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CONTENTS 22 Clubs & Venue Listings INTERVIEWSINTERVIEWS 10 Dion Parson

CLUBS, CONCERTS, EVENTS 20 Kahil El’Zabar—Putting the Renais- FEATURE 30 13 Calendar of Events, Concerts, Festi- sance in Renaissance Man by Ken 4 Louis Hayes vals and Club Performances Weiss 33 Sonny Fortune

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Feature LouisLouis HayesHayes

Interview by Eric Nemeyer there—which was another different experi- when Miles contacted me, Joe [] 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 was my ly feeling with the group. was for a little bit before . 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. 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 ? He wrote tunes also. The 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 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)

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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 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 , 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 -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 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 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 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. That’s the way I’m comfortable. I more Peterson’s trio. Hayes worked with a great time—that was what was important. And, or less play music because I enjoy it and want to and Curtis Fuller from 1955 to 1956, moved to that was the same way with Cannon. Everybody have fun and do what I want to do. If I can’t New York in August 1956 to replace had their own way of being creative. So no one express myself the way I really want to express in the Horace Silver Quintet and in 1959 joined was saying anything to stop your creativity or myself, then I’m not going to be there for too the Cannonball Adderley Quintet, with which he your direction. Everyone was very much in tune long. Much as I respected his musical ability, I remained until mid-1965. After replacing drum- with everyone’s else’s direction in the group. So could only do that for a certain period of time. mer Ed Thigpen in the Peterson trio, Hayes con- nobody would say anything to anyone about So after that Freddie [Hubbard] and I were doing tinued for three years in that seat. In 1967, he how they approach the music on their instru- some things. As time goes on and you do certain formed a series of groups, which he led alone or ment. But with Oscar, it was completely differ- things, you have no choice. You have to become with others; among his sidemen were Freddie ent playing with the trio. I was there for a certain a leader. Eventually I got together with McCoy Hubbard, , , and period of time while was still in the [Tyner] in 1985. Avery Sharpe was already with . He returned to Peterson in trio. They played a lot different in terms of the him. The trio took off. We were very busy. We 1971. From 1972 to 1975 he co-led the Louis beat and their concept of time than the way I all got along just great. I didn’t know it was Hayes- Quintet and the Woody actually felt it. I could play like that but I wasn’t going to last as long as it did—over three years. Shaw-Louis Hayes Quintet. In 1976 Dexter Gor- comfortable doing it. That was a big adjustment don returned to the United States after leaving for me. Also, for me, playing drums, physically JI: Could you talk about your own group in the for Europe in the early 1960s and Hayes’ group it wasn’t as demanding as playing with horns. I 1970s before your work with . became the foundation for Gordon’s return. Af- was just playing with piano and bass. But men- ter Shaw left the group in 1977, Hayes continued tally it was more demanding because the smaller LH: What had happened was that to lead it as a hard-bop quintet. Hayes has ap- the group is the more you have to concentrate … lived around the corner from me. He went to peared on numerous recordings as a leader and and everybody has to be more together, tight. Europe to do something with the promoter Wim sideman (see discography ahead) - performing Oscar was a perfectionist all the way. His facili- Wigt form Holland. He wanted me to come over with with , , Freddie ty was on the highest level. and bring a group. But I didn’t have a group at Hubbard, Bobby Timmons, , the time. So I got Junior Cook and Woody Booker Little, , Cecil Taylor, JI: Was it more restrictive because his reper- Shaw, and Ronnie Mathews, and Stafford. So it McCoy Tyner, Ray Brown, Joe Henderson, Gary toire called for more strictly adherence to ar- was the Louis Hayes-Junior Cook Quintet fea- Bartz, and Tony Williams. His recordings ap- rangements instead of it being a more interactive turing . We went to Europe quite a pear on record labels including Vee-Jay (1960), situation? bit. That was a very strong group. We did that Timeless (1976), Muse (1977), Candid (1989), for two or three years. Rene McLean took Jun- Steeplechase (1989–1994), and TCB (2000– LH: Exactly right. I was more or less listening ior’s place and we recorded A Real Thing on 2002). After being a member of McCoy Tyner’s and accompanying rather than establishing my . Around that time I was down trio for over three years, Hayes has led his own own sound—which I was doing with Cannonball at the to see and bands and together with Vincent Herring formed and Horace. My own first recording date was on Mel Lewis’ Big Band. Mel said I ought to go the Cannonball Legacy Band. VeeJay around 1960. That was with Cannon’s see Norman Schwartz. So I called him and we band, except on . They asked me who struck a groove right away. Norman liked to (Continued on page 8)

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With Cannonball Adderley  Take It from Me (Impulse!, 1964) With Horace Silver  In San Francisco (1959, Riverside) With Dexter Gordon  6 Pieces of Silver (1956, Blue Note)  (1960, Riverside)  Ca’Purange (Prestige, 1972)  The Stylings of Silver (1957, Blue Note)  Nancy Wilson/ Cannonball Adderley (1961, Capitol)  Tangerine (Prestige, 1972)  Finger Poppin’ (1959, Blue Note)  (1963, Riverside)  Blowin’ the Blues Away (1959, Blue Note)  Sextet in New York (1964, Riverside) With  Phenix (1975, Fantasy)  Back on the Scene (1958, Blue Note) With  12! (Muse, 1972) With With  With Idrees Sulieman  Work Song (1960, Riverside)  Gooden’s Corner (1961, Blue Note)  Roots (New Jazz, 1958) with the Prestige All Stars  Naturally! (1961, Jazzland)  Oleo (1962, Blue Note) With McCoy Tyner With With Barry Harris  Uptown/Downtown (1988, Milestone)  Goodbye (Prestige, 1974)  At the Jazz Workshop (Riverside, 1960)  With Cedar Walton  With Kenny Burrell  A Night At Boomers, Vol. 1 (Muse, 1973)  K. B. Blues (Blue Note, 1957 [1979]) With Joe Henderson  A Night At Boomers, Vol. 2 (Muse, 1973)  Bluesin’ Around (Columbia, 1961 [1983])  The Kicker (1967, Milestone)  Firm Roots (Muse, 1974 [1976])

 Tetragon (1968, Milestone)  With James Clay Pit Inn (East Wind, 1974)

 A Double Dose of Soul (Riverside, 1960) With With Roosevelt Wardell

 Blue Hodge (Verve, 1961)  With The Revelation (Prestige, 1960)

 Son of (RCA Victor, 1960) With Freddie Hubbard With  True Blue (1976, Xanadu) with Dexter Gordon  The Artistry of Freddie Hubbard (Impulse!, 1962)  (Prestige, 1957) - with Gene Quill, Sahib  Without a Song: Live in Europe 1969 (Blue Note) Shihab, and Hal Stein

With J. J. Johnson “In times of change, With The Young Lions  A Touch of Satin (Columbia, 1962)  the learners shall inherit the The Young Lions (1960) Vee-Jay

earth, while the learned find With Sam Jones With themselves beautifully equipped  (Riverside, 1960)  Money in the Pocket (Atlantic, 1967) to succeed in a world that  The Chant (Riverside, 1961)  With Rein de Graaff no longer exists.”  Changes & Things (Xanadu, 1977)  New York Jazz (Timeless,1979) - with Sam Jones  Something in Common (Muse, 1977) [3] — Eric Hoffer, American Philosopher   

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and culture over the years. tice all day and hang out all night going from ses- Alioune is from Dakar Senegal sion to session and we would have sessions of our InterviewInterview and he plays Sabor, Djembe, own at the apartment we lived in, or upstairs at our Talking Drum and various per- friend ’s (the piano player) apartment.

cussion instruments. Alioune is a During that time we really worked on putting a Griot (a Master Drummer from band together and that’s when 21st Century band his tribe) and he brings a natural was formed in 1998. Dion Parson percussive element to the band Perseverance that I first heard during my first JI: What is the United Jazz Foundation? trip to Senegal in 1998 with the guitarist Ernest Ranglin from DP: United Jazz Foundation is a Non-For-Profit Hear Dion Parson ar Dizzy’s Club, June 9-11 Jamaica. I was in Africa doing a recording with 501C3 Music Education organization that I co- Ernest Ranglin and Baba Mal for the new Palm founded with my wife Nicole Koerts-Parson. Ni- Interview by Eric Nemeyer Pictures record label at that time. We had a great cole and I decided to start this organization based time doing that recoding and I learned so much on the education work that I was doing in the Vir- JI: What are the elements that contribute to the about the origins of american music and foundation gin Islands over the pass 20 years. All of the mem- unique sound, styles, repertoire, personnel? of modern drumming. bers of 21st Century Band work with us to execute the programs through out the Virgin Islands. We DP: The members of the 21st Century band are all JI: How did your association with Jazz At Lincoln also have a partnership with the local government from the US Virgin Islands, except Carlton Holmes Center develop and how has it grown over the of the Virgin Islands as well as other music organi- on Piano and Alioune Faye on Percussion. The years? zations in New York City to help educate the musical culture of the VI is very unique because young musicians of the Virgin Islands. We help we are an American territory, but we are located in DP: The first time 21st Century Band performed at these young and talented students get into Colleges the heart of the Caribbean. The musical culture of Dizzy’s Club Coca Cola was in 2008 for Father’s and/or Universities and in return we ask them to the VI ranges from Calypso, Soca, Jazz, Latin, Day weekend. As you know, June is Caribbean return back to the Virgin Islands to help educate the next generation of music and to perform at our “a snow storm was about to hit New York City that free community concerts which helps promote xxxxxxxxxxx them as up and coming Jazz artists and to build cultural awareness in the Virgin Islands. afternoon, so I started to walk with my drums JI: What are the key activities of “Mentoring strapped on my back ... I lived on 156th street and Through the Arts of Music” an organization which you founded? St. Nicolas Ave and the gig was on 94th and Broad- DP: Mentoring Through the Arts of Music pro- way. That’s a long walk! Well, I got to the gig…” vides music workshops, clinics, master classes and private lessons to students in the public and private Zook, Brazilian, Quelbe, Reggae, R&B, Pop, Soul, Heritage month and we are a band with our roots schools of the Virgin Islands. We also do free com- Hip Hop, Country and Western and Classical Mu- based in Caribbean music, therefore, we were invit- munity concerts during our visits to the schools on sic. All of these styles of music is what makes the ed to come and perform our style of Jazz for the St. John, St. Croix and St. Thomas, Virgin Islands. VI a unique place to visit and a unique culture in wonderful audience at JALC. We worked hard to the Caribbean. 21st Century Band plays a variety make that first gig and all the other gigs successful, JI: Could you share some of the highlights and or of musical styles from the Caribbean and combines and it was. 21st Century band has been performing inspiring conversations you may have had with it with traditional Jazz harmonies, melodies and at JALC ever since then and we have recorded two some of the notable musicians with whom you improvisational nuances that allows us to be a fully live CD’s there—Dion Parson and 21st Century have developed associations - and how they may functioning Jazz group that plays music with a Band Live at Dizzy’s Club Coca Cola Volume 1 have made an impact on you? ? Caribbean flare. All the members of the 21st Cen- and Volume 2. I also work for JALC presenting and tury band have music degrees and are employed at performing their Jazz For Young People education DP: I met Milt Jackson through my association universities and teach privately. The members of programs throughout the different boroughs in with . Milt always made it clear that the21st Century band were picked to be in the band NYC. the music came first and to always get to the point. based on their musicality and professionalism. Ron I really enjoyed working with him and he treated Blake and I started the band in 1998 and the first JI: Could you talk about your association with me like family from the first day I met him. thing we did was to call upon to saxophonist Ron Blake and how that developed joins us on bass. Rashawn Ross was in college at and plays an integral part of your musical pursuits? JI: Monty Alexander? that time, but we knew that he would eventually join the band upon the completion of this degree DP: Ron and I grew up together on St. Thomas. He DP: I met Monty Alexander through the great bass- from Berkley College of Music in Boston. Victor is a couple of years older than me though. When I ist Ira Coleman. I had been in New York City for Provost came along years later. I was introduced to attended high school in 1982, Ron actually trans- about three years and I got a call to play at a club Victor through a mutual friend from St. Thomas by ferred to Interlochen music academy in Ann Arbor, call Cleopatra’s Needle, however, what I didn’t the name of Roan Creque. Roan new Victor’s fa- Michigan for high school. However, during our realize was that a snow storm was about to hit New ther and one day Roan called me a told me about a high school breaks, we would spend our Christmas York City that afternoon. By the time the snow steel pan player from St. John that was amazing so and summer breaks hanging out , teaching summer started to come down I could not get a taxi to the I went to Virgina and looked up Victor and we band and going around the island trying to find jam gig, so I started to walk with my drums strapped on have been having a good time since then. Victor sessions to play at. We eventually just hung out my back. After about ten blocks a gypsy cab just graduated from George Mason University with playing duets together for years. That was the foun- stopped for me, I got into the cab told the driver his Master’s Degree in Jazz Studies. Carlton is dation of our relationship, playing duets. I moved where I was going, only to have him tell me that he from New Mexico, but has been with the band for to New York City after finishing up my bachelor’s wasn’t leaving , so I had to get out and walk the past 12 years and we consider him to be an degree at in 1990 and Ron the rest of the way to the gig. Now at that time I honorary West Indian because he has spent a lot on moved to NYC couple years after. We became lived on 156th street and St. Nicolas Ave and the time with us in the VI and has studied the music roommates for about seven years. We would prac- (Continued on page 12)

10 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 11 my phone number and as they say the rest is histo- ry. I have enjoyed working with Steve over the

