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MatthewMatthew ShippShipp Dizzy’s Club, February 25

JoeJoe MagnarelliMagnarelli Small’s, February 17

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Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) January-February 2019 – Volume 9, Number 10

Cover Photo of Jimmy Cobb and photo at right of Buster Williams (left) and Jimmy Cobb (right) By Eric Nemeyer

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

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CONTENTS INTERVIEWSINTERVIEWS 28 Bobby Broom Visit these websites: CLUBS, CONCERTS, EVENTS 4 Matthew Shipp 36 Dianne Reeves JazzStandard.com 13 Calendar of Events 8 Joe Magnarelli Jazz.org 18 Clubs & Venue Listings 20 Idris Ackamoor by Ken Weiss JJBabbitt.com MaxwellDrums.com

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because it is probably a little easier to copy it in some ways. But it is as idiosyncratic. Actually that effect can never ever, ever be duplicated—because Matthew Shipp he’s not really playing bebop. He’s playing brain- waves on the piano and it just happens to go “In And Out Of The Moment” through a period that was called bebop. It’s really it’s own world. So Monk and Bud Powell were the By Eric Nemeyer people I really idolized. Then I really idolized JI: What kinds of music were you working on Duke Ellington’s piano playing. I also really ad- JI: Some artists have mentioned that rather than when you were searching for your path? mired Lennie Tristano, and Bill Evans to some prepare for a moment, they prepare for being in the degree. I knew that McCoy Tyner was another moment. MS: I think as a teen I was interested in what any person, because I was also into the Coltrane uni- young jazz musician would have been interested verse. But, I knew that I didn’t want to be a MS: Well, I prepare for being out of the moment. in. McCoy Tyner type of player. I didn’t want to end [laughs] In a sense, I like to think of the self of As a pianist, you have the three post-Miles [Davis] up getting a gig with Pharaoh Sanders. I really myself as always just outside of even the precincts pianists: Herbie [Hancock], Chick [Corea], and didn’t want to be in the Herbie-Chick-Keith post- of my body, and the performance, and any of this Keith [Jarrett] - that paradigm. I wasn’t interested Miles paradigm. There wasn’t anything outside of that constitutes the jazz world—or this world in in it per se. I knew it was there. I actually look at that. There are models like Andrew Hill and Cecil general. Maybe on a circle above that—that could that paradigm as problematic. Taylor—who are other iconoclastic players, who create circles that come down through space time. have gone their own way. But I knew that if I was JI: Why is that? seen in that lineage, also, that that’s a prison. So I JI: There are certain strictures and structures that guess I really just wanted to keep putting a lot of exist in the forms, a series of chord changes, har- MS: When you’re a teenager you’re just gathering ideas into the hopper of the mind — but at the monic, melodic elements of the composition. materials and you know you want to get some- same time trying to discover what makes me tick, where, but you don’t really know. You’re trying to which is an extra-musical thing that has nothing to MS: I try to melt all the materials down. On one gather a lot of experiences and hoping that it will do with music. Finding out what makes you tick— level, it all comes from one continuum. There’s come together in a way that will thrust you some- that’s your world view, your way of seeing things. one where—and you’re not exactly sure what that And, you hope that there is some intersection be- thing that holds all musical space-time together, or “where” is...because that “where” is a process, and tween your world view, your own electromagnetic space-time in general—especially if you think of the end point is part of the process. You don’t mind field, and the actual materials of music. the Universe as coming out of the big bang. It’s all know where it’s going to be. I did know that I coming out of the dimensionalist point. If you’re wanted to have my own universe—and walk in my JI: Beyond whatever the approach to music and the musical vocabulary is, those players involved in the aforementioned paradigm that you refer- enced have been able to connect with audiences. “I wanted to be a musician and also How has the consideration of connecting with an audience influenced your approach, if at all? wanted to have an original style on MS: First of all, they played with Miles Davis.

my instrument. I’ve always felt that JI: So, you’re saying that they’ve got charisma pre -sold, and doors opened by virtue of their prior to do that, you had to get to who you connection.

MS: There is no marketing thing for any young are—and then once you deal with jazz musician, nowadays, that is like that. Playing with Miles Davis was an important thing. Even who you are, you’re dealing with someone like Brad Mehldau, can’t quite get the advantage like they got the advantage. It was something that was open to those guys that just what everything is.” doesn’t exist anymore. I actually read an interview in the Chicago Tribune where Herbie Hancock trying to get back to the beginning of it all, and own universe in the way that say Thelonious Monk was talking about this - where he mentioned that you situate yourself there, then it’s all the same, did. In a similar way, I had my own idiosyncratic no matter what jazz musicians have happening, the it’s all a variation on a theme. You can melt all the way of playing the piano. This is not calculation doors are not opening for them like they were for materials down to a basic set of parameters that either. I knew this was inside of me. The whole him and his generation. The 70s was a different can then be inter-exchanged and interweaved in all Herbie, Chick and Keith thing is such a ‘70s time. Nowadays there is just so much “noise” out different types of ways, and all different types of [1970s] thing. I’m not saying that what they did is here, and so many different alternatives for people frequencies because it’s coming from the same not great. It’s just such a 70s thing. I knew in my to get information that there’s just no centralized nexus, or the same nodal point. I’ve been thinking way of wanting to step outside of that … that was way for jazz musicians to get their identity out in these terms ever since I was a teenager, and such a powerful paradigm. But, if you’re going to there. Things are dispersed. We don’t have the wanted to have an original musical identity. I bypass that in any way … that has such a powerful opportunities that people of that time had—or the wanted to be a musician and also wanted to have effect on people’s psychologies, that people are centralized image of who they were. There’s no an original style on my instrument. I’ve always felt going to have a hard time perceiving you, if you way for a musician to get that now. That’s not that to do that, you had to get to who you are—and don’t somehow come out of that. I always thought what music is about of course. But, it’s important then once you deal with who you are, you’re deal- of myself as coming out of various strands. I’ve to understand the ways of existing out here. Also, ing with what everything is. always loved Thelonious Monk and Bud Powell— (Continued on page 12)

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JoeJoe MagnarelliMagnarelli

HearHear JoeJoe atat Small’s,Small’s, FebruaryFebruary 1717

8 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 and to take this gig at the Darien Dinner Thea- ter. That was my chance to move to New INTERVIEWINTERVIEW York. So that’s what I did. My first year and a half in New York was spent playing shows. I got involved with A Chorus Line at the time, but then I had heard about a Lionel Hampton Joe Magnarelli audition through some guys I met playing these shows - other young cats who were play- “...ccc” ing jazz. I got a chance to audition for Lionel Hampton’s Big Band in ‘87, and I won the audition. I was with him for two years and Interview By Eric Nemeyer couldn’t really execute the solos at first, but I started meeting more people and getting in already had the ability to play the horn, so different bands. I played with Jack McDuff, Jazz Inside Magazine: What were your musi- playing with the Clifford Brown records kind ‘89 through ‘91. cal activities like growing up in Syracuse? of brought that ability out again. At Fredonia, when I got cut from the basketball team, I just JI: What were some of the challenges that you Joe Magnarelli: Well, my dad was a comedi- kind of switched over to trumpet. All of a sud- were experiencing? an — not a professional comedian, well, kind den, I just started playing trumpet all day. It of a professional comedian. He had a radio was too late to switch my major to music so I JM: New York was different back then be- show, did a lot of theatre around the Syracuse, just got a Criminal Justice degree and that was cause in the late 80’s, early 90’s a lot of the New York area, and he was always the come- it. I got out of school and just starting practic- masters were still alive. I used to go hear Jun- dic relief. Between the ages of 12 and 22, I ing music all the time, every day. ior Cook, Dizzy Reece and C Sharp at Au- was completely into playing competitive bas- gie’s. There were all these great older musi- ketball. I wasn’t really in the music scene, JI: What was the timeframe in terms of you cians — Woody Shaw and Freddie Hubbard although I did go to Fredonia State, which had making the transition from school to New — so I never felt like I was really getting any- a Music Program, but I wasn’t amusic major. I York? where playing in the jazz industry. I just felt wanted to play basketball but I got cut my blessed that I was there and learning and lis- junior year. I didn’t really get connected till I JM: In 1982 I graduated from Fredonia. That tening to these guys. Plus you have to remem- was about 23 or 24 — around 1984. I was to- summer of ‘82 I just practiced all day long. I ber that back then recording was not like it is tally a late bloomer, but I was always playing started to get into Fats Navarro records and now. There were companies who recorded piano. In fact, I had more professional jobs on then eventually into Blue Mitchell and Kenny musicians and you had to wait in line. Now piano when I was between the ages of 17 and Dorham records. So from 1982 to 1985 I was anybody can record a CD and put it out there 22 than I had on trumpet — but they weren’t in Syracuse. I got a day job and practiced as so that whole aspect of the business has jazz situations. They were mostly accompany- much as I could. I wasn’t interested in any- changed completely. ing singers and playing in churches. When I thing else other than practicing the trumpet - was in sixth, seventh, and eighth grade, I had a not even hanging out. I was playing gigs out- JI: What were some of the advice or words of fantastic trumpet teacher who really taught me side of Syracuse, and then in 1985 I left. wisdom that you were receiving from mentors good fundamentals on the trumpet. I really that had a significant impact on your playing practiced hard at that time, but I didn’t play much through high school or college. Maybe about my junior year in college is when I start- “I did work with a lot of great people. ed to practicing more.

JI: What was the tipping point that pushed you … back then you were just shown over the edge to pursue a professional career as a trumpet player? the way on the bandstand. I did

JM: Well, I knew I was going to be a musician of some sort. I did go one semester to Berklee lessons with various cats, but … School of Music, and while I was there I really got into Clifford Brown. I remember going to hearing these great musicians in the library at Berklee every day and just checking out all of Clifford’s recordings. And so I started learning some Clifford Brown so- person, by living in New York all los, and I think that’s when I started to realize that I really wanted to play the trumpet and these years —that’s your lesson.” pursue it after college. JI: How did things work for you when you and your life? JI: Were you transcribing those solos off the moved to New York? record? JM: Well, I’m not sure if anybody really told JM: Well, you know, I actually came down me anything, although I did work with a lot of JM: I was. I wasn’t writing them down, but I here with a job. I was playing Ain’t Misbehav- great people. I think back then you were just was learning them. I learned a couple solos, in’ on the road, and the conductor had been shown the way on the bandstand. I did lessons “It’s Crazy” and of course, “Joy Spring” and I hired to do ten weeks at the Darien Dinner with various cats, but I would just say that by played one or two others that I learned. I Theater. So he asked me to move to New York (Continued on page 10)

To Advertise CALL: 215-887-8880 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 9 self. doing my own thing here with the strings. Joe Magnarelli JI: What’s your approach to writing? JI: Talk about your new recording with hearing these great musicians in person, by strings, My Old Flame living in New York all these years - that’s JM: I wish it was more regular, but it’s more your lesson. You know, going to hear Tom of an occasional thing. I start writing stuff JM: I think the record came out very well, and Harrell at Bradley’s, maybe there was four or when I know there’s a record date coming up. I think the reason why it came out well is be- five engagements he had there and I was there cause of the experience that I gained recording probably four to five nights each engagement JI: You’ve done several recordings. Why for other labels. I kind of knew what it would — all three sets! That’s the learning experi- don’t you talk a little bit about how your first be like in the studio. Everything went very ence! Going and hearing Clifford Jordan and recording came about? smooth and everybody had a good time. I then Woody Shaw and Eddie Harris. Just in- think that shows on the recording. It was defi- credible experience! And that’s your lesson. JM: I had been hounding Gerry Teekens with nitely a learning experience though. I mean you don’t realize how much responsibility you really do have when people start calling you “if I sit home and I start practicing and need to know answers. You have to make sure all the funds are correct and everybody what I’m going to play on a particular gets what they’re supposed to. It’s a lot to do while thinking about your own playing. What I did learn is that I don’t really want to be a rec- tune and then I go to the gig, that’s ord producer for my own records. I want somebody else to produce them because I what I play on the gig. I feel hindered, want to just think about the music, but I could- n’t do that this time. I had to plan rehearsals creatively. But when I sit at the piano and get new string players and get music to people. It just got crazy, and I couldn’t really concentrate on my own playing, but luckily and play those things, and I hadn’t I’ve been practicing for this date for almost a year, so I felt like I had put in my time. Basi- played them on trumpet yet, then I go cally I learned the complete Bird with Strings record—all of Bird’s solos. I learned a whole to the gig, I feel something different bunch of Louie Armstrong’s solos too because I knew if I got Marty Sheller to write the string parts, the strings would be hip and beautiful comes out … like my creativity is on a and I just wanted to be able to go into a situation where my phrasing was cool and it felt good level, it’s in a good place.” good. Plus, I memorized all the scores. When Marty sent the scores to me, I memorized Criss Cross Records for two years. I actually them on piano so I could play the scores like I JI: Talk about some of the gigs that really had a gig with Grant Stewart, Spike Wilner was playing a tune. I felt confident going in. stood out for you with some of these great and Jimmy Lovelace on the East Side. We players. played every Thursday night and one week, JI: How does teaching impact your artistry? Gerry Teekens walked in and heard me play. JM: I think playing with Charles Davis in the The next fall he gave me a record date, which JM: I’m teaching at Rutgers and New Jersey 90’s. That was a real learning experience be- was really great—an exciting moment for me. City University. I feel like I need to practice to cause he really knew Kenny Dorham’s music I did six records for him so it worked out well. try to stay one step ahead of my students. I and also Dizzy’s music. He knew a lot of ins like teaching because it gives me reason to and outs in the music that really helped me. I JI: What kind of discoveries did you make “shed” and learn tunes and concepts. A couple worked a little bit with Louis Hayes and some about the music business and record industry of my students are really into writing tunes in gigs with Jimmy Cobb once. It’s just things as a result of your business association with odd meters, and I’ve never really been into like that where either you’re going to fold be- him? that. So I love the teaching for that reason. It cause you’re going to say, “Wow! I can never inspires me. Young kids have a lot of positive be that great.” Or you just say, like, “Wow, JM: I was so into just trying to sound good on energy and they’re dreaming about their lives man. I want to keep practicing and get better the records and do the right thing musically and you can feed off that. so I have more opportunities like these.” that I didn’t study the business as much as I should have then. Gerry wasn’t really into the JI: Talk about some of the artists you’ve been JI: How has your study and practice routine business part of it either. Gerry was more into performing with. changed over the years since you’ve been in recording good music, putting it out, and mov- New York? ing on. He didn’t really push his artists to get JM: Lately I’ve been playing a little bit with them recognized. His philosophy was, “I rec- Ralph Bowen, which is another great experi- JM: Well, I guess since I’ve been here I’ve orded you. I’m going to distribute these CDs ence for me. Living in New York at this time edited out a lot of the bullshit. I just try to all over the world, and that’s enough.” In a and being the age that I am, a lot of my peers work on the essentials. I just try to listen to way, it’s a lot better than nothing. I learned are just some of the baddest cats out there. So, certain players and the way they play and try more from the record business these last two playing with them is a beautiful thing. It’s to copy what they do and work it out for my- years—with my last record on Reservoir and (Continued on page 12)

