loved Marcus, so refused to let yourself be a 'victim' of the chang- not a whole bunch. He’s always trying to come Miles trusted my judgement when it came to mu- es... maybe if you have a minute expound upon up with different concepts and he just plays his sicians. was playing guitar, but that thought. Love ya’ Mike! Gain a lot of inspi- ass off. Miles wanted someone else. I liked Barry, but ration from you and your attitude or maybe it’s Miles said, “Bill, do you know another guitar just the M&Ms...?!” Billy Cobham also asked: “How long did you player? “ I had played with Mike Stern in Boston play with Chet Baker and did you record?” and loved his playing, and said, “Yes, I think I MS: [Laughs] That’s beautiful. Randy is like one do.” So sight unseen, we almost flew Mike to of my heroes for years. He’s a ridiculously great MS: I never recorded with Chet, we only played New York on the spot, but then Miles said, “Wait player. Talk about a guy who’s been through all a little bit together from time to time. I wanted to a minute” and some weeks went by. It just so kinds of stuff and had to deal with it. The loss of play with him more but it never happened. We happened that Mike was playing with Billy Cob- his brother was huge. I know that he’s had to deal played sometimes just hanging, getting high and ham in New York so I said to Miles, “You know with physical stuff and every time he plays, he playing, but it wasn’t gigs. It would have been that guitarist I mentioned? He’s playing in New plays great. He’s an inspiration in forging ahead great. York next week with Billy Cobham, let’s go no matter what. So I follow his footsteps. down and you can hear him for yourself.” He Jean-Paul Bourelly (guitar) asked: “Although said, “I don’t want to go to a club.” I said, “Come John Scofield (guitar) asked: “Mike, what about institutions, such as Berklee, can prepare people on, let’s do it!” He finally agreed and I told Mike, those Fender guitars that you owned as a young very well for success in the music field, was there “I’m bringing Miles down to hear you.” Miles man in D.C. that were formerly owned by Roy any belief system you held strongly as a student listened to the and then said to me, “Ok, Buchanan and Danny Gatton?” that changed as you got out there in the world as let’s try him out.” So he went backstage and told a pro?” Mike he wanted him to meet us in the studio soon MS: Those were really cool guitars. I actually in New York. That’s how it started. Miles bought two guitars from Danny Gatton and one MS: Ultimately, you learn any language by trying thanked me for bringing him down to hear him was Roy’s. All Gatton used to do was repair gui- to speak it yourself and by books and checking and then said, “If he didn’t play his ass off, I was tars until he became famous as a guitar player. He out different musicians. I think at a point you just going to kill you!” wanted to buy a used car one day so he said, “I’ve have to jump out there. Berklee for me was very got Roy Buchanan’s spare. Do you want to buy helpful. I did what they taught me and I did extra MS: Thank you very much! That was a fun inter- it?” So I bought it and it was great and then it got stuff and put myself in situations with other play- view. ripped off in Boston. Somebody pulled a gun on ers that were kicking my ass, which wasn’t hard me. I always say they had a persuasive argument. at that time because I couldn’t play for shit but I    John’s another guy that I just love so much. It’s learned a lot that way. It was awkward as hell but

To Advertise CALL: 215-887-8880 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 11 New CD Release from Area Pianist John A. Lewis

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

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

All compositions by John A Lewis

12 Visit JohnALewisJazz.com August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

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Friday, August 17 Thursday, August 23  Trio da Paz & Friends; Late Night Session: Adam Moezinia;  Etienne Charles Creole Soul; Jazz Standard, 116 E. 27th St. Dizzy’s Club, , 60th & Bdwy  Trio - Harold Mabern, Piano; , Bass;  Warren Wolf Quartet: Past Present Beyond; Jazz Standard, 116 , Drums; 178 7th Ave S. E. 27th St.  Roberta Gambarini ft , & Victor Lewis;  Kurt Rosenwinkel, Guitar; , Piano; , Bass; Blue Note, 131 W. 3rd St. Allan Mednard, Drums; Village Vanguard 178 7th Ave S.  Tony Tixier Trio; Carlos Abadie ; Jonathan Thomas -"After  Jerome Jennings Sextet; Quintet; JD Allen "After- -hours" ; Small's, 183 W. 10th St. hours"; Small's, 183 W. 10th St.  David Ostwald's Eternity Band; Sean Harkness Duo; Birdland, 315 W. 44th St. Saturday, August 18  Warren Wolf Quartet: Past Present Beyond; Jazz Standard, 116 Friday, August 24 E. 27th St.  Etienne Charles Creole Soul; Jazz Standard, 116 E. 27th St.  Kurt Rosenwinkel, Guitar; Aaron Parks, Piano; Eric Revis, Bass;  Harold Mabern Trio - Harold Mabern, Piano; John Webber, Bass; Allan Mednard, Drums; Village Vanguard 178 7th Ave S. Joe Farnsworth, Drums; Village Vanguard 178 7th Ave S.  Jon Elbaz Trio; Jerome Jennings Sextet; Steve Davis Quintet;  Roberta Gambarini ft George Cables, John Lee & Victor Lewis; Brooklyn Circle; Small's, 183 W. 10th St. Blue Note, 131 W. 3rd St.  David Berkman Quintet; Jared Gold Organ Quartet; JD Allen "After-hours"; Small's, 183 W. 10th St. Sunday, August 19  Birdland ; Birdland, 315 W. 44th St.  Warren Wolf Quartet: Past Present Beyond; Jazz Standard, 116 E. 27th St.  Kurt Rosenwinkel, Guitar; Aaron Parks, Piano; Eric Revis, Bass; Saturday, August 25 Allan Mednard, Drums; Village Vanguard 178 7th Ave S.  Harold Mabern Trio - Harold Mabern, Piano; John Webber, Bass;  Vocal Masterclass with Marion Cowings; Ai Murakami Quartet Joe Farnsworth, Drums; Village Vanguard 178 7th Ave S. feat. Sacha Perry; Tad Shull Quartet; Charles Owens Quartet;  Roberta Gambarini ft George Cables, John Lee & Victor Lewis; Hillel Salem "After-hours"; Small's, 183 W. 10th St. Blue Note, 131 W. 3rd St.  Smalls Showcase: Ben Barnett Quartet; David Berkman Quintet; Jared Gold Organ Quartet; Philip Harper Quintet; Small's, 183 W. Monday, August 20 10th St.  Late Night Session: Adam Moezinia; Meg Okura & The Pan Asian  Olivia Chindamo Presents: Sophisticated Lady; Birdland, 315 W. Ensemble; Dizzy’s Club, Jazz At Lincoln Center, 44th St. 60th & Bdwy  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  aTunde Adjuah; Blue Note, 131 W. 3rd St. Sunday, August 26  Gilad Hekselman Trio; Joe Farnsworth Trio; Small's, 183 W. 10th  Etienne Charles Big Band with Special Guest René Marie; Jazz St. Standard, 116 E. 27th St.  Natalie Douglas Tributes: Ella; Jim Caruso's Cast Party; Birdland,  Harold Mabern Trio - Harold Mabern, Piano; John Webber, Bass; 315 W. 44th St. Joe Farnsworth, Drums; Village Vanguard 178 7th Ave S.  Roberta Gambarini ft George Cables, John Lee & Victor Lewis; Blue Note, 131 W. 3rd St. Tuesday, August 21  Vocal Masterclass with Marion Cowings; Ai Murakami Quartet  Late Night Session: Alphonso Horne August; Late Night Dance feat. Sacha Perry; Pete Zimmer Quintet; Bruce Harris Quintet; Session: Alphonso Horne; Dizzy’s Club, Jazz At Lincoln Center, Jon Beshay "After-hours"; Small's, 183 W. 10th St. 60th & Bdwy  Jane Scheckter "I've (still) Got My Standards" With Mike Renzi,  Quintet: Electric; Jazz Standard, 116 E. 27th Jay Leonhart, and Vito Lesczak; Birdland Latin Jazz Orchestra; St. Birdland, 315 W. 44th St.  Harold Mabern Trio - Harold Mabern, Piano; John Webber, Bass; Joe Farnsworth, Drums; Village Vanguard 178 7th Ave S.  Christian Scott aTunde Adjuah; Blue Note, 131 W. 3rd St. Monday, August 27  Gilad Hekselman Trio; Lucas Pino Nonet; Small's, 183 W. 10th  DW Jazz Orchestra featuring Benny Benack III; Dizzy’s Club, St. Jazz At Lincoln Center, 60th & Bdwy  Nina Storey; Susie Mosher; Birdland, 315 W. 44th St.  Mingus Orchestra; Jazz Standard, 116 E. 27th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  & Friends: Honoring The Legacy of McCoy Tyner; Wednesday, August 22 Blue Note, 131 W. 3rd St.  Harold Mabern Trio - Harold Mabern, Piano; John Webber, Bass;  Ari Hoenig Trio; Rafal Sarnecki Sextet; Small's, 183 W. 10th St. Joe Farnsworth, Drums; Village Vanguard 178 7th Ave S.  Evan Ruggiero and The S'Evan Legs; Birdland, 315 W. 44th St.  Christian Scott aTunde Adjuah; Blue Note, 131 W. 3rd St.  Pierre Christophe / Joel Frahm / Trio; Curtis Nowo- sad’s CNQ; Mike Troy - "After-hours" Jam Session; Small's, 183 Tuesday, August 28 W. 10th St.  William Parker: In Order to Survive Extended Ensemble; Dizzy’s  Nina Storey; Susie Mosher; Birdland, 315 W. 44th St. Club, Jazz At Lincoln Center, 60th & Bdwy  Dayna Stephens Group; Jazz Standard, 116 E. 27th St. (Continued on page 14)

To Advertise CALL: 215-887-8880 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 13  , Saxophone; Lawrence Fields, Piano; Marc Johnson,  Sebastian Chames Quartet; Sanah Kadoura Group; Isaiah J. Bass; Andrew Cyrille, Drums; Village Vanguard 178 7th Ave S. Thompson "After-hours"; Small's, 183 W. 10th St. Friday, August 31  Quintet; Blue Note, 131 W. 3rd St.  Louis Armstrong Eternity Band; Katie Thiroux and Special Guest  Lessons from Our Masters: ; Dizzy’s Club, Jazz  Robert Edwards Group; Abraham Burton Quartet; Small's, 183 W. Ken Peplowski; Birdland, 315 W. 44th St. At Lincoln Center, 60th & Bdwy 10th St.  Trio featuring and ;  Daryl Sherman “Too Marvelous For Words with James Chirillo Jazz Standard, 116 E. 27th St. (guitar) Boots Maleson (bass); Birdland, 315 W. 44th St. Thursday, August 30  Joe Lovano, Saxophone; Lawrence Fields, Piano; Marc Johnson,  Camille Thurman; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bass; Andrew Cyrille, Drums; Village Vanguard 178 7th Ave S. Bdwy  Roy Hargrove Quintet; Blue Note, 131 W. 3rd St. Wednesday, August 29  Cyrus Chestnut Trio featuring Buster Williams and Lenny White;  Philip Dizack Quintet; Quintet; Corey Wallace  Late Night Session: Joshua Bruneau; Dizzy’s Club, Jazz At Jazz Standard, 116 E. 27th St. DUBtet "After-hours"; Small's, 183 W. 10th St. Lincoln Center, 60th & Bdwy  Joe Lovano, Saxophone; Lawrence Fields, Piano; Marc Johnson,  Birdland Big Band; Birdland, 315 W. 44th St.  Darcy James Argue's Secret Society; Jazz Standard, 116 E. 27th Bass; Andrew Cyrille, Drums; Village Vanguard 178 7th Ave S. St.  Roy Hargrove Quintet; Blue Note, 131 W. 3rd St.  Joe Lovano, Saxophone; Lawrence Fields, Piano; Marc Johnson,  Roberta Piket Quartet; Dan Pugach Nonet; Davis Whitfield "After- Saturday, September 1 Bass; Andrew Cyrille, Drums; Village Vanguard 178 7th Ave S. hours"; Small's, 183 W. 10th St.  Josh Evans Quintet; Late Night Session: Joshua Bruneau; Diz-  Roy Hargrove Quintet; Blue Note, 131 W. 3rd St.  Kat Gang; Birdland, 315 W. 44th St. zy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Cyrus Chestnut Trio featuring Buster Williams and Lenny White; Jazz Standard, 116 E. 27th St.  Joe Lovano, Saxophone; Lawrence Fields, Piano; Marc Johnson, Bass; Andrew Cyrille, Drums; Village Vanguard 178 7th Ave S.  Smalls Showcase: Kristina Koller Quartet; Philip Dizack Quintet; Alex Sipiagin Quintet; Brooklyn Circle; Small's, 183 W. 10th St.  Billy Stritch; Birdland, 315 W. 44th St.

Sunday, September 2  Lessons from Our Masters: Quartet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Cyrus Chestnut Trio featuring Buster Williams and Lenny White; Jazz Standard, 116 E. 27th St.  Joe Lovano, Saxophone; Lawrence Fields, Piano; Marc Johnson, Bass; Andrew Cyrille, Drums; Village Vanguard 178 7th Ave S.  Vocal Masterclass with Marion Cowings; Ai Murakami Quartet feat. Sacha Perry; Ralph Lalama & "Bop-Juice"; JC Stylles/Steve Nelson Hutcherson Band; Alon Benjamini "After-hours"; Small's, 183 W. 10th St.  Birdland Latin Jazz Orchestra; Adison Evans "Meridian" Release Show; Birdland, 315 W. 44th St.

Monday, September 3  Scott Reeves Jazz Orchestra; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  George Coleman; Blue Note, 131 W. 3rd St.  Ari Hoenig Trio; Small's, 183 W. 10th St.  Clint Holmes; Birdland, 315 W. 44th St.

Tuesday, September 4  Henry Conerway III Trio: “With Pride for Dignity” Album Release Concert; Godwin Louis; Late Night Session: Lucy Yeghiazaryan The Music of ; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Steel House; Jazz Standard, 116 E. 27th St.  Trio - Bill Charlap, Piano; , Bass; Kenny Washington, Drums; Village Vanguard 178 7th Ave S.  Christian McBride & The New Jawn Quartet; Blue Note, 131 W. 3rd St.  Spike Wilner Quartet; Theo Hill Trio; Small's, 183 W. 10th St.  Nicole Zuraitis; The Cookers; Birdland, 315 W. 44th St.