Dion Parson

years, mainly because I grew up playing the trom-

bone. It’s a voice that I can hear and I can follow “It's surprising how many persons and support that instrument well. Steve has 5 bands (Continued from page 10) go through life without ever recognizing that I perform in. He has his quartet, his quintet gig was on 94th and Broadway. That’s a long walk! with sax, his quintet with , his trombone that their feelings toward other people are Well, I got to the gig and met Ira Coleman and we group and his shell choir. Each one of these groups largely determined by their feelings toward had a lot of fun playing that night. Ira was kind are unique from each other and the repertoire is themselves, and if you're not comfortable enough to drive me home and I spent the next two very different. Steve have motioned to me in the within yourself, you can't be weeks in bed sick. But during those two weeks past that he hires me because of my versatility comfortable with others.” while I was sick, I got a call from Monty saying when it comes to the different styles of music that that Ira recommended me for the gig and he wanted he likes to play—music that ranges from Louis me to join his band. I worked with Monty for about Armstrong to Woody Shaw, to McCoy - Sydney J. Harris three and a half years and we did one recording Tyner and Latin music to conch shell music. I en- together called “Steamin’ with the Monty joy the challenge and the creative process that goes past three years. Alexanter Trio”. I learned a lot from Monty. There along with figuring out all of the particulars that were three musicians that steered me in the direc- goes along with his gig. JI: Given the nature of the niche that jazz is, the tion of perusing my Caribbean musical heritage. current reality of this being a contracting market, The first one was , then Monty JI: ? what kind of vision do you have for yourself about Alexander and then Ernest Ranglin. All three of experiencing some of your hopes and goals in the these amazing musicians gave me the opportunity DP: Gary Bartz was that first professional saxo- next five or even ten years? to experiment with my Caribbean musical heritage phone player that I was focused on playing with. I while I was working with then. However, Monty’s met Gary on St. Thomas in 1987 at the Virgin Is- DP: I’m not sure what is going to happen in the influenced me a bit more because I worked with lands Jazz Festival. I was still in college at the time Jazz scene right now as far as contracting yourself him longer. His sense of rhythm is amazing. But, I and was trying to figure things out musically. Gary out to perform with different bands. There are a lot feel that what I walked away from his gig with was Bartz connected with Ron Blake during that time of new musician on the scene in New York City a better understanding of arranging music. He is a on St. Thomas and I got a chance to build a rela- every year and not that many gigs. You just have to master of arranging, and, on the spot arranging, tionship with Gary because of Ron. I worked a be smart about what you want to do these days. mind you. I have seen him do it and I have been couple of gigs here and there with Gary when I first How does the old saying goes, been there and done part on his impromptu on the spot arrangements. Its came to New York City, but it wasn’t until I stated that. I have a great opportunity to develop quality great! working with in 2000, that I really got music in the Virgin Islands and the Caribbean in a chance to play with Gary on some of Steve’s general and I feel that that is my calling for now. JI: ? gigs. Steve Turre has a trib- Also, to continue to promote and work the 21st ute band that I’m a part of and Gary works in that Century Band so that we can continue to create a DP: I first got introduced to Jon Faddis by my late band also. market for Virgin Islands musicians as well as best friend and bassist, Mr. in 1994. other Caribbean musicians to promote their music Jon called me one day and asked if he could stop JI: You’ve taught at Rutgers University and con- on a high level. At the same time trying to create an by my apartment to talk to me about a gig he had ducted workshops around the world. How has your exchange of musical culture. coming up that weekend and he said that Dwayne work as an educator and the strictures and struc- had recommended me for the gig. I knew of Jon tures of the academic environment helped and or JI: What do you do to decompress outside of mu- from his work with and also my hindered your artistic pursuits? sic and the stresses of daily life in contemporary good friend and brother Ralph Peterson, use to play society? with Jon, so I immediately got excited and said DP: I have always considered my self to be a per- sure, you can come by. So Jon came by my place former as well as an educator. I love doing both DP: Well, I have a [young] son, so decompressing and we talked for a while and he auditioned me on and I feel that I can continue to do both. I just had is not part of my daily life right now. However, I the spot, left me some CD’s and said I’ll see you on to find the right balance. I can tell you this, I know like to cook. That does for me. Preparing a really Saturday. We drove up to Rhode Island and per- I could not sit in a classroom everyday just teach- good home cook meal for my family and friends is formed that night. It was the Jon Faddis Quartet. ing students. My brain doesn’t work like that. I my way of relaxing when I’m off the road. with , Dwyane Burno and Dion need a balance life of performing and teaching. Parson. After that gig Jon asked me if I wanted to Being able to go on the road and perform brings JI: Is there anything you’d like to discuss for join his band and I said yes. I have been working another set of lessons and energy to your teaching which I haven’t prompted you? with the Jon Faddis quartet for the past 20 years. I experience, both as a teacher and a student. You also performed with the Carnegie Hall Jazz Band can teach with a more hands on approach because DP: I would like to thank Michael Carvin (Each under his direction between 1998 and 2000. Imag- you have lived it. Now, I’m not talking about be- One Teach One) for all his support he has given me ine, having a gig for 20 years these days is unheard ginning or even intermediate level of teaching mu- over the 14 years that I have studied with him. Also of. I’ve learned a lot from Jon. He is a great educa- sic. I’m talk about the advance/professional level. for being the first producer to have worked with the tor and businessman. Just being around him is a Rutgers offered me my first teaching opportunity. 21st Century Band to develop our unique style and lesson. I have watched trumpet players come up to At that particular time in my life I had just finished sound. Thanks Michael for your time , wisdom and Jon at gigs with different issues, and he is always my undergraduate degree and was starting my mas- ears! Finally, to all the musicians that have worked cordial, supportive and giving. Jon Faddis is a true ters degree when my drum teacher at that time with the 21st Century band over the years, thanks Master and I’m blessed to be able to support his [] decided to leave Rutgers Univer- for your great musicianship! Gary Bartz, Terell music with my drums. sity for a teaching job in Germany and the Depart- Stafford, Bobby Thomas, Stephen Scott, Clifton ment Chair at Rutgers University asked me to step Anderson, Myron Walden, Reginald Cyntji, Jeremy JI: Steve Turre? in and take over his responsibilities, so I did for Pelt, Marcus Printup, Jimmy Basch, Yosvany Ter- one year, then I relocated to Cheyenne University ry, Kenny Davis, Desron Douglas, Mamado Ba, Ira DP: I first me Steve Turre in 2000 while I was in Pennsylvania and taught there also. I also taught Coleman, , Helen Sung, Daniel Sa- doing a performance with the Carnegie Hall Jazz for eight years at Performing Arts Cen- downick, Renato Thom Band plus an Orchestra. We were doing a presenta- ter Wachovia Jazz for Teens program in Newark, tion of ’s music at Carnegie Hall. New Jersey. I am now teaching at the University of    During one of the rehearsals Steve asked me for the Virgin Islands as an Artist in Residence for the

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

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Monday, May 15 and Rodney Whitaker are joined by the next generation of jazz greats to perform the music of Duke Ellington and ,  Mingus Big Band, Jazz Standard 8PM, Rose Theatre, Jazz At , 60th & Broadway  Jazzmeia Horn, Dizzy’s Club Coca Cola, Jazz At Lincoln Cen-  Cecile McLorin Salvant & The Aaron Diehl Trio, 7PM & 9:30 ter PM, The Appel Room, Jazz At Lincoln Center, 60th & Broadway  Vanguard Jazz Orchestra, Village Vanguard  Bill Charlap Trio, Dizzy’s Club Coca Cola, Jazz At Lincoln  Chucho Valdés Quartet 75th Birthday Celebration, Blue Note Center  Jim Caruso's Cast Party, Birdland  Ruben Fox, Late Night at Dizzy’s Club Coca Cola  Randy Ingram Quartet, Ari Hoenig Trio, Jonathan Michel - After-  The Manhattan Transfer 45th Anniversary Celebration, Blue Note hours Jam Session, Small’s  Steve Coleman and Five Elements, Village Vanguard  New York Voices Sings Paul Simon, Birdland Tuesday, May 16  Robert Edwards - Afternoon Jam Session, Ralph Lalama & "Bop- Juice", Mike Rodriguez Quintet, Philip Harper Quintet, Small’s  Anat Cohen & Trio Brasileiro, Jazz Standard  Bill Charlap Trio, Dizzy’s Club Coca Cola, Jazz At Lincoln Sunday, May 21 Center  Ruben Fox, Late Night at Dizzy’s Club Coca Cola  Jazz For Kids, Jazz Standard  Keyon Harrold & Friends ft Special Guests, Blue Note  : Simply Ella, Jazz Standard  Steve Coleman and Five Elements, Village Vanguard  The Manhattan Transfer 45th Anniversary Celebration, Blue Note  New York Voices Sings the Great American Songbook, Birdland  Steve Coleman and Five Elements, Village Vanguard  Steve Nelson Quintet, Abraham Burton Quartet, Small’s  New York Hot Jazz Camp All-Stars, Birdland  Vocal Masterclass with Marion Cowings, Murakami Trio feat. Wednesday, May 17 , Johnny O'Neal Trio, Ari Ambrose Quintet, Jon Beshay - After-hours Jam Session, Small’s  Anat Cohen & Trio Brasileiro, Jazz Standard  Bill Charlap Trio, Dizzy’s Club Coca Cola, Jazz At Lincoln Monday, May 22 Center  Ruben Fox, Late Night at Dizzy’s Club Coca Cola  Mingus Big Band, Jazz Standard  Keyon Harrold & Friends ft Special Guests, Blue Note  Chris Cheek Berklee Quintet, Dizzy’s Club Coca Cola, Jazz At  Steve Coleman and Five Elements, Village Vanguard Lincoln Center  New York Voices Sings the Great American Songbook, Birdland  Inspired: Celebrating w/ Juris, Bernstein, Micic & Lund,  Alex Wintz Quintet, Trio, Jovan Alexandre - After- Blue Note hours Jam Session, Small’s  Vanguard Jazz Orchestra, Village Vanguard  Glenn Close and the Cast of Sunset Boulevard In “Vintage Holly- Thursday, May 18 wood”, Birdland  Matt Pavolka's Horns Band, Jonathan Michel Group & After-hours  Regina Carter: Simply Ella, Jazz Standard Jam Session, Small’s  Bill Charlap Trio, Dizzy’s Club Coca Cola, Jazz At Lincoln Center Tuesday, May 23  Ruben Fox, Late Night at Dizzy’s Club Coca Cola  The Manhattan Transfer 45th Anniversary Celebration, Blue Note  David Kikoski Trio, Jazz Standard  Steve Coleman and Five Elements, Village Vanguard  Bill Charlap Trio, Dizzy’s Club Coca Cola, Jazz At Lincoln  Ronny Whyte CD Release: Shades of Whyte, Birdland Center  Phil Markowitz Trio, Carlos Abadie Quintet, Sarah Slonim Project -  Dan Chmielinski 4 By 4, Late Night at Dizzy’s Club Coca Cola After-hours Jam Session, Small’s  Stanton Moore, Blue Note  Gerald Clayton Trio, Village Vanguard Friday, May 19  "Four Generations of Miles" Jimmy Cobb, , , Sonny Fortune, Birdland  Regina Carter: Simply Ella, Jazz Standard  Theo Hill Birthday Celebration, Abraham Burton Quartet, Small’s  Count Meets The Duke, , Vincent Gardner and Rodney Whitaker are joined by the next generation of jazz Wednesday, May 24 greats to perform the music of Duke Ellington and Count Basie, 8PM, Rose Theatre, Jazz At Lincoln Center, 60th & Broadway  Gil Gutierrez, Jazz Standard  Cecile McLorin Salvant & The Aaron Diehl Trio, 7PM & 9:30  Bill Charlap Trio, Dizzy’s Club Coca Cola, Jazz At Lincoln PM, The Appel Room, Jazz At Lincoln Center, 60th & Broadway Center  Bill Charlap Trio, Dizzy’s Club Coca Cola, Jazz At Lincoln  Dan Chmielinski 4 By 4, Late Night at Dizzy’s Club Coca Cola Center  Stanton Moore, Blue Note  Ruben Fox, Late Night at Dizzy’s Club Coca Cola  Gerald Clayton Trio, Village Vanguard  The Manhattan Transfer 45th Anniversary Celebration, Blue Note  "Four Generations of Miles" Jimmy Cobb, Mike Stern, Buster  Steve Coleman and Five Elements, Village Vanguard Williams, Sonny Fortune, Birdland  New York Voices In Brazil, Birdland  Christopher McBride & Whole Proof, Jimmy O'Connell Sextet,  Dave Stoler Quartet, Mike Rodriguez Quintet, Lawrence Leathers - Aaron Seeber - After-hours Jam Session, Small’s "After-hours", Small’s Thursday, May 25 Saturday, May 20  Gil Evans Project, Directed by Ryan Truesdell, Jazz Standard  Regina Carter: Simply Ella, Jazz Standard  Bill Charlap Trio, Dizzy’s Club Coca Cola, Jazz At Lincoln (Continued on page 14)  Count Meets The Duke, Wynton Marsalis, Vincent Gardner Center

To Advertise CALL: 215-887-8880 May-June 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 13  Dan Chmielinski 4 By 4, Late Night at Dizzy’s Club Coca Cola Williams, Sonny Fortune, Birdland Sunday, May 28  Larry Harlow & The Latin Legends, Blue Note  Russ Nolan Quartet, Michael Dease Sextet, After-hours Jam  Gerald Clayton Trio, Village Vanguard Session with Corey Wallace, Small’s  Gil Evans Project Presents Miles Ahead 60th Anniversary, Di-  "Four Generations of Miles" Jimmy Cobb, Mike Stern, Buster rected by Ryan Truesdell, Jazz Standard Williams, Sonny Fortune, Birdland Saturday, May 27  Larry Harlow & The Latin Legends, Blue Note  Loren Stillman Quintet, Behn Gillece Quartet, Sarah Slonim Pro-  Gerald Clayton Trio, Village Vanguard ject - After-hours Jam Session, Small’s  Gil Evans Project Presents Miles Ahead 60th Anniversary, Di-  Fleurine Featuring Boys From Brazil and Special, Birdland rected by Ryan Truesdell, Jazz Standard  P, Shapeshifter () Friday, May 26  Bill Charlap Trio, Dizzy’s Club Coca Cola, Jazz At Lincoln  Vocal Masterclass with Marion Cowings, Ai Murakami Trio feat. Center Sacha Perry, JD Walter Quintet, Jerry Weldon Quartet, Hillel  Gil Evans Project, Directed by Ryan Truesdell, Jazz Standard  Dan Chmielinski 4 By 4, Late Night at Dizzy’s Club Coca Cola Salem - After-hours Jam Session, Small’s  Bill Charlap Trio, Dizzy’s Club Coca Cola, Jazz At Lincoln  Larry Harlow & The Latin Legends, Blue Note Center  Gerald Clayton Trio, Village Vanguard Monday, May 29  Dan Chmielinski 4 By 4, Late Night at Dizzy’s Club Coca Cola  Eric Comstock and Sean Smith, Birdland  Larry Harlow & The Latin Legends, Blue Note  Michael Bond - Afternoon Jam Session, Oliver Lake Organ Quar-  Jazz Standard  Gerald Clayton Trio, Village Vanguard tet, Michael Dease Sextet, Brooklyn Circle, Small’s  Louis Hayes, Serenade For Horace Silver, Dizzy’s Club Coca  "Four Generations of Miles" Jimmy Cobb, Mike Stern, Buster Cola, Jazz At Lincoln Center  Micah Thomas, Late Night at Dizzy’s Club Coca Cola  A Beautiful Night Of Jazz feat. Julie E. & Alex Blake, Blue Note  Vanguard Jazz Orchestra, Village Vanguard  Christina Bianco, Birdland  John Chin Quintet, Jonathan Barber - After-hours Jam Session, Small’s

Tuesday, May 30

 Helen Sung’s Sung With Words, Jazz Standard  Louis Hayes, Serenade For Horace Silver, Dizzy’s Club Coca Cola, Jazz At Lincoln Center  Micah Thomas, Late Night at Dizzy’s Club Coca Cola  McCoy Tyner, Blue Note  Quartet, Village Vanguard  , Birdland  Lucas Pino Nonet, Abraham Burton Quartet, Small’s

Wednesday, May 31

 Glenn Zaleski, Jazz Standard  Louis Hayes, Serenade For Horace Silver, Dizzy’s Club Coca Cola, Jazz At Lincoln Center  Micah Thomas, Late Night at Dizzy’s Club Coca Cola  Javon Jackson Quartet, Village Vanguard  McCoy Tyner, Blue Note  Ravi Coltrane, Birdland  Melissa Aldana Quintet, Adam Birnbaum Quintet, Jovan Alexandre - After-hours Jam Session, Small’s

Thursday, June 1

 Sean Jones Quartet, Jazz Standard  World Of Monk, Jazz At Lincoln Center Orchestra with Wynton Marsalis and special guests Baqir Abbas and Hamilton de Holanda, 8PM, Rose Theatre, Jazz At Lincoln Center, 60th & Broadway  Gabe Schnider & Friends Celebrate Monk, Dizzy’s Club Coca Cola, Jazz At Lincoln Center  Micah Thomas, Late Night at Dizzy’s Club Coca Cola  Dirty Dozen Brass Band 40th Anniversary Celebration, Blue Note  Javon Jackson Quartet, Village Vanguard  Emmet Cohen, Birdland

Friday, June 2

 Sean Jones Quartet, Jazz Standard  World Of Monk, Jazz At Lincoln Center Orchestra with Wynton Marsalis and special guests Baqir Abbas and Hamilton de Holanda, 8PM, Rose Theatre, Jazz At Lincoln Center, 60th & Broadway  Monk’s Dream: Russell Hall Plays Monk, Dizzy’s Club Coca Cola, Jazz At Lincoln Center  Micah Thomas, Late Night at Dizzy’s Club Coca Cola  Dirty Dozen Brass Band 40th Anniversary Celebration, Blue Note  Javon Jackson Quartet, Village Vanguard  Ravi Coltrane, Birdland

Saturday, June 3

 Sean Jones Quartet, Jazz Standard  World Of Monk, Jazz At Lincoln Center Orchestra with Wynton Marsalis and special guests Baqir Abbas and Hamilton de Holanda, 8PM, Rose Theatre, Jazz At Lincoln Center, 60th & Broadway  Monk’s Dream: Russell Hall Plays Monk, Dizzy’s Club Coca Cola, Jazz At Lincoln Center  Micah Thomas, Late Night at Dizzy’s Club Coca Cola (Continued on page 16)

14 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 15  Dirty Dozen Brass Band 40th Anniversary Celebration, Blue Note  Javon Jackson Quartet, Village Vanguard  Veronica Swift, Birdland

Sunday, June 4

 Sean Jones Quartet, Jazz Standard  Monk’s Dream: Russell Hall Plays Monk, Dizzy’s Club Coca Cola, Jazz At Lincoln Center  Micah Thomas, Late Night at Dizzy’s Club Coca Cola  Javon Jackson Quartet, Village Vanguard  Dirty Dozen Brass Band 40th Anniversary Celebration, Blue Note  Vanessa Racci, Italiana Fresca, CD Release, Birdland

Monday, June 5

 Mingus Big Band, Jazz Standard  Jazz At Lincoln Center Youth Orchestra with Justin Robinson, Dizzy’s Club Coca Cola, Jazz At Lincoln Center  The Hot Sardines, Blue Note  Vanguard Jazz Orchestra, Village Vanguard

