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Eric Nemeyer’s WWW.JAZZINSIDEMAGAZINE.COM January-February 2019 Interviews DianneDianne ReevesReeves Jazz At Lincoln Center February 15--1616 BobbyBobby BroomBroom Dizzy’s Club, February 20 MatthewMatthew ShippShipp Dizzy’s Club, February 25 JoeJoe MagnarelliMagnarelli Small’s, February 17 IdrisIdris AckamoorAckamoor Comprehensive JimmyJimmy DirectoryDirectory of NY ClubS, ConcertS CobbCobb 90th Birthday Celebration - Jazz Standard, January 31-February 3 Spectacular Jazz Gifts - Go To www.JazzMusicDeals.com To Advertise CALL: 215-887-8880 December 2015 Jazz Inside Magazine www.JazzInsideMagazine.com 1 COVER-2-JI-15-12.pub Wednesday, December 09, 2015 15:43 page 1 MagentaYellowBlacCyank ORDER THIS 200+ Page Book + CD - Only $19.95 Call 215-887-8880 To Advertise CALL: 215-887-8880 January-February 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 1 Eric Nemeyer’s 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. 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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 PAY ONLY FOR RESULTS LIKE US PUBLICITY! www.facebook.com/ JazzInsideMedia Get Hundreds Of Media Placements — ONLINE — Major Network Media & FOLLOW US Authority Sites & OFFLINE — Distribution To 1000’s of Print & Broadcast www.twitter.com/ Networks To Promote Your Music, Products & Performances In As Little As JazzInsideMag 24 Hours To Generate Traffic, Sales & Expanded Media Coverage! WATCH US www.PressToRelease.com | MusicPressReleaseDistribution.com | 215-600-1733 www.youtube.com/ JazzInsideMedia 2 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 3 MatthewMatthew ShippShipp (Interview(Interview beginsbegins onon pagepage 6)6) HearHear MatthewMatthew atat Dizzy’sDizzy’s Club,Club, FebruaryFebruary 2525 4 January-February 2019 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Concert Halls, Festivals, Clubs, Promoters PAYPAY ONLYONLY FORFOR RESULTSRESULTS CONCERTCONCERT && EVENTEVENT MARKETING!MARKETING! Fill The House In Hours For Your Next Performance LightningLightning Fast,Fast, WayWay BetterBetter ResultsResults && FarFar LessLess ExpensiveExpensive ThanThan DirectDirect--Mail,Mail, Print,Print, RadioRadio && TVTV AdsAds——ComprehensiveComprehensive Analytics!Analytics! CALL: 215-600-1850 www.SellMoreTicketsFast.com To Advertise CALL: 215-887-8880 January-February 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 5 but I’ve never wanted to play bebop, per se. I ad- mire Bud Powell too much to try to actually do INTERVIEW that. Bud Powell’s way of playing is as idiosyn- INTERVIEW cratic as Monk’s. People don’t think of it that way, 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.