Wednesday, September 5  Trumpet meets Latin America featuring Linda Briceño, Michael Rodriguez & Rachel Therrien; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Steel House; Jazz Standard, 116 E. 27th St.  Bill Charlap Trio - Bill Charlap, Piano; Peter Washington, Bass; Kenny Washington, Drums; Village Vanguard 178 7th Ave S.  Christian McBride & The New Jawn Quartet; Blue Note, 131 W. 3rd St.  Jochen Rueckert Quartet; Dan Blake & The Digging; Aaron Seeber "After-hours"; Small's, 183 W. 10th St.  Louis Armstrong Eternity Band; Emmet Cohen Trio; Birdland, 315 W. 44th St.

Thursday, September 6  Steve Wilson & The Analog Band; Jazz Standard, 116 E. 27th St.  Bill Charlap Trio - Bill Charlap, Piano; Peter Washington, Bass; Kenny Washington, Drums; Village Vanguard 178 7th Ave S.

(Continued on page 16)

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

To Advertise CALL: 215-887-8880 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 15  Christian McBride & The New Jawn Quartet; Blue Note, 131 W.  Joris Teepe Group; Ed Cherry Quartet; Jovan Alexandre "After- 3rd St. hours"; Small's, 183 W. 10th St.  Jochen Rueckert Quartet; Micah Thomas Trio; Endea Owens  Joey Defrancesco With and ; "After-hours"; Small's, 183 W. 10th St. Roseanna Vitro; Birdland, 315 W. 44th St.  Perry Joslin; Birdland, 315 W. 44th St. Thursday, September 13 Friday, September 7  Fountain of Youth Band; Dizzy’s Club, Jazz At  and Friends Celebrate ; Dizzy’s Club, Lincoln Center, 60th & Bdwy Jazz At Lincoln Center, 60th & Bdwy  Rufus Reid Quartet; Jazz Standard, 116 E. 27th St.  Steve Wilson & The Analog Band; Jazz Standard, 116 E. 27th St.  Bill Charlap Trio - Bill Charlap, Piano; Peter Washington, Bass;  Bill Charlap Trio - Bill Charlap, Piano; Peter Washington, Bass; Kenny Washington, Drums; Village Vanguard 178 7th Ave S. Kenny Washington, Drums; Village Vanguard 178 7th Ave S.  , & Billy Cobham Trio; Blue Note, 131  Christian McBride & The New Jawn Quartet; Blue Note, 131 W. W. 3rd St. 3rd St.  Francisco Mela Group; Julius Rodriguez "After-hours"; Small's,  Matt Haviland Quintet; Group; JD Allen "After- 183 W. 10th St. hours"; Small's, 183 W. 10th St.  Joey Defrancesco With Terri Lyne Carrington and Mark Whitfield;  Birdland Big Band; Birdland, 315 W. 44th St. Roseanna Vitro; Birdland, 315 W. 44th St.

Saturday, September 8 Friday, September 14  Steve Wilson & The Analog Band; Jazz Standard, 116 E. 27th St.  Rufus Reid Quartet; Jazz Standard, 116 E. 27th St.  Bill Charlap Trio - Bill Charlap, Piano; Peter Washington, Bass;  Bill Charlap Trio - Bill Charlap, Piano; Peter Washington, Bass; Kenny Washington, Drums; Village Vanguard 178 7th Ave S. Kenny Washington, Drums; Village Vanguard 178 7th Ave S.  Christian McBride & The New Jawn Quartet; Blue Note, 131 W.  Donald Harrison, Ron Carter & Billy Cobham Trio; Blue Note, 131 3rd St. W. 3rd St.  Smalls Showcase: Nick Masters Quartet; Matt Haviland Quintet;  Melissa Aldana Quartet; Quartet; Corey Wallace Jack Walrath Group; Philip Harper Quintet; Small's, 183 W. 10th DUBtet "After-hours"; Small's, 183 W. 10th St. St.  Joey Defrancesco With Terri Lyne Carrington and Mark Whitfield;  Billy Stritch; Birdland, 315 W. 44th St. Roseanna Vitro; Birdland, 315 W. 44th St.

Sunday, September 9 Saturday, September 15  George Cables Trio featuring Victor Lewis & ; Diz-  Rufus Reid Quartet; Jazz Standard, 116 E. 27th St. zy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Bill Charlap Trio - Bill Charlap, Piano; Peter Washington, Bass;  Smokestack Brunch: Anthony Ware; Steve Wilson & The Analog Kenny Washington, Drums; Village Vanguard 178 7th Ave S. Band; Jazz Standard, 116 E. 27th St.  Donald Harrison, Ron Carter & Billy Cobham Trio; Blue Note, 131  Bill Charlap Trio - Bill Charlap, Piano; Peter Washington, Bass; W. 3rd St. Kenny Washington, Drums; Village Vanguard 178 7th Ave S.  Smalls Showcase: Ben Barnett Quartet; Melissa Aldana Quartet;  Christian McBride & The New Jawn Quartet; Blue Note, 131 W. Peter Zak Quartet; Brooklyn Circle; Small's, 183 W. 10th St. 3rd St.  Joey Defrancesco With Terri Lyne Carrington and Mark Whitfield;  Vocal Masterclass with Marion Cowings; Ai Murakami Quartet Roseanna Vitro; Birdland, 315 W. 44th St. feat. Sacha Perry; Sam Raderman Trio; David Gibson Quintet; Jon Beshay "After-hours"; Small's, 183 W. 10th St.  Emilio Solla Tango Jazz Orchestra; T. Oliver Reid Celebrates Sunday, September 16 Bobby Short; Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.  Celebrating Cannonball's 90th with special guest ; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Smokestack Brunch: Astrid; Rufus Reid Quartet; Jazz Standard, Monday, September 10 116 E. 27th St.  Zaccai Curtis Orkesta: An Evolution in Latin-Jazz Big Band;  Bill Charlap Trio - Bill Charlap, Piano; Peter Washington, Bass; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Kenny Washington, Drums; Village Vanguard 178 7th Ave S.  ; Jazz Standard, 116 E. 27th St.  Donald Harrison, Ron Carter & Billy Cobham Trio; Blue Note, 131  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. W. 3rd St.  Lawrence - "Living Room" Album Release Week; Victory; Blue  Vocal Masterclass with Marion Cowings; Ai Murakami Quartet Note, 131 W. 3rd St. feat. Sacha Perry; Tardo Hammer Trio; Richie Vitale Quintet;  Jonathan Barber Quintet; Joe Farnsworth Group; After-hours Jam Alon Benjamini "After-hours"; Small's, 183 W. 10th St. Session; Small's, 183 W. 10th St.  Cheryl Bentyne and Mark Winkler; Afro Latin Jazz Orchestra;  Amanda McBroom With Michele Brourman; Birdland, 315 W. 44th Erkin Kydykbaev & Salt Peanuts ; Birdland, 315 W. St. 44th St.

Tuesday, September 11 Monday, September 17  Jonathan Barber, Victor Gould and Buster Williams; Late Night  Clockwise: The Music of with the Ben Markley Big Session: Endea Owens; Dizzy’s Club, Jazz At Lincoln Center, Band featuring ; Dizzy’s Club, Jazz At Lincoln

60th & Bdwy Center, 60th & Bdwy  Blacktet; Jazz Standard, 116 E. 27th St.  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Bill Charlap Trio - Bill Charlap, Piano; Peter Washington, Bass;  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Kenny Washington, Drums; Village Vanguard 178 7th Ave S.  Eddie Palmieri & Friends: Honoring The Legacy of McCoy Tyner;  Donald Harrison, Ron Carter & Billy Cobham Trio; Blue Note, 131 Blue Note, 131 W. 3rd St. W. 3rd St.  Steve Nelson Quartet; Abraham Burton Quartet; After-hours Jam Session; Small's, 183 W. 10th St. Tuesday, September 18  Joey Defrancesco With Terri Lyne Carrington and Mark Whitfield;  Todd Marcus Quintet; Late Night Session: Charles Turner III; Jazz Lovers’ Roseanna Vitro; Birdland, 315 W. 44th St. Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  / Duo; Jazz Standard, 116 E. 27th St.  Trio - Walter Smith Iii, Saxophone; , Wednesday, September 12 Bass; Bill Stewart, Drums; Village Vanguard 178 7th Ave S.  Doug Wamble presents Memphis in Harlem; Dizzy’s Club, Jazz  Band; Blue Note, 131 W. 3rd St. At Lincoln Center, 60th & Bdwy  Coltrane Revisited: Eric Alexander, , ,

Lifetime Collection  Marquis Hill Blacktet; Jazz Standard, 116 E. 27th St. , , Matt Wilson; Birdland, 315 W. 44th  Bill Charlap Trio - Bill Charlap, Piano; Peter Washington, Bass; St. Kenny Washington, Drums; Village Vanguard 178 7th Ave S.  Donald Harrison, Ron Carter & Billy Cobham Trio; Blue Note, 131 JazzMusicDeals.com JazzMusicDeals.com W. 3rd St. (Continued on page 17)

16 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880  Theo Croker Quintet; Jazz Standard, 116 E. 27th St. Jazz At Lincoln Center, 60th & Bdwy  Bill Stewart Trio - Walter Smith Iii, Saxophone; Larry Grenadier,  Mark Guiliana SPACE HEROES; Jazz Standard, 116 E. 27th St.

Bass; Bill Stewart, Drums; Village Vanguard 178 7th Ave S.  Chris Potter, Saxophone; James Francies, Piano; ,

 Stanley Clarke Band; Blue Note, 131 W. 3rd St. Drums; Village Vanguard 178 7th Ave S. “Some people’s idea of  Coltrane Revisited: Eric Alexander, Greg Osby, Jon Irabagon,  Chick Corea Trio; Blue Note, 131 W. 3rd St. free speech is that they are free Helen Sung, Lonnie Plaxico, Matt Wilson; Birdland, 315 W. 44th  Allyson Briggs & Fleur Seule; Birdland, 315 W. 44th St. St. to say what they like, but if anyone says anything back that Wednesday, September 26 Saturday, September 22  Trio: Rhapsody in Gershwin; Dizzy’s Club, Jazz At is an outrage.”  Late Night Dance Session: Charles Turner III & Uptown Swing; Lincoln Center, 60th & Bdwy Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Mark Guiliana SPACE HEROES; Jazz Standard, 116 E. 27th St.  Theo Croker Quintet; Jazz Standard, 116 E. 27th St.  Chris Potter, Saxophone; James Francies, Piano; Eric Harland,  Bill Stewart Trio - Walter Smith Iii, Saxophone; Larry Grenadier, Drums; Village Vanguard 178 7th Ave S. - Winston Churchill Bass; Bill Stewart, Drums; Village Vanguard 178 7th Ave S.  Chick Corea Trio; Blue Note, 131 W. 3rd St.  Stanley Clarke Band; Blue Note, 131 W. 3rd St.  Yellowjackets; Birdland, 315 W. 44th St.  Coltrane Revisited: Eric Alexander, Greg Osby, Jon Irabagon, Wednesday, September 19 Helen Sung, Lonnie Plaxico, Matt Wilson; Birdland, 315 W. 44th  & Xavier Davis; Dizzy’s Club, Jazz At Lincoln St. Thursday, September 27 Center, 60th & Bdwy  Magos Herrera and Brooklyn Rider; Dizzy’s Club, Jazz At Lincoln  Davina and the Vagabonds; Jazz Standard, 116 E. 27th St. Sunday, September 23 Center, 60th & Bdwy  Bill Stewart Trio - Walter Smith Iii, Saxophone; Larry Grenadier,  Quartet; Jazz Standard, 116 E. 27th St.  Smokestack Brunch: Jamie Reynolds; Theo Croker Quintet; ; Bill Stewart, Drums; Village Vanguard 178 7th Ave S.  Chris Potter, Saxophone; James Francies, Piano; Eric Harland, Standard, 116 E. 27th St.  Stanley Clarke Band; Blue Note, 131 W. 3rd St. Drums; Village Vanguard 178 7th Ave S.  Bill Stewart Trio - Walter Smith Iii, Saxophone; Larry Grenadier,  Coltrane Revisited: Eric Alexander, Greg Osby, Jon Irabagon,  Chick Corea Trio; Blue Note, 131 W. 3rd St. Bass; Bill Stewart, Drums; Village Vanguard 178 7th Ave S. Helen Sung, Lonnie Plaxico, Matt Wilson; Birdland, 315 W. 44th  Yellowjackets; Birdland, 315 W. 44th St.  Stanley Clarke Band; Blue Note, 131 W. 3rd St.

 Greg Ruvolo Big Band Collective; Birdland, 315 W. 44th St. Thursday, September 20 Friday, September 28  Ulysses Owens, Jr. THREE; Dizzy’s Club, Jazz At Lincoln Center, Monday, September 24  : Serenade to ; Dizzy’s Club, Jazz At 60th & Bdwy Lincoln Center, 60th & Bdwy  Monday Nights with WBGO: Captain Black Big Band;  Theo Croker Quintet; Jazz Standard, 116 E. 27th St.  Freddy Cole Quartet; Jazz Standard, 116 E. 27th St. Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Bill Stewart Trio - Walter Smith Iii, Saxophone; Larry Grenadier,  Chris Potter, Saxophone; James Francies, Piano; Eric Harland,  Mingus Big Band; Jazz Standard, 116 E. 27th St. Bass; Bill Stewart, Drums; Village Vanguard 178 7th Ave S. Drums; Village Vanguard 178 7th Ave S.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Stanley Clarke Band; Blue Note, 131 W. 3rd St.  Chick Corea Trio; Blue Note, 131 W. 3rd St.  Eddie Palmieri & Friends: Honoring The Legacy of McCoy Tyner;  Coltrane Revisited: Eric Alexander, Greg Osby, Jon Irabagon,  Yellowjackets; Birdland, 315 W. 44th St. Blue Note, 131 W. 3rd St. Helen Sung, Lonnie Plaxico, Matt Wilson; Birdland, 315 W. 44th  Scott Allan; Birdland, 315 W. 44th St.  Friday, September 21 Tuesday, September 25  Ulysses Owens, Jr's New Century Big Band; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Tord Gustavsen Trio; Late Night Session: Jen Allen; Dizzy’s Club,

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To Advertise CALL: 215-887-8880 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 17 Clubs,Clubs, VenuesVenues && JazzJazz ResourcesResources