Tuesday, June 6

 Sasha Masakowski & New Orleans Art Market, Jazz Standard  Paul Nedzala, Dizzy’s Club Coca Cola, Jazz At Lincoln Center Instant & [Almost!]  Alphonse Horne, Late Night at Dizzy’s Club Coca Cola  Mark Turner Quartet, Village Vanguard  Hiromi & Edmar Castaneda Duet, Blue Note  Troy Roberts Tales & Tones Record Release, Birdland

Wednesday, June 7

 Charnett Moffett’s Nettwork, Jazz Standard  , Dizzy’s Club Coca Cola, Jazz At Lincoln Cen- ter  Alphonse Horne, Late Night at Dizzy’s Club Coca Cola  Hiromi & Edmar Castaneda Duet, Blue Note  Mark Turner Quartet, Village Vanguard  Nicki Parrott, Birdland

Thursday, June 8

 Etienne Charles Creole Soul, Jazz Standard  Chico Freeman, Dizzy’s Club Coca Cola, Jazz At Lincoln Cen- ter  Alphonse Horne, Late Night at Dizzy’s Club Coca Cola  Mark Turner Quartet, Village Vanguard  Hiromi & Edmar Castaneda Duet, Blue Note  David Finck, Low Standards CD Release Event, Birdland

Friday, June 9

 Etienne Charles Creole Soul, Jazz Standard  Dion Parson, Dizzy’s Club Coca Cola, Jazz At Lincoln Center  Alphonso Horne, Late Night at Dizzy’s Club Coca Cola  Mark Turner Quartet, Village Vanguard  Hiromi & Edmar Castaneda Duet, Blue Note  Urbanity featuring Albare and Phil Turcio, Birdland

Saturday, June 10

 Etienne Charles Creole Soul, Jazz Standard  Dion Parson, Dizzy’s Club Coca Cola, Jazz At Lincoln Center  Alphonso Horne, Late Night at Dizzy’s Club Coca Cola

 Mark Turner Quartet, Village Vanguard  Hiromi & Edmar Castaneda Duet, Blue Note  Urbanity featuring Albare and Phil Turcio, Birdland

Sunday, June 11

 Etienne Charles Creole Soul, Jazz Standard  Mark Turner Quartet, Village Vanguard  Hiromi & Edmar Castaneda Duet, Blue Note  Afro Latin Jazz Orchestra, Birdland Jazz Lovers’ Advantage The Ultimate Competitive Seeking & Professionals Monday, June 12 MindControlMarketingSystems.com  Mingus Big Band, Jazz Standard Expectations. That Exceeds Satisfaction & Value Profitable Results, Strength, Industrial

 WBGO Presents — Samora Pinderhughes, Dizzy’s Club Coca Businesses For Ethics-Centered & Strategies Tools Marketing Mind Control Comprehensive Cola, Jazz At Lincoln Center

Lifetime Collection  Vanguard Jazz Orchestra, Village Vanguard  The Hot Sardines, Blue Note  Jessica Molaskey “Portraits of Joni”, Birdland

JazzMusicDeals.com JazzMusicDeals.com (Continued on page 17)

16 May-June 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880  Jazztopad Festival: Wojcinski / Szmanda Quartet & STRYJO, Dizzy’s Club Coca Cola, Jazz At Lincoln Center

 Alina Engibaryan, Late Night at Dizzy’s Club Coca Cola

 Chris Potter Quartet, Village Vanguard “...among human beings “Some people’s idea of  Jacob Collier, Blue Note jealousy ranks distinctly as a free speech is that they are free weakness; a trademark of small minds; Thursday, June 22 a property of all small minds, yet a property to say what they like, but if anyone  Azar Lawrence Quintet featuring Steve Turre, Jazz Standard which even the smallest is ashamed of; says anything back that  P, Dizzy’s Club Coca Cola, Jazz At Lincoln Center and when accused of its possession will is an outrage.”  Alina Engibaryan, Late Night at Dizzy’s Club Coca Cola lyingly deny it and resent the  Chris Potter Quartet, Village Vanguard accusation as an insult.”  Michel Camilo Trio, Blue Note

- Winston Churchill Friday, June 23 -Mark Twain

 Azar Lawrence Quintet featuring Steve Turre, Jazz Standard Tuesday, June 13  , Dizzy’s Club Coca Cola, Jazz At Lincoln Center PM. 178 7th Ave. S.  Alina Engibaryan, Late Night at Dizzy’s Club Coca Cola  Woody Allen & Eddy Davis New Orleans Jazz Band at Cafe  David Gilmore Group, Jazz Standard  Chris Potter Quartet, Village Vanguard Carlyle, 8:45 PM. 35 E. 76th.  Peter & Will Anderson, Dizzy’s Club Coca Cola, Jazz At Lincoln  Michel Camilo Trio, Blue Note  Jam Session at Cleopatra's Needle, 10:00 PM. 2485 Broadway. Center  Kush Abadey, Late Night at Dizzy’s Club Coca Cola Saturday, June 24 Tuesdays  Russell Malone Quartet, Village Vanguard  /John Patitucci/Brian Blade Trio, Blue Note  Azar Lawrence Quintet featuring Steve Turre, Jazz Standard  Earl Rose at Bemelmans, 5:30 PM. 35 E. 76th.  Freddy Cole Quartet, Birdland  Kurt Elling, Dizzy’s Club Coca Cola, Jazz At Lincoln Center  Marc Devine 3 at Cleopatra's Needle, 8:00 PM. 2485 Broadway.  Alina Engibaryan, Late Night at Dizzy’s Club Coca Cola  Chris Gillespie 3 at Bemelmans, 9:30 PM. 35 E. 76th. Wednesday, June 14  Chris Potter Quartet, Village Vanguard  Jam Session at Cleopatra's Needle, 10:00 PM. 2485 Broadway.  Jill Newman Productions Presents: Ntozake Shange "Wild Beau-  Jam Session at Smalls, 1:00 AM. 183 W. 10th St.  Benoit Delbezq’s The Conversation, Jazz Standard ties", Blue Note  Allan Harris Band, Dizzy’s Club Coca Cola, Jazz At Lincoln Wednesdays Center Sunday, June 25  Kush Abadey, Late Night at Dizzy’s Club Coca Cola  Eternity Band at Birdland, 5:30 PM. 315 W.  Russell Malone Quartet, Village Vanguard  The Smokestack Brunch: Vuyo Sotashe, Jazz Standard 44th.  Danilo Pérez/John Patitucci/Brian Blade Trio, Blue Note  Azar Lawrence Quintet featuring Steve Turre, Jazz Standard  Les Kurtz 3 at Cleopatra's Needle, 7:30 PM. 2485 Broadway.  Monterey Jazz Festivals’ Next Generation Jazz Orchestra, Dizzy’s  Stan Rubin Orchestra at Swing 46, 7:15 PM. 349 W. 46th. Thursday, June 15 Club Coca Cola, Jazz At Lincoln Center  Chris Gillespie 3 at Bemelmans, 9:30 PM. 35 E. 76th.  Chris Potter Quartet, Village Vanguard  Tony Hewitt/Pete Malinverni at Mezzrow, 11:00 PM. 163 W. 10th  Tierney Sutton Band: Sting Variations, Jazz Standard  Michel Camilo Trio, Blue Note St.  Allan Harris Band, Dizzy’s Club Coca Cola, Jazz At Lincoln  Jam at Cleopatra's Needle, 11:30 PM. 2485 Broadway. Center Monday, June 26  Jam Session at Smalls, 1:00 AM. 183 W. 10th St.  Kush Abadey, Late Night at Dizzy’s Club Coca Cola  Russell Malone Quartet, Village Vanguard  Mingus Big Band, Jazz Standard Thursdays  Danilo Pérez/John Patitucci/Brian Blade Trio, Blue Note  Band Director Academy Faculty Band, Dizzy’s Club Coca Cola, Jazz At Lincoln Center  Earl Rose at Bemelmans, 5:30 PM. 35 E. 76th. Friday, June 16  Vanguard Jazz Orchestra, Village Vanguard  Vanessa Trouble: Red Hot Swing at Swing 46, 349 W. 46th.  The Hot Sardines, Blue Note  Chris Gillespie 3 at Bemelmans, 9:30 PM. 35 E. 76th.  Tierney Sutton Band: Sting Variations, Jazz Standard  Spike Wilner & Guests at Mezzrow, 11:00 PM. 163 W. 10th St.  Barry Harris, Dizzy’s Club Coca Cola, Jazz At Lincoln Center Tuesday, June 27  Jam w/Kazu Trio at Cleopatra's Needle, 11:30 PM. 2485 Broad-  Kush Abadey, Late Night at Dizzy’s Club Coca Cola way.  Russell Malone Quartet, Village Vanguard  Dr. Lonnie Smith 75th Birthday Celebration—Trio, Jazz Standard  Jam Session at Smalls, 1:00 AM. 183 W. 10th St.  Danilo Pérez/John Patitucci/Brian Blade Trio, Blue Note  Black Arts Collective, Dizzy’s Club Coca Cola, Jazz At Lincoln Center Fridays Saturday, June 17  Poole & The Gang, Late Night at Dizzy’s Club Coca Cola  's Liberation Music Orchestra w/ Carla Bley, Blue  Jam Session at Smalls, 4:00 PM. 183 W. 10th St.  Tierney Sutton Band: Sting Variations, Jazz Standard Note  Birdland Big Band at Birdland, 5:15 PM. 315 W. 44th.  Barry Harris, Dizzy’s Club Coca Cola, Jazz At Lincoln Center  Earl Rose at Bemelmans, 5:30 PM. 35 E. 76th.  Kush Abadey, Late Night at Dizzy’s Club Coca Cola Wednesday, June 28  Chris Gillespie 3 at Bemelmans, 9:30 PM. 35 E. 76th.  Russell Malone Quartet, Village Vanguard  Johnny O'Neal at Mezzrow, 11:00 PM. 163 W. 10th St.  Danilo Pérez/John Patitucci/Brian Blade Trio, Blue Note  Dr. Lonnie Smith 75th Birthday Celebration—Trio, Jazz Standard  Jam Session at Cleopatra's Needle, 12:30 AM. 2485 Broadway.  Black Arts Collective, Dizzy’s Club Coca Cola, Jazz At Lincoln  Jam Session at Smalls, 1:00 AM. 183 W. 10th St. Sunday, June 18 Center  The Smokestack Brunch: Peter Brendler, Jazz Standard  Poole & The Gang, Late Night at Dizzy’s Club Coca Cola Saturdays  Tierney Sutton Band: Sting Variations, Jazz Standard  Trio, Village Vanguard  Barry Harris, Dizzy’s Club Coca Cola, Jazz At Lincoln Center  McCoy Tyner, Blue Note  Jam Session at Smalls, 4:00 PM. 183 W. 10th St.  Kush Abadey, Late Night at Dizzy’s Club Coca Cola  /Tomoko Ohno (except 1/7) at Birdland, 6:00 PM.  Danilo Pérez/John Patitucci/Brian Blade Trio, Blue Note Thursday, June 29 315 W. 44th.  Russell Malone Quartet, Village Vanguard  Charlie Apicella & Iron City at Il Porto, 7:00 PM. 37 Washington  Dr. Lonnie Smith 75th Birthday Celebration—Trio, Jazz Standard Ave., Bklyn. Monday, June 19  Cassandra Wilson, Blue Note  Chris Gillespie 3 at Bemelmans, 9:30 PM. 35 E. 76th  Dave Holland Trio, Village Vanguard  Mingus Big Band, Jazz Standard Sundays  Jon Gordon, Dizzy’s Club Coca Cola, Jazz At Lincoln Center Friday, June 30  Vanguard Jazz Orchestra, Village Vanguard  Marion Cowings Vocal Class at Smalls, 1:00 PM. 183 W. 10th  The Hot Sardines, Blue Note  Dr. Lonnie Smith 75th Birthday Celebration—Octet, Jazz Stand- St. ard  Jazz for Kids: Jazz Standard Youth Orchestra at Jazz Stand- Tuesday, June 20  Dave Holland Trio, Village Vanguard ard, 2:00 PM. 116 E. 27th.  Cassandra Wilson, Blue Note  Keith Ingham at Cleopatra's Needle, 4:00 PM. 2485 Broadway.  Shai Maestro Trio with Gretchen Parlato, Jazz Standard  Ai Murakami 3 at Smalls, 4:30 PM. 183 W. 10th St.  Theo Hill Trio, Dizzy’s Club Coca Cola, Jazz At Lincoln Center REGULAR GIGS  Terry Waldo's Gotham City Band at Fat Cat, 6:00 PM. 75 Chris-  Alina Engibaryan, Late Night at Dizzy’s Club Coca Cola Mondays topher.  Chris Potter Quartet, Village Vanguard  Johnny O'Neal 3 at Smalls, 7:30 PM. 183 W. 10th St.  Jacob Collier, Blue Note  Mingus Big Band at Jazz Standard, 7:30 and 9:30 PM. 116 E.  Peter Mazza 3 (except 1/1) at Bar Next Door, 8:00 PM. 129 27th. MacDougal. Wednesday, June 21  Jon Weiss 2 at Cleopatra's Needle, 8:00 PM. 2485 Broadway.  Jam at Cleopatra's Needle, 9:00 PM. 2485 Broadway.  Swingadelic at Swing 46, 8:30 PM. 349 W. 46th.  Steve Slagle A,M, Band, Jazz Standard  Vanguard Jazz Orchestra at Village Vanguard, 8:30 and 10:30 