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

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Visit JohnALewisJazz.com 11 To Advertise CALL: 215-887-8880 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com that I play, and not compromise that in any way. I Joe Magnarelli Matthew Shipp just want to find a way to make people realize that maybe they should listen to this—because it does serve some purpose within society. So I have to be (Continued from page 6) (Continued from page 10) able to sell this idea. How do you do that? That’s a the Miles Davis thing is a heavy thing. I try to matter of luck, ingenuity on my part, and my mu- exciting for me and it also keeps me focused figure out sometimes why jazz marketing has sic actually being able to reach the people— on trying to get better and trying to play on a never gotten beyond that image. It seems like it is people who then in turn will help out, and try to higher level. I sub a lot with the Village Van- going to be problematic for the music to go any- make byways out here, to find places and ways I guard Band. So, there’s learning that music, where until that image, which is restrictive, is fit within the society. Within the language of learning Thad’s music and Jim McNeely’s destroyed. Maybe we’re at the end of it because jazz—even though it’s an American music—is not music. There’s a lot of opportunity here in you have the last generation of people — people given the chance to really fit in society. New York just by hanging out with your peers. who have had significant careers, that played with The gig that changed my career and my life him, such as John Scofield, Marcus Miller … so JI: Could you talk about your association with was playing with Ray Barretto. He was really hopefully that whole thing is coming to an end. I William Parker. the first person that gave me a real jazz gig, think it has hurt the music—despite the fact that a even though it was Latin jazz. We traveled all lot of great, great music was created by it. The MS: I met him when I moved to New York in around the world playing the best venues, and mindset of that has just infested every aspect of 1984. I had heard him on records, and I knew he jazz marketing. It’s like an insidious disease. was a kindred soul who I wanted to play with. He we played our own stuff. We played my tunes, is seven or eight years older than me. He is a Robert Rodriguez’s tunes, Myron Walden’s JI: How have you experienced or bypassed the bridge between generations. I knew he had played tunes. That gig was when I thought to myself, impact that the marketplace and or peer pressure with Don Cherry. He was playing with Cecil Tay- “Yeah, I can—not only do it but I can survive can have on your creating music? lor at the time. So he was playing with a genera- in this business doing what I do…” tion older than me. He was also playing with peo- MS: I don’t listen much to my peers. For instance, ple like Billy Bang, Frank Lowe, Jameel Moon- JI: Having facility on piano is so important I know Dave Douglas well. I’ve never listened to doc—people that were peers in his age group— when you’re playing another instrument. a Dave Douglas ever. My musical personality was and me. I felt a kinship to his language. I met him very established by the time I was 22 or 23. I’m on the street when I first moved here. I just JM: Oh, yeah. Well, I find as a trumpet play- very focused in who I am and what I do, and I stopped him and talked to him, and he was very er—if I sit home and I start practicing what don’t really care what anybody else is doing. I gracious. He could have had an attitude, like “who mean, I work with a record label, so that’s kind of are you...I play with Cecil Taylor.” But he was I’m going to play on a particular tune and then a weird thing to say. I do hear a lot of things in very cool. He heard a tape of mine, and then we I go to the gig, that’s what I play on the gig. I that capacity. But, to use a post-Clinton term, I just started playing together, and we built up a feel hindered, creatively. But when I sit at the have the ability to compartmentalize [laughs]. I very close friendship and musical relationship piano and play those things, and I hadn’t don’t really listen to what other musicians are over the years. He has been one of the most im- played them on trumpet yet, then I go to the doing. I don’t care because I’m really centered in portant people in my life. gig, I feel something different comes out … what I’m doing, and I’m a centered individual. like my creativity is on a good level, it’s in a And, this business is so difficult. If critics like JI: What kinds of suggestions or advice from good place. There’s something about not something that Dave Douglas does, or Brad William Parker had your received that have made working it out on the trumpet, having it in Mehldau does, it is not going to influence me to an impact on your approach? your head and having it played out on the pi- do something like they do just because they have ano for a long time that gives it a certain had success with it. MS: When I moved to New York, I was fully formed in what I do. Not that I haven’t improved a amount of freshness that I really dig. JI: Given that you take a more abstract approach lot or changed, but I was who I was. We talked to music... more about non-musical things. The thing about JI: Tell us about your association with Marty William that is so great is that he is his own acad- Sheller who arranged the music for your al- MS: Well, I don’t take an abstract approach to emy. Even though he studied with a number of bum, My Old Flame. getting gigs [laughs] heavyweights for short periods of time—Richard Davis, Jimmy Garrison—he’s really a self-made JM: I met him about five or six years ago. I JI: Once on stage, though… Your associations musician. He really put his own information to- didn’t know much about him, but as soon as I have been with artists who are noted for more gether. He started playing as a teenager. He would met him and I played in his band, with his exploratory approaches like bassist William Par- listen to records for hours, and take a broom, hold music, his nonet music, octet music … I start- ker, Mat Maneri. How do you take that abstract it like an upright bass, and play bass lines. He ed to realize what a great writer he was, as approach and make it more accessible or other- didn’t know anything about the bass then, but he well as a great person. He was nice enough to wise make more people aware of it? was developing a kinesthetic connection between what he heard on the record and the physicality of lend me his scores to the octet music, and I MS: If you look at Monk as the model, his music it, and the mental processing of the whole thing— studied his scores. Basically I was studying was as abstract as anything. Yet, they were able to just by playing a game as a kid. To me that is so with him. So when I got this idea about doing sell the idea of Monk. He had a name, a look, a great and so profound because kids really learn a record, a string record, he was my first and way of being that all fit his music—and was able through play. He developed a concept in his head only choice. He had written the Woody Shaw to enter into the general cultural mien by virtue of about how he learned to play bass before he even version of “We Will Be Together Again” back its freshness, it’s beauty, it’s power, and the fact started studying. He’s a very deep, deep human in the 70’s, or early 80’s. That was one of the that there was a personality behind it. So some- being. I’m not going to blow him up to be a saint. first things I heard when I was young. So body like myself had to be able to do something When you get to know William, there are a lot of that’s been in my head for years. I just felt like that on some level. I’m not trying to compare intense paradoxes that make him even more inter- really lucky to know Marty at this time and myself to Monk. But, I had to be able to do some- esting. If anybody knows my discography, he’s have an opportunity to do this with him. He’s thing like that in some way. Whatever my thought been a huge part of my musical universe and my in modern society is, I have to be able to figure it universe in general. a great musician. He’s really a bad dude, man. out, so I can build a network—so I can be that within society, but stay true to the actual music      

12 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

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 Ralph Peterson’s Aggregate Prime; Dizzy’s Club, Jazz At Lincoln Tuesday, January 1 Center, 60th & Bdwy  Jonathan Barber & Vision Ahead; Jazz Standard, 116 E. 27th St.  Jimmy Heath Big Band; Blue Note, 131 W. 3rd St.  Chris Botti; Blue Note, 131 W. 3rd St. Friday, January 11 Wednesday, January 2  Hamilton de Holanda Trio; Dizzy’s Club, Jazz At Lincoln Center,  Queen Esther Sings Billie Holiday: The Lost Classics; Dizzy’s 60th & Bdwy Club, Jazz At Lincoln Center, 60th & Bdwy  Jazz At Lincoln Center Orchestra with Wynton Marsalis and the  Gretchen Parlato ‘flor’; Jazz Standard, 116 E. 27th St. National Symphony Orchestra of Romania, 8PM, Rose Theatre,  Chris Botti; Blue Note, 131 W. 3rd St. Jazz at Lincoln Center, 60th & Broadway  Bill Charlap: Portraits in Jazz – The Bill Charlap Trio featuring Peter Washington & Kenny Washington with Special Guest Tom Thursday, January 3 Harrell; Jazz Standard, 116 E. 27th St.  Jumaane Smith Presents Louis! Louis! Louis!; Dizzy’s Club, Jazz  Jimmy Heath Big Band; Blue Note, 131 W. 3rd St. At Lincoln Center, 60th & Bdwy  Gretchen Parlato ‘flor’; Jazz Standard, 116 E. 27th St.  Chris Botti; Blue Note, 131 W. 3rd St. Saturday, January 12  Igor Butman and the Moscow Jazz Orchestra; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Friday, January 4  Jazz At Lincoln Center Orchestra with Wynton Marsalis and the  Patrick Bartley: The Mighty Cannonball Adderley; Dizzy’s Club, National Symphony Orchestra of Romania, 8PM, Rose Theatre, Jazz At Lincoln Center, 60th & Bdwy Jazz at Lincoln Center, 60th & Broadway  Stefon Harris & Blackout featuring Casey Benjamin; Jazz Stand-  Bill Charlap: Portraits in Jazz – The Bill Charlap Trio featuring ard, 116 E. 27th St. Peter Washington & Kenny Washington with Special Guest  Chris Botti; Blue Note, 131 W. 3rd St. Houston Person; Jazz Standard, 116 E. 27th St.  Jimmy Heath Big Band; Blue Note, 131 W. 3rd St. Saturday, January 5  Christian Sands Quartet; Dizzy’s Club, Jazz At Lincoln Center, Sunday January 13 60th & Bdwy  Bill Charlap: Portraits in Jazz – The Bill Charlap Trio featuring  Dafnis Prieto Big Band; Jazz Standard, 116 E. 27th St. Peter Washington & Kenny Washington with Special Guest  Chris Botti; Blue Note, 131 W. 3rd St. Houston Person; Jazz Standard, 116 E. 27th St.  Jimmy Heath Big Band; Blue Note, 131 W. 3rd St. Sunday January 6  High Wire Trio featuring Christian Sands; Dizzy’s Club, Jazz At Monday, January 14 Lincoln Center, 60th & Bdwy  Ellis Marsalis Presents: Ben Patterson, Rina Yamazaki, & Isaiah  Camila Meza & The Nectar Orchestra; Jazz Standard, 116 E. J. Thompson - The Winners of the 2018 Ellis Marsalis Internation- 27th al Jazz Piano Competition; Dizzy’s Club, Jazz At Lincoln Center,  Chris Botti; Blue Note, 131 W. 3rd St. 60th & B’dwy  Mingus Orchestra: Celebrating 10 Years at Jazz Standard; Jazz Standard, 116 E. 27th St. Monday, January 7  Mingus Big Band: Celebrating 10 Years at Jazz Standard; Jazz Standard, 116 E. 27th St. Tuesday, January 15  Baylor Project; Francisco Mela’s Ancestros; Blue Note, 131 W.  André Mehmari Trio with special guest Rogerio Boccato; Dizzy’s 3rd St. Club, Jazz At Lincoln Center, 60th & Bdwy  Michael Leonhart Orchestra; Jazz Standard, 116 E. 27th St.  Eddie Palmieri; Blue Note, 131 W. 3rd St. Tuesday, January 8  Bill Charlap: Portraits in Jazz – Solo Piano; Jazz Standard, 116 E. 27th St. Wednesday, January 16  Ben Williams & Friends; Blue Note, 131 W. 3rd St.  The Oberlin Sonny Rollins Jazz Ensemble; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  E.J. Strickland Quintet: Warriors For Peace Release Party; Jazz Wednesday, January 9 Standard, 116 E. 27th St.  Corcoran Holt Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th  Eddie Palmieri; Blue Note, 131 W. 3rd St. & Bdwy  Bill Charlap: Portraits in Jazz – Bill Charlap/Jon Faddis Duo; Jazz Standard, 116 E. 27th St. Thursday, January 17  Ben Williams & Friends; Blue Note, 131 W. 3rd St.  Romero Lubambo & Rafael Piccolotto de Lima Chamber Orches- tra Project; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  George Coleman Quintet; Jazz Standard, 116 E. 27th St. Thursday, January 10  Eddie Palmieri; Blue Note, 131 W. 3rd St.  Bill Charlap: Portaits in Jazz with Sean Smith & Bill Stewart; Jazz Standard, 116 E. 27th St. (Continued on page 14)

To Advertise CALL: 215-887-8880 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 13  Vijay Iyer Trio; Jazz Standard, 116 E. 27th St. Friday, January 18 Monday, January 21  Keyon Herold; Blue Note, 131 W. 3rd St.  George Coleman Quintet; Jazz Standard, 116 E. 27th St.  Jazz at Lincoln Center Youth Orchestra; Dizzy’s Club, Jazz At  Eddie Palmieri; Blue Note, 131 W. 3rd St. Lincoln Center, 60th & Bdwy  Mingus Big Band: Celebrating 10 Years at Jazz Standard; Jazz Thursday, January 24 Standard, 116 E. 27th St.  The Cookers; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Saturday, January 19  Keyon Herold; Blue Note, 131 W. 3rd St.  Life of A Legend: Carmen De LaVallade, Dancer, actor, choreog-  George Coleman Quintet; Jazz Standard, 116 E. 27th St. rapher, and 2017 Kennedy Center Honors recipient. Carmen de  Eddie Palmieri; Blue Note, 131 W. 3rd St. Tuesday, January 22 Lavallade celebrates her love for jazz in this special Life of a  Tatiana Eva-Marie: Django Birthday Celebration; Dizzy’s Club, Legend performance; 7PM, Appel Room, Jazz at Lincoln Center, Jazz At Lincoln Center, 60th & Bdwy 60th & Broadway Sunday January 20  Vijay Iyer Trio; Jazz Standard, 116 E. 27th St.  Vijay Iyer Sextet; Jazz Standard, 116 E. 27th St.  George Coleman Quintet; Jazz Standard, 116 E. 27th St.  Keyon Herold; Blue Note, 131 W. 3rd St.  Eddie Palmieri; Blue Note, 131 W. 3rd St. Wednesday, January 23 Friday, January 25  Sharón Clark Quartet; Dizzy’s Club, Jazz At Lincoln Center, 60th  Vijay Iyer Sextet; Jazz Standard, 116 E. 27th St. & Bdwy  Life of A Legend: Carmen De LaVallade, Dancer, actor, choreographer, and 2017 Kennedy Center Honors recipient. Carmen de Lavallade celebrates her love for jazz in this special Life of a Legend performance; 7PM, Appel Room, Jazz at Lincoln Center, 60th & Broadway

Saturday, January 26  Vijay Iyer Sextet; Jazz Standard, 116 E. 27th St.  Wadada Leo Smith: America’s National Parks, 7PM, 9:30 PM, Appel Room, Jazz at Lincoln Center, 60th & Broadway

Sunday January 27  Vijay Iyer’s Ritual Ensemble; Jazz Standard, 116 E. 27th St.

Monday, January 28  Monday Nights with WBGO: Valery Ponomarev Jazz Big Band; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Mingus Big Band: Celebrating 10 Years at Jazz Standard; Jazz Standard, 116 E. 27th St.

Tuesday, January 29  Andy Milne & Unison featuring La Tanya Hall; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Nabaté Isles’ Eclectic Excursions; Jazz Standard, 116 E. 27th

Wednesday, January 30  Shenel Johns Sings Dianne Reeves, Diana Ross, and Dinah Shore; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Pat Bianchi Quartet; Jazz Standard, 116 E. 27th St.

Thursday, January 31  Songs of Freedom with music direction by Ulysses Owens, Jr. featuring René Marie, Theo Bleckmann, & Alicia Olatuja; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Jimmy Cobb’s 90th Birthday Celebration; Jazz Standard, 116 E.

Friday, February 1  Songs Of Freedom With Ulysses Owens, Jr. & Friends; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Jimmy Cobb’s 90th Birthday Celebration; Jazz Standard, 116 E.

Saturday, February 2  Songs Of Freedom With Ulysses Owens, Jr. & Friends; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Jimmy Cobb’s 90th Birthday Celebration; Jazz Standard, 116 E.

Sunday, February 3  Songs Of Freedom With Ulysses Owens, Jr. & Friends; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

Monday, February 4  Joe Fiedler’s Open Sesame; Dizzy’s Club, Jazz At Lincoln Cen- ter, 60th & Bdwy  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.

