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Eric Nemeyer's Eric Nemeyer’s WWW.JAZZINSIDEMAGAZINE.COM MAY-JUNE 2017 Interviews Kahil El’Zabar Barry Harris Dizzy’s Club, June 16 Dion Parson Dizzy’s Club, June 9-11 LouisLouis Sonny Fortune 4 Generations of Miles Birdland, May 23-26 Comprehensive DirectoryDirectory HayesHayes of NY Club, Concert & Event Listings 80th80th BirthdayBirthday Celebration:Celebration: SerenadeSerenade forfor HoraceHorace SilverSilver Dizzy’sDizzy’s Club,Club, JazzJazz AtAt LinconLincon Center,Center, MayMay 2929--3131 Spectacular Jazz Gifts - Go To www.JazzMusicDeals.com Fabulous CDs, Box Sets & The Jazz Lovers Lifetime Collection 20 PRINTED VOLUMES, OVER 6000 PAGES + 20 CDS = 40 POUNDS OF JAZZ To Advertise CALL: 215-887-8880 May-June 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 1 Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) May-June 2017 – Volume 8, Number 5 Cover Photo (and photo at right) of Louis Hayes by Eric Nemeyer Publisher: Eric Nemeyer Editor: John R. Barrett, Jr. Marketing Director: Cheryl Powers Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Ken Weiss Contributing Writers: John Alexander, John R. Barrett, Curtis Daven- port; Alex Henderson; Joe Patitucci; Ken Weiss. ADVERTISING SALES 215-887-8880 Eric Nemeyer – [email protected] ADVERTISING in Jazz Inside™ Magazine (print and online) Jazz Inside™ Magazine provides its advertisers with a unique opportunity to reach a highly specialized and committed jazz readership. Call our Advertising Sales Depart- ment at 215-887-8880 for media kit, rates and information. SUBSCRIPTION INFORMATION SUBMITTING PRODUCTS FOR REVIEW Jazz Inside™ (published monthly). To order a subscription, call 215-887-8880 or visit Companies or individuals seeking reviews of their recordings, books, videos, software Jazz Inside on the Internet at www.jazzinsidemagazine.com. Subscription rate is and other products: Send TWO COPIES of each CD or product to the attention of $49.95 per year, USA. Please allow up to 8 weeks for processing subscriptions the Editorial Dept. All materials sent become the property of Jazz Inside, and may or & changes of address. may not be reviewed, at any time. Jazz Inside™ Magazine | Eric Nemeyer Corporation MAIL: P.O. Box 30284, Elkins Park, PA 19027 EDITORIAL POLICIES COPYRIGHT NOTICE Copyright © 2017 by Eric Nemeyer Corporation. All rights reserved. No part of this OFFICE: 107-A Glenside Ave, Glenside, PA 19038 Jazz Inside does not accept unsolicited manuscripts. Persons wishing to submit a manuscript or transcription are asked to request specific permission from Jazz publication may be copied or duplicated in any form, by any means without prior Telephone: 215-887-8880 Inside prior to submission. All materials sent become the property of Jazz Inside written consent. Copying of this publication is in violation of the United States Federal Email: [email protected] unless otherwise agreed to in writing. Opinions expressed in Jazz Inside by contrib- Copyright Law (17 USC 101 et seq.). Violators may be subject to criminal penalties Website: www.jazzinsidemagazine.com uting writers are their own and do not necessarily express the opinions of Jazz Inside, and liability for substantial monetary damages, including statutory damages up to Eric Nemeyer Corporation or its affiliates. $50,000 per infringement, costs and attorneys fees. CONTENTS 22 Clubs & Venue Listings INTERVIEWSINTERVIEWS 10 Dion Parson CLUBS, CONCERTS, EVENTS 20 Kahil El’Zabar—Putting the Renais- FEATURE 30 Barry Harris 13 Calendar of Events, Concerts, Festi- sance in Renaissance Man by Ken 4 Louis Hayes vals and Club Performances Weiss 33 Sonny Fortune LIKE US PAY ONLY FOR RESULTS www.facebook.com/ JazzInsideMedia PUBLICITY! FOLLOW US Get Hundreds Of Media Placements — ONLINE — Major Network Media & www.twitter.com/ JazzInsideMag Authority Sites & OFFLINE — Distribution To 1000’s of Print & Broadcast Networks To Promote Your Music, Products & Performances In As Little As 24 Hours To Generate Traffic, Sales & Expanded Media Coverage! WATCH US www.youtube.com/ www.PressToRelease.com | MusicPressReleaseDistribution.com | 215-600-1733 JazzInsideMedia 2 May-June 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 May-June 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 3 Feature LouisLouis HayesHayes Interview by Eric Nemeyer there—which was another different experi- when Miles contacted me, Joe [Philly Joe Jones] ence—driving all the way out there. With Can- was still in the group and Miles was trying to LH: Philly Joe Jones more or less adopted me non, we all got along so well. It