To Advertise CALL: 215-887-8880 May-June 2017  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 Count Basie Theatre, 99 Monmouth St., Red Bank, New Jersey Knitting Factory, 74 Leonard St, 212-219-3132, knittingfacto- American Museum of Natural History, 81st St. & Central Park 07701, 732-842-9000, countbasietheatre.org ry.com W., 212-769-5100, amnh.org Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027, Langham Place — Measure, Fifth Avenue, 400 Fifth Avenue Antibes Bistro, 112 Suffolk Street. 212-533-6088. 908-232-5666 New York, NY 10018, 212-613-8738, langhamplacehotels.com www.antibesbistro.com Cutting Room, 19 W. 24th St, 212-691-1900 La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal St, Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759, Dizzy’s Club, Broadway at 60th St., 5th Floor, 212-258-9595, New York, 212-529-5945, lalanternarcaffe.com arthurstavernnyc.com jalc.com Le Cirque Cafe, 151 E. 58th St., lecirque.com Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-378- DROM, 85 Avenue A, New York, 212-777-1157, dromnyc.com Le Fanfare, 1103 Manhattan Ave., Brooklyn. 347-987-4244. 2133, artsmaplewood.org The Ear Inn, 326 Spring St., NY, 212-226-9060, earinn.com www.lefanfare.com Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St., East Village Social, 126 St. Marks Place. 646-755-8662. Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York, 212-875-5030, lincolncenter.org www.evsnyc.com New York, 212-246-2993, lemadeleine.com BAM Café, 30 Lafayette Av, Brooklyn, 718-636-4100, bam.org Edward Hopper House, 82 N. Broadway, Nyack NY. 854-358- Les Gallery Clemente Soto Velez, 107 Suffolk St, 212-260-4080 Bar Chord, 1008 Cortelyou Rd., Brooklyn, barchordnyc.com 0774. Lexington Hotel, 511 Lexington Ave. (212) 755-4400. Bar Lunatico, 486 Halsey St., Brooklyn. 718-513-0339. El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-831- www.lexinghotelnyc.com 222.barlunatico.com 7272, Fax: 212-831-7927, elmuseo.org Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542, Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn, Esperanto, 145 Avenue C. 212-505-6559. www.esperantony.com Living Room, 154 Ludlow St. 212-533-7235, livingroomny.com 718-965-9177, barbesbrooklyn.com The Falcon, 1348 Rt. 9W, Marlboro, NY., 845) 236-7970, The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083, Fat Cat, 75 Christopher St., 212-675-7369, fatcatjazz.com Makor, 35 W. 67th St., 212-601-1000, makor.org bargemusic.org Fine and Rare, 9 East 37th Street. www.fineandrare.nyc Lounge Zen, 254 DeGraw Ave, Teaneck, NJ, (201) 692-8585, B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144, Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202, fivespot- lounge-zen.com bbkingblues.com soulfood.com Maureen's Jazz Cellar, 2 N. Broadway, Nyack NY. 845-535-3143. Beacon Theatre, 74th St. & Broadway, 212-496-7070 Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, 718- maureensjazzcellar.com Beco Bar, 45 Richardson, Brooklyn. 718-599-1645. 463-7700 x222, flushingtownhall.org Maxwell’s, 1039 Washington St, Hoboken, NJ, 201-653-1703 www.becobar.com For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427 McCarter Theater, 91 University Pl., Princeton, 609-258-2787, Bickford Theatre, on Columbia Turnpike @ Normandy Heights Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, galapago- mccarter.org Road, east of downtown Morristown. 973-744-2600 sartspace.com Merkin Concert Hall, Kaufman Center, 129 W. 67th St., 212-501 Birdland, 315 W. 44th St., 212-581-3080 Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and -3330, ekcc.org/merkin.htm Blue Note, 131 W. 3rd, 212-475-8592, bluenotejazz.com Bleecker), 212-645-0600, garagerest.com Metropolitan Room, 34 West 22nd St NY, NY 10012, 212-206- Bourbon St Bar and Grille, 346 W. 46th St, NY, 10036, Garden Café, 4961 Broadway, by 207th St., New York, 10034, 0440 212-245-2030, [email protected] 212-544-9480 Mezzrow, 163 West 10th Street, Basement, New York, NY Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, Gin Fizz, 308 Lenox Ave, 2nd floor. (212) 289-2220. 10014. 646-476-4346. www.mezzrow.com bowerypoetry.com www.ginfizzharlem.com Minton’s, 206 W 118th St., 212-243-2222, mintonsharlem.com BRIC House, 647 Fulton St. Brooklyn, NY 11217, 718-683-5600, Ginny’s Supper Club, 310 Malcolm X Boulevard Manhattan, NY Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933 http://bricartsmedia.org 10027, 212-792-9001, http://redroosterharlem.com/ginnys/ MIST Harlem, 46 W. 116th St., myimagestudios.com Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 445-2362, Mixed Notes Café, 333 Elmont Rd., Elmont, NY ( area), NY, 718-230-2100, brooklynpubliclibrary.org glenrockinn.com 516-328-2233, mixednotescafe.com Café Carlyle, 35 E. 76th St., 212-570-7189, thecarlyle.com GoodRoom, 98 Meserole, Bklyn, 718-349-2373, goodroombk.com. Montauk Club, 25 8th Ave., Brooklyn, 718-638-0800, Café Loup, 105 W. 13th St. (West Village) , between Sixth and Green Growler, 368 S, Riverside Ave., Croton-on-Hudson NY. montaukclub.com Seventh Aves., 212-255-4746 914-862-0961. www.thegreengrowler.com Moscow 57, 168½ Delancey. 212-260-5775. moscow57.com Café St. Bart’s, 109 E. 50th St, 212-888-2664, cafestbarts.com Greenwich Village Bistro, 13 Carmine St., 212-206-9777, green- Muchmore’s, 2 Havemeyer St., Brooklyn. 718-576-3222. nd Cafe Noctambulo, 178 2 Ave. 212-995-0900. cafenoctam- wichvillagebistro.com www.muchmoresnyc.com bulo.com Harlem on 5th, 2150 5th Avenue. 212-234-5600. Mundo, 37-06 36th St., Queens. mundony.com Caffe Vivaldi, 32 Jones St, NYC; caffevivaldi.com www.harlemonfifth.com Museum of the City of New York, 1220 Fifth Ave. (between Candlelight Lounge, 24 Passaic St, Trenton. 609-695-9612. Harlem Tea Room, 1793A Madison Ave., 212-348-3471, har- 103rd & 104th St.), 212-534-1672, mcny.org Carnegie Hall, 7th Av & 57th, 212-247-7800, carnegiehall.org lemtearoom.com Musicians’ Local 802, 332 W. 48th, 718-468-7376 Cassandra’s Jazz, 2256 7th Avenue. 917-435-2250. cassan- Hat City Kitchen, 459 Valley St, Orange. 862-252-9147. National Sawdust, 80 N. 6th St., Brooklyn. 646-779-8455. drasjazz.com hatcitykitchen.com www.nationalsawdust.org Chico’s House Of Jazz, In Shoppes at the Arcade, 631 Lake Ave., Havana Central West End, 2911 Broadway/114th St), NYC, Newark Museum, 49 Washington St, Newark, New Jersey 07102- Asbury Park, 732-774-5299 212-662-8830, havanacentral.com 3176, 973-596-6550, newarkmuseum.org Highline Ballroom, 431 West 16th St (between 9th & 10th Ave. New Jersey Performing Arts Center, 1 Center St., Newark, NJ, highlineballroom.com, 212-414-4314. 07102, 973-642-8989, njpac.org Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525, New Leaf Restaurant, 1 Margaret Corbin Dr., Ft. Tryon Park. 212- 609-466-9889, hopewellvalleybistro.com 568-5323. newleafrestaurant.com Hudson Room, 27 S. Division St., Peekskill NY. 914-788-FOOD. New School Performance Space, 55 W. 13th St., 5th Floor (betw hudsonroom.com 5th & 6th Ave.), 212-229-5896, newschool.edu. Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ New School University-Tishman Auditorium, 66 W. 12th St., 1st “A system of morality IBeam Music Studio, 168 7th St., Brooklyn, ibeambrooklyn.com Floor, Room 106, 212-229-5488, newschool.edu INC American Bar & Kitchen, 302 George St., New Brunswick New York City Baha’i Center, 53 E. 11th St. (betw Broadway & which is based on relative NJ. (732) 640-0553. www.increstaurant.com University), 212-222-5159, bahainyc.org emotional values is a mere Iridium, 1650 Broadway, 212-582-2121, iridiumjazzclub.com North Square Lounge, 103 Waverly Pl. (at MacDougal St.), Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910 212-254-1200, northsquarejazz.com illusion, a thoroughly vulgar Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, jalc.org Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and conception which has nothing  Frederick P. Rose Hall, Broadway at 60th St., 5th Floor 6th Ave.), 212-840-6800, thealgonquin.net  Dizzy’s Club Coca-Cola, Reservations: 212-258-9595 Oceana Restaurant, 120 West 49th St, New York, NY 10020 sound in it and nothing true.”  Rose Theater, Tickets: 212-721-6500, The Allen Room, Tickets: 212-759-5941, oceanarestaurant.com 212-721-6500 Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928 Jazz Gallery, 1160 Bdwy, (212) 242-1063, jazzgallery.org The Owl, 497 Rogers Ave, Bklyn. 718-774-0042. www.theowl.nyc The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey Palazzo Restaurant, 11 South Fullerton Avenue, Montclair. 973- Blvd.), Brooklyn, NY, 718-453-7825, thejazz.8m.com 746-6778. palazzonj.com Jazz Standard, 116 E. 27th St., 212-576-2232, jazzstandard.net Priory Jazz Club: 223 W Market, Newark, 07103, 973-639-7885 — Socrates — Anton Chekhov Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl., Proper Café, 217-01 Linden Blvd., Queens, 718-341-2233

18 May-June 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, Zankel Hall, 881 7th Ave, New York, 212-247-7800

NY, 718-768-0855 Zinc Bar, 82 West 3rd St.

Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ, RECORD STORES 908-232-7320, 16prospect.com, cjayrecords.com Academy Records, 12 W. 18th St., New York, NY 10011, 212-242 “It is curious that physical courage Red Eye Grill, 890 7th Av (56th), 212-541-9000, redeyegrill.com -3000, http://academy-records.com should be so common 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 Rutgers University Institute of Jazz Studies, 185 University Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, City, NY 11101, 718-433-1990. sadowsky.com 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 Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, WCWP, LIU/C.W. Post Campus City College of NY-Jazz Program, 212-650-5411, WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html nypl.org/research/sc/sc.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 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 Long Island City, 718-482-5151 Sista’s Place, 456 Nostrand, Bklyn, 718-398-1766, sistasplace.org 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 9300, skippersplaneStpub.com , Inc., jazzmobile.org Long Island University — Brooklyn Campus, Dept. of Music, Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300, Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565, 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 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- PAY ONLY FOR 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), 212-777-7776, terrablues.com Threes Brewing, 333 Douglass St., Brooklyn. 718-522-2110. www.threesbrewing.com Tito Puente’s Restaurant and , 64 City Island Avenue, RESULTS 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 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 PUBLICITY! , 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 . 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, 908-753-0190, watchungarts.org Performances In As Little As 24 Hours To Generate Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538, 914-834 -2213, watercolorcafe.net Traffic, Sales & Expanded Media Coverage! 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 May-June 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 19

KEZ: One of the key moments came when I was InterviewInterview 15 and an older friend took me to McKees [ jazz club] to hear Coltrane. I think Elvin

[Jones] had possibly taken too much “stuff” and he fell asleep while playing. He was snoring but was- n’t missing a beat on “Impressions,” and at 15- Kahil El’Zabar years-old, to see the telepathic communication at the highest level in adverse circumstances, made Putting the Renaissance in Renaissance Man me believe that there was something very, very powerful going on. I also made a choice that I wouldn’t mess with any stuff, which has been my Photo & Interview by Ken Weiss ed, but music came way before marketing and the whole life, but it didn’t intimidate me nor did I feel historical nature of music is that it was a service to any less of the intellectual and spiritual height of the cultural development of communities. So, if Elvin or Trane’s expression. Beyond all the bull- If you thought you already knew about percussion- what I’m saying is true, then it has a lot more to do shit in life, the purity that the energy of music can ist Kahil El’Zabar this interview will still shock with utility than fascination. It’s a primary source pierce is quite profound and if one accepted the you, he’s done much more than you thought one of giving, it’s a vibrational source that impacts sacrifices necessary on various levels to achieve person could do in a lifetime and he’s just now human beings. Most cultures associate music with that communication, they potentially could. hitting his golden years. Born Clifton Blackburn spiritual upliftment and if you look at these aspects (November 11, 1953 in Chicago, ), El’Za- as the assets of the musician and the music that JI: The heavily, spiritually-based music you pre- bar is an acclaimed Broadway arranger, designer they perform, then service would be much more an sent has become an area of jazz that is rare these of couture fashion, writer, poet, instrument crea- accurate description of its role, rather than enter- days. There are others, such as , tor, past chairman of the AACM (Association for tainment. Charles Lloyd, James “Blood” Ulmer, Omar Sosa, the Advancement of Creative Musicians) and com- and who also feature munity scene builder, in addition to his role as a JI: There are numerous times during your perfor- it, but there’s not many. Why do you think more highly accomplished musician and bandleader of mances that feel like a meditation. How do you artist don’t center on spirituality? his Ethnic Heritage Ensemble and Ritual Trio form the music you choose to present? groups since the ‘70s. He’s collaborated with Diz- KEZ: I think there are many artists that focus on zy Gillespie, Nina Simone, Stevie Wonder, Can- KEZ: That’s a good question. I think presentation spirituality but the themes of delivery have nonball Adderley, Paul Simon, Donny Hathaway, is part meditation and part strategic. Great per- changed today. There was a time even a Laura , David Murray, , Phar- formers have an innate ability, as well as a studied Nyro or a Sly Stone or Rahsaan Roland Kirk or oah Sanders, , Billy Bang and Nona ability, to understand the nature of a room. How Frank Zappa, performers in various genres, [had Hendryx. His current largescale project is build- that room responds to the performance and there- spirituality] but the idea of ascension through ex- ing a revolutionary school of music - the Chicago fore choices of material for the response of the pression, that was very akin to Hendrix, Trane, Academy of Music. He talks about it all in this room to that. The instinct in the moment must Mahalia Jackson and Vladimir Horowitz, who wide-ranging interview done on February 24, correspond to what the artists are ready to express, performed as a classical artist completely internal 2017 in Philadelphia, prior to an appearance of as well as what the audience is ready to receive, in acceptance of the metaphysical force within that his Ethnic Heritage Ensemble. and then the well thought out meditation of time expression. You can’t sell McDonalds or other big before the tour and each performance. What cre- conglomerations if you have millions of individu- als in cognitive pursuit of their spiritual and intel- lectual selves. There are many things in popular media that deter us from the vulnerability and the “You can’t sell McDonalds or other sensitivity of the metaphysical expression. There’s also that idea to entertain, to fill the needs of me- dia, that’s left many musicians without the same big conglomerations if you have attraction to the pursuance of spiritual music. I’ve never been a person, because of how my parents millions of individuals in cognitive raised me, intimidated through association or in- timidated by groups. I’ve pretty much walked my pursuit of their spiritual and own road and that’s allowed me to stay consistent in defining my own reality.

intellectual selves. There are many JI: There was a controversial 94-minute documen- tary entitled Be Known made in 2015 about you things in popular media that deter that shows your best and worst sides. At one point in the film, marshals show up at a student perfor- mance you’re leading with a warrant for your ar- us from the vulnerability and the rest for back child support and at another point you’re berating a colleague and then showing up sensitivity of the metaphysical…” late for a performance. Did you have any reluc- tance or concerns about revealing so much?

Jazz Inside Magazine: Your mission as a musi- ates the colors, what creates the moods, what is the KEZ: Yeah, and I was surprised when I saw the cian has always been to “be of service” rather than message that is intended to be expressed, and what unedited version which was even more controver- to entertain. What does “being of service” mean to is the aspirations that you can see being in the sial. [Laughs] When I asked the director of the you and why is that important as a career choice? performance before you are even in the perfor- film, Dwayne Johnson-Cochran, who’s a friend mance. and I had given him total freedom to be with me, Kahil El’Zabar: The media associated with music why would he show me in that way? He captured usually takes it into the realm of entertainment so JI: When did you realize the powerful effect that more than I was aware of because, at a point, I that there’s a focus on the idea of how it’s market- music could potentially have on listeners? (Continued on page 22)

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

Kahil El’ZabarPhoto by Ken Weiss

To Advertise CALL: 215-887-8880 May-June 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 21 a trio and downstairs was Ramsey Lewis, Red Holt ety and I understood that. I could have gone on a Kahil El’Zabar and L.D. Young. I saw everything. There was no more straight-ahead direction in terms of my skills fee to get into the clubs then, you’d just walked in. as a musician. I could have gone into pop and R & Seeing Jack DeJohnette when I was a teenager as a B. If I had wanted, I could’ve been a singer but (Continued from page 20) piano player, not a drummer, was my normal life. that wasn’t my choice. The drums, the idea of the wasn’t even aware the camera was on me since it The comradery and the sense of nobleness about Ethnic Heritage Ensemble, using the pentatonic was on me all the time. I had to come to grips with that role, and the hipness. These guys were usually versus the chromatic as a navigating tool for the it. When I’m performing, I don’t allow anyone to well-dressed, articulate and charismatic in a less development of melody and ideas, being a ban- change my composition. When I’m working in my than egoistic way. They had a command of pres- dleader with a non-commercial kind of instrument. art form I do what I do and it wasn’t my art form, ence because of the development of their craft and I worked with Dizzy from ‘75-76 so he was the it was his art form and he had a story he was tell- the character that went with time, discipline, focus age I am now. I’m now getting recognized, it’s just ing. I happened to be the subject but I was not the and an internal sense of self, and I wanted to be a taken me longer. In the last two years, I’ve been decision maker of the art. So if I became too criti- part of that. I’ve been doing this professionally knighted by the French government and I got the cal of that, then I would very much deter from his since 1970 and never achieved any real major Icon of American Culture from the Smithsonian. process and I had very much trusted and allowed success even though I’ve been a part of people My children wanted to know why I spend the six him to capture all of it so I had to trust in the over- who’ve become very successful and I’ve also or eight hours a day practicing and we weren’t all outcome. It was funny, it was sold out for four days in Chicago at the Gene Siskel Theater and there were friends asking, “Are you “I don’t think that an artist is supposed to okay?” [Laughs] I’m okay, I can live with my inadequacies as a human being, as well as my be judged purely morally or socially. I think talents as a human being. I’ve always told my children, ‘Be honest in your pursuit to life by the the body of my work, the consistency, the definitions of what would bring you a sense of security for all that you go through.’ So if nothing quality, and the sincerity of my pursuance, else with that film, there’s nothing else to hide. Whatever is my so-called worst — it’s out there – speaks for itself. And I have to tell that to my so at this point, there’s nothing but going up! [Laughs] children – ‘Dad has got some inadequacies

JI: What’s been the reaction to the film by your and human frailties. But I’ve tried to be an audience members who’ve seen it? honest, loving person. I’ve made a few