5 C Cultural Center, 68 Avenue C. 212-477-5993. www.5ccc.com City Winery, 155 Varick St. Bet. Vandam & Spring St., 212-608- 212-539-8778, joespub.com 55 Bar, 55 Christopher St. 212-929-9883, 55bar.com 0555. citywinery.com John Birks Gillespie Auditorium (see Baha’i Center) 92nd St Y, 1395 Lexington Ave, New York, NY 10128, Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), 212-769- Jules Bistro, 65 St. Marks Pl, 212-477-5560, julesbistro.com 212.415.5500, 92ndsty.org 6969, cleopatrasneedleny.com Kasser Theater, 1 Normal Av, Montclair State College, Montclair, Aaron Davis Hall, City College of NY, Convent Ave., 212-650- Club Bonafide, 212 W. 52nd, 646-918-6189. clubbonafide.com 973-655-4000, montclair.edu 6900, aarondavishall.org C’mon Everybody, 325 Franklin Avenue, Brooklyn. Key Club, 58 Park Pl, Newark, NJ, 973-799-0306, keyclubnj.com Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-875- www.cmoneverybody.com Kitano Hotel, 66 Park Ave., 212-885-7119. kitano.com 5050, lincolncenter.org/default.asp Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356 Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490, Allen Room, Lincoln Center, Time Warner Center, Broadway and Cornelia St Café, 29 Cornelia, 212-989-9319 knickerbockerbarandgrill.com 60th, 5th floor, 212-258-9800, lincolncenter.org 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 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 , 7th Av & 57th, 212-247-7800, carnegiehall.org lemtearoom.com Musicians’ Local 802, 332 W. 48th, 718-468-7376 Cassandra’s Jazz, 2256 7th Avenue. 917-435-2250. cassan- Hat City Kitchen, 459 Valley St, Orange. 862-252-9147. National Sawdust, 80 N. 6th St., Brooklyn. 646-779-8455. drasjazz.com hatcitykitchen.com www.nationalsawdust.org Chico’s House Of Jazz, In Shoppes at the Arcade, 631 Lake Ave., Havana Central West End, 2911 Broadway/114th St), NYC, Newark Museum, 49 Washington St, Newark, New Jersey 07102- Asbury Park, 732-774-5299 212-662-8830, havanacentral.com 3176, 973-596-6550, newarkmuseum.org Highline Ballroom, 431 West 16th St (between 9th & 10th Ave. New Jersey Performing Arts Center, 1 Center St., Newark, NJ, highlineballroom.com, 212-414-4314. 07102, 973-642-8989, njpac.org Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525, New Leaf Restaurant, 1 Margaret Corbin Dr., Ft. Tryon Park. 212- 609-466-9889, hopewellvalleybistro.com 568-5323. newleafrestaurant.com Hudson Room, 27 S. Division St., Peekskill NY. 914-788-FOOD. New School Performance Space, 55 W. 13th St., 5th Floor (betw hudsonroom.com 5th & 6th Ave.), 212-229-5896, newschool.edu. Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ New School University-Tishman Auditorium, 66 W. 12th St., 1st “A system of morality IBeam Music Studio, 168 7th St., Brooklyn, ibeambrooklyn.com Floor, Room 106, 212-229-5488, newschool.edu INC American Bar & Kitchen, 302 George St., New Brunswick Baha’i Center, 53 E. 11th St. (betw Broadway & which is based on relative NJ. (732) 640-0553. www.increstaurant.com University), 212-222-5159, bahainyc.org emotional values is a mere Iridium, 1650 Broadway, 212-582-2121, iridiumjazzclub.com North Square Lounge, 103 Waverly Pl. (at MacDougal St.), Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910 212-254-1200, northsquarejazz.com illusion, a thoroughly vulgar Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, jalc.org Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and conception which has nothing  Frederick P. Rose Hall, Broadway at 60th St., 5th Floor 6th Ave.), 212-840-6800, thealgonquin.net  Dizzy’s Club Coca-Cola, Reservations: 212-258-9595 Oceana Restaurant, 120 West 49th St, New York, NY 10020 sound in it and nothing true.”  Rose Theater, Tickets: 212-721-6500, The Allen Room, Tickets: 212-759-5941, oceanarestaurant.com 212-721-6500 Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928 Jazz Gallery, 1160 Bdwy, (212) 242-1063, jazzgallery.org The Owl, 497 Rogers Ave, Bklyn. 718-774-0042. www.theowl.nyc The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey Palazzo Restaurant, 11 South Fullerton Avenue, Montclair. 973- Blvd.), Brooklyn, NY, 718-453-7825, thejazz.8m.com 746-6778. palazzonj.com Jazz Standard, 116 E. 27th St., 212-576-2232, jazzstandard.net Priory Jazz Club: 223 W Market, Newark, 07103, 973-639-7885 — Socrates — Anton Chekhov Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl., Proper Café, 217-01 Linden Blvd., Queens, 718-341-2233

18 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, Zankel Hall, 881 7th Ave, New York, 212-247-7800 NY, 718-768-0855 Zinc Bar, 82 West 3rd St.

Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ, RECORD STORES 908-232-7320, 16prospect.com, cjayrecords.com Academy Records, 12 W. 18th St., New York, NY 10011, 212-242 “It is curious that physical courage Red Eye Grill, 890 7th Av (56th), 212-541-9000, redeyegrill.com -3000, http://academy-records.com should be so common in the world Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Downtown Music Gallery, 13 Monroe St, New York, NY 10002, and moral courage so rare.” Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795 (212) 473-0043, downtownmusicgallery.com Rockwood Music Hall, 196 Allen St, 212-477-4155 Jazz Record Center, 236 W. 26th St., Room 804, Rose Center (American Museum of Natural History), 81st St. 212-675-4480, jazzrecordcenter.com (Central Park W. & Columbus), 212-769-5100, amnh.org/rose MUSIC STORES — Mark Twain Rose Hall, 33 W. 60th St., 212-258-9800, jalc.org Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036, Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472, 646-366-0240, robertoswoodwind.com Queens College — Copland School of Music, City University of 845-658-9048, rosendalecafe.com Sam Ash, 333 W 34th St, New York, NY 10001 NY, Flushing, 718-997-3800 Rubin Museum of Art - “Harlem in the Himalayas”, 150 W. 17th Phone: (212) 719-2299 samash.com Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Cam- St. 212-620-5000. rmanyc.org Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island pus, PO Box 270, New Brunswick, NJ, 908-932-9302 Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, City, NY 11101, 718-433-1990. sadowsky.com Rutgers University Institute of Jazz Studies, 185 University Avenue, Newark NJ 07102, 973-353-5595 rustikrestaurant.com Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New newarkrutgers.edu/IJS/index1.html St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377 York, NY 10019, 212-730-8138, maxwelldrums.com SUNY Purchase, 735 Anderson Hill, Purchase, 914-251-6300 St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728 SCHOOLS, COLLEGES, CONSERVATORIES Swing University (see Jazz At Lincoln Center, under Venues) St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200, 92nd St Y, 1395 Lexington Ave, New York, NY 10128 William Paterson University Jazz Studies Program, 300 Pompton saintpeters.org 212.415.5500; 92ndsty.org Rd, Wayne, NJ, 973-720-2320 Sasa’s Lounge, 924 Columbus Ave, Between 105th & 106th St. Brooklyn-Queens Conservatory of Music, 42-76 Main St., RADIO NY, NY 10025, 212-865-5159, sasasloungenyc.yolasite.com Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450 WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-624- Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 8880, Fax: 973-824-8888, wbgo.org NY, 718-622-3300, brooklynconservatory.com WCWP, LIU/C.W. Post Campus Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, City College of NY-Jazz Program, 212-650-5411, nypl.org/research/sc/sc.html WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html Drummers Collective, 541 6th Ave, New York, NY 10011, WKCR 89.9, Columbia University, 2920 Broadway Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, shang- 212-741-0091, thecoll.com Mailcode 2612, NY 10027, 212-854-9920, columbia.edu/cu/wkcr haijazz.com Five Towns College, 305 N. Service, 516-424-7000, x Hills, NY ADDITIONAL JAZZ RESOURCES ShapeShifter Lab, 18 Whitwell Pl, Brooklyn, NY 11215 Greenwich House Music School, 46 Barrow St., Tel: 212-242- Big Apple Jazz, bigapplejazz.com, 718-606-8442, gor- shapeshifterlab.com 4770, Fax: 212-366-9621, greenwichhouse.org [email protected] Showman’s, 375 W. 125th St., 212-864-8941 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 , 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 ’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 , 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 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 19 influential artists whole thing about being spontaneous and in with whom the moment. Dave is just so strong and so fast, INTERVIEWINTERVIEW you’ve played that you could play something and he would who have provid- challenge you to come up with something new ed you with guid- every night. Dave didn’t say a lot, but the way ance or advice he played commanded that you had to think Steve Wilson that has signifi- very fast. You couldn’t rely on what you cantly influenced knew. You had to be totally in the moment. “When you hit the stage, just be ready to play all the time” you? After Dave, Chick Corea. He was more spe- cific about what he wanted out of the music— SW: I’ve been in terms of dynamics, color—but not in a con- By Eric Nemeyer fortunate because there have been many. One trolling way. He wanted you to bring your of those is someone who may not be known to personality. What I learned from Dave and Steve Wilson, a native of Hampton, Virginia, many—my teacher, Doug Richards of Virgin- Chick and Buster was that they didn’t rest on attended Virginia Commonwealth University ia Commonwealth University in Richmond. any laurels—and to play every night like it’s and has performed with Chick Corea, Dave He was the one who really opened my eyes to your first night. Chick would not allow you to Holland, , Mingus Big Band the full history. Legacy and greatness of this get into a comfort zone. He challenged you. and numerous other artists, in addition to music, and prepared me for being a profes- He would challenge you from his playing, leading his own group. sional. He turned me on to a lot of the early from his instrument. He’s pushing you to go jazz, the , Jelly Roll Morton, past what you know and what you’ve been . After that, I worked with Li- doing. He’s a bottomless well of imagination, JI: Talk about your association with Bruce onel Hampton and learned about giving it all who never repeated himself from night to Barth. up for the audience. When you hit the stage, night—in his improvisation. I’m talking about just be ready to play all the time. He loved the my years with the [Chick Corea] Origin Band. SW: Bruce and I have done a few duo gigs showmanship. After that, Buster Williams— By the way, talking about that [box set, multi- here and there, though we had never really sat who really taught me how to listen. I was rec- disc] recording at the Blue Note, we knew he down and planned a project. We were invited ommended to him by , who was recording every night. He told us before. out to play a duo concert by Jon Poses, who is a dear friend of mine, who was working It was only afterwards that he came to us and has an jazz organization that stages concerts. with him. Buster called me and said: “I don’t said we’re going to release the whole week. He said that as long as we were performing, like to audition people but Billy recommend- We were like, “What?” [laughs] It took us by why don’t we also record it? The recording ed you and I would love for you to come in surprise. We were really flying by the seat of came out beyond our expectations. We have a and make a rehearsal.” Whether it was at a our pants. A lot of that music was new, and it great time playing together. It was actually a rehearsal or at one of the gigs, he would al- was only our second gig. The band started at a gig in Schenectady a few months before. Chick called that gig an experiment. He never “Dave [Holland] helped me hear the different said, “Hey, I’m putting a band together, I possibilities of the music—playing in odd meters, want you guys to be in it.” He just said, “I’m trying this experiment with this new music playing with unusual song forms, and the whole I’m writing. Would you like to participate?” Right after that he said, “This is the new band, thing about being spontaneous and in the moment. we’re going to book it.” At the end of the week, when he announced he was going to Dave is just so strong and so fast, that you could release the whole thing, we said. “Are you sure?” We thought at the time it was kind of a play something and he would challenge you to second rehearsal. But, a lot of people have come up with something new every night. Dave heard it and we still get a lot of compliments on it, and that’s a testament to his writing and didn’t say a lot, but the way he played commanded the collective of the group. Two other mentors were James Williams and Mulgrew Miller. that you had to think very fast. You couldn’t rely on And, the biggest thing I got from them is in- tegrity and soul. what you knew. You had to be totally in the moment.” JI: What was it like when you first came to house concert, rather than in a concert hall. So ways say, “Listen. Listen. Listen for the New York? the setting was very casual and intimate with sound. Listen for the beat.” He really taught 60 or 70 people. We always talk about feeling me about listening for melody. He is one of SW: When I was in Richmond, I was working like you’re playing in a living room, and this the best melody writers of all time, in my a lot. I was doing studio work and all sorts of time we did. [laughs] So, along with the vibe opinion. And, his music commands you to gigs, and Ellis Marsalis was there, so I was of the people, the intimacy of the setting, our listen. One of the things I tell my students is working with him. When I came to New long standing relationship of playing together that playing is 50% listening. Another mentor York, I went from working all the time to that Bruce and I have worked so that all of the is , whose band I joined in 1996 having no work. [laughs] But there were a lot elements just came together for that day. or 97. Dave helped me hear the different pos- of different scenes and a lot going on here. I sibilities of the music—playing in odd meters, would sit in with David Murray, ’ JI: Could you talk about one or more of the playing with unusual song forms, and the (Continued on page 22)

20 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 SteveSteve WilsonWilson Appearing at Jazz Standard September 6-9