Tuesday, February 5  Joel Ross Good Vibes; Dizzy’s, Jazz At Lincoln Ctr, 60th & Bdwy (Continued on page 16)

14 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

GeorgeGeorge CablesCables Appearing at Village Vanguard, February 5-10

To Advertise CALL: 215-887-8880 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 15  George Cables Trio - George Cables, Piano; Dezron Douglas,  Thundercat; Blue Note, 131 W. 3rd St. Bass; Victor Lewis, Drums; Village Vanguard 178 7th Ave S. Thursday, February 14 Wednesday, February 6  Valentine’s Day: Kim Nalley Sings Love Songs; Dizzy’s Club,  Troy Roberts Organ Trio With Special Guest Chris Potter; Dizzy’s Jazz At Lincoln Center, 60th & Bdwy Club, Jazz At Lincoln Center, 60th & Bdwy  Double Date With Tierney & Kate: From Django To Joni; Jazz  George Cables Trio - George Cables, Piano; Dezron Douglas, Standard, 116 E. 27th St. Bass; Victor Lewis, Drums; Village Vanguard 178 7th Ave S.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Phil Stewart Quartet; Chris Byars Original Sextet; Jonathan Thomas Trio “After-hours”; Small’s, 183 W. 10th St. Thursday, February 7  Catherine Russell and Her Septet: Alone Together; Birdland, 315  Freddy Cole Quintet: Songs For Lovers; Dizzy’s Club, Jazz At W. 44th St. Lincoln Center, 60th & Bdwy  Thundercat; Blue Note, 131 W. 3rd St.  George Cables Trio - George Cables, Piano; Dezron Douglas, Bass; Victor Lewis, Drums; Village Vanguard 178 7th Ave S. Friday, February 15  Kim Nalley: Love Songs; Dizzy’s Club, Jazz At Lincoln Center, Friday, February 8 60th & Bdwy  Freddy Cole Quintet: Songs For Lovers; Dizzy’s Club, Jazz At  Dianne Reeves, 2018 NEA Jazz Master, Valentine’s Day week- Lincoln Center, 60th & Bdwy end, 8PM, Rose Theatre, Jazz at Lincoln Center, 60th & Bdway  The Clayton Brothers Quintet; Jazz Standard, 116 E. 27th St.  Mingus Big Band: Celebrating 10 Years At Jazz Standard; Jazz  George Cables Trio - George Cables, Piano; Dezron Douglas, Standard, 116 E. 27th St. Bass; Victor Lewis, Drums; Village Vanguard 178 7th Ave S.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  John Pizzarelli Trio; Birdland, 315 W. 44th St.  Michael Weiss Quartet; Alexander Claffy Quintet; JD Allen “After- hours”; Small’s, 183 W. 10th St. Saturday, February 9  Catherine Russell and Her Septet: Alone Together; Birdland, 315 W. 44th St.  Freddy Cole Quintet: Songs For Lovers; Dizzy’s Club, Jazz At  Thundercat; Blue Note, 131 W. 3rd St. Lincoln Center, 60th & Bdwy

 The Clayton Brothers Quintet; Jazz Standard, 116 E. 27th St.  George Cables Trio - George Cables, Piano; Dezron Douglas, Saturday, February 16 Bass; Victor Lewis, Drums; Village Vanguard 178 7th Ave S.  Kim Nalley: Love Songs; Dizzy’s Club, Jazz At Lincoln Center,  Smalls Showcase: Dave Meder Trio; Adam Birnbaum Quartet; 60th & Bdwy Darrell Green Quintet; Philip Harper Quintet; Small’s, 183 W. 10th  Dianne Reeves, 2018 NEA Jazz Master, Valentine’s Day week- St.; Small’s, 183 W. 10th St. end, 8PM, Rose Theatre, Jazz at Lincoln Center, 60th & Bdway  John Pizzarelli Trio; Birdland, 315 W. 44th St.  Mingus Big Band: Celebrating 10 Years At Jazz Standard; Jazz  Ron Carter’s Blue Note Winter Residency; Gideon King & City Standard, 116 E. 27th St. Blog; Blue Note, 131 W. 3rd St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Smalls Showcase: Dean Tsur Saxophone Choir; Michael Weiss Sunday, February 10 Quartet; Alexander Claffy Quintet; Brooklyn Circle; Small’s, 183 W. 10th St.  Freddy Cole Quintet: Songs For Lovers; Dizzy’s Club, Jazz At  Catherine Russell and Her Septet: Alone Together; Birdland, 315 Lincoln Center, 60th & Bdwy W. 44th St.  Jazz For Kids; The Clayton Brothers Quintet; Jazz Standard, 116  Thundercat; Blue Note, 131 W. 3rd St. E. 27th St.

 George Cables Trio - George Cables, Piano; Dezron Douglas, Bass; Victor Lewis, Drums; Village Vanguard 178 7th Ave S. Sunday, February 17  Scott Reeves Jazz Orchestra; The Afro Latin Jazz Orchestra;  Kim Nalley: Love Songs; Dizzy’s Club, Jazz At Lincoln Center, Birdland, 315 W. 44th St. 60th & Bdwy  Ron Carter’s Blue Note Winter Residency; Blue Note, 131 W. 3rd  Jazz For Kids; Mingus Big Band: Celebrating 10 Years At Jazz Standard; Jazz Standard, 116 E. 27th St. Monday, February 11  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.

 Vocal Masterclass with Marion Cowings; Emanuele Tozzi Quintet;  Brussels Jazz Orchestra & Tutu Puoane: We Have A Dream; Bill Goodwin Trio; Joe Magnarelli Group; Ben Zweig Trio “After- Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy hours”; Small’s, 183 W. 10th St.  Mingus Big Band: Celebrating 10 Years At Jazz Standard; Jazz  Birdland Latin Jazz Orchestra; Birdland, 315 W. 44th St. Standard, 116 E. 27th St.  Thundercat; Blue Note, 131 W. 3rd St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.

 Ronnie Burrage & Holographic Principle; Jonathan Barber Quar- tet; Jon Elbaz Trio “After-hours”; Small’s, 183 W. 10th St. Monday, February 18  Lorna Dallas; Birdland, 315 W. 44th St.  Juilliard Jazz Ensembles; Dizzy’s Club, Jazz At Lincoln Center,  Wallace Roney Quintet - February Residency; Blue Note, 131 W. 60th & Bdwy 3rd St.

 Mingus Orchestra: Celebrating 10 Years At Jazz Standard; Jazz Standard, 116 E. 27th St. Tuesday, February 12  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Ari Hoenig Trio; Joel Frahm Trio; Sean Mason Trio “After-hours”;  Brussels Jazz Orchestra & Tutu Puoane: We Have A Dream; Small’s, 183 W. 10th St. Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Judi Silvano and The Zephyr Band; Birdland, 315 W. 44th St.  Michael Leonhart Orchestra “Valentine’s Day Show: Movie Love Themes”; Jazz Standard, 116 E. 27th St.  Wallace Roney Quintet - February Residency; Blue Note, 131 W. 3rd St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.

 Catherine Russell and Her Septet, 315 W. 44th St.

Jazz Lovers’  Thundercat; Blue Note, 131 W. 3rd St. Tuesday, February 19  John Chin Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Wednesday, February 13 Bdwy  Godwin Louis; Jazz Standard, 116 E. 27th St.  Brian Charette: Music For Organ Sextette; Dizzy’s Club, Jazz At  Steve Nelson Quartet; Frank Lacy’s Tromboniverse; Malik Lincoln Center, 60th & Bdwy McLaurine Trio “After-hours”; Small’s, 183 W. 10th St.  Double Date With Tierney & Kate: From Django To Joni; Jazz Lifetime Collection Lifetime  Saxophone Summit with Joe Lovano, Dave Liebman, and Greg Standard, 116 E. 27th St. Osby; Birdland, 315 W. 44th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  David Sanborn; Blue Note, 131 W. 3rd St.  John Stetch & Vulneraville; Dave Pietro Quintet; Davis Whitfield

Trio “After-hours”; Small’s, 183 W. 10th St. JazzMusicDeals.com JazzMusicDeals.com  Catherine Russell; Birdland, 315 W. 44th St. (Continued on page 17)

16 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880  Warren Wolf Quartet Featuring Joe Locke; Dizzy’s Club, Jazz At  Wallace Roney Quintet - February Residency; Blue Note, 131 W. Lincoln Center, 60th & Bdwy 3rd St.

 Spanish Harlem Orchestra; Jazz Standard, 116 E. 27th St.

 Dayna Stephens Quartet - Dayna Stephens, Saxophone; Aaron “Some people’s idea of Parks, Piano; Ben Street, Bass; Greg Hutchinson, Drums; Village Tuesday, February 26 free speech is that they are free Vanguard 178 7th Ave S.  Allison Miller’s Boom Tic Boom; Dizzy’s Club, Jazz At Lincoln  Saxophone Summit with Joe Lovano, Dave Liebman, and Greg Center, 60th & Bdwy to say what they like, but if anyone Osby; Birdland, 315 W. 44th St.  Steve Slagle’s A.M. Band; Jazz Standard, 116 E. 27th St. says anything back that  David Sanborn; Blue Note, 131 W. 3rd St.  Terell Stafford Quintet - Terell Stafford, Trumpet; Tim Warfield, Saxophone; Bruce Barth, Piano; Peter Washington, Bass; Billy is an outrage.” Williams, Drums; Village Vanguard 178 7th Ave S. Saturday, February 23  Eric Harland’s Voyager; Blue Note, 131 W. 3rd St.  Warren Wolf Quartet Featuring Joe Locke; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy - Winston Churchill  Spanish Harlem Orchestra; Jazz Standard, 116 E. 27th St. Wednesday, February 27  Saxophone Summit with Joe Lovano, Dave Liebman, and Greg  Black Art Jazz Collective; Dizzy’s Club, Jazz At Lincoln Center, Osby; Birdland, 315 W. 44th St. 60th & Bdwy Wednesday, February 20  David Sanborn; Blue Note, 131 W. 3rd St.  Joey Defrancesco Trio With Troy Roberts And Billy Hart; Jazz Standard, 116 E. 27th St.  Bobby Broom Organi-Sation: Soul Fingers; Dizzy’s Club, Jazz At  Terell Stafford Quintet - Terell Stafford, Trumpet; Tim Warfield, Lincoln Center, 60th & Bdwy Sunday, February 24 Saxophone; Bruce Barth, Piano; Peter Washington, Bass; Billy  An Evening With Branford Marsalis; Jazz Standard, 116 E. 27th  Warren Wolf Quartet Featuring Joe Locke; Dizzy’s Club, Jazz At Williams, Drums; Village Vanguard 178 7th Ave S.  Dayna Stephens Quartet - Dayna Stephens, Saxophone; Aaron Lincoln Center, 60th & Bdwy  Michael Stephans: Quartette Oblique; Amos Hoffman Trio; Davis Parks, Piano; Ben Street, Bass; Greg Hutchinson, Drums; Village Whitfield Trio “After-hours”; Small’s, 183 W. 10th St. Vanguard 178 7th Ave S.  Jazz For Kids; Spanish Harlem Orchestra; Jazz Standard, 116 E. 27th St.  Cyrille Aimee: A Sondheim Adventure; Birdland, 315 W. 44th St.  Rob Bargad’s Reunion 7tet; Harold Mabern Trio; Micah Thomas  Eric Harland’s Voyager; Blue Note, 131 W. 3rd St. Trio “After-hours”; Small’s, 183 W. 10th St.  Dayna Stephens Quartet - Dayna Stephens, Saxophone; Aaron Parks, Piano; Ben Street, Bass; Greg Hutchinson, Drums; Village  Saxophone Summit with Joe Lovano, Dave Liebman, and Greg Vanguard 178 7th Ave S. Osby; Birdland, 315 W. 44th St.  Emilio Solla Tango Jazz Orchestra; The Ktet; The Afro Latin Jazz Thursday, February 28  David Sanborn; Blue Note, 131 W. 3rd St. Orchestra; Birdland, 315 W. 44th St.  Black Art Jazz Collective; Dizzy’s Club, Jazz At Lincoln Center,

 David Sanborn; Blue Note, 131 W. 3rd St. 60th & Bdwy Thursday, February 21  Alfredo Rodriguez/Pedrito Martinez Duo; Jazz Standard, 116 E. 27th St.  David Binney’s Angelino Quartet; Dizzy’s Club, Jazz At Lincoln Monday, February 25  Terell Stafford Quintet - Terell Stafford, Trumpet; Tim Warfield, Center, 60th & Bdwy  Matthew Shipp Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Saxophone; Bruce Barth, Piano; Peter Washington, Bass; Billy  Spanish Harlem Orchestra; Jazz Standard, 116 E. 27th St. Bdwy Williams, Drums; Village Vanguard 178 7th Ave S.  Dayna Stephens Quartet - Dayna Stephens, Saxophone; Aaron  Mingus Big Band: Celebrating 10 Years At Jazz Standard; Jazz  Cyrille Aimee: A Sondheim Adventure; Birdland, 315 W. 44th St. Parks, Piano; Ben Street, Bass; Greg Hutchinson, Drums; Village Standard, 116 E. 27th St.  Cory Henry Birthday Residency: The Revival; Blue Note, 131 W. Vanguard 178 7th Ave S.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. 3rd St.  David Sanborn; Blue Note, 131 W. 3rd St.

 Lucas Pino Nonet; Rodney Green Group; Jon Elbaz Trio “After- hours”; Small’s, 183 W. 10th St.  Friday, February 22  Victoria Shaw; Birdland, 315 W. 44th St.