KEZ: There have been a few who’ve been morally mistakes. Sorry, let’s keep moving.’” judgmental. We performed and the film was shown at the LA Film Festival and there was an older woman very upset with me. I told her I was watched them lose their success - such as Donnie seeing that much from it. I’m not on TV, I’m not sorry for whatever disturbed her but I’m not sorry Hathaway. I worked with Donnie Hathaway when really on the radio. My dedication wasn’t about for being who I am which is very different. I don’t he had his own plane and I knew him when he was notoriety or achieving what a Wynton Marsalis think that an artist is supposed to be judged purely struggling at the end of his career. We have to find achieved. I haven’t been the critic’s choice. morally or socially. I think the body of my work, our own balance. I learned from people like Lester [Laughs] I haven’t had the superstar success but I the consistency, the quality, and the sincerity of Bowie. He could be as vulnerable, whatever his like being on the ground and connected. I have my pursuance, speaks for itself. And I have to tell human frailties were, and as noble with the regali- friends all over the world. I have friends and musi- that to my children – ‘Dad has got some inadequa- ty with which he presented his music. I’ve found cians who are extremely famous but they go to cies and human frailties but I’ve tried to be an that many artists have been secure enough to allow hotels and they just stay there by themselves. Last honest, loving person. I’ve made a few mistakes. their vulnerabilities to be a part of their presence night, I played in a friend of mine’s home in Balti- Sorry, let’s keep moving.’” and not see that as weakness. more. We had 60 people, they paid $20 apiece, so we still made $1200 in someone’s home. We JI: What also comes through in the documentary JI: It was surprising to hear you say that you had played a full concert for very nice people and I is your deep love for the music which you refer to not found success. actually cooked a 7-course meal in 3 hours. That as “my life,” and how your biggest aspiration was was part of the deal. I did jerk chicken, potato to be one of the “Cats.” Would you elaborate on KEZ: Found success in terms of economic and salad, collard greens, black-eyed peas and a jerk being one of the “Cats?” media notoriety. You know I’ve done arrange- tofu. That’s something you can’t do if you’re big- ments for Julie Taymor for The Lion King and I ger than the people. You’ve got to be in the mo- KEZ: I grew up hearing live music and seeing know it wouldn’t have been the same play without ment in order to experience and express real life musicians in my community being honored for my contribution. I was the introduction of Darryl and I think it comes through in your music. their ability to express something of value that Jones to , he was in my band at 16 and helped to release and inspire the community. That he left band to go on with Sting and all that. I met JI: Would you go back? Did you say Kanye West admirable quality was extremely attractive to me Sting when he was still a school teacher in Cam- lived with you when he was 14? from a small child on. I grew up with trombonist den Town, London when I was playing at Ronnie George Lewis and Chico Freeman in the same Scotts in the early ‘70s. Kanye West lived with me KEZ: Kanye’s mom was an academic colleague. I neighborhood surrounded by legendary musicians when he was 14. I’ve seen all these people directly was teaching at the University of Illinois, I was who were a part of our daily life. As a child, I was related to me gain notoriety much sooner than I associate professor of Interdisciplinary Studies, going to picnics with George and Von [Freeman]. did. It’s also my instrument, nobody’s ever heard and his mom was at Chicago State University. My father was an amateur drummer and if Sonny of an African American hand drummer being a Kanye would spend a lot of time at my place in his Stitt was in town, he’d be there. Jug [Gene Am- marque star. There have been Latin and African early teens because my girlfriend, who I was living mons] and all of these people were around. I went hand drumming stars like Mongo and Olatunji but with at that time—her son was one of Kanye’s best to Mt. Carmel Baptist Church where Ramsey Lew- never was there an African American hand drum- friends. I took Kanye to his shows. I worked on is Sr. was the minister of music. In high school I ming star or one who led a popular band before Common’s first record [Common Sense]. Lupe used to go to the Grand Theater and upstairs was me. I had the personality of a star but the wrong Fiasco’s dad, Jaco, was my student, so I’ve known Andrew Hill, and Steve McCall in instrument based on the cultural values of the soci- Lupe since he was born. Lupe had a project last

22 May-June 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 El’Zabar. When I was a teenager in the ‘60s, my nite rhythmic associations. My father and uncle Kahil El’Zabar very good friend, a great percussionist now in LA scatted. It’s one thing to physically play but when named Derf Reklaw, who played with The Phar- you scat, you live in the rhythm continually. Real- aohs in the ‘60s and Eddie Harris, changed his ly great drummers have duplex meter sensibility year with Google doing startups and he honored name. In high school Derf’s name was Fred Walk- because just to play from the hi-hat to the kick to me based on the contributions that I made in his er and he turned it backwards and it sounded pretty the ride with the left hand creates that sensibility life. So everybody knows me from the under- cool. So I said, ‘I’m gonna do the same thing as of duplex rhythm. So growing up with that at an ground and that’s why Dwayne made the movie Be Derf,’ but it didn’t work out the same way – it extremely young age was normal at that time for Known because here’s this guy [that people don’t turned into Notfilc Nrubkcalb. [Laughs] So I an African American child in the ‘50s and ‘60s. I know about]. I went to Jean Paul Gaultier’s first thought it be better to use my mom’s name and my took tap dance classes because everybody did. show in ‘75 at La Chapelle des Lombard and I uncle Wardell had given me Kahil, which in Ham- That was like today doing tennis, but when I was own one of the first peacoats that he made. I had itic is “force of light.” That gave me a name and a growing up damn near everybody took tap dance an apartment next to [designer] Yohji Yamamoto. principle of how I’ve tried to express my life jour- classes. Rhythm was a very important attribute to I presented David Murray’s first professional con- ney. El’Zabar is a sect name. You find that name one’s expressiveness and those who had more of a cert out of college. Billy Bang and I met at Rucker all over North and Northeast Africa. It has differ- proclivity would then go into performing or play- Park Street Ball Tournament. He was a point guard ent meanings in different areas but what I know is ing instruments, whether it was a church gospel opposite Nate (Tiny) Archibald and I was a shoot- that in Northeast it derived from people who were sort of thing, or a social setting, or in a more re- ing guard. All these relationships and the tie-ins teachers of the abacas. So my name became for me fined higher arts sensibility like with Jazz. Every- and the connects are far and beyond the assumed – “force of light, the teacher.” That has guided me one had an aptitude for it and understood it. I don’t ideas of media. When Kanye did his big fashion in terms of my life goal. think you could have had a if there thing 4 years ago, I was the consultant for him to wasn’t the aptitudinal development of the Kansas go to Paris, to meet certain people, ateliers and JI: In this day and age of terrorism and general City audience. That audience was so sophisticated sourcing. My son Kahari was high school class- mistrust, how is it for you to travel the world with that anyone that performed had to reach a certain mates with Chance the Rapper so when Chance a Muslim name? Have you had instances of mis- standard in order to find the approval of what the did South by Southwest the first time, Kahari treatment? community already understood, what the commu- called me because they had driven from Chicago nity was already hearing and seeing. So if I’m five, and they didn’t have any money to pay for the KEZ: Yes, instances of mistreatment and disre- six, seven years old, and Gene Ammons is playing hotel so I paid and now I just saw Chance win spect. We were going to Munich, myself, Pharoah at a picnic, I mean can you get better than that? three Grammy Awards. So life is a very exciting Sanders, Ari Brown and Malachi Favors, it was Marshall Thompson and Wilbur Campbell and constant moving adventure. right after 9/11 and we had first class seats and Jodie Christian, George Freeman, Sam, they said I was a risk and couldn’t be behind the Clifford Jordan and Eddie Harris. These are the JI: This may be a good time to get that money cockpit. So they put me in second class. There people I saw all the time as a kid, and not just as back from Chance. were various instances like that, so about a year musicians, seeing them play softball, and seeing later, I changed my passport from Kahil El’Zabar the same attributes that translate in other elements. KEZ: It may be a good time. to Clifton Blackburn and since 9/11 I’ve been Everything they did was with finesse, including traveling as Clifton Blackburn because it made it the way they dressed. You know, some of the mu- JI: I have inside information that your basketball extremely difficult being a fair skin, black person sicians of my generation, and especially the nickname was “Graveyard.” Where did that come that has East African features with what is an as- younger generation, have become much more from? sumed Muslim name. Very difficult. grunge focused since the ‘60s and hippies, and the people who know me well know that I was never a part of where my generation was. I was always a “cat.” I was always well-dressed, always in the “I have friends and musicians who are extremely nature of what the so-called jazz impresario was about, that hipness. Even with the AACM, I was a famous but they go to hotels and they just stay little bit different than a lot of the cats. I worked with everybody but I had this other way of ap- there by themselves. Last night, I played in a friend proaching things that a lot of times people didn’t see as the AACM. I always had that kind of of mine’s home in Baltimore. We had 60 people, churchy, audience participation part. My stuff was much more rhythmic than arhythmic. I understood they paid $20 apiece, so we still made $1200 in everybody’s concepts and forms because I was academically educated, but I saw something that someone’s home. We played a full concert for very was more connected to the experience that I grew up with as a child and trying to translate those nice people and I actually cooked a 7-course meal things to all the sophisticated harmonic sensibili- ties and counterpoints and contemporary rhythmic in 3 hours. That was part of the deal.” perceptions, but I wanted to still have that same element that Gene Ammons had and ’s band had. That old fashion kind of energy with a KEZ: I was deadly on the court! I would take JI: You formed an attachment to drums and per- modern, contemporary interpretation. teams to their graves. Got it? cussion at age four. Your father liked to play them and your uncle, Candy Finch, played professional- JI: Growing up on the South Side of Chicago, you JI: Your given name was Clifton Henry Blackburn ly with Fats Navarro and Dizzy Gillespie. Would had significant musical mentors in Eddie Harris Jr. When and why did you change your name? you talk about your connection with drums and and . How did they help you? percussion and what it means to play them? KEZ: My mother is part Eritrean [area of northern KEZ: I’ll give you an example. It was years later, Ethiopia] and a lot of people don’t realize that KEZ: Rhythm is language, not in the didactic at the Leverkusen Festival [Germany] when I Kahil is not a Muslim name, it’s a Coptic name. perspective but much more in the vibrational sci- asked to present a 20-year retrospective of my Khalil is a Muslim name, Kahil is Hamitic, it goes ence to physics. We know that everything in mat- work produced by the festival and Eddie Harris back to the Bible, the children of Ham, and they ter is not necessarily solid but it’s connected was there with his group. I had been given a large were Coptics. The family name of my mother is through vibration, and those vibrations have infi- (Continued on page 24)

To Advertise CALL: 215-887-8880 May-June 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 23 spects are two different things that young musi- What about Cannonball Adderley? Kahil El’Zabar cians like Wynton Marsalis never understood. As talented and as disciplined as he is as a great play- KEZ: Oh, man. I think in terms of musical note er, a lot of these young, successful musicians have choices, elegance personified to the highest order. (Continued from page 23) lost the understanding of neighborhood conscious- When you hear and Trane is just piece of money for the event and I brought a big ness. spraying out notes, and then Cannonball rearticu- band called Orchestra Infinity, I brought over lates the ideas in more crystalized impact. With bands of other people who had come through me JI: You also got to hang with Muddy Waters and Trane, you’ve got this major, major sense of voice like , Light Henry Huff and Ed- other Chess Records artists. How did the Chess but Cannonball has this decisive way of approach- ward Wilkerson, and I brought an African group I Records artists influence you? ing rhythm, harmonic sensibility, and note choices. played with in the ‘60s called The Sun Drummer. I He’s the only guy I know where Miles decides to just brought everybody. So Eddie Harris looked at KEZ: The way I came into Chess was actually be sideman on in that period because this me and hit me in the back of the head. I said, ‘Hey, through gospel music with Milton Brunson, who was a consummate deliverer of poetic expression what’s up with you?’ He said, “I know you ain’t Jessie Dickson was the band director. So I was with music. He was very well educated, extremely gonna make no money off of this. You got seven working with them and then I got to see Muddy. articulate, he was a person of refined agility in a kids. I told you, you gotta’ always figure how to At was at the Electric Muddy Sessions because I larger person with sensitive vibrato, great confi- make a dollar for yourself when you make a dollar was friends with Pete Cosey. We’d go to the dence, and could bring anybody into his environ- for somebody else. If you don’t do that, then you Checkerboard [Lounge] and some of the other ment and create a lot of happiness. I tried to learn have nothing to take care of for yourself and your clubs like the Bucket of Blood, which was on the from that. The biggest memory I have is being in family.” That was an incredible lesson. That’s not West Side, and only black people went to the Lucerne, Switzerland when the Mingus band and music talk, it’s not talk about the changes, it’s Bucket of Blood, and when you’d go to these envi- Cannonball’s band played the festival, and then to about the changes of life. Von’s whole thing was ronments, you’d see that, for me, Muddy Waters sit down with Mingus and Cannonball to watch when I went to his sessions, and I always went to was much closer to the idea of what Louis Arm- them eat. Mingus with two hands, with everything Von’s sessions, he’d say, “Yeah, he’s from the strong was expressing than all of the astute practi- going in fast, and Cannonball with his knife and AACM but still can swing.” And it was always tioners of trad jazz. Muddy Waters was the living fork, delicately dissecting the same chicken meal important for me to have that acknowledgment in experience of translating music from lifestyle. with totally different ways of consuming. What an both camps. I never became more sophisticated Louis Armstrong did it in the swing idiom and eloquent, cool dude. And I loved the personal rela- than the streets but I never took the streets out of Muddy Waters came out of rural blues into urban tionship of Nat and Cannonball. They were older guys that seemed young when they were together because of the fraternity that they had.

JI: What about Gene Ammons? So Eddie Harris looked at me and hit KEZ: Just sound. I had a gig at Dickie’s Lounge me in the back of the head. I said, ‘Hey, where I played the conga Boogaloo, a shake dancer, and then afterwards Jug’s group what’s up with you?’ He said, “I know would come on and my job was to sit next to him to sometimes nudge him to let him know it was you ain’t gonna make no money off of time to hit. Jug was so accurate. If things were going rhythmically in a certain kind of way, the this. You got seven kids. I told you, harmonics or the changes of the tune, and he’d hit one note –”Whooooomp”- and that one note would be beyond anything that anyone would do and for you gotta’ always figure how to make the entire night, all that anybody remembered is when Jug hit one fuckin’ note. So that kind of a dollar for yourself when you make a accurate means that you are aware of everything going on. Even during sleep, he would be in the dollar for somebody else. If you don’t music. You don’t see Jug getting the recognition that others got but, as far as what everybody told do that, then you have nothing to take me, from Von Freeman to Jodie Christian to Son- ny Rollins, that when Jug walked in the room, it care of for yourself and your family. was music royalty to the musicians because the whole key beyond all the stuff you played was your sound and there was, to my knowledge, no That was an incredible lesson.” greater sound on any instrument than the Gene Ammons sound. the sophistication of the things that I do. And I blues which is basically the jump idiom. When JI: A Stevie Wonder memory? learned that from Von Freeman. I’ve had several you look at how Muddy carried himself with the conversations with where he talked confidence of being, and that was something that I KEZ: Enormous humility in the love of music. about the importance of tenor consciousness from found very similar in Africa. The confidence in Here you have a person equal to Chicago and why he came to Chicago to the ‘40s being, not the ego of presence, which is very dif- or Lady Gaga fame and at the height of his suc- and was working as a custodian in a school just so ferent. Ego of presence is defining who you are, cess, he walks out of the industry to get a master’s he could be around Lucky Thompson, Jug, Von, rather than living who you are. A confidence in degree at UCLA Music so he could advance his King Kolax and Clifford Jordan. That was very living is the ability to flow and follow through writing and producing skills. That’s enormous important to Sonny and Von was the master of with your expression and that is what I’ve tried to humility and confidence and a greater value than that. When Eddie Harris would come in from LA, pick up from artists. societal comparables, which most of us are very and he had all those big hits, he did not come up vulnerable to. Stevie Wonder’s in his own world the jam session to solo until Von said he could. JI: You’re mentioning important musicians that and that’s not a cliché. I remember doing a concert That let me know that the idea of what media of- have influenced you. I’d like to ask you to share in Atlanta, and we’ve already gone about two fers to identity and the inter-social graces and re- some anecdotes of musicians you’ve worked with. hours but he’s written so many hit songs that peo-