© John Abbott www.johnabbottphoto.com

To Advertise CALL: 215-887-8880 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 21 for more well-known artists compared to the history of this music, there has always been an Steve Wilson one-nighters, or one-offs for most musicians, apprenticeship system in place until 15 or 20 playing for $50 to $100 to even just the door. years ago. Then they started to elevate young- (Continued from page 20) With few record labels, artists have both the er musicians over some of the more mature challenge and responsibility and the opportu- musicians. There is always going to be great quartet that would play at the Vanguard. I was nities to create their own successes. There are young talent around. To me it got turned introduced to Dick Oatts, who got me into the fewer radio stations. 50 to 100 radio spins around by default. The record companies pro- sub rotation with the Vanguard Orchestra. I nationally in a week will get you into the top moted a lot of younger musicians who weren't did get to play with quite a few 20 for airplay. Airplay doesn’t help to gener- necessarily ready to be leaders. In so doing, times, and he was a great mentor who told me ate sales of recordings now, and so on. All of they dismantled the apprenticeship system. some great stories and the importance of time this is combined with the fact that, as always, That changed the music in a profound way. and feel. It was priceless. I also got to play there are an array of predatory (and some- along side of another mentor, , times not very competent) business creatures JI: Someone commented to me that the con- in the last year of the American Jazz Orches- in jazz who camouflage themselves well, in cept used to be about established musicians, tra, led by . I was doing kind of the their self-swerving efforts to take advantage for example Coltrane, “What is opposite of what other guys my age were do- of artists’ emotional connection to the music. going to do next?” as opposed to the media ing at the time. It was the height of the Young So artists have the added challenges of trying and business hype constantly and every few Lions period, and everyone was going after to distinguish the honest record executives, weeks or months focusing on “Who is going record deals. I wasn’t focusing on being a managers, publicists, promoters and others, to be the next John Coltrane?” leader or a recording star. I was just trying to from the wolves in sheep’s clothing and those find my way and learn, to explore a lot of who want to lord over the . With the shrinking SW: Exactly. Exactly. That’s exactly right. different kinds of music, and to get next to the market, there is a palpable and pervasive anxi- We’re now seeing the effects of this on the elders. That’s really why I came to New York. ety over fewer gigs for artists who have com- music, and culturally also. What I see with a It widened my relationships across different mitted their lives to this, and so on. What are lot of the new music now—a lot of which I generations of musicians and it provide me your views on how the business side is inter- enjoy—is that the foundations of swing an with a lot of different working and playing secting with the creative side and what are the blues getting left behind. That is also palpable opportunities—which carries me to this day, prospects for the future. and is a real concern—because when you because I didn’t get pigeonholed. think culturally and esthetically about the foundation of what we call jazz, it is blues and

swing. When that gets left behind, and we “What I see with a lot of the new music take these key ingredients out of the music— is it still jazz, just because it has some im- now—a lot of which I enjoy—is that the provisation? I don’t know. I see that there is a push to play in odd meters and to see how foundations of swing an blues getting left intellectual, how tricky and complex it can get. Okay. That has its merits. But, when we’re talking about this music—whose foun- behind. That is also palpable and is a dation is blues, swing, and spirituality, and being about communication, and a folk mu- real concern—because when you think sic—and you remove those ingredients, it makes it something else. What that means is culturally and esthetically about the that a lot of young people are not going to get the kinds of experiences we’re talking foundation of what we call jazz, it is blues about—such as going into clubs and com- municating with an audience, who are there to and swing. When that gets left behind, and be moved and to hear and feel the music. Most audiences don’t care if you’re playing a flat 6th over a Major chord. They couldn't we take these key ingredients out of the care less. I couldn't really care less either when I go to hear music. I don’t go to hear music—is it still jazz, just because it has music to discover how much they’re calculat- ing, I go to be moved and enlightened and some improvisation? I don’t know.” stimulated. If they do that with simple Major triads, beautiful. If they do it with something SW: You know that’s a loaded question. First more complex, beautiful. But the whole idea, JI: The creative side of jazz—composing of all, it’s a great observation—and I totally is that music at its best reflects humanity, hu- music, playing, improvising—will be strong agree with it. It’s anybody’s guess now. On mility, spirituality and communication, and as long as there are people who want to cre- one hand, with most of the major record com- has those at its core. What is going to stay ate, which is why we’re all here. I see the in- panies getting out of the jazz business, I think with you as a listener, a day from now, a week dustry figures cross my desk everyday. The it’s positive. It puts the music back into the from now, years from now? The formulas? business side of the jazz world is a contracting hands of the musicians. You don’t have rec- How intellectual, complex or tricky the music market. There are fewer venues (outside of ord companies determining the pecking order is? Or, the feeling you experienced? New York). There is a bigger gap between the so to speak. The music traditionally has al- top paying gigs, that is those at festivals and ways determined that. When you look at the 

22 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 CyrusCyrus ChestnutChestnut Appearing at Jazz Standard August 30-September 2

© Eric Nemeyer

To Advertise CALL: 215-887-8880 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 23 strong, even when He had a big sound. He was clear, and it swung we played things like crazy. He loved the energy. He said hit it. He INTERVIEW for the first time. just let us go. We just played. INTERVIEW We were playing

for six nights a JI: A few years later you were playing with anoth- week for months er great tenor sax player, , at the end of and months. So his career. That of course had Ken- Rufus Reid things would just ny Barron, and you. Could you contrast or compare manifest them- the different leadership styles or the different dy- “if you write your book, you own it” selves, and when namic that you experienced later on with Stan? we would say, “Oh that sounds pretty RR: Well it was really interesting Stan and Dexter By Eric Nemeyer good,” we kept it that way. The only rehearsals we were very close in age. They both had the same did were to rehearse the tunes to go in to record. pulse, rhythmically I think. Stan kind of played the upper part of his horn and Dexter played on the JI: Could you talk about how your association with JI: What prompted your departure from the group? lower half of the horn. It was a totally different developed and how that contributed dynamic because Stan knew he was a star. He to shaping your musical and/or personal develop- RR: It was just getting too much for me. I loved knew what he wanted. He would tell me, “You ment? Dexter so much, that I had to leave before I didn’t know I don’t like bowed solos, so don’t take bowed like him anymore. I wanted to protect that. I wasn’t solos. No offense to you. You know RR: Well, I’m still reaping the benefits of playing as happy because of all the stuff. We were starting plays great with the bow, but I didn’t like them with Dexter to this day. I played with him a little to work so much and get into the college circuits - either. I just don’t like bowed solos.” When I bit in Chicago. He came back almostxxxxxxxxxx every year, which was not an easy thing for Dexter. When you played with him during that period, he wasn’t although when he made that Homecoming record, have the schedules and concerts at these colleges, drinking. He was actually trying to become a little he had made the decision that he was really going eight o’clock concerts - that’s what time they want- healthier because he had to have this big operation. to stay in the United States this time. Homecoming ed to go. It was hard work for the management to I had played with him a few months or a year on was with ’s band. Then, drummer make sure that Dexter was always towing the mark. and off. Stan was easy to get along with as long as had just left Horace Silver’s band you didn’t let him manipulate you. Stan wasn’t a and we got him. I played years with Dexter’s JI: Was Dexter’s move to Europe in the , really a nice guy, although he was a gentleman to band. Dexter was so consistent with everything. He because of the racial issues here in the United me and to my wife. I didn’t have to have that gig if was a great guy - never had any arguments ever States, ever a topic of discussion? he was going to treat me like trash. Then I would- with him. He use to make me angry because he n’t have played with him. Stan would mess with would be so laid back sometimes - laid back about RR: Yes. In Europe he was appreciated much certain guys because they allowed him to. But I being on time and . more. He could be loose, and everybody still loved loved playing with him because he had a beautiful him. He was able to work enough to keep himself sound. You had to play beautifully with him, other- JI: Did that prompt you to take more of a leader- together. Nils Winther of Steeplechase would be wise you were out of place. ship role in the day to day business of the band? right there to give him a record date. I guess he was “When we moved into this town, Teaneck New Jersey, it was July 4th 1976. It was scorching hot. My brother was here with his family helping us move in. I’m upstairs, and my brother tells me there are two gentlemen at the front door wanting to see me. I said, ‘What? Nobody knows I’m here, expect the bank.’ He said, ‘it’s a tall guy and a short guy.’ I said, ‘well who the hell is that.’ So I go downstairs and it’s and , and they said ‘welcome to the neighborhood.’”

RR: Yes absolutely. Self preservation. He use to trying to live like that here when he came back but JI: Those that you did, Serenity and Anni- call me the straw boss. Someone had to do those he still couldn’t really deal with that. versary, with him and Kenny are just magnificent, things. Dexter was drinking a lot and he was also everything just flows so right. indulging a lot. I didn’t need any of that stuff. The JI: Traveling in some of those communist bloc club owners would always come to me first if they countries must have felt really isolating then. RR: That was an ideal period because we were on saw me first. I would say, you know this isn’t my tour five weeks tour and we knew the music. Stan band. I ended up having to do a lot of that stuff. RR: Oh, incredibly so! But the people loved the wasn’t drinking. He was still smoking but they But I did it because someone needed to do it. music so much it was amazing. There were a cou- were trying to get him to eat better and be healthi- ple incidents when we would go out in the country, er. That record was recorded when we were in JI: The organizational aspect of it was loose, but and we would stretch out beyond control. A couple Copenhagen, Denmark. The piano was great, the how about the musical end of it? of times he really, really made me angry. We were room was great, the atmosphere felt great, the engi- the representatives of whatever we were supposed neer was really nice, my bass felt great. It was per- RR: We never rehearsed. George Cables plays so to be – the American jazz group. Sometimes we fect. magnificently in the way that he orchestrates, when didn’t look like what I thought we should look like. he comps. The chemistry of that band was so It was still an incredible experience to be with him. (Continued on page 26)

24 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 RufusRufus ReidReid Appearing at Jazz Standard September 13-16

By Jimmy Katz

To Advertise CALL: 215-887-8880 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 25 Barron was tremendous, and Stan. People have aged me to submit some scores. I was accepted and Rufus Reid always come up to me and they said, “I have every a whole other world just began to open up. I had record that Stan has ever recorded and I love this difficulty at first because people were expecting a one the best.” Stan taught me a few things. On the lot of things from me - because they saw Rufus (Continued from page 24) solo, Stan’s Blues, I’ll never forget this. We played Reid the bass player. I said you know, when I’m JI: I guess what your sayings that as long as you somewhere in California. There were about ten playing that’s one thing, but when having to write didn’t allow him to manipulate you things were thousand people - one of those festivals outside. I’m a novice, I’m in here studying just like you, so cool. We were playing this blues, medium tempo and he don’t do that to me. It just opened up my head - all said, “Don’t take a solo, just walk.” So I walked for the devices you would learn, and all the things you RR: Right, exactly. Stan would pay for the extra about ten choruses or more, all over the bass - up learn from each other. When everyone was present, weight charges to ship my bass, and he would al- and down, high register and low register. I would there could have been twenty-five to thirty people most do it reluctantly. He was still whining that he get louder and louder. Victor and Kenny got louder in the class. We met a couple times a month, and had to pay these charges, and they were minuscule with me and the people went nuts. Then Stan came then a reading session. We would actually go over compared to the money that he was making. I over by my ear and said, “See I told you.” He was a people’s music, literally, sitting around the piano would laugh at him. I played with him once when special guy. discussing, why did you use that, and what moti- he was just coming off his wagon. I told him, I’m vated you to do that. We would listen and read. We really proud of you. I’ve been with Dexter when he JI: Could you talk about your participation in the had a reading session and we would play that back. was drinking too much and Dexter was nice. He BMI Jazz Composers workshop? What kind of You got a chance to really get intimate with your- just got more lovable. But when Stan would drink experiences you might have had that motivated you self. The biggest thing that really sold me on the he would go the other way. He was not nice. He to devote more time to composition? BMI thing was that you didn’t have to write to lived in the upper echelon of money, hob-nobbing appease or please anyone. Most of the stuff we do with actresses and people who have money. He RR: Well, quite honestly, you may or may not as players or even just people, we do to please would just act stupid sometimes - butxxxxxxxxxx he never did have known I’ve had a great fortune to play with a other people. There is some kind of mandate, I hate that with me. He was very respectful to me and lot of fantastic people in my career thus far. When I to use the word shackles, but you know, if you are particularly to my wife. He would call up and say, first came to New York I was playing with Thad going to record you got to get to some air space, or “You got your bags packed? We’re getting ready to Jones and Mel Lewis’ Big Band for a couple of the tone can’t be that long so you got to make the go.” She would say, “You know Stan you’re so years, before Thad actually went to Europe. It was publisher happy or someone happy. If its not nice.” He would say, No, I’m really not nice.” He always fascinating to me to play these charts. I and this person likes bebop, then you’re not going knew what he was. He was a very shrewd business thought “Wow, I wish I could write like that.” I to make this person happy, and so forth. This was- man too. Musically, he was fabulous. never studied composition in school, per se, but I n’t an arranging course. That was the first thing always tried to write little songs, and buy books on , Jim McNeely and Mike Abene JI: How did you prepare for the recordings with orchestrating and arranging, and do all these things said. You could go down the street, and there are Stan? on my own. I’ve always somehow ended up want- incredible arrangers, all over New York. We want ing to get deeper into it. I just never really had the you to start a little charm of an idea and we want to see it work, and we want to see it develop. This is my fourth season and not ever have I ever heard either one of these guys say, “I don’t like it or this “On the solo, Stan’s Blues, I’ll never forget was no good,” or anything else that was trying to help you make this sound like you wanted it to this. We played somewhere in California. sound like. If that is what you wanted it to sound like then they accepted it. But they tried to make it There were about ten thousand people - sound the best way possible - through the tech- niques of orchestration, and getting you out of your one of those festivals outside. We were comfort zone. That’s mainly also one of the great things for me. I have written some big band charts playing this blues, medium tempo and he and some and I knew some things that sounded really good. Then they said why don’t said, ‘Don’t take a solo, just walk.’ So I you try this, and use this instrument and that instru- ment. It completely just blew my stuff away. It walked for about ten choruses or more, completely just dismantled it and eventually I be- gan to search and investigate other ways. They all over the bass - up and down, high encourage you. If you had eight measures of some- thing, re-orchestrate it three or four times before register and low register. I would get louder you actually made a decision. You don’t get that opportunity in most situations, unless you are under and louder. Victor and Kenny got louder tutelage of someone and your studying in this kind of curriculum. They would have the top notch play- with me and the people went nuts. Then ers in New York for the reading sessions, so you actually got to hear your music read quite well. Stan came over by my ear and said, JI: Was the reading session designed for specific ‘See I told you.’ He was a special guy.” instrumentation?