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To Advertise CALL: 215-887-8880 January-February 2019  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- Beacon Theatre, 74th St. & Broadway, 212-496-7070 Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, 718- 3143. maureensjazzcellar.com Beco Bar, 45 Richardson, Brooklyn. 718-599-1645. 463-7700 x222, flushingtownhall.org Maxwell’s, 1039 Washington St, Hoboken, NJ, 201-653-1703 www.becobar.com For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427 McCarter Theater, 91 University Pl., Princeton, 609-258-2787, Bickford Theatre, on Columbia Turnpike @ Normandy Heights Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, galapago- mccarter.org Road, east of downtown Morristown. 973-744-2600 sartspace.com Merkin Concert Hall, Kaufman Center, 129 W. 67th St., 212-501 Birdland, 315 W. 44th, 212-581-3080 Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and -3330, ekcc.org/merkin.htm Blue Note, 131 W. 3rd, 212-475-8592, bluenotejazz.com Bleecker), 212-645-0600, garagerest.com Metropolitan Room, 34 West 22nd St NY, NY 10012, 212-206- Bourbon St Bar and Grille, 346 W. 46th St, NY, 10036, Garden Café, 4961 Broadway, by 207th St., New York, 10034, 0440 212-245-2030, [email protected] 212-544-9480 Mezzrow, 163 West 10th Street, Basement, New York, NY Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, Gin Fizz, 308 Lenox Ave, 2nd floor. (212) 289-2220. 10014. 646-476-4346. www.mezzrow.com bowerypoetry.com www.ginfizzharlem.com Minton’s, 206 W 118th St., 212-243-2222, mintonsharlem.com BRIC House, 647 Fulton St. Brooklyn, NY 11217, 718-683-5600, Ginny’s Supper Club, 310 Malcolm X Boulevard Manhattan, NY Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933 http://bricartsmedia.org 10027, 212-792-9001, http://redroosterharlem.com/ginnys/ MIST Harlem, 46 W. 116th St., myimagestudios.com Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 445-2362, Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area), NY, 718-230-2100, brooklynpubliclibrary.org glenrockinn.com 516-328-2233, mixednotescafe.com Café Carlyle, 35 E. 76th St., 212-570-7189, thecarlyle.com GoodRoom, 98 Meserole, Bklyn, 718-349-2373, goodroombk.com. Montauk Club, 25 8th Ave., Brooklyn, 718-638-0800, Café Loup, 105 W. 13th St. (West Village) , between Sixth and Green Growler, 368 S, Riverside Ave., Croton-on-Hudson NY. montaukclub.com Seventh Aves., 212-255-4746 914-862-0961. www.thegreengrowler.com Moscow 57, 168½ Delancey. 212-260-5775. moscow57.com Café St. Bart’s, 109 E. 50th St, 212-888-2664, cafestbarts.com Greenwich Village Bistro, 13 Carmine St., 212-206-9777, green- Muchmore’s, 2 Havemeyer St., Brooklyn. 718-576-3222. nd Cafe Noctambulo, 178 2 Ave. 212-995-0900. cafenoctam- wichvillagebistro.com www.muchmoresnyc.com bulo.com Harlem on 5th, 2150 5th Avenue. 212-234-5600. Mundo, 37-06 36th St., Queens. mundony.com Caffe Vivaldi, 32 Jones St, NYC; caffevivaldi.com www.harlemonfifth.com Museum of the City of New York, 1220 Fifth Ave. (between Candlelight Lounge, 24 Passaic St, Trenton. 609-695-9612. Harlem Tea Room, 1793A Madison Ave., 212-348-3471, har- 103rd & 104th St.), 212-534-1672, mcny.org Carnegie Hall, 7th Av & 57th, 212-247-7800, carnegiehall.org lemtearoom.com Musicians’ Local 802, 332 W. 48th, 718-468-7376 Cassandra’s Jazz, 2256 7th Avenue. 917-435-2250. cassan- Hat City Kitchen, 459 Valley St, Orange. 862-252-9147. National Sawdust, 80 N. 6th St., Brooklyn. 646-779-8455. drasjazz.com hatcitykitchen.com www.nationalsawdust.org Chico’s House Of Jazz, In Shoppes at the Arcade, 631 Lake Ave., Havana Central West End, 2911 Broadway/114th St), NYC, Newark Museum, 49 Washington St, Newark, New Jersey 07102- Asbury Park, 732-774-5299 212-662-8830, havanacentral.com 3176, 973-596-6550, newarkmuseum.org Highline Ballroom, 431 West 16th St (between 9th & 10th Ave. New Jersey Performing Arts Center, 1 Center St., Newark, NJ, highlineballroom.com, 212-414-4314. 07102, 973-642-8989, njpac.org Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525, New Leaf Restaurant, 1 Margaret Corbin Dr., Ft. Tryon Park. 212- 609-466-9889, hopewellvalleybistro.com 568-5323. newleafrestaurant.com Hudson Room, 27 S. Division St., Peekskill NY. 914-788-FOOD. New School Performance Space, 55 W. 13th St., 5th Floor (betw hudsonroom.com 5th & 6th Ave.), 212-229-5896, newschool.edu. Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ New School University-Tishman Auditorium, 66 W. 12th St., 1st “A system of morality IBeam Music Studio, 168 7th St., Brooklyn, ibeambrooklyn.com Floor, Room 106, 212-229-5488, newschool.edu INC American Bar & Kitchen, 302 George St., New Brunswick New York City Baha’i Center, 53 E. 11th St. (betw Broadway & which is based on relative NJ. (732) 640-0553. www.increstaurant.com University), 212-222-5159, bahainyc.org emotional values is a mere Iridium, 1650 Broadway, 212-582-2121, iridiumjazzclub.com North Square Lounge, 103 Waverly Pl. (at MacDougal St.), Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910 212-254-1200, northsquarejazz.com illusion, a thoroughly vulgar Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, jalc.org Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and conception which has nothing  Frederick P. Rose Hall, Broadway at 60th St., 5th Floor 6th Ave.), 212-840-6800, thealgonquin.net  Dizzy’s Club Coca-Cola, Reservations: 212-258-9595 Oceana Restaurant, 120 West 49th St, New York, NY 10020 sound in it and nothing true.”  Rose Theater, Tickets: 212-721-6500, The Allen Room, Tickets: 212-759-5941, oceanarestaurant.com 212-721-6500 Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928 Jazz Gallery, 1160 Bdwy, (212) 242-1063, jazzgallery.org The Owl, 497 Rogers Ave, Bklyn. 718-774-0042. www.theowl.nyc The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey Palazzo Restaurant, 11 South Fullerton Avenue, Montclair. 973- Blvd.), Brooklyn, NY, 718-453-7825, thejazz.8m.com 746-6778. palazzonj.com Jazz Standard, 116 E. 27th St., 212-576-2232, jazzstandard.net Priory Jazz Club: 223 W Market, Newark, 07103, 973-639-7885 — Socrates — Anton Chekhov Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl., Proper Café, 217-01 Linden Blvd., Queens, 718-341-2233

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

Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ, RECORD STORES 908-232-7320, 16prospect.com, cjayrecords.com Academy Records, 12 W. 18th St., New York, NY 10011, 212-242 “It is curious that physical courage Red Eye Grill, 890 7th Av (56th), 212-541-9000, redeyegrill.com -3000, http://academy-records.com should be so common in the world Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Downtown Music Gallery, 13 Monroe St, New York, NY 10002, and moral courage so rare.” Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795 (212) 473-0043, downtownmusicgallery.com Rockwood Music Hall, 196 Allen St, 212-477-4155 Jazz Record Center, 236 W. 26th St., Room 804, Rose Center (American Museum of Natural History), 81st St. 212-675-4480, jazzrecordcenter.com (Central Park W. & Columbus), 212-769-5100, amnh.org/rose MUSIC STORES — Mark Twain Rose Hall, 33 W. 60th St., 212-258-9800, jalc.org Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036, Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472, 646-366-0240, robertoswoodwind.com Queens College — Copland School of Music, City University of 845-658-9048, rosendalecafe.com Sam Ash, 333 W 34th St, New York, NY 10001 NY, Flushing, 718-997-3800 Rubin Museum of Art - “Harlem in the Himalayas”, 150 W. 17th Phone: (212) 719-2299 samash.com Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Cam- St. 212-620-5000. rmanyc.org Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island pus, PO Box 270, New Brunswick, NJ, 908-932-9302 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 WCWP, LIU/C.W. Post Campus Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, City College of NY-Jazz Program, 212-650-5411, nypl.org/research/sc/sc.html WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html Drummers Collective, 541 6th Ave, New York, NY 10011, WKCR 89.9, Columbia University, 2920 Broadway Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, shang- 212-741-0091, thecoll.com Mailcode 2612, NY 10027, 212-854-9920, columbia.edu/cu/wkcr haijazz.com Five Towns College, 305 N. Service, 516-424-7000, x Hills, NY ADDITIONAL JAZZ RESOURCES ShapeShifter Lab, 18 Whitwell Pl, Brooklyn, NY 11215 Greenwich House Music School, 46 Barrow St., Tel: 212-242- Big Apple Jazz, bigapplejazz.com, 718-606-8442, gor- shapeshifterlab.com 4770, Fax: 212-366-9621, greenwichhouse.org [email protected] Showman’s, 375 W. 125th St., 212-864-8941 Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000 Louis Armstrong House, 34-56 107th St, Corona, NY 11368, Sidewalk Café, 94 Ave. A, 212-473-7373 LaGuardia Community College/CUNI, 31-10 Thomson Ave., 718-997-3670, satchmo.net 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 Jazzmobile, 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 PAY ONLY FOR Sugar Bar, 254 W. 72nd St, 212-579-0222, sugarbarnyc.com Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), 212-262-9554, swing46.com Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212- 932-3228, symphonyspace.org Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Broooklyn, 718-789-2762, tealoungeNY.com Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), RESULTS 212-777-7776, terrablues.com Threes Brewing, 333 Douglass St., Brooklyn. 718-522-2110. www.threesbrewing.com Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue, City Island, Bronx, 718-885-3200, titopuentesrestaurant.com Tomi Jazz, 239 E. 53rd St., 646-497-1254, tomijazz.com Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-358- 7501, Fax: 212-358-1237, tonicnyc.com Town Hall, 123 W. 43rd St., 212-997-1003 PUBLICITY! Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.), 212-362-2590, triadnyc.com Tribeca Performing Arts Center, 199 Chambers St, 10007, [email protected], tribecapac.org Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, Get Hundreds Of Media Placements — trumpetsjazz.com Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968 ONLINE — Major Network Media & Authority Sites & (845) 359-1089, http://turningpointcafe.com Urbo, 11 Times Square. 212-542-8950. urbonyc.com OFFLINE — Distribution To 1000’s of Print & Broadcast Village Vanguard, 178 7th Ave S., 212-255-4037 Vision Festival, 212-696-6681, [email protected], Networks To Promote Your Music, Products & Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069, Performances In As Little As 24 Hours To Generate 908-753-0190, watchungarts.org Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538, Traffic, Sales & Expanded Media Coverage! 914-834-2213, watercolorcafe.net Weill Recital Hall, Carnegie Hall, 57th & 7th Ave, 212-247-7800 Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY www.PressToRelease.com | MusicPressReleaseDistribution.com | 215-600-1733 11211, (718) 384-1654 wmcjazz.org

To Advertise CALL: 215-887-8880 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 19 to do. It wasn’t easy because there were pro- jects to do but it was exactly what I wanted to INTERVIEWINTERVIEW do.

JI: Your music with The Pyramids is generally described in the press as something along the lines of Afrocentric/world music and spiritual Idris Ackamoor jazz or cosmic jazz. How do you define what Out of the Breath of Cecil and Sun Ra you do?

IA: It has to be traced to Africa and my nine Interview & Photos by Ken Weiss whelming. You’re a creative musician who’s months living there. I became a percussionist work spans multiple genres, a multi- as well when I was in Africa after starting out Idris Ackamoor (born Bruce Baker, January 9, instrumentalist, a composer, actor, tap dancer, as an alto saxophonist. When I came back from 1951, Chicago, Illinois) founded his group The athlete, a co-director of a performance compa- Africa I was playing many instruments includ- Pyramids in the early ‘70s in Europe while still ny, a community activist, and on top of all that, ing talking drums and balaphone. In defining a student at Antioch College. Utilizing the you’ve got a real flair for style and theatrics. my music, I think I play the music of my own school’s study abroad program, he was one of Being good at so many things, it must have soul through the varied influences in my life. the first jazz musicians to live in Africa, inter- been a challenge to decide the focus of your As far as The Pyramids, we’ve always been nalizing the nine months he spent there into a life’s work. rhythmically based but very avant-garde, com- lifetime of creative inspiration. He also, very ing from the Cecil Taylor school. We came significantly, studied under Cecil Taylor at Idris Ackamoor: It seems like I became as from the “energy” school, the spiritual jazz Antioch as part of Taylor’s Black Music En- versatile as I am through a natural process. It school, but what we were even doing in the semble. The life and musical lessons learned was never really rushed or designed. I started early ‘70s was still rooted in the rhythm. under the iconoclastic pianist still enrich him early, I started music when I was seven-years- today. The Pyramids self-released three well- old, and then I left music for a period in high JI: Taking into account that you live in San received albums in the early ‘70s and then school for sports but I eventually came back Francisco and play the music that you play, disbanded. Ackamoor resettled in San Francis- after I found my teacher and mentor in Chica- how has the abrupt emergence of Kamasi co, where he still resides, and became the go. Since that time I’ve been consistent at be- Washington and the West Coast’s growing founder and co-artistic director of Cultural coming an artistic being, surrounding myself Afro-futuristic spiritual revival affected you Odyssey, a performance company, along with with music. My African odyssey was very im- and your band? Also do you have a relation- his partner, Rhodessa Jones. The Pyramids portant. In Africa, you find the griots and it’s ship with Kamasi Washington? reunited in 2007, more than thirty years after rare that anyone just does one discipline. The dissolving, and remain committed to incorpo- griot will tell stories, play music, he’ll do IA: I like and enjoy his music but I have no relationship with him. I feel we are compatriots

in a sense that his emergence seems to mirror “When I got to L.A. I wanted to find my re-emergence. How people have embraced Kamasi’s music is similar to how they’ve em- another teacher so I went to this very braced my music. The Pyramids are really forerunners and the emergence of the DJ culture has coincided with these heavy DJs, such well-known studio saxophonist and he as Gilles Peterson and Flying Lotus, rediscov- ering The Pyramids’ music. I am the elder, the asked me to show him how I played. So I progenitor, my band came out of the breath of Cecil Taylor and the Sun Ra Arkestra in the played through my routine and he said, early ‘70s.

JI: It’s remarkable that your band was active ‘I’m not teaching you, man. Go about in the early ‘70s, disbanded in ’77, and then successfully reformed more than 30 years later. your business, you got it.’” Why did the band fail in the ‘70s? Do you feel the concept was too far ahead of its time? rating the broad elements of the African dias- movement, so that was one of my formative pora along with a social consciousness. Acka- times and I realized that that’s what I was IA: I believe we were ahead of our time and moor is a charismatic artist who utilizes cos- about. I was about interdisciplinary perfor- we finally let time catch up. [Laughs] In the tumes, tap dance, and audience participation, mance – combining music with theater and early ‘70s we were young. We were touring in along with searing saxophone playing. He’s dance – so that over the years I was able to Africa when I was like 22. Once The Pyramids done a lot and has much to say. This interview become adept at these different disciplines. came back from Africa, we were isolated in took place on October 5, 2018 while he was in I’ve been a tap dancer for thirty years. I studied Yellow Springs, Ohio. We weren’t influenced Philadelphia with The Pyramids to play Ars with some of the masters in the ‘80s. The thing by the Chicago scene, the AACM, or the New Nova Workshop’s October Revolution of Jazz that gave me the ability in order to do that was York loft scene. We were in this village in & Contemporary Music Festival. my company Cultural Odyssey. I never had a Ohio and so all of it came from within, which I day job and with the company, being an artist- think is the best thing that could have hap- centered company, I made up my own time and pened to me. I was in a cocoon and I was able Jazz inside Magazine: Viewing your list of it gave me a salary so I didn’t have the pres- to develop naturally without outside influ- accomplishments is more than a bit over- sure of getting a job or a boss telling me what (Continued on page 22)

20 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 21 JI: What you do with your band is unique, the tural Odyssey, and I met my partner, Rhodessa Idris Ackamoor way you plunge a stormy African percussive Jones, I got seriously into the whole idea of and rhythmic base into a cosmic, avant-garde costumes and theater. (Continued from page 20) mash. Would you talk about your commitment to your music? JI: Have you had concerns that you might not ences. Of course, when Cecil came, he was one be taken seriously when dressed as an Egyptian of my major influences, and a mentor and a IA: Because I am a multi-instrumentalist, I pharaoh or a zebra at performances? friend. When we came out to the West Coast, find instruments that help to help me with my we learned we had to make a living and we composition and make that connection between IA: I’ve never had any concerns. We don’t couldn’t make a living with our music. We spiritual jazz, between avant-garde jazz, and a want to look better than we play, we want to couldn’t start families and all those pressures rhythmical foundation. I’m using many instru- play better than we look. That has always been led to the dissolution of the band which was ments, including many African instruments, in my feeling and if someone thinks that I don’t, probably the best thing for me because it al- a non-traditional way that comes out very other that’s up to them. I’m not wearing costumes to lowed me to go on my journey that I’m still on worldly. masquerade anything, I’m playing out of the now. That was in ’77, and in ’79 I formed my African tradition. That’s what I learned. company, Cultural Odyssey. JI: Another immediate attention-grabbing aspect of Idris Ackamoor and The Pyramids is JI: It’s challenging to view your use of theat- JI: In speaking with a couple other musicians, the use of theatrics. There’s numerous photos rics, costumes, audience interaction, including they feel it’s encouraging to see you have suc- of you online wearing outlandish costumes. walking the aisles, and the use of Egyptian cess finally after so many years. They feel Would you talk about your use and choice of themes, without drawing a comparison to the there’s also hope for them. costumes and costume design? Sun Ra Arkestra. You said earlier that your work emerged separately from what the IA: [Laughs] Other people have told me that. IA: Once again, Africa is the source. Being in Arkestra was doing. Would you talk more I’ve stayed healthy and I’ve always stayed with Africa, you just go nuts because all of the cos- about that? my music, and I’ve always been hell on my tume possibilities there. When The Pyramids instrument. I’ve listened to John Gilmore, and came back from Africa, we were all dressed in IA: I’ve always loved Sun Ra but I was never listened and played with Charles Tyler, and of African costumes. That’s where we got our immersed in Sun Ra. The first time I saw Sun Ra was in the early ‘70s when he did the Berkeley Jazz Festival. In reality, I think I was in Africa before Ra was in Africa, before he “It was all about cooperation, it was all went to Egypt. I was living in Africa in ’72 and that gave me a grounding sense. I’ve never put about personality, about uniqueness, Ra’s cosmic idea of being from outer space down in any manner, but that’s his philosophy, not my philosophy. I’m more grounded, I’m finding your own voice. That was some more in the earth. When I was with Cecil, he was talking about Africa, about the churches in of the biggest takeaways that I received Lalibela, Ethiopia. I’ve constantly been on my own path, taking in various inspirations but from Cecil. When we worked with him, mostly influenced by my teachers, my life, and my parents.

we didn’t do notes, we didn’t do lines JI: What kind of feedback have you gotten from the Arkestra? on music paper. He had a completely IA: Oh, Marshall [Allen] loves what we do, different way of composing and way but they’re doing their thing and we’re doing our thing. I’ve come about it in a very different way. of trying to give his music to us as aco- JI: What practical things have you learned lytes in his orchestra. It was all basically over the years?

based on his own concept of letters.” IA: I have learned the concept of a business sense from all the years that I’ve been involved with my company. I realize all the stumbling course, Clifford King, who was one of my initial inspiration for theatricality, and particu- blocks and the challenges of trying to survive teachers when I first got back on my instru- larly for costumes. Later on, I became aware of as a musician. I knew I had to go back to the ment in Chicago. I studied with him for over Sun Ra’s work but Sun Ra was not an influ- “street” school of how do you survive as a mu- two years and he really got me going. I’m ence on me in terms of my theatricality. I was sician, and through my ability to take classes learning stuff from him still! I learned every- already moving in that direction before I was and learn grant writing, I was able to have thing I needed to know from several amazing really into Ra. I was in Africa, that’s even Ra’s health insurance decades ago. I think about instructors close to fifty years ago that I’m still source, along with outer space. In Africa you Aretha Franklin dying with no will and that discovering. I really didn’t grasp it then and see all these incredible costume dramas, the Prince’s estate is all messed up. That is my now I’m starting to grasp it. masquerades they do where they become an- mission in this life. No, I ain’t going out that other entity, another spirit. Once I got into Cul- way and you don’t have to go out that way.