24 May-June 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 thing to step out of my comfort zone. As far as the and studied in an inter-disciplinary sense, socially Kahil El’Zabar music, I was struck by the sophistication of synco- and academically, I’m a published writer as a poet, pation and duplex meter. It made me realize that I was an internationally acknowledged fashion rhythm was as dominant and as important as melo- designer, I’m a painter and a musician. So they ple are still calling out requests, and my hands and dy. In our society, melodic invention is looked at wanted me to take architecture students and bring my arms are damn near ready to bust, and in that as the superior extension of musical expression but them, with students in other disciplines that I had a moment I was like, ‘Damn, I wish bro could you really have no melodic extension if you don’t background in, and help them get a more holistic see!’ [Laughs] Because he would see that he has have rhythmic context in order to shape melody. understanding of making art. The whole idea of wore this band out! But he was still just as enthusi- the AACM’s “Ancient to the Future” is we’re astic and he pushed us on. I learned from his hu- JI: Was there a specific musical experience you looking at principles of human interaction and mility. had during that first Ghana trip that most affected value from a cultural stance and then taking those you? values into an immediate contemporary experience JI: A Dizzy Gillespie memory? and finding a parallel reality that a million years KEZ: Being with a couple of teachers and trying ago people interpreted the vibrational sequences of KEZ: We played at the New Morning in Geneva. to show them all that I had learned, and thinking organized sound into a common expression that There used to be one there as well as the one that that I was doing it really well, until one said, fulfilled their cultural social utility. The same thing is still active in Paris and owned by the same peo- ple. Dizzy was supposed to end the set at 11 PM, but ended up getting excited and played 3 “You don’t see Jug getting the recognition more encores! We finished closer to 1 AM. I on congas and Mickey Roker on drums were super that others got but, as far as what everybody tired after that! My hands were hurting a little, so I said something to Dizzy complaining about how told me, from Von Freeman to Jodie Christian long we played! He laughed and then looked at James Moody saying, “These young cats just don’t to Sonny Rollins, that when Jug walked in the get it Moody.” Moody replied, “I hear you Diz!” Dizzy then looked me dead in the eye and said in a room, it was music royalty to the musicians very serious non-joking manner to me, “You are having the opportunity to play and learn from me, because the whole key beyond all the stuff plus I’m paying you! Shut the fuck up and enjoy the ride!” He was absolutely right. I never com- you played was your sound and there was, to plained again and learned to enjoy the journey! my knowledge, no greater sound on any JI: During college in 1971, you made special ar- instrument than the Gene Ammons sound.” rangements to study African music as an exchange student at the University of Ghana. Today it’s not uncommon for musicians to study in Africa but “Bruni,” which means “child of the white man,” happens chemically today. The idea of vibration you did it 45 years ago. Were there other Ameri- that’s what he called me because I was from the connecting matter, which is actually not together, can jazz artists studying in Africa at that time or U.S. but it wasn’t said with malice, he said, it’s only held together by the vibrational frequen- were you one of the first? “Bruni, all you do and not how you do. You’re not cies, tighter or lesser. And when you look at mu- that.” And then they asked if I could play a blues sic, it is the representation of things in physics KEZ: I was probably one of the first but there and I sang one to them and they said, “That’s your associated to the cultural vernacular of Indian, were people before me. At the height of his career, African language.” So that formed the Ethnic Her- European, African, American, South American, Ginger Baker left Cream and went to Ghana, Don itage Ensemble. I came back from that experience and all of that. There’s no growth in the possibili- Cherry traveled in India and Africa, Sonny Rollins and took an historical heritage to the reality of my ties of tradition without experimentation, which went to India, Yusef Lateef, on his own, traveled practical urban experience. I told my father I was means abstractions have to be reinterpreted to all over the world to learn about exotic forms of going to develop this band with horns and my become tradition. So Louis Armstrong was an music and integrated them very successfully into drums and he said, “You’ll never make a liv- abstraction of the ideas of things from African, jazz. All of those folks influenced me in terms of ing.” [Laughs] In ‘86 I took my father on a Euro- European, Spanish, Arabic music into what it my journey. I don’t think there was anyone that pean tour of 20 cities and he called my mother- would evolve in jazz, and then in parallel, he be- had used the kalimba [thumb piano] as sophisticat- “Gwen! They know this fool’s music! I can’t be- comes tradition and then anything counter to that ed as I had in contemporary acoustic improvised lieve it! I think he gonna be okay.” If you have by Charlie Parker becomes abstract, and then after music. And I couldn’t do many of the things I do discipline and understand the value of form, and he becomes modern, it becomes conventional, and now if there wasn’t an exposure to those opportu- are able to translate your concepts into form, you then comes things by Trane and into the AACM nities. I feel very grateful to be open to other per- are able to develop a formula of expression that and Cecil and whatever. I think the AACM motto spectives of organized sound, and that’s what mu- can be successfully delivered. So it was that Afri- becomes very constructive because we have to sic is. This is a big world and I hope that music can experience. They were basically telling me help the young artists understand that in ancient will be a tool to create tolerance and excitement that my language was the urban vernacular and to times, the principals of physics were no different beyond culture barriers. Music is a connecting take that and translate that into my system of ex- than they are today, and that’s what I did in my fabric for people. pression. class. No matter what we do as artists, we cannot get out of the realms of the constants in the uni- JI: What was your first impression of Africa and JI: You perhaps, with your deep roots in African verse as we individually interpret our abstract idea the music you found there? rhythms, best fulfill the AACM’s operating motto upon the phenomena of existence. People have a - “Great Black Music: Ancient to the Future.” sense that there’s nothing they can do about the KEZ: First impression was why are people in my What’s your approach to the concept of “Ancient world but once we have this “Ancient to the Fu- face? In America, distance is a very important part to the Future?” ture” to realize that through time and every day, of etiquette. Coming out of Chicago you’re very we’ve gone through changes to re-evolve our op- defensive to your sense of space. Human commu- KEZ: I taught a class at the University of Illinois portunity to see a new idea to create a new oppor- nication is naturally ether but as we gain power we for six years. I was hired by the School of Archi- tunity that is way more relevant other than just re-determine our position and we elude ourselves tecture and I was trying to figure out why do they music. When you see the success of Leo Smith, to think that we own spaces. So that was a hell of a want me at the School of Architecture? I had lived (Continued on page 26)

To Advertise CALL: 215-887-8880 May-June 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 25 pendence so that we can build upon to give people or and exterior. If I’m playing a circle, my attacks Kahil El’Zabar the impression of a full ensemble within the limita- of interior, exterior are infinite, so it’s an extremely tions of a kalimba and the confidence to deliver sophisticated instrument because it’s dealing with what one may consider as primitive to understand membrane texture for the articulation of ideas. The (Continued from page 25) that it can have a very contemporary, competitive trumpet only has three movements. People will , Chico Freeman, Henry Thread- placement if performed correctly. come to see that the ideas of what we consider gill, George Lewis, Douglas Ewart, the Art En- primitive is irrelevant to the idea of pursuance. semble of Chicago, you see all these guys that JI: Another African-influenced instrument you Pursuance has no limitations in the individual’s were supposed to be the strangest in jazz music. feature is your handmade invention, the Earth idea to express and expound and that’s what’s But now we’ve been heads of academic depart- Drum [a conga-like cylinder with tied on stretched supposed to be important. ments in halls of learning in this country. heads, rather than secured with metal, to allow for vibration and hollow overtones]. How did you JI: Do you sell your Earth Drums? JI: One of the African instruments you feature develop that? prominently is the kalimba. How have you em- KEZ: Everybody’s asking me to. That will proba- ployed this technically limited instrument to shape KEZ: I looked at a drum in Ghana called the bly be the next phase but it’s difficult enough to your music? Atumpan and also the Cuban conga, so it’s a com- keep the Ethnic Heritage Ensemble and The Ritual bination of both and then I wanted a bottom deeper Trio working every year, you know you only keep KEZ: Whether you’re in traditional scales or sound that the Atumpan had that the conga didn’t. good musicians because you pay them. I’ll proba- modes, no matter where the music is, it has always So I developed my instrument where it had the bly do some kind of manufacturing deal with ka- a tonic, that core note upon which you then devel- bottom of the Atumpan and the top like a conga. limba and with hand drums. My focus right now is op triads to chords. I did a song with David Mur- My two most dominate influential players are building a school for music. ray for kalimba and saxophone that became pretty Tiroro from Haiti and Chano Pozo and the way he well known called “Golden Sea.” Some of the played with bebop musicians, which is very differ- JI: How does the experience of playing the tradi- comments when the song came out was that the ent than the way percussion happened after Chano tional compare to playing African instru- saxophone seemed bigger, well I had written it Pozo. Chano was a voice, not an accompaniment. ments? where his melody was in a four part harmony but That was very similar to what I heard in Africa. he just had part of it, and so when I played my What people don’t understand is that the language KEZ: If we look at the extension of tonic against it, it automatically made the sound and the syntax, that’s what the drummer’s playing and or Chick Webb, it was an African bigger. People haven’t realized that my music and that’s what makes me different than a lot of instrument for them. There’s always been stick sustains because I actually have a lot of composi- percussionists. I’m playing language. I’m also drums in Africa. A lot of people don’t realize that I tional sophistication in knowing how to create playing rhythm, but I’m playing language. played trap drums before I played African drums. harmonies and knowing how to create counter- points to give the effect of what’s not there in the JI: Do you speak African dialect? JI: What was your early history with the AACM?

KEZ: In 1968 I was still in high school and I took classes on Wednesdays and Saturday’s at the The whole idea of the AACM’s “Ancient to the Fu- AACM School of Music, along with fellow stu- dents George Lewis and Douglas Ewart. That’s ture” is we’re looking at principles of human in- when I first met , Lester teraction and value from a cultural stance and Bowie, and , and all the cats teaching at the school. I graduated high then taking those values into an immediate con- school in ‘69 and got invited by Muhal to play percussion in the AACM Big Band. I started col- temporary experience and finding a parallel reali- lege that fall and also started getting hired for gigs by AACM artists like Kalaparusha, Amina Clau- ty that a million years ago people interpreted the dine Myers and Threadgill. I worked with Eddie vibrational sequences of organized sound into a Harris’ band and Gene Ammons’ band locally in Chicago at the same time. George Lewis and common expression that fulfilled their cultural Douglas Ewart and I started a trio and played around Chicago and then I went to Ghana for the social utility. The same thing happens chemically first time. My school friend, bassist Larry Ball, invited me to play in his band with his brother, today. The idea of vibration connecting matter, pianist Louis Ball, and we became one of Chica- which is actually not together, it’s only held to- go’s best pick-up bands and started working with the great gospel singer Jessy Dixon and the Dixie gether by the vibrational frequencies…” Hummingbirds. We also got hired by Donny Hath- away as his backup band. By ‘72 I left Lake For- rest College and started traveling with Paul Simon chordal changes of the bass or in the broader capa- KEZ: I speak a little Yoruba and Ashanti because because he hired Jessy Dixon and the Dixie Hum- bilities of the harmonic voicings of the piano and those were the languages there. So when I’m scat- mingbirds, with whom I was already playing per- then retuning some of my thumb in a chro- ting, I’m mixing in bebop and African phrases in a cussion for. I’m doing all this pop stuff working matic. So when I do “All Blues,” I’m playing the unique way. But when I’m playing hand percus- with all these pop artists but Muhal asked me to changes on kalimba. No one’s done that. It took a sion, I’m talking language so that gives me the join his sextet with George, Threadgill, Steve lot of work, sitting at pianos for hours and hours, same longitude as a saxophonist or a guitarist. I McCall and and to also become an and retuning, and figuring out which keys work execute at least sixteen different notes, and then official member of the AACM, and for me, the better, which modes work better, and educating within those notes I have all kinds of inflections. neighborhood was always more important than the my musicians. Guys that have played with me Now some people are not hearing that, but I’m fame because I didn’t grow up poor, I grew up as a have gone on to be strong leaders – Edward hearing all of that. So some people say, “You’re middleclass kid. I wasn’t one of those black kids Wilkerson, Corey Wilkes, Ernest Dawkins, Joe well-educated, you’re an extremely articulate guy, that was struggling so I never felt I had to make Bowie. They’ve learned things working with the why would you have chosen an African drum?” money. I felt so honored to be invited to play in Ethnic Heritage Ensemble such as rhythmic inde- Well, a circle is a representation of infinity, interi- this all-star band of sophisticated, high-level ex-

26 May-June 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 dick (trumpet), Light Henry Huff (reeds), Mchaka he was a guide on many levels for me. Favors had Kahil El’Zabar Uba (bass), Kirk Brown (piano) and mentored me since I was 16-years-old, teaching (drums). In ‘74 it became a quintet featuring two me how to swing and how to focus on pulse versus tenor saxophonists – Huff and meter. Billy and I met on the basketball court, we pression that I quit The Paul Simon Band. – along with Yosef Ben Israel (bass) and Ben were both successful athletes. I was all-city and all Montgomery (drums). In ‘77 the Ethnic Heritage -state in Chicago, 1969. Athletics were the begin- JI: That was quite a move. You were touring with Ensemble became a trio of two horns and percus- ning of my discipline – being on time for practice Paul Simon, making $1500 a week, and gave that sion because we made our first European tour and and focusing and developing your vehicle. Bang up to focus on work as a member of the AACM. could only afford three musicians. I had to learn had the same thing as me. He was one of New how to write and arrange music for that unique York’s top street point guards. He’s in the Ruck- KEZ: My father was very upset because I was instrumentation! I started the first Ritual Trio in er’s Hall of Fame, he was inducted the same year making a lot of money with Paul Simon, and then ‘75 with Lester Bowie and Malachi Favors. as Rod Strickland. He and I had this fraternity on left that band to make only $50. I was playing so many different levels. I love these people ex- once a week, playing on Sundays with Muhal. My JI: What conceptual musical differences exist tremely, I miss all of them, but just like my parents Dad asked why I couldn’t have stayed with both bands.

JI: It’s impressive that you achieved the role of “Muhal asked me to join his sextet … and AACM Chairman in 1975 after only being a full member for three years. What were the major hur- to also become an official member of the dles you encountered during your time as Chair- man of the AACM (‘75-’82) and what were your AACM, and for me, the neighborhood was greatest accomplishments? always more important than the fame KEZ: It was to translate the new opportunities for grants funding and representing the fiscal agent, because I didn’t grow up poor, I grew up as the legal not-for-profit, in a way that translated from urban grassroots organizing into long-term a middleclass kid. I wasn’t one of those institutional viability. The older guys had observed my organizing skills. My mother owned a bridal black kids that was struggling so I never business so we had been in business our whole lives so knowing how to make decisions with felt I had to make money. I felt so honored money, meeting timelines with obligations toward your consumers, marketing, all that was innate by to be invited to play in this all-star band of my life experience. By the time I had officially joined the organization, the other musicians were sophisticated, high-level expression that older than I was, but I had already been out with Cannonball, I had already been to New York, so I I quit the Paul Simon Band.” didn’t have the same fascination with new acknowledgement and notoriety. I had already been with what was considered some of the great- between the Ethnic Heritage Ensemble and the who I miss, I feel completely connected to them on est musicians that had ever lived. Once I became Ritual Trio? a daily basis. I still talk to them because that is the chairman, I was focused on how we organize, and African way – there is no death. how we put together funding for the school, how KEZ: The model for the Ethnic Heritage Ensem- we create the patterns for the obligated responsi- ble comes out of traditional African practices of JI: How has your career progressed? bilities as artists to fulfill their service to the com- music organizing. Many times the approaches are munity. Be on time to teach your class if you want in pentatonic concepts of the construct of melody KEZ: Starting in the mid-’70s, I became a very in your $50. Concerts had to start on time and a cal- in the harmonic progressions. The Ritual Trio is demand percussionist working with several endar was put together so there was no choosing more based on the model of the original Sonny AACM bands and that’s when I worked with Diz- who was to play at the last minute. At the time of Rollins trio with and zy Gillespie, Cannonball, Eddie Harris and Nina my 3 years as chairman, we did festivals through and moving outside of the harmonics of the piano Simone. In the ‘80s I toured and recorded exten- corporate funding. I went to radio stations and said for further exploration. At first I had Lester Bowie sively with both my bands as well as worked with that we had demographic value and I qualified it and Malachi Favors, they were the right guys that Billy Bang and David Murray. The ‘80s were quite by knowing how to write the grant. I sat at panels just had invention and unconventional approaches a lucrative time for avant-garde jazz! We did big and articulated the issues associated with what was and all the jazz history within it so it was like hav- festivals and TV globally. That slowed down by going on. I think that I was that step that moved it ing the modern Satchmo with me and Favors be- the late-’80s when the young classic jazz players from the grassroots into the sophisticated, long- hind that, and exploring all of the contemporary became popular so I focused on an academic ca- term institution from the administrative perspec- sense of Jazz harmonic sensibilities. reer to earn a living. I taught Inter-Disciplinary tive. Because it became so successful, people like Arts and Modern Jazz Studies at the University of Steppenwolf Theater hired me and I became part JI: With your Ritual Trio group you got to play Nebraska-Lincoln [1988-1998] and then at the of panels with the National Endowment of the Arts with master musicians who have since passed - University of Illinois at Chicago [1999-2005]. I because people wanted to learn how I was able to Malachi Favors, Lester Bowie and Billy Bang. received a doctorate from Lake Forrest College in organize with that kind of sophistication in the How is it to have worked so intimately with these 2006 in Inter-Disciplinary Arts and since then I’ve inner city institution. great artists and to have them suddenly taken from actively worked and an Arts in Education consult- you? ant on a global scale while touring internationally JI: You’ve led two powerful bands since the early on a continuous basis. I’ve been an artist-in- ‘70s. Would you talk about the significance of the KEZ: It’s laughter only expressed now in memory residence for the city of Bordeaux, France for the Ethnic Heritage Ensemble and the Ritual Trio? because all of those people had extraordinary sens- past 11 years. I was knighted by the Counsel Gen- es of humor and you hear it in their music. Lester eral of France in 2014, making me a “Chevalier KEZ: I presented the first Ethnic Heritage Ensem- was like the big brother. Most of the things I did, I Medal of Letters,” of which I was most honored! I ble concerts in ‘73. The band included Rasul Sid- talked to him about it—business, things in music, (Continued on page 28)