RR: Yes, it’s specifically for big band. But they RR: We were on the road for five weeks, and that time - particularly while I was teaching at William don’t want it to sound like a basic band or Stan recording was the fifth week. We knew the materi- Paterson University. I was there for twenty years. Kenton band or Band. It’s just al. It couldn’t have been better. To me that is the Between Thad and my professional life, I had using that instrumentation. Although the instru- way you should record. All those records that enough on my plate. Since I retired, it’s been five mentation could also be augmented with wood- Miles did? Those guys were on the road playing years. It gave me opportunity and that was just one winds, if you liked - oboe or wanted English that stuff, all the time. Those records are magnifi- of the fist things I said I wanted to do, is get in- Horns. You had to specify that and these people cent because the music went to another place. It volved with that workshop. I’ve heard about it and would bring those instruments. If you wanted an was fun playing with Victor Lewis, and Kenny Jim McNeely is a long time friend, and he encour- extra guitar, or to use vibes or something then it

26 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 almost done, that is the most difficult point. At that JI: What was it like for you to play with Mel Lew- Rufus Reid point we are close to completion but not there, and is on drums? it is a point where we might be tempted to delay or lay back or get lazy. This is the point where we RR: I tell people that if you couldn’t play with Mel was your responsibility to see that those persons have to apply ourselves the most. And, in the com- Lewis something was really wrong. This guy was were there. Other then that, that was the only thing pletion are the seeds of your next creation. When I like a clock. He was amazing. I had done a play- that you would say would be a normal big band. It have arranged for big bands or studio orchestra or along recording with Mel Lewis. We did about was just the instrumentation, but not the material. whatever, I find that many of the ideas that come fourteen tunes, and we started out with one and it That was the most exciting thing for me. much later, that I might use in other compositions, ended up being about six minutes and thirty sec- are little germs from those pieces I completed earli- onds. Then we played the rest of the stuff, and they JI: You mentioned they didn’t want to pre-direct er. said well lets go back to the first one - this was you to what instrumentation to use. three or four hours later. Let’s do it again because RR: Right, right. Well it’s amazing to me, because the sound was better. We played the tune again, RR: Well, first of all, I have to assume it was spe- I have difficulty getting started. Arranging is some- and it was like six minutes and thirty-two seconds. cifically a big band, and that’s how it was deliv- one else’s song that you like, or someone wants It was so close, and he said I got it, and just cut it ered. I didn’t have a problem with that because you to write an . Then a lot of the stuff off. He was like that, and he was amazing to me what I was trying to do was to just expand myself is already prescribed for you. If you have some because he was one of the first drummers whoever in terms of ideas. It has opened up for me in other kind of imagination, the arrangement might devel- said to me, “I got a cymbal for your sound. I got a ways. The BMI is specifically for the big band. But op something else you heard and then it kind of cymbal for George Mraz’s sound. I had one for what I learned from it, I can take to any ensemble, flows okay. But to come up with a whole idea , and I got one for you.” It was great. and I have done so. Bob and Burt yourself … and of course I had to learn that the That was a magnificent time for me. That’s actual- Korall got this thing started about eighteen or nine- first things I wrote weren’t necessarily going to be ly when people began to realize I was in New teen years ago. It’s really blossomingxxxxxxxxxx and driving first in the piece. It was a trip the first year, it’s York. I’d been in New York maybe six months, in some of the musicians who are there, and writing gotten a little easier for me and now I have scrap just kind of doing jam sessions. Playing with that in some incredible stuff. It was really inspirational. books, and the time to put down little kernels of that band was a big credential thing. It was a pretty Jim McNeely, Mike Abene and Manny Albam ideas all the time. I’m beginning to have, not a hot chair in that you had to swing and you had to before he died, were very impressed and very hap- surplus, but beginning to have a lot of ideas that I be able to read and you had to have a good sound, py to see us learn from each other. They weren’t can actually bounce off into other things. etc. I couldn’t have planned it better if I tried. saying don’t do it just because we say this. We have more experience then you and we suggest JI: What medium are you using to document your JI: Could you talk about your association with things, but if you are really adamant about some- musical ideas? and how he was influential for you? thing lets see what’s up. That was really a very healthy situation. I won a commission the first year and that was really exciting. “We kept asking Thad, ‘but what are we going JI: What was the process that was involved in your winning that Charlie Parker jazz composition to play, but what are we going to play?’ - award for Sky’s Over Amelia? almost up to the time we were about to go on.

RR: There was twelve people who had been cho- He just called tunes and we knew them about sen at the end of the season which is in June, to be put on the concert. There is a concert at the end of that soon. It was exciting! Thad was an incredible each season, to showcase the music. Mine was one of them. When this award came in, they chose improviser and had an incredible imagination three of the twelve that they felt would benefit, or that were extra special or whatever. That year, they rhythmically and obviously harmonically. A lot hired Dan Morganstern, and Phil of people are asleep on his trumpet playing.” Schaap. They were the judges. They put my piece on the first half of the program. Then they went and deliberated during the intermission and they RR: I’ve tried to do it with the computer, which I RR: Well I met Thad in Wichita at one of Jamie came back. They just heard it for what it was, and I eventually dump it into the computer. But I can’t Aebersold’s camps. He was a guest and that’s won, and I couldn’t believe it. It was three thou- function with the midi stuff initially. I don’t know when we first met. He was only there for a couple sand dollars. It really empowered me that I was on if it’s because sitting at the piano enables me to days or something like that. We hooked up right the right track. There were some wood wind dou- hear the resonance of the piano and decay and all away and of course he said, “yeah let’s go get some bles in the arrangement. I needed bass . that stuff. It sounds better. I find that everything ribs.” It was like I’d known him for a long time. He That was the first piece, and that piece guides what that I come up with at the real piano and having the said, “You ought to come to New York.” And I I did. The commission piece ended up being called pencil and actually making erasures and changing said, “Well I’m planning to.” I was living in Chica- the Hymns of the Blue Bird. I then was charged to minds … I invariably like. It is ninety-nine percent go at that time. I guess about four or five months have that ready for the following year. What I’ve better then if I did it at the computer. It’s a great later they came to Chicago and George Mraz was done even with those pieces was that I extracted tool now to be able to have that. I’ve been taking a playing. I met Mel and then they told me George themes out of “Skies” and condensed them down to few lessons from McNeely, and he really feels he was leaving the band. I said well actually I’m com- my quintet. This gave us some more things to do likes to see the erasures and coffee stains and stuff ing to New York to check out a place to live. They other then just playing a hit and everybody taking a on the scores. He says he kind of sees your brain said if you come up, let us know and you can play. solo in the traditional sense. working a little bit in terms of decision making and I did that. They said, “We play Monday nights, but etc. Looking at some of your worksheets are we got a gig on Sunday. Can you do it?” I said, JI: One of the most important steps in the creative sketches - and I can see that. Of course being able “Yes of course. Are you crazy, is that a trick ques- process is that we all start with some excitement to write and transpose a score was kind of manda- tion?” So I played with the band on the road, or out and enthusiasm – when we have a new idea for a tory because they want us to write what the actual of town. No rehearsal, no nothing. I had to sight song or whatever. Then the enthusiasm wears off musicians sees - particularly with woodwinds. I’m read everything. Of course, I knew a couple of the and we go through the trials and tribulation of hav- pretty familiar with this. I used to be a trumpet really hot tunes that I’d better be able to know - ing to get it to the next stage and the next stage player so I know that about brass players. It has like, “Tiptoe.” There were a couple others, “Little until finally you’re almost done. When you are helped me a great deal to think like that. (Continued on page 28)

To Advertise CALL: 215-887-8880 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 27 thought process. RR: Right! Right! And I mean it wasn’t like I Rufus Reid played some really funky notes. But the notes RR: I guess that is really why it worked. He had simply weren’t the ones he had heard. After Thad the audacity to do a lot of things that most people had left, I stayed with the band and recorded the (Continued from page 27) just would not do. Of course, if you look at or deal album of the music of : “Hello Rascal On A Rock.” So I had shedded on some of with a lot of his scores, he would probably flunk Goodbye,” “Skylark.” Bob was very, very specific those things. I was able to get the charts from them. some music classes - doing some of the things he about the notes. He was actually much more ada- That Monday night I played. Then I left to come did. But they worked. If you listen to the big pic- mant about that than Thad was, in terms of verbal- back to Chicago. I guess about a year later, I came ture, he was really amazing. I think to get back to ly. Bob has gone through a whole bunch of trans- back and here I am. Actually they had Bob Bow- your question on how he inspired me… When I formations I think in the way he writes. Thad’s man who was going to play in the band. I called came here, I was ready to fly and go, although I music was dense but it was accessible. I learned Mel and he said, “You know we’ve been using Bob was very well seated, I’ve learned to fly even freer. that if he was writing backgrounds for the trom- Bowman, so we are going to go with him.” I said, I think as I get older, ensemble-wise, I learned how bones they would sound good by themselves. Then “Well okay, I’m here, I’m just letting you know to play through the sound and still not be so pre- he would write another background for the trum- I’m here. Two weeks later, he said Bob Bowmen dictable with my bass lines. Playing with Thad, pets to go over the same chord changes. They didn’t want to live in New York, and that he was particularly with that quartet - and a lot of that is would sound great together or by themselves. moving back to or where ever. He said, evident on that quartet record - we were just having “You still want to play?” I said “Yes, I did.” I was fun and were moving into other things. We could- JI: Was it your observation that Thad might not there for a solid two years. It was two of the busiest n’t have planned it. We had to do it right then and have wanted to discuss his approach in order to years with that band with Thad. We were busy and that was very exciting. It was like that even with avoid analyzing himself. traveling a lot. Thad had such a strong command of the big bands. He was doing different things with the band. You know the Vanguard is small - so my the band changing backgrounds etc. You had to be RR: I don’t really think he even went there at all. I legs were damn near touching the xxxxxxxxxxbass drum. Alt- alert, all the time because he was always manipu- think he was just a raw talent that he didn’t need to hough you only heard the bass drum when he really lating the music. I still play his music as much as I discuss anything. He knew what he wanted to wanted you to hear it, it was always playing. I possibly can with the group or even solo stuff that I sound like. He wrote in such a way that players could always feel his pulse at all times. When I was do. The music is unbelievable and strong. When I would look at him and say, wow what is this? Sax- soloing, Thad said,“ You don’t have to play all the play with McNeely, we always play at least one ophone parts were pretty treacherous. But when changes. Let some of them go by.” Then of course tune of Thad’s. they played it they heard how it fit. I was like one his written stuff … I really did try to write and play of those puzzles with a lot of colors in it. If you some things that were my own but they were never JI: Did you ever hear him speaking about his writ- don’t play it, it looks okay. But when you actually better than the ones he wrote. When he wrote ing approach or discussing any of his musical ide- play it right it says wow, and just kind of jumps something they would have the graphic shape of as? out. That was very exciting for me and I really feel the line of the or whatever harmonical- that, I certainly don’t try to write like him, but I ly. They were very specific. When he wrote chang- RR: Actually, you couldn’t really get real close to hear that stuff in my head. es, he expected you to open it up. I grew a lot in Thad. I mean you could hang with him and have that band because the rhythm section really fun. He was a fun-loving guy. I remember one time JI: Could you talk a little bit about your experience stretched. was there most of the time we were in Europe and we were on a bus going to a playing with – one of your first major when I was there. We had so much fun. We would recording session. It was the only record I actually gigs? What kinds of instruction did Eddie Harris have gotten fired playing in most other big bands, did with Thad and Mel and with the singer Monica provide? What kinds of lessons did you learn? playing the way we did rhythmically and super Zetterlund. We had about a five-hundred mile bus imposing pedal points. It felt great and then we got trip. Thad still needed to write two charts. I sat RR: Eddie Harris did all of that for me. It’s pretty a chance to do the quartets. across from him on the bus. I saw him put on his incredible. As a leader, all he would say is, “All I baseball hat and put on his glasses. This invisible want you to do is be on time and be able to play.” JI: Yeah, and you recorded that one album for bubble just kind of came over him. He just went That sounds simple but a lot of people might have Artist House Records. inside and he started writing. When we got to the abused that. We got paid on time. He said, “I’m recording session, he checked the stuff just a little giving you X amount of dollars and I’ll pay you on RR: Right! It was supposed to have been recorded bit at the piano. I was curious. Then he gave it gave Friday.” We never had to hunt for him. He was in two days but it ended up only being one. We to the copyists. By the time we recorded the other always there. He paid us by a check, and it was a kept asking Thad, “but what are we going to play, stuff, they had copied the music. The counterpoint band checking account. Then he had his books and but what are we going to play?” - almost up to the and the other stuff was unreal. Everyone was flab- that was another name, and of course he had his time we were about to go on. He just called tunes bergasted. Jerry Dodgion and —that own personal checks. That was the beginning of and we knew them about that soon. It was exciting! was the band. We were all wondering what the understanding that “oh the band is a business.” He Thad was an incredible improviser and had an in- charts were going to sound like. We all knew he would run it like that. He would actually be very credible imagination rhythmically and obviously wrote them on the bus. I deliberately wanted to specific. He would say, “Okay I want to play the harmonically. A lot of people are asleep on his watch him to see what he did. He didn’t change tune as kind of like a bebop tune and I don’t want trumpet playing. much, if anything. He just checked a couple things to hear any outside stuff. If we play a ballad, I want and handed the score to the guy, and I said “OK.” it to really be beautiful and I don’t want it to really JI: I’ve always thought that Thad is among the Then when I heard it, it was just wonderful. But he get hyper. Just let it be beautiful. Then when we most creative, most original trumpet players. One never really discussed anything. At that time, I play , I want it to be funky. I don’t want it to thing that I admired about him and have always didn’t even know what to discuss with him about be outside. When we play outside, I don’t want to strived for is to not play licks or patterns or any- that. I didn’t feel I was even anywhere close to that. hear a triad, I want it to be out.” He was very thing - but to be totally immersed in the present, in He liked the way I played and he did say a couple graphic in terms of how he wanted to paint the the moment … to be able to feed off of the other of times, “Well you know, I really need this part to picture. We would do all those things in the course people with whom you’re playing. One of the be played better.” After that he never had to tell me of a set. I was with him for five years. It was like things that really struck me about him when I was anything. I realized I had to pay more attention to “wow.” I was playing through echo-plexus and ring analyzing his work years ago is how his melodic the written stuff and be as accurate as possible. modulators. With the bow, it sounded like a B52, and rhythmic and harmonic conception on trumpet but it was fun! Then I was playing the electric bass was so closely aligned with his writing. There was JI: That’s pretty interesting that he would hear and the at the same time - within the an extraordinary connection. Many incredible im- those subtleties that called for probably very minor same set. Eddie was very respectful and he was provisers may write tunes but they cannot neces- adjustments in terms of what you were doing. very knowledgeable about people. He said, “I hired sarily be identified as having come from the same you because you said you liked my music.” There