22 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 the college. I had a LSD trip that went bad he said I was on my way and he didn’t want to Idris Ackamoor which was an epiphany and made me realize mess with it. I found Charles and always told this Iowa thing just wasn’t for me. I had a me, “If you can play every note in every key Musicians shouldn’t go out that way. Fortu- friend at the college, Albert Waters, a trumpet on the saxophone with one finger…” More nately I’ve learned all that without handicap- player, who started an R & B rock band and he than anything, what I learned from Charles was ping my music. I have an estate plan, I’ve got a asked me to join. I told him I hadn’t played in the ability to improvise, in a trio mostly, be- retirement plan, I’ve had health insurance and four years but he said, “Just come on and cause he wasn’t really into pianos. He was out a salary for decades. That’s my one little peeve play.” So that got my horn back out. That was of Albert’s school so he had that folk-like thing with Ra and his Arkestra. He’s kept his orches- in ’69. I soon saw a Jet Magazine with a fea- in his melodies that I loved playing. Most tra together for a long time but from what I can tured article on the Nyambi Umoja-Unity amazingly, Charles liked my early composi- see the business connection is very sparse. It House in Antioch College, the nation’s first tions so he played my compositions. would have been better to have a situation separate black dorm. I thought that was cool where the members of the Arkestra were taken and I read the article and it said that Antioch JI: During your time at Antioch, you suffered care of. That, to me, would have been a great College was the most experimental college in a severe hand injury that almost ended your accomplishment. His music speaks for itself the nation. It was a five-year program with a career before it started. You refer to it as a “life but what about the human element? We can’t work-study program. There were no athletics -changing accident.” What happened and how ignore that and I’m not about ignoring that. or grades, just pass/fail, and they had an educa- did it change your life? tion abroad program. It just hit me that I need- JI: What instruments do you play? ed to go there. I was on the Dean’s List at Coe IA: Around that time I was really blossoming College but I called my dad to come and get and I think God said to me, ‘You’re moving IA: [Laughs] The question is what instruments me out of there. He took me back home to Chi- way too fast. Let me show you something.’ don’t I play! My babies are alto and tenor sax- cago and I was thumbing through the Chicago Because I was playing saxophones and flutes ophone, and lately I’ve been playing a lot more telephone book for instrument lessons and and constructing instruments, making percus- tenor, but alto always gives me a little edge that’s where I found my mentor, my guru, sion instruments even before I went to Africa. I because alto is really what I became known Clifford King, who was an old, retired gentle- did design this very formidable instrument that for. I’ve been playing keyboards for many man who had been a part of the whole ‘30s big they called Idrissa’s machine. It was hallowed years. I’m a percussionist that can stand my band movement with Jimmie Lunceford and all out blocks placed on a board and I’d play them own with master percussionists, but I’m not a those other big bands. I studied with him in the with bamboo and it sounded almost like a master percussionist. I’m a mover, I’m a tap spring and summer and then left for Antioch. horse galloping. I really didn’t know anything dancer. That’s one of my secrets for my lon- about instrument construction and one day I gevity because tap dancing is one of the best JI: Did Clifford King share any anecdotes was alone in the theater department’s construc- health exercises that you can engage in. I play from his time with Jelly Roll Morton? tion shop making my second percussion instru- gongs and anything I can get my hands on ex- ment and there was a faulty guide on the power cept the trumpet or any of the brass. I play all IA: He didn’t tell me any stories, he just saw I was using to gouge out the block. Why that stuff but my calling is the alto and tenor showed me all kinds of tricks he had learned. the hell was I using that saw with huge teeth sax. He was a master clarinetist and the first person like that? Needless to say, the guard broke and to show me how to make any animal sound my left hand went into the saw and nobody JI: Your given name is Bruce Baker. When you wanted to make on a clarinet – dog, cat, was around. I got knocked down and, of and why did you change your name? bear. He could do that all because back in the course, it was panic and complete mayhem. I day, that’s one of the things the big bands just picked up and ran across a big golf course. IA: Bruce Baker was up until high school and wanted for the movie scores. They could make Nobody was around, zero. One Antioch stu- until I went on my path. 1968 was one of the their instruments talk and sing. I was learning dent happened to be driving by in a most important years of the 20th Century. my chromatics, my scales, and a lot of the stuff Volkswagen and heard my screams, saw me That’s when I graduated and that’s when we he showed me just went over my head but I running and got me right to the infirmary and had the assassination of Martin Luther King, became his star pupil because I was a fast then to the hospital. The doctors thought I had the Democratic riots in Chicago, Bobby Ken- learner. lost my finger, I thought I was done. I had sev- nedy’s assassination, and Black Power was in ered my index finger, it was hanging by the full bloom. I had a big afro. Everybody was JI: Your years at Antioch College in Yellow skin. The surgeon who fixed me knew I was an changing their names and I took Idris at that Springs, Ohio, beginning in 1969, were pivotal artist so he set the finger to be curved so that I time. Later, I did research and found out Acka- years in your life. The first of two off-campus could still play saxophone. It was hard but I moor is my true family’s name on my father’s training experiences came in 1971 when you was fierce, I was determined. That happened side. did a semester in Los Angeles and studied with right when Cecil came. So I’m preparing for alto saxophonist Charles Tyler [Albert Ayler’s Cecil to come to Antioch, waiting for my hero, JI: Music almost didn’t happen for you. You cousin and band member]. How did he help and bam! I’m out of the picture. Cecil got there originally went to college on a basketball you? and I helped letting students know about him scholarship but during your freshman year you but my hand was in a cast. I began to play changed plans. What was your jazz epiphany? IA: Charles was amazing and he always sup- trumpet because all I needed was my right ported my sound. Clifford had taught me in hand to play it. I went to Cecil and told him IA: It wasn’t a jazz epiphany, it was a drug such a way that I was playing stuff that I didn’t about the accident and that all I wanted was to epiphany. It was around that time that we were even know I was playing. When I got to L.A. I participate with what he was doing. He said, experimenting with LSD. I was a basketball wanted to find another teacher so I went to this “Idris, if you can play one note, come, come, player but I realized that basketball wasn’t my very well-known studio saxophonist and he come join the ensemble.” And that’s what I did calling. I played freshman ball at Coe College asked me to show him how I played. So I and then Clifford Sykes is the guy that turned in Cedar Rapids, Iowa but I was the sixth man. played through my routine and he said, “I’m the lightbulb on for me. He was a percussionist The coach didn’t like that I was growing an not teaching you, man. Go about your busi- who came with Cecil’s ensemble and I saw afro and a beard. There were only 50 blacks at ness, you got it.” He turned me away because (Continued on page 24)

To Advertise CALL: 215-887-8880 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 23 social dancing. They had multiple unique dancing his poetry. He had that piece that went – “If Idris Ackamoor es there including the Bop, which became you should see a poet walking down a crowed Stepping. I grew up with the Bop in the ‘60s street, talking to himself, don’t run in the oppo- (Continued from page 23) and that’s what you would dance with to site direction. Run towards him for he is a poet, Marvin Gaye and the Temptations. We’d also you have nothing to fear from the poet but the that Clifford had his right index finger severed. “walk” on the slow dances and then we would truth,” [and then we would blast away on I had my left and he had his right so I said, “grind” when we were old enough in those stage], out into outer space, and he would jump ‘Damn, Clifford, we like twins!’ [Laughs] He basement parties. That was the nasty dance. I off the stage because he saw the music coming. said, “Hey, Idris, don’t worry about it, I know love Tap but I didn’t become aware of it until [Laughs] Then we got to Africa and we added a clarinet player who has two fingers missing quite a bit later, and when I had the opportuni- all that African rhythm and stuff to our con- and he’s still playing. Think about it. Roll your ty to take Tap, that was one of the best things I cept. palm…” So he opened my eyes and I got a ever did. Selmer alto, had it modified, and I’ve been JI: You were one of the first American jazz playing it ever since. JI: You eventually left Antioch’s campus and musicians of your generation to go and live in Taylor behind in ‘72, utilizing the college’s Africa. Did you see other American artists JI: What most surprised you about Cecil Tay- abroad program to spend a year in Europe and there? lor once you got to know him in the fall of Africa to organize a band and to study. What 1971? was your initial concept for The Pyramids and IA: We were one of the first. We ran into an- how did it evolve during your time in Africa? other group of African American musicians in IA: His non-competitive nature, his collabora- Ghana during our time there called Sons & tive sense. He was always malignedxxxxxxxxxx by the IA: I didn’t know much about African music Daughters of Lite. They were going on the critics, other musicians, and the club owners. until I got there. The Pyramids had evolved out same path. So he was the epitome of the outlaw. He had of my 1971 band, The Collective. My music the ability to embrace you for who you were back then was full of so many different colors JI: Why didn’t more musicians explore Africa and not put you into a competitive structure. It with French horn, flute, alto and piano. Once at that time? was all about cooperation, it was all about per- Cecil came, and that band ended, I was fire- sonality, about uniqueness, finding your own breathing. The three of us that went on to form IA: Financially, it was a big issue. Who had voice. That was some of the biggest takeaways The Pyramids – myself, [future wife/ flutist] money to go to Africa? Where would you stay? that I received from Cecil. When we worked Margaux Simmons, and [bassist] Kimathi It was as far away as being on another planet. with him, we didn’t do notes, we didn’t do Asante, we were all in Cecil’s ensemble and There was also the stigma that African Ameri- lines on music paper. He had a completely we were fire breathing. We did the most avant cans had about Africa in the late ‘60s. It took a different way of composing and way of trying of the avant-garde. We were playing my tunes, long time to get over that stigma that Africa to give his music to us as acolytes in his or- I didn’t know about standards at that time. We was a primitive place. There were so many chestra. It was all basically based on his own were trying to make our souls leave our bodies. African Americans that thought Africa was just “I think dance and music is integral. Jazz used to be a dancing art form. In the ‘20s and ‘30s you didn’t play jazz for listening, you played jazz for dancing. Jazz was the social dance music of America. Something got lost when jazz transitioned to music that people listened to. I mean how did we get from jazz being the predominant musical voice of America to it becoming 1.2% of record sales?”

concept of letters. And he was fast, he’d lose We met our drummer Donald Robinson in a jungle and Tarzan. The Black Power Move- me sometimes. He’d go, “You’re gonna go A France and we formed as The Pyramids in Am- ment was formulated to dispel that and it did. to G …,” and you had to be writing these let- sterdam, and then played all over Holland. One People thought you’d go there and die of ma- ters in a way that was kind of architectural in night, the trio with myself, Margaux and Kima- laria. many ways, as opposed to giving notes value. thi were playing the Literary Café in Holland He didn’t do quarter notes or half notes, he’d and in the audience was this very distinguished JI: What did the indigenous African musicians give you the notes and you were supposed to looking black guy who was writing while we make of your music? find a way to interpret it. were playing. It so happened that we met one of the preeminent Beat Poets – Ted Jones. His IA: Nothing but positive. Margaux and I took JI: You share a love of dance with Cecil Tay- famous poem is “Jazz is My Religion.” Well, this spiritual journey up to northern Ghana that lor. Did he speak to you about that? he took us under his arm. He wrote a review of was another one of my most life changing ad- that concert and he composed a poem called ventures. Just through sheer luck we fell into IA: No, I didn’t but Cecil always loved to do “Pyramids I’ve Known.” In his review, he re- the Dagomba people’s musicians of the king’s social dancing. Before I became a musician I ferred to us as Cecil Taylor tots. [Laughs] Ted court. They were prayer drummers and they loved dancing and Chicago was known for ended up coming and performing with us, do- allowed us to pray in their prayer circles. They

24 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 “it’s not black people that don’t care about jazz, I’d say it’s that same divide that separated jazz as a danceable art form to where it’s evolved, including Wynton Marsalis’ music, that there’s a disconnect. The main apparatus for spreading the word are the radio shows ... radio has become so bad, in terms of playing jazz, it doesn’t get heard by the black population … There’s a disconnect between the market- xxxxxxxxxx ing apparatus of jazz and getting it to black people.”

digitized those recordings which are from Gha- never had that. They’re left alone to sit in their Idris Ackamoor na, Kenya and Ethiopia. cells and just go crazy. Rhodessa went into the San Francisco city jail around 1989 to make met in the village square of a small town with JI: In the early to mid-‘70s, you self-released theater out of these women’s real life experi- dirt streets called Tamale. There’d be like 10- three albums of your band. How unusual was it ences. San Francisco had a very radical sheriff 16 Dagomba master drummers from the king’s to self-release at the time and why did you go at that time [Michael Hennessey], he loved the court. It was like going back to Africa 500 that route? idea and got behind it completely. He even years in the past. I also saw the parade with the allowed the women to be escorted outside the King of Kings on his horse with a big umbrella IA: Right, it was absolutely unusual to do that prison to a major city theater for a two week and the talking drummers behind him playing at that time. I did it through sheer determina- run. Every night they go there in their orange while the horses were prancing. We then went tion in getting the music out. Around that time, clothes and in handcuffs, deputies at every exit, further north, almost to the border of Upper Cecil was also self-releasing. He did Indent on they do the show, and are then transported Volta, to Bolgatanga, which was the home of his own label and he was at Antioch at that back to jail. First I’d ever heard of that. Since the Frafra people, and we experienced two time. Cincinnati had a pressing plant and it was that time, Rhodessa has done it all over the ceremonies there. One of the ceremonies was about an hour and twenty minutes from Yellow world. Over the past twenty-five years the Me- the second burial ritual of a Frafra king. In Springs. We wanted to get The Pyramids dea Project has become the model for working ancient days, when a Frafra king died, they sound on wax and there was no record compa- with incarcerated women and ex-inmates, and wouldn’t let it out that the king had died be- ny beating a path to our door, [Laughs] and at now with HIV + women. I produce the project, cause they were worried that the surrounding that time I had settlement money from the acci- I do all the fundraising. tribes might try to take advantage of the disar- dent. It was a really powerful statement that ray. So the second burial would be celebrated a Antioch fully supported me during this transi- JI: You’ve also worked with Rhodessa Jones’ year later, after the governmental transition had tional period. They waved any loans that I had brother, famed choreographer/dancer Bill T. taken place. We played along with the other and they made all of my education free and I Jones [best known as the Broadway choreogra- musicians during the ceremony. had a significant settlement so I became the pher for the musical Fela!] How do you view financer for the albums. We started with 500 to the connection between dance and music? JI: You made field recordings of the African 1000 of each of the records and we might have musicians you encountered. How have you to reorder for another 500. IA: I think dance and music is integral. Jazz used those documentations? used to be a dancing art form. In the ‘20s and JI: Since 1979, you’ve led Cultural Odyssey, ‘30s you didn’t play jazz for listening, you IA: The only thing I’ve actually issued is on the San Francisco-based non-profit performing played jazz for dancing. Jazz was the social my double album The Music of Idris Ackamoor arts organization, along with actress/vocalist dance music of America. Something got lost [EM, 2006]. On one of the sides is a track Rhodessa Jones. One of the programs the or- when jazz transitioned to music that people called “Africa” and that field recording is of ganization heads is the Medea Project which listened to. I mean how did we get from jazz the Dagomba prayer drummers along with me entails going into jails to make theater with being the predominant musical voice of Ameri- and Margaux. It’s an amazing track. I’ve got incarcerated women out of their own experi- ca to it becoming 1.2% of record sales? hours of field recordings that I haven’t released ences. Why do so and why only target women? yet because I’m deciding in what manner I’m JI: How did you come to simultaneously com- gonna release them and how I can donate the IA: Because this was Rhodessa’s pet project bine tap dancing and saxophone playing? Had proceeds to an African charity because these and she’s always told me there’s so many so- you seen others do it? recordings are like fifty years old and most of cial programs in prison for men. Men go out to those musicians are no longer with us. Antioch the yard and lift weights and various work- IA: The only person I’ve seen do that, and I gave me a very nice Sony field recorder and I shops are available for them. Women have (Continued on page 26)