To Advertise CALL: 215-887-8880 May-June 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 27 that away from me. still do that, I always play concerts in my home Kahil El’Zabar and it could be with someone super rich or some- JI: How did you come to do the arranging for the body who lives on the street. When I got knighted stage performance of Disney’s The Lion King what [he received France’s Medal of the Knight of Arts (Continued from page 27) else have you worked on? and Letters in 2014] I had people from every walk am also most proud of the fact that I have toured of life at my ceremony. So the Afrocentrix thing the Ethnic Heritage Ensemble every year in the KEZ: I had worked on a Cal Arts panel along with became really big in Chicago – folks were wearing U.S. since 1973, that’s more than 44 years! There Julie Taymor for the Alpert Awards in 1995. African clothing and I had AACM musicians play- are few bands in jazz that can boast that kind of When she got the Disney project she thought of ing free with African drummers and DJs. No one history and I feel my recorded work and history of me because she knew I studied African music and had done that before me, I was the first person to live performances speak for themselves. that I write and score. It was Jan Hammer and really put instrumental solo performance with Elton John’s music but it had to be translated from house music. Melody Maker magazine came over JI: How do you feel your work has been received? a predominantly synthesized score for an animated to interview me and I called it Afro house and film into giving it the breath of a live experience somehow it got redefined as acid house. Now you KEZ: It is very difficult for this society to under- that has the sophistication of contemporary ar- have all these projects with Kendrick Lamar and stand and appreciate the intellectual value and rangements for a large ensemble but has a feeling Kamasi Washington being recognized for stuff that compositional sophistication of my work as a per- of Africa and I was a perfect candidate for that. I did 20 years ago when nobody was dealing with cussionist. Western thinkers rarely understand the [Laughs] I chose the original band, it was house music. I was bringing jazz and world musi- essential value of rhythm to the construction and Makanda Ken McIntyre, Bobby Irving, Fred Cash, cians together. evolution of great music. I am an influencer and Chief Bey, Ed Cherry, , all the bad innovator far beyond what most jazz critics realize. cats. We rehearsed for six months at Sony Studios JI: You’re a musician, a poet, a writer, a painter Some of the most influential players in the last 50 in New York and it came to be the fourth most and you’re also a fashion designer. How would years have expressed some of their best perfor- successful musical in Broadway history. I also did you describe your design tendencies and do you mances playing with me and my music, including the scoring and arranging for Love Jones, one of make clothing as a side business? Pharoah Sanders, Lester Bowie, Billy Bang, the most successful soundtracks of the nineties. Archie Shepp, , , Ka- Mo Money for Damon Williams and in 2016 I did KEZ: I did. There’s a line of suits that I do out of laparusha, David Murray, Edward Wilkerson and a documentary called America the Beautiful which Passau, Germany with Elke Burmeister available Hamiet Bluiett. I feel I have a gift and talent in won a lot of awards. I’m about to score a film with through her website. I developed a fabric with her knowing how to inspire and bring out the best in a punk rock band. I’ve been arranging for an or- which is boiled cashmere because I wanted a fab- those I play with. chestra in Bordeaux, France for 11 years called ric that always had form but would work for travel. Infinity Orchestra. Doing film scores and pop ar- I also do a line of painted pants with [bassist] Ja- JI: Why did you start the Chicago Academy of rangements allowed me when I toured with the maaladeen Tacuma. I recut painters pants into Music and what value does it bring to the current Ethnic Heritage Ensemble and it didn’t make couture fashion and then I individually paint each status of music education? enough money, I still wanted to pay my musicians as if I was doing a painting. I had a line called a minimum of $300 a night, that’s how I could do Zambezi in the ‘70s, the flower dresses that the KEZ: I’m approaching my mid-sixties and I think it. actress Freda Payne and others wore in all the I will be pretty physically active into my mid- Blaxploitation films, Nina Simone wore my fash- seventies and then I want to be even more abstract. JI: What was your role in the development of ions, as did the group Arrested Development. To give back is so important and the idea of the Acid Jazz? You’re considered to be a founding Chicago Academy of Music is to gather master father of that genre. JI: What does the future hold for you? musicians who have been successful at making a living playing music which is very different than KEZ: My friend, Dwain Kyles, owned a club in KEZ: You can’t do everything but I see pulling all making a living teaching music. The majority of the early ‘80s called La Mirage and it was one of of my skills together through the internet and my the educators in traditional institutions are people the main house clubs. Dwain didn’t have a liquor two legacy projects for the future are developing a who have made a living teaching. I think the na- license because it was difficult to get one in Chica- culture network which I call the OOH, Oracles of ture of how people are playing because of that go at the time so he opened up a juice bar which Humanity, a global culture network which will be academic acculturation speaks less to what had attracted a younger crowd. At that time I really built with many thought leaders across many crea- been the historical, organic receptive way in which connected with house music because it was these tive fields, and the Chicago Academy of Music, a jazz musicians learn. It’s much more like a cookie young people tired of the placid distribution of physical institution where pedagogies can be creat- cutter box than it is the organic delivery and ro- music and they wanted something with more ed and all this will give voice to the voiceless in manticism of language. I think we need to develop edge and honesty so they started using technology terms of creative contributors internationally. an institution where people across jazz, classical, and making their own music in their homes. That’s Latin, world and other fields have made their ca- why it became house music because you made it in JI: The last questions have been given to me by reers as soloists. My kids tell me, “You ain’t super your own house. I connected with this younger other artists to ask you: famous dad,” which is true, but I am my own indi- generation and I always liked to dance so I started vidual style of expression in a time when most hanging out in these clubs with a lot of the early Teodross Avery () has given a things have been consumed by a very traditional pioneers – , Kym Mazelle, Dar- few questions asking you to choose between two idea of what the construction of musical forms ryl Pandy, the group Ten City, Byron Stingily – possible selections regarding what has more im- should be and so our school will focus on the prod- they didn’t write music, they didn’t read. So I was portance to you. igy of invention, the prodigy of individual sense of in club and they started asking me to look at what “What’s more important to you – the rhythms of lyricism across multiple genres to create a peda- they had and to do arrangements for them. One of life or the melodies of women?” gogy of transparency ideally. It will take time. At the records I worked on “That’s the Way Love is” other schools there’s a jazz school, a classical went gold. Then there were these young people in KEZ: [Laughs] He’s so funny. The rhythms of life school, and never will they meet. I want to give London and Germany asking me to arrange and do translate for both men and women having a sensi- young people opportunities and creating new com- stuff. We started doing a thing on Thursdays tivity to your feminine side is essential to be a munities with that. If what I leave as a legacy, that around ‘82 at La Mirage called Afrocentrix and I romantic lyricist. I opened it up for other people to have possibilities put together a group with John Monopoly, and Teodross Avery asked: “What’s more important to to feel secure about a nontraditional approach in- Kanye West would also come over, they were 14. I you -Miles and Coltrane or and Col- side a consumer based society, where they can find felt that with the AACM, we were getting our trane?” their own way to make it? That’s what I did. I notoriety and we were losing the connect that I found my own way to make it, nobody can take always enjoyed from playing neighborhood gigs. I KEZ: These are very good questions. Teodross is

28 May-June 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

learn—no two chord songs in here … not when I’m paying the rent. Dealing with people is diffi- InterviewInterview cult. One of the hardest things to do is to get people to represent you in your manner, not in their manner. You want people to come back to your place, your business. You want people to feel wonderful so they’ll come back.

Barry Harris

JI: Could you talk about the environment that helped you nurture the music when you were “You have to continue playing.” growing up in Detroit?

Hear Barry Harris at Dizzy’s Club Coca Cola at There was a lady who was my benefactress. I BH: Young people ask me all the time, “What Jazz At Lincoln Center, June 16-18 also had a friend I met at Bradley’s. When I did you do in Detroit?” I think we had a bunch decided to do these concerts with strings, I kept of older musicians who were great. We had an Interview & Photo by Eric Nemeyer talking about it. He said, “All you do is talk alto player named Cokey. We thought he was about it. When are you going to do something?” the greatest thing in the world. We had a trumpet JI: What was the driving motivation behind When I went back there next time, I told him I player name Cleophus Curtis and a trumpet your creation of the Jazz Cultural Theatre? was going to do my concert with strings. He player named Clair Rockamore. If Miles [Davis] handed me a $1,500 check. He was my other was around, you’d have to ask him, “Who was BH: I had some people talk me into it. I had a helper. Clair Rockamore?” He’d tell you. He mentioned little bit of money and I was thinking I would him in his book. I’m not too good at remember- buy a small brownstone uptown. There was a JI: Talk about how you structured the perfor- ing everything. I can remember going to see lady on 132nd Street that was trying to get rid of mance and teaching elements of the Jazz Cultur- “Bird” in ballrooms, and I can remember sitting her place. Some other people we saying, “Barry, al Center. in with Charlie Parker. Those were some of the why don’t we get a place in midtown?” I said, greatest moments of my life. I can remember “Well, we’ll look at the place and we’ll see.” We BH: You sort of goof at things when you start going to the Forest Club and hearing Charlie went to it. We had a meeting and they talked me out. I goofed at the beginning. I wanted to have Parker with Strings. I can remember that feeling. into it. “Okay, let’s try it.” It began in 1982 and music every weekend. When I had the gig, I was [pause] That’s why it’s hard to go into clubs— lasted for five years. The whole idea for this bringing my money to pay the musicians. The because I want you to give me that feeling … teaching thing started a long time ago. I was first class I had there had 90 people in the class. that feeling I felt when I heard him play. I would teaching for [trumpet player] ’s I thought, “This is nice. Maybe if I do three days love to be able to give that feeling to people Jazz Interactions in the 1970s. One time, at the of this, that’ll be nice.” That was the dumbest myself—to make them feel what I felt when end of the schedule when I was teaching, I was thing I ever did. I should have done one class Charlie Parker played. See, we had so many supposed to be there at 4:00 PM and go involved with 90 people. I spread it out and started getting good musicians. I was a scrawny kid. At school I in things and realized that I was late. And, I said, 30 people at each class because they came when couldn’t even do one chin-up. There wasn’t no “Oh my.” I got a cab and it was about 6:30 and I they wanted to. Rent was $3,000 a month and baseball for me ... There wasn’t no football, no basketball. Everybody knew where to find me— at my house, on the piano. When I was living on “I can remember going to see ‘Bird’ in ballrooms, Russell Street on the East side [of Detroit], I went to see Roland Hanna. He’d heard I had and I can remember sitting in with Charlie Parker. been singing. He sent back a nasty message: “You better get yourself a day job.” [laughs] So Those were some of the greatest moments of I found out that he had a record date through . I said, “I’ll fix him.” So I went and my life ... I can remember that feeling. That’s why busted into his date and I said, “Okay man, I heard you need a singer.” He just fell on the it’s hard to go into clubs—because I want you floor and roared with laughter. Then he [Roland Hanna] said, “Me and Sonny Redd used to climb to give me that feeling … that feeling I felt when those stairs on Russell Street, just to get up there to learn about chords and stuff from you. Sir I heard him play. I would love to be able to give Roland Hanna was part of me. I might be what you would call a part of Tommy Flanagan and that feeling to people myself—to make them Will Davis and Abe Woodley. But Sonny Redd and Roland Hanna, , feel what I felt when Charlie Parker played.” … learned to play up in my house. He couldn't even play the bass at all. He had gotten a bass and couldn't play it at all. He thought, “Nobody’s gonna be there now.” But, then the landlord wanted to raise the rent with- even came on the gig with his bass trying to when I got there, everybody was still waiting on out doing any repairs. I ended up with a real play—didn't know a note, hardly. But he learned me. So I said, “Well, this was supposed to be the mess on my hands. But we tried. to play at my house. Later on I had a band with last class, but we’re going to keep this going, taught harmony. Vernell Fournier taught drums. Yusef Lateef. Then I had developed this system because you waited. I’m going to find a place, I taught the singers and the piano players and the of teaching. I taught a lot of cats—even the Mo- and you have to do is bring enough money to horn players. ’s Big Band played town cats. Their piano player’s name was John- pay the rent.” That’s how the class started. We there every month. I had Walter Bishop play ny Griffith — and the first stuff he learned was had musicians who would come and play on the there, Walter Davis, Sun Ra … quite a few peo- from me. The bass player who everybody loved, weekend. It was hard though. I never really ple played there. I had jam sessions there and I James Jamerson — he learned at my house. made enough money. I was blessed though. gave them a list of songs that they needed to (Continued on page 32)

30 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 31 too, and stayed for the whole concert. At one came up with all this practice stuff—real stuff to point, I played a concert by myself and later he practice, to learn how to improvise by yourself. Barry Harris said to me, “You really touched my heart. What It’s almost like I’m the throwback to the figured can I do for you?” I just said, “Oh man.” You bass, like what the Europeans used to do. (Continued from page 30) know, one doesn't know what to say when some- one says something like that. I wouldn't even JI: Well, Bach was really an improviser. They were all jazz musicians. What we did, know what to say. He sends me a card at Christ- which was bad probably — which is maybe why mas. Most of the musicians on those records that BH: Oh sure. But what Bach did was that he Detroit is messed up — a whole bunch of us left made that sound are jazz musicians. started teaching and he started writing a lot of at the same time and came to New York, and we stuff down. His contemporaries didn't dig that all made it. . Sonny Redd. Hugh JI: When you first came to New York in the too much because they were improvisers. But Lawson. Yusef Lateef. Doug Watkins. Paul 1950s, what kinds of challenges and opportuni- what ended up happening was when improvisa- Chambers—he might have been here a little bit ties did you experience? tion stopped in Europe, it started in the USA. before. Then there were musicians who stayed We’re really the extension of Bach and Chopin and all of them. The big difference is that we have to do this in public. We can’t stop and say, “That was wrong. Let’s stop and do it over.” “What I was really good at was getting a chart You have to continue playing.

down right away — the chords and stuff — so I JI: Did Thad arrive with the charts on the spot?

didn't have to look at the music. That’s what it BH: I came to New York to record with him. There were charts. What I was really good at was like with Lee Morgan, with ‘,’ was getting a chart down right away — the chords and stuff — so I didn't have to look at the and all that stuff. With “Sidewinder”, I came into music. That’s what it was like with Lee Morgan, with The Sidewinder, and all that stuff. With the studio, somebody gave me some music, “Sidewinder”, I came into the studio, somebody gave me some music, I made up the intro and I made up the intro and that was it.” that was it.