28 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 him. Eddie was well ahead of his time, not only Harlod Land were two that were really significant. Rufus Reid musically, but as a business person. He understood They took me to Europe for the first time in 1972. a lot and I feel that he was probably the biggest influence in how I try to carry myself in terms of JI: What the was dynamic like playing with their are a lot of people who want to play with certain being a band leader and also being a side man. I group and what kind of interaction or discussion people because they are recording artists and guess I’m very fortunate because he was the first went on? they’re very visible people. Other then just liking one that I really got next to. People that tried to do their music, it’s the way they can get more famous a bunch of things to me, or were disrespectful or RR: The interaction and discussion was very re- too. But Eddie didn’t want that to be the reason owing me money - I don’t work with them any- fined. Bobby was very very adamant about what he why you played with him. He was really a very more. Whenever I get some work for myself, for wanted to hear. From the piano voicing and pedal sensitive man. He was magnificent. He taught us my own band and music. I try to treat them just like points - the music was very specific. In fact, of all the posture for recording, how to prepare to go into I would like to be treated. Eddie Harris was my the people I’ve very played with during those days, the recording studio. Don’t waste time because biggest mentor. and were adamant that’s money. The producers at about rehearsing - I mean really rehearsing, not just wanted him to use and Bernard Pur- JI: Could you talk a little bit about going over it with the head tunes, really trying to die - the hit makers. They had just done something and , with whom you spent some time? get the concept clear. with , and they were really hot. He said, “You know they don’t want me to use you RR: Well, I played with those people when I was JI: Did they have very specific or elaborate ar- guys. But I want you. Because you played good in the house rhythm section at rangements for you to become aware of? enough to play with me on the road, you can play in Chicago. I got a chance to play with Gene Am- good enough to record with me.” He was adamant mons and Sonny Stitt several times. They made RR: They were specific but I won’t say that they about it. He’s the one that actually gave me the some great records together. It was about the were super elaborate. They did have some very inspiration to write my book. Hexxxxxxxxxx wanted me to groove. If you couldn’t groove then you weren’t specific ways that they wanted the music to devel- finish school before I played with him. He said “Go asked to be there. What was really interesting was op. Even to this day, Bobby Hutcherson is one of ahead.” I had a year to go and I was ready to quit to play with them, and then turn around and hear the most exciting persons to play with. He’s very and my wife was going to kill me. He said, “No no, Kenny Dorham come in - so harmonically differ- special and I talk about him all the time. It was there’s enough out here. Just go ahead and get your ent. I liked it but it took me a while to learn. I guess actually he who kind of slapped me in the face and degree because education is important, and if I got one of the things about that whole thing was that said, “You need to go to New York.” This was in some work, I’ll use you.” And he did. He was a each week I was playing with somebody different, 1971. I found I wasn’t playing with that kind of super guy. I bitched and moaned. It was one of the for almost two or three years in a row, weekend energy for awhile. These guys would come into reasons when Jamie Aebersold heard me play with after weekend. There were about three really good Chicago they’d bring that energy force with them, Eddie, he asked me if I would do a workshop with years in Chicago. I played with McCoy and the and when they left, they took it with them. It was him, in Grand Forks, North Dakota. I will never trio, and he was not really well at all that weekend. really hard. There were some great players in Chi- forget that. I had twenty-five bass players, little I’ve never played with anybody with that kind of cago and I was playing. This one time he came kids about fourteen, fifteen, sixteen years old. They energy. I had to sleep the whole next day just to be through and I played with him. We played Friday, didn’t know much, but they wanted to know. I able to play with him the next night. It was amaz- Saturday and Sunday, and on Sunday night when he paid me, he said, “What’s wrong with you? Your stuff doesn’t seem like it was.” I really hadn’t been playing at that level. I was almost in tears. I “When everybody went right, he went left came home and I told my wife. We’d been thinking about coming to New York. It still took us almost automatically. He was not a conformist … two years to get that together. But mentally I left, I was ready to go. I thanked Bobby Hutcherson be- he was so good musically … he could do cause he loved me enough to say that. The next time I saw him was 1977. some many different things so well. JI: It was on the record with Dexter Gordon—the Whenever I get some work for myself, for one that Slide Hampton arranged.

my own band and music. I try to treat RR: That’s right, My Manhattan Symphony, and . Bobby was on that record. So them just like I would like to be treated. he hadn’t seen me since that event in Chicago where he busted me. Then he looked over to me Eddie Harris was my biggest mentor.” and said, “Oh your chops aren’t down now.” He remembered that and to me those were really in- credible periods for my growth. To not get placed would tell Eddie and that I had just ing. I loved it but I didn’t know what was happen- and to not ever let that happen again like that. sold twenty-five books for him. Eddie said, “Well ing. Kenny Dorham was really a nice man and nice why don’t you write your own books?” He was a music. Although the first year I played with him, I JI: How did you prepare yourself for the move to very wise man. When everybody went right, he guess it was around ‘71 or something like that, and New York? went left automatically. He was not a conformist. he was ill. Then the next time, which was about That’s why a lot of people really couldn’t get with nine months later he was more ill, then he passed RR: Mentally and financially. But when Bobby him. He was really adamant, and he was so good away. So I didn’t really get a chance to get to talk said that to me, that kind of put the fire on to really musically, and he was so strong and he could do with him to much. He wasn’t a really talkative guy, get it together and to make the move, and not just some many different things so well. The industry but he was really nice and straight ahead. talk about it. really had difficulty putting him in a place where they could say this is Eddie Harris. He was more JI: Did McCoy give you any instruction or tell you JI: It sounds like you wife was very supportive and then that, he was bigger than that. The most pro- what he wanted at all? that this was a very carefully planned and under- found thing he told me was that if you write your stood move. And during that time, when you really book, you own it. He said, “If it collects dust, it’s RR: No, no. Probably the other most significant need that kind of support, when you make a move your dust.” The book has been out over thirty-three person during that period that I got to play with to a new town, there wasn’t any of the doubt but years now, and I still own it and I’m thankful to was Moody, . Bobby Hutcherson and (Continued on page 30)

To Advertise CALL: 215-887-8880 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 29 perhaps better then either one of our ways - which JI: Could you talk about the who have Rufus Reid was really great. We never did make much money. influenced you most? But for the little money that we did make, we were accountable to the penny. I learned about the im- RR: Ray Brown was the first person that could (Continued from page 29) portance of integrity. Akira and I had a lot of mutu- play that I actually saw live. I was in Japan. I was rather, a lot of love and encouragement. Could you al respect. He’d also had good and bad relation- in the Air Force in 1964 and I saw Ray Brown, and talk about that a little bit? ships with people he’d played with, and I did too. it was unreal. It was so powerful. I remember wait- We talked about that and wanted people to play ing outside. I was in the Air Force Band in Tokyo RR: Absolutely, I wouldn’t be able to have accom- with us who had respect for us—not only musical- and waiting outside for them to come out. He came plished almost all of the things that I have accom- ly, but for the big picture. I still try to carry with out with his bass, and sees me. He comes down the plished without her help. And yes the support was those same ideas. I just wish I could work more so steps and I’m pretty close to him, and he looks at immense then, she was just as excited about mak- I could keep them more. Akira and I own our last me, and the people are really trying to get him to ing the move and we didn’t know what the hell we two records. Evidence Music actually bought the sign the records or autographs or whatever. He were getting into. But she was very supportive of license for those CDs for X amount of years, but gives me his bass and he says hold this and I said me from the beginning. She helps me now to keep we actually owned the masters. It was really grati- “uh.” I grabbed held it as he com- the house and all the necessary day-to-day things fying. I just began to really see things are happen- menced to sign all these autographs. After he got together. I had the support and, yes, I agree with ing. As you know, the record companies don’t have finished, he says, “Who are you?” I talked to him you that that was a very pivotal period – and that the toe hold they use to. and said who I was, and that I am in the Air Force one needs to have that kind of support from some- band and I learned to play the bass. He told me to one. The moral support that you are doing the right JI: How has your experience as an educator, which come on back to the hotel with him to have some thing … and I still won’t say that was an easy included 20 years at William Paterson University, dinner. The next day I asked him if I could have a move for us. When we first moved here, my son made an impact on your own artistry and develop- lesson? He told me to be at the hotel at ten o’clock was ten months old or something and I was still on ment. in the morning. I was there at nine waiting in the the road. We moved to a place were she had no lobby. It wasn’t really a lesson. He heard me play a friends, no nothing. She had to just kind of learn to RR: Immensely so. I think the more one teaches, little bit and they would say you need to work on take care of that and I’m on the road. But it still is the more it solidifies or validities that you’re on the this, you need to work on that. We just talked. It great to this day. right track yourself. This particularly true if you was great and from that point on I began to have a can get the people you’re talking to, who are may- relationship with him. Come 1973 or ‘74 when my JI: Talk about your long time association with be just kind of getting started, to get the picture. book was out, I showed him my book and he en- drummer, . When the light goes on, you see it immediately. couraged me. He’s one of the first black jazz musi- Because if you weren’t really communicating ef- cians to actually fund a book himself. It was his RR: Akira and I worked together for ten years with fectively, it just doesn’t come back the same way. I own stuff. That’s when had the trio the band, Tana-Reid. I’m really proud of that, be- feel that I’m investing in myself when I teach, and up there in Canada. That was probably one of the cause we have five CDs. Actually six CD’s. One in the music and in the lineage of what’s going on. first black vocational jazz clinics or camps that you was not commercially accessible. I wanted to have The job at William Paterson was actually Thad could go to. He encouraged me to do those kinds of a band but I really didn’t want to be the leader at Jones’ position. When he left, he didn’t tell them things. Then later years he would say you are one that time. I always thought about the associations he was leaving. It was in October, and school start- of the few guys that actually did what you said you with Ray Brown or , and Eddie Gomez, ed in September. I had done several workshops were going to do. We were in Japan together when , Marty Morell, Sam Jones with Louis when we would go out as a quartet, with Mel and I was with J.J. Johnson. when he had his trio. We Hayes, Jimmy Cobb with and Harold Danko. The director called me and told me would have lunch together and he would say Philly Joe. I never had that association. So I started that Thad had left and that they needed somebody “You’re taking care of business, and you got to making a that I’d love to play to come in and teach. He asked if I would like you keep the bass up front.” He was always encourag- with. I started making a list of the drummers I’d to come and check it out. I said, “I didn’t really ing for a person to be aggressive and take care of played with and really loved the way a lot of them come to New York to teach.” He said, “Yeah I their stuff. I would listen to stuff on the recordings played. But when you start putting in the ingredient know, but I liked your clinics and I liked your with Oscar Peterson and it was incredible. Then I of doing business with these people, the list just workshops and I would like you to come and check heard Andy Simpkins with , and starts to dwindle rapidly. Akira’s name always rose it out.” I said, “Okay.” I went out there and I kind that blew me away too. I met him when I was in to the top and I approached him. He said “no” at of enjoyed it, but I told him I might be gone for Seattle, after I got out of the service. He was the first. We began to put our heads together. He’s a two months at a time with Dexter. He said that was nicest man you’d ever want to meet. He played so great business man. I learned a lot from him be- okay. He wanted to do things differently than other strong, but different. When I first met him he was cause he did a lot of the production of our CDs. schools and to have more of a direct link to the fabulous. That’s why I really, really get bugged He’s really fabulous in the studio as a producer. market place. I helped him in a way because of my hearing about some people who were truly rude to We never talked about how we would play with reputation as a player, but also I had a degree from people when they met them. When people come up each other. We just did it. We just had chemistry. Northwestern University. I had published my book to hear you play or spend the time, or buy your We were still close, although the band has been put already. He went and took all this stuff and made a products or they just come up in awe of you, it’s on the shelf. He’s in California now. I miss him not portfolio. He was a really strong facilitator. I didn’t wrong for you to trash them. Be polite and say, being in New York. That was a wonderful period - believe that it was going to last. A lot of the stuff “I’m busy right now … at another time.” But don’t business wise, and I began to write more for the worked, a lot of the stuff didn’t work. He would be ugly. These people were never that way to me, band. Now I’m more ready to have my own band. say that it was okay if something didn’t work, and ever. Each one of them, as I began to play more So it was kind of a stepping stone. we would try something else. At the end of each and more, would say “Yeah, I’ve been hearing year we asked all the seniors what we did wrong, about you man.” It was really gratifying. Then I got JI: Could you discuss some of the understandings and what we should have done. A lot of the stuff a chance to really get close with Sam Jones. His you gained about contracts or business and/or of we knew they were going to say. Other stuff we pulse was so great, unbelievable. When we moved course human nature, based on the experiences you would write down and implement the next year. here, he lived ten blocks away. When we moved had in all these different capacities. That’s how the program began to evolve. Then I into this town, Teaneck New Jersey, it was July 4th hired the faculty. The adjunct faculty, the people 1976. It was scorching hot. My brother was here RR: Well Akira and I began to collaborate, and who I liked personally and I who thought they had with his family helping us move in. I’m upstairs, really be quite aware of being partners. It was like something to offer. They were all practitioners in and my brother tells me there are two gentlemen at having another wife. You had to let everyone know the market place. Then he went forth in doing what the front door wanting to see me. I said, “What? how you felt on things. We didn’t agree on every- was necessary to get the proper accreditation. Then Nobody knows I’m here, expect the bank.” He thing but we were able to talk about it. Then we we became the first in the tri-state area to have a said, “it’s a tall guy and a short guy.” I said, “well were able to come up with something that was bona-fide bachelor of music degree program. (Continued on page 32)