To Advertise CALL: 215-887-8880 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 25 love on stage—I was singing Nina Simone’s Ohio to find a place to live. Cecil was hired to Idris Ackamoor version of “West Wind” and you played the create sort of a Black Aesthetics program that balaphone.” included literature, dance and, of course, create (Continued from page 25) an ensemble, as he had done in Madison, IA: Yes, those initial performances liberated which I was going to continue being a part of. didn’t know that at the time, is a white saxo- me. I met her around 1979 but we didn’t really You and I are about the same age, and in a lot phone player named Shoehorn. He doesn’t play start collaborating until 1983, and once we did of ways we seemed to be interested in many of saxophone the way that I do. My combining hook up, it was as a duet. It was a revolution- the same things. You shared your experience Tap and sax happened naturally. I took an in- ary duet that we had. I had been going to Eu- of working with Charles Tyler in L.A., who I tensive study program in Tap, the first thing I rope with my quartet since 1980 but every time admired. (In 1974 I got to play with Charles thought about was how I could maybe apply it I’d go, I’d lose money. I had an agent in Aus- with Cecil at Carnegie Hall) You invited me to to my saxophone playing. It took me a long tria call me to come play and I told him I stay at your house and I remember having a time, I should have just been concentrating on would only come over as a duet with this very late night jam session. I was really impressed my steps. I didn’t want to make it just a novel- beautiful woman who is a dancer, singer and a with your saxophone playing and I was amazed ty. I wanted to present the substance of a mover. He said, “Well, what am I going to do at your courageous and creative response to hoofer. I didn’t know what I was doing at first with that? I’ve got jazz clubs and festivals?” I your accident. Of course the time we spent but once I had more facility with Tap I began told him to trust me and we went over there as working on Cecil's music was wonderful and to use it while playing standards such as one of the early originators of this new form of life changing. The question I would like to ask “Misty” and “Sophisticated Ladies.” My whole interdisciplinary spoken word and theater. We you centers around my interest in how musi- idea was playing these beautiful tunes and I went over there with about five gigs that the cians evolve and develop themselves over time could really float across the floor.xxxxxxxxxx quartet had that was replaced with the duet, - I hate to use the word mature, because that and we ended up staying three months because means you’re getting old. I’d be curious to JI: Your current release is called An Angel Fell we were able to play theater festivals, jazz know how you connect what we did with Cecil [Strut]. Do you believe in fallen angels? clubs, and most important, we did dance inten- in Ohio, to the work you’re doing now. I know sives. She was the main dancer, teaching them for myself, there’s stuff that I do that comes IA: Yes, I’ve seen them. That’s what An Angel all the crazy four-legged dancing, and I would directly through Cecil but it doesn’t sound too Fell is all about. Between 2005 to 2012, play the music to accompany them. At the end much like him, but in my mind I know how it Rhodessa and I worked in a South African of the intensive, we’d do a big show at a major connects. It’s not like I’m doing a Cecil thing, prison through the Medea Project. We original- venue. That began the basis of Cultural Odys- but it came from that. Knowing how brilliant ly were brought over there to do our duet sey. you are, I’m sure your personal connection shows but while we were there, the promotor with Cecil comes up in many interesting and got us into the prisons and we set the wheels Bill T. Jones (choreographer/dancer) personal ways.” moving for a seven-year residency, six weeks asked: “Recently, Wynton Marsalis and I were out of the year, to go into the women’s prisons. challenged with a question directed to the both IA: I definitely can say that what I got from The women that we met there, we saw the of us and our specific disciplines during a pub- Cecil was the idea of possession in music. whole gamut – murderers, mules, a lot of drug lic conversation. The question was why more When Cecil plays, it’s almost as if he’s pos- crime. You’d never know by looking at them. black people were not in jazz audiences. sessed. I mean Cecil would play like he’s a They were the most beautiful creatures you’d Wynton said he had tried everything he could beautiful demon or a beautiful angel. He al- ever see. In fact, I met and fell in love with this think of to attract a wider audience but it ways connected the possession Haitian Voodoo gorgeous South African woman who was in seemed that black people really didn't care or possession in African and he played piano there for murder. The lyrics for the title song of about jazz. How would you answer that ques- like it was 88-tuned drums. He would be play- the album are inspired by the meeting I had tion?” ing as if his soul was being possessed. If you with her. A lot of the women were in there for listen to some of my early recordings, there’s crimes of economics, not having money and IA: I would say it’s not black people that don’t some things that scare you. We’re doing some- hooking up with the Nigerian drug cartel, or care about jazz, I’d say it’s that same divide thing else, we’re possessed, and the soul is for killing their abusive partner in self-defense. that separated jazz as a danceable art form to taking you somewhere else. In those early So yes, I’ve seen fallen angels. where it’s evolved, including Wynton Marsal- years, when I was right out of Cecil’s ensem- is’ music, that there’s a disconnect. The main ble, those early Pyramid’s recordings, especial- JI: The last questions have been given to me apparatus for spreading the word are the radio ly on the 2 CD set out on EM Records, there’s by other artists to ask you: shows and because radio has become so bad, in a solo I take on “Land of Eternal Song,” it’s a terms of playing jazz, it doesn’t get heard by LONG solo. When I listen to it, I don’t even Rhodessa Jones (actress/vocalist) asked: the black population. San Francisco has one believe it, it just keeps getting further and fur- “What was your first reaction to our initial jazz station and most places don’t have any. I ther out. It’s out of what Clifford taught me performance together? I always say we fell in think the reason that blacks aren’t in the audi- about animal noises. It’s really intense, I think ences is that you’ve got to look at what is the probably one of the most intense alto solos on

social atmosphere of, not only black audience record. Talk about maturity, although I’ve got-

members, but also young, white listeners. ten older and my sound has changed, but I still

“Have the courage to say no. There’s a disconnect between the marketing play with my whole body, I still have that Have the courage to face the truth. apparatus of jazz and getting it to black people. sense of possession when I play. I try to reach, Do the right thing because it is right. So it’s mostly a question of exposure, and then I become transformed in my body on certain These are the magic keys to living the other issue is jazz education in America. songs. I’m still a very physical player, like Cecil was always a very physical player. Jim- your life with integrity.” Bobby Zankel (alto sax) asked: “You may my Lyons could play these beautiful, sweet, remember that we first met when I traveled long segments. He was the perfect counterpoint from Madison Wisconsin, where I worked and to Cecil. And then there’s Bobby, he’s the - W. Clement Stone studied with Cecil Taylor, to Yellow Springs, same way as me. He would play such intense

26 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Idris Ackamoor happened to me was that they cast me out into an abroad program and all they said was that I

had to go to a university in France and take six

alto solos. weeks of French. Other than that, they gave us “Time makes heroes an around the world ticket where we could stop Bobby Zankel also asked: “Talk about main- anywhere in a circle by airplane and they gave and dissolves celebrities.” taining a concept and also apparently not feel- us a 300 dollars-per-month stipend. Other than ing any need to live in New York. I like that.” that, we were on our own. So I had to get to

Amsterdam and figure out where we were gon- - Daniel Boorstin, Past Librarian of Congress IA: [Laughs] I’ve maintained a concept while na stay, how we were gonna get gigs. We did- being very isolated, at first in Yellow Springs, n’t even know anybody in Africa. What were on of nature and the pureness of the Earth. It’s and secondly in San Francisco. Neither of them we supposed to do in Africa? It all came about so vast, some parts of the interior have not were supposed to be the hotbed of avant-garde me as a leader in collaboration with Margaux even been explored. I’m still very inspired by music. I’m the last man standing in San Fran- and Kimathi. I was always the fearless one. I the developments in Africa and Fela’s music. cisco. A lot of my contemporaries left San was always let’s go, we’ll do this. It’s a diaspora. I’ve always been inspired by Francisco a long time ago. I stayed in San Bob Marley’s music, Sun Ra, Art Ensemble, Francisco and made a life, made a foundation. Famoudou Don Moye (percussion) asked: the griots, the chroniclers of the African socie- “How did you get interested in learning to play ty and history. I can connect myself to that and Karen Borca (bassoon) asked: “Cecil [Taylor] and dance with the chekere [a percussive in- I’m finally in that position with An Angel Fell, didn't give lessons, he directed rehearsals. strument of West African origin consisting of a which is, in my opinion, the most socially con- What was your take on Cecil's methodology?” dried gourd with seeds woven into a net cover- scious album I’ve ever done, and that’s where ing the gourd] and how has your command of I’ve always wanted to be. I’ve always wanted IA: When Cecil did auditions for the Black the instrument and dance movements pro- to be like a New Age griot. I see things that Music Ensemble, we all came thinking it was gressed over the years?” inspire my compositions. involving music but there wasn’t one note Jemeel Moondoc also asked: “How was We played in the auditions. Cecil was basically IA: I did a big collaboration with Moye and Be All Africans [Strut] conceived?” doing theatrical exercises. He had the musi- other master percussionists once and we did a cians lay on the floor and with his directions he chekere dance. I’ve always been very physical IA: It was conceived because of all the police would direct people to crawl over one group of so I would play the chekere, bounce it on my shootings of young black men. The oldest people to get to another place. You had to fig- knees, throw it under my legs, and then throw bones have been found in Africa and a lot of ure out how you were to get over there and it over to the other chekere master percussion- scholars, including Leakey, believe we are all how people could help you get over there. ist, and he’d have a chekere and he’d throw his descended from a common ancestor, and many These were theatrical sensitivity exercises. He to me. It was almost like a basketball game but people think that ancestor happened in Africa was not looking for the most technically profi- it was all in rhythm. When I get with a master and then migrated to different places. There’s a cient musicians. I think he was looking for the percussionist, there’s nothing we can’t do be- lot of scientific information that we came out ones that best took his directions and that’s cause the master’s got it under control and I’m of the Garden of Eden, and that’s in Africa. So been with me all this time. I’m in the same able to hang. As far as progression of dance I’m asking why are we killing each other? situation in my bands. I’ve been through lots of movements, I’ve continued to advance my Why are white policemen killing black youth? personnel changes. I’m not looking for the ability to tap dance and play saxophone at the Why is there all this racism when we be all most technically proficient musicians, I’m same time. The physicality has helped to keep Africans? We’re all a part of a common ances- looking for the ones that can best take my di- me in shape. I’m also an active swimmer, tor. rection because I know what I’m doing, I know which has helped me with my lung capacity. Jemeel Moondoc also wanted to know if you what I want, and when I give a direction I want It’s all about the wind. would be interested in performing in a project that direction to be followed. Not as a dictator, that he’s calling 'Alto Gladness'. He wants to but my band is not a democracy. The Pyramids Jemeel Moondoc (saxophone) asked: “How reform Cecil Taylor's alto section at Antioch began as a family band, I had to subvert my did your travels to Africa enhance or support along with you and Bobby Zankel. The three of leadership responsibilities, but in reality I was your concept of American Black Music?” you and a rhythm section. always the leader. IA: No, you didn’t talk to Jemeel! No! Well, IA: He really said that? This is what I’ve been Andrew Cyrille (drums) asked: “Hi Idris, what Cecil taught us was timeline patterns. thinking about for the last couple of years! what was the best thing you got out of being at Basically, it is a continuation from Africa to Yes! Wow, I’m ready! Antioch College in the early 1970’s?” the slave trade to the middle passage to the field shouts to the blues to New Orleans, so  IA: Wow, you’re getting all the greatest hits! that the connection with Africa is a part of our My god! [Laughs] The best thing I think I got common experience as African Americans. was Antioch College Abroad Program and of They’re getting ready to celebrate 400 years

course the Cecil experience, but more than since 1619, the year the first black slaves ar-

anything, developing an independent study rived in America. They’re gonna celebrate that concept. No one told you you had to go to clas- in August, 2019. The whole concept is depend- ““The greatest discovery of any ses. No one told you to do homework. No one ing on how you relate and associate yourself generation is that human beings told you any of those things. You had to make with Africa, and I think that Africa is only now can alter their lives by altering the your own plans. I told them I wanted to go and becoming even more important through cli- attitudes of their minds.” form a band and then I wanted to travel to Af- mate change. Western society is damaging our rica. The abroad program was really set up for environments with climate change. Africa is people to go to universities in Europe but I such a large continent, and there’s been several didn’t want to do that. The best thing that ever books written that Africa may be the last basti- - Albert Schweitzer