was a real fami- make a change. Arthur Taylor played with Miles as being his man, and Papa Jo Jones was my ly feeling with the group. Bobby Timmons was for a little bit before Jimmy Cobb. But I couldn’t mentor. All these people were here in New York the first pianist. He wrote “Dis Here” which was do it. Much as I would have loved to make some at the time. You’re exposed to all these great one of the tunes that got the group established. history with Miles, I couldn’t do that. I was with people. Barry Harris was also marvelous. But, when Joe Cannon. Stan Getz used to call me and we used Zawinul got there, the group was more com- to talk. He wanted me to join his quartet. I loved JI: How was working with Cannonball Adder- plete—because Joe fit in on a very high level. Stan too. But I couldn’t leave Cannon. It was ley different than working with Horace Silver? He wrote tunes also. The piano chair was chang- amazing during that time—that you could get ing until Joe got there. We just made so much that kind of experience, and be in groups and LH: Cannon was a lot different than Horace. history and played so well together. I was there learn with those kinds of musicians and learn on Horace would rehearse his music and we would from 1959 to 1965. Eventually, Yusef [Lateef] that high level. It all changed later, and there play it before we went into the studio. Cannon came in, and then Charles Lloyd. We recorded was no possibility for bands to be able to do that. was more spontaneous. Our first job was in Phil- with Nancy Wilson. Miles [Davis] used to come In 1965 Sam Jones and I made a decision that adelphia, at Pep’s, and then we went to the Jazz to me and ask me to join his group. This was we would go with Oscar Peterson. Workshop in San Francisco. We drove out about 1961, before Tony Williams—who I got to know very well after he joined Miles. I think (Continued on page 6) 4 May-June 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 May-June 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 5 I’d like to have and I said Yusef [Lateef], and do big things. So he added congas, and Leon Louis Hayes we recorded. I enjoyed it, and I enjoy listening Thomas sung a couple of tunes. I wrote a tune to it now. As far as with Oscar, I had to be very for my wife, and he put the words to that and conscious of the dynamics and different things to a Freddie Hubbard composition. So we did (Continued from page 4) that occurred in the trio. that date for Gryphon Records. That recording JI: What kinds of direction or suggestions did got five stars. Oscar Peterson offer when you worked with him JI: Was he playing “Tricotism” and using that in the mid 1960s. Was it quite different than the as the drum feature. JI: Could you talk about the Cannonball Legacy dynamics you experienced when you worked Band? with Horace Silver and then Cannonball? LH: I can’t recall the name of those tunes we were performing at the time. But I had a feature, LH: The group includes Vincent Herring, Vi- cente Archer, Rick Germanson [piano]. We’re still doing quite a bit. The CD on High Note that “Miles contacted me, Joe [Philly Joe Jones] was came out did very well. I’m still doing that but I also have some other things coming up. Curtis still in the group and Miles was trying to make a Fuller and myself are teaming up to make some history together. We go back all the way to the change. Arthur Taylor played with Miles for a little beginning in Detroit. We put together a band called the Curtis Fuller-Louis Hayes Rising bit before Jimmy Cobb. But I couldn’t do it. Much Stars, and we’re traveling around with that. as I would have loved to make some history with Miles, I couldn’t do that. I was with Cannon.” Background Louis Hayes left Detroit for New York City at age 19 and quickly began associations with lead- LH: It sure was. It was much different. I was whatever it was called. I enjoyed Oscar as a ing artists including: Horace Silver’s Quintet used to being a free spirit. Horace never told me person and I respected his musical ability com- (1956–1959), the Cannonball Adderley Quintet how to approach the instrument, or how to play. pletely. I’m just not the kind of person, the (1959–1965), and the Oscar Peterson Trio (1965 All he was interested in was whether I knew the drummer, that can follow too well. I can play –1967). Hayes and bassist Sam Jones, both with arrangements and the feeling. If everything is arrangements. But I have my own way of doing Adderley and Peterson, eventually joined Oscar moving and swinging, and everybody is having things.
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