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ORDER Start Your Promotion NOW! - PressToRelease.com To Advertise CALL:Experience 215-887-8880 ResultsAugust-September 2018 In  Jazz24-48 Inside Magazine Hours!  www.JazzInsideMagazine.com CALL 215- 887-8880 31 what I meant. Then to put it down in ink, I had to everyone doesn’t like you. Even if you try, you Rufus Reid feel pretty good about it and explain why I did can’t please everybody because everybody’s got certain things. I still do the workshops and clinics different things that please them. Music is so sub- with Jamey. There was a period when I was so jective that I really found out that you must please busy I couldn’t do them. I enjoy them and I really the music. If you play a tune by or (Continued from page 30) feel it’s important. I’ve seen a lot of the players George Gershwin or Cole Porter, you have to play who the hell is that.” So I go downstairs and it’s who have become well known. I saw them when that music the way that composer wanted it, being Sam Jones and Nat Adderley, and they said they were really young. I feel my teaching has respectful of the melody. Then the people that “welcome to the neighborhood.” I said “Wow, solidified. Doing the thing at William Patterson … don’t even like you respect you. heard that’s it. We made the right move by those two.” being the Director of the Jazz Studies Program me play one time. I’ll never forget it. He came over Sam lived in Teaneck. I said, “Well how did you meant I had to establish a curriculum. I had to have to me and said, “Rufus, on this tune, the bridge know I was going to be here in this house?” He a big picture. So when I teach now it’s a broader goes like this. Okay?” He didn’t get angry at me. said, “Well I knew the guy you bought the house thing. Students must be able to see, so they can put He didn’t trash me. It was just - this is how it goes. from, and I asked who he sold it to.” He said, it together on their own eventually. That’s what a Then I went with . I played one with “Some bass player named Rufus Reid.” They knew good teacher is - one who can help you teach your- him and he showed me one. He said, “You know me. I met Sam in Japan with Oscar. I was very self. everyone is playing the changes to “Love For Sale” close with Sam up until the day he died. I’ve al- wrong. Do you know how Cole Porter wrote this?” ways loved . JI: You mentioned earlier about how you used to He’s really clever. He has the major chord there, get angry when you played a wrong note. and the dominant chord here. I was in a recording JI: Could you talk a little bit about your perspec- studio with Hank Jones, doing something with tives about learning how to improvise and the pro- RR: The thing is I hated to. I still do with a lot of and . We were making cess of improvisation? the things in the academic world about what is some changes to some of the arrangements. It was correct. When you play music it is neither correct, a simple change. I was standing there waiting for RR: I had to learn how to do that. I did a lot of it either feels good nor it doesn’t. I would hear everyone to mark their parts. Hank looks at me and things naturally. When I came up there were no these young players, and they sounded great. They says, “Rufus, do you have a pencil?” It was his books. My first gig as a bass player was in Mont- were really creating some wonderful things. I polite way of saying, “Write it down Rufus, so we gomery Alabama when I was playing electric bass. would say “oh man that sounds great” and they don’t mess this up - because this is not your money I was playing with this saxophone player, off the would say, “oh man I suck.” I said, “what are you if we have to stop.” I will never forget that. base, 1961. I was at Maxwell Field Air Force Base talking about?” They would say, “I missed a in Montgomery Alabama for two years. That’s change and I played a wrong note.” JI: It was a very subtle way of communicating the were I basically taught myself how to play the bass. Some of them would be so depressed. lesson. I had a lot of time. It was very segregated. I had to go across town where all the black people lived JI: Like their whole lives and self-esteem was RR: Right. This is how you do it. He was one of because that’s the only place you could to hang out. based on this fleeting musical moment. the guys of the studio, having the posture of being That’s where I saw Ike and Tina Tuner’s bands, ready to deal. was always talking to me ’s band, and the first Motown review RR: Yes, and that is what I object to. I am adamant about how he would do three or four records a day - with the Supremes, Mary Wells. It was a pretty about the attitude being excellent as best as you of big band stuff - hard stuff. “We’d write it down, special time. I auditioned to play in this guy’s band. possible can, playing with as much accuracy as you sight read it, record it next and then move on. You He hired me because I had a good feel I guess. He possibly can do - but perfect is not the word. don’t even remember half the stuff you’ve record- just taught me the right notes to play on the electric ing.” So I get very angry with the way the kids are bass because I didn’t have a string bass at all. The JI: Even though I went to school, I learned how to coming up and want to rehearse two or three times military had one. I would try to practice it, but I play in funky clubs. over a phrase. Then they say “we got it.’ But you wasn’t strong enough really to do this. We had to don’t have it. You haven’t the skills. Ron Carter learn stuff off the juke box for that weekend. There RR: That’s really were you learn to get it together. went into the studio to do Stan Getz’ were tunes coming out almost every week on the I was also trying to get the students to not be so album. Two hours. They had recorded the day be- radio. Every Wednesday we would learn all these super critical about one note here or there. That’s fore with some other bass player. Stan didn’t like it. tunes on the juke box and have them ready to play not the way you make music. I had a good deal of Ron said, “Well I’m so busy, but I have this two for the public on Friday, Saturday and Sunday. playing with people like . If he hour window.” He came in and played and it’s a That way we knew we were on top of the new looked at a piece of manuscript paper, he would classic. stuff. That’s how I learned how to play. I could have gotten hives. Both he and his brother Wes read music because I was a trumpet player, but bass didn’t know anything about written music. But they JI: How do you stay on the right path and do the was different. I didn’t read bass clef. I didn’t know played fabulously. If you have the ability to read right thing? what chords were. I really didn’t. I just knew what and understand chords, do not let it get in the way sounded good to me. I didn’t really think about of your flow of ideas. It’s just there to help you. RR: I don’t know, I really feel that what goes putting it in a formal kind of way until I began to You got a parachute. Use your intellect, that’s around comes around - Karma or whatever you work with Jamey Aebersold. I would say “well where all this knowledge comes in. Many of the want to call it. I think one has to be spiritual, I what’s wrong with it, it sounds okay to me.” I mistakes end up being “wow that’s where it should don’t feel that you have to be religious. I’m not would get very angry sometimes because they were have gone in the maybe.” …because it’s talking about ethnic religion. I really feel that it is trying to make everything perfect - in terms of this about the way it has to feel. I use to wonder how important that you have integrity about life. Every- scale goes with this, that scale goes with that. people would write this music, then all of the sud- body wants to make a fast buck and they don’t When you are learning right away you wanted to den there would be a three four bar or a five four want to work for it. I really feel that if you can stay do what they tell you to do. Then I would play bar or a two four bars somewhere. I wondered why busy mentally - even if it’s not what you wish you stuff, and people would say, “I heard you play that they did that. Then when I started writing stuff and could do - it’s healthy. If you’re busy, people see note. Why did you do that.” I would say, “I don’t I would play it, I realized this or that doesn’t feel you’re busy, and then they make you busier. I’ve know.” Eventually I began to really listen to my- right. seen it happen. self, and be a little more like, “oh okay that makes sense.” I began to see the importance of messing JI: Could you address what you think are some of with the keyboard and really understanding. No- the essential non-musical perspectives or qualities body really told me that stuff before. I began to that an artist needs to embody.  really assimilate all those things together. When I started writing that book I had to become a lot RR: That’s a big one. In a nut shell I think we as more explicit and much more articulate in terms of human nature want people to like us. But you know

32 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 When I told everyone Art asked me to join, no- body believed me.” FEATURE Three months after this meeting Bobby was FEATURE in the Messengers, on a two-sax line with David

Schnitter. Their trumpeter was , who had played for Horace Silver and Duke Ellington – this group played just one engage- Art Blakey ment, a weekend at the . If Blakey found Watson in unlikely circumstances, Coles’ His Life & Music — Part 8 successor came by a stranger route – from a nation where jazz was illegal. had been a drum student By John R. Barrett, Jr. proved to be short-lived: “Ulmer only played in a Moscow university, learning the classical five jobs in three months with the group.”) repertoire; he picked up jazz from Voice of While extra players were added on some Cedar Walton returned to the group in early America radio broadcasts, studying the tunes dates, the main unit consisted of , 1973, this time on electric piano. A marathon through the fuzzy, jammed signals. His first love Sonny Stitt, , Al McKibbon, and block of sessions in late March yielded the al- was , who he heard from smug- , on his final extended tour. bums Anthenagin and ; the lineup, with gled LPs and tapes borrowed from other fans. Art had played with all of them before, but Shaw and , was Blakey’s strongest in When he heard his first Messengers album – agreed to the tour because of Monk, who he years. Soon after Shaw was replaced by Eddie Moanin’ – he memorized all the solos, and ac- hadn’t recorded with since 1957. While live Henderson, and the group underwent a series of quired as an influence. discs exist of the various tour spots, the only changes, few of them lasting. (To quote a later It was Brown who inspired Valery to be- studio recording took place in London, on No- Messenger, James Williams: “ and come a trumpeter, and he started in an unlikely vember 15, 1971. were practically platooning on the way: as his college orchestra was rehearsing, Monk was the leader, playing solo for most gig. Schnitter [saxophonist ] told Ponomarev waited for the trumpet section to of the session; on five of the tunes he was joined me that around 1974-75 on a given night, he stop playing, then grabbed a horn and blew a by McKibbon and Blakey, recalling his various wouldn’t know who’d be on the stool.”) strong note. “At that moment – I’ll remember it ‘Fifties trios. The music, now available as Thelo- Stability returned to the group in early forever – everybody stopped and turned to me. nious Monk: The London Collection, 1977, as Blakey entered the recording studio for The bandleader was standing in front Volume Three, marks several mile- of the band, and he showed a look of stones: besides being Art’s last album surprise and appreciation. Everybody as a , it was also Monk’s final said, ‘What was this?’ Then they said studio date as a leader. Blakey was ‘That was Val!’ The bandleader told glad to be part of it: “We did the one me that I had a beautiful tone and that trio date in London, and he [Monk] I should practice. Trumpet I loved just did it because they asked him to, anyway. He didn’t have to persuade and I did it because I’d do anything me to practice trumpet after he gave they’d ask me to do with Monk.” me one.” It may have been quickly Once he got his horn, Valery planned, but that doesn’t make it slop- practiced assiduously, jamming with py. “Evidence” is given new harmo- anyone willing to play jazz. For prac- nies, sounding like a cocktail pianist tical purposes the music was banned, through the spindly theme. Art keeps though the Soviet government al- the rhythm fast and steady, the cym- lowed jazz clubs in major cities – bal consistent as Monk slows down, clubs that only foreigners could at- engrossed in the chord structure. tend. (“The authorities tried to fool “Crespuscule with Nellie” is some- the West by showing them, ‘Look, we what faster than usual, and far moodi- don’t forbid jazz. We have it right er: Art’s rhythm is delicate, propelled here.’”) He started playing the Mos- by McKibbon’s hard thrum. “Nutty” cow clubs, seated beside decades-old finds Thelonious active, with side- veterans, and appeared on his first tracks and grace notes all over the album, a live set at a Moscow jazz melody. The rhythm chores are well- festival. By this time Valery was get- performed but never the focus – this is ting restless, and by 1973 obtained an Monk’s show all the way, and it is exit visa under false pretenses. grand. Once out of Russia, Ponomarev contacted The Messengers continued to work during the first time in four years. It began at New the International Rescue Committee, a group the Giants of Jazz tour, though at a reduced York’s Storyville Club on October 11, 1976, that protected Soviet defectors. They successful- schedule. Woody Shaw took over on trumpet, when Art sat in with ’s group. It ly argued his case to American immigration, and for the first of several stays; was there that Blakey met , a found him a job and apartment in New York. was the pianist for about a year, replaced by the young alto just out of college. Educated at the Within a week he had a gig, playing for trom- returning John Hicks. The 1972 album Child’s University of Miami (where he attended at the bonist at Churchill’s. A few Dance found the group in major transition: rec- advice of a friend, Pat Metheny) Watson arrived months later he got to sit in with the Messengers orded over three sessions, the disc featured two in New York that August, and found out from , where he impressed Art with (Ramon Morris and Manny Boyd), two somebody that Art’s birthday party would be at his Clifford Brown inflections. (“He was basses (Stanley Clarke and , who Storyville. He took his horn to the club, played a shocked I had traveled so far from the Iron Cur- played together on one track), piano duties few tunes, and was surprised when Blakey ap- tain.”) Blakey promised him a spot in the band, shared by John Hicks and George Cables, and no proached him: “Art asked me, ‘Whatcha doin’? which opened up in early ’77; his first disc with less than four percussionists. For a short time a How’d you like to join the Messengers?’ Look- the group was , cut in late Feb- guitar was used – James “Blood” Ulmer, years ing back on it, I’m probably one of the only guys before his experiments in “”! (This he asked who wasn’t beating the doors down. (Continued on page 34)

To Advertise CALL: 215-887-8880 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 33 eled in the best company, recording with Freddie road, keeping the same lineup most of the way. Art Blakey, Part 8 Hubbard, , and others – he never Starting at the end of October, special guests – became a big name, though not for lack of talent. all former Messengers – were added to the This solo has the strength of Dexter Gordon, group, giving it as many as 13 members. This (Continued from page 33) with a little Coltrane mixed in; it culminates in a started informally, at the Berlin Jazz Festival: ruary. Now out of print, describes long mad circular twirl. While free, the bit is several alumni were playing there, and were the album by saying “[T]he hard-bop solos are exquisitely structured: a long phrase is played invited onstage during Blakey’s set. This meant consistently fresh.” out, given variations, then truncated (with varia- Bobby Watson dueling Jackie McLean, Schnit- of Messengers was com- tions on the shortened theme), cut further, and so ter trading solos with , Cedar Wal- pleted by pianist James Williams, added to the it goes. Schnitter never loses melody no matter ton next to James Williams. Blakey was pleased group in October 1977. An intense, funky player how fast it gets … and he ends with a witty with the results, and invited alumni (this time with a flair for composition, Williams would quote of “Do You Know the Way to San Jose?” McLean, Fuller, , Eddie Henderson, later form his own band patterned after Art’s, The handoff to Watson is pretty good, and there Walton, and ) to his December 31 with talent like and his nephew he goes … you can tell they competed every gig show at the . , a rising drummer. Thoroughly they played. was apparently promised on the poster, but nev- schooled in the ways of Blakey pianists “In This Korner” comes through with a er appeared; Blakey claimed this set was record- (especially ), Williams could smoky old sound – the right mood for Valery ed by Timeless but if so it has yet to be released. not have been a better fit. Art now had another and his mute. Sounding exactly like Lee Mor- In March 1980 David Schnitter was re- hand of aces, and the next golden era of Messen- gan, he walks cautiously with sly phrases, as placed by Billy Pierce, an agreeable hard bopper gers would begin. Williams gets happy in the background. That who had played with James Williams. His first The first album made by this new crop was comp is so “jazzy” in the ‘Fifties sense that it’s disc with them, a live date in West Berlin, was In My Prime, recorded for Timeless on Decem- almost a parody of the style – in this context it released as Jazzbohne Berlin ’80. The songs ber 29, 1977. Curtis Fuller was added to the mix, works, and I can’t explain why. Ponomarev gets include many of the usual, such as “Blues making for a four-horn front line, Blakey’s larg- good applause as he leaves, and Schnitter raises March”, “One by One”, and “I Remember est for a working group. The tunes mostly con- the bar: a full-bore take-no-prisoners saxophone Clifford”. On that same European tour, the two oldest Marsalis brothers were added to the lineup, making their first recordings. “Three months after this meeting Bobby was At the Northsea festival on July 13, a ten- piece group essayed “Minor Thesis”: the horns in the Messengers, on a two-sax line with walk slowly, atop a prickly bass pattern by . Throughout the theme Wil- David Schnitter. Their trumpeter was Johnny liams makes little sliding patterns, not really related to the tune, but still complementing it. Coles, who had played for Horace Silver and The first solo belongs to Pierce: hard, direct, a cleaner sound than Schnitter. Four days later the Duke Ellington – this group played just one same group played at Montreux, plus another pair of brothers: on , engagement, a weekend at the Village Gate. Kevin at the guitar. The group is almost the size of a big band, and the harmonies prove it: a big If Blakey found Watson in unlikely circumstances, twang opens “Bit a Bittadose”, with Kevin and Fambrough walking the same path. A fiery strut- Coles’ successor came by a stranger route – ter, Wynton appears to get the first solo, drawl- ing with force as Blakey gets to pounding. Wal- from a nation where jazz was illegal ... lace Roney replaced Ponomarev at the start of August, and this quasi-big band toured Europe Valery Ponomarev ….” for another week or so. When Blakey returned to the states, the sisted of things from recent album, including strut, somewhere between Dexter and Rollins. band was back to its usual size: the lineup was “Hawkman” and “Estimated Time of Arrival”. Williams’ moment comes on “The Song Is Pierce, Watson, , Williams, and Five months later the same group, minus Fuller, You”, where cocktail chords are taken fast and Fambrough. Not yet 19, Wynton was the young- would be in San Francisco, playing a week at the mixed with Monkish sourballs. This is aggres- est Messenger ever; he was scouted by Valery Keystone Korner; the May 8 show was recorded sive lyricism, taken to the edge but never be- Ponomarev, who encouraged him even as his by Concord as In This Korner. yond; Mulgrew Miller would use the same ap- own time in the group was coming to an end. As Blakey gets it started with a merciless solo; proach on his features. Valery’s solo is terse but Marsalis tells it: “I have the utmost respect for the sound quality is excellent, especially for a good, and the whole album seems to say Valery … I mean, I was young and ambitious, live album. (This was standard at the Korner, “Blakey Is Back”. That is, if he ever left. and I came around the band trying to get his job. which had a sound engineer on staff during The Messengers spent much of 1979 on the It was a strange situation …. But Valery was shows.) “Pamela” is a showcase for Watson’s very nice to me, always supportive. He was power, his maturity at such a young age. His great as a man.”