To Advertise CALL: 215-887-8880 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 27 the musicians he picked to give him what he needed so that he could make his presentation. INTERVIEWINTERVIEW In that way, as an artist, he was a great ban- dleader. He had vision and could implement it. He was listening to everything everyone played at all times. He would give his musicians direction days after a performance regarding some- Bobby Broom thing they did or didn’t do two nights before. On playing with Miles Davis, Sonny Rollins and more ... He was concerned with the total picture – not just the trumpet. I feel a similar kind of caring for the overall sound of my trio. I’d prefer to By Eric Nemeyer play with him. I think it became clear to him play less in terms of content and have the group pretty quickly where my heart was musically. as a whole feel really good, than to have any- JI: What were the circumstances that led to He’d come over to me on stage and play lines thing even approaching the other way around. your association with Miles Davis? that he would have played in 1958; then he’d That’s not a conscious decision of mine that has wink at me and stroll off. anything to do with Miles per se. It’s just very BB: Around 1983, before I moved to Chicago, difficult for me to control the ways in which I there was talk about the possibility that I would JI: What kinds of discussions did you have respond to music. I‘m not sure that I need or play with Miles. There was a musicians’ club in with Miles Davis? want to change my natural responses anyway. the village at that time called 55 Grand Street, Although, sometimes I think about being able where a who’s who of the modern jazz, fusion BB: Just regular ones I guess. Sometimes they to just play over the top of anything, any situa- and funk scenes would be playing and/or hang- were about music of course and then other tion, no matter how it feels or sounds to me. ing out every night. Miles’ road manager was times just regular things; you know, like when But that would probably mean a change in my there a lot and would tell me that I was going to you’re traveling with people and sitting around sensitivity level, which I think involves the way be getting that gig eventually. I didn’t believe airports for hours passing time. The conversa- in which I listen to and take in music. him. In 1987 a few of the members of Miles’ tion that really stands out in my memory band were native Chicagoans – Robert (Babe) though, is when I had to call him up to tell him JI: How did Miles and his music help to shape Irving, III, Darryl Jones and Vince Wilburn. I couldn’t play a concert with him because I and expand your conception? Miles was going through guitarists in search of had a previous commitment. Miles was sched- BB: Musicians like Sonny, Miles and Monk are forward thinking and self-searching. Although “I wasn’t going to pass on the they did things very differently, they were all continually searching for personal ways to sat- isfy their creative urges. At the same time they chance to play with him [Miles wished to communicate to people and to connect with them through their music, not to ex- Davis]. I think it became clear to clude the listener from their process. I look to these and many other musicians as sources of him pretty quickly where my heart inspiration. They validate my desire to express myself through jazz improvisation, to find ways that are meaningful to me to do so and to at- was musically. He’d come over to tempt to include an audience in what I’m trying to do. me on stage and play lines that he JI: Could you talk about how your association with Sonny Rollins developed? would have played in 1958; then BB: Well, this is a pretty well documented sto- he’d wink at me and stroll off.” ry now. I first played with Sonny while I was a student at Music and Art High School in New the right one, and they (and possibly others) uled to play at Chicago’s Auditorium Theater, York. Sonny heard me play and liked some- must have told him about me. I was told to put but Kenny Burrell had a job in Jersey something he heard. I couldn’t go on the road with a tape together, so I did my best rocked-out where for the Jazz Guitar Band. Kenny would- him at the time because of school, so he hired guitar impersonation, which was pretty phony, n’t let me out of the job, so I was trapped! I me for a “gig” at Carnegie Hall. A few years but got me to the next stage of being sum- called Sonny Rollins for some words of wis- later he called again and asked me to join the moned to New York. I still had my apartment dom. When I told him “Part of me really wants group. I played with him regularly for four there. We rehearsed, and I started working. I to do the gig with Miles…” he asked me, years or so and then on and off for some more recall breaking a string seconds before I was to “Which part is that?” So I hung up, called years after that. Until last year, I hadn’t worked take my first solo…a portent. I never, ever, was Miles and explained everything to him. Miles’ with him since the late 1980’s, but we would inclined toward rock guitar. Never felt comfort- response was: “Kenny Burrell?!” And then, keep in touch via phone and letters through the able with distortion as a part of my voice. So “Who you gonna get to sub for you?” years during the ‘90s, and so on. really, I wasn’t the man for the job because that’s what Miles was looking for. That sound JI: What impact did Miles Davis have upon JI: How is your interaction with and the pro- had been a part of Miles’ bands for ten to fif- your approach to creating music? cess of making music different or deeper now teen years up to that point. At the same time than the first time you played with Sonny Rol- though, I wasn’t going to pass on the chance to BB: The way I see it, Miles was great at getting (Continued on page 30)

28 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 BobbyBobby BroomBroom Appearing at Dizzy’s Club at Jazz At Lincoln Center February 20, 2019

To Advertise CALL: 215-887-8880 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 29 that. In order to learn, grow and have fun I est mentors I could have in music – Sonny, Bobby Broom would connect with fellow guitarists that I ad- Weldon Irvine, Jackie McLean who gave me mired, such as Kevin Eubanks and Joe Cohn. my first college-level teaching job – but I had (Continued from page 28) Otherwise, Berklee was a fertile environment to live and go through some things and search for fellowship and development among young, for answers and meaning that would sustain me lins? like-minded musicians. Most of the currently above and beyond music. I’d say I actively well-known jazz musicians that are around my began this search in my early twenties. It’s in- BB: The music making process is much the age were there at the time and we would get teresting for me to think back on that time. same for me now as it always has been: I listen, together every night, without fail, for the then Those were some serious musical experiences respond creatively and try to give what I can to modern-day version of Minton’s jam sessions, that I had. I realized that then, but not in the the overall sound of the music – not just the which happened in Berklee’s band rooms. same way that I do now. Then, it was all about guitar solos. However now, because I am more learning. My first guitar teacher taught me that skilled at what I’m trying to do, I can interact in JI: Some people “think from the end” contem- it was very possible to learn by doing. So that a more sophisticated way, bringing a more re- plating situations that they imagine themselves was my approach to music and the rest of my fined sound to the group. I can also present to be in. What if any kind of vision did you life as well, I guess. It wasn’t until I was of- more thoughtful and interesting solos, and have about your career in jazz early on? fered my first recording contract that I ques- hopefully all of this lends to the listening expe- tioned whether or not I was ready for an oppor- rience while being inspiring within the group as BB: Exactly. I didn’t know it at the time, but I tunity. I remember talking it over with my well. In the early days, sometimes I‘d think, was practicing visualization as a kid. After I friend Omar Hakim. He encouraged me that I “Why am I even here?” because I felt I was became enamored with jazz music as a form of was good enough to record and suggested that I playing so poorly. And we all know that since expression, I felt that I wanted nothing more could develop as a musician while I was mak- the ‘70s Sonny has gotten much flack about his than to do this just as those that I was listening ing records. So as I think about it, my musician band members. But maybe there was a bigger to were doing it. I wanted to be like these guys. comrades were also very important in terms of picture happening that’s not so apparent. It’s This was the direction that I moved toward in providing me positive energy and an environ- fulfilling to have more to say as an improviser my life from that point on and situations and ment in which I could grow. I remember well now. Of course, in this situation “more” is al- opportunities followed along with me in that the beautiful spirit, prompted by a shared inter- ways relative to the wellspring of ideas coming direction. est, that I felt from all of the other young musi- from Sonny. And that’s inspirational to me, to cians in New York at that time – those who I see that by continued practice and involvement, JI: Could you talk about your move to New had known for a while and those who were just access to more of what you want to play is pos- York in the 1980s and how doors began to open getting to New York from their home towns. sible. Anyway, I feel that it’s possible that there for you? can be more of a collective musical presenta- JI: Talk about the kinds of preparation you did tion by Sonny’s group now. Obviously, he is BB: Growing up in New York allowed me ac- to begin sitting in with Art Blakey’s band in the leader and master, but we want to contrib- cess, at a young age, to jazz, its musicians and New York? Was the sitting in occurring on ute something more substantive than ornamen- more. When I returned to New York from Bos- some of the more complicated Wayne Shorter tation. I think that slowly, this is beginning to ton I guess I had a reputation of a young guy songs, or on the more common standards and happen. who could play a little bit and, because I had jazz compositions? been actively pursuing involvement in the field, JI: What prompted you to attend Berklee Col- I knew a few people. I found myself involved BB: All of the listening, practicing, studying lege of Music since you were apparently al- in two scenes that were happening there at that and playing that I had done up to that point was ready politically placed in professional circles? time. One involved the talented young musi- the preparation for the moment I was asked to cians who were New York natives, guys that I sit in with Art Blakey’s band. I didn’t know BB: When it was time for me to attend college came up with. We all got involved with GRP beforehand that this would happen. I went to I didn’t view the opportunities that I had had up Records by playing in trumpeter Tom Browne’s see the band play and was happy to see that to that point in quite that way. I was most con- band. There was also a buzz around Art Bla- James Williams was playing piano. Just a few cerned with developing as a musician and in key’s band as he searched for new young musi- months prior to this he and I had met and my family it was understood that I would attend cians. I was there for that and was deemed by played a performance with saxophonist Billy college. Music was an obvious choice as a ma- Blakey a “Messenger”, but I chose the close- Pierce and other Berklee faculty. So in between jor for me, and Berklee was the popular choice ness and familiarity of my friends over the his- Blakey’s sets, James told me to go get my gui- of colleges for jazz development at the time. toric significance of playing with The Jazz tar (I lived a few blocks from the club). So When I was well into my freshman year I be- Messengers. In fact, I don’t think I was even that’s how it happened. The tune I most clearly gan to see fellow childhood musician friends considering that historic significance. recall playing with the Messengers is “One by appearing on records and also to hear talk from One.” We played standards and some other all my friends at Berklee about their plans to JI: What were some of the obstacles you faced things. We were encouraged to play what we move to New York after they graduated. It was as you began making inroads onto the New could, the rest we’d learn later. We were just then that I decided to continue college at home York scene? Who provided sources of encour- eighteen or nineteen years old. However, when in New York the following year. agement and positive thinking in that important we got up on the bandstand we stayed. Pretty period of development—to bolster your confi- immediately there was an implication of ac- JI: What kinds of challenges and or benefits dence, and provide opportunity? ceptance from Blakey, as though we were al- did you gain from your experiences at Berklee ready on the gig. College of Music? BB: Well, there were personal obstacles. I believe that I gave myself the most difficulty as JI: What kinds of approach did you take and BB: Well first of all, there were a million gui- far as that’s concerned. I mean I was just so adjustments did you make in the context of tarists there (much like in Chicago now) so it young and hadn’t experienced that much, other having another chord instrument, piano, when forced me to stay focused on practicing and to than trying to make music. I didn’t have you played with Blakey? not concern myself with too much outside of healthy outlets and alternatives. I had the great-

30 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 four track recorders and were making our music red shoe for the back cover photo. Sure what Bobby Broom at home. Add to that mix the influence of Mi- the hell, I’ll do that too. After agreeing to play chael Jackson, Stevie, etc. We were all trying to the nastiest sounding guitar-synth over a track write, sing, play…So for me, all this made for a that sounded like an acid trip induced version BB: I’ve talked before about the misconception lot of confusion as far as what direction to take of Paula Abdul’s Straight Up, all hope was lost that there’s an inherent problem with guitar and in making a record was concerned. Then my for me. I’ve never done acid, but have heard piano playing together. The only adjustment contract got assigned to Arista Records. For an about bad trips. To add insult to injury, a few that I may have made then, and would still indication of what was happening over there: years later I’m playing in London (I think I was make today when playing with another harmon- that was the label that made Kenny G a star. I with Sonny), and I find out that “Living for the ic instrument, is maybe to play less. In other would meet with the executive at Arista, and Beat” (the acid trip song) is some kind of dance words, I’d leave more space for the other person to comp. And I’m not suggesting that it doesn’t work for two or more chord instruments to comp together. When playing together, lis- “My basic understanding is that tening is most important for any combination of instruments to get along. If there’s mutual re- everyone wants to feel connected — spect, courtesy, awareness, sensitivity, then beautiful music can be made regardless of the connected to others and to life. instrumentation. That’s assuming the musicians can play of course. Music, if dealt with correctly, can be

JI: Can you discuss the development of your association with GRP Records? a way for some of us to feel that

BB: GRP was signing young, aspiring, jazz- connection without having to talk aware musicians who lived in New York in the late seventies/early eighties. We were jazz- too much. The problem in any field aware in that we were getting ourselves together as jazz musicians, and most of us had an of music, as in religion - which is inclination toward straight-ahead jazz along, with the requisite passion and talent, but we really supposed to be about spiritual also considered the other styles of music that were apparent and available to us. Anyway, as I matters – is when people get overly said, I was playing in Tom Browne’s band, and I got called to do a tour of Japan with the GRP All-Stars. I did a few records for GRP as a side- controlling, which usually involves man and was then offered a recording contract. All this was happening just before it was fash- thinking and talking too much.” ionable or feasible for a youngster to play straight–ahead music exclusively – before the Marsalises started recording. So we were per- he’d be asking me what I wanted to do: “How hit in the UK. At that point I had to laugh. fect for GRP as a developing record label in do you see yourself as an artist Bobby?” Hell, I that we were marketable as young prodigies in don’t know, I’m twenty-two years old! How- JI: How did Kenny Burrell impact your artistry a sense, and we had the probability of making ever, I was self-aware enough to suggest jazz- and approach to phrasing melodies, and lines, money because we were playing cross-over savvy musician/producers such as Marcus Mil- and your improvisations during or as a result of music which could potentially have greater ler and George Duke, but my man wasn’t feel- your work with his Jazz Guitar Band? appeal via black radio. ing or hearing me at all. Arista wound up as- signing a couple of nouveau producers to make BB: At the time I began working with Kenny JI: What kinds of direction or suggestions did some hit singles for my record and thus my Burrell I had moved to Chicago and had begun you receive in the creation of your two albums state of confusion was nearly complete. All that working on realizing and accepting my own for GRP—Clean Sweep and Living for the was left was for me to pose holding the girl’s sound and tendencies on the guitar. By that Beat? time I had a pretty good working knowledge of the jazz language, but what was important was BB: For Clean Sweep I had quite a bit of free- what a positive impact it had on me to receive

dom to do what I wanted. I wrote and arranged an endorsement and validation from a jazz gui-

most of the tunes, and some things were “What baffles and even tar master and legend. It couldn’t have come at worked out in the studio among the musicians. a better time. I would soon be asked to play frightens most people are mere That record is a good musical representation of with Miles Davis and to again be posed with smokescreens. You’ll see these events me at the time. Living for the Beat was a repre- the question about my true sound and direction as simply the illusions they actually are sentation as well...of the confusion in my per- on the guitar. Playing with Kenny and being and begin to walk right through them. sonal life. By then the advent of the drum ma- presented in the way that we were by him chine had been fully realized, and self- You’ll understand that your success would eventually help me to answer those ques- production and the emphasis on electronics lies just beyond your thoughts tions. I believe that Kenny was inspired to form were taking hold. These trends pointed toward about these walls.” the Jazz Guitar Band partially because in Rod- a future of less collective music making, as well ney Jones and myself, he saw two promising, as to the popularity of the individual musician active, young jazz guitarists, not two Kenny - A Rich Man’s Secret as star artist/producer. As youngsters we all had (Continued on page 32)

To Advertise CALL: 215-887-8880 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 31 – is when people get overly controlling, which ord. That was joyful! He brought a positive, Bobby Broom usually involves thinking and talking too much. supportive spirit to that date that can be felt in the music. Every beat danced. We had never (Continued from page 31) JI: What do you tell students about how to played together before that time, but it never develop their relationships in the music busi- mattered. He was a supreme music maker. Burrell clones. Kenny also inspired and encour- ness? aged me to play solo guitar – one of the things JI: What kinds of challenges and or growth did that he did so beautifully, and something that I BB: This kind of development is an inherent you experience as a result of your role perform- really shied away from then and still kind of part of student life. Students begin to get an ing as accompanist? do… but today I’ll do it when no one’s looking. understanding about relationship building and maintenance while they are in school. Finding BB: The biggest challenge for me in that role is JI: Could you talk about working with two of social circles in which to practice, develop and the usual one of wanting to do my best in sup- the archetypal bebop pianists, who themselves perform music, which are comfortable in a vari- port of what’s happening musically. Playing the worked with Dizzy Gillespie and Charlie Par- ety of ways and provide for the needs of the supportive role of the sideman has never been a ker? What were some of the lessons you individual student, is very similar to learning problem to me because I love music and want learned in those situations? how to function in the professional world of the to make it sound the best I can when I play. music business. This is always the most important thing to me BB: I’m glad that you mentioned those little regardless of my role in a musical situation. details. I sometimes think about those wonder- JI: From the perspective of 20 years, are there ful connections to jazz music’s glorious past lessons or understandings that you gained from JI: What were some of the highlights and chal- that I’ve been blessed to have. Playing with Al that experience that are now becoming clear? lenges that you experience as a leader? Haig was the sweetest thing. He heard me play and invited me to sit in with him at a piano bar BB: Well, looking back and then to the present, BB: Playing with just bass and drums was very called Gregory’s, which used to exist on the I’d say that the journey has been an interesting difficult for me to get used to. The space that’s upper-east side. He played there a few nights a one for me. There have been some real twists made available by the sound of that instrumen- week with a bassist (Morris Edwards). Of and turns, but now it all makes sense, so far. tation can be confusing. I had to become able course, I took him up on his invitation and was I’m glad that I stayed with music and that I’ve and comfortable to carry the total responsibility there regularly. He’d call tunes. He’d say, “Do had the help that I’ve had along the way. Some- for the chords. I also had to learn not to over- you know this tune?” If I said no, which at that times, even years later, this is what keeps me play as a soloist – to use the space to my ad- point I probably said a lot, he’d say something going. I’ve found that I can learn about myself vantage. I make sure I have musicians that unlike, “It’s not hard, just come in after the first in this life by looking at my experiences and derstand how to listen to and influence the total chorus.” I learned quite a few tunes that way. relationships with people in and outside of mu- musical picture – a drummer that can comp and It’s cool to think that I was so welcomed by sic – on the bandstand and off. Music has also a bass player that can create a variety of colors him and that I must have been able to hang and been the way for me to feel as close to peace and make harmonic diversity. As all of these get along, otherwise I’m sure I wouldn’t have and ecstasy as I may ever feel. I’m so grateful elements developed and evolved over the years, been there. Some nights Al would be absent, so to be able to develop my relationship with it. my sound, that of the other musicians involved he’d call Walter Bishop, Jr. to sub for him. I’d and the distinctive sound of the Bobby Broom be thinking to myself, “Wow, he played with JI: Could you talk about what it is that you Trio emerged and has become more and more Charlie Parker too!” Bishop was just as encour- want in a drummer that will enable your music apparent to me. The 2001 release of our first aging to me, and I’d just be reveling in these to soar creatively? trio record, Stand! (Premonition Records) and experiences, trying to soak up the moments and that it was so well received, was a definite all that music I was hearing these guys play. I BB: You’re right if you sense that the drums highlight for me. Now our new recording Song got a chance to play with Walter Bishop again are a very important instrument for me. I like and Dance, which will emerge in September, is in the Late ‘80s when saxophonist Paul Jeffrey drummers who have an understanding of the the latest milestone for me. I am grateful for my assembled a band for a Thelonious Monk Insti- backbeat – those that can make their swing musicians (bassist, Dennis Carroll and drum- tute international exchange program in Italy. funky and their funk swing. I want musicians mer, Kobie Watkins), how well we interact and that value the feeling of the music first and the beautiful and powerful result. JI: How does/has your work as an educator at foremost and who demonstrate that every sec- Roosevelt University, De Paul, and the Univer- ond that they play. I also want a drummer that JI: The sum total of an artist’s life experiences sity of Hartford expanded your creativity and can coax me to higher levels without being and the kinds of thought, philosophy, ideas, your understanding of human nature? overpowering; one who I can interact with and spirituality, culture, people that we allow our- engage in the balancing act with, who will be selves to open up to are what shape the ideas BB: Working with young musicians is yet an- aware and selfless enough to forego their super- and energy that is expressed in our music. Inex- other way for me to exercise my creative side. hip two bar fill that they were just about to play perienced players want to copy the sound and In dealing with the limitless variety of person- because something else more compelling just the notes to sound like someone like Col- alities and in such a personal endeavor as music happened in the music asking them, in that in- trane—but it is so much more than that. So making, I find that I have to be very creative stant, to take another direction. when an inexperienced guitar player recently and flexible in balancing my pedagogical skills said to us, “I don’t care what these artists did to try to get the results I’m seeking from each JI: Are there certain drummers who have made 10 or 15 or 30 years ago or their experiences or student. My basic understanding is that every- a mark on your music and spirit? what philosophies and culture they’ve experi- one wants to feel connected - connected to oth- enced” (essentially what got them to play the ers and to life. Music, if dealt with correctly, BB: I love the drums, so I’m fortunate to have way they do), he wanted to know what some- can be a way for some of us to feel that connec- experienced playing with quite a few of the one is playing over a C7sus chord. (Listen to tion without having to talk too much. The prob- greats. I did miss playing with Philly Joe Jones the record!) What would be your response to lem in any field of music, as in religion - which and Elvin Jones though, two of my favorites. I that kind of thinking? is really supposed to be about spiritual matters had Idris Muhammad on the Modern Man rec-

32 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 because I was obsessed with their playing, I Works of art can be described as having an Bobby Broom made sure to be democratic about transcribing. essence of eternal solitude and understanding is Which brings up another good topic: When I attainable least of all by critique. Only love can BB: This type of thinking is how some musi- began taking things off recordings I was attract- grasp and hold them and can judge them fair- cians deal with music or how some people see ed to certain phrases that made impacting state- ly.” life: on the surface. This is our current level of ments. These phrases had the feeling of a ver- awareness and basically how we operate as a bal statement and also an arc, with a clear point JI: Dan Boorstin, former Librarian of Congress species. It is too difficult, unclear and unpre- of departure and arrival. These were the phrases stated that “The greatest obstacle to discovery dictable for most of us to see things any other that seemed to be common among all jazz play- is not ignorance; it is the illusion of way. We don’t understand or believe in our ers – the ones that comprised the language that knowledge.” How have you experienced and awareness potential. If all I’m getting from I wanted so desperately to learn. So, rather than dealt with this in your life? In dealing with oth- music are quantifiable thoughts, then I’m miss- transcribing a player’s entire solo (which I real- ers? ing the point. If the purpose of music is expres- ized I’d never have use for anyway), I’d go for sion, then I need to go beyond the surface to these isolated phrases. Also, that way, I could BB: We all deal with this, always. Especially find the meaning, which isn’t something we can pick from a variety of players, on various in- because western society has been built upon the really talk about. Understanding the tools, lan- struments, as sources of information. illusion that knowledge is power. I think the guage, or whatever you want to call what some- important questions then are: what knowledge one is playing over a C7sus is necessary in the JI: Talk about how you compose music. and whose power? process of development of the young musician, but for me that info is just scratching the sur- BB: Most often some part of the music will JI: What suggestions do you have about avoid- face of what experiencing music is really about. seem to just pour out. Usually I get an idea for ing an inflated ego, as opposed to developing I did a gig recently with The Deep Blue Organ a melody, and then I’ll have to work a little to quiet confidence, as an artist? Trio. Fifty or so Canadian high school kids find the harmony that I want, or that which fits were brought to the club on a field trip. Of best. I would like to write more often, but I BB: I believe that an inflated ego is a result of course these kids knew absolutely nothing don’t like to feel like I’m forcing creativity. I insecurity. If I’m secure in my place and I don’t about C7sus, but they were able to have a trans- can write when I need to however, like when feel threatened or inadequate, then I can just cendent experience because of the music. These there’s some kind of deadline. I guess composi- move about without needing to create fanfare were teenagers – supposedly too aloof to like tion is about following your ideas through to around my existence. I can do what I do to the anything outside of their familiar realm – but completion. best of my ability and have that speak for itself. they couldn’t help themselves from moving to As human beings, this is something that we the beat, and their wide eyes, open jaws, ap- JI: How do media critics influence your per- have to try to be aware of. Because, by playing plause and request for CDs let us know they spectives or your music? music, we’re sharing such a personal thing; it understood and liked what we played over takes a delicate balance of confidence and hu- C7sus chords. BB: They don’t, really. I have to be the final mility to be in the right place. How can I think judge of what I’m offering, otherwise, my feel- I’m so special when before me there exists the JI: What were some of the experiences that ings may have been hurt a long time ago and I work of generations of great artists from whom shaped your early development as an improvis- might have stopped playing music. How can I I received inspiration and knowledge, directly er? pay serious attention to what critics have to say, and indirectly? I can feel pride in knowing that when musicians and fans are telling me one I’m getting something right or doing something BB: Well, at first I had to play very slowly and thing and critics are sometimes saying some- well, but there will always be some things that I deliberately because I didn’t play with a pick. thing entirely different and for different rea- can’t do or that someone else will do better My first jazz guitar teacher played with his sons? I have never read a negative review of than me. thumb, but only used down-strokes. I wanted to myself that has been an insightful commentary sound like him so I copied his method. I think or critique, or that doesn’t seem in some way JI: Could you discuss what ideas or activities playing this way forced me to be honest about inherently negative. A lot of the time these peo- outside of music you engage in and how they finding which notes I really wanted to play; ple are self-appointed experts, who are not very provide fulfillment for you? meaning which created the colors I wanted well informed and are just reacting to what they against a given chord or progression of chords. like or think. They have a right to their opin- BB: My home/family life, exercise, creative Either because I couldn’t manage or didn’t as- ions, but what gives them the authority to pro- writing, my dogs (a German Shepherd and a pire to play fast flurries through scales, I was fessionally document commentary regarding Chocolate Lab/Rottweiler or Doberman mix?), determined to use rhythm and a good time feel someone else’s art? Rilke says it best in Letters reading (sometimes)… These are all things that to give my fewer notes added quality. This em- to a Young Poet: “[aesthetic critiques] are ei- give my life meaning and balance. My relation- phasis on certain qualities over quantity stayed ther prejudiced views that have become petri- ship with music has been a constant for me, but with me even though I eventually started using fied and senseless in their hardened lifeless it can’t be everything. Life has so much to of- a pick and developing my technique. By the state, or they are clever word games. Their fer. time I began to focus on the type of playing and views gain approval today but not tomorrow. players that I wanted to emulate in jazz, my JI: What foundational understandings are the

aesthetic, in large part, had already been guideposts by which you live your life?

formed. Another significant memory is about how I realized early on that I couldn’t and “The greatest day in your life BB: Some of it has to do with acceptance, shouldn’t fixate on my favorite player as far as and mine is when we take total which is something that is never a finished state trying to duplicate what he was doing. I felt that responsibility for our attitudes. of being for me because things keep changing this was pointless because (a) It would be virtu- That’s the day we truly grow up.” all the time. But this is one of the important ally impossible to sound exactly like him, and things that I’m striving toward. (b) If I did, that would be self-defeating. So, although I listened constantly to certain players - John Maxwell 

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ORDER Start Your Promotion NOW! - PressToRelease.com 34 Experience ResultsJanuary-February 2019 In  Jazz24-48 Inside Magazine Hours!  www.JazzInsideMagazine.com CALL 215- 887-To8880 Advertise CALL: 215-887-8880 Interview with Dianne Reeves Taken by Eric Nemeyer

JI: Talk about your upcoming performance at the Apollo Theater.

DR: We’ll be debuting my new that you made that expanded your awareness that expanded your musical direction or artistry? INTERVIEW INTERVIEW DR: When I worked with Sweets and Joe Wil-

liams, Clark on the Grand Encounter record, the thing that taught me volumes more than anything, was the life and the music were the same. Back Dianne Reeves then, I looked at all those guys – they were old, but they were young. You’d ask them how old they 2018 NEA Jazz Master Appearing At Jazz At Lincoln Center, Feb 15-16 were and they’d say, “Eight!” and I believed it! I had the opportunity to work with Dizzy and it was the same thing. The stage is a sacred place – like a By Eric Nemeyer these different things.” But it was never that. It was holy place where you can experience such a eupho- respecting each song that I was presenting on rec- ria that you can’t have anywhere else. I can be JI: Like you’re saying, when you’re playing with ord. It might sound different, but it’s not because I wearing shoes that are just killing my feet and I really great players, and you’re surrounding your- would think, “This song needs this kind of texture walk on stage and they just don’t hurt. I look at self with people who are sensitive and in the mo- in my voice, and this kind of arrangement and this Clark and Oscar Peterson – there was such a joy ment and have those tools, in much the same way kind of way of singing.” Fortunately, people al- about what they did, to me, beyond the music. It you or I create a conversation using the English ways talk about the age of fusion music and all that has to be a great love. One of the things that I wish language, the English language is just the language. kind of stuff, but for me, it was an entrée into that I had in that session was just a tape recorder You want to forget about the words and the mean- World Music. I would never have known about just to have captured all the stories because they ings, and you want to convey an energy. artists like Milton Nascimento and any of the Bra- were just unbelievable. Some of them were just the zilian musicians or musicians from India. I would rudest and nastiest stories (laughs), but they were DR: Exactly! I loved Betty Carter for that. The never have known about Cuban musicians or any- great because they were life stories, and I loved it. I very first time I saw her, I had a totally religious thing had it not been for Jazz musicians. So, here loved the whole experience. The culture of the experience—it just wrecked me for a month. I was even more color and more approach and a music has inspired me more than anything and walked around kind of weeping. I had never seen different way of seeing it, so I was steeped in all of respect they have for one another. anything like that. Because it was something that I that stuff and I loved it. One of the things that I aspired to do and it existed and I couldn’t believe found with the voice—which is why I loved Sarah JI: One you’ve been playing for a while and you it. Basically, the musicians were an extension of Vaughn so much—is that with the voice, you can don’t let the tyranny of the ego get in the way, you her sound and they were co-creators on stage, and I really refine your sound. And there’s so many can develop that direct connection with the music. thought, “Oh my god, how do you create that?” things that the voice has possibilities of doing and And whenever you’re creating, it supersedes the it doesn’t have to just be one sound. When certain need for the ego to take precedence and the curiosi- JI: As you had mentioned, Clark Terry became a harmonies are put by me, I respond to them. Or if I ty about the other players and how they do what mentor early on in your career. Can you talk about work with a different pianist, I respond to that. And they do and the love of just being there is what’s the kind of discussions or advise that you received, Clark always liked that I was different with every- showing up. or opportunities that he may have helped develop body that I sang with. for you? DR: I love watching musicians. I love looking at a JI: When Miles Davis was going through some horn player and then looking at another horn player DR: It wasn’t so much what he said, as much as changes between Hank Mobley and John Coltrane, and loving what they’re playing. Those are things I all the things that he did and all the places that he he had Sonny Stitt. And as great a player as Stitt love. The musicianship went way beyond knowing would present me. One of the biggest things was I was, he was playing his stuff. It was unlike the rest how to play the music. The musicianship was an was so eager to improvise and he would always say of Mile’s concept – it was a constantly changing attitude and a culture, and a way. And I love that I to me, “You know, you have to learn the melodies amoeba-like organism – like, if Wynton Kelly was got to be a part of that because it doesn’t really— first and you have to sing the lyrics.” What I got going one way, Hank Mobley would go with it’s there, but it’s not like it was. from him was, the building block of improvisation him… was phrasing. That was the very, very beginning JI: What pitfalls do you think we should be aware for me, you know? How I could really tell a story DR: Exactly! And I think that’s the essence. When of as we pursue a life in this creative music. with a lyric. So, when I worked for him and when I I first started out working, Billy and I used to have would sing it a certain way and there would be a this group together out in the beach area. It was a DR: I think you always you must pray for clarity reaction, I’d think, “What did I do?” or “How did I place where the owner didn’t care what you played and awareness. Because there are so many things do that? Or, “What did I say?” (laughs). “What was and how many people came in because he didn’t that go on and tell you that this thing is okay and that about?!” He kept putting me in those situations pay you (laughs). But it was a cool thing because that thing is okay, and you just have to be in touch and my first orchestra experience was with him. He you could pass a hat and after a while, we started with your inner-self—your spirit, or however you would just put me in these situations and just push making big money…which would pay for the gas! define it. You have to respect that. Definite it and because he knew it was there. The more he pushed, At the time, Larry Klein was in the band, and Billy, refine it always, and know what it is. Even if you the more I just absorbed everything. He helped me myself and drummer that came from the Latin tra- have to compromise a bit to be able to do other understand how to be respectful of the song that dition and we would create this music. The whole things, just know how to come back to center. you’re in. For instance, I might be singing a beauti- concept was to write, arrange and then we would ful ballad, but it may not be necessary to put a take this music as far as we could. Sometimes, we  Blues lick in the interpretation of the song. couldn’t even get back, we’d be gone so far. It was a great experience because it gave us an opportuni- JI: Just to show off what you have as opposed to ty to keep having that thing that keeps inspiring developing the song for what it is, or to be with one another and try different things. I think from where the other musicians are going. that, it was the thing that allowed me to sing any “A man can get discouraged kind of music or even perform with anybody. many times but he is not a failure DR: Exactly! And so, he also taught me – I don’t until he begins to blame somebody view myself as an entertainer, but I think that my JI: In addition to Clark, you’ve worked with some music is entertaining. I think it is because all of of the greats in Jazz like Harry “Sweets” Edison, else and stops trying.” those things are there and Clark really showed me Phil Woods, Kenny Barron. Can you share some

how to do that. So, as I continue to develop, people highlights with working with such people, or more - John Burroughs would say, “Oh, she’s just too broad – she does all specifically, any ideas, or wisdom, or observations

To Advertise CALL: 215-887-8880 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com 35 Dianne Reeves

36 January-February 2019  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 New CD Release from Dallas Area Pianist John A. Lewis

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

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

All compositions by John A Lewis

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