JI: Where were you doing your practicing? there, and they ended up with Motown. I don’t BH: Since I didn't stay with Max’s band too know about the beginning but I think Motown long, I went back to Detroit. When I really came BH: had the top floor of a started in maybe the late 1950s. I never knew to New York and stayed was 1960. We had a lot three story building that is still on 46th Street about Motown. Even when I went back to De- of record dates. I was recording with everybody. between 8th and 9th Avenue. I had a key to that troit after being with Max [Roach] …. That band The record companies found us and took ad- building. There was a Greek man with a Greek was Max Roach, Sonny Rollins, Donald Byrd, vantage of us — Cedar Walton, Herbie Han- restaurant that made sure that I ate properly. George Morrow and me. That band never rec- cock, Lee Morgan, Hank Mobley … we all rec- He’d fix me breakfast and dinner. I’d go up in orded. Somebody must have something on us. orded. Since I was recording with all these peo- that room after breakfast and then the next thing We were together maybe three or four months. ple on Blue Note, I called at Blue is I’d look up and it was dark. You’d have to ask Note and said, “I recorded for you with Hank Joe Zawinul or Harold Mabern. They all knew JI: What kinds of discussions did you have with Mobley and Lee Morgan, why don’t you give where to find me. Max when you were in that band? Did he offer me a date?” He said, “No, no, no, no.” I said, any suggestions? “Why?” He said, “You play too beautiful.” I JI: So you spent most of the day practicing at said, “Thank you man.” I made it. I recorded. I the Riverside Records company offices. BH: Not really. Max was still upset about [the got little gigs. I went out of town with people. I death of] Clifford Brown and . went to Europe occasionally. So I made it, and BH: They had a little spinet piano. It wasn’t bad. That really got him. It was a nice gig, but he that’s when I stayed around New York. It was At some point they brought in this baby grand wasn’t over that. When I went back to Detroit around 1960. piano. It sounded like hell. I wouldn't even go though I hadn’t heard about Motown—but Berry and touch it. After a few weeks or months, I Gordy and I went to school together. I was out in JI: Could you talk about your association with decided I’d touch this piano and see what’s hap- California at some point playing outside at a Thad Jones with whom you recorded on Blue pening. I went over there, and as I played that museum, and he came to the concert, and he Note in the 1950s? piano, it got more and more in tune. You would- came to one of my big concerts in New York n't have believed it. That piano began to sound BH: Well that started when he came back to so good to me. I wondered how could I sit here Detroit. He was playing at the Bluebird with and play that spinet and not come over here and

Billy Mitchell. The Bluebird was our joint. I was check out this grand and really work with it. “...among human beings too young to get in. Phil Hill was the piano play- This grand began to sound better and better and jealousy ranks distinctly as a er, and the band stand was in the window. So, better. I’m not lying to you. The piano is funny. weakness; a trademark of small minds; I’d knock on the window. He’d see me and he’d It needs attention. a property of all small minds, yet a property nod. Then when the tune stopped, he’d get off which even the smallest is ashamed of; the piano, and I’d run in and jump up on the and when accused of its possession will    lyingly deny it and resent the piano and play a tune and go on back outside accusation as an insult.” afterwards, because I was too young. I actually celebrated my 21st birthday in The Bluebird—to make sure that they knew I was 21 years old. I -Mark Twain played there with Yusef Lateef. That’s when I

32 May-June 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 JI: Were discussions you had with Elvin about the music? InterviewInterview SF: No. We were just playing tunes. Just you know…hit. Here’s what time we hit or show up. From what I understand he had been at Pookie’s Pub for almost a year. I mean things that are unheard of today in terms of guys working in Sonny Fortune one place for long periods of time. In ’67, Elvin “This music asks for what is your spontaneity in this moment.” had left Coltrane. Elvin was very popular in the

jazz world and he had this gig where people would come. Musicians as well as people. We Hear Sonny Fortune at Birdland with Four Gen- days of that man. By the time Friday came worked six nights a week. erations of Miles [Davis], May 23-26 around, I was almost dead tired. All of that hap- pened in about two weeks of being in New JI: With all that work were you also devoting York. I knew someone here from Philly who had yourself to a lot of practice on your instrument? Interview & Photo By Eric Nemeyer this job—a guy named Ed Smith. He asked me if I wanted to take this job. He was a policeman in SF: Well, yes. I was trying to practice as much JI: When you got to New York what kind of Philadelphia. He quit his job to come to New as I could. I mean at that particular time in the environment did you experience? York to become an actor. When I came to New beginning at least, I was busy trying to get my York he was getting ready to take off from his own apartment and get myself situated. I was SF: When I came to new York I still had a fami- day job to do some summer stock. He wanted to staying with someone here in New York. The ly so I had to move very cautiously. I came to know if I was interested in taking his job. So I guy was nice enough to let me stay there but he find out whether or not I could make it in New took his job. I was doing that during the day and wasn’t nice enough to let me practice there. I York. I ended up being a part of an All Star hanging out at night. When you’re that young, appreciated that because it just helped me to band up on 52nd Street one night at Beef Steak you can do anything. New York was always hurry up and get my own place which I did. So Charlie’s place—at 52nd and 8th Avenue. That’s good for me. Almost as soon as I arrived. when that happened, yeah I practiced. Doing the when I met Elvin [Jones]. Elvin told me to come gig the gig at night and feeling like here I am in down to this club to sit in where he was work- JI: What were the circumstances that led to your the Big Apple, trying to figure it all out. ing. At the time he was working at Pookie’s Pub. joining Elvin’s group? I ended up working with this All Star Band. JI: Do you remember any discussions you might Nobody knew who I was, but I ended up being a SF: When I came, I went down to Pookie’s Pub have had with Elvin about Coltrane and his ex- part of the band because [bassist] and sat in. Somewhere after a couple of weeks periences? made it possible for me to be a part of the band. of coming down there, Elvin asked me would I SF: No. I never really talked to Elvin about Col- trane. That was my first hit with him. I started working with him again in the 80’s and from the “Until then, I looked at the whole experi- 80’s on into the 90’s off and on. We never had that type of conversation. I more or less looked ence as something very special. I thought at that whole thing. I just really came to another level of appreciation with all this within the past that was some real special music that he seven to eight years. Until then, I looked at the whole experience as something very special. I and Coltrane created. I thought that was a thought that was some real special music that he and Coltrane created. I thought that was a very very special kind of a something. There special kind of a something. There wasn’t much you could say about it. It was so complete. wasn’t much you could say about it. It Those who saw it, and those who identified with it just said, “yeah.” So strangely enough I never was so complete. Those who saw it, and felt the need to provoke a conversation. One that I can recall. Coltrane told me, before a I came to those who identified with it just said, New York, that if I ever got the opportunity to play with Elvin to take it. I saw him at his moth- “yeah.” So strangely enough I never felt er’s house one night on my way downtown. I had already, I played a concert with him in Phil- the need to provoke a conversation.” adelphia, so he knew me musically. He knew me from playing with me the last year of his life. I It was Jymie Merritt, Jane Getz, Joe Henderson, be interested in joining his group, and taking had been meaning to tell him I was working with Freddie Hubbard, myself and Elvin Jones. No- Frank Foster’s place. Frank had to take off to Elvin and I kept putting it off. I finally called body knew who I was. I had met Freddie about a write some music for Basie. You know, I don’t him after about two months or so of working year or so or two earlier in Harrisburg. He and know if it was Frank who asked me first or with Elvin. When I called him his wife Alice Jymie Merritt were the only two people who Elvin, but it was one of them. Now that I think told me he was sleeping, and he died that Sun- knew me at Beefsteak Charlie’s place. The re- about it, it could’ve been Frank who asked me. I day. That was on a Saturday and he died that sponse there was so favorable. But I had to get a said sure, of course, I’d be glad to. I quit my day Sunday. So from what I understand, he had been day job here because I still had a responsibility job before I even knew for certain I had the gig in the club to see Elvin about three weeks before with my family. I used to go to work everyday with Elvin. But, then I started working with I started working there. I never saw him again and hang out until three or four in the morning. Elvin. after the time I saw him in front of his mother’s I’d get up at seven to go to work—four or five (Continued on page 34)

To Advertise CALL: 215-887-8880 May-June 2017  Jazz Inside Magazine  www.JazzInsideMagazine.com 33 tice. You make sure you have all your stuff to- find something else. How dare you play the licks SonnyJoseph FortuneJarman gether. You make sure you’re alert enough to that you played last night? That’s the reason respond. why the music is in the trouble it’s in—because that’s not an easy thing to come to. (Continued from page 33) JI: I agree with you. It’s like this conversation. We both are interested in this music and the fact JI: What struck me about the players I started house to tell him I was thinking about going to that we both know how to speak English repre- out listening to was that each one was recogniza- New York. sents some common ground that enables it to bly different. Players did not want to sound like occur. I didn’t pre-script what we might say, someone else. In today’s institutionalization of JI: What lead to your association with Mongo other than writing a few questions that would be jazz, it appears that the opposite is true. Santamaria? guidelines, and you had no idea what I was go- ing to say. SF: That’s true. I’m from the era and on the tail- SF: That was because of some friends in Phila- end of the era of sounding like somebody else delphia. We had played music together before— SF: Right. And I have to respond to this. Boy, was a no-no. I often tell people that if Sonny Dot and Andy Aaron. I think they had recom- that’s what this music is. That’s why I tell you Stitt was alive today, there wouldn’t be enough mended me because there was an opening or man I love this music. I really do. banks for him to keep his money in—for all the something. I think that’s how that all came about. I went and auditioned with Mongo and I started working. I also was at a place called The Last Way Out. We used to do something be- “I know I have a vocabulary that I try to stay tween shows or between sets rather. There was a percussion ensemble. It consisted of abut seven away from—because this music doesn’t or eight people. We used to fuse the two bands together. The Afro-Cuban ensemble might have necessarily want you to pronounce your had a couple of dancers a couple of times. So it was known that I had a kind of feeling for Afro vocabulary. This music doesn’t ask for that. Cuban music. From a distance I didn’t really know that much about it other than it was some- thing I could identify with. This music asks for what is your spontaneity

JI: How did your experience with Mongo help in this moment. What are you going to do on you expand your artistic perspective? this tune tonight? I know you played it the SF: I definitely feel that working with him gave me the opportunity to be exposed to some night before last so, what are you going rhythms that were out of the ordinary, in terms of where I was going with the jazz pursuit. to do on this tune tonight?” There was Afro-Cuban music in Jazz but not to the degree that Mongo’s music entailed. That was a whole different culture, a whole different JI: It’s always fresh. saxophone that he played. People used to say, emphasis on music as far as how I saw things at “yeah but he sounds like Charlie Parker.” People that time. That was really a great gig. Mongo SF: Yes indeed Jack and if it isn’t, it’s because used to say Sonny’s playing Bird. Man, Sonny was an incredible cat, a heck of an employer—a you’re stale. You know I mean? It asks all you Stitt was playing so much saxophone. I listen to professional cat and a very gracious cat. got, and bring some on if you got it. That’s what him now and say, God. But like you said, be- I got from Coltrane. That was the thing that real- cause the music has been institutionalized and SF: I know I have a vocabulary that I try to stay ly stuck with me about him. Certainly there was people are learning from another perspective, away from—because this music doesn’t neces- a vocabulary. There was an “OK this is Col- originality is hard to hold on to. In the era that I sarily want you to pronounce your vocabulary. trane.” But there was, within that zone of “this is came along, it was about trying to find your own This music doesn’t ask for that. This music asks John,” - there was always some other stuff. I’ve voice. That’s one of the reason’s I continue to for what is your spontaneity in this moment. certainly tried to embrace that myself. I’m look- play alto, even being influenced by Trane. For What are you going to do on this tune tonight? I ing for other stuff. I’m looking for the challenge me that’s a means of [maintaining] my own know you played it the night before last so, what of what this music is about. identity. People say things to me like you play are you going to do on this tune tonight? Be alto like a tenor. Or your alto sounds like a ten- careful not to sound tonight like you did last JI: When we start out, it is about the notes and or. Maybe it’s the influence of the sound of the night. What are you going to do tonight? So, the chords and so on. After that seeps into your horn. I more or less try to carry that over to the how do you get there? How do you make all of subconscious, it’s really about the energy and alto—where I hear the alto not as much on the that happen? You try to stay in shape. You prac- trying to make something meaningful happen on high end as on the low end. That may be due to the spot. As you said, each night its got to be the fact of being influenced by the people that I

different. Because you might be playing with the mentioned. same players in the same room, in the same key, “”A man’s character may at the same tempo. If everybody is sensitive, it’s JI: You played briefly with Kenny and tenor going to be different. saxophonist in ’s sextet. be learned from the adjectives What was that like? which he habitually uses SF: Absolutely. And you’re hoping the members in conversation.” around you feel that way about it. Everybody’s SF: That was about five or six months of damn trying to expand. One of the things that really is near every night. Buddy would go find gigs

a turn-on in this music, is the fact that you got to (Continued on page 36) - Mark Twain

34 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 35 this?” Sonny Fortune JI: What kind of music were you playing with your own band at that point at The Vanguard? JI: The music wasn’t harmonically difficult. Songs from the Awakening ? (Continued from page 34) SF: Right. It was music that I was trying to get a SF: No. We hadn’t gotten there. I hadn’t really handle on. He was a cat that I had so much re- when we were off. We’d work six nights at his been working in New York that much as a band spect for. I saw Miles when Trane and Miles place and he would find gigs on the night off. leader around 1973. I didn’t have a book. I may were a quintet. Then I saw Miles when Trane We worked all time. It was my only time in New have had a couple of tunes, or was trying to put and Cannonball were a sextet. He’d been one York working at one place for that length of some stuff together. I’m one of the few guys more of those guys who convinced me that this time. I definitely walked away with a whole who walks around with a book now. I probably is the way this stuff is supposed to go. different point of view about Buddy Rich. Con- was throwing some stuff together—some jazz trary to what people may have heard or thought, standards and other tunes that we were playing. I JI: Do you remember any words of encourage- he basically was a cat that, all he wanted to do remember Max Gordon coming up to me one ment that you have received from influential was play those drums. Buddy would play forev- night in the club. He said “Don’t worry Sonny. I artists? er. He took off one night to do the Johnny Car- like you, I like you don’t worry I’m going to son show. He asked me to get a drummer, and I keep bringing you back here.” And he did. But SF: I think one of the things that may have kind got Freddie Waits. He went out to California, the last night that I was there, Miles came up and of helped me a lot was my appearance of confi- tape the show, came back the following night asked me if I wanted to join his band. I went in dence. I used to look and act like “I got it”— and was back at those drums. He played all the that direction. That was definitely a different even when I felt like I didn’t have it. I don’t time. He was from the Basie, Ellington school direction but... recall people saying too much to me. I’m very

“In the era that I came along, it was about trying to find your own voice. That’s one of the reason’s I continue to play alto, even being influenced by Trane. For me that’s a means of [maintaining] my own identity. People say things to me like you play alto like a tenor. Or your alto sounds like a tenor. Maybe it’s the influence of the sound of the horn.” where those cats got to work all the time. They hard on myself. You’ll never hear me say some- just can’t sit around and not work. And Buddy JI: Was it a shock to your system? thing as simple as “how do I sound?” I’ve al- had to work all the time. He had to play those ways felt like if I can’t hear myself, then I’m in drums all the time. It was a great experience. It SF: Yeah, it was kind of off from where I want- real trouble. I have had with Coltrane or Sonny also triggered my jumping off. I was working ed to go. I felt like working with Miles is my Rollins, Miles or Frank Foster. I’m mentioning with Buddy. Max Gordon at The Vanguard ask honor. So I went on in there and did the best I these people because these are horn players. I me if I wanted to bring a band into The Van- could with that. We did about four or five al- never asked them, “how do you do this?” or guard. We were just getting ready to go on the bums. The Japanese recordings got good re- whatever, because I always felt like, I can figure road. I never went on the road with Buddy. I views. this out. It doesn’t seem to be something as sim- never experienced the rumors about Buddy. In ple as: well, get up tomorrow morning, and turn the situation that I was with him, in his club, it JI: What were some he challenges you experi- to the east, and do fifty push ups—and you’ll was an all star band. I ended up taking off. I had enced when you were with Miles band? have it. People will say stuff to you like “man taken a band into the Vanguard and the last you got to practice.” Hey, I already know about night, Miles asked me to join his band. That’s SF: The challenge for me was trying to figure that one. But that’s the truth. That is the truth. So how I went with Miles. out how to fit. It was an amplified band and I as an end result, I never heard much more than hadn’t played in a band with that kind of vol- that. You know you got to practice. John ume. It was an electric band. At times I used to [Coltrane] kind of said that without giving it as feel like playing an acoustic instrument, I felt advice. John used to practice all the time. I felt

kind of awkward. When I first started out, I had from seeing him, and knowing his attitude, that

a wah-wah pedal. [laughs] Later on, Miles said made it somewhat clear in terms of “here’s what “Never be in a hurry. he didn’t want me to play no wah-wah. And I I have to do, and how I get there. And I tell you Do everything quietly and said well Miles you got a wah-wah why can’t I man, as long as I’ve been playing, I’ve only in a calm spirit. Do not lose have a wah-wah? He said he wanted to hear my arrived in the past five, six seven years or less, your inner peace for anything sound. But I was actually getting something at a comfortable place with myself. I have ar- going on that wah-wah, that’s why he didn’t rived at a place where I’m playing better now whatsoever, even if your whole want me to play it. Even though he had an than I’ve played all my life.

world seems upset.” acoustic instrument, he had it hooked up into his

wah-wah. So it was a band that was working off

of sound effects. Being an acoustic player, there    - Saint Francis de Sales were times when I felt like, “where can I go with

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