tone combines the metallic bite of an alto with The group began its American tour in New

the airy surge of a soprano; his solo switches York, then moved south for a series of festivals

from mannered leaps at precise intervals to ex- in Florida. On October 11, the band rolled into cited trills, and then to mad screams. There are “The greatest day in your life Bubba’s Jazz Restaurant in Fort Lauderdale for elements of Trane and elements of Shorter, but it and mine is when we take total an important date: not only was it Blakey’s never sounds like either musicians – Bobby uses responsibility for our attitudes. birthday, it also marked the only time Wynton’s those devices his way, not theirs. Williams deco- father Ellis Marsalis played with the Messen- rates it with warm chords, somewhat like Cedar That’s the day we truly grow up.” gers. The entire evening was recorded, yielding Walton; Blakey adds some thunderous snares, enough material for three albums; and it’s all you need. released on the -owned Who’s Next up is “Unlimited”, and Schnitter Who in Jazz label, these tracks have been repeat- shows what he can do. In the ‘Seventies he trav- - John Maxwell ed reissued, most recently on the Break Time

34 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 perbolic flood of notes, screeching at the peeks As further proof, Mulgrew then offers a Art Blakey, Part 8 and revolving like mad. It gets your attention, ballad medley. Strong on the chords, a sour “Oh! but it’s also far from the mood of the tune; Wil- Susannah” becomes a proud “My One and Only liams brings it back, in a blues-soaked effort Love”. Brittle on the bridge, he tries new harmo- label as Featuring Wynton Marsalis, Volumes 1 Timmons would be proud of. The end-theme nies, then strides into “Easy to Remember”. It is and 2. goes soft and intimate, all for the horns to roar here that the rhythm joins him: Lonnie springs Ellis Marsalis plays on “Jody”, which his back, as Wynton does eloquently. If he needed hard, at times for its own sake. The final “Who son begins by shooting high. These notes are to prove something, the mission is accom- Cares” is glistening romance, with an end phrase pursed, precise, and confident – most trumpeters plished. worthy of … the audience cares, aren’t this facile, no matter what age. Ellis 1984 began with a new sextet: Johnny and so will you. comes in with muted chords: warm, but nothing O’Neal was replaced by Mulgrew Miller, for a Harrison’s “Controversy” is an organized to get in the trumpet’s way. For a moment Ellis marked improvement. Miller’s approach was a storm, all busy angles in a sea of changing plays the Cedar Walton riff from “Ugetsu” – maze of lush chords, percussive jabs, and funky chords. (To me it sounds like “”, as perfect in this context. His solo is an extended interjections. Clearly indebted to earlier Messen- re-thought by Wayne Shorter.) Donald gets the

“The group began its American tour in New York, then moved south for a series of festivals in Florida. On October 11, the band rolled into Bubba’s Jazz Restaurant in Fort Lauderdale for an important date: not only was it Blakey’s birthday, it also marked the only time Wynton’s father Ellis Marsalis played with the Messengers. The entire evening was recorded, yielding enough material for three albums; originally released on the Li- onel Hampton-owned Who’s Who in Jazz label, these tracks have been repeated reissued, most recently on the Break Time label as Featuring Wynton Marsalis, Volumes 1 and 2.”

cocktail piece; there are nice moments but it’s gers, this style recalled Cedar Walton – and, at first solo, slurping the notes in a leisurely circle. somewhat ordinary. Wynton returns on a feath- certain moments, Bobby Timmons. It was the With a Tynerish vamp behind him, the reed be- ery tone, painting a mood that is pure Freddie right sound for this group and for Miller, who comes strong, wailing like a sopran0 – he hops Hubbard. Marsalis disputes this, claiming Hub- would soon find himself in demand as a side- between octaves, ending in a mad squeal. bard was not an influence … but this album man, adding sparkle to numerous recording ses- Mulgrew has a fast, lavish effort; it was good would say otherwise. (Additionally, Freddie sions. while it lasted. Hubbard says otherwise: “One time he After some club dates in February (with a His mark is more lasting on “Tenderly”: a [Marsalis] sat in with me and played all my licks reunion band of past Messengers), Blakey took languid intro, where soft chords moan in elo- right back at me.”) Mulgrew on the road: they began at Ronnie quent sadness. Blanchard crawls through the For the remaining tracks, James Williams Scott’s, then return to New York for a week at echo, bleating gently; come the theme he lingers, mans the piano: he is slick on “Moanin’”, doing Mikell’s. Some time in May Concord brought in drawing each note to beautiful lengths. He gets a two-handed parallel harmony on the theme. their tape machine, and the result was New York tough on the third chorus, blowing blue and Faster than usual, Blakey drives a hard cymbal, Scene. At once Miller takes charge, Drilling hitting the ceiling – Miller gets a quick state- and the horns are into it: Wynton gets the first sharp rhythms into “Oh, By the Way”. The ment and hands it back to Blanchard for the solo, doing a flawless paraphrase of Lee Mor- horns blend nicely, with a definite “section” sendoff. Unaccompanied for three minutes, Ter- gan’s solo from the original. At times it goes feel; Blanchard goes beneath the reeds, taking ence uncorks a fast series of fanfares, in Freddie further than that – many passages are exact cop- the role of Curtis Fuller. His solo is first, rumi- Hubbard’s tone … his finale is whispered, with ies of Morgan phrases, played in the same tone. nating on a three-note phrase; in time he moves applause washing over. An example of this opens his solo: Wynton’s higher, slurring his tone slightly. The horns are labyrinthine on Mulgrew’s initial five-note charge matches Lee’s main Blakey surrounds him with cymbals, ac- “Falafel”, twisting their way through the arid phrase from this tune. Marsalis said he hadn’t centing with delicate taps; Lonnie keeps the background. Donald sounds tart, saying his heard the solo at the time, and whatever similari- pace, walking one moment, sliding into the next. piece in brief, detached phrases; Terence follows ty comes from coincidence: “I didn’t know Harrison slows it down, with an air of caution: with warmth, a quiet touch, and a sound that where that lick was from – I just thought that’s his notes are few and placed with care. These blooms. The notes, played without force, just how they’d play it in a funk band or something.” phrases are echoed by Mulgrew, who pounces seem to appear – a wall of breezy sound. Mil- Borrowed or not, the tone is sterling, and the quick – thus goaded, Donald works faster, in a ler’s comp becomes strong, turning into a mon- execution is perfect. nice throaty tone. There’s a multiphonic trill, a tuno; Blakey responds by clicking a samba. Following this display, Pierce is somewhat rush of piano, and restless darting phrases – right Toussaint walks an introverted circle, in his subdued: he walks in tiny steps, sounding a little as it starts to boil, the theme takes us back home. brightest moment: the lines are rusty, tinged like . In time he goes faster and More promise than payoff, this tune confirms with Trane. Parts of this are nice, but it tends to his tone toughens up, but he cannot catch Mar- Miller as the right man for the job. Not like there meander: not so for Miller, who is brash and salis. Watson tries the opposite direction: a hy- was any doubt. (Continued on page 36)

To Advertise CALL: 215-887-8880 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 35 -quote of “Move”, which is pretty clever.) There Thoughts”: the horns unite, in glistening harmo- Art Blakey, Part 8 are moments when speed trumps melody, but ny. While the reeds charge, Terence is somewhat it’s good all the same. Donald begins by slowing pensive, creeping slowly on , This it down, but soon he’s racing, with agility that creamy vibrato is everywhere – walking down direct. He gets muscular with the blues as Benny tops Terence. Admirably structured, the solo low, then carefully climbing, then shrieking into Green would later; horns coalesce on the busy links tight phrases with polish – so strong it orbit. It’s a thrilling ride; Art caps it by crushing end-theme, for the loudest applause of the date. sounds composed. Miller’s comp is percussive, his cymbal as the applause grows thick. While nothing is great, everything is at least with Tyneresque chords; he shifts to single notes Mulgrew follows with quietude, breaking out the good – a typical night’s work for the group. for Jean’s solo. The tenor chugs like a rusty en- big chords as his solo ends. While nice, it seems And, as it turned out, another award – the disc gine, tough but uneventful: Mulgrew then turns tentative, like he was struggling for ideas – cer- won a Grammy for Best Jazz Instrumental by a fast blues, like a gentler . Its only tainly Terence set a high standard. Individual or Small Group. This would be Bla- flaw is being too short; the theme comes with The spotlight then falls on Harrison: he key’s only Grammy – like many deserving musi- precision and the applause comes in waves. takes “I Love You” through a slow groove, hold- cians, it was not for his best work, but at least he “Two of a Kind” is a ride through down- ing the notes while giving them warmth. Art was honored in his lifetime, unlike many deserv- town: fast, smooth, sophisticated. Composed by gives him a soft, steady cymbal; when he ing musicians. Blanchard, this tune has the smoky feel of the switches to a bossa beat, Donald blows a perfect On February 25, 1985 the sextet arrived at ‘Fifties; I’m reminded of Mingus and Getz. Mulgrew stays delicate, turning stronger ’s the visit on this tour. They were “Reincarnation of a Lovebird”. The theme sim- on his brief solo – the alto returns with a sly met by a crew from Wadham Films, working on mers for a minute, then Toussaint gets the first rasp, getting active before the endless fadeout. a documentary; it would be released in 1991 as solo. The end is a parade of proud noise: floods of Live at Ronnie’s. While just an excerpt appeared With Miller’s comp gleaming behind him, piano, followed by a foghorn’s blare, followed in the film, the whole evening was taped and Jean moans, darting softly between two notes. by the customers’ appreciation. issued on disc as Art Blakey: Live at Ronnie Turning muscular on the second chorus, he stut- They still applaud the last number when Art thunders in “Jody”: loud cracking snares, an- swered by taxi horns. Donald opens with Col- “Stability returned to the group in early 1977, as Blakey trane trills; the pace is fast and the heat intense. The piano comps sparsely, but lush like Tyner – entered the recording studio for the first time in four he’s calmer for Toussaint’s solo, which is jagged and brusque. He also evokes Trane, from an years. It began at New York’s Storyville Club on October earlier period … with intensity and imagination in equal amounts, this is one of Jean’s better 11, 1976, when Art sat in with Curtis Fuller’s group. It moments. Mulgrew’s turn is rife with anxiety, was there that Blakey met Bobby Watson, a young alto where hurried notes jab a scary theme. Varia- tions follow, as sour chords find their way in; a just out of college. Art’s birthday party would be at great manic riff is cut short by the final theme. The horns exit in a wild whinny, and Art rains Storyville … [Watson] took his horn to the club, played the cymbals with unmistakable passion. And the crowd does likewise. a few tunes, and was surprised when Blakey “Old Folks”, a solo for Miller, combines lingering chords with a busy right hand – like a approached him … ‘to join the Messengers?’” duel between Bill Evans and Oscar Peterson! The climate is thick and marvelous: effortlessly Scott’s. ters a bit before venturing upward. Once here, he he switches to stride, and from there to waltz “Ginza” begins with a mighty roar, Blakey spins in small circles, filling the silence around time …precious. “You and the Night and the expounding with taps and raucous thumps. This Miller’s chords. Flashes of double-time appear, Music” is the same mood painted dark; Lonnie is organized power, swift but uncluttered – and a as do multiphonics – and the calm returns just as creeps low for sweet counterpoint. This is miles melodic sense to rival . He defers to quickly. This solo has about three different beyond the New York medley, in style and exe- Miller for a half-chorus, then the theme begins: styles without committing to any; as such it ac- cution. faster than normal, with Harrison in command. complishes little, reflected in the mild applause. Blanchard gets his due on “Polka Dots and His tangy tone is fit to tightly-wound phrases; Blanchard is tangy in his approach, sound- Moonbeams”: pristine notes, glowing like a Mulgrew does the same in his comp. (The bad ing like Hubbard as he slurs through the first small fire. The tune is slightly decorated, but sound hurts his cause; the piano seems tinny and chorus. He works a racetrack fanfare, hurries his otherwise played straight … until he quotes distant.) As the solo progresses the notes be- way to the top, and hovers on beautiful fluttering “Surrey with the Fringe on Top”! There’s soft comes slurped, as Joe Lovano would do it – he notes. Always strong and never shy on ideas, blues from Mulgrew, a steady click from Art, ends with fast twirling, and shrieks inspired by this solo is match for Donald’s on “Dr. Jeckyll”. and a triumphant sendoff by Terence, where the Coltrane. Blanchard sounds pinched at first, but Speaking of Harrison, he now appears on “Bumblebee” flies and the horn hits the ceiling. goes into a sleek zigzag. Fast and anguished, he soprano, honking like a quizzical duck. He After this “Dr. Jeckyll” explodes, even faster floats at the top of his range, propelled by hot switches between oboe-like sadness and bizarre than the London version. Donald is frantic and cymbals. little squeaks – a mix of ’s precise at the same time, shooting high with an When Toussaint plays, all turns quiet: a and Coltrane’s exultation. Mulgrew brings the oboe’s tone. A quote of “Giant Steps” gives him throaty whisper, accented by big bass. A two- heat down with his stately effort; Lonnie tries to an idea and he takes off, squealing an uproarious note pattern takes root, gives birth to fluttering get busy in a way I find distracting. (He’s better Trane whistle. Miller’s effort is frustratingly phrases, and then blares in fiery beauty. on the solo: round cello-like notes, rolling down brief, and the tune dissolves in a cloud of ap- (Plaxico’s bassline is wonderful: bounce bounce a slow slope.) Easily the best of the set, Terence plause. Made as bookends on the mid-‘Eighties bounce snap bounce bounce bounce slide.) and Donald are definitely “Two of a Kind”. tour, the Concord discs show the group taking Overlooked in this pride of young lions, here After traversing the world for 14 months, root and blossoming before your ears. Toussaint outroars them all. the jazz message was taken to San Francisco, for (Appropriately, they are now packaged together, “Dr. Jekyll” is built for speed, starting out a week at Kimball’s Nightclub. By this time the under the name Coast to Coast.) breathless and building from there. Blanchard group had solidly coalesced, as you can hear on  excels at this pace, sneaking “Flight of the Bum- Live at Kimball’s, recorded on April 13, 1985.  blebee” in a torrent of notes. (There’s also a near There is no hesitation on “Second

36 August-September 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Contact Steve: 630-865-6849 | email: [email